पलाण्डुमण्डनप्रहसनम्

पलाण्डुमण्डनप्रहसनम् [[लेखकः :|]]

PALANDUMANDANA PRAHASANA OF HARIJIVANA MISRA Text Critically edited by Dr. V. RAGHAVAN

GOLDEN JUBILEE PUBLICATION

THE KUPPUSWAMISASTRI RESEARCH INSTITUTE MADRAS - 600 004 General Editor : Dr. S.S. JANAKI PALANDUMANDANA PRAHASANA OF HARIJIVANA MISRA Text Critically edited by DEV. RAGHAVAN with Critical Introduction & English Translation GOLDEN JUBILEE PUBLICATION THE KUPPUSWAMI SASTRI RESEARCH INSTITUTE MADRAS-600004. 1996 K.S.R. Institute First Edition : 600 copies Price: Rs. 70/- (Indian) $ 5 (Foreign) ISBN 81-85170-10-X Printed By: M/S. VIGNESHA PRINTERS, Mylapore, Madras - 4. Ph: 8555597 (P.P.) PREFACE The Governing Body of the Kuppuswami Sastri Research Institute is privileged to bring out, to mark the Valedictory function of its Golden Jubilee on 10th July 1996, a monograph of an edition with critical study and English translation of a little known unique farce, the Palandumandana (P.M.) of Harijivana Miśra, a poet scholar who lived in Jaipur in the 17th century. The Prahasana (comedy - farce) and Bhaṇa (one-man show) are two minor play-forms described by Bharata in his Natyaśāstra under the general category of 'Dasarüpaka'. All the post-Bharatal dramaturgists also dealt with them. Although distinct in their technical format, the Prahasana and Bhana arc rightly clubbed together by Bharata as they are both of pure entertaintment value. (ranjakapradhana) and form an important medium to expose the weaknesses of society in general or contemporary to the author. Naturally, comical and satirical elements are dominant in both of them. It is noteworthy that amongst the ten (or eleven) drama-types, besides the full-fledged Nataka, only the Prahasana and Bhāna as preferred by many poets, are represented by a large number of specimens from the early centuries to the present times. As part of my D.Phil. thesis at the University of Oxford during 1969-71 I had an opportunity to critically study for the first time the characteristic features and presentability of the genre of Bhana as available in the theoretical texts from the Natyafastra (2nd century B.C. to 2nd A.D.) to the Rasarṇavasudhakara of Singabhüpāla (14th century A.D.) and correlate and evaluate it with such information as gleaned from the available printed specimens. Subsequently a similar study was undertaken by Dr. Ramaratnam, Professor of Sanskrit, Vivekananda College, Madras, for the Prahasana. The P.M. and its author Harijīvana Miśra (H.M.) deserve a special place in the history of the Prahasanas. H.M. is, in the present state of knowledge, the only writer who has composed as many as six Prahasanas including P.M., each of them endowed with some features not usually found in the Prahasanas. They form a substantial contribution to the comic theatre of India. Amongst them P.M. is on all accounts the master-piece of the author. Until the sixties H.M.'s Prahasanas were not known even to the specialists in ancient theatre as they were all available only in mss. and that too in the Anup Sanskrit Library, Bikaner, not easily accessible, and in the India Office Library, London. In the early sixties, DE. George Artola, then at the University of Hawaii, U.S.A., undertook a project of studying some unpublished Prahasanas which inclued those of H.M... In this connection he worked at Madras with Prof. V. Raghavan, whose life-long scholarly pre-occupation with the study and practice of classical Sanskrit Theatre is well known. In May 1965 Artola presented a paper on H.M. and his Prahasanas at the sixth annual meeting of the Samskrita Ranga, a unique organisation founded by Dr. Raghavan in 1958 for putting on boards authentic versions of a range of Sanskrit dramas from the ancient to the present times as available in print and in mss. In this talk Artola highlighted the variety of comic situations created by H.M. in five of his Prahasanas - the Adbhutatarahga (waves of marvel) in three acts caricaturing persons in the royal court, most probably of the author's patron king Rama Simha of Jaipur (17th iii century); the Prasangika rich in humour arising from the use of play on specific words; the Vibudhamohana providing joy for the the learned men; the incomplete Ghrtakulyavalt on the house-holder Ghṛtakulaya- kusala giving chowries to brahmins instead of the usual dakşina; and the P.M. The sixth Prahasana Sahrdayananda is somewhat scrious, as it is replete with the technical matters on the Alahkāra Šāstra. Dr. Raghavan's paper at the same meeting was on this Prahasana. The above lectures were subsequently printed in the Samskrit Ranga Annual volume IV. 1966. An edited version of the P.M. as from mss. was also successfully staged on 12th May 1966 at Madras as directed by Dr. Raghavan with the assistance of Dr. C.S. Sundaram and myself. A couple of photographs from this presentation as from the Samskrita Ranga photo album are included in the present edition of P.M. Two of H.M.'s. Prahasanas, namely the Vibudhamohana and P.M. were published by Dr. Raghavan through the issues (I. 1966 and III. 1973) of the Bulletin Malayamãruta sponsored by the Rashtriya Sanskrit Samsthan. Although efforts were taken by the two scholars as seen above to bring to light all of H.M.'s Prahasanas, the authorities of the Kuppuswami Sastri Research Institute though it would be worthwhile to publish P.M. alone with an additional English translation along with its text and the critical information already available. The early issues of the Samskrita Ranga Annuals are not available for purchase. Also the bulletin Malayamaruta has become defunct after bringing out usefully some minor unpublished Sanskrit compositions through its iv four issues during 1966 to 1978. The Rashtriya Sanskrit Samsthan and its Vidyapeetha family have during the last 2 / decades, grown in size in many ways. The general students and specialists therefore look forward to the revival of the publication Malayamaruta in the near future. My assisting Prof. Raghavan in the production of P.M. by the Samskrita Ranga in 1966 provided me an opportunity to study the text of P.M. The inclusion of my English translation of P.M. in the present publication gave me a second occasion after 30 years to study the text closely, enjoy its subtleties and evaluate it critically. I would now like to give some extra information about the dramatic and literary aspects in P.M. that would add to its uniqueness amongst the Prahasanas. Firstly about the satirical elements in the play. H.M. as seen from P.M. is quite original and a past-master in satire. Of course he has in this context satirised the preferences of the brahmin pandits from the different parts of India, Maharashtra, Andhra, Bengal, etc. for cdibles and drinks prohibited in the Smrtis and Dharma Sastras as they enrich only tamo and rajo gunas. As shown by Drs. Raghavan and Artola, the names of the characters in the play indicate their addiction for the prohibited edibles. It is noteworthy in this connection that within the span of a short Prahasana of 13 verses and connecting dialogues, the author has introduced a variety of foodstuffs peculiar to the different regions of India. This includes oasic materials used in cooking like cocoanut and tamarind specially associated with the South Indians; root vegetables like small and big onions, garlic, mostly used by the southerners; red edible roots and mushrooms; soups like boiled fluid dish (Kvathika), especially the sour gruel made from the fermentation of boiled rice (aranala), and a special soup favoured by the people in Karnataka and Maharashtra, as prepared by putting the ready-made powder of a mixture of fried rice, pulses and fenugreek in curds (when it would be some sort of the present day 'raitha'), or in fresh tamarind juice. This could be easily prepared at the arrival of some unannounced guests. Occasionally this is part of the menu in our house and we call it 'mendiyittu; or 'vendiyittu' because mendiam/vendiyam or fenugreek is a chief ingredient in it. Besides these eatables and soups H.M. has introduced also a favourite sweet of the people in Karnataka called. 'poli' or 'purnapoli'. This is prepared from a pastry filled with a mixture of cocoanut gratings and boiled jaggery fluid called 'purna' or 'purana' and cooking it on a pan like dosa. At the end of the play the Bengali brahmins' favourite of fish comes to prominence. What a variety! H.M. had a keen sense of humour and knew how to satirise cleverly. As already noted by Drs. Raghavan and Artola, H.M. was a brahmin from the eastern Gauda country, who came originally from the most ating eastern part of Rajasthan. He may have known fairly well the habits, directly or indirectly of spurious brahmins all over India. Consciously or unconsciously H.M. has effected an integration of some regions of India by creating kinship among the characters created by him. The hero is Lingoji Bhatta, a passionate old man, obviously a northerner. His nuptials with his second wife, the youthful Cinca, is the main theme of P.M. Her very name Cinca (tamarind) and her description as "one whose limbs are smeared with turmeric", reveal her to be a southerner. Lingoji's first wife is Purnapolika, a sweet vi edible associated with the Karnataka region, Liñga's brother Tryambaka (cocoanut), the latter's wife Kvathika (boiled fluid dish), their two sons, Garlic and Small Onion, show that the whole family is associated with the southern region. The Pandits who attend the garbhadhāna function are drawn from Tamil Nadu, Andhra, Karnataka, Bengal and Maharashtra (specially the Citpävans). The main thrust of the play is of course the funny situations set up by H.M. in depicting the consumption of prohibited vegetables, specially onions, mushroom, and garlic by the so-called orthodox priests, openly and stealthily. These vegetables are used to spice the various food preparations at the ritual function. H.M. criticizes this nature of the brahmins adequately in simple and appropriate similes and metaphors. H.M. says that without small onions "dishes will be tasteless like the grassy food of mammals", that "the bulbous root of garlic is like the moon while the onions are like fire-flies", that a "good collection of big onion shines like the multitude of stars". The gorgeous description of garlic in verses 8 and 11 and of small onions in verse 9 could be seen in this connection. It is noteworthy that not only human beings including the priestly class, enjoy eating food dishes seasoned by onions and garlic but also the divinities, gods and demons. In the Nandi verse itself Siva is described as "enjoying all kinds of food and drinks" and "delighting in varied tastes". In and through the play the peelings of garlic and onions are described as scattered all over in large quantities. The funeral pyre of Lasuna Panta is made up of only such peeled skins. The sacrificial VII platform at the garbhädhäna function too is covered with the peelings of garlic and onion, instead of the Kusa grass. Not only men, but all the womenfolk too, conceal a lot of these prohibited vegetables in the pleats of their saris and these roll down on the floor when they serve the food for the guests! The funniest part is at the end of the play when H.M, effectively describes a brawl arising from the mutual criticism of the orthodox Southern and Bengali priests and pandits. The Southerners are not. able to put up with the unorthodox nasty smell of rotten fish. In the same way the Bengalis strongly criticize the Southerners relishing assiduously the foodstuffs seasoned with the strong-scented onions garlic. Being learned pandits they cite the Smrti texts to document their respective views. This disputation ends in the imprisonment of the Bengali pandits by the policemen and royal official on the argument manipulated by the "crafty" southerners. Accordingly the latter point to the accumulated red and white peelings of onions and prove that the Bengalis were trying to perform some tantric rite to kill them all! This calamitous event proves to be not only a great disturbance but also time-consuming. The auspicious time fixed for the ritual was also over by then. Hence the announcement is made that a more suitable auspicious day is to be fixed for the garbhadhana ceremony of Lingoji and Cinca. It is evident from this development that the southerners headed by the respected' guest Palandu Mandana had the final say on all matters including foodstuffs and rituals so that the title of the play becomes most appropriate and significant. Besides criticising the eating habits of people in some parts of India VIII which is a novel idea of H.M., following his predecessors, the author also makes fun of a few social customs prevalent in South India. In fact, an event that is dealt with at some length in this short play and that prevents even the initiated garbhadhana to be celebrated, is the fixing, by the aged Lingoji and his first wife Purnapolikā (with the assistance of his youthful sccond wife Cinca), the marriage of their adolescent daughter Raktamilika "fresh like mango blossoms". Raktamulikā was already in love with her paternal uncle's youthful son Grijanadri, who also favourably responded to her. But the young girl is suddenly betrothed by her parents to Grijanādri's elder brother Lasuna Panta who is wealthy, too old for marriage, and sickly. This oral agreement was fixed on account of the would-be bridegroom Lasuna Panta agreeing to offer to Lingoji and his wife, large sums of cash in gold coins and also some of his fertile lands where he was profitably growing garlic, onions etc. This gift was to cover his own intended marriage and for his anticipatory cremation rites. That anything may happen to Lasuna at any moment is clear from what happens immediately after his betrothal. For, like a dutiful daughter Raktamulikā agreeing to the new arrangement, comes affectionately to Lasuna Panta and moves towards him. He also happily tries to laugh but getting a spasm falls down in a swoon. Luckily he is revived within a short while. Lingoji and others are of course glad that the rich old son-in-law is alive and Raktamülikä's marriage as well as property have been secured. H.M. while highlighting the greed for money of a few characters, indicates in the Nandi verse itself that even lord Siva advocates the second puruşartha of Artha and has also "acquired abundant wealth" (pracuravibhava - karta). ix The above incident also involves a local custom prevalent in the South Indian families, namely of marriage alliances among related cousins. In the play this practice is said to be a matter for gossip amongst the South Indian pandits themselves who are declared to be, among other things, those "openly making fun of marriage with the maternal uncle's daughter" (matula-kanyopahasa-vikasvarah). At a later occasion also, while the pandit guests from the North India are announced, the dramatist says that the South Indian pandits "who are ridiculing the mutual marriage amongst uncle's daughter and such other topics could be averted since the northerners who are capable of exposing others' faults satirically have just arrived". It could be seen therefore that the häsya situations and characters presented in P.M. are not of the usual type that are found monotonously in many Prahasanas, old and new. The humour sometimes degenerates to obscenity, as in the low quality of the different types of invitees for the garbhadhana function (pp. 46,47). However this coarseness and "slapstick" is an integral part of the features of Sanskrit farces. As shown by Drs. Raghavan and Artola, H.M. had a knowledge of all the Sastras, especially the Alamkära Sastra, as is proved in his Sahrdayananda. The style of H.M. is classical, simple, and smooth, and quite fits in with the general trend of a prahasana. The alamkaras used by him are apt and original. His vocabulary is quite ordinary. Only in some contexts he uses words like "catura' and 'potika in special meanings. In a short work of dialogues and 13 verses, he has used as many as 8 metres Anustubh (verse 13), Indravajra (v.12), Upendravajra CRITICAL INTRODUCTION HARIJIVANA MISRA AND HIS PLAYS Dr. George T. Artola Dr. V. Raghavan

