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== कादम्बरी-उत्तरभPr

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With an Introduction, Notes and Appendices,
P. V. KANE, M. A., LL. M.,
Vakil, High Court, Bombay; Zala Vedant Prizeman;
V. N. Mandlik Gold Medallist; Sometime Professor
op Sanskrit, Elphinstone College, Bombay;
Wilson Philological Lecturer
for 1913.
First Edition— 1000 Copies.

Registered for copyright according to Act XXV of 1867.)
(All rights reserved.)

Printed by R. Y. Shedge, at the Nirnaya-sagara Press,
23, Kolbhat Lane, Bombay, and Published by
P. V. Kane, Angre's "Wadi, Front Block,
Girgaon Back Road,


The present work contains the Uttarabhâga of Kâdambarâ. It is brought out on the same lines as my edition of a portion of the Pûrvabhâga. In preparing the notes to this edition I was fortunate enough to secure two commentaries that were hitherto unknown, viz. that of Arjuna and another by an anonymous writer (for an account of which vide Introduction ). I have spared no pains to make the notes as useful to the University student as possible.

My sincerest thanks are clue to Mr. P. Varadachari, Librarian of the Govt. Oriental MSS. Library at Madras and to Mr. T. Ganpatiśâstri of Trivandrum for arranging to send me promptly transcripts of the two commentaries. I am highly obliged to Sirdar K. C. Mehendale of Poona for furnishing me with information concerning the commentaries on the Kâdambarî. I cannot conclude this brief preface without sincerely thanking the proprietor of the Nirṇaya-sâgara Press for the promptness and care with which he carried the work through the press in the short space of a few months.




Introduction … … … … … VII — XXXVI.
Text … … … … … 1 — 120
Notes … … … … … 121 — 377
Appendix I … … … … … 378 — 392
Appendix II … … … … … 393 — 398
Appendix III … … … … … 399 — 403


List of some important abbreviations.

अमरः — The कोश of अमरसिंह .
क — Mr. Kale's edition of the कदम्बरी.
का. सू. — काव्यालंकारसूत्र of वामन.
किराता°— किरातार्जुनीय of भारवि.
न — The Nirṇayasâgara edition of the Kâdambarî.
प — Dr. Peterson's edition of the Kâdambarî.
पा० — The अष्टाध्यायी of पाणिनि.
मनु°— मनुस्मृति ( निर्णयसागर ed. )
रघू°— रघूवंश of कालिदास.
सि. कौ. — सिद्धान्तकौमुदी of भट्टोजिदीक्षित.
Ânand. — Ânandâśrama series ( of Poona ).
Ar - — Arjuna's commentary on the Uttarabhâga.
K — Mr. Kale's edition of tho Kâdambarî.
N— The Commentary of Siddhachandra contained in the
Nirṇayasâgara edition.
P— Dr. Peterson's edition of the Kâdambarî.
T— The commentary by an anonymous author on the Kâdambarî,
a transcript of which was supplied to us by Mr. T. Ganapati

I. Personal History of Bâṇa.

About the personal history of Sanskrit authors and especially poets, our knowledge is generally very meagre. In the case of many Sanskrit poets, we know next to nothing beyond their names. Around the names of some (e. g. Kâlidâsa), tradition has been busy in weaving such fanciful and bewildering stories that it is no easy task to separate the solid grain of truth from the chaff. In the case of some, the meagre account of themselves contained in their own works has to be eked out with information derived from contemporary or subsequent records in literature, grants and inscriptions. There are a few who have left to posterity a tolerably full account of themselves in their works[१] Bâṇa perhaps stands at the head of such Sanskrit authors. To his Kâdambarî is prefixed a brief account of his family. But in his Harshacharita, we find a much fuller account of his ancestors and of himself. The first two Tchchlivâsas of the Harshacharita are taken up with the history of Bâṇa's forefathers and of Bâṇa himself. The personal narrative is continued even in the third Uchchhvâsa. Space does not permit us to give in detail a full account of Bâṇa as gathered from the Harshacharita. We propose to dwell upon only a few salient points of the narrative of Bâṇa's personal history.

The genealogical tree of Bâṇa's family as constructed

from the Harshacharita* is given in the footnote below. In
the introductory verses to the Kadambari the genealogy
is given as follows. Kubera was a Brahmana of the
V&tsyayana gotra and was honoured by many Gupta
kings. His son was Arthapati, whose son was Chitra-
bhanu who was Bana's father. The student will notice
that in this narrative, Pas'upata, who appears to have
been the great-grand-father of Bana, if we are to rely upon
the Harshacharita, is omitted. It is strange that Bana
( or his son who is supposed by some to have written the
introductory verses to the Kadambari) should have forgotten
his own great-grand-father. The only explanation that we
offer ( of course with great hesitation ) is that the verses
containing the reference to Pas'upata were not to be found
in the MSS. used for preparing the printed editions of the
. The progenitor of Bana's family, Vatsa, lived in a place
called Pritikuta on the banks of the Hiranyabahu, otherwise
called S'ona. Bana's mother, Rajadevi, died while he was yet
a child. He was all the more dear to his father, who was a
very mother to him. Bana had the misfortune to lose his
father when he was about fourteen years old. Bana tells us
that he thereafter led a wandering life. He mentions as the

* वत्स, cousin of सारस्वत who was the

son of सरस्वती and दधीच.
कुबेर ( a descendant of वत्स ).
अच्युत ईशान हर पाशुपत
भृगु हंस शुचि कबि महीदत्त धर्म जातवेदस् चित्रभानु त्र्यक्ष अहिद्त्त विश्वरूप

companions of his wanderings a number of persons[२]. Although Bâṇa had ancestral wealth sufficient to maintain him in ease and comfort, yet his strong curiosity to see different lauds impelled him to wander from place to place and made him an object of ridicule in the eyes of his elderly contemporaries. After finishing his wanderings in which he gathered a rich harvest of wisdom and experience, he returned to his native place Brâhmaṇâdhivâsa (or Prîtikûṭa) with broadened sympathies and a widened outlook.

One day in the height of summer, when Bâṇa sat in his house after the midday meal, his cousin (born of a Śûdra woman) Chandrasena ushered in a courier who brought a letter from Kṛishṇa, a brother (cousin) of Emperor Harsha. In the letter Kṛishṇa referred Bâṇa to the messenger Mekhalaka and bade him lose no time in carrying out the wishes of the writer. The message was;—"Emperer Harsha's ears have been poisoned against you by some wicked people. But I knew the truth about you and interceded on your behalf with the king and told him that you (Bâṇa) must not have been guilty of anything beyond youthful rashness and folly. The king admits this and so you should come to the emperor's court without delay."

After a good deal of misgivings as to how he would be received at the court of Harsha, Bâṇa performed some auspicious rites and set out from his native place Prîtikûṭa. On the third day he reached the camp of Harsha which was then on the Ajirâvatî near the town Maṇitâra.

"अभवंश्चास्य वयसा समाना सुहृद सहायाश्चातथाचाभ्रातरौपारशबौ चन्द्रसनमातृआगोआऐआ भापाकीवर्राशानः परं मित्रा प्रणीयनौ रुद्रनारायणौ आईव?आंसौ वारवा?आवासवाणौआ वणंकीवबणीभारतःप्राकृतकृत्कुलपुत्रोवायुआईबकारःवीदनावनाआ च्चाआमूचिवाणौकात्यायीनकाचकवाकिकाजाङ्गुआईलकोम? रकःताङ्कबूलदायकश्चण्डकः आईभपक्पुत्रो मन्दारकः पु?आकवाचकः सुदृआईष्टःआ कलादश्चार्माकरः हौईरकः आईसःधुपेणःआ लेखकोआआआएआबईन्हकः आईचत्र?आईरवमाआ पुरूआकृत्कुमारद्दत्तःमार्दीङ्गको र्जामूतः गायनौ सोआईमलग्रैआआईदत्योआ सैरर्न्भा कुराङ्गकाआ वांआईशकौ म?करपारावतै आआआन्धवा » पाध्यायो ? रकःसवाहिकाकेरीलका लासकयुबाताण्ढीबकः आआईक्षक आखण्डलःआ आईकतवो भीमकः शैलाआईलयुवाआईशखण्डक्वः नर्तकी हीरीणका पाराशरी सुमीतः क्षपणको र्वारदेवःआकथकोजयसेनः शैवो वक्रधोणः मन्नसाथकः करालः असुरीबवरव्यसर्ना लोआईहताक्षःथातुवादावीई?हङ्गमःदादु०आईरकेहामोहरः।ऐन्द्रजाआईल्लकश्चकोराक्षः, मस्करी ताम्रचूडः ।"

When Bâṇa was presented to Harsha who had with him the son of the king of Mâlvâ, the emperor received him at first with mock signs of anger, hut afterwards showed him much favour. After basking in the sunshine of royal favour, Bâṇa returned to his native place. He was greeted with a cordial welcome by his friends and relatives. The reader Sudṛishṭi entertained him with a recital of the Vâyupurâṇa. Then the bard Sûchibâṇa recited two verses (Âryâs), which pointedly referred to the life of Harsha. All were charmed and Bâṇa's cousins (sons of his paternal uncles), Gaṇapati, Adhipati, Târâpati and Śyâmala looked at one another and the youngest of them, Śyâmala, made bold to ask Bâṇa to tell them from the beginning the wondrous story of Harsha's life. Bâṇa expressed his inability to do justice to the mighty deeds of the emperor and, as the day was far advanced, began the narrative the next morning.

Here ends the autobiographical part of the Harshacharita with which alone we are concerned here.

As to the later stages of Bâṇa's life we have no account left. He died leaving his romance of Kâdambarî unfinished. Bâṇa's son tells us in the introduction to the Uttarabhâga that he finished the Kâdambarî as a work of filial duty and not out of pride[३]. Dr. Buhler says that the name of Bâṇa's son was Bhûshaṇabâṇa[१]. In some MSS. of the Kâdambarî, the son is called Pulinda[४] or Pulina. Dhanapâla, while praising Bâṇa in his introduction to the Tilakamanjarî, seems to suggest that Pulinda was the name of his son[५] KADAlIBAttL XI It is said that the poet Mayura was a contemporary and father-in-law ( or brother in-law ) of Bana. Mayura praised the sun in hundred verses, which make up the Suryas'ataka and became free from leprosy. Bana became jealous of him, maimed himself, composed the Chandls'ataka in honour of Durga who made him all right. The story of Mayura s freedom from disease is alluded to in the Kavyaprakas'a* There are Subhashitas in which Bana and Mayura are spoken of as contemporaries and as patronized by king Harshaf. Verses from the Suryas'ataka are quoted in the Dhvanyaloka ( latter half of 9th century A. D. )$. So it is not beyond the bounds of probability that Bana and Mayura were contemporaries. A Mayuraka is mentioned as one of the companions of Bana in his wanderings ( see the passage quoted above on p. IX ). But as he is mentioned there as a snake-doctor ( Jangulika = Vishavaidya ), it seems to us that he is not the same as the poet Mayura. II The date of Bana. As we are fortunate in possessing some account of Bana from his own pen, so also we are lucky in being able to fix the date of Bana beyond the possibility of cavil. As a matter of fact, Bana's date is one of the surest planks in the totter- ing structure of ancient Indian Chronology. This is not the place to set out in detail how Bana's date has been fixed. Suffice it to say that a famous Chinese traveller, Hiouen Thsang, was in India from 629 A. D. to This verse is ascribed to Rljas'ekhara and is quoted in the Subhashitavali and the S'&rngadharapaddhati. ^TOTSHif^far 1 uotfid fr0m Mr - 1>arakhi ' 8 work - X The verse 's^m^:' &c. at p. 99. XII INTRODUCTION 84.5 A. D. He has left extensive memoirs of his bravels, in which he speaks in detail about a king Harsha who was the emperor of northern India. Although bhere are slight discrepancies in the accounts of Harsha furnished by Bana and the Chinese pilgrim, the points of agreement are so many and so striking that there is not the least doubt that the Emperor Harsha, the patron of Bana, is the same as the great monarch of whom the Chinese pilgrim has left extensive notices. Harsha , is said to have reigned from 606 A. D. to 348 A.D. It is beyond the scope of this intro duction to give an account of Harsha. The curious reader should refer to DrPeterson's Introduction, to the 18th chapter of MrV. A. Smith's monumental work tho early History of India ' and to the late Parakhi-s'Hastris works on Bana and Harsha in MarathiTherefore Bana must have fourished towards the end of the 6th and in the first half of the 7th century of the Christian era. We shall sct forth below a good deal of evidence which strongly corroborates the above conclusion. We believe that a part of this evidence is for the first time brought to the notice of Sanskrit scholars by us. ( 1 ) The Harshacharita of Bana is mentioned by Ruyyaka , in his Alaikarasarvasva a number of times*. We are told by him that he wrote a work called Harsha charitavartika t. Ruyyaka wrote his Alankarasarvasva about 1150 A.D. (2) Kshermendra, in his voluminous writings, men tIOS Bana by name a number of timest. Kshermendra

  • 68

9 ‘यस्तपोवनमिति मुनिभिः..इत्यादि हर्षचरिते श्रीकण्ठाख्यजनपदवर्णने p. 47 of अलंकारसर्वस्व; ‘यथा हर्षचरिते राज्यवर्धनं प्रति श्रीहर्षोंक्तिषु ‘यदि बाल इति सुतरामपरित्याज्योऽस्मि...’” p. 139; “यथा वा हर्षचरितप्रारम्भे ब्रह्मसदसि वेदस्वरूपवर्णने ।..एवं तत्रैव मुनिक्रोधवर्णने, पुलिन्दवर्णनादौ शेयम्” p. 182. | ‘एषा (उत्प्रेक्षा ) च समस्तोपमाप्रतिपादकविषयेऽपि हर्षचरितवार्तिके साहित्यमीमांसायां च तेषु तेषु प्रदेशेषुदाहृता’ p. 61 of अलंकारसर्वस्व + In his औचित्यविचारचर्चा he quotes the verse ‘स्तनयुगमञ्चलातं &c, and says in the same work “न तु यथा भट्टबाणस्य ‘जयत्युपेन्द्रः चकार & ". KADAMBAR, III tells us that he wrote is Kaikanthabharata and Suvitta tilaka in the reign of king Anantaraja (1028-1063 A. D.) of Kashmir, and quotes a verse of king Kalasa ( 1080 A. D. 1088 A.D.). So he flourished in the latter half of the 11th century A. D. 3) Namisadlhm, the commentator of Rudrata's Kavy laikीra, mentions the Kadambar and the Harshacharita as specimens of the two types of prose composition, viz. Katha and Akhyीyika* . From the last verse of his com nent, we learn that Naisadhu wrote in 1089 A. D. (4) Bhoja in his Sarasvatikanthabharana has a few references to Bapa. In one place we are told that Rana does not excel so much in poetry as in prose. The exact dates of Bhija's reign (which was very long, extending over 50 ears) are not yet fixed. But he seems to have come to the throne in the second decade of the 11th century. (5) The Dasarpa of Dhananjaya, mentions Bana by namet. Dhananjaya was patronized by king Munjax. If unia is the uncle of the great Bhja, as it seems to be the case, Dhananjaya flourished before 1000 A. D. (6) Abhinanda wrote the Kadambarikathasra, iu which he faithfully versifies the story of Bana's Kadambari. Abhinanda tells us that his great-great-grand-father, Sakti svamin, was a minister of Muktapida, a king of the Karkota family. Abhinanda is praised for the excellence of his

  • See comment on काव्यालंकार of रुद्रट XVI. 22 and 26.
  • ‘यादृगद्यविधौ बाणः यद्यबन्धे न तादृशः 7 p. 142 of the 1st Vol .

of he Benares edition. See p. ]46 of the same volume for a quotation from Bana . ‘हर इव जितमन्मथः गुह इवाप्रतिहतशक्तिः, यथा हि महाश्वेतावर्णनावसरे भट्याणस्य' under II. 35 (निर्णय edu, ); ‘यथा कादम्बर्यां वैशम्पायनस्य’ under I. 66.

  • ‘आविष्कृतं मुञ्जमहीशगोठीवैदग्ध्यभाजा दशरूपमेतत्' last verse of

the दशरूप. शं ‘स शक्तिस्वामिनं पुत्रमवाप श्रुतशालिनम् । राज्ञः कर्कोटवंशस्य मुक्त- पीडस्य मत्रिणम् ।। verse 7 of कादम्बरीकथासार XIV INTRODUCTION Anushpubh verses by Kshenmendra in lis Suvritta-tilaka*. () The author of the Dhvanyloka, Anandavardhana, fourished in the reign of king Avandivarman (855-88B A. D. }f of Kashmir. In the DhvanyBloka, Bana and is two prose compositions are mentioned by name. Fronm' this it follows that in the latter half of the 9th century Bana's works lhad attained a pre-eminent position in the Vorld of letters. (8) Vamana, in his Kavylanikarashtravritti seems to quote a few words from the Kadambaris. Vamana four ished in the latter half of the 8th century. We shall briefly indicate the data that enable as to arrive at lis date for Vanmana. (a) Vamana quotes from the Uttararamacharita, of Bhavabhti a verses. Bhavablhiti hourished before 700 ‘अनुष्टुप्सततासक्ता साभिनन्दस्य नन्दिनी । विद्याधरस्य वदने गुलिकेव प्रभावः We wish here to call the attention of the reader to a curious fact. Abhinav8-gupta says in his Dhvanyऔlokalochana that Bhattajayantaka wrote Kadambarikabhasara; p. 142 “कथातात्पर्य सर्गबन्धो यथा भट्टजयन्तकस्य कादम्बरीकथासारम्.” The question arises whether this is a different work from that of Abhinanda, or whether it is a slip on the part of the learned author of the 0chana or whether it is a mistake of the scribes. We know bhat Abhinanda was the son of Bhattajayanta, called Viktikara.

  • मुक्ताकणः शिवस्वामी कविरानन्दवर्धनः । प्रथां रत्नाकरश्चागात्साम्राज्येऽव

न्तिवर्मणः ॥’ राजतरङ्गिणी V. 34.

  • ‘यथा स्थाण्वीश्वराख्यजनपदवर्णने भट्टबाणस्य ‘यत्र च मत्तमातङ्गगामिन्य

acध्वन्यालोक p. 100; यथा हर्षचरिते-‘समवाय इव विरोधिनां पदार्थानाम् p. 101; यथा हर्षचरिते सिंहनादवाक्येषु-वृत्तेऽस्मिन्महाप्रलये ¢s' p. 12 ‘यथा कादम्बर्यां कादम्बरीदर्शनावसरे’ p. 87. On p. 29 of the ध्वन्यालोक a passage is quoted from the Harshacharita without naming it, 5 && ‘अनुकरोति भगवतो नारायणस्य' इत्यत्रापि, मन्ये, मशब्दः कविना प्रयुक्तो लेखकैस्तु प्रमादान्न लिखित इति” on ‘आहेति भूतेऽन्यणलन्तभ्रमाद् ध्रुवो लटि' काव्यालकारसूत्र V. 2. 44. For the words ‘अनुकरोति भगवतो नारायणस्य see कादम्बरी p. 6 of DrPeterson's edition आ ‘इयं गेहे लक्ष्मीरियममृतवर्तिर्नयनयोः ¢c. on काव्यालंकारमूत्र IV. 3. 2 (रूपक) KADAMBAR. XV A. D*. So Vamana is later than 700 A. D. (b) He is often quoted by Pratiharendurja, the commentator of Udbhata's Kavyalankara, . Pratiharendumraja, who was a pupil of Mukula, son of Kallata, fourished in the first half of the 10th centuryITherefore Vamana is earlier than 900 A. D. ( c) Abhinavagupta says that Anandavardhana, bearing in mind the conflicting views of Vamana and Bhamaha as regards Samsokti and Akshepa, gave the verse Anurga vat sandhya &c.’ (p. BY Dhvanyईloka ) as an example. So according to Abhinavagupta, Vanana fourished before Anandavardhana ८. ४. before the latter half of 9th century A. D. (d) A Vamana is mentioned as the ministers of king Jayीpida (45-776 A. D.) of Kashmir and is identi fied by Kashmirian Pandits with the author of the Kavy laikarastra. These four lines of inquiry make it highly robable, if not certain, that Vanana flourished in the latter half of the 8th century. Bana's Kadambari was . well known, as shown above, in the latter half of the 8th century. Thus from the 12th century backwards to the 8th, we have a host of writers who refer in unmistakable terms to Bana and his worksBesides those mentioned by us above. there are writers of less note such as the authors of the Nalachamp and the Kirtikaumudi that refer to Baga. We refrain from quoting them for want of space. The date of Bana is of paramount importance for the chronology of Sanskrit writers. Bana in the introductioi to his Harshacharita mentions a number of Sanskrit works and poets1. The first half of the 7th century is the termin See DrBhandarkars preface to the Malatmadhave p. L.

  • See Folios 12, 55, 56, &c., of the Deccan College Msof

Pratiharendurबैja's commentary. + वामनाभिप्रायेणायमाक्षेपः, भामहाभिप्रायेण तु समासोक्तिरित्यमुमाशयं हृद ये गृहीत्वा समासोक्त्याक्षेपयोरिदमेकमेवोदाहरणं व्यतरद्भन्थकृत् ।' लोचन p. 37ः 8 ‘मनोरथः शंखदत्तश्चटकः सन्धिमांस्तथा । बभूवुः कवयस्तस्य वामनाथाश्च मत्रिणः ’ राजतरंगिणी IV. 497. The works and poets mentioned by name are:-Vyasa, Vasavadatta, Bhattara-Harichandra, Satavahana, the Setu of Pravarasana, Bhasa, Kalidasa. Bribatkatha and AdhyarajaXVI INTKODUCTIOX ad quern of these poets. In this connection we strongly re- commend that the student should read Dr. Peterson's valu- able and instructive Introduction to his edition of the KSdambari. Although we have the misfortune to differ from the learned author of the Introduction on a number of points, we feel confident that the Introduction will surely rouse the student's critical faculty*. As one point ( viz. the relative position of Subandhu Tind Bana ) on which we differ from Dr. Peterson is of great importance in connection with the date of Bana, we shall discuss it here.

  • The following are the most important among the points

on which we differ from Dr. Peterson, though with the greatest diffidence — (1) 'it is clear that by Akhydyikd in the present passage, Bana refers to metrical stories, such as furnished him with the material of his own romance' (p. 70); (2) Lhasa being the contemporary or immediate predecessor of Bana (p. 71); (3) the Yasavadatta mentioned in the Harshacharita is not the one that was written by Subandhu; (4) the Natakas, with a sutra- dhara in their beginning, were novelties in Bana's day (p. 80)- (5) K&lidasa was a contemporary of Bana (p. 81); (6) Adhyaraja, mentioned in the Harshacharita, is not a proper noun (p. 96); (7) that Indian Astronomy, as taught by Arybhata and Yaraha- mihira and as known to Kaiidasa and Bana, is of Greek origin. About Akhyayika, we shall speak later on. It should be noted that in the Malavikagnimitra, Kaiidasa calls himself 'Vartamana- kavi' and styles Bhasa as of world-wide fame. So Bhasa, who must have preceded Kaiidasa by some generations, could not have been a contemporary or- immediate predecessor of Bana. We shall show that Subandhu preceded Bana. That Adhyaraja was a name we know from a verse that occurs in the Sarasvati- kanthabharana (vol. I p. 136 Benares edition) '%S?j=j?fr3Sn:R9T tftfe sniKcPTTfw: I *fit^ -sftHTl^rrf^r $ II H^r*Hfir o i: II' The commentary explains that errejrcjsT stands for ^|Ric||^ and Hre^r^ f°r fasjw. It is not possible to dismiss the other points briefly. Although we are sorry that the profession we have been compelled to pursue by force of circumstances will hardly allow us to prose- cute antiquarian researches, we intend, time and inclination permitting, to dicuss the other points elsewhere. KADAMBAR. XVI DrPeterson was inclined to place Subandhu, the author of the extant Vasavadatta, after Bana. His reasons are given on pp. 71–78 of his Introduction. For that after the graceless string of extravagant and indecent puns presented by the present Vasavadatta had been received with approval into the national literature, a reversion should have beei possible to the chastity, alike of sentiment and of diction, of Bana and Bhavabhtti would be a literary miracle almost incredible' We have to strike here a note of caution. We should always beware of foisting our moderm conceptions of literary style and beauty on authors and critics that fourish ed centuries before usHow are ve to know that the skill of Subandhu in stringing together puns might not have kindled the admiration of Bana who seems to have himself thought very highly of such puzzles as Prahelikas ? It is Surious to note that DE Peterson, in his preface to the Subh shitivali of Vallabhadova (p. 183), abandons the position takon up by himas to the relative position of Subandhu and Bana in his Introduction to the Kadambar. We think that the Vasavadatta praised in the Harsha .charita so * eloquently is the present work of that name written by Subandhu. Our reasons are : (1) In Vamana's Kavy£laikarashtravitti, a pass age is quoted from the extant Vasavadatta of Subandhu with very slight variations. Ye have seen above that Vamana probably fourished in the latter half of the 8th century and that he quotes the Kadambar also. So both Bana and Subandhu fourished before 750 A. D. (2) Kaviraja, the author of the Raghavapandavya, mentions Subandhu, Bana and himself as the masters of

  • कवीनामगलद्दर्पो नूनं वासवदत्तया । शक्त्येव पाण्डुपुत्राणां गतया कर्णगो-

कुलिशशिखरखरनखरप्रचयप्रचण्डचपेटापाटितमत्तमातङ्गकुम्भस्थलगलन्म- दच्छटाच्छुरितचारुकेसरभारभासुरमुखे केसरिणि’ काव्यालंकारसूत्रवृत्ति I. B. 25. See vasavadatta (p. 331 of the Srirangam edition and p. 266 of Hall's ). \II NTRODUCTION Vakrakti.* - We think that the three are mentioned by the author in chronological.order, placing himself last of all . (B) Vakpatirja, the author of Gautavahoa Prakrit poem, refers to the composition of Subandhut. No other poetbearing the name ofSubandhu, except the author of the Vasavadatta, is known to us Therefore we are justified in holding that Vakpatiraja refers to the author of the extant Vasavadatta. Vakpatirja was a prot&g% of Yasovarman of Kanyakubja and an admirer (and perhaps friend and pupil) of Bhavabhoti. Pandit comes to the conclusion (Introduction to Gaudavaho, p. 100) that Vakpatirja wrote his poem between 700-725 A. D. It is curious to note that while Vakpatiraja mentions the work of Subandhm in the same breath with Bhasa and Kalidasa, he is silent as regards Bana who wrote a prose work similar to Subandhu's. What then is the natural conclusion ? It is that when Vakpatirja vote, Subandhu was a famous author while Bana was yet unknown to fame. From the foregoing it will be clear that Subandhu, bo author of the present Visaydatta, preceded Bana. In Mankha's Srikanthacharita we ind a verse where both Bana and Subandhu are praised togethert. III Bana's works. Before proceeding with the subject of this section, a few remarks concerning the origin and development of Sanskrit Rhetoric and of Kath and Akhyayike in particular vould not be out of place hero. सुबन्धुर्बाणभट्टश्च कविराज इति त्रयः । वक्रोक्तिमार्गनिपुणाश्चतुर्थे विद्यते न वा ।' राघवपाण्डवीय I. 41 .

  • ‘भासम्मि जलणमित्ते कन्तीदेवे अ जस्स रहुआरे । सोबन्धवे अ बन्धम्मि

हारियन्दे अ आणन्दो ॥ Pandit's Gaudavaho, verse 800,

  1. ‘मेण्ठे स्वर्दिरदाधिरोहिणि वशं याते सुबन्धौ विधेः शान्ते हन्त च भारव

विघटिते बाणे विषादस्पृशः ।’ श्रीकण्ठचरित II. 33. KADAMBAR: IX The oldest writer wlio specifically mentions Akhy yikas is Katyayana* . Kityौyapa - seenis to intimate. that the Akhyayikas he refers to vere.not blie. episodes contain ed in such books as the Mahabharata, but that they were independent, and distinct works. Patanjali. in his Maha bbashya, while commenting upon the above-mentione! varthikas, gives the names of three Akhyayikas, w&2. Vasava dapts, Sumaottara and Bhaimarathi. In another place Patanjali speaks of pne who knows.pr studies the Akhyर्द्धः yikaVasavadatta , or Sumanottarak . , Subandhu, who Y saw above, preceded Bara, alludes to some canons of the art of poetry. In one places he says that the composition of a good poet should not contain superfluous words such as * b', 'hi' &c. In another place the says that the utter ances of a good poet should be divided into Uchchhvasas (chapters) and should contain fine puns and verses in the Vaktra metres. This seems to refer to what are called akhyayikas, as we shall see later ou. Dandin| , who is genc 6 3 लुबाख्यायिकाभ्यो बहुलम्' a वार्तिक on ‘अधिकृत्य कृते ग्रन्थे’ पा° IV. ४. 87.; ‘आख्यानाख्यायिकेतिहासपुराणेभ्यश्च' वार्तिक on पा° IV. 2. 60. + अधिकृत्य कृते ग्रन्थे ’ बहुलं लुग्वक्तव्यः । वासवदत्ता सुमनोत्तरा । न च भवति । भैमरथी ।

  • Mahabhashya ( Kielhorn ) vol. II. p. 284 ‘वासवदत्तिकः

सौमनोत्तरिकः 8 ‘सत्कविकाव्यबन्ध इत्रवद्धतुहिनर वासदत्ता p. 134 (Hall ). आ दीघच्छासरचनाकुलं मुखेपवक्त्रघटनापटु सत्कविवचनमिव’ वसवदत्ता p. 184 (Hall). | A few scholars are inclined to place Dandin later. This is not be place to discuss at length the question. Our reasons for placing him in the 6th century are briefly these:-(1) he is mentioned as an ancient writer along with Bhamaha and Udbhata (latter half of 8th century ) by Jayaratha ( p. 3. अलंकारसर्वस्व ); ( 2) Namibadhu speaks of Dangin as follows: ननु दण्डि-मेधाविरुद्भामहादिकृतानि सन्त्येवालंकारशास्त्राणि’ (.p. 2 of रुद्रटका- व्यालंकार). We believe that the authors are arranged chrono- logically, as मेधाविरुद्ध is mentioned in Bhamaha's work; (3) Dandin's treatment appears crude and unscientific as compared with Bhamaha's; (4 ) Bhamaha in a few places refers to the INTRODUCTION rally assigned to the 6th century A. D.refers to the distinction drawn between Kathi and Akhyayika, by certain writers, disapproves of it and finally says that both are different names for the same class of composition *. Dandin further says that an Akhyyika, should exhibit a profusion of compoundst. The lexicon of Amarasiiha defines Katha and Akhyayika, pointing out that the former is imnaginary and has very little historical value, while the latter deals with matters of history. Bana himself often alludes to the two classes of prose compositions s. Bana offers a glowing tribute of praise to the writers of Akhyayikis that preceded him. He refers to some peculiarities that distinguished the Akhyीyika from other classes of composi tion, ve, division into Uchchhvasas and the occurrence of the Vaktra metre. Bana himself clearly intimates that his Harslacharita is an Akhyayika |. The introductory verses to the Prvablaga clearly indicate that the Kadambar was intended to be a Katha ( technically so called). Th makes it clear that Bana did not strike out a new path in writing his two prose vorks, that he had before him certain 1works which went under the name of Akhyीyika, and that criticism had been busy in laying down canons for regulat ing the two classes of prose composition. opinions of some ( अपरे, अन्ये, &c. ) and these are found in Dandins work. ( 5 ) Tamil and Canareso writors belonging to the 8th century refer to him.

  • See Kavyadars'a I. 23-80

तद्रूणां लघूनां च बाहुल्याल्पत्वमिश्रणैः । उच्चावचप्रकारं तद् दृश्यमा ख्यायिकादिपु । काव्यादर्श I. 81. + ‘आख्यायिकोपलब्धार्था अमर ० I. 6. 5; ‘प्रबन्धकल्पना कथा ’. 8 ‘काव्यनाटकाख्यानकाख्यायिकालेख्यव्याख्यानादिक्रियानिपुणै: p 3. of कादम्बरी (Peterson);‘कथासु नाटकेषु आख्यायिकासु काव्येपु' p. 75 (Peterson). { ‘उच्छासान्तेऽप्यखिन्नास्ते येषां वक्त्रे सरस्वती । कथमाख्यायिकाकारा न ते वन्द्यः कवीश्वराः ।’ हर्षचरित । तथापि नृपतेर्भक्त्याभीतो निर्वहणाकुलः। करोम्याख्यायिकाम्भोधौ जि हाप्लवनचापलम् ।' इर्षचरित ४ ‘द्विजेन तेनाक्षतकण्ठकण्ठ्यया महामनोमोहमलीमसान्धया । अलब्धवैदग्ध्य विलासमुग्धया धिया निबद्धेयमतिद्वयी कथा ।। KADAMBAR . XX It is believed by some Sanskrit scholars that Bana rote before Sanskrit rhetoricians had done their best to degrade the sublime art of poetry to a pedantic enumera tion of set similes and metaphors (vide Dr Peterson's Introduction p. 48). We hold, with the greatest de ference, that this is, to a great extent, fallacious. We possess ample evidence to establish that long before Bana fourished, the science of Rhetoric had made great progress. We find that an inscription of Rudradaman (150 A.D.) exhibits a prose containing very long compoundsallitera @ion ( Anuprasa) and other figures*. In the same inscrip tion reference is made to “prose (Gadya) and poetry Padaya ) that are ornate, fine on account of the (poetic) conventions observed in them and that contain perspic ous, short, sweet, striking and charming words. An inscription of the time of Samudragupta (4th century A.D.) contains a prose that vies with that of Bana himselft. The Mandasor Inscription dated in the Malava era 529 (2. e. 473 A. D. ) contains verses that rival in diction and imagery the best efforts of Kalidasa, Bhavabhuti and other masters of classical Sanskritk. Dandin who, as we said above, is not placed later than the 6th century A. D., gives a See Archaeological Survey, Western India, vol. II ( about Kathiawad ) p. 128.

  1. स्फुटलघुमधुरचित्रकान्तशब्दसमयोदारालंकृतगद्यपद्य
  • Dr. Fleet's Corpus Inscriptionum TIndicarum vol. III

p. 8. Mark the following ‘कृपणदीनानाथातुरजनोद्धरणसमत्रदीक्षाद्युपगतम् नसः समिद्धस्य विग्रहवतो लोकानुग्रहस्य धनदवरुणेन्द्रान्तकसमस्य स्वभुजबल विजितानेकनरपतिविभवप्रत्यर्पणनित्यव्यापृतायुक्तपुरुषस्य निशितविदग्धमतिगान्धर्वल- लितैर्दाडितत्रिदशपतिगुरुतुम्बुरुनारंदादेर्विद्वज्जनोपजीव्यानेककान्यक्रियाभिः प्रतिष्ठित कविराजशब्दस्य' &c. 8 See Dr. Fleets Corpus Inscriptionum vol. III p. 79f.

  • We shall quote only two verses. ‘चतुःसमुद्रान्तविलोलमेखलां सुमेरु

कैलासवृहत्पयोधराम् । वनान्तवान्तस्फुटपुष्पहासिनीं कुमारगुप्ते पृथिवीं प्रशासति । सरवशगतरुणजनवछभाङ्गनाविपुलकान्तपीनोरुस्तनजघनघनालिङ्गननिर्भर्तिसततुहिन हिमपात ॥ ’ Tt will be noticed that the second verse ( an Arya } forms a single compound XXII INTRODUCTION tolerably full threatment of rhetoric. He says that he only improves upon what other Acharyas blhat preceded him had . laid down *.. Dandin asserts that a profusion of compounds • is the very life of prosct. This dictum has been followed by later prose-writers only too well Bhatti devotes four sargas of his Bhattikavya to the illustra tion of •subjects that properly fall to be treated under rhetoric. He exemplifies more than thirty figures of speech, He wrote in Valabhi nnder a king named Dharasena Pour kings of the Valabhi dynasty bore the name Dharasena. The dates of the four kings fall between about 500 A. D. and 651 A. D. So Bhatti was a predecessor or at least a contemporary of Bhua. In Subandhus Vasavadabt we meet with a number of allusions to rhetoric Subandhu boasts of his skill in composing a work full of Paronomasia on each syllablct. He refers to Srinkhalabandha (a peculiar arrangement of words) and mentions the figures of speecla Upreksha and Akshepak. Bana refers to such puzzles and conundrums as Pradelika and mentions in the introduction to the Harshacharita a few figures of speech scch as Jati (Svabhavokti ), Utpreksha and Sleshan. In the introduc tion to the Kadambar are mentioned the figures Dipaka, Upama, Slesha and Jati. In this brief respe we have shown that, before Bana flourished, Rhetoric had made great progress, though it had not reached perfection .

  • ‘किं तु बीजं विकल्पानां पूर्वाचार्येः प्रकल्पितम् । तदेव परिसंस्कर्तुमयमस

त्परिश्रमः । काव्यादर्श II. 2. समासभूयस्त्वमेतद्द्यस्य जीवितम् । काव्यादी . 80,

  • सरस्वतदत्तवरप्रसादश्चक्रे सुबन्धुः सुजनैकबन्धुः। प्रत्यक्षरश्लेषमयप्रबन्धविः-

न्यासंवैदग्ध्यनिधिर्नबन्धम् ॥ ई हुलाबन्धो वर्णग्रथनासु उपेक्षाक्षेपौ काव्यालंकारेषु’ वासवदत्ता p. 126. ( Hall). | ‘अक्षरच्युतकमात्राच्युतकबिन्दुमतीगूढचतुर्थपादप्रहेलिकाप्रदानादिभिरे p. 3. of कादम्बरी ( Peterson ); ‘बिन्दुमतीं चिन्तयता प्रहेलिकां भावयता' p. 88. of कादम्बरी. KADAMBAR XXIII The Harshcharita* and the Kadambar are well known as the works of Bana. A third work, the Chandisataka, is ascribed to him. There is nothing improbable in Banas authorship of a century of verses in honour of Chandi. We know that he gives in the Kadambar a powerful and picturesque description of the temple of Chandika. Still we hesitate to assert that Bana2008 the author of the Chandisataka. A drana styled Parvatiparinaya is also ascribed to Bana. In the prelude to the Parvatiparinay, e are told that the drama was composed by Bana of the Vatsa. Gotra.k. The author of the Kadambar also was descend. ed from Vatsa. The drama, though not of the highest order of merit, has some excellences of its own. The subject is the same as that of the Kumarasaibhava of Kalidasa. There are remarkable coincidences, both of phrase and thought, between the two works. Hence it is said by some scholars that the Parvatiparinaya is only the work of a plagiarist and not of an eminent author like Bhna. We think however, that this argument does not possess much force. We know that the fine verses of Kalidasa were the delight of Bala, and had kindled his admirations. When the subject was the same, it is quite natural that Balla. The learned translators of the Harshacharita intimate that the Harshacharita was forgotten by Indian writers though rare copies existed unknown in libraries. They mention only the साहित्यदर्पण and the काव्यप्रकाश as referring to the हर्षचरित. We have quoted above passages from आनन्दवर्धन, नमिसाधु and रुय्यक that mention the हर्षचरित by name. t We may draw the attention of the reader to the fact that verses from the Chandfs'ataka occur in the सरस्वतीकण्ठाभरण, in bhe काव्यप्रकाश and in अर्जुनवर्मदेव's टीका on अमरुशतक. अर्जुनवर्मदेव { p. 3. ) expressly ascribes the authorship of the चण्डीशतक to बाण उपनिबद्धं च भट्टबाणेनैवंविध एव संग्रामप्रस्तावे देव्यास्तद्भङ्गिभिर्भगवता भर्गेण सह प्रीतिप्रतिपादनाय बहुधा नर्म । यथा दृष्टावासक्तदृष्टिः&c.” ( verse 37 of चण्डी०.)

  • ‘अस्ति कविसार्वभौमो वत्सान्वयजलधिसंभवो बाणः । नृत्यति यद्रसनायां

वैधोमुखलसिका वाणी ॥ 4th verse, Act I. 8 ‘निर्गतासु न वा कस्य कालिदासस्य सूक्तिषु । प्रीतिर्मधुरसान्द्रासु मञ्जरीध्विव जायते । ? Introduction ' to हर्षचरितं. XXIV INTRODUCTION should unconsciously imitate in thought and expression his favourite author. Even in Kalidasa we recognise the words of the Mahabharata, and the Bhagavatgt. It is further argued that the Parvatiparinaya is, as compared with the Harshacharita the , common-. We and Kadambariquito place bhink that even not6 this, if entirely true, would militate against Bana's authorship of the work. The work might have been written before Bana had secured the mastory of his mature years. Besides we must Bana not forget that was handicapped in verse. We have quoted above a critics opinion that Bana does not excel so much in as in verse prose That remark could not have been based on the few verses that occur in the two prose works of . They Banarather refer to some composition in verse written by Bana. We suggest that the Parvatparinava may of . be one themChangapala and Gunavinayagauni, the commentators of the Nalachamp of Trivikramabhatta, inform us that Bana wrote a drana entitled Mukutataditaka* We about this know nothing drama . , from other sourcesKshemendra, nuotes a verse as Banasad plight of Kadambark 's, in which the due to sepa ration from her loveris decribed. It seems therefore that Bana wrote, story of according to Kshemendra, the Kadambari in verse also In the Kavyaprakasa we that read Bana obtained money king A few are of from Harshay. scholars opinion that the drama Ratnavali was really the work of Bana, who, in return for the money bestowed by king Harsha upon him, pathrons . published the work in his 'nameThis view seems to us entirely wrong. In the first place, there are three dramasthe Ratnavali, the Priyadarsika and the , , Nagananda, authoship .by Harsha the of which is claimed .

  • “यदाह मुकुटताडितकनाटके षाणः आशाःप्रोषितदिग्गजा इव गुहाः प्रध्वस्त

सिंहा इव द्रोण्यः कृत्तमहाद्रमा प्रोरखातशैला इव बिभ्राणाः क्षयकारिक्त इव भुवः । सकलत्रैलोक्यकष्टां दशां जाताः क्षणमहारथाः कुरुपतेर्देवस्य शून्याः सभाः + भट्टबाणस्य-हारो प्रालेयशीकरमुच ‘यथा वा जलार्द्रवसनं नलिनीदलानि स्तुहिनांशुभासः । यस्येन्धनानि सूरसानि च चन्दनानि निर्वाणमेष्यति कथं स मनो भवान्निः ॥’ विरहव्यथावर्णना त्र विप्रलम्भभरभग्नधैर्यायाः कादम्बर्या &c." औचि त्यविचारचर्चा. ‘श्रीहर्षादेर्वाणादीनामिव धनम्. Many ALSS. read धावफादीनाम. ७१७ KADAMBAR. X The Prastavanas to all the tree dramas are identical almost word for word. In the Prastavana of each of the three dramas Harsha, is said to be the author. No one ascribes the Priya darsika and the Nagananda to Bana. Hence the Ratnavali also is not the work of Bana. The Rabnavali is quoted by Damodaragupta in his Kuttanimata (8th century A. D.) The Ratnavali and the Nagnanda are quoted by name in the Dhvanyalaka (p. 150, p. 176 respectively). The Ratna vali is quoted at least a score of times in the Dasarpa. The Naganda and Priyadarsika, are also quoted in theDasarpa but not so frequently. But in none of these writings is there the slightest hint that the author of the Ratnavali was Bana, and not Harsla , The inthroductory verses attached to the Kadambar are supposed by some scholars to be the composition not of Bara, but of his son or someone else. We demur to this conclusion on the following grounds(a) If the verses had been written by Bana's son, he would have referred to his authorship of then, as he does in the case of the introduc tory verses prefixed to the Uttarabhaga. Moreover he would not have mentioned his father in the colourless way in which the last verse (of the Parvabhaga) speaks of Baga as Dvijena tena &c, (b) Kshemendra quotes in his works at least four verses of the Introduction and once distinctly says that they are Bana's (in Auchityavichara charcha* ). (c) It is next to impossible that Bana, an orthodox writer, should have commenced his work without any kind of salutation at the beginning. Iv Katha and Akhyayika. We shall now briefly indicate the characteristics of these two classes of writings as defined by Sanskrit rhetori. CanS. The earliest known writer, who puts down the points of difference between Katha and Akhyayikनै as defined by some rhetoricians (although he linself disapproves of them न तु यथा भट्टबाणस्य 'जययुपेन्द्रः स चकार दूरतः' &c. XXVI INTRODUCTION is Dandin. (1) In an Akhyीyika, it is the hero himself who tells the whole story; while in a Kabha, the story is told either by the hero or by someone else ( 2 ) An Akhyayika is divided into sections named Uchchhvasas and contains verses in the Vaktra and Aparayaktra metros while in a Katha, it is not so. (B) In Katha, such topics as the kidnapping of a girl, battles, separation, the rise of the sun and the moon are described; in an Akhyीyika it is ॥ not so. (4) A Katha is distinguished by possessing certain catchwords which the author intentionally puts in. Dandin remarks that no hard and fast line of demarcation can be drawn between the two classes, and that the points mentioned above have not been invariably followed by writers and that hence Katha and Akhyayika are but two names for the same species of prose composition. Bhamaha's definitions of Kath and Akhyyika are given below. In Rudrata's Kavyalaikara, Katha and Akhyyika are defined. The author seems to have had in mind the Kadambari and the Harshacharita in defining the two species of prose compo sition. We have seen above that a profusion of compounds was said by Dandin to constitute the very essence of prose and hence long compounds form the ruling characteristic of Kath and Akhyyika. But certain restrictions were laid down by the author of the Dhvanyaloka. He says+ that even in an Akhyीyika very long compounds should not occur in depicting the love of separated lovers and pathos. Abhinavagupta distinguishes Akhyayika from Katha by saying that the former is divided into sections called

  • प्रकृतानाकुलश्रव्य शब्दार्थपदवृत्तिना । गद्यन युक्तोदात्तार्थं सोच्छासाऽs

ख्यायिक मता ।। वृत्तमाख्यायते तस्यां नायकेन स्वचेष्टितम् । वक्त्रं चापरवक्त्रं च काले भाव्यर्थशंसि च ।। कवेरभिप्रायकृतैरञ्जनैः कैश्चिदङ्किता । कन्याहरणसंग्रामविप्रलम्भो दयान्विता ।। न वक्त्रापरवक्त्राभ्यां युक्ता नोच्छासवत्यपि । संस्कृतं संस्कृता चेष्टा कथा पीशभाक् तथा ।। अन्यैः स्वचरितं तस्यां नायकेन तु नोच्यते । स्वगुणाविष्कृतिं कुर्याद भिजातः कथं जनः । भामह I. 25-29. + See Rudrata's Kavyर्वlaikara XXVI. 20-30 + 'गद्यबन्धेऽपि अतिदीर्घसमासाचना न विप्रलम्भङ्गारकरुणयोराख्यायि कायामपि शोभते’ । ध्वन्यालोक p. 143 KADAMBAR. XXVI Uchchhvasas and contains verses in the Vakthra and Aparavaktra metres; while the latter lacks these features The Sahityadapana says:—a Katha contains a fine plot in prose, with a verse in the Ary, Vaktra or Aparavaktra , metre here and there; a Katha is introduced by a salutation in verse and reference is made to the conduct of the wicked &c. It further says that an Akhyीyika is just like a Katha with this addition that the former contains a narra tive of the poct himself and of other poets, that its divisions are styled As' vasas and that it contains verses at the be- ginning of cach Asvasa that suggest future events. In passing we wish to notice one question of interest. Is Bana indebted to anybody for the materials of his Kadambar ? It seems that Dana derived the dry bones of his story from the Brihatkatha of Gupadhya. That work, said to have been written in the Paisachi language, is now losty. But there exist two Sanskrit renderings of that Bribatkatha, the one by Kshemendra called Brihatkatha manjari and the other by Somadeva, called Kathasaritsagara The story of Sumanas (Suminasa , in Brihatkathmania ) bcars a remarkable resemblance to the Kadambar in the matter of incidents. As the story is a long one we forbear from reproducing it here. The curious render may refer to कथायां सरसं वस्तु गणैरेव विनिर्मितम् । कचिदत्र भवेदाय कचिद्वक्त्रापवक्त्रके । आद पदैर्नमस्कारः खलादेर्घत्तकीर्तनम् साहित्यदर्पण 6th Parichchheda. DrPeterson read पथैरेव विनिर्मितम् and translated A Katha...is a narration in prose of matter already existing in a metrical form' p. 69 of his Introduction.

  • ‘आख्यायिका कथावत्स्यात्कवेर्वशानुकीर्तनम् । अस्यामन्यकवीनां च वृत्तं

पथं क्कचित्क्वचित् ।। कथांशानां व्यवच्छेद आश्वस इति बध्यते । आर्यावक्त्रापवक्त्राणां छन्दसा येन केनचित् । अन्यापदेशेनाश्वसमुखे भाव्यर्थसूचनम् । + That the Brihatkath of Gupadhya was in existence before 600 A. D. can be proved by numerous quotations from ancient authors. We shall cite a few. कथा हि सर्वभाषाभिः संस्कृतेन च बध्यते । भूतभाषामयीं प्राहुरद्रुतार्था ब्रुइकथाम् । काव्यादर्श I. 38; समुदीपितकन्दर्प कृतगैरी प्रसाधना । हरलीलेव नो कस्य विस्मयाय बृहत्कथा । Introduction to हर्षचरित; XVIII INTRODUCTION the works of Kshenendra and Somadeva. Bauma of course exercised the poets privilege in moulding the narrative so as to suit his own purpose. Ho infused life and vigour into the dry-as-dust narrative of the Brihatkatha v Literary Estimate. Bana is one of the brightest stars in the galaxy of Sanskrit poets. Ancient Sanskrit writers and modern European critics are at one in bestowing on Banaan unstinted need of praise. By Sanskrit critics, his works were regarded as the finest specimens of the Panchali style of composition. He is easily the first among the writers of classical Sanskrit prose. We give below a few verses containing appreciations of Bana by various Sanskrit Writers. ‘बृहत्कथारम्भैरिव शालभञ्जिकोपेतैः ‘केचिद् बृहत्कथानुबन्धिनो गुणाख्या' (both from वासवदत्ता ); बृहत्कथाकुशलेन’ (कादम्बरी Peterson p. 51 1. 15 ); ‘इत्याद्यशेषमिह वस्तुविभेदजातं रामायणादि च विभाव्य बृहत्कथां च । आसूत्रयेत्त दनु नेतृरसानुगुण्याचित्रां कथामुचितचारुवचःप्रपयैः दशरूप of धनञ्जय; नमिसाधु commenting upon Rudrata II10 says तथा प्राकृतमेव किंचिद्विशेषत् पैशाचिकम् ।...इत्यादयोऽन्येपि प्राकृतविहिता व्यञ्जनादेशा न क्रियन्ते ते च बृहत्कथादि लक्ष्यदर्शनाज्ज्ञेयाः . The Nalachampi and Govardhana's Saptasatf praise Ghadhy,

  • See बृहत्कथामञ्जरी (निर्णयसागर d. ) XVI. 188-251 and कथा

सरित्सागर X. B. (शक्तियशोलम्बक 3rd तरङ्ग ).

  • शब्दार्थयोः समो गुम्फः पाञ्चली रीतिरिष्यते ।

लाभट्टारिकावाचि बाणोक्तिषु च सा यदि । ४. e. In the Panchalf style word and sense should be equally balanced. + It was said by rhetoricians that prose was the touchstone of poets ‘गर्दू कवीनां निकषं वदन्ति’ quoted by वामन in his काव्यालंकार सूत्रवृन्ति on का. सू. I. B. 21 8 शश्वद्धणद्वितीयेन नमदाकारधारिणा । धनुषेव गुणाढ्येन निन्शेपो रञ्जितो जनः ।-नलचम्पू युक्तं कादम्बरीं श्रुत्वा कवयो मौनमाश्रिताः । बाणध्वनावनध्यायो भवतीति स्मृतिर्यतः कीर्तिकौमुदी . 15. जाता शिखण्डिनी प्राग्यथा शिखण्डी तथावगच्छामि । प्रागल्भ्यमधिकमाप्तुं वाणी वाणो वभूवेति । आर्यासप्तशती of गोवर्धन. केवलोपि स्फुरन्बाणः &c quoted above from धनपालs तिलकमञ्जरी. सुबन्धुर्बाणभट्टश्च कविराज इति त्रयः । KADAMIBAR XXX We shall briefly point out some of the meritsanddefects of Bana's writings. The student vill do well to read Dr Peterson's eloquent appreciation of Bana in his Introduction to the Kadambar (pp. 36–48). 1. He shows great skill and discrimination in chara- cterization. All the characters in the Kadambari are life-like and consistent. The gentle and youthful Harta; the generous and loving king Tarpfda; the trusted Sukanasa rlhose first thought was always for the king; the tender jueen Vilasavati; the devoted Pattralekhi, who followed the prince Chandrीpfda like his shadow ; the affectionate yet stern Kapinjala; Mahasveta, holy in mind as she was fair in body, who serves as the foil for the heroinethese are characters that are bouud to make a deep impression on the heart of the reader. Eana, however, lavished all his skill in depicting the hero and tre heroine of his romance. We think that Bana, as has been remarked in the case of Shakespeare, was more successful in delineating his heroime than his hero. On Kadambar in particular, Bada has spent all his vealth of observation, fulness of imagery, and keenness of sympathyFrom the moment when for the first time her eye falls and rests on Chandrapida, this image of a naiden heart, torn by the confieting emotions of love and virgim shameof hope and despondency, of cherished filial duty and a newborm longing, of fear of the world's scorn and the knowledge that a world given in exchange for this will be a world well lost, takes full possession of the reader. Though the Kadambari contains glowing deseriptions of love, bhey are chaste and free from grossness of any kind. In this respect the Dasakumaracharita contrasts most unfavourably with the Kadambari. In the former, the reader वक्रोक्तिमार्गनिपुणाश्चतुर्थे विद्यते न वा –राघवपाण्डवीय I. 41. लेपे केचन शब्दगुम्फविषये केचिद्रसे चापरेऽ लंकारे कतिचित्सदर्थविषये चान्ये कथावर्णने । आ सर्वत्र गभीरधीरकविताविन्ध्याटवीचातुरी सधारी कविकुम्भिकुम्भभिदुरो बाणस्तु पधाननः ॥–श्रीचन्द्रदेव, (the last ) quoted from MrParakhi's work. xxx INTRODUCTION is disgusted with the filthy intrigues of the ruffian heroes of that book.

Although Bana was fettered by the canons of 

Rhetoric which laid down that long compounds were of the essence of prose, he displays considerable variety of style. His diction is generally smooth and graceful and he could write with force and brevity when it suited his purpose to do so. In this connection we may refer to the stem advice of Kapinjala to Pundarika. Sana's prose is generally ornate and full of poetic fancies. He revels in the jingling assonance of sounds. Upama, Rupaka and Utpreksha are met with at eveiy step. Among the other figures of speech may be men- tioned Dipaka, SahSkti, Virodlia, Nidars'ana and Vishama. . He seems to have been a close observer not only of courts and kings, but even of the less bright aspects of human life. His description of the old Dravida ascetic, though somewhat longdrawn and tedious, shows that he had an eye for the ridiculous and the bizarre. His descriptions of court and life in cities present a vivid picture of the times in which he lived. The advice of S'ukanasa to Chandrapida is a masterpiece. It sets out very clearly all the evils that beset not only the path of Chandrapida, but of all princes in all climes. The works of Bana possess great interest for the antiquarian from the fact that they afford a vivid picture of Indian society in the 7th century and of the manners and customs of those far-off days.

Bana seems to have been a great lover of Nature. 

He is never tired of using for poetic purposes the flora and fauna of India. His references to plants and flowers, though sometimes overdrawn and fanciful, are generally charming.

Although some of the characters of the Kadambari 

are shadowy and some of them are in their second or even third birth, the poet's genius is so superb and his power of developing love and pathos is so great that the reader soon forgets the unreal character of the work and his mind is enthralled by the engrossing interest of the woes and happiness of the characters. ' We find ourselves face to face KADAMBA1U. XXXI with the story of human sorrow and divine consolation, of death and the passionate longing for a union after death that goes straight from the heart of one who had himself felt the pang and nursed the hope, to us who are of like frame with him.* One of the greatest flaws of Bana's writings is that they H abound in puns on words and recondite allusions. The reader is often at a loss, amidst the array of double-meaning words, bold and fanci- ful allusions, to grasp the exact meaning of the author. Though this is a blemish according to modern ideas of criti- cism, ancient India thought otherwise. These by-ways of puns were called Vakrokti ( crooked speech ), which was raised to the position of an Alamkara. Subandhu, we have seen above, boasts of his skill in puns on each letter. Anothor serious blemish is that in the Kadambari wc meet with a defect in constructive art, which is due to the device of weaving stories within stories. The reader is unable to carry in his head the bewildering turns and convolutions of the story and the confusion of curses and counter curses. The fact that the greater part of the story is put in the mouth of a parrot is a serious drawback to the verisimilitude of the work. Bana seems to have had very little sense of proportion. In his descriptions of Mahas'veta and the temple of Chandika lie tires the reader by dwelling too much on every detail. The patience of the reader is exhausted by the overloading of single words with epithets and of the epithets to these epithets. It sometimes so seems that the poet cares only for the gorgeous description of the evening, morning, moonrisc or the limbs of the heroine and leaves the plot to take care of itself. It is necessary to say a few words about Baiia's son. It may be at once admitted that tbe highest praise is due to the dutiful son of Bana for having creditably performed his self-imposed task. He possesses not a few of the excellences of his father. He has almost the same command over the XXXII INTRODUCTION Sanskrit language as his father. His style is as ornate and as full of figures of speech as his father's ( vide p. 21 for Rupaka; pp. 34, 46, 86, 96 for Virodha; p. 48 for Nidars'ana ; pp. 48, 60, 96 for Sahokti; p. 74 for Anupmsa; p. 86 for Parisamkhya ). But we must not forget that in the son's ■work the defects of his father are exaggerated and others peculiar to the son alone are added. We miss in the TJttara- bhaga the hold and striking fancies of Bana with which we become familiar in the Purvabhaga. The description of the love torment of Kadambari is insipid and drawn out to a tedious length. The references to mythological and other lore are few and far between in the TJttarabhaga. The different lines of the story are made to converge far more rapidly than Bana would have done. The picturesque descriptions of flora and fauna in which Bana is profuse are lacking in the TJttarabhaga. Such masterpieces of realism as the advice of S'ukanasa to Chandrapida are conspicuous by their absence in the TJttarabhaga. The perusal of the TJttarabhaga leaves the reader under the impression that the author was only anxious to bring the story to a close some- how. The touch of genius that appeals to the mind and makes the characters live before the eyes of the reader is altogether wanting. VI The Text. The text iu this edition is principally based upon the three Bombay editions, viz. that of Dr. Peterson, that of Mr. Kale and the one issued by the Nimayasagara press. All important readings have been discussed in the notes. In some cases the readings of the Calcutta editions and of the commentator Arjuna were found to be superior to those of the Bombay editions and have been consequently preferred ( vide notes pp. 191, 205, 215 &c. ) VII Commentaries. The only complete commentary generally available is that of Bhanuchandra on the Purvabhaga of the Kadambari and of Siddhachandra on the TJttarabhaga. The commentary has been published by the Nirnayasagara press. A few words about these two commentators would not be out of place KADAMBARi XXXIII here. Bhanuchandra, as we learn from the introductory verses and the colophon at the end of the Purvabhaga was a Jaina Pandit, a pupil of Surachandra and was honoured by Emperor Akbar with the t^tle of Upadhyaya. He wrote his comment on the Purvabhaga to please his pupil Siddha- chandra. Siddhachandra, who also was patronized by Akbar, wrote the comment on the Uttarabhaga. The commentary of Bhanuchandra and Siddhachandra repeats almost every word of the text and is very useful in its own way in understanding the text of the Kadambari. But it fails to satisfy all the requirements of the modern University student. The commentary very rarely discusses various readings, seldom cites parallel passages, and hardly gives accurate references to such works as the Ramayana, the Mahabharata and the Puranas. Moreover the explanations proposed by the commentary are often far-fetched and unsatisfactory* and in a few cases positively wrongf. Our notes, besides containing all the help that the commentary affords in respect of dissolution of compounds and quotations from kos'as, try to meet the requirements of University students. It is for this reason that the commentary has been dispensed with by us in this edition. From the notes of Dr. Peterson it appears that S'iva- rama Tripathi wrote a commentary on the Kadambari ( Purva-bhaga ) called ' Chashaka '. Dr. Peterson also quotes the remarks of two other commentators, Balkrishna and Sukhakara on the Purvabhaga. From the catalogue of the MSS. in the collection of the learned Govindas'astri Nirantara of Nasik, we learn that Vaidyanatha wrote a com- mentary on the Purvabhaga called Vishamapadavivriti. Aufrecht in his catalogue mentions two more commentators of the Kadambari, viz. Mahadeva and Surachandra. Mr. T. Gauapatis'astri of Trivandrum kindly informs us that he possesses two commentaries on the Kadambari written in old Malayalam characters on palm-leaves ; one of them named

  • See our Notes pp. 171, 235, 286.

t Vide our notes pp. 127, 182, 232. XXXIV INTRODUCTION Amoda by Ashtamirti is a metrical one and the other is called Kadambaripadarthadarpana, the author of which is unknown, Through the kindness of MrP. Varadachari, Librarian of the Government Oriental MSS. Library at Madras, we were able to secure a transcript of a commentary on the Uttarabhaga, which has hitherto been inaccessible to the public. The commentator's name is Arjunapandita son of Chakradasa..* He seems to have been the chief of the Brahmins of Karmapura. The original MSfrom which the transcript supplied to us was made is in the possession of Pandi M. O. Anandalvar of Bangalore. The commentary of Arjuna is a learned and critical one. He often discusses various readings. He takes great pains to point out in numerous cases the suggested meanings of the authorHe is often very acute in bringing out esoteric suggestions from plain words (vide extracts on p. 125 and p. 228 ). He seems to be saturated with the doctrines of the Alamkarikas about Rasa, Dhwani &c. He frequently quotes Amarasimha, Manusmriti, Bhagvatgita, Raghuvamsa. Among the other autlors and works quoted are the Kavyीdarsa of Dandin; Murari, Yamunamuni, Harsha charita, Kamandakiyantiststra, Kalidasa (generally re ferred to as Mahakavi ), Uttararamacharita, Vishnu. purीna, Mahabharata, Magha. He refers to other commen bators of the Kadambar in the word kechit; but does not mention any one by name. There are a few quotations which we have not been able to identify. It may be mentioned that the text on which Arcomments generally agrees with the Calcutta editions and not with Peterson's. + The reasons why we did not include the commentary of Arjuna in the presont edition are many. In the first place, we had with us only a transcript made from a single The concluding verses are: ‘‘श्रीभट्टबाणतनयग्रथितनिगूढार्थगचव- धस्य । अर्जुनपण्डितरचिता टीका भूयादियं चिरं जयिनी । श्रीमस्कूर्मपुरावनीसुरस् भामुक्तावलीनायकः श्रीगोपीजनवल्लभाड्रिकमलद्वन्द्रप्रसादोज्ज्वलः । श्रीमानर्जुनए ण्डितः शुभगुणः श्रीचक्रदासात्मजः साहित्यार्णवकर्णधारपदवीमालम्बते सांप्रतम् । । Vide pp. 296, 30, 312 &c. 9 KADAMBAR. XXXV MIS. The original MSis full of lacuna in numerous places. In the second place, Arjuna passes over whole pages ithout a word of comment (e. g. he does not comment upon he description of evening on pp. 19-20 of our edition; so also pp. 24-25 ). He does not repeat every word of the text as Siddhachandra does. Moreover the remarks made by us above with reference to the usefulness of Siddhachandra's commentary to modern students apply to Arjuna's commen. tary also. In our notas we have extracted almost everything from Arjuna's commentary that we deemed might be of some use to the student The commentary on the Kadambari by an anonymous riter cane to our hands only after more than 120 pages of the notes had already been printed off. We have endeavoured to quote oxtracts from it wherever we thought that it would be useful to do so. This anonymous commentator explained botl parts of the Kadambar. A Devanagari transcript of a portion of this commentary was kindly supplied to us by MrT. Ganapati Sastriar of Trivandrum. The commentary IS very meagre. It seldom does more than paraphrase a few words of the text.* It does not try to bring out the suggested meaning of the author as Arjuna does. It is not critical and learmed like the commentary of Arjuna. It {uotes the Vaijayanti and Halayudha much more frequent ly than the lexicon of Amarasiiha. Besides these three lexicons, the author in the whole of his commentary on the Uttarabhaga mentions by name only two works . bhe Mahabharata and the Samkhyasaptati (i. e. the Samkhya karika ). There are only two more quotations from un specified worksThe author seems to have been an inhabitant of southern India. The Prvabhaga seems to have ended according to this commentary just where it ends in DrPeterson's edition. But the comment on the Uttarabhaga proper is preceded in e. g. on p. 76 of our text the only comment is एवं संभाविता एवं चिन्तिता एवमुपेक्षिता इत्यर्थःअनात्मज्ञायां मयि तव थो (?) संभावना तथाविधा प्रतिपत्तिर्मुक्तैवेत्युपालम्भः एकान्ततः (1, 3) नैरन्तर्येण वीप्सायां द्विरुक्तिः ( this refers to जन्मनि जन्मनि 1, 24. ). XXXVI INTRODUCTION the transcript supplied to us by four pages which contain notes on different passages of the Uttarabhaga that are thrown together in a bewildering manner. * VIII The plan of the Notes. The method adopted in the notes is as follows: — First of all a long passage is taken and is split up into clauses. Each clause is then translated. In order to indicate clearly the meanings of words, Sanskrit words are enclosed in brackets after their English equivalents. If a clause be difficult, the idea is expanded and clearly explained. Diffi- cult compounds occurring in that clause are dissolved, quota- tions from kos'as such as that of Amarasimha are cited, references to mythology are dealt with at length and diffi- cult words are traced to their origin. All grammatical peculiarities have been carefully noted. Parallel passages from the author's work or from the works of other authors are given to further elucidate the meaning. If a very long, passage is taken, then special attention is called to the change of page in the notes by putting the figure for the page in bold type. Bold type has been employed in the notes to draw attention to important citations. Only easy passages have not been fully translated. IX The Appendices. The first appendix contains a brief summary of the entire story of the Kadambari. For a fuller summary the student is referred to Dr. Peterson's Introduction to the Kadambari and to our own book entitled Sanskritagadya- vali ( which gives it in Sanskrit ). The second appendix contains a list of difficult words for ready reference. The third appendix is a general index dealing with proper names, mythological references, information of general interest and other kiudred matters.

  • e. g. the opening words of the comment on the TJttara-

bh&ga are ,: srf&%jr =^lf%c^T ^rftw 3&if <rft srga^tTlr ^ ift^iR' refer to p. 205 1. 7 and 1. 14 of Dr. Peterson's edition.

कादम्बरी ।
उत्तरभागः ।
देहद्वयार्धघटनारचितं शरीर-

मेकं ययोरनुपलक्षितसन्धिभेदम् ।
वन्दे सुदुर्घटकथापरिशेपसिद्ध्यै
सृष्टेर्गुरू गिरिसुतापरमेश्वरौ तौ ॥१॥
नारायणंतमपिविश्वसृजंनमामि ॥२॥
पुण्यैःकृतश्चयतखममात्मलाभःआ १०
वागीश्वरंतिरमेवतमानतोस्मि ॥३॥
दुःखंसतांतदसमाप्तिकृतंविलोक्य १?
प्रारव्धखसमयानकावईत्वदर्पात् ॥४॥

सम्पर्कएवाहईमृगाङ्कमणेर्द्रवाय ॥५॥ ?०'

? ं
कृतस्य इआईतन

गङ्गां प्रविश्य भुवि तन्मयतामुपेत्य
स्फीताः समुद्रमितरा अपि याति नद्यः ।
आसिन्धुगामिनि पितुर्वचनप्रवाहे
प्ता। कृथृउश३घटनायमयापिवाणी॥६॥
ष् कृदू समस्तएव
तच्छेपमात्मवचसाप्यनुसन्दधानः ॥७॥
१० वप्त्रैवयान्युचितकर्मबला?तानिआ
अपि चेदानीमानीतस्यापि कुमारस्यन ददाति तरलतालृ
ज्जितालज्जैवदर्शनस् । सनोभवविकारवेदनाविलक्षंवैलक्ष्यमेव
१?नपुरस्तिष्ठति । ??ऐपत्तिऋसाध्वसजडाजडतैव नोपसर्पतिआ
स्वयमुपसर्पणलघुलाघवमेवतअतिपत्तिस्थैर्य नावलावतोवलात्त
दानयनापराधभीताभीतिरेवन संमुखीभवतिआअथकथंचिद्रु
रुजनत्रपयावाराजकार्यानुरोधेन वा त्वईरावलोकितसहसंवर्धि
तवन्धुजनदर्शनसुखनेवा सुहृ?रवकमलावलोकनोत्कण्ठयावा
।०पुनरागमनखेदपारईजिहीर्षया वा निजगृहावस्थानरुच्या वा
जन्म?ईमस्नेहेनवाअनिच्छयावास्यजनस्योपारई पादपतनेनापि
सुतरामेवन किंचित् । किंचाधुनाप्यधिकमुपजातमासैवाहं
कादम्बरीयानेन कुमारेणमधुमदमुखरमधुकरकुलकलकोलाहला
१ व?एवैआतईप २।जनोत्कण्ठया इआतई न ३।कमलदर्शनेन।
इतिन ४ मत्तमद इतिन

कुलितकोककामिनीकरुणकूजिते जनितविरीहजनमनोदुःखे वि
युधेकर्पूरक्षोदमिश्रचन्दनपङ्कपिण्डे कुपितकामिनीविनोददक्षगे
यमुखरपारईजने पुनरुक्तदर्शनाभ्युत्थानव्रीडितकञ्चुकिजने प्रदो ष्
षसमये जरठशरकाण्डविपाण्डुनिबिडकुण्डलोद्धृष्टलडहयुवतिग
रद्विशदकरनिकरनिभारावज्जैर्तज्योत्साजलासारवर्षिणि चन्द्रमसि
स्तटेचन्द्रकरस्पर्शप्र?त्तृशृण् शीऊआमणिशिखरनिर्ज्ञरज्ञङ्काआरईणि क्रीडाप१०
र्वतकनित?ए हृद्यहैरारईचन्दनरसकणिकाजालकच्छलेनतत्करत?
स्पर्शसुखसंभवस्वेदजलनिवहमिव वहति तत्कालहाआरईणि मुक्ता
हिमगृहेकुसुमस्रस्तरावलीआबनीवईक्षिता । ममापिचापुनरुक्तत१ष्
दर्शनस्पृहेतेएवैतेलोचने ययोआआलोकनपथमसौयातःआतदेव
चेदमप्रतिपीत्तश्?ं हतहृदयं येनान्तःप्रविष्टोपि न पाआरईतो
घारयितुमा तदेवचैतच्छरीरं येनतत्समीपे चिरमुदासीनेन
मागत्यप्रतिगतःआमय्येवोपक्षीणमार्गणतया चाकिआईचत्करोऽन्यत्र
त्मनःपाणिंग्राहयिप्यामिइआईतासातु ८देविमैवंस्ममनसि
करोःकुमतिआरईयम् अतिदारुणोयंपापकारी मकरकेतुःकदा?ष्
१ कूआईजतजानईतैआतईपक २मोचनहस्ते कुसुमायुधे इआतईन
३ कायहाआरीईणैत्तईन

चिददृश्यमाने प्रियजने जनितहृदयानुरागाज्जीवितमप्यपहरातई

इत्यब्रवीताएतदपिनास्त्वेवमोमदनेनवादैवेनवाविरहेण वायौवनेनवानुरागेणवामदेनवाहृदयेनवान्येनवाकेनापि दत्तःसङ्कल्पमयःकुमारो जनसन्निधावपिकेनत्वईदविभाव्यमानः ?सिद्धैवसर्वदामे ददातिदर्शनमाअपि चासाविवनायम काण्डपारईत्यागनि?रहृदयः । अयमेवास्मद्धईरहकातरः । नायं नक्तंदिवंलक्ष्मीसमाकुलःआन पृथिव्याः पतिःआनसरस्वतीम पेक्षतोन कीर्तिशब्दंवर्धयतिआ पश्यामि चाहर्निशभासीनो त्थिता भ्राम्यन्तीशयाना जाग्रती निमीलितलोचना चलन्ती १०स्वप्नायमानाच शयनेश्रीमण्डपे गृहकमलिनीपूद्यानेपुलीलाद१ र्घिकासुक्रीडापर्वतके वालगिआरईनदिकासुचयथा तमज्ञजनावे डम्बनैकहेतुं विप्रलम्भकं कुमारंते तथाकथितमेव मया । तदलमनया तदानयनकथया । इत्यभिदधानाऽतर्कितागतमूर्छेव निमीलिताक्षीपक्ष्माग्रसम्पिण्डितनयनजृ_लवर्णिईआऐआ?आवलौयमानेवो १?त्पीड?मानेवान्तर्जातमन्युवेगेनतथैववे_?रीप्?ननाभिदामांशु कावलम्बिन्यां बाहुल्?तिकायामच्छसलिलस्तोतसि प्रसूतायांमृणा लिकायामिवजलाहतिश्यामारुणतामरसमिवाननमुपावेश्य तूप्णी मुत्कीर्णेवतस्थौआ अहं तुतलुत्वा समचिन्तयम् । सत्यमेवगरीयः खलु ?०जीवितालम्बनमिदं विनोदश्च वियोगिनीनांयदुत सङ्कल्पमयः प्रियःनितरांकुलाङ्गनानां विशेषतःकुमारीणामा तथाहिआ अनेनसाधामकृतदूतिकापादपतनदैन्यानिप्रतिक्षणं समागमशता न्यकालरमणीयानि स्वेच्छाभिसरणसौख्यान्यदूषितकन्यकाभावानि सुरतानिआसुरतेपु चाकृत?आनव्यवधानदुःखान्या ङ्गना ??उ आ?नितव्रणदर्शनब्रीडानिनखदःतक्षतसुखानिअना शपाशृआ ? ं ? १ यदुत्त्क्तसङ्कल्प इआतईन कचग्रहमहोत्सवाःशब्दावईहीनानिनिधुवनानि अनुत्पाआदईतगुरु जनविभावितक्षतवैलक्ष्याण्यधरखण्डनविलसितानि । नैनमन्धका रराशिरन्तरयतिन जलधरधारापातः स्थगयुतिननीहारनिक रस्तिरोदधातिआइत्येवंचिन्तयन्त्याएवमेऋऽनुरागकथारसप्लावेनेव रक्ततामगाद्दिवसः । तत्क्षणंप्रकटितरागं हृदयमिवकादम्बर्या ? स्त्रपयापलायमानमदृश्यतरविमण्डलमापल्लवशयनमिवसन्ध्या रागमरचयद्यामिनीआपारईचारक इवचन्द्रमणिशिलातलतल्पमक ल्पयत्मदोपःआअत्रान्तरेचागत्यस्वंस्वंनियोगमश्?ंकुर्वाणासूतो दीपिकाधाआरईण्यो गन्धतैलावसिक्तसुरभिगन्धोद्गाआरईणीभिर्दीपिकाभि र्विरचितचक्रवालिकाबालिकाःपर्यवारयन्।अथनिर्मललावण्यल१० क्षईताऋनिदीपिकाप्रतिबिम्बितानिज्वलितानिमदनसायकशल्यानी वाङ्गलग्नानिसमुद्वहन्ती नवनिरन्तरकलिकाचितांचम्पकलताआमईव तथाव?ईतांतांपुनर्व्यज्जईज्ञपमाआदेवि प्रसीदानार्हस्यखेदार्हा हृदयखेदकाआरईणंसन्तापमङ्गीकर्तुमासंहरम?वेगमाएषाहमादाय चन्द्रापीडमागतैवैतिआअथानेन देवनामग्रहणगर्भेणमद्वचसा१ष् विपापहरणमत्त्त्त्रेण्५आव विषमूआरीछता ज्ञटित्युन्मीत्य नयने सस्पृहं मामवलोक्याकःप्रदेश्_आएऽस्मि?इतिपारईजनमपृच्छत्?आ अथधवलवसनोल्लासितगात्रयष्टयःद्वारप्रदेशसीआपण्डिताङ्ग्यः परशुरामशरविवरविनिर्गता इव कलहंसपङ्कयः कलहंसकलाव लापमधुररवैः प्रतिवाचमिव प्रयच्छद्भि?०रैः पतत्कर्णपूरपल्लवो?० ल्लासितैश्चाज्ञाश्रवणाय धावद्भिआरईव श्रवणैर्मौक्तईककुण्डलाशुजाल कानि स्कन्धदेशनिक्षिप्तानिचामराणीववहन्त्यः समाहतकपो लस्थलैःकुण्टुलैर्वलादिव वाह्यमानाः वाचालैःकर्णौत्पलमधुकरैः समाज्ञापयेतिव्याहरन्त्यः कन्यकाः समधावनाआज्ञाप्रतीक्षासु चमुखकमलावलोकिनीपुतासुक्रमेणदृष्टिंपातयन्तीस्निग्धामि?? न्दीवरस्रजामईवमरकतशिलातले न्यपीदताअव्रवीच्चापत्रलेखे नखलुप्रियमिआतई ब्रवीमिआ त्वामेव पश्यन्ती सन्धारयाआयेव जीवितमहमातथापियद्ययंतेग्रह?आत्साधयसर्माहितमाइत्य ?ईधायाङ्गस्पृष्टनिवसनाभरणताघ्चूलप्रदानप्रदाशतप्रसादातिशयांमां व्यसर्जयता । इत्यावेद्यचकिंचिदिव नमितमुखी शनैः पुनर्व्यजिज्ञपता देवप्रत्यग्रदेवीप्रसादातिशयाआईहतप्रागल्भ्या दुःखिताचविज्ञाप यामि । देवेनाप्येतदवस्थादेवींदूरीकुर्वता किमिदमापन्नवत्स लायाःस्वप्रकृतेरनुरूपं कृतमितिआचन्द्रापीडस्तु तथोपालम्भगर्भं विज्ञप्तः पत्रलेखयातंच कादम्बर्याः स्नेहोत्त्क्तिपुरःसरं गाभृआई? १०चसतापंचसपारईहासंचसाभ्यर्थनं चसाभिमानंचसांवहेउला चसप्रसादंचसनिर्वेदंचसानुरागंचश्??एआपंचसाव ष्टृआभंचसकोपंचसात्मार्पणंचससद्भावं सोग्नासंचसोंपा लाभंचसानुक्रोशंचसस्पृहंचसावधारणंचमधुरस्म?र्वृ?ःश्रृवं सरसमपिशोषहेतुंकोमलमपिकठोरंनम्रमप्युन्नतं र्पेउशल्मप्यह १ष्कृतंललितमपि प्रौढमालापमाकण्यार्त्मैक्ष्ये?एक्ष्यचस्तिमितपक्ष्म तयादुर्विषहदुःखबाष्पोपष्ठतायताक्षंतन्मुखं स्वभावधीरप्रकृतिरपि नितरांपर्याकुलोऽभवता ?ऋआ?आ?ऋम्बरीशरीरादिवालापपदैरेव ???त्यू युगपद्रुहीतो हृदयेमन्यु न्तकण्ठे जीआवईतेनाधरपल्लवे वेप्रृथुनामुखेश्वसितेन ?०नासाग्रे स्फुआरईतेन चक्षुपिचबाष्पेणचतुल्यवृआई?आर्भूत्वा काद म्बर्याःक्षरद्बाष्पविक्षेपपर्याकुलाक्षरमुच्चैःप्रत्युवाचा पत्रले?आकु करोमिआअनेनदुरात्मनादुःशिक्षितेन ज्ञानाभिमानिनाप?ईड तंमन्येनदुर्विदग्धेनदुर्बुद्धिनालीकधीरेण स्वयंकृतमिथ्याविकल्प शतसहसभारईतेनाश्रद्दधानेनमूद्वहृदयेनयद्यदेवानेकप्रकारं शृङ्गा ?आरनृत्ताचार्येणभगवतामनोभवेन?तर्गतविकारावेदनायमामुद्दिश्य ?

१ सन्तापं इत्तईप २।स्वयंकृतं इत्तईन

चालाबलात्कार्यते तत्तदेवादृष्टपूर्वत्वाद्दिव्यकन्यकानां रूपानुरूप
लीलासंभावनयाचतावतोमनोरथस्याप्यात्मन उपर्यसंमावनया
मन्येचममापिमनोव्यामोहकारीशेपिशाप एवायमाअन्य ?
भाववृत्तीनितानि स्मितावलोकितकथितविहृत लर्ज्जांयितानि
यान्यन्यथापिसंभवन्तिआचिरानुभूतात्मकण्ठसंसर्गसुभगं हारमि
ममकृतपुण्यस्यमेतत्क्षणमेवकण्ठे कारयन्त्या किआमईवनावेदि१०
तमाअपिचहिमगृहकवृत्तान्तलुतवापिप्रत्यक्ष एवातक्तई
मत्र प्रा?आयकोपाक्षिप्तयाप्यृन्यथा व्याहृतं देव्या । सर्व एवायं
विपर्ययान्ममदोप?आतदधुना प्राणैरप्युपयुज्यमानस्तथा करोमि
चन्द्रापीडेऽश्रावितैव प्रविश्य वेत्रहस्ता प्रतीहारी कृतप्रणामा१?
व्यज्ञापयत्रायुवराजैवंदेवीविलासवती समादिशतिआआकृतज
पुनः परागतेतिआनच मे त्वय्यस्यां च कीआदपि स्नेहस्य
आवईशे?एविलसतीतिमयैवेयं सवर्धिताआ अपिचतवापिकापि
महतीवेलावर्ततेऽदृष्टस्या तदनयासहित ण्व्रागच्छ।मनोर?०
चन्द्रापीडस्तुतदृआकपर्यचेतस्यकरोत्राअहो सन्देहदृआएलारूढं
मेजीवितमाएवमावा निमेपमपिमामपश्यन्ती दुःखमास्तो
पत्रलेखामुखेन चैवमाज्ञातिमागमनाय मे निप्कारणवत्सलेन
? ?

