ra\. stW3 5- ' l - a' I<, kIa / Ij l r-I l a iX,1 - a T a IF I / r L /, Fl-J /'/rf ' fIr-' -/ar - i"/fbJr Ir-J -Jt - J J 1 i 2 — -J r f J /_r GENERAL LIBRARY OF University of Michigan Presented by-...........i | "),v I e) AW I # A. — I (, C t, 414 %, . 1*0 I I THE HARVARD ORIENTAL SERIES CAMBRIDGE, MASS., U.S.A. BOSTON, MASS., U.S.A.. Publication Agent of Harvard University.. Ginn and Company. LONDON: GINN AND COMPANY LEIPZIG: OTTO HARRASSOWITZ 37, Bedford Street, Strand, W.C. Querstrasse, 14. *** A copy of this volume, postage paid, may be obtained directly anywhere within the limits of the Universal Postal Union, by sending a Postal Order for the price as given below, to Harvard University, Cambridge, Massachusetts, United States of America. The price of this volume is one dollar and fifty cents ($1.50). According to the conversiontables used in the United States money-order system as the basis of international money-orders, one dollar and fifty cents ($1.50) = 6 shillings and 2 pence = 6 marks and 25 pfennigs = 7 francs or lire and 70 centimes = 5 kroner and 55 ore = 3 florins and 65 cents Netherlandish. HARVARD ORIENTAL SERIES EDITED WITH THE COOPERATION OF VARIOUS SCHOLARS BY CHARLES ROCKWELL LANMAN PROFESSOR OF SANSKRIT IN HARVARD UNIVERSITY VOLUME IV. CAMBRIDGE, MASS. PUBLISHED BY HARVARD UNIVERSITY I901 RAJA- EKHARA'S KARPURA-MANJARI A DRAMA BY THE INDIAN POET RAJA QEKHARA (ABOUT 900 A.D.) CRITICALLY EDITED IN THE ORIGINAL PRAKRIT, WITH A GLOSSARIAL INDEX, AND AN ESSAY ON THE LIFE AND WRITINGS OF THE POET BY STEN KONOW OF THE UNIVERSITY OF CHRISTIANIA, NORWAY AND TRANSLATED INTO ENGLISH WITH NOTES BY CHARLES ROCKWELL LANMAN HONORARY MEMBER OF THE ASIATIC SOCIETY OF BENGAL (CALCUTTA) FOREIGN MEMBER OF THE ROYAL BOHEMIAN SOCIETY OF SCIENCES (PRAGUE) CAMBRIDGE, MASS. PUBLISHED BY HARVARD UNIVERSITY 190o COPYRIGHT, 1900, By HARVARD UNIVERSITY. Njgari electrotype plates by W. Drugulin, Leipzig. T'he remaining plates by J. S. Cushing & Co., Norwood. Printed from electrotype plates at Zbje Narbrnod Vress, Norwood, Mass., U.S.A. First issue, 1901, One Thousand Copies. PROFESSOR RICHARD PISCHEL OF TIlE UNIVERSITY OF HALLE AND PROFESSOR SYLVAIN LfiVI OF THE COLLiGE DE FRANCE IN RECOGNITION OF THEIR CONTRIBUTIONS TO THE HISTORY OF THE HINDU THEATER bit0 Tolume tg Debicateb b_ the Collabsorator0 I CONTENTS. PREFACE BY THE EDITOR OF THE SERIES AND TRANSLATOR PREFACE BY THE EDITOR OF THIS TEXT. CRITICAL ACCOUNT OF THE MAN-USCRIPTS. ABBREVIATIONS (Cross-reference to page 175 from) PAGE *. xiii *.. xxi *. xxiii *. xxviii PART I. PRIKRIT TEXT OF THE PLAY, AND CRITICAL APPARATUS 1-116 PART II. GLOSSARIAL INDEX 117-172 PART III. ESSAY ON RAJAqEKHARA's LIFE AND WRITINGS 1. Chronological Bibliography Abbreviated titles of books 2. RFajagekhara's Life. Earlier opinions as to his date. His relations to Mahendrapala (Nirbhaya) and Mahipaila Raja~ekhara lived about 900 A.D. His personal history (family, sect). His place of origin, the Western Deccan. Connection with Kanauj (and Chedi?). R-aj'aqekhara's ancestry 3. R.1jagekhara's Extant Writings. Karpilra-maiijar-1 [=Camphor-cluster] Viddha-9alabhaiijika, or ' The Statue' Bala-ramayania, Bala-bharata or Prachanda-pand4ava 4. Lost Works and the Anthologies. A tradition of more than four works Anthology-stanzas (24) identified in Raja9ekhara's writings Anthology-stanzas (10), " of Rajaqekhara," not yet traced ix 173-209 175 176 0 0 177 178 179 180 180 181 182 184 185 186 188 188 189 190 Contents. 5. Rajagekhara and the Prakrit Literature. The literary Prakrits and the real vernaculars Early Prakrit lyrics..... Hala's " Seven Centuries," Sattasai (MRharastri) Jayavallabha's Vajjalagga (Maharastri) Xnandavardhana's Visamabanalila. Gunadhya's Brhatkatha (Paigachi). Prakrit Kavyas. Ravana-vaha. Bappai-raa's Gauda-vaha, 750 A.D. Prakrit drama: sattakas Karpiira-mafijari the only sattaka extant Important for the history of the drama 6. Other Poets mentioned by Rajagekhara. 7. Mentions of Rijagekhara in the Literature. By Vasukalpa, Abhinanda, and Somadeva In the Dagarupa and Sarasvati-kanthabharana In several works of Ksemendra In the Kavya-prakaga, Prakrta-pifgala, etc. 8. RAjagekhara's PrAkrit. Cauraseni and Maharstrri his only dialects Cauraseni-Maharastri doublets in this play The poet's use of rare and provincial words Marathicisms He sometimes confused his two dialects His usage tested by Markandeya's Prakrit Grammar Possible inference as to obsolescence of said dialects 9. Rajagekhara's Literary Characteristics. Pischel's estimate of Rajaqekhara The poet's skill in metres, especially Prakrit metres PAGE.. 191.. 192.. 192. 193. 193... 193. 194. 195. 195. 195. 196... 196. 197.. 198. 198. 198.. 199. 200. 201. 201. 202. 202.. 204 $ 0 His employment of rime His fondness for proverbial expressions Self-repetition. List of repeated passages 10. Rjagekhara's Favorite Metres. 1. ard-ilavikridita; 2. Vasantatilaka; 3. Qloka; 4. Sragdhar. 5. Xrya; then Tristubh, etc., etc. 11. Metres of the Karpura-mafijari. The metres in the order of their frequency.. Scene-groups..... The metres in the order of their occurrence...204.205.205.205. 206.206.207.207.208.209 Contents. xi (Jo ntent8. xi PART IV. 1. Geography of the Play in General. The Deccan. Kuntala. Vidarbha. Lata 2. Hindu Seasons, Months, and Asterisms. Table of the seasons, months, and asterisnis 3. Time-allusions of the Play and Time of the Action. Time of the action of act i. Time of the action of act ii. Time of the action of act iii.Time of the action of act iv. Synoptic table of the time of the action. 4. Synoptic Analysis of the Play. Analysis of act i. Analysis of act ii. Analysis of act iii. Analysis of act iv. 5. Dramatis Personm PAGE 213 214..215 9 I.216 0. 216..216..216 *.. 217 0 0 0.218 * 6. 219 0. 220 *.. 222 ANNOTATED) TRANSLATION OF THE KARPJJTRA-XARJAR1.23-8 a. 223-288 I PREFACE OF THE GENERAL EDITOR AND TRANSLATOR. H ARVARD UNIVERSITY has undertaken the publication of a HARVARD ORIENTAL SERIES. The primary object of this Series, as conceived by the two friends most concerned in its establishment, is an historical one, - the elucidation of the history of religions, more especially, of those of India. The central point of interest in the history of India is the long development of the religious thought and life of the Hindus, —a race akin, by ties of blood and language, to our own Anglo-Saxon stock. The value of the study of religions is coming to be recognized more and more every day. The study tends to broaden and strengthen and universalize the bases of religion, -a result of practical and immediate benefit. Works which promote this study stand first in the plans of the Oriental Series; and they are especially timely now, when so much of the widespread interest in Buddhism and other Oriental systems is misdirected by half-knowledge, or by downright error concerning them. We may add that such works supply the material for the helpful constructive criticism of the foundations of religious belief, to offset the all too abounding destructive criticism of the day. But to any one acquainted with the ways of the progress of science, it will be evident that the purposes of this Series are not to be achieved wholly by the direct means of publishing books upon the religions of India. The indirect means to its end must be the publication also of works concerning Indian literature and history and antiquities in their manifold diversities of time and of system (Vedic, Brahmanical, Jaina, and Buddhist), and in their considerable diversities of language (Vedic, Sanskrit, Prakrit, and Pali). xiii Xiv Preface of the General Editor and Translator. The work now presented to the world of scholars is the first critical edition of the only Prakrit drama extant, the Karpura-mafijari of Rajagekhara, who flourished about 900 A.D. The sacred scriptures of the Jaina religion are written in Prakrit. And, considering the extreme dearth of books for students of that tongue, it is hoped that this volume, in connection with Jacobi's Handbook, may prove highly serviceable as an introduction to the language of that very ancient religion.1 "A critical edition of the Karpura-mafijari is an urgent necessity for the advancement of Prakrit studies." Thus wrote Pischel in 1876, in the preface to his Hemachandra, p. xii. For the realization of his long-deferred hope, we have at last to thank one of his own pupils, Dr. Konow, whose work, as I trust, will clearly show the training in rigorous philological method which he has received at the hands of his eminent master. The interest of this play is largely philological; 2 but, as is elsewhere shown,3 it is not without its importance for the history of the Indian drama. It abounds in material which may well engage the attention of the student of antiquities4 and of folk-lore.5 And its allusions to matters of geography or of the calendar, to facts of natural history or to popular beliefs concerning those facts,6 challenge the widest erudition of the expositor. It presents questions of broader literary interest, such, for example, as concern the degree to which Rajagekhara is indebted for motifs or for modes of expression to his predecessors,7 Kalidasa, Bhavabhuti, Dandin, Bana, and Bhartrhari. Its literary merit is, on the whole, meagre. The plot is scanty. And the playwright knows little or nothing of the development or depiction of character. Much of its fun is such as is proper to the cheapest vaudeville; so, for example, the parrot incident that is lugged in at iv. 24. The long-drawn discussion of love at iii. 10-19 is invested with a singular negative interest by reason of its sad lack of all nobility of conception. 1 Pischel's Prakrit Grammar is now soon iv. 96 ff.; the Magician's homage to the to appear. It will mark the beginning of a Dreadful Goddess, iv. 19. new epoch in these studies. 5 E.g., rain-drops transformed into pearls, 2 See pp. xxi, 201-3. iii. 314, note; mirage, ii. 405. 8 See p. 196. 6 Cp. i. 1815, 20', ii. 60~, ii. 50', iv. 1836. 4 For example, the merry-makings at the Botanical allusions -passim. Banyan festival, iv. 10-18; palace-life, i. 36; 7 See p. 204, and, e.g., ii. o1b, iii. 2a. Preface of the General Editor and Translator. XV The entrance of the Magician (at i. 218) is signalized by several ribald stanzas which throw a good deal of light on certain pathological phases in the evolution of religion, such as have repeated themselves over and over again in the history of the most varied peoples. To study these phases from a point of widest scope is an essential condition for an intelligent diagnosis of all such vagaries, whether exhibited in the fervors of an American camp-meeting or of a Hindu temple-precinct. The literary merit of a piece like this, however, is not, in my opinion, to be summed up in any brief and disparaging dictum.l The play is surely redeemed from sweeping condemnation by the swing scene (ii. 30-40). Here, specifically in stanzas 30-32, the author shows himself a consummate master, not only of imitative language, but also of metrical forms. And the Sanskrit student must be dull indeed who is not charmed by the liquid music and smoothly swinging rhythm of stanza 30; while the stanzas 33-40, although contravening some of the canons of Occidental taste, are really remarkable for the ingenuity and beauty of their conceits. The King's verses of admiration upon the bursting into blossom of the agoka tree (ii. 47) need no apologist. And the descriptive stanzas (as of sunset, evening, or moonrise, ii. 50, i. 35-36, iii. 25) deserve high praise for their vividness and genuinely poetic sense of the fairest aspects of nature. And some of the "enamored verses " 2 will bear the test of Occidental criticism, - their tenderness and beauty and dignity unimpeached. The contrasts between the love-lorn solemnity of the King and the mocking badinage of his Jester3 show a command of the shadings of expression that is by no means contemptible. The Text and the Critical Apparatus. —I need add little to what is said 1y Dr. Konow, pages xxiii-xxvi, about this part of the work. I am confident that students will appreciate the pains I have taken to have the typography convenient, especially that of the various readings. I regret that these last are so copious; but the exceptional nature of the text must excuse their fulness. Method of Citation. -The verse-portions are cited by act and stanza and line, the line being indicated by a, b, c, or d. The prose clauses 1 Such as Apte's, in his Rajagekhara, 2 Cp. i. 32, ii. 5, 9, 10. p. 24. 3 For example, at ii. 401-6, ii. 501-2, iii. 29. xvi Preface of the General Editor and Translator. between any two stanzas are numbered consecutively with Arabic numerals, and are cited by the number of the act with that of the preceding stanza and that of the clause. Thus iv. 1967 is the last clause between iv. 19 and iv. 20. Similarly ii. 05 is used to indicate the fifth of the prose clauses preceding stanza 1 of act ii. It is thus apparent at a glance whether any given citation refers to a passage of prose or of verse. A simple and sufficient means of citation is absolutely indispensable for any text of mingled verse and prose that is of consequence enough to be studied and cited at all. The editor who fails to provide such means is guilty of flagrant neglect of plain duty and of gross disregard for the time and convenience of students and of his colleagues. By way of punishment he may count upon the seriously circumscribed usefulness of his book and the silent maledictions of those who are forced to use it. Let me here call renewed attention to Ernst Leumann's " Request to the future editors of dramas and post-Vedic prose texts of the Indian literature,"1 commending it to most thoughtful consideration. The Glossarial Index. -To the Prakrit forms of this text I believe that the Index will prove a very accurate and complete concordance. The words of the stage-directions are in Sanskrit and are not included. The English definitions may, I fear, seem inadequate by reason of brevity. It is therefore well to mention that the reader must supplement the definition of any given Prakrit word by a study of the senses of its Sanskrit counterpart, or by reference to Pischel's edition of Hemachandra's Prakrit Grammar and Dictionary,2 where these are cited. Failing these books, it is hoped that the Translation will serve as an entirely adequate complement to the Index. The arrangement of the Index demands a word of explanation. Verbal forms are assembled under the Sanskrit form of the root to which they belong when this can be given; otherwise, they are put under the heading of the third singular present indicative of the Prakrit form. Thus pa-adei stands under kat; while khuttai is given under kkuttai.3 Similarly, jantia is put under yantra-, while janta comes in alphabetic place. Again, vi-inna is given under tr; but vi-tthinna and un-naa (as 1 Zeitschrift der deutschen morgenlandischen Gesellschaft, xlii. 161. 2 Cited by the initials " H." and " HD." 8 For other examples, see my note to ii. 4. Preface of the General Editor and Translator. * xvii quasi adjectives) and mildna (on account of the splitting of the mlgroup) are set in their alphabetic places and not under str and nam and mid. I trust that the occasional hints in my notes will reduce to a minimum any practical inconveniences resulting from the arrangement of the Index. The Translation. - It is a part of the fundamental plans of this Series that none of the texts published in it shall be without a translation. The Series does not aim to consult the interests of Sanskrit students exclusively. For better, for worse, this part of the plan is at all events in accord with the dictates of absolute frankness. The wisdom of the Wise Men of the East is to be estimated by Occidental readers with entire fairness —nothing less, nothing more. And for this reason we may neither withhold its excellencies nor cloak its defects. I am, moreover, strongly persuaded that Indian studies would have exerted much larger influence upon the intellectual life of our day, and would even have made more rapid progress, if the masters of Indology had devoted more of their time to the work of translation and popular exposition. The new recruits for this field must be drawn from the circle of those interested. To enlarge that circle is therefore indispensable. Moreover, the comparative study of literature is now a recognized discipline with clear aims and zealous votaries. And to such students also this translation makes its appeal. After the Text and Index were completed, I requested Dr. Konow to make a translation; and to my request he acceded with the utmost kindness and promptness. But upon this matter, his own remarks, p. xxii, may be consulted. The play is very difficult to translate. The metaphors, be it for their boldness or their accumulation, are at times most intractable. And often the point of a stanza or phrase requires for its reproduction in English such a command of delicate nuances of expression as cannot be expected of one to whom English is not vernacular. The revising of Dr. Konow's rendering proved to be not feasible. And therefore, after trying and failing to find an American who was both willing and able to translate the piece, I set myself most reluctantly to the delightful and interesting work of making a new version. Most reluctantly, -because it involved a delay of weeks in the xviii Preface of the General Editor and Translator. progress of the labor of issuing the works of my two departed friends, the Atharva-Veda of Professor Whitney and the Visuddhi-Magga of Henry Clarke Warren. This delay has been a sore grief to me, although tempered by the feeling that these Prakrit studies would at any rate inure to the benefit of my equipment for the completion of Mr. Warren's work. The translation here presented is accordingly an essentially independent one, of my own making. A good many of the best stanzas I have rendered in metrical form. That I have not so rendered the rest may be set down in part to their intrinsic inferiority, and in part to the extreme pressure under which the keen sense of the above-mentioned delay caused me to do the work. The marked diversities of tone and style I have endeavored faithfully to reproduce in the tone and style of my English.2 The translator must be able to feel the atmosphere of each of the varying scenes and to adapt his version to their subtile changes. Almost at the outset it appeared that the translation, unless provided with a running comment, would necessarily be obscure in many points even to the Sanskritist. I hope that no one will find these notes unacceptable. That this portion of the volume is intended in part for nonIndianists, is the reason for writing the Ah-sound in proper names with ch (instead of the usual c) and for giving such notes as that on the Asuras at ii. 31b. Scant as the action or stage-business of this play may be, it is the interpreter's duty to make it intelligible to the otherwise unaided student. In the introductory paragraphs, therefore, pages 213-222, I have done my best to make clear the sequence of the inferential as well as of the explicit parts of the action, and likewise the place and time of each element thereof. One little detail perhaps needs a word from the prefacer, to wit, the version of piya-vaassa as 'old man.'8 The German hoch = 'high,' and Abend-zeit =' even-tide.' So Prakrit piya = 'dear,' and vaassa = 'friend.' 1 Well illustrated at ii. 402 ff. Or con- colloquialisms for the explanation of which pare i. 161 ff. with i. 181 ff. no dictionary less complete than the Century 2 For this reason, readers whose native Dictionary, for example, will suffice. tongue is not English may find occasional 8 See note to i. 1817. Preface of the General Editor and Translator. xis But it is hardly less grotesquely incongruous to render piya-vaassa by 'dear friend' than to render Hochzeit by 'high tide.' The connotation of the colloquial "old man," as used even by very young men to one another, with all its suggestions of jovial good-fellowship, shows for itself how fatally misleading a wooden literalness may be.l We all know that a green black-berry is red. There are some things in this play which are repellent to a mind that is bred to the large variety of wholesome interests2 that characterize our best modern life. Instead of making the offensive ideas conspicuous by the thin veil of an occasional Latin phrase, I have judged it better to give them in English, simply toning down their more drastic features. Wer den Dichter will verstehen Muss in Dichters Lande gehen. Never was the truth of this couplet brought home to me with more force than in the making of this translation. My own sojourn in India was, alas, too short to absolve me from dependence upon books. I was therefore glad to have the help of the native scholiast, Vasudeva. No other scholia were accessible to me. And I gratefully record my indebtedness to Roxburgh's Flora Indica; and to several of the systematic Sanskrit treatises on plants and minerals, mentioned below, p. 177; and, last, not least, to my venerable friend, Bohtlingk. I am glad to bear the shame of not having realized earlier the profit to be had from his Hemachandra as an aid to the study of Sanskrit synonymy, if by this confession any are led to take to heart the excellent words of three and fifty years ago with which he closes his preface: Ich bin iiberzeugt, dass mit dieser neuen Ausgabe Vielen gedient sein wird; nur Einer, der es sich zum festen Vorsatz gemacht zu haben scheint, bei seinen Sanskrit-Studien nie an die reinere Quelle zu gehen, wird zu seinem eigenen Nachtheil und zu aller derer, die seine Werke 1 COROLLARY. - Taking due account of 2 We must remember that these were the diversities of tone, I have rendered vaassa often utterly lacking to the Indian villager. by 'my man' at ii. 62; by a slightly impa- The Sanskrit student may make this point tient 'man' at iii. 21; and by a dignified and clear to himself by consulting in the lexistately ' O friend' at iv. 5d. cons the articles upon grama and its derivatives. XX Preface of the General Editor and Translator. benutzen, nach wie vor Alles bei Seite liegen lassen, was auf diesem Gebiete erscheint. It is fitting, in this fourth volume of the Series (the first to contain a preface from the General Editor), to acknowledge the twofold indebtedness of Harvard University to an alumnus, Dr. Fitzedward Hall, of the class of 1846. He has, on the one hand, honored his Alma Mater by his achievements in Oriental as well as in English philology; and, on the other, he has made to the Library of the University a gift which is unique. With pride of nativity2 and with loyalty to his college unimpaired by years of absence, he has given to it his rare and early Indian printed books, and —what is more —his precious collection of Sanskrit manuscripts.3 These manuscripts, with some five hundred purchased by me in Western India, constitute the largest and most valuable collection of the kind in America. It is my fervent hope that they may be of much service in realizing the plans of this Series, not only directly, but also by way of stimulus to Oriental research. C. R. LANMAN. HARVARD UNIVERSITY, March 31, 1900. Postscript. -July 8, 1900. In the meantime, I have submitted the proof-sheets of the entire translation to Dr. Konow, and he has returned them all with many useful suggestions of improvement or correction. For these it gives me great pleasure to make public acknowledgment of my sincere thanks. 1 Students of English, considering the Indian philosophy, dramaturgy, epigraphy, part he has borne in the production of the etc., are still cited with deference by the best great "Oxford English Dictionary," and authorities of to-day. the marvellous learning thereby attested, 2 His ancestor, John Hall, immigrated might well enough be excused for not know- just 270 years ago from England to Charlesing that he had, long before, attained distinc- town, about three miles from the seat of tion as an Indianist. The first Sanskrit texts Harvard College. ever published by an American were his 8 Acquired during long official residence editions of Xtmabodh and Tattvabodh (Mir- in India, as Professor at Benares and as zapore, 1852). And his early writings on Inspector of Public Instruction. PREFACE BY THE EDITOR OF THIS TEXT. TWENTY-FOUR years have passed since Professor Pischel, in the preface to his edition of Hemacandra's Prakrit grammar, declared a critical edition of the Karpuramafijarl to be a necessity for the advancement of Prakrit studies. Rajagekhara has been highly esteemed for his proficiency in the Prakrits, and it was to be hoped that a careful edition of his only Prakrit play might throw some light upon the linguistic history of India. But unfortunately, the materials then available proved to be insufficient. Since that time new manuscripts have been found, and some years ago Professor Pischel proposed to me to undertake the work, and at the same time he kindly put at my disposal the collations which he had formerly made with the view of editing the play himself. Though regretting that the edition should not proceed from his master's hand, I thankfully accepted his proposal, as he declared it impossible to find the leisure necessary for the work himself. I have myself collated only the manuscripts NRSTUW. For ABCP, I used the collations made by Professor Pischel; and Dr. Liiders kindly collated O for me. In the notes I have quoted all truly various readings. I leave unmentioned the ya-Qruti and the dental n in the Jaina mss.; whereas, in the readings of STU, I have always transcribed the dot + consonant as double consonant. I also pass by all evident blunders in silence. The anunasika is generally indicated by the same sign as the anusvara; and this fact must be remembered in using the critical notes. The chief aim of this edition then is a linguistic one. But besides, I have also been guided by another consideration. I often had to regret that no chrestomathy of the Prakrits of the plays exists, and it was my hope that the Karpuramafijari might be used as such one. This considxxi xxii Preface by the Editor of this Text. eration has also, to some extent, influenced my work. Thus I have, in some places, introduced the peculiar forms of the two dialects, even against the reading of all manuscripts. Further, the vocabulary is composed with the aim to serve students learning Prakrit. To study those dialects it is, naturally, necessary to know Sanskrit, and I therefore always refer to the corresponding Sanskrit form, where this is possible. I have not made any attempt to give an etymological index, nor have I intended to furnish a vocabulary which might be sufficient without knowledge of Sanskrit. From the same point of view I did not think it convenient to add a translation. And I was also convinced that it should be impossible to me to translate such an intricate text satisfactorily, as long as English was not more familiar to me. On the other hand the general editor, from quite another point of view, thought it necessary to add a translation. Upon his request I therefore made an attempt to render the text in English. But I soon felt how unsatisfactory my work must be, and what I sent Professor Lanman can hardly be called more than a rude paraphrase. I was therefore very glad to hear that he would work out a translation himself. My best thanks are due to those who have, in various ways, aided me in the work, to Professor H. Jacobi, Dr. H. Liiders, and Dr. A. Stein; to the government of Madras for the courtesy and kindness with which it forwarded new materials to me; but above all to Professors Pischel and Lanman. To the rich knowledge and kind benevolence of the former I never appealed in vain, and though overloaded with other works, he has kindly read the proofs of text and vocabulary. And the kind interest which Professor Lanman has taken in my work, and the unselfish assistance which he has rendered me, cannot, in any respect, be measured from his prefatory remarks. STEN KONOW. UNIVERSITY OF KRISTIANIA, June 29, 1900. CRITICAL ACCOUNT OF THE MANUSCRIPTS. The Text. - This edition of the text of the Karpura-mafijari is based upon the following manuscripts: A. Jaina ms., 8 leaves, with 9-13 lines on each page; 91 inches by 4j inches. Contains javanikantara i. See Bhandarkar, Report on the search for Sanskrit mss. in the Bombay Presidency during 1882-83, Bombay, 1884, p. 156, no. 418. The colophon reads: iti grikharatanavabhoganadinamanigrijivasagarasurigisyavacanacaryaviracitayam karpiiramamjarimahanatikayamh prathamam javanikramtararh vivrttam idahm II ri II qri I| rajanpure likhitam 11 rajanpure likhitarim 1. Vacanacarya must be the author of a commentary on the Karpuramanjari. Of this commentary a few traces are left. An incorrect ms. Aspirates are doubled; nd is often substituted for nt. Codex A is therefore possibly copied from a South Indian original. Cp. Pischel, Nachrichten, Gottingen, 1873, 206 ff. B. Jaina ms., 8 leaves, with 15 lines on each side; 10- inches by 4 -inches. Prakrit text, Sanskrit translation, and some glosses. Contains javanikantara i., the beginning of ii., as far as hidaavajjamh (ii. 13), and the end from sa rayanamayi (iv. 1965). See Kielhorn, Report on the search for Sanskrit mss. in the Bombay Presidency during 1880-81, Bombay, 1881, p. 83, no. 22. The colophon reads: iti Qrikarpiramamijarina.tika kasya [!] samapta. sari. 1600 varse grimahimanagare. C. Jaina ms., 11 leaves, with 8 lines on each page; 91 inches by 4| inches. Fol. 3 is wanting. Contains javanikantara ii. See Bhandarkar, l.c., p. 156, no. 419. The colophon reads: iti 9rikhugatananabhoganagrijinasagarasurigisyavacanacaryaviracitayam karppuramamhjaryyiam dvitiyami javanikiamtarami vrttam 1I Qril I ciththadu edami likhidami dava dineso diyo mahio I ehi payattadu saimto saccami saccam kunaimto vva 1I 1 I rayapuraththidena udiyajadisirorattasirinarasifmhasiunujadena likhidar jjeva I Kappfiramamrjarinadaamh. Codex C has the same peculiarities as A, and seems to be a continuation of that ms. N. A modern Nagari ms., 16 leaves text, 13 leaves translation, with 15 lines on each page; 13 inches by 84 inches. The water-mark has the date 1859. Several lacunas. Conclusion of the text wanting. See XXiii Xxiv xxiv Critical Account of the Mlanuscripts. Weber, Verzeichniss der Sanskrit- und Praikrit-handschriften der Kbniglichen Bibliothek in Berlin, Berlin, 1886, no. 1558. The doubling of the, aspirates and the occasional writing of nd for nt point to a South Indian origin; and forms such as Kimhnna for diihbha and a few instances of ya-gruti (or writing of an intervocalic y in cases of secondary hiatus, as in raijana for raana) show influence from Jaina mss. 0. A modern INdgari ins., 21 leaves, with 18 lines on each page; 10yl inches by 9-1 inches. Prdkrit text with some glosses. Sometimes corrections in the margin. In a few places defective. The ins. was copied after the year 1830. See Aufrecht, Catalogue of the Bodleian mss., p. 146b, no. 313. P. Copy from a Jaina ins., 46 leaves, with 15 lines on each page, 11J inches by 53- inches. Complete text and translation. Modern and very incorrect. See Kielhorn, l.c., p. 83, no. 23. After each javanikantara is the following colophon: iti ~rimatstiryavarii~odbhavasahigilakul5,vatafiisagrimatpraydga (i. and ii., prayoga) ddisdiiigajagripremardijaviracite karpiirakusumandmni karpilramaffijaribhdsye. yavanik~iiihtararla sam~ptaffi. Ends: gubharih bhavatu 1 saxhivat 1931 prathamadsddhaguklapakse tithdu sasati ~ ai~elikhitam. idaiii vyiisagopiddi tnaen malakhyan5,mnd 11 rijayagilanagare 11. R. Copy of the ins. no. 417 of the Raghunatha temple library. See Stein, Catalogue of the Sanskrit manuscripts in the Raghunatha temple library of His Highness the Maharaja of Jammu and Kashmir, Bombay, 1894, p. 77. I owe the possession of the transcript to the kindness of Dr. Stein, who had his assistant, pandit Sahajabhatta, make it for me. Incorrect; some lacunas; conclusion wanting. Text, with the commentary of Vdsudeva. S. Copy of the Tanjore ins., no. 10634, prepared for me through the liberality of the government of Madras. Text with some lacunas. See Burnell, Classified index to the Sanskrit mss. in the palace at TILanjore, London, 1880, p. 168a. Grantha letters. T. Copy of the Tanjore ins., no. 5253, made for Professor Pischel at the request of the late Dr. Burnell. Complete text, with some lacunas. Very incorrect. See Burnell, 1. c. U. Copy of the Tanjore ins., no. 10633a, Grantha, prepared for mny use. Text with Sanskrit version. Some lacunas. See Burnell, 1. c. W. Jaina ins., 21 leaves, with 13-14 lines on each page, 104- inches by 41-inches. Complete text, with marginal paraphrase. See Weber, no. 1557. The colophon reads: samattdi kappiiramaiiijarl n~a-ma na-dik~i mahdkainio sirirdyasehassa kadd... sarlivat 1520 varse ik. The groups tth and ddh are, as a rule, not to be distinguished in this ins. Critical Account of the Manuscripts. XXV Commentaries. -Furthermore, I have used the following commentaries: Vasudeva's gloss in the Raghunatha temple ms. and in the edition of our play in the Kavyamala. K. The commentary of Krsnasiinu in a transcript of the Tanjore ms., no. 10633b, belonging to Professor Pischel (see Burnell, l.c.). A new copy was given me by the government of Madras together with S and U. J. Pitambara's Jalpatiratnamanijari (Kielhorn, 1.c., p. 65, no. 242), collated by Professor Pischel. This is a different work from that contained in the corrupt mss. described by Weber, l.c., nos. 1559, 1560. Among these mss. we can distinguish two distinct groups: a South Indian group, comprising STU; and a Jaina-group, to which belong ABCPW. STU agree in most particulars and must be traced back to a common source. The doubling of a consonant is indicated by a dot before the consonant; lingual 1 is substituted for dental 1; etc. Moreover, where the discrepancies between the manuscripts are very considerable, STU have, generally speaking, the same reading. Thus e.g. i. 6, 7, 83, 9, 10, 142, 1813, 201,2, 22, 321; ii. 29%, 34a, 415; iii. 41.5, 52, 8', 203, 228; iv. 1b, 95ff, 18., 209, etc. And in the South Indian group, STU, the conclusion (which is entirely missing in the Jaina group) is different from that in NO (R is incomplete). Burnell was of opinion that T was copied from S. But in iv. 24, T and U agree, as against S. See also i. 203~, 21", 30a, 33d; ii. 419, 423; iii. 1d, 38s9, 4a5, s89, etc. It must therefore be concluded that T is copied from U, perhaps with corrections from S (cp. ii. 111, 166, 419f; iii. 229, etc.). The commentary of Krsnasfnu agrees with this group; and in the final stanza, with S. The Jaina mss. are characterized by some common blunders and omissions. Cp. rdidiu, i. 1d; further, i. 7, 197, 201; iii. 41, etc. Moreover, the complete absence of the conclusion in all these mss. is too extraordinary to be a mere accident. In many readings also, this group differs from the other mss. Cp. i. 9ab, 15d; ii. 11b, 48b; iii. 16, iv. 210, 6d, etc. Among the Jaina mss., B and W are relatively old. B is very corrupt; W is much better. Both are North Indian mss. B was copied in Mahim (in the Rohtak District) and bought for government in Bikaner. The origin of W is not known. A and C are attributed in their colophons (which mention the lost commentary) to Vacanacarya, the pupil of Jinasagara, "the sun in the sky of Kharatana." "Jinasagara was the first high-priest of a new branch xxvi Critical Account of the Manuscripts. of the Kharatara sect, which was established in 1630 A.D.," says Bhandarkar, I.c., p. 44. Cp. Klatt, Indian Antiquary, xi. 250, and Specimen of a literary-bibliographical Jaina-onomasticon, Leipzig, 1882, p. 39. A and C were copied in Rajanpur, Punjab, perhaps from a South Indian original. See above; cp. also the reading gauttana in A, i. 195. P is a modern transcript, copied and bought in Jesalmir, from a Jaina ms. It is perhaps in some places influenced by the South Indian group (cp. i. 128; ii. 456, etc.); but it is clearly shown to belong to the Jaina group by the agreements mentioned above, p. xxv. The remaining mss., NOR, are all quite modern. They generally agree with the Jaina group, as against STU; cp. i. 188 913, 201,2, 22a, etc., and consider, above all, the blunder which they have in common at ii. 28c. They therefore seem to be derived from the same source as the Jaina mss. On the other hand they have so many common blunders and various readings that they must be classed apart; cp. i. 8, 9b, 10b, 156, 181019, 207, 348; ii. 13, 619, 29a, etc. In the first act, N shows a nearer connection with R, as at i. 7, 8, 128, 131, 15", 161'3, 2034, 322, 34b625, 35c, etc. Both N and R have the aspirates doubled in the South Indian way. O and R are much more closely connected; cp. the critical notes to i. 41. Some common blunders, which are not mentioned in the critical notes, point in the same direction: such are joehaim instead of jonhaih, i. ld; nihittaga- instead of -gga-, i. 4c; esya instead of ettha, i. 126; lagohim instead of laggehimi, i. 16'; the very frequent writing of d instead of tt, etc. Many other readings are common characteristics of O and R: see i. 410, 55, 96; ii. 05, 12b, 25b, 299, 31d, 4223 '; iii. 1b, 225,6; iv. 95ff., etc. NOR also sometimes differ from each other. Especially we find not seldom that N agrees with the South Indian group (cp. i. 4d 217; ii. 31d; iii. 201; iv. 2011, etc.) and OR with W (e.g., ii. 45b; iii. 16; iv. 9b,8, 17", 1838, 204, etc.). But still NOR must be classed together. The manuscripts of the Karpiramaijari must therefore be classed according to the following diagram: ARCHETYPE. a PART I TEXT AND CRITICAL APPARATUS OF THE KARPURA-MANJARIl EDITED BY STEN KONOW ABBREVIATIONS For explanations of abbreviated forms of titles under which certain books have been cited, see the Chronological List of Books, etc., pages 175 to 177. IR I#tit I ~ q:4 la ABPWNORT ft SU ft AB uwW or.-A wfB lb) STU far. -ABWNR UMM P a — ~,0~ STU -ASTU Jew -1 Nk -ABPWSTU~ ~p~,0 rrj.-ABPWR N,T uj.-B - 1d ABPW 3 NOIRT ~at A BW w w 1'BWST omit. -T transposes verses 2 and 4. 2a AT Ofci.-0 afu*.-B -A ~~uP STTJ ouy 2b AN Wrtrr. - ABPWORS N oIO- A &uiBSTIT -ANT;~wi 21 AN ~o~ B riz*jdk i: W wr ww:,O omit jw; RT&~~ 3aT ~ ~p~4-AB v34wr1um4it. BWO 1twrwiw P 1 i. 3] l3T k 114 11 * - * 4 f- F1 -f t aT r i r^ a Ifian fi ^ vfvuf 4w`41' I ^MM1 \M1 1i ) fw fi? I q0t 2 11 ^ t g H i 's l i tf iwm I fk, F ^31 + _N 4 T ^ _ * 5 rF~tzrrui, N dTij,,,ij, SU wrrmru, T $-hui im. 3b B fif i fo, firfo. - A oir, B O. - NU Rr, R wrtif, T Nf-c - NSTU sjt.P f O, NO '. 31 BT omit. 4a ABPWNOSTUwJ wr,. —ABPWNOR ~owufdw, T o fff.-0 0~ro. BW o, P oMR 4b APWNORT gfr, B. - ORTU frw. - R o-T. - A ~o3i, BW ofiif, P oft, S#U ^^t, T oiar. 4eT gmo instead of itfQ'r~. - BR Oto~, 0 oi. P. -- o - mss. m-o. - T o~-o. - AP ofino. Aow~f,, BPSTU o~fg. 4dA e, NSTU omit. - AB t, N Wat, STU irft. - ABWNR Wiff, P,fTi, T urs. - ABP fIT'. 41 A omits. - B zr ftO, P - WC lmrrj:.fd^U~A W.N Wws: *if, OR &sir aRw: f~, T taar wu: uft0. 42 ABPWN m.- A o't, BWNOR alt, P "T, SU qOt, T att. - fr, N 1rfS, STU r o* nat aR. - BPW aw. - BP a, W oBu, T. - ABWR tO, P tret, 0 ift. 43A rWi'tri, B ur-tfir, Po tfwWiT, W f31Tw f N Ufiasnv R SwrT, SU ^rwg, T iwffwT. - A f+urt, B fli"rfri, P fiui, w f~, N f o, O fi ai, STU or. - AP - flEc, B Uift STU l, T - flaaitfl iffT fa wf<rnaTraft I~ZP B. 44 A amr, BPWNORSU yaWr, T TTMr. - SU o.f. -B f, STU,r. 45 N -fwr, T ''r. - A fgmtfY P fSo, W xwfE, SU iJ. 3] [i. 4? is8 ^8 fffft3T I XT P I Zf tolii' I w i M^N^HU ^<~n< L rf^10~ | yrpft^ i Mf111t fi f- ^jrr^J jf12 I uwIf4a*7 Niam3 q uf214 frq Wftif'i: I s fY16I1 I 46 T see above, at i. 43. - B fi, P fa. - B g, PNR omit; 0 ~, SU - A -f ~ B tp Mfie1n, P qfumTs x, W uo %afwire, N gfiirofift, 0 qn afirat, SU afnr. - AP fc, BWNORT SifI, 8U. 47 ABWNORT r. - A fr, B r. - A.,f,, B ai,'i, PW fat, N fr, o, SIT rfigt T.ifd.ijj. - A ti, BWR ait, 0. 48 N t. - A,rrrf, B urfi- I af, N ~,,, oTff. 49 W i, SU i fa. - BSU fi, P f-u, N rifi. - BPNRT omit fa. - WO izsr. - A, B if f, P 'tii, W 1f^rf~, STU ~oif. 410 After i A inserts,rliw, BW 'a0rmim, P I,,, NORSTU i. — B xic1,3 P ifw\r\vu, W MRM1i3l5u, N wMrORWr, O ar rrr STI Ml6^l^Ml U-1 - A tit, B Z^t-, P jt,W6t, NORSTU te. -- ABPWNOR omit Huifsrft. 411 P j r, W qi, STU. - OR oiflto, STU o*ht; A adds f. - P aTIfWa, S omits; U 41aP fi, O wfI, SU f'i fi, T *i f. - A * *, BP w-, w;s, N vX 0 ^t. - P Iftqk, T cfjtaT. 413 A omits; BWNOR oi im, P 9U~,,,iWfd. 14 A aw: ua~fi Tlf,&*I: ufa~t -Anw',I BN: ff-, P - fNf, WR ^w: ufufir rnfi415 B Wi, w wg. - PW w. 416APWOSTU Tw:, B omits; NR n~: ffw. - ABPW y'. - A *our, B -o.tr, PWORT.OT, N O* ST, SU OW'T.- A 3^iB, B SFTr, P UI, STUiI. 1* i 4] [4 r i C t *17 ig " 1 ufi&firn: IT wro: i fekfew1 ' ( 1 TFtRi *'T v I 3 O 1 1rlftr": I: t ^T I iS % w;i: I waaa' ( $ fi7 |s ^jfg ~tqi ~rF~~~~ q e lq-5q-e I 11a 1 _ 417 A fro w. - ABPWO omit mW T; N wrfi i wI fiR 3W 4f-'4ci fi war etc.; R gn instead of W i; SU T, T mi I wT I v Ii ff g FrY. wr etc. 418A wpem in the margin corrected to o*, N i; - -P -fpi. 419 Mss. T:. - AOT ar. 5a P M instead of w. -- ABPWOR Frg, N wa, SJU lais T if 11 I. - APWNORST1U -, B iv. - BSTU i. - B wtO, P Wm, N wIfiufe, T ifimwr. - P m -,, N Tr, T t-. - B.fof N. of-. 5bABW ~i", P ~ orr. - BSU 1ftdum,wW Trfwezr, NRT wgTkw.e - Pa;t, N w sft SU. T it r. 51 Mss. T:. - SU o, T w. 52PNRT omit sm. - P uWt, 0 q-,~,i suiri. - ABPWSU omit W; NR. - N ^. 5134A omits. - PO Tr', STU s uir. 5$ A o a. -SIJ. After j OR add wr fi gi. 56 AO omit Wq:; BWNSTU R:, PR Aiftr:. - A omits wMT; N r-t-r. 57 P ri-. STU fi. - A a, B, P, W, NO i, R - z, SU r, T. -P 'Jfi. - A adds wr, SU aff. 6APSU omit fi'. - B W, N wff', STU I. r- A i. - A wnfguii, BWSTU 1anW, P ~qq,? O -wrsit, R -o. - WOT srm6b ABPW w. R ^ OR. - OR wIr. - A ofW..A.R, B ofiw 61 [i. 8 5] [i. 8 fqI #" I'~ fw f~iii~i C e* ~~fwfLt wrIrrMiw ~o~ cii P r A1 W r NT o0 j6 OR 0 ABPWO TZ I j~ N 61 AP instead of fufu R 62 STU omit ~ BR ffr APSTIJ omit fiff; W fr - BPWNORSTJJ nat A vrfavj*a, B P iwiW vi SM, NOR w~r SU T - ftfWau-. - A weBPWNOR N omits; SUl t 7 ABPW omit; in NRE verse 7 stands after verse 8, in 0 after 72. NOR insert sr ~ between the two verses. 7a8IU q d T qim, N, 0 ST, STIU.- T~t. N~T 7b NRST w,0 ~-N~1w ~w,0 owvw. - 0 T WfiTo, 51 S JIfU* N ~ fwOi~{ STUl wfwvaT. 7' B uwv, PNRSU o, W uw -B ~.P am, -NO et, R ~,STU VW. 72 B WNOIR wr, STU eM. 8aP a Mm R STwr, T siW. A0T fiP f'g y N fTI *fiw.-APW ~ N.- AB PWRSTU fwnaT, NfeT 0 -B 1, P W fr~ STU ~ AP ifu*,N &ifmrt A omits fa; P q, 8b NOR t.-PW ft, N jN tfSTU t~ 8'Mss. A lo ui.-PSTU omit r.-P ~f~~,N ff i. 8j [6 T. I I!?2 C, n IC, wi r^ e- I ^i^^i^cviSt rWu^~i^^;s 4wtitt I mfi.ltira: I tg1~#Tfw-i wT T -rwin - I I Wff T -- 82A xrft. m. - ANO, B jn, P i W W S, SU m. 83 P. - PW a, NOT r, R s, U a. - BW o 0ij, o o~il, SU ~w. - AW ~o, T.i - A " B o~wTnr~, P oiso, W ~oBrTTwi~i,, N ~%in, O, r3rNTin, R ~iOIlt, SU owo, T Oro. - A awsT f, B W~ntrm, P ahu, NOR aai~sw, S qi^wui^J a, T acrlki| C, U <auT(([ at0. 84 W omits; N lr, STU MS. 9aN m'aTT, 0 rsift. -APW frwo, B m,3ao, 0 frwo, R famw~, STU fiw -" B -!wm. P fai, N -it, 0 J9b A ri B ft. —ABWi(n,.- N T q Ms:T WrS4n aIwr, OR y rwm TuOT WWI, SU sT (S T-) aT yin!im, M T 3m wm swUim 'M<rr. - A ntro, B -ir0o. - NOR o0. 10A Zcw, BW Vt', STU. - U sfAnt. - ABWOR fir, N fir. - STU fa. -A v*f-, B wrIfi-S, P wrw, STU lOb APSU Io q1, B ~ iia, W.ofefae, NO fff, R o-, f-r1fU, T o~mlFJ j4l. - N -m. — B amI. 101 A rO rnfTr ufa; BPWNORTU IWIT: - B 1r3v, W;Tg'r. - A X3i, P N rlrw, O urnfi, STU U - Ila A lfro fo. -- P, 'r-ror~, TU 1atlr~. — ABPNOR STU ootr, W onfro. 7] [i. 12 e.- - - ^ -- __ e Hgrt fihlri<0 w w-q —fqTii^ <^ 11;i!T ffi i~~r ~iT W3 3I~fi 99 II f* vr va< l<^i11 9T f 11 'om: I IT 1 fi4 I I IU - 4^ * ^ 11 *r f ^h_ l.^n C:f fr6R C1: C A: RR'*: ufIfdW tIR Zff fTaW I f we MKCw11kirfifer;6 FrS nftaw ^ffm aifa7 I - 1i Mss. ff. - A oifo, B ooifT, U orfcio. - P m f. -- A Iw.,t o,s BWNO ig, P ow, R, STU rsfitr~o. - ABPWNORSU - Tf, T o~rf. - ABR o-, P o*, W ~o, N of 11 A fa w ~arf f mft; B omits. 12aB,i~*, P srwT0, NOR io, T mo. -- A ofo, Po ofi. - 0,0fr0. A o~o, B oro. -W ~of^i, N ofi1f- 0 ~0 rfi. 12bB mw, P ~r wo. - B o. - AN aro, 0 0. - ABWNOR.-, P -R. - APWNORT 'ftaft, B r. 12 ABPWNOR omit Mwm':; TU `-o. -ABPWNOR wr fi; A ^ r. 122 BW nffu, N o~e. - A IT-, B Cmrf5, P ~rfuif, W MMil^ q U qiEZrfil 123 BP rt. - N IrwTrw N r. -B fj, N,iwr, STU i (S r) o. —B wr, P w-r. - A 'wr-T, BP 9aiwo, N iawift, R fir. - P omits 'T. - B rf.ijw, P fii AU, PN f W ftif, R f, T 124B tus, SU omit. B if:S. - A adds *1w4Tft126A adds nzSir. 126'7 AU only r: trfi TirT. -- P r^^ fa^^^i srat fbaFxa _ ftwTirfqtvf:, T If ngo -- P iitf:ldviUCo. i 12] "T I <r^<mr^4ur<~<<un~r~u;rijt#nfI firn ^ ^RT I CTt Il wft? ^i^ ^rw i f ~ i W11Tf- 1PF1T * it q,F M 4ff IR d I- N,fe _ * Af ^ * _ IFFii 4 o IrM "I 10 aI 12, JU omits Ti f. -- B,rf-, N fcinuigiuAt R Oferaojt, s cfipro. -- TU ~.i. - B ~f-, ow -r - APW wrarfe, B fi 0 ulO f, R ABf.- ABW omit frrT.- A omits iW; B fiJru 13 AP, B far. — BS aif, P fC-. - sv u rp 0 i-. - B ~ ft f)Fifrw, w ofiwr.r, N *W 13bB rui, o 0rit. - B f-,f, os ffi. - P *f, osu ff-, P fimP ma. 13'SU T i, T^, N r.W a. - N omits v.. - A if. -- ANRSU f Bir, B fiTuBt, T fwr. 13dSTU r. - B frfi. -P - i Wt, w it, OR -t, T 131B: fir, P feqwr, WO Ser fao. - NB M t fq gt, STU f. - AW *vrrf, B orawr, P "r'iyw, N fT', 0 ~f'rTi 0 R, R Rnf, SIJ srT, T 132 BP Omr, 0 wr1, SU m, T afar. 14a P *Itfr, W t-If-, T 't|. - W ifo.- B *nrp, POR wNIT, N o~fi -- ABPWNOR i,T. 14b A y1, BWNORSTU tuf. 14? BP I. - ANR sif, B Afr. - AB "ofr, NSTU IJW, 0 ~ w5B. - BP ~?r fm, STU ciT (S o). 91 C I UVAM mcil"MRW4, [i. 1 5 Ml~lf"T4V44 98 ii C A.N w' I q WA I l 41 W~T~W~fT MIS 14d AB at~O P 1lJiT.-ABO ~i frmo, W N, 0{OIST0. -AP WNR Brur.-P 141 A 142 A g f:urn PNR lflkq* STU Wi'frl" Sadds f Zrur I vitm g0. - ABWOR am once only. - APWN - 0 B 'Of-d RT0 ORT of-aaimw. -APO aws wT -APO sta A uC mclarp B C M PW i~rN Fnraral, 0 Ik~mfij Motir, R VifCriC r, S -_-I rA~ -C A wU N f~&~mTR *ru.-A u WfV hea, B om,.uN uK, IN W, 0 MIT IftU - A rua3rrBPW NORSTU &Tmrfiqr. -N -wfm ST -1,1i~ciu II mmruj. - A sm i~o, Bom~infiuM, P S 0 UTJ -BPWO iw W ~~~~it STU ~~wT 143 A tBPWNORSTU yT f 15a, STU ~u.-T 0crNUI. -P @war, S oqexcu. - P -uTwralT"tU? 1I1bAOR *M P *wiN *&ift*. -BW Tfa P p v;*, NSTU -ANR oM, B? *wr.A B rWIJf. NOR ~fw& V#~~ i 15] [10 i.-T15]f 1 109 ~~ WT I T ~ f +*F I IIz C4,JIT W0 PR 15c N B Mt" I-MB OI N OY O R fw- P fuT l5d A N S T, a.-B o -AP f~r B~r, W.-BT 4f, T amr. 151 ASTU omit; B uva P MT IaA 2ft1 rF, P f__ I-, t irf-r N omits fit; S ai* W, U asrf aTr instead of fl- T flo am -ABPWNORSU 3ad - P STU o~.-A bio B PWO gjo I6b AB P p mr-, NR lknmiro. ABPWOR ot. N o 0o 5 o&f~to. P W 0 %O % NOR -r wr. - BPORSTU u f~ir, N ~~w l~c N owinum" - B ijo N r. -B fP omits. l16dA ~fB rwfP ~ W N OR BwF fay P twfr Wfw fap T & -B FT.Nwft OR pifT *F.-A omits a; S T 16' NR wO, 0 T.-AB ~,P omits. C ift~ P mf, NE R. AOT far, NRSU omit. - B ~jIql 4 P clun W mT~r, N qqrfiiu, S -qw. 162 ABPW Wij. Wt, N W* 0 [i 16 "% * r l^n." < _ "%._ _ _ rL, ^ r_.P' - Ri In * irh 4irrr-4 I qr 4 T 5f^ IiA R1,11;t I IE 4 d W im newmF iuF I flS fr T I ~. —U arg, 0 transposes TO0 B.- ABORSTU Q3lrf, PW iTff. - 0 ^ofi 60. - B - Tr~.- Mss. o~T~.- B o~f. -BWRSTU Wafi-. 163 AWR CfamO. - APWOT ovasrri, B ~,f N Tarr.ai, R oiTarfsa, Su Oti. - A A-,h wi, W L T fi3, U -... - B.r fal., P a, SU;MTgL F, T *~rieao, B oi6flo, P oeftiff'rai~, S oafwo, T.ourif3o, U o*rmaari. - A 'i"ili6.. fl, B ~, P w-rg W eiaf%= N <*>fr6 -6["-, 0 R", R" f4~6AS~ y w T che<A6rdP T Ch ^tlU ',Fdr, 0, 1;-,dffwB w...., l"~ rd * * ** SU fdfi rf, T StfotfKi-r A. - ABW fiB'. - NR.. - A a1r, o r. - B ~..-, T, Rf. - BWO m fo0. A f irwus ftjiz 'uwftfrr aifs, B ferftu v1iwmr m fo, P wfiTw4H^mlm4JutI, W 1faMTfexrVITrwurfer, N f Trftawlmwi a8 -r0, 0 srfairOr, R ftrfTr8 wfr+fi1, T I-qFt I wlSurfi. - BPW tt, N S, STU ri. - AP fie-, BWOR STU -, N f.- ABPWOS nm, RTU ABPWNOSU omit jf. 164 A i^i r,,irm. - AWO Rir, PSTU aM; PNR add fa. - B fin STU of.. - BWRS f T e'f"; A transposes ~~ fo- A. A. - APWOR 1alr, B 4u-, N uart, S 4lffr, TU %.ir. - AW of, B, P rn, N ~s, O, B sc STU N. - NS o~. 16 APNR Tr ft, BWO T aT, ST Ei ft, U omits. i 17] -qle Qnrp~r [12 RIWR qv Ttvvir q u 11 i 3Tf^ ^Vg fdT 9Hi:t~L11 M w I Iil II 9t II ~ 1t —I 17a UJ -wo. - BPSTU. - A,wrwrsrTi, B awo, W siw,, SU e, T ~s. T7b ABPWOR *frio, N -ff. -- A Co. - WNOR iwt. - P 17e A *iffi, BPNR h.ff, W *-tio, S tauriU, T t.i.r", U di'f'^h. - ABPWNOR 'Zr. - P *fijji, N *fRi 0 fru, STIS *fTfir. - T -A17d. - ABPWOR. - B i- mfr, PT.ufr, SU ia - STU 8stffr. 18'APW zi, BNOR wa. - A 'JfT~. — BW, N fm'60 r '.a liita, O fail. A1 B, APW -I- BP wr o. 18b B f', APWNOR.vr. - BP ]o. - ABNORT 04r, P -i. ~B -. 18 w t. B- B. - ART.fWrm, B eow., P fepr, N 'fwe, 0 fir. - N wr R '. I8d P ' r.ro, N i - Et insfead of r. - N ST, SU wrir, T a q.- B aimw-. 181A w* fiear: ift Rt, T omits it; U wt. - wi - A sr u, STU wi fir. - A omits t; BPW Oht, SU -t~ T. - A wk,,w.MiMt, T iit ri& liit. 18A 6Rt w*ft u, O w, SU. - A wwrrw yt, B tW ut<it, P uww lw, W;m, O W TW BTi, R It saa; SU add fa. A ifraT, BPWO ^j, NB 13] [i. 18 ~fwt I f'lut51 1I s imh rfiqirm' ig r f^I. ^ 4 of >^\, ^ \ OTN 9 l. 10 f*. I I > * *. Q 9 8 Li Als \,M v M "wqws rk W irf, S i qfi, TT ifewn,| UT, P Ti^tXi s, W xtio, Nj 0ffir?, o itr, R ff-Tr, S xtwt, T gf ITrr U itfwnit. - BWO *&ft. 183 SU f-Wr. - A f wni. ~, PWO aft P. N q, NR ni f 9W^TO uifvdTK (R osmrt)r^ T Z ^fw ^ % Ctr see i 1891 1*3S; SIT add < uftqf. - A B omits fwarir; WR sffa~ss. - B Bfu, NRSTU 4ft-t, o0 - fPt. - BPWNORSU. - P. -- BVO, N omits; R ift. N i'f, ORSTU,T. - WT omit fi. - A rft4f-, B ff, PRSTU 'firrFw, N efr'-. 187 A w I G fwr:, OT ar T. 188 STU omit i; NOR. -B - TfiC m, o rfr, ~S afirfwO - After t* P adds -' imJj, R adds <tSfia, STU add F-. - A fwrr, N waig-, OT w, SU o. - N GJETTt,0 o ", T T0. - After z;To N adds "i-"".lqtlftf, R adds 1tB' wrftfilF, T adds r.i~ffiu. -A.,B 4G', P ~,, W., o, NR, O o. - ABPWNOR omit i-rt'- fi; T omits T;. 189 ABPWNORT omit. - S i'. - SU IT R. -- U '~w~. 181 T omits, see i. 184. - B tT, PWNORSU T. - S a. - After w IT adds erAt~fiar jwf|rfiH. - B ^wr, R T, S ii~, U M.- ABRSU. - A r fi. - N 0TI>i1fg, 0 y wrFw3,r R o iaa. i. 18] [14: wF~ir ~r~'8g?~ ~ 14 f~w~: l W~T~J mWT taT VyRFit I~~6I1 f' n 4f' II q f T r1~ M I I~~t~ I 4 w1 I * F T 1 Ijrw 18"1 ASTU omit. 1812 ABNORSU 1, T - ABN ~,STU 1813 AIBPWNOR omit 'nw.-AB IPWOR ~4j.A faujuj. A B ffw P qF f WOSU 303fN MM~l R T 1814 A wv k~f t~tfq Mr fl 1816 ASTU omit mM; P N R 0 ~ W.it - P on WSTUoivfr.-BPNORwi'frM W qrf ~ STU Nws mfwrf. - W -A 1816 BW omit. -SITUy vff T i-f N ft Rr~ 1817 B fuup~ NRSIJ fvmwmt (S adds %r), T '~~~.-A q7 P SU vf T 18'8 A Ma j~~wr~u, S T P oiin oit an; ASTU omit * arr. -A ffjirtW N0j1 24fr, T i~j~.-W, STUiW. -W. A ~wuB ~ri~,P ~ N f~r,R qq~o qr instead ofw~~-u~f see i. 197. 1819 A ww r: P4awf: NOR fq wr" (N omits Wrr) Ts (0,~ru)~iw (N oft) 19a A BN P Su.- TU mimryw. - STU l9b N f~.-RSU 16] C - 101M W"WIFRM [i. 19 I 1L i [i. 19 v 9Q 1 Ma~wur tf4A w' I'AId'sk *-M \\ * f f:IIT I1IOfT I 19c AO rrf1w P inp w B - R a T wr lqdT fa-cw 191 A f VpM NR omit. 192 APOR 0dT40lmm, B o Kr 41al 193 BW ft f~, 0 ft f% instead of m. - ABPWOSTU aww - BSTU - w M. f W IJ omits.APORSTU xm. 194 A mm jIfa f mC w B ft 9 tr omitsfrF. 195 STU omit wf%; P an. -A ffm, STIU a-A ~.P ', NR -ANOR in.A p -A imrlaWr B UT P ~iiW ~iN r,0 z'TiJIt, R ysur S ~Rawinur.Wfq 196 W omits r. - A qORSU W& -BWNOR D~ WO omit ft f.- STU fcj fa qj..1 197 AN4RSTU` omit Mt; B zM. omits j~~-APOSTU BW e~m NR -AOR ~1, BN ufra, STUh 0 - 0 omits IRO o4fsee i. 1 8sil. - A ~, ~~u, R Men ST CHITwur, CIJ ~q - AfiBW AMR F~ P Ni~~ R fjfSTU -AB ~ - NR *&j, STU wq -ABPW omit -N a*, T - STU 191, S MICT 199 APNR omit qfg; B3WOSTU fr - A ra1f 1 MV4irr i. 20] [16 * vf^gk r5q rTfaiT q fiin1i ffe, R w ' rf$o IsIr " ^fq NiVi s11;~ 1o firmai i f, 1wr'3 i fiii wrf ^Tir ffqhi W- -rV ^' I W T f WiUmJfC!T T T21 fam M ii C1f' — 1'- 'f- x ---''v fg - fr~i. '%2...... 20A ~winf, WR ef, 0 off.ABWNOR frZr, P 3ET, SU rf3wf. - N oflhjt~j 20b APWR ro. - APWNRT o-r. - B "al lt P o, S *t9iWi. - B zfrt 20C B fNro. - N oiFT w, 0 of — rMo~, SU ofiTo. 20d APWNORT 'r, B sfi, O ze.r - N if. - AP -n. 201 A r<irti fi fr, STU n fU -:. - A ~a, STU 'mca. - A fTum I wrT f Im m, PN fir once only, STU fao fro a. - B t P ait j l.i MFF, W N iu S fiI WF, TU a. - A irli1j, W Viatik, N ^(Rw, R f1n1. - A jafrf[" a, B r f ft ' fa w id P ferfq[ Mn ami faf r, W Mr aT fIw l <i f~fA NR omit fjo; 0 m fi ms ftP, T fa TS.. - ABPWNOR omit izIu; T IjI. Here A inserts I*'O f. f*i fa.u., B swa a f, P i T F,T W ~wfBB fa i, ft NR qi isi o rT fa fr. 202BPO omit. - A T Wr W, w m omits.- - A i^~, W - ^it, S BT5S - ST rfi, W fg. - NR omit prr. Here A inserts '? wr I f K fI - faoo crcii, BNOR yi fw^ aifii(NR ~r)orwifir (B ~m) fe-,rr T, P fI f ari V-m wT, W M aS fWi T q e faf^mnis i fear PBTK 203 A At. 204A, B P a, W W, N al, O ~s, R a, STU I. - APWT -q, B fiR, NR w ieO, OS mw. - A sir, 17] [i. o20 H^HT^ Bf<i^ fA nSf srC T fIRff " H.rr ^ I'll, NV.- _pl fP jt. 11 -PT MF, - f r * Tf' 10 I wt^ Iro4 9H' wn - B Twr, t, P ref, W Hn,,N t, 0 O. - BNR fri, STU stl - AW iit. - A adds ai 3 f i a 1 frmT T Uf- compare PW i. 202. 20 A t ai, B i~i, T a::w:-. ABWN P, P e, 0,Bv, R man, SU ga, T m5* Ms. PNRSTU omit B. - BW ifi - B fwrt, STU fmii. 207 A mr-^ii fiB, B,s, i w-rm]_0,7A r" '" rfZfA P TrT rfaii W f Nw3r, N fariIii' rfi', 0 fa frii~, R ftairi'wrfi, o. - ATU omit fa; BP e, S 8i fi. - AP ~nr m, B W41, W r1, NR trnTi, STU Ommr omit I. - A ~a~ I *,vijvi far 4;f)r I - - ~BWfr, N fmw, R *gf3TfWr, 0 f^T f9T etmw,1T fWTer, U omits i' faT.- a, NR - ~fehr af (N ~fr~) 1r (R omm4) fasr Rlj\*~, 0 I - fwir ';I fT Wfaiiaft. - A m 3witu, N rmT, STU (mjS. B. - A Iw"fi rt, B ofwrTqT, T o~frS. - A omits M-TWfiJiT. - P omits;T; BWO wo. -B ~i, P gt, W t, N 6i~ O RU Brt,^ T - wtT. - Before xo "BWNOR add rfi. - S trrrfi6r. 208 AB w, W iW. - A yr. - A iMa, P f'~ instead of f. - A STU omit i.. - STU IJ. 209 A ~-:. - WN fi1. - BWO.rfr. - A ug, B if'f, P Wr, W f,, N, o0 i, R rZ'r~, T 1f:Q. - N ve. - AWO ZBfto, B - ft, P ~ftO T fwo, U,it. T- T f^i. - - B -. l;w. - ABPWNORT Twi*. - STU ' S. 2010A A, NR r, STU t.-A 2 i. 20] [18 TnTut fi fkPciY f" 47TWmr fhtkfrlN3 I v "!? PT ffr f$ I -j f 4f 11 fwm:I I a-,, NTdi V3 W-i, dnT"QW" I 3fa~iM 13^4 4I_ I nfn16 1 vgn | i w n zI" | ^tt fwT t18 I omits f. - B i, NR gs, STU.- N feUrf, u rit,r. 2011 ABPWSU omit Tr waw. 2012B, PW i, SU R, T gf. -- NR;', STU omit; APW r. WrTO,. -A fwfeAr, P f-r, N ofrfer, T fT-r. 2013 A t. - BW ', NR. - R omits ir~ fil. - NSTU omit fi. - ABPWNRSTU w;ro, 0 To. -W o.rt, SU ~o. -P fi j0uf, S fir3Ff t, U fUi0. 2014 S omits. - ABW quJ, R j. - BPWNOR?m am, U omits. - B wfaFfaqmy T wT^%HmqUIq u farw. -N omits!. -A uQfirufa, B T94 I rFiBm ^-i3a (illegible), PWOR,N; PWR add fia. - A Ir, B see above, P,faftfa,, N farrf —irf TU fi-10o. 2015W fa ftO. - BRSU 'ai. - BPWNOR r wam,, T gp omits Ai. - A B, P rT, OU aT, NR omit F. -A flF-so, B - fio WO o ifto, Nsu fr, R fefiro. - ABWR -WM, P "wI1ut, N *w*, STU 'go. - ABPWNR Wi. - ANOR sr~ar. - A f, B Pfrw, POR STU omit; N ^f. - A itfw, P 4f, W wMar-, STU r2016P omits i.o-. ABPSU omit &t fq; P inserts w; W git * omits ft; N r i a fi, 0 fa. - A m, P ii omits m"er'i*; 0 *rrit"m*. - ABWNOR.iT.- A N 9iT,. - ABPW omit FM; 0. - APO -ftfr, B er-f, NR f-, STU omit. - S.rg', TU. 2017 B sBt. - ABPWOSU omit Tw1, NR omit Vr; T ia. 2018 P arWr. W 8 i, SU j [i. 20 ~21B fC ui fi22I r 23g B ~~f~~24 TTTiifirWWf~I W IR *II 1L e fiLf 26 B UTWN f~fw,0wfiT fi f r 2019 A RWM 2020 NR omit aT. - AP ~r.-A BNOR ~umv PS mm W. C _o. R rr'i (To~~T PW~ omtWg ASTU BW q,, STU wi-. 201(IT - ffw: 1 A: *,W STUo 20" Auw va ft vfto~ IT omits; ST omit 20 1WWil22B omits famo. -A B NOR omit. W STU ~.-NO rR msn, S 8 T q UI -A wrzrB ~1 IT, p 'mfmr, W uiffIC4, NOR 8 a o0O T rfr. 2024 A 0 P f 0 fm. 205W~,NR j.-AW tB URtT, P fcF. - STU.-B v*, P ~w~~ 0 -A xi, aBP mso, STU omit. - T ui~U, Trr After nW~ A adds a~~,W adds &jM W. 2021 P WTjo 0, STU *iw -A vrg, BPWOR mo30 - SU -t A ~ti~f*, WR I if, Pu q #f IU N* #IfMrI R ~; fSITU2* L 20] [20 2. 20]I 20 ~f~27 OqT. - STU 0 f~.-OU&T. -B mI~t W ir',N 0 VWft#. - A W*~ Ot 99 -A BWR N fy STUqrst. - G8 v?. - AM B awrSu WfJ A I"Mia N q 8af, a1 mvy, T qhU fi~1~~ P omits am10 2O2T A 41 A BPNR ~.A ~ifw BWNORSTU yuI P M -A BPWNOR - AN ~,B it instead of W omits;P wU va - P t 0Oj~~ STU -After ujA runs M~ff W. P omits ~;Su T ora.-P aff, N omits. B fi~izr w~,P 'r frtI ~w'it -Su #?. - OSTUT Ow. -B f BOSTU omit a;NER. P j~, 0 ' S wuft T j.- P f~,N ~ 0 faiS Tv U k ft~w y.U-P 8 qS;R B ~wP W wihtwa.-ABO frP,N ~fit, SU MMy, T wy 20O ANRS T Ar:, T"aIw. - A ~ t and omits the rest. B pr U wr#FMIus~ Lr er.-AB0R ~A? P %itwrVW, W COPa, T ~ U omits. -BNERo wrfiP omits, TIM I 0 0~ij T ~rWfi~ U f.-A ~,NORSTU va*. -AN omit 4;0 a, STU w4 - ms.. if (N wiri) 1,WO fwo a-, STUT ig f~R- 12O0 oisr- W-NSTU q - 21] mmr srlrhijrirms [i. 20 * ihWINN Vff= I v-i " tWi: iT xfE i 32 B fr; s 41151" - - ~~~ AWOR ~Owa, B ~3OiWw, P o^i, SU QI.- BPWNOR friu. - su rfi. - P -- fi, NR, T i fri and omits it.- A wfi, W e, NW R ^ig, S Rf. - B o~, R,fi, T iwjt. -- A ~afr*t, BPO atwiro, STU -wt. - A wrorwt instead of Bt; BPO omit; WRT raI,, N wt, S t. - PON wWf-, w, STU BfPrr. - BPRT omit w; NO ar, SU r. — B uriit, 8 lt, U M - A Irf., B rnau-I, PR Rti, W? ti, N rlo, 0 ir, SU, T r.. - S T BFt U -of. - w i, NO Sf, STU te. 200~ A ftO f ra. - AB, N ft;. - P, W R, U omits. - ASTU omit w mm; BO have ir0 w after TR.- NR. - W ir. - Bf, T m instead of f, U omits. - A mairgn.4 adds iw-!fri min the margin. - N wvu, 8 wTUT, TU mea. - u R g. - A ~f, PW If, SU ft,.A adds Wm I:3 l|um^<m[mm. %,, 't. 2031 S omits w; TU T. - A IWiTf~bb,.dtU B oei~.(o0, P -eS WN.wio, R;~. - O R -,B, s. - BP WNR *t. - A Ar, S *~ 5, T i, U. -STUww sW N '-:F. 2032 PWO fe%?,: a e u (0 ) cam (P,) fnpct (o?)- fmfqiii Trfar yrfwfdf. ST -fA riw. - A fif2033 A %, PNRSTU wf4, W -fa-. - ABPWNR n3*, 0 wia. - W w, O. - A r^ B ztifrf, SU Sid, T stefr. - A s, B ufu - BO 2 -l^0R. W ~- _ Wl^bT. - A o, B 'ff, PWT uf. - STU S. i 20] [22 TX^ ft ^lKJ^^H ^^^TOs t Mpsf Q 01-s ft3f4 g Mf I. A rI tilTf mr fq!T T3! 37 *~ W411 - I 0'i 2034 A omits iT. - ABORTU of". - A iT><j i B fariO, W frit NR O fmi t TiO, S farn-,rK jT aim na gtl<1 - wmrn1mT r <TisT, U a3r 1vTz fmrw-. - A. wast, B oR3t, PW it, N ofat, T ~ g.- A fi, BP WO fi, NR omit; TIU.NRU omit a,; 0 oWS, S, T U. - A f?,fw. 2035 A rf m, BNR ^f i, O 2036A f N omits At. - A sir %, NER s mi - yto, SU %ft, T nT h - A f N qwllq Cquqr, R ircfJmr, STU ~0ehsffO.-B -BfiTf PW i~, STU?ftI. - A mu1rrf riq, iqN Oj m omits fw. - A xTWt, PW qTwlTrT0. - S adds T-. 2037 NKR 3iaW*, U o v:. 2038ABPWNRU omit fog; ST fa. sir.u uirri. - OT w i once only. -- S mrsfi. 2039 B wr and omits i f!; A f. - P f.."ft f.wu^i, W f~o - r, 0 T frwrT.^ U osrefW.-Af rrs, U w~ff. 2040 BO,ER, NR aw v. - AWNR omit rrm; SU a. - A v^ar, N.oST, SU ~, T..-A zir,P z~.f —. r, w z~ CfIriht frer1, N owT, T zW, U T.- AB - zA r PW, N fir, R f, S Ta corrected to B3a', T wra, U -wa. - P w, ST a, U rcrlVu, APWNR ah, BO xauj ht, ST f, U cih 2041A it B,t*. - A,t N j1.rir-i t, SU ari, T 23] [L 21 f f\ITY ng I I T'W^A: Tr I IChff' lIt _ ft I44,Tr I:rqsr I IT I/It wr k tfer f Ir *i< () 1K M 1 I 21 after m'; STU wTit. - BWO. ^< ^m.t - A T^, B ea, PW f ', O W S, STU omit. - N r. - A a instead of ^r; UI omits. -N ffclfeo. - BPW NRSTU ot. -B iFI, NOR itsT, SU ~f, T ci. - APWO add Wrrm *f^(AW oo)H5R fomn ftT f9T -fmj. 204 A w fa m, SU W. - AN sTfg, BO., P ar-, R omits; STU ai. 2043 A itm s,, B arr[so., O ~,rt. - APW, BOSTU omit. - A Tt f PW fGRmt, OSTU - A fiftr instead of SqBrt, BPWO omit. - A ftPT u ^lufqi, P It. — AO omit fT. - BO -ife i, P *i1 a, AWNRT ~Tft. - PW add ft', NR add fWt. - A in the text only fit wiif' and adds 'f iZ <t iff in the upper mar gin. - BWOSTU rrsr, P mrNt, N rtrfIt, R wrfZ. - PW NO t-, SU It, T Efi. - NOR add ir eriati r^. 2044A -t:, PW f^r-, NR omit-.- BON giwa, W o"f. 21aB rio, N mr0srt, 0 ~itto, STU owrso. - A oifiu, B o^, PWO o, N, - ftsirg, T OfH. 21b STU -r. - APWR ~r, B,f%,., N f~, O ~oTu, S ~o, TU ~n^* - B _fifif'fN, N fo, R fuin. 21 ABPWNOR rf-, AW qf-, BP ORU,ifsq N CfgTrw. - B 21d N, RT r, SU -A. - ABP WNOSu s, A i-. - P fewr, N feTB. - P ^t ~, OT aifar?. 211 A s iO - 0 212 A fao f. - N s$m j;?, fc W cl <A :L 21] f, [24 fTR:I f* 7 TIMI r. C 3TF~ f11 ~rr ~rr ff~31 ~T4 2 A rus. - -N umr i iWM- I 2P B pfw N i41far. - NR 214 N omits. - Only 0 and occasionally SU have ~yiiT;the others read here and in the following ~'w. A 0% B cmfr P 21 N omits. -Wu.A 3it t and P -A ihvB wI 21 A omits f'-STU vm. —APW fk, BO i. 21DB fq I T ~f ~ -STU ORm.-AfAif far. add 22a ABPWO *f W*t;, N~ NM;a, Ou W* f. - A Nj, u. - Bfu wr, O w vtft U, STU ft. - PWRS N Na KumT~t OTU -rTt 22b BW fqTPNS uwmt N T -PN V0 23aP v ftT, 0 #u1. -APNIR ftIB Ae1wCr W fw u O WMIwfC 23b A wi I, B wd ftp T, 25] [i. 25 'thT ' rt T l'qI gt v,, Aim 11 11 ^ af ^ p fr f ON ^t:- wl <^ 1<f 11 ^ % N 1T | qR I I ^ ftrs ZW? XsfN ^ 61 fwTsrwt k: I I *fii f,_ * p?r^ 'a -.-... 0. - ABPR ' f~. - ABPW mr, T Tr. 3c B fw. - N uir. - 0 w. - T jn. 23d N rt. - ABPWOR f-, N wfr S, S, u. 231 T fr aT. 24a APO O-T, B wTf, PU p, NOR fi, ST a.- NRT ir, 0 24h A Oir, 0 al. - STU ~.. - ARSU o, T I*T. - AWORS Iw, BPU Io. - B *farf PJ ~fis, NRT of~r. 24c B, P t. - A f NRT.zvt. - B f 24d N. - B.. — W Wr242 ABNRSTU w'. - A omits wq~; B *iia. 243 A 1ir ~o, B omits *.. 244 AWSU WrTwB, B wqr. 246 STU fr. - T fart. - P $TftU, SU t, T afiw. 25aOSTU fr. - T w. - B w-. -W a-, N *. 25b B f, 0 qr, T T. - AB PNR Tf, T. - B a SU w. B, P we ST Bt. i 25] L26 T f I 0fTW 2 I sifi f'q Ti fs ifl*4 q q I + tfir f"1 f: fiCr.rii srrf a" I f' i, t, if -.r ath aa 1fe 1f0 1 1 f~ RI 1 I 25 W rai-., STU r,'. - P ~rm 25d S rf, TU,p t - ABR e-, NOSTU uR. 251B, S w,. - A a-, BW, P seh, NT witfrg. 252 ABPWNOR omit. 253 AS omit zia. - N r, R wq, SU fi, T ^ instead of m. 25.4 S f, B fwrfi, PWO f1 f*, STU f. - B saI, PW 3aw. - STU f-o- At. - A.gum. - Mss. 'nTO. - N w f-~ -- 0 (and R in the translation) adds "fag fag am Ti m f,. 255 N omits. - RT omit 'A. - AB PWNOR o-i, ST or, U oV. - A wr-, W fi, STU a~i~ti. 256N omits. - AO at, B 3 instead of p.- - W SlTarT, STU a3wo. - Mss. ~Tat. 257 A i. -- Mss. -. - ST - 258 0 3wfarf. SU omit; T rfirur. 259 SU omit tr. - A Carrci,', B sTfgftilFg, PW ofir, NU.t0sm ~0, T o - BPO fr0, SU;iT, T omits. - APW o.u*f, BNR ~i. SU o-*. 2510 BPSU omit '~. STU f f 2511 12 A r,,imj, JU orueqo. - A Io, IBR wt, oBR w tra STU - wT- xr~. 2513A pT. - P Tfir rf 0 arfT once only, R asr once only, SU omit; T sgftr R. 27] [i. 28 27 i-3ft*^ ^ 2 8. P% ^i fiTaiT3wP f trqfrif *T Kfof r f^ fTfTW TOT twFW ff 1ff1t > Fc~5^ ^ I.e otlITt^fqT4U'| 4 r I MIIi at fi 1' I 26aN N. - A o^ B og, P O- 27cAPWOR fef*, B Frfrdf, N -A i.unit. B w, R - friF. - 0 a. mr, STU r-rwro. - T oi. 27d ANORSTU uic it, B niir-r 26b S ar~. - ABPWNORU o-fro, S rfo0. - N ~w-r. - NR t^fr, S aif, U Nfi. 26c ABPWNOR feo. - ABPWO o~fir, N orf, R ~orf.- B ru-fw~ft. - APWNORSU 26dABPWRSTU Nsizr, NO swftr. - ABNORTU ~S, P ofo, W o~feo, S o~s3go. 27. N. - A fim. 27b A itfii, PWOSTU c^$, N t-,r'Tfr. - B u~uwo, N zmwo, S ImoIj~. t, P O^, W of. - AWNR fdi, B omits; P rfsg, 0,4. S fifi, T fcf>, U ffa. - B 7, ST crfe^, U firat^ 28a P t instead of fa'e. - B %iTofBT, N w,-r, S oMr.o - ST w0 o, U o0o. - STU *od"-in.- NR TTmi. -- ABW NORSTU otao, P ofro. 28b APWOR rf,,iio, B W.i", N wlSoT, SU ofO. - A ~iB O~^j p ~^igrw, W ~olT~ZTl, N o~3S3W, OS ~o, R TraIer, TU oD. - AW of, BR OfiT,, ST o=f, U of0r. - STU f4. i. 28] [28 8T IT.-." - -U'0 I "almT W"W~T~ fir, 1 iN r 282 APWSTU vr. - B r. - B vn.- A ~I~ B MI, 0. -B iftw- - PNORS ~rz.-APNR ~ f~~FB 0 SU f1Wnf~m T ~a~ 283-5 T omits. - B rM u, R omits ft. - A;v wptrqw, B;gl AS jf P "C" w W N ~f~f. -Su - U adds WM,ANOR add fiaja after - B fw, 0MM NR omit. -AB PSU aqr WNOR Wifw A ft, 0 SUJ~ A V* fr 28' N * v. -A omits~ -m B 281 A r1urpir W omits. 2883 AON fw, B %, WT omit. - B;9-;.- PWNR ftr, OSU WT T;ft.MM. - Nomits far.-A cyP fir. - AB omit 0. -SuT w%, T wy 289 U omits.- A cx, B uyp PI'~*iwiNO R IT*, T 2810 A faqo ufk, B rr. BO add 29a STUT~tt~ A Uwr, NE ~rT. S lt. 29b Afi r~f~,B frg~ P f4. W f.rv~ NR fftT -ABPWSTU4 ZS, N -Qt - 3~1 W Nf~ RS jT I 29as] [i. 31 29]. [. 31...... Tk 4 q 9 ^rm ^TO^? i fefft -imwt f^ H^'l a ic n * R rw i f'ifxir It i ~ 11r0 r hT4I:I w T i fI 2 Ifiw ws grfjrf- X7Teriis~ii~i nI — - -- - 29T STU m. - NSTU *. - ST ~. - ABPWOR wff-t, N. - W, R BTU rr S a.- STU. - ABPWORT gftit N kit v. 29d A if, B w I, NSTU O. - ABPWNOR vf'. - Mss. i. - A fe. 291 AU omit. - BR feo, PW fWr: i TT N famo, o0 fo wz, S X aT, T. 299 A omits. - T omits ai. - B pr, 0, T T. - WNOR a{o*. - TU add ~-m. 30aAO - -, B 3i. - A.af-, B oS. - A fi. - AW o, BNRU o-. -A fir', B fi, o 0ij. S rW, TU itr. 30bA rrf, T fi.- U igr. - AT, BNU, PWO, R if, S f itfi g, ABP WNR f 30c N.r-, U t. - BR qf'B. - T otg-o. - ABW.,fa4, i, P of3w'l, N of~rcrk^i, 0 30d N _ -ABPOS W, W rf. - AORSTU fafrf,, B off%, PN f, W ff. - ABPW NOR rf 301 BPNOR omit fo. -P vr, STU.- P op, T imar. -P owo, N ~vrfaT, OSTU -fts, R 's Ha.- - ANRSTU omit fa.SU ro, T Frttl. -- B ~ofa, P,feuT, NOR.f.i.nrr 302 BPWNORSTU ar. - SU a. 31^ B Aiaj - A g WFTP, PO wr soTa, NR i (R i) i 31] [30 f"19 ' I ini R i1q i1 ^!} ^<U^^<Uii<Ul w irfWI T I w I fa:* ' > ^ I fe 1 f93H'rww jf k I aT. - A omits fi; N u, STU f. - PRSTU fia, W fff, o 0o. 31bB oSi. - STU w instead of fa. - Mss. i1fr. -- N rrrfit, 0 ^. 311 B m dTl. P tm 5 Z. W ai ^ R m, N, zm 3 i, o iam arri, STU aj - 312B nm:, STU omit. 32 N wni. - A o.. 32bBW, P 0fif, 0, N f, R.iftc. - N *iter, RSU i-ajFo. - AU oiwfwT, NT *O'Tm. - AWO to. - APWNR o~o.- NST or, 0 ~mr. 32c AW,f, B 0f, PN fz, o of, R rf~, SJT fr3o, - T ro. - B ~o, PN oao, ORT ~. - NT rf-a. 32dA f, P r, T i. - A o. - Mss. ~fit. - A f ife, B i, W ff,,, NRSU faff, 0, T f. - B 321A T zr fvw, B T faw, P OT WT: wQ fa~, W T H4 (fa, N q w fV 4, T omits. 322 A Ifi w f g v TI, B |JJ| <wI 1|I^ltfr, P Hiz CR1 Tr T S Ti ffg ^tTRf,y W fiI,e ra~ ti l w0 (rff N BmS I?T? t'W ' IffTi, 0 w323 AN omit. 324 ABPNSTU fwt, 0..- A * and adds, BO add. 31] uto [i. 34 3 f ifWu ATR O IIB 33a N ~i~~~*. ABPWNORSU 34b BW fal R fujSTU ' ~ 33 ~~ ~su~0 f.-A iNRSU` #1, T '~%~.-APWO omit 34rcB tlqufJff Urk T~~ ~u;BN -APWO wp0. - STUI far. - AB ~FWNOR wFSu 34d3 WV. - A ~ffjN #igj1 16.34' A l frr a 33c B ~.N T -oww STU Ifishn- T -S errMss. N uni.T ~u~ rxm 33d ANR B 1W wma T aR 342 BNR vM afT, 0 vM uT instead of fr, I ~ 0 *u~tT fuui. - A ti W apxyr uf5, S frl f t wfN, T far-f 33' W aT W B omits sr. tfI r 332 Nomits. ~u~ 4a N 4L4jri44ug*. - AB ft BW 343 WU -STU 1u.-A fr, 0 WM, SUITwr. -BPWOR ft B ~f~w 0w;M7 N -*r 34'4A fuui0r, P f-I BT omit ~ i. 34] [32 L!". r _ ~,f g f fa<4t~h~<rwi> ile-M UtlC"i *lia: * - % * 3 w_ I siI91 i, i. 1 ^10 '"fieRT i?rw ai1 zrkl11 6 aisf I |rr1 I | w 9 E r113 I nfi I fgg q5qew ' 4l *Mqfq frno% |fm Atrrfrt " I. i.iw", ^ C................F.ft.. - NR irt, 0 f Aw. - ABWORS St, P ir U E U. 345 T omits f. — A 4 mrftirt,!iia, B d a, W r gf i i t., U;. - NR add n. 346A m: f B;wsiT,, P fruit wrciTnu, T taiWf. - B -ri, P writ, S '~.- BP T'fW. - W adds "srmp wMff. 347 AP fim., SU rafT instead of fso. - B n. - APWNR, BO s, 8 s T-f, T i, U Wf{gr.- W adds ur Y fri. 348B w t - AP omit * ~'; B f W~m, w "r, N B.tW OR ta g;r wrT instead of rfiro; SU omit w; T. - ANSU B.o f, P o, 0 - f* qitf, T Sii. N omits 9 5WTti't. 349A ft F, P Ti, T omits. - A w.i f?!.fn 3410~AWO m, B uW3, P r4m, N trat, B m3ftass T w w sjt. - A j, B W, PWNOR, STU omit. 3411 BW u, N f*; - A vsIf, N 1f6rT ra wiw 341aAP fw, B omits; N ti'. - P omits 1w. 341W fa I, T f. - A rwirfm B, BWOS m., P -rrr, N,f, T wT, Uf. 3414 A fiCr!, T omits. 3415STU omit MT. - B oaF, W -wsu5, 0o fr-, NR Swf, mSU - fpr, T.-f - A fC{, BP WOR aiT, N omits, T wf. -A NRSTU, 0. -A af, N rf, s3 -f'r, T omits. [i. 34 aN~ f21 27 34'" BW ft, P 0q OT omits.B fiWo, T wr- A ojj1uthua@ B, 0 - P 0I1arsur, W mwi~wi -B, omits iferT- omfu am -A STU jtI A ~qwP ~TtWKOR ~ Su NT R add miift 3418 Wuf P', W', OTw0in STU f.-A f01 Po f0o W ffNu R (R *~)~ ~ u.-B 0f1o P fqfwu,0 CftSTO, R Suo STJ Wo -AGO~fj~q PW fuiwWIM SIU awq T flqeuwiq. 3420 BO omit i*; P R, T w w II -B ud, P u, KR t.-A 3421L W Att~ N~~ R T Ti. 3422A? fCw~r WSU omit 1 -B 5.APO wirBut fra, wfifgT wrU w~iJl. N ~r~~,R *IS -Ku omits a'; TIT oit 134a.28 AP -W ITU'~ 34 24A omits. -BKN P W SaM, 0 R aS T# TU omit. - W jr w-. B *t, 8 -BP R q~,S Xift, 3425 A omits 1-fwut.-P _U omits.- T sim insteaid of Mmw;. 0 Mr -;, 5 Bi 0iT Koi LMu, R 4 -. B S UrTT "Tam tv U omits. -PW ffawP f~,ST-LT~ii. o 0 AP B aftuiffw, KR ~ui#,Su vimrwv T 3416 BNR omit Wy; OMVW.-Sf-B qfk, 0 -am. - ABPWO 8 S TuJ onsy. -A? fwB f 9T WO fm N R ftwu, SIT ftmwwrt T #i MW SUJ UW.-P 3r, N 17. 3 i 34] [34, I^.i!ITF + ~28 f Hlt f-if% P ft31 I,t Tt r _ffrisat" I mlu31 wT ^sf3iT sfW vnft - 3T n f ^l _ Ffit^ fi > 341 ^TC I^ryT H^\ AiTiT4" I fat f, R omits. - A aw, B a4w, N auw, SU "o, T wq,:348 A Wi O, srr an rfd, P wm, WT wfi, S wmj. - TU owO. 3429 B omits fo - A f. 3430 WTU omit t, NR ift rS, T EaW. - A aw, S au. - P W, W. - A i corrected to ~t; B &T, P i. -A aW, N ft, s rfsit, T fwr Tnr, U Wf I Tn I. - S omits gi l i. -BW i, 0 -T. - OTU T.NR Tq instead of It We. 3431AW %*, B s, P -lI, NiiT, T U, U. - STU 3432B it, W omits. - AWNORSU ~it, P i, T t. - AWO dt fa, B aL fa, P it ur, T i}3 ' 3 UT omits fir. A wf, B 4iflr, P fi-, 0 fit, SU s aft, T Fi 34w3 A omits I; P g: Xrd, N am, TU tan. - A Fir., B ri'irt. - ABPWSU arf't. - A vaIf'Sel, BPW Mf1vi, N 1 rfiut, 0 f, R rut, S wrflt, TU omit. - T omits ar. 3434 T ftr. Tr. - A omits fa; W finwrr, U f. - A i, BWNOR STU oaeo, P *Ro. - Mss. *or; NR add sa. - A Rfwfu, R j1, T ~i1 aS. - B omits i-Rg~-i; W transposes 1 u ". - A ifui instead of. - A SW, P t, NR 0, O -, STIU P~. - W adds f. 3435 A ftPfoaIwrw, P fir. - A of~if, B *~a f P ofit1, W f fin, N.frT, 0.fifumip, S.fVim, T '*wrn, U "Wfri. -. - B wf, P wfnr, W.wn. - N WT. - A Ifwefirl, B ~ Pfmr, POR feaTfar, N fardz, SU fwafwir, T omits. - A wr, P r-. —r, WNR Ar S Tr, T WsTa. - ASU irs B qwr. 36] [i. 35 36J [ 3366 7 iu 3 B38 qj^ ^q 1 "frr *I if ftillW I "~, 1,,,,,,:, ~'" i ~ '"~ | " " ~"~,~1l~1l I qlrql,I"-1;"~l I ~q I 3436 BSTU omit.- A 'fe, 0 sa3 S~. - A adds ir fw ia far',r, P adds yf~ f't:-n ri'ar ~, W adds * ~,f, 0 adds j,.rfir. 3437 AP rt, BWSTU omit. -A Tn3438 A til~. - B ufre, NR 0fef, prf. - U omits. - ABP ~mlg, W omits ST, STU omit g al. - AP fmiIQ, W 'f, ri?, 0 ufwifr, S8 "nfsTw, T Wrffi'sr, U rffRw. - B wcalmli, N ori[. - NT *wfi6, 0 omits '. o*. - A i 34' B w,, STU 5iR. -B ryo, OT hast, U mo, N mi'ila4, ST T.- A A; fmtr, W Cf, NU ~%sw~, T ru'f. - PNR 'fg3441 A oi:, P inf-il. - A AT W, B '*r, P only sr, WS iT, o ts r, U -LTi. — OSTU t. - 0 adds it. 35'a lss.. - BNORT oia'. - A 35b ABPWNORT rff. - S wfi, TU. - ABPWNOR wfi ~, T 0rfg. - 0 unfr. 35eMs. rt. - A,. - ST f.B ofR, NR ofaT. - B t'1iu, W t^tj, NR mi, 0 urT, T. —. B W.- ABPWNOR T-. 35d BWNOR fiqro. - BNR T*F. - NSTU -r. - B w i ifif NU T * 3* i. 36] [36 f~sfIi: I Nrtf4Pfl T3^^ ^r I a^ fr r rsrfi _ erfmf 'tn1 Irah'Mi6K I fw~:I wllTmdxq lt - ---- 36A fr illfa:, P omits f*-; W f *mf. —> B N m -,~fiif, I R,s,fR, TU anMfe'. -O ~o. - B frfr.fu wr, W *far, N -fw4rf0. 