• HARIJĪVANA MISRA AND HIS

SHORT SANSKRIT PLAYS Dr. George T.Artola, University of Hawaii On several occasions' Professor Raghavan has spoken on the comic element in Sanskrit literature and in the course of his discussions he has not failed to mention the short comedy-farces, called prahasanas, which appear sporadically in different parts of India from the time of Mahendravikramavarman of Kancipura to the time of Aurangzib in the seventeenth century. Most of the authors of prahasanas have contented themselves with the composition of one or two prahasanas or the case Venkatesvara, of three prahasanas (Bhanuprabandha, Lambodara and Unmattakavikalasa). It is unusual to find a dramatist whose reputation relies on as many as six prahasanas, a dramatist who has, so to speak, devoted himself to the composition of prahasanas. Such a dramatist is Harijivana Misra. A manuscript of each of the six prahasanas he has written is found in the library of the Maharaja of Bikaner (formerly called the Anup Sanskrit Library) in Rajasthan. The titles of his prahasanas are : L Adbhutataranga Prāsangika Ghṛtakulyavali Palandumandana Vibudhamohana Sahrdayananda Our first knowledge of the comedy-farces of Harijivana Misra we owe to two scholars who were commissioned catalogue the manuscripts of the Anup Sanskrit Library, Dr. Kunhan Raja and A paper read at the Sixth Annual Meeting of the SamskritaRanga, on 27th May 1965. Subsequently published in the Samskrita Ranga Annual IV. 1966, pp.35-45. Particularly at Oxford (1953) and Chicago (1964) Dr.Raghavan spoke on the theory and practice of the comic element in Sanskrit literature in comparison with that in the West. These lectures were published as a monograph posthumously by the Samskrita Ranga in 1989. ARTOLA - HARUITVANA MISRA & HIS PLAYS Sri Madhava Krishna Sarma. In an article in The Adyar Library Bulletin (XV, 1951, pp. 68-71) the latter has described for the first time the six manuscripts in the Bikaner collection. What we learn from his description is that each one is written in Devanagari and, with the exception of one of them, the Adbhutatarañga, they are brief, as we would expect prahasanas to be. The Ghrtakulyávali is unfortunately incomplete: at least two folia towards the end are missing, which in a short manuscript of seven folia means that the more important part of the text is lacking. The other five manuscripts are complete, and on the basis of copies of them which are in the possession of Prof. Raghavan it is possible to discuss their contents. Taken all together, the prahasanas of Harijivana Miśra are a substantial contribution to the comic theatre of India. · Although they do not have great literary value, they should not be neglected in any discussion of Sanskrit dramatic literature. My object here will be to analyse those prahasanas of Harijivana Misra which I have been studying, and in the case of one of them, the Sahrdayananda, Prof.Raghavan will add his analysis of it since its subject matter has a special interest for him and he is eminently better qualified to discuss it. The first play which Harijivana Miśra composed was not on a voluntary basis. He informs us in the colophon of the Adbhutataranga that he was ordered to write this prahasana by Mahārāja Rāma Simha I (1635-1689) of Amber. From this we may assume that it was the desire of his royal master to have this play performed in the palace at Amber. We learn from the Italian adventurer, Nicolo Manucci, who visited several of the courts of the Maharajas who were loyal to Aurangzib, that it was considered an honour to witness dances, plays and the chase. Manucci himself 2 Nicolo Manucci, Storia do Mogor, London 1907, vol. II, p.173. ARTOLA - HARUIVANA MISRA & HIS PLAYS was in the employ of the father of Rama Simha, known as the Mirza Raja, Jaya Simha I (1605-1667). Both of the rulers were well-known for their patronage of Sanskrit and Hindi literature, and with regard to the latter, the important works of Bihari Lal and his nephew Kulapatimiśra were written under their auspices'. Harijivana Misra, a Gauda brāhmaṇa who came originally from the most north-eastern part of Rajasthan, must have received the benefits of the patronage of both the Maharajas, or at least that of Rama Simha I. Râma Simha was first and foremost a warrior and much of his life was spent on the field of battle in support of the military endeavours of Aurangzib. By comparison with those of the austere court of Aurangzib the activities in Amber seem flamboyant, mainly because they were enhanced by a jovial and good-natured Maharaja who had much affection for literature, art and music, and who provided for his court as many enjoyable entertainments as possible. We learn that this is true from at least two Sanskrit sources, one of which was written in the time of Rama Simha and the other in that of his successors, Jaya Simha II and his son Isvara Simha. In the first sarga of the Isvaravilāsa (composed about 1744), Krsna Kavi describes Rama Simha's devotion to literature and the arts in the following verse (No.42) Kavyālāpa-kalakalapa-kalanā-kaurühalotkarşakah prodyannāṭaka-sāṭaka-prahasanakhyana- prabandhotsukaḥ śrīrāmāyaṇa-bharatadi-vilasatpaurana-vägvistara- kṣīrāmbhonidhi-rājahamsaruciraḥ Srt-Ramasimho nrpaḥ ||* 3 M.L.Sharma, "Jaipur's Patronage to Art & Literature Journal of the Rajasthan Institute of Historical Research, II (1965), pp.1-8. 3 4 Krsna Kavi, varavilusa, ed. by Bhatta Shri. Mathuranatha, Rajasthan Oriental Research Institute, Jaipur, 1958, p.31. Cf. also P.K. Gode, Studies Indian Literary History, vol.II (Bombay, 1954), pp.279-87 ARTOLA - HARIJĪVANA MISRA & HIS PLAYS "King Ráma Simha promoted eager activity in the field of poetry and the arts and he was devoted to natakas, sāṭakas, prahasanas, ākhyānas and prabandhas; he was resplendent like the royal swan on the milky ocean of the literature of the purānas, together with the Ramayana and the Mahabharata" Thus, fifty-five years after his death, Rāma Simha was praised for his interest in all of these fields. During his life-time this same high praise was heard in his own court, for in the prastāvanā of the Syngäraväpikä, a four-act natika of Visvanatha Mahadeva Ranade, the sutradhara says that his court, filled with poets and wise men, laughs at heaven (divam hasati); the brahmans there rejoice with the discussions of different sciences and literature. His generosity to all of them was so great according to this court playwright that even Brahma would not create another liberal donor like him (Brahmapyanyam vadanyam srjati na). Several of the prahasanas of Harijivana Miśra mention as one of the favourite courtly diversions the discussions of pandits on a variety of subjects. Before he composed the Adbhutatarañga, Harijivana Miśra may already have had a fine reputation as a pandit who actively took part in the literary discussions which Râma Simha attended. Perhaps in these discussions it was evident to the Maharaja that Harijivana Misra had a particularly keen sense of humour and therefore Rama Simha encouraged him to compose prahasanas which could be staged in the palace. seem 5 ADBHUTATARANGA In writing the Adbhutatarańga, Harijivana Miśra does not to have felt the influence of any previous writers of Cf. Eggeting's Catalogue of the Sanskrit Manuscripts in the Library of the Indian Office, pt.VII (London, 1904), pp. 1615-18, for a detailed description of the play. Information on the author has been given by Gode, op.cit., pp.259-73. ARTOLA - ADBHUTATARANGA prahasanas. The play is unique in that, instead of being a one-act comedy-farce, it is actually a three-act piece in which each act comprises a different prahasana. Unity of time and place are maintained, and each act corresponds to a divison of day so that the third act ends with the arrival of dawn. The common factor is that the plot of each act unfolds in a royal court. We get the impression that the author witnessed himself the action of each prahasana, and that by emphasizing the caricatural side of his personages, by exaggerating their characteristics, he has produced a series of scenes which were easy to amalgamate. The three acts are quite unequal in interest, in literary merit and in humour. In each one an amazing thing (adbhuta) occurs, and hence the title Adbhutataranga, the waves of marvel. The text of the first act is better preserved than that of the others. The second act concerns the activities of some low characters, including a drunkard, who have gained entrance into the court. The third act is merely a satire on the behaviour of vaisnava ascetics. What begins as a simple religious ceremony, the vaisnavadikṣā, ends in a free-for-all. Who should perform the ceremony and how, is the occasion for a great dispute and it is settled only by coarse slapstick. The first act is sufficiently interesting to be described in detail. 5 Gaudharasa Misra, a vaiṣṇava brahmana, enters the court of King Madanangavikrama. Hypocritically he blesses the king although he knows that the latter had ruined his father. The king, expecting a ceremonious salutation instead of a blessing rebukes him and threatens punishment. Who will pronounce the proper punishment? It must be a brahman well-versed in dharma sastra. The king has his door keepers summon Vidhava-vidhvamsaka. He turns out to be more of a hypocrite than Gaudharasa Miśra. The description of him attests to this: ARTOLA - ADBHUTATARANGA Varmacchädita-vigrahaḥ pratipadam vyāghātayan pakṣinaḥ kvapi kvāpi ca sārameya-sisubhiḥ samkridane tatparah | mithyācāraparāyaṇo bahuvidham jalpan sadăcăratām svaminn eva vibodhayan smrtipatha vyamohanam panditah || "He is a pandit dressed in armour, hitting birds at every step, playing here and there with puppy dogs, doing religious things in a hypocritical manner, speaking always of good conduct and creating confusion in the manner of explaining the smrtis." The king asks him what is the punishment prescribed in the smrti of Yajnavalkya. He replies that anyone who pronounces punishment without citing the authority of the fastras is a killer of brahmans. After consulting a sastra he says that since he, suffering from piles, cannot satisfy his own wife, Gaudharasa Miśra, a healthier man, will have to replace him "in the altar of the fire of Kāma" (kāmāgnikunde) as his punishment. The king becomes angry upon learning that the royal physician Yamanuja (a name meaning 'the younger brother of the God of death') did not cure the suffering of Vidhavavidhvamsaka and he has his door-keepers summon him. When the physician arrives, his medical accomplishments are described in these terms: Lokā müdhadhiyo vimüdhavacasi pramanyam evamvidham kṛtvā dinajanam gatartham api tam sanjivayanty eva hi | asmakam tu paramparārjitam idam sarvasvarüpam phalam drnmatrena vimuktim eva karavanyevamvidham niścitam || "Foolish people believe the words of other foolish people, taking them as authoritative, and thus they save suffering people, but this is the most precious fruit which is handed down in my family: I, to be sure, give salvation (i.e., death) to people by simply looking at them." ARTOLA - ADBHUTATARANGA He is to be punish too, and his punishment is the same as that of Gaudharasa Misra. In the course of the conversation, Yamanuja admits that he is not experienced enough to perform this kind of penance, and he suggests that a prostitute named Ramarcanacandrika be brought as a guru. Just as he says this, one of the door-keepers enters to say that she is waiting at the door. She is permitted to enter. Meanwhile, the Vidüşaka named Jambhaka is asked to prepare the bed-room. To carry out the punishment, the wife of Vidhavavidhvamsaka is summoned, but it is Jambhaka who enters disguised as her. At the same moment a poor brahman, Mithyakuta Bhatta, who is as incompetent as the others; enters the court. He turns out to be the former lover of Vidhavavidhvamsaka's wife. Immediately Jambhaka embraces him in a peculiar manner and of course he is astonished, although he somehow suspects that it is Jambhaka after all. He does not reveal this in his willingness to go along with the masquerade. Yamanuja and Jambhaka enter the bed-room and it is there that the former discovers the true identity of the one he thought to be Vidhavavidhvamsaka's wife. The king surmises that Jambhaka had gone out and had returned disguised as Vidhavavidhvamsaka's wife. To be sure of this, the king asks his door-keeper to summon Jambhaka, but the door-keeper only smiles and remains silent. It is at this point that the king understands how well punished his incompetent physician really was; for him this is the adbhuta, the amazing thing. PRASANGIKA 7 On the basis of the experience he had gained in writing the Adbhutataranga, Harijivana Miśra then undertook the composition of his second prahasana, the Prasangika. Once again the scene is the royal court, which as the action develops, is gradually changed from a court of justice into a menagerie. The characteristics of a standard comedy-farce are found in the Prasangika. The most notable one is ARTOLA - PRASANGIKA the use of word-play, in this case, a comic alliteration. One of the characters insists upon using in his long, involved sentences only words beginning with pra and the effect of this on the audience, even if they knew little Sanskrit can well be imagined. After the usual type of prastavana the play begins with the entrance into the royal court of king Pratapapańkti, who is accompanied by his Viduşaka, Preraka. The king informs Preraka that his mind to-day is interested only in learned discussions with the court pandits and he wishes them to be called. "But am I not a pandit?", asks the Viduşaka. The king dismisses his question saying that there will be a discussion of Vedas and Sastras. "But aren't the Vedas known to me" asks the Viduşaka and immediately he begins to recite some verses, indicating the tones with his fingers. The king becomes annoyed with his silly actions and orders him to stop the recitation. At this moment the door-keeper enters to say that Kerala Bhatta and Prakṛstadeva and his wife are standing at the door. As soon as they enter Kerala Bhatta blesses the king. Prakrstadeva objects to what was said, for the words of Kerala Bhaṭṭa, according to him, are defective words (prahina - vacana) because they lack pra (prahina - vacana, words without pra). For Prakṛstadeva, every word must begin with pra and with this his wife agrees in the following dialogue: Prakrstadeva-re, re, preta, tavaitaiḥ prahinavacanairme pranah pramathitäh yato hi prakrstärtham vihaya kim anyat prayojayasi prasabham | "Oh, oh, you dead soul! With these low words of yours, (defective without pra) my life-breaths are stifled, because you, lacking the important thing (i.e., words with pra), use forcibly something else." ARTOLA - PRASANGIKA Prakrtipriya (vihasya)-prayo sti prayojanam pratārakasyāsya svātma praharaṇarūpam | 9 "[laughingly] Probably this best of deceivers has some purpose for this, which is getting blows for himself from us." Thereupon they attack Kerala Bhatta with blows. The king, seeing this, exclaims: "What is this! What is this!" Prakrstadeva insists that Kerala Bhatta be punished for not using words beginning with pra for pra means the best. Kerala Bhatta replies that such words are disagreeable to his ears. Prakrstadeva then insists that the king use pra also. The king naively says: "No doubt all should use pra which means the best, and it exhibits one's learning." His sentences are then full of words beginning with pra and in delight Prakrstadeva exclaims: "Pränjalam, pranjalam," which is then echoed by his wife. Kerala Bhaṭṭa then realizes that he is caught in the company of foolish rogues, and in order to please the king he must say pranjalam, pranjalam, but when he tries to say it, out comes sadhu, sadhu. Prakṛṣṭadeva gets angry and tries to force him to use pranjalam, pranjalam, but Kerala Bhatta refuses. This entire scene, which was supposed to be largely a learned discussion of Vedas and Sastras, has become a silly and petty quarrel-and we are set to wonder how much truth Harijivana Misra has brought forth in his clever satire of the erudite discussions of court pandits. While the quarrel continues, the door-keeper enters to announce that some people from Kerala have come to seek justice. and they are waiting at the door. The king permits them to enter. Yonimanjari, holding in her arms her young son, is accompained by her husband Vyanjanamukha and Bhaṭṭamāra, her former lover. The dispute concerns the true parentage of the child. They present their case to the king. In the course of their conversation a monkey enters the room and attacks Prakṛtipriya, throwing her on the floor and ARTOLA - PRASANGIKA untying the knot of her sari. The king, upon seeing this, orders the Viduşaka to catch the monkey. The Viduşaka hesitates, saying that under the circumstances it is dangerous to interfere. When his wife is finally released by the monkey, Prakṛṣṭadeva exclaims, with good reason: "Oh beloved one! May nothing inauspicious happen to you!". Then just as Vyanjanamukha takes a big stone to hit the monkey, the latter gets caught in the braid of the hair of Yonimanjari, and they struggle together to get released. The Vidusaka brings a piece of burning wood and waves it in front of the monkey. Yonimanjari and the monkey go round and round and it is only when the ribbon of her hair gets burnt that the monkey is freed. The monkey then runs. away and the Viduşaka is fast in its pursuit. After all this disturbance and confusion, Prakrstadeva suggests to his wife that they leave the court. Bhaṭṭamāra takes the suggestion also, and he prepares to leave with the child, but the Vidusaka, who has just returned, detains him and tells the child to call him father which he does. Thereupon Vyanjanamukha and his wife feel very sad, for they are aware of the confusion of the child. A sudden uproar indicates that the monkey has entered the harem, and this delights the king who says that the important thing is to catch the monkey. Both he and the Viduşaka follow the monkey into the harem, and the play ends with the exit of all those whom they left behind. 10 Inspite of manuscript which is full of incorrect Sanskrit, many scribal errors and substandard Prakrit, it is possible to understand at least seventy-five percent of the text. The Prakrit which is spoken by Yonimanjari is similar to the Prakrit of the other prahasanas of Harijivana Misra in that it is one which has been invented by the author, since in the seventeenth century the standard theatrical Prakrits were no longer in use. Harijivana Misra's Prakrit is close enough to Sanskrit so that a contemporary audience could follow it without difficulty. It is unfortunate that we do not have additional manuscripts of the Präsangika which would enable us to edit ARTOLA - PRASANGIKA critically the text. Notwithstanding very few objectionable references, that is by comparison with other late prahasanas, the Prasangika is highly humorous and fast moving and in its well-constructed plot it is a decided improvement over the three farces of the Adbhutataranga. 11 Among the comedy-farces of Harijivana Miśra the only one which lends itself to a critical edition is assuredly the Palandumandana for there are at least three manuscripts of this prahasana and a comparative textual study of them can result in a satisfactory text. The Palandumandana is decidedly the comic masterpiece of Harijivana Misra and it demonstrates beyond a question his talent as a composer of comedy-farces. The other plays which he composed later, although he calls them prahasanas, are not characterised by those traits which we normally associate with prahasanas. They lack the comic elements which we would expect to find in a prahasana, The Vibudhamohana and Sahrdayananda represent the culmination of the dramatic art of Harijivana Misra; they are works in which he puts into practice his own specialised knowledge of alamkara sastra, demonstrating his skill in theory rather than in practical stage technique. Relatively devoid of action, they seem to be exercised in erudition by means of which the author wishes to show his superior knowledge of the tenets of alamkara sastra. It would not be unreasonable to suppose that they are the last of his dramatic productions, composed sometime after his longer plays, the Vijayapärijata and Prabhavali. About these nātikās I am 6 Besides the Bikaner manuscript, there is another one in the India Office Library, London; cf. Keith's Catalogue, II. p.1226. There is a third manuscript in the private library of the Maharaja of Jaipur. 7 Dr.V. Raghavan brought out a good edition of Palandumandana from the above three Sanskrit Journal, Malayamaruta, vol.III, 1973, pp.116-35. ARTOLA - PALANDUMANDANA unable to speak at the present time. The only manuscripts are located in the private library of the Maharaja of Jaipur. Some day it may be possible to obtain copies of them, and then a study may be undertaken on the entire theatre of Harijivana Miśra. That study may reveal that Harijivana Misra is the last of the good Sanskrit dramatists, that he continued in his own way the time-honoured. tradition of the classical Sanskrit theatre, and finally that he does not deserve the oblivion into which he has fallen. PALANDUMANDANA The Palandumandana-prahasana derives its name from one of the characters, a brahman who loves onions. Most of the characters have names which indicate their preferences for different types of foods, so that this comedy-farce immediately reveals itself as a satire on the eating habits of brahmans from different regions of India. The action, and there is much of it, takes place in the home of Lingoji Bhatta on the occasion of the celebrations of the garbhädhäna of his second wife Cinca. After a prastavana in which the sutradhära announces the prahasana and urges the nati to prepare for the arrival of the guests, the comedy begins with the entrance of Prajapatideva who foretells of the arrival of Palandumandana and the others. Lingoji Bhatta's sister Kvathikä asks about the health of his daughter. Raktamulikā, and her mother Purnapolika indicates that she is in love with her cousin Grijanädri, the son of Kvathika and Tryambaka Bhaṭṭa. They assure her that he also is in love with Raktamulikā, but any thought of their marriage would disappoint Lasuna Panta, an old man who expects to marry her. Just as they are discussing this, Lasuna Panta enters and what follows immediately is a deligtfully funny discussion of the marriage of Raktamulika. The women are only interested in his wealth and in the fact that, with his love for lasuna (garlic), he has not long to live. In this, one of the truly humorous scenes of the play, much discussion is made about ARTOLA - PALĀNDUMANDANA dowries and money settlements and finally poor old Lasuna Panta has a gastro-intestinal attack. A variety of medicines is suggested; most of them are herbs and vegetable roots which have no place in a religious ceremony. Each character produces effortlessly his favourite edible and the whole room becomes cluttered up with articles which belong to a kitchen. In free flowing poetical stanzas each of the guests defends the foodstuff which is sure to revive Lasuna Panta. At last the old man is restored at about the time of the arrival of the Bengali brahmans, Bhattacarya and his pupils. As Bhaṭṭācārya enters the house, he closes his nostrils for he cannot tolerate the smell of onions. The South Indian brahmans, led by Palandumandana, say that they cannot stand the smell of rotten fish, the kind that Bengalis eat. Bhaṭṭācārya assures them that fish is not prohibited in the sastras, but they shout in unison that that refers to the other yugas, not to the kaliyuga. They immediately engage in a heated argument, disagreeing violently with each other. Jagadisa, one of the South Indians, slips out of the house and calls the police. By stratagem he convinces the police that Bhaṭṭācārya is in the wrong. The police enter the house and accuse Bhaṭṭācārya and his pupils of having defiled a religious ceremony when they see strewn about the room all kinds of harsh-smelling vegetables. They arrest the Bengalis and take them away. The South Indians shake hands with each other and congratulate Jagadisa who did such a clever turn by summoning the police. The garbhādhana has to be postponed, according to Lingoji Bhatta because of all the confusion. The comedy ends with the departure of the guests. 