हृदयमाअमोच्यं तातचरणशुश्रूपासुखम् । प्रमाथीमन्मथह

तकःआहाआरईणी गुरुजनलालनाआदुःसहान्?कण्ठितानिआ?नु बन्धिनी बान्धवप्रीतिः । कु?आत्?ईन्यभिनवप्रार्थनाआमुखावलो किनःकुलक्रमागताराजानः आजीवितफलं प्रियतमामुखावलोक ?नमाअनुरत्त्क्ताः प्रजाःआगरीयान्गन्धर्वराजसुतानुरागःआदुक्त्य जाजन्मभूआमईः । पीरग्राह्यादेवी कादम्बरीआकालातिपातासहं मनःआविप्रकृष्टृमन्तरे हेमकूटावईन्ध्याचलयोःआइ?एवंचिन्तय न्नेवप्रतीहार्योपदिश्यमानवर्त्मापत्रलेखाकरावलम्वीजननीसमीप माआआतातत्रैवच तमनेकप्रकारजननीलालनसुखाआईचन्तितदुर्विष ०हहृदयोत्कण्ठंदिवसमनयत्?। उपनतायां चात्मचिन्तायामिवान्धकाआरईतदशदिशि शवर्या५र्ं अनिवार्यविरहवेदनोन्मथ्यमानमानसाकुलेपु कलकरुणभुच्चैर्व्याह रत्सुचक्रवाकयुगलेपुउत्तेज्जईतस्मरशरंसमुत्सर्पमाणेपुचन्द्रमसोऽ ङ्कोल्लधूलिधूसरालोकेप्वग्रमयूखेपु विजृम्भमाणकुमुआदईनीश्वासपारई १ण्मलग्राहिणिमन्दंमन्दमावातुमारब्धेप्रदोपानिलेच शयनवताइर् निमीलितलोचनोप्यप्राप्तनिद्राविनोदःथ् हेमकूटागमनखेदान्निपत्य विश्रान्तेनेवपादपल्लवच्छायायाम् जङ्घानुरोधिरोहिणा लग्नेनेव सुसंहतयोरूर्वोःलि?ईतेनेवविस्ताआरईणिनितम्बफलकेमग्नेनेव नाभिमुद्रायामुल्लसितेनेवरोमराज्यामारूढेनेवत्रिवलिसो ?०पानहाआईरणिमध्यभागेकृतपदेनेवोन्नतिविस्तारशालिनिस्तनतटे मुक्तात्मनेव बाह्वोः कृतावलम्बनेनेव हस्तयोः आश्लिष्टेनेव कण्ठे प्रविष्टेनेव कपोलयोः उत्कीर्णेनेवाधरपुटे ग्रथितेनेव नासिकारात्रेसमुन्मीलितेनेवलोचनयोःस्थितेनेवललाटशाला यामन्वितेनेवचिकुरभारान्धकारेप्लवमानेनेवसर्वदिक्पथप्ला ??विनिलावण्यपूरप्लवेमनसासस्मारस्मरायतनभूतस्यकादम्बरी री ? १ जह्वानुरोध इआतईन उत्पन्नात्मीयबुआईद्धश्च निर्भरस्नेहार्द्रचेतास्ततएववासरादारभ्य ताप्रतिगृहीतरक्षापारईकरैवयतोयतएव मग्डलितकुसुमका र्मुकंमकरध्वजमस्यांप्रहरन्तमालोकितवांस्ततस्ततएवात्मानमःतरेऽ र्पितवाना एवमम्लानमालतीकुसुमकोमलत?ऐ निर्घृणं प्रहरन्न लज्जस इत्युपालभमान इव आदईवसमुत्तरलतारयान्तर्बाष्पार्द्रया ? दृष्ट्याकुसुमचापंपुनःस्मरशरप्रहारमूआछतां संज्ञामिवलम्भयितुं तामवयवैरुवाह स्वेदजललवानुत्ससर्जच दीर्घदीर्घान्निश्वासमा रुतानातच्चेतनालय्भमुआदईतैवचसवार्ङ्गीणंक्षणमपिनमुमोच रोमाञ्चमासह्यतेहृदयेनवेदनानवेतितद्वार्त्तांप्रहुमिवनियुक्तेन मनसाशन्यतामधापार्ती?।त?तिवार्ताकर्णनायेव१ च गृहीतमौनः१० सर्वद?वातिष्ठतातदाननालोकनान्तारईतमिवसर्वमेव नाद्राक्षीता चन्द्रविम्बेपिनास्यदृष्टिररमतातदालापपारईपूआरईतश्रोत्रेन्द्रिय इव नीकचिदप्यपरमन्तःकर्णै कृतवाना वीणाध्वनयोऽप्यस्यबाहईरे वासन् । सुभापितान्यपिनप्रवेशमलभन्ता सु?आचोपिपरुषा इवाभवनावान्धवजनजल्पितान्यपिनासुखायन्त । भावावगम१? भीत्येव यथापूवैनकस्यचिद्दर्शनमदात् । अनवरतमुक्तज्वालेन मदनहुतभुजान्तर्दह्यमाशेपि गुरुजनत्रपयानसद्यःसमुद्धृतार्द्रार विन्दशय६नमभजत।?रू?रसबिसल३ताजालानिगात्रे?करोत्।न जललवमाम्भता तान्यजरठपद्मिनीपत्राणि पार्श्वेप्यकार यत्।नकुसुमपल्लवस्रप्लर।न?माआदईदेश।नानवरतधारानिपा।० तोल्लसितशिशिरसीकराव ददर्शापि धारागृहमानमक रन्दसन्ततसापातशीतलाभ्यःतराणि हर्म्योद्यानलताभवनान्यप्यसे वतानमलयजजललुलितपृष्ठेपु मीणकुआईट्टमेष्वप्यलुठादईच्छयाआ न तुआहईनकरकरनिकरसंक्रान्तिहृ५द्यपु ललनाकरकलितचन्द्रकान्त ?

१ कर्णनायैव इआतई न २।?न्तःकर्णं इआतई न ३ अजठर

मणिदर्पणेप्वप्यसंक्रामयदात्मसंपातमाकिंबहुना । नाश्य्रानह
एवमेवकेवलंराशैऋ आदुएवा चाकृतनिर्वृतिना ज्वलताप्यदह
नात्मकेन दहताप्यक्षतस्नेहे?ःधनेन दुःखानुभावनायेवभस्मसाद
आकुर्वता मदनदहनेनान्तर्बीहश्च क्वाथ्यमानदेहः शोषमगात् ।
तिआईक्रयतयादुस्त्यजतयावातिविसं?लेनोपास्यमानोपि मनसिजे
तनोरेव तानवमङ्गीचकारनलज्जायाः । शरीरस्थितावेवानादरं
१०कृतवान्न कुलक्रम?ईतौ । प्रजा एवान्वरुध्यतनमन्मथ्रेत्क
म्बरीरूपगुणावष्टाभाआहईतप्राणेनबलवतानुरागेणाकृष्यमाणस्य प
श्चाद्रुरुजनप्रतिबन्धदृढतरेण महीयसा स्नेहेन च वार्यमाणस्य
गध्भीरप्रकृतेः सारईत्पतोरईव चन्द्रमसा सुदूरमुल्लास्यमानस्यापि
१ष्मर्यादावशादात्मानंस्तम्भयतःकथंकथमपि।कृ?ई?शेष्वपि सह?
संख्यायमानेष्वतिक्रान्तेपुवासरे७र्ं एकदारणरणकसकाशादिवा
न्तरलव्धावस्थानोनिर्गत्य बाहईर्नृगर्यास्तरङ्गसङ्गशीतसीकरासारम
रुन्ति कलक्वणितकलहंसचक्रवाकचक्रवालाक्रान्तसरससुकुमारसै
कतानि सिप्रातटान्यनुसरन्नातिदूरमिव चरणाभ्यामेव बभ्रामा
?०भ्राम्यंश्चरुद्रतनयायतनंरयेणागच्छतः सावष्टम्भयागत्यात्वारई
तसुरसञ्चारान्युज्यमानांश्चविरलीभवतश्च सङ्घट्टमानांश्च विश्लि
ष्यतश्चोत्सहमानाश्चलम्बमानाश्च परापततश्चविर्च्छन्नपङ्किव्यव
डितान्निःसहतया ?आगमनखेदमतित्वरयागमनकार्यगौरवमावेद
? ? ? ? ? ?
१ आनईर्वृआईतैआतपक आआनईर्वृआतईराइआतई न। २।नाआतईदूरसंचा

य?ए?आदेवातिबहूनिव तुरङ्गमानद्राक्षीतादृष्ट्वाचोत्पन्नकुतूह
लस्तेषां पारईज्ञानायान्यतमंपुरुषं प्राआहईणोताआत्मनाधूऋऋरुउ_दृघ्नेन ?
पयसोत्तीर्य सिप्रांतस्मिन्नेवभगवतः काआतकेयस्यायतनेत?ति
तत्रस्थश्चकुतूहलात्तस्मईन्नेववाजिवृन्देनिक्षिप्तदृष्टिःपार्श्वस्थितां ।
रणनिवारणोल्लासितया प्रेङ्खशृङ्ग?एल्?शिश्त्सया मयूरपिच्छमय्या
दृष्टिपथएवावतीर्यतुरङ्गमादापतन्तं ?आद्रुताआआमनधू?ऊआईधूउसरश्या१०
व?उपा विपादश्?येनचमुखेनान्तर्दुःखसंभारी पपुनय्राचदृष्ट्या
रकमद्राक्षीतादृष्ट्वाचदर्शितप्रीतिरेह्येहीत्याहूय ससंभ्रमप्रणतो
पसृतमतिदृ?प्रसाआईरताभ्यांदोर्भ्यापय९प्वजततम्। अपसृत्यपुनः१ष्
कृतनमसकारे तस्मिन्ननामयप्रश्नवचसासंवर्ध्य सर्वानेव तत्सहा
या?रः स्थितं पुनः पुनः सस्पृहमालोक्य केयूरकमवादीत्?आ
आगमन?रणमपि विश्रान्तः सुखितःकथ?ईप्यसिआ?त्युकवा
त्यभिदृधानमेव केयूरकंपृष्ठतः पत्रलेखां चारोप्यस्वभवनमया
सीतातत्रचनिद्धिआशेपराजलोकप्रवेशः प्रविश्य वल्लभोद्यानं
णीयंनिर्वर्तयामासानिर्वर्त्यचपत्रलेखाद्वितीयः सुदूसेत्साआरईत
यारईजनः केयूआकमाहूयाव्रर्वात् । केयूरक कथयदेव्याःकाद??
१ वंक्रिकया इआईतंन

इत्यभिआईहतुवति चन्द्रापी५डपुर सप्रश्रयभुपविश्सकेयूरको
प्सवादीत्?आदेवकिं विज्ञापयामिआनास्तिमयि सन्देशलवोपि
देव्याः कादम्बर्याः समदलेखाया महाश्वेतायावाआयदैवपत्र
लेखांमेघनादायसमप्याआगतेन प्रतिनिवृत्यमयायंदेवस्योज्जयि
ण्नीगमनवृत्तान्तो निवेदितस्तदैवोर्ध्व विलोक्य दीर्घमुष्णं च
निश्वस्यसनिर्वेदमेवमेतादईत्युक्त्वोत्थायमहाश्व५तापुनस्त ??ए?
वाश्रमपदमाजगाम । देव्यपिकादाबरीज्ञटितिहृद??इर्न
त??ताअतर्कितापतिताशनिनेवमूर्ध्रिताडिता अन्तःर्पीडा
?नुनिमीलितेन चक्षुषामूआछतेव मुषितेवपीरभूतेववञ्चितेव
१०चोन्मुक्तेवचातःकरणेनअविआदईतमहाश्वपतागमनवृत्तान्ता चिर
मिवस्थित्वोःमीत्यनयनेविलक्षेवलज्जितेववि?तेब विस्मय
स्तव्धदृष्टिर्महाश्वेतायाः कथयेतिसासूयमिव मामादिश्यमदले
१णईनवाआरईताशेषपारईजनप्रवेशाशयनीये निपत्योत्तरवाससोत्तमाङ्गम
वगुण्ठ्य निर्विशेषहृदयवेदनांमदलेखामप्यनालपन्ती सकलमेव
तांदईवसमस्थातापरेद्युश्च प्रातरेवोपसृतं मामेवंदृढतरशरीरेपु
म्रियमाणेष्विव भवत्स्वहमीदृशीमवस्थामनुभवामीत्युपालभमानेव
नमेभवद्भिः पाश्वावर्तिभिः कार्यमिति निर्भर्त्सयन्तीव किंभे
?०पुरस्तिष्ठसीत्यन्तर्मशृवेगेन तर्जयन्तीव च बाप्पपूरोद्रेकोत्कम्पप
र्याकुलया दृप्ता त्वईरमालोकितवती । तथादृष्टश्च दुःआईखतया
देव्यादिष्टमेवगमनायात्मानंमन्यमानोहमनिवेद्यैवदेव्यै देवपाद
मू?मुपागतोस्मि । तच्चदेवैकशरणजनजीआवईतपारईत्राणाकुलमतेः
आआदेव श्र०य।ताम्।यदैवतेप्रथमागमनेनामोआदईना मलयानिलेनेव
? ?
१ अर्हीस शतईन

चलितंसमस्तमेव तत्कन्यकालतावनंतदैवसकलभुवनमनोभिरामं
भवन्तमालोक्यवसन्तमिव रक्ताशोकतरुलताआमईवारूढवान्मकरके
तनस्ताम् । इदानींतु महान्तमायासमनुभवति त्वदर्थे काद
म्बरी । तस्याआईहदिनकरोदयादारभ्य दिवसकरकान्तोपलानल
स्येवनिःशब्दस्यापवनोरईतस्याधूमस्याभस्मनः प्रज्वलतोमकरध्व ष्
जहुतभुजो न पारईजनकरकमलकलितकोमलपल्लवलास्यलीलया
प्रसरभङ्गः । नानुत्तालतालवृन्त?आन्तजलजडकणिकासारसेकेन
निवृत्तिः । नसरसहारई?न्दृनृ?ईआटाआछुरणेनछेदःआनविद
लितमुक्ताफलवालुकापटलोद्धूंलनेईन व्युपरमःआनोत्कीलितयन्त्रम
यकलहंसपङ्किमुक्ता?धारेण धाराग्य्हेण प्रशमः । यथा यथा१०
धाराभिराहन्यतेतथातथावैद्युतानलसहोदर इवस्फुरतिमदन
पावकः । सुतरां च आईशशिरः कुन्दकलिकाकलापमञ्जरीमिव
विकासयति स्वेदजललवजालकसन्ततिमुपचारःआचित्रंचेदमा
मकरकेतुहुतभुजा दह्यमानमप्यग्निशौवमंशुकमिव नितरानिर्म१ष्
लीभवतिलावाघयमामन्येचभृदुस्वभावमपि जलमिवमुक्ताफ
लतामुपगतं कठिनीभवत्युत्कण्ठितं हृदयमवलाजनस्ययत्तादृशे
नातिसन्तापेनापिनविलीय?ए५।ऊबलवती खलु वल्लभजनसङ्ग
किंकरोमिआकथयकथंकथ्यतेकयावृत्त्यावर्ण्यते कीदृशेनो?०
पायेन प्रदर्श्यते केनप्रकारेणावेद्यते कया युक्त्या प्रकाश्यते
कतमयावेदनयोपमीयतेबलवतीतदुत्कण्ठाआ स्वप्नेपुविगालईत
?वेदनाःस्फुटं प्राणिनः । प्रातीईदनं दृश्यमानोपियन्नपश्यसि
तामीदृशीमवसाम् । प्रचण्डकिरणसहस्रातपसृहानि कमलानि
शयनीकृतानि?आनिभुपनयन्त्यादिवसकरमूर्तिरपि निर्जिता तया?ष्
१ वलवताइत्यतत्पदनाआस्तनपुरूआक २?तदुत्कण्ठास्वप्नपुइआतने

निजोष्मणा । निष्करुणेनचाकारणवामेनकामेन मथ्यमानास्ता
स्ताश्चेष्टाः करोआईत।तथाआईह।सा ?सोढमदनवेदने त्वमीतक
आईठने मनसि आईनवससिआ इति मृदुआईन कुसुमशयने कथमापई
५लक्तकलवपाटलिते?ः शय्याकुसुमैः कुसुमशरेण शरतामुपनीतैः
सरुआईधरौरईव हृदयात्पातईतैर्भयमुपजनयीतासर्वाङ्गीणमनङ्गशरीन
वारणाय कवचीमव भवदनुस्मरणरोमाञ्चमुद्वहीत । रोमाआईञ्चीन
कुचयुगले श्वासअलितमंशुकं आईनदधाना त्वत्पाआईणग्रहणतृष्णया
कण्टकशयनव्रतलीलाआईमव दीक्षणकरकमलमनुभावयीतावामेतु
१०वामकपोलमरजडाङ्गुआलईमुल्लसत्पद्मरागवलयप्रभांशुरज्यमानं ज्वील
तमदनहुताशनावईप्लुष्यमाणाआमईवहस्तकमलई आवईधुनोआतीनालईनी
दलव्यजनपवनावीईक्षप्यमाणकर्णकुवलयदलं वदनमजस्रस्रवदश्रुम
यपलायमानलोललोचनामईव आईवर्भीताप्रीतक्षणंक्षामतो व्रन्ती
नकेवलंमङ्गलवलयंपतनभयेनदोलायमानंहृदयमीप मुहुर्मुहुः
१५पाआईणपल्लवेनरुणीद्ध । आईशाईशरवाआरईक्षोदक्षारईण्यलिआलाकमलमा
आलईकयेववपुआईषीनीहतयासखीजनहस्तपरम्परया पारईक्लाम्यीत।
तथाचरणयुगलेन रसनाकलापांईनतम्बावईस्तारेण मध्यंसङ्गमा
शयाहृदयंहृदयेन भवन्तमुरसा आईवासईनीपलाशप्रावरणंकण्ठेन
२०चन्दनलोईखकामेसेनवेणीमधुना धारयीतात्वीद्दद्दृक्षया आवईघट
मानंहृदयमीभवाञ्छीत । गोत्रस्खलनेनेव जीआवईतेनलज्जते।
णकेनमदनपरवशा कुसुमशयनादुत्थाप्यते।पारईचाआरईकयेवार्त्या
स्रस्ताङ्गीसञ्चार्यते।मुहुः पवनप्रेङ्खोआलईतमुत्कण्ठाव्यजवपल्लवमङ्ग
२५भयकीम्पतीमव लतामण्डपमीधवसातई । मुहुः सत्कोशकालईकं
आईवसवलयसरक्षणरीचताञ्जालईपुटीमव स्थलनालईनीवनमीधशेते ।
मुहुरु?धनमयाआदईव आईनरन्तराकईसलयाञ्छाआदईतलतापाशमुद्यानमा

सेवतोमु?रीनपतदविरतरोदनाताम्रनयनप्रतिविःबं स्रस्तरास्तरण
त्रासनिमज्जत्कमलमिवोपवनसरोजलमवगाहते । तस्मादुत्थाय
त्मालवीथीमुआपति । तस्यांशाखावलम्बोर्ध्वभुजलतानिआहईतनि
मीलितलोचनवदना चम्पकदलमाआईलकोद्बद्धदेहाशङ्कामुत्पादयन्ती
आईलतलास्यलीलयोद्वेज्यमाना मयूरीव मुक्तधारं धारागृहमभिप
तति । ततोपि घनजलधारासीकरपुलकितकायाकदम्बकलिकेव
कम्पमाना शुद्धान्तकमीलनीतीरमुपसर्पति । तस्माच्चभवनकल
हंसरवमसहमाना प्रस्थितातत्कालावताआरईतनूपुरयुगला निपुणप्रे
क्षामिवक्षामतामभिनन्दति । वलयरचना?आपितमृणालकुपितौरईव१०
भवनवापचिक्रवाकमिथुनैः कूत्त्वईतेनखेद्यतोशय्याविलासमृआदई
तकुसुमसञ्चयामर्षितौरईव प्रमदवनमधुकरैर्विरुतेनोद्वेज्यतो निर्भ
रोत्कण्ठागीतनिर्जितरवरोपितौरईवाङ्गणसहकारपिकवृन्दैः कलक?ए
नाकुलीक्रियते । मदनयाण्डुगण्डपारईभूतगर्भपत्रकान्तिआईभर्विद्धेवो
द्यानकेतकीसूचिभिरु?आवेदनाभवतिआएवंप्रायैश्च मदनदुश्चेष्टि१।र्
तायासैः पारईणाममुपैतिआदईवसःआ
चन्द्रोदृये चास्यास्तिमिरमयीवापैति धृतिःआ कमलमयमिव
?तेहृदयम् । कुमुदमयैववि?म्भतेमकरकेतनःआचन्द्र
कान्तमयमिवप्रक्षरतिनयनयुगलमा उदधिजलमयानीववर्धन्ते
श्वसितानिआचक्रवाकमयाइवावईघय्न्ते मनोरथाः । शीतज्व।०
रातुरेवमणिकुट्टिमोदरसंक्रातस्य तुपारकिरणमण्डलस्योपारईवेप
कथयतिआसीत्कारेपुदशनांशुव्याजेन मन्मथशरजर्जारईतहृदयप्र
विष्टानिन्दुकिरणानिवोद्गिरतिआवेपथुपु व्यजनीकृतकदलीदलक
मिबोपादईशतिआ गोत्र?वलितविलक्षस्मितेपुहृदयनिपतितमदनश

विलीयतैवाशशिमाणीआदर्पणेपु विस्फुआरईतानेकप्रतिबिम्बनिभेन
शतधेवविदलतिआकुसुमशयनेषु पारईमललालसागताआलईमालाकु
लिताधूमायत इवा अमलकमलस्रस्तरेपु किञ्जल्करजःपुञ्जपि
ञ्जारईता ज्वलतीव । स्वेदप्रतीकारेपुआवईशदकर्पूरक्षोदधूलीधव
आलिता भस्मीभवतीवानविज्ञायतेकिं मुग्धतयाकिंआवैलासेन
त्कईमुन्मादेनसङ्गीतकमृदङ्गध्वनितेपु केकाशङ्कया धारागृहमरक
तमणिमयूरमुखानि स्थगयति । दिवसावसानेषु विश्लेपभीता
चिन्तारतारस्भेपु मणिप्रदीपानवतंसोत्पलैस्ताडयतिआ उत्कण्ठाले
अपिचतस्याश्चन्दनपारईमलैव दक्षईणानिलेनसहसमाग
च्छतिमोहः । चक्राह्वशाप इवनिशया सहापतति प्रजागर
तथाचजलकणिकेवपद्मिनीपलाशस्थिता कम्पतोप्रतिच्छायेव
स्फटिकोपलसलिलम?ईआदर्पणमणिकुट्टिमतलेषुदृश्यते । नलिनीव
शशिकरस्पर्शेन ?आयतिआहंसीव सरसमृणालिकाहारव्यतिकरे?आ
ल्लवासञ्चरन्ती निशांनयतिआकुमुआदईनीव रजनिकरकिरणकृत
प्रजागराआदईवसमलीकनिद्रयाऽतिवाहयतिआ मुरारईपुजलशयनली
लेवमन्दोच्छ्वसितशेषा निमीलितलोचना आकईमपि चिन्तयतिआ
मलयनिम्नगेव सरसहीरचन्दनाकईसलयलाञ्छितेपु शिलातले?
श्षईभपततिआकुन्दकलिकेवतुषारसिक्तपल्लववर्तिनी वनानिलेनाया
? ? ? ऋ ?
१ संघटयातई इतिन

लाहलेउ_नताबतिआहारईणीवक काननंपारईहरतिआकुसुमध
य्तिशिलीमुखमनोहरान्मदनचापाआदईव प्रमदवनात्त्रस्यति । जान
कीवपीतरक्तेभ्यो रजनिचरेभ्यैवचम्पकाशोकेभ्यो विभेतिआ
उषेवस्वप्नसमागमेनापिकृतार्थतामेतिआग्रीष्मलक्ष्मीआरईवानुआदईनम ?
तिक्षामाभवतिआसर्वथातस्याःकन्दर्पवेदनयाङ्गानि दिवसैजाइर्
गमोपायाःवेषिणःसर्वसमवायासवद्वार्त्तौपलम्भनतत्पराः सर्वप्रश्ना
सवद्वृत्तान्तमुखरः पारईजनसवदालापनिर्मिताः सर्वावईनोदासवदा
कारमय?ईत्रकलाभ्यासस्त्वदुपालम्भगर्भा मागधीमङ्गलगीतयसव
द्दर्शनपुनरुक्ताः स्वप्नासवत्पीरहासप्राया मदनज्वरदाहविप्रलापा
सवन्नामग्रहणैकोपायगम्यप्रवोधामोहमहावेगाःआ १?
इत्यावेदयन्तं केयूरकं आभवतु संप्रति न शक्रोम्यतः परं
कापयेव चन्द्रापीडमाक्रामन्ती मूर्छान्यवारयतानतुपुनरव
रीरेण केयूरकेण संभाविततालवृन्तयाचपत्रलेखयानुभाव्यार्थ
सज्जयाचनियत्यासंज्ञां लघ्भितश्चन्द्रापीडः स्वकृतपीडापराधेन
भीतमिव लज्जितमिव विलक्षमिव निभृतस्थितंकेयूरकमन्तर्बा
प्पोपरुध्यमानकण्ठः कथमपि सवालईताक्षरं प्रत्युवाचाकेमूरक
येन प्रकारेणैवमेकान्तानई?रहृदयमात्मन्यनुत्पन्नानुरागमेव मांसं४ष्
१अस्मात्परं रयामा इत्यधिकंनपु?आके

मदलेखयावात्वन्मुखेन नोपालव्धोस्मई तथामयि पत्रलेखया
सर्वमाख्यातमातदभिजाततयामहानुभावत्वादुदारतया समान
ष्शीलतया दक्षिणतयाचैकान्तपेशलतया च स्वभावस्यात्मानमा
त्कराकर्षणमानितरां पक्षपातिनोपिचमधुकरस्याभिगमनमेवा
धीनम् । मकरन्दलाभेतुकालईकाश्रयिआआआई जृम्भैव प्रभवतिआ
यति पुनस्तं ज्योत्साभिरामारजःयेव । निर्मरमन्तःसरसतायां
सत्यामपि मधुमासलक्ष्मीपारईग्रहाद्विना पल्लवानुरागदर्शनस्यकृते
किकरोतु पादपः । तत्रदेव्याः कादम्बर्याएवाज्ञाऽपराधिनीथ्
ययाधरस्पन्दितमात्रप्रतीक्षे पुरः स्थायिनि दासजनेनिष्करुण
हृदयपीडानपेक्षईणीलज्जापेक्षितान जीआवईतसन्देहदायिनीदेव्याः
समवस्थाआअथयास्य पारईजनस्यापिदेव्या अपि कोयमेवंविधो
व्यामोहःथ् यदनिच्छन्त्यपि बलादसौनव्यापाआरईता । कीदृशी
चरणतलप्रतिबद्धस्यदासजनस्योपारई लज्जाकीदृशंवागौरवम्थ्
।०को वाऽनुरोधःआवईश्वस्तचित्ततावाकेयमीदृशीयदेवमात्मनः
शिरीपपुप्पकोमलस्येयमतिदारुणा पीडाङ्गीकृताथ्नकृतार्थितोमे
आरईत्यक्तनिःशेपवालभावानामनतिप्रबुद्धमुग्धमनसिशयानां कन्यका
नामाछज्जानपाआरईता नामास्मिञ्जनेस्वयं पारईत्यक्तुं देव्याआ
२५मदलेरवातुद्वितीयं हृदयमस्याःआतया किमेवमहार्यसंयमधनै
र्मुनिभिरप्यरक्षईतहृदयापहारेणानिग्राह्यत्तैरेण शुचिभिरप्यपारईहा


काण्डव्याधेनमर्मभेदिनाऽलीकधनुर्धरेणसद्यःप्राणापहारक्षमेणाका लदृत्युनाऽ???थानास्थानप्रवतिंनापरापकारकृतार्थेनहृदय वासिनाऽपर्र स्वयोनिनाकामेनदुरात्मनायास्यमानंदेवीश रीरमुपेक्षितम् । आकईमितितत्रस्थस्यैवमेकर्णेनावेदितमाअ ण् धुनाश्रुत्वापिदिवसक्रमगम्येऽध्वनिकिंकरोमिआमलयानिलाहत लताकुसुमपातस्याप्यसहं देवीशरीरम् । वज्रसारकठिनहृदयैरपि दुआर्वईपहाःस्मरेपवः।नज्ञायतेनिमे५षणैवकिंभवतीति।प्रायेण चदेव्याऽप्यनुभवनीय एवायमर्थःआयथाचास्यदुःखैकदानव्य सनिनोदुर्घटघटनापण्डितस्य यत्किंचनकाआईरणो निष्कारणकुपिआण् तस्यृहतावईधेःसर्वतोविसं?लंसमारम्भंपश्यामितथाजानामि नैवायमेतावता स्थास्यतीतिआअन्यथाक्वनिप्प्रयोजनाश्वमुखमि थुनानुसरणेनामानुषभूमिगमनम्क्वचतत्र तृपितस्याच्छोददर्श नम्क्वतत्तीरेविश्रान्तरयामानुषगीतध्वनेराकर्णनम्क्वतज्जिज्ञा सागतस्य महा५श्वतावलोकनम्क्वतत्रतरलिकया सहतवामि१? गमनेन मद्गमनप्रस्तावःथ्क्वमहाश्वेतयासह्र हेमकूटगमनम्क्व तत्रदेवीवदनदर्शनम्क्वानुरागोत्पत्तिरस्मिञ्जने देव्याःक्ववाप आरईपूर्णमनोरथस्य मे पितुरलङ्घनीयागमनाज्ञा । तत्सुदूरमारोप्य पाआतईतावयंखल्वनेनाकार्यकाआरईणास्मत्कर्मबलनियोगदक्षेणदग्धवे धसा।तथापिदेर्बांसंभावत्यईतुंप्रयतामह५ । ?० इत्यभिदधत्येवचन्द्रापीडे आनितरामयमनेनैवकादम्वरीवृत्ता न्तेनसन्तापित?आत्किमपरमहमेनमात्मतेजसासन्तापयामिइत्युत्प न्नदय इव भगवास्तिग्मदीधितिरुत्तप्तकनकद्रवस्फुलिङ्गपिङ्गलद्युति दिआविकीर्णधूर्जटिजटामण्डलानुकाआरईसञ्जहारकरसहस्रमाअस्ता नुसारेणचरवेर्वासरोपि यथोच्छिततरुशिखरावलाःईवनोरक्ताताऽ पच्छेदानाकर्षन्नपससाराक्रमेणैव सञ्जातकरुणानुबन्धयेवसंध्य

याधुपारईजलार्द्रपटैवप्रसार्यमाणे स्वरागपटलो निशागमेना

आईरलस्वमानायामिव भ्राम्यमाणायां तिमिरलेखायाम्कमलेष्वपि
दुःसहत्वाच्छोषकाआरईणः सन्तापस्य तल्पकल्पनाभीतेष्विवसृङ्कु
षमईकयोद्दलत्सु चक्रवाकेष्वपिसहचरीविरहविधुरेपु कादाबरी
समीपगमनोपदेशदानायेवकलकरुणमुच्चैर्मुहुर्मुहुर्व्याहरत्सु चन्द्र
मस्यपिभगवति समस्तभुवनैकातपत्रेसुधारजतकलशे पूर्वदिग्व
?दनचन्दनतिलके गगनतलल?मीलावण्यमहाह्नदे सकललोका
ह्लादकाआरईणिसुधालिप्तैः करौरईव स्प्रष्टुआछ्वासहेतुनातंज्योत्सा
१०जलेनचसेक्तुमुदयगिआरईशिखरमारूढे प्रौढेप्रदोषसमयेचन्द्रा
पीडस्तास्मईन्नेव वल्लभोद्याने चन्द्रातपस्पर्शदर्शितविशदजललवोद्भे
दहाआरईणिचन्द्रमणिशिलातले विमुच्याङ्गानिचरणसंवाहनोपसृतं
केयूरकमवादीताकेयूरक किमाकलयसिआयावद्वयं परापताम
स्ताव?आणान्सन्धारयिप्यतिदेवी कादम्बरीआपारयिप्यतिवातां
१षवईनोदयितुं मदलेखा । आगमिष्यतिवापुनस्तत्समाश्वासनाय
महाश्वेता । मत्पारईचयोद्वेजिता प्रतिपत्स्य । शरीरस्थितये
तयोरभ्यर्थनामाद्रक्ष्यामिवापुनस्तस्याः आन्तमालोल
सतुव्यज्ञपयतादेवधैर्यंसमवलाव्यगमनाय यत्नः क्रि
।०यताम्।तिष्ठतुतावदासन्नवर्ती सखीजनः पारईजनोवाआतस्या
आहत्वदालोकनेच्छैवस्वेच्छया निमेषितुमपिनददातिआसमा
गमाशयैवावष्टव्धंहृदयम् । श्वसितमेवमुखेवीहतमारोमाञ्च
एवक्षणमपिशरीरंनमुञ्चातीदिवानिशं बाप्पए?उलोचनप
थस्थायीआप्रजागरएवरात्रावपि दत्तदृष्टिःआ अ_रुतिरेव नैका
ऋ?ऋ०ऋ।ऊ० ०ं०॥ं?? ॥० ।०ऋ?ऋ॥ंऋ०? प्ला?आं?? ।०? ॥० १॥०??१त।ंप्ल।ध् ०।?

एवंवदन्तं तमाआदईदेश विश्रान्तयेकेयूआकम् । आत्मनापिऋ

गमनीचन्तांप्राविशतायादईतावदक?यिऋ?वाऽनिपत्यचरणयोरः नाघ्रातः शिरस्यगृहीताशीः सहसानु?ऋ?ईहृ?ऐएर्वतातेनम्बिया वापूऊक्रृम्यगच्छामिआततोगतस्यापि मम कुतःसुखं किंश्रेयः कुतोवाफलावाप्तिःकीदृशीवाहृदयनिर्वृतिःआअथवा तिष्ठतु? तावदियमुत्तरकालागामिनीचिन्ता । ?प्रक्रृ?गतएवकथम हमातातेज्ञृदुस्तराहवार्णवोत्तरणमहासेतुबःधादवन्ध्य?ऋआआईऋ?छूतफ लप्रद?कईल्यृं_दुऐ०ऋ?आदाहईतृआऋवईक्रान्तियशोनिष्क्रींन्तिद्व।आआर्गलदण्डादशे षभुवनभवर्नोत्तमृभ्रनस्तम्भात्रस्वभुजादवारोप्य मय्येर्वै राज्यर्भांरः समारोपितःआतदनाख्यायपदमपिनिर्याते म?य्यवश्यमपारईमित१ण् कारईतुराआरथगमनसंक्षोभितघरातलैः आलोलकदलिकाकाननाकु लीकृतभास्वद्गभीस्तुआभईःऊर्ध्वध्रियमाणधवलातपत्रमण्डलच्छायान्त आईरतवास्??ई?रैःअग्तेऋबहलृरेऋणृ??म?ई?छ्रेङ्गशिरैतभुवनकुहरैः पुरःप्रसृतजवनवाजिभिःऔनुउउ?उन्तानल्ग्नवेर्तण्डप्रीयसाधनैःश्रान्तै रपि बुभुक्षितैरप्यकृताआतिआवईलाबैरौ ?एधेरष्टाभ्योपि दिग्भ्योऋ१ष् राजभिरनुधावितव्यम् । तिष्ठन्तुतावत्सेवापराराजानःआसुख पारईभुक्ताः प्रजाअपितातस्नेहात्पारईत्यक्तपुत्रृदाराः पृष्ठतो लग न्तीतिमेचेतसि । अपिचतातस्यापिऋकोपरोस्तियस्मिन्मदीयं स्नेहं संक्रमय्य मय्यपक्रान्ते यातु किमनेन गतेनाआआतेनवा इत्यविनयकोपितोऽवष्टम्भुंकृत्वास्थास्यति ।कस्यवापरस्यमुख।० मालोकयन्ती सुखायमानहृदया ममत्यानयनायकृऋताऋर्तप्रलृआपान तातमेवाकुलीकरोत्यम्बा । तातेचपृष्ठतो लग्नेऽष्टादशद्वईउआपमा आलईनी मोदईन्येव लग्ना भुव्रतीतिआतदा मयाक्वगतमा क्व स्थितमाक्वविश्रान्तमाक्वया?रमाक्वृभुक्तमाक्वाउपसृतमा क्वात्मामयागोपायितव्यःआसमांसाद्वितेरऋनवात्रकथंमया वदनंश्ज् दर्शयितव्यमापृष्टेनवाकिमुत्तरंई दातव्यमाअथापि कथंचि ? ? १ इव इआतईन २ अम्बयोक्तमपक्रम्य इतिन ३यत्तातेन इआतईन द्दवैनियोगान्निःसृतोस्मिआतथाप्यनृआयासनीयंतातमेवं महीयस्या यासे तातप्रसादाददृष्टदुःखामम्बां वा निजापक्रमणशोकार्णवे पातयताकिंकृतंभवत्यपुण्यवता । अपिचसबहुआदेवसप्रवा सोपतप्तःस्कन्धावारोपि मेऽद्यापिनपरापतातीतेनापरसंविघा ष्नादर्धपथादेव निवृत्य पुनर्धावितव्यमाअथावेद्य तातस्याम्बा याश्चताभ्यांचविसार्जईतः संविधानेन गच्छामिआतत्रापिकिं कथयामिआममस्नेहेनदुःखितागन्धर्वराजपुत्रीकादम्बरीमामु द्दिश्यमकरकेतुनायास्यमानादुःरवंतिष्ठतीतिआकिंवावलवान्मे तस्यामनुरागो नानयाविनाहं प्राणासन्धारयामीआतीआकईंतस्या ०ममचद्वयोरपि जीवितनिबन्धनहेतुभूतया महाश्वेतयातत्पीर णयनायमेसन्दिष्टमितिआकिंवातहुःखमपारयन्सोडुमयं केयूआ रकस्तद्भक्त्या मामानेतुमागत इतिआअपरोपिवाकश्चिह्यपदेशो नशक्यतएवपुनर्गमनायकर्तुमासंप्रत्येव समधिकाद्वर्षत्रया त्प्रसाध्यवसुधां प्रत्यागक्तेस्मिआअद्यापिसाधनमेव परापततिआ १षकथयित्वाचगमनकारणं कथमात्मानंमोचयामि । कथंवा मुञ्चतुतातोआबावाआत?हृत्सुआधृयेऋऽस्मिन्नर्थेऽनर्थपतितःकिंकरो म्येकाकी । वैशम्पायनोप्यसन्निहितः पार्श्वेमोकंपृच्छामिआ केनसह निरूपयामि । कोमेसमुपादईशतु । काएवापरोमे आनैश्चयाधानं करोतुआकस्यापास्यवाविवोकईनी र्प्रर्ज्ञो । कस्य ?०वान्यस्यश्रुतंरश्रोतव्यम्।कोवापरो वेत्ति वक्तुमाकस्यवाप रस्यमय्येसाधारणः स्नेहःआकेनवापरेणसह समानदुःखोभ वामि । कोवापरृआए मयिदुःआईखते दुःखीसुखितेसुखीआको वाऽपरोरहस्यावेदनृस्थानमाकस्यापरस्योपारईकर्तव्यभारमवाक्षईप्य निर्वृतात्मातिष्ठामिआकस्यवापरस्य मत्कार्येपयृआर्कुलता । को ?ऽवापरोमयानुकोपितंतातमम्बांचपाऋरईबोध्यमां१नेतुंसमर्थः। ं _ १ सुवद्वंइआईतन ९ए मामानेतुम्ंइआईतन । । । इत्येवंचिन्तयतएवास्यसा क्षपादुःखदीर्घापिक्षयमगमता प्रातरेवचकिंवदन्तींशुश्रावयथाकिल दशपुरं यावत्परागतः स्कन्धावारैतिआतांचश्रत्वासमुच्छुसितचेताश्चकारचेतसिआ अहोधन्योस्मि।अहोविधे।९र्।गवतोऽनुग्राह्योस्मि।यस्यमेऽनुध्याना नन्तरमेवपरागतोद्वितीयंहृदयंवैशम्पायनैतिआप्रहर्षपरवशश्च । ?आवईशन्तमालोक्य?तएवकृतप्रणामंकेयूरकमवादीता केयूआ रककरतलवर्तिनींसि?ईमधुनावधारयाप्राप्तोवैशम्पायनैतिआ सतुतदाकर्ण्य गमनपारईलम्बकृतया चिन्तयानुतःशन्य एव भद्रकमापतितंमहतीहृदयनिऋर्वृआईतर्देवस्यजाता इत्यभिदधदेवो पसृत्योपविद्दय पार्श्वे वैशम्पायनागमनालापमेवानुबध्य मुहूर्तमिव१० संज्ञोत्साआरईतसमस्तपारईहू?लचन्द्रापीडं व्यज्ञपयत् । देवसर्वतो आवेस्फुरन्तीतडिदिव ??आहकईन्नाऋहृमुपा?श्यामिकामेघले रेवषसलिलाआआमनमुपदाआइरातपाण्डुच्छविःप्राचीव चन्द्रोदयम् ?ग्राआ?मलयाआईनलागतिआरईववसन्तमासावतारममु करध्वजा मधुमासलक्ष्मीआरईव पल्लवोद्भेदमुल्लसित?१ष् पल्लवोद्गतिआरईवकुसुमनिर्गमम् विकसितकाशकुसुममञ्जरीवशर दारम्भम् अवस्थैवेयमावेदयति निःसंशयं देवस्य गमनम् । अवशृयच?देवस्यदेवीप्रास्याभावईतव्यमाकेन कदावाऽवलो कितोज्येत्सारीहतश्चन्द्रमाःकमलाकरोवामृणालिकयाविना उद्यानभागोवालताश्?न्यःआअपिचनराजतएव सहकारकु?० सुम?ञ्जृइआईपारईग्रहमन्तरे?आसर्वजनसुभगोपि कुसुममासःअसंभा वितैर्दान७लखालक्ष्मीकंवावदनं यूथाधिपतेःआकिंतु यावद्वैश म्पायनः परापतीत यावच्चतेनसहगमनसांवईधानं निरूपयति देवस्तावदवश्यंकालक्षेपेणभाव्यमायादृशीचाकालक्षमादेव्याः शरीरावस्था तादृशी आईनवेदितैव मया । सर्वोपि प्रत्याशयाश्ष् ? ?

१समुच्??तमृकर०इआईतन २ उआङ्कुआएसतराआआआइआईतन

घाउर्युते । देव्यास्तु पुनर्देवदर्शनेऽद्य यावन्निष्प्रत्याशमेव हृदयं
केनाश्वासनेउन् वर्तताम् । मद्वार्तोपलम्भादेत?पत्स्यते चेतसि
आयथास्ति कार्यमेजीवितेन दुःखान्यपिसहन्ती धारयाम्येत
तिइति आअतोविज्ञापयामि । चेतसात्वग्रतोगतएवदेवः
नीयमातद्देवागमनोत्सवावेदनाय गमनानुज्ञयाप्रसादंक्रियमा
। इतिआवईज्ञापितेकेयूरकेणअन्तःपारईतोषविकसितयाविकच
आनीलोत्पलपुञ्जमालिकयेव दृष्ट्या दर्शितप्रसादश्चन्द्रापीडः प्रत्यु
शरीरशक्तिरुत्साहःआकस्यापरस्येदृशी देशकालज्ञताआकोवाप
रोस्मास्वेवंनिव्यार्जभक्तिःआ तत्साधुचिन्तितमागम्यतांदेव्याः
प्राणसन्धारणाय । मदागमनप्रत्ययार्थंचपत्रलेखाप्यग्रत?वयैव
चास्या अपिदेव्यामसयेव स्नेहोभक्तईश्च । इत्यभिधायपृष्ठतः
निजाज्ञाक्षराणिप्रयच्छतुदेवःइतिव्यज्ञपयत् । कृतप्रस्थिति
निश्चयायांचतस्यांमेघनादाह्वानाय प्रतीहारीमाआदईदेशाआदे
।०शानन्तरमेवागतं च ?तः प्रणतमाज्ञाप्रतीक्षं स्वयमेवाहूय
सो?ऊ?हमाआदईदेश । मेघनादयस्यांभूमौ पत्रलेखानयनायपूंर्व
मयात्वंस्थापितस्तांभूमिं यावत्पत्रलेखामादायकेयूरकेणस?आ
?एगच्छाअहमपि वैशम्पायनमालोक्यानुपदमेव तेतुऋरङ्गमैः
परारगृतः । इत्यादिश्य यदाज्ञापयतिदेव इति कृतनम?तौ
??णृत्वीरतृगमनृसांऋवईक्षानाऋय निप्क्रान्ते मेघृनादे देव किमतःपरं
१ पुनर्देवदर्शनेनाद्यैआतईन २।उपपत्स्यते इआतईन

आवईलम्बेजैत्यभिधाय मेघृनादनि?आमनानन्तरंगमनृप्रणामोत्थितं
?एरक्रंसस्न५हमाहूससबाष्पयादृ?आपुनःपुउन?ङ्गो ?पारईष्वज्यृ
?सपुलकाभ्यां दोभ्याआमात्मकएआआर्दपृनृआईयानेकवर्णरुंंआएत्तरं_ सुन्देऊऊशृऋः
मिवकर्णाभरणमस्यकर्णे कृत्वाकण्ठागलबाष्सगद्गदिकागृह्यमाणृआ
क्षरमवाद्गीता ८केयूरकत्वयातुमेदेवीसन्देशो नानीतए?आ ?
तत्किंतवहस्तेतदनुरूपं प्रतिसन्दिशाम्यपूर्वमाविऋज्ञापयितव्यृआ
बाष्पवेगृमपईऋआरिऋयृनीतईऋआं सन्धारयितुम् उत्ष्ठताबद्धुउल?श्?दृष्ट्रिऋस १०
ञ्चारणां चरणपाताभिमुखीं पत्रलेसां प्रणयेनाभिऋमुर्खौ ?ऋ९वा
पत्रलेखेसाञ्जालईवःधेन आईआरसाप्रणम्य मदीयेन विज्ञाप्या
देवीकादम्बरीआआयेन सर्वखलानांधुआईरलेस्वनीयेन तथाप्रथ
नाप्यसंभाव्य गच्छता प्रज्ञा जडतया ज्ञानं मौ?_५न धीरता
तारत्येनास्नेहलतारौक्ष्येणगौरवं लघुतया??ईप्ल??ता?पारुष्येण
पेशलताकौटिल्येनृ लज्जाधा?एरृनृआऐदार्यं क्षुद्रतयाऋदाक्षिआघयममहा।०ऋ
नुभावतयाप्रश्रयृआएऽभिमानेन्कृतज्ञता कृतघ्नतया शीलंपौरोभ्वा१॥
?एसर्वगुणा एवदोपैःपारईवर्तिताःस कथमिवापरंगुणमव
लम्व्यपुनः पारईग्रहायविज्ञापयतुआ केन चाङ्गीकरोतुदेवीआ
किमुपदर्शितालीकात्मार्पणेननप्रताआरईतं देव्याहृदयमिआतीकिं
प्रकृतिपेशलंहृदयमपहृत्यनापक्रान्तोस्मीतिआ किमियंप्राणसन्दे?ष्
हकाआरईणीनिप्करुणेनशरीरावस्था नोपेक्षितेतिआकिमहमस्यान
१ पारीताः इआतन

वाआतदेवमात्मना सर्वगुगृआआनस्यापिमे देवीगुणाएवावलम्ब
रक्षत्येवसरलता मुहुर्मुहुराह्वयत्येवस्नेहलतीआनयत्येवसिरप्र
आतिज्ञताढौकयत्येवदक्षिणता अभिपद्यतएववत्सलताचरण
नुभावताआलपत्येव?ईयवाआईदता ददात्येवहृदयेऽवकाशमत्यु
दारताआयच्च तथापिगत्वा निर्लज्जहृदयः पुनर्वदनदर्शनद?
साहसमङ्गीउकृऋरोम्यृउऋत्रुआपि स?कृतयो देवीप्रृसादाएव कारणमा
१०एते आईह ?ईप्वादुदारभावात्सङ्गूतत्वाच्च क्षणपारईचिता अपि
समारोपितजीवितप्रत्याशा नकिंचिन्नकारयन्ति । स्मारयन्ति
सेव्यता देव्याः चरणपारईचर्यायै समुत्स्राहग्न्रीनृत शिक्षयन्ति
सेवाचातुर्यम् उपदिशन्त्याराधनोपायान् चा??ंआरो भवेत्यस
कृदाज्ञापयन्तई एवं स्थीयतामिति स्वयमेवोपदर्शयन्ति मुखा
१ष्वलोकिनाम् अकालोपसर्पणकोपेऽनुनयीन्त पारईतोषावसरेऽनु
गृह्णन्ति गुणानुवादेन लज्जापसृतं हठाद?प्योपूसृर्पयन्ति
नान्यत्रक्षणमपिददत्यवस्थातुम् । अपिचैते ग्राहकत्वादेवा
पारईत्याज्याः गुर?आदेवकृतावष्टम्भाःविस्तीर्णत्वादेवालङ्घनीयाः
प्रभूतत्वादेवार्ण्यीः आतदेभिरहं विनाप्यागमनाज्ञयृआसु?म
।०पृक्रान्तोपि वलादेवाकृप्य देवपिआदमूलमानीय इति । यया
आवईज्ञापयति । यथाचमेन निप्फलमागमनंभवति जगद्वा
इतिस?ईदश्यपुनराहा पत्रलेखेत्वयापियान्त्याऽध्वनिन
??मद्विरहपीडाभावनीया । न शरीरसंस्कारेऽनादरः करणीयःआ
नाहारवेलाऽआतईक्रमणीया । नयेनकेनत्वईदज्ञातेन पथायात
? इर्

१ आनईयन्त्रणत्वात् इआईतना

व्येमानयत्र तत्रैवाआनईरूप्यावस्थातव्यमुषितव्यंवा । नयस
कस्यचिदपारईज्ञायमानस्यान्तरं दातव्यम् । सर्वदाशरीरे?मा
येनैवमेकाकिनीतेषांसन्धारणायावईर्सीजतासि । अपिचमम
जीआवईतमपितवैवहस्तेवर्ततो तन्नियतं त्वयात्मायत्नेनपीरृरृ त
क्षणीयः । इत्युक्त्वासस्रेहंपारईष्वज्यकेयूरकं पुनस्तदवधृआनृ
दानायसंविधायामहाश्वेताश्रमं यावृत्पुनसवयैवसहानयामन्न
निर्गतायां च केयूरकेण सहपत्रलेऋखायृऋआंऋऋ ८किं शीघ्रमेते
क्षणमिवस्थित्वास्कन्धावारवार्तास्फुटीकरणाय वार्ताहरं विसर्ज्य
बहुदिवसान्तारईतदर्शनस्यवैशम्पायनस्य ?त्युद्गमनायात्मानंमोच
यितुंपितुः पादमूलमगातिआतत्र चोभ्रय्तःससंरऋभ्रुमापृसृतप्रती
हारमण्डलावईतीणाआवईस्तीर्णालोकन्रमार्गो ?आदेव व्यृजानुकूरृत।१?
र्भरस्नेहगर्भेणसलिलमरमन्?एए? जलधरध्वनिनास्वरेणसधीरम्
आएह्योहई इत्याहूयससभ्रमप्रधाआवईतमृपिऋऋसुंऋभृआआवृईतृशुऋकनासप्रणाम?_०
मुपसृत्यपार्श्वेभूमाबुपावईशन्तमाकृष्य हूठात्पादृपीठेसमुपवेश्या
दीताम्शुकनास पश्येयमायुप्मतश्चन्द्रापीडस्योत्सार्पेणीमहानी
ङ्गव?ईप्रभेव कनकशिखारईणः ण्ड?ऋ?ऋआएकृउआ?ई?ई??मदलेखेव??
गन्धद्विपस्य उउपीहतकान्तिपी?एर्लक्ष्य्रच्छईऋआ?ए?उऋचन्द्रमसः
आवईकासशोभापेक्षिणी मधुकरावलीव कमलाकरस्य रूपुआलेख्यो

न्मीलनकालाञ्जनवर्त्तिऋकुआ तारुण्यभरजलधरोत्ता?यामिकाउज्?ं
लत्कन्दर्पप्रदीस्कज्जलीऋऋआखा तूफुरऋरत्मृताप?आनृल?राजीआऋ मृकरध्वः
जोपवनतमाल?ईआध् ??एभववि_कु?एं?वालतिमिरोद्गातईःष्ठ
उद्वाआआमङ्गलम्संज्ञाश्मश्रुराजिलेखासमन्तात्समुद्भिन्नांआ विं?ंआ
?मङ्गलयूआएग्यांउदुशामा?एयम् । तद्देव्याविलासवत्या सहसंमः
ढंय»आमिईजृंनरूपा निरूप्यंतां काआईचज्जगति राजकन्यका । दृष्टं
आईहदुर्लमदर्शनंवत्सस्यवदनमासंप्रति वधूमुखकमलदर्शनेना
नन्दयाम आत्मानम् । ?ंत्युक्तवस्तई तारापीडे शुकनासः
१० आसाधुचि४?कृ?ंदेवेःन।अनेनतुसहृआये??एहृदयेसमारो?
पिताएवस आवईद्याः समाआवईताएवसर्वा कंलाःआस्वकृताख
सर्वाःप्रजाःगृहीताएवसर्वादईग्वधूनांकराः स्थापितैवनिश्चला
१?लज्जावनम्रवदनश्चन्द्रापीडश्चकार चेतसि । आअहोसंव्रादो येन
मेकादम्बरीसमागमोपायचिन्तासमकालमेवेदृशुईउआ तृऋआतस्यबुद्धिरुन्
त्पन्न?आतासुदुच्यतेअन्धकारे प्र»आ?उक्ष्स्य?आएए वनगहनप्रावई
ष्टस्य?एईकदर्शनं?महार्णल्पेतितस्य शून्?त्राऋभ्यागमोम्रियमांण
स्थोपर्यमृतवृष्टिआरईतिंआ तदेतदापतितंमयि । सर्वंथावैशम्पायंन
?०दर्शनमात्रकान्?तारईतावर्ततेमेकादःबरीप्राप्तिः आइत्येवंचिन्तय
त्येवचन्द्रापीउए क्षईतिपतिरुऋत्तशौउऊत्थाय» चतमेवृ आवईर्नर्याः
वन?पूर्वकायं समवल?आंएए सकलमेदिनीमांरोद्वहनगुरुण
दोंदाण्डेनशनैःशनैः सञ्चरञ्शुकनासेनानुगम्यमृउआनोविलासवतीः
भवनमगंमत्पगत्वाचंं संसंभ्रमकृतांभ्युत्थृआनामि?दयावलोकनं
??आवईलोंलामिव समुद्रवेलां आवईलासवूतीमूर्ध्वस्यित एवावादीत्? आं
देविपश्यैषांत्वंमीप वधूमुखावलोकनसुखस्यंकृतेनोंत्ताम्यंसि
ऋ उऋं


इत्युपालभमानेवदेवीवत्सस्य यौवनभरारम्भर?त्रपातरेखृआआव
योस्तैंआरुण्य?रवैर्लसितेरच्छाविनिवर्तनाज्ञा विजृम्भमाणा श्मश्रुरा
जिशोभाआवईवाहमङ्गलसापादनायाआदईशति । त्वमपरंकिमाआदईश
रसिवदनमन्यतोब्रीडयाआपृष्टावा कर्तव्यं नाज्ञापयसिआवर ष्
मातासि संवृत्ता । जानामि चन्द्रापीडस्योपर्यप्रीतिरेपा यदे
वमेतत्कार्येप्वनादरोऽवधीरणा च । इत्येवं?ई?ऐर्रैउआ यरालापैःआ
चन्द्रापीडोपि शुकनासमुखेनैव वैशम्पायनप्रत्युद्गमनायात्मानं
मोचयित्वाजननीभवनएव निर्व्रार्तईतशृरीरृआई?तिर्वैशम्पायनप्रत्यु१०
अव्तईरआर्णायांच तस्यांयषि आं ? र्शनौत्सुक्येऋनूशयनगृ
तोआईप जाग्रदेवसमधिउकामईव युर्शईत्वा? पारई_वुर्तय?ईआरईव
स्वकान्त्यानीआथृई?आनमम्वरतलस्य अपहरद्भिआरईवहारईततांतरुग
हनाना? अधस्तादपि छिद्रृयितुवेव प्रविशद्भिर्निऊवुआर्सयद्भिआरईव१?
प्रविश्योतुपाटयद्भिः आवईवरप्रवेशव्याजेनच रसातलमिव प्रवे?
भारव्धैःअन्यथापुनर्धवलयद्भिआरईव धवलतांसौधानामुङ्ल
यामिनीम् उ?आम ?आरेव मोदईनीमुपनयद्भिआरईव द्याम्।०
स?ईप?ंऐऐतारकाग्रुहनक्षत्रमण्डलानि विस्तारयद्भिआरईव सारई
त्युलिनानिपृथक्पृथक्कमलवनान्युत्पीड५?व धारयद्भिःउद्दलितद
लविकासाने_कीक्रुर्व्रद्भिरईव कुमुदृआकरान् अपि च पर्यस्तौरईव
शिखीरशिर?रेपु अरआउवर्जितौरईव प्रासादमू?र्सु पिण्डई_आ?_?ऋउह
द्भिआरईवरय्यामुखेवपुतरद्भिआरईव जलतरङ्गे?रीप्रसाआरईतौरईव?एकूऋतु?ष्
स्थ्लेपुहंससार्थैःस्वहैउकीभूऋतौउरईव सर्विर्भक्तौरईवचन्द्रुआश्रयप्रसुप्त
१ तरीद्भ ऐ तरङ्गेऋषु_ इआतईनाआईस्तनपुरूआके

कामिनीकपोललावण्येन क्षृआआलईतौरईव चन्द्रकान् तु?लधारा
सहसै तथाचगर्भगृहेप्वप्म्वि?हतप्रृवेशै आंत्तज्ञोआप
सर्वतो ज्योत्स्नाप्रवाहम् कादम्बरीसमागमत्वरादानग्य स्मरसर्वा
स्त्रमोक्षामईवकुर्वद्भिश्चृन्?ऐर्द्बिगुणीकृतमन्मथःएत्साहो गमनसंज्ञा
शङ्खनादायाआदईदेशा ।
? अथगगन?आलव्धज्ञिस्तारःविज?म्भमाणृइवदिकुञ्जेपुआव
१०र्तमान ??आर्?र्ंभ्रक्त्यैरा आऋक?इर्र्ंमण्टुलाम्यन्तरे समारोहृन्निवोत्तु
ङ्गगो?ईराआट्टालकशिखरा?आचलन्निव हर्म्यान्तरालेपु विकस?व
गगह्लरेपु समूर्छीन्नवप्रासादकुष्ठईपु तत्क्षण
१।र्घेणरणितेन विच्छिद्यमानैवमुहुर्मुहुः स्वभावगद्गदेनभवन
कलहंसानांकलरवेणनिर्धार्यमृआण इवश्रोत्रप्रव?शिनां गमनवे
तारदीर्घतरःशङ्खध्वनिरुदतिष्ठत्? । अनन्तरंचोत्थाप्यमानैश्चो
त्थितौआकृप्यमाणैश्राकृष्टैऋश्च् __आरोप्यमाणपर्याणैऋआश्चु पर्याणितैश्च नीय
पालयद्भिश्चापर्याप्तराजद्वाराङ्गणैरप्रभूत प्वर सकलरथ्या
न्तरतयानृतर्बीहश्च सङ्कटायमक्तीवस्तारैस्तु?स्नैरूप्त्सणं
?नमयमिवान्तरी१आं सुरारवमयीव भोईदनी ।प मयानीव
??श्रोत्रविवराणि फेऊन?ण्डस्तबकृमयमिव युवराजभवनद्वाआङ्गणं
?ईरवमय्य इव दशीदशोश्वालङ्काररत्नप्रभाभया इवाभवच्छ
? ५ऊ ?

१ नगवन० इआतईन २ षयाप्त इआतईन । आईनलुषित इआतईन

शाङ्करृश्मयःआअ?राच्च गृ?ईआएगोङ्गणग??आग
५ं त ?ए ।
तपत्रणावेद्यमानानगमो यथादशनमितस्ततस्तुरङ्गगतरव प्रणम्य
मानो राजपुत्रसह६?ः प्रसुप्तपुरजनतयुआसंवाधेनापि राजवर्त्मना
बहुत्वात्तुरङ्गमवलस्य कृलंरलव्धसञ्चारःकथंकथमपि निर्जगाम ष्
नगर्या ः आआई नुर्गत्यृ ?आदूरतैएव निर्भरत्वा८ंयोत्स्नापूरस्याचृछतृयुआ_
च दुर्भिआव्य्रपानीयामुपारई कलकूआजतानुमीयमानो_त्त्रस्तहंससार्थो
त्पतनव्य् तिकृर्रांपुलिनायमानामिव?सर्वतोद्ध्वुतुरृतृरङ्गानिऋलस्पर्श
मात्रोपलक्ष्यसलिलसंनिधिमुत्तीर्य रिआप्रण्यि?प्वादसङ्कटुत्वाच्च
व१आर्यतेवगमनोत्साहमतिआवईस्तीएर्णेनापिपुनार्वईस्ताआरईतेनेवचन्द्रपा १ऊ०
दैर्दशपुरगानामाऋर्गेणृप्र् ऋआऋवर्ततगद्रतुऋउम्रौआ ?२ ?रा
अथोह्यमानौर्रईवप्लेवाहिना ?सकलदि?उरवप्रसृतेनज्योत्स्नजिः
लस्रोतसा वैश्रआआ_पा_यनालोकनत्वारईतस्यू_ चन्द्रापीडमानसस्यवैतुल्यं
आर्क्ती या?क्र?जनत्रिईतयमैरिर् ?थारध्श्र प आरीयेरव१ष्
? वालङ्घयत् । व्र शुहरा?आ
प्रवृत्तेवातुमाह्लादर्कीआरईणि निर्भरज्येत्साजलावाआआहादा?र्र्स्??आरेऽउ
व?यय क?आ?रीर?आलुलितविविधवनप् ल्लवाआईऋ_नृलवीजितेवि_
आईवर्पोदैर्नेवौथ् प्र?»ए_पादुत्तानिर्तेमुरवैः कुमुउदृराशिभिरापीयमानस्यु
धाम्नः पारईऋक्षयेणृएउव?र्ं सर्वाम्बरसरःपयः?ईप्लशे?ईऊभ्र्रमुआश्वरजः ?आ
सं_घातोपघातेनेउवपाण्डुतामुपगतवातई चन्द्रबिम्वे१आप्रंत्यग्रंगगनल
६यीआवईयोगृ?एपाज्ज्ञि?ऐ धवलोत्तरीयांशुक इव शशाङ्कलग्नेऋ
गलतिच?कालोकौअप्रर?लधिपातिना ज्योत्स्नाजलप्रवाहेणेवा?

१ अऊङ्गणाऊत्तम् इतिना २।व्यातईकरा?आईलनार्नायमानाआमईवैआतईनई

सहसाकेनबुद्बुदावलीष्विव न्श्यःतीपु तारकापङ्किपु ग??ऋ
सशृपुआनुद्रालुस् रृप्रसारणा जङ्घाङ्गिभिर्हठादाकृष्टदीर्घपदस
५त ?? ?
थेपुनिशावै आन
प्विऊवग्रामेपुयथृआर्ककिरणावलोकोद्गमं जर्न्न्म्यिरमानंइवपूर्व?ई?
ग्भागेसमुत्सार्यमाणास्विवाशृआसु अपसर्पृत्स्विऋवारण्यृएपुऋविस्तार्य
१ष्मोणाआंर्स्वव?न्लमासुउत्तानई?आभु?स्त्ववसृलिलाशयेरपु ?र्
।०?लमुआधद्भृसृ_आतस्यपुदिंदृग्२रृआष्ट्तप्रराणृयुऋउक्षद्भमासृआर्योवेऊआईल्पुआयाऋऋक्व?सहजःऋगनवद्दीआर्ग्रपर?कसऽआआसुल्लईऊ_आदव त्रं
प्रमाण्व?आभा?आग्भीरवसांईहूयमाणमृ अपारईमाणरजोनिरोधाशङ्कितेन
१ जानईताआशावमेइआतईन

स्रकल्पितावष्टम्भं सञ्चारिणं द्वितीऋयमिवमोदईनीसंनिवेशमज
ल?ख्यईएगम्मईवआरं प्राणिमयमपृरपास्म?ईउ? महासमुद्रमा
उद्रिक्तरजःसन्ततेरः पूरतुयृआ चापारईस्फु_टाऋवईभुआव्यसर्वकृत्तान्तमपी
लस्काकाचलृआईआ?ई_भ्राआईजताआभोदसंघातं ?तैर्मन्तमिव र्मेईघसमयार??
स्परोर्मिसंकधतयामृन्द्र?दृऋर?आलुनलुलि_तकल्लोलजालाकुलस्य मा
हाजलधेर्लीलयाआ»ई?ईआव मनंस्कन्धावारमद्रार्क्षीता
?प्रावईश्यवैशम्पायनंपश्याआमीइत्येवं चिन्तयित्वाछत्रचा?।०
नैराआदृआभःस्वचिह्नैः सहनिवाआरईताशेषराजपुत्रलोको ज्रवावईशेष
ग्राआहईभिण्डईऊचतुरैस्तुरङ्गमैरनुगम्यमानो मूर्धानमावृत्य्रोत्तरीयो?आ रय
आवईशेपग्राहिणेन्द्रायुधेन ?नाव्यापारव्यग्रसकललोकमचिन्तितएव
स्कन्धावारमासूसादाप्रविशंश्चप्रत्यावासकंवहन्नेव कस्मिन्प्रदेरो
वैशःपायनावासःइतिपप्रच्छाततस्तत्सनिआईहतामिः स्रीभिआरई१ऽ
तरत्वादप्रत्यमिज्ञाय यथारव्धकर्मव्यग्राभिरेवोद्वाप्पशन्यवदनामिः
आमद्र किं पृच्छासईकुतेत्र कैशःपायनःइत्यावेद्यमाने आआः
पाषाःकिमेवमसंबद्धंप्रलपथैतिश्?न्यहृदय एवताःप्रत्वाआय
न्नःऋतभिऐन्नहृदयत्वान्नापरृआः पृच्छन्ने?ऋमेव?एत्त्र इव हृआउरईऋश्शावको
???ईमंशावईलोर्ल इव कार?आआंआआको धेनुआवईरहादुत्कर्ण इवपू०
नकिंआरेईचत्पश्यन्न किंचिद्वदन्न किंत्वईदालपन्न किचिदा
का?आयन्न ग्किचिन्निरूपयज क्वचित्तिष्ठन्न कंचिदा?यन्कागतोस्मि
रव्घंमयाआंराआबाकरोमीति सर्वमेवाचेतयमृआनो?ध इव वधिर
इवमूकैवजड इवाआवईष्टैव कटकमध्यदेशंयावत्तादृश्?एऐवपू?
? ५
१ सन्तीतदूरतयाचापीर० इआईतन


वश्चन्द्रापीड इति समन्तात्ससंभ्रशृप्रधावितानास्म?एईचाततोत्तरीय ?वलनानामुद्बाष्प??यूऋदृष्ट्वीनां ?आदेवलज्जयाप्रणामक्रिययाच समृमेवावनमताराजृन्य् सृहस्राणांमुखान्यवलोक्यस्क्ववैशम्पायनः ?इत्यपृच्छताततस्तेसर्वेसममेव विचार्याअस्मिंस्तरुतलेऽवतरतु तावद्देवस्ततोयथावस्सईतंविज्ञापयामः इतिन्यवेदयनाचन्द्रा पीडस्यतेनतेषां स्फुटाख्यानादपिकष्टतरेणवचसान्तःशृ?आआर्भं स्फुटितामेवहृदयमासीत्? । ?एछं प्कृरआलृप्रणयिनी मूर्छासा धारणमकृरोत्?आतुरगादवताआरईतंच आवईष्टंपितुःसमवयोभि १०रनतिक्रमणीयैर्मूर्धाभिषिक्तपार्थिवैर्धृतमात्मानं तदानी न वोदईत वानाउपलब्धसज्ञोपि चवैशम्पायनस्यादर्शनादात्मतत्त्वदर्शनात् सकईमेतत्क्वाहं वर्ते किंवा मयैतच्चारईतमिति भ्रुमाऋउरूढ इव मुह्यद्भिऋआरईऋवेऋद्र्यिऐःऋसर्वमेवानुअएक्षमाणःकेवलंसेकैर्न्धावारागमनेने५व तर्स्यृंआभावुआदु?रदृसुथा दुर्विपहपीडाभिहतेर्नचेतसाषकईमार १?टामिन्किंहृदयमवष्टभ्य तूप्णीमासोउकईमात्मानमाहत्यहृदयाआ णैर्वियोजयामिकिमेकाकी काचिद्दिशं गृहीत्वा प्रब्रजामिइति कर्तव्यमेव नृआध्रयग्रआ_च्छत्?आअन्तर्द्रवखईवदह्यमान इवस्फुटीन्नव सहस्रधादुःखेन चकारचेतसि । अहोमे रम्योप्यरमणीयः सबृत्तो ??लोकःआन्नसन्त्यपिश्?न्यीभूतापृथिवीआ सचक्षुषोऽ ??प्यन्धाःककुऋभ्राजाताःआसुनिप्पन्नमपिहतंजन्मासुरश्यईतमपि मुआईऊषुतंजीआवईतफलमाकंपश्यामिआकमालपामिआकस्मौवईश्रम्भं कथयामिआकेनसहसुखमासो किमद्यापिमेजीवितेनकाद म्बर्यापिआवैशम्पायनस्यकृतेक्वगच्छामिआकंपृच्छामिआकमभ्य र्थयोकोमेददातुपुनस्तादृशंमित्ररत्नम् । कथंमयातातस्य श्?_शुकनासस्यचात्मा वैशम्पायनेनविना दर्शयितव्यःआकिमभिऋ

१ अनुत्प्रेक्ष्यमाणः इत्तईप २ हतेनेव इआतईन ३ क्रक पृ

धायचतनय शोकविह्नलाऽम्वामनोरमावासंस्थापयित्वव्याआआकईं
भृआमईःकाचिउदसिद्धातांसाधत्यईतुंपश्चात्स्थितः । उ_तनरपतिः ।
कश्चिदस्ङ्घटितः तत्सङ्घटनाय पश्चात्पारईलाबितः । कत्वईद्विर्द्या
काचिदगृहातां तांग्रहीतुंमयोत्सङ्कलितःआ इत्येतानिचान्यानि
चान्तरात्मनाचिरमुधोर??एव र्त्त्वंका?ल्प्य हृदयास्फुटनाद्वि?।
म्रिवापराधिनमिव?मंहापातकिनमिवात्मानं मन्यमानोवदनमदर्श
यच्छनैःकृउच्छ्राआदईव तानप्राक्षीता मय्यागतेकिंकश्चिदेवंवि
धोऽन्तरे सग्रामौत्पन्नः । व्याधिर्वाकश्चिदाशुकार्यसाव्यरूपः
समुपजातः । येनैतदताऋकैर्तमे_वृमहृआवज्रपतनमुपनतमै इतिआ
तेत्वेवं पृष्टा सर्वे सममेव कर?क्त?श्रुतयो व्यज्ञपयन्।१०
आदेऋवृशान्तंपापम् । देवशरीरमिवसाग्रंवर्षशतं ध्रियतेवैश
य्पायेनः इति । एतदाकर्ण्यचोज्जीवित इवानन्दबाप्पनिर्भरः
सं??त?सर्वानेव कगृऋठग्रहेणावादीत्?आजीवतोवैशम्पायनस्या
न्यत्रक्षणमप्यवस्थृआन्मसृंभूआउवयुताऋमयैवं पृष्टाभवन्तः आतज्जीव
तीत्येतानितु तावत्कुर्णेकृतान्यक्षराणि । अधुनाकिंवृत्तमस्य१ष्
येनासौनागतःआ क्व वास्थितः । केनवाप्रसङ्गेन स्थित ।
कथंवातमेकाकिनमुत्सृज्यायाताभवन्तः । कथंवाभवद्भिर्बा
लादपि नानीतोसाआवईत्येतदवगन्तुमुत्ताम्यतिमे हृदयमितिआते
चैवंपृष्टाव्यज्ञपयना देव्रश्रु_?यतांयृथावृत्तमा
पृष्ठतःस्कन्धावारमनुपालयर्द्भिः शनैः शनैर्वैश।पायनेनसह?०
भवद्भिरागन्तव्यमित्यादिश्य»गतवातेदेवेऋ तस्त्व?वसेसुवगृऋहुआईत
प्ंवाद्धोसन्धृ?आआईदकस्य?ए?पकण्यस्यनदत्तमेऋव प्रयाणंस्कन्धावा
रेणाअन्यीस्मन्नहन्याहतायांर प्रयाणशूएंं१ सज्ज?त्कईयमाणेसाधने
प्रातरेवास्मान्वैशम्पायनोऽऋभ्य्रधोता अतिपुण्यंह्यच्छोदार?यंसरः
आ_रुआणे ?ते । तदस्मिन्स्नात्वा प्रणम्य चास्यैव तीरभाआईज?ष्
सिद्धायतने भगवन्तं भवानीप्रभुं महे_यरं शशाङ्कशक्वलशेखरं
ब्रजामःआआदईव्यजनसोवईताकेनकदा पुनःस्वप्नेपिभूमिआरईयमा

छोआकईऋता । इत्यभि?आयचरणाभ्यामेवाच्छोदसरस्तीरमयासीता
त्त्र त्रातिरमृयतृयैवृ सर्वतोदत्तदृष्टिः सञ्चरस्त्वरक्रामिनीश्रोत्रृ
?ईआखरारोहणप्रणयोचिऋतैस्तरङ्गानिलाहतिऋविलौलनृआ»ईत्तभिः ग्कईशच्छ?
?ऐआवि ?लकुसुममकरन्दलोभपु?तुआनां च मचमधुलिहां मञ्चुन्म
षसई_ञ्जितर?एण दूरादाह्वयन्तमिवु मरकतमृणिश्यामया प्रभयानुऋ
लिम्प्र?न्? प्लंदशादईग्भागानअदत्तदि?किरणप्रवेशतया
आदईव प्?र्ंईनाआमईव बिभ्राणर्म् चिरपृ?ऐचिऋ_तैऋरीउप् मेघोद्ग
माशङ्कया ?हुर्मुहुरुन्मुक्तुमधुरकेकारवैर्व?नशिऊखीरण्_डस्मईरुईत्कःध्रैऋरव
१०निजावासामईवजीऊडम्नःनिर्गममार्गमिव सु?ंईएस्याश्रय
मिवमकरध्वजस्य उत्कण्ठाविऋनोदस्थानमिवु रुते?मिईव
१षमईवचानन्यदृष्ट्रिआऋ?इरृस्सूऋतीरन?एऋ?एणृ ?क्षुषा आवईलोकयन्स्त्म्भिएतैव
त्सूआयायुन्मुक्ताङ्गः सुमुपावईश्यभूरमौ किर्मप्यन्त»रातीमनी?इरारन्नि
वानुध्यायन्निव निऋउआ?रेकारवदनो गलितलोचनपयोधारासन्त?स्तू
।०प्णीमधोमुखस्तस्थौ । तथावस्थितंच तृऋऋमव्लोऋक्यृ_आस्माकमुदपाऋआदई
चे??ईपीचून्ता । येन केनचिदपर्हियन्तृए_व रसिकहृदयाःम्
चईंर्तमानाः ।ए तस्माउन्निऊयृतमियृरमस्येमामर्तिएमनोहरा भूमिमालक्त्य?
भावयतृआएहृदयविकृआई_तरीदृशीजाताइतिआनचिराच्च तमेवम
??वदामवयमा दृष्टा दर्शनीयानामवधिरेपाआतदुत्तिष्ठासंप्रति

१अस्मात् पर आलीखत आक्रम्यमाणैव इत्येतन्नास्तिनपुस्तके
१ ज्ञी?आआतईइआतईन प

निर्वर्तयामः स्रानविधिमाअतिमहती वेलाआसज्जीभूतंसाध
आराप्रयाणाभिमुखःसकलः स्कन्धावारृसवां ?ईएआ?
किमद्यापिआवईलावितेनैति । सत्वेवमुक्तोप्यस्माभिरश्रुतास्म
दीयालापैवृजडैव?ऋऋऋइऋवृउआआई?ऋऋभृईउत इऋऋववक्तुंनकिंचिदपि
प्रत्युत्तरमदातातमेवकेवलमुनिमेउपपक्ष्म»णृआनिश्चलस्तव्धोणण्ं ।
पा?ईच्छेउनिपुरमाहस्म । ८मयातुन यातव्यमस्मामदेशाता
गच्छन्तुभवन्ंतः स्कःधावारमादाया नयुक्तं भवतां चन्द्रा
पीडभुजवलपारईरक्षितं गतेतत्सईन्महासाधनं गृहीत्वास्यां भूमौ१०
क्षणमप्यवस्थानं कर्तुमा?युक्तवन्तंतमकस्मान्नाम किंचिदस्य
दैऋवादेव वैराग्यकरणमुत्पन्नृमिऋत्यृआशृङ्कु_यऋसानुनयमागुमनाय पुनः
तवन्तोवयम्रआआआएवंनयुत्तामस्म»आकंस्थातुमा भवतःपुनर्दैवस्य
तारापीडस्य?तुआदार्यशुकनासाल्लव्ध?मनोदेव्या विलासवत्यृऋऋआऋ१?
महतायत्नेनैवांईशक्षितस्य ?ईम्य?येष्ठे भ्रातारई सुहृदि
वत्सलेभर्तारईजगन्नाथेचगुणवति चभव?ऋसर्वर्माआ?ऋ??गते
आतईष्ठतुतावदस्माकतवोपारईस्नेहो भक्तिवेंआर्।अस्मिंस्तुश्?न्यारण्ये?०
भवन्तमेकाकिनमुत्सृज्यगताः सन्तो देवेनचःद्रशीतलप्रकृआईतना
चन्द्रापीडेनैवकिंवक्तव्यावयम् । किमन्योदेवश्चन्द्रापीडोऽन्यो
वाभृवान् । त?मुच्यतामयं संमोह्रः । गमनायईधाराध?ऋ
??त?आइत्यभिआहईतोस्माभिरीपदिव?ईएल नवचनेनास्मान
वादीत् । किमहमेतावदपि नवेद्मि यद्गमनायमां भवन्तःआ?
प्रवोधयीत । अपिचचन्द्रापीडेनावईना क्षणमप्यहमन्यत्रन
पारयामिस्थातुम् । एपैवमे गराईयसीपारईबोधुना । तथापि

किं कशेमिउआअनेनैव क्षणेनसर्वत्र विगलितंमे प्रभुत्वमा
तथा हिआस्मरादईवकिमपि मनोनान्यत्र प्रवर्तेतापश्यन्तीव
किमपिनदृष्टिरन्यतेवलीऋताआसक्तमिव क्वापिहृदयकिमपि
नकाह्यंई?आत?आआह्विनग्ङ्गीआडर्तींआआवानेपतदनुमःपिआदाततुदानत्मना त्वहमसमथो
यातुमाअथवलाद्भवन्तो मां आईउननीपृवःथ् तत्रापिचलितस्या
स्मा?देशादृआत्मृनृऋआए जीआवईऋतधृआऋरण्ंऋआ नसुंभावृया_मिउ । औज्ञ तु
र्यैनईऐस्तिष्ठप्तवो?याआईएईऋस्मतश्लेत य?ईआकरमधपर्र्येन्तईऐ।वप्रयाणीआन७टुऋ?र्र्त?एचतसिएम
१०मै।तदेलेनिर्वन्धेन। गच्छन्तुभवतःआ भवतुयावज्जीवमा
तृप्तेश्चन्द्रापीडदर्शनसुखम् । अल्पपुण्यस्य तु तन्मे प्राप्तमपि
करतलादैवमाच्छिद्यदैवेननीतम् । इत्यभिदधानश्चकौतुकात्१
स्माभिःपुनःपुनःपृष्टोभ्यधात् । लज्जेऽहमेवंवकुमातथापि
१ण्?पाआमुईवयस्यचन्द्रापीडस्यैव जीवितेनयादई किंचिदपिजानाआमई
यत्केंनकारणेननशक्रोम्यतो गन्तुमितिआ अपिचभवतामपि
प्रत्यक्ष खायं वृत्तान्तः । तद्रजन्तु भवन्तः । इत्युक्त्त्वा
मुहूताआदिवचोत्थायतेपुतेपुरायतरेपुतरुतलेपु लतागृहेषु
०उण्सरस्तीरेपुतस्मिंश्चदेवायतने किमपिनष्टमिवान्विप्?ज्ञनन्यदृष्टि
निधानास्तत्प्रतिऋबोधनप्रुत्यृआशृयास्थिताएव । गतवतिसमधिक
इव याम»द्वये शरईऊआरस्थिंतिकरणायास्माभिरभ्यर्थितः प्रत्युवाच ।
उण्८वयस्यचन्द्रापीडस्यखल्वर्मोई स्वजीआवईतादपिवल्लभतरा प्राणा ।
तद्यदि बलादपि पारईत्यज्यमां गच्छन्तितथाप्येषा सन्धारणै
मयाप्रयत्नःकार्यःआकिंपुनृरग्?च्छतामेव । चन्द्रापीडदर्शनेनैव

चाहमथीनमृत्युनाआतदभ्यर्थनैवात्र निष्फलाआइत्यभिधायो
त्थायंस्नात्वा क?मूलफलैर्वनवासोचितां शरीरस्थितिमकरोत् ।
निर्वीर्ततशरीरीस्थतौ तस्मिन्वयमपि कृतवन्तः । अनेनैव च
क्रमेण आवईस्मितान्तरात्मानोरात्रौचदिवाचकिमेतादईति तद्वृ
त्तान्तमेवानुभान्नयन्तृआएदिनत्रयांईस्थत्वा निष्प्रत्याशास्तदागमनाउन ?
वयमायच्चाग्रतोनप्रेपितः संवादकस्तदेकंतावदन्तरागच्छतो
चन्द्रापांए?सतु तंस्वप्नेऽ?नुत्प्रेक्षणीयंवैशापायनवृत्तान्तमा १०
पुनरीदृशस्य सर्वपारईत्यागकाआईरणो वनवासैकृश्_आरणस्य वैराग्यस्य
कारणंभवेतार्स्वायंचन पश्यामिकिंऋउचिऋऋत्?वलितमातातप्र
सादात्तु मामिव तमपि चरणतललुठिंतंचूडामणयोऽर्चयन्त्येव
हीयतोऋममेवतस्याप्याज्ञार्नांव?न्यते एवाअऋहमिवसोऽपि
ऊऊऊ । ।ऊ व?ऊऊ ५वर ?व_
मयीवतस्मिन्नपिऋसर्वाःसम्पदः । तमप्यींलोक्यमाआमेईवोत्पद्यते
स्पृहालोकस्यीआनप्य?आगच्छंस्तातेनाभ्बया चार्यशुकनासेनमनोर
मयाचतनयस्नहौचितेनसौहार्देननसभावितः । आवईनय?आधि?०
क्येच्छुना तातेन शुकनासेन्र्र वृआऋ किंऋचितृपृआई डाक्र?ईउआभईह?म्रआ
ताडितो वा । तत्राआईपनैर्वांसावेवमस्नेहलः पिशुनस्व्रर्भोवो वां
गुरुजनाभक्तोवा गुणोर्पेउआदेंआन्र?विक्तजतरलचित्तोवुआयूआ_इत्ंक
आऋयकध्यईदिव क्षुद्रृप्र?ति?रा?ऐ?आ?तो शिक्षितो
? २र्ंआ ? ?
१ लुआलईतैऋऋआतईनृ