36sb ftfY. -- BW go, ORSU a, N WT,, T z.. - P,-. — A urfif, B 'rfl, 36Lc A" 41 T SN, T- -BOr,, Uw -"T - A.rf. -- S ~o-~m. —BO wgrk, w u,^~, N InT, R Ud SU q~r, T ai*. - STU qs. 36dS8 sit, T gi, U Tt. - B P, P if, NR 0, O - fe*, STU ~i. - Ms8. fewf-. - A StU, SU ^R;, T g-. - R S. 361 0 m a*. - B uig, 0.- TU 362 ABOS y f fr.. 363 N Vf- W.. - PWSTU wf^i-'i. HICIA11" lual 3 Tim A CT, alk. V41 q0jfj 4, w"'a Id 4, I "gm WM 4,411#T 9WIV IR 11 9 11 I WAIN ZKV ar-T7 N -TA;q 1"1011014 WT_ 2 PaT 01 0 ilw:. BWRSU iri1r~ 02 BO omituf.- PWOSTuf - C-. fr C Nil omit. O1 NOR v* once only. -BCS omit v~; T vM, IIU 0'BN omit;n t - N dF. 1rfr -BW;aq. - B nrwu i TU HIMt"WFU. 0-1B if,OR 'j~~I~ N la C rf~d, W trrf.-B "C 90 ef"Cw*. -BSIIf T omits. - BCPWNOR fr.P SUT T Wr. lb B:6r-0 CT ift, W Mildfwe -CPWOR - f~tfNOR SIT T f~f.-B fCPNOR le B W.~ N.ow" C Ma - N WWIT id BOpWNOR W11 - BN #h, Vr, N R Whflmr, T V3 -rznfw. -BCPWNORT -gm. -B C~ C,Rwwp STUT f~.-BCPWOR ~*iN uw1,SIT y T gwm. - ~ CPW wfaz, N ', OR;ml T mi. I' N omits; S SW, IT &irfim. j2 BO 'I STIT O. - B 4R, OP ~ B fa I C frfr, P?~I, WI W~,OI,I u &Mt Osu -, R "k mu %Mt G=P ii. 1] [38 * Tf^ ^ I f* I TT5TT MM 9k ~I^<HmTT1 I ITJ s kr LT 11 r 11 T^T rT4R f^mT^<U tPI firs - 0% II III ~iififF~s r e'l~r~jffi T fiwf. - B mrBr, C C P faiFi, W fefw. i^r,", N f afwrfaer', OR rft, S f~frro, TU ~onfr~. - N T.- BN faTR, COR fWaT, P, W, S %, T fasi U w. i3 B wn ft 'E -iQ, 0 ~Od. - B fr ruiAJr, C fs"Q, P fef-o, N f Sro, SU fr-if, T f:fgfr. - NT omit B. - B wr'nr, STU srai. -B reads ftr&1Faa and omits all that follows as far as w mt4qij iv. 1965; C fiwo4t, P f,iri, WSTU wirg, N.r.ii4, OR fas3. 15 CWNORS C.- 0., T - CPORU CrTo, N mrqoSTo, T ~mTa0o. - 0 cteifa, PWNSU;rrwfa. 2a W o. - P.(. - T.4, fil 2bC Cfi, NS ~r. - CP fi. - \ %,q. - SU alrf, T,a~.N 3f;imr. 2'C friT, PRS T. - CW fqfoat, NOR fRa. 2dC wrfPTT, P naflR. - OP e, WO ~'o, R -o, U ~W. - N Im. —T - C fif, N fi(^. 21 CP omit -T. - COR Eift'la, P 'Z1T., N d n. - W rwr~Ti wr, S omits R[. 3 C arOmio, N armro. - PTU a^T. - PNU rraw~. 3b CWOR nfaw, SU -faifo0. - C Sr,. - S itr. - ~i<MifiA, P ~frw{T, W ~uoifjy Noirfrftawr, ORExnf6rr, SU ofwsUw. 3rtP NU f- t. P ~ri, N fP3d CPWNORT rin. - P at, N FF. 39] pi. 6 arfw I ^2f T 1 s > ' rr fwt Fq tt u I wf I * f < t**f1I FT i Iurt w TN F V2 - I - CWNORU vjj.. - OWN, T \ - STU FOR Q 32 0 a',t['.uJ! W ~,,.B~t ai'nv, S wT W 4aC, P, W, Nfa sf 0 ft, R f5.-o - CNOR ofE, P fa, WV, SU T N. U - ONU i 4b P,u:, NSTU C'. - CPW ^f,, NOR i-fr - CWNO faf P frfi, Rfr, T faw. - CNORTU ~. 4c CPWNO R-, R f. - CPWNOR 3f, SU va, T f. 4d CR iS,, Sri, I r. Somit. - OWOS f, P fr, N f R, T U%, U f1 -g. - ORTg - W -t. 41 OW omit. - SU sTfT ar,utMm, T qurMajuj. 5aW f l, SIU _, T Tv -T ofwwrwfmr, u ofro. 5b 0.c.4gw,. - STU ~ioGiFj. 5eThe line in P twice. - C r, P and tf, W ^, N. - C frf, PWNOR 'r.- P - mqft and mri. - N, S T instead of fa. 5d a..- W -rT. 51',U omits. - ( tI a! f, P arfT it-r, WN mit. - PO RST omit;r. - OR omit Mf' W. ii. 6] [40 TTS _ ^ - ^ T r rf1 k i' 11IT wRn rII - iI,f I f I kril I _ *LI I _trag X *,6nr ^ fQ: gI 1fjITl i fwTnia~r I VP fT W~ fr U1t M^i^I IT n~sr3 - 6a U omits verse 6. - C wf. — N fir*. - C umiu. 6b STt. - C fr, P Pif, WO F-as, NR Tfe.', S,fGS, T laT. - N ga. 6e C iwr y 2. - ST omit *. - CPW NOR r, ST ti#T fii. - C Afi r4, PWNORS jr, T t. 6d CPWN 'i ffar, OR,gftw. - NOR wit. 61 omits, W fa~ fa4 wff. 62 0 omits. - P ff, WOR fnTfa, N wi fTsrfe faTr^sr: 63C f f fart, OR fao rw, STU c: wrfenf. - PSTU omit 6' W a, TU oft. - NO i k, STU omit re. - PW add z'7-,iirth 'wmv (P P ~~) fir (W *far) faWT (P -w) r (W omits f'). 65 N. - CP 'lrt, WORSTU Oari. 660 C riit rfci qrdi, P Mit. - C qurrrf*, P vfrrjilfa, W rffilrf,. N "r-f, OR Tfidrif, SU TIfr, T fiarfr wt. - W ~ iFT. - N ~, OR fq, CSTU omit. - C omits Wr; W ri. 67PSTU. wr. - W V, NORSTU 68C alqi,:tt, and omits the rest; PWRS F, N.fqrint, 0 Elo, TU u. — P -5ini-t, W nTT., T' Hi1ri, N U S - trWito, T WOl~frwR. 69 OR t. - OR fwtor. 411 [ii. 6 fqT T _ 1T el ifm11IIT I& ~R r f~m:I ~T~[ ~~T ~ ~~j 3~pl4 ~ iw ~r~h~ $w~r ~TTT 10P v.-T omits tP fT CSTU;w, W C rWI P w 0r~~U~ T ur:.-W ~I~T11t.-COR P N ~r~jT 8fi. omits farS.C -0 fnF, PWNORfftaTr, SU ffwT fTT.0 wrgm0, P Qww N u~,STJ T w 5MT C ft~v~t -STTJ 611C ~ir~PNOR ~.-C frMR:, PW Uft 612 0 arm once only, R stT once only, Su once only, T ` a 611 C t~m I t fqr instead of this sentence. -P omits xmT - II * -PN 8uj S UJr PWNSTU omit far. -N p1~ra. 614 CORSTU omit sm. -STIU omit T N w~wr - W -rM. 615 OR fqjar-' - CO w~v, PN, W vag R;Ri RR' W4,1 -C Ar9M - W vr. - ST ir~ra, U3 r. 0160 C umi Oyi1f. - W '-w~mv N -mqjqWu T v~arw. 617 N omits. - CSTIJ mf- - CW if 0, OR o f t ST R omits d fe.. - 0C~~ Here ends fol. 2; fol. 3 is wanting; fol. 4 begins faait~ see Ii 9t.6'18 N omits, STU omit 1j. 6'9 POSIT a+N war, ae amm. - PSU " WN Tj - PSIT ~j WN ~ Ti N adds M10aWuf~p OR wwt IL 61 a rta UK" Xim I *-"'21~ 222 4;T fTI'I qI19 Tf"rqWT I fwwiU~9I 620 P only Sauskrit. -N ' OR -N8TU omit P-* -W adds f~ 621 P ~o~~WOR wf.N w~, STU wt;r. - ST addf. -PORSTJU o N oT ~ -PW N;i 622 W of~ainstead of foSTU omit. -P O- n, l4 W Mf40 riiOR o-wjj - NO bi, R ~ - pimm~ - PNOR Su tjo W 1o, T 0o* P ~.-STU omit -am - P ~,OR gwaft. - Su *fwmft. 623 N wfar, OR Uw; PN add?ffPW - w. - N ST omit. - P W ~iq WIfN 0 ~~j R ~~ S fur T f~wrU ffr X~~uv.- PWORT? N r. Su 3 -W -STU omit jiI. - W ~dh ~I -POR omit 624TU a.-ORS 0oM, SU Mar~rof T P W ~uSTU omit.- N Qfi1rjTo amp~n~ ST o TIqUOw~ -S O~rI. PFW OR4. 625 PWNOR ffq TU?m. - N omits fa-r Msee ii. 14b. _ U omits f.-0 M-ais~a, SUT orj. - OR all STTJ omit. 7a PWR jO, 0 ajo, T - WR oaimw, ST o S adds ~Rr, TUJ.P~ OR~arr - P w W 5Th u - P i,WORSTIT 7b P ', T ~ STU iR*3- PW O R 4 jk T *rfirT. [i. 9 TIT I W\T (iWi I psi i n- nr nFiy'wi wair^ f it# wrqt fq jrFq*i fqi f fw wf fJrq I Iufd4 ( 1W * * *TFr^TR ^n * *ftfwrT n P 11 fa rwr I 11 TO a5^ ^T^ aR ^ a^^rf~f^R g^ 71 w W. 72 STU Tmiir swfte miuftr. 8*P *a. - P r. - PWOR ~8b SU 'vr, T WT. - W w, ^ifti-W. - s w. 8cMss. S,.- T m.-PW OR i, S. - PORSTU or, W ofi. - s ai, TU ona. 8dOR fa. - PW f -. - P,wWrw but below afiOtW, W ~oTIW, OR o'fTrnm (R 'l), S o'fr w T rww, U s. 81W uw ffr a faiw c0f:, O nan fir, STU vf* f~' drlfR. i 82T T~. - STU omit r. - PW OR uummtr anak% 83P OR -ft, W T T. - SU gm W. - P i. - W feFs3, SU T3t. - W fefeTr. 9a S. - w fGew. - T fgT~~, O ~it, S T. 9b OS,c T i mwfa. 9e ORSU wsT -- - PW f:-. - c WSJU w, T Cft. - C ii)R, p fi^J, W. ifi O fif corrected to, R 1fet, SU Ai, T jrifl. 9d PWORTU ~CTe. - CPWORT I. f a<. ii. 9] mrim [44 i r T fri~ W _ T.T1 T11 ~ m*1 CK'"SW k:1-it il r # IF VTFlT f'r^i^fabr~F firi r i rri ftT il ^qlr-l W gT i4 irfri ^1Tf 11 90 11 fIfT m f^F1 WI mrf^ll I grr a I E i9b i 91 C far Tr, POR fao f. - WOR. - P ro, OR,w, STU 3. - CPSTU omit qZrp. — C ~fuII1w, P ffqWMl-, OR Cfr, STU gruCftmimm (T *ift1, U ufit*r). - C fm1wflT_, P st r, W -, 0 rm', 0 R $"IfaIna, s ftwrFr, T sjini. - OR T. - OW ftrit, STU.. - C, wo S su f.- C C w PWO qs*, STU ft. - C wff. P l, W.- STU ro.. -- OR add f. 10oS N'Arw. C r "l..f..<u, w, 0., Su - C aitwr. pC, P r^trO, ORSTU eieaTo. - STU ib PO t. - C yJWuri, W T~, U w.tf.%w-wr. 1Oe W ~ Pw. - CPfew. - S eu. - wsU. - W fW. 10dC fnar, P f rfr, T;Irj. - C urwaIrI, P 9r1wTlT. _- B - STU B. -- CPWO ~j, ST fiW. - O f*f. - W-;T, OR -w'|ml. 101 C f-ir.s-, PW ft:l. 102 CRT i, PWOSU wy. - CP fl, Wcu, OR lwiair, T ~;vmrf,; SIU add f.. - OR ST. - C *fr, w farffiam, S *wiff, TUT ^ ^fif - COR omit. - CPSTU wr. 10O STU omit r. - COR irfr, PWSTTU wr. - IMss. here and in the following line.~ 104 S;i, T.mm c u. - CSTU omit fa; W Cw. - C *ufiWir, PW,,f,, STU.wPtft a. - CPWR fiTmr, o fiwwv adds fr, R adds fi. 105 OR -ft, STU tim V*. - T qfs~. -- P fF. [ii 11 -i -i fTpw~ro Mk r4T'i prq nirf ^f^q~,fi' 6i 1l I faw l I kI I *^ -Ahf 'm ^ t 9T 1~n 1 fR \fw T f3i'i1r m 11 f 7i1 *I irw iIq ' f''i If-1 f 3\l0 06 CPW qX,. - C qww, P oMw, WR oW. - CSU omit m-t. -C 0 aMU1RW smfa, P wum-i;rF, WOR w,,a,, (0./,ur), SU w.. -- c w. - CORT f dP, P, W 3 -f. - C Iuii f rf, P htfUt &~ari fi fi fc r~yir*4. 107, U omits, C 4rl1. - PW wcq, RS wi. -- P M, ST x. M la ST fr. Irf, U f-mo. - T -o. - W omits g3IT. jLb CPW ri wrt, ORST ', U "o. lleC Tr. - OR rwF. - CP 0. - CPWORT o~. ld C,r f f.a6. 1W -STU fi fWrT M-n I 11I C mr WT. - OR ur instead of ~a. - PW it, OR.ST f. - C i, W im, TUT it, S omits. - WOR ~T5 -. - CW iff^fV,, P ofirfa, OR~^ferft S oiffioa ft, T wri,,t fi, u Offrfft fR. 112 CW igw, P paf', 0 f. RSTU f. - C m, 0 ri, STU rsi. - CPWORSU fi. - STUI f. - C f, PW M, T W. 11 P aa, SU lT, T a-. - CW ~i..- C? PiR. - CPR, 0, 0 O. - C S, SU frvw. 114PU omit. - f'ra fai...l fo 9 ft. - COR. - ii 11] [46 fii I r rr f1fi^T ~f[46 ntffr rT c.h wi nfTr (r fa a I r I y^^^i a*<<H| r fifO6T I f 3IK|^ <Ul fIn-l I w-e-,- wr\ i ^ftf Trnr i aihTM1 <i9ft m <<c WTrfslfrri 11c I -- OR add f, T adds fr ot 115 C fimAu rrIM. -I WS omit 2; OR g, T a. - CPWOR rii T iilji fffn. -f P omits iffwr; S;t, U rffr. - C omits aT. 116 C n mw1 r OP Mt, STU. - P omits fa3T; W fAusi. 12aW omits fa*. - P ~o:f *, W ~ f.E 0 o"FO, R of0o, S,11w, TJ "u f.i). - CSTI omit oo. -- S 'ff, T ofSm, u ffiifa. - cs fiw. j2bC sif w u. - T;f. - P, OR,, T. -U ar. -C 'i mUT, PW.w.wsf. n.. OR irsa ftiF4-t, U e'4. - Read 13a C o, T Wtrsrf. - WORSTU a P. - PT -fi. - CSTU as{'f~, P 1fi, OR aTrfi. 13b STU oir. - C,nf, WOR 14a C udrfu, rm. - WS fiO. - P ~mw'a. - C fiU, PSTU friwr, OR filrfw. 14bCPWOR Swrsi-, S r Tri, T <^a!i~' U nisFw. - W ChqJIir SU r~XF, T S;3f,. - SU omit ~. - CPWOR n. - OR oFrifW*, N begins here again wlellnrffw.* -UT adds n. 47] tel'ur avefl;wwuR fit is 47 u.1 WI lkhi lWffT3T~w WM rwft 94 91 MfMTIF# OfTW Ii~ ~TIM WI 1f v Te ft' 9 wi~I II 15a0 C P w.-N fr~ - C. -Nfufw. -CN vw- PORSTTJ im, W ft.. 15b CW TPWN y3 STU aftti.-NRS u,0 QuJ I6a C cfeur - Cii Au~ WJ1# (W f),NOR ~TfT S amat T Uf~~.I -COR W g 69 16b Tt*~~~ T~ fu q6~ f1 r N MM W... ST WT WfT~~r off. - WN ij.- W ft vi fi, N-f*C~t N f~,0 f~a.-NR j7a OWNORST #hU ~.-W ~ ai, N T -C ~ ~i~,W w iN u 0fra~ I7bSTU wr cO W @ l8a N f c C 1 P )W,saqj N 4, OR 8,S~~ T f 9# U -Ti CSTU omit fai - N TT WfI 8b W t.-WNRTT -CKORS IL. 1 9][4 [48 CZ- a in ~'cW '~~wf~r 9ii1 - s WW t1141 Z261 tI U T+vmzwnf I IoI v4 I Q1 k Q4f,! 9irr rrI qg im o UT11TI 1 TU N. Nfa, STU omit fuIJI~441"4 4. - WOR fal. O WNORT C w N voa~ijp - W ~~r -f~tr, N.fT ~~. 20b C 0j. - 0? STf.19a C ~~w 411 M F l, P mwfjwp 44I31 P aa N Omits; S W4. N OR T wcf.t. - NoR Aj -u 21a N omits C~ ORTIJ - Ci O frqrl1, P 31T0iz Fl? TM1.; N ~r~~~-STU omit.,WN 19b NOR Omit ff. - 9 P- Ofijr Atf~ S *,STITqU C ar- 0 f~,NSTU fww P ~,W 21b 0N o,0.ww, SIT,NOR -intU - a~, Wd,NOR omit; I -CPN ~friwfr, 20 IT omits. 'frI" wT 20a C P T ~fws~-22 T Omits. aII. - C fwiPW mqri*, T122'1PS qw. -CPNORSU gm?, ft. gm ami ORw* 49] i[. 24 iWT tch kllS fFjrf f <r^,,, ~ t,,4 fwI I it TIF fT s irf Ut1 fnrwr f~'t MOl F t3MT ii" _*q MT 3TK 42U1 ki t 11 f Wy t rr h a tft ln 0 i T1311 I w juii i I r >i f,4 { iw sr* rfTq t' H P18 II 1 1481s'lts' t - C i P f l W frEf, N.frrw, R XffV SUJ q ru url Mr'w. - C NOSU i. - SU add. 22b S fas, U frT. - c.iC 8 ~f9 U- 1"ar 221 C krs ( S WS C1 n. - SU omit '. - COR i', U w,. - c. -- P fri4ir, WOR f swf, N fimrf, STU fifr. 23a0C ~tT, OR 9:, S n, U rtan. - COR 3twr, P Wr, WTU M- '. CW eq, STU w1*, 23b C — W Nf, N faffrw-i f, SU -f. - C:,N traT, T ~T't. - 23cSTU Ot. - POR oqt, N aT.PI, STU. ft.- W -,t, 0 23d CNSU mtr. U. er -- CPOR NsU, NSU r. - CW Fiift, P trim,, Nl fc Wfitr.- C, PN a, SU T. 231 C r5r i,,,(i(.,m1:1. - NS omit q. 24a N '^fsT-, ORS.W i U ~~J.. - W owg-f. 24b C.r0 - NST ~o.. -T.frW. - W~^fir N o"B#, OR.t, S.f, T wTi. 24cP,,ofr, TU off -. - STU wr. -- W OiRr S, OR uW:, SU is,'T,. -- ORSTU ~oF. 24d CPWNOR fcrf". - WORT o. CW?q, SU w,, T fi ft. 4 ii. 24] [50 r~': vlli t W.n |r1 1?T h Tr f Ir Ii T Tf r f 4Ti nl l TIT I 1, TwVM f ngfl^^i 11; T uifaa ^TO^P ^u^^8ihf~fi ^~i -- i., U -o. - COR ofi ~ifw, SP Of;Tii, TN 241 T omits f Co. - C Mri.i 24 T,ft qs. - STU w r?.,e N fic|<r l OR 243 N. - CPW ". - C ftVUr, Piulrnpg.jf S ~FOT T sTrimn, U M3lrfew. - CW a rcr, P *iU, NR 0w, O rs, S omits; TU T. - W ^ftf, N f,; P adds ~. 244T T. 25 N fiumi'w fW. -Me. #ifrf. 25bN wir ur m,. -- P.f, W f wiOn*, N ff OR 6T~, STU fa tmfr. - cwsu fia, R r,. T fi - CN tl,4, W wf, OR wrsfE, T. - N -T?. 26a C im, U omits -r,. - P T - CPWOR i#r, N fiTaw. - N fSfT, STU Ww. 26b C wF. -- PWN r. - T 26c T rr. -STU i. - N wiE", STU -if"fe. - CU.*lw, - N ~wrtft^I S *sr firir*. 26d CNOR -frf, PW T..if. -T 261 STU - C f-it, PNOR ig, w f 27a CW vtm. - Msp,. rM. - Mss. *~ilu (P 'ori). -- Ms. ws. -- N z, O R a. 51] 51i]i f a fr.2 [i. 28 Q ijr FTmr<^ m To1 '9 l tnn I s w 5w — qWr w fu'alOr A11 i rfir frirfM it -N fii rf^ ^^f4 TO rq;!FTOt k t 11 wt 11 T I Xr ~T < ftr I,Jl<=~F ( f II?b(I 27bSU f -idf. - 0 'i. - cw wm, fa, S wr. if, WOR f Igqc1C, N fIi llfli:1, 8 ^rfie 27c C iif. NORSUT a, T -m- 28a CS fj, NOT A*r, U wr. - - C fif", P fi, WOR P frF. - N ft. fi,, N fiwf, T cnrs-. -ST 28bCPW j if, 0 ' Ti i. -- fa. - 0 fwa. WNOR fiiT. - R omits -;m'. 27dCN i, P n-, W OR CT t, W i, Si, T ctiiT.- COR 28 T rff -- W Carift. - C K, NST gir, U fe. - C iw. m, STU ag^ TPJait (T &:iit). - P nfr, WsTU, wN - CPWNOR tift, T 4at. ftmr, STU Miri. - C,28d P ^ ^ _ C ~v ~, spu,~..- a,~, s -, s.-T f.-N.i PW ~i, su T. - C r- s -. - s f. - 271 CPSTU omit 1-r. -WN omit 281 CPSTU omit far. C- fi fia T ar. - CP r, WOR Wfi- W, P fa W W3, W omits T; STU rw, N wFa, STU TI. C aC g. - C i-C m, P V 8TU as-, OR C.fim. - STU. N $p, 0 t, R s. - C omit ir.- C erc 4QqiT> P f]Ca4- ~f, 0 famfarf,. I I I 4* ii. 28] [sa dwfm^^i t ijti1^"nr<4r >TfWm f^ rTnfs i fqrir fiiRrfrfrqii mfarfni a ^ rFu <=n ll-. iTTm W n S <hqx %h i 4q fiini rt i iqrlg M N I o %f#e tfe -f * otofi rl 1I wI 14i fil 9fl I I"ITOEI4 t1X 1 s 49j24 282 C:s'li#i, PW fwar, OR ~hi1w TaiTO fijawij, S *sahj fltj, T i', s a fit-. - CWNOR fEw, P r. 283P..w. -I W -i N. * - fi-. - P WH fa, N m fa, OR m, TIT omit f. - C TU fwr._. - W Jir. - OR omit ira. 284 C omits iT; IU. -- CT C -. -- PN it fit, SU omit; T Cr. - CT, PW a-,rr, s aitir. - P awfr xit, N iV fila d, OR w*is wflin S wfixn. 29 N:mr. - NOR tt., STU wm. - CT ~,imfTfiT, P oqw, 0 *uz, R "io. -- C fft, P fft, WNORSTU farftm. - - ft, P ac W ft, N rqnfit. - C fi, POR ffi. - C tni, P Fr?, NSU Ter, T rjTT. -- C tfL, P,rW, WN f, OR femr6%. 29 TU cnf. - N faEW omits fir. - CP lfz rwnfa, W fto iWfi, N #f$f, S ' - 29d C 'aTfr, P iS, WNRU e^e~,OT '8lfri'. - PORTIJ fTti~ Ncztw^. - C Wfio, W c W 291C ww 3ri P WTI iw. - PWOR fi'T, STT wirt.c nw^r N fimnaami. 29 P omits. - N % v, S St ar.C ~im -a, WOR N T, N aiT wr, SU I T y, T wr. wr, SU i~. - OPWT w 29, 29sC fawfIr faiawr fruq-rr, N wNORSU.-~. afS, ST i-Fer. 29b NOR gr~, T rn. -- COR.Er- 294 CPW rw wnwu fNiOr frr 63] f~I WK [ii. 29 f arg ~ Ww 0 1f1 i In ffl~kiiqt;f-f I TV ltqvqIa fn: l 17 *TI n t 1 8r ~ f r W (0 petr P onuts fo Ufa).CWSIJ omit aum P RIaw - CPO qir U omits j.-C 291 C Ci W P f* NR f r d0 fitAI 'O1 U I rzr I w.31 -o adds AfTI3 ar 296 C ff*, P OR RM STU omit. -C omits li;P R y, w fr~~~N C pw NOR omit vt P omits ~ -P O f~gItRf R-U - Rai, T p P - rt~fJC W A N ~i ~ ~,T r291 CWNRIJ w'rar, P 0 S ir j, T ( o * - P - S omits y. - P f - 2910 PSTU omit wr. - CPWNST mVU rg-. - U omits fat - SUJ~ V.- W q1 r T, T ~~w -U Mfr~r. 2911 WNO omit frfo; R fel. - W NORS vw, T f~a wr MVf1413M1n fat, U iR37.. -C P NSTU omit 1rf- CPWNS 2912 C uArra, W u wfa instead of - OW i. - CWS * Wr. - C CTrF T P ~ F OR fiT ex -IC am~, 29130OR - ST ~ V t fQ, o ur ig but 'ir is in the margin corrected to j~ R ~ m i ~ r ~, T o f * OR C', rq f 't i#. - P 14 9 C 2f ~ i~. - N 299 OR omit, N omits 'cIrw. a*. - WT i* ii. 29] [54 fi: r Xif r'1f 15 T N ciCi - ~16 A l"l 6I17 fa i 18 1I, e~ f 'r I i iT20 R 3' o B gf - ~ ist ~F^ W^R^3 I R I 20l~l<-s1<-i < <11 0 11 -- I --- 2915 P itrT inT OIRT omit j. - W T N <[lr, OR wRT rairW, ST tn, U omits. - C;ffi~i -T4, P s-~, NTU T'f'T*, 0 ~ 7fta in the margin corrected to ti5- -, S ~n-9T. - U 2916 STU omit T. - CPWNOR n, STU r. - CP ~Wruaft, NOR 29'7 STU WT T h:. 2918 T Cfr. - C adds f-ii. 2919C t C, S ft, T ~'t - CN -fia, STU r. - OW ot, PNOR sat. 2920 C fto Ii,t-f,, PW fa~ r. 2921 CW -q, P R-i, NO T, R wi, S i-. - CPT nr~, WNOR ^rrlo~, SU '%iir+f> e,*C ~,iE l T s CriJ. - 0 *, P oi W 0, N oi-t. P f, N omits. - C frfr, N frffe, S ni5*rfe, T figf1r, U faie 292 C 0 dc4i7Bl FEn, m f[i, PNO ir,,I~Tt. - P adds weti. 30a U fU mit. W -- W u4jl, 0 ofio, R omits rTo —ST 30b fCWrf, P fw t*t, W Sfrflt, N urifit, U flieidt. - T ~. - P ~oi, N -. 30 P firrii, STU,rrml - Mss. ~fkrft: - T fTr Wi;w 30d SU -To. - TU oo. - S o r. -W - P - 65] A:3. it I Ian IZA Ml 1 -ion I *file [ii. 32 VIMI fI4 Jm 1 * w4 ~ Tite isTWf I Csqi ii i laf ~ f 3la P *tZf'AI W f3f instead of;W~f.-WO R ma0ir.-C S SU 0c31', C 0 PW 9 A ro, N f ftjST ~ U~f~p -C 0uru,P N ~ -uOR im - N uni1. 3jc C PWOR WifN ~ COR -T omits d 3Id CP?#hTlr ~lq (C Om) W ij ~tr~ OR *4 It" ST ~rw.-Su itwr. - P. - 5 C cl'j qA P W 6141c,N lpT ig al Il U 32a, N iit-C~P T M3MCITMR 0. - N Ova T 32bC 9 P A wi N 0 ~u~~IM ~i~fi~.-C - WO RU a, N o 0. 32c U ftirar+. - C PWNOR -mfiw-~ 32dl STU wm I - OP ~ igq WSTU -P f0 32' C fo -STU ~t~ -P T o~-W 322 P ~r.-CU ujP.-P -wft N S oT ~a*, U Cf. C A~rf PSfTr, N I I TO TU omit. -P fir N omits, STU ii 33] [56 rch^^i efw *<Ru~h~tf~rfiiM ~ r * r TJ ~ m,'~i<i.5.. isI I BI WII molIvmU TEt Thrmwr 11 34 It I T I * w t 33a C, W rra. - C f.~e- P icw, W *ifto, N.rf.isawr.if, P -f, N.0mwi- 0-ifio, S a s-., fti, R rFasi, S iz, ii.., T w~ieio. T,n, i~r, U awrwrt- 35a CW 4, T arfr before the verse. Ii..i - P,aar, N nfm0, - NORT CiiFio~.. - P '~, OR ", STU W ufrimfr, N o~ft*rj, 33b CW f-Ci:.- CPO U$1<, W - S. ~0 5i r, T ~u-,<u, T, N w4i, R 11ri, S f, T U o~C.di.w. - C wir, WOR 4iZTr-, u. -- T fa, U nt R. a. - N wf. -- P if- 35b CW:. - P $t, W fw0iR o -f-,, R fir, STU -- fssm, N f OfR, OR ff., S r. f TU f. - CNORT z5, 34a cW &rr, N w S a, $S a i, S a U fa. - P crsft0, T w 4, U aW b before the W lo~, N WT^(o, T;^verse. - C f 1', P 0 -U T^B - P fMiAUmIimU,^ WOR f3tfr- fiT,?, OR,fifril,. i)lliw, N fi Frrr"- 36a C WmT'. - W m 'ro - N 'r~i, s ~FH, i,. - C wf, U- ~'rotf'TO.- C.-,'rPi, PWOR a N C ri, fN,, fi9r, Su ~ifars (u T,,af. U a-..o T U,;.,,, r - SU 34b C fiao rarw r, Wfiftrf, S ff OT1T firsf, U. - P r, S. - 36 CW fC:. - C rftw, W - S wfti corrected to f.fiF. - | ft5, N i-rfair T lrifta [ii. 40 IT 0rls^ - 111 T9 1f qfSf qS[ ^ rfi| M^KU II $j II hifT?Pu^ ~ffrRir.t.. 11 t II Cv i f T is T ^ 1 <4^ Ti o, mr. - STU 'w. - W ficfri U ffirirf. 37aC rTt;ra, w tri-. - STU r-.- TU ~. -T t. - CPS So. - CSTU,g, N 37b fago fe, NT Mj. - CNORT. - SU s. - C i's-, T 0rT, U ~gTt. - CN rTmmT, W?nrro, STU r rw. - C o~, PN cii, O ~IriT, R t-, ST aot^(m U ohf0w 38a CW ni. -- PWNOR ri.rti - C firfti, PWNOR, w N IMT~, SU Tft, T ri,. - P omits C. - CPWNOR T', T r. -, C lf, M WOR off. 38bW fi:. - CP tif, W - if, N '", STU dul. - CPWNOR w, ST fags, U fiT. - c i~, PW ofif, N o, STU 3csrfrrw sir. 39 CW urr.- SU ir1. - P faws, N &fit. - CPN gfi, R i-. - ORT f. - CPNOR *, W ite, S, TU. - C gF, P r, NORS rf. - C ras,y, N na-, T qitgr, U vc'l. 39b CW f-i:.- C Y, P fwP, W fifefw, N tr, OR,r, SU n, T S ot. - NO,wo, rrsfierit, N t, T oewrroF, u f-sEo. 40aCW tirr. - N omits asr; S TV. -- C m, P y, W,N-T, N - Swi, S wT, TU mT. - 0 farret - C oi, STU. -- SU tn~. - N ~e, OR o*Teo, T ri-. - STU Rf-'. 40b CW fSa:. - STU a m, U IaW,r,. - CPN fi. - CPNSTU omit t; R. - W frifr - T M'f,%it. ii. 40J [58 ur I 1 qf T I U-<*IS fI r iT wfi w T 3T q Irr I,1T iA A f I f T5 wf <I '( ii ^ I i.f^n ^ I ^sT Trc I Xw r T9r11T IT <h^U1T9l11Tm Ur TW if l9 - --- 402 CPWSU omit jr'; T wf. - CP ORT amsrwar, W Mqvjj,q N aifTT, S Uatsg, a{, U - After iww P adds,i rFt, W adds 2r~. - SU iTrr. - W f'rii, OR f aT. - C n, O mma. - SU ftr<. - C SU 4^ri 4 m-irT, P <iiwsOT, WN igTURo, OR i wi g r (O.4 -am) 3nrr (O ), Su MnrMWR, T t^r0o. 403 P omits fa. - ORU omit T. - o fwr~i4, P,fiTf, SB, W ftr i ^, N fiw-~,fe,,, F,, W Nr, N ~4 f~ as, OR mqr ii r T.'rferi. - CT {f, PWNOR omit; SU iT. 404 P Ca wr. - NORSTU ai. 405P r si rofsI, w Z.U.OR o, SU oftr, T. - WORSTU F. - C fTsr i AI<T 9, SU irfP r lg aI. 406 C Wo t w rCn. 41a N r. - P o'o, W o~4f0. - SUT wr, T o-. 41bWOR rfim. - N ora"fWo. - W o;, NSTU o, OR ofr. - N r, TU i -rr. CPW or. 41c OR. - N ri. - C f, W firq. - N ferto. - CP ovewls, W o, STU oF. - c a s pi, U i it. 41dCW fq, P ja, N -, ORTU n-, S STT. - CPNORSTU ft. -C uIJ^Uiitq, P xJfpwmqy, W iuo, N Na ORrcs OR ramfirifw, STU rfA'FmS (T fi o, U fwO).- C i W ~~cg, N g, OR o. - C frf', P frf, W, N of, OR t vT, S;,T, Ur farr. [ii. 41. Ifrw v: II 1I Ime ~~I u~i~ frMf 4 Ar-I um -ifrf-~w Ni ilk if~ ~~i~ 411 P v4. - SUT omit '. - CPWNO 1416C UK. - T -. - k3 RSU TJa0. 412 CPN r,WORT-LT,S aM. it;T omits f~ao; U o N o 0 -LT,~Jo~ CU omit 41, w Sfr, 1 o0 ~ STU ~ W ~T N rwrft~ 411 CPN omit TIMI; W TIr 41n 0 -C 9 PA15 ~ - rW NOR Mv"r T fr~.-WNOR fix. - OP fr~rW ftTtNOR IvrF.fC,I T ~nfi.-C C P Iw C WNOR rrff (OR. S) a 0f-ui1 TU i-CPWNOR omit fir; S.ww.. - C -PWOR a~fN SU OWN, T ~ -Tm SITfY COR N omits. - STJU omit Wt.-W f~r~~70, i-~1TT CPW 417 C uf~m P iuft Ij~w, WOR QW S,51 wrw T izf~t~; PNWS add ~ 418 CPNOR iu.-STIT omit ivr.STIJU ~ CP f~,N f SUf~ SIT I~ T f~airaafil. CW SUr~~ 515air&, T amraw419 P "iiifM I, N 3f a. - CPW OR 9- N hri N rt aT. - CPN affg* S wti~t TIT %1fff ~ -CWNO P ~~~ R & ~,S omits; WNOR add ifrSTU add T aft after which S adds Mf~ irr mu 4110 C omits m; P j o-C44r-ni ii. 42] It ch ~''H WTR [60 fAn ' f~ q q 4,4 Tj f c rI qf 1 # r g 3 f* ff4 w, PN A c f 1ii. - T adds iift;uw riq wwg 42a U &w*. - Miss. ovAusr. - T omits fisrT.r- - omi 'f;pSU s. - SN~ TU T 42bj STU omit s - STU affatuirlvfflmif (u wfiioSo j'). -T HaT.T omits C~ P tq, N %j, STU omit. - SU FIyfif, T fft. - ORTU a f jS. 42'1 C f ~, P w iiwr, W OR 422 C i, P aifu, NOR am, SU omit. W mwiaflr, OR omit 0 wi0. -p 0 OR fw C CW omit mm~; PN feal, T vr421 C fixo f ~ ~ w w,PN fjip - 4M, TU A'tf. - OlT add s. 424 C ft. c fwr, NOR omit fis4251 P owl. - C Mi r,~ P i *~, T lqLI 4260 adds mrrmi. 427P *, W w~,OR f~i,STU If f~amw-O. - N 429.10,13 CPWNOR ~ U omits 4210. 4211~ P~ W uOR ~.-CPW fig. -P q S at, 42120 C 61] 6f1efri wf [ 4 [ii. 42 f:iw I ^po1 R fq ffr f #W' \ I 14 faGi: | y fiq f 315 ^m^ 1 p ^rxg l Ie XfTn I i~ l wrjw i I 261 Wi 26' I --- - -- ---- -- -- 4214 C omits W; PVNOR u. - NST -. -- FPOR add ~. 4215 P oi - ON omit fi. - S f' T:ro, TU i ^ w. - N adds 4216 T i fi.- w t, N w, T.r- 4i*fi C i l qft, T ~m fir. 4217w 3, o - - OR f, STU omit. - C S,r, fif *, TU fa a3 nrM. - W viIul, NSU swrfi. - T mir, U r~o wo~. - 0 Oi1. - adds iqnTi. 4218 CPWN.. - P,trti, N W ud ~ 4221 W ~r.- UT omits M -Mss. Wo. - ca, P ~.,ip,, w o3?Rii, N is T5rTi. - W fta,., N. - T - CPT w3T, 0 3Tr, SU 1 -s 1. - T fiii - P f, STTu fr. 4222 C ViQIrW, P.u fshiwfywu1 nm WOR +rSl N 41VI I-. 4223 CP rfl g, NSTU gifi. - CP If, W IJrfd, STU rTr' f. - OR add i f FtaT-. 4224,2 CO olnit. - P f14 i rff. 4220 SUr L. - Mss. 4v. — - C 4226 N fi, STU iC. - CP ar,.- - PWOR add f. N pri*iir, S;am t, T *'tIY%. rOr ~~ iL 42] C'~mjmt [62 f"mr I ei ni 27 fPr I r \ T t 28I faiti: I^30 feT 3I tfWT31 31 I rt,-ast rn 's fr321 fT: I Wf w jft< ^fT f-33 faz.... It -',U aif.w - CP i, N r, SU omit. 4227N omits. - OR add _imr wTrf.tf (R nwrfa). 4228N omits. - CPW fi i, OR ft f kT, SU Ff*J, T fThl;"H. 4229N omits Rfi. - C UWc, PSU 'Wi W c' N ltrlrrT, T irlt, U Jro. C ffi, N jaftit, U fr. — T 1rriMtfi, U ~ftiWT. 4230 NOR t i, ST i, U. 4231 N omits. - P aioW..C *owsrit^, STU orr. 4282N omits. - T n f.i - S 'f, 4233 NO omit. -P fr. - T a-. - WR omit MrT; SU E, T wr. 43aN fiawtu before the verse. - 0 omits 43. - CPW wio. - C Rrr r, R f l J, STU ~fiwTaHw. - N f*ijud uw^wnmr, RT,wwur. - STUt 03r. 43b C ftf-. - OWN ri. - W omits mT. - C 2gW. - 43 is not reckoned as verse in C. 431 P Sanskrit only. - 0 omits fi. - C rT r, T omits i. - CPW OR r Tgj, S 4frg -- N adds fij. T R. 63] [ii. 43 f,^,Trf T wi~; fi^2?t;wrf- Tin ww fr i i w " I? - - Tili6 ir ~ ^RETxr friLie ^[ iT ~FT^9 I m3i![ 1 frw: I r 7#E3Ir T j' f " 1,I VI - --- r 432 CPWNORSU r..- S fit, T FiWifit, U ~si*ft. - C. -Nai. - N - of —,irHcf r %, P ofIT, N of - frt, ORIU 0f(s, 8 mftris, T *7ftf. - CPWNO afr, R fr, STU fs. - W omits ur. - P a, STU.*g. - COR, Wr,; W ai, S lc, U 9 w. 433 c fo. ~ CPW irrf. 434 C taIMI't. 435 CO ft once only, STU omit. - STU J s. - WOR 'wa', S awrjfht, u w. - P f, S f W,ariETg. 437 C wt frrf. - ST fn*u.. - PORorwii, W.,nif. 438 C. aWr. - T am. - CWN vu, Pftw. 439 C rrm(, PWOR mTi. 4310 C omits tfi. - CPOR '^ WS R, T fi, U if. - C i o~, P?r Sf, Ws -, OR zw -C urrTfSfr. 43110 C T f%. i. - CPWN gy. - T fi nr w. 4312 N r-. C- C ft, OT oftft, R oi, S.ftg; W adds WfT, S adds fiar, T adds his fiir iRn^t Wfavr, U adds firMM. - N, SU Tmf, T Oiif. - OR add C Wr- * 4313 C fam HW^ a ^fn s t, P w, WNORS vr, U omits; T it after o. P Sot0. iL 44] 164 INI r:I it T 3 f T3I V f1"Mi,4j,4xaCPWNOR A wir. - C wt P oneanua W~NORou STU 44b SU -CpW *~i~N.NSU *fi0 T.~ W 44c. W w. - PST 0 - -CPWNOR ST - 4 d m j, U ~ w. N -WR - COR RM9 N.-Surjl, U G N qadwr, 0 qwr, I omnits; ST q~w 441P ut ff t 9 ~ W utu N i OROR it, STU ~f S vt ~ T[J V (T pt) ui (W m f ). W N ir w. 45b N ~~ STU wwrj.- NSTU omit v~~ t S ~ i t, TU af~~t instead of q~W-WqffTRM. - OR 451 ON? S rf tTU - P am, 0 fl, Rasl, SU ~ T aw~ - POR ituaM, N ~ ST W SIW. O P ~ w ~, O R 4520C vift PN ~,OR 453 C Mr Wj riixM ~ ~ f la q, W omits Oi; (R fit irqi Mrhv~, SU ft~uI qj~li 45&P p RT ~. - Ha8s. M [ii 47 I1. w ^f. ^ f WI *T fq — - I-. - — 46a 0 omits R.- ss. WMSB. - 0.~ f 0,", P ~fani, WNOR ~if, s8 ", TU.wfs. -- ST fT, N r. 46bN, o,. - T P o*. - C fi. - Mss. tn. -- OR g, T s. 46eP0 o*. - CWNOR fi ri P fiafim, STJ iw. - N STU in. - CPW i, N WID, OR f Tr, STU fei46d C0 it, N oaC. - CPWNOR tif^i. - CPO t, W Wf - f, N afa, STU ~. 4610 few wm g I af Wt, W iA, N mv, S eti, C.- ONSTU omit fi. - C amr'w, UJ mat. 462 C m-, WOR q^ mi-f. 47aC WNOR firar. - ON Tfiro, PWORSU tfi4nJ. -P ~'f', NSTU o" 1r. 47b WNOR Mt, PSTU f ii. -RS TU fraT~. -- WOR o, P STU oN^, N ogi. - S "12", U #-i~r. 47c ST &wv S. C,li. W Nw, N wftr, SU wo, T 47d OPNOSU f4-, W fe, R fr, T f-. -- TUJ,, NOR wnr, STU raTimr. - C ~firffij W of N O.f....UuN P w, STU wIr. 5 ii 47] [66 flt wt I *t w0T w 4% + f 0 < A ^f Tr Imr Ai<<u11-If T: I iT f t rfif# F IRTg rTIr fVit I r^i I ft^s7 ft IIb 1 I gf i f ftr TW I "*Iq MU la~f~TF3RIIdPI 471w Mw. - C rt r rT erS, P s f O'~ Og, OR w Ir frt. - CPWNO jt, R waT. - P tfir, NOR qtrsro, U dg* <ii. - P i, N t. - COR lrrf W fm To, P W l ff ui4, W ^u sni fii, TtU, N w f*i qilfi wrf, SUT irirft fhi 1z ohM'^ (S ahitr)~ T fiK PW 472CWNOR omit i, P. - CW,, oN r, OR, T U. - CWNOR lrru. 473 U m. - WNU irf-, WR -. - O c STU y'3. 474ORT?r t. - C i, W *OTf, SU q,'tiSft. 475ST t w, U rT wU. - CP wf-r i, S ~wfTo, W N. W, STU fT i*. 48 S omits fRa:. - R T r, T 1 5lfo - N efii, T ilr*41*t. - CPWU oIIr, ORST arm. 48bW ai, SU ~.t, T fT. - S ^r. - CPR fie, WN fiarw, o ftRI. - T omits; SU r. CPW T 1. 481 C, PNORT fi, P1. P omit i. - CPWST 482 CPWN gS, fit g f fi, T 3 f fa. - N omits f. - COR woirft. 49aS if wqaT, T iWfir i, UJ i i. - N ti, SUT -C 0, iWw,, N air, waT, R wrT, STU see above. - W f, S STU wer. 49bC ffo, P ge, W atfauh, N d O0 a I [ii. 50 fu, IN IR"IF ^-_I tkw I m fa 415 1 1W9 ~" '~T~ ~Twr~Y'?t~ fi~ftfii ~n~i~.Ii o i MAU Ir STUCA.4 M -W u.- C fw,'r S ftmeTv. - C ~b N;wp, 491 U omits. - 0C~1~ S omits lf%- - w ru, R vnf T jqJ. - (3 omits fai. - OR ~ 14.~ui S 0 T - O R f~it. 492 U omits. - C F C. WORS W~ r x+, T -Instead of 491,2 N has only ~~rdr 494( 0c -7-UM (3, I P owy, OR Mwr., S ~wraT *V T *M i, U w 8~r omits IT; T 50C lqid RO-fe. - N ~ STU e~ir. - OR 5Ob W i C Rfr~~* wWf N. P w Su -. P UF 5Oc N ~gy.-0 *~,S -weft. -WORSTU -STU 50d MSfltC a1v1p~ P.e1 SU aj*,T P. am, U j CPWNSTU 'ir. -NSU gfrOR r~~ 501 CuwM, P omitsr; N iait ai-C 4zrtrw-Su 502 CWOR -dla N 4*ui4n1t. O ift; SU add c. OP~fW NOR P PW add fg, SU add Mrwtfr T addis. ii. 50] i r [68, v ixwft fiil, 6 P fgdid 11 lrl~m 7 I 503 c ~rjo gfi. - T a imfirrfO. 505 C frm wr ir, SU d*. 50o4N fr'it, R ftir, S " - CPWO 0 -i, R ma. T rdictI, U ttw'ft. - WU 506 T omits f.ii iV, T tt. - N adds fe. 1507 PWSTTU wTfii. :aar' uf[iis'[ n (a^(M>*<f -_ - I"'~ iia 'i w maI I -tf is awtrw ft I orqwwFg WnT iwCT *wFqfoA r F,, 3TNM~furii 31, I 1 II 1iPWNOR feig, S fa, T fWi mw, U fg. - PW -, N f, OR gfr, S., T T, Ti lbP aTrw, N,, OR iw, STU I r. - W irr u - 0Oim. -- N fi. eN 4iT^H:8, n:wu -l. - P - - ~,iOR, WVn m nfR^raqZ N id PORT Ot%, W nWiifc N ii. -,,,T u tiam. - r ~ ifY, WR of, N oafit OU o., T i*tff. — N WWm, S g, TU.ftsr. 2 POER *wrfi, V WN T, T f.NSJU,o. - SU a. 2bSTU w~. -- E *.1~fi,: S.aiwTr. - T wlr). - P Og"Mf, N. T, T *fra. 2e SU T. -W N oR. - PWNOR o. _ PW aP, NSU a1t, T 2d PWN.g. ii. 2] f_ i T ii yr x"IVi0 f w fi fq f r ^mFi fiqt~' I <sPSwTwv * *>?n -I qjwu fk 'ss 1r+f 1fe^ I a~n ( 7 qhij f 3~t I iirrf I >f i^^^ ^* * i^ RT wFT Mh rt-r 0 4 aT ptw ft5^n -fiW Xsifmnf IT% M..; v 3l7 R s 11 11 ICEN wnmr~ I, E S ( r;w3 1 tMIR 3lwp f$ firfX4 ftE I;1 T i I fR q;t ts f 48 3 21P fi'qR. - STUT fiji. - P e, W ~,N ~^ f, OR. - N TF3 f, SU wrl, T ~ft; PO add Wi, W fg, R u. - P 1, WOR. - FOR fi fi once only, S fia fa once only, TU omit. - PN,wfit, STU 22 N it auw omits f&efarat-4uw-gsri 3a. _ W ftri R,ffafri, STU f. F _i. - P iMr~wnif~, W,.urf~, STU wrwrf apr. 23 W inserts cF<d i before frT, S omits m.-P afi, R i, STU 3aW f NT o-.. - -PW NOR "O. 3b NU r. - PORT crffr, N - fe. - ss. ~m. - N 'ii.- Mss. f'er. 3crP, N iw, O,Ris, R i, T Ni- rm. - PNOR Wftr, W urf. - PWNOR f-. - OR CiiAwrt N Cfr. 3d W Tg. - P ir w, WOR r. - P f-~, W iRl, NSTIU cff. - P WNOR a&TW. - W f W, O wt. 32 STU t. - ORSTU v. 34 T omits W. - WSU omit f. - P fiwam, W F(4, N feffiA OR f>f4. 36 P T finS, W urn, STU 36PWNOR Cwfig, SU Cfr,, T firv-. - ORSTU ifri, T fi 71] fn: 1 I Wff f I-8 f: g i "3Thrqft < f< r T3u1W PTW 7 rsifo fHw nI I W r Tf10 I fa:? I t irw 11 TRI 0i 1 12 i s13' fif ~K: I nTV q <TA 1t - Jl_ — 154 lmI I et e f6 I6 Arnim~~~f8aw ~~~~i ~g~~ ^ii it~trif;~~ tit 41449ji"; LTV I'" f. - N omits;. - W fi, NR o~F't, ST omit. 37STU omit rni. - W fir; R adds. - P ~ft, WOR -lfi, NSTU oSfio.- STU 38NOR omit; PWS omit K ". 39PWNORS omit fS:. - STU omit m. - P ft~, N 'fifsrf. - P ot"i'"rr, N ~oR xPr4rr omits wrT':; O~iTlI, S arwU, TU o~Wr. - w 4tlUcl ffi, S ofe f corrected to fig. - STU omit fu. 310 P omits Tr-t. - R t once only. 311 P "O. - W oTF. - P uffef, WNOR, SU &r^, T 312 NR aTfat once only, S Mwi once only, U o~isa a. 313 N t once only, ORSU omit. 314P wT frW~ w, W i, N wsmfs, OR o~, S omits; U wR.~,~iu,t. - OET omit -t. 31 NSTU fW - NOR omit. - P.f~ j, W oft, N ", o, ",O ~, 3 C w - it. ORT omit o. ilr.t, SU onft, Tofi. - N wrff, T uifa. - STU add fI. 316 RS n once only. ... UL 3] [72 iii3] [7 ~rr g ~ 19 waf ThNrM'r ~w Iri rfwiu 0 W T 3 17OR t*rff, STU omit.- N ~f~fSUT wfw T ~to P ~.-P tWSJJ T 318 T sit Sr. - Mess aur. -0 P.*. t P W Instead of CrrrgI W tN jS rikuft TU ~~~f* P ~1~,W N ~ Q173STYrT ORS ff, Tk 4qift4t, U C'*t -4 PWOR add at" C. (P of~) Ro. - r ij~ N ~F~t 1*~,T omits -PWOR omit fe. -N (1rr1 f*, STU W~i MTa. T ~wmm"Itjj, WOR N ~;;o, T F.I q-. P WOR -1g, N twwS T -OR P Pi SU T 319 R art once only. 4 s.~-WNOR ~i.-P WNT ORfTtP f~IZrM I'cq4 1I4 WOR f S ~~ TU AffvaC 4b P T5 P W ftwORfr w~r0 Sfrw~WT fiiR fur fuwKUMww. -On 41'P inserts;T w, before?T.-STU ~ i wrr(U mnf~.-OR omit ~T.PWNOR -PW ~ii N omits. -OR omit 0ni PW omit ~iu.-P omits nwu; OR oC4- P. W ~w~,N itWT'-P~q 42 RU w* once only. 73] t ia f [iii. 5 omoei(^;s3 1^ v ^^* @r i^i Krfz i fcb~u fs artat6 f<5~r<(^< f #i V T 100 I a._, - ^- - a ' fiCWaiW0 I ur~4 yFgs prrm IT 4F1T W I iI RMIC1T 01!! iki ^<u IT tidw c 114 11 r4. I 4s N omits farar:. - PSU omit 'RT; 47 R Wt once only. N & aT. - OR oWmr r. - PW 4 W omits in the text. - OR aT, F, N rFTift. - OR omit Qf. - P omits saft; W w^ HTST? P,Ftft?? N H9fw. _- P tfP-, N riimfsit, 0,rT, R ~rfre4it, S irlfmsit, T *,fit, U Tirfrit.-WOR omit. 44STU t a-. - P IrFl-o, W r, N f,0, OR So, SU aF, T. - PWOR o"i-, N '~ t7ri, T ~tv TU - w -sP. - P ri, N mslrrt, OR 3.ihr~fi, SU w~ftPf, T &crirfg. - P fyyiffTr *, N *if3 i, OR wTfai~w, STU ffa T UT rr. - P tf OR iff 3sT (0 -). 49 W omits in the text. - PN w,, STU vM f ~fir^f (tJ o rM). - Mss. 41fe; S adds &. TU frr. -P -- r, OR mwi. Wi, U ~iTW.L - PWNOR 41oW omits; R "t once only. t fit, S ^r, T wfi 5a ORT fao rt, SU omit f..- PW fit. - U adds fai. i W, N Rjff,, 0 fr, R I fT, 45 PS ft, W t, N 1it, TU see STU J, m. - PNU TJ r*.- TU below. - W ', T wit instead of o o. - WNT ~otsrm (W W ), aT; U omits. - P nra, STU wr- SU o. - P if r, WNORU s-fEw pi. -- P J0. P - %i, NU EP-, T m'.- WNT W u, N ~S w, S Twml, T afa. ofe, ORU -orre, Sl 8 ~if. - 0 adds aw, TU add t ft 5b PW E *0. -N io,$ iim, OR 4f iji. 5] [74 to~ [74 T;:4A-T Mg, wfi4i Efi31 AiMi~ Ir q W f i #r- ~81 q Iw:w *i f~: W(TM! fri wi4w ~fwI ~~~IfI i~i ~if~ 31' ~ i~i~i40 rV~ "W CINtu. - W UNR arr, - N omits wr; SUT SiT, T PWNORST 4f~. S am.0 T Ur. 5' S omits; R ~Ri once only. 52 S omits fao - ORU omit atPNO omit I.-P wtF 1r* STU fa — POR mn- N g~o;m CfuijIl puts nr* after;UMr; S iT-? T re.-STU Ej1t(Tfft) T wf w v, OR fui wift WT. WNR ICAf*"l1T 5Th IQ f*Ck 54 RU a*~ once only. 55 P ~R, ST omit ar~t %T. 6a W 7u 6b U ~i.-N Y SUT aq T an-T. P ~#,S rf. 7a p 0,WOR O? S sr, T 0 1iuwo Uwfa~0. - 0 0,Roj 7b W t"4, N omrw - p o f 2 C WNOR *1~ 75] [iii. 8 7,5] I r-0.tfilt ^ 8firti i 1 1 If rerM -"- - ar,+ a tC 11 ^crri i firhr~ t Srar^TU1 - - Li l I'sqI I ml Iq '~ I lW TrT Sr I ftii f1 1< fIr ^ 41s u F 7c P r.fi f TwIro, T fiwtro. 7dN Tra, STU ~*r1Tw-. - PWNRST, 0 ift. 71S tr, T tr-[,t, I fjf[i fwi frq. - PNOR add r. 8aW Fo. -- P fr"ww, WOR ~!!iri, N of'ir R, STU Tofa. - PWNOR fig iirw (W f N n4fUTuw), -U xmrmrrji4 8b p *ofqfir!w Nrw, N,.. - P omits fa; OR aT. -- P Tr, N fIr~. - S t, TU ~. - WST rf. - W adds gfJ T tf ~MTnms 4ifl ir aTO usfrwnug miow - 81 OR wt, STU t fsw (T wi5ft). - 0 w. - W wf U, ORSU r-o, SU ofi, T fffr~t; STU add faar. - P aoit. - N io, OR aSTf., S lsrfaTto, U Cf aT o; STU add f'.- P TTdr. - POR omit i; STU fwT. - P ^. - WNO RTU 0wrf io, P A,']id.,ff, S tc^^fiF, T ~Rtvfimf, U T wrs. -- WT wrir, N Wm ar, OR awamf, SU awrr. W f-I, N farf, SU fuit82 W rff oi, PNSTU Ifr. - W omits;a; S Iwu. - PWORS. - PWNOR atraft, S w88 U omits. - PS iw, T iwit. m. 8] [76 jl T (T T, 1s? 1 ~WFr TWr fwiir ~fiH ^' fw Nf I w t I G -1w f f I c,41 v 'Lill v I IF LT fO fwfl %rfITT I1 w f - slq I1 r _ -- -- - 1` ---- 84 IU omits fa-~. —P,o, N O ni, S MZhWS fa, T 1t s-, UJ hpl'. -PW. - PW T omit. - P fi f, W omits fi rR; OR fafr, T f mmw. - N orii fr. P 'F fi.iii f,~,,fi. Tn it, w ~f-ftgo, NORSTU oftao, S S. — S ifajt, T, U f. - PW x, N ORrsf, OR V#,itf, U f(ct.r 85 P wit, W wt, N Wt fa hmmr. -NTUCT 0jmi. 86 ORSTU O. - T adds mfm fti ins TOiF fe N ~iin1u wfailWli psi Frat md m m tinii $ RiST<U lft. Tfr rads 6a 9a STU Wm. - P f, WOR ^f - T i. Wr. 9bTIJ i&. - W. - NSTU - r0. - OR irf-, STU.i. - PWNOR i, T mi. 9e P omits r, NOR Sr, STUT =U. - P arfwarfi, WOE f, N r-fOf. -- su f. 9d P t GT. - T ftir g. 91 STU omit a. - W gm fi, PN OuI, OR Ti, SU omit. - S t. - PTU x0 once only, N tw Iifit, S ffr W fi, T f. -- PW wf-f, N, 0 o, 0 Cfir, T wrcf 9 N omits Air. -PWOR ifCfFdt, NT #, S frr, u firWm. - MSs. f-to. - P *,roif, N w-,iw W^', OR *i9. - P rwmi W 1m1U'fiti-, N faurwir&rf6, OR wqs iwrit, SIUT w pifi (U ofi), T w%uoirwnfuP. - PW iw, N w, ST 77] 1arti iharwr. [iii. 11 f<w: I <*uW<t vi IMrr I H^^^ ^<rr iq e|| ~1ffi q m 11 TIq (1 I I.p!J ^IHri riln r~I 'qT tt If VMf Trw 99 11 i. - WNT fr. - P —, SI 'fft, T omits yw. 93 ST qciftft, U. IO^PNOSTU -jruf.. - u.t. lOb N?rf w, OR aiwrif, STT Jo WI~. C0W R'wFr, N 'a, OR igW, STU IJt. - P, NR.B *, SU owTJ, T Si1OdNR ~1ifetw'f, 0 oi, su ~Oaa^:ir T ~ r.i T. - P -ra, N ireri, TU 101 ORSTU -W. -- W i f t qi'/a-f. li' N W'ra, OR war', T wirw. - PST o,o, WN oT-o, U o~o. p ofPU of. lb NR f9TO, S oiLt T ~f?, U Fs..- Ms. om. w - W N, NT xu, U. 11e P ~dl,%m4,,;,~o, W s~M,fa xk.j. i N T rfTt, R 6dOfiN;..< omits what follows as far as it W r inclusive, see 12b; T j- arm-,faqIrdTTo4m., U rg4pffnsfaC1dP ^ fi, W Wi fa;, NS fsr, o w fest, TU n fosr. -PW., N ow, O fii corrected to wRft, S o~-, TU W -t. S adds fa i;T W * I tjtF), I TI a[r sM' f'sKrT. iii. 12] t Mkc41k"01%f4t+j [78 in. 12]!Mk78 fir W~~ ~ ~i~ifN, 41Iirt 4 4 W ~jfq ~T1 SIN fI I L~a NSU "p~ T &r.P fi~r T rf4wo 12bNW ofN 4 u. - NT 4m. 12c T ca U af~wt -STU for I2d N fitSTU wVi. P - T w*. - P [OFt WN1J HratTo t -TU x. - STU -T F&I, U omits. P WN OR~ ~f, TU omit. 123 T omits aw.-PWORy ij,N ~,T 13' W -"Mkqz~ S "I~i~ 13b N I'wr Sll"wqT 1f4wU. PWN.ug l3cT *I a lefuqi i. -ST fr - PN ljaf~jai, 0 '1f corrected to -Mjlaft. 13 dTT N. 131 W omits; Sfiw l4b P ~qW N T omits f p V- P W 79] [iii. 16 79] [iii. 1 ff~jfqq ~j ~ f 4 It i1rR Wi Ni ST~aITuiI. j4c S fa T fUftuTjMW R% * f'z, uffr.-N TUfar. j4d~ P W qjM N wf.P ORST SN U, U j5a N ~~*-PT ~~~g.-PN, 15b S I ft, TUf;aft a(T fa.- U a 15c p M t'oTfI,W NSTU o OR 8 u W rN OR -W ~ W iit, N M*it S i8t 15' N -OWC 1QftJTll. 151 PU f~,Ws omit. 16a ST ~ftkf ~u l6bT *g.-N 1ft S lwqua TU ypf (T fe.-PS f fi.P fSTfar. N wvT 16d NSTU ~*urI W OR &&~1T3 PWOR Awpi~ P{f~ 16' U omits f~w. -ORS1TU M.N it, Su 49. iii. 16] [80 ii. *hiii rf f16 [r80< fi fi ^ Birw ii 1^8 5^ ^Saf 11 11 Tfrr~ iP f^ I 162 PWNOR gr. - WOR omit fi; ST 17b P " afgr.mWmo, S zf ir, fir. -WT omit R. S- S*, TU fim. T w. - W o ii. N 17cPN T SU, T - T S T N N, S m,iRi,, S i, T ~ r. - N o.i, OR -*ir art. lT"W, U Irr U i omits rW P. - PW ti N awnft- 17d P NUft', N 3frft', S wtfiW, 0 Mtr* corrected to Tr- SM, TU a friMU. - T aWuq. ar r, I - -U, 8 -. - NORU 8t, S fufitroi, T vT* wM`t rii - P ^' T fet omits f; W f, N i 7 f, 17'P omits; W i r, OR T ve, U STU i f. - PST wv,q N m- Wr a. wa 0 "WSK'~', R?nr. 18' P rqm*-~ drw~l,, w- PNS omit fi f; RTU f f f.. _ f.rp-, N TfWl- ahirai', 0 - TU - P WF N. w 0 R K W,. Nu wf,, a 0 R S Tr, T w. 18bP oi~- PWOR faflr, SU w17^ O S, STU ir. - w wr, o fTw, T.i - p wf-.. wrfoi. 18c S,wrr. - WOR -, NT -iit. [ii. 19 wlrr[^ % in *I f9 4iT Ts T *ii kI 1.0 If lr II N 9n q l3 1 l aJlkwk I 2 'WWIi --- 18d PNOR f. - N.* at 9 -O, OE R aS aT, U - 181 PN Nr a, W airt T, ORSU F &T, T rf t. 195 PS wna. -- SUT ruuirft, T oxgfiw.- PW tmit. - P uwn,~ W ikW, N rm, T unn9b W W, T '4. - P, df, N eo, T f Mof,,W. - P -T,, NO oii, STU m.- OR a, N omits -- NO TM. l9cSTT t. - W f. - S 9P m, O r*, R a, T i. - N omits im-w. - PWOR wr.aawwr, N miTa u, l/rI, R (S gr4i, STU maq i(iT wm, (S 6ft T av fa) a (T a, U f). - P fr, T ^r, U 19 1 W fi f~,# ' If 2 C 192 PW im t, TU My. - P it. ar -T ia,% Ar; U adds Iru I. - POSU ffi-j, W rf-. - Mss. ~. N q instead of l; T omits h r4.-P ftrP p, t,,see ii. 22ff,.; NSUi frriwfafqa mfig MM" Ifl1 ' wsazi ecii^Sl cilcai- = >nrroORPW ifsri, TU AT - P adirds. - f; add. -- POSU m, W Hffim. -. Msas. B --- N instead of qr*; T omits mr. - P fefrfw, w wirfwr fra 1iri, NSU fmrfi, OR fqif, T fa^fi. - iP addsr wifiwr I farTwr Fnidfa^Hi STF^fafrr '121 Wte ^5fliit rft ddf^UT^^M finQCII^) xi3?dt I ffwd wild 11 ii 20] [82 3T "irei "F*I 9 Is It0 11 1E6 e-15 N rf 2^Mm iTf cfmfr M \Rrf^ Msf klTf Wi aiuMfs fir"s 3 q" 1t rqi' r 1 fMI! ^^q --- 20aPWNORT far m, S fiw T. - T fi"a". - PWORS ~R, T *w, IU ~t r. 20bW o, 0 f rfira ift, R fi.alfra, STU ufwqrfTi (S ). - P ffrf, WN ftSf, SU wre, T R~. -- P i.dHit, W riro~r, N Ti.fii, R t. rqfrit, S,lfdl T dlwrl. 20c P r fre, SU rw -fifcirT, T,!flJ1r, P ' p - PN 20d POR oi, N. - PN. - if. -- OR ST. 202PN wfr, WORTU wft, S frf. - P OR,, OR i, S ~wr, T i ~-, U f.. -. P xf,, WNS nw-~, N orjf, 0 OTR, R ~ii. 203 S. - N m fa fi. f- PN ~io, s elf. - Pw flrnl-, NOR fchd1, U f6~Rdi. - SU iwrfrwr fas, T rji-fr. - P 1rsTyirSH^ W osfQr, N ~SlrfTO^:^-,, o t R T.IJc0~, S ifio, T ~fit, U. fo. - feri, OR f1ft. - w,iF,,., NOR [,rjunt, T iFt%,,f,; STU add feat Tleiri. - P,^ifTijir, W lfwlmtT, N frfewft, o sf0fitf,rmr R ~' ^nfYi, SU 41tHBfter, T Uf d1,tmWrtf; TU add far. - PORS rff, N ii-,ff, T fff, U ~f-. — P Pt wri, W *i, N slF, OR ail, S dSd, T T, U,t.STU ii fas. -- P iftrimum' m, W,fsrwtr-, N iMfi-sr, OR ~3~TfTir, T.if, Tfll4tg, U omits. - PW efits, N fwfl, S wfr0, U omits; ST add fir. - 83] [iii. 20 rf< ^1 ^ ^TW y3O^N1 I 6^~ 8f3]lai Ifii" I2 IfT IT5 i ~& iF ifSF 1 fim 9 fa*air *iiifac i r '910 nFirn I m erKit a 1?fW Twrg I tER 1f(is -N PNOR -tI, W ~fcf. - STU add fMTlil=i frif.alTrmW (T ~ofio, U J ~3cfegro) 'Rm (S wr 'rr, T mlT). 20' s. - ORTU I fro, S ~ fl~. - W omits #. 206WNOR omit mr; T tnf. - P t-fMroi, 0 arf4yi, R *aw.it. 20w 6, STU.ifir. - W ot, N ~Tmr, T ws rafit, U uwsw. 207PWOR xarg, N ar l, SI S-- P Nii, N, 0 ~iwrfm, SU SiicaS5IJ,i T W. - W i, NT tiii, OR ai, SU ir (J o). - P fiaIfi, NT 1O9 P Twi, N 'aft, T * i- 1 -iz. - PSU r, T ~ W. 010 W N, N ~, R ", S WT', TU;. - PTU PTT. - P NOR o, N STr, STU gwr.,o01 PWOR omit. - N ffisirra, S wo, TU f-%o. o01l P Ir$4MSMQk, W I4f4 tiw c S ^ 0 nftl,,, R "f'ni t w instead of $vf; N fir wftr: 2013 R ir fi. 014 P omits sqftr. - P Im~ W aWRi, W s w,,W r, OR 2015 W s, S ft, U w a. - PW NORST Or. - ORT omit wr. - w tirrfnfi, OR ownf. - PN yt., W artit, ORSU t, T t. - WS ft I 208 W i N ~ ~, O Jq, R I, s 8 rfa, T Iir, U -ri,4. - T ~ot. 6* ... M. 20] [84 20 4q21 ~ ~22 UCf I W Wq23 milmrrFeqT"1,c 240168SU omit aff. - 0 W T Oft-W quj I fO t -0 STU Pfst N W~1IOR *wiS mi;T W* 20)17 WNOSTU ujaijyi. F OR ~-q iii mii. WN omit '. - WOR N wrfOR 2019 N uiw~frOR oft f'~ before yWNSU omit y;T '. -N 16-P 0 T ri.-PSU am, WT omit; OR &T. N SU ~~~R 20O-'1N omits. -P W all STU ~.-T ~f~mf S 0T* Oft UM"Mrapt i'r etc., see the following verse. - T wi} -W #w~,0 -W *ri STU wort 2IaS *WOiWt - T *.- NOMGM~i SU UiW 21b N~ 0 Pw WNOR j ft-*, S j..-T F Ws NOR oar, T.,U -WC. 22&FPvqr NSU rOR NMFWNOR ff STU y.- F lC IN ~f~~ f~;0 fwfrand adds in the margin wu;STU -o 2O'8N I IQ G11T1% MTM~. - RI 22b T ftqfii*. - N uu q. 851 rifi. 22 L_ f; f4f I II 'wr T3q~vlqr4 4w~ -I ' ~ 1 44ft Thmfi g * frf'wu 1 fi kwft ' in 22s PWR 'fT 1, PU ~I&U~r, T u fiwio P ufWOR ~* NfrN.-PU~fr OR 22 PWNOR wiT w. W-en STU *f, A.WNOR rT *y - PN w TW Sui.Ww~f, WV'at.S 222 WSTU omit wT; OR WT Mo.OR P.WN givw~. -PNf fW *4,SUul4 T 22'S 8 r once.- W *,STUT~. P I it muW a OR i I I OR ffuiST auiumfit, U S uiflt T u~,U 225'06 R omit. ST omit ~u U -W SIT!UU1 GM u, wN wu STU omit. P wiN W, STUT wft w t; 'U addsg. qrufSTU atKzwMw M (U ~j4.OR w S, TU wy. 229P fBfeT f~ PT ~tOR tur.-P aw, NO ~,R ~STU m.. -OR omit on; ST ww 22'0 N fuuri iwTITw (T IM) fw f*- (IT ufuwR*). 2211 STU w "ru " - PNOR wi,. iii. 23] XI le [86 3^ T m i 1f< w ~ T i Ew -ifa xiT frosff #rf^ rfjr f T Fi~nT 41srF <h<>wiqr~^^t WI ^if'q 11 _hnTr <u^^rM^<^ ^<i ^gT *f^n > 'tt U +=h l<hi < - TlAt 4114141 II I 1 II 23a ofo~, WORSTU of5O, N ^Sfo.- M\s. i (P ). - N i.,wCTorr, 0 ~m R '~.P %, WN'O w. - STU ^ (T *, U X fw) Efrr iff6TT.n 23)O'R, T arfaT. - PWOR It, N omits; STU. - N - - Wrr, OR glr, SU 8 r, T 231 P trw p~, T sfT. 24aP o fToW, W H N fw, R frs, T fi*i. - PNS -iO~, W 'r. - P ~'r, W ~WFi, OR ~r-aw. 24bNOR r t, S o. - N - aifh, STU. - P r-, wo r fiW rfi r (O ys), 0 in the margin t 5IT, R gi~~r, TU i o. 242 P ~ f, T wf t:, U omits ro. - W wi~, U ww. - OR STU i-t. P i-s, WNSTU 25a PO o, W ~o, N *, R -a, UI or. — NOU a. - PWNRTU,0 O but in the margin f. 25b P 8i WL, WNORTU nr S ~rT. - N ~aT, STU 'U. 25 P r, w, ST pt. - S~, WORS Sa~ N S~, T.. - W o~fro. - OR fFBteT, S "fa^tKu,,, TU. fi0 OR 25d POR iw, N n instead of r. - NOR cl, STU ~o#u. - OR. - Mas.. - N 251 N omits 87] [iii. 27 87] _<u < [i5i 27 -fn fiqt q: 11 -T-v: l rn *i 'cnmtm TT1 Imrd f u14r rI Tir f lj\ WimTIrN!Ifir Pr'ITf ^n Fw1r 1I1 ^rf^ 1! 26a OR place 26a after 26b. - TU W O -. — w ovo. 26b T r S.- P. o w, N - T, OR TaTm-, STU Ofo. - OR 26c N,rj,.mi. -- T o~m-4. 26dP P^f, T rfw. - P rwtr, W fi,. 261U omits fio. - W wT instead of ift, STU omit. P ainvq, 0o sm fir. - P 6, ~ - Mss. oSo. - W O.tt 262P wr, SU omit M. - P fe1, S 263 OR ae. 27a ORSTU omit 1a. - P adds taf. -- N lo, O alo, R awarTo, S 1d'0, T rsTrii, JU rHs6.- PN oPfo, Re 'o, TU opo. - S Wof. - N ~err. - P ft-, N iaro. - NORT 27bOR -t-o. - U Ofro. - P WNOR or. - N T ORSU Oi, T O. - -R -OrirT. 27cT Twlat0. -- O "o'o, R r ~Oo nr. -- NSTU Wo, W irn". 27dP iB, t~, N ITiO~" ~,, TU w-iri. - P fwri, WOR 't<, N ii, T ~lt. Ui 28] [88..... ~\ 'f -rr35r X3fWr3ir ILIb I *, i i_ YWWusa~ s,.,,' +l~ I1iXl;It 11 I - ~ 28' P iTr. - T o.- PO *' -PST 1. 28b T fUrI. - WN fi-t. - WN OR y. - R *wei, 8 '*Ittj. - P omits,ji; T Wa. - PO m, WN, T i. 28 PSTU fta. - N, SIT lS, T wrt. - PWOR ftwm, N fmU. - s8 - P sinr, w i, sW i. 28d PWNT Wu. - P mar I Wtmw ~ W,,,l w, N *t0, O w', 8TU m (8 w0. wrm) fifawyftwtrr 29P Llo, W +_r, 1M fr r 0 n e r ugti, N faiwrot*~ -* u bjwi* 29b PN f-, WR fgwr. - N cm, 0 mw, R w T - 30 P q-,4m'Im, W wfq ar, N w.nifiutct, 8 -Wawit. - W,dmfifr, IT r mfir. 30b PNO ti. - T t. - NOR 302 NORS8U. -. PWN a, OR i, SU8 fis. - P,,iM, 0 mWwua~m, TU place 1" after gr - PO agKi, w i,r '~, s rit.- _U BU r, T wf4$* 30' STU fur. - P wtit firf instead of wm. 89] [a 34 89] [i0ii. 34 = +t~ I all t k q01~' MM fqfikj a Arr wfIrkuf2 ra o"4V " f"q fq elF A f M,~ I UT 31. P vitt. - N T I 31b Pft WOR i~,T w. - P * W -s, N fww OT.f~taft, Re fiu -Raft. S q P wm W Nr~ Nqgat N eSTU.M 31' N omits si.WOR MM'jw~, fii. N f 0r~, 0*fw R ~ fwT *fii ui adds v. -STU omit kau1*. - WSU omit uwrt. - PNT fait 31'0 N omits. 32aPWN vf. - STUf.W fa. PW ~,NT ity, ORS TtajI.-Pf Ny, OSTIT yfw, U Rw qT NOR it, w. a" Pfw.- PWNOR 8*t f - ait, Tf. 321 WNS k 33APWOR -*5ffar, N Su, 1 *ui. N PWNOR omit far. P ~*r N *fpw*, S yEfaw', T ~agwU el.* - POR T~t 33bPEW vv. - P mwNSmit. P OR w,W i, N - P fqlut. w t 33' STYM uityw. Wu ~q N fyfy. Wii. 34] [90 wIf? t "fIT I,, 'I8 %4t I W f.fi I T firt < IF f3 1 N7O t t;fT I T ^a^^^r I mI ^i ^^~ ~T^T~ ^T ^ZTt ^W\~ ^<l^ w.. 34b w i3 f-f-.toTU, TJ tui.. - u1 -[#I. -I NIT f1rnrr, T rwf~lerr. - WORU ft. 341 POR wirtRr:, WS ~~t:. 34l NSTU urmur. 343 PWN!. - PWNOR M. - W 344PWNSTU o~1'; STU add f~f. 346 S omit. - T 1f aqt frfilT. - PW tsrn. 346WSU omit. - P fiw I ii fwe m fir fi: sw -—: efta la, T vt r ftfrr wfirfw u347 PNT omit f^a:. - P T P scF5aT^ wI1rsfT I *t1 fTwr e fl^^ WaiBmT. idJI, N "afcr fi{ ~ a 1^tVW ~cl>slfcz i cf<(i, I WEw wi fNrm 0MTW 'ir n m i rraT ro R S faftaTw W fiP 3rsr, 348 P iwr,, m - vf-i fi. O W10p d; IT fc * enrffatVt im r f3srao' MiOiu f s rfw si*NR omit f Tsee above; T.- POUI omit; NR. -- N omits fa o. - r TP, 1 NSTi f.TfiB^r Wfe Saiff S ftyawe TO fiir P, T.f - P f,aTW giffnw ar w0 Ssf, U fuwr~f ^s SRSBT fWq Oamnsi Wr0 34sp?iern chfd r Tl cofe <*TPyrd;rtfilan 5i|fs; chiyrd, NR omit;R<fieir see above; T fty. - POIJ omit FTr; NR 7w. - N omits bl. _ PWNTU* oferwo, OR 'UfeTH0 - P ~SfC, NSU o*. '8aT~, T ~eftOT. - P o^ NOR o fo-, T omits oifa. lrr. - PWNORS Tr, T. - NOR Tit, T iTir. 91] iii afwrl [iii. 34 349 STU omit ~jo. - PORT i, N i 0 R i, T - t4w, S m - STU ~ - N m, OR m!,81 SU j -ft c - P ff T gus. - U omits aki and.; W r ia ip1mr far w ST nmu'~r i - N omits s~rflT omits S* - - N omits uJ. - W I S wiimni, T 3w4Tj; STU fr. -OR P.3r- W fa. - Wdds;rTm I ~1~uj, TU o, P i, t WS 3410 PN v far fri~n: i. omit; NR 0, 0 i, TU (. - 3411 fir #t. - PWSTU wf1%N *f.r. - PW m N i- z n: fq nr fqfr c '4" 2I 1 a I oc fi t I i-qI 0t 2mr- M wa I ~ 4 rI fk P v f[ 1 ql.4 II < 11 411I 3w M lr1 I - - -- 02 NS omit;w. la PWNOR mwrt. - W t fit, N fqbtt, T omits fii. - P nwit, W srt Urwit, N iit, T t.- POR xiit, W uw.a-, N omits. - P q, W m t, NOR Tm w. -P omits e. - PWNOR fTt. lb PWNOR omit. - SU omit f. - SU T su dwm, T 1.R 11 omits. 2 PSTU omit rW. - - * 'tnrwn. - PW w, N ir, 0 Wsr T and in the margin as RU, 8 af T M. - - ORTU f, S*i f. - 0 r corrected to S, 8TU omit ~. - W hwj, N N 8, 8UJ VeG - T wt. 2bP wm-, NR wt"', T rnt. - PW NOR.*fi. - PWOR *art, N *-fit. - U omits w.- N r-it. - PWN OR tO s, T hC. - 8U fitat, T 2' N t, OR i rT, 8TU it; T adds W, U adds e. - PW wWM, NOR wN, ST utw, U wm. - PW 'wfiT, N 'wrwf'rtMt, 0 *iqfijWI, R and 0 in the margin 'mfwuif, T mCurwf f fiwi a v and omitF the 93] [iv. 2 fVA TFT #IU s C mllF1 I: I 3 1rt ^ ft w Ini r 1f? I w512;fcw[ I I I.TBo I Iw i se ft fer11i 961 i rest. -N VT', U omits a MO0. - N to'fja*t, S Twrot. 22T omits. - P rIt. - N vroirjwft omits the rest. - P sfir, WO, R ^irfii. - OR w -far. - SU add ff; wt. 24 SU omit 'I:. -- W; 1, S f t. - PWNTU, 0 R-, R S, S.- N omits S; STU i. - P O~. W V rw~unfu, N wrrf1^,( o.rf-, OR, RT.,t8,r, S, Vrf.O, U wrfIwDiw. - P fit, N Erst, fU f, T ff, T.-P ai, WOR rT, N iwf fwf '-i. oaqiwo. - P 'zj, - Wi iW - i., TU DR3. - WT wfri. 27 W omits. 28PORST wr:. - OR. - P P<muitl, W iKMi N mfi)n~, R Tw~, STU iTf"sr 1 210N r 7. - P 1fit, N 1frfit, S T rni T rt U rfiAt. - PNTU irfaf (TU o0i5w), S [iw~1r. - PWOR 1 -fs. - OR T. - W wt w. - P ifrw, W fi. - STU,-ft~, Ut mmrfi~t. 211 N SU C A 2'1N w~[tjlu, SIT fbRft I. - WORSTIT.-P, W omits; 0 faT, R fas 2SU omit zaiw. - N 0t MW, IU iv. 3] [94 fSR I qfef P < rq<U IT^<g ffTwiigA fcT wT t Fi ^.fir _S4, i-rj 'a. Iwo\-M.ito t ws4T w F 9 rw r i MP^rT irfr ^wir FwF Fis ft MB e r T r^r3 wr i ftI r T I3n 118 I - ---- -- 3aN ftn T m firo n f 7?r-. - WOR firr. - P 5xt and gi=iL OR ari, S trij, T wo, U ~'. 3bp fit, NOR mfj. - P- instead of '. 3CTTJ fzo. - p ofR. w.f — ', N of3r, ORT ofM. P f wT f -, w f,N o, OR ~tfe. - STU W spf, P IM 3dWN Ni. - W r. - PWNO, R ct. - STU ag fa - t. PNO -f, W -ff, R ~feI, SU orf, T r. - W o~^, N fSMrf. OR o"0. 31N fi, R fr. - STUfirw. - PWN SfTui, STU wfirI firt. - P ifw, WNOR Hrfe, T w s. - W ft, N. rimii,, STU f'rTrm'mT-t.. - P WN Tff-, S wftm, T -faf, -,; U wfwf. 4ap W.r, NRSTU r —, 0O ri. - S fefo. - o g, N 4bP Owr, W Wa0, OR uitry, U o omw0, STU.0 -Ms. - WS FrIw. 4 N ul,, T fii. - PN of.j. - P omits f-; N e, ST fa. 4d P, W wj, NORSTU,. 41 NORSTU t. 5 P ufafri, W i fr., SU ygi~. -- WNORSTU 't. - Mss. -g-o. - S O. 95] [iv. 7 96] [iv. 7 qi UtkIrl B 1, 1 ~It 4111 4F 90m 5b W var 0 N woOR IRVISM STUJ~~fio NR~~ fi)o S 0 PR oft ~iiW oIq0 jI N ilw~,0 5c OR o~,T o. PWNOR o-m fqo, T 0 ago~. - T 1ui0 mU ~?T~i 5d PN -fmw W ORSTU ru.- PNOR STU ~ 5'O0 omits rr.-WS jOR m4. -PWNORuj - Mm?, Ob N orrjt 6c OR, STh vjiI PNR 'ff mm~T, W mu- 0;,am corrected to jfo.- T - 6dP tfI W fo, NilU T *0, T ef0. - PW~ u*, T Rmrqr~hi4 7a ~i~tW ~1tOR N Mwoyp ST ao I f0. 7b T a 'wjuj wrr 7c P o~, " TU -ak"" p ~7d P W eiIQle lni Nl iv. 7] [96 f~gwi: g ~~~~ irs `RI ~M!fI t I' WT! if~i rn F i T~aT~r!T rrntiT eTWU Bi U -- wft1t fiirit. OR liRw^w-, S WH TU diif (T,~.). - WR.t, o.o t. -N uTj. 71 PW qrl, S omits. 8a W W wuitw OR amiJ ^^-., ST mjri'a ii, IU WmMMw,iirA.j - TU ~otn-i 8b P afO W firf o, NOR firfao, STU wriwfm" (S ~fw). - TU ofo. 8cN S1Tfw, STUT Ijs. - N,,fw~, STU j3tfoT. -PWNORU O~fr|ia, S ~OIrujt; T og. d PW uif., N f R nr. - W IF, NO rti, R vij 9aP ar, W rmi, OT OT ri. R - S ori. - T f OR. - WOR Ei, O in the margin. 9 WOR t irm #f ^ ir r S mIW wmltwr (W i*t); 0 in the margin as our text. - PNOSTU r. - PO t gr, N t Wife, TT U ai. - 0 CTW - P ulif N a;ftr, O arfe. 9Pa riW M flT, WORR f-R M n (W Wrj omits u) fi', NSTU i (iSU ) a mjf'r, 0 in the margin fv m <v i fi. - ST fif. - P fW, T omits if. - PW xi, T r. - SU fw, T fC u. — P e rumFt, WOR STOfif, STU 4uf,,t. 9dp -ff. N f;, T fe, U f. - P irt, WOR asrfT iT. - NT riL. - S z-. w. - NOR.wo, STU -.- - t~T~R~riv. 9 Kam'r Iir'f~ T r~iwTf* ~rf- w f*r~mi r tvqrl I fOhwor fj r 91 P 'rk r, omits. 92 PW ~ T~ N momF~ STU 1 friafter ~w.-N irOR "mil 9)4 P W - STU,Y5PWSTU pfr PA~~f~ W;W -R P,w STUJ omit add ~ ~(T omits Q) faw I 9P *T UT, W omits w;N rtw O R RTt. -PNOR - i1. -P mrmigmw N a-Wjw-w~ - P 0d~# N 0 - rR rT r*i.-PN omit f~;T -PNOR omit M.- POR omit -P OR omit. - WT add r%,a~ 97 P translation only. - N w* OR W*twIT SU1Hit 3.WT omit j.-OR iTr.-W N 5Sm TU omit - N ~fwrSTU f~rfw~ W f~ NR f~~ 0 omits; STU firf.-P iWyqT 9~W~~ before ~u~.-WOR l#wr f I*ul -1rr iaf omits "MW~~ and fiR '*M; ST IQ fm - PNomit, 0WOR -P omitsw- i.- NOR om-it S ~ far. - W xR 1LrrqhtOR WTT P, N f~jT f. S f-t~riwrlft Tftr. iv. 9] ~tifsiffT frjriwfft wit <WIM|<I aft jc<TQrM V-1 I i 'kill rI^ 10 r r t1, %T^f^SioU, w F4t r i ci ni-iiku-*<ii^ ~F i3tT?r<TFF51t <<*A<^PU~i~ ^'< wt~i~ju<^(^ R5fi ff ^h I 0T i ui^^nr iff % eI m - ft a _v _f Q fi a 99P T Mio. - OR f-ri riw, STU ii (U iw, l) f i: T;, fW rro.- SU o - PWORS omit rfo; N ulrwrft, T mri-t.- U omits ua. - P ft N *fA ft OR "oi'Tgr^l fifaim(R ^^^tjtKii w\ - %o (R omits ~), STU ~E,rwTaft. - P Cf3wmrp fO~, N frim fao, S f - OR f"fesft, S f r 'wf~i*, T fuw 'Ttrc. 910 p 2r~ ijia~Tr Cfa"s~ CRir~ ~1St!|, W qP20 vo wcgo ho ^ iniu, wfRi OR sr0 jor0 Tiw40 Mwr Tw~ Ifmio (R adds r|o) Timrir, STU fio, o N fu so (T ir~o) wfO T3wr;r (S *o, T of). - PT ff, N ff- p. - PW, N rrI f irwnrrsraOR, OR mTaf, S:rTWi U ft Ti, T m. -P?wcafrri m fr qir. SftSf rmit, w N iiTr~, N ^fri,~Tts$wjr, OR dFtZsl S omits; T,,fc?44 i^ U rfSTQF-i-tcf. P diafej W <T61tBeT3%i~, R diRclfwa ll^it S afiiitir3rfelt aWiThit afaCfL.iftitC, T i^T, U a#s9ar. - PW 6fadiI~ N fi3f91 T N.f QosrTf^ fe - W OT g*, N R g, SU gS~T:. - PW m0 TsM0 t d,. N ~ t=~ ^ Timf", OR T ar0 o ~ id l 8 ifra, S F w ~ TTfw, U!iW~ nTwTiftlr - PW omit fir. - PS omit jof~; WN wrrwaift, OR rwiSft i, T Sflrwir. - P zf I1 inf1gfC ftrewra;lil W ciX9E;MTfr 99] [iv. 9?ro fi J ^f<*KK^t ri<^<i i<9 *<~i ^ 4ife < rfir s~e~ttTcpg~ ^jirt^ifir^^ ww trfi q<rfs qwT~r sw o qwiS1 uV it I~qlX 18 | f ^: mcf8ff rm I Ee ft fv fqs^ ifOr" e AfeT I wi s16 "t fr f17 ITof?8 8,qn- l-q01~",i "4.pi ' q 4q:C aRT f,fcR N BrTpumTfiit mfi,, OR RT f, S aqirar IfIrw~s, T ti!s,,~rrus,, U -'TsTi-ig-lita. - P ~,iq, NTIJ omit; OR rirhuiat, S oiffsT. -- W "n aF-i. -. PS PsMi itW mwffCm, T U-iffac U,wio~..! hd, 3riITTSt. 912 U omits.- ST swr ft, N lTj fa. - PO gu, WV -, R omits; T t- ST Of r. P fTTS RdtFiei ro HT~ TfTO ~if~i),r;> w ria'r, *w?<?~ omr fon~ cibfafzs N iflnro ~fe chjl~o H0O >iqczl, OR ar 6rift frp w. S tt~ * _T'T i f r, f -afP. T- T f, N O f. - WOR omit i u, N see below. -- P~S. - w iqmrcf0, N '1frWn~T1fht mrTo., S.a~rsit ftiwTat, T omits, see iv. 911. P 'T,,, W wrf'ro, NS rfaTfo, 0 fwo, I R T-;MilrfoI, T t - P ^e a'ifty w ^io, 0N N i'isalt iwRf~, OR 0Wlo, T qai~l. - WNOR ~or-sft. - PW add r' ilaTift, N adds f-. 913 PWNOR it w wirni iafTi. 914N *it eit t r, SU Mri fa, T sTt instead of ~r. - W f — f', T f- fa - P f1tuuilnI N rif, OR *-faf i f* t, TmT fjfr. - S ifwr. - P adds TrTi I 3Wr8?g. 915 STU uf~CI. 916PN omit r0 - SU ^, T ^ p. - WN wrmit. 917 PN z 1, W w.. - N faIt, Iu j* 918 p T jflg-,1iS - r5 7* iv. 9] [100 nar ff t19 I t f;Fr I 2ttTuil ^MTl < 20: 21 ^rf;r i5Trt~~ rfti'9l l uIOt 99 1.FtW,f r > _. > ^T I iTr, W maTi 7s<4un,, N Bw^T, OR dae-il^T1Ze<stoK~. %ifcfa N o, T.M - P omits f; W rf-, NR ff. 919P sw-, NS T TU 92 NOR omit Uft. - P ^l'l Wo "- _ n.* W ~I nFeFTW, NvU riwTIIrI, T 922 PORSTU omit. - W wis. 10aN fEr ft -r a tro. - S Om-s.;3iR, TU 'wr^wna.OR wrrmo, T mrr. - N 3ffiTWsit, STU TJ0. 0ObP fP, W f.if"f. - N aarff-sh, 0 *ofisit, SU.r;mt, T omTO M -. P e-il, N dimTo, OR oif-, ST1U wrs-. - W Ff, N af OR - ff-, STU "nfiel"' 101 PWSU omit. ila P e t- W o~-, w ', SU ft. - WORSTU TT, N fafrff, T wmrr t. - P r, WOR it, N 1^ S 4y, TI itF1U. -- P wfs-ft, S -ift. l1bMss. t. - PNORU OwrftQ, S oracil, T o*. - S iriiri, TU iilj. - POR, WN ir S omits. - P 1ft, W w, N Zgir, S it it, TU *;t. 12&P F,,,,,,~r W wR'~, N ~.n- N ~", S rsigd, U '-TT. - N -e, S r,. - WOR.f —g. - N aTsit, SU a'sift, T aSt. - PS fi, N 7tt, T sWi-. 101] [iv. 16 101 St[iv. 16 — _lr% RI ro'1Tf AlW ir~~ f i ~ wtr ii ii 2b RS1J T 'f% - Pft -NSIJ wkw, T qtt - WORS oiilOR f31, SU bi O U1 IUT I RT ~j - P fJSru~ OT C' W WifT'rrr. - N ~,OR ~i~u. -R ~ STff. 13b T pttr P fcrr~* WO in the margin R *1ftwr4r ~ W aTsT) Na fluamijj u 0 in the text aT~ Mt ai* S far f rI'ktr4; TII qa~r zi(T A*j) - p Re w, Wzir, OR o-j T owaf. -P *WOa3WrIW II, N saurMOMwrI 0% iugum in the margin j4a N OR *%wr S M" T wm~i-WTU w-P N ff tirOR fmaiST f?;14b WT o~,N o*-ORST w.-W I T 0~r 15a N omits. P~ mrqrf2 i~ r,, W 0 0 OR ~ -OR IT13 P KiW,6) OR SUT awr, T a r l5b N omits. - W f40gwI1f*, S TIT iii3ui P wrwiair, S ofiumr. - 0 R tfrend of the mss. 16' PNO afarWT nvw*, S uIa' -P NT 0 S "~r -PWO ~~o WNT -ao, U *4Lvq.- WST 16b PWNO (W wftrf S awT *rf.-N C fff iv. 17] [102 inrt s v r^j rJii f<Trf 11 f ii 0iq-rl l twFir3 TfrM f f -f -t 11 9t 11 4ST^ I0 I -Tuf61; fw,7t T'rft Su u~if1 T Cu irS -- P fo, W afF, N uaro, 0 airrm if, STU Nfv s ~cr,. - uJ-r. 17^ fir 6 diF'i<t~tji, w ~chFiZijmjR, NtS ~ir, O "f ^^^wqq"i, T fiain fasrswg, U 4 fiK. — P 14fir~rr1, W o~7 -w~fifxo N or iflfmrr.rr, 0 ~orri'rJT rfr i, SU ~rin, T 17bP ifiniu, N gffinit, 0 Ttfir, T fe w - P o~, WO oA, N ofi-, S raimr-#ti. - W.r, N T S O. - P fi, N faif, 0 iT IS'PWO *. - P ~ foid, N t.^md r,' S onf TU orfir. - PWNO vraTTo. 18b P.f ~^ii, W.tr., N 'ifr9, O WfrsTt, S Tilswrft9o corrected to Wio, T RUE'TW - wrf3To, U Trw W.fw. - PW rir. - S aTif-. 181 P omits. - WT add kif^r. 182 W fW. 183PWSTU im; PN add 1t. - S omits;'RTTsft, U puts it after IW.. -P -p I lriu, W trfi a ni, NO mrkwa (0 on) ^a5 nrt, SU rnra-, T wiw-a. - PS TU,si', N iF. - PWN ogi, T o~ rvuf>it, P $<lur, W oit, N aTIlt O, 0 S fi- r, U.of. 184P Mr mnra fv, N mr ar~ fi tr', O omits rgs. -N ifa1r fa, o fCZfC, STU "1faj. - P WNT ffr. 186 0 arT once only, SU T once only, T ir W. - W tgTtr, N 3ait, 0 r 187 W ~ry ~1, PNO add ^, W. - STU IJ; TU add ar. - N 103] [iv. I 8 103] -t. 1 loI "IkI q fw 4rf 1 I kilM 91 Wn~"I1"f<ta T ~iAR W 4 i-aI Ik 4u;S adds MW- N saw,* SU~rfT T P. W *;jjjq N omits ~;S T Tvlg~q 188 ~i~1.N ~,ST omit; T Om its f~-P oq W;g~,N 0 V*-;, 5 T-U WWTfgfj i (S - 189 WO wz omit vi. - PS N T,I i-P adds fj 't W r,0 ft 18'0 N r~, 0 v-* SU rai T omits. -T 18"1 P Af # fW NAf, S T wU N 0tFi I~qfgw~ i~~iw I N.i& - wPT T ~iiU 181s PWNO t POT aT. -P f4 -w-r f'rm r, W ~ ~wNO f~T uuIJ S NTU omit ~1;0 -P farF C A,NfI 1813 0 u i'rTUuj 18",1P ft, W vft OSTU wq R.NO FCT -PWSIJ ZTW Wrmm 01, 1815 PS onlit ~.-N STU 1816 W u C1~~~N~r~~ *~.-0 i~rj.-PWNSTU omit fff. iv. 18] [104 1^r^ E " 1 fwr7 N T 18 n Oflk ui f > n <^ur^ Wi ^n I N 2 f5 <r^<i fW o kii j^27t Iir f^ a rs^ffT2 I ffsF^IT 1f fs 2 fe-: I fr~ e l261 o 6 27 f2 -*gnt Fmwi ^^ 28 -i ---- 1817 P qt nrf. - - WO omit f. - O wf TU, STU; PWO add a. - T t~, U T. 1818 N aT -. - P lir:, W orf', NT Wrg~, 0 r. - 1819 S f. - P ri51 fE, N oi*rl s120P f-,,fe WT fi (T of), N afi, o,f. - P f, W rqgjT, NO sifr, T omits. -W NOT omit Ur; SU i1. - STU omit. - P.rfr N,yf To, T ~ofrfiu "frf - P omits f'i, - T adds fhimfiL. 1821 P omits. - N omits rT; 0 ~. - PW o,rs, N 'rrTTr, 0 naft. - PW N filrfag[T, N 0, ~'ftirmt ff, TU orfat.* - N -. -NSTU tfwU,0 ~ n. - NU omit f'r; S fa f'zr. - PW w 0frf, o t, s i-, TU ^ 1822 WNO Wr. - NTU omit fa; OS sT. - o Wit. - PWNO it, SU omit; T. - P iftf, WT tf0, o ^ fu, SU tv. 1823 P omits rt; W U. - SU fa'e w~, T waJfT jo. - PNO wftrfi, T rfit. - P wr. - 0,mifi, S mIrf e. - PWNOS omit ffi. - W adds f a. 18 P ^r at a. - PNSTU of. - S fw. 1825P pm fa Wv, WNO w (O f Ua~) SU ~ i7, N ~erfmfi'ru. - PWNO omit fu. - W wr instead of ft, N omits; 0 f-i t. - U adds t. 182 0O omits. 1827W w.S iTU. 8T I. - PWT omit F; N U, UT. - P 1828 Mss. C8. - OS fr. - P - |r, N rT~, STIJ [Z. - TI I ~r - 105] [iv. 18 Wn fTi F ONi.T% w 9T291 3 \..ff i!'. r r< L __3031 Wl 33 I n I a I fT fI fi f T if 34 falro: i 1 s6i g or* war^^ ^T< sWff treIR - 0w Nf1" TT I-T1T I I iae 37 -- --- 1829 P? q, N ~, O omits; STU 7q. W -dTlf, N.tGi. 0 - N isj. S i- wcr. -PNOSU omit gf'-. P -rr, TU Pim. - P f; T f - PWNO add wrisr, W N, N,u ui,~, m V- Wia (P i, O a) m) S Wit, T Wm Tff f U, u i (P i;i, W iis). amqt'i. -0 adds in wiifi 1833 P omits yf. - ST omit q'fie. 1830 P i1, STU omit. - PNO -rfr~ W o. - W r,,, TU. ~r-.- POU ofSo. -P oT, N ~N's"C?,~ S.z - P 1T, WN ~aTT, 0 T, STU Mr sr (S "). 1831 0 T~. - PWNOS omit f. - PWN -i omit wr. -- PWNOTU omit fii. - SU wirff, T 1832P nt t, W Ir~t, N m ar. 0 w w, TU i. - NO TU omit a. -- W ffs, NO f-rf-fied, S ir<~, TU a~Ie~iwqf1I I Iq I "chi" 1834w FTiT. - WNU i.w ftafiw, N f 0fiTr, 0 featfwi ST -U', TafafiP. - PS omit fi; WT f'f. - P?Tffi. 1835 OSTU m. - N a-, SU Jv. 1836Nu fNaO, OST fwr.. - P nri"o, W ff, 0 ~yr. — PO G (i, -W r N wf, S "o, Ut ffr.- W n wsimvl~i vroj, N i D anwr w wwr. - P ~w9tt, PO f0Rf, wsN f, S -rr, I, if. I ialT, U fir. f - P p.i 1S 7NO iR:.aF,:. c iv. 18] [106,ik, i w- w- R qsrv i j f- H- Wfm "IJ4,38 3 w w 9, V I" I c' o nf tI tl< I N - ^ 1 wae1G: I vaii8 g5 fqs B ^T -^ Uft1 Wfe;wRq 10 1838 P i 0 O wgz [,frfrewE, sr g9p~, T rio. - W fumiw, N _Fifft. -- 0 irw. - N "o~rW. - P fim, w fiWr, N Fwsur, OSU fiuj, T fuAi - W waiui, 0 omits; T rirtqj. - WO add;- (0 M) t (O g ) t^fi.i fifsTr 1839PN omit i; W r, 0 Trr. - SU wiiir Ur: T1. - N adds 19 P ~'Itt sirt. - WNS omit gr. - P rTT, WN,r, W 0 0T0, ST,rum (T ~). - W wE',t N lfiT9b PNO grfa. - N i urt;ot - T [ll-,w arlt. 191 P fwie" OSTU osnqv"'. - NO omit + I92 0 - r f. - P frf, N s- f, S firr - 0 ~TT - NO ~TgisRt. NSU winl?,,,w, T rfrr. 194 TU wi ~ ariI. - P Wiff, WO,mfirf, N wfiifre 195P r vi, W tf-i, N af-, S v i, T j. - P w. - W, OT s, S, U v. 196 N omits. - Mss.. - P iz, 0 r, SU T, T. - P Tu. WV 3Tr:F, 0 af, SU 13fsw#a (S z3w), T ufcefs. 197 PNSU omit. - W Mo e a. - T omits lf'ijfd. 198 PNOSTU olnit w; W w. eo. - OS omit:,tH.. 199 0 % m. - STIU m at TS * i ^r19 Wu M1cIONRwIL* [iv. 19 irr I ^'j^^O 11 n i lS w2l is f f; 3 f'7 lTs |r fq f~ilTw ~ fi~mr <irt qiwr _rq I f4" I In M rfsIN f^ 18,wr T23 1Tr I Im I a f? 24' F 3t 4R 26 I? ff"t 26 fa. -N it rwfe. - P ilW. 1911 WT ri- s, S l1 and omits the rest. - TU omit uf. - W fdta. - P omits i; TU:. 1912,13 0 fwt' u,,f' I w iI ft it U~FS~I U I If1M. 1912P w, W i. - P Wrfl1.rr, W wt, su oi-. 1913 PN urfld, a, STU omit. 1914 P w i, W ar., N it, O sw w, vt, T vt sT. 191 NSTU v-, 0 1r. 1916 T w* o. 1917W;, 0 Ra i. - P fai3y1 -'fe f i O'wit. - P tan f..w N - 0w far, O 0s fao. - WT oW, S tT. - PW 3rr fit, 0 omits; T f. 1918P wft, WN wt i, 0 omits; SU Pi. - PO irfaa, N rmTfr, S tfsT. - ST,,Wraf. 919 PNOT SU. - SU, T. - WO ^, 8 s, TU fi. 1920 P %af8, S omits. 191 TU omit f1w. 192 P omits va. - P iUr vf I —isfi, W ~ora fi SU o5fTn -W ITr n i:fZirh. 19230 r 4FM*# ifT. 1924NOT r. - P Ri,iit, N ~rr, O *r ti. -P u, N W., 0 sea, STU omit. - P f.%, N gf, SU ^fso, T f.. - P tW, W TT. - P uT,, W f-aWi, T.iir - P fN. 195 PWS j"1. - 0,m, STIT 1wri. - 0 iOft ft, S g - fW, T Wjt T. - W 3 STU s', TU osi 1926 PU omit. - W r I i g aidfd f fI^iwiW, Nr ji~ ti iv. 19] IC, -W PR- k, an y 4,+4,-JMfA I +k 0. [108 ~29 gw if IfiTfr30 g~31g m f tcr4 fW5 3 1T 11W wF TF3 1 wr( Vj~ -qi-kt * r 3 W -TIYP3UT 34 -f T 1TT, 9 4.42 1 fjMVw fr3 i ~ ~.T 1927 PNS j-cf, 0 Nrifw ST 19" S omits w. PWNO omit W. 1929 TU omit sm. 1930 N omits Mr; P adds uuj. -P wrW wrf~,N uf,0 N imfui, 0ffrqI-e 1931 PW~NO omit. 1932 PN j-IPNOT N~ frr, S TU f# 1934 WNSTU uf. 19351 N qwr, IT omit iM. -P ffrW iwN 1h7411rr Q 0~ PWNO omit mW. TU.~-PWN omitfw S adds ~r~ *TTU U 1936P He, WO NU ~ o omits. 1931 Th omit Ur TI z* far. 1938, S omits fw;T w.-PN m'"ICIwq 0 mr'~w, STUJ ms'wrap; O adds S. 1939 W T.-PS omit ~1i;N wuli.-P igjrW N *irS 4 e T tur -P ", WN ntSTU omit. -W f'aT, SU uRfowT.P mmw W amrnrwv, N swum1, 0 uirtwgm STU swirw. 194" P omits u';0 @uw 1942S 81 PN add 8.Sadds ~ 19"P p TU w nIM; SU add fit. - WO iiirrS sfiwy SITT T 0-wv 109] [iv. 19 nat I.W _46 ^ f I wK*^0<^<li ^<<Ul ^1i 1 i1 19I I I 146rT V 3 n47 w ps ci1, | S| 48 |I ^: I 5^ < ^r?T ^ ^IV II n>~<^^<? fan"' fk53 1 v uiii TTiri4 f frwuw * e -i f% fig 815 71 It Ml I rr w LiI_ _I_I * Inff w rra ri586 I Con chf"T 6 I — ~~~ ----- 1945 WNSTU jtf. - PNO fih, W omits; STU ar M. 1946 PWO. - P o c-,fal WNO o~rfuo, S m-, T Tr.f, IJ;wrV. - PNSU nwwT (SU o), T snr,. - P?3fto, W,,Wf-r~, SU o~a. 1948 STU g. - PO ^, N ', STU omit it. 194 P omits ~1; WOTU ti. - W f w, ST f.mU, U fi. S if. 195~ STU omit ff. - P ii f, W ~, N 0, O M g, s far f, T i fa r, U, f 4 TW. - PWO 0, S ricit, TU wftis. 1951 S riferiT fi, TU nfT 1952 WOU t, N ri TT, S omits. - W o. - N iTr.:. - STU 'rrfi.4i?. - S adds t. 195 P A-fr-i, W frf, N afCf, STU wrfrViu. - N f.f [, 0 f STU frau'". 1954 S omits. 19O55 f0 S ~fe — M aT, TU oFiT- P fif4if;oarr, W fm ftrw sTift, N firfdn irfix, STU f'ir. - PO lrfO W r r ri, N rli, fk, S i srt, TU f (T ) fW E aT wf (U i).- P -Ti'fb, W:rxli, N wiuitait. 1956 WNSTU omit. 1957-59WNSTU omit Wgit. -- N once only, ST omit; U It. - W fdr~, ST fritrl.* (S or), u fJt. - PO - ii, W wi^. NST omit. -- 0 fFsI, S iv. 19J filo iv. 19j [1106:4 ff qf-f 63 t j qw r k wrI wr Poin ~~66 f 67 arFT, U rfMr. - P siTr,-41 W TT 8 S WrT41 T s Ura~ I W- TU ri -W Jfr. 1960 P I 4 W I 1 - WO TUrw - T omi fr-P RIM510P ",N 1, STU 196 TSITw -T rf~r~ 1962 N omt Cjo WN wj onc onl. -WTU omit PW WONOwr W STU ~ MAir and omit ntado 191T Al. - P W ~.. f1f14 r N ua fk f 1f~,A 0 w. ~TW ~ri Mr 1,STU qf STU omit. -P W e~,N rrf1 0."w ST U f"Wey T -N frrST fiaam.1u1f40TMA NO STUtJ 19655 8, TIJ a8~T r. - TP ~gw~gTWT gfC~fT N 0 mS rjJf~0.-BN0STTJ mm-tT, P ~jl W If'IT3im rWM - 13P0 sj RMuwWr IF W wTafrsw, N swwSTU M~~sr. 19661 P omits. -W arm *r, N am a O arm, Su 1rwj, T omits.STU omit mT. -B JI~frW fijn, N;rvrftru,0 ~fru r, STU f-~ti ~fuir 0 IlI] [iv. 20 lJ3iii _i. 20 r wT aw T fT!t k ^3T r ( r I "!Tfap, ml h' w w w i f rI f'E4 a1 -tf*SS i f-t 3 -T ^ -sI WT wirf^81 m ki f41 1tr q q1 20a P ~jtrSi,T W -rya, N o~wrjTt 0, 0 osT, T "T. - WN asr, STU ~r. 20bBPO F 5, T - -. - B itW, N.- BWNO.rf, P f 20CPSTU ijwrr, (P rqo, PT "o0o) 'fwit zw r. -O wf B. - B W it, W, N, 0 o<. -N ffE-it. 20dW,o N o,;-. - B ^f, P 4fr, WNO dfr, sSTU f. - PSTU ar'rt, W UT201 B -r)f? I,ji*, PN \rifricir. 0220 roTW ar, P T-, T a. - B W4, PW W'4, 0 omits, S Mt TfievU sr,ri. - P, Osu omit; T gi#. - P 3Ma, 0 Wri e, S sinwn, TU aswrr; S adds fi s, TU fi~. 203 B w4f'r!T, PN 3, W WT 1T'RTSPi, 0 a JTi, ST lrrmq, U rm. -- NSTU omit fr. - B?hiT, PW,ImriQt N t3wT, 0 if3, SU airf, T f-am. - B sfr WOSU fwmIar-f, T 204 0 omits. - S.- PWNSTU ~Tncth. - P fas, STU fdiiTr. - WO add frzcw (W only) wt ITaror,~,,,fz(%0 0(ori o)fva f T arfiewarsi 'figRwf (0 Rfirr*rf i ftief ) I widrfi;: I, (W only) wi fMr"HT T vT^TTTW f, i. e i tfy^i iro xfe20 (W itsrf1a- Ooft0). 205 U omits i. - BO omit s'~ rfw. 206 B i, STU omit.B is-r, P ofi-t, N faMto. - PWNO an, S' rc, OS S. - B iv. 20j [112 WMMM wawtfisrn;srfi d:7 V i to- T 3I ITe 81 E~ar lei_, flP", _ L."1'19t ~wi _ PIT 1 4. 3TrT3? ft3V 0^ ri ^TT 131 Aa - S l* f ~ 14 3Tj~~~~ffs iTri~FT~l f~~:IZ~-~i ~'Ii HP -if~~fniiTTi~" 1 - - - Mr*fT, P rtfir,. - PNSTU omit fi. - NT ^, O t. 2070 'BO,W n- PN or't(,t STU -1 t gNdf[,TmK (S wT fi wo, T ~omqlR) -w:. 208 WO wa ar-. - B 'tsr, Tafit. - B,Af T frl1 kr 3 O 3 -aTr 209BS omit;iri; TU i. - B 3 -ulroTO 4 rf4iMrf"^rI. - PW NO read &rW kt fs (0 omits) and omit iW-' a1o; S 3Tetf3twrf6f w TFlH w jT, TU aiwitfr'if - arT-IWW. - P arO, 0 rSit.- PN iif^at, STU,-4-t; S adds ft. - T f 1. 2010 P r;ii mer -, 0, STU ai&T. - B aTirrfi, P arfnmrrfi, N frTrftr, S TU arftai. 2011 0 fOf orfWirM. - BPWO omit C0' 0 ro - q "Zr$lF,, TU omit w. - S omits frt. 2012 ST omit ift %W; U HT aW. - N t O m,) S 3wisT, T.fiL, U omits.ro-rm. -B nf, N ti, T nffi. - B gw~, N fi, 0 hg, S omits; T arlfi. - N fTI, S omits. 2013B w r Wi W anHrF:, W 20 'Waims 141- wfi w i;r, T a.rw irih, U Tln Wim. - N, SU n. - P i, N ifii, SU omit; T R'o0 fina. 2014 BP ^f irif i( (P rT), W nirt s;>icFi w7i fi i ^Rr ecp, N vlr 4Wi iR mw3f' ^if ~-r, 0 jfa, 0 i ^ it, S rik. i9wamtW Fi, TU i etc. 113] 113][ e [iv. 21: I a i f gw^fr ^^ ^^T r n F9 it itr I - -- -- -- 2015 B omits 0; 0 W?l RTpeW fagA uf; S reads aW Ik.r-,, and then follows a lacuna which a second hand has filled out as in U; TU iWt I E- faii i fu gfq (T faife). - SU omnit -Ofe. B *t, W srtrr T~, N Ta ~,cg', T qs. - p, N t, T w. - W fe, T. 20160 rS, T Ti. - SU MIe f. - BPSU WuWr#, W o*-, NO oR, T omits. - B 'iw, POSTU omit. B rwuO, P fiRpi, W Sai wrf, STU 2017 ST add Wr. 21 B wrfw aiziTT r - 21laP it " fa IFM, W ^ fi fi it Fdd^iw*} i, N ufr^^A a Fffe,0 rdJI R wnr iTfr S.faqwvjdm. 21bP i, N t. - PWN.WX,, 0 ~o.,l~,, STU "e. 21c ST. - p i U:m.n W g ~ g- Bira-, N ~ r Wr~. o rqi,..r-N 21dT. - PNO ^t. - P r'ii-T, W a- STfUrel, NSTU (NT iw) 'ir, 0 rFT W". 211 B zif* oT I c T MI^< rri|4 I t fw fT* nwfwiy P Cufi* fa~-~, t ^.. ir~, W t fi|iUf, N ifT a& risw-?rwwnfthi fcj TsT^?iBti5 -8 iv. 21] [114 111MI W M -IIcUif I fgTefif I KIM S e ' 4 (lacuna) m*IriT' i wdaft, TTJ iif (U ~ 212-4 B wrrumg rrIfr RrzUr C90MI 1 TSIkqft~a frin~ ONTi,1 ifruN:MITT.ITM iii I ~ W WC' MrIrr 0 ~IITI Mi~irS~i 21P-24 BPW omit. - N R' ft Qlwwa =1 I ~TIM frfIfIfElm M MMIft I "IRF MI* fr *aio~ frend of the ms. The trans-; lation adds UR'. MC T-WER hU( IVAFUT M j C4 rii %I iif r- Iu W, 40ft1, Wiku0 * i~i F9 fe, W fativt -'4 1 Gg* I VfW, f~v va 9 f% M ir CM A. C,' M tql~t" " T U 2 W fffW m ~W~f Efr w~frt 115] [iv. 23 115] [iv S2 ~g~fqf'i2g WINT1,~ MP OMT31T Ifq fMTAl f4 i ~~fq~1 218 T a% c Azq! - Su v M-s.After 'w T adds 2'A 2T I Uf W f (U 9). - T W t M 002 S y* u2t far %f k g. Tflkt r 22aT ~i~f~u. TU ~ r IfW (lacuna). 22b S qft T.-K dR rm~I 'fld SU T LIMtrgT T. 2 SUT omit; T m*~. 238S omits. AO-m T 0* - TU ouagil. - T &T. - K 1 t, *- aft v c*P fnT 23d TU. - TIT *aw, K wmf. 23' S wu 2 m. - Ti & p Iu U R.- T 4d TUl " 8* iv. 24] [116 rfM<U< D f^W M0 H ^ -~'IN -a W fTIr fwt 11 t 1i 24 TT J rm r ii * 24 BS omit; 0 vfir ft fTmrr: fasfr (T f iaff) sihriva fer- q. yjmfiriw gfit Ew. -K as s. - s8 f fat. -T adds 'Arki - 24 B Sf s, FTU ii. - p c ti mfmwa. WU W'. PART II GLOSSARIAL INDEX TO THR KARPUTRA-MANJARI B3Y STEN KONOW GLOSSARIAL INDEX. Abbreviations:-ts. - tatsama.- It = Hemacandra's Grammatik der Prakritsprachen (Siddhahemacandram, Adhyaya VIII) mit kritischen und erlauternden Anmerkungen herausgegeben von Richard Pischel. Theil I. II. Halle, 1877, 1880.- HD. = The Desinmamanla of Hemachandra. Edited with critical notes, a glossary, and a historical introduction, by R. Pischel and G. Biihler. Part I Bombay, 1880 (Bombay Sanskrit Series, No. XV3I.). WT after anusvdra a [e] and. a, i. 11, 31, 5b, 123, 171, 2027, 221, 23b, 261, 33', 34d, 33; ii. 41, 52, 6e 9d, 11c, 5, 23d, 27b, 1 28C 30, 1, 31d, 1, 405, 46b, 5Ob; iii. 1l, 3d, 43, 55, 61, 8, 2, 131, 14', 151, 171, 181, 20C, 211, 22b, 25d, l, 27', 311, 321; iv. 2b, 61, 9e, 10, 1832, 1965, 66. ca, i. 1c, 111, 187, 19d, 2015, a6 29, 31, 22'. b, 23c,, 34s0, 35c; ii. 6a4 26, 10, 23d, 24d,292,47bd; iii 3d., 8a8, 121, 18d, 19b, 20d; iv. 31, 1812, 1, 24, 1967 22, b. asT see 'q. ar [aitf] a vocative particle, 0, prithee, ii. 64. *aIw [Afj] very long, i 21d. aw [ai] a vocative particle, 0, ah, i. 5i; iv. 1929, 63 aW ts. a shoulder, iv. 120. aifa [Orn] a garment, cloth, L 28b; iv. 4a, 10a. if [aif] a foot, ii. 47a. ^ci [ow] without bracelets, iii. 26b. WiS [aruw ] unexpected, sudden, iv, 189. swfti untold, see m. Trf'ar not performed, see -R. ai-msa ts. name of a man, i. 189. ts. without saffron, iii. 26a;ar rts. without earrings, iii. 26" m [ow] a letter, i. 20a; ii. 12, 8, 106. atrtr ts. unbroken, whole, entire, iv. 3b rfw [O?] unbroken, i 163. are ts. aloe, iii. 14b, 27a. Wr [i]rfirst, foremost; front, foremost point, i. 16c, 26a; ii. 6a, 14b, 20, 43a. airs [aTv {]forepart of the hand or arm, i. 4c. atrfirmlt [Tfilrfeir] arranging of the sacred fire, iv. 010. [118 asrf, [amv]first, i. 29b. a [z [aij a respectful offering, i 4d. arfr not performed, see yS. sg ts. act of a drama, i. 6b. ar ts. a sprout, shoot, blade, iv. 2ld. t ts a body, limb, i. 13b, 142, 205,16, 31, 33a; ii. 10, 12a, 28b,, 36a 41a, 42b; iii. 84, 17, 19%, 24b, 33a; iv. 7b, 13b. ai [R] a place, courtyard, ii 47d; iii. 2015; iv. 11b. orif [~Ir] a woman, female, i. 142, 265 36d; iii. 16d. f-r ts. a finger, i. 36'. arM4 [*r] without sandal, iii. 26'. a'owsm [w;r] very wonderful, supernatural, i. 215. aww [aTU'w] exceedingly inferior, i. 204. r mw r [awroe] exceedingly superior, i. 204. aw ts. clear, transparent, iii. 4b. swrarw [Isr ] marvellous, wonderful; a wonder, i. 245, 2513; ii 42b; iii. 312 if [EfiJ] eye, i. 16s; ii 32, 27', 41e; iv. 1b. irf not produced, see mR. mmW [ar] to-day, i. 2034, 3425; ii. 1, 614 23, 295; iii. 34, 7 203, 24b; iv. 918, 188 192,. srw [irw] an honorable man, master, i. 12 2 11, 2 86, 341; ii. 67; iv. 209. ersana [srdv] honorific designation of the husband, i. 19w, 3438; iv. 209. tw [sa.m] superintendent, head. ajjhakkhlkidao, iv. 912. iwrwts. border, end, skirt, i. 26% 27b; iii. 3, 222. simr [~o] colyrium, i. 2036, 26'; ii. 19'. snlsee wrsme f. anr see viTmm. W [~] Cupid, i. i2, 33d; ii. 6d m f [aw] name of a woman, iv. 911. [ITT [fF s]t name of a woman, iv. 99. W IF, [wqwr] name of a woman, iv. 98, W"CT [aR] wi thout interval, immediately adjoining, i. 122; iv. 181". arfiw [maf-r[ ] uwind, i 164 17d, 20c; iii. 20b.;arrt [uq"] resembling, iii. 256 28d. iuw [[Tm] favor, iv. 23d. worow [am-l] conciliation, i 2043. sraTf[f ]edaiy after day,iv. 24'.;a. i ["] continuity, sequence, iii. 25'. sarr [vrm] love, ii. 122. raTr [-w~] conformity to, ii. 31b. [a [am] other. awIo, i. 203; ii. 68, 2912, 13; iv. 1836. axia, i. 45. aipam, L 187, 202,s; ii. 624 26; iii. 13% 14, 16. 