13. The Palandumandana is the last truly comic play which Harijivana Miśra produced. In it are found some of the characteristics of his earlier comedies, especially that of antithesis. A serious religious ceremony, the garbhadhana, is turned into a brawl, just as in the Prasangika what began as a discussion of court pandits becomes, with the entrance of the monkey, a kind of lewd ARTOLA - PALANDUMANDANA circus; as in the first and third acts of the Adbhutataranga, the final scenes of the Palandumandana are coarse and slapstick, against the serenity of the beginning of the play. Certain themes of standard farces are found in all of these prahasanas of Harijivana Misra. The change of sex motif (Jambhaka disguised as a woman), the difference of age motif (Lasuna Panta is to marry Raktamulika), the animal as lover motif (the monkey seduces Prakṛtipriya)-all these are utilised by Harijivana Miśra in order to obtain the maximum comic effect. That he was successful in producing some fine humorous plays cannot be denied. That he knew what would be a good subject for satire and that he knew how to satirise skilfully cannot be denied either. His satire on hypocrites and medical quacks may not be as detailed and as ruthless as that of his contemporary in France, Moliere, but for his similarly sophisticated audience it was equally as effective. VIBUDHAMOHANA In my discussion of the prahasanas of Harijivana Mišra, I have purposely omitted a summary of the Vibudhamohana until now, for as I have said previously the Vibudhamohana is not strictly speaking a prahasana. However, the play is of sufficient interest for me to discuss it briefly: The scene once again is a royal court and what takes place in the play could easily have been witnessed by Harijivana Miśra. The piece begins media res, without the nandi and the prastāvanā which are usually present to introduce the play; they do not come until later. Puşpakalikā, daughter of a retired pandit Sakalāgámācārya, visits the palace of king Pratapa Märtanda and she rejoices at the sight of its beauty. In her admiration she cites, among others, two verses, one from Harsa's Ratnavali and the other from Bhavabhūti's Matati-Madhava. She sees the king and falls at his feet. Then she displays before him her learning in courteous behaviour, quoting authorities for each of her actions. She leaves the ARTOLA - VIBUDHAMOHANA stage and later returns to recite the nändi-stanza before the entrance of the sutradhāra. The sutradhāra says that Sakalagamacarya has left the burden of his household on his sons, each of whom is specialising in his own branch of sastras. His daughter Sahityamala is to be married to Akhandananda, but the marriage and the maintenance of the family will not be possible without the efforts of his sons to secure by reason of their knowledge the favour of the king. The father urges his sons to go to the royal court for at this moment the king wishes to engage in a discussion with his pandits. When they finally appear before the king, each one pronounces in favour of his own sastra, but in the end it is Akhandananda who fascinates all present by his knowledge of poetics. The king agrees to grant him all favours, but he wants neither silver, nor gold nor an elephant; he wants only Sahityamala, for she has stolen his heart. The brothers are at first dejected, but then the king assures them of enough money so that the family will be maintained and Sähityamala may be given in marriage. 15 Harijivana Miśra demonstrates with much ability his knowledge of all the sastras, especially alarkkara sastra, and once again plays on the names of his characters; each one of the brothers has a first name which indicates his special branch of knowledge (Tarkakarkasa, Patanjalanätha, Vaiseşikabhaṭṭācārya,Bhattamimämsä, Pancaratrika, etc.). Unfortunately the present state of the manuscript, the only one we possess, does not permit a detailed study of the play and at this moment it is not possible to state in any definitive way the purpose for which Harijivana Miśra composed it. One may even doubt whether it was written for a court performance. What I have said about it, in a general and superficial way, may also be said about the Sahrdayananda. But us hear from Prof. Raghavan about this play. THE SAHRDAYANANDA OF HARLJIVANA MISRA Dr.V. Raghavan As in the Vibudhamohana, in the Sahrdayananda (SA), Harijivana Misra takes up a literary theme and turns it into a short play. In the SA, the ideas of Sanskrit poetics, Alankära Sastra, are made into characters and a farce is built on them. Prakrt is used, following the ancient convention, for women and lower characters and as there is only one manuscript and that badly preserved, it has been difficult to present a more detailed account of the play than what is now given. It requires a close acquaintance with the concepts of Sanskrit poetics to interpret the farce. Even as he enters, the Sutradhara has a fling at Alankarikas, literary critics, who have been hoodwinking the learned assembly. He refers to an altogether new kind of Nayikā or heroine (Vilakṣaṇa Nayika); this Näyika is Vyanjana or suggestion who manifests śrngära and other Rasas; she is referred to as Vi-lakṣaṇa with a pun, meaning that Vyanjana is beyond Laksana or secondary signaficatory capacity. Critics however consider Vyanjana to be merely a name, i.e. not existing in reality. Now from behind the curtain is heard an approbatory exclamation and the Sutradhara identifies it as of Kamalapāņi. Exit Sutradhara and Prastāvanā ends. Enter Kamalapāņi exclaiming that rhetoricians, with their talk of Nayakas (heroes) and Nayikäs (heroines), have duped the world. like other religious frauds. The assembly he enters is called Kamamugdha (innocent of love). He refers to the undesirable Alankarikas, devoid of knowledge of the constituents of Rasa and their friend, the Vidusaka, clown, named Pankajavadana (the Lotus-faced), and their impending entry. Now is heard a voice from behind the curtain praising the heroine. The Näyika is described as Brahmananda-janani (the producer of ineffable bliss) which by steşa refers also to Rasa-Vyanjanā. V. RAGHAVAN - SAHRDAYANANDA The audience live by her grace. The audience are described as Parama-rasikas (great persons of taste). There is now some voice from behind and Kamalapāni departs. 17 Enter Viduşaka along with Alankärikas who are accompanied by their Nayikäs Abhidhä (the primary significatory capacity), Lakṣaṇā (the secondary capacity) and Vyanjana (suggestion). These three are characterised in terms of the three well-known types of Nayikās, as Sviya, Parakiya and Sämänya. As the expressed sense is something closely related to the word and strictly confined to its own meaning, Abhidha is aptly likened to Sviya and Pativrata. What type of Näyika Laksana is likened to is not immediately clear as, for a time, we hear only of the variety of Lakşand called Nirudhalakṣana; but much later, Lakṣaṇā is mentioned as the 'Vara-vadhu', and is therefore to be taken as the Samanya Nayikā, the courtezan. The aptness is reinforced by describing her as fond of arthalankäras (meaning also money and ornaments); and indeed Lakṣaṇā or metaphorical usage. is at the basis of very many figures of speech and although fascinated by the Parakiya (Vyanjana) the Alankarika has some inclinations towards the courtezan of alankaras, i.e. Laksana. Abhidha bemoans to her Ceti, the Nirudha-lakṣaṇā, that her lover (the Alankärika) is going after the Vara-vadhu of Lakṣaṇā because of his taste for figures: Abhidha-(Svärthamiva Alankarikamanveşayanti samantadavalokya): Nirudhalaksane! mama priyo arthalańkärarasiko väravadhum lakṣaṇām anusared iti tarkayami | RAGHAVAN - SAHRDAYANANDA Vyanjana is represented as Parakiya, as she transcends the restrictions pertaining to Abhidha and sets the latter aside and has a peculiar over-riding fascination for the Alanikarika. Consequent on this, Abhidha the Pativrata is in separation and suffering. Nirudha-lakṣaṇa says: 18 Bho bho, Vyanjanaparukiyasakta-alankärikaḥ, kim kriyate. Vişamah khalu kamah. Tad etena carmadandena parama- pativratāyāḥ. ..abhidhayāḥ virahasantapam apahartum.......... Nirudha-lakṣana, the variety of Lakşana in which a word although based on transfer becomes, by usage, restricted in a fixed sense, is introduced aptly as a Ceți or Dasi, hand-maid, of Abhidha, and the aptness may be appreciated when one recalls the nature of the Nirudha-laksana which is tantamount to Abhidha: Nirudhäh lakṣaṇaḥ kaścit samarthyad abhidhanavat. The play itself' refers to the dictum of Rudhi, long fixed usage, taking away the Yoga or the specific basis of the application. From the point of view of the farce, we may note that Nirudha-laksana comes along with the Viduşaka, talks with him althrough in Prakrt and carries with her strap or stick of leather. This last is a thing which is carried by one of the characters in the vernacular folk-plays and with which he or she strikes the other actor off and on. This 'slap-stick' is part of the features of the farce. As the two are making some observations against the Alankarika and are also afraid that the latter might overhear their talk, the latter makes his appearance, exclaiming that Sahitya is the essence of learning and Vyanjana is the essence of Sahitya and the source of joy. The Ceti, Nirudha-laksana, observes that the Alankärika has gone after the Parakiya lady called Vyanjana and his own Pativrata, the chaste wedded wife viz. Abhidha, is undergoing the pangs of separation. V. RAGHAVAN - SAHRDAYANANDA The Alańkärika now addresses his beloved Vyanjana, recites a verse suggestive of the season of rains and Vyanjana purposefully points to Abhidha. The Alankārika makes here references to Rūdhi supplanting Yoga and to Tatparyartha, Samanya-lakṣaṇā, Phala and Vyanjanā. 19 For the first time now, Abhidha, addresses her Dasi (or Ceți) viz. Nirūḍha-lakṣana and says that she is afraid that her lord Alańkärika is going after the courtezan (Vara-vadhu) Lakṣaṇā. There is then a round of dispute among Abidha and Nirudha-lakṣaṇā on one hand and the Alankarika and Vyanjanä on the other. The Vidūşaka and the Dasi Nirudha-lakṣand exchange some horse-play and there is a reference to Srigaraasa becoming degraded (abhasa) to Bibhatsa. There is also a reference to the crooked walking stick of the Viduşaka (kutilaka-danda) which Abhidhã compares to the poetic prose (dandaka) with inapt alliteration (vilakṣaṇānuprāsa). Now a general tumult is heard from the streets and it is reported that a procession is coming of two asses each carrying a pair of men with shaven heads and a pair of women being stoned by street urchins. All of them propose to have a look at the asses. But Abhidha alone does not want to stir and Vyanjana remarks that such an exemplary Pativrată like Abhidhä is rare to find and she does not want to look at anybody else, para-puruşa. Here ends Act I. Act II opens with a washerwoman with a rope, weeping and striking her breasts. Horse-play or, to be more precise ass-play, now starts. The washerwoman addresses her beloved, the washerman. They have lost their ass. A brahmacarin named Diksādanda arrives on the ass; the washerwoman asks him how he got the ass. The brahmacarin hits her down and asks her to wash his dhoti immediately and is about to undress. The washerman rushes with his V. RAGHAVAN - SAHRDAYANANDA club on seeing two persons on an ass, Dikṣādanda, the brahmacarin and another mendicant, Naişthikananda, and the exchange between them and his wife; he flings his club at them, taking their ass to be his own missing one. He then decides to report to the Kotwal the loss of his ass, when he sees on another ass a pair of ladies, one of them in maledress, and the two hugging each other. 20 The Kotwal arrives on his own ass and surrounded by his retinue. He sends for the judge, Dharmadhikarin, to make an enquiry. Enter Dharmadhikarin, he being called Rasa-pratibandhaka, the impediment to Rasa-realisation with two pupils of his, named Väkyārthaparibhraşta and Gunapakarṣa, i.e.inconclusive or uncertain import and the absence of gunas appropriate to the context i.e. dosa or literary flaws. Both of them are known to be hindrances to the understanding of a piece of expression (Abhidheya-artha-pratiti- pratibandhaka). The symbolism, from the side of poetics, could be easily understood. In the further dialogues of the teacher and the two pupils, Gunas like Ojas, Prasada and Madhurya and Dosas like Sruti-katu figure. The Kotwal now enlightens us that it was at the behest of the Dharmadhikarin that he had sent round the city the two pairs on asses for the sake of making public their guilt and now asks the Dharmadhikarin what final punishment is to be meted out to them. The Dharmadhikärin, Rasapratibandhaka declares that not only these, but all those who consider themselves sahrdayas and are eager to enjoy rasa should be sent round on ass-back. The pupil Väkyarthaparibhrasta represents that according to the theorist Lollaţa, Rasa is in the actor too and therefore, there is not much point in punishing spectators of drama with ass-ride. Dharmadhikärin now calls Vyanjana characterising her as a debaucherous woman, and orders that she must first be punished. V. RAGHAVAN - SAHRDAYANANDA Vyanjana protests that without Abhidha, she was nothing (or makes no sense): abhidhāyaḥ sambandham vina aham nirarthika. Behind the curtain, Abhidha and Lakṣană overhear this. Abhidha remarks that Vyanjana has ruined her Vrtti (profession as well as significatory capacity). Lakṣaṇā asks her not to raise her voice as Dharmadhikarin might seize them both. Along with the crowd of people like Sruti-katu the Dosa, they keep looking on. 21 It is suggested by the Kotwal that the Dharmadhikarin Rasapratibandhaka may himself be punished with a clean shave of the head. Dharmadhikarin looks nonplussed, at his two sisyas. At this point, pushing the crowd aside, the Alankarika enters, calling forth Vyanjana as the very life of those immersed in rasa: Ayt vyanjane! tvam sahrdayopajivyasi... ..rasarāsau * nimajjamānānām vyanjana jivitāyate. Vyanjana says that she suspects Rasapratibandhaka was really a foreigner (Dvipantariya). Alankarika agrees and says that as Rasapratibandhaka ordered that everybody should be sent round on ass-back, he, Rasapratibandhaka, is the first to deserve that honour. Everybody, including the Kotwal, is happy and they jump. Smarting at this, Rasapratibandhaka wants to tear the book in his hand to pieces. V The situation which is critical for Rasapratibandhaka is suddenly relieved by the announcement of a woman-fiend, a Dakini called Vyanjanamala. We have to be brief about the nature and make-up of this character, as they are obscene, Vyanjana here meaning the sexual index. Obviously the inventive skill of the poet had failed him here. What he wanted to represent symbolically is perhaps the V. RAGHAVAN - SAHRDAYANANDA concept of vulgarity and openness, the flaws of Aslila and Agudha which are inimical to Rasa and Vyanjana. For this, he introduces this Däkini in obscene make-up. She is Rasapratibandhaka's eldest wife, Jyestha-patni. The two embrace and indulge in merriment, losing -their garments. Vyanjanamala has evidently an attendent called Patakapotikā, daughter of sin. The whole sequence is full of badly preserved Prakrt dialogues. 22 Two other lady characters are now introduced as seated upon a tree. One is Väkyasphotika and another, Smrti-vibhramā, their names being quite clear about the ideas they stand for. They get down from the tree, mount rams (mesa) and come round to meet Vyanjanamātā. A ram-fight follows. The hubbub and the noise are called off by the annoucement that king Rama Singh, the poet's patron, had returned from his hunt. The Däkinis disappear and the Bharatavakya is pronounced. PALĀNDUMANDANA - SYNOPSIS The whole action of the play is enacted in a hall within a house where arrangements are afoot for conducting the religious ceremony of garbhadhana. The priests and other brahmins gather for the cer- emony and the feasting. The food habits of these Pandits from differ- ent parts of India, Maharashtra, Andhra, Bengal and other parts of the north are used as a means of making fun, particularly their desire to taste articles of food like onion, garlic and others which are prohibited by the Sastras but which they consume stealthily. The poet works in also an additional episode of the fixing up, for the sake of large money, the marriage of a young girl with a wealthy old kinsman. The charac- ters are mostly named after the vegetables and dishes which they are fond of. Prajapati Deva, the Purohita enters the marriage hall where the religious ceremony has to be conducted for the husband and wife. Lingoji Bhatta and Cifica. He finds that the guest-brahmins Palandumandana etc. are turning away from the place and looks out for the reason; the brothers-in-law Tryambaka Bhatta and Lingoji Bhatta are discussing the marriage alliance of their children and the guest-pandits who had come to attend the religious function and par- ticipate in the feast were hence leaving. He wants to go and fetch them back. The auspicious time for the religious function (garbhādhāna) arrives and he wants that the feasting of the brahmins should be gone through quickly. He would now go out to fetch Peram Bhatta and Kavakankurācārya who are to join the function. Enter the husband and wife, Lingoji and Cifica. Enter also the elder pair Tryambaka Bhaṭṭa and Kvathika. While Lingoji is enquir- ing about the delay in the arrival of the brahmins, Kvathikä asks her PALANDUMANDANA- SYNOPSIS brother's wife Cincã about the welfare of Raktamülikā, daughter of her brother Lingoji's first wife Purnapolika. Ciñca enquires of the wel- fare of the Kvathika's son, Grijanädri. It transpires from their talk that Raktamülika and Grijanädri are in love with each other. 24 While all the elders talk as if they are favourable to this marriage alliance, Lingoji's first wife Pürṇapolika raises the difficulty that Lasuna Panta being the elder brother of Grijanädri, passing him over and marrying the younger would kill the elder.In reply it is said that the elder had become too old for marriage. They are all therefore finally agreed and happy about the marriage of Grijanädri and Raktamulikā. Now enters Lasuna Panta, elder brother of Grijanädri, and an invalid. He too is desirous of marrying Raktamülikä and says that Grijanādri, his younger brother can wait. Pürnapolika is first afraid of the old Lasuna Panta's plan to marry Raktamülikā. Kvathikä how- ever thinks that if the old Lasuna Panta would offer a large sum of money, the marriage could be fixed. This tempts Lingoji and Cinca and Lasuna is not only prepared to give a large sum of cash but also to make over some lands where he was growing garlic etc. Everybody, on the male and female side, decides to give Raktamülika to Lasuna Panta. Enter young Grijanädri. Lingoji, to put him off the track of marriage, turns to the feasting of the brahmins which has been ar- ranged for. Behind the curtain is heard the call of the different persons who had come for the feast. Enter Palandumandana, Cittapāvana and others. Palandu dis- plays abhorrence of the Cittapävana.The latter lets out the secret of PALANDUMANDANA-SYNOPSIS the former eating onions etc. Lest cach one should expose the other, they become friends. The conversation now turns on the comparative excellence of onion and garlic among the respective adherents, each praising his own favourite. 25 Enter Prajapati Deva to hasten the feasting. Cinca observes that there will be some delay as onion, garlic etc. have to be added to the dishes. But in the meantime Prajapati Deva says he would arrange the leaves for the feast and does it. Behind the curtain is heard the voice extolling the smell of onion and garlic which, while driving away the Northerners has invited the Deccanis. Lingoji Bhatta observes and describes the brahmins of the feast. Cincã now asks the other ladies to serve the food. One of the ladies had a lot of garlic tied up at her lap which now falls down. Enter Raktamülika casting her eyes on Lasuna Panta. In his great joy Lasuna Panta tries to laugh but getting a spasm falls down in a swoon. Each one suggests and tries some remedy favourite to him, to infuse some energy into Lasuna Panta and help him to regain con- sciousness-the juice of onions,garlic,kanji,juice of Raktamūlikā and tamarind, Mithyakūta (tamarind-milk with vendayam etc.). This last one brought by Mithyakūta Bhatta really revives him and Lasúna Panta is announced as saved from death. Everybody praises the efficacy of the Mithyakuta fluid. But the moment Lasuna Panta regains con- sciousness he stretches out his hand for his favourite bag of garlic as an antidote for his biliousness. His younger brother says that pitta (bile) can be counteracted only by something sweet and suggests the juice of his own Grijana. The brothers exchange for a while eulogies of Lasuna and Grijana. Lingoji and others are glad that the rich, old PALANDUMANDANA-SYNOPSIS son-in-law is revived and Raktamülika's marriage as well as property have been secured. Peram Bhaṭṭa, the Purohita for the religious cer- emony of Lingoji and Cinca already arranged for, arrives now with the necessary things. He is afraid that the fine smell of onion and garlic and the wafting of the breeze of their peelings would collect too much of a crowd. He arranges things for the ceremony. Cica and Lingoji sit down for the same and in the same fire where the religious rite is to be done, Lingoji inhales the smoke of his own favourite things like tobacco, Bhang etc. Pürnapolika is shocked at the profanation of the ceremony and snatches from Cinca's hand her favourite thing Lakṣmaṇa which she was eating all the time. 26 Grijanädri who has learnt that his marriage has been dropped and his old elder brother had been chosen, announces his resolve to commit suicide. One of the guests Kavakankura prevents him from spoiling the occasion with the rash act. Kvathika is also upset that Grijanädri would remain unmarried and finds fault with Purnapolikā for going back upon her word. Mithyakuta now observes that some Northerners were arriving; they do not like any of the dishes mentioned above and are generally highly critical of the local practices of the Deccanis. Enter Bengali Bhattacaryas Jhallari-Jhankara, Bheri-bhänkāra etc.with a pupil. The pupil is carrying for the Guru's diet fish which is three days old. They are anxious to find a kitchen to cook the fish. Unfortunately he has to face the Deccani Pandits who enter into the argument with him on the unorthodox character of fish-eating. The Bengali cites some texts in support of their habits. The Deccani de- cides to punish the Bengali. 27 PALANDUMANDANA-SYNOPSIS He brings an Official and some soldiers alleging that the Bengali was trying to perform some tantric rite to kill them all and asks the official to beat him up. The soldiers take the Bengali away. The con- fusion is thus over; but as all this had proved a great disturbance, the Deccani Pandit announces that a more suitable auspicious day should be fixed for the garbhadhana ceremony of Cinca and Lingoji: They all agree that a more auspicious day should be fixed. DRAMATIS PERSONAE The Characters in the order of their appearance Prajapati Deva, a Pandit, master of the ceremony. Lingoji Bhaṭṭa, a Pandit. Cinca, second wife of Lingoji. (Tamarind) 28 Tryambaka Bhatta, Brother-in-law of Lingoji Bhatta.(Cocoanut) Kvathika, Wife of Tryambaka. (Boiled fluid dish) Purnapolika, first wife of Lingoji.(A kind of sweet cake, Poli) Lasuna Panta, elder son of Tryambaka and Kvathika.(Garlic) Grijanädri, younger brother of Lasuna.(Onion-small variety) Palandumandana, a guest. (Onion-big variety) Cittapāvana, another guest. Maharashtra Brahman. Raktamulikā, daughter of Purnapolika and Lingoji. (a red edible root) Aranāla Bhaṭṭa, a guest. (Gruel) Mithyakūta Bhatta, a guest. [a Maharashtrian Soup-Curds mixed with ground rice, pulses, mustard and fenugreek (Vendayam)] Dākṣiṇātya-1, Deccani Pandit - 1 Peram Bhaṭṭa, a Priest, an Andhra Kalankankura, another Priest. (Mushroom) Jhallari-Jhankara, Bheri-bhänkara Bhattacaryas, guests. Bengali Pandits. Sisya, Pupil of above Dākṣinātya-2. Deccani Pandit -2 Puruşa, Official. Policemen. (Padātayah) Other Brahman Pandits & Others. -Courtesy, Samskrita Ranga Lingoji (centre) with Purnapolika and Ciñcă (left) bargaining for a large sum of money from Lasuna Panta (right) A Lingojt and Priest Peram Bhatta at the fire-place to perform the Garbhadhana ritual while the Southerners arrive to attend the function. -Courtesy, Samskrita Ranga PALANDUMANDANA PRAHASANA OF HARIJĪVANA MISRA Text Critically edited by Dr. V. Raghavan with English Translation and Notes by Dr. S.S. Janaki ॥ पलाण्डुमण्डनप्रहसनम् ॥ ॥ हरिजीवनमिश्रविरचितम् ॥ सकलरसग्रहीता भक्ष्यभोज्यादिभोक्ता भवजदुरितमोक्ता धर्मकामार्थवक्ता । प्रचुरविभवकर्ता पार्वतीमाणभर्ता जयति सकललोके विश्वमर्ता महेशः ॥ १ ॥ ( नान्यन्ते) सूत्र - अलमतिविस्तरेण । अये ! लिङ्गोजीमट्टपल्या गर्भाधानावसरोऽस्ति । तत्र सम्बन्धचर्चया विलम्बो भविष्यतीति बुभुक्षिताः पाण्डुमण्डनाया: मनोऽभिलषित तृर्ति विना कथमाशीनं करिष्यन्ति ? किं चान्यत् । तेषां शुद्धवर्णोच्चारश्च कथं सम्भावितोऽन्तरामोदमन्तरा विविधबुद्धिचतुरस्रोदी व्यवर्गेषु तद् यावत् सदस्यानामेव दुराग्रह फलितोऽस्तु (आकाशे समाप्राय, सहर्षम् ) अये ! लक्ष्यते हि कार्यसिद्धिः समीपतरा गन्धराजोपमर्दकगन्धेन। (आत्मगतम्) भवतु तावत् । आर्यामाकार्य समिति करोमि। परितोऽवलोक्य) आये ! इत इतः ।

