HARVARD ORIENTAL SERIES

Edited by Daniel H. H. Ingalls

VOLUME FORTY.FOUR

Uni\f~rs itat Hom bu rg

S.nnnar fur Kultur und Ge;sd1i te IJIIQieA'
_ Hamburg -
rXE co COLLECTIOX OF REPRESE,''L\'T'IYF. 'TORK .
I ~ D lAX ER I E

This book ha bcen accepted in the erie of tran -

lation from an krit literature pon ored b:--' the
nited ~ ation Educationa l Scientific and Cultural
OTO'an izati n (r x E S co)
 An Anthology of
Sanskrit Court Poetry
T/ idyiikara s " Subhii~itaratnako~a"

translated by
DANIEL H . H . INGALLS

~q6.) · 14-9
Uni ers itat Hambu rg
S.lIIinor fur Kultur und Geschi~le IAdi'R.
~ Hamburg -

C. :"vIBRIDGE, MASSACHUSETTS
HARrARD UNIVERSITY PRESS
1965

,/
~ Copyright, 1965, by the President and Fellows of Harvard College

Distributed in Great Britain by

Oxford University Press
London

Library of Congress Catalog Card Number: 64-19581

Made and printed in Great Britain by

\Yilliam Clowes and Sons, Limited, London an d Beccle~
 Preface

The first edition of this anthology of Sanskrit court poetry was prepared
shortly before the year 1100 of our era by a Buddhist scholar named
Vidyakara, who drew for his purpose on what must have been a large
library housed in the monastery of Jagaddala. The ruins of Jagaddala
may still be seen in Malda District a few miles east of the present border
between ~ est and East Bengal. A second edition of the anthology,
increased in size by about one-third, was made some years later, doubt-
less by Vidyakara himself. Of each edition only a single complete
manuscript has been preserved. It was from photographs of these two
manuscripts that D. D. Kosambi and V. V. Gokhale were able to edit
the Sanskrit text of Vidyakara's anthology as "\ olume 42 of the
Harvard Oriental Series in 1957.
Vidyakara's TreMUry of TVell-Turned Verse (Subhf4itaratnako$a)
contains verses b y over two hundred poets, who lived for the most part
from the eighth to the eleventh centuries A.D. The original works of
many of these poets are entirely lost to us, our knowledge of them being
limited to the verses which are contained in this and in one or two later
anthologies. Not only are many of the anthologist's selections excellent
poetry; taken as a whole, they give an extraordinarily vivid picture of
Indian attitudes and sensibilities in the centuries preceding the Moslem
conquest. In order to make that picture more visible to Sanskrit
scholars-for the text is often difficult-I began ten years ago to write
a running commentary on the verses. That work had come to about
the halfway point when the editors of the text and I decided that
Vidyakara's anthology deserved another audience as well, one that could
be reached only through an English translation of the poems. The
editors left the translation to my hands, whence, after some six years of
pleasant but often interrupted labor, it now comes forth.
It will be understood, then, that I have written this book for two
groups of readers: for the Sanskritist 'who seeks aid in interpreting
difficult verses; and for the reader of literature who may wish to see

v
 Preface
what men of a former century and a distant culture considered to be
beautiful or moving. The reader of the latter sort will also seek a style
which shows some of the poetic qualities of the language in which the
original authors wrote. The making of a translation to suit two such
groups is a time-consuming task, but except in the case of punning
verses is not impossible. It demands that one be neither free nor literal,
but accurate. I shall not be so immodest, and even untruthful, as to
say that I have always achieved the ideal. If my failures are only
infrequent enough not to mar the whole I shall count my work well
spent. Some verses come very easily into English; others contain
images or figures of speech which produce in English an immediate
effect far different from what the original produced on its readers. I
have not altered the images or figures of the original, but have trusted
that the English reader if he is attentive and reads through the anthology
will to a large degree attune his sensibilities to those of the ancient
artists. Only the punning verses, of which Sanskrit is fond, proved
impossible to translate, at least into English poetry. I have relegated
them to the notes, where they are given literal explanations.
The author's name, when known, is given under the translation of
each verse, without brackets if the ascription is Vidyakara's, within
brackets if taken from other sources. A question mark indicates that
I doubt the truth of an ascription; the absence of any name means that
the author is not known.
I would advise the English-speaking reader to begin with those parts
of the anthology that are closely related in spirit to the poetry of his own
tongue; the Sections on Autumn and Winter (U, 12, 18); on the Woman
Offended (21); on Characterizations (85). Let him come next to the
three Sections on the great gods of Hinduism (4, 5, 6), where he will meet
directly with the mythology that is necessary to an understanding of
much Indian verse. From there on let him read as the spirit moves
him.
The parts of the book other than the translations are designed pri-
marily for one group of readers or the other rather than for both together.
For the non-Sanskritist I have introduced each of Vidyakara's fifty
sections with an account of the type of verse found there and an explana-
tion of its conventions and mythological references. Much of what I
have said in these introductions is known to every one who has read
poetry in Sanskrit and to many who have read poetry in the modern
languages of India, for the ancient conventions have lived.on very nearly
to the present day. My only original contribution in the sectional

VI
.
 Preface
introductions is an occasional attempt to evaluate the verses as poetry
or to contrast the attitudes which appear in them with those of Western
verse.
For the Sanskritist I have supplied a list of textual corrections and
emendations, notes on the verses, and an index of words discussed in the
notes. Each of these items demands a word of explanation.
It will be seen that the textual corrections and emendations are
numerous. This should not be taken as a disparagement of the work of
Kosambi and Gokhale in editing the text. Their text, printed as Volume
42 of this Series, has admirably achieved their purpose, namely, the
rendering of precisely what Vidyakara intended. Other than in minor
matters of word division the improvements which I can offer toward that
goal after six years of close attention are very few. The majority of the
corrections and emendations are of a different nature and are intended
to achieve a different purpose. They represent passages where I am
convinced that what Vidyakara wrote was wrong, that is to say, does not
represent what the author of the verse in question originally wrote.
The variant readings which I recommend are derived almost always
from some other quotation of the verse. Very seldom have I suggested
emendation without the evidence of manuscripts or testimonia. Where
I have done so I have indicated the uncertainty of my reading. By
applying the corrections and emendations of the list the reader will alter
the printed text to a form which is closer, I think, to what the poets
themselves composed. The alteration results in a far more readable text
than that which is printed, but this does not impugn the scientific value
of the printed text.
In the notes I have tried to explain everything concerning each verse
that I felt would not be clear to a Sanskritist from a perusal of the
translation. Since I have supposed that no one will set out to read the
Sanskrit text without a fair command of classical Sanskrit, I have not
bothered to analyze each compound nor to indicate where I ha.ve
shifted, say, from a passive construction of the Sanskrit to an active
in the English. On the other hand, wherever the text seemed to me
difficult or where I was aware that my translation departed some
distance from the Sanskrit construction, I have given a literal trans-
lation or a grammatical analysis. As it is always difficult to guess what
will be clear to another person and what not, I have thought it safer to
err by explaining too much than too little. In the notes I have included
a few corrections of the variae lectiones of the Text Volume. The new
variants given in the notes have been furnished by D. D. Kosambi.

vu
 Preface
The index of words treated in the notes contains, in the order of the
Sanskrit syllabary, all words that I have treated in the notes in other
connections than that of textual criticism.. I have indicated in tb.e
notes all words and senses which are unrecorded in Bohtlingk and Roth's
Sanskrit W6rterbuch and also those words which are quoted there only
from lexica.
Throughout the translation and notes I have used. the AOS-RAS
system of transliteration except in the following cases. \Vithin an
English sentence I write Krishna for ~1)a and BrahmA or brabmafor
brahman. In all cases I write Hanuman, Ubaga vAn, etc., since the
pedantic forms Hanumant, Bhagavant, etc. not only do not e.-rist in
Sanskrit but would be unpronounceable in that language.
It remains to thank those who have belped me with my work. I
owe the most help to the editors of the text, with whom even before the
text was established I had discussed by word and by letter many of the
verses. V. V. Gokhale has been good enough to read a first draft of
my translations and notes to verses 384-806; D. D. Kosambi has kindly
read those and also the translations and notes to 30-338 and 807-1018.
From each of these scholars I have had numerous suggestions on the
interpretation of the stanzas submitted to them. 1tlany of their
suggestions are now embodied in the translation and notes. While I
have tried to give specific credit for suggestions, I must have passed over
some in silence. Even where I have gone my own way over objections
from my scholar friends I have benefited from our exchange of views,
for it has given me assurance that all paths of interpretation have been
carefully explored. For verses 1-29 and 1019-1789 time did not permit
of this double and triple check.
To Professor V. V. Raghavan of Madras I am indebted for brief but
penetrating observations on the text of thirty-five of the verses. I
have accepted most of his suggestions for the improvement of the
text and have so indicated in the notes.
I have improved the translation of several of the verses by subjecting
them to the clear, unsanskritic eyes of my daughter, RacheL One of
my favorite pieces of the collection, 1207, owes its present English shape
to my son, Daniel.
Last but not least I must thank that ancient abbot, Vidyikara, for
furnishing me the happiest hours of labor that I have yet known.
DANIEL H. H. lNuALLS
Harvard University
1963

VU)
 Contents

General Introduction
The Anthology
1. The Buddha 57
2. The Bodhisattva Lokesvara 62
3. The Bodhisattva Maiijugho/?& 66
4. Siva 68
5. Siva's Household 84
6. V~Qu 98
7. The Sun 108
8. Spring 110
9. Summer 120
10. The Rains 126
11. Autumn 186
12. Early Winter 142
13. Late Winter 145
14. Kama 149
15. Adolescence 153
16. Young Women 164
17. The Blossoming of Love 178
18. Words of the Female Messenger 192
19. Love in Enjoyment 198
20. The Evidence of Consummation 211
21. The Woman Offended 216
22. The Lady Parted from her Lover 230
23. The Lover Separated from his Mistress 242
24. The Wanton 252
25. The Lady's Expression of Anger
at her Messenger 259
26. The Lamp 262
27. Sunset 268
28. Darkness 269

I- IX
 Preface
The index of words treated in the notes contains, in the order of the
Sanskrit syllabary, all words that I have treated in the note in other
connections than that of textual criticism. I have indicated in the
notes all words and senses which are unrecorded in B ohtliugk and Roth s
Sanskrit Wiirterbuch and also those words which are quoted there onl)
from lexica.
Throughout the translation and notes I have used the .-\OS- RAS
system of transliteration except in the following case. \\ ith.in an
English sentence I write Krishna for Kr~I).a and Brahma or brahma for
brahman. In all cases I write Hanuman, Bhagavan, etc. ince the
pedantic forms Hanumant, Bhagavant, etc. not onl. do not exi t m
Sanskrit but would be unpronounceable in that language.
It remains to thank those who have helped me with m~ work. I
owe the most help to the editors of the text, with whom e,'en before the
text was established I had discussed by word and by letter many of the
verses. V. V. Gokhale has been good enough to read a first draft of
my translations and notes to verses 334-806; D. D. Kosambi has kindl
read those and also the translations and notes to 30-333 and 807-1018.
From each of these scholars I have had numerous suggestions on the
interpretation of the stanzas submitted to them. Many of their
suggestions are now embodied in the translation and notes. While I
have tried to give specific credit for suggestions, I must have passed over
some in silence. Even where I have gone my own way over objections
from my scholar friends I have benefited from our exchange of views,
for it has given me assurance that all paths of interpretation have been
carefully explored. For verses 1-29 and 1019-1739 time did not permit
of this double and triple check.
To Professor V. V. Raghavan of Madras I am indebted for brief but
penetrating observations on the text of thirty-five of the verses. I
have accepted most of his suggestions for the improvement of the
text and have so indicated in the notes.
I have improved the translation of several of the verses by subjecting
them to the clear, unsanskritic eyes of my daughter, Rachel. One of
my favorite pieces of the collection, 1207, owes its present English shape
to my son, Daniel.
Last but not least I must thank that ancient abbot, Vidyakara, for
furnishing me the happiest hours of labor that I have yet known.
DA1'o"'IEL H. H. L'iGALLS
Harvard University
1963

VU1
 Contents

General Introduction
The Anthology
1. The Buddha 57
2. The Bodhisattva Lokesvara 62
3. The Bodhisattva Maiijugho~a 66
4. Siva 68
5. Siva's Household 84
6. Vi~r:tu 98
7. The Sun 108
8. Spring no
9. Summer 120
10. The Rains 126
n. Autumn 136
12. Early Winter 142
13. Late Winter 145
14. Kama 149
15. Adolescence 153
16. Young Women 164
17. The Blossoming of Love 178
18. Words of the Female Messenger 192
19. Love in Enjoyment 198
20. The Evidence of Consummation 211
21. The Woman Offended 216
22. The Lady Parted from her Lover 230
23. The Lover Separated from his Mistress 242
24. The'Vanton 252
25. The Lady's Expression of Anger
at her Messenger 259
26. The Lamp 262
27. Sunset 263
28. Darkness 269

1· IX
 Contents
29. The Moon 272
30. Dawn 288
31. Midday 288
32. Fame 291
33. Allegorical Epigrams 297
34. Breezes 320
35. Characterizations 326
36. Greatness 837
37. Good Men 842
38. Villains 350
39. Poverty and Misers 358
40. Substantiations 363
41. Flattery of Kings 372
42. Discouragement 385
43. Old Age 396
44. The Cremation Ground 398
45. The Hero 402
46. Inscriptional Panegyrics 409
47. Mountains 413
.t8. Peace 41 8
49. Miscellaneous 428
50. Praise of Poets 439
Abbreviations and References 449
Corrections, Alternative Readings, and
Emendations of the Text 459
Notes 466
Index of Sanskrit Meters 587
Index of Sanskrit Words 590
Index of Authors 599
Index of Names and Subjects 605

x
AN ANTHOLOGY OF SANSKRIT COURT POETRY
 General!ntroduction

India has preserved from the past a vast literature of classical Sanskrit
poetry. While this fact has been long known in the West, most of the
few Westerners who have studied Sanskrit have set the classical litera-
ture to one side, concentrating their attention on India's older or less
literary texts. The notable accomplishments of our professional
Sanskritists have been in Vedic studies, in history, in linguistics, in the
comparative study of religions. And so it comes about that our trans-
lations of classical Sanskrit poetry into English for the most part have
been made by English speakers who were strangers to poetry or by
Indians who were strangers to English. From them one may see that
Sanskrit poets were interested in sex, mythology, and puzzles, but one
will scarcely guess that they possessed a true sense of poetry. The
classical literature of India has remained to the English reader like
Sleeping Beauty of the fairy tale, hidden behind a hedge of thorns.
This sleeping princess can be wakened only by letting her speak.
If we lend her English words that are truly consistent with her inten-
tions they should please the reader. If they displease or bore him no
amount of historical or critical comment will save the day. Being
aware of this , I would have the translations which follow stand on what
merit they possess without further comment. It is only for the reader
who may come to like them that I add here some words of introduction.
Sanskrit poetry differs from English poetry in techniques and purpose
and in the attitude which its authors take to beauty and to life. Some
readers may wish to know why this is so. Again, Vidyakara's collec-
tion, which I have here translated, is a special collection which should
be distinguished from Sanskrit poetry as a whole. Finally, while the
reader should make his own judgment of this poetry, it can do no harm
to warn him against some false judgments that have been made in the
past. These three considerations have given rise to the three parts of
the introduction which follows.

1
 General 1 ntroductiol1

1. Sanskrit Poetry and Sanskrit Poetics 1

The word Sanskrit originally meant ' r efi ned or ' perfected . The
Sanskrit language, to use the term precisely, is that languaae which
was refined or regularized, from the spoken langu age of North India of
about 500 B.e. , by the great grammarians, especiall) b) Pfu:tini (fou rth
century B.e.1) and by Pataiijali (second century B.e.). ' Ye terners
sometimes give this language the name of Classical San hit, a term
which is really redundant, to distinguish it on the one hand from old er I
(Vedic and Epic) and on the other hand from more popular and les
regularized varieties of the same tongue. Sanskri t proper or Clas ical
Sanskrit was firmly established by Pataiijali's time, nor has its grammar
been changed by an iota since then; only in vocabulary and style d id
Sanskrit continue to grow with the passing of the centurie . It is ill
this language of rigid grammar but flexible style that ar e wri tten mo t
of the texts preserved to u s from ancient and medieval India. Since
Sanskrit continues to be written, although in decreasing Yolume, it
literary tradition may be said to extend for two and a half thousand
years. Within this span the great period of Sanskrit poetr) falls from
about A.D. 300 to 1200.
In speaking here of "poetry" I shall refer to what the Indians call
kavya. There is much verse that is not poetry in this sense. Much
Sanskrit verse is didactic, dealing ""jth ritual and philosophy and even
with such subjects as astronomy and medicine. Much is narrati, e and
only a small portion of this narrative verse is kav) a. When it is the
plot of the narrative that holds our interest and furnishes our delight
rather than a mood or suggestion induced by poetic means, we are not
dealing with kavya.
However one defines poetry, its bones are the words of ,.. hicn it is
composed. The sort of poetry which a poet writes cannot fail to be
influenced by the sort of language he speaks. Now Sanskrit as a
language has many peculiar traits and several unique ones. The
influence of each of these can be observed in Sanskrit poetry.

1 The first part of this section is altered only slightly from an article which r

wrote under the same title some years ago and which was published in 1955 in a
volume called Indiana University Conference on Oriental-Western Litera'ry RelnJ.ions
by the University of North Carolina Press. In the latter part of the section I have
changed that account by enlarging the descriptions of mood and suggestion and r
have added several paragraphs on the impersonality of Sanskrit poetry. The
interpretation of vs. 49 has been improved and that of 646 corrected.

2
 Sansk"it Poetry and Sanskrit Poetics
To begin with, Sanskrit is an inflected language, more elaborately
inflected than La.tin or Greek. For example, it has eight cases of noun
inflection, and both substantives and verbs are inflected differently
not only for singular and plural but for dual.
One effect which this inflection has on poetry is that it makes possible
infinite variations of word order.
The king with arm throbbing approached Sakuntala.
In English we cannot put the heroine first in the sentence. "Sakuntala
with a.rm throbbing approached the king"-the meaning has changed.
In Sanskrit any word of this sentence may stand first. The final "m"
of the accusative marks the heroine's relation to the hero wherever we
put her name.
Again, in English we must reserve space in our verses for many
functional words that are unaccented and unmusical: "the," "a,"
"with," "at"-words whose meanings in Sanskrit are indicated, if they
are indicated at all, by a change in the inflectional vowel or syllable.
The tightness of construction which proceeds from the inflected nature
of Sanskrit may be increased rather than lessened by the compounding
of words. Sanskrit has this ability to a quite unnatural degree. We
are aware of the trait in German and even to some extent in English,
where it usually produces a humorous or barbarous effect. But within
a natural spoken language such compounding is fairly limited. In
Sanskrit written according to the laws of the grammarians there is
scarcely any limit set to the process. Frequently in Sanskrit corn·
pounding is employed to avoid clausal construction. The sentence
then becomes monolithic. Take, for example, the following sentence:
Although she was embarrassed by the earnest glance of the king, still out
of curiosity it was slowly that she walked away from him, looking backward
as she walked.
Sanskrit, if it finds it useful to do so, may put this sentence into three
words. The first word will be in the genitive feminine: "of the earnest-
king·glance-embarrassed one." The second word may run as follows:
"curiosity-born.backward.glance-accompanied-away-walking.tt The
last word" ill be simply" slow." The copula may be omitted.
It may be well before going farther to give some examples of how such
linguistic traits can be used to effect in Sanskrit poetry.
I shall give a literal translation of three verses of Kiilidiisa in order to
show the construction of the originals. All three verses are from the
eighth canto of the Birth of the Prince t the canto which describes the

3
 General Introduction
pleasures of the God Siva with his bride U ma, the beaut iful mother-
goddess, the daughter of the Himalaya mountains. In the first , erse
the divine husband is describing the sunset t o his new bride :
The sun, his horses with bent necks,
with plumes striking on their eyes,
goes home, yoke riding high upon their manes,
setting the day to rest in ocean.
Here the sun is imagined driving his car down into the ocean. The
verse is built up by miniature brush strokes: the horses b ending their
necks as they go downhill, the plumes falling forward, and the yoke
riding high from the steep descent. The miniature strokes are fitted
like gems into a neat grammatical frame: "The sun ... goes home ...
setting the day to rest in ocean." The neatness is increased b y the
formality of the metrical scheme and by the vowel harmony . This
last is an optional ornament, but it is here used so effectivel that I
might quote the original. Each line ends with a high diphthong until
the last, where the sun sinks in the ocean with a deep " au " :
So 'yarn anata-sirodharair hayai}:l
karQ.a-carnara-vigha ttitek~aQ.ail:t
astarn eti yuga-bhugna-kesarail:t
saqmidhaya divasarp. mahodadhau.
(Kumiirasa'T[lhha- a 8.42)
In the second verse which I have chosen, the divine couple are looking
at a lily pond surrounded by trees when the moon breaks through
the clouds and Siva says:
You could pick up the drops of moonlight shaken off by the leaves and
scattered like flowers on the ground beneath the branches, and deck your hair
with them . . (Kumlirasa'l'{tbhava 8.72)
Here again is a miniature in motion. As the leaves shake, the drops
of moonlight fall through them onto the ground where they shine like
small flowers. The syllables of the poetry imitate the gentle fall of
the moon drops: "patita-pu§pa-peialailJ,." Here again the whole verse
is syntactically bound together. I can show this only by a second
translation, so literal that it is almost unintelligible:
It is possible, if by your fingers plucked, with these soft under-the-branches-
fallen-flowers, these leaf-shaken moonbeams drops, to deck your hair.
The impersonal verb with which the verse begins demands completion
by the infinitive and object which come only at the end. The form is

4
 Sansh."rit PoetTY and Sanskrit Poetics
like a ,veIl-cut diamond. Not a single word can be omitted from the
verse without rendering the whole unintelligible.
One more example. Siva and Vma are playing by a pool:
A golden lotus flower she threw
and shut her eyes at the water he splashed;
Uma dived into the waves,
duplicating the minnows with her golden girdle.
(Kumiir~a'Yf/,bhava 8.26)
Here a harmony of, isual imagery accompanies the harmony of metrical
form. The verse begins with gold, the golden flower, and ends with
gold, the golden girdle. Between these limit~ water is splashed at
Uma and Uma splashes into the water. It is what 'in a painting one
would call harmon) of color and harmony of line.
. Several of the effects which I have here illustrated are common to
highly inflected languages. One could illustrate them from classical
Latin or Greek as well as from Sanskrit. 2 Indeed, . they seemed so
natural to Sanskrit writers of the older period that the writers on poetics
have comparati, ely little ,to say of tightness and neatness of construc-
tion. On the other hand, modern Sanskrit shows a noticeable decay in
this respect. The modern poetry, except in the hands of a few geniuses
like Jagannatha, tends to be loose and inchoate. The reason is clear.
The natural languages of the later poets, modern Bengali or Hindi or
Tamil, are analytical languages like English or French. And it takes
genius actually to t.hink in Sanskrit instead of simply translating from
one's own into the older tongue.
The comparison with classical Latin or Greek, however, must not be
carried too far. Sanskrit differs from those languages, and from most
other languages also, in one very important respect-its artificiality.
But I must qualify the term. I do not mean that Sanskrit was a dead
language. It ' ,\-vas often spoken at court and in religious institutions.
It was the regular language of conversation between educated men of
different provinces. For a long period it was the chief written language
2 Sanskrit and Latin, for example, are specially fond of inflectional binders in

verse. Thus, the third line of the last verse quoted above runs in one version of the
original sa vyagah.ata tarangi1J'i11t Umii, where sa and Umii, being infiectionally iden-
tical and belonging together in sense ('that Vma,' Latin, illa Vma) serve to bind the
line in a sort of vise. For the same technique almost any ode of Rorace will furnish
examples. The poet Bharavi uses interlocking binders just as Horace does, for ex-
ample, in NuUus argento color est avan:s ahdito terris where words 1 and 3, 2 and 6,
5 and 7 go together. Sans1.'rit departs from Latin and Greek, however, in its
tightening of a verse by recourse to compound construction.

5
 Gene't al Introduction
of North India. But it was artificial, as medieval Latin was artificial,
in that it was learned according to rule after some other language had
been learned by simple conditioning. Every Indian, one may uppo e,
grew up learning in a natural way t he language of his mother and his
playmates. Only after this and if he belonged to the priesthood or the
nobility or to such a professional caste as that of the clerks, t he phy ician ,
or the astrologers would he learn Sanskrit. 3 The women of hi s family,
although they might understand some Sanskrit, could seldom peak or
read it, at least in North India. South India forms a partial exception
to this statement and the use there of Sanskrit in post-classical times by
ladies of the nobility had an interesting effect on the literature of that
period. But I must hold to the main points and overlook exceptions .
As a general rule Sanskrit was not a language of the family. I t fur-
nished no subconscious symbols for the impressions 'which we receive in
childhood nor for the emotions which from our character in early adoles-
cence. Sanskrit was therefore divorced from an area of life whence th e
poetry of what I would call the natural languages deri es much of its
strength.
One effect of this artificiality on Sanskrit literature is clear and
relatively simple to describe. Sanskrit not only has an enormous
vocabulary; it has also a larger choice of synonyms than any other
language I know. In a natural language there are probably no syno-
nym s. Of course, one can go to a thesaurus and find what are called
synonyms. For the English word ' house' one may find ' dwelling,'
' residence,' ' tenement,' 'abode,' and so on. But these are not true
synonyms as one can see the moment one tries to interchange them.
One cannot say of the Vanderbilts that they lived in a large tenement in
Newport, Rhode Island. Each '''lOrd in English has connotations that
it cannot shed and that permit it to be used only in an appropriate social
and emotional setting. There is even a genre of English hurnor,
perhaps best exemplified by S. J. Perelman, which gains its effect b y
3 The merchant castes seem always to have preferred the natural languages both

for business and for literature. Merchant accounts in the time of the Maratha
confederacy were written in Marathi. The lost Brhatkatha, a vast ,c ollection of
tales which one might call the merchants' epic, was written in Pai' :le! Prakri t.
Those few peasants who learned to write probably also u sed the spoken tongue.
This seems to be indicated by the Sahajiya literature in Proto-Bengali and by the
peasant religious poetry of the early modern period. But there must always have
been some exceptions. The name Kalidasa implies that at least one of the great
masters of Sanskrit was born a peasant, for the suffix -diisa in ancient India was
used only in Siidra names (a usage which has changed in modern Bengal).

6
 Sanskrit Poetry and Sanskrit Poetics
dropping words into a setting which cries out, so to speak, against their
connotations. This form of humor was never developed beyond a rudi-
mentary stage in Sanskrit, for while Sanskrit distinguishes, it is true,
between poetic" ords and matter-of-fact words,4 it achieves within each
of these categories an extraordinary degree of synonymity. The
poetic words for house in Sanskrit-and Sanskrit has far more words for
this object than English- differ chiefly in sound and etymology. They
are not bound to a particular social or emotional situation. Thus,
veiman is literally the place where one enters, sadman the place where one
sits down, vastya the place where one dwells, nilaya and ii,laya the place
where one alights or comes to rest. These words are far more inter-
changeable than the English ones. Nilaya will do for the dwelling of a
king or a farmer or a crow. The learnedness of the language has
divorced its words from the emotional responses of everyday life.
As a result, Sanskrit is lacking in what is perhaps the chief force of
English poetry: its kinesthetic effect. What I mean can be shown by
an old ballad:
Martinmas wind, when wilt thou blow
and shake the green leaves off the tree ...
One can feel the leaves shaking, and one shivers in the next line to
the "Frost that freezes fell / and blowing snow's inclemency." One
can find verses that produce this muscular effect in Bengali, and although
I cannot speak at first hand of other modern Indian literatures, I
imagine that one can find the effect in them as well. But it is only
rarely that one finds it in Sanskrit. 5 The powers of Sanskrit are of a
different order.
4 Thus in kavya one seldom finds the simple words stri and ntiri, 'woman.'
Women are there transformed into charmers, damsels, and gazelle-eyed beauties
(viltis1:ni, YO$it, mrgiikfi,. and so on). So also the everyday words for beauty and
beautiful fail to appear; see Ingalls, Words for Beauty, p. 90. Sanskrit critics
were aware of the humorous effect of juggling words of the two categories. In
their textbooks they furnish examples of the effect under the heading griimyatii
(vulgarity).
5 Sanskrit is so vast a literature that one can make few statements concerning it
that are without exception. It should be clear from what precedes that I do not
mean my remarks to apply to the epic, which is older than Sanskrit proper. But
even within Sanskrit proper there is a school of what I have called the poetry of
village and field (see Intr. to Section 35 of the translations) which is comparable in
several respects to the poetry of the natural languages. And there are verses by the
southern poetesses Yid) a and Silabhattarikii, like the latter's famous Ya?i- kaurntira-
hara.?i- (translation 815), which form exceptions to the general rule.

7
 General Introduction
There exist handbooks of a fairly late date listing Sanskrit synonyms
in metrical patterns. Presumably there were older books of this sort
which are now lost. Thus for the word' king':

Two short syllables llfpa

Three shorts n~pati
Trochee bhubh~
Iamb ksitIS
Spondee raja
Dactyl piirthiva

and so on. For common 'words like ' king' or ' rain-cloud " or ' mistres'
two or three hundred synonyms will be listed, and these are all inter-
changeable. What I say is by no means exaggerated, for the synon) ros
can be increased by permutation. For example, 'earth-ruler' and
'world-protector' may be used for the word ' king.' There may be seven
or eight basic words for' earth' and ten or fifteen for ' protector,' ' ruler, '
'master,' and so on. This already gives seventy to one hundred
twenty synonyms. But one can go on,-' foe-queller, ' 'white-parasol-
possessor,' and so on, beyond one's ability to count.
Just as there exists a vast number of synonyms for almost any word the
poet may wish to use, so also there exist synonymous constructions. On
examinations for elementary Sanskrit I used to ask students to express
in Sanskrit the sentence "You must fetch the horse" in ten different
ways. Actually, one can do it in fifteen ways or so by using active or
passive constructions, imperative or optative, an auxiliary verb, or any
of the three gerundive forms, each of \yhich, by the way, gi\ es a different
metrical pattern. What I would emphasize is that, while these con-
structions differ formally, emotionally they are identical and completely
interchangeable. In a natural language that would be quite impossible.
Accordingly, Sanskrit verse from the earliest times ",·as able to accept
a set of very rigid and complicated form s. Each verse must be onl) four
lines long and must fall into one or another of about fifty recognized
metrical patterns. 6 These patterns are of great complexit). In most
of them each syllable is regulated in length and some patterns require
as many as twenty-three syllables in a line. :Many verses also employ
elaborate schemes of alliteration and syllabic repetition. Such forms are
practicable only by means of the enormous vocabulary of synonyms and

6The textbooks on metrics list many more meters than this, but fifty is as many
as are generally met with. A single poet remains usually within a repertoire of
half that number except in passages intended to establish his reputation as a virtuoso.

8
 Sanskrit Poetry and Sanskrit Poetics
choice of constructions which Sanskrit affords. In view of these aids
I have never been dazzled by Sanskrit metrical ingenuity although
I admit that I find it delightful. I am happy to find that the best
Indian critics are of the same view. Skill in meter and alliteration they
regard as a virtue (gU'1J-a) in poetry, as the skillful use of figures of speech
is considered an ornament (ala1!lkara). But neither of these is the soul
of poetry.
In the analysis of poetic figures of speech (ala1!tkiira) the Sanskrit
critics surpass the Greeks and Romans. They surpass them not only in
subtlety but also, as it seems to me, in understanding, for the Sanskrit
analysis is based directly on poetry whereas the Greco-Roman analysis
was based in the first instance on oratory. Our 'Vestern rhetoric centers
its attention on the manner of presentation: on word order, connection
of parts, emphasis, and emotional effect. The science of alarrtkara is
concerned rather with image-building, with shades of similarity, and
with the techniques of overtone or suggestion. Rather than attempt
a catalogue of the hundred or so tropes of Sanskrit 7 I shall better serve
my purpose if I furnish two or three examples to show the manner in
which the Sanskrit critic goes about his \york.
Like our classical critics the Indians distinguish simile from metaphor.
"Her face was like the moon " is upamii, or simile. " She turned toward
me her bright moon face" is metaphor. But how about this:

As I came, she presented me from afar with a smile. In the gambling match
we then played, the stake was a close embrace. 8

This, we are told, is neither simile nor metaphor. It is parir,u'ima,

which one might translate "evolution." In metaphor the poetic com-
parison (the moon in the phrase "her bright moon face") is static; it
undergoes no development or evolution. In pari'1J-ama the case is
different. In the verse above, the girl's smile is identified with a wel-
coming present; it then evolves by being actually presented. The
embrace of the lovers is then identified with the stake of a gambling
match; it evolves by their gambling for it and by the lover's winning it.
Or consider another distinction which is made. On the one hand we

7 In the introductions to the separate sections of the anthology and in the notes

appended to the translations I have given explanations of a few of the common

tropes. The reader who wishes to study the subject systematically may consult the
works of Joh. Nobel and P. V. Kane listed in the Abbreviations and Works of
Reference.
8 Anonymous, quoted Sd. on 10.34.

9
 General lnb'0 ducti on
may have a figure of speech which give. rl t o a ugge5 tion, a. m the
following verse from Magha:
Vala, his prowess roused, glared like a lion at Vel)udALri who set upon him like
an elephant. 9
The figure of speech is the double simile: Vala courageous as a lion and
VeI.1udari mad as an elephant. The suggestion is something else, ome-
thing which derives from these similes. The suggestion is that '\ ala
will shortly kill VeI.lUdari, for when lions fight elephants, it is the elepllants
who get killed.
On the other hand, a suggestion may give rise to a t rope a in the
following from Kalidasa:
In the southland the glory even of the sun grows dim. In that ver land the
Pal)9yas could not bear the glory of Raghu. 1o
When the sun travels south in the winter, his brightness and heat seem
to decrease. But the military power of King Raghu in his southern
campaign against the PaI)~yas remained bright. N o figure of speech is
actually used, but the contiguity of the two ideas produces a suggestion
which gives rise to the trope of hyperbole in one's mind.
It would be possible to give many beautiful examples of t he subtle
use of figured speech in Sanskrit poetry . But I wish instead to give a
rather frigid one. I do this partly because the example affords a
convenient comparison with a bit of English verse, but more because I
wish to finish with what might be called the limitat ions of Sanskrit
poetry before proceeding to an account of its capahilties. The verse is
number 257 ofVidyakara's anthology. It is by Yogesvara, an excellen t
poet who is capable of better things . In it he uses a strikingly elaborat
metaphor:
Now the great cloud-cat,
darting out his lightning tongue,
licks the creamy moon
from the saucepan of the sky..

The effect here is gained by intellectual, entirely rational means. The

metaphor is complete in every detail: cat, tongue, cream, and saucepall-
cloud, moon, lightning, and sky . It is almost like an ex ercise from a

11 8'is. This verse together with the Raghuva1!l3a verse which follows is
Vadh. 19.2.
quoted in illustration of the aforementioned distinction by Visvanatha, Sd. on 4.9.
10 Ragh.. 4.49.

10
 Sa'n skrit Poetry and Sanskrit Poetics
manual of logic under the chapter "Analogy." Compare the verse
'with a well-known passage of T. S. Eliot which uses several similar ideas,
but uses them very differently :
The yellow fog that rubs its back upon the window-panes
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains, '" *
This from one who is often called an intellectual poet. And yet Eliot
gets his effect in every line from the irrational, the strong but imprecise
memory we have of fog and cats, the childhood associations of certain
words and idioms. Consider the line: "Licked its tongue into the
corners of the evening." It brings to sudden flower certain homely and
completely natural phrases: "licks his tongue around the bowl," or
"licks his tongue into the corner of the dish." The idiom is suddenly
transfigured by bringing it into juxtaposition with the last three words,
"of the evening." This transfiguration of language becomes impossible
without a natural-language basis.
I think one will find the verse of Y ogesvara cold and stiff when placed
beside Eliot' s. And if so, I have completed what an Indian critic
would eaU my purvapak§a, the preliminary argument against my own
VIew. It now remains for me to show that Sanskrit verse despite this
limitation, or perhaps because of it contains great beauty of its own.
Let me begin with what is relatively easy, with what I might call the
mood pieces, using this word 'mood' to translate the Sanskrit rasa.
The Indian critics are divided as to whether mood or suggestion is the
soul of poetry. I shall come to suggestion later, for it is more difficult
to explain. Mood, while the Indians analyze it more elaborately than
we do-they speak of nine basic moods, which in turn have infinite
ramifications-is still nothing foreign to our own poetry. I shall give
first two verses ascribed to Bhartrhari, which I have put into rhyme.
They are simple enough to need no comment. The first is in the erotic
mood and although I 1ike it I will not claim much more than elegance
for it:
Now come the hours of gallant words,
The girl close by, now lazy from the sport,
The warbling of the koil birds
And all about the newly blossomed court.
• From T. S. Eliot, "The Love Song of J. Alfred Prufrock," Collected Poems
1909-1962, quoted by pennission of the publishers, Faber and Faber Ltd. and
Harconrt, Brace and World Inc.

11
 General Introducti on
At night the moon gives cool resort
To conversation with a few good wits,
While some choose garlands now that Spring permits
A choice from scent and flower of every sort. 11
The second is in the mood of peace, and the original, at least , i truly
great:
My father wind and you my mother earth,
Fire, my friend, water, my near relation
And you my brother sky; in this last breath
Of mortal life I send you salutation.
From living ever with you comes this birth
Of uncontaminated wisdom with increase
Of goodness that all darkness and all folly cease
As now I live in brahma in my death.
Bhartrhari tends to be frivolous in his love poetry, but this is not true
of all Sanskrit writers on that favorite subject. I shall quote two more
verses in the erotic mood, which require some explaining. The first
belongs to the variety of the mood known as love-in-separation, and
the stimulants of the mood (uddipana- vibhiiviilJ,) , to translate another
technical term, are the phenomena of the monsoon storms. As the
monsoon gathered it was usual for civil and military officials to return
to their residence at court. Travel and warfare were impossible during
the rains and these three months were given over to family reunions and
public festivals. The sight of gathering clouds immediately suggests
to the Sanskrit poet these days of sexual satisfaction and domestic
happiness. And if a wanderer is left in a foreign land or a captain
delayed on the frontier at this season, his case strikes the poet as doubly
sad. There are thousands of verses playing on these associations.
Y ogeSvaha in verse 220 of our anthology writes as follows:
After the rain a gentle breeze springs up
while the sky is overlaid with clouds;
one sees the horizon suddenly in a flash of lightning;
moon and stars and planets are asleep;
a heady scent is borne from kadambas wet with rain
and the sound of frogs spreads out in utter darkness.
How can the lonely lover spend these nights?
11 This and the translation which follows were first printed in my review of D. D.

Kosambi, The Epigrams Attributed to Bhartrhari in Harvard Journal of A~iatic

Studies, XIII (1950),257-258. The originals are numbered 138 and 301 respectively
in Kosambi's text, a numeration which shows that the ascription of the first verse
is certain, of the second verse doubtful.

12
 Sanskrit PoetTY and SanskTit Poetics
My next selection, number 646 of our anthology, is an example of a
turnabout verse, that is, a verse where the conclusion comes as a surprise.
One m ay r emark of poetr) in all languages that the turnabout can be
achieved only in verses of strictly conventional form, for it is only such
verses that so fix our expectation that it may be shocked by a departure
from the ex pected. The best examples that I recall in Western poetry
are from B yron and Heine, both ver y strict poets in regard to the
formalities of verse. Sanskrit 'with its rigidity of form and convention
is peculiarly adapted to the t urnabout. It seeks, for reasons which I
hope to ma k e clear, for pure effects by this means: the effect should be
either tragic or comic, but not bot h. 1 2
The verse which I choose is b y a woman, Bhavakadevi, and has won
its way into most Sanskrit anthologies. It begins in accordance with the
convention which calls for the erotic mood to be revealed by successive
as pects of love-in-enjoy m ent (sarrwhoga-irngara) and love-in-separation
(vipralamba-irngam). A perfect love, once united, is continued by
two lovers though apart. But the poetess follows this by what is
unexpected and because it is unexpected the bitterness of the sudden
turn is impressi' e. The lovers marry.
At first our bodies knew a perfect oneness,
but then grew two with you as lover
and I, unhappy I, the loved.
Now you are husband, I the wife,
what's left except of this my life,
too hard to break, to reap the bitter fruit,
your broken faith?
The critics spent much effort in analyzing what I have called mood.
The theory was applied originally to the theater and came only later
to be applied to all forms of literature. It begins by classifying the
human emotions (bhiiva) into eight, or according to some critics nine,
basic or st able (sthayin ) types: sexual excitement, laughter, grief, anger,
energy, fear, loathing, and wonder, to which some add, as ninth, peace.
These emotions are stable only in rela tion to some thirty-three
12 For Sanskrit turnabouts with tragic or bitter effect, beside the example given

in the text above see verses 1405, 1441, 1615 of the anthology. Of the comic
turnabout one t ype became conventionalized as the trope apahnuti; see lntr. to
Section 24 of translations. The coalescence of the two types, which Sanskrit
convention prohibits, is characteristic of the Western poet Heine; cf. his lch glaub'
nicht an den Himmel. In Byron's turnabouts the immediate effect-this is no place
to discuss his final aims-is regularly comic; cf. the delightful verses of Don Juan I,
123-125.

13
 Gene'ral Introduction
transitory experiences, such as embarrassment. reminiscenc , worry and
so forth. The effort of the dramatist or poet is to tran mit a sort of
decoction of these stable emotions to his audience. H e doe 0 b ,
employing certain means: the characters of his play or poem, t h
stimulants, such as rain-clouds or sandalwood or bees when the mood is
erotic, victories and triumphs when the mood is heroic; a nd so on. The
decoction which the audience receives is what I have called mood. A
more literal translation of the Sanskrit rasa \\ould be flavor or taste. IS
The moods bear names corresponding, with some small but intere ting
differences, to the names of the basic emotions from \vhich. they are
derived. They are the erotic, the comic, the compassionate, the cruel,
the heroic, the terrifying, the horrid (or loathsome), the marvelous, and
the peaceful. The mood is not the original emotion itself or we should
not enjoy hearing sad poetry like the RamayaI:\a. Emotion (bhiiva,)
and mood (msa) differ in several respects. An emotion is seldom pure
or sustained and the emotions which contaminate it, since the., depend
on circumstances beyond our control, are seldom aesthetically harmoni-
ous. Our bursts of energy are mixed with anger and fear; our sexual
excitement is interrupted, frustrated, forgotten, and then resumed. A
mood, on the other hand, since it is created by an artist, may be purified
and sustained and can be combined with other moods in an artistic
fashion. Again, the emotion is personal \vhereas the mood is universal.
When Rama loses Sita in real life his emotion is one of personal loss.
But when this happens in Valmiki's poem or Bhayabhuti's play, the
mood embraces all men and nature as well.
The doctrine of the moods is elaborated by conventions regarding
their permissible combinations, by the analysis of each mood in itself,
and by teachings concerning the appropriateness to each mood of the
various types of dramatis personae, stimulants, and subsidiar) emotions.
The erotic mood combines most perfectly with the comic, for there
are passages where one may not be able to say which mood predominates.
In the combination of the erotic with the compassionate, on the other
hand, one mood is always basic and the other secondary. It is ex-
pressly forbidden to combine the erotic with the horrid, but this rule

13 The word rasa possesses an ambiguity of denotation, whiSh I have remarked on

elsewhere in some detail (Words for Beauty, p. 98). A particular rasa is said to lie
in a given literary work as a sweet taste or a bitter taste may lie in a given food or
drink. The connoisseur of poetry is also said to have a rasa (a taste) for the poetry
he enjoys, much as a wine-taster has a taste for wine. The Sanskrit word for a
literary connoisseur is rasika.

14
 Sa:nsk?'it PoetTY and Sanskrit Poetics
has been broken. Bhavabhiiti's Miilatimiidhava combines sex and
horror in a fashion that was later never imitated, it is true, but neither
was it forgotten. A curious convention is that while the erotic may
combine on equal terms with the comic and on unequal terms with the
compassionate, the comic and the compassionate may combine on no
terms with each other. Thus, the clown does not appear in the fourth
act of the Sakuntala, for grief is a subsidiary emotion underlying the act.
So far as I know this convention is always respected. It explains the
seeking for pure effects in the turnabout verses which I discussed above.
One may point out incidentally that the combination which Sanskrit
so studiously avoids characterizes much of what is best in modern
Western literature.
The erotic and the compassionate moods taken by themselves may
need some further explanation.
The erotic mood has two major aspects: love-in-enjoyment (sa'f[tbhoga-
irngiira) , which portrays love unmixed, and love-in-separation (vipra-
lamba-sTngiira), which portrays love tinged with grief. The separation
of lovers is further analyzed according to the place it occupies in an ideal
romance and according to the cause of separation: thus, love after first
sight but before full enjoyment, love hindered by parents or frustrated
by exile, love restrained by wounded pride or jealousy. Each of these
sub-types has developed its own conventions of portrayal.
A convention that sets Sanskrit at odds with European literature is
that within the mood of love jealousy may be expressed by a woman
but not by a man. The convention is not a falsification of life but a
regulation of sensibility. A man may express jealousy, but by doing
so he shifts the mood to the comic. Doubtless the reason for this
convention is that in a polygamous society the code of love cannot
demand a strict fidelity from the lover. His infidelity may cause his
mistress or wife to be jealous but does not necessarily lower the nobility
(udiiratii) of his sentiment. His act of infidelity may have been re-
quired by social duty or by common civility. On the other hand, if the
mistress were to be unfaithful to her lover, she would cease to be a
noble mistress. The lover in turn would be demeaned if he expressed
emotional concern over the loss of what had thus already lost its value.
Accordingly, a heroine when wronged has recourse in Sanskrit literature
only to tears, silence, or bitter words, never to retaliation in kind.
,\Vomen who distribute their favors are wantons (asatyalJ) and, though
looked on kindly by the poets (see Section 24), are subjects of laughter
as much as are jealous husbands.

15
 General Introduction
A play or a great kavya in the erotic mood must revea l both major
aspects oflove. There exist so-called fragmentary kavyas (khm:uf.,akiivya)
where an intense lyricism concentrates on one aspect and even one sub-
type of love alone. But such a concentration is essentially impossible
in the theater, for the whole moving force of a Sanskrit play is the
development of the mood; the action, the plot, serve solely as a vehicle
for that development. Clearly a mood cannot be fully developed if a
part of it is hidden or overlooked.
The mood derived from grief may never so dominate a poem or play
that the audience is left under its spell at the conclusion. A Sanskrit
literary work must always have a happy ending. The explanation
which is offered for this limitation runs somewhat as follows. Grief is
an emotion which all men seek to avoid. Its derivative will therefore
be employed only if some benefit can be decocted from so unpromising
a source. The Sanskrit poet could see that the derivative of grief was
useful for describing the world as it is and also for teaching kindliness.
The latter purpose appears clearly from the name of the derivative,
which is called the mood of compassion. But to emphasize the sorro\ys
of noble characters above their joys, so Sanskrit authors supposed,
could serve no purpose other than to drive men from the world, an
effort appropriate to some forms of religion but not to kavya. Thus
they used the compassionate mood, which in some instances \,e may
call tragic, but they wrote no tragedy in a Greek or Elizabethan
sense. This is a limitation of Sanskrit literature for which the serious
student will seek a deeper cause than is furnished b y the answer just
given.
One may begin by remarking that the absence of tragedy in the Greek
or Elizabethan style, as opposed to occasional use of the tragic, is
characteristic of Sanskrit, not of all literatures of India. The hero
KarQ.a of the Mahiibhii1'ata is tragic quite in the Western sense, and many
of the Rajput ballads are tragedies in the same vein. Thus, the ban
mot is falsified that India knew no tragedy until the coming of the
British. Furthermore, the peculiarity of Sanskrit in this respect
cannot be ascribed to some factor, such as the doctrine of karma, which
characterizes the whole of Indian thought. That doctrine holds that
men get precisely what they deserve and that if they suffer injustice in
this life it is because they acted wrongly in past lives; hence it is said
that karma makes of justice a law as infallible and inhuman as the law
of gravity. But what of that? The doctrine of karma is not fatalism,
for each man makes his own karma, nor even if it were would it preclude

16
 Sanskrit Poetry and Sanskrit Poetics
Greek tragedy, for the Greek tragedians were fatalists. Again, in
Section 42 of our anthology we find Sanskrit poets who were keenly
aware that goodness might be requited, at least in the present life, with
suffering, nor were the same poets unappreciative of the self-sacrifice
which benefits others. No, the absence of tragedy on the grand scale in
Sanskrit stems from factors peculiar to the Sanskrit tradition and not
peculiar to India. One cannot have tragedy in the Greek or Shakes-
pearean sense without individuals. Such tragedy does not occur to
types. No'w there are no individuals in Sanskrit literature; there are
only types. The problem with which we began is thus transposed to a
problem to which I shall shortly turn. Why is Sanskrit literature
devoid of individuals?
Meanwhile one may notice a type of verse where on a miniature scale
the mood of compassion is so intense that we may well call it tragic,
specifying that we mean by this an impersonal though intense effect,
such as Samuel Beckett rather than Shakespeare might achieve. Such
are the verses of the present anthology on poverty (for example, 1806,
1307, 1320), on deserted villages (1175), on the hopelessness of life
(1321, 1461), or on the catastrophes of love (653, 697). The scenes of
these miniatures are natural; the language, especially of the tragic
love-verses, is simple and consciously stripped of ornament. The reader
is not here purged by the tragic nor ennobled through observing a
hero's fate, for such verses have no heroes. It is not the fate of an
individual but the condition of man that arrests the reader's attention
and for a brief moment overwhelms him.14
It is a basic canon of Sanskrit poetry that no matter how long the
poem, each verse must in itself evoke the requisite mood. Now, it is
difficult to evoke mood by four lines of not over twenty-three syllables
each. No simple enumeration of erotic or heroic subjects will accom-
plish the task. Sanskrit poets were aware of this difficulty and dis-
covered the magical means of evocation centuries before Sanskrit critics
and philosophers analyzed the means that were used. The word by which
the critics refer to this technique is dhvani, which I shall call" sugges-
tion," although the word "overtone" as a technical term of music
would perhaps be closer to the Sanskrit in meaning. To explain
14 One of the mysteries of Sanskrit literature is where such verses come from.

At present they are found only in anthologies and we know nothing of the works
in which they originally stood. Until we learn more, we must suppose that those
lost works also followed the overriding convention of using the tragic only as an
occasional not a prevailing mood.

17
=nz_la

General!ntroduction
suggestion I shall resort to some very anci ent and pede trian
examples. 16
Most literary critics of Sanskrit supposed that eyer word ha three
sorts of power. First, the word has the power of direct de ignation.
Thus, the word Ganges designates directly a great and holy ri er of
India. Every word has also a secondary power, a pmver of indication
which is indirect. That is, a word may refer indirectly to a gr ea t num-
ber of things that are peripheral to its main object. It is only context
that tells us when this secondary power is being emplo) ed. " A village
on the Ganges "-here we cannot take ' Ganges ' in its prima,r) sen e.
If the village were actually on the river its inhabitants "ouId drown.
What is meant is a village on the bank of the Ganges. The secondaI)
power of 'Ganges,' its power to indicate indirectly a peripheral object,
has come into play.
Now let us come to the tertiary po"wer of a word, its power of sugges-
tion. What is the difference between saying" a village on the Ganges '
and" a village on the bank of the Ganges "? The Sanskrit pandit tells
us that the first sentence, although it is shorter, conveys a larger mean-
ing. By associating the village thus directly with t he river we suggest
its coolness and holiness. Or, to take another example, " The spears
entered the city." This turn of phrase suggests the gr eat number of
entering warriors and their compact formation in a way that would not
appear jf we said "The spearmen entered the city." The appearance of
these suggestions is likened to the resonance of a bell after it is struck.
First comes the stroke by which the primary or secondary power of the
word enters the mind. Then the mind is suddenly aware of something
related to but distinct from these-an overtone, a suggestion. San-
skrit critics and commentators are wonderfully acut e at catching and
rendering precise these subtleties. 1s
The power of suggestion is not only a tertiary power of ...vords. It is
a power which sometimes resides in a figure of speech, or it may reside
15 Taken from Sd. Book II.
16 To show the method of analysis one may manufacture a pandit's comment for
a word of English verse .
. . . through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn.
" , Alien' denotes human beings of another land: strangers, enemies. By indication
its meaning extends to non-sentient objects. The suggestion generated here by
making corn sentient and active is that the whole land was turned against Ruth ,
even the grain that she gleaned. The suggestion intensifies the mood of com-
passion."

18
 Sanskrit Poet?"!} a'nd Sanskrit Poeti cs
in a whole sentence. By a skillful use of suggestion one may put into a
verse as much meaning as might be contained in a whole book of prose.
-This desire to increase the meaning of the verse explains much in
Sanskrit poetry that would otherwise be mysterious. It explains the
love of puns. Puns are very common in Sanskrit verse, and those
"\iVestern critics who have objected to them simply show their lack of
taste for Sanskrit. The pun is one of the techniques by which Sanskrit
poets seek to achieve suggestion, to force a larger content into their
miniature moId. For example our verse 362 17 describes a young girl
as she is just gro\ving conscious of her beauty. The verse does not state
explicitly that the girl is conscious of this any more than the girl herself
would m ake an explicit statement to that effect. Rather, the verse is
strewn with suggestive puns. The noun prayii1J,a (departure) in the
phrase ' departure of childhood' happens to be also a technical term
for the setting out of an army of conquest. The compound vigrahahharalJ.
(the weight or growth of her body) can also mean ' preparation for war';
and so on. To analyze the verse technically one would say that its
primary designation is a girl coming into womanhood, its indication is of
preparations for conquest, its suggestion is of a latent, shy, but irresis-
tible power. Or take our verse 1387, where the social orders under
the poet's patron king are described in words that pun on the techni-
calities of grammar. The flattering suggestion is that society is as
precisely and wisely regulated b) the king as is the Sanskrit language by
PaI)ini. Occasionally Sanskrit poets use puns playfully (verse 1418
contains a very pretty example) or obscenely (an effective example will
be found in verse 1436) as we commonly use them in English, but the
true province of the Sanskrit pun is suggestion. The only English
author who approaches the Sanskrit poets in this effort is James Joyce.
But poor J oyce had to work with no tradition behind him. He had
no well-cut and tempered tools but had to forge his own, and his audience
was not trained as a Sanskrit audience was to receive such a poet's
message.
The nature of the Sanskrit language is peculiarly well adapted to
punning. Its words, as in every language with a long literary tradition,
have each accumulated numerous meanings the choice of which is
normally determined with reasonable ease by _c ontext. But words like
gU1J,in: 'man of virtue,' 'gem'; kara: 'hand,' -'ray,' 'tax'; hara: 'lion,'
, ape,' 'Indra,' 'Siva,' offer constant ·temptations to crowd double and
11 The translation of the verse, like that of other punning verses will be found in
prose in the section of notes following the English verse translations.

19
 General Introduction
triple meanings into a verse. The complete freedom, which Sanskrit
enjoys, of word-order and its freedom to form compounds are aids
not only to punning but to suggestions of all types. One can
arrange words always in the most suggestive relation of contiguity or
separation.
The varieties and uses of suggestion in Sanskrit are so numerous
that large volumes have been composed to describe and analyze
them. As in treating other elements of poetics I shall give only a few
examples.
The most obvious examples can be found in plays, and it is in the
theater that Indian critics first became aware of dhvani and attempted
to analyze its functions. Suggestions may arise by means of a hint
used to convey meaning to one character while leaving another in the
dark. Thus Sakuntala's friend calls out, "Little cakmvaka, bid our
mate farewell, for night is coming." Cakraviika birds, it is true, separate
at night and by their pining furnish a stock metaphor for parted lovers.
But the night that is approaching, as Sakuntala is quick to understand,
is the mother-superior of the hermitage and the suggestiou is that
Sakuntala will be wise to leave her lover before that kindly but strait-
laced old lady finds her. This variety of suggestion, used for gnomic
rather than theatrical purposes, becomes the allegorical epigram (anyokti)
of which Vidyakara furnishes many examples. Thus, his ,erse 1033
runs:
Here you have come, oh goldsmith,
to sell jewelry worthy of an ear.
Have you not heard that in this village
the chieftain's ears have not been pierced?
where 'goldsmith' and 'chieftain' to one acquainted with the con-
ventions indicate respectively a poet and his patron. The poet chooses
thus to suggest his situation rather than describe it outright. A bald
description would be personal and so would be in bad taste.
Hints are commonly used in the theater to set the stage for matter
to come. All entrances of characters are theatrically prepared iu this
way. Similarly, a play's opening stanza of benediction often hints at
the nature of the work to follow. When skillfully drawn the hints of the
benediction may suggest notions of great depth and beauty (see Intr. 4,
par. 21). Or suggestion may be used to reveal the essential meaning of
what would otherwise be an inconsequential description. For example,
in the Tapasavatsaraja (verse 868 of our anthology) the coming of night
is described as follows:

20
 Sansk1'it Poet1'y and Sanskrit Poetics
~Ioths begin their fatal flight
into the slender flame;
bees, made blind by perfume,
wait in the closing bud.
The dancing-girls are putting on their paint
as one may guess from here
by the jingling of their bracelets
as they bend their graceful arms.

The burning of the moth and the imprisoning of the bee suggest the
purpose of the dancing-girls' preparations. By this revelation of under-
lying purpose or essential meaning the mood is established. Indeed, one
could define mood as the revelation of the essential meanings of things,
specifying only that those meanings must fit with pre-established
conventions.
As with all com entions those of Sanskrit can be overworked. An
insensitive poet \\ ill find it only too easy to sort his material into the
approved modal patterns by means of suggestions that have been used
a hundred times before. He will say of night, when the mood is to be
erotic, that it is black as a cuckoo's throat; when heroic, that it is dark
as a king's swordblade; \\ hen horrid, that it is as impenetrable as smoke
from a funeral pyre. 'Vhen a tradition is worked on for two thousand
years it accumulates a dangerous stock of easy beauty. But no poetry
would fare well if we were to judge its conventions by the use to which
tired hands may put them. In the hands of a true poet Sanskrit
suggestion can achieve effects of tremendous power. I shall comment on
a single example.

The women of the Triple City wept from lotus eyes

as Sambhu's arrow-flame embraced them;
but still, though shaken off, the fire caught their hands,
though struck, did pluck their garments' hem,
denied, it seized their hair, and scorned
like lover who has lately loved another, lay before their feet.
:May this same fire burn away your sins.

The verse, which is probably by BaI)a (verse 49 of our anthology)

but which is commonly ascribed to Amaru in whose famous collection it
occurs as the second benedictory verse, contains a series of images
followed by an explicit simile and prayer. The images paint the scene
of Sambhu (Siva), that is to say, God, shooting his flames at the triple
citadel of the demons. The women of the citadel weep tears from their

2+s.c.p. 21
 General Introduction
beautiful eyes and tremble as the flames engulf them. This i a desig-
nated image. It and each image that follows produce a double, an
image that is not designated but suggested. The first is of a woman
whose pride has been hurt by her believing her lover to be faithless.
She trembles as he embraces her, and weeps, not daring to look at him.
In the next designated image the flames cling to the hands of the women
although they try to shake them off, suggesting the 10' er 'who urges
profuse apologies upon his mistress. And so in what follows, where we
have the hair caressed and the hem of the garment plucked, either by
the flames of God in the designated mythological incident or by the
consoling lover in the suggested image. That the images are to be
combined in this way is indicated by the briefly stated simile: " like
lover who has lately loved another." Finally comes the prayer: " May
this same fire burn away your sins."
The imagery of all but the last line of the verse conduces to the erotic
mood. In erotic verse the woman who trembles and refuses a glance
to the lover at her feet is never truly averse to his attentions but jealous
at their being shared. Modal convention leads one to attribute to her
not so much pain as passion, in which both pain and joy are mixed.
Notice how the suggestion of pain in the verse is succeeded by sugges-
tions of pleasure; weeping is followed by embraces and caresses. Thus.
the suggestion of the initial images of the poem is that Siva's act of
destruction is an act of love, of his love of the demon women or, by
suggestion, since God brings us all to death, of all mankind , and of their
passionate response to his love. But the greatness of the verse lies in
its conclusion. The benediction shifts the mood to peace. To ask that
God "burn away your sins " by that same fire is to ask what? If the
fire is the fire of man's joy and grief, the prayer would seem to ask that
our joys and griefs so burn out our karma that we may return purified
and in peace to the source from which the flame arose. In four lines of
verse the poet moves by means of suggestion from the specific to the
universal and from a mood of excitement to a mood of rest. The reader
may feel that he has dived from a high springboard into a calm, cool pool.
I shall now leave the techniques of Sanskrit poetry to >consider a
matter which has arisen intermittently throughout the preceding
description. I refer to the impersonality of Sanskrit verse, to its lack
of reference to specific individuals. It is strange that the standard
accounts of Sanskrit literature have so little to say of the matter, for it
is here even more than in techniques that Sanskrit poetry proves alien
to the prevailing spirit of Western and especially of English verse.

22
 Sanskrit Poetry and Sanskrit Poetics
Western poetry, ancient and modern, has associated intense emotion
with specificity of the individual. The association springs to notice in
our use of names. The anguish of David would never strike us so
forcibly but for that terrible repetition of Absalom's name and of the
relation which bound him so exclusively to David.
Oh my son Absalom, my son, 111) son, Absalom 1
·Would God J had died for thee 0 Absalom my son, my SOil.

It is not any father grieving for any son that we hear. It is one specific
father of a certain time a.nd place grieving for his very own son, whom
he names. If David and Absalom were typified we should feel that the
grief was diffused a nd so less intense. So when Catullus cries out,
Cae1i, Lesbia nostra, Lesbia illa,
Illa Lesbia quam Catullus unam
Plus quam se atque suos amavit omlles
Nunc in quadriviis et angiportis
Glubit magnanimi Remi nepotes,

the shame is not that a noblewoman should play the whore in the alley-
ways of Rome but that that woman should be "my Lesbia, that Lesbia,
that very Lesbia whom I loved more than myself and all that is mine."
These names, which make such a show in passages of emotional
intensity, are only a symptom of a trend that runs through most Western
poetry and that is particularly strong in Hebrew and English. In these
languages even the elegy, where emotion has been cooled by reflection,
finds it difficult to break away from the specific. Lycidas may be
considerably conventionalized from Edward King but Adonais is
clearly John Keats. We aim at impersonality in the sciences and pre-
tend to it in the social sciences, but in poetry for the most part we
consciously avoid it.
There are of course exceptions. The poetry of types has occurred in
the 'Vest especially in court literature. Virgil's Corydon and Alexis,
like the Celias and Dorindas of seventeenth-century court verse, are no
more individuals that the niiyakas and niiyikiis of Sanskrit. But English
has never taken wholeheartedly nor for very long to such figures and
America outside the schoolroom has scarcely made their acquaintance.
To the English tradition Sanskrit presents a sharp contrast. In the
five hundred or so verses that deal with love in Vidyakara~s anth~logy
one will not find the name of a single lover. In Vidyakara's section on .
villains one finds no villain's name; in the section on good men not one

28
 General Introduction
individual good man is so identified t hat we could kno\\ him from other
good men. The very idiosyncrasies of the Sanskrit language are u ilized
by the poets in the service of this anonymit. Time and again b. the
use of a passive or impersonal construction or b) u ing t he plural pro-
noun in place of the singular the poet makes it impos ible for hi read er
to say with certainty whether he is speaking of him self or of a third
person, whether of himself or of men in general.l 8 ' Ve know nothing
of the personal lives of Sanskrit poets, just as they tellu nothing of the
personal lives of their patrons. The persons here have melted into the
types of poet and king.
The contrast between the impersonality of Sanskrit and the pre-
vailingly personal poetry of the West, and especially of English, sets t he
mind to inquiry along two paths. How did the divergence come about?
And how can one achieve great poetry in the absence of one factor that
is common to nearly all the great poetry of our own tongue? I am more
diffident of my answer to the first question than to the second, for the
first involves questions that lie beyond literature.
One may remark that impersonality appears in its extreme form in
India only in Sanskrit. The Pali sermons of the Buddha, what m ay be
inferred of the Prakrit Brhatkathil, the vernacular lives of sa ints and
warriors, all show a concern for the individual person a nd for specific
places and incidents, such as we find to prevail in the literatures of
Europe. Impersonality 'was therefore an ideal peculiar to those who
spoke or read Sanskrit, that is , to the upper and professional classes,
especially to those who passed down the intellectual tradition s of India
from generation to generation. In those classes one may find a number
of parallel phenomena.
Until recent times it has been characteristic of Indian soc iety that
the exercise of personal initiative and judgment was low a social
status was high and high as social status was 10\\,. The joint famil)
with its lack of individual freedom and its imposition of myriad social
duties and responsibilities has a lways been characteristic of the upper
classes. Granted that the Indian nobility produced its share of tyrants,
as a class it was characterized by cooperative thought a nd action. It
maintained its wealth not b y sending forth indi\ idual vikings and cor-

18 Examples of the former type of ambiguity are 1469, 1478; of the latter type,

1465, 1470. In translating such verses I have generally been foreed to make a
choice, since not to do so would be to 'write barbarous English. While it is u ually
clear from context or analogy whether the personal or impersonal i predominant.
the definiteness of English narrows the full scope of the original.

24
 Sanskrit Poetry and Sanskrit Poetics
sairs but by sending forth military clans. Similarly, the brahmins and
scribes transmitted the knowledge of the past through learned families
rather than merely through learned individuals. 19 Furthermore, it was
only the upper classes who lived by the book, so to speak, that is, who
regarded the Vedas a nd Dharmasastras as criteria of right and wrong
to which personal judgment should defer. Again, one may remark
that the same environment which produced classical Sanskrit poetry
also produced classical Vedanta philosophy, first in its bhediihheda form,
but by the ninth century in its form of absolute monism where even the
personality of God was denied as being an illusion. Finally, the
Indian nobility and priesthood, like those of other lands, were con-
servative. Where a literature is largely limited to such classes it will
naturally be slow to break with an ideal that has once been formed.
The ideal of impersonality came into Indian literature some time be-
tween the composition of the Mahabharata epic and the Ramayal).a.
In Sanskrit it was never to leave.
By all this I do not mean to say that Indian noblemen and men of
learning differed in nature from modern writers of the West. Human
nature is marvelously constant. But their environment hushed certain
traits of character that with us are allowed free speech and at the same
time made other traits eloquent that with us are silent. Literature
reflects rather the ideals of men than men themselves. At its best it
does not distort, but even at its best it selects.
As to how poetry could exist in the absence of individualism the
answer is easier. It existed, just as Indian religion existed under the
same circumstances, by making a virtue of its lack. To the Vedantin
the advantage of stripping off the personality was that only thus could
he arrive at what he considered to be real, at something permanent,
unchangeable, and unitary. To the Sanskrit poet the advantage of
abandoning personal idiosyncrasy and adventure was that the resultant
character by being typical came closer to being universal. To write of
one's patron, say, as Ramapala who has ruled for a few years one of the
many regions of India is to make him out a small thing, a human, no

19 Where we have the particulars of a Sanskrit author's life we almost always find

that he came from a family of authors. This holds true of poets such as RajaSekhara
just as it does of critics (e.g., Abhinavagupta), grammarians (e.g., Bhattoji DikI?ita),
and philosophers (e.g., VidyaraI).ya). One infers that it was rare for a man from
an unlearned family to move into the charmed circle of literature. The legends of
sudden divine inspiration, which are told, for example, of Kalidasa and Miikakavi,
may well have been invented to e"-"plain the rare exceptions.

25
 General Introduction
more than he might be without the aid of Sanskrit ver e. So to select
among his qualities and among the vicissitudes of hi s life as to suggest
his identity with KarI:la or Arjuna or Rama son of Dasara tha is to magnify
him and give him permanence. 20 In similar fashion , the poet's mistress
or wife was thought to be glorified by joining her to the appropriate
traditional type of heroine. In that guise she became eternal. E\ ery -
thing about her became lovable, not just this trait or that.
From the standpoint of our very different ideals it is ea to make
fun of this process of magnification. Macdonelllaughed at the Sanskrit
excesses of love-Iorn damsels and Kosambi heaps scorn on the hyperboles
of Sanskrit panegyrics. But one may ask what the Sanskrit critics
would have said of Albertine or of Molly Bloom. It is well that ,ye can
laugh at each other in this vale of tears, but it would be sad indeed
should we stop at no more than that.
There are places where Sanskrit impersonality is poeticaUy effective
even to a Western taste.
They lay upon the bed each turned aside
and suffering in silence;
though love still dwelt within their hearts
each feared a loss of pride.
But then from out the corner of their eyes
the sidelong glances met
and the quarrel broke in laughter as they turned
and clasped each other's neck. (Verse 667)

Half the charm of the verse lies in the anonymity of the 10\ ers. So
left, they express an eternal moment of young love. To specify that
they are Jack and Joan or that they are Lionel and Blanchefleur would
be to destroy the universality by the intrusion of social particulars.
And more than this. The finest effects of suggestion are possible
only when applied to types, not to individuals. By a long process of
typifying, each variety of love, each scene of nature, each function of
the gods received a conventional manner of presentation. By a single
brushstroke, a single word taken from one of these conventional por-
trayals or descriptions, the whole scene is evoked. It thus becomes far
easier than it is under the modern Western ideal of individualism to move
back and forth among the fields of nature, humanity, and the gods, and
by suggestion to reveal a given mood as embracing the universe.. Thus,

20 For a more detailed characterization of the Sanskrit panegyric one may turn

to the Introductions to Sections 32 and 41 of the anthology.

26
 Sanskrit Poet'l'Y and Sanskrit Poetics
in Kalidasa's play, Sakuntala by becoming the very type of heroine-in-
separation comes naturally into comparison with the miidhavi vine of
her hermitage. As the vine is dried by the noonday wind so is she
burned by love. And the king, breaking in on her loneliness, comes as
t he freshening rain.
Since the Romantic Period we have gro\\n used to criticizing conven-
tion for its making poetry stale. But the Sanskrit conventions give
constantl) new and fresh effects. An anonymous poet writes

The splendor of the moonlight has lost its charm ;

... its darling moonstone, overlaid by frost,
no longer sweats with yearning. (Translation vs. 310)

The description is of winter, when moonlight loses its autumnal brilliance.

The poet plays on two conventions: that the moonstone emits water
when struck by the rays of the moon, and that the first symptom of a
lover's emotion, and one which the Indian poet finds charming because
it is involuntary, is the sweat '.vhich breaks forth on meeting with the
beloved. By suggestion ,Yorking on conventions and types, the mood
of love in two or three words may thus gather planets and minerals into
its embrace. What stands between man and nature is removed if we
take from him his personality. To the Sanskrit poet the removal of the
person VlaS felt not as a limitation of art but as a chance for freedom,
an opportunity for suggestion to bring the reader to a sudden view of the
universe within the minute compass of a verse.
It may be well here to furnish a single example of how the salient
characteristics of Sanskrit poetry, as I have described them, may com-
bine: mood, suggestion, impersonality, and the sudden revelation of
universal truth. The example which I take is from the fifth canto of
Kalidasa's Birth of the Prince. VVhile I despair of translating the effect
of the original I may perhaps be able to explain it.
A word of preface-the fifth canto of The Birth ojthe Prince tells how
Vma, the daughter of Hima.laya, practises penance in order to win the
love of Siva. She has previously tried the aid of Kama, that is to say,
love or lust, but Siva reduced Kama to ashes simply by a glance of his
consuming eye. Nothing is left to Vma but self-restraint, patience,
discipline. Vma sets about her task in the typical manner of Indian
ascetics. She, the fair princess, puts off her jewelry, assumes a hermit
garb, and sits cross-legged in meditation within her hermitage. The
seasons come and go but she sits unmoving. As other Indian ascetics
have done, she adds to the mortification of her flesh by having fires

27
 General Introduction
built on each side of her rigid body. Even in the scorching summer she
refuses to shield her head from the sun.
Still sat Uma though scorched by various flame
Of solar fire and fires of kindled birth,
Until at summer's end the waters came.
Steam rose from her body as it rose from earth.
With momentary pause the first drops rest
Upon her lash then strike her nether lip,
Fracture upon the highland of her breast,
Across the ladder of her waist then trip
And slowly at her navel come to rest.
The beauty of the verses in the original derives from the association
through suggestion of numerous harmonious ideas. n In the first place
we have a princess beautiful by the strict conventions of Indian art,
meditating in the rain. Her eyelashes must be long and curling up at
the tips in order to hold the drops of rain for a moment before they fall.
Her nether lip must be pouting like a him-ha fruit to catch the drops from
her lashes. Her breasts must be large, so large as to touch one another;
otherwise the rain from her lip would fall between them. And they are
high and hard, for the raindrops fracture upon them. In order for the
drops to trip across the ladder of her waist it must have the three small
folds that are so admired by the erotic poets. And her navel must be
deep.
Next, the verses inform us that this is no ordinary princess. She is
the perfect yogini. The Gitii informs us that the yogi must be beyond
the duality of pleasure and pain (Gita 2.88, 2.56, 5.20), of heat and cold
(Gitii 6.7). Our princess remains motionless throughout the passage.
She is unaffected by the heat of summer or the delicious coolness of the
rain. The Gitd also tells us that when in meditation the yogi must hold
his head, neck, and torso in a perfect line (Gita 6.18). The geography
of the falling raindrops informs us that this must here be the case.
A princess who is the perfect yogini. But she is more. The "high-
land of her breast" hints at the fact that she is a power of nature. She
is the daughter of Himiilaya not only in name. Or is she more than
that? In the popular religion, UrnS. is the mother-goddess. The very
word Uma, despite the fanciful etymology that KaJidasa gives it, is
11 Kum. Sam. 5.28-24. In interpreting the suggestions I have taken several
ideas from the opening passage of Appaya Diqita's CitJ'ami~y KM. 88 (Bom-
bay, 1898), pp. 1-2. Appaya uses the second of the verses here translated as a
touchstone for his definition oC dhvani.

28
 Sanskrit Poetry and Sanskrit Poetics
simply an ancient word for mother. She is the goddess of earth and
fertility. And so her appearance is described as a sort of double, an
anthropomorph, of the earth. The steam rises from her silent body just
as it rises from the parched earth when the monsoon breaks. The rain
courses down her just as it courses over the face of the earth we walk on,
softening it and making it able to bear our crops.
The poet offers us these suggestions, facilitating our comprehension
by words and phrases that one might call signposts. The association or
sorting of the suggestions he leaves to our fancy, but we can gain indi-
cations of his intention from the context.
Only six verses farther on in the poem Uma is suddenly visited by
what appears to be a brahmin ascetic. It is actually the god Siva who
has appeared in disguise to make a final trial of the woman of his choice
before revealing himself. Surely the hints of earthly fertility in these
verses refer forward to the coming marriage of the earth-goddess to the
father-god and to the birth of the prince which gives the title to the
whole work. Beauty is naturally to be associated with fertility. And
in the mind of Kalidasa self-restraint is associated also--discipline even
to the point of mortification. Uma. is purified for her marriage by the
practice of yoga just as another heroine of KaIidasa, the nymph's
daughter Sakuntala., is purified by sorrow. The pillars of suggestion
on which these verses are built are three: beauty, self-restraint, and
fertility. What is new in the verses is the association of the three
suggestions so as to form the pillars of a single house.
One may argue today, as the Sanskrit critics argued in the past, the
relative importance of the various factors of Sanskrit verse which I have ,
discussed. Vocabulary, grammar, meter: these are all necessary.
Figures of speech, both verbal and intellectual, furnish delight. Mood is
what is sought, though the grand successes of Sanskrit I would say go
beyond mood to a sort of universal revelation, to what James Joyce,
drawing on the vocabulary of religion, called an epiphany. To achieve
this success impersonality is a prerequisite and suggestion is the chief
instrument. If I were to single out for admiration one factor above the
others in this complex it would be suggestion, not because it is unknown
in other languages but because the Sanskrit poets use it with such
brilliance and because it seems to me the most intimately connected of
all the factors with the excitement, the sudden rushing of the mind
into a delightful, calm expansion, that one oCcasionally derives from
Sanskrit poetry and that brings one who has once known it constantly
back for further draughts.

29
 General Introduction

2. The Sources of Vidyakara's "Treasu1·y of "W ell-turned Verse"

The sources of Vidyakara's Treasu1·y of Well-turned Verse, while not

all of them are known, can be determined with a greater degree of
precision than those of any other ancient Sanskrit collection. Vidyakara
himself comes to our aid by the accuracy, almost unparalleled in San-
skrit literature, of his ascriptions. For perhaps a third of the verses
he tells us the name of the author from whom he took them. ""'here it
has been possible to check him, as in the case of surviving works, he
proves to be right more than nine times out of ten. Secondly, we
have the results of the patient labor of D. D. Kosambi and V. V. Gokhale,
the editors of Vidyakara's text. 22 By indexing the verses of all avail-
able Sanskrit anthologies as well as whatever survives of literature from
which it seemed possible that Vidyakara might have drawn, they have
been able to supply testimonia for perhaps a half of what Vidyakara has
left unascribed. Finally, Kosambi in his introduction to the Sanskrit
text has discussed separately each of the poets whose name Vidyakara
has recorded. In what follows I shall not retrace the text-critical
problems except in those rare cases, marked off by smaller type, where it
seems to me that details of importance may be added. My main
intention here is rather to set Vidyakara's sources within their general
limits so that the reader of the translations may know how far they are
representative of classical Sanskrit literature as a whole.
Vidyakara was a Buddhist scholar of Bengal who lived in the latter
half of the eleventh century A.D. Beyond this, which is certain, D. D.
Kosambi has made it appear probable that Vidyakara was an abbot or
clergyman of high office at the monastery of Jagadda.la and that he
drew on the Jagaddala library in making his anthology. The references
below several of Vidyakara's quotations seem to be the very shelf-
marks of the manuscript library in that center of learning. 'iVithin a
century and a half of Vidyakara's death the manuscripts of the monastery
were dispersed and its buildings fell into ruin. Nothing now remains of
Jagaddala but a few heaps of stones and the name. The name is still
borne by a small village in Malda District in East Bengal.
Vidyakara's collection has come down to us in two versions, each re-
presented by a single complete manuscript. The earlier version, con"tain-
ing just over a thousand verses, is furnished by an old manuscript (N),
quite possibly the compiler's own copy, which when last heard of was

22 The Suhluiritaratnakot!a, Harvard Oriental Series 42, Cambridge, Mass., 1951.

80
 Sources of Vidyakara's " Treasury"
reposing in a barn in the monastery of Ngor in Tibet. A later version,
containing 1 ,728 verses, is known from a copy (K) made in A.D. 1710
and now housed in the R ajguru Library in Khatmandu, Nepal. It was
from photographs of these two manuscripts that the text was established.
I am in agreement with the editors that both versions are likely to be
the product of the same compiler. One may further infer from the
arrangement of verses that the compiler worked over his collection for
a long time, perhaps even as a life-long hobby.23
Vidyakara's choice of poetry if considered from the viewpoint of
content is wide. As might be expected of a Buddhist abbot he begins
with religious verses by scholars of his own and neigh boring monasteries.
He goes on, however, to include more verses in praise of Hindu gods than
of the Buddha and one finds not the slightest sectarianism in his work.
One is surprised, and I own I am pleased, by the good abbot's liking
for love poetry . By statistical count it considerably outweighs his
interest in religion, for verses on love fill the whole of Sections 14-26
and are not seldom found elsewhere. Some of the love poetry, notably
that of Sect ion 21, seems to me as fine as one will find in any language.
Vidyakara gives us three sections (32, 41, 46) in praise of kings, an
important topic in days when the chief ministers of state sometimes
owed their office to skill in the writing of panegyrics. He gives us
liberal selections from the conventional nature poetry of the Sanskrit
theater and lyric (Sections 8-11, 27-31) and preserves for us, more than
in any other surviving anthology, the more realistic poetry of village and
field of which the Sanskrit authors of the Pala dynasty, under which he
lived, were the great masters (Sections 12, 18, 35).. In such sections as
those on Good Men (37) and Villains (38) we find gnomic verse dealing
with society, while in the sections devoted to Allegorical Epigrams (33),
Substantiations (40), Discouragement (42), and Peace (48) we have other
types of social verse that often gave rise to complete anthologies in
themselves. Vidyakara concludes his book with a section on Praise of
Poets which, besides giving us an insight into the literary taste of the
time, helps settle a fev,7 matters of chronology.
23 The older version exhibits an addendum in Section 49. One may imagine that
the new verses of K were added from time to time in the margins of the author's
copy (a few marginal verses are already found in N) until they became so numerous
that further additions had to be inserted into the old addendum (viz. the K verses of
49). The compiler must then have copied out the whole afresh, creating the new
Sections which appear only in K. r have thought that Sections 27-28 and 30-31
might be the last additions and that the manuscripts used by the compilers of S
and P may have lacked the first two at least of those sections.

31
 General Introduction
When looked at from the, iewpoint not of content bu t of source
Vidyakara's collection is more limited. Of the two hundred seyenty-
five authors named by Vidyakara or by the testimony of other works
only eleven seem to be earlier than the seventh century 24 and, except
for two, they are among the least frequently quoted authors of the
collection. Even the great Kalidasa is represented by only 13 (or
perhaps 14) verses as against 32 of Yogesvara (ninth century) or 101
of Rajasekhara (ft. A.D. 900). Vidyakara's favorite authors in order of
the frequency with which he quotes them are as follows.

AuthoT A pproxirnate rvurnbe-r of

date, A.D. quotations 2 5
Rajasekhara 900 101
Murari 800-900 56
Bhavabhuti 725 47
Vallat).a 900-1100 42
Yogesvara 800-900 32
Bhartrhari 400 25
Vasukalpa 950 25
Manovinoda 900-1100 23
Bal).a 600-650 21
Acala( sil11ha) 700-800? 20
Abhinanda 850-900 20
Dharmakirti 700 19
Viryamitra 900-1100 17
Lak~midhara 1000-1050 16

The list reveals two facts of significance. For the most part Vidya,-
kara's favorite authors were fairly close to him in time; secondly, most
of them, excepting the first three of the list, were close to him in place.
VallaDa, Yogesvara, Vasukalpa, M"anovinoda, Abhinanda, and Virya-
mitra were all Bengalis, or at least easterners, of the time of the Pala
Dynasty. The importance of Pala authors in Vidyakara's collection
appears with equal clarity from the list of his less frequently quoted
poets; among them are many Pala princes of state and church whose

24 Those are Asvagho~a (the verse a-scribed to Asvagho~a, however, is probably

spurious), Kiilidasa, PaQ.ini (the poet, date uncertain; not the grammarian),
Bhartrhari, Bbasa, Matrgupta, Metha, Vararuci, Varahamihira, Siidraka, Sura.
25 The statistics of the column are based on those ascriptions only which are

certain or probable; I omit those which I have italicized in the Index of Authors as
doubtful.