2; iv. 221, 23'. appaih ca, moreover, i. 187, 2031. anneoa, i. 27d; iii. 19. agpe, iv. 2'. apa, iv. 13', 15b, 17'. appaamh, i. 1b. si [si] ear, see w[saw]. ruhawr [wafis] each other, iii. 9; iv. 10. sm- [irmn] sef, oneself. appa, i 81. attanaarm, iii. 41, 81. attapo, ii 106; iii. 20b. 119] rm [ad] object, meaning, i. 8a 207, 8. a l, [o~] swinging, ii. 351, 37b. aMI [OrmT] the western mountain '.wrr [o~iT] darkness, iii. 22. behind which the sun is supposed c [a] not having existed before, to set, ii. 50d. quite new, wonderful, i. 254, Ms1t [nwrt] an assenmbly-rooin,ii. 3. 3425. ST' that, yonder. amuna, i. 26d. am- see r-. rfiJftrJ [afT-rf~ r] very clever, ii. 2910. arr ts. a woman, i. 15'; iv. 7. ffirrfa- [rfifufim very burning,hot, Wwrm [wi ] request, iv. 23e. ii. 415. Tws [awr] wonder, i 2a6. aifffrr [rffrfw] very cold, ii. 416. amr [R w] rising from a seat in sTr [ir] wet, moist, ii. 11'. honor of, iii. 2023. am [ws] half, halfportion, side, i. 25b, awr see at'. 281; ii. 4211. amtw [R] not bewildering, mii. 26. IrI [ r] (2i va as half fe- Wa ts. water, iii. 4. male, i. 284. ar H. 4. 284. a particle expressing sr [wTft] half aslep, ii. 508. joy, i. 3424. Sa [m] nowv, then, ii. 113. adha iih t H. 2. 208. a particle expressing [atha kiih], what else, yes, cer- surprise, iii. 201". tainly, i. 47, 216; iv. 1945. adha arwr [sW-iir] like me, iv. 22. va [atha va] or, or rather, i. 1810, *-s [wR] causing, performing, i. 156 302. p... 3433; ii. 28d; iv. 24. wlts. end, i. 14d; iii. 2b; iv. 98,9,10,11..M to honor, praise. accemi, iii. 22d..r ts. interior; interval; different, accido, i. 3438. accida, ii. 6',26. another, i. 7, 123, 29' d, 3434, 35b; wTra [o]wa curl, lock of hair, i. 26; ii. 1a; iii. 3', iv. 187, 196, 2016. ii 20a. wff [wJ]gone within, hidden, ii. Mtair ts. decoration, ornament, i 31,; 43, 12. ii. 242. a rtts. without, except, i 3417, 1; wSr4ft, 'fi see. iv. 1836. sarw [.rc] a limb, i. 33c; ii 48. iv; [og] inner apartments, harem, w see T + W. i. 3438; ii. 113; iv. 913. Slwr [wT] state, condition, ii. 88, 91..r [mw'] internally, within, iii.l 0b, awb see? + -. 12a. aif ts. name of the wife ofBRi *ar[w] the moon. muhaanda, ii.7b. jafekhara, i. 11b ptwr- to swing, wave, shake. ando- sir [am] another, iv. 12, 18^. lia, i 17b andolida, i 163. WmITwr [iMrrfw] name of a poet, i 8,. [120 vmfn ts. occasion, turn,ii. 01, 474; iii 262. CMwnu [-Jr] stopping, end, iv. 10. $ [on* ] necessarily, iv. 18 '. %7f% [afN] and, also; though, i 1', 3', 17', 22', 26', 33'; ji 41, 52, 27', 296, 30', 311; iii. 1', 6', 82, 13', 14', 15', 21', 25', 27', 32'; iv. 6', 9b, 1965, 23c. &ifriiIC [-;RR] immodest, insolent, iii. 81. ~aj to be. nhi, i. 29d; ii 282; j.j. 3 7 99 11, 18; iv. 1917, 63, 201". s 613, 11'; il". 22d; iv. 28, 2015. atthi, i. 25d, 5, 348; iii. 9b, 136, 14d, 166; iv. 92, 3, 18's. santi, iv. 21a. asi, i. 182, 8. &T7 ts. a demon, ii 31b; iv. 19a. &TFtaT [.utwJ a tree with red flowers, Jonesia Afoka, i. 207; ii 4 23, 43a 46', 47a a~t~iir [STIUiJm not drying up, not withering up, iii. 26'. amW [-w] then, ii. 3d Qp. aN. aU I. ahaua,i.131,16', 181,, 2014,16,80,41 3415,30, 38; 6j 6", 284, 322, 416; jjj. 315, 18,41,4 349; iv.7', 1824. hath, iii. 7d. maih, i. 20"'. 28, 28%, 32d, 3421238; ii. id; iii. 3a 2017,34. mae,i.256, 342; ii. 6u, 83, 242; iii. 36.4; iv. 187. majjha, i. 16'; ii. 40"; iii 23a; iv. 21c. mama, iii. 49, maha, i. 188, 19b, 2029, 40, 25d, 30d, 3410; ii. 36, 620, 86, 9', 29 12, 21 42"; iii. 24k; iv. 193'. me, i 2 18, 2023, 25 345,13. iii. 2d 3d, 16,p 20d; iv. 210. wal ts. a particle implying sorrow or surlprise, alas, i. 2513; ii. 42". r ar [aifium] acting, gesticulation, iv. 15b. afmipm [aTfimaj new, original, iii. 31'. a frarw Mr [fjmrj presiding deity, ii. 48b. a lffanT [ wfiam intention, I'L' 481; U"L' 8b aifi[a ~f[ra ] a king, i. 12b, 8; ii. 52, mnt ts. a particle expressing surprise, i. 292; ii. 2921, 422.5; jji 46, 31'; iv. 02, 913, 1959. srp~w atit~u~F1] having the face down. wards, ii. 13b. air [mmrl] a particle expressing pain or anger, i. 181, 2028; iv. 28. mwprep., to, until, iv. 4a, b. Aappnar [Akarram] up to the ear, ii. 6d. fmmilaih, to the ground, i. 4". mrvtT see vi. anfsrfim [warfwf] a sanctuary, altar, iv. 1830. anrr [srmr] attention, care, i. 13. swrar ['r] see thunim. avrarFrar Cc RD. 1. 75. impatienece longing, ii 106. mm [-w] first; beginning with, i.P1; iii. 10g. vaw [-V] weapon, iii. 266. amIIRM [-w] coming, return, iv. 1926. airwr ts. show, display, ii. 24b, 32b, 47c; iii. 121. s Tiri;nFtR H. 2. 159. ostentatious, im amle, i. 161, 3430, 36'. amhanafa, posing, ii. 31a. i. 42, 19', 2020. no, i. le. mirw H. 2. 138. applied, iv. 9"1. 121] "SwO [[oR] mouth, face, ii 1c, 30a; iii. [f-J] see rv y. 3a, 168. T [^f] H. 1. 91. thus, i 9b; W j l[oqw-r'pleasing, delighting, iii. 40. 28b] ysee qia. iiL 22, miift see Wr + r. wmrr [wT] an order, command, i 18a. ats. disease, pain, iv. 7d. uVsr9 [~ir] an order, command, ii. 4227,28. wx+ to get, obtain, arrive. patto, i. 13d; iii. 4b. patta, i. 20b; ii. 283. pattammi, i. 35". +w to complete; to arrive, come. samatta, ii. 44d. wur ts. beginning, i. 128. irwar r ts. a basin or trench for water round the root of a tree, i. 3439. Crfri [~w] embracing, ii. lc, 43a, 44b. *f ts. row, series, ii. 11; iv. 21d. swrff ts. line, row, range, i. 44, 20b, 8, 26; ii. 16, 31a, 32c; iii. 26d; iv. 210, 21b. wnfr ts. turbid, greasy, i. 13. waIN [~*] entering into, devotedness, passion, ii. 13. wrI [.R] a seat, i 212, 241, 344; iv. 1962. vwfm [*w] a hermitage, i. 17. [wr [=] hope, ii. 9d. wINT [rwm] an ornament, i. 202, 28a; iv. 108, 14b, 1946. WI [wr] light, appearance, ii. 41b. Esnrr [r]ii] a proverb, iv. 202. -i ts. thus, i. 18% 33c; ii. 41C. yawthis, that. aami, ii. 452; iv. 18'2. iaih, i. 48, 26d 35c; ii. 2915; iv. 1838, 192, 14, a, 29, 43. iah, ii. 27; iiL 8a. idami,,i.24'; ii.221,281;ii2019; iv. 28, 1917 27, 231. iman, ii. 29'. imina, i 128, 282; iii. 192, 34b,9. assa, i. 10. imle, i. 344. imie, ii.24; iv.20a. imia,i.28b. ime,iL49. ima, iv. 14. imau, iv. 11a. imao, i. 3432. imiu, iv. 10b. imaiam, i. 7b m [r-] another, 1. 44. t [vrwt] hence, this way, further, ii. 03, 418; iv. 101, 222. w [gw] here, i. 14', 2027, 257; ii. 2916, 412; iv. 1828, 198. Cp. P. rMI [-;rs[]jugglery, iii. 2019. l. virr the same, ii. 441; iii. 12d. ~r<le ts. a blue lotus, ii. 3e. r ts. the moon, ii. 1, 29 30 41b; iii. 1c, 32. ^ ts. like, as, as it were, iii. 20b, 288. W to wish. icchami, i. 246. icchal, i. llb. icchanti, ii. 28d. icchida, i. 34a5. + R to search. annesiadu, i 2039. a.nesiduli, iv. 1922. +z to dismiss, send. pesehi, i 3438. pesedu, iii. 349. pesiam, ii. 7a. pesida, ii. 617. pesida, iv. 914, 1824. y to go. ei, iii. 10b. edu, ii. 03. +s to come. edi, iv. 199. ( 15d. ehi, i. 121, 343,22; i enti, ii. 31d. nti, i iL 205. go -[2 [122 vits. here, i. 7b; ii. 48'; iii. 13c, 16c, 17a; iv. 2a. Op. r4i. i+ 3u to n eglect, overlook, disregard. uvekkh-iadi, iii. 2O3. +ui to -see. Pekkli~m-,ii. 20'9. peceha, i. 14d; iii. 32b, 34b; iv. l1b. pekkha, i. 189'; Ii 43-5, 441, pekkliapekkbidavnifih, iv. 9118 jf~[o""4Jfem. 08!, such, i. 186, 2026,33, 3417; jj 451. *~[u]slightly, iii. 23'. isisa, i. 14b; Mi. 49. islsia, I 1~. 'I~[Jsee 4q"1fUR [ivWtW] jealous anger, i. 4a. ~ ta.an exletive part ide, iii.1" 14""'. WX [ —Jm the bely, ii. lb. 3Wi ['-rw] noble exaled i. 19". ~Wi [~I. ltcrper, i. 43; i.16 v 195.,w [*mI a heap, multitude, i 19'; iv. 18361. sT H. 1. 68. the same, Diii 1" a'!to sprinkle, wet, moiste. ukkbiai~ari, iv. 8c. ~amts. high, elevated, ii 31'. amm~ ["q] a collection, heap, i 28'l; ii. 21'; iv. 10a. ~tg [V] withering, i. 10ok.;n [ww] lap, interior, iL 29'; iii. 27d. dam" mmwJ bright, shining, beautiful,;37"r43 [-arw] pleasure-garden, park, ii. 622; iii. 226' 9; iV. 1830. t[ I directly, straighforwardly, i. 204. 20. [Tw~r] lght, lustre, iii. 242, 26'. 1;~ ts. a star. uqusamaa, evening, i. 36k. '3j1Wfra4T ['w] terrified, Ii 29b. ami [rTJ again, however, j 42, 16, 19, 6b, 162, 208, '14, 25, 30, 41, 286, 33b, 3433; 4214, 438, 11', 482, 492; fii. 82, 91, 16 2, 33 b, 34 3; iV. 1b", 2, 251, 71, 912, 1946.;mvT [aw~] high, elevated, iii. 16". 4uv [vmur hot, warm, ii.' 11'. tswt. crest, choqplet, iii. 29'; iv. 7'. wxts. northern; accompanied with, consisting chiefy of, i. 18'; iv. 9"., *f~~uIi [.NM"[I the 12th lunar mnsion,preceding ilasta, which word means also hand, i. 20161. 4'wImrSr ["wrul theA21st lunar mansion; preceding!Vravatza, which word means also ear, i. 2031. 3~T[-uJ an upper garment, i. 341; iv. 201". 3WH UI [-w1 stretched out conceited, i. 191. ~Wil [w~]Jfear, terror, M-L, 7b, ~fi[ Ispeech, expression, i. b", 20'; ~3Its. lofty, high, tall, ii. 291"; iii. 7c. ~w[-,i plaoce, region, iH. 42'. (wfm%[] birth, origin, iL 3417, '30w [3mJa blue lotus, j. 34c. iv. 7". i. 34d; -j 40', 41'; jjj 4b, 7. ~ ir e as I - r, Islu" see % Cam. 123] [, [^o] opened, swollen, i. 20b. f Ifwf lRD. 1. 127. fem. ri, afflicted, dejected, ii. 9c. EQ H. 4. 101. emerging, rising, ii. 31d. see f i +. arr ts. name of the wife of Qiva, i. 24c. ^mw [wf'] drunken, mad, ii 2d. w see, + -w. vdfc [ dfa ] unsealed, opened, ii. 475. - [aWF] heat, iv. 1. * [oft] a female snake, i. 20. w-Fr ts.,port, play; splendor, ii. 47b; iv. 22d.. fe- [*f0] shining, i. 28b. WrT j [awi] instrument, means, iv. 918 1939. 44. a3r [r-r] procedure, (remedial) treatment, ii. 416, 422, 8, 21; iii. 192. M'IrST [Cmtr] teacher, i 98; iv. 208,9. 3rQ [^u*] resemblance; as last member of a compound, like to, i 32b; iii. 16b; iv. 9d. tUim 4["WrI] comparison, i. 30. f [o*] above, over, ii. 20b, 338; iii. 39; iv. 912. H 2. 2. 11; HD. 1. 98. see, lo, ii. 50d. S [^r 1H. 4. 223. overfowing, ii. 1b.;at [w] both, ii. 18, 42al; iv. 28. [mw]festiwal, pleasre, i. 13d, 163, 18d; iv. 216. iS [mW& ] desirous, eagerly expecting, ii. 40. % Caus., to give, offer. appenti, ii 38b. uppiu, ii. 19b. w [~i] one. ekka, i 26d; iii. 25d; iv. Ib, 2a, 7d 9d. ekko, i. 181, 20'1; ii. 622; iii 17C. ekka, i. 43. ekkamx, i. 256, 26c. ekkeuia, i. 24c, 27a; ii 625; ii. 46. ekkassiih, L 2026. ekke, iv. 21. pq? [,W] near, ii. 8d. $f.r r [uif-] the one or onlyfriend, ii. 50C. P "If I [[t~] a single string ofpearls, i. 207; iii. 5b, 6a, 203. jpLr [Mc[] the being one-by-one..ae, one by one, singly, iii. 5., WIRl HD. 1. 145. one another, iii. 10e. mr ts. a black antelope, ii. 21b. vn [oin] the moon, iii. 28". UmQrfJr [~wfir] musk, ii. 7b cf H. 2. 134. here, now, i 14% 20c; ii. 431. wr this, that. esa, i 410, 286; ii. 27'; iv. 3c, 7d, 2011. eso, i. 47, 282., 3424, i. 610, 20 4313, 46; iii. 82, 20. 34, 8; iv. 183, 209. esa, i. 202. 18,40 283, 30, 32c, 341 34; ii. 617, 8b1 102, 3, 41. 8; iv. 914, 1814, 20 1964, '. eamh, i 5 ll11b, 35a; ii. 8e. edam, i 411, 2a, 311, 345; ii. 64, 108, 298, 411, 427, 43a; iii 91, 123, 34. 7; iv. 561 188, 10,27, 4, 35. edassa, i. 55, 283. 8. eai, ii. 40a. edae, i. 311, [124 332; ii. 91, 104. ee, iv. 4d. edaim, ii. 82. edahii, ii 105. edapnam, i 3431, 33. xrfsT H. 2. 157. so much, so great, ii. 615' trm [ar] here, i 12b, 255, 34s; ii 83, 91, 44d, 471, 4; iii. 12b; iv. 51, 1818. etthantare, in the meantime, i. 29d. aM'ri [p'rnaw] being in that condition, i. 3438. irTf [mazi ] H. 1. 271. just so, ii. 49'; iii. 9b. RfF [ipr] such, iii. 21b. its. thus, so, i. 1812, 205 17,28, 30; ii. 67, 404, 505; iii. 32, 86, 161; iv. 41, 1835 1919 48. st [~o5i] lip, i. 13a; ii 41: itfWaa see ia+r. Eftpmnfw HD. 1. 164. a female servant, ii. 91, 284. iftR [1i]j H. 1. 82. wet, moistened, juicy, fresh, new, i. 28b; ii. lb; iv. 4a, 7b. ftv [agw] a medicament, iv. 6d. f [i~oa] the plantain tree, ii. 14b; iv. 183. m [~fr] a poet, i 1, 419, 55, 62, 83, 9a, 10a, 202. yN'jr [ifa e]poetry, offce of poet, i 195, 206, 18; ii. 10M. rwi [w1-] a king of poets, a honorific epithet of a poet, i. 11. WraT []rfA ] the same, i. 9a. wr [r'] a sacrifice, i. 24b. wiF [wira] hard, rough, merciless, i 2043. mrK, ts. a bracelet, i 1810. Hts. HD. 2. 12. the Afoka tree, i 17g. w- [ ]ra]glass, crystal, i. 2026. [Gir [ari] work, affair, business, ii. 68, 284, 29', 4 8, 12. kifi kajjam, wiat is the use of, ii 28a; "iiL a, 122, 19C. Ww ts. lampblack, used as a collyrium, i. 207; ii. 23 41b, 46'; iii 336; iv. 14'. s O [%ChaI ] gold, i 32a; ii. 12b; ii. b,. isaUMW [qnW T~] name of a bard,i162; iii. 261. RcSOrMrr [msi ]J name of a woman, iv. 910, iz [airia-v W] mount Meru, ii. 15. R [ riJ] name of a town in Southern India, Conjevaram..L 5lia ii [wrlj] a girdle, i 34a; ii. 15a, 23;, 34b, iii. 18' CMrfMiWr [arT] a bodice, i. 207. f rn [tfi ] sour gruel, ii. 29". + to show, display, manifest. paa dei, iii. 12, 17d. isa [s[-aim] a glance, a side-long look, i. 29^; iv. 24b. firDHD. 2. 52. a cloth girt round the loins, i. 27d. fwar [c ver] a girdle, i. 20. wfsee i,. w ts. a drop, iv. 8c. WnaT [is] gold, i. 20; iii. 22b; iv. 91. irfofrT [r f il] tinkling, ii. 32". 125] 1- iFtiri fBg [~foY] youngest, ii. 624. mianz [os] a thorn, prickle, sting, iii. 24a; iv. 218, 22a. a% ts. the throat, i. 16, 2027; ii. b 2a, 17a; iii. 2~, 6b, 207; iv. 17a. wa [wro] an arrow, i 163; iii. 18d. Wqg to excavate; carve, sculpture. oriuna, iii. 17a. According to 0 utkirya. Cp.MJarathi,kaih.daraneh. wa [.oi ear, i. 200, 32b; ii. 27a; iii. 202. Eaw [^i] name of a city, Kanouj, iii. 62. wr [i ] an ornament worn in the ear, an ear-ring, i. 142. Rw [mmT] a young girl, i. 256.,i M [ii t a Kt.Karnata woman, i.15'. EW [ifrI] an ear-lotus, i. 34c. wfslr [rafwr] musk, i. 181, 3439. wito tell, say. kadhemi, i 324; iv. 96. kadhehi, ii. 112. kadhedu, iii. 23. kadhesu, iii. 162; iv. 189. kahijjau, i. 5. kadhiadu, i. 347; iii. 36. kadhido, ii. 419, 02. akadhida, i. 284. kadhidaih, i. 57. wi [Cr] how, why, i. 1816, 301; ii. 12, 613. 21, 111, 402; iii. 10', 224; iv. 21. Cp. Mt. qmirr wretchedness, imbecility (K, karpanya), i. 192, 207' fMs [Er] loveliness, beauty, ii 27b, 30b wrats. a root, bulb, garlic, iii. 28&, 29. ItV [.i] Oupid, i 16s; iiL 4,b, 41d; iii. 28e. ia [-~i ] name of a woman, iv. 9". GrfiR ['T] richly or suddenly produced, i. 163. frif H. 2. 169. shooting, sprouting, iii. 28c. t the plantain tree; a new shoot, sprig, ii. 14b; iii. 20^; iv. 7t. qmiRHED. 2. 9. a blue lotus, iii. 3b. %mmT [*cmi] end of the world, universal destruction, iv. 198. [t [j] camphor, i. 17b 29, 3489; ii. 28a; iv. 5t. ua m et [ij,] name of the heroine of our play, i 3420, 24; ii 62, 28s, 296%7,402,4215.17; iii.84,2023 22, 311; iv. 9, 192, 14, 22, 24, 29, '3, 48, 6 2013, 16. w [io] succession, regular course, manner, iii. 4b, 5b, 25d; iv. 3. wirt8s. a lotus, ii. lld, 168, 508; iv. 22b. wwr ts. a name of Lakpmi, iv. 24b afW- [fixm] shaking, agitating, i 17'. Wm- [ow] action, performance, iv. 16. uMM [wrri] magic, witchcraft, ii. 26. wists. hand; ray, beam, ii 16, 42'; iii. 20C, 24b, 25a. sts. a box, iv. 910. caC ts. doing, making, ii 66; iv. 16b. awfoiir ['Er] a small box, iii. 6. rs. ts. a sword, iv. 98, grr ts. gaping; terrible; femn. a terrible form of Durga, i. 188, 2028; iv. 16a. wrf-ar [.w] made terrible, iv. 2. 'ff- [~ft] an elephant, ii. 610. ito hold, do, notice. akalia, i.. kalida, iv. 9'0. I fz - [ofi-] the cuckoo, i. 168. [126 ts. stain, fault, iii 108. 438* kabirhf pi, somewhere, caflijj [-wT] doing, putting on, iii. 28c; where, i. 245, 254. iv. 4a, %Tra8T [-] body, iv. 14a. wm ts. rice, i 19. mim ts. one-eyed, i. 207. wqm ts. the, Kadamba, tree, iii 24a. wmnn [-;m] a forest, park, ii. 22".;qB [ow] a water-pot. thaiakaLasa, a rw ts. love, Cupid, ji. 5b; iv. 22, breast like a water-pot, ii. 24b; -ir* ts. well, forsooth, iii 192. jjj, 7d, thaiakalasigi, a woman rw CRM [-u] Assam, i. 14g. any7 c having such breasts, ii. 23k'. 46 ts. a swan, iii. 23b* wr ts. 1. a small part; a digit of the moon, j 4b; Ui. 10c, 468; iii. 25'. 2. any practical art, ii. 27g. mfrjC [-wT] aflower, bud, ii. 278; iii. la. MI"W"MT [oj] name of a woman, iv. 93. CiiR ts. body, iv..22. M""Itwaaia [off1] name oj'a woman, iv.912, jsjif~pi) [o)] a river, ii. 3a, %trww [-w] eating, swallowing, i. 20b. af ['w] eaten, chewed, iii. 2b. qa [ow] the skull, iv. 19b. ~ Ca[%ft] name of' the Vidftsaka, i. 204, 36, 437 341; ii. 271, 29'; iv. 209. a t ["i ] the cheek, i. 32"; iii. 33b. Rin [Ciw] a poem, poetry, a Kdvya, j. ld, 8b? 1911. 71 20', 6; I1 4C. aw to rub, test, try. kasiadi, i. 18w8. qim+fa to open, bloom. viasanti, ii. 43b. Mbf5ir [Lwf~r] a touch-stone, i. 1818 19g. wrr&e [mmT] red, affected, iv. 238. ait [%iwR] how, iv. 1, 3d. kahaii pi [kathamapi] somehow, in any way, jj. 398; iii. 32a. U p. Hif*. 3. 60. where, j. 35b; ii. 42'9, ri~i~ir C['r] name oj a woman, iv. 9, ~ifir~~g [osi] a loving, beautijul woman, i. 33a; I.43b, 48a; Wi. 18c; iv. 6c. wrr ts. (at the end of comp.) author, i 8'. Rinm ts. reason, cause, ii. 27d, 421, 471; - -. ld? gb. Mir"fA te. a prison-house, jail, iv. 98, %*fi- [oftre doing, causing, ii 108. rw ts. time; death, the destroying god, i. 83; 68, 28d, 41, 502;. 43; iv. 2b, 1 98. win, ts. black, iv. 148, 18b. wirarwwFT [wIFt"IQ] a scholar, i. 18,. CHIWR [owrjw opportunity, i. 35b. wii ts. a name of Durgd, iv. 19b. +r,+ to appear, become manifest. paa.sai, ii ld frar [ftw] performance, a religious rite, i. 24b. fi [wkfe] work, composition, i. 1"b. i~IwIT [oi] a tree, Butea.rondosa, having red blossoms, i. 16c. fki~ai) ts. a female servant, i. 36b. fi1fu~Its. a bell, i. 209; ii 32", 34b; iv. 17a, frifk [mfijfame, ii 35", [w, Two]ff~~f a~~KR art?,ficial, ii. 28-1. fi the interrogative pronoun, who, what, which; with vi, pi, it is indofinite, some one, a certain. The neuter kii is used with instr. in the sense, what is the use of? kim is used also as an interrogative particle. kiih ca, moreover, further. ko, i 419, 5a, b, 161, 2039, 282, 35b; ii. 23%, 27c 2912, 13, 474; iii. 1F5. ka, i. 46, 161, 2012, 33%, 341,; ii. 25b, 27d; iii lb; iv. 92, 16a, 1930. ki, i. 1c 42, 12,16, 6b, a, 81, 11l, 162, 188, 10, 13, 16 19d, 6 202, 4, 2, 2135, 22a, 231, 244, 251, 28, 34c, 35c; ii. 616, l 2,, 6 113, 4, 16b, 244, 28a,d, 29,4, 418,427, 12,, 115,16,17, 32, 4311, 471, 482; iii. la, d, 21, 84, 5, 91, 121, 2, 13a, b, c 14a, b, % 16a, b, c, 2 19c, 203, 15, 16, 17 34a, 3; iv. 24, 6 31, 4c 914, 188, 29 1915, 34, 46, 67, 22b 1, 2, 23c. kaih, ii. 112. kena, i. 101. kassa, i 23d, 27c; ii. 32d, 40b, 429; iii. 8', 9a; iv. 6d. kie, iii. 9a. ke ii. 4230. f riwts. a ray, beam, ii. 29d, 50c; iii. 26d. fotr [~?i] a Kirata; a dwarf, iii. 348. fr ts. certainly, I think, ii. 8b. fi"rfrQ- to sound, jubilate, laugh. olai, ii. 34b. [f~itA see 'q. f aT [*~] a young and tender shoot, ii. 42a. & [~t a] of what kind, i. 2036; ii. 4228; iii. 36, 93; iv. 1932 IH. 3. 68. why, ii. 4226. Ii rm [oam] a petty village or hamlet, i. 1818.,xrts. saffron, i. 13c, 16a; ii. 8a, 12a; iii. 14b, 15id 203. a [~i-] beard, i. 2040. [ [o] humpbacked, crooked, iii. 348. gf~,3 [o*F] ts. a bawd, i. 186, 3434. rf [ofG] crooked, curled, ii. 20a. 6,, [o-]family, household, relationship, i. 412, 3431. Ermi ts. an ear-ring, ii. 18:. rosf-s' [*i] bowed, bent, ii. 6a. ts. a lance, iv. 910. r ts. the hair of the head, ii. 41b. awts. name oJ a country, i. 12b, 348. kuntalh, a Kuntala woman, i. 15C..rSl.T4 ts. name of a woman, iv. 910. w to be angry. kuppadi, ii. 473. kuppa, i. 206, 1. r wTa [t~miJ] a sort of bodice, i. 13b. tJ [[Imt] a girl, ii. 22a; iii. 17c. <5~i.i [o~] childhood, the age from 10 to 12, iii. 162. nm ts. a pitcher, water-pot, jar, ii. 44.a RRM~~ [-om7] a white gourd, iv. 188. KAam [nift- ] an epithet of Agastya, i. 17a. fra [o~irt ] a deer-eyed woman, ii. 32. ^i'r [o~] name of a woman, the confidential servant of Karpuramanjari, iii. 192; iv. 206. t-rts. a lock of hair, i. 15c. 'Ts [~s] a species of amaranth, ii. 4231, 43a, 13, 44a, 45a. thtitti - -[ %2u [128 ~i~traT- to croon, grumble, growl. or&anto, iii. 21. -raanti, i 18155 %R tU. family, herd, collection, i 11a, 17C7 197 i d 4d. Ic [-zrisJ the doctrine and practices of left-hand!jdktas, i. 22b. T [o~w] a river, stream, ii 10k wtmu [u] the blue water-lily, ii. 19b, 38b, 428. t-gW [.q] skilfu, clever, i. 1d. p [-wl~m] an actor, i. 42 rwa ts. aflower, i. 44, 16b; I 61s' 21, 78 21a, 44C, 45b; iii. I, 22c, 248; iv. 1836, 1966, 21b, 22b. t l [o'PJT] Cupid, iii. 7b; iv. 28. wigrww [-wJ the spring, ii 13. [-z m ~~L"t] OupidE, Ei 354.! ts. a cavity, ii. 30b; iii. 20'. E ts. food, boiled rice, i. 19a. v to make, do, prepare. C(aus., to cause to do. kunai, ii. 31; iv. 8d. karedi, i. 2033; iv. 1836. kun~anti, i. 14b; iv. 14b, 15b. karissarh, ii. Idde, Hi. 42', 10,13. kidao, jV. 9 12. ma-1, ii. 19a. karaiijjaxfh, i. 12. kadavva, i. 34 3. kadavvarh, i. 244; Ii 29 2. k~rio, ii. 15b. k"ridaih, iv. 1830. +mtq;(todecorate. okiarh, j33a * kiP de, ii. 242. qmto draw, drag away, bend. kaddhijjai, ii. 29b. kaddhia, i. 32g. kaddhidao, iii. 4-3 + vir to draw, pull, snatch. Raadhia, i. 29b. alto spread, scatter. kirai, iii. 20b. kriranta,~ iii. 28b. Wimfemn. Wii'M [.-r name of a plawnt, i 29b; ii. 78; iv. 21b, 22b. W mT [wfrw] a meadow, iii. 20'. 'i ' ["wi name of a plant, ii.619,20,21, 22 ~f~rts. play, sport, amorous sport, i. 24d, 26c; iii. 203, 23b, 31b; iv. 26, 911. Ff; ["~T] causing pastime, i. 142. M pirmm1 [-;] a pleasure-park, ii. 22b Wrr [.K] a pleasure-house, iv. 19g. fiF"r) [.R1j name of a woman, iv. 912. Qffh wruT [.;v] a pleasure-palace, iv.918. am [.w&R] a pleasure-couch, iii. 27c. ~i;-f~jrr [~w] the same, iii 38. Wk* ts. only, i. 6b, 24c; ii. 28. mm [-w] hair, i. 26b. RR' ts. the filament of a flower, fibre; the Bakula tree, iii. Id, 248, 25c. *mxm [-ag] a bow, i. 168; iii. 30b. ~t~r C[4] the cuckoo, i. 18c; iii. 31b. ~t~7 [8w] desire, curiosity, ii. 388; iv. 188. 105, 432; iv. 2'. kuia, iv. 206. karedu, iv. 206, 10 kuiianto, ii. 50. kuvant&, i. i5"; iii. 28". kuip tanta, Ii 46b. kaduih, ii. 6"4. kafiia, ii. 8. kadua, ii. 83; iii. 52; iv. 97, 18", 19'1. kijjai, ii. 27c; Iiii 15C. kariadi, i. 2026. k...au iii. 18. kariadu, i. 204', 251; ii. 4310, 505; iv. 19" 90, 21', 22'. kaa, iv. 178. kida, H. 6"5. kao, iii. 32b. kido, ii. 91; iv. 1822. kaarh, ii. 47b. kidaiia i 198; ii. 624, 11'. 4, 47'; iii. 302; iv. 202. kae, ii. 10d. 129] sitr the same, ii. 49a. ifi [.fz] ten millions, iii. 6b, 8. RftiHD. 2. 33. desire, curiosity, ii. 37b; iii. 3c. t wii [Cr% ] a pleasure-house, iv. 1832. 'in t ts. tender, soft, ii. 10'; iii. 33. *tr [~.] belonging to the left-hand Qaktas, i. 23d. itnrr" ts. a loud and confused noise, iii. 343. qf [~w] memnbrum virile, i. 2028.,, after a and anusvara I [w ] indeed, methinks. kkhu, i. 2043; iv. 24. hu, i. 46, 2038, 34b, 17 18; ii. 42a, b, 48b; iii. 9b; iv. 2, 1836. khu, i. 62; ii. 05, 66, 102; ii. 3d. S i ntens. Caus., to cause to go. cankamio, ii. 18b. + a firto pass. adikkanta, iv. 1811. + sr to attack, subdue. akkanta, i. 142. + f' to go away, to leave. nikkamamha, iii. 229. mi to buy. kivido, iii. 45. kiiida, i. 3415. +-f to sell. vikkiniadi, i. 1818. vikkinida, iii. 63. mm to be tired out, exhausted. kilammami, iii. 192. kilammanti, iii. 203. kilanto, iii. 81. tioto boil. kadhia, ii. 6. kadhida, iii. 203. w-+t Caus., to wash, wipe away. pakkhalido, iii. 39. f'i to throw, cast. khivanti, iv. 13^. mT [eH] hurt, torn, broken; a wound, i 28a; ii. llb. " [oy] a sword, iv. 9". Rsto limp, halt. khahjia, i 21e. mf'r HD. 2. 71. a side-door, backdoor, iii. 2011. f [ofE"rT] chalk, iii. 33a. m [aT] an instant, moment, ii. 32, 403, 416, 47d; iv. 9b, 1832. wm- to break, cut, crush. khad.issaih, i. 2016. khaudijj"ai, iv. 3d. khandaanta, i. 15b. wm ts. a piece, part, i. 23e. i UOI [OTr] breaking, cutting, frustrating, ii. 27d; iv. 3b. -C'I' n' a kind of cake? jest, joke? (K, kalikhanda apupavigesah, N, deOyarh khadikhandagabdah kridavacakah), i. 3415. tr, to eat. khajjae, i. 23b. awm [[mi] thin, emaciated, ii. 610. wm [T] salt, ii. 1lb. f [o] afflicted, tired, i 20. fria see fc. _ w see m. H. 4. 116. to fall short, ii. 4. srT [w] a razor, iv. 3d. uRR to play, move to and fro. khelanti, iv. llb. rTim [rm] the sky, ii. 30b, 47d; iii. 201s. nr ts. the Ganges, i. 4&; iii. 39. ti ts. aflock, multitude; certain demigods who are the attendants of giva, i. 25c, 33a; ii. 28C; iv. 1965, 22c. nrwr [ow] counting, ii. 37b. iG'r [~-;] regard. ka g., what need we say of, iii. lb. If [fl] a knot, tie, i. 15d, 2043; iii. 9a, 2; iv. 2012. fi [Lr f[]4 name of a fragrant shrub, according to P= Tabernaemontana coronaria, iii. 203. irg ts. the cheek, i. 15a, 16a; ii 37a; iii. 34b. r~i [-o] a mouthful, handful, iii. 203. W [mrr] a limb, body, ii. 27b; iii. 221. wits. smell, odor, ii. 619. 44"4ri [of"] a fragrant oil, i. 13. rixftr ts. the musk-deer, iii. 203. rO [ow] womb, belly, interior, i 3417; iii. 315, 18 41; iv. 21b. niw [oFiW] inner apartment, iii. 22'. im to go, pass. gacchami, iii. 315, 349. gacchanti, iv. 9b. gaccha, i.2023,25; ii. 423. gacchamha, iii. 226. gamissaim, i. 3438; ii. 503; iv. 1937, 47. gamissamo, i 361. gao, iii. 25d. gado, iii. 314, 52. gaa, i. 33~. gada, i. 1815, 2023, 25; iv. 92, 1922. gaari, i. 35b; iii. 3a d. gadarm, ii. 1, 112; iii. 41, 122. gadae, iv. 203. gae, i. 14, 35c. gade, iii. 314, 84; iv. 1832. gadua, iv. 184, 1924. + ar to accompany. anugaa, iv. ll1b. anugada, ii. 282. + g to know, learn. avagamia, iii. 345. 7. + mr to come. aacchasi, ii. 4223. aacchadi, ii. 41"; iii. 34'. aaccha, iiL 345. aacchadha, iv. 91'' 57. [130 agamissaih, i. 2038; iv. 1918. agamissadi, iv. 1831. agantavvai, iv. 1925. Rado, iv. 1960. aada, ii. 614, 17, 422; iv. 1917. agadam, i 184; iii. 347. +J, to rise, ascend. uggaa, iii.. +f to come out, part. viggacchadi, iv. 192. 4iggaam, iiiL 20. + to join, meet. saihgada, ii. 3'. Tm ts. going away, iv. 7d. wm [W;r] going, motion, iii. 23b iT ts. deep, solemn, i. 282. TOi ts. poison, ii. 11l. T, to drop, fall. Caus., to pour out, filter, strain. galanti, ii 9b. galiassa, i. 19C. + f to vanish, disappear. vialida, ii. 610. f'if woy ["olc]] HD. 6. 91. a strong but lazy bull, i 2029. [*ia] pride, i. 195. irr ts. strong, vehement, intense, i 195, 2043; ii 45a; iii. 203; iv. 1P. fir [ [dv1] summer, ii. 415; iv. la, 4c. firr [fi,] speech, voice, words, ii. 29c. firftts. a mountain, i. 20a. f [ir [~t] the king of mountains, Himavant, the father of Pdrvatz, i. 3b. firfir [-w] Qiva, i. 3b; iii. 29'. firi3rw [owm] ParvatG, i. 4d. ifl [of] song, singing, iv. 17a. mIts. quality, virtue; thread, string, cord, i. 10b, 2043, 33a; ii. 2b, 4a 26b, 27c, 28C; iii. 85; iv. 1965, 22c, 24a. 131] - %PrM r see %. contact; coining, stamping, ii. 37, rm to string, tie, arrange. gumphedi, 41; iii. 10a; iv. 9a. i. 44. gumphanta, i. 15d. guttha, s [o;] 1. compact, dense, strong, i 'ii. 2, 5b. 13%, 27b, 29d; ii. 610, 12"; iii. 203; S ts. a teacher, spiritual preceptor, iv. 6, 8a. 2. a cloud, iii. 4a i. 5b, 22a; iv. 1812, 21, 25. w ra [Rwo] camphor, ii 21. to hide. gudha, ii. 21a.,iMri1 [-o] name of a woman, + u to embrace. uvagudho, ii. 456. synonymous with Karpiramanjat+ to throw out, put Jorth. sa- r, iv. 1819 28 1946, 206,16 muggirai, ii. 45b. nr ts. a bel, ii. 31b. na [*u] song, iii. 14a. 'f [w] heat, warmth, ii. 610; ii. 203. Tih [msm] what can be grasped, i. 30; w H. 2. 144. a house, i. 14C, 182, 2034; iii. 9b. ii. 2d; iv. Ib, 183. iftw [fl] red chalk, iii. 18b. ts. a grinding-stone, iii. 30a. ifiria [I] wife, i. 11; iii. Iifui [ifuF ] a wife, i. 197, 3411; ii. 8b; it to sing. ganta, i. 21a. ii, 15; iv. 1820. itas [ow] range of the organs of sense, I H. 4. 334. to throw, cast. ghalgrip, hold, influence, iv. 2", 20b. lissali, i. 203. nt* [~o] conversation, i. 2036. gfur [~J] saffron, ii 37% i7 [ifT] white, yellowish, iii. 34b. pu see u. on r the same, iii. 31a. itf [rft ]fem. ofigl, having a palered body, i. 209. [ifto] Pdrvati, i. 284; ii. 625; iv. 1811. iaT [*ri] a cow-herd, i. 21'. 5 to seize, take. geiha, iv. 20". ghettuna, i. 123. genhia, iv. 1918,39,57. v Caus., to join, accomplish, form. see Sr. w ["u] collection, heap, mass, i 26b; ii. 50C. fr [C f ] of four kind, fourfold, ii. Id. dgl [v':f:] sixty-four, iii. 4. waft [Wtm] the Greek partridge (said to feed on moonbeams), I1d. ghadei, iii. 17". aghadia, i. 2b. w [OT] a wheel, ii. 18b, 23, 34a. +; Caus., to open. uggha4ijjanti, wgr HD. 3. 20. round, ii 34a. i 36&. if- [wrfa ] an emperor, i 12a; + m to be united, joined. saifghadai, iii. 15a; iv. 1820,22, 23". iii. 9". samgha.ide, i. 188. 5 iaT [ ]wrri] ruddy goose, i. 8b, 50. s to rub. ghattedi, i.46. wrr [er.rntT ] wheel-like, ii. 23; iii.;gTI, *r [ w j, or]forming, joining; 19C. 9* [132 [wa] an eye, ii. 6a. ~w- see 5R. ~ r [io~] going, walking, i. 27d. wHD. 3. 1. beautiful, i. 31b, 33a; ii. 25a, 28b; iv. 13b. riqws beauty, i. 142, 209; iii. 95, 162. af~r- H. 1. 35; 2. 154. beauty, ii. 24d, 26c; iii. 6a, 13b. ar [ef] smearing, anointing, i. 209. ease ts. trembling, tremulous, ii. 41c. wan ts. waddling, iii. 23a. wf- licking, cp. Mard.thi cataneh, i. 2028. V H. 4. 206. to rise, increase. cadadi, iii. 162. wi ts. wild, impetuous, angry, i 17d, 23a; ii. lOb. 'wIt [r;i] the sun, i. 35. waOr [iOa] name of a king, i. 128. w rm [ow] name of a king, iv. 1818. -fir'- H. 2. 154. impetuosity, i. 163. gi [wi the fourth day (e. g., of a lunar fortnight), ii. 623, 295. re# [ric] the fourteenth day of a lunar fortnight, iv. 181. [t [vr] skilful, conversant with, i. 71. uri skill, loveliness, i. 201. xajrfd [:pirfe] sixty-four, iii. 44. w% [ri] the moon, i. 32b; ii. 5b, 610, 27b, 2913, 19, 21 436; iii. 16b, 242, 25d, 261, 29b, 302; iv. 1964. Wro; [;] sandal, i. 14b, 17b, 209; ii. 10a, 11a, 1; iii. 20d, 28b; iv. 5c, 6, 88. igi [~o[*r] name of a woman, iv. 99. ~f'ir [if"rr] moonlight, iv. 1964. wa H. 4. 395. to compress, squeeze. campiam (P translates piditai), ii. 33. wrmT [wi] name of a tree and its flowers, i. 142, 16% 3439; ii. 42b; iii. 1, 22b, 30. mm rts. name of a town, Campd, i 142, wrm- [4iR] skin, i. 23". m lrf [efe]a whip. cammatthiaanto, looking like a whip, ii. 39b. +ar Caus., to communicate. saricarenta, ii. 2%. fr [or] acting, behaviour, acts, ii 408. wto stir, move; to get loose. calia, ii. 1i. caliaia, i. 27d. erts. tremulous, rolling, ii. 5a; iv. 16b. wO [Cow] a foot, i 2034; ii 13,, 33a, 42%, 43a. wrr [-os] moving, shaking, i. 36'. fir [writ] the motion of the feet in the dance, iv. 12b, 16b. WIR [OWr] unsteady, wavering, i. 15a; ii. 49a wra [.wr] a drinking-vessel, iv. 19b. lrts. a chowry, fan, ii. 318; iv. 98. lts. a terrific form of Durgd, iv. 1830, 38, 1912. rft:- [oft] wandering, moving, iv. 2". vr ts. lovely, i. 163. w; [0] a bow, ii. 6d; iv. 14%, 19". 133] irewr [o-rw] the Cduhan family, i. 1a1. iTsr [oi] a thief, robber, iii. 31a. f* + to gather, arrange. uccinedi, O ts. name of a country, i. 15b. i. 43.; see;T. faT see iw. I fiw ts. mind, heart, ii. 40b, 2 49a; iii. lld, 122; iv. 9c, 20e. fa [owr] 1. bright, variegated, spotted, iv. 912. 2. a picture, i. 27O, 30d; ii. 4.a farW ['-T] a painter, ii. 40b. fafwfi [fr" ] a painted wall, a wallpicture, i. 36a. f'rlwr [f-rc ] name of a woman, iv. 99. fwn [osr] the fourteenth lunar mansion, iii. 314. fa< long. cirai,for a long time, ii. 4d. ciraa, at last, iii. 23b. frra- [ou-] to tarry. ciraadi, ii. 62. f, H. 1. 186. the hair of the head, ii. 21. - to kiss. cumbia, i. 174. iro [~oT] kissing, i. 2a. i ts. a crest-jewel; best, excellent, i. 5b. Ottana [otva], i. 202. fr. to crush. ctiraissaii, i. 2030. curiadu, i. 2027. mfwr [%T] top-knot, iv. 24. ia, f'sa, H. 2. 184. restrictive or strengthening particle; used with tad (like tad eva) to mean 'the same'; i. 8a, 21d; iii. lld, 19d. m'frw [ofirn] a female slave or servant, i. 2020, 26 iR [hr] a lunar month, March-April, wam HD. 3. 24 clever, i. 1%, 57; iii. 9'.!aR [rww] the sixth, iii. 18. - [oZ] mass, lustre, splendor, flash, L 29a; ii. 32a; iii. 20a. r [*:] a parasol, umbrella, ii. 29d., + u to hide, conceal. pacchaanti, i. 33b. sma [,wq ] a bee, ii. 2b. 7<w [wMU] a name of Kdrttikeya, i.3. \imf r [ufim ] weighing six ma4a, ii. 17a; iii. 203. of ts. deception, guise, semblance, ii. 35a; iii. 32b. wr- to deceive, cheat. chalida, ii. 2910. fw ts. color, splendor, shimmer, i. 29b; ii. 47b, 50~; iv. 51. uwT [om] reflection, light, ii. 610; iii. 1. i to cover, smear, envelop. churia, iv. 5a. churio, i. 29d. rg ts. smearing, anointing, iii. 28a. wr [,] hunger, iii. 81. aiT [oJ] clever, ii. 260; iii. 6b. r [i]field, width, i. 300. %r H. 4. 395. to cleanse, rub. chollanti, i. 14g. m see aq. wa [*o] conquest, triumph, iv. 20a. siaT- [wrc] the world, iii. 12, 17a. 5aW [o3w] subduing, ii. 41d., [ft] if, i. 473, 48a; iii. 122, 165, i. 17d, 18d. I 33a; iv. 210, 31, 18'. [134 am- [~ifrml]fem. Oj4y, conquering, van- J R [o;s] hard, solid, iv. 2b. jarahara quishing, ii. 41b. awn [w] one of a class of demigods, i. 25C. iiFts. moving, iv. 18a. stan [mrm] noble, well-born, genuine, i. 14, 32a; ii. 19a, 25b; iii. lb. MUMT [mrj] old, decayed, iv. 4d. r [ow] people, man; common people, i. 42, 18a, 215, 348; iij 3a, 617, 28b, 3 1d, 402 7 41d, 47 d; iii. 12%, 15a, 27d7 28b; iv. 2h, 2, 9ga 14b, 24a. vurw [-;mJ fern. oji, producing, causing; fent. a mother, i. 26d; iv. 9d Wimr [4IT festival, procession, ii 44d. ed[t [ui]from whence, from which time; because, i. 43, 123' 7, 1818, 197, 207' 13, 312, 3431. 32. ii. 66, 4223; iv. 11, 32, 2016, 22'. %IVr [nT] as, as follows, i. 7, 84, 132, 164; ii. 26', 42"13; iv. 187, 20, See ire. [tied'-] i~at will, L 16 3; in". 3 1. - OP am to be produced, be, become, happen. Caus., to produce. jao, i. 29d; ii. 50d. '. i20d 353e; ii. ldd iii. 28". juali, i. 16a. jade, ii. 4221. japia, i. 2a; ii. 19", 32c. +w-M to grow, become. sa"jRI, iij. 25h; iv. 23C. w-w [wv] an instrument, machine, iv. 13". jjala, an art Jicial stream of water, showerbath, iv. 10b. -dhars, the same, iii. 2O0. arf~iP [J~f~l speech, murmur, ii. 2". w [(wI3fever, ii. 42'. I mana, growing old, ripe, matured, ii. 15. ww ts. water, i. 4a; ii. lie, 24c, 3, 3Gb; iii. 317, 18 20c. M".1I Ck [srm] a libation of water presented to the manes of a deceased person, ii. 6d, 4221. MIV [..w] a cloud, iii. 31", 28d. wmto speak, talk. jampanta, iii. 27c. M;W [Ount"jttt] the tiring-roon, i. 12. [rw [ir as, that, i. 34", be; iij 44d; iv. 20b. jaha, the same, j* 34d. See sNT. iif* z H. 3. 60. where, i. 2023, 25, 26, 33. i [s'-] at will, ii. 22a. See wItU4. wnfknit [mir J;] night, ii. 29", 416; iv. 4c mm [uim] as far as, till, in the meantime, ii. 416; iii. 349. fr to conquer, surpass, curb, restrain, be victorious. jaai, j. 4d; iii. 18d, 30b; iv. 19h, jaa, i. 141,. jaadu, ii. 612; iv. 916, 186. jia., iii. 4a jido, ii~i. 2'. + fwiwto conquer. Qiijjida, i. 14g. +f 1f to conquer, defeat. vinijjia, i. 13d. i to live. jivadha, i. 2041 sila ts. life, soul, i 35" Tftr [.?r] life, ii. 9" t [fr] tongue, ii. 476, r [wn] a pair, couple, i. 26'; ii 13", 18a, 33", 37%. ~&T [7m] young, ii. 41". aTw [Itr~T~ a pair, couple, i 20"; ii. 62', 7b, 13b, 16". 135] -Trrs [yFwi ] the same, ii. 14". Fr [g%] see,. [Eh] old, wasted, decayed, ii. 2911; iii. 28. fgfer [ 1fif-] name of the eldest Pdndava prince. His eldest brother, the son of Kunti, was Karna, which word means also ear, i. 2015 [i [S] eldest, i. 201, 3435; ii. 102, f'EaTSH. 2. 157. so much as, i. 7b. [ [r] H. 4. 280. a particle used to strengthen the sense, just, quite. If anusvdra or a, I, u precedes, we find the form jeva; otherwise, jjeva. jeva, i. 57, 71, 164, 204, 6, 20 3434; ii. 6?5, 243; iii. 226, 347; iv. 1950. jjeva, i. 83, 2034; ii. 1, 91, 451; iii. 229, 349; iv. 196, 24, 60 if;tr, [ rfr ] a witch, sorceress, iv. 17b. [i iT ' [tirc] a sorcerer, i. 26d, 285; iv. 182, 19'5. 6Itr [itrs]fit, appropriate, i. 192; ii. 5d, 23a; iv. 2". gT [CFii( ] moonlight, i. ld, 45, 29c; ii. 1la, 30b; iii. 7a, 25b, 28b. [tir er ] youth, iii. 17b, 18e. wTto know. janasi, i. 1816; ii. 4216,17, 471, 2. janai, i. 35b. janadi, i. 322; iii. 349. janimo, iii. 12d. jananti, ii. 492. jaiia, i. 341; ii. 4312. jane, i. 22a; iii. 3,7,16, 15C. janiadi, i. 282. +w- to order, command. aiavedi, i. 198, 3436. anavedu, i. 41. + fa to communicate, speak, tell. vin. navedi, iv. 917, 187. viniaveduh, iv. 914, 184. viinnaviadi, ii. 281; iv. 1810, 1917. viinvatto, iv. 1812. vinnattam, iv. 1815. vinnavidaii, iv. 184. wr to burn, be hot. jalai, ii. 11c; iii 20C. +3; Caus., to make illustrious. ujjaledi, i 197. warawts. a jingling sound, iv. 17a. wirtuj- to sound, jingle. *anta, ii 32a. gfr [sfeFe] quickly, suddenly, at once, i. 20a, 36b; ii. 38a; iii. 3e. Cp. r+uH. 4. 173. Caus., to cause to drop, ooze. pajjharavedi, iv. 1836. Wgr [wx] meditation, contemplation, i 22a, 24b, 3427; ii. 4d; iv. 1955. ^ HwD. 4. 2. gaping, large, uneven, i. 2040. ffHF HD. 4. 3. adorned with a tilaka or mark made with sandal wood or unguents, ii 115. ZTr 1. a scar, see bhamaratenta. 2. HD. 4. 3. a gambling-place. tevtakarala, terrible in the gambling-places or a Durgd of the gambling-places (K, urahlki!opalakgitacad.ika), i. 188, 2028. c'T ts. a lord, chief, iii. 81. 1 [136 amr [wm] place; tone, modulation, i. 47, 2040; ii. la; iv. 1922, 24 6 see 'q. g+ +f to cheat, deceive, mock. vidambedi, iii. 81. -rr ts. mass, show, pomp, empty noise, i. 2a; iii. 12a, 13b. f ts. a young child, i. 30a. -+ t to fly up. uddino, iv. 2". f[r, [frfi] loose, relaxed, careless, i. 13c; iii. 3c. r [Ir] not, i. 6b, 81, 13a, b, 1816, 18, 204. 7 s, 9, 14, 20, 38, 22a 25d, 27e, 30d, 34a, b, c, 17, 18; ii. a, 4a, d 66, 8d 105, 16b, 244, 26d, 28d,2, 32d, 40b, 42t6, 1723, 471 3, 492; iii. 8a% 9, 14, 15b, 16d, 20d, 22b, 349; iv. 22, 10 3d, 9gc 1836, 192, 9, 203. rIrT- [siw] eye, i. 2036, 34c; ii. 6c, 19', 21a, b, 38a, 402, 42a; iii. 2017; iv. 20b. wTra [;mr] a town, i. 255; ii. 30a; iii. 52. mria [imRil the same, ii. 3b i H 4. 283. surely (as used halJ questioningly), i. 29c, 3420; ii. 472. 7 Rj T [-r] a lunar mansion, i. 201', 1; iii. 314. unQir [;r] dancing, iv. 17b. <wr [Afr1J] a female dancer, i. 163; iv. 11a. xrf []rfr] dancing, iii. 229. 5 [Oq ] dancing, acting, i. 42,16; ii 15b; ii. 14a. n Trwr [wi'c-i] causing to dance, move, shake, i. 163, 17e. + fa H. 4. 150. to confuse, mystify, delude. vinadida, iv. 1953. [w ] an actress, courtesan, ii. 28a. Ian [rfa[ ] name of a poet, i 2020. f ^ri [frw] a daughter, i. 128. tW [wffd] a king, ii. 35b. uf'c' [RiZ;] the same, i. 12. ufirur [wfm] a lotus flower, i. 27a. mfri [3fri] a lotus plant, a pond abounding in lotuses, i. 35d; iii. 192. qm [mw] new, i. 32a; ii. 2c, 19b, 41, 42b, 44a; iii. 1, 4b, 24a, 25b, 30b; iv. 7% 9a 22a. m[- [Wr] the sky, iii. 7a, 29a..ahaddhe [nabho'rdhe] in the midst of the sky, i. 25b. ~InSaT [srr~] the sky, iii. 26d. rrws r [snraTr] Piper betle, iv. 5a rfelw []irfr] a short or light domestic comedy in four acts, such as the Ratndvali, i. 6'. murr [Irnt] manifold, various, ii. 3b. wrV [wm] name; by name; indeed, i 255, 348, 11; ii. 26a;.ii 1 65; iv. 914, 1818. iuwr( [rW-ro] another name, iv. 201' m aT []wnh] name, i. 20lI,1',Sl; iii 318; iv. 98 9, 10, 11, 12 SrTael [wqrTm] an iron staff on the goldsmith's scales, i. 2013. irrfri [rna] an orange, ii. 504. rr [rs] a lotus-stalk, ii. 16a. Mup[ [t] a ship, iv. 20'. 137] [r'R [mrm] a deposit, pledge of love, faIrE HD. 4.31. abundant, exceeding; i. 3a nrg [wI] lord, husband, i. 35c. inf [wrfi] the navel, i. 34b; ii. 24a. fraT [fan] own, one's own, i. 192, 2034, 33a, 341;; ii. 28b, 435; iii. 2016, 32b; iv. 1917. failTT HD. 4. 38. a garment, cloth, iii. 15d. f swar [ftirifei] near, at hand, ii. 418. f'fwf see a+ +fi. fanj [f-io] the buttocks, the circumference of the hips, ii. la, 15a, 24b; iii. 19g. fi'laf^.rr [frhfitL ] a woman with large and handsome hips, ii. 26b; iii. 13. ftw [fwi] a multitude, collection, ii. 17b, 45b. ft [f I] clever, skilful, careful, ii. 40b; iv. 31. ftri H. 4. 181; 3. 56. to see, i. 34b. fiitr [ft4tr] injunction, command, ii. 282. fax$d [f;rai] stainless, i. lob. ftra [ft-] continual, perpetual, constant; always, i. 2b, 33d; ii. lO, 46b; iv. 22d. f1r [wwz-] IH. 1. 47, 257. the forehead, ii. 201. fiiaui [f";E] round, globular, iii. 4b. fx r-T [Ifir] heat, summer, iv. 3c, 5d, 6d. very much, i. 17c. Cp. Mardthl nipata or nippata. rftziw [faw] causing, iii. 242. fei [flry] vehement(ly), exceedingly; close; jull of; ii. 44b; iii. 7a c; iv. 19 i. frurisi [f~ra-r] another name of Mahendrapdla, i. 9a. finftR [f~] cause, motive; at the end of a compound, in order to, for the sake of, i. 12", 3438; ii. 4212; iii. 16"; iv. 9s, 1812. fiurm [f r] cp. H. 4. 19. building, forming, iii. 17b. Rfi^TC<T [frwj] without letters, illiterate, i. 2013. fSia [f~] uninterrupted, iv. 8b. firfjfijr,r f [riu] what can be seen, ii. 47d. ftrff W [frf] look, ii. 6,. firiwrr [1fur] undistinguished, unimportant, i. 186. firrfaT see wf + f. fitimr [fi[] preventing, warding off, iii. 8b. firf~ [f-fa] close, compact, ii. 24C. fiTr Ar [f ] telling, indicating, ii. 83. fiaroi [jfwi] entrance; expanse, contour, i. 36a; iii. 7, 21b. ftiit H. 4. 62. to become clear. iivvadadi, i. 197. fIrfia [ f-q u] without hindrance, iv. 195. ftrrr [fr] sleep, ii. 50'; iii. 3d. fKafiUn [f-.1r- ] worthy of blame, firer [f;rr] nature, i. 31b; ii. 25'. i 207. fwr [fn] night; by night, ii. 9a; iv. 3a. friTt~F -[138 [138 f MrTrn [frWIn]fem. on, afiend, BRdk~asa, iv. 15b. f [fum~] like, similar, i. 3288. frfnrisee ur+ fi. coitu, W.7c, 28c, 29b; iv. 40. ulhwu [vhrw] without interstices, close, iv. 97. [R [I-] black, ii. 148. 4r-iiMM;[RI- a name of Qiva, iii 20"'. i [fr:*am]fiowing, streaming, iii. 31'. ~Ii~tOr [firr] a sighing, sigh, i. 20c; ii. 10a; iii. 209. ~ [~1 an interrogative particle, iii. $4, 19c; iv. 18, 2". iprr [~r] certainly, iii. 17", 32. ni. ina, iv. 210. J 3 an anklet, i. 2010; ii. 32", 33b, 478; iii. 13a, 188; iv. 17b r[j] eye, i. 30c, 32"; jj 3, 460. ~ir [~+~~H. 4. 279. that. A form used only after anusvara, i. 18'2; Iii. 161; iv. 1811, 1915. ~it~ ['Q%] decoration, attire, dress, i. 33hb 3438; ii. 26k, 270, 28d; iv. 20. ~ [~] affection, love, i. 15d. ultsee mx u*it [t] not, i. 138, 22", 23d, 30b; iii. 228; iv. 23". t + w H. 4. 143. to toss. panollia, ii. 14b, 36". uiwju [gmr] bathing, bath, i 26%, 288, 30'; ii. 240. wasit [Nm] thence, thereafter, then, iii. 4a; iv. 3d. Ctp. Jt. [iwv [9s ] triangular, oblique. ii. 1, 6c. wi Caus., to beat. tadiumaipa- [taditumanas] having the intention to beat, iii. 3b ~ [ —] a shore, bank, iv. 203. ~r8fw [fiSfI] quickly, at once, i. 20's' 16; iii. 3 bt 201. Cp-gf~r?ur ['i]body, i. 33b; ii. 88, 24d. Jlaa [lata] body, ii. 1", 9d, 11. *ll aa, the same, i. 28". [ow] there, here, ii. 27"; iii. 9b, lw [ ~im l] her honor, a respectful title, iii. 221. r this, that, he, she, it. sa, iv. 3d. so, i. 53, 68, 108, 197, 215; ii. 12, 28a, eq 46 d; iii. 314, 171 417937i 1017 12 b. sia, i. 10, 8b, lib, 197, 3413; ii. 4a, ld, 148, 29d, 4233; iii. 5b, 3, 6"; iv. ib, 93, 1820V 21, 38 19-30. taf1a, i. 13d, 1 97 1 2027, 29 25M, d, 7, 26c, 290; ii. 8c, 91, 27C, 28b, 292, 4, 8, 41'. 2, 431, 11, 46"; iii. 3", 6 52, 88, Qd9 12", 130, 160; iv. 97,1827,1950,55,57. tad as firstpart of a compound in takkajja [tatkaryat], ii. 28 4; takkizla [tatkala], i. 8'; takkhana [tatkeapa], iv. 1832; taggada [tadgata], ii. 1', 112; iv. 92, 1832; tabbhatta, [tadbhartr], ii. 8b. teiia, i. 71, 8', 2027, 21d, 3; ii. 28b"., 290; iii- 48, 6b, 17'; iv. 1813, 17, teipiaIh, iii. 5a, tassa, i. 419, 25b, 341"; ii 62'; iii. 31", Sb; iv. 18'1, 20c. tie, ii. 6a, 100, 158, l 9. tia, ii. ld, 58, 9%C 17", 23a,"; 139] iii. 2C, 3d. tae, ii. 612 5, 282, 403. tissa, i. 113, 12%, 23d, 29a; iii. 1e, 85. tassiiii, ii. 28d; iii. 163. te, i 8a, 19b, d, 20c; ii. 5b, d; iii. 24b; iv. 9c, 21d. tao, ii 1; iii. 43; iv. 3b. taiii, ii. 82; iii 220. tehiii, i 3415; ii. 4232. tana, i. 15b. t.ana, iv. 9b. tainam, i. 31a, 33d; ii 43b; iii. 313, 41, Ild; iv. 9d, '1 wS [Hwa] thence, therefore, thereafter, then, i. 181; iii. 39, 10, 11, 13, 14, 16, 17, 9 41,2, 7,, 7, 810, 51,2,4,5; iv. 97, 1815,21,23 Op. 95 ~t rN T ['.r] so, thus. tadha vi, even then, still, yet, i. 165, 2010; ii. 292; iii. 181; iv. 1966, 231. Cp. ^.? [~w] a certain kind of religious treatises; chief remedy or charm, i. 22a; iii. 18~; iv. 7. wq Caus., to burn. tavei, ii. 42b. ernr ts. name of a tree, ii. 432, 1. tO [Mn[f] name of a river, i 17d; iii. 314. watr- [nir] the leaf of piper betle, iv. 910.?w ts. a wave, unsteady motion, i. 18', 288; ii. Ib, 6b. iFi [~i] a woman's name, iv. 912. WfK- [fT ] waving, tremulous, iv. 6a. a bold young woman, i. 163; ii. 4d. t' ts. trembling, sparkling, unsteady, ii. 30a, 46a; iii. 16". twowt waving, shaking, i. 15C.?if'- [O'f -] shaking, i. 178. w ts. a tree, i. 2027; ii. 4229, 4313, 45a, 47a, 491; iv. 183, 38. few ts. fern..i, young, a young man or girl, i. 30"; ii 4d, 31b, 45a?rsfir- H. 2. 154. youth, iii. 19~. " to suppose, guess, reason. takkemi, ii. 291; iv. 1834. takkiadi, i. 281. rfrr [o;l thin, small, little, iv. 3&, 108. r [~R] burning, ii. 11lb [Maradthi n] a kind of coarse silk, i 209. M [wr] so, thus, and also; taha vi, even then, still, yet, i. 1, 9a; ii. 42b, 44", 48b; iii. 6a; iv. 3a.b, b20. taha, i. 13b, 34, b, c, d; iii. 200. Cp. iftH. 3. 60. there, i. 202325, 256; ii 05, 296, 422329; iii. 317, 53, 9c; iv. 1831, 1937. r [rM] therefore, then, i. 412, 62, 81, 101, 121, 163, 1814 17, 193, 6 202, 4, 20,,34 251, 288, 30d, 3426; ii. 13, 105, 112, 12b, 13b, 14b, 15b, 16b, 17b, 18b, 19b, 20b, 21b, 22b, 244, 297 10, 16, 403, 416, 4211, 9, 21, 6, 32, 43b,; iii. 23, 3c6, *, 122, 203"4,, 222, 9 262, 33b 34, 9; iv. 26, 184, 191, 18, 37, 47 204 10 H,~ [Tm'o] an ear-ring, ii. 37a. urw ['b] beating, i. 2b; ii. 47a. f 3zirm see w.. rm ts. loud, shrill, radiant, clear, shining, ii. 21a, 35a; iii. 2a; iv. 17b. HrnI [Tor] a star, ii. 17. nru ts. the pupil of the eye, iii. 198.,ririf [~'-]] unseish friendship, ii 283. [140 ~fi~[ow]such, iv. 220. wmwaT the same, ii. 48b. mv~ ts. clapping hand~s, beating time, time (in Music), iV. lib, 12b, 17a. lft [-qm] a fan, iii. 20b. um [-u] heat, glow, pain, ii. 29s, iv. 21,2, 7d errf- [warfm fern. tasixi, terrifying, alarming, ii. 290. fit, ffr [qf] a particle used to re~port the very words spoken by one. The Jornn ti occurs some only after anusvara. tti, i. 6a,1 204, 20~ 341, 115; ii. 8b 2921, 39a, 45b; iii. 32a; iv. 9 8, 9, 10, 11, 12 1187' 19, 20 9, 59 2016. ti, i. 62, 288, 343; ii. 29"; iii. 91. 2; iv. 28, 933,? 1816, 23, 34. LI~r [AMn'ru having three joints, consisting of three parts, iv. 14a. frw[Rlw] shar~p, strong, severe, hot, i. 29a; ii. 3d, 58g 468 f Tfui[] three, j. 49; ii. 4229 f~f~ts. darkness, iii. 258. ffzzr[CR] a certain plant, Benincasa cerifera, iii. 248; iv. 21a, 22a. Intf [ilk ]H.2. 143. obliquely, ii. lb. fim~ ts. the seed of the sesamum plant, iii. 16.b ljala, water with sesamum seed, offered to the dead as a libation, ii 5d aantaraiti, so much as a sesamum seed, ii. 18a. fimaT [*q a certain tree, Clerodendrum phlomoides, ii. 42"1, 43a, 452, 460. f~~u [N~~w]an epithet of viva, who has on his head the half moon, ardhacandra, which wvord means also a clenched fist, i. 20,2'. [fwr[N] the three folds of skin above, the navel of a woman, i. 30,,; Ii f~~[aim] acute, hot, warm, ii. 50b. f~waT fNtii] the third part (of the eye, used in the side-long look of women), ii. 5a, Bd. f~i~u [frm] the three world~s, i. 108.; ii. 10. ~r~-H. 2. 154. height, elevation, i. 34b; iii. 68. see uu~. ~rfi~ [~~jHD. 5. 15. quiet, silent,, iv. 20*.?f ts. having a protuberant belly, corpulent, i. 207. rtsee mm. i1rfrr mliJ similar to you, iv. 210. wqi, ' ts. a horse, i. 18's, 210. ~ [~r~~]quickly, iv. 19w4. rrts. a balance, scales; resemnblance, [ow] like, ii. 10d. rito be pleased. Caus., to please, satisfy. tuttha, i. 36d. tuttheiia, iii. 20"6. tosida, ii. iP. ~r~[-wrmjfrost, ice, snow, i. 144. l [frq] the moon, i. 4b. + m to descend. Caus., to bring Ii. 402. avainiiaik, i, 25~. avadilriadu, i. 25g. 141] +f to give, bestow. viiinna, iii. 1i. Iv- [w'] the same, ii. 1l. + -um to put away. samuttarida, i. as [mTw] a bunch, cluster of blos 301. 'ftra H. 2. 157. so much, i. 7b fr [f] oil, iv. 5b. ita ["o] water, iii. 39. (frt[T [g~] H. 1. 124. a quiver, ii. 16b. frit ts. an arched doorway, i. 17a. fvsee fi. om [~w] staying, abiding, ii. 50d. E to jall asunder, be parted. tuttai, ii. 4d. tudida, broken, ruined, i. 18s. w thou, you. tumath, i. 161, 193,5, 2010, 13, 25, 29, 343, 20, 30; ii. 66, 111 243, 321, 4217, 472; iii. 21, 22d, 34a; iv. 206. tae, i. 186; iii. 302; iv. 202. tujjha, i. 161, 208, 3425; iii. 21b, 24b; iv. 22C, 23d. tuha, i. 2015 16, 30; ii. 7^ gc0 l0d, 2 422; iii. 8b 32; iv. llb, 21c. de, i. 142, 184, 192, 206, 7, 27 32'; ii. 481; iii. 204, 33a, 34b; iv. 24, 95, 1829, 1932, 221. tumhe, i. 2041; iv. 187. tumhehii, i. 2012. tumhahimto, ii. 2912. tumhaiam, i. 181, 2041. vo, i. 3b. vW H. 4. 16. to stay, cease. thakkantu, iii, 208. am [wq] the female breast, i. 2b, 18b, 27b; ii. 1", 23b, 24b, 29^, 33a, 44a 49b; iii. 6a, 7d, 21^; iv. 6a. wsa the same, ii. 27a. Virftr H. 2. 159. having breasts, iii. 19b. wr [W*] raised or rounded surface, i. 27b. soms, ii. 47c. jP [g] large, great, iii. 317. its [T ] little, small; a little, i 16b; ii. Ib, 111. *vH. 1. 124, 255. large; great, big, ii 27a, 44a; iii. 6, 19b. W [ofi] lover, husband, i. 24". Fer. *a, wife, iii. 6b. daida, wife, i 288. Is [Wrr] looking, seeing, showing, i. 3425; ii. 32, 402, 4216 17, 21, 43a; iii. 21b, 311. -ap, [o~] able, skilful, iii. 17b. [l - Irero] grape-juice, ii. 26d. aif. [wfS] right, southern, i. 2015; iv. 99. zfr [f-w] the Dekkhan, i. 12%. ovadha [opatha] the Dekkhan, i. 256, 348. fomr, [-fimrr]present, gift, remuneration, iv. 1812,14,21,25. zrts. a stick, staff, stalk, handle, i 163, 32; ii. 610, 98, 39b; iv. 912, 20d, 22b. tre ts. a kind of dance, iv. lb. w ts. a tooth, ivory, i. 14a, 2025; iii, 310. r rising, bristling, ii. 46d. ts. zx [z] pride, haughtiness, ii. 300. Cral [ATr] a mirror, i. 1810. afw- [fS] proud, arrogant, ii. 41d. ats. H. 2. 215. a little, slightly, ii. 14b, 360, 49b. [142 Mf [aj [os] poverty, indigence, i. 20b. r to split, cleave. dalanta, ii. 2a. + f' to cut, break. niddalanto, ii. 30'. zf ts. leaf, petal, i 29b; ii. 62023,24,25, 14b, 38b; iv. 5a, 21b. w ['~] ten, iii. 318, 26a. Cp. f wrfaT [ ]wram] weighing ten mdia, iii. 5a. q to burn. dajjhanta, iii. 27". Em [ol] ten, i. 18 OS... a% [oft] milk, i. 19. r to give. dei, ii. 37b. denti, i. 13^; iv. 9%, 12. dehi, ii. 4211, 43b. it ts. a female slave, i. 188, 2028,33 40; iv. 28, 913. ts. burning, ii. 0b, 29b, 425; iii. 20d. f&sM [fr] a day, i. 18b, 21d; ii. 9a, 10c; iv. 3c, 5d, 6d, 9b. faaT~ [sTr] initiation, iv. 1812. frfrsT see *fef [:F] ca look, glance, eye, i. 18,, 21b, 28b.8; ii. 15, 5, 8d, 23a, 41b; iii. 2c, 1la. frg [~w] day, ii. 610; iv. 3. fdjjfi [f'9*] the sun, ii. 50O fri [ffe [] the same, i. 21. f~ [f sr~ ] quarter oj the sky, ii. 4b. deu, i. 3b. dedu, ii. 15. 18s. d'issam, iv. 2012. 2040; iii. 45. dadavva, dento, i. 4d. denta, ii. 2b: dijjae, iii. 9d, 33b. dijjadi, diadu, iv. 1814. dijjantu, dijjanta, iii. 27a. dijjan 30c. dinna, ii. 6'0,22; iii. dif a, i. 18d; iii 6b; iv. 96 21c. di44aih, iii. 34b. d 168. aim [ot] giving, gift, donatiot 471; iii. 17b. aT [on:] a wife, i. 23^. I iH. 4. 32. to show. da 36a. wr [wrr]ijust, now, tnrly, i' 311, 3426; ii. 622, 50s; iii. iv. 2012. irfu [~rFil] aforest-conflagr 24b. lnwuj [ow] slavery, service, ii deha, i foar ts. day, i. 3426; iv. 1811, 1964. daia, i. fzr to point out, show. dittho, i. 24c. iv. 1814. + r to point out, show, order. adi-;iii. 28a. sadi, iv. 919, 1816, 2. adittharh, ii.,ii. 42al. 261. iv. 211. + f to point out, show. niddisadi, aana, i. ii. 2921. Widdittha, iv. 1820. 39, 10d. + - to command, direct, instruct. }, 1821, 25, samadittha, i. 101. samadittharhi, liinua, ii. ii. 4310. far [f'.] direction, quarter of the I, if 5d, sky, i. 142; iii. 25b 268, 28a; iv. 98, 9, 10,11, frs iaT [faTw ] quarter of the sky, xviai, ii. direction, i 16d. 3' to consecrate, initiate. dikkhia, i ndeed, i. 23^. 32, 222,9; ai [o] a lamp, light, ii. 610; iii. 27a. a- [oi] long, i. 21d, 35c; ii. 2b; iv. 9b. ation, iv. Fr' [~'- ] length, i. 32a. 3vH. 2. 171. long, ii 9a. r. 8d. f1T [IfM r] a long lake, ii. 3a. 143] -#%T [lr-fu] second, other, iii. 17d. uT [Swe] a sin, misdeed, ii. 8c. gS [j:rp] sorrow, distress, ii 8%. [OR] a wicked, malicious person, iii. 2017. E [Z] wicked, i 2040.?jf~ [fo1u] second, other, ii. 83. p [z] milk, milky juice, i. 16b; il. 6b, 29". [#.l weak, feeble, ii. 9d. [so] a]L tree, i. 17b.; I1. 451, 46c; iv. 22a. 10 [R ]H. 1. 115. difficult to be attained, iv. lb.!aW3T [T ] difftcult to be seen, iii. 12c. atw [ul1a door, i.214; ii. 4221,26 20"1; iv. 97, 1838, 192,24, see fg. efi- [f~ifwm]having two moons, i. 34d. firn ['m] a daughter, j 3415; iv. 1819. ij ['p1] a female messenger, a confidante, iii. 270. ts. distant, far. Adv., to a distance, highly, entirely, i. 2&, 6a, 2(33; iii. la. ui [p. ]spoiling, disfiguration, defect, i. 18'; "H. 23d. 1W ["] insupportable, intolerable, iii. 203; iv. 2a. ~ u [ ~Tr] H. 1. 192. ugly, hideous, iii. 23b. to see. (Cbus. to show. Pass., to appear. datthui, 1 245. datthfta, iiU 6r% dattihavvs H. 29". dathsemi, i. 25". darhsido, ii. 622. daiisiaih, ii. 21b. dcsai, iv. 11" dlsadi, i, 42, 2026. dcsae, ii. 3Qd, disadha, i 416, disanti, i 6. disadu, ii. 29". dittha, ii. 403. ditths, ii. 1ld, 405; iii 22k; iv. 96, 1930. ditthail, i 251, 6; iii. 22, 34 dittha, Hj 5a in ts. a god; a kiiig, i. 18%, 24', 3441; ii. 11i, 22', 244, 26', 28', 297, 416, 473, 494. iii. 242; iv. 918, 216. ~i ts. a queen; Pcirvati, i. 121, 8, 163, 817', 198, 3428,34, 36; ii 622,23, 112, 2a2, 282, 29.1 0t 4227,28,33, 4310, 471; iii. 84, 347,; iv9 96, 7, 13, 14, 17, 19 184, 7, 11, 12, 15, 23, 30, 31 1991 25, 10, 23'. ~iuat C[r] an astrologer, iv. 1820. 3WrA [iwr] anotherplace,foreign parts, iv. 18.27. jw ts. body, ii. lob, 11"; iii. O 20'.1 dehantara, another body, i. 34 3; iv. 1964. z~ [ [t:-] a plantain-like arm, iv. 70,C dttu~ [fe] having both halves, i e. full (of the moon), i. 32". iug..- [f~] to cut in two, to break. dokhax.daants, i. 15b. [i*t [c.] a bucket, cavity, i. 29b. a to swing, oscillate. dolanti, i. 26b. dtcrts. a swing, hammock, i. 21"; ji. 2921, 3Qd, 31 d 37b, 39a, 40'.',. dtwr [it~t[ ] a creeper-like arm, iv. 16b. dt ISQ [ ItSw thirty-two, iv. 11". [144 dtrts. the longing of a pregnant woman, the desire of plants at budding time, i. 2027,29; fi. 451, 471. dft r [wi] the same, ii 43b f~ two. duve, i. 162, 3430,32; iii. 17a. dohix, i. 4c, 30b; iv. 12b. dohi, ii. 18b. dosu, i. 16d. dosuth, iv. 7o 'IUM [=uru~] aflag, banner, ii. 31a. wT ['n] a bow, i 32c, 33d; iv. 99, 20d. vsm ~H. 1. 22. a bow, ii. 3d. vm [4j religion, custom, i. 23d. ~rMEM ['O -r:] lawful wife, i. 23a. wt ts. holding, carrying, ii. 46b; iv. i 5. uts. earth, country, i. 12g. *dala [otala] the surface of the earth, the earth, i. 25'. umw ts. white, handsome, ii. 23a, 31a. wm- to nmake white or resplendent. dhavalenti, i. 10a. dhavalia, iii. 7P. dhavalio, i 29'. wAfM"r- H. 2. 154. whiteness, ii. 41b. Ur + to think over; make peace with. aiusarbdhemi, iii. 22. anusaffhdhedha, i. 2042 + f;r to place, put. xiihio, ii. 29. xiihiaxfh, ii. 30". xiihitta, i. 40. + fa to bring about, arrange. vihide, iv. 1832. wnjI [i] assault, attacking, ii. 46". wrn ts. a stream, current, M. 9b; jj, 20, 28d; iv. 13a. mufrt- [Cfft] carrying, iv. 93, 1. vm to run. dhavantassa, i. 18". V~i4ii [%miif] introductory stanza, i. 41". H. 2. 126. a daughter, i. 18. [' ] incense, perfume, iii. 14b. ' E ['Pf~] a pillar or cloud of smoke, iii. 27a. v to hold, carry, contain, stop. dharat, ii. 48g. dharantao, iii. 31b. dharia, iii. 30 'ciT [wit] washed, washed off, i. 26a. v- athe same, i. 30'.;iT to be delighted, rejoice. liandantu,;m to bow, make obeisance to; to sink. raxamaha, i. 2". iamanti, ii. 310. Xiaa, i. 4o. +;rq to rise, ascend. uinamantI ii. 31". + vfr to be changed, ripe. pariliamanta, i. 8. parinaafa, ii 8". + i to bow down. papaamami, iv. 194. paiiamanti, iv. 18".;rr to disappear. vattha, iii. 3d. 4at, thae, ii 403. + u to disappear, be lost. paxpattha, ii. 40'. RI to carry, bring, conduct. 4aissadha, i. 34 7. liaia, ji. 1 13. + iw to bring. Awemi, i. 250. apedi, iv. 19". nva ii. 432; iii 4'. nadi, i. M a S~iadu, i. 251. gtiant i. 26d. aiq~xdabt? i. 1 9 14 + 3 to offer, present. uvaxiijjo, iv. 70 +uftto marry. 2aus., to cause to 145] marry. parinei, i. 12b. parinedavva, iv. 1821. parinaidavva, iv. 187. v to play, act. iaccidavvaih, i 418. us [-o]foot; pace; dignity, rank, i 9b, 12a, 21a; iv. 11b um [ufa] nature, natural condition, ii. 26C. r 4rm' wart ] producing, i. 163. u see ff +. 'm- see sb,+ u. Mu's [[w] impetuous, iii. 30. tOTi [u-~] position, rank, iv. 23'. tir um [ 'fs ] the god Prajapati, the creator, iii. 17a. um see %r.+. rt [wmt] the fore-arm, ii. 16. uait [uti] evening, iv. 4b. Iw [ri~] dust, iv. 5c. wT [nw] a wing, iv. 210. ut r [Iuria[l] a kind of drum, cp. lindi pakhaiij, i 410. VWarfa see R+. xg ts. mud, paste, i. 16; ii. 89, 128; iv. 4a. ur [-s] a lotus, ii 13b, 33a. g ts. the same, iii. 3. ferts. turbid, smeared, anointed, iv. 8. ts. a lotus, i 4d, 35d. T1ia 1 [wu ] dearly, openly, i 30d; ii. 432. Xrar [war]fresh, new, iii. Id. c- [ai] on every limb, iv. 9a, wra [wirmi] behind, from behind; afterwards, i 3427; iL 6e. f kr [I[ff^r] last; western, iv. 4c, 910 r'WiQrf see g + V. x[ats. five. panca, i 18b; iv. 4d, 98,9,12 pancehii, iii. 19d. umit [n] the five products of the cow, i. 202. Uc [~[.]fifteen, L 3426. wsra ts. Cupid, ii. 19b, 38b. its ts. the fifth note of the gamut, said to be produced by the cuckoo: name of a musical mode, i 163; iL 25, 5b; iii. 207; iv. 6a. wst [ow] Cupid, i 320; ii 46b; iv. 8d. aprts. name of the country between the Yamuna and the Ganges, the Doab, iii. 52. | fiwr~ [o~w] a doll, ii 12b. I IrfMir [ Irffir] the Pancalika style in poetry, i. 1. RT [] Cupid, i. 18; iv. 4". qmm ts. a cage, i. 1815; iii. 31a. uz + z Caus., to tear out, eradicate. uppadaissait, i. 2016. uppadia, i. 2031. uppadida, iv. 24. g ts. a garment, silk cloth, i. 36". rm [s] a tablet, palette, i 46. tirT [wti~] a silk garment, ii. 14. i to recite. padhissai, i. 1817; iii 302. padha, i 19 10..dhiadi, i 197. w ['z] a garment, cloth, i 14d. uwr [wJr]falling, iv. 188. 10 [146 trw [nrol] a flag, banner, iii. 206; iv. 20a. uftr% [wfiT] a silk cloth, i. 209. uf sjirfav [wFrdf,ir] speaking agreeably or congratulating in her turn, i. 131. uffiCfaiirs [ufm] a dream in return, iii. 8b. IfSgFRLTW [ufIU]aJ a mask, i. 45, 20"; iv. 15b. [K, anukaryanurupavarnanamukha]. Gr [UwR-] reading, reciting, i. 24b C-r [m].first, i 203. 25, 3424; iii 170. wsT [uin] attachment, iii. 84, 9. rq [u]rf] a bow, courtesy, i. 4a. qre - [mfrj] attached to, joined to, iv. 7b. WeI [wur] the bread-fruit, iv. 22. vmmiw [Crw] a bow, salutation, i. 34". ufM 3see tifiw+ W. Mfr^a [ ft r] erudition, Panditship, i. 184.8, 9. a _Pl. ndya woman, i. 15. mog [r] pale, yellowish, ii. 10"; iv. 5'. i [wr~] pale- white, yellowish-white, ii. 610; iiL 33a. siwtT [uTt] riddle and answer, i. 52. wr to fall. padaX, ii. 39%. padanti, iv. 13b. +fr to fall down, to be cast at. uivadia, ii. 5c, 46c. + 8 to jump up, to emerge. samuppadia, iii. 318. w [-a] a leaf, ii. 12, 7 wm [ur] a dramatis persona, i. 4'. wsee wsrq+u. ufvfsee w+ a. + - Caus., to produce. uppadedi, iii. 12'. +f-; to be produced. nippajjadi, i. 3418 + t to become Caus., to accomplish, produce. saiapaninami, iii 204, 1. saihpademi, i. 416. saiipademha, i 122. saimpadaissadi, ii. 431 + ' to be produced, samuppapoa, ii. 49; iv. 19s5. qft ['ffr] a husband, i 197. ru*a [waT ] a lamp, iii 22. liff [uf a line, row, series, ii 12, 17b; iv. 12b. uWOM [wimr] HD. 6. 66. a mass, large quantity, ii. 33a wM [iwm] day-break, dawn, ii. 610. UWf1siU [utr ] pleasure-grounds, iii. 229; iv. 1830 XwTm [a-] measure, size, extent, i. 163; iii. 318. uw ts. other, different; intent on, i. 18, 8; iv. 186, 222. paramh, however, excessively, at the utmost, i lb, 3430; ii. 11. rW ts. highest, best, ii 28d. TmW [*rri] truth, reality, ii. 221. wf- [fts] an epithet of Brahma, iv. 19b. Umr ts. an uninterrupted series, suo. cession, i. 9b, 18, 8,9. rnw [~rw] the cuckoo, ii. 2,. vfTw[r [W] attendants, suite, i. 286. 147] 14 7-iffl ifftw 3 [i1'w] testing, examining, ii. 29a. iufi u[r tir[m] emaciated, diminished, ii. 610. ftMfr. [~f;[] maturity, iii 48. ut xr [~',i ] daaling whiteness, iii. 34b. fe ts. embracing, i. 2; iii. 7*. frirf [omf] order, succession, iv. 16b. f-ftf- [~fi] moving about, iv. 1955 wft~ ts. neighborhood, environs, iii. 19a, 34a; iv. 7. ifj*T ts. joking, merriment, ii 66. WTr [ow] hard, harsh, i. 7P. twr see AI + W. ua [ow] invisible, unknown, iv. 1829. rT [uw3] each other, mutual, ii. llb; iv. 12b. trw [q][ a bed, couch, i. 36b. uier ts. a sprout, i. 26b; iii. 23a. Tm [uwr] display, diversity, ii. 40s. waw- [wRm-] to display, show, expand. pavaficida, i. 168. [.}] the wind, ii. 11b, 14b, 36a; iii. 224. wwr [uMR] violent, iv. 1l wra [w.]a stream, current, ii 10d; iii 105, 208. v [waw] an interlude in a drama, i. 6b. [w [ut'] the palm of the hand, i 300; ii. 38. ie the same, i. 16s. TOT [Ir] outbreak, course, iii. 209* W3M[ [u] going, streaming forth, ii. 10a. Trw [w] blossom, ii. 62. VTS [wTr]propitiatory offering, propitiation, favor, i. 4F, 22%, 3426. r + [ [0] to present. -kida&h, ii 624. XKwr [w'] spreading, iii. 11~. WIruTr [uaRi ] decoration, toilet, i. 2036; ii. 19a, 22a, 243. VO [vu] a bud, flower, i. 19d. t [-w] way; reach, iii. 2d. wi [Wm] light, splendor, similarity, i 16^. R [w] striking, shooting, iii. 7b uwr Ima[w ] power, efficacy, ii. 622, 451; iii. 82; iv. 1829. g [r'fE] beginning, beginning with, i. 32d. see +. x'f[ [uwif] beginning, beginning with, from, ever since, i. 2020.3; ii. 32. a to drink. Caus., to cause to drink. piamo, i. 22b. pianto, iii 84. pianti, iv. 19b. pijjae, i. 23b. pij jantari, i. 16d. pido, iii. 311,18. paida, ii. 291. [m [.wfoot; beam, i 4d, 2030; iii 28d. mqr [virar] the extremity of thefeet, i. 14d. mUTIR [uri ] a rampart, wall, ii. 31j. ram [gwr] the lrakrit language, i 7: wri the same, i. 6. WfrfhiHD. 6.77. emulation, rivalry, i. 10b, 20,12 38; i. 106. 10* [148 Mfr1ar CmfsTja reciting or readi'ng wornma, iv. 912, Uo LwrirM] 14e, soul, iii. $a m ts. hand, i. 27"; RLi 23". u i wr ts. a low-caste man, i. 2029. ti~r~re ['a] a pigeon, iii. 27b. yfcim[, [o] the coral tree, iv. 22. rum+ rfitto guard, observe. padivaledu, ii. 412. wRftrmr capital; a treasure; a paragon of, ii. 3b; iv. 19A. (K, bhaiigiprakarah palayitrka; yadva piffittaa iti de~ipadaih mfilanivy.Sii vartata iti samhprad yava.) um L-vj] side, flank, ii. 36b, 46b. qr v pw a present, gift, ii. 7a fa see fa. fqr [ftml dear, beloved, agreeable, i. 1", 31%1 15c? 161; Ii 27c; iv. 2b, 22 1,2. ftowm qfn."a] a dear friend, i. 1817, 2039, 32k; ii. 610, 106, 412, 432; iii. 23, 20', 347; iv. 94, fbawff [ff tikJ a female friend, a lady's confidante, ii. 8, 425, 10; iii. 302, 345. ftrW [uF] ripe, ii. 50d. fii ts. yellow-red, ii. 50d. fia ts. tail-feather, ii. 148; iv. 14b. fi~r~ts. reddish-yellow, tawny, goldcolored, ii. 881, 128; iii. 25". fai~ts. mass, ball, i. 35a fcFV~ [acovering, iv. 1838. fiw4M [~k ] slanderous, jjj 9d, fb~m- [o~.] to indicate. pisuiiai, ii 24d. pisunedi, i. 206. fi~r [rE] broad, large, iv. 97, ui to press, squeeze. pidio, iii. 7 d. v*. [-;j]JMt round, L 18b iii. 7e. uffqT [-ajfurnished with feathers, ii. 3d; iv. 20,1. the same, iv. 99 to heap up, collect. puijjai 26d. punjia, i 14'. ar ts. heap, multitude, i. 19d; ii. 46d. s see 'w. e [vW] the back, ii. 39" [uqq"[gw revived, refreshed, iM. 2010.,it [r)again, back; on the other hand, j, 3427; fi. 3c, 5c, 6b, 13, 26c, 284 49b; iii. 17d; iv. 1817, 192. 37,47. pu4U? ii. 23 d; ifi. 9eq 14d. Cp. 3W. w[Hii],filled, full, accomplished,,id1 -filled, i. 20d; ii. 41"; iii. 19a; iv. 23b. gf~wrc~ [fi~r] the day of full moon, i. 259, 34d; i 610' 2919.21; iii. 2015; iv. 1964. r ['-v] a son, i 181, 197; iv. 2. M"rrIr [MIf r[fw a doll, ii". 203; iv. 1836. w#I [-A a daughter, i. 2028; iv. 19'4,50, i[.-w] before, in the presence of, i. 1817, 19",I 2020; ii. 10', 296; UHL 302. uv~1 C~['] an elderly married woman, i. 16'. [xg-,-]preceding, i. 201G, 3'. if~ [-j a man, i. 7b ~it [~vr] before; formerly, fii. 1e, 22"; iv. 19". twaT L"w] horripilation, thrill of joy, iv. 21d. I 149] wrT-, wra-, H. 4. 181. to look, behold. fid ['r1'] shaken, swung, iv. 98. puloesi, iii. 84. pulantia, ii. d. ifr [ ] touch, contact, iv. 60. wRsrr [~or] horripilation, i. 15^. rits. fruit, result, ii. 616; iv. 21a. f ts. a man of a certain barbarous %a [~Ei] plank, shield, expanse; i 30b, tribe, a mountaineer, iv. 14b. 32b; ii. 15', 23C; iv. 91. B [-] eastern, i 142; iii. 25b; iv. 98. if [fnor-] a crystal-stone, ii: ts. a stream, flood, iii. 28a. 2915. qT ts. filling, i. 3439. see c. i to fill. pariae, i. 4b. ['sr]large, great, i 20b; ii. Qi [r1f] nectar, iii. 202. 19a. Fwl, im see i. Vsee jQ f^s [iF swung, shaken, i. 21^. a [:z;] clear, white, clearly, evidently, Wr [Wr] love, affection, ii. 83,, 9a., 1, ii. 12b; iv. 22d. 12b2, 2 15b. X to open, blow, blossom. Intens., the [4wt ] circuit, border, iii. llb. same. phullanti, ii. 49. phullai, 'R [xr'] artificially made pleasant, ii. 38a. pamphullia, i. 16b. seasoned, iv. 5b. ts. a flower, i. 19a. f name of a poet, i. 202~. iC [ aT^R] a shriek, howl, iv. 158. fit a garment, cloth, i. 27b; ii. 24". tsr [ bk] a book, i. 182. wr see Crfrc-r. Cp. Mardath baila. [,ii? ] H. 1. 170. the areca nut, w3rarwl [is] name of a woman, iv. iv. 5b. 910. itrrar [ wgrm] a ruby, ii. 15a; iv. qrj [vii] HD. 6. 89. a jest, ii. 68. 1811. 1iCjO nIame of a woman. iv. 911. -— J ----w~w - —, ---7. w to ask. pucchami, iii. 82. pucchissai, i. 412. pucchia, i. 341. pucchianti, i. 1813. u [~w] touch, contact, iii. 24b; iv. 21C. iIr [%iw,] a Hindu month corresponding to February-March, i. 2029. rI ts. the hood of a serpent, i. 20b. ifiir [wrT] the betel plant, i. 17C. iaw HD. 6. 82. a shield, iv. 98. aft- [~o ] a panegyrist, bard, i. 162, 4..ia+ fi to bind, close. nibaddham, iv. 97. w ts. arrangement, literary composition, posture, i. 62, 78; ii. 4c; iv. 118, 12b. q-WI [wr] a kinsman, friend, i. 16g. wn- [wot] the god Brahma, i. 24a. eMi [rwrm] fem. oni, a Brdhmana; fen. the wife of a Brdhmana, i. 204.2633, 43: 2034. 20. 26,33s3; iii. 81. fer. i. 20 fdr- [~f*] a peacock, ii. 15b. [150 NWr ['WTr] perforce, violently, i. 13d; iv. 22c. wfrr ts. an oblation, iv. 15a. wrm ts. copious, abundant, i. 13k, 20d; ii. 3a, 37a; iv. 21d. w Jf'"I Lr[wf airf a sister, i. 3422,2582,35,38; ii. 624, 91, 10.2,4. +;r to value, esteem. -mapTedi, i. 28g. [-wq]t~ ~ often, i. 4,,; Ii 29b. Mtlfifw RD. 6. 92. a doll, iv. 1965. aimrts. an arrow, ii. Ile; iv. 13b. wr to harrass, torment. bWaIaijjo, iv. 2. baha~ijj, iv. 21. am~ ts. young, new, i. 130, i5a; ii. 41", 4229, 45&, 49a; iii' 8', i9d. u'n9V ['-f3 a young poet, i. 9a. wr' [-w] a tear, jj. 9b7 lOd; iii. 2oM. wrfr~ [OfW] H. 2. 140. external, i. 3430, aq ts. an arm, i. 30"; iv. l2a. aIr"O ts. a shoulder, ii. 24a. f ts. a drop, i. 26"; iii. 317, 4. fia ts. the Bimba fruit; the disk of the sun or moon, i 13a; ii. 20b; iii. 25d, 32b; iV. 3$b saxilpu44abimbattana [saiapftrnabimbatva], fullness of disk, iii. 25d. fiw ts. the fibre, fibrous stalk of a lotus, iii. 20a; iv. 7Te H. 4. 101. sinking, inclining, ii. 31d. ju + fee awaken. vibuddho, iii. 7d. atwH. 4. 162. Caus., to pass. bok4i, ii. 29d. MtwH. 4. 2. speech, words, jj. 4o. wws- [wrrr]fem. *vadifavorcd, exalted, venerable, holy, i. 2027; ii. 625; M.j 314; iv. 1816,2i9 1a* RW ts. breaking, i. 28g. rff ts. bending, iv. 9&.; ts. fragile, iii. 21a. aiiflrJ [~wmt~] enslaved by women, a hen-pecked husband, iii. 21. w to break. bhaiija, iii. 21a. wiZ- [i] a lord, master, iv. 916, 186,922 ~ca [s] uvenerable, worshizpful, iii. 2025. wu to say, speak; name, call. bhapimi, ii. 473; iv. 7'. bhavasi, i 202; iv. 19". bhavadi, i. 3428 biamimo, u. 23d. bhanamo, ii. 48. bhav~anti, i 24s; iii. 9'(a. bhai. i 20 17, 251, 3- ii. 67, 404147. M, 86; iv. 4'. bhauaha, ii. 16". bhaiiia, i. 34'5. bhanantassa, i. 2030. bhanaio, i. 5a, 6a. bhaniadi, i 204P ";. 102. bhaxpae, ii. 2 bhatnift ji. 4233. bhaxidaih, i. 71; iv. 26, 181',223 wa [nwmw] a small vessel, cup i 2026. Rw- [mj] husband, j. l lb; ji. 8b. w~ ['ib] ha~ppiness, blessing, i ia, 2026; iv. 5d. WHO [w] shaking, moving, Ii l. wRMT [q'] a bee, iiU "3.; iii 2b. r"toua [wi having an unsteady character, or, having a scar like a bee, i. W8. (BNJ, bhramaisa~i1l; P, bhramaravat tito yasyIi. teto ii xadhyasthito[!] mapivi~e~aI. ti 151] -wrt ta bhisani; O, bhramarasadrgena tetakhyaguhyagena[!]. teta aksigolakam iti kecit; K,bhamaratemte ity etad delpadaih mustipraharaprarudhe veqyorahkiIe vartate. bhramaravarnakinamaoau. tatha ca prayogah. teimavalokanakutihalablhargabhsrur iti. yadva bhramaranaih vitanahf teIhta bhuyate.) w [m ['~] abode, dwelling, house, ii. 622; iv. 19,17. [ow] what is to be, the future, i. 18. wr HD. 6. 101. a bee, i. 16, d; ii. 44d w to shine, seem, appear. bhai, i. 23d, 33b; iii 31b. + f the same. vibhai, ii. 41d. MWT- [ri] a brother, i. 2015. wwIT [lT] walking round from left to right, iv. 211. r ts. a burden, weight, mass, i. 182; ii. 218; iii. 21^. wrfinw [wf] a wife, i. las. urts. being, condition; feeling, sentiment; a venerable, worthy man (term of address), i. 415, 5; ii. 10, 50b; iii. 10b 2010 Iq C nsee mWr [-wr] language, dialect, i 71, 8b. fir-si [~gT] alms, i 23~. fi [qr] a bee, i. 29b; ii. 6. frw [gm] a servant, slave, i. 33. ftq,+a pass. to shoot up, be raised. + f-w to tear up, break through. Wbbhinnassa, iV. 1838. umW [tvW] a paramour, gallant, i. 14". the birch tree, iii. 25b. food for a cat, iv. 28. (0, bhutthaUa maarie bhuttL bhiftraipatanayogyah; bharitrayogya iti va bhathir iti bhasaymh.) H. 4. 17 7. erring, oblivious, iv. 2015. [-vv] the world, iii. 26b7 28b; iV. 20a. uto be, become. Caus., to cherish, affect, win. hosi, i. 195. hoi, i. 76,8b; iv. 2 3a. bhodi, i. 2013, 341"; iv. 31, 1821,22. honti, i. 21d; ii. lod, 49a; iii. l9d; iv. 210. hava, iii. 23". hou, i. la, 8b; iii. 23b; iV. 5d. bhodu, i. 142, 2021,27, 34"; I 494; iii. 32, 22", 241; iv. 19411, 21", 231-. havantu, iii. 24b. bhavissafa, i. 131; ii. 28t hohii, ii. 39a; fil'. 32a. bhavissadi, iv. 1820, 32 bhavia, i. 034; iii. bhavi 2 ii. 91t 322, davvaih, n". 4226. bhavapi-J-3-A, I'L' 26c. + &TI to enjoy, experience, feel. a-n.ubhavidaih, i. 342150 +xm to arise, be born. Caus., to honor, show re&pect to; to fancy, imagine. saihbh'ftd]Ixiaida, i. W. salhbhavehi, iii. 2023. saihbhIvais17 sadi, iI'L' 20 saxfabhavlad iv. 210, + f-w to tear up, break through. nibbhinnassa, iv. 1838. uT [tr] a paramour, gallant, i. 142. [1] the birch tree, iii. 25b. yw^ ifood for a cat, iv. 28. (0, bhutthallah majjarle bhutti bhfimipatanayogyah; bharitrayogya iti va bhuthir iti bhasayam.) H. 4. 