• इदै प्रहसनं मद्रपुरी संस्कृन्तरजा भूतेनेटेर्मलय मारुतसम्यादकानां सौत्रधायें रहे प्रयुक्तम् ।

ग्रन्थकार तदीयानि प्रहसनान्तराणि पुकाणि चाधिकृत्य संस्कृतरत्र वार्षिक पत्रि काया: ४ सञ्चिकायां प्रकाशिता डा. जा. अर्टोलामाद्दाशयेन मलयमास्तसम्पादकेन च लिखिता आतलनिबन्धा द्रष्टव्याः । मलयमारतस्यैव प्रथगस्पन्दे पृ. ११३-१२७ अस्यैव कोविंधुवमोहनं नाम लघुरूपकं प्रकाशितम् | जयपुरे रामसिंहमहाराजस्थास्थाने १७ शतके कविरयं बभूव ॥ बीकानेरस्थ अनूपपुस्तकालयस्थां मातृकां लण्डन्- इन्दिया आफ्रीस् पुस्तकाल स्थ ८.४०९ अङ्कर्ती मातृकामन्यां प्रायः शुद्धतरां चादाय सम्पादित मत्रेदं प्रहसनम् पाठमेदाः बी. ल. इति संकेताभ्यां दत्ताः । उपरिनिर्दिष्टपुस्तकालवाधिकारिणो धन्यवादाः ॥ १. अत्र वृत्तम; अपना एतादृशस्य सन्ध्यक्षरस्य पाठलालपुत्वमभ्युपगन्तव्यम् । ल. कोशे गृहीता इति वृदृष्टान त्वया लिखितम् । २. ल. भवदुरित ३. बी. मोफी ४. बी. विभु ५. ल. लाषित ७. बी. आर्यासा ८. बी. संमति

• PALĀNDUMANDANA PRAHASANA OF HARJĪVANA MIŚRA

Siva who is the lord of the universe is glorious in all the worlds! He delights in many tastes and enjoys 2 all kinds of food and drink. He rids (people of ) evils in their worldly life and speaks to them about the discharge of duty, gratification of desire and acquiring wealth. He has earned abundant wealth and is the dear lord of Pārvati. (1) (At the end of the invocatory verse) Stage Manager - Do not be prolix. Oh! It is the occasion for the performance of the impregnation-rite (Garbhādhāna) for the wife of Lingoji Bhatta. In this function Palāndu Mandana and other ( guests) are feeling hungry as there is a discussion

• The text edition of the play as printed in the Malayamāruta was prepared by Prof.