32
 Sou-tees of Ti dyakaTa's "T'r easury"
works are otherwise lost to us: Dharmapala, Rajapala, Ratipala, Budd-
hakaragupta, Khipaka, Jnanasri. 26
Vidyakara's work, then, is essentially an anthology of the middle
classical period (700-1050) of Sanskrit, showing a special predilection
for eastern or Bengali authors.
A further limitation imposed itself on Vidyakara by the nature of his
collection. A subhfi$ita (well-turned verse) is a rather special product and
can be harvested only from certain species of poetic works. Not only
should a subhfi$ita carry mood and suggestion; it should carry them even
when torn from its context. The requirement of mood and suggestion
rules out didactic and narrativ e verse, of which Sanskrit contains a vast
amount. The second requirement rules out still more.
It will be convenient to describe Vidyakara's sources under four
headings, which I list in order of their literary prestige rather than
of the use which Vidyakara made of them. As will be seen by what
follows he drew most heavily on the second and third categories. The
headings are (1) the great kavya, (2) the theater, (3) small kavyas and
anthologies, (4) stray verses.
The great kiivya. Of all forms of Sanskrit literature the most pres-
tigious was the great kavya (mahiikiivya) or court epic. The kavya in
the course of centuries had been transformed from what one may call
the true epic such as one finds in portions of the M ahiibhiirata. It had
even passed beyond the artificial epic as found in the Ramayatta. The
mahiikiivya is not oral poetry; it is artificial and learned; it lays more
importance on description than narration. Its only claim to the term
epic lies in its breadth of content. A great kavya, Dat:t<;lin tells US,27
takes its plot from myth or from history; it must further the four ends
of man; it must contain descriptions of cities, seas, mountains, moonrise,
and sunrise. A great kavya should also be ornamented with accounts
of merry-making in gardens, of bathing parties, drinking bouts, and
love-making. It should tell of the sorrow of separated lovers and should
describe a wedding and the birth of a son. Finally, it should describe a
king's council, an embassy, the marching forth of an army, a battle, and
the victory of a hero. These are not random suggestions but specific
requirements. Every complete mahiikiivya that has come down to us
from the time of Kalidasa contains the whole list, which, if one considers
28 For these authors see Intr. to Text Volume (HOS., Vol. 42). New information
on JiHinasrImitra will be found in the edition of his recently recovered works; cf.
JiianaSri. pp. 1-42.
27 KA. 1.15-17.

33
 General Introduction
it carefully, will be seen to contain the basic repertory of Sanskrit
poetry. Contained in it are the essential elements of nature, love,
society, and war which a poet should be able to describe. The great
kavya tested a poet by his power of rendering content, which i~ a b:tter
test at least than the Persian diwan, which tested a poet by hIS skIll at
rhyme.
The great kavyas contain mood and suggestion aplenty; indeed, that
is what they chiefly seek to convey. Again, in a sense, each verse of
a great kavya is complete in itself; that is, it is complete syntactically
and even its suggested meaning may be clear without reference to
contiguous verses. Despite this the great kavyas do not lend themselves
well to anthologizing. The verses in each of the major joints (cities,
mountains, love-in-separation, battles, and so on) become impressive
by their cumulative effect. One may take as an example the opening
verses of Kalidasa's Birth of the Prince. The verses describe the Hima-
lay a mountains, mythologically figured as parent of the mother-goddess
who is to appear as heroine of the poem. Each verse furnishes a separate
and complete thought, employs distinct images and usually a distinct
figure of speech from its neighbors. And yet there is a cumulative flow
to these verses, in effect not unlike the opening of a symphony.
Ice and snow, the scintillation of the close sunlight, the peacock
feathers of the mountaineers, the jewelry of the nymphs, the in car-
nadined masses of clouds :-these images and hues burgeon into a
vision each part of which, while remaining distinct, reinforces the rest.
An anthologist of taste would have felt it desecration to tear such a
p assage apart.
So one finds that Vidyakara quotes very sparingly from the great
kavyas. From Kalidasa's two great works of this type he takes only a
single verse (vs. 193) whereas he takes twelve verses 28 from the same
author's plays. Bharavi (seventh century) contributes three verses,
Magha (seventh century) two, Bhatta Sivasvami (ninth century) nine.
From Abhinanda's surviving mahdkdvya, the Rdmacarita, Vidyakara
t akes only two verses as compared with eighteen verses from other
works of the same author. One may of course ask how many verses that
are unascribed or verses by poets otherwise unknown to us might belong
to great kavyas that are now lost. The statistics of meter, and it is
for this reason that I have included toward the end of the volume an
index of meters, show that the answer is very few. The favorite meter
28 Or thirteen verses if one takes verse 493 as genuine. It is found in the Bengal
recension of the Stikunta/a.

34
 Sources of Vidyakara's "Treasury"
of the anthology is SardUlavikric;lita (615 out of 1,739 verses, or 35.4
per cent of all quotations), which is never a carrying meter,29 and is
almost never used at all, in mahiikiivyas of the period before Vidyakara's
time (only 9 out of 9,914 verses in a representative index 30). Vidyakara's
second favorite meter, Sikharir:ti (252 out of 1,73 9 verses), is likewise of
great rarity in malui.kiivyas (14 out of 9,914 verses). I furnish statistics
because I have seen in writing the remark that there is no metrical
difference between kavyas and plays. One need only count. The
Arya meter (Vidyakara has 137 examples) simply cannot be used in
Sanskrit rnahiikiivya; the same is very nearly true of Sragdhara (Vidya-
kara, 86 out of 1,739, mahakiivya index, lout of 9,914). On the other
hand several meters used as carrying meters in many of the famous great
kavyas are extremely rare in "'\ idya.kara's collection. Thus, Viyogini:
mahiikavya index, 627 out of 9,914, Yidyakara, 2 out of 1,739; Ratho-
ddhata: mahiikiivya index, 583 out of 9,914, Vidyakara, lout of
1,739. 31
The theater. Just as the metrical statistics of the anthology diverge
from those of the great ka'vyas, just so markedly do they agree with those
of the second major type of the Sanskrit poetry of Vidyakara's time,
the play. What is more, the agreement is all the more perfect as one

29 By the term "carrying meter" r mean the meter of a mahiikavya which fur-

nishes the pattern for all but the last few verses of a canto (sarga). In general each
canto of a l1U1hiiktivya has such a meter. The only exceptions are to be found in
cantos of metrical chiaroscuro, of 'which no rnahiikiivya to my knowledge has more
than one (e.g., Ragh. 9, KiT. 5), where the poet shows off his virtuosity by a constant
shift of meter.
30 The index is drawn from the following: Raghuva1!l-Sa, Kurntirasa1]tbhava 1-8,

Kiratarjuniya, 8i.supalavadha, Rarnacarita 1-36 of Abhinanda, Cakrapa'tJivijaya of

Lak~midhara. This includes approximately one-third of the mahiikavya verses
preserved to us from a date earlier than Vidyakara's.
31 Good aesthetic reasons underlie the metrical differences between mahaklivya

and theatrical poetry. The mahdktivya in general avoids long meters since it is
difficult by their means to produce cumulative effects and ahnost impossible to
furnish narrative. Hence the general avoidance of SikhariI)l, SardUlavikric;lita,
and Sragdhara. The Arya was originally a Prakrit meter and although it won its
way into kha'tJg.akdvya it did not penetrate the oldest and most respected form of
Sanskrit poetry. Viyogini was used in the early classical period for sustained
laments, Rathoddhata for sustained erotic passages. Since the theater sustained
its moods by gesture and dance it had no need of special meters for that purpose.
In later mahdkiivyas Rathoddhatii was adapted to general narrative use (so,
for example in Sis. 14), but this would not have recommended its use in the
theater.

35
 Gene'l'al 1nt'l'oductio·n
selects plays close to Vidyakara in time. 32 But we need not count
meters endlessly. The importance of the theater to Vidyakara appears
with perfect clarity from a comparison of his anthology with plays that
are preserved to us from the eleventh century and earlier. Of the
twenty plays of that date that have come down to us in northern
manuscripts 33 Vidyakara quotes from all but two 34 and there is ex-
cellent reason to suppose that he quotes from about an equal number
of plays that are now lost. I furnish below in tabular form some
statistics concerning the known plays from which our anthologist quotes
and some information concerning the authors of verses which I suppose
to be from plays that are now lost.

A uthor as given by
Vidyakara [bracketed Number of vm'ses
if given by testimonia] quoted by Vidyakara

BhaHa Narayal).a Vel).isal1lhara 3

Bhavabhiiti Maha viracarita 1
Malatimadhava 29
Uttararamacarita 10
Dhiranaga Kundamala 2
Har~a-deva Nagananda 3
Ratnavali 5
Kalidasa Mala vikagnimitra 1
Sakuntala 11
Vikramorvasiya 1
K~emisvara CaQ.Q.akausika 3
Malayaraja Tapasavatsaraja 5

32 In the 8iikuntala Siil'diilavikriQita, while not rare, is only fourth meter in

frequency (22 occurrences in the Bengal recension). Sikharit:li eighth. In the Miila-
timiidhava SardiilavikriQita has risen to second place (34 occurrences) with SikhariQ.i
third (24 occurrences). In Rajasekhara's ViddhaSiilabhaiijikii (early tenth century)
we find a distribution exactly like that of Vidyakara's anthology: SardiilavikriQita
is by far the favorite meter (34 occurrences) with SikhariJ).i coming second (12
occurrences). In all these plays Viyogini is not found; Rathoddhata occurs only
twice.
33 Vidyakara quotes from none of the ancient plays that have been preserved

only in the south: the thirteen plays ascribed to Bhasa, the Caturbhiir,ti, the Kaumu-
dimahotsava, In view of his fondness for the theater this is good evidence that those
plays were unknown in northeastern India in his time.
34 Har~a's PriyadarSikii and Rajasekhara's Biilabhiirata. Verse 1719 occurs in
the latter play, but Vidyakara doubtless was quoting from the Biilaramiiyar,ta
where the verse also occurs.

36
 SOUTces of l1idyakaTa's "Treasury"
~l uriiri Anarghariighav a 50
Rajasekhara BalaramiiyaI,la 21
, iddhasaIabbaiijika 59
[Sudraka] l\~cchakatika I
Visiikhadatta l\fudrariik~asa 4

[Hanumannataka] This is a cento made up in the eleventh century of

,erses by various poets. Vidyakara quotes anony-
mously five verses which are found in present
printed versions of the Ha.n. and ascribes to Hanu-
man one "erse which is not found in the printed
,ersions. Thus, he apparently knew some version
of the play but not the versions which are currently
known.

Number of
possible
POS8'ible authors quotat·ions
of lost plays by Vidyiikara Remarks
Abhinanda 18 Vidyakara quotes only two verses, not
counted in the figure to left, from
Abhinanda's mahakavya.
Acala( sirp.ha) 20
Bhasa 2 In addition are three verses doubtfully
ascribed. Of all five none occurs in the
published plays attributed to Bhasa.
Lak~midhara 16 None of these is from Lak~midhara's
rnahakavya.
Manovinoda 23 Notable are two consecutive series of
verses attributed to this author. Many
of these would fit well in a Krishna play. 85
Satananda II This author, Abhinanda's father (cf.
R.A., p. 39) is too early in date to be
identified with the philosopher (cf. J fia-
naSri, p. 22). Vidyakara's quotations of
him seem to be drawn from plays.
VallaI,la 42 The large number of ascriptions suggests
a play which Vidyakara enjoyed as
much as the Mal., Anr., or Vid.
35 Viz. vss. 267-274, 471-474. 'Where Vidyakara within a Section quotes a
succession of verses by the same author he is always drawing on a single work and
in the case of a play usually on a single act. Thus, 215-218 from Mal. Act 9;
482-485 from MiiL Act 1; 910-916 from AnT. Act 2; etc. But the sequences from
RajaSekhara's plays show some mixture of acts.

37
 General 1 ntToduction
Yasovarman 1 This author, the eighth-century king of
Kashmir and patron of Bhavabhuti, is
known from other sources to have written
a play called Riimiibhyudaya.
Yogdvara 32 Abhinanda's remarks in verse 1699 may
indicate that Y ogesvara wrote messenger-
poems, but the variety of his meter
speaks for plays as a source of Vidya-
kara's quotations.

One will see why Sanskrit plays furnished our anthologist with so
much of his material if one understands properly the nature of the San-
skrit theater. This requires removing some common misconceptions.
The Sanskrit play is not a drama, for the word 8p&~a means action and
can refer only to a piece where action and the conflict (6:ywvia) of charac-
ter and principle are essential factors of the piece. The Sanskrit play
has been described by those who best knew it as a dT$ya-kiivya, a spectacle-
poem. Its text is lyric rather than dramatic and this text functions as
an accompaniment to pantomime, dance, and music. The object of
t his combination of arts is the unfolding of a mood. Always it is mood
rather than plot which determines the content and selection of a San-
skrit play. The mood of love, for example, must be furnished in both
major varieties, as love-in-enjoyment and love-in-separation. As has
been explained there are only certain moods with which the mood of
love may be combined. Similarly, the mood of compassion is held
within strict limits. Whenever the natural development of plot, for
example the ancient version of a myth, would transgress the modal
conventions, the plot must be changed. The divisions of a play as laid
down by the theatrical handbooks, the so-called stages (avastha) and
joints (sarrtdhi) , are rather the divisions of a modal panorama than the
dramatic divisions of Aristotle.
One may object that I exaggerate, that every performance on the
stage of whatever sort must contain elements of drama. I admit the
statement, but it does not serve as an objection to what I have in mind.
The most "dramatic" elements of a Sanskrit play, using the quoted
term to mean active, exciting, revelatory of swift changes of emotion
or of relation between the characters, are furnished by pantomime and
dance. In the verses of the 8iikuntala the heroine is in love. How she
falls in love we are shown by her delightfully ambiguous bee-dance.
The flow er-gathering dance of the Miilatimiidhava and the pantomime of

38
 Sources of Vidyiikara's "Treasury"
worshipping Kama in the Ratnavali serve similar dramatic purposes.
In all three plays the text, especially the versified portions, is prevailingly
static and lyrical. 36
To an anthologist seeking for mood what better source could there
be than the spectacle-poem? Furthermore, in the plays the verses
seldom if ever build up to a cumulative effect as they do in the great
kavyas. Each verse accompanies a separate pantomime, a separate
emotional situation: first sight of the heroine, the effect of her beauty,
the pangs of separation, the effects of different times of day or season.
In its character of panorama the play passes from one of these situations
to the next. Were it to linger over one, it would fail in its goal of unfold-
ing the complete mood.
The foregoing remarks may help to explain Vidyakara's neglect
of warfare and the heroic. That aspect of poetry appears in full
view only in two brief Sections (45 and 46) and incidentally in the
verses in praise of kings. Sanskrit plays are predominantly
erotic. Only in the Ve'l.1,isa1!2hiira and in some of the pseudo-
Bhasa plays that Vidyakara apparently did not know does the
heroic set the mood for the whole piece. Sanskrit plays were festival
affairs, written and acted for royal weddings, for the Festival of
Spring, for processions of the tutelary deity of a temple. To such
occasions the panorama of war was inappropriate. It is true that
Sanskrit in general achieves finer effects in dealing with love than with
war. That it does so is because of its brahmin inheritance and because
love is compatible, as war is not, with the religious ideal of unity
that was held by most Sanskrit authors. But Venus would never
so outshine Mars in a collection which drew on the great kavyas as she
does in Vidyakara's anthology. It would be quite wrong to use the
relative strength of the two stars as they appear here as a datum for
characterizing Indian society of the time.
Small kavyas and anthologies. What I have called the small kavya is
called by the Sanskrit critics kha1J,rJ,akavya, literally, a fragmentary kavya,
By this term they indicate that the type is concerned with any of the
subjects assigned to the great kavya but that it treats of only one or of
a small selection of the subjects so assigned. In actual fact the lchar.uJa-
kiivyas preserved to us from the classical period may be more narrowly

38 The prose of the fifth act of the 8ii/,untala is dramatic, I admit, and there are

dramatic prose passages in the Mudrarfi.l0asa,. Such passages are quite untypical
of the Sanskrit theater.

39
 Gene'J'al 1nt'J'oduction
characterized. With few exceptions 37 they fall into two categories:
messenger-poems (sa'l'!~deSa-kiivya) and verse-sequences such as the
Centuries (sataka).
Messenger-poems are written in imitation or in emulation of Kalidasa's
Cloud 11lessengeT, often in the same Mandakranta meter and always in
the same mood. The hero of the Cloud Messenger, having been sent
into southern exile, is fancied to send a message back to his beloved in
the north by means of a cloud. The fancy permits the poet to furnish
descriptions of the lands and cities to be traversed by the messenger
and of the love-Iorn state of the lady whom the messenger will finally
greet. The mood of messenger-poems is always love-in-separation;
their descriptions are frequently charming and occasionally of value
also to the historian. 38 Vidyakara has included selections from at
least one messenger-poem (vss. 307-309) but, alas, he fails to name the
author.
Verse-sequences are often a hundred verses long; hence the
common name of Century for such poems. But collections both longer
and shorter are known. They deal always with a single subject, with
one of the gods, with love, worldly wisdom, renunciation. As time
went on the choice of subject broadened. Certain figures of speech or
types of verse were gathered into collections; thus arose the Centuries
of allegorical epigrams (see Intr. to Section 33 of translations). In
later times NIlakaI).tha wrote a hundred verses in praise of his mistress'
lower lip, Miika wrote five Centuries on the beauties of the mother-
goddess, while a NrsilTlhabhatta produced an anthology of stanzas on
the betelnut. 39 Always there was a tendency for such verse-sequences
to be expanded into anthologies. The reader would jot down on the
margin verses on the same subject which he had read or heard
elsewhere.
Among the most famous of ancient verse-sequences are the three
CentuTies attributed to the grammarian and philosopher Bhartrhari:
37 Damodaragupta's Kut~animata, from which Vidyakara quotes twice, is an

exception. It is a picaresque tale, told in Arya meter. The tale is not only versified
but poeticized and may thus be called with justice a kavya.
38 Dr. J. B. Chaudhuri deserves credit for having recently edited and published

a large number of these messenger poems (later than Vidyakara) in his series Sanskrit
Dutakiivya-sa'f!lgraha.
39NIlakaJ;ltha-vikalpitam Adhamsatakam, ed. N. A. Gore, J. of the University of
Poona, 1 (1953), pp. 94-148. Miikakavi-krta PaficaSati, KM., Original Series 5,
pp. 1- 75. P. K. Gode, "The TambtDa-kalpa-surpgraha ... ," Poona Orientalist, 18,
pp. 1-3.

40
 SOU'fees of Vidydka'r a's "TTeasury"
The Centw'y oJ Worldly l,f'isdom, The Century of Love, and The Century
of Renunciation. These collections are preserved in literally hundreds of
manu scripts, th e discrepancies of which might well drive an unhardened
editor to desperat ion. Instead of three hundred verses the various
manuscript. furni h a ltogether more than seven hundred. D. D.
Kosambi, who ha et forth the manuscript evidence in admirable
fashion in The Epigrams attr'ibuted to Bhm·trhaTi,40 arrives at a kernel
of two hundred verses "hich are found in all versions and which he
thinks may be attributed with some justice to a poet Bhart~hari.
In his edition Kosambi was unwilling to identify the poet with the
grammarian-philosopher chiefly because of the supposedly late date
of the latter. But we now know that I Ching's dating of the philos-
opher was wrong. Bhartrhari belongs close to A.D. 400. 41 I see no
reason why he should not have \yritten poems as well as grammar
and metaphysics. 42 Vidyakara quotes twenty-five verses that seem
to be certainly Bhartrhari's and many others which may be by that
author.
Since \ idyakara quotes hea, ily from Bhart17hari I wish to amplify the
remarks of the Text \ olume (p. lx..-xxvi) on that source. It is there stated that
"it is clear from V[idyakara] and [the] S[adukt'ika1'?)iim'(ta] that no Bhartrhari
version of an y known type [had] reached the east before 1200." This is
strictIy true, but must not be taken to imply that no Bhartrhari version had
reached the east by that date. Vidyakara quotes sixteen verses 43 which
are found in every existing version of Bhartrhari's Century of Worldly Wisdom
and seven more verses U that are found in more than one at least of the existing
versions. It seems to me incredible that an anthologist could quote 15 to
20 per cent of a text by the accidents of drawing on literature at large. For
The CentUiry oJ Renunciation the statistics of certain and doubtful verses are
reversed: seven of \ idyakara's verses are found in all versions, ten are found

'0 See Abbreviations and References s.v. Bh.

H Erich Frauwallner, Geschichte der indischen Philosophie, n, p. 144, assigns
Bhartrhari the dates c. 460-520, which seem to me somewhat late. Stlryanarayal).a
Sukla in Viikyapadiyam, Kashi Sanskrit Series 124, Bhiimika, p. 2, puts him before
vile sam. 400, that is, A.D . 343, which is surely too early. Bhartrhari's apparent
contemporaneity with Dignaga and his being quoted by Bhiivaviveka and the physi-
cian Vagbhatta should place hinl close to 400.
'2 The combination is rare in Europe but common in India as the examples of

Dharmakirti, SaIpkadiciirya, Sri Harl?a, and many others will show. In fact it is
unusual in India to find an important philosopher who was not also a poet.
431204, 1213, 1217, 1221, 1225, 1243, 1273, 1277, 1334, 1343, 1465, 1611, 1628,
1666, 1673, 1696.
u 1215, 1242, 1267, 1330, 1348, 1353, 1473.

41
 General 1 ntroduction
in more than one version. 40 Inasmuch as eight of those seventeen ve rse~
are found also in the 8anti§ataka, which Vidyakara certainly knew (see
below), it may be well not to insist on Vidyakara's acquaintance 'w ith The
Century of Renunciation although such acquaintance seems to me probable.
Of The Centu1'Y of Love Vidyakara was probably ignorant. 4 6
Now, if Vidyakara knew one of Bhartrhari's Cen turies and quite possibly
two, it is surprising that the readings of Vidyakara' s selections agree" ith no
version of the Centuries that has been preserved. 4 7 It is also surprising that
the greater part of the selections are quoted without ascription 48 while a few
are actually ascribed to authors other than Bhartrhari.
I believe that these surprises can be explained . It has been shown by the
learned editor of Bhartrhari that there does not now exist a Bengali r ecension
of the Centuries. 49 All manuscripts of the Centuries examined in Bengal
prove to be copies of western or northern versions. Is it not likely that there
once was a Bengali version and that that is basically what we have in Vidya-
kara's quotations? Secondly, one may notice that in Vidyakara's quotations
transpositions of words and even of half lines are very common, for example,
raja tvam where all other versions have tva1?t raj a, bhaved gU1Ja~t where all
others hav e g'wr.w bhavet. 5o Such transpositions imply that Vidyakara was
quoting from memory rather than from manuscript. I suggest that when
Vidyakara quoted from memory he did not bother to subscribe Bhartrhari's
name to the verse. Only when he picked the verse from a manuscript,
perhaps from some general anthology where the ascription was already written
out, did he copy down the word BhartrharelJ,.
Next, one must explain the ascriptions to other authors. Of verses which
seem definitely to belong to the Centuries Vidyakara ascribes five to authors
other than Bhartrhari. Of these occurrences we can eliminate the ascription
of 1217, to Kiilidasa, as being a mistake; it occurs only in ms. N and is correc-
ted in ms. K. Verse 1221 is ascribed to V yasa, which is to say that the
anthologist remembered it from the Mahabharata or from one of the PuraI).as
rather than, or as well as, from the Centuries. As the editors have noted, the

45 Found in all versions: 1222, 1461 , 1467, 1471, 1605, 1617, 1633; found in more

than one version: 1267, 1330,1353,1473,1594,1604, 1612, 1620, 1630, 1632. It will
be seen that some of the uncertain verses float between the Worldly Wisdom and Re-
nunciation collections, being found in one Century in some mss., in another in others.
46 Of its verses found in all versions Vidyakara quotes only two: 367 and 489.

Vidyakara's 497,498 and 507 are found in some versions and his 312 appears in
two Malayalam mss. of The Century of Love.
47 Compare the unique readings of 1204a, 1213a, 1330, 1348, etc.

48 Vidyakara sets Bhartrhari's name to six verses only. Of these three (1215,
1217, 1222) are found in the Centuries, three (1610, 1635, 1730) are not.
U Bh., lntr., pp. 57-58.

50 Cf. 1222, 1273d. For transposition of half-line, cf. 1243.

42
 Sources of Vidyiikara's " Treasury"
verse actually occurs in the Garu4a-mahiipuratw-. Verses 1213 and 1605 are
ascribed respectively to Dharmakirti and Utpalaraja. Now I am persuaded
that Dharmakirti wrote a work on poetics. 51 If this was similar to later works
on the subject, it would have consisted of sutras, comment, ~nd examples.
Is it not likely that Dharmakirti should have taken one of the Century verses
for an example and that Vidyakara, having read it there, should have re-
attributed it to that most learned of Buddhist critics? Utpalaraja also was
a critic, the teacher of Abhinavagupta. His works are now lost, but if they
were in any way like those of his pupil he must have used many verses of
others to exemplify his judgments. The only case which I cannot explain is
the ascription of verse 507 to Savarl)i, for we know nothing about SavarI).i. One
may remark, however, that the verse is from the Century of Love, which Vidya-
kara did not know, and furthermore that the verse is missing in several manu-
scripts of that Centu1·Y. It is possible that the verse actually is by SavarI).i.
A verse-sequence from which Vidyakara drew a heavier proportion
of stanzas than from Bhart~hari is SilhaI).a's SiintiSataka or Century of
Peace. Of the 104 verses of that collection which Schonfeld regarded as
genuine, Vidyakara quotes 34, giving all of them without ascription.
The second stanza of SilhaQ.a's CentU1'Y says clearly that" SilhaI).a made
(vidadhe) the book," but most of the verses seem nevertheless to be
taken from other authors. From the ascriptions of the Sadulctikar'IJiimrta
it would seem that the genuine verses of SilhaI).a are all in the first chap-
ter, that verses of similar mood by other authors were then inserted
into the first chapter, and that still other non-8ilhaQ.a verses were
gathered to make chapters two to four. 52
SI Mr. A. N. Pandeya has pointed out to me that the philosopher DharmakIrti is
quoted by Jaina authors under the name Sauddhodani and that the same name
Sauddhodani is given by KdBva Misra to the author of the sUtras on which he
bases his Ala1[LkaraSckara (K.M. 50, cf. p. 2). One may add that Sivarama, a
commentator on the V iisavadattii, expressly says that Dharmakirti wrote a work
caUedAla1[Lkiira; cf. Sivaprasad BhattacharyyainJ. of the Asiatic Soc., 22 (1956), p. 63.
62 The inferences derive from the following statistics. Column (a) chapter of
8antiSataka, (b) number of verses in chapter, (c) number of verses of a quoted by
Vidyi'ikara, (d) number of c verses attributed to Silhal).a by S, (e) number of c verses
given by S as anonymous, (1) number of c verses attributed by S to other sources.
a bed e f
1 28 11 6 0 4
2 26 10 0 4 3
3 25 5 0 0 2
4 25 8 0 1 4
S attributes a number of amatory verses to Silha~a which of course are not found in
the Century. Its only attributions to SHha1).a which are found in the Century are
found in the first chapter.

48
 Genaal Introduction
Of all Sanskrit verse-sequences perhaps the finest in point of literary
merit is The Century of Amaru, which consists in most versions not of an
even hundred but of somewhat more than that number of stanzas,
all dealing with love. Whatever the origin of The CentuTY of Arnaru
the majority of the present collection is clearly the work of no one man
but of numerous amatory poets for the most part of the seventh and
eighth centuries. 53 Vidyakara's ascriptions are of great value for
establishing that fact. He has taken approximately one third of the
Century into his own collection.
Vidyakara ascribes two verses to a poet whom he calls Amariika; neither
verse is found in The Century of Amaru. The SaduktikaT1:uinqta ascribes the
same verses to a poet Amaru as well as a vast number of other verses some of
which also are not found in the present Century. On the other hand, of
Vidyakara's thirty-three apparently genuine verses of the Amaru Century
thirteen are given without ascription 54 while the remaining twenty are ascribed
in the following extraordinary way:
Ascription Verse or verses so ascribed
Acalasirp.ha 100
BaDa 49
Dharmak'irti 479, 481, 645, 657
Sri Har~a 508, 639, 765
Jhalajjhala 532
Vikatanitamba 572, 659
Ratipala 641
BhavakadevI 646
Pradyumna 648
Hingoka 649
Kumarabhatta 653
Satananda 671
Siddhoka 728
Devagupta 835
I have already noted that Vidyakara is conscientious In the matter of
ascriptions. Thai is to say, he may omit an ascription altogether, but
when he gives one it must be taken seriously. Accordingly, I fully believe
that the twenty verses of the Amaru Century which he ascribes to Acalasirp.ha,
53 Winternitz dated the Century of Amaru far too early, doubtless from the pre-

judice that whatever is good in Sanskrit must be old. A careful reading of the
text, quite without Vidyakara's ascriptions, would point in the opposite direction.
The verses constantly achieve their effects by dhvani in a fashion quite foreign to
the amatory verse of the early period.
s4603, 614, 621,622, 640, 664,666, 667, 678, 695, 697, 803, 816.

44
 Sources of Vidydkm'a's " Treasury"
Bal).a, Dharmakirti, and so on are by those persons and not by Amaru. At
the same time it is impossible that Vidyakara should not be quoting from a
collection very like The Centu1Y of AmQ.1'U that we now possess. How else
would he give us thirty per cent of that text? V\Thy else 'would the quotations
crowd so close together?
I see only one way to explain the facts. The CentU1Y oJ Amaru that we
now possess is in fact an old anthology. In Vidyakara's time the manuscripts
of this anthology must still have listed the names of many of the antholo-
gized authors, just as the manuscripts of the Seven Centuries of Hala still do.
But between Vidyakara's time and the present the authors' names came to be
dropped with the natural result that all the verses were then ascribed to one
poet. That Amaru's Centu1·y may have originated from a smaller collection
of verses actually by a poet called Amaru or Amaruka is possible. The
analogy of the Silhm:ta and the Bhart~'hari CentU1·ies might argue in that
direction. On the other hand, the ascription of non-Century verses to Amaru
(-iika) by the early anthologists might argue otherwise. The legends of
Amaru the Lover prove nothing one way or the other. The legends could
have grown from the poetry or the poems could have been ascribed on the
basis of the legends.
Of less famous verse-sequences Vidyakara quotes sparingly from
Mayiira's Centu1'y in Pmise oJ the Sun (Suryaiatalca) and from Bhallata's
Century of Worldly l¥isdorn, collections which, because of their lesser
fame, have been less subjected to anthological inflation.
The question may be asked how many small kavyas and anthologies
that are now lost to us were utilized by Vidyakara. One's answer
must be a very imperfect one, for generally we can say nothing of the
nature of a lost source from one or two ascribed verses and when any
number of verses is unascribed, unless we can rely on testimonia, we are
reduced to guess·work. The following attributions, then, range from
the possible to the probable without achieving certainty. It has seemed
to me that the stanzas ascribed to Vakkiita, which show a very distinctive
style, may be from some small collection comparable to The Century of
Amaru but by a single author. In several cases one suspects the use
of a single lost source without being able to guess its name. Thus, verses
221-251 all deal with the same subject, the monsoon, are all unascribed,
and none of them is found in any existing work other than Vidyakara's
collection and collections which can be shown to have used Vidyakara.
It is probable that they come from a small kavya of Pala times describing
the seasons. The Sabdar?;ava, which Vidyakara names four times,
would seem by its name to have been an anthology. Possibly the
M ahodadhi, named twice, is the title of a similar work. Vidyakara's is

45
 General I ntToduction
the oldest general anthology of Sanskrit verse which we have, but since
there exist Prakrit anthologies older by centuries there is no reason to
suppose that the Sanskrit examples of the type began with our antholo-
gist. Various successions of verses in Vidyakara, for example, 1042-
1053, 1067-1078 (note the arrangement by meter), 1283-1291, 1479-
1490, by their absence of ascription, by their arrangement, or by their
rarity in other collections give the impression of having been taken from
one or more pre-existing anthologies of eastern Sanskrit verse.
Stray verses. Vidyakara did not limit his labors to the mines of pure
ore; he looked for gold wherever a nugget might be found. In so un-
likely a source as Jitari's scholastic refutation of the doctrine ofuniversals
he found an introductory prayer, written in polished verse, to the bodhi-
sattva Mafijugho;;a (vs. 28). Many of the verses of the three small
Buddhist sections of our anthology derive from sources that may have
been as unpromising.
The introductory prayer or benediction forms a special type of poetry
in Sanskrit, details of which will be found described in the Introduction
to Section 4 of the anthology. All but a very few Sanskrit works,
whether in verse or prose, are furnished with such prayers, for the
doctrine is held that the natural impediments to literary composition
can be overcome only by such means. Vidyakara gathers into his
collection, especially in Sections 4 to 6, the benedictory verses of most of
the plays that were known to him. These verses are directed to one or
another of the gods, whose attributes or whose mythological adventures
are described often in some particular fashion that may be appropriate
to the nature of the play to follow. Sometimes in the plays and more
often in non-didactic prose works the initial prayer is followed by non-
religious verses which speak of famous literary works of the past or
praise the current work of the author. Vidyakara has used several
such introductory verses from BaI).a's romantic history of King Har!;ia
(vss. 1710-1712, 1735). Section 50 on Praise of Poets is composed
very largely of verses of this type, most of them by authors whose
works are now lost but for many of whorp, by good fortune, Vidyakara
furnishes the names: VallaI)a, Salika, Dharmakirti,55 Dakl;ia, and others.
Like the collector of the Palatine Anthology but unlike any Sanskrit
anthologist that I know of, Vidyakara included inscriptions among his
sources. In Section 46 he gives us a number of verses from that source

66 Mr. A. N. Pandeya has informed me that vs. 1726 is from the introduction to
Dharmakirti's PramdtwviniScaya.

46
 Sources of l1idyakara's "Treasury"
and there is reason to suspect that he may have hidden similar verses
elsewhere. 56 The selections on the whole are good examples of inscrip-
tional magniloquence. Their historical value, ho'wever, is reduced by
their being torn from context. Vidyakara was interested in poetry,
not history.
Frequently verses are embedded in Sanskrit prose works. All but
one of Vidyakara's quotations of Subandhu are of verses embedded in
that author's prose romance, the Vti,savadatta. In popular works such
as the fables of the Paiicatantra and the Hitopadeia verses are used in
order to sum up in brief or in striking manner the moral of the preceding
tale. As will be seen from the index of authors, Vidyakara has used a
few of these proverb-like verses in the gnomic sections of his anthology.
But he quotes sparingly from popular literature; its verses are usually
too simple and unadorned to be called subhii$itas. More to his liking
were the polished and sophisticated verses that could be found in the
treatises of literary critics.
Among Vidyakara's favorite critics was Dharmakirti, from whom he
gives us nineteen verses, most of which he must have found serving as
examples in that author's work on poetics. 57 While it is inherently
likely that Dharmakirti used for his purpose verses by others as well as by
himself, the verses which Vidyakara attributes to Dharmakirti have a
most distinctive style, as the reader may easily verify. They are sharp,
witty, and waste no words, qualities which prove equally effective in
arousing laughter {437, 479), scorn (1726), and compassion (454, 657).
In view of the fact that Dharmakirti shows just such qualities in verses
that are undoubtedly his own, one cannot avoid the impression that most
of the verses here attributed to Dharmakirti are his own compositions.
It may be that Vidyakara drew just as heavily on the critical writings
of Rajasekhara. Such is my opinion although the evidence is circum-
stantial rather than direct.

Vidyakara quotes from most of the surviving works of Rajasekhara, from

the ViddhaSiilahhaiijikii, the Biilariimiiya1Ja, and the Kavirahasya. In
addition he subscribes Rajasekhara's name to twenty verses which are found
in none of that author's surviving works. Whence did he take them? It
is known that Rajasekhara wrote a Haraviliisa which has disappeared, but

56 Thus, verse 50, on the authority of the testimonia, is from 8ornantithaprasasti.

While the term might simply mean 'praise of Si VB, ' it is more likely to mean 'inscrip-
tion at the Somaniitha temple.'
57 See footnote 51 above.

47
 GeneTal 1 ntTOduction
the Haraviliisa was a mahiikiivya 58 and the majority of our mysterious verses
because of their meter cannot come from such a ·work. Many of them could
come from a lost play, but if Rajasekhara wrote a play which has perished
one would expect some notice of it to appear in the books of the older critics.
On the other hand there is good evidence that Rajasekhara wrote far more
literary criticisrn than has come down to us. His Kavirahasya purports to
be the first chapter only of an eighteen-chapter encyclopedia, the Kiivyami-
miirr/'sii.59 All our mysterious verses could ,veIl have been exemplar verses in
such a composition.

That our anthologist knew the work of th e mos t brilliant of all

Sanskrit critics is shown by his quoting Anandavardhana by name (vs.
421). He quotes Dal~~in's KiivyiidaTsa once without ascription (1512)
and ascribes one verse to Dalf<;lin (492) that is not found in the Kiivyii-
darsa but is precisely in the style of that work. Whether Vidyakara
knew the critical writings of Bhoja is doubtful. Many of his anonymous
quotations are found in Bhoja's works, but given the size of Bhoja's
Srngiimpmkasa and Sa1'asvatika~1. thiibha1'a1.w that is not surprising. Of
the eight verses which Vidyakara expressly ascribes to Bhoja only one
is found in available editions or indexes of Bhoja's works. 60 Presum-
ably the others come from some lost, or hitherto unpublished, production
of Bhoja's academy. 61 That our anthologist kne" the critical works of
Vamana and Bhattanayaka seems to me almost certain despite the
fact that he never mentions t heir names. 62

58 See Kavyaminui1TI,sa, Gaekwad's Oriental Series vo1. ], third ed., ]934,

pp. xv, xxxii- xxxiii.
59 Ibid., pp. xxxiii-xxxiv.
60 By 'available indexes' the 8pigiirapraJuisa is included. Prof. V. , . Raghavan
made available a pratika index of its verses to the editors of Vidyakara's te}..'t,
61 Everything emanating from the academy of King Bhoja of Dhar (c. 1000-1050)

bears the name of the king as author. Much of this material is not yet published.
62 Fl'om the testimonia of the text volume one may count nineteen verses of our
anthology which occur in Vamana and ten and a half verses which occur in Bhatta-
nayaka's Vakroktij'ivita. Many of these verses, of course, are used over and over
again by the critics and Vidyakara need not have taken them from one critic rather
than from another, Four of Vidyakara's verses, however, are found used by no
other critic than Vamana (2, 185, 530, 881) and four verses are found in no other
critic than Bhattanayaka (134, 203, 539,737) . What has finally decided me is the
presence of the consecutive verses 529- 530 and 539-540. The former pair are
both Vamana's, one of them occurring nowhere outside of Vamana except in our
anthology and its derivatives; the latter pail' are both Bhattanayaka's with a
similar qualification that one of them occurs only there and in the tradition of our
anthology.

48
 On the Passing of Judgments
One may sum up the foregoing discussion of Vidyakara's sources by
saying that Vidyakara drew chiefly on Sanskrit plays, verse-sequences,
and anthologies of the period from A.D. 700 to 1050. To these he added
stray verses from inscriptions and prose works, making considerable use
of introductory prayers and of exemplar verses by such critics as
Dharmakirti and Rajasekhara. On the whole he favored authors of
his own kingdom, but his three greatest favorites, Rajasekhara, M:urari,
and Bhavabhuti were non-easterners who had woil that international
fame among Sanskriti ts which they still possess.
Perhaps two-thirds of Vidyakara's verses may still be found in other
works, either in the original works from which he drew or in other
anthologies , some of which owe their treasures to Vidyakara himself.63
Of the one third which is completely ne"w to us three types of verse are
of remarkable literary value: the Pala poems of village and field (cf.
Intr. to Section 35), the love poetry in the style of Amaru but not found
in Amaru (cf. Intr. to Sections 21 and 19), and the religious poetry of
Sections 4 to 6. Of historical as well as literary value are the verses
of Section 50 in praise of poets.
In introducing each section of the anthology I shall try to characterize
the types of poetry there found. The reader may supplement my
remarks by a consecutive reading of verses by such poets as he finds
pleasing, a procedure that will lead him more quickly than any other to
an appreciation of their individual differences. He may thus discover
for himself the easy elegance of Rajasekhara, the brilliance of M:urari's
conceits, the romanticism of Bhavabhiiti, and the realism of Y ogesvara.
I must forgo the task of criticizing these and other poets in detail, for
to do so would be to write a history of classical Sanskrit literature.

3. On the Passing of Judgments

There is good tradition in both English and Sanskrit for a poet to
fling out at the critics. Perhaps a translator of poetry may be allowed
to take his poets' part in this respect without being thought to overstep
the bounds of decency. I hope that this may be the case, for Sanskrit
poetry has been much maligned in English and is worthy of some
defense.
The first period of excitement at the discovery of Sanskrit literature,
a period which produced the enthusiastic judgments of Hastings and
Jones, was succeeded by a long period in which English writers subjected
63 See Text Volume, pp. xxi- xxiii.

49
 Gene'1'al Introduction
Sanskrit literature to the literary canons of their own land. Their
conclusions would have been unsound even had they chosen the canons
of Latin and Greek. By choosing as they did those of Victorian England
and nineteenth-century America their judgments were sometimes
monstrous. Fitzedward Hall, troubled by the sometimes erotic imagery
of Subandhu, exclaimed that that author was "no better, at the very
best, than a specious savage." 64 A. A. Macdonell was less ill-mannered
but no more understanding. 65 He found nothing to say of the great
poets Bharavi and Magha except that they favored " verbal tricks and
metrical puzzles. " The judgment of the period, in England and
Amerjca, was based on nineteenth-century Western morals and nine-
teenth-century Western notions of literature. At no point was it
enlightened by reference to the critical literature of Sanskrit itself.
In the twentieth century the Victorian prejudices were summed up
and refined by A. B. Keith, a sound chronologist, who accomplished
work of merit both in Vedic studies and in modern Indian law. But of
Keith's reading, it seems to me, no word ever passed beyond his head
to his heart. It is obvious from his works 66 that for the most part he
disliked Sanskrit literature. There are only two classical authors to
whom he allows full praise, Kalidasa and Bhavabhuti. He finds
occasional merits in Bharavi and Magha, but for other authors, revered
by a thousand years of Indian tradition, he has nothing but scorn.
Sri Har~a is hopelessly "clever"; Murari and Rajasekhara have no
"dramatic sense"; the later kavyas are all artificiality and bombast.
What is unjust in these judgments is that not once does Keith apply the
remarks of a Sanskrit critic to any of the Sanskrit works he is judging.
A greater injustice than Keith's, it seems to me, is done to Sanskrit
poetry by the theory of D. D. Kosambi, the scholar who has done such
admirable work for the recovery and decipherment of this poetry which
he wrongs.
Kosambi's theory of Sanskrit poetry is an application to India of Engels '
and Plekhanov's theories of the class origins of literature. 67 Reduced to
64 The V tisavadatta, a Romance by Subandhu, ed. Fitzedward Hall, Bibliotheca

Indica, old series 116, 130, 148, Calcutta, 1859. The reference is to Hall's Intro-
duction, p. 28.
65 Arthur A. Macdonell, A History of Sanskrit Literature, London, William Heine-

mann Ltd., 1900.

66 A History of Sanskrit Literature, Oxford, Oxford University Press, 1920, and

The Sanskrit Drama, Oxford, Oxford University Press, 1924.

67 Kosambi's theory will be found set forth in detail in his introduction to the
text volume, pp. xl-Ixii.

50
 On the Passing of Judgments
essentials it is this. The nature of a literature depends on the economic
class of its authors and their patrons. Great literatures are created by
the rise of a new class which advances the techniques of production.
For a brief period this class takes the whole world as its interest and so
can speak for the world, but it then soon degenerates into a class of
""\ ested interests and uses literature as a prop to support class power and
status. At that point the golden age passes into an age of decadence.
To come to the particulars of Indian literature, "The average Sanskrit
poet wrote for the patrician." "The poet [is] a talking house-bird." 68
Sanskrit authors were reduced to writing almost exclusively of sex and
religion, for the first was a harmless opiate and the second tended to
the support of the status quo. Sanskrit poets knew nothing of martial
valor nor of the poetry of the common people. "The subhii$ita literature
... could not reach the people, so its class interests remain unmistak-
able." And how can this literature command our admiration when
" new [and vigorous] types of literature cannot be expected without the
rise of new classes"? 69
Kosambi's scorn is more inclusive than Keith's. Out of all the classical
Sanskrit poets he grants his full praise only to Kalidasa. Somehow
Kalidasa is early enough to be associated with a class movement in
which "feudalism from below" replaced centralized rule. 70 After this
time all was decadence, relieved not even by the Moslem twilight, until
the coming of the nineteenth century.
'iVhat can one say to such a theory? It may be readily granted that
Sanskrit poets were the clients of kings and of the rich. In itself this
makes them neither bad poets nor good. It is a preposterous theory
that would make Mozart a decadent and Elvis Presley a genius by refer-
ence to the economic history of their particular patron classes. But
perhaps we must leave particulars and talk only of the grand motions of
history. The golden age of Greece, of Rome, of eighteenth-century
Germany, says the theorist, show a parallel rise of new social classes and
of great artists. Indeed they do, and it was in a world of knowledge
cramped into precisely those limits that the class interpretation of
literary history arose. We can now see farther. When we take into
consideration the history of China and India as well as that of Europe
the theory of parallelism between the rise of new classes and of great art
68 Ibid., pp. xlvi, xlvii.
e& Ibid., p. lviii.
10 Ibid., p. I, and Kosambi's An Introduction to the Study of Indian History,

Bombay, 1956, pp. 267-268, 282.

51
 GenerallntToduction
breaks down. In the five centuries of Chinese history from the begin-
ning of the T'ang dynasty to that of the Yilan and in the six to seven
centuries of India from the end of the Guptas to the coming of the
Moslems, there arose no new social classes of note. In obedience to the
theory of Engels, then, we must say that China and India had no signi-
ficant art during those centuries. But those are precisely the greatest
periods of art in both areas, not only in poetry but in painting and
sculpture and architecture and philosophy.
I have no desire to argue the reason for this discrepancy between
different cultural areas. Clearly it is connected with the fact that the
humans of ancient Greece and of eighteenth-century Germany were
organized in societies oriented toward change whereas the Indians of
the Rajput period were organized into a society oriented toward sta-
bility.71 Art goes with the general spirit of the society and culture
from which it grows. But let us come back to the facts. The period
which produced Murari and Rajasekhara produced Kumarila, Sal!l-
karacarya, and the temples of Khajuraho and Orissa. The two poets
may be criticized on other grounds; they cannot in justice be thrown
out of court for the degeneracy of their times.
But are we for ever to judge Indian literature by standards so foreign
to it? Must we scoff at Rajasekhara because he failed to \vrite dramas
that could be put on at Co vent Garden? Must we hate the intricacies
of Murari because we hate the social system of his time? Surely in the
inspection of ancient literatures it should be possible to arrest our judg-
ment long enough for appreciation to grow in our minds of ideals and
goals other than our own.
Having cried out against the wrong turnings of others, I may describe
briefly the correct path as I see it. The path to a proper understanding
of Sanskrit poetry must begin with Sanskrit poetry itself, with trying to
understand and if possible to reproduce its specifically poetic effects .
In finding one's way one must seek guidance from those versed in the
tradition, from the great critics of the ninth to the thirteenth centuries,
and from those few modern Indians and fewer Europeans who can under-
stand and interpret their works. 'W'e must reverence, at least for the
time being, the poets whom the Sanskrit critics themselves have held in
reverence. If we are finally to condemn Murari and Rajasekhara it
must be not by a Western theory of drama which those Indian authors
71 The statement does not imply a general contrast between East and 'Vest.

Europe has had periods of cultural stability and both India and China have had
periods of rapid cultural change.

52
 On the P assing of Judgments
never professed, but by the principles of mood and suggestion which
they claimed to follow. After one has in mind clearly what the texts
mean and what t heir authors were seeking to achieve one may go on
to compare the general principles of Sanskrit poetry with those set forth
by Aristotle or 1. A. Richards. It is at that point that one may take
into account the differences of social structure between ancient India,
Greece, and t\\ entieth-century England. I have nothing against
admitting that those differences played an important role in bringing
about the variation of character among the three literatures. But the
path of the critic of poetry must begin with poetry, not with theories of
society.
The Buddha spoke to l\'Ialunkyaputta of a man wounded with an
arrow who would not let the surgeon draw the shaft until he knew the
caste of the man who had shot it. Was that man more unreasonable
than one who will not listen to beauty until he knows that it comes from
a new economic class that advances the techniques of production?

3+s,c.p. 53
THE ANTHOLOGY
 Praise to the Buddha!
1. I shall make up a priceless store
of charming words by sundry master poets,
such as have ornamented expert throats
and made great poets nod in approbation. [ VIDY AKARA ]
 Section 1
THE BUDDHA

1. Almost all Sanskrit works begin with benedictory stanzas, in order

by praise of the gods " to avoid all obstacles to the completion of the
work in hand and to teach one's pupils to do like'wise" (Sm. ad 1.1.).
Sanskrit anthologies usually begin with a considerable number of
benedictory verses, distributed in groups according to the god addressed,
the personal god of the anthologist coming first. Vidyakara is no
exception to the rule and, being a Buddhist abbot, he begins with praise
of the divine human, the Buddha. But while he thus performs his
duty with correctness, one doubts that he had much emotional attach-
ment to Buddhist poetry. The sections devoted to Siva and Vi~l).u
are not only larger; the verses which they contain are incomparably
better in quality.
2. Sanskrit benedictions follow a very strict pattern. Each verse is
usually a single sentence. The subject may be a name or epithet of the
divine being, in which case adjective compounds or relative clauses are
directly attached (3,5,6,14, 15); or it may be some attribute or property
of the divine being: the Buddha's teeth as he smiles in teaching (13), his
toenails (7), the flowers offered to him in worship (12); or it may be some
dramatic moment in his history, for example, the moment when the
Buddha overcame Mara (11). Whatever the subject, verb and comple-
ment are formed by brief phrases such as 'may he protect you,' 'may it
lead to your welfare,' ' may he save you.' Further discussion of the
form of these benedictions will be found in lntr. 4, where the examples
will show how true poetry can grow out of this rigid form.
3. The commonest epithet of the Buddha in the verses which follow
is 'the Teacher' (6, 10, 13). He is the teacher who points the way
across the sea of transmigration (5,6), who dispels the night of ignorance
(13), for he himself has found the path to escape (10). He is the Sugata
(5, 9), ' he who has passed well,' that is, who has passed to nirvana. He
is the Sakya Saint (stikyo munilJ" 15), the Chief of Saints or of ascetics
(muni-grama~1,ilJ" 4), the Victorious (jinalJ" 2, 12, 14). The last has special

57
 The Buddha [Sec. 1
reference to the Buddha's victory over Mara or the mfi:ras and his with-
standing the blandishments of l\1ara's women. Mara is conceived as
the embodiment of passion, of those fires of lust and hate which Buddh-
ism chiefly seeks to allay. As an embodiment of hatred Mara appears
as a soldier (ll); as lust he is Kama, that is, Love, the flower-arrowed
god. Verses 2, 4, 9, 10, 11, 14, 16 refer in various elaborate ways to the
Buddha's victory, verses 4 and 10 contrasting the calm forbearance of
the Buddha with the violence of Siva, who burned up Kama in the
Hindu myth (see Intr. 4, par. 12). The legend of the fight against
Mara is recorded in all the biographies of the Buddha and has been
made the subject of a special study by E. Windisch in his .Ll lara und
Buddha.
4. Verse 2 (see notes) is a punning verse which may have no appeal
for the modern reader but was once a favorite. Verse 8 is not actually
addressed to the Buddha but is a rather tedious exercise on the six
perfections. Other than these the verses attain a fairly uniform degree
of elegant frigidity, with perhaps only 11 and 12 showing a suggestion
of true poetry.
5. One may assign two reasons other than the personal inclinations of
the anthologist for the poor quality of his Buddhist selections. In the
first place, he naturally drew on work of the abbots and professors of
his own and neighboring monasteries. That this is the case appears
clearly from his ascriptions. Vidyakara knows the author's name of
almost every Buddhist verse he quotes. These men were close to him.
Almost all of them were Bengalis, who lived within a century or two of
his time. Now, abbots and professors, while they sometimes appreciate
good poetry, are seldom capable of writing it. Vidyakara is a case in
point. In later sections of his anthology he shows excellent taste for
the work of others. Of the two verses, however, which he composed
himself for his anthology (1 and 1738) the former is a poor perform-
ance (see notes).
6. A deeper cause may be found for the poverty of the Buddhist
verses. Vidyakara allowed little in his anthology that was not a
subh~ita, that is, a verse written in the tradition of Sanskrit court
poetry. Now, the Sanskrit court tradition in poetry is permeated with
Hindu mythology, is originally based on an appeal to the emotions and
is sensuous to an extreme. All three of these qualities make it difficult
to write good Buddhist subhii$itas. Buddhism at its best is agnostic
and unemotional; even in its emotional forms it is opposed to sensual
excess as it is to other sorts of excess. The Buddhists in India at times

58
Sec. 1] The Buddha
produced good poetry as in the Dharmapada and in some of the
Mahiiyiina stotras, but, with a :few exceptions like Asvagho~a and Dhar-
makirti, they could succeed in the court tradition only by forgetting
that they were Buddhists.
[' erse 2 is treated in the Notes.]
3. Before whom bowing, Brahma, Siva, Vi!>l)u
b) reflection in the toenails of his feet
were metamorphosed into hea, en 's thirty gods;
may he, the three" orlds' master, who has gained the shore
of the crossless ocean of existence,
the soldier bold in conquering the hosts of Love,
for ever teach you for your joy . VAS UKALP A

4. Love and anger both are states

hostile to self-control.
What then did Siva hope to gain
by slaying Love in anger?
Rather may he who by forbearance
quelled Love together with a hundred foes,
that chief of saints, the Buddha,
point you to your welfare.

5. May the Sugata achieve your 'welfare,

who is the only dyke by which to cross
the crossless sea of transmigration,
a dyke that was not carried off
by such serried waves of a doomsday storm
as were Mara's troops exulting in their strength.
APARAJITARAK~ITA

6. May the blessed teacher save the world from grief,

who like the sun dispels an darkness,
breaker of transmigration's ramparts,
prince of saints, destroyer
of that skillet for the bulbs of life, proud Love. VASUKALI'A

7. May there light upon your turban

from the toenails of his pardon-granting feet
shimmering rays, so many garlands as it were,

59
 The Buddha [Sec. 1
worthy of a universal monarch's coronation;
wherein his saving pity forms the plantain fio\\ er,
his wisdom the pearl necklace of the queen,
his peace the aspersion from the holy streams. sRiDHARANANDlN

8. There stands a shady tree which gives six magic powers,

the tree itself composed of six perfections.
It is cool from Virtue's sprinkling
and bright with Meditation's watering trench.
It soars aloft with stem of Charity;
its broad and shining foliage is Penetrating Wisdom;
its branches, Courage irresistible;
the leaves that it puts forth, Humility.
The fruit, and may it grant it you, contains as pit
Complete Illumination. ~;RiDHARANANDIN

9. We may conceal all expression of surprise

at the victory which, single-handed, Love has won,
aided by the sidelong glances of frail women,
against the world; but that the Sugata moved not an eyebrow
to conquer Love together with a mighty troop:
the mention of such virtue freezes us with wonder.
KUMUDAKARAMATI

10. This is the Teacher's greatness that in him

the will to escape has ripened into fruit,-
to escape the need of working out the sins
acquired in endless repetitions of being born
as each of endless sorts of creatures.
Some few would add as praise that he did conquer Love;
to which we answer, what is so great in Love,
who turned forthwith to ashes at a little spark of light
cast sideways from the eye of Gauri's lover? VALLA~A

11. May that victorious moment of the Buddha save you

when the soldier Mara, weapons rendered impotent,
screwed up his courage to that pitch
where, angry, he would swallow up the sacred head,
but then within a jewel of that wondrous crown
did see his own wide-open-mouthed reflection,
at sight of which his courage failed. SRi PASAVARMAN

60
Sec. 1] The Buddha
12. Above, there hovers a ero\\ d of honey-hungry bees,
furnished with n e" and little flowers of their own
made in a moment b y the thick pollen
gathering on their g raceful, swaying feet
as the mo e about in play.
As bee embraces bee, the real flowers below,
a handful offered to the Conquering Sage,
do open and I pray
m ay lead y ou to your welfare. JITARINANDIN

13. Of the Teacher, the true Master of Instruction,

may the t eeth, whose splendor solidifies among the rays
gradually emitted from the path
of his half-opened, pink and shining lips,
lead you to happiness and welfare,
like a da"ning sun
with concentrated brilliance rising to dispel
the night of ignorance. TRILOCANA

14. The Man of' ictory is praised by Kama's wife

with s\velling passion, for he is fairer than her Love,
with fearful heart, for he brought fair women to old age,
yet bowing 10\y in faith, for even Mara's shafts
pierced not his heart. May he protect you whom she thus
adores with tears and trembling and with eager blush.
"ALSO BY TRILOCANA, IT IS SAID"

15. For whom the thousand shining eyes

of Indra falling at his lotus feet,
fulfill the rite of offering
a wreath of dark blue waterlilies;
for whom the rays of wondrous light
from diadems of prostrate gods
compose a new and saintly robe; may he,
the Sakya Saint, protect you. VASUKALPA

[Verse 16 is trea.ted in the Notes.]

3* 61
 Section 2
THE BODHISATTVA LOKESVARA

1. Mahayana Buddhism, the form of Buddhism that early came to

prevail in the land of our anthologist, included among the objects of its
worship thousands of Buddhas and Bodhisattvas other than the histori-
cal founder of the Buddhist religion. The term bodhisattva means
'one whose nature it is to attain enlightenment.' In Mahayana
Buddhism the term refers specifically to one who puts off his entry into
nirvana so that he may be reborn on earth again and again to save the
creatures who suffer here. Certain bodhisattvas came to be closely
associated with certain buddhas, the latter representing a cosmic force,
so to speak, while the former represented the personal object of the
believer's worship and his pathway to liberation.
2. Of this great pantheon there remained in Bengal in the ninth and
tenth centuries only two bodhisattvas who still enjoyed an active and
popular cult. One of these is the subject of the present section. He
was originally known as Avalokitdvara, 'the lord who looks down (with
compassion),' but the names usually given to him in our verses and in
contemporary works from Bengal are Lokanatha, 'the Savior of the
World,' and Lokesvara, ' the Lord of the World.' Of the two names the
poets tend to use the first when they speak of the bodhisattva's pity
and compassion, the latter when they speak of his brilliance and power.
Lokanatha-Lokesvara was closely associated with and said to be an
emanation of the Buddha Amitabha (' endless light ').
3. Lokesvara, they say, has taken a vow to rescue all creatures. He
has descended to the land of ghosts to quench their eternal thirst
(cf. our verses 18, 20). He has vowed to be reborn in the shape of all
gods in order to accomplish his goal. Buddhist iconography sometimes
gave him a thousand hands in order to symbolize his constant and
manifold exertions. Meanwhile the Buddhist layman in sickness, in
debt, in every sort of difficulty, prayed to the Savior of the ·W orld.
4. The eight verses which follow may be exactly illustrated by the
sets of miniatures which accompany two eleventh-century manuscripts

62
Sec. 2J The B odhisattva Lokesvara
from Nepal, Cambridge Additional 1648 and Calcutta Additional 15.
These miniatures were long ago described and in part reproduced by A.
Foucher in his Essai sur l'iconographie bouddhique. In listing the
characteristics of Lokesvara as revealed by our verses I add references
to Foucher's plates. Occasionally one will find further help in inter-
pretation from the Sadhanamala, a manual of Buddhist tantric practices
edited by Benoytosh Bhattacharyya.
5. Lokesvara is pictured in our verses always in human form, brilli-
antly white of color, as though surrounded by layers of moonlight
(17, 18, 19, 23, Foucher, pI. IV, V). Various fancies and conceits are
used to describe his moonlight brilliance: it delights the cakoras, for the
cakora or red partridge is supposed to feed on moonbeams; it frightens
the day-lotus, whose petals must close at night. He wears his dark
hair in long locks arranged in a conical headdress (jatajuta, 24, Foucher,
pI. V, fig. 2). Two, erses mention the figure of Amitabha Buddha,
red as a rising sun, within the dark headdress (21, 24, Foucher, fig. 12
and p. 98, note 1). Lokesvara's dark eyes (28) look down with pity
on the world (18, 20, 21, 22). In his left hand he bears a lotus (23,
Foucher, pI. IV, figs 1-4), from which he derives the name PadrnapaD-i
(' possessing a lotus in the hand,' 17). His right hand is in the
posture of charity (vamda, 18, Foucher, ibid.), that is, held down
with the palm turned outward. From its five fingers flow streams
of ambrosia with which he seeks to quench the thirst of the restless
dead (18, 20, Foucher, pI. IV, fig. 4); but alas, their mouths are as
narrow as needles and they can receive only a small stream (see note
on 20).
6. One verse pictures Lokesvara seated on his mountain Potalaka
(19), which Hsiien Tsang and Taranatha placed in South India, though
in the course of time other Potalakas were added. Another verse (21)
addresses him as KhasarpaQa, 'he who walks the sky.' We are told by
Taranatha that LokeSvara was worshiped by that n ame in a suburb
of the capital of PUD-9.ravardhana (Bengal) and the suburb was accord-
ingly named Khasarpal).a after the object of its worship (Foucher n,
p. 25). The epithet is still common in Nepal.
7. There is no evidence in our verses of the specialization of icono-
graphy that one finds in the tantric texts, which record fifteen or more
forms of LokeSva.ra and furnish elaborate details of the attributes,
costume, and attending deities of each. These tantric details were
doubtless known to our anthologist and to the poets on whom he draws,
but they do not fit easily into subh~ita poetry.

63
 The Bodhisattva Lokesvara [Sec. 2
17. Its pouring forth a rain of moonlight
in many layers of white refulgence
informs it is no lotus of the day;
its wealth of gathered lotus scent
forbids that it should be the moon.
May this face which yet keeps bees awake
and grants cakoras joy unbounded,
the spotless face of Padmapal),i, be your aid.
BUDDHAKARAGUPTA

18. All conquering is the Savior of the World.

His lotus hand, stretched down in charity,
is dripping streams of nectar to assuage
the thirsty spirits of the dead.
His glorious face is bright with gathered moonlight
and his glance is soft
with that deep pity that he bears within. RATNAKIRTI

19. May Lokesvara protect you as he sits,

surrounded by his mass of rays,
on Mount Potalaka, which echoes
with the roar of its deep caves;
who thus is like the moon within the mass of waves
churned in the Sea of Milk by the mountain Mandara,
whirling with heavy roar
and unwavering because of its great speed. JNANASRiMITRA

20. From the lake of nectar that is your heart

and that has been enriched by rains of pity,
that the stream came forth and by successive narrowings
[grew five in channels leading to the barely opened mouths]
of those distressed by thirst:-
how else had this been done but by your hand? TRILOCANA

[Verse 21 is treated in the Notes.]

22. If his belly were not so small

and his heart were not so great,
how would he be so slow to seek for himself,
or his will be to benefit all creatures? J:NANASRiMITRA

64
Sec. 2] The Bodhisattva Lokdva1·a
23. May the face of the World Savior bless your days,
to which the goodly lotus
went laughing, surel ,without fear of the nightly orb,
for it inferred this face was not the lunar disc
nor this purity v;rhite moonlight nor these dark eyes
a double mark of splendor on the moon. BUDDHAKARA

24. May that great saint, his body formed of moonlight,

within whose towering headdress Amitabha,
like a rising sun encircled by dark clouds,
furnishes a wreath of red aSoka blossom,
dispel your grief and grant you
the streaming nectar of his peaceful happiness. BUDDHAKARA

65
 Section 3
THE BODHISATTVA MANJUGHOSA

1. The Bodhisattva Mafijugho$a, 'of the lovely voice,' or Mafijusri,

' of the lovely beauty,' vied in popularity in our anthologist's time with
Lokesvara. The Sadhanamala furnishes no less than twenty-five
evocations of Mafijugho~a if we count only those which evoke his favor-
able forms.
2. Mafijugho!;>a was the patron saint of learning. Accordingly, he is
often pictured carrying a manuscript (27) and more often a sword (26,
27) with which he destroys ignorance. He is red in color (25, 28, 29)
and carries in his left hand a blue waterlily (29). Since he is portrayed
as a youth, his character began to encroach in late classical times on
that of two Hindu divinities: Kama., the god of love (cf. 27), and
Kumara, 'the Prince,' the Hindu god of war (cf. Intr. 5, par. 4, 5). In
his character of war god Mafijusri assumes the terrifying aspects of
both Siva and RaIi (cf. 26). Like the former he sends forth fire from
his body and carries a freshly severed human head; like the latter he
rides on a buffalo. In many images his head actually assumes the
shape of a buffalo's head (cf. Getty, pI. LII). This form of Manjusri is
often called Yamantaka or Yamari (Foucher n, pp. 55 ff., Bhattacharyya,
pp. 69 fr.).
3. The present section, devoted to Mafijugho$a, is one of the shortest of
the anthology and poetically the poorest. As if this were not enough,
the mss. are difficult to read in this section. In every verse but one the
printed text requires rereading or emendation. One verse (26) contains
difficulties which I cannot solve.

25. May Mafijusri be worshiped, who, when garlanded by bees

[that fly to the light that rises with his body's rich perfume],
is like a chain of dark blue waterlilies
strung on a golden string;
who, when overspread with flaming light

66
Sec. 3] The Bodhisattva 1l1a11jugho~a

ascending from his toenails, seems to be acclaimed

by a rain of brilliant flowers dropped upon him by the gods.
VALLA~A

26. With doomsday s mass of smoke arising

together with the fire that flashes from his body
whose arm upholds a sword,
like a swarm of flies from the buffalo's head
cast forth [in all directions] by its horn tip;
his m any feet shimmering as if with light
of the ... "hich the gods have left in fear;
[a sun that blazes amidst a host of stars] :
may this dancing prince in his Bhairava form protect the world.
VALLA~A

27. May this youth, t he scion of the Buddha, long protect you,
whom the nymphs of heaven view in different ways:
with loud acclaim when he is armed with sword,
most thoughtfully 'w hen he comes with m anuscript,
playfully when he is a child,
hut when he is most beautiful, with love. PURU!?OTTAMA

28. May he who consecrates his worshiper

into the kingdom of his law
with anointing liquid, golden red as saffron,
poured from the golden amphora, his foot,
wherein his lovely toes are ceremonial buds:
may MaiijusrI watch over you
for your happiness and good. JITARIPADA

[Verse 29 is treated in the Notes.)

67
 Section 4
SIVA

1. With Section 4 the anthologist takes leave of what is strictly his

own religion and begins quoting from the poetry of Hinduism. His
arrangement of verses accords with the facts of his era, when the
Hinduism of literate Indians might be said to have consisted of two
religions: Saiva-Sakta (exemplified in Section 4 and 5) and Vai$l).ava
(Section 6), with possibly the addition of a third, Saura (Section 7).
Each of these religions was to its own adherents sufficient in itself.
Thus, to a Saiva the god Siva alone was creator, preserver and destroyer,
with no more than nominal aid from Vi$l).u and Brahma. The Vahmava
found Vil;ll).u to be equally self-sufficient. As for the creator god Brahma,
he remains as a slightly comic (cf. 456, 464) figure of mythology; he had
lost his religious importance by the time of Christ. Thus, classical
Hinduism consisted of two or perhaps three self-sufficient religions
which shared a common social system and a number of common philoso-
phical ideas. Beneath these lay a multitude of popular, illiterate cults. \
2. It is not easy to characterize the central gods of these Hindu
religions, for they have grown by the accretion of elements from all I
sides, and their worshiper will emphasize one aspect or another in
conformity with his needs or capacity. The description of Siva which
I give below is limited to what appears from the poems of this anthology.
A general characterization would require large additions.
8. Names of Siva. In the verses of the section assigned to him Siva
is most comprehensively known as the Great Lord (17wheia 36, maheivara
82, jagatii'f(t pati 54). More specifically he may be referred to by one of
his attributes: as the Three-eyed (51, 65, 77), the Blue-throated (78),
the Skull-bearer (65, 101), the Bearer of the Ganges (88), the Holder of
the Bow (96), or of the Trident (80, 84). Again, he may be named by
reference to one of his mythical deeds: as the Seizer of the Triple City
(56, 67), or the Enemy of Love (65). Finally, he is known by a great
number of divine names, most of which have specific reference to one or
another of his three chief aspects. As the ascetic, immovable in medi-

68
Sec. 4J Siva
tation, he is Sthil1::m (35, 81). In his destructive aspect he is Bhairava
(39) or the Terrible (bhirna, 50); also Rara (' the Seizer,' 53, 66, 68, 78,
etc.). In his kindl y aspect he is the Propitious One, Siva (47, 63) or
Sarp.kara (70, 72), or Sambhu (34- 35, 38, 40, 41, 43, 45, 48-49, 55, 57,
59, 60, 62, 74, 76, 90). The name Sambhu, as the references indicate,
is the favorite name with our poets.
4. This nomenclature suggests the following headings under which
to arrange a description of the god.
S. Iconography. More than one element of Siva's iconography
shows traces of a primitive and probably non-Aryan origin. The matted
or flocked hair, colored brilliant red, the ornaments of skulls and snakes,
as also the wild dance in which the god is often pictured, recall the
costume and practice of a tribal shaman. Of Vedic reminiscences, on
the other hand, we have only a passing reference to the eleven Rudras
(43). But while the origins of Siva's iconography may lie in a primitive
past his attributes have been reinterpreted by a civilized and sophisti-
cated society. Common to both the primitive and sophisticated layers
is an emphasis on the cosmic value of Siva's attributes.
6. The full figure of Siva is envisaged as the axis joining heaven and
earth (48). The headdress of this figure consists of a high conical mass
of thick matted locks (uttungamauli 45; jatiisa'f!lhati 55; jatiima'IJ4ala
81 ;jatajuta 91), red as fire (46) or the rays of the rising sun (55). Through
these locks flows the heavenly Ganges (30, 33, 45, 70, etc.), which falls
in vast cascades as Siva performs his dance (58). It is by this means
that the Ganges was brought down to earth (cf. Ram. 1.43). Likewise
in his headdress is the crescent moon (33, 42, 44, 45, etc.), which drips
the nectar of everlasting life (32, 39). Various poetic fancies are
invented to explain why this moon never grows full (32, 64). Both
Ganges and crescent moon are represented in many medieval and modern
sculptures, the Ganges more particularly in figures of the dancing Siva
and then among the locks of the right-hand side (cf. Gop. Il, i, p. 226),
the moon more generally, either at the left side of the headdress (Gop. Il,
i, pI. XXXI, LI, fig. 2), or on top (Gap. Il, i, pI. XXV, LVIII, fig. 2).
Also within the headdress is placed sometimes a single skull (46, 53;
cf. Gop. Il, i, plo XLVI, etc.), thus bringing a symbol of death into
proximity with the lunar symbol of life, a conjunction described some-
what gruesomely by verse 39. Sometimes in place of a single skull
the god wears a chaplet of skulls encircling his headdress and strung on
a snake (lwpaliivali 33, 42, 92; savaii,'a!Jhe1.d 39; cf. Gop. Il, i, pI. XXX,
XXXIII) which is knotted at the end to keep them from slipping off

69
 Siva [Sec. 4
(39). Usually, however, the snake binds up the whole conical mass
(42, 44) and this snake is no other than the white serpent king Vasuki
(95) or Se$a (cf. 38) who in other form s supports the earth or furnishes
a couch for the sleeping Vi$I,lu (see Intr. 6, par. 4).
7. Below this cosmic headdress flashes the god's forehead eye (32),
the flame from which (44, 58, 63, 70, 75, etc.) is irresistible since it is
generated by the tapas (magic or creational heat) of Siva's ) oga (55).
It was by this flame that the god of love was consumed. The remaining
two eyes of Siva are taken to be the sun and moon (1541), thus continu-
ing the cosmic symbolism. Above the forehead-eye is the mark of the
trident (32), the weapon which Siva bears in his hand (30) and which his
devotees regularly mark with ashes on their for eheads. Verses 40 and
90 speak of the god's red beard.
8. It is chiefly to Siva's head and headdress that our poets direct
their attention. References to other elements of the iconography are
less common. The snake Se~a is sometimes placed on the god 's shoulder
(62), or worn as an armlet (38) or used as a girdle to bind the god's
loincloth (69); once he is found encircling the god's knees (57). A
necklace of skulls is mentioned (54, 76 , 92, 97). In sculptural repre-
sentations the dancing Siva is regularly portrayed with four arms.
While our verses do not refer specifically to polybrachy they mention
several of the objects carried by the arms: the bow (103), the drum
(98), the trident (30, 84). 'Vhen appearing as an ascetic Siva is naked
(65, 103); when in his destructive aspect, he may wear the hide (76)
which he has flayed from the elephant demon. In all aspects his body,
like that of his devotees, is smeared vlith ashes (72, 80, 103) which he
gathers from the burning ground (91, 98). Of the many special forms
of Siva known to the sculptor only two are specifically noticed: the
three-headed form (40) as in the beautiful image at Elephant.a and the
androgynous form (ardhaniiriSvara 56, 78, 82, 85, 323, 326, cf. Gop. n,
i, pI. XCIV ff.).
9. Associated with the Great Lord are his queen, Parvati (65) or
Gauri (43, 64), the daughter of Himalaya (35 , 47, etc.); his son,
Guha (59, 66) or Skanda, the wargod who rides a peacock (66); and the
bull Nandin (62), who serves as the Great Lord's mount and as his high
chamberlain. The Lord's followers are the hosts (ga?:uilJ, 54) or spirits
(cf. bhuteia 44). For particulars of these associates see introduction to
the following Section.
10. Mythology. Saivism with its emphasis on cosmic structure and
process is less productive of myth than Vai~I,lavism "ith its emphasis on

70
Sec. 4] Siva
human events. The following myths, however, in which Siva takes part,
are referred to by our poets.
11. The churning of the ocean (frequently mentioned in later sections,
e.g., 105, 117, 401, 432, 799, 801) and the drinking of the kiilakufa
poison (70) are first related by the Mahahhiirata (1.15- 16) and in a later
version b y the RomulyatJ,a (1.45). The gods and demons, desiring to
obtain the drink of immortality, were advised to churn it from the ocean.
They took Mount Mandara for churning stick, transported it to the
ocean where they turned it upside down, placing the tip on the back of
the tortoi se \\ho supports the world, who to the Vai~:Q.avas was an incar-
nation of \ i$:Q.u (see Int r. 6). They then persuaded the world-snake to
serve as twirling strinO'. The gods took one end of the snake, the demons
the other, and in turn each party pulled. It was after a thousand years
of this exertion according to the RamiiYa1:w (this portion of the myth
is rejected by the critical text of M:bh.) that the snake spewed forth the
kiilakuf,a poison. This would have destroyed both gods and demons
had it not been s\\ allowed by the invulnerable Siva. The poison left a
blue mark on Siva's throat whence he is now called by the epithet ' Blue-
throat' (nilaka1J,tha). The older tradition continues that after long and
violent exertions various precious objects were churned from the
deep: first, the moon; then, in succession, Sri, the goddess of beauty;
Sura, the goddess of alcohol; the white horse Uccail).Sravas; t he jewel
Kaustubha, which' i$r;tu "as later to wear on his breast; the physician
Dhanvantari, who was later to serve the gods and restore their limbs
that were lost in battle; and finally, in a narrow-necked jar held by
Dhanvantari, the long sought drink of immortality. The demons, who
had stood by while the other precious objects went to the gods, rushed to
seize the ambrosia. They were foiled by Vi~r;tu, who assumed by his
magic power the form of a beautiful woman, to whom the foolish demons
gave the precious drink of immortality. Of the demons only Rahu
obtained a taste. Before he had swallowed it, however, he was decapi-
tated by the gods. Hence Rahu now has no body but his head is
immortal.
12. The burning of Kama, which gives to Siva such epithets as 'Love's
Enemy' (46, 65) is described with gruesome realism in verse 51. The
myth developed relatively late in the history of Hinduism, reaching
its final shape only in Matsyapurii1J,a 154. 227-255, which was then made
immortal by Kalidasa's Kumarasa.'l'[/,bhava. Briefly, it is this. The
gods, being much distressed by the demon Taraka, were advised that he
could be defeated only by a son of Siva. Unfortunately, Siva at this

71
 8iva [Sec. 4
time was deep in a trance of yoga from which no normal means would
rouse him. At the same time the daughter of Himalaya, later to become
the mother goddess, had formed a resolution to be married to Siva.
At the urging of the gods Rama, the god of love, with his attendant
the spring breeze, accompanied the mountain princess to the Great
Lord 's hermitage. There Rama shot at Siva an arrow, the immediate
consequences of which were disastrous, for the fire of tapas flashed from
Siva's third eye, utterly consuming the god of love, who has since been
known as the bodiless one. Finally, however, the arrow may have
taken effect; or it m ay have been the austerities performed by the
princess that won over the Great Lord. Siva took P arvati in marriage
a nd later engendered the wargod Guha (called also Skanda and IHirtti-
key a), who led the gods to victory over the demon Taraka.
13. The favorite myth for the poets of the following section is the
destruction of the Triple City. It is the only m yth that elicits from the
Saivas a strong emotional response. The other myths form part of
the poet's technique; the destruction of the Triple City formed part
of these poets' religion. The Rigveda Brahma~as know of a triple city
(tripura) constructed of earth, atmosphere, and heaven by the demons,
which the gods destroyed by means of their Vedic ritual (Reith, R. V.
Briihma'(l,as, pp. 125, 396). But it is not until the time of the Mahii-
bharata that we find Siva playing a role in the destruction. The Mahii-
bharata tells the story as follows (8.24.1-124).
14. After the defeat of Taraka by the gods his three sons performed
long austerities by which they finally won the favor of Brahma. From
him they sought immortality. When he refused, they sought and
obtained a second boon: that they should build three cities, on earth,
in the air, and in heaven, from which they might rule the three worlds
for a thousand years. When their time was up the three cities would by
magic come together and the blessed god who destroyed them would
destroy them with a single arrow. And so it happened. As a thousand
years rolled near, the gods, banding together, gave half their united
strength to Siva and prepared the instrument of destruction. They
built for Siva a special chariot; Vi$~u, Agni, and Soma (in PuraI)ic
accounts Vi$~u alone, as in 31 below) were transformed into the arrow;
the night of doomsday (kiila1"atri) was transformed into the bowstring
(in 31 it is the serpent prince who plays this part); Brahma acted as
charioteer. Just as Siva set forth, the thousand years were com-
pleted and the three cities joined. The Great Lord shot the arrow
and forthwith the Triple City and all its inhabitants were consumed.

72
Sec. 4] Siva
15. On e wonders what it was in the m yth that made it so popular.
Perhaps it was the fact that the demons had themselves chosen their
de t ruction. In the hands of the poets it even ceases to be destruction
and becomes purification. God is asked to destroy or burn away our
in (49, 56) or our ill (67) as his arrow burned away the Triple City.
Time and again ambiguou words are used of the flames, words that
could apply also to a lover.. They cling to the demon women, pluck
t hem b) the hem of the garment (49); the smoke clings to their hair,
bursts into flame on t heir breasts (61). And in one verse the Great
Lord, wet-eyed with pity, drops his bow (61). Such poetry seems to
envi age death as a simpl e surrender to a god who is terrible but who is
also t he god of pi ty and the god of love.
16. Concerning Siva's dance much has been written. For icono-
graphic d etails cf. Gop. n, i, pI. LVI if. For a poetic-philosophic
account cf. A. K. Coomaras ,vamy, The Dance of S iva, New York, 1918.
\Vhile the image makers represent several different dances, it is almost
always to the tii'lJ4ava that the poets of our anthology refer. The
w1.'u!.ava is t.he wild dance, the da nce of destruct.ion, which the god dances
on the golden mountain, Mount Meru (52); hence the my th was trans-
lated into rit ual by the priestly dancer dancing in the Golden Hall of
t h e Temple of Chidambaram. The god dances at twilight (sarr/,dhyii-
ta1.'u!.ava 50, 52), especially at t he t ime of the full moon (52). He wears
a garland of freshly evered heads (76). As he dances the snake slips
from his headdress and the red locks of his hair fly wide (42, well repre-
sented in the bronze images of Sout.h India, e.g. Gop. II, i, pI. LVII).
The earth sinks down from the god's stamping feet (56, 74) , the golden
mount.ain with its forests leaps up (52), the circling of the god 's arms
sets up a whirlwind (50). In other texts Siva's dance may be spoken
of also as a dance of creation. But while our poets speak of Siva as
creator of the world (30, 48) they seem not to associate this function
with his dance. In one verse (58) the Ziisya dance is mentioned, which
should be a gentle dance, but the poet actually gives it symptoms as
violent as the tii1;uJ,ava. Only" hen teaching the dance to the mountain
princess (60) does the divine dancer grow mild.
17. Aspects of Siva. The sectarian literature and the manuals of
iconography contrast the terrible (ghora-, sa'J!lharamurti) and the kindly
aspects (aghora-, anugraharnu1·ti ) of Siva. Actually, it might be well
to speak of three aspects, for often the god is conceived of as above or
beyond these particularizations. Such is the case when he functions
cosmologically, for example as world axis. Such is also the case when

73
 Siva [Sec. 4
he functions within the microcosm as the soul or is pictured as the yogi
to whom the nature of ultimate reality is revealed (57).
18. The terrible aspect of Siva, as might be expected, is touched on
lightly in the present Section, for these verses with few exception~ are
benedictions. It appears, however, in the violence of his dance and in
occasional gruesome descriptions of his skulls (39) or of the destructive
power of his fire (51). A verse of a later Section {1541} 'where the god
dances as a carrion-eater on the cremation ground paints the terrible
aspect in full color.
19. In his kindly aspect Siva is never far removed from his queen,
the mother-goddess; cf. introduction to Section 5. It is she who reduces
him to human dimensions. Through her he becomes the playful lover
(60, 62), the loving husband (34, 47), eccentric (69) rather than frighten-
ing, the indulgent father (59). One cannot grie, e too much over his
loss of grandeur when one is given such charming pictures of domestic
love as are furnished by the PaJa poet Yoge~h ara (59, 60). The flavor
of these verses is close to what one finds in the main tradition of Vail;'I;laVa
rather than Saiva poetry. They serve to sho" that no exclu ive charac-
terizations can be made of the two great religions of Hinduism.
20 . Form of the '\ erses. \Vith two exceptions, one a very beautiful
prayer (36), the other a verse which is out of place (37), all the verses of
the Section are poems of benediction. The same is true of most of the
verses of Section 5 and 6 as well. The form for the most part is rigid.
A verb meaning ' is victorious' or 'may he (or it) protect (purify, etc.)
you' is joined to a name of Siva or one of his attributes, with which
various adjective compounds are in apposition. Often a certain har-
mony is achieved between verb and descriptive matter. Thus," :May
the plashing of the Ganges on Rara's head purify you' (53), the Ganges
being famous for its purificatory properties; "May the cloudlike head of
Siva be propitious (Siviiyiist'U) to you I! (63); or "May the solicitude of
Rara and Guha aid you" (66), where the remainder of the '\ erse suggests
a case where their aid was exerted. But this harmony is optional.
21. Many of the verses may be further characterized as niindi verses,
that is, the opening verses of plays. Verse 44 is the nandi from the
Miilatimiidhava; 55 is from the Kundamala, 57 from the Mrcchaka#ka.
Verses 41, 42, 58, 63, and probably others too are niindis from plays that
are now lost. According to the usual interpretation of the oldest
authority (BhNS. 5.104) a nandi should consist of either eight or twelve
words. This, however, is only sometimes observed in practice (e.g.,
41, 42, 44, 58, and perhaps 63). Regularly observed, on the other hand,

74
Sec. 4] Siva
is the rule (BhNS 5.24, Sd. 6.24) that the niindi should praise gods,
brahmins, or kings, to which Visvaniitha adds (Sd. 6.25) that some
specially auspicious object should be mentioned such as a conch shell,
the moon, or a lotus. Finally, it is often said that the niindi should set
the mood of the play which follows and should hint at elements of its
plot and characterization. A niindi which fulfills all the rules is verse
44. The juxtaposition there of the terrible snakes and skulls of Siva's
headdress with the gentle and lovely moon and Ganges makes a fitting
herald to the Miilatil1uidhava, a play that combines love and horror
with a felicity never again equaled in Sanskrit.