177. erring, oblivious, iv. 201. ar [-w] the world, iii. 26b, 28b; iv. 20a. uto be, become. Caus., to cherish, affect, win. hosi, i. 195. hoi, i. 7, 8b; iv. 23a. bhodi, i. 2043, 3410; iv. 31, 1821, 2. honti, i. 21d; ii. 1Od, 49a; iii. 19d; iv. 210. hava, iii. 23". hou, i. la, 8b; iii. 23b; iv. 5d. bhodu, i. 142, 2026, 27 3441; ii. 494; iii. 32, 226, 242; iv. 1948, 216, 231. havantu, iii. 24b. bhavissam, i. 131; ii. 284. hohii, ii. 39a; iii. 32a. bhavissadi, iv. 1820, 2. bhavia, i. 2034; ii. 91, 322; iii 38. bhavidavwaih, ii. 4226. bhavanijja, ii. 26c. + srI to enjoy, experience, feel. anubhavidaih, i. 3425. +xm to arise, be born. Caus., to honor, show respect to; to fancy, imagine. saihbhudanaih, i. 189. saihbhavehi, iii. 2028. saiibhavaissadi, iii. 207. sahbhaviadi, iv. 210. I ubbhiiadu U", 20". I bpdr ts. terrestrial globe, iii. 25. [152 w, [~.] an earth-moon, ii. 27. frr ts. earth; ground, i. 25d, 3418.,frr [~Ei] character, costume in a play, i. 123. yim [Iq-] cellar, underground chamber, iii. 25A. m to adorn. decorate, bhusida, ii. 115. + fa the same. vihusaanti, i 31. vihusia, ii. 22b. gr [wmr] ornament, decoration, i. 301, 31b; ii. 23d, 25a; iii. 15d, 26b. q to fill, pervade; have, possess. bhariam, iv. 23. bharida, iii. 202. wS [*o] 1. splitting, wound, iii. 11d. 2. difference, iii. 15C.;iukuU [Wra-] name of a yogin, i. 214, 242, 3425 33, 35; ii 622; iv. 1811, 29, 31, 34 [;ft [ ] a vocative particle, 0, sir, i. 181, 3430; ii. 243, 2919, 321,435, 441, 471; iii. 21, 34, 84, 91, 228, 261; iv 2012, 211. il [-o]food, meal, i. 23~. it [wiff] honorific pronoun, used as term of respectful address to women, ii. 427; iii. 2031; iv. 188. [r, to fall, decline, decay. bhattho, iii. 81. Wm to whirl, swarm round. bhamiarh, ii. 13b. +ifrto wander about, turn round. paribbhamantiu, iv. 11. ~Ta [~4]fem. omai, made of, consisting of, i. 36a; iv. 1811, 1965 n l [wnrr f a deer-eyed woman, ii 46c; iv. 16a. asw [~'] beeswax, i. 13a. (K, himavranopa<amanarthaihl hi madhucchistam adhare dadhatiti lokaprasiddhih.) rw [~o] love, Cupid, ii. 10, 16b, 33b, 36b, 45b; iii. 12b, 18d, 21b, 30b; iv. 1a. aTw [nLar ] the same, iv. 200.,rr 'aT [,rairo ] the same, ii. 49b; iii 92, 206; iv. 1964. WvI, [ wirs ]the same, iiL 26c. iwrr [rwiaI^] the moon, ii. 47b; iv. 1836. fr [fo] spirituous liquor, i. 206a. Wr [ft [i] head, i. 4a. ri [;o]fesh, meat, i. 23b. wrr ['r] way, doctrine, i. 22b. wf'FI [zrio] an arrow, i. 32d. *i"-nvTi ts. name of a woman, iv. 910. Wr [aJ] spirituous liquor, wine, i 22b, 23b. a4or [~;r] bathing, iv. 4b, 8b. Nr"Wmf [,f.]fem. ohl, keeper of a bath, iv. 91. i0rrfrr [mTkrffi l] a cat, ii. 2911. 44 [ow] the middle, centre; the waist, majjhe, between, among, i. 83, 181, 04', 30a; ii. 6b, 20b; iii. 4', 7a 19b; iv. 1830. ug [~,or] the same, iii. 21,. wva [~r] madness, rut, ii. 61~. n~n-u [owM] midday, ii. 411; iv. 4, 8.1 u-f trC 1 [.1 ] name of a woman, iv. 91-2 [-=] [~ar central, i. 140. wifrs ts. a shoot, sprout, flower-bud, ii. 46k; iii. 13d. rfrFs [IIf ]fem. -tthl, red as madder, ii. 418. rrf+rI! [-zr] munjeet or madder, ii. 500. Tsifr ts. an anklet, ii. 13". v " ts. lovely, sweet, i 18c; ii. 32g. +r1 [mr] a box, casket, iv. 19i. wij- [-sr1 mniind, thought, desire, L 14b; ii. 32,'; iii. lob, lib, 12a, 28b. mt*r [~ffM a little, slightly, iv. 90. MWu [w*-tj]fascinating; fascination, ii. 28b, 31d. rftj ts. a gem, jewel, i. 341$, 36a; ii. 9b, 158, 25b, 2915, 328, 33b, 34b; iii. 2a, 18a.1; iv. lob, 138. f'+_It- I [-Rlfam] clever, wise, iv. 248. mr"QjuiA;W [-snu-04 checking the mind, iii. 161. rt [oi] beautiful, iii. 270. aigft~ [o;it Cupid, iv. 13b. ~ira~tn ['~i] wish, desire, iii. 81. rmffr the same, iv. 9d, aiit [-W.] Cupid, iii. 1JO, 2016. AMST [.;R] an ornament, embellishment, trimmings, i. 3S, 288; ii. 47c; iii. 12b, 2, 13b, 268; iv. 209. mzR ts. a globe, ring, disk; a group, collection, j 358; ii. 30k; iii. 58, 318; iv. 23b. ~r~r~i ts. the same, iii. 23b, 26b #rzz [-u] a hall, arbor, i. 36d. [;jR] a kind of drum, iv. 168.;m to be minded, think. ma=4emi, iii. 41. ma44e, i. 13 d, 30a, 33d; iii. 16c; iv. 28. makijedi, i. 28g. ma= 4antao, ii. 8b. + af3rto honor, belove. ahimada, ii. 617 6'~ +am-to despise, disregard. avamam. Mia i. 14a w, ow] a Vedic hymn; a charm, spell, i. 228; ii. 622. w-w- [nall-] to consult, deliberate, talk. mantaantassa, ii. 6's. rav- to grow slow, to decrease. mantharijjantu, iii. 209. g- ts. soft, gentle, i. 17". TiFMM~ [-w1] name of a woman, iv. 912';RMIQ [0;;J] Cupid, iv. 21. Cp. ctraij PT3 ST [-w]J an emerald, ii. 138; iii 28, 18b. rmr~ [-%w] a place or seat adorned with emeralds, emerald-arbor, ii 297, 41', 4220, 21 432; iv. 18g. w;E HD. 6. 120. pride, elegance, charm, ii. 23c; iii. 309% (KI i. 23c vilasa.) a Mardtha woman, i. 16,. TW3T [eu] name of a mountain-range of South-western India, i. 15d, 161, 4 200. rf~g [oR] black, dark, iii. 258. irfrlr'w [' a kind of jasmin, i. 16. w~ir~ C~ a boxing-match, ii. 21" ~Twr~ [~iwTT] a cemetery, iv. 15".;nfq ts. lamp-black, a black powder used Mas [Irgol the sun, H*i. 314, to paint the eyes, ii. 7b; iii. 32b; iv. 14a. H. 4. 192. to wish, long for. mahijjai, iii. 9c. ltf'5w [~wrfr] praised, i. 3433. r iHD. 6. 143. old, elder, ii. 91. irns4 i ts. a great queen, queen-consort, i. 283. Tlwrui [~w r] a great Brahmana, i. 2029. [i w ] [wi]daintyflesh,especziay human flesh, iv. 15'. <rw1*^ [0o] a great cloud, iii. 314. xnCss [-t] a great king, i. 123, 282; ii. 03, 15, 612, 91, 4213, 16, 17, 1921; iii. 302, 349; iv. 18. 21, 1960, 62, 206. rTg sf [- r] a great banner of victory, iii. 19d. f [~ir "] the face of the earth, the earth, iii. 14g. *fQIM1 [i~"Tlmw] the king MahendrapalC, i. 5b. wfr ts. a woman, i 7b, 22b, 25*. wrfi# [ot] a buffalo-cow, i. 19C. mtl ts. the earth, ii. 22b. i [o'w] the surface of the earth, the earth, i. 3434; ii. 103. g [.] the spring, ii. b, 621; iv. 7a, 1966. mahisava [odhutsava], the spring festival, i. 163. rc [' y] sweet, charming, i. 282, 36d; iii. 1i. nl- [mr -]to become sweet. mahurijja, ii. 26.1 rw- H. 2. 154. sweetness, beauty, T r [:, a] a great festival, i 18d; iv. 919, 216. gstr~ [W o]y jugglery, i 441. [o*] a great, efficacious herb, iii. 20d. wrts. a prohibitive particle, not, i. 20, 11, 17 42; ii. 67, 39, 404; iii. 86, 21", 32"; iv. 41. mrrr [~,t] the Mdgadhi style in poetry, i. 1C. mr [ow]pride, jealous anger, i. 15b, 18'; iii. 30a. inO [oral] mind, heart; name of a sacred lake, ii 610, 50b; iii 2d; iv. 23" (rosakasaamaiasavai [rosakasayamanasavatI], having her mind affected by anger). wif [- ['w] a ruby, i. 2026; iii. 16d; iv. 196. mfqu$~ [*"rtl] name of a bard, iii. 262. Ifrqj~it [o'wrwr] name of a woman, iv. 910. mffizjil [of;r] an angry, jealous woman, ii. 60b; iii. 27d, 30". wr ['^3 a man; mankind, the world of men, i. 31b; ii. 256; iii. 81, 14d, 162; iv. 23d. wIrr ['q] a mother, i. 2025. mT rafem. occhia. H. 2. 142. a maternal uncle, fen. aunt, i 3410,13 mrIE [.m] wind, i. 16s. rw ['i] a great-flowered jasmin, iii. 2b. i1er ts. a garland, chaplet, row, string, ii. 2. i. 209; ii. 6b, 13b, 20a; iii 18b; iv. 910 [~ow] the same, i. 11, 17s; iii. 2b. n~ [ow] a weight of gold, iii. 318. nm ts. a month, iv. 9d. T [' [- ]r majesty, dignity, i. 9b, faSr [m] the moon, ii. 428; iii. 21a, 26d. tfUajm [mir] the moon-gem, supposed to ooze away under the moon's rays, iv. 1836. fi4%%T [~Tmrw] name of a woman, iv. 99..kadha [.katha], the story of MrgSiakalekh, a poem of Aparajita, i. 83. ftri- [-.] a kind of drum, i 49. f~a'r [^rer] sweetness, iii. 140. franm [*~R] a pair, couple, iii. 92. fir to join, combine. milido, ii 613. milidaim, i 3431. milidassa, iii. 9 firr ['i[rm]faded, withered, ii. 610. fwr [.r] under the pretext of, in the disguise of, i 180; iv. 22d. fir [g3.] a pair, couple, i. 14d. Ir to be closed. mflanta, i. 35d. +^ to close the eyes. sammiliaaiah, iii. 7b. +f to become manifest. samummllai, i 31b; ii. 25g. u^q [.ff~]name of a tree, iii. 25". fsr [ i] foolish, i. 186. V to loose, let go, quit. mufncaha, i. 18g. muncanto, ii. 50b; iii. 25~. muccanta, iii. 27b. mottuna, iii. 3d; iv. 138. mukka, ii. 610; iii. + rato loosen, take off. avamukka, i. 28a. + w to loosen, shed. ummukka, iii. 28d. 6T [wmf]fainting, swooning, i. 35d. f ie Cfe] the clenched hand, fist, i. 30,; iii. 19b. rH. 4. 7. to know, think, understand. muiasi, iii. 8a. mugadi, i. 284. munido, ii. 481. mrr [R*]fem. ol, olia, a lotus-fibre, ii. 61T, 11; iii. 203.,r [wr] a pearl, pearl-oyster, i 29d; iii. 318. iEr~ [o~f'-rl a pearl, iii. 318, 44, 58. *ttana [*tva], condition of being a pearl, iii. 41. gw-fSf'w [q'rnSw'] abounding in, or consisting of pearls, i. 4c; iv. 108. Uf [of-] release, final emancipation, i. 24&. g [sr] a seal, stamp, token, i 33~; ii. 28, 41a; iii. 9d. rfs [.fO] sealed, closed, i. 35d. [o [i]x foolish, innocent; charming, lovely, i. 16b, 19d, 343; ii. 268; iv. 218, 22a. g [a-] price, iii. 5b. v [~rw]fem. -muhl,face, mouth, opening; beginning with, i. 135, 2027 30, 24a, 26a, 34. 3; ii. 10b, 17b 27b, 32d, 47b; iii. 9d, 21, 229, 25b, 28%, 338, 34b, 9; iv. 23b. I 340. mukko, iii. 10'. mukka, i. ['r] noisy, tinkling, ii. 32b, 34a. 29', 31.^; [*';] a moon-like face, ii. 30d. [156 zts. root, ground, i. 4b, 16c; ii. 2a, 24a; iv. 2', 1830,38. g to die. Caus., to kill. mudo, i. 2041. maranijja, ii. 5b. gW- to purify, cleanse majjida, ii. 115. ifrH. 4. 91. to loosen, emit, to be emitted. mellanti, iv. 22d. i[rr ['"T] a girdle, flank of a mountain, i. 20^; ii. 32b; iiL 138; iv. 7b r~aw [~oE]final emancipation; scattering, strewing, i. 22b, 24d; iv. 211. iif [+if iaci] a pearl, ii. 17a; iii. 48, 203, 27b. ttaua [otva], condition of being a pearl, iii. 4b. tr [i] sweetmeat, iii 81. [m [rs] a peacock, iv. 14b. ife [Ffrt] head, i. lla; iv. 209. jetwo [ow] bewildering, one of arrows of Cupid; coitus, 2b, 32d; ii. 32d; iii. 26c. the five love, i. iii. 22d. janaih, i. 33c; iii. 11a; iv. 9b, c. jesur, ii. 5e..- -to restrain, regulate. jantia, iv. 178. w+ R to restrain, bind, gather. sahjamanti, i 27c. m to go, happen, be possible. jasi, ii. 8d. ji, i. 21, 30b, d; iv. 20b. jamo, i. 22b. janti, iv. 9d. jantl, ii. 31d. + uf to believe, trust. pattiami, ii. 66. ui to be proper, fit. jujjadi, i. 3439. + fi to appoint, use. niunjiami, i. 2014. 9iunjiasi, i. 2013. niuttlo, iv. 98. + u to represent on the stage, act, perform; to use, employ. pauijadha, i. 101. paunijalum, i. llb. paunjladi, i. 2026. W [u ]force, speed, ii. 31w, 39a. T7 [~w] a gem, jewel, i. 14a; ii. 18'. T[wfif [f] night, ii. llb. fiR iw' ['CiTr-w] the lover of the night, the moon, which is also called raja, i. 5'. w [fe] the sun, i 25b; iv. 2b, 3b. y ['f] sexual pleasure; the wife of Cupid, i. 2b, 15b; ii. 2d; iv. 9c. Twir [to] Cupid, iii. 19d [ft] violent, wild, iv. 15a. T [osrr] guarding, iv. 98..ghara [~grha] a prison, iii. 349; iv. 1927. obhavana [ona] the same, iv. 96. rq to guard, watch. rakkhijjae, i. 32C. sqwho, which, what; that, when, because, in order that. jo, i. 6a, 197, 215, 3410; iii. 12a. ja, i. 8b, 197; ii. 23b; iii. 15a; iv. 96. jai, i. 13, 197., 2027, 29 21c, 25d, 268, b, c 298, 342, 36; ii. 3d, 617, 7b, 8a, lld, 27, 28b, 46c, 471; iii. 9, 162, 23b; iv. 4c, 919, 1816 23, 1957, 22a, b, 23d. jena, i. 186, 2027, 3438; ii. 8d, 4221, 442; iii. 16d, 349; iv. 1821. jenafh, i. 32; iii. 13. j, ii. 1341d. jassa, i. 9b, o1b, 182; iv. 3c, 20b. jissa, ii. 234d; iii. 228. jassirh, ii. 28c; iii. 10. je, i. 19b,, 20a; ii. 6a; iii. 17b, 24a; iv. 21, b, 22, b. jehi, to arrange, produce. raia, iii. 30a. raia, ii. 20a. + f to arrange, effect, perform, make. viraanti, i. 13b; iv. 17b. viraienamh, ii. 44b. [wm [rT]a high-way, main road, i. 202s, 322. r sto be colored, pleased. Caus., to please, satisfy. rajjae, iii 33a. rajjanti, iii. 6b. ratta, ii. 50c. ranjedi, i. 197. mi.to sound, tinkle. rananta, ii. 328, 33b. rania, ii. 47a. WT ts. a slut, whore, widow, i. 23a; iii 81. m see r. frr [fr] the night, iii. 7a; iv. 9b lo [or] a gem, jewel, i. 2013, 254, 6; iv. 19-5. aMqr1s [ira~] name of a bard, i. 162. TGWMT [rm~] the ocean, iii. 318. Tfi [ofe] sexual pleasure, ii. 492. r to rejoice at, have sexual intercourse with. ramamo, i. 22b. +fa to come to an end, to cease. viramaui, iv. 24b. rWi ts. the hip and the loins, i. 30b 348; ii. 23, 348; iv. 7b. < aifrrj [ia[] pleasant, charming, i. 142 207', 301; iv. 51. rrui ts. a lovely young woman, ii. 308 rwsaT [u] pleasant, charming, iii 311 Tr [os]pleasing, agreeable, lovely, i 23d; iv. 91, 168. r ts. a cry, yell, noise, sound, ii. 32' 33b, 34b; iv. 158, 16a, 17b. T ts. sap, juice, flavor, desire, love, sentiment (in poetry), i. 12b, 14b, 24d, 29c; ii. 1181, 12^; iiis 10% 31S, 33a; iv. 5b. Trrm [-w]] an elixir of life, ii. 8a.. + fa to quit, leave. virahido, fii 81. T [~] a carriage, i 21c 25b; ii. 18b, 34a. Vk? [mws] impetuosity, i 15b; ii. 44b; iii. 2c. to [ow] secret, mystery, esoteric teaching, ii. 49b. 1, 1. ~~ [-ER] the Raghu-family, i. 5b. nrT [on] passion; a melody, ii 2d. raaraa [ragaraja], the king of melodies, the best musical mode, ii. 2%. TTsT- [-'] a king, i. 34s; iv. 1818. aT3na [artr] a royal family, court, i. 2026, 27, 33 rTf [Tr~] name of a woman, iv. 911. arTart [oI6 ] a king-parrot, ii. 148. ~ TTai*w ["*.T] the poet Rtijagekhara, i. 54, lO, 1 la.. trats. lustre; name of a district in Bengal, i. 142., V ts. name of a demon, ii. 21b. fti-f HD. 7. 7. a row, line, series, iii. 207. f'w [s] empty, void, ii. 40g. *ttana. [tva], indigence, iv. 24b.. r [fr] style, diction, i 1l. i. 1f the same, i 201. e [*fN] wish, passion, liking, iii. 14d., [rlE]t angry, i. 36d. R [-] the god Qiva, i. 4b. [158 w [sw] silver, ij 4b~ iq + aifv. to ascend. ahirfidhae, u. 2921. + wi to ascend, obtain. Caus., to raise, place; to plant. iiruhia, iv. 91". ardidhaiii, j. 9b. arovida, Ei. 42 29. iirovidavva, iE. 296. + u to develop, rise, grow. parOdha, f [ofRj] blood, iv. 19a. wft ts. growth, natural production, custom or habit (which, according to a well-known saying, prevails even over precept), ii. 27 d. Ua [oq]form,figure, beauty, i. 292, 316, 34 17; iH. 12b, 491; jjj* 9b; jy* 9a, 14b, 206. Ra vocative particle, ho, i. 18g. 19- H. 4. 100. to shine, appa eui ful. rehai, ii. 16's. rehae, ii. 23b. bwr shine, beauty (K, Ii 41c ~obhi), ii. 41c, 491; iv. 20a. wr[-ur] line, streak, jj* 37b; iv. 12a, Pjf [ ff]with the hair erect, thrilled, iH. 46 d. [itw][w anger, wrath, ii 47'4; iv. 23a. ~ri-H. 4. 105. to polish. rosa~aiar, ii. 12 b; iii. 22". 1T[eu] time in music, iv. 12 b, 1 76, b. wwr [om] a creeper, creeping plant, i. 28b, 346; ii. 1d, 9d, lic; iii. 27b. Lull[~e one hundred thousand, iii. 4-1. "m[-aw] aim, mark, ii. 41d.;mu to see, behold. lakkhijjae, i. 160. lakkhiadi, iii. 10k. wwto adhere, cling to, to follow, elapse. laggal, ii. 25b. lagga, i. 16c, 266. lagga, i. 22"; iij 6k'5. laggaifh, ii. 24g. laggassa, i. 2030. laggehi, i. 16d. ~rTts. name of Ceylon and its capital, i. 17a, 20". [i~- ['w] youth, freshness, ii. 24d. wVto leap, jump over. lafighaanti-, ii. 31". RN [.f~qw] mounting, transgressing, ii. 27. [-a]success, &plendor, the god.. dess of fortune, i. 20"16, 33", 3438; ii 22", 25", 28", 416, 48"; iii. 1 8", 22", 261; iV. 19616. iRSW [~wrj] the (moon) mark, or spot on the moorn, ifi. 32b. ~IwijuaT ITT~] the s~pot on the moon, which is held to resemble a deer, Mi. 31". wffwr [ iff ]~ marked,furnished with, li1D. 7. 26. charming, iii. 18d. uft [] a stick, stem, stalk; liana; a string of pearls adorned with a gem; anything thin or slender (at the end of compounds after words meaning body), ii. 622, 106, 24d, 416; iii. 2", 5", 18"; iv. 1964. "M2i [xww] soft, smooth, fine, charming, iii. 28b; iv. 8". Iaiihaa, the same, ii. 24c. war [-mr1 a creeper, creexping plant, i. mm [-iw] beauty, loveliness, i. 32k'; 161, 34,39. ii. 3a; iii. 1%, 19a, 2010. Rq + mr to speak. Riaviadi, i. 4110 ~ Ri [ow] dancing, dance, iv. b0a. + wa to speak, say. ullavidariz, iv. ~Rr [ow] gaining, obtaining, i. 12a. 1817. fp, to write, engrave, paint. HUIha, Fwto take, get, obtain. Caus., to cause to take, to give. lahla, iv. 3. lahadi, i. 2027, 29 lahanti, iii. 13d. hadu, iii. 20"0. lahejja, iii. 33b. lahanti, ii. 31lb. labbhai, iv. 23d.jj* 44c* lambhido, iii. 20's. lambhia, ii. 13a. +;Ur to touch, anoint. samalambhaRm to hang down. lambijjanta, iii. 27".b + m- to resort to, partake in. avalamabedi, i. 209. + %Tr to support. alambia, i. 26".;~t ts. hanging down, i. 20k0..n1s r1 [ml a woman with large, pendulous breasts, i. 207.;R ts. attainment, obtaining, Ii 28c; iii. 1 5". ff to appear, come to light. lasia, ii. 49b. + ft to shine, become manifest. vilasai, i. 36d; ii. 48b. fI1quickly, easily, iii.li;j. ~rH. 4. 238. to put on. lenti, i. 13" mrwi [-r] parched or fried grain, iv. 211. OI [o1] name of a countryparl of Gujardt, iV. 1818, 28, ii. 40b. lihijj ai, i. ii. 81'. 27c. lihido, + ft to engrave, paint. vilihiuli, i. 30d. + mT to embrace. R]Thgasu, i. 322 frKto lick, grind, rub. lidha, i. 16". + fto lick, to delight in. vilihantu, i. 1 d.;~RRT tS. play, sport, beauty, ease, grace, i. 3418, 36a; ji. 30d, 37a; iii. 39; iV. 4b, 7a,7 17". lilaghara [-grha], a pleasure-house, iii. 27d' lflavaisa [-na], a pleasure-garden, iv. 26. lihijan~a [odyana], the same, iii. 226. ~ [.f~]play, sport, ii. 34". u to rob, -plunder. luzi~ztijjanti, iii. + fixto, tear off. vilutta, Ii 241. RzHD. 7. 28. a creeping plant, liana, zi. 322. ~ o]a letter, writing, Ii 6'1' "I* a line, streak, the moon's crescent, ii. 20",, 41", 435; iv 91.;ta [-qj the world, mankind, men, ii. 50"; iii. 9d; iV. 18".;itaru [-w-] an eye, i. 26a, 35d ii. 3a, H. 4. 146. to slee~p; to roll on the, ground. lottal, Ii 4b. [160 -tyu rolling on the ground. racchalottai., street-walker, strumpet, i. 2028. ftmrts. shaking, quivering, i. 360.;i ts. copper, i. 209. a see w. orT [ta]foot, iii. 39. air [~om]fem. mhsi,Jriend, companion, ii. 13g. ramr [Tw] voice, speech, words, i. 192, 3, 2029, 215; ii. 4220. awr [-'e]face, ii. llI, 18b, 2921, 42a; iii 32a; iv. 6b. atW" [otw]fem. *ssi,friend, companion, i. 2017, 253; ii. 62, 13, 111, 294, 16, 4311, 471; iii. 21,2, 34, 82, 123, 20b; iv. 26, 5d, 1834, 2012, 211. w [*w]Jamily, flute, i. 47, 189. aturrr ['Mr/t'r] bamboo-manna, Tabasheer (whose lustre is similar to that of the opal), iii. 4a. eto speak, call. vuccami, i. 3415. [le] a tree, ii. 44. ew- - [~o] the breast, bosom, iii. 19b. wT [~rT] a girl, young woman, iv. 1919, 32, 44 name of a town, the capital of Kuntala, according to the commentaries, Vidarbhd, i. 255. sth the VdidarbhZ style in poetry, i. 1c. am to deceive, dupe. vaincio, ii. 8a. sMrMI [[rr]fraud, iii. 347. [QZ] the fig-tree, iv. 1830,38.,f^fl1I [o~rif1] the divinityfancied to be in the Vata-tree during the Vatasdvitrivrata, an observance among women on the day of the full moon of Jyaistha, iv. 918. eisf [waa-] HD. 7. 29. growth, iv. 3a. Isr [ow] growth, increase, ii. 2913. wfav [wR]ma]fem. -via, congratulating, i. 161. afir- [^f]E H. 2. 154. growth, length, i. 34c. am [~;] a forest, i. 17b, 18s1; ii. 50.' m [o] color, beauty, i. 142; ii. 7b, 41C. upr [oir~] description, praise, ii. 13; iii. 302. rf~3 [ofiir] a color, paint, i. 46. amr [arf] tidings, nes,, iv. 92. P [t] an object, iii. 311. 5 Caus., to cause to sound, to play. vaia, iv. 16~. ai [~i] the suffix vati, iv. 912. eF to salute, pay homage to, to worship. vandidui, i. 361. vandiadi, i. 2033. Or- [rau] H. 1. 242. Cupid, ii. 3d, 18b, 39b; iii. 11C. C~p.,RwM. ugts. best, excellent; a boon, favor; a bridegroom, i. 1b, 12b; ii. 17a; iv. 195. ffg [o~] best, most excellent, preeminent, ii. ld; iii. 2C. afir a cloth, garment, ii. 36a; iii. 3c, 224; iv. 7b. Nfr [i] rain; a year, i. 2041; iv. 24b. rfc [-'r~J a eunuch, iii. 348. rf'f- [fi;] raining, iii. 311. 161] mr- to describe, praise. vajinemi, n. 322. va.niaa, i. 1814. van.niasi, i. 2010. vannido, i. 813. vannida, ii 24; iii 261. wR to turn round, surround; appear. valanta, iii. 27d valia, i. 30a; ii. 24a; iii. 20. RwT [-o] a bracelet; a circle, i. 25d; ii. 9b, 168, 32C; iii. 13a, 18a, 27a, 32b; iv. 7c. csrT [ofi] surrounded, encircled; bowed, curved, i 33d; iii. 19b; iv. 20d. — fr Fra [~or] the earth, i. 25a. W to bear, carry. vahanti, i 19:. vahanto, i. 182. + tle same. samuvvahadi, i 2027. r [r ] a wife, i. 21a; ii. 28; iii. 26a; iv. 8d. r ts. or, i 18b,10,18, 2040, 302; ii. 27; iii. 2016 17; iv. 1836 T to blow. vaanti, i. 17. +f' Caus., to blow out. waiivido, iii. 224. wsr [~?i] wind, i. 15d. snrrm [o~-] sounding, playing, iv. 188. ra ts. speech, voice, i. b1, 207. rag [o~] wind, i. 322. rm ts. left, i. 20%1, 28, rIRA [o;] a dwarf, pigmy, iii. 348. ars [oi] a vessel, cup, iv. 10b, 138. rfi ts. water, iv. 6b, 8c. amsr ts. consisting of water, iv. Rt E[~i] the sloping roof, i. 36". ia fold of skin on the belly, lb. ii. 11. q [oW] dear, beloved; lover, husband, i. 18a, 19b, 348; ii. 623, '921 ari T [-oTt] name of a king, i. 348. ai ts. a creeping, winding plant, ii. 35b q to dwell. vasai, iv. 200. +-R to dwell, stay. 4ivasai, ii. 49b. aq+fir to put on, wear; to attire. niattha, ii. 14a. nivasiaih, i 26g. w [or] influence; used in the instrumental case with the sense, on account of, i. 31%, 36C; ii. 31c; iv. 18, b. awr'ts. the spring, i 128, 13d, 1814; ii. 13. r ri [~m] name of a woman, iv. 98. sn8wrts. 1. the earth, i. 163. 2. name of the wife of the Tiduiaka, i. 2034. 13b. rrfl ts. spirituous liquor, iv. 6b. ~mft [wr] edge, i. 158. a O+ rfr to make fragrant. sia, iv. 5". mtts. dwelling, abode, ii. 221. iii. 14a; pariva 3b; iii arm [wr] the poet Tm ts. the day, 9d. Vyasa, i. 1. i. 35; ii. 2d; iv. ft- [of-S]fem. ohi4l, bearing, carrying, iv. 910. fa, after anusvdra fr, [sfr] though, also, cp. kih. vi, i. 46.9, 7a, 8, 11 [162 13, 16d, 2, 186, 20d, 7 8, 10, 13, 14, 39, fdaftis [1T] separation, absence, ii 24a, 25b, 27C, 282, 3, 4, 5 8 301, 31a, b, 33c 3413,30,32,34, 361; ii. 2, 5c, 613,25, 8d, 104, 18a, b, 23, 25a, b 283, 2910, 41, 5, 42a, b, 11, 15, 45a, 461, 47c, 48a, b, 491; iii. lb d, 3c, 4, 49, 8b4, 4 9a 15C, 203, 33a; iv. Ib, 6d, 92, 16a 1817, 21, 22, 25, 31 192, 9, 30,60 203, 6, 222, 231. pi, i. Ib, 412, 10a, 131, 161, 1816, 196, 2016 20, 22a 245, 25a4, 34C, 35b,; ii. % la, 1, 2 28d, 39a, 4217, 46a, 482; iii, 21, 315, 9c, 12, 13c, 14c, 15b, 16c, 2, 32a; iv. 2a 4c, 9, 12, 14 fai [*] as, like, i. ld, 42', 1815, 20d 7, 9, 13,30,43; ii. 610, 19, 116 40% 45b; iii. 21, 84, 101, 192, 2019; iv. 211. Cp. is. fasrmi [~wrjc ] a kind of jasmin, i. 19d. fBaT [mI r] circumspect,wise, clever, i. 201. falt7q, ['~w n] name of the queen's female servant, i. 186, 195, 201 4, 3435; ii. 64'13.14,17, 103, 114 418, 422, 438, 503. fams [o~3] clever, experienced, ii. 2913. farr [~ r ]doubt, hesitation, suspicion, iii. 10a. fiTf [~fw ] gaing, opening, display, machination, iv. 1834. fawflr see wT + fr. ftw' see + fr. fimj [owR] consideration, ii. 68. fam [o~ ] evening, ii. 504. 9c. fair [o-w]force, prowess, valor, i 142. fme [~c5uw] an interlude between the acts of a drama, i. 6b. fhw _ [Marathi fdi] to scatter, ii. 35b. faf- [o~r] various, iii. 27b; iv. 11a, 20%. ottana [otva] variety, strikingness, iii. 311. oda [ota] the same, i. 201; iii. 46. f,aT- [[~-] to make pale, outshine. vicchaanto, ii. 30a. fi a{T [ow] interruption, ii. 39a. foN- H. 4. 46. to cause to quiver. viccholanto, ii. 30b. fcm- [ofir] victorious, iv. 4d. fiazi- [o~ ^ -] to act as lightning. vijjullehaidami, ii. 403. f-arfir- H. 4. 422. fern. olini, polluting, i 188. fhW ts. deception, fraud, ii. 28a. fI^imIr [;rr] disguise, imitation, mockery, iii. 122, 33b. far [~o] a branch, bush, thicket, i 19b; ii.432,12 ifg [~;] name of a mountain or countryfrom which the Vai.dfrya jewel is brought, i. 3418. fadrf esee rs+ f. far [~osr] without, i. 1818, 2036. fsror ['orrs] destruction, iv. 24". If^gfr see Ir+fsa. fFrrwi [qfurt] a commentator, ii 322. 163] [owi] extension, minute details, i. 34a; ii. 322; jy* 3a1, 18g. fMf~m [omdij large, wide, ii. 23b. ft+ fiyto tell, announce. iiivedemi, iniveda~issadi, ii. 291. n~ived-iadi, ii. 2 2'. ixiedidamih, i. 164; iv. f ftr[]resplendent? tinkling? [K, jjvala; J, ma-iughosa; I?, vidrania; U, vistaravat; in the Bdlardnidyana, translated vyatikara, sadrna, and micra], Ii 3ib. [f~m, separation, iv. 2'.b f~~[o;] pertu~rbation, flurry of mind caused by love, amorous 32.a ~ [o~~]name of the queen; iname of a woman, i. 16'; iv. 9', 1944. [oq~c] fern. oval-, whirling round, swinging, i. 21b. ]C*T r ii~]name of a woman, iv. 9'. f~rr[]a car, vehicle, i. 3427; Hi. 31b; iV. 19"1. omam -w [-im1 arrangement, dressing, embellishment, i. 20'; ii. 28a. ts. se~paration, i. 35c; i.42. -jf. [oftR]fem. ohi~i, separated from the lover or mistress, i. 20c; ii. 2,'. fCIMRrrts. coquetry, grace, beauty, Hi. 40a%; iii. 31a. C, -M 0 MIM11" [-;:R] a coquettish woman, a woman, iv. 14a. see;Rq + %0 .P [-xm] ointment, unguent, cosmetic, i. 301. am [-wr] an eye, iii. 22c. ts. rolling, unsteady, ii. 32c. b aT [milw] inverted, H. 16. ts. marriage, iv. 1,828 32 1 19 17, 39, 44 20`7 216. few + aTz A to enter. anuppavit ho, iv. 183. + to sit down. uvavisa, iV. 1 9 1, 60. uvavisadu, i. 241; ii. 29". uvavisia, i. 34 3;ii 412. + fq to enter, fix. Caus., to fix, apply, place, arrange. Iiivittha, i. 2 lb; IL 12a. nivit ha, iii. 2d. A nive b saanti, ii. 36 n. ivesaanti, i. 273. ivesia, a -nivesiaih, H. 18a. nivesidao, iv. 9". + u to enter. Caus., to introduce. pavisamha, iii. 20', pavisia, iii. 341. pavittlia, iii. 2d. pavitthae, iV. I 8 12. pavesaa, i. 2 17. fm [-u].poison, iii. 20a. famaT [-uu] an object, matter; range, reach, i. 245; ii. 8, H. 4. 176. to burst o en, be exP Panded, ii. 4b. a snake, iii. 20a. I-fiml fem. -rini, wandering about, iv. 19". f4tw [man] correct, accurate, iv. 12 J T-M [-*a] difference, mode, variety, i. 8a, b; iii. 15 b. fMfIMff [-;i] a coquettish woman, a woman, iv. 14a. f see;i a [-xm] ointment, unguent, cosmetic, i. 30'. fiam~ [owr] an eye, iii. 22c. ffrts. rolling, unsteady, ii. 32c. 1~~ts. marriage, iv. 1,828, 32 119'~ 17 94 20`, 216. f~+~~ito enter. aiuuppavittho, iv. 183. ~+ to sit down. uvavisa, iV. 1 9 ', 6. uvavisadu, i. 24 2; ii. 29". uvavisia, i. 34 3;ii 412'. + fqr to enter, fix. Caus., to fix, apply, place, arrange. Iiivittha, i. 21lb; ILnves2ao niv.t 9'. ii.2 vsamtia, iii. 206 n. psavisi, ii. 23 iiv.s1812. pavesa 9 i. 2 f~ [on] poison, iii. 20a. faa [ouu] an object, matter; range, reach, i. 24'; ii. 8,. H. 4. 176. to burst open, be expanded, ii. 4b, ~ [o~]a snake, iii. 20a. I [fim] fern. orinl, wandering about, iv. 19". f~t [o.ar] correct, accurate, iv. 12a [-*a] difference, mode, variety, i. 8a, b iii.15 * I 4 [164 aT [o*zm] a mark on the forehead with sandal etc., iii. 32b. [f-N fv],performance, manner, conduct, rule, fate, destiny, ii. 28a; iii. 14"; iV. lb, 3d, 1812. fbig [o1Fir] ornament, decoration, ii. 25b. zffama [-ow-] produced by fanning, iv. 8". i to fan. vijaissaih, iii. 222. hirrts. a lute, i. 48* it [qwIm news, tidings, ii. 112. a+f- Cams., to ward off. 4ivaria, ii 29d, ~E to be, abide, stay. vattai, ii. 4c, 20b; iii. 29b. vattadi, i. 3431; ii. 41, 50'; iii. 22R; iv. 1960. vattanti, i. 121, 13c; jj. 5d; iii. 27d. + a (Caa's., to stir, churn. avattia, i. 16b. +wa Caus., to rub, clean, anoint. uvvattiaih, ii. 12". + u to go forwvard, proceed; to arise, be produced; to begin; to be occupied with. paattai, ii. 4c. paattaU, i. lb. pavattadu, iii. 207. paatto, i. 36c. paa#Rii, iv. l6b. palitto, i. 42, 62; ji. 317 paUtta, i. 416, 16. +3 to become, arrive. Caus., to anoint. salivutto, ii. 504. saihvutta, iii. 221. saihvattiiirnala, ii. 46a. to increase. (Jaus., to augmnent; to congratulate. vaddhanti, iii. 11. vaddhia, iii. 10d. vaddhaviasi, i. 12'. vaddhavida, i. 162. qq to rain. varisiduil, iiij 317* zaT [ —] the Veda, i. 24'. ~~fi~f [ii~jr] a jeweller, iii. 48. 'am", [-am]feeling, pain, iii. 49; iv. 1935. n= [hl] a physician, iv. 7c, 1827. ~ijjtts. a braid of hair, i. 13"; IL1, 39b. fr ts. a flute, iv. 6a, l8a. irfbir [,,wT] an altar, raised seat, ii. 295". f [ra" [ ]H. 2. 133. the ldViirya jewel, cat's eye, i. 341". 'arrts. time, opportunity, ii. 6", 41'. aro to surround, enclose, embrace. vedhium, i. 30b ~ [o0] dress, apparel, iii. 18a; iv. 7d, 18ab. ia see mR. m to pierce. Caus., to cut, perlorate, bore. vindlinti, i. 32". viddlivida, iii. 48. 5 [Va] like, as. vva, i. 18", 29d, 35d; ii 33b, 34b, 36b, 39a, 46d, 48b; iii. 2a, b, 2Ga, 25a. va, i. 4d, 16d; ii. 35b, 37b, 38b, 40b; iii. 2Ga, 28b; iv. 9b, 17". Cp. fay. ml to fancy. saike, iv. 22c. TR + f;r Caus., to hear, listen to. i.samaa, ii. 29c. fls~Caus., to teach, instruct. sikkhaviasi, ii. 271. i CGzus., to wither, emaciate. sosaxnijjo, iv. 22. sosaiijja, iv. 21. 165],to hear. sun.a, ii. 27d. sunasu, i 82. suidu, ii. 91; iv. 94. soiia, i. 35c. suiiadi, i. 410, 215; ii. 108. suwantam, ii. 27d. sudam, ii 244; iii. 201. wr. to praise. salahanijjo, iv. 31. ^am+ to be loosened, relaxed. uisasantam, ii. 24b. + fa to trust, confide, rely. visasIadi, iv. 203. B [^] ones own, iv. 1924. T [wr] a hundred, iii. 27'. CP. w. [ri [w] self; ii. 471. wsife [Wtrj] self-made, i 196. aeTw [m;r] a bed, couch, iii. 270. wa [ER] all, entire, i. 348; ii. 5c, 280, 47c; iv. 6d, 209, 24a. -ifar-zi [*Ti7] arrangement of incidents, i. 345. vT [#iEw] the Sanskrit language, i. 7^. fa the same, i. 62. mpr [rr] sugar, ii. 26d. -fe - [ifw] an eye-witness, i. 1813; iii. 24b. [rr [wT] heaven, i. 4a T [r~o] hesitation, scruple, fear, iii. 34a. [-] a rendezvous, ii. 419, 502. r ts. touch, contact, ii. 28a. ir ts. meeting, union, intercourse, iii. 6b, 349; iv. 31, 9a. fi- [fM] fem. gix, touching, meeting, attached to, ii. 20; iii. 24b. iI [o~freT] HD. 8. 7. a couple, union, contact, i. 3b. "5 l [-I[ ] with sandal, rubbed with sandal, iv. 60. [?] true, real; adv. indeed, forsooth, i. 201; ii. 64; iii. 81, 123, 204 21; iv. 202. Compar., saccadara, ii. 65. Vsaf [wo] at one's own will, iv. 26. d-m ts. ready, prepared, ii. 284, 2912; iv. 2011. r [Tw] a good person, iii. 2017. vi- to be prepared, made ready. sajjianti, i. 49. sajjijjanta, iii 27c. r [wrw] to be, accomplished, attain. able, possible, i. 25d. ~-~a [*o] heaping up, collection, ii. 12; iv. 97. Ra4rr ts. going, motion, iii. 23a. -rt- [~fit]fem. * rini, movtng, wandering, iv. 1964. ifa- [of~ ]fem. ovi.n, bringing to life, resuscitating, ii. 3c; iv. 23b. itasT [rt] uniting, bringing together, i. 3433. r [*w] evening, i. 3441, 361; ii. 413, 50'; iv. 4a. Ts [~wi] a kind of drama, i. 418, 6, 12b. [,] hemp, i. 2043. 4fifes [f]Tfi] near, ii. 41,9, 501., + to be pleased, propitious. pa. siaii, iii. 21b. r~ [sw] a hundred, i. 2028,41. 1 p. E. [166 r [sz] a word, sound, speech, noise i. 8a, 209, 36c; iii. 311; iv. 9S. Trrfr- [-fi]Jemn. ovini, burning, af flicted, iv. 9c. i'if- [ofai]fem. osini, pleasing, comr forting, ii. 29'. af ts. union, friendship, peace, ii 614, 15, 16 q r ts. with the Pancama mode iv. 6. w [~o] a snake, iv. 1827. wrts. same, equal, like, even, plain, adv., together, with, i. 19a% 2012,26,33s 24d; ii. 105; iii. 6b, 8a; iv. 6b 12a. wsaT [~o] time, i. 2029, 36b; ii. 621, 501; iii. 311, 19c; iv. 4b, 7d, 187. [oz] a cavity, fold, ii. 623 24,25, 7a. [~']full, iii. 25d. Oiwats. birth, origination, iv. 22b wifT [~r] copulation, i. 20a; ii. 28e. #l- [I] faci ng, opposite, ii. 36a. w.- [ow] a lake, pond, iii. 29a. w [w] an arrow, ii. 3d, 45b; iii. 11e; iv. 4d, 20. Tr [ws ] the autumn, iii. 311, 28d. BT [Io] refuge, ii. 105. qmii ts. a path, line, row, swarm, ii. 6a. wF ts. straight, honest, ii. 23a, 30d. ottana [otva], sincerity, iii. 10'). [wi [~oJ] the goddess of poetry, i. la. Iwt the same, i. 3434; ii. 10> 4. rf, ts. adorned with jewels, 18a. 111ii. i^ see srqw +. ^ffrr [iffr-] a setting on a par with, equality, i. 2026. wRTrr [orw] meeting, arrival, iii. 8a. kw~ ts. beginning, i. 142. rfi [cif- f] abundance, ii. 44c. [ [~'f-]fit, appropriate, iv. 1946. anT- [os] collection, multitude, i. 282. [o~]the ocean, ii. 2913, 435; iii. 43 m r ["~]s] sea-shore, iii. 314 Zrtf-fi [rRo] with peacocks' tailfeathers, iv. 14b. g [-~fa] now, i. 35b. *f — [[~fr] mixed with, having contact with, i. 17b, 20c. T7 [ei l] n2ow, i. 196, 347; iii. 262. KtC [o~wT] impetuously, ii. 50. firr [~fcr] a river, ii. 27b, 35a rfe' - [t5] equal, like, i. 19c, 29b. rf [~J:] the same, i. 35a; ii. 10, 11a, 38a; iii. 141. FT [so] body, iv. 1932, 21C. wlf- [wrcf]fe m. orini, embodied, iv. 1964. Wrar [warwi ] a pin, stick used as a brush or pencil, i. 207, 3418. f-ar ts. water, i. 17d, 2013; iii. 203, 221; iv. 13a. rr l [otf] worship, attendance, i. 3435. w [ [~o] an ear, i: 29a; ii. 8~, 18a; iii. 2d, 19a; iv. 6. Rw [ro] a mountaineer, savage, iv. 1964. w ["] every, each, all, i. 71, 142, 167] -f wraT 181; ii. 64, 5, 242, 275s 28e; iii. 84; iv. 210, 189, 34, 23d. 'Cichi ['wr] all-scratching, i. e. very galling or exciting, i. 18. et i [ra] the very essence, i. 28b., [mro] the moon, iv. 23b. 9r1, [msmao] the same, iii. 30a, 31. arfe- [waf] the same, i. 25a; ii. 10c, 20b, 21b, 32d; iv. 3b. efiim the same, iii. 33b iffm, [lrfanr] name of a queen, the mother of iarpuiramanjari, i. 3411, 17 F~rfr i [lfo~ ] a digit of the moon, i. 3a r: [YwrT] a father-in-law, i. 182. i to endure. sodhavvo, iv. 1. - ts. together with; at the same time, ii. 61, 15, 9a, b, d, 4221, 50a, b; iii. 349; iv. 2b. "w [wr ]a comnpanion, friend, husband, ii. 416. ufri [oRt ] with joy, ii. 34b. rrn ts. forcibly, suddenly, i. 18d, 29a; ii. 45b; iii. 3d, 2015. BT [~rT] an assembly, i. 197. [mr m [Pwam] innate disposition, nature, iii. 11a. Ofr [or] a female friend, iv. 13b. fTt f [oftia]friendship, ii. 283. efka [on] accompanied by, together with, i. 288; ii. 422. w [~oi] a female friend, i. 195; ii. 7a, 29b, 419, 4310, 502, 3; iii. 192, 2023; iv. 914, 1939,.7 ima [oma] in the evening, iv. 4b, 8b, 187. mrarr [pmT~] name of a merchant, iii. 52. r+ + to adorn, decorate. pasahia, ii. 22a. ~rmi] [-~1] completeness of outfit, outfit, the requisites, ii. 41, 422, s 21; iv. 913, 1917. rMr [Tor~] blackish, i. 16. mM [aTO] night, iv. 8c. wrtts. essence, vigor, iii. 10d. mTW ts. an antelope, ii. 20b; iv. ib. rfi4mr [oT] name of a female servant of the queen, iv. 914, 189, 206. Trfrf [%T] a kind of bird, Maina, Acridotheres tristis, i. 185. rfmra [~zc] H. 1. 44. like, similar, iv. 1930. oda [sadrksata] likeness, resemblance, iv. 1953, 69 wmfFrr [mwf-r] an apartment, room, i. 14c.:rawr [oe —] the position of a rival wife, iv. 23a. wrT [;to] a sigh, ii. 9a, mrm [Ti[ri] direction, order, iii. 92. rwrr [mirm] produced from the mango, iv. 5b. wrf'- [wf'iq] a tree, ii. 461. wftfw- [ofWv] feem. -hi, facing one another, iv. 12b. r rrHD. 8. 52. a garment, cloth, i. 2023. fesrs [ow] a cloth, garment, i. 43, 26c; iii. 222. ~f~rm -[6 [168 ~fi~ir [~T~r] teaching, ii. 8c. f4w~i [I~F pquickly, j 4d. A jr1r ~~Fiasp~ 1813. p[ y,] love, passion, ii. 3c; iii. lod; iv. 1964, 23b.. to sprinkle. sini-anti, iv. 10b. siiijant1, ii. 203. sitta, iii 221. sitto, i. 2043. frarT [fe'] tinkle, jingle, ii. 320. fMfOMST [f1f"e] tinkling, singing, i. 180. fMif6- [frfCwF-]to relax, loosen. sidhlaiij. 1 3. frf~iu~j [fqm.] affectionate, i. 16g. f8 ts. a kind of supernatural being, i. 25c. fi1J ts. witchcraft, magic power, i. 215. name of a tree (Vitex negundo) and itsflower, i. 19b; iv. 7a. Ifrf 3. 2. 138. a conch-shell, i. 4b. [f rm] head, top, summit, ii. 46d; iii. 39; iv. 1916. fIftMrA [id- sandal-wood, iv. 4'. ~f~Bfr~ ~[] a kind of toddy-palm, ffttraiswi [~i)L ] the renowned Riajaaekhara, i. 1O% frfT r LM:28 1 1 name of a king, iii, 52, fqJ [%J wealth, dignity, beauty, i. 33b ii 48a; iii. 15C. fi3 I[fxi:rN] the flower of Acacia sirissa, iv. 7a. f-w [fr'] a stone, rock, ii. 15k; iv. 97. fC8i.fw [ an arrow, ii. 19b, 38b, 46b; iv. 4d, 99 flr~itLHV [IT ] a verse, ii. 7b, 83, 91, f Mf ircir[] a dream, iii 22 4, 64,,7 46, 8a, 2O0. firftBC [fL.] cold; the cold season, i. 13d; iv. 6b. f Mir R [frAjcWtv] art ficial refrigeration, means for cooling, ii. 416 7 42', 8, 21; iii. M9a fi~m [Wm i~] childhood, infancy, i. 20d. f~i [fr-I ] a lock of hair left on the crown of the head (used as synonymous with ~ekhara), i. 5a. fwft- [frf~ a mountain, i. 15d. fiw [ftnmrJ top, tip; edge, ii. 47c; iii. 250; iv. 3d. fkf~igHD. 8. 31. the female breasts,. 34b; ~fii 16b; iv. 7a* #erw [vi1a] cool, cold, i 15d; iv. 4b, 6a, b, c, do ~i~rf~wmi [-#1] a woman, i. 16R; ii. 28". Blir [mj1-] nature, disposition, ii. 66. #ft [ifi] head, i. 2027; iv. 24, 12a, 1827.;w [7J a parrot, iv. 21. ~m [-om a daughter, i. 3b, 12b. 3F l[o-T qj very delicate or soft, i. 7a, 207. [ [ofi] an excellent poet, i. 2020. RE'dit trq excellently, exceedingly, iL 207; iv. 2015. i& [-.T im] having beautiful eyes, ii. id. nt~ [a7] a threa, fibre, ii. 60". mim [yquw] an author of Sfitras, ii. 321. 169] ^ [fi] a pearl-oyster, iii. 318 4a, 1, O [m] well-conditioned, ii. 18. wc ts. fem r oi, beautiful, lovely, i. 208; ii 44C; iii 28a, 34; iv. 21d.?C ts. name of a woman, iv. 911. riwurg [~i] beauty, loveliness, i 142. [-. [ i] the same, i 28b, 33c; ii. 48a ^4ArM"i [~oero]J very straight, honest, sincere, ii. 271. ts. very great, iii. 12d. o [mo] remembering, recollection, ii. l0b. ts. a god, i. 25~. sura-ana [-jana], the gods, i. 3a. jTT [ol] copulation, sexual intercourse, i. 24. rts. a subterranean passage, iii 229, 349; iv. 96, 7, 1838, 192, 24 rtfric [o~fTr] the Ganges, iii. 37. ft [ofw] the spring, i. 142; ii. 22b. f ts. spirituous liquor, i. 24d; iv. 4b, 19a. d MiTr ['or] name of a woman, i. 3435; ii. 91. Ttir ts. very waving, unsteady, iii. lla. -a [4] gold, a golden coin, i. 142, 1818, 197, 2014; ii. 41a; iii. 45, 5b, s 22c. iR ' ["'O] very round, iii. 4b. w Tas [ iw] attentive, obedient, i. 2034. m [lw] happy, agreeable; happiness, ease, joy, i. 3b, 142, 3441, 36b; ii 28d; iii. 242; iv. 216. sT [owr] blessed, beloved, beautiful, ii 9c, 10d; iv. 31. -ttana [-tva], beauty, loveliness, iii. 13d. iT [~Cor] a happy evening, ii 494. {rfa [wrmfir]a witty saying, good counsel, iv. 95, 12. a ts. go, proceed, flow. sarai, ii. 6a. saranta, ii. 35a. + i to go away, to vanish, osaranti, iii. 16d; iv. 18b. + to flow forth, to grow. Caus., to extend. pasaranta, iii. 100, 11. pasarida, i. 163. +tfr Caus., to arrange. padisaredi, i 45. padisariadi, i 48. H. 3. 81. his, her, i. 292; ii. 13, 6c, 13a, 18a, 30d, 35a, 46. 3af~,~ [o~] sweat, perspiration, iii 221. Ii!T [Lnr] a bed, couch, i. 230; ii. 4b; iii. 3a, 27d. f'- [~5ff6] a merchant, iii. 45. T [o;] the word sena, iv. 98. si [if] a female attendant in the women's apartments, i. 36"; iv. 99. r to attend upon, frequent. sevai, ii. 17b. + f to practice, enjoy. nisevia, iv. 8b. ~r [*i] remaining; rest, i. 291, 48; iv. 4d. ~- [i] a crest; chaplet, diadem, iii. 13a [170 MTr r ir [ r~r a kind of flower supposed to blossom by moon-light, iv. 1836 '"STI [Tffia~ valor, i. 322.9 ~I~see [fr~ ire] red, i. 26g. iii. 37* tfayr [*fitfr a learned Brdhmana, iv. 209. [kftI] a haremn - keeper, iii, 348, ~~~i[whit] emaciating, name of one of the arrows of Cupid, i. 32d; iii. 26c. [4hT tTrJI1 beauty, charm, ii. 3b "1UYWrg ffu RD. 8. 37. horseradish, i. 2029. (K, phalgunamasi tatkanadaili khandayanti; J, puspanimittaida ~akhanada tro 214; ii. 610; iv. 209. cittlia, ii. 42 21; iV. 1924, 2O4. Cit~thadu, i. 34 26; ii 416. citthissarh, i. 2034. thia, ii. 33a; iii. 23a. thida, iv. 1830. thio, ii. 1lb, 46d; jjj. 4a. thido, iii. 3 15, 44, thia,2 i. 26g. thie, iii. 25a'. thavia, Hj 43 2, thavio, I. 17a. t~havido, i. 47, thavidao, iv. 910, + o to stand up, rise. utthitin~a, iii. 21a. utthia, Ri. 43 5, + ufiw Caus., to place, establish, paditthavida, iv. 1821. +;- to stand, to be settled, fixed. saiihthido, iii. 318, sarihthia, iM. 3'), 5'). saiiithida, iv. 1 964.;mT Gaus., to wash, bathe. i~havio, i. 2 9% wyz to touch. puttha, iv. 22d. tqi Caus., to split, cleave. PhAdidao, iii. 43, H I. 4. 177. to break, Jall asunder. phudanti, iii. 203. + ii to open, become manifest. pahuttaf jj 4a, m to a~ppear, become mnanifest, to quiver, vibrate. phurati, i. l1. phurantao, iii. 31b. + faito quiver, shine, blaze out. vipphura~i, iv. 3c. vippliuranto, iv. 24a. to remember. sumarasi, ii. 24. + fei to forget. visumaridajili, iv. 1986. OR~i to fall down. sairhsama;qiarii, i. tanam ity arthah~.) [*iwr light, splendor, 31a, b1 3417; ii. Job), 25c. i. 281, 292,1 25a; iiij 'tfdl [,fit;R~] shining, lovely, ii. 7b. mq to tumble, fall down, end. khalia, i. 20a. khaliamn, i. 32'). m;; Caus., to stop, arrest. thamnbhemi, i. 25') *+ato spread, to make a bed. pattharijjanti, i. 36'). + fia to increase. Caus., to sped extend. vittliaranti, ii. 2d. vittliawT to stand, remain,find place. Caus., to.place, arrange. citthasi, i. 1815; iii. 21. thO, I. 34a. citthadi, i. 27b). Mq to sleep. suvanti, i. 14~. sutto, iii. 37. isee asT. its. fern. ~si, a swan, flamingo, ii. 610, 8a; iii. 29a. wpT- to call, summon. hakkarai, ii. 33b. hakkariuina, ii. 36b. hakkaria, i. 412. hakkariadu, iv. 208. w [ol] a hand, i. 18T0, 26b, 36c; ii. 617, 20 29a, d; iii. 3b 23a iv. 98, 9, 10, 12 12a, 15, 2013. w to strike, beat. haa, ii. 43. W exclam., go to! minid you! ii. 26a. oT: [ow] carrying, ii. 6d. e ts. a name of Qiva, ii. 623; iii. 39. w ts. stealing, fascinating, ii. 28b, 31d; iii. 18. fti ts. a name of Visnu, i. 24a. ftmirl [fi~o ] H. 2. 87. the city oJ Harigcandra, supposed to be situated in mid-air, a fata morgana, ii. 405. wf3ir [o~ ] yellow orpiment, iii. 22a. gfr [-s] name oJ a poet, i. 2020 tfii ts. a name of Bengal, i. 142. fR [o~ r] the moon, i. l0b, 12, 259; iii. 2015, 34a. ~r<w [o~j[w]fem. occhi, deer-eyed, iii. 22d. sf~tst. a doe, female antelope, ii. 41~. i. 410; iii. 348. gM ts. a vocative particle used in addressing a female friend, iv. 1939. [oft] turmeric, iii. 1 a. UK to laugh, vtock. Caus., to cause to smile, laugh. ha'santi, iv. 18% hasautie, i. 2015. hasia, iv. 18b. +avto deride, ridicule. uvahasiami, j. 183. +ferto sinde. vihasia, jV. 18230 19T ah, alas, iii. 224. r.T + vft to be inferior to. parilimMaTia, iii. Wm ts. a garland, necklace, ji. Joa I11b, 17a, 23b, 32a, 35a; iii. 2a, 18b, 20a; iv. 7a. Wm ts. name of a poet, i. 2020. uru ts. laugh ter, merriment, I 3b, Job; iv. i4b. ts. because, for, i. 141, 161. %am [V3a] heart, i. 34 31; H. 26a7 30eq 431; iii. 817 16d7 18,17 2017 to go, wander. hin U. dase, i" 341,. - to swing. hindolaanti, H. 297. aT [-%] a swing, ii. 295, 6. awmwe [-wuwwjthe swingbreaker, the swing-jestival, R. 613. C [-;r] swinging, H. 32d Un, 34% W-ITaT [-iw] a diamond, ii. 25b. see Rm. ts. the sound hum, murmur, hum. ming, i. 36d; iii. 207; jV. 15a. D D. 8. 64. murmuring, noise, i. 410; iii. 348. gnts. a vocative particle used in addressing a female friend, iv. 1939. gfrt[ [ofr]J turmeric, ii. la. ig to laugh, mock. Caus., to cause to smile, laugh. hasanti, iv. 18b hasantie, i. 2015. hasia, iv. 18b. + - to deride, ridicule. uvahasiami, i. 183. + fi to smile. vihasia, iv. 1823. 1r ah, alas, iii. 224. + rif to be inferior to. parihiama~na, iii. 85. Wr ts. a garland, necklace, ii. 10% 11b, 17% 23b, 32a 35a; iii. 2a 18b, 20a; iv. 7a. W ts. name of a poet, i. 2020. ur ts. laugh7ter, merriment, ii. 3b; lob; iv. 14b. f ts. because, for, i. 143, 165. fa3 [v-s] heart, i. 3435; ii. 26a% 30%, 435; iii. 81, 16d, 18C, 2017 fl to go, wander. hindase, iii. 34a. tf< - to swing. hindolaanti, ii. 297. f.s-a-T ['~] a swing, ii. 295, 6. f ^awmr i [owiujSt] the swingbreaker, the swing-festival, ii. 623. fi?-w [o~] swinging, ii. 32d, 34a. 'i}a [oiw] a diamond, ii. 25b. ' see R. ts. the sound hum, murmur, hum. ming, i. 36d; iii. 207; iv. 15a. [172 ts. a small musical instrument,.perhaps timbrel, drum, iv. 16. [r-]fire, iv. 211. Ito carry, carry away, captivate, to enchant. haral, iii. 20d, 22a. haranti, id. 26a. + &Tif to imitate, resemble. atiuhar i, + irfr to avoid. Pariharia, i. 62. + f4 to s~port, play. viharal, ii. 41c. WRT ts. ease, facility, ii. 29b, 35a, 47b IPART III ESSAY oN RDAJAEKHARA'S LIFE AND WRITINGS BY STEN KONOW 1. Chronological List of Books and Papers Concerning Rajagekhara. 1827. Wilson, H. H. Select specimens of the theatre of the Hindus. 3 vols. Calcutta, 1826-27. References to 3d ed., 2) vols., London, 1871. 1.862. Hall, Fitz-Eldward. Vestiges of three royal lines of Kanyakubja, or Kanauj, with indications of its literature. Journal of the Asiatic Society of Bengal, xxxi. 1 if. 1869. Govinda Deva S'~stri. The BhilarAnmiyan~a. A drama by Raijas'ekhara. Edited etc. Benares. Reprinted from the Pandit, a monthly journal of the Benares, college, devoted to Sanskrit literature, old series, vol. iii., nos. 25-33'. 1871. Vdman~icfrya. The Viddhas'ifabhaiijikAi edited etc. The Pandit, old series, vols. vi. and vii., nos. 65-73. 1872. VWmanf~c~rya. The Karpuiramanajarf edited etc. The Pandit, old series, vol. vii., nos. 73-716. 1873. (3'Ivdnanda Vidygisdgara.) Biddhashala Bhanjika, a drama by Rajashekhara, with a commentary by Satyavrata Samasrami. Calcutta. 1873. Aufrecht, Theodor. Ueber die Paddhati von Qarihgadhara. Zeitschrift der deutschen morgenliindischen Gesellschaft, xxvii. 1-120. 1.878. Borooah, Anundoram. Bhavabhuti and his place in Sanskrit literature. Calcutta. 1879. Cunningham, A. Report of a tour in the Central Provinces in 1873-74 and 1874-75. Archaeological survey of India, ix. 85. Calcutta. 1881. Borooah, Anundoram. Practical English-Sanskrit Dictionary. Vol. 3. With a prefatory essay on the ancient geography of India. Calcutta. See especially ~~ 134 and the following. 1883. Miller, F. Max. India: what can it teach us? London. 1883. Pischel, R. [Review of] Kausika's Zorn (Tschandakau~ika). Ein indisches, Drama von Kscheniisvara. Zum ersten Male und metrisch iibersetzt von Ludwig Fritze. G6ttiligische gelebrte Anzeigen. 1883, pages 1217-41. 1883. H9arigcandra. Karpiir Maihajari, sattak (Yah natak 9uddha pr krt bh a memi R-jagesara kabi kii banilyi hua bhni...) Blinsras: -Aryayantrilaya sambat 1939. 1883. 3Th~nanda Vidy~sftgara. Biddhashala bhanjika, a drama by Rajasekharakabi. Edited with a commentary. Calcutta. "1Dvitiyasaiiiskaran~am." 1884. Ehandarkar, R. G. Report on the search for Sanskrit mss. in the Bombay Presidency during the year 1882-83. Bombay. 175 176 176Radjapekhara's Life and Writings. 1834. Peterson, Peter. A second report of operations in search of Sanskrit mss. Journal of the Bombay Branch of the Royal Asiatic Society, no. xliv. Pages 59f, 63f. 1884. Jivdnanda VidyE~sdgara. B&1ardmiiyania nama niitakam mahiikavi 9ri 1iaja~ekhara viracitam,.. vy~ikhya-yanvitam. Calcutta. 1885. Cappeller, Carl. Pracand4apaindava [or Balabharata] ein Drama des Raja~ekhara. Strassburg. 1886. Apte, Vaman Shivram. RAjas'ekhara: his life and writings. Poona: "1AryaBhushana " Press. Pages 54. 1886. Bhatskar Ratmchandra Arte. The ViddhasilabhanjikR of Ra'jasekhara: with the commentary of Narayana Dixit... To which is added the Ritusamhara. of Kalida'sa with a close English trauslation and various readings by Kesbava Ra'oji Godbole. Poona. 1886. Peterson, Peter, and Durga~prasada. The Subha'shitivali of Vallabhadeva. Bombay Sanskrit Series, no. xxxi. Bombay. 1887. Durgatprasftda and ]Kftinattha Paindurangai Paraba. The Karpiiramanjari' (with the commentary of VA-sudeva) and the Balabhaqrata of Rdjasekhara. Bombay. Kavyamalal. 4. 1887. Fleet, John IF. The date of the poet Ra-jagekhara. Indian Antiquary, xvi. 1751-178. 1889. Kielhorn, F. Siyadoni stone inscription. Epigraphia Indica, i. 162-179. 1890. LUvi, Sylvain. Le theatre Indien. Paris. 1890. Vaman Shastri Islampurkar. A lucky wife or Karpoormanjari. Composed from Prakrita or Maharashtri dialect. Bombay: "1Tattva-vivechaka " Press. Vagvilasa-ratnakara, ratna 1. [This seems to be the most convenient place for the names of a few books (1. Dictionaries; 2. Grammars; 3. Texts; 4. Books on plants, minerals, etc.) to which I have made more or less frequent reference in the Notes to the Translation. The list includes only works whose titles have been abbreviated or about the precise edition of which there might be some doubt. - C. R. L.] BR. = Sanskrit-Worterbuch von B6htlingk und Roth. St. Petersburg, 1855-75. OB. = Sanskrit-W6rterbuch in kiirzerer Fassung von Otto Bojhtlingk. St. Petersburg, 1879-89. Moleswvorth = Dictionary, Al1ariithi and English, by James T. Molesworth. 2d ed. Bombay, 1857. Hemaohandra. = Hemak'andra's Abhidbanak'intaniani, emn systematisch angeordnetes, synonymisches Lexicon. Ilerausgegeben, iibersetzt und mit Annmerkungen begleitet von Otto Bd6htlingk mid Charles Rieu. St. Petersburg, 1847. HD. = The Des'inziamahnia of ilemachandra. Part I. Text and critical notes. By R. Pisehel. Bombay, 1880. (See p). 117.) H. = Hemacandra's Grammatik der Prakritsprachen, herausgegeben von Rt. Pischel. lHalle, 1877-80. (See p. 117.) 2. Bd-j'apekhara's Life - 177 Vararuchi = The Prakrita-Prakds'a, or the Priikrit Grammar of Vararuchi. Edited and translated by E. B. Cowell. Hertford, 1854. Jacobi = Ausgewdhite Erzahlungen in Miihdrdshtri. Zur Einfiihrung in das Studium des Priikrit. Grammatik. Text. Wbrterbuch. Von Hermann Jacobi. Leipzig, 1886. Appended is a sketch of the Qiuraseni. Whitney= A Sanskrit Grammar. By William P. Whitney. 2d ed. Leipzig, 1889. Qakunta1A = S'akuntala... by Kiilidiisa. Edited by Monier Williams. 2d ed. Oxford, 1876. Cited on account of the annotations. Meghadrita = MIeghadita... von Kiiidasa. IHerausgegeben von A. F. Stenzler. Breslau, 1874. K ddambarl The Kddambari of Baina. Edited by K~iyqnath Pdndurang Parab. Bombay, Nirn~aya Sigara, Press, 1890. The references are to page and line of the text; but may be found with equal facility in the translation of Miss C. M. Ridding, London, 1896. Harshacharita = The Harshacharita of BNina. Edited by K. P. Parab and Ph. P. Vaze. Bombay, Nirn~aya Sagara Press,1 1892. The text references (as before) will serve also for the translation of Cowell and Thomas, London, 1897. Parab, Subh. = Subbhashita-ratna-bhaiindagaram, or Gems of Sanskrit Poetry. Selected and arranged by K. P. Parab. 2d ed. Bombay, Nirn~aya Saigara Press, 1886. SprUche = Jndische Spriiche. Herausgegeben von 0. Bbhtlingk. 2d ed. St. Petersburg, 1870-73. Roxburgh = Flora Indica, or Descriptions of Indian Plants. By William Roxburgh. Calcutta, 1874. Reprinted from Carey's ed. of 1832. RF~janighait~u = R-djanighan~tu-sahito Dhanvantariya-nighantuh~. Poona, 1896. 1InandaAqrama, Series, no. 33. SR. = Sarhigta-ratnakara. Same Series, no. 35. Griffiths = The Paintings in the Buddhist Cave-Temples of Ajantaq, Khandesh, India. By John Griffiths. 2 vols., folio. London, 1896-97. The references to this work were added by me in the proofs. Hence their extreme brevity. It is to be hoped that some one with a good knowledge of the artificial poetry may make a careful study of these pictures. 2. Raja9ekhara's Life. Earlier Opinions as to Rdjacekharal's Date. - The name of R~j aqekhara has been known to Indian scholars ever since the beginning of our century. Extracts from two of his works were published by the late HI. H-. Wilson. That critic also tried to fix as his date the end of the eleventh or the beginning of the twelfth century A.D. Aufrecht, in his treatise on the 9iirflgadharapaddhati, collected the different verses ascribed in that anthology to the name of Rdjagekhara 178 178 BRa-)aeckhara's Life and WrJitings. and expressed himself (p. 77) to the effect that, in his opinion, the poet was the immediate predecessor of Jayadeva. Anundoram. Borooah is of opinion that the tradition according to which Rdjagekhara is said to have been a contemporary of 9aifikara should be trusted, and that, accordingly, "1we can safely fix the seventh century as his probable date." I pass by the opinion of F. Max Muiller that Rdjagekhara lived in the fourteenth century, as being founded on a confusion of our poet with a younger Rqija~ekhara who wrote the Prabandhakoga, about 1347'A.D. (see p. 196). The different allusions made by the poet himself in his works were discussed by Pischel, who came to the conclusion that Riijagekhara must have lived at the end of the tenth or the beginning of the eleventh century. Peterson and Durgdprasdda assure us that Riija~ekhara's real date is the middle of the eighth century; which, according to them, is shown by the fact that KsIrasvdmin, who was the teacher of Jayasiihha of Kashmir (A.D. 750), quotes a verse from the Viddhagilabhafijikd, and that the king Mahendrap~a, to whom Riijagekhara himself refers as being a pupil of his own, was reigning in 761 A.D. Vaman Shivram Apte, in discussing these various views, comes to the conclusion that Rajagekhara lived between the end of the seventh and the middle of the tenth century, most probably about the end of the eighth, because he quotes Bhavabhilti and is hiniself quoted in the Dagar-Cipa. Durgdiprasdda and Paraba place our poet between 884 and 959 A.D. Ra.jaqekhara's Relations to Mahendrapala, and to the Latter's Son, Mahipala. - Rdjaqekbara, in all his four extant lplays, declares himself to be the spiritual teacher of a king Mahendrapdla or Nirbhayara-ja. Op. Viddh. i. 6 (ed. Arte), Raghukulatilako Mahendrapdlalh sakalakaldnilayalh sa yasya gisyah~; Karp. i. 5, Mahindavdlassa ko a guru; i. 9, I~ibbharardiassa taha uvajjhiio; Biilar. i. 5, Niirbhayagurull; Biilabh. i. 11, devo yasya MahendrapdIianrpatilh~ gisyo Raghugriimanlh1-1 Aufrecht had declared Mahendrapd~a and Nirbhaya to be one and the same person, and their identity was proved by Pischel, p. 1221. Nirbhaya, accordingly, is a biruda or o6vokka 7ravflyvptIc6v of Mahendrapdila. The mss. of the Karpiiramaiijari are in favor of the form N~ibbhiara (only the Jaina m-ss. read INibbhaya), and Nirbhaya may be a false Sanskrit translation of this name. Mahicndrapdla's son was Mahip-511a, the paramount sovereign of 0... _RaZ~avekhara's Life. 179 Aryavarta, i.e., according to Balar. vi. 521 (p. 170.6, ed. Govinda), the country to the north of the Narmada. Cp. Balabh. i. 71 (p. 2. 16, ed. Cappeller), tena (Mahipaladevena) ca RaghuvamrgamuktamaninAryavartamaharajadhirajena griNirbhayanarendranandanenaradhitah sabhasadah. Cp. C. Mabel Duff's Chronology of India, p. 296 and 82 ff. RajaSekhara lived about 9oo A.D.- Now Fleet has shown that this Mahipala must be identified with the king Mahipala of the Asni inscription, dated Vikrama samivat 974=A.D. 917, and has thus proved that Rajagekhara lived at the beginning of the tenth century A.D. As pointed out by Pischel and Fleet, the Balabharata was performed in Mahodaya, and Mahodaya is another name of Kanyakubja (Balar. x. 871, 89c=p. 306. 6, 15), with which town Mahendrapala and Mahipala are connected in the Siyadoni inscription. See Kielhorn, p. 170 f. For Mahendrapala we have the dates 903-4 and 907-8. Fleet was not aware of the fact that Mahendrapala and Nirbhaya are one and the same, and thought that Mahendrapala must be another son or a grandson of Nirbhayanarendra, whose real name, according to him, was Mahisapala. But this form of the word is rather suspicious, and the published photograph of the Asni inscription is in favor of Mahindrapala, as pointed out by Kielhorn, p. 17116. As for this form, see Biihler, Epigraphia Indica, i. 244. Kielhorn's summing up of the names of the four sovereigns of Mahodaya or Kanyakubja or Kanauj, as presented to us by the Siyadoni inscription, together with their known dates, may here be repeated for the reader's convenience from Epigraphia Indica, i. 171: 1. Bhoja, A.D. 862, 876, and 882. 2. Mahendrapala or Nirbhayanarendra or Mahisapala, A.D. 903 and 907; pupil of the poet Rajaqekhara. 3. His son Ksitipala or Mahipala or Herambapala, A.D. 917; patron of Rajapekhara. 4. His son Devapala, A.D. 948. Fleet, Indian Antiquary, xv. 105 ff., has edited an inscription from Dighwa-Dubauli, of the Maharaja Mahendrapala of Mahodaya, dated Harsa sariIvat 155=A.D. 761-2. As shown by Fleet, xvi. 175 ff., this feudatory Maharaja must be quite a different person from the pupil of Rajagekhara, but may possibly have been one of his ancestors. Peterson and Durgaprasada confounded both, and thus arrived at the false date mentioned above. The historical facts being thus finally established, it is no longer necessary to comment upon other suggestions or conjectures respecting the 180 Rd0jafekhara's Life and Writings. poet's date. Nor can any authority be attributed to the traditional account that Rajagekhara was a contemporary of gaihkaracarya. This opinion is founded on the arlakaradigvijaya, a work which is, in every respect, very untrustworthy. The same must be said about the South Indian tradition according to which Rajagekhara was king of Malabar, his real name being Kulagekhara Perumal. This king, according to the Keralotpatti or Keralavigesamahatmya lived in 322 A.D. (!) See Apte, p. 13, note. RajaSekhara's Personal History. A Yayavara Brahman, of the Qaiva Sect. - Rajagekhara gives more details about himself and his family than most Indian authors.. According to Balar. i. 6b, 13d; Viddh. i. 52, he belonged to a Yayavara family. Hall, p. 14, note, translates yayavara with ' maintainer of a sacrificial hearth'; and Narayana Diksita, in his commentary on Viddh. i. 52, quotes Devala to show that yayavara means a kind of grhastha: dvividho grhastho yayavarah 19linag ca,' there are two kinds of grhastha, the yayavara and the Salina.' But probably yayavara is the name of the family. The Yayavaras were brahmans. Apte, p. 18, justly remarks that Rajagekhara must also be presumed to have been a brahman because he is said to be an incarnation of Bhavabhfiti and because it is not becoming for a ksatriya to be a guru or upadhyaya. On the other hand, Rajagekhara's wife, Avantisundari, is called, at Karp. i. 11", "The crestgarland of the Chauhan family," and was accordingly a Rajput princess. [Conjectures about her name in Pischel's Prakrit-grammatik, p. 39-40.] Rajagekhara seems to have been a 9aiva. This, as pointed out by Apte, p. 19, is rendered probable by the introductory stanzas to his works. Thus two of the four introductory stanzas in the Karpuramaiijari are in praise of 9iva and Parvati, as are also Viddh. i. 3 and Balabh. i. 1, 2; whereas, in the Balaramayana, the abstract deity "vaninrla gumpha " is extolled. But he cannot have been a bigot; for in the third agvasa of the Yagastilakacampu we are told that he, like many other poets, when occasion arose, did honor to the religion of the Jains. See Peterson, A second report, 1884, p. 45 f. RajaSekhara's Place of Origin the Western Deccan. - Rajagekhara's family seems to originate from Mahiarstra, that is (cp. Balar. x. 731f'-, p. 302. 18 ff.), from Vidarbha and Kuntala. Iis great-grandfather, Akalajalada, is called, in the Balar. i. 131, p. 9. 1, Maharastracudamani, 'a crest-jewel of Maharastra.' Niaryana Diksita, in the introduction to his commentary on the Viddhalglabhafijika, tells us that Rajagekhara in the Balaramayana declares himself to be from Maharastra, and that he made use of the language of that country to a great extent. And in the 2. _Rd-JaVekhara's life. 181 colophon to the Benares edition of the Karpu-ramaflj'ari1, the poet is styled Mahdrdstracfidlimani ' a crest-jewel of Mahdrdstra.' On the other hand, in the S-dktimuktivali, R~ijagekhara's ancestor, Suriinanda, is called Cedimandalamandanam, 'an ornament of the country of the Cedis.' Apte has pointed out that our poet is especially acquainted with Southern customs and places and often alludes to Southern rivers, such as Kiiverl, Tdmraparnili Narmadd, etc. He knows "the black cheeks, the pure smile, and the teeth rubbed white with the rind of betel, of the Dravida women, the curling ringlets of Karnatic maidens, the pleasureseeking propensities of Ldta,"' etc. See Apte, p. 20 f. In the Aucityaviedracarcii, v. 27, a stanza by Rdja~ekhara is quoted which does not occur in any of his known works: karndtidaqanaiikitah~ ~iaairitiiaik~faa priiudbhndhristanap-14itah~ pran~ayinifbhriibhaiigavitraisitah~ l1fibifhuvivestitag ea malayastriltarjanitarjitahi so 'yaii sailiprati R-ajaqekharakavir Var~anashia vaiichatitl 'Marked by the teeth of the Karniita maidens, hurt by the sharp glances of the Mahdr~tstra women, pressed by the voluptuous breasts of the Andhiris, frightened by the frown of his beloved friend, embraced by the arms of the Lilta maidens, menaced by the fore-finger of the women from Malaya, the poet Rdjagekhara nowadays is longing for Benares.' As the stanza is given by Ksemendra, the Rdjagekhara here mentioned is presumably no other than our poet. The countries that are named range from Cambay to Comorin, and justify little more than the conjecture that Rajacekhara, was from the Western Deccan. And as we find him in the position of court-poet at Kanauj, far to the north, we must suppose that he, like Bilhana, left his native country to seek wealth and fame at foreign courts. R~ja~ekhara at the Court of Kanauj. - Rdjagekhara seems to have been very proud of his position as the guru of king Mahendrapala, and he mentions this fact in all his plays. In the Silktimuktavali we find a stanza by a pupil (antev~sin) of Rdjagekhara, beginning dgask~irin~i k~iitabhapramathane. It would of course be impossible to tell whether this antevdsin was the king Mahendrapila. The poet's connection with the court of Kanauj seems to have continued on into the reign of Mahendrapida's son and successor, Mahlpdla; for it was at the request of the latter that the Bdlabhdrata was represented. But we do not know how long Rdijagekhara remained at Mahlpdla's court. Rajagekhara at the Court of Cedi. - Rdjagekhara seems also to have had some connection with the Cedi princes. His name occurs in verse 182 182Rd-j'arekhara's Life and Writings. 85 of the Bilhari inscription of the rulers of Cedi, published by Kielliorn in the Epigraphia Indica, i. 251 if. The verse runs: sumlisabandbaghatan& vismitakaviriijaqekharastutya I listim iyami akalpaiha kr'tiq ca kirtiq ca piirvv ca 'May this composition, the several parts of which are well-joined, and which would deserve praise even from the wonder-struck poet Rdijagekbara, last to the end of the world, as well as the preceding eulogy.' (Kielhorn.) The reference to our poet in a Cedi inscription gains somewhat in its significance from a stanza in the Siiktimukt~ivali, which is attributed to the name of R5,jagekhara, and which may perhaps be of interest in this connection: nadinaiji Mlekalasuta nrpanixiih Raiiavigrahalh kavinaiih ca Suriinanda9 Cedimandalarnandanam 'The Narmadd among rivers, Ran~avigraha among kings, and Surdnanda among poets adorn the country of the Cedis.' This verse seems to be written in praise of Raniavigraha, and if that be the case, it cannot belong to the younger Rdjaqekhara. As shown by Fleet,' Ran~avigraha is a biruda of the Cedi prince 9afakaragan~a, who lived about the middle of the tenth century. We may therefore, perhaps, conclude that iRdjagekhara at some time of his life had connection with the Cedi court. Rajaqekhara's Ancestry. - Some details about IRdja~ekhara's ancestry are given in his works. His father was a high minister, mahdimantrin (Balar. i. 72; Bdlabh. i. 818), Durduka (Bdlar. i. 131), or Duhika (Vriddh. i. 52); and his mother's name was 9ilavat! (Balar. i. 13'). Poetical skill appears to have been traditional in the family. In a well-knowim stanza, Bdlar. i. 13, we read: sa miirtto yatriisid guniagana Mivkaajaladalh Suriinandah so 'pi ~ravan~aputapeyena vacasit na canye ga~i'yante Tarala-Kavir-aja-prabhrtayo, mahbibhgas tasminn ayam ajani yiiyiivarakule 'This illustrious man (Rdjagekhara) was born in the Yiyiyavara family; to which belonged Aka-lajalada, like a host of virtues incarnate; and Suralnanda, whose words are worthy of being drunk in by the ears; not to speak of others, such as Tarala and Kaviriija.' See Aufrecht, p. 77'. Pisclhel, p. 1223, gives a slightly different translation, and remarks that tim verse does not prove that Tarala and Kaviriija belonged to Rdijagekhara's family. ' The dynasties of the Kanarese districts A. D. 1318. Gazetteer of the Bombay Presi. of the Bombay Presidency from the earliest dency. Vol. i., Part ii., Bombay 1896, p. historical times, to the Musalman conquest of 414. 2. Rdjafekhara's Life. 183 But in a stanza, given by Peterson in his Second Report, p. 59, and probably written by the younger Rdja~ekhara, it is expressly stated that Tarala was a ydydivara. Akdilajalada was the great-grandfather of Rdjagekbara: see M~ar. i. 13'; Viddh. j* 58; Aufrecht, p. 4. Stanza 777 of yarflgadhara's Paddhati is attributed to Akdlajalada; and as his name is ingeniously woven into the stanza, with a double or hidden meaning (see Aufrecht, p. 4), we can hardly doubt the correctness of the attribution. The Subhdsita-vali contains the same stanza, as no. 843; and here it is attributed to a "Southerner," ddkE~ii.~ya.1 But whether this Southern poet, Ak~ilajalada, the author of th stanza, is identical with the ancestor of Rdjagekhara is not yet proved. According to a stanza ascribed to Rdjaqekhara in the Sfiktimuktdivali, the dramatist Kadambarlrr-ia plagiarized from Ak~iajalada and thereby achieved fame as an excellent writer. See Peterson's introduction to the Subhdisitdvali, p. 102. Surdnanda must also have been a poet, as may be inferred from the epithets given to him by Rdjagekhara, in the Ran~avigraha stanza (above, p. 182), and as is directly stated in the stanza just quoted (p. 182). Tarala's name occurs in a stanza which, in the Si-ktimuktdvali and the Harihdrdivali, is given under Ra-ja~ekhara's name: Yayaivarakulagren~er harayasteg ca mand4anam suvarinabandharuciras Taralas taralo, yathaii 'As the central gem, brilliant with golden setting, adorns the necklace, thus Tarala, illustrious on account of his Suvarniabandha, adorns the Yayavara family.' Suvariiabandha, with its double meaning, seems to contain an allusion to some work of Tarala. As for Kavirdja, this must mean a different person from the author of the Raghavapdndaviya, if indeed the word is here used as a proper name. lt is, of course, often merely a honorific title, and is applied to various poets. Thus R-ajagekhara himself, according to Karp. i. 911, was successively called b~dakavi and kavirdja; and, at Yiddh. i. 52, he calls himself Kavii-djagekhara -ep. Bilhari inscription, p. 182. See Pischel, Die H-ofdicliter, p. 37. 'The Padyavali contains a stanza (or see Pischel, Die Hofdichter des Laksmanamore) ascribed to a poet "Iof the DeccanII: sena, Gdttingen, 1893, p. 10. 184 Rdjafekhara's Life and Writings. 3. Rajagekhara's Extant Writings. Four plays are extant which are ascribed to Rajagekhara. Their names are as follows: 1. Karpura-mafijari. 2. Viddha-qalabhafijika, or 'The Statue.' 3. Bala-ramayana. 4. Bala-bharata or Pracanda-pandava. Karpura-manjari [= Camphor-cluster]. -This is, in my opinion, the oldest of our poet's plays: see below. It is called a Sattaka. This word is said, at i. 6, to mean a kind of Natika where the pravegakas and viskambhakas are wanting. The Sahityadarpana (no. 542) adds that it is written entirely in Prakrit; that the "marvellous flavor" (adbhuta rasa) prevails in it; that its acts are named javanika; and that it, in other particulars, is like the Natik; further (no. 429), that the title of a Sattaka, as well as that of a Natika, is to be taken from the name of the heroine. And the Karpuramafijari and the Ratnavali are cited as titles exemplifying the rule. The Karpuramanijari contains four acts called javanikantara. It tells us how the king Candapala marries Karpuramaiijari, the daughter of the Kuntala king, and thus becomes a paramount sovereign. The jealousy of the queen, and the machinations that bring the king and the heroine together, form the plot of the play. The adbhuta rasa is represented by the sorcerer Bhairavananda and his tricks. See Apte, p. 22 f.; Levi, p. 249 f. That the Karpiramafijari is the oldest of RaIjagekhara's known plays I am inclined to infer from the circumstance that it was not, like the other plays, acted at the request of the king, but by the wish of the poet's wife Avantisundari. The Karpuiramaijari was edited for the first time by Vamanaca-rya in The Pandit, 1866-72. Then follows the edition by Durgaprasiida and Paraba, 1887. I have seen two paraphrases of the Karpuranlafjari in modern vernaculars. The first is a Hindi translation by the well-known poet Hariqcandra (cp. Grierson, The modern vernacular literature of Hindustan, Calcutta, 1889, no. 581), and was printed in the year 1883. The other is a larathi translation, Bombay, 1890. See the chronological list under 1883 and 1890. Of the existing commentaries, the best known is that of Vasudeva, 3. RBdjajekhara's Extant Writings. 185 which Durgaprasada and Paraba have subjoined in their edition. It is hardly more than a Sanskrit paraphrase, and is of relatively small value. Much better is the South Indian commentary of Krsnasfnu. Pitambara's Jalpatiratnamanjari is also of some use. The commentary of Dharmadasa is known to me by name only. It is quoted by Durgaprasada and Paraba in their edition of the play. For further information, see the critical account of the mss., p. xxiii ff. Viddha-alabhanjika. - The next production of our poet seems to have been the Viddha-alabhafijika or The Statue. This is a Natika in four acts, and the author seems, in several points, to have imitated the Ratnavali. In one passage (iv. 119 = p. 113. 12 ff. in the edition of Arte) the plays of 9riharsa are perhaps directly alluded to. The plot is quite similar to that of the Karpframafijari. The King Candravarman of Lata has no son. He therefore tries to pass off as a boy his only daughter Mlrgankavali, and sends her under the name of Mrgaiikavarman to the Queen of King Vidyadharamalla. In the first act, Vidyadharamalla tells the Vidiusaka that he has, in a dream, seen a beautiful girl; but that, as he tried to catch her, she escaped, leaving her necklace. This was, as we learn in the third act, no dream, but an actual fact brought about by the contrivings of the King's minister, who knew who the disguised "boy " in the Queen's apartment was. An attendant persuades "the boy" to enter the King's sleepingroom, telling her that she would there meet the god of love. A seer had already foretold that whoever should take Mrgafikavall to wife would become a universal emperor. And on this account the minister desired to bring it about that his royal master and Mrgankavall should fall in love with each other. Afterwards, the King sees in the garden some maidens amusing themselves at swinging, and among them recognizes the face he saw in his dream. He is now thoroughly enamored. In a pleasure house he beholds a picture and a statue of Mrgankavall, and puts the necklace on the statue. At last he gets a glance of the girl herself, but she immediately disappears. In the second act, after some irrelevant incidents, the King again beholds his beloved, and learns that she is, in her turn, enamored of him. In the third act, after a long dialogue, and a trick played by the Vidfisaka upon the Queen's confidante Mekhala, we find the King and the Heroine together in the garden. But their meeting is brought to a sudden end by the announcement of the approach of the Queen. In the fourth act, the Vidiusaka and his wife appear on the stage, the latter, asleep. In her sleep, she discloses the fact that the Queen is 186 186 a)jarekhara's Life and Writings. intending to make the King marry Mrg~iikavarman in the disguise of a woman, in order to get her revenge for the trick played upon Mekhali. Further on, the wedding takes place; and now a messenger comies from Candravarman to announce that his master has got a son, and that the supposed Mrgdfikavarman is in fact the daughtel- of Canadravarmanl. A good resume' of the play is given by Wilson, ii. 354-GO. See also. Apte, p. 24; Le'vi, p. 245. Apte passes judgment on the literary merit of the play at p. 28. 