रोपकाआरईऋणो गुरुजनज्जपारई खेदमेवं कुर्याउदनुवन्धाप्तद्वरमेद्वा ।
प्रशमस्यापीदृशस्य नैष कालः । अद्याऋप्यसौ विद्वज्जनोचिते
गार्हुसयएवननिवेऊऋआईश्?आ आएआ देवीऋपईईतृउमनुऋप्ंयीणै?ण्यवेनापंभ्
आपैत्रैसतत्य?द्ध्यंंंईईआवश श्लड्र।ऋआ?ऋरआनर५ईवआमर्नांदईएऐता?भ्रर्म?त तं
न गुरवोऽनुवृत्त्या सुऋऋखृंर स्थ् ऋऋआपिताः । नृ ? ग्धवन्धूनामुप
कृतम् । नप्रणयिनोनिर्विशेषारवईभवतांर्नाताः । नसाधव?
१०पारईवार्घईताः । नानुजीआवईनःसावईऊभक्ताः । नाभ्यागताःकृताआ
नि?षःआनदृष्टाःश्रुता???उःउ ?ंआनजातेनजीवलोकसुखा
न्यनुभूतानिआन तेन पुरुऋऋषृआर्थृसृआधृनृआनां धर्मार्थकामानामेकोपि
आहईप्राप्तः आआकईमेतत्तेनकृतमा ?
इत्याक्षिप्तचेताश्चिन्तृयृंश्चिऋऋरभिव त?न्नेव तरुतलेउ स्थित्वा
१?शन्यहृदयोपि?थाआई।ऋणप्रसादस् ंमाऋनृसूआभृऋआवनासंभाआवईऋत वि
सर्ज्यसकलमेवारार्जृकमृउत्थुआय तत्क्षणकृतमुत्तम्भिततुङ्ग
तरत?एवद्धचन्दनशम् उ?णर्श्व्स्थापितोत्पल्लवमुखपूर्णहेमक
णुसुर?कुसुमप्रक्रमितस्ततः सञ्चर न्तकलोकेनगृही
?०तविवि ङ्ग मीण्?आचामृरतान्तरत्न?पादका?उपकरणंपाणिभि
र्वारवान?इर्श्चाढाणाम् विरतानतलवर्तिना मदामोदाधिवुआसित
आदई_गाननेनत् ल्रपा?जन्हद्रीआस्तनागन्धम्र?ईउऋन नाथाकृतैकपाश्वप्मपर
॥चमहाजल??_आश्नुरर्श्वारणंम्?१ईतथा आर्ह सवेलावनमिवयामा
बस्थितानेककारघृटृआऋपरिकरेण अंतःप्रावईष्टमहाशैलामईवगन्धमा

सावृर्तमिव प्राहूआरईकजनमृण्??आव?आनैः सल?मीकमिव वराङ्ग
नाआईभः सरर्लईमिव महापुरुषैःसहंसमालमिव आईसतपत्राकुआभिः
प्रावईश्य चागृहीतप्रति?र्मीश मलिनवेषाआईभरुआद्वईग्नदीनगुर्खा
आई?आरईतस्ततोवाआउआङ्गृनृआ?ईभर्याआ_मईक्वलोर्कनकर्मान्तिकैश्च प्रणम्यमान
स्?आईआमिवाङ्?आएक्र???उवमदामोदेनावेदईते निसृष्टश्?न्यदृष्टिर्ग
न्धमादनेशनःश?आर्वासभवनमयासीतातत्र चापनीतसमायोगो
विमुच्याङ्गानि शयनीयेतरुतालवृन्तानिलेनसवीज्यमानोऽङ्गस
वाहृकाआरईभिश्च शनैःशनैरपनीयमानागमृ नखेदः सकलरजनीप्र१०
जागरखि?आएपिचाप्राप्तनिद्रासुसो दुःरृ?आसिऋकृया पुनरपिदुःखा
न्तरहेतुं चिन्तामेवाआवईशता आयदि तावदप्रतिमुक्तस्तातेनाम्वया
वामहति शोकाआ?रावे निक्षिप्यतौ तनयविरहशोकावईक्लवतातं
शुकनासमावा च मनोरमामृनाश्वास्यास्मादेव प्रदेशाद्गच्छामि
तदा मयापि वैशम्पायनस्यानुकृतंभवति । निवृत्य पुनर्गमने१आ
चामुक्तिपक्षमाशङ्कतेमेहृदयमातीत्क करोमिआअथवाऽस्थान
प्रकारेण गमनमुत्पादयता कादम्वरीसमीपगमनोपायचिन्तापया
कुलमतेरुपकृतमेव । तदधुना वैशम्पायनप्रत्यानयनाय यान्पं
नतातोनाम्बापि नार्यशुकनासृआएआईपनिवारश्यईतुं शक्रोआईतमाम्॥०
गतश्चवैशापायनसहितस्तेनैवपाश्वानपुरस्ताद्गमिप्यामि । इति
निश्चित्यतत्कालकृतं वैशभ्पायनावईयोआआदुःरवंपारई_णामृसुखमौषध
मिववहुमन्यमानो मुहूर्तमिवस्यित्वा आवईश्रान्तःसु?ईतेंंरङ्गैरा
ष्टाभेनैव सस्तभ्य हृदयं श्?याःतरात्मापुनरेव सवाआइराताशेष

राजलोकःशरृआईर?तिमकरोत्? । कृताहारश्चान्तर्ज्वलतोमदना
नलस्य वैशम्पायनविरहशोकाग्नेश्च वहिरपि सःतापदानाय
साहायकमिव कर्तुम् ८उपारई स्थितश्चातिकष्टमष्टास्वपि आदईक्षु
?तलमध्यमारूढे सवितृआ?ईरा आतपव्याजे?ई?आमईवोत्तप्तमु
द्गिरातईरश्म्रिजाऋले निआर्र्भद्यविशन्तीष्विऋवृशुरीर्रमातपृकणिऋकासु
आआ? निपानसरःपुङ्कैऐम्वींख्यै?ऋक्?आआर्यूईर्थे५ईंरपु रक्ततर्मिऊरसर्कां?ऐतपु
? ।
रगुणेपुवाञ्छ्यमाने पयोदकालाभ्याआआमेअभ्यर्थ्यमानेदिवस
पारईणामेप्रदोपृदर्शनाकाऋलपु हृदयेपु उत्थायृसरस्तीर?ई
तम् अईनेवरतौपतज्जलांसांरसेकनिवारआरईतोप्णंकरकिरणसन्तापम्
ए»कसन्तानावर्लीईधारा वाआहईन्यारआरनर्र्ज्ञ् आरईण्येइंव?ल्?रप ख
श्०प्तृमन्तरा?? त्_आऋ?ऊरेवालाआईहतान्ध??आरृआरश्रुकुसुम
तारविन्दराशिदत्त्प्रकरमाकीर्णसस्?बिए?सकाण्डम् अक्राण्डक
?आताभिआरईव?सद्यः स्नानार्द्रर्चि?।रेरहुस्तैरुआऐभिरु _प्रपगृ?आतसुरक्तिईऋ०।
१ अतनु भूतलमित्येतन्नाआईस्तनपुरूआके

२आमिववाआरईवाहानृआम् तिरस्कारमिवरविकराणाम् हृदयमिव?ए
र्सरसःसहोदरमिवहिमगिरेःस्वरूपमिव जडिम्नःआवासमिव
तत्र चातिरम्यतया क्षुभितमकरध्वजृआए?ईत् आसहस्रविषमं ०??
जलासारशिशिरतया संधुक्षितसुहृद्वियोगानलं महासमुद्रमिव
द्वितीय?वृ??एचलितव्यं सज्जीकुरुतसाधनम् इत्यादिश्य
वलाध्यक्षमृआए_ एवावईसर्जिताशेषराजलोको वासभवनमध्य१?ए
वसताअथातिचिरान्तारईतोज्जयिनीदर्शनोत्सुको आवईनापिप्रयाण
नान्द्यासकलएवकटकलोकःसंवृत्य प्रावर्ततगन्तुमारअऋआत्म्रृ
नाप्यलव्धनिद्राआवईनोदोऽवतरत्येऋवतृतीयेयामे तुरृऋगकाईरणीप्रायु
वाहनेन्रनिआतईबहुनाराजलोकेनसह विरलकटकसंम्व?र्दनचर्त्मना
चहताअथाऋध्वनैवसृह क्षृआईणायांयामवत्याम्र रसातलादिवो?०
न्मज्जत्यु सं?र्?एर्_पु उंन्ंमीलन्तीष्विव दृंष्टिपु पुनारईवान्य्रथा
हन्त्याःपदेइववहुललाक्षारसालोहितोदईवसश्रियोऽवश्याससे ?ईआआ
न्नवपल्लव इशेऋद्भिऋद्यमाने पूर्वाशालतायाः कमलिनीरागदांयिनि२।
?ईदुवसकरविम्बेविस्पष्टै प्रभातसमयेकटकलोकेनैव सहपराप

अथ दूरत एव प्रसृतिद्वन्द्वसंस्थितैश्च पुञ्ज्यमानैश्च पुल्लईतैश्चा-
बद्धमण्डलैश्चोपविष्टैः वलितैश्च दत्तकतिपयशून्यपदैश्च निवर्त्यमानै-
श्चागच्छीद्भश्चोन्मुरवैश्चाधोमुखैश्चोद्बाष्पदृष्टिभिश्च विवर्णदीनवदनैश्च
पितृभिआरईव सुहृद्भिआरईव त्सईग्धबन्धुभिआरईवच नगरीनिर्गतैरार्त्या
पृच्छ्यमानंकथ्यमानं चविचार्यमाणंचानुभाव्यमानं चवैश
शृण्वंश्चचकारचेतसिआआबाह्यस्य तावज्जनस्येयमीदृशीसम
१०वस्था।किंपुनर्येनासावङ्केनलालितः सवर्धितोवावालचावटवो
स्यानुभूत?आःआतदतिकष्टं मेवैशम्पायनेनविना तातस्यशुकना_
सस्याम्बायामनोरमायावादर्शनम् । इत्य५वंचिन्तय?आनिउ
आईहतोद्बाप्पदृष्टिरदृष्टसर्ववृत्तान्तएव विवेशोज्जयिनीमाअवतीर्य
चसराजकुलद्वाआरीवईशन्नेवार्यशुकनासभवनं सहदेव्याविला
१ष्सवत्यागतोराजोतईशुश्राव।श्रुत्वाच निवर्त्यतत्रैवजगामा
तस्मि??आरण्येस्थितःआ केनते तत्रापि । आघाउतकाउ
आरईणीशरीररक्षा कृताआकेनवै_षम्यप्र्रतिउप?ईथनी शरीरश्यईतिः
बुभुक्षिते तृषितेसुपुप्सति वादुःखितः । ममोत्सङ्गमुत्सज्य
समानसुखदुःखा वधूरपिनपुत्रक त्वयोपात्ताआआगतमात्रस्यैव
ते पितरमनुज्ञाप्यात्यर्थं वधूमुखमवलोकयिष्यामीति ?म्यूआ
चिआईन्ततंकेवलं तनूमेमन्दपुण्याया नृ सम्पन्नमा परंतवापि
आआ?ऐमामपि त्पईतरंविज्ञाप्य । त्वामपश्यन्तीआआरी ?आईउआएवामिआ
तातत्वयाहं ?शशवेपिनावमा ताआकु मेकंपद

निष्ठुरता जाता । आ जन्मनः प्रभृति न दृष्टमेव यस्य कुपित-
माननं तस्य ते कुतोयमेवांवईधो मय्यकस्मादेव कोपः । यदेवं
पारईत्यज्य स्थितोसि । गतोप्यागकच्छ शिरसा प्रसादयामि त्वाम् ।
कोपरोसस्ति मे । देशान्तरपारईचयान्मुक्तो नामास्मासु स्नेहः । क्षण
मप्यनन्तीरतदर्शनस्यचन्द्रापीडस्योपारईकथं तवेदृशीनिःस्नेहता ष्
जाताआतातनभद्रकंतेसमापतितमा सर्वएव सुखंस्थाप
नीयोगुरुजनोदुःरवंस्थापितःआ न जानाम्येवंरूत्वाकिंत्वया
प्राप्तव्यमाएतानिचान्यानि चान्तर्भवनगतांप्रत्यग्रतनयविरह
शेकविह्नलांस्वयंदेव्या आवईलासवत्यासंस्थाप्यमानामपिमनोरमां
विप्रलपन्तीमश्र?आपीत्?आ १०
?तेन चातिकरुणेन तअलापावईपेणविह्वल इवनिद्रागुमेनेऋव
चूर्णमानोनि५श्चतनतामनीयत।कथंकथमपि सहजसत्त्वृआवष्टध्भे
मधोमुरव एव निउस्पन्दसर्वा५ङ्गंणमन्दराद्रिणेव शुकनासेन सह
मथ्नावसानुस्तईमितमिव महार्णव प्रणम्यपितरं सूत खेपा१ष्
आवईशत्?आउपविरष्टं_ चतंक्षणमिवदृष्ट्वा राजान्तर्बाप्पभरगद्गदेन
ते स्वजीआवईतादपिसमभ्यधिकाभ्रातुरुपारईप्रीतिम् । पीडाच
सुखैकहेतोर्वल्लभजनादेवासं_भाव्यृआ य्रुआसमुत्पद्यतोआतथैव आ?
आकेचिउन्न क्रिय?तेर । तृज्जनुमनः५स्नहैस्यृ९ वय?।शीऊक्र?श्रैर्तस्य?०
गुरु_जनाच् ?विनुयाधानस्यच सर्वस्यैवानुज्ञिईताममभ्रोतु ४
सुहृदश्चतेवृत्तान्तमाकर्ण्यत्वदोपमाशङ्कते मेहृदयमाइत्येवं
प्रावृडारम्भैव तडिल्लतादु_उप्प्रेक्ष्यृआएऋ आवईस्कूआईर्ज्जतेऊनैवस्फुआरईताधरेण
शुकनासोव्रवीत्?आ ।?

१ तयैवाइआईतक

देव यदिचन्द्रमसूप्मा दहनेचातिशईऋआतलत्वम् अंशुमा
लिनि वातमः त्तमास्वन्यांवा आईदवसःमहोदधौवा श्क्त्पः
क्षितेरधुआरणंवाशेषेपरार्थानुद्यमोऋ वासाधोःअप्रियवचननि
गर्मोवास्वजनमुखात्सभाव्यन्तततोयुवराजेऽपिदोषः आतत्किमे
आवमे?ईवा त्तस्यानात्मज्ञस्य मूढप्रकृतेर्दुर्जातस्य राजाप?आयका
आरईणोमातृपितृघातिनोमित्रद्रुहःकृतघ्नस्यकर्मचुणृडालस्यमहापा ।
चन्द्रापीडमेवं सैंंभावयति देवः । न ह्यतःपरमपरं कष्टतरं
किंचिदपिपीडुआकारणंयद्रुणे?र्त?मानोद्वोपेपुसंरभाव्यतैतर ?
१आजनेनुआपि किपुनगु०रुजनेन । योगुणी गुणैरेवाराधनीयः ?
कस्यापरस्यात्मा गुणवाननेन ज्ञापनीयः । अपिच जन्मनः
मृरुतैवदुर्ग्रहप्रकृतेश्चन्द्रापीडोपि आ?करोतुआस्वयमेवोत्पद्यन्त
१णन्??पूआ॥महाव्यालाःविन?च् तवो?म?ंताः ङ्गेवृत्तयो
?आआसज्ञाआरजश्रैर्रै नि?रग१रैरर्वीय्?रैइर्???ऋआ।इर्?र्ंर्रीऐ?।ण्?ऋआआ??इर्?७?आआआऐ?लना?
।०ल्मीधिष्ठिताःए।इं?एएआः कृ?आणाऋइव?र्स्नेहनवृपरुऋष्यं
?आसरागाः पल्लवा इव आदईवसारूढ्यैकप?ए । ?ईआपदामृष्ट्र?
दर्पणा इवाभिमुख्येऋन स?र्ंम्ती??ईऋ?त।_?न्तर१स्व।च्छवृत्तय।
सलिलाशया इव गाढावगाहनेऋनैरवकालुप्यमुपईयान्ति । येच

स्निग्धैप्वपिरूक्षाः?ष्वपिवक्राःए साधुष्वप्यसाधवःगुणव
?स्वपि दुष्टप्रकृतयः भतृर्यृप्यभृत्यृआत्मुआ_नृऋः रागिष्वपि क्रुद्धाः
निरीहादप्य?ईसवईः आमईत्रेर्प्वपि द्रोआहईणः आवईश्वस्तानामपि
घात»क»आःभीतेप्वपि प्रहाआरईणःप्रीतिपरेष्वपिद्वेपिणःविनीते
प्वप्युद्धताःदयापरेष्वपि निर्दयाःस्त्रीप्वपि श्?आःभृत्येप्वपि ।
क्रूराःदीनेप्वपि दारुणाः । येपांचत्त्वईश्??ं गुरवएव
लघवःनीचाएवोच्चैः अगम्याएव गम्याःकु ष्टरेव सद्दर्श
अनाचारएशचारः अयुक्तमेवयुत्त्क्तमावईद्यैवावईद्याआवईनय
आवविनयःदौःशील्यमेव सुशीलताअधर्मएवधर्मःअनृत १०
श्रुतमलजलायनोपशमाय पराक्रमःप्राणिनांमुपघातायनोपका
राय उत्साहो धनार्जनाय न यशसे स्थैर्य व्यसनासङ्गाय
नचिरसङ्गताय धनपारईत्यागःकामायन धर्मायाकिंबहुनाआ
सर्वमेवयेषां दोपायन गुणायातदसावपीदृश एवकोप्यपु १?
ण्यबानुत्पन्नो यस्यैवं कुर्वतोआमित्रमहं चन्द्रापीडस्यकथं तस्य
द्रृआएहमाचरामिइतिनोत्पन्नंचेतसि । आएवंकृतेचा_लईतवृत्त्रानुआं
शाआ_सईतावश्यंतारापीडो देवःपीडितान्तरात्मामयि कोपंकारई
प्यति इत्येवमपिनाशङ्कितंमनसाआआमातुरहमेवैको र्जावितनि
वन्धनं कथंमयाऋ विनावुर्तिप्यते इत्येतस्यनृशंसस्य हृदये?०
नापतितमा पिण्?डप्रदोवंशृसुन्तानृआर्थमहमुत्पादितःप्त्रिआकुऋथम
ननुज्ञातस्तेन सर्वपारईत्याग करोमिइत्येतदपि यथृआजातर्स्ये न
बुद्धौ?आतमातदेवमसत्पृश्_प्रवृत्तेन नष्टात्मनासुसूमुद्भत्तेन
दुदशमदृ?ं त्राऋवून्ननाम कुदृष्टिनादृष्टम् । दृष्टमपियेन न

१ आलजालाय नोपशमाय इत्येतन्नाआईस्त नपुस्तके २ दुर्दशम्

यलेन शुक इव पाठितः पुष्टश्च देवेन । अथवा विनाएददानात्ति-
रश्चामपि सफल एव शिक्षणायासो भवति । तोपि पौषिताः
पोआईषतारई स्नेहमाबघ्नन्ति । तेपि कृतं जानन्ति । तेपि परिचयम-
नुवर्तन्ते । तेपामपि सहजस्नौ मातात्रिआएरुपारईदृश्यत एवा
? नपुनरस्यनष्टोभयलोकस्यपापकाआरईणो दुर्जातस्ययस्यस्रर्वमेववु
धस्ताद्गतमाअपि चेदृशाचीरतेन तेनाप्यवश्यमेवकस्यत्विऊत्ति
र्यक्रेकृ पतितव्यृं येनतावहुरात्मना जातेनकेवलं सुखं न
एवह्यनूआक्षिप्तचेताः प्रवर्तते स्वहईताय परहितायचातस्यतु
सुखायैवास्माकंतृस्यृपापकर्मणौ ग्रह्येपसृष्टस्यजन्माइत्युक्ष्पा
हेमन्त्कालोत्पलिनईऋआआमईवोद्बाप्पां दृष्टिमुद्वह् न्नु?एई_पतूआधरश्च ब्वहिर
१?ऋ तदवस्थंचतंतारापीडृ ःआ?वाच् । एतत्खलुप्रदीपेनाग्नेः
प्रकाशनंवासरालोकेन भृऊआद्ध्वूंःसमुद्भाआसनश्वश्यायलेशैराह्लाद
ममृऋतांशोर्मेघा?बुबिन्दुभिरापूरणृंपयोऋधेऋव्यजूनानिलैऋरतिवर्धनं प्रभ
नस्य औंर्यदस्मद्बिधैः पारईबोधनमार्यस्य । तथापि प्राज्ञस्यापि
?क्ला आपविवेकिन्तापा??स्यापिसत्त्ववतोप्यवश्यृंदुखृआति
?०पातेन विशुद्धमीःप वर्षसलिउलेन?सुर इवमानसं कलुपीक्रईयते
सर्वृस्य । कलुषीकृते चमानसे किमिदमिआईतसर्र्वेमे»व दश्रआर्?ं
नश्यातीन त्वईत्तमालोचयतिआन बु?ईर्बुध्यतोनावईवेकोपि
विआवईनक्तई । येनब्रवीमि । अऋन्युद्गस्मत्तोलोकवृत्तमार्य एव
सुतरांवेत्तिआ किमस्ति कश्चिदसाआवैयूंआईतुंलोके यस्यनिआर्वई?ंआआ?एं
श्?यौवनमतिक्रानुतम् । यौवनावतारे आईहशैशवेनैव सहग?आति
गुरुजनस्नेहःआवयसैव सहारोहत्यस्मईनवाप्रीतिः । वक्षसैवसह

१ सहजन्म इआईतप २ व्रवीत्यदःआमत्तो इतिन

विस्तीर्यतेवा??आ । षलेनैवसहोपचीयतेमदः । दोऋ?र्रयेनैव
सहस्थूलत्गमापद्यतेधीः आम?आएनैवसहकार्श्यमुप्रयातिश्रुतमा
ऊरुयुगलेनैव सहोपचीयतेहृदयमावईनृयैः । श्मश्रुभिरेवसहो
ज्जृम्भते मलिनताहेतुर्मोहःआआकारेणैव सह्नाआवईर्भवांन्तहृदया
ः आतद्यथाधवलमपिसरागंसर्वथादीर्घीभवदपि नदीर्धं?
पश्यतिचक्षुः । अनुऋपहतेपिन प्रविशतिगुरूपदेशः श्रोत्रो
गण्यपिनविऋद्य्राऽन्तरं आवईनृदा?ईउहृदयोस्थैर्यमस्थिरप्रृकृताऐ
आवेकाराणां चष?आरा?आं प्रायः?आऋरुमता । सा च सर्वमेव
जल्ष्ठप्रायंकुःर्वाणावपोआतईवृ?एंवोपजुआयूतो अपिचादईवसोदोषा आआ
आआमारय दोआआआगमोऽनालेऋआर्ंआगयुअमालोकोऽसदर्शनार्थम् असद्दर्श
नमावईवेकाय आईववेकांएऽसनृमार्गप्रृवृत्तयेअसन्मागईवृत्तंचमो?आन्धं
आईरतो दुआनवार स?रीआवनयहेतुःकुसुमधन्वा । आवईलसति च१
कुसुमृम१र्गणे केनकार्येण छिद्रसृहस्राणिनभवीन्त यैः सत्त्व
मेवाघ?आआद्बजति । सत्त्वे चाधोगते किमाश्रित्य न गलति
शीलमाकिमवल?नांवईनयस्य । किंकरोत्वनाधारं धैर्यमा
क्वपदमाधत्तांधीः आक्वसमाधानमाबध्रात्ववूष्टम्भः । केनवाव
श्भ्यवलान्निश्चलीकृतं मनःआआवईप्र्तिपद्यमानानिकेननियी।ण्
तानीन्द्रियाआईणाजाआन्निन्द्यानिकेननिवांआरताआएन दुश्चारईतानिआ
केनवालोक तेनतमोभिवृद्धिहेतु?साआरईतोदोषाभिपङ्गो दृष्टेरु
पहुन्तृआ । ?ऐ दृश्यतामसतिबहुदर्शित्वे । बहुदार्शीआऐत्व्च
सावतः कालस्यैवासंभवात्कुतो भवतु प्रथमे वयसिआयेनुआन्व
यव्यतिरेकाभ्यांनिश्चित्यवर्ज्यतांमालईनता । अपिचपारईणाआआ

१उपर्चायतेऽआवईनयःइआईतन २।नस्थैर्यम्। ?आतईन ३।आस
?एपुइआईतन ४।वर्जयातईमीलनृतामि?ईन

मेपि पुण्यवतां केपांचिदेव हिकेशैः सहः धवलिमानमाप-
द्यन्ते चा?रईतानि । तन्मोहावईषयमहाहौ मदविकारगन्धमातङ्गे
दुर्विलासईतैकराज्ये रतिनिद्राविलासवेश्म?नि नवरागपल्लवोद्गमली
लान्तविशेपदुश्चारईतचक्रवर्तिनितारुण्यावतारे सर्वस्यैवावईपमतर
विषयमार्गपतितस्यस्खलितमापतति । किमेवमार्येणलालनीयस्य
निप्क्रामतिशभमशुभंवा शिशुषुतदवश्यं फलतिआगु?रवोहि
दैवतंवालानाम् । यथैवाशिपोगुरुजनवितीर्णा वरतृआमापद्यन्ते
१०तथैवाक्रोशाः शापताम्।तद्वैशम्पायनमुद्दिश्यकोपावेशादेवमति
पितेपु तरुपु यावदुत्पद्यते स्नेहः किं पुनरङ्गसम्भवेप्वपत्येपुआ
तदुत्सृज्यतामयममर्षवेगोवैशम्पायनस्योपारई । विरूपकंतुतेन
नकिंचिदप्याचारईतम् । सर्वपारईत्यागंकृत्वास्थित इत्येतदपि
मयमविनयनिष्पन्नोदोषएवाआनीयतां तावदसौआबुध्यामहे
किमर्थमयमेवंविधस्तस्य वयसोऽनुचितोपिसवे?ग उत्पन्नःआततो
इत्युक्तवति तारापीडे पुनः शुकनासोऽभ्यधात् । अत्यु
२०दारतयावत्सलत्वाच्चैवमादिशति देवःआअन्यदतः परंभवदपि
किमिवास्यविरूपकं भवेद्यद्युवराजमुत्सृज्यक्षणमन्यत्रावस्थानमा
त्मेच्छया चोईष्टतमाइत्युक्तवतिशुकनासे कशयेवाःतस्ताआईडतो
शनैःशनैःशुकनासमवादीत् आआर्ययद्यपिनिरुक्तितोवेद्मिन
तमेवकस्यवापरस्यसंभावना नोत्पन्नामिथ्यापितत्तथायथा

१ भवदापैत्यतन्नाआस्तनपुस्त?क

गृहांतं लोकेन आवईशेपतोगुरुणा । प्रृआईऋउसद्धिऋरत्राउयशसे यशसे
वा?एरषृगुणाश्रयावाफलवती । आआश्ल् दाऋयी कुत्रोपयुज्यते
परमार्थःआतदस्या दोषसभावनाया प्रांयृश्चित्तमार्योदापयतुमे
वैशम्पायनानयनाय गमनाभ्यनुज्ञांतातेनानान्यथा मेदोषशु
द्धिर्भवतिआआकईकारणमाअनागते तुवैशम्पायनेतातस्यानयाऽ
संभावनया नापगन्तव्यमाअगतेच मयिवैशम्पायनेननाग
न्तव्यमायद्यसावन्येनानेतुमेवपार्येत तदातातस्याप्यनुल्लङ्घनी
यवचनैरोईभरवनिपतिसहस्रैरानीत एवस्यात् । तदार्यःकारयतु
मेगमनाभ्यनुज्ञयाप्रसादम् । नचतुरङ्गमैर्गच्छतोमेदृष्टायां
भूमौस्वल्पोपि गमनपारईक्लेशः । वैश।पायनमादायागतमेवमाम१ण्
गजन्माआअनुपदमेव स्कन्धावारमादायागच्छतीत्यमुना हेतुना
आवईनातेनागतोहम् । अन्यथाजन्मनः प्रभृतिकदा मयागतं
आईस्थतंक्रीडितंहासईतंपीतमशितं सुप्तंप्रबुद्धमुच्छ्वसितंवाविना
वैशम्पायनेन । यच्चश्रुत्वातस्मादेवप्रदेशान्न गतोस्मितन्?आ?
तेनैवतुल्योऽभूवमितिआ तदप्रतिगमनदे??आद्रक्ष् ?मामार्यःआ
१इत्यभिहितवति चन्द्रापीडेऽन्तःपीडोपरागरक्त रक्ततामरसा
नुकाआरीईण मुखे सपक्षपातां षटुदावलीमिव दृष्टिं निवेश्यैव
आगमनाय विज्ञापयतियुवराजःकिमाज्ञापयतिदेवःइतिशनैः
शनैः शुकनासो राजानमप्राक्षीत् । तथा पृष्टश्च शुकनासेन?०
किंआईचदिव ध्यात्वातारापीडः प्रत्यवादीताआर्यमयाज्ञातमे
तेप्वेव दिवसेपु संपूर्णमण्डलस्येन्दोर्ज्योत्स्नामिव करावलम्बिर्नां
स्यवधूंद्रक्ष्यामीआतईयावदयमपरोन्तर्हिताशापथोऋ जलदकाल
पातितःआयथा चायुप्मताभिहितमेवैतत्?आन तमन्यःशक्रोत्या??
नेतुमानचर्भ्रूईएआविनाऽयमत्र??कृम्रातदवश्यमेव तावन्नि
स्तीरतव्यो?र्?र्णवोऽमु?ऐएआ वैशम्पायनप्रत्यानयनाय

चावश्यं देव्यपि आवईलासवती विसर्जीयप्यत्येवैनमिति निश्चयो
रादार्यो दिवसलग्नई चगमनायास्य निरूपयतु संविधानं च
कारयत्विति । एतदभिधाय शुकनासमुद्बाप्पलोचनश्चिरमिव
ष्चन्द्रापीडमालोक्याहूय च विनयावनम्रमंसदेशोरिसिबाह्वोश्च
पाणिना स्पृशन्नाआदईशता वत्स गच्छत्वमेव प्रविश्याभ्यन्तरं
मनोरमासहिताया मातुरावेदयात्मगमनवृत्तान्तम् । इत्याआदईश्य
चन्द्रापीडमात्मनाशुकनासमादायस्रभवनमयासीता चन्द्रापी
१०नोद्वहन्प्रहृष्टातरात्माप्यपहर्षदृष्टिः प्रविश्यकृतनमस्कारो मातुः
समीपे समुयविश्यात्मदर्शनद्विगुणीभूतवैशम्पायनविरहशोकत्त्वईह्वलां
५आ आआब समाश्वसिहिआवैशम्पायनानयनायतातेन मेगमन
मादिष्टम् । तत्कतिपयीदवसान्तारईतंवैशम्पायनाननदर्शनो?कं
आकईमात्मगमनवचसा मांसमाश्वासयसि । कःखलुमे त्वयि
तस्मिंश्चविशेषःआतदेकधा तमेकंनपश्याआमई कठिनहृदयमा
तदपिदूरीभवतिआतून्नुऋगन्तव्यंवृ न। एकेनापिआहईयुवयो
?०रावांपुत्रव?ऐ।अपिनागतोनामास निमुरात्माआइत्युक्तवत्यां
मनोरमायांविलासवती धीरमुवाचाआप्रियसत्सईतव ममचैव
मेतद्यथात्वयोक्तमाअयं पुनर्वैशम्पायनेन विनाकं पश्यतुआ
मन्येचपित्राप्ययमेतदेवाकलय्य गमनायानुमोआदईतःआतद्यातुआ
?ष्वरमावाभ्यां कतिपयादईवसाननयोरप्यदर्शनकृताः क्लेशा अनु

१ दर्शनोत्सवम् इआतईन २।हृदया। इआतईन ३।चदयितस्या

भूतानपुनरस्य वैशम्पायनाननानवलोक?नदुःखदीनं आदईनोईदने
वदृनमीक्षितुम् । तदु?ईष्ठगच्छावो गमनसंविधानाय वत्सस्य
इत्यीआआदधत्येव मनोरमांहस्ते गृहीत्वोत्थाय चन्द्रापीडेनानु
गम्यमाना निजावासमयासीत् । चन्द्रापीडोपि मातुः समीपो
गमनालापेनैवक्षाआआमईव स्थित्वा गृहमगात्?आतत्रचापनीतसमा
आयथाआईवनापारईलम्बेनमेगमनंभवति तथाभवद्भिरार्यशुकना
व्यज्ञापयन् । आदेवयथारावई एवग्रहाः स्थिऋतास्तथास्मन्म्तेन१ण्
तेःव?गमनमेव वर्तमानेन शस्यतोअपरमपिकंर्मानुरांएधाद्रा
जेच्छैवकालः आतत्रापिनकार्यमेवाहर्निरूपणयाआराजाकालस्य
कारणमायस्यामेवूवेलायाचित्त?वृआएत्तःसैव वेलासर्वकायंपुआ
इतिआवईज्ञापितेम?ऐतैंकृऐः पुनस्तानब्रवीतातातेनैवमाआदईष्टमिति
व्रवीमिआअन्यदु?ईएत्यायक्र कार्यैपुकार्यपराणां प्रतिक्षणोत्पादिपु
चादईवसनिरूपा?आव कादृशीआतत्तथाकथयिप्यत यथाधएव
गमनंभवेतिति । देवःप्रमाणामईत्यभिधाय गतेपुच तेपु
शरीरस्थिआतईकरणायोदतिष्ठत्र । निर्वीर्ततशरीरश्यईतिंचमौहूर्ति
कास्ते पुनःप्रावईश्य शनैर्न्यवेदयन् । आकृतोस्माभिंर्देवादेशःआ
सिद्धश्चतनयविरहावईक्लवतयार्यशुकनासस्य । तदतिक्रान्तेश्रम।०
ने?निरात्राआवईतः प्रस्थातव्यं देवेनाइत्यावेदिते तैः साधु
कृतमितिमुआईदतचेतास्तानभिएउत्य दृष्टिआवईपयवर्तिनीमेवकादम्बरीं
चैशम्पायनंच मन्यमानोऽप्रविष्टायामेव पत्रलेखायापरापतामी
?ग्रप्रधाआवईतेनावधारयंश्चेतसा चतुःसमुद्रसार?आनिन्रद्रायुधरयानु
गामिनस्तुरङ्गमशूणेयुआनवगणिततुरङ्गगमनखेदानुत्साआहईनो राङ्गा?

१ आत्याःईतकेपुइआईतन

पुत्रांश्च निरूपयत्ननन्यकर्मातं आदईवसमेकां च याभिनीं कथं
। ?अथानुरक्तकमलिनीसमागमाप्रत्सिसन्तांपाआदईवसमं आदईवसेना
ष् गमपराशयाऊसूहैंविशतिपश्चिमेगगनभागोसध्यानलस्फुलिङ्गनिकर
आ?ई? ?एंर्शूईव तमत्सपुरनर्जीवंर्लीएकंएनिजालोकाद्विका
१०शितेपूर्वा?ईवधूवदने जन्मान्तरागत इवोदयगिआरईवर्तिनि नक्षत्र
समागमसुखमनुभवतिभगवति भूयोभूयः स्वकान्तिर्न्भिरान्नि
प्कलङ्कैवनक्षत्रनाथेविस्पष्टायांनिशीथिन्याम् प्रस्थानमङ्गले
प्रणृआमुआयोपगतं चन्द्रापीडं पीडयान्तर्विलीयमानेववाष्पोत्पीडम
पारयन्ती पौतुमत्य्?य भ्यामीपनेत्राभ्यां कृतप्रयत्नाप्यमङ्गलश
१।ङ्कयाआउवईलासवती मन्युरागावेगगद्गीदकोपरुध्यमानाक्षरमवादीता
ध् ?ए तातयुज्यते ह्यङ्कलालितस्यगर्भरूपस्य प्रथमगमनईगरीईयसी
हृदयपीडायस्मिन्प्रथममैवाङ्कादपैति । ममपुनर्नेदृशीप्रथमाआम
नेपितेपीडा समुत्पन्नायादृशीतव गमनेनाधुनाआदीर्यतैव
आणुत्प्लवतैवचेतःआविघटन्तैव सन्धिबन्धनानिआनिर्यान्तीव
प्राणाःआन किंचित्समादधातिधीःआसर्वमेवश्?ं पश्यामिआ
मेबाप्पोत्पीडः । मुहुर्मुहुः समाआहईतापि मङ्गलसापादनायते
चलतिमतिःआन जानाम्येवकिमुत्पश्यामीति । किंनिमित्तं
?आचेयमीदृशीमेहृदयपीडेत्येतदपिनवेद्मि । किंबहुभ्योआदईव
सेभ्यःकथमप्याआआतेमे वत्सोज्ञटित्येवपुनर्गच्छतीआतई । किं

१ कृतान्त इआईतना २।आनईवारीयतुम्।इआईतन

वैशम्पाथनावईयोगादुद्विग्नस्य गमनमेकाकिनस्ते समुअएक्ष्येतिआन
पुनर्वैशम्पायनवृताआतादाप्ंमनएवदुःविततयेतिआन चैवांवईधया
पीडयावैशम्पायनानयनायगच्छतस्ते गमनंनिवारयितुंपारयति
मायुष्मतासातव्यमाअस्य चार्थस्यकृते साञ्जालईबन्धेनारि
साभ्यर्थयेवत्समाइत्याआदईशन्ती स्वमातरं सुदूरंप्रसाआईरतावन
भ्रमूइंआतश्चन्द्रापीडो व्यीजज्ञपत्? आअम्ब तदा दिग्विजयप्रसङ्गा
तत्पुनश्चिरागमनकृतानभावनीया मनागपिहृदयंपीडात्वया।१०
इत्येवंविज्ञप्ता चन्द्रापीडेन संनिरुध्यपांप्पवेगान्कथं कथमपि
संस्तभ्यात्मानं निर्वर्तितगमनमङ्गला गलता प्रस्रवेण सिञ्चन्तृआई
शिरासई चोपाघ्राय गाढं सुचिरमालिङ्ग्यं गच्छाद्भारेव प्राणैः
?क्तश्चमात्रापितुःप्रा?आतयेवासभवनमगमतातत्रच देव
गमनायनमस्करोआतई युवराजःइत्यावोदईते द्वाररक्षिणाप्रावईश्य
पादौआअथतथा प्रणतमालोक्य किंचिदुन्नमितपू?र्कायःशय
नगतएवाहूयतपिताचक्षुपा पिबन्नईवप्रेम्णापारईप्वज्यगाढ
मप्रुआऐढ इउरवराहसुआएद्गताआवईरलबाप्परय्रपयाऊकुलाक्षृआएऽन्तःक्षोभावेगवि?ण्
आई?आक्षरमवादीत् । वत्समईपत्रा?ं दोपेपु संभावितः ?त्येषा
मनागपिमनसिवत्सेन दुउःखासिकानकार्या । आवईनय१ऋधाना
अभृतिसम्यक्परीआईक्षृतोस्य?ः । परीक्ष्यच?आष्टैएधि
गम्यो राज्यभारसवय्यारोपितो नतनयस्नेहादेव । र्राज्यंहि
नामैतत्पू८वाभ??एणई?वातिदुरुद्वृहम् महीउभृआसवाधतयैवात्सिङ्कटमाष्
कुटिलनीतिप्रचारणेवातिदुःसञ्चरम् चतुःसमुद्रपर्यन्तभुवनव्यास्यै

१ अप्रौढःइतिनाआस्तईनपुरूआके

ष्मज्रमृआपनालुकन।व्या? वहा२प?नुआयैव?रीईर ?आध?चनौ?वप्प्रौग्रपमैमारिवनुलामप्रा?
????६महृआईररौआआसाताग्धाहन?प्रमूसाश्यश्?त्तु?ऐऋङ्गवाआईशे?ऐआ? सपष्ठधतृनतृयैऐवाआईऋत?पऽ?र्रारसौहाम्नु
१ण्त्रवत्सले आत्मनिनाआईआनाजतेन्द्रियेनासेवके?पदमेवादधातिआ
यःखर्लु?ऐआकृर्ष्य बला?तिबनृधमस्यच?ईएः कछ
सेमूर्येस्तेत्रा_?गु?ंरजप्यपगत?वलिऋऋतृम्_आ१ऋतयस्तृत्रैवु समारूआएपयन्त्यै
दोषःइतिआअपिचसंप्रति कस्मिन्भारमवक्षिघ्याणुमपि दोप
लु_आएउस्माकमाअस्माभिर?वीऋलतैप्श्चरंपदे स्थितमान यीडिताः
प्रजालोभेनानोद्वेंईज्रिता गुरवो मानेनान विमुखिताःसन्तो
नहतःपर्रलोकःकूआमेनाराजधमानुरुद्धो नस्वृरुऋर्चिःआवृद्धाः
।०समासेवितान व्यसनानि । सतां चूऋआरईऋतान्यनुवर्तितानिनोईन्द्र
द्भीतं नमरणात् । उपभुक्तृआआऋनईऋसुर?आएकदुर्लमानि सर्वावईषृयो
पभोगसुखानियौवनेच्छयापर्याप्तम्रकार्यप्रृआरई_हारात् ?क्रार्यानुष्ठा ०
नाच्चोपार्जितःपुरोपि लोकःआइ»तिचेतसि मोत्वज्जन्मनाच
?आकृतार्थएवास्मिआतदयमेवभे मनोरथःआदारपारईग्रहा?तिआईष्ठते

१ दुःसास्यमिआतईन २ दुःपालम्ंइआतईन ३ सर्वाशा नाशुचौ
इत्येतन्नाआस्तईनपुस्तके ४।स्वरुच्या?आतन ५।अवनाआभेतमिआतईन।

त्वयिसकलमेव मेराज्यभारमा?एप्य जन्मनिवार्हलघुनाहृदयेन
मग्रूतः प्रतिरोधको वैशम्पायनवृत्तान्तः?ईतः । मन्येच न
सापृत्त?आमेउवानेनाअन्यथाक्ववैशम्पायनः । क्वचैवावईधमस
यथान चिरकालमेपमे मनोरथोन्तर्हृदयएव आवईपीरवर्ततो
चन्द्रापीडस्तु तयापितुः संभावनया सुदूरमुन्नमितोप्यवन
मतरमूर्तिरुपसृत्यपुनःप्रणामेनोन्नामईतात्मा निर्ययौ।निर्गत्यचा७
शुकनासभवनमयासीत् । तत्रच तनयत्वईन्तापरीतमुन्मुक्तामईवे
न्द्रियैःश्?शरीरं शुकनासमावईरताश्रुपातोपहतमुखीचमनोरमा
प्रणम्यतादृशाभ्यामेवताभ्यां सं_भाव्यूआशिषासृमारोपयद्भ्यामिव
तेर्गत्वा ग्रुतोउढांएकितमपिकृतापसर्पणमप्रकृतहेषारवमनुत्कर्णकोशम१।
निर्गत्य च सिप्रातटे तत्प्रस्थानमङ्गलावस्थृआनायोपकल्पिप
आ?कततत्कालगमनसंभ्रान्तेन पारईजनेन राजपुत्रलोकेन चेऋतस्त्रतूआए
निवासमकल्पयत्श उत्ताम्यताहृदयेनाप्रभातायामेव यामिन्या
मुत्थायपुनरवहत्शवहंश्चतस्मादेव वासरादारभ्यएवमचोतईत
एवपरापत्य कृतापक्रान्तेस्त्रपयापृष्ठतेनुगम्य बलाद्दत्तकण्ठग्रहःआऽ
क्र परंपलाय्यत इति वैएशम्पायनस्य वैलक्ष्यमपनयामि एवं

१ अकृतह?आर्हेषाइआतईन ।अकृतहेपा०इतिक

तत्समागमसुखमनुभूय निप्कारणप्रसन्नामनघामताकईतोपनतमदव
एवं महाश्च५ताश्रमसमीपे पुनःस्थापिताशेषतुरगसैन्यस्तया सहैव
कादाबरीपीरजनेन ग्रणम्यमानःप्रावई?य मदागमननिवेदनोप्?
ल्लनयनेन सखीजनेनापीहूयमाणं?र्पात्रा ८क्वास।ऐकेन कथितं
त्रपयाचयुगपदुरसि निहितंपद्मिनीपत्रमपनीयोत्तरीयांशुकोञ्चलं
कुचावरणतामुपनयन्तीम् आभरणतां नीतानि मृणालान्यपास्य
०भूषणेभ्योधिका सशरीरशोभामेव सर्वामरणस्थानेपु धारयन्तीं
लावण्वशोभान्यङ्गाआनई करप?ंमशप्रयलेनदर्शनीयतरतांनयन्तीम्
अङ्गलग्नानि शयनीकृतकमलकुमुदकुवलयदलाकईञ्जल्कशकलानि
पुलकोद्गमेनैवापास्यर्न्ता कपोलसङ्गिर्नाच मणिदर्पणोवईलोक्या
आलईमिव प्रयच्छन्तीम् उत्सष्टशेषेणाश्यानमलयजरसेनैवाङ्गलग्नेन
कुसुमशय्यां दूरीकुर्वन्तीं क»आदम्बरीमालोकयन्दर्शनीयावलोकन
।०फलेनचक्षुपी कृतार्थतांनयाआमईएवंमदलेस्वांसाञ्जलिप्रणामेन
कण्ठग्रहेणसंभाव्य चरणपतितांपत्रलेखामुत्थाप्य केयूरकंपुनः
पुनः पारई?ज्यनिर्भरमेवं महाश्वेतोपपुआआदई_तोद्वाहमङ्गलसवारईतस
खी?निर्वतिंतवैवाआहईकस्नालमङ्गलधिएभुप्व इव वषाभिषिक्तायाः
करग्रहणं देव्यानिर्वर्तयाआमई? एवमतिबहलकुङ्कुमकुसुमधू?आनुले
?ष्पनामोदोद्दीपितहृदयजन्मनिवासभवने शयनवर्तिनोममसमपि
मुपावईश्यक्षणमपिकृतनर्मालापायां निर्गतायांमदलेरवायांत्रपा
  ?ऊ ? ? ? ? ? ?

वनम्रमुर?ईआमनिच्छन्तींकिल बलांद्दोर्भ्यामादाय शयनीयंशयनी
यादङ्कमङ्काच्चहृदयंदेवीं कादम्बरीमारोपयामिएवमुद्गाढनीवी
ग्रन्थिदृढतराआपईंतपाणिद्वयायास्त्रपानिमीलितलोचने चुम्बन्नवञ्चि
सुजीआवईतमात्मानंकरोआमई एवमतिकोमलतयान्तर्विलीयावईशन्त्याष्ठ
इवाङ्गं गाढाआलईङ्गनसुखरसभरेण मकरध्वजानलदग्धशेषं निर्वाप
याभिशरीरम् एवंपरवत्यापिस्वेच्छाप्रवृत्तयेव निप्प्रयत्नयाप्य
भियुञ्जानयेवापसर्पन्त्यापि कृतोपसर्पणयेव सङ्गोपितसर्वाङ्ग्याप्यु
पदार्शीआतभावयेव देव्याकादम्बर्यासह तत्किमपिसर्वजनसुलभ
मपियोगैकगःयंस्पर्शावईपयमपि हृदयग्राआहईमोहनमपिप्रसादन १०
आमीईन्द्रृयाआ?आआमुद्दीपनमपि मदनहुतभुजो निर्वृतिकरमुपाआहईतसर्वाङ्ग
सेदमप्याहृआदकरमुपजनितावईपमोच्छासश्रमस्वेदमपि ससीत्कार
मनुपमरसमनार?येऋयप्रीतिकरं परमध्यानसहस्राधिगतं निर्वाणामी
यौवनमुपनयामि एवमुत्पन्नावईश्रम्भादेवीमेवाभ्यर्थ्यवैशापायन
स्यापि मदलेखया सह घटना कारयामीत्येतानि चान्यानि
च चिन्तयन्नचेतितक्षुत्यिपासातपश्रमृआएज्जागरव्यथो दिवाआरात्रौ?ण्
एवं च यहतोप्यस्य दवीय?आयाध्वनोऽर्धपू??वकालसर्पौ
वर्त्मनः प्रबलपङ्को ग्रीष्मस्यनिशागमो र्गभृ_स्तिंऊमृतः स्वृर्भानुर
मृतदीघितेः धूमोद्गमो वज्र्रानलस्फुआरईतानाम्मदागमो मकर
ध्वजकुञ्जरस्य मरणान्धतमसप्रवशोविरहातुराणाम् अमोघृका?ण्
लपाशवागुरोत्कण्ठितकाआमई?आरईणानाम् अभेद्यलोहार्गृलदृण्डोदिआ
ग्वारण्र आआनामाउअच्छेद्यीहञ्जीरशृङ्खलावाहानामनुन्मोच्यनिगड

जलदानिलैः, उन्तुक्तमदकुलकेकाकाएलाहसूलःकाननेपुकलुआपिभि
लअ आस्फ»आलावर्स्लफाऋआईव९ती_नवकपलमनिर्घो?ऐरीऐराग्म?५ ःनिर्ज्ञसैरारथ्त्सुउल्लोदू_पूरकः
? ?
सर्वतश्च विततेन्र स्थृईलापु सहतन कन्द्ररेश्_च्चण्डेन शिखारईपुभ?
लपुसान्द्रेणशाखिपुत्रनुना तृण्?ए?रणनतलीवनेपुयथाण्
धारापतनमाकर्ण्यमानेन सर्वप्रकारमधुरेण हृदयप्रवेशिनाधावरा
र्वेउणोत्कलिकाकलितुआएनरात्रौन आदईवानग्रामेनारण्येनान्तर्ना
यनस्मरणेन कादम्वरीसमागमानुध्यानेन कथंचिदपिऋनक्वचिऋ१०
दपिनिवृआतिऋमेवाध्यगच्छृता ।९ ।आआ।३?॥? ?आ? ।
अनत्त्वगतनिवृआतिश्चातिकष्टतया वर्ज्रांनल्रस्येवजलदसमयेन्ध ।
न्स्यमदनहुतभुजो भ?श?कर्तुमिवोद्यतस्य धीरस्वभावोपिप्रकृ
?ईआतातिईएवतोत्दसश्साआ?र्दज।९ स??रीआर्पेमूतर्छैईआर्धर्न्धा?का?आर?ऐरक्षप्प्ययश्ताआएषयताह्लाआआ?
दितज?वलुआएऋ?जृलुदानिलरप्यप???आआपुयोभारमेदु?रर्घनैरपि तनुता
मनीयतपिंआटलितशूद्विलैःऋ शूऐएंऋज्जं?पाण्डुतां प्रत्यपद्यता ९
जलजनितेपुमूर्छागमेपुपङ्कपटलेपु चनिमुज्जेन्।९र्जईलभरस्थगिते ?
चृआएल्लङ्घय्न्घनोपार्हितवृआद्धेनेऊआ कादावरीसमागमौत्सुक्येनपयःआ?
प्लवरयेणं चोह्यमानःएर्जांवितप्रत्याशाम्निर्वहतो जनांस्तुरङ्गमांश्च
?ए ? ? ?
१ कपोलेपुइतिन१।तृणोपलपुइ?ईन?आएए?।धाराशृमपतनृइआतईन

पारईत्यजन्तर्ज्युमान??आड?उरः अवष्टभ्यमानैवजलधेरेः
निर्मर्त्समान इव विसृशृर्जईतैऋः? ?ऋकृलीक्रियमाण इव शतशो
निस्रिंशवृत्तिआईऋभृर्धारासारैःनिरुद्धास्वपिजलदकालेनु?वाशुआ?ऋ ?वि
घ्नभूतास्वाशृआसुकादम्व१??आगृम्राश सुतरांनाऋरुधृयृता?ऽराया
? ? । ?
यथातथा निर्वर्तिताशनमात्रशेऽभ्?र्हिए?राजलोकवचसाप्यप्रतिउपन्नृ
वह मात्राव?आष्टऽध्वनिनिवर्तमानंमेघनादमद्राक्षीत्प
दृष्ट्वाच सूतएवकृतनमस्कारं तमप्राक्षीतातिष्ठतु तावत्पु
१०ंरस्तात्पत्रलेखागमनवृत्तान्तप्रश्नः । वैशम्पायनवृत्तान्तमेवतावत्पृ
च्छामिआअयि दृष्टस्त्वयाच्छोदसरसि वैशम्पायनः आपृष्टोवाव
स्थानकारणम् । पृष्टेनवाकिंत्वत्कथितं नवा । पश्चात्तापी
वास्मत्पारईत्यागेनास्मरति वास्माकमापृष्टोसि वानेनाकचि
मदीयम् । उपलव्धोवाभिप्रायः आउत्पन्नोवालापोऋ युवयोः ।
?०मातात्त्वत्रोर्वासन्दिष्टं किंत्वतापारईवोधितोवात्वयागमनाया
दास्यतिवादर्शनमाग्रहीष्यति वास्मदनुनयमाआगमिप्यति
वापुनर्मयासह । आककुर्वन्दिवसमास्तोकोवाआवईनोदोऽस्य
श्। सत्वेवंपृ?ए व्यज्ञपयतादेवदेवेन तुवैशम्पायनमालो
क्यानुपदमेव तुरङ्गमैरागत एवाहमित्यादिश्य विसर्जिऋताऋएहम् ।
अच्छोदसरसःप्रतीपंवैशम्पायनोगत इत्येपान्तृरावार्त्तैवनोपं

जाता । चिरयति च देवे जलदसमयारम्भमालोक्य कदाचिदेतेषु दिवसेषु देवेन तारापीडेन देव्या विलासवत्यार्यशुकनासेन च
कृतप्रयत्नोपि न मुच्यत एवागन्तुं देवश्चन्द्रापीडस्त्या चैकाकिना
न स्थातव्यमेवास्यां भूमौ परागतप्रायाश्च वयं तन्निवर्तस्वास्मादेव
प्रदेशादित्यभिधायपत्रलेखयाकेयूरकेण चत्रिचतुरैःप्रयुआणकै ष्
विउरतवचनंचतपुनरपृच्छत् । कि_माकलयस्यद्यूतैनैर्नाहायाव
पैपरापतितापत्रलेखा नेतिआसतुव्यज्ञपयत् । देवयद्यन्तर्रा
कश्चिदन्तरायो न भवति विलम्बकारीतदाविना सन्देहेन
परापतत्येवमवगच्छतिमेहृदयमा १०
त्युक्तवतिमेघनादे घनसमयवीर्धता_भोऋगीआमईकरहवजार्णवमध्य
। नीं स्वानुमानात्कादम्वरीमुत्प्र५क्ष्योत्५प्रक्ष्यावईक्लवीभवतः पर्या
अवस्शजैंतंप्रेतपतिपटहस्वनेन आसारधाराः स्मरेपुभिःआम
न्द्रगजिंतं मकरध्वजधनुर्ज्यागुञ्जिताभोगेनकलापिकेकाः काल१?
?आलापैःकेतकामोदो आवईपपारईमलेन खद्योताःप्रलयानलाफु
कुटजतरवः कृतान्तहासैःआअपिचशरीरेपि सत्त्वंकातरतया
शुचानयनमश्रुणाऔआलपनं मौनेनअङ्गान्यसहतया करणा
न्यपाटवेनसर्क्वारत्या । दिवसैश्चोल्लिख्यमानमिवअनवरत
वाआईहनाश्रुपूरप्रवाहेणावभज्यमानमिव सततैर्निश्वासप्रभञ्जनैरु?व
जर्जरईत्कियमाणमिवअपिच सहसैर्मकरध्वजशरासारैर्वपुपैवच?ण्
साहक्षीयमाणमिवस्वल्पावशेपंसङ्कल्पलिखितेन निर्विशेपवृत्तिना
काद?रीशरीरेण्?आवसहकण्ठलग्नं कथंकथमपिजीआवईतंधारय?

धाराधरजलक्लिन्नतरुतलमाप्लाआवईतोपान्तहारईतशाद्वलम् असे
व्यतटलतावनम्? अनवरतरोधोजलप्रवेशकलुपितप्रान्तमवशी
र्यमाणोद्दण्डकुमुददलगहनम् आआम???आडम् उत्प्लवमाना
श्यानकिञ्जल्कदलशकलमाजज कह्लारकुव?यसूआ?द्भात
आभ्रमदलिवलय? उडुआईनहससार्थम् ?आरसारासईतकरु
णम् आअऋवीआ?क्ष्?निलीयमाशेश्?भ्त?आवाकयुगलमुत्क
आईआपतकादम्बककदम्बकाश्रीयमाणेपकूलनद्ध्व?म्र उत्कलावईरुतक
आसाद्य चोपसर्पन्नेव सर्वाश्ववारानादिदेश । कदाचिदसौ
वैलक्ष्यादस्मानालोक्यापसर्पत्येव । तच्चतुर्ष्वीप पार्धेप्ववहिता
भवन्तुभवन्त इतिआआत्मनापि तुरगगतएव खिन्नोप्यीखन्न
१।समन्ताद्बाम।भ्राम्यंश्च यदानक्वचिदपि किंचिदवस्थानचि
ह्नमप्यद्राक्षीत्तदाचकारचेतसि । नियतमसौपत्रलेखासकाशा
न्मदागमनमुपलभ्यप्रथममेवापक्रान्तो येनावस्थानचिह्नमात्रंकथ
मपिनोपलक्ष्यतोनिरुद्ध्येद्देशं गतश्चक्वाप्यस्माभिरसावेवमवि
ष्टोपिन दृष्टःआतत्कष्टतरमापतितमावैशम्पायनमदृष्ट्वास्मा?दे
?०शात्पदमपिगन्तुं पादावेवनोत्सहेते मोमन्मथशरविक्षिप्ताश्च
कादम्बरीदर्शनमात्रकावलम्वनाः क्षणमपि आवईलम्वमन्तरीकर्तुम
क्षमाःक्षामतया मायाआसईपुः प्राणाःआसर्वथा आवईनष्टोस्मिआन
दृष्टादेवीकादम्वरीआनापि वैशापायनःआइत्येवमुत्पन्ननिश्चयो
प्यपारईच्छेद्यस्वभावत्वात्मत्याशायाः कदाचिदस्य वृत्तान्तस्यस्मिज्ञा

१ धाराधरक्लिन्न० इआतईनप २ अशेपतट इआतई न ३ हलक

इत्यारोप्य हृदये तदाश्रस्यै_व नातिदूरे निवोतितुरगसैन्यः
सैन्यसमायोगमपनीय सौआनर्मोकपारईलघुनी घनोज्ज्ञितज्योत्स्ना
?ईरामे पारईधायवाससी तथाआईस्थतपर्याणमेवेन्द्रायुधमारुह्यमहा
कुथलात्पश्चादाकृष्टेनेन्द्रायुधपारईजनेनानुगम्यमानो विवेश ।ष्
प्रविश्य चगुहाद्वार एवधवलशिलातले समुपविष्टामधोमुखी
र्मवाताहतां लतामिवोद्बाप्पदीनदृप्ता कथंकथमपि तरलिकया
हृदये । आमानामदेव्याः कादम्बर्याएव किमप्यनिष्टमुत्पन्नं१०
भवेत्?आयेनेयमीदृश्यवसाहर्पहेतावपि मदागमनेऽनुभूयतेमहा
ऽ?एता । इत्याशङ्काभिन्नहृदयोऽयमुडुआईनैरेव प्राणैः पदे पदे
स्खलन्निवपतन्निवमुह्य?ईवोपसृत्योपावईश्यचतस्यैव शिलातल
स्यैकदेशेप्रोद्बाप्पावईपण्णवदनः किमेतदिति तरलिकामपृच्छत्?आ
? तुतदवस्थायाअपिमहाश्वेतायाएवमुखमवल?एकईतवतीआ १?
भिघातैककटिनहृदयया पुनरप्यदुःखश्रवणार्हेऽपि दुःखमात्मीयं
श्राआवईतंसैवाहंमन्दभाग्यामहाभाग जीवितव्यसनिनीनिर्लज्जा
निर्घृणाच दुःश्रवणमपिश्रावयामिदुःखमिदम् । श्रूयताम्॥०
केयूरकाद्भवद्गमनमाकाआर्य विदीर्णमानसाष्न मया चित्ररथस्य
मनोरथःपूआरईतोनमदिरायाः प्रार्थनाकृतार्थितानात्मनःसमी
आईहतं सःपाआदईतंन गृहाभ्यागतस्यचन्द्रापीडस्य प्रियमनुआईपुतंन
चापिहृदयवल्लभसमागमनिवृप्ता प्रियसखीकादावरी वीक्षिता
पुनः कष्टतरतपश्चरणायात्रैवायाता यावदत्रमहाभागस्यैउवतुत्या
कृतिमुन्मुक्तमिवान्तःकरणेन श्?शरीरमुत्तरलमुखमुत्ष्ठतावद्धल

क्ष्यश्?यादृप्ताप्रनष्टमिवकिमपीतस्ततो आवईलोकयन्तंब्राह्मण
युवानमपश्यम् । स तु मामुपसृत्यानन्यदृष्टिः अदृष्टपूर्वोपि
प्रत्यभिजानन्निव असंस्तुतोपिचिरपारईचितैव असंभावितो
?पारूढप्रौढप्रणयैवअस्निग्धोपिपरवानिव प्रेम्णा श्?न्योपि
ःर् किमप्यनुस्मर?ईव दुः?ईताकारोपिसुखायमान इवतूप्णीमपि
त्सईतः प्रार्थयमानैव अपृष्टोप्यावेदयन्निवात्मीयामेवावस्थाम्
अभिनन्दन्निव अनुशोच?ईवहृष्यन्निव आवईषीदन्निवविभ्य
दिव अभिभवन्निव हृत इव आकाङ्खन्निव अनुस्मरन्निव
१०तचुम्विनाविकासईतेनेवामुकुआलईततारकेण चक्षुषामत्तैवाआवईष्ट
व्रवीत्?आवरतनु सर्वएव हिजगतिजन्मनो वयसाकृतेर्वा
१?मालेवकण्ठप्रणयैकयोग्या तनुरनुत्वईतेनामुनाकष्ट पश्च?णृ आप्र
आरईक्लेशोगल्? ?ईमुपनीयते । रूपवयसोरनुरूपेण ह्मईनाहाआईरंणी
लतेवरसा?यिणा फलेनकिमथं९ नसंयोआच्यते । जातस्यहि
परत्रसम्बन्धीतपश्चरणपारईक्लेशः आकिंपुनराकृतिमतो जनस्या
?०तदुःखयति मामयमस्यास्ते स्वभावसरसायास्तनोर्मृआआआलिन्या इव
तुहिनपातस्तपःपारईक्लेशः । यदिचत्वादृशी जीवलोकसुखेभ्यः
परा?उरवी तपसाक्लेशयत्यात्मानं तदावृथावहति धनुरधिज्यं
कुसुमकार्मुकः निप्कारणमुदयतिचन्द्रमाः वृथावसन्तमासा
भ्यागमःनिप्फलानि कुमुदकुवलयकह्लारकमलाकरावईकसितानि
??निप्प्रयोजना जलदसमयारम्भाडम्वराः निरर्थकान्युपवनानि१
अहंतुदेवस्यपुण्डरीकस्यैव वृत्तान्तादपेतकौतुकासर्वथातं

वदन्तमपिःकस्त्वं कुतोवा समायातःकिमर्थं वामामेवमभि
दधासिइत्यपृष्ट्वैवान्यतोऽगच्छम् । गत्वाचदेवार्चनकुसुमान्या
चिन्वती तरलिकामाहूयाब्रवम् । आतरलिकेयोयंयुवा कोपि
व्राह्मणाकृतिरस्यावलोकयतोवदतश्चान्यादृश एवाभिप्रायोमयोप
लीय्_आतः आतखईवार्यतामयंयथा पुनरत्रनागच्छतिआअथनिवा ?
आरईतोप्यागमिप्यति तदावश्यमेवास्यामद्रकं भविष्यतीतिआसतु
र्थस्य नात्याक्षीदेवानुवन्धृम् । अतीतेपु केपुचिद्दिवसेप्वेकदा
आआआढायांयामिन्यामुद्गिरत्स्विव भरेणोद्दीपितस्मरानलंज्योत्सा
पूरमिन्दुगयूखे?उलव्१आनिद्रायातरलिकायामप्राप्तसुखासःता १०
५आन्निर्गत्यास्मिन्नेवशिलातले विमुक्ताङ्गी कह्लारसुरभिणामन्दम
देऋनाच्छोदानिलेन वीज्यमाना वर्णसुधा?र्चकौरईवकरैर्धवलित?ं श्।
दशाशाभुग्?एचन्द्रमसि निआहईतदृष्टिः ८अपिनामायमेभिरमृतव
आर्पेभिरखिलजाआदाह्लादकाआरईभिः करैश्च?_उम?स्तमपिउ हृदयवल्लभंमे
वपेत इत्याशंसाप्रसभ्?न देवस्य रुआगृहीतनाम्नः पुण्डरीकस्य१?
न्यपियेनपुनर्दर्शनमेव तेनममनदत्तंकि कसेतुदेवःसुगृ
हीतनामा पुण्डरीको यः परासुरेवोत्क्षिप्य नीतः कपिञ्जलस्तु?०
र्जावन्गतः कथमियताकालेन तेनापि?ऋ? प्कृरुणेन वार्त्तापिमे
तमदनशरशत्यनिकरनिचितमिव शरीरमुद्वहन्तमुद्विकासिकेत?आ
करजःपटलधवलं प्रथमतरमेव भस्मसात्कृतमिव मदनहुतभुजा
 ऋ उ ऊऊ ?

सकलजग?मा?ईहतशासनेन कुसुमधन्वना आवईसार्जईतं दधानम्
उ?तसाध्वसोत्क?पतरलितया केतकीगर्भसूत्व्या आक्वापरं ग?यते
हतोसि मया इति मन्मथप्रथमसहायस्य चन्द्रमसः कलयेव
? कर्णान्तलग्नया तर्ज्यमानम्र?उद्वेगावाजतेन नयनजलस्रोतसात्मने
जलमिव प्रयच्छन्तम् आत्मेच्छयैव मत्करग्रहणाय निर्वर्तित
इतिपदेपदेनिवार्यमाणमिव गुरुणोरु?आआभेन?तएवमदा
लिङ्गनात्?आईकाशयाप्रसाआरईतभुजयुगलमुत्कलिकासहसावईपमं राग
१०सागरमिव प्रतरन्तमनवरतप्रवृत्तैराकृष्यमाणमिव पुरस्ताद्दीर्घै
र्निश्वासमरुद्भिः उह्यमानमिव आदई?उखप्लाविना ज्योत्सापूरेण
रणरणकश्?म् उच्छुष्काननम् प्रोन्मुक्तं सत्त्वेन प्रतिपन्नं
कृपणतया अवधीआरईतंधैर्येण संगृहीतंतरलतया आवईसर्जितं
लज्जया अधिगतं धृआर्ग्ने१ दूरीकृतं परलोकभीत्या विमुक्तं
१?युत्त्क्तायुत्त्रूविवेकेन सङ्कएपधन्मनएव केवलस्यवशे ?ईतम्
दृष्ट्वा चतं तादृशं निस्पृहाप्यात्मनिपरं भयमुपगतवती
चेतस्यचिन्तयमाषहो कष्टमापतितम् । यद्ययमुन्मादादागत्य
व्यर्थतांमेयातंप्राणसन्धारणम् इतिआसत्वेवंचिन्तयन्तीमेव
मामुपसृत्याब्रवीताचन्द्रमुखि ल्तुमुद्यतोमामयंकुसुमशरसहा
यश्चन्द्रमाःआतच्छरणमागतोस्मिआरक्ष मामशरणमनाथमार्तमप्र
?ण्तीकारक्षममात्मनात्वदायत्तर्जावितम् । शरणागतपारईत्राणं आईह
तपस्विनामपिधर्म एवातद्यदिमामात्मप्रदानेन नात्रसंभाव

तदाकर्ण्य झगित्युत्तमाङ्गनिर्गतज्वालेव रोपानलेन निर्दहन्तीव
पमुमीआद्बाप्पस्फुलिङ्गया दृष्टाआतदातर्जयन्तीवापादतलादुत्क
दमाआः पापकथमेवं गदतोमामुत्तमाङ्गे तेन निपतितं
वज्रमवशीर्णावानसहस्रधाजिह्वाआवईह्वलतांन गतावावाणी ऽ
नष्टानिवानाक्षराणिआमन्येच सन्त्ये?तेऽ?छिरीरेसक
ललोकशुभाशुभसाक्षिभूतानिपञ्च?आऋ।भू०तैउआनि । येने५ववदन्ना
ग्निना भस्मीकृतोसिन वायुनाहृतांएसिएनाआभसा प्लावितोसि न
पतांनीतोसि आअव्यव?ईतोव्यव?ईतेऽस्मि»ल्लोके कुतसवमुत्पन्न१०
एवांईवेवः । यस्तईर्यग्जातिआरईवकामचारीन आईकचिदपिवेत्सिआ
ये नैवुंख्र?_हतव्रिधुआत्राके_ना?पुदुआ२इराऋतुमुखरागुः?_आ तम प्रवृ
किमुतसामेवेज?आ?ऐइंन्रीरनक्षि प्तोसिआतेनैक»?र्ंऋतुईंहाक्लू? ?वद
करोआमईयेनात्मवचनारूपां जातिमापन्नोनैवास्मद्धईधाःकामयसो
मेश्वरसकलभुवनचूडामणे लोकपालयदिमया देवस्यपुण्डरी
कस्य दर्शना?भृति मनसाप्यपरःपुमान्न चिन्तित?आदानेन मे
सत्यवचनेनायमलीककामीमदुदीआईरतायामेवजातौ पतत्विति।?०
सचमेवचस्तेऽस्य?आ ?।८आवेद्मि किमसह्यवृत्तेर्म
दनज्वरस्य वेगादुत ?कस्यात्मनो दुप्कृतस्य गौरवा
दाहोआस्वईन्मद्बचसःसामर्थ्यादेव छिन्नमूलस्तरुआरईवाचेतनःक्षिताव
पतत् । अतिक्रान्तजीवितेत्सईन्कृताक्रन्दात्तत्पारईजना?तवती
यथासौमहाभागस्यैवमित्रं भवतिआइत्युक्त्वाचत्रपावनभ्रमुखीआऽ
? » ?
१ आईवीआआतिइतिन २।त्वदुत्त्क्तेर्दुःखिताइतिन

। चन्द्रापीडस्यतुतदाकर्ण्य कर्णान्तायतलोचनद्वयामीलनभग्न
दृष्टेभ्र?ष्टवचनसौष्ठवस्य आभगवति कृतप्रयत्नायामपि भगवत्याम
पुण्यभाजास्मिञ्जन्मनिमया नप्राप्तं देव्याःकादम्वर्याश्चरणपारई
चर्याउसुखं तज्जन्मान्तरेपि भगवतीसम्पादयित्री भूयात्? इति
आगदतएवकादम्वरीसमागमाप्रा?ईदुःखेनैव भेदोन्मुखंमुकुलमिव
रायां?एइर्?ईरीईएआकईं लज्जयापश्य तावदन्यथैवकथमप्यास्ते
देवश्चन्द्रापीडभग्नेवास्य ग्रीवानमूर्धानं धारयतिआवईचालि
१०तोपि न किंचिच्चेतयते नाःतःप्रविष्टतारके समुन्मीलयति
आवईलोचनेनायं यथावस्थितपतितानां गात्राणामावरणं करोति
क्वेदानी त्वयाविना गम्यतेइत्युक्त्वार्तवचसि तरलिकायाम्
तिर्यगाभुग्नचन्द्रापीडमुरवनिआईहतनिश्चलस्तव्धदृष्टिनिश्चेष्टायां महा
१?श्वेतायामाआःपापेदुष्टतापसि किमिदंत्वयाकृतम् अपा
कृतत्सिलजगत्पीडस्य तारापीडस्य कुल?आदितम् अना
थीकृताः प्रजाः सहास्माभिः भग्नाः पथानो गुणानाम्
अर्गलिताःककुभोआथईर्लोकस्यकस्य वदनमक्षितांलस्मीःकोव
१०नमेवसेवासंवृत्तावृत्तं मांनशलुत्वम्शअस्तमिताचपारईज
नश्लाघा लधूकृतो भृत्यादरः दूरं गतानि प्रियालपितानि
समाप्ताः पारईत्यागकथाः कथं कथावशेषीभूतोसि भूतपूर्वाः
धूर्धरेत्वयि विपन्नेकः सभुद्वहतुपदवेन तारापीडेनोढांधुरम्?