30. Whose handiwork is the triple world,

whose poetry the Vedas three,
who destroyed the Triple Citadel
and on whose head is garlanded the triple-flowing Ganges;
who bears three blazing eyes as if to see
therewith his triple world:
to Him, enveloped in matter's triple strand
and bearing the trident weapon
belongs all victory. VASUKALPA

31. The arrow being Vi$l).u, with intent to carry him

the king of birds rushed forth, but then recoiled
pained by the sparks of blazing fire.
At this the bowstring, which was there the serpent prince,
drew back at first, whereby the bow was bent,
and then snapped forth that so the arrow
of Tripura's foe was shot,
who needed thus but put the shaft to string
to be victorious. MURARI

32. May the moon be your protection

which forms a jewel in the Great Lord's diadem,
where, bitten to a crescent by the serpent prince
who ever yearns to drink its liquid nectar,
it then is firmly gripped within the trident tongs
and in the blazing flame of Siva's forehead eye
is newly swaged to form a perfect disc. MURARI

75
 Siva [Sec. 4
33. "Good luck, oh crescent moon." "Peace on you, river
of the gods."
"Good fortune, string of skulls." "Prosperity, prince
serpent."
"And best to you, oh tangle of wild locks."
So speak they one to other, meeting when it ends,
the which mad dance of him who dances out the terror
of world destruction I pray may be your weal.

34. May Sambhu's customary prayer to twilight bless you,

a prayer wherein his hands deceive his wife,
folding in imitation of the closing lotus
as if to say, "See, goddess, as the sky grows red
those lotuses that would have matched your face
ha ve come to this." RAJASEKHARA

[Verses 35, 37 are treated in the Notes.]

36. From my incarnation I infer that in a former birth
I surely gave you, Lord, no adoration.
From bowing to you in this birth I shall in future
be disincarnate and incapable of worship.
For these two sins, oh Lord, I beg forgiveness.

38. This world together with its seven seas,

enclosed by mountains stretching to the sky
and set about with broad and mighty continents,
in resting on the world-snake Se$3. forms but a spot
which disappears within the gem in his expanded hood.
Praise then to Sambhu on whose arm
that Se!>a serves but as an armlet. VALLAl!A

39. May Bhairava's row of skulls upon their serpent string

protect you,
thirsting for blood as they gaze yawning at the glow of his
red eye:-
a chaplet revivified by the elixir dripping from the moon,
which melts in the poison flame emitted by the serpent
sore hurt by the tight knotting of his swelling neck.
VALLA~A

76
Sec. 4] Siva
40. First red of eyebrow, beard and hair,
like to a mountain summit garlanded by forest fire;
then like the cloud of doomsday
pierced by three suns, his ruddle eyes;
at last enlightening the vast inferno of his palate
with the white moonlight of his teeth:-
may Sambhu's face. thus fearful
by its triad of holy countenances,
still be gracious to destroy your sins. RAK~OBIBHI~A~A

41. Be for your blessing the wild laughter of the dancing Sambhu
reverberating deeply as the monsoon clouds:
laughter wherein the opposing darkness
is swallowed by the halfmoon's light
fringed with the scintillation of his teeth.
THE KING'S PRECEPTOR, S~GHASRi

42. May Siva's head protect you,

its Ganges leaping as the crescent moon flies high;
the whistling of the mighty wind increasing,
whirling within the hollows of the tossing skulls;
its red and tangled locks wide flying
as the serpent chaplet slips in weariness
from the incessant motions of the dance. [ViRYAMITRA]

43. Hail to the eleventh Sambhu

as he bows before his Gauri's feet
accompanied by reflections ten
within her mirror toenails. [BHA-SA?]

44. May Siva's matted hair protect you:

its color blending with the lightning flame
that flashes from the hollow of his forehead-eye;
i ts heavy locks encircled
by the winding tendrils of his snakes;
within, the fair young moon-
or could it be the tender stamen of a ketaka-
within too, Ganges' stream full filling
and pouring through the skulls which deck his crown.
BHAVABHUTI

77
 8iva [Sec. 4
45. Victory to the Ganges' stream
placed high in Sambhu's crown,
wherein the new moon like a minnow
dives and surfaces.
46. May the moon be your protection
that curves as the tip of a fresh waterlily root
upon the flame-red head of Siva,
looking as if it were a sprout that grew
under the daily waterings of Ganges
from out the ""hite skull of his diadem.

47. To whom the smiling daughter of Himalaya,

joining in full circle to the fallen crescent moon
a fragment of her bracelet broken in love's exercise,
did call to look on her invention;
may he, the god, and she, the mountain-born,
and this toy moon, filled in by rays
of her white teeth, now be your aid.

48. Praise be to Sambhu, beautified

by the chowrie moon touching his lofty head,
like to a foundation pillar of the city
that is the universe.
49. The women of the Triple City wept from lotus eyes
as Sambhu's arrow-flame embraced them;
but still, though shaken off, the fire caught their hands,
though struck, did pluck their garments' hem,
denied, it seized their hair, and scorned
like lover who has lately loved another, lay before their feet.
May this same fire burn away your sins.
BA~A [AMARU COLLECTION]

50. May the hurricane protect you

stirred up by the whirling, dancing arms
of the terrible god magnificent
in his twilight dance.
By force of its commotion
the serried ranks of mountains fly from earth again
and Indra looks anew upon his thunderbolt.
[SOMA~.~THAPRASASTl ]

78
Sec. 4] 8iva
51. With flaming glory it consumed the god of love,
fir t lighting up within his hair
and crackling loud upon his skin,
then idling over the bleeding flesh
until, exploding in the bones,
it incande ced the marrow that was left:
uch was the e) e-fire of the three-eyed god,
the which I pray dispel) our imperfections.

52. :May the god of tangled locks protect you,

at whose dance of madness in the fullmoon twilight
the golden mountain sways with leaping woods,
as sway the sun and moon, to the rhythmic motion;
as if the earth, of head resplendent,
v. ith hair and earrings flying,
did nod in admiration.

53. Deeply from within the hollow skull

but thin from within the crevices of tangled locks;
violent at the obstructing jewel
in the serpent's hood that forms his crest,
but gently flowing beneath the crescent moon
that sways within the current:
may the sounds of the Ganges flowing over Hara's head
for ever keep you pure. [YOGESVARA]

54. The Great Lord wears a necklace made of skulls-

and may it bring you peace-
on which his servants make out here and there
the indistinct inscription:
"He will create the world, support the earth, be master
of the seas;
will be enjoyed by snakes, will love among the lovers;
will eat the earth and take his joy of heaven." BHOJA-DEYA

55. May Sambhu's heaped up locks protect you,

red as the rays of newborn sun,
like flame arising from the ripened heat
of his ascetic trance;

79
 Siva [Sec. 4
or like a red-clay anthill, for it forms the dwelling of a snake,
the high twisting wave of Ganges;
or like a sunset, for within it dwells a moon
tender as lotus filament. [DHiRANAGA]

56. Praise be to him, praised by the senate of the gods in joy

that since the surface of the earth has sunk beneath his feet,
even when his crown flies swiftly upward
heaven still stands unharmed;
to him not quitted by the mountain queen,
for though she draw away in fear
she is bound to the dexter part, which ever draws her back;
praise to the victor of the Triple City,
to the slayer of the sins of man. BA~A

57. May Sambhu's trance protect you,

whose knees are bound by snakes
double-knotted from his cross-Iegg'd posture;
each sense, repressed by meditation,
ceasing to function from the stopping of his breath;
who sees with vision absolute
the senseless self within the self:-
a trance which rests in brahma, which is dissolution,
born of the sight that sees the void. [SUDRAKA]

58. May the graceful dance of the moon-crested god protect you,
who whirls about by the wind of his ever circling arms
a firewheel made of fierce-rayed stars;
a dance at which earth sinks, fire flames and all the
mountains leap,
his headdress shakes, the moon within it flashes,
out shoots his eye-flame and the G~nges stream
thunders in steep cascade.

59. "Mother--" "Darling--"

""'fiat is that hidden in Father's hands?"
"A fruit, my child." "And won't he give it me?"
"Yes, go yourself and take it."

80
Sec. 4] Siva
Guha, so spoken by his mother,
pulls wide the hands of Sambhu clasped in evening worship.
His meditation broken, Sambhu stills his wrath and laughs.
!\fay this his laughter save you. [YOGESVARA?]

60. "Pretty eyebrows, put your arm like this

and take your posture so.
Stretch not too high, but bend your toes.
See? Just look at me."
Thus Sambhu teaches Parvati
with voice-drum sweet as thunder.
May what he adds for rhythm of her dance,
the clapping of his hands, protect you. [YOGESVARA ]

61. The column of black smoke

attacks the women of the Triple City:
hastening over their kerchiefs and tarrying on their braids,
it creeps to the opening of their bodices
and bursts in flame upon the ridges of their breasts.
Victory to the god who looks, wet-eyed with pity,
and lets the bow fall from his hand. MAVURA

62. The moon dives deep within the ash-strewn tangle of his hair;
the snake slips from his shoulder, hiding beneath a
graceful hood;
the bull with hooftip slyly rubs his eye
as Sambhu kisses the mountain daughter's face.
RAJASEKHARA

63. Rising up as in the monsoon rains,

pouring with Ganges water from a thousand streams,
terrible from the unseasonable heat
of his swiftly shaken forehead-eye,
noisy with the slapping of the wind
emitted from the hollows of its skulls,
may this cloud, the head of kindly Siva,
bring you kindliness. <

64. May he protect the universe

upon whose head the crescent moon
from shame of being shamed by Gauri's face
grows never full. DHARMAPALA

81
 Siva [Sec. 4
65. With embarrassment, for he is naked;
naively smiling when they say that he hates love;
with wonder at his extra eye and horror of his skulls;
fearfully before the circle of his snakes
and jealously because the lady Ganges lies within his cre t;
whom Piirvati thus views in many ways,
may he be your protection. VIXAYADE' A

66. "Vhen the serpent is angered at the peacock's grip

and the peacock is twined within the serpent's coil,
may the solicitude of Hara and of Guha,
trying each to save his beast,
be your protection. JAT_~RDHAVARDHAl'A

67. The flames shone on the women of the demon king,

as spot of minium upon their foreheads
and golden ornament about their ears;
as rouge of betel on their lips,
as saffron paste upon their jar-like breasts
and as a cloth of lac-red silk about their loins.
I pray those flames, born of the arrow of the Triple
City's seizer,
may burn away your ills. MANGALA

68. :May Hara-put to shame

by outcry of the nymphs in fear
that heaven will drown within the mighty wave
raised from the seven seas by \\ inds produced
from hissing of the serpent king made dizzy
by whirling of God's matted locks
within the current of the heavenly Ganges-
be your protection. KARKARIJA

69. When the snake that forms his girdle starts away
from the emerald of the bowing Indra's crown
in terror of that ornament;
may he, at whom the mountain daughter smiles" ith sidelong
glance
to see him on his deerskin mat
thus forced to cover up his slipping loincloth,
may Siva, bring you purity. DHARMASOKA

82
 Sec. 4] Siva
70. He who, though gifted with the power
to stomach deadly poison, to burn to ashes Love
and metamorphose doomsday's fire
to his glm>,ring forehead-eye,
still bears the ambrosial moon,
the mountain daughter and the heavenly stream,
so wondrous is his skill of policy;
may he, great Sarpkara, protect you. KAVIRAJA

83

~--
 Section 5

SIV A'S HOUSEHOLD

1. Classical Hinduism built up a family about the god Siva "fiich

differs markedly from the divinities and humans associated "ith 'i$l).u.
Siva is not only married. He has two children and is the head of a
household with doorkeeper, servants, and all that goes therewith. The
members of this divine household not only share in the worship offered
to the patriarch; at least three of them also have important cults of
their own.
2. The Mother Goddess (devi 71, 81) like her divine spouse has two
aspects, a favorable and a terrible one. Our verses "ith only few
exceptions treat of the former. Most often she is called Gauri (' of fair
complexion' 75, 78, 80, 82, etc.), referring perhaps to the color of the
ripening grain but more likely simply to her beauty which contrasts
with the ugliness of KaH (' the black '), her terrible form. Again she is
called Parvati (' of the mountain' 34, 35, 65, 77) and by a large number
of synonymous epithets (ad1'iputri 56, adTis'ltta 102, giriduhitr 72, etc.,
all meaning' daughter of the mountain '). For the myth of her marriage
to Siva see Intr. 4, par. 12. Our verse 88 refers to the rites preceding the
marriage, 102 to the precautions which the princess must take against
the dangerous accouterments of the bridegroom, 80 to the happy con-
summation. After her marriage Parvati may be pictured as the modest
young bride (60, 75), her husband's beloved (72), the mother of his
children (59, 71), or the masterful wife who by gambling wins all her
husband's possessions, leaving him not even a drum to beg with (77, 98).
3. From such scenes as those of 71 and 98 one passes gradually to
the more terrible aspects of the goddess where she receives such names
as Bhavani (86), Car:t9-i (' the fierce' 97), Carca (97). Here she rides
upon a lion (97), slays the buffalo demon (86), spattering her skirt with
its blood (87), and would even seize the garland of freshly severed heads
from her spouse (97).
4. The Prince (kumara 84, 96, the word also means simply 'child ').
As wargod the ancient name of the Prince was Skanda, ' the Leaper';

84
Sec. 5J Biva's Household
cf. the leaping Kouretoi who 'worshiped the male-child (KOVpOS), the
counterpart of Skanda-Kumara, in ancient Crete. The term Skanda
doubtless had reference to the war dance, but was misunderstood by the
PuriiI)as, whence the myth that Siva's seed had 'leapt' into the fire,
which then carried it to the six Pleiades (krttikiis) where it became a
child whom they nursed. The Prince is sometimes said to have six
mothers ($amniitrka) , with which one may compare Siva's being' of
three mothers' (tryambaka in its original signification). Again, where
5iva has three faces Skanda has six ($a'IJ-mukha 92). In many ways, in
India as in Greece, the Prince is a duplication of his father.
5. The poets of our anthology do not use the name Skanda. Instead
they use the non-Aryan name Guha (59,66,90, 91, 101). Nor have they
anything to say of the Prince as wargod. Their attention is directed
rather to his early childhood and their verses furnish evidence of that
Indian love of children that Vi'e shall have occasion to remark on again.
Guha is not mischievous like Krishna. He is simply innocent and laugh-
ably childish (91-92). He is just learning to count and still mixes up
his numbers (95), he embarrasses his mother by calling attention to her
bitten lip (101), and he is utterly confused by the androgynous form of
his parents (89, 90). Occasionally his older brother GaI)esa explains
matters to him (85).
6. As a youth the Prince will ride upon a peacock. Hence he is
called Lord of the Peacock (bm'hinatha 98, sikhipati 89, etc.). Already
as a child he has formed a love for the bird and worries lest it come to
harm (96).
7. 'Leader of Hosts' (GaD-esa, GaI)apati, GaD-agramaI)i 83) was
originally an epithet of Siva, the hosts being the goblins or demons of
his train. In classical Hinduism the epithets have been shifted to an
elephant-headed god (gajamukha 85, gajavadana 77) who is sometimes
identified with the Vedic Vinayaka (84) and who bears the non-Sanskrit
name Heramha (93, Tamil erumai: 'buffalo,' etc., cf. T. Burrow,
The Sanskrit Language, p. 386). Sometimes GaD-esa is considered
to be a parthenogenetic child of just Siva or of just Devi. For the
legends of his birth see Alice Getty, Ga1J,eSa, pp. 6-7. More often he
is considered the child of Siva and Devi in common, though it is
hard to say how to explain this since GaD-esa is the elder brother of
the Prince yet the Prince was born directly after the marriage of Siva
and Devi.
8. GaD-esa is the god who both furnishes and removes obstacles (98)
just as his father both brings and removes sickness. Like his father

4+s.c.p. 85
 Siva's Household [Sec. 5
he dances a cosmic dance, of which our verse 88 gives a vivid image.
For the iconography of Gal)eSa's dance cf. Getty, Gar,tesa, pp. 28-29.
In many ways, then, Ga:r:tesa too is a duplication of his father.
9. Ga:r:tesa is noted for his wisdom. He becomes the scribe of the
gods and in our verses it is he who instructs his younger brother Guha
(85). Twice (84, 98) our poets refer to the ichor that drips from his
cheek, as from an elephant in rut, and about which are clustered bees
hungry for its sweetness. One verse (94) refers to his peculiarity of
having only one tusk, whence he is called ekadanta ('one-tusk'). For
mythological explanations of this characteristic see Getty, Ga'1)esa,
p. 15. In the statues Ga:r:tesa is usually missing the left tusk. Sometimes
he carries the broken-off tusk in one of his hands, of which he is usually
pictured with four.
10. Nandin. In our verses as in the iconography Nandin varies
from animal to human form. Often he is the bull on which Siva rides
(62, 97, 98), with which, perhaps, in a totemistic past Siva himself
was identical. Again, it is in his animal form that Nandin is lost to
Parvati at dice {77}. But it is probably in human form that Nandin
acts as Siva's doorkeeper and herald. It is a human Nandin who clears
the stage for Sambhu's dance (74) and who beats the accompanying
drum (84).
11. Our verses make frequent mention of Siva's servant Bbrllgiriti
(71) or Bbrngiriti (98) or Bbrllgin (77, 99, 108). This goblin, who is
pictured as a living skeleton, is mentioned only in relatively late PurA:r:tas:
Agni 804.30; Padma 6.180.12; 5.43.96; 8aura 29.43; and especially
Skanda 1.1.34.96 fr., which tells how Bbrngin was reduced to his present
form by a curse of parvati. In our verse 71 he joins CiimU:r:tc;la in cele-
brating the birth of the goddess' son. CamU:r:t9a is one of the 'seven
little mothers' (sapta-mtitrkcis), the presiding deities of disease. In
Bhavabhiiti's description of her dance (78) she reaches cosmic propor-
tions and may be considered the terrible form of the mother-goddess
herself.
12. Other goblins and ghouls of Siva's household are Kala (76,
'Doom '), Kiilaratri (76, 'Night of Doomsday'), Mahak8.la (77), Ambikii
(76, 'Little Mother') and the pumpkin goblin K~mfLI)c;la (97, 99) who
exceeds all measure in fatness just as Bbrllgin does in emaciation.

71. "The goddess has borne a son! Arise, ye hosts and dance! "
When at these words Bhrilgiriti throws up his arms in joy,
embraced by Cam~<J8. with freely-given cry,

86
Sec. 5] Siva's Household
may the sound of their dancing skeletons
rattling ahove the heavy roar of the beaten drums of the gods
be your protection. YOGESVARA

12. :May the breasts of the mountain daughter save you.

swelling like the temples of Indra's elephant,
coated with ashes for cosmetic
from the pressure of bertight embrace of Sambhu. [DAK~A ?]

73. I praise your dance, Ci.mUJ;l~a}

so perfectly performed it wins applause in Siva's court.
The whirling of your bold n.W,nbha
has pressed earth's baR upon the turtle's shell
'u ntil he shakes the framework of the universe
and all the seven seas well up to fill, instead of Hades,
the yawning caverns of your cheeks. [BHAVABHirn]

74. "Guardians of the quarters, move aside!

Clouds, quit the sky!
Sink down, oh earth, to the underworld,
and mountains, sink to earth!
Remove your heaven,Brahma;
my Sambhu must have room to dance."
Such is Nandin's heralding
and may it prove your aid. [YOGESVARA ]

75. "Whence comes this perspiration, love?"

"From the fire of your eye."
"Then why this trembling, fair-faced one?"
"I fear the serpent prince."
" But still, the thrill that rises on your flesh Y"
"Is from the Ganges' spray, my lord."
May Gauri's hiding thus her heart
for long be your protection. LAKI?MIDHARA

76. Ambika. places the garland of freshly severed heads

about his neck, low-hanging to his knees,
while Nandin sets in place the crescent moon
and binds the serpent tight about his locks.
Kala makes fast the elephant-skin cloak

87
 Siva's Household [Sec. 5
while Kalaratri puts in his hand the skull.
May Sambhu's servants as his dance begins
with separate tasks thus busied purify you. SATANA~DA

77. Let go his horn, Bhrngin,

and GaI).esa, drop his tail.
Ah, but you are sad, N andin !
Poor Mahakala! Clasp not his neck."
With such words being led to the feet of Parvati
may the bull with turning neck and dewlap swaying,
still looking at his three-eyed master who has lost at dice,
bring you to happiness. [ABHINANDA]

78. Hail, mother Ganges,

that flow doubly deep on Hara's head
from its being lessened by the half
he gives to Gauri. [MURARI]

79. This is that Ganges,

who, coming from the palace of the god born of the lotus,
flows to the sea;
who also ornaments the blessed Siva's crown;
who, swift of current,
leads those passing souls, who leave with her their bodies,
against the current straight to Brahma's heaven. [~1URARI]

80. Upon the morrow noticing

that the son-in-law bears kohl upon his lip
and the bride's young breasts are sealed with ash,
the women smile with rising joy.
Long live the many words they speak,
sweet to the ear of Gauri's mother. 8UBHANGA

81. May the toenails of the goddess as SthalJ.u bows before them
protect the universe.
The Ganges washes from their tips the lac,
that they appear upon his headdress
as lovely as white jasmine buds,
their flashing rays putting to shame the moon.
DAK~A

88
Sec. 5] Siva' s Household
82. Let the god's delight have been unsurpassed
that bearing your slender body joined to his,
he receives, oh Gauri, your tight embrace;
still, Siva's heart must often grieve
to think your glance cannot by him be seen,
sweet, loving, innocent and motionless with love.
[BHAGiRATHA]

83. May the dancing god Ganesa be your aid,

copied by the guardian elephants of the horizon,
who spring up lightly from the earth that trembles
at the stamping of his feet,
the while with upraised trunk he drinks and then sprays back
like drops of water the great circle of the stars. RAJASEKHARA

84. When to the wild dance of the trident-weaponed god

the hand of Nandin gladly beats the drum;
when then the drum draws by its sound of thunder
the Prince's peacock, out of fear of whom
swiftly the snake Se~a contracts his girth
and dives within the nostril of Ganesa's trunk;
then does Ganesa trumpet loud and shake his head,
and may his nod for long be your protection,
which by the bees that fly up from his cheek
sends music to the four directions. BRA v ABHuTI

85. "When father and when mother became a single body,

what happened, elder brother, to the other halves of each? "
Victory to Ganesa, who explains to the young prince,
"The one on earth was born as everyman,
the other every woman." [MAl:'lJ)ANA ?]

86. As staff for our support within the sea of transmigration,

as lightning-bolt to fell the demon buffalo,
as wild goose on the lake of Hara's heart,
I pray Bhavani long show favor to the world. BHAGIRATHA

87. Victory to Gauri, who stands,

her lower robe blood-spattered
from the demon buffalo her spear has slain,
shamefaced, as if menstruous,
before the laughing eyes of Hara. GONANDA

89
 8iva's Household [Sec. 5
88. As her wedding day approaches, Parvati
is told to worship God, but when she sees before her
the image of her very suitor, him who bears t he Ganges,
she hesitates with sentiments of rapture, laughter,
anger and then shame.
And now I pray those flowers which she finall y offers,
only with difficulty, by the older women bidden ,
before her love may be for your protection. [BHASA ?]

89. Long may Skanda be victorious,

who as a pampered child sought to sleep
between his parents, but whose wish,
from their being of one body, failed. ' _.NGA.9]
[SUBHA

90. "This is Ma. But no, it can't be Ma;

she never had a rough red beard on half her face.
This is Da. But no, it can't be Da;
I never saw a breast on Father's chest.
Who is this, then; who this? What is it: man or woman ?
Or can it be still something else? "
With such doubts Guha, having seen the form of Sambhu,
starts back, and may he so protect you. [RAJASEKHARA?]

91. May Guha save you from misfortune,

who rolls at will upon his father 's chest
until his limbs are whitened from the funeral ash;
who from the headdress then dives deep into the Ganges
at the coldness of whose stream he cries aloud,
till trembling and with chattering teeth
he holds his hands before the blazing e) e. [B~~~L\]

92. He touches the garland made of skulls

in hope that they are geese
and shakes the crescent moon with eagerness to grasp
a lotus filament.
Thinking the forehead-eye a lotus flower,
he tries to pry it open.
May Skanda thus intent on play
within his father's arms protect you.
• . ? BALABHADRA.?]
[ KAVISEKHARA.

90
Sec. 5] Si a's Household
93. The bees fi up in hasty fear from GaI)apati's cheek
but, greed for the ichor, hover thick above,
bright as an unfolding peacock's tail:
t hu parasoled ma) he remove the burden of your sins.
VASUKALPA

94. Ma y the ingle-tusked Gal).esa guard the universe,

who imitate hi parents' custom
in that his bride, it seems, has been allowed to take
that half of him wherein his face is tuskless. VASUKALPA

95. Opening wide theftaming caverns of the serpent's mouths,

he counts with pointing finger the poison-coated fangs,
"One, three, nine," he counts and "eight, six, seven."
May t he voice of Skanda, sweet with childhood
as he mixes up his numbers, be your blessing.

96. The Prince had seen t he peacock sleeping,

head tucked beneath its wing;
and wept in childishness:
"Who cut its head off, father?"
The Bowman smiled and clapped his hands,
at which the Prince's heart grew light.
And now, delighted by the forehead-eye, he laughs,
which laugh I pray protect you.

97. "How does he keep from Carca. his garland of fresh heads?
or from Cal).Q.l's lion his bull?
or from the peacock of his son the snakes? "
Thus pondering his master's skill of mind,
Ku~maI)Q.a finds a stomachful of satisfaction
which every day grows greater_ TUNGA

98. "Whence come you?" "I come from Father's house."

"And what's the latest news from there?"
"The god has lost to the goddess." "What?"
"His bull, his drum, his funeral ash, his moon and snakes."
May the cry of Bhrngiriti as Skanda tells him this,
born of the sorrow at his master's heavy loss
of means to beg and ornaments,
long aid the world. T U NGA

91
 8iva's Household [Sec. 5
99. "He is too fat; he won't get far."
"He is too thin to walk in the procession."
" It looks as if the best gift will be mine alone."
May such successive thoughts, directed one against the other
by Bh~i1gin and Kusmal)Q.a at the" edding
of Siva and of Parvati, protect you. [TUN GA]

100. Conspiring with the rays which dance

from Kama's fingernails across the curved hand
that plucks the bowstring,
may Gauri's sidelong glance,
graceful as a bee which darts to taste
the clustered buds that ornament her ear,
be your protection. ACALASI~IHA [AMAR U COLLECTIO~]

101. " Brahma and the others should be told, mother,

how the skullbearer has mistreated you with biting
of your lip. "
So prattles Kartikeya from six mouths, and Brahma,
observing Parvati unable with two hands
to cover all, embarrassed turns away,
which turn, though vain, I pray be your protection. '
[c(H )ITTAPA]

102. \Vearing magic powders against the cobra and herbs against
the krait,
bearing in hand a jewel against the poison of his throat
and taught by the old women of the family charms
against her husband's train of ghosts,
may the mountain princess, happy and afraid
upon her wedding day, protect you. RAH.SEKHARA

103. " If he is naked "hat need then has he of the bow?

If armed "ith bow then why the holy ashes?
If smeared with ashes what needs he with a "oman?
Or if with her, then how can he hate Love? "
Poor Bhplgin, seeing these his master's contradictions,
has worried his body till there's nothing left
but the hard bones
knotted with tough sinew. [YOGE!3\ ARA ? HANUMANN.iTAKA]

92
 Section 6
VI$NU

1. By late classical times 'i$Qu had so grown by the absorption of

other gods and other cults that one may almost say that he was all things
to all men. One cannot phrase a definition that will even distinguish
his nature in every respect from that of Siva, for somewhere in the
ocean of Indian religious literature one may find each trait of the one
god represented also in the other. One can distinguish Vi$I.1u from
Siva only by certain general tendencies. In general the element of
terror is lacking in the concepts of Vi$I.1u. To this statement only the
man-lion incarnation furnishes an exception. On the other hand,
kindly, human traits, which are rare in Saiva imagery, abound in
Vai$Qava. The personal incarnations of Vi$Qu were more important
in his worship than the cosmic force from which they were said to
emanate. 'i~I.1u not Siva, was worshiped as a child, a youth, a lover.
For full details of the history and possible origins of VisI).u's names,
attributes, and incarnations, the reader may consult J. Gonda's Aspects
of Early Vi$nuism, Utrecht, 1954. The following account is limited to
questions arising from the verses of the present Section.
2. Names of Vi~:r:tu. In the verses of Section 6 the name Vi~I.1u
is used only once (Ill). Much the commonest name for the god both
in his cosmic and incarnate forms is Hari (15 occurrences), an epithet
borrowed probably from Indra, much of whose ancient character
Vi~I.1u has absorbed. Also common is the term Bhagavan, 'the Blessed
One.' From the misunderstanding of the name Madhava (132), 'the
springtime,' came such designations as Madhusiidana (109 and cf. 104),
'destroyer of Madhu,' to explain which an appropriate myth was
invented. The god is likewise the destroyer or enemy of Mura and is
hence called Murajit (121), Murari (117, 124), Muraripu (122, 129, 144).
Of less frequent use are the names Sauri (108, 125) and Sarngin (142).
In his incarnation as child of Devaki (see below) he is Krishna (122, 123,
127, 129, 139, 144) or Kesava (110), but these terms are sometimes
extended to his other forms (109, 135).

93
 Visnu
.. [Sec. 6
3. Attributes. In general, ViSl)u is pictured with four arms, by
which he holds his four attributes: the mace (106), conch shell (106,111),
lotus, and discus. On his breast he wears the kaustttbha jewel (124) and
about his neck a garland of white lotuses (136). His body is dark blue,
the calor of a waterlily or a fresh raincloud (147).
4. Cosmic form. As creator (108, see notes) and father of the universe
(104, 108) Vi~I)u reclines upon his serpent-couch (125,132, 133, 138) in the
midst of the sea of milk; cf. the beautiful representation in stone at
Mahabalipuram (Ind. Temp. fig. lOO). The serpent is the world-snake
Sesa (121), who holds his cobra hoods like a multiple parasol over the
god's head. The hoods are lit up by the lamplike jewels set within
them (133, 138). Nearby stands his mount, the giant Garu<;la bird
(132) and Brahma (107, 132, 137) who has nothing to do after the
beginning of each world cycle. These attendants do their best not to
notice {132} the scenes of erotic exercise exhibited by Vi~l)u and his
spouse during the periods of cosmic activity. The classical poets, on
the other hand, are less discreet (125, 132, 142).
5. As the period of cosmic activity comes to a close Vi~l)u falls asleep.
The sleep of Vi~l)u fulfills for the Vai~I)avas the function which the yoga
of Siva fulfills for the Saivas. The world being destroyed by fire and
water, its elements all enter into the body of the sleeping Vi~l)u. They
there exist in the form of the sleeper's dream. Hence the myth of
Markal)Q.eya (cf. Matsya Pur. 167), who believed himself to have
wandered for centuries about the holy places of India but then one day
fell out of Vi~l)u's mouth and realized that he had been living in a dream.
The myth is an exemplification of miiyii, God's power of producing
illusion. Similar is our verse 137, where Brahma is dumbfounded to find
the same universe both inside and outside the body of the god.
6. As the time of cosmic activity approaches, Vi~l)u slowly awakes
(133). From his navel there springs a lotus (106, 124, 146) in the peri-
carp of which sits Brahma. Our verse 146 identifies in elaborate fashion
each part of the lotus with a corresponding part of the universe.
Brahma is entrusted with only the remaining portion of creation and
even for this he shows no special aptitude, running up and down the
umbilical lotus stalk to check his engineering against the master plan in
Vi~l)u's body (107). With the completion of the world Vi~l)u's external
life, that is, the extrapolation of his dream, resumes.
7. Vi$l)u's consort La~mI. In the churning of the sea (cf. !ntr. 4,
par. 11) Vi$l)u was actually present in two forms, not only as tortoise
but in his divine form as well, in which he helped to twirl the mountain;

94
Sec. 6J Visnu
..
cf. 105, Ill, 117, 118, 142. Several verses speak particularly of Lak$mi
or Sri as she rose from t he ocean, of the wonder of the gods at her beauty
(126) and of t he excitement of Vi$J)u in particular (US). The scene is
well described in T ¥1J,u P ur. 1.9.98-103, which also contains a beautiful
hymn to Lak$ml' s union \\ ith Vi$l).u: " Vi~J)u is meaning, Sri the word ...
he is the sun, she is sunlight ... she is the vine, he the tree on which the
vine rests." (1.8 .16-29) The descriptions of our poets are less pure.
L ak l?mi is jeaJous (136, 138), she teases her husband (108, 109), but she
inspires him with everlasting desire (125).
8. Incarnations. ViSl)u is chiefly worshiped in his incarnations, of
which each succeeding century showed a greater number. Only one,
that of the dwarf, is attributed to VisJ)u in Vedic texts and it is there
treated as a simple transformation rather than an incarnation (avatiira).
The epic knows of six or seven avatiiras; the older Pural)as, ten; the
Bhiigavata Purii~w, t" enty-two. The scheme of avatiiras was more than
a convenient method for brahmin theologians to strengthen their
religion by attaching to it local cults of totem animals, culture heroes
and non-Aryan gods. It opened a path by which VaiSJ)ava thought
could reach one of its ultimate goals, a goal not quite reached in our
verses, where the incarnations of God are considered to be universal.
Every man is Krishna if he but knew it and every woman Radha.
Religious realization is but the discovery and practice of this truth.
9. The following incarnations are described by our poets.
10. The Boar (vaTfiha). Cf. verses 104, 112, 134, 145. Reference to
a great boar called Emusa is found as early as R. V. 8.77.10 (cf. Bat.
Briih. 14.1.2.11). The Riimiiya1J,a (2.110.3-4) describes how the giant
boar rescued the earth from the flood but identifies this boar with
Brahma, not Vi~J)u. The story known to our poets, of VisJ)u as the
boar, is that of the PuraJ)as: Matysa 247-248, Li1iga 94, Bhiig. Pur.
3.13-19.
11. According to the Bhiigavata Puriina it was foretold that Diti,
mother of demons, would bear two very wicked sons but that her fame
would be saved by a grandson. In the course of time she bore Hira-
J)yaksa (of the golden eyes) and HiraJ)yakasipu (of the golden carpet).
After much harm done to men and gods HiraJ)yaksa ran off with the
earth carrying it down under the waters to Patala. (According to the
Matsya account the earth simply sank down from the weight of its
mountains or from the splendor of Vil?J)u.) Vi$J)u then incarnated
himself in the body of a gigantic boar, dived under the ocean, and raised
the earth upon his tusk (cf. vss. 104, 112, and 1201 below), after which

95
 Vi~'1'!U [Sec. 6
he slew Hira1)yaksa. The event is well pictured in stone at Ellora
(lnd. Temp. fig. 89).
12. Our verse 145 uses the term sacrifice-boar (yaj7Iavauiha) , a term
which is borrowed from the Pura1)as where each part of the primeval
boar is identified with an element of the Vedic sacrifice (cf. ltlatsya Pur.
248.67-73, Padma PU?', 5.3.39 ff.). The scheme is doubtless connected
with the Vedic concept of ViSl)U as the sacrifice, but it leads to a special
cult of the boar as a cosmic symbol. This may best be seen in the
Temple of the Boar at Khajuraho, where the cult image of the boar is
incrusted with representations of all the divine creatures of the universe
(Khaju1'llho, pI. CXXIV-CXXIX).
13. The Man-Lion (n?,si~ha). Cf. 116, 128, 130, 141, 143. Although
known to the epic, the myth is fully developed only in the Pura1)as.
Bhiig. Put. 7.2-8 tells how ViSI,lU assumed this terrible form in order to
destroy Hira1)yakasipu. That demon, angered by the death of his
brother (see The Boar above), had sought to destroy all centers of
Vis1)u worship. Furthermore, he had practised such formidable tapas
that Brahma was forced to grant him that he would never be slain by
day or night, by god, man, or beast. The ultimate cause of HiraI,lya-
kasipu's downfall was his son Prahrada , who became an ardent devotee
of ViSl:m, thus fulfilling the prophecy made to Diti but angering his
father. V'i~"~~u PU?·. 1.17- 20 furnishes a pious but moving account of
the young man's sufferings. In a final scene with his son (Bhiig, Pur.
7.8.13) Hiral~yakasipu cries out with scorn " 'Vhere is that lord of the
universe other than me whom you speak of? If he is omnipresent why
does he not appear right here in this pillar? " Fatal words, for from the
pillar, it being then the moment between day and night, there issued a
creature neither god, man, nor beast. It consisted of a man's figure
surmounted by a lion's head. W"ith its claws as sharp as razors it
ripped open the breast of Hira1)yakasipu and destroyed him.
14. The slaying of HiraI,lyakasipu furnishes the sole example of the
terrible in the , ai~Qava poems of the present Section. The poets linger
over descriptions of the gory dismemberment, imitating in this the style
of Bhiig. Pur. 7.8.25-33 and hereby offering a parallel to the visions of
terror so frequently found in Saiva verses.
15. The Fish (matsya). Cf. 113, 120, 135. The myth of the deluge
and of the saving of Manu by a great fish is as ancient as Sat. Briih.
The myth had originally no connection with Vi$1)u, to whom it was
first attached in the late epic. Still later are the PuraQ.ic elaborations,
e.g., 111.atsya Pur. 1.10 ff. and Bhag. Pur. 8.24 and it is doubtless

96
Sec. 6]
these later accounts that influenced the poets of the present anthology.
"\ erse 105 is actually found in the present text of the Bhiigavata
Pura1,w (12.13.2). The story in its final form is briefly as follows
(Bhag.Pw·. 8.24).
16. Toward the end of the last age, as Brahma was about to enter the
sleep of pmlaya, the Vedas were stolen out of his mouth by Hayagriva,
who forthwith disappeared into the sea. The blessed Hari accordingly
incarnated himself in a fish. This fish, at first minute in size, was
discovered by King Satyavrata (later knovm as Manu Vaivasvata) in
the water with" hich he was making oblations. The king, seeking to
save the fish, placed it in his ewer (ka1na~ujalu) , where it grew in one night
so large that it had to be transferred to successively larger bodies of
water until, placing it in the ocean, Satyavrata guessed that it was the
blessed Hari. The fish then told him that a deluge would shortly over-
take the earth, that a boat would be sent, and that Satyavrata must put
on board the seven seers (120) and every species of living thing, thus
saving them from destruction and becoming the Manu of the future age.
Everything happened as predicted. ~fanu took his party on board,
tied the boat to a horn of the great fish and rode out the storm. The
fish then killed the demon Hayagriva and taught the Vedas once more
to Brahma (120).
17. The Dwarf (varnana). Cf. 114, 124. Vi$I:\u's three steps, which
form the central element of the myth of the dwarf, are known to the
Rigveda. The demon Bali had conquered the universe and was proof
against all the weapons of the gods. Bali's only weakness was hjs
generosity. Accordingly, Vislw assumed the form of a brahmin dwarf,
went to Bali and asked him for as much land as he could cross in three
steps. Bali gladly acceded, whereupon Visl)u transformed himself into
his cosmic shape. ""7ith the first step he crossed the earth, with the
second the atmosphere, with the third heaven. In the Veda the three
steps are taken to be the successive positions of the sun from horizon to
zenith. Our verse 124, interestingly enough, is quoted by Dhv. not for
its description of the god but for its expression of heroic generosity on
the part of Bali. The classical period, which had a more civilized moral
sense than the Vedas, tended to ennoble many of the demons killed by
the gods (cf. also 1363).
18. The Tortoise (kurma). Cf. 105, 118. VisI:\u incarnated himself
in a tortoise in order to furnish a base for Mount Mandara when it was
employed by gods and demons for the churning of the sea. For the
churning see rntr. 4, par. 11. The poets admire the patience and

97
 [Sec. 6
strength of the divine tortoise who remained unconcerned by all the
cosmic commotion taking place about him.
19. Rama. Vi~I)u's incarnation as Rama is referred to in only t\:\'o
of our verses (128, 181). In the latter Krishna remembers in his sleep
the sorrow he had felt as Prince Rama when separated from his wife,
SUa. For a summary of the Rama legend see Intr. 45, par. 4 ff.
20. Krishna. The adventures of Krishna fall into two parts or
cycles: those of his manhood, in which he helped the PaD~avas in battle,
and those, first recorded in post-epic texts, of his childhood and youth.
It is to the latter exclusively that our poets refer and it is in particular
two marvelous ambiguities which furnish the chief inspiration to their
poetry: the ambiguity of the herder's child who is in truth god incarnate
and the ambiguity of the youth whose love is both sensuous and
spiritual.
21. The myths which the poets employ will be found in the Hariva7!ua,
the Vi§''{I-u Pura'{l-a, and especially the tenth book of the Bhagavata
Pura'{l-a. The following few particulars will explain the references in the
verses of the present Section.
22. Krishna, born the royal child of Vasudeva and Devaki (123) , was
removed upon birth to a village of cattle herders to protect him from his
wicked uncle, KaIpsa. There he was brought up by his foster parents
Nanda (140) and Yasodii (144). His youth is spent in the occupations
and amusements of his bucolic environment. He tends the cattle,
herding them in the mountains (144) and driving them home along the
dusty roads at sunset (nO). He enjoys watching bullfights (129) and
joins gaily in the peasant celebrations, where his younger brother
Balarama, 'the Plowman,' drinks to excess (127). In all of this life
Krishna alone is aware of his divine nature, Krishna and the reader of
later times who may guess the meaning of his ironic but beneficent
smile (128, 144). Even when he performs the miracle of holding up
Mount Govardhana on his fingertip (140), protecting the herder village
with this immense umbrella from Indra's torrential rain, the villagers,
bemused by his mayti, fail to recognize his true nature. As he grows
to manhood he proves an irresistible lover to both girls and women.
Of these gopis (herder girls) his favorite is Radha, whom he waylays at
the cattle station (189), with whom he dances and to whom he makes love
(147) on the hills and in the bowers by the river. Radha is often jealous
of her divine lover (131), who humbles her by disappearing from sight
when she grows too proud (122). But Krishna remembers his love of
Radha through all his incarnations, even in his cosmic form (136).

98
Sec. 6]
104. Behold the god whose breast is marked
with the crocodile painting from Lak~mi's breasts;
father of the universe, whose countenance
was a moon to close the day-lotus faces
of Madhu's wives;
upon whose tusk when he played the role of boar
the earth seemed bu t a tuft of m11-sta grass
swept up from the pond of doomsday's flood.
VAKPATIRA.J A? [BHATTA NARAYA~A; ALSO IN HANU:M:ANNArAKA]

105. Be your protection the winds of breath

which issued forth from Visl).u in his tortoise incarnation,
sleepy from the rubbing of his shell
by the swiftly churning mountain peak.
By continuation of a portion of that impulse
\\ hat men call tides, the still unbridled
goings and the comings of the waters,
have never ceased. VAKPATIRAJA [BHAGAVATA PURA~A]

106. Let us worship for removal of all obstacles

the mace-upholding god's two eyes,
whose lights do render severally
to shelldrake and cakora joy and feast;
by influence of which the lotus bud
that grows from out his navel's depth,
its charms half waking and yet half asleep,
is made the conch shell's rival. MURARI

107. Praise to that source of all the universe

into whose belly hurries ever and again
by the navel lotus as the age of dissolution ends-
to see just what goes where
and how each thing should be arranged-
the self-born architect of our three-worlded city. MURARI

[Verses 108, 109 are treated in the Notes.]

110. With gentle sounding of his flute
he drives the cows in at the fall of day,
his peacock headdress gray with dust
raised by their hoofs.

99
 Visnu [Sec. 6
He ,vears a wildflmver garland, wilting now,
and he himself, though ever beautiful, i wear).
May Krishna, bringing thus delight
to the herder women's eyes, vouchsafe ou eyery good.

111. The conchshell, taken with reverence in his hands by Vi~mu

to fulfill the rite that shall insure
the slaughter of the demon host,
a shell to which the fingers of Laksmi still cling,
comes forth from ocean's mouth, within whose womb
it long had dwelt, as if a child
surrounded in its birth by generations of descendants;
and may it thus increase your every good.

112. 'ictory to the primeval boar, 'whose tusk

pierced the spines of the sacred mountains
and in front of "horn the elephants of heaven
appeared like beans in sprout.

113. Victory to the ocean spray,

when God took body in a fish, dashed up
by the slap of that gigantic tail
to the sky wherein it made a hundred moons,
which falling back then caused
the flame-encircled body of the Aun a fire
to swell so great from overdrinking as to lose
its appetite for centuries. RAJASEKHARA?

114. "How have you grown so small? " " On m y own. '
"And what is then your own? " "What isn't any other's. "
"W'hat do you want?" "Three steps." "And why so little
land as that?"
"Because to me, a brahmin living in content,
that seems as much as the three worlds."
Victory to Hari's true intent
half hidden thus and half expressed in crooked words.
[VAKPATlRAJA]

115. "Blessings on such beauty for all ages!

See Mount Mandara not strike her with its sides;

100
Sec. 6]
that the tidal wave not seize her
and that she not be touched by Sesa's venom."
May these impassioned words which Hari formed
on seeing Sri half risen from the sea,
their meaning manifested in his change of mien,
be your protection. VAKPATI[RAJA]

116. May the fire protect you which rises from the sawlike claws
of Hari the man-lion tearing at the demon prince's breast,
scratching at the skin, splashing in the fl ying blood,
ripping off the flesh and grinding at the bones. V.~KPATI[RAJA]

117. I praise the breast of Vi~I)u

so spangled with spray from the sea of milk,
which Mount Mandara twirled by his arms up churns,
that it rivals the star-strewn heavens and puts to shame
a lake of blooming waterlilies. MURARI

118. The mountain whirls upon his back,

the ocean roars beside his ear,
while the fire of venom, spreading wide its flames,
consumes the universe.
But the blessed tortoise,
eyes heavy with his drowsiness,
tucks his neck within his shell
and sleeps.

119. Fondly looked on by his worshipers,

bluer than blue waterlilies;
object of the meditator's trance for his attainment,
seas of beauty that bring delight to Lak~mi's sight:-
may your griefs be quelled by these,
by Hari's limbs or by his eyes. [AMJ;tTADATTA?]

120. May Hari in his incarnation in the fish protect you,

who calls to him the tossing sages by their faith
that the ocean cast up by the fish's tail
will make conjunction with the Ganges' stream in heaven;
who then intoning scripture, from the mighty sound of om
creates a pillar of air within the water
as he does the pillar of water in the air.

101
 Vi.JrJ,u [Sec. 6
121. May the conqueror of Mura aid you,
whose eyes open as he yawns
but who, greedy for caresses
from the hand of Lak~mi who awakened first,
depresses with the weight of his body, turning over,
his serpent couch
and feigns unbroken sleep.

122. All night long, dear friend, I've sought the rogue,
thinking he might be here or there:
wherever he might be
having left me for another.
But Mura's conqueror was not beneath the banyan
nor on the foothills of Govardhana;
I found him not by KalindI
nor in the willow grove.

123. "The night is nearly gone and you're awake."

"I don't feel sleepy, mother."
"I'll tell a story then to make you sleep."
"Make it a fine new story, mother."

" Once lived a mighty monarch of the earth,

Rama, scion of the house of Raghu ... "
At this the child of Devaki did smile
and may his smile protect you. [SATANANDA?]

124. His garment's seam spreads open from the dwarf-size knots,
revealing the kaw;tubha jewel upon his breast.
From the calyx of the lotus which issues from his navel
comes the sound of holy chants.
And all the while the demon Bali, filled with bliss
at having found one worthy of ills alms, looks on
at Vi~l).u's wondrous body, growing ever greater,
the which I pray be your defense. [V_~KPATIRAJA?]

125. May Lak~mi's body bless you

as after intercourse she rests
with one hand leaning on the serpent, a garment in the other,
her heavy hair fall'n loose upon her shoulder;

102
Sec. 6) Visnu
but then once more is forced back to the couch,
her graceful arms protesting not the god's embrace t
whose lustiness had doubled at the sight
of beaut) so revealed. [VARARUCI? BHA'f'fA NARAYA~A?]

126. "Here rises the full moon with spreading lightt

next come the swelling brow-lobes of an elephant,
and here a graceful panicle of blossoms on the tree of paradise."
Such were the illusions of the gods
as they saw successively arising from the sea of milk
the face, the breasts, and the undulant romiivali
of Lak$mI, who I pray be yours.

127. "Why is the earth so dizzy

and the moon fafafalling down?
Tell me Krikrishna
why everyone's laughing at me.
Rururum, oh rum!
Let my tongue loose! "
So may the Plowman bring you blessings
as he stutters in his drink. PURU~OTTAMA-DEVA

128. " What is it?" "A lion."

" What else?" "Its body is like a man's."
" Strange! Have you caught it?" "Nay, sire."
'{Ho! Who's there?" "Long live your majesty."
" Bring it before me quickly." "Sire, it is already here."
"My bow, my bow! No, bring my sword. And haste!
Ah t but its claws are sharp."
:May he who with his razor claws
thus killed the demon-king protect you. [VAKPATIRAJA]

129. 'Vith leg crooked about his cattle stick

and arms raised to his head,
singing songs of bullfights
as he decks his hair with flowers,
looking with rapt attention at the fighting
of a pair of bulls that swell with pride,
may the god Murari, taking to herder's sports
in his playful form of cowherd, be your aid. SRi SONNOKA

103
 Visnu [Sec . 6
130. Victory to the claws of Hari as man-lion
which tore apart the demon's breast,
in mindfulness of ,vhich the demons fear
even their mistress' fingernails when making love.

131. "Oh Lak!?maJ).a, these clouds distress me who ha, e lost

my SIta.
The cruel kadamba-scented breezes cut me to th e quick."
So speaking, in his sleep, of separation
suffered in a former birth, may Hari,
glanced at jealously by Radha, bring you joy. [ SU BH _~:' G _-\]

132. At which the GaruQa turns his neck aside,

scratching a pretended itch;
which the heads of the serpent couch nor see nor hear
by their pretending sleep;
which Brahma sees not either, eyes fast closed
in ruse of meditation : -
may those rites of copUlation by which l\Iiidhava
amuses Lak$mi be for your protection. R"~JA S EKHARA

133. Averted from just opening and for a moment

not turning to the jewel lamp ;
heavy with effort, and with teardrops forming
as he stretches out his limbs and yawns;
reddened from broken sleep,
as he starts to leave his serpent couch
with its pillow of round serpent hoods,
may Hari's half-closed eyes for ever be your aid.

134. Who at earth's raising could not scratch his shoulder

on those peaks his tusks had soon demolished,
nor could swim in streams whose waters were exhausted
in filling of his hoofprints;
who forwent the joy of wallowing in the mud beneath the earth,
it being but enough for pigs:-
that boar is all victorious whose desires
were thus prevented by its majesty. VAR_~HAMIHARA

104
Sec. 6]
135. May the three worlds find in KeSava protection,
who when embodied in a fish did burst
the horizon's limits ,,,ith the scraping of his sides
and whose belly ,vas not filled by all the sea;
who, having cut a potstand for the cosmic sphere
in the toughened scales of his jumping back,
did then with difficulty curb within his limbs
the love of leaping. RAGHUNANDANA

136. May Hari's sighs protect you as they come

straight and burning from the fire deep within,
heating the lotus perfume of his navel
and bathing the garland of his breast;
too hot to suit the liking and therefore rej ected
by the trembling snake that forms his couch,
and heard with jealousy by Sri
as being witnesses of Radha's love. P U~ PAKA

137. " Here is heaven and here the sky with sun and moon,
here earth, here Hades, here the mountains and the seas
and all that lies between."
Thus thought Brahma, shaking his head in wonder
to see the universe the same both in and out
of him from out whose navel he had issued
and who, I pray, may be your aid. [VAKPATlRAJA ?]

138. " That's good, I must say, husband,

when I think of only you and cling to you and love you,
to cast me off and take a thousand other loves! "
Thus Laksmi cried, seeing her body multiplied
in the serpent's je'weled hood.
May her ensuing laugh, embarrassed at her error
and breaking her husband's sleep, so prove your aid. BlIASA

139. " Go on ahead, milkmaids, taking home the pots already full.
Radha will follow later when the older cows are milked."
:May Krishna, who by subterfuge thus made the cattle station
deserted but for Radha and for him,
the god, the foster-son of N anda,
steal away your ills. SONNOKA

105
 [Sec. 6
140. By Yasoda viewed with trembling, but by Radha
with eyes made happy by her lover's prowess;
by the cattle boys watched closely in admiration of
his strength
and by his father Nanda with a mixture
of fear, delight, amazement;-
may the playful Hari seen thus with t he mountain
balanced upon his fingertip protect you. SONNOKA

141. Whose tongue traverses the cavern of his mouth thick set
with teeth,
whose heavy lion's mane is bright with flames of fire,
may his cruel claws, the demon-slayer 's, be for your protection
as they grind the ribs laid bare by his ripping out the belly
of the writhing giant, Hirar;tyakasipu. VAKPATI[RAJA]

142. Victory to the mighty arm of Hari

whose polished armband served as touchstone
to the rocks of the churning mountain, and which now
in the intervals of rest from bouts of love with Lak~ml
is rendered golden by the drops of pollen
thick falling from the flowers of her hair. SRi BHAGiRATHA

143. May Hari 's face protect you,

fierce with angry lapping of its tongue and wrinkling of its
brow
from his illusion of a second lion
on seeing himself reflected in the streams of blood
that gushed forth from the demon breast
torn open by his sawlike claws. V_~KPATlRAJA

144. "My son, if entering the mountain caves

in guarding of the cattle you should come upon wild beasts,
then call to mind NarayaI).a the primal spirit."
So spoke Yasoda
and I pray the smile which rose there at
but which Murari quickly hid by pressure of his lips
may ever aid the world. [ABHINAKDA]

106
Sec. 6]
145. Victory to god Hari in his form
of sacrifice-boar,
single cause of origin,
maintenance and destruction;
whose tusk would seem to be
the sprout-tip growing forth
from the three-world seed contained
,yithin his maw. SONNOKA

146. Its seed is the god Brahma,

its nectar are the oceans and its pericarp Mount l\feru,
its bulb the king of serpents
and the space within its leaf-bud is the spreading sky;
its petals are the continents, its bees the clouds,
its pollen are the stars of heaven:
I pray that he, the lotus of whose navel forms thus
our unIverse,
may grant you his defense. MALAYUDHA? [HAL.~YUDHA]

147. Victorious is Hari

who, thinking it the black border of her garment,
tries to wipe away
the reflection of his face as dark as raincloud
from the golden globe of Ra.dha.'s breast,
whence being laughed at by his mistress,
he drops his head in shame. VAIDDOKA

107
 Section 7

THE SUN

1. The position which our anthologist accords to this brief section

shows that he considered the sun to be one of the chief divinities of
Hinduism. There is abundant evidence in inscriptions and literary
sources that by his time the Vedic worship of the sun had grown into an
important cult, strengthened by recent influences from the sun worship
of Persia. But while recognizing the sun's importance our anthologist
is not much interested in its worship. The four verses which he quotes
all refer to the sun at sunrise, this being the time when all Hindus,
regardless of sect, address their prayers to the heavenly body. More
verses on the sun will be found in the nonreligious sections, for example,
in Section 9 on summer and Section 27 on sunsets.

148. The sharp-rayed sun, driving with his horses

over and below the endless world,
whose disc thereby moves swiftly as a whirling brand,
I pray may aid you by his casting out all darkness
with his shafts of light as warlike
as burning spears of gold. R.:i.JASEKHARA

149. I praise the disc of the rising sun,

red as a parrot's beak, sharp-rayed,
friend of the lotus grove,
an earring for the goddess of the east. VIDY.~

150. Praise to the sun,

a gem in the serpent's hood that is the Eastern Hill,
a golden flower in the sapphire-tree of heaven;
a farewell bowl for the captain-saint
who sets out to cross the sea of transmigration.
V_~RAH.UUHnt.A

108
Sec. 7] The Sun
151. The sun grows steadily from its watered root
by reason of the ambrosia poured from her moon-bowl by Night
as by a gardener girl desiring a new garden,
in fact, the world.
As it grows from out its trench,
the Eastern Mountain's ring of peaks,
red as fresh coral, may it bring you joy,
this first sprout of the tree of day. MAYURA

109
 Section 8

SPRING

1. With the Eighth Section on spring begins the description of the

seasons. Every Sanskrit poet since the time of KiHidasa, and \, ha
knows how many before, has tried his hand at this subject. Dal)Qin
tells us that the seasons form one of the stock subjects of court epic
(KA. 1.16), and all the court epics which have come down to us agree
with his statement. To refer only to passages on spring, we have from
Kalidasa Kum. Sam. 3.25-39, Ragh. 9.24-47, from Bharavi KiT. A1j.
10.31-35 from Magha Sis. Vadh. 6.1-21. The subject was also treated
in other types of poetry. The Round of the Seasons (IJ,tusa1?l.hdra) is an
artless, perhaps pre-Kalidasan collection of verses on the subject.
Again, every play had its descriptions of spring or summer or the rains
composed in the elaborate meters of the drama. The meters indicate
that the spring verses of the present anthology are drawn almost entirely
from plays.
2. The observation and recording of the phenomena of the seasons
was accomplished at the very beginning of the classical period. The
old observations then continued to be used again and again. Thus, the
verses of Section Eight mention repeatedly the cry of the cuckoo (152,
153, 156, 163, 166, 168, 170, 171, 180), said to be based, like the amorous
mode of Indian music, on the fifth tone of the scale (168); the blossoming
of the mango (152, 156, 158, 159, 169, 171, 175, 177, 190) with the
delight that this furnishes to bees (173, 186, 187); the appearance of
budding waterlilies in the tanks and ponds (152, 173, 182); the lengthen-
ing of the days at the expense of night (167, 181, 184).
3. Three spring flowers peculiar to India claim special attention from
the poets: the spring jasmine, the ki'f!'/.suka, which I have translated as
flame-tree, and the aioka.
4. The spring jasmine (kunda) is the first of flowers to appear, its
petals falling before the new leaves are on the trees (159, 162, 164). It
is the sweetest scented of Indian flowers and is thus a favorite of bees

110
Sec. 8J Spring
(159). The flower is small and white, as is that of the similarly sweet-
scented navamallika or spring creeper, and bot h are likened to a girl's
teeth as sh e smiles (423, ]Jtu . 6.23, Srn. T i l.3).
5. The flame- t ree (B uteafron dosa; Sanskrit, ki~Suka) (156, 157, 163,
165, 167 , 172, 189 ) is perhaps the most strikingly beautiful of all Indian
t rees a nd plants . Its scarlet flowers, which sometimes appear before
t he leav es are fully grown, incarnadine whole hillsides so that the world
for a week or t wo appears to be on fire (cf. 176). The ancient epic
frequentl y uses the flame-tree in similes. Warriors with open wounds
a s they fall in ba ttle are likened to flame-trees felled to earth (R. 6.45.9,
67.29, 73.56, 88.71 , 103.7). When Lanka burns, it is like a mass
of flame-trees (R. 6.75.27). Classical poetry, as usual substituting
love for death, likens the flowers to a lover's nailmarks left on his
mistress (Kum. Sam. 3.29, Ragh. 9.31) or to burning coals, often the
coals of love (163, 176, 759, IJ,tu. 6.19). The flower beside the green
leaf is likened to t he red beak of the green-winged parrot (157,
]Jtu,. 6.20).
6. The aSoka (Jonesi a asoka, Roxb.) (165, 175, 177) is a larger tree
than the flame tree. It too bears a red flower, less showy because
accompanied by it s leav es, but growing along the whole spray or branch
so t hat the aSoka branch is likened to a placard inscribed with red letters
(160, also cf. 186, note). The aSoka too is well known to the ancient
poetry where it is regularly associated with fertility and love. It was
in an aSoka grov e that RavaI).a imprisoned fair Sitll. The appearance of
the aSoka flower was a signal for a festival as long ago as the time of the
Kiimasiitra (1. 4.42).
7. There is a superstition that t he aSoka tree will blossom only at the
touch of a y oung woman's' foot. (Cf. verse 770 below and see Bloom-
field, JAOS. 40. 1-24; Pisharot i, J.l. Soc. Or. Art. 3, 110-124.) Doubt-
less the kick was intended originally as sympathetic magic to insure a
woman's fertility. But the classical poets took up the superstition
for its prettiness and added that other flowers had similar whims of
pregnancy . The bakula must be sprinkled with wine from a maiden's
mouth, the ti laka must be embraced and the red amaranth (kurabaka)
must meet a maiden's gaze before it will bear its blossoms.
8. Usually the classical poet was content to take his images from the
poets who preceded him. Only occasionally was a poet, like Bhava-
bhl1ti, wiUing to go beyond tradition. Bhavabhuti (189) and also a poet
'who may have been called Pautllyani (176) note how the twig-ends of
the flame tree grow dark in winter before they swell as buds. Murari,

III
 Sp1'ing [Sec. 8
too, if not original in his observation of nature, was strikingly original
in other ways (cf. 158).
9. To the average poet sentiment was more important than accurate
description. Spring to him was beautiful not for the beauty of its
birds and flowers so much as for the harmony with which human nature
accompanied physical nature's change. An instructive example is the
little verse 188 of our anthology. The author of the Dhvanyaloka
gives it as an illustration of suggestive charm. Its message is as
simple as the verse: that every motion of the world of nature meets
an exact response in the human heart. And so in other verses of
this and the succeeding sections it is in the harmony of life rather
than in descriptive brilliance that Indian readers have found the chief
flavor of the poetry.
10. Women are moved to forgiveness in spring as automatically as
the cuckoo's throat is loosened (156, 159). The sweat appears upon
their full breasts as naturally and pleasingly as the scent flows from the
jasmine (189). And if humans are subject to the laws of nature, at
the same time nature is viewed in wholly human terms. The trees don the
costumes of actresses (175). They reward the south 'wind who comes
telling them of their lover's return (162). They deck themselves with
flower ornaments and pollen as a coquette might deck herself 'with
flowers and saffron powder (168). In this atmosphere everything is
symbolic. The difficulty is not to know what represents what, but in
judging just how much or how little of suggestion to read into a single
verse.
11. Sadness enters this world of spring only when the harmony is
broken, when birds and trees proclaim the season but the human lovers
are separated. The travel er journeying unwillingly to foreign lands (186)
and his lovelorn sweetheart left behind (152, 160, 176, 190) are the
favorite subjects for revealing the mood of love mixed with the mood of
pity.
12. The coordinator of the harmony of man and nature in the spring
season is Kama, the god of love, for particulars of whom see the intro-
duction to Section 14. He is the powerful patron of lovers united and
the scourge of those in separation.

152. The lotus pond is bristling with pink buds;

the nights grow shorter while the empyrean's gem,
its cloak of frost unloosed, grows bold.
Now come the days resounding with the cuckoo

112
Sec. 8] Spring
and sweet with mango scent
to cut the hearts of ladies separated from their lovers.

153. Our flesh uprises at the twang of Kama's bow,

his arrows set in motion by the amorous note
that pours forth from the cuckoo's bride.
Not only we, my fair one: see upon these trees, the buds,
their petals still enwrapped within the rosy tips,
burst forth with the departure of the ,;",ithered leaves.
VINAYADEVA

154. The wind that blows

from the sandal-trees of Malabar,
the s\\ eet sound of cuckoos, and the bower vines
raise waves within the hearts of men,
raise yearning. SRiKA~THA

155. The mango bud her lover sent

is envied by her friends,
and in her heart the doe-eyed damsel offers it to Love.
But now she cannot let it from her hand;
she strokes it, casts her eye upon it,
smells it, turns it, holds it to her cheek. VAKKUTA

156. Twice or thrice the cuckoo calls;

three or four buds on the mango grow;
the bees delight in five or six cups of the flame-tree.
And everywhere, confused by so much joy,
the hearts of women become gay, the knot now loosened
of anger at their lovers' faithlessness. NiLA

157. In calyxes of tasty jambu flowers

the black bees hold a drinking bout,
pecked at, then dropped by parrots
in mistake for ripened berries.
But see, the bees too judge amiss
the parrots, green as flame-tree leaves,
and fly straight at the flowered beaks. RAJASEKHARA?

113
 Spring [Sec. 8
158. The cuckoos, drunk 'with elixir, shake the sprays of mango buds,
which bending, cover t he river-bank with pollen.
These dunes the deer can barely leap across,
driven by fear of hunters;
yet see; across, they rest in safety,
their tracks erased by the ever-falling dust. ~1 RARI

159. The bees are buzzing loud

but only in the jasmine;
the trees though fair to look u pOll
are not yet in full bud;
the mango flow er has not unfolded yet
as has the knot of anger in fair women 's hearts.-
Shall we t hen say the knot
has loosened of its ov.'l1 accord?

160. The spray of red a80ka as spring begins

is a public notice writ by Love
whose flowers trace the following defiance:
"The traveler , having left his mistress
numbed by weary loneliness,
may pass beyond me, if he can."

161. The days call out to the soft south wind

with the cuckoo's cry,
and ornament the woodland
with bee-frequented buds;
they dress the moon in a ne', cloak,
doffing his winter frost,
and with their every increase
they increase Love.

162. Says the south wind, " Spring is come again,

recalled from his long journey by the cuckoo's dulcet song."
Then donning bracelets of quick jingling bees,
he snatches off his present for good news:
a cloakful of laughing jasmine
from the tree nymphs of the wood. MANO': I~ODA

163. The flying cuckoos and the buzzing swarms of bees,

the garden thick with flame-trees red a s coals,

114
Sec. 8J
attend the lantern festival held by campak flowers
at evening for the monarch Spring. MANOVINODA

164. The jasmine blossoms fall, the trees have not yet flowered;
the cuckoo plans the song which yet he has not sung;
the sun s rays modify their coldness
but are not fierce) et nor oppressive.

165. The vicakila jasmine grows as large

as six-month pearls;
the aSoka is brightened by its petals
as red as teethmarks on a girl from Balkh;
the flame-tree flower, a bee upon the brim,
tips slightly on its stem;
the trumpet-flower tree with crimson buds
presents a novel scripture. R.~JASEKHARA

166. The flov;'ers of the vine are still in bud.

the leaves within the sprout;
the note of love within the cuckoo's throat
still dwells in expectation.
If Love '\Tould take in hand his long-left bow
two days of practice would wi.n him all the world.

167. The days grow longer by the chilly fractions

assessed from night at the breaking up of winter;
the flame-tree guards within the bud its fire
that soon will warm the atmosphere.
Walking in sun and shadow whose peripheries
are cut precisely to his shape,
man now begins to liven
but still rejoices not fullheartedly. TRILOCANA

168. With ornaments of opening buds

dancing in the swaying wind,
their elaborate leaf painting
resplendent with a rouge of pollen;
accompanied by the cuckoos' song

115
 Spring [Sec. 8
set in amorous mode with falling tone;
the trees appear to celebrate
the holiday of Love's revival.

169. Already the mango branch was an arrow of victory

for the bowman Love.
What need to smear its tip
with the dark poison of clustered bees?

170. To lovers tarrying in their pleasure-houses

the spring wind, friend of Love, from M:alabar
sends greetings and this message:
"I have arrived within the wood,
delighting bees and cuckoos, and I now invite
you with your mistresses to join me."

171. Within the wood the cuckoos charm the heart

with warbling of their throats grown strong
from eating of fresh mango buds.
'What here pretend to be their eyes,
if but the truth were known, are sparks
fanned by the flames of Siva's glance
from the coals of burning Love.

172. The filament of the flame-tree flower, hidden within the bud,
curves like the sickle moon:
it might well be the bow of Love
wrapped in a red tunic and sealed with lac. 'ALL\~A ?

173. The ponds are bristling with swelling lily sprouts;

the bees present a charming sight on mango bud;
a road, though short, brings sorrow [to the exile],
as the wind teaches the dust to dance upon the wagon's path.
ABHINANDA?

174. The trees are beautiful with fresh pink leaves

which the scented south wind greets and makes to dance,
that wind at whose embrace the populace come forth
according to their custom, running wild,
their minds incarnadined with thoughts of sport.

116
Sec. 8] Spring
175. A new Lak~mi is given office
to deck the aSoka tree with buds;
the mango dons the noble costume
required by the occasion.
And now the south wind, familiar with the grace
of dancing branches of the sandal trees,
is come from 1\faJabar, an expert,
to speak the prologue of Love 's Victory.

176. 1\fethinks that fire stole into the flame-trees

in guise of winter frost
and it is he who made the forest dark
with smoke of burgeoning twigs.
How else, to torture the poor heart
of absent travelers' wives
could he produce in guise of flowers
these blood-red rows of flame?

177. Bright chains of amaranth about their hips,

fresh mango blossoms at their ears,
the red aSoka on their breasts
and miidhavi within their hair,
their bodies rouged all over
with yellow pollen of the bakula:
such is our lasses' costume; may its advent
bring joy to lusty lads. SAVAR~I

178. The face of April, bravely decked in fresh pink foliage

and bearing in his black moustache of bees
the sign of coming manhood,
is eagerly drunk in by women's eyes
and welcomed with their tender smiles,
for April is the friend of Love. VAGURA

[Verse 179 is treated in the Notes.]

180. The trees flow with sap;

Love casts his five arrows;
the cuckoo's throat, unbound,
pours forth its sweetness. SRi DHARMAKARA

5+s.c.p. 117
 Spring [Sec. 8
181. The days that used to lie curled up,
numbed by the penetrating frost,
bit by bit stretch out their limbs
now that winter's past. SRi DHARAl'iiDHARA

182. The division of their lea, es is scarcely to be seen

so tightly are they gathered:
red of tip and green of body,
the lily buds have sprung up like young parrots.

183. The sun brings sweat to the cheeks of southern girls

and keeps them busy shaking what seem to be
sudden intrusions of buds from the garlands at their ear
drops, which sweeten the rouge of turmeric
but smart where lovers' nails have cut. YOGESVARA ~
[Verse 184 is treated in the Notes.]
185. On the plak$a tree the stem that holds the tufts
has quickly pushed off last year's leaves
and now appears as red as parrot's beak.
Then from the tip bursts forth the leaf
that with its bright and lovely rouge
rivals the beauty of a maiden's lip.

186. The buzzing of the bees grows strong

and with this twanging of Love's bowstring
are shot his arrows: shafts of red aioka
tipped with poison.
Oh, travelers who have left your wives,
the mango takes a forceful and an ominous part,
his fronds appearing with a net of buds,
a messenger of death .

187. The mango who anointed the breeze

with his first perfume
dripping from buds bent low
by the weight of bees greedy in mutual play,
shows greater glory now in his maturit),
when, covered with full -blown blossoms,
he brings men madness.

118
Sec. 8] Spring
188. A the mango puts forth shoot and leaf,
puts forth bud and flower,
so in our hearts does Kama shoot
and leaf and bud and flower.

189. The full-blown jasmine delights our sense of smell,

the flame-tree buds have turned from black to gray,
the bees are storing up pale hives of honey,
and drops of sweat BOW visit
the full and close-set breasts of women. BHA VABHUTI

190. To save those who are separated from their lovers

their friends now secretly pluck off the buds
from the crown of mango sprays. RAJASEKHARA

119
 Section 9
SUMMER

1. The section on summer contains a famous verse of Kalidasa (205),

several charming verses of Rajasekhara (perhaps 211 is the best), and
a number of strikingly original descriptive verses (for the type Qf.
Section 35) by Bal).a and the Bengali poets Y ogesvara and Vagura.
2. Among the stock subject matter of summer poems are the dis-
comforts of the season (194 gives a formidable list): the desiccation of
the trees (194, 19S), the drying up of ponds and wells (206, 208),
and the blasts of hot, dry wind (198, 200) which st ir up the scorching
dust (200, 204).
3. Worst of summer' s misfortunes are the forest fires, the record of
which is an ancient one in Sanskrit literature. In early times the woods
were burned intentionally, either for slash-culture, bewar, as it is called
by the present-day tribes of central India, or for making permanent
clearings in the forest (cf. M.Bh. 5.72.10; 6.45.56; 6.69.29 'after winter';
M.Bh. 6.46.4, Ram,. 6.67.39 'in summer'; M.Bh. 4.49.16, Ram.
6.62.22 ' in autumn'; for references in Rigveda cf. Negelein WZKllf.
17.99-101). What was once practised intentionally continued to take
place by accident, regularly in the parching heat that precedes
the rains. It is to this that verses 196, 200,207, and 1174 of our
anthology refer.
4. In summer a lassitude comes over all creatures (200, 202, 203).
Even lovemaking, so omnipresent in Sanskrit poetry, is interrupted for
men (191) and gods (214) alike. But it may be resumed. The sight of
beautiful women in clinging garments fresh from their cooling bath
revives the languishing god of the bow (192, 212). Verses 192, 211, and
212 refer to the sandalwood paste which the ladies of the rich applied
to their breasts as a refrigerant.
S. Several of the descriptive verses are very fine: 198 and 199 on birds,
202 on the ,,,allowing buffalo, 210 with its charming picture of coolness
curled up under flower petals, and 206 on the wayside pond. Verse
197 gives a pleasing picture of a girl attendant at a well. These girls

120
Sec. 9] Summer
offered the traveler cool ,,,ater, and sometimes more than that (cf. 514,
811, 1152, Hala 2.61, and the verses of later anthologies Smk. 60.30-38,
Sp. 3858-3861).

[Verse 191 is treated in the Notes.]

192. The embrace of fawn-eyed damsels

just bathed and moist with sandal paste,
their hair decked out with new-born flowers,
slowly makes love rise again,
whose strength had withered in the summer beams.
MANGALARJUNA

193. The day is miserably hot;

the night is worn and thin:
separated, with contradictory motion
like man and wife at odds. [KALIDASA]

194. In this summer month which blasts all hope,

burns the vines, is angry at the deer,
is tree-wilting, bee-distressing, jasmine-hating,
dries up lakes, heats dust and fries the sky;
in this month that glows with cruel rays,
how can you, travel er, walk and live?

195. Her heavy womb fatigues the crow hen;

the day, all heat, cooks mango tree and nim;
and, when the very end of night
brings pleasing breezes moistened by the dew,
the shrike's cry forthwith drives out sleep. RAJASEKHARA

196. With flames of saffron-colored forest fire,

broad and narrow, low and l}igh,
spreading, stretching, then cutting back,
and with draughts of smoke for aloe paste
the wind, turned lady's maid, now paints the faces
here and there
of the nymphs, the four directions.

197. A herd of innocent gazelles has gathered close

at the singing of the girl who tends the well,
charmed by its sweetly rocking lullaby.

121
 Summer [Sec. 9
Beside the road the trees arouse our longing
with gentle breezes that fan the drops of sweat
from weary travelers.

198. The birds loosen their shoulder feathers with darting beaks,
dispel their body heat by lowering ruffled wings;
with crouching legs seize hold upon the nest,
barely avoiding a sudden toss
from the buffet of the summer gale.

199. Above the fledgling of the wild goose,

although he rests in coolness of a flowering water-lotus,
the loving mother bird will hold her wings,
a handsome white umbrella.
The little parrot, parched with thirst,
resting on a fair maid's bosom,
will sip at the necklace pearls which grace her breasts
in hope that they are water.

200. The sky at summer's coming dons a cloak of dust

stirred up by wind to form a parasol
for keeping off the heat from earth.
The bees fly not as hitherto forthwith
to drink the nectar of the coral tree,
for they doubt its flower may be forest fire. BRA VABHUTI

201. Coolness, which stayed a while beneath the waters,

made brief acquaintance with unguent of sandalwood,
set foot on lily stems and moonlight,
and rested later in the shade of tasty plantains,
now is found alone
within my sweetheart's arms.

202. To drive away the busy gnats from the reddened corners
of his eyes
the water buffalo shakes his horns
and tosses up a rope of moss from which the drops of water
slowly trickle between his lids;
then, sinking in the lake,
with all annoyance gone, he sleeps.

122
Sec. 9] Summer
]03. The elephant bespeaks the heat
with trunk: that sprays his flanks;
the trees that stand beside the pond
are streaked with mud from rubbing of the buffaloes.
The sun glares on;
with palates parched., the beasts who slay the deer
survive the hours of burning lassitude
in den-filled canyons of the mountain. BA.~A

]04. The dust that lies upon the traveler's path

grows burning to .w s toenails;
the buffalo has trampled in the little rest of water
where pond fish perish;
The hyena's eyes run toward the wood
of dJuUaki trees, thirsting after blood;
the jungle-fowl have taken to their nests in cane
and thorn,
veins swelling in their throats. B~A

]05. The days are here when diving is a grateful sport,

whose winds are sweet with trumpet flowers,
when sleep comes easily in the shade,
and of whose hours the last is loveliest. KALIDASA

206. The water of the pond is hot above

but sharply cold beneath.
When wayside wells run dry the travelers come at noon,
and, covered though it is with floating moss
and muddy from the wallowing of buffaloes
not yet harnessed to the plow,
they stir it with their arms and drink. YOGESVARA

]07. The forest fire avoids the heavy chips of woodland cowdung
of mostly earth and little straw;
embraces only lightly with its flames the anthills
with their sprouting tufts of balbaja;
but waxing strong on birdnests built of matted twigs,
it robs the oily yolks of woodfowl eggs
as though in hope of butter for its flames. YOGESVARA

123
 Summer [Sec. D
208. Its reed thrush have all flown, its herons are distressed,
the karatuJ.ava have passed to other lands;
pining are its kankam.a and sheldrake
while the duck no longer gather and the plava all are gone;
its curlews are unhappy, its paddy birds are still;
without a dhiirtar~tra, partridge, crane or osprey:
such has the lake become as its waters fall in summer.
YOGESVARA

209. A crest of double jasmine nestles in her braid, fresh

after bathing;
a necklace made of trumpet flowers POUl'S coolness on her breast;
an acacia blossom, delicate of tip, adorns each ear.
The summer offers its insignia
to a woman's every limb. MADHUsiLA

210. Under the stems of acacia flowers

with their filaments as soft and green as parrot's wings
coolness has hidden and lies curled up
as if in fear of the heat of day. \ AGURA

211. That flutes should charm us, cooling to the ear,

that wine when chilled with water be so precious
and that women's breasts should feel as cool as snow:
such is the guerdon which the god of love
grants us in summer. RAJASEKHARA

212. A bodice soaked in cooling water,

play-bracelets made of lotus stems,
ear ornament of acacia flowers,
pearl necklaces of jasmine:
these and their bodies wet with sandalpaste
are the magic used by fawn-eyed damsels,
which needs nor spell nor magic circle
to resurrect the god of love. RAJESLKHARA

213. Now are the days of summer's glory,

which appoints for lust the hour before dawn,
which congeals somewhat the milk of coconuts,
ripens the royal plantain,
and is loveliest at sunset. RAJASEKHARA

124
Sec. 9J Summer
214. The summer breaks the tight embrace
of God N arayaJ)a and Goddess Sri
already sleepy from the ocean's rocking
of their" ater-dripping palace.
And now the sun's fierce rays
do fry the moon, deprived of a ll its splendor,
as if it were a pancake
on the heated potsherd of the sky. N.AR.AYA~ALACCHI

5* 125
 Section 10

THE RAINS

1. Over most of India the monsoon rains beain in the month of

June. Their advent is a dramatic occurrence. For a month or more
the land has been parched, the earth actuall) cracking open 'with heat.
Then comes the cool east wind (218, 228), driving the clouds which
build up along the horizon unt il, after a week's time or so, they grow
to huge cumulous thunderheads (kiidambini). Then the rain begins. In
fortunate provinces, in lower Bengal and along the Western Ghats, the
rain will fall every day for two or three months in downpours (tisara,
dhiiriisiira) of several hours' duration. The farmer \\aits until the earth
has been thoroughly soaked, then plows his field and sows his rice.
There follows a second period of waiting until the rice is high enough to
transplant. The monsoon is mostly a time of r est while nature takes
over the work of production. In Bengal, indeed, men are active then
in fishing (226), but this is as much sport as work.
2. In a few of our verses "'le are shovm the monsoon from a distinctly
rustic point of view (221, 224, 226, 230, 254, 264, and perhaps others).
These verses are probably by Bengalis, taking Bengal in a broad sense
to include all the lands of the Piila empire, and belong to a class of poetry
found only in this and a few other anthologies. I have tried to charac-
terize the type more closely in J ADS. 74 (1954), 119 if.
3. Far more common are verses in the courtly tradition. The mon-
soon was a happy time for the courtier too, if he could sta) at home.
This was a season for lovemaking unequaled by any other except
early spring. In flowers the monsoon rivals the earlier season. A
catalogue of the flowers mentioned in the following Section would prove
tedious. The commonest are the sweet-smelling ketaki with its sickle-
shaped white spikes (217, 247, 248, 249), the kadamba (217, 220, 225,
263), a tree flower consisting of an oval pincushion of orange (or in one
variety, white) blossoms, the showy banana flower (258,260), and the
yiithikii jasmine (215, 260).

126
Sec. 10] The Rains
4. The phenomena of nature are described in often highly artificial
term ; cf. the elaborate poetic fancies of 235, 251, 257. But one comes
on images that are attractive: the fireflies of 228, 234, 252, the sweet
smell of earth, 218. Traditional but nonetheless poetic are the pictures
of dancing peacocks (215, 222, 236, 243, 253). An especially beautiful
verse is number 245. Nowhere has the yearning for rain and fertility
been more succinctly expressed.
5. While much of the love-making of the courtier may be presumed
to have been such as the law-books approve, a special genre of verse deals
with the ahhisarika, the young woman who steals off at night to visit
her lover (233, 261 and cf. Intr. 24, par. 3.) The ahhisarika moves in
circles of the nobility. Among the peasantry it was the man who visited
his mistress.
6. The sentiment of love, as has been pointed out in the General
Introduction, has two main varieties: love-in-union and love-in-separa-
tion. The Section which follows is not without the second variety also.
The husband or lover might be sent to distant lands. Then every
phenomenon of the monsoon would serve to remind him of the domestic
bliss he had forgone (220, 228, 240, 242, 250, 263). Sometimes the
suggestiveness of nature is more than he can bear, and he starts back
(242). Regularly the poet asks, "How can the travel er live these
nights? " (220, 228, 250). The sadness of the ladies left behind is no less,
though our anthologist has chosen fewer examples (234, 249, and the
clever 246, see notes). That the fears of jealousy are never expressed by
these separated lovers is part of the general convention of the senti-
ments. It is only in other circumstances that jealousy may be expressed
without marring the sentiment, and then only by the woman.