1 The play was represented at the request of ~riyuvardjadeva (i. 54), that is, according to Wilson, the heir-apparent, probably at his installation in the joint administration of the govermnent. The heir-apparent must be Mahlpdla. But, as shown above (p. 181), there is some evidence that Rdjagekhara was connected with the Cedi princes. It is therefore possible that Yuvariijadeva may be one of the Cedi princes, either Keyiiravarsa Yuvardjadeva I., who reigned about the middle of the tenth century, or Yuvardjadeva II., who was a contemporary of king Vdkpati of Mdilaya. See Kielhorn, Epigraphia Indica, ii. 304; and cp. C. Mabel Duff, Chronology of India, p. 293. The ViddhaqdMabbafijik5 was edited by VmaneanacrYa (1866-71), Jiviinanda Vidyiisdgara (1873 and 1883), and Bhalskar Radinchandra Arte (1886). Arte has subjoined the commentary of Ndriyan~a Diksita, the son of RaRlgandtha Diksita and a pupil of D5imodara. Ndr~yan~a was a native of Mahdrdstra; according to Aufrecht, he lived in the eighteenth ccntury. Bala-rdmayania. -This is a Niitaka in ten acts. Of all Indian dramas it is probably the greatest in bulk. The prologue alone, as Apte observes, is as long as an act, and each act has tile bulk of a Ndtikd like the Ratndvali. The number of stanzas is 741. It is hard to see how so lengthy a play could well have been brought out upon the stage. And tile author himself seems to have felt this difficulty; for he says (at i. 12): "If some wvise critic should find it to be a fault of this Biilarniinmyaita that it is too long, that acute critic should be asked whether or nlot some virtue is to be found in the diction. And if this be the case, well then, let him read and enjoy my six compositions." It is here of no importance whether the prologue is a later addition to the play, as is made probable by Pischel, p. 1227. On the other hand, we may conclude from the words of i. 12 that the play was really represented at the request of the king Mallendrapd1a. I [Without unfairness to RAjaqekhara, piece. Such a treatimeit is in prospect from nou-Sanskritists can hardly accept Apte's the pen. of Mr. Mo11rntgoery Schuyler, Jr., a strictures until some one has miade a synipa- pupil of my1 friend, P~rofessor ~Jackson of thetic translation and interpretation of tile Columibia University. - C. it.,.]I 3. Bdjapekhara's Extant Writitigs.18 187 The Bldlardmdyan~a relates the whole history of Rdma f rom Sitai's svayarhvara to the slaying of R51vaina and the return to Ayodhyii after Sltd had passed through the ordeal of fire. Raivan~a is from the very beginning represented as the jealous rival of Rdima and as taking a part in the svayariavara; and his love and longing play a much more prominent role than his ferocity and cruelty. The banishment of Rdma is, in the Balardmdiyania, brought about by 9iirpan~akhii and other demons under the disguise of Dagaratha and KdiikeyI. A full analysis of the play is hardly called for. It would involve a repetition of well-known incidents. The reader may consult Le'vi, p. 27 if.; Apte, p. 31 if.; and Baumgartner, Das Ra-ma-yana und die Rdima-literatur der Inder, Freiburg imi Breisgau, 1894, p. 126. As for his sources, the poet seems to give some hints concerning them in the stanza at BMar. i. 16 and Biilabh. i. 12, which is ascribed to babhiiva Valmikabhavah~ pura kavis tata1h prapede bhuvi Bhartrmen hatim sthitalh punar yo Bhavabhiitirekhayd sa vartate saiiiprati R-ajagekharah. I 'le who in former days was the poet sprung from the ant-hill (Vdlmiki) and subsequently assumed on earth the form of Bhartrment4ha and who again appeared in the person of Bhavabhfiti, the same is now Rdja~ekhara.' That our poet is largely indebted to the works of Valmiki and Bhavabhiiti is clearly shown by Apte. For the most part he drew upon the Rdimayaina of Vdilmiki; and where he deviated, "1he clearly imitated Bhavabhiiti; and there are unmistakable signs that he had the Maha'viiracharita before him at the time of writing this play [cp. e.g. Billar. x. 65 and Mahdiv. i. 55].... In the sixth act, he follows Bhiavabhiiti in exculpating Dagaratha's wife.... The scene of Lanka and Alaka is a clear imitation of Bhavabhiuiti etc." See Apte, p. 37, 38. Levi (p. 292 f.) speaks of Riijagekhara's relation to Bhavabhfiti, and shows (Appendice, p. 37) that the former occasionally imitated K~iiddsa. Bhartrmentha 'is less known. Cp. Peterson and Durga-praslida, Introduction, p. 92;Biihler, Detailed -report of a tour in search of Sanskrit mss., Bombay, 1877, p. 42; Ah'frecht, ZDMG. 36. 368; Le'vi, p. 183. Bhartrmeiitha seems also to be called Hastipaka, which word is equivalent to Ment4ha. His kdvya, Hayagrivavadha, is known from the Rdjataraflgin!i and from quotations. Now I think that Levi was right in inferring from the verse before us that Bhartrmentha has, in some way or other, treated the history of IRdma. But I cannot deem Le'vi's supposition, (Appendice, p. 47), that the work in which Bliartrinent1ha did so may 188 Rd8japekhara's Life and Writings. be the Bhattikavya, to be a probable one. The same opinion that Levi held, had been previously expressed by Borooah, p. 20. Burnell's opinion of the Balaramayana is that "it has nothing remarkable about it but its prosy length." See Classified Index, p. 169. But it must be admitted that there are several passages of great lyrical beauty in it, and that the. poet's mastery of the several languages is better shown in the Balaramayana than in any other of his plays. The Balaramayana was edited by Govinda Deva, Benares, 1869, and by Jivananda, Calcutta, 1884. No complete commentary is known to exist. Bala-bharata. - Rajagekhara's last work is the Bala-bharata, or, as it is sometimes called, the Pracanda-pandava. Both names are used in the play itself: see i. 8b and 4. It is a Nataka (see text, i. 8); and as such, it ought to contain at least five acts. In fact, however, it has only two. It seems accordingly to be incomplete, and was very likely "projected on the same plan as the Bala-ramayana " (Apte, p. 39). As the poet himself tells us, the Bala-bharata is founded on the Mahabharata. See i. 4, where Rajagekhara implores Vyasa to grant him the help of his muse. The play has three stanzas taken directly from the Maha-bharata. These are: i. 18 = MBh. i. 62. 53 (=2333); ii. 5 = MBh. i. 1. 111 (= 109) or v. 29. 53 (= 861); and ii. 6 = i. 1. 110 (=108) or v. 29. 52 (=860). In the first act, the svayamvara of Draupadi is described. In the second act we learn how Yudhisthira lost everything in gambling; how Duhgasana dragged Draupadi by the hair of the head; and how at last the Paindavas depart to the forest. For an account of the contents, see Apte, p. 40-41. See also Wilson, ii. 361. " The story is not very interestingly told;... but the verses are smooth and flowing," says Apte. The play was represented at Mahodaya (Kanauj) before Mahipala, then paramount sovereign over Aryavarta, and it appears to have been the last work of our poet. The Bala-bharata was edited by Cappeller, Strassburg, 1885. See A. Weber's notice of the edition in Indische Studien, xviii. 481-3. It was also edited by Durgaprasiid and Parab, Bombay, 1887, in the Kavya-mala. In this latter edition, after stanza i. 32, only the chaya of the Prakrit passages is given. 4. Lost Works and the Anthologies. A Tradition of More than Four Works. - Rlijaekllhara speaks of " our six works" at Bialar. i. 12, as we saw, p. 186. Four of these have been dis 4. Lost Works and the Anthologies. 189 cussed. Of the other two we have at present no knowledge. If we may trust the statement made at Karp. i. 9, that the poet had already achieved eminence when he wrote the Karpuramafijari, it may be that these other two works preceded the Karpuramaiijari and were his earliest productions. And it is of course possible that they are still extant under some other author-name (such, for instance, as Candra-cuda), equivalent in meaning to "Rajagekhara," but quite unlike it in form. Fragments in the Anthologies. - The Anthologies give a considerable number of stanzas which they ascribe to Rajagekhara. It may be that some of these are taken from "these other two works." And it is worth while to assemble them here, either as a help for future students in the identification of the two works, if they are still extant; or else as fragments, if they are lost. My collections are made from two anthologies: the Paddhati of arnigadhara, and the Subhasitavali of Vallabhadeva. It is convenient to have their dates given here. (arfgadhara's work was written about 1363 A.D. (Grierson, Modern Vernacular Literature of Hindustan, p. 6). Vallabhadeva flourished probably between 1400 and 1450 A.D. (Biihler, Kunstpoesie, p. 71). I give first the twenty-five pratikas of the twenty-four stanzas which I have identified as parts of Rajagekhara's four known plays; and then those of the ten stanzas which I have not been able to trace in Rajagekhara's writings. The few stanzas from Vallabhadeva's collection are marked " Val."; the rest are from 9rfigadhara's. In order to avoid "overrunning" of lines, I abbreviate Viddh. by V.; Bala-r. by R.; Bala-bh. by Bh.; and Karp. by K. Anthology-stanzas (24) identified in Rajagekhara's Writings. -We will first examine the stanzas given by the Anthologies with or without explicit statement of authorship, and traceable to the writings of our poet. The following eleven are ascribed by the Anthologist to Rajagekhara, either expressly by name, or else by reference to one of his plays, and are found in his writings: 3659. taraiigaya dr9o. =V. iii. 27; R. iii. 25; Bh. i. 31. 3750. nirvyaja dayite. = R. iv. 44. 3757. abhyutthanam upagate. = R. iv. 43. 3837. dhatte pafkajinitale. = V. i. 43. 3928. vaktragrijita-.= V. ii. 11. 3936. vahneh gaktir. = R. v. 35. 190 190 Rd-jcapekhara's Life and Writings. Val. 322. udanvacchinna. = R. i. 8. See Bhartrhari, and below, p. 190. Val. 1411. ddhomibhah.71 = V. Hi. 21. Cp. K. ii. 29. Val. 2223. bhindiinah2 sundarindrm.= V. i. 12. See below. Val. 2281 =Val. 3446. lokottaraiti caritam. = R. ii. 51. Val. 2282. =p-pthvi sthird bhava. = R. 1. 48. The following eleven, accredited by the anthologist, 9iirfigadhara, to "Somebody" (Kas&,acit, or the like), that is, given as anonymous verses, are found in Rd-ja~ekhara's writings: 1099. yasya vajramaxner bhede. = RI. iii. 66. 3077. kulagurur abalindm. "1kasydipi." = V. i. 1. 3282. padbbydm mukt~s. = Bh. i. 28. 3373. tad vaktrauih yadi. =V. i. 14; R. ii. 17. 3516. upaprikir~gram. = V. i. 31. 3591. sdirandhrikarakrsta-. = V. ii. 23. 3719. vrajaty aparavdiridhimn. =V. iv. 1i [3722. (=Val. 2223, above.) bhinddno miininindin. V. i. 12.] 3816. ye doldkelikdrdh. = V. i. 27'; cp. R. x. 55. 3912. celdficalena. = V. ii. 9. 3929. amandamani-. = V. ii. 6. The stanza drfd dagdham is given as an anonymous one by Vallabliadeva, no. 1309; while 9drfigadhara (no. 3078) ascribes it to Ksemendra (about 1037 A.D. ).As a -matter of fact, it is found more than a century earlier, at Viddh. i. 2. (See also Sprtiche.) Three of Rdijagekhara's stanzas occur in one recension or another of the 9atakas of Bhartrhari (about 650 A.D.?). Did our dramatist take them from his predecessor? or were they taken from Rdjagekhara by some later redactor of the 9atakas and added thereto (as was the case with Kiliddsa's andghrdtam puqpam)? Apte discusses the question at p. 52 and deems the latter alternative the more likely. Vallabhadeva ascribes the first to Rdjagekhara, see above. For detailed references, see Spriiche, where all three are given. The stanzas are BdIlar. i. 8, udanvacchinnii bhuih (see above); B~illar. iii. 17, sthitih~ puxiye 'ran.ye; Biilar. vii. 40, vahati bhuvanagren~im. Anthology-Stanzas ( io), "of Raja~ek-hara," not yet traced. - There remain a few stanzas which the anthologies ascribe to Rdjaqekhara, but which have not yet been traced by me to any of his known works. They are: 85. taih vande padmasadmiinam. 251. nfiaiiia dugdhdbdhi-. (See Indische Spriiche, 3806.) 5. RBjafekhara and the Prakrit Literature. 191 3423. ahare viratih. (Spriiche, 1079.) =Val. 3485, as anonymous. 3926. caficallolaficalani. Val. 2563. indor laksma. Val. 3046. datur varidharasya. 174. trayo 'gnayas trayo vedaih. 188. Bhaso Ramila-Somilau. 189. aho prabhavo vagdevyah. 190. Sarasvatipavitrianm. The first of these ten looks like the introductory stanza of some lost work. The Rajagekhara to whom the last four are ascribed is, I opine, the younger Rajagekhara, of later date than our dramatist (see p. 196). 5. Rajaqekhara and the Prakrit Literature. The Literary Prakrits and the Real Vernaculars. - Riajaekhara's writings would probably be of less importance to us if we were better informed about the history of Prakrit literature. But on this subject our knowledge is exceedingly limited. The word Prakrit itself has different meanings. Thus in modern Indian books, we find it used in the sense of vernacular; but its general use is to designate the literary dialects described by the Prakrit grammarians. These dialects were not real vernaculars, and are clearly distinguished from them by native writers, the literary dialects being called Prakrits, while the spoken vernaculars are called Apabhraingas or Degibhasas. The Prakrits are, of course, developed from Apabhrafinas, and the first beginnings of Prakrit literature must therefore be traced back to the old literature in the vernaculars; but this task still lies beyond the reach of our abilities. From a comparative analysis of the ancient literary remains of India, it must be concluded that, from the earliest times, there were many stanzas current among the people, relating old legends and traditional tales, and that many of those stanzas were current in the old vernaculars. Most of them are probably incorporated in the great Indian epics, and our principal knowledge of them must be derived from those sources. Such stanzas are alluded to and quoted as early as in the time of the Brahmanas; and several Vedic hymns must be reckoned to that branch of literature. But this question is connected with the history of Indian literature in general and cannot be discussed here. Our present inquiries must be restricted to the poetical literature in Prakrit proper, and I must therefore leave out of account the large Pali literature, which has a history of its own, and also the literature of the Jainas, though this 192 R9ajafekchara's Life and Writings. sect has exerted the preponderating influence upon the development of Prakrit literature in general. Thus most of the authors who have written on Prakrit grammar and lexicography are Jainas. And the circumstance that the Jainas chose the Maharastri for their literary compositions, contributed greatly to the development of that language for literary uses. On the other hand, the Jainas cannot be supposed to have written in a language not before used in literature, and modern inquiries point to the conclusion that a large poetical literature existed in Prakrit, though only a small portion of it has come down to us. The reason for this fact is not very hard to find. The golden age of Prakrit literature falls in the time before the Sanskrit literature had reached its classical perfection. The great gap in the history of that literature, between the end of the epic period and the epoch which Max Miller called the renaissance of Sanskrit literature, has proved to be partly an illusion, and we now know that Sanskrit literature dates much farther back than was formerly supposed. But its fuller development at the hands of the great mediaeval poets of India absorbed all the interest of the educated classes, and to this day the systematic searches for mss. in India have often had Sanskrit literature chiefly in view. Early Prakrit Lyrics. - The oldest poetry of India is contained in the Vedic hymns and belongs to the religious branch of lyrics. In later times, we find this branch of literature represented by the poems of the different Indian sects, the religious gatakas, the stotras, and stutis. A good deal of this literature is written in Prakrit, but must be treated in connection with the religious history of India, especially that of the Jains. It is in the secular lyrics that the Indian literature has reached its highest perfection. This literature has not produced many complete works, but is generally contained in numerous detached verses, each giving a little genre-picture of Indian life. Most of these verses are erotic, and are generally admired by the critics. Hala's "Seven Centuries." —Such verses were, in early times, collected into anthologies, often called gatakas or centuries. The most ancient extant anthology that we know is the Sattasai or the "Seven Centuries " of Hala. This work is entirely written in Maharastri Prakrit, and we have no knowledge of the existence of any work, of that kind and of equal age, written in Sanskrit. Hala is another name of Satavahana, a name which often occurs in the Andhrablhrtya dynasty. Hala was probably not himself the compiler of the Sattasai, but only the compiler's Rdjapekhara and the Prakrit Literature. 193 patron. The time of his life cannot be fixed with certainty, but he probably belongs to the first centuries of our era, and he must have lived a long time before Bana, who, in his Harsacarita, Introduction, verse 13, praises the Sattasai. In Hala's anthology, the author's name is quoted after many of the verses, and from this fact we may conclude that Prakrit lyrics have a history which goes back to a time long before Hala. Unfortunately we do not know anything but the names of some of these poets. Nor are we much better informed as to the later development of this branch of Prakrit literature. Jayavallabha's Vajjalagga.- Bhandarkar, Report for 1883-84, p. 17, notices a second anthology, the Vajjalagga, composed by the 9vetambara Jain, Jayavallabha. I cannot, from the materials at my disposal, fix his time; but the commentary of Ratnadeva is dated in the year 1393, which must, according to Bhandarkar, be of the Vikrama era, and the same scholar has found verses from the Gaudavaho in the collection. The name Vajjalagga is derived from the systematic arrangement in vrajyas or chapters, each treating a different subject. There are 48 such chapters, which are enumerated in 5 gathas. The total number of verses is 704; and, judging by the specimen given by Bhandarkar, the Vajjalagga must be much like to the Sattasai. For the form of the title, cp. Bhandarkar, l.c., p. 324, comm. on stanza 4; and HD. 7. 17. The language is the Maharastri. I am not aware of the existence of other poetical anthologies in Prakrit. Anandavardhana's Visamabanalila. -Anandavardhana, who, according to the Rajatarafgini, v. 34, obtained fame under the king Avantivarman of Kashmir (855-84), wrote a Prakrit poem, the Visamabanalila. We know this work from quotations in the author's rhetorical work, the Dhvanyaloka. These quotations seem to show that the Visamabanalila was also an anthology, probably written for the use of poets (kavivyutpattaye, Dhvanyaloka, iv. 7). Anandavardhana quotes verses in Apabhraiga and may have composed his anthology also in Apabhraina. The quotations by Hemacandra must be taken from some such work, but we do not know anything more about it, and the Apabhrafia literature lies outside of our subject. Nor can I here dwell on works such as the Rsabhapaficaika of Dhanapala (tenth century), because it belongs to the religious literature of the Jains. Gunadhya's Brhatkatha. -The lyrical Prakrit literature is, for the most part, written in Maharastri. But the first name which occurs in the poetical Prakrit literature, is connected with another dialect, the Paigaci. 194 R1djaFekhara's Life and Writings. The poet Gunadhya is said to have written his Brhatkatha in that language. GunadShya is commonly supposed to have lived in the first centuries of our era. See Biihler, Report, p. 47. The Brhatkatha was not an original work of Gunadhya, but a compilation of folk-tales then current, such as the Paficatantra and the Vetalapaficavifinati, which collections are, to this day, widely spread in the modern vernaculars of India. The work itself has not been found, but we know it pretty well from the two translations, one by Ksemendra, the Brhatkathamanjari, and the other by Somadeva, the Kathasaritsagara. According to the testimony of those authors and of Dandin, it was written in the Paigaci language. This dialect is described by Hemacandra in his Prakrit grammar, iv. 303 ff., and it is probable that Hemacandra made actual use of a copy of the Brhatkatha. See Pischel, De Grammaticis Pracriticis, Vratislaviae, 1874, p. 33. Biihler, also, when in India, was told that manuscripts of the work were still extant. The Paigaci seems to be more closely connected with the really spoken vernaculars of ancient India than is any other literary Prakrit. And that branch of literature which is represented by the Brhatkatha must always have been popular. In some of the Sanskrit collections of folk-tales we also find verses in the old vernaculars, the Apabhrafinas. But the history of this literature is too closely connected with the general literary and linguistic history of India to be dealt with here, and we shall only state the fact that the earliest collection of folk-tales of which we have certain knowledge was written in Prakrit. In the Mahakavya, on the other hand, the priority must unquestionably be assigned to the Sanskrit literature. Aside from the Ramityana, no Prakrit kavya can claim an antiquity equal to that of the Buddhacarita of Agvaghosa. Prakrit Kavyas. Ravana-vaha. -The oldest Pra-krit kavya is the Setubandha. This poem, whose Prakrit name is Ravanavaha or Dahamuhavaha, contains in 15 Sargas the story of Rama, from the starting of the monkey army to the slaying of Ravana. It was formerly ascribed to Kalidasa; so by the commentator Raimadisa, who lived under the emperor Akbar. And also in the colophons the name of Kailidiasa occurs. But tradition generally ascribes the poem to Pravarasena. Thus Blana does, in the Harsacarita, Introduction, verse 14, and Ksemendra, in the Aucityavicairacarca, verse 16. According to Ravanavaha, i. 9, the work seems to have been completed at the request of a king by some poet. Pravarasena was therefore probably a king. We know four kings by that name. As the Ravamnavaha is mentioned by Dandin and BaIna, it cannot be later than 5. Rdjacekchara and the Prdkrit Literature. 195 the sixth century. Tradition seems to point to one of the two Kashmirlan kings of that name. The poem was perhaps written on the occasion of the building of a great bridge over the Vitasta or Jehlam by Pravarasena II. See Rajatarafiginl, iii. 354. This king is now commonly placed in the sixth century after Christ. It is likely that Pravarasena was not himself the author, but that the work was merely dedicated to him. We cannot ascertain who the real author was. But it is not probable that we have to do with a work by Kalidasa. The excessive use of compounds is not in accord with Kalidasa's style; and it would be difficult to understand why Bana and Ksemendra did not ascribe the work to Kalidasa, if it were really written by him. Bappai-raa's Gauda-vaha.- Another Prakrit kavya is the Gaudavaha of Bappai-raa, written about 750 A.D. and in celebration of the poet's patron, king Yagovarman of Kanauj. This poem seems to have come down to us in mutilated form. The different parts of it are very loosely connected, and the theme itself, the slaying of the Gauda king, is hardly more than vaguely alluded to. The king Yagovarman was subjugated by the king Lalitaditya of Kashmir (about 726 A.D.), and Bappairaa therefore was a contemporary of Bhavabhiti. See Rajatarafigini1, iv. 144. His Sanskrit name is Vakpatiraja, probably a translation of the Prakrit name. Anandavardhana, in his Dhvanyaloka, quotes verses from a third Prakrit kavya, the Harivijaya of Sarvasena, which work is not otherwise known. Rajagekhara is not known to have written other works than dramas. Prakrit Drama: Sattakas. -The Indian drama seems to have its root partly in Sanskrit, partly in Prakrit literature. The one play which is written in Prakrit exclusively is the Karpiramaiijari. But we are, I think, right in concluding from the definition of the word sattaka, given in the work itself, that the Karpuramanjari was not the first composition of its kind. And the word sattaka occurs, in the form sadaka, as early as on the Bharhut stfipa. The quotation from Tagore, given by Levi, ii. 5, may help us to understand the origin of the sattaka. In most characteristics it agrees with the Niatika, but was perhaps classed separately, not only because it was written entirely in Prakrit, but also because a distinct kind of dancing was used in it. Karpura-ma~jari the only Sattaka Extant.- At all events, Rajagekhara's work is the only extant pure Prakrit drama; and his chief importance in the history of Prakrit literature lies in the fact that he has '196 R1djaFekhara's Life and Writings. given to us a unique specimen of a kind of literature which has perhaps a history of its own. This Play Important for the History of the Drama. -The Karpuiramafijari is also of importance for the history of the Indian drama in general. To judge from some indications in the rhetorical literature, we must suppose that, in early times, a sthapaka (as well as the suitradhara) had something to do with the arrangement of the play. But in most of the known plays, the sthapaka has disappeared. In his recension of Levi's book, Le theatre Indien, in the Gottingische Gelehrte Anzeigen, 1891, p. 361, Pischel has suggested that this fact is owing to a reformation by Bhasa (cp. Pischel, ibidem, 1883, p. 1234). In the Karpuramaiijari we still find the sthapaka in action. Most of the mss., it is true, have substituted the more usual word siltradhara for sthapaka, where the latter occurs; but it clearly appears from the whole arrangement of the introduction that this proceeding is false. In i. 123, we learn that the "ajjo" is busy with his wife in the tiring-room. There is no question that the word ajja or arya in this passage means the sftradhara. It therefore follows that the sutradhara was not on the stage between the end of the nindi and that of the prastivana. We must accordingly conclude that those manuscripts are right which represent a sthapaka as coming on the stage immediately after the nandi. It may also be noted here that this same passage, i. 123, clearly shows that the female roles were sometimes played by female actors. The nandi itself is of interest in the Karpuramafijari, because verses are recited after it. This is a curious fact. We find the same again in the Parvatiparinayanataka. (Pischel, l.c., p. 360.) The Karpuramainjari, accordingly, may be consulted with profit by the student of the general history of the Indian drama; and it is not unlikely that the Sattaka has on this point preserved traces of a more ancient stage of development in this branch of literature. 6. Other Poets mentioned by Rajaqekhara. Several Other Poets are occasionally mentioned in the Writings of Rajasekhara. -Many of the memorial verses which occur in the anthologies, and are ascribed to him, were most probably not written by our poet. Some of them are, according to the Hariharavali, taken from the 4 "Bhojaprabandha of Rajaqekhara." It is, accordingly, probable that they are extracts from the Prabandhakoga of the younger Rijagekhara, which was written in 1347. Most of those verses are collected in alphabetical 7T. 1Mlentions of Baja~ekhara in the Literature.19 197 arrangement, after the name of the poets mentioned, in the introduction to the edition of the Karpiiramaiijari in the Kdivyamdld. In this place I can only take notice of the poets alluded to in Rdjagekhara's plays. Hariudd4ha, NTandiuddjha, Pottisa, and Hdla are mentioned as poets at Karp. i. 20w. The Tanjore mss. of this passage, however, have, instead, the names Haribamhasiddhi (?), Odldisa, Pdlittaa, Campaardia, and Mallasehara. With reference to these names, see Pischel, Gdttingische Gelehrte Anzeigen, 1891, p. 365. Apar~ijita is mentioned at Karp. i. 81, as a poet contemporary with Rdjagekhara, and as speaking in terms of highest praise of the merits and achievements of Rdjagekhara. In the Tanjore mss., Aparajita bears the surname Babbararda. He is said to be the author of a Mrgiffikalekhdkathd. This work is not otherwise known, but was probably a composition founded on a tale like that of Kathdsaritsagara 65. 221 if. Stanzas by B1hat~ipardjita occur as no. 1024 of the Subhdsitilvali (see also the Introduction thereto, p. 103) and in the Padydvali. 9 aiihkaravarman or Krsnaga1ihkaragarman was another contemporary poet. His name is mentioned in the first form at BMar. i. 162; and in the second at Yiddh. i. 6'. He is called sabhya in the Bdlardmimyan~a, and gosthigaristha in the Viddhagdlabhafijikd; but he is not otherwise known. A 9arihkaravarman occurs among the poets of the Siiktimuktdvali. Ddivajiia is mentioned at Balar. i. 151 and Bdlabh. i. 11'. This may be a proper name and refer to some contemporary poet. Or it may be a simple appellative, to be rendered by I'fortune-teller' (so Fleet, p. 176). 7. Mentions of R,%ja9ekhara in the Literature. By Vasukalpa, Abhinanda, and Somadeva. - According to Aufrecht in the Catalogus catalogorum, p. 502, Rdjagekhara is mentioned in the Silktimuktdvali as a contemporary poet by Yasukalpa and Abhinanda. We do not know anything about Vasukalpa, but we have two poets named Abhinanda. The one is known as the author of a kdvya, the Rdmacarita, and was the son of gatananda. The other was called Gduddbhinanda, and was a son of Jayanta Vrttikdra. His great-great-grandfather lived under king MuktdpidIa Lalitdditya of Kashmir, whose accession, according to Biihler, cannot have taken place before 724. Gdudibhiinanda must therefore have lived about the middle of the ninth century. He is known as the author of the Kddambarikathdsdra and of the Yogavdsisithasdra. Bifihler, Indian Antiquary, ii. 102 if., thought the two Abhinanda's to be one and the same. On that point, cp. Durgdprasida and Paraba, Kdvyanihi Part ii. 50. Abhinanda is also quoted, Suv~ttatilaka iii. 16, 29. 198 198 BJdjapekhtara's Life and Writings. Mija9ekhara's name is f urther mentioned in Somadeva's Yaqastilakacampii. According to the colophon, this work was written ~aka 882 = A.D. 960. As mentioned above, we are told in the third a-va-sa that R-ija~ekhara occasionally pays honor to the religion of the Jamns. As far as I can see, these words cannot apply to the known works of the poet. In the Da~arftpa and the Sarasvati-kanithabharania. - The Da~ar-ipa quotes Karp. i. 23 (iii. 14 = p. 117 in Hall'7s edition), Yiddhi. i. 31 (iv. 50 = p. 182), and B~ar. iv. 60 (ii. 2 = p. 62). The last passage is said to be taken from the Hanumannditaka -see Jiviinanda's ed., ii. 14. From the Sarasvati-kanthhlbharan~a (ed. by Anundoram Borooah, Calcutta, 1883), I have noted the following quotations: Bdlar. i. 42 (p. 224); Bilar. iii. 25 = Viddh. iii. 27 = Bdlabh. i. 31 (p. 214); BMar. v. 8 =Viddh. iii. 2 (p. 315); Bilar. vi. 19 (p. 81); Biilar. vi. 34 (p. 26); Karp. i. 1 (p. 138); Karp. i. 19 (p. 348); Karp. i. 25 (p. 348); Karp. ii. 11 (p, 108); Karp. ii. 42 (p. 194); Viddh. i. 3 (p. 149); Viddhi. i. 8 = Biilabh. i. 9 (p. 67); Viddh. i. 14 = BMar. ii. 17 (p. 215); Viddh. i. 15 (p. 179); Viddh. i. 19 (p. 367); Viddh. i. 20 (p. 72); Viddh. i. 31 (p. 223); Viddh. iii. 5 (p. 104 and 214); Viddh. iii. 14 (p. 72). Cp. Colonel G. A. Jacob, Journal of the Royal Asiatic Society, 1897, p. 304 if. In Works of Ksemendra. - Ksernendra, also, in several of his works gives references from Rdjagekhara's plays. In the Aucityavicaracarcii, we find Biilar. i. 39 (v. 13); ii. 20 (v. 20); iv. 1 (v. 36); v. 11 (v. 14); x. 41 (v. 12); Bdlabh. ii. 11 (v. 12); Karp. i. 18 (v. 18); and likewise the followving stanzas which I cannot trace: citiicakraili candralh (v. 15); strindtaf madhye (v. 16); Karniitidagandftkitalh (v. 27). In the Kavikanithabharan~a only one stanza by R-j'agekhara is quoted (nakhadalitaharidrdgranthigilure, 5. 1), and this one is not from his known works. In the Suvrttatilaka, iii. 35, Rajagekhara is praised for his ability in the 9a-rddIlavikridita metre; and from his works the following two passages are given, namely, Viddh. i. 30 (at ii. 23) and Biiar. i. 63 (at ii. 41). In the Kavya-prakiia, Prakrta-piffgala, etc. - The Ka-vya-prakiiga also contains a number of citations from Riijagekhara. Thus we find there Karp. i. 19, 20; ii. 4, 9; Viddh. i. 2; etc. (cp. Jacob, l.c., 1898, pp. 294, 303, 305, 313). Further quotations from IRdjagekhara, and meutions of him, are found in the Prakrtapifigala (Karp. i. 4, 20, 22, 23, 26; ii. 5); Ganaratnamahodadhi (see Pischel, p. 122.3); Hemacandra's Priikrit grammar (see Pischel, I.e.); Mafikha's 9rikanthacarita (xxv. 74); Abhinavagupta (see Jacob, I.c., 1897, p. 2.97); lRuyyaka (see Jacob, l.c., 1897, 8. Rdjafekhara's Prdkrit. 199 p. 307); and in later works, such as the Kuvalayananda, the Sahityadarpana, and Mlarkand.eya's Prakrit grammar; also in Kaleyakutfihala. A special interest has been attached to the quotation in Ksirasvamin's commentary on Amara i. 84, where, in speaking of the form gonasa, he quotes Viddh. i. 3 to show that the form gonasa also is used in the same sense. Ksirasvamin further quotes Viddh. i. 11 to show that taraka is neuter as well as feminine. Cp. Apte, p. 6. Peterson identified the commentator Ksirasvamin with Ksira, who is mentioned, Rajatar. iv. 489, as the tutor of king Jayapida; and thus he came to the conclusion that Rajagekhara was much older than we now know him to be. Aufrecht on the other hand had already stated (ZDMG. 28. 104) that Ksirasvamin must have lived in the eleventh century, since he quotes Bhoja and is himself quoted by Vardhamana. 8. Raja9ekhara's Prakrit. Rajagekhara was, to use Apte's words, " a poet of great learning and much information." The poet himself seems to be very proud of his linguistic skill, as he directly calls himself sarvabhasavicaksana (Balar. i. 101) or savvabhasacadura (Karp. i. 71). Balar. i. 11, he mentions the different languages used in literary compositions: Sanskrit, Prakrit, Apabhrafnga, and Bhfitabhasa. As far as we know, he himself wrote only in Sanskrit and Prakrit. It would be out of place here to discuss his knowledge of Sanskrit. It must suffice to state that he shows a great proficiency in that language. I must here be contented to examine his Prakrit. The Prakrits of the plays, it must be remembered, were no really spoken vernaculars; but rather, essentially literary fictions founded on the vernaculars. They were perpetually influenced, not only by the Sanskrit, but also by the spoken languages. Most of the so-called deig-words must be derived from this last source. Cp. S. P. Pandit's note to Dhruva's article on the Rise of the Drama, Transactions of the Ninth International Congress of Orientalists, i. 313. Qauraseni and Mahrastri. - These are the only Prakrit dialects which occur in the writings of Rajaeekhara. Herein, therefore, he has not evinced a breadth of linguistic knowledge comparable with that of the author of the Mrcchakatika. [Addition by the General Editor. - In order that this volume may be of service to students of Prakrit in America, to whom, for the most part, no help from a teacher and no elementary books will be accessible, I am constrained to make the following Addition. For a good general account 200 Bdj-apekhara's -Life and Writings. of Priikrit, see Jacobi's article, "1Prdkrit Languages," in Johnson's Universal Cyclopawdia. The 9durasen! is used as the conversational dialect, that is, in the prose passages; while the Mifhiriitri is regularly used in the stanzas. Upon this point the beginner should consult Jacobi, Introduction, ~~ 9, 10. The chief distinctive peculiarities of the 9duraseni are succinctly stated by Jacobi, pages LXX-LXXJI. These the learner should study. I am convinced that the best basis for a clear understanding of the differences between the two dialects is afforded by some concrete examples. I have therefore thought it worth while to devote a little space to a collection of some of the doublets which actually occur in this play. In the first column is given the Sanskrit form; in the second, its 9aurasenl counterpart; and in the third, the Miihdrdstrl form. 9Cauraseni-Mdharastri Doublets used in this Play. Sankrt. uaraseni. MahiirAstri ISnsi Ciurasemi. MAhiristril. (Prose.) (Verse.)' j (Prose.) (Verse.) atha adha aha sthita thida thia tath tadh! tahl sth-Spita thiivida th~via yathii jadha jahl kalita kalida kalia katham kadhaih kahaih kvathita kadhida kadhia iha idha iha ghatita ghadIida ghadia tatas tado tao dayit,% daida daiii etad edaih eax puiikhita puiikhida puiikhia bhfisit& blisidii vi-hfisiA eti edi ei bhrta bliarida bharia jaai jnd a~i ni-vegita ni-vesida n.i-vesia dadata dedu den ava-tirna odinna ava-inna bhavati, -tu bliodi, -du hoi, hou adbhuta acc-abbhuda abbhua bhavis~yati bliavissadi hohii labbate lahadi lahai prasrti pasadi pasai vartate vattadi vattai prabhrti pahudi pahni -vartatam pavattada paattau prdkrta pAuda pdua tistliati citthadi thai saffiskita sakkada sakkaa harati haradi harai manoratha manoradha manoraha marakata maragada maragaa kathyatAm kadhiadu kahijjau mithuna midhun~a inihunua kriyatamn kariadu kijjau ratna radaina raan~a drgyate disadi disai rati radi rai bhanyate blaniadi bhannai riti ridi rni lata ladi ma, krta kida kaa, Vata vaida v~a, gata gada gaa qata sada saa jata ja~da jaa sarasrati sarassadI sarassal jita jida jia sarit sura-sarida, saria% hita hida hia inanmatha mammadha vammaha il-nita A-n~da il-nia divasa divasa diaha I I __ I f I 8. Rdj)apekhara's Prdlcrit.20 201 These forms can all be easily found in the Glossarial Index: and from the Index it appears at a glance which of the citations are prose and which are poetry, the exponential part of the citation being a number for the prose and a letter for the verse. By the help of this table it will be easy to form a clear idea of the extent to which the manuscripts, as we have them, conform to the prescriptions of the native grammarians or disregard them.] [END O TEE ADDITION.] Rare and Provincial Words. -The most striking feature of Rdjaqe.. khara's Prdkrits is his abundant use of rare and provincial words. We give some instances from the Karpiiramafijari: ubbimbira cafigima- tarattl bliasala bakkara olaggiivia catti- tasara bhutthallal vacehoma 0lla, campia timisa bhulla vacehom! kai~ikelll calli pakkhiujja maratta varilla kandarliuia chailla pi~disiddhi maradh! vindurilla kandotta chollai pa iti mahalla sahulia kodd4a tapparakann~a Potta mahil& sipp! khaakkia tikkida bui ri-Acholl sihina klialakhanda tentakar,6la buddaina rosdnia hakkarai galibailla thakkura bola lafigima- etc. cafiga ahilla bolei latthaa cafigattana niiei bhamaratent lumb! In Rgja~ekhara's other works, also, many such words occur. Most of them are explained in the Prdkrit grammars and lexicons; some of them have equivalents only in modern vernaculars. [The student who uses diligently the smaller St. Petersburg Lexicon in the reading of this play cannot fail to be struck by the frequency with which the writings of Rdjagekhara, notably the Bilar., have furnished to Bbhtlingk his first authentication of many words. The starred kdliiksarika is supported by i. 181. The word dhdti (cp. ii. 46) is one of four synonyms for ' sudden attack' (prapdta, abhyavaskanda, dhdti, abhydsddana, see Hemachandra, 800), for not one of which, in this sense, had a quotation been hitherto adduced, save a single one from S~yan1a (BR. v. 1524). -C. R. L.] Mar~thicisms. Mardthi words are used on a large scale by Rdjaqekhara, according to Ndrdyanta Dikshita and Apte. And indeed, on the whole, our poet seems to be largely indebted to the vernaculars. Forms such as kandarifiina. catti-, tasara, pakkhdujja, etc., are known only fcom I hi word is rather dubious; but as the various readings all seem to be glosses, I was obliged to adopt it. 202 2Rdjafekhara's Life and Writings. modern dialects, and a form like dhilla represents a more advanced stage of phonetic development than the literary Prakrits in general. Compare Pischel on Hemacandra i. 89. I cannot here enter into the question concerning Rajagekhara's relation to the spoken vernaculars, from want of sufficient materials. The Poet sometimes confused his Two Dialects. -I must be content to touch upon the following question: Was Rajagekhara able to distinguish correctly the two Prakrit dialects which he used in his plays? The question is difficult on account of the miserable condition of the mss. The Indian editions cannot be trusted; and the Prakrit passages in the critically edited Balabharata are not extensive enough to be made the basis of the inquiry. Moreover, a mere glance at the various readings suffices to show that, in most instances, the text has been restored conjecturally. There remains the Karpuramafijarl. The mss. of this work are by no means correct nor consistent in their readings. Words such as ratna, sarasvati, iha, manoratha, mithuna, etc., are constantly written raana, sarassai, iha, manoraha, mihun.a, in the prose as well as in the verses. And at i. 2013, the form raana in the (Xaurasenl is also supported by Krsnasunu, who gives the two translations ratna and racana. On the other hand, in all mss., we find forms like idami in verses (e.g. iv. 2a). But generally some of the mss. have the correct form. It is therefore necessary to examine critically the practice of Rajagekhara, and to test his forms upon the touchstone of the native grammarians where they give distinct rules for dialectic usage. RajaSekhara's Usage tested by Markandeya's Prakrit Grammar.Markandeya, in his Prakrtasarvasva, gives a fuller description of the 9auraseni than the other grammarians; and I shall try in the following paragraphs to show how some of his rules are practised by Rajagekhara. I quote Markandeya after the ms. Wilson 1586 in the Bodleyana (Aufrecht no. 412).1 The chapter on the 9auraseni begins fol. 51 and contains nine prakaranas. In the fourth prakarana we find a sitra, ksanaksirasadrksanami cchah na syit, 'cch should not be substituted [for ks] in ksana, ksira, sadrksa.' In accordance with this rule I have adopted the reading sarikkha in iv. 1930, 53,59 According to a siitra in the third prakarana, 1 should not be substituted for y in yasti (yastyRmh lag ca na sytit). But at Karp. ii. 622 and iv. 194, 1 It is a pity that this ms. is insufficient as tried to procure new material from Southern the basis for an edition of the text. I have India through Professor G. Oppert, but in vain. 8. Rdjap"ekhara's Pra~krit. 203 all mss. read latthi. Cp. Pischel on Hemacandra 1. 247, where several instances of latthi are quoted from the Cauraseni. It is not without interest that all these quotations are taken from Rajagekhara's writings. Mark. vi. has the sutra, ata uttarasya ner e syat... idudbhyam uttarasya fler mmi va syat,' in words ending in -a, -e is substituted for the affix of the locative singular; in words ending in -i and -u, -mmi may be substituted.' But in the Karpuiramaiijari we find the following instances of -mmi in a-themes: majjhammi i. 83, kuharammi iii. 207. Another sutra in the same prakarana runs thus: do nasah I do eva syat. ad atah kvacid I ato faser at syat kvacit, 'for the ablative sing. only the affix do is substituted.... In words ending in -a sometimes a is substituted.' Accordingly the forms ending in -himrto ought not to be used in the 9auraseni. Still in the Karpuramanijari, forms occur such as pamarahimto i. 2029; tumhahimto ii. 292; candahimto ii. 2913, jalahiito iii. 318, tumharisahimto iv. 210. In the nominative sing. masc. of the pronoun etad, Markandeya forbids the use of the form esa in the 9auraseni: na esa etadah I suna etada esa na syat. This rule is in accordance with the general practice in all critical editions. But at Karp. i. 410 and ii. 271 and iv. 2011, all mss. read esa, instead of the correct eso. As for the verbal inflexion, the form ghettuna in the 9auraseni, i. 123, is of interest compared with the regular genhia, iv. 1918,39, 7. Of less importance is the use of the dhatvadeqa mul. = jna in prose. Cp. Pischel on Hemacandra iv. 7, etc. These instances point to the conclusion that RajaQekhara's linguistic skill was not so remarkable as he likes to tell us. For some important questions in Prakrit phonology and inflexion, his writings are of no importance. I shall only mention two cases. The question whether we have to assume a cerebral 1 for the Prakrits is as dubious as before. The South Indian mss. of the Karpuiramafijari always have cerebral 1, the others generally 1. Nor is the use of the Anunasika elucidated by these manuscripts. The very probable supposition that in the nom. plur. neutr. and instr. plur. the Anunasika must be used when the final syllable is short, is neither strengthened nor weakened by the mss. Most of them write the Anusvara or nothing. Only R sometimes uses the Anunasika, but very irregularly, to denote a long as well as a short syllable, and U in one place (iii. 16) has the Anunasika correctly. After all we must therefore state that Rajagekhara is more important for our knowledge of the Prakrit lexicography than of the phonology and inflexion. 204 Rdjapekhara's zife and Writings. Possible Inference as to Obsolescence of Said Dialects. - Finally, from the fact that Rajagekhara, "who knew all languages" (i. 71), did not correctly distinguish the different Prakrits, we may infer that the living knowledge of those dialects was, at that time, considerably diminished. This supposition is not disproved by the fact that Somadeva, the author of the Lalitavigraharajanataka (Kielhorn, Indian Antiquary, xx. 201 ff.; G6ttinger Nachrichten, 1893, 552) writes a Prakrit which is in close accordance with the rules of Hemacandra. Hemacandra's grammar is dedicated to king Jayasiriha of Anhilvad (1094-1143), and is therefore older than the Lalitavigraharajanataka, which was written in Sambhar, 1153. The late Dr. Biihler, some years ago, drew my attention to the close connection between the courts of Anhilvad and Sambhar. (Cp. also Gazetteer of the Bombay Presidency, Vol. i., Part i., 179 ff.) And it is quite probable that Jayasimiha sent copies of Hemacandra's grammar to Sambhar. If such is the case, the fact would sufficiently account for the correct Prikrit in Somadeva's work. 9. Raja9ekhara's Literary Characteristics. Pischel's Estimate of the Poet. - Pischel has given a brief statement, p. 1227 f., which it may be well to reprint: Rajagekhara war ein Meister des Wortes und seine Dramen sind iiberaus wichtig fir die Kenntnis des Sanskrit und noch mehr des Prakrit. Seine Verse sind elegant und fliessend und selbst in dem entsetzlich langweiligen Balaramayana wird man manche Scene wegen des Wohllauts der Verse, wegen der Sprichw6rter und der Anspielungen auf Sitten und Gebriuche nicht ohne Interesse und Genuss lesen. Aber als Dramatiker steht Rajagekhara nicht hoch. Im Balaramayana erweist er sich als starken Nachahmerl des Kalidasa und Bhavabhuti, in der Viddhagalabhafijika und der Karpuramainjari als Nachahmer des Dichters der unter 9riharsa's Namen gehenden Stiicke, ohne dessen Witz zu erreichen. Nur im 2. und 3. Akte der Viddh. sind zwei launige Scenen eingelegt, deren Grundziige man aber unschwer in der ersten Scene des 3. Aktes des Nagananda erkennt. Eine unglaubliche Geschmacklosigkeit ist die Scene im 5. Akt des Balar. (p. 119 ff.), wo die kiinstliche Sita und Sindurika mit den Drosseln im Munde, die Sanskrit und Prakrit sprechen, auftreten. Apte also discusses our poet's literary characteristics at length, pages 41-44. [The poet's works ought, as I think, to be translated and inter1A systematic study of our poet's writ- be, I am persuaded, a fruitful one. The ings, with a view to determine the extent to aqoka scene of our present play recalls that which he imitated his predecessors, would of the 3. act of Malavika. -C. R. L. 9. RdjaFekhara's Literary Characteristics. 205 preted by some Western scholar before a judgment is passed upon them which the Occident may fairly accept. See my notes to ii. 30, 31, 32. Native judgment sometimes goes too far in condemnation; and it often goes too far in praise. Of the latter error, the following stanza (attributed to a certain "highly cultured arhakaravarman," at Balar. i. 17 = Viddh. i. 7) is an example: patrum qrotrarasayanaim, racayitum vacah satari sammata, vyutpattim paramam avaptum, avadhimf labdhui rasasrotasah, bhoktum svadu phalaih ca jivitataror, yady asti te kautukam, tad bhratah prn u Rajaaekharakaveh siiktih sudhasyandinihl — C. R. L.] The Poet's Skill in Metres. - Rajagekhara's masterly command of the more elaborate metres is one of his most notable characteristics. He especially excelled in Sragdhara and (as has indeed been pointed out by the Indian critic, Ksemendra, p. 198: cp. p. 209, where the metres of the present play are given) in 9ardulavikrldita. Our poet's metrical skill is by no means restricted to Sanskrit; in Prakrit versification also he has shown a really remarkable power. His predecessors usually contented themselves with an occasional Anustubh or Arya in the Prakrit portions of their plays; while Rajagekhara (as Apte observes, p. 44) has given us nearly forty Prakrit stanzas in the highly artificial 9ardulavikridita alone (they number 33). This is a matter of no mean importance to the student of Indian metres. See below, p. 206; and cp. Stenzler's metrical notes, published after his death, ZDMG. xliv. 1-82. Rime. - Rime forms an essential element of versification in the poetry of the modern Indian vernaculars, and also in Prakrit; but not in Sanskrit. Where rime occurs in Sanskrit poetry, as, for instance, in that of Jayadeva, we may assume that the influence of the vernacular or of Prakrit poetry has been at work. It is of interest to note that Rajagekhara makes occasional use of rime. Instances are: Viddh. i. 4, 5; iii. 8; Karp. iii. 29, 30, 31. [It may be added that two of the Magician's ribald songs, i. 22, 23, are full of internal rimes. So ii. 11.- Rime, Antya-anuprasa, is freely used, for example, in the Gita-govinda and Moha-mudgara. Cp. Sahityadarpana, no. 637; Ch. P. Brown, Sanskrit Prosody, p. 21; Pischel, H., p. 208.- C. R. L.] Proverbial Expressions. - Another prominent literary characteristic of Rajagekhara is his fondness for the use of proverbial expressions. [In our present play, I have noted saws or proverbs or proverbial expressions at the following places: i. 1810,13,18; ii. 12; iii. 6b; iv. 188,; 208; and perhaps 206 206 Ba-)apeklhara's Life and Writings. ii. 26 d, 29"1, and iv. 2012(?) ought to be added. Apte has collected a good many on p. 45 of his essay. The Indian form of "1A bird in the hand is worth two in the bush" may be mentioned, since our poet gives it at Viddh. i. 22 2: it reads, "lBetter a partridge to-day than a pea-hen to-morrow," vararli takkdlovanadd tittiri na una diahantaridai morn. A far older form of the saw is given by Vdtsya-yana, in the Kdmasiitra, p. 191, ed. Bombay, who, in a most interesting carpe-diem-argument, says, "1Better a dove to-day than a peacock to-morrow," varam adya kapotalh7 qvo mayiirdt. In Manwaring's Mariith! Proverbs, no. 516, we find "Why do you want a mirror in which to see your bracelet?" From i. 1810 it appears that the saying is at least a thousand years old. Colonel George A. Jacob informs me that he has a "Handful of Popular Maxims current in Sanskrit Literature " now (Feb., 1900) in press in Bombay. - C. R. L.] Raja~ekhara Repeats Himself. - Cappeller has already drawn attention (p. vi f.) to the fact that Riija~ekhara frequently repeats himself. These repetitions extend sometimes over a whole stanza, sometimes only over a part. I give the following list, which is not exhaustive: Balar. i. 9 = Balabh. i. 15. Balar. v. 39 = Viddh. i. 24. Rilar. iL 10 = Balabh. iL 5. Balar. v. 73 = Viddhi. iii. 15. Balar. i. 14 Biilabli. iL 3. B5alar. vi. 11 = Bfilar. vi. 16. Jialar. iL 16 =Biilabh. L. 12. Balar. vii. 31, op. BAlar. x. 43. Bilar. i 17 Viddh. i. 7. Bilar. vii. 38 = Biflar. x. 44. Bdlar. i. 18 Biilabli. i. 11. Bilar. vii. 39 = Bilar. x. 46. Bullar. iL 20 =B5,labh. iL 14. B5,lar. viii. 11, cp. Vidclh. iv. 20. Midlar. Hi. 17 = viddh. L. 14. Balar. x. 40 = Viddh. Mi. 1I. BAlar. ii. 23 = Viddli. iH. 5. Balar. x. 58, op. B~ilabh. iL 19. Balar. ii. 25 =;B alabh. i. 31. Balabh. L. 9 = Viddh. L. 8. ~ Vidh.iff.27.BAdabh. iL 22 = Viddli. iH. 22. Bfilar. iHi. 39 = BRIlabh. i. 65. Baliabli. i. 27 == Viddh. Wi. 16. Balar. iii. 54 = B3alar. vii. 68. Biflabh. ii. 3, op. Karp. iH. 32. Balar. v. 5, op. B5lar. vi. 77. Bflabh. iH. 7 = Balabli. Hi. 13. Bilar. v. 8 = Viddh. Mi. 2. Biilabh. iH. 15, op. Viddli. i. 17. B&lar. v. 25 = Viddh. iv. 6, op. K arp. iv. 2. Karp. iii. 26 =Viddh. iii. 12. 10. Rajaeekhara's Favorite Metres. 1. Ciirdftlavikridita; 2. Vasantatilaka; 3. Cloka; 4. Sragdhar&. - In the Suvrttatilaka, iii. 35, IKsemendra praises Riijagekhara for his ability in the 9ii1rdiilavikridita; and this metre is, in fact, used to a grea(-t extent in his works. Thus I have noted 208 instances from the Bi-lariim~i-yanma, 41 from time Bidlablfimiata, 36 fromt the Vidldhli,.,,-labliaiijikt-i, and 24 fromD 11. Metres of the Karprtra-manjari.20 207 the Karpiiramafiijari. The second place in frequency must be attributed to the Vasantatilaka, which metre occurs 159 times in the Balar., 25 in the Bdlabh., 11 in the Viddh., and 23 in the Karp. The third place in frequency is held by the 9loka. Of this there are 126 instances in the B~lar., 25 in the Balabh., and 3 in the Viddh. To the Sragdharai belongs the fourth place, with 94 occurrences in the Bilar., 12 in the Biilabh., 10 in the Viddh., and 11 in the Karp. 5. Arya; then Tristubh; etc., etc. - Of other metres, the following occur more or less frequently: Arya Upagiti Giti Tristubh Drutavilambita Puspitagra Prthvi Praharsin! Mandakrantbi MAWilin IRathodldhata IRucira Vafiqastha VasantamdlikiL ~alin! 9ikharin! Svdgati! Harin! To these must be added some very free Priikrit metres, such, for instance, as Viddh. i. 4, 5; ii. 7; iii. 8, and Karp. iii. 29, 30. The two stanzas last mentioned are of a form not known from other sources. The stanza iii. 29 forms the half of a Maitriisamaka, but is shown by the rime to be intended as a complete stanza. Each pada consists of 8 syllabic instants. The following stanza, iii. 30, is constructed on a similar scheme, each pdda containing 12 syllabic instants. 11. Metres of the Karptara-mafijarI. The Metres in the Order of Their Frequency. -In the Karpiiramaiijari, the metres, listed in the order of their frequency, and each with the number of its occurrences, are given in the subjoined table. Under "Tristubh " are included Indravajra, Upendravajrd, and Upajdti. I~Ardfilavikridita Vasantatilaka, Tristubh. Sragdhard Rathoddhata Prthv!.. Malini.. Manda!krant~i 32 Svagata. 24 Gift. 23 Puspitagr%....... 12 Upagiti. 11 Yaliqastha....... 9 9aIlinI 7T 9,ikharin!iI 7' iii. 29, 30 (above, p. 207) 5 Sum... 4..... 0 0.. 1.. I.. 2. 1 4 1 Note that, in the amphibrach which forms the sixth foot of the first half of the Xryii, the resolution of the long into two shorts is permitted if a new word begin with the second syllable of that foot: e.g. i. 3, 8, 9; ii. 37, 48, 49. 208 Rdjafekhara's Life and Writings. [Scene-groups. - There are four considerable passages in this play in which metres of the same kind are, so to say, "bunched," and in which, accordingly, the unity of thought of the passage is reflected in the unity of its metrical form. The passages are: in act ii., stanzas 12-22, eleven arya stanzas, forming the "Tiring-scene "; again in act ii., stanzas 33-40, eight arya stanzas, forming the "Swing-scene "; then in act iv., stanzas 10-18, nine stanzas of hendecasyllabics, being six tristubh and three svagata stanzas, describing the Banyan festival scene. Finally, in act iii., the passage 9-17, consisting of nine vasantatilaka stanzas, forms the bulk of the "lengthy and vapid discussion of love." It is worth noting that a 9ardfilavikridita serves as the initial stanza of the Prologue, of act i. proper (i. 13), of the love-scene in the first act (i. 26), of act ii., and of act iii.; see the Table, p. 209. The same metrical form is especially employed for the more elevated passages of description: for example, i. 16-18, the spring; i. 35, the evening; iii. 25, moonrise; iii. 27, the garden scene. And it is also used at the climax of some gravely emotional passages, as at iv. 9.- L.] The Metres in the Order of Their Occurrence. —The following table (p. 209) gives the metres of the Karpura-mainjari in the order of their occurrence in the text. See also p. 289, note to iv. 1964. 11. Metres of the Karpura-mafijarl. 209 Metres of the Karpura-manjari. ACT I. ACT II. ACT III. ACT IV. i. 1 i. 2 i. 3 i. 4 i. 5 i. 6 i. 7 i. 8 i. 9 i. 10 i. 11 i. 12 i. 13 i. 14 i. 15 i. 16 i 17 i. 18 i. 19 i. 20 i. 21 i. 22 i. 23 i. 24 i. 25 i. 26. 27 i. 28 i.29 i. 30 i. 31 i. 32 i. 33 i. 34 i. 35 i. 36 Qardulavikridita Puspitagra Arya Sragdhara Arya Giti Arya Rathoddhata Svagata Qardulavikridita Vasantatilaka Sragdhara Qardulavikridita Vasantatilaka Qardulavikridita Vasantatilaka Indravajra Qalini Vasantatilaka Qardulavikridita Vasantatilaka Upajati Qardilavikridita Mandakranta Upajati Qardulavikridita Mandakranta Prthvi Qardiulavikridita Sragdhara ii. 1 ii. 2 ii. 3 ii. 4 ii. 5 ii. 6 ii. 7 ii. 8 ii. 9 ii. 10 ii. 11 ii. 12 ii.13 ii. 14 ii. 15 ii. 16 ii. 17 ii. 18 ii. 19 ii.20 ii.21 ii. 22 ii. 23 ii. 24 ii.25 ii. 26 ii. 27 ii. 28 ii. 29 ii. 30 ii.31 ii. 32 ii. 33 ii. 34 ii. 35 ii. 36 ii. 37 ii. 38 ii. 39 ii. 40 ii. 41 ii. 42 ii. 43 ii. 44 Qardulavikridita Mandakranta Qardulavikridita Vasantatilaka Rathoddhata Qardulavikridita Malini Sragdhara Qikharini AryA Mandakranta Malini Upajati Vasantatilaka Qardfulavikridita Sragdhara Q(rdulavikridita Mandakranta Sragdhar& Prthvi.rya Sragdhara.rya '4 Mandakranta Malini Upajati Vasantatilaka QCardulavikrIdita Sragdhara garduilavikrIdita Mandakranta Sragdhara Prthvi iii. 1 iii. 2 iii. 3 iii. 4 iii. 5 iii. 6 iii. 7 iii. 8 iii. 9 iii. 10 iii. 11 iii. 12 iii. 13 iii. 14 iii. 15 iii. 16 iii. 17 iii. 18 iii. 19 iii. 20 iii. 21 iii. 22 iii. 23 iii. 24 iii. 25 iii. 26 iii. 27 iii. 28 iii. 29 iii. 30 iii. 31 iii. 32 iii. 33 iii. 34 Qardulavikridita Malini Q(ardulavikridita Vafgastha Indravajra Malini *rya Vasantatilaka Malini Sragdhara Prthvi Rathoddhata Vasantatilaka Rathoddhata Qardalavikridita Prthvi (ardflavikridita Sragdhara [See p. 207] Rathoddhata 4' iv. 1 Xrya iv. 2 Puspitagra iv. 3 Prthvi iv. 4 Qardalavikridita iv. 5 Vasantatilaka iv. 6 Prthvi iv. 7 Sragdhara iv. 8 Vasantatilaka iv. 9 Qardilavikridita iv. 10 Indravajra iv. 11 Upajati iv. 12 *' iv. 13 L iv. 14 Upendravajra iv. 15 Upajati iv. 16 Svagata iv. 17 " iv. 18 "L iv. 19 Xrya iv. 20 Malini iv. 21 Vasantatilaka iv. 22 Qardulavikridita iv. 23 " iv. 24 Giti SUMMATION OF STANZAS. Act i. has 36 " ii. " 50 'W iii. " 34 " iv. " 24 Sum 144 ii. 45 Upagiti ii. 46 Qardulavikridita ii. 47 Prthvi ii. 48 Arya ii. 49, ii. 50 Sragdhara I I _ I PART IV TRANSLATION OF THlE KARPURA-MANJARII WITH AN INTRODUCTION AND NOTES BY C. R. LANMAN Mulier est homninis confusio; Madame, the sentence of this Latin is - Womman is mannes joye and al his blis. - CHAUJCER, " The Nonne Preestes Tale," 344. a 1. Geography of the Play in General. The geography of the play in general and the geographical allusions of the text demand some notice. The action of the play1 is at the court of King Chandapala, that is, in his palace and palace gardens. I do not know that this name designates an historical personage; but the poet plainly intended that we should imagine the general scene of the play to be in the Deccan (cp. "Here in the Deccan," i. 255, 348). Chandapala addresses his queen as "daughter of the [a] sovereign of the Deccan," i. 128. And the fact that the king of Kuntala and Chandapala are represented as marrying aunt and niece (i. 348) would lead us to imagine Chandapala's " kingdom in the Deccan " as not far from that of his fatherin-law (which is undefined) nor from that of Kuntala. Moreover, the allusions2 of i. 15 and 17 (cp. 20) point with clearness to the Deccan or Southern India (cp. i. 36, note 3)o Kuntala seems to have included parts of the region that is drained by the upper Kistna and the Tungabhadra.3 It covered what is now the southernmost part of the Bombay Presidency and of Haiderabad, and the northwest corner of Madras, with part of Mysore 4- say the Districts of North Kanara, of Belgaum, and of Bellary; and perhaps it reached even farther east. The inscription of Kurugode 5 names as capital of Kuntala the town of Kurugode, which is fourteen miles from Bellary town, north and west. Vidarbha seems to have reached from the Kistna north nearly to the Narbada. It is included in Maharastra.6 And Kuntala seems also to have been so included.7 This may throw light on the statement of the commentators (Konow, p. 160) about Vacchoma as capital of Kuntala. Lata designated, in the time of our poet, the region north of the lower Narbada and east of the Gulf of Cambay, modern Broach or Central and Southern Gujarat, Ptolemy's Aaptlr4. See Epigraphia Indica, i. 274, iv. 1 The place where the play was first repre- Ptolemy's Bavaovaaet; cp. Ind. Ant. xiii. sented or brought out, may have been the 367. court of Nirbhara: see i. 9 and p. 217. 5 Colebrooke's Essays, ii. [272], [273]. 2 The allusions to Bengal and Assam etc. 6 See Borooah, ~ 146-8; Balar. x. 74. (i. 142) are not such as to yield data for geo- 7 According to passages in Balar., which graphical inferences. Borooah (note 3) does not specify. According 8 See Duff, Chronology of India, under to Dagakumaracharita, viii., p. 59, ed. PeterA.D. 973, and Borooah's Essay, ~ 145. son, the Lords of Vanavasin and of Kuntala 4 Including the once important Banavasi, seem to have been vassals of Vidarbha. 213 214 Introduction to the Translation. 246; and Borooah's Essay, ~ 154. The statement of iv. 1828, the wedding is set for here and today, while the bride is in the country of Lata," indicates that Chandapala's realm was not Lata.l Another northern place is Kanauj, mentioned in the Jester's dream (iii. 52) as if distant. I imagine Chandapala's realm as south or southeast of Kuntala. 2. Hindu Seasons, Months, and Asterisms. In the Prakrit text above, and in the sequel also, there is a considerable number of allusions to the Hindu seasons and months and asterisms. Convenient tables of the months, etc., are so rare in this country that I am confident that the American student will welcome the ensuing table. SEASON MONTIITIME ASTERISMS IN WHICH FULL MOON MAY OCCUR Vasanta Chaitra March-April 14, Chitra; 15, Svati Spring Vaidakha April-May 16, Viiakha; 17, Anuradha Gr a Jyaishtha May-June 18, Jyeshtha; 19, Mula Summer Ashadha June-July 20, P.-Ashadha; 21, U.-Ashadha Varsha Q rdvana July-August 23, Qravana; 24, Qravishtha Rains Bhadrapada Aug.-Sept. 26, Qata-bhishaj; 26, P.-Bh.; 27, U.-Bh. d,fJvina Sept.-Oct. 28, Revati; 1, Aqvinil; 2, Bharani utumn r Karttika Oct.-Nov. 3, Krttika; 4, Rohini Hemanta f MargaqIrsha Nov.-Dec. 5, Mrga-igrsha; 6, Ardra Winter Pausha Dec.-Jan. 7, Punar-vasu; 8, Pushya iqira {Magha Jan.-Feb. 9, JXlesha; 10, Magha Cool season Phllguna Feb.-Mar. 11, P.-Phalguni; 12, U.-Ph.; 13, Hasta ~~.S..... Whitney's Siryasiddhanta, Journal of American Oriental Society, vi. 414 and 468, may be consulted; also his essay on the Lunar Zodiac, Oriental and Linguistic Studies, i. 341 f. For the older division into three seasons, Hot, Wet, and Cold, which is still in popular use, see Biihler, Epigraphia Indica, ii. 262, and Manwaring's Marathi Proverbs, no. 1279. Older month-names: Whitney, Journal, vi. 414; or Sewell and Dikshita, Indian Calendar, p. 24. Very instructive is Part X (c) of Manwaring. I abbreviate Purva, 'former,' by P.; Uttara, 'latter,' by U.; Plialguni by Ph.; and Bhadrapada by Bh. The 22d asterism is Abhijit: see note to i. 2031, and Whitney's Zodiac, p. 409. 1 It is true that at iv. 1818 the text says, as this is in palpable conflict with iv. 1827,28, "4 Here (? ettha) in the Lata country." But it may be ettha = 'there.' 3. Time-allusions of the Play and Time of the Action. 215. 3. Time-allusions of the Play and Time of the Action. For the determination of the time of the action, we have one datum which is both certain and precise, that of the Banyan festival (act iv.). It synchronizes with the full moon of Jyaistha.- The second datum, that of the Swing festival of Giuri (act ii.), if I have identified it aright, is no less certain and precise. The fourth day of that festival falls on the sixth lunar day of the bright half of Chaitra. - The third datum is drawn from the allusions to the beginning of spring (act i.). These are entirely certain. Whether we may take them as intending precision, is a question rather of common sense than of erudition.1 The evidence is in favor of interpreting them precisely. The action of the play, accordingly, covers a period of just two and one-half lunations: that is, all of Chaitra, all of Vaiqakha, and the light half of Jyaistha. The scene of the play being in the south, we may suppose the lunar months to be reckoned as from new moon to new moon,2 rather than as from full to full.3 There remains act iii. Its action takes place at a full moon: is it that of Chaitra or of Vaigakha? Act I. - The initial motif of the play proper is the advent of spring. The month is Chaitra, i. 17d, 18d; the frost is gone, i. 14"; the Malabar winds, from the southwest, have set in, i. 15d, 163'4, 20c; the spring has begun, i. 128, 142, 1814, with all its beauties, i. 163. -The act ends with evening, i. 35, and at least one night intervenes between acts i. and ii. And since the time of act ii. is the sixth of the bright fortnight of Chaitra, the latest date for act i. is the fifth of that fortnight. But it appears, from act ii. 4,4 that a considerable number of days must have elapsed since act i. During that time, but not after the beginning of act ii.,6 King and Heroine have seen each other, ii. 4216,17, and become deeply enamored. We can hardly make the interval less than five days, and would therefore set the time of act i. on the first of the bright fortnight of Chaitra. The duration of act i. is part of one day. 1 There is great discordance between fortnight (krsna), or that of the waning popular usage and the statements of the moon. See Ep. Ind., i. 404; or The Indian learned bookmakers of India in regard to Calendar, p. 4. Thus: >. seasonal divisions: see Biihler, Epigraphia 8 The purnima-anta system, diminuendoIndica, ii. 262. So here in New England, crescendo, thus: >. we speak of one of our characteristic bluster- 4 So too from ii. 8, 9. Perhaps also from ing vernal winds as "a regular March wind," ii. 12. Certainly not from i. 3426. It is odd even if it be a little before or after the calen- that the King waits five days to propound his dar month of March. question, ii. 118; but the playwright needed 2 The ama-anta system. In this, the it as introduction to his tiring scene. bright fortnight (gukla), or fortnight of the 5 In the Swing scene, although the King waxing moon, comes first, and then the dark sees the Heroine, she does not see him. 216 Introduction to the Translation. Act II. - The time is still Madhu, ii. 621, or Chaitra, and the spring "is very gently coming on," ii. 15. The nights are still chilly, ii. 415. We read at ii. 295, "Today is the fourth day of the Swing festival." The allusions to the worship of Gauri that accompanied the festival (see ii. 623 25, ii. 296) indicate that the gduryd dolotsava is intended (see note to ii. 623, and additional note thereto, on p. 289), and this begins on the third of the bright half of Cllaitra. The date of act ii. is therefore the sixth of waxing Chaitra. -The act lasts part of one day. When the Swing scene ends, evening is near, ii. 413. The agoka scene is somewhat later in the same evening, for the Heroine has in the meantime been "exquisitely decorated," ii. 437. Act III. —The action is on the evening of the night of a full moon, iii. 25d, 32b, which must be that of either Chaitra or Vaiqakha. The allusions to punkahs and shower-baths, iii. 20, and to the " intense heat" (ghana-ghamma, iii. 203), indicate that the hot weather (March to May, inclusive) is far advanced. I therefore deem the latter alternative the more probable one, and place the action of act iii. at the full moon of Vaigakha. This date allows ample time for the Queen's jealousy (cp. p. 247, note 7, with p. 289, note to ii. 419) to drive her to the drastic measure of imprisoning the Heroine, and time for the construction of the subterranean passage (p. 219). And it still falls within the limits of spring (vasanta)- cp. the next paragraph. Act IV.- The spring (mahu-samaa) has now gone, iv. 7d; the summer (gimha, iv. 1) is come, iv. 4c, 5d, 6d. The time of the action is explicitly defined, iv. 918, as the "Banyan festival." This falls on the day of the full moon of Jyaistha, iv. 918 note. In substantial accordance herewith is the allusion, iv. 3", to the length of the days, which reaches its maximum a little later; and so is the statement, iv. 1811, that the image of Gauri was set up "on the fourteenth day just past," that is, the fourteenth of the light half of Jyaistha. —The action of the merry-making (p. 221, scene 3) runs over a part of the day-time. The wedding takes place in the evening, iv. 187. SYNOPTIC TABLE OF THE TIME OF THE ACTION. Act I.: beginning of spring, first of Chaitra, bright half...... [Say March 15]. Interval of five days. Act II.: fourth day of Swing festival of Gauri, sixth of Chaitra, ditto.. [Say March 20]. Interval of about ten days + just one lunation. Act III.: full moon of Vaicakha...... [Say May 1]. Interval of one lunation. Act IV.: Banyan festival, full moon of Jyaistha.. [Say June 1]. 