V. Raghavan from its two mss, available at the Anup Sanskrit Library, Bikaner (No. 3163) and the India Office Library, London (No. 7409), the latter having better readings. Textual variants from these two mss. are given as found in ल. (London ms) and बी. (Bikaner ms.) 1. As is required in the texts on dramaturgy the Nāndī verse highlights the two features in the play by describing Siva as 'enjoying all types of food and drink and also 'acquiring abundant wealth. In the Prahasana also t satirises the cating habits of Pandits and their womenfolk in the different author parts of India. The chief character Lingoji Bhatta too, with the consent of his wife Pürpapoliki, receives large sums of money for fixing the marriage of their adolescent daughter Raktamūlika with their own nephew Lasuna Panta, a sickly elderly fellow. 2. Bhakşya-bhojyādi-bhokta. Bhalaya and bhojya could generally mean any thing that is eatable. But in medical and other texts food is said to be of six types. They are – those that are to be sucked (cogya) like sugar-cane, to be chewed (carvya) like flattended rice and chickpeas to be sipped (lekya) and drunk (peya); cooked soup and such other things are called 'bhojya' and bhaksya' is sweet made of milk cream, laddu etc. ef. Sabdakalpadruma. 32 (प्रविश्य) नटी अजउत्त । १ कहेहि लहु होदिति । सूत्रधार: नटी ।। पलाण्डुमण्डनप्रहसनम् ॥ सूत्र कज्जन्तरासचाए महूरे कर्ज [ आर्यपुत्र ! कथय लघु । कार्यान्तरासक्ताया मम कार्य भवति ।] आर्ये किमिदानीमीदृशं कार्य त्वां चपलयति ? अजउत्त ! अज खु४ पलाण्डुमण्डणो णिमंतितोत्ति सवरिवारो | तस्स उवचारकिदे घरम्भि धूवं संचारित्र आगदक्षि। तुम उण आअच्छिम चेलंचलं विधूविअ तं समाणेदुं गच्छेहिं । [ आर्यपुत्र अद्य खलु पलाण्डुमण्डनो निमन्त्रितोऽस्ति सपरिवारः | तस्य उपचारकृते गृहे धूपं सञ्चार्य आगवास्मि । त्वं पुनरागत्य चेलाञ्चलं विधूय तं समानेतुं गच्छ । ] सूत्र - आर्ये ! कालागुरुधूपसंचारेण गृहं नाशितं किम् ? नटी (विहस्य) अज्ज ! अभं 'पलांडुगंघेति किं तुमंण जाणसि ? [आर्य ! अयं पलाण्डुगन्ध इति किं स्वं न जानासि ? ] (परितः समाधाय ) साधु रे साधु पळाण्डुमण्डनाद्याः कृतार्थीकृता एव । तदेहि उपचारं कुर्व: । किं विलम्चेन ? १. बी. कहि ३. बी. ल. मलअ ५. ७. ९. बी. पलण्डु मी. आमष्ठि । बी. उपवार २.ल. लडुरं ४. लक्षलु. ६. श्री. सर्वरिणे ८, बी. पलण्डु° PALāNDUMANDANA regarding a marriage alliance. How would (these guests) confer blessings when their wishes are not fulfilled ? Moreover, how could they pronounce the Vedic syllables correctly without inward satisfaction, while the North Indians are crafty and skilled in many ways ? Hence let the strong feelings of the audience alone be fruitful! (In the air, smelling with delight) Oh, our wishes are about to be fulfilled by the strong smell of onions that suppresses all the others. (To himself). Let it be so. I shall gather people after calling forth my wife. (Looking all round) Madam, here, here, please! 33 (Entering) Actress Wife My lord, tell me quickly. I am intent on some other work and am busy. Stage Manager - Lady, what is the type of work which hurries you like this ? Nati - My lord, today Palandu Mandana and his party have been invited. For receiving them cordially I have smoked the house with incense and in the meanwhile have come over here. You can also go over there to receive them by waving the fringe of your upper cloth. Sūtra° Madam, have you spoilt the house by smoking it with dark aloe powder ? Nati (smiling) - Sir, don't you know that this is the smell of the big onions? Stūtra" (smelling all round) Well, well, Palāndu Mandana and others must be gratified now. Hence come along, we shall honour them cordially. Why cause delay ? 3. Here and elsewere (ficaturasra note 9a), the author uses the term 'caturasra' as a synonym of catura' or 'caturaka' (clever) and not in its normal meaning of 'square'. 34 ॥ पलाण्डुमण्डनप्रहसनम् ॥ (नेपथ्ये) अये बहुपलाण्डुवल्कलपरिपूर्णवीथीमवलोक्य श्रमिताः पलाण्डु- मण्डनाया: पलाण्डुध निकगृहं गच्छन्ति । तत्खलु लिङ्गोजी- भं बोधयितुं समायाति प्रजापतिदेवः । सूत्र (आकर्ण्य) प्रिये ! कथमिदानीं परिभ्रान्ताः पलाण्डुमण्डनाया: क गच्छन्ति ? तदेहि उपसर्पाव: । ( इति निष्कान्तौ ॥ ) ॥ प्रस्तावना ॥ (ततः प्रविशति प्रजापतिदेव:) प्रजापतिदेवः - अये ! क्व गतो रण्डापुत्रो जारजात: २चण्डालशिरोमणि- लिङ्गोजीभट्ट यत: पलाण्डुमण्डनाया विमुखा अन्यत्र गच्छन्ति । स्मृतं स्मृतं भो ! त्र्यम्बक भट्टलिगोजीभट्टयो: आवृत्तश्यालकयोः आत्मजसम्बन्चे ३ज्ञातिप्रामण्यवाहुल्यात् पलाण्डुमण्डनाबा: कदाचित् परावृता भवेयुः । भवतु तावत्, मयैव गत्वा ते समानेयाः । (नेपथ्ये 'उलूलध्वनिः ।) गणपतिरविचन्द्रप्रोल्लस'देववृन्दो जलपवनकृशानुव्योमभूमिब्रजश्च । मणिगणमनुसङ्घ' प्रस्फुरत्सिद्धविद्या- द्विजजनितसमूहो मङ्गलं वो ददातु ॥ २ ॥ २. ल. चांकेगल ४.बी. ६. ल. 'स' नास्ति ८. बी. संघ: 9. बी. ल पदं नास्ति ३. बी. नाति° ५. बी. सलल; ल. सोनी PALANDUMANDANA (Off-stage) 35 Palāndu Mandana and others, soeing the stroct filled with large quantities of scattered onion-pealings, are wandering about as they like to go to the house rich in big onions. Prajāpati Deva comes ( here) to inform the same to Lingoji Bhatta. Sutra° (listening) - How is it that Palandu Mandana and his party are puzzled ? Where do they go ? Come on, let us approach them. (They both exit.) Prologue (Then enters Prajapati Deva.) Prajapati Deva Where has Lingoji Bhatta, the son of whore and of a paramour, king of wretched gone ? For, Palāndu Mandana and his party, being angry, are going elsewhere. Oht I do remember too well Perchance Palāndu Mandana and other guest-pandits have turned away due to the (presence of) many leading kinsmen for discussing the marriage of the son and daughter of the brothers-in-law Tryambaka Bhatta and Lingoji Bhatta. Let it be. I shall go myself and bring them. (Behind the curtains, tumultuous noise) All the lords of the gaņas and sun, the moon, the happy host of celestials; the group (of elements) - water, air, fire, ether and earth; of many precious gems and mantras, as also the brahmins conversant with perfected knowledge-let them confier blessings on you all ! (2) 4. It is noteworthy that the master of the Garbhādhāna ceremony, Prajāpati Deva, is himself compared to the lowly mouse in the following off-stage announcement. He is also assigned menial jobs like bringing the priests, sacrificial vessels and leaf plates. ।। पलाण्डुमण्डनप्रहसनम् ॥ (सावधानं समाकर्ण्य ) प्रजा अये । लमं समासन्नं खलु भवतु तावत् त्राह्मणभोजनादौ शैघ्रयम् । (नेपथ्ये सस्वरम् ) · “ मूषको वै प्रजापतिरासीत् । तस्य द्वौ दन्तावास्ताम् । दन्तेन दन्तेन बिलं करोति, भाण्डं स्फोटयति हविष्यान् भक्षयति, यजमान: प्रहरति, चूंचूशब्दं करोति । यजमानं स्वर्ग लोकं गमयति । य एवं वेद ॥ " * प्रजा (सादरं समाकर्ण्य) अहो ! वेदध्वनिः ! | आगता एव सर्वे किम् ? अइमपि तावत् हौलताम्रपात्र पेरंभट्ट कलाकुराचार्य च गृहीत्वा पुनरागच्छामि । ( इति निष्कान्तः । ) (ततः प्रविशति सवाचं लिङ्गोजीमहसमवलम्बितस्ता हरिद्राद्रव- लिसाङ्गी माल्यभूषणभूषिता हृदफच्छाषिशेषनिबन्धनकुशला ताग्बूलचर्वण चतुरा प्रचल ३ मङ्गल संस्था सुवासिनी राग- संवर्धितहर्षा चिया, गृहीतत्र्यम्बकहस्ता कथिका च ।) भट्टौ - (अञ्जलिं बढ़ा) नमस्काराः । कथमिदानीं ब्राह्मणानां विलम्ब इव हृश्यते ! ( " नमान्दातृवध्वौ परस्परं सदृष्टिक्षेपम् ) ★ वेदवाक्यविडम्बनभूत मिदम् । ल. परं नास्ति २. लल नास्ति ५. ल. मनन्द २.ल. देख: Y, मी. °म (मे 1) उप PALĀNDUMANDANA Praja (listening to attentively) - Oh, the auspicious moment has arrived! Let the feeding of the brahmins and other things be done straightaway ! (Behind the curtains, with Vedic accent) “There was a Prajāpati, the mousc. He had a pair of teeth. With each of its tooth it digs holes, breaks open the containers and swallows the offerings. The sacrificer (master) hits it when it makes the noise 'cumcum'. The sacrificer is enabled (then) to reach the heavens. One who knows this -- 1" 37 Praja (respectfully hearing) - Oh! the Vedic utterances ! Have all the guests arrived ? I too shall come here again taking the sacrificial copper vessel and bringing with me Peram Bhatta and Kalarkankurācāryas (So saying he exits.) (Then enters accompanied by instrumental music, Cilcā, holding the hand of LingojT Bhatta. She has her limbs smcared with turmeric, is adorned with garlands and ornaments and is expertly wearing the pleated fringes tightly and in a special way. She i tastefully chewing the betel leaf and nuts. She has a strikingly auspicious bearing, is well dressed (or sweet-scented) and beaming with love. Enter also Kvathikā holding the hand of Tryambaka.) Lingoji and Trymbaka Bhattas (folding their palms) - Our salutations! Why are the brahmins late in their arrival ? (The two sisters-in-law slyly look at each other.) 5. "A defamed person" Kalahka' could be also 'Kavaka' or 'Mushroom which is prohibited to be eaten by brahmins in Manu Smrti (V.5, 19) along with anions and garlic. Herein Manu refers to mushroom as 'Chattraka' also Sa. Married women Kamataka and Maharashtra pleat nicely the cloth material in the front and insert it at the side or back of the hip. / 38 ॥ पलाण्डुमण्डनप्रहसनम् ॥ कथिका (चिश्चां भ्रातृबधूं निर्दिश्य) अये तुज्झ१ सपत्तीपूरणपोलिआर- उजादाए रतमूलिआए कुसलं खु४ । [अये ! तब सपत्नीपूर्णपोलिकाजाताया रक्तमूलिकायाः कुशलं खलु !] चिञ्चा- मोदीएप्पघसारण ताए कुसलं जेव्व। अज्ज ५ उण तुज्झ जादो खेमेण चिट्ठदि । [भवत्याः प्रसादेन तस्याः कुशलमेव । अग्र पुनस्तव जात: क्षेमेण तिष्ठति !] कथिका अये ! सो दिग्धजीवी तुज्झ जादाए दिवारलिंपिक स्वरूवं सुमिरिअ चिहृदि । [अये ! स दीर्घजीवी तब पुत्र्या दिवा रात्रिमपि स्वरूपं स्मृत्वा तिष्ठति 1] चिश्वा (बिद्दस्य) एवं जेव्व एसावि रत्तमूलिआ दीग्धजीविंदस्त गिअंजणअद्दिणो रूवं सुमिरिध सुमुरिज कीलदि । [एवमेवैषापि रक्तमुलिका दीर्घजीवितस्य गुञ्जनाद्रेः स्मृत्वा स्मृत्वा क्रीडति ।] ३. {. (उमे परस्परं हस्ताइस्तिकां प्रथयतः ।) लिङ्गोजी हे हे व्यम्बकमट्ट ! रजोयोग्यायाः कन्यायाः विवाह पितुरस्वयं जनयति इति स्मृतेमतोऽहम् | चूतमञ्जरीमिव रक्तमूलिकां कन्यां परिणेतुमिच्छामि। १. श्री. तुमूस; ल. गुस्स ल. लादाए बी. ल. मि ४. २. बी. मूरणग्नूलिआ; ल पूरणमूलिभा बी. ल. रखु ५. बी. ल. पर्द नास्ति PALANDUMANDANA 39 Kvathikā (to her brother's wife Ciñcā) Is Raktamalikā, the daughter of your co-wife Pūrmapolikā keeping well ? Ciñcā- By your blessings she is all right. Now, is your son (Grinjanādri) keeping well ? Kvathikā- Aye, day and night, the hearty fellow is thinking about the beauty of your daughter. Ciñcā (smiling) - In the same manner Raktamūlikā also amuses herself by repeatedly recollecting the beauty of the hefty Grnjanādri. (They mutually clasp their hands.) A Lingojī Bhatta - Hey, hey, Tryambaka Bhatta | I am afraid of the statement in the Smrtis that man who gives away his adolescent daughter in marriage is not allowed to reach the heavens. I therefore want to arrange very soon for the marriage of my daugther Raktamūlikā who is like fresh mango blossoms. ।। पलाण्डुमण्डनप्रहसनम् ॥ त्र्यम्बकः - त्वया एष भागिनेयो गृञ्जनाद्रिदृष्टः खलु ! लिङ्गोजी - हे हे त्र्यम्बक, मवतु तावत् | गृहिणीं पृच्छामि । (विलोक्य) अये पूर्णपोलिके! इत इतः । 40 पूर्णपोलिका कथं अज्जलिङ्गो ! [कथमार्यलिङ्गः !] लिङ्गोजी - प्रिये ! तव जाताया रक्तमूलिकाया विवाहो घनिकत्र्यम्बक - भह्युलेण त्वद्रागिनेयेन गृजनाद्रिणा विचारितोऽस्ति । पूर्णपोलिका- अज्जउत्त ! जइवि एवं अदिरमणिज्जं तहवि लशुनपंतो दाणि मरणं समासाध (द) इस्सदि त्ति कठिणं । [ आर्यपुत्र ! यद्यप्येतद् अतिरमणीयं तथापि लशुनपन्त इदानीं मरणं समासादयिष्यतीति कठिनम् ।] लिङ्गोजी- प्रिये । यद्यपि एवमेव, तथापि गृजनादिरल्पवयस्क: खलु ? किं तेन वृद्धेन ? शैध्यमेवोद्वाद्दे भवतु | तावद् वानिश्चयः प्रथमम् । को संदेहो । (परितोऽवलोक्य) हे हे कुत्थिए ! एसा रत्तमूलिआ तुज्झके समप्पिदात्थि | पूर्णपोलिका [कस्सन्देह : हे हे कथिंके । एषा रक्तमूलिका तवाङ्के समर्पितास्ति । ] कथिका अये अणुम्गहिदक्षि गिंजणद्दि पर तुह बालो किम् । [अये अनुगृहीतास्मि । गृञ्जनाद्रिः न तव बालः किम् !] त्र्यम्बकः - (श्रुत्वा सोल्लासम्) भवतु तावद् वानिश्चयों वरकन्ययोः । ( यावत् कलङ्काकुरस्समायाति तावत् प्रविशति लशुनपन्तः ।) बी. 'ण' नास्ति; रू. था. १. २. बी. ल. मूलिका, 16 ३. PALANDUMANDANA 41 Tryambaka-You must have met with your nephew Gmjanādri. Lingoji - Hey, Tryambaka, let it be. I shall ask my wife. (Looking at her) Pürmapolikā, here, here, please ! Pūrnapolikā What is it, respectable Linga ? Lingoji My dear, the marriage of your daughter Raktamūlika with your nephew Griljanädri, son of the affluent Tryambaka Bhatta, is being considered. Pürnapolika Honourable sir, though this is a splendid idea, •yet it is difficult because Lasuna Panta may meet with his death soon. Lingoji My dear, this is quite so. But still Grijanädri is youthful. What is (the use of) that old man (i.e. Lasuna Panta)? Let there be first an oral agreement in connection with this marriage immediately. Pürnapolikā What doubt is there about this ? (Looking all round) Hey, hey, Kvathikā, this Raktamūlikā is under your care. KvathikāI am really favoured. Is not Grnjanādri your boy ? Tryambaka (listening to, heartily)-Let there be oral agreement between the boy and the girl. (While Kalankāñkura is yet to arrive, Lasuna Panta enters.) ।। पलाण्डुमण्डनप्रहसनम् ॥ १ लशुनपन्तः - रे रे परार्थविषट्टक ! लिङ्गोजीभट्ट | आनिषेकावधि रक्तमूलि कायाः प्रत्याशया जीवितमालावशिष्टस्य मे, अस्वर्ग्यसंसाधनेन किमौनत्यं भवेत् ? गृञ्जनाद्रिस्तु मतो वयसा न्यून एव, साक्षात् सहजः । तस्य काचिज्जीविताशाप्यस्ति । किमेतया त्वरया ? किं पुनस्तव कन्योत्पतिर्न स्यादेवाद्य गर्भाधाने चिश्चाया: ? पूर्णपोलिका- (आत्मगतम्) एसो बुझे मझ जादाए अकजं करेदि । होदु तावत् चिन्तइस्सं । [ एष वृद्धो मम जाताया अकार्य करोति । भवतु तावत्, चिन्त- यिष्यामि।] 42 कथिका (आत्मगतम्) एसो लसुनपंतो बुढो होई । ता धणवलेणेव विआहो जुज्जइ । ( इति स्वर्ण निष्कास्य प्रदर्शयति ।) [एष लशुनपन्तो वृद्धो भवति । तद् धनबलेनैव विवाहो युज्यते ।] लिङ्गोजी - भवतु तावद् एतेनैव सम्बन्धो३ लशुनपन्तेन । दृश्यते हि द्रव्य बाहुल्यम् । अलं तेन गृअनाद्रिणा तरुणेनापि । चिश्वा हे हे सुवण्णदाण नियमं करेहि। [हे हे ! सुवर्णदाननियमं कुरु ।] क्वथिका अये ! वहकरिसमित सुवण्णं तुझ्झ दावं । [अये ! दशकर्षमितं सुवर्ण तव तावत् []४ लिङ्गोजीभट्ट रेरे, आयुः प्रमाणमनियतं हि प्राणिनाम्५ । ततः किमेतावता सुवर्णेन ! १. २. ४. श्री. नास्ति; क. पाठ: (पन्स:!) सम्बन्धेन तह करिस्सामि से सुवणं तुज्झ दावं सावत् ] इत्यपि पाठ: स्यात् । ५. बी. इदं वाक्यं चित्रयादी रश्यते । बी. स. पोळी [तथा करिष्यामि तद सुवर्ण तव २. 43 PALANDUMANDANA Hey, Hey, Lingoji Bhatta, the breaker of others' hopes, what do you gain by depriving me of the heavens ? My only prop in life, since the birth of Raktamūlikā, is the desire to get at her hand. Grhjanadri is no doubt younger to me, and my own brother. He may cntertain hopes about his life. Why are you in a burry ? Would you not be begetting a daughter after today's Garbhādhāna with Ciñcā ? Laśuna Panta- Pūrnapolikā (to herself) This old man is mischievous towards my daughter. Be it so. I shall think about it. Kvathika (to herself)- Lasuna Panta is old. The marriage is therefore possible only by money-power. (Taking out golden coins, she displays them.) Lingoji Let there be matrimonial connection only with Laşuna Panta, owing to the large amount of wealth seen now. Enough of Gmjanādr hough youthful. Ciñcā Hey, hey, you should stipulate exactly the amount ! Kvathikā - Aye, you would get gold equal to the weight of ten Karaas.s Lingoji The life span of living beings is not fixed. Hence, what use of only this amount of gold ? the 6. Kargu is a weight of gold that is equal to 16 māgas or about 180 grain troy A coin of kargaweight is called 'Kārāpana'. । पलाण्डुमण्डनप्रहसनम् ॥ लशुनपन्तः - (श्रुत्वा सहर्षम् आत्मगतम्) पलाण्डुमण्डनस्य आतु: विंशोचर- शतवर्षाभ्यधिकस्यापि सुवर्णवलेनैव पिण्डमूलिकया विवाह- संसाधितः । (प्रकाशम्) भो भो लिङ्गभट्ट | लशुनपरिपुष्टस्यापि कदापि मरणं भवति ? 44 (इति यथेष्टमर्थ प्रदर्शयति ।) लिङ्गोजी भट्ट: १- भवतु तावत् । कुत्रास्य द्रव्यस्योपयोग: ? ३पूर्णपोलिका (दृष्ट्वा सहर्षम् ) रे रे पुत्त लशुनपन्त एवं जेव्त्र जुज्जइ | ता दाणि तुह उत्तरकज्जजोगां घणं किं ण समप्पेसि । [रे रे पुत्र लशुनपन्त । एवमेव युज्यते । तदिदानीं तब उत्तरकार्ययोग्यं धनं किं न समर्पयसि ?] लशुनपन्तः५ - (विचिन्त्य) यधेत्रं तदा कुत्रोपयोगो लशुनगृञ्जनक्षेत्रस्यास्य ? * ( इति स्वयं क्षेत्र प्रदर्श्य) अये ! यदि कदाचिदेवं तदा मम खलु क्षेत्रेऽस्मिन्नेव लिङ्गसंस्थापनमात्रं भवतु । क्षेत्र- मुत्कृष्टमेवास्ति, किमन्यत् ?+ पूर्ण पोलिका- (लिङ्गमुखमवलोक्य) सिझं णो कजं । होदु ताबल' लशुण- पन्तेणेव संबंधो दाणि । [सिद्धं नः कार्यम् । भवतु तायलशुनपन्तेनैव संबन्ध इदानीम् |] लिङ्गोजीभट्ट ममाप्येवं मनसि वर्तते । 9. २. (ततोऽपटीक्षेपेण प्रविश्य) ल. सलगमया बी. पैकित्रयादूर्ध्न लिखिनम् बी. ल. पोली ४. ल नास्ति । बी. समप्यसि ५. बी. पंतम् ६. ८. बी. ल् नास्ति बी. स्वीय