215. The water of the arbor brooks carries the scent of cane flowers
and on the banks a latticework of jasmine buds has opened.
The clouds upon the mountain tops have formed a canopy
for the dancing of the peacocks on the slopes
that laugh with opening flowers. BHA VABHUTI

216. North of the brook which flows in riffles

down through the jamhu grove black with its ripening fruit,
a fresh cloud, widening above and dark as a great tamiila tree,
rests on the mountain peak. BHAVABHUTI

217. The mountain ridges bear kadamha trees

now in full glory, their bud-clusters bursting wide;

127
 The Rains [ ec . 10
the sky is black with thunder clouds.
In the lowland by the river
the lovely ketaki puts forth her shoots;
the woods are redolent with Silindhra scent
and smiling with white lodhra flowers. BHAVABH-TI

218. Now come the days of changing beauty,

of summer's parting as the monsoon comes,
when the eastern gales come driving in,
perfumed with blossoming arjuna and sal trees,
tossing the clouds as smooth and dark as sapphires:
days that are sweet with the smell of rain-soaked earth.
BRAVA-BRUTI

219. The doe in walking notices the locusts,

mistaking them for sprouts of grass;
the hen long broods on mushroom tops,
supposing them her eggs;
while in the woods the peacock,
yearning for a meal of snakes,
shakes his head and from afar
chases the swarming line of ants.

220. After the rain a gentle breeze springs up

while the sky is overlaid with clouds;
one sees the horizon suddenly in a flash of lightning;
moon and stars and planets are asleep;
a heady scent is borne from kadambas wet with rain
and the sound of frogs spreads out in utter darkness.
How can the lonely lover spend these nights? YOGESVARA

221. The river banks in flood make my heart gay ;

where the moorhen cries, the snake lies sleeping on the
cane tops,
the gray geese call and herds of antelope
gather in peaceful circles;
where thick grass growing everywhere is bent beneath the
swarms of ants
and the jungle fowl is mad with jO). [YOGES' ARAJ

128

r
Sec. 10] The Rains
222. The peacock calls gently to his mate who tarries,
and glances once again toward the sky;
then, leaping from his stage, the earth,
making a parasol of his unfolded tail,
to the sound of thunder sweet as loud reverberations of a drum
he performs his joyful dance.

223. The clouds, torpid from the much water they have drunk,
let faU the rain in steady streams
till sleep comes to our eyes from the sound of downpour.
'Vhen men then sleeping in every house are silent,
the sound of frogs, swelling without rival,
turns night to uproar.

224. Rich is he who drinks his bride's red-lotus lip

in a roof pavilion screened by mats against the rain,
their amorous murmers mingling with the sound of moorhens
wakened in their baskets by the driving downpour.
[SUBHANGA?]

225. The fire has left the mountain-range

and the blackened woods grow back;
the horizon now is serrate with fresh clouds
and the sky is clear of dust;
what's more, the beautiful kadamha
is thickly covered with its waves of buds,
and peacocks at long last have broken
their vow of silence.

226. In the paddy field flooded with fresh water

where the frogs begin to croak
and where the prickly cane along the bank is whiter than
heaped pearls,
the children, sticks in hands and smeared with mud,
run after the rising fish,
yelling" chubhroo, chubhroo! "

227. The cloud is like an umbrella of black silk

for the rain-god born on earth,
inlaid within which here and there
are shining sapphires.

129
 The Rains [Sec. 10
228. A cloth of darkness inlaid ,,,ith fireflies;
flashes of lightning;
the mighty cloud-mass guessed at from the roll of thunder;
a trumpeting of elephants;
an east wind scented by opening buds of ketak'i,
and falling rain:
I know not how a man can bear the nights that hold all these,
when separated from his 10\ e.

2.29. As the downpour steadily increases, urging the mind to

numbness,
its sound being swollen by the wild trumpeting of elephants
in fut,
the sky methinks has put its head into its lap
and snoring ,,,ith the thundering of rainclouds
closes the sun and moon, its eyes. [VATOKA]

230. Happy is he who in the monsoon nights,

with pumpkin vines growing ov er the firm roof
of his thatched pavilion,
lies breast to breast with a lovely woman,
listening in her em brace
to the constant downpour of the rumbling clouds.
[Verse 231 is treated in the Notes.]
232. These clouds were surely sullied by desire
and drank in folly from the sea
water that hid within itself
the glittering flame of underwater fire.
How else would they now burn,
although they feign the flame of rainbows stretching high,
with such appearance as one sees
in coals half black, half fire?

233. The cloud by miring the road has spoiled the red lac
of her soles
and with his rain has washed the cosmetic from her cheek;
but for these sins he makes quick recompense:
his lightning shows the wanton lass
the path that leads her to her lover's house.

130
Sec. 10] The Rains
234. The fireflies spangle the after-downpour blackness of the night:
that one might think them a train of sparks from the
burning love of lonely wives;
they fl y about a lightly as a pm,der
ground out of lightning b) the wild collisions of the clouds.

235. At night the clouds bring the sky within) our grasp and
shorten the horizon;
briefl y they interrupt the thick low sound of rain with
thunder;
then, opening their eyes of lightning and viewing all the world
as if to see if any spot of land is left undrowned,
they rain again.

236. The peacocks spread and shake the rising feathers of their tails,
which rustle with the motion;
th en cr) ing out v;rith outstretched heads
they raise their feet to the measure of the song;
gazing at the mass of raincloud ,
blue black as their throats,
t hey bring the wheels of their tails to their necks and dance.

237. The bamboo groves that grow by mountain streams

have left acquaintance 'with the unrestrained
performances of love by mountain couples;
now on the banks the bamboo shoots
a.re covered with a bark" hich at the bud tip
is black and shining as a young goat's ear.

238. The birds, oppressed by heat, solace themselves in the

fresh water,
with eyes closed ducking their heads
and preening on both sides in turn
shoulders, back, chest and pinion surface;
then, lowering their bodies on bent legs,
they dash up spray with the flutter of their wings.

239. Not, in the rains, of one unblessed

touches the marrow the tight embrace
by which he holds his little child
eager to go out to play.

131
 The Rains [Sec. 10
240. My groans are like your thunder;
the water of my eyes, your ceaseless downpour;
the fire of grief born of her separation, like your lightning;
within I bear her face and you the moon-
in all this we are similar, friend Cloud;
why then would you destroy me? [YASOYARMAN?]

241. Is earth flowing up to heaven

or heaven pouring down to earth?
The women touch the downpour \vith their fingertips
to see if it is moving or if solid.

242. The god of Im e, angr) at the transgression of his command,

orders the traveler sent back to his mistress
with limbs constricted in a crystal cage
made by the broad bright stream of water
pouring from his umbrella.

243. At your advent today, oh cloud,

the rain will fall, earth's fever will be quenched,
the farmer, eager for his crop, will work his fields,
and everywhere the peacocks, slowly sporting,
raising their shaking tails as parasols
and holding them aloft, will dance.
[Verses 244, 246 are treated in the Notes.]
245. Happy is he who sees the raindrops fall
on women yearning for fresh clouds:
like powder on their hair,
like sweat upon their cheeks.

247. The fresh ketaki flower

encircled by a gartersnake
looks like a fallen elephant's tusk
bound with iron.

248. In the clumps of ketaki,

as the tiny leaves unfold,
the spikes appear
with tufts as white as lambs' tails.

132
Sec. 10] The Rains
249. He smears himself all over
with pollen of the ketaki for ashes;
in place of skull, he binds with flight of cranes,
that shake therein, his black cloud hair;
he holds, as if a magic staff,
the rainbow bright with flags of lightning.
To frighten wives of absent travelers
the season thus turns sorcerer.

250. With the horizon dark with clouds;

with rainbows and the playing lightning;
with day and night obscured; with joyous thunder
and with the playful arguments of lovers hushed;
with flooding rivers and ciitaka that finally slakes his thirst;
with moonlight lost:
oh traveler in a distant land,
how do you live through such a monsoon night? [YOGESVARA?]

251. After starving night and stealing the water of the streams,
afflicting all the earth and stripping the deep woods,
,,,,here has the sun now run?
Thus seem the clouds to say
as they go hunting him with lamps of lightning. [PA~INI?J

252. How deep the nights! the darkness they contain more
peaceful
by reason of the interrupting flashes of the lightning;
the moon and stars dispelled from heaven
by thick obstruction of black clouds:
one knows the tree beside one by the fireflies,
and hears the droning of a crowd of insects
drunk upon the water of the downpour. ABHINANDA

253. The woodlands with their serpent-hungry peacocks

flaunting in joy their beautiful-eyed great tails '
seem covered with young bushes; while the hills,
their snakes half crawling from their holes to drink
the cloud-borne breeze,
seem sprouting fresh bamboo shoots. SATANANDA

133
 The Rains [Sec. 10

254. With their trumpeting of elephants

in the reed beds growing on the muddy bank;
with crabs and blooming mo sand mudd water
and the sodden earth rai ed up by earthworm pushing
from belm\' ;
these water-hollowed shorelands of the wampy stream
have set a mark upon my heart. YOGESVARA

255. After the rains, the swamplands ,vith their school of fish
darting in joy over what was late dry land
and bright as coins,
above which crabs pass back and forth
like hands to count this money,
have put forth wealth enough to bu) m) heart. ABHI1iiEKA

256. The rain god has become a priest;

he bathes the great linga of the' indhya mountain
with holy water poured upon it
from a hundred sapphire cloud pots. YOGE!h ARA

257. Now the great cloud cat,

darting out his lightning tongue,
licks the creamy moonlight
from the saucepan of the sky. YOGESVARA

258. The banana tree, parched by summer,

with its cluster of fruit
half-grown, soft and pink,
drinks as if with cupped hands the heavy rains. YOGESVARA

259. The sky looks like a banyan tree,

the clouds its dark foliage,
and these streams of rain that hang to earth
its aerial roots. DAK1iiA

260. Their hips are golden with girdles of kadamba flowers,

their shoulders streaked from earrings of banana buds
and their bosoms white with necklaces of jasmine:
delicate of nature is the costume
favored by the fair ones.

184
Sec. 10] The Rains
261. When an adventure s comes visiting upon a rainy day,
her make-up washed by raindrops from her eyes
and thin blue sari clinging to her breasts,
showing t he natural beauty of her body;
blessed is the lucky lover
who helps her change her dress.

262. There is no moon;

the sun has left for lands unknown;
the circle of the stars and planets
has been erased from heaven.
Of day and night
all distinction is obscured.
What is this crime
committed by the serried ranks of clouds!

263. So long are" ords of use, so long his heart still hopes to live,
so long the traveler sets his feet upon his way,
so long is any hope vouchsafed-
until he sees the Vindhya foothills,
wreathed in rain-kadambas in full bloom,
thickset with clouds as black as serpents
who have newly sloughed their skins. YOGESVARA

264. By the streambank, up toward the hills,

close by where the buffaloes are lying,
the cranes stalk calmly through the young grass
hunting for fresh locusts;
the flock of doves, though hindered by their fear
of straw-filled scarecrows set therein,
yet manages to peck up grains of beggarweed
along a corner of the field. YOGESVARA

265. Now that the clouds have formed, the moorhen

practises a few gutterals concluding in a double trill;
then more intoxicated, with pulsing, swelling throat,
he comes forth .....

135
 Section 11
AUTUMN

1. The Indian autumn begins after the rains and consists of the
months of Ashwin and Karttik. In the commonly used calendar of
modern times the period stretches from September fifteenth to Novem-
ber fifteenth. Because of the precession of the equinoxes the period in
the time when the following verses were composed would have begun
and ended some ten days earlier.
2. Autumn is the time of ripening for sugar cane (282, 29l) and early
rice (285, 287, 291). As the time of harvesting grows near, the farmers
build platforms along the fieldbreaks from which to drive off wild
animals (285). The grass is still lush and cattle graze on the village
common (279). The streams shrink back to their old channels (268,
288, 289), leaving the banks strewn with evidence of the recent flood
(283, 290). As the waters shrink still farther, the sandbanks rise within
the streambed (268, 278, 289) and are populated with hundreds of
wagtails (khafijarif,a) (268, 269, 275, 283, 288), a small bird with white
breast and black wings. In the waters the waterlilies bloom again,
their buds furnishing tasty morsels for the wildfowl (284).
3. Autumn brings the flights of migratory birds: the royal geese and
gray geese, the red-headed white cranes (samsa, balaka), and the herons
both large (kanka) and small (baka). To this aviary Sanskrit diction-
aries are a very imperfect guide (see Vogel, pp. 1 If.), for they render
ha'f!l8a by swan or flamingo whereas there are no swans in India except
those imported in recent times from England and flamingoes are rarely
seen. The dictionaries also confuse the cranes with the herons. Of the
wild geese the rajahar[Lsa (royal goose, Anser indicus) wins its Indian
name from the height at which it flies, from the dignity of its
motion, and from the lightness of its plumage, actually white and brown
although the Sanskrit poets always emphasize the white. The
gray goose (kadamba, kalaha~a, the words refer to both Anser
anser and Anser cinereus) is noted for the sweetness of its call.
For a charming illustration of the Indian crane (sarasa, Grus antigone,
cf. Vogel, p. 9) see the illustration in W. Norman Brown's The Sa'll-
ndaryalahari, plate 17c.

136
Sec. 11] Autumn
4. A number of verses (279, 282, 285) appear here of the rustic school
of poetry, favored by the poets of the Pala empire (see Intr. to Section
35). They become more frequent in Sections 12 and 13. In addition
there are a number of jiiti verses, realistic miniatures (e.g. t 27S t 274,
280) of a type for which Section 35 will furnish many more examples.
[Verses 266, 267 a.re treated in the Notes.]

268. Now are the autumn days hospitable to wild geese t

rejuvenating medicine to fading waterlilies,

but old age for the clouds.
The rivers, now streaked with wagtails, charm the heart
with their sandbanks, rippled at the edges, rising
from the gradual lessening of the stream.
MANOVINODA

269. At approaching autumn the nymphs of the four quarters

strew marriage grain in the form of wagtails
that fly about with white bellies and darkened wings;
while a smiling night sets the moon in heaven's courtyard
as a good luck jar marked with the dark sprig
but white with its tarpa1),a of moonlight. MANOVINODA

270. The flights of geese make a semblance of white clouds

and, by reflections in the water, of a hundred lotuses:
as if the fall had not enamored us already
with its river waves ringing sweet and sharp
like women's jeweled anklets. MANOVINODA

271. The night's end is delightful with the garden trees in flower
and white night-blooming jasmine with its high corolla
now sinking close to earth
as the joyful curlew sings his sudden song
in an atmosphere perfumed
by open waterlilies shaken by the breeze. MANOVINODA

272. The pollen-knowing bees, like priests

within the magic circle of the waterlilies
mutter a humming love charm;
then, with victory over haughty lovers won,
and drunk on honey,
their incantation swells to uproar. l\lANOVINODA

187
 Autumn [Sec. 11
273. For hours the hawk looks down, head turned to either side,
by strength of wing describing slow smooth circles in the sky;
then swift, oblique, skil1ful after prey,
he drops and suddenly attacks with flashing beak and claws.
l\IANOVI~ODA

274. Tail up, feet keeping time, wings beating low,

the sweet notes pouring from his upraised throat;
with little motions of his beak,
the wagtail dances for a time beside his mate
who looks upon him longingly
from eyes that swim with tears of joy. l\IAXOVI:S-ODA

275. The bank of the autumn stream is white

with its line of herons bending over "ith their beaks
busy in snapping up minnows from the water;
how delightful, with its darting wagtails, its bracelet of
gabbling geese
and its amaranths sweet-ringing with the hum of bees.

276. The sun gives sharp pain

like a low man newly rich.
The deer drops his horns
like a thankless friend.
The" aters grow lucid
like a saint's pious thought;
and the mud is squeezed dry
like a poor man ·who keeps a mistress. [BHASA]

277. Mourning with the soft complaint of wild geese,

dressed in skies as white as snowy hills,
her cloud breasts pale and cumulous,
the autumn is like a bride whose husband is abroad.

278. The skies, growing gradually peaceful,

flow like long rivers across hea, en,
with sandbanks formed of the "hite clouds
and scattered flights of softly crying cranes;
rivers which fill at night with "aterlily stars. [VISAKHADATTA]

138
Sec. 11] Autumn
279. Heavy of hindquarter with wide legs
spread by the swelling udders,
with deep bells ringing slowly
as the massive dewlaps swing,
the herd of white cows grazes,
on nights that smile with boundless moonlight,
in meadows by the village now green with fresh grass.

280. The lily, streaked with lines as red as lac

on petal surface white as oystershell;
. .,ith outer leaves of yello'w, green and rusty red,
gives off its sweet scent in the waters of the pond.

281. The jungle streams are fearful places,

tangled with heavy growth of thick high reeds
and dangerous of descent,
their sandshoals rubbed by crocodile bellies
sliding from and to the water;
their opening mudholes
thick with tracks of tigers' feet;
and their waters black and smooth as glass.

282. The wagon track, marked with juice from the crushed cane,
carries a flag of saffron-colored dust;
a flock of parrots settles on the barley ears already
bowed with grain;
a school of minnows swims along the ditch from paddy field
to tank
and on the river bank the good mud cools the herd boy
from the SUll. ABHINANDA

283. The branches marked with mud appear

as if just rubbed with unguents after bathing;
the banks with tufts of milkweed flying in the wind
resemble flocks of sheep;
the wagtails, flying swiftly to their new-found shoreline,
give to the rivers the likeness of anointed eyes;
the wild geese against the Krishna-colored sky
are beautiful as sea-shells.

139
 Autumn [Sec. 11
284. The buds which come fort.h on the waterlilies of the lily grove,
imitating now the unhardened tusks of young she-elephants,
on being eaten, by their soothing of the puckered throats,
produce a new and limpid sweetness in the cry of wild geese.
SRi KAMALAYUDHA

285. Fieldbreaks are set with platforms by the farmers

to repel wild boars who come to eat the crop;
trees are now decked with doves' nests built firm to
rear their young,
and anthills have been dug out by the sharp claws of jackals.
SATANANDA

186. Little girls, delighted, can make themselves toy ornaments

of flocks of cotton borne upon the wind,
delicate as fragments of the moon;
like spittle dropped from Indra's elephants, these balls,
or laughter from the nymphs of the four quarters,
or, say, they make one think of lather fallen from the chargers
of the sun
grown weary on their path. SUBHANGA

287. The lotus stalks between her breasts

are bright as chains of pearls;
the lily buds beside her ear
perform the part of earrings.
What color rubies to her parted hair would give
is furnished by the phoenix flower:
such precious jewelry does autumn give
the girl who guards the rice. MADHUSiLA

288. With trees appearing now the flood is past,

and wagtails scattering on the shore;
with jewelry of royal geese,
these rivers give delight;
within whose smiling water the minnows rush in fear
of being swallowed by the nearby beaks
of hunting sheldrake. J)IMBOKA

289. The shores of forest streams delight the heart

with restless trees now risen from the flood

140
Sec. 11] Autumn
and serried ripples of the drying sand;
the water stays now only in the pools
and the mud is marked by tracks of royal geese.

290. The trees upon the bank,

now drawing distant from the stream,
by their hollows which no longer flame
now that the snakes which dwelt there have been killed
and by the dying moss upon their branches
do proclaim
the greatness of the recent flood. 8UBHANGA

291. The days are sweet with ripening of sugar cane;

the autumn rice is high;
and brahmins, being overfed at feasts
to which the leading families invite them,
find that the heat grows hard to bear. YOGESVARA

291. Two things worry the brahmins

who attend the royal camp:
how to get funeral service from a rich man
and the muddy road to their tents. vl.GUB.A.

141
 Section 12
EARLY WINTER (HEMANTA)

1. Hem,anta stretches from November fifteenth to January fifteenth.

On this account as well as from the vl'armer climate of India, several
scenes of the present Section will remind the "estern reader of autumn
rather than winter. Such are the ripening of nuts (294) and the languid
bees about the last fe" flowers (295). But the anthologist is not over-
precise. The jasmine of 296, like our imported forsythia, belongs to
late winter or earl y spring.
2. Both this Section and the next are enriched with miniatures of
peasant life from the poets of the Pala empire (cf. J AOS. 74. 11 9 if.).
Such verses are often of great beauty and have been presen ed almost
only in this ant.hology and in the SaduktikanUl1nrta. Here are the
winter villages with their low-hanging smoke of dung fires (303), the
field hands chasing after rabbits (300), the farmers dri''ling a bargain for
their warm winter straw (297, 305). The strong peasant girl stretching
out their arms to the fire excite the poet's appetite (302), but he has pity,
too, for the old woman shivering in her hut (301).

293. Now are the days when the winter wind sets forth ,
friendly days to the jasmine
but death to the beauty of the lotus ponds.
Now women, suffering from the cold,
although their lovers' faults be deep ,
welcome by feigning sleep a tight embrace.

294. vVhose heart does not rejoice

in the groves of betel palms now decked with fruit:
fruit freckled at the top with spots of black,
pjnk as a ripe patola at the waist,
brownish at the base, and at the stem
tough, and green as parrots' wings?

142
Sec. 12] Early H'inter (Hem-anta)
295. The wind no longer bears the pollen, fallen motionless
and bright as orpiment about the petals' base;
a t dawn, the bees within the waterlily calyxes
sip frost together with their honey,
worthless from its tastelessness.

296. The wind blows fragrant with black mustard,

scattering haphazard in the guise of frost
concealed sparks of fire across the lotus grove.
Upon the cheek of the gardener's wife
it preserves the bristling flesh
which rose from her delight
at first sight of the jasmine's wealth.

297. The peasants now grow haughty,

being flattered by a hundred travelers for their straw ;
at night the cows in calf, chewing the cud,
keep warm the herdsmen with their breath;
at dawn the first rays of the sun play on the great bull's back
as he lies covered with mustard flower
and eyelids thick with frost upon the village common.
YOGE SVAR A

298. The daman,aka forest,

with tree trunks now pure white,
is spangled as if with face cosmetic
by leaves that are sharp and sweet of scent .

299. The peasant and his wife

sleep in a grass hut at the corner of the field
with coverlet and pillow made of barley straw.
The frost avoids their slumbers,
a boundary being drawn to its advance
by the warmth emitted from the 'wife's plump breasts.
[KAMALAYUDHA ?]

300. Seeing a brace of rabbits start from a corner of the field,

the peasants, calling joyfully their fellows with a great haloo,
run, old and young, with sickles, slings and sticks,
abandoning their reaping of the rice.

143
 Early Winter (H emanta) [Sec. 12
301. With rags upon her back, holding her hands
over the chaff fire placed between her fire-scarred thighs
and pressing her shivering elbows to her sides,
the old woman leaves the house now
neither day nor night.

302. The fire of cow dung, which though mostly smoke

by constant stirring is made to give off flame,
comes into honor with the winter season.
At end of day it shines for the enjoyment
of peasant women, at the stretching of whose arms
the graceful robes fall back
from the contours of their breasts.

303. The round villages are charming now at day's end

with threshing circles scattered on the common
for treading of the heaped-up rice;
the dung fires cast a ring of smoke
that hangs low overhead from weight of frost. ABHL ANDA

304. The jujubes at their base are green,

yellowish at the sides and red on top;
sweet to taste and sweet to smell
now that they are barely ripe. ABHI NANDA

305. "It is no wonder, sir, that travelers sing your praise,

and natural that a handsome figure go with virtue;
in generosity you outdo Karl)a."
By such praises from the tra veler
looking long with piteous gaze
in hope of a single handful of his straw,
the farmer grows right proud. YOGES VARA

144
 Section 13

LATE WINTER (SISIRA)

1. 8isim extends from January fifteenth to March fifteenth and so

contains the coldest part of the year but also the coming of the first
spring flowers (306, 320).
2. As in the last Section, the anthologist has included here also a
number of charming scenes from peasant life: the fields of mustard
turning brown as the seed takes over from the flower (315), the pounding
out of winter rice in the well-stocked farmer's house (314), the grinding
of sugar cane (316) and the preparation of mustard oil with its accom-
panying fire of redolent chaff (318). The poor in their rags shiver through
the cold days (312, 313), envying the well fed and pampered rich (312).
But life is not without its blessings for all. There is the Jasmine Festival
with its ritual cakes and its special license for love-making (306).
3. Two verses (307, 308) furnish what I have seldom seen elsewhere
in Sanskrit, descriptions of a snowstorm. My guess is that they come,
together with verse 309, from a single work, a messenger poem which
must have described a winter journey into the northern mountains.
The realism of the descriptions argues for the poet's having himself
made the journey of which he writes .
4. Of the verses in more conventional style, perhaps the best is 310.

306. In the rites of the January Jasmine Festival

the women are not so prized, despite their care,
for their worship of the jasmine or their decking of themselves
or their preparation of the pastry cakes,
as they are for stirring up of young men's hearts
with their cry' ulii ulii ulii' that calls for love.

307. The heavy snow is falling, not easy to distinguish

among the smoke-gray damanaka trees,
but for the fire of dung it forms a tent of beauty.

145
 Late Winter (8isira) [Sec. 13
At dawn it hides the rising sun,
and clinging to the tra velers' furs,
shows them all white of every limb.

308. The traveler of the sky, the sun,

sets forth at dawn from the Eastern hill
wrapped in a net of snow so thick
you could pierce it only with a needle.
He must have spent the whole night curled about the fire
and numbed of foot cannot go faster forward.

309. The path of the mountain gorge at dawn,

filling with mist from the slender stream below,
teaches the traveler suddenly to slow his pace,
for though the path runs high above the chasm
it seems, to his frightened gaze that seeks the other side,
to be flooded with the torrent.

310. The cold beauty of the moonlight fades as though

from lack of luck in love;
for no more is it met by laughter of the waterlilies;
its darling moonstone, overlaid by frost,
no longer sweats with yearning;
nor is it welcomed by the eyes of lovers
between their bouts of love.

311. The geese, now sullied and with pinions torn and rough,
by day and night like faithful friends
keep watch upon the water, both inside and out.
which, when the moon, the waterlilies' lover,
comes near with fading splendor,
cannot forbear to shed a mist of tears
at its loss of water-flowers.

312. The coming of the frost is pleasant for the rich,

whose mouths are filled with fresh betel nut
and whose limbs receive a hundred joys
embracing their dark women.
It is we poor folk who despair;
our lap, half covered by a torn and beaten rag,
receives no better gift than the trembling of our knees.

146
Sec. 13] Late IVinte1' (Sisira)
313. The monke hiver in the wind;
h eep goats, and cattle, thin from cold, are suffering.
The dog, although just driven out,
return and will not leave the oven.
And thi poor man, sick with the attack of frost,
like to a turtle tries to hide
hi limbs within his body. LAK~l\IiDHARA

314. No\\ may one prize the peasant houses

happy in the first harvest of the winter rice
and s" eet with perfume from the jars of new-stored grain:
,..rhere the farmgirls take the pounder,
raise and shake and smoothly drop it,
their bracelets jingling as they raise their arms. [YOGESVARA J

315. The fields where sesamum has ripened

and now lies dry delight the doves;
the mustard turns to brown,
its flowers giving way to fruit:
the wind scatters the hemp
and makes the body shiver with its drops of sleet:
travelers, quarreling in empty argument,
huddle about the public fire. YOGESVARA

316. The mustard sways with branchlets

weighed down by spike-shaped pods;
children standing underneath the tree
can pick the jujubes from the bending branch;
the PUI;lQra sugar cane, its joints appearing
from the loosening of the sheath in ripeness,
spits forth its juice beneath the hand-turned press,
V.:\CASPATI

317. The moon bears likeness

to a frightened woman's face;
the sun's weak glow
is like a bankrupt's order.
The dungfire is as gentle
as a new bride's wrath,
the winter wind as cruel
as a hypocrite's embrace. ABHINANDA?

147
 Late JiVinter (Sisita) [Sec. 13
318. The warmth of their straw borne off by icy winds,
time and again the peasants wake the fire
whose flame dies ever back, stirring with their sticks.
From the smoking bank of mustard chaff,
noisy with the crackling of the husks,
a penetrating odor spreads
to every corner of the threshing floor. YOGE SVARA

319. Only the berries, red as loving cuckoos' eyes,

revealed within the seedpods opening in ripeness,
mark out the fruiting vines of gunja,
which in all else perish, leaves and tendrills withered
by the frost of death. SIVAR~I

320. vVith leaves as smooth as parrots' wings

and bud as long as a young girl's hand,
the crocuses are brilliant
with color given them by winter.
The charming clumps burst everywhere
with green and red and dusty buds
and sharp scent calling to the bees. SATANANDA.

321. The beanfield is bare,

the grass-green color of the barley fades;
beside the village the lentil patch is gray,
the yamiini, smiling white.
The fennel is in flower,
the mustard bears its seeds,
the orach is bright green
and the coriander grows in clusters. SUBH-iNGA

322. The jujube first was almost white

and then was touched with yellow;
later, as its ripeness grew,
its body turned to red.
But now as it begins to dry, it shrivels
and furnishing no fragrance to the woods,
it goes to tastelessness.

148
 S ection 14

KAMA

1. The present Section honors Kama, the god of physical love.

But the god's honor extends further than these eleven verses. Kama's
name and attributes appear throughout the anthology and no character
of Indian fancy is given more epithets by the poets than he. As a guide
to modern readers I collect below his epithets and attributes from
the text of two Sections only (8 and 14) of the anthology. In the
individual translations I have not always rendered them literally.
2. Kama (160, 326, etc.) is called the Mind-born or Heart-born
(manasiy'anman 325, manoy'amnan 166, sarJtkalpabhava 329) and the
Churn er of Hearts (mamnatha 168, 179, 830). In kindly mood he is
called Remembrance (smara 155, 161, 169, 186, 328). 'Vhen roused he
is called the Intoxicator (madana 180, 188).
S. He is the Bowman (p1qpacapa 332, kusumadhanus 178), for like
his Greek counterpart he shoots arrows at the hearts of men (166, 179,
830, 331). His arrows are five (153, 180), whence he is called He of the
Five Arrows (pmicabiitLa 324, paiicamargatLa 153, asamaiara 171), each
of them a flower (326, 327), of which the most compelling is the mango
sprout (169). They are shot from a flower bow (331) stretched with a
string of black bees (331), whose buzzing is the twang of the bow (186).
The poets ornament the imagery of bow and arrow by still further fancies.
The arrows may be taken as the sidelong glances of women shot from
arched eyebrows (324), or, more philosophically, as the five object-
qualities of the senses (331).
4. With these weapons Kama conquers the three worlds (325, 331,
332). His banner is emblazoned with the image of a crocodile or a fish,
whence he is the Crocodile-bannered (makaraketana, 333) or He of the
Fish-standard (minadhvaja, 789). It is for this reason that women
paint the outline of a crocodile in musk or tumeric on their cheeks
and breasts (see note on 389). In his wars and pleasures Kama is
accompanied by his two wives Rati (lust, sexual delight: 326, 329)

6+s.c.p. 149
 Kdma [Sec. 14
and Priti (pleasure: 326), and by his friends Spring (178) and the
moon (327). His messenger as well as friend is the South ' Vind (162 ,
170, 174).
5. Only once did Kama suffer defeat, when he attempted to shoot
his arrow at Siva in meditation. For this act of insolence he was con-
sumed by the fire of Siva's third eye (171 and see Intr. 4, par. 12). In
memory of this destruction Kiima is still called the Bodiless (anailga 175,
325, 328, adeha 331, vitanu 172). But the defeat was temporary.
Siva was later wed to the mountain princess and in his androgynous
form (ardhanariSvara) has even made her into the left half of his body.
At this Kama laughs heartily (323, 326, 327, 328).
6. For the pre-classical origin of some of these epithets, see Sten
Konow, "Anailga, the Bodiless Cupid," F estschrift Jacob ·Wach'er-nagel,
pp. 1 ff.

323. "So now this Sarpkara, whose asceticism is known t hrough

all the world,
fearful of absence from his mistress, bears her in his
,ery form.
And they say that we were overcome by him!"
Victory to Love, who with these words
presses Priti's hand and falls to laughter. "tLUATA[UA?]

324. Shot from a stretched eyebrow-bow;

more beautiful than bees on waterlilies,
and swift as spotted antelope;
with pupils for their cruel tips to pierce the hearts of men;
feathered with the long angle of an eye
and hurtful with smiling venom:
may these, a woman's sidelong glances from thick lashes,
these hero-quelling, world-subduing arrows
of the five-arrowed god, protect you. ~L·L T OVINOD."'-

325. Bodiless he is and with a bow of flowers,

with flower arrows, too, that do not touch;
but such is his art at will t o work great wonders
tha t at one blow he strikes the world to heart.
Long live the mind-born god, with fiat
honored by all creatures. M.,\.NOVINOD.A

150
Sec. 14] Kiima
326. Lord Siva, though his foe ... ,
still keeps a woman at his side;
his is the single cup
of immortality in heaven;
the moon is his friend, and his flowery arrows
need only touch the hearts of men to find the quick;
his wives are Pleasure and Delight:-
the power of Love in everything is more than human.
MANOVINODA

327. Hail to the family priest of womankind,

,,,ha consecrates them for the sportj
to the disembodied boon companion of the moon,
who "ith his flowered arrows
overcame the god of gods;
hail to the stage director of the play of sex. RAJASEKHA RA

328. I praise the god, who though bodiless,

by using the lotus eyes of women
has roped the 'world securely in his far-flung noose;
who forces even upon Siva,
though he wears the ascetic skull and ashes,
consecration in the ritual of bowing
before the feet of the love-angered Parvati. LALITOKA

329. Long live he who is born of fancy,

the bee who hovers at the lotus mouth of Lust,
the god whose dwelling is in the glances
of the eyes of women who are deep in love. DAMODARAGUPTA

330. Behold the skill

of the bowman, Love;
that leaving the body whole,
he breaks the heart within.

331. Whose bow is a garland, whose string are buzzing bees,

whose mark is women, and who shoots the heart
with arrows five, the qualities of sense;
may he, who bodiless has yet the strength
to conquer all the world, may Love,
who lives in women's glances, lead you to your loves.

151
 Kama [Sec. 14
33:2. Hail to the bowman, the presiding deity
of the wanton sports
of lovely women made by wine unsteady
and by passion unrestrained;
for whose victory, as Love embodied, of the world ,
there be three special adj utan ts :
garlands of flowers, the moon, and alcohol. TPALAR .~JA

333. I praise the consecration of the god of love,

which wins the victory from the best of other rites.
No priest need be invited;
the sacred image is one's mistress;
the acts of" orship: looks, embraces, ki 'se ' ;
and the gift, oneself. \'ALLA~A

152
 Section 15
ADOLESCENCE

1. All but one of the following verses deal with the adolescence of
women. Verse 353 describes a young boy. Most of these verses are
in the form of svabhiivokti's, that is, of miniatures delineating the traits
of the subject in images that are most of them traditional and often
repeated word for word.
2. Of the physical descriptions the images are these: a new playfulness
or gracefulness appears in the girl's eyebrows (334-335, 339, 349, 358,
etc.); her eyes lengthen (334, 351), gain in maturity or self-confidence
(336,347, 380), lose the naive honesty of the child (375,383) and assume
the sidelong glances of womanly shyness and coquetry (335, 345, 349,
351-352, etc.). The cheek pales (341-342, 361); the voice trembles
(362, 367), and the girl's words, now rarer (376), are full of hints and
double meanings (chekokti 335, 346, 348; cf. also 334, 358, 367, 383).
Over half the verses speak of the budding breasts or of the lessening
groove between them. The waist grows thin (355, 376, 379,380) or is
constricted by a corset (373) and the three folds appear upon it (352,
356, 361, etc.). The romiivali appears (338, 363); loins and buttocks
grow heavier (343, 375-376, 379-380; 341, 345, 347, etc.).
3.. Of these traits the romiivalicalls for explanation to a non-Indian
audience. What is meant is the vertical line of body-hair growing for
a few inches above the navel. Being noticeable only on a woman of
light complexion and very black hair, it was taken as a sign of beauty.
Its popularity as a subject of poetry may also derive in part from the
southern custom of wearing skirt and short bodice in such a way as to
leave the midriff bare. For the spread of this costume to the north
in late classical times see Ghurye, Indian Costume pp. 133-134.
4. More charming to modern taste are the verses which take notice of
psychological traits. The romping of childhood is over (343, 352, 356);
the young lady now walks slowly, with grace and dignity (355, 358,
867, 376, 383). She has no more use for dolls (848), but spends her
time before the mirror (846) or listening to the love-stories of her older

153
 Adolescence [Sec. 15
friends (339, 346, 369, 374). She is between t\\ 0 ages, \~ hich aives her
actions a charming ambiguity : half shy, half desirous (339, 344, 357,
366, 368, 369, 372). She restrains her laughter (348, 358, 360), but how
delightful is her quiet smile (358 , 376). VVho can understand her but
her own playmate (354), and to her she pours forth the new troubles and
hopes that stir in her heart (350,381). The god of love is just awa kening
in her cool body and is still confused with sleep (359).

334. Now comes a certain grace of eyebrow,

a new development of eye,
and the curve of breast appears
at youth's commencement;
while in the child's voice
the note of love sounds clear,
composed, one knows not which to say,
of nectar, honey, or of bliss. ViRYAMITRA

335. No longer do they leave their locks disheveled ,

but study how to braid their hair;
they tend their teeth and knot their skirts,
grow fond of amorous practice with their brows ;
the motions of their eyes become oblique;
their words acquire ambiguity:
each moment shows a progress in coquetry
as childhood slips to youth. R .~JA SE KHA.RA

336. Young maidenhood has set its mark on every limb

but specially skillful is her eye's maturity,
which comprehends from him she deigns to view
his every expression
and publishes the feelings of the seer herself
to him found worthy of her sight. R.~JASEKHAR.A.

337. Like to a pair of saffron-coated cymbals

belonging to the dancer, Youth,
her budding breasts are round and swelling at the center
and keep some distance yet between their sides. LAl;)AH.;\CANDRA

338. On the midriff of young beauties

shines the sweet romavali
like Love's banner planted at the founding
of his new city, Youth. LAl;)AH..'\CANDRA

154
Sec. 15] Adolescence
339. Of girls no longer children,
their eagerness for things of 10'\ e
beginning now with adolescence,
how sweet the eyebrow's play, though slight
from natural shame and fear of elders. GU~ESVARA

340. This is no budding breast

with stand ing nipple and expanding sphere.
but rather , say, a saffron-colored cymbal
used by the actor Adolescence
as prologue to the play.

341. H er buttocks \ ie in their appearance

wit h an altar made of polished pearl;
her cheek grows somewhat pale,
equaLing 7nadhii.ka buds in beauty.
As she enters on young womanhood
how perfect is her body just rising from a sea
of loveliness compounded of thick saffron.

342. Her breas ts have blossomed;

upon her cheeks comes something like the luster of
'1na.dMLka. flowers,
while beauty half-awakened lies upon her lip.
Womanhood approaches, and her body, taking shape,
is tinted with a sirup of ambrosial loveliness.

343. No more running out of doors!

No more romping!
What, still these games of childhood 1
Why daughter, look, your petticoat,
stretched by these swelling loins,
will burst at any moment!

344. Her answer hovers close to love

but still denies it;
though spoken, still is half concealed.
You beg and beg her for her face;
she half decides to give it, half to turn away.
A fawn-eyed lass between her childhood and maturity-
ho'''' sweet in flavor her ambiguous innocence! LAK~MiDHARA

155
 Adolescence [Sec. 15
345. Her buttocks seek their glory but yet they have not
gained it;
her breasts swell at the sides
but her chest is not yet grooved by their division.
The mark of a coquette flashes within her eye
but for a second's space, not yet to stay.
What gains more victories than these,
the first beginnings of young womanhood?

346. She longs to hear of gambling games of lovers ~

in learning double meanings takes delight.
She holds a mirror ever in her hand,
and acts the teacher to her crowd of friends.
Anxious to copy grown-up women's conduct,
she's yet too shy with youth.
There is a charming progress of coquetry
as womanhood begins. [IlAJASEKHAIU ?]

347. Her glance, though graced by childishness

makes trial each moment of a woman's ways;
her figure is as yet unchanged,
but shows a hint of richness in the breasts;
her buttocks are not heavy, but assume a sharper curve.
What more delicious sight than is the body of a maid
when first she takes to love r .

348. She wears her bodice buttoned to the neck;

she indicates her laughter only by gestures of her
hands and fingers;
she is tired of playing with her dolls.
Her glances are oblique;
her words grow full of double meanings.
In every part appears the charming progress of coquetry
as childhood slips away.

349. Her armpit forms her bosom's new frontier;

her tender glance steals from the corner of her eye;
her eyebrow too has learned to dance a bit
at her bright smiles and ambiguous words.

156
Sec. 15] Adolescence
The ways of love are forming in her heart;
her limbs are clothed in beauty:
there is a new and winning -way about a lass
as young womanhood creeps on.

350. Many and many's the time in the mango grove

the hollow ofmy ear has drunk the cuckoo's song.
Today, though, as the sound approached
I shook in every limb.
My heart was sad, a trembling seized my eye.
Why thus, sweet friend, I prithee why? BHOJYA·DEVA

351. Her eye grows somewhat longer

and now and then casts sidelon,g glances;
her figure is less apt to motion,
now pregnant with these budding breasts
that soon will grow to greatness;
her buttocks like the waxing moon do gain in weight: .
adorable is the body of a fawn·eyed maid
as it casts away its childhood.

351. Her hips have gained in heaviness;

the three folds form along herowaist;
shyness increases in her heart,
her former romping vanishes.
Her breasts have blossomed forth, .
her eye begins to turn aside:
the body of the slender maid grows beautiful
as childhood slips away.

353. The women fain would deck him in their ornaments,

thinking him still a child,
at which he buries his wish within his heart
and shows disinclination;
and if in the absence of the others
one looks tenderly upon his face,
he lowers his head and smiles 1
Such is his way,
clothed in the beauty of hiS adolescence. VALLA~A

157
 A dolesce'n ce [Sec. 15
354. Too shy to give an opinion,
when asked she shakes her head;
she entrusts the whole of what she does and what he thinks
only to her dearest friend.
And yet she's quite a scholar in the art of .fla hing glance.
and her every limb is marked out for the art of love.
Ah, but this lass is at a charming turn of age.

355. Liveliness, abandoned by her feet,

passes to her eyes;
her hips reject the slenderness
that now her waist assumes;
her torso wins companions in her breasts;
her face, hO'wever, stands alone without compare.
Thus adolescence brings about
exchange of attributes in all her limbs. [~~JA S EKHARA]

356. Upon this river with its triple wave

her childhood perished with her childishness;
in memory whereof these funeral mounds,
her alabaster breasts, have been erected.

357. Their every limb is softened at maturity,

its elements of hardness gathering to the breasts;
while wakening to tender love, they alternate
between propriety and boldness:-
nothing else can equal the flavor and the mood
of early womanhood. MUR.\RI

358. The graceful curve of eyebrow,

the eye which turns a few degrees aside;
the indolent gait and secret smile upon the cheek,
the crooked clever words:-
it's not from teacher, parents, nor from book,
but by herself a young girl gains this mastery
of all the arts of love.

359. Her body is an island washed by constant waves

from the ambrosial sea of beauty;
here have the parts of early youth conspired

158
Sec. 15] Adolescence
to build a pleasure-house of graceful vines,
in whose cool shade the blessed god of love,
just wakening, is drowsy still with sleep.
VIRYAMITRA? [BHIKr;tU?]

360. Her eyebro" grows more graceful,

she trains her mouth in little smiles;
as maturity begins
her glances take to crooked ways;
and now still farther every day
her swelling hips stretch out the jeweled girdle. RAJYAPALA

361. Her waist is perfect with its triple fold,

her torso indolent from weight of high and swelling breasts
that know no separation.
Her cheek grows white:-
of this maid with innocently flirting eyes
who harbors youth as sacred guest, the body
has taken on the charming hue of saffron-paste. VAJRAMUHI

[Verse 362, is treated in the Notes.]

363. This maiden undulent with shimmering triple fold

on which like river-moss floats the romiivali:
surely she is the Benares of salvation
for the hearts of men;
since here are seen cm the banks of her upper body
two funerary mounds constructed
by Youth, the architect, in loving memory
of her past childhood and its childishness. BHAVA

364. Her budding breasts have left somewhat

their childhood friend tenuity;
her midriff shows desire
for braceleting with triple fold;
upon her lower parts there comes
an aptness, quite unaided, for enticing play:
indeed, the charms of love have set their mark
on every limb.

159
 Adolescence [Sec. 15
365. That the waves of beauty circle out
to the shore of every limb
and the smooth clay of her loveliness
shows tremors;
that the two smooth globes of his cranium
just merge above the surface:-
these lead me to infer that the young elephant of love
has plunged into the pool that is her heart. [VlDHUKA]

366. My heart remembers my beloved,

how, making many a pretense, she ran away;
how her friends arrested her and brought her back by force
and set her on the counterpane;
how she started and had fain refused
the new game of tumbling;
and how her fear at last was softened
by sweet experience.

367. Her smile half innocent,

her wealth of sweet and hurried glance;
the quavering of her voice
and her taste for new and playful turns of phrase;
her way of walking, fragrant with budding gracefulness:-
what is there fails to charm the heart
as a girl is reaching maidenhood? [ BHART\UlARI COLLECTION]

368. There's fear and curiosity;

there's bashfulness and also there's desire.
A young girl's heart toward the one she loves
is never pure and simple.

369. She visits with older and more daring women

and listens to them talk of their adventures,
which afterward she acts out for her younger friends
with many a skillful gesture.
She has met a lover whom her heart desires,
but still she goes not to him.
Such is the young girl, but just by being thus
she's all the more attractive.

160
Sec. 15] Adolescence
370. She stretches. Her arms voluptuously raised
describe a graceful arch,
to which her hands with fingers interlaced and motionless .
add the entablature.
What should it celebrate, this arch,
if not the entrace of the mindbom god Y SATANANDA

[Verse 371 is treated in the Notes.]

372. On her young body rise the breasts,
a gracefulness appears,
the joints grow smooth and eyebrows curved.
the childish form is lost.
Within, a hint of love; without,
a greater share of modesty.
Slowly her eyes begin to dart their sidelong looks
and all is glorified. RUDRA

373. The lovely creature now observes

her navel's depth;
with sidelong glance she notices
her buttocks' fair increase.
In secret she torments her waist with stays;
and yet she clings to shyness
as to an ancient friend.

374. When the young girls, curious of each others' love-affairs,

begin their talk of love,
her body stiffens, the prickles run along her skin;
from which I guess that this gazelle-eyed novice
has rendered blessed some consecrating priest,
some devotee of carnal paradise,
by her initiation. NARASI¥HA

375. Her limbs appear to swim

on a clear and crystal sea of beauty;
her breasts and buttocks burgeon to their full extent;
the graceful motions of her eye
dispel for good her childish innocence:
indeed, the fawn-eyed maid
is well acquainted with young womanhood. RAJASEKHAllA

161
 Adolesce-nce [Sec. 15
376. The gait is slow; loins thick; the waist is small;
the curve of breast is sharp; few words and charming smile;
the eyes dance gracefully beneath the moving tendrils
of the eyebrows:-
what has become of the child and whence
has this fair creature come before my eyes? SUDDOKA

377. A sweetheart and a vine

attract more when in bud,
and if a full-grown bee should top the bud,
are quite unequalled. GOBH·-\.TA

[Verse 878 is treated in the Notes.]

379. Such steep breasts
has the body of this fawn-eyed maid,
so deep a waist, such swelling loins!
Who can fail to stumble?

380. Upon her face the eyebrow learns to dance with just a
portion of its line;
the eyes grow somewhat more mature;
her breasts begin to bud;
her waist grows daily slim, her loins grow thick:
bit by bit on every limb
Youth lays an earnest for his close companion, Love.
RAJASEKHARA

381. Last year, dear friend, and the year before the last
the sweet wind blew from Malabar
and the cuckoos sang.
But my heart was never restless
and all to no avail,
as it is this spring. UTPALARAJA

381. As childhood falters like a king defeated

and maidenhood with its treasures of delight arises
like a conqueror,
it is as if intoxication vied in growth with Love
to unfold the flowers of gracefulness upon her body.

162
Sec. 15]
383. Her glance has left straightforwardness;
the sense of fair and equal play is giv'n entirely to her breasts;
her footsteps lose their haste; she smiles
now only by the graceful motion of an eyebrow.
Her words are no more true by nature,
for now that childhood has been sent upon its way
there comes upon the fawn-eyed maid
a new burgeoning that bears the seal of Love. RAJASEXHARA

168
 Sectio-n 16
YOUNG WOMEN

J. Despite the title the criterion of selection in this section is not a

particular stage in the life of women as in Section 15; neither is it a
particular relation in which a woman stands to her lover or husband as
in the following sections. Rather~ there have been collected here various
verses dealing with the sexual attractiveness of women in general.
2. Usually it is the physical charms of women that are described. and
for these charms the same similes and metaphors are constantly re-
peated. The woman~s body is a golden staff or golden vine (887, 388).
In over half the verses her face is a full moon or a lotus. Her eyes are
waterlilies (kuvalaya, nilotpala 890-891, 409, 418-419, 426, etc.),
the darkest of Indian flowers. In this connection it may be worth
informing the stranger to Sanskrit poetry that by the color of the eye
the Sanskrit poet refers to the pupil or sometimes to the white and pupil,
never as we do to the iris. Her eyebrows are Love's bow (419, 457).
The breasts are likened to golden jars (388. 892, 400, 407), to the pro-
tuberances over the frontal sinuses of an elephant {418, 424, 426}, or to
cymbals held by the dancer Love (399, and cf. 887, 340). The stock
metaphor for a woman's thigh is the stem of the plantain or banana tree,
this being round, tapering and extremely smooth. But to list such
similes for all parts of the body would be tedious.
3. In like wise. there is a stock of fancies and apostrophes which are
repeated over and over. The woman's glance revives the god of love
after he has been burned by Siva (395, 455). or forms Love's chiefest
weapon (403. 441). A whole series of verses plays on the fancy of her
creation (397, 402, 404, 488, 440, 442, 446, 448, 456, 457, 464): special
ingredients must have been used; the creator must have encountered
strange difficulties. One such verse (456) by Kalidiisa shows real passion:
the old creator, busy with his Vedas, could never have made her at all.
And the imitation of this verse by Bhavabhiiti (446) is still charming.
4. But originality was sought in other ways, by striking figures of
speech and by puns. Of these the section shows a considerable variety;

164
Sec. 16] YOU1~ Women
and since such matters were held to be important by the poets themselves
I have called attention to at least a few of the tropes in the notes:
adbhutopamii (887-888), saf[llayopamii (890), bhrami1TUin (891, 409, 488),
vyatireka (896), pratipa (400, 450, 457 and cf. 896). Favorite puns are ·
the words mafJ4ala (' province,' or 'circle of the breast '), kara (' hand, '
or ' taxes '), gUtul (' virtue,' or 'necklace string '). These and others are
used in verses 898,417, 429,486,487,461-468. Perhaps the most skill-
fu] of the poets in all the tricks of the trade is the Buddhist Dharmakirti,
the identity of whom with the famous philosopher of that name can
scarcely be doubted; see General Intr. His use of poetric convention to
prove Buddhist dogma in 440 is delightful. And yet Dharmakirti was
also capable of writing with great feeling, as may be seen in 454.
5. A number of objects closely connected with the sexual attractive-
ness of women come in for poetic treatment: the pearl of a necklace
(408), a bodice (412), a golden girdle (416), a lute (422).
6. Verse 484 describes pregnancy, which to the crCdit of Indian taste
has been given poetic treatment not seldom in Sanskrit, for which see
the notes on the verse in question.
7. Not so typical, but among the best of the verses from the viewpoint
of poetry, are the psychological insights of 384 and 424 and the passion
of 427.

384. These charming women who practise virtue

but have a hankering for sin;
who would rather give their lives
than give a full glance of their eye to a lover;
whose rule is prohibition
even in regard to what they most approve:-
may they, whose nature difTers thus from all the world,
be kind to you. vrrrOKA. [s. VIBHOKA]

385. A pearl necklace at her throat,

powder of white camphor on her breast;
sandalwood ointment on her limbs
and lotus stems about her wrist:-
this slender damsel in the night,
clad in shimmering robes of silk
shines like the goddess of the cool-rayed moon
slipping to earth as it mounts its zenith. [R.iJASEKHARA]

165
 Young ltVomen [Sec. 16
386. The graceful tripping of young women as the come and go,
the oblique glances of their eyes,
their soft sweet words:-
these are Love's weapon; he needs no magic.

387. I saw a golden staff wandering in the park.

on which a wondrous lotus ever bloomed;
herein two bees; above, a moon half-full;
and still above, massed darkness,
which yet remained both day and night. VTTTOKA [so YETOKA]

388. Two kapittha fruits appeared on a golden vine i

transformed in time into palmyra nuts,
then grew to touch each other;
still later, rising in equal grandeur
they ripened to the clear-cut form of golden jars:-
where shall we say this man el may be found?
YITIOKA [so 'ETOKA]

389. The face of the pretty lass,

painted with smiles for moonlight
and ·with musk ornament for the moon's mark,
robs the moon of its charm.
And what beauty is there in the moon
compared to the incomparable luster of her lip
and to these her prudence-stealing sidelong glances? YAGOKA

390. Is this some marvel, or is my mind confused,

that there should be a moon here where there is no sky?
And here are wonders more, I think,
for in the moon are two dark waterlilies. SRi HAR~APALADEVA

391. One of the gatherers of flowers has often been deceived

by her eye's reflection in the pool;
so that now she hesitates to put her hand
to the dark waterlily. DHARA~iDHARA

392. For the celebration of Love's entrance

into the new palace of her body,
skillfully constructed

166
Sec. 16] Young Homen
by the craftsman, Youth,
her breasts have been erected as the festival jars
which bear the sprays of loveliness.
[Verse 393 i t reated in the Notes.]
394. Upon her flesh as golden as a golden champak flower
the rorniivali of early youth spells beauty ,
like to a panegyric written on gold plate
in honor of Love's conquest of the world.
395. I sing the praise of lovely-eyed women,
victorious over three-eyed Siva,
who by their glances resurrect
that Love which he consumed by his.

396. Behold the risen face-moon of my darling,

wherein the only blemish is
that I've compared it to the blemished moon.

397. As the creator formed her countenance,

a full moon such as never had been seen,
surely he must have been ill-seated
from the closing of the lotus that formed his throne.
SRI HAR1?ADEVA

398. Cast not the single mass of darkness backward;

let loose your deer and take his limpid eyes:
that is, oh moon, if y ou would imitate exactly
the face of my long-eyed beauty
with its tossing curls and dancing glances.

399. The lunar disc has doubled

in casting its reflection on the pair of polished breasts
of the gazelle-eyed damsel ,
and seems to form a set of bellmetal cymbals
raised for the holiday dance of Love,
trembling with bliss, that now begins. VASUKALPA

400. If her plump thighs, her charming lip, her close-set breasts,
if her face-lotus, play the conquerors;
then killed are a pair of plantain stems, killed the
bandhuka flower,
destroyed are two gold jars, and broken is the moon.

167
 Young Homen [Sec. 16
401. Whatever the gods with so much effort
gained from the sea
may all be found
in the faces of fair women:
the flowers of paradise in their breath,
the moon in their cheeks,
nectar in their lips,
and poison in their sidelong glances. L-\'K~MIDHAR.A

402. Methinks this slender damsel,

with her tremulous eyes and alluring breasts,
was made from the liquefied essence of the moon
by a creator most skillful in his art.
How else should she possess
such repletion of warm beauty,
while the Nightwanderer, losing his figure,
is reduced to a simple line? s VAR~AREKJL-\.

403. He has no body; five flowers are his arrows;

his bow is made of blossoms
and his bowstring but a fragile line of bees.
With such gear how could Love expect to conquer all the
world,
had he not an unfailing weapon
in gazelle-eyed women? AMARASI~!HA

404. The folds of her waist are the exudation of alIurernent

from the three interstices of the creator's fingers,
as he balanced her within his fist,
adding weight to loins below and breasts above.

405. How can you undertake to take

the savor out of life,
to leave the world in darkness and her relatives
a refuge only in their death?
You would unpride Love,
unjewel the universe
and, robbing man the reason of his sight,
transform the earth
into a weary desert. BHAVABHUTI

168
Sec. 16] Young Women
406. In the houses of the rich, pet parrots
beg their food with ever llew and lover-like expressions,
embarrassing the women-folk.
"Polly wants a parrot-plum white as your cheek!"
" Pretty girl, Pally wants a cherry red as your lip! "
" Polly ";rants ajamhu black as your hair!" VAKKUTA

407. What need to paint this dear cheek with southern lines of
musk?
It is already perfect ",-ith its fine hair,
black as du/roa grass, rising in horripilation.
The recent wounds left by your lover's playful hand
give sufficient luster to these jar-like breasts;
the necklace is supererogation. VIRYAMITRA

408. Let a man gather merit in the world

that he may be reborn as a raindrop;
by his past virtue a cloud may then take him
and place him in an oyster's mouth;
thence his worthiness may bring him to such transformation
as, refulgent, to play upon your swelling breasts. ACALASI¥IIA

409. It's not a waterlily, but her eye;

no lotus; but her face;
and this is no bandhilka blossom,
but her lip which bears the flower's selfsame pink.
I too did err at first, oh Bee;
how much the more should you.
But give over your effort. Leave them, leave;
you work in vain. [RAJASEKHARA?]

410. The lotus and the moon

each seek to imitate your face,
for it is Love's victorious weapon
and cynosure of every eye.
Hence comes their rivalry
and hence the cold-rayed moon
forbids the lotuses to blossom. DHARMAKARA

169
 Young Women [Sec. 16
411. You have not seen my mistress' face, cakO'rll8.
its charms arranged by Love himself;
for had you seen its perfect loveliness.
how could you relish still the taste of moonlight?
. [RAJASEKHARA]

412. They say that those that are pierced by steel

go straight to heaven.
They say well.
for a bodice. pierced but by a needle point,
has reached your breast.

413. Your breasts, oh slender maid.

resemble an elephant's cranial lobes.
You are, as it were, a pool
shaken by the elephant, Youth, who plunges therein.
BHAGURA

414. Dancing-eyed damsel, the mindbom god

must have filled your heart with his flowery shafts.
How else should your breath bear such rich perfume,
not artificial but sweet in its very nature?

415. Fair one, we perceive that the Creator

first dug your navel, a deep foundation pit,
whereon to set the romiivali as pillar.
Then fearing lest your slender waist might break
beneath the weight of these two breasts,
he clamped it with a triple fold.

416. "First I was cut with knives, then ground upon rough stones;
. I was cast into flames and plunged in water;
it is by merits of such sort that I have won
my place upon a fair maid's hips."
So sings the jingling of the golden girdle.
[Verse 4017 is treated in the Notes.]
418. When by the damsel's face the moon was conquered,
his wife, the wat:er~y, burst, it would seem, in anger,
becoming two, that branch in guise of eyes
from the stem that is the damsel's nose. RAJASEKHARA

170
Sec. 16] Young Women
419. Her eye surpasses the waterlily
with its iridescent darkness;
her face has the moon for friend
and her eyebrow's arch is brother to Love's bow.
Her line of lip and limb is such
that if Love himself should paint her
he must practise to increase his skill. RAJASEKHARA

410. Since the time he broke the pride of Cru,:u;li's husband

Love has moved his capital to the face of fair women.
Deer now graze peacefully in the cool-rayed orb
where the ktUa-grass of beauty has grown and flowered.
SAROKA

421. Truly insensate is the ocean

that its tide is not stirred by this your smiling face,
tremulous-eyed beauty,
which fills the horizon with the splendour of its loveliness.
ANANDAVARDHANA

422. You climb upon her swelling breasts

and touch her shapely and alluring thighs.
Nay, more; she puts her arm about you,
her hand delighting you with skillful stroke.
Oh, stem of the lute, for what austerities
are you rewarded thus? VACASPATI

423. Cherry-lipped maiden, this is no lip,

on which we see fresh scarlet;
nor are these teeth, fair-smiling lass,
that shame white jasmine.
Rather, I think, this is a seal,
beautifully drawn with bright minium,
and this a treasured store of pearls
sealed by King Kama. KAMALADHARA

424. These are plantain stems; this pair, an elephant's cranial lobes;
here is a lily to toy with; and clearly here the autumnal moon.
But what does the world take to be of surpassing beauty in a
graceful woman 'I
That there is in her something ever subs~rVient as it were,
and yet, as it were untamed.

171
 Young Women [Sec. 16
425. How should the moon, delighter of man, be not blessed,
when by three phases he reaches so high a goal?
When new he outshines a damsel's eyebrow;
when at half, her forehead;
and when full, the whole beauty of her face. V.~MADEVA?

426. What is this new river of allurement

where waterlilies float together with the moon?
The cranial lobes of an elephant rise from its depths,
and in it grow the trunks of plantain trees and stems of
lotus fiber. SRI VIKRAMAnITYADEVA

427. She is Good Fortune dwelling in my house;

a pencil of ambrosia to my eyes.
Her touch upon my body is an ointment of sandalwood;
her arm. upon my neck is smooth and cool as pearls.
What of her would not be dear,
were there not that which I cannot bear: her absence.
BHAVABBUTI

428. Such wealth of buttocks would slow the walk of anyone;

the curve of your breast, sweet lass, would carry off even
another's heart.
The dark lily which serves as arrow in the hand of Love
is a derivative of your eye;
your face is the finished image of which the moon is the first
draft,
bearing the mark yet of erasure. v ALL..QTA

429. Her breasts are brother kings, equal in nobility,

reared together till they have reached the same altitude
of fame;
and from their border warfare these monarchs of vast provinces
have gained a cursed hardness. BlLiVAKADEVi

430. This blossom of the tree of amorousness,

this cache in which is hoarded all ambrosial bliss;
God's reward of his creation,
this honeyed pencil for the eyes of men;
this cascade in the pleasance of King Love,
this high tide of the sea of gracefulness:-

172
Sec. 16] Young Women
Whose~ blessed that he is, is this gazelle-eyed creature,
this ultimate of beauty? HIMANGA

431. Shall I call her an eyesalve of ambrosia or the ocean of

loveliness?
Shall I name her the guardian beauty of waterlilies or the
vine of amorousness?
As I look upon the radiance of this maid of fawn-like eyes,
I look upon all else within this weighty world
as nothing but dead weight.

431. Enough to drink the lotus of her face,

trembling of lip and bright with moonlight smile.
Why talk of nectar,
except to say what fools the gods,
that led by Indra of a hundred rites, they struggled at the
churning of the ocean
for such. a small reward.

433. The Creator made her eye by error for a waterlily,

her face by error for a lotus;
meaning to make a cherry, by confusion he produced her lip.
H god himself fell into such confusion
over every limb of her who is the true canvas of Love~s magic,
what sense should we poor mortals make? Vi~YAMITRA

434. The romavali'8 thick stem supports

a pair of lotuses, her high and close-set breasts,
on which sit bees, the darkening nipples.
These flowers tell of treasure
hidden in my darling's belly.

435. The very name makes one happy,

the attainment thereof makes even earth like heaven
and everything is set at naught by joining therewith limb to
limb;
a rival of ambrosia, ever waking in the hearts of lovers,
the one marvel of which they never doubt:-
it is something quite unique, this thing, a mistress.
[Verses 436, 437 are treated in the Notes.]

173
 Sec. 16]
438. A young man, seeing the breasts of a pretty girl,
shakes his head.
Is it admiration,
or is it to extricate his glance from the narrow interval?
PA~INI

439. On what mountain,

for how long,
and of what name was his austerity?
I mean this little parrot's,
that he should bite into a cherry
as pink as is your lip? [DHARi'iAKIRTI ]

440. Had the Creator once seen her he would never have let }ler go,
this gazelle-eyed beauty
with face as golden as saffron-paste.
Again, had he closed his eyes he could never have made
such features.
From which we see
that the Buddhist doctrine is best:
that all is uncreated. DIL-tRM.AKlRTI

441. The mind-born god, as he was about to perish

burned by flame from the eye of Gauri's lord,
looked first upon his useless shaft of flowers
and then in anger made an all-compelling weapon,
this weapon, whence the fame of fair-browed women,
has conquered all the ,';rorld. l\UNOVL -ODA

442. The Creator had begun the moon

in the image of my darling's face;
but at the instant of its birth it sent forth streams of light,
a threat whereat the lotus-throne did fold its petals,
thus rendering God's seat unsteady
and causing him to mar his art. MURARI

443. Your face, fair lady,

has tipped the scales against the moon,
to fill whose cold deficiency
the stars come forth as counterweights. MURARI

174
Sec. 16] Young Women
444. Brahma, the Lotus-born, originated in their clan;
all through the day, from sunrise on, they furnish bees delight;
to the warm sun they give unswerving adoration.
From such past merits, fair one, lotuses have won
re" ard in b eing likened to your face. MURARI

[\ erse 445 is treated in the Notes.]

446_ She is guardjan goddess of a treasure
,\ here all endearments have been heaped,
a palace where is gathered
the most perfect things of beauty.
What went to make her, friend,
were nectar, lotus stems, and moonlight;
and he who put them all together, Love. BHAVABHUTI

447. Cast your glance beyond the hedge and guess

\\ hat cool-rayed orb is this
that wanders on the earth without its deer.
The cakoras of the park, who feed on only nectar,
follow as she scatters moonlight
white as ripened parrot-plum. RAJASEKHARA

448. How could the Creator have made this beauty-

he who made the moon inanimate,
the plantain stem untimely cool
and waterlilies of a variable charm?
Tell me, does the sun give birth to moonlight? RAJASEKHARA

449. Unrivaled is her face, this fair-complexioned beauty's,

a moon without a deer, casting forth massed rays
from teeth of crystal-white voluptuously yawning,
the while she adds a halo with her arms upraised
as though to bind the heavy braid
that has loosened from her brow.

450. Cast half a glance, my lady of smooth thighs,

and Cupid may put by his darts;
or let the creeper of your eyebrow stir
and Love shall leave his bow.

175
 Young TVomen [Sec. 16
Raise that sweet and loving voice
in which the consonants fall indisti nct,
and all the lutes that play on earth
shall be adjudged as drums. [BHERIBHRAMAKA]

451. How persistent are the black bees which gather

thinking y our hands are lotuses, your cheeks 11w..dldika bud
and your eyes dark waterlilies!
They take your lip for a bandhii.ka flower,
and thinking to unite with a parade of friends
they settle on your braid.
Fair maid, how can you guard so many points of error ?
[ACALA? p.i linn?]

4S2.We have seen a river's wa\ es clad with a streamer of moss

a nd more than once have looked on rubies mixed with pearl
but that t he moon should lose its mark
while waterlily wakes and sheldrakes cleave together:-
who has seen such as this? VIK RAM.inITYA ? [RATHANGA?]

453. The elements of your body that are pairs can be likened to
each other;
those that are single ha\ e no similitude.
This moon is but the wax to the honey of your face,
and the melodious cuckoo, although he catch your voice's pi tch
is in his hope deceived
that practice may make imitation perfect.

454. He reckoned not expense of precious substance

nor the infinite pains that he employed;
nor did he stick at firing the hearts of men
who heretofore had dwelt in peace.
And yet, poor lady, she's undone
from lack of lover matched in quality.
What sense had the Creator
in making the body of this slender maid? DHA RltLo\ KiRTI

455. Did the Creator grind all the digits of the harvest moon
and carefully compound them with ambrosia
to make for Love, when Siva's roar consumed his limbs,
this revivifying medicine ? BHAITODBlIA'fA

176
Sec. 16] Young " 'omen
456. Who was Creator at her making:-
the moon with his endearing light?
Or was it April, giver of fresh flowers,
best friend of Love?
How could t he Old Ascetic, with interest turned from beauty
of the senses,
numb from repetition of the Veda,
construct this figure that delights the heart? KALIDASA

457. '~Vhere' erher face , there ceases talk of moon,

and where her skin, alas for gold;
her ey e, the waterlilies lose the contest,
her smile, and what is moonlight nectar?
A fig for Cupid 's bow if but we have her browsl
But why say more-the truth is too well known
t hat God in his creation shuns tautology. RAJASEKHARA

458. That it cannot reproduce

my long-eyed darling's face
is why the cold moon ever reforms its orb
only to break it.

459. That the moon,

weighed in comparison with your face, should rise,
makes clear, my lady of downcast countenance,
how light it has proved on balance.

460. The moon has taken to religious penance

to win the contest with your face.
Worn thin, he sits by Ganges' side
in the thick tangle of Siva's locks.
[Verses 461, 462, 463 are treated in the Notes.]

464. Lak~mi is placed by Vi~l)u the Immovable

lovingly upon his hair-marked chest;
Gaur! is borne by Siva, heaven's Lord,
androgynous, as half his frame.
But Brahma, Lotus-born, me thinks is still a child
and meditates in chastity how best to form
his future mistress dear in every limb. [RAJASEKHARA]

177
 Section 17
THE BLOSSOMING OF LOVE (ANURA-GA)

1. It is difficult in English to distinguish the twenty or thirty Sanskrit

words for love. Anuraga, which furnishes the title of the present
Section, emphasizes more the psychological than the physical side of
love between the sexes although the physical is not absent. Again,
most of the verses contained here have to do with the blossoming of this
aspect of love rather than the full fruit. They treat of the first glances
that pass between the lovers, of shyness and coquetry and of the first
days of marriage. Occasionally, however, a scene of more mature
domestic happiness is included, e.g., 495, 497, and 512. the last a parti-
cularly beautiful one. Finally, a few verses (472, 504, 519) might with
equal propriety have been placed in Section 16.
2. The favorite particular by which to exemplify anuraga is the
glance of a young woman and its effect on the man where it lights.
We are given descriptions of shy glances (469, 470, 482, etc.), coquettish
glances (465, 466, 468, etc.). the l~ving glance (467, 508). the startled
glance (471). The effect of the glance on a young man is likened to
that of poison or snake bite (483, 496, 499). At its stroke he trembles
and breaks into sweat (486), as Sappho did before Brochea.
3. One must suppose that the language of the eyes was more advanced
in ancient India than it is with us. This appears not only from the
poets but from the dramaturgists, who from Bharata on devote minute
attention to the portrayal of emotion by the eyes. The rules of pro-
priety in ancient and medieval India limited conversation between the
sexes in public largely to formal matters. This was true not only of
lovers but even between man and wife; cf. note to 512. In private.
men and women might speak as freely as we do; in public they used the
language of the eyes.
4. Other gestures of coquetry are mentioned in our verses: a woman's
raising her arms to fix her hair (466, 509), her turning backward to look
at the young man (465), this sometimes on a pretext (513), the volup-
tuous swinging of her arms and the motions by which she sets jingling

178
Sec. 17] The Blossoming of Love (Anuraga)
her anklets, bracelets, or her jeweled girdle (522, 526, etc.). A number
of verses, taken mostly from RijaSekhara's play, the ViddhaJalMhaii-
jilui, concern the attractions of young women as revealed in their dancing
with a yo-yo or ball (see note on 517, also 524-526, 531).
5. In verses 482-485 Bhavabhuti describes in words that have become
famous the feelings of a young man at the first attack of love. Other
verses speak of the lover's sole preoccupation with the subject of his
affection (491, 534) or furnish the hyperboles in which he thinks of her
(488, 518, 528, 529).
6. Among the most attractive of the verses are those on the young
bride: on her shyness in love (469, 511; and similarly 494, 505 of a young
girl before marriage) and of the tragedy of parting with her new husband
(532). Amusing are the verses of the Buddhist, Dharmakirti (477-479,
481, 501), furnishing pious advice against love in one breath and showing
the worthlessness of the advice in the next. Other epigrammatic verses
of merit are 489, 492, 500.
A few verses are alone of their kind here although parallels exist in
other collections, e.g., 498 on a lover's looking at a portrait of his beloved
and 514 ona traveler admiring the girl attendant at a public well. To
verse 495, on the pleasure of being deloused by one's wife, I have seen
only one parallel elsewhere in Sanskrit, Ala1fl.kiira-saroasva, p. 228.
The poetry ranges in style from artless to highly artificial. In both
extremes there is usually present a spirit of liveliness and gaiety. If
one were to choose a verse to exemplify best this spirit one might take
498.

465. Placing a hand behind her hip and turning gracefully her waist,
her breast drawn back and chin held close against her shoulder,
she cast at me lovingly two or three sidelong glances
to quench my fever, heavy chains of pearls
in which a central sapphire shone.

466. The glances of your eye,

which stretches to your ear, darker than waterlily.
were enough to steal a heart.
What needs it, pretty lass,
with such ado pretending to bind up your loosened braid,
to show your armpit, camphor dusted
and marked with lover's nail?

179
 The Blossoming of Love (Anuraga) [Sec. 17
467. I would the maiden's eye might fall upon me thus:
first with starting pupil, which then grows motionless;
again, contracting slowly at the angle with a natural grace;
next opening somewhat, and then finally thinning
in a joyful wave of heavy tears. ViRYAMITRA

448. The fawn-eyed maid with dancing brow and turning face
for long cast sidelong glances at me
showing her meaning and her curiosity.
Like long wreathes they were of ketaka petals
mixed with blue waterlilies,
dipped in nectar and well known to Love. RAJ ASEKHARA ?

469. When seen she drops her glance, and though addressed
she makes no conversation.
Brought to the bed, she turns away,
and when embraced by force she trembles.
When her companions leave the bridal chamber
she would fain leave with them.
My new-wed darling by her very frowardness
brings all the greater joy. [SRi HAR~A-DEVA]

470. Mter bowing her lotus face in shyness to her knees,

the loving glance is beautiful that comes from lifted lashes;
but when her eyes then drop to the spots of laughter
that mark her cheek,-that is more than heaven itself.
PRADYUMNA

471. She grasped a wild goose, thinking it a lotus bud,

for its head was under water eating of lotus roots.
How she dropped the bird frightened, with eyes wide open
and starting pupils: if you saw it not,
it's you who saw amiss.

472. This the dark girl's full-swelling breast,

oily with saffron paste, is a friend of Love
fit to dethrone his other friend, the moon;
for it too as she drops her cloud-blue dress
is graced with a halo,. the surrounding rays
of a tossing string of pearls. MANOVINODA

180
Sec. 17] The Blossoming of Love (Anuraga)
473. Methinks that the creator,
fearing either breast or loins might want,
did seek to gauge them by taking in his hand her wais~.
How else had there appeared therein
still wet with loveliness
his finger marks, the triple fold? MANOVINODA

474. A friend of Love, a moon

wherein musk painting makes resplendent mark,
wherein also the rising sun of laughter
paints the directions:
such is the face of this dark maid, who adds thereto
the midnight of her hair and strand of starlike pearls.
MANOVINODA

475. Her body is a pond,

her face thereof a lotus and her arms the lotus stems,
her loveliness the water and her triple fold the wave.
Therein a strong young elepnant,
no other than my heart, has plunged,
but caught fast in love's quicksand will nev~r rise again.

476. My eyes with difficulty pass her thighs

to wander long in the land about her hips,
then at her waist, uneven with the triple fold
become quite powerless to move.
But now at last, like travelers parched by thirst
they've climbed the mountains of her breasts
and see at last what they had hoped,
their counterparts; her eyes, that flow with tears.
sRi ' HA~A-DEVA

477. Since congress with your mistress will be short,

like to a dream or jugglery,
and end in disillusion, stay away I
Though I reflect upon tQese truths a hundred times
my heart forgets not the gazelle-eyed girl.
DHARMAKiRTI [SILHA~A COLLECTION]

7+s.c.p. 181
 The Blossoming of Love (Anuraga) [Sec. 17
478. Knowing that 'heart' is neuter,
I sent her mine;
but there it fell in love;
so PaJ)ini undid me. DR.A RM.-\KiRTI
[Verse 479 is treated in the Notes.]
480. She's lovely, young, small-waisted,
she's innocent, she's fair of face.
So goes the incantation which my heart repeats,
sick with love and longing to make love
to her who is away. ViRYAHITRA.

481. She is the child, but I the one of timid heart;

the woman, but I the coward;
her hips are heavy, but it's I who cannot run;
the high and heavy breasts are hers, but it's I am weary.
A wonder it is that in everything
I have grown subject to another's weaknesses.
DHARMAKIRTI [AMARU COLLECTION]

481. Her glances first came hesitant and sidelong,

then soft and shy with love;
a while they rested on me motionless,
then slowly turned away.
Her pupils widening behind long lashes
told of the admiration that she felt.
My heart, poor thing without defense, was captured,
cut up, swallowed,
and now is lost for aye. BHAVABHUTI

483. The maiden left,

with face upon her turning neck like lotus on a bending st.em.
The glance she cast from curling lashes,
ambrosia mixed with poison,
cut deep within my heart. BRAVABHi1TI

484. I have no clear knowledge of what is before my eyes;

even of what I've always known my memory plays me false.
My fever slackens not in cooling lake nor moonlight;
my mind unstable roams and writes its own adventures.
BRA.v ABHUTI

182
Sec. 17] The Blossoming of Love (Anuraga)
485. It is not to be defined, a non-object of all words,
nor have I met it in experience in this birth.
From utter loss of judgment its mystery is increased:
this certain alteration that numbs and sets on fire. BHAVABHUTI

486. When, as the fawn-eyed maid walks by,

often she sends a pupil-flashing glance
with dancing of her lifted eyebrow;
what then comes over me I know not,
but here I am bathed in a flood of sweat
and there begin to tremble,
while elsewhere in my limbs Love's proud attack
is violent as chaff fire.

487. When my body is washed in nectar,

fair maid, by your wondrous glances,
why do they more whiten my lip than moonlight,
more redden my eye than the dawn?

488. To say she may again delight my eyes

is verbal madness ~
The thought that she may soon become my bride
is as impossible as to suppose
an elephant could be contained within my hands.
But this itself is much:
that in one aeon there has been created both
this fair-browed one and I
with merit great enough to see her. VALLA~A

489. Surely Kama is the-servant

of this fair-browed maid
since he hastens to whom she points out
with the motion of her eyes. [BHART{tHARlCOLLECTION]

490. First steady with admiration, then swinging off in fear;

bowed down a moment in shame, then dilating with desire
to see;
withheld by natural good breeding, but then released by love:
in many a different way her eye went to her lover. crrrUKA

188
 TM Blossoming oJ Love (Anuriga) [Sec. 17
491. The body marches forwaro
but the restless heart flies back
like the silken cloth of a banner
that is bome against the wind.

492. This your coral nether lip

is like a desert path,
for whose heart, fair lass,
does it not make thirsty? DA~IN

493. Her breasts look high, her navel deep;

the folds of her waist seem in relief
although the wall is flat.
Softness and sweet nature shine upon her limbs.
She looks upon my face as if with love
and smiling seems to speak. [ KALm.l.sA '1

494. She wanders freely through her courtyard

but hides herself from my sight.
To others, fortunate, she gives full glance
but gives half glance to me.
With others she converses
but with me she silence keeps.
My love has set me far apart
from even common folk.

495. He indeed is a captain of the blessed,

a multimillionaire,
whose pretty one sits with her plump breasts set against
his back
and, tracking his head with the grindstone of
her nails,
grunts as she nips the lice.

496. It brings paralysis and dizziness of mind,

it rouses fever, and at the last
it even drives out consciousness: - '
her glance holds mortal poison.

184
Sec. 17] The BW880ming of Love (~uriiga)

497. Happy is he who spends his nights wearied from the sports
of love,
resting his chest upon his lady's breasts
that t moist with saffron, swell like temples of an elephant,
a.nd prisoned there within her arms may straightway fall asleep.
[PANCATANTRA]

498. Fie on the sense of the foolish poet

who likened a woman's face 19 the moon.
Where in a moon are the glances
bright with the dances of arching eyebrows;
where is the anger, the forgiveness and the laughter?

499. So long only do they wish for freedom from the world
whose hearts are broken by the griefs
of old age, death, and separation from their friends,
until they are bitten by the crooked, coal-black snake,
the eye of a gazelle-eyed girl.

500. Both these by whom she has been

and those by whom she has not been seen are robbed:
from these are robbed the hearts,
from those the purpose of their eyes. [PRABHAXARA-DEVA?]

501. "She is young, with fawn eyes, her face an opening lotus,
the buds of her breasts just blossoming."
Fie on you, heart, that work in vain;
it is delusion this wish of yours
to drink up water from mirages.
Set not again in passion's error
your .foot upon that treacherous path. DHAR'MAKiRTI

501. When she is by me

silence affords
as much as words,
and closed eyes see.
Our limbs, though hid,
are so by interchange of dress,
and so confess
naught was forbid.

185
 The Blossoming of Love (Anuraga) [See. 17
503. My sight cannot escape her cheek,
nailed by the pricks there of her rising skin;
my heart has fallen in the quicksand
of love of her, where it stays motionless.
My heavy sighs that come and go
go to their rescue, but each time come back in fear.

504. If a lotus, how would it bloom at night;

if the moon, how shine by day?
The creator has shown great skillfulness
in fashioning your double-virtued face.

505. When I was present she cast aside her glance,

and laughed at conversation that concerned me not.
Restrained in what she did by her good breeding,
she neither showed her love nor quite concealed it.

506. Who is the lucky he, Love's very closest friend,

whose path you honor, eagerly strewing it
with tremulous side-glances, garlands
of full-blown jasmine sewn with blue waterlily.
[Verse 507 is treated in the Notes.]
508. Tell me, sweet inp.ocence, the lucky man
you look at with those eyes
hesitantly turning, soft with love,
forgetting how to wink;
looking full at him for a second
then turning off in shyness,
and ever and again half closing
to pour out the hidden love within your heart.
SRi HA~A [AMARU COLLECTION1

509. The slender maid turned sideways, stretching up her arms,

her fingers knotted in the chignon of her braid;
and thus revealing the corner of her eye,
her cheek and half her breast,
she cast bright glances that might be taken
for a garland of bright waterlily petals. [PARAMESVARA?]

186
Sec. 17] The Blossoming of Love (Anuraga)
510. Looked at meaningfully by her lover in the presence of others,
in order to show him her own feelings and encourage him
she speaks impetuously with honeyed words, and on some
pretext
draws to her, kisses, spurns, embraces and then scolds the child.

511. She turns aside to undo her garment,

and when she clips her husband fast,
although awake, her shyness makes her feign
she does it in a dream.
After giving herself she lies beside him to his joy
but pretends to be asleep.
This conduct of the slender bride were fruitless
to one who failed to understand young love. [AMARU?]

512. Her husband has returned across the trackless desert;

the mistress of the household looks upon his face
with eyes unsteady from her tears of joy.
She offers to his camel palm and thornleaf
and from its mane wipes the heavy dust
with the hem of her own garment, tenderly. KESATA?