4. Synoptic Analysis of the Play. 217 4. Synoptic Analysis of the Play. The purpose of this synopsis is to make clear 1. the places or scenes of the action in detail, and 2. the details of the stage-business. Since the references to the text are given throughout, it will also serve 3. as a useful finding-table. For greater convenience, I have divided the synopsis into scenes, guided partly by the entrances and exits and partly by the places of the action, but without special reference to the canons of the native dramaturgy. Several scenes are double or even multiple scenes: that is, the stage represents simultaneously the scene of the principal action and also the King in some place of observation or concealment near by (such are scenes 4 and 7 of act ii.: cp. note to iii. 341); or the stage is imagined to represent successively (as in act iii., scene 2, and act iv., scene 5) several places in which the players have to be, during the course of that scene. In the latter case, the place comes to the actor instead of the actor's going to the place. His going, however, is mimetically indicated by a "stepping about." By "palace garden" or "palace," as used in the sequel, is meant of course the palace garden or palace of King Chandapala. PROLOGUE, I. 1 to I. 125. During the prologue, the stage represents the play-house (or ndtyafdla, Levi, p. 371) of the King for whom the play is enacted. The first performance may have been for King Nibbhara, i. 9, 11. Scene 1. Enters the Director (sutradhdra) and recites the benediction, i. 1-2. [Then exit.] Scene 2. Enters the Stage-manager (sthdpaka) and praises 9iva, i. 3-4, and describes the preparations for the play, i. 42. Scene 3. Enters the Assistant (pdrip2drvika) of the Stage-manager, i. 414 They discuss the play, the author, why he writes in Prakrit, at whose instance the piece is given, and the gist of the plot, i. 44-123. Exeunt. ACT I. Scene 1 (the advent of spring): the palace garden. Enter King and Queen, with retinue, i. 126. They congratulate each other on the arrival of spring, and describe the season in stanzas, i. 13-14. Behind the stage, two Bards describe the beauties of spring, i. 15-16, and are followed in the same strain by the royal pair, i. 16s-18. Scene 2 (comic intermezzo): place and actors as before. Jester and Vichakshana quarrel, i. 181. Retorts, sharp and coarse, follow; then rival 218 Introduction to the Translation. stanzas, i. 19-20; then threats, i. 2015. General laughter, i. 203. Exit Jester, i. 2041. Scene 3 (the tipsy Magician): place and actors as before. Reenters Jester, i. 211, announcing the Magician, who follows, i. 218, tipsy, singing ribald songs. He offers to show a specimen of his powers to the King, i. 251. The latter suggests that he produce on the stage a lovely girl. The wizard sets about it, i. 2510. ThereuponScene 4 (love scene): place and actors as before. Enters the Heroine, i. 251. Rapturous stanzas from the King, i. 26-27. She gives the King a coquettish glance, i. 289. He is deeply enamored, i. 29-34. She tells her story, i. 34"21. The Queen asks that the Heroine may remain a fortnight, i. 3426, and conducts her to the gynaeceum, i. 3438. Behind the stage, two Bards in descriptive stanzas announce the evening, i. 35-36, and the King goes to prayer. ACT II. Scene 1 (the love-sick King): the palace garden. Enter King and Porteress, ii. 01. Enamored stanzas, ii. 1-6. Scene 2 (the billet-doux): place and actors as before. Enter Jester and Vichakshana, ii. 63. They discuss briefly the King's condition, ii. 6410, unheard by him. They address the King, ii. 612. It transpires that Vichakshana. bears a love-letter, ii. 620, from the Heroine to the King. This the King reads, ii. 8. Stanzas from Vichakshana, from her sister, and from the Jester, ii. 9-11. The King asks, ii. 112, what happened to the Heroine after the Queen conducted her (at i. 3438) to the gynaceum. Properly the replies form no new scene; but they have such dramatic unity that it is well to treat them as a scene. Scene 3 (the tiring scene, a duo between Vichakshana and King): place and actors as before. Introductory questions and answers, ii. 112-6. In eleven half-stanzas, ii. 12-22, Vichakshana describes how the Heroine was arrayed and adorned in the gyneceum. The King caps each half-stanza with one of his own, in which he interprets the description with some fanciful conceit. Exit Vichakshana, ii. 293. It now transpires that she and the Jester have arranged that the Heroine shall swing in a swing set up before the idol of Parvati, and that the King shall have an opportunity to observe her from an arbor near by, ii. 29%7. With the Jester, the King "makes as if entering" the Plantain Arbor, ii. 2914. Scene 4 (the swing scene): the palace garden; the Heroine in the swing; King and Jester concealed in the Plantain Arbor. The King pours forth his soul in rapturous stanzas, ii. 30-32. 4. Synoptic Analysis of the Play. 219 Then follows, in eight stanzas, ii. 33-40, the Jester's description of the Heroine's swinging. It is filled with pretty conceits and forms a pendant to the tiring scene. -The Heroine quits the swing, ii. 402. Scene 5 (serio-comic intermezzo): the gardens. The King at the Plantain Arbor laments her departure in tragic strains, and the Jester gives mocking response, ii. 402-41. Evening approaches, ii. 413; but night's coolness avails not to attemper the King's amorous fever, ii. 415. The Jester leaves the King "alone" on the Emerald Seat, ii. 416, and makes as if leaving the stage to get something to cool him off, ii. 417. The King continues his amorous plaint, ii. 42. Scene 6 ("stage-traffick"): a part, near by, of the gardens. Reenters Vichakshana with refrigerants, ii. 423. She and the Jester, ii. 432, arrange it so that the King shall witness the coining aqoka scene. The King is imagined to secrete himself behind a shrub, ii. 433. Scene 7 (the aqoka scene): the garden. Enters the Heroine, ii. 437. She embraces a young amaranth, looks at a tilaka, and touches with the tip of her foot an aqoka tree; whereupon all three burst into gorgeous bloom, ii. 43'447. King and Jester discuss the matter, ii. 471-492. Behind the scene a Bard describes the evening, ii. 50. Exeunt all. See also p. 289, n. 2. ACT III. From iii. 349 we infer that, between the last act and this, jealousy has prompted the Queen to imprison the Heroine in some room in the Queen's section of the palace; and that, unknown to the Queen, a secret subterranean passage has been made from this room to the palace garden. The room where the lovers meet (iii. 2012) and the lamp-incident occurs (iii. 224) adjoins the prison room, as I think; for the lovers go from their meeting-room to the garden by the subterranean passage, and they must enter the passage from the prison room or near it. This meetingroom has a "back-door" entrance, perhaps from some obscure court-yard. The prison room is an "inner room," close and sweat-provoking, iii. 221. That it is near the Queen's I infer from iv. 1937-39 and 5257. Scene 1 (the King's vision): a place outside the palace (perhaps an obscure court-yard? ) near the lovers' meeting-room. Enter King and Jester. The King describes a vision in which he met the Heroine, iii. 22-3. To divert him, the Jester tells an elaborate counter-vision, iii. 34-7. The two engage in a lengthy and vapid discussion of love, iii. 8'-19. From behind the stage they hear the enamored plaints of the Heroine, iii. 192. The Jester indulges himself in much badinage with the King, iii. 201. Both "make as if entering," by a "back 220 Introduction to the Translation. door," the meeting-room, iii. 2012, that is, they "step about" by way of intimation to the spectators that they are entering it, though remaining, of course, on the stage. Scene 2 (the lovers' meeting): [part 1] a room near the prison room (see above). Enters the Heroine, with her friend, to meet King and Jester, iii. 2013. The King takes the Heroine's hand, iii. 2025. She has just come from a close "inner-room," so the Jester fans her, and in so doing puts out the lamp, iii. 2214. King and Heroine hand in hand, -the four now grope their way [part 2] through the prison room (? see above), and then [part 3] through the dark passage, iii. 229, to the gardens [part 4]. Scene 3 (the moonrise scene): the palace garden. A continuation of the last part of the foregoing scene. Stanzas of admiration and delight from the King, iii. 23-24. Behind the stage, Bards describe the rise of the full moon, iii. 25-28. Then follow stanzas by the Jester, Kuraiigika, and the Heroine, iii. 29-31, and the King, iii. 32-34. Sudden uproar, iii. 341. The Queen has heard of her consort's tricks and is coming, iii. 347. The Heroine escapes, by the secret passage, to her prison, iii. 349. Exeunt omnes. ACT IV. From iv. 9167, it appears that the Queen has now learned of the subterranean passage and blocked up its entrance. We are forced to assume that this closure of the passage is made at the garden end thereof. For the Heroine, the passage thus becomes a cul-de-sac: its prison end is open; she can enter it and traverse its entire length; but she cannot get out at the garden end. Accordingly, somewhere near the garden end, a new branch passage has been excavated from the main passage to the sanctuary of Chamunda near the Banyan, the mouth of this branch passage being concealed behind the idol, iv. 1838. Between the entrance of the Magician and that of the King (scene 5), the Heroine traverses the passage that connects the prison and the sanctuary five times. Scene 1 (the love-sick King): presumably, the King's apartments. Enters, with his Jester, the King, and bemoans rthe ardor of summer and of love. Episode of the tame parrot, iv. 24. More stanzas of love and summer, iv. 3-9. The Jester now tells the King how the Queen has closed up the entrance to [the garden end of] the subterranean passage, and tells of the guards that have been set all about that entrance, iv. 9612. Scene 2 ("stage-traffick"): place and actors the same. Enters Sarangika, iv. 915, with a message from the Queen; "The King must mount the 4. Synoptic Analysis of the Play. 221 palace roof today to see the Banyan festival," iv. 918. Exit Saraiigika, iv. 92~. Scene 3 (the Banyan festival): from the palace roof, iv. 921, King and Jester look down on an elaborate dance. In nine stanzas, iv. 10-18, the Jester describes the dance, the merry-makings, and the off-hand theatre play (impersonations with masks, etc.). We must here imagine a slight interval in which King and Jester come down from the palace terrace and go to the Emerald Seat, and thence to the Plantain Arbor. But see note to ii. 297. Scene 4 ("some necessary question of the play"): the Plantain Arbor, palace garden, iv. 183. Reenters Sarangika, iv. 181, with a message from the Queen: "The Queen has arranged that the King, this very evening, shall take to wife yet another princess, iv. 187, a princess of Lata, named Ghanasara-maijari," iv. 181819. The messenger, furthermore, narrates that the Magician induced the Queen to assent to this arrangement on the ground that her husband, the King, would become an Emperor by contracting this new marital alliance, iv. 1822. The ceremony is to take place in a sanctuary near the Banyan, presumably the festival Banyan, iv. 183032. Exit Sarangika. After exchanging suspicions (iv. 183-36) that the Magician is at the bottom of this affair, exeunt King and Jester. The mention of their exit is omitted in the stage directions. Scene 5 (the wedding): the sanctuary of Chamunda, in the palace garden, near the Banyan. With two episodes: Episode la, the prison room; lb, the Queen's apartment. Episode 21, the prison room; 2b, the Queen's apartment. Enters the Magician, iv. 1837, and does homage to the Goddess, iv. 19, whose idol screens the mouth of the new branch passage, iv. 1838. Enters the Heroine, iv. 193, coming from her prison, and issuing forth from the passage by a small opening behind the idol. Enters the Queen, iv. 1910, coming from the garden, and is dumfounded at seeing the Heroine, whose escape from the prison she thought she had at last effectually blocked. The Queen cannot believe her own eyes, iv. 1914-15. Accordingly, Episode 1'. The Queen, iv. 19', on pretext of returning to her apartments to get some things for the wedding (iv. 19s1), "steps about" on the stage, to indicate that she is leaving. We are to imagine that she goes by way of the garden to the prison room. The Magician sees through her pretext and sends the Heroine hurriedly back, iv. 192, by the new branch passage, to her prison, which she is of course imagined to reach before the Queen. The Queen is again no less astonished to find the Heroine quietly seated in the prison, iv. 1929, and, after a few words with her, " starts" to return to the sanctuary, 222 222 Introduction to the Translation. iv. 19'". Thereupon, the Heroine returns thither by the secret passage, with speed (see iv. 1941). Episode lb. The Queen, on her way back, to make good her pretext, stops at her own apartment for a moment while she and her friends pick up the things for the wedding, iv. 19I-1 Arriving at the sanctuary, she is again dumfounded, iV. 1913, at seeing the Heroine as before. Episodes 21, and 2b are simply repetitions of the same manoeuvres, iV. 1941- and iv. 196W Enters the King, with his Jester and Kurafiigika, iv. 1961. Effusive admiration on the part of the King, iv. 1911-20. The Jester shufts him up, iv. 204. The attendants proceed to arrange the wedding costume for the King and for "1Ghanasara-mainijari," iv. 206. It now transpires, iv. 201s, that the latter is no other than Karpi-ira-mafijanl. The ceremony is performed, iv. 212, and the King "takes his seat as an Emperor," iv. 21.4 Behind the stage, a Bard congratulates him, iv. 216; the King felicitates himself, iv. 23; and the play closes with the usual benediction. 5. Dramatis Personae. Chandia-paia, the King. Kapii-ijala, his Jester (Vidilishaka), a Brahman. Vib~hrama-lekhR, the Queen. Vichakshanii and Sdrafigikd, her attendants. Bhdiravdnanda, a master magician. Kifichana-chanda and Ratna-clhanda, two bards. Porteress, an unnamed woman, who serves as door-keeper. A tame parrot. Karpiira-mafijari, the Heroine. Kuraflgikd, her confidante. NOTE. -The Heroine is the daughter of Vallabha-rgja, King of Kuntala, and of his wife, Qagi-prabhA (p. 240). The latter is the sister of Vibhrama-lekha's mother. The Heroine and the Queen of our play are therefore first cousins (daughters of sisters). ABBREVIATIONS. -For abbreviated titles of books and papers cited, see pages 175-177. KARPURAMANJARI. ACT I. PROLOGUE. INVOCATION. ALL hail to Sarasvat! 1 joy to the poets, Vyasa 2 and the rest! may the most excellent words of others too 3 turn out highly acceptable to the critics! may the Vaidarbhi style of writing4 flash like a revelation upon us, - so too the Magadhi and also the Pfichalika! may the connoisseurs of poetry let these styles melt on their tongue, ab do Chakora birds with the moon-beams! 5 1 Moreover: Ever cherish ye deep reverence for6 the loves of Cupid and [his wife] Rati, in which no flurried embraces are noticed, no noisy kissing is going on, nor amorous beating of the breasts.7 2 [End of the invocation.8] STAGE-MANAGER. May the union of Qiva and [Parvati, his wife,] the Daughter of Himalaya, who are dear to the hosts of the Gods, whose pledge of love is [their son,] the Six-faced [God, Karttikeya], and who are adorned with a crescent moon [on their brows], yield you happiness. 3 And again: Victorious is Rudra,9 who often, as he bows low10 to assuage [his Par 1 The Goddess of Speech. 2 Reputed author of the Maha-bharata. 8 That is, of this dramatic company, no less than those of the more famous poets. 4 The styles (riti) are enumerated at Sahitya-darpana, no. 625 f. See Kavyadarca, i. 40f. 5 On which they are said to feed. 6 'Bow down (far, i.e.) low before.' 7 Loves, not possessing noticed embraceflurries, nor produced kissing-noise, nor performed breast-beatings.' 8 Recited presumably by the sutra-dhara or Director (who here makes his exit); and, if so, an interesting survival of older dramatic usage. See Konow's Essay, p. 196; and Levi, pp. 379, 135. The "Director's" first subordinate seems to have been the "' Stagemanager"; and subordinate in turn to the latter was his " Assistant." See p. 217. 9 Tantamount to Qiva. 10 In his bowings.' 223 i. 4- Translation. [224 vati's] jealous anger, lays - a bit quickly - at the lotus-like feet of the Daughter of Himalaya his offering of pearly moon-beams,2 together with a silvery conch made of the moon's slender crescent and filled to the brim 3 with waters of the Ganges of Heaven, and places his two hands the while [in token of reverence] on his bowed head. 4 [Walks about the stage and looks toward the tiring-room.] But our players seem [already] to be busy about their acting: for one actress is getting together such costumes as suit the roles; another is twining garlands of flowers; [4] a third is putting the masks in order; some one seems to be rubbing colors on a palette; here they are tuning 4 a flute; there a lute is being strung; [8] and here they are making ready three drums; here the noise of timbrels is heard; [10] there they are rehearsing the introductory stanza. So I'll call some attendant and inquire. nqure. [Looks toward the tiring-room and beckons.] [13] [Enters the Assistant of the Stage-manager.] ASSISTANT. Sir, your commands. [15] STAGE-MANAGER. You seem to be busy about a play, are you not? ASSISTANT. To be sure. We are going to enact a Sattaka. STAGE-MANAGER. But who is the author of it? ASSISTANT. Your worship, let this be answered: who is called "Moon-crowned"? and who is the teacher of Mahendrapala, the crestjewel of the race of Raghu? 5 STAGE-MANAGER. [Reflecting.] Aha! that, I think, is an answer in the form of a question: [aloud] Raja - -- gekhara! ASSISTANT. [Yes,] he is the author of it. STAGE-MANAGER. [Recollecting.] It has been said by the connoisseurs: "Sattaka " is the name of a play which much resembles a Natika, excepting only that Pravegakas, Vishkambhakas, and Afkas do not occur. 6 [Reflecting.] Then why has the poet abandoned the Sanskrit language and undertaken a composition in Prakrit? 1 For fear lest her anger increase. 5 Literally, ' Having the night's beloved 2 'Of moon-light pearls.' (raanivallaha) [i.e. the moon, which is also 8 See under a. Literally, 'to the root,' called raja] as his crown' (sihanda) [ Sanand so, 'radically, completely.' Similarly skrit, qikhanda, used as an equivalent for at ii. 2a. 9ekhara]. That is, the assistant's reply is 4 See OB. under sthana 1 (w). couched in the form of a charade. ____ I_ 225] Act First. - i. 125 ASSISTANT. Sanskrit poems are harsh; but a Prakrit poem is very smooth; the difference between them in this respect is as great as that between man and woman. 7 And he who is expert in all languages 1 has said: The various themes remain the same; the words remain the same, although undergoing [certain phonetic] modifications2: a poem is a peculiar way of expression,3 be the language whichsoever it may. 8 STAGE-MANAGER. And has he then [the poet] made no statement about himself? ASSISTANT. Listen. A statement has indeed been made by one of his poet contemporaries, the author of the story of Mrgankalekha, by Aparajita,4 namely, as follows: He who has risen to lofty dignity by the successive steps of young poet, chief poet, and teacher of King Nibbhara,5 [i.e. Mahendrapala],- 9 He is the author of it, the famous Rajagekhara, whose merits make resplendent the three worlds even, [and] are left unblemished [even] by the rivalry of the moon. 10 STAGE-MANAGER. At whose instance then are you enacting the play? ASSISTANT. The crest-garland of the Chauhan family,6 the wife of the chief poet Rajagekhara, the lady whose husband wrote the play, Avantisundari, -she desires us to enact it.7 11 Moreover: In this excellent Sattaka, which is a river of poetic flavors, [King] Chandapala, the moon of our earth, in order to achieve the rank of an Emperor, takes to wife the daughter of the Lord of Kuntala. 12 STAGE-MANAGER. Come, then! what we have at once to do let us accomplish; for the Director and his wife, who have taken the parts of the King and the Queen, are waiting in the tiring-room. [The two walk about the stage and exeunt.] [4] [End of the Prologue.] 1 This seems to refer to Rajasekhara. - its mode of expression. The definition is, in The following jadha is like the Greek "reci- the original and as we give it, loose. tative 6t." 4 See p. 197. 6 See p. 178. 2 Such namely as obtain between Pra- 6 See p. 180, and C. M. Duff's Chronology krit words and the corresponding Sanskrit of India, p. 277, and Journal of the Royal ones. Asiatic Society, 1899, p. 546. 3 That is, its distinctive character lies in 7 Lit., ' it, the work of her husband.' i. 126 Translation. [226 [Then enter the King, the Queen, the Jester, and, according to rank, the attendants. All walk about the stage and take seats in due order.] [7] KING. O Queen, daughter of the sovereign of the Deccan, I congratulate you that the spring is begun.1 For, Inasmuch as the maidens no longer put much wax on their lips,2 and do not in arranging their braids anoint them with fragrant oil, and do not put on a bodice, and are indifferent even as to the use of the thick saffron3 for their mouths,-therefore I think the festal spring-time is at hand and has overcome by its power the cold. 13 QUEEN. I too, in my turn, will congratulate you. Now that the frosts are gone, [again fair maidens] rub their pearly teeth.4 Little by little [again] they set their hearts on extract of sandal.5 At this season, behold, couples sleep on the verandas of their dwellings,6 the blankets heaped [unused] at the foot [of their couches]. 14 FIRST BARD. [Behind the stage.] Victory, victory to thee, [O King]! Thou gallant of the women of the East, thou champak-bloom ear-ornament of the town of Champa,7 thou whose lustre (rddhd) transcends the loveliness of Radha,8 who hast conquered Assam by thy prowess, who 1See p. 214-215. 2AAs they would iin the cold weatiei to prevent chapping. In the Indian materia medica (see Dhanvantariya Nighantu, p. 96) saffron is esteemed fragrant and pungent and hot and as a specific for cough, phlegm, and sore throat. Hence pretty girls have less need of it at the end of the season of cold and of colds. 4 With rind of betel (cp. p. 181). Konow cites Viddh., p. 752 (chollida = gharsita), and H. 4.395 (choll = takes): Fair maidens (do, i.e. putzen, un-mrjanti) cleanse their teeth.' This too is a sign of returning spring: for in the cold weather, it was actually painful to cleanse them because of cracked lips. - Vasudeva renders chollanti by sphuranti: 'the teeth-jewels flash,' i.e. girls show their pearly teeth in laughing, which they could not bear to do while their lips were so chapped. Cp. Rtu-samihara, iv. 6. 5 Esteemed as the most eminent refrigerant (Dhanvantari, p. 93), and so the exact opposite of the calefacient saffron. Cp. Indische Spriiche, 1763, 2215. 6 Ghara seems to include the whole dwelling-place, i.e. the central bungalow and all the adjoining compound. In cold weather, people slept, for the sake of warmth, in the antar-grha, the innermost apartment or perhaps the central bungalow. Now, on account of the heat, they have left off doing so, and sleep in the salias: these may be thatchroofed sheds without walls (to secure shade and allow circulation of air), or else verandas around the antar-grha; and might, in either case, be called majjhima as being 'between' the antargrha and the walls of the compound. Vatsyayana, KamasiTtra, ed. Bombay, 1891, p. 44, 45, speaks of a dwelling with spacious court, and with two sleeping-rooms (bhavanam dvi-vasagrham), an inner (abhyantaram) and an outer (bahyam); the comment refers also to the vastuvidya. 7 The champak-tree has a very fragrant golden flower much used as a decoration for the hair and ears. The far-fetched metaphor of the bombastic panegyrist is chosen here in part for the sake of the pun. 8 Literally, 0 thou, having the loveliness of RMdha [a district of western Bengal] 227] Act first. -i. 163 providest merry-makings (keli) for Hari-keli,1 who mayst well make light of 2 the beauty of genuine gold, who delightest us by the comeliness of all thy person! - May the beginning of the fragrant season [spring] be a joy to thee! For now, Cool from the Malabar mountains, are coming the [vernal] breezes.8 Wanton they ruffle the down on the cheeks 4 of the Pandian women, Breaking the jealous pride 6 of the tender maidens of Kiachi, Filling the matrons of Chola with passion for love's embraces, Waving the tresses [fair] of the beauties that dwell in Karnata, Tying the knots of love 'twixt the Kuntala girls and their lovers. 15 SECOND BARD. [Behind the stage.] The champak bloom has become like to a Maratha girl's cheek when rubbed with saffron-paste.6 The jasmines, with blossoms as fair as slightly churned milk, are bursting and bursting.7 The dhak-tree,8 blackish at the root,9 and with bees clinging to its tips, looks as if bees were clinging to it from head to foot10 and drinking its juices. 16 KING. Dear Vibhramalekha, say not that I have congratulated thee, nor that thou hast congratulated me; but rather that both of us have been congratulated by the two bards, Kafichana-chanda and Ratna-chanda.11 [2] So now to her heart's content let my Queen with eyes as big as [her] surpassed by thy (ra.dha or) lustre '- again a pun. 1A name for Bengal (Hemachandra, 957) - again a pun. 2Literally, 'hast made light of,' i.e. art so handsome that thou canst well afford to do so.- When it comes to the version of Indian panegyric, English is poor indeed. 8Cp. Madanika's song kusumauha-piaduao, near the beginning of act i. of Ratnavali (translated, Wilson, ii. 270). Also, Kadambari, p. 4375. Similarly Tennyson, Locksley Hall, line 20, " In the Spring " etc. 4 Literally, 'Wanton in causing horripilation on the edges of the cheeks.' 6 So that they yield to the seductions of love. The same idea at ii. 50b and iii. 30a. 6 Of saffron it is also said that it will make the face as fair as the full moon's disk -Yogaratnakara, under ksudrarogacikitsa, p. 38222 of Poona ed. The tertium comparationis appears to be the color common to the golden-hued champak blossom and to the flesh-tint of the cheek when somewhat yellowed by the overlaying of saffron. 7 The flowers of most varieties are very fragrant and of pure milky whiteness - cp. i. 19. 8 The Butea frondosa, a middle-sized tree, its trunk crooked and covered with ashcolored, spongy, scabrous bark. Lac insects [Coccida] are frequent on its small branches and leaf-stalks. So Roxburgh, p. 540 f. The lac exudes from the punctures made by the coccus. - See Griffiths, fig. 72 and pl. 63. 9So that this too (see preceding note) looks as if bees were swarming upon it. 10 Literally,' appears (notatur) as if quaffed by bees that cling [to it] even in two directions or points, i.e. even at top and bottom.' -Perhaps bhasala (here rendered 'bee') refers (inaccurately?) to the coccus insects. 11He is called by the equivalent name Manikya-chanda at iii. 262. i. 1683 Translation. [228 open palm,1 contemplate this festal season of spring:2- [of spring,] that quickens bold maids unto amorous flurry; that sets a-dancing like dancegirls the creepers that sway in the Malabar breezes; that sweetly recites its pafichama-note in the throats of the soft-throated [cuckoos];3 that brings forth in ample measure the rods for the bows of Cupid and speedeth the arrows of love with vehemence none may hinder; 4 [of spring,] the loved friend of [that] matron staid, [the Earth,] the Keeper of Treasure. [3] QUEEN. The Malabar-breezes have indeed begun, as the bards have said. For, Waving the garlands that hang in the doorways of Lanka,5 slowly swaying the sandal-tree thickets in the hermitage of Agastya,6 blended with odors of camphor, making to tremble the clumps of agoka,7 setting completely a-dancing the creepers of betel, impetuously kissing the waters of Tamraparni,8 [hither at last] are blowing the breezes of Chaitra.9 17 And again: " Your jealous pride quit ye, [fair maids]! give [each] to your darling a glance, be it never so restless!1~ [for] tender youth, that plumps your swelling breasts, by days is measured," five [perchance], or ten! " -such is, as it were, the Five-arrowed God's12 all-galling command, disguised 1 Cp. note to i. 32. 21 take mahiisava (madhu-utsava) as an instance of rupaka (Dandin's Poetics, ii. 66) and interpret it, not as spring-festival,' but rather as ' the spring which is like to a festival,' and so, 'the festal season of spring.' Similarly, 'creeper dance-girls,' i.e. ' creepers that are like dance-girls.' 3 Literally, [spring,] ' possessing the note, sweet and recited (or sweetly recited), in the throats of the soft-throated [kokilas or koils].' 41 take this as a copulative compound (Whitney, Grammar, ~ 1257) made up of two possessive compounds: literally [spring,] 'possessing abundantly-produced Cupid'sbow-rods and possessing unbroken arrowimpetuosity.' -The exceedingly long word is notable for its excessive alliterative use of nd's. 6 Ceylon. 6 Located on a crest of the Malabar range by the R&mayana, ed. Bombay, iv. 41. 15; but a later stanza (34) of the same canto inconsistently puts his dwelling on Mount Kuijara in Ceylon.-The canto contains many of the geographical allusions which occur in this play. Cp. Lassen, Indische Alterthumskunde, i. 153 f. 7 Kankelli, a name for the apoka-treesee my notes to 1. 2027. 8 A river rising near the southern end of the Western Ghauts and flowing generally south and cast to the gulf of Manar. At present the name Malaya is hardly applied to the Ghauts so far south. 9 The first month of spring, March-April, p. 214. 10 Literally, 'a glance, followed by unsteady movements (of the eyes).' 11 Literally, 'youth [is] for days.' 12 Cupid's.- For 20 names of Cupid and for names of his belongings, see Ilemachandra, 227 if. 229] Act First. -i. 1817 under the melodious warblings of the cuckoo, which the festal season of Chaitra [just now] hath suddenly given.l 18 JESTER. Hi there! among you all, I'm the only one that's a bit of a scholar: for my father-in-law's father-in-law used to lug around books at another man's house. ATTENDANT [Vichakshala]. [Bursts out laughing.] Got your learning by direct inheritance, then, didn't you? [4] JESTER. [Rather nettled.] Ha, you slave-girl's child, who'll be a bawd in your next birth, you Vichakshana, Small-Fraction-er!2 am I such a fool as to be laughed at even by you? [6] And besides, - O you polluter of other men's sons, you light-o'-love,3 you terror of the gambling-hells, hand and glove with ruined folk!4- what have you got to say against my inheriting my learning?5 please take notice that they who are born in Akala-jalada's family do get their learning by inheritance! but there's no use in talking. —" Bangle on your wrist, no need of a mirror."6 [10] VICHAKSHANA. [Reflecting.] Right you are! -Nor of asking7 the bystanders if a horse is speeding, when you see him on the dead run. - Come now, give us a description of spring. [14] JESTER. How do you come to be standing there chattering like a caged starling? 8 You don't know anything. - So I'll give my recitation 1 I find a very similar thought in Kavyaprakaga, x. 105, p. 705, ed. Bombay (given also by Bohtlingk, Spriche, 2021, ksinah, etc.). 2 I coin this word to reproduce the jingling and riming billingsgate of the original - nillakkhane viakkhane, ' insignificant Vichakshan '; and neglect the -a. 3 An unclear word; perhaps 'having the character of a bee ' (in its flight), i.e. 'unsteady, capricious.' 4 ' O thou, united with ruined folk,' root trut. 5 ' Was the inheriting of my learning a discredit?' 6 The fact is as plain without talk as is a bangle on your wrist without a mirror. This last seems to be a proverb (p. 206) and in abrupt form. 7 That is, ' and no need of asking' etc. - Apparently a second proverb of the same purport as the foregoing. 8 'Caged saria.' The same as the maanasaria, Skt. madana-sarika. From maana or mayana Platts derives maina, the name of the mina bird: see his HIinddstanf Dic'y, under maina, p. 1108a. The mina is the talking starling or religious grackle of India, the Eulabes religiosa: see Century Dic'y, under Eulabes, and picture. As Dr. Konow tells me, the sarika is mentioned with the parrot (suke salika) as early as Aqoka's reign, namely in Edict 5 of the Delhi Pillar: see Senart, Les edits des piliers, p. 44, 65, or Biihler, ZDMG. xlvi. 64, 69, or Buhler, Epigraphia Indica, ii. 259. The birds are habitual companions in literature and in life. A caged parrot and the mina are mentioned together, Mrcchakatika, ed. Stenzler, p. 7116, the latter as chattering (kurukuraadi) like a saucy house-maid. Cp. the whole scene with the caged sarig, Ratnavali, beginning of act ii.; and parrot i. 1817 - Translation. [230 before my old man 1 and the Queen: for musk isn't sold in a petty hamlet or a jungle; nor is gold tested without a touchstone.2 [1s] [So saying, he recites.] The Sinduvara shrubs that bear a quantity of blossoms like to ricepudding,3 my favorites are they; and also the multitudes of fair jasmine blooms, like to strained buffalo-milk.3 19 VICHAKSHANA. [Derisively.] Your words are as paltry as you yourself are.4 JESTER. Well then, Miss Noble-Words, do you give a recital. QUEEN. [Smiling a bit.] Friend Vichakshana, you're rather puffed up 5 with pride before us on account of your strong poetic ability. [5] So then, do you recite now, before my lord, [the King], a bit of poetry of your own making: for that is true poetry which will bear recital6 in the assemblies; that is pure gold which proves clear 7 on the touchstone; she is a true wife who gladdens her husband; he is a true son who makes his family illustrious. [7] VICHAKSHANA. As the Queen episode of this play, iv. 4. In KSS. 77, parrot and mina tell stories. - Caged birds in frescoes, Griffiths, pl. 45. The Indian exquisite (nagarika) spent the time between his forenoon meal and his midday nap in teaching his parrots and starlings to talk: see Kamasutra, ed. Bombay, 1891, p. 481, 4918; Bana's Kadambari, p. 356 end. For this accomplishment both birds have great capacity. They can rattle off at a great rate the Vedas and Qastras, which they incessantly overheard: Kadambari, p. 811, 38; cp. Harshacharita, p. 2447, 221 end; also, above, p. 204, Pischel. Secrets must not be told in their presence: comm. to Manu vii. 149. A very learned parrot appears at KSS. lix. 28 if. Both birds alike come to grief for their much talk, Spriiche, 899. See T. C. Jerdon, Birds of India, Calcutta, 1863, ii. p. 320-340; R. C. Temple has a valuable paper about the bird, Panjabi Sharak, Indian Antiquary, xi. 291-3: cp. xiv. 305 (Aelian's description). See also Wilson, Hindu Theatre, ii. 277; and Index to Ridding's Kadambari, p. 225, under maina. While I am studying this subject, my friend Rouse, of Rugby School, sends me his charming commands. [So saying, she recites.] book, The Talking Thrush, London, 1899. And Bloomfield refers me to Kaucika, x. 2, etc. (very pretty symbolism). 1The Sahitya-darpana, no. 431, allows vaassa, 'comrade,' as a form of address to the king, to be used by royal sages and by the jester. When so used by the jester, with pia-, it seems to me to connote no less familiarity than our colloquial " Old Man." -The chief of police uses it when he offers to treat the low-caste fisherman, who, after finding (akuntala's ring, gives part of the moneyreward to the officers (end of prelude to act vi.). Cp. preface, p. xix. 2 I mustn't cast my pearls before swine, nor seek the applause of "the unskilful." Only "the judicious" must pass upon my verses.- Proverbial expressions again. 8 In whiteness. Cp. i. 16b and Kadambari, p. 100, 261. —The Jester's verses smack of the kitchen. 4 'Your words match your own paltriness,' taking kantarattana as = karpanya. For uttana, Konow cites Paiyalacchl, st. 75. 6 ' That is poetry which is recited' etc. 7 Sub voce nivvad: cp. H. 4. 62. 231] Act First. -i. 207 The winds that had almost died on1 the flanks of the mountains of Lafika, that had grown weak from filling wide-expanded hood after hood of the serpents,2 wearied with dalliance,3 - at this season, they, as Malabar-winds, mingling with the sighs of maids whose lovers have left them, have become, suddenly, although in their childhood,4 strong, filled as it were with freshness. 20 KING. Truly, Vichakshana is clever (vichakshand) by reason of her skill in expression and her variety of diction. And so, she stands - what else? - as a crest-jewel of poets. JESTER. [Nettled.] Then why don't you say it straight out: 'Vichakshana's at the tip-top in poetry, [and I,] Kapinjala, a Brahman, at the very bottom"? [4] VICHAKSHANA. My good man, don't get excited. It's your poem that betrays your poetic ability: 5 for your words, fine [enough in themselves], although [spent] on a matter blameable for paltriness, -like a string of pearls on a flabby-breasted [old hag], like a [trig] bodice on a pot-bellied creature, like the collyrium pencil 6 on a one-eyed woman, — are not over and above charming. [7] 1 Root skhal: 'stumbled,' or (as we say of the wind) ' fallen'; and so, ' checked by.' 2 Literally, ' had come to impoverishment in the wide-expanded hood-row's (subjective genitive!) swallowing.' The ranks of expanded hoods of the female serpents have swallowed so much of the wind that its force has slackened! Characteristic exaggeration! Quite similar is the idea of Dandin, who calls the slack south-wind the "leavings from the repasts of the serpents of the Malabar hills," Dagakumara-charita, I. v., beginning.- " The snakes, 'tis said, on wind are fed." Spriiche, 4873, phani pavanabhuk: cp. 4376. "The Cobras... prefer taking their food at dusk or in the night." - Fayrer, p. 6. My colleague, Mr. Samuel Garman, Herpetologist of the Agassiz Museum, kindly refers me to Sir Joseph Fayrer's Thanatophidia of India, 2d ed., London, 1874. Plates 1-6 of this magnificent folio are devoted to the very deadly Naja tripudians, the Naga, or Cobra di Capello. I quote from page 7: " Some of the snake-catchers have a curious notion concerning the sex of the Cobra. They say that the hooded snakes are all females and poisonous; and that the males are all hoodless and innocent." It is not venturesome to assume that this belief, albeit unfounded, was current a thousand years ago and accepted by our poet. Hence the significance of his specific mention of the female serpents. The males are in fact smaller than the females, Mr. Garman tells me.- If Fayrer is not accessible, the reader may consult Joseph Ewart's Poisonous Snakes of India, London, 1878. a Cp. Bhartrhariss ardhami nitva. 4 Because the season in which they blow has only just begun.- The whole stanza is commented in Jhalkikar's ed. of Kavyaprakaga, iv. 41, p. 157. 5 That is, if you have any: and here, yours show that you haven't.- I purposely use 'betray,' as having, like pisunedi, a sinister connotation. 6 That is, the strokes of the pencil with which women applied the collyrium to blacken their eyelids and eyebrows by way of adornment. i. 208 Translation. [232 JESTER. With you, on the contrary, although your matter was charming, - it wasn't pretty, the way you strung the words together. [8] Like a row of copper bells on a golden girdle, like trimmings of coarse silk on a [fine] silken fabric, like sandal-ointment on a girl of loveliest tint,l —it [your language] doesn't partake of the elegance [of your ideas].2 But in spite of all that, you do get praised. [lo] VICHAKSHA.NX. My good man, don't get excited. There's no rivaling you: for you, though unlettered as the iron beam of a goldsmith's balance, are employed [in a, that is] as part of a [still finer] balance for weighing jewels; while I, though lettered like a [common] balance, am not employed in the weighing of gold.3 [14] JESTER. If you ridicule me that way, I'll tear off that part of you that goes by the name of Yudhishthira's eldest brother,4 your left one, and your right one too, in a hurry. [15] VICHAKSHANA. And I'll break that part of you that goes by the name of the asterism5 following Latter Phalguni, in a hurry. [16] KING. Man, don't talk that way. She has some standing 6 in the line of poetry. [18] JESTER. [Nettled.] Then why don't you say it straight out: ' Our little hussy's a first-rate poet, ahead even of Harivrddha, Nandivrddha, Pottisa, Hala, and the rest"? [So saying, he prances around on the stage. ] [21] VICHAKSHANA. [Derisively. ] first swaddling-clothes went.7 [23] 1 To an Occidental, gaura, ' yellowish ' is a doubtful compliment: it is applied to a beautiful woman of golden flesh-tint, at Ramayana v. 10. 52, ed. Bombay, and is used similarly here, as I think. 2 Or, your uncouth words do not support or keep from falling (avalambedi), that is, do not keep from appearing ridiculous, the elegance of your ideas. -The jester's words are good and his subject bad (like pearls on a hag): Vichakshana's words are bad and her subject good (like a coarse patch on a fine fabric). I am not sure about avalambedi. If I am right, the sandal-ointment seems out of place. 3 Presumably, the beam of the common balance, for bulky things like cotton, had You take yourself off to where my its divisions marked by letters (aksaras); while the beam of the balance for weighing gold or finer objects was not lettered. At any rate, the play of words on " unlettered" (=' unmarked' and ' illiterate') and " lettered " ( = ' marked ' and ' literate ') is palpable.- She means, "you, jester, are a rough stick; but are employed on work (poetry) as fine as gem-weighing- that is, royal favor gives you a chance at ' high art ': while with me the case is reversed." Karna: karna, as appellative, means 'ear.' 5 Hasta: hasta means also ' hand.' See p. 214. 6 Compare BR. vii. 1330, under k). 7 That is, " to the devil knows where!" 233] Act First. - i. 2031 JESTER. [Turning his head to look back.] And you —to where my mother's first set of teeth went.1 [25] Here's luck to such a royal court as this, where a hussy appears [to be set] on a par with a Brahman, where strong drink and the five products of the [sacred] cow are put in one and the same dish, where glass and ruby are employed together on the [same] parure. [26] VICHAKSHANA. In this royal court may you have that2 put on your neck [namely, a half-wring, as we might say], which the Exalted Tripleeyed God [iiva] wears on his head [namely, the half-ring of the moon]; and may your head be well bruised by that [namely, the touch of a foot] by which3 the longings of the agoka tree are satisfied [namely, the touch of a maiden's foot]. [27] JESTER. Ha, you slave-girl's child, you terror of the gambling-hells, you wholesale polluter of young men,4 you street-walker! that's the way you talk to me, [is it?] well then, as sure as I'm a great Brahman,5 you shall get that by which, about February or March, the longings6 of the horse-radish tree7 are satisfied; and that which a strong but lazy bull gets from the outcastes.8 [29] VICHAKSHANA. While I, if you go rattling on that way, like the [jingling] bangles on my foot,9 with my foot I'll smash your face. And 1 "L To the devil knows where." 2 The ardha-candra, literally, 'halfmoon,' serves as Qiva's diadem (cp. i. 3a); but the word means also ' the hand bent like the crescent moon for clutching.' ' To (give, i.e.) put a half-moon on a man's neck' = 'to wring his neck.' 8 Literally, 'by which the aqoka tree gets its dohada:' dohada, 'the whimsical longing of a pregnant woman,' is here the desire of the budding tree to bloom. This is accomplished by the touch of a fair maid's foot. The " touch" as applied to the jester would be a rude kick. The aqoka is one of the loveliest of Indian trees. It blooms at the beginning of the hot weather, say the botanists; when touched by a fair maiden's foot, say the poets.-The latter have very much to say about it; compare ii. 43, below, and Vasudeva's Scholion thereto, and see especially ii. 47. Indeed, the Sahitya-darpana makes the matter to be one of "common notoriety"-see no. 576, under khyiti-... viruddhata, and p. 228 end. See also Paul Elmer More's "Century of Indian Epigrams," no. XI; and Spriiche, 5693, raktiaoka, a stanza which some Mss. insert in the Vikramorvagi immediately after raktakadamba, iv. 30. The flowers are of a beautiful orange color, changing gradually to red. 4 Seems to mean the same as para-puttavittalini, i. 188. -But Vasudeva, p. 1718, explains it as 'getting your living by perjury,' taking kosa as ' false oath.' 5 ' By the word of me, a great Brahman.' 6 Sarcastically here. 7 Moringa pterygosperma, called dafigamuila at Rajanighantu, p. 142, Poona. The bulbs are cut up for a pungent sauce and the limbs are torn off for their flowers. 8 A cut in his nose, for the insertion of a nose-ring (cp. Manwaring, Marathi Proverbs, no. 201). - Cp. Hemachandra, 1268, and Marathi baila. - For ablative, see p. 203. 9 The point of comparison between the jester and the bangles is the senseless noise i. 2031 Translation. [234 what's more, I'll tear off from you the pair of parts [your ears] that go by the name of the asterism 1 that follows Latter Ashadha, and chuck 'em away. [31] JESTER. [ Walking testily about the stage - then in a rather loud voice, behind the curtain -] Commend me to such a royal court as this -when 2 it's a devil of a way off! [a court] where a slave-girl sets up a rivalry with a Brahman! Well, from this day on, I propose - obediently paying my humble duty to my worshipful spouse Vasurhdhara - to stay just at home! [Laughter all round.] [35] QUEEN. What sort of fun can we have without our worthy Kapifijala? [or] how adorn our eyes beautifully without collyrium? [36] JESTER. [From the tiring room.] Oh no, you won't get me to come back, not by a long shot! better look out for somebody else to be your " old man": or perhaps you might put this mean little wench in my place, after giving her a mask with a long beard, and awful ears.3 - I'm the only one among you that's dead and done for; but you - here's life to you for a hundred years! [41] VICHAKSHANA. Don't try to make up with4 the Brahman Kapiijala: conciliation only makes him all the harsher, just as sprinkling water on a knot in a hempen rope makes it all the tighter. [43] QUEEN. [Looking in every direction around her.] For that the God of Day, resting his glance on the unsteady swings that are tossed to and fro by the feet of the singing wives of the herdsmen, driveth his car with halting coursers,5- therefore are the days very, very long.6 21 JESTER. [Reentering hurriedly.7] Give place, give place!8 KING. For whom? 9 JESTER. Bhairavananda is standing at the door. that both make. Pida-lagga, 'attached to my foot'= ' on my foot.' 1 Strictly speaking, Abhijit (containing a Lyrae) comes next after Latter AshAdha, but it is so far from the ecliptic as hardly to count. Then comes Qravana: cravanameans also ' ear.' See p. 214, and Whitney's Essay on the Lunar Zodiac, there cited, pages 410, 409, and 355. 2 Literally, 'such a court is praised when'..., like the German das lobe ich mir. 3 "t Ears like a bamboo cup " -says the Scholiast. counterpart of anu-samdhayata, from samdhay as denominative of samidhi. 5 Literally, ' goes, having a limping-steed car, a car with limping steeds.' 6 This stanza is a covert hint (dhvanyate) at the fact that she greatly misses her jester. - Scholiast. 7 See Levi, Th61tre, p. 374. 8 Although this English phrase means 'make way or room,' it is perhaps the nearest feasible equivalent for what is literally ' a seat, a seat!' 9 ' What (purpose is there) with it (the 4I take anu-samidhedha as a Prakrit seat)?' 235] Act First. -i. 24 QUEEN. The one who is popularly reported to be a wonderful master magician? [5] JESTER. Yes, to be sure. KING. Have him enter. [The Jester goes out, and reenters with the Magician.] BHAIRAVANANDA. [As if a little boozy.] 1 As for black-book and spell, - they may all go to hell 12 My teacher's excused me from practice for trance.8 With drink and with women we fare mighty well, As on - to salvation - we merrily dance! 4 22 Moreover: And again: A fiery young wench to the altar I've led.5 Good meat I consume, and I guzzle strong drink; And it all comes as alms, - with a pelt for my bed. What better religion could any one think? 6 23 Gods Vishnu and Brahm and the others may preach Of salvation by trance, holy rites, and the Vedies.7 'Twas Uma's fond lover 8 alone that could teach Us salvation plus brandy plus fun with the ladies. 24 1 See A. V. W. Jackson on tipsy episodes in plays, Am. J'n'l of Philology, xix. 250. 2 Literally, 'Iknow nothing of (= I ignore) spells [and] Tantras.' The latter I take here to be the treatises called Tantras - cp. Aufrecht, Bodleian Catalogue, 91-95. 8 The intent contemplation which was very anciently and widely practised in order to bring on a state of hypnotic trance. 4 Literally, 'unto salvation we go, following the Kula way.' The "Kula way " is so called because its followers (Kaulas) refer to a Kula Upanishad as scriptural authority for their practices (Williams). -The union of the male principle in nature with the female is typified in the androgynous form of Qiva, in which the right side is male and the left is female. The latter represents the personified ' Power ' of nature (9akti=' power '), and her worshippers are called Qaktas or Followers of the Left-hand Way. This worship degenerated into the most indescribable licentiousness. It was ostensibly practised in order to attain, in the manner prescribed by the Tantras, the supernatural powers such as the Magician is here supposed to possess.- The reader may consult Monier-Williams, Brahmanism and Hinduism,4 p. 180-186. For the doubtless satirical juxtaposition of sensuality and salvation, cp. a lampoon on the Buddhists, cited by Leumann, Wiener Zeitschrift fir die Kunde des Morgenlandes, iii. 332, which I render as follows: A good soft bed; an early drink on rising; Dinner at noon; his toddy in the evening; Sweetmeats at night;- to crown it all, salvation! See? that's the way your Qakya-son would work it! 5 'A hot strumpet has been consecrated (see diks) as lawful wife.' 6 Literally, ' to whom does the Kaula religion not appear charming? ' 7 I have assumed " Vedy " (riming with "lady") as a colloquially humorous mispronunciation of "Veda," the name of the oldest holy scripture of India. It will seem natural enough to any Yankee. 8 Qiva, as god of the Left-hand Qaktas. i. 241- Translation. [236 KING. Here is a seat. Let Bhairavananda take it. BHAIrRAVANANDA. [Seating himself.] What'll you have me do? KING. Glad to see a wonder in 'most any line you please. BHAIRAVANANDA. I can bring down the moon to the ground And show you its rabbit-face 1 round. The car of the sun I can stop in mid-sky. Wives of sprites, gods, or Siddhas through heaven that fly, Or of Civa's retainers,-I fetch 'em anigh. Lord knows what on earth I can't do if I try. 25 So tell me what you'll have done. KING. [Looking at the Jester.] Say, man, has a peerless gem of a woman been seen 2 anywhere? JESTER. There is here in the Deccan3 a town named Vidarbha. There I have seen one gem of a girl. Her let him "fetch anigh" [to us] here. [7] BH1IRAVXNANDA. I am fetching her anigh. KING. Bring down the full moon4 to the ground. [Bhairavnanda represents in pantomime 5 the practice for trance.] [10] [Then enters, with a hurried toss of the curtain, the Heroine. - All gaze.] [12] KING. Oh, wonderful, wonderful! Since the tips of her curly locks yet stick to her face, since her eyes are red with the washed-off collyrium, since drops are a-tremble on the massy tresses she holds in her hand, since she has but a single garment and that but half put on,7 - therefore I think this girl, who alone can fill me with wonder,8 was busied with her play in the bath 9 [at the moment when she was] "fetched anigh" by yonder master Magician. 26 And again: With one lily-hand arranging the border of the garment that falls on 1 The Hindu sees, not a "man in the with covert allusion to any full-moon-faced moon," but a rabbit (cp. H. C. Warren, beauty whom the king would be glad now to Buddhism in Translations, p. 274), or a black- see. antelope (cp. note to ii. 20 below). 6 See Levi, Th4atre, p. 387. 2 We miss the tae or tue ('have you 6 Literally, 'hand-supported mass of seen') which appears in the variants, and is sprays of hair.' answered by mae, i. 256. 7 ' Since a single garment-border (or gar3 See page 213. ment-skirt) has been put on.' - She had no 4 Literally, ' the moon on the night time to put it all on properly. of the full,' - in palpable allusion to the 8 Literally, 'sole-producer of marvels.' first line of the Magician's stanza (25), but 9 Cp. ii. 24 and note to ii. 243. 237] Act First. -i. 29 her rounded breasts so firm,' with the other restraining2 the sari3 that flutters as she walks,4 - who in a picture could her grace portray? 5 27 JESTER. For her bath she had doffed her ample parure. Her adornments were spoiled by the breaking of the waves.6 Her slender form shows neath her dripping vesture.7 This maiden's glance is the sum and substance of loveliness. 28 HEROINE. [As she looks at them all - aside.] That this is some great King is made manifest by the way in which he plainly unites the graces of dignity and charm.8 Of this one too I have an opinion, [namely,] that she is his First-Queen —you don't need to be told, in order to recognize Gauri9 at the left side of the Half-woman God.0l And this is the master Magician. [5] Here again are the attendants. [Stops to reflect.] Then why does his look seem to make so much of me, even in the presence of his wife? [So saying, she gives a coquettish glance."] [9] KING. [Aside-to the Jester.] When she suddenly, past my ear, shot a sidelong glance sharply flashing, [a flashing glance] whose brilliancy was like that of the cavities of the petals on the tips of the ketakas where the bee sucks,12- then was I whitened surely with the best of camphor 1 Literally, 'on her firm-breast-hills': thala is used of parts of the body which may be considered as raised or elevated or projecting or rounded above or beyond its general surface - so of buttocks (ii. la), of cheeks, of breasts. Cp. BR., s.v. sthala (3a, 4a). 2 Dr. Konow books the word, of course, under root yam. 8 The kadilla (defined by HD. as kativastra) is doubtless the sari (or saree or sary), a long piece of silk or cotton wrapped about the hips, with one end falling nearly to the feet and the other thrown over the head, and here the same as the potta or 'garment' of line b-since she wore but " one." 4 Literally, ' the kadilla which was moved (from the, i.e.) by the walking,' cafikramanatas, Whitney, ~ 1098. 6 Literally,' she is not portrayed in any one's picture.' 6 Of the pool or river in which she had been bathing. 7Literally, (the glance of this one) 'having a body-liana (lan) coming into sight (ullasin) from her dripping vesture,' ollansua-ullasi-tanu-llaae: or, ullasin might be ' radiant,' i.e. 'radiantly beautiful '- see BR. under las + ud. 8 Literally, 'This one is known as a king by this (imina) profound-and-charming graceunion.' Here imina means ' this which you plainly see, this plain or manifest' (union), reminding us a little of Latin ille. As used of the character, gambhira is 'deep, solemn, dignified.' 9 Literally, ' Gauri, even untold, is known:'- and it's just as easy, even without help, to recognize the Queen. 10 See note to i. 22d. 11 Vasudeva defines try-agram as tiryagudancitam, (she looks a look) ' bent sideways.' The king refers to this glance at ii. 1d. - See notes on the coquettish glance, ii. 6a, iii. 2d. 12 Literally, 'when a sharp sideglanceflash was shot ear-nigh suddenly, - [a flash] possessing brilliancy (chavi) like [that of] bee-sucked ketaka-tip-petal cavities.' I take sav- as 'with an ear-interval,' not hitting. Kataksachata occurs in the 2d example to Sahitya-darpana, no. 100, cited by BR. ii. 1072. The pple aaddhia, 'pulled at' by bees, is booked under krs + a. i. 29 Translation. [238 (karpura),l bathed surely with moonlight. Meantime I am become overlaid as it were with dense pearl-dust. 29 [As before, aside -to the Jester.] Oh, the splendor of her beauty! Methinks her waist, circled with triple folds, were easily grasped even by a baby's fist, while to compass the expanse of her hips is not possible 2 even with the two arms.3 A tender child's hand suggests a comparison for the bigness of her eyes.4 And so [by reason of her beauty], it is not possible in a picture to portray her as she really is.5 30 JESTER. Albeit her adornments are stripped off for the bath and her cosmetics are washed away by it, [yet] how lovely she is! or rather, let me say, Even women who are devoid of [natural] beauty put on adornments, [for] they win a certain comeliness by such embellishment; [but] adornments make the comeliness even of a person who is naturally handsome to unfold itself [to still greater beauty].6 31 KING. That's true of this girl, at any rate. For Her loveliness is like to gold, untarnished, unalloyed.7 Her almondeyes reach even to her ears.8 The expanse of her cheeks is like to the full-orbed moon. That she is under the protection of the Fivearrowed God, [who guards her] with bended bow,9 [is clear], because 1 Or, with a pun of which the King is not consciously guilty, 'then was I irradiated with love for Karpura (-mafjari).' 2 The phrase no jii (yati) seems to be used like es geht nicht, that won't go, etc. ' The expanse is not possible to be embraced' (vest). For the use of the infinitive here and in d, see Jacobi, ~ 116.- " Expanse:" cp. i. 32b. 3 The style of beauty here exaggeratedly described is abundantly illustrated by the sculptures of ancient Indian monuments. They out-Rubens Rubens in his most drastic avalanches of buttocks. See A. Cunningham's Bharhut, Plate xxiii. Hindu painters show more self-restraint than the sculptors and poets: see Griffiths, i. p. 9a. ' The bigness has a comparison (given, i.e.) suggested by the hand.' Cp. i. 32'. 5 Paccakkham. 6 Literally, 'even of a person naturehandsome, the comeliness opens its eyes by [aid of] adornments.' Repeated at ii. 25. 7 Literally, 'gold, new (or fresh) and genuine.' The two adjectives are not without appropriateness of reference to girlish loveliness also. 8 A strange bit of racial psychology underlies the varying national ideals of beauty of person (cp. note to ii. 46).- Literally, 'Of her eyes the length is brought to a stop (skhalitam, 'stumbled, fallen,' - or as pple of the causative) by her ears.' Cp. i. 163; 30c; 34c; ii. 27a. Of a handsome young ascetic, Bana says, "his eyes were so long that he seemed to wear them as a chaplet," Kadambari, p. 280. See Griffiths, i. 8b. 9 Dhanuddanda is 'bow-stock;' but stock in this connection (see Century Dic'y, s.v. stock, sense 9) is superfluous in English. 239] Act First. - i. 344 his arrows,1 "Parcher," "Bewilderer," and the rest,2 are piercing me through. 32 JESTER. [With a smile.] The wind of the highway knows the liana's power of resistance.3 KING. [With a smile.] I tell you, old man: The embellishment effected by their own manifold excellences makes handsome the person of women 4 while splendor of attire seems [rather] to conceal5 their beauty of form. Accordingly, for those on whose limbs is imprinted the seal of a certain loveliness,6 Cupid, methinks, with bended bow, stands as the ever-ready servant.7 33 Moreover: Of this maiden The spread of the hips is such that no creeper-like girdle is on them; the breast-hills are so towering as to hide from her sight her waist;8 the eyes are so long that there is no [room for a] lotus on her ear;9 and the face beams forth with such radiance that it seems like a second moon on the night of full moon.10 34 QUEEN. Worthy Kapiinjala, find out n who she is. JESTER. [To the Heroine.] Come, sweet-faced girl, sit down and tell me who you are. QUEEN. A seat for her! Although we say bow-string when we mean the string, we say simply bow when we mean the bow-stock. Cp. vana-antare etc. 1 Literally his 'seekers.' The verb is listed under vyadh. 2 Namely, "Inflamer," "Ruiner," and "Crazer "- sarmdipana, uccatana, unmadana: see Uhle's Vetala, p. 812. Or cp. Mahegvara's comment on Amarakopa, i. 1. 27. The two here mentioned are punned upon at iii. 26, see note. 8 Sodirattana, 'manliness, pride, selfrespect.' For this passage, Dr. Konow suggests 'power of resistance.' Cupid knows how hard it is to conquer the King and so is shooting at him with great energy. I give with diffidence the following interpretation: By i. 32, the King means, " Cupid guards this fascinating girl, and I fear I may not win her." "Never fear," says the Jester, reassuringly; "the wind knows how little resistance the swaying creeper offers." 4 The person of women is beautiful [when] embellished by the host of their own excellences. ' 5 In Index under chad. - Cp. ii. 26, 27. 6 'To whose limbs a certain imprint of loveliness is gone.' 7 Ready to read from their coquettish glances their unspoken commands and to enthrall their lovers accordingly.- Scholion. 8 Literally, 'the breast elevation (or prominence) is so that she sees not her navel at all.' 9 Cp. note to i. 32b. 10 'And so outshining is the face that the night of full moon [is] possessing two moons.' Rajagekhara repeats this idea (see p. 206) in his three other plays, Viddh. iii. 27, Balar. iii. 25, Balabh. i. 31; cp. Qariigadhara 3659 and p. 189: udancaya mukham manag; bhavatu ca dvicandraim nabhah. 11 ' Know thou by asking,' '?rvOov.' i. 3-45 Translation. [240 JESTER. Here is my over-garment. [5] [The Jester gives the Heroine the garment, and she sits down upon it.] JESTER. Now tell me. HEROINE. There is here in the Deccan, at Kuntala,l a king named Vallabha-raja, beloved (vallabha) by all his people. QUEEN. [Aside, to herself.] Yes, and he's my aunt's husband. [lo] HEROINE. His consort is named 9agi-prabha. QUEEN. [Aside, as before.] And she's my mother's sister. HEROINE. [Smiling.] They call me by way of joke [?] their "bought daughter." [15] QUEEN. [Aside.] Such splendor of beauty, surely, was not produced save from the loins of 9agi-prabha; nor are2 pencils of precious beryl,3 save from Beryl Mountain. [Aloud.] You are Karpiira-manijari, aren't you! [20] [The Heroine stands abashed.] QUEEN. Come, little sister, embrace me. [So saying the Queen puts her arms around her.] HEROINE. Oh joy! here at last Karpuira-mainjari has begun to receive recognition!4 [24] QUEEN. Today, Bhairavananda, by your kindness, I have been made to enjoy an uncommonly neat [but] queer little arrangement in seeing [this] little sister.5 So let her stay now for a fortnight. Afterwards you shall carry6 her back by your magic power.7 [27] BHAIRAVA1NANDA. As the Queen says. JESTER. [To the King.] Say! we're everlastingly8- both of usleft out in the cold, you and I, since they have got together in a cosey family circle.9 For these two women are "little sister" each to the other; 1 See p. 213. 2 The verbal idea in each of these two clauses is expressed by a derivative of the same root pad, with ud or with nis. 8 Literally, ' beryl-gem-pencils.' The beryl occurs in hexagonal prisms; hence the appropriateness of the word "pencil." Some varieties are very beautiful (the emerald is one of them), while others are very little worth; hence the need of the word "gem." 4 Literally, 'of K. this is the first salutation: ' but if put thus, it might imply that she is glad she has received none before. 5 Literally, ' today an unprecedented (= uncommonly neat) queer-little-arrangement (= saimvihanaa, cp. OB. vii. 5b), with the sight of the little-sister, has been caused by your kindness to be enjoyed by me.' 6 In the Prakrit, the verb is plural, - " honoris causa," says the Scholiast. 7 Literally, 'contemplation-car;' that is, the supernatural power which you will attain by trance-practice will serve you to carry her home through the air to Kuntala. 8 In rendering param, I venture to use this English vulgarism because it suits the Jester. 9 'Since of them (Queen, Heroine, Vi 241] Act First. -i. 35 while Bhairavananda is praised and made much of for bringing them together. [33] And here a terrestrial Goddess of Speech, a go-between, [is parading about,] reincarnated as a downright Queen.1 [34] QUEEN. Vichakshana, to Bhairavananda must be shown every attention his heart can wish, and you may go to your eldest sister, Sulakshana, and tell her so.2 [35] VICHAKSHANA. As the Queen commands. QUEEN. [To the King.] My lord, pray let me take my leave; 3 for you see the state the little sister is in, and I'm going to the women's apartments 5 to arrange her attire with beauty and grace. [38] KING. [Of course you may go; for] it is quite proper to fill the runnels about the roots of the champaka creeper with musk and camphor.6 FIRST BARD. [Behind the stage.] May twilight bring its gladness to my King. [41] The hot-rayed sun's round orb, like to the body 7 of the soul of day, - who knows where that in all the world is gone,8 now that the time for day to die 9 is come? And even this lotus-pool,10 as if her eyes were sealed in a swoon on hearing of the long separation [that awaits her,] now that her lord is departed, hath shut fast the lids of all her lily-eyes." 35 chakshana, and Magician) there is an assembled family.' 1 Dr. Konow refers the allusion (sarcastic, says the Scholiast) of this sentence to Vichakshana, comparing ii. 108; and takes dehantarena with devi, as the reading of W suggests. It vexes the Jester to see Vichakshana so honored. 2 'Attention is to be paid..., telling your sister.' 8 See Index, under is. 4 I am going... on account of the beauty and grace of attire of the little sister who has this condition,' which you plainly see. - She had been snatched from the bath by the Magician (cp. i. 26 and 28). 5 The action is taken up again at ii. 118. 6 The Scholiast takes this as a case of samasa-ukti, citing for it Kavya-prakaga, x. 97, p. 671, Bombay ed.,-cp. Sahityadarpana, p. 30910-11, transl., p. 398. The "champaka creeper" suggests a slender, lovely woman, —here the Heroine. It is proper to bestow thereon all needful attention. 7 Taking pinda as 'body'; but Dr. Konow takes jiva-pinda as 'Lebens-masse,' ' Lebens-hauch.' 8 Literally, ' who knows where (kahimh) in the world (pi) that is gone? '- In other words, I think that pi, although adding an indefinite idea to the interrogative, does not convert the interrogative into an indefinite (' somewhere ') in this passage. 9 The occasion for the death (kala) [of the day] having arrived' (ap): Vasudeva, " sayamsamaye." 10 In Prakrit this is feminine (nalini), and so I refer to it by the feminine pronoun in English. - Literally, 'the pool has become (jaa, under jan) having lilies shut (" shut,' as used of the eyes).'-Souna, under gru, Jacobi, ~ 61. 11 The pool (feminine) of day-blooming lotuses closes her "eyes" (the blossoms on her "face") in a swoon of grief when her i. 36 - Translation. [242 SECOND BARD. Opened [now] for our pleasure are jewelled roof-terraces and the picture-galleries.l By the attendants, couches, delightful in the starlight,2 are hastily3 spread. Silks begin to rustle as the fingers of the restless hands of the ladies in waiting move over them.4 The pleasant murmur of the voices of women who have made up their quarrels5 is heard in the arbors. 36 KING. And we will go to our evening worship.6 [At these words, exeunt omnes.] [End of the First Act.] beloved lord (the sun) leaves her. The sun's departure is hinted at in the first half-stanza; and the second half-stanza is of course in clear allegorical allusion to the Heroine, and to her grief at being separated from the King. - This is a case of "transfer" (samadhi, Kavyadarca, i. 93): "because the ways of the Heroine are here transferred to the lotuspool," says the Scholiast. For day-blooming and night-blooming lotuses, see note to ii. 50, with which stanza this may be compared. 1 The pleasure-terraces-and-galleries.'Such places serve as rendezvous for lovers, says the Scholiast. Open roofs are much used in the East as a kind of pleasance at night. With Vasudeva, I take citta-bhittinivesa as = citra-grhas. 2 L In the star-time.' 8," Hastily: " there is scarcely any twilight in Southern India.- See root str. 4 The sound (rustle) of silk has begun by reason of the moving of the fingers' etc. 5 'The hum of women angry and tranquillized.' 6 ' To pay worship, [namely, our] evening-prayer,' somewhat like dywvieOcal 7rd6Xv\v. ACT II. [Then enter the King and the Porteress.] PORTERESS. [Walking around a bit on the stage.] This way, this way, 0 King! KING. [Takes several steps, and then, with his thoughts on her-1] On that occasion 2 Not from their places3 moved even the breadth of a sesamum seed her fair rounded buttocks;4 her belly seemed as if slightly overflowing with wavy folds; 5 her neck she bent aside; while the braided tress, that from her moon-like face did stray,6 was clasped within the folding of her breasts:7 [thus] in fourfold wise her slender form she showed, as on me sideways she her glance did bend.8 1 PORTERESS. [To herself, aside.] How now —even today - piling up the same old palm-leaves? - the same old stock phrases? 9 - Well, I must sing the praises of spring-time to him and so slacken his passion for her. [Aloud.] Contemplate, O King, the flowery season,10 which is very gently coming on.11 [5] [Now] are lengthening the days that break completely 12 the seal of the throat of the cuckoo's mate, that make the bees to hum with sweetness 1 That is, of course, on the heroine. Supply "says." 2 The occasion described at i. 289, when she gave him the coquettish glance which he now recalls in line d. 8 For the form of the ablative, see H. 3. 9. 4 Properly, 'well-conditioned buttockhill'- cp. i. 27b, note. 5 '(Was) possessing slightly overflowing fold-waves.' Cp. ii. 6b. 6 ' The braid in straying from her facemoon;' or 'the braid, in the nodding to and fro of her face-moon:' either veni or ananendu might be the subject of bhamana. 7 'By her braid a breast-embrace was got.' 8 Of her, looking-coquettishly at me, the body-liana became (jan) having-four-disposals or -arrangings (-vidha):' that is, four dispositions or attitudes of as many parts of her liana-like body presented themselves to my notice as she glanced etc. 9 'The same piling together of palmleaves, the same word-series:' proverbial equivalent for threshing the same old straw. 10 ' Give a glance at the flowery season.' The Scholiast seems to think the form of expression a little forced. And I certainly do. 11 'Which is maturing a very little.' This is vague as a time-datum; but the statement at ii. 623 seems more definite. 12 See i. 4b note. Cp. also p. 203. 243 ii. 2 - Translation. [244 long drawn out,l that among forsaken lovers waken anew the Paichamla note,2 the king of melodies, - [the days that are] crazy with passion, [days that are] the abodes of the troops of loves. 2 KING. [ Giving no ear to it. - In impassioned style.] When, to the eyes of all in the place of assembly, she appeared as3 an abounding stream of loveliness, as a city of the manifold dwellings of laughter and amorous delight,4 as a paragon 5 of comeliness, as a lake whose blue lotuses were eyes, but withal as the enlivener of my passion, -then did Cupid fix a sharp piercing arrow on the string of his bow.6 3 [As if crazed with love.] From the very instant that I first saw her,the fawn-eyed 7 girl, - If I paint a picture, she flashes forth upon it;8 she falls not short in [any] excellencies;9 on [my] couch, [meseems,] she slumbers; but I see her face like a full-blown flower in every quarter of the sky; 10 of my talk she is the subject; of my verses, she the theme;11 from my brooding thoughts ne'er parted12 for long is the tender wanton maid.13 4 And again: They whom the coquettish half-glance of her piercing restless eye hath smit,14 will [soon] to death be done by koil's note15 and spring and moon 1 'Giving a prolonged quality of sweetness to the hum of the bees.' 2 'That set agoing (sahi-car, caus.) the Paiichama note.' Cp. i. 163; also Qarrigadhara's Paddhati, no. 2048 (in the season of flowers, the koil utters the fifth or Paichama note, our G; the frog, A; the elephant, B). 8 ' When she became the beauty-stream (of the eyes of, i.e.) in the eyes of the people of' etc. 4 Cp. ii. 22b. 5 I am in doubt about this word. And the Scholia are not fully clear to me. 6 Puiikha is the arrow's notched and feathered end which is fixed on the string. (See Raghuvafina ii. 31.) " The arrow was 'pufikha-ed' on the bow" means "the arrow's notch was fixed on the bow-string." This action is called saimdhana. So iv. 20d. 7 Properly 'gazelle-eyed.' The gazelle is a small and graceful antelope, with large liquid eyes. The reader should see the beautiful pictures of P. L. Sclater and 0. Thomas's Book of Antelopes, London, 1894 —,if he would know the full force of this epithet. ' On a picture she bursts forth.' If I amuse myself with painting, my pictures always turn out to be portraits of her. 9 This clause seems strangely inept. 