१ दुव्खेनेव इआतईन १।यथावी?आतानग्म्ं इतिन

देहि भक्तजनस्याभ्यर्थनाम् प्रतिपद्यस्वप्राणान्नत्वयाआवईना
णाप्यार्यःशुकनासोन मनोरमानराजानो नापिप्रजाःपारई
_ऋयुत्त्क्तवत्यवनितलावईमुक्तात्मन्यारटति पारईजने तदाकर्णनोत्कर्णे
त्प्लुतोत्पक्ष्मनयनर्दीशनि चन्द्रापीडवदननिवेशितदृशि दीनतरहे
षारवकृपाक्रन्देशुचेव पर्यायोत्क्षिप्तसुरचतुप्काहतक्ष्मातलेमुहुर्मु
द्रुरात्मोन्मोचनायेवाच्छोटितखरखलीनकनक?ङ्खलयोगे तुरङ्गमतां१०
गु?क्षतीवेन्द्रायुधेप?ले?आआई??एदिऊतचन्द्रापीडागमना चन्द्रोदयो
मातापित्रोःपुरः प्रतिपन्नशृ आभरणा रणन्नूपुरयुगेनमुखर
मेखपदाम्नारःयो क्भ्ल्??पतानङ्गवलावईभ्रान्तिनागृही
मदलेखयासहकृतालापा मदलेखेपत्रलेखाकथयतिप्रत्यहमहं
नश्रद्दधेकिंनस्मरसि तत्तस्यमदवस्थामश्रद्दधानस्यहिमगृहके
मद्विमर्शाय दुआवदग्धबुद्धेर्वक्रभापितं यत्र सस्सईतमालोआकईतया?०
त्वयैवास्मै सुतरामेवासशयकाआरई प्रत्युत्तरं दत्तंतदसौ मरणेपि
मेन श्रद्दधात्येवेमामवस्थामन्यथायदि मदर्थेदुःखमेवमियमनु
भवतीत्येतदस्याभविप्यत्तदा तथागमनमेव नाकीरप्यत्तथागतो
प्यसौ यत्किमपिवक्तव्यस्त्वयैव मया पुनर्दृष्टोपि नालपितव्यो
नोपालव्धव्योनचरणपतितस्याप्यनुनयो ग्राह्योनाहंप्रियसख्या??
प्रसादनीया इत्यभिदधानैवाचेतितागमनखेदा कादम्बरीचन्द्रा

आगम्य शेद्धृतामृतमिव रलाकरम्,इन्दुविरहितमिव निशाप्र-
निश्वसितुमपिआवईस्मृतान्तर्मृन्युभारनिस्पन्देव चन्द्रापीडवदनसग
१०र्पिताक्षी श्यामारुणानना ग्रहोपरक्तेन्दुविम्वेव पौर्णमासीनिशा
निशितपरशुपातोत्कम्पिनी लतेववेपिताधराकईसलया आत्?ईवितेव
स्रीस्वभावावईरुद्धेन चेतसातस्थौआतथावीस्थता चतामुन्?क्ता
र्तनादा सपादपतनंमदलेरवाव्रवीत्र । प्रियसखिप्रर?ईआदोताजेमं
मन्युसम्भारमारटन्ती आवाप्पभोक्षेणामुच्यमाने??यतुमुति?रोऋ
आष्त्पीडितंतटाकमिव सररामृदुराहसधास्फुटतिते हृदयमित्यपे
क्षस्वदेवींमीदरांदेवंचचित्ररथमात्वयाआवईना कुलद्वयमपि
?०सहस्रधास्फुटितम्।अपि चयाजीवीततस्याःसर्वमिदंमाता
पितावन्धुराप्मा सख्यःपारईजनशेति । मयापुनर्भ्रियमाणया
जीआवईतभूतंकथंकथमपिसमाराआदितमिदं प्रियतमशरीरंयज्जीव
दजीवद्वा सभोगेनानुमरणेनवाद्विधापि सर्वदुःखानामेवोपशा
तये । तत्किआमईति देवेनागच्छता मदथा प्राणांश्चोत्यजता
?०सुदूआमारोपितंगुरुतां चनीतमात्मानम?उपातमात्रकेण लधूकृत्य
पातयामि । कथं ?ग्पगम?एन्मुखस्य देवस्य रुआईदतेनामङ्गलं
करोमिआकथंवापादधूलिआरईव पादावनुगन्तुमुद्यता हर्षस्थानेपि

रोदिमिआकिंमेदुःखमेवांवईधमाअधुना तुमेसर्वदुःखान्येव
दूरीभूतानिआकिमद्यापि रुद्यतोयदथै कुलक्रमो नगणितः
गुरवोनापेक्षिताः धर्मोनानुरुद्धः जनवादान्नभीतम् लज्जा
पारईत्यक्तामदनोपचारैःसखीजनः खोदईतःदुःखितामेप्रिय
सखीम?श्वेता तस्याःकृतेप्रतिज्ञातमन्यथा जातंमयेत्येतदपिऽ
चेतसिनकृतम्तस्मिन्मदर्थमेवोआई?तप्राणे प्राणेश्वरेप्राणान्प्र
आईहतंव तन्ममोपीरसेहाबद्धयापिप्रियसख्या तथाकर्तव्यंयथा
नतातोऽम्बाचमच्छोकादात्मानंपारईत्यजतः । यथाचमयि१०
ताआईच्छतंमनोरथं त्वयिपूरयतःआयेनपरलोकगताया अपिमे
पारईजनोवानस्मरतिश्?न्यंवा भवनमालोक्यनादईशोगृह्णाति
तथाकारईप्यसिआपुत्रकस्य मेभवनाङ्गणे सहकारपोतस्यत्वया
आच्चिन्तयैवमाधवीलतयासहोद्वाहमङ्गलंस्वयमेव निर्वर्तनीयम्।१ण्
मच्चरणतललालितस्याशोकविटपस्य कर्णपूरार्थमपि न पल्लवः
खण्डनीयः आमत्संवर्धिताया मालत्याःकुसुमानि देवार्चनायैवो
च्चेयानिआवासभवने मेशिरोभागनिहितः कामदेवपटः पाट
नीयः । मयास्वयं रोपिताश्चूतवृक्षायथा फलंगृह्णन्ति तथा
संवर्धनीयाःआपञ्जरवन्धदुःखाद्वराकीकाआलईन्दी साआरईकाशुकश्च।०
पारईहासोद्वत्त्वपिमोक्तव्यौआमदङ्कशायिनी नकुलिकास्वाङ्कएव
शायायईतव्याआपुत्र?एमे?त?आआ?आखकः कस्मिंश्चित्तपोवने
समर्पणीयःआपाआईआतलसंवाब मे वंजी?एइर्थुनंक्रीडापर्वतेयथा
केनचित्तथा विधेयःआअपारईचितगृहवसतिःसाचबलाद्विधृताआण्

१ गृह्राउनाइआईतना

दुपशान्ताय तपस्विने प्रातईपादयितव्यः । शरीरोपकरणाआन मे ब्राह्म-
णेभ्यः प्रातईपादनीयानि । वीणापुनरात्मनएवाङ्कप्रणयिनीकार्याआ
अपरमपियत्तेरोचतेतदपि स्वीकर्तव्यमाअहं पुनारईमममृत
आकईरणर ?
ष्कसन्तानतु र्ततारहारार्पणैर्मणिदर्पाप्र
णयनेनमलयजजलार्द्रप?ईनीपत्रास्तरणेन सरसबिसकिसलयप्रस्त
दग्धशेषमुज्जलीचताज्वालामालिनि विभावसौदेवस्य कण्ठलग्ना
१०रवामवक्षिप्योपसृत्य महाश्वेतांकण्ठे गृहीत्वा निर्विकारवदनैव
समागमाकाङ्घिणीक्षणेक्षणे मरणाभ्यधिकानिदुःखान्यनुभवन्ती
१ष्पुनःसर्वतो हताशायाःसापिनास्ति । तदामन्त्त्रये?ईयसखीं
पुनर्जन्मान्तरसमागमाय । इत्यभिधायोत्पद्यमानपुलककेसरोद्भा
०गमसुखमिवानुभवन्ती सरभसमुपारईपर्यस्तचिकुरह?आआएद्वान्तकुसुम
निवहेन मूर्ध्रार्चयित्वा चन्द्रापीडचरणौ स्रवत्सेदामृतार्द्राभ्या
कराभ्यामुक्षिप्याङ्केन घृतवतीआअथ तत्करस्पर्शेनोच्छसतैव
चन्द्रापीडदेहा?टितितुहिनमयमिव सकलमेवतंप्रदेशंकुर्वा
णमव्यक्तरूपांकईमपि चन्द्रधवलंज्योतिरेवोज्जगाम । अनन्तरं
?आचान्तारईक्षेक्षरन्तीवामृतमशरीआरईणी वागश्रूयताआवत्सेमहाश्वेते
पुनरपित्वं मयैव समाश्वासितव्या वर्तसे । तत्ते पुण्डरीक
शरीरंमल्लोके मत्तेजसाप्यायमानमविनाशिभूय?वत्समागमनाय

कादम्बरीकरस्पर्शेनाप्यायमानं चन्द्रापीडशरीरं शाप?एषाद्विमुक्त
मप्यन्तरात्मना कृतशरीरसंक्रान्तेर्योगिनैवशरीरमत्रैवभवत्योः
प्रत्ययार्थमा शापक्षयादास्तामानैतदग्निनासंस्कर्तव्यमानोदके
प्रक्षेप्तव्यम् । नापिवासमुत्स्रष्टव्यमायत्नतः पारईपालनीयमाष्ट्व
स्पर्शेन लब्धसंज्ञोत्थायाविष्टेववेगाद्धावित्वा पारईवर्धकहस्तादा१०
विना वाहनं सूं प्रस्थितेदेवे क्षणमप्यवस्थातुं न शोभसे
अथतयोर्निमज्जनसमयानन्तरमेवतस्मात्सरसः सलिलाच्छैव
लोत्करमिव शिरसि लग्रंगलज्जलबिन्दुसन्दोहमयथावलम्बिदीर्घ१।
शिरवं मुखोपारईपरस्परासक्तेरसंस्कारमलिनतया चोपसूचितचिरो
र्ध्ववन्धंजटाकलापमुद्वहञ्जलार्द्रदेहसक्तेनबिसतन्तुमयेनेव ब्रह्म
वल्कलेनावद्धपारईकरः करेणाननावरोआधईनीर्जटाः समुत्सारयन्नश्रु
जलच्छलेनाच्छोदसरःसालईलमिवान्तःप्रावईष्टमाताम्राभ्यामुद्वह»ल्लोच ?०
नाभ्यामुद्विग्नाकृतिस्तापसकुमारकः सहसैवोदतिष्ठत् । उत्थाय
चदूरत एवोद्दामवाप्पजलनिरोधपर्याकुल?पिवद्धलक्षया दृप्ता
आवईलोकयन्तीं महाश्वेतामुपसृत्यशोकगद्गदमवादीत् । आगन्धर्व
राजपुत्रिजन्मान्तराआदईवागतोपि प्रत्यभिज्ञायतेऽयं जनोन वा
इतिआसात्वेवंपृष्टाशोकानन्दमध्यवर्तिनीससंभ्रममुत्थायकृत ??
१ परिवद्धक इआतईन २ म्लानारावईन्दनीलपलाशैतिन । अ
सद्धलक्ष्यया इतिना


पादवन्दनाप्रत्यवादीता भगवन्कपिञ्जलअहमेवांवईधापुण्यवती याभवन्तमपिनप्रत्यभिजानामिआअथवा युक्तैवेदृशीमय्यना त्मज्ञायां संभावनायाहमेकान्तत एवव्यामोहहता स्वर्गंगतेपि देवे पुण्डरीके?आर्वाआमई । तत्कथय केनासानुत्क्षिप्य नीतः ०एकिमर्थंवानीतः किंवास्यवृत्तम्क्ववर्ततेकिंवातवोपजातं येनैतावताकालेनवार्त्तापि नदत्ताकुतो वात्वमेकाकीदेवेन विनासमागतः । सत्वेवं पृष्टोमहाश्वेतया विस्मयोन्मुखेन कादम्बरीपारईजनेनचन्द्रापीडानुआआआमिनाचराजपुत्रलोकेनोपर्युपीर पातिनावीक्ष्यमाणःप्रत्यवादीता

 गन्धर्वराजपुत्रिश्रूयतामाअहं आहईकृतार्तप्रलापामपित्वामे काकिनीसमुत्सज्यवयस्यस्नेहादाबद्धपारईऋकरःआक्वमेप्रियसुहृदम पहृत्यगच्छसिइत्यभिधायतंपुरुषमनुबध्रञ्जवेनोदपतमासतु ?आवृचु?मदत्त्वैवा?इर्रृनिविस्मयो?ल्लनयनैरवलोक्य मा माआईनुकृऐ?वगुण्ठित मुच्यमानगगनमार्गोआदईव्याङ्ग १ष्ना कैक्षाणाभिआरईतस्ततः प्रणम्यमानस्ता रकाभिरम्बरसरःकुमुदाकरमर्तिएक्रेम्यतारागणंचन्द्रिकामिरामसक ललोकंचन्द्रलोकमगच्छत्?आतत्रच महोदयारज्यायांसभायामि नुकान्तमयेमहतियर्यङ्के तत्युण्डरीकशरीरंस्थापयित्वामामवा दीतिआआआकपिञ्जल जानीआहईमां चन्द्रमसमाअहंख?यगतो २ण्जगदनुग्रहायस्वव्यापारमनुतिष्ठन्ननेन ते प्रियवयस्येन कामाप राधाज्जीवितमुत्सजता निरपराधः संशप्तःआ आदुरात्मन्निन्दुहतक यथाहंत्वयाकरैः सन्ताप्योत्पन्नानुरागःसन्नसंप्राप्तहृदयवल्लभास मागमसुखः प्राणौर्वेयोजितस्तथात्वमपिआईकमुमूमीऋभू_तेऽस्मिन्भारते वर्षे जन्मनि जन्मन्येवोत्पन्नानुरागोऽप्राप्तसमागमसुरवस्तीव्रतरां प्र?हृदयवेदनामनुभूय जीवितमुत्सक्ष्यसि इतिआअहंतु तैनास्य शापहुतभुजा ज्ञटिति ज्वलित इव निरागाः आकिमनेनात्मदो

१ अथयुक्ता इआईतन

ल्यदुःखसुखएव भविष्यसीतिप्रतिशापमस्मै प्रायच्छमाअप
आआतामर्पश्च आवईवेकमागतया बुद्ध्या विमृशन्महाश्वेताव्यतिकरम
स्याधिगतवानस्मिआ वत्सातुमहाश्वेतामन्मयूखसम्भवादप्सरसः
कुलाल्लव्धजन्मनि गौर्यामुत्पन्ना । तयाचायंभर्ता स्वयंवृतःआ ?
अनेनचस्वयंकृतादेवात्मदोषान्मया सहमर्त्यहू?एए?आरद्वयमव
श्यमुत्पत्तव्यमाअन्यथा जन्मनि जन्मन्यैषा ?र्ंऐनचारई
पार्थाभवतिआतद्यावदयं शापदोषादपैति तावदस्यात्मनाविर
वत्साचमहाश्वेतासमाश्वासिता । तादईदमत्रमत्तेजसाप्यायमा१०
नमाशापक्षयात्स्थितम् । अधुनात्वंगत्वैनं वृत्तान्तंश्वेतकेतवे
निवेदय । महाप्रभावोऽसौ कदाचिदत्रप्रतिक्रियां कांचिदपि
अहंतुविना वयस्येनशोकावेगान्धोगीर्वाणवर्त्मनि धाव
न्नन्यतममतिक्रोधनं वैमानिकमलङ्घयम् । सतु मां दहन्निवाआ
रोपहुतभुजाभृकुटिआवईकरालेनचक्षुपा निरीक्ष्याब्रर्वोतादुरात्म
न्मिथ्यातपोवलगर्वित यदेवमतिआवईस्तीर्णेगगनमार्गे त्वृयाहमुद्दा
मप्रचाआरईणा तुरङ्गमेणेकेल्लङ्घितरूआस्मात्तुरङ्गमएव भूत्वामर्त्यलो
केऽवतरेतिआअहं तुतमुद्बाप्पपक्ष्या कृताञ्जालईरवदमाभगव
हरशापमाशुत्वामईममितिआसतु मांपुनरवादीआ?आयन्मयोक्तं
तन्नान्यथाभवितुमर्हति तदेतत्तेकरोमि । कियन्तमपि कालं
यस्यैव वाहनतामुपयास्यसि तस्यैवावसाने स्नात्वा विगतशापो
भविप्यसि । इत्येवमुक्तलुतमहमवदम् । भगवन्यद्येवं ततो
विज्ञापयामिआतेनापिमग्नियवयस्येन पुण्डरीकेणचन्द्रमसासह?ष्
करोतुमे दिव्येनचक्षुपावलोक्य यथातुरङ्गमत्वेऽपि मेतेनैव

प्रियवयस्येन सहाआवईयोगेन कालो यायादिति । स त्वेवमुक्तो मुहू-
हृदयमातदालो?कईतंर मूयाआउज्ज?ईन्यामपत्यहेतोस्तपस्यतस्तारा
पीडनाम्नोराज्ञः सांएनर्दर्शनं चन्द्रमसा तनयत्वमुपगन्तव्यम् ।
तस्यमहोपकाआरईणश्चन्द्रात्मनोराजपुत्रस्य वाहनतामुपयास्यसीतिआ
अहंतुतद्वचनानःतरभेवाधःस्थितेमहोदशैन्यपतम् । तस्माच्च
तुरङ्गीभूयैवोदतिष्ठमासंज्ञा तुभे तुरङ्गत्वेनापिनव्यपगताआ
येनायंमयास्यैवार्थस्यकृते किंनरमिथुनानुसारीभूमिमेतामानीतो
१०देवचन्द्रमसोऽवतारश्चन्द्रापीडः। योप्यसौ प्राक्तनानुरागसंस्का
रादभिलपन्नजानत्यात्वयाशापाग्निनानिर्दग्धः सोपिभेवयस्य
एतछुत्वा आआहा देव पुण्डरीक जन्मान्तरेप्यविस्मृतमद
नुरागमअतिबद्भजीवितमच्छरण ममुखावलोकि५इर्मन्मय
१।सकलजीवलोकलोकान्तरगतस्यापि तेऽहभेव राक्षसीविनाशा
योपजातादग्धप्रजापतोरईयदेव म?ईर्माणे दीर्घजीआवईतप्रदानेच
प्रयोजनंनिष्पन्नंयत्पुनःपुनस्तेव्यापादनं स्वयंहत्वाचपाप
काआरईणीकमुपालभेकिब्रवीआमई किमाक्रन्दामिकमुपयामिशरणं
कोवाकरोतुमयि दयां याचेऽहमात्मनैवाधुना आदेव प्रसीद
१ण्कुरु दया देहिमे प्रतिवचनम् इत्येतान्यक्षराण्युच्चारयःत्यपि
लज्जेमन्येचतवाप्येवमुत्पन्नं मन्दभाआयायांमयिवैराग्यंयेनैव
मपिआवईप्रलपन्त्यांनप्रतिवचनंददासि हाहतास्म्यनेनैवात्मनो
॥ कपिञ्जलस्तु तथार्तकृतप्रलापांसानुकम्पमवादीत । गन्धर्व
१ तुरङ्गत्वेऽआईपैआतईर्न २।दंएवश्चर्न्द्रईमसौ०एइआतईक

यसिआकोवाधुना सुखपाकेऽनुभवनीये दुःखस्यावसरःयेनैवा
त्मानंशुचा व्यापादयसि । यदसह्यतरंतत्त्वया नि?र्ढंदृढी
कृतहृदययास्यैवसमागमप्रत्याशया । यथाचशापदोषादिदमु
पगतंभवत्योर्द्वयोरपिदुःखंतथा मयाकथितमेवाचन्द्रमसोपि
भारती भवतीभ्यांश्रुतैव । तदुन्मुच्यतामयमात्मनो वयस्यस्या
चाश्रेयस्करःशोकानुबन्धःआद्वयोरेव श्रेयसेयदेवभवत्याङ्गीकृतं
तरेवानुबध्यतां ब्रतपारईग्रहोचितंतपःआ तपसो आहईसम्यक्कृतस्य
नाक्त्यसाधंनाम किंचितादेव्याआहईगौर्या तपसःप्रभावाद
तिदुरारादंस्मरारेरीप यावदासाआदईतंदेहार्धपदम् । एवंत्वमपि
नईचरात्त?ऐधमेवयस्यस्याङ्के निजतपसःप्रभावात्पदमवाप्स्यसिआ१ण्
उपशान्तमन्युवेगायांचमहाश्वेतायां विषण्णदीनमुखीकाद
म्बरीकपिञ्जलमप्राक्षीताभगवन्पत्रलेखया त्वयाचास्मित्सरसि
जलप्रवेशःकृतःआ तत्किंतस्याःपत्रलेखायाःसंवृत्तमित्यावेदनेन
ग्नसादं करोतुभगवानिआतई । स तुप्रत्यवादीत् । राजपुत्रि१?
सलिलपाता?तरंनकश्चिदपितद्वृत्तान्तो मयाज्ञातःआतदधुना
कचन्द्रात्मकस्यचन्द्रापीडस्यक्वपुण्डरीकात्मकस्य वैशःपायनस्य
वन्मकिंवास्याः पत्रलेखायावृत्तमिति सर्वथैवास्यवृत्तान्तस्या
इत्यभिदधानएवगगनमुदपतत्?आ ?०
अथ गते तस्मिन्विस्मयान्तारईतशोकवृत्तान्ता चन्द्रापीडमा
लोक्यगलितनयनपयसियथास्थानमपसृत्य स्थितवति सपारईजने
राजपुत्रलोकेकादम्बरी महाश्वेतामवादीतायिसखितुत्यदुः
आईखतां त्वयासह नयता न ख?सुखंस्थापितास्मि भगवता
आवईधात्राआअद्य मेशिरः समुद्धाय्तिमाअद्यते वदनंदर्शाआ?
यन्ती प्रियसखीति चाभाषमाणा न लज्जे । तवाप्यहमद्यैव

१ हतहृदयस्यैव इ?ईन

आईप्रयसखीसञ्जाताआसंप्रति मरणंजीआवईतंवा नदुःखायमो
तत्कोपरःप्रष्टव्यो मयाआकेन वापरेणोपदे_ष्टव्यमातदेवं गते
यत्करणीयंतदुपादईशतुमेप्रियसखी । नाहमात्मनाकिंचिदपि
वेद्मिकिंकृत्वाश्रेयःआइत्युक्तवतीं कादम्बरींमहाश्वेताप्रत्यवाआ
?दीत्?आप्रियसखिकिमत्रप्रश्नेनोपदेशेनवा । यदेवेयमनतिक्र
मणीया प्रियतमसमागमप्रत्याशा कारयतितदेव करणीयम् ।
पुण्डरीकवृत्तान्तोऽद्यकपिञ्जलहस्ताक्त्फुटीभूतः । तदातुवा?आ
त्रकेणैवसमाश्वासितया मयानपाआरईतमन्यत्किंचिदपि क?र्?आ
तत्त्वमन्याइत्ंक कसेषियस्याःप्रत्ययस्थानमिदंचःद्रापीडशरीरमङ्क
क्षाणांआहईदेवतानां मृदश्मकाष्ठमय्यः प्रतिमाः श्रेयसेपूजास
१? इत्युक्तवत्यांमहाश्वेतायां कादम्बरी?णीमेवोत्थाय तरलि
कयामदलेखया ओत् प्यतामखेदार्हांचन्द्रापीडतनुमन्यतरस्मि
च्छीतवातातपवर्पात्सी षरीहते शिलातलेशनैरखेदयन्ती
स्थापयित्वाऽपनीतशृङ्गारवेषाभरणा मङ्गलमात्रकावस्थायितैककरर
त्नवलया स्नानशुचिर्भूत्वा पारईधाय धौतशुचिनी दुकूलेप्रक्षात्य
?०पुनः पुनर्गाढलग्नमधराकईसलये ताचू?रागमुपर्युपारईनिमीलिताग
तबाष्पवेगोत्तरललोचनाऽन्यदेव किमप्यचिन्तितमनुत्प्रेक्षितमा
शिक्षितमनभ्यस्तमशईचतमपूर्वं बाला बलाद्विलोमप्रकृतिनाकार्य
यण्डितेनदग्धवेधसाकार्यमाणा यान्येवसुरभिकुसुमधू?आनुलेप
नानिसुरतोपभोगायानीतानि तैरेवदेवतोचितामपचितिंसम्पाद्य
आआचन्द्रापीडमूर्तौ ?इर्तमतीव शोकवृत्तिरार्तरूपा रूपान्तरमिव
तत्क्षणेनैवागता विआआतजीवितेव श्?मुखी मुखावलोकिनी

१ कीपञ्जलाख्यानात् इआईतन

चन्द्रापीडस्य, पीडितोत्पीआईडतहृदयापि रक्षन्ती बाष्पमोक्षम् ,उद्दा-
मवृत्तेःशोकादपिमरणादपिकष्टतमामवस्थामनुभवन्ती तथैवाङ्के
समारोपितचन्द्रापीडचरणद्वया ?आगमनखिन्नेनापि बुभुक्षितेना
जनेनचसहनिराहारातांदईवसमक्षिपता ?
यथैवचदिवसमशेषंतथैवतां गम्भीरमेघोपरोधभीमामनव
लाकुलितचेतोवृत्तिमुद्दामदर्दुरटि??धारईतश्रोत्रे?ईयां दुर्दर्शत
डित्सम्पातपीडितादईशमशनि??र्तजनापादितभुवनज् ज्व
?वद्योतनिवहजर्जारईततरुगहनतलतमःग्रसरभीषणतमा ।त्स?१०
चेतितस्वशरीरखेदाजाग्रती समुपविष्टैवक्षणमिव क्षपांक्ष?ईत
वतीआप्रातश्च तदुन्मीलितं चित्रमिवचन्द्रापीडशरीरमवलोक्य
शनैःशनैःपाणिनास्पृशन्ती८र्क्लाश्व आ?ंमदलेखामवादीत्प
प्रियसखिमदलेखेनवेद्मिञ्जिं आदुत निर्विकारतयैवेति।१।
अहंतुतादृशीमेवेमातनुमालोकयामिंआतत्त्वमपि तावदादरतो
निरूपय । इत्येवमुक्ता मदलेखातांप्रत्यवादीत् । प्रियसरिव
किमत्रनिरूपणीयमाअन्तरात्मनो?व?ऊ ?चूआपारमात्रकमस्योप
रतमाअन्यत्तादृशमेवेदं व्याकोशशतपत्राकारं मनागप्यनुन्मुक्तं
तथैवेयमिन्दुशकलानुकाआरईणःकान्तिर्ललाटस्य । तादृशमेवेदमा
मुकुलितर्नालोत्पलद्युतिहाआरई कर्णान्तायतं लोचनद्वयमा तथैव
चेमावहसतोईप आवईहसिताविवोद्भासितकपोलमूलौ ?एपा?एएऋउऋ_ ।
तादृश एवाभिनवाकईसलयच्छविरथरःआतथैवचेदं आवईरद्रुमाउलोआ
हितनखाङ्गुलीतलंपाणिपादमातथैव चेदमावईगालईतसहजलावा?
? ? ? ?
१ आईतान?आद० इआईतन २ अस्यामुपरतमित्तई न ३।आवई?
आईसतौइत्तईन ४ आवईमालईतमिआतईन

ण्यसौकुमार्याणां सौष्ठवमङ्गानामातत्सत्यासाभारती कस्त्वि
लावोईदतश्चशापवृत्तान्त इति संभावयामिआइत्युक्तवत्यांमदले
खायामानन्दनिर्भरामहाश्वेतायै दर्शयित्वाचन्द्रापीडचरणतलनि
? सतुविस्मयोत्फुल्ललोचनः सर्व एवावनितलनिवेशितशिराः
प्रणम्यचन्द्रापीडचरणौरचिताञ्जालईर्जानुद्वयेनावनौ स्थित्वाका
दम्बरीं व्यज्ञापयत् । देवित्वत्मभावोयं यदेवमस्मानपुण्यवतः
हाआरईवीक्ष्यते वदनमाऋत?थैवचपुनः प्रसादानुभवप्रत्याशाला
वायदस्माभिः पुण्यवी? । इत्यभिआहईतवतिराजलोकेससखी
जना सपारईजना चोत्थाय स्वयमेवावचित्य देवतार्चनकुसुमानि
स्नात्वा निर्वर्तितचन्द्रापीडशरीरपूलासंस्कारा शरीरस्यितिकरणा
यादिदेश सकलमेव राजलोकमानिर्वर्तितस्नानाशृनेचतस्मि
१ष्न्नात्मनापि महाश्वेतयोपनीतानितयैवसहसपारईवारा फला?
पभुक्तवती । कृताहाराचपुनस्तथैव चन्द्रापीडचरणावङ्केनोद्व
पीडशरीराविनाशं प्रति मदलेखामवादीत् । प्रियसरिवदेवस्य
शरीरमिदमुपचरन्तीभिरवश्यमा शापक्षयादस्माभिरधुनात्र स्थात
?०व्यम्।तादईममत्यद्रुतंवृत्तान्तंतातस्याम्बायाश्चगत्वा निवेदया
येनृनान्यथृआमां संभावयतः दुःखेनवामदीयेननतिऋष्ठतःआ
नशक्रोम्यहं तातमम्ब्रांचदृष्ट्वा शोकवेगं धारयितुमा मया
चोपरतमेवदेवमालोक्_यनरुआदईतमासाकिमपरमधुना निःसं
?आशयितजीविते देवे प्रतिपन्ननियमारोआदईमि । इत्यभिधायतां

गत्वागतयाच तया ?ईयसखि सिद्धंतेऽभिवाच्छितमेवं
शिरस्युपाघ्रायच वक्तव्यावयोर्वचनाद्वत्सेकालमेतावन्तंमनस्येव
नैतदावयोरासीद्यथा जामातृसहितावत्सा द्रष्टव्येति तदयमेवा
लोकपालस्य चन्द्रमसोऽवतारस्तत्कल्याणैः शापावसाने जामात्रा
सहैवानन्दबाप्पनिर्भरमाननारविन्दंतेद्रक्ष्यावःआ इत्यावोदईतेनि
अथापगतवतिजलदसमये घननिरोधो?धादिवोन्मुक्तेजीव
सीमासुकाशकुसुमधवलास्वरण्यस्थलीपु सेव्यतामुपगतेपुप्रासा१
दतलेपुकह्लारहाआरईपु पत्वलेपुकुमुदामोदशीतलासुयामवतीपु
मेपु प्रदोपे७र्ं उद्दामफुल्लेन्दीवररजोवाससुरभिपु वासरेपुसलि
लापसरणक्रमतरंग्यमाणासुसुकुमारतीरसैकतरेखासु सुखोत्तारता१णे
न्दाश्यानकर्दमोद्भिद्यमानाभिनवपदवीकेपु पुनरपि पार्थिवलोकेन
प्रवर्तितेपुप्राञ्जलवर्त्मसु जम्बालविगमात्सर्वतस्तुरगसुरसहासुभू
व्यज्ञपयत्? । देवो युवराजश्चिरयतीत्युत्ताम्यता हृदयेन देवेन।०
तारापीडेनदेव्या विलासवत्यार्यशुकनासेनचवार्ताहराः प्राहई
ताःआतेचदेव्याएवशोकशत्यघटनां पारईहरीद्भर्यथावृत्तंसर्व
माख्यायास्माभिरभिहिताः । भवतांहस्तेदेवेन चन्द्रापीडेनन
एव गत्वैवमखिलवृत्तान्तं लोकार्तिहरायावनितलपतयेदेवदेवायप्रा

भक्तिरनुवृआईत्तर्वा । कार्यगौरवकृतंकुतूहलमेवदेवावलोकनंप्रति
नलात्प्रेरयत्यस्मानायदिभवतामपि वार्त्तामात्रकोपलभ्यएवाय
मर्थस्ततो युज्यतेऽस्माकंभवद्ध्यः समुपलभ्यप्रतिगमनमाअथ
नयनविषयगामीआतदा वयमपि नेदृशाएवापुण्यकर्माणोयेन
ष्पश्यन्तिदेवमाअस्माभिरपि चिरतरं चरणपारईचर्यया देवस्य
पवित्रित एवात्मा । अस्माकमपि सर्वदादर्शनगोचरावस्थानेन
प्रसादंकृतवानेवदेवःआकिमद्य जातंयेनदेवस्यपादारविन्द
रणरेणवः । यद्विज्ञाप्य देवींदेवस्य युवराजस्यपादप्रणामेना
१०स्माकंसफलयतुभवानागमनपीरश्रमम्।अन्यथा भूमिमेतावती
मागत्य संभवे सत्यप्रत्यक्षीकृऋतयुवराजशरीरागताः सन्तः किं
स्थितवतिमेघनादेतत्कालं समुत्प्रेक्षितानाश्वासश्वृशुरकुलवैक्लव्या
बन्तीलोचनाभ्यांगद्गादईकयावगृह्यमाणकण्ठी कथंकथाआपिचि
रात्कादम्बरी प्रत्युवाच । स्थानएवहि तैरगमनमङ्गीकृआआमा
अनवलोक्य देवमेवमेव याताःसन्तःआकईमुच्यन्तामाअपिच
वृत्तान्त एवायमेवंविधो लोकातीतो यत्रावलोकनेनापिनसंप्र
२०त्ययःसमुत्पद्यते।किं पुनरनालोकनेनापिआकैतवमात्रकोपदर्शि
तप्रेमपल्लवावल्लभतमजीवितावयमपि यावत्पश्यामस्तंतावदनपे
क्षितप्राणवृत्तयःस्नेहसद्ध्यवनया स?ऋत्यानपश्यन्तीत्यघटमानक
मिदमातदपीरलम्बितंप्रवेश्यन्तामापश्यन्तु देबमासफल
यित्वागमनपारईश्रमेण सार्धंलोचने ततो यास्यन्तीतिआआज्ञा
२ष्नन्तरंचमेघनादेनप्रवोईशता?त एवसमं बाष्पपातेनपञ्चा
१ सदृश्या इआतईन

भ ःपारईत्यज्यतामयं क्रमागतस्नेहसद्भावसुलभः शोका
वेगःआयत्खल्वनालोचितावधि दुःखावसाउनमेव् दुःरवंतन्मरण
भीरोर्भवतुनामशोकावेगायायत्पुनःसुआखोदर्कं तत्पुरःत्सईतयाआ
सुखप्रत्याशयैवान्तारईतंनापततिहृदयोतदेपवृत्तान्त एवांवईधो
येननकेवलमत्रनिरवकाशताशोकस्यप्रत्युत सु?स्मईन्नवृत्तोव
स्मयसावसरः । आकईमत्रपारईबोधनेनाअन्यत्रादृष्टपूर्वोमनुप्येपु
प्रत्यक्षीकृतएवायं वृत्तान्तःआभवद्भिरपिदृष्टंचपुरेवाक्षततनो
चायं प्रत्यक्षदृष्टोऽप्युपरतशरीराविनाशवृत्तान्तः प्रकाशनीयः ।
परतिः खल्ववश्यंभाविनी प्राणिनां कयंचित्प्रत्ययमुत्पादयतिआ
शरीराआवईनाशःपुनप्राणैर्विनाकृताना दृश्यमानोप्यश्रद्धेय एव।१?
तदस्यावेदनेनसुदूरस्थितमपिगुरुजनंमरणसंशये निक्षिप्यवर्त
मानेप्रयोजनमेव नास्तिआप्रत्यागतर्जाविते र्जावितेश्वरेस्वयमे
तेव्यज्ञापयनादेविकिंआवईज्ञापयामः आद्वाभ्यामेवापारईज्ञानमस्य
देवेनतारापीडेनदे_व्याविलासवत्यार्यशुकनासेन सभाव्यप्रेपि
तानामप्रोपितजीआवईतानामगमनंतुदृआआपेतमेवागत्वाआईआआ दयित
ष्ठताक्षीण्युद्वीक्ष्य मुखानि निर्विकारवदनानामस्माकमवस्थानमश?आ
मवादीत्?आमेघनादवेद्मि संस्तुतजनस्यैतदनुचितामईतिआतथापि

गुरूएआआं चेतःपीडामवेक्षमाणया मयैवमभिहितम् । इतरदपि
दुःखमापततिआकीदृशंभवतिआ किंपुनारईदंमहावज्रपतनसदृ
शम् । तदेतदपि भवतुआ एभिःसहापरःकश्चिच?रद्धेयवचाः
?नादो व्यज्ञापयत् । देवि राजलोकेतुकाकथा भृत्यवर्गोपि
सृकल एबायं कन्दमूलफलाशीनिश्चयंकृत्वास्यितोयथास्माकं
मध्यादेकेनापि देवपादान्विना न प्रतीपं गन्तव्यमितिआभृत्या
अऋपितएवयेसम्पत्तेर्विपत्तौसविशेपं सेवन्ते समुन्नम्यमानाः
सुतरामवनमन्तई आलप्यमाना न ?मु?आआल्?आपाः सञ्जायन्ते
नप्रृतीपं भापनृते पृष्टा आईहतप्रियं विज्ञापयन्ति अनाआदईष्टाः
कुर्वन्तिकृत्वानजल्पन्ति पराक्रम्यनावईकत्थन्ते विकथ्य
मानाअपिलज्जामुद्वहन्तिमहाहवेप्वग्रतोध्वजृभूता इवलक्ष्य
न्ते दानकाले पलायमानाःपृष्ठतो निलीयते धनात्सेहंवहु
१।ऋमन्यन्तेजोवितात्पुरोमरणमभिवाञ्छन्तिगृहादपि स्वामिपाद
मूलेसुरवं तिष्ठन्तियेषांचतृष्णा चरणपारईचर्यायाम् अस
कार्पण्यमपारईत्यागेऋभर्तुःआयेचविद्यमानेपि स्वात्मन्यस्वाधीनसा
कलोईऋद्रद्रयवृत्तयृः पश्यन्तोप्यन्धाइवशृण्वन्तोपिबधिराइववा
?०आंईगृ।ऋम्र्ने_ऋआआई?ऋ प्लजानन्तोपिजडा इवानुपहतकरचरणाअपि
बिम्बवृद्वर्तल्तोतत्सर्वमेवायमेवं ।? भृत्यलोकःआदेवसच
स्_थानेदेवीवर्ततोतदाज्ञापितंकृतमवधारयतुदेवीआ इत्युकवा
मेघनादसवरितकनामानं कुमारबालसेवकमाहूयतैः सह व्यस
अथसुबहुदिवसापगमे वात्तांर्विनोत्ता?यन्ती चन्द्रापीडस्यै
? ऋ
१ खांत्मनःइआईतन

वागमनायोपयाचितं कर्तुमवन्तीनामनगरीदेवतानामवतिमावृणा
मायतनंनिर्गताआवईलासवती आदेवीदि?आ वर्धसेप्रसन्नास्तेऽव
न्तिमातरःपरागतायुवराजवार्त्ताहराः इतिसहसैवसभ्रमप्रधाआ
द्वृष्ट कस्यानुकम्पास्मिञ्जने जाताकेनदृष्टाःकियद्दूरेवर्तन्ते
आकेंवातैःकाथईतं कुशलंमेवत्सस्यैति पृच्छ?येवाद्राक्षी
दितस्ततोयथादर्शनंसङ्घशः प्रधावितेननरपतिप्रतिब५द्धनाप्रति
वद्धेन चोज्जयिनीनिवासिनाजनेन ।आगतोयुवराजःकियदृऊरे१०
मव?ईःपीरत्यक्तःदिवसेप्वेतेपुक्ववर्तते क्ववाभवद्भिर्यात्वा
दृष्टःक्ववातिकष्टस्तेनातिवाआहईतो वाहनमात्रसाधनेनधाराधरा
गमः तुरगपृष्ठगतस्यमन्येवहत एवास्यापक्रान्तसवीरतकएत
राजेनसदृष्टोवैश?पायनःप्रत्यानीतोवामिआलईतोस्य पत्रलेरवा१?
सीहतो मेघनादः द्त्तृःकथंकश्चिदपिसन्देशोदेववर्धनेनमे
मित्रमेवासावद्यारभ्याराभङ्गकतयैवविनाश बलाद्गतस्यबालध
र्मणोवत्सस्यविभ५म्५यववात्तांर्पृच्छन्न्?ईर्ज्रावत्यसावस्य वाजीयो
युवराजेन प्रसादीकृतः प्रसीदतसाआएईर्दंऋऊनां प्रथमस्य पृयुवर्मणो
मातुलस्यमेकथयत वार्त्तामुअएक्षामहे महानश्ववारैरनुभूतः।०
क्लेशैतिकुशलं महाश्वपतेरश्वसेनस्यश्वशुरोसावस्माकम् आवई
स्मयःकृतेस्म?ईपत्रापियच्चिह्नकमपिभवता हस्तेनकिंचित्प्राहई

१ यथाद्दशर्नस?धशः इआतईन २ नदत्तः इआतईक ३ चल
गीतवलाआईध०इआतईन ।

तस्तेनार्सान्नार्सारार्थ युवराजः राजकुलेकःप्रसादावईत्तो वर्ध
मानो मान्यतेवाकेनवाआईकं लव्धमेतावद्भिआईदंवसैःआजीव
निकावहवःखल्वभिनवसेवकाजाताःयातु तावत्सर्वमेवान्यत्
येनदृष्टःसकथयतु सर्वसेनसूनोर्वीरसेनस्य वार्त्ता पितर्युपरते
ष्प्रथममेवसप्रविष्टोयात्रामात्रास्य दुःखान्तारईतप्रत्यग्रपतिमरण
शोकादशनक्रियैव पारईत्यक्तानविद्म एवं कथं सा जीवति
इत्येतानि चान्यानि च प्रतिपदपृच्छत्रमानानप्यदत्तवचसःआ
नासाग्रस्थितमन्युगभप्दृष्टीनाविष्टानिव अध्वश्रमनिःसहाङ्गानपि
१०च्चराच्छादितान् असंस्कारमलिनकायान् अनेकधैवोद्बद्धाध्वधूआ
लिपरुषमूर्धजान्ध्वजानिवाध्वक्लेशस्याश्रयानिव श्रमस्य पदन्यासा
निव दौर्मनस्यस्यावासानिव प्रवासस्य सन्दभाआनिवसर्वदुःखानां
?तएवत्वारईतकसमेतास्त»आआआएखहारकान् । आलोक्य तस्मिन्नेव
१।? अनन्तरं चातईर्कतापतितदर्शनोत्पाआदईतद्विगुणदुःखावेगान्मुषि
पसर्पतः पुर?आआत्पतन्तीव बाष्पान्धा साध्वस??लितचरणकमला
कतिचिद्गत्वापदानिगद्गदतरमुच्चैरकृतप्रणामानेवावाद?आईता भद्राः
कथयताशुवत्सस्यमेवार्त्तामात्रमाइदंत्वन्यथैव किमपिकथ
।०यतिमे हृदयम् । अप्रत्ययमेवाश्रयते । वत्सो दृष्टोवान
भवद्भिः ? इत्येवं पृष्टास्तुतेसहसागतबाष्पवेगमवनितलानईवे
शितोत्तमाङ्गाः प्रणामापदेशेनोत्सज्यकृछ्रादिवाभिमुखमुन्नमितव
दना व्यज्ञापयनादेवि दृष्टोस्माभिरच्छोदसरस्तीरे युवराजःआ
शेपमेपत्वारईतको निवेदयिप्यतिआइत्यभिवदतएवतानुद्बाष्प
??मुखी प्रत्युवाच । किभपरमयं तपस्वी निवेदयिप्यतिआदूरतः
प्रभृत्यपसृतप्रहर्पेणैवोपसर्पणेनप्रतिलेखमालिकाश्?ऐः शिरोभिरा

१ राजनिकाः इआतेन

आवईपण्णदीनैराननैःप्रयत्नसंरक्षिताश्रुमोक्षदुःखिताभ्यां लोचनाभ्यां
हावत्स जगदेकचन्द्र चन्द्रापीड चन्द्रानन चन्द्रशीतलप्रकृते
चल्द्राभिरामगुण लोचनानन्दभूतीकंभूतंतेयेन नागतोसिआ
मेतत्तवाअम्बनपारईलम्बंमनागपिकरोमि इतितथामेपुरः
प्रति?आआयान्यत्र क्वाप्यवस्थातुम् । वत्सगच्छत एवतेमयास्य
हतहृदयस्यशङ्कयैव ज्ञातंदुप्करंमेवत्सस्य पुनर्मुखावलोकन
आमईतिआबलाद्गतोसिआकिंकरोमि । कोवात्रदोषो वत्सस्या
मन्दभाग्याया ममैवैतान्यपुण्यानाविलसितानि । भवन्त्यपुण्यव१०
च्छिद्यक्वापिनीतोसिआआवईप्रलव्धास्मि दग्धवेधसाआवत्ससुदू
चदनमालोकयितु?कण्ठितंमेहृदयमाजातदुर्लभकन जाना
आयेवकिमाजन्मनःप्रगृईतशैशवंते स्मृत्वात्मानमनुशोचामि।१?
उतयौवनाभोगकाआरईणींवर्तमानां रूपशोभामाआहोस्विदवष्ट
म्भधीरामु?एआ योत्प्रेक्ष्यागामिनींप्रभुतामाइत्येवं विलपन्तींमा
मवलोक्यहृदयस्थितोमैवंकृथाश्चेतसिपुत्रयथा आविनापिमया
जीवत्येवविलासवती आजातत्वया विनार्जावन्त्यापिपितुरेवं
तेकथंमया वदनंदाशतम् । नवेद्मि किमपि यितयाते।०
आकईमाकृतेः प्रत्ययादुत स्त्रीजनसहभुवो मूढमावादेवेत्यद्यापिन
कर्तुंचवार्त्तां भीतातेत्वारईतकोपनीतामेवनेच्छामि । वरम
सुतस्नेहानुचितेनलोकलज्जाकरेण वैक्लब्येनेतिआएपा स्थितास्मिआऽ
तेवत्स वचनाचूप्णीएमानरोआदईमिआइत्यभिदधानैवासन्नसखी

अथानेकसहस्रसंख्येनप्रधावता विलासवतीपारईजनेनावेदिते
तस्मिन्वृत्ताते मन्दरास्फालनोद्वेल इव महाआभोधिरुद्भान्तचेताः
ससंभ्रममुत्थायार्यशुकनासद्वितीयो यामावस्थितांप्रजावईनींकरे
र्ण्तनादकलकलेनस?र्?ःआ?एस्?द्द्व?_प् ऽऐचूए?आकर्पीन्नवोदवासय
न्निवपृष्ठतःसगृए?आ?ऋलकप्राकुआरभ?र्० आयशनिर्जगाम
नरपतिः । उपेत्य चावन्तिमातृगृहमवतीर्यतिर्यग्विषण्णोद्बाप्प
वदनेनमलयजजलैश्चसिञ्चताकदलीदलैश्चवीजयता जलार्द्रैश्च
पाणिपल्लवैः संवाहनंकुर्वताकथं कथमपि चेतनामापाद्यमानां
तीमपश्यत्रादृष्ट्वाचसहसा प्रवृत्तेननेत्राम्भसा मूर्छावश्५आपाप
नयनायेवसिञ्चन्समुपविश्यपार्श्वेस्पर्शामृतर्वार्पणा करेणललाटे
चक्षुषि कपोलयोरुरसि वाह्वोश्चस्पृशञ्छनैः शनैर्बाप्पगद्गदमवा
दीत्?आदेवियदिसत्यमेवान्यादृशंकिमपिवत्सस्य चन्द्रापीडस्य
१ष्ततोनजीव्यतएव।किमर्थमयमात्मा वत्सस्यकृतेसकललो
व्युपात्तानिकर्माणिआकिमपरं क्रियतोनाधिकस्य भाजनं सु
खस्य वयम् । अनुपात्तांहईहृदयताडनमपि कुर्वद्भिर्न लभ्यत
एवात्रात्मेच्छया । विधिर्नामापरःकोप्यत्रास्५त। यत्तस्मैरोचते
?०तत्करोआतई । नासौ कस्यचिदप्यायत्तः । एवंचपराधीनवृत्तौ
सर्वस्मिन्नकिंवास्माभिर्लव्धम् । वत्सस्यातिदुर्लभो जन्मोत्सवः
संभावितःआअङ्कगतस्य मुखमवलोकितमाउत्तानशयस्योच्चुम्व्य
स्पर्शसुखमनुभूज्ञम् । अव्यक्तमनोहारीणिप्रथमजल्पितानिश्रोत्रे
श्तेकृतानिआविचेष्टमानस्यबालचाटवोदृष्टाःआ गृहीतविद्यस्यगुण
बत्तयानन्दितं हृदयम् । उपारूढयौवनस्यामानुरषी रूपशोभा

शक्तिश्च प्रत्यक्षीकृता । अभिषिक्तस्य यौवराज्येशिरःसमाघ्रा
तमाआईदग्विजयागतस्यप्रणमतः परिष्वक्तान्यङ्गानिआएतावदेव
मनोरथशतवाञ्छितस्य वस्तु?एनसम्पन्नंयद्वधूसमेतस्यनिजपदे
पुण्यराशेः फलमाअपरमपिआईकवृत्तं वत्सस्यैतदद्यापिनपारई?
त्कथयतः कर्णे कृतम् । ययास्म?हितैर्लेखहाआरईभिः सहापरो
वत्सस्यमेवालसेवकसवीरतकनामायातः । सवेत्तिसर्वंवृत्ता
न्तम् । सोपित्वयानपृष्ट एवेतिआतत्तंतुतावत्पृच्छामः ।
ततो जीआवईतमरणयोरन्यतरदङ्गीकारईप्यामः।इत्यभिवदत्येव???१ण्
जनिपारईजनान्तारईतंपत्?रआरईतकमाहूय प्रतीहारस्त्वारईतकैर्मा?न्?
राजातुतथातमालोक्य चन्द्रापीडस्नेहादेद्यईत्याहूयहस्तेनो
त्तमाङ्गे स्पृष्ट्वादिष्टवानाभद्र कथयकिंवृत्तंवत्सस्ययेनागम
नायमयातन्मात्रामात्येनचलिखितेपि नायातः ।अनागमन१।
कारणंवाकिंचिन्नप्रतिलेखितवानिति । सत्वेवमादिष्टोराज्ञा
गमनतःप्रभृतियथावृत्तं कथयितुमारेभोराजातु चन्द्रापीड
हृदय?टनवृत्तान्तं यावदाकर्ण्याआतईक्षुभितशोकार्णवाक्रान्तिआवईक्लवः
त्वयाकथनीयमामयापि श्रुतंयच्त्र्।?एतव्यम्।पूर्णोमेप्रश्नदो।०
हदःआनिवृत्तंश्रवणकौतुकमाकृतार्थीभूता श्रुतिःआआनन्दितं
हृदयमाउत्पन्नाप्रीतिःआसुखं स्थि??वआहावत्सत्वयैका
किनास्फुटतोहृदयस्यानुभूतावेदनाआनिर्व्यूदा त्वयावैशम्पा
येपांतवापि हृऋदयस्फुटने निर्विकारत्वमेवादोईववज्रसारतोपिआष्
कठिनतरमेवेदमावयोहृ?दयमायन्न स्वयंसहस्रधा स्फुटतिआन्
चापिमरणदुःरवभीरवोऽमीवत्समनुगच्छन्तिस्वयंप्राणाः । तदु

त्तिष्ठ यावदेवाति?ं न प्रयात्येककिआ वत्सस्तावदेवानुगमनाय
प्रयतामहे । सशोकंशुकनास किमद्यापितिष्ठसि अयंस
कालःस्नेहस्यामहाकालायतनसमीपे समादिशस्पमई०पृआरई?र
कांश्चितारचनाय । रचयत ज्ञटितिकाष्ठानि काष्ठिकाःआकिं
णईतष्ठतैवसङ्कुचिताःकञ्चुकिनःआगत्वा निप्क्रामयतहुताशनप्र
वेशोपकरणानि । निप्कारणरुआदईतेनकिमधुनाआउपरोधपारईल्
त्यतोपालनाआदईकंकरणीयमधुनाक्षीणं क्षीणपुण्यस्यमोयात
यथाभूमिभूमिपतयःआउत्सृष्टाः स्थायथाचनाद्यैवास्यदुःरवं
१०जानन्ति प्रजास्तथा कारईष्यथ । कथावशेपीभूतोमेवत्सः ।
कमपरंसंविधाययामि । एवमार्तप्रलापिनं तारापीडमचेतिता
त्मपीडयाविलासवत्यैवधृतशरीरमार्ततरसवारईतको व्यज्ञापयत्?आ
देवस्फुटितेऽपिहृदयेध्रियतेशरीरेण युवराजःआशापदोषाद्वै
१? तारापीडस्तुतदद्भुतमाकर्ण्यकौतुक?तारईतशोकावोआआए विगत
निमेषेण चक्षुपाविष्ट इव दत्तावधानस्तेन कथ्यमानं यथादृष्टं
यथाश्रुतं यथानुभूतंचनिरवशेषं तत्सर्वमश्रौषीति । श्रुत्वाच
तमनेकचिहोत्पाआदईतप्रत्ययमश्रद्धेयं च निरतिशयशोककारणं च
विस्मयास्पदभूतं चदुःश्रवंचक?आतुककरंच युवराजवैशम्पाय
।०नयोर्वृत्तान्तमषिदिव आवईवर्तिताननो विमर्पस्तिमिततारकां ?ष्टैं
देवविचित्रेऽस्मिन्संसारे सञ्चरत्सु सुखदुःखमयेपुदेवतिर्य
श्?ग्योनिमानुषेपुत्रिगुणात्मनःप्रधानस्यापि पारईणामात्परमाण्वादेर्ब्र

१ कथमपरमितिन

० ओत्पत्ति?ईतिप्रलयकारणस्येश्वरस्येच्छया ?ंधर्माधर्मसा
आस्वयमेवानेकप्रकारमुत्पद्यमानस्यतिष्ठतो विनश्यतोवा
वृत्तेः स्थावरजङ्गमस्यनकदत्त्विदवस्थासा यानसम्भ
वतिआतत्कुतोयंदेवस्यात्रवस्तुनिविमर्शः आयादईयुक्तेर्विचाराण्
त्कियन्त्यत्र युत्त्क्तिराहईतान्यागमप्रामाण्यादेवाभ्युपगतान्यपि संवा
युक्तिःआअयस्कान्तस्यचायसःसमाकर्षणे भ्रमणेवाआमन्त्त्राणां
शक्तेः समुत्पादनात् । अन्येपां बहुतराणामेवांवईधानांचतत्र
तत्रसर्वस्मिन्नेबागमः प्रमाणमाआगमेपुसर्वेप्वेवपुराणरामाय
णभारताआदईपुसम्यगनेकप्रकाराः शापवाआआर्ः७_।तृद्यथा।महेन्द्रप
दवर्तिनो नहुपस्य राज?रेरगस्त्यशापादजगरता । सौदासस्यच
वसिष्ठसुतशापान्मानुपादत्वम् । असुरगुरुशापाच्च ययातेस्तारुण्य१ष्ठ
एवजरसाभङ्गः । त्रिशङ्कोश्चपितृशापाच्चाण्डालभावःआश्रूयते
चस्वर्गवासी महाभिषो नाम राजाआईस्मल्लोके शान्तनुरुत्पन्नः ।
?पत्तिःआतिष्ठतु तावदन्यएवाअयमाआदईदेवो भगवानजःस
एव जामदग्नेरात्मजतामुपगतःआश्र?यतेच पुनश्चतुर्धात्मानंवि?०
भज्य राजर्षेर्दृशरथस्य तथैवमथुरायां वसुदेवस्यातन्मनुप्येपु
किमत्रासम्भावनीयम् । अपिचगर्भारम्भसम्भवेदेवेन देव्या
वदने विशंश्चन्द्रमाएवदृष्टःआ तथाममापिस्वप्ने पुण्डरीकस्य?ष्

१ मान्द्य»आद्युत्पाद० इआईतना

ष्टयोःशरीरस्याविनाशःकथंकश्वंवृआ पुनर्जीआवईतप्रतिलम्भैत्य
देवः । अन्यच्च तादृशाकारकान्तेरखिललोकाह्लादकाआईरणोन्यत्र
?सभवएवनस्तिआ तत्कल्याणैन? चिराच्छापावसानेनिर्वर्तितग
न्बर्वसुतोह्यहमङ्गलस्यगलन्नयनपयसो वध्वासहपादयोःपततः
पुत्रत्वमुपगतस्यचन्द्रापीडनामान्तारईतस्य लोकपालस्यैवचन्द्रमसो
दर्शनेनाजन्मकृतमेवसन्तृआपंपीरत्यक्ष्यतिदेवःआ तयोरेवंशापो
स्माकं पुनर्वरएव । तदस्मिनृवस्तुनि मनागपिनदेवेन देव्या
०वाशोकःकार्यः । मङ्गलान्यभ्धिआर्यन्तामाआऔ?ईभमतदेवताराध
नेन धनातिसर्जनेरन?चान्यजन्मोपार्जितं तकुशर्लमभिवर्ध्यता?१।
अकुशलमपियमीऋनृयस्कईष्टव्रतोपवासादिना तपःपारईक्लेशेनक्षय
मुपनीयताम् । अपरमपि यद्यदेवंगते अएयस्करंश्रूयतेज्ञायते
१?मवौदईकानांवाकर्मणामसाध्यं नाम किंत्वईदपि । उत्पत्तिरपि
तद्यदार्येणाभिआहईतं कोन्योबुध्यतोकेन वापरेह्यावयंपीरबोध
नीयाःआकसवापरस्यास्माभिर्वचृनंकरणीयमा आकईंतुतद्वत्सस्य
प्रण्मेवैशम्पायनदुःखा?फुटनं हृदयस्याग्रतोदृष्टईलग्नंसर्वमेवान्यद
यत्रचममायमीदृशःप्रकारस्तत्रदेव्याःपीरवोधनं दूरापेतमेवा
??धारयत्वार्यः । इत्युक्तवति तारापीडे चिरात्तनयपीडयातप्ंपुरः
पीरत्यज्य लज्जां आवईलासवतीकृताञ्जलिरुच्चैर्जगाद । आर्यपुत्र

१ प्रत्याख्यात इआतईन

यद्येवं तथापिकिमपरं आवईलम्बितेन । निर्गताएव वयमा
दृआईयतां प्रयाणम् । उत्ताम्यतिमेहृदयं वत्सस्य दर्शनाय ।
दुखापनोदार्थंस्फुटनमङ्गीकृतमासीतातदपि संप्रतिदर्शनका
?ऋयानरोचत खाजानामिवरं दीर्घकालमपिट७ःखान्यनुभ
वन्तीसकृदपिवत्सस्य दर्शनाय र्जाआवईताआईस्मानपुनरसह्यदुःष्
रतोपशान्तये सप्रत्येवमृतार्स्मातिआतदस्य पुनराशानिबन्धनस्य
सर्छात्ययनिवारणोपायस्य वत्साननावलोकनोत्सुकस्य गमनमपि
हृदयस्यतावद्विनोदतांव्रजतुआइतिवदन्तीमैव आवई?रआसवतीमा
साद्यान्यतमःशुकनासस्यात्मसमः पारईणतवयाः षटूर्मासमुपसृत्य
स?ईआपूर्वकंव्यज्ञापयत्देविसर्वतएवापारईस्फुटेन वार्त्ताकल१
कलेना?उलीकृतहृदया मनोरमा स्वयमेवधावःत्यागता । राज्ञो
लज्जमानानोपगतास्थानमिदम् । तदेषामातृगृहस्यपृष्ठतस्ति
ष्ठतिआपृच्छतिचदेवीम् । किमेभिःकथितम् । जीवतिमे
वत्सो वैशम्पायनः । स्वस्थशरीरोवाआढौकितोवापुनर्युवरा
तुतदुपरतिवार्त्तायाअपिकष्टतममाकर्ण्य दीर्णैवशुचाशत
गुणीभूतशोकोत्ष्ठतङ्गिआ विलासवतीमवादीत् । देवि न श्रुतं
आवईतेनैव वियुज्यते । तदुत्ति?स्रयमेव?धयामालाव्यसर्ववृत्ता
ःतानुकथनेन संस्थापय प्रियसखींतथा यथार्यशुकनासेन सहाण्
यातव्यम् । दृ_त्येवोत्थाप्यसपारईजनां विलासवतींव्यसर्जयता
रक्षकवर्जमुज्जश्यईन्याःसकलएवलोको गन्तुमुदचलताराजातु?आर्
शीघ्राआमनविघातहेतूसमस्तानेव निवर्त्यप्रलघुपारईकरःविन्निव

त्युत्ताम्यताहृदयेन कियत्यध्वन्यद्यापि वर्तामहे कतिपयैर्दिवसैः
परापतामैतिमुहुर्मुहुस्तुरङ्गमारोपितं त्वारईतकमाहूयाहू_यपृच्छ
न्नविआईच्छृन्नकैःप्रयाणकैर्वहन्नवहुभिरेव दिवसैराससादाच्छोदमा
आसाद्य च विकल्पशृतदोलारिआएहणदुःआईस्थतेनान्तरात्मना दूर
आउ?ईतएवप्रथममाप्ततमानश्ववारान्वार्त्तान्वेषणाय त्वीरतकेनसार्ध
अथतैः सार्धमागच्छन्तमुज्ज्ञितात्मसंस्कारमलिनकृशशरीरम
वनितलनिवेशितोत्तमाङ्गमुद्बूआष्पदीनतरद्यष्टैं जीवितलज्जयारसा
तलमिवप्रवेष्टुमीहमानमहर्महमिकया परस्परावरणेनैवात्मदर्शनम
।०भिरक्षन्तमक्षतमपिहतमिवसपारईच्छदमपि मुपितमिवजीवन्त
मपिमृतमिव ससंभ्रमकृतागमनमपि प्रतीपमाकृप्यमाणचरणमि
वाङ्गैरेवसहगलितोत्साहं बाप्पेणैवसहमुत्त्रूआत्मानं वैक्लध्येनैष
जीआवईतं राजपुत्रलोकमालोक्योआआसिततनयशोकोर्भिवेगाक्रातोप्यु
आईध्रयतेसत्यमेवशरीरेणवत्सःआयेनसकल एवायं तच्चरणक
मलानुजीवी राजपुत्रलोकस्तत्पादमूलादागतैतिआ सातुतदा
कर्ण्य किंचिदात्मपाणिनैवोत्साआईरतावरणसिचयाञ्चला निश्चलया
?०दृप्ताचिरमिवालोक्य तनयनिर्विशेप राजपुत्रलोकमीवर्च्छन्नाश्रु
धारापि वैर्यमुमुच्योचे५रारटितवती आहाक्त्सकथं सहपाशुक्री
डितस?तावतोराजपुत्रलोकस्यमध्येत्वमेवैकोनदृश्यसे इतिआ
तथारटन्तींतुतांसमाश्वास्य सूताआवराजासमंसर्वलोकेना
वनितलनिवेशितोत्तमाङ्गं मेघनादामईतो ढौकस्वेत्यादिश्योद्दिश्या
पयता_देवचेतनाआवईरहाच्चेष्टामात्रकमेवापगतं शरीरे पुनर्ज्ञायते
१ उ?ऋआईसतनयनः इआतईन

आदईवसे दिवसेऽप्यधिका कान्तिःसमुपजायतैति । राजातु
त?त्वाजीआवईतप्रातईलम्भे समुपजातप्रुत्याशःआश्रुतंदेव्या मेघ
नादस्य वचनं तदेहि चिरात्पुनः कृतार्थयामो दर्शनेनात्मानं
श्यामोवत्सस्य वदनमित्यभिदधान एवाभिवर्धितगतिआवईश्५आ
याकरेण्वामहाश्वेताश्रममगमता द?भींऽ
ग्?ईआन्जानाम्येव आवई?तमरणा कियद्यावदहमनेनानेकप्रकारं
कारदानैकपण्डितेनदग्धवेधसा परंदग्धव्याइत्यभिदधानैव
श्चतयोःइआउकनासावलम्वितशरीरो राजा विवेशाश्रम
म्। तदनुमनोरमावलविता पुरःप्रधाआवईतोत्ष्ठतायततरदृष्टिः
मे?त्सैतिपृच्छन्ती आवईलासवतीआप्रविश्य चसहजयैव
? ऽविरीहतमुपरतसर्वप्रयत्नं सुप्तमिवतंपुत्रवत्सलातनयमा१?
क्ययावन्नपरापतत्येव तारापीडस्तावद्विलासवतीविधारयन्ती
आराभिर्नयनजलधाराभिःप्रस्रवेणच सिञ्चन्ती महीतलमाएआहई
भक चिरादृऋष्टोसि दोईहमे प्रतिवचनम् आलोकय
पातोपयामि वत्सपादयोर्निपत्य पुत्र चन्द्रापीड प्रणम
बत्प्र?द्गम्य त्वत्म्लेहादेवाति?मागतस्यापिपितुःपादौ क्वसा
त्पितृपक्षपातित्वंक्व सावन्धुप्रीतिः क्वसापीरजनवत्सलता
? ? ?
१ राहतयंएवैत्तईन

कथमभाग्यैमें सर्वमेकपद एवोत्सज्यैवमौदासीन्यमवलघ्यावस्थि
तोसिअथवायथाते सुखं तथा तिष्ठ वयमुदासीनहृदया
शिरःसमाघ्रायकपोल५एआ चुय्वित्वा चन्द्रापीडस्य चरणाबुत्तमाङ्गे
रापीडश्चन्द्रापीडमपारईप्वज्यैव सर्वप्रजापीडापहरणक्षमाभ्यांभुजा
भ्यामवल।व्याब्रवीत्१दोवईयद्यप्यावयोः सुकृतैरपत्यतामुपगत
स्तथृआपिदेवतामूर्तिरेवायमशोचनीयः । तदुःमुच्यतामयमिदानीं
मनुष्यलोकोचितः शोत्वईतव्यवृत्तान्तः । अस्मईञ्छोके कृतेन
१आईकचिदपिभवति।केवलंगलएवस्फुटति रटतोन ।
निरर्थक प्रलपितमेव निर्याति वदनान्न र्जावितमाक्तई ङ्ग।
नयनजलमेव पततिनशरीरमाअपिचवत्सस्यादर्शनमात्रमे
वावणेः पीडाकरमा तच्चैवमालोक्यमाने मुखेऽस्य ?आपेतमा
अपरमस्यामवस्थायामावाभ्यामपि तावत्परमवष्टम्भंकृत्वामनोरमा
१शुकनासश्चसन्धारणीय५एआययोर्लोकान्तारईतोवैशम्पायनः आतिष्ठता
तावदेतावपिआयस्याःप्रभावात्पुनरनुभवनीयोवत्सस्य जीआवईतप्र
तिलम्भाभ्युदयमहोत्सवः सैवेयं गन्धर्वराजतनयावधूस्तेऽस्मदा
गमनशेकोमिंसक्रा?ईतमू?आ सनामग्रहणमुन्मुक्ताक्रन्दाभिःप्रियस
?णत्वाचेतनांलम्भया ततोयथेच्छंरोदिप्यसिआ
इत्यभिआहईताराज्ञाविलासवती आक्वसा मेवत्सस्यजीआवईत
नादायकादम्वरींकरेण मूर्च्छानिमीलनाआईहत?ईगुणतरनयनशोभं
वदनमालोक्यानवरतनयनसालईलस्नानार्द्रमिन्दुशकलशीतलं स्वक
?ऋष्पोलंकपोलयोर्ललाटेललाटं लोचनयोश्च लोचने निवेशयन्ती
मातसवयाविनाद्यैवप्रभृतिकेनसन्धाआरईतंवत्सस्य मेचन्द्रापी

डस्य शरीरं मातस्त्वममृतमयीव जातासि येन वत्सस्य पुनर्वदन-
तेनचतन्निर्विशेषवृत्तिना आवईलासवतीशरीर?र्शेन लव्धसंज्ञापि
लज्जावनम्रमुखी प्रतिपत्तिमूढा मदलेखयाङ्कादवतार्य परवत्येव
यथाक्रममकार्यतवन्दनांगुरूणामा आआयुष्मतिदीर्घकालमावीई
आवईलासवत्याःपृष्ठतःसमुपवेश्याधार्यताअथ प्रत्यापन्नचेतनायां
चित्ररथतनयायांचन्द्रापीडमेवोज्जीआवईतंमन्यमानोराजा त्वईरमि
हूयादिदेशादर्शनसुखमात्रकमस्माकं विधीयमानम्।तच्चास्मा१०
भिरासादितम् आतद्यादृशेनैवोपचारेणैतावतोदिवसानुपचारईतवती
पारईहरणीयःआवयेनिष्प्रयोजनाद्रष्टारएव केवलमाकिमस्मा
भिआरईह सितैर्ग६तर्वा । यस्याः करस्पर्शेनाप्यायितमेतदविनाशि
प्तईतं निजावासमाआत्वैवतपस्विवासोचितेऽन्यतमस्मिन्नासन्नएवा
श्रमस्यशु१चिशिलातलसनाथेतरुलतामण्डपे समुपविश्यनिर्विशे
एवायमर्थोयथावधूसमेतस्य चन्द्रापीडस्य वदनमालोक्यसंक्रा?०
मितिआसचायं मे भाआवता?ऐर?ः३भन् पुराकृतैः कर्मस्मईर्वा
वं समुपनमितः । किमपरं क्रियतोअनतिक्रमणीया
येउ । अप्रापणीयं नानुभूतमात्मचेष्टाकृतं वत्सस्यसुखमा
प्रजापारईपालनफलं तु पुनर्भवद्भुजेप्वेवमक्षतेपविरहितमस्त्येवाआऽ
अन्यथापिहिचेष्टमानेप्वस्मासुसर्वमेव तेप्वेवावस्थितमातादई
च्छामिचिरकाङ्घितंमनोरथंपूरयितुमा धन्याश्चजरापीतसारत

नवस्तनयेप्वात्मभरमासज्यलघुशरीराः परलोकगमनंसाधयन्तिआ
यच्चवलाद्गत्?ए पादमाधाय यदा तदानिच्छतोप्यार्च्छद्यत एव
कृतान्तेनातद्यीद पात्रेक्वचिदपिस्थापयित्वानिज?दंजरापीर
भुक्तायुःशेषेणनिष्प्रयोजनस्थितिना सर्वसुखबाह्येन मासण्डिएन
?परलोकसुखान्युपार्ज्यन्ते लाभ एवायमा तदस्यवस्तुनः कृते
भवन्तोमयाप्रार्थनीयाःआ?त्युक्त्वा संनिआहईतान्यपिपारईत्यज्यो
बुद्धिंवृक्ष?लेप्वनतःपुरस्त्रीप्रीआईतं लतासु संस्तुतजनस्नेहं हारईणेपु
निवसनरुआचईचीरवल्कलेपु कुन्तलरचनाभियोगं जटास्वाहारहार्दं
१०कन्दमूलफत्?एपुनर्मालापं धर्मसंकथासुसमररसमुपशमे शस्त्रधार
णव्यसनमक्षाश्त्रे प्रजापारईपालनशक्तिंसमित्कुशकुसुमेपु जयेच्छा
परत्रकोशस्पृहां तपस्याज्ञांमौनेसर्वोपभोगराआआं चवैराग्येतन
यस्नेहं तरुपुसंक्रमय्यतथातपप्तईजनोत्वईताः कियाः कुर्वन्ग
आधवईलोकोचितांनहरहरुपचारान्कादम्वर्या कथमपि समुत्सष्टल
१?ज्जया महाश्वेतयाच क्रियमाणाननिच्छन्नावईच्छेदात्सायंप्रातश्चा
नुभूतचन्द्रापीडदर्शनसुखो दुःखान्यगा?आयन्नरपतिः सपारईवारः
इत्येवंचकथयित्वाभगवाञ्जावाआलईर्जरामिमवविच्छायं प्तईत
आरईदमन्तःकरणापहाआरईणःकथारसस्यृआक्षैपसामथ्य९म् । यत्कथयितुं
प्रवृत्तोस्मि तत्पारईत्यज्यैव कथारसात्कथयन्नति?मतिक्रान्तोस्मिआ
४?तद्यःसकामोपहतचेताः सयंकृतादेवाआवईनयाद्दिव्यलोकतः पारई
भ्रश्य मर्त्यलोके वैशम्पायननामा शुकनाससूनुरभवत्स एवै?
? ऋवऊऋव?ऊउवऊ ? ?

पुनः?यंकृतेनाआवईनयेन कोत्पईतस्य ?ईतुराक्रोशान्महाश्वेताकृताच्च
इत्येववदत्येवभगवतिजावालौ वाल्येऽपिभे सुप्तप्रबुद्धस्येव
पूर्वजन्मान्तरोपात्ताःसमस्ताएव आवईद्या जिह्वाप्रेऽभवना सक
लासुचकलासु कौशलमुपजातमा उपदेशाय मनुजस्येवचेयं?
स्मरणंचसंवृत्तमाकिंवहुनाआ मनुप्यशरीरादृतेसर्वमन्यत्तत्क्ष
णमेवमेवैशःपायनस्यराएवचन्द्रृआपीडस्योपारईस्नेहः सैवका
मपरवशताराएवमहाश्वेतायामनुरागः सैव तदवाप्तिं प्र?तु
कतेत्युपगतंराकलमेवा केवलमसञ्जातपक्षतया मे तस्मई?मये१ण्
पू?र्जन्मोपात्ताशरीरचेष्टा नासीआ?आतथा चाआवईम्प्?तसकलान्यज
न्मवृत्तान्तः समुतुआकान्तरात्माकिंमातापित्रोःकिंतातस्यतारा
पीडस्यकिमम्वायाविलासवत्याः कि वयस्यस्य चन्द्रापीदुस्योत
प्रयमसुहृदः कपिञ्जलस्याहोस्विन्भहाश्वेताया इति नाज्ञासिपमेवं
कृसकसकथंवास्मृतवानस्मीआतीतथाचोत्सुकान्तरात्मा म १ष्
हीतलीनवेशितशिराश्चिरमिवस्थित्वाभगवन्तंजावालिं निजाआवई
नयश्रवणहृज्जयाआवईलीयमानैवविशन्निव पातालतलं कथमपि
शनईः शनैर्व्यज्ञापयमा भगवंस्त्वत्प्रसादादाआवईर्भूतज्ञानोआईस्म सं
वृत्तःआस्मृताःखलुमयासर्वएव पूर्ववाधवाः आमूढतायांच
यथैवमेतेपांस्मरणंनासीत्त?थवावईरहपीडापिआ अधुनापुन?आआ?०
न्द्रापीडंयस्यमदुपरतिश्रवणमात्रकात्स्फुटितंहृदयम् आतत्तस्यापि
मेतेनसहैकत्रवसतोनपीडाकरःसञ्जायतो इत्येवं चावई
पगर्भं प्रत्यवादीत् । दुरात्मन्ययैतावतीं दशामुपनीतोसि कथं
तामेवतरलहृदयतामनुवध्रासिआ अद्यापि पक्षावपि नोद्भिद्येतो

तत्सञ्चरणक्षमस्तुतावद्रवाततोमांप्रक्ष्यसिआ इत्येवमुक्तेभग
मोकथयकथमस्यमुनिजातौ वर्तमानस्य तादृशी कामपरता
?उव्यलोकसम्भूतस्यतथासल्पमायुःसंवृत्तमा एवंचपृष्टःसूनुना
भगवाञ्जावालिरमलाभिःपापमलमिव प्रक्षालयन्दशनदीधितिसात्?ई
लशराभिःप्रत्यवादीता स्पष्टमेवात्रकारणंवत्साअयंहिका
ट्यतएतद्यादृशाद्वैजायतेतादृगेवभवतीतिआ?आएके पिच प्रायः
यःआकईलाल्पसारात्सीवीर्यादेवकेवलाज्जन्तुर्भवीत स खल्वभावा
त्सारभूतस्यस्थैर्यहेतोःपुरुषवीर्यस्ययथासारंगर्भेवा आवईलयमाप
दृआतेमृतोवाजायतेजातोशनदीर्घकालंजीवतीतिआ तदय
मुत्पन्नएवेदृशोयेनास्यतादृशीकामपरताजाताआमरणं चम
१?दनवेगसंज्वरासीहप्णोस्तथोपनतम्।अधुनापि तादृशएवाल्पापु
इत्येतलुत्वा पुनरवनितलनिवोतिशिराः प्रणम्य भगवन्तं
व्यज्ञापयमाभगवन्नहमपुण्यवानस्यां तिर्यग्योनौ वर्तमानः स्वयं
?०भूतपू?ंर् चज्ञानमन्तरात्मनिआ शरीरं पुनरायुःसंवर्धककर्मयोग्यं
भगवतःप्रसादादन्यस्मिञ्जन्मनि यीद भवेत्तत्केन प्रकारेणाक्षयं
दपियथातथाज्ञास्यस्येवा तावदियंकथास्तामारसाक्षेपादचे
भुआईमदमपरान्तावलम्बिवर्ततेरजनिकरबिम्बमा यथ्रायथोद्गमावई
१ शापाबराआनानन्तरकालम् इतने २ रृजतकुम्भाभ०इआतन

स्ताआईरणी जरत्तामरसपत्रारुणा पाण्डुच्छावईरुल्लसति सीमुः?य?ती
सश्_आएपतिमिरतयाम्वरैरकाण्डकलुषंभास्व?भालोकमारव्धाः क्रमेण
यथासूह्रयंतारकाःप्रवेष्टुमाएष पम्पासरःशायिनां प्रवोधाशंसी
समुच्चरतिकोलाहलःश्रोत्रहारीआवईहङ्गमानामा एते चनिशी?
प्रभातपिश? वायवःआप्रत्यासन्नाऽग्निआवईहारवेलाआइत्यभिदधान
मार्गावस्थानापिसमस्तैवसा तपसिपारईषत्कथारसाद्विस्मृतगुरूचि १०
लितशोकानन्दजन्मनयनसलिला हाकष्टशदानुबन्धिनीस्तम्भितेव
तईस्मस्तेनसर्वकार्याक्षमेणतियप् तिपतनेन?ईडितान्तरात्माचि
न्ताप्राविशम्।अत्रतावदनेक?इरे५ सहस्राधिगम्यमानुप्य
मेवदुल९भम्।तत्रृआपुयूपरुंसकलजातिआवईशिष्टंब्राह्मण्यम्। ततोपि
दिव्यलोकनिवासित्वमातद्येनैतावतः स्थानात्सदोषैरात्मा पातिआण्
तस्तेन कथमधुना सर्वत्कईयातिहीनेनास्यास्तिर्यग्जातेः रामुद्धृतः
स्यात्?आकथंवापूर्वजन्माआईहतस्नेहैःसह समागमसुखमनुभू?मा
पततुयत्रतत्रक्वापियातनाशरीरमासुखं तु नानुभावईतव्यम
मुनादुःखैकंभाजनेनातत्पारईत्यजाम्येनमा पूर्यतामस्मह्यसनदाआ?
नकैचिन्तादुःस्थितस्यावईधेर्मनोरथैतिआ एवंचजीआवईतपारईत्या
? ?
१ अम्बराकाण्द०इआतईन २ उ??आणीय्ततया इआईतन

गचिन्तानिमीलितंमांसमुच्छुआसयन्निव विकासहासिना मुखेन
पितु?आएभगवतः श्वेतकेतोः पादमूलात्कपिञ्जलस्त्वामेवान्विप्यन्ना
?ए अहंतुतछुत्वा तत्क्षणेनोत्पन्नपक्ष इवोत्पत्य तत्समीपमेव
प्रातुमभिवाञ्छत्तुद्बीआवलोकीक्वासाविति तमप्राक्षमा सत्वक
थयताएष तातपादमूले वर्तत इतिआएवं वादिनंतुतमहं
मेहृदयंतद्दर्शनायैतिआएवं वदन्नेवाग्रतो गगनागमनवेगा
।०दयथा?ईतजटाकलापम् अनिलपथसञ्चरणचलितैकाञ्चलोत्त
रीयम् तरुत्वचा दृढाबद्धपारईकरम् अर्धनुटितयज्ञोपवीत
समीरणापहृतमपि मरुत्पथोत्पन्नखेदसम्भृतमुदकप्रवेशाआई??ऋ?ऋ
मानस्वेदमाननेन मदवलोकनदुःखोद्गतंच्वाप्पजललवावईसरर्मो
१ष्क्षणाभ्यां युगपदु?जंतम् ?मुक्षुएऋमोईप मत्स्नेहेनामुक्तम्
वीतरागमपि मत्मईयहितरतम्निःसङ्गमपि मत्समागमोत्सुकम्
निःस्पृहमपि सदर्थसम्पादनपर्याकुलम् निर्मममप्युपारूढस्ने
हू?? निंरहंकारमप्यहमेवायमितिमां मन्यमानम् समुआईज्?
तक्लेशमपिमदर्थे क्कईश्यन्तम् समलोष्टाश्मकाञ्चनतासुखितूमपिऋ
?०मदृउःखदुःखितम्थ्कृतज्ञमकृतज्ञः स्नेहलप्रकृति रूक्षचेताःसुकृ
तिनमपुण्यवान?गत्ंवामसभावो भावार्द्रहृदयमेकान्तनिष्ठुरोमित्रं
वेरीवचनकरमुनूआश्रवो महात्मानंदुरात्मा कपिञ्जलमहमद्राक्षमा
दृष्ट्वाचनिर्भरर्गालतनयनपयास्तादृशोपि कृताभ्युद्गमनप्रयत्नःकृ_
१ गमना०इआतईन २ पथोत्पतन०इतिन

किंसुखासीनस्यगात्रसंवाहनंकुर्व?द्र्रममपनेष्यामीतिआ एवमा
दुर्बलेवक्षसिनिवेश्य चिरमिवान्तःप्रवेशयीन्नवालिङ्गनसुखंकिल
तथा मेऽनुभूय भूयसा मन्युवेगेनोत्तमाङ्गे कृत्वा मच्चरणा?
तथारुदन्तंतुतंवा?आत्रप्रतीकारःपुनरवदमा सखेकपि
ञ्जलसकलक्लेशपीरभूतस्यपापात्मनोममेदं युज्यते यत्त्वयाप्रा
रव्वमात्वंपुनर्बालोपिन स्पृष्ट एवामीभिः संसारबन्धात्मकै
र्निर्वाणमार्गपारईपन्थिभिर्दोपैः ।तक्तईमधुनामूढजनगतेनवर्त्मना।१०
आआरयास्मरतिवामामादुःखितोवामदीयेन दुःखेन । मद्वृ
हारीतशिप्योपनीतेपल्लवासनेसमुपावईश्याङ्केमांकृत्वा हारीतो
पनीतेनाथ्भसाप्रक्षात्यमुखमाख्यातवाना १?
सखेकुशलंतातस्याअयंचास्मद्धृत्तान्तः प्रथमतरमेवतातेन
आईदव्येनचक्षुपादृष्टः दृष्ट्वाचप्रतित्कईयायैकर्मप्रारव्धमासमारव्ध
एवकर्मणितुरगभावाद्विमुक्तोगतोत्सईतातस्य पादमूत्ढमागतं
चमांदूरत आआवोद्बाप्पद्दृष्टिर्विपण्णदीनवदनं भयादनुपसपर्न्तमा
ममैवायंखलुशठमतेःसर्व एवदोपःआयेन जानताप्युत्पत्ति
समयएववत्सस्यकृतेनेदमायुप्करंकर्म निर्वर्तितमाअधुना
सिद्धप्रायमेवेदमानदुःखासिका भावनीयाआमत्पादमूत्?एताव
त्स्थीयताआमईति । एवमाज्ञापितस्तु तातेन आवईगतमीर्व्यज्ञापयमा
तातयीदप्रसादोआईस्तततो यत्रैवासावुत्पन्नस्तत्रैवगमनायाज्ञापयतु??
मांतातैतिआएवांवईज्ञापितस्तु मयापुनराज्ञापितवानावत्स
शुकजातावसौ पतितःआतद्गत्वापितमद्य नैव वेत्सिनाप्यसौ

त्वां वेत्तीति तत्तिष्ठति वदिति । अद्य च प्रातरेवाहूय मामाज्ञापि-
तवानावत्सकपिञ्जलमहामुनेर्जाबालेराश्रमपदं सुहृत्तेप्राप्तःआ
खदुःखिताम्बातेश्रीरपि कर्मणिपारईचाआरईका वर्ततोतयातु
कुसुमशिखासूक्ष्माग्रोद्भेदपक्ष्मलानि गात्रह्यिआ पुनःपुनःपाणिना
विसोढाः । कथमयमकठोरकिसलयशयनैकसेवासुकुमारःसदा
पर्याणितस्यनशीर्णःपृष्ठवंशःआकथमेपु कुसुमोच्चयपातितवाल
१तवनलतास्पर्शमात्राक्षमेपुग पुक१गृ आभिघातानिपतिताः।कथंच
व्रह्मसूत्रोद्वाआहईनि दहऽ?ईउशुऐत्पीडनकृताः पीडाः समुपजाता
उपरोहातईचमध्याह्नंसवितारई हारीतः सहकपिञ्जलेनमां
?ऋ०यथोचितमाहारमकारयत्? । कृताहारश्च कपिञ्जलः क्षणमिव
?ईत्वामामब्रवीताअहांईह तातेनत्वां समाश्वासयितुंजाबा
लिपादमूलादा कर्मपारईसमाप्तेर्न त्वया चलितव्यमित्येतच्चादेष्टुं
आवईसार्जईतःआअन्यदहमपि तत्रैवकर्म?ईआ व्यग्रतर एवातद्ब
? ? ? ? ?
१ कुसुमोच्चयापातईतैआईतन

मां सविधाय हारीतं चानुभूतास्मदालिङ्गनसुखो विस्मयोन्मुखेन
भुनिकुमारकजनेनेक्ष्यमाणोऽन्तारईक्षमतिक्रम्यक्वाप्यदर्शनमगात्? ।
उत्थाय चान्यं मुनिकुमारकं मत्पार्श्वे स्थापयित्वा निरगाता
आंनेवईर्तितस्नानादिक्रियाकलापश्चात्मनैव सहापराह्नसमये पुनर्मामा?
एवंचावीहतचेतसाहारीतेन संवर्ध्यमानः कतिपयैरेवदि
आमनक्षमस्तुसंवृत्तोस्मिआतन्ननाम चन्द्रापीडोत्पत्तिपारईज्ञानमा
महाश्वेतापुनःसैवास्तोतत्किमुत्पन्नज्ञानोपि तद्दर्शनेन विना १०
इतिनिश्चित्यैकदाप्रातर्विहारनिर्गत एवोत्तरां ककुभं गृहीत्वा
वहमाअवहुदिवसाभ्यस्तगमनतया स्तोकमेव गत्वावशईर्यन्त
इवमेऽङ्गानिश्रमेण । अशु?यच्चञ्चुपुटंपिपासया । नाल?
मेनाकम्पत कण्ठःश्वासेनातदवस्थश्च शिथिलायमर्लैपक्षुरआउतईऋरत्र१ऽ
पताम्यत्रपतामीतिपरवानेवान्यतमस्य तम?ईनीतिमिरसंघातस्ये
रतम्निकुञ्जस्योपर्यात्मानममुञ्चम् । चिरादिवोन्मुक्ताध्वश्रमक्लमो
वतीर्यशीतलतरुत ?लगहनसंरोधशिआरिमरावईन्द
आकेञ्जल्करजोवाससु भ विसर ??पीयमानमेवोत्पाआदईतपुन?ण्
रुक्तपानस्पृहमातृप्तेःपयो निपीययथाप्राप्तैरकठोरकमलकाइराका
आवईश्रमयितुमन्यतमामावईच्छिन्नच्छाया शाखामारुह्यतरोर्मूलभाग
पृवातिष्ठमातथास्थितश्चाध्वश्रमसुलमां निद्रामगच्छमाचिराष्ट?
दिवचलव्धप्रशेधो वद्धमात्मानमनुन्मोचनीयैस्तन्तुपाशैरपश्यमा

१।सांनईधाय इतिप २ष्तत्रनाम इतिन

अग्रतश्च पाशविरीहतमिव कालपुरुषमतिकठिनतया कालिम्ना च
वपुषः कालायसपरमाणुष्टाआ? के?आऋगृऐनैर्र्मिऋत प्रेतपतिमिवाप
प्रतिपक्षमिवपुण्यराशेरांउश्_आऋयस्मै ??आ५?ईनापि क्रोधकारणा
आक्षुषासकलजनभयङ्करस्य भगवतः कृतान्तस्यापि भयमिवोपज
नयन्तमाशये केशेपु चास्निग्धमानने ज्ञाने चान्धकाआरईतंवे
चारईतेचकृप्णंनिवसने कर्मणि चमलिनं वपुषिवचसि
परुपमदृष्टाश्रुतानुरूपमप्याकारप्रत्ययादेवानुमोयमानक्रौर्यदोषं पुरु
पमद्राक्षमाआलोक्यचतं तादृशमात्मन उपारई निप्प्रत्या
१०एवा?च्छम्।भद्रकस्त्वम्।किमर्थंवात्?या वद्धो?ईआयद्या
मिषतृप्णयातीआकमितिसुप्तएव न व्यापादितोस्मिआकिंमय
१?भवानपिप्राणिधर्मे वर्ततोएवमुक्तः स मामुक्तवानामहा
त्मन्नहंखलु?रकर्मा जात्याचाण्डालःआ न?मुवृ।आ९तृवमामिप
नातिदूरेमातङ्ग्रकप्रतिबद्धायां भूमौ कृतावस्थानःआतस्यदुहि
कौतुकमयेप्रथमेवयासई वर्ततो तस्यास्त्वं केनापि दुरात्मन
०कथितोयथाजावालेराश्रमएवंगुणविशिष्टो महाश्चयप्कारीशुक
स्तईष्ठतिआतयाच श्रुत्वोत्पन्नकौतुकात्त्वद्वहणाय बहवएवापे
मादृशाःसमाआदईष्टाः आतदद्य पुण्यैर्मयासादितोसिआतदहंतत्पा

नस्यक्रीडनीयेनभवितव्यमा दुरात्मन्पुण्डरीकहतक धिग्जन्म
लाभंतोयस्यकर्मणामयमीदृशःपारईणामः आकिममथ प्रथमगभ?ष्
एवनसहस्रधाशीर्णौसि । मातः श्रीरशरणजनशरणचरणपङ्क
जेअतिगहनभीपणाद्रक्षमामस्मान्महानरकपातातातात भुव
नत्रयत्राणक्षमत्रायस्वकुलतन्तुमेकम् । त्वयैव सवर्धितोस्मि ।
पंय? कपिञ्जल यदि परापत्य त्वयास्मात्पापान्न मोआईचतोस्मि
पदाजन्मान्तरेपिपुनर्माकृथामत्समागमप्रत्याशामा इत्येतानि१०
भद्रमुखजातिस्मरोमुनिरस्मिजात्याआत्यवापि मामस्मान्म
हतःपापसङ्कटादुद्धृत्यधर्मो भवत्येवादृष्टसुरन्नहेतुः । दृष्टेपिच
केनीचदपरेणादृष्टस्यमन्मुक्तिकृतःप्रत्यवायोनाक्त्येवा तन्मुञ्चतु
मब्रवीतारेमोहान्धायस्यशुभाशुभकर्मसक्षिभूताः पञ्चलो
चरतिआतन्नीतोसिमया स्वाम्याज्ञयेति । एवमीआआदधान एव
अहंतुतेनतद्वचसाभिहत इवशध्रईर् मूकतामापन्नः केपां?०
पुनः कर्मणामिदं मे फलमित्यन्तरात्मनाभिध्यायन्प्राणपारईत्यागं
प्रति कृतनिश्चयो??मानीयमानश्च तथातेनतन्मोचन?त्या
म??ई?भृतैश्च मृगावपातिजीणीआवागुरासग्रन्थनव्यग्रैश्चृआए
टत आशसेग्रन्थनायस्तैश्च हस्तत्सईतस??ऊदृकाएदण्डैश्च प्रास??
७ णभिश्चसेलग्राआहईभिश्चनानाआवईवृआंआंउवईहङ्गवाचालन
कुश?लः कौलेयकमुक्तिसञ्चारणचतुरैश्चण्डालशिशुमिर्वृन्दशोआदईशि

दिशि मृगया क्रीडद्भिर्दूरत एवावेद्यमानम्, इतस्ततो विस्तगन्धि-
धूमोद्गमानुमीयमानसान्द्रवंशवनान्तीरतवेश्मसंनिवेशम् सर्वतः
ऽशनम्वसाप्रायस्नेहम् कौ?ए?प्रायपारईधानम्चर्मप्रायास्तरणम्
१०स्मर्यमाणमपिभयंकरम् ६यमाणमप्युद्वेगकरम् दृश्यमानमपि
पापजननम्जन्मकर्मतोमलिनतरजनं जनतेनिस्त्रिंशतरलोक
हृदयं लोकहृदयेभ्योपि निघृआणतरसर्वसंव्यवहारसम?आपुरुपम्
अविशेपाचारवालयुवस्थविरम् अव्यव?ईतगम्यागम्याङ्गनोपभो
गमपुण्यकर्मौपणंपक्वणमपश्यमा ? द्व
१? दृष्ट्वाचततादृश नरकवासिनो?द्वेगकरंसमुत्पन्न?आऐऽन्त
रात्मन्यकरवम् । अपि नामसाचाण्डालदाआरईका दूरत एव
मामालोक्योत्पन्नकरुणा मोचयेन्न जातिसदृशमाचारईप्यति ।
?०दूरतःश्यईतःप्रणम्य।एषसमयाप्राप्तःइति तस्यै चण्डाल
दाआरईकायै दर्शितवानासातुप्रहृष्टतरवदना शोभनंकृतमिआतई
तमभिधायतत्करात्स्वकरयुगेनादाय मामाआःपुत्रकप्राप्तोआसई
सांप्रतंक्वापरं गम्यतेव्यपनयामितेसर्वमिदं कामचाआईरत्वम्
इत्यभिदधानैव धावमानचण्डालवालकोपनीतेऽर्धाश्यानलोमशदुर्ग
??न्धिगोचर्मवध्रिकावनद्धेदृढबद्धदारुमयपानभोजनपात्रे मनागु?आएआ
टितद्वारेदारुपञ्जरेसमं महाश्वेतावलोकनमनोरथैराक्षिप्याआआर्लित
द्वारासामामवदतायथात्रनिर्वृतः सप्रतितिष्ठाइत्यभिधाय
? ? ? ? ? ? ? ?
१ आवेष्ट्यमानमिआईतन