513. The slender maid stopped suddenly

as though a blade of grass had cut her foot;
then resuming a few paces, turned. back her face,
loosening, it seemed, her garment from a branch,
although it had not caught. KALIDASA

514. His gesture of cupped. hands is from afar

and not for drinking water;
he shakes his head in wonder at her beauty,
not from slaking of his thirst;
the bristling of his flesh derives from pleasure
not from water's coolness.
The traveler takes to strange behavior
when he sees the girl who tends the wen. B~A

515. Ever and again you touch the moving corner of ~er trembling
eye;
as if telling secrets you softly graze her ear
187
 The Blossoming of Love (Anuraga) [Sec. 17
and as her hands tremble drink her luscious lip.
Here we are dying at the gates, oh bee, while you have
entered heaven. xALIDASA

516. That her glance was soft

although it was elsewhere that she cast her eyes;
that her gait was slow
as from coquetry, though caused by weight of hips;
that she showed ill will
to the friend who would have hindered her departure:
all this I trust had reference to me, but oh!
a lover ever sees himself.

517. Placing the yo-yo in her hand, whose spot

might be the moon's mark born of shame
at being worsted by the beauty of her face;
blushing with love and with excitement of the game,
she makes of me a target for her glances,
white ketaka petals bent by bees,
that pass the contracting corner of her eye. lUJASEKHARA

518. Lady, send forth in waves your glances,

and the bright waterlily fades;
.--- let shine the color of your lip
and coral will grow pale.
Disclose a fraction of your limbs
and gold itself grows black;
lift up your face, and 10,
the sky will bear two moons. [R.AJASEKHARA ]
[Verse 519 is treated in the Notes.]
520. Her sidelong glances,
ever flashing like little minnows
along the long trench of the angle of her lids,
emitting for me love's total wealth, my friend,
create a new perfection of the eye. [RAJASEKHARA]

511. Laying pearl necklaces along the palace floor,

strewing bouquets of ketaka in all directions,
producing milkwhite moonlight in the sky: -
each glance that falls from the fair-browed maid
deceives with its swift beauty. RAJASEKHARA

188
Sec. 11] The Bloaaomi~ of Love (Anuriga)
522. That fair women, when they look,
should with their pupil play bucket to the trench
which is the outer angle of their eye;
that they should walk with successive swinging of each arm;
and that their speech should be a bouquet
of words which bear the seal of cleverness:
such, meseems, are the elixirs of the god of love,
the master alchemist. RAJASEKHA.BA.

523. Stretching ever more her neck to see,

whereby her breast rose gracefully
and the rich creases of her waist did tremble: -
thus I remember her as she stood for long
on tiptoe, holding her companion's hand,
to watch me leave.

524. The speed of the dance has shaken loose

the circled blade of palmleaf, which escapes,
as from Love's quiver, from the slender maiden's ear
that, goldened with ;saffron paste to steal our hearts,
is like the stem, bent in a graceful loop,
of the waterlily flower of her eye. RAJASEKIlABA.

525. The damsel of arched eyebrows,

gracefully circling as she whirls the yo-yo,
constructs three parasols:
with her skirt of southern silk,
with her beautiful pearl necklace,
and with her whirling braid of hair.

526. Her jeweled anklets jingle sharply at each precious step,

the girdle chimes, the pearl necklaces fly high,
the rows of golden bracelets cry aloud: -
the fair-browed maid by her dancing with the disc
has carried oft' my heart. RAJASEKHARA

527. This is her body, white as milk and swee~ as honey,

these her eyes, long as fresh leaves of ~
this her neck which imitates the conch;
this is she indeed. of moonlike countenance,
the weapon of the god of love.

189
 The Blossoming of Love (Anuriiga) [Sec. 17
528. How should the thirsty drink of moonlight
though it contain the source of immortality;
how we1i've a garment out of lotus stems
or measure in a pail the scent
of garlands made of bakula: -
how should even a dream
produce before my eyes that dark-eyed maid? RAJ.~SEKHAR-"

529. Delicious is ambrosia beyond doubt,

and honey ever tastes like honey;
sweet also is the ripened fruit
of mangoes.
But let a neutral expert say if anything on earth
is half as sweet as my beloved's lip.

530. When gracefully she casts half glances,

hesitant and sweet,
then the dark lily grove is shamed and new wine scorned;
nectar, though it claim the prize
of sweetness, is laughed then out of court;
but poison, in the guise of yearning
is placed within her lovers' hearts.

531. The silken skirts are twirling and braids are flying from the
runners' speed;
a right arm raised makes loud the shaken bracelets
while a left hand tosses back the errant curls;
their words come broken from their panting
and the wreaths of flowers tumble from their hair: -
it is a joy to watch the maidens at their yo-yo dance.

532. "You will return in. an hour?

Or at noon? Or after?
Or at least some time today!"
With such words the young bride, choked with tears,
delayed her love's departure for a land
distant by a hundred days. .JlI.ALAJJ1I.A.LA [AMARU COLLECTION]

533. "Farewell," "to parrots." " Goodbye," "to wild geese."

"Take my blessing," "full moon nights."
"God be with you," "waterlilies."

190
Sec. 17] The Blossoming of Love (Anuraga)
Thus the lady's companion capped each tearful word
to hold her lover
who had made arrangements for departure.

534. A word of general application,

when I hear it,
comes to settle on a special object.
They say, "a woman,"
and straightaway my mind
runs to that very one whose eyes have charmed me.

191
 Section 18

WORDS OF THE FEMALE MESSENGER

1. The verses of the ensuing Section are messages to absent lovers or

husbands. Accordingly, they fall under the major rubric "love.in-
separation" and are closely parallel to the verses of Section 22. The
same effects of love's fever (vytidhi), listed by the scientists of the subject
as the antepenultimate of the ten stages of love, appear. frequently
repeated in both sections. The lady's sighs take the color from her lip;
her eyes weep floods of tears; her body burns in torment. Such means
of allaying fever as occur to her friends-application of sandal pas~
lotus-stem bracelets, necklaces of cool pearls, a coverlet of damp lotus
petals-these, if anything, increase her distress. Fatal above all are the
stimulants of love: moonlight, which now proves made of fire, the cuckoo's
call, and the first blossoms of the mango.
2. One wonders why the anthologist separated verses which deal with
such similar subjects. The reason is that his arrangement follows the
progress of an ideal love affair. In Section 16 we havegenera1 descrip-
tions of feminine beauty, in 17 of the blossoming of love. This should
now be followed by the efforts of a go-between before lover and mistress
can come together with propriety, as they do in SectiQn 19. Such is the
ideal in the antholQgist's mind. But he is not precise. Few .of the
verses of this Section need refer to what is technically called puroardga.
(love before fruition). Many of them are certainly messages from wives
to absent husbands and from mistresses to lovers with whom they have
quarreled.
3. We know from extant plays that such verses were sometimes
contained in letters. SQmetimes, again, they were transmitted verbally,
and the textbooks enter into minute analysis of the types of messenger
that might be chosen. Always it must be a woman, but she might be a
servant girl, a neighbor, a nun, a professi.onal artiste, etc. (DR. 2.29)
and .one pondered the question whether to leave th.e greeting entirely
in her hands, partly so, or to insist on her quoting one directly (Sd. 8.'7f1'.).

192
Sec. 18] WordB of the ~emale .M u8tnger
6. The message itself' was ~y formaliud if judged by modern
standards. Besides descriptions of the lady's fever, which fill most of
Oul' verses. we are occasionally shown how she dreams of her absent one
(5'2. 555) and of how she counts the days until his return (558). In a
type of verse much relished far its suggesti~eness her service of Love is
likened to the religious service ofa devotee (545,550; cf. also 'T08, 715).
But within this formality there was actually more room for choice than
the modern. reader may at first suppose. For a husband who has been
long absent a wife will choose expressions hinting at suicide (585. 550);
a young girl, or her messenger for her,will speak of foolish fears, appro-
priate to her innocence (586, 5'7); whlle a courtesan, in referring to the
gentleman of her choice as blessed, will use a word that also means
rich (551).
5.• As is usual with literature where the subject matter is limited,
recourse is had to exaggeration and elaborate figures of speech. Some of
these are extremely fanciful (548, 548, 558). Only seldom is the verse
simple enough to impress one who is unused to the ancient conventions
with its sincerity. Such a verse is the ~ one ofUimboka (54.9).

535. The wasting of her limbs is hidden by her loveliness

and she preserves her life by constant thoughts of you;
but this is new about her, that the moon
may now contend against her face,
whose cheek is stained by sighs as heavy
as the heaving breasts from which they come. SPGAllA

536. Fearing the moon, she dares not view her own reflection;
frightened of the cuckoo's call, she utters not a word.
How strange, then, that swearing enmity to JUma
who furnishes such fires,
the artless maiden's love, oh handsome one,
grows ever more for you.

531. When the moon anoints the circle of the sky

with light as thick as cream of sandalwood,
Y0ul' fawn-eyed one, oh handsome ID&D,
has tears in her eyes, her face in her hand,
perfume in her breath, you in her heart,
all shame behind her and Y0ul' virtues only on her tongue.
[ACALASI¥HA 1]

198
 Words of the Female M eS8e-nger [ ec .. 18
538. When you were absent, handsome one,
on nights illumined by the outcaste moon,
the agitation sent by Love became a sea
in which her face was a lotus and her eye a moonstone.

539. The streams of tears have not despoiled the beauty of her face
nor sighs destroyed the color of her cherry lip.
But in your absence the complexion of her cheek,
vying with ripened lavali, grows every day more pale.
DHARlUKillTl

540. Her fever burns away the pouring perspiration,

her many tears would fill a watering trench,
and as her sighing makes the Iampwick dance
her body sinks in pallidness.
But more than this: all through the night
she sits before the window that confronts your path,
warding the moonlight from her face
with the umbrella of her hand. [RAJASEKllARA]

541. That she bites her lip while rubbing out the moon
which she has drawn in sandal paste,
and cracks her fingertips, disparaging
the god of love although he merits praise;
that also, since He carries flower arrows
she plucks out every blossom:
these show how you have driven, handsome ma:n~
your beautiful beloved into madness. RA.JASEKHARA

542. When the fawn-eyed maid

has found you in her dream,
a flood of perspiration bathes her thrilling flesh,
till from the tight embrace her bracelets crack
and from the noise awakening,
she is bathed in Hoods of tears. VASUKALPA

543. With you away, the height of her love fever cannot be told
as she tossed upon a couch which tearful friends
had overspread with petals;

194
Sec. 18] lVords o/the Female Messenger
for see, a lotus petal stained by her breast's sandal paste.
whitened, dried, and elevated by her sighs,
now wanders as the moon in heaven. RUDRA
[Verses 544, M6 are treated in the Notes.]
545. She has striped her brow with sandalpaste for ashes
and is consecrated by the water of her tears;
she has placed a stole of Iotusfiber on her breasts,
becoming thus a votary in Love's service for your sake.

547. Frightened by her couch, whose sheets are streaked with saffron
washed from her by the flood of sweat,
as if it were licked at by the very flames of love,
the young maid, thrown .i nto fever by the moonlight.
yearns for sleep in a different couch, your anns,
where from her love of you she might be cool. MANOVlNODA..

548. The flame of love within her has been kindled

and from the smoke her eyes weep floods of tears.
Her body gives off sweat, which carries up the sandalpaste
like foam on boiling liquid.
The ashes from this inner fire,
brought forth by her swift sighs,
have whitened all her limbs. MANOVINODA..

549. To dispel her pain of fever

your mistress painted you upon her tablet
although with lines that shook from the trembling of her hand.
Then to deceive her friends who saw her tears
she offered mango sprays and bowed her head,
implying that the portrait was the god of love. :QIMBOKA ?

550. The fair one, having offered up her body in the fire of your
parting,
did consecrate it with the water of her tears,
and, praying that her next life not know the grief of separation,
employed for sacred service the cuckoo's litany. PRABHAKARA

551. Granted, fortunate sir, you must be won by merit,

your fair companion, too,
may be disposed of only by those rich in blessings.

195
 Words of the Female Messenger [Sec. 18
Have done, then, with this stubbornness,
and, forgiving one another,
let good nature, sweetened by affection,
for ever grow between you.

552. Her sighs come surgingly, her eyes are waterfalls,

her cheek is pale as dried tagara flowers;
the weakness of her limbs, ab, how describe them,
beside which even the new-risen crescent of the moon
would not be thin! [al.JASEKIlARA]

553. How shall I describe, oh cruel man, the fever of the fawn-eyed
maid,
to cool which, when upon her breast the wet lotus leaf is placed
it dries and withers, turns to powder and catches fire,
till being bome up by her sighs it bums her friend. UTPALAll.l.JA.

554. Moonlight becomes a poison,

the breeze from the lily grove becomes a fire;
her pearl necklace is acid in a wound
and sandalpaste but helps the roasting flame.
Ab, handsome man, if you but turn the slightest bit away,
all things for her do contradict their nature. ACA.LA.SI¥HA

555. Her flesh rises when she projects yOUl' image

delineated by her sorrow,
and with her arms circling a void embrace
she clasps herself.
Nay more: acquainted long with grief of separation,
when she faints,
your name is the spell which muttered in her ear
brings back her life.
[Verse 556 is treated in the Notes.]
557. How shall I describe the fever of the fawn-eyed maid
who have never seen a widow fall upon the pyre?
But this at least is certain, that a woman's figure to delight
all eyes,
a masterpiece of the creator, is by your falsity undone.
[VACASPATI]

196
Sec. 18] Words of the Female .l'fessenger
558. Look, deceiver, as she counts the days
over and again,
the finger is as thin as she,
the knuckles hard as you. DHARA.~iDHARA

197

.I
 Section 19
LOVE IN ENJOYMENT

1. From the time of their earliest theories of literature the Indians

have divided the literary flavor of love (snigamrasa) into t\\0 main
varieties, love-in-enjoyment (sa1'[tbhoga) and love-in-separation (vipm-
larnbha); cf. BhNS. Vol. I, p. 303. It is to the first of these that the pre-
sent Section is devoted. We have here descriptions of love-making to
suit the taste of Indian courtiers and men of letters of a thousand or more
years past. Their taste was different from ours, so that the verses will
appear to the modern European at one time over-artificial and at another
offensively precise. A few words may be useful to help the reader over-
come an initial prejudice.
2. In dealing with love, both physical and emotional, the Sanskrit
poet sought always to avoid vulgarity (cf. KA. 1.62 ff.). This conscious
effort at refinement appears in the poet's choice of individual words, in
the speech and gestures of the lovers he portrays, and in the selection he
makes of fact from actual sexual experience. Words that refer to the
bodily functions are avoided (cf. Mammata 177, on Sutra 47) unless they
are to be used metaphorically. Clouds may spit lightning but when
humans spit the poet must turn away. This is not different from the
practice of poets in most languages. The refinement of speech and
gesture, on the other hand, is foreign to the poetry of the modern age,
although it is found in other literatures that developed under an
aristocracy or at a court. A few examples from the Sanskrit 'will
suffice to show my meaning.
3. The critic DaJ)Qin furnishes two ways of saying the same thing
(KA. 1.63-64). Vulgar: "Why don't you love me, lass, when you see
how I love you?" Refined: "The outcaste god of love treats me with
utmost cruelty, lady of charming eyes; how fortunate that he bears no
enmity to you." And so it follows that matters are seldom said simply
in Sanskrit love poetry. The lover never bursts forth with a "Da mi
basia mille, deinde centum," though certainly he desires a thousand
kisses and a hundred, and may receive them, too, by an indirect request.

198
SeC' . 19J Love in Enjoyment
4. Just as the object of one's desire is only hinted at in speech, so is it
hinted at without being fully rev ealed in gesture. The wife, eager to
join her husband on the m arriage bed, indicates her meaning with a
glance (602). The mistress, asked for a final favor, says no but indicates
acceptance by a symbolic gesture (587). The heroine, though she lets
herself be undressed, a t tempts to hide the charms which her lover
reveals (57 0, 579 ). "hen describing her adventures later to a friend,
she insists she knows nothing of what happened after she was in her
lover's a rms (572, 574).
5. The Sanskrit poet was chiefly interested in the sentimental or
emotional d evelopment of sex. But he recognized that the basis of all
sexual emot ion lies in sight and touch (Sd. 3.210) and he regularly
describes sufficient physica l details to form a base for the non-physical
development. N ow, it is in the selection of detail that the Sanskrit
poets differ widely from the court poets of the European tradition.
Kisses (594) and embraces (580) are described, but so is intercourse
itself (560, 576, 577, 582, etc.). It is the physical descriptions of the
ultimate aim of sex that troubled the scholars of the Victorian age and
prompted the irascible Fitzedward Hall to his censure of Subandhu
as "no better, at t he v ery best, than a specious savage. " But one
should note that t h e Indian poet, in his descriptions of what he
cans 10' e's battle (mtikalaha 586, rativimarda 590, nidhuvanayudh
608) remains strictly within the bounds of what he regards as propriety
and refinement.
6. Certain words may not be used, e.g., kati for 'hip' (Mammata 156),
certain parts of the body may be mentioned only by euphemisms (e.g.,
niihhimula, urumula), while t he sexual organs themselves may not be
mentioned even indirectly . More to the point, the actions and occur-
rences that are mentioned are chosen because they reveal an abiding
sentiment. The poet is not interested in the simple copulation of humans
any more than of animals (cf. 1654), but in an event which affects the
personality of those engaged in it. Hence the constant mention of
the sweating and horripilation of the lovers, symptoms which seem
to a European far from poetic. To the Indian they were significant.
Sweating and bristling of the skin are involuntary actions arising
from the very nature of the body when it desires union. They
cannot be simulat ed; they are criteria of the true state of the affections
(Cf. Sd. 3.134-135).
7. Also foreign to European taste, because the practice is foreign,
are the references to the lover's wounding his mistress with his nails

199
 Love in Enj oymen t [Sec. 19
(586, 589, 590, etc. and frequently in other Sections of the anthology
also). The Ktimasiltra devotes a chapter to nail wounds (2.4), listing
eight varieties of wound that may be inflicted and ending with the state-
ment, "There is no sharper sexual stimulant than the effects of nails and
teeth." Men and women sharpened their nails in various ways for this
purpose (Kam. SilL 2.4.7) and the effects for the most part were more than
simple scratching. Blood was dra\yn , as may be seen from erses 612,
613, and 758.
8. But nail wounds, too, were chosen b y the poets for description
because of their sentimental value. Ktim. Sut.2.4.27 speaks of the plea-
sure with which a woman vie"s these traces of past enjoyments. In our
anthology verses 604 and 615 are in the same vein. Again, these marks
served to rouse the desires of those who saw them (Ktim. S'11t. 2.4.29-80
and cf. 407 of our anthology). Accordingly, they were borne with pride.
Nail ,,,ounds even became a criterion of social distinction, for, as Yaso-
dhara says, "refinement and variety (vaicitrya) are t he chief goal; otherwise
there would be no distinction between a gentleman and a bumpkin"
(on Kam. SilL 2.4.25). It is not so surprising, then, that this art became
a stock subject for elegant poetry. References to it may be found even
in the Riimaya7J,a (5.9.52; 5.14.18).
9. Always the connection of the sentiments with the physical act
should be borne in mind. The scenes of undressing the heroine (561,
570, 571, 579, 601) are used to exemplify her modes ty as well as to
reveal her charms; or, where her clothes " fall of their own accord," to
suggest her artlessness or sincerity (572, 607, etc.). A favorite device
for revealing the character of the heroine is the verse in which she relates
her adventure to a female friend. These recitals show usually a charm-
ing combination of modesty and pride (568,572, 574, 596; 573 and 597
are less modest).
10. One may note that the verses on viparitarata, which depart the
farthest from Western standards of propriety , were read as much for
their sentimental as for their erotic value. Viparitaraia or 'contrary
intercourse' (581, 583, etc.) is where the woman takes the man' s position,
above, while the man lies below. These scenes are used to furnish an
impression of intimacy between lovers, born of long affection, and of the
heroine's desire to please her lover rather than herself (585, 589). The
Westerner should be cautioned against taking such verses as evidence of
the effeminacy of Indian lovers. Much of the charm of v-iparitarata
verses to the Indian reader was the masculine one of finding the woman
all the more feminine by her attempt to imitate a man.

200
Sec. 19] Love in Enjoyment
11. Other scenes from the verses which follow require no special
comment: the young bride (563); the first engagement in love (564, 577,
600,601); the aftermath of love's battle (561,562, 575, 589, 591).

559. When in the height of passion

the clothes had fallen from her hips,
the glowing gems upon her girdle
seemed to clothe her in an inner silk;
whereby in vain her lover cast his eager glance,
in vain the fair one showed embarrassment,
in vain he sought to draw away the veil
and she in vain prevented him.

560. It is when lust has reached its peak

and all a lover's effort
is bent upon its consummation
that a woman, weakened, yet imploring
with every syllable, slow-spoken from access of love,
in everything she says or does is charming.
561. The world has nought so precious
as a fawn-eyed woman resting from a bout of love.
As her amorous partner casts aside her garment,
feasting his eyes upon her nakedness,
her hands go first to her loins, then to her breasts,
then to her lover's eyes. [KA VISEKHARA ?]

562. His culminating fruit

of no little asceticism in past lives is this:
that after showing all her ,c harms
in a hundred motions taught by love,
a fair one lies now in his loving arms,
the seal of sleep upon her loosened limbs.

563. By her lotus face bowed down with shame,

showing the lovely lashes of her eyes;
by her body's holding all the riches
conceived of in Love's kingdom;
by her growing still more used to passion
while her pride is not yet easily stirred:
by these the recent bride excels the bolder woman
in winning of a heart.

201
 Love in Enjoyment [Sec. 19
564. This is better than heaven itself,
a pencil of ambrosia for the eyes;
this is unquestioned sovereignty,
the new foundation of love's fame:
when a young girl timidly,
but with timidity receding under Loye's attack,
first practises the timely game
that must be practised with a lover.

565. That at her lover's first embrace

she draws her body back,
but then to hide it from his gaze
next clips him close:
what should the blessed desire
by their past austerities
if not this charming frowardness
of a girl in love?

566. This is measureless ambrosia,

this the river of bliss;
this is sweet as honey
this truly strikes the heart:
when with a household of young wives,
richly adorned, beautiful and eager,
willing traders in the joys of sex,
a man may spend his days in dalliance.

567. Beautiful one, who is that friend of Love;

who, you of moon-fair face, that ocean of good fortune;
oh you whose breasts swell like the frontal lobes of elephants,
whose is that pure and happy heart
and whose in former life the wondrous penance:
that now the glory of your amorous sports,
unbridled, feverquenching,
should find its goal in him? PRADY :M~A

568. When he had taken off my clothes,

unable to guard my bosom with my slender arms,
I clung to his very chest for garment.

202
Sec. ] 9J Lo e in Enjoyme'nt
But when his hand crept down below my hips,
"hat was to save me, sinking in a sea of shame,
if not the god of love, who teaches us to swoon? VALLAt:I"A?

569. What comes upon the lucky lover's chest

embracing a young woman
people call horripilation;
but my idea is this, that Cupid's arrows
are being extracted from his flesh
by the magnets of her round and swelling breasts. SA~1KAR!?At:I"A

570. When I drew off her upper silk

she hid her breasts beneath her arms,
and when I drew the lower
she pressed her thighs together.
Then, as my eyes fell to the root of bliss,
she shrank together with embarrassment
and tossing at the lamp the lotus from her ear,
puffed out its shaken flame. [KAR~OTPALA ?J

571. I am embarrassed. Beside the house

my friend keeps vigil, curious of lovers.
Stop, hasty-handed, pulling off my dress!
The jeweled girdle makes a noise. MAHODADHI

572. As he came to bed the knot fell open of itself,

the dress held only somehow to my hips
by the strands of the loosened girdle.
So much I know, my dear;
but when within his arms, I can't remember who he was
or who I was, or what we did or how.
VIKAl'ANITAMBA [AMARU COLLECTION]

573. The night was deep,

the lamp shone forth with heavy flame,
and that darling is an expert
in the rite which passion prompts;
but, my dear, he made love slowly,
slowly and with limbs constrained,
for the bed kept up a creaking
like an enemy with gnashing teeth.

203
 Love in Enjoyment [Sec. 19
574. You are fortunate, dear friends, that you can tell
what happened with your lovers:
the jests and laughter, all the words and joys.
After my sweetheart
put his hand to the knot of my dress ,
I swear that I remember nothing. V IDYA

575. From the swaying of their equal commerce

a flood of perspiration has taken its abode
upon the pale cheek of each;
until victorious comes the long-drawn sigh,
given full rein by the loosening of their slender arms
and sweetened by the perfume of their mouths.
576. The bashful lover, almost fainting from his exercise
in the full give and take of love,
has suddenly completed all his duty.
His bolder partner, overcome by passion,
writhes and cries out and turns aside her face,
her sidelong glance flashing with disappointment.
577. The breakers where their hearts did plunge
were all the arts of intercourse,
a surf which rose with graceful exercise
of each new mystery.
What then could there be left
for those young lovers to desire that day,
were not a feint of separation
engendered by the closing of their eyes. MANOVINODA

578. A sidelong glance,

a lovely rise of half an eyebrow,
a flow of speech brightened by smiles
and indistinct with modesty :
happy is he who welcomes to himself
such love and gesture of a fawn-eyed maid
with hospitality of thrilling limbs. MANOVINODA

579. By force I managed to draw off her dress;

then, as I gazed upon her thighs as white as ripened cane,
the damsel cast a glance toward the jeweled lamp
and quickly-clever put her hands across my eyes.

204

--------
Sec. 19] Love in Enjoyment
580. It allays the hot fever born of love
and dispels the sharp cold of a snowy night:
hail to this wondrous warmth
that comes from a woman 's close-set jar-like breasts
meeting together at the festival
of her dear love's embrace.

581. Blessed is he whose amorous mistress

pleases him by changing places in the act of love:
her throat murmuring accompaniment to her girdle bells
that shake with the swaying of her buttocks,
her hair loosening from its knot, pearl necklace falling,
and her breasts surging with each rapid breath. SONNOKA

582. Hissing breath and half-closed eyes,

bristling skin and clustering beads of sweat:
I praise these charming transformations,
assumed by fawn-eyed damsels during intercourse,
the insignia of the god of love.

583. Once more she is embarrassed, then she laughs again;

she's tired, then again takes up what's been begun.
With ornament on forehead wet with perspiration
and locks of hair that fall across the brow,
how charming is her face when ch.anging parts in love.
SURABHI

584. Speak not of parting!

When I embrace my love
is not my bristling skin a mountain;
is not my sweat the sea?

585. Urged on by love, familiarity, and laughter,

the slender beauty undertook what's not a woman's part;
but her limbs were delicate as vines, and with the task half done,
she cast on me her glance unsteady with embarrassment.
[KONKA?]

586. Struck on all sides in the amorous battle,

her body scarred from stroke of nail and tooth,
she would perish surely in an instant
did she not quaff ambrosia from her lover's lip. [K~EMENDRA ?]

205
 Love in Enjoyme11t [Sec. 19
587. HSweetheart, let me play the mjstress, you the loyer. '
To this she answered "N 0," and shook her head;
but slipping the bracelet from her wrist to mine ,
without the use of words she gave consent.

588. May there fall ever on your breast

heaps of jasmine from the hairknot of our sweet heart,
falling from locks that have been pulled awr y
in the lusty grasping of your passion. B.\?:iA

589. She covered her loins quickly with my silken skirt

and her hands busied themselves with her hairknot
shaken loose in the swaying sport.
Her breasts were ornamented with my nailmarks
clearly revealed by her rapid breath.
Thus I saw her, with face lowered in remembrance of her
boldness,
after the sweet act was done. ABHU\AXDA?

590. Of the fawn-eyed beauty, laughing sweetl) ,

the cheek grows still more charming
from its loss of make-up in love's battle.
Smooth it is, as fair as ripened cane stalks,
now stamped with nailmarks
and sealed with a blush. YiRY.HHTRA

591. With fluttering hand she searches for her clothes,

she casts the flowers of her garland at the lampftame
and, laughing with embarrassment, covers her husband s eyes.
Thus ever and again the slender bride presents a charming sight
when the act of love is done. r
AMAR K.A.]

592. 'W hen the anklet has grown still

the girdle's sound is heard.
It's e, er "hen the lover tires,
the mistress plays the man.

593. With intense passion she embraces,

her limbs thrilling and on fire;
eagerly she brings her face for kisse
and drinks ambrosia from his lips.

206
Sec. 19] Love in Enjoyment
All she says is "No," again and "No";
and yet with virtue to the winds
she carries out the ritual of love
in all except for saying "Yes."

594. To kiss with fervor the fervently given lip

of a slender damsel, eager and richly dressed,
with blushing cheeks and firm, full breasts:
that is the thing worth praising, the real bliss;
that's immortality, reality, and brahma;
that carries off one's heart, is special, is something absolutely
of its own.

595. She held not her hand to her girdle when the dress fell open;
ever and again she glanced at the thick and steady-flaming
lamp;
when close to me an agitation seized her breast:
such evidence bespoke her love although her words denied it.
ABHINANDA

596. How could I discern his every limb, my friend,

when my eyes were swimming in tears of joy?
How could I recognize the bliss of his embrace
when my body was parted from him
by an armor of horripilation? ACALA.

597. Why should I say, dear friend, that he is my lover,

and how, that I am his beloved?
Why, he needs no more than touch me
and his hand is bathed in sweat;
as if he saw by touch alone,
he closes fast his eyes;
and when he takes me in his arms
his whole body bristles with the rising flesh.

598. And as we talked together softly, secretly,

cheek closely pressed to cheek
while our arms were busied in their tight embrace,
the night was gone without our knowing
the hours as they passed. BRA VABRUTI

207
 Love in Erljoyment [Sec. 19
599. Part from courtesy and part from pride,
from passion too and for that I was tired
the damsel boldly undertook
more than a young girl can.
Before the whole was finished, though,
she showered me with glances from her eyes,
wide-pupiled, weary and embarrassed. [MAHAKAVI]

600. Their hearts are twined together but their love holds back;
first passion gains the upper hand, then fear.
Of these young lovers suffering in the flames
Of shyness and of longing who knows what fruit 'will be?
LAK~MiDHARA

601. Eager to view the brightness of her thighs

fair as the inner petals of the ketaki,
while feigning to massage her feet
he slowly raised her petticoat.
This to preven t, the artless lass,
eyes sweet with shyness, lips bright with smile,
enfolded him in an embrace
loose from the trembling of her arms.

602. The lady breaks her talk and casts a sleep-filled eye
in long and wavering side-glance at the couch.
The lover gapes, dropping the subject he's begun.
The tactful confidante stretches and pretends to yawn.

603. Seeing his two loves seated on one seat,

he comes behind and covers tenderly the eyes of one.
Then, as if in jest, the rogue
kisses the other as she turns her head,
blushing, trembling, hot with joy,
and with laughter dancing on her cheek.
[AMARU ? AMAR COLLECTION]

604. The lover with his nails had marked her breast
without the fawn-eyed damsel's noticing.
When some time later she bent her head,
how charming was her glance:

208
 I"

Sec. 19] Love in Enjoyment

in outer show most sharp with feigned annoyance,
but innerly delighted as she said,
" What is this, oh you rogue!" JiVACANDRA

605. An embrace at first and then a loving kiss

had been her losses in the gambling match.
Now when her lover asks again for stakes
she is silent, though the flesh upon her cheek
rises with suppressed excitement, and her hand
is sweating as she moves the piece. RAJASEKHARA?

606. The excitement of embraces, kisses, intercourse:

these are the stakes, with Love as warranty;
so there is pleasure both in victory and defeat.
But being young, their hearts are set on winning. MURARI

607. The bodice which the fair- browed lass,

face bowed in shame, would not put off,
for she had quarreled with her lover and would hide
the rising flesh which it concealed,
directly afterward and from within
burst all its fastenings, and so revealed
its mistress full of longing for her lover.
BHA'f'fA SRi SIVASV.~MIN OF KASHMIR

608 .. The ear was then enchanted by a sound: -

the hvanging of Love's bowstring;
the trumpeting of an elephant of passion;
the thundering clouds for the monsoon of true love
where sweat pours down from the bristling flesh;
a military march for copulation's battle;
the song of those fair swans, the buttocks; -
in fine, the sound of jeweled girdles
worn by women of curved brows. BHATTA SRi SIVASVAMIN

609. Desire increasing, her garments fell undone

and through the open petticoat her lover's gaze
rose from the lily thighs to that which lies above;
whereat she took the lotus from her ear
and cast it at the lamp; in vain,
for still the lamplight of her girdle blazed.
BHATTA SRi SIVASVAMI N

209
 Love in Enjoyrne1'/'t [Sec. 19
610. Their lips, though delicate as leaves,
wilt not when bitten many a time;
their limbs as soft as flo'wers
still bear the wounds of nails.
the tender creepers of their arms
tire not in tight embraces:
inexplicable
is Love's way with women. BHAT+' A SRI SIVAS' .:tMI~

611. Brought to oneness with her husband as iron to heated iron,

or sewn body to his body with a hundred of Love's arrows;
then brought to melting by the heat of passion's fire,
how is it the beloved is not washed away
by the flood within her master's arms? BHATTA SRI SI' A S VAMI~

210
 Section 20

THE EVIDENCE OF CONSUMMATION

l. The present Section continues the subject of love-in-enjoyment

(8a?!~bhoga-s!1igiira), viewing it in retrospect rather than directly. The
commonest evidence of love's consummation in the verses which follow
is the nailmark on a woman's breast (612-613, 615, 620, 623, 628, 632,
634). This mark, as explained in the introduction to Section 19, had
a sentimental value and was usually borne with pride. Other evidence
is furnished by marks of teeth (624, 626, 627, 629), by the telltale bed
(614), by dress (630), and by other indications (625, 626). Onecharming
verse (619) discovers all simply from the exchange of glances between
husband and bride.
2. Four verses deal with the pet parrot who repeats or is about to
repeat the endearing words he has heard in the night (616, 621, 622, 631;
see also 406 note). For the subject, which is found in poetry as early as
RaJa 6.89, cf. M. Bloomfield, "On Talking Birds in Hindu Fiction,"
especially p. 353.
3. It is worth remarking that in these verses where the marks of love
appear on women they are noted almost always with approval. Only
once does the evidence give rise to angry suspicion (632). Where the
marks appear on a man the results are quite different (624, 627); hence
the lover's mistress in 633 is careful to erase from him the mark of her
musk before she leaves.
4. As in the preceding Section, the love here described, while not
necessarily domestic, with one exception is at least love for love's sake.
The exception is furnished by the tousled harlot of 630.

612. The cut of lover's nail upon her breast

shows drops of blood as red as lac;
as if of Kama's fire, grown strong within,
the sparks had burst forth through her heart. RAJASEKHARA

211

i't ..r~it;':'· ' mL IS

G chiGhilO IntliSl'I1
• or tor I u\lur uno "
11'\11\
Hamb
ur -
 The Evidence of Consummation r ('. 20
613. Long live the fresh nailmark.
incised by the rake upon his mistress' breast,
like the inscribed seal upon a jar
from Kama's treasury of beauty.

614. The sheets, marked here with betel

and darkened there with aloe paste,
with scattering of powder here
and lacquer footprints there,
while in their ruffled folds
are flowers from her hair,
proclaim enjoyment of a woman
in every posture. (.UIAR U COLLECTION]

615. The girl covers and uncovers

the nailmark given by her lover
between her hard full breasts,
as if she ""ere a poor man
who had found a gem.

616. In the morning before elders

when the parrot begins to imitate the sound
of last night's love, the wife, embarrassed,
claps her hands as if to make the children dance,
thus drowning out the telltale bird
with the jingling of her bracelets.

617. At night, a husband and a wife,

each favoring a separate lover,
have separated in the meeting-grove
only to meet together unaware in darkness.
With hearts that melt in eagerness for bliss
both consummate their purpose;
but what can we suppose they do
when once they recognize each other?
[Verse 618 is treated in the Notes.]
619. Alone at night they have looked together
tenderly and shamelessly upon their couch,
their eagerness of glance increasing
with the urgency of their desire.

212
Sec. 20] The Evidence of Consummation
This these lovers with their bliss-filled eyes
remember even now with elders present,
for their meeting pupils can scarce suppress
the rising laughter. [AMARUKA]

620. What use are golden ornaments,

what use cosmetics made of oxgall?
Are not fresh nailmarks, red as saffron,
upon a pretty woman ornament enough? [BHATTA KUMARA?]

621. The pet parrot, having heard the words

of last night's love between the bride and groom,
begins to tell them shrilly on the morrow
before their elders.
The bride, quite overcome with shame,
offers before his beak a ruby,
like a pomegranate seed, drawn from her necklace,
to stop his chatter. [AMARU COLLECTION]

622. The pet parrot chatters,

"Give me to eat or I shall tell aloud
all you have done in secret" ;
at which the young wife's face,
lowered in shame but with an inward smile,
is charming as a half-blown lotus
bent down beneath a bee. [J;>IMBOKA? AMARU COLLECTION]

623. Beautiful is the nailmark shaped like a crescent moon

upon the circle of your breast:
a ship of Love in which to cross
the waves that are your triple fold.

624. Alas, my darling, what was felt by you in secret-

such is our unity of being-
I too now feel and sharply.
How else would that wound upon your lip
left by a mistress at the time of sport,
with eyes I dare say rowling in her amorous pain,
now smart so deep in me?

8+s.c.p. 218
 The Evidence of Con.mmmation [Sec. 20
625. The cheeks of the young women, wan and white as snow,
proclaim by the ornamental markings' being washed away
by the falling perspiration from the brow
that they have played their lovers' parts in love. J.IURARI

626. A girl's cosmetic now remaining only at the joints,

the triple fold, the navel, and the wounds of nails and teeth,
is silent declaration of the wanton sports
that she has secretly enacted. MAGHA

627. Well may you hide her scratches with your cloak
and cover with your hand the bitten lip;
but how suppress the perfume that fills the four directions,
accusing you of your adultery. :MAGHA

628. The faWn-eyed damsel bears upon her saffron-coated breast

a line of nailmarks given by her lover,
like an inscription made on copperplate, declaring
the youthful edicts of the god who holds the bow. DAK~A

629. Your lower lip is a ruby,

priceless despite its ftaw.
There is no need, sweet innocent,
to hide it with your hand.

630. Her dress is somewhat tarnished,

the flowers lie disheveled in her hair;
her eye is torpid, while her breast
is marked with the fresh track of nails;
her loins are lighted by a serpent jewel
that shines within her girdle's opening clasp:
such is the poison she has taken,
body pressed to body, from the many men who love her.
I
VALLAlllA

631. In the moming the pet parrot had begun to tell

the bride's endearments as a jest before the elders;
but with his words half said, the myna bird,
who hid nearby, to save the shamefaced bride,
frightened the parrot suddenly by mewing like a cat.

214
Sec. 20] The Evidence of C~mmation
632. "Dear friend, you must have lain on champak flowers in the
garden;
see on your breast their pollen, red from your crushing them."
"Don't be so meddlesome nor think yourself so clever with
your hints;
I was gathering flowers and cut myself on thorns." SONNOKA

633. The gem of the empyrean at the mountain of the East

spreads the first slender ray
which slowly opens up the vitals of the darkness.
The young lady, leaving the "new master of her revels,
"erases from his chest an image,
the crocodile of musk, that she had worn upon her breast.
MURARI

634. At morn the bride with face bowed down in shame

will not dispel the curiosity
of friends who ask the secrets of the ' night;
but as they draw the ornamental markings on her breast
her frequent shudder
tells them of hidden marks of nails. YUURI

215
 Section 21
THE WOMAN OFFENDED

1. The miinini or woman offended is a popular subject in Sanskrit

verse. The oifense consists in the faithlessness of her lover or in at least
the suspicion that he has been faithless. She may appear wrathful or
weeping or simply proud; eager for conciliation yet unwilling to make
the first move, or so embittered as to think only of death. In perhaps
no other area has Sanskrit love poetry been so successful as in its
characterizations of the miinini.
2. The literary critics sought to explain the charm of this poetry.
According to their basic classification the subject falls primarily under
the heading of love-in-separation (vipralambha-srngiira). But it differs
from those subtypes where the separation is caused by parents or exile
or other hindrances, for with the nuinini there is always present the
possibility of reconciliation. Abhinavagupta remarks that the height
of charm appears when the two states, separation and enjoyment, are
combined, and shows that they may be combined in the case of the
mamm. As an example he quotes the verse which appears as our 667,
and shows how the contrary factors of the two main types of love are
there portrayed within the same individuals (BhN8., vol. I, p. 303,
commentary). What Abhinavagupta is saying, to put it in European
terms, is that there is a dramatic quality to these verses that is not gen-
erally found in other love poetry. But the Indian critics do not speak
in Aristotelian terms. In place of drama (action) and eXywvia (con-
flict) they speak of the contrast of emotion (bhiiva) and the contrast
of literary flavor resulting therefrom (rasa).
3. Of the verses in the following section which best show this dramatic
or emotional quality, most have found their way at one time or another
into the anthology that goes by the name of Amaru. No less than
twenty-three verses of the section, more than one-third of the whole,
occur in one or another of the mss. of that work or are ascribed in other
anthologies to Amaru. For the problem of the true authorship of these
verses see the second part of the General Introduction.

216
Sec. 21] The Woman Offended
4. Of specific subtypes among the verses which follow we have the
intransigent words of the heroine (635, 647, 648, 691), though sometimes
her actions belie her words (666). In some verses the heroine expresses
doubt that she can maintain her anger face to face with her lover
(636, 640, 645, 676, 695). In others the irony is so polished and the
grief so deep that one scarcely hopes for reconciliation (643, 644, 646).
The lover, of course, must do his best to conciliate his mistress, spending
even the whole night in the attempt (654, 655, 668). He may flatter her
with statements that her anger has enhanced her charm (637) or plead
that she would attain perfect beauty by a forgiving countenance
(684). He is usually aided by the heroine's confidante (638, 650, 651,
652, 658, 659, 680); though the confidante's excuse of his conduct
sometimes has the effect of driving the heroine to greater anger (635,
649?, 685).
5. A special type of verse concerns the heroine's reaction to gotra-
skhalana, that is, to being addressed inadvertently by the name of some
other woman (656, '6 61, 669, 672). Many anthologies devote a separate
section to this type, which is as old as Hala (cf. Rala 5.96).
6. Some of the descriptions of tears (e.g., 662, 663, 664, 681) and of
reconciliation (641, 642, 674, 679, 699) also belong to a recognized
type. But there remain verses which deal so strikingly with a specific
scene or emotion that they cannot be called conventional, while some of
them cannot be categorized at all. Such are the beautiful verses 643,
646, 653, 667, 697, all of which have found their way into the collection
which goes by the name of Amaru.

635. My friends find fault with me in many ways,

calling me proud, resentful and conceited,
for by his action, though it is only kind in show,
they justify the virtues of that rogue. LAKl;iMIDHARA

636. Let my eyes, trembling,

turn when seen by him;
let the poor girdle slip
and the bodice break from the heaving of my breast.
Still, I shan't speak again
to my sweetheart who is false;
that is, unless my heart
should burst within me from my silence. AMARUKA

217
.r;. ".

The Woman Offended [Sec. 21

637. The same side-stepping of her glance and unclear words,
the same shrugging me away when I embrace her body;
again the contradicting every word and stubborn shaking of
her head:
my wife by anger has become a bride again. SAMBUKA?

638. If your gaze is fixed on nothing, why then this close attention?
Or if you really intend silence, why the trembling lip?
If curbing your thought in meditation, why this rising flesh?
Have done with acting; your pride is seen; forgive him and
forget. AMARUKA

639. By rising to greet him from afar

she circumvents their sitting on one seat;
by the pretext of fixing betel
she prevents his quick embrace.
She makes no conversation with him;
instead, gives orders to the servants;
her skill is such that by politeness
she satisfies her wrath. SRi HAR~A [AMARU COLLECTION]

640. When face to face, I lower mine

and keep my glance away;
I shut my ears although quite mad
with eagerness to hear his speech.
I cover with my hand the rising flesh
and sweat upon my cheek;
but, gentle friends, what can I do
when my bodice bursts asunder? [AMARU COLLECTION]

641. It was gay when he was still afar,

but started as he neared;
stared as he spoke, reddened at his embrace,
frowned when he seized her dress,
and filled with tears as he fell to bowing at her feet.
Thus the proud lady's eye
did show its skill in transformation
in looking at her lover who had played her false.
RATIPALA [AMARU COLLECTION]

218
Sec. 21] The H'oman Offended
642. Granted she not say a word;
whether she turn her head or no;
granted, too, her eyes not yet be clear of tears,
still may her bowing husband
take hope from this:
angry as she may be, she has not moved her feet. BOPALITA

643. Fall not before my feet, pray fall not,

for husbands, sure, are masters of themselves.
A little while you took your joy somewhere,
what fault was there in that?
It's I the sinner, that have lived despite your absence,
for the lives, they say, of wives
lie in their husbands.
Surely it is I should beg your pardon.

644. That which is entered into from respect to parents

and where friends take part;
where jests are suffered from politeness and service out of fear;
where modest y restrains and where one wins belief
only on one's oath: -
you call that love? It should be called civility
and habit. There anger has no place.

645. Long have I practised frowning;

I have trained my eyes to close and taught my smile restraint.
I have applied myself to silence
and strengthened all my wits to keep me obdurate.
Such angry preparations have I made,
but whether they succeed or not depends on fate.
DHARMAKIRTI [AMARU COLLECTION]

646. At first our bodies knew a perfect oneness,

but then' grew two with you as lover
and I, unhappy I, the loved.
Now you are husband, I the wife,
what's left except of this my life,
too hard to break, to reap the bitter fruit,
your broken faith. BHAVAKADEVI [AMARU COLLECTION]

219
 The Woman Offended [Sec. 21
647. When you were like the moon,
soft in all its fullness,
I took the moonstone's part and wept with love.
But now that you do play the sun,
whose harsh rays banish kindness,
I too have changed
and like the suns tone cast off sparks. ACALASI~lHA

648. Our love knew only frowns for anger

and all our punishment was silence;
apology was offered with a smile
and pardon granted with a simple glance.
See how this love has been destroyed,
now that you lie before my feet
while wretched I will not give up my pride.
PRADYU M N A [AMURU COLLECTION]

649. False lover, just as you began your fond embrace

you heard the jingling of another's girdle
and loosed the circuit of your arms.
And where can I complain of this?
Maddened by the poison of your honeyed words,
my friend will pay no heed. HINGOKA [AMARU COLLECTION]

650. "You are silly, he has done no fault."

"Not so, my dear. See, who is this he's drawn,
making her rough with anger?"
"Whom he has drawn, with her rising breasts,
her garment slipping in the amorous sport,
and body stretched with yearning, is but you. " ViRYAMITRA

651. Why place your wasting cheek,

my slender-waisted friend,
upon your reddened palm and darken it
with tears from kohl-anointed eyes?
Sweet innocent, the bee in fickleness
may sometimes kiss the plantain,
but never will your bee forget
the scent of budding jasmine.

220
Sec. 21] The TVoman Offended
652. Surely, dear friend, this anger at your lover is put on;
so leave it, proud one ; grant him pardon.
See where y our lord has fallen at your feet.
Ah, speak to him with but the opening of your lotus eyes.

653. "My child." "My lord." "Leave off your anger, proud one."
"'What harm if I am angry? " " It makes me sad."
"But you have done no wrong, the fault is wholly mine."
"'Vhy weep then as you speak?" "Who sees me ,veeping?"
"Why, even 1." "And what am I to you?"
"The one I love." "I am not; that is why I weep."
KUM...~RABHATTA [AMARU COLLECTION]

654. The night is almost gone, m y slender one,

the moon is almost set;
the lamp, about to go to sleep,
is stretching with its flame.
A woman 's stubbornness should end with man's obeisance
and yet you have not left your wrath.
Sweet Fury, your heart has grown hard
from its closeness to your breasts. MAHODADHI

655. The moon has traveled far, now white as parrot-plum.

The sky is faintly pink
with the rays of the rising sun.
The waterfowl are crying,
awakening from their sleep.
Leave, my long-eyed darling, leave
this frowardness of love.

656. When he called me b y another's name

I was so upset with anger
that I prevented not my love
from leaving in confusion.
But my companions, who can judge
of one's intentions and are skilled
in guessing at conclusions,
sat as painted in a picture; how was that? HIMBOKA?

221
~-=~~~========-=~~~--------------------------

The Woman Offended [Sec. 21

657. Enough; I know. Have done with proper words, my love
and go.
yours is not the slightest fault; it is fate that is against me.
If love that climbed so high as yours can fall to such a state,
what pain for me to abandon life, which wastes by very nature?
DHARMAKiRTI [AM ARU COLLE CTION]

[Verse 658 is treated in the Notes.]

659. Without considering his love might change
nor paying heed to us, your friends,
what turned you suddenly
so angry at your love?
You drew with your own hand the coals
that flame with burning loneliness;
have done then, silly girl,
with crying in the forest. VIKATANITAMBA [AMARU COLLECTION]

660. Weep not, my darling. See where the cool-rayed friend of Love
paints with his liquid light the sky, whose darkness takes its
leave.
This is no time for anger. Be kind;
and let, in amorous sport, the drops of sweat
wash off Love's emblem drawn in aloe paste upon your breast.

661. Weep not, nor place your cheek upon your flowery hand,
destroying with your sighs, those witnesses of grief, the glory
of your face.
The cursed tongue, my sweet, will often stumble;
why then be angry with your love?
You are my life, my slender one;
you must not sorrow to no purpose.

662. That a tear, in falling even, strikes a young girl's cheek,

reaches her swelling breast and then,
persisting in its playfulness, attains the circle of her loins:-
instructs us that the downfall of those pure in nature
does not preclude their happiness.

663. Leaping from your lashes,

for a moment rolling on your cheek,
then streaming down to cast up dancing atoms

222
Sec. 21] The Woman Offended
from their fracture on your swelling breasts: -
say why these teardrops. flowing forth. descend
with the shimmering beauty of a string of pearls
falling from your neck. RAJASEKHARA

664. Your palm erase from your cheek the painted ornament
and sighs have drunk the ambrosial flavor of your lip;
the tears that choke you agitate your breast.
Anger has become your lover, stubborn one, in place of me.
[AMARU COLLECTION]

665. Out upon you, sourface. Who has forced

upon his body penance for your sake?
Who has been more than human. has forborne his anger
these two or three "hole days?
Just I; but if I rate as nothing, take another's word:
'If rubbed enough even sandalwood will cast up fire.'
VALLA~A

666. "My heart may burst and Love may waste my limbs,
but never will I have to do with such a fickle lover."
She spoke thus strongly in the passion of her anger,
but even as she spoke, she glanced with fawn-like eye
uncertainly at his retreating steps. [AM.ARU COLLECTION]

667. They lay upon the bed each turned aside

and suffering in silence;
though love still dwelt within their hearts
each feared a loss of pride.
But then from out the corner of their eyes
the sidelong glances met
and the quarrel broke in laughter as they turned
and clasped each other's neck. [AMARU COLl.ECTION]

668. Emblem of Love, mow with your gentle glance

the stalk of anger as I lie before your feet.
See where the lunar sphere as pale as parrot-plum
kisses the \vestern hill in setting.

669. Ahah! You must have second sight,

and your sweetheart has imposed her shape
on girls where others cannot see it.

223
 The Woman Offended [Sec. 21
How else are you the only one
to recognize by common property
all other girls as her? MANOVINODA

670. Give up your silence, darling; let my ears drink streams of

nectar.
Unclose your eyes and let blue waterlilies fill the world.
Forgive; let love itself allay your indignation.
Your servant is without ofi'ense, unworthy of your wrath.
J)IMBOKA

671. If you are angry with me, you of lotus eyes,

let anger be your lover; there's no help.
But give me back the kisses I have given;
give back with interest all of my embraces.
SATANANDA [AMARU COLLECTION]

672. Dear friend, you've caught him in a slip of speech

and should not let him off with mere obeisance.
The rogue should rather get a sentence
of long imprisonment within your arms. GONANDA

673. A lovers' quarrel had arisen and the lover had for long
done all his best in vain to please his mistress.
Then as the night wore on, her anger giving way
and love once more appearing in her heart,
she took to feigned sleep, pretending skillfully
unconsciousness that her pride might not be hurt
yet that she might not miss out on his making love.

674. Truly he is blessed with merit

that like summer's day her heat of anger passes
and on her growing kind, as with the coming of the night,
her face, a moon, lighting with smiles for moonlight
the heaped up darkness of their altercation,
shines forth upon his amorous exercise.

675. Constrained by pride I cannot go to him,

nor have I clever friends to lead me there by force.
He too is proud, a nd fearing scorn, will not come of himself.
Oh mother, time is wasting, life is short,
and my heart is sick with care.

224
Sec. 21J The M'oman Offended
676. Before he comes to see me, quick, my friend,
go tell him that his mistress has withdrawn in anger;
for once I see him with his dear deceiving ways,
my face, suffused with sweat, will surely be all smiles.

677. I hit her with my fists and scratched her on the breast;
I struck her sides and pulled her hair
and bit her lip until she drew her breath in pain.
AU this I did for your sake to your fellow wife,
and even in your absence, oh my innocent.
Command me now what further I should do.

678. "My slender one, give up your silence.

See where I lie before your feet.
Your anger never yet was such as this."
As thus her husband spoke
she closed her eyes and let fall many tears
but answered not a word. [AMARU COLLECTION]

679. The tree of anger sprouted in her heart,

sent forth its cotyledons in her two proud eyes,
came fairly into leaf in what she said
and flowered in the gestures of her anger.
But when her love then fell before her feet
it bore no fruit but proved a barren tree. R.~JASEKHARA

680. A slip of names is but a little fault

and though he has lain before your feet for hours,
like one possessed you cease not from your wrath.
Leave anger, raise your love, regard your future good
and listen to my words, dear friend:
a finger nail's not worth a flood of tears. [MANOKA]

681. If I by chance be found at fault

then you should punish me as fits a slave.
But why despoil with floods of tears
the aloe ornament upon your cheek?

682. "He has played me false, and hasn't even come;

my heart is almost certain.
Where am I? In this living wilderness
whom can I turn to? 'Who will give me courage?"

225
 The Woman Offended [Sec. 21
So speaking and with tearful face,
the rake's mistress goes into the house;
ah, lucky rake, who having spied upon her grief,
takes her in his arms and lets her weep her fill. VALLA?-!A

683. From eyelash to cheek, from cheek it falls to breast,

from breast to waist and thence to the lotus of her navel.
I know not what nor where nor how long were its vows
tha t now her tear should revel in her every limb.
[ N ARAsr:rrIHA ]

684. Scatter forth your glances,

let the dark lily lose its hue;
spread the moonlight of your smile,
and let the lotus close;
speak to me, and then in shame
let peacocks silence keep:
such is your might, proud lady
and pride brooks not defeat.

685. The fellow is a knave, and you, my dear, a simpleton

to put your trust in false politeness and sweet ways.
Do you not see the mark upon his cheek,
just like a heavy rouge of lac,
that indicates his recent escapade? SONNOKA

686. The youthful lovers play no sportive game.

A secret grievance lies in either heart,
with both too proud for armistice.
Each looks to other for the first apology,
and while the symptoms of their love foretell
forgiveness at the end, they meanwhile waste the night.
SONNOKA

687. You've paid no heed to anything your friends have said,

and as for me who lie before your feet
you have not touched me even with your toe.
Hard-hearted lady, this vicious vow of silence
is not the way to keep one's proud position
but the way to lose a servant.

226
Sec. 21] The Woman Offended
688. The moon fades not that is her face;
her forehead knows no frown.
No redness spoils the lotus of her eye,
her eyebrow does not move.
But this shows well the grievance in the heart
of his beloved: that though he asks a hundred times,
her lips break not their seal. VAIDYADHANYA

689. She speaks without reserve and laughs as the occasion prompts;
she forbids him neither kisses nor embraces.
But if she thus denies her anger
and puts on today a certain show of pleasure
it is only to avoid the dread conciliation. MAHAVRATA

690. When his eyes seek out her breast

she denies them by embracing him.
When she sees his lip is thirsting for her lip
she paints her mouth with lac.
'¥hen he lays his hand upon her loins
she checks it by contraction of her thighs.
She declares no war upon her husband's love,
but skillfully maintains her pride.

691. In our house the lamps had flames that trembled

with your long-dra" n sighs,
and your eyes were heavy from the vigils at my anger,
until our words came sweet with reconciliation
and perfect confidence.
But those are days long past. Now leave my feet;
for I am still the same, but you have changed.

692. A motion to embrace him stirs her will

but not her arms.
Reconciliation wins her consciousness
but not her voice.
While the angered lady 's mind at end of night
turns freely back toward her lover,
her body still delays. CAKRAPA1:I1

227
 The llVornan Offended [Sec. 21
693. Today I dreamed, my friend,
that on the parterre of the garden house
to satisfy the longing of the red asoka tree
I kicked it so my anklets rang;
whereon, how shall I say it, from within the grove
my lover came without my knowing it
and bowed his head before my lacquered foot. MADHUKUTA

694. My friend, I grieve not that the handsome boy

has grown less kind to me,
for one only gains that happiness
which ripens from past acts.
What hurts is this, that though he turns away,
my shameless heart will not give up its love. [AMARU?]

695. Although I fix a frown,

my eyes show all the greater love;
although I stop my voice,
my wretched face becomes all smiles.
I teach my heart to harden,
and still my flesh swells up with longing.
Alas, how carry out my anger
when I see that man? [AMARU COLLECTION]

696. She had spurned her lover with an oath

as he bent before her feet;
but then, when he had taken
two or three steps only from the room,
she held him back, almost running as she bowed
with the knot of her skirt appearing in her hands.
Ah, how strange is the way of love.

697. The bond of his affection broken,

the value that he placed upon me in his heart erased,
this man now walks before me like any other man,
his love now ceased.
The days pass with my thinking and thinking of these things.
Dear friend, I know not why my heart
breaks not into a hundred pieces. [AMARU COLLECTION]

[Verse 698 is treated in the Notes.]

228
Sec. 21J The Vl oman Offended
699. Her anger, when she av.. her lover come,
contracted somewhat just as did her eye,
and when he stood before her
it bowed itself as did her face.
Upon his touch it stood forth like her bristling skin,
but loosened when he spoke as did the knot that held her dress.
At last, her lover bowing at her feet,
this anger left her quite as did her shame.

229
 Section 22
THE LADY PARTED FROM HER LOVER

1. The anthologist now t akes up in earnest the subject of love-in-

separation, of which he has given a general taste in Section 18 and a
specific type in Section 21.
2. A large number of the verses of the present Section describe in
traditional fashion the heroine's love-fever. Such are 700, 702, 705, 707,
709-712, 714, 716, 719, 721-723, 726, 729, 731, 733, 735, 737-740,
742-748, 750-751, each of which describes at least one and sometimes
three or four of the following traits.
3. The heroine lies sighing on her couch, seeking sleep that will not
come, so that she may dream of her lover. Her friends apply refrigerants:
fresh lotus leaves, bracelets of lotus fiber, sandalwood paste; they fan
her with palm leaves. But such is her fever that the lotus and the
sandalwood burn. Even the cool rays of the moon are like fire. The
heroine wastes away with thinness, and her golden beauty fades to silver.
She is careless of her hair and ornaments; everything seems empty to
her. The sole exertion of which she is capable is an attempt to paint
her lover's portrait. For the rest, she leans her cheek upon her hand,
while the tears stream forth, black with the collyrium of her eyes,
destroying the cosmetic designs on her cheek and falling in heavy showers
on her breast.
4. More significant for their artistic effect than the factual content of
these verses is their dramatic context. Sometimes the confidante
addresses the heroine, trying to discover the object of her affections
(712,715,721,722, etc.), or, where this is well known, trying to encourage
or cheer her(704, 730, 731,738,751). Sometimes a friend simply describes
the heroine (700, 707, 711, 716) and of these verses a few might well serve
a s descriptions to be carried by a messenger to the lover (729, 732, 745).
In 709 and 719 it is the lover who portrays his pining beloved. But most
effective, to my taste, are the verses where the lady speaks for herself.
When a woman herself speaks of" passion which burns like a stirred-up
fire, smokeless," one is inclined to believe her. One finds it harder

230
Sec. 22J The L ady Parted frorn Her Lover
to believe in a passion revealed only by symptoms which appear to a
second person's e) es. Some of these verses in the first person rank
with the best poems of the anthology (705, 710, 725, 739).
5. Two verses liken the woman in separation (viyogini) to a woman
in mystic trance (yogini), thus drawing a parallel between sex and
asceticism that is much indulged elsewhere by the classical poets (703,
715; and cf. 545 , 550).
6. Less common in this Section, though they belong to a large family
in the general corpus of Sanskrit poetry, are verses on the rains ('the
rains have come but still he stays away') 704, 708; hints of death (708,
720, 727); and verses made up of puns (706, 724).
'7. Three ,erses (713, 718, 728), among which the famous 728 is
especially beautiful, picture the wife looking to the road by which her
husband will return or asking news of him.

700. Her fever kindles fire within the lotuses

the moment they are placed upon her couch.
The tears pour down in floods across her pale cheek.
What's more, even as I rub her hand with liquid sandalpaste,
the hand is flaked with ashes
from its contact with her sighing breath. ACYUTA

701. Oh Love, defeated first by the god who wears the moon,
then by the Buddha with his mighty wisdom,
and finally by my darling who has gone abroad;
that, leaving these, you strike at me, a woman,
so thin and 'weak, and left bereft:
fie on you, fie on your courage and your glory,
fie on your bow and on your arrows. SRI RAJYAPALA

702. You listened not to words of friends,

you heeded not your relatives' advice;
but when your dearest fell before your feet
you struck him with the lily from your ear.
So now the moon is burning hot
and sandalpaste turns into fire,
the nights each last a thousand years
and the lotus necklace weighs like iron. [AMARU?]

231
 The Lady Parted from HeT Lover [Sec. 22
703. Averse from eating, turned from every object of the senses,
and this too, that your eye is fixed in trance;
again, your mind is single-pointed,
and then this silence, and the fact that all the world to you
seems empty: -
tell me, gentle friend, are you a yogini
or a viyogini? [RAJASEKHARA]

704. My child, these are not clouds

but elephants on which the gods do ride;
the herons that you see, their ear-conchs; and the lightning
their golden headstraps.
This is not rain from heaven; it is the ichor
shaken from those same elephants and blown b y their breathing.
Why then, sweet innocent, defile your face ,,,ith tears
as though the rains had come?

705. Lay my bed, friend, with nectar-dripping leaves

plucked from the trees of paradise
and make the moon a pillow for my cheek;
else never will Love' s fire, its cruel flames increased
by drippings from my own heart's lamp,
leave burning of its fuel, my limbs. CAKRA

[Verse 706 is treated in the Notes.]

707. That her cheek is flooded by the water of her tears
and that her lotus face is gray
does make her like to wood half burned:
wet with the sap, her love, that from its body flows,
but bearing flakes of ash.

708. "Here comes the downpour, here the lightning and the
cursed hail,
the roar of thunder and the croaking frogs."
Thus speaking with each rapid breath, the slender maid,
already close to death, enflames
the fire which love has spread throughout her limbs.

709. This lotus-petal couch, wilting at either end

from touch of heavy breasts and loins
but green between,

232
Sec. 22] The Lady Parted from Her Lover
not having met with pressure from the slender waist;
again, the whole disordered
from the threshing round of loosened arms
bespeaks the fever of a slender maid. [sRi HARI;'A-DEVA]

710. The passion of my heart is sharp

and stealing ever on, brings pain;
burns like a stirred-up fire, smokeless;
wastes like a mortal fever every limb.
My father cannot save me nor my mother
nor even you, my friend. [BHA V ABHUTI]

711. Her fever born of separation

would set a kettle boiling;
her very friends in fear of being burned
dare not apply their hands.
When sandalpaste and herbs had been to no avail,
we stood amazed
to see each pearl within her necklace
explode like roasted grain. RAJASEKHARA

712. That your face is pale as ripened palmleaf,

that your eyes are like a rainy day
and that this cheek bears the mark of fingers
from its resting in your hand: -
may Gauri strike me if it's not your heart
has lost itself to some young man;
and fie on you for hiding it
from one you played with as a child. RAJASEKHARA

713. With bracelets slipping to her upper arm

and row of curls beside her ear atremble
she raises her clasped hands to ask upon the way
for tidings of her lover.
When suddenly she realizes it is he
with whom she speaks, shamefacedly
the flower stem, her neck, bends low
as the emotions crowd upon her. [RAJASEKHARA]

233
 The Lady Parted from HeT LoveT [Sec. 22
714. Ah, cursed moon, touch not even in jest
my wasted body, burning with the heat
of separation from my dear one,
for when your rays fall on me,
though fair as ripened lotus stalks,
they hurt like burning brands. RAJASEKHARA

715. This debility of body and lack of all desire,

this fixing of your eye in trance, and perfect silence:
this state bespeaks a heart fixed on one single obj ect.
What is that one, fair lady; brahma or your lover?
LAK~MiDHARA

716. Most slender is she, fair as pith of the young plantain tree,
gladdening the eye like the figure of the sickle moon;
and yet in piteous state she is from burning of love's fire.
One's heart delights in her, and yet for her it trembles.
BHAVABHUTI

717. I send you greetings, Sleep,

and hope that you, Perception, too are well,
as well as Happiness, who all have left
together with my loved one;
and for the rest, would ask if with my dear one
you have seen my servant, kind to misery
-for she has run away-her name, Unconsciousness,
who brings relief from torture. ARA VINDA

718. She comes forth to the center of the house

and then to the front hall;
at last she steps out in the courtyard,
but still sees not her dear one.
How beautiful the tear-filled voice
with which the lady calls,
"Oh crow, oh wild goose, oh little siirikti, oh parrot,
what news have you to tell me?" CITRANGA

719. Upon her body

golden as the opening tuber of the turmeric,
appears a paleness
born of separation from her lover.

234
Sec. 22] The Lady Parted from Her Lover
As this increases
it is as though the fawn-eyed maiden's limbs
were made of silver
melted down with gold. RAJASEKHARA

720. My darling's gone, my heart is gone,

my sleep is gone together with my mind.
Oh shameless life, have you not heard,
"The way to go is with the crowd?" DHARMAKIRTI

721. A tear stands in your eye in place of kohl,

your hand, enfolding now your face, no longer holds a lotus;
a paleness has replaced the ornamental marking on your cheek
and sighs have driven off the smiles from your lip.
Sweet innocence, I know not whom the god of love has favored
that lovelorn by his absence such should be your state.
BRRAMARADEVA

722. Why has the bright collyrium faded from your eye; .
why do the ornamental marks no longer grace your cheek?
Oh Tajaha7!~sa who swim among the lotus beds of love,
what makes you now so thin, so sad, so wan? VII?~UHARr

723. Unhappiness comes over me, not sleep;

I count his virtues, not his faults.
The night slips by but not my hope of union;
my limbs grow thin but not my love. PRAVARASENA

[Verse 724 is treated in the Notes.]

725. Tell him not my present state
nor say that he has overstayed the promised time.
Make him no reproaches, artless friend,
but ask his welfare, saying only this:
"I pray the winds of Malabar
have not blown your "way;
I pray the mango
has not blossomed." VAKKO'fA

726. Hoping to meet her love at least in dream

she goes to bed, but sleep comes not.
She tries to paint his portrait
but perspiration is jealous to prevent her wish.

285
 The Lady Parted from Her Love?" [Sec. 22
The sweet innocent would tell his virtues
but sorrow puts a bar across her speech.
In general it is only through a turn brought on
by power of a lucky day that wishes can come true.
TARA~INANDANA

727. Dear flight of cranes,

unique pearl necklace on the bosom of the sky,
tell that man that he must be careful of his life.
Here I, abandoning these pallid limbs
as one would drop a faded garland, am more happy
than were I to endure the pangs of separation.

728. At day's end as the darkness crept apace

the saddened traveler's wife had gazed
as far as eye could reach along the quiet road.
She takes one step returning to the whitewashed house,
then thinking, "At this very moment he may come,"
she turns her head and quickly looks again.
SIDDHOKA [AMARU COLLECTION]

729. Her curls are now disordered by her sighs,

her cheek lies in her hand;
a wave of tears o'erflows her eye
while the soft sad note of love swells in her throat.
That bright splendor that once did flourish greatly
on her limbs and gave them loveliness
has been reduced to legend by the pallor
born of separation. R.~JASEKHARA?

730. Give forth the moonlight of your smile

to serve the parched cakora;
let dance your eyebrow that the god of love
may be reminded of his bow.
Unbind these lotuses, your eyes,
and thus delight the world;
permit your charms, my child, to enter
within the hearts of the deserving. APARAJITARAK~IT.A.

236
Sec. 22] The Lady Parted from Her Lover
731. 'iVhy is your braid so disarrayed,
your eyes without their kohl?
Why are the ornamental lines of musk
missing from your cheek?
This and this and this are all awry
from your forgetfulness.
Oh lovely one, you've left the instruments of your coquetry
entirely to your friends. [AMARU?]

732. "Time and again you play me false.

What use are words? Begone."
Thus silencing you, in her wrath
she raised her weakened arm.
From it the bracelets slipped-
such was her thinness from your absence-
as witness now the crow that flies about the city
wearing them about his neck.

733. The teardrops, formed upon your lashes

like so many pearls,
in dropping to your bosom make a necklace
whiter than Siva's smile.
You rest your face within a hand
whose wrist is graced by lotus stems.
Say who he is, my long-eyed child,
so blessed to be so loved?

734. Absent, he sets my limbs on fire,

when near, he makes me jealous;
seen, he steals away my heart,
when touched, I am in his power.
The joy I have when I do have him
is straightway gone when he is gone;
yet stranger than all else is this
that he is still my darling. [AMAItU?]

735. Who is he, fair one, so rich in merit,

whose body tosses on the splashing waves
of Ganges or Sariiyii,

287
 The Lady Parted from Her Love?' [Sec. 22
that grieving for him, from your lovely face
the tears mixed with collyrium
in constant falling should destroy the lines
painted upon your breasts?

736. One time in sport I daubed my hand

with saffron, such as you had left,
and painted red the white wild goose
of the palace lotus-pool.
By this his mate, mistaking him
a moment for a sheldrake, suffered loneliness;
the fruit of which is this that I,
my lord, must now endure your absence.

737. Why, slender maid, are these drops of tears,

black from collyrium they have washed,
scattered in atoms on your breast
that surges with your sighs?
Why do these sobs break forth
wavering from the constriction of your bended throat,
pouring forth nectar to the ear,
a s soft and sweet as the cuckoo's cry?

738. "Like to a fire surrounded by sharp rays-

a very wonder. Can the sun, my friend,
be rising even now at night?"
"My sweet, it is the moon. "
"But how should moonlight bring me fever? "
"Ah, what is not contrary, child,
to one without her husband! "

739. Shoot not your fire-shooting rays, oh moon.

Oh life, stay yet a while.
Sleep, seal my eyes, and may the night
be everlasting long.
Once dreams have brought me to my love
that blissful in his arms I lie,
then you may do whatever harm
that each of you may wish.

238
Sec. 22] The Lady Parted from Her Lover
740. May the god of the five arrows bring you fortune
who have painted him incarnate as your absent lord,
for while your fingers trembled on his body
the bow and crocodile are drawn in steady lines.

741. When her friends ask her why she wilts

like a crushed jasmine, the shy young wife,
saddened by absence, still does not speak out;
holding the tears within her eyes,
she only manages a glance
at the mango tree just budding in the courtyard.

742. Your eye is red and swollen from the flowing of the tears,
and slow to move;
the brightness of your lip is injured by your burning sighs;
the curls are ruffled on your brow, and your pallid cheek
rests ever in your hand:
young maiden, tell me who he is
whose past austerities have ripened
to merit this effect. Y A S OVARMAN

743. Who is he, victorious in the world,

blessed with merit and with art;
who offered at the feet of Love
such sincere devotion;
that you, so fair, in pining for him
should assume this pallor
composed of ashes rising from
the flaming fire of love?

744. You may as well burn up my couch

though strewn with lotus leaves.
What use these shaken palm fronds
which take the form of heated coals?
Enough; the cream of sandalwood
no less than moonlight burns my eyes.
Dear friends, my sickness is without a cure
like fire that feeds on water. ABHINANDA

289
 The Lady Parted from Her Love')' [Sec. 22
745. She goes not to the palace roof,
avoids the park, detests the moonlight nights;
she turns back from the painted playroom,
and finds her clothing to be poison-hot.
Rather she stays reclining on her couch
spread with lotus foliage,
her thoughts abiding on your figure
drawn by her imagination. RA.JASEKHARA

746. Her tears first shimmer on the surface of her eye,

from which on being forced up gently
they form in drops upon her lash.
Thence they descend in scattered showers,
which by their heaviness
occasion suffering within her breast. R.:\JASEKHARA

747. Methinks that Cupid, leaving his blunted shafts,

has cast at the young maiden Neptune's weapon,
for how else would this flood of tears,
leaping from the channel of her glistening eye,
become a river in the wrinkles of her waist. RA.JASEKHARA

748. With open eyes you cannot recognize your friends;

when spoken to you offer no reply;
oblivious of this and that, you've reached the state
where everything is void.
What would you do, abandoning this frame
that, nearly vanished on the couch,
is barely touched with life? Come, live
to give your love to him when he returns. VALLA~A

749. Is she attacked by dropsy? No;

nor by the major elements.
She is not mad, nor is she suffering
from a syndrome of ailments.
Why, then, this weeping, swooning, sighing
and then this smiling face?
How shall I say it, the foe whom she has seen,
who really is no foe, is none other than
His Sacred Majesty, King Bhoja. CHITTAPA

240
Sec. 22J The Lady Parted from Her Lover
750. Your breasts heave,
your cheek falls to your hand.
Your constant sighs dishevel
your uncurled locks.
The tears again and again
obscure your power of sight.
All this, dear friend, is evidence
of someone in your heart. NARASI¥HA?

751 You leave not your couch nor care about your health,
nor tend your hair bound in a disheveled knot.
At least take care, dear friend, to stay alive.
I've seen a hundred women separated from their loves
but never such as you.

241
 Section 23
THE LOVER SEPARATED FROM HIS :MISTRESS

1. This Section is a counterpart to the Section preceding. Its type of

verse is as old as the Riimaya1J,a, where we have descriptions of Rama
separated from Sita (Ram. 6.5, etc.; for a convenient collection of such
passages cf. S. N. Vyas, JOIBa1·. 2, pp. 114- 115). The effects of sepa-
ration on the man are not very different from its effects on the woman:
the same sighs (752, 804), tears (753, 792), and fevers (755, 771, 784).
Indeed, he too occasionally takes to a lotus couch, is anointed with sandal-
wood paste and is fanned, all to no avail (801-803). He may even die of
love (760). More attractive are the verses where he shows a manliness
by bidding Love treat his mistress at least more gently (761, 780).
2. Particularly frequent and ingenious are the references to Love's
arrows (761 , 769, 771, 774, 779, 780, 783, 785, 798) and the denun-
ciations of Love's stimulants such as moon, springtime, cuckoo, and the
Malabar breeze (757, 759, 768, 769, 774, 778, 789, 794, 797, 799, 800).
The arrows pierce into the lover's heart right up to the feather (769, 771,
798), nailing his mistress to it (783), giving his heart the appearance of a
kadamba bristling with blossoms (798). The burning rays of the moon
are sometimes explained by the moon's jealousy of the heroine's superior
beauty (778,794). :Much relished by the poets are verses which combine
the moods of love-in-separation and love-in-enjoyment. To achieve
this the lover is made to remember the joys gone by or to wonder
whether ever again he may delight in his mistress' presence (758, 775,
777,781,786,787,788,793,795,796). Again, the mood may be extended
by likening the lover to objects of nature, to the buck without his doe
(756), to the asoka tree (770), to a burning summer day {782}. As with
his mistress, sleep with its visions offers some solace, though reality
breaks in too soon (762, 763, 779, 806).
3. There is much conventionality here and much skill. There are also
verses which have a wider appeal, such as the sweet verse of Bhavabhiiti,
754, or verse 765 where the lover gazes at the compass point where his
love lies beyond the rivers and the mountains.

242
Sec. 23] The Lover Separated from His 111istress
752. Slow gait and vacant eye;
a weakened body and heavy sighs:
what can this mean? 'V'hat else than this:
that Love's commands run everywhere,
that youth is easily swayed
and that something which is sweet and delicate
has stolen off his strength. [BHAVABHUTI ]

753. Time and again the flood of tears prevents my sight;

my body numbed by thoughts of her is paralyzed;
my hand here tries to paint,
but see how it breaks forth in sweat; see how its fingers tremble.
How can I paint my love? [BI-IAVABHUTI]

754. Perfumed, oh wind, with the rich scent of pollen

dripping from jasmine branches dentate with opening buds,
embrace my love
whose eye half flirts, whose body bends; and then,
touch me on every limb. [BHAVABHUTI]

755. Grief cuts my heart and cuts it deep

but cuts it not in two;
my body, though it stumbles dazed,
refuses to lose consciousness.
An inner fire burns my limbs
without consuming them;
the hand of fate which strikes so deep,
alas, strikes not the life. [BHAVABHUTI]

756. Oh antelope, you eat not of the verdant grass

and find no peace or steadiness.
but wild-eyed, moaning piteously,
seek out the four directions.
Is it that fate has separated you
as it has me from my beloved,
that thus you wander aimlessly
to hill and dale, to river and to desert?
757. Drive off with whips this perfume all about
and bind the Southern Wind in chains wound many times;
cast into prison the cuckoo's amorous note
and grind the moon to pieces on a stone. [ RAJ ASEKH ARA ]

243
=====----~=--------------------------------

The Lover Separated from His IVlistress [Sec. 23

758. 'iVhen shall I see again her swelling thighs,
first pressed against each other close in modesty
then loosening at love's command;
revealing, as the silken robe slips off,
the delicate crimson-flowing nailmarks
like to a seal upon a covered treasure?

759. The mango trees are covered with black smoke of bees ;
the opening sprays of the asokas burst in flame
while the ki'T!~8-ukas by darker buds are turned to burning coals.
Alas, where can I bring my eyes to rest
when Love's performances are every\vhere? VAKKUTA

760. Here was no wasting of disease, no blood of wound,

no foaming at the mouth of snakebite;
the poor wayfarer simply here fell dead.
Ah, I can guess; it must be he was rash enough
to cast his eye upon the mango bud
noisy with its crowd of honey-seeking bees. R.~JA SEKHARA

761. Oh Love, strike not the heart within the slender maid,
as you have mine, with arrows sharp as lightning;
oh moon, cast not your rays as pitiless as torches
on one as tender as a flower. RAJASEKHARA

762. My mouth is dry, for its kissing of her eyes

did hinder it from sipping the ambrosia of her lip;
my hand does hate itself that its grasping of her hair
prevented it from toying with her loins.
Hardhearted sleep, oh wherefore have you ceased
before these limbs of mine could play on every limb
of her whose wrath had been at last assuaged! ABHINANDA

763. I know she is unreal,

like a flower in the sky;
that enjoyment of her love is like that flower's scent,
more unreal still.
Hateful sleep has shown her to me
only as a juggler's trick;
and yet my heart with burgeoning desire
yearns for her embrace. PARAMESVARA

244
Sec. 23] The Lover Separated from His Mistress
764. By stroke of fate I have received
the upper garment of my darling:
the wager of our gambling,
the noose to bind my neck in love-sport,
the fan that banished languor when the bout was ended,
the couch whereon we fought our evening's quarrels.
DHIRANAGA
765. Though separated by a hundred lands,
by rivers, woods and hills,
and knowing that for all he strives
he cannot see his love;
the travel er stands on tiptoe,
stretching, and with tear-filled eyes
still gazes, lost in thought,
in her direction. SRi HARI;)A [AMARU COLLECTION]

766. Her eye, first tearful and distracted from excess of love,
she lowered, then rolled back,
then warm and gladdening, blind with passion,
she caused it follow my departing path.
Hence such my gait, such thoughts, such fragile consciousness;
and hers, I hear, such fever, such figure, such sad state.
VALLAJ:olA
767. This is the very place:
like a lake whose lotuses are cut,
like the sky without a nectar-shedding moon,
it grieves my heart.
And here once more is winter;
but in the absence of my slender one,
it now engenders
the unseasonable fever of midsummer.

768. If God created me,

why then this fawn-eyed damsel?
Or having both created,
why then the spring?
Or leave the spring;
ask only wherefore
he made this mango tree,
the foe of all the world.

9+s.c.P. 245
 The Lover Separated from His Mist'ress [Sec. 23
769. Love's arrows, so they say, are made of mango buds;
his bow, they say, of flowers;
they also tell how He himself was burned
in fire from angered Siva's eye.
But what shall I say when the blackguard shoots me,
driving his arrows to the feather?
Such torture cannot come from his resources
as they have been described. ViRY AMITRA

[Verse 770 is treated in the Notes.]

771. All your five arrows
have sunk up to the feather in my heart
and there are burned together with my body
in the fire of separation.
Alas, poor Love, that being weaponless
you can no longer overcome the world;
see, only I shall suffer
while others live in joy. RAJASEKHARA [HANUMANNATAKA]

772. If the moon by melting might become a pool of nectar

and its mark might be therein a bed of waterlilies;
by bathing there I might so cool my limbs
as to escape the torture of these flames of love. RAJASEKHARA

773. If her body wasted every day and the tear stood in her eye,
if she held the messenger as close as earring to her ear
and if some kind reporter would tell me news of this;
then I might even seek the pangs
of separation from her presence,
granted that I dwelt nearby. VALLA.?:L\

774. The name you bear for flower arrows

and that the moon bears for his cooling beams,
oh Love, belie the truth with such as I;
for with his cold rays the moon shoots fire
and you your shafts have made like adamant. KALIDASA

775. May I see once again her face,

which falling in one's path of vision,
all joys collect in mass within the heart
as one's feasting eyes beget delight;

246
Sec. 23] The Lover Separated from His Mistress
a face as if created of elixirs
drawn from the newly risen digit of the moon
to form a palace for the god of love. BHAVABHUTI

776. At me the bow of Love shoots arrows fiercely,

the humming of the bees brings pain
and the moon casts rays of fire;
but these, being shamed by the alluring beauty
of my darling's brow, her sweet-toned voice, her face,
I dare not think what angry measures
the three may take with her. SANTAKARAGUPTA

777. Will that day ever come whereon my eyes like bees
can drink their fill of honey from my darling's lotus face;
when, after sweet and loving talk has led to games of love,
my limbs can join her limbs in busy intercourse?
[VARTIKAKARA]

778. Her locks conceal her lowered face, and yet the moon attacks me.
She says no word and yet the cuckoo strikes me with his call.
She frowns not, yet the god of love destroys me with his bow.
Who that sees that maid has not become my enemy?

779. Put up your arrows, master; loose your slender bow.

Your proper target is the three-eyed god,
not I, whose heart is tender as a siris flower.
From the storehouse of your pity grant compassion
and to your faithful servant
reveal once more this wondrous dream. RAJASEKHAItA

780. Somehow I shall endure the lonesome days

by use of reason, though struck by Kama's shafts,
for I am used to exercise of manliness.
But she I love is young;
her limbs will fail at this new separation;
with her I know not how the days will pass.