10 She blossoms out [like a flower] in' etc. 11 'In [my] talk she is present; in [my] poetry, she comes forward or makes her appearance or (if the author will forgive me) bobs up.' 12 (In [my] meditation, not separated is' etc. 13 Dr. Konow books the verbs under sphut, khuttai, lott, visattai (Skt. gat), vrt, trut; see his references to Pischel's Hemachandra. Skt. trut is 'to part' (intrans.), as we say of a rope. Cp. MarIath tutaneih, and Molesworth, p. 383b: "whilst of modanemii the sense is 'to break,' with the ever-inherent implication of destruction of form or state, the sense of tutanei is 'to break,' with the implication of parting or separating." 14 They who have been looked at (dittha) by a third-part of her eye.' Cp. Hala's Saptapataka, no. 605. 15 Cp. note to ii. 2c and cp. i. 168. Cp. Sahitya-darpana, no. 215. 245] Act Second. — ii. 610 and love; 1 while they on whom hath fallen her full glance 2 are dead and ready for our last farewells.3 5 [As if lost in pensive remembrance.] And again: Before4 her, [flies] a glance, [like] a line of bees, [straight and stinging];5 while [in the middle,6 or] about her waist there is a garland of milk-white wavy folds; 7 and behind her proceeds, amid her coquettish peepings, Cupid, holding his bow bent so nearly round that the string touches his ear.8 6 [Stops to think.] My man is long coming back. [2] [The Jester and Vichakshand enter and walk about.] JESTER. Say, Vichakshana, is this all true? VICHAKSHANA. Yes, it's all true, only more so. [5] JESTER. I don't believe you -you are so awful funny! VICHAKSHAIXN. My good man, don't talk that way: there's one time for joking, and another for the consideration of business. JESTER. [Looking before him.] Here's my old man, as out of spirits (mukka-mdnasa)9 as a gander that's quit Lake Manasa (mukka-mantasa),l0 emaciated with the fever-of-love (mada) as an elephant with rut (mada), 1 For the Moon as Love's ally, see Kadambari, p. 55912, kusuma-qara-sahayag candramaih. Cp. note to iii. 30. 2 Full look' (ditt.hi), in contrast with the "third-part-look" of line a. 8 4 Are fit for the gift of the two handfuls of sesamum-water,' the customary libation to the departed. 4 The metaphoric language is here so "bold" (praudha, as Vasudeva justly observes), that no bare English version suffices to reproduce the thought. 5 'Before [her] is the bee-row of her eyes.' Kalidasa speaks (Meghadfta, 35) of the temple girls and their eyes, "Whose glances gleam, like bees, along the sky," a free but good rendering of madhukara-grenidirghan kataksan. This last is precisely what Rajacekhara seems here to have in mind. Coquettish glances may reach far, like the bee's long flight; are straight as a "beeline;" like the bees, they leave a sting; perhaps also they are bright as the bees' shining wings, for bees are described as sphurant or 'flashing' at Spriiche, 1986d.-See H. H. Wilson's comment on the Meghadata passage; cp. Spriiche, 2463, where the kataksa is likened to a swarm of bees. - See iii. 2d. The "row" or "string" (greni) in which the wild geese fly is mentioned even in the Rigveda (iii. 8. 9); and a "string" of bees forms the "bow-string" of Cupid's sugar-cane bow (Megh., 71). Bhfiga-sarani is here about the same as bhramara-pafikti or madhukara-greni. -Correction in proof: Konow takes bhifiga-sarani here rather as the dark eyebrows. 6 "e Before," " in the middle," and "behind " are in evident contrast, -majjhe, with double meaning, signifying here ' on her belly.' 7 'There is a boiled-milk wave-garland' - cp. ii. lb note. See kvath in Index. 8 'Holding his bow rounded to the ear.' See under a. - Cp. iv. 20d. 9 Here is a series of elaborate puns. 10 His true and glorious home in the Himalayas, in order to return (about the end of November) to the every-day waters of India - see C. R. L. in Journal Am. Or. Soc'y, xix., p. 155-6. ii. 610- Translation. [246 languishing (mildna) from his violent inner-ardor (ghana-ghamma) like a stick of lotus-root wilted (mildna) in the strong heat (ghana-ghamma), his color (chad) lost like the brightness (chad) of a lamp that they give you by day-time, pale and wasted (pandura-parikkhina) like the moon which is pale and wasted (pand.ura-parikkhina) [by the sun's splendor] at day-break at the end of the night of the full.2 [o0] BOTH. [Stepping about.] Victory, victory to the King! KING. Man! how have you gone so far as even again to meet Vichakshana? JESTER. This time Vichakshana. did the "going," for she came to make it all up with me. And when she had made up, I stopped to talk with her till ever so much time went by.3 [15] KING. "Making up! "- what's the use? JESTER. [The use is] that (jami) here, with a letter in her hand 4 from a regular little dear, is - Vichakshana! [17] KING. [Acting as if he noticed a pleasant odor.] It seems to me as if I smelt the fragrance of ketaka blossoms. VICHAKSHANA. Here in my hand is a letter on ketaka flowerleaves. [20] KING. How do there come to be ketaka flowers in March? 5 VICHAKSHANA. Bhairavananda has imparted to us a spell by whose power one blossom already has been made to appear on the ketaka-stock in the Queen's palace-garden. [22] With some of its hollow flower-leaves, today, the fourth day of the " Swing-breaker,"6 the Queen has paid 1 So, despite OB., s.v. gharma, end, as against BR., s.v. gharma, 1, end. 2 'Like the daybreak full-moon-night moon.' 8 See BR. vi. 477 top. 4 See A. V. Williams Jackson's notes on billets-doux in plays, American Journal of of Philology, xix. 252. Further interesting allusions may be found at Kumara-sambhava, i. 7; and in Kadambari, p. 4336. The last passage speaks of scratching a message with the finger nails, and, as here, on petals of ketaki. 5 'In Madhu,' the older name of Chaitra = March-April: see Whitney, JAOS. vi. 413 -4. The Screw-pine or ketaka does not flower till the rainy season, says Roxburgh, p. 707, i.e., some three months later. Roxburgh adds: I" The tender white leaves of the flowers... yield that most delightful fragrance..; of all the perfumes in the world it must be the richest and most powerful." See Pandanus in Century Dic'y, and note to iv. 21b. Also Griffiths, i. p. 36b, and pl. 63. 6 There are various Swing festivals. The most famous is the dola-yatra (culminating with the Phalguna full moon), during which images of Krishna are placed on a swing and swung. The weight of the idols often broke the swing: hence the name in the text. - Again, on the eleventh of the bright half of Chaitra, Vishnu and Lakshmi are swung. - The context of the passage before us (cp. ii. 295) indicates that here the Swing festival of Gauri (and Qiva) is intended, the gaurya dolotsava. This andolana-vrata is a rite observed by women and begins on the third of the bright half of Chaitra. Herein agree 247] Act Second. -ii. 8 homage to Parvati, the beloved of 9iva. And again, a couple more of them she has [taken and] bestowed as a mark of favor on her "little sister," Karpura-mafijari. And the latter has paid homage to the same exalted Gauri with one of her two flower-leaves; [25] and the other Hollow flower-leaf of the ketaka blossom as a present to you your friend hath sent; and it is inscribed with a couplet2 which is lovely with its words (vanna) [written] in musk-ink, [or, punning] which is lovely with the color3 (van.na) of the musk-ink.4 7 [With that, she hands him the billet-doux.] KING. [Opens out 5 (the somewhat folded leaf) and reads it.] By staining a white goose with saffron-paste till her feathers were ruddy (pinjara), I suppose (kila) that I cheated her gander into thinking "She must be the mate of a Ruddy Goose" (cakravdka). To pay for it now, my misdeed is making me to know misfortune,6 in that (jena), although near,7 thou comest not within range of even my half-glance. 8 Hemadri, the Vratarka, Nirnaya-sindhu, and Dharma-sindhu. ]y~ See p. 289 and 216. 1 Parvati. 2 ' And it (jaii) is inscribed with a 9lokacouplet,' that is, a couplet which forms a gloka (= stanza 8). - With this interpretation, each of the two members of the couplet would be a half of stanza 8.- Otherwise, we may assume that siloa is used as equivalent to "verse," and with the same looseness as in English, and meaning ' line' or ' half-stanza' here, and ' stanza' at ii. 83, 91. 8 Colored chalks and brilliant miniums (red lead, etc.) were used as surrogates for ink. At Jataka, iv. 48917, words are written on a wall with vermilion or "native cinnabar," jati-hingulaka. Cp. Horace, Satires, ii. 7. 98. See Biihler, Paleography, p. 92, 93; and my note to iii. 18 below. Any color would show well on the white floral leaves of the ketaka. 4 Ena-nahi, 'antelope navel,' is one of the many names for 'musk' or kasturika. This is reddish-yellow, overpowers the intense odor of ketakas, and provokes even elephants to rut. - Rajanighantu, p. 100. In the same volume, p. 439, sahasravedhin is said to be a name for three things, sorrel, musk (kastirika), and asafetida (hiiigu). The last is a gum from the Ferula alliacea. It may be that the drug sambul or sumbul, the musk-root of commerce (a product of Ferula Sumbul, see Ferula and sumbul in Century Dic'y), which is a fair substitute for musk, is here intended instead of the genuine animal secretion, and that it was used to make a colored " ink." This is the less unlikely since the radically identical hingu and hinigula are names, one for the plant and the other for the pigment! - If not, then we must render, "lovely with the inkwords [or ink-color] and lovely with musk ": in this case it is not incredible that the Heroine added a dash of the drastic perfume to her missive to make sure that her royal lover's passion should not flag. 5 Or, 'reaches his hand (sc. karam) for it.' 6 Because (jam) her husband (tabbhatta, under tad) was cheated [into] thinking... [by me], making (kr) a female hafsa [which is naturally white] [to be] possessing a saffron-paste-ruddy body, therefore this misdeed of mine has turned out (pari-nam) as a teacher of misfortunes,' etc. Her misdeed, like bad karma, bears appropriate fruit (Manu xii. 62) in a separation like that of Ruddy Goose and mate (p. 262, n. 3). 7 I.e., 'in the same palace': so iv. lb. The Queen is already jealous (cp. ii. 2910), and compels this separation (cp. ii. 9c). ii. 81 Translation. [248 [Reads it a second and a third time.] These words indeed are an elixir of life to my ears! VICHAKSHANA. I too have made a stanza, —a second one, which describes the plight of my dear friend, - and written it down. Here it is. KING. [Reads it.] At endless length, like to her days and nights, her [love-lorn] sighs go [slowly] trooping by.1 With her bejewelled bracelets,2 fall her streams of tears. And in thy absence, O fair lover, the hope of life for that dejected maid hath grown as feeble as her slender form. 9 VICHAKSHANA. [And] here3 is a stanza about her plight, composed by my elder sister, Sulakshana, who is serving her as lady in waiting: listen to this, O King! Her sighs escape like pearls from off their string,4 and make the sandal to wither.5 Hotly her body burns [with love's fever]. The beauty of the laugh on her face is naught save a memory.6 Moreover, the pale tint of her limbs is as faint 7 as the moon's slender sickle by day. Ever her floods of tears for thee,8 0 fair lover, are like to rivers. 10 KING. [Sighing.] What is there to say? in poetry she's your "elder sister," sure enough. JESTER. This Vichakshana is Goddess of Poetry for the earth, and her "elder sister" is Goddess of Poetry for the three worlds. So I'll set up no rivalry with them. [5] But [as I'm] before my old man, I'll describe, with such words as befit me, the longings of love. VICHAKSHANA. Recite. We're listening. JESTER. Moonlight 9 is excessively hot, like to poison is sandal-water, 1 With the days and nights, long [are her] sigh-columns.' Her sighs are like an army, passing in long drawn out " columns" (danda, used in the sense of danda-vyiiha). Cp. danda at iv. 11. 2 The bracelets slip from her arms because she is so emaciated with love's fever. This is a frequent motif: see Qakuntala, st. 66 (Williams) or 67 (Pischel), and Meghaduta, 2.-Kavya-prakaga, x. 112, p. 735, Bombay, cites this stanza to illustrate sahokti. 8 The function of jeva is slightly to emphasize the gesture which distinguishes this deictically used ettha from that of ii. 83. 4 Are possessing a pearl-string-like escape.' 6 They are so hot that they (are sandaluccoda-causing, i.e.) shrivel up even the cool sandal. Is this right? if so, the juxtaposition of the pearls is incongruous. Root cut is said to mean 'become small.' 6 ' Has memory as its refuge,' has need to be remembered (cp. Spriche, 2253d), since it can no more be seen. This seems to me to be a distinct reminiscence of KAlidasa's beautiful phrase saimsmaraniya-9obha, Qak., near beginning of act iv. 7 Properly, 'tender, soft.' 8 ' For the sake of thee,' tuha kae = tava krte. 9 Moonlight, sandal, pearls, night winds, lotus-root, and water are all refrigerants or Act Second. - ii. 14 a pearl-necklace is like caustic potash on a wound, the night winds burn my body, a fibrous lotus-root bristles like arrows,1 and ablaze is my slim body, albeit wet with water, - because I've seen the choicest maid, with lotus-face, and eyes so fair. 11 KING. I say, man, you too need rubbing down with a drop of sandalwater yourself.2 Accordingly, tell me some circumstance about her. What next did the Queen do with her after taking her3 to the women's apartments? [3] JESTER. Vichakshana, you tell what was done. VICHAKSHANA. They made her toilet, sire, and decorated her with her sectarial mark and her ornaments, and entertained her. [5] KING. How so? VICHAKSHANA. Her firm limbs were anointed 4 with paste of saffronessence until they were yellow.5 KING. That was burnishing a golden doll till it was beautifully bright.6 12 VICHAKSHANA. Her companions put on her feet a pair7 of emerald anklets. KING. That was surrounding a pair of shamefaced lotuses with swarms of bees.8 13 VICHAKSHANA. She was arrayed in a couple of silken garments as blue as the tail-feathers of a king-parrot. KING. That was tipping out the stems of the plantain with leaves that are gently tossed in the breeze.9 14' are esteemed as such (see Spriiche, 3260; Raja-nighantu, p. 167; and cp. Rtu-saihara i. 2, 4 and iv. 2): even they bring no coolness to one burning with love's fever. Similar ideas, Spriiche, 2246, 1081. -The stanza is full of internal rimes. 1 'Is an arrow-series.' 2 To cool your apparent fervor of love. 8 As mentioned at i. 3488. 4 For the meaning, BR. vi. 761, compare udvartana -see Amarakoga ii. 6. 121. 6 Until her natural flesh-tint became still more beautifully yellow. 6 'Accordingly (ta) the beauty of a golden doll was polished bright.' Similarly the ta of the next ten stanzas. 7 'Her feet were caused to receive a pair' etc. 8 Root bhram = 'roam, range' (trans., as in roam the woods —see BR. bhram 2, for examples), and so 'stray around, surround'; causative, 'cause to surround.'- Active construction, "They caused bees to surround the pair of lotuses": passive, "The pair was caused to be surrounded with bees." - Cp. the note on ii. 19b; cp. also ali-mala, and my note on avali at iii. 26d. 9 'Then the shoot of the plantain [became] possessing slightly wind-tossed leaf-tips.' Her thighs are likened to the stems of a plantain and her wavy silks to its leaves. - Scholion. Raja-nighantu, xi. 107, p. 149, gives iru ii. 15 - Translation. [250 VICHAKSHANA. Over the expanse of her buttocks was placed a girdle bejewelled with rubies. KING. That was making a peacock dance on the cliffs of Golden Mountain.1 15 VICHAKSHANA. Upon her two fore-arms, - as it were, the stalks of her lotus-like hands,2 - were put rows of bracelets. KING. That was - tell me3 - was it not making them as lovely as an inverted quiver of Cupid! 16 VICHAKSHANA. A choice necklace of monster-pearls 4 was placed on her neck. KING. That was giving to the moon of her face an ample retinue of stars, ranged in ranks about it.5 17 VICHAKSHANA. And a pair of ear-rings, studded with gems, was put in her ears. KING. That was transforming her face into a chariot of Cupid and furnishing it with two wheels to drive it to and fro.6 18 VICHAKSHANX. With native collyrium they adorned her eyes.7 KING. That was putting 8 a bee on the fresh blue-lotus 9 that serves as stambha, thigh-pillared' or ' thigh-stemmed,' as one of 16 names for plantain. Kalidasa has the same comparison at Meghaduta 93; and so has Amaru, as cited by BR. under kadala. Parab, Subh., p. 449, cl. 396, has lambhitiah kadali-stambhas tad-urubhyam parabhavam. Cp. rambhoru; also iv. 7c below. 1 Mount Meru, to whose rocky steeps her buttocks firm are likened here. Cp. ii. 34 n. 2 On her handlotus-forearmstalk-pair.' 3 'Then, tell me, does it [the "pair"] not look like [or appear beautiful as or glitter as] a reversed Cupid's quiver? ' —The forearm and the quiver have the same general shape. See Griffiths, i. p. 15 a, b, and pl. 73, 83. The synonyms for quiver stand at Amarakoqa ii. 8. 88; but I cannot cite any special description of Cupid's quiver. The nose is compared to an inverted quiver, Parab's Subh., p. 435, cl. 121. 4 'Six-masika-pearls.' If a masaka or ' bean ' was 4~ grains, these would weigh over a pennyweight apiece and be worth each some 27 x 27 or 729 times as much as a onegrain pearl! Cp. iii. 318 below. 6 'Then a multitude of stars in ranks [or rows-as the pearls strung on their several parallel strings arc in rows] attends upon her face-moon.' 6 'Then her face-Cupid-car with two wheels was driven to and fro.' Ear-rings like veritable wheels: Griffiths, figs. 12, 50, 52, 54, 55! 7 Her eyes were made possessing nativecollyrium-produced decoration.' 8 'Then a fresh-bluelotus-bee was given to the Five-arrowed God.' - See root r: uppiu = uppio (Jacobi, ~ 2, line 5, Lautlehre) = arpito. —Konow thinks I am wrong, and that silimuha here means only 'arrow.' Cp. ii. 38. 9 The blue-lotus (kuvalaya, utpala) is one of the five flowers that serve as Cupid's arrows. A fair maid's eyes are often likened (as here) to such a lotus (see Spriiche, 3702, 3818, 3838); or, the face is a lotus, and the restless eyes are bees (2658, 2660). The fondness of the bees for the lotus is a common-place of the poets. The dark collyrium is here likened to the dark bees that swarm about the blossoms. Cp. Raghuvafia, iii. 8. 251] Act Second. - ii. 23 one of the arrows of the Five-arrowed God. [Or,] That was giving a fresh lotus-arrow 1 to the Five-arrowed God.2 19 VICHAKSHANA. The wreath of curly locks that fringes the crescent of her forehead 3 was arranged. KING. That was the spotted antelope appearing on the moon's disk.4 20 VICHAKSHANA. Upon the temples of the bright-eyed maid they heaped the flowers her tressy burden hid.5 KING. That was letting you see a contest between Rahu and the Moon, on the part of the fawn-eyed girl.6 21 VICHAKSHANA. Thus the Queen decorated the girl with decorations to her heart's content. KING. That was an adorning of the ground of a pleasure grove7 by the beauty of spring.8 22 JESTER. This, 0 King, is very truth that I tell you: The maid whose look is straight and bright, - collyrium befits her [eyes]. Whose breasts are like to ample jars,- a pearl necklace becomes her. But if upon the round expanse of her buttocks you place a gorgeous girdle, we may call this adorning and dis-adorning her.9 23 1 As in Spriiche, 5691b, cilimukha (see BR.) means not only ' bee,' but also ' arrow.' 2 That is, the renewal (implied in nava) of the decoration of her eyes was like renewing that one of Cupid's five arrows which consists of a blue lotus. 3 'Clinging to the edge of her foreheadmooncrescent.' - See rac. 4 'Accordingly, the black-spotted antelope is (vrt) on the moon's disk in the middle.' - Majjhau (= -o, i.e. madhyat), abl. sing., used adverbially. -The face is the moon's disk and the locks are the dark spots upon it. The dark spot or fleck on the moon greatly enhances its beauty (Qakuntala, sarasijam, i. 20, Williams), and is often likened to the black or dappled antelope (Kavyadarga, ii. 35). Hence the moon is called mrganika and harinalaksana or -latichana. Rajaaekhara calls it harina-laksman twice, and calls it enafika and miafika and harinafika in this play. Cp. Hala, no. 14. -For the names of the "fleck," see Hemachandra, 106. - For the name "rabbit-marked," see i. 25 and note. 5 'Of the maid with eyes bright as camphor-gum the tress-burden was possessing a hidden flower-heap.' —Let the reader notice, with reference to the sequel (iv. 1819, 2016), that ghana-sara is one of eleven synonyms for camphor (karpura, which see, Rajanighantu, p. 101). 6 'Then a boxing-match between Rahu and Moon was shown [you] by the gazelleeyed one.' - Rahu, the demon who causes eclipses by "swallowing" or "hiding" the moon, is here likened to the heavy tresses; and the blossoms, to the moon. Tresses and flowers have a strife to see which shall cover or hide the other. Her lovely tresses win - they eclipse the flowers. 7 ' Sport-grove-ground.' -Or else,' sportgrove-earth,' that is an earth or world of places or opportunities for amorous delights. In either case the Heroine is meant. Cp. ii. 3b. 8 This means the Queen. - Scholion. 9 'And, on the other hand, on whose wheel-like buttock-expanse is a certain girdlepride, of her we call this adornment and dis-adornment' - if I may venture so to ii. 231 - Translation. [252 KING. [Again with his thoughts on her.] Her soft bathing garment, wet and clinging closely 2 to her waist with its triple folds, and to her shoulders,3 [but] loose upon her magnificent buttocks 4 and jar-like breasts,5 betrays the tenderness6 of her liana-like form and its beauty. 24 JESTER. [As if vexed.] Ho you! I described her as adorned with all her ornaments: while you, - you won't remember her except7 as robbed of all her decorations by the water.8- Well, hasn't my lord ever heard this? 9 Adornments make the comeliness even of a person who is naturally handsome to unfold itself [to still greater beauty]. A certain splendor results from adorning even genuine precious stones with diamonds. 25 KING. 'Tis only the hearts of fools, mind you,l0 that fair women 11 rob by the bewitching accessories of attire;12 while clever men have to be won 13 by natural beauty. Grape-juice isn't sweetened with sugar.14 26 VICHAKSHANX. As the King has intimated: 15 To swelling breasts, or eyes that to the budding ears do reach,16 [or] face that serves as moon unto the earth, and body that is a stream of the rivers of loveliness,17 what excellence is imparted by18 the art of dress and adornment? [Very little, perhaps. But] why 19 [then] is even that reproduce the paronomasia of bhisanami diisanam. 1 Cp. ii. 04. 2 'Adhering (laggamr), water-close' (i.e. skin-tight with the water, jala-nividam). 3 On triple-fold-provided-navel and on arm-roots': cp. Amarakoqa, ii. 6. 79. 4 ' Getting loose on her paragons of buttocks and breasts.' See cvas + ud, 'sich losen,' in BR. 5 Cp. ii. 44a. 6 Perhaps lafigima- is connected with langh, ' spring,' and means 'springiness, elasticity,' and so 'litheness.' That is not far from Vasudev's definition, tarunya, 'youthfulness, tenderness.' 7 4 Not... except" renders jeva. 8 He had already so described her, i. 26. 9 It wasn't the Jester's fault if the King hadn't heard the first half -see i. 31b. 10 Hanta. 11 KaXXIrvuyoL. 12 Or, ' excellence (guna) of the witchery of attire.' 13 Bhavanijja: we must take the causative of bhii as =- 'cause to come or yield,' colloquial fetch' (" that'll fetch him"), slang ' fetch' (=' allure, attract'). 14 It must be sweet by nature, if at all. Cp. Spriche, 3316. Is At i. 33ab. 16 Cp. i. 32ab. — Or, 'that reach to the ear-buds' (the flowers placed as ornaments over or in the ears). 17 Cp. ii. 3a. 18 ' What merit of breasts etc. is made by the art etc.?' 19 'Listen to this (inam) reason... for this fact (tattha -see Whitney, ~ 303a), that (jaim) even that (tami pi-the toilet adornment just mentioned) is all (savvah) agreeable: What (frustration or) impairment of natural growth is there?' The reason is put in the form of a rhetorical question. I take tattha and jam as correlatives. - Riidhi outmatches artifice (yoga) and has a power [for better, for worse] quite independent of the tricks of the toilet - says the Scholiast. 253] Act Second. -ii. 297 all agreeable? Listen while I tell you the reason1 for it now: You cannot spoil natural beauty! 27 KING. Moreover, my honest Kapifijala, here's a point for you:2 What is the use of artificial ways of adornment? Those are the tricks of actresses. The person itself that takes the heart of a man,3 that is lovely. Therefore, matrons, at that supremely happy moment in which they are united with their husbands, and in which the joy of love that brings a whole host of excellences is attained, do not wish at all for splendid attire. 28 VICHAKSHAINAX. Sire, this I may tell you: not only by the Queen's orders did I follow Karpuira-mafijari,4 but also because I had come to terms of close friendship5 with her. Therefore, as I'm ready at her need, I will, again [as before] make myself her attendant. For the purpose of testing the heat of her [love-fever], their hand was laid in the fold between her breasts6 by her friends, and was often astonished out of it7 by the burning and quickly8 withdrawn.-[But] what of that even? Give ear to these words, pleasing, yet alarming:9 Warding off the moonbeams with her hand for a shade, she passes the night.10 29 The rest of the business Kapifijala will tell you. And [as he says], so it should be done. [At this, she steps about the stage, and then exit.] [3] KING. But, man, what is that "rest of the business"? JESTER. Today is the fourth day of the Swing festival." [5] And ere it close, Karpfira-mafijari is going to be put in the swing in front of the [image of] Parvati. So my lord is going to wait at the Emerald 1 'Listen to the reason, being heard (suvvantami, passive of gru, Jacobi, ~ 69. 3), i.e. the reason, while I tell it.' 2 'You, this one, are instructed.' 8 ' What own-person (nia-aiigaim) is manheart-captivating.' 4 Tae: loosely used genitive with anugada. 6 Had come to the amity of apple-of-theeye-friendship.' Cp. Psalm xvii. 8. 6 ' The hand, laid on or in, was withdrawn from the depression (utsafiga-tas) between her breasts.' -For the dative in -aa, cp. Jacobi, ~ 38, and i. 142, 3441, iv. 216. 7 See BR., daimara, 'a very astounding thing.' The hand is spoken of - boldly - as astounded. 8 Helii (helae), 'without more ado.'See root krs. 9 The reason for the alarm makes the Scholiast much trouble. - Her behavior seems to indicate that she is love-sick (cp. ii. 5b, canda-marainijja), if not also a bit moonstruck. 10 Cp. Vallabhadeva, no. 1411, and Konow's Essay, p. 190. 11 Cp. ii. 623 and note. ii. 297 - Translation. [254 Seat1 and watch Karpura-maijari while she swings. This is "that rest of the business." [8] KING. [Reflecting.] Well, you have scored one on the old lady, keen as she is. [lo] JESTER. Made the old cat drink sour gruel and think it was milk2 -I guess. KING. Who else but you 3 is ready at my need? What else but the moon is clever enough to raise the tides of the ocean? [13] [At that, they step about and make as if they were entering the Plantain Arbor.] [14] JESTER. Here is the raised seat begemmed with crystal. And so, man, sit down on it. [16] [The King does so.] JESTER. [Raising his hand.] O King, behold the moon at the full! [19] KING. [Looking.] Oh! it's the face of my beloved in the swing that he's pointing out to me when he says "moon at the full." [Regards her attentively.] [22] Paling the face of every beauty here,4 making the sky's hollow vault to ripple5 with the liquid moonlight of her loveliness, and breaking the haughty pride in the hearts of maids that regard her,6 appeareth the moonlike orb of her face as she moves straight to and fro in her sport on the swing. [ Or,] appeareth the moon-like orb of her face, artless and mobile, as she plays at swing.7 30 1Literally "Emerald-Heap." This is, I think, a jocosely exaggerating nickname for a seat, liberally ornamented, as we may presume, with gems. The scholion to this passage calls it "a kind of raised seat"; and to such a seat allusion is made at ii. 2915. The name appears to include not only the seat, but also an arbor (called "Plantain Arbor" at ii. 2914) or other shelter in which it was placed, since a door is mentioned at ii. 4221. To judge from iv. 183, the "Seat" and the "Arbor" would seem to be in two different localities. I cannot reconcile the apparent contradiction. Of course, we might render the name by "Emerald Arbor." 2 [By me] 'she, thinking (ti) [This is] " milk" (duddharh), was made to drink sour gruel - [thus] I conjecture.' - Proverbial. Konow cites Viddh., p. 1148, and Hasyarnava, 3822. 3 For the ablatives, see p. 203. 4 'Making colorless (vicchda) the faces of the (circle, i.e.) entire collection of beauties in the town.' 5 See under vicchola. 6 That regard (iks) her,' with envy of her beauty, namely. 7'Appears her face-moon, straightly (sarala) moving-to-and-fro (tarala) in her swing-sport.' Or, ' Appears her face, artless (straight, not crooked) and mobile.' The two adjectives are used of a look, in like collocation, in Bhartrhari's smitalh kiimcit. Tarala, used of winds, waves, lightning, of eyes, glances, faces a-tremble 255] Act Second. -ii. 33 And again: With [waving] chowries1 raised aloft, with showy rows of banners dazzling-white, [and] with bells,-assuming a likeness to the resplendent (?) Asura-maidens' cars,2 [now] mounting the rampart, in its course, ascending, descending, coming, and going, the swing captivates3 the heart of men with its sinkings and risings.4 31 And again: With the tinkling jewelled anklets,5 With the flashing jingling necklace, With the show of girdles garrulous From their ringing, ringing bells, With the sound of lovely jingles From the rows of rolling bangles, - [Pray] whose heart is not bewildered While the moon-faced maiden swings?7 32 JESTER. Oh! you're an aphorist;8 but I'll be your commentator and describe her with all prolixity. Pained neath the pressure of her towering breasts, Her rosy feet cry out to Love for help, - Their voice her tinkling anklets set with gems.9 33 with angry tears, means 'mobile, bright, flashing,' etc. Note the uncommonly effective employment of alliteration and of well-balanced paronomasia in the swing-line, which is an admirable bit of word-painting. The metre of Kalidasa's lyrical master-piece suits it to perfection. The following verse may give some idea of the rhythm and the internal rime: Moves to I and fro, [ swinging high, | swinging low, II now a rise, i then a sink ing. 1 A kind of fan-like brush, made of the yak's tail, often with bejewelled handle, and serving as one of the insignia of royalty. Pictured in Griffiths, pl. 5, 7; Banners, i. p. 15 b. 2 The order of words in my version is ambiguous, as it is in the original: the uncertain "resplendent" may qualify "Asuramaidens" (asura-taruni) or "cars." — The Asuras are the foes of the gods. 3 Makes(kunai) captivation (-haranaim) by (-vas&) its coursing (raa).' Raa, raya, from ri, ' run, currere,' as used of the motion of liquids, is not an unfit word. 4 What was said of the foregoing stanza applies in large measure to this. 5 The four adjectives that fill up lines abe are bahuvrihis to hindolanami: ' a swinging which possesses (i.e. in which become manifest) tinkling-jewelled-anklets, jinglingnecklace-flash, ringing-bell-mouthy-girdledisplay, [and] rolling-bangle-row-producedsweet-jingle-sound.' 6 Little bells were attached to the girdles. See Bhartrhari's etag calad, or Spriiche, 1456; with which —in general, also-our stanza may be compared. 7 To the heart of whom is her swinging not bewildering (heart-bewildering)? ' Note again the beautiful appropriateness of the rhythm: it is that of the prthvi, with its KeXa of jingling tribrachs and bell-like, chiming cretics. The stanza is a tour deforce in the use of imitative words (onomatopoeia). Compare Edgar A. Poe's "The Bells." Rajagekhara repeats the first half of the stanza at Balabh. ii. 3. i" For pictorial illustration of a swingscene, see Griffiths, figure 66. 8 You express yourself with all the exaggerated concision of a writer of aphorisms (cp. Max Muller's Sanskrit Literature, p. 71f.). 9 'The pair of her foot-lotuses, pressed by the superposed-breast-mountain-slopes, calls as it were to Love with the sound of the tinkling jewelled anklets.' ii. 34 Translation. [256 Her rounded buttocks, as she plays at swing, For joy are laughing, laughing once again,Their voice the chiming of her jewelled zone.1 The stream of pearls adown her neck that flows, Bright undulating with the moving swing, Bears far and wide King Cupid's name and fame, As if they hung like creepers o'er its flood. 2 Her garments tossed, as gainst the wind she swings, Reveal some glimpses of her lovely form, Which calls to Love to nestle by her side.4 Her earrings, striking gainst her saffroned cheeks, Mark lines that do a playful tally keep, To count each oscillation of the swing.6 Sudden she opes her eager bloomy eyes, Big as her palm, and Cupid's quiver fills With piercing shafts of lotus-petals blue.6 And on the downward glide, behind her head Stands out her braid, like stock of Cupid's whip, And says "Stay not the coursing of the swing! " Thus all this maiden's winsome-graceful ways, Displayed in swinging, form a picture bright, Which Love, sly limner, paints in every heart! 8 34 35 36 37 38 39 40 1 'Her chariot-wheel-rounded buttocks, swing-play-voiceful (i.e. -jingling), seem to laugh for joy, with the sound of the bells of her bejewelled girdle.' - Bejewelled girdle: Griffiths, pl. 55. Bells on bracelets, fig. 6; on trappings, pl. 6. 2 ' Her pearl-necklace, with the semblance of a bright (tara) river (saria), flowing with the sport of the swinging, seems as if scattering afar the fame-creepers of the Flowerweaponed King.' Her necklace of magnificent (cp. ii. 17a) pearls is compared to a stream which snatches and carries far and wide Cupid's fame. This again is likened — in boldest metaphor-to a vine swaying loosely over the stream; the impetuosity of the stream tears the vine from its support and carries it far away; or it spreads his fame far and wide. (In short, her ornate beauty is a "card" for Cupid.) Bhartrhari, in his abhimata (Spriiche, 494), speaks of " cutting the creeper of shame." 3 Produced by her motion through the air. 4 'Revealed slightly by her garments tossed by the envisaged wind, her limbs, calling upon Love, make him, as it were, to settle down beside them.' 6 'Her earring-pair, by its contact-plays upon her thick-besaffroned cheeks, seems (to give marks for the oscillations, i.e.) to make a mark for each oscillation of the swing, with an eagerness of counting.' 6 Her eyes, like her palm [in size - cp. i. 163, 30c], on a sudden blossomed-open with curiosity, seem to deliver bluelotus-petalarrows to the Five-arrowed God.' 7 'The braid-stock behind her, acting the part of Cupid's whip, (goes downward, as it were, saying, i.e.) seems to say [threateningly] as she sinks or is on the downward oscillation, " There shall in no wise be an interruption of the course of the swing." ' I take padai of the first half of the forward oscillation, when the braid stands out. Of course it may refer to the first half of the backward oscillation; and if so, we must render, 'the braid falls on her back.' 8 'Thus this maiden's winsome-grace 257] Act Second. - ii. 418 KING. [Dejectedly.] Ah, Karpura-mafijari has dismounted Empty is the swing; empty my heart; empty the eyes of one who fain would gaze. JESTER. She's come it on you like a streak o' lightning,' eh? in a wink - seen - vanished? [3] KING. Speak thou not thus. [Say rather,] like the mirage 2 - seen and evanished.3 [He makes as if recalling something.] [6] As red as madder are her close-sealed lips; like fresh-wrought gold bright is her slender form; her glance outdoes in dazzling lustrousness or in whiteness,4 the new moon's slender crescent; her jet-black hair is like collyrium. Thus o'er the maid, with tremulous fawn-like eyes, there plays this beauty of colors;5 and by them,6 arrogant Cupid in enthralling youthful hearts, seems to have fulfilled his purpose. 41 JESTER. Here's the Emerald Seat. Sit down on it,7 old man, and wait for her. [2] Besides, the evening is at hand. [They do so.] [4] KING. The night, though very chill, [to me] seems like the very scorching hour of a summer's midday. [5] JESTER. Well then, with [the remembrance of her] Loveliness as his [sole] companion, let the King just wait a jiffy while I fetch the various refrigerants to cool him off. [At that, he makes as if he were leaving the stage,8 and looks before him.] Why, but here's Vichakshana coming this way [and already] quite near by. [8] radiant swing-display-ways, - in whose heart (citta) does not the skilful picture-maker (citta-ara, Skt. citra-kara), Love, as it were, depict [them]?' Vilasa is ' grace,' but also 'merry play' with a connotation of coquetry. Ujjala, ' blazing out, bright.' -To pavafica I assign the meaning adambara given by Halayudha. - Caria has a vague meaning for which even the word "acts" is too precise: "ways" is perhaps its best English counterpart. - The Prakrit makes a pun on citta, which is lost in Sanskrit. - Properly, niuna is 'skilful, clever.' I take it as '(playfully) skilful,' thereby straining it a little, I fear, in the direction of vidagdha, 'sly.' 1 'Then it was lightning-streaked (impersonal passive of denominative) by her.' 2 Like the town of Harigchandra.' - He was expelled from heaven for pride; but, re penting during his fall, he was forgiven and was stayed in mid-air, where he and his are now sometimes seen in their aerial city. 8 Note the striking contrast between the King's love-lorn solemnity and the Jester's facetiousness. The difference between nattha and pa-nattha seems to be intentional and I have reproduced it in my version. 4 Dhavalima- is applicable both to the radiance of a glance and to the whiteness of the moon. 5 For reha, see note to iv. 20a. 6 'By which (jia, scilicet rehae) Cupid appears as possessing an accomplished object.' 7 I suppose that the King had risen from it in his excitement. He does not seem to have left the Arbor since ii. 2914. 8 We have therefore now to imagine the stage as representing simultaneously two different scenes: 1. the "Emerald Seat" with ii. 419 - Translation. [258 KING. At hand is The time appointed, as her friends have told it.1 [9] [As if recollecting; and betraying by his manner the eagerness of love.] [10] Thy hands and feet are shoots of tenderest growth; Thine eyes, meseems, are water-lilies blue; Thy face, albeit like the [cool-rayed] moon;Although thy form is like a champak fresh; - Alas, oh marvel! how they me inflame! 2 42 JESTER. [Looking attentively.] Ah, here's Vichakshana, with various refrigerants. [2] [Then enters Vichakshana carrying the refrigerants.3] VICHAKSHANA. [Stepping about.] Oh, how my 'dear girl suffers from the burning fever of separation! [5] JESTER. [Approaching her.] Lady, what have you here? VICHAKSHANA. Various refrigerants. JESTER. Whom are they for? VICHAKSHANA. My dear girl. [10] JESTER. Well then, give me half. VICHAKSHANX. What for? JESTER. For the King. VICHAKSHANA. But, [I mean,] for what reason? JESTER. And what's the reason in Karplra-mafijari's case? [15] VICHAKSHAN4. Don't you know she's seen the King? JESTER. And you —don't you know the King's seen Karpura manijari? [At that, they both laugh.] the King seated, "alone "; and 2. the meetingplace (near by, to be sure) of the Jester and Vichakshana. Cp. the Analysis, p. 219. We are to suppose that the King does not hear the Jester's remarks (ii. 418 and ii. 422) nor the ensuing colloquy (ii. 425 as far as ii. 432); and that, in strictness, the Jester does not hear the King's remark, ii. 419. And yet, curiously enough, the Jester does turn this last phrase to account by quoting it, mockingly, at ii. 502, as if he had legitimately overheard it. See ii. 502 and note. 1 The King here lapses into rhythm, although the forms are Qauraseni: see preced ing note. The appointment refers, I think, to a nocturnal meeting immediately following the close of act ii. j See additional note upon p. 289. 2 " Inflame," with literal and with metaphorical meaning, as in Prakrit. One expects green shoots, water-lilies, etc., to be cooling, not inflammatory. Similarly iii. 20. 8 Possessing a taken coolness-contrivance totality.' See OB., Figiropacara. Samagri, 'totality of the needful requisites.' Bana gives a most interesting list of the means used to allay the heat of the body at Harsha-charita, p. 177-178. 259] Act Second. - ii. 438 VICHAKSHANA. Where is the King, then? JESTER. At the Emerald Seat, as you I directed. [20] VICHAKSHANA. Well then, stay with the King near the door of the Emerald Seat, in order that, since each has seen the other, the last farewell may now be said to all refrigerants! 2 JESTER. [Puts his arms around her. Then, throwing away the refrigerants, he says to them:] Be off to the land of Never-come-back! [And addressing her:] Why then must we stay in the neighborhood of the door? [26] VICHAKSHANA. On account of the Queen's directions. JESTER. Why such directions? 3 VICHAKSHANA. The Queen has planted there 4 three young trees. JESTER. What trees? What trees? [3o] VICHAKSHANA. An amaranth, a tilaka, and an agoka. JESTER. Pray what is she going to do with them? VICHAKSHANA. The Queen said to Karpura-manijari: When a maiden who is in love, embraces an amaranth, or looks at a tilaka, or touches with the tip of her foot an agoka, then they burst into bloom. So do thou satisfy for them their longings.5 43 And now Karpfra-mafijari is going to do it. JESTER. Well then, I'll fetch the old man from the Emerald Seat, station him where he'll be hidden by the tamala shrub, and let him witness the affair with his own eyes.6 [2] [He makes as if doing so.7 To the King.] Ho there, up and behold the moon's crescent [beaming] over the ocean of your heart.8 [s] [The King rises and looks.] [Then enters exquisitely adorned, Karpura-manjari.] [7] KARPfYRA-MANJARL But where's Vichakshana? 1 At ii. 291ff. There he seems to have 5 Do thou satisfy for them their longremained since ii. 2911. Cp. ii. 412 and note. ings to bring forth flowers, by doing these 2 Cp. ii. 5d. The ardor of the two lovers several acts: cp. i. 2027 and see my notes is now such that nothing will any longer avail thereto. to cool them. 6 I will make this thing to be before his 3 Of what nature (significance) are the eyes.' directions?' 7 See note to ii. 417. 4 In the palace garden, near the door of 8 Compare Raghuvafina, xii. 36, where the Plantain Arbor (with its "Emerald Sita's laugh is likened to the moon rising Seat") and the scene of the swinging. from the ocean. ii. 439 - Translation. [260 VICHAKSHANX. [Coming up to her from behind.] My dear, now do as the Queen directed. [1o] KING. But man! what's this? JESTER. Just you keep behind the tamala bush and you'll find out. VICHAKSHANA. Here's the amaranth. [13] [Karpura-manjari puts her arms around it.] KING. This lovely maiden, whose swelling breasts are ample as a water-jar,1 by her impetuous, close embrace, hath made the young amaranth tree to blossom with such a profusion of flowers that a [veritable] procession of swarms of bees has [already] arrived here! 44 JESTER. Ah see, ah see, the mighty jugglery! For The amaranth tree, young though it is, just now close enfolded in her tender arms, all on a sudden shoots forth a multitude of flowers, - Love's arrows, as it were. 45 KING. Yes, not one whit less is the power 2 of longing. VICHAKSHANX. Here is the tilaka tree. [Karpura-manjari stands a good while looking at it with sidelong glances.] KING. Piercing, restless, and just touched with jet-black collyrium,3 and having ever as their ready helper the Five-arrowed God4 who bears the [flowery] shafts, - such are her eyes; and when5 with them upon the tilak tree the fawn-eyed girl a sudden onset6 makes, then it stands as if thrilled with delight,7 its crown all bristling8 with masses of clustering blossoms. 46 VICHAKSHANA. And here's the aqoka tree. [Karpura-manjart makes as if she were giving it a dainty kick.] 1 Cp. ii. 24b. 2 ' Precisely such is the power.' The tree's longing (and the girl's?) must have been so powerful as to produce this magic effect. 8 'Anointed with a small portion of collyrium.' 4 Ever making or putting (kr) Cupid at her side.' 6 Literally ' When (jaim) the attack of the fawn-eyed girl's eyes, piercing, etc., fell on (was precipitated on) the tilaka-tree, then (tair) it stood thrilled as it were, etc.' 6 Henachandra, 800, gives dhati as one of four synonyms (see above, p. 201) for " sudden attack," "surprise, "-for that which, "if it happen by night, is called sauptika," so familiar as main incident and as title of book x. of the Maha-bharata. 7 Properly, ' horripilated, bristling.' Hindu poets constantly make allusion to horripilation or bristling of the hair as caused by emotions of pleasure. This again (see note to i. 32) is a curious fact of racial psychology; we think of it chiefly as a sign of terror. Cp. iii. 24 and note and iv. 21. 8 Dantura, 'toothed, tusked,' and so 'thickly beset,' or 'bristling,' and in evident rapport with romaficio. 261] Act Second. -ii. 492 KING. No sooner 1 had the maid, whose face is fair As is the radiance of the dapple moon,2 In graceful play, to the a9oka given, With [rosy] foot8 whose [jewelled] anklets rang, A [dainty] touch, - than 1 in an instant burst Forth into blossom, e'en from every spray In all its crown, a gorgeous show of flowersA sight for all the denizens of heaven I 47 JESTER. Say, man, do you know the reason why the Queen4 didn't satisfy the longings of the trees herself? KING. I suppose of course you know? [2] JESTER. I'll tell, if the King won't get wrathy. KING. What occasion is there for anger? unseal your tongue and speak. [5] JESTER. Although in this world comeliness of person does maintain the attractiveness of doting matrons,5 nevertheless, methinks, it is in youth's tenderest prime that Lakshmi (or Loveliness personified) manifests herself as presiding deity. 48 KING. I catch your drift;6 and, what's more, have something to say [on that point] myself. In spite of the fact that7 [very] young maidens,8 by reason of their eager curiosity,9 are [a bit] fickle-minded, nevertheless,7 it is with them, - their breasts just budding into view, - that the mystery of the Dolphinbannered [God of Love] doth abide. 49 JESTER. [Yes,] even trees blossom out with the mystery of the beauty of form; but they know not the mystery of love.10 1 The two ca's hint at the fact that the touching with the foot and the bursting into bloom occurred simultaneously. - Scholiast. Cp. iii. 3d. 2 ' Deer-spotted [moon], [moon] flecked like the black antelope,' -see ii. 20 note. 8 Afhina. 4 Do you know what is the reason (in this, ettha, Whitney, ~ 303 a, i.e.) for this, that (jaml) the Queen, etc.?' 6 It seems to me licit to assign this connotation to kamini, which I take as antithetical to both taru nae and balau. 6 'Understood is your intention -I see what you mean,' namely, that the Queen is a trifle pass6e as compared with this tender bud, Karpra-manijari. The form of the Jester's statement was purposely vague. 7 'Maidens are fickle - just so (emea) - but (puno) the mystery abides with etc.' For emea, see Weber's Hala, no. 865. 8 Like Karpuira-mafijari, as contrasted with the oldish Queen. 9 Which is still unrestrained by the experiences and the sophistications of life. 10 A staid matron like the Queen may continue to bear lovely children, as the trees bear lovely blossoms; but she no longer knows the keenness of youthful passion. ii. 493 - Translation. [262 [Behind the stage.] ONE OF THE BARDS. A pleasant evening to the King! Behold, [the sun,] the jewel of the day,1 His face red-yellow, like an orange ripe,2 Hangs on the crest of yonder sunset-hill. Now Ruddy Goose and mate, alas, must part:8 Their only friend hath left them - he whose rays Are myriad strings dyed gorgeous, madder-red.4 He slackens now his fierce impetuous heat, And with it quick the pride of jealous maids;6 Lulls half to sleep the eyes of all the world6 And drowsy lilies that bestud the pool.7 50 KING. At hand is now the even-tideJESTER. " The time appointed, as her friends have told it." 8 [2] KARPURA-MARJARI. Vichakshana dear, I'll go now; it's evening. VICHAKSHANX. So let us do. [Thereupon, they step about, and exeunt omnes.] [End of the Second Act.] 1 The stanza in outline reads: ' The sun (dinamani), making..., relaxing..., possessing a madder... ray multitude, sole friend..., has become (jao) sunset-hillsituated,' etc. I have reversed the sequence of the clauses. 2 One is tempted to think that a *norange: an orange:: a naddre: an adder:: a numpire: an umpire; but it appears that the n of naranj, narifiga, was lost before the word was adopted into English speech. See C. P. G. Scott, Transactions of the American Philological Association, xxiii. 278, 272. 8 The love and constancy of the Ruddy Goose and her mate are proverbial. They are doomed to pass the night in most pitiful separation. Hence the sun is their " sole friend." See Wilson's Meghaduta, note to 82. 4 'Possessing a multitude of rays which have the color (or gorgeousness) of madderdyed-strings. ' 5 ' And at the same time (saha a) relaxing or making to relent (muincanto) speedily (sarahasaim) his impetuousness (tivva-bhavaia), together with the hearts of jealousproud-maids.' -Night and moonlight (cp. ii. 5b) put an end to their pouting (as do the breezes of spring, i. 15b), so that they yield to the gentle influences of love. The same idea at iii. 30. 6 ' With the eyes of people at the same time (saha) making the lotus-group to be possessing half-sleep.' There is here a slight laxity of expression. 7 The day-blooming lotuses (kamala's) that close their eyes (nimilanti) at evening, as opposed to the night-blooming lotuses (kumuda's), that open their eyes (unmisanti) at evening —see Kavyadarqa, i. 94, and Rtusaihhara, iii. 23. The latter are white and close their eyes at dawn, as appears from what is perhaps the loveliest of all the stanzas of Kalidasa, to wit, antarhite etc., near the beginning of act iv. of Qak. - Cp. his Urvayi, iii. 16. -See Bohtlilgk's Hemachandra, 1160-1165, p. 217. — With this stanza, cp. i. 35 and iv. 1886. 8 The Jester mockingly takes his words from the King's own mouth (see ii. 419). The part that he quotes forms an indravajra line, but in the dialect of prose. See p. 257, note 8, and D - p. 289. ACT III. [Then enters the King with the Jester.] KING. [With his thoughts on her.] Put far away from me the champak1 bud! What use have I for juicy turmeric? 2 Of what esteem is gold though ne'er so pure? Before her loveliness, whose radiance sweet, Is likest that of newly risen moon, What need of bakul blooms, profuse and fresh? 3 Bright as a necklace strung with emerald gems, Or wreath of jasmines where the bees have sucked, Her lovely glance, as quick she bent her neck,4 Shot sidelong by,5 and pierced my very heart.6 1 And again: 2 JESTER. Say, man, what do you stand there for, reeling off your twaddle like an uxorious husband? 7 1 See i. 142, 16C, and notes. 2 The rhizome of Curcuma longa, a plant of the ginger family. It is used as a condiment; as a dye-stuff, it yields lovely shades of yellow; and when chewed, affects the saliva as would saffron. See Pliny, N. H. xxi. 70, cited by BR.: Indica herba, zingiberis effigie, conmanducata croci vim reddit. -In oll-ollai (instr. s. fern. with hal-), the stem is doubled. 8 'What occasion is there (with, i.e.) for heaps of blooms of bakul, though fresh?' The bakul, Mimusops Elengi, Roxburgh, p. 318, has flowers that are white and fragrant. 4 With an impetuously bended neck 'as avyayibhava. 6 'Glance, directed towards (see vig + ni 7) in BR.) the region of her ear.' The coquettish glance is usually sidelong and comes as it were from the outer corner of the eye (apiniga). In darting such a glance, the girl may bend her neck or turn her head and so look by the place where, with her head in its natural position, her ear would be. - One might suspect here a reminiscence of Bhartrhari,who, in his san-marge, q.v., speaks of "glance arrows" (drst.i-bans) which are gravana-patha-gatas. 6 The " Sidelong glance," kataksa, etc. — Dand.in, in his Poetics, ii. 327, gives, as example of vigesokti, a stanza which says: The women have no battle-cars, elephants, cavalry, nor foot-soldiers; and yet with their sidelong glance (apafiga-drsti) they conquer the three worlds. -Parab, Subh., p. 434-5, has some 19 stanzas on the kataksa. -See Bhartrhari's stanza, just cited, = Spriiche 6824. Further, Hala's Saptacataka, 505.See also ii. 5 and my note on ii. 68. 7 Bhajjajida, literally, 'wife-conquered,' seems to me in this connection necessarily to suggest the doting, foolish, overfond husband, rather than the hen-pecked one. For the contempt in which the latter was held, see Spriiche, 4066. 263 iii. 22 Translation. [264 KING. My thoughts, man, are on a vision that I've seen in sleep. JESTER. Well then, old man, tell it to me. KING. Methinks a maid with a lily-face stood in my vision within reach of my hand, and was about to strike me quickly with a blue lotus as I lay on my pleasure-couch. And then with eager haste did I catch hold upon the loose end1 of her garment. No sooner2 did she, leaving it in my hand, depart, than 2 my sleep, as it seemed, suddenly vanished too. 3 JESTER. [Aside, to himself.] Should think it might have! [Aloud.] Say, man, I too saw a vision last night.3 [4] KING. [Expectantly.] Tell me then, what was the vision? JESTER. Methinks, last night in my vision I fell asleep by the Ganges. [7] KING. And then, and then? JESTER. Well, then the Ganges put her graceful little foot on the head of 9iva and washed me clean away with her water. [9] KING. And then, and then? JESTER. Then by a cloud that was raining at the autumn season to [its or my] heart's content 4 I was absorbed. [11] KING. A marvel, a marvel! - And then, and then? JESTER. And then, when the lordly sun had entered the asterism of Chitra,5 the great cloud went near(?)6 the place where the Tamraparni7 1 'With eagerness by me hastily she was held or caught on the loose end.' 2 Ca... a: cp. ii. 47 note. - Root muc. s Adya. - Modern English distinguishes by "last night" and "to-night" what in Sanskrit is contextually distinguished: thus, adya asmabhir atra usitva, pratah, etc., 'to-night we'll stop here, and early to-morrow morning,' etc. 4 Is jadhicchami used dirb KcrvoV (kakaksivat, as the Hindus say)? I see no great pertinence in it in either case. 5 At the time of Rajagekhara, the autumnal equinoctial colure would be less than ten degrees west of Spica, and the sun would be ", in Chitra" in "autumn" (iii. 311). For the transformation of rain-drops into pearls, see Spriiche, 344, 1644, 4029. According to the stanza saamtaptayasi (Ind. Ant. xiv. 323; Spriiche, 6781; and elsewhere), the transformation takes place under Svati: see p. 214, above. So in Manwaring's Marathi proverbs, no. 1291: "If the Svati rain fall, there will be a crop of rubies and pearls, but you will not get cotton enough for a lampwick." Now Chitra and SvAti have as their principal stars respectively Spica and Arcturus; and at the time of Rajaqekhara, the approximate longitude of these two stars was respectively 188~ 32' and 188~ 55', that is practically the same. The author's mention of Chitra, therefore, is not fortuitous, but significant. - My thanks are due to my honored colleague, Dr. Asaph Hall, for his kind help in matters of this nature. Cp. Whitney, Oriental and Linguistic Studies, ii. 377, and his chart of the zodiac. 6 Is antena used " prepositionally " (like antarena), here compounded with its "governed " word-stem, and in the sense of ante, 'near'? 7 Cp. i. 17d note. 265] Act Third. - iii. 51 empties into the ocean. I, too, as I think, am within the cloud and go with it. [15] KING. And then, and then? JESTER. Then the cloud started to rain there with great big drops of water; and the sea-oysters, such as they call pearl-oysters, emerged from the waters and absorbed me; and I was within them and became a monster pearl.2 [18] KING. And then, and then? JESTER. Then in four-and-sixty pearl-oysters [successively] I was a drop of cloud-water, surpassing the opal3 in hue, [and then,] in due course, I attained once more to the condition of being a pearl, one of perfect roundness,4 clear, and flashing. 4 So I, whom you see before you,5 fancy that my own self in the shape of a pearl,6 was inside of those pearl-oysters. [i] KING. And then, and then? JESTER. Then those pearl-oysters were taken from the ocean as soon as they were mature, and they were opened. And I was among the fourand-sixty pearls. And a certain merchant bought me, giving [for me] a hundred thousand gold pieces. [5] KING. Oh, what a wonderful vision! And then, and then? JESTER. Then the merchant sent for the jeweller and had him bore a hole through me.7 And that gave me a little something of a pain. [9] KING. And then, and then? JESTER. And with the pearls of that lot,8 weighing ten mdashakas apiece, a single row was strung in necklace style,9 and it was priced at ten million gold pieces. 5 KING. And then, and then? 1 For the form, see p. 203. 7 'Then by him, fetching the jeweller, 2 This time it is a pearl of ten masakas the pearl was caused to be drilled.' -see my note to ii. 17a. See note 5, p. 264. 8 With that pearl-lot (of 64 pearls), 8 The tabasheer is a variety of opal found weighing 10 masakas apiece.' The exin the joints of the bamboo. pression is loose; the adjective is logic4 'I arrived at new-pearl-ness, very ally an adjunct of muttahala and not of round, without any flat surfaces' etc., i.e. mandala. ' I arrived anew at' etc. 9 That is, so as to form a necklace rather 6 Thus I would express the force of so than a bracelet or what not: cp. hara-latthi, aham. iii. 18b; and mani-yasti, Urvaci, iii. 10, and 6 'With or by (my) pearl-ness.' For.Kale's note. attanaam, see Pischel on H. 3. 56. iii. 5 - Translation. [266 JESTER. Then [the merchant, whose name was] Sagaradatta, put it in his casket and went to the capital of Vajrayudha, the king of Paiichala, to Kanauj; and there he sold it for the ten million. [3] KING. And then, and then? JESTER. And then, As he, [the King of Kanauj,] considered her towering ample breasts, and also the beauty of the single string of pearls, he put it on the neck of his beloved. - Men of sense are pleased to see like meet with like. 6 Moreover: At midnight's hour, which was full of moonlight resplendent throughout the sky, in love's embrace the royal pair had closed their eyes for terror at the shaftl of the Flower-arrowed God. Then by the plumpness2 of her exceedingly towering, full, and jar-like breasts was I sore beset - [and so] awoke! 7 KING. [With a faint smile, and then reflecting.] You knew that this vision of mine, in which I met with her whom I love as my life (pana-samd-), was unreal; and so you thought you could dismiss it from my mind by your counter-vision.3 8 JESTER. A decayed chieftain, a brahman exhausted with hunger, a naughty young wench, and a forsaken man, —these beguile themselves with the sweetmeats of wishes.4 And I ask you, man, whose power, now, is that?5 KING. Love's. [3] JESTER. Although your love for the Queen has grown by [long] attachment, why, pray, do you, sir, fairly spreading your eyes over all of Karpiira-mafijari's person, gaze at her as if you were absorbing her? are the Queen's good points inferior to hers? [5] KING. Speak not thus! Suppose the knot of love is tied betwixt some man and some maid; for all that, beauty, I think, is not the [sole] cause of it.6 But if, even in that 1 Strictly, 'blows,' 'shots.' 6 That is, Of whose power are these 2 Konow refers me to Kiratarjuniya, iv. wishes and longings a manifestation? For 8, where Mallinath glosses nivega by ' large- the first two of the four cases, pemmamh seems ness, plumpness' [of the breasts]. to be too specific. 3 'This vision, not real,- it, possessing a 6 Just under those circumstances (emea, meeting with the life-equal-girl, thouknowest. cp. ii. 49a), beauty, methinks, is not the [sole] And by [thy] counter-vision, the warding-off cause of it' (tattha): but rather, says the or dismissal of it [of my vision] is thy inten- Scholiast, the working out of the inborn tion.' 4 Konow compares Viddh. i. 221. nature. 267] Act Third. -iii. 13 case,1 the [girl's] loveliness is much praised,2 that is done to put a seal on3 the mouths of unkind-spoken people. 9 JESTER. But what, sir, is that which they call "Love, love "? KING. The knot of attachment which exists between a mutually united pair, and which has grown strong under the dispensation of the Dolphin-bannered God, - that the connoisseurs call "Love." [2] JESTER. And of what sort is it? KING. [Love is that] in which the feeling within the heart attains4 to sincerity and is devoid of the blemishes of suspicious behavior and so forth;5 in which there is an on-flowing stream of longing of each for the other; whose very essence is imparted by Cupid and enhanced by amorous play. 10 JESTER. And how might it be recognized? KING. They whose hearts are set, each toward the other, in utter commotion by the unforced flow of very restless glances; who speed ever, more and more, the arrows that Cupid gives them;- of such persons 6 the heart-wound becomes very easily manifest. 11 JESTER. That which has the outward beauty of a deeply seated disturbance of heart, - that the world calls "Love with Cupid's adornment." Hard as it may be to recognize, a person does manifest it among people. That we know to be Cupid's very mighty jugglery. 12 Moreover, if the love that is in the heart7 [of the one] awakens [in the other a corresponding] attachment, what occasion is there in that case for the trickery of the bravery of ornaments? KING. That's true, man! What need of girdles, bracelets, diadems, anklets? what need of beauty?8 and what need of the shows of ornament? [There is no need 1 Where beauty is not the sole cause of the attachment. 2 As an ostensible reason for the love.Since mah is not necessarily = kaiks (see Pischel, H. 4. 192), I suppose I am justified in connecting mahijjai here with Vedic mah ('is extolled, is magnified'), and not with manth, Marathi mathanemi (' is revolved, considered, taken into account'). 8 'Then (tam, correlative to jam, 'if') a seal is put on' etc. 4 Ei, that is, eti. 5 'Of suspicion-behavior and so forth,' viappa-ghadana-ai-. 6 'Of what persons, possessing hearts completely agitated by glances which are nature-flowing and very restless, the sendings-forth of the Cupid-given-arrows increase, of them' etc. In this version I follow NR, reading (instead of luntia, 'robbed') lunthia, 'agitated.' I take peranta-lunthia as 'boundaryagitated,' 'agitated to their very limits.'See OB. under tar + vi 5). 7 For mana and citta, occurring together at iii. 12a, 1 and iii. 11, there seems to be but one available English word, namely ' heart.' 8 Neither gewgaws nor beauty signify much where the passion is mutual. Cafga and its iii. 13 - Translation. [268 of all that.] And so,1 in this world, it is something else2 which puts the flowers of happiness in the grasp of fair maidens. 13 And again: What need of the performance of song and dance? and what need of strong drink? what need of incense of aloes? and what need of saffron? -On all the earth in daintiness naught else can equal man's tender passion.3 14 And again: The consort of an emperor and the wife of a common man, - in the matter of love there is not even a grain of distinction between them to be found, methinks, [even] if a certain difference in outward splendor is effected by rubies and decorations and garments and saffron. 15 And again: Why speak of restless eyes - of face like to the moon - of towering breasts? There is some other reason here, I think, why women from our hearts 4 do ne'er withdraw. 16 JESTER. That is so. But explain to me another thing: [Even in that] which during childhood is unattractive to the heart of a man,even in that, with [the attainment of] adolescence, a certain beauty develops itself. [2] KING. Surely there must be here in the world two Creators who are skilful in building the body and in giving it the bloom of youth: the one fashions the first girlish form; while the second, by giving it the finishing touches,6 brings out its loveliness.6 17 And therefore: Bejewelled bracelets and girdles and anklets, beauty of dress, strings of emerald gems, mineral rouge,7 a necklace of pearls, - [all those things] derivatives are used of natural beauty -cp. nisagga-caiiga, ii. 25', and paai-caigima, ii. 26c. As to the form (instr. s. fern., from Skt. an-stem!), cp. umha cited by Jacobi, ~ 42, 2). 1 I take tam as ' and so.' 2 'There is of fair-waisted maids something else [than gewgaws -namely, native attractiveness], by which they get the flowers of happiness.' Or, suhaattana may be the ensemble of womanly charms that draw and hold fast her lover's heart. 8 I am not sure that I have hit just the right meaning of ruccissa: nor do I see the appositeness of punu. 4 Ablative singular or plural, H. 3. 8, 9. 6 'By carving it or sculpturing it (Scholiast, utkirya), by putting on the nicer touches' as contrasted with the first or rougher "fashioning" (ghadanai). The Marathi kandaranemh, cited by Dr. Konow, is an instrument used for the finer work of goldsmiths and others. 6 ' Makes fully manifest (the form), displays it to advantage.' 7 Properly, gairika, which is usually defined as 'ruddle, red chalk.' But Hemachandra, 1036, makes it a synonym of dhatu, and this is a liquid mineral which wells up 269] Act Third. -iii. 203 are surpassed by the youthful bloom of maidens,' which is the spell that fascinates the heart, and is a sixth arrow of Cupid,2 and a charming one. Moreover: 18 A form full of loveliness, eyes that reach almost to the ear and have large pupils, a bosom with ample breasts, a waist that has the triple folds and may yet be grasped by the fist, wheel-like buttocks,3 - pray what need of aught else in the time of tender youth? Just these five things put into maidens' hands Cupid's great banner of victory.4 19 [Behind the stage (is heard the Heroine, saying:)] Friend Kurafngika, I am really languishing by reason of these refrigerants, as a lotus [languishes by reason of the arrival of the torrid season that calls for the use of refrigerants]. * A shoot of lotus-root [to me] seems like poison; a string of pearls seems like a poisonous serpent; the breeze from the palm-leaf fan seems to spread flames; likewise the water from the jets of the shower-bath as it comes out on my hand is hot; and not the sandal, that sovereign remedy [against heat], allays the burning of my frame.6 20 JESTER. Did the old man hear? are his ears loaded with a jowl-full of the nectar?7 [2] will he then even today take no notice of his lotus root8 that is languishing by reason of the intense heat? of his saffron dolly that he has to play with,9 that is being sprinkled with most intolerably scalding water?10 of his single string of monster pearls that [now] from the ground. The wounded (alya is said to run blood as the mountain runs gairika, MBh., ix. 13. 14 = 669. It is mentioned at Meghaduta, 102, as a pigment (dhatu-raga); and at Kumara-sambhava, i. 7, as a sort of liquid mineral color (dhatu-rasa), such as might be used to inscribe love-letters on birch bark. Cp. my note on ii. 7, above. From the same poem, i. 4, we may infer that it was used as a cosmetic, since it is there mentioned as a decoration for the nymphs of heaven. So here. 1 The five words of lines ab are nominatives absolute, with anacoluthon. We must repeat them in accusative form in d as objects of jaai. 2 He regularly has five: cp. painca-bana, paficesu, pafica-sara, in Index, and p. 239, n. 2. 8 We have had most of these most fleshly details already at i. 32 and 30 and ii. 23. 4 ' By just these five things maids become possessing Cupid's banner.' 6 ' The wind spreads as it were its friend.' The friend of the wind is the fire, - Hemachandra, 1099, p. 444. OB. cites anila-sarathi as a name for fire from MBh. i. 15. 1 = 1058. 6 Similar thoughts at ii. 42. 7 Nectar of the Heroine's words. -The ludicrous incongruity of the metaphors is doubtless intentional. 8 Muna.lia, properly ' little lotus-root.' Is it used in the sense of mrnalini, 'lotusplant,' pars pro toto? At any rate, it must be rendered so as to bring out the jocose allusion to the Heroine's own words at iii. 192. -Mrnalika is used as a girl's name (with many others) in the Kadambari, p. 3563. 9 ' Play + saffron-dolly,' - cp. ii. 12. 10 lWater intensely boiled and intolerable,' in allusion to iii. 20c. iii. 203 - Translation. [270 in a trice is parting? 1 of his meadow of rose-bay,2 that the musk-deer are plundering? 3 [3]- Well, your vision has turned out true.4 Come, let us go in. [5] Let Cupid's banner be exalted. Let the strains of cuckoowarblings start up in your wind-pipe. [7] Ease up with the floods of tears. Slow down with the torrents of sighs. [9] Let loveliness renew itself. Let us go in by the back door.5 [At that, they make as if they were going in.] [12] [Then enters the Heroine, with Kurahgikd.] HEROINE. [Timidly-to herself.] Why! is this the full moon suddenly descended from the court of heaven? [15] or has the Blue-necked God [9iva], well-pleased, allowed Cupid to resume his own bodily form? or is some one who is a rascally foe of my heart and a kindly friend of my eyes about to show me special favor? [Aloud.] This I regard as a piece of jugglery. [19] JESTER. [Taking the King's hand.] Lady, the jugglery has become real. [21] [The Heroine stands abashed.] KUIRANGIKA. Dear Karpira-mainjari, rise to meet your lord and salute him. [23] [The Heroine is on the point of rising.] KING. [Taking her hand.] Thy waist is ready to break neath the burden of thy bosom: break it not, 0 moon-faced maiden, by rising! - Cupid have mercy on my eyes after the sight of such ampleness [of breasts]!7 21 Moreover: In presence of whom, not the beauty of orpiment hath any charm, nor 1 The allusions to lotus and doll were pat enough. But the tertium comparationis of this figure and the next, Konow thinks, is merely the Heroine's anguish. 2 The Taberntmmontana (see this in Century Dic'y) coronaria, known as Adam's apple or East Indian rose-bay. It is a very fragrant shrub, having shining dark-green leathery leaves, "with elevations above the veins" (Roxburgh, p. 249). Its Prakrit name, "knot-leaf," may refer to this. 8 No jealous rival of the King has turned up thus far. - But see Konow's view, note 1. 