तूष्णीमस्थात् । अहं तु तथा संरुद्धश्चेतस्यकरवम् । महासङ्कटे
सएवसवर्धितोभवतिआसाधुजल्पतीत्येवाहमनया ग्राआईहतःआ
कदाआचईदतोप्यधिकामवस्थां प्रापयति माम् । नृशंसतमा हि
?आआतिआरईयम् । अथवावरामईतोप्यधिकमुपजातं नपुनश्चाण्डालैः
सह वागपि आवईमिश्रिताआअपिचगृहीतमौनंनिर्वेदात्कदाचि
व्यलोकभ्रंशोयन्मत्यर्लोके जन्म यत्तिर्यग्जातौपतनंयच्चाण्डाल
ग्त्वस्यैवदोपःआतत्किमेकयावाचा । सवेईन्द्रियाण्येव नियम
यामिआइति निश्चित्य मौनग्रहणमकरवमाआलप्यमानोप्यात
केवलमुच्चैश्चीत्कारमेवामुञ्चमाउपनीतोईपच पानाशनेतांईदव
समनशनेनैवात्यवाहयमा अन्येद्युश्चातिक्रामत्यशनकालेमेदूय
मानेहृदयेचसास्वपाणिनोपनीयनानाआवईधानि पक्वान्यपक्वानि
चफलानि सुरभिशीतलंचपानीयमप्रतिपन्नतदुपभोगं मामारो
पितलोचना म्लईह्यन्तीवावोचत् । क्षुत्पिपासार्दिताना आहईपशु?०
येनचोकृष्टतमां जातिं प्राप्यात्मनैवेदृशंकर्म कृतंयेन तिर्य २?
स्थापितः । अधुना स्वकर्मोपात्तजाआतईसदृशमाचरतस्ते नास्त्येव
दोयः । येपां च भक्ष्याभक्ष्यनियमोऽस्तई तेपामप्यापत्काले

प्राणानां सःधारणमभक्ष्योपयोगेनापि तावद्विहितमाआईकं पुन
स्त्वादृशस्यानचेदृशं किंचिदप्याहाराय मयोपनीतं यादृशेन
चाण्डालाशनशङ्का समुत्पद्यतोफलानितुततोऽपिप्रतिगृह्यन्त
यन्न भक्षयस्यभूनि मुनिजनोचितानि वनफलानिनपिवसिवा
पानीयमिआईताअहंतुतेन तस्याश्चाण्डालजात्यनुचितेन वचसा
विवेकेनचविस्मितान्तरात्मातथेति प्रतिपद्य शापनिघ्नोघृणां
पारईत्यज्य जीआवईततृप्णया क्षुत्पिपासोपशमायाशनक्रियामङ्गीकृत
एवमतिक्रामतिच काले क्रमेण तरुणतामापन्ने मय्येकदा
तमात्मानमासापिचाण्डालदाआरईका यादृशी तादृशीदेवेनापि
दृष्टैवासकलमेवतत्पक्वणममरपुरसदृशमालोक्य चापगतचाण्डा
१?लवसतिसंवेगोविस्मितान्तरात्मा किमेतदिति कुतूहलाअष्टुकामो
यावन्नपारईत्यजाम्येव मौनं तावदेषा मामादायदेवपादभूलश
याताआतत्केयंकिमर्थमनयाचाण्डालतात्मृनः ख्यापिताकिमर्थं
वाहंवद्धोवद्धोवा किमर्थमिहानीत इत्यत्रवस्तुन्यहमपिदेव
स्सईतां ग्रतीहारीमाआईददेश । नचिरादेव तयोपदिश्यमानमार्गा
प्रावईश्य सा पुररूआआ?र्वस्थितैव राजानमभिभवन्तीधाम्नाप्राग
आ?ल्भ्येन बभापे । भुवनभूपण रोआहईणीपतेतारारमण कादम्व
रीलोचनानन्दचःद्र सर्वस्त्वयास्यदुर्मतेरात्मनश्चपूर्वजन्मबृत्तान्तः
श्रुतएवाअत्राआईपजन्मनि यथायं निषिद्धोपि पित्रा काम

१ चाण्द्धालदाआरईकार्मादृशींयादृर्शा इआईतन

रागान्धः पितुराजामुल्लङ्घ्य वधूसमपिं प्रस्थितः तथाप्यनेन
?यमेव र्कायोतम् । तदहमस्य दुरात्मनो जननीश्रीःआतथा
प्रस्थितमेनं आदईव्येन चक्षुपा दृष्ट्वास्य आईपत्राहं समादिष्टास्मिआ
सर्वएव हृआविनयप्रवृत्तोऽनुतापाद्विनाननिवर्तते । तदयंते
तनयःकदाचिदस्याअपितिर्यग्जातेरधस्तात्पतातई । तद्यावदिदंष्
कर्मनपारईसमाप्यते तावदेनं मर्त्यलोक एव वद्ध्वा धारया
यथाचानुतापोऽस्यभवतितथा प्रतिआवईधेयमस्य टृतिआतदस्य
आवईनयायेदांवईनिर्मितंमयाआसर्वमधुना तत्कर्म पारईसमाप्तमा
शापावसानसमयो वर्तते । शापावसानेनच युवयोः सममेव
य्?सेन भवितव्यमिति त्वत्समीपमानीतो मयायम् । अत्राआईपा०
यच्चाआ१डालजातिः रव्याआईपता तल्लोकसाआआर्कपारईहाराय । तदनु
भवतांसंप्रतिद्वावपिसममंंव जन्मजराव्याधिमरणाआदईदुःखवहुले
ततूपारईत्यज्य यथेष्टजनसमागमसुखम् । इत्यभिआर्धानैव सा
?आईटति रण?_पाआआरववधिआरईतान्तारईक्षमुत्फुआ?लोकलोचनोद्वीआईक्षता
क्षितेर्गगनमुदपतता १ण्
अथराज्ञस्तद्वचनमाकर्ण्यसातजन्मान्तरस्य सखेवैशम्पाय
तमित्य?ईदधतएवाकर्णाकृष्टकार्वको मक्ररकेतुरग्रतः परमास्त्रं
ऽन्तरा पदं चकार । तत्पदाकान्तिनिर्वासितमिव कादम्वरीगृ०
शरणमुपजगामान्तःकरणमा तन्मार्गणाभिहतिभीता इव देह
मु?ज्यीनर्जग्मुरजडाः श्वासमरुतःआतद्बाणपक्षवाताहतामईवाका
तद्विशिरतरजोरूपितमिव नयनयुगलमश्रुजलमुत्ससर्ज । आपा
ण्डुताच सद्योवदनत्यवण्यमयासीत्।तद्धनुर्गुणध्वानाकर्णनो?ए४ष्
जितमिव हृदयवेदनाकूणितीआभागं नयनयुगलमभवतअन्ता
र्ज्ज्वुत्ठिप्यत्रो मदुनदहनुस्य धूउमोपहतामईव वेपमानमुधराउकईसलयं

शोपमगाआर । तत्तापविरसमाननान्निप्पीडितं सरागं हृदयमिव
गमत्?एदः आमदनशरकीलितानीवतावतैवक्षणेनाङ्गानि परवशा
न्यजायन्तातथाचकादम्बर्रां पुर?त्य कुसुमधन्वनायास्यमा
?ईनस्यतदवयवरूपशोभाआवईनिर्जितानितापापहरणक्षमाण्यपि त?एआ
किचित्कराण्यभवनातथाआहीकमलकिसलयानि पाणिपादेऋन
तिकया शशाङ्करश्मयोनखमयूरवैःघनसारधूलिः स्मईतप्रभया
मुक्तादामानि दशनओंईऐउण अमृतकरविम्बंमुखेनथ् ज्योत्मा
?०लावण्येनमीणवेदिकाफुआट्टमानि नितम्वेनाएवईचावईहतसर्व
बाह्यप्रक्रियस्यहृदयेप्यसुर?आयमानसकलान्यावईनोदस्य तामेवाआईभ
पादयोःपततस्वयासहकेलिं?र्वत?आआ रममाणस्यमुक्तसर्वान्य
ज्जनमप्यसंभाषयतः कार्योपगतानप्यजानतो गुरुजनमप्यनमस?
धर्मकईयामप्यकुर्ग्वाणस्यसुखादप्यनर्थिनो दुःखादप्यनुद्विजमानस्य
मरणादप्यविभ्यतो गुरुभ्योप्यपेतलज्जस्यात्मन्यपि आवईगलितस्रेहस्य
आईकवहुनाकादम्वरीसमागमेप्यनुद्यमस्य केवलमस्यमुहु?र्हुर्मूश्?रेआ
?०पगमच्छलेनजीआवईतोत्सर्गयो।यामिवकुर्वतो विहस्तेनापि प्रति
नावकाशेनापि वैशम्पायनाशेशनपरेणानवरतमाचरणाद्विकीर्ण
चन्दनचर्चेण चरणतलनिवेशितार्द्रारावईन्दिनीदलेनकरार्पितकर्पू_
र?एददन्तुरतुपारखण्डेन हृदयविनिआईहतीहमार्द्रहारदण्डेन कपो
०लतलस्थापितस्फटिकमणिदर्पणेन ललाटतटघटितचन्द्रमणिनांरा
देशावस्थापितमृणालनालेन कदलीदलव्यजनवाहिनानर्तितताल
वृन्तेनजलार्द्रानिलसञ्चाआरईणाकुसुमतल्पकल्पनाकुलेन धाराग्य्ह
जलयन्त्रप्रवर्तनाहृतार्तिना मणिकुट्टिमक्षालनाग्रहस्तेन चसजल

किञ्जल्कजलजोपचारप्रकरसंभ्रान्तेन च शिशिरभूगृहाभ्यन्तर
प्रत्यवेक्षणदक्षेण चोद्यानदीर्घिकात??त्ग्रग् हृऋनमण्डपसेकसन्ता
यहाआरईणा च मलयजरसचन्द्रार्द्रजलचन्द्राश्रृयावधानदानोद्यतेन
वारुरोहपराकोटिंकामानलोराज्ञएवतुल्यावस्थस्य महाश्व५तो?
तस्मईन्नेवचान्तरे तत्सन्धुक्षणायेव प्रवर्तयन्सरसारकईस्रलयल
याऋआशोकशाखिनः वाञ्छितमुकुलमञ्जरीभरेणानभ्रयन्वालसहका
रान् उत्कोरकयन्कुरबकैः सहवकुलतिलकचम्पकनीपाना१०
निवकिंशुआकानिसकलमेवमहारजतमयीमवरागमयीमवमदन १ष्
द्रुमामोदवासितदशाशान्तरो मबुमदमधुरकोआकईलालापदुःत्सईताध्व
हृदयो मदाकुलभ्रमद्धमरज्ञंकारकातारईतावईरहातुरमनोवृआईत्तरात्म?०
येनच कुसुमधन्वनः परमास्वेण मधुना पर्याकुलितहृदया
कादय्वरीसंप्राप्तेभगवतःकामदेवस्य महे महताप्रयलेनकथं
कथमप्यतिवाआईहतीदवसा श्यामायमानदशीदशि सायाहेस्नात्वा
निर्वर्तितकामदेवपूऋजातस्यपुरश्चनृद्रापीऊडमतिसुरभिशीतलैः स्नापाआष्
स्मईकुसुमस्रग्भिरुद्वथितं?तलकलापं कृत्?वककर्णाआपतसीत्कसलया
शोककुसुमस्तबककर्णपूरं कर्पूरकुसुमप्रायैः प्रसाध्याभरणविशेषै

र्विस्मृतनिमेषापिबन्तीव भावार्द्रयादृशा सुचिरमालोक्योत्कण्ठा
क्षुविक्षिप्तोच्चकितदृष्टिरतिचिरामईवोपसृत्यपुनः पुनः स्थित्वावि
ण्ंष्टेवपरवतीपारईत्याजिताबलाल्लज्जया सहाबलाजनसहजां भीतिं
रयितुमेकान्तेनिःसहा सहसा तमभिपत्य मुकुलितनयनपङ्कजा
चन्द्रापीडस्य तु तेनामृतसेकाह्लाआदईना कादम्बरीकण्ठग्रहेण
०सद्यःसु?गतमपिकण्ठस्थानंपुनर्जीवितंप्रत्यपद्यत। दिवसक्ल
मामीलितंकुमुदमिव शरज्योत्सस्मिपातादुच्छ्वसितमाबन्धनाद्भृ
अम्भोरुहावईभ्रमेणचाजृम्भतवदनमाएवंच सुप्तप्रतिबुद्धैव
ष्दुर्वलाभ्यांदोम्यांर्गाढतरंकण्ठेगृहीत्वावाताहतां बालकदली
मिवभयोत्कःपमानाङ्गयष्टिमुद्गाढतरामीलिताक्षीं वक्षस्येवप्रवे?
मीहमानांनमोक्तुंनग्रह्यईतुमात्मना पारयन्तीं श्रोत्रहृदयग्राआहई
०ग्रहेण।त्वंखल्वमृतसम्भवादप्सरसांकुलादुत्पन्ना। किंन?आ
रसितन्मेवचनमिदमातत्तेजोमयंवपुःस्वतएवाविनाशि आवई
शेपतोऽमुना कादम्बरीकरस्पर्शेनाप्यायितमिति । तदेतावन्त्येव
आदनज्वरदाहवेदनापरमदुःखस्यव्यपगतः शापः । पारईत्यक्तासा
मयात्वद्विरहदुःखदायिनीमानुषीशद्रकाख्यातनुःआ एषापिच
तवास्यांरुचिरुत्पजेतित्वत्मीत्याप्रतिपन्ना पालिता चातदयं
लोकश्चन्द्रलोकश्चतेद्वावप्यधुना चरणतलप्रतिवद्ध्यै । अपिच

प्रियसख्या अपि ते महाश्वेतायाः प्रियतमो मयैव सह विगतशापः
सञ्जातः । इत्यभिदधत्येवचन्द्रापीडशरीरान्तारईतवपुषि चन्द्र
मसिचन्द्रलोकावस्थानलग्नममृतपारईमलमेव केवलमधिकमुद्वहन्नङ्गै
रन्यतमस्तादृशेनैव वेपेण यादृशेन महाश्वेतैत्कण्ठ?एपरतस्तथैव
कण्ठेनैकावली धारयंस्तथैवाकल्पनिःसहैरङ्गैस्त?थवापाण्डुक्षामकपो?
लवाहिना मुखेनाम्बरतलादवतरन्नदृश्यतकपिञ्जलकरावलम्वीपु
दृष्ट्वाचतं दूरत एवोन्मुक्तचन्द्रापीडवक्षःस्थला कादम्वरी
वेनयावन्नवर्धयत्येवतावदवतीर्यपुण्डरीकः परमोपकाआरईणेच १०
न्द्रापीडवपुपेशशाङ्काया?ऐकताचन्द्रापीडस्तुतंकण्ठे गृहीत्वा
ब्रवीताआसखेपुण्डरीकयद्यपि प्राआजन्मसम्बन्धाज्जामातासित
थाप्यनतरजन्माआहईतसुहृत्स्नेहसद्भावेनैवमया सह वीर्ततव्यंभ
वताआइत्येवंचवदत्येवचन्द्रापीडे त्वईत्ररथहंसौ आदईष्टाआवर्ध
यितुंकेयूरकोहेमकूटमगमत्श मदलेखापि धावमाना निर्गत्य१?
मृ?ंआयजपव्यग्रस्यतारापीडस्यविलासवत्याश्च पादयोः पतित्वा
आदेवदेव्यासहदिप्तावध९सेप्रत्युज्जृआईवितो युवराजःसमंवैश
म्पायनेनैत्यानन्दनिर्भरमुच्चैर्जगाद।र?जुऋआ१तुतलुत्वा शरीर
सस्कारविरहोद्गताविरलदीर्घपरुपपलितलुआएंमुशप्रकीए?आभ्यां दोर्भ्यां
मंङ्गवलिपी?र ?ई?मूलेनवाहुनोतिप्तोत्तरीयांशुकाञ्चलःस्वय
मेवाशिआदा पुलःपदैर्नृत्यन्निवो?आआवदननरपतिसहस्रपारई
वृतोऽम्भोजाकर इव मलयमारुतप्रेङ्खोलनाविवर्तितो मदलेखां
क्वासौक्वासाआवईतिपुनःपुनःपृच्छन्पुनःपुनर्निआर्वईशेपहर्पवृत्तिं शु
ण्ठेलग्नंचन्द्रापीडमानन्दनिर्भरः शुकनासमवादीत्र । दिष्ट्या
मयानैकाकिनातनयप्रत्युज्जीवनोत्सवसुखमनुभूतमिति आचन्द्रा
? ?
१ जरीभङ्ग तारापाङोऽमधातित्येतन्नाआस्तईनपु?आके

पीडस्तु तथा हर्षपरवशं पितरमालोक्य ससंभ्रमोन्मुक्तपुण्डरीकः
तथाप्रणतमुन्नमय्यतारापीडोभ्यधातापुत्र यद्यपि पिताहंतव
तदुभयथापित्वमेवनमस्कार्यःआइत्यभिदधदेवसमं राजपुत्रलो
कसहस्रैःप्रतीपमस्यपादयोरपतत्?आविलासवती तु तथापित्रा
प्रणतेतस्मिन्यारईतो५पणस्वाङ्गेष्विवासंमान्तीतंपुनः शिरसिपुन
र्ललाटेपुनश्चकपोलयोश्चुम्बित्वागाढतरं सुचिरमालिआलैङ्गाउ
आशीःसहस्रस्मिवर्धितश्चतेनात्मनोपसृत्य यथानुक्रमं पित्रोःशु
कनासस्यमनोरमायाश्चैषवोवैशम्पायनैतिपुण्डरीकं विनय
वाधतएवकेवलंमयाआआत्मजःपुन?आवाअस्यापि भव?वेव
ण्लीनायुपिस्थाप?ईत्वाकृतार्थः संप्रत्यस्माद्दिव्यलोकाद?पारईष्टाद्ग
कलजगदाशयज्ञेनसताभगवताकिमित्याआदईष्टऽरा सर्वथास्ने?
द्र?ग्रालोकनसुखोत्फुल्ललोचनानां सर्वेषामेव तेपामचेतितैवसा
गौरीभ्यांचित्ररथहंसौगन्धर्वराजावपि तत्रैवाजग्मतुः आआगत

दनयोस्तारापीडशुकनासाभ्यां सहानुभूतसम्बन्धकोआईचतसंवादक
अऋथप्रवर्तमानएवतस्मिंऋश्चित्ररथस्तारापीडमवादीत् । आवईद्य
मानेस्वभवनेकिमर्थमयमरण्येमहोत्सवःत्कैयतो अपि चय
द्यप्यस्माकमयमेवपरसराभिरुआईचनिप्पन्नो धृमृर्णे आवईवाहस्तथापिष
लोकसंव्यवहारोऽनुवर्तनीयएवातद्गायतां तावदस्मदीयमवस्था
नमाततःस्वभूइंआम चन्द्रलेकंवागमिष्यथ । तारापीडस्तुतं
संप्रति सर्वगृहाण्येवमयाजामातारईतेसंक्रामितानि।तद्वयस्य१०
वधूसमेतंतमेवादृआयगम्यतां गृहसुखानुभवनायेतिआचित्ररथस्तु
तथाभिहितोराजर्पेयथातेरोचत इत्युक्त्वा चन्द्रापीडमादाय
हेमकूटमगातागत्वाचचित्ररथः कादम्?र्यासहसमग्रमेवस्वं
राज्यंचन्द्रापीडायन्यवेदृयतापुण्डरीकायापि समंमहाश्वेतया
अन्यदा जन्माभिवाञ्छितहृदयवल्लभलाभमुदिता सर्वस्वजन
मध्योपगमननिर्वृतापिकादम्वरीवाप्पोत्तरललोचना आवईषण्णमुखी
वासभवनगतं चन्द्रापीड?तैर् चन्द्रमसमप्राक्षीतार्शूत्रसर्वे
खलुवयंमृताःसन्तः प्र?ज्जीआवईताः परस्परंसंधटिताश्च।सा।०
केवलायावृत्तमितिआ चन्द्रापीडमूर्तिश्चन्द्रमा?आ?त्वा प्रीतान्त
रात्मातांप्रत्यवादीता प्रियेकुतोत्रासारआउहईखलुमहुःखदुः
खिनी रोहिणी शप्तं मामुपश्रुत्यकथंत्वमेकाकी मर्त्यलोकनि
वासदुःखमनुभवसीत्यभिधाय निवाय०माणापिमया प्रथमतरमेव२?
मच्चरणपारईचर्यायै मर्त्यलोके जन्माग्रहीता इतश्च जन्मान्तरं
गच्छता मूयाउ म?दुपुरमसमुन्मुक्तशरीरा पुनरपि मर्त्यलो
कमवतरन्तृआई वला»दावर्ज्यात्मलेकं विसर्जिता । तत्र पुनेंस्तों

द्रक्ष्यसीति । कादम्बरी तु तच्छ्रुत्वा येहिण्यास्तयोदारत्या स्नेहल-
तयामहानुभावतया पतिव्रततया ल्तयाच आवीईस्मतहृदया
अत्रान्तरे ?मद्वयाकाङ्खितं कालप्रभोश्चन्द्रमसः कादम्वरी
?संभोगसुखमिवोपपादयितुमपससार वास?ः ??नुरागपताकेवो
भिरामंच समग्रमेव जगदभवत् । एवं च भरेणावतीर्णायां
रजन्यां चन्द्रापीडश्चिराभिलषितमुन्मीलितनयनकुवलयमुत्स्रस्तनी
१पीरृसमृउआप्तित्रपासुभगं कादावरीप्रथमसुरतसुखमनुभूयैकदिवसमिव
दशरोत्रं?ईत्वापारईतुष्टहृदयाभ्यां श्वशुराभ्यांविसर्जितः पितुः
आगत्यचसमकालमेवानुभूतक्लेशं राज?एकमात्मसमं कृत्वा
समारोपितराज्यभारः पुण्डरीके पारई क्तूस्वर्वस्वकार्ययोः पित्रोः
भूमिस्नेहादुज्जयिन्यां कदाचिद्गन्धर्वराजगौरवेणानुपमरमणीयतम
महिम्नि हेमकूटे कदाचिदमृतपारईमलाधिवाससुरभिशिशिरसर्व
प्रदेशहाआईरणिरोहिणीवहुमानेन चन्द्रलेकेकदत्विदहर्निशोत्फु
ल्लसहस्रपत्रनिवहोदकवाहिआनईपुण्डरीकप्रीत्या लक्ष्मीनिवाससरसि
०काद।बरीरुच्याचसर्वत्रैवापरेप्वपि रम्यतरेपुतेपुतेपु स्थानोउआ
तया सह जन्मद्वयाकाङ्खयैवापारईसमाप्तान्यपुनरुक्तानि चतानि
तानिनकेवलंचन्द्रमाः कादम्बर्यास?कादम्वरी महाधेतया
सहमहाश्वेता तुपुण्डरीकेणसहपुण्डरीकोपि चन्द्रमसा सह
परस्परावियोगेन सर्व एव सर्वकालं सुखान्यनुभवन्तः परां
आ?कोटिमानन्दस्याध्यगच्छना ।

१ 'कालं' इति न;'कालप्रभोशद्रमसः' इत्येतन्नास्ति क-पुस्तके ।


Kadambari ( Uttarabhaga ).

     Pattralekha descrihes to Chandrapida the state of the love-
sick heart of Kadambari, the heroine of Bana's romance. In
the midst of this description, Bana was cut off by the iron hand
of Death and the story came to an abrupt stop. Bana's dutiful
son took up the thread of the narrative where it had been left
by his father and finished the romance.
     P. 1. Verse 1. Following the custom of ancient Sanskrit
writers, Bana's son begins his part of the work by performing
what is called मङ्गल । A मङ्गल usually consists of a salutation or
benediction. The performance of मङ्गल was deemed necessary for
the removal of obstacles and for the safe completion of the work
undertaken. Note the words of पतञ्जलि 'माङ्गलिक आचार्यो महतः
शास्त्रौघस्य मङ्गलार्थ सिद्ध्शब्दमादितः प्रयुङ्क्ते । rfe 'jrrwf^p g^pff ^ m :
gr reftrer^ra fgrS te*^rri^: ^ i j^r^r ft ^ (m ^ ^
qtmrwr Vol. 1 p. 7 (Kielhorn). Construe zpft: ^-^j,^^^ ^
formed from the union of the two halves ( 3^ ) of two bodies.
It was supposed that qjM by her penance shared half of S'iva's
body. <w is very fond of representing f^ as to^, half
male, half female, the left portion corresponding to q[<f?ff. Note
p. 188 of P; '^fenWr^^Jfwtf^t^^rofoft m^mrf^
^SPfa^' p. 322 of P. (p. 79 of this book). Compare also p^-

  • P^r VII 28 'sr^fS^^T^T^ T?5f^si& <TTf5nRT W ^r I ^ 3
  • Tf%iJ ^SJ ZR7 OT; (?r<k^) whose points of combination and

division are not observed. The idea seems to be that the halves
of the bodies of ffa and i^M are so closely combined that it is
impossible to show definitely the spot where they are joined and
to separate them one from the other. Ar. reads 'gf?W4JT'. g^
HteT— - 15^2: sfrcrcf&r: TO Ws} TO— for the completion of the

122 NOTES ON : "

/ supplement (qftffa:) to the story which (supplement) it is

very difficult (for me) to combine (imperceptibly with my father's 

«5d work). Or we may dissolve ggfe: E5*TT<TK%<J : ^fm f%fe ; ^ — . / for success in the completion (qf^fa:) of the story which it is hard to accomplish, ^jgjj^; the parents of creation; compare X3$ZS I. 1. 'sfrt: fq^t ^ HH^M ^d-' It should be noticed that the reference to the spfoRW form of %r in the ^^n<u| is most appropriate as Baua's son wants to continue his father's story in such a way that the two parts should form one harmonious whole in which the joining line should be as imperceptible as that along which the two halves of the arfotffa*: meet. For the difference between qjsn" and STr^f^T a ee Introduction. Page 1. Verse 2. Construe ^T s-rpjjr....^ l^rra.-^ ^1- Rjti Wtk STTT^PT ?wft fa^ ^nm^T ^PTTft. In this verse t he poe t salutes the man-lion form of ftog. zmy^. ..<&&— szmjjTRt *y<.i u if Whose face was terrible on account of the mane that was tossed about. i^Tra-^^teaTJtS f^fanfa WKTRtwR *rer) in wh _° s e hands shine the conch, the mace, the sword and the quoit, ■rtoj has four arms in which he bears the four mentioned above, 'srft vyfrdc. m^p^m, wfa : > iw&fo T5T mt ^r : ' %&k : - This verse gives the names of the conch &c. of ||wj. 3uRt$tf manifested. pj^-Tat once. On g^ Ar. comments 'a^r^s^T ^RkHsnM'W 3OTTT s^IT^T wmft.' As to the force of arffr, note the following from Ar. 'ajpftprfq^T ^ ^TrWnY ^Willf^:

  • t %iv ^N^Rrrftg^.' ft*ra^ ft* ?&$& ft*ras a*

Note that the reference to the ^rera^TTC of t^dj is very appropriate as there was a happy blending of the fierce lion form with the charming human personality of ftwj wearing ^tf &c. in his hands. Page 1. Verse 3. ^, qff: and ^r refer to <j ftrc^. ^f ma y be construed with jr^. 8rtf...<5ta: that noble man wbom alone people honour in every house. ijc%:...s5r*T:— fr° m 'wbom, through the power of my merit (accumulated in past lives), I received my being ( i. e. I was born ). The meaning is that he must surely have had a vast store of merit to have been born of such a worthy father. 3TicJT<sm: ^5T*r : SFRft?T$:. N reads $^ and explains it as 'fr^zr ftw flRdt T W JRtt «|UIKW«W ^frpft ^FT 5ft ffa:'. But ifc is not a g° od reading. sr^WHTr— 3^^ 3TTO 3JRRPFTT H SRTCPFtT BT^r^mr— that was impossible for any one kAdambaei. 123 else. ^T^ft^l. — ^F3 : i^fKH, 513^ the lord of speech, one who lias perfect command over language, fq^ifa — It is hard to show what force i^ has. "We may say that Bana's son wants to salute after faq and fijwjj his father alone, as he honoured him next only to the gods %^ and fifrajj. He paid so much respect to no other mortal. Yerse 4. Construe ffaft fg<? qft tfS^m m$ *P =6WOT: gfa ria.-'W 5R f T : that composition of the story which came to an end on this earth together with the words ( the voice ) of my father. He means that just as death silenced my father's voice, so it brought the story to an end. ^T ( efismpf;*^ ) 3TH*n"fH : ftqr fitT due to the non-completion of that composition of the romance. Bana's son in this verse says that he began the remain- der of the work as a pious duty and not through the pride of being a poet. Verse 5. Construe i^...-^: as jj^un- (f%T ^rfcl) m ftsfq ^ ...*TTcj: that words flow (from me) even after my father composed this prose work is surely the gift of my father himself. The idea seems to be: — The wonderful work of Bana would induce the listener to remain silent after hearing it; it would not prompt him to write something in the same strain; that I attempt to do this is due to my father, I draw my inspiration from him. Ar. reads q^Ml^iRt for g a*rr^rf3t and jrtncj: for cajpm:. His comment is ments '^rafojrlxHy^ 3*tt ^ng^irat wsicR^'j^'isjiq^r dc*mHI<hftmf'k *j1^ffi ^TT^ : '. This means that at the moment of his death, Bana gave his son some hints which enabled him finish the story. To us this explanation looks prosaic and un- satisfactory. The one given by us above is better. In ^...337^ the author supports his assertion by an illustration. v,m...^m

^tft|.- ^pr h^
f^ffifo ftf." — Translate — The mere contact of tho 

rays of the moon who is the abode of nectar that flows in a single stream causes the moonstone to ooze. The propriety of the word 535 is: — there is no second stream of nectar; there is only a single one in the moon. Just as the nectary rays of the moon 124 NOTES ON draw out moisture from the moonstone, so the words of the father (Bana) inspire the son to put forth his efforts to finish the- talej they (the words of Bana) draw out his eloquence. Just as the moonstone would have remained dry without the rays of the moon, so the son would have known no eloquence if his father's words had not inspired him. P.2. Verse 6. OT^RTTg^q' — being absorbed in it, beeoming undistinguishable from it. ^?5taP full, flooded. Ar. reads 'tftaTWii^PlfKT 3Tfa ^t^T *rF&' and comments 'tftaT^nf^pd^- ^Tft=^t ^forcF'. 3TTft}--^llftf?r reaching as far as the ocean i.e. spread over the whole world. JfisrfjjEiSJTFr for tne completion of this story. (lit. for linking my writing with the story). i

 fi — Ar. re- 

maks 'arffcrs^r ^T#MT<HR«# JffifstP^. It should be noted that this verse also contains the same image as the preceding verse in other words. Here Bana's eloquence is a mighty stream that reaches the ocean (becomes famous in the whole world) aud that carries along with it other smaller streams. Bana's son hopes that in the mighty current of his father's Muse his feeble effusion may be mixed up and may reach the goal. Page 2. Verse 7. q>R?^if»-5Rtsq^ ' The whole world be- ing intoxicated by the strong ^ of ^ khO does not discern anything (cannot discriminate ).' The words ^ and EfiR«r(f are L - %. feg (double-meaning), qjre* 5 ^ means 'wine' and also 'the story' ' i n yoi that name, ^g means 'the sentiments such as ^i^nr & c -' ar >d a ' s o b ' " 'sweetness, flavour. 5 ^wherefore. *ffat...^vrr:r: construe jTjcjaif^erfir- %^T anwprerrsft <r%<j (sR^sifriH ) sts^i^t-" (gf&r f^r:) ^ *ft3tsfw wherefore I am not afraid to join on to it ( Bana's Kadambari ) a supplement in my own words that are devoid of ^g- and qtrj-. x?3 — The eight or nine sentiments such as ^TfT^, *ffc, 3^FT &°v ^t ma y stand for fine words, words full of figures of speech. Ar. remarks «l^l^l^3T^<ldMl«: 5n1%«r. The words ^Epjjf^rfSf^r suggest water, which as compared with wine, is devoid of sweetness ( ^f ) and colour (501). Bana's words are here a stream of wine which lias so maddened the people that they may now be trusted not to mark the difference between wine and water (between the father's work and the son's handicraft ). Page 2. Verse 8. Construe jrrfjr #5rrPr JlffRTWrft fofireRVfat ^«T 3 H^tflPl' In this verse, Bana's son disclaims all inven- tion on his part and says that he is simply carrying out to their KADAMBARI 125 fullest developments all the elements contained in his father's work. He uses words that apply to the completion of the story by him and to the agricultural operation of sowing the seed and gathering the crop, iffarft 'seeds'; 'germs 'of a story or plot.' ^T in, the latter sense is defined as Wl%^ nigjfift fam#taraT». siMis the source of the final denouement, which is briefly allud- ed to at the beginning and which ramifies in various directions (a3 the story advances). «rftrawrft— Jrffitf <T^ ^g— which contain the crop (as applied to seeds); which foreshadow the result (as applied to the germs of the story). The crop is potentially con- tained in the seeds. faroHT&T fofiUBT vsfo *fr t^^TT^ <TTft ( sffalft )— that sprout forth; that go on developing. «jt=fa by the sower himself; by the author himself (by Bana). >d fad = W <*ia : 3f^r f^TftH^TT^ WK: ft*rf%: ZZ&fi ^^g; ^TTft *^VTH.3l%^...f^IH that were nurtured with proper acts such as watering &c. ( in the case of seeds ); that were set off by appropriate poetic des- criptions. 3cfH[J)I^rjdlfH that were cast in good soil ( in the case of the seeds ); that were spread over excellent ground (namely, the story of Kadambari). ft<j *rrf% ( ?rrf% is nom. plu. neuter °f 1T^ present participle) that grow to ripeness (seeds); that are developed or that ramify in various ways, q gd l fa gathered; that are brought to a conclusion. Ar. has a very long and interesting note on this verse. We shall quote a few extracts, "sfcrrft «fi*rRmr-" I 3I*R^

  • TftSTF-UWl WW yKfq ^TT^T ^ Hwfr >#«tft' Ssrfwm

T*n fk f ^n^<i 5^KH^T^w^TTT% i sf^rcsfrrcrnfKnOr 126 NOTES ON Pnrrt faferp 3n^rc ^<m'- 1 jprfafc t^i %%g^fa f^rstawntft ?s^ft: if<iRi^i...^^q^ iotsit H<ft <rfo#? s^ft% %# <fi4Uy^ fecwfjitf g^offa^...^ =3 f^pfi^p^ 1 W%t ^ '*m^ fa*rii«fi<u ' ??r«T^- 1 '=qggi=?2WTfa°' (^F^rKsr I. 1 ) ?fr nircmt s^w^Rd

  • re^ *r«mr Wtfa i • • -^rctitsft ^^w 3Tg#= ijfranjjw =3?57rats
W£c£a i ffifcfed i 4i <g^ i <rre ^pt JraTfa---<rF% #3rrfa ^ttc^t- 

tf^iftr arcr ?nr^r w 3nrNrc*rpt ^rat^rfa ). ^ ™U he noticed how the commentator draws out an esoteric connection of the principal characters with the highest divinities. He seems to have read g^3WT% for f^RRT , ?"«feufa for of^ft and HWTfa for «£tflft. P. 2. 1. 13.— p. 3. 1. 22.— When Bana breathed his last, he had brought the story to the point -where q*k4T was reporting to ^r^n ft g the conversation that took place between herself and love-sick ^Rfft <hK*«TCT saic * tuat s,le did not know in what words she should couch her message to Tj.- ^nfl j and dismissed thirteen different expressions as un- suitable. She then says that even if without a message from her =^iite were to come out of regard for the entreaties of IWctosTT, she would not be able to receive him properly. 11.13 — 14 3rfq=Ej...<^pr— In this and the following four sen- tences, what EfiTCRjn means is: — even if =^nfte were brought back, 5fiT3?5TH would be such a complete prey to the contending emotions of shame, embarrassment etc. that they, not she, would be the actors in what would follow and this is how they would act. Her identity would as it were be lost and in her place would stand the contending emotions of shame &c. ^ s;3JRt • ••331^. ( m y sense of) shame, ashamed of fickleness (a^rr) would not show herself to the prince. Ordinarily women naturally possess snwTT, tN^SFT, ?ftfa etc. That sense of shame is merged in the ^wir which she felt at the thought of her unsteadiness in falling in love with =^^rtte at nl- st sight. That is, the meaning is 'jf^rrc^r wTFm% *& iMfcr^toH^ ^ 4g^fSM<R<*dnJ'J3TT ^su^-wit Ufa srrcffi <m«T <T $HK £5 * Wjnft.' The following four sentences


should be construed in the same way. ^n^...^f5% — Embarrass- ment, heing confused by the knowledge (on the part of ^^pfl^ ) of the changes wrought in me by love, would not stand in bis presence (would flee from him). *H"Kmfl f^fiKP ifaf %^m m$R f^sj T^nrrfN^. f^t^r vth-J^^.., 1-15 3TJ#...?n^r / 2 Despondency (srr^T), being chilled by tfie'~ fear of not having (formerly) honoured him properly, would not approach him. ^ iri<faf%: ( aTRj: ) 3ref?raf%: m HP="W ^T ^TST. s^r^t did not herself receive the prince, but assigned that duty to her friend and so she is now afraid. Or 3rsrRtqfr nmy be interpreted in fa • "^ another way. 3rcn^qf%...sr§T chilled by the fear of not being ac- cepted (by =^l<Jte). ^T.-.^RRt Lightness of heart (srEpr), being thoughtless enough to have approached him unbidden, will not lay bold of tho certainty (^jj) of being accepted by him. 4,|dH<l bad come to see =q^pfte of ber own accord at moonrise after his first visit to her. This is sjrjfsr in her. She is not now sure whether he would accept her. aRT^T ^rfcf fear itself, being afraid of the fault of bringing him back against his will, would not face him. 4,1^(1 had formerly sent to ^^nife when ho returned to his army ^s^rr^W, ST^, ^T, IK &c. with %^FT, whose account of EfiT3?=rfl's state- induced him to re- turn. 11. 17-23. 3T*r ?r Hft<H. ch KHi l said in the preceding lines that even if the prince were brought back, she could not receive him properly. Now she takes up the other alternative, viz. the supposition that he may not be induced to come, sfii ^'4f%^.--Tr37ra^nf^.--JT ftf^ra;. If (3l*r) it be not possible, for some reason, to bring him back even by falling at his feet on the part of my dear friend ( q^m ) who strove out of affection for me, even then it matters very little. Trft?t : P a st pass. p. of m^ 'to be able.' Peterson and K following the comment in N translate ^<i<l*)<t tj ^ff%^ by 'all will be over with me.' To us this seems to be wanting in good taste. qi KH<l would be the last maiden to make such an open avowal. Besides the sense they draw from the words is far-fetched. The words jf^rspprr T ^ft-^l srr 3T^T *R«T ^tft contain the reasons why ^sjeffs may not be induced to come back to JfTR^^t. 1. 18. spjJTT = 55«raT. <M c hl<4l:iO%'T out of concern for the duties to be performed by a king. f%^r...g^T on account of the happiness (he felt) at the sight of his relatives whom he saw after a long time (as he had been engaged in fipcj^^ ) and who were brought up with him (from his childhood). f%^ s^^t: g^jffosj *p ^r^R: <R*T 128 NOTES ON दर्शनेन सुखं तेन सुहृ...त्कण्ठय---सुहृदां मित्राणां मुखानि एव कमलानि तेषां अवलोकनं दर्शनं तस्मिन् उत्कण्ठा तया. पुन... हीर्षया from the desire of avoiding the trouble of coming back again (to |t^2 ). qR|3)g|qf is a noun (/. ) formed from the Desiderative of ^ with qft. R*ijJ{_ a^^iT^ 3%^tf%: sfrfa: OTT- 3ffa-<=sW...*rtoft or on account of his not desiring this person (i. e. thKH<l). !• 23. i% =?TT3^r"'«iWi. ■what more has now happened (that he should be induced to come ). P. 2. 1. 24.— p. 3. 1. 15. %=rri *fiT^#-.-*%Tr. The principal sentence is %^rt EfiT^tfT IT 3^T gRI^I^^I'fl^M)— fe^Jsl &&*¥&<»* && ffi&X. p. 3 11. 1—6. qfflT^... i| jM «4fi> All the locatives from jrg^;...^f3T% to gj^rfi...^ qualify sClW^ (p. 3. 1, 6 ). *rg...^i§&— Tv&fa iprt ( ir^ ) Jrgwr[ w$ ^ (evening) in which the piteous cries of chakravaka females are drowned in ( 3n^fes ) tne sweet hum of the swarm of bees that buzz about being intoxicated by honey. It was supposed by Sanskrit poets that the ^f^fnu male is separated from its mate at night and hence the =3sfiiErPfiqirMt s are represented as crying piteously at the advent of evening. sri^T...g:% — srFRT frot^fRHf g-*^ ^T- The approach of night is specially painful to separated lovers. P and K read o ^(5|^^p id...g:%, which is not bad and would mean o^f^r srfof ...J-Tt irfw^. fevEr—fs^r — ft=h-=ilPf (f^B- rcftnft) s^rft *rer m. srcR^wf i^ <rer ft«^ *rg^ srnrf^i: (^ t& ) j^: q: rp^: ( *TTg: ) ^T ST«rP ^T fef : Tr^T^. I* would have been better if the reading of N" ' fa^^^l^.^liWfRf^cT 3 ' had been adopted in the text, as the compound is then more regular ( fJrap^r gq^fa tRtt^T *FZ} T^tT? : fo aiwkwi: SS few ifi??^). With our reading sprqr: 3r^r fep is ungrammatical. ^B%5t— fl^tg^— R+RidMi ^yHMi srmt^ij^fcWi-" (tr£n^ wrfcr- q-Rjpr— in which Cupid was clever in loosening the knot (lit, grip) of the pride of offended women, that ( knot ) had been made tighter by the fragrance of full blown flowers. During the day the wounded pride of women against their faithless lovers had been growing as the flowers opened, but at the approach of night their pride began to give way. cfm..fqu^ — ^qr^T $ff^T (=^T) FW ^Vm^fqtrg-: zrftjT^. 5ffa...6T% when the servants were garrulous with songs that were able to mollify ( lit. amuse, divert) offended women, jprerff... 5^—3^5 13. *&& (sPJTt^ft) srwpsrR ^r 41 fed- ifo ^R i ^ : zrf%rrj^ when chamberlains felt asham- ed at their superfluous ( j^tR ) rising at the sight ( of their KADAMBAEl. 129 masters ). p. 3. 11. 6— 8.— this is one clause. Separate जरठ... स्थलानि अखण्डमण्डले.व्गण्डस्थलानि is the object of विडम्बयति, which is loc. sing of विडम्बयत् present part,अखण्डमण्डले (अखण्डं सम्पूर्णं मण्डलं यस्य ) qualifies चन्द्रमसि. मण्डयति ( loc. sing. of मण्डयत् pr. p.) qualifies चन्द्रमसि. गगनं is the object of मण्डयति. When the moon with a full disc resembled the cheeks of handsome women, which (cheeks) were rubbed by the close-fitting (निबिड) ear-rings that were as pale as the stem of a full-grown (जरठ) reed, adorned the sky and rained down showers of water in the form of moon-light, that (water) was poured profusely (निर्भर ) with the multitudes of clear (विशद) rays ( also 'hands') that gleamed forth continuously. 11. 9—10. दूरे...तटे on the bank of the lotus-tank that had made fragrant all the quarters by the perfume of the beds (कानन) of कुमुदs(white waterlilies) that had greatly expanded their petals. दूरं विक्षिप्तः दलानां निवहः समूहः येषां तानि कुमुदानि तेषां काननानि तेषाम् आमोदेन वासिताः दिशाम् अन्ताः यया. 10—11. चन्द्र...नितम्बे on the slope (नितम्बः) of the pleasure-mountain that murmurred with the streams (flowing) from the tops of moon-stones, that (streams) began (to flow) by the contact of the rays of the moon. 11. 11—13. त्दृध्य...शयने‌--वहति (loc. sing. of वहत् pr. p.) qualifies oशयने— on a bed made of the slab of pearls that was charming (हारिन्) at that moment and that bore as it were multitudes of drops of perspiration due to the pleasure derived from the touch of his (चन्द्रपीड's) hand under the guise of the mass of particles of the charming (त्दृध्य) हरिचन्दन paste. हरिचन्दन is one of the five trees of paradise. The मुक्ता...शयनं was pasted with हरिचन्दन juice to produce a cooling effect. Those drops are represented as drops of perspiration. 11. 13.-15. कुसुमा......हिमगृहे in the snow-house which perfumed the ten quarters by the fragrance of flowers, which, though it bore masses of the particles of snow, only removed the outer heat of the body (and not the inner turmoil of the heart) and which was as it were the meeting place (सन्दोह) of all lovely objects. कुसुम...लन्विनी reclining on a bed (स्रस्तरः) of flowers. This word is significant. It suggests that the prince saw her sorely stricken by love and therefore lying on a bed of flowers and yet did not make her lie on his lap, as a lover would have done. अपुनरुक्ततदृर्शनस्पृहे अपुनरुक्ता तस्य (चन्द्रापीडस्य) दर्शने स्पृहा ययोः — whose longing for seeing him is not yet superflous (i. e. is yet as fresh and vigorons as ever), ययो...यातः These words are significant. He came within the range of my eyes, but they were powerless to rivet 130 NOTES ON his attention on me. 11.16.-18. तदेव......धारयितुम् This is tnat same wretched heart vacant on account of its not knowing what to do, which was not able to hold him (चन्द्रापीड) fast in it although he had entered into it. प्रतिपत्तिः course of action. अन्त:-प्रविष्टो&पि — कादम्बरी fell in love with चन्द्रपीड at first sight i, e. he as placed by her in her heart (figuratively speaking); but when he wanted to go away, कादम्बरी's heart was unable to hold him in itself. तदेव...स्थितम् this is the same body (of काo ) that stood indifferent beside him for a long time. She means that she should have offered herself to him at once instead of being held back by maidenly modesty. स एव चायं......ग्राहीतवान् This is that same hand, which out of a false regard for my elders, did not offer itself to him (चन्द्रपीड). She means that she did not offer her hand (in marriage) to चन्द्रपीड out of respect for her elders whose permission had not been obtained. अनपेक्षित...प्रतिगतः Chandrapida also, who felt no concern at the pain caused to others, is the same who came here twice (वारद्वयम्) and went back (home). अन्पेक्षिता परिपीडा येन. चन्द्रपीड first saw कादम्बरी in the company of महाश्वेता. After staying for some time he returned to his camp. Then केयूरक came to inform चo of कादम्बरी's state, on hearing which he again returned to काo; he again came back to his camp where he received a letter from his father and started for 5 ^ Ri .fr. I Q tne preceding sentences «BT5^rd blames her heart, body, eyes and other organs for not being able to hold fast wsj° by ner side. In this sentence she blames ^30 him- self for coming to him twice and not whispering to her any words of love for her. jf^fa....^ That Cupid who has only five arrows is the same who has exhausted all his arrows and there- fore who is powerless against others ( -H.rfjifte ), an d of whom (cupid) you spoke to me (before). 3qgfr°TT.* WFV*V- ( ^FTT : ) TO TO

  • TR: ^TSffaTPFRTT m. Cupid is represented as having five

arrows. She says that cupid has only five arrows, which have been exhausted in striking me and so no arrow is left with which to strike =^^rft^j ^0 being a man, would require more arrows than a feeble woman like me. In this sentence she lays the blame at the door of cupid, instead of on =et5T^^ as in tte former sentence; -^nft g is not to blame, as cupid did not strike and so =^o went back. Towards the end of the "jj^TTT, 'RK'^T requested if ^^ - n to tell her what forms cupid has ( p. 235 of P. ) 'qtSq- EfiW ^Sft ETT 3W ^Rlft ^RFTO Wftft' and then ^^ des " cribes cupid and his exploits Jjffag.giRiTJi'fiT «t^l'cWfM f^rfsl' & c KADAMBARl. 131 P. 3. l. 23— p. 4. I. 18. irf^rm^..-^f>. L 23 sr&cra =3 — cM<H<i sent a message -with ^jjer to ^t%tt to this effect ( pp. 180—181 of P ). ^{q- g:R=|<iwi as long as you ( jt^i%T ) are distressed. H^^TT tad lost her lover jju^fft; but was promised by a super-human voice his return. She remained as an ascetic awaiting that happy re-union. ^7 = ^y%rfr ) the friend of errFW- n$ — Thus ; this refers to c^hO ' 8 resolve not to marry until JT^T^TT's sorrow ends. ^■HidR^ This is a bad idea { refers to 3733TfEri^rr). ITtRiKt one who works evil, jpf^g: = jr^:. ^Rfa— IXf^ ma y even deprive (a person) of life by reason of producing love in the mind (sn^f: 2j: <£c$- stg^pj: a<m ^). p. 4. I. 2. i^ft *TR^ ^ Even this does not exist in my case. This refers to the words 3?^zpn% f^rsr^ siifi^R STqirffl' in the preceding sentence. I do see him ( ^^Ttffe ) and so there is no danger of 41Rdm£K> as suggested by J^^T- H- 2—5 JT^h... ■ j JH *i The prince presented to the mind by my imagination always shows himself to me, not being observed ( by others ), even in the presence of men, like one possessed of miraculous powers, he ( prince ) being handed over to me either by cupid or by fate &c. She means that although the prince is physically- absent, her imagination is so much heated by thoughts of him, that he seems to her to be bodily present near her ; just as a f^g- may come to any person unobserved on account of his powers of jJjTt, so =sF^T<ft3 though seen ( mentally ) by her, is not observed by others. sift =3reft"-l£3?T : — ^ n this and the following five clauses up to epfzrf^ ( p. 4. 1. 8 ) she contrasts the gn^qqzr =5f^iqts with the real -^r^nfl^. 3^ %$ like him ( the real =3^f<fte ). 3PPVT=S!5Wi:fiTrc:. 3TW% ( all of a sudden) vfc&VT- ifc ftgt WiA TPT- ^F5J t fT2' receiving a letter from his father left jrxo all of a sudden ; but the prince as pictured in her imagination never leaves her. 3{jf ifa = ^fqyjWf: 1WK ^. The real =3^0 does not care for me and went away. But this one ( the ^ng^tppT ) is himself afraid of being separated from me. 11. 6 — 8 Jfi4 s^ift... €r4q% This means — the real =q?5jqte is day and night surrounded ( lit. crowded ) by ^sift, he is the lord ( husband ) of the earth, he cares for learning and adds to his fame i. e. the real -^r^nfa has as his favourites si^ft, "jssfr, sft^ft and jjftf£ ( which may be 2»etically represented as co-wives of n,i^ r ); while the ^rpwr gr^T< cares only for JfiT^o. 11. 8 — 12 q=^|p|...jprr construe jprj (l. 11) a— f*nt sri^r 3TTtftoi 3f?i^rT...<FprTft <t*tt &*?;ft?r^rw. I have already told you bow I see the prince &c. srra'tol 132 NOTES ON sitting down. अशजन॥।हेतुम् who is simply a cause of mocking ignorant people (like myself). विप्रलम्भकं deceiver, तदलमनया... कथया enough of this talk of bringing him back. This is said in extreme dejection and despair. इति अभिदधाना &c. पयत्रलेखा so far repeated to चद्रापीड what कादम्बरी said to her. अतर्कि...ताक्षी who closed her eyes as if she fainted all of a sudden. अतर्कितं आगता मूर्छा यस्याः सा. पक्ष्माग्र...लीयमानेव who, showering tears accumulated (सम्पिण्डित ) on the ends of her eyelashes, as if melted away. Tears that rose in her eyes are represented as if due to her melting away ( by the fire of grief). उत्पीड्य... वेगेन who was as if squeezed by the force of the sorrow that swelled within her.Ar. 'कदलीकाण्डमृणालिकादीनि कोमलसरसानि वस्तूनि बलवतोत्पीड्यमानानि द्रवं विमुञ्चन्ति तद्वद्रृवतीति भावः'. H. 15—17 तथैव...उपावेश्य placing upon her creeper-like arm, that rested upon the cloth hanging down from the rope attached to the centre ( नाभि ) of the canopy (वितानं) over the raised platform (वेदिका ), her face as if it (face) > were a red lotus a little darkened by tying struck with water on a lotus plant that sprang from a stream of clear water. The white cloth on which her arm rested is compared to a Stream of clear water. Her slender arm is like a lotus stalk. Her rosy face darkened by sorrow is compared to a red lotus darkened by being struck by water, उत्कीर्णेव like one engraved. P. 4. 1. 19 — p. 5. 1. 17 अहं तु ... मपृच्छत्. — this refers to पत्रलेखा herself who is talking to चन्द्रपीड. गरीयः ( comparative of गुरु ) very important. आलन्बनं support. विनोदः diversion, means of solace. यदुत namely. नितरां ver y much, तथाहि to explain. अनेन refers to संकल्पमयः प्रियः-'. H- 22—24 अनेन... सुरतानि In this sentence she contrasts the union with a सङ्कल्पमयप्रिय lover with the union of a real lover. To win over a real lover, a woman has to send दूतीs, she has to appoint a time when only she can meet him, the union takes place only for a time and violates chastity. But in the case of union with सङ्कल्पमयप्रिय, there is nothing of this. अकृतं दूतिकायाः पादपतनमेव दैन्यं येषु in which there is no (necessity for) incurring the humility of falling at the feet (of the lover) on the part of the go-between. अकामलरमणीयानि charming on account of their being had at any time. स्वेच्छया यदभिसरणं (approaching a lover) तस्य सौख्यं येषु. आदिपितः कन्यकाभावः येषु in which maidenly purity is not violated, p. 4. 1. 24. — p. 5. 1. 2. सुरतेषु...विलसितानि. अकृतं स्तनव्यवधान दुःखं येषु. Ar. comments 'प्रायः कवयो हारचन्दनकुङ्कुमा-दीन्यालिङ्गनव्यव-धायकानि वर्णयन्ति ।... अत्र स्तनावेव स्वयधायकावुक्तौ । अस्या-यमभिप्रायः-गाढालिङ्गनावसरे दम्पत्योः परस्परमन्तरात्मन्यनुप्रवेशाभिनिवेशो भवति KADAMBAR. 13B तद्विघातकौ स्तनाविति । ? अजनिता व्रणस्य दर्शनेन त्रीडा (लजा) येषु. अनाकुलितः () केशपाशbeautiful bair) येषु-गुरुजनेन निभावितं (निरूपितं 4 not dishevelled marked) क्षतं तेन वैलक्ष्यं अनुत्पादितं गुरु..वैलक्ष्यं येषु. p. 5. 1. 2.-4. न एनम् ( सङ्कल्पमयं प्रियं) अन्धकारराशिः अन्तरयति तिरोदधाति. अन्तरयति screens. थगयति conceals or covers. इत्येवं... मे while I was thus thinking. न्तयन्त्याः मे geni. absolutel4 अनुराग --दिवसः The day became red (. ३. sunset drew near) as if fooded by the liquid (रस) in the form of the story of the अनुराग (love; redness) of कादम्बरी. तत्क्षणं मण्डलम् at that moment the disc of the sun that looked red was seen to hit a way through shame as if it were the heart of का० that had manifested its love (for च० ). प्रकटितरागं ( प्रकटितः रागः अनुरागः पक्षे रक्तता येन ) applies both to कादम्बरीहृदय and रविमण्डल. The dise of the sun becomes red at Sunset and dips down below the horizon. It is represented as if it were the loving heart (which is also रक्त) running away through maidenly shame. पल्लव वामिनी . the night brought about (prepared) the redness of the vening as if it were a bed of tender leaves. New and tender leaves are redish and so are compared to सन्ध्याराग. परिचारक प्रदोष evening prepared a bed of moon-stone in the form of the noon, as if it (evening) were a servant. The idea is:--the moon rose in the evening; it is represented as a bed of (moon1) stones prepared by a servant (प्रदोष ). चन्द्रः मणिशिलातलतल्पम् इव. . 8–10 अत्रान्तरे...पर्यवारयन्-स्वं कुर्वाणा executing their respective duties ( नियोग ). गन्धयुक्तं तैलं गन्धतैलं तेन अवसिक्ताः अत एव सुरभि गन्धं उद्भिरन्ति इति . विरचितचक्रवालिकाः that formed into circles.ll. 10-13 निर्मल. लतामिव her (का०) who bore refections of the torches observed on her pure complexion ( लावण्य ) as if they (refections) were the blazing tips of the arrows of cupid fixed in her limbs and who looked like a चम्पक creeper covered with fresh and thickly spread (निरन्तर) budsShe was stricken with love and had a fair com . lexion. The reflections of the tapering fames on her body looked like the darts of cupid and also like चम्पक buds; her fair body looked like चम्पकलता. 1. 15-16 अथ...नयने having quickly opened her eyes at these my words which contained the name of the prince (चन्द्रा०) like a woman fainting through (the effect poison (who opens her eyes) by (repetition of the incantation that removes poison. देवस्य (चन्द्रापीडस्य) नाम तस्य ग्रहणं गमें यस्य. P. 5 1. 18–p. 8 1. 4 अथ धवल..व्यसर्जयत् II. 18-24 The nominatives from यष्टयः up to व्याहरन्त्यः (l. 24) qualify कन्यका धवल•••झ्य -धवलवसनैः उलूसिताः गात्रयष्टयः यासाम् - द्वारप्रदेशे सम्पिण्डितानि 12 184 NOTES ON सङ्कचितानि अङ्गानि यासाम्: As the women were clad in Wite robes and as they jostled against one another when at the doorthey are compared to rows of कलहंसऽ issuing from the hole made by bhe arrow of परशराम The हंसऽ are white, परशुराम being jealous of the reputation of कार्तिकेय as having pierced the ौध mountain once sent his arrow through it and made a hole from which Swans are said to issue forbh. Compare मेघदूत ‘हंसद्वारं भृगुपतियशोवर्म यत्क्रौञ्चरन्ध्रम्. Bana alludes to this in another place ‘सकलराजन्यवंशवन दावानलस्य परशुरामस्येवास्य नाराचाः शिखरिशिलातलभिदो वभूवुः (p. 76 of P.). कलहंस--नूपुरै—The instru, is used in the sense of उपलक्षण—with anklets whose sound was as sweet as the cackling of कलहंसऽ and which (anklets) therefore as if gave a reply. पता...श्रवणैः—This instru. also is used in the sense of उपलक्षणे-with ears that were s brightened by ear-ornaments (कर्णपूरः) made of tender leaves that fell down from them and which (ears) therefore appeared as i running to hear the command (of का०). मौक्तिक..वहन्त्यः bearing multitudes of rays issuing from the pearl earrings, as if they were chowries placed upon their shoulders. Chowries are white and the rays from pearl earrings must be white. समाहत..वाह्यमानाः who were driven forward as if forcibly by their earrings that struck their cheeks. 1. 24-26. आशाप्रतीक्षासु who awaited lber commands. Her glances are compared to a garland of इन्दीवर5 (blue lotuses). P. 6. 1. 1. न खलु...ब्रवीमि I do not speak this because would please you, K. e. I speak the truth. त्वामेव..व्यसर्जयत्-Ar comments ‘त्वद्दर्शनमपि मज्जीवितधारणहेतुः, तथापि प्रेषयामीति वाक्यशेषः. ग्रहः persistence. अङ्गस्पृष्टया -अङ्गस्पृष्टानि निवसनाभरणताम्बूलानि तेषां प्रदानेन प्रदर्शितः प्रसादातिशयः यस्याः P. 6 7 5-17इत्यावेद्य..पर्याकुलोऽभवत् इत्यावेद्य having nar rated this to चन्द्रा०. प्रत्यग्रः (नवः) देवीप्रसादातिशयः तेन आहितं प्रागल्भ्यं यस्याः—in whom boldness is engendered by the great favour shown afresh by the princess (काद० ). आपन्नवत्सलायाः affectionate to those that are distressed. I. 8-17 चन्द्रापीडस्तु ..पर्याकुलोऽभवत्- The principal sentence is चन्द्रापीडः..तथा विशप्तः पत्रलेखया, तं च कादम्ब यः...प्रौढमालापमाकर्य, (1, 15.) उत्प्रेक्ष्य..च तन्मुखं--नितरां पर्याकुलोऽभवत्. उपालम्भः गर्भ यथा स्यात्तथा full of taunt or censure. All the accusa- tives from ०पुरः सरं (1. 9.) to प्रौढम् (1. 15.) qualify आलापम् (1. 15)- सपरिहासं full of jokes. सावहेलम् full of disdain or contempt (for herself). सार्तिविशेषं full of special distress. सावष्टम्भं dignified. सात्मार्पणं-which resigned herself (to चन्द्रापीडs mercy). सोत्प्रासम् ironical. सानुक्रोशः full of tenderness. : सावधारणम् emphatic , मधुरमपिदुश्रवम् thought it was sweet (on account of the love it KADAMBARl. 135 breathed) yet it pained when heard (as it disclosed her pangs). In this and the following we have the figure called f^ttrFrffi. H UWf q 3Tfat3^ though it was ^r (full of juice; sentimental), yet it caused ^Jfa (dryness, emaciation). ERtntf^ft *hiR^ though it was c ftmK^ ft--- 'fr^l<al'MRl Rr- 3T^ ...UcJjcjH supply =EF^T<frs:. thKH#— ■H^«il' who (^^T°) wa s simul- / taneously ( ^IH^ ) seized by sorrow J jjgr ) in the heart which P" » (q^r)_as 'f came from the body of Efrr<.H<i together with the ' woras of her conversation. The idea is: — i^e^-H repeated to ^FZjo what ^o said to her. The poet says that the words thus came from ^o and brought with them the jjrqj, %q^, -^%ct etc. p . C which efii^snQ- herself suffered from i. e. on hearing them ^;^r° simultaneously experienced sorrow, tremor etc. Efiu% 3ftf%^T JJsfi'cT- his life came to his throat i. e. he became as helpless as grfo herself. 3TWTe5^ Jfa^TT ( *Jlfa : ) hi s tender lip began to quiver. g ^tRl^ j M I «hKH^l ' : — ne experienced the same mental state (ff%) as that of sfn^PCT. J" s t as ^o had jpg, %qsj &c. so on hearing of her state, =sp^rfrs felt all these. ^...8j^— ^g. ^M ^T $(§V ^T q ql<frtf|[ ?T Sfg^rfot zr'47 ^j: ^sq-p — in such a manner that the words came out falteringly on account of the distraction ( T^gq) due to the flow of tears. 3T^-...;#^)'sfijT construe sfitf £<k*HI—^i<S4<$*l erq^ ( 1. 24 ) qffito^ *ngf^r IXVl -Wlttil^ flrfcf— W( HI^- %^.3i^n: ?1g-"Hf mi?mr...^n' 53^ a? ^Ti^rer tarn ^fratsfw I was made the source of the sorrow of the princess (jftfo ) and of the blame you give me by my wicked heart, which made me think that whatever the maiden ( effjo) was made to exhibit by cnpid with reference to me was simply natural to her. At the sight of ^fo, c(i|rfH{l manifested ^q^,*rRftT and various gestures peculiar to love-stricken maidens. ^v^o understood them to be natural to the ipq^f princess. He blames his heart for this mistake of his. g:fgf%^T badly taught, qf&sa STTWffi' JF3% ffit-qftecWFfr. One who is ignorant generally does not know it and affects to be wise, jf^^ not well educated. ^T...*tft^q' full of hun1


dreds of thousands of false notions entertained by it. 3jfT^j- xiHlffui 'who is the teacher of dancing exhibiting the feelings of love. Women being influenced by love make various gestures. These are called here ±£^K«iTl and as it is cupid that makes them manifest such gestures, he is called sa^K'ItIHTC'. 3J-tl J ki '"-^??re in order to convey ( to me ) her internal agitation. 3T^g...g %iN^^| — M^ l 'ft g gives three reasons why he thought that the various acts and gestures of Efrro were natural to her and not influenced by love — becauso he had never before seen heavenly damsels, because he looked upon them ( the gestures ) as graceful acts quite in keeping with her ( wonderful ) charms and becauso he thought it impossible that such longing with reference to him- self could exist ( in her ). Ar. explains the last as 'srep^g^ERT JFWMJi""^ *TT3> "4I<hRm *&% W& P3T ^'. fofi5T...^£ I who was placed on the swing of doubt (that is, whose mind was in sus- pense ) on account of the various possibilities (f^stf) it con- templated. TRt ^nTl ' ^h lfl causing the mind to be infatuated. In this sentence the poet anticipates what he will tell us later on. : ^r^r l fte 'as really under a curse. 3Fqin if it were otherwise ( if there were no grTI ). srsifSgi/ of one whose intelligence is not developed. 3qq?j% is not proper, spsj tftoqrjjifa how should my mind have been misled, f^is^fa fliqg, let alone. 3?f?f...f^ftfo whose operation cannot be easily marked on account of their being very subtle. JfrfiftT = ^flq^.^p, 'jtnffiT^ H ^ Wlfaqx ^1# ft: era.' ^^.^^gTjffaTjp^i #r<?r *ig<itf R^fel- - ' wi- ^TRW'TTSft ?f*T^{^T 'which may be due to other causes (than love). f^l H; ... ^l^B, t tH. what indeed did she not convey in at once plac- ing round my neck who am unlucky ( sj^j (rcrcj ifcj ) this necklace which is fortunate in enjoying for a long time the contact of her neck? Pk*^^: 3TRJTq;os^r twt'- ^T I^T. 1^**1^ l^ ; what took place in the snow — house. For this see pp. 217-221 of P. ^ifq refers to 4^5i<;-IT- 5t n PPfit t rrf|TH j n' who was distracted by her feigned anger. 3^zprr «!H&i this refers to ^^ tK H qH'h - sprf above (p. 41. 13 ). R ' W ra, through my comprehending things wrongly, ajsrffo^ without being announced ( to =g^ro ). f^rSTRi; who were talking (^: 3Rq: 3r). ^j: p?rar— m^m uad been kept with gjT^T^CT by ^PSJ". cRTfa'-'fE^T for a long time you have not been seen by me. P. 7 1. 22— p. 8 1. 10 ^Jrpfr^"-^^^^. H%>* W ^tex ^p^ 3?fv)^<i4^ fluctuating or uncertain on account of the doubt ( as to what should be done ). From ^qjp«rT & c - to o^^?KADAMBAR. 187 विन्ध्याचलयोः (p. 8 1. 7 ) there are pairs of sentences, giving expression to चन्द्रापीडs aftection for his mother and his father's court and on the other hand to his love for . आजन्मक्रमाहितः जननवर्धनलालनादिभिराहितः दृढीकृतः वाञ्छाकुलं agitated by desire (for का०s hand. प्रमाथी tormenting. हारिणी...लालना the caresses of my alders draw me. अनुबन्धिनी closely adhering. कुतूहलिनी-.प्रार्थना my h•8 longing (of love) that is fresh is full of curiosity ४. ४. draws me towards का०. परिग्राह्य who alhould be accepted (8. e. married). कालातिपातासहं not able to brook delay (कालस्य अतिपातः तस्य असहम् ). विप्रकृष्ट very remote. विन्ध्याचल-उज्जयिनी was near विन्ध्य mountain. अनेक-.हृदयोत्कण्ठं (अनेकप्रकाराणि जनन्याः लालनानि तेषां सुखं तेन अचिन्तिता दुर्विषहा हृदयस्य उत्कण्ठा यस्मिन् ) in whicl the unbearable yearnings of his heart were not thought of by him on account of the happi ness due to the various Borts of careasing treatment he received om his mother. P. 8. 1. 11-26. उपनतायां--कादम्बरीरूपस्य. The principal sentence is उपनतायां•••शवयाम् ..वातुमारब्धे प्रदोषानिले च (1. 15) शयन बत...मनसा सस्मार..कीदम्बरीरूपस्य. उपनतायां...शर्वर्याम् when night that darkened the ten quarters approached, as if it were the anxiety of his own heart. The dark night is poetically identified with the dark anxiety of his heart. अनिवार्य ...कुलेषु that were distract ed as their minds were tomented by the pangs of separation against which there was no remedy (अनिवार्या विरहस्य वेदना तया उन्मथ्यमानं मानसं तेन आकुलेषु). कलकरुण...युगलेपु The चक्रवाक male is separated from its mate at the advent of nightउत्तेजितस्मरशरम् is an अव्ययीभाव and modifies समुत्सर्पमाणेषु. Tt means in such a manner as to sharpen the arrows of love (उत्तेजिताः स्मरशराः यथा स्युस्तथा). At the rise of the moon, the power of Love increases. ममुत्सर्प...मयूखेपु when the first rays of the moon, whose light as as pale (धूसर) as the pollen of the अझल tree, began to ap proach. विजुम्भ...प्रदोपानिले च when the evening breeze, wafting the fragrance of the breath of expanding night lotuses, began to blow very mildly. कुमुदिनी is compared to a beautiful woman whose breath the poets describe as fragrant, शयनव qualifies चन्द्रापीडः understood. निमीलित...विनोद: although he closed his eyes, he could not secure the diversion due to sleep. हेमटागमन छायायाम् In this and the following clauses up to लावण्यपूरप्लवे (. 25) the poet describes how चन्द्रा°s mind travelled to हेमकूट where कादम्बरी was and pictured to itself the various features of का० from the feet to the head. The instrumentals विश्रान्तेनेव, ०रोहिणा etc. in each of the following clauses qualify मनसा (1. 25 ). 188 NOTES ONG हेमकूटा-छायायाम् which (mind) fell in the shade of her tender feet as if for rast after the fatigue of the journey to हेमकूट. His mind travelled from उज्जयिनी to हेमकूट and first blought of her tender feet, . The poet represents that the mind as if wanted rest in the shade of bhe feet of का० १fter its long journey to हेमकूट. From the feet, his mind passes, up to the bbigls, to the नितम्ब and so on. जह्नु ऊवः that (mind) travelling up along the line of the shank, became fixed upon her well formed thighs. लिखितेन...फलके that was as if engraved. on her broad board-like hips. मझे ...मुद्रायाम् that as if plunged in her round navel (नाभिः मुद्रा इव). उल्लसिते..राज्याम् %hat was as if delighted when it settled on the line of hair (round and above the नाभि ). आरूढेने मध्यभागे that mounted her waist which was charming on account of staircase (सोपानम् ) in the form of the three wrinkles on the the stomach. Three folds of skin on the belly were looked upon as a mark of beauty in women. कृत...तटे that as it were rested upon her breasts that were raised up and expansive. मुक्तात्मनेव बाह्वोः that as it were threw itself upon her arms. कृता हस्तयोः that as it were supported itself on her bands. उत्कीर्णानेवाध रपुटे that as if was carved on her lip. समुन्मीलितेन expanded with joy, enraptured. ललाटशालायाम् on the broad forehead. अन्वितेन कारे 6bat was seized in the darkness of her plentiful tresses. प्लवमानेन...प्लवे floating in the food of her great beauty that swept over all the quarters. आयतनं abodeसस्मार ..रूपस्य-स्मृ in the sense of to remember with regret, to yearn after' governs geni. P. 9 1. 1-p. 10 1 . 2 उत्पन्नात्मीय..चरणाददापयत् उत्पन्ना आत्मीया (कादम्बरी) इति बुद्धिः यस्य who looked upon का० as his (from that moment). निर्भरेण (full, excessive) लेहेन आईं चेतः यस्य तां प्रति...परिकर इव who had as if girded up his loins for protecting her. रक्षायै परिकरः येन यतो यतः...fर्पतवान् In whatever direction he saw cupid with his flowery bow bent ( मण्डलितं कुसुमकार्मुकं येन ) striking her (०), he interposed himself between (lner and the arrows of मदन ). This means—seeing her in his imagination tormented by lovehe himself became love-sick. एवं...मारुतान् as if censuring cupid with his eye that had unsteady pupils (उत्तरला तारा यस्याः and that was wet with tears are you not ashamed to strike mercilessly the whole day her (काद०) whose frame is as delicate as a fresh Malatf flower, he bore on his limbs particles of perspiration and heaved very deep signs (निश्वसमारुत ), as if to bring here to consciousness who had fainted on account of the wounds of cupid's darts. अम्लानमालतीकुसुमवत् कोमला तनूः यस्याः काम KADAMBAR . 139 is censured because he shoots- a woman, which is against all canons of warfare. दिवस is accusative of time. One who faints is brought back to consciousness by the sprinkling of water and My tanning. Here चन्द्रा० had the water of perspiration and fanned her with deep signs. तच्चेतना..रोमाञ्चम् he was not free

  • ven for a moment from horripilation over the whole body as if

he were delighted at ther regaining her consciousness. He had रोमाघ due to love. The poet represents it as due to his delight at the regaining of consciousness on J•s part. सद्यते अधाथी his mind was vacant as if he had it appointed to the task of asking the news whether her heart was able to bear the totment {of love. Being lovesick his mind was naturally vacant; it is re presented as vacant because it was sent to perform an errand.तत्प्रति अतिष्ठत् he always remained silent as if for hearing the news brought the mind sent as said in the preceding sentence). तदानना...नाद्राक्षीत् he observed no object, as if all objects were screened from his view as he saw everywhere her face. चन्द्र अरमत—it is well-known that the moon causes tornment to love sick persons. तस्याः आलापः तेन परिपूरितं श्रोत्रेन्द्रियं यस्य बहिरेवासन् hey were outside ४. e. they did not reach his heart; he did not derive any pleasure from them. असुखायन्त did not give pleasure (मुखायते denominative from सुख). भावाब..अदात् he showed himself to none, as he was wont to do, as if afraid that his thought (of love) may be discovered. भावः अभिप्रायः तस्य अवगमः तस्मात् भीतिः तया. अनवरत...अभजत although tormented in wardly by the fire of love thab sent up fames unceasingly (अनवरतं मुक्ता ज्वाला येन, he did nob resort to a bed of wet lotuses that had been plucked recently for shame that his elders (may know his love). In this and the following sentences to the end of the paragraph, the poet tells us that चन्द्रापीड did not resort to the ordinary means of allaying the fever of love, such as a bed of lotuses, sandal paste &c. for fear that his clders may detect his condition. जललव-..पत्राणि the delicate (अजरठ) leaves of lotus plants that were bespangled with the particles of water that looked like pearls. जललवाः एव मौक्तिकानि तेषां क्षोदः तेन तारकितानि. तारकित तारकाः सञ्जाताः अस्य ) literally covered with stars' ४. ४. spotted. नानवरत..धारागृहम् he did not even look at the showcr-room which rendered the sky cloudy by cool spray that yose up by the constant fall of jets. अनवरतः धारानिपातः तेन उल्लसिताः शिशिराः सीकराः नैः आबढं दुर्दिनं (‘मेघच्छन्नेऽह्नि दुर्दिनम्' इत्यमरः) येन न मकरन्द...असेवत he did not resort even to the arbonrs in the mansion-gardens, 140 NOTES OBy the inside of which was cool by the constant fall of honey. न इच्छया he did not rol at will on the jewelled pavements the surface of which was covered (lit. touched) with sandal paste. मलयजं चन्दनं तस्य जलेन लुलितं पृष्ठं यस्य न तुहिन-..संपातम् he did not transfer his reflection even in the mirrors of moonstones held by the hands of young women, bhat (mirrors ) were charming on account of the falling on them of the rays of the moon. तुहिनकरः चन्द्रः तस्यः कराः तेषां संक्रान्तिः तया हृद्येषु (रमणीयेषु). ललनाकरैः कलिताः चन्द्रकान्तमणिदर्पणाः. नायान..अदापयत् he did not make (his servants) pply (to his body) from the feet upwards the unguent of partially dried हरिचन्दन paste. आश्यान from श्यै 1 A with आ. P. 10 1. 3–p. 11 1. 4 एवमैच..प्रतिपालयन्नतिष्टत् अकृतनि नृतिना...शोषमगात् he became dry (B. e. emaciated ), his body being boiled outside and inside by the fire of lovethat allowed him no happiness (अकृता निधृतिः येन ), that though it heated him was not of the essence of fire (physically) which though it burnt did not exhaust the fuel of लेह (oil, affection ), which did not reduce him to ashes as if to give him a taste of sorrow. आर्द्रतां..नात्याक्षीत् [ere bhere is विरोधाभासIn the preceding sentence we are told that he became शुष्क and here that he never gave up आर्द्रता. The apparent विरोध is to be removed by taking आर्द्रता in the sense of tenderness, affection'. प्रतिक्षणं आधीयमाना वृद्धि यस्याः सा. निष्प्रति...जीवितम् albhough he was attended by bhe very unsteady संष्ठल ) cupid, he guarded his external features from the eyes of the people (e. e. did not allow his features to betray his inner feelings ) but did not guard his life against the arrows of cupid because there was no remedy against them or because it was very hard to avoid him. तनोरेव...लज्जायाः this means that his body alone became slender and not his sense of shame. His sense of shame remained as before and did not allow him to betray his passion to his elders. शरीरस्थितिः this word occurs very frequently in the उत्तरभाग and means < taking meals (lit. subsistence of the body ). कुलक्रमस्थितिः the rules of conduct hand ed down in his family from generation to generation. मन्मथोत्कलि- का: the yearnings of love fउत्कण्ठोत्कलिके समे’ इत्यमरः. एवं चास्य..बभ्राम- The principal sentence is एवं च । अस्य (चन्द्रापीडस्य) पुरः..अनुरागे णाकृष्यमाणस्य ... पश्चात् .. . वार्यमाणस्य .. कतिपयेष्वपि ... अतिक्रान्तेषु वासरेषु निर्गत्य वहिर्नगर्याः ... सिप्रातटान्यनुसरन् नातिदूरमेव चरणाभ्यामेव बभ्राम. पुरस्.आकृष्यमाणस्य who was drawn forward by strong love that drew its power from the support given by the beauty and merits of H०. कादम्बर्याः रूपं गुणाश्च तेषां अवष्टम्भेन अवलम्बेन आहिंताः प्राणाः (शक्तिरिति KADAMBAR. 141 यावत्) यस्य पश्चात्...वार्यमाणस्य who was drawn back by his great affection that was strong on account of its being ixed on his parents, गम्भीरप्रकृतेः..कथं कथमपि--Being drawn in two ways by love for का० and affection for parents, he is compared to the sea. गम्भीरप्रकृतेः and मर्यादावशात् स्तम्भयतः apply both to the sea and चन्द्रापीड. गम्भीरप्रकृतेः (1) naturally deep (2) of a steady dispositon. मर्यादा...कथं कथमपि who somehow steadied himself out of regard for the rules of propriety (in the case of चन्द्रा० ); who somehow kept himself within bounds (as regards the sea). कतिपये...वासरेषु when a few days passed away which appeared to him as if they were thousands in number . रणरणक...स्थानः who obtained no rest with in on account of anxiety (रणरणक ). तरङ्ग...अनुसरन् following the banks of the सिप्रा on which were breezes that wafted the showers of spray rendered cool by contact with the ripples and the glossy सरस ) and soft sandy banks of which were covered with multi tudes of कलहंस and चक्रवाक birds that cooed sweetly. तरङ्गाणां सङ्कन शीतः शीकरासारः येषु एतादृशाः मरुतः येपु तानि. कलं कणितं येषां तानि कलहं सचक्रवाकानां चक्रवालानि मण्डलानि तैः आक्रान्तानि सरसानि सुकुमाराणि सैकतानि येषाम्. रुद्रतनयायतनं the temple of the son of रुद्र है. e. of कार्तिकेय. रयेण with speed. सावष्टम्भया गत्या with a dignified gait. The words आगच्छतः०सधारान् , युज्यमानान् etc. up to अतिबहून् qualify तुरङ्गमान् युज्यमानान् that formed together. विरलीभवतः that separated. सङ्घट्टमानांश्च...आवेदयतः that closed together and separated, that went forward in high spirit, that lagged behind and again came together, that marched in broken lines, that were urged on by the riders though they stumbled, fell and sank, that intinated the fatigue of a long journey by their weakness aud the impor: tance of the business on which they came by their great speed. । ऊरुदन्न knee-deep. ‘प्रमाणे द्वयसज्दनञ्मात्रचःपा. V. 2. By ऊरू प्रमाणमस्य इतेि ऊरुदघ्नं पयः . 11. 1. 5-26 तत्रस्थ-सन्देशः अर्ककिरण-अश्ववार he%/ horseman whose faco it is difficult to observe on account of an ambrella made of peacock's tail, which was expanded for ward. ing of the sns rays and the tremulous ( आलोल ) long ends of which moved to and fro. अर्ककिरणनिवारणाय उल्लासितया. प्रेङ्गन्त्यः आलोलाः लम्बाश्च शिखाः यस्याः. अर्थ वारयतीति अश्ववारः तस्मा ...स्थानं who (केयूरक-) learnt from the person sent (by चन्द्रापीड) about his (चन्द्रापीडsbeing there. उपलब्धं आत्मनः (चन्द्रापीडस्य ) अवस्थानं येन. दृष्टि...दूरात् who got down from his horse within sight of च० and came towards him (on foot) from a distance. टुता ,कारेण whose body looked dark, being dusky with the dust due to a long 142 N(TES ON journey and who therefore looked as if changed into the features of another person (B. e. who appeared quite a different person). उज्झित..वपुषा with his body that was dirty because he had given up the applicatian of unguents and the performance of purifica. tion to it. उज्झितः त्यक्त अङ्गरागः संस्कारश्च यस्य अत एव मलिनं. संस्कारः may mean decoration’ or ‘purification.' अन्त...पिशुनया that in dicated the great inner grief. ‘पिशुनौ खलसूचकौइत्यमरः सम्भारः heap अपृष्टामूपि...वेदयन्तं who conveyed without being asked the pitiable condition of का० without the use of words (by his dirty body, by his vacant face and his sad look ). अनक्षरम् (अव्ययीभाव) अविद्यमानानि अक्षराणि यथा स्युस्तथा. आदौ ससंभ्रमं प्रणतः पश्चात् उपसृतः तम् who first bowed hurriedly and then came near. अनामय...सहायान् having honoured all his companions with inquiries about their health (अनामयम् ). संभ्रान्तागत... ढौकितां brought near by the driver who approached lhastily. Bौकयति causal of ढौ I A to approach. निषिद्ध. प्रवेशः who forbade the entrance of all princes (निषिद्धः अशेषराज लोकस्य प्रवेशः येन). उत्ताम्यता ...निर्वर्तयामास with an uneasy heart the performed the duties of the day mechanically. P. 12 1. 1–p. 15 1. 16 इत्यभिहितवति ..परिणाममुपैति द्-ि वसःसप्रश्रयम् with modesty or respect, पत्रलेखां मेघनादाय समष्यै–after seeing का० for a second time, चन्द्रापीड at का०'s request kept पत्रलेखा with her and himself started for उज्जयिनी. चन्द्रा० had ordered मेघनाद to bring back पत्रलेखाः see p. 222 of P ‘‘समीपे स्थितं मेघनादनाम नमादिदेश ‘भवता पत्रलेखया सहागन्तव्यम् । नियतं च केयूरकस्तामादायैतावतीं

