scene, lice was regarded by different parties with different feelings. He was beheld by Vishnu with a smile, which signified that Vishnu Wondered why Shankara made so much fuss about burning the three cities which were but a straw to him. The author employs the artifice, as dramatists often do, of conveying through the subject-matter of the Nandi an indication of the nature of the action in the play itself. Thus in the Second stanza Radha's sulking and Krishina's pacifying her suggest Draupadi's long Smarting under insults without. redress and Bhima's eventual soothing of her wrath by effecting the long-sought revenge. Similarly in the third stanza, Shankarra's performance of a terrific feat of revenge and this being gazed upon by different parties with different feelings, allegorically suggest Bhiria's accomplishment of terrible revenge on the demon-like Duhshasana and others and his being then regarded by different parties with different feelings. For a detailed explanation of this allegorical application of the sta1aza, vide commentary.
अलमतिमसन-Enough of this prolixity. अलं used idiomatically with the instrumental with a prohibitive force.
St. 4 यः श्रवणाझालपुटपेयं भारताख्यं अमृतं विचितवान् त अरार्ग अकृष्ण कृष्णद्वैपायर्न अहं वन्दे ।
श्रवणाञ्जलिपुटपेयं---श्रवणं एवं अञ्जालपुटं, तेन पेयम्, To be drunk with the hollow of the palms held side by side, (the ऑजळ), namely, the ear.
अरागं-अविद्यमानः रागः ( रजोगुणः ) यस्य सः, तम्--Free from assion, passionless,
अकृष्ण-अविद्यमानः कृष्णः ( तमोगुणः ) यस्य सः, तम्-Free from darkiness or ignorance.
कृष्णद्वैपायन-The name of Vyasa. He acquire the com-pound name from the circumsta11ce of his being कृष्ण, that is, of a dark complexion, and also द्वैपायन, that is, born in the islanel of the Yamuna, the word द्वैपायन being derived as ्वीप: ( यमुनाद्वीपः) अयनं (जन्मभूमिः, यस्य सः द्वौपायनः, स एव द्वैपायन:
I bow to that Vyasa, so free from all passion and all ignor-