4 Only in the most general way (cp. iii. 3): he met her in the dream, and now he meets her in fact. 5 For the full significance of this clause and the following stage-directions, as I understand them, see p. 219-220. 6 Cupid was burned by the fire of Qiva's wrathful glance and is therefore called " Bodiless " or An-afga. The story is told at Ramayana, i. 23. 10-14, Bombay; or Kum&ra-sambhava, iii. 71. 7 For their beauty is enough to blind me!-See note on nivesa, iii. 7d. Act Third. - iii. 242 burnished gold, nor champak blooms, - with golden flowers I pay homage to those eyes with which thou, 0 fawn-eyed girl, hast been beheld.1 22 JESTER. Her ladyship, Karpura-mafijari, by staying in the inner room, has become moist with perspiration. So now I will fan her with the border of my robe. [So doing.] Oh dear! I've put out the light with the wind from my garment. [4] [Reflecting. - To himself.] Never mind. We'll just go to the pleasure-garden. [Aloud.] Say, this is dancing around in the dark! so let's go out now to the pleasure-grounds, just by the subterranean exit. [9] [All make as if they were going out.] [10] KING. [Holding Karpira-mafj'arz by the hand.] Keeping thy hand, which is like a tender spray, within mine, assume thou, [I pray,] a little unsteadiness2 as thou movest along; in order that the kala-hanisas, as they go about in their play, may at last find a rival who outmatches them in comeliness.3 23 [Showing by his demeanor his delight at the touch of her hand.] The prickles of the young gourd-melon,4 the filaments of the cadamba flower, which today are witnesses of the touch of thy hand, —these will remain as if fastening themselves to my limbs.5 24 [Behind the stage.] A BARD. May the rising moon bring pleasure to the King. 1 To whose eyes? to his own? if so, the stanza is flat indeed! 2 Caficura seems to be an intensive adjective from car: cp. caincuryate, and Whitney, ~ 1148k (janjapa, tartura, etc.). The purpose of the "unsteadiness" or "waddling" is, as I suppose, to enhance the similitude of the girl to the much belauded teal. 8 ' In order that at last the kala-hafisagroup, in its play-going, may be uncomely.' The kala-hansa or kadamba seems to be a kind of white teal with gray wings (Hemachandra, 1327). Its cry is often spoken of as most agreeable (kala- see the examples in BR., s.v. (la), and Hemachandra, 1409). It was tamed and held in high esteem. Bana often mentions it-see Index to Ridding's Kadambari, p. 224. 4 Benincasa cerifera, like the pumpkin, but with a waxy coat. I do not find this in Roxburgh; but at p. 700, under Cucurbita Pepo, he says of the fruit, that it is, "when young, exceedingly hairy." Note that of our common Cucurbitacese (cucumber, pumpkin), the fruits are often sharp-prickly and the vines hairy. 5 That is, the delight which I feel at the touch of thy hand causes such horripilation that the asperities of these plants seem to have transferred themselves to my limbs for good and all. Cp. note to ii. 46d. This conceit of Rajaaekhara recurs at iv. 21 and iv. 22; see the notes. One is tempted to query whether it is not a reminiscence of Bana: cp. Harsha-charita, text p. 267-4, utkantakita- kapola-phalakena, lagna-karnotpala-kesara-paksma-gakalena, iva mukha-gagina. = See p. 220. iii. 25 Translation. [272 While the round ball of the earth is as black by reason of the darkness as if it were in a subterranean chamber, the face of the eastern quarter of the sky has become as yellow as a young birch with the moonlight; and the moon, sending forth rays that are like in beauty to the tufts of the stamens of the wing-seed,l has risen, digit by digit, till at last the full disk is above the horizon.2 25 And again: Without saffron, without sandal,3 is the embellishment of the ten bride-like regions of heaven;4 without bracelets, without ear-rings, is the decoration of the round earth;5 without withering, without fainting, are the flowers6 (or without " Parcher," without " Bewilderer," is the weapon of the God with the Dolphin-ensign);7 a garland of moon-beams is massed in the sky.8 1 Muuunda, Pterospermum suberifolium, Roxburgh, p. 512, a middling sized tree. The flowers are white and fragrant and very long, and show a prominent column of united stamens. - I use " tufts " advisedly for siha. 2 ' The moon has gone to full-diskedness in the one-digit-manner.' 8 That is, All the heaven is made lovely by the new-risen moon, " the cool-rayed one ": it makes the sky yellow, and that without the help of saffron; it makes the air seem cool, and that without the help of sandal. -This stanza recurs at Viddh. iii. 12. 4 The " ten points " or " regions " are the four cardinal points, the four intermediate points (NE. etc.), the zenith and nadir. These are likened to brides. So Bhartrhari, in his bhuh paryaiikah, describing the ascetic, says: "His couch is the ground; the blue sky above is his roof; and the moonbeams he hath for his candle; north, east, south, and west are the maidens (dik-kanyas) that fan him with breezes for chowries." Rajagekhara has the same bold metaphor two stanzas later, iii. 28a, in disi-sundari (if not also in a variant of iii. 29, "dig-vadhu "); and it recurs as dik-sundari in Jayadeva, Git. vii. 1. Bana speaks of the "regions," Iaas, as maidens, Kadambari, p. 390-7. 6 I take bhuvana-mandali as ' round of the earth,'= mahi-mandlala or bhi-mandala. Viddh. reads dharani- for bhuvana-. 6 That is, In the cool moon-light, the 26 flowers are recovering from the intense heat, which "parched" or "withered" them (agosayat) and which "bewildered" them or "made them faint" (? amohayat), in the day-time. Since the stanza is a description of the loveliness of the night at moon-rise (iii. 261), of its tones of color and its reviving flowers, it must be that the prior interpretation of line c is also the one primarily intended by the poet. 7 From Cupid's equipment are missing " Parcher " and " Bewilderer ": these are the names of two of Love's arrows - see note to i. 32d. Both of these names are included among those of the celestial weapons, partly allegorical, partly fanciful, which are rehearsed in the Ramayana, cantos 27 and 56 of book i.; see especially i. 27. 14, 15 and i. 66. 7, 8, ed. Bombay. -Love's arrows, his bow, and his missiles are all formed of flowers: pu~spany asya,, isu-capa, astraii, Hemachandra, 228. I cannot help feeling that this alternative interpretation, although secondary in the intention of the poet, is the key to the whole wretched difficulty of this line. The chance for a pun has seduced the author into using mohana of flowers-a use which I cannot deem unforced. —BR., under cus, cite na mlayanti na gusyanti kusumani. 8 The area of denotation of avali and ali is not coincident with that of any English word. See Hemachandra, 1423, for their 273] Act Third. - iii. 29 JESTER. Well, Kfachana-chanda has described the loveliness of moonrise; so now it's Manikya-chanda's turn. [Behind the stage.] THE SECOND BARD. The pleasure-pavilions show circling wreaths of incense rising from burning aloes; they are ablaze with the lighted lamps; 2 they have pendent festoons of lustrous (or rarest) pearls; they swarm with doves let loose; in them are prepared charming pleasurecouches, and hundreds of confidantes are talking; while on the divans appear the pouting women-folk.4 27 And again: The moon-beams seem as if overspreading profusely with camphor the faces of those beauties, the quarters of the sky; 5 they scatter soft moonlight which rejoices the heart of the people of the earth as does sandal; they make the withered bulb of Love to sprout anew with amorous doings; and are like to jets sent forth from an autumn cloud. 28 JESTER. White swan of heaven's pool,6 Of 9iva's crest, the jew'l,7 A bulb 8 of love 'S the moon above! 29 synonyms, among which is mala. 'Row,' 'string,' and 'streak' are among the more serviceable English versions of the words. We find avali used of a 'string' of pearls; and of a 'wreath' of tresses; but also of a 'set' of teeth; and, humorously, even of a parrot's two wings, a 'set' of wings, iv. 210. Like its synonym raji, it is used with dhiima of a 'column' of smoke. Mal is used of bees, ii. 13; of curly locks, ii. 20.- m H See Konow's version, p. 289. 1 This designation is nearly tantamount to Ratna-chanda, the name he bore at i. 162. 2 Ablaze with given orbrought-in lamps.' 3 See additional note, p. 289. 4 'The pavilions are possessing-divansurface-appearing-jealous-women-folk. ' Ucchafiga, ' on the surface,' ='on,' with attenuated meaning, as in the case of tala = ' on' and antara = in.' 6 'The moon-beams (enafika-pia) are giving as it were an overspreading (see chur in OB.) with floods of camphor to the faces of the sky-quarter beauties.' They flood things in every quarter with a pale whiteness like that of camphor-gum. - For dik-sundari, see iii. 26a note. 6 Similarly the sun is so called, e.g. Dayakumara-charita, p. 116. 7 For the moon as (iva's crest-jewel cp. i. 3. -The pronunciation of jewel so as to rime with pool is an inelegance which accords, as I think, with the tone of this brief doggerel as intended by the author. 8 Kanda, 'bulb': more specifically, an 'onion.' One can hardly doubt that the Jester takes this particular word out of the Bard's mouth in order to make fun of it. - In the Bard's stanza, it would have been a little less prosaic if we had said "withered root;" but it is hardly competent to the translator to let the Jester's allusion disappear. Cp. p. 262, note 8. Concerning the rimes in this and the following two stanzas, see p. 205. - For metre of 29 and 30, see p. 207. iii. 30 Translation. [274 KURANGIKA. Proud of his ally, the moon,1 crushing the pride of jealous maids,2 with bow of fresh champak blossoms, Cupid is victor, the impetuous. 30 [To Karpura-manjarz.] My dear girl, I'm going to recite to the King the verses which you made describing the moon. [Karpura-mainjari stands abashed. Kurangikd recites.] On the moon's yellowish disk, which seems to have stolen its charming hue from some ivory cage,3 appears in all its beauty,4 manifest,5 the antelope with which the disk is marked,6 bearing a likeness to a playful koll. 31 KING. Oh, what an intuition for quite new conceits7 has Karpuramaiijari! what charm in expression and pleasing words! and what flow of sentiment! [Addressing the Heroine.] It must be that the moon, for fear lest thy [lovely] face be mistaken for its own, hath made - behold! - upon its own round disk a black collyrium-mark, disguised as its "Fleck." 8 32 And again: If, O tender-limbed one, thy face were colored palish with chalk-water, [and if,] besides, black collyrium for the cheeks were put [on it], —then it might mock at the moon (or, then its likeness to the moon would be complete).9 33 1 'Possessing pride made by the moon.' The moon is Love's most potent coadjutorcp. notes to ii. 5b and 50b, and especially Kadambari, p. 65912. 2 Gharatta, is a ' hand-mill' such as the women turn in India-see the excellent kataksa-verse, re re gharatta, Parab's Subh. p. 434, 105, for which Peterson, Subhashitavali, 2388, has re re yantraka. Vasudeva says "crusher," pesana-karta. 8 Vilasa is 'outside looks' and also 'beauty '- such as old ivory might have. Cp. Kadambari, p. 39011. 4 Thus I render bhai. 6 And thus phurantao. 6 The fleck-antelope ': cp. ii. 20, note. 7 Vatthu, ' the substance' (as distinguished from the form, utti) is in this case little more than a ' conceit,' that is ' ingenious thought or fancy.' 8 Surely by the moon, thinking to itself (tti) [with a touch of jealousy], "Not in any wise shall there be an error (vibbhama) [occasioned] by the face of thee," a blackcollyrium-distinguisher (visesaa) has been made on its own disk-round, with "Fleck" disguise.'-For the well-known antelopespot, see note to ii. 20.- The position of tuha after the tti is exceptional. 9 Either, 1. 'Then it would attain to derision of the moon (genitive), would get a chance to mock at the moon' on account of its superior beauty. Or else, 2. 'Then the moon (nominative) would get a mocking, i.e. would incur contempt.' Or else, 3. ' Then it would attain to the assumption-of-the-appearance of the moon.' Cp. Bhartrhari's vaktram candra-vidambi, pafikaja-parihasa-ksame locane. Here the parallelism of parihasa, and Bihtlingk's interpretation of his conjectural -vidambi 275] Act Third. -iii. 341 [To the moon.] O antelope-flecked one, why wanderest thou, nonchalant, so near this beauty? Lo, here is the face that gave to thee the exceeding paleness of its own white cheeks! 34 [Tremendous racket behind the stage. All listen.] 1 KING. But what is this uproar? KARPURA-MARJARI. [With some trepidation.] and] find out what it is and come back to me. [5] My dear girl, [go [Kurangika goes out and reenters.] JESTER. Just this: the Queen has found out that my old man has tricked her,2 and is coming. KURArGIKA. Well, it's hunchbacks and dwarfs3 and pigmies and eunuchs and harem-keepers that are making the hullabaloo. [8] KARPURA-MAiJARI. Then let the King excuse me, so that I, before the Queen finds out about my meeting with the King, may go to my prison by the same subterranean passage by which I came.4 [Thereupon, exeunt omnes.] [End of the Third Act.] (see BR. s.v., and Spruche, 5896), support the first of the above versions. The second version amounts to about the same thing as the first, and is supported by Spriiche, 453. Mahabala Krishna Qastrin, in his edition of the Qrngarra-gataka, 22 (Nirnaya Sagara Press, 1888), supports B's conjecture, but renders it by candra-anukari etc., as in the third version. Since the chalk-water and collyrium only enhance the beauty of her face and its likeness to the moon, I am unable to translate the vi of jai vi. 1 We may suppose that the actors now fall into two groups, King and Jester forming the one, Heroine and her friend forming the other. And the two sets of questions and answers that follow in dovetail, may be thought of as proceeding each independently of the other. 2 'Has resorted to trickery' (vaficanagadam), or 'has come here by a trick' (vaincana-agadam). 8 Griffiths, i., p. 10b, speaks of dwarfs as favorite subjects of painting and sculpture. "Then, as now in India, they served to amuse persons of rank." Plates 29, 55, 85.Concerning the inmates of the seraglio, see Sahitya-darpana, ~ 81. 4 (May go to my prison, entering by this same subterranean opening.' ACT IV. [Then enters the King with the Jester.] KING. Alas! The summer's heat is very intense;1 mighty is love; how pray is it to be borne? Yet that fawn-eyed girl, albeit in one and the same palace with me, is hard to reach, as fate will have it. 1 For, In this world, by those who are under the power of the Flower-arrowed God alone, both these things indeed are very hard to bear, I think: the time that is made terrible by the intense sun, and separation from the beloved.2 2 JESTER. Some folks are harassed by Cupid, and others are wilted by the heat; but a chap of my stripe is neither harassed by Love nor wilted by the heat. [Behind the stage.] A PARROT. Well, won't Polly tear out your top-knot by the roots? - guess! [4] KING. [Laughing.] Man, was the pet parrot talking which was roaming about at will in the pleasure-grove? JESTER. [Angrily.] Ah, you wretch of a bird, you'll be cat's meat next. [8] [(The parrot again) behind the stage.] There's nothing I mightn't expect from the like of you3 -if I hadn't a set of wings.4 [10] KING. Why! I believe it has flown. [To the Jester.] The nights are of short duration and the days are waxing long. The round of the moon is broken5 and the disk of the sun is unbroken. Why 1 Gadhaar', i.e. ga.dhatara-. iv. 210, seems also to come from the parrot. 2 The thought of this stanza is repeated in For the ablative, see p. 203. - Cp. Viddh. p. 294. different language at Balar. v. 25 and Viddh. 4 " Set" seems to be used humorously; iv. 6, as Dr. Konow points out, p. 206. see note to iii. 26d. 8 'Every thing (any thing) is deemed 6 'The moon attains diminution'- so possible from the like of you.' This speech, that it yields less coolness, as I suppose. 276 277] Act Fourth. — iv. 7 should not an arrangement whose course appears to be this in summer days, - why should it not be broken, then, with knife-points? 1 3 Moreover,2 it is altogether to be praised3 if it bring me a meeting with my beloved. For At midday, the touch of sandal-paste; until twilight, moistened garments;4 play in the bathing-pools until night-fall; in the evening, cool liquor;5 and love's embraces in the last watch of a summer night; 6 these are the five arrows with which Cupid wins his victories: his other shafts are split and broken. 4 JESTER. Say not so. [Say rather:] A blessing on the summer days, 0 friend, because7 in them the betel8 leaves are overlaid with a palish shimmer, and the areca nuts are delightful with the flavor of mango oil, and the sandal is made [still more] fragrant with powdered camphor. 5 KING. [Yes.] And this too is pleasant about them:9 Flutes, tremulous as if with koil notes,10 are cooling to the ears; liquor with cold water is cooling to the mouth; a sweetheart with massive breasts anointed with sandal is cooling to the touch: for any one there is for the summer days an antidote that is altogether cooling. 6 And again: In the graceful chaplet, an acacia bloom; near the breast, a necklace of sinduvara berries; on the limbs, a moistened garment;1 attached to the waist, a girdle with blue lotuses; on the two plantain-like arms,12 bracelets of fresh lotus-roots: such is the apparel for [enamored] women that is 1 Khanda is ' broken, incomplete,' or (of the moon) 'not full, gibbous'; a-khanda is 'not incomplete,' 'complete' in form and perhaps also in power; khandijjai is 'be broken, cut, brought to nought.' The "knifepoints" are congruous enough with "cut," hardly so with "arrangement." 2 An adversative conjunction (kir tu?) would be much more appropriate here. 8 'It [the arrangement] is altogether (niunafm) to be praised' (glagh). 4 Oll-anisuamh: cp. iv. 7b. 6 Cp. my note to i. 22 and the lampoon there quoted. 6 Cp. Rivania-vaha, ed. Goldschmidt, xii. 13. -Jam kiim pi = 'some, a little,' with nihuvanaim. 7 The three long bahu-vrihis are "adjec tives that contain reasons "-hetu-garbhavigesan.ni. 8 Piper betle, a perennial creeper, Roxburgh, p. 53, 569. t" The leaves are used as a wrapper for the little pellets of areca nut and lime which are extensively chewed in the East." The pellets are carried in boxes (cp. iv. 910) commonly made of silver filigree. See Century Dic'y, under betel and betel box. - Areca palm, Griffiths, fig. 60. 9 About them' (ettha), i.e. the summer days. 10 'Having koil-notes and wavy.' The "waviness" or tremolo effect that may be given to the music of the flute maybe supposed to suggest liquidity and so coolness. 11 Cp. iv. 4a. 12 Cp. my note to ii. 14b. iv. 7 - Translation. [278 likely to be prescribed' by the physician [who treats the disease] of love,2 as the sole charm against the pains of the heat when the spring season melts into summer.3 7 JESTER. And I say, moreover: Of women who at midday are anointed with smooth, thick, sandalpaste, who bathe the whole evening through,4 who in the nights are besprinkled with drops of water that come from the punkahs, - of such, the Five-arrowed God accomplishes the enslavement. 8 KING. [Making as if he were recollecting something.] For those, to whom is given complete union with a person lovely with the combination of garb and fresh beauty,5 —for them the nights and days, though long, go by like a twinkling; and to whose sore-pained heart these [days]6 bring not even to a small degree the delights of love, - for them the days give birth to [vain] wishes only and drag by as if they were each a month long. 9 [Addressing the Jester.] Is there any news about her? JESTER. Yes, there is. Listen, old man! Here's a joke for you. [5] The subterranean passage that was made to Karpura-maiijari's prison, was discovered by the Queen. Then, with a pile of huge stones, she closed up the entrance to the passage so that no one could slip through.7 [7] Five chowry-holders, girls with names ending in send, Ananiga-sena, Kama-sena, Kalifiga-sena, Vasanta-sena, and Vibhrama-sena, with noisily brandished swords and shields in their hands, were appointed to keep guard over her prison on the east side. [8] Five ladies in waiting, with names ending in leckh, Anaiiga-lekha, Chandana-lekha, Chitra-lekha, Mrgiaka-lekha, and Vibhrama-lekha, with bows in their hands and arrows on on the south side. [9] 1 'To be offered or brought into service' - root ni + upa. 2 Or, ' by the Cupid-physician,' ' by Dr. Cupid.' But perhaps this would be too jocose for the King in his present mood. "He's got it bad." 8 'At the going of the season of Madhu,' i.e. of the season of spring or vasanta. This consisted of the months March-April and April-May, whose older names were Madhu and Madhava (see p. 214, or Whitney, JAOS. vi. 414, and cp. note to ii. 621). Vasanta is followed by grisma, 'summer,' but the text the string, were set [to keep guard] does not show here how far the summer has progressed. —This costume, at all events, is light. 4 (Possessing practised interval-less bathings in the evening.' I take ghadana as ' combination '- see OB. And to bhafgi I assign the meaning ' Art und Weise sich zu kleiden ' (= ' garb ') given it by OB., s.v., with a citation for it in that sense from our poet. 6 Or, 'These burning days,' samtaivino. 7 The entrance was closed by the Queen, making (kr) it hole-less.' See p. 220. 279] Adt Fourth. -iv. 10 Betel-box bearers,l girls with names ending in mald, Kunda-mal, Kafichana-mala, Bakula-mala, Mafngala-mala, and Minikya-mala, carrying lances in their hands, were stationed [to keep guard] on the west side. [1o] Bath-keepers, girls with names ending in kelt, Anafga-keli, Barkarakeli,2 Sundara-keli, Raja-keli, and Kandarpa-kell, holding shields and swords, took their places 3 on the north side. [11] And over [all] those, five reciters of witty sayings, girls with names ending in vatl, Mandaravati, Tarafgavati, Kallolavati, Madiravati, and Kelivati, were appointed as overseers, each with a bright golden staff in her hand. [12] KING. Well, well! that's the entire personnel of the Queen's apartments! JESTER. Here's the Queen's friend, Sarangika, sent with some message from her. [14 -sage from her. 4] [Then enters Sdraiigika.] [15] SXRANGIKX. Victory, victory to my lord! The Queen's message is that today the King must mount to the terrace of his pleasure-palace and inspect the preparations and accessories 4 for the great festival of the Deity of the Banyan.5 [18] KING. As the Queen directs! [Exit the attendant.] [20] [King and Jester step about, making as if they were ascending to the terrace. Then begins the charchari.6] [22] JESTER. Behold, these maidens,7 richly adorned with pearls,8 at the close of the dance but scantily attired, are sprinkling each other with 1 The royal betel-box, umbrella, etc., were often borne by regularly appointed officers. See for example, in BR., the compounds of tambuila; and cp. note to iv. 5'. 2 See Zachariae, Maiikhakoca, Nachtrage. 8 I suppose adhatta (= arabdha, H. 2. 138) means 'fassten Fuss.' 4 Uvaarana seems to imply all this. 5 The deity supposed to reside therein during the vata-savitri-vrata. The time of this observance is given as the full moon of Jyaistha by the Vratarka. I have a lithographed edition of the Vratarka, Benares, 1931 (A.D. 1875); and its treatment of the matter begins on folio 121, reverse, line 11. — Or see Nirnaya-sindhu, II., folio 11 a, 3. -Or see Hemadri, Chaturvarga-chintamani, Vratakhanda, xxi., p. 2731. -My pupil, Mr. Albert Henry Allen of San Francisco, has prepared a well-digested account of this observance which will, I trust, be published in vol. xxi. of the Journal of the American Oriental Society, pages 53-66. 6 The carcari is a peculiar dance (cp. Vikramorvagi, act iv.), accompanied by various poses as mentioned in the next verse.Root vig + pra, in the sense of 'makes its debut, begins, geht los '? 7 Whom they see as they look down from the palace roof. 8 Possessing pearly-ornament-accumulations.' iv. 10 - Translation. [280 water which they take with jewelled cups from the jets of the shower bath. And here' 10 Circling around with charmingly-varied pose of hands and feet,2 these two and thirty dancing-girls, - they tread their mazy rounds, their steps keeping time with the music.3 In thy court is seen the " Staff-dance."4 11 With their shoulders and heads even,5 with their arms and hands even, other maidens, each with clean-cut pose,6 and ranged in two rows each facing the other, are rendering the challi-dance 7 and regulating its tempo by the beaten measure.8 12 Still others, quitting the jewelled cups, throw [direct] from the showering-machine the jets of water.9 These —fair as Cupid's arrows, though consisting only of water 10 - fall on the person of friends [standing by]. 13 Here, coquettish girls, their bodies anointed with blackest collyrium,1 1 The Samhgita-Ratnakara, Ananda-agrama edition, in its nartana-chapter (vii.), explains many of the technical terms that here follow. I am unable to go into the matter in detail, but give a few references to the book, whose title I cite as SR. 2 I take bandha as pose in the nautch. 3 'Possessing steps (pada) that have followed the beats ' (tala), that is, ' the time or measure,' which was marked by clapping of hands, and perhaps also (as in iv. 17a) by the rhythm of the song. 4 The rasa is a rustic dance like that of Krishna with the herdswomen. See Vishnupurana, v. 13. 23, or Hall's Wilson, vol. iv., p. 324 f. -From SR. I cite danda-paksa, vii. 642; danda-recita, vii. 651; danda-pada, vii. 711, 965, 1015, 1186. What the "staff-dance " is I know not. Perhaps a dance in which the dancers were arranged in "columns" (cp. iv. 12, and danda as used at ii. 9a)?-I recently witnessed, as part of a light entertainment, a "cane-dance," in which a negro performer held a staff, and struck the floor rhythmically with it, in time with his feet. - Has it aught to do with the "staff-dancer" of the Qatapatha-brahmana? see Eggeling, Sacred Books of the East, 44. 417. b Sama seems to be a technical term for 'in a natural position.' Svabhavena sthito bhumau samah pado 'bhidhiyate, SR. vii. 316. Konow cites Nat ya-astra, x. 13. 6 OB. defines rekha as 'correct pose of all the limbs in dancing.' "Pose-clear," "with clean-cut poses," may be an avyayibhava, or else an adjective with callih. 7 SR., vii. 1215, enumerates ten rustic dances. The first is cali: it is " not too fast nor too slow" (in the madhya-laya); and is characterized by the " simultaneity " (yaugapadya) of the movement of the feet, thighs, waist, and arms. The same dance, performed quickly and with the dancers facing each other, is called calivada. 8 'The calli, possessing a connection of tala and tempo': that is, 'whose tempo is regulated by the tala' (see above). The layas or tempi are fast, middling, and slow. 9 'Others throw jet-water by means of the jantas.' They don't use the cups, just mentioned at iv. 10; but perhaps they put their fingers partly over the orifices of the jantas so as to make the water squirt directly on their playmates. See muc. 10 ' These (tao-sc. dharao, 'jets '), having a beauty [as] of water-arrows of Cupid.' Konow cites Viddh. iii. 25b. 11' Possessing lampblack-collyrium-blackbodies.' Act Fourth. -iv. 1811 holding triple1 bows, and adorned with tail-feathers of peacocks, are parading about as savage mountaineers,2 [and so] making sport for the people. 14 Yet others, bearing in their hands offerings of human flesh, and terrible with their groans and shrieks and cries, and wearing the masks of night-wandering ogresses, are enacting a cemetery-scene. 15 And one fawn-eyed girl, sounding the drum that makes you shudder,3 and with the pleasant noise of a tambour, with her creeper-like arms alternately4 swaying, has started to execute the performance of the challi. 16 Others are performing, as might a fay, a graceful dance in tempo,5 with a jingling made by their bells, with the measure regulated by the tempo of vocal music,6 and with the clear tinkle of anklets. 17 Still others, their garments a-flutter by reason of their eagerness, intently playing the flutes, and setting the people a-laughing by their dark dress, recede, bow, and laugh. 18 [Enters Sarangika.] SXRANGIKA. [Looking before her.] Here is the King, who has come from the Emerald Seat7 into the Plantain Arbor. -Well, I'll go to him and announce the Queen's message. [4] [Approaches.] Victory, victory to my lord! The Queen's message is: "This evening I will bring it about that you shall lead a new bride around8 the nuptial fire." [7] JESTER. But Lady! what means this shower of watermelons9 from a clear sky? KING. Sarafigika, explain it all in full. [9] SARANGIK[A. You shall hear. On the fourteenth day,0l just past, the 1 " Triple ": made in three pieces? 2 IlovXv8aL & yptody7oL, Ptolemy, vii. 1.64. 8 SR. treats hudukka at vi. 1072. Molesworth defines it as a small drum, shaped like an hourglass. It is held in the hand and rattled. - Is not this the drum formed of the tops of two human skulls cut in bowl-shape and with skin stretched across the bowls, and set crown to crown? Clappers are fastened to it by thongs a few inches long, so that if you grasp the constricted part and twist the wrist, the clappers thump the membranes. - See root vad. 4 Contradicts yaugapadya, p. 280, note 7. 6 'Perform tempo-dance-grace.' 6 For jantia, see under yantra-. - Cp. note to iv. llb. 7 See page 254, note 1. 8 See root ni-pari. 9 Properly, ' white gourds,' the Benincasa cerifera of iii. 24 —see note. Cp. p. 205 end. 10 Of the bright fortnight of Jyais,.tha; see p. 216. Cp. Kadambari, p. 1286, where the Queen goes to pay homage to qiva " on the fourteenth day" of the month. Gauri is Qiva's consort. iv. 1811 - Translation. [282 Queen had Bhairavananda make an image of Gauri bejewelled with rubies and set it up. [11] And he, the master Magician, was consulted by the Queen, after she had begun the observances for its consecration, with regard to the matter of a reward for [him, as] her preceptor. And he replied: "If you absolutely must give a reward, then I suggest the following."l To which the Queen said, "As your Reverence directs." [16] And he continued and said: "There, in the Lata country,2 is a King named Chandasena. He has a daughter named Ghanasara-maiijari.3 She has been pointed out by the astrologers as destined to become the consort of an Emperor. [20] So the King must marry her, in order not only that the preceptor may not fail of his reward, but also that your husband may become an Emperor." [22] Then the Queen laughed and said, "As your Reverence directs." And I was sent to make the announcement. And the reward to the preceptor has been given. [25] JESTER. [Laughing.] Here's an instance of that old saw, " Snake on your head- and the doctor away" (or in some other country).4 The wedding is [set for] today and here, while Ghanasara-manijari is in the country of Lata. [28] KING. Have you never seen Bhairavananda show his magic power? 5 SARANGIIXK. [Continuing her message.] The Queen has had a sanctuary to Chamunda6 built at the foot of the banyan that stands in the middle of the pleasure-garden. [30] And Bhairavananda is going to meet the Queen there. And in the hall of state which is there situated and has just been put in readiness for it, the wedding is to take place. [So saying, she steps about and exit.] [33] KING. Man, I have a notion that this is all a blooming job of Bhairavananda. [34] JESTER. That's a fact. Nobody but the moon-you'd better believe - can make the moonstone statue to ooze 7 or the [night-blooming] gephalika to blossom profusely.8 [36] 1 'Then let this [reward] be given.' 6 Qiva's consort, in a terrible form. 2 For Lata, see p. 214. 7 The moonstone is a fabulous gem, sup. 8 See iv. 2016 and note. posed to ooze or deliquesce under the moon's 4 The proverb is discussed elaborately rays: cp., for example, Kadambari, p. 3958. and interestingly by Pischel, Festgruss an The "Thirty-two tales of the throne" Roth, p. 115. Cp. Bohtlingk, Berichte der are related by 32 heavenly nymphs who have sachsischen Gesellschaft, 1894, xlvi. 7. been transformed into statues (puttalikas) of 6 For if you (the Jester) have, you know moonstone: see Indische Studien, xv. 442,294. he can bring the bride here in a trice. 8 None but the Magician could bring all 283] Act Fourth. -iv. 1920 [Enters the Magician.] [37] BRHIRAVANANDA. Here is the Chamunda idol serving to screen the [new] entrance which has been opened from the root of this banyan to the subterranean passage.1 [He stretches out his hand to it in worship,] [saying to Chamund.a, or rather, saying of her:] A dissolution of the universe2 is her pleasure-house; the blood of the demons is her fiery draught; victorious is Kili 3 as she quaffs it, in presence of Kala,4 from a goblet made of the skull of Parameshthin.5 19 [Enters (the sanctuary) and sits down.] Not even yet is Karpuiramafijari [to be seen] coming out by the exit from the subterranean passage! [Karpura-manjarT, in pantomime, makes an opening in the mouth of the passage, and enters.] KARP1RA-MANJARI. Reverend Sir, I salute thee. [4] BHAIRAVANANDA. Mayst thou get a suitable husband. Sit down right here. [Karpira-manjars sits down.] [7] BHXIRAViNANDA. [To himself.] Not even yet does the Queen seem to be coming!6 [Enters the Queen.] [10] QUEEN. [Stepping about, and looking in front of her.] Here is the exalted Chamunda. [Pays homage to it. Then looking about, she says:] Karpuira-manijari here!7 Well, what does this mean? [To Bhdiravdnanda.] I have this to tell you: I have made ready, before coming to you, all things needful for the wedding; but they are in my own apartments of the palace. So I will get them and return to you. [18] BHXIRAVXNANDA. Do so, my darling. [The Queen takes afew steps about the stage, (as if she were) departing.8] [20] this about, just as the moon is the only one able to make the 9ephalika bloom. Konow cites Viddh., p. 634, 651. Cp. ii. 50, note 7. The stage-directions ought here to add, iti niskrantu, ' Exeunt' [King and Jester]. Cp. p. 221. 1 'Here at the banyan-tree-root is the Chamunda-idol, a cover of the [newly] openedout entrance to the subterranean passage.' 2 That is, the scene of the dissolution etc.; the expression is a little loose. —For a classification and description of the various dissolutions of the universe, see Vishnupurana, book vi., chapters 3, 4, 5. 8 Or Chamulda, Qiva's consort, in a terrible form. 4 Death or Time, the Death-god or Alldestroyer. 6 'From a goblet made of the skull of Brahman,' whom (iva slew for his pride on the occasion of an "incidental" dissolution of the universe (kalpa-ksaye) as narrated in Katha-sarit-sAgara, ii. 13. 6 Not even yet does the Queen come.' 7 See p. 286, note 4. 8 The Queen does not actually leave the stage. The stage continues to represent the shrine of Chamundi; but the audience is re iv. 1921 - Translation. [284 BHIIRAVANANDA. [To himself, laughing.] She's gone to search Karpura-mafijari's apartment! [Aloud.] Karpura-manijari, my daughter, by way of the subterranean passage, not otherwise, and at a quick pace, do you go to your own apartment and stay there. -When the Queen comes back, you're to come back. [25] [Karpura-manjari does so.] QUEEN. Here is the prison-room. [27] [Enters and looks around.To herself.] Well, I am surprised! Karpuira-mafijari here! It's somebody that looks very much like her! [Aloud.] Karpura-mafijari, my darling, how are you feeling? [Pretends to listen and repeats the imaginary reply.]2 What's that you say, that you've just got a headache? [To herself.] Well then, I'll go back there [to my own apartments]. [Enters3 and looks to one side and another.] Hallo, friends, be quick and take the things for the wedding and return [with me]. [39] [ With these words, she steps about.4] [Karpfura-manjari enters and sits just as before.5] [41] QUEEN. [Looking before her.] Karpura-mafijari here!6 BHAIRAVANANDA. Vibhrama-lekha, my darling, the things for the wedding have been brought? [44] QUEEN. Certainly. But some ornaments which would be suitable for Ghanasara-mafijari have been forgotten. So I'll go back. BHXIRAAVNANDA. Very well. [48] [The Queen acts a little pantomime as if she were making an exit.] [49] quired to imagine that it represents also at the same time, for a few minutes, as the action requires, first the shrine and the prison, and then the shrine and the Queen's apartments; and that it does so for two occasions, the first being for the action of iv. 197 39, and the second being for the action of iv. 192-57. See the Synoptic Analysis, p. 221-2. 1 This phrase renders ae. 2 Literally, ' in the air.' This is a " dramatic phrase " (nat.ya-ukti) used to designate an imaginary reply which the actor is supposed to hear and to repeat for the benefit of the audience. The device is familiar to English readers from Douglas Jerrold's "Curtain Lectures." There the unhappy Mr. Caudle's replies are regularly "in the air." See Sahitya-darpana, no. 425, or Monier Williams, (ak., p. 96. 8 That is, the audience has to imagine that she enters her own palace-apartments. 4 In order to indicate to the spectators that she is returning with her attendants from her private apartments to the shrine of Chmnunda. 6 That is, while the Queen is delaying to get the things, the Heroine hastens back by the secret passage, arrives before the Queen, and so is discovered seated in the sanctuary, just as she was when the Queen (supposedly) left her at iv. 1920. 6 In the sanctuary, to which the Queen is now supposed to have returned. 285] Act _Fourth. -iv. 20 BHTIRAVANANDA. Karpiira-manijari, my daughter, do just as you did before.1 [50] [Exit Karpura-manjari.] [51] QUEEN. [Pretending in pantomime to enter the prison-room, and seeing Karpura-manijari.] Well, well, I am nonplussed2 by the resemblance! [To herself.] It's the magic car of the master Magician, which moves about through the air or through walls,3 that brought her here! [55] [Aloud.]4 Friends, take each of you what I told you to take and come along back with me. [57] [She enacts a little pantomime as if she had (come back and) entered the sanctuary of Chamundd and espied her (Karpura-maijari).] Oh, what a resemblance! [59] BHAIRAVANANDA. Sit down, O Queen. The King also has just arrived. [60] [Then enters the King, with the Jester, and Kurangika.] BHIIRAVXNANDA. Place, place for the King! [62] [All sit doum in due order.] KING. She is, in embodied form, a paragon of the Dolphin-bannered God; she is a transformed bow-staff of the wild mountaineer "Passion"; she is the light of the full moon, abroad by day.5 [64] And again: She is the casket for the rubies of a host of excellences; a jewelled doll. Likewise, as she wanders about, she is the flowery beauty of spring. [66] Moreover: If 6 the beauty 7 of this maiden's form, which is the ensign of her conquest of the world, comes- in whatever way8 - within range of a man's eyes, then there takes up his abode in that man's bewildered9 heart the 1 Namely, as at iv. 192441. 7 I would assign to rehf here and at ii. 2 Molesworth gives this very meaning for 41c the meaning 'beauty.' The verb reh the Marathi nadanerm, Prakrit nad. means ' is lovely, rajate,' in Hala, no. 308; 8 ' Without hindrance or obstruction' — cp. H. 4. 100. -Molesworth defines Marathi from gravity, walls, or the like. Cp. note to rekhala (from rekhanelh, from Skt. rekhi, i. 3427. 'line') as 'neat, comely, pretty.' -But it 4 Between iv. 1968 and iv. 196 the Queen may be that two words of quite diverse origin is supposed to go from the prison-room to her have flowed together in the Prakrit reha. See own apartments. additional note, p. 289. 6 See additional note, p. 289. 8 Jaha taha, as a phrase. 6 To the range of whose eyes beauty 9 I take vicitte as = Skt. vi-citte, 'besinngoes, in the heart of that [man] Cupid dwells.' ungslos,' not vicitre. Cp. note to ii. 40b. iv. 20 Translation. [286 Dolphin-bannered God, his bow-staff bent almost double with the arrows on the string.1 20 JESTER. [Aside, to the King.2] You have made the old saw come true, " Can't trust a boat even when it's touched the shore."3 Now just cork up I [4] QUEEN. [To Kurangikd.] Kurafgika, do you arrange the wedding costume for the King; and let Sarafigika arrange it for Ghanasaramafijari.4 [6] [Thereupon both busy themselves in pantomime about the wedding of the two.] [7] BHAIRAVANANDA. We must summon a preceptor.5 QUEEN. Here stands the crest-jewel of all learned Brahmans, my husband's Preceptor, the worthy Kapifijala. So let him start the sacred fire. [10] JESTER. Here I am and ready! Say, man, now I'll tie a knot in your upper garment.6 With your hand take the hand of- Karpura-mafijari! [13] [The Queen utters an exclamation of surprise and looks on with a touch of despondency.] BHXIRAVANANDA. [Well, 0 King], you have lost your head! for Ghanasara-mafjari is only another name for Karpuira-mlanjari.8 [16] KING. [Taking her hand.] The prickles that are on the lovely fruits of the gourd-melon,9 and on 1 Valaia, 'bent almost into a circle' — cp. ii. 6d. - For pufikhia, see ii. 3d note. 2 For the "dramatic phrase," see Sihityadarpana, no. 425. 8 Here you are, in plain sight of the goal of your wishes, like a boat that has crossed the water and reached the farther shore. And yet you persist in this sentimental gush (iv. 1964-iv. 20). I can't trust you.-Root Svas, passive, impersonal, with locative. 4 The Queen, on entering, iv. 1910, expects to find the "Ghanasara-mafijari," whom (at iv. 187) she had promised as a new consort for the King. Instead, she finds the Heroine, iv. 1914. Hurrying to the prison, she finds (iv. 1929) there also the Heroine. Or is it the Heroine's double, so like her (iv. 1930) as to deceive the Queen's eyes? She will rather trust her ears, and so elicits a reply from the prisoner (iv. 1984) and recognizes by her voice that she is certainly the IIeroine. On her return to the sanctuary, she finds (iv. 1948, for the third time) again the Heroine. Her second visit to the prison (and fourth finding of the Heroine) suggests the suspicion, iv. 1955, of supernatural means of communication between the two places. And yet, on her second return, iv. 1959, it may be, after all, a resemblance!- Her perplexities are still unsolved when she bids Saraingika, at iv. 206, to array the bride; they reach their climax at iv. 207; and give place to unpleasant certainty upon the utterance of the Jester's last word at iv. 2013. 6 To conduct the nuptial ceremony. 6 The symbolical wedding-knot, p. 289. 7 You are forgetting yourself extremely.' Cp. Molesworth, s.v. bhulanexi, 'become infatuated, lose one's understanding (by drinking, through riches, honors, love, etc.).' Even the King is still in the dark about the identity of the new bride! 8 See p. 251, n. 5: ghanasira=karpuira. 9 The whole stanza is simply a variation 287] Act Fourth. -iv. 22 the rows of leaf-petals that contain the ketaka-bloom,1l- the touch of thee, fair maid, assuredly hath transferred these to my limbs as a thickset mass of bristling down.2 21 JESTER. Come, man, let the circumambulations3 be performed and the parched grain be thrown into the fire. [The King acts as if he were doing all this. The Heroine stands abashed. The King, having brought the wedding ceremony to an end, in happy mood, saluting all in fitting manner, takes his seat as an Emperor.] [4] [Behind the stage.] A BARD. May the wedding feast bring delight to the King! The lovely gourd-melon,5 the fresh young bread-fruit,6 the coral trees,7 the stalks of the lotus-blossoms,8 the bloom of the ketaka besides, —I fancy that thy person must have taken to itself by force the qualities [of these plants, because] over all thy limbs appear such horripilations, like unto prickles that one could see and touch.9 22 of a theme which we have heard -see iii. 24 and the notes, and iv. 22a. For the gourdmelon in particular, see note to iii. 24a. - As to horripilation, see note to ii. 46d. 1 Concerning odor etc. of the ketaka or screw-pine, see note to ii. 621. The leaves, says Roxburgh, p. 707, are closely imbricated in three spiral rows, very smooth and glossy, margins and back armed with very fine spines.... The female flowers have no other calyx than the termination of the three rows of leaves. The text is in good accord with this fact.-Kalidasa speaks of "ketakineedles," Rtu-safihara, ii. 23. 2 'As a thick-set horripilation-shootrange.' — It may be that afikura is to be taken as 'hair' rather than as 'shoot,' although both amount to the same thing here. As for ill, I despair of finding a fit English word for it; see my note to iii. 26d. Perhaps the word range, considering its scope, is as good as any. 8 The groom leads the bride thrice sunwise around the nuptial fire. See Iny Sanskrit Reader, p. 400. 4 Molesworth gives ' joy, delight, gratification ' for utsaha: cp. BR. v. 1168. 6 Already mentioned twice: iii. 24a (see note) and iv. 21. 6 The Artocarpus integrifolia or jackfruit: see Roxburgh, p. 633. For pictures, see Century Dic'y, s.v. bread-fruit; or H. W. Cave's Picturesque Ceylon, volume " Colombo," p. 52, and plate xxx, a beautiful one. In Ceylon, Cave has counted as many as 80 fruits on one tree, some weighing 40-50 pounds each. They are pale green with granulated surfaces. Other species of Artocarpus, the hirsuta and the echinata, have, as their names imply, very spinous fruits. 7 The Erythrina indica: see Roxburgh (p. 541), who mentions other spinous species. The bark of its younger branches is armed with small black sharp prickles. The tree or shrub is used for hedges and is largely employed to support the black pepper vine. See Century Dic'y, under Erythrina. 8 The kamala ts the blossom of the Nelumbium speciosum. "Flowers large, and beautiful beyond description," says Roxburgh, p. 450. There are two varieties, one with rose-colored flowers, and one with perfectly white flowers. Danda here evidently means the peduncles. These " are armed with small inoffensive prickles." Cp. Spriiche, 2988, 6432, 2250. - Beautiful pictures of lotuses, Griffiths, figs. 61-63. 9 r I suspect in thy body [this] collection iv. 221 END. Translation. [288 BHAIRAVANANDA. Is there anything else that you would wish done? KING. Is there anything I could wish better even than this? For The Queen, although she now has a rival in my affections,l is not angry; I have obtained a maiden who has a face like the full moon's orb and who awakens my passion to new life; and I have attained to the rank of Emperor! 2 What else could one ask for? By thy favor I have gained all that men think worth the having.3 23 Yet for this would I pray: [Words of Bharata.4] May the forest-fire of Poverty, which day after day gleams far and wide, which brings to naught all the excellences of men of learning,5 be quenched by the rain of the sidelong glances of Fortune! 24 [Thereupon, exeunt omnes.] [End of the Fourth Act.] of qualities [to have been] attained by force; such horripilations, under the semblance of evident and touched prickles, are coming out, continually appearing.' Phuda, 'open, manifest, clear to the senses, palpable.' I take it as coordinate with puttha. -Mellanti, ' are let loose, shoot out,' equivalent to mucyante. — Perhaps niccullasa is uninterruptedly arising.' The whole verse repeats the substance of iii. 24 and iv. 21 -see the notes. 1 'The Queen, in the position of rival wife, is not angry.' 2 'The rank of Emperor has come to pass. ' 3 'All that which is obtained among mankind.' 4 The author of the famous Natya-castra: see Ldvi, ThdAtre, p. 297 etc. Cp. the close of the Qakuntala, of the M&lavika (2d ed. Pandit, p. 16212), of the Urvaqi (ed. Kale, 1898, p. 1469), and of the Ratnavali (ed. Cappeller, p. 3295). 6 Sanskrit books make frequent allusion to the poverty of men of learning. Fortuna has no fondness for them-Spriche, 2570. See also 6432, 2081. The enmity (vaira, virodha) between the Goddess of Fortune ((ri) and the Goddess of Learning (Sarasvati) is proverbial: Spriche, 4086, 3941. Q, Additional Notes. ii. 623. —Swing festival of Gauri: see Hemadri (1260 A.D.), ed. Bibl. Ind., ii. 2, p. 453, quoting Devi-purana, andole dolayet (Devim); Nirnaya-sindhu, Benares, 1875, ii., folio 2a, 6 (ibidem, 5a, 1, swinging of Lakshmi); Vratarka, Benares, 1875, folio 15a, 11; Dharma-sindhu, Bombay, 1888, p. 31 end (the festival lasts to the end of the month, masa-paryanta). For andolana-vidhi, Hemadri, l.c., p. 745f. ii. 419, 502.-The "appointment" here mentioned would seem to have been arranged by Vichakshana with the Jester during or before the scene between King and Porteress, ii. 01. The interval is "long" to the King, ii. 62: cp. ii. 615. To this arrangement, perhaps, the saccamh edamh of ii. 64 refers. At ii. 412 the Jester gives the King to understand, if only in the vaguest way, that he is to meet the Heroine. I think the clandestine meeting which results from this appointment must take place in the night of the evening with which act ii. closes, since the meeting was then "at hand." It cannot be the meeting of act iii., which is some 40 days later. And the aqoka scene involves no "meeting." -In this clandestine meeting, finally, we may see the occasion of the culmination of the Queen's jealousy and of her imprisoning the Heroine. iii. 26. -Dr. Konow writes me that he now renders this stanza as follows: Als ein Schmuck fir die Weltgegendfrauen, ohne (d.h. verschieden von) Safran und ohne Sandel, als eine Zierde fir den Erdenrund, ohne Arm- und Ohren-ringe, als eine Waffe des Liebesgottes, die von Sosana und Mohana verschieden ist (die nicht versiegt und nicht bethort), werden die Mondstrahlen angehauft. - That is, he takes the three nouns substantive at the end of a, b, c, as in apposition with -avali. iii. 27. — ' Some reference should be made to the profusion of jewelled ornaments of goldsmiths' work everywhere displayed. Strings of pearls and precious stones are hung on houses, doorways, and canopypillars, and worn by men and women. Hindu poetry constantly speaks of them as festive decorations of towns and houses, till it is not surprising that conventionalized jewelry should come to be a regular element of painted and carved architectural ornament (plates 6, 10, and 13)."- Griffiths, i., p. 16 a. iv. 1964666. - Konow writes me that these two passages seem to have been originally metrical [such was my own opinion], but that he has not been able to restore the verses. iv. 20. - Since my note on reha was written, I find that Dr. Konow has altered the electroplate of p. 158 and set up two articles reha. - He doubts my interpretation of vicitte. iv. 2012. -A symbolical tying together of the ends of the sari-like garments of bride and groom is doubtless here intended. Dr. Konow refers me to Winternitz, das altindische Hochzeits-rituell, Vienna, 1892, where similar customs are cited: see pages 60, 64, 49. The like still obtain in Southern India: see J. F. Kearns, Marriage Ceremonies, etc., Madras, 1868, p. 40, 57. Cp. also G. A. Grierson, Bihar Peasant Life, ~ 1331, 1337. 289 I Books for the Study of Indo-Ir ana Languages (Sanskrit, Prakrit, Pl1i, Avestan), Literatures, Religions, and Antiquities. Published by Messrs. Ginn and Company, Boston, New York, Chicago, and London. lWhitney's Sanskrit Grammar. A Sanskrit Grammar, including both the classical language, and the older dialects, of Veda and Brahmana. By WILLIAM DWIGHT WHITNEY, [late] Professor of Sanskrit and Comparative Philology in Yale University. Third (reprinted from the second, revised and extended) edition. I896. 8vo. xxvi + 552 pages. Cloth: Mailing price, $3.20. Paper: $2.90. Of the original edition of this work no description need be given. This new edition embodies new material, gathered by the author and by others during the past ten years, so far as it fitted into the plan of the work. In particular, the author has been able to correct and repair certain errors and omissions in the first edition, and to speak with more definiteness on very many points relating to the material and usages of the language. The paragraphing of the first edition has been retained throughout, though subdivisions have been more thoroughly marked. Supilement to lWhitney's Sanskrit Grammar. The Roots, Verb-forms, and primary Derivatives of the Sanskrit Language. A Supplement to his Sanskrit Grammar, by WILLIAM DWIGHT WHITNEY. 1885. 8vo. xiv+ 250 pages. Paper: Mailing price, $2.00. The fact that the roots are briefly and clearly defined, and the forms conveniently given, makes this work useful even in the early stages of Sanskrit study. Each formation and derivative is dated according to the period of its appearance in the literary reco ts of the language. i Catppeller's Sanskrit-English Dictionary. A Sanskrit-English Dictionary. Based upon the St. Petersburg Lexicons. By CARL CAPPELLER, Professor at the University of Jena. Royal 8vo. Cloth. viii + 672 pages. By mail, $6.25. This dictionary covers a wide range of Sanskrit texts. It is accurate, sufficient, and brief. Typography, paper, and binding are excellent. The size is truly handy; the price, small. The author had already published a Sanskrit-German Dictionary. This SanskritEnglish one, therefore, has practically the advantage of being a second edition, and is an improvement upon its German original in many ways. Lanman's Sanskrit Reader. A Sanskrit Reader: with Vocabulary and Notes. By CHARLES ROCKWELL LANMAN, Professor of Sanskrit in Harvard University. For use in colleges and for private study. Royal 8vo. Complete: Text, Notes, and Vocabulary, xxiv + 405 pages. Cloth: Mailing price, $2.00. Text alone, for use in examinations, io6 pages. Cloth: Mailing price, 85 cents. Notes alone, viii + I9 pages. Cloth: Mailing price, 85 cents. This Reader is constructed with especial reference to the needs of those who have to use it without a teacher. The text is in Oriental characters. The selections are from the Maha-bharata, Hitopadega, Katha-sarit-sagara, Laws of Manu, the Rigveda, the Brahmanas, and the Suftras. The Sanskrit words of the Notes and Vocabulary are in English letters. In the Vocabulary great pains have been taken to show how secondary, tertiary, and later meanings have grown out of the original meaning, and to illustrate these transitions of meaning by analogies from the English and other familiar tongues, and to enable the student to trace every form back to its root by means of references to Whitney's chapters on word-formation, and by giving the root itself and the intermediate forms. Etymologically kindred words from the Greek, Latin, Anglo-Saxon, and English are given along with their meanings. The Notes render ample assistance in the interpretation of difficult passages, and in the explanation of allusions to the antiquities of India. With them are given concise literary-historical introductions to a number of the most important branches of the literature. Sanskrit Text in English Letters. Parts of Nala and Hitopadeqa in English Letters. Prepared by CHARLES R. LANMAN. Royal 8vo. Paper. vi + 44 pages. Mailing price, 30 cents. The Sanskrit text of the first forty-four pages of Lanman's Reader, reprinted in English characters. The Vocabulary and Notes of the Reader apply exactly also to this reprint, inasmuch as the reprint corresponds page for page and line for line with its original. With the help of the Grammar and of the Reader and of this reprint, the student will be able to acquire a knowledge of the forms and structure of the Sanskrit language and to do some reading, without first troubling himself to learn the Nagari alphabet. 2 Perry's Sanskrit Primer. A Sanskrit Primer: based on the Leitfaden fiir den Elementar-cursus des Sanskrit of Prof. Georg Bihler of Vienna. By EDWARD DELAVAN PERRY, Ph.D., Professor of Greek in Columbia College, New York. 1885. 8vo. xii + 230 pages. Mailing price, $i.6o. This book is an attempt to combine Professor Biihler's admirable practical exercises in translating from Sanskrit into English and from English into Sanskrit, with the systematic exposition of the Grammar as given by Professor Whitney. To this end, the Leitfaden has really been rewritten. An introduction has been added, giving a general view of the structure of the language; and the exercises have been somewhat abbreviated. Care has been taken to retain nothing but what would meet the real needs of a beginner; and regard has been had for those who may take up the study without a teacher. The book has sufficient vocabularies. Kaegi's Rigveda. The Rigveda: the oldest literature of the Indians. By ADOLF KAEGI, Professor in the University of Zurich. Authorized translation [from the German], with additions to the notes, by Robert Arrowsmith, Ph.D. I886. 8vo. Cloth. viii + I98 pages. Mailing price, $.65. This work treats of Vedic literature and exegesis, of the Vedic people, and of Vedic civilization; of the language and form of the hymns of the Veda; of their contents; and of the Vedic religious thought; of the Vedic divinities; of the Vedic beliefs, especially the belief in immortality; of Vedic secular poetry; etc. The notes (pages 95-I80) comprise a very full explanatory, justificative, and bibliographical comment upon the main body of the book. Hopokins's Religions of India. The Religions of India. By EDWARD WASHBURN HOPKINS, Pro. fessor of Sanskrit in Yale University. I895. I2mo. Cloth. xvi + 612 pages. Mailing price, $2.00. This is the first of Professor Morris Jastrow's Series of Handbooks on the History of Religions. The book gives an account of the religions of India in the chronological order of their development. The point of view is chiefly historical and descriptive, but the causes leading to the successive phases of religious belief are kept prominently before the reader. A new feature of this book, as compared with the one work that has preceded it on the same lines, Barth's Religions of India, is the constant employment of illustrative material, drawn from the original sources. Copious extracts are given from Vedic, Brahmanic, Jain, Buddhistic, and later sectarian literatures. The volume contains also a full description of the modern sects of to-day, a chapter on the religions of the wild tribes, and one on the relations between the religions of India and those of the West. The book is supplied with index, map, and a substantial bibliography. 3 Ph iladelphia Oriental Studies. Oriental Studies. A selection of the papers read before The Oriental Club of Philadelphia, i888-I894. Boston, I894. 8vo. Cloth. 278 pages. Mailing price, $2.00. The volume contains thirteen papers. Among them are three that have to do with Indic studies: The Physical Geography of India, by Professor M. W. Easton; the Holy Numbers of the Rigveda, by Professor E. W. Hopkins; The Aryan Name of the Tongue, by Professor H. Collitz. Jackson's Avesta Grammar. An Avesta Grammar in comparison with Sanskrit. By A. V. WILLIAMS JACKSON, Professor of Indo-Iranian Languages in Columbia College, New York City. Part I.: Phonology, Inflection, WordFormation. With an introduction on the Avesta. 1892. 8vo. Cloth. xlviii + 273 pages. Mailing price, $2.20. The introduction gives a lucid account of the Avesta and of Avestan studies, of the contents and character of the Avesta, of the religion of Zoroaster, etc. In the treatment of the language, constant reference is made to the Sanskrit and to Whitney's grammar. Jackson's A4vesta Reader. Avesta Reader: First Series. Easier texts, notes, and vocabulary. By A. V. WILLIAMS JACKSON. I893. 8vo. Cloth. viii + I 2 pages. Mailing price, $ 1.85. The selections include passages from Yasna, Visparad, Yashts, and Vendidad, and the text is based on Geldner's edition. The book is intended for beginners. Other A4vestan W1orks. A Hymn of Zoroaster: Yasna 31. Translated with comments by A. V. WILLIAMS JACKSON. I888. 8vo. xii+62 pages. Paper, cut. Mailing price, $ 1.5. Text and translation are on opposite pages. Commentary follows. An introduction on method, and full indexes are given. The Avestan alphabet and its transcription. By A. V. WILLIAMS JACKSON. With appendices. I890. 8vo. Paper. 36 pages. Mailing price, 80 cents. Discusses the Avestan alphabet paleographically and phonologicaly, and proposes a scheme of transliteration, which has since been sanctioned by Brugmann. 4 Harvard Oriental Series. Edited, with the cooperation of various scholars, by Charles Rockwell Lanman, Professor of Sanskrit in Harvard University. Published by Harvard University, Cambridge, Massachusetts, United States of America. %* A copy of any one of these volumes, postage paid, may be obtained directly anywhere within the limits of the Universal Postal Union by sending a Postal Order for the price as given below, to Harvard University, Cambridge, Massachusetts, United States of America. VOLUME I. -The Jataka-mala: or Bodhisattvavadana-mala, by Aryagura; edited by Dr. HENDRIK KERN, Professor in the University of Leiden, Netherlands. 1891. Royal 8vo. Cloth. xiv + 254 pages. This is the editio princeps of a collection of Buddhist stories in Sanskrit. The text is printed in Nagari characters. An English translation of this work, by Professor Speyer of the Netherlandish University of Groningen, has been published in the Bijdragen tot de taal-, land-, en volkenkunde van Nederlandsch Indie. The same version has also appeared in revised form in Professor Max Muller's Sacred Books of the Buddhists, London, Henry Frowde, 1895. The price of volume I. is one dollar and fifty cents ($.50) == 6 shillings and 2 pence = 6 marks and 25 pfennigs = 7 francs or lire and 70 centimes = 5 kroner and 55 6re = 3 florins and 65 cents Netherlandish. VOLUME II. -The Siamkhya-pravacana-bhasya: or Commentary on the exposition of the Sankhya philosophy; by Vijfianabhiksu; edited by RICHARD GARBE, Professor in the University of Konigsberg, Prussia. I895. Royal 8vo. Cloth. xiv+ i96 pages. This volume contains the original Sanskrit text of the Sankhya Aphorisms and of Vijfiana's Commentary, all printed in Roman letters. A German translation of the whole work was published by Professor Garbe in the Abhandlungenfiir die Kunde des 5 Morgenlandes, vol. ix., Leipzig, Brockhaus, I889. "In spite of all the false assumptions and the errors of which Vijnianabhiksu is undoubtedly guilty, his Commentary... is after all the one and only work which instructs us concerning many particulars of the doctrines of what is, in my estimation, the most significant system of philosophy that India has produced." -Editor's Preface. The price of volume II. is the same as that of volume I. VOLUME III.- Buddhism in Translations. By HENRY CLARKE WARREN. I896. 8vo. xx + 520 pages. This is a series of extracts from Pali writings, done into English, and so arranged as to give a general idea of Ceylonese Buddhism. The work consists of over a hundred selections, comprised in five chapters of about one hundred pages each. Of these, chapters ii., iii., and iv. are on Buddhist doctrine, and concern themselves respectively with the philosophical conceptions that underlie the Buddhist religious system, with the doctrine of Karma and rebirth, and with the scheme of salvation from misery. Chapter i. gives the account of the previous existences of Gotama Buddha and of his life in the last existence up to the attainment of Buddhaship; while the sections of chapter v. are about Buddhist monastic life. The price of volume III. is one dollar and twenty cents ($1.20) = 4 shillings and 1 pence = 5 marks = 6 francs or lire and 20 centimes = 4 kroner and 44 ore = 2 florins and 91 cents Netherlandish. VOLUME IV.- Raja-qekhara's Karpura-mafijari, a drama by the Indian poet Raja-Fekhara (about 900 A.D.): critically edited in the original Prakrit, with a glossarial index and an essay on the life and writings of the poet, by Dr. STEN KONOW, of the University of Christiania, Norway; and translated into English with notes by Professor LANMAN. I901. Royal 8vo. Cloth. xxviii + 289 pages. Here for the first time in the history of Indian philology we have the text of a Prakrit play presented to us in strictly correct Prakrit. Dr. Konow is a pupil of Professor Pischel of Halle, whose preliminary studies for his forthcoming Prakrit grammar have already made his authority upon this subject of the very highest. The proofs have had the benefit of Professor Pischel's revision. The importance of the play is primarily linguistic rather than literary. The price of volume IV. is the same as that of volume I. In preparation. The Atharva Veda Sanhita, translated into English, with a full critical and exegetical commentary, by the late WILLIAM DWIGHT WHITNEY, Professor of Sanskrit in Yale University. Edited by CHARLES ROCKWELL LANMAN, Professor of Sanskrit in Harvard University. Royal 8vo. Cloth. An announcement as to this great work, with a full statement (from which this is taken) of its plan, scope, and contents, was made by the author in the Journal of the American Oriental Society, volume 15, page clxxi, April, 1892. The plan includes, in 6 the first place, critical notes upon the text, giving the various readings of the manuscripts, and not alone of those collated by Whitney in Europe, but also of those of the apparatus used by S. P. Pandit in the great Bombay edition. Second, the readings of the Paippalada or Cashmere version, furnished by the late Professor Roth. Further, notice of the corresponding passages in all the other Vedic texts, with report of the various readings. Further, the data of the Hindu scholiast respecting authorship, divinity, and meter of each verse. Also, references to the ancillary literature, especially to the well-edited Kaucika and Vaitana Sutras, with account of the ritualistic use therein made of the hymns or parts of hymns, so far as this appears to cast any light upon their meaning. Also, extracts from the printed commentary. And, finally, a simple literal translation, with introduction and indices. We may perhaps add that the critical commentary has been made the most important feature of the work. No account, at once so systematic, extensive, and complete, of the critical status of any Vedic text has ever been undertaken before; and the material is here presented in just such thoroughly lucid, orderly, and welldigested form as the previous works of its lamented author would lead us to expect. Its publication will- as we hope - mark a new epoch in the history of Vedic criticism. To the student of folk-lore, and of primitive religions, the translation itself will offer abundant, interesting, and important material. Buddha-ghosa's Way of Purity (Visuddhi-magga), a systematic treatise of Buddhist doctrine by Buddha-ghosa (about 400 A.D.): critically edited in the original Pali by HENRY CLARKE WARREN, of Cambridge, Massachusetts. Brought out after his death by CHARLES ROCKWELL LANMAN. The "Way of Purity," which has been for fifteen centuries one of the "books of power" in the East, is, as Childers says, "a truly great work, written in terse and lucid language, and showing a marvelous grasp of the subject." Mr. Warren's plan was to publish a scholarly edition of the Pali text of the book, with full but well-sifted critical apparatus, a complete English translation, an index of names, and other useful appendices, and to trace back to their sources all the quotations which Buddha-ghosa constantly makes from the writings of his predecessors. The text, it is hoped, may be published without too much more labor. Of the translation about one-third is made; and it has been determined to complete the version and publish it as soon as is feasible. Mr. Warren died in January, I899, in the forty-fifth year of his age. Accounts of his life and work may be found in the (New York) Nation for Jan. I2, I899; in the Harvard Graduates' Magazine for March, 1899; in the Journal of the Royal Asiatic Society for April, I899 (with a list of his writings); in the (Chicago) Open Court for June, i899; or in the Journal of the American Oriental Society, vol. xx., second half. 7 A Vedic Concordance: being an alphabetic index to every line of every stanza of every hymn of the published Vedic literature, and to every sacrificial and ritual formula thereof. By MAURICE BLOOMFIELD, Professor of Sanskrit and Comparative Philology in Johns Hopkins University. The conception of the plan of this work dates back to the year I892, when two separate announcements of it were published, - one in the Johns Hopkins University Circulars (vol. xi., no. 99, June, 1892), and the other in the Proceedings of the American Oriental Society (for April, I892, Journal, vol. xv., p. clxxiii). It is nothing less than an alphabetic index to every line (pdda) of every stanza of the entire published Vedic literature and to every liturgical formula (yajus, praisa, etc.) therein contained. In brief, it is a Concordance to the Vedic Mantras. It will enable the student of the Vedas to see at a glance every occurrence of a given text (verse or formula) in the whole Vedic literature and to ascertain with ease the liturgical uses of that text. Among the many uses of this collection the following may be mentioned: - First, it will serve as a register of the varietas lectionis for the texts of the Vedic literature. The individual passages appear in different Vedic texts, often in different form, varying more or less in the choice or the arrangement or the grammatical form of the words. Second, the Concordance will give the key to the liturgical employment of every Mantra as prescribed by the ceremonial books. It will thus become possible greatly to advance our knowledge of the hymns and the ceremonies in their relation to one another. The text and the liturgical action that accompanied it often serve as a mutual commentary each to the other, that yields us a clear understanding of both. Third, the future editor of a Vedic text will find in a complete assemblage of all the Mantras an auxiliary of the very first importance. In the constitution of a Vedic text, the Mantras are the most intractable part of the material concerned, because they are written in a dialect which - differing, as it does, considerably from the classical speech - was imperfectly understood by the scribes. Since much of the material of this kind with which the future editor will have to deal, is quite certain (as experience shows) to be contained in the literature previously published, it is obvious how serviceable the Concordance will be in the establishment of the new texts. This work, moreover, will be most useful in determining the relations of the different Vedic schools (cdkhas) to one another. And divers subsidiary uses of such a collection as this will suggest themselves to various scholars. Thus the initial words of the several Mantras form by themselves a very considerable part of a word-index to the Mantras. And, again, the great frequency with which the Mantras begin with the name of a divinity, incidentally makes the book a most useful tool for the student of the Vedic mythology and religion. 8 4 THE UNIVERSITY OF MICHIGAN GRADUATE LIBRARY DATE DUE -A I I.f, Form 9584 DO NOT REMOVE OR MUTILATE CARD