  • ॐ and on p. 230 of P We are told that मेघनाद

brought पत्रलेखा back. सनिर्वेदम् with dejection. देव्यपि कादम्बरी . दिवसमस्थात् (ll. 7–17). The principal sentence is देव्यपि कादम्बरी...सकलमेव तं दिवसमस्थात्. The princess का० remained the whole day. दिवसं is accusative of time. टुघणेन by a mallet, a Wooden hammer. अतर्किता...ताडिता struck on the head by the thunderbolt that fell down all of a sudden. अन्तःपीडाकरणेन with her eyes closed on account of their being contracted (नं) by inner torment, who looked as if fainted, like one robbed, lik one overwhelmed, like one deceived, like one bereft of mind व as if she had forgotten everything. विस्मयेन स्तब्धा दृष्टि: यस्याः whose eye was motionless through bewilderment, महाश्वेतायाः.दिश्य as if angrily ordering me (केयूरक ) tell this (चन्द्रापीडगमनवृत्तान्त ) to महाश्वेता? There is a point in कादम्बरी’ s words; it was महाश्वेता who brought the prince to कादम्बरी and therefore महाश्वेता must be informed how unworthy च० was of her regard, as he cared nought for का०, महाश्वेता's dear friend. मदलेखायां..मुखी who again KADAMBAR. 143 turned her face towards मदलेखा (the most intimate friend of का०. सविलक्षस्मित with a smile of bewilderment. उत्तर...गुण्ठ्य having covered her head with her upper garment. निर्विशेष..लपन्ती not talking even to मदलेखा whose heart suffered the same torment (as का०s for her sake) १. e. who was समानदुखा. निर्गतः विशेषः यस्याः सा निर्विशेषा हृदयवेदना यस्याः माम् (1. 1.) is the object of आलोकितवती (l. 21). एवं दृढ..लभमानेव as if censuring me I experience this plight when you in spite of your strong bodies are as persons in a ibund state. She means that her friends, hale and hearty in body, are powerless to do anything for her, as if they were all dying. न मे...कार्यम् I have no use of you standing by my side. तर्जयन्ती upbraiding. बाष्प..दृष्टया with a glance that was troubled by the agitation due to the excess of the food of tears. उद्रेकः तेन उकम्पः तेन पर्याकुला तया. तत् (1. 23) therefore. देवैक..देवः the prince will be pleased to favour ' केयूरक, whose mind is anxious to save the life of a person (कादम्बरी) who is solely dependent on your majesty, by giving an attentive ear to his request. देव (चन्द्रापीडः) एव एकं शरणं यस्य स देवैकशरणः जनः (कादम्बरी) तस्य जीवितस्य परित्राणं तदर्थं आकुला मतिः यस्य विज्ञापनस्य आकर्णनं तस्मिन् अवधानं तस्य दानेन. P. 13. सकल ..रामं charming to the minds of all the worldsवसन्तमिव is to be connected with भवन्तमालोक्य मकरकेतनः The red अशोक blossoms in spring; hence फा० is compared to रक्ताशोकलता, चन्द्रापीड being compared to वसन्त. Ar . reads रक्तामशो कलताम् which is better. तस्या हि ...प्रशमः (l. 4–10). In these lines the poet describes how the fire of love is raging in her and how she experionces great trouble for चन्द्रा०. दिवसकर ...प्रसरभङ्गः In her the fire of love like the fire emitted by bhe sunstone is not ex• inguished by the graceful Waving (lit. dance लास्य ) of the tender leaves held in the lobuslike hands of her servants, the fire ( of love as well as of the sunstone) which makes no sound, which is nob fanned (न पवनेन वायुना ईरितस्य), which is smokeless, which leaves no ashes, which is blazing. When faggots burn, they produce a sound. But the fire of love and the fire of the sun stone emit none The word मकरध्वजहुतभुजः (1. 6) is also connected with निवृत्तिः (1, 8), छेदः, व्युपरमः (1, 2) and प्रशमः (1. 10). नानुत्ताल. the fire of love is not put out by the sprinkling of the shower (आसारः) of the cold (जड) particles of water emitted ( वान्त ) by the small ( अनुत्ताल) fan. अनुत्तालं तालवृन्तं तेन वान्ताः जलस्य जडाः कणिकाः तासां आसारस्य सेकेन. न...छेदः (the fire of love) is not re- moved by the smering (Jरणं ) of masses (छटा ) of wet (सरस ) Harichandana pasteन विदलित-व्युपरमः (the fire of ) lovedoes 144 NOTES ON not cease by the sprinking over (उद्धलनं ) of masses of particles of broken pearls. नोकीलितप्रशमः ( the fre of love) is not extin guished by ahe shower-bath in which jets of water are discharged by rows of machines shaped like कलहंसऽ that were nailed up (उत्कीलित ) उत्कीलिताः यत्रमयाः कलहंसाः तेषां पक्षिभिः मुक्ताः अम्बुधाराः यस्मिन् यथा यथा...मदनपावक--supply कादम्बरी as the subject of आहन्यते. चलित ...धाराभिः with streams of water dropped down by moving water-machines and that look like the starry heaven with the masses of very cool spray. तथा तथा वैद्युतानल••.मदनपावकः (the more is she struck with jets of water ) the more does the fire of Lo Blaza forth as if it were a brother of the lightning fire. वैद्युतानल is said to be अबिन्धन ( fed by water ) and so here the fire of Love which blazes more when sprinkled with water is said to be the brother of ( ३. e. like ) वैद्युतानल. सुतरां च ...उपचारः A very cooling treatment puts fortlh a continuous line of the drops of perspira tion as if it (line ) were a garland of many कुन्द buds. Cooling उपचार in the case of lovesick कादम्बरी produces the effect of he is. drops of perspiration, which are represented as if they were कुन्द buds ( that are white ). चित्रं चेदम् and this is wonderful. मकर..लावण्यम् her complexion becomes purer even though it is being burnt by the fire of Love, like a piece of cloth (which becomes white ' ) when purified by heat ( at a washerman's अग्निना शौचं यस्य मन्ये च...न विलीयते and I think that the heart ot women, though by nature tender, becomes hard when full of longings (of love) like water turned into a pearl, since it (heart does not melt away even by such (a great) heat (of love) It is supposed that the water from the clouds falling in shells when the sun is in the स्वाति constellation is turned into pearls; compare भर्तृहरि ‘स्वात्यां सागरशुक्तिमध्यपतितं सन्मौक्तिकं जायते’Water thus becomes hard in the form of pearls. बलवती ..प्राण्यते very strong indeed is the hope of being united with ones lover, since she (कादम्बरी) lives in that great distress in which her life is tornment ed by the anguish she experiences. अनुभवस्य वेदना तेन विह्वलिताः यथा स्युस्तथा (अव्ययीभाव ). कया वृत्या वण्र्यते in what style of composi tion can it be described ? भरत in his नाट्यशास्त्र speake of four' वृत्तिः कैशिकी, भारती, सात्वती and आरभटी. तदुत्कण्ठा (1. 22)= तस्याः (कादम्बर्याः) उत्कण्ठा (विरहवेदना ). स्वप्नेषु...अवस्थाम् human beings are clearly un. conscious dreams of is passing around them, since you in what who are seen by her every night, do not observe that state of hers (which I find it impossible to describe. केयूरक means 'you are KADAMBAR. 145 In seen in dreams by her, so you also must see her. But as you do not seem to know her state, it follows that those who are seen in dreams have no power of observing.' If we take वेदना the gense of पीडा, the sentence will mean all signs of sorrow leave mortals when they are dreamingsince you who are seen by her daily at night (and who therefore must be supposed to see her) are ignorant of her condition. कादम्बरी when dreaming loses |l signs of her sorrow and so even though she were observed by the चन्द्रा० whom she sees in her dreams, he sces her as सुखित and not दुखित. प्रचण्ड.निजोष्मणा chewho, by the heat of her body, causes the lotuses to fade that are made into a bed and that •e able to bear the heat of the fierce tblousand rays (of the sun), has humbled (lit. conquerel) even the sun , ArEays ‘केचिच्छयनीकृतानि कमलानीति पठन्ति तथा चेद्दिनकरमूर्तिविजयो न सिध्यति । छिन्नानि कमलान्यातपे लायन्ति तस्मात्सन्तापसहानीति वक्तुं न शक्यते. gives the He then meaning of his reading wlich omits शयनीकृतानि a8 तापप्रतीकारार्थं सुशीतलं कमल मरोऽपि गाहमानया स्वोष्मणा कथितसरोजलसन्तप्तानि कमलानि म्लायन्तीति भावः ।। P. 14. अकारणवामेन who is unfavourable without any cause. सोढा मदनवेदना यया सोढमदनवेदना. ०वेदने IS a vocative. अतिकठिने मनसि refers to the heart of चन्द्रापीडAr . explains ‘अस्यायमभिप्रायः चन्द्रापीडोऽपि त्वय्यनुरक्त एव तथापि धीरतया न शीघ्रमायातीति’. मृदुनि brings out the contrast with अतिकठिने Though placed on a soft bed you are really dependent upon a very hard mind. Or सोढमदन चेदने may he looked upon as an adjective of मनसि and then मनसि will refer to the neart of . In that case का० refused to lie on a soft bed when चन्द्रy lay on (6. e. in) her hard mind. सन्ताप जनयति she produces fear (in her friends) by the flowers on her hed that are reddened by the drops of अलक्तक (red paint6) of her feet bhay drops down on account of the heat (of love ) and which (flowers) are used as his arrows by cupid as if and which appear fallen from her heart tinged with her blood. The flowers coloured with अलक्तक appear as if dyed in blood and produce fear suggest ing that her heart is bleeding and that she may bherefore die any moment, सर्वाङ्गीण...उद्वहति she bears horripilation over the whole body due to her evct remembering you as if it were an armour to ard of the arrows of cupid. In the preceding sentence the poet speaks of the arrows of cupid. Here he speaks of the coat of mail that would protect against the arrows of cupid. रोमाचिनि...भावयति putting the garment displaced by her breathing on her breast6s that had horripilation she makes her lotus-like right hand exper ence the v6w of lying on a bed of thorns out of her eager desire 13 146 NOTES ON for your (चन्द्रा०'s) hand (in marriage). Her breasts had रोमात्र which looked liko कण्टक- Her hand was engaged in adjusting her garment on her breasts. The hand naturally came in contact with bhe रोमाञ्चित breasts. The poet represents this as a व्रत for securing चन्द्रापीडs hand. It was believed that for securing worthy husband, the observance of व्रतs on the part of women was necessary. Compare कुमारसंभव V. 2 इयेष सा कर्तुमवन्ध्यरूपतां समाधिमास्थाय तपोभिरात्मनः । अवाप्यते वा कथमन्यथा द्वयं तथाविधं प्रेम पतिश्च तादृशः . वामं..विधुनोति she shakes her left hand the fingers of which have becomo benumbed by the weight of the left cheek and which (hand) was tinged by the ray ef> light of the bri ruby bracelet and which therefore looks as if it were being scorched by the blazing fire of love. She shakes the left hand to remove its numbness. The redness of the land due to the red ruby bracelets is represented as due to the fire of नलिनी...बिभर्ति she has a face the (blue) lotus leaves on the of which are tossed about by the brdeze of bbe fan (made) of lotus leaves and which (face) looks as if its tremulous eyes wer Seeing from fear of constantly falling tears. अजस्रस्रवदश्वभयेन पलायमाने लोललोचने यस्य (वदनम्). नलिनी..विक्षिप्यमाणं कर्णयोः कुवलयदलं यस्य (वदनम्). She was fanned by her frionds with lotus leaves to remove her torment. The bluo lotus petals on her ear look like her eyes (the pupils of which are dark-blue). क्षामता emaciation. न केवलं...रुणद्धिshe holds fast again and again with her tender hand not only her bracelet worn as an auspicious mark for fear of its falling down but also her heart which is in suspense (lit. swing inc). She lays her hand on her hoart to steady its inner burmoil. The poet represents that this is done out of fear that her swinging heart may fall down, just as her bracelets may come of on account of emaciation. दोलायमानं and पतनभयेन am both to be connected with वलयं and हृदयम्, शिशिर...छाम्यति She was distressed by the series of the hands of her friends that droppd down cool drops of water (on her body) which (series of hands) looked as if they (lands) were a garland of grace lotuses placed on her body (to cool her). This shows her great anguish due to love. Even tle cool water and the cool hands of her friends caused more heat, The eight sentences from सा सोढमदनवेदने ’ (1. 2 ) up to परिक्राम्यति ( 1. 16 ) bre closely connected together. They describe her state as she lay on her bed. तथा...धारयति-Each of the accusativus ०कलापं मध्यं &c. is to be connected with धारयति and together with KADAMBARI. 14// bhe preceeding instrumental constitutos a distinct clause. Here 3ain bhe poet begins with bhe feet, चरणयुगलेन रसनाकलापं she bears her girdle by the pair of her feet ४. e. she has grown so bhin that the girdle slips down from her hips to her feet नितम्व...मध्यंAr. explains ‘पूर्वं कृशं वलनं ( ४. e. मध्यं) स्तनभारावभुम्नमपि स्वशक्त्या धारयति इदानीं तु नितम्बविस्तारेण धारयति? सङ्गमाशया हृदयं she supports her heart with the hope of being united (with you). उरसा ...प्रावरणं (she bears) the covering of the leaves of the lotus plant on her breast (as renoving the heat due to विरह ). कण्ठेन जीवितं (धारयति ) she is in a precarious condition. त्वदालापेन पातं she sheda tears in conversation about you . The idea is त्वदृणान् अनवरतं आलपन्ती अनवरतं रोदिति’. K explains when the conversation turns upon you, she ceases to shed tears. But this does not sound well. Her conversation is all the time about च० and it would follow that she never sheds tears. ललाटः.लेखिकाम् shie on her broad forehead a streak of sandal paste ( as a cooling ingredient). अंसेन वेणीम् she has her hair hanging down on her shoulders. Youen do not braid their hair when their husbands are absent, Ar explains ‘वेणीं असंस्कृतकेशपाशाम्. N. explains ‘एतेन केशानामनियत्रितत्वमाविष्कृतम्’ - अधुना (त्वद्विरहे ) is to be connected with each of the preceding clauses. विघटमानं being oken. If her heart broke, she fancies she would be able to see you who are enshrined there. गोत्र...लज्जते She is ashamed of life as she is ashamed of a mistake in name. If she calls her female friend चन्द्रापीड she feels ashamed; similarly she feels ashamed that loving as she is, she should continue to live in the absence of च०. परिचारिकयेव ...सधार्यते she wise limbs are drooping is made to nove about by her distress as if it (distress) were a servant waiting upon her. She moves about in her bed through pain. A nurse also moves about her patient is bed. मुहुः पवनवसति-Ar. explains ‘मुहुः शब्देन कदाचिदधिवसति कदाचिदवरु सञ्चरति कदाचिपुनरपि अधिवसति’. Sometimes she resorts to a bower of creepers which is tossed about by the wind, as if power) were trembling through fear of its tender leaves being plucked for making a fan ( to remove ) her tornment. उत्कण्ठया व्यजनार्थं पञ्चवभङ्गः तस्मात् भयं तेन कम्पितम्. सत्कोश-.-शेते she sleeps in a grove of land lotuses with buds having beautiful cups, as if it grove) had folded its hands for saving its stalks (that are used as) bracelets (to remove the thrment of विरहिजन). The cups of the buds look like folded hands. उद्वन्धन...सेवते she resorts to her gardlen the nooselike creepers of which are concealed by the bhick 148 NOTES ON ly growing foliage, as if out of fear that she might hang herself up with creepers them (). P. 15. निपतदविरत...गाहते she plunges in the water of the pond in the garden, in which (water) fall the reflections of her eyes that are reddish on account of incessant weeping, which (water) looks as if the lotuses plunge deep int it out of the fear (त्रासः) of being on bed (that is spread the being prepared for lovesick का०). The reflections eyes of red in water look like red lotuses. तस्यां..त्पादयन्ती In that (तमालनीथी ) with her face, ple eyes of which are closed, placed on her creeper ike arm that was raised up in supporting itself on the branches she produces the fear that she hanged her body (e. e. her neck) by the garlaned of champaka petals. Her fair arm resembled a चम्पकमालिका in colour and when she placed her neck upon her arm, it looked as if she werehanging herself by a चम्पकमा शाखावलम्बेन ऊध्र्वा भुजलता तस्यां निहितं निमीलितलोचनं (निमीलिते लोचने यस्य) वदनं..यस्याः . मधुर...पतति from that ( सङ्गीतगृह) she, being tired of the sportive. dance charming on account of the ha mony (लयः) of the sweet sound of the tabor (मुरज) with it (dance, ), turns like a pea-hen towards the shower-bath which emits jets of water. मधुरः मुरजरवः तस्य लयः तेन ललिता लास्यलीला. Peacocks dance at the Bound of the cloud (here of ahe मुरज the sound of which is like.घुनगर्जित ). and after dancing are said to drink water. Compare ‘बिन्दूत्क्षेपान् पिपासुः परिपतति शिखी भ्रान्तिम वारयत्रम्’ मालविका II. Ar. explains ‘सङ्गीतगृहे कादम्बरीविरहावस्थावेदिताः सर्वदा न गायन्ति न नृत्यन्ति च । सीतगृहाभिज्ञानमात्राय केवलं मुरजान्वादयन्ति । तदीयरवलयानुरूपं गर्जितश्रवणशङ्किनः शिखण्डिनो लास्यमाचरन्ति’. घनजल . कम्पमाना rembling with her body full of horripilation due the thick spray of the jets of water (in the धारागृह ) like the bud of a कदम्ब tree. The adj घन...काया applies to कादम्बरी and also to कलिका With the latter it means ‘which blossoms in the spray of the streams of water from clouds. ' घनानां मेघानां जलधाराः तासां सीकरः तेन पुलकितः विकसितः कायः यस्याःwith कादम्बरी ahe compound is to be dissolved as घनः (निबिड) जलधाराप्तकरः तेन etc. By the sprinkling of water from a cloud it was said that the कदम्ब bree puts forth buds. Compare उत्तरराम० ‘मरुनवाम्भःप्रविधूतसिक्ता कदम्बयष्टिः स्फुटकोरकेट तस्माच्च...नन्दति In this and the following sentences the poet describes the various spots to which का० resort in order to allay her fever of love but turns away from them owing to their increasing her excitement. तत्काल...युगला ahe took of the anklets from her feet at that very moment. The कलहंसऽ ran after her following the sound of her नूपुरG. As their KADAMBAR. 149 cackling excited ther the more, she book of her anklets, which she did easily as she was extremely emaciated. निपुण..नन्दति she welcomed her emaciation as if it (क्षमता ) had a fine forethought. निपुणा प्रेक्षा यस्याः. क्षामता, as if foreseeing that if नूपुरs were to remain on her anklets, she would be pained by the notes of the rs who would follow her, allowed her to take of the anklets. वलयकुपितैरिव as if they (चक्रवाक) were angry with her because she exhausted the lotusstalks which were used in mak ing bracelets for her. शय्या...मर्पितैरिव who (bees) were as if angered by the fact that heaps of flowers were crushed by her sportive movements on her beds. निर्भरो..क्रियते she was excited with their coolings by swarms of cuckoos ( पिक) on the mango trees in the courtyard that (पिक ) were as if enraged by the fact that their note (रव ) was surpassed (it conquered) by her song full of excessive passion. निर्भरया उत्कण्ठया गीतं तेन निर्जितः रवः तेन रोषितैः मदन...भवति Her anguish was revived she being as if rced by the needle-like केतकी flowers in the garden, the com. plexion of the inner leaves of which (केतकी flowers) was surpass- ed by the cheek pale bhrough Loveएवं ..दिवसः the day draws to a close by the torments due to such evil workings of Love. P. 15. 1. 17–p. 161. 11. चन्द्रोदये...सन्दिशति. Now केयूरक proceeds to describe the more helpless condition of का० at night चन्द्रोदये...धृतिः (her stcadines vanishes) (at the rise of the moon) as if it (धृतिः) were made up of darkness. Darkness vanishes at moonrise. The exciting influence of the moon makes her lose what steadiness she possessed and so श्रुति is said to be तिमिरमयी. कमल ..हृदयम्--चन्द्रोदये is to be connected with this and the following four sentences. At the rise of the moon, कमल (day lotuses) fade and hence her heart whose anguish is increased at moon-rise is said to be कमलमय. कुमुदs hloom at moon-rise. चन्द्र.-युगलम् The moon stone emits water when touched by the moon's rays. On account of he great excitement produced by the moon, she sheds tears. चक्र-.-मनोरथाः her hopes crumble away as the pairs of चक्रवाक birds ( separate at night ). शीत..कथयति she, stretching over the orb of the moon (तुषारकिरण) reflected in the jewelled foor her lands the fingers of which are shaking being overpowered (लुलित) by tremor, as if she was affilicted with ague, conveys the heat aused by the moon (to her) without words (a. e, silently, tacitly One who has शीतज्वर has his hands trembling, का०s hands also trembled through the passion of love. To her excited by love, the moon appeared hot and therefore she placed both her hands 150 OTES ON on the image of the moon. सीत्कारेषु..द्रिति in making hissing sound (due to love longing and consequent shivering) she under the guise of the ways of her teoth as if emits the rays of tho moom that had entered her heart that was shattered by the arrows cupid. वेपथुपु...गृह्वाति In her tremors she as if receives from the movements of the plantain leaves used as fans. चिम्भिका ..दिशति In n her yawns (due to the intense working of love) she as if points out the way for going out (of her body) to her life which is lingering in her throat (e.e. She is in a precarious condition ). गोत्र-वमति in her smiles of embarrassment due to her mistakes in names ( e. calling her maids by the name चन्द्रापीड) she seems to emit the pollen of the flowery arrows of cupid that fall on her heart, The pollen of fowers is white smiles also are said by poets to be white. When she smiles, the poet says that it is rather the pollen of the flowers used by cupid as his arrows to shcot at her. बाष्प..लीयत इख When she sheds tears, she bearing (e. e. sending forth) streams of continuous larg drops of tears, seems to melt P. 16. शशि...दलति she as if i 5plit up in a hundred parts under the guise ( निभः) of the numer- ous reflections that appear in mirrors made of moonstones, कुसुम...धूमायत इव On her fowery beds, she looks covered with smokebeing surrounded ( आकुलित ) by rows of bees that came near by the longing for the perfume (of the flowers. The rows of dark bees look like smoke. अमल..ज्वलतीव On the seats of pure lotuses, she being coloured yellow by the masses of pollen and flaments, seems ablaze. The yelloyish pollen with which she is covered looks like fames of fire. स्वेद ...भस्मीभवतीव' In stopping her perspiration, shewhitened by the dust of pure (विशद) cam phor powder, seems as if reduced to ashes. The application powdered camphor to the body is a means of stopping perspiration and has a cooling effect. न विशायते...स्थगयति when the sound of blhe drum (मृदङ्गः) is heard in a musical concert, she covers the mouth of the peacocks made of emerald in the shower house fearing lest (the peacocks) may produce their notes (that excite her the more); it is not known (by me) whether this is due to he ignorance, whether to sportiveness, whether to mental aberrathi The peacocks dance when a मृदङ्ग is beaten thinking that it is the thundering of clouds. She is afraid bhat the peacocks emerald may be excited by the मृदङ्गध्वनि and may produce their excitin notes; so ahe shuts their mouths though they are not endowed with life. दिवसा .घट्टयति In the evenings of (many days she KADAMBAR. 15. binds the pairs ofचक्रवाकऽ drawn on the painted wall with threads lotus fibres, being afraid that they (चक्रवाक pairs ) may be separated (at right). चिंतारता...ताडयति--सङ्कल्पमात्रेण यत् मैथुनं तस्य आरम्भेषु ताडयति-she struck them , with the lotuses used as ear ornaments in order to put the lamps out: उत्कण्ठा-..लिखति In. fove letters; Blie write signs that would put her lover in mind o: ther unions (with him) in her thoughts. दूती.दिशति when go- betweens are sent by her, she sends blame for faults committed (by her lover) in her dreams P.16. 1. 12–p. 17. 1. 19. अपि च तस्या:...परिसमाप्तिः. तस्याः चन्दन-..मोहः With the southern breeze (from bhe मलयपर्वत) comes intatuation over her like the fragrance of sandal. The मलयमारुत is an excitant of love and hence causes मोह मलयमारुत also brings चन्दनपरिमल. चक्राह् ...त्रासः , The fear . of keeping awake comes to her with the night like the curse,of the चक्रवाक birds (by राम ). ight increases the tornment of love and so would keep her wake. The चक्रवाक male is separated from its mate at night, When राम was lamenting for सीता, the चक्रवाक birds laughed at him, upon which राम cursed them saying that they would suffer the grief of separation from their beloved. Bjna refers to this in the पूर्वभाग ‘यत्र च-.अद्यापि ‘मूर्तिमद्रामशापग्रस्तानीव मध्यचारिणालोक्यन्ते चक्रनाम्ना (न?) मिथुनानि’ p. 28 of .P; compare वासवदत्ता कालपाशेनेव मूर्तरामशापेनाकृष्यमाणं चक्रवाकमिथुनं विजघटे (p. 185, Halls ed.). प्रतिरुता. खानि tornments appear together with the cooings of pigeons on the roof (वलभी) as if they were the echoes (of the cooings). मधुकर लाप the longing for death comes upon her with the perfume of the garden fowers, as if it were a bee. The perfume of flowers draws boes; the perfume of flowers also excites her most and makes her long for death rather than live a life of torment जलकणिकेव...कम्पते She lying on the leaves of lotuses (to remove ber love toment) trembles like a drop of water (which is also पद्मिनीपलाशस्थिता). A drop on the leaf of a lotus plant is an emblem of unsteadiness “ नलिनीदलगतजलमतितरलम् । तद्वळजीवितमतिशयचपलम् मोहमुद्र. In this and the following clauses up to अतिक्षामा भवति (p. 17 1. 6.) we have in each sentence one adjective that applies to ० on the one hand and to some other object on the other to which का० is compared on account of this common qualhi प्रतिच्छायेव..दृश्यते ।ike one's shadowshe is seen (by her friends ) on crystal slabs, water, jewelled mirrors, jewelled pavements. Ones shadow is seen in crystal, water, Inirror atc. She lies on Crystals, in water, on floors &c. to produce a cooling 752 NOTES ON effect. नलिनीव..म्लायति ike the day lotus, she fades at the touch of blhe moon's rays. The moon excites her and also causes bhe day lotuses to fadeहंसीव...जीवति like a female goose lives by सरस.. व्यतिकर. This means with हंसी by the fact of feeding on juicy lotusstalks’ (सरसाः मृणालिकाः तासां आहारः तस्य व्यतिकरेण संबन्धेन ); with फा० it means by her contact with the garlands of lotus fibres" (सरसः मृणालिकाः तासां हारः तस्य व्यतिकरेण ). शरदिव विजुम्भते-कुमुद..वहां-the शरद् season has charming breezes coming in contact with कुमुदcc;का० also has their perfume, as she lies on a bed made of these flowers. सकुसुमबाणा-सकुसुमः बाणःa kind of plantयस्याम् (with शरद्र ); कुसुमबाणेन मदनेन सह सकुसुमबाणा (with का°. चन्द्र...नयति निशां नयति-का० passes the night; the moon's orb leads the night (६. . rises in the beginning of night). कमल...पंचवा whose tender feet stumble on the heaps of day lotus (with का० ); whose soft rays (पादाःfall on heaps of daylotuses. सञ्चरन्ती when she (का० ) moves about; when she (moon) moves in the sky. कुमुदिनीव..वाहयति she, like moon-lotus, passes the day in false sleepboth beingरजनि जागरा. का० merely closes her eyes; she is really awake; hence her sleep is false. Similary the कुमुदिनी is shut, but is ready to open at the advent of the moon. रजनिकर चन्द्रः तस्य किरणैः कृतः प्रजागरः (जा- विकासश्च ) यस्याः. का० is kept awake by the exciting influence of the moon's rays and the कुमुद fower is opened by the moon's rays. मुर...चिन्तयति. मुररिपुः कृष्णः, मन्दो-..शेषा (मन्दोच्छंसितं शेषः पक्षे मन्दं उच्छसितः शेषः नागराजः यस्याम् ) the only remaining sign ( of life) in which is her slow breathing (with का० ); in which the serpent शेष breathes gently (with°शयनलीला," lcst hi lord विष्णु may be roused from sleep).. निमीलितलोचना-का० keeps her eyes closed, being tormented by love-anguish; विष्णु closes his eyes in योगनिद्रा मलय...पतति. निम्नगा =नदी. The best Sandal grows on the नलय mountain. का० lies down of slabs of stone that are covered with sandal (to cool her ). कुन्द...यास्यते. तुषार..वर्तिनी (the कुन्द bud) lies on the leaves of a tree sprinkled with dew; का० lay upon bhe leaves of trees sprinkled with snow (to produce a cooling effect). वन in the case of ० may stand for उपवनः भुजीव ताम्यति-असथेन सन्तापेन (by heat) आलिङ्गितः चन्दनः यया (with भुज ); असन सन्तापेन (love-torment) आलिङ्गितं (applied to the body) चन्दनं यस्याम् (with का०). शिखि...ताम्यति|-का० was pained by the exciting note of peacocks; the female serpent was afraid of the note of the peacock (that ould devour her ). केसरिकानुनम् (1) ? forest where lions reside; (2) a forest full of बकुल trees (केसरः बकुल). The बकुल las an exciting influence on lovesick persons. कुसुममनोहरात् KADAMBAR 15B Applies both to प्रमदवन and मदनचापकुसुमैः घटिताः शिलीमुखाः बाणाः यस्य अत एव मनोहरं (cupids bow charming on account of the arrows formed of flowers); कुसुमेपु घटिताः शिलीमुखाः भ्रमरा तेन मनोहरम् ( the pleasure garden charming on account of the bees that stick to its fowers) जानकीव...बिभेति she is afraid of the चम्पक and अशोक brees like सीता who was afraid of demonsपीतरक्तेभ्यः applies both to demons and चम्पकाशोक. The चम्पक and अशोक have respectively yellow and red flowers; the demons drank blood (पीतं रक्तं यैः); compare for a similar लेख गाथासप्तशती TV. 11. उपेव...मेति--उषा was the daughter of the demon बाण. She beheld अनिरुद्ध in a dream and fell in love with him. Her friend चित्रलेखा brought him to ber city by her योगविद्या and उषा secretly married him. See विष्णुपुराण V. 32 and 33. ग्रीष्म---भवति. he reading ग्रीष्मनि शालक्ष्मीः of the Calcutta editions is better and should have been kopt in the text, as the nights in summer become short. सर्वथा क्षीणानि-क्षीणानि is to be connected with अङ्गानि, वस्तूनि, मृणालानि etc. दिक्सैः..वस्तूनि Alm bhe things bhat would support her life are ex hausted in the course of days. संप्रति...महावेगाः. नन्नामान्-सखीजनः She calls all her friends by your name (e. by the name चन्द्रापीड. त्वं नाम यस्य सः त्वन्नमा त्वत्समासमवायाः all combinations of men seek means of her union with you. त्वदालाप..विनोदाः All her diversion is produced by talk about you. त्वदुपालम्भ.गीतयः %he auspicious songs of female bards ( मागधी ) contain taunts directed to you. त्वद्दर्शन...स्वग्नाः all her dreams (in which she saw you ) were superfluous as regards seeing you (as she saw you all round at all times ). त्यत्परिहास-..प्रलापाः her ravings in the burning fever of love mostly consisted of jokes about youत्वन्नाम..महावेगाः bhe powerful its of fainting allowed consciousness (प्रबोधः) to be restored solely by means of repeating your name. When she fainted, the mention of your name brought her back to consci ousness. लन्नाम्नः ग्रहणमेव एक उपायः तेन गम्यः प्रबोधः येषु इति परिसमाप्ति -the principal sentence is इत्यावेदयन्तं केयूरकं..मूच्र्यो न्यवारयत् न तु पुनः..परिसमाप्तिःआमीलना...मूच्र्छ awoon that came over चन्द्रापीड as if through compassion for the production (in चं० of sorrow at hearing the anguish of का० and thato (मूच्र्छ ) as if gave a signal (to केयूरक) by closing (his eyes). कादम्वरीव्यथाश्रवणेन वेदनायाः सम्भवः तेन अनुकम्पा तयाः मूच् as if pitied the torment चं० felt on hearing का०'s condition and so to relieve him overtook him. P. 1. 1. 20–p. 19. 1. 20. तथा मूर्छनिमीलितश्च...प्रयतामहे. ससंभ्रम...संशां लम्भितः (चन्द्रापीड) who was brought back to conscious. ness by केयूरक who held his body in haste, by पत्रलेखा who took 154 NOTES ON n her hand ( it. honoured) the fan and by fate that was ready to subject (च०) to the lot he was destined to experience. ससंभ्रमं प्रतिपन्नं शरीरं येन. अनुभाव्यः यः अर्थः तत्र सर्जया. चन्द्रापीड would have perhaps lost his life by the torment he suffered on hearing का०s state;but fate wanted to give him a taste of further brouble and so brought him to consciousness. स्वकृता (चन्द्रापीडस्य) पीडा स एव अपराधः तेन लजितमिव विलक्षमिव—Ar. explains the difference between लज्जा andवैलक्ष्य as स्वकीयदोषं परो शस्यतीति वदनावनतिी । स्वकीयदोषं परो शास्यतीति स्वकीयदोषे परेण शते सति तस्याभिमुखावस्थानाशक्त्या स्वाकारगोपनं वैलक्ष्यम्. निभृतस्थितं who remained silent or motionless. अन्तबाष्पंग उपरुध्यमानः कण्ठः यस्य whose throat was choked by the tears that were suppressed within. स्खलितानि अक्षराणि यथा स्युस्तथा in a faltering voice. एकान्त-हृदयम् whose heart is excessively cruel. P. 18. दूरीकृत•••भावनया (दूरीकृता पुनर्मदागमनस्य संभावना यया ) who (का० ) never contemplated (lit. laid aside) the possibility of rmy again coming (to her). Connect सन्दिष्टं with महाश्वेतया समुप...वन्धया (समुपहृतः अनुबन्धः यया ) who (महाश्वेता) withdrew (from me चन्द्रापीडall her affection. अभिजात ...कादम्बरी prince85 का० does not know herself does not apprehend her real worth) on account of her noble birth, her majesty, her generosity, her even disposition ( in happiness and distress), her courtesy, and the extreme tenderness (पेशलता ) of her nature: Ar. explains ‘महानुभावता गन्धर्वराजकुलोद्भवत्वेन संभूता तेजस्विता ..समानशीलता सुखदुखयोरेकप्रकारता. It further explains एतद्रणषट्कर्मालम्ब्य विरहानलदह्यमान आत्मा न गणितः । कथमाभिजात्यं तेजस्वितां चावलम्ब्य । त्वामहमनुरक्ता दुखं जीवामीत्येतद्वचो नो (क्त?)...महामनस्वं समानशीलतां चावलम्ब्य दुःखानुभवनमङ्गीकृतम्? चन्द्रमूर्ते...कराकर्षणम् In this and the following sentences up to किं करोतु पादपः (, 13) चन्द्रापीड wants to illustrate the position that it was for him, a perfect stranger, only to love का० and not to secure her hand; that latter event should have been brought about by का० herself or her friends. चन्द्रमूर्ते...कर्षणम् the elab of stone called चन्द्रकान्त, void of life, has it in its power (आयत्त ) only to melt at the sight of the moon; but it has not bhe power to draw the rays of the moon. Some of the words in this sentence have double meanings and ply to चन्द्रापीड. चंद्रमूर्ते (चंद्रस्य इव मूर्ति यस्याः तस्याः कादम्बर्या) आलोकेन दर्शनेन. आर्द्रभावः (love) तस्य उपगमनं. तस्याः कादम्बर्याः करस्याकर्षणम्. At the sight of का०, चन्द्रा० could only fall in love with her and not make bold to take her hand also. Ar explains ‘वैदेशिकस्य मम तदानीं देव्याः सन्निधौ आर्द्धभावोपगमनमेवाधीनं न पुनस्तकराकर्षणम् । तदा मामनुकूलमवेक्ष्य स्वयमेव देव्या देवीपरिजनेन वा देव्याः परिग्रहः करणीयः इति वक्तव्यम् नितरां...प्रभवति The bee though it fies on its wings has KADAKHBAR. 155 the power only to approach (the flower), but as for its securing honey, it is the expanding (lit. yawn) of the bud that has (the sole) powerHere again पक्षपातिनः may apply to चंद्रापीड and mean 'extremely partial (to का० ): कलिकाश्रयिणी जुम्मैव suggests कादम्बरीसमाश्रितः मदनविकास. दिवस..रजन्येव the bed of कुमुद ( night. lotuges ) oppressed by the heat of the day can only be ready (to expand), but it is the night alone charming on account of the moon-light that can cause it to expand. निर्भर...पादपः even lhough it (tree) is full of fluid inside, what can a tree do for howing the redness of its leaves in the absence of the receipt (परिग्रहः) of the glorious spring ? अन्तः सरसतायां सत्यामपि event though there was extreme afection (in चन्द्र० for का०). What can चन्द्रा० do without being accepted (परिग्रहः) by का० तत्र देव्याः समवस्था Having shown that it was not his fault that का० experi. 2ed the anguish of unsatisfied love, the now shows that the fault rather lies the other way. He means that having regard काks semi-divine birth, he could not make the first advance of love, though his passion was as strong as hers and that a mere word from her would have sufficed for him. It was her command (which she did not give at the time to make advances to her as a lover) that was at fault. यया ..लपेक्षिता which (आशा ) did not cruelly send itself to her (का०s) slave ( ४. e. myself, चन्द्रा० ) who As only waiting for the throbbing of her lip (to issue commands) and who stood in front of her; which ( आशा ) paid heed to the sense of shame that is an obstacle to happiness, that is simply clever in causing pain and that cares not for the distress of others. व्यामोह: infatuation. कीदृशी...मनोरथः what shame (need she feel) as regards a slave (me, चन्द्रापीड ) who is completely under her control (lit. fied to her feet), what regard (need she show), what sort of entreaty (need she have addressed to me ), what means this want of confidence 11 me ), that she accepted such terrible pain for herself who is as delicate as the शिरीष tower; but did not fulfil my longing (by acknowledging to me her love). क्रमागतं...लोचनानाम् to conceal (one's feelings) is natural (lit. handed down regularly from generation to generation) in the case of women. वामे सुन्दरे लोचने यासाम् अपरि ...कन्यकानाम् spe cially (this is so) in tho case of maidens who have not yet gven up all their characteristics of childhood and in whom the senti ment of love (मनसिशय) is not yet fully developed and is therefore not mature. लज्जा...देव्या granted that it was not possible for the princess to shake of herself the sense of shame towards this 156 NOTES ON person ( ४. e. myself). तया...उपेक्षितम्—The principal sentence is तंया मदलेखया किम् एवं...कामेन (p. 19. 1. 4.)..आयास्यमानं देवीशरीरमुपेक्षितम् why did she ( मदलेखा ) not care for the body of the princess that was being thus toymented by love. The instrumentals singular ) from ot पहारेण ( p. 18. 1. 26. ) to स्वयोनिना (p. 19. 1. 4.) qualify कामेन. अहार्यं-..हारेण against whom (काम) even sages, whose wealth of asceticism cannot be pilfered, cannot guard their hearts. अहार्यं संयम एव धनं येषाम्. अरक्षितः हृदयस्य अपहारः यस्मात् काम influences even the minds of great sages like विश्वमित्र. अनिग्राडचौ रेण who is a bhief (of hearts) that cannot be punished. शुचि. स्पगैन whose contact cannot be avoided even by those who are pure. अबहिष्कार्यचण्डालेन who is a चण्डाल (who is so relentless) that le cannot be exclded (lit, placed ontside the community). The स्पर्श of a चण्डाल is avoided by all pure persons and he is also कार्य. भस्मी ...सहत्रेण who reduces to ashes persons in endless (अपर्य वसान, ४. ८. countless) thousandsभस्मीकृतानि अपर्यवसानानि (अविद्यमानं पर्यवसानं अन्तः येषाम् ) अनन्तानि प्राणिसहस्राणि येन. अनिर्वाप्य.झिना who is a cemetery fire that can never be extinguished. काम can never be destroyed and like श्मशानाम्नि it destroys all. अशरीरव्याधिना which is a disease without a body. Diseases attack bodies. But काम is a disease that exists without any bodily substratum ७ मानसो व्याधिः. रूपापहारिणा that lessens a person's beanty (when makes one love-sick) or that draws (the minds of persons) by the beanty (of other persons). अकाण्डव्याधेन who is a hunter that shoots unexpectedly. It may also mean who hits without a iron ) dard. सद्यः-क्षमेण who is able to deprivo a person of life at once. अनिरूपित-..वर्तिना which inftences (men's mindswith but stopping to observe whether bhe object (of love) is suitable or unsuitable. परापकारकृतार्थेन who is pleased by doing lharm to others . अपरप्रत्ययेन who cannot be understood from (the experience of ) nother ६.e. whose nature and working is only (स्वसंवेद्य) known from ones own experience. न परस्मात्प्रत्ययः (शनं ) यस्य. Ar. ex plains ‘अन्यथारूपशपथेनेत्यर्थः । अत्र प्रत्ययशब्दस्य शपथ एवार्थ. १ But this does not yield a good mening. स्वयोनिना vlo springs from him . self 8. e. who (Iove ) is self born, has no producer. One of the names of काम is अनन्यंज. “शम्बरारिर्मनसिजः कुसुमेषुरनन्यजः इत्यमर तत्रस्थस्यैव when I was there (when च० had been to see का० ). दिवस...किं करोमि what shall I do when ple journey (lit. road) can be accomplished only after a series of days. मलया...शरीरम् The body of the princess cannot endure even the fall of the lower of a creeper struck by bhe Malays breeze. वङ्गसारवत् कठिनं हृदयं येषां KADAMBAR. 15 प्रायेण...मर्थः probably the princess also must experience these feelings ( or thoughts ). यथा चास्य.स्थास्यतीति as I see that wretched (destiny) has begun to act perversely, (destiny) that is solely bent upon causing pain, that is clewer in bring ing about strange (दुर्घट difficult to bring about ) combinations, that does any thoughtless act, that is provoked without a cause, I think tlhat it (destiny) will not stop with this much (that has happenedbut will produce far more evil. तस्य (अमा तध्वनेः) जिज्ञासा तया आगतस्य. तरलिका was bhe friend of महाश्वेता who ended upon her. तव refers to केयूरकः तवाभि...प्रस्ताव your coming introduced ( paved the way for ) my going ( to see H०). When केयूरक told message of to about the formers the का० महाश्वेता not marrying as long as महा० was in grief, महाश्वेता wanted to go to ० to dissuade her from her resolve and asked च० to accom pany her ८० हेमकूट. Separate अलङ्घनीया आगमनाश. Connect पितुः with आशा. तत्सुदूरमारोप्य...वेधसा Accursed fate having first raised ne very high (b. ७. having produced high hopes in me) has again thrown me down, fate that does what is improper and that is prompt in performing the task (नियोग ) appointed by the force of my actions (accnmulated in former lives ). अस्माकं कर्मणां बलात् यः नियोगः तस्मिन् दक्षीण. He is afraid that before he reaches का०, she may die by the torment of love. संभावयितुं to honour, to serve. P. 19 1. 21-p. 20 1. 18. इत्यभदधत्येव•••मुखमिति अपरम् besides, in addition. तिग्मदीधितिः whose rays are sharp (the sun). तिग्म...करसहस्रम् the sun withdrew ( set ) his thousand rays the justre of which was as yellowish as the sparks of heated and (therefore) molten gold and that (करसहस्र ) 1resembled the matted bair of शिव spread in all directions ( at the time of his ताण्डव dance ). उत्तप्तं कनकं तस्य द्वः तस्य स्फुलिङ्गवत् पिङ्गला धृतिः यस्य दिक्षु विकीर्णं धूर्जटिजटामण्डलं तदनुकरोतीति. अस्तानु..ससार as the sun started to set, the sunlight also withdrew drawing with it the patches (छेदाः) of reddish light that lingered on the top of trees accord. ing to their respective heights. क्रमेणैव..पटले gradually when the evening spread over (चन्द्रा० ) its circle of red as if it were a piece of cloth wet with water, out of the appearance of compossion (for चन्द्रापीड who was tormented by the heat of love ). निशा लेखायाम् when darkness was rolled about, hanging above (चन्द्रा०) like indigo, by the advent of night as if it (निशागम ) were a wellwisher (आप्त ) with bhe thought-flet no one see him (च० ) who is overpowered by vacancy of mind' Connect with भ्राम्यमाणायां कमलेष्वपि.संकुचत्सु when the daylobuscs were 14 158 NOTES ON contracting on account of the heat that dried up everything being unbearable, as if they were afraid of being spread over the bed (to remove च०'s torment). The natural सङ्कोच of कमलऽ towards the close of the day is represented. as due to their fear of being used on the bed of च०. कुमुदेष्वपि-द्वलत्सु when the night-lotuses were expanding with emulation as if for making ready the bed ( for च० ), lotuses (कुमुदS ) that were very juicy (also affec. tionate) on account of their being pure ( also white ) by nature, The कुमुद were white and juicy or wet. One who is ( of pure heart) is आर्द्र ( affectionate). चक्र.व्याहरत्सु when the चक्रवाक hirdsthat were helpless through separation from their mates, uttered loudly again and again sweet and piteous notes as if for advising him (चन्द्रा० ) to go near का०. चन्द्रमसि---connect this with उदयगिरिशिखरमारूढेसमस्त..पत्रे who is the only umbrella in all the three worlds. आतपत्रम् lit, ‘that which protects from heat. It is the moon alone that cools the world. सुधा...कलशे which is the silvery pot of nectar. The moon and silver are both white. पूर्व..तिलके which is the sandal mark on the forelead of the woman in the form of the eastern quarter. गगन ..हदे the great lake of the beauties of the glorious sky. सुधा...रूढ when the moon) had risen on the rising mountain as if to touch him with his hands (rays ) that were neared with nectar and to spurinkle lim with the water in the form of moonlight, that (water) is the cause of reviving (the spirits ). चन्द्रातप-..विमुच्याङ्गानि throwing his limbs on a slab of moon-stone charming on account of theappearance of bright drops of wnter that were shown at the touch of the moon's rays. चन्द्रातपस्य स्परेन दर्शिताः विशदाः जललवाः तेषां उर्दूदेन हारिणि. चरण...सृतं who approached for shambooing his feet. किमाकलयसि what do you think ? to divert (her thoughts ). मत्परिचय...भ्यर्थनाम् will she ( ०) being. distressed by my acquaintance (e. e. my acquaintance with her having brought her to this plight) act according to their request that she (का० ) should take her meals. तयोः refers to मदलेखा and महाश्वेता. स्मर...सुखम्-read रमेर० for स्मर० which latter is a mis. print.-Her face the corners of wilose nmoubh are smiling, the pupils of which are a little unsteady and the eyes of which are long like those of a terrified fawn. रमेरः सुकोपान्तः यस्य, आलोले तारके यस्य. उस्रस्तहरिणशावकवत् आयते अक्षिणी यस्य इति—marks the olose of चन्द्रापीडs speech. P. 20 l. 19-26. स तु...नापसरति. सः refers to केयूरक, tblhe ttendants of का० that had come to inform चन्द्रापीड of her love KADAMBAR . 159 sick condition. देव refers to चन्द्रापीडतिष्ठतु...परिजनो व let alone ( never mind) her friends that are near her or her servants. This means that they can do nothing to relieve her torment. T is you alone who can do something. तस्या हि...ददाति her longing to see you does not allow her to shot her eyes at her will, 2, e. she does not even wink, desiring to see you. Ar. explains ‘अस्यास्त्वदालोकनेच्छया निद्रा नायातीत्यर्थः समागमा-..हृदयम् Her heart is supported only by the hope of being united with you. But for the hope of union, her hearb would have given way . Compare ‘आशाबन्धः कुसुमसदृशं प्रायशो ह्यङ्गनानां सद्यःपाति प्रणयिहृदयं विप्रयोगे रुणद्धि मेधदूत 10 or ‘गुर्वपि विरहदुःखमाशाबन्धः साहयति’ शाकुन्तल 4. श्वसित...वहितम् deep sigls are carried in her month &, e, she heaves deep sighs. We may also read मुखेऽवहितम् which would mean •heavy breath ing is attentive to her mouth ' (as a servant is). रोमाञ्च..मुञ्चति this means that she has always the सात्विकभाव ( an external in dication of internal feeling) called रोमाञ्चदिवानिशं ..स्थायी –this means that she weeps day and night, लोचनयोः पन्थाः लोचनपथः तस्मिन् तिष्ठतीति. प्रजागर-..दृष्टि: wakefulness keeps its eye upon her even at night i. e. she gets no sleep even at night. अरति..स्थानम् Agitation does not bean that she should remain alone . e. अरति always accompanies her . This means that her mind finds delight nowhere. अरति is one of the ten states of love (अनङ्गदशा ) defined as “स्वाभीष्टवस्त्वलाभेन चेतसो याऽनवस्थितिः। अरतिः सा ; it is the agitation of the heart due to the fact of not securing the object of love. Arexplains “ अरतिरनवस्थितिः स्थानासनशयनेष्विति लाक्षणिकैरुक्ता जीवित...सर्पति—this means that her life is in a precarious condition, as N. explains “ प्राणाः कण्ठगता एव वर्तन्ते इति भावःIn this passage the poet describes how प्रजागर, बाष्प, अरति &c. are ever in attendance upon her like friends and servants P. 21 1. 1–p. 22 1. 25 एवं वदन्तं-..नेतुं समर्थः. तमादिदेशे विश्रान्तये he ordered him to take rest. आत्मनापि...प्राविशत् he him self dwelt upon how he should depart (to see का० ). यदि तावत् from this to the end the poet describes the thoughts that crowd ed upon चन्द्रापीडयदि...गच्छामि If, without telling ( my parents ), without falling at the feet { of my parents), without being smelt on the head (by them ). without receiving their benedictions I were to leave (the palace) and go without beiug permitted by my father or nother. अगृहीता आशीः येन. Ar . reads अनुच्छुकूलित and explains as ‘अविसर्जितः’ ततो गतस्यापि मम then even if I go, whence can I get happiness &c. निर्युतिः happiness. तिष्ठतु...चिन्त 160 NOTES ON never mind this thought which has reference to the futureचिन्त। refers to कुतः सुखं किं श्रेयः &c. He says that it is only in the future that he may not be happy if he goes without his parents' per mission and that he need not mind what happens in the future as there is a dificulty in the present. अपक्रन्य-..अहम् lhaving left (the palace ), how can I go (unobserved ) ? तातेन...समारोपितः the principal sentence is तातेन...स्वभुजादवारोप्य मय्येव राज्यभारः समारोपितः my father has placed the responsibility of the kingdom on me alomehaving taken it of from his own sloulders (lit, arm दुस्तराहवा...स्तम्भात्--these are four adjectives qualifing स्वभुजात् which (भुज) is a great bridge ( सेतुबन्धः ) for crossing the ocean of Lattle which is difficult to cross, which is a desire-yielding tree in yielding desired objects which thus became fruitful, that is a bolt (अर्गलदण्डः) for the door in the form of the departure f£ame that he ( father ) secured by conquering his onemies, that is a pillar that supports the house in the form of all the worlds दुस्तरः आहवः (संग्राम) एव अर्णवः तस्य उत्तरणे महासेतुबन्धः तस्मात्. His arm brought success, अवन्ध्यं वाञ्छितफलप्रदानं तस्मिन् कल्पवृक्षः तस्मात् b• 2- कल्पवृक्ष is one of the five trees of heaven that yield all desired ojects ‘पचैते देवतरवो मन्दारः पारिजातकः। सन्तानः कल्पवृक्षश्च पुंसि वा हरिचन्दनम्' इत्यमरःअहितान (शश्रेण) विक्रान्तिः (पराजय) तया यशः तस्य निष्क्रान्तिः सा एव द्वारं तस्य अर्गलदण्डः तस्मात्. When once he conquered his enemies he never allowed them to recover their position. तदनाख्याय...धावितव्यम्—-the principal sentence is तदनाख्याय पदमपि निर्याते मयि अवश्यं-..आ पयोधेः अष्टाभ्योऽपि दिग्भ्यो राजभिरनुधावितव्यम् %h/ fore when I, without telling (my parents) go out (of the palace even a step, surely the (tributary) kings will run after me (in search of me) from the eight quarters up to the ocean. Al the instrumentals from ०धरातलैः up to ०विलम्बैः qualify राजभिः अपरि...धरातलैः (अपरिमिताः करितुरगरथाः तेषां गमनेन संक्षोभितं धरातलं यैरे) bhat disturbed the earth by the march of innumerable elephants, horses and chariots. आलोल.गभस्तिभिः (आलोलानां कदलिकानां पताकानां काननं तेन आकुलीकृताः भास्वतः सूर्यस्य गभस्तयः किरणाः यैः) who obscur the rays of the sun by the forest (number) of waving banners. ऊध्र्व...व्यतिकरैः ( ऊर्वं म्रियमाणानि धवलागि आतपत्रमण्डलानि तेषां छायया अन्तरितः वासरेण स्र्यातपेन व्यतिकरः सम्पर्कः येषाम्) whose contact with sunlight was prevented (lit, screened) by the shade of lite umbrellas that were held over ( the heads of the kings). A white umbrella is a symbol of royalty. अति...कुहरैः (अतिबहलस्य रेणूनां उद्मस्य अविच्छेदेन सन्तानेन आपूरितानि भुवनकुहरणि यैरे) who filled the cavities of the worlds by the continuous line of thick dust (raised by KADAMBAR. 16 the march of elephants etc.)- पुरः..वाजिभिः whose swift horses march in front. अनु-..साधनैः (अनुसन्तानेन लग्नं वेतण्डप्रायं गजबहुलं साधनं सैन्यं येषाम् ) whose army consisted mostly of elephants following in unbroken lines, आन्तैरपि..विलम्बैः who though exhausted and hungry would not slacken their speed (in my pursuit). तिष्ठन्तु चेतसि let alone the kings who are devoted to my service (they will surely follow in pursuit); it occurs to me that even my subjects who have enjoyed happiness will run after me, leaving their sons and wives through their affection for my father. is rather awkward; we expect उपभुक्तसुखाःas it is, we may dissolve ‘सुखे परिभुक्ताः तातस्य राज्ये सुखं परिभुक्तवत्यः or ‘सुखस्य रिभुक्तं भोगो यासाम् तातस्यापि कोऽपरोऽस्ति–चन्द्रापीड refers to the t that he was the only son of his father. मदीयं नेह %he afection be feels for me. यातु---गतेन वा let him go; what is the use of lim whether he goes or comes. Separate गतेन आगतेन वा. If we separate as गतेन अगतेन वा it will mean * whether he goes or not.’ अविनयकोपित angered by my immodesty (in going without his permission ). अवष्टम्भं कृत्वा supporting his heart, consoling himself. कस्य ...हृदया looking at the face of whom else (other than myself) would (my mother) derive comfort of heart? ताते. भवति when nuy father follows after me (in pursuit) the whole earth itself together with its eighteen continents (द्वीप) will be following me. The number of द्वीपऽ is usually given as seven (compare महाभाध्य vol... p. 2. ‘सप्तद्वीपा वसुमती श्रयो लोका...एतावान् शब्दस्य प्रयोगविषय); but eighteen are also spoken of e. g• रघुवंश VI ‘सङ्गामनिर्दिष्टसहस्रबाहुरष्टादशद्वीपनिखातयूपः। ... बभूव योगी किल कार्तवीर्यः । तदा then (d. e. when my father and the kings of the earth will follow in pursuit of me. समासादितेन when I am reached (¢. e. found out). p. 22. दैवनियोगात् through the decree of fate . e. good fortune. तथाप्यनायास..पुण्यवता still what shall I, an unfor tunate man, have accomplished by throwing in great worry my father who should not be put into trouble by me and in the ocean of sorrow due to my departure my mother who has known no sorrow through my father's favour. वहु...तप्तः troubled by journey for many days. स्कन्धावारः मे my army. चन्द्रापीड when he hurried back from the अच्छोद lake in accordance with his father's message had left his army belind under the command of वैशम्पायन, his friend, with order to follow him leisurely. परापतति arrives, returns. तेन...धावितव्यंम् that (army) will have to turn back before they have reached their homes (. fronm half the way) and Ahurry on another mission (ifलthat of finding me out. संविधानेन 162 NOTES ON by arranging a . plan ( with my parents). मम तेहेन••आगत इति In these four sentences चन्द्रापीड puts forward four reasons that alone could be told to his parents, if he were to speak the truth about his departureBut these he dismissed as they were such as a modest young man could never tell his parents. इति at bhe end of each sentence is to be connected with कथयामि (l. ). जीवित...भूतया who has become the cause of the support (निबन्धनं) of the lives of us both. तदुखम् कादम्बर्याः दुखं व्यपदेशः pretext संप्रत्येव...प्रत्यागतोऽस्मि I, after subduing the earth, have just now returned after more than three years ( and therefore I cannot depart on the pretext of the conquest of some country ). अद्यपि पतति my army itself has not yet returned. मोचयामि how sball I free myself? सुहृत्साध्येऽस्मिन्नर्थे this object ( my going to का०) being one which is to be accomplished only with (the advice of) a friend. केन सह निरूपयामि with whom shall I consider (what steps to take). को वापरो...करोतु who else (other than वैशम्पायन) will produce determination in me (will enable me to resolve defini bely on any particular course of action ). निश्चयस्य आधानं उपतिं. विवेकिनी प्रश an intelligence that is able to discriminate ( between what is good and bad, proper and improper). कस्य ...श्रोतव्यम् the learning (श्रुतं) of whom else is to be followed (lit. listened). bhe burden of doing what is proper to be done. निर्दूतात्मा =सुखितात्मा. मत्कार्यं पर्याकुलताbeing absorbed in what I desire to do. को...समर्थः who else (other than वैश०) will be able after reconciling my mother and father angered by me (by departure), to take me (to them P. 28. 1. 1-. इत्येवं चिन्तयतः...वैशम्पायन इति किंवदन्ती rum. our. यथा that, दशपुरं यावत् as far as दशपुर, दशपुर was an ancient city, situated on the चर्मण्वती river, to the north of the country of अवन्ती. It was the capital of रन्तिदेव and probably corresponds with modern Dholpur समुच्छसितं चेतः यस्य whose heart was relieved or . comforted. अनुध्यानानन्तरमेव immediately after I thought of him (वैश०). प्रहर्षेण परवशः who was beside himself with great joy. करतल..धारय know that the accomplishment of our o¢ject (y: finding out some pretext to go to का० ) is now sure and certain (lit, on the palm of the hand ). He means that वैशम्पायन will find out some excuse for my departure. P. 28 1. 8–p. 24 1, 7 स तु तदाकण्य्---इदानीमेव गमन. शुन्य एव who ८केयूरक) was vacant in mind (although outwardly be was talking composedly) account anxiety (for का० on of the KADAMBAR. 16B state ) caused by the delay in (चन्द्रापीडs ) going भद्रकमापततम् 8 lucky thing has happened. वैशम्पायना...वध्य having continued the talk about the arrival of वै० . संशया उत्सारित समस्त परिजनः येन who dismissed all his servants with a sign. देव-देवस्य मनन्-–the principal sentence is अवस्थैव इयमावेदयति निस्संशयं देवस्य गमनम् and the clauses from सर्वतो विस्फुरन्ती ...to शरदारम्भम् contain various similes illustrating the principal sentence. Understand आवेदयति after each .accusative from बलाहकोन्नाहम् सर्वतो -.गमनम् just as lightning fashing all round ( indicates ) the protuberance or rise ) of cloudsjust as the line of clouds that are dark (indicates) the approach of water. Some of the words in this and ८he following clauses are applicable to कादम्बरी also. उपारूढश्यामिका 3 (with का०) means उपारूढवैवण्य बलाहकस्य उन्नाहः तम् उन्नाहः 'swolle condition, protnberance. ' बलाहकः is derived by क्षीरस्वामी as “बलाका भिर्हीयते वलाहकः, वारिवाहको वः उपारूढा श्यामिका (darkness) यस्याः. उपदर्शित तार, just as the east that has exhibited pale lustre (indicates) (approaching) rise of the moon, just as the conding of the breeze from the मलय mountain charged (lit. taking) with per fume ( indicates) the advent of pring. उपदर्शिता पाण्डुः छविः श्रुतिः यया. applies to H९ also, as she had grown pale. अभ्युच्छेित-.-शरदारम्भम् just as the beauty of the spring , that brightens (lit. raises up) ove, (tells) the appearance of tender sprouts; just as the appearance of tender leaves with their shin ing brightnese (indicates ) the budding forth of fowers; just as Bhe bunch of blooming काश fowers (indicates) the beginning of the sarad season. अभ्युच्छूितः मकरध्वज यस्याम् अभ्युच्छूितमकरध्वजा ncans with का० ‘अतिस्पष्टमदनविकारा ' and as to its application to मधुमासलक्ष्मी Arexplains ‘मकरकेतनोत्सवार्थं मकराकध्वजमुत्थापयन्ति मधुमासे इति प्रसिद्धिः. उऋसितः रागः येषां ते उसितरागाः पल्वा तेषां उद्वतिः. Ar, reads with N ‘उरसितरागा’ and explains ‘प्रकाशितानुरागा प्रकाशितरक्तिमा च अत्रस्थैव इयम् %his condition itself (of का० as described by me अवश्यं...भवितव्यम् your Majesty will surely secure the princess. Mark the construction-the impersonal use of with the instrumental ०प्राया. फेयूरक supports his prediction by quoting in stances from actual life. कमलाकरः (कमलानां आकरः) a lake, pond. अपि च...पतेः and moreover the spring (lit. month of flowers ) though pleasing (सुभगः) to all people, yet does not look well without the possession ( परिग्रहः) of the mango blossom, nor does the face of the lord of the herd (of elephants ) look well if it does not secure the beauty of the streak of ichor (दनं, the juice bhat issues from the temples of elephants in rut). "असंभाविता 184, NOTES ON दानलेखायाः लक्ष्मीः यस्मिन् तत् वदनम् ). क is added to बहुनीहि compounds when the last member is a femininenoun ending in ई or ऊ or a noun in ऊ, according to ‘नवृतश्च’ V. 4. 153. गमनसंविधानं...भाष्यम् while you are considering with im (वै० ) the plan for your going (what plan to adopt to enable you to go, surely time must be lost. मया I have already informed you how the state of the princess' body would not brook delay. सवों-..धार्यते every one is sup ported by hope. देव्यास्तु-..वर्तताम् But on what consolation (आधासनं) can the heart of the princess rely that has up til now been with out any hope of secing the prince again. मद्वातोंपलम्भात् on receiving news ( about चe) from me. अस्ति ...जीवितेन my life is useful to me has a purpose. अग्रत in front. शरीरेणापि...चलित एव you will after wards-start in body also (towards का). अनुपदम् (an समास ) पदस्य क्रमस्य पश्चादनुपदं, पश्चदर्थे अव्ययीभावः प्रणय...र्ललितम् that has become naughty by (your) avour of love प्रणयस्य प्रसादेन , 2. P.24 1. 8-p. 25 1. 12. इति विज्ञापिते..अभाषत. अन्तः प्रसादः who showed his favour (to केयूरक) with his eye ( glances ) that was dilated through the pleasure he felt at heart and which (glances) appeared as if they were a garland of a bunch (पुत्र) of expanded blue lotuses. The pupils of his eyes were नील and he cask many glances at के०; therefore they are compared to नीलोत्पलमालिकाः कस्यापर..त्साह: who else (other than you, के० ) can have such enthusiasm (to help me) which cannot bear (to see ) my sorrrw and which is regardless of your personal capacity (i. e. your enthusiasm leads you to undertake tasks beyond your plysical strength ). अनपेक्षिता स्वशरीरस्य शक्ति येन. देशकालशता power to know the proper time and place ( to do a bhing ). निर्याजभक्तिः one whose devotion is faithful or sincere. निर्योजा (निर्दम्भा ) भक्तिः यस्य प्राणसन्धारणाय for supporting life. मदागमनप्रत्ययार्थ for assuring her as to my coming. प्रत्ययः confidence, conviction. ‘प्रत्ययोऽधीनशपथज्ञानविधासहेतुषु' इत्यमरः कियत्यपि...चेतसि ib occurs to me that a certain amount of comfidence will aurely ariae (in का० ). धृतिः firmness, Batisfaction. अस्या अपि of पत्रलेखा also. एंवं नेति whether it was not 50. अब with her face bent. कृत...तस्यां when she had made up her mind to start (with कृतः प्रस्थितेः प्रस्थानस्य निश्चयः यया. मेघनाद %bhe son of बलाहक was the commander-inchief of चन्द्रापीड (see p. 222 of P ). He had been entrusted with the task of bringing पत्रलेखा from the अच्छोद lake (when she returned from कादम्बरी) to उज्जयिनी. He brought back"पत्रलेखा (p. 230 of P. ) when she told चन्द्रापीड of the love. KADAMBAR 165 sick condition of n०. चन्द्रापीड now determines upon sending her again with मेघनाद and केयूरक7आज्ञाप्रतीक्षम् who waited for (च०'s ) command. सोपग्रह with come tesy. भूमिं यावत् as far as that spot. यावत् governs the accusative in the sense of ‘as far as, up to. अनुपदमेव ते immediately after you. तुरङ्गमैः परागतः I shall arrive on horseback. कृता नमस्कृतिः नमस्कारः येन ( qualifies मेघनादे ). त्वरित विधानाय to make arrangements for a quick march. गमन...मोत्थितं who rose to make his obeisance at the time of departing. परिष्वज्य-..दोभ्यम् ving embraced him with arms the hair on which stood on end. आत्म-..कृत्वा taking off from his own ear his earornament that was charming on account of (the jewels of) many colours and which (ear-ornament) looked like a message and having placed it (कर्णाभरणं) on his (क०) ear. अनेकवर्णरुचिरं (अनेकैः वर्णाः रुचिरं मनोहरं ) applies both to कर्णाभरणं and सन्देशं (which also contains many वर्णs letters. कण्ठागत....क्षरम् (अव्ययीभाव) in such a way that the words 2ame out faltering on account of his throat being choked by the (efusion of) tears. कण्ठागता वाष्पैः गङ्गदिका तया मृद्यमाणानि अक्षराणि यथा स्युस्तथा. तत्क-पूर्वम् therefore what reply shall I send with you that will be worthy (of का°) and new (अपूर्व). तत्रापि-.यासयामि even as to bhat (request), why should I trouble you with bearing the burden of false shameMy request to का० will contain words ex. pressive of the great pain I feel for having shamelessly left. her without having even seen her' again. When repeating bhose words of self-condemnation, you will feel ashamed. I wish to spare you that and therefore will ask पत्रलेख IT to deliver my request. अतार्क.पत्रलेखाम्पत्रलेखा who all of a Budden had to experience the pang of separation from him (च० ), who was not able to check the flow of tears though she made efforts (to check it) with the fear of (crying) being inauspicions (at the time of starting on such an important mission ), whose eyes rolled about over whelmed with tears, and were without fixity and therefore vacant. अतर्कितं उपनता आत्मनः (चन्द्रापीडस्य ) विरहेण पीडा यस्याः. उत्प्लुता अवद्धलक्षा (अवङ् लकं ‘aim' यस्याः) अत एव न्या दृष्टिः तस्याः सधारणं यस्याःShe could not fix her eye upon anything on account of her grief and consequent tears P. 25 1. 18-9 26 1. 23. पत्रलेखे...यनः कार्यःसाञ्जलि...कादम्वरी का० should be requested by you after presenting to her • my salutations with my head bent (to her) upon which my hands are, folded. अञ्जलिबन्धेन सह साञ्जलिबन्धं (बहुत्रीहि) शिरः तेन येन..विज्ञापयतु tho principal sentence is येन सर्वखलानां धुरि लेखनीयेन..देवीं प्रणामेनाऽपि असंभाव्य गच्छता... सर्वगुणा एव दोपैः परिवर्तिताः स कथामिवापरं गुणमवलम्ब्य 166 NOTES ON पुनः परिग्रहाय विज्ञापयतु how can he (चन्द्रा० ), who is to be placed ( 484. written ) at the lead of all villains, who went away without honouring the princess even with a boy and who per verted all qualities into blemishes, request the princess to accept him having regard to another quality (of his, other than those that were perverted). He means that there is no merit left in him on the strength of which sho can offer him her hand. After seeing का० a second time, चन्द्रापीड returned to his camp on the अच्छोद lakewhere a messenger from his father awaited him. His father had sent lim YOrd to set out for उजयिनी without delay. चन्द्रापीड charged मेघनाद with a message for का which he was to deliver to केयूरक and started for उज्जयिनी without even beeing का०. To this reference is made in the words देवीं प्रणामेनाप्यसंभाव्य गच्छता '. तथा...तिशय (का० ) who, on account of the kindness of her disposition, showed me (च०) great favour in that way even on my first visit. तथा this refers to the fact bhav कादम्बरी gave him ताम्बूल on his arrival, sent a हार called शेप as a present to चन्द्रापीडcame to visit चन्द्रापीड at the rise of the moon and sat down upon bare ground before him. प्रशाः जडतया supply परिवर्तिता after this and in each of the following clauses (or परिवर्तितः, परिवर्तितं as the gender of the word in the nom. may require. प्रज्ञाः जडतया I was looked upon as an intelligent man by का० and hel' friends on my first visib. But one who is gi with intelligence reads correctly the thoughts and feelings of others and acts accordingly. I failed to read the heart of का० properly and went away without showing her the regard of calling upon her before goingSo she and her friends must now understand that I was a block-head; and I am afraid the are right. Explain the following clauses similarly. मौढ्यम् fooli shness. धीरता firmness. तारल्य unsteadiness (तरलस्य भावः तारल्यम्). by harshness (रूक्षस्य भावः रौक्ष्यम् ). गौरवं respect. लघुता levity. पारुध्य lharshness (of speech)निस्त्रिंशत्वम् cruelty. निस्त्रिशी means 'a sword ; hence ‘cruel'. तूण्यां खङ्गं तु निस्त्रिंशचन्द्रहासासिष्टयः इत्यमरः (निष्क्रान्तः त्रिंशतोऽङ्गुलिभ्यः निस्त्रिशः a sword more than 30 in length). आर्जवं ( अजोर्भावः ) straightforwardness. मायाजालेन by deceitful tricks. सत्य...पादनेन truthfulness (was transformed into) the presentation of an affected ( अलीक) tone of the voice. काकुः स्त्रियां विकारो यः शोकभीत्यादिभिर्वनेरेइत्यमरः. काकु () is a change of the voice due to different feelings such as sorrow, fear , love &c. कादम्बरी and her friends understood that चन्द्रापीड spoke the truth on bis first visit; but he says that his subsequent conduct KADAMBAR] 167 must now lead them to think that he was clever in the art of suiting his voice to the sentiment he wanted to express and that by a trick in the voice he lent an appearance of bruth fulness to his words though at heart he meant to deceive. Com pare a similar expression at p. 222. (of P.) ‘एवं गच्छता मया ...प्रापिता शक्तिरलीककाकुकरणकुशलताम् दृढभक्तिता firm devotion. अवशान disre. spect. पेशलता tenderness (of feeling. कौटिल्यम् crookednes5. दाक्षिण्यम् courtesy. अमहानुभावता want of magnanimity. प्रश्रयः humility. अभिमानः egotism. पौरोभाग्यं £ault-finding भागी निकृतस्व- P. 2 नृजुः शठ इत्यमरः. सर्वं...परिवर्तिता–A गुणा दोषात्मकतया कल्पिता इत्यर्थः. on account of what quality is the princess to accept (me) ? किमुप...हृदयमिति-In this and the following four sentences, चन्द्रापीड notice8 some of his bad actions and asks whether the are tle reasons why का० shonld accept him. The answer of nrse is that they can never induce फा० to accept him. हृदयमिति (was she to accept me) because I did not deceive the heart of the princess by pretending to make a false but complete urrender of myself (to her ). उपदर्शितं अलीकं आत्मनः अर्पणं येन. He ally means by my sweet words and modesty I pretended that I loved her and thus deceived her; knowing me thns to be a deceiver, she will never accept me. ” Ar. explains ‘अत्यन्तवि नयमधुरभाषणादिभिरात्मार्पणं नाटयता मया देवीहृदयं प्रतारितमिति किमङ्गीकरोतु । मया प्रतारितहृद्यत्नादसौ प्रतारक एवेति नाङ्गीकरोतीति भावः । एष प्रतारणदोषः प्रथमदर्शन एव कृतः । . किं प्रकृति...क्रान्तोऽस्मीति (is she to accept) because after having stolen her heart that is naturally tenderdid not away (from her to my country) ? He means that hy his false show of love he induced her to sincerely love him and then he wont to his country without even condescending to see her and give her a personal explanation of his departure. किमियं. नोपेक्षितेति (is she to accept me ) because I, a cruel man, did not disregardl bhis (as told hy केयूरक) state of her body which puts life in danger. He means that he really did not show any concern for her state which was caused by himself and so slhe would not accept him. अस्याः प्राणसन्देहकारिण्याः शरीरावस्थायाः एतत्सर्व..राधिताविति वा (is she to accept me ) because I worshipped her feet with devotion (अनुवृत्तिः) although I was the abode of all hose faults. He means that he never eared to honour her and therefore she will not accept him who is 80 full of Faults and so cardless of her तदेव...लम्बनम् therefore though I am myself (आत्मना) devoid of all qualities, bhe qualities of the princess alone are the support (of my hope of being accepted by her ). Ar. cx. 168 NOTES ON plains ‘तदेवमीकारानर्हत्वान्निर्गुणस्यापि मे देवीगुणा एवावलम्बनं पुनरागमनदर्श नाङ्गीकरणविषये. इयमेव..रक्षत्येव सरलता ते refers to का० as this speech is addressed to का० through the medium of पत्रलेखा ( see p. 25 1. 13-1 of text ). स्वभावसरसा naturally affectionate: it also mean8, naturally full of water and thus agrees well with ‘हुतभुजा दद्यमानं रक्षति’. Supply माम् after दूरस्थमपि. सरलता—Arex plains ‘अपराधनभिशता’. स्थिरप्रतिशता स्थिरा प्रतिश यस्याः तस्याः भावः her constancy of promiseabiding by what one declared. ढौकय- येब दक्षिणता your kindness causes me to approach you. ढौकट causal of ढौ I Aः अभिपद्यते वत्सलता your afectionate nature would accept me. उत्थाप्य...भावत your magmanimity honours me by raising me up (when I fall at your feet ). ददात्येव...उदारता your extreie generosity allows me room in your heart. तथापि गत्या (1. 8) although I went away in that way (without even coming to see you before returning to उज्जयिनी ). Ardraws the follow ing fine distinction between नेह and वात्सल्य नेहः आभिरूप्यगुणपक्षपातः वात्सल्यं परिचयजातः पक्षपातः। यथा जनन्याः पुत्रं प्रसवपोषणधारणादिपरिचयजः पक्षपातो वात्सल्यमित्युच्यते । सत्ग्नकृतयः देवीप्रसादाः }he favours of the princess that are good by nature (that procccd from good motives). The plural is used because the favours which का० showed to चन्द्रा० on his first visit were many, such as the giving of ताम्बूल, the present of the हार called शेष etc. An explains ‘देव्याः पू (वे?) स्वस्मिन् कृताः सम्भाषणावलोकनसंमानदानादयः प्रसादा उच्यन्ते' एते...कारयन्ति for these (favours ), though enjoyed (lit. familiar, known ) only for a short timehaving produced in me the hope of (encouraging me in the belief bhat you would continue to live for my Bake in spite of love-torment ) cause me to do anything on account of their purity, on account of the great liberality (from which they spring ) and on account of their being shown together ( at the same time ). समारोपिता जीवितस्य प्रत्याशा यैः. N. explains “सङ्गतत्वात् ' as मिलितत्वात् ९. Ar. explains ‘सङ्गतत्वं नाम वैषम्यराहित्यम् । खलमैत्रीवत्कदाचिदत्युन्नता कदाचिदवनता यथा न भवन्ति तथाभूताः सङ्गताः १. न किंचिन्न कारयन्ति not that they do not cause me to do any thing e. e. they cause me to doevery thing; in accordance with the rule ‘द्वौ नसौ प्रकृतार्थं गमयतः (two negatives make one positive asser- ion) or according to वामन’5 सूत्र सम्भाव्यनिषेधनिवर्तने द्वौ प्रतिषेधे’ काव्यालं कारसूत्र V. 1. 9. (two negatives are employed for precluding a possible negation) . स्मारयन्ति...देव्याः—In these and bhe following clauses चन्द्रापीड describes what का०५s favours cause him to do. स्मारयन्ति.पायान् they remind me of the fact that the princess deserves service (from me, they encourage (me) to serve her feet, KADAMBAR. 169 they teach me cleverness in serving, they instruct (mein the means of wooing (the princess)परिचर्या = पूजा. चाटुकारो be one भव who speaks what is agreeable. चाट is generally used in a bad sense meaning 'flattery. क्षीरस्वामिन् अनी चाटु चटु लाघा प्रेम्णा मिथ्या विक थनम्'. Acsays ‘सर्वं खलु स्वामिनः सेवकानां चाटुकारेण प्रीता भवन्ति ’. Here it seems to be used in a good sense. एवं स्थीयता...स्थातुम् thley indicate to those who look at her face 'stay as you are tay looking at her face, they mollify (the princess) when she is angered by being approached at an improper time (as a servant like me in over-confidence is likely to do, they oblige (us) by the repetitien (अनुवादः) of our qualitics at the time when (€he) is pleased, they having seized in forcibly who moves away through bashfulness make him approach (her ), they do llow (us ) to stay elsewhere ( than with the princess ) even a nonent. Ar. Tremarks ‘प्रसादव्याजेन देवीं निर्दिशति देवी चाटुकृति प्रीता प्रत्यासन्नं स्थापयतीति भावः' चन्द्रापीड speaks of the प्रसादs of the prinoe88 as causing him to do all these things; but it is only a thin vil; what he means is that it is the princess herself who would allow lin to stay near her &c. अपि चैते...परिहार्याः and more over these (favours ) are such that they cannot be given up for the very fact that they oblige ( me ), they cause firmness (of 1ny heart) on acceunt of their very गुरुत्व (1 importance; weight) 2 they cannot be transgressed on account of their being extensive, they cannot be avoided on account of their very multiplidity The words such as अनुग्राहकत्वात् are शिष्ट (double-meaning अनुग्राहकत्वात् may also nmean on account of their laying hold of ue firmly, as Ar. explains ‘अनुबन्धेन ग्रहणपराश्चेति ध्वनिः । अनुबन्धेन गृहतां परित्यागो न शक्यः A thing that is heavy (गुरु) stands firm, does not lose its equilibrium easily. The favours beiog गुरु (great or important ), they cause my mind to support itself ( कृतावष्टम्भाः कृतमच्चित्तस्थेय). What is विस्तीर्ण, such as the sea, cannot be crossed. ne can avoid a single person or object; but the favours (of का० ) being many, there is no lhelp but to accept them. Ar ura ys a subtle distinction between स्वीकृतस्य आनीय enerator विमोक्षः परिहरणं प्रथममेवास्वीकारले. तदेभिरहं... though gone away a leg distance without an order from the princess) to go, and brought (again ) to tho feet of the princess, being forcibly drawn by these (favours of का० ). इति is to be counected with सैव वाणी विशापयति in the following sentence. यया विशापयति that very.speech of minewhich not caring for your per mission to go (formerly) requested you because there was no check 15 नदि र पहिला 170 onES ON (uywon speech ) ‘I am going, ' that very speech now requests you bhus. अनपेक्षिता गमनाश यया. निर्गतो यत्रणा यस्याः सा नियंत्रणा, तस्याः भावः नियंत्रणत्वं तस्मात् गतोहमिति विज्ञाप्तं—This refers to the fact that on receiving a letter from his father started for उजयिनी withoit seeing का० and only left a message for her निष्फलमागमनं if the princess were to give way to her love torment, his coming would be fruitles5. जगद् वा यं—का० was a jewel among women in the world; if she were to succumb, then the world would be a mere void P. 26 1. 24-p. 27 1. 8. इति सन्दिश्य --.व्यसर्जयत् न भावनीया should not consider, should not mind. न शरीर...क्रमणीया you should not be careless in decorating your bodynor should you be irregular in taking your meals. न यत्र...उषितव्यं वा you should not stop in any place you like without carefully observing it nor should you dwell there. न यस्य..दातव्यं you should not admit to your presence any person who is not knowm well. अप्रमादिनी not careless, vigilant. किं कें करोमि—A question would be asked *why do you send her at all, if you are so very anxious for her safety '; to bhis he replies किं करोमि त्वत्तोऽपि etc. तवैव हस्ते वर्तते–पत्रलेखा by going before च० is to support का०s life. If का० lives then it will be well with च०. So चन्द्रपीड's life is in पत्रलेखा's hands. तदवधान दानाय संविधाय directing (him केयूरक) to give attention to her " ( पत्रलेखा). The meaning of K in order to cheer her up, in order to offer her consolation ‘ seems to be without warrant P. 27. 1. 9–17. निर्गतायां च...प्रणाममकरोत्. अन्तरा on the way in the middle. परिलम्बः delay. शून्यहृदयः whose mind was vacant, being engrossed in such thoughts. धरापतिष्यन्ति will return. स्कन्धावार-..करणाय for ascertaining the news about his army. वातहरः a messenger. बहु-प्रत्युद्गमनाय in order to welcome वैश नwho had not been seen (by him ) for many days (lit, whose sight was screened by many a , day, बहुदिवसैः अन्तरितं दर्शनं यस्य). उभयतः..कलाषः (चन्द्रापीडः ) to whom was given a broad way (for approaching) to see ( his father ) by the doorkeepers that stood away hastdily on both sides (of the way ), whose image was re fected in the bright jewelled pavement on which he rested with his right (अपमध्य ) knce and his hand (in the act of saluting •even at a distance (from his father ), with the long curls of this hair doubled (owing to their reflection ). ससंभ्रमं अपसृतं प्रतीहार मण्डलं तेन वितीर्णः (दत्तः) विस्तीर्णः आलोकनाय मार्गः यस्य, अपसव्यजानुकरत लाभ्यां अवलम्बितं यत् विमलं मणिकुट्टिमं (‘कुट्टिमोऽस्त्री निबद्धा भूः' इत्यमरः) तस्य KADAMBAR. 17 on 8 उदरे संक्रान्ता प्रांतमा यस्य, द्विगुणायमानः आयतः कुन्तलकलापः (केशकलापः) यस्य द्विगुणायमान is pr. p. of द्विगुणायते, a denominative verb from द्वगुण, इव meaning द्विगुणः आचरति P. 27 1. 17-p. 28 1. 2. अथ तारापीडः प्रत्युवाचनिर्भर..स्वरेण with a voice full of great affection, that resembled the bhunder of a cloud that was deep (or low मन्थर) on account of the weight of water. जलधरस्य इव ध्वनिर्यस्य सम्भावित •.प्रणामम् who made a bow to शुकनास ( संभावित शुकनासाय प्रणामः येन ) हठात् forcibly• पादपीठे footstool. अपरिस..स्पृहेण whose longing to see (laim) did not come to an end ( was not satisfied). अपरिसमाप्ता अवलोकने स्पृहा यस्य उपारूढं प्राप्तं यद् यौवनं तस्य भर संपत्तिः तेन अभिरामतराणि मनोहरतराणि. अङ्गप्रत्यङ्गानि limbs, great and small (lit. organs and suborgans). पश्येय...समुद्भिन्ना the principal sentence is पश्य, इयम् आयुष्मतश् चन्द्रापीडस्य...श्मश्रुराजिलेखा -see, here is the line of the beard (श्मश्रु) of चन्द्रापीड appearing all round (on his face). उत्सर्पिणी ..शिखरिणः as if it were the spreading (उत्सर्पिणी ) lustre of the large Sapphires on a moun tain of gold. चन्द्रापीडs complexion was bright like gold and his dark beard appeared like the lustre of sapphires. उत्सर्पिणी applies to इमझुराजिलेख alsoगण्ड..द्विपस्य as if it were the streak of the ichor of an excellent elephant, that ( मदलेखा ) brightens his temः ples. गण्ड० with इमझु...लेखा means that appears brightly on his broad cheeks.’ गण्डमण्डलं उद्भासयतीति. A गन्धद्विप is an elephant whose possession ensures victory by putting to fight the clephants of the enemy. ‘यस्य गन्धं समाघ्राय न तिष्ठन्ति प्रतिद्विपाः। स वै गन्धगजो नाम नृपतेर्विजयावहः'. उपहित...चन्द्रमसः that is as it were the beauty । (छाया) of the spot (लक्ष्मन्) on the moon, that (छाया ) bring about the excellence (परभागः) of the moon. उपहितः (जनितः कान्तिपतेः चन्द्रमसः परभागः (गुणोत्कर्षः) यया ‘परभागो गुणोत्कर्षः. Nex. plains ‘उपहितः आच्छादितः कान्तिपतिना सूर्येण परभागो गुणोत्कषों यस्या'. But bhis does not yield a good sense. लक्ष्मणः छाया (कान्ति) छाया सूर्यप्रभा कान्तिः प्रतिबिम्बमनातपः’ इत्यमरः. Compare for the idea ‘मलिनमपि हिमांशोर्लक्ष्म लक्ष्मीं तनोति’ शाकुन्तल I. चन्द्रापीडs face was fair like the moon and his beard was like the spot on the moon. विकास as if it were a line of bees (hovering ) over a bed of lobuses, that (line) is waiting for the beauty of the expanding (of the lotuscs ) . His face was like a कमल and the dark beard look ed like a row of bees. रूपा...वर्तिका a pendil (वर्तिका) of black paint for unfolding the picture of his (handsome) form. आलेख्यं (चित्रं ) तस्य उन्मीलने (उदासने ) कालाञ्जनस्य वर्तिका. तारुण्य श्यामिका which was the deep (उत्तान ) blue colour of the cloud in the form of vigorous youth. तारुण्यस्य भरः एव जलधरः तस्य उत्ताना , 12 NOTES ON (स्पष्टा) श्यामिका. A cloud is dark like the beard. उज्ज्वलत्..शिखा hat was as if the end of the lamp-black (कज़ल ) of the faming lamp of love. स्फुरत्-.राजी the line of smoke from the blazing (स्फुरत् ) fire of his prowess. स्फुरन् प्रतापः एव अनलः तस्य धूमराजी. मकर-~वी that was the तमाल plant in the garden of cupid. चन्द्रा० was hand some like cupid and the beard was like तमाल (the leaves of which are dark). मनोभवदतिः the appearance of the freelh (not deep, not pitchy) darkness of the beginning of the night (दोषा ) in the form of the excitement of love मनोभवविकारः एव दोषा तस्याः आरम्भस्य बालतिमिरं तस्य उन्नतिः. दोषो वातादिके दोषा रात्रौ दक्षोऽपि कुकुटे" The word मनो..हूतिः is capable of another sense also मनोभवविकारेण दोषः ( vice ) तस्य आरम्भः तेन वालतिमिरं ( the inability to distinguish between what is good and evil). उद्वाह..संज्ञा a sign made with the brow for (celebrating ) the auspicious ceremony of the marriage ( of चन्द्रापीड). One makes a sign by the movements of his eyebrows, that are dark. The dark beard was भ्रसंशा indicat ing that the time for celebrating the princes marriage had arrive ed. संमब्रय taking counsel with, consulting. अभिजनरूपा (अभिजन- <noble descentरूपं यस्याः) whose beauty consists in her noble birth. तारापीड means that the greatest regard was to be paid to noble descent in choosing a bride for च०. वधूः daughter-in-law. P. 28 1. 10–p. 29 1. 11. साधु•.दिवसमनयत् अनेन refers to चन्द्रापीडेन. सहृदयः a man of taste, a man of critical faculty. हृदये पिता: has placed in the heart (studied). सर्वविद्य–the विद्यऽ were fourteen in ancient India ‘पुराणन्यायमीमांसा धर्मशास्त्राङ्गमिश्रिताः। वेदाः स्थानानि विद्यानां धर्मस्य च चतुर्दश ' (quoted in the प्रस्थानभेद of मधुसूदनसरस्वती ). They were the 4 Vedas, 6 अङ्गs (auxiliary lores of the Vedas), मीमांसा (of जैमिनि and वादरायण), न्याय (of गौतम ), धर्मशास्त्र (such as मनुस्मृति, महाभारत &&c) and पुराण. Some enumer ated 18adding to the above the 4 उपवेद ३ ८i>. आयुर्वेद, धनुर्वेद, गान्धर्ववेद and अर्थशास्त्र, सम्भाविताः honoured (४. ea. nmastered). कलाः —They were 64 in ancient India, such as गीतवाद्यनृत्य &c. They are enn- merated in वात्स्यायन कामसूत्र (I. 3.). स्वीकृताः accepted B. e. attracted. गृहीता...कराः he has taken the hands ( as if in marriage ) of the women in the form of all the quarters. The word कराः neans also tribute, taxes' and so the clause means he has brought under his sway all the quarters.' स्थापितैव...लक्ष्मीः he has established kingly splendour (sovereignty) that is (now) steady in the position of a (chaste) house-wife. When राजलक्ष्मी was shared by numerous kings . she was not like a कुटुम्बिनी; she was common to many. ut now KADAMBAR 173 he (चन्द्रापीड ) is the sole ruler of the world and therefore राजल has now been made by him a कुटुम्बिनी (of his own). लक्ष्मी is spoken of a5 चञ्चल, especially by postsयेन श्रियः संश्रयदोषरूढं