781. When shall I see the fair face of my beloved

stammering sweet words, the lily fallen from her ear;
the perspiration telling of exertion,

247
 The Lover Separated from His NI istress [Sec. 23
the tired eyes, of intercourse enjoyed;
the curls above her forehead straightened
by m y recent grasping of her hair?
782. The woods are as lonely
and the rivers have grown as thin as I ,
while the days are as long and as hot
as are my sighs.
783. My love rests in my mind
as if melted therein
or reflected or painted or sculpted
or set therein as a jewel or mortised with cement or engraved ;
as if nailed theret o by Love's five arrows
or as if tightly sewn into the very threads
of its continuum of thought. [BHAVABHUTI]

784. If my absent bride were but a pond,

her eyes the waterlilies and her face the lotus,
her brows the rippling waves, her arms the lotus stems;
then might I dive into the water of her loveliness
and cool of limb escape the mortal pain
exacted by the flaming fire of love.
785. How bring together t he marksman I,ove,
of flower bow and arrows few,
with a moving target, the su.btle mind,
screened by the body and lacking tactile shape'?
But contradiction by experience
-witness the rise of fever in my mind-
removes what seems so manifest
and clear an incongruity. VA N DYATATHAGATA?

786. I remember how from heavy grief of heart

she could not speak a word of what she wished;
how her round breasts shook with silent sobs
and how she glanced at me repeatedly from half-closed eyes.
787. I remember every word she said,
sobbing and drying her eyes with the border of her robe,
su.perfluous because they failed of her intention,
the syllables unable to complete their sense
from the trembling of her lip. SONNOKA

248
Sec. 23] The Lover Separated from His Mistress
788. I remember my little darling's face,
a spray of blossoms on the tree of love,
a lotus growing from the soil of loveliness,
a face composed of nectar fallen from the moon.

789. The travelers must lean upon each other as they look,
pupils quivering behind their lashes, at the mango,
honey-dripping, smiling, garrulous with hum of bees,
a very arrow shot from the conquering bow of Love.

790. If my fawn-eyed darling be away

why waste my words on others?
When the moon is dark, what matter then
how many stars there be?

791. Above, a thick layer of clouds and far away m y love.

I've fallen in the case they tell of:
"On the snowy mountains grows the magic herb,
but the snake is on your head."

792. Looking face up'wards at the clouds

that fill the monsoon sky,
the travel er transfers their burden
of water to his eyes. JAYIKA

793. Such are her thighs, her loins and belly,

such are her breasts and such her smile
such her sweet words, her waterlily eyes, the chignon of her hair
and such her face, distilling drops of beauty's nectar.
Many's the time I sit in meditation thus
of a single feature of my fawn-eyed love. NARASI1!UfA

794. Granted the moon have been defeated by your face,

why pitiless should he show me such ill will
that while delighting others with ambrosial beams
he should make those beams as sharp as fire to me.
PARAME8VARA

795. They were accompanied by her dancing eyebrow

and the flowing moonlight of her smile;
darker than blue waterlilies
and charming ,vith her gently curling lashes;

249
 The Lover Separaied from His A1istress [Sec. 23
ah, but recalled to memory they make the traveler sad,
those loving sidelong glances, stealing forth
after each closure of his mistress' eye.

796. She would cast at me her sidelong glances,

which glittered with their trembling rays
skillfully escaping the eyes of all her friends:
sickle-bladed arrows, oiled and sharp and cruel,
by which my heart was often cut
and even by remembrance now is cut again. PARAMESV~.o\RA

797. Blacken the night with brushes thick with ink;

with incantations exorcise the lily's smile;
place the moon upon a stone and grind it into atoms,
that I may see the whole world painted with her face.
RAJASEKHARA

798. When Siva had reduced five-arrowed Love to ashes

the lotus-born creator made, I think,
another Love with arrows numberless;
whose darts now sinking to the feather in my heart
have made it bristle like a blossoming kadarnba. R.~JASEKHARA

799. Your birth was from the Sea of Milk;

Sri was your sister, the kaustubha jewel your brother;
your friends are waterlilies and your beams
flow with ambrosia, while your face
is rival to the lotus face of women;
how then, oh moon, crest jewel of God,
should you pour forth on me these painful fires?
RAJASEKHARA

800. Drink all this sea, cakom birds, of moonlight,

darting your beaks out as you raise your necks,
that the moon thus reft of brilliance spare the lives
of those who pine in separation from their loves. R.~JASEKHARA

801. The moon was born of the same womb as poison;

the sandalwood is known to shelter snakes;
pearls are raised from the salty sea
and lotuses are lovers of the sun.

250
Sec. 23J The Lover Separated from His JlIlisi1'ess
How then could an ything exist in these
to assuage the flames of love?
But by mistake of their appearance
we forget the truth and are deceived.
RAJ ASEKHARA

802. The breeze of fans

but multiplies my sighs;
the Liquid sandalwood
can but increase my tears.
The bed of flowers but befriends
the god of flower shafts;
how t hen will his attack,
thus doubled, ever cease? RAJ ASEKHARA

803. Cool necklace, dampened couch and lotus petals,

the wind from the HimaJaya bringing drops of sleet:
when these and even liquid sandal are but fuel to Love
how shall his fire ever be extinguished?
[BAl!iA , AMARU COLLECTION]

804. It must be Love has scorned his gentle flower arrows

and in their place assumes the weapon, wind,
How else would these my sighs, as long as necklaces,
in passing set in motion my silken garment's hem?
[RAJASEKHARA]

805. Better never to have loved

than to break a love that's grown;
as one born blind is tortured less
than one whose eyes are gouged. [ RA VIG UPTA ]

806. Have mercy, sleep,

and show me once again
my darling though it be but for a moment;
for when I see her
I shall hold her in my arms so tightly
she shall not go, or if she goes
must take me too. [KALlDASA?]

251
 Section 24

THE WANTON

1. I have used' the wanton' to translate the term asati. Usually the
term is used for an adulteress, but it may be used of an unmarried woman
if she is not chaste. Literally the term means a bad woman, but she is
here painted in flattering colors. Perhaps this is fair return for the
damnation heaped on her head in religious works.
2. Simple praise of adultery is expressed by verses 813, 814, 823, 824.
The pleasure may be momentary and not unmixed with fear but it is
infinitely above the domestic routine of sex (grJuiSramavrata 823).
The poetess Vidya writes with nostalgia of the riverbank scenes of
love unhampered by matrimony (808, 809). A similar verse, but one
which seems scarcely to belong in this Section, is 815.
3. A considerable number of verses describe the abhisaTikii, the woman
going forth to her lover's house. She hastens through the night in fear
of being seen, usually dressed in dark clothes (834, 836, see also 896 in
Section 27), although if going on a moonlit night she may conceal herself
by white clothes and jewelry (832). She does her best to still the
jingling of her anklets and her jeweled girdle (826, 829). A particular
type is the mugdhabhisiirikii, the ingenue, going perhaps to her first
assignation (826, 830, 833). Other verses dealing with abhisarikas are
816, 817, 825, 829, 831, 835. Some of these (e.g., 829, 831) show the
artificiality which comes from seeking variations on a heavily worn
theme.
4. The wanton instead of being described may speak for herself.
There are two types of such verses in what follows, each employing
crooked speech and so demanding a '''lOrd of explanation. In the first
type the true sense of the verse is to be inferred from innuendo or
suggestion (vyanjana). The type can best be seen by reference to an
example. If the reader will turn to 828 he will see that in this verse the
housewife pretends concern over a domestic difficulty. In describing it,
however, she allows the traveler to infer that she is alone in the house,
that her husband is a sorry lover, and that he will not return for some

252
Sec. 24] The liVanton
time. Indeed, with his lameness he can scarcely yet have caught up
with the old woman he is in search of, who has had half a day's start.
Precisely similar are 810 and 812, while 807 and 818 belong to the same
general type (so also all the verses of Section 25).
5. A second type of verse in what follows is founded on a trope called
by some critics vyiijokti and by some a variety of apahnuti. The
requirements of this trope are (1) that the true fact must be something
to be concealed, (2) that it must be partially revealed, and (3) that
either by turning a pun or in some other way it must be denied, cf. Sd.
10.38-39. A convenient example is verse 819, which see. This is more
than the lTopa lTPOOBOKiav to which Thomas equates it, for the true facts
of the case (the pmkrtartha) are that Krishna has made love to the
second woman. This is necessarily implied by the definition of the
trope and by the inclusion of such verses under the section on the asati.
Similar verses are 820 and 821.
6. Straightforward admissions of adultery or invitations thereto are
rare, as one might suspect. Examples are 816 and 822.

807. Good neighbor wife, r beg you

keep your eye upon my house a moment;
the baby's father hates to drink
the tasteless ",rater from the well.
Better I go then, though alone, to the river bank
dark with tamala trees and thick with canes,
which with their sharp and broken stems
may scratch my breast. VIDYA

808. Say, friend, if all is well still with the bowers

that grow upon the Jumna bank,
companions to the dalliance of cowherd girls
and witnesses of Radha's love.
Now that there is no use to cut their fronds
to make them into beds for love,
r fear their greenness will have faded
and they grown old and hard. VIDYA

809. "Vho made your willow trees, oh River Murala,

to overhang your bank with shade so deep
and grow on sand so smooth;
to be abodes of cooling winds,
 The Wanton [Sec. 24.
where the wildfowl calls;
to offer wantons such a chance to taste
uninterrupted love? [VIDYA.?]

810. Quicken your step, oh travel er, and be upon your way.
The woods before you swarm with wild beasts,
with elephant and serpent, boar and wild ox;
the sunlight now is fading and you a youth alone.
I cannot give you room within the house,
for I am a young girl and I live unguarded.

811. Rest a moment, travelers, in the cool shade

beneath the tree before you go.
From here on the road is treeless, waterless,
and rough with stones.

812. "That's where my aged mother sleeps, and there

sleeps daddy, the oldest man you've ever met.
Here sleeps the slave-girl worn out from her chores,
and here sleep I, who must be guilty
to deserve these few days absence of my lord."
By ruse of statements such as these the youthful wife
informed the traveler of her intent. [RUDRATA?]

813. Those who chance to catch a lovely woman in a lonely place

and find her overcome by love,
ever the more charming for her feigned refusal
which yet leads on to secret kisses, as her eyes
dart here and there in fear;
they are the men who know the taste of bliss.

814. No words were spoken, no elaborate art was used;

it began from the first touch of his hand
and ended by the time her skirt was loosed,
often they trembled and cast about their eyes:
their intercourse was swift as Indra's with Ahalyii. YOGESVARA

815. My husband is the same who took my maidenhead

and these the moondrenched nights we knew;
the very breeze is blowing from the Vindhya hills
heavy with scent of newly blossomed jasmine.

254
Sec. 24] The TtVanto n
I too am still the same;
and yet with all my heart I yearn for the reedbeds by the stream
which knew our happy, graceful,
unending bouts of love. [SILABHA'f'fARIKA]

816. " Where are you going, fair maid, on such a night?"
"To where he dwells that is dearer than my life."
"And fear you not, so young, to go alone?"
"But Kama is my escort who has well-feathered shafts."
[AMARU COLLECTION]

[Verse 817 is treated in the Notes.]

818. Mother of the house, if I'm to tend this wretched parrot

make the unruly thing an iron cage and make it strong.
Today I dragged him from a snake-infested briar patch;
see how badly I've been scratched on his account!

819. "Who spoiled the painting on your breast

and the collyrium of your eye?
Who took the lipstick from your lip
and the garland from y our hair?"
"That which, washing off all men's impurity,
of hue is blue as waterlily."
"Who, Krishna? " "No, the water of the Jumna.
It's you that are in love with Krishna."

820. " I love the handsome one, that drawn t o me catches at my hair,
then presses face to face;
fair-necked that clasps my neck,
and bodily enfolds my breasts ;
that finally having hugged m y hips
falls before my feet."
"My child, you've lost all shame." "Not I; it's you
are crooked-minded. What's shameful in a dress?"
[Verse 821 is treated in the Notes.]
822. Ah, traveling lass, who have put off your robe
and sit upon it on the grass beside the pond,
you must be tired, and the way is hard;
there is no village to put up in and the time is late.

255
 The Wanton [Sec. 24
Your thighs appear somewhat to view,
freed of their robe, as you join knees to belly,
twice as improper as if you lay stretched out.
I too am all atone. What should we make of this? VALLA1:JA

823. Where the moon is not"inveighed against

and no sweet words of messenger are heard,
where speech is never choked with tears
and the body grows not thin;
but where one sleeps in one's own house
with her one owns subservient to one's wish;
can this routine of household sex,
this wretched thing, deserve the name of love? LAK$MIDHARA

824. Where hesitating she yet looks upon your face

with eyes that speak of love,
and close embraces you despite the heaving of her breast;
where, although you strive to keep her,
she keeps saying she must go;
it is at secret meetings thus a woman proves
above all other times most lovable. SRi HAR$A[-DEVA]

825. A wife that is free with her tail

delights in the rain and the wind,
in night and deserted streets
and a husband that's out of town. [THE PANCATANTRA]

826. "I must walk in silence to my lover's dwelling

along a muddy road in the darkness of the rainclouds."
With this in mind the inexperienced lass,
sliding her anklets to her knees and ever and again
covering with her hands her eyes,
practises the stumbling path within her house.

827. Bearing the marks of nails only on her loins,

not elsewhere lest they show,
and keeping her eyes, still red from kissing,
half closed as if from sleep,
she motions with her eyebrow to a lover
to say she'll meet him soon.
Great is the harlot's merit, whom every gallant uses,
that she succeeds in her pretense.

256
Sec. 24] The Wanton
828. Early this morning my husband's mother in a needless huff
set off for distant parts, and husband when he heard of this
- that was at noon-set off to fetch her back.
Oh traveler, did you see him on the way?
His lameness and decrepitude would easily mark him out.
Remain a while and tell me.

829. These beauties, silencing their anklets by knotting of their skirts

and binding up the jeweled clasp within the extra fold,
attempt to render silent their amorous expeditions.
Alas to no avail, for they are marked upon their way
by the jingling swarm of bees
that seek the honey of the flowers in their hair.

830. My husband is no easy fool,

the moon is bright, the way is mire
and people love a scandal;
yet it is hard to break a lover's promise.
Driven by such thoughts, a certain beauty
in going to a meeting set for love
starts from her house door many times
only to turn back.
831. The streets of this land of moonstones, being wet
with drops the calor of the rising moon,
and bearing a thick legend writ by lacqu ered feet,
reveal the constantly deflected steps
of wanton damsels who have met with fright
from the sudden taking flight of the calcora birds. [MURARI]

832. Their bodies are anointed with white sandalpaste

and adorned with necklaces of pearl;
their faces are resplendent with ivory earrings
and their dresses are of pure white silk.
As the spreading moonlight whitens all the earth
these fair adventuresses have become invisible,
visiting their lovers' dwellings without fear.
833. Cursing her friends who planned her escapade
and stumbling in the darkness of the way,
the lass is such a perfect innocent
she tries to hug the downpour of the clouds. PURU/?OTTAMA

257
 The Wanton [Sec. 24
834. I had silenced the anklets of my feet
and bound my girdle's jewels that raise so great a noise;
the neighborhood had just begun to sleep
and I had left the house, when-why are you angry, fate-
you drove the moon, fairer than a Kashmiri maiden's breast!
to rise across my path.

835. You have placed the shrill necklace on your breast,

the sweetly singing girdle on your hips
and on your feet the jingling anklets.
If thus you fare forth to your lover
as though with beating drums, my innocent,
why then these frightened glances all about?
DEVAGUPTA [AMARU COLLECTION]

836. Scattering everywhere their glances

which beauty makes to sprout with kohl,
as if to win approving silence
from all the darknesses of night,
and clad in garments dark as was the hue
of smoke that rose from Kama's fire,
the wantons set forth on their paths
with silent ornaments t o meet their loves.
BHATTA SIVASVAMIN

258
 Section 25
THE LADY'S EXPRESSION OF ANGER
AT HER MESSENGER

1. The female messenger (duti, see Intr. 18, par. 8) was entrusted with
the task of mending quarrels and of describing the longing and impatience
of the woman by whom she was sent. But the messenger might prove
treacherous. Profiting by the quarrel, by the absence of the heroine,
and by the lover's characteristic amorousness, she might taste herself
the pleasures heretofore bestowed on her friend or mistress.
2. The verses which follow are spoken by a woman to such a trea~
cherous messenger. The denunciations are never straightforward, but
are by suggestion (vyafijana, see Intr. 24, par. 4), often skillful (887,
847), occasionally indecent (842, 845), but sometimes emotionally
impressive (for example, the conclusion of 848).
837. The slope of your breast has wholly lost its sandalpaste,
your lower lip has lost its rouge;
your eyes are quite without collyrium
while your body runs with drops of moisture.
Destroyer of my hopes!
Messenger, oblivious of the pain you bring a friend!
You went in bathing at the tank
and never saw the wretch. [SUVIBHOK.A?]

838. Oh messenger, what needs with hand

to hide your breast and lip?
We know that soldiers, lips and breasts
show braver for their wounds.
839. Well done, my faithful messenger, well done;
and what could you do more
than thus to suffer for my sake
attack of tooth and nail? [BHIK~U]
[Verses 840, 843 are treated in the Notes.]

259
 The Lady's E xpression of A ngeT [Sec. 25
841. Oh messenger, have naught to do
with him who breaks the scripture.
By law one may eat five five-nailed beast s,
but he ate you, the sixth.

842. He wasn't brought b y peace nor bribes

nor even when you tried his faith.
Well done by you at lea st was this
to cause to fall the rebel's rod.

844. Wounded of lip

and beaten on both sides;
oh messenger, you must have taken p art
in a battle, not an embassy.

845. Oh messenger, by you was done a deed

that no one else could do,
for that which seeks an opening
and thereby would defile what falls before it
was itself brought low.

846. Thin of body, stumbling in your gait,

your eyes with wild pupils;
oh messenger with unclear speech and loosened dress.
have you come down with fever?

847. The other night from our exchange of love

my friend departed wearing by mistake my robe,
and now with joy you've brought it back,
giving in payment even your own skirt.
How can one be so skillful, messenger, as you
in straightening out an error? [ B IJ AKU RA ?]

848. Did you bite the tip of your lip in anger, messenger,
that despite his strongest oath my dear one would not come?
But now, leave off this trembling
that brings on drops of sweat, and be of better cheer.
For who, my friend, can judge the heart
of one whose nature is deceitful?

260
Sec. 25] The Lady's Expression of Anger
849. Your skin is flushed, you sigh,-and why so lost in thought?-
your glances stray, oh quick to tremble,
and you draw your breath in pain.
Did you, receiving him, fall in a fever
like a slut who finds an expert in the lusty act?
Nay, rather this is the distress
that comes from touching what is wicked.

850. "Why such breathing?" "From running fast."

"The bristling cheek?" "From joy at having won him over."
" Your braid is loose." "From falling at his feet."
"And why so wan?" "From so much talking."
"Your face is wet with sweat." "Because the sun is hot."
"The knot has fallen loose upon your dress." "From coming and
from going."
"Oh messenger, what will you say about your lip,
the color of a faded lotus?"
[SILABHA TT ARIKA ?]
[Verse 851 is treated in the Notes.]
852. That he spurned my passion on the ground
that" she who has come to love me is an equal's love,
the wife of another man," I do not hold against him.
But since he has transformed, oh messenger,
your lotus face to paleness, visit not again
even in your dreams the wretch's house.

853. You have governed in my interest, messenger,

your conduct, thinking my affairs were yours.
The result is one is led to say
your body is identical with mine. VITTOKA

261
 Section 26

THE LAM':P

1. These verses, except perhaps 855, describe the lamp of the bed-
chamber, the mtipradipa (856) or sumtadipa (as in Kum. Sam.l.lO). See
also 570, 609. These lamps were without a shade, consisting of a
cotton wick burning in an open oil vessel.
2. The section does not occur in manuscript N. However, it was
known to Sridharadasa, who quoted all but one of its selections, and
it does not present the textual problem found in the sections which
follow it (see lutr. 27, par. 4 ff.)
[Verse 854 is treated in the Notes .]
855. The lamp, too thin to swallow
so much darkness,
slowly throws it back
in the guise of soot.

856. The lamp of love has almost reached nirvana

but, wondering what the two will do
when they come to intercourse, it stretches up its neck
and seeing, by its lampblack shows embarrassment.

857. The lamp, seeing the son-in-law

urgently embracing his new bride
so young and slender and so innocent of love,
trembles frightened in the window.

262
 Section 27
SUNSET

1. The title of the section, aparah1.'ta, means literally afternoon or

evening, but what is here meant is the time of sunset. Every kavya
and most plays contain verses on this and on the subjects of the following
four sections. Accordingly, there is a certain straining for effect in these
verses.
2. There are a few basic conventions for sunset verses. The sun's
rays grow cooler and one can now look directly at its disc (863, 869,
878). The day lotuses (ambhoruha, abja) grow drowsy, preparing for the
sleep of the night (858, 867). The cakraviika birds (a species of shel-
drake) suffer the pangs of love and exchange a final embrace, for they
must be parted till the sun rises again (858, 859, 861). Other birds
after flying about widely for food turn back to their nesting trees (865,
869, 871). Of the few verses which go beyond these conventions one
may mention 868cd (dancing girls dressing up for the evening per-
formance) and 871, 881, where the descriptions of the owl and of the
closing lotus show that the poets observed those objects closely.
3. Beyond this all is fancy and metaphor, sometimes of great beauty
(863, 879), sometimes perhaps too violent for modern taste. The
Western Mountain with the molten minerals of its slopes is being boiled
in pots with perforated lids (862). The Eastern Mountain is taking a
funerary bath for the death of his friend the sun, using the moon as
dipper (873). The stars appearing are the flakes of ash mixed with
sweat that Siva scratches from his body and flings across the sky now
that he rests from his dance (884).
4. Note on the text. Sections 27, 28, 30, and 31 of the anthology
are of a somewhat special nature. As the editors have noted, these
sections are found only in ms. K, not in N. One may note the further
fact that of the 77 verses contained in these sections only one is found in
P, while of the 53 verses found in Sections 27, 28, 31, only four are found
in S. One may therefore infer that the authors of Sand P used a.
manuscript of our anthology which lacked at least Sections 27 and 28

268
 Sunset [Sec. 27
and perhaps lacked Sections 30 and 31: see General Introduction,
footnote 23. The reliance on a single manuscript and the general
absence of testimonia result in a greater number of doubtful readings
in these sections than elsewhere in the anthology.

858. The sun's rays, now many shades of red,

have harvested their color from the lotuses about to go to sleep
and, being nearly quenched, grow cool
by reason of the flooding tears of sheldrake
whose parting time draws near.

859. The sun, whose strength was like a forest fire, grows cool
and yet the sheldrake's heart is burning.
What shall we say? When darkness hides the earth
it's then that owls grow sharp of sight.

860. All things are cloaked now in the shadows

which they had put off for the day;
the earth, being dappled by the shining sea around it,
the jeweled peak of Meru at its center
and these graceful spots of darkness,
charms the eye. [MURARI]

861. The holes of serpents blaze now with the jewels of their hoods;
from sunstones fire has migrated to the sheldrakes' hearts;
and lamps, spearing the darkness, shine in rivalry
of these fragments of the sunset, powdered
in the fierce encounter between day and night. [MURARI]

862. From the ores of the Western Mountain's slope,

boiled by the sun's fierce-burning rays
in pots with perforated lids,
the molten mass, it seems, rose under the weight above
and hence the sky, clothed in a second sunset,
grew suddenly resplendent.

863. When their lord the sun has set,

his countenance now kind to human eyes,
his rays perform the pious act of womankind
by entering the flames.

264
Sec. 27] Sunset
The heavens too, I think, do holy penance
with stars for rosaries and with the darkness,
soft as a bird's throat, for their deerskin.

864. The lion sun, resplendent with wide-flaming mane,

has slain the elephant of day and entered
the cave within the Western Mountain.
Forthwith the bears of darkness drink the sunset blood
and stars shine forth in heaven as the pearls
scattered from the victim's head.

865. The sky wears undulating flights of birds

scattered about like strands of hair disheveled;
without her bright cosmetic of the sunset, pitiful,
her beauty hidden in the dark silk cloak of night,
she no more furnishes our eyes delight
as she mourns her lord the sun.

866. The cows come home, the birds are cooing in the trees,
the goblin women turn to household tasks,
and here is N andin; making sure the evening rites be done,
he rubs the drums in preparation for his master's dance.
SITIKA~THA

867. The darkness wears the guise of rising smoke

and the sky is filled with opening stars for sparks
as the sun descends into the sunset fire.
As his loves, the lotuses, bow down in grief,
lamenting with the cry of struggling bees,
the goddess of the day turns west and joins him in his death.
:MALAYA RAJA

868. Moths begin their fatal flight

into the slender flame;
bees, made blind by perfume,
wait in the closing bud;
the dancing-girls are putting on their paint
as one may guess from here
by the jingling of their bracelets
as they bend their graceful arms. MALAYARAJA

265
.....

Sunset [Sec. 27
869. The sun runs swiftly west,
his light reduced, easy to look at
and red as a China rose.
The birds flit happily,
having gathered their food abroad,
now in the tops of their nesting trees. RAGHU NANDANA

[Verse 870 is treated in the Notes .]

871. Black darkness slowly drinks the sunlight;

the crows, drawn to their nests, have ceased to caw;
the owl, now grown a bit less timid,
peers from his hollow tree, neck sunk within his body
and head transformed into a hand-drum. VIDDUKA

872. The ogress night, her body black with darkness

and teeth growing brighter with the appearance of the stars,
puts forth her tongue, the twilight, in the sky
to eat the sun's flesh, red with his fresh blood.

873. Upon the death of his dear friend the sun,

the Eastern Mountain takes, as it were, a funeral bath
with moon for dipper;
while this thick darkness which has carried off the sun
is beautiful as loosened locks upon his back.

874. The sunset disc of Phoebus makes us doubt

that here we have the neck of the beheaded sky,
or perhaps a bloody skull held by the magician Time,
or, could it be, the broken eggshell of the roe
wherein the yolk shows through.

875. As the sun sets red as an old crane's head

by the western peak
and the vault of the sky is painted with night
as black as crow's harsh throat,
the East, with its darkness fading
as it waits for the rise of the moon,
grows as pale as the cheek of a Sabari girl
long parted from her love. A.CALASI¥HA?

266
Sec. 27] Sunset
876. The sun with its rays enshrouded in the clouds
is like a saffron flower
with a halo of bright yellow p~tals
growing on a single branch of blackwood. CAKRAPAI:'l

877. The merchant Day,

having set for sale before the world
the day's invaluable gem,
now failing as it seems
to find a worthy price,
returns it to his treasury. SRi DHARMAPALA

878. The crimson circle of the sun, its rays less hot,
now tumbles from the sky upon the western hill,
bearing the rolled-up life of the departing day;
and now the world, grown somber from the touch
of a few packages of evening, takes the form
of an old painting rendered dark by smoke. RAJASEKHARA

879. The sunset rose like a wind-raised dust of rubies

ground by the hoofs of his galloping steeds
as the sun drove down the slopes of Meru,
over its glittering rocks.

880. It is as though Time like a tantrik priest

were leading to his sacrifice a buffalo, the sky,
having made a mark of liquid lac
in the form of the sun's disc
upon its head, the Western Mountain.

881. At first the thick slow-moving filaments

drooped at the tip;
the inner petals then, each separately
shrank a bit together;
at last the outer leaves effected
some measure of contraction;
such was the pain there was in closing
of the full-blown lotuses.
[Verse 882 is treated in the Notes.]

267
 Sunset [Sec. 27
883. Laying his head, the sun,
upon his pillow, the western hill ,
and curling up his limbs, the four directions,
the travel er Day
in his bed, the sky,
pulls over him the blanket, darkness. MALAYAVATA

884. Think not that it is decked with stars

but consider rather that the sky
has been by Siva spangled
with flakes of ashes white and wet with sweat,
which, being weary from his dance,
he has scratched from off his body
and flung across the sky. LAK$MIDHARA

268
 Section 28

DARKNESS

1. The subject of this section is not quite so popular as sunset and

moonrise. The verses deal" ith the coming of darkness (887, 893) and
with the final obliteration of all sight (885, 888, 891, 895). Of the
references to lamps (886, 894) and starlight (889) the last two, if far-
fetched, are certainly effective. No time of day can be entirely without
erotic significance. So here, 890 speaks of the youth waiting at the
rendezvous; 896 of the abhisarikiis (see Jntr. 24, par. 3) and 892 of the
night-black hair of beautiful women.
2. For the state of the text, which here relies solely on K, cf. remarks
in Jntr. 27, par. 4.

885. The thick blossoming darkness makes one wonder

if Rahu is painting the world with the broad shadow of his body
of if the sky is falling,
dragged down by the clinging hands of the descending sun;
or if the blessed Hari has sv,rallowed in himself
the earth 'w ith all its seas and mountains.

886. As night paints the world as dark of hue

as the amorous cuckoo's throat
one guesses at the mountains by the steady light
of herbs about their peaks,
at living creatures by their voice,
at trees by the breezes scented with their flowers
and at palaces by the lamplight filtered
through the openings of their lattices. MANOVINODA

887. Swiftly the ruby colored sun

with fallen rays has set
and the sky with two or three lone stars
kindles its evening light.

269
 Darkness [Sec. 28
In every boundary tree
the crowds of birds delight
and heaven is wrapped in darkness
that soon will show its strength.

888. Now that the sky has turned the color of t hick ink
and seems to press upon our eyes,
the horizon seems closed in about us
without interval of east and west.
A man now knows the earth
only by his footfall
and knows himself
but by contact. of his hand.

889. The beams of heaven have been eaten

by the termites of darkness.
Through their holes now falls the sawdust
in guise of the light of stars . MURARI

890. The young man at the rendezvous,

well hidden in thick darkness,
casts his vainly opening eyes
to every path of access.
Then at the slightest rustling of the leaves
in error that his mistress has arrived by stealth
he stretches forth his arm, only to be appalled
by its loud breaking of the silence.

891. Alas, and who can help us?

Whom shall we tell of this?
The world is swallowed up by night
as by a host of devils.
When will the time come that the blessed moon
in rising may raise up the world
from out this sea of darkness
as Hari raised it once from Hades? VIJAYENDRA

892. Driven from their cheeks by t he moonlight of their smiles

and by their pearl necklaces shaken from their breasts,
the blackness of the night, unable to enjoy their limbs,
as if in anger seizes women by the hair. [GAI:lAPATI]

270
Sec. 28] Darkness
893. The lower reaches of the sky are covered
with an undergrowth of darkness like tamala trees;
the earth submerges, outer edges first, as though in turbid water.
Even at commencement the night matures its darkness in the
forest
like a thick smoke spread and twisted by the circling winds of
even. [BHA VABHUTI]

894. The lamplight passes beyond the dark cheek of frieze and cornice
by the pores of window latticework,
like the jagged and dispersed hairs of a red beard
grm'ling from the face of darkness as it reaches manhood in the
night. BHA'P'A GA~APATI

895. The darkness, thick enough to catch in one's hands,

makes the sky come down to one's body,
contracts the horizon to one's footsteps
and makes the air no higher than one's forehead. RAJASEKHARA

896. With peacock feathers at their ears and emerald bracelets,

with necklaces of sapphire and with musk upon their cheeks,
with headdress of blue waterlily and dresses of dark silk,
these fawn-eyed damsels stealing to their lovers
are dressed in friendship with the black of night. RAJA SEKHARA

271

----------
:;:::::;:::;:r

Section 29
THE MOON

1. The moon and sunset are the favorite subjects of temporal descrip-
tion in Sanskrit kiivyas and plays. As one might say of the Vedic
sacrifice, the material paraphernalia is simple but the verbal expression
is complex. One should read from this section a few verses at a time;
the continuous perusal furnishes too rich a diet.
2. The moon rises from the Eastern Mountain (925,930, 938), at first
red or orange, then gradually shifting color to pure white (926, 941, 943).
Frequent reference is made to its dark spot (kalmika, mika) , popularly
seen as a rabbit (sasa) or a deer or antelope (mrga 946, kurmiga 911), and
elaborate metaphors are constructed for the relation of dark spot to white
disc. It is a tamiila tree watered by the moon's rays (928), the musk
painting on a woman's saffron-coated breast (939), the line of black bees
on a golden lotus (940). See also 904, 906,911, 950, 951,954, and in the
following Section 975 and 978. As the moon rises the day lotuses (kamala,
rajiva) close: 898, 910, 922, 936; the waterlilies of the night (kumuda,
kairava, kahliira) open: 897-900, 912,915,920-922, 925, 927, 942, 947.
3. The poets call to their aid various myths and personifications.
The cakora (red partridge, Perdrix rufa) pines for moonbeams on which
alone he can feed (899, 900, 914, 929, 955). His drunkenness from their
ambrosia causes him to peck the beams into irregular patterns of light
and shade which fall through the foliage. The moonstone (candrakiinti,
induma1J,i, etc.), on the other hand, weeps at the touch of the moon's
rays (911, 915, 918). Night and the Quarters of the Heavens are
personified as fair women. The moon disrobes his mistress, Night (920),
with his rays (km-a, constantly used as a pun since it also means hands)
and fondles or frightens the Quarters, which may be pictured as Night's
female companions (900, 920, 935, 944). Other mythological references
are to the moon's position in the headdress of Siva (897, 902, 936), a
position which it shares with the Ganges, the serpents (950), and the
skull (950); and to its origin from the sea of milk which was churned by
the gods and demons (897).

272
Sec. 29J The Moon
4. But the most frequent connection of the moon in these verses is
with love. The moon is love's stage-manager (897), his chaplain (897),
his anointing priest (902), the whetstone for sharpening his arrow (938);
and a host of similar expressions is employed: 900, 903, 907, 908, 909,
930,936.
5. Several of the verses are what one might call necklaces of
metaphors in a style that English has forgotten since the time of Euphues
(897, 902, 930, 936, 955).
6. A series of nine verses (910-918) is by Murari, whose conceits
would have delighted the English metaphysical poets had they known
them. Murari excels at a peculiar combination of logic and fantasy.
He produces compound images a.nd chains of causation which are
perfectly logical in themselves but quite impossible if referred to the
actual world. The originality and vividness of these combinations are
sufficient justification for our anthologist's love of the poet.

897. He who manages love's theater,

chaplain of the Bowman's grove,
chief god of women, famed in the three worlds,
high priest of passion's kingdom;
he who performs our moonlight mass
and sleeps in the peak of Siva's crown:
victorious is that god born of the sea of milk,
the white-rayed lover of the waterlilies. VASUKALPA

898. The moon arises, friend of wa.terlilies

and bringer of sleep to the lotus grove,
fondling as it were the nymphs of the directions
with his rays as fair as saffron. RAJASRi

899. Grieve not, oh earth; the darkness will not last.

Be happy, lily pond; do not despair, cakoras.
The moon now rises, a lamp to all the world,
sole mountain from which flow
all streams of moonlight nectar.

900. Have heaven and earth been filled with camphor,

smeared with sandalpaste or washed in mercury,
or have they been set with crystal gems?

273
;:::::::::::: ...

The Moon [Sec. 29

So must one wonder when the moon,
refresher of the lilies, initiating priest of love,
mirror for the nymphs of the directions
and friend to the cakoras, has attained its full.
[VASUKALPA? HANUMANNATAKA]

[Verse 901 is treated in the Notes.]

902. Close relative of Raghu's kings,

this priest-initiator in the rites of love,
the proven standard of a fair maid's face,
lover of his wives, the stars:-
look at him, darling, here above,
the moon, crest-jewel of CaI.l9-i's lord,
white as a southern girl's fresh-polished teeth. RAJASEKHARA

903. Look, my slender-waisted friend,

at this line of the new moon
as lovely as the archway to Love's city:
wherein the glances meet of parted lovers
longing for each other in far distant lands. RAJASEKHARA

904. This is no sky but rather the salt ocean,

nor this the milky way but rather Rama's bridge.
This is no moon, it is the tightly coiled serpent;
what seems its mark is in truth the sleeping Vi!>1).u.

905. The cat, thinking its rays are milk,

licks them from the dish;
the elephant, seeing them woven through the lattice of the trees,
takes them for lotus stems;
the damsel after love would draw them from her couch
as if they were her dress:
see how the moon in its pride of light
has cozened all the world.
[Verse 906 is treated in the Notes.}

907. The moon is the round pyre

of the burned bowman Love;
its mark to be compared
to the blackened coals.

274
Sec. 29] Th e Moon
Its shining moonlight,
white as fresh-blooming camphor,
are his ashes scattered
by the wind to every land. [RAJ ASEKHARA 1
908. Look where the moon rises, painting as it were
the courtyard of the sky with sandalpaste,
its shape like to a section cut
from the white tusk of Indra's elephant.
With its rays that hang like necklaces of pearls
it forms a playful lamp for maidens
to read the letters written by their loves. [RAJASEKHARA]

909. Yon moon arises stealthily

like a freshl y sprouting lotus bulb
exhibiting its fractions slmvly, one by one;
as if it were afraid to meet the side-long glance.
of wives whose eyes are kindled
by the fire of separation from their loves. [RAJASEKHARA]

910. A few moon rays arise as soft as lotus filaments

and sworn to close the petals of the lotuses;
then, as the eastern hills grow white with light,
this sea of darkness churned by the rising world
forthwith breaks into foam. MURARI

911. Painting the surface of the sky with saffron,

vying with the face of fair-browed women
and opening the watery veins of moonstones,
the lunar orb appears.
It holds in its embrace an antelope
which grazes to intoxication on dark dUTVti grass
presented to it by the nymphs
of Indra's city as they come to welcome it. MURARI

912. The blessed moon has not yet climbed a mile of heaven
and yet its rays, flattering beauty from the pond lilies,
beat back the darkness from the highlands,
damming it up in mountain caves and seizing it
here and there with mortal seizure even in its shadows.
MURARI

275
 The Moon [Sec. 29
913. Are the moon's ray a powder of the clearing nut
by which this sea of darknes ' has been rendered bright
and its mud precipitated to the bottom in the guise of shadows'?
Or could they be a set of carpenters
who by their planing polish the tree of heay en
of which the shadows are the fallen bark ? MURARI

914. The moonlight lies like rice grains amon g sesamum

below wide-spreading trees ,
as if cakoras, trembling with desire,
had with their sharp beaks pecked it full of hol es .

915. In the eastern sky the moon so raises up its rays,

strong enough to burst the panels of the lily buds,
that moonstones multiply in guise of clustered drops of water
that spring up in each blossom. MURARI

916. Since the stars are many in the dark

and few on moonlight nights, we guess
that by the fire of sunset they are smelted
in the maId of heaven to fill the moon. MURARI

917. See how the moon delineates the four directions,

destroying darkness all about by splashing waves of light;
whom men live but to see appearing from the Eastern Hill,
from the seed of the world's sight the rising sprout. MUR.~RI

918. The moonlight, being given the ,vater of hospitality

by exudation of the moonstones in the Eastern Mountain's crown
and offered guestly grain in form of stars
upon the very moon for dish,
spreads from the moon's disc in full force about,
leaving the empty mark within and breaking
the nightly darkness as it first begins. MURARI

919. The East has borne the Moon.

Love dances and the nymphs of the directions laugh,
while the wind scatters holiday powder,
the pollen of waterlilies, through heaven's court. DHARMAKIRTI

276
Sec. 29] The Moon
920. As the, moon embraces night, her robe descends .
beneath his fingers which are soft as waterlilies
and delightful from their cooling touch.
At her intense delight the nymphs of the directions,
flowing with love for their friend of long acquaintance,
glance at one another with bright smiles. PAJ:JINI

921. The moon blushes in anger that false pride

should hope even yet to dwell
within the swelling fortress of fair women's breasts,
and as he rises stretches forth his hand
to draw his sword, the darkling line of bees,
that issues from the cups of waterlilies.
VASUKALPA [HANUMANNATAKA]

922. The moon, disguised in the red garb

of the sun who just had set,
stealthily stretched forth his arm
to embrace the sun's dear lotus.
When the lotus recognized him by his chill
and turned her face away,
the moon's old love, the lily, laughed
and turned him pale with shame.
RAJASEKIIARA [IIANUMANNATAKA]

923. The moon's strong rays, white as young lotus stalks,

have suddenly advanced to swallow up the darkness;
so much that night is turned to day, the owls are in a fright
and sleepy lotuses bestir themse]ves to open. YOGESVARA?

924. The cool-rayed moon is swollen and pressed flat

like the breast of a pregnant Hunnish woman pressed against her
lover.
With its rays pale yellow as full-grown lotus stems
it opens to our sight the whole extent of earth.
[APARAJITARAK~ITA]

925. Where has the darkness run that was death to the direction s;
where is now the seal of the waterlily bud
and where the well known firmness of the ocean?
Now that the moon sits within the circle of the eastern peaks,
the world is turned awry. APARAJITA[RAK~ITA]

lO+s.c.P. 277
 The Moon [Sec. 29
916. As night sets in, the moon appears
first red of hue, then golden;
then paler yet, the color of a damsel's cheek
pining for her love;
but then at last, with power to drive away the dark
it turns as gleaming white as a juicy lotus bulb.
[RAJASEKHARA? CHITTAPA?]

917. ~ Themoon pours milk down in a thousand steady streams."

"The waterlilies raise their thirsty necks to drink the milk of
moonlight."
"The earth, worn out by daytime labor, sinks within a sea of
milk."
"From the splash it makes, the cast-up bubbles form the stars."
"BY FOUR AUTHORS."

928. The moon's disc seems to be

a round trench of crystal in the garden of the sky
for a single young tamiila tree, its mark,
to be irrigated by the water of its rays. [RAJASEKHARA]

929. The moon, which here has multiplied its light,

checkered with spots of darkness by the beaks
of cakora birds unsteady with intoxication,
constructs a graceful foliage of finger painting
to serve for strewing on the couches
of damsels weary from their bouts of love.

930. A red forehead-mark upon the lady Night, ~

a lion to defeat the elephants of darkness,
a silver bowl to anoint the flowered bowman who rules the earth:
the moon here rises, crest-jewel of the Eastern Hill,
new mirror for the nymphs of the directions,
more beautiful than a wild goose swimming
upon the lake of heaven.

931. The moon upon the deep night sky

shines like a white wild goose,
head tucked beneath his wing
on the black waters of the Jumna.

278
Sec. 29] The Moon
932. The shining moon is a lotus bulb
rooted up at the edge of heaven's lake
by the mighty boar of darkness.
What we suppose its mark
is the clinging spot of mud;
its ray is the white stem. [PARAMESVARA ]

933. Though the body of the moon is white as parrot plum

its inside is marked with black.
It might be a whetstone for sharpening Love's arrow
grown blunt from breaking of so many hearts.

934. When his friend the moon has risen

the whitecapped ocean stretches to his full extent,
and as it were desirous to retrieve the gems
long since stolen by the gods,
he breaks his promise and in guise of moonlight
invades the palaces of heaven. GA1::lAPATI

935. The ocean grinds out with its waves

a sandalpaste of foam,
taking which, the moon anoints
with his hands the nymph of space.

936. Heaven's treasury of glory, Love's confidential friend,

the denizen of Siva's crown, consumer of the darkness of the earth,
the elixir of the sea of milk and sleeping-potion of the lotus grove,
the god, the millionaire in coin of beauty,
the lover of Da~yat;1i, has conquered all the world.
[VASUKALPA]

937. Yon lord of the full-moon night so strongly shines

that he seems to drown the earth in a mist of camphor,
seems to anoint it with a plaster of fresh ambrosial foam,
seems to cast it into a rock chamber
made of a single crystal. PARAMESVARA

938. If yonder moon is the drunken Plowman

with his flushed face stumbling up the Eastern Hill,
then this darkness blacker than young ta:miila trees,
being his dress, will loosen and fall away.
YOGESVAJtA

279
 The Moon [Sec. 29
. .
939. The moon that spreads about i ts ra y a · white a Jasmllle
is lovely as the breast of a Kashmiri girl
and its mark, as dark as waterlily,
is like the painting of her breast with musk. SARVA

940. Jut as this glorious source of nectar

suggests to the mind a golden lotus
in the sea that is bounded by the western ridge,
so does its mark compare with a line of bee ,
hovering thirsty for the liquid pollen
of its exuded loveliness.

941. First red as a red lotus,

then yellow as a plate of gold ,
the moon now, having grown from childhood,
shines like a crystal gem. BHAGIR.~ THA

942. The moonlight spreads across the sky

and mUltiplies itself in waterlilies;
it lies reflected in the cheeks of women
as white as ripened cane;
it blossoms in the water
and laughs on whitewashed houses;
it dances upon banners
as they fiutter on their flagstaffs in the wind.

943. At first as red as fresh die from the China rose,

then honey-red
like a Greek girl's cheek that is flushed with wine;
later, the color of a new gold mirror ;
and now, the moon's disc
shines in heaven like a tagm·a flower.

944. Flushed with love, the moon puts forth his hand
upon the cloud breasts of the night whose dark robe he has
opened ;
on seeing which the nymphs of the directions,
smiling with amusement and embarrassment, withdraw.

280
Sec. 29] The Moon
945. His body reddened by propitious rouge,
the husband of the stars glides smoothly
till growing rich he covers all the sky
with rays as white as a canopy of lotus stems.

946. The moon with bright mane flying

in the forest of the night
is like a lion who has issued from the Eastern Mount,
holding in his mouth a deer. PA~INI

947. The East has borne the Moon:

the ocean dances with its wave-arms raised,
the god of love rejoices, and the bees
are freed from their waterlily prison. ABHINANDA

948. The stars shine like pearls

from the head of the elephant of night
slain by the ray-claws
of the lion moon. [ABHINANDA]

949. The clear moonlight breaks forth in laughter

on the breasts of fair women
and on the cheeks of fawn-eyed damsels;
it shimmers playfully
on their bright pearl necklaces.

950. The moon's disc with its mark

shines like the skull of Siva's crown,
its center stained by smoke from the poison-fire
breathed by the snake that binds his hair. DAK~A

951. Its mark, like a blue pigeon,

sits upon the moon, which seems to be
a turret of the palace of the sky,
whitewashed with moonlight.

952. As beautiful as inner petals of fresh-blown ketaka,

this moonlight which was fit already by its calor
for being strung on necklaces of pearls
can be measured by the pail now that its strength is full,
can be grasped within the fingers,
can be drunk by lilies through their root tips. RAJASEKHARA

281
 The Moon [Sec. 29
953. The moon's rays, which at first
were fine as hairs upon an awn of barley,
white as the outer leaf-spike of the ketaka
and lovely as a slender waterlily root,
soon grew as full as streams of water
or strings of pearls, and now
are thick as crystal rods. RAJASEKHARA

[Verse 954 is treated in the Notes.]

955. A palace for the sports of damsels fair as moonlight,
a lake whose waves are nectar,
a lump of butter churned from the sea of milk,
a waterstone for cooling the earth's fever,
forehead ornament of night, sole recourse of those in love:
the moon climbs into heaven, a rain of camphor,
giving its light to the suppliant cakoras.

956. Suppose the moon to be a spider

who spreads his web of rays between the trees
of the Eastern and the Western Mount
and that he eats the darkness like so many gnats
flying in the branches of the twilight
in the star-budded garden of the sky. YASUKA L PA

282
 Section 30
DAWN

1. The section on dawn describes moonset (957, 959,964,969,971-975,

978) and sunrise (967, 968, 972, 973, 976, 979), the one following directly
on the other so that one must suppose these verses (except 977) to refer
to full-moon night". Compare the remarks of Abhinavagupta ad BhN8.
19.129: "In actual life the full moon does not rise every day, but in
poetic practice, since such special times are within the range of possibility
and since they further the sentiments, it is they which are chosen."
2. ~ ith the coming of the dawn the da) -lotus opens (958,960-962,968,
979), releasing the bees which it has imprisoned during the night (958,
960, 962, 967, and d. 867c, 868b). The cako'ra birds fall asleep sated
with moonlight (964) and the sheldrake (cakmviikas) rejoice (965, 979)
as the angry sun chases away the darkness which had separated them
from their mates. As in the foregoing section, the anthologist draws
heavily on the artificial but ingenious poet Murari (958-962). Two
verses by Pala poets are strikingly beautiful: 970, which S ascribes to
Yogesvara, where night is pictured as a suttee on the death of her
husband, the moon, and 980, by 1)imboka, where ragged pilgrims wake
the townsfolk with their songs of Radha and Krishna.

957. These stars which circulate in heaven's center may be reckoned

as handfuls of shells cast quickly on the board
by gamblers as their anger rises;
and the moon, his brilliance now decreasing,
takes on the color of a fine round piece of chalk
placed by its side. KA VI1llALLA

958. As the moon grows old the sky is overspread with darkness
as if with smoke of sunstones about to burst in flame;
and while the Lord of Rays has not yet shown his light,
he draws the lotus-prisoned bees as a magnet draws its filings.
MURARI

283
 Dawn [Sec. 30
959. The stars grow paler than the color of ripe onion ;
the sun touches the east with a few blades of light.
The moon carries its disc, pale as a spider web, from heaven
and, fading in the twilight, kisses the \Vestern Hill. MU RARI

960. Two or three rays of the empyrean 's gem

rise gracefully to heaven ,
outer petals of a lotus
for the Lady East to twist about her ear;
while this lotus here whose bud had hardly parted
now opens wide its blossom
under the rushing crowd of bees
that from its calyx joyfull y pour forth. MU RARI

961. The ten hundred petals of the lotus, which a t evening

it had folded one by one as if to count
the sun's departing rays,
it once again now opens, curious to enumerate
the same thousand as they rise. MURARI

962. The lotus blossoms play the part of oysters,

who having drunk their fill of darkness in the even,
on opening give up, in guise of the emergent bees,
pearls that bear the blackness of their source. MU RARI

963. Only as many stars remain as one may count

and pale as tagara flowers;
the flame tips of the lamps about to go to sleep
are gold as spikes of turmeric.
The moon at early dawn has grown to be
like frozen mercury,
and the eastern sky takes on the hue
of well-aged rum. [RAJASEKHARA]

964. Two or three stars are left, the color of old pearls;
the cakoras sleep, inert of limb from drinking of the moonlight.
The moon, pale as an empty honey comb, goes to the Western
Hill,
while the east receives the color of a kitten's eyes.
[RAJASEKHARA]

284
Sec. 30] Dawn
965. The darkness weakens but our eyes still see not clearly;
ladies have donned their dresses but have nc>t left their lords;
on both sides of the river the sheldrake murmur lovingly
but still the) ft ) not with a rush to meet each other.
[VASUKALPA]

966. Shine on, stars; keep working, thieves; spread thickly, night;
this is the time for such as y ou:
before the sun, striking up dust from the Eastern Hill,
mounts in a sky transformed to trumpet-flowers by layers of light.

967. "The sun, red-faced "ith anger,

casts out the darkness all about,
and with his rays drav;rs forth the bees,
they being like the night in calor, from the lotuses.
Alas, we're lost, for also we are black."
So cry the erm, s at daybreak, cawing in their fear.

968. Not yet so strong but that eyes like lotuses may honor him,
his disc pale orange-pink like a ball of saffron,
the god drives off the darkness in the eastern sky
and rises as the seed-pod of the day. VI~~UHARI

969. The deer-marked moon,

in whom the deer appears to be
Love's topmost lock of hair
as he dives into a lake of sandalpaste,
sets by the," estern Hill. DAKIjIA

970. As the moon, her husband, passes from the sky by rule of fate,
night weeps with the cry of birds, loosening her thick hair, the
darkness,
and shedding tears, the stars, as heavy as thick pearls:
see where she offers up her body in the fire of dawn
that brightens in the east. [YOGESVARA]

[Verse 971 is treated in the Notes.]

972. Slowly the stars have gone out in the sky;
the moon with weakened light goes to the Western Hill.
Then by the vermeil of the sun which soon will rise
the east unfolds as red as madder. LAK!;JMIDHARA
 Dawn [Sec. 30
973. The stars with slowly fading light stand like drops of mist;
the sun's rays meet together at the foundation of the east;
the moon, pale and beautiful as ripened parrot-plum,
with its circle of light now shrunk, sinks to the western sea.
SARVA

974. The moon like a ball of silver sets in the western sea;
the stars have turned to the color of waterdrops;
the lampflames are as pale as yellow amaranth,
while the eastern sky shines red as cakoras' eyes RAJA SEKHARA

975. The elephant of day awakens, scattering the stars,

and in his pride would leave at last the couch of heaven;
here falls the moon, its rope of rays worn out,
like the loosened conchshell, stained with a spot of ichor, from his
ear. BHATTA SIVASVAMJ

976. As the sun's ball of light, as if it were Agastya, drinks the darkness,
which had inundated the horizons, from the sea which is the earth,
the mountain ranges which had stood submerged,
like alligators, tortoises, leviathans,
come forth to view. BHATTA SIVASVAIIH

977. These sheldrake gathering at the river's edge in sorrow for their
mates
tread on mud as if it were the darkness
while the foam clings to their legs like hosts of stars.
With their rounded beaks skillful at the snapping up of lotus
fibers
they seem by error to have caught the crescent moon,
the author of their loneliness. BHAITA SIVASVAMI

978. Retracting his feet and sinking,

marked with a black spot of mud,
the moon at the sky-ocean's western edge
is like the king of tortoises upon his back. SATANANDA

979. The sun rises, breaking the seal of lotuses,

a coral-tree flower in the woods of the Eastern Hill;
friend to the sheldrake and its mate who have pined in separation,
but irate at the darkness which he drives away,
red as the cheek of an angry ape. YOGESVARA

286
Sec. 30] Dawn
980. The pilgrims in the street have w.a rded off' the painful cold
with their broad quilts e'\"]1 of a hundred rags;
and nO'N '-"'ith voice clear and sweet
they break tbe morning slumber of the city folk
with songs of the secr et love of M.adhava and Radha. l;>IMBOKA

287
 Section 31

MIDDAY

1. Most of the verses of this section are svabhavokti verses, that

is, relatively simple and realistic miniatures; cf. Section 35. The
heat is overpowering (991), giving rise even to mirages (992). Animals
take to the shade (981), elephants cool themselves and others too
by squirting water (984), children stop playing in the streets (985)
and even the birds are silent except the jungle fowl and the dove
(987). Some of the sketches are charming, as of the monkey sleeping
with his head in his lap (981) and the graceful dancing of the fish
(994).
2. More elaborate are the various ways by which we are told of the
shortening shadows (982-984, 988). The erotic mood is suggested by
young women bathing (988, 990).
3. The text of this section rests on K alone; see remarks, Intr. 27,
par. 4 ff. Toward the end of the section three of the verses are corrupt
and their meaning in part obscure {991-993}.

981. At noon deer crowd together in the shade of trees;

insects lie hidden in the dried-out pond.
In the woods the monkey sleeps,
caressed by moist breezes from the lake,
head bowed to lap where it rests in his loosely opened hands.
MALAYARAJA

982. Now that it is midday even the wind is motionless

as if it feared the sun whose hot disc burns the brow;
and the shadows, which early had gone far across the ground,
now, as if they could not bear the heat
of rolling in the scorching dust, turn back. MALAYAR.~JA

[Verse 983 is treated in the Notes.]

288
Sec. 31] J.lidday
984. As the sun pours forth his rays in all directions
man 's dwarfed shado" like a turtle draws within itself;
a nd now the deer take to the marshes, cool and sweet
from the atomies of water sprayed by the bull elephant.
MURARI

985. Fie on the world's expanse, deserted now at noon ,

where the lapwing cries beside the desert
which blazes 'with the fire of sunstones flashing forth
in response to the fierce light of heavtm's gem;
cruelly brilliant with the sun's rays swimming over earthly heat,
it puts our eyes to death . MURARI

986. It drives the crowd of children, lately so eager at their games,

from playing in the streets ;
it sends the flock of royal geese
to the shade of tall-stemmed lotuses;
it brings to students, already tired of eye,
a lassitude of body:-
may midday acting thus yet bring Your Majesty
accustomed fortune in all of your affairs. PURU~OTTAMADEVA

987. The lapwing flies to cover in the fresh-leaved cassia;

the jays scarce touch the pods of river-bush, then hasten to the
stream.
The moorhen settles in a hollow tree trunk;
while the jungle-fowl, beneath,
answer the cooing of the nesting doves. [BHAVABHUTI]

988. Their extension now prevented by the sun's fierce-burning rays,

the shadows curl about the base of trees,
and the lake bears a false parasol of circling birds
scared up by the diving of the demon monarch's wives.
DHARM.'i.SOKA

989. At noon the elephant in want of lotus leaf

raises his ear against the sun;
the peacock leaves his taste for grass,
tucking his head within his tail;

289
 Midday [Sec. 31
the boar licks thirstily at his tusk
as if it were a lotus stem
and the buffalo seeks the deep mud,
black as his own skin. [RAB,SEKHARA]

990. That water of the royal garden pool,

which by the heavy loins of fawn-eyed beauties
upon their entering was forced against the bank,
at once rebounds and with loud gurgling sinks
within the deep paths of their navels. R.~H,SEKHARA

991. The thick dust lying in the path and heated

by the cloudless rays of a cruel sun
[?tricks one into thoughts of chaff fire].
The traveler hastens forward,
thinking he sees the shade of clouds,
to the scorched plain of durva grass
and comes to grief within the waves of a mirage
mistaken for a lake well-filled with water.

992. The cuckoos have gone like darkness to the tree holes;
wayfarers drink like elephants the hot and brackish water from the
earth.
The water of the pond.

[Verse 993 is treated in the Notes.]

994. At midday in the limpid pool with its wreath of moss
a fish, too fat to fear the kingfisher,
scatters his tailfin in many a graceful dance.
His belly being full of liquid,
he spits the drops of water from his mouth
as soon as he has drunk, and then submerges.

290
 Section 32
FAME

1. From a modern point of vie\v we may be thankful that Vidyakara

limited his selections of panegyric largely to this Section and to Sections
41 and 46, for the subject is not one to please modern taste. And yet,
praise of kings ·was an important part of the Sanskrit poet's repertory.
Among the Tamils it was considered one of the two great divisions of
poetry, being equaled in importance only by the poetry of love (see
Basham, p. 463). And we may be sure that the ability to write a good
panegyric was the surest means of acquiring wealth through learning.
Doubtless there were poets in India who "{Tote for the sheer love of
writing; but we should not forget the materialists. Visvanatha in the
introduction to his Mirror of Literature puts wealth as the object most
obviously sought by the composition of Sanskrit verse (Sd. ad 1.2
'arthapraptii ca pratyak~asiddha '). Panegyrics seem to have increased
steadily in popularity in late Classical Sanskrit. The Saduktikarruimrta,
for example, compiled scarcely a century after the present collection,
devotes roughly a fifth of its whole contents to royal flattery, which it
distributes under no less than 54 headings.
2. In some respects Sanskrit panegyrics are less distasteful than those
of other literatures. As may be seen from our anthology, they were so
ritualized in India that they had become impersonal. Each morning
the king would be a wakened by the panegyric of his bards. The
religious-magical purpose of that ritual may be seen from mythology.
In the myths we find that whenever Indra, the prototype of the king,
stands in need of strength the gods and sages gather to praise him.
By the verses which magnify the fame of the god he grows in material
might and stature (cf. RV. 1.85.2; 7.19.10; 7.33.4; Mbh. 1.25.5; Ram.
N. W. 4.58.1). To say a thing in ritual is to bring it to pass. The
ritual praise of kings became as necessary as the ritual deprecation of
sickness. By being ritualized Sanskrit panegyric loses much of the
hypocrisy and by its impersonality it lacks much of the shamefulness of
personal flattery.

291
 Fame [Sec. 32
3. The verses of the present Section are quite impersonal. The
recipient is named only in 1003 (King Bhoja), 1005 (King Kuntalamalla) ,
and 1016 (King Kamboja), to which we may perhaps add 1000, which
names at least the capital city (Ujjain) of the king who is addressed.
4. Most of the verses speak of the whiteness, se. the brilliance and
purity, of the king's fame. It is likened to the moon (997, 1002, 1007,
1009), to the ocean of milk (1001, 1002, 1010, 1015), to the white serpent
Sesa (1002, 1011, 1013) and sporadically to sandalwood, white jasmine,
Siva's laugh, a pearl, a pearl necklace, and a host of other items.
Another favorite subject for the poets is the great distance to which the
king's fame has traveled (996, 1005, 1006, 1008, 1009, 1012).
5. A few of the verses (996, 1008, 1018 ; also 1446 in Section 42)
belong to the type called vyiijastuti (trick praise). The initial impression
given by such verses is one of blame. The final words or a brief reflection
on what has been said then show the true import to be one of praise.

995. Hail, Majesty, we brahmins making pilgrimage

to various sacred bathing spots
desire ablution at the confluence
of the Jumna and the Ganges.
We beg you, then, whose vow has been
to render bright the seven worlds,
to lift your fame that we may see
which stream is black and which is white. [RATHANGA]

996. What good is done by telling on other wives?

And yet, being a chatterbox by nature
and a southerner as well,
I can't keep still.
She is in everybody's house,
in the market, at the crossroads and at drinking bouts;
she runs about like a drunkard does your mistress.
Oho, but her name
is Fame. VIDY A?

997. Whiter than the moon or sandalpaste or opening jasmine,

than the sea of milk, the serpent Sesa or Siva's smile;
brighter than a white earring on a girl of the Carnatic,
your fame, oh you whose enemies
are conquered by your strength of arm, runs through the world.
v ARTlKAKARA

292
Sec. 32] Farne
998. Your fame is a royal hartu;a
whose cage is the three worlds,
and these seven seas
are but his drinking bowl. BIMBOKA

999. That the salt and turbid water of the sea

should by the clouds be rendered sweet and pure
and placed with care within an oyster's mouth
so that this pearl in preciousness and beauty
could come to rival your resplendent fame;-
how wonderful is matter's evolution! ACALASI~1 HA

1000. Seen by those present at your battles,

related by a host of bards,
placed in memory by all good men
and rendered into verse by master poets ;
proclaimed on monuments by craftsmen
and sung within the council of the gods,
your fame, oh husband of Ujjain,
is given by your wife the whiteness of the moon.
[ RAJASEKHARA]

1001. The water of the ocean has taken the appearance

of foaming billows from the sea of milk;
the gods cannot distinguish
black Vindhya from the Snowy Mount.
The chestnut steeds of Phoebus are turned white
and Luna's orb has lost its mark.
All this, oh monarch, has been brought to pass
by your bright fame. ABHINANDA

1002. The world is beautified, oh king, by your renown,

clean as the serpent Se$a newly sloughed,
white as the liquid churned by the mountain churning stick
from the sea of milk,
bright as the digits dropped from the waning moon. [MURARI]

1003. "ithin her husband's arms upon the sea of milk

the goddess La~mi sends her blessings to King Bhoja,
whose glory unimpaired fills all the earth,

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 Fame [Sec. 32
praying that he may shine for aeons on her bliss,
by the crying of whose fame her husband, robbed of sleep,
fulfills the promise of her youth.

1004. Your fame, oh monarch,

chilled by its plunging in the seven seas,
has risen up for warmth
to the circle of the sun.

1005. "Who are you?" "The Fame of Kuntalamalla."

"And where your dwelling place?" "Nowhere."
"Where, then, your friends,
the ladies Speech and Wealth and Beauty?"
"Speech has gone to Brahma's mouth and Wealth to Vi!?Q.u 's
arms;
Beauty attends the moon's full orb, and only I
am left without a place of rest."
[CITTAPA J
1006. Once upon a time a pearl was torn
from the brow of your enemy's elephant,
which, being planted on the battlefield, became the seed
whence grew this tree, your fame, throughout the universe.
The world-snake is its root, Hima.laya its trunk,
the sea of milk its irrigation trench;
the moonlight forms its branches, the hosts of stars its blossoms ,
and the moon its fruit. [A1tiARASI~mA ?]

1007. As now the nymphs of heaven sing aloud

your moon bright fame,
the moon itself will soon attain
to spotlessness;
for how long can its deer-mark live,
its appetite for grazing lost
in its delight of listening to that song? [AMARASI~'lHA ]

1008. Spare us, lord, oh spare us when we say

that your sword blade wife, dark as a waterlily,
has lain upon your foeman's breast;
that thence she has conceived a handsome daughter, Fame,
who, harlot too, now runs about the world
to pleasure every man. AMARASI~mA

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Sec. 32J Fame
1009. Your fame, which covers heaven, spreads across the earth,
and dispelIs the darkness from the nether world,
is white as a pearl necklace, or as the moon,
as Siva's laugh, GaJ).esa's trunk, or R ari's conch.

1010. Oh king, whenas your fame spreads o'er the world,

Laksmi, ambrosia, the horse Uccail).sravas,
the moon, the elephant of Indra and the jewel Kaustubha
all think that they are back within the sea of milk.
There is, however, tlus one speck of blame:
that Sri finds not black Krishna
nor the mountain goddess blue-necked Siva
nor R evati her dark-clothed Balaram. [KAVIRAJA?]

1011. All elephants become Airavatas,

all serpents grow as white as Sesa,
birds turn to geese, the" aterlilies to white lotuses,
and every mountain becomes Kailasa by your fame.
[MAHASAKTI)

1012. That Raffia in times past, escorted by his troops,

did by a bridge of stones traverse the ocean
need not excite our wonder,
for now, oh king, your mistress, Fame,
with none to aid and with no bridge
has crossed the seven seas. [CHITTAPA]

1013. It is no wonder that your arm,

with its crescent fang of scimitar,
like to the serpent king upholds the world;
for from that snake the slough, your fame,
white as fresh strands of lotus root,
embraces all the circle of the earth. SA¥GHASRi

1014. Your fame, bright as ointment of sandalwood

and worthy to defeat the luster
of groves of blossoming lotuses,
by its many incarnations burgeoning from within
has broken the horizons' bracelet. BUDDHAKARAGUPTA

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 Fame [Sec. 32
1015. Dispel our musion, monarch,
tell where and how your sword
has learned the marvel of this juggler's trick:
that the more it drinks your foemen' s blood
red as saffron dye,
the more it drips with glory
white as the sea of milk. DAKS A

1016. You, Kamboja, shine upon this earth,

your father shines in heav en
and his father is an ornament that shines
even in Brahmii's world.
Your blossoming fame
incarnate in these three forms
exhibits the beauty ot' a necklac e
strung with three sets of gems. VASU KA L PA

[Verse 1017 is treated in the Notes.]

1018. The mark upon the moon and that on Siva's throat,
Krishna, and the cheeks of the heavenly elephants
breaking open with their inky ichor:
all these appear still tinged with darkness.
Tell us, oh ornament of all the earth,
what then is whitened by your fame?

296
 Section 33

ALLEGORICAL EPIGRAMS (ANYAPADESA)

1. The characteristic of these verses is that the person and situation

expressly described serve to suggest some other person and situation
which are not mentioned but to which the moral or point of the verse
applies. R eference to a pair of examples from the translations which
follow will clarify the nature of the type. Verse 1019 though addressed
to a pearl suggests a poet or man of talent diffident of a courtier's life.
Verse n03 b) addressing a mango tree suggests a good wife and points
a moral. Perhaps as a young woman she attracted for a while the
attention of a resplendent Don Juan, the ' bee' of the verse. But it is
better now that she take pleasure in her children and household duties,
'feeding the crows and parrots, ' than grieve over the loss of what was
transient and unsubstantial.
2. The allegorical epigram is bot h ancient and popular in Indian
literature. It has been known by a great variety of names. In the
classical theater, where it was known as one of the pathiikasthiinas, it
formed a favorite device for passing a message from one character to
another in a way unintelligible to a third. It appears in ApabhraIpsa
love poetry as the dhruva., a song where the emotions of the lover are
imputed to objects of nature. The oldest rhetoricians speak of
aprastutaprasarr~8a, ' praise of what is unexpressed ' and vyajastuti,
'artful praise.' As these terms suggest, the allegorical epigram was
often used for flattery: a king is pra.ised as the lion, victorious over
elephants, or as the sea, which despite its power never oversteps its
proper bounds. The epigram, it was soon seen, could also express
blame: the ocean contains precious jewels, but it makes a great fuss
and roar over them. So the term 'artful praise' was allowed to be
taken as 'false praise' and the term aprastutapraSa~a lost its literal
meaning. But even praise and blame by no means exhaust the
allegorical epigram's possibilities. It may point all sorts of morals.
Hence the term used by our anthologist anyiipadesa, literally ' allegorical

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 Allegorical Epigrams (Anyapadesa) [Sec. 33
expression,' and its synonyms apadeia (used by S) and anyolcti (used
by Any.). For a historical study of the figure and its definitions see
J. Nobel, Beitriige ZUT iilteTen Geschichte des Ala'f!l-kiirasiistra, Berlin, 1911,
pp. 44-58, and, more recently, J. T. Parikh and R. G. Asti in their
introduction to Anyoktistabaka.
3. In the pointing of morals the allegorical epigram falls somewhere
between the fable and the proverb. It is shorter than the fable, but
many characters of fable occur in its verses: the boastful lion, the
malicious ape, the cuckoo brought up with crows. Verses such as 1037
and 1051, if not fables in themselves, could easily serve as those moralistic
verses summing up the tale, of which Indian fabulists are so fond. On
the other hand, the epigram like the proverb deals with a wider variety
of subjects than animals. Trees, clouds, ocean, sun and moon also
serve its purpose. 'Vhen the expression is highly condensed we have,
in effect, a proverb. Thus, 1066: the days ever come and go but we
know not what they will bring.
4. Frequently in these epigrams the same moral is drawn from
different objects. Thus, the same moral is taught by the sandalwood
tree that harbors a serpent (1078) and by the ocean that promises
wealth from afar but opposes waves and sea monsters to him who
approaches close (1049). Greatness brought low by greater greatness
is exemplified by the lion that defeats the elephant but is defeated by
the mythical sarabha (1027), as also by the sea that was swallowed by
the sage Agastya (1025, 1058, etc.). Again, it is to be noted that one
and the same object may furnish quite contrary lessons. As already
remarked, the ocean may be praised (1048, 1060) or blamed (1122).
Even within the compass of a single verse the moral may be ambiguous.
Thus, from 1053 one reader may find that virtue is its own reward:
another, that a man should avoid the show of virtue lest he come to
grief.
5. Finally, the allegorical epigram may serve as a lament or complaint.
Poor emerald, dug from your happy mine and now sold in a land where
no one knows your worth! (1023). In similar vein are 1083, 1101, and
others. This is the sort of figure that Chinese authors elaborated into
long poems like the Li Sao. The Sanskrit examples are briefer and less
lachrimose.
6. The allegorical epigram is still popular in India. What it has
meant to the poets who have used it can perhaps best be seen from a
very recent example. A South Indian lawyer, publishing a collection
of his Sanskrit epigrams in A.D. 1953, speaks of the failures and dis-

298
Sec. 33J Allego'rical Epigrams (Anyapadda)
appointments he has tasted in life and of the happy haven afforded him
by his poetical works in this ancient form. He goes on to say, "It
is ... immaterial to inquire in the case of Anyapadesas into the actual
contacts in life which inspired each verse ... for in Anyapadesas
observations having particular references to experiences in the poet's
life are purposely hidden in parallels drawn from nature or well-known
legendary lore with a viev;r to universalizing them." (Y. Mahalinga
Sastri, Vyajoktiratnavali, p. vi.) The allegorical epigram is a method of
rising above specific criticism and personal grief by seeing the world in
the large. It serves that great object of Sanskrit poetry, the trans-
cendence of the specific to the universal.
7. I furnish below an alphabetical catalogue of the objects which
figure in the epigrams of this section, together with explanations, where
it seemed they might be useful, of what those objects suggest. I
recommend that the reader use the catalogue only for reference and for
the explanation of such objects as are new to him, e.g., Agastya, the
ciitaka bird, and among animals the sarabha. For the rest, he will
derive more enjoyment by receiving the suggestion, if he can, directly
from the verse than by reading its explanation in a catalogue.
S. Agastya. The sage Agastya, who was born miraculously from a
water jar (cf. 1341, 1346), is said in ancient times to have drunk up the
ocean in order to help the gods against a race of demons who had hidden
themselves there. The myth is used usually to exemplify greatness
overcome by greater greatness (cf. also under animals, below, the
sarahha): 1025, 1058, 1123; but in 1109 the myth leads to an expression
of pity. In 1] 23 reference is made to another myth concerning Agastya,
that wishing once to travel south, he demanded that the Vindhya
mountain lower its head to allow him passage. This is said to be the
reason that the Vindhya is lower than the Himalaya. After his
death Agastya was immortalized as the star Canopus (0: Argonis).
It is, of course, appropriate that the sage who so dramatically opened
a path to the South should be canonized as the brightest star of
a southern constellation. But in northern India Canopus is either
invisible or low on the horizon, a fact which the poets use to show how
a man who was once great can become insignificant (1199, 1889).
9. Animals. The favorite animals for allegorical epigrams are the
elephant, the lion, and the sarahha. They are mentioned separately,
but more often together.
10. The elephant, when in rut, puts all creatures to flight except the
lion and the sarahha, 1027, 1034, 1071. The word for rut, mada, also

299
 Allegorical Epigrams (Anyapadesa) [Sec. 33
means intoxication or madness and the suggestion is regularly of a man
intoxicated with power. It is proverbial that the lion kills the elephant
in combat (cf. Ram. 6.101.53; 6.109.10) and the poets are prone to laugh
at the elephant for his Dutch courage when faced with the lion, 1072.
Verse 1046, where it is the elephant who frightens the lions, is un-
paralleled elsewhere to my knowledge.
ll. The lion, as king of beasts, regularly suggests the king of men.
He need only roar to bring others to obedience, 1071. But the poets are
far from being admirers of the lion's noisy power. He is blamed for
cruelty, 1060, and for his pretensions to divinity, 1052. He becomes a
laughing stock when indolence keeps him in his cave, 1035, or when he
grows old and weak, 1034. One wonderful epigram, ho\\ ever, forgives
the lion all his faults for his one virtue, courage, 1091.
12. The sarabha is the only beast that can defeat the lion. He is said to
have six feet and to live on the golden peak of Mt. Meru, no other place
being worthy of his habitation, 1056. The sambha is the ideal emperor.
When praised for his victories, so far from enjoying the flattery, he
feels compassion for the conquered, 1046. Despite his conquest of
others his true name is 'Self-conquered,' 1027.
13. Other animals are mentioned less often. The deer is ever set
about with dangers: snares, traps, hunters, 1040. As with men, terror
drives out his virtues. When forest-fire comes, he abandons his home
in panic, 1ll3. The frog is the man of small vision, happy in the
cranny of his well, 1032. The monkey serves as an example of childish
malice, 1086.
14. Bees. The bee, always considered masculine, is the sensualist
of nature. The word bee (bhmmara) also means lover, paramour.
The bee is not only fickle, 10aO, lIOa, but foolish. He gets pricked by
the thorny safflower, 1074, gets caught in the lotus when she closes for
the night, 1084, and invites his own destruction by tasting the sweet
exudation or ichor which flows from the cheeks of an elephant in rut.
One flap of the elephant's ear will end the bee's enjoyment and the bee
as well, ll15.
15. Cataka bird. Of the ciitaka or crested cuckoo (Cuculus rnelano-
leucus or jacobinus) the one characteristic noticed in these verses is his
refusal to drink except from the rain-cloud. The piercing cry of the
crested cuckoo during its mating season, which coincides with the
monsoon, would be enough to connect the bird with rain; but folklore
has furnished some extraordinary theories of his special disability. It
is said that the cataka's crest falls over his beak if he lowers his head to

300
Sec. 33] Allegorical Epigrams (Anyapadda)
drink , or it is claimed that he has a hole in the back of his neck and
must bend his head hackward to keep the hole closed. For a learned
account of these superstitions together ,,"ith parallels from other lands
see Stasiak , pp. 33- 117. By the Sanskrit poets the cataka is used as an
example of pride, nobility , and the tragedy of fate. Usually he repre-
sents the poet himself, 'who cannot live without a generous patron,
1054, 1070, 1076, 1080, 1083, 1088, HOO, HOl.
16. Charcoal-burner: a man who performs a useful task but at the
expense of sad destruction, 1039.
17. Clouds. The cloud furnishes an example of the magnanimous
patron; it gives but asks nothing in return, 1031 , 1093, 1094, 1098.
But sometimes the cloud withholds its gifts, 1029, 1085. See also
Cataka bird, above.
18. Cuckoo and crows. The cuckoo lays her eggs in crow 's nests.
The young cuckoo will be treated well enough so long as he does not
betray himself by singing. Genius does well to hide itself when
surrounded by mediocrity, 1037, 1051.
19. Days . Their arrival is invariable but their gifts unpredictable,
1066.
20 . F erry- b oat . e . f· or a pun: gU1J,a, "rope or , VIr
r s occaSIOn
Off . t ue, '
1106.
21. Forest-fire. Like the river in flood, the forest-fire suggests the
man of wanton cruelty, 1114.
22. Gods and demons. A hopeless task for others is child's play for
them, 1089.
23. Jewels and precious objects. These serve generally to suggest
the Sanskrit poet himself, a man of virtue and learning, qualities which
are wasted unless he meets with a purchaser who knows their value.
Several of the verses serve as complaints. The precious sinistral conch
falls into the hands of pariah women ignorant of its value, 1118. The
emerald is brought to a land where no one knows its worth, 1023;
similarly 1033. The poet's favorite image of himself is as a pearl
(1019, 1020, 1073), whose string offers a convenient opportunity for a
pun (gU1J,a: the 'string' that runs through the pearl or the 'virtue' that
runs through the poet), 1119. A verse on gold contains some refreshing
laughter at the pretensions of precious objects, 1117. Finally, a verse
on sunstone and moonstone, lU6, is of quite a different sort. The
suns tone spits fire when struck by the sun; the moonstone weeps
cooling tears when struck by moonlight: an angry answer and a kind
one.

301
 Allegorical Epigrams (Anyapadesa) [Sec. 38
24. Karma. A general lament on the forces of karma suggests any
number of particular instances, 1097. Cf. also verse 1088 on the cataka.
25. Lake. Usually the little lake is praised in contrast to the big
ocean, q.v. Occasionally, however, the lake is blamed: in 1092 for
harboring a crocodile, in 1112 for submerging the measuring-stick which
flattered it.
26. Lotus of Visnu's navel. This lotus serves each according to his
purpose: Brahma with immortality, the silly bee with honey, 1067.
27. Moon. In 1022 the moon is something beyond mortal reach.
In 1107 moon and night are pictured as husband and fa ithful wife.
Cf. also' Sun.'
28. Ocean. The ocean is praised for its power, beneficence, respect
for law, etc., 1047, 1048, 1055, 1060, but blamed for its overinclusiveness,
for its being too salty to drink, for its harboring dangerous monsters,
for its uselessness and its noisy boasting, 1020, 1041 , 1044, 1049, 1108,
1122. In particular the far-off ocean is contrasted unfavorably with
the nearby lake; the great king in contrast with the local patron, the
city in contrast with the village, 1021 , 1069, 1079, 1081. More verses
on the ocean's power and magnitude occur in Section 36.
29. Reference is made several times here, as elsewhere in the anthology ,
to submarine fire, 232, 1041, 1045, 1055. This is the Aurva or Va~ava
fire, which would have consumed the earth had not the ocean consented
to guard it. It lies now beneath the waters, un quenchable despite the
whirlpool that ever pours into it from above.
30. For details of the precious substances churned from the ocean by
the gods and demons, see lntr. 4, par. U.
31. Oil dishes. These offer an occasion for puns : sneha, ' oil' or
'love,' etc., 1096.
32. Rivers. Rivers are used to suggest the man of wanton violence,
1028, 1077, 1110, 1111, a suggestion furnished also by forest-fire, q.v.
Rivers also exemplify the sudden turn of fortune. The dry stream bed
of summer becomes the deep river of the rains, 1059; the deep river runs
dry when the rains have passed, 1043.
33. Sun. The sun is u sually suggestive of a king; the darkness
dispersed by the sun but returning when he has set, of miscreants or
usurpers, 1057, 1068, 1075, 1095. Sun and moon are mentioned together
in 1065 and 1102. In the latter the moon suggests a crown prince.
34. Trees. Trees often serve as examples of generosity and altruism,
answered with ingratitude by birds and beasts and with thankfulness
only by the tree 's own bark, 1024, 1030, 1090, 1099. In 1042, however,

802
Sec. 33] Allegorical Epig1'ams (An) apadeSa)
we have an ungrateful tree. The tree which harbors a snake furnishes
a warning, 1050, 1078; the tree by the river-bank an example of in-
security, 1077.
35. Of specific yarieties of tree the sandalwood tree of Malabar, by
its sweetness and the soothing property of its product, suggests the man
of genius, 1036, 1087. But the sandalwood too may harbor a serpent,
1078, and alas, its very virtues lead to its being cut and ground into
perfumed ointment, 1053, 1082.
36. Other species of tree suggest men of various character. The
aioka tree is beautiful but is said to bear no fruit, 1038. Actually, this
is an error, but it has been canonized by poetic convention (see Kav.
p. 80, line 2). The peepul harbors every bird without discrimination,
1061. The banyan fruit seldom ripens, but when it does may send
forth the greatest tree of all, 1062. The silk-cotton tree grows a
beautiful looking fruit, but when ripe it furnishes only inedible cotton,
1063. The mango is the most perfect of all trees, sweet of flower and
fruit, thick of shade, 1103, 1104; the former verse may suggest a wife
with children and household cares. Only ill ,,,ill would point to the
mango's hard and ugly stone (1120). Of worthless trees the ki'Jp,piika
is fit only for crows, 1121; the iiikhota thorn tree is so ugly that none
will water it but the cloud who seeks no return, 1087.
37. The Vindhya Mountain. The Vindhya was the favorite haunt
of elephants, who yearn for it even when dwelling in mountains which
furnish similar woods and streams, 1124. The Vindhya was once
humbled by Agastya, q.v.
38. Water and milk. These exemplify friendship and self-sacrifice,
1064.

1019. Go forth, oh perfect pearl, and make a house resplendent.

Bring to full fruit
your virtues and the necklace of a king.
Why pass your life unnoticed in an oyster-shell?
The sea is wide and deep;
who is there here will know your worth? MURARI

1020. To live in the all-embracing sea,

whose powers exceed all calculation,
would be a happy lot,
were not one fault opposed:

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 Allegorical Epigrams (Anyapadesa) [Sec. 33
that there is an oyster who will ever vie
with even the richest and most precious pearl
on ground of common dwelling. [KAVIRAJA]

1021. Better the little lotus pond

where a man enjoys at will his blessings.
Who wants the mighty ocean,
when its waves will strangle
even him who stands upon the shore? DAMODARA

1022. Oh greedy one, be not so simple as to plunge

in this deep pool to grasp the moon;
below is but his image.
Though he charm the open eye with nectar,
how should you seize him here on earth?
Even in heaven 'tis but his smallest part
that forms the jewel of Siva's crown. YALLA!iA

1023. Who dug you from the mine wherein you dwelt content
and sought to sell you in this distant land;
wherein, oh brother emerald,
let be a purchaser who could afford the price,
there's even not a man to know your worth?
. ? , ?]
[ MANGALA. SARVAVARMAN.

1024. The little birds have left,

whom it had placed in honor on its head;
the frightened deer are gone, whose weariness
it once dispelled by granting of its shade.
Alas, the monkeys too have run away,
fickle creatures, once greedy for its fruit.
The tree is left alone to bear
the brunt of forest-fire.

1025. "This is the home of all the waters."

"The mine of jewels."
"We whose hearts were sick with thirst
have found our refuge in the ocean."

304

'.
Sec. 33] Alleg01'ical Epig1'ams (An) apadesa)
Who would ever think a sage
,\ ould put it in the hollow of his hand,
and with its whales, crocodiJes and all,
drink it in an instant? KAVINANDA? [BHALLATA?]