• लशुनपुजन क्षेत्रम् तद्रोडणार्थ: केदारः | + क्षेत्रलियन्दयोः श्लेष: ।

PALĀNDUMANDANA 45 Lasuna Panta (having heard it, happily to himself) - The marriage of a brother of Palandu Mandana more than 120 years, with Pindamdlikā, was accomplished only with money-power. (Aloud) Oh, Linga Bhatta, does anyone nourished with garlic, mect with his death at all ? (So saying shows out as much gold as desired.) Lingoji Bhatta - For which purpose could this gold be used ? Be it so. Pūrnapolikā (looking at the gold) - Ah, ah, son Lafuna Panta, this is. quite proper. But then why don't you offer now, some money to be utilised for your crematory rites ? Lasuna Panta (thoughtfully ) If so, how could this land of mine, where garlic and onions are grown, be used ? (Pointing out to his field) Woman, if such a thing would perhaps happen, then at this very field (kgetra), let just a memorial sign (linga) be erected. The ficld is quite fertile. What else ? Pürņapolikā (looking at Lingoji) - Our purpose is accomplished. Let us have marital connection only with Lasuna Panta. Lingoji Bhatta- 1 am also thinking in the same way. (Then entering by a toss of the curtain) s 7. Double meaning of kxetra (field, body) and lhinga (mark, sex-sign) are intended. 8. Bharata mentions two curtains namely, Yavanika and Paja or Apaji. The latter is on each of the two doors at the rear of the Ranga. Under emotional situations a character onters after hurriedly throwing off this curtain. ।। पलाण्डुमण्डनप्रहसनम् ॥ गुञ्जनाद्रिः रे रे परोपकारनिन्दक ! राजा किं विधवाभ्योऽन्नसत्रं न ददाति ? ही ही भोः आश्चर्यमाश्चर्यम् । कथं हि दृढकच्छासंसाय (?) - स्क्न्धाङ्गुल्लिमवालाः पदातिभिरुद्वेजिताम्य भुक्तानशेषपूरित- कच्छाकचुक्य (का?)न्तरा: करचुलकप्रपापानोन्मुख्युः १ (खा : १) द्रविणवर्शनमात्रेणैव स्वदेशाचारं विस्मरन्ति आम् । 46 लिङ्गभट्ट (आत्मगतम्) लमः खलु दुष्टकण्टकः । भवतु, एनं प्रसार- यामि । (प्रकाशम् ) रे रे गर्भाधानावसर: संनिहितः । तस्मान्निमन्त्रितत्राह्मणानां भोजनं भवतु सत्वरम् । (नेपथ्ये) रे रे अभिशापिनायक | कलकार ! उन्मत्तभैरव ! शुनश्शेफ ! अगम्याप्राञ्जल ! गुरुतल्पग ! स्नुषानाथ ! चेटीचतुरन ! कालपुरुष | मिनकर्तरि | विश्वासघातेन्द्र ! विश्ववश्चक !

• नारायणकण्टक! सूचीमुख ! दुष्टमुष्य (ख्य?)! अभक्ष्यराक्षसाः |

यूयमत्रैव तिष्ठथ । यतोऽन्तः स्थलसंकोचात् रथ्यायामेव भोजन- पङ्क्तिस्सावकाशेन भवेत् । प्रतिष्ठिताः* पलाण्डुमण्डनायाः, केचन गच्छन्त्वन्तः । (ततब्ध प्रविशन्ति पलाण्डुमण्डनमिथ्याकूटायाः कतिपये५ ।) चित्तपावनेनास्माकं न कदापि पलाण्डुमण्डना (विडोक्य) अये ! पङ्क्ङ्किरासीत् । १. वी. उन्मुक्ष्यः ३. बी. गुरुतुल्य सुषानाथ ५. बी. ल. याः ची. अं; ल. आ बी. नारायणक जगत्प्रतारक २. ४.

• लब्धप्रतिष्ठा इत्यर्थः ।

PALANPUMANDANA 47 Grhjanādri - Ah, a critic of those of helpful nature! Does not the ruler provide free food to widows ? He he, sir, how wonderful ! How is it that those wearing a tight lower garment and pleated (upper cloth) on the shoulders, intimidated by men moving about, filling their clothes with remnants of food and cagerly drinking handfuls of water in froe watersheds, forget their regional modes of conduct at the mere sight of moncy? Lingoji ( to himself) Here comes the thorn to stick into my side ! Let it be. I shall dupe him. (Aloud) Hey, Hey, the time for performing Garbhadhana has arrived. Therefore let the dinner be quickly served for the invited brahmins! (off-stage) Hey, Hey, leader in pronouncing curses, shoot of calumnny, mad dog', dog's tail, the pet for the prostitutes, lover of guru's wife and one's own daughter-in-law, skilled lover of maid servants, lord of death, the undoer of friends, lord of broken trust, cheater of the whole world, thorn even to Nārāyana, sharp-faced, chief of rascals, devourer of inedibles, all of you remain right there! Due to limited space inside, comfortable seating arrangement for dinner is to be made only in the street. The renowned PalIndu Mandana and a few others can go inside. (Then cnter Palāndu Mandana, Mithyākūtato and some others) Palāndu Mandana ( looking around) We never sat along with Cittapāvana" at any dinner before! 9. Or intoxicated Siva-form of Bhairava. 9a. Ceff-caturasra. 10. This is a soup prevalent in Karnataka and Maharashtra. It is prepared by putting the powder of a mixture of fried rice, pulses and fenugreek (wendayam in Tamil) in curds or tamarind juice. It is called 'Mendiyittu in some parts of Tamil Nadu. 11. 'Cittapāvana' or Citpavans are a class of Maharashtrian brahmins According to Prof. N.R. Bhatt the etymology of the word is eitayā pāvanāh' (sanctified by holy ashes). ॥ पलाण्डुमण्डनप्रहसनम् ॥ चितपावनः भो भो : समाचरितमेव विस्मृतं किम्, यत् खलु खाण्डे- राय/र्चनविधौ अनेकप्रकारपलाण्डा दिनिरूपितपरमान्नभक्षका भवन्त एव न स्थिताः किम् ? 48 पलाण्डुमण्डन:- (विहस्य चित्तपावन समालिङ्ग) भ्रातः ! पलाण्डुरप्यस्त्यत्र ? चित्तपावन:- नो चेत् किमन्यदस्त्यत्र ! (पलाण्डुमण्डनः सगर्व तिष्ठति ।) गुञ्जनाद्रि: जये! किं केवलपलाण्डुना गृञ्जनरहितं पशूनां शप्पप्रायमिंद भोजनम् । लशुनपन्तः - रे रे किमेतया नीरसचर्चया ? ओषधीनां नाथे लशुनानन्द- कन्देऽभ्युदिते ज्योतिरिङ्गणमायाणां पलाण्ड्डादीनां कुलावकाश: ? पलाण्डुमण्डनः भो भो आत: : पलाण्डुरवि लशुनाधिको न भवति किम् ? यतः -- यत्सन्तानपरम्परा प्रविलसत्तारासमूहस्तथा मुक्ताहीरकपुष्परागमणयो नैते शतांशैः समाः । तृप्तिर्येन गरीयसी प्रबितता हमालतो जायते कन्दः कोऽपि दिवि क्षपाकर इव क्षेत्रे परं द्योतते ॥ ३ ॥ लशुनपन्तः ५(सरोषम् ) एवम् ! यत्पोटिका को (टि) समीरणानां * हन्त्री ततः ७ तरसमता कथं स्यात् । गन्धेन यस्यैव सुरासुराणा- मन्नं भवेत् तृप्तिकरं विशेषात् ॥ ४ ॥ १. वी. स्थिताम् २. बी. सर्वगर्वतिवृत्ति ३. ल. ट्ङ्मात्रता ४. बी. एक ५. बी. 'सरोषं' नास्ति ६. ल. 'टि' नास्ति; उभयत्र उपरि समीरणा' इत्येव ७.ल. तल