स्वभावलोलेत्ययशः प्रमृष्टम्’ रघु० VI. 41. or ‘शरदभ्रचलाश्चलेन्द्रियैरसुरक्षा हि बहुच्छलाः श्रियः ’ किराता० II. 39. But in the case of चन्द्रा, लक्ष्मी has become निश्चल. ऊठेव... he adorned has already married the earth by the girdle in the form of the four oceans. चत्वारः उदधयः एव मेख लाकलापभूषणं यस्याः. Kings are spoken of as the husbands of the earth. Compare for a similar expression ‘चतुरुदधिमालामेखलाया भुवो भर्ता p. 5 of Peterson's ed. of कादम्बरी. किम...णीयते what more renmains to be done (by च०) that he is net married. अहो संवादः what a wonderful co-incidence! कादम्बरी...कालमेव just at the same time when I was thinking of the means of union with कादम्बरी. तद्यदुच्यते...मयि the principal sentence is तद्यदुच्यते--तदेतदापतितं मयि therefore what is said (by the people that &c.) has befallen me आलोकः light. वन-दर्शनम् the sight of a guide (देशिक) by one who has entered into a thick ferest. देशिकः <a guide01 'one who is familiar with the locality ' ( and can thus find out ८he way ). यानपात्रं a boat. वैशम्पायन...न्तरिता merely awaiting Miz. screened by ) the sight of वै०. क्षितिपतिः = तारापीडः तमेव चन्द्रापीडमेव. विनयेन अवनम्रः (अवनतः) पूर्वकायः यस्य whose upper part of the body was bent through modesty. समवलम्ब्य-..दोर्दण्डेन supporting (imself) on the shoulder (of चन्द्रा०) with his stout arm that was heavy by bearing the burden of the whole earth. ससंभ्रमं कृतं अभ्युत्थानं यया who rose hastily to welcome ( तारापीड). इन्दूदया..वेलाम् who (विलासवती) was like the tide of the sea tab becomes unsteady at the sight of the moon. विलासवती WES Bhe queen of तारापीड, mother of च०. ऊर्ध्वस्थितः एव while standing (without sitting down). एषा is to be connected with मधुराजिशोभा (p. 29. 1. 3). वत्सस्य =चन्द्रापीडस्य. यौव...रेखा as if it (श्मश्रुराजिशोभा ) were a line made with the measure-thread to indicate the advent of youtln. It is well-known that lines are nmarked with colourod throad on the ground and on timber to be swed in constructing a house. N remarks ‘नवीनप्रारम्भे शिल्पिभिः सूत्रपात रेखा क्रियते इति सर्वसंमतम् ’ आवयोः..नाशा that is our command (to him) to desis from any longing for the vices ( दुर्विलसितं ) of youth आवयोः refers to तारापीड and विलासवती. तारुण्यस्य दुर्विलसितानि तेषां इच्छा तस्याः विनिवर्तनं तस्य आश. N. explains आवयोः 83 विनृम्भमाणा growing. कथ्यमानेऽपि although I tell you. वरमातासि संवृत्ता you have now bocome the mother of a bridegroon (indicating thereby the importance of the वरमाता). एतत्कार्यं...धीरणा च want 174 OTES ON of concern in these things and also contempt (for them). एतत्का येषु may also meam < %hese things to be done for this (चन्द्रापीड ). नर्मप्रायैः नर्मन् ,१. a joke‘क्रीडा खेला च नर्म च' इत्यमरःशरीर full•of jokes. यादनाय for taking his meals &c. (8%. in order to effect the subsi stence of this body). प्रत्युद्गमनाय to receive or welcome.मोचयित्वा having set himself free ४. १. having obtained his father's per mission. निवर्तिता (सम्पादिता ) शरीरस्थितिः येन संविधानम् arrangements . विनोदेन by the diversion. P. 29. 1. 12-p. 80.1 8. अवतीर्णायां.दिदेश. यामिनी a night. सुहृद्-.जाग्रदेव although he lay on his bed, yet he was awake account of his longing to see his frieud. जाग्रत् pr. p. (of जागृ) nonm. sing. masसमधिकमिव यामद्वयं for the period of something like or more than two यामऽ. ‘दौ यामप्रहरौ समौ' इत्यमरः. याम is a period of bhree hours. The principal sentence is अवतीर्णाय...यामिन्यां ..जाग्रदेव समधिमिव यामद्वयं स्थित्वा..चन्द्रपादैः (p. 30. 1. P.) द्विगुणीकृतोत्साहः गमन संशशब्दनादयादिदेश. The instrumentals (plural) from परिवर्तयद्भिः (p. 29. 1. 18) to कुर्वद्भिः (p. 30. L. P.) qualify चन्द्रपादैः परिवर्त. छायाम् that (rays of the moon ) as if transformed the blue colour of the sky by their brilliance, that as if removed the greenness (हरितता) of the thickets of treesthat as if entered below (the leaves of treesby making holes (through the foliage ) and thus banished the dark shade at the root of trees. The blue colour of the sky was turned into white as the sky was steeped in the moon's rays. दरी..-रब्धैः that entered and dispelled as if through anger (अक्षान्ति intolerance ) the darkness hidden (निलीन) even inside the arbours (कुछ) in the hollows (कुहरं) of caves, and that seemed as if entering the nether regions (रसातलं = पातालेunder the diaguise (व्याजः) of entering crevices of the earth. The rays of the moon fall on crevices; the poet represents that they try to penetrate to पाताल through these holes. अन्यथा यामिनीम् %hat whitened again in a different way the whiteness of mansionsthat as if sprinkled over the faces of the qnarters the dust of camphor. that as if smeared the night with thick (सान्द्र) sandal paste. The mansions were already white with column, but the white rays of the moon illumined them in such a beautiful way that they presented a different appearance altogether in moon light. Camphor dust and sandal are white. उन्नामयद्भिरिव -.पुलिनानि that as if raised the earth up (towards the sky), that as if brought into close proximity the sky (with the earth ), that as if con• tracted (the bounds) of stars, planets and the lunar iansions, bhat as if extended the sandy banks of rivers. When the KADAMBAR 75 light of the moon fell upon the earth, it seemed as if it wero drawn up by the rays. As the moonlight made many of the stars and planets invisiblo and of faded light, it seemed as if blhere were few of them. वारका means star in general; ग्रहs are planets that wore 9 according to ancient Indian Astronomy ४i. blhe Moon, Mercury, Venusthe Snn, Mars, Jupiter, Saturn Rahu and Ketu. नक्षत्र are the 27 constellations अश्विनी, भरणी etc. पृथक्---कुमुदाकरान् that held the beds of day lotuses apart having as if sqneezed them and that as if combined together the beds of night lotuses the blooming of the petals of which was expanded. उद्दलितः दलानां विकासः येषाम्. एकीकुर्वद्भिः is used opposition in to पृथक् पृथक् in the preceding clause. कमलs (day-lotuses) fade in moonlight and hence their con tracted forms are said to be dne to their squeezing by the चन्द्रपाद:, which after squeezing them placed them apart each by itself. The कुमुदs are white and expand at night. Their white less mingling with the white moonlight, all the fowers appeared as one expanded sheet of whiteness (and hence the word एकीकुर्व झिरिव). ‘इन्दीवरं च नीलेऽस्मिन् सिते कुमुदकैरवे’ इत्यमरः. अपि च-सैकतस्थलेषु and moreover that were as if scattered over the peaks of mont tains, that poured over the top of mansionsthat collecting into mass as if fowed through the entrances of streets, that as if foated on the waves, that were as if spread on sandy tracts. मैक adj°Sandy' according to the सूत्र ‘सिकताशर्कराभ्यां च ' पा. V. 2. [0£ ( सैकतो घटः। सि. को). But in the sense of a Sandy tract we have सिकता, सिकतिलःसैकतः, सिकतावान्’ according to the Satra ‘देशे इबिलचौ च' पा. V. १. 105 (चादण् मतुप् च सिकताः सन्त्यस्मिन्देशे इति सिकताः etc. सि. क.. हंस-सहनैः that as if mingled with the Brahms of हंस७that wero as if shared by the beanty of the cheeks of the women that had slept in the room on the top of a house (चन्द्राश्रयः, that were as if washed by the thousands of streams of water issing from moon-stones. हंसs are whito and hence became undistinguishable from moonlight. ‘हंसास्तु श्वेतगरुतश्चक्राङ्गा मानसौ कस' इत्यमरः ( चन्द्रशालायां प्रसुप्ताः कामिन्यः तासां कपोलयोः लावण्येन. The cheeks of tho women were fair and seemed to have appropriated the pure rayB of the moon. The moon-stone oozes at the rise of the moon and the poet represents that the rays were white because they were washed by the water oozing from the moon-stones. तथा च..पादयद्भिः whose entrance even into the inner apartments (गर्भगृहं ) was not prevented, whose lustre was height encod even by the ivory roofs, whose whiteness was not impair 176 NOTES ON ed even on the pieces of the leaves of lotus-plants, and that pro- duced the idea of day ( even though it was night ) even in gardens ( that were full of trees and so were expected to be . 3 C dark). 3Tf^?r: ST%5T : ^"n^. <'d4<*4t is thatch or roof made of ivory. 'sfrrRtft g ^wftsJT^ T*<y£PV smv. wt'- w?m'- (go?tare:) %:. For q^^rpT in this sense, see notes on 'gq l^HlPd Hk ^ ^ErpTT &c. (p. 27. I. 26 text). 3 HsiPted : q^^TT SftP^. It is difficult to point out what the poet exactly means in trfiFf|;...tH&Hpfr : . Probably the only point lies in the words ?jprs and 3H si Pted ' even on the sjpj^s, the whiteness of the rays was a^pted ' ( *• «• it was continu- ous, there was no break ). MU l 4<)rfC^ --- M' : IK^ that as if vomited on all sides a stream of moonlight by their mutual combination, as if poured out, as if threw about, as if spread about, as if they started streams of moonlight on all sides, as if they shower- ed ( them ). M<^0[^i,^t=h*l u l as eacU rav me t another and pierced it. Ar. explains some of the words ' vj fc<u'i g^^ts^R f^fiW ^: % E lldi'W'd?r.' «hKH0 '-" S'^Fk * *bat as ^ discharged all the missiles of Love in order to hurry him for the union of Efije. fi^rpft?^: (doubled) jprrsJtc^Ti;-* (ardour of. Love) zr$. ?m^- ^hTTCTitMKH f° r the sounding of the conch that was to be the signal for the march. P. 30 1. 9— p. 31 1. 11. 3t«r nrpT— H Hdtf iTJjJU. 5Ttf 'TTJT.-.T^B?!; (p- 30 1. 18) — the principal sentence is sp? (then) qJHd^<*-»t|R«K:...^n^RKIdBd l . n T PTcI^ S*>T-* ftmir- ^T that spread through the sky. {cUtnmi oT...«Fa^ expanding (like a flower ) in the bowers of the quarters, revolving ( like a whirl- pool ) inside the walls of the city that touched the sky. g;st also means ' a cave.' Then f^qivrTTiT would mean ' developing, 7 .$0 spreading.' .3Tg§*f is an adj. arff %{s ^^ 5T3 1 according to 'snr% &s : ' it. in. 2. 32 ( cjsRijj) ifh, amfsft ^3: ). 'srrarct *m : m®? ^UR-— WC- a rampart. ^Sl^city-gate. aj£r^: (arg:^ ' %$ ai^fft qjflHt *Rt% ) an apartment on the roof, upper story ; or ' a palace.' r .'|p^# ifwsfc ^%li 3 *ftg*< SmT-— SjfrtfTTW^ explains ar^r^ as "3?gf% arg!f|s?r *TT 3?£rsgT555p, arg ar fd ^ H^ OTt-, 'sTRTO^ CT*ff£ *t% $rfz&C- ". R+Ofil^.-^^S a s if developing in the quadrangular court-yards ( =3gRfi) and roads. =^tc^t is a place L • where four roads meet (j^nft '^TST'). H'Htlj^ ' u, ' n *k° crowd-' ed passages ( ^f^s ) of houses. g^rpT.-lf^H in the caves of the pleasure-hills made in gardens. ^tejW gaining strength, ^gui... ^fSftR as if pursued by the very acute and prolonged notes of the KADAMBAR 177 Yere cranes (सामरसः) of the lotus pond in the house that (cranes aroused just at the moment (of blowing the conch ). विच्छिद्यमानः interrupted. कलरवेण by the sweet tones, श्रोत्रप्रवेशिनां is a mis print for श्रोत्रप्रवेशिना (adj. of ०कलकलेन). निर्धायें...कलकलेन that was as if determined by the sound of the moving braceletsthe anklets and the girdle of the nantchgirls that were furried in their Salutations at bhe time of departing, the sound having entered the ear. अनन्तरं चोत्थाप्यमानै-.रश्मयः The principal sentence is अनन्तरं च...तुरङ्गमसहमैः तत्क्षणं कुन्तवनमयमिवान्तरीसँ...अश्वलङ्काररलप्रभामया वञ्छशाङ्करश्मयः. All the instrumentals (plural) from उत्थाप्यमानैः to ०विस्तरैः qualify तुरङ्गमसहमैः When the signal for starting was given preparations such as getting the horses ready were made. उत्थाप्यमानैः that were made to rise. आरोप्यमाणपर्यायैः on whose back the saddle (पर्याएं) was being placed. पर्याणित saddled. खिलभ्यमानैः that were being offered (to others). आच्छिद्यमानैः that were being seized, (from others)Ar. explains “विलभनं दानमिष्टेभ्यः केभ्योऽपि आच्छिद्यमानैश्च आनीयमानैश्च केषांचित्प्रभूणां गृहान्प्रति राजाशया नीयमानैः केषांचिद्रहादानीयमानैश्च’ पङ्किस्थितैः that stood in a line. वाह्यमानैः that were being diven or urged. पूज्यमानैः being honoured = e. decked, अपर्याप्त ..ङ्गणैः for whom the courtyard near the door of the palace was not sufficient. to whom the quadrangular courtyards (चत्वरं) were not many (were not spacioms). अप्रभूतानि चत्वराणि yयेषाम् निस्तु च्छित. विस्तारैः by whom the whole expanse of the city was overcrowded inside and outside as they completely covered all the roads. निस्तुच्छितं (निश्शेपं व्याप्तं Arsays ‘पूरितं') सकलं रथ्यान्तरं यैः तेषां भावः नितुच्छित..न्तरता तया कुन्तवनमय...रीक्षम्—supply अभवत् after this and the following clauses (or अभवन् as the case may be) up to दशदिशः. कुन्तवन ...श्रोत्रविवराणि the sky became as if made up of a forest of lances, the earth became as if full of the sound of hoofs, the ears became full of neighing. The horsemen had lances in their hands and hence the sky became कुन्तवनमय. The affix मय is here used in the sense of प्राचुर्य (abundance according to the सूत्र तप्रकृतवचने मयट् ’ पा. V. 4. 21. (प्राचुर्येण प्रस्तुतं प्रकृतं तस्य वचनं प्रतिपादनम् । सि. कौ.). फेनपिण्ड...रश्मयः the courtyard at the door of the princes palace became as if full of masses of foam, the ten quarters became full of the rustling of bridle-bits (खलीनं), the rays of the moon became full of the lustre of the jewels that ecked horses. खलीनम् खलति चलति, खे तालुनि वा लीनं गृहीत समायोगः येन ( चन्द्रापीड) who took all lis equipments, समायोगः equipment, preparation. पुरस्ता...निर्गमः whose departure was announced by the auspicious nmbrella that was moved in front as if it were 3 178 NOTES ON second moon for the purpose of shedding light (on च०s way ) and that (umbrella) was of the brilliance of Hansas. हंसस्य इव धाम (कान्तिः) यस्य गृहदेहत्विदप्रभाव धामान्यथ चतुष्पथे' इत्यमरः. The umbrella was white like a हंस and being carried in front is spoken of as a second moon may also mean for the purpose that men may be enabled to aee चन्द्रापीड. यथादर्शन•••सहत्रैः who was saluted by thousands of princes though on horse-back on all sides in the order in which they saw him. प्रसुप्त..सधारः who moved with dificulty in the royal road on account of the large number of cavalry, albhough it { royal road) was not crowded because the citizens were at the time asleep. We know from समधिकमिव यामद्वयं स्थित्वा &c. (p. 29.1. 13) that च० started some time after midnight. प्रसुप्तः पुरजनः यस्मिन् तस्य भावः तया कृच्छेण लब्धः सधारः येन निर्गत्य-..गन्तुम्-—the principal sentence is निर्गत्य च अदूरत -उत्तीर्य सिप्राम्...दशपुरगामिना मार्गेण प्रावर्तत गन्तुम्. Hehaving gone out of the city and having crossed the river Sipre not far from it, began to proceed by the way that led to दशपुर, निर्भर अच्छपानीयाम् on account of the excess of the food of moonlight and its purity (अच्छता ), the waters of which were difficult to distinguish. दुर्विभाव्यं पानीयं यस्याः The clear water of the सिप्रा could not be distinguished from the” clear moonlight. उपरि संनिधिम् the fact of the fying up of frightened swarms of swans over which (सिप्रा ) was to be inferred by their sweet (कल ) notes ( कूजित ), that (सिप्रा ) looked as if it were a sandy plain, the proximity of the waters of which (सिप्रा ) was indicated only by the contact of heavy (heavily ladem with spray) breezes from the ripples (of सिप्रा ). कलकूजितेन अनुमीयमानः उस्रस्तहंससाथiत्पतनस्य व्यतिकरः (सम्बन्धः) यस्याः उपरि means over (the waters of the Br ). The हंसऽ being white could not be distinctly marked in the food of moonlight and their existence was only inferred from their notes. The हंसऽ were frightened by the marching army. पुलिनमिव आचरति पुलिनायते The bed of the river, when lbeing crossed by च०'s army. presented the appearance of a sandy plain. जडतरः तरङ्गभ्यः अनिलः तस्य स्पर्शमात्रेण उपलक्ष्यः सलिलस्य संनिधि यस्याः. अति.त्साहम् that (way) as if increased his ardiour for going by the fact of its being sumooth (lit. extremely trodden ) and not crowded. As to दशपुर see above (notes p. 162). P. 31 1. 12-p. 38 1. 8. अथोद्यमानैः..अद्राक्षीत्, अथोह्यमानैः अलङ्कयः उद्यमानैः and आकृष्यमाणैः qualify वाजिभिः Connect ०स्रोतसा with उद्यमानैःवहतः qualifies इन्द्रायुधस्य दिक्षुख° is a misprint for KADAMBAR. 179 दिङ्ख०. अथोह्यमानैः...अलङ्कयत् he braversed three yojanas (12 क्रोशS) by that time of the latter part of the night on horses that were as if carried on by the current of the water in the form of moon ht, that fowed with speed (रयः ) and that was spread in all irectionsthat ( horses) were dragged as if by the wind of the thighs of इन्द्रायुध who galloped as swiftbly as the mind itself of चन्द्रापीड that was in a hurry to seeदै०. इन्द्रायुध was the horse of चन्द्र डgiven to him by his father. कपिञ्जल became इन्द्रायुध on account of curse as we shall learn later on. The extreme swiftness of इन्द्रायुध produced a strong current blowing in the same direction which as if dragged the other horses onwards after him. अपररात्रवेलया--we saw that चन्द्रापीड started sometime after midnight and we are told here that before morning he traversed 12 क्रोशडे ( 24 miles). रात्रेः अपरभागः अपररात्र The maE. gender is taken in accordance with the सूत्र रात्रोद्वाहाः पुंसि’ पा. . 4. 29 एतदन्तौ द्वन्द्वतत्पुरुषौ पुंस्येव '( । सि. क.). अथाध्व..स्कन्धावारमद्राक्षीत्—the principal sentence is अथ प्रवृत्ते वातुम्...मातरिश्वनि..सहसैव अग्रतो अर्धगव्यूतिमात्रे इव (p. 32 1, 21 ) रात्रिप्रयाणकायातम्...निविशमानं स्कन्धावारमद्राक्षीत्. All the locatives from प्रवृत्ते to ०पिशुने qualify मातरिश्वनि. अध्व..हरणायेव as if for removing the fatigue of the journey. Separate ०वगाहात् आहुँदैस्परें. निर्भर मातरिश्वनि when the wind (मातरिश्वन् m) (began to blow), the touch of which was extremely wet on account of its (of blhe wind ) plunging (अवगाह ) in the water of tho abundant moonlight, bhat wind ) drew with it the spray ( सीकरः ) of the nightly dew (अवश्यायः), that was urged (lit. fanned) by ble breez®s from the various kinds of forcst leaves that were smeared (लुलित ) with the pollen of fowers, that was charged with fragranc3 due to rubbing against bloorning कुमुद plants, that6 (wind) was heavy with bhe perfume (of lotuses) and bhat was indicative ( पिशुन adj) of the cessation ( विराम ) of night. रजसा लुलिताः विविधवनपल्लवाः तप। अनिलेन वीजिते. विनिद्रा विकसितकुसुमा ( विगता निद्रा यस्याः) कुमुदिनी तस्याः परिमलनं (परिमर्दनं ) तेन लग्नः परिमलः यस्य परिमलेन आहितः जडिमा यस्य . रजन्याः विरामस्य पिशुने पिनौ खलसूचक’ इत्यमरः. मातरिश्वन् wind is derived as ‘मातरि अंतरिक्षे श्वसिति मातरिं आशु अनिति वा’ in यास्क': निरुक्त while क्षीरस्वामी derives it as ‘मातरि वे धयति’. क्रमेण...पा ण्डुतामुपगतवति चन्द्रबिम्बे when the moon gradually became pale ( on account of the morning light. अपरदिग्व-.-चुम्बिनि The moon was seen (in the morning) on the western horizon and the poet represents him as kissing his wife (the अपरदि). कल्पकाले seems to mean j in the morning', literally the time for कल्प’ ( sacrificial rites, which were to be commenced in the early morning )—It is possible 180 NOTES.ON events that कल्प may be a mistake in the mSS. for कल्य (0, ). dawn दुर्विषह•..घातेनेव In these words the poet assigns four (fanciful) reasons why the moon became pale. दुर्विषह-..घातेनेव as if through anxiety on account of the unbearable separation from night (the moon's beloved), as if through dejection (विषादः) at the approaching (आसन्न ) rise of the sun (the rival of the moon as if through the exhaustion of the brillianco (धामन् ) that was drunk by the masses of कुमुदछ ( night lotuses ) that had uplifted (उत्तानित, or fexpanded') their facts (to drink ज्योत्स्ना ) from the (प्रदोषः), as if through being covered over with the masses (सङ्घातः) of dust raised by the horses resembling the clouds that drank the water of the lake in the form of the whole sky. सर्वं यत् अम्बरम् (नभने) एव सरः तस्य पयः, तत् पिबन्ति इति पयः पायिनः पयोदाः (मेघाः) तेषामिव विभ्रमः (लीला, शोभा ) येषां ते ०विभ्रमाः अश्वः तेभ्यः रजः तस्य संघातः तस्य उपघातेन. The horses gallop very high in space); they therefore look like wandering clouds. The noon was as if covered with the dust raised by the horses of चन्द्रापीड and looked pale. चन्द्रिका (ज्योत्स्ना ) तस्याः आलोके गलति सति. प्रत्यग्र-शुके इव as if it (चन्द्रिकालोक) were like a white upper gatment laid asido (उज्झित by the moon ) through the heat causod by the fresh (प्रत्यग्र) separation of the glorious sky. प्रत्यग्रः या गगनलक्ष्म्याः वियोगः तेन सन्तापः तेन उज्झिते (त्यक्ते ). p. 32 अपर..पहिषु when the rows of stars suddenly disappeared as if they were lines of foam and bubbles on account of the current of the water in the form of moon-light falling on the western अपर) ocean. The moon was on the western horizon and henc its light can be said to be अपर...पातिन्. The stars vanished on account of the approaching dawn. They are represented as vanisling on account of the current of the water of ज्योत्न. The stars look pale and round points and are fancied as if they were foamy bubbles (that are white and rounded). गलदव...आशासु when the quartors (आश) gradually loft of the splondour (अनुभावःof the moonlight that was as bright (गैौर or white) as powdered (दलित ) pearls, as if bhrough being washed by the water of the droppi 5-31-dew (अवश्यायः ). गलितमुक्ता is a misprint for दलितमुक्ताः The ligh the moon disappeared gradually as the dawn broko into dayThe poet fancies that the disappearance was due to the fact of moon light being washed by dew. दलितमुक्ताः इव गौरा ज्योत्स्ना तस्याः अनुभावः तम्. दिशस्तु ककुभः काष्ठा आशाश्च हरितश्च ताः' इत्यमरः. पुनर्वि भाव्य...विटपेषु when the branches of trees and creepers whose naturally dark green colour was again marked seemed as KADAMBAR. 18 energing out of water. When the moon shone brightly, the branches appeared as if submerged in water ( which is bright like moon-light). When the day brokethe branches appeared in their natural darkgreen colour (of the leaves ). समुद्रसति-.रागे when the red hue of the (morming) twilight appeared, which was the red leaves of the Asoka tree used as the ear-ornament by the |armsel in the form of the East, that was the (red) lotus (तामरसं ) in the lake of the sky, that was the powder of read lead (सिन्दूरं ) on the temple of the elephant in the form of morn, bhat was the red cloth of the banner of the chariot of the sun ( तरणिः). दिवसस्य मुखं (प्रभातं) एव करिणः कुम्भः तस्मिन् सिन्दूररेणुः तस्मिन्: of The temples lephants are smeared with red lead (मराठी गेंदूर). The eastern quarter is compared to a lady. | सन्ध्यातप--पादपेषु when the tress on which (the birds) dwe!t were left aid their chirping by swarnus of birds (वयः 4. ), tie trees the tops of which were cover (चरित ) by the morning light and which (therefore) looked as if they were on fire. सन्ध्यातपेन चरिताः (व्याप्ताः ) अन्ताः येषाम् आलम्नः 5-दावानलः ( forest confiagration ) येपु जनितः आरावः यथा स्यात्तथा भाव ). The reddish light of the morning fell on the tops of the threes. The fammos of fire are also reddish.] सशेष...शय्यासु when herds (कदम्बकं ) of deer left their beds on barren spots (ऊपररम्), the deer that were slow because they wanted to sleep longer, whose thighs and toes were not at ease on account of their being stretched out for a long time (in sleep), that nmoved with long steps that they had to take with force (because their fect had not yet been free from stiffiness ). सशेषा सावशेषा (शेषेण सह सशेपा बहुनीहिः) निद्रा तया अलसैः चिरप्रसारणेन अविशदाः अङ्गयश्च जयः 32 येषां तैः. ऊपर--y barren and saline spot. स्यादूषः क्षारमृत्तिका T । इत्यमरःइच्छाव-.-यूथेषु when the herds of boars that broke into pieces and dug up the knods of मुस्ता growing on the skirts (उपान्तः) turned (at the of puddles approach of day) towards the caves of the forests. इच्छया अवख- ‘ण्डिताः उत्खाताः पल्वलानाम् उपान्तेषु प्ररूढाः मुस्ताग्रन्थयः यैः The boars are always represented as fond of मुस्ता ( म. नागरमोथा ). Compare शाकुन्तल II ‘विश्रब्धं क्रियतां बराहततिभिः सुस्ताक्षतिः पल्वले '. The des- cription in the text seems to be an echo of कालिदासs words निशा-..स्थलीषु when tho sylvan spots on the confines of the villages were whitened on all sides by the herds of cows that were going out for grazing (प्रचारः) in the morning. निशायाः अवसाने (विरामे ) प्रचाराय निर्गतैः गावः एव धनानि तैः. रथली is a natural plot of round, while स्थला is an artificial one, ‘ स्थल्यकृत्रिमा चेत् जनपदकुण्ड 16 182 NOTES ON गोणस्थलेति ङी, कृत्रिमा तु स्थला' क्षीरस्वामी. आलोक्य..ग्रामेषु when the villages appeared as if they were in labour, as the foot-prints (of persons ) going out (of the village ) were being seen. जनपदविनिर्गमः येषु- In labour, bhe feet of the child come out of the mother's womb. N. Oxplains ‘पदविनिर्गमसाम्यादुत्प्रेक्षते. वपि प्रथमे ” पदविनिर्गम एव भवतीति भावः N. seems to be wrong. In normal labour, the head of the child comes out first in most cases. यथाक..भागे when the East seomed as if being raised up as the rays of the sun made their appearance. Compare abore ‘उन्नमयद्भिरिव मेदिनीम्' p. 29. 1. 20. ( of text ). अर्ककिरणानामवलोकस्य उद्ममनतिक्रम्य (अव्ययीभाव). समुत्सार्य..सीमासु when the quarters appear ed as if they were stretched far (on account of the rays of tho sun), when the forests seemed to recede, when the confines of the villages seemed to be expanding, when lakes seemed to become ]arger in extentIn the night even a few trees looked like forest. In the clear light of day, the big proportions of the forest dwindled down. In the clear light of day the expanse of villages and lakes were clearly noticed. अवच्छिद्य.कुमुदिनीपु when mountains were distinguished (one from the other), when the earth appeared as if being raised up, when the night lotuses ( plants ) seemed to be invisible. In the night, each mountain peak is not clearly defind in size &c. to the eye. तिरोधान..सप्तवाहे when the sun, the eye of the seven worldsrose on op o] bhe rising mountain as if to see the (day ) lotus plant helpless (विधुरा) through separation (in tho night from the sun), having with his करड ( rays, hands) removed the line of darkness as if it 3-31( darkness ) were a blue veil (तिरस्करिणी ) that screened (कमलिनी from him ). तिरोधानं (concealment) करोतीति ०कारिणी ताम्. The सप्तलोकॐ areभूः, भुवः स्वः, महः, जन, तपः, सत्यम्. सप्त वाहाः (अश्व) यस्य. Seven horses are said to be yoked to the sun's chariot. One of the names of the sun is सप्ताश्च‘भास्वद्विवस्वरसप्ताश्वहरिदधोष्ण- रश्मय' इत्यमरः विहा यस्तलं = नभस्तलं the skyउद्भस्य having illu mined. दिवस.दीधितिषु = सूर्यकिरणेषु दृष्टि..वेलायां at a time when the eye was able to . discern (objects). दृष्टेः प्रसरः ( unimpeded motion, operation ) तस्मिन् क्षमा (it, able ). अग्रतः in front (of च). अर्चगव्यूतिमात्रे इव as if only at the distance of half a two miles. गव्यूतिedistance of two कोश गव्यूतिः स्त्री क्रोशयुगम् इत्यमर. The word is derived from गो+यूति, according to the वार्तिक (on पा० VI. 1, 79. ‘वान्तो यि प्रत्यये) गोर्चेतौ छन्दस्युपसंख्यानम्' and 'अध्वपरि माणे च'. त्रिप्रयाणकायात (that had come by a night march)—thi and bhe following accusatives up to निविशमानं (p. 33. 1, 8) qualif;


183 स्कन्धावारम्. प्रयाणकमू march, journey. अन्तः...गीर्यमाणम् that (army ):- was as if emited by the nether regions ( रसातलं) being afraid of the inner agitation. If the army had been inside रसातल, it would have caused great agitation in रसातल by their numbers and heavy matching; so the poet fancies that the रसातल sent it up to the earth. Ar, explains ‘पाताले अतिशयेन किमपि केवलं संभूय अन्योन्यं कलहायमानचित्तेन अन्तः क्षोभभीतेन पातालेन तद्वलमुदीर्यते तथा प्रतिभा तीति उत्प्रेक्षा'. असोड..हियमाणम् that (army) was as if tossed about by the earth that could not bear the burden of the nmass of troops (संघतः ); that was as if collected (into a ma5B ) by the quarters whose expanse was not sufficient (to contain them ). असोढः संघातस्य (सैन्यसमूहस्य ) भरः यया. अपर्याप्तं (not enough) प्रमाणे यासाम् One who is pressed under a burden throws it about. For अपर्याप्तं &c. compare + अपर्याप्तराजद्वाराङ्गणैः १ above ( p. 30. 1. 22. text ). The army had so filled all spaces that they seemed to contract upon it and mass it together . I अपरिमाण..पर्यन्तम् that was as if thrown away ( collected together on the earth ) by the sky that was afraid of being blocked (निरोधः ) by the immeasurable dust (raised by the army that as if expanded with the light of the sun the end (पर्यन्त of which could not be seen even by those who strained bheir eyes and cast a distant gaze. न विद्यते परिमाणं यस्य तत् अपरिमाणं (अपरिमितं) रजः तेन निरोधः तस्मात् आशङ्कितेन गीर्वाणाः देवाः ( वर्हिर्मुखाः ऋतुभुजो गीर्वाणा दानवारयः' इत्यमरः) तेषां वर्मना मार्गेण (४. a. गगनेन ). अदृष्टः पर्यन्तः यस्य. If the army had marched bhrough the skyit would have been blocked by dust; so it threw the army as if on the earth. . P..33 ,/अनुजीविनिवेशम् that (army) was as if it were a second noving position of the earth, thab ( army ) was supported by hundreds of thousands.of kings that were dependants (of च० ). अनुजीविनां भूभृतां राशां शतसह त्रेण कृतः अवष्टम्भः यस्य तं स्कन्धावारम्. The word अनुजीविन्.ष्टम्भं applies to मेदिनीसंनिवेश also and then means that was made firm by hun dreds of thousands of mountains ( भूभृत् ) that depended upon (the earth). Formerly the earth was not steadybut was moving; the mountains made her steady. As the army was movingit is said to be सधारिणं द्वितीयं मेदिनीसंनिवेशम्. The army was commanded by that was deep by the entrance nob of a river (but of the ranks of an army) and that therefore seemed as if it were an oighth boundless ocean made up of (human) beings. जलवाहिनी means a river. T; an army. The army was गभीर like the pcean but not with rivers (which fill the ). It was गभीर only with वाहिनी ( an army and not with Oce80 184, NOTES ONY जलवाहिनी a river). The amry being vast is fancied as a महासमुद्र. There are seven well-known oceans according to the Purpas. They are ‘एते द्वीपा समुद्भस्तु सप्त सप्तभिरावृताः । लवणेक्षुसुरासर्पिर्दधिदुग्धजलैः समम् । विष्णुपुराण II-2-6. अमरकोश also seems to speak of seven ‘तस्य प्रभेदाः क्षीरोदो लवणोदस्तथाऽपरे.' Sometimes they are said to be four as in ‘चतुरुदधिमालामेखलाया भुवो भर्ता’ (p. 5. of P.); or ‘ऊठेव चतुरुदधिमालामेखलाकलापभूषणा भूरे (p. 28 ]. 13 text ). As the oceans. are seven and as the army is गभीर like an_ocean it is said to be the 8th one. An ocean is full of water. This was full of bein अविद्यमानः परः पारः यस्य हैं. e. boundless. उद्रिक्त-..समयारम्भ that, though all its actions could not be cleafy seen on account of the food of the excessive and continuous dust, was full ( सङ्कल) of the thousands of the arrays (घटा ) of elephants that were bright ened by the white banners (कदलिका ) that were turned in this direction and that, and that (army ) therefore looked like the advent of the rainy season incarnate, in which the multitudes of clouds are adorned by thick rows of cranes. {उद्रिक्तं (अतिमात्रं ) रजः तस्य सन्ततिः, अपरिस्फुटं विभाव्यः सर्ववृत्तान्तः यस्य अविरलानां बलाकानां आवली तया विभ्राजितः अम्भोदान संघातः यस्मिन्. The white banners look like the cranes (that are white ) and the dark elephants look like clouds in the rains (that are also dark ). Poets supposo that बलाकाऽ wait upon the clouds in the beginning of the rainy season and conceive thereby. Compare मेघदूत ‘गर्भाधानक्षणपरिचयान्नू नमाबद्धमालाः सेविष्यन्ते नयनसुभगं खे भवन्तं बलाकाः । आवास...निविशमानं that encamped with the movement of the ocean that was full ( आकुल ) of many billows (कलोलः) that were disturbed ( लुलित ) by the hard shriking (आस्फालनं ) of the मन्दर mountain on account of the fact that innumerable elephants, horses and men dashed against one another like waves when they ran hastily for secur ing land for their albodcs (to pitch their tents on ). आवासभूमेः ग्रहणाय संभ्रमेण प्रधाविताः असंख्यकरितुरगनराः तेपां परस्परैः ऊर्मिवत् संबाधः यस्मिन् तस्य भावः संबधता तया अमन्दं यत् मन्दरस्य आस्फालनं तेन कुलितं कल्लोलजालं तेन आकुलस्य. The army was in great agitation on ac count of their running and resembled the ocean that was agitat ed by the मन्दर at the time of churning it for the fourteen jewels. विश with नि takes आत्मनेपद necessarily. When the gods and demons churned the ocean for the 14 jewels (especially for अमृत), they made the मन्दर mountain the churning handle and serpent वासुकि was made the rope. See रामायण -44 and विष्णुपुराण T. 9 for सागरमन्थन. ‘मन्थानं मन्दरं कृत्वा नेत्रं कृत्वा तु वासुकिम् । मथ्यताममृतं देवा साहाय्ये मय्यवस्थिते । विष्णुपुराण T-9-76, KADAMBAR. 785 P. 83. 1, 9-26. दृष्ट्वा वेगेनावहृत् अचिन्तितं आगमनं यस्य सः hose arrival is unexpected. छत्र ..पुत्रलोकः who left behind (/%. forbad) all the princes together with his symbols (of royalty) such as the umbrella and the chowries. चामरम्"चमयोः इदम् chowrie made of the tail of the चमरी ( deer ). स्वचित्रैः is to be connected with निवारित in the compound निवारिताशेष९. जवविशेषणा- हिभिः that ran with special Speed (जवः). त्रिचतुरैः–श्रयो वा चत्वारो वा त्रिचतुराः ( बहुव्रीहि ). मूर्धान..तरीयेण having covered his head with bia upper germent. रयविशेषग्राहिणा = जवविशेषग्राहिण IT. नाना-..लोकम् qualifies स्कन्धावारम्-नानाव्यापारेषु (in various actions) व्यग्राः (occupied) नकललोकाः यस्मिन् अचिन्तितः एव quite unexpectedly. प्रत्यावासकम् at every tent (y abode. आवासके आवासके इति प्रत्यावासकम् (अव्ययीभावः वहन्नेव while riding (without getting down from his horse ). तस्य (आवासकस्य) संनिहिताभिःइतरत्वात् अप्रत्यभिज्ञाय bhey (the women ) did not recognize him because he seened to them a stranger (इतरः) or because he looked a common person on account of his coming with a very small escort and having covered his head ith his upper garment. For the use of इतर in the sense of 'common, vulgar, compare ‘अद्य तु इतर इव परिभूय शानं..मन्मथेन जडीकृत' p. 154. of P ‘यदि तावत्---इतरकन्यकेव विहाय लज्जाम् are. (p. 160 of P.). यथारब्ध...वदनाभिः who remained occupied in such actions as they had begun and whose faces were full of tears and of vacant aspect. असंबद्धम् absurd, impossible. When the army, that च० had placed undor वैशम्पायन8 command, had come it seemed absurd to च० that वैशम्पायन should not have come, as said by the women. ताः प्रतारयन् not minding them (& . deceiv bhem ). अन्तभिन्न ..पृच्छन् not asking other women as his heart had been pierced inside (by sorrow). एवमेव as he was the same condition in which he was. उऽस्तः frightened. यूथात्परि भृशः तेन विलोलः agitated because he strayed from the herd. 'कलभः करिशावकः' इत्यमरः so करि in करिकलभक is redundant. उत्कर्ण इव तर्णकः like a calf with its ears erect. उदूतौ कण यस्य स उत्कर्णः ‘सद्यो जातस्तु तर्णकःइत्यमरः. क्षीरस्वामी derives it as * तृणोति अत्ति केवलं तर्णकः अचेत- यमानः not conscious of. आविष्ट: इव like one possessed (by a ghost). कटकं 3rmy. यावत् governs accusative, तादृशेनैव...वहत् he rode s swiftly as before. 10 P. 34. 1. 1–p. 35. 1. 19. अथेन्द्रायुध-.-वृत्तः प्रत्यभिज्ञानं recognition यातयेय at the mere news (that च० with a very small escort had left for the camp where वै ० was supposed to be). राजपुत्र–the princes that accompanied चन्द्रापीड when he set वै०. The soldiers of the army that came from out to welcome NOTES ON दशपुर towards चन्द्रापीड recognized him ( as he had covered his head) only when they saw इन्द्रायुध and the princes who usually attended upon him and who came galloping after him when they heard that च० had left. अचेतितं उत्तरीयस्य स्खलनं यैः who were not conscious of the dropping away ( through haste) of their upper garument, लज्जया...नमतां who bent down at the same time in shame (at their inability to bring back वै०, as we shall see later on) and iu the act of saluting (च० ). राजन्यः 'a royal personage' मूर्धाभिषिक्तो राजन्यः' इत्यमरः These were the princes whom चन्द्रापीड bad left behind under the command of वैशम्पायन and who were ordered to come back leisurely to उज्जयिनी. सममेव विचार्य holding a consultation together. यथावस्थितं = यथाभूतं everything as it hap pened. स्फुटा...कष्टतरेण more painful than even if they had men tioned (the truth ) in clear termsअन्तः.. गर्भ pierced inside by a dart, तत्कालप्रणयिनी that showed affection (for च० ) at the moment. सा wellknown. The Calcutta editions and Ar. read साधारणम् , - which An explains as ‘साधारणमकरोत् हृदयम् । स्फुटनास्फुटनमध्यवर्यकरोत् धारणम् €upport (of his life). कुथायामुपविष्टं who sat on a carpet (कुथा). कुथः or कुथा a carpet८ पितुः..वयोभिः who were as old as his father (समं वयः येषाम्. अनतिक्रमणीयैः= (अलह्यवचनै२) whose words could not be disobeyed. मूर्धाभिषिक्तपार्थिवैः (the same as राजन्यैः) by crowned kings. आत्मतत्त्वदर्शनात् (आत्मनः तत्त्वं स्वरूपं तस्य दर्शनात् ) becoming conscious of his own existence. भ्रमारूढ..प्रेक्षमाणः like one confused in mind. he perceived nothing on account of his senses that had lost all their powerकेवलं ..भावयन् simply from the arrival of the army alone (without वै० ) he could think of nothing else but his ( वै०5 non-existence.' किमात्मान..योजयामि whether I should kill myself and deprive (myself) of my life from the heart (which was supposed to be the seat of प्राणs ). प्रव्रजामि whether I should go into exile ( renounce all worldly attachments ) . कर्तव्य...गच्छत् he did not know what he should do. वसन्त्यपि...पृथिवी the earth though inhabited has become शून्य ( tenantless, void ) to me. There is विरोधाभास in this aud the three following sentences. the was inhabited it could not be शून्य ( tenantless ). It earth became however शून्य in the sense that it was vacant to im on account of his dejection. सचक्षुषो.जाताः the quarters (ककुभू£) bave become dark to me, though I have eyCSसचक्षुपः qualifies मे understood. But as the sentence stands ‘सचक्षुपोऽपि’ may qualify ककुभः also; and then the विरोध 18 more prominent, Though the quarters aro सचक्षुः ( with an eye ), they have become blind.' Ar. explains ‘सचक्षुपोऽपि चक्षुष्मत्योऽपि सूर्यवत्योऽपि दिशोऽन्धा KADAMBAR 187 जाता इति योज्यम् । कर्मसाक्षी जगच्चक्षुरित्यमरः।’ सुनिष्पन्नमपि-..जन्म my birth, though well sprung (though I was born of noble parents), is ( now ) accursed. सुरक्षित...फलम् the fruit of my life, bhough well. guarded, is stolen ४. e. I am deprived of वैशम्पायन and have lost all joys and ambitions of the world. Arexplains स्थावरतिर्यज्ञप क्षिकीटजन्मनोऽपि मनुष्यजन्म तत्रापि भारतवर्षाधिपतेर्महाराजस्योदराज्जन्म दुर्लभम् ईदृशं शोधनीयं जन्म सुष्टु निष्पन्नमपि हतम् विश्रम्भः confidence, confidential matter. किमद्यपि...कादम्बर्यापि what have I ne to do with my life or even with का०तनय...स्थापयितव्या (by saying what) am J to compose my mother ( विलासवती) overwhelmed with grief for her son or मनोरमा (the mother of वै० ). विलासवती looked upon वैशम्पायन also as her son; to intimate this the poet puts तनय...विह्वला as an adj common to both वि० and मनोरमा. असिद्ध unconquered. त not allied ४. e. assuming a hostile attitude. तत्सङ्घटनाय for 1aking an alliance with him. परिलम्बितः delayed. कच्चित्सङ्कलित is it that I permitted him to study somo learning that he had not yet learnt. The answer is no, I have not permitted him, nor is blhere any विद्या which he has to learn. Compare for उत्सङ् लित सहसाऽनुत्सङ्कलित एव तातेनाम्बया वा' p. 21 ]. 3 ( text.). अन्तरात्मना in his heart. विकल्प्य supposing, raising (these various ) theories. हृद्या..विलक्षमेव as if embarrassed because his heart did not break He expected that his heart would break at such a news. महाप नमिव as if he were one who has committed a great sin. The five महापातकऽ according to ancient Indian ideas were ब्रह्महत्या सुरापानं स्तेयं गुर्वङ्गनागमः। महान्ति पातकान्याहुः संसर्गश्चापि तैः सह ? मनुस्मृति XI. 54. कृच्छात् with difficulty. व्याधिवी...जातः or did any diseaso arise { attack वै०), which was of an incurable nature and which was rapid (आशु) in its effects. आशु करोतीति आशुकारी. असाध्यं रूपं यस्य सः एत...नतम् (by which has befallen me this great fall of a thunderbolt. चन्द्रापीड refers to the death of वै० (as he supposes it to have occurred) in the words महावङ्गपतनम् Ar. remarks ‘जीवतो वैशम्पायनस्यान्यत्रावस्थानमविश्वस्य मृत एवेति मन्यमानः एवं वक्ति । सममेव...श्रुतयः who (all the princes ) simultaneously covered (अपिहित ) their ears with their hands. It is usual to close the ears when anything inauspicious is being said. Here चन्द्रापीड referred to वैशम्पायन’s death in the words महावङ्गपतनं and therefore the kings placed bheir hands on their ears. शान्तं पापम् ( may ) evil be averted !! साग्रं वर्षशतं ध्रियते lives more than a hundred years. उज्जीवित इव as if brought back to life. आनन्द-..ग्रहेण he being full of tears of joy, honoured them all by clasping their necks (e. e. by embracing then). असंभाव्यता (by mo) not think 188 NOTES ON me ing it possible. कर्णी...क्षराणि these words (that वैo ives) have fallen on my ears (but I am not satisfied with them, I want to know more). Ar. explains “यतो मयैवमुग्रं पृष्टास्तस्मायूयं भीतास्सन्तो जीवतीति मधुराक्षराणि कथितवन्तः । . किं वृत्तमस्य what has become of him ( वै० )? केन प्रसजेन on what occasion (with what object ). P. 85. 1. 20–p. 86. 1. 13पृष्ठतः..मण्डपमद्राक्षीत् पृष्ठतः after taking care, looking after. पृष्ठत...देवे (चन्द्रापीडे this refers to the words of चन्द्रापीड ‘‘ एवमादिश्य तं (मेघनादं) ‘सुहृदादिसा धनमक्लेशयता शनैः शनैर्गन्तव्यम्’ इत्युक्त्वा वैशम्पायनं स्कन्धावारभरे न्ययुङ्ग' 223 of P). सुगृहीत...जातस्य because means (of subsistence) such as food (घासः), fuel (इन्धनं ) &c. had been well stored. आहताय ...साधने when the kettledrum (भेरी) ( indicating starting) was struck and when the army was being made ready (for start ). पुराणे–In the पुराण. It should be noted that, although the Puranas are 18, बाण's son uses the singular. It is probable that in his day there was only a single पुराण, or that the singular is used for the whole species, as सिंहः stands for the whole species. वाण mentions the वायुपुराण by name in the कादम्बरी and हर्षचरित. ‘पुराणे वायुप्रलपितम्’ (p. 4 of P ); गीत्या पवमानप्रोक्तं पुराणं पपाठ हर्षचरित (p. 95 of निर्णयe ed). He refers to पुराण simply (without specifying any name) पुराणमिव यथविभागावस्थापितसकलभुवनकोशम् ’ (p. 90. 1, 14. of P) In another passage, बाण seems to refer a work of नारद (probably the नारदपुराण) ‘नारदीयमिवावर्यमानराजधर्मम् (p. 91. 1. 18. of P). अस्यैव..यतने in the holy (सिद्ध) temple on the bank of it (of the lake). तीरं भजतीति तीरभाक् तस्मिन् शशाङ्कस्य शकलः शेखरः (head ornment) यस्य. For सिद्धायतनं note the words fभगवतः शूलपाणेः शून्यं सिद्धयतनमपश्यत्' (p. 128 1. 3 of P). K's explanation that सिद्धयतन was the name of the temple of शिव seems to us to be wrong. तत्र...मण्डपमद्राक्षीत्–the principal sentence is तत्र च अतिरम्यतयैव सर्वतो दत्तदृष्टिः सधरन्-..अन्यतमं लतामण्डपमद्राक्षीत्, अमर-..हयन्तमिव–this (आहूयन्तम्) and the following accusatives (singular) up to (l. p.) qualify लतामण्डपं. अमर...हयन्तमिव that (bower) as if called (him वै०) from a distance by the sweet (मञ्जु) jingling (सिञ्जितं).tones of intoxicated bees that were collected together through the greed of the honey in the thick (अविरल) foyers (of the bower) and by its (of the bower) tender shoots that were accustomed (उचित ) to the favour (प्रणय) of being placed on the tops of the bars of celestial damsels, that (ehoots) were unsteady in their move ments on account of their being struck by the breezes from the ripples (of the lake). अमरकामिनीनां श्रोत्रशिखरेषु आरोहणं एव प्रणयः तस्य उचितैः तरङ्गानिलैः आहृतिः तेन विलोला वृत्तिः येषाम्. मधु लेढि इति मधुलिट् तेषां KADAMBAR 189 It is usual with poets to represent women as wearing tendler leaves and howers as ear-ornaments. सिञ्जितरव generallay applies to the jingling of ornaments. Here it is applied to the hum of bees that is like it./मरकत..दिग्भागान् that as if besoleared at the same time the ten quarters by its lustre that was darkgreen ike emerald (मरकतमणि). The green bower made all the quarters green. The quarters are said to be eight (पूर्व, दक्षिण, पश्चिम, उत्तर and the four intermediate points. आग्नेयी, नैऋती, वायवी, ऐशानी); and also ten (by adding ऊध्र्वेabove and अधरbelow to the above eight). अदत्त..बिभ्राणम् that (bower) had night (निशीथिनी ) even by day inside it because it allowed no entrance to the rays of the sun. अदत्तः दिवसकरस्य (सूर्यस्य ) किरणानां प्रवेशः येन सः अदत्त प्रवेशः तस्य भावः ०प्रवेशता तया चिर...लोक्यमनम् that (bower) was looked at again and again by forest peacocks with raised up necks, that (peacocks) thhough familiar (with the bower) for a long time emited sweet notes, thinking of the appearnce of clouds. उन्मुक्ताः मधुराः केकारवाः यैः. उर्दूता कन्धरा येषाम्. When clouds appear, peacocks dance and emit notes. The darkgreen bower appeared to the peacocks to be a cloud, that is also dark. पदमिव. सर्वरमणीयानाम्-all the accusatives are here in apposition witl लतामण्डपम्--as if it (bower) were the abode of the rainy season, as if it were the enemy of all torments (heat); as if it were the home (ones own house) of coolness (जडिमन्), as if it were the way by which the month of spring went out (सुरभिमासः=चैत्रः ), as if it were the resort of cupid, as if it were Rati's place for removing her excitement, as if it were bhe abode of everything charming. The bower was cool and so full of foliage that it seemed as if Spring first started out of it. रति is the wife of मदन. She lamented deeply when मदन was burnt to ashes by शिव. The author says that the bower was 80 charming that it might have served to divert रति even in her heavy sorrow ‘वसन्ते पुष्पसमयः सुरभिर्गीष्म ऊष्मक ' इत्यमरः. अनवरत..शिलातलम् that (bower) had the slabs of stone inside it fanned by the swect and cool breezes from the ripples of the अच्छोद lake, bhat (breezes) were constantly blowing. अनवरतं वलिताः सुरभयः शीतलाः अच्छोदसरस्तरत्रेभ्यः मारुताः तैः अभियोजितानि अभ्यन्तरे शिलातलानि यस्य P. 36. 1. 14.-p. 37.1. 6. दृष्ट्वा च..लोकितवान् तम् = लतामण्ड पम्. अतिचिरं अन्तरितं दर्शनं यस्य–this qualifies भ्रातरम् , तनयम्, सुहृदम् whose sight was not had for a long timeअनन्यदृष्टिः fixing his eye on bhat (bower ) aloneन अन्यस्मिन् दृष्टिः यस्य . विस्मृत-..लोकयन् looking ( at the bover ) with an eye that forgot to wink (i. e. with a 10 NOTES ON fixed gnzo ). विस्मृतः निमेषः येन. स्तम्भितः इव as if he were paralyz ed. लिखितः drawn. उत्कीर्णाः इव as if he were engraved. पुस्तमयः इव as if he were made of clay, or fas if he were made of a book ‘पुस्तं लेप्यादिकर्मणि' इत्यमरः , ऊध्र्वः एव standing. अपारय...मुक्ताङ्गः being as if unable to support his limbsas if overwhelmed by a swoon, as if he were left by his sense, with his limbs drooping all of a sudden, किमपि something indescribable. अनुध्यायन् contemplat ing. निर्वकारवदनः with his face showing no emotion. लोचनाभ्यां पयोधरासन्तान यस्य from whose eyes continuous drops of ars fell down. येन केन...वर्तमानाः men of an appreciative heart are drawn away by anything whatever, even though their intel lects are steady on account of advanced age (परिणामः ); what of those ( like वै० ) who are in fresh youth that is fall u curiosity परिणामे धीरा मति’ येषाम्. Yonth is a period of life when a person is full of curiosity for everything. नियतं surely. इयम् refers to हृदयविकृतिः (excitement of the heart ). भावयत-qualifies अस्य (वैशम्पायनस्य )—of him who reflected over it. दर्शनीयानामवधिः The highest limit of ovorything that is worth seeing. Compare the words of चन्द्रापीड On seeing अच्छोद ‘दृष्ट आहूदनीयानामवधि' (p. 124 1. 9 of P. ). निर्वर्तयामः we shall perform. प्रयाणाभिमुखः ready to start. प्रतिपालयन् waiting. अश्रुतास्मदीयालाप इव as if he had not heard our words. अशिक्षित इव वक्तुम् as if not tauglht to speak . अनिमेष-..चक्षुषा with an eye the eyelashes of which did not wink, the pupils of which were motionless and paralysed, from which a stream of tears fell continuously, that was as if drawn (in a picture). अनिमेषं (अविद्यमानः निमेषः. यस्य ) पक्ष्म यस्य निश्चला स्तब्धा तारका यस्य सन्ततं अश्रुस्रोतः यस्य. P. 37 1, 7–p. 38 1. 18. पुनः पुनः••तूष्णीमभूत्- अनुरुध्यमानः urged, pressed . तस्मिन् (लतामण्डपे ) ग्रथिता (fixed) दृष्टिः यस्य परिच्छेदेन निष्टरं यथा स्यात् तथा hard on account of decision (of the decisive tone ). रक्षितं qualifies महासाधनं, which is the object of गृहीत्वा वैराग्य...शक्य suspecting that some cause for his dissatisfaction ( वैराग्यं, or asceticism') must have arisen. सानुनयम्--अनुनयेन सह यथा स्यात्तथा soothingly. प्रतिबोध्य having roused him (from his वैराग्य), तादृशा ...पीडा we who were pained by his doing such an absurd act. तादृशं असम्बद्धं अनुष्ठानं कर्म तेन जाता पीडा येषाम्. एवं...स्थातुम् (yoi say) thus it is not proper for us to stay here. This is said ironically and is repeated from वैशम्पायन's words ‘न युक्तं भवतीetc. (. 9 above ) The meaning is: -if it is not proper for us to stay here, it is also not‘proper for you to stay here. If you want to stay bere, you cannot then advise us as you do. भवतः is to be connectKADAMBAR 191 ed with युक्तमिदम् (1. 17 ). तारापीडस्य अनन्तरात् who is not different from (the emperor) तारापीड 2. e. who is as great as तारापीड; or it may also mean who is next (only) to तारापीड. The first is preferablo. न विद्यन्ते अन्तरं यस्य स लब्धजन्मनो ( येन )h• अनन्तर. लब्धं जन्म qualifies भवतः above caressed on her lap. चन्द्रापीडेन शिक्षितस्य–चन्द्रापीड and वैशम्पायन were placed under the same butors. See ‘तत्रस्थं च तं...अखिलविद्योपादानार्थमाचार्येभ्यश्चन्द्रापीडं शोभने दिवसे वैशम्पायनद्वितीयमर्पयांबभूव ’ (p. 5 t. 4-y of P.); also ‘अते च {ः सव। भिरन्याभिः कलाभिरनुचकार तं वैशम्पायन (p. 76 1. 8 of P). भवतः पुनः...युक्तमिदम् Is it proper for you that &c. ( the meaning is that it is not proper for you ) . ज्येष्ठे...जगन्नाथे-All these refer to चन्द्रापीड who was like an elder brother to वै०, who an affectionate masterand the lord of the world. Accord. ing to ancient Indian ideas the elder brother was to be obeyed ithout question like the father. Compare यो ज्येष्ठो ज्येष्ठवृत्तिः स्यान्मातेव स पितेव सः मनुस्मृति X. 110. The meaning is that in चन्द्रापीड are centred all the relationships for you wis. those of eldest brother, friend, master, and lord of the world. गुणवति {ualifies भवति तत्परित्यगेन–तस्य (सर्वस्य ) परित्यागेन कस्यापरस्ये-..च्छेदः who else (but you ) possesses such a discrimination (परिच्छेदः) between what is proper and improper ? चन्द्रस्येव शीतला प्रकृतिः स्वभावः यस्य चन्द्रापीडेनैव...वयम् what will prince चन्द्रापीड himself say to us? They mean that they will be severely blamed by च० if they were to leave him alone in the forest. किमन्यो ...भवान् Are you and चद्रापीड different (to us) ? ४. e. we know that you and च० are to us one and to be equally obeyed. संमोह: delusion, infntuation. गमनाय ...धीयताम् make up your mind for going. ईप a little. विलक्ष...वचनेन in words full of smiles and em- barrassmont. विलक्षः विस्मयान्वितः हासः यस्मिन्. The reading वदनेन

  • वचनेन of the Calcutta editions is hetter. किमह ...बोधयन्ति do I

not understand even so much that you advise me to go? पारयामि I am able. प्यैव ..बोधना this (the fact that I cannot stay even for a moment without च०) is the greatest ( गरीयसी ) means of rousing me (from my वैराग्य ). He means--your words are but a feeble means of inducing me to follow you. The fact that I cannot stay without च० is more powerful for inducing me to go with you. अनेनैव-.प्रभुत्वम् at this very moment my power every where (over all my organs) has vanished. तथाहि to illustrate. नरदिवं...प्रवर्तते my mind, as if remembering something (that I cannot describe, does not proceed (address itself) to anything else. चलति turns. निगडितैौ chained. पदमपि..सहेते my feet are 192 NOTES ON not able to move even a step. कीलितेव ---तनुः my body is as if ३४ nailed (कीलिता) in bhis very place. तदात्मना..यातुम् therefore I am unable to proceed by myself e with my own efforts ). अथ-..निनीषवः if (अथ) you wish to take me from this place by force. जीवित ...भावयामि I do not think it possible that my life will continux. यदेत ...धृतोऽसि which, being indescribable and not determined (as to what it is ); revolves in my heart, and by which I have been supported (so far ). अनवसीयमान (न+अवसीयमान pr• p. passive of सो with अव 4 P ) which is not determined, which I do not know what it is. तदलं निर्बन्धेन therefore enough of importunity (i. e. do not press me further). आ तृतेः till you are satisfied. तत् = चन्द्रापीडदर्शनसुखम्. कर...नीतम् (phough I had obtained it ) it was thus snatched from any hands by fate. कौतुकात् ( to be connected with पृष्टः) bhrough curiosity शपामि जीवितेन I swear by the life of my friend चन्द्रापीड. श in the sense of ‘to swear, to promise on oathi' governs the dative of the person to whom a promise is made and instru. of the object by which the oath is taken. P. 38. 1. 13–p. 39 1. 8. मुहूर्तादिव ..केशो भूदिति. किमपि अन्विष्यन् as if searching for something lost. सुनिर्वेदम् (निर्वेदेन सह यथा स्यात् तथा) with despondency कृतं वीरुधां (ल्तानां) संनिधानं यैः who stood near the crcepcrs. ‘लता प्रतानिनी वीरुद्र गुल्मिन्युलप इत्यपि' इत्यमरः वीरुध् £. a creeper ( from रुहृ with वि ). तत्प्रति...प्रत्याशया from the hope of rousing him (वै० ). अमी...प्राणाः this life (of वै० ). चन्द्रापीड•• मृत्युना I am desirous of the sight of च० himself and not of death. झुर्थितू in the sense of desirons of' is used with the instrumental. तदभ्य...निष्फला therefore to request me in this case ( e. for supporting my life ) is unnecessary. निर्वर्तिता (निष्पादिता, कृता) शरीरस्थितिः येन कृतवन्तः-understand शरीरस्थितिं after this. अनुभावयन्तः reflecting over. निष्प्रत्याशा..नयनयोः having no hope of his coming or being brought. सुकृत...स्थापियत्वा having placed his servants with proper arrangements for their provisionsसुकृतं शम्बलस्य (शम्बलः पथिव्ययः पाथेयम्) संविधानं (arrangement ) यस्य (quali fies तत्परिकरं). शम्बलः-लम् provisions for a journey. Ar. remarks तण्डुलोपदंशादिद्रव्यम्. तस्य (वैशम्पायनस्य) परिकरः (rctinue, attendants ) तम्, यच्चाग्रतो..छेशो भूदिति that we did not send a messenger in front (of us ), one reason for it was that he would not have reached your majesty on the way (अन्तरा) while bravelling could not have overtaken you who were bravelling fast) and the other reason was that you might not be put to the trouble of re turning again the momend you entered (उज्जयिनी) after a long time, KADAMBAR. 19B । The meaning of this latter is: the messenger would have reached उज्जयिनी just after' चन्द्रापीड, who would in that case have had to resume his journey again back to अच्छोदAr. ‘संवादकः वृत्तान्तकथक सन्देशहरः। तदेकं तावत् तस्य कारणमेकं तावत् । यत्तच्छब्दयोरव्ययरूपम् । तदिति पटी । गच्छतो देवस्य अन्तरा मार्गमध्ये न परापतत्येव त्वया न सङ्गच्छते इत्यर्थः। अपरमपि अन्यत् कारण तु उज्जयिनीं चिरात् प्रविष्टस्य पुनरागमनक्लेशो मा भूदिति'. छेशोऽभूत् is a misprint for चेशो भूत् . The augment of the imperfect and aorist is dropped with the particle मा according पा. VT. 4. 14 “न माङ्योगे'. P. 89 1. 10–p. 40 1. 18. चन्द्रापीडस्य तु•••तेन कृतम् अनुप्रेक्ष णीयम् not to be thought of. युगपत् qc. at one and the same time ‘तदा तदानीं युगपदेकदा सर्वदा सदा' इत्यमरः, उद्ग...हृदयस्य whose heart was overwhelmed (आक्रान्त ) by dधुjection (उद्वेग ) and amaze ment८ वनवासः एव एकं शरणं यस्मिन् in which a forest residence is ४. e. appears to him to be ) the sole refuge. mistake. तातप्रसादात् =तारापीडस्य प्रसादात्. तमपि = वैशम्पायनमपि. चरणतले लुठिताः चूडामणयः येषाम् whose crestjewels roll on his (वै०१३) feet. This means—the princes who wait upon me must not be the cause of his वैराग्यas they honour him as much as myself. ममेव हीयते nothing is vanting to him also as to me as regards all sorts of enjoyments (that he obtains ) even more than he can desire. इच्छायाः अधिकेषु that exceed oven desiro. हीयते pos8¢ve pr. of हा to abandon, 3rd cornj. P. विहन्यते is disobeyed. सोऽपि...करोत्येव he also shows favours (to servants and dependants). स्पृहा strong desire, envy, covetousness (for the luxurics he possesses). अपि आगच्छन् तनयनेहो...भावितः was he not, when coming, honoured with kindness ( सौहार्द ) worthy of the affection for a son. अपि intro. duces a question here. ‘गर्हासमुच्चयप्रश्नशङ्कासम्भावनास्वपि' इत्यमरः सुहृदो भावः सौहार्दम्. विनया -च्छुना desirous of (seeing) more modesty ( on वैशम्पायन’s part ) तातेन refers to तारापीड. Ar . reads ‘तात- शुकनासेन'. तत्रापि विरमेहा—the principal clause ends with ०दुर्ललितो वा and the relative clanse begins with यो जन्मनः प्रभृति etc, even if that were the case (४. e. if something painful was said by शुकनास or even if he were bcaten). अलेहलः without affection. पिशुनस्वभाव= खलस्वभावः of wicked disposition. ‘पिशुनौ खलसूचकौ ’ इत्यमर. गुरुजनाभक्तः not devoted to his clders. गुणानाम् उपादानं ( ग्रहणं ) तस्मिन् विमुखः (पराङ्युखः. तरलचित्तः चथलहृदयः यकिचनकारी doing anything whatever; hence, doing a rash act, यः कश्चिदिव प्रकृतिः of a mean naturc like some ordinary personआढ्य..र्वतः vain by the fact of this being the son of a riah man आद्यस्य पुत्र 17 194 NOTES ON १८ तस्य भावः ०पुत्रता तया गर्वितः. दुःशिक्षित ...दुर्ललितः badly taught, or impudent, or nanghty on account of his being an only son. एकता तेन दुर्ललितः. सर्वप्रकारैः उपकारिणः. खेदमेवं कुर्यात् he wond thus show disgust with. अनुबन्धाद्रिमेद्वा or would cease in his attacb. ment (to his elders ). रम्, though आत्मनेपदिन्, takes परस्मैपद necessarily when preceded by वि, आ and परि, according to <व्याङ्प रिभ्यो रमः ' पा° I. B. 88. रम् with वि (to stop, desist) goverms the ablative according to bhe वार्तिक ‘जुगुप्साविरामप्रमादार्थानामुपसंख्यानम्’ on ‘अपादाने पञ्चमी’ पू० II. 3. 28( verbs having the sense of