1026. Born in a lot us of the heavenly Ganges

with the trees of paradise for friends;
sporting with celestial damsels
and knmving well their golden garlands:-
if such was your origin indeed, oh bee,
there could not be this double stroke,
the intoxicating drumming of your voice
and these your swooning dances. VALLA~A

1027. Who ever heard of a rutting elephant

engaging limb to limb, proud trunk and all, in battle?
If but his scent is there, no other elephant is seen;
and yet, he bears this mark of shame,
that he will fall beneath the lion.
Let us then celebrate the dam whose womb
brings forth the sarabha, ' Self-conquered,'
whom if the lion merely hears, he is not seen.
VALLA~A

1028. The trees, who stood from birth upon your bank,
are torn up by the roots,
while your waves, who will be quick to leave you,
are raised on high.
Oh brother SOI).a, who is there that will not laugh
to see you when your spate is gone?
'W ithin, a heap of stones;
beyond, sweet-smelling trees destroyed. [AMARASI¥HA]

1029. Leave this delay, oh cloud.

What use these sweet deep rumblings;
send us at once the whistling rain!
Behold the poor tree's state,
its body covered with flames of forest-fire
urged by the unpitying wind. [ACALASI¥HA]

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 Allegorical Epigrams (AnyapadeSa) [Sec. 33
1030. The bees do well to leave the tree
when its flowering time is over;
but this is unseen, unheard-of conduct,
that the bark which grew together with the wood
should leave the branch.

1031. Praiseworthy is the cloud, a joy to all men's eyes,

that lowers itself for others' sake, even for the humble,
a blessing to its suppliants.
Let us not even hear of the cursed meteor
whose rise portends destruction.

1032. Not seeing the beauty of the lake,

a pencil of ambrosia for the eyes,
sweet-sounding with the hum of swarming bees
which the lotus grove attracts by thick perfume
as its flowers waken with the rising sun,
the race of frogs lives quite content
in the cranny of their well. MAITRISRI

1033. Here you have come, oh goldsmith

to sell jewelry worthy of an ear.
Have you not heard that in this village
the chieftain's ears have not been pierced?

1034. This lion once, the seat of valor and unerring in his wrath,
did with his roar evaporate
the rutting ichor of the elephants of heaven;
who now by fate has grown so weak
that with his trunk an aged elephant
can pull his mane.

1035. His leap might clear the peaks of mountains;

his claws are diamond sharp;
he has courage, pride, and his roaring splits the hills.
Yet this lazy lion, who sleeps and will not quit his cave,
though he possess the perfect instruments of conquest,
accomplishes but nothing.

306
Sec. 33] Allegorical Epigrams (AnyapadeSa)
1036. Oh people, trees that fruit and bow
stand ranked on every path, in every grove.
How different the rank of sandalwood,
whose scent alone dispels our fever!

1037. The crows said you were theirs, oh cuckoo,

for you sprang from their nest, were black of hue,
flew through the sky and were of the twice-born.
But your voice, w"hich pours forth beauty
rich and delightful beyond the power of sense
they counted as your fault, for that was you indeed. VALLA.~A

1038. What use, aioka tree, is your humility of branch,

your height, your heavy shade,
your gracefulness of foliage or your brilliant flowers?
The unhapp) travelers gathered at your base,
however great their longing as they praise you,
still get no fruit. [BROB.]

1039. It is for our good, oh charcoal-burner,-

indeed, what could be more so?-
that you make your living burning of the trees
which you have cut.
But what now will the travelers do,
fainting from heat in this unshaded desert? [GADADHARA ?]

1040. Above the ground are nooses spread and snares lie on the earth;
in water there lies poison and the woods are bright with fire.
When the hunters track his steps with bow in hand,
where will the buck who leads the herd find refuge?
[BHALLATA?]

1041. What is accomplished by the ocean

in taking water from a hundred streams?
It is but rendered salty, burned by underwater fire
and forced to fill the pit of Hades.

1042. Some trees are so ungrateful

that, desiring better cover,
they one by one discard the leaves
that bore the brunt of frost.

307

1
 Allegorical Epigrams (Anyapadesa) [Sec. 33
The trees care not that thus they lose their shade ;
nor that the leaves, more grateful ,
even in their dying
lie at their feet. [ACALASI1'!lHA]

1043. Where even near the bank the water was so deep
that herds of wild elephants, fevered by heat of rut,
could plunge until their upraised trunks alone appeared ;
in that same river, soon dried up by fate,
the darting minnow, fearing the heron's grasp,
now hides itself in mud. [MADHUsiLA]

1044. You reach to heaven with your waves,

you light the depths of Hades with your gems
and with your waters cover up the earth.
But out upon all this, oh ocean!
On your shore the travelers who would drink
must turn away in tears. , - . ~]
[ SUBHANGA.

1045. The goddess SrI is fickle, the moon is marked with black,
the diamond is sharp and cruel;
the elephant Airavata is ever drunk with rut
and the kalakuta is a deadly poison.
It is pondering these vices of his family
that burns the ocean's heart,
and not the underwater fire. [LAK~MjDHARA]

1046. The herd of lions, frightened by each wind-borne atomy of scent

borne from the track of the must elephant,
seek out the crannies of their several dens
and hide both head and tail within their breasts.
And yet, that elephant's dominion is destroyed
by the sarabha, for which, though praised,
the sarabha but smiles and, remembering former births,
feels in his heart compassion. [v ALLAJ:lA]

1047. From a single ocean clouds are by the thousands filled,

nor is its water thereby lessened by as much
as the dew upon a grassblade.

308
 ..

Sec. 33] Allegorical Epigrams (Anyapadesa)

Yet, if one day by chance it should dry up,
all clouds together with their waters
would be unable even to wet down its dust. [SABDAR~AVA]

1048. Because the) respect the proper bounds,

because their unmeasured strength is joined to depth and firmness,
the seas hold back their streams and break not forth.
Yet if some time they should break forth by turn of fate,
there then would be no earth, no mountains, sun nor moon,
but all would be an universal sea. [SUVAR~AREKHA 1]

1049. From afar we heard the noble name

of Ocean as 'the mine of gems,'
but never yet, confronting it,
did see its jewels with our eyes.
Now that we camp in eagerness upon its shore,
we find before us terrifying waves
and sharks with long bright teeth.

1050. We left the path and came to you, oh tree,

observing your fine shade, your boughs that bend with fruit
and your offering of rest to all the weary.
But if you frighten us with poison flame
spewed from the mouths of vipers nesting in your hollow,
then fare you well. [VIDYA]

1051. Little cuckoo, keep your silence till your wings

are strong enough to bear you through the sky ..
If not, you'll find yourself sore wounded by the crows,
angry at a cry so different from their own. [ACALASI¥HA]

[Verse 1052 is treated in the Notes.]

1053. You were born on the heights of Malabar,
yet woodsmen found you and brought you to a distant land
where men have ground you into scented ointment.
Grieve not, sandalwood, my friend;
it is your virtues have undone you.

1054. Tell us, you who know all news of India,

if ever you have seen a ciiiaka
abandon cloud to slake his parching throat
in brook or stream or river. LAK~MiDHARA

11 +s.c.P. 309
 Allegorical Epigrams (Any.apadda) [Sec. 33
1055. What though the sea
through force of evil-working fate
being churned above, was forced to yield
its royalty in form of Sri.
Does it lose its depth thereby
or no longer nourish clouds?
Does it break the law of shoreline
or no more guard its fire? [U. K ~M IDHA RA ]

1056. If you leave the peak of Meru, so delightful

to creatures of vast stride, oh bull to heifer sarabhis,
what other mount can bear you?
You have been spoiled by this game of leaping desert crags .
Fare hence; alone the lord of mountains,
spreading his gold refulgence, is fit to be your dwelling. VA LLAJ':'A
[Verse 1057 is treated in the Notes.]
1058. Only they will wonder
at the greatness of the sea
as it lies before them stretching to all sides
or swells up touching heaven with its waves,
who never saw it silent in Agastya's hands,
small enough to fit within their hollow,
its sharks and monsters hidden
between the closing fingers. ABHI NAN DA

1059. The frogs within their nooks are almost dead,

the turtles crawl within the earth
and the fish lie fainting on the mudflats.
Yet, in this very river, come a sudden cloud,
things go at such a rate that elephants,
sunk to their very temples, drink the water. D VAN DUKA?

1060. Hail, young lion, I would say a word

if you would lay aside your wrath.
By killing a full one thousand elephants
what will your highness gain?
Do you answer, "But I am able to do thus? "
For shame, you fool! Is not the ocean
able to drown the earth, but yet refrains? [ ViRYAMITRA]

310
Sec, 33] Allegm'ical Epigrams (Anyapadesa)
1061. It is true, oh best of trees, oh peepul tree,
that you enhance the noblest path
with your height and thick-leaved shade;
what's more, that you are one of Vi~r:tu's bodies.
But the birds t hat visit you,
so noisy in t heir joy of eating fruit,
drown out the cuckoo's cry;
and that's a grievous fault. [SALIKAN.~THA]

1062. On a banyan in full fruit

a single fruit will ripen
and of its seeds but few will sprout.
Yet one of these will reach such height
that travelers will seek it as a mother
to ease their weariness. SALIKA

1063. "With so grand a flower surely there will grow large fruit,
fair, sweet and fragrant, cool, desirable."
Such being his hope, the parrot waits,
thinking to seize the time of ripeness
of the silk-cotton tree.
He waits until he sees the cotton fall
from the opening segments of the frui t . [SALIKAKATHA]

1064. Fitting indeed is the friendship of milk and water,

for both are sweet and cool, both pure and quenching.
Yet water earns the higher praise, I think,
since it increases milk when both are mixed
and when its friend is boiled is first to perish.
[Verse 1065 is treated in the Notes.]
1066. The days ever come and go
heedless of rains, of winter and of summer.
But what they will do and to ""vhom
we know not.

1067. The lotus that grows from Vi!;lI)u's navel

and holds within its greatness an the wonders of the world
may not be blamed-for in all things
fixed lav,rs apply-that at one place

311
 Allegorical Epigrams (AnyapadeSa) [Sec. 33
Brahma should drink of immortality
and bees but take the honey,
tasty with ambrosia and with sweat.

1068. When the sun with innate power had stripped the veil of night
and shone, an eye for all the world, they had no chance;
but now the sun has set, his lamp extinguished,
the goblins well may dance and darkness fill the skies.
K USALAl\ATHA

1069. A pond is by the way and fit to grace your journey.

Pure it is, oh travelers;
approach and taste the joy
of putting off your weariness.
From the salty sea beyond,
its waters plowed by mighty sharks,
retreat alone will save you;
do not enter. YA ~IPYAKA

1070. In the clear lake, where the flock of geese

drinks happily the limpid stream,
the foolish cataka, from pride
or from his nature, will not drink.
Does the bird become superior by this
or is the lake made cheaper? [SAKATIYA-SABARA?]

1071. Be calm, oh lion! Leave violence and still your anger.

The sound that rises is of clouds, not elephants,
and clouds, insentient, being composed
of fire and water, wind and smoke,
do roar by nature. At you
no creature shows his pride. AMARASI~IHA

1072. It is in vain, when mad, that you uproot the wayside tree;
and wherefore thrash the lake that blooms with lotuses?
Oh best of elephants, we shall admit your strength
when you touch the mane of a sleeping lion cub. [NARAYA~A]

1073. Grieve not, oh pearl, who dwelt within the sea,

that cruel waves have cast you on the shore.
No doubt some prince, attracted by your virtue,
will place you by the dolphin in his crown.

312
Sec. 33] Allegorical Epigrams (Anyapadesa)
1074. Oh foolish bee, unhappy with aSoka flowers,
indifferent to balcula, unjo) ed by jasmine,
and taking no delight in mangoes;
since here you trust the thorny safflower
it's certain you' ll be pricked.

1075. The setting of the sun brings no great grief,

for who is there that has not, does not, will not set?
What brings regret is that these outcaste nights
should seize so great an empire as the sky. [BlLALLATA]

1076. One scatters cursed hail, another ever growls;

one casts forth lightning, another, rushing wind.
This you should understand, oh cataka.
'Vhy open wide your mouth at every cloud?

1077. Lay not up your fruit, oh bankside tree,

nor load yourself with leaves,
but give your gifts with open hand.
The river, turbid from the rains and pitiless,
with waves as high as palmtrees,
will cast you down with all your wealth
this day or next.

1078. Attracted by your scent which spreads on every side,

we have come, oh sandalwood,
to witness at first hand your glory.
But what see we here, good sir,-
a serpent playing in your very lap?
We wish you well and ask permission to depart. [ACALASI~:lHA]

1079. Indeed it is small and bears no jewel in its lap;

that you enjoy it, though, is wealth enough.
What elephant, sinking in 'weariness,
would not plunge within this pleasant lake
ever to drink its waters? SRi DHARMAKARA

1080. Oh cloud, the ciitaka for long has fainted,

stretching toward you his upturned beak
in the unsupporting sky.

313
 Allegorical Epigrams (AnyapadeSa) [Sec. 88 I
and yet. so far from finding rain.
he has not even heard
a kindly word of thunder. ACALA

1081. We only asked a little water from you, ocean,

for we were weary and your wealth is great.
Why then toss high your waves in anger?
Have mercy! We take our leave. On every side
we can find peaceful lotus ponds aplenty. ACALA?

1081. In many lands we have traveled, many sights have seen,

but never have seen a tree to equal the sandal tree.
The more it is burned and cut and ground upon a stone,
the more its hoarded sap emits its sweet perfume.
TAR..O\~INANDIN

1083. The cataka flies at the cloud; he hears its roar,

endures its hail, endures its waves of lightning.
He shakes his wings and cries out, piteous;
all for how small a drop of water. ACALA

1084. You are caught, oh honey-taster;

know that such passion comes to naught but this.
Oh bee who heeded not the closing of the lotus,
why struggle now in vain? ACALA

[Verses 1085. 1086 are treated in the Notes.]

1087. While others, desirous of its properties,
will water the noble sandalwood,
if the useless thorn tree would have a savior
it must be the great-souled cloud.

1088. Growl at him, cloud, and give no water;

scold him with strokes of lightning if you wish.
This bird, whose acts are governed by his former karma,
still finds in you his only hope.

1089. The churn was the sea of milk, the churning-stick the mountain,
the churning-string the serpent Vasuki;
and all was but a chance for gods and demons
to scratch their arms grown numb with drink.
BHATIA GAl':lAPATI

314
Sec. 33] Allegorical Epigrams (Anyapadda)
1090. No need for much discussion; simply say
this tree was always by its nature helpful;
for even when uprooted by the wind, it serves to carry
men on their dangerous path across the stream.

1091. His body smells of blood, his action runs to slaughter,

his sense of right and wrong is no better than a beast's.
Thus, there is nothing to admire in a lion
except his courage;
but that's enough to make the world seem cheap.
(VASID,IDBARA]

1091. Whose thirst would you not quench't-

Who would not bathe in your waters, wayside lake't-
if only there were not
a crocodile within. ViRA

1093. It does not roar nor thunder,

it spills no hail nor scatters lightning,
it unlooses no vast wind.
The great cloud simply rains.

1094. How should the kadamba tree not thrill

with buds on every limb
when the cloud delights all creatures
but asks for no retum. ACALASI~(]iA

[Verses 1095. 1096 are treated in the Notes.]

1097. The earth will give him no support;
not even the seven seas will quench his thirst
nor the golden mountain give him wealth:
to him whose effort has been brought to naught
by sin accumulated from a former birth
not even the wishing tree will grant a wish.

1098. That you have spent yourself assuaging sunburnt hills,

in quenching forests sick with fire
and filling many a brook and stream,
is the cause, oh cloud, of your high station.

315
 Allegorical Epigrams (Anyapadda) [Sec. 33
1099. Where are the birds and beasts, oh nesting tree,
for whom you cared with fruit and leaf and shade,
now in the day of your adversity?
Blessed be the bark,
which you cared for only by your closeness,
yet without whose being cut
the ax fell not on you. V ITTOKA

1100. Though you cast him from you with fierce winds,
pound him with your hail, oh cloud,
and strike his eyes with lightning,
no refuge has the ciiiaka but you.

1101. What did the ciitaka not imagine,

numb with much longing, as the cloud appeared?
Alas, in order to effect the wished for gift
it now lets fall its thunderbolt. LAl;lAHACA N DRA

1102. Now that his majesty the Sun has set

and you have gained admittance,
why do you swell in every place, oh darkness,
as .though to equal heaven?
See where the moon, possessed of all its orb,
assumes the rays of him that's set
and rises to destroy you.

1103. You have your happiness, oh mango, now

in feeding crows and parrots.
What though the bee, caring but for show,
who played upon you as you stood in heavy flower
no longer visits you in fruit?
Such is his nature; would he serve
even the tree of paradise in hope of fruit?

1104. The sprout that once you saw within the bursting stone
has likely passed from cotyledon up to spreading branch
and stands already as some fullgrown mango tree,
which, having grown smooth leaf and swelling bud
and having blossomed with its mass of flowers,
has now put forth its fruit, with weight of which it bends.

316
Sec. 33J Allegorical Epigrams (Anyapadesa)
1105. Many are born within the tribe of tortoises,
but not one mother tortoise has borne, bears, or will bear
a child able to give a few day's rest
to that great tortoise "earily contracted
from his bearing until doomsday all the weight of earth.
HANUMAN? [ SATANANDA?]

[Verse 1106 is treated in the Notes.]

1107. Oh blessed night, in you I praise the virtue
of wifely faithfulness on earth,
who, when the lord of night has gone,
wear mourning lampblack for his sake.

1108. Fie on the ocean's depth!

Fie on the elixir which it holds
and on the waves, its long and busy arms!
for while the forest on its shore before its very eyes
is being swallowed up by fire
it offers not a handful of its water. KA:ljIKAKARA?

1109. When from the ocean, treasury of precious things,

the gods had robbed its horse and all the rest,
the water which it kept was consolation.
Oh mighty sage, you lack all pity
to have drunk up even that. VANAROHA

1110. Your flood,

though it climb high,
will last but a few days.
Only the mortal sin
of felling the trees upon your bank
will last. [BHOJA-DEVA]

1111. The calm waves, the silent, smooth and lucid water,
this air of good behavior, seem to show
the peacefulness of rivers.
But as the mind reflects
upon the trees uprooted from the shore,
this proves to be a lawlessness
that merely lies concealed. SABDAR:lj"AVA

11* 317
 Allegorical Epigrams (Any apad sa ) [Sec. 33
1112. The measuring-stick set at your center
ever procla imed your fame ,veIl-grounded .
Say it is fair now, lotus pond,
to bring it low? K ALA" .~TH A.

1113. The antelope do ill,

when fire flames in the treetops,
to fly in fear from the wood
where they have played since birth. KHADIRA

1114. The birds and beasts are scattered,

the local godlings rendered destitute;
the directions are obscured with dirty smoke
and the earth is scorched.
The wicked forest-fire has turned to ashes all the tree
with their flowers, fruits and foliage,
and of the forest leaves unharmed
only the anthills.

1115. Forgetful of the lotuses

and disregarding what the ear-stroke of the elephan t will do,
this honey-gatherer desires the pungent ichor.
Fie on a craving
that costs the addict bee his life. AL\.LA.

1116. It is wonderful enough of sunstones

that when touched by moonlight they do not emit
their usual fire.
But can one picture even in imagination
their sending forth a pure and cooling liquid
as moonstones do? ACALA

[Verses 1117, 1119 are treated in the Notes.]

1118. By force of evil fate the ocean waves,

raised high by wind, have washed ashore
a rare sinistral conch.
The poor Pamaris who find it
add it to their heap of shells,
thinking if burned it might make ink. SUCARITA?

318
Sec. 33J Allego'rical Epig1'ams (Anyapadesa)
1120. Oh mango, sweet and beautiful in ripening,
how can the royal parrot make it out your fault
that in you is a hardness like the coconut's,
which is an empty-hearted, ugly fruit?

1121. When ripe, k i l!lpiika fruit, though bitter and black within,
you grow red outside and pleasing to the eye;
yet, I know not what you have hereby to please the heart,
unless it he the heart of crows. BUDDHAKARAGUPTA

1122. Give up your roaring, ocean;

cease your wlld motion for a while;
what sort of pride is this
over a few precious little stones!
Turn your eyes to Meru
who, honored for his solid peak of gems,
still keeps his silence and by his firmness
keeps firm the earth. [SATANAN DA ?]

1123. Oh Vindhya mountain, you must still remain

bo\dng your head to the sage Agastya's bidding
nor ever more by striving for too high a place
transgress his word.
For he who drank the ocean,
where such mountains as M:ainaka had found refuge,
would never feel you even strike his cheek
were he to swallow you. [SALUKA]

1124. Oh Vindhya, it is true, no doubt,

that leaves of gum trees ready to his rising grasp
and pools convenient to his splashing may be found
wherever there are mountains.
But that for which the bull of elephants stands pining,
listless trunk upon his tusk and deeply sighing
is no other mountain, lord, than you. VIDD UKA

319
 Section 34
BREEZES

1. The breezes here described, with a few exceptions, are the spring
breezes that blow from the south, especially from Mt. Malabar (rnala-
yagiri: 1126, 1133, 1140, 1143), where the cooling and refreshing sandal-
wood grows. Perfumed by sandalwood (1138, 1144) and by other
southern scents, by cloves, the lodhra, and the lavali (1132), the spring
breeze earns its epithet of 'scen t-bearer' (gandhaviiha) . Other lands
and rivers of the south are occasionally mentioned as points of departure
or stages on the spring wind's journey: Kerala, the Tamilland, Andhra
(1126, 1128); the rivers Kaveri (1129, 1132), Murala (1132, in Kerala),
and Narmada (= Reva 1128); the lake Pampa (1125) in the Deccan,
where Rama sojourned in days long past. On reaching the north
the south wind fills the cuckoo's throat (1128, 1145), opens the
spring jasmine (kunda 1129, mallikii 1135- 36), and brings. fort h the bees
(1134).
2. As with the subject of spring (see Section 8) the poet is unable to
think of the spring breezes except in a context of love and he brings into
play here the whole paraphernalia of the erotic mood (s!1igiira-rasa).
The south wind is figured, by the trope called samiisokti, as a lover who
kisses fair damsels (1126, 1133), dishevels their hair (1126, 1128, 1129,
1133) and fondles or tumbles on their breasts (1126, 1128, 1133, 1144).
Or he may be pictured as an erring husband, leaving his wife, the south-
land, and faring forth slowly, fearful of her resentment, to his new
mistress, the north (1131). Regularly the spring breezes are ' looseners
of the knot of anger' in maidens' breasts (1l28, 1130, 1133, 1145). They
teach maidens the sports oflove (1l45) and refresh them when they are
wearied in love's battle (1l41). A goal much sought after in the erotic
mood is the contrast within a single verse of love-in-enjoyment with
love-in-separation; a fantastic example is 1140, on which see note.
3. The descriptions of most of these verses are general and remain
within the conventional. The strokes used to paint the south wind
have been used a hundred times before. Only a few verses show

320
Sec. 34] B'reezes
particulars of some originality. Verse 1135 gives a pleasing picture of
a pleasure garden. "'\ erse 1142 mentions the great temple of Visl).u on
the sea coast at D varka.
4. Finally, two v erses describe the wind at a season other than spring:
the breeze (1139) and the violent gusts (jhaiijhanila/J. 1147) that
accompany the monsoon.

1125. The breezes from Lake Pampa scent the air

with perfume of lotuses uprooted by wild elephants
and are strengthened by the wind
stirred up by the beating wingtips of wild geese.
They vie with the proud gazelle
in their art of leaping the high-tossed waves
and deck the four directions as it were
with drops of liquid camphor. VASUKALPA

1126. Their strength is lessened by their strenuous tumblings

on the heavy breasts of Andhra girls.
They have tousled the charming hairknots
of lovely Tamil brides.
They have smelled the lotus mouths
of the women of Ceylon
and have kissed the cheeks of those of Kerala.
Gently the south 'winds blow, perfumed with sandalwood.
VASUKALPA

[\ erse 1127 is treated in the Notes.]

1128. The winds that blow have stolen jasmine from the hairknots
of Kerala lasses, knots already loosened
by lovers' urging.
On the breasts of Cola women
they have grown motionless with bliss.
They have gathered drops from the Reva
and, garrulous with the cuckoo's cry,
have absolved the pride of maids of Murala and Andhra.
sRiKA~'fHA

1129. A soft wind shakes the champak trees

on the banks of the Kaveri
and scatters the pollen
of crowded jasmine.

321
 [Sec. 34
It makes the curls dance on the forehead s
of the women of Gujerat,
curls which have lost their flowers
and are loosened and disheveled
from the fondling of their lovers. [ACALA ?]

1130. Gently blows the southern breeze,

skillful in loosening women's pride.
Playing with the ocean's waves
and diffusing the scent of camphor,
it stirs the heart.

1131. Leaving his wife, the South, whom he has long enjoyed,
and moving cautiously as though in fear of her,
the south wind, decked with sandalwood perfume,
visits his mistress, as it were, the North.

1132. The breeze blows slowly from the south,

fluttering the groves of lodhra, clove and parrot-plum
and shaking the karanja trees.
It is cool and lazy from the waves of the Murala
which it has tasted and abandoned.
It was born in banana groves by the banks of southern streams
and rustled in the beating fronds r
I

of toddy palms beside the Kaveri.

1133. The breeze from Malabar plays all the arts of Cupid,
kissing women's faces and tumbling on their breasts,
disheveling their hair and tossing up their skirts.
He excites their bodies, agitates their hearts
and allays their past resentments
as, like a lover, he embraces every limb.
[VINAYADEVA]

1134. With garlands of black bees

to form a crown of matted locks
and pale pollen of the flowers
to form a covering of ash,
the wind that passes slowly,
raising flowers in the blossoming wood,
is like a wandering ascetic. [ViRYAMITRA]

322
Sec. 34] Breezes
1135. The parterre of the garden summer-house
is washed by channels that descend
to the watering-trenches growing dark with grass.
Of lovers who resort there
the sleeping love is slowly 'w akened now
by evening breezes free of dust and sweet with scent
of newly blossomed jasmine. ACALASIlI:'IHA

1136. Gazelle-eyed damsels now resort

to pavilions on their roof-tops
and there upon their swelling breasts,
sore wounded, drying even the sandalpaste,
the pain of love as spring begins is at first touch assuaged
by evening breezes sweet with scent
of newly blossomed jasmine. SATANANDA

1137. As the wind blmvs, bearing drops of frost,

the god of love, as though he feared the cold,
hastily enters the hearts of lonely wives
to warm himself at the fire of their grief. KUMARADASA

1138. At last released from the embrace

of the heights of Malabar,
the south wind manifests his hint of love,
the scent of sandalwood.
Slowly he comes and falls at last
on fresh spring creepers
wherein, it seems, he manifests
our greatest danger. MADHusiLA

1139. The winds which blow at dawn,

fresh from the cloud bank great with thunder,
and redolent with jasmine,
carry drops of perspiration from the brows
of ladies wearied by love's battle. [ACALA]

1140. The breeze of Malabar.

first wasted by the drinking bouts
of serpent damsels wearied by much intercourse,
is here in turn increased
by the sighs of parted lovers. [R.~JASEKHARA]

323
 Breezes [Sec. 34
1141. These scented breezes, which dispel the sweat
from the plump breasts of strapping village girls
wearied in love's exercise,
blow slowly on from pond to pond,
gathering the rich perfume of gundrii roots
broken by the rooting of the wild boar.

1142. Blessed are they who are refreshed at Dvarka

by moisture-bearing breezes from the western sea,
breezes whose course is halted for a moment
by the lofty moonstone palaces of Vi1;iI).u.
They bear with them the ambergris, poured forth
at the roaring of the Dvarka lions, angered
at being wakened by the steady beating
of the trunks of ever rutting elephants.

1143. These winds of Malabar, blowing softly,

by their cool touch lay a thrill upon one's flesh.
They taste the opening mango buds that fall
beneath the beaks of parrots
and dispel for fawn-eyed maids at evening
the weariness of eye
brought on by glaring day.

1144. This breeze, my friend, has dried the drops of sweat

on full and lofty breasts
of wakeful southern damsels
and now, as much as serpent maids have left us from their feast,
it blows at dawn most soft and redolent
of milk exuded from the sandalwood.

1145. The south winds urge maids to play at swinging

and cut the knots of anger in their hearts,
for through the world they serve as priests
at love's initiation.
They stir the amorous note
within the cuckoo's breast
and with their gentle motion witness
the victory of Love. RAJASEKHARA

324
Sec. 34] Breezes
1146. Sweet with exudation of the buds
of many mangoes just waking from their sleep,
close friend at the initiation rite
""herein the vine is taught her graceful playfulness,
the wind now brings the woods to life
and, though its gait is slow
with weariness of bearing so much pollen,
it wounds us all about with Cupid's arrows.
[Verse 1147 is tr,e ated in the Notes.l

325
 Section 35

CHARACTERIZATIONS

1. The term characterization (jiiti) which our anthologist applies to

this section is used in the older works on poetics where more modern
discussions use the term 8vabhiivokti, 'speaking of the thing as it is.'
What is meant by both terms is a verse which portrays an ob ject or
scene by means of a few characteristic traits and with a minimum use of
figures of speech. The traits must be carefully drawn from the poet's
observation of nature, but are strictly limited in number. The method,
then, is the method of impressionism; the result, in the hands of a good
poet, can be vividly realistic.
2. One might liken the characterizations of Sanskrit poetry to the
miniature painting of India which is preserved to us from later centuries.
The subject matter of the two arts is often identical. Many of the
following verses could be admirably illustrated from the pages of Mansur
and other Moghul painters: the deer in flight (1149, 1169), the horse
rising from the ground (1166, 1167), the perfectly balanced hawk (1150),
the heron on the lookout for his prey (1164), the fighting cocks (1171).
3. Most characterizations preserved to us in Sanskrit literature, like
the majority of Moghul paintings, choose their subject matter from
scenes dear to the court and the nobility. The favorite animals and
birds are those which are met with in hunting and war: horse, elephant
and deer; hawk and fighting cock. Ornamental birds also receive some
attention: the peacock, the pigeon, the caged parrot. When nature is
described we are shown the trees and flowers of orchard, garden, or
hermitage. A young girl will be obviously well-born and wearing a silk
dress (1160). A few poets show occasional departures from the stock
subject matter. Kalidasa has fine descriptions of the wild scenery of
the Himalayas and Bhavabhiiti deals by preference with untamed
nature. But of villages, farmhouses, peasants, or the lower st rata of
humanity in general we hear nothing.
4. It is therefore a matter of great interest for the history of Sanskrit
literature that in the present section of our anthology and in a few other

326
Sec. 35J Characte1"izati on s
ant hologie derivin g from B engal we find d escriptions of those very
parts of ancient Indian life and society about which the well-known
aut hors are so silent. Here we have pictures of village life: the Pamari
girl t urning t he rice mill (1l73), pounding out the winter rice (1l78,
1182) or drawing water from the well (1l52) , the dairy boy squatting
down to milk t he sweet-sounding milk int o his earthen pot (1157). The
villages are d e cribed as a villager ,\ ould see them , the mustard fields
turning brown in wi nter (1184), the bull pushing his way against the
driving rain t raight in t o t he peasant's house (1176). We meet with less
aristocratic animals, calves nuzzling t heir mot hers (1168), a dog chasing
a cat (1163), the sparrows hopping along a newly turned furrow (1162).
Our poets have a refreshing respect for truth. Neither the comic nor
the tragic side of v illage life is overlooked. We are introduced to the
glutton (1148) and the lecher (1159). We see what happens to a village
under the hand of a cruel magist rat e (1175) and we are shown the
desolating pm erty of t he brahmin boy who cut s wood for his teacher
(1170).
5. Concerning t hese scenes from village life I wrote some years ago in
the Journal oftke A merican Oriental Society, Vol. 74 (1954), pp. 119-181.
The translations which I there offered were first attempts, which I now
regard as "\ ery poor ones: but the historical remarks may stand. The
historical conclusions, briefly , were as follows.
6. The most prominent poet of the Sanskrit poetry of village and
field is certainly Yogesv ara. The SRK. ascribes twenty-four verses to
him and contains thirteen more which are assigned to him by other
anthologies deriving from the same geographic area. Y ogesvara is
praised in a verse of Abhinanda (verse 1699 of the present anthology),
who ",,ras a court poet of the Pala dynasty. Both Yogesvara and
Abhinanda lived in the period A.D. 850-900 and both poets were Bengalis,
at least in that larger sense of Bengal that includes the Pala domains in
Bihar. Other poets writing in the same genre are Abhinanda's father,
Satananda; Vagura, whom also Abhinanda praised and one of whose
verses {1182} seems to be eit her imitated from Yogesvara or by Yogesvara
(cf.lI78); Vakpatiraja, who uses a pronounced Bengalism (butf,tf,ati, H55).
All these poets are shown by sound evidence to have been Bengalis in
the sense I have indicated. Others, of whose lives we know nothing,
Dharal),inanda, Varaha, Acala, CakrapaI;li, etc., seem by the content of
their verses to belong to the same literary schoo1. We may therefore
identify the Sanskrit poetry of village and field largely with the Pala
empire of the ninth and tenth centuries.

827
 Characterizations [Sec. 35
7. Since all but a few fragments of this poetry are lost to us, it would
be unwise to speculate much further concerning its history . One fact,
however, seems probable: that in Sanskrit this poetry was an occasional
genre. Even Yogesvara was quite capable of writing in more con-
ventional molds. Of Abhinanda we know that his chief output "Was in
traditional form. What we know of these two poets I think can be
postulated of the rest. The poetry of village and field may h a ve formed
the all in all of vernacular poets whose works are now lost. To such
authors of the learned language as took up these subjects they formed
only part of the poetic repertory. And this is only natural. For the
very process of learning Sanskrit would hav e forced on an author the
study of traditional models.
8. And yet it is no little glory of Bengal that its ancient poets were
not only masters of the Sanskrit tradition, but such accomplished
masters that they could extend the tradition's boundaries. The breadth
of vision lived on, if not in Sanskrit at least in medieval and modern
Bengali, where one can find even today, in a land that has little to
rejoice in, a poetry with the same deep and loving respect for all forms
of life that one finds in Yogesvara.

1148. I rolled them in a cumin swamp

and in a heap of pepper dust
till they were spiced and hot enough
to twist your tongue and mouth.
When they were basted well with oil,
I didn't wait to wash or sit;
I gobbled that mess of koji fish
as soon as they were fried.

1149. The deer fiees, casting ever and again his glance
with graceful curving of his neck at the pursuing chariot,
his terror of the arrow's flight so great
his hindpart seems to penetrate his breast.
He drops upon the way the half-chewed grass
from his mouth that pants with weariness.
See, as he leaps he seems to fly
more in the air than on the ground! K..iLID ASA

1150. The hawk on high circles slowly many times

until he holds himself exactly poised.

328
Sec. 35J Characterizations
Then, sighting with his downcast eye
a joint of meat cooking in the Chandala' s yard,
he cages the extended breadth of his moving wings
closely for the sharp descent,
and seizes the meat half cooked
right from t he household pot.

1151. At dawn the fledglings of the reed-thrush raise their necks,

their red mouths open, palates vibrating with thirst;
they flutter from the ground,
their bodies trembling with their ungrm\rn wings.
Pushing each other b y the river bank,
from the blade-troughs of the prickly cane
they drink the falling dew.

1152. Her graceful arm, raised to pull strongly on the rope,

reveals from that side her breast;
her shell bracelets jingle,
the shells so dancing as to break the string_
'iVith her plump t highs spread apart
and buttocks swelling as she stoops her back,
the PamarI draws water from the well. [SARA~A]

1153. From his sides the pigeon stretches

one by one his feet and wings,
slowly joining above his neck
his wingtips, feathered white beneath.
Then, coming from his nest,
his eyes deep red from their unfinished sleep,
he yawns, stretching to its corners
the hollow of his beak. BHJ.tNG_~RA? [Sl;tNGARA]

1154. The cock pigeon wakes to the sound of jingling anklets

as the prostitutes walk home at dawn.
He shakes his curving wing tips and kisses with his beak
his companion's half-closed eyes.
Lovingly he coos ''''' ith throat that is muted
by the gentle swaying of his neck.
VIKRAMADITYA AND AN ASCETI C?

329
 Characterizations [Sec. 35
1155. The kingfisher darts up high and shakes hi wmg.
Peering below, he takes quick aim.
Then, in a flash, straight into the water,
he dives and rises with a fish. Y:\'KPATIRAJA

1156. The cock struts from his nest, shakes his wing
and works his way by stages to the treetop.
There he lifts his neck, his foot, his tail,
raises his comb and crows. [MADH U ?]

1157. The dairy boy milks the cow

with fingers bent beneath his overlapping thumb.
He holds the ground with the ball of his feet
and strikes with his two elbows
at the gnats that sting his sides.
Sweet is the sound of the milk, my dear,
as its stream squirts into the jar
held in the vice of his lowered knees. U PADHY A YADAM~>\RA

1158. The old dog's ear is thick with ticks,

his head hangs down,
his trembling tail is thrust
between the groove of a worn-out rump.
Suddenly, from far he sees a rival,
swelling at the neck with rage at his approach;
at whom he bares his teeth, as white as jasmine buds,
and growling softly, slinks away.

1159. If Fatty would kiss his lass,

he must fail at the greater goal.
If he gains the goal, he must miss
the taste of her lower lip.
He tries to do both at once,
for his wits are numb and darkened by lust;
but being too fat in the guts,
he gets neither one nor the other.

1160. The girl shakes oft' the glittering drops

that play upon the ends of her disheveled curls
and crosses her interlocking arms
to check the new luxuriance of her breasts.

330
Sec. 35] CharacteTizations
With silken skirt clinging to her well-formed thighs,
bending slightly and casting a hasty glance
to\\ ard the bank, she steps out from the water. BHOJYA-DEVA

1161. At night in the toddypalm groves the elephants,

their ear fronds motionless, listen to the downpour
of the raining clouds with half-closed eyes
and trunks that rest upon their tusk-tips. HASTIPAKA

1162. The village sparrows hop happily about

in the earth beside the plow-turned furrow,
striking with their claw-tips at the clods.
Rapidly they blink their eyes in fear of being struck
by the wind-borne particles of dust
raised by their beating wings.

1163. The cat has humped her back;

mouth raised and tail curling,
she keeps one eye in fear upon the inside of the house;
her ears are motionless.
The dog, his mouthful of great teeth wide open
to the back of his spittle-covered jaws,
swells at the neck with held-in breath
until he jumps her. [YOGESVARA]

1164. The heron, hunting fish, sets his foot cautiously

in the clear water of the stream,
his eyes turning this way and that.
Holding one foot up, from time to time
he cocks his neck and glances hopefully
at the trembling of a leaf. [YOGESVARA]

1165. The reins are loosened and our chariot-steeds

stretch forth their shoulders, ears pricked high
and earplumes stiff in the wind.
As though they were jealous of the speeding deer
they race on swifter than their hoof-raised dust. KALIDASA

1166. The horse on rising stretches backward his hind legs,

lengthening his body by the lowering of his spine;
then curves his neck, head bending to his chest,
and shakes his dust-filled mane.

331
 Characterizations [Sec. 35
In his muzzle the nostrils quiver
in search of grass. He whinnies softly
as with his hoof he paws the eart h. B.~~A

1167. The horse smells the earth he lies on and with his hoof-tip
paws toward him its dust.
He then collects his feet and by bending in succession knees and
hocks
he frees his body upward.
To drive from his flanks the itch
he twice or thrice rolls over on his back,
then, rising, stands a moment motionless
until he shakes himself from head to rump. [ VIKRAMA DITY A]

1168. The calves first spread their legs

and, lowering their necks with faces raised,
nuzzle the cows;
then, as with heads turned back
their mothers lick their hindquarters,
happily they take the teat and drink. [ CAKRAPA~I]

1169. As the highland hunter, bow drawn to his ear,

chases hard upon the doe, slow-running from her swollen womb,
the buck is torn two ways.
Thinking of his darling and fearing for his life,
he now looks back and now he runs ahead.

1170. The religious student carries a small and torn umbrella;

his various possessions are tied about his waist;
he has tucked bilva leaves in his topknot;
his neck is drawn, his belly frightening from its sunkenness.
Weary with much walking, he somehow stills
the pain of aching feet and goes at evening
to the brahmin's house to chop his wood.
1171. With shaking combs escaping from quick-darting beaks,
fiercely flying at one another, with throbbing necks
and hackles rising in a circle;
each wounded time and again
by the thick-driving spur as the other leaps,
the two cocks, with swift-footed, cruel attack,
fight to their hearts' content. [VARARU Cl?]

332
 l

Sec. 35] Characterizations

1172. Thick with debris of birds' nests
and sweeping with them heaps of dust,
shaking the trees, where the birds sit helpless
at the trembling of the branch,
these gales play also with the lids of cisterns:
tipping them up, making them dance
and dropping them;
then striking, knocking, prying them loose,
tossing them up and whirling them around.

1173. They charm the heart, these villages of the upper lands,
white from the saline earth that covers everything
and redolent with frying chickpeas.
From the depths of their cottages
comes the deep rumble of a heavy handmill
turning under the fair hands of a Pamara girl
in the full bloom of youth.

1174. The puff of smoke from the forest fire,

black as the shoulder of a young buffalo,
curls slightly, spreads, is broken for a moment, falls;
then gathers its power gracefully, and rising thick,
it slowly lays upon the sky
its transient ornaments.

1175. When villages are left by all but a few families

wasting under undeserved disaster
from a cruel district lord
but still clinging to ancestral lands,
villages without grass, where walls are crumbling
and the mongoose wanders through the lanes;
they yet show their deepest sadness
in a garden filled ,,"ith the cooing of gray doves.

1176. Though the door is bolted with a clumsily set plowshaft

and the frightened housewife throws whatever gear she has at
hand,
still, rather than receive
the stream of rain driven slanting by the wind,
the bull with twisted horns
forces his way into the Pamara's house.

333
 Characterizatiol1,s [Sec. 35
1177. Jumping from the corner of the house,
the frogs hop a few tiptoes forward
and then proceed with slow, bent feet,
working at something in their throat;
until, leaping upon a piece of filth ,
with half-eyes blazing and wit h mouths
wide open as a crocodile's,
they gobble up the flies.

1178. How charming are the women's songs as they husk the winter
rIce;
a music interspersed with sound of bracelets
that knock together on round arms swinging
with the bright and smoothly rising pounder;
and accompanied by the drone of hum, h~{,rn
breaking from the sharply heaving breasts . [YOGESV ARA?]

1179. He opens wide his eyes;

then squints and rubs them with his hand.
He holds it far a way, then brings it close.
He moves out into the sunlight;
then remembers he has left his ey esalve.
Thus the man far gone in age keeps looking at the book.
VARAHA

1180. On the roadbanks, where the slender panic-grass

is thick with dust, the famished bulls move slowly ,
their starving herders driving off the locusts from their backs.
The beasts can scarcely chew the grass they' ve shaken loose,
for their lungs are burnt by entering dust
stirred up by their breathing.

1181. On the field bank where the mud is shallow

the sparrows with short hops and bobbing breasts
hunt out the seeds now whitening into sprouts.
1182. Her bracelets jingle each time her graceful arm is raised
and, as her robe falls back, there peeps forth
the line of nail-marks along her breast.
Time and again with swinging necklace
she raises the shining pounder held in her soft hands.
How beautiful is the girl who husks the winter rice! VAGURA

334
Sec. 35] Characterizations
1183. With s~o w hop the sparrow circles gracefully about his hen,
tai.l up, wings lowelled, body panting with desire.
His chirping ceases from his longing for his mate,
who crouches, calling softly in increasing eagerness,
until trembling and with suddenness he treads her. SONNOKA

1184. The order of t heir ripening turns brown the mustard stalks
in the very order of their blossoming;
for as the flo wers fall, first the lower then t he higher,
the serried seedpods cling to the parts left bare.
[LI\.K~MiDHARA ]

1185. The herons, standing by the backwaters of winter streams,

present to travelers a charming sight.
First they strike downward at t heir feet,
then shake their heads, with eyes suffused with tears
by t he dancing motion of a fat fish-tail
slipping down th.eir gullet. [MADHUKA~THA]

1186. The bull shakes his sharp and spreading horns,

lowering hea d and neck;
his eyes turn slightly upward
as he strikes the ground with his hoof
and his breath comes strong and steady,
stirring the chaff upon the ground.
Then, with victory gained against the cow-pen wall
he turns against the herd. AeA LA.

1187. Close t o the forest fire, which licks at heaven,

terrible with its wreath of flames,
but keeping just ahead, the shrikes rise here and there.
Slow to move from their delight in eating locusts,
smoke-colored and hard to see from the fall of ash,
they shriek as they fly about the undergrowth,
cruel to their fellow creatures. MADHUKA~THA

1188. After the drinking of his doe, who has newly calved,
the pet deer of the hermitage drinks to his heart's content
from the warm, sweet scum of boiled rice.
With the penetrating smell of the strained-off rice and butter
there comes as delicate accompaniment
the scent of vegetables cooked with plums. BHAVABHUTI

335
 Characterizations [Sec. 35
1189. With their bees they bid sweet greeting;
they bow with their heads borne down with fruit
and they rain flowers upon me as a welcoming gift.
See, even the trees here have been taught politenes
SRi HAR$A[-DEVA]
[Verses 1190, 1192 are treated in the Notes.]
1191. The wild tribesmen honor with many a victim
the goddess Durga of the Forest
who dwells in rocks and caves,
pouring the blood to the local Genius at the tree.
Then, joined by their women at the close of day,
they alternate the gourd-Iyre's merriment
with rounds of their well-stored liquor
drunk from bilva cups. YOGESVARA

386
 Section 36

GREATNESS

1. Many of the verses of this section are allegorical epigrams

(anyapadesa) and the reader may refer to what has been said of that
type of verse in introducing Section 33. Others are simply praises of
the greatness usually of the sea, occasionally of other objects, by the use
of mythological incident and the rhetorical figure of contrast.
2. The sea is naturally rich and fortunate, for it is the birthplace of
SrI, the goddess of beauty, wealth, and good fortune (1196, 1197) and
forms the dwelling place of her and her divine spouse Vi~l).u (1199, 1204;
cf. Jntr. 6, par. 7). The magnitude of the sea is shown by contrasting
it with the land which it encircles (1l96), with the gigantic boar (cf.
Intr. 6, par. 10 if.) who sank in it out of sight when rescuing the earth
(1201), or with Mount Mainaka who flew to it for refuge (1l23, 1204,
1208).
3. The mountains of this earth, according to a myth related in
Maitriiya'lJi Sa7!1,hitii 1.10.13, once had wings, but their wings were
clipped by lndra (cf. 50, 1395). The story is expanded in later texts.
One mountain, it is said, escaped from Indra uninjured. This was
Mainaka, the son of Himalaya and Mena, who flew to the sea where he
transformed himself into a crab. Our verse 1208 furnishes a delightful
contrast between the little crab and the immensity of his surroundings.
4. As in Section 33 the submarine fire (vaif,ava, aU1"Va) is u sed to show
the sea's power (1l98, 1199, 1204). Though ever burning, the sub-
marine fire is kept within limits nor does it ever lessen the sea's volume
of water by its flames. But with verses of this sort opposite points of
view are permissible. So we are told elsewhere that the sea rather is
held in subjection by the fire (1211).
5. Once again we meet the sage Agastya (1195, 1199, 1201, etc.; see
lntr. 33, par 8). Many of the verses in which he appears are climax
verses (e.g., 1201, 1209), that is, several objects are mentioned of which
each succeeding one is greater than the preceding until Agastya is the

337
 Greatness [Sec. 36
greatest of all. But even with Agastya an opposite point of view is
possible, for now that he is canonized as the star Canopus his position is
not very high {1199}.
6. The sun is magnified in two verses (1202, 1205), and one verse each
is devoted to Space (1193) and to Parasu Rama (1203), that is, Rama
with the Ax, to be distinguished from Rama Dasarathi, the hero of the
RamayaI)a. The extraordinary adventures of Parasu Rama are related
in the Mahabharata (3.116 if.) and elsewhere. In the course of a feud
with King Kiirtavlrya Parasu Riima swore to slay all the nobility in the
world, a vow which he fulfilled twenty-one times over, for he had been
taught the art of archery by Siva. Later, Rama with the Ax gave the
whole earth to the sage Kasyapa (1203). The nobility has since been
replenished by ksatriyas who were in utero during Rama's last campaign.
One may point out verse 1207 as one of the finest of all allegorical
epIgrams.

1193. Somewhere in Space is set the universe

with here the earth, there clouds,
here oceans garlanded by continents
and there the mountain ranges.
How marvelous it is that Space should be so great
that far from being filled by all these substances
its very name allows it to be void.

1194. Behold the Sea of Milk, a cosmic lotus,

drunk constantly by clouds who visit it like bees;
its shining waves a thousand petals
with Sesa as its stem and the universe its lake.

1195. Visl)u bore the entire earth and Sesa him;

the ocean bore both Visl)u and the snake;
and yet Agastya drank it up with ease.
Indeed, there is no limit to the greatness of the great.

1196. How shall we tell the fortune of the sea,

the very birthplace of the goddess Fortune ?
Or how express its magnitude,
of whom the earth forms but an island?

338
Sec. 36] Greatness
What is its generosity, whose suppliants,
the clouds, support the earth·?
How tell its power, when by its wrath
we know the world will perish? VACASPATI

1197. From the sea the clouds take tiny portions of its water
and therewith flood the earth and fill the sky.
From the sea came the mermaid, Fortune, eyes atremble
in fear of the churning peak; whom Vii;il)U taking,
did thereby win his rule of all the world. MUNJA-RAJA?

1198. How marvelous the underwater fire!

How marvelous the blessed sea!
The mind grows dizzy thinking of their greatness.
The first keeps drinking greedily its dwelling
and yet its thirst by water is not quenched;
the other is so great it never suffers
the slightest loss of water in extent.

1199. What greatness is the sea's

that the sage who drank it dry
should now dwell upon its bank;
that the fire which burns its heart
should seem to be a wreath;
and that VisI).u, who churned it out of all its wealth,
together with the goddess Wealth herself,
should sleep in its embrace! DHARADIIARA

1200. Within Agastya must have burned digestive fire

beside which even the underwater fire
seems but a smoldering fire of chaff.
Praise to that ma w wherein the roaring ocean rolled
together with its fish and crocodiles and sharks,
yet never filled its whole capacity.

1201. The ocean wherein VisI).u incarnate as a boar,

though he had filled the sky and toppled Meru with his breath,
yet suddenly submerged, disturbing its great monsters;
that acme of all things that men call marvelous,
was drunk up none the less, nor even filled the belly
of him to whom we offer up our praise, Agastya. V.ACASPATI

339
 Greatness [Sec. 36
1202. Many are the lights of heaven which rise
and the moon itself is fair enough to beautify the world;
but except the sun there neither rises, no, nor sets
a light whose rising gives us day, whose setting, night.
[ANA DAVARDHANA?]

1203. Your birth is from the great sage J amadagni,

your teaching from the blessed bowman Siva.
Your valor, going beyond the path of words,
is manifested only by its deeds.
Your generosity extends so far
that you have given outright all the sea-girt earth.
Truly, of you who concentrate the power of brahminhood
within yourself which virtue is not superhuman? [BHAVABHUTI]

1204. Here lies Vi~l).u and here the city of his foes;
here came the mountains seeking refuge;
here lies the underwater fire and here the clouds of doomsday.
Ah, but the sea is broad and strong and capable of burdens!
[BHART~HARI COLLECTION]

1205. The splendor of the moon shines forth

only until the sun's bright disc appears,
for when that source of all our light is risen
the moon is but a small white cloud. [MADHUK -TA?]

1206. Sows bring forth ten young to every litter,

but never past nor future one to bear the world
such as was he who placed his hoof
upon the circled hoods of Se~a
and raised the earth from drowning in the sea. [VARAHA ?]

1207. Since the seas bring to fulfillment the determination

of clouds to benefit all creatures,
the clouds slake not their thirst at random,
nor is aught else, though rich in water, rich as these.

1208. How can one express the ocean's magnitude,

where Mount Mainaka once, submerging
in fear of Indra's thunderbolt, became a crab,

340
Sec. 36J Greatness
a little crab that moved upon the water
between his housewalls made of stems of seaweed
that rose in graceful growth upon the back
of a leviathan that rolled within the deep. VALLAt:/"A

1209. How great shall we call VisI,lu

in whose belly lies the universe;
how great the serpent's hood where ViSl).u lies?
And yet the serpent lies but on a portion of the sea.
But the true marvel was Agastya,
within whose single hand
the sea became a mouthful, the snake a lotus
and ViSl).u on the lotus but a bee.

1210. Were not the sea of such extent and depth;

did its compassion not include all beings;
then by the VaQ.ava fire that in it blazes
and burns its waters and sends forth flames
all beings surely would be turned to ash.

1211. Victorious is that fiery sage

who could emit the remnant water
of the sea digested in his belly
in the form of a new ocean,
and out of whose digestive fire,
as then he spewed that forth,
it seems a second underwater fire arose
to keep that ocean in subjection. SRI DASARATHA

[Verse 1212 is treated in the Notes.]

12+s.c.p. 341
 Section 37

GOOD MEN

1. The verses of this Section and the next as well as many from
Section 33 belong to that branch of literature which the Indians call
niti. Niti means worldly wisdom, the art of getting along in the world.
While worldly wisdom sometimes wears the clothes of the cynic (the
following section will furnish examples) its purpose is neither to dis-
parage the world nor to flatter it but to see it as it is. Accordingly, niti
verses dispense with elaborate ornament; they are clipped, sententious,
epigrammatic; and they include a wide range within their field of
attention, for the real world contains good as well as bad. Our an-
thologist devotes the present Section to good men, Section 38 to their
contraries.
2. The student of mankind will find it an absorbing study to observe
just what sorts of men an ancient and a foreign culture considered good.
In our anthologist's selection on good men we find certain virtues that
would claim praise in modern times just as they did in the time of the
anthologist: generosity (1243, 1252), kindliness (1228, 1236, etc.), truth
(1233, 1243), bravery (1225, 1239). But many of the anthologist's
verses express a view which is not only unmod ern , it is specifically
Indian.
3. One comes closer to the traditional Indian view by going back in
our own tradition. The good man of traditional Indian culture was
what we should call a stoic. He cares not for praise or blame (1215), he
despises fortune although he accepts its responsibilities if they fall on
him {1231}. This much is Roman. Indeed, we find one verse which
begins almost word for word with Horace's aequam memento rebus in
arduis: " They who are calm when evil falls, nor are elated by success"
(1242). This and the praise of "firmness in misfortune and in success
restraint" (1225) would please a Roman of the Golden Age. And like
the stoic's the charity of the Indian man of virtue is given from no
prompting of emotion, as with a Christian, nor hope of benefit to society,
as with other moderns, but because charity is a duty. Accordingly, he

842
Sec. 37] Good Nlen
is not disturbed to find that the recipients of his gifts are unworthy.
He gives with equal hand to right and left (1232).
4. But going backward ill our own time does not bring us quite to the
Indian ideal. Th e Indian strove to follo'w the precepts of the Bhagavad
Gild, not of Zeno or Seneca. Just as the Gild tells men to be well
disposed to all creatures (sa1·vabh1.itahite ratal;L) so our anthologist praises
men 'who ahvays cling to the good of all (sada lokahite saktal;L) (1230).
This Indian benevolence involves a kindliness, a softness, which
is quite un-Roman. The good man does not point to others'
faults (1220, 1233, 1242, etc.). Of the stoics perhaps only Rorace
would fit the type. The Indian man of virtue is easily assuaged
(1228, 1236), soft spoken (1237), his .vords are sweet as well as truthful
(1233). His heart and manner, too, are kindly (pTiya vrttii}., 1213,
1214).
5. How does one combine softness and virtue? One of our verses
answers: good men are like PU1).Q.ra sugar cane, which bends of its own
accord but breaks when another would bend it (1219). Another verse,
and one of the best (1244), leaves the matter a mystery.

1213. To ask no favors from the wicked;

to beg not from a friend whose means are small;
to be in manner kindly and correct,
in conduct spotless even at the hour of death;
to keep one's stature in misfortune
and follow in the footsteps of the great:
in these rules, though hard to travel as a sword blade,
good men require no instruction.
DHAR.. BKiRTI [BlL4.RTI;tHARI COLLECTION]

1214. To be in manner ever kindly,

in speech restrained and gentle with good breeding;
to be by nature good of heart;
to be above reproach in one's acquaintance;
to be thus and to keep
the tenor of one's way consistent,
being pure and ,;o,rithout guile:
such is the secret of good men,
which nothing else can equal. BHA VABHlr n

343
 Good Men [Sec. 37
1215. Let politicians blame or praise him,
let fortune fly or let her grant her favors,
let death come now or let it wait till doomsday,
the firm man wanders not a step from justice. B HARTI,tHARI

[Verses 1216, 1218 are treated in the Notes.]

1217. When I knew but very little

I grew mad like a rutting elephant
and in my proud heart thought
I was omniscient.
Bit by bit from consort with the wise
when I had gained somewhat of kno" ledge,
I knew myself a fool
and the madness left like fever.
BHARTI,tHARI? [ BHARTI,tHARI COLLECTIOK]

1219. Good men are like PUI)Qra sugar cane,

their hearts flowing with the sap of sweetness.
If of themselves they choose to bend,
they bend right low;
while if twisted by another who would bend them,
rather than bend they break.

1220. A fault that enters the hearts of the evil

stains like lac.
In the hearts of the good a fault, if it enters,
runs off like mercury.

1221. There are two ways for a wise man

as there are for a cluster of flowers:
he may be placed at the head of men,
or may waste away in the forest.
VYASA [BHARTI,tHARI COLLECTION]

1222. You are king; I too am high in honor

for wisdom gained from worthy masters.
Men praise you for your wealth,
while poets spread my fame throughout the world.

344
Sec. 37] Good 1J1en
Thus, granter of high honor,
there is but little difference between us;
and if you turn away from me,
know that I too am quite indifFerent.
BHART~HARI [BHART~HARI COLLECTION]

1223. The earth is bounded by the sea;

the sea's extent is but a hundred leagues.
Again, ,e ach day the traveling sun
delimits the extent of heaven.
Most things are thus enclosed
and sealed in certain bounds.
Hail, then, to the wisdom of good men
that goes beyond all limits. RAJASEKHARA

[Verse 1224 is treated in the Notes.l

1225. Firmness in misfortune and in success restraint;

skill in speech and bravery in battle;
concern for honor and a love of holy writ:
such qualities are inborn in the great.
[BlL>\'RT~HARI COLLECTION; HITOPADESA]

1226. That man is good who offers aid

to those who are in distress,
not he who shows his skill
in keeping of ill-gotten gains.

1227. True it is that virtues in this age of discord,

though earned with pain, by fate's injustice
fail to bear their fruit.
Only this fruit they bear in extra measure:
they cause the hearts of the wicked
to burn. [PU~YA]

[Verses 1228, 1230 are treated in the Notes.]

1229. They furnish shade to others

while standing in the sun themselves;
the fruit they bear is for others' sake.
Thus, good men are like trees.

345
 Good Men [Sec. 37
1231. They value good fortune as a straw,
but are humbled by its burden:
ah, how wondrous is the way
of the truly great.

1232. Flowers taken by the handful

perfume both hands.
In this they act like good men
equally to left and right. [COBHATA]

1233. Admitting the fact of others' virtue

but hiding virtue of their own;
silent over others' vices;
gentle and honorable in speech:
such is the way
that needs no teaching to the good.

1234, A good man, if even thought on,

by the wide influence of his conduct
causes amazement.
But when he comes before our very eyes
our hearts then flow with nectar.

1235. By contact with the wise, who lighten darkness

and dispel the evils of the world,
even a cruel man, leaving his wicked nature,
takes to goodness.
From the moment that a man, his thirst assuaged,
would no more drink,
the water of the ocean
no longer harms by being salt.

1236. How count those who get angry without cause?

Those who get angry when there is a cause may be counted,
for of those who do not get angry when there is a cause
the world contains but five or six.

1237. If good men were harsh of speech,

who else would be kind-spoken?
If moonbeams carried fire,
where would one find ambrosia? MA.'TGALA

346
Sec. 37] Good Men
1238. Those who feel pity for the poor ;
who hold not the slightest pride in wealth;
"ho even when t hey are tired, if asked,
are glad to help their neighbor;
who keep their reason
even when that mortal fever , youth, is at its height:
such good men, although they are but few,
are the t rue spots of beauty
that ornament t he earth. [ SABDAR~AVA]

1239. To guard their honor, not their lives;

to stand in fear of evil, not of enemies;
to seek not wealth but those who ask for wealth:
such is the nature of the great.
[Verse 1240 is treated in the Notes.]

1241. " I s he one of us or is he an outsider H _

so ask small-minded men.
Those of noble mind
take the whole world for family .
[THE PANCATA ' TRA, HITOPADESA, ETC.]

1242. They who are calm when evil falls

nor are elat ed by success;
who once they choose a friend
will not abandon him although it mean their death;
they who are modest of their qualities
but quick in praise of others:
out on the creator that he was too stingy
to give such men a thousand years of life!

1243. It is generosity that ornaments the hand;

for the head it is bowing to one's teacher's feet;
upon the lips true speech; within the ear
the faultless words of scripture;
pure conduct in the heart, and in victorious arms
brave self reliance:
such is the jewelry of the great
which needs no riches. [BHART~HARI COLLECTION ]

347
 Good Jltlen [Sec. 37
1244. Who can understand
the hearts of the truly great,
which are harder than diamonds
and softer than flowers? [BHA V ABHUTI]

1245. I think my skill not good

until it please the wise.
Even those who are well trained
may still not trust themselves. KALIDAs A

1246. Not everything is good because it is old

nor poems always bad by being new.
Good men try both before they make their choice
while the fool but takes the view of others. KALID.:\SA

1247. A good man, making it his care

to hide what's shameful, plays the robe
to him who is malicious.
?[He does so though the other foil his care
and by unraveling let holes
appear within the robe.]?

1248. Say who are these-

of the tribe of pumpkins?-
that so tender of their honor they will die
if one points a finger at them?

1249. What Siva sees not with three eyes

nor Brahma sees with eight,
what Skanda sees not with his twelve
nor Indra with his thousand;
what all the eyes in heaven and earth
together cannot see:
is seen by wise men shunning the use of eyes
in meditation. [SALIKANATHA]
[Verses 1250, 1251 are treated in the Notes.]
1252. It is by being fearful of untruth
while bidding those in fear not fear
and by eating but what guests have left
that the good man's tongue finds happiness.

348
Sec. 37] Good Nl en
1253. Though fate cut hort a good m a n ' love,
its impre ion carri es on in m en
like a b ell's reverberation. RAVIG U PTA

12* 349
 Section 38
VILLAINS

1. The present Section continues the type of niti verses found in the
preceding Section. In many ways the villain (khala) is the opposite of
the good man and his qualities the opposite of those portrayed in Section
37. Where the good man speaks well of others the villain says never a
good word of them (1302). He hates virtue (1288) and talks it down
(1266, 1274), finding the name of a vice by which to refer to each several
virtue (1273). Our poets take special note of the villain's love of
running down good poetry (1255, 1280), though one pleasing verse
(1278) suggests that poetry for all its tenderness may be proof against
attack. Where the good man helps others, the villain hurts them: his
occupation, like a rat's, is undermining his neighbor's house (1264).
He is a spreader of scandal (1268), cowardly (1292), a bully (1274, 1299).
His opposition to the good man is such that he is often called simply by
the antonym, bad or wicked (durjana, asajjana).
2. But the true villain is somewhat more than a mere negation. He
is above all a trickster (1261, 1272, etc.). He ingratiates himself with
his victim (1260, 1269, 1287) and takes pleasure (1290, 1291) in striking
down the one whose confidence he has gained or the one who has helped
him (1272,1279, 1296). The villain is never pictured as strong physically,
but his intellectual powers are formidable. Not even God can contend
against his plots {1257}.

1254. The minds of villains grow most clever

when the deed to be done is black.
The eyes of owls see form and calor
in the dark of night. [SUBANDHU]

1255. In a poem decked out with beauty

a villain looks for faults,
as in a wood of fruits and flowers
a camel looks for thorns.
LVerse 1256 is treated in the Notes.]

350
Sec. 38] Villain.s
1257. He has given us fans for a windless place,
goads for quelling an elephant's rut,
ships for crossing the boundless sea
and lamps for the coming of night.
There thus is nowhere on earth where God
has not tried to furnish us means.
But as for a means against wicked men's plots
even God's effort has failed.
[THE PANCATANTRA, THE HITOPADESA]

1258. ';Yho fears not the evil man

whose cruel malice rises without cause;
within" hose lying mouth there ever lies,
as in a snake's mouth, venom?

1259. If villains and graveyards

were only made less,
then men at last
might find happiness.

1260. Pleasing outside but black within:-

Who is not fooled by the villain
as by .ki1?~pii.ka fruit?

1261. The good are simple, honest, unpossessive.

To snare their feet there's everywhere a villain,
malicious, worldly-\vise, and selfish,
who brings forth from within himself a special thread
and weaves of it a net
as strange and tangled as a spider's web.
[Verse 1262 is trea.ted in the Notes.1
1263. It takes but little to raise him
and little to cast him down:-
Ah, how like is the villain
to the armtip of a balance. [THE PANCATANTRA]

1264. Have villains learned from rats

or rats learned from villains,
that both should know no other trade
than undermining a neighbor's house?

351
 Villains [Sec. 38
1265. Men whose hearts have been hurt by the wicked
will trust not even their family.
A child once burned by boiling milk
blows on his curds before eating. [THE HITOPADESA]

1266. Because he hates outstanding virtue

the villain makes and publishes
belittling statements of the great.
If this were not the case,
why should there then have been such hubbub made
that all the ocean formed but a mouthful on the lip,
like a half lotus-bud, of Saint Agastya? [SAN GHASRIlIlITRA]

1267. Dear friend, the villain fate is an accomplished potter,

who drives the wheel of worry with the strokes
of his potter's staff, misfortune.
He now has squeezed my heart like so much clay
and placed it on his wheel to 'whirl about.
What he will make of it at last I know not. [VIDY A?]

1268. The snake when trodden or when struck with staff

slays just that man he touches with his fang.
The slanderer, who plays the snake, outdoes him,
for touching one man's ear, he slays another.

1269. The wicked man employs pure manners

in order to deceive his friends.
Snakes, who eat the purest air,
kill others none the less. RAVIGUPTA

1270. It is beyond the reach of charms,

beyond the skill of born physicians,
beyond ambrosia's cure,
so strange and secret are its workings.
Clearly it took no less an intellect than God's
to make for the confusion of the world
a plague so contrary to nature
as is a villain.

352
Sec. 38] Villains
1271. He who first blackens his own merits by his villainy,
renouncing all the wa s of virtue:
how skillful is that villain, like an angry snake,
in poisoning the qualities of others ! GU~AKARA

1272. Ever seeking for an opening, with poison in his evil eye,
hating pure intentions, quick to anger,
hurting his protector, harming others without cause,
speaking sweetl) but to gain his end
and only happy when his 'will is done:
how should good be found in such a villain,
crooked as the coil of an angr y snake? GU~AK:\RA

1273. In the man of honor he find s coldness,

in the zealous man hypocrisy ;
in the pure, deceit; in the courageous, cruelty.
He counts the honest man a simpleton, the kindly-spoken servile,
the brilliant proud, the eloquent too talkati, e
and one unswayed by passion impotent.
Thus, of the virtuous what virtue
is by the v illain not condemned? [BHART~HARI COLLECTION]

1274. The v illain slanders worthy men and laughs at the unhappy,
hurts his friends, hates men of courage, insults the poor,
and is ever giving orders to dependents.
He opens secrets, lays the ground for quarrels
and speaks whatever would be better left unspoken,
for having given up all virtue he is quick to find a vice.
[PRAKASA VAR~A ?]

1275. To the virtuous one should render

what one most admires.
Accordingly, the villain
gives evil to the good.

1276. The villain proves most painful

to the man who flows with pity,
for a thorn pricks ever what is soft;
on what is hard it would lose its point.

353
 Villains [Sec. 38
1277. Beginning great but growing ever smaller
and beginning small but afterward increasing:
different as the shadows of fore and afternoon
are the friendships of the evil and the good.
[VACASPATI, THE PANCATANTRA, BHARTJ.tHARI COLLECTION]

1278. What connection can there be

between the villain's heart, hard as the wild date,
and songs of poets, tender as opening jasmine?
Be not amazed, but note the marvel that is told
of the moon, that with its nectared light
it brings a stone to tears.

1279. Oh blessed earth,

how can you bear so false a man as he
who does evil to a good man,
one pure of heart, his benefactor? [THE HITOPADESA]

1280. What falls in the mouth of a low man,

as water in a snake's,
though it be nectared drops of verse
turns straightway to venom.
[Verse 1281 is treated in the Notes.]
1282. The conchshell and the moon, by nature white,
were born of the same source, the Sea of Milk;
but Siva bears the moon upon his precious head
while bangle-makers cut the conch with saws.
Indeed, who is there to whom nature gives
an inner crookedness, that does not come to grief?

1283. Not judging rightly between himself and others,

he sees his own vice in his neighbor's heart.
Though they upon the bank are motionless,
a man aboard a riverboat supposes
that it is they who move.

1284. The wicked man, like fire, consumes his host,

blackens his path and burns.
But offerings to fire fall in fire
while offerings to the wicked fall in ash.

354
Sec. 38] Villains
1285. Both moon a nd wicked men
are better ,\ asting than when full.
Of both, their fullness serves to show
their spot enlarged.

1286. The talkative and frivolous prevail,

never the good in the world's opinion.
Waves ride on the ocean's top;
pearls lie deep.

1287. Delightful when formed

but bitter when broken:
friendship with rogues
ends ever in quarrel.

1288. Even though it be but small

the good man raises another's merit
as Siva raises the slender moon upon his head.
On the other hand, the man of envy
can no more brook another's merit
than the moon the beauty of day lotuses.
[Verse 1289 is treated in the Notes.]

1290. The evi.l man is saddened by that day

on which his causing grief to others
is unfulfilled; he reckons it
a blank within his life.

1291. The man of evil heart congratulates the days

which he spends in bringing grief to others
and finds in them
his chief reward in life.

1292. With kind and gentle men the wicked man

is full of pride and acts his very worst,
for he sees in them no danger.
But with one of whom he feels the slightest fear
he gladly keeps the peace and acts,
as though well-bred, with all humility. [ARYA ]SURA

355
 Villains [Sec. 38
1293. If the wicked could be held off by the good
with sweet words,
one would find it easy with pandanus pollen
to build a dyke against the sea.

1294. It seems the moon once took a villain's heart,

thinking in pride to clean it,
which though he failed to whiten
he in scorn would not give back.
I t is hence we see the moon
marked with heart so black
and hence it is the villain
has no heart at all.

1295. A friendship where one cannot act without restraint,

where one takes no joy in friendly banter
and where one friend must ever fear the other:
to such a friendship one should give wide berth. ABHINA:SDA

1296. Place not your confidence in mean men

thinking that they bear you love.
Their love is like the oil of mustard:
it brings on tears. [GOBHATA]

1297. Against an evil man,

when he blazes up in unjust anger
and speaks harsh words,
there is no antidote
but silence.

1298. Cruel and full of crookedness,

two-tongued, seeking a chance at others:
if one but sees him,
who would not start in fear?

1299. The lust of a lover without gold

finds haven in his eye.
The malice of a bully without strength
finds haven in his speech. SAT.4.NANDA

356
Sec. 38] Villains
1300. A good man's heart freezes to wood
as soon as he sees a villain.
That is ho\\ the villain's '\, ords
can cut it like sharp saws.

1301. If among a hundred men there might be found

one disinterested helper,
such is the "\ illainy of the stupid, they \\ ould find
fault with even him.

1302. The tongue in a villain's mouth

seems weighted '\, ith a stone or cursed by the sage Durvasas,
forever sealed with lac or numbed by poison,
tied with strong ropes or pierced by an iron pin;
that never can he speak a word
of others' merit. SRI DHARMADASA

1303. It is the nature of the wicked

to think ill of those who think well of others,
and in their hearts to hate those
who are gentle and polite.
Such is always, of necessity, their sentiment,
but the skillful rogue restrains himself
and utters words of praise.

357
 Section 39

POVERTY AND MISERS

1. Section 39 consists of three distinct collections: 1304- 1321 ,

characterizations of the poor in classical meters; 1322-1328, verses
abusing misers; 1329-1332, verses on the poor again but in sloka meter
and chosen chiefly for their puns.
2. Much the greatest merit attaches to the first collection. In it we
have realistic miniatures of the type found in Section 35 but of a content
here which forbids the mood of love and for the most part that of
laughter, although there is an occasional touch of grim humor {1313}.
For the most part the mood is pity.
3. In its larger works Classical Sanskrit forbids tragedy. \Vhile pity
may be exemplified in the course of a play or story, the plot must come
to a happy conclusion. Lovers must be reunited, merchants must
regain their wealth. On the stage one may not even represent at all the
revolt of a kingdom or province (DR. 3.34). This prohibition of tragedy
is the one crippling restriction from which Sanskrit literature suffers and
one may be thankful for those single verses of pity which to some extent
compensate for the loss. Such are the verses of the first collection
which follows. We have the penniless travel er, shivering in the winter
wind (1304, 1305, 1316), the poor householder {1306, 1308, 1310, etc.}
and especially his suffering wife (1311, 1312, 1313) and starving children
(1309, 1314, 1320). The verses on children and on their parents'
terrified concern for them (1311, 1320) are moving. Sanskrit literature
in all its moods shows a love for children, a love which sees children
not as small adults, as Catullus saw little Torquatus suo similis patri,
but as children are.
4. The plays or longer works from which many of the following
verses must have been taken doubtless adhered to the rule of happy
endings. But some of the verses cannot be part of a larger work, e.g.,
1314, which is a little melodrama in itself. Again, 1321, to which I
know of no parallel for bitterness, could scarcely be joined with a mood
other than despair.

358
Sec. 39J Poverty and ltlisers
5. Of the collection on misers little need be said. The verses are in
the sharp, closely pruned style of abuse which one will find used for the
same subject in other anthologies. The style has been also employed
against money-lenders, clerks, doctors, and revenue agents.
6. The puns of the final group are rather poor fare.

1304. The travel er at daybreak, the corners of his coughing mouth

dripping as the teardrops fall, somehow imparts
some motion to his crooked shanks. Beset by age,
with shaking knees and seizing in his fist his staff,
he rises painfully, his ancient clout
splitting at the crease between his buttocks.
With scorched rags to serve against the bitter wind,
he sets out falteringly on his way. B.A~A

1305. At evening having warmed himself to heart's content

before the public fire nor minded how he scorched his rags,
he then lies down to sleep on straw within the village shrine.
But the wind blows wet with sleet. His shivering
soon ,vakes him, for his half a cloak
is old and cold and full of holes. He moans,
huddling from one corner to the next.

1306. Somehow, my wife, you must keep us and the children

alive until the summer months are over.
The rains will come then, making gourds and pumpkins grow
aplenty
and we shall fare like kings. DH.ARA~iDHARA

1307. The children starving, looking like so many corpses,

the relative who spurns me, the waterpot
patched up with lac,-these do not hurt so much
as seeing the woman from next door, annoyed
and smiling scornfully when every day my wife
must beg a needle to mend her tattered dress.

1308. The crying children with their little leaf cups

stand before their father, daughter-in-law stands back,
the wife stands in the center, skillful at division.

359
 Poverty and 7.Yl isers [Sec. 39
Then with the food so hardly won
and wrapped up in a loincloth
the morning offering is made before the sun
whose circle is as red as minium.

1309. In wintertime the children of the poor,

wearing old and dirty tatters on their shoulders,
bodies quivering with gooseflesh, fight to get
a spot of warmth along the sun-streaked wall.

1310. The same room serves for kitchen and for husking shed,
for storehouse, children, and for his bedroom too.
The impoverished father has endured all this;
but how describe his state when now in the same room
his groaning wife will bear a child this day or next? [v.u N ATEYAl

1311. "Today we barely got the children food;

how will we ever do tomorrow?"
The poor man's wife keeps worrying
and with cheeks darkened by her falling tears
takes no joy in the evening's rest from work.

1312. When the rain pours down on the decrepit house

she dries the flooded barley grits
and quiets the yelling children;
she bails out water with a potsherd
and saves the bedding straw.
With a broken winnowing basket on her head
the poor man's wife is busy everywhere. YOG E SVARA

1313. When it comes to darning tattered clothes

I am world champion.
I am also expert at the art
of dealing out cheap food in modest quantity.
I am a wife. VIRA?

1314. "Come, little one, weep not so long to see the other boys
in their fine dress. Your father too will come,
bringing a jeweled necklace and a suit of clothes."

360
Sec. 39] Pove'rty and ltlisers
Close by the wall a penniless traveler stood
and heard the mother's words. Sighing and with tears
upon his lo'wered face he left his land again.

1315. "A pumpkin vine will put forth fruit unceasingly

if watered with gold water." So many said
who wished me well and I would fain believe them.
I begged some from a certain rich man's house
and brought it slowly home. But on the way
it leaked out through the bottom of the broken jug.

1316. "Have pity on me, saintly mother, on a weary stranger.

I'll be quiet in some little corner by the gate,
just to pass the night." But the traveler, put to shame
by the silence of the matron's angry face,
shoulders the bundle of straw that forms his only wealth
and slowly goes his way. [RAVIGUPTA? SATANANDA?]

1317. Father and son take each a horn, the grandparents the flanks,
the mother takes the tail, the children each a foot
and the son's wife pushes on the dewlap.
One sick old ox is all the wealth that fate has left the family;
and now he's down, they're all in tears to pull him up.

1318. Naked as I am
my skin must play the cloak,
a cloak well furred with gooseflesh
raised by the cold wind.

1319. A poor man's body

would soon break,
did the ropes of daydreams
l
not bind it tight.

1320. Often the pauper's children go to others' houses.

With their little hands leaning against the doorways,
hungry, but with voices hushed by shame,
they cast half glances at those who eat within.

361
 P ove1'ty and Misers [Sec. 39
1321. You gave me feet to tire of travel,
a wife to leave me, a voice for begging
and a body for decrepitude.
If you never are ashamed, oh God,
do you not at last grow weary of your gifts? [R.~JASEKHARA ?]

[Verse 1322 is treated in the Notes.]

1323. Better a dead man than a miser,
for their difference is great.
A relative will not speak the former's name
but no one will the latter's.

1324. Poverty serves well to hide

a miser's stinginess;
but wealth is a high-pitched drum
to tell the world his vice. VY.:\SA

1325. A miser though he lives

gives no more than the dead.
The dead in fact do better:
at least they fatten crows. KAVIRAJA

1326. The fruit of wealth does not last long;

that much is certain.
So he who thinks to keep it and keep it for himself
is a fool indeed. RISUKA

[Verse 1327 is treated in the Notes.]

1328. Give up your useless asking, traveler.

You must be newly come and do not know
that this is the house of such a miser
not even the crows come near it.

1329. Why did He who created sleep

to come over our eyes when the sun goes down
not also arrange it that death
should come over men when their wealth is gone?

[Verses 1330, 1331, 1332 are treated in the Notes.]

362
 Section 40

SUBSTANTIATIONS (ARTHANTARANY;ISA)

1. Substantiation, by which term I have rendered arthantaranyiisa, is

the name of a figure of poetry which all Sanskrit works on poetics define.
One of the oldest and simplest definitions is DaQ.Qin's. Substantiation
is where "upon t he mention of one thing there is mention of another
which is able to prove the first" (Kiiv. 2.169). DaQ-Qin and in greater
detail later authors (e.g., sa. 10.61 ff.) go on to speak of several varieties
of the figure. A particular instance may be ' proved,' i.e., substantiated,
by a general truth, usually a proverb (cf. 1336, 1343, etc.); a general state-
ment may be substantiated by a particular instance (cf. 1342, 1354); the
substantiation may be achieved b y a contrary, either stated or implied
(cf. 1349); and so on. Reference to the verses noted will show the
reader what is meant. The first type is the basic form, the second being
merely its reversal and the others variations on it. What chiefly strikes
the reader in most substantiations is the proverb. The' proof,' whether
proverb or instance, always follows and is usually given in the last
line although it is sometimes expanded to the last two lines of the verse.
2. There exists no collection of Sanskrit proverbs as such. Indeed, a
collection of Sanskrit proverbs would soon attain a size that no book
could hold, for it is consonant with the Sanskrit preference for the general
over the particular, for the type over the individual, that it should use
proverbs very ·widely. The use, however, differs from one class of works
to another. In narrative works the proverb is subordinated to the
matter in hand and serves as a sort of look-out to which the reader is
brought at intervals in order to see the characters and events of the
story in their general setting. A writer like Somadeva is a master of
this gentle use of wisdom and his proverbial statements, though always
restrained, give to his stories much of their charm.
3. In sententious poetry, on the other hand, the proverb or general
statement of truth comes to be the main thing, that on which the whole
effect of the verse depends and to which the particulars form only a
background. Such is the case with the verses of the present section.

363
 Substantiations (Arthantaranyasa) [Sec. 40
4. In the following substantiations one will find themes well known in
English: familiarity breeds contempt (1360), there's no accounting for
tastes (1354), it's clothes that make the man (1340), one slip leads to
another (1353), once cheated twice shy (1355). One will also find
proverbial statements that are less familiar (1333, 1339, 1361, 1378).
One may remark on the bitterness of some of the proverbs, especially
those on fate and on the meanness of men: "if anything is good fate
cuts it short" (1339), "the unlucky man finds disaster wherever he goes"
(1343, 1351), and on meanness" what has the lotus done that frost
should kill it?" (1358). But bitterness and discouragement have not
destroyed an admiration for hard work (1348, 1352) and magnanimity
(1372, 1373, 1379). The favorite subjects of these substantiations are
fate (1334, 1339, 1344, etc.) and mankind. Of types of men we have
the good (1345, 1348, 1352, etc.), the great (1368, 1372, etc.), the man of
character as opposed to the man of birth (1336, 1341, 1342, etc.), the
bad (1358, 1363, 1364), the unlucky (1343, 1350, 1351), the wise and
foolish (1356), the worthy and the worthless (1369).
5. In the particular instances of these substantiations we meet again
several of the characters treated in the section of allegorical epigrams
(see Intr. 33): the cloud (1362, 1379), the cataka bird (1362, 1377), the
sage Agastya (1341, 1346). And just as the allegorical epigram can
sometimes develop into a compressed fable, so here. Verse 1355
actually comes from a collection of fables; verses 1334, 1343, 1351, and
1369 could fit just as appropriately in such a source.
6. The virtue of proverbs is that they are true; their fault is that they
may be so true that they are dull. These substantiations are seldom
dull (perhaps 1347, 1356). Several are amusing (e.g., 1335, 1367) and
all of them show a striking diction and admirable brevity. One of the
finest verses in the section, though, is not a substantiation but a stranger
(1359). brought in I suppose by influence of the other verses on fate.