• बहूनां वातदोषाणामित्यर्थः

49 PALĀNPUMANDANA Cittapāvana - Ha, ha, sirs, did you forget at all what took place yesterday ? On the occasion of the worship of Khānderāya tu did you not swallow the special dishes spiced with varieties of onion? Palāndu Mandana ( smilingly embracing Cittapāvana) Ha, ha brother, is big onion used here also? Cittapāvana If not, what else is used here ? (Palāndu Mandana stands arrogantly:) Grñjanādri - Hey, what is the use of mere big onions ? Without the small onions dishes will be tasteless like the grassy food of hoofed animals. Lasuna Panta - Hey, Hey, what is the use of this insipid discussion ? When, like the lord of the medicinal herbs (the moon), the bulbous root of garlic comes up, where is the need for the onion-types that are similar to the fire-flies ? Palāndu Mandana Ha, ha brother, is not big onion too superior to garlic ? A good collection of the specics of onions shines like the multitude of stars. The pearls, diamonds and topaz cannot be compared to a hundredth part of onion. The mere sight of it causes supreme satisfaction. In the field the bulbous onion brightly shines like a moon in the sky at day-time. (3) Lasuna Panta (angrily ) Really ! A bunch 12 of garlic destroys inmumerable disorders due to wind- affliction. What could be compared to garlic ? Its mere scent makes the food specially satisfying for the gods and demons. ( 4 ) 11.a. A form of Siva worshipped in Western India. 12. In the context of garlie' (Latuna) the author uses poltika in verses 4 and 9 in the sense of a 'collection' or pocket' (potala) 50 गुञ्जनाद्रि (उभौ निरस्य) श्रूयतां तावत् - ॥ पलाण्डुमण्डनप्रहसनम् ॥ प्रवालशोभा खलु यस्य चेटी तद् गृञ्जनं व्यञ्जनराजकल्पम् । न तत्स्वरूपं प्रविदन्ति मूढाः कथं हि ते ज्ञानविधानदक्षाः ॥५॥ (पुनः प्रविशति प्रजापतिदेवः) प्रजापतिदेव:- रे रे ब्राह्मणानां भोजने कथं विलम्ब चिश्वा अये! पआवइदेव परिपक्कसूपसाकादिणं जाव पलाण्डु- लसुणसंकरो ण होदि ताव विलंबेहि स्वह्मणाणं । [अये प्रजापतिदेव ! परिपकसूपशाकादीनां यावत् पलाण्डुलशुन- संकरो न भवति तावत् विलम्बो हि ब्राह्मणानाम् ।] प्रजापतिदेवः - भवतु तावत्, पत्रावलीमासादयामि । १ ४. ( इति पत्रावल्यासादनं नाटयति ।) (नेपथ्ये) अहो । पलाण्डुलशुनगन्धेन स्वर्गीकृतोऽयं लोकः ! रे रे पश्य पश्य ! कथम् अभाग्या उदीच्या नासिकां संयम्य पलायनपरा दृश्यन्ते धन्याः खलु सार्वपथभोजनोद्धताः दाक्षिणात्याः ! कथमतीव स्पष्टतरैर्वर्णोच्चारैः पदक्रमजटालापं अत एव प्रथयन्ति ! लिङ्गमः- एते ज्ञातिश्रेष्ठाः मण्डपमणयः कुतो न समाविशन्ति ? (ततः प्रविशन्ति ) भूत्यालिङ्गितविंग्रहाः करतळव्यासक्तपत्रावली- गण्डू कादिविशेषभूषणरताः शुष्कोदरा: सर्वतः । काषायैर्वसनैर्वृताः परमहो शीर्णेश्शतच्छिद्रकैः शोभन्ते परितः सहस्रनयनत्रान्ति दधानाः किमु ॥ ६ ॥ ३. बी. श्री. प्रविश्य बी. गंयो २. ल. रिर्ण ५. बी. परिस Grnjanādri (setting aside both) - Listen to me. The small onion is the best among condiments. The lustre of coral is only its handmaiden. Fools do not know its real nature. How can (such fools) be capable of appreciating its subtletics? (5) 51 (Prajapati Deva enters again.) Prajapati Deva Hey, hey, why is there delay in the feeding of the brahmins ? Cinca Oh, Prajapati Deva, the delay is due to the cooked soup and green vegetables being seasoned with onions and garlic. Prajapati - So be it. I shall bring leaf-plates. (Shows the action of bringing the leaf-plates ".) (off-stage) Oh, because of the smell of onions and garlic the whole place has become heaven itself! Re, re, look, look, why do the wretched northerners, covering their noses are running away ? Fortunate indeed are the southerners who are excited by dishes of many varieties. Thus they with their very clear enunciation of the Vedic syllables display the pada, krama and jaja-types. " Lilgoji Bhatta Why are these best of kinsmen, adorning the hall not seated? (Then enter) (Perambhatta and others), with their bodies besmeared with holy ashes. They graciously enjoy holding the leaf-plate, water vessel and other things. Their stomachs are empty. With their reddish brown dress worn by them being patched with hundred scraps, they create a brilliant illusion all around of the thousand-eyed Indra. (6) 13. 'Patrāvali' Could be 'plantain-lear or more probably driod leaves stitched together (Taiyal ilai in Tamil). 14. Three modes of Vedic recitation. in 'pada-pātha' the individual words in the Sahhuā text are given separately Krama and Jaxā are two ways of prescrving the sacred text from alteration. In Krama text every word occurs twice, being connected with the preceding and following words - like ab, bc, and cd. The Jagā, as based on Krama. states each of its combinations three times, the second time in reversal order-like ab, ba, ab. 54 ।। पलाण्डुमण्डनप्रहसनम् ॥ ( लशुनपन्त: सोत्साई यायदाहासं निरूपयति तावत् कासश्वा- साधिक्येन मूर्च्छितः पतति ।) पलाण्डुमण्डनः रे रे पलाण्डवं गृहीत्वा त्वरयन्तु ! अन्यथा लशुनपन्तस्य अन्यथामायो भवेत् । (गृजनादि: गृञ्जनं गृहीत्वा धावति, आरनालभट्ट आरनालघंट समानयति ।) त्र्यम्बकः - भ्रातः लिङ्गभट्ट | वृष्यं किञ्चिदस्मै निवेदय । (लिङ्गभड: मूर्धान्दोलनं विवाय पर्यवलोकयति ।) चिचा जादे रत्तमूलिए! 1 मूलिआए रसं चिञ्चारससंबलिदं करेहि । [जाते रक्तमूलिके ! मूल्किाया रसं चिञ्चारससंबलितं कुरु । ] (रक्तमूटिंका शीघ्रं तथा करोति ।) मिथ्याकूटभट्टः- (मिथ्याकूटद्रवं गृहीत्वा ) रे रे मूर्खा: ! पश्यन्तु क्षणेनैव मदीयं चमत्कारम् । (इति शीघ्रं लशुनपन्तस्य मुखे ददाति ।) (नेपथ्ये) रे रे श्मशानक्रियासंधुला: । लशुनपन्तस्य परलोकसाधका: २ ! परशुष्कपलाण्डुलशुनगृजन काष्ठै रचिता चिता दूरे विधीयताम् । यतोऽस्य मुखे यमदूता: ५ शौंच कृत्वा पछायिता: । तदिदानीं जीवितोऽयं निस्संशयम् । लिङ्गभट्टः - सत्यमेवातिवृष्य मौषधं खलु । (ताज्जागरितो ७ लशुनपन्तः ।) १. ल. पदं लुसम् ३. बी. रूप इत्यधिकम् २. ४. ५.ल.माः ६.ल. वृद्ध ल, साका: बी. ल. तां v. बी. ल. जागृत PALĀNDUMANDANA (Lasuna Panta while exhibiting his love cnthusiastically, coughs heartily and falls down in a swoon due to shortness of breath.) Palāndu Mandana - Hey, hey, quickly bring the juice of big onions; otherwise, Lasuna Panta may not be with us for long. (GxfMjanādri rushes forth with small onion-juice. Aranala Bhatta brings a pot of gruel.) Tryambaka - Brother Linga Bhatta, offer him a tonic. (Linga Bhatta nods his head and looks all round.) Ciñcā Dear Raktamūlikā mix the juice of the red raddish with tamarind juice. (Raktamūlikā docs so quickly.) Mithyakuta Bhatta (bringing Mithyākāta fluid) - Hey, you fools, see how I would be instantly working this wonder, (So saying he offers it quickly into the mouth of Lasuna Panta) (from behind the curtains) 55 Hey, hey, you who regularly arrange for the crematory rites and also who send Lasuna Panta to the other world! Throw away the funeral pile made of dry onion and garlic pealings! For, the messengers of the lord of death after urinating on the face of Lasuna Panta, have run away. Therefore, he in undoubtedly alive now! Linga Bhatta Truly indeed the medicine is very potent ! (Lasuna Panta wakes up by then.) ।। पलाण्डुमण्डनप्रहसनम् ॥ लशुनपन्तः रे रे समानीयतां लशुनमन्थिः । यतोऽतिपित्तक्षो मेण मूर्च्छि तोऽस्मि । 56 पलाण्डु मण्डनः- साधु रे, साधु ! ममाप्येवमेव भवति हि बहुधा । गृञ्जनाद्रि:- मूर्खसमाजे पतितम् । रे रे हतधियः ! मधुररसं विना कथं पित्तक्षोभनिवृत्ति: ? तद् गृहाण गृञ्जनरसम् लघुनपन्तः (विहस्य) प्रभवति लशुनं न चेत् प्रहर्तु खल कथनं किमिहास्ति गृञ्जनस्य | तिमिरवधधुरीण उष्णर शिमर्यदि न भवेदिह कोऽस्ति शीतरश्मिः ॥ ८ ॥ अये लशुनपोटिके* सकलदुःखसन्त्रोटिके महापथसुघोटिके परमपापसंमोटिके । सुगन्धहततोटिके५ परमसिद्धसच्छोटिके प्रसीद परमेश्वरि क्षुषिततृप्तिसद्रोटिके ॥ २ ॥ (पूर्णपोलिका ६ कच्छां शिथिलयन्ती वामहस्तेन लशुनपोटिकां निष्कास्य तन्मुखे ददाति यावत् तावत्-) गृञ्जनाद्रि:- (विहस्य) कथमेतेषां मूढधियां दुराग्रह: प्रवालरागे सरसे सुधायाः प्रेमाङ्कुरे भोगविधानशीले । यद्दर्शनात् सात्त्विकभाव आस्ते तद्गृञ्जने नास्तिकतां प्रपन्नाः ॥ १० ॥ १. बी. 'एवं' नास्ति ३. बी. ल. पुरीया ५. छ. पोळी इत्यधिकमत्र ६. बी. कां

• 'पोटिक' शब्दः पूर्वमपि प्रयुक्तः तस्य अर्थस्तु न विशदः; लशुनपाकविशेष स्

तथा व्यवहार स्यात् । 17 ल. ग्रु' नास्ति ४. बी. प तोटिकाशब्दस्यार्थो न विशदः । PALANDUMANPANA Lasuna Panta Hey; hoy, please bring the bunch of garlic | For I have fainted due to an excess of bile. Palāndu Mandana Well, well, sir, I too get this quite often. Gräjanñdri - I have failen in with a fool's group. Hey, hey, wretched fools, how could one cure bile complaint without sweet juice ? Hence take this juice prepared from small onions. Lasuna Panta (smiling) - If garlic is not able to dispel ( illness), what could be said of the small onion ? If the sun does not become the prime killer of darkness, what could be said of the moon? O, garlic-bunch, destroyer of all sufferings, the horse trotting in the high roadis (or leading to the other world), crusher of grave sins, the wretched killer of fragrant smell, provider of real miracles (or perfect knowledge) in a snap, the bread that (9) delights the hungry, Supreme Goddess, be gracious ! (Pūrgapolika loosening her pleated garment, takes off the garlic- bunch by the left hand and places it the mouth of Lasuna Panta.) 57 Grijanidri (smiling) - How obstinate are these silly-minded people? The small onion is red like the coral, juicy ( tasty) like nectar, (causes) love to sprout forth, is capable of giving enjoyment, and at its very sight purity rises (or comes to be). Foolish people do not believe in its powers. (10) 16. 'Mahāpatha' ।। पलाण्डुमण्डनप्रहसनम् ॥ लशुनपन्तः - ( नेत्रे समुन्मील्य "अये लशुनपोटिके' इत्यादि पठित्वा समास्वाद्य) अहह ! सत्यम् एवमेव स्वरूप सादृश्यवशात् सुधांशुं पिबन्ति देवा न हि तत्र चित्रम् । 58 लिङ्गोजीभट्टः - अये पोलिके! त्वत्पुण्यप्रभावेणायं जीवितः, ते पुत्र्यपि भाग्यवती, यत आजन्म नैश्चिन्त्यसाधनद्रव्यलाभः पतिप्राणलाभश्च सम्भावित समनन्तरमेवास्या: । चिश्वा यत्खण्ड सादृश्यवशात् स एव पुनर्भवेद् बन्यतरो जगत्याम् ॥ ११ ॥ पेरंभट्टः रे रे ३स्नुषापुरीणां भूयान् संमर्दः खलु तद् यावत् लशुन- पलाण्डुगन्धाच्छादनं भवतु। कथमधिकं कष्टम् महावात्या ! तहल्कलेनाच्छलं नमः अनामन्त्रितान् वैदिकानाकारयत्येव । भवतु तावद् गर्भाधान कियात्रारम्भः | १. ३. ४. ( ततोऽपटीक्षेपेण प्रविशति गृहीतस मित्कुशल वाज्यस्थालीक: पेरंभट्ट: २ पुरोधा:) ( इति यावत् वेद्यां कुशप्रतिनिधित्वेन लशुनपलाण्डुपत्रमास्तृणाति तावत् - ) (जीभट्ट चिञ्चां विलोक्य सव्यङ्ग्य कामचेष्टां निरूपयति ।) - (स्वगतम्) कहं एत्थज्जेन्च गब्भाघाणं होस्सदित्ति । [कथमत्रैव गर्भाधानं भविष्यति !] बी. भए २.ल. पेरंभः इति नास्ति ल. सुखा० स्नुषापुरीयाणाम् इति तत्पक्षीयानामित्यर्थे स्यात् । बी. ल. ज्जेग PALANDUMANDANA Lasuna Panta (opening his cycs, tasting the garlic while addressing it as "aye Lasunapoţike etc." v. 9) - Ha, ha, it is true that in this way only, 59 the gods drink the moon (nectar-rayed) due to its similarity in form (with garlic). And the (crescent) moon itself deserves worship in the world due to its resembling a sliver of garlic.(11) Lingoji Bhatta -Hey, Pūrmapolikā, this person (Laśuna Panta) is alive owing to the power of your merits. Your daughter is also lucky; for, just now, she has been endowed with enough wealth so that she could be care-free throughout her life, and also her husband's life. (Then enters by a toss of the curtain the priest Peram Bhatta, with fuel, kusa grass, sacrificial ladle, ghee and sacrificial vessel.) Peram Bhaṭṭa -Ha, ha, great confusion seems to prevail among the daughters-in-law! "7 Hence let the smell of garlic and onions be covered up How is it that the srnell has greatly increased due to the strong wind ? The sky covered with the skins (of garlic and onion) appears to call out to the univited Vodic priests ! Let the Garbhadhāna function be started. (So saying while he covers the sacrificial platform with the peelings of garlic and onion instead of the Kusa grass, then-) (Lifñgoji Bhatta, looking at Cificā, gesticulates, suggestively his carnal desire.) Cifica (to herself) Will the impregnation rite happen here itself? (Looking at her husband she takes out Lakşmana and acts its eating.) 17. 'Snupā purinām' 'Puri perhaps in the rare sense of "group, collection". Dr. Raghavan notes that the correct reading could be "snushpuriyanām”, mcaning "the kinsmen of the daughter-in-law". The daughter-in-law could be Cifleā whose Garbhadhana is the main theme of the play, • Raktamūlikā whose marriage was fixed or both. The London ms. reads "sukhāpurīgarm", 18. A modicinal herb, considered as a tonic for barren women and for procreating a son] (putra kanda). 60 ।। पलाण्डुमण्डनप्रहसनम् ॥ ( पतिमुखमवलोक्य लक्ष्मणां निष्कास्य भक्षणं नाटयति ।) लिङ्गोजीभट्ट:- (स्वगतम्) १ भवतु तावद् आत्मपौष्टधं संसाधये, यत्खलु आञ्जनेय- चीत्कारप्रतिहत पुंस्त्वजनोऽपि पलाण्डुभोगमात्रेण पुरुषो जायते । ( इति यथेष्ट पलाण्डु रक्षणं हविश्शेषमिव निरूप्य३ विभूति- वन्दनव्याजेन भङ्गाभक्षणं निरूपयति । अपवार्य संस्कृतामौ इन्धनव्याजेन तमोकपलं दत्वा धूमनिवारणव्याजेन वंशिका धूमपानं करोति ।) पूर्णपोलिका (सोधन) अये| ईदिसो कुलाभारो कहिंविण दिडो । मए वि जादं जेव्वत्थि गम्भाषाणं अच्छरिजं अच्छरिअं । ( इति तद्धस्तात् लक्ष्मणामाकर्षयति ।) [अये ! ईदृशः कुलाचारः कुत्रापि न दृष्टः । मयापि (मय्यपि ) जातमेवास्ति गर्भाधानम् । आश्चर्यमाश्चर्यम् ! ] गृञ्जनाद्रिः - (विलोक्य) अधुनाऽस्माकं शैलपात एव समुपस्थितः, जलप्रवेशो वा। (इति सत्वरमुत्थाय पूर्णपोलिकामनुमोदयति । पूर्णपोलिका गृञ्जनादि साहाय्यमवाप्य समानु (को) शति ।) कलङ्कङ्कराचार्य:- (उत्थाय) रे रे गृजना ! कथमङ्गवैकल्यं कर्मणः करोषि ? जी. तम् इति स्वगतम् इत्यस्य स्थाने मी. "भक्षम" बी. भङ्गाम् १. २. ४, ६. कात्मि ८. ल. गुंजन: ३. बी. ल. निरूपया ५. बी. धूम ल. एकमेव अरि ७, ९. बी. जैकल्पम् 61 PALĀNDUMANDANA Lingoji Bhatta (to himself) Let me acquire virility. For, even a person whose virility is destroyed by the cries of Hanuman, becomes a man by just relishing onions. (So saying he gesticulates swallowing garlic as if they were the remnants of offerings. He acts consuming bhang (narcotic drug prepared from hemp) under the pretext of respectfully taking the holy ashes. In a concealed manner, offering in the sacred fire tobacco leaves under the pretext of avoiding smoke in the fire, inhales the smoke of tobacco, bhang etc. through the blow- pipe.) Pūrnapolika (angrily ) Such a family custom is not witnessed anywhere. The Garbhādhāna function was performed for me also. Strange, strange !. (So saying she pulls off Laksmand from Ciffcā's hands.) Grijanadri (looking) - Now, I would have to fall from a mountain or get into the waters (for committing suicide 19.) (So saying he gets up hurriedly in agreement with Purnapolika. With the assistance of Ghjanādri she cries out loudly.) Kalankāñkura (getting up ) Hey, hey, Gljanādri, why do you spoil this (Garbhādhāna) function ? 19. This reckless decision is because Offijanadri's marriage with his beloved Raktamūlikā is cancelled due to her recent betrothal with Grftjanādria elder brother Labuna Panta 62 || पलाण्डुमण्डनप्रहसनम् ॥ कथिका (उत्थाय) हला ! बअणबंधाए १ तुए ण जुरं अण्णहा किं गिंजणद्दी कुवारो जेव्व चिठ्ठदि । [हला वचनवद्धायास्तव न युक्तम् । अन्यथा कि गुञ्जनादिः कुमार एव तिष्ठति ? ] (इति परस्पर कोलाइले शिथिलकच्छकञ्चुकी (क) तो लशुनपलाण्डुगृञ्जन- मूलिका परितः पतन्ति ) पलाण्डुमण्डनाद्या:- (दृष्ट्वा सरोषम्) रे रे असभ्याः खल्वेताः व्यर्थ पलाण्ड्वाद्यमृतं नाशयन्ति । मिथ्याकूटभट्टः (कोलाहलविशेषं दृष्ट्वा भीताया रक्मूलिकाया: कच्छा- विकृतभावं ज्ञात्वा) रे रे दृश्यते हि रक्तमूलिके! पित्रा बहु लालिताऽसि । परंतुर सकलदाक्षिणात्यप्राणाधारस्य मिथ्याकूटस्य अवज्ञानेन युक्ता परम् आगतप्राया एवं दुष्टा उदीच्याः, तेषामन्यथैव बोधो भवेत् । (नेपथ्ये ) रे रे तदिदानीं परस्परमातुल कन्याद्युपहासो निवार्यताम् । समागता एव परोपहासप्रथनशीला उदीच्याः । (ततः प्रविशन्ति करावलम्बितमत्स्यै: ४ शिष्यवयैः सह इलरी- कार मेरीभाकरभट्टाचार्या: ।) भट्टाचार्यः - (परितोऽवलोक्य समाप्राय च) शिव शिव ! आः ! निवेश्यानां कृत्यमेतत् ] हा कष्टम् ! "₁ १. बी. ए एग्ण ल. परंतु नारिख बी. कार बी. शिवर २. बी. "याकस्था श्री. 'पाठीनमक्षैः' इत्यधिकम् ४. ६. बी. भट्टाचार्या: PALĀNDUMANDANA Kvathikā (rising) -Ayc, this is not proper for you, Pūrmapolika, who are already bound by a pledge (to Lasuna Panta). On the contrary is Grjanādri going to be unmarried (for ever) ? (In the mutual confusion, due to the loosening of the fringe of the garments (of Purnapolikā and Kvathika), onions, small and big, and garlic scatter all round.) 63 Palāndu Mandana and others ( looking at angrily ) - Hcy, bey, truly ill-bred are these (wcmen) who waste garlic and other roots which are like nectar ! Mithyākūta Bhatta (observing the deranged pleats of Raktamūlikā who is frightened at this peculiar scramble) Hey, hey, Raktamūlikā, you are being watched (by many) ! You have been much petted by your father. But here are arriving the malicious northerners who insult the Mithyākīta dish that carries the essentially sustaining taste of all the southerners. Their perception would be quite to the contrary. (off-stage) Hey, hey, now the ridiculing of mutual marriage amongst uncle's daughter and such other topics could be averted. The northerners who are capable of exposing others' ( faults) satirically have just arrived. (Then enter the Bengali pandits Jhallari Jhāñnkāra and Bheri Bhāhkāra Bhattacharyas along with their disciples holding fish in their hands.) Bhaṭṭicarya (looking all round and smelling) - Siva, Siva, alas ! All this is the doing of (people) with no children. Ha, alas ! ।। पलाण्डुमण्डनप्रहसनम् । (इति नासामुखं पिघाय तिष्ठन्ति ।) शिष्या: - हे हे भट्टाचार्य दिनत्र्यं स्थापितमत्स्यानां कदापि विकृत- भावो भवेदिति पाकस्थलं शीघ्रमुपदिश । भट्टाचार्य: रे रे वेदबाबागृहे ५निपतितं कथमस्माकमत्र पाकाबस्थिति: ' निवेश्यानां समाजे 64 दाक्षिणात्या:- रे रे विकृतमत्स्यगन्धेन मारिता वयं क बजाम: भट्टाचार्य: रे रे धर्मबाह्य ! न जानासि प्रायो धर्मम् । संस्मर – “देवान् पितॄन् समभ्यर्थ्य खादन् मांसं न दोषभाग् ” इति । दाक्षिणात्या: (सकोलाहलम्) रे रे कलिवर्ज्यप्रकरणे मांसनिषेधात् कथमेतत् ? भट्टाचार्य: - (बिहस्य) भवतु ' तुष्यतु दुर्जन' न्यायेन । पूर्व तस्यैव निर्मूलत्वं तत्रापि मत्स्यनिषेध: कास्ति ? दाक्षिणात्याः यद्येवं मत्स्यविधानं च कास्ति ? - भट्टाचार्यः प्रायो भ्रान्तः कात्यायनाचार्य: "मासद्वयं तु मत्स्यैः' इत्या- दिषु? किञ्च, 'पाठीनरोहिताबायौ प्रशस्ती हव्यकव्ययोः ' इत्यपि प्रायो ( य उ )न्मत्तमलपितमेवास्ति किम् ? (दाक्षिणात्यैः “एतस्य मृपाभिशापं बिना पराजयः कथं स्याद्" इति संचिन्त्य प्रेरितः कश्चित् । स यावत् राजकीयं पदातिं गृहीत्वा समायाति तावत् प्रकल्पितवचनैः प्रामाण्यं " स्थापयन्ति ।) १. बी. तिष्ठति ३. बी. अपि इत्यधिकम् ५. बी. विपतितं ७. बी. प्रकारणे ९. श्री. भास" २. बी. हे हे बी. रे श्री. निर्वश्यान ८. बी. 'व' नास्ति १०. बी. स्थापमति ४. ६. PALĀNDUMANDANA (They all remain covering their noses.) Disciples Bhattācārya, direct us quickly to the kitchen because these three days' old fishes might rot at any minute. Bhattācārya Hey, hey, we have fallen into an unorthodox house! How could we arrange for food here among these sterile people ? 65 Southerners -Re, re, we are done to death by the smell of the rotten fish, where could we proceed ? Bhattācārya Hey, you who are outside the pale of dharma, you do not know for the most part anything about dharma. The Smrti 20 says"a man who eats meat after worshipping gods and ancestors is not defiled". Southerners (heartily) - Hey, hey, how can this be because meat eating is prohibited in the Kali age in the relevant Snyti portions? Bhattācārya (laughing) It may be by the principle of "satisfying a vicious person. Firstly there is no basis for your statement. Also where is fish-eating prohibited ? Southerners -If it is so, then where is it prescribed ? Bhattācārya -Is Kätyāyanacarya mistaken saying "Fishes however in two months? Moreover is 12 (Manma) babbling when he says that the types of fishes Pathina and Rohita, are the best suited respectively for oblations to gods (havya) and the ancestors (kavya) ? (Considering that it would not be possible to win over the opponent without false accusation, the southerners send out person among themselves. Until he laid hold of a royal official to bring him over to the place, they establish thcir proposition by some made-up statements..) 20. Manu Smrti V5.21 cd. 21. tugyatu durjana - nyayena'. This is a principle followed by authors in some contexts in their Sāstraic texts Herein the author grants in a way the position of even a frivolous perverse disputant to his satisfaction. ॥ पलाण्डुमण्डनप्रहसनम् । (ततः प्रविशति राजकीयः प्रधानपुरुषः, भट्टाचार्यं बद्ध्वा ताडयति ।) भट्टाचार्यः - निरपराधस्य मम ताडनं किमिति न जाने। पुरुषः १लेले तुमं इदिसो ३ ४ अह्माणं मारणप्पओअं कलेसि । ५(पदार्ति निर्दिश्य) होदु होदु ताडणं उणोवि बहुदरं । [रे रे त्वम् ईदृशो यन्मारणप्रयोगं करोषि | भवतु भवतु ताडनं पुनरपि बहुतरम् [] ( पदातयः ताडयन्ति ।) भट्टाचार्य: - (सवैकल्यम्) भो भो भ्रातरो दाक्षिणात्याः । किमिदं सत्यं यूयं साक्षिण: किं नात्र ? दाक्षिणात्याः वयमेव साक्षिणः । कस्सन्देहः ? भट्टाचार्य:- तर्हि किं न बदथ ! 66 दाक्षिणात्याः अस्माकं साक्षित्वे प्रामाण्यमस्ति ? भट्टाचार्य :- "वेदविदां भवतां साक्षित्वेऽपि सन्देहः ? दाक्षिणात्याः - ( पुरुषं निर्दिश्य) यद्येवम् तदा तु अयं भट्टाचार्यो वध्य एवाभिचारिकः । (इति पलाण्ड्यादिसामग्री प्रदर्शयन्ति । पुरुषो दृष्ट्वा सत्यमेव विज्ञाय ससामग्रीकं सशिष्यं भट्टाचार्य गृहीत्वा निष्कान्तः ।) दाक्षिणात्याः (परस्परं हस्ताइस्तिकां दत्वा) कथं शत्रुपराजयः संसाधितो जगदीशेन ? एवमेवाभ्युदयो भवतु मित्राणाम् । १. श्री. प्रविशन्ति ३. बी. सेजं ५. बी. पदाती २, बी. लले ४. ल, आह्माणं १. श्री. तोदुयंति T PALANDUMANDANA (Then enters the chief royal official, binds Bhattācārya and beats him up.) Bhattācārya I do not understand why you are beating me, I am innocent. Royal Official - Hey, hey, you are such a person who is performing some mystic (tāntric) rites to cause death (Looking at the policemen) Let it be, beat him again many times! (The policemen beat him.) Bhattacārya (sorrowfully) Oh oh, brothers from the south, is this true ? Are you not the eye witnesses in this matter? . 6. Southerners- We are the only witnesses. What doubt is there? Bhattācārya Then why don't you just say it out ? Southerners Is there any authority for our being the witnesses ? Bhatācārya All of you, being well versed in the Vedic lore, what doubt is there for your being witnesses ? Southerners (turning to the official) - If so, then this Bhattăcarya should be done to death as he is a sorcerer! (So saying they point out to the heaps of the peelings of onions, garlic and others. Finding this to be true the official binds Bhattacharya and his students, and takes them away along with the rubbish heap.) Southerners (clasping each other's hand) - How has Jagadisa" gained victory over our rivals ? Let our friends enjoy such glory! 22. Mant Simpli V.5.16ab. 23. The Supreme Lord; also the name of the royal official or of the southerner who brings slyly the royal official. 68 ॥ पलाण्डुमण्डनप्रहसनम् ॥ शत्रुर्निरस्तः प्रहतः समस्तो विज्ञान्धकार, प्रथिता च विद्या । अद्यापि यस्यास्ति कलेर्निषिद्धे भ्रमः पदार्थे स कथं न १ नष्टः ॥ १२ ॥ भवतु पुनः सुमुहूर्ते गर्भाधान विधानं साधयामः । लिङ्गोजीभट्टः- तर्हि मुहूर्तान्तरमेव मङ्गलाय । (इति उत्थिताः सर्वे ।) तथापीदमस्तु भरतवाक्यम्- सुमुहूर्तेन राज्यं स्यात् समुहूर्तेन दिग्जयः । सुमुहूर्तेन विज्ञानां नाश एव न संशयः ॥ १३ ॥ ( इति निष्कान्ताः सर्वे 1 ) || पलाण्डुमण्डनं नाम ग्रहसनं सम्पूर्णम् ॥ 1 PALĀNDUMANDANA The enemy is vanquished, the darkness of obstacles is completely dispelled; knowledge is celebrated: but even now why is the superstition in the prohibited edibles in the Kali age is not cleared away? (12) Bet it so. Let the Garbhādhāna be celebrated again at another auspicious time. We shall go. Lingojī Bhatta - Then let us arrange for another auspicious time! (So saying all get up.) Nevertheless let this be the final benediction 24 Sovereignty, conquest (of countries) in all quarters, and overcoming difficulties, are bound to happen, without any doubt, only at an auspicious time. (13) (All exit.) The Prahasana called Palāndu Mandana is completed. 69 24. This is called 'Bharatavilikya' in all Sanskrit dramas from Bhfisa to the present times. The dramaturgical texts do not refer to it. The origin and etymology of the term "Bharatavākya are not clear. However it is the general belief that Bharatavākya is > called in honour of Bharata, the founder of Sanskrit dramaturgy, and that this final benedictory verse is the statement of a 'bharata' or actor not as playing the role of arry character in a play.