  • disgust cessation' and 'mistake' govern the ablative ). प्रशम

कालः this is not (the proper ) time for such a calmness (of mind, as he is striving for ). प्रशमः means वैराग्यम्. According to ancient Indian ideasthere were four आश्रम s (stages of life } through which a man was to pass. The first was ब्रह्मचर्य (the period of studentship), then came गार्हस्थ्य ( the life of a house- holder ), then वानप्रस्थ्य and then the last stage, j४. Bhe life of a यति called (संन्यास or प्रव्रज्या). Note the following from जाबालोप निषत् ‘ब्रह्मचर्यं परिसमाप्य गृही भवेत् गृही भूत्वा वनी भवेत् । वनी भूत्वा प्रव्रजेत्’ Of course in rare cases a person became a यति just after ब्रह्मचर्य as said जाबालोपनिषत् also ‘यदि वेतरथा ब्रह्मचर्यादेव प्रव्रजंद्रहाद्वा is by the वनाद्वा ।. The मनुस्मृति 5ays ‘वेदानधीत्य वेदौ वा वेदं वाऽपि यथाक्रमम् । अविप्लुतब्रह्मचर्यो गृहस्थाश्रममावसेत् |P III. 2. प्रशम was a quality that slonld be characteristic of a वानप्रस्थ or यति and the time when a man should become a वानप्रस्थ is indicated in the following verse ‘गृहस्थस्तु यदा पश्येद्वलीपलितमात्मनः। अपत्यस्यैव चापत्यं तदरण्यं समाश्रयेत्।। मनुस्मृति VI2 ( when a householder saw wrinklos on his body; had grey hair and grandchildren, then he may resort to a forest). वै० was barely out of his teens and so a life of was, as shown above, most unsuited to him. विद्वज्ज-..निवेशितःe has not yet been placed in the order of a householder which is fit for learned men. As वैe was not married, he was not then a गृहस्थ. The मनुस्मृति praises the गृहस्थाश्रम highly in chaptar III verses 77-80. ‘यस्मात्रयो ऽप्याश्रमिणो शानेनानेन चान्वहम् । गृहस्थेनैव धार्यन्ते तस्माज्येष्ठाश्रमो गृही ।। मनु II78. देव ...गतः he has not yet paid of the debb due to gods Manes and men. आनृण्यम् freedom from debt. अविद्यमानं ऋणं यस्य सः अनृणः तस्य भावः आनृण्यम् Even from the most ancient times it was believed that a man had to discharge three debts, vis, to gods, Manes and sages, which he discharged espectively by sacrifices, by producing children and by the study of the Vedas. Note the श्रुति text ‘जायमानो वै ब्रह्मणस्त्रिभिर्हणवाआयते ब्रह्मचर्येण ऋषिभ्यो यज्ञेन KADAMBARM. 19B देवेभ्यः प्रजया पितृभ्यः एष वा अनृणो यः पुत्री यज्वा ब्रह्मचारी वाऽस्ति’ तैत्तिरीयसंहिता VI. 3. 10. 5. Similarly the ऐतरेयब्राह्मण says that the father discharges a debt by producing a son ‘कणमस्मिन् संनयति--पिता पुत्रस्य जातस्य पश्येच्चेज्जीवतो मुखम् ॥ The मनुस्मृति also says ऋणानि त्रीण्यपाकृत्य मनो मोक्षे निवेशयेत् । अनपाकृत्य मोक्ष तु सेवमानो व्रजत्यधः । अधीत्य विधिवद्वेदान् पुत्रांश्चोत्पाद्य धर्मतः। इष्ट्वा च शक्तितो यशैर्मनो मोक्षे निवेशयेत्।’ मनु० VI35-36. ऋणत्रयेण वद्धः--See the verses quoted aboveThe text speaks of the debt of मनुष्य, while the quotations given above speak of ऋषिऋण. वैशम्पायन had clearly not discharged his debt to gods and Manes. चन्द्रापीड points this out in the following clauses. प्रतिष्ठा stability, permanenceThis sentence shows that वै० had not discharged his debt to पितृs. अनन्त...इष्टम् he has not performed the great sacri fices (such as ज्योतिष्टोम etc.) in which very large fees are to be paid (to the त्विs ). अनन्ता दक्षिणा येषु. This shows that he had not discharged his debt to the gods. सत्र...मेदिनी he has not decked the earth with works such as a place of refugewells, SeenS प्रासादः), lakes, gardens (आरामः) etc. to be used in its etymological sense, that which commemorates or glorifies' ( from the root ऋत् 10th cony. is a place where houseless people are housed and fed. सत्रमाच्छा सदादाने वने ऽपि च' इत्यमरः ‘प्रपा पानीयशालिका' इत्यमरः. ‘हम्नॅदि धनिनां वासः प्रासादो देवभूभुजाम्' इत्यमरः. ‘आरामः स्यादुपवनं कृत्रिमं वनमेव यत्’ In सत्रकूप-.रामादिभिः the author refers to what is called पूर्तकर्म, the other closely associated with it being इष्ट. ‘वापीकूपतडागादि देवतायतनानि च । अन्नप्रदानमारामाः पूर्तमार्याः प्रचक्षते । '. न आकल्प-..कीर्णम्, he has not spread his fame lasting till the end of a कल्प and going in all the quarters. आकल्पं तिष्ठतीति. दिंशो याति इति दिशोयायि A कल्प is a day of ब्रह्म and is equal to 1000 times of the period of four युगs ( कृत, त्रेता, द्वापर and कलि ) ४. e. to a period of 4320000,000 human years. At the end of a कल्प the whole universe is destroyed and remains there for one कल्प and is again produced. Compare भगवद्भीता ‘सहस्रयुगपर्यन्तमहर्यद् ब्रह्मणो विदुः । रात्रि युगसहस्रान्तां तेऽहोरात्रविदो जनाः ? VIII. 17. See विष्णुपुराण VIL. 3 and 4 for a description of कल्प- अनुवृत्त्या | by obedience. न प्रणयिनः..नीतः ho has not made his friends as rich as himself. निर्विशेषः ( निर्गतः विशेषः difference ' यस्मात् ) विभवः यस्य स निर्विशेषविभवः तस्य भावः ०विंभवता. संविभक्ताः endowed with a gift. नाभ्याग...निस्तृपः he has not made the guests free from desire ( for money ). निर्गता तृट् येषां ते निस्तृपः. जातेन by one who is born. पुरुषार्थसाधनानां that are the means of obtaining the goals of man (the goals of human existence). 196 NOTES ON Generally four पुरुषार्थs( called चतुर्वर्ग ) are enumerated wi: (performance of religions duties), अर्थ (acquisition of wealth ), काम ( satisfaction of all legitimate desires) and मोक्ष (freedom from birth and death ). The latter is called परमपुरुषार्थ. The first three . were called त्रिवर्ग. ‘ त्रिवगों धर्मकामार्थांश्चतुर्वर्गः समोक्षकैः इत्यमरः. The following verse briefly shows how the four पुरुषार्थः to be secured ‘अर्थस्य मूलं निकृतिः क्षमा च कामस्य रूपं च वपुर्वयश्च । धर्मस्य यागादि दया दमश्च मोक्षश्च सवपरमः क्रियाभ्यः । संक्षेपशारीरक III. 366. It was believed that a man must secure at least one of these four goals of human life. ‘धर्मार्थकाममोक्षाणां यस्यैकोऽपि न विद्यते । अजागलस्तनस्येव तस्य जन्म निरर्थकम् । were P. 40 1. 14–p. 41 1. 4 इत्याक्षिप्त...अविशत्- The principal 8entence is इत्याक्षिप्तचेताः.. विसथं सकलमेव राजकम् (1. 16) उत्थाय कायमानमविशत्. आक्षिप्तं (perplexed) चेतः यस्य स आक्षिप्तचेताःयथा honoured with respect and with favours shown to them as was proper. राजकम् collection of kings. ‘अथ राजकम् । राजन्यकं च नृपतिक्षत्रियाणां गणे क्रमात् । इत्यमरः he accusatives front तत्क्षणकृतम् up to अनन्तभोगपरिकरं qualify कायमानम्. उत्तंभित ...कलशम् on the high and propped-up (उत्तम्भित ) gate-way of which was tied a garlaud of sandal, on both sides of which (कायमान) was placed a jar of gold full ( with water ) and having tender leaves placed on its top. उत्तम्भितं यत् तुङ्गतरं तोरणं ( gate-way, ‘ तोरणोऽस्त्री बहिङ्करं इत्यमरः) तस्मिन् आबद्धा चन्दनमाला यस्य. It is hard to understand what meansIt seems likely that चन्दनमाला is a mistake of the Mss. for वन्दनमाला (च and व being written very like each other ). क्षीरस्वामी explains वन्दनमालिका मङ्गलद्रक्तोरणोध्र्वे भवेद्वन्दनमालिका'. उभयपा- र्श्वयोः स्थापित उत्पलवमुखः (उद्गताः पछवाः यस्मिन् तत् उत्पलवं सुखं यस्य स उत्पछ वमुखः) पूर्णः हेमकलशः यस्मिन् पूर्णकलश with tender leaves on it is sign of auspiciousness. द्वारा प्रकरम् the ground of which was moistend with water and well swept from the door ( to the in side) and inside and outside of which masses (प्रकरः) of fragrant flowers were strewn about. इतस्ततः ..कीर्णम् in which the servants moving about here and there had taken golden pitchers of vari ous shapes in their hands, and that was crowded ( आकीर्ण ) with courtezans (वारवनिता ) carrying in their hands such materials (उपकरणं) as jewelled chowriesfans (तालवृन्तं) jewelled sandals and (रलपादुका). कर्मान्तिकम् a । servant (lit. one who carries a work to. an end). वितान-.बाणाङ्गणम् one side of which was occupied by गन्धमादन, the elephant of the kingthat (हस्ति ) stood underneath a canopy ( वितानं ) and that perfumed all the quarters by the KADAMBAR. 197 fragrance of its ichor, on the other side of which was prepared a place (stable) for इन्द्रायुधof the outer court which was occupied by famale elephants meant for riding मदस्य आमोदेन अधिवासितानि दिगाननानि (दिङ्खनि) येन सनाथीकृतः एकपार्श्वः यस्य कल्पितं इन्द्रायुधस्य अवस्थानं यस्मिन् उपवाह्यः -' orह्या a kings riding elephant (male or female). गन्धमादन was the name of the elephant that accom. panied चन्द्रापीड when he set out for दिग्विजय. See p. 112 of P मेरुगिरिणेव गन्धमादनेनानुगम्यमानः..प्रथममेव शातक्रतवीमाशामभिप्रतस्थे’ अशेष...कुर्वाणम् in which there were any stafbearers vigilant ut all the doors (to prevent persons from entering unobserved), which resembled an ocean by its vast proportions, by its depth and by its being the refuge (शरणं) of many beings (सत्वं ). अशेषद्वारेषु अवहिताः बहवः वेत्रिलोकाः (persons with canes in bheir hands) यस्मिन् In the tent, there were many (human) beingsas Bhere are many animals in the sea. अनेकसवानां शरणं तस्य भावः ०शरणता तया. तथाहि for example, सवेला ...कुसुमप्रकरैः in these words, the poet shows the various ways in which the tent of चन्द्रापीड resem bled महाजलनिधि. सवेला ...परिकरेण which seemed as if possessing a ferest on its shores with the cloths (परिकरः) on the numerous arrays (घ) of elephants that were kept dnring the period of a watch यामन्. Tho tall elephants resembled the trees and thecloths with which the elephants were covered resembled the shining shore of the sea. अन्तः...मादनेन that seemed as if a big mountain had entered into it on account of the elephant गन्धमादन. The dark elephant looked like a mountain that appears dark-blue from a distance. There is a mythological story that the moun tainsthat were once winged and caused great trouble thereby, being afraid of the thunderbolt of इन्द्र took shelter in the sea. बाण refers to this story in another place उदधिमिव भयान्तःप्रविष्ट सपक्षभूमिभृत्सहस्रसंकुलम्’ (p. 90 1. 21 of P.). Similarly कालिदास says ‘पक्षच्छिदा गोत्रभिदात्तगन्धाः शरण्यमेनं शतशो महीध्राः । नृपा इवोपप्लविनः परेभ्यो धर्मोत्तरं मध्यममाश्रयन्ते । रघु. 13. 7. Compare 'इतश्च शरणार्थिनः शिखरिणां गणाः शेरते...अहो विततमूर्जितं भरसहं च सिन्धोर्वपुः' नीतिशतक सकल्लोल...परम्पराभिः which seems as if full of billows (कचोल ) by the series of the waves (ऊर्मिः . e. crowds) of hurrying°servants moving to and fro. सावर्त...पुर्पैः which seems as if full of whirl | pools (आवर्तः) by the positions of its watchmen (प्राहरिकजन) in a circle, which seems to be possessed of लक्ष्मी on account of its charming ladies, which seems to be full of jewels on account of the great men (it contains ). प्राहरिकजनानां मण्डलेन 198 NOTES ON अवस्थानं तैः प्रहरः अस्य (रक्षणार्थं) अस्तीति प्राहरिकः or प्रहरे भवः प्राहरिकः लक्ष्म्या सह सलक्ष्मीकम् (बहुनीहि ). The watchmen stood roun। the tent in a circle which thus resembled the whirlpool in a sea. The tent was full of majesty (लक्ष्मी ) and great men. At the churning of the ocean लक्ष्मी and other jewels (in all 14 ) were churned out of it. See above (p. 184 for सागरमन्थन). वाण limself mentions लक्ष्मी as arising out of क्षीरसागर together with other jewels ‘इयं...लक्ष्मीः क्षीरसागरात्पारिजातपलवेभ्यो रागमिन्दुश कलात् एकान्तवक्रतामुच्चैःश्रवसश्चञ्चलतां कालकूटान्मोहनशक्तिं मदिराया मदं कौस्तुभ णेनैऋर्यमित्येतानि...गृहीत्वैवोद्भता’ (p. 104 1. P-11 of P). It is usual to speak of an excellent man as रन- मल्लिनाथ says ‘जातौ जातौ यदुत्कृष्टं तंद्रत्नमभिधीयते. Compare भर्तृहरिं सृजति तावदशेषगुणाकरं पुरुपरत्र मलंकरणं भुवने सहंस...प्रकरैः which seems to be full of rows of swana with the white banners, and full of lines of foam with the masses of flowers. हंसऽ are white and hence the banners are compared to them. Howers most of them white ) that were spread in side and outside the tenth looked ike foamwhich is seen on the shore of a sea. Here end the details of the comparison of the tent with the sea. हरि...करं attended with various kinds of enjoyment, like विष्णुः अनन्त ..करम् applies to हरि also (meaning whose attendants were the hoods of the serpent शेष' ). अनन्ताः भोगाः (objects of enjoyment ) परिकरः यस्य ( with कायमान ). अनन्तस्य (शेषस्य) भोगाः (फणाः, कायाः) परिकरः ( परिवारः) यस्य ( with हारि ). ‘भोगः सुखे ख्यादिश्रुतौ अहेश्व फणकाययोःइत्यमरः शेषोऽनन्तो वासुकिस्तु सर्पराजोऽथ गोनसे' इत्यमरः. शेष is supposed to have one thousand heads and as forming the couch of विष्णु or as supporting the entire world on his head. Compare कुमारसंभव III. 13 ‘व्यादिश्यते भूधरतामवेक्ष्य कृष्णेन देहोद्वहनाय शेपः. Compare वासवदत्ता ‘सागरशायीव अनन्तभोगिचूडामणि 3 , प्रतूितिपाद्यैR';a१ कार्यालय हn be कायमान as कायस्य इव मानं यस्य (which is as high as the human body) P. 41 ll. 4-24. प्रविश्य...उदतिष्ठत्. अगृहीत...वेषाभिः whose dress was dirty because they had not decorated bheir bodyअगृ हीतं प्रतिकर्म ( decoration, toilet) याभिः तासां भावः अगृहीतकर्मता तया ‘आकल्पवेषौ नेपथ्यं प्रतिकर्म प्रसाधनम्' इत्यमरः. प्रत्यकं कर्म प्रतिकर्म. क्षीरस्वामी distinguishes between वेष and प्रसाधन (the meaning of प्रतिकर्म ) follows ‘वेषो हि वस्त्रालंकारमाल्यप्रसाधनैरङ्गशोभा, प्रसाधनं तु समालम्भनं तिलक पत्रभङ्गादिना. यामिकः a_watchman (from याम m ); compare the formation of प्राहरिक explained above. आलोक..दृष्टिः casting a vacant eye on गन्धमादन who (whose presence) was told to hin by 88 , RADAMBAR. 12 शिक यं येन the fragrance of its ichorwhicld ( आमोद) seemed as if it were an attendant bhat keeps back the crowd of people, N explains -J आलोककारकैण as ‘जनोत्सारकवेत्रिण: The मदामोद of गन्धमादन drew the attention of च० who was engrossed in other thoughts, just as bhe cries of प्रतीहारीs draw the attention of the king to the person who is being brought into the royal presence or just as they lielp in checking the crowds of people by crying ‘आलोकयत आलोकयत’ from obstructing the kings path. Hence the word आलोककारकेण. Note the following passage from कादम्बरी itself प्रतीहारिणां च पुरः ससंभ्रमं समुत्सारितजनानां दण्डिनां समारब्धहेलमुच्चैरुच्चारयतामालोकयतालो कयतेति तारतरदीर्येण...आलोकशब्देन’ (p. 14 . 11-14 of P ). अपनीतः ः यस्य from whom were removed all his equipments (such as costly dress &c. ) or as N explains who sent away all people, remained alone'. अङ्ग...कारिभिः who shamponed his limbs. अप्राप्त bbrongh sharp pain (दुःखं असिका इव he again plunged in thought that was bhe cause (हेतु) of other pain, अन्यत् दुःखं दुःखान्तरं तस्य हेतुः (कारणं ) तम् . अप्रतिमुक्तः not permitted, तौ is the object of निक्षिप्य विछव distressed . शुकनासं and मनोरमां are the objects of अनाश्वस्य. अमुक्ति ...हृदयम् my hearb suspects the other alternativey; not being permit ted (to go in search of वै०) . अस्थाने ( used as an adverb ) impro per. प्रियसुहृ..त्पादयता by my dear friend (वै०) who though the abandoned himself ( to sudden emotion ) and me, las in another way led to my going out (in search of him ). कादम्बरी...चिन्तया पर्याकुला (troubled ) मतिः यस्य तेनैव पार्थेन by that very side &. . ८ continuing the same way. वैशम्पायन was on the way leading to कादम्बरी. Or तेनैव पार्थेन may mean by that very expedient'. Ar explains ‘तेन पार्येण(न) सहायभूतेन’ and thus connects the words with वैशम्पायन. पुरस्तात् £urther on (to कादम्बरी ). परिणामे सुखं that gives happiness in the end, that is wholesome in the result. आपूरिते. शत्रे when the conch indicating the third half of a watch was illed (e. e. hown ). It seems that the conch was blown at each half of a यामः So चन्द्रापीड got up, it seema, after one याम and a half from sunrise (४. e. 4 hours and a half after sunrise ). P. 41 1. 25–p. 43 1. 7. उत्थाय च...अयासीत् स्वधैर्या... हृदयं baving steadied his heart by the support of his own firmness alone ( ३. e. he did not need the आश्वसन of any one else ). संवर्गित called together. कृताहारश्च ( p. 42 1, 1)....अयासीत् (P. 43 1. .)–bhe principal sentence is कृताहारश्च...उत्थाय (1. IT ) सरस्तीरकल्पितं ...जलम- Connect साहायकमिव कर्तृ with गगनतलमारूढेः अन्त कर्तुम् 200 NOTES ON S as if in order to give help in causing tornment (heat ) outwardly to the fire of love that burnt inside (his heart} and to the fire of sorrow due to separation from वै०. उपरिस्थितः remaining above (in Bhe sky ). अतिकष्टं qualifies सन्तापम्. इति आकलय्य इव as if thus thinking. उपरि ...सन्तापम् is the object of आकलय्य . आकलय्य is the absolutive of कल 10th conj. with आ. The natural pheno menon of the sun occupying the middle of the sky in the noon is poetically fancied as due to the sun's desire to cause more सन्ताप to च० by standing above him etc. आतप...दृष्टिषु when the mass of the sun's rays emitted under the disguise of sun. shine (आतपः) as if heated and therefore liquid silver, when the sunlight as if entered the body after piercing it, when the shades of trees ( ४. e. the shady places of threes) had collections of ani- mals forming into crowds under them and which therefore were ०vercrowded (सङ्कटायमान ) on account of the entrance ( of beings under them, when the eyes (of men) were unable even to look out side ( on account of the dazzling heat). तलप्रवेशात् may be con. strued with the sun also. Then तल•••सङ्कटायमानासु would mean ‘which (छाया) became narrow on account of the sun's rays entering the root of the threes (e. e. on account of the rays falling perpendicularly ). दुःस्पर्शासु ..पथिषु when the ground could not be touched ( being heated by the Sun's rays ) and when the roads were not frequented by anybody. निर्गतः सञ्चरः येषाम्. सङ्कट...पत्ररथेषु when travellers had crowded for drinking the water inside the cottage (कुटीरं) of the narrow (सङ्कट), place for distributing water, when birds (पत्ररथः) distressed by their breath that caused bhe movement of their tubular organs stayed in their nests (नीडःडम् ). सङ्कटा (सङ्कचिता) प्रपा तस्याः कुटीरं तस्य उदरे उदपीतिः उदकपानं तदर्थं पुजितेपु. अध्यन्यः अध्वनीनोऽध्वगोऽध्वन्यः पान्थः पथिक इत्यपि' इत्यमरः . अध्वन्य is formed from अध्वन् by the affix य according to ‘अध्वनो यत्खौ पा० V. 2. 16 (अध्वानमलं गच्छति अध्वन्यः । अध्वनीनः। सि. कौ.). नाडिंधमः श्वसः तेन आतुरेषु नाडिन्धम-नाडीं धमति इति according to the सूत्र ‘नाडीमुष्टयोश्च पा. III. 2. 30 (एतयोरुपपदयोः कर्मणोर्माधेटोः खश स्यात् । सि. की. । नाडिन्धमः, मुष्टिंधयः &c). Ar proper ly romarks ‘अत्र नाडीशब्देन कण्ठनाड्यो विवक्षिताः. The ई of नाडी is short ened in नाडिन्धम in accordance with the सूत्र ‘खित्यनव्ययस्य VI. 3. 66 (खिदन्ते परे पूर्वपदस्य हस्खः स्यात् । ततो मुम् । सि. कौ.). पत्ररथः a bird (पत्राणि पक्षाः रथः अस्य ) ‘पतत्रिपत्रिपतगपतत्पत्ररथाण्डजाः' इत्यमरः पल्वलान्त करियूथेषु when herds of buffaloas had entered inside the water of puddles and when herds of elephants plunged into the mud of lakes where they drank water, that ( mud ) was inlaid ( विच्छुरित) KADAMBAR. 201 with filaments (किञ्जल्कः) and pieces of lotus leaves, and that !{mud) was bristling (दन्तुर) with pieces (च्छेदः) of lotus stalks that were cut (उखुटित) by the stirring up (विलोडितं, of the lake) at their will ( by the elephants). We should read विलोडितोऽटित०. किञ्जल्कः केसरोऽस्त्रियाम्' इत्यमरः. अरविन्ददलानां शकलैः किञ्जल्कैश्च विच्छुरितम्. इच्छया विलोडितं (मथनं ) तेन उक्षुटितानि विसकाण्डानि तेषां छेदाः तैः दन्तुरम्. ‘दन्तुरस्तून्नतरदे तथोन्नतनते त्रिपु' मेदिनी. दन्तुर uneven, undulated. रक्त वलीषु when the borders (उपान्तः) of the cheeks of young women bore the appearance (कान्ति ) of red lotuses, when rows of the drops of perspiration (घर्मजलं ) were shining resembling the powder of crushed pearls . रक्ततामरसस्य इव कान्तिः येषाम्. दलितानां मुक्तानां क्षोदः तं अनुकरोतीति. घर्मः heat. The cheeks became flushed on account of the heat. स्मर्यं...हृदयेषु when the moonlight was re . membered (on account of its cooling effect ), when the (cooling) properties of snow (तुपा) were being praisd (lit. taken ), when the advent (अभ्यागमः) of the rainy season was longed for, when the close ( परिणामः ) of the day was desired, when the hearts (of men ) were eager to see the evening (प्रदोपः). ‘तुषारस्तुहिनं हिमम्' इत्यमरः, पयोदाः मेघाः तेपां कालः (वर्षाकालः ) तस्य अभ्यागमः सरस्तीरकल्पितम् (prepared on the bank of the lake )--this and the following accusatives ( singular ) up to उपेतम् (p. 43 1. 3) qualify जलमण्डपम् (p. 1, 1)अनवरता...परिक्षिप्तम् where the heat of the 43. suns rays was awarded off by the drizzling of constantly falling showers of water, that (जळमण्डप ) was encircled (परिक्षिप्त) by a conal (कुल्या ) as if it were a stream fowing with rapidity of the fall of showers in unbroken lineअनवरतं आपतन्तः जलस्य आसाराः (shower ) तेपां सेकेन निवारितः उष्णकरस्य (सूर्यस्य ) किरणानां सन्तापः यस्मिन् एकसन्तानस्य आवली तया धारावर्षः तस्य वेगं वहतीति. अन्तरालम्बित काण्डम् where darkness was produced by the tender leaves (प्रवालः लम्) of water-canes that hung down from the middle (of the जलमण्डप ), all the pillars of which were covered with creepers that put on ( ४. e. were full of ) flowers and tender leaves, that yas wet with the anointing of thick हरिचन्दन paste, all the ground of which was covered with lotus leaves ( पलाशं ) as dark green as emerald, on which were scattered leaps of lotuses that spread their perfume all round that were juicy (सरस ) and fully expanded, where were spread juicy lotus -stalks, अन्तरा (मध्ये ) आलम्बितानि जलजम्बूप्रवालानि (वतसकिसलयानि ) तैः आहितः अन्धकारः यस्मिन् आमुक्ताः कुसुमपछुवा यासु ताः आमुक्त..पह्वाः लताः ताभिः आवृतः अखिलस्त भानों सञ्जयः यस्मिन्. आमुक्त put on, worn. अतनु not small &. 202 NOTES ON thick, हरिचन्दन 8 kind of yellow sandal. मरकतवत् श्यामानि पझिनी पलाशानि तैः आस्तीर्ण ( covered ) समस्तं भूतलं यस्मिन्. आमोदमानानि विदूरग गन्धवन्ति) सरसानि स्फुटितानि (विकसितानि ) अरविन्दानि तेषां राशिः तस्य दत्तः प्रकरः यस्मिन्ः आकीर्णानि सरसानि बिसकाण्डानि यस्मिन्. The sandal, tho lotusstalks, lotus leaves etc, were placed there to produce a cooling effect on च० who was agitated by the sorrow for वै०. अकाण्ड •..मञ्जरीभिः which, with tho tender sprouts of nmoss (शैवलं) that dropped down water here and there, seemed as if to have produced the raiuy season all of a sudden. अकाण्डे (अनवसरे ) कल्पितः प्रावृट्कालः येन. ‘जलनीली तु शेवाळे शेवलोऽथ कुमुद्वती’. क्षीरस्वामी says that the proper word is शेवल or शैवालbut that the द्रविडs employ. शैवाल and शैवल. ‘शैवलं शैवालमिति तु द्रविडाः ९. जलदेवता उपेतम् that was possessed of a few courtezans ( वाराङ्गना) that seemed as if they were water-nymphs ( जलदेवता ), because thei beautiful hair was yet with the bath they had just taken, that (वाराङ्गना ) had put on fragrant and delicate robes wetted with water, that were charming on account of the wet unguent (अङ्गरागः) of sandal, that had necklaces and bracelets alone as their ornaments, that had turned young spronts of moss into their car ornaments, that had in their hands such materials as lotus-ibres (मृणालं ), fans, camphorperfumed powder (पटवास), yellow sandal moon-stones and mirrors. जलदेवता would have had yet hair and also wet clothes; the वाराङ्गना had just bathed and wore wet gar ments in order that their touch might be cool and might not increase the सन्ताप of च०. स्नानेन आईं: चिकुरहस्तः (केशकलापः) यासाम्.} ‘पाशः पक्षश्च हस्तश्च कलापार्थाः कचात्परे’ इत्यमरः. 'The words पाश, पक्ष, and हस्त are used after words meaning 'hair' (कच) in the sensBoी कलाप ( collection ). उपगृहीताः सुरभयः कोमलाश्च जलार्दिकाः याभि. कुलाद्रिका explained by Apte as fans wetted with water.' N explains it as छिन्नवासस्' and quotes अभिधानचिन्तामणि in support‘जलाद् लिन्नवाससि' इत्यभिधानचिन्तामणिः.ॐ Arexplains जलार्दिकाः as जलार्द्रप्रावरणम्. अना यानं ( अशुष्कं, आर्द्र) चन्दनं तस्य अङ्गरागः (विलेपनं ) तेन हारिणीभिः (मनोहरा भिः). अवतंसितानि बालशैवलप्रवालानि याभिः ‘पिष्टातः पटवासकः इत्यमरः पटवासः is fragrant powder mixed with musk (used for perfuming garments) पटः वास्यते अनेन मृणाल...दर्पणादीनि उपकरणानि पाणौ यासाम्, अबीभिः who were not many. बही is the feminine of बहु. Adjec Gives of quality ending in उ optionally form thoir fominine by adding ई. ‘बोतो गुणवचनात्पा. Iv. 1. 44. Arhas a long com- ment on this clause aud remarks in the end ‘जलदेवता..तत्र तत्र नदी जलाशयेष्वाधिपत्यमधिगम्य स्थिता वरुणवाराङ्गना दृश्यन्ते। ताश्च तद्वरुणपरिचरणार्थं मृणालतालवृन्ताद्युपकरणवाहिन्यो भवन्ति । एताश्चन्द्रापीडस्य शिशिरोपचारपरिचरणार्थं IS KADAMBAR, 20B तथा लक्ष्यन्ते । ताभिवराङ्गनाभिरुपेतम् । १. परिभवस्थानमिव —This and the following accusatives up to are in apposition with जलमण्डपम्. Compare p. 36 ll. 9—11 (of text) for a similar description. परिभवस्थानम् = पराभवस्थानम्. निदाघसमयः summer. निदानम् source. निवेशः abode. वारिवाहः= मेघः. तिरस्कारमिव रविकराणाम् that as if treated with contempt i. e. defied the rays of the sun. तिरस्कारः also means concealment, veil and so the clause would mean ‘ that as if veiled the place against the suns raysहृदयमिव सरसः as if it were the heart (middle ) of the lake (it was SO cool and full of water). स्वरूपमिव जडिम्नः as if it were the very nature of coolness ४. . as if it were coolness incarnate. आवासः house. विभावरी night, The sun's rays could not penetrate inside the bower. प्रत्याघातः repulso, repelling. प्रत्याघातमिव दिवसस्य as if it repulsed sunlight. जलमण्डपः = जलपरिक्षिप्तः 1S P. 48 1. 8–27. तत्र चाति ...उज्जयिनीम् अतिरम्यतया..दिवस the day that was deep (d. e. that seemed endless to him on account of his distraction) like the ocean, that (day) was unbearable ( विषम ) on account of thousands of longings due to excited love and which enkindled (संधुक्षित ) his firo of separation from is friend by the coolness of the showers of water (in the जल मण्डपे. क्षुभितः मकरध्वजः (मदनः) तस्य उत्कलिकासुहतं (उत्कण्ठासहN ) तेन विषमं (दुसहम् ). The adjectives क्षुभित...विषमं and संधुक्षित ...नलं are capable of application to महासमुद्र also. क्षुभिताः मकराः येन एतादृशं यत् ध्वजोत्कलिकासहस्त्रं (ध्वजसदृशा उत्कलिकाः ऊर्मयः ध्वजोत्कलिकाः तासां सहस्र) तेन विषमं (नतोन्नतम् ). संधुक्षितः सुहृद्वियोगसदृशः अनलः (वडवानलः Tho meaning of the two adjectives ( with महासमुद्र ) that was uneven with thousands of itg waves that disturb the sharks and that emkindle the sub-marine fire resembling the separation from one's friends ". Charming things excite a person in love or sorrow ; homce the very charming मण्डप excited च० the moresimilarly even cooling substances appear hot to a man in separation; therefore the showers of water kindled the firo of separation. The fire inside the ocean called वडवानल is said to foed on water and hence it is said to be enkindled by showers of water; as Ar. properly remarks fऔर्वानलस्यापि अबिन्धनतया शिशिरत्वमेव प्रज्वलनहेतुर्भवति. The sons of कार्तवीर्य with the desire of destroying the race of भृशं killed even the children in the womb. One of the women of the family secreted her foetus in her thigh to preserve it and hence the child at its birth was called और्वBe holding him the sons of कार्तवीर्यं became blind and his wrath was 204 NOTES OMY about to consume the whole world in its fames, when at the desire of his पितृs he cast the fames into the ocean where they remain concealed. Compare शाकुन्तल III ‘त्वयि ज्वलत्यौर्व इवाम्बुराशौ. स्वधैर्ययान त्रेण by the boat in the form of his own steadiness. (becoming red) आतपः ( sunlight) यस्य (adj. of सायाहे ). ०हरिते and ०शोभिनि qualify वासभवनाङ्गणे •and mean green with the plaster (उपलेपः) of thick (बहुल) cowdung; and clharming on account of the heaps of white flowers that were gently shaken being struck with very light breezes. ' मन्दमन्दमारुतेन आहतः अत एव उत्तरलायमानः धवलकुसुमानां प्रकरः तेन शोभते इति. उत्तरलाय मान 07• • of उत्तरलायते denominative verb from उत्तरल. वासः भवनाङ्गणे क्षणमिवास्थाने स्थित्वा remaining for a moment in the audience-hall (आस्थानं ) in the courtyard of his (temporary ) lodging. समासन्न attending near. वैशम्पायनालापेनैव in talks about वै०साधनं =सैन्यम्. बलाध्यक्ष commander-in-chief. ऋक्षोदये एव at the very appearance of stars (कक्षी). नक्षत्रमृक्ष भं तारा तारकाप्युडु वा स्त्रि याम्' इत्यमरः. अतिचिरं अन्तरितं उज्जयिनीदर्शनम् तस्मिन् उत्सुक: anxious to see उज्जयिनी which had not been seen by them for a long time. कटक लोकः—this refers to the army which च० had left behind near the अच्छोद lake and which had then come after being more than three years on their tour of conquest. विनापि..नान्य—N. 5ays विनाऽपि यात्रापटहवादनम्. विना governs the instrumental (नान्द्य ) here. also governs accou. or ablativeसंवृत्य lhaving arranged them selves, being ready. आत्मना...विनोदः who had limself had no diversion due to sleep. अलब्धः निद्राया विनोदः येन सः (चन्द्रापीडः ). अवतरत्येव...यामे just when the third watch (of the night ) began. तुरग..वाहनेन that rode mostly on horses and elephants. विरल. वहत् he rode by a way where there was no crowding of soldiers. विरलः कटकस्य (सैन्यस्य) संमर्दः यस्मिन् अध्वनैव -..वत्याम् when the night (यामवती ) had come to an end together with the journey. रसात. भावेषु when all objects seemed as if emerging from the nether regions. In the night no object was visible on account of the darkness. Whem day brokeall objects were clearly seen objects began to appear where there was nothing visible at night, 'his the poeb represents as emerging from पातालउन्मील निम्नोन्नतेषु when eyesight seemed to expand, when the world of beings seemed to be created again in a different form, when low ( निम्न ) and high (उन्नत ) spots were clearly distinguished ( on ac. count of daylight ). At night the eye was as if contracted, because it could not penetrate darkness. In daylight it could see distant objects and hence it is said to expand, The world, KADAMBAR. 205 being steeped in darkness, wore a different aspect at night; but in the morning, it looked quite a new one in the fresh light of the sun. विरला..गुल्मेषु when the thickest part of forests began to appear less dense (on account of sunlight penetrating into them); and when the thickets (गुरुम) of trees and creepers seemed to he. k• ! come tarrow (on account of their being clearly marked in the daylight ). ‘गुल्मा रुक्स्तम्बसेनाश्च' इत्यमरः . गगन ...दिवसकरविम्ये when the disc of the sun, that appeared like the footprint of the Beauty of the day mounting the sky that (पद) was reddened with the thick la dye (of her feet), that (disc) seemed to be the fresh sprout of the creeper in the form of the East arising through its ( creeper ) being sprinkled with dew (अवश्यायः), imparted राग ( red colour passion ) to the lotus plants. The red disc of the snn in the morning is first compared to the foot-print of a lady ( vie. the Beauty of the day ) that applies lac to her feet and then to fresh sponts ( that are red ) of the creeper (the east ). पदे oc. Biry- वहुलेन प्रभूतेन लाक्षारसेन आलोहिते ईषत् लोहिते. The कम लिनी blooms at the rise of the sun and hence the latter is called Compare with this description of the morning that on p. 32. P. 44 1.1-8. अथ दूरत••श्रव. The principal sentence is अथ दूरत एव-वैशम्पायनवृत्तान्तमेव समन्ताच्छुश्राव• प्रसृति...संस्थितैः who stood with joined hands. प्रसुति–the palm of the hand stretched out and hollowed (मराठी पसा) पाणिनिकुब्जः प्रसृतिस्तौ युतावञ्जलिः पुमान् wond mean the same thing as अञ्जलि as the above quotation from अमर shows. The fact of persons standing with folded hands shows their deliberation. The reading of the Calcutta editions and of Ar. wi८. दूरत एव प्रभृति द्वन्द्वसंस्थितेः is how ever better. दूरत एव प्रभृति (HIe heard ) from a distance. द्वन्द- संस्थितैः who stood in pairs, as Arexplains ‘द्वन्द्वशः स्थितैः द्वौ द्वौ समेत्य स्थितैरे. पुञ्जित collected together. All the adjectives up to ०मौनैश्च fualify मुनिभिः...दुर्जनैःआबद्धं मण्डलं यैः who formed a cirole . वलितैः talhat turned round. दत्त...पदैः who took a few steps with a vacant mind (that was engrossed in thoughts about वैश०). दत्तानि कतिपयानि शून्यानि पदानि यैः, विवर्ण pale. महा-मुखरैः who were garrulous with crying aloud the words a great misfortune has hefallen . दुखा मौनेः who were kept silent by the exce58 of sorrow. दुःखाधिक्येन आ हितं मौनं येषाम् मुमुक्षुone who is desirousof मोक्ष, of being free from the round of births and deaths and the effects of कर्म. Notc कुमा रसंभव II. 31. ‘तदिच्छामो विभो स्रष्टुं सेनान्यं तस्य शान्तये । कर्मबन्धच्छिदं धर्म मुमुक्षवः. मुमुक्षुis formed with the affix उ from the desider 18 206 NOTES ON 8S , ative base of according to the सूत्र ‘सनाशंसभिक्ष उः पा० II. 2. 168 (the affix उ is applied to desiderative bases, to the root शंस with आ and to भिक्षeg• चिकीर्पःआशंसुःभिक्षुः. वीत (विगतः) रागः येषाम् whose passions are gone. उदासीनैः who are indifferent to worldly ties. मुमुक्षुभि...उदासीनैरपि —this shows that all sorts of peopleeven those who had given up the ties of the world were concerned for वै०. Ar. construes मुनिभिः विशेषण of मुमुक्षुभिः and वीतरागैः of योगिभिः (which our text has not got) and remarks f: मुनि भिरपि इति मुनिशब्दो मुमुक्षुशब्दस्य विशेषणतया निर्दिष्टः । पूर्वत्रापिशब्दो विरोधद्यो तकः । उत्तरत्र अपिशब्दस्समुच्चयद्योतकः । गृहीतमौनव्रता अपि मुमुक्षवश्च तेहपरवशा एव वैशम्पायनवृत्तान्तमात्र्यां पृच्छन्ति’लेहपरवशैः overwhelmed by their afiection (for वै०). नगरनिर्गतैः who came out of the city (to learn the real news from the army, as if they were his fatherfriends आर्या in great distress. अनुभाव्यमानं being revolved in the mind. P. 4419-p. 45 M. 10. शुण्वंश्च -अश्रौषीत् वायस्य जनस्य of persons who are outsiders strangers. not related (to ०). बालचाटवः his sweet and endearing words when a child. नासा...दृष्टिः who fixed his eye full of tears on his nose निहिता उद्धष्पा (उद्गतम् बाष्पम् यस्या) दृष्टिः यस्य गच्छंश्च (p. 44 1. 16). अश्रौषीत्–-the principal sentence is गच्छंश्च समीपवर्ती...मनोरमां विप्रलपन्तीमश्रौषीत् (चन्द्रापीड). मदक.वाल एवासि you are still a boy ht to be fondled on my lap. व्याल..मानुषे terrible on account of hundreds of thousands of wild beasts ( or serpents) aud unin- habited. ‘भेद्यलिङ्गः शठे व्यालः पुंसि श्वापदसर्पयोःइत्यमरः सर्व..कारिणी bringing about the destruction of all animals. ‘द्रव्यासुव्यवसायेऽपि सत्वमस्त्रं तु जन्तुषु' इत्यमरः . याघातः means 'striking, obstacle . रक्षा protection. वैषम्यपरिपन्थिनी that would come iu the way (that would resist ) of misery (or harshness of nature ). बुभुक्षिते 4५ ( hungry ) and सुषुप्सति (desirous of sleeping) are the loc. sing. of the pa8%. p. p. and pr. p. respectively of the desideratives of भुज and स्वप् respectively. समाने सुखदुखे यस्याः who shared your happiness aud sorrow. उपात्ता obtained (p»8¢ . p. of दा with उप and आ ). अनुज्ञाप्य having made him to give permission (abso ]utive of the causal of श with अनु). संपन्नम् not accomplished. परं But, on the other hand, यत्र...रुचितं where it has pleased you to 2-46tay. तात--is a term of endearment addressed even to children, to friends aud relatives. श्रीकृष्ण addresses अर्जुन ‘ न हि कल्याणकृत्क दुिर्गतिं तात गच्छति ’ भगवद्गीता VI. 40 Here मनोरमा addresses her Son वै० as तात. एकपदे all of a suddeu. आ जन्मनः and जन्मन प्रभृति would KADAMBAR 207 both mean from birth' and therefore in आ जन्मनः प्रभृति one word is redundant. मयि कोपर--words (not verbs) having the sense of love ' * hatred' anger' govern the locof the person against whom the feeling is shown. Note also अस्मासु लेहः below. अनन्तरितं दर्शनं यस्य whom you never failed to see. सर्व you have placed in sorrow all your elders who deserve to be placed in happiness (by you ). प्रत्यग्र..विह्वलां who was over whelmed with the fresh (प्रत्यग्र) sorrow of separation from her son. संस्थाप्यमाना who was being comforted, P. 45 1. 11–25. तेन चाति-शुकनासोऽब्रवीत्. तत्प्रलाप-.विह्वल इव as if paralysed by the poison of her lamentations. तस्याः ( मनो रमायाः) प्रलापाः एव विपं. निद्रा-.घूर्णमानः as if reeling on account of the approach of sleep. निश्चेतनता loss of consciousness. सहजा...त्मा who steadied himself by resorting to his natural firmness (सत्वं). निस्पन्दानि ( निश्चलानि ) सर्वाणि अङ्गानि यस्य–this qualifies शुकनासेन, who is compared to mountain मन्दर, मन्दर was used as a churn ing handle at the time of सागरमथन When the churning stop ed, the ocean as well as मन्दर would be motionless. See above (p. 184) for सागरमथन and मन्दर, मथना•••महाण र्णवं like the great ocean motionless at the end (अवसानम् ) of the churning. तारापीड father of च०, is compared to the ocean. अन्त...ध्वनिना with a voice that was choked by the food of tears inside (his eye ). तारापीड i8 compared to a clond (hat also thunders before it rains). अभ्यवर्षः (अभ्यर्णः संनिहितः वर्षः यस्य ) that is aboub to shower down ter ). ‘उपकण्ठान्तिकाभ्यर्णभ्यग्रा अप्यभितोऽव्ययम्' इत्यमरः जानामि प्रीतिम्—compare जानामि ते गरीयसीं प्रीतिम्’ (p. 237 1. 7 of P ). It would be better to read with the Calcutta editions, with K and Ar. तथैव for तथैव. The meanig of पीडा च..समुत्पद्यते तथैव-..क्रियते is (I also know ) that pain, which is never expected from a person doar to (a man ) who (person ) should be the source of happiness alone. arises (sometimes from such a man ) and is able to do anything (to produce any effect on the mind). He means: A man oxpects from his friend nothing but happiness; but if the friend falsifies these expectations and canses pain, then may give a shock to the man and induce him to do anything. Here वै ० never expected from you (च०) anything but happiness; you gave him pain for one reason or other; this caused a shock to वै०s feelings; and thus made him stay near the अच्छोद lake alone. Supply इत्येतदपि जानामि after क्रियते, न किंचिन्न क्रियते—two negatives" make a positive assertion. See above (p. 168 ). If we read तथैव as in the text, bhe passage cannot be well-con 208 NOTES ON strued. Ar explains ‘किं च वलभजनादेव मित्रपीडा असंभाव्य तथापि दैववशाद्य पीडा समुत्पद्यते तथैव सर्वं क्रियते इति च जानामि’. जन्मनः अनुचितम् un worthy of his birth (from a devoted minister like शुकनास ). लेहस्य-understand पित्रोरुपरि after it. अनुशासनं precepts, advice. विनयाधानस्य production of modosty. त्वदोष...हृदयम् my heart sus pects bhat you are at fault, वचनमाक्षिप्य cutting short this words. युगपच्छोका-शुकनासोऽब्रवीत्-शुकनास whose face was darkened by sorrow and impatience (अमर्पः) at the same time spoke with a lin quivcring ( through emotion ), as if he were the beginning of the rains which is hard to look at on account of the fashes of lightn. ing ( and which is characterised) by thunder (विस्फूर्जतं ). Ar. explains the शोक and अमर्ष of शुकनास ‘चन्द्रापीडस्योपरि दोषारोपणादर्षः स्वपुत्रस्य अविनयस्मरणाच्छोकामऍपलक्षितः शुकनास. His face was dark with शोक and अमर्प; his lips were trembling; therefore he resembled प्रावृडारम्भ which has dark clouds and in which there are fashes of विद्युत्. His loud speech resembled thunder. Rcad विस्फूर्जितेनेव for ०नैव to complete the simile. P. 46 1. 1 p. 48 1. 14 देव यदि.अवतस्थे. यदि चन्द्रमस्यूध्मा understand संभाव्यते in each of the clauses from चन्द्रमस्यूमा 2 to परार्थानुद्यमो वा साधोःअंशुमालिनि=सूर्यं तमस्विन्यां = रजन्यां शोषः dryness. क्षितेरधारणं शेपे (if ) ple non-supporting of the earth be possible in शेष. See notes above (p. 198 ) on हरिमिवानन्तभोगपरिकरम् (p. 41 1, 4 ). बाण elsewhere refers to this ‘शेषतनुरेव सदासन्नवसु धाधरा’ (p. 52 1. 3 of P) and ६ भुजगराज इव क्षमाभरगुरुः (p. 54 1. 9 of P). परार्थानुद्यमो वा साधोः (if it be possible ) for a good man to be inactive in another's interest. It is said that a good man is always active in doing good to others. Compara ‘एते सत्पुरुषाः परार्थघटकाः स्वार्थे परित्यज्य ये' नीतिशतक or 'स्वार्थो यस्य परार्थ एव स पुमानेक सतामग्री:. युवराजेऽपि दोषः (संभाव्येत) ( ;lhen it would be possible) that the prince may commit a fault. शुकनास means that a fault on the part of चन्द्रापीड ( as inducing वै०'s conduct ) is im• possible as heat in the moon etc. एवमेवानिरूप्य In this way only without closely considering (the matter ). कृते ( for the sake of ) governs each of the genitives from अनात्मज्ञस्य to महापातकिनःअना त्मशस्य (of) one who does not know himself ४. e. who does not know how to ach in conformity with his rank. आत्मानं जानाति इति आत्मज्ञः न आत्मशुः अनात्मज्ञः. दुर्जातस्य bad, wicked. राज्ञः अपथ्यं करोतीति who does what is harmful to the king. मित्राय द्रुह्यति मित्रध्रुक् तस्य who is false to his friend . कर्मणा चण्डालस्य who is a चण्डाल ( wicked) in actions. कृतः ..योग्यं who is it for being born in the कृतयुग (the golden age, the first युग of the four). कृतयुगे अवतारः KADAMBAR. 209 , e. तस्य योग्यः . It was believed that in the कृतयुग धर्म stood in its entirety and that there was no trace of अधर्म at all and that in each succeeding युग, धर्म decreased by one पाद ( 4). ‘चतुष्पात्सकलो धर्मः सत्यं चैव कृते युगे । नाधर्मेणागमः कश्चिन्मनुष्यान्प्रति वर्तते ।। इतरेष्वागमाद्धर्मः दशस्ववरोपेतः । चौ रिकानृतमायाभिर्धर्मश्चापैति पादशः ॥' मनुस्मृति I. 81-82. आत्मनोऽपि गुणवन्तं who is (nore ) meritorions than yourself (तारापीड). अत्युदारं ( very noble) चरितं यस्य न ह्यतः परं गुरुजनेन There is no other cause of pain more distressing bhan this that one practising good qualities should be supposed even by strangers to be following evil courses; what (need I say ) when the supposition is made by elders यो गुणी..राधनीयः he who is virtuous ought to be propitiated by virtues alone must be breated in a gentle manner). कस्यापरस्य...ज्ञापनीयः to whom else (but you who, being yourself a most virtuous king re more likely to appreciate च० properly) is he to show himself as possessed of virtues? यो न गृहीतः (४. ७. वशीकृतः) won who was not over (at. taken). तस्य..करोतु What can even च० do for him who is by nature as difficult to be won over (८%t. to be seized) as the wind. Compare भगवीता VI34 'चञ्चलं हि मनः कृष्ण प्रमाथि बलवद्दढम् । तस्याहं निग्रहं मन्ये वायोरिव सुदुष्करम् ’ . स्वयमेवोत्पद्यन्ते—i. e. they are born though not wanted by anybody; or they become such through nobodys fault or efforts. Arrightly explains त्वादृशां महानुभावत्वात् कथमेवंविधा उत्पद्यन्ते इत्याशङ्कायां एवंविधा पूर्वोक्तानात्मशमूढदुष्प्रकृ तयो दुर्जना मादृशेभ्योऽपि स्वयमेव स्वकर्मवशादेवोत्पद्यन्ते ’. एवंविधाः ikeवैशम्पायन. शरीर-कृमयः who are big worms born of the body (they shough born of men. are really insignificant and useless like worms AFexplains ‘किं चैते शरीरसम्भवा महाकृमयः स्वशरीरसम्भवाः पुत्राख्यमहाकृमयः। शरीरसम्भवा महाकाराः केचन यूकादिकृमिमात्रा इति च ध्वनिः सर्व•••व्याधयः they are great diseases arising from all the humours of the body In ancient Indian medicine, all the diseases were regarded to be due to the disordered condition of the three humours . वात, पित्त and फफ. With वैशम्पायन and others like him, सर्वदोषाश्रयाः means 'who are the abodes of all vices' (सर्वदोषाणाम् आश्रयाः). Thus the epithet सर्वदोपाश्रयाः being common (though in different senses ), एवंविधाः are identified with महाव्याधयःExplain the following similarly. अन्त..व्यालाः %hey are great serpents (व्यालः that have their poison concealed (in their hood). With वै० अन्तर्विपाः may mean ‘whose evil intentions are concealed.' विनाश महोत्पाताः they are great (evil) portents that are the causes of destruction. उत्पात: a portent (such as showers of blood, k = spots on the sun, comets, earthquakes, which were supposed to 20 NOTES ON न सी ) इति येणार आ foreshadow great calamities and sometimes the destruction of the world). उत्पततिं अकस्मादायाति इति उत्पातः‘प्राणिनां शुभाशुभसूचकः भूतविकारः उत्पातः’ तत्वबोधिनी on the वार्तिक ‘उत्पातेन शापिते च' on पा० I. 4. 44 विनाशहेतवः महोत्पाताः may apply to वै० literally ‘who has run away far from us which would be the cause of his own destruction. ' महान् उत्पात( उत्पतनं दूरगमनं) यस्य (in this latter case ) भुजङ्ग-..वातिकाः who are great winds that move in a crooked वातिकाः has another Bense also whose actions are like those dissolute of persons.’ भुजङ्गः means a paramour, a dissolute person.भुजङ्गस्येव वृत्तिः वर्तन येषाम्. वातिकः a delirious person. Ar, reads ‘महावादकाःand explains औपधवादिनो मत्रवादिनो धातुवादिनो निधिवादिनो वादका इत्युच्यन्ते । भुजद्धेः सपैजवनानि येषां ते भुजङ्गवृत्तयः भुजङ्ग जीविनः औषधवादिनो मश्रवादिनश्च भवन्ति । एता दुष्पुत्रा भुजङ्गवृत्तयो धूर्तचेष्टा महावादकाः महाजल्पकाश्च ।. वक्र..ग्रहाः bhey are big planets moving in a retrograde direction. Planets like Mars and Jupiter sometimes appear to go backwards among the stars. Then they are said to be वक्र. वक्र..ग्रहाः may also mean who follow the wrong path and are stubborn in what they undertake.' Ar‘अशास्त्रोक्तवर्मचारिणः महाग्रहाः महान् आग्रह कार्यनिर्वन्धो येषां ते महाग्रहाः : तमो...दोषाः who are evenings full of darkness, तमोमयाः 'full of ignorance also. प्रदोषाः-प्रकृष्टाः दोषाः येषाम् whose vices are great. मलिना...पांशवः who are the dust of the family, which (dust) is dirty by nature. कुलपांशवः also means 'stain on the family. whose inds are sinfulनिदेहाः(1) without affection; ( 2) without oil. खलाः । (1) wicked persons: (2) rough, harsh to the touch. The second meaning of खल is obtained by substituting र for ल (खराः hard ). An oily substance is smooth to the touchIn हेष, certain letters such as ब and व, ड and ल, र and ल are looked upon as identical वल्लभ commenting upon वक्रोक्तिपधाशिका verse 1 quotes ‘यमकश्लेष चित्रेषु दन्त्योष्ठवबकारयोः। न भेदो रलयोश्चैव न नकारमकारयोः ।।'. निर्लज्जाः क्षपणकाः they are shameless क्षपणक (naked Jaina mendicanta ). Arremarks ‘क्षपणकाः दिगम्बरसिद्धान्तिनः क्षपणक may also mean who destroy (their family )'कुलं क्षपयन्तीति. निसंशः not pos. 5essing the power of comprehension. अपि च after this follow ex• amples of tBbe figure of speech called विरोध (or विरोधाभास ). अकाष्ठा दहनाः they are fires without fuel . अकाष्ठाः also means without limit' and दहनाः that cause pain. There is an apparent contradio hiort in saying that they are fres without fucl; that conthradiction is removed if we take दहन to mean * what causes pain' and अकाष्ठ to mean s limitless. Bxplain the following विरोधs similarly. KADAMBAR. 21] L 2. e. अविद्यमानं काष्ठं (इन्धनं) येषां ते अकाष्ठाः ( with fires ); अविद्यमाना काष्ठा ( स्थितिः, मर्यादा) येषाम् ते अकाष्ठाः काष्ठोत्कर्षे स्थितौ दिशि’ इत्यमरः. निर्गुणाः (1) without threads; (2) without good qualities. जालिनः ( 1 ). having nets (that are made with threads ); (2) deceitful. A निर्गुणा जालिनः । जालवन्तो मत्स्यग्रहणसाधनवन्तः सगुणाः तन्तुयुक्ताः । एते तु जालिनः जालं कैतवं तद्वन्तः तथापि निर्गुणाः दयादिगुणविहीना. अतीर्थः (76) having no fight of steps (मराठी घांट ); (2) that have studied no -८ शास्त्र or having no teacher. अविद्यमाने तीर्थं येषाम् (senses in both | जलाशयाः (1) reservoirs of water () du-headed (डलयोड्या जडः आशयः बुद्धिः येषाम्)निपानागमयोस्तीर्थमृषिजुष्टे जले गुरौ' इत्यमरःHere जल is looked upon as identical with जड according to the observa tion of वाग्भटालंकार . 20. ‘यमकश्लेषचित्रेषु बवयोर्डलयोर्न भित् । नानुस्वार विसर्गे च चित्रभङ्गाय संमतैौ ।P. See also above notes on खलाः (p.210). निरवाः (1) without heaviness. ४. १. not fat; (2) without respect. खरप्रकृतयः (1) (खरस्येव प्रकृतिः येषाम् ) asses by nature; (2) (खरा प्रकृतिः येषाम्) hard by nature. Assess have generally big belies. अशिव मूर्तयः (1) who have not the form of शिव (न शिवस्य मूर्तिः येषाम् ); (3) whose forms are inauspicious (अशिवा अमङ्गला मूर्तिः येषाम्). महा ष्ठिताः (1) who have गणपति) sitting (on the lap); (2) overcome by gread obstacles or calamities. Pictures of शिव are often represented as having गणपति on the lap. There is there- £ore contradiction in saying विनायकाधिष्ठिताः and अशिवमूर्तयः if we take the apparent meanings. But if we take the second meaning assigned to each word there is no विरोध. अशिवमूर्तयः may also mean ‘who do not possess idols of शिव' (अविद्यमानाः शिवस्य मूर्तयः is explained by N as विन ( calamity ). Similarly Ar. says 'महार्तियुक्ता भवन्ति ’ Argives another meaning ‘महाविनायकाः अधिकं विगतनायकाः अतिस्वतत्रा इत्यर्थः ये...भजन्ते who, being सकलङ्क (disgraced; marked with Trust) like swordsbecome परुष (cruel; sharp) even with लेह (affection; oil). Just as swords become sharper when their rust is removed by rubbing oil, so persons like वैशम्पायन become more cruel ble more aftection is shewn to them. Ar. explains ‘ते च यथा यथा मित्राणि लिन्ति तथा तथा तेषु क्रौर्यमाचरन्तीत्यर्थः ? In this and the following sentences up to कृष्यमुपयान्ति (p. 42 1. 27 ), the poet gives a number of similes bhat are based upon paronomastic words occurring in them. There is nothing common between persons ( like वै० ) and कृपाण except that to both the same words are applicable (though in different senses). In the above sentence, three words–सकलङ्क लेह and पारुष्य are झि. Explain the following clauses as we have done this above, मलिनस्वभावाः (1) who are sinful by nature; (2 ) 212 NOTES ON naturally dirty. दानं (1) gift; (2) ichor. The dark temples of elephants look darker by the ichor. Ar remarks upon the application ‘यथा यथा एतेभ्यः प्रीत्यर्थं बन्धवो ददति तथा तथा तेभ्यः toवै० पापमाचरन्ति इत्यर्थः. निर्वर्तयः (1) without unguents (to cool the body or eyes ); (2) without wick. प्रसादेन (1) by favours 2) by lustre or brilliance. ज्वलन्ति (1) glow with anger (2) cast light, orches of jewels emit light without wicks on account of the very brilliance of the jewels; the more favours are shewm to persons like वै०, the more they glow with anger and they have no cooling unguents to remove their glow. Ar re marks ‘परे यथा यथा प्रसीदन्ति तेभ्यः एते तथा तथा ज्वलन्ति क्रुध्यन्तिः ‘गात्रानु लेपनी वर्ति' इत्यमरः. अङ्गलग्नाः (1) coming in close contact with the body; (2) attached to the body. दाक्षिण्यपरिग्रहेणैव (1) by the very fact of their being received with courtesy; or by the very fact of showing courtesy (outwardly) to others; (2) by the very fact of the right hand being (first) accepted. इतरे ( 1) strangers; (2) others (others than the right hands ). वामा unfavourable, wicked; (2) left. Just as when we take up the right handsall the others that remain become left ones (all of them being attached to the body ); so when people like वैश० come very near and are treated with courtesy by us (or when they show outward courtesy to us ) °bhey become strangers to us and unfavourable to us. N and Ar read भुजङ्गाः for भुजाः, which is noth bad. भुजङ्ग would mean (1) dissolute person; (2) a serpent. गुण-क्षिप्यन्ते गुणमुक्ताः (1) devoid of good qualities; (2) discharged from the bow-string. सपक्षाश्रयेण (1) that depend upon their partisans (समानः पक्षः येषां ते सपक्षाः स्वजनाः आश्रयः येषाम् ); (2) whost Bupport has feathers (पदैः सह सपक्षः आश्रयः येषाम् ). फलेन ( the result to be_accomplished; (2) by the pointed head (of a arrow ). दूरं विक्षिप्यन्ते (1) are puffed up; (2) are sent to a distance. Ar. reads स्वपक्षाश्रयेण (which seems much better than सपक्षा० and comments ज्यामुक्ताः स्वपक्षाश्रयेण फलेन स्वकीयपक्षावाश्रित्य धावता फलेनैव शल्येनैव दूरं विक्षिप्यन्ते प्रेर्यन्ते । सायकशब्देन शरकाण्डा लक्ष्यन्ते । एते दुर्जाता गुणरहिताः स्वपक्षाश्रयेण फलेनैव स्वाभिमतावलम्बिनाऽर्थसंग्रहेणैव दूरं प्रेर्यन्ते । एते. स्वामिनं मुक्त्वा दूरं गच्छन्तीत्यर्थः . ‘मौढ्यं द्रव्याश्रिते सर्वशौर्यसन्ध्यादिके गुण इत्यमरः सरागाः (I) full of affection or passions or desires; (2) full of redness, दिवसारूढ्यैव (I) by the mere passing of days (दिवसानां आरूढिः तया )(2) by the advance of the day (दिवसस्य आरूढः वृद्धिः तया ). अपरज्यन्ते (1) become disaffected or disconteuted; (2) fadeTender leaves that are red when fresh in the morning fade as the day advances. People like वै७, though originally ) KADAMBAR 21B 1 affectionate (or being full of passions ) become cold to their parents etc. by the lapse of days. भूतिपरामृष्टा (1) touched by riches; (2) rubbed with ashes. आभिमुख्येन (1) on account of the favourableness (of others); (2) when others stand in front of it. प्रतीपं गृहन्ति (1) understand topsy-tury, take a wrong view(2) refect in the opposite order. It is well-known that the right hand of an image reflected in a mirror corresponds to bhe left band (of the original) and vice versa. Compare मृच्छकटिक I. ‘मम पुनः ब्राह्मणस्य सर्वमेव विपरीतं परिणमति । आदर्शगता इव च्छाया वामतो दक्षिणा , दक्षिणतो वामा । ‘भूतिर्भस्सनि सम्पदि' इत्यमरः. अन्तर...वृत्तयः (!) whose minds are sinfu (अन्त अस्वच्छा मलिना वृत्तयः येषाम् ); (2) which are transparent in the middle ( अन्तरे मध्ये स्वच्छा वृत्तिः येषा). गाढावगाह नेनैव (1) by diving deep into their thoughts and feelings(2) by plunging deep (into the water ). का लुष्यमुपयान्ति (1) they become more sinful or more irritated; (2) they become muddy. The waters of lakes are free from mud in the middle; but if we plunge deep cnough, we shall raise up the mud lying at the bottom and render all the water turbid. Similarly says Ar ‘एते अनिर्मलचित्ता गाढसौहार्देन क्रोधमुपयान्ति. P. 47 निग्धेष्वपि रूक्षाः who are harsh (hard, not smooth ) even to those who are निग्ध ( affectionate; oily). कज़ straight; straightforward. वक्र crooked (both literally and metaphorically). भर्तर्येपि अभृत्यात्मानः who do not conduct themBelves as servants towards even those who are their masters. Ar, says ‘भर्तरि पोपितरि अभृत्यात्मानः वयमनेन पोषिता इति अमन्वानाः रागिष्वपि.आदित्सवः who are angry with even those who have affection for them who desire to size (wealth or objects) cven from those who are free from desires. ईहा wish. आदित्यु is formed from the desiderative base of दा witl आ by the affix उ—See note above on मुमुक्षु ( p. 206). भीते..अँपिणः who strike even those that are afraid, who hate even those that are full of affection for them. To strike one who runs in fear was looked upon as an act of cowardice. उद्धत impu• dent, नाम्-N explains as Ar explains as सर्वप्रतिकूलानाम् सर्वजगद् विपरीतमालक्षितं भवति । ’. गुरवोऽपि लघवः even गुरुङ (heavy things ; elders ) are लघु (light; not worthy of respect). Explain the following similarly, Ar comments ‘कथं गुरव एव लघवः । भारयुक्ताः पदाथो: लाघवयुक्ता न भवन्ति । येषां गुरव एव लघवो भवन्ति पित्रादयोऽपि लङ्घनीया भवन्तीत्यर्थः ।’. नीचाः (1) lying low; ( 2 } villainslow person5. उच्चैः (1) standing on high; (2) noble. अगम्याः not fit to be approached. Ar explains *एषामगम्याः स्त्रिय एव गम्या भवन्ति कुदृष्टिः (1) bad sight; (2) false doctrineS. 214 NOTES ON सुदर्शनम् (I) good sight; (2) good doctrine or philosophyAr explains “ एषामवैदिकसिद्धान्त एव हितः अस्थितिरेव स्थितिः Ar explains ‘अशनवसनादिक्रमरूपा लोकयात्राविषया या मर्यादा पूर्वेरनुष्ठीयते सा स्थितिः तद्विरुद्धा अस्थितिः सैव स्थितिविषयो येषां, तस्यां तिष्ठन्तीत्यर्थः आचारः धर्मशास्त्रविहितमनुष्ठानम्. अविचैव विद्या—Ar comments ‘एषामविद्या संसार बन्धनकारणमज्ञानं विधेति प्रतिभाति मोक्षकरं शनमिति भाति.’ दौशील्यम् दुःशीलस्य भावः येषां च—blis is to be connected with स्वयमेवोत्पद्यन्ते एवंविधाः &c. (p. 46 1. 13 text ) above. क्षुद्र mean. Supply भवति after सन्धानाय and other datives up to गुणाय (p. 4 1, 5 ). प्रशा...शानाय whose intellect is used for decciving (अभिसन्धानं ) others and not for gaining knowledge. श्रुतमाल...शमाय whose learning has for its object the practising of numerous bricks and not branquility of mind. आल adj large; आल-लम्-trick; so आलजालmy mean numerous tricks' or collection of ricks. उपघातः Injury. उत्साहः energy, enthusiasm. स्थैर्यं...सङ्गताय their firmness produces attachment (आसङ्गः) to vices (व्यसनं ) and not long-standing friendship- धनपरित्यागः bestowal of money or ex penditure of money. सर्वमेव...गुणाय everything belonging to whom gives rise to faults and not to merits. तद् therefore ( because such worms are born through the force of their own कर्म). असौ = वैशम्पायनः कोऽप्यपुण्यवानुत्पन्नः—here there is a hint of the fact that वै० was really पुण्डरीक who was born as शुकनासs so through a curse. चलितवृत्तानां शासिता who punishes those that wander from correct conduct, चलितं वृत्तं येषाम् निबन्धनं support. will continue life. पिण्डप्रदः who is to give the funeral cake. A man had to offer a funeral cake to three of his deceased paternal ancestors (father, grandfather, greatgrandfather ). त्रयाणामुदकं कार्यं त्रिषु पिण्डः प्रवर्तते । चतुर्थः सम्प्रदातैषां पञ्चमो नोपपद्यते ।। मनुस्मृति X, 186. It was believed that deceased ancestors stood in need of the पिण्ड offered by their descendants and that when there was failure of issne, the ancestors were unable to go to heaven. Compare शाकुन्तल VI ‘अहो दुष्यन्तस्य संशयमारूढा पिण्डभाजः । वंशसन्तानार्थम् for the continuity of the family. यथाजात one who is what he was when just borm & e. a fool. अलं मूढयथाजातखेंवैधेय- बालिशाःइत्यमरः, यथैव जातः तथैव स्थितः असंस्कृतत्वात् . असत्पथ..द्धान्तेन who followed a wrong pathwhose mind is depraved, and who has gone astbray a long way. दुर्दर्श...क्रियताम् granted that he whose vision is wrong did not perceive the unseen (results of his acts ) that are difficult to observe; but what is to be done to him blinded by the disease (तिमिरं an eye-disease) of ignorance, who did not mark even the perceptible results (of his actions ). कुत्सिता KADAMBAR. 215 दृष्टि: यस्य तेन अदृष्टं is a technical word used in the sense of ‘धर्म and अधर्मःmeans 'destinyधर्माधर्मावदृष्टं स्यात् धर्मः स्वर्गादिसाधनम् It also .' अधम नरकादीनां हेतुर्नन्दितकर्मजः The reading दुर्दशम् for दुर्दर्शम् would mean ‘which gives rise to a 5ad condition' (दुर्गता दशा यस्मिन्) and is not good. What शुकनास means is:- वैशम्पायन had not deep penetration. Therefore he could not see that he would lose स्वर्ग etc. by disobeying his parents; but he could have seen the tang ble results, the enjoyment of worldly objects, if he had acted according to the orders of चन्द्रापीड to return to उज्जयिनी. Ar somments पुण्यलोकप्राप्यादिसुखं अदृष्टं नाम अज्ञातं भवताम् । दृष्टमपि न दृष्टं येन दृष्टं सर्वैः प्रत्यक्षितं राज्यसुखादि भोग्यमपि येन न दृष्टम्’. अपरम्besidos. तियें. nom. sin. mas. of तिर्यच्-a lower animal. विनोददानात् by causing amusement. शुक इव पाठित-पाठमात्रश एव नार्थविचारक्षमः, स्नेहमाबभन्ति they fix their attachment. ते..जानन्ति the birds are grateful. तेऽपि...वर्तन्ते they too continue the familiarity. नर्थोभयलोकस्य who has lost heth the words—the enjoyment of the pleasures of this world by taking to the life of a यति in a forest and the next by disobeying his parents and by causing them pain. अधस्ताद्तम् gone below ४. e. completely lost. तिर्यग्योनौ in some beastly form. This is an anticipation of what we shall know later on. वै० be came a parrot an accout of the curse of महाश्वेता. जातेन...निपातिताः not only has heby being born, not placed us in happiness but has noreover thrown us into the ocean of sorrowसर्व...हिताय च everyone whose mind is not distracted ( or perverted ) acts to secure his own good or bat of others. अनाक्षिप्तं चेत यस्य. Com. pare for a similar idea ‘न हि प्रयोजनमनुद्दिश्य मन्दोऽपि प्रवर्तते’. वै० has either benefited himself nor others किमनेन ...वतरति my under standing does not grasp this, i; what object had he, who ruined himself, in doing this. The reading of the Calcutta editions व तावत् for मतिः एतावत् should have been kept in the text one who is under (the evil) influence of planets. हेमन्त...उद्वहन् bearing an eye full of tears like the lotus-plants in हेमन्त ( मार्गशीर्ष and पौष that are cold). उद्वाष्प may be connected with उत्पलिनी and means full of dew उद्देपितः अधरः यस्य whose lower lip was quiver- ing. वहि..पूरेण who as if was about to break by the excess of inner sorrow that had no outlet. अलब्धः निर्गमः येन. P. 48 1. 15–p. 49 1. 8. तदवस्थं च तं ...आसङ्गःतदवस्थं-सा अवस्था यस्य स तदवस्थः तम्. एतत् ...आर्यस्य–the principal sentence is एतत्खलु प्रदीपेन अनेः प्रकाशनं ..यदस्मद्विधैः परिबोधनमार्यस्य—That persons like us should instruct your honour. (शुक० ) is indeed like the illumina ion of fire by a lamp etc . वासरालोक daylight. भास्वत् w, the Sun, 216 NOTES ON rendering brilliant. अवश्यायलेशैः by particles of dev प्रभञ्जनः wind. बहु श्रुतं यस्य (‘श्रुतं शास्त्रावधूतयोःइत्यमरः) one who is very learned. विवेकिन् one who discriminates (between what is good and bad ). सत्त्ववत् possessed of spirit. दुखातिपातेन विशुद्धमपि मानसं कलुषीक्रियते the mind, though pure, is excited by the occur- reuce (lit. fall) of sorrow. वर्षसलिलेन सर इव as a lake though clear (विशुद्ध) becomes trbid by the showers of rain. दर्शनं per ception, comprehension. न चित्त.विनक्ति the mind does not re- fect, the understanding does not comprehend, nor does the power of discrimination distinguish (between good and चित्त and बुद्धि, seem to be distinguished here. According to Vedantin5, the अन्तकरण is fourfold i. e. discharges four functions, ४i८, मनम् (संकल्पविकल्पात्मक, that which raises various ideas and doubts), बुद्धि ( tbat which setbles ), अहंकार (bhe principle of egoism ) and चित्त ( retentive faculty ). The following verse enumerates the four divisions of अन्तकरण and points out the peculiar function of each. ‘मनो बुद्धिरहंकारश्चित्तं करणमान्तरम् । संशयो निश्चयो गर्वः स्मरणं विपया इमे । येन ब्रवीमि it is on account of this that I speak. अन्य...वेत्ति Besides your honour knows the ways of the world better than I do. इयति लोके in this vast world. इयत् is much. यस्य...क्रान्तम् whose youth passed without any excite ment. यौवनावतारे at the advent of youth. शैशवेनैव...लेह: affection for elders vanishes together with childhood. वयसैव..प्रीतिः sentiment of) love mounts up ( gets ascendancy ) together with age. As the years roll on (on the approach of youth ), so the sentiment of love also occupies the heart, यौवनावतारे S to be connected with each of the clauses in this peragraph. वक्षसैव..वाच्छा as the chest expands in youth, so also the longings (of love ) are on the increase. उपचीयते is increased. मदः in fatuation, ardent passion, pride. दोर्दूयम् = भुजद्वयम्. स्थूलतामापद्यते becomes thick. The intellect becomes thick ४. e. dull in youth (as compared with its suppleness in howhood); bhe arms also become tlick (strong) by exercise, मध्य waist (which becomes slender by exercise ). कार्यं कृशस्य भावः. श्मश्रु...मोह: infatuation (the inability to think properly) which is the cause of sinfulness ( darkness ) makes its appearance together with the heard. In youth the dark beard first appears . आकारः splendid form. Ar. आकारशब्देन वपुषो गाम्भीर्यम्’. विकाराः passions, changes of mind. तद्यथा-it is as follows. Here follow instances of विकार. धवलमपि चक्षुः the eye, though white yet full of राग (redness, passion and though expanding, does not see far. There is apparent KADAMBAR . 21] विरोध between धवल and सराग and दीघभवत् and दीर्घ न पश्यति. The idea is that in youth the eyes naturally become larger than in borhood, as the whole body becomes larger; yet the ( mental) eye is not able to see far 8. e. to consider the remote consequences of ones acts. The cause of this is that the person is full of passions in youth. अनुपहते...श्रोत्रे the instruction imparted by elders does not enter the ear though it is nninjured t. e. young men do not mind the advice of elder. नीरागि..हृदये-learning_ finds no room in the heart, though it loves woman. स्त्रीषु रागः स्त्रीरागः सः अस्यास्तीति स्त्रीरागिन् तस्मिन् स्त्री रागिणि हृदये. The heart of young men loves women. विद्य (being in the feminine gender ) is a woman. Therefore they should ind room in their hearta for her. But that is not so youug men do not care for विद्य ). स्थैर्य-..तरलतायाम् ( In youth ) here is firmness of mind as regards fickleness which is unsteady by natureThe idea is:-young men are constant in nothing except in one case. They are constant only in their inconstanncy i. e. they are always fickle-minded. Supply विद्यते after स्थैर्यम् and आसङ्गः in the next clause. The reading of N ‘न थैर्यम्’ does not yield a satisfactory sense. N explains ‘अस्थिरप्रकृतौ चलस्वभावायां तरलतायां चञ्चलतायां सत्यां न स्थैर्यं स्थिरता'. परि...सङ्गः ( in youth ) there is strong attachment to vices that should be given up. व्यसन8 are said to be seven in the case of princes. ‘वाग्दण्डयोश्च पारुष्यमर्थदूषणमेव च। पानं स्त्री मृगया दूतं व्यसनानि महीपते॥ कामन्दकीयनीतिसार XIII. 61. The first three, वाक्पारुष्य ( harsh words ), दण्डपारुष्य ( severity in punishment) and अर्थदूषण (unjust Beizure of property or unjust withholding of what is due ), are said to be कोधज (due to anger ) व्यसन; and मृगया, अक्षाः (gambling ), पानं ( drink ing ) and स्त्री are said to be कामज (due to desires ). The मनुस्मृति ( chapter 7 verses 45–51 ) mentions many व्यसनऽ but says that the above seven are the most prominent. From धवलमपि• &c. up to आसङ्ग the author dvolt upon the विकारऽ of youth. In the next paragraph, the author speaks of the causes of the चिफार of youth. P. 49 1. 9–p. 50 1. 18. विकाराणां च..विधास्यामः सरसता. moisture (being full of रस . e. juice ); (2 ) being full of love or passion. जलप्रायं ( 1) full of water; (2) almost dull. जलप्राय may be looked upon as जडप्राय, in accordance with the remark above (p. 211) on अतीर्थं जलाशयाः (p. 46 1. 19 text ). वर्षातिवृद्धया एव (1) by the excess of rains (वर्ष rains ); (2) by the great number of years (वर्षाणाम् अतवृद्धया ). He means:-सरसता 19 28 MYOTES ON (being full of water ) is produced by the rainy season; similarly सरसता (being full of love) is produced by years ( ४. e. by youth ). अपि च—The author further points out the effects of youth ii double-meaning words. Ar remarks +अपि च यूनामेव स्वभावमधिकृत्य उक्तार्थमन्यप्रकारेण व्यक्त्यर्थं पुनरपि वक्ष्यामः? दिवसो दोपागमाय he days (of young men ) give rise to nights (also faults ). दोषागमः ( 1) (दोषायाः आगमः) coming of night; (2 ) ( दोषाणां आगमः) appearance of faults. दोष is defined by Ar as ‘यथोक्तानामाचाराणां व्यतिक्रमणेन यः प्रत्यवायः स दोषः अनालोक (1) absence of light; (2) not seeing (the true state of things ). असद्दर्शनार्थम् (1) for incorrect perception; (2) for false knowledge. Darkness does not allow us to see bhings properly. When in youth we do not see the true state of things, false knowledge arises. अविवेकः ( 1 ) distinguishing one object from another; (2) want of discrimination (between what is good and bad). going away on a wrong path ( both literally and metaphorically). When a man does not distinguish between objects on account of darkness, he may miss his way. One who has no discrimination (between good and evil ) goes astray. भ्राम्यत् (1) wandering ; (2) going astray• स्खलति (1) stumbles; (2) commits mistakes. Ar. comments अशानजाविवेकेन असन्मार्गारब्धं चेतो भ्राम्यदवश्यमेव स्खलति । भ्रमु अनवस्थाने इति धातुः। एकत्रासन्मार्गे अवस्थानमकुर्वाणं बहुष्वसन्मार्गेषु प्रवृतिं कुर्वदवश्यमेव रखलति यथोक्तमार्गादवश्यमेव भ्रश्यति तद्वग्ना = चेतसि लग्ना. When once the mind has erred and gone astray, the sense of shame vanishesShame is felt only so long as one has not taken the first decisive step towards a vicious course. त्रपावरणशन्य when destitute of the cover of shame ( त्रपायाः आवरणं तेन शून्यम्). पदं कुर्वन् placing his step ( making an impression )• कुसुमधन्वा = मदनः (कुसुमानि धनुः यस्य ). धनुः becomes धन्वन् when it is the final member ofa बहुत्रीहि. ‘अरविन्दमशोकं च चूतं च नवमलिका । नीलोत्पलं च पचैते पञ्चबाणस्य सायका ।. विलसति...मार्गणे when cupid is working (on bhe mind). कुसुमानि मार्गणाः ( बाणाः) यस्य केन...व्रजति what is there to prevent the appearance of thousands of छिद्र ( holes; weak points or faults ) through which many strength (सत्त्वं ) drops down. When a receptacle is littered with holes, what is contained in it easily drops down. So here, when cupid takes hold of a youth, the latter presents many छिद्र (weak points) which thus cause his सव to disappearArhas the following note ‘कुसुममार्गणे विलसति सति छिद्रसहस्राणि भवन्ति । अनाचाररू पाणि छिद्रसहस्राणि भवन्तीति व्यस्तरूपकम् । अस्य रूपकस्य प्रयोजनं वक्ष्यमाणसत्त्वाध पतनयोग्यतायै । सत्वमेवाधस्तात्पतति यैरनाचौरैः शैचास्तिक्यमतिरूपः सत्त्वाख्यो गुणोऽधस्तात्पतति । ‘सात्त्विकं शौचमास्तिक्यं शुक्छुवर्मरुचिर्मतिः इत्यादि सत्चकार्यम् । 2, e. KADAMBAR. 219 अधो गते gone down 8. e. lost. किमाश्रित्य शीलम् what is there rely ing on which character will not drop down. अवलम्बनं support. अनाधारम् (अविद्यमानः आधारः यस्य ) supportless, क...ष्टम्भः where is determination ( or industry ) to find its solace ? In this and the preceding four sentences, the author tells us that when सत्व is lost, शीलविनय, धैर्य, धी and अवष्टम्भ also perish. झेन...मनः by whom win the mind be supported and forcibly. made steady? In this and the following four sentencesthe author asks how the effects ow the steadiness of mind &c. can be produced, when the causes शील, विनय &c. vanish. Ar, explains ‘आश्रयाभावात् शीलादिषु पंचसु नष्टेषु तत्साध्यानि मनःस्थापनेन्द्रियनियमनदुश्चरितनिवारणदोषाभिषङ्गोत्सारण- कार्यदर्शनानि वै सम्भवेयुरिति वक्ति केनावष्टभ्येत्यादिना किंशब्दयुक्तेन वाक्यपंचकेन. विप्रतिपद्यमानानि contending withrebelling against (control). नियत्रि तानि curbed. At remarks विनये नष्टे केनेन्द्रियाणि नियत्रितानि स्युः । विनयेन शिक्षया इन्द्रियाणि विप्रतिपद्यमानानि चेतसा सह कृतविरोधानि नियत्रितानि स्युरित्यर्थः जगन्निन्द्यानि censured by the whole world. कैन...उपहन्ता with what serving as आलोक (enlightenment, light ) can दोषाभिपङ्ग ( he aboachment to vioe; contact of night) be dispelled, which is the cause of the increase of तमस् (illusion; darkness) and which obstructs दृष्टि (knowledge; sight )दोषायाः अभिषङ्गः or दोषेषु अभिषङ्गः as the लेप would require. Arexplains ‘बुद्धथा आलोकभूतया तमोवृद्धिहे तुर्दघाभिषङ्ग उत्सार्यते इत्यर्थः. किं वा...दर्शित्वे what is to be perceived ( what knowledge can a man get) when there is no circumspec- tion (बहुदर्शित्व ). वहु--वयसि How can circumspection be found in youth (प्रथमे वयसि ), since it is impossible to obtain it in that much time? It is only a short time that passes before a person attains youbh; it is not possible in that short time to cultivate the virtue of circumspecticn ( or prudence ). येन...मलिनता by which (by prudence) depravity can be avoided after determining ( bhe right course of conduct) by bhe method of presence (अन्वयः) and absence (व्यतिरेक). अन्वय and व्यतिरेक are technical terms in Sans krit logic. अन्वय is defined as ‘कार्यकारणयोः साध्यसाधनयोर्वा साहचर्यम् अन्वय is the statement of the invariable concomitance of cause and effect or of the middle term (हेतु) with the major term (साध्य) e. ४. in the stock example of inforence पर्वतो वह्निमान् &c, यत्र यत्र धूमः तत्र तत्र वह्निः is called अन्वयव्याप्ति because it expresses positively the presence of fire wherever there is smoke. In the text अन्वय may be illustrated by the following; whenever such. and such a course of conduct is pursued, such a result follows. So अन्वय is briefly an affirmative propositionAr says अस्मिन् कृते एवं भविष्यतीति चिचारो अन्वयः व्यतिरेक is a negative proposition. It is de 220 NOTES ON fined as ‘साध्याभावहेत्वभावयो, कारणाभावकार्याभावैयोर्वा साहचर्यम् । यथा यत्र वह्निर्नास्ति तत्र धूमो नास्तीति । यथा वा चक्रादिघटितदण्डादिसामग्रयभावे घटाभाव It is the invariable concomitance of the absence of cause and absence of effect or of the absence of the major term (साध्य ) and absence of middle term (हेतु ), e.g. यत्र यत्र वहथभावः तत्र तत्र धूमाभावः . In the case in the text, व्यतिरेक may be illustrated as follows: -if I did not do a particular thing that is enjoined by my elders &tc, I shall not reap a particular reward. Atremorks ‘अस्मिन्नकृते एवं प्रत्यवायो भवतीति विचारो व्यतिरेकरे. परिणामेऽपि even in old ago. पुण्य the conduct of only a few fortunate people becomes pure together with their hair ( which become white ). In old age the hair become white. But the deeds of only a few people become as spotdless (white is a symbol of purity ) as their hair. धवलिमन्-m. is derived from धवल by the affix इमन् according to ‘पृथ्वा- दिभ्य इमनिज्वा’ पू० V. 1. 122. तन्मोह...चक्रवर्तिनि all these are in apposition with तारुण्यावतारेतत् therefore. मोह...चक्रवर्तिनि in which the great serpents are infatuation and objects of pleasure, in which the changes due to passion are the elephants, in which bhere is sole sovereignty of evil deedswhich is the abode of sensual enjoyment, sleep and dalliance, which is the sovereign of great misdeeds done towards the close of the appearance of fresh sprout-like love. at the advent of youth. मो विषयाश्च महाहयः यस्मिन् मदस्य विकाराः एव गन्धमातङ्गाः (गन्धद्विपाः) यसिन् For गन्धद्विप see notes above (p. 171 ). दुर्विलसितस्य एकं राज्यं यस्मिन् रतिः, निद्रा, विलासाश्च तेषां वेश्म तस्मिन् नवः रागः पछवः इव तस्य उद्मलीला तस्याः अन्तः तस्मिन् विशेषदुश्चरितानि तेषाम् चक्रवतीं तस्मिन्. सर्वस्यैव...पतति everyone, falling in the very dificult path of sensual objects, is liable to स्खलित ( orror: stumbling). On a very uneven road ( विषममार्ग) we stumble. One who gives himself up to विषयऽ, is liable to deviate from the right path. विषमतराः विषयाः एव मार्गः तस्मिन् पतितस्य आवेशः ange ', vehemence. आक्रोशगर्भम् (आक्रोशः abuse, curse' गरे यस्य ) foll of imprecations. This has particular reference to the words of शुकनास above ‘अपि चेदृशाचरितेन तेनाप्यवश्यमेव कस्यांचित्तिर्यग्योनौ पति तव्यम्’ (p. 481. 6). स्वप्नायमानानां even when speaking in dreams. स्वमायते is a denominative verb. शिशुपु...फलति that surely has effect (bears fruit ) upon their children. वितीर्णाः given. आशिषः वरतामापद्यन्ते blessings become boonsAn आशीः may or may not take place. But a boon is sure to happen. This distinction is drawn in शाकुन्तल IV, where गौतमी says ‘भगवन् वरः खले नाशी. ‘आशीरिष्टजनाशंसा ’. ‘तपोभिरिष्यते यस्त देवेभ्यः स वरो मतः कात्य quoted by क्षीरस्वामिन्ः कोपावेशात् through the influence of anger. KADAMBAR. 221 यावत् is used in the sense of < surely' `यावत्तावच्च साकल्येऽवधौ मानेऽ- वधारणे' इत्यमरः स्वयमारोपितेपु planted by oneself. Compare for the idea “ विषवृक्षोऽपि संवर्यं स्वयं छेत्तुमसांप्रतम्’ कुमारसम्भव II. 55. अमर्षवेगः sudden impulse of wratbh. विरूपकम् anything unworthy; anything condlennable. इत्येतदपि ..क्षिपामः how can we set even blis ( pix. सर्वपरित्यागं &c. ) down as blamable without knowing the cause (of his abandoning everything ). कदाचि...दोष एव perhaps this very fault of his due to his want of modesty (as you think ) may turn out to be praiseworthy. संवेग agitation ‘समौ संवेगसंभ्रमौ इत्यमर; the word seems to be used here in the sense of वैराग्य, as said by A. संवेगो निर्वेदः खेदो वैराग्यं वाः र P. 50 1. 13–p. 51 1.16 इत्युक्तवति...मामार्यःअन्यत् more. Over अतः परं ..विरूपकं भवेत् what would happen to him that would be more unworthy than this (bhat he has already done ), even if it were to take place? कशयेव...पितुः who was struck in the heart as if with a whip by the fact that his father thought it possible that blame ( for वै०s conduct ) was due to him. यद्यपि...इति though I know from what has been said to me (by you ) that it is not brue that वै० did not come for some fault on my part. K understands निरुक्तितः as from what was said to me (by the followers of वै० ); but this is unnecessary. What च० means is: though I know that, if your words were properly inter preted, you attributed the non-ecoming of ० not to me, but to वे० himself. कस्य...त्पन्ना who else has not thought it ( bhat was ab fault) possible ? १. e. every body would believe what my father has suggested. मिथ्या...गुरुणा is false (in the what becomes result) the trnth when it is believed by the people, and especi. ally by One's elders. चन्द्रापीड means--though I know that it is false to say that वै० did not come because of some fault on my part, still as my father has thought it possible that I might be the cause and as people will believe him, the result will be bhe same as it would be if it were the real state of things. Ar 0x plains ‘एषा सम्भावना मिथ्यापि लोकेन गृहीता चेत् सत्यैव भवति । विशेषतो गुरुणा गृहीता चेत् । प्रसिद्धि..फलवती-separate वा अदोषगुणाश्रया—In this world the reports ( about a man ) not necessarily depending upon his faults or merits are able to produce the result, viz. an evil name or a good name. दोषाश्च गुणाश्च दोषगुणाः आश्रयः यस्याः सा दोष . श्रया न दोषा...श्रया अदोप..श्रया. चन्द्रापीड means-One's good or bad reputation depends upon public reports about him. These latter again are not necessarily based upon the merits or demarits of a man. They are often without any foundation. So चन्द्रा० must 252 OTES ON try to remove the public notion about him ( though ho knows to be wrong ). प्रसिद्धिः = प्रवादः If we separate वा दोष० then the meaning will be 'public report, depending on the merits and de. merits of a man, is able to give him a good or a bad name. But in the contextthis is not the meaning that is suitable. चन्द्रापीड says above that people will believe what his father has suggested (though there is no foundation for it in reality). He will receive blame (a bad reputation ) without having doserved it. This particular fact he strengthens by a general proposition . There fore bhe meaning first given by us is the propor one. N. separates वा अफलवती and draws out the following meaning. ‘दोषो वैगुण्यम्, गुणा औदार्यादयः ते एवाश्रयः आधारः यस्या एवंविधा प्रसिद्धिः प्रवादोऽफलवती निष्प्रयोजना अत्र अस्मिंल्लोके अयशसे अकीर्तये स्यात् । न तु दोषाश्रयप्रसिद्धेरयशो- जनकत्वं प्रसिद्धं परं गुणाश्रयप्रसिद्धेः कथं तज्जनकत्वमिति चेन्न । अयं गुणवान् प्रसिद्धः परमनेनेत्थं विहितम्, तर्हि महान्पापिष्ठः इत्याद्यकीर्तिसद्भावात् । १. N means:

  • There are reports about a man that he is good or bad. But

such reports are useless for giving him (for ever a good name. For people often say < this man is reported to be good, but he has done this (bad ) act; he must therefore bo a bad man. And bhus even a good man may come to have a bad reputationThis will do; but is not so good as the meaning we have given above. परत्र...परमार्थः-this is an answer to the remark If you know that popular reports are often baseless, why do you care for them. You remain silent in the consciousness that the truth is quite different and that you are not really to blame. परत्र-..परमार्थः of what use (in this world ) is bhe real state of bhings which gives rewards only in the next world. Arexplains — परमाथ न चेत् तूष्णीमास्स्वेत्याशङ्कायां