1333. The waters of the Jumna are as dark

as full blown sapphires. Who would find
a snake therein the color of black ointment,
if the jewels of his curving hood,
as bright as stars, did not show the way?
The qualities that lead a man to glory
may lead him also to his fall.
1334. A rat, driven by hunger, gnawed a hole one night
into a box which held a snake.

364
Sec. 40] Substantiation,s (Al'th an tal'an yasa)
The snake, curled up and fainting from confinement,
swallowed the rat and, by the meal revived,
slipped quickly through the hole to freedom.
Be not surprised. Fate works by contradictions,
saving the one just as it spills the other.
[BHART~HARI COLLECTION]

1335. The lady Earth, for whom so many kings

give up their precious lives in enmity,
is she who drinks their blood when slain. So ever
a woman, enjoyed by many men, turns bad.

1336. The sun has but one wheel to his car

and only snakes to rein his seven steeds;
his path affords no foothold
and his coachman has no feet;
yet here he travels every day
to the endless ends of heaven.
Success with men of greatness comes
from strength of character, not aid. VAGISVARA?

1337. How did Raval.la not see the crime

in stealing of another's wife,
or Rama fail to understand
the golden deer could not be real?
How could Yuddhi~thira the great
not know the vice of gambling?
Men's minds are often weakened just before disaster
and so their judgment fails. [THE PANCATANTRA]

[Verse 1338 is treated in the Notes.]

1339. Days grow short in winter

while summer nights grow less.
These two examples show that fate
cuts short whatever thing is good.

1340. Ocean gave his daughter to Vi!>l.lu of the yellow robe

and gave his poison to Siva who went naked.
Say which of them had greater merit;
yet people always honor men according to their clothes.

365
 Substantiations (Arthantarany asa) [Sec. 40
1341. What benefits a man a noble birth
when by one's own ability one reaches fame ?
A jug is not enough to drain a well,
but one born of a jug drank up the sea .

1342. One should describe a man precisely as he is

nor heed the blame or merit of his place of birth.
Who would praise kiilakuta poison, born of Ocean
or scorn the lotus which is born of mud?

1343. A bald man suffering from the sun's rays on his head
sought out the sun-dispelling shade beneath a bilva tree,
whereat a bilva fruit fell down and cracked his skull.
,"Vherever the luckless goes he finds calamity.
[BHARTJ.tHARI COLLECTION]
[Verse 1344 is treated in the Notes.]
1345. The truly gracious ask no title of relationship,
but meet their guest with natural love.
Are mangoes so related to the southern wind
that on receiving it they should rejoice in every branch?

1346. It is superior deeds that win a man his eminence,

nor is his family cause of his nobility.
Vatapi's foe was born but from a jug
and yet with ease he drank up all the sea. [RAJ ASEKHARA]

1347. The thirsting antelope pursuing a mirage

across the burning highlands, though weary, neither rests
nor knowing false from true seeks other water.
So hope misplaced bears never fruit,
but only ends in grief.

1348. Does the tortoise feel no pain of weight

that he casts not Earth from off his back?
Or does the Illuminer of Day not tire
that he should never rest from motion?
Rather, a praiseworthy man would be ashamed
to give up meanly his appointed task.
The most sacred oath a good man keeps
is to fulfill his promise. [VISAKHADATTA]

366
Sec. 40] Substantiations (Arthantaranyasa)
1349. Some men of pure intent are so by nature;
not consort with the good nor noble birth are cause.
The kiilakuta poison, born from the Sea of Milk
and held in Siva's throat, has never left its blackness.

1350. His clothes a leather cloth, his ornament a skull,

his livelihood by begging and his only wealth
a bull not even good for plowing.
It was hearing such of Siva that the Ganges
turned from him and betook herself to Ocean, lord of gems.
Alas, the man who suffers poverty
will be abandoned even by his wife.

1351. From a fisherman's hands a fish escaped

only to fall within a net;
from which the poor fish slipped again,
but was swallowed by a heron.
When fate is set against a man
there is no end to his disasters.

1352. The draft ox does not paw the ground

nor bellow much nor even when seeing his master
to be a cruel man grow angry. He bears the yoke
with patience, raising not his neck.
So good men in this world excel the rest
by aptitude for labor.

1353. The Ganges falls from Siva's head to the Snowy Mount,
from that high peak to earth and from the earth to ocean.
So we, however far we go, go down and down,
for those who miss the first step fall a hundred times.

1354. Where and why go the motions of the heart

and what care they for good or ill?
The Ganges scorns the highborn mount
and takes herself to the lowborn sea.

1355. The silly goose, seeking for lily stems at night,

bit many a star's reflection in the pool;
and now by day refuses the shining buds
fearing they be the stars. Thus people cheated once
grow timid and see false in what is true. [THE HITOPADESA]

367
 Substantiations (Arthantaran~ a a) [ ec. 40
1356. Only fools and not the wise
love what they cannot have.
Who but a child seeks to grasp
the moon as it shines in water ? [ RA VI G PTA]

1357. The good abandon not the man who love them
although he have no merit.
The moon both full and when it wanes
preserves its spot.

1358. A mean man ever hurts a good

though the good has done no harm.
What harm has the lotus done
that frost should kill it?

1359. He bent the bow of Siva. As a child he slew

the Hero of the Ax. To keep his father's word
he abandoned all the earth. Later, he bound the sea
and slew ten-headed RavaI:1a. But why describe
these deeds of Rama? Paint, rather, Destiny,
whose universal might has turned even Rama into dust.
[RA N M..~N~ATAKA)

1360. Men bow before the new moon as it rises,

not the old.
Siva bears on his head the lady Ganges,
not his wife.
Vi~ilu the Lord makes love to shepherd girls,
leaving his Queen of Beauty.
Thus men do hate the good that grows familiar
and yearn for what is new.

1361. Knowledge is a seed which bears tranquillity.

Of him who hopes for wealth from it instead
the effort will prove vain. And what is strange in this?
All things have fixed results nor alter from their kind;
a grain of rice will never send up barley.
[ SILHA~A COLLECTION]

368
Sec. 40] Substantiations (Arthantaranyasa)
1362. The thirst) ctilakas cry often to a cloud
and clouds forthwith do send them streams of rain.
You wonder wha.t are clouds to birds or birds to clouds? Just
this:
that there is nothing suppliants may not request
and nothing that the truly great refuse to give. AMARASI~'IHA

[Verses 1363, 1365 , 1366 are treated in the Notes.]

1364. Wh) does the moon not shine? Why has it lost its fullness?
'Vhy do its rays no more delight our sight?
Alas, the moon, fallen in Rahu's mouth, is gone.
You see how true it is that those who have no heart
care not a straw about the virtues of the good. AT U LA

1367. The Great Lord bears upon his head the moon,
crooked, cold and wasting;
and at his ear the king of snakes
skilled at harming others;
while the bull Nandin, treasure-house of merit,
must wait outside the door. But why cry out?
A lord is never very bright
in choosing objects of his favor.

1368. Had RavaQa not stolen Rama's wife,

where then had been the sea, the bridge,
the '\ ictor) at Lailka ? Had the foe
not given Partha insult, where had been
the discipline that won the arms of heaven?
It thus is ever enemies who make
the greatness of a famous man.

1369. Oysters, they say, once came up from the sea

and on the shore were burned by forest fire;
the pearls, picked up by merchants, rea.ched the royal crown.
Thus, leaving home will bring a worthless man to grief,
but worth) men, whose merit recommends them,
by leaving home may come to great distinction.

1370. The moon, man 's dearest friend, who brings cool bliss
to all the world, master of arts, the beautiful,
propitious jar to serve 10\ e's ritual,

369
 Substantiati0n3 (Arthintaranyasa) [Sec. 40
source of ambrosia. jewel of Siva's crown,
this very moon must set. Alas,
the ways of fate by nature are unjust.

1371. This laziness of thinking that our foes

are far removed forebodes us ill,
for we still should keep our watch against them.
Jari.sa.ndha broke the power
of Krishna and his brother; yet, was this
a cause that Bhima, their dear friend,
in after times should not slay him ~
[Verse 1372 is treated in the Notes.]
1373. The moon makes white the darkened sky
yet whitens not its own dark spot.
Not, as for those whose hearts are set on profit.
is selfish effort for the great.

1374. The wise man takes the right and leaves the wrong,
for such discrimination is natural to the great.
Mix milk and water; yet the wild goose
will sunder them to drink the milk and leave the water.

1375. One born to hardship in his place and station

does well enough to keep himself alive.
If its roots are btmled by desert sands
will the champak think to blossom? YlDY.!

1376. The sun, his body swallowed by eclipse,

still wakes the grove of lotuses at dawn.
The great hold to the task theytve undertaken,
even in adversity. VALLA:t-1A

1377. Though he gain much from obeisance

a wise man takes no joy therein.
The cdtaka gets but little water,
but he never bends his neck. VALLA~A.

1378. Who would be happy with money

just sufficient for his needs'!
Who would not tremble with a foothold
just sufficient for his feet?

370
Sec. 40] Substamiations (Arthantaranyasa)
1379. See yonder cloud
who travels to the salty sea,
endures the buffets of the winds
and is even torn to shreds;
who still pours forth for all the earth
the water he has gained at such a price.
He does not set himself as judge of good or bad
who falls in love with charity. V.ALLA~.A

1380. He darkens the moon's splendor, breaks up the hosts of stars,

scatters his hot flame and wilts the lily grove.
'Tis true that every day the sun sinks in the west;
still, what does he not do when bursting with new wealth?
KAVIRAJA.

371
 Section 41
FLATTERY OF KINGS

1. For general remarks on the nature of the Sanskrit panegyric the

reader may refer back to what has been said in introducing Section 82.
The present Section offers somewhat more variety of subject matter,
but the poets still concentrate on brilliance and subtlety of style.
It is extraordinary what differences of effect they can achieve simply
by a change of style. One may compare the magnificent, cold pomp
of the opening two verses (1381, 1882) with the warm sentiment of
loyalty expressed in 1892 and with the light playfulness of 1418 (see
notes).
2. The king is flattered by praise of his person (1459), his army
(1881, 1882, etc.), his weapons (1383, 1408, etc.), or by praise of such
virtues as his valor (1426, 1457), his piety (1455), and most especially
his generosity (1390, 1394, 1487, 1448-1450, etc.). It was the last
virtue, of course, that the poet was most anxious to excite.
3. Hyperbole abounds (1389, 1404, 1408, etc.). Frequently it attains
what are literally cosmic proportions: the king or his army are so magni-
fied as to alter the structure of the universe. The dust of the king's
troops blinds the solar charioteer so that the sun wanders astray and the
day cannot end (1447). The earth is weighed down by the king's host,
paining the serpent who is the immediate support of the earth and
affecting even the tortoise at its very foundation (1427). Or the king's
valor is likened to a lamp the particulars of which furnish an outline
of the cosmos (1457). Beside hyperbole one finds contrast (1890, 1894)
and various systems of linked imagery for which Western rhetoric has
no separate names: miiliidipaka (chained lamps) 1407, 1428ab; ektivali
(single-strand necklace) 1889; yathiisa1Jlkhya (orderly succession) 1488.
4. One may take special note of the verses on the king's foe. Although
they run in set patterns like the other verses of the section, many of them
achieve a strong poetic effect even on the modem reader. They are
cruel verses, unabashedly so; but their cruelty is combined with a
mastery of mood and suggestion. The royal enemy himself is seldom

372
Sec. 41] Flattery of Kings
pictured (1899). The verses concentrate rather on his ladies, camped in
a forest (1428. 1441) or degraded to the state of common women (1400).
his child begging fruit from women of the jungle (1451)~ his palace and
city deserted (1401 , 1409, 1412). The poet often speaks of the tears of
the foe's wife, but that is not enough. He finds rhetorical tricks by
which to degrade her. Consider verse 1405. The first three lines give
an almost loving description of the beauties of the foe's harim in their
forest poverty. The fourth line is a swift, bitter stroke of ridicule.
Similar are such turnabout verses as 1428, 1441. The verses on the
palace and city of the foe are especially skillful. They conjure up in a
few miniature strokes a mood of complete desolation (1401, 1409).
The means are small: a sleeping beast, hunters~ a snake; the effect is
great.
5. Finally, one may speak of the punning verses, of which the present
section contains a higher percentage than any other of the anthology.
I have buried these verses in the notes, where the non-Sanskritist may
avoid them. But the Sanskritist will find many of them enjoyable.
in the first place for their ingenuity and the test they make of his
knowledge of the language. The pun simple occurs only seldom
(1895, 1418). Complex puns or garlands of puns abound (1886, 1887,
1392, 1898, etc.). The most complicated of all are the sentence puns
(e.g., 1460), where one obtains different statements by different divisions
of the words. But several of these punning verses (e.g., 1387, 1392,
1410) are better than exercises in ingenuity; they achieve the true
purpose of Sanskrit punning, the strengthening or enlargement of one
notion by another, with which it could never be so effectively combined
as m a pun.

1381. Oh King Kamboja, when your victorious army marches forth,

from the flood of dust raised by the hoofs of Mghan steeds
and spreading to kiss the sky
the horses of the sun seem decked with rouge
and the lotuses that grow in heaven's stream
anticipate the closing of their sunset sleep. [VASUKALPA]

1382. At the setting forth of your machinery of war

the sky is filled with flying minium
scattered by the incessant flapping of their ears
from the temples of your hosts of elephants.

18+8.c.P. 878
,.

FlattenJ of Kings [Sec. 41

From this the sun's rays, having, though at noon, assumed
the hue of flowers of the coral tree, bring f~r
to sheldrakes' eyes who doubt the sunset hour is come.

1383. Your brightly flashing sword, oh Yuddhamalla,

the hue of waterlily, smoothly dark
and longer than a sidelong glance of Sri,
seems in this rain, of which the pure white flood
is but the glory of contending kings,
to be a mighty sapphire which a jeweler tests in milk.

1384. The elephants of heaven, using their trunks as pens

and drawing for their ink on the ichor of their cheeks,
have written in the toddypalms, Sri Candradeva,
that grow upon your shore, the paean of your triumph .
•O\BHlNANDA

[Verses 1385, 1386, 1387 are treated in the Notes.]

1388. 'Tis true that Narada delights the king of gods
by his recital of your fame; but from the wreath
made of the flowers of paradise, which you have won,
the buzzing of the bees comes sharp upon the ear;
or if the nymphs who stand about you drive them off
by waving of their brilliant whisks, the jingling bracelets
upon their graceful arms do make him hard to hear.

1389. The earth is but an island in the sea; the sea

was once a mouthful for a sage, a living marvel,
but whose body now is scarce seen in the sky.
Your fame, oh king, has swallowed up that sky
and gone in quest of rest to all the universe.
The universe is held in Vi~l)u; Vi~l)u, though, is held
within your heart. Indeed, you are the worthiest of praise.
TATJLiGATADAsA

1390. Those learned brahmins, who once, destitute,

would see the winds blow open their leaf huts
and strew their yard with opened balls of cotton,
now by your graciousness reside in palaces
whose grounds are strewn with pearls from necklaces
broken by damsels in their amorous jousting. SUBuMwA.

874
Sec. 41] Flattery of Kings
1391. Victorious for ever is the dust of your lotus feet,
twin to a magic powder for control of Fortune,
for on the forehead of those men who gain it by obeisance
it wipes away the syllables which fate has writ. ABHJNANDA

1392. Master of art, be you the moon to wax and wane

and we shall be the seas;
or, source of all restraint, be you the sea
and we the clouds you form.
Fulfiller of our hope, be you a cloud that fills the sky,
and so we grow as trees;
or, if a tree, oh fair one on the path of righteousness,
we come as travelers to your shade. DAK~A

[Verses 1393, 1895 are treated in the Notes.]

1394. Where once in their houses one scarce could hear
for noise of shells and pots and spindles,
now by your graciousness, oh lord, is heard
from softvoiced maids the sound of lyres increased
by jingling bracelets as the hands and fingers
move to strike successive notes. [BHASOKA]

1396. Oh king, this be your praise within our hearts

that choose whatever text you wish,
no place of pilgrimage does magnify
a man as does your sword. Whatever foe,
wishing to purify himself, submits thereto,
is first made two, and next made five
(I speak of elements), and then upraised
to join in paradise the thirty-three.

1397. "To you who to my shore have conquered all the earth
1 have already given my pearls and other gems
and now am left a bankrupt." So speaks the sea at dawn
and, raising up its waves for arms, it brings you
the rising sun for heated ax to test its truth. VASUKALPA

1398. The trees that grow upon the desert send their greeting,
saying, "May you win new lands [~in Khandesh province~],
since by your grace, King Muiija, we rejoice .

375
 Flattery of .K ings [Sec. 41
in soil made muddy by the streams of tears
which flow as though from irrigation trenches from the eyes
of Varac;la wives whose men you have defeated.

1399. He embraces with his arms a nude and slender bodYt

unjeweled, with wounded lower lip,
sharp of breath, low-voiced and trembling,
as if a loving mistress. But no, it is himself;
for thus your foe lies low in winter,
hugging himself against the icy winds.
[Verse 1400 is treated in the Notes.]
1401. In the long-deserted city of your foes
a helpless frog, turned yellow with the monsoon rains,
is swallowed head first, feet protruding
by a snake as dark as lampblack. Now comes by
a silly hunter's wife, who stretches forth her hand,
thinking the snake a golden-hilted sword. [cmTTAPA]

1402. Sricandra, you did not uncross your legs

nor raise yourself from off the lion throne
nor move the creeper of your eyebrow, black
as were a line of smoke from anger's fire.
You but let the luster of those royal crowns,
that scatter heaps of shining rays,
expend their splendor on your lotus feet. SUVI:NiTA
LVerse 1403 is treated in the Notes.]
1404. If you not hold hyperbole against me
nor think my story nonsense, I shall speak;
for whose tongue does not itch to tell of marvels!
The seven seas were first evaporated
by flames from the fire of your victorious valor,
but since have been replenished by the tears
that flow forth from the women of your foes.

1405. Your enemy's harim has nothing left for earrings

but palmleaf ornaments; for garlands they wear wildflowers
and clothe their swelling loins with birchbark from the woods;

376
Sec. 41] Flattery of Kings
their breasts they ornament with liquid mineral
found on the Vindhya slope. And thus they spend the days
playing with baby monkeys in their laps.

1406. From pressure of the earth, which bent beneath the weight
of elephants advancing in your army's van,
the coils of earth's supporting serpent ~ere compressed
and a river formed of their exuded brine;
whereat the serpent damsels of the underworld,
twisting in graceful watersports within that stream,
by reason that their hoods hold jeweled filaments
did make a wealth of lotuses appear therein. GANGADIlARA

1407. Hear, king, when on the battlefield you drew your bow,
what noble actors there attained their several ends.
Your bow attained its arrow, it your foeman's head,
his head the earth, the earth you as its master,
you spotless fame, and that fame the universe.
SA¥GR..UIANG~A? VALLA.J:iTA?

1408. What need of arrows, lord,

well-fitted though they be,
to conquer the three worlds?
What king of earth can bear
the mere twanging of that string
which when Indra hears on high,
fearing to meet the challenge
he looks aside in shame
and softly drops his bow? NAHILLA

1409. In wintertime, oh hero, by the gateway

of your enemy's late capital, a bear
lies sleeping, body curled up in a circle,
for he has tucked his snout deep in his lap.
And there at morning, as it gladly opens,
roused by some pleaSure of a dream, the hunters
observe a single eye, red as a spark
left burning in the ashes of- their fire.
[Verse 1..10 is treated in the Notes.]

877
 Fla.ttery of Kings [Sec. 41
1411. Naray~a, relaxing from his task
of shepherding the world, relied on your activity.
which nought can equal. for your strength of arm
has proved its wonder by the ease with which it gave
to even Indra his security.
Narayal,la then sighed with inner satisfaction,
a sigh of cool, sweet-smelling breezes,
which breezes, swallowed by the god's supporting snake,
puffed up its coils with breath and so have furnished
the god a smooth and pleasant couch for sleep. [MuRlm]

1412. "My little 'TTUidhavi!" "Father champak! "

~'Mango, my child!" "Friend jasmine vine I"
"Oh mother madayanti, oh brother amaranth!"
"Alas, my little sister jasmine! "
Such are the cries one hears at night
in the palace grounds where lived your foes,
as the tree nymphs of the gardens run about
in fright of the destruction done by apes.

1413. Indra, leave your bolt! And blessed Siva,

what need you now your trident?
Vi~u, drop your discus ! Yea, the immortal gods
may lay aside their weapons all.
See where King Bhima, scourge of foreign troops,
has raised his mighty arm, well skilled
in breaking up the ranks of strongest foes,
to take upon himself the yoke of universal rule.

1414. Celebrant priest of the annihjlation

of all your enemies' fine arts of war I
Your shafts are seen as thick and bright as sunbeams
shot against your foe. They might indeed be glances
cast sidelong by the nymphs of heaven gathered,
eager for sport of gazing on your battlefield,
glances as flashing as the jeweled necklaces
which they restrain within their hands. MANJU8ahnTRA

1415. Serpent maidens sing your praise on hills beside the sea,
slowly swaying heads made heavy by their gems.

878
Sec. 41] Flattery of Kings
The thrill of pleasure so stiftly swells their skin
that the flooding sweat of passion cannot issue forth.
Sweet is their song from syllables made indistinct
by double tongues which fill their serpent mouths. MURARI

1416. Oh Kal'Qa of this latter age, all victory be

to the dust of your feet, which overcomes that other dust
which writhing termite-ants of poverty
have gnawed within the tree that is the world;
or call it pollen from the lotus seat of Fortune;
or sand banks of the stream of moonlight
formed of the gems within the diadems of kings. v ALLA~A
[Verses 14017-14.19. 1421, 14022 are treated in the Notes.]
1420. In saying that you always give your all
the wise have falsely praised you.
To your foe you never gave your back
nor your breast have given to another's wife. ViRYAMITRA

1423. They catch his women's skirts, embrace them tight,

seize them by the hair and wound their lips,
scratch their breasts even until they bleed,
and this before the monarch of Kalinga's face;
for now in his defeat the forest trees
play all the tricks of lechers with his wives. VASUKALPA

1424. I wonder how these solar rays

which dry the deepest lake till only mud is left
have been defeated in their work of stanching
the teardrops of the women of your foes. [VASUKALPA?]

1425. Whenas your troops oppress the king of serpents

that from his every hood in steady streams
the sparkling foam descends;
the circle of the earth, oh master of that circle,
then looks to all the subterranean tribe of snakes
as though one thousand and one columns held it up.
. [VASUKALPA]

1426. Able to weary S~, hide the four directions,

crush mountains and with their dust
fill up the streams till they besiege high heaven;

379
 Flattery of Kings [Sec. 41
able to cause the outcry" run" and" run " again
along the battle line:- Your army, lord,
is able to do this; but only your two arms can win the world.
VASUKALPA

1427. Oh monarch, as your army 's weight bows down the earth,
the serpent stiffens up his body to support it,
thick spittle falling from his hundred heads
and mixing with expectorated venom.
The tortoise, who supports the whole, looks up
and sees that king of snakes as if it were
a many-columned banyan tree with cobra jewels for fruit,
which stands upon a crossroad of his own wide-spreading back.

1428. Water turns to mud and mud turns into dust;

the dust, whipped up by flapping of the ears of elephants,
becomes a mist on the horizon. Mountains bow down low
and plains are turned to hills; cities grow deserted.
Oh Rajyapala, protector of the kingdom,
when you march forth earth turns against her nature.
MAHODADHI

[Verses 1429, 1430, 1432 are treated in the Notes.]

1431. When the terrible King Bhima marches forth,

the cloud of his flashing sword quenching his foemen's fire,
ye kings of all the earth must take forthwith
to servitude or to the four directions;
if not, the vultures will be swift to seize your heads
pierced by arrows from the bow he holds in battle
and lift them lightly off to heaven.
VASUKALPA

1433. "From the time he came of age

we have raised him to the highest place,
but now this prince has grown embarrassed
to hear us talk."
Hurt by this, your old retainers,
that is, your virtues, using for staff their fame,
have entered into penance groves
beside the distant sea.

380
Sec. 41 ] Flattery of K i n,gs
1434. The brea ts of ~ our enem y 's wives
eem to pract ise penance.
Forgoing their feasts of necklace!'
and having bathed i.n tears,
they sit right next the fire
of their hearts' grief.

1435. The sprout grew at my firs t resolve

and formed its leaflets a~ I left;
the twigs upon my journey grew,
the mighty branches a~ I reached the town.
The buds appeared at morning audience,
and now that your Majesty is seen,
this tree of my true heart's desire
has flowered and has borne its fruit. [CHITTAPA]

[' er-se 1436 is treated in the Notes.]

1437. 'Vhen y ou begin bestowing wealth upon the poor,
oh Vikrama-vardhana, I know that the deep sea,
now heaped with gems, will like the River Son
be covered soon" ith only stones;
and that:Mount RohaI;la, whose belly swells
'with precious jewels, will in a day or two,
like to a ripened pomegranate, have spit all out. [1;>IMBOKA]

1438. A wonder it is that being one

you d'well in the hearts of three:
To enemies, to scholars, and to women,
by your bravery, humility, and grace
you bring severally their suffering, their affection, and their love.

1439. Oh Majesty, I beg you-

for the monsoon is long past
and my heart now bids me pilgrimage
to many a holy shrine--
unstring, I beg, your bow,
so tightly strung with valor,
lest the tears of your foemen's women
should make my ways all mire.
[Verse 1440 is treated in the Notes.]

13* 381
 Flattery of K ings [Sec. 41
1441. He strokes their breasts and kisses then their cheek ,
hangs on their necks though struck by frightened hand s;
and what does he not whisper in their ears?
Who? A mosquito, joying on the cloud-borne breeze.
And whose? Your foemen 's wives, who sleep
encamped in thickets by the mountain streams.

1442. The wives of your enemies wander

through the ca ves and thickets of the hills.
with teardrops falling from their eyes
and their tresses falling to their cheeks.
LVerses 1443, 1445 are treated in the Notes.]

1444. God took the pollen of the wishing trees,

milk from the cow who grants desires,
the fire of Love, whom 5iva's eye consumed,
and breath from the Lotus Goddess.
For final element he added air,
the crystal air of autumn;
and with these five created him we praise:
your Majesty, Kamboja. VASUKALPA

1446. You have not cast the Sea of Milk into y our dairy house
nor placed the Golden Mountain in your treasury.
You have not set the guardians of the four directions
to guard the borders of the realm
nor brought the trumpeting elephants of heaven
to play turns of music with the bumble bees.
Say what at all then have you done
in this your universal conquest? DAK~A

1447. On the holiday of your going forth to war

the sky is overcast with dust ground from the earth
by the chisels of your horses' feet.
The sun, with coachman hereby losing his direction
and span of steeds that stumble on wrong ways,
is cast from one side to another
and, with his journey of the day thus lengthened, grieves.
[MAHODADHI]

[Verse 1448 is treated in the Notes.]

382
Sec. 41] Flatte'r y of Kings
1449. A full water jar before them,
graceful women and miling girls,
a white bull and an elephant in rut,
a weet-voiced crow in a fig t ree,
and a jackal on their left:-
Such must be the omen which appea r
to th ose, oh ornament of kings,
who come before you as yo ur suppj.iants. [pARAMES V ARA ]

1450. V\ here, er your glance falls, gracious,

pink as a fingernail,
there Fortune, the dweller in lotuses,
runs to obtain it. PARAMESVARA

1451. E ven the jungle tribes of the Vindhyas

weep ,... hen your enemis child
puts fort h his hand for fruit
in the hands of their jungle women.
1452. The shaking lower lip of your enemy who fiees
with forehead split in horrid frown
appears returned to you in the forefront of the fray
in guise of your own shaking scimitar.
1453. 'Vhen the forest peacocks, called by names
of the palace peacocks in his home,
come not to your foeman's ch.ild, he weeps;
but your foeman's wife weeps long. YOGESVARA
[Verses 1454, 1456 are treated in the Notes.]
1455. Piety stumbled in t he Krta Age
although she had four feet;
with three she barely traveled through the Treta Age
and through the Dvapara with two.
But in this Age of Discord, lord,
the poor cripple has but one.
How could she travel in Orissa here,
were you not the cripple's crutch? CITTUKA

1457. The tortoise makes the stand, the king of snakes the stem,
earth performs as dish and the seas as source of oil;
Mount Mandara is the wick, the sun 's rays are the flame
and the soot appears in the dark blue sky of heaven.

383
 Flattery of Kings [Sec. 41
Such are the parts, oh king, of your flaming lamp of valor
and all your foes combined, the moth that burns therein.
KHIPAKA? [HANUl\lANNATAKA]

1458. That the gem-filled ocean ever roars

as if with inner grief
and the Golden :Mountain moves not,
as if it were in trance:
I see, oh majesty most graceful in your gifts,
is for the cause that, having heard
your generosity and strength,
one fears the churning stick again
the other fears the ax.

1459. "Never have I seen the equal of this king,

the Kama of the Kali Age.
Tell me if you have heard of such a one before. "
As if with wish to ask such question does the eye,
quick with its flashing pupil,
of every woman run to see her ear. VASUKALPA

[Verse 1460 is treated in the Notes.]

384
 Section 42

DISCOURAGE1\iENT

1. "" ith Sect ion 42 we meet for the fu'st time with the last of the
literary moods or sentiments, peace (santi). By the older critics peace
was denied the status of a literary mood (rasa) , for theory demanded that
the moods hav e objects and stimulants (vibhavas) of a sort that could be
represented on the stage or by verses descriptive of various gestures and
actions. Tlle man in whom the attitude (bhiiva) of peace is predominant,
so the older critics said, is inactive; his emotions cannot be refined for
purposes of representation, for he has no emotions. The later critics
overcame this objection by extending the area covered by the mood.
To them it included everything in the biography of the soul from its
first frustration and discouragement (ninJeda) with worldly life, through
the period of reversal, of turning one's hack on the world (vairiigya) ,
to the final goal of restraint and calm (sama). The critics argued as
to which of these stages should be considered the basic attitude
(sthiiyibhiiva) of the mood of peace. Mammata (siitra 47) held for dis-
couragement, persuaded. perhaps by the importance which this stage
assumes in dramatic and literary representation. Hemacandra, a Jain
monk and therefore a professional man of peace himself, held for
restraint and calm (see Viveka on Kiivyiinuiiisana 2.17). Our anthologist
shows that he was aware of these distinctions by dividing his siinti
verses into two sections. The present section deals with the discourage-
ments and frustrations of life. Section 48 will deal with the calm at-
tained by the hermit who turns his back on the \;.,rorld and its troubles.
2. Of all frustrations the one most frequently mentioned in the verses
which follow is that of begging for support from the 'wealthy (1467, 1471,
1472, etc.), flattering them (1470, 1490) and demeaning oneself (1462,
1495), only to be turned down in the end. Time and again we are told of
the arrogance of the rich (1464, 1480, 1504, etc.), of the humility (dainya)
which the poet must assume before them (1494, 1502). This contrast
is rendered the more odious when the suppliant is well born (1476, 1482,
1490) and when his patron is from a IO'wer class (1474, 1504, 1515).

385
, I

Discouragement [Sec. 42
Such verses make a strong impression. They have brought one of the
editors of the text to say in his introduction, "poverty-of his particular
class-seems to be the only reality with which the poet of the classical
age came to grips." The statement outruns the evidence. To speak
only of the tragic side of reality, our poets, despite the restrictions of their
theories of literature, could deal with tragedy in love (Sect. 21), with the
poverty of classes other than their own (Sect. 85, 39), and finally with
the tragedy of life itself: that good or bad, death soon brings it to an end.
What is true is that in pre-modern India a major source of the frustrations
of life lay in the relation between client and patron. Only by this
relation could the client advance himself, or in some cases, even live.
Accordingly, when the Sanskrit poet speaks of discouragement
it is to this relation that he first turns. Occasionally, for a brief
moment, he can even see the point of view of the patron (1468). In New
York and Moscow the sources of frustration are now different, but the
product itself is not unknown.
8. In more general terms the Sanskrit poets complain that virtue
goes unrewarded (1463, 1473, 1475, etc.) and that all the prizes go to
stupidity and vice (1474, 1482, 1496, etc.). Indian religion, as is well
known, has several doctrines to explain this state of affairs, but reason-
able as they appear, they do not satisfy our poets. The stupid or
vicious man, whose good fortune springs from good acts done in former
births, manages to infuriate us none the less by his self-satisfaction
and arrogance in the life we live together (1482). The Golden Age is
gone and the Age of Discord at hand, but why then should some people
have virtues so incompatible with the age in which they live (1505}Y
Bad as it is, the Age of Discord seems to be growing worse. Where is
King Vikramaditya (1491)? Where are Sricandra and the poet
Abhinanda (1500)?
4. Other discouragements come from a life of scholarship (1478, 1479,
1492); from one's inability to help others when one cannot even help
oneself (1481, 1489, etc.); from the unwavering malignancy of fate
(1487, 1498, 1508).
5. Of interest are the verses of this section which express the basic
discouragements of life: that desire outruns performance (1461, 1508),
that for all our disappointments we simply grow old (1498, 1512), that
in the end death takes even the fairest (1514). The attitude expressed
here is on a border line; from it there is only a short step to that attitude
of reversal, of about-face toward freedom, that we shall find in the
section that is specifically entitled "On peace."

I 386
!
Sec. 42] Discouragement
6. In this section and to a greater extent in Section 48 Vidy8ka.ra
draws on older anthologies, especially on that collection of verses which
has come to be attributed to Silha.I;la. For the nature of that work and
the literary-historical problem it presents, see the General Introduction
to this volume.

1461. Happy are they who in some mountain dale

sit meditating on th.e highest light,
the fearless birds alighting in their lap
to taste their tears of bliss.
But here sit I in a pavilion
set in a pleasure garden by a pool
within the palace of my daydreams;
and as I daydream, I grow old.
[SATYABODHA't BHART~ .AND S~.A COLLECTIONS]

1462. I have felt its pains that cut where one is tender,
and pray that this disgrace called begging faIl not on another.
See, brother, it is the playground where age and dignity
are brought to scom; it is the ink for soiling pride;
it is the misbirth of all confidence
in what one's virtue can accomplish. [SII.lLQIA COLLECTION]

[Verse 1468 is treated in the Notes.]

1464. That one should give up seemliness
nor care for matters even of great shame;
for such a sake, in trembling,
to be disappointed of a drop of cash;
then to see the faces of the rich, .
frowning with the fire of their false conceit:-
oh, damn this belly that takes such pains to fill.

1465. Let caste be buried deep and virtues deeper still;

let decency leap off the cliff, let family bum with fire
and if brave character stand in the way, let lightning quickly
strike it.
Let me have only wealth, for without that single thing
these merits all together are counted as a straw.
[BHART\UlARI COLLECTION]

887
 Discouragement [Sec. 42
1466. Are there no bulbs in mountain hollows,
no bark on trees, no brooks whose current
dances down rocks of bright Himalaya's slope:
that even wise men should spend their days
sitting with eyes directed to the gates of kings
and rising to perform this way and that
their timid salutation ? [ SILHA 1:l'A COLLE CTION]

1467. Our life is no more lasting

than water on a lotus leaf;
yet what will we not try to do,
unthinking, for its sake:
t hat, shameless, we commit before the rich,
whose hearts are blinded by their pride of wealth,
the crime of speaking of our merit.
[BHARTJ;tHARI COLLECTIO~; SILHA1:l'A COLLEC TIO ~]

1468. That the rich should turn their faces from the good
is not that they would scorn them, but they fear the loss of wealth.
Rather than resentment one should therefore feel pity ;
a deer does not despise you by fearing for its flesh.
[ SILHA1:l'A COLLECTION]

1469. I wear no golden bracelet

bright as the rays of autumn moon
nor have I tasted a young bride's lip
tender and hesitant with shame.
I have won no fame in heaven's hall
by either pen or sword,
but waste my time in ruined colleges,
teaching insolent, malicious boys.

1470. I have no skill to place my lips

upon another's ear
nor can deceive a master's heart
by inventing false adventures.
Too stupid am I to have learned
to speak words false but sweet;
what have I then to recommend me
to be a rich man's friend?

388
Sec. 42] Discouragement
1471. I have managed to endure a villain's words
that I might please another,
have suppressed the suffering within my breast
and laughed lightheartedly .
I have made my salutation
to men made stupid by their pride of wealth ;
oh Hope, false Hope, how many steps
have you still left to make me dance?
[BHART~HARI COLLECTION]

[Verse 1472 is treated in the Notes.]

1473. Here fate creates a perfect man,
the source of every virtue, an ornament of earth;
then goes a nd breaks him just as soon as made.
Alas and shame, that fate should do such folly.

1474. Inveterate Fate! You earn our praise

for your close adherence to the good.
You never touch the thankless,
the lowborn and the stupid.

1475. Bali was donor ; the suppliant, Vi~T,lu;

the gift, this earth; the occasion sacred.
'Ve bow to Fate, who, in despite,
gave only bondage for reward.

1476. It seems to me misfortunes

are God's favorite daughters.
"'by else should he always marry them
to good men of good family ?

1477. Lady Speech, lend pure accent to my tongue.

Oh Heart, be calm. Dignity, stand aloof.
Shame, turn aside your face a while
and let Desire come forth;
that I, foul sinner, may tell the rich man
my humble sentence, "Give."

1478. One leaves a youthful bride

just busying herself with new coquetry,
becomes a student living upon alms,
and sleeps alone upon the ground for many years.

389
 Discouragement [Sec. 42
And even when the books are mastered
the everlasting travel wears a body down.
Out upon this scholar's life, which neither
is pleasure nor the pain that brings reward.

1479. Poor vine of knowledge, although you show

these brave white flowers of speech,
'tis better cease. Your bees will get no fruit
of pleasure here nor of reward hereafter.

1480. Intoxicated both of voice and eye,

their former nature lost and what they've done forgotten:-
it is thus that men grow dizzy on the wine of wealth;
and which of them at each step does not stumble?

1481. I have but the smallest bit of wealth

and here are men of virtue paupers by the thousand.
Oh God, why do you so mock me as to put
a drop of charity within my heart?

1482. That a wise man, of good birth, possessed of every meri t,

should fail to obtain the objects of his wish,
may be ascribed to fate. What hurts my heart is this:
that when from good deeds done in former lives
a stupid or a wicked man finds fortune
he thinks himself most worthy of her gifts.
[Verses 1483- 1486 are treated in the Notes.]
1487. Every line that I have written
on the tablet of my heart
has been most carefully erased by fate,
till now from frequent rubbing
the wax has worn so thin
no line of hope will take impression.

1488. Why should it be that to a rich man

news of a relative should bring no joy
nor what he does prove pleasing to his eye;
unless the rich man's heart is troubled by the chance,
false though it be, that his relation
is come to ask him for a loan?

390
Sec. 42J Discouragement
1489. Unfortunate indeed are such as I
who e pur e of, irtues
cannot benefit themselves nor others,
for like a hoard of gems, although it be,
it i as it were not
when closed, as with a seal b) povert).

1490. Just how, pra, tell, can you go to a stranger;s house?

And how t here make your hundred flatteries?
Then how describe yourself, a man of birth and proud?
Ah foo~! but you are mocked by your damned belly.
[' erse 149 1 is treated in the ~otes.]

1492. His proper occupation never leads to wealth,

yet for the wise there is no other.
Thus, with all chance of happiness removed ,
how should the scholar not despair?

1493. The deer had cut the snare,. thrown off the trap ,
and broken through the net. He had escaped
from a forest set about with flames of fire
and by his swiftness leapt beyond the hunters ' shafts.
But \vhen your fate is adverse, 'what use bravery?
That very deer fell down a well. [THE PANCATANTRA]

1494. Deer live well in the woods

on grass that is easily had,
nor do they humble themselves before the rich.
Yet they say that deer are brutes
and we are rational! [SILJL.-,\~A COLLECTION]

[Verse 1495 is treated in the Notes.]

1496. How can one bound up with skulls

be he who rules the entire universe!
But stranger yet is what we sinful men
have brought about: that to his moon,
which scatters rays of liquid nectar, there is given
a spot of black, whereas his poisonous snakes
are given a precious jewel in every hood. VITTOKA

391
 Discouragement [Sec. 42
1497. All men when faced with jeopardy that threatens death
take fear and, caring not for wealth, seek only life.
But having passed the danger, they for sake of money
are quick to put their lives in jeopardy again:
a fact which leads one to infer of foolish man
that life and wealth are coins to buy each other.

1498. I have been no cloud to fields of needy

parching from lack of money's rain,
nor been a hurricane to strike
the mountains of my foes.
I have been no bee to kiss the lotus face
of fair and sweet-eyed damsels;
all I have done is serve as ax
to cut my mother's youth. BHART~HARI

1499. Good men hold pity in their hearts and so

buy not their profit at another's cost;
they help the needy even at the cost of life.
But such are far away and he that stands before me
is hard and by his hatred robbed of pity.
Hold back your tears, oh eye, and think
before what sort of man you weep. MATJ.tGUPTA

1500. Gone are the kings like King Sricandra

who had true taste in poetry
and gone are the master poets
Abhinanda and the rest.
Now, Speech, be silent; why weep in vain?
Where are they who could give you splendor;
where they to honor those who could?
[Verse 1501 is treated in the Notes.]
1502. Begone, oh shame. Firm-mindedness, give over,
and human self-respect; why mock in vain?
Humility casts off all virtue
and accepts a host of faults;
but what she orders is that which I shall do.

1503. A wife unhappy, relatives sunk in misfortune,

friends grown cold, servants ground down by poverty;

892
Sec. 42] l)isCOttrage~nt

a mind dissa tisfied, a life as hard as stone:

thus fate will deal against a man, and yet,
poor fool, his heart still yearns for happiness.

1504. One sees the people in one's house ill-clad,

unwashed, thin-bodied, weak;
and from the base-born, rendered proud by wealth,
hears words that cut the ear with arrogance.
Some one comes and tries one's house,
but, getting nothing for his service, leaves.
We are broken men, who thus are impotent
either to help ourselves or others.

1505. Where is mud, and where the lotus

sweet-ringing with its swarm of bees?
Where is the serpent's horrid head, and where
its gem of bright refulgence?
Where is this Age of Discord, and where you,
a treasury of virtues?
Truly, truly, fate lacks skill
at joining like with like.

1506. Blessed is the wise man who clearly knows

the ways of all the universe
and happy likewise is the fool
who never doubts his wisdom.
But let a man not fall between
to suffer doubts of right and wrong
that rise from the workings of a mind that's sown
with just a bit of knowledge. VALLA~A

1507. Though I have wandered over all the sea-girt earth

I have found no man distinguished by such unmixed virtue
that I could sigh and take my rest beside him
and for a moment or for half a moment
talk of the griefs and joys long loaded in my heart.

1508. Here blazes forest-fire, and there

the highland is thick-set with nets;

393
 Discouragement [Sec. 42
the hunter runs with bow full bent,
the python waits with open jaw.
Say where the fawn can go, what do,
when fate pursues him thus.

1509. Who delights so in vice, oh River Son,

as to give you all this wealth,
you whom we knew to be so charming
when your water reached but to our knees?
Who will love you now, with current breaking
the trees upon the shore, with whirlpools hard to cross,
and with muddy waters breaking your own bank? SATANANDA

1510. The ocean's waves hide heaven's vault

and hide the depths of hell;
yet many have been able
to cross them in a ship.
But suppose somehow, by chance,
the sea were emptied dry.
Who then would even dare to look
upon that boundless pit? KESATA

1511. Lay all your long accumulated worry upon fate

and live without concern. Beg not from others.
See how the sun, for all he circles about Meru,
has ever seven horses nor has been given eight.
[SILHA~A COLLECTION]

1512. I've made no money,

gained no knowledge,
and won no merit.
And now my time is up. [DA~J;)IN]
[Verse 1513 is treated in the Notes.]
1514. She is seen, her figure licked about
by brilliant fuel-borne fire:
a branch of flame-tree in full flower
brought to earth by wind.
No more are plantains set on lotuses,
no tendrils tipped with shaking fronds,
no jars of gold; and now at last
no moon and new black cloud.

394
See. 42] Discou,/,'agement
1515. It is but chu.rning water to get butter,
or pounding rocks for honey ,
looking for a spot of shimmering mirage
that one may ta.ke a bath;
or say it's like one's being fool enough
to milk an ancient ass in hopes of getting milk:
this curse, that out of everlasting greed for money
one serves a lowborn knave. JOyiKA

1516. Your father was the l\'[ ine of Gems,

your dwelling place the lotuses;
your brother was the gods' elixi.r
and your husband lord of gods.
Say, then, oh Fortune, whence you learned to twist
as crookedly as does a blackbuck's horn? [SDLA.PA~I]

[Verse 1517 is trea.t.ed in t.he Notes.]

395
 Section 43
OLD AGE

1. The verses of this brief section require little comment. Except

for 1523 and 1526 they belong to the flavor of comedy. They are
slight productions in sloka and other simple meters. Murari's verse
(1526) describes a royal chamberlain, a character who is regularly
pictured on the Sanskrit stage as broken down by age and duty.

1518. See, Love, this white-haired pillar of victory.

I have won. Your shafts are harmless. DHARMAKTRTI

1519. "It is unseemly and improper that a man

should even in old age have thoughts of love. "
"So too, then, that the life and love of women
should end not with the falling of their breasts. "
[fancifully ascribed to VIDY.A AND K.ALID.ASA ]

[Verse 1520 is treated in the Notes.]

1521. Fie on old age, this vine of poison!

Fie on this yearning after fair-browed women!
But whose is here the fault: the rascal fate with ax in hand,
or the hard-hearted god with his flowered shafts?

1522. Farewell to pleasure now;

an end to talk of love.
The girls who look askance at others,
now that I am old, look straight at me. [SATANANDA]

1523. Suddenly it leaps to life

and then falls back in darkness:
the mind of an old man
is like the flame of a dying lamp.

396
Sec. 43] Old Age
1524. 'Vhen his ha.iT turns gray
what sort of lover is a man ?
Women may take him like medicine,
but their hearts \, ill be set on others. [THE HITOPADE SA]

IYerses 1525, 1527 are treated in the Notes .J

1526. Halting of voice and limb,
flattering the mighty,
I have been made an actor in a farce.
I know not what new comedy
old age will have me dance
with these white hairs for greasepaint. [MURARI]

397
 Section 44

THE CREMATION GROUl\TD

1. The cremation ground (smaSiina) lay outside the village or city,

usually near a river. Here the bodies of the dead 'were placed on pyres
and burned as is done to this day. But it seems from the verses which
follow and from other references in classical literature that in former
times not all bodies were entirely burned, whether from poverty of fuel
or from continuance of an ancient custom of exposing the dead is not
clear. The smaSana was also a place of execution for criminals. It
was a foul-smelling place (cf. l11iil. 5.4.1) and one that summoned up
feelings of horror and disgust. It was visited by vultures and jackals,
to which imagination added corpse-eating ghosts (preta) and ghouls
(pisaca). Of the latter there were several varieties, of which our verses
mention the putana or stinking ghoul and the ulkamukha or torchmouth
ghoul (15:n), from whose mouth when opened there issued flame. This
property was sometimes attributed likewise to the eyes and mouth of
the jackal (1529, 1536).
2. 8masana verses are furnished by the rhetoricians and anthologists
whenever they wish to exemplify the horrid or loathsome (bibhatsa),
that flavor which corresponds to the inner attitude, disgust (jugupsii).
Perhaps their favorite example of the flavor is Mal. 5.16 (our number
1530). But the reader will find some other highly effective examples in
what follows.

1528. The vultures, beating back the flames

with strokes of their flapping wings
and each competing with fierce beaks against the rest,
have dragged from the blazing pyre a corpse
and gorged themselves on its freshly roasted~ almost flaming flesh.
See them with burning craws
now heading for the river. PAr:nNI

398
 r

Sec. 44] The Cremation Ground

1529. Some distance off among the trees, filled with the thick darkness
of the night,
ee th e pack of jackals, crouched on haunches, their necks
ou tstretched.
With flaming glances that spring like torches from the hollows of
their heads
they drink the thick fat juices
that drip from burning corpses on the raised circle of the pyres.
P.4..!:HNI

1530. A wretched ghost tears and tears the skin,

then eats first the flesh, strong and putrid,
that being thick or swollen is easiest to get:
the shoulders, buttocks, and the backflesh;
then drawing out the tendons, guts, and eyes,
he bares his teeth and from the corpse upon his lap
calmly eats the remnant down to the marrow in its bones.
BHAVABHUTI

1531. The air is filled with faces of the torchmouth ghouls

whose mouths that open to their ears
show flaming fire and are horrible with pointed teeth,
whose hair, eyes, brows, and beard are like bright spots of
lightning,
who run about, their tall cadaverous bodies
now seen, now vanishing. BHAVABHUTI

1532. The she-ghouls have made bracelets from intestines

and red lotus ornaments of women's hands;
have woven necklaces of human hearts
and rouged themselves with blood in place of saffron.
So decked they join their lovers with delight
and drink the marrow wine from skull cups. BHA v ABHUTI

1533. Here is seen a troop of stinking ghouls

their legs as long as date trees, their bodies
no more than skeletons bound up with sinew
and covered with black skin.
The gobbets of human flesh that half fall from their panting
mouths
nourish the whining circumambient wolves. BHAVABHUTI

399
 The C1'emation Ground [Sec. 44
1534. Here flows the river at the border of the burning-ground;
its banks are fearful places, for their slopes are filled with cries
of barking jackals mixed with hooting of the owl
in coverts where the wind soughs;
obstructed in its flowing through the bones of cast-out skeletons,
its current swells against the banks,
through which it seeps with loathsome sounds of gurgling.
BHAVABHUTI

1535. Standing here, a ghost has ripped off all a corpse's flesh
with his sharp nails, from under which bare sinews hang;
and now, his fingers smeared with brains,
pursing his lips and twisting to one side his mouth,
he sucks the marrow, melted by the corpse-fire,
from out the hollow of a bone. JA Y ADITY A

1536. The vultures' greed increases

as they snap up the morsels of half-dropped flesh
protruding from their darting beaks.
By the flapping of their wings they spread a darkness
in which streaks of ft.ame shoot from the mouths of jackals
and fall hissing in this stream of blood
which stinks from the constant inflow of boiling fat.
SRi HARl;lA-DEVA

1537. In the distance the vultures ft.y,

repea ting for a hundred times their circle,
tails up, wings motionless and wide spread ;
their upper and their lower beak are bathed
with spittle flowing from their mouths
in anticipation of the corpse's flesh. K~EM.iSVARA

1538. One ghoul, snatching the cup of thick blood from another, drinks;
another licks what trickles from the second's lips;
while still another puts his tongue to the fallen drops upon the
earth
and lifting up his neck, relishes their congealing savor.
K~EMisVARA

400
Sec. 44] The Cremation Ground
1539. Spearing a human head upon a shankbone
and drawing it from the lighted pyre,
the ghost blows strongly many times to quench its flame;
then gobbling at it with horrid lips that twist in greed
he burns his mouth and so must spew it out. K~EMIsvARA

1540. With all the separate flames that wander here about
from the mouths of torchmouth jackals
opening on desire to eat,
the cremation ground seems suddenly
reduplicated in the sky together with its ghosts,
who are in a sorry state because of hearts distressed by fear
that some one else will snatch their food away,
and shriek out as they retrieve a corpse's head
with hideous loose flesh, just fallen from their grasp.
V.A.LLA~A

1541. The carrion-eater dances:

he produces day and night by successive opening and closing of
his eyes;
he covers heaven with his quill-like hair that flies in all directions.
He drinks the downpour of the clouds that streams
from the openings of the skull he holds within his hands.
He breaks our eardrums with his mighty roar.

401
 Section 45

THE HERO

1. The sentiment of heroism is exemplified in this section b y much

the same situations as in the old epic. The language of the.,. erses here,
however, is more elaborate and refined. The hero boasts before battle
(1545, 1549, 1555, etc.); he boasts in order to win a bride (1562); he
causes his ambassador to boast threateningly in his name (1547); hjs
boasting may even fall under the heading of the prov erbial green grapes
(1548). But he is not a miles gloriosus; he is truly brave (15 46). The
favorite example of the boasting but brave hero is Rav 3t;la, who here
has much the character which Bhima has in the epic. One may admire
the strength of language which characterizes him. More admirable for
content are those verses revealing imperturbability in the face of danger,
of which the hero Rama furnishes the most striking examples (1554,
1557). Other traits which go back to the old epic are the hero's disdain
of taking advantage of his natural superiority over an enemy (1544);
his horror of asking for anything-he should give, not ask (1543); his
smiling acceptance of pain or death (1543, 1546, 1548) and his exult-
ation at revenge (1556).
2. The verses are heavily crowded with reference to m y th and legend,
especially to the story of t he RamayaQ.a. But both the story and the
characters of the RamayaQ.a have undergone changes from t he time of
Valmiki. Most noteworthy is the change in Rav aQ.a.
3. The names and events referred to in the verses of this section are
the following.
4. Prince Rama (1544, 1550) and his brother Lak$maI:la (1544), sons of
Dasaratha (1542) and descendants of Raghu (1557) go t o the court of
Janaka of Videha where a marriage-choice (svaya'l'{tvara) is to be
held for Janaka's adopted daughter, Sita. This beautiful princess
had arisen from a furrow of the earth (1562). The name Sitii means
'furrow'; she is also called Janaki (1557) from the name of her adopted
father.

402
 Sec. 45] The He1'o
5. In the accoun ts of our poets, which differ in this from the epic,
the demon R aval).a, Pulastya s son (1547), also tries for Si ta's hand,
either in person (1541, 1548, both verses by Raj asekhara) or through an
ambassador (1562 by Bhavabhuti). Indeed, to our poets Rava1.la has
really cea ed to be a demon in character although he preserves his ten
heads and twenty arms (1543, 1553, etc.) as of old. Rava1.la's power
has enabled him to invade the garden of Indra (1562), to defeat Indra
in battle (15 49, 1562) and imprison h im (1548). Everywhere he causes
havoc with his sword Candrahasa (' Laughter of the Moon' 1546, 1549).
He has \von the sky-going palace, PU$paka (1548) from his brother, the
god of wealth, and has lifted up Mount Kailasa, the home of Siva,
with his twenty arms (1548). In the old m y thology RavaI)a was
punished for this act of impudence. But to our poets RavaI)a has
become a disciple and favorite of Siva. He has won the god's favor
by cutting off his heads and offering them to the god (1543, 1546,
1548), a story in which Brahma originally played the part of
Siva (Ram. 7.10.10). R avaQ.a's heads grow back as soon as cut off
(1543).
6. The winner of SIta's hand must bend the ancient bow of Siva kept
at Janaka's court. RavaQ.a is about to bend the bow (1551), but then
refuses to try (1548). Young Rama takes up the challenge and, proving
successful (1550) , wins the bride.
7. In the old epic Rama fights in Videha with the brahmin warrior
Parasu Rama ( ee Intr . to Section 36), the son of the Bhargava Jama-
dagni (1547) and of R e1.luka (1549). Our poets embroil RavaI)a as well
with Parasu Rama. RavaI,la sends a demand for Parasu Rarna's ax
(1547) and is refused.
8. Rama and Sitii return to Dasaratha's court, whence they are soon
exiled. In the fores t where they then take up their abode Rama slays
many demons (1557). One day Rava1.la transforms one of his attendants
into a golden deer, which Rama and Lak~maQ.a pursue, leaving SUa
alone. RavaQ.a seizes the opportunity to carry Sita off through the sky.
His flight is opposed by the aged vulture Jatayu (1545, 1560) whom he
fights and kills. For years RavaI).a keeps Sita imprisoned in his island
city of Lanka (1542, 1552), but our poets picture him more as a love-
smitten gentleman (1542) t han as a demon jailor.
9. Rama \\'ins various friends and allies: among them Hanuman, the
monkey hero, son of the wind, who leaps from the mainland to Lanka
and sets fire to the royal city (cf. 1552), and the monkey king Sugriva
(1554) , wh.o serves as one of Rama's generals. A bridge is finally built

403

t
h
 The Hero [Sec. 45
to La(lka,the army crosses over, a nd in single combat Rama defeats
and kills Rava(la (1553, 1554).
10. The transformation of Ravana in cia sicai S8n kri t. from a.
demon to a hero deserves more research than it has had. One can trace
the process at work steadily from Bhavabhuti through Muriiri to Riijase-
khara. One factor making for the change was doubtless the growing
popularity of the god Siva, with whom Riivar:la as the great opponent
of Vi~I).u-Rama (see lntr. 6) came to be associated. The fact that
RavaQ.a was considered to be a brahmin may also have led to his favor
with some of the literati. Finally, one should not exclude as a factor
the sympathy which humans often develop for the underdog.
11. The other heroes referred to by our poets are dwarfed by Rama
and RavaI).a. One verse certainly (1556) and perhaps two (1555) are
put in the mouth of the epic hero Bhima, who swore that he would drink
the blood fresh from DuQ.sasana's breast in revenge for that villain's
treatment of Draupadi (the daughter of the king of the Paficalas, 1556).
In verse 1561 the irascible Parasu Rama challenges the god of war
(Skanda or Kumiira). Verse 1559 praises an historical king's naval
expedition on the Ganges. Finally, in 1558 we are shown the heroic
disdain of the king of beasts.

1542. Hearing that Dasaratha's sons were on the slope of Mount Suvela,
with half his twenty hands the king of Lanka gladly cleaned
his sword
and filled the four directions with the twanging of his bow;
but still the other ten were practising their skill
in tracing on his painting board the tendril lines
of dark cosmetic worn by Sita on her breast. [MURARI]

1543. How-can one describe that RavaQ.a,

wh~when Siva, the foe of demons, was appeased,
for the hero, seeking a boon, had cut with willing hands
as though in play his very heads, which grew again-
was then ashamed to ask
and turned away his mouths, which argued ,
each urging on the others with " You choose," "You choose."
[?tIURARI]

1544. You are but one, while here are ten together
to draw my bow whose twanging fills the heavens.

404
Sec.45J The Hero
Enlist the eight protectors of the sky and LaksmaI;la;
then take your bow, that our fighting may be equal.

1545. Ho, mighty vulture, why in needless folly

do you play the moth to forest fire?
Will a dyke of sand hold back the ocean
when its waves are raised by the winds of the final day?
SAr:WHASRI

1546. When I began with Candrahasa, my scimitar, to cut

the forest of m y throats dovm to the very trunk
and the veins began to burst, I swear
that not a h ead dropped tears or failed to smile
or frowned or begged for mercy as they fell;
witness the blessed Siva who saw all. R.~JASEKHARA

1547. Though Siva of the half-moon crown did teach you

and though you conquered earth full one and twenty times,
you, brahmin of the Bhargavas, will yet be seen, the ax upon
y our neck,
bowing with folded hands before Pulastya's son.
RAJASEKHARA

1548. To ,,,horn the upholding Siva and the rest with my bare hands,
the cutting off m y heads, the throwing Indra into prison
and winning Pu~paka were deeds of play, to me,
supported b) my dauntless arms, the lord of Lanka,
what praise were it to bend
or break this old worm-eaten bow ? RAJASEKHARA

1549. Blessed is Rel:mka,

the hero mother of the Bhargavas,
that gave you birth to ornament the world,
who count as naught my Candrahasa
v.,rhose angry blade has cut the head
of Indra's elephant. RAJASEKHARA

1550. When Rama raised the bow ofSiva

the kings there present smiled.
They laughed and clapped each other with their hands
when he made to string the bow.

14+s,c,p. 405
~,------~

The He'to [Sec. 45

But when the swift young fingers strung and twanged the string,
the kings grew pale;
and when, stretched wide, the bowjoint cracked
they fainted on their thrones. RAJASEKHARA

1551. Oh earth, be firm; and serpent, hold the earth.

You, tortoise, support both earth and snake.
Elephants of the quarters, uphold all three,
for Rava~a draws taut the string of Siva's bow.
R.~J ASEKHARA

1552. So great was Hanuman

that with his tail he turned the sun
and pierced the moon with his high diadem.
With his mane he shook the clouds
and caught the constellations in his teeth.
His single glance sufficed to cross the sea
with all its brightly laughing waves;
and everywhere he quenched the fire
of the king of Lanka's valor. ABHINANDA

1553. From each arm that is cut from Rava~a

the arms remaining draw the strength
and grow more proud.
From each head that is cut from Raval).a
the splendor passes but to render
the remaining heads more royal. M:URARJ

1554. "The soldiers of our army are all broken;

the officers destroyed. What use now bravery?
See where ten-headed Rava~a stands near. "
So speaks Sugriva with his face all terror;
but Rama only squints his eyes
and slowly straightens out ten arrows.

1555. A grove of sal trees falls before the wind

of my swift whirling;
the rocks burst under my fingernails
as under a thunderbolt.

406
Sec. 45] The Hero
I t ake the p than in my flsts
and eru h its head.,
making its coils the watering-trench
for the tree-roots of my arms.

1556. He who dragged the daughter of Pai'icala,

weeping,. by the hair;
who tore away her robe
before the kings and elders;
he from whose breast I swore
to drink the blood like wine
has fallen in m:; hand oh Kaura, as.
Come save him if j ou can. [BHATTA KARAYA~A]

1557. He smiles with love, his cheek reddening "ith his passion
as he views his lotus face reflected
in the cheek of Janaki, more lustrous than fresh ivory;
and as he hears the uproar of the demon host
the scion of the Raghus looks to that glass again
and so binds up for battle his loosely falling hair.
[HANUMA. rNATAKA]

1558. The lion looked with lazy -eyed di. dain

upon the force of hunters and then turned back to sleep.
His liones , all fear dispelled by her lord's valor,
deigned not to look. METHA

1559. In these battles he made it rainy weather for his foes

by the spray dashed up from his thousand golden rudders.
Yea, more than this: with sudden preparation thus appearing
with his host of ships upon the triple-flowing Ganges
he, fearless, rendered fearful the lords of heaven and hell.
NARASI¥HA

1560. Is this the winged Mount Mainaka that would halt

my unirnpeded passage through the sky?
But no; what force has it, that fled in fear
of being struck by the bolt of a mere Indra?
The Garu<;la? But no; both he and his master, Vi~I)u.
know me, great Raval).a, for what I am.

407
 The Hero [Sec. 45
I know! It is Jatayu, who of yea rs
has grown so old that now he yearns for death.
[HA NU M ANN ATAKA. ]

1561. You are Siva's son and I am but his pupil.

But what of that? My greater dedication
to the art of war has made of me y our equal.
Or if you think the properties of superstrata
depend alone upon their substrates, come, Kumara ,
pick up your bow and Jet the question be adjudged.

1562. Whereon the scars do shine with incrustations

from bits of Indra's bolt that forthwith shattered there ;
against which all the force of tusk
of Indra's elephant was but in vain ;
on which hang garlands woven by
the deities presiding over Indra 's garden :-
upon that breast of t he hero of the world as husband
let the daughter of the earth, as a hero's Fortune, rest.
( BHAVABHUTI]

408
 Section 46

INSCRIPTIONAL PANEGYRICS (PRASASTI)

1. The praiati is a conventionalized form of panegyric which was used

in the preamble of inscriptions. These inscriptions might furnish
records of conquests but more often recorded land grants and donations
to temples and other charities. The preamble might run to twenty or
more verses, each verse usually retrieving the subject of the victor or
donor by means of the relath e pronoun in its various inflections. Thus,
a simplified example might run, "He whose might brings gods and demons
to fear but gives security to his subjects, by whom good men are rewarded
and evil men held in check, in whom the four ends of man meet in har-
mony, he, X, donates this building, etc. " One may observe the tradi-
tional formality of structure in most of the verses of this section.
2. The hyperboles and conceits by which victors and donors are magni-
fied are much the same as in the panegyrics of Sections 32 and 4l.
The breadth of the king's conquests is indicated by the number of rivers
in which the women of his troops have bathed (1563) or the distance to
which his war drum is heard (1567). We have cosmological verses as
in Section 41. Here again the serpent and the tortoise who support
the earth suffer from the weight of the king's army (1564, 1566). We also
have verses of trick praise (vyajast1di) as in Section 32 (1568, 1575).
With only one exception the verses are written in the full gatuf,i style,
which affects magniloquent compounds and mouth-filling conjunctions
of consonants.
3. Most of the, erses will disappoint the historian by their anonymity.
It would be interesting to know the name of the great temple commemor-
ated in 1571 and of its donor. These particulars, alas, would have been
recorded only at the end of the praiasti and probably in prose. Again,
if only we knew the identity of the kings praised in the praiastis of
Bhavabhuti (1563-1565), and of Murari (1566, 1574-1575), we could
finally establish the dates of those poets beyond any doubt~ Quite
possibly the inscriptions themselves will turn up one day and solve our
problems.

409
 Inscription al Pan egyrics (Prasasti) [Sec. 46
4. Verse 1569 refers specifically to ancest ors of a king of Dhar and
verse 1568 doubtless refers to the Pala king Srlcandra. Two v erses
(1572, 1573), bristling with puns, are taken not from a n inscription but
from Subandhu's romance, the Viisavadattii.

1563. In the course of whose conquest the women of his troops

did bathe in every stream throughout the earth,
their tapering thighs being shaken both by fear and laughter
at the splashing schools of mighty fish,
streams whose waters were expressed in cupfuls
from the hollows of those women's navels
to strike against the tossing waves and make sweet sound
whereat the jungle fowl, there startled, raised their cry.
BHAVABHUTI

1564. The exultant triumph of whose troops

shook loose the mountains which nail the earth in place,
and the serpent sinking, with heads gleaming
with jewels to the marrow now impressed,
the tortoise king was left, with bending shell
and scarce a foothold in the foul unsteady mud
at the very depth of Hades, to uphold the earth.
BHAVABHUTI

1565. At whose battle preparation, when his armies first march forth,
they raise a dust, which mixes with the flood of water
poured from the Ganges of the gods, to make all muddy
the sun's path through the sky; until his car can barely move,
wearied by the jerking of the horses which he whips,
confounded by his wheel-spokes' sinking in that mud.
BHAVABHUTI

1566. When that king set forth in search of conquest of the world
such was the weight of his unbridled flood of troops
that the serpent's gems were pressed within his head,
a happy chance, for thus his breath was nailed within,
and swollen up therewith he still upheld the earth. MURARI

410
Sec. 46] Inscriptional Panegyrics (Prasasti)
1567. In the course of whose world conquest the roar spread forth
from many a drum to press on the horizons:
triking the ears of jungle elephants
deep in the thickets where the wind soughs;
robbing of Jeep the lions in their dens
of the east and western mountains;
reverbera ting from the triple peak,
cradle of famous Lanka.

1568. " You have always sought for Victory, King Candra,
and never loved me even in y our sleep."
So spoke Fear in anger
and passing over to the enemy,
brought to an end King Candra's sport of battle.

1569. Kings who painted heaven with the graceful billows of their
fame
whjter than the waves of Ganges as it winds about the head
of Him who wears the moon's rays in his diadem;
kings of wicked skill in cutting down the valor
of all the other princes of the earth; kings brave of arm:
of such inspiring virtue" ere his ancestors,
the rulers of the land of Dhar.

1570. The round heads of whose enemies, by his sword slain,

fly up, and in the lunar world
produce forthwith a panic lest this be
an onslaught of a host of Rahus.
But in the house of Rahu these same heads,
appearing from their gems to be a million suns,
produce the preparations for a feast. [MURARI]

1571. In building of this temple to the gods

he exhausted all the mountains, splitting up
their piles of rock with rows of chisels.
Then from them all he drew the wealth
and built this towering RohaQ.a
whose steeple bears a thousand heads,
each brilliant with encrusted gems.
[' erses 1572, 1573 are treated in the Notes.]

411
 Inscriptional Panegyrics (Prasasti) [Sec. 46
1574. The gods, his suppliants, who once had sold
the rubies and such jewels of their wishing-trees
before they ripened, as if the still green fruit were emeralds,
now easily climb the branch tips which hang down ,
so heavy are they with the ripened fruit;
and there they praise both day and night
this blessed king's unequaled charity. :'IIUR.~RI

1575. That king, who in the bowstring scars upon his arms
seems stained by the reproach that he has raped
the consort Fortune of all other kings,
has yet made all the world grow garrulous
with the recital of his valor, hedged in here and there
with legends told of Arjuna. M RARI

1576. In the sacrament of battle, where the marriage grain

was formed of pearls struck from the brow
of his foemen's elephants by blazing fire
from the swinging tusk of his maddened mount,
this king, with hand encircled by dark darbha grass
in the form of flashing rays from his scimitar,
with ease has married Orissa's widowed Fortune. YASUKALPA

412
 Secti{)n 47

MOUNTAINS

1. While many an Indian has passed his life without ever seeing a
mountain, India is bounded on the north by the immense Himalayas,
is traversed by the ,yild Vindhyas, and bears, set back from its southwest
coast, the long, longitudinal stripe of the Western Ghats. These
mountains stand as distant sentinels about the flat lands where Indian
population and culture have chiefly flourished. It is thus natural that
mountains should figure in Hindu cosmology and mythology rather than
in the daily lives of Hindus. The poets of the following verses are more
interested in the mythological associations of the mountains they write
of than in what those mountains actually look like.
2. Kailasa, one of the peaks of the Himalaya, which is said to rise as
high as or higher than the sun's orbit (cf. 1581 and Kum. Sam. 1.16),
is important as the dwelling place of Siva and Parvati (1581, 1584, 1593).
As is appropriate to the dwelling place of God, its ground sparkles with
gems. It is flooded with light from the moon of Siva's crown. On it
grow the treeswruch Parvati has nourished and among them plays her
child, Skanda, the god of war. It is said that RavaI.1a once lifted up
Kailasa (1583) in his twenty arms (see lntr. 45, par. 5) and our poets
fancifully ascribe the irregularities of its fa~ade to markings gouged out
by the gems in Ravat:ta's armlets (1582).
3. Another mountain that also was once lifted is Mandara, again a
Himalayan peak, and the same fancy of gullies' having been carved out
by armlet jewels, here of Vi~I.1u; is repeated (1579). It was Mandara
that served as churning stick (1580) when gods and demons churned
the sea (see Intr. 4, par. 11) and one of our poets supposes that its peak
was ground down by that operation (1579).
4. The mountains of the Vindhyas attract our poets by their connec-
tion with the wanderings of Rama. It was on Mount Prasra val)a that
Rama and Sita dwelt in their exile (1585), on Mount Malyavan that
Rama spent the first monsoon after the tragic loss of his spouse. To this
day its parrots repeat the words of lamentation which their ancestors

418
 Mountains [Sec. 47
heard from him (1586). The m oun tain of Kra uficava n, nea r the head-
waters of the Godav ari , is also connected with the R ama legend (1577).
General descriptions of t he Vindh ya in connection with Ram a are
found in verses 1589, 1590, 1592 by B ha\ a bhuti. T hese e:rses show
more realism than most ot hers of t he 'ection. Bhavabhilti came from
the south and had doubt less seen the country he wri te of, with its
rose-apple trees (1592) and its forests somet imes completel) silent and
sometimes resounding wit h t he cries of wild beasts (1590 ).
5. Two verses, both on t he Vindhyas, are wi th ou tm~ thological
reference (1587, 1588). Both speak of the Vin dhya elepha nts . ' The
angry sound of horns blown by a t roop of mountajneers " (1587) startles
us with its vividness.

1577. This is Krauiicavan's mountain. I ts flocks of crm\' s

are silenced by the roaring of bamboos
which sound like hooting owls in coverts where the wind soughs.
Here too are snakes who, frightened by t he frantling
of stirring peacocks, twist themselves
about the trunks of aged sandal trees. [BH_<\.YABHUTI]

1578. These mountains made of moonstones rush

with torrents formed of liquid
which from their every part pours forth
at appearance of the lunar warmth.
Upon their highlands where the joyful peacock " akes
the [?black koy~tis?] sitting in namen t trees
cry out with broken voice as deep as thunder.

1579. Mount Mandara is a joy to see,

with its shoulders wrinkled by the marks
of the projecting diamonds in the armbands
of the conqueror of demons.
Since its tip was lessened by its grinding
on the tortoise shell, we know
that before the churning of the ocean
it was higher yet than now.

1580. To think that this mountain churning-stick endured

the friction of the snake-formed churning-string,
which must have opened up the long-healed wounds
where once the mountain's wings were cut;

414
Sec. 47J ltlountains
only thereby to raise the evil goddess Wealth,
oh wicked churning-stick, and so distress the world
by gi' ing it a new distinction between rich and poor!
[MURARI]

1581. This is Mount Kailiisa, where the jeweled ground

so sparkles as to rob the trees of shadow,
but renders them their shadow once again
by their reflections in it;
where moonbeams issuing from Siva's crown
are strong enough to place the seal of sleep
on lotuses, although the sun
has ventured close enough to touch them with his hands.
[MURARI]

1582. This is KaiHisa, whose cheek of stone

was marked as though with crocodile of musk
by the shining armlet gems of RavaJ)a;
ascending to whose height the Yaksas see
within its <
c rystal surface the reflection
of all that happens in the lower world. [MURARI]

1583. This crystal mountain, as its foothills

were squeezed of all their water
by the pressure of RavaJ)a's twice ten encircling arms,
furnished the mountain god the pleasures
of a !dais in the midst of fountains. [MURARI]

1584. The trees that grow upon Kailasa's slope,

being watered by the streams from moonstones caused to flow
by the beams of the sickle moon in Siva's locks
and being brought to greater stature
by the kindly hands of Gauri, flourish greatly
and take a pleasure, natural to the love one bears
to nurse's child and brother, in the childhood games of Skanda.
[MURARI]

1585. Well do I remember this mountain,

where at night the jewels shine so brightly
that the ravens flock together as at dawn

415
 ."Mountains [Sec. 47
and with their cry frighten the owls into the darkness of the
caves;
where, when I drew away your breast cloth
and you, angry, sought to dress yourself with leave.,> ,
the forest nymphs amused themselves
by raising up the branches of the trees beyond your reach.
[~!uRARI l

1586. This is Mount .M alyavan, where forest parrots

distress the sages even now, repeating
in words passed down for generations:
" Oh, Laksmal).a, these clouds, with Sita absent,
excite within my eyes the pangs of love;
these winds, though cool with drops of rain,
but make the longing of m y heart burn fiercer. "

1587. Terrifying is this country of the' indhyas, where the paths

are brown with leaves torn from treetops by the elephants,
then chewed and dropped;
infested by wild boars,
who startle at the angry sound of horns
blown by a troop of mountaineers upon the move.
KAMALAYUDHA

1588. This is the country of the Vindhyas,

with its bamboo thickets green as parrots' wings
and its trees broken by the tusks of elephants in play;
where in bowers by the streams
the wind dispels the drops of sweat
that gather on the cheeks of mountain girls
from exercise in love. DAK~A

1589. Some of these hills are smooth and dark,

others abrupt with terrifying slopes,
while here and there a ridge resounds
with the rushing of its torrents.
I see the sacred pools and hermitages,
the mountains, streams, the caves and woods
of the Dal).Qaka and Vindhya land I know so well.
BHA.VABHUTI

416
Sec. 47]
1590. These are the borderlands of Janasthiina,
sometimes completel) ilent, then resounding
with the cry of wild beasts;
with fire rising f-rom the poisonous breath
of long and fearsom e serpents who lie in easy sleep;
lands of so little" ater
that in the fissures of the rocks
lizards drink the drops of weat
left behind by pythons. BHAVABHUTI

1591. The growling of young bears in cave

increases by reverberation;
a cool and sharp aroma spreads from twigs of sallaki
broken and strev.Tfl by elephants. BHAVABHUTI

1592. Here flow mountain brooks in steep cascades,

their water clear and cool
and sweet with pollen of the cane flowers
where birds have gathered in intoxication;
their many streams trip chattering
through groves of rose-apple
black with ripened fruit. [BHAVABHUTI]

1593. These foothills, "hich encircle the Himiilaya,

since they enclose the dwelling-place of Siva and his spouse
delight the eye with soft luxuriance.
Here stand the deodars, flowing with streams of pitch
from recent wounds received from tusks of elephants
who run in herds against them.

417
 Section 48

PEACE

1. The present Section takes up ,vhere Section 42 leav es off. A few

verses are still concerned with the discouragements and frustrations that
turn a man from this world, e.g., 1632 and the verses which spea k of
the difficulty of renunciation (1604., 1623, 1634, etc.). But although
retirement from the world is difficult and although more people speak
about it than go through with it (1610, 1614) it remains a possibility
(only the bitter verse 1615 seems to deny this), and to those who persist
it offers the reward of peace and an end to suffering.
2. This retirement from the world is pictured occasionally in terms of
the traditional three stages of life: youth, household er ship, retirement
{1621 and cf. 1596}. But more often it is seen as an entrancing vision
of freedom, a vision without any plan of life whatever. When t he poet
dreams of the forest (1624, 1626, 1630) with the relief which it offers
from humiliation and dependence (1594, 1598, 1606, etc.) all forms
of life other than that of the hermit disappear from view. The forest is
a beautiful place (1595); the hermit need no longer beg his food (1598 ,
1602, 1616, etc.); his companions are the innocent and fearless birds and
beasts (1595, 1598, 1630).
3. What holds the poet back from his vision of freedom is chiefly the
vi§ayas: objects of sense or sensual pleasures, and a large number of
verses are devoted to their condemnation. They offer us nothing but
so much more karma to be paid for in the future {1637}. Sensual
pleasure satisfies indeed only the senses and these are a pack of rogues
whom old age soon drives into impotence. Old age will soon take away
our pleasures in any event (1619, 1622, 1623, etc.), so why not steal a
march on time by renouncing them with manly independence (1617)?
4. As the strongest of man's sensual attachments, women are de-
nounced with heavy scorn. They are a thicket of poisonous vines from
which the peace-seeker must escape (1597), and he who has conquered
their wiles turns upon them a tongue of jeering hatred (1599, 1620).
In many cases one may doubt the sincerity of the poet. It is not so

418
Sec. 48] Peace
much that he wishes to escape sensual pleasures as that he cannot have
them. One poet admits that he would be happy to spend his life
fondlin g t he breasts of a lovely mistress: either that, or to spend it
meditating on th e highest brahma (1601). Verse 1605 is similar. In
other words, if fair damsels are unavailable, brahma is the answer.
5. Actually the verses of this section that deal with women are not
about r eal women at all. R eal women are as much hurt by humiliation
and discouragement as men. ';Yhat the poets are speaking of is rather
their own frustrated desires. Onl y verse 1631 seems to refer to escape
from an external situation, namely the unbearable responsibilities of a
family life.
6. The modern reader, if I may judge him by myself, will find the
selfishness of many of these verses unpalatable. The peace-seeker is so
occupied with his own frustrations that he has little time to observe the
sufferings of others. There are, however, some exceptions. Verse
1596 makes forgiving one's enemies a necessary condition to the win-
ning of peace. Verse 1629 speaks of compassion and doing good to
others, 'while the allegory of 1618 is as unselfish and noble a reaction to
suffering as one will readily find. Also beautiful is verse 1613, addressed
to the Ganges, with its hypnotic series of epithets followed by a continu-
ous and passionate repetition of the pronoun referring to that holy
stream.
7. A large number (27) of the verses of the section are drawn from
an older anthology, which has come down to us in a form ascribed to
SilhaI:1a. For the literary -historical problem of SilhaQ.a's anthology see
the General Introduction.

1594. That one should pass his days in independence,

should eat without mean begging and dwell among the pure;
that his scholarship should bear as single fruit
of its difficult attainment peace;-
my mind has thought this over,
and though slow to move, has thought for many an hour
and I cannot say how great must be the pains
from which such fair result ensues.

1595. With margins trampled by the fcet of deer,

with greensward and cascades,
with trees that wave in breezes
speckled with dancing flowers,

419
i

Peace [Sec. 48
with echoes of the varied voice
of joyful flights of birds;-
In whose heart do the hermit grove
not rouse delight? GU~AKARABI-IADRA [SILHA~ A COLLECTIO~]

1596. Rich are they who can fulfill

the hope of suppliants,
do kindness to their enemies,
master the scriptures,
and retire to the forest. [ SILHA.I:l~>\. COLLECTION]

1597. They are not struck by the shafts of the wicked,

they alone are wise, they know calm happiness,
who leave the thicket of poison creepers, women,
and dwell in hermit forests where the fruit is peace.
[SILHA~A COLLECTION]

1598. The woods are free to every man

with bark for clothes, leaves for covering
and trees to sleep beneath.
There too are roots to still his hunger
and mountain streams to quench his thirst.
For playmates are the simple deer and birds for friends ,
while at night the moon suffices for a lamp.
And yet-will wonders never cease-
poor fools still beg. [SILHA?!L~ COLLECTION]

1599. Gone are the days, my pretty, when your glance,

crooked with love, swift and black
as a wavelet of the Jumna, could defeat me.
Know that my heart has grown now
as hard as the back of an old tortoise.
Come, Miss Persistence, do not waste your time.
[VALLA~A? SILHA~A COLLECTION]

1600. Mother Age, though soon you'll bring my death,

my heart is satisfied that you have come.
Out upon youth, that reed whose joints are broken
in running after pleasures, and whose removal
is but the sign, old dame, for you to come.

420
Sec. 48] Peace
1601. Either turning my whole attention to an angry mistress,
I would linger, savoring delight
in toying with her full and comely breasts;
or, sitting by the Ganges on a sacred strew
of eight dark blades of darbha grass, would meditate
with mind in trance upon the highest brahma. JNANANANTA

1602. That you look not upon the faces of the rich
nor speak false "ords of flattery,
neither hear their haughty words
nor hasten back in hope,
but eat fresh grass betimes
and when sleep comes, sleep sweetly:-
tell me where and what ascetic practices
you did, oh antelope, for this. [SILH..'\'~A COLLECTION]

1603. 'Vhen I think how I have known

parties where the lyre was heard
and the heavenly voice of poets,
and when I think of anguish
and of partings from my friends;
rejoicing for a moment, then despairing,
I know not 'what to call the world:
whether made of nectar or of poison.

1604. Those whose minds are purified

by discrimination born of knowledge of the soul
do what is hard to do, when quite without desire
they give up wealth though it stand ready to their use.
I neither have nor have had wealth nor have I expectation
of gaining it and yet cannot renounce
possessions which I own no more
than in desiring them. [SILHA~A COLLECTION]

1605. I pray that I may have before me songsters,

beside me tasteful poets from the South
and behind me girls whose graceful bracelets
jingle as they wave the flywhisk.

421
 Peace [Sec. 48
If this should be, be greedy, heart,
to taste the world.
If it, however, should not be,
then enter highest brahma .
UTPALA R.-iJA [ BHA RTR.HA Rl COLLE CT IO N]

1606. Let be a kingdom of the earth with all its cares,

I value not, oh Lord, an universal empire at a straw.
My heart turns rather to the hills and woods
where herds of antelopes lie down in fearless sleep.
[SILHA~A COLLECTION ]

1607. The objects of the senses give us pleasure

only so long as folly fills the heart.
In discriminating minds of t hose
who know the truth, no link connects
possessions, objects of the senses, pleasure.
[ S I LHA~A COLLECTION]

1608. Truly fair women are objects of delight

and truly wealth is fair;
but life is as crooked and as quickly gone
as the glance of a tipsy girl.

1609. Out on those hermits with bodies shriveled up like worms,

great with their magic powers but who hav e rendered barren
the life of peace and sit within the prison of their pains!
Instead, I praise the wise man who finds the taste the same
of vegetables dropped as alms within his hands
and of the honey of a young girl' s face.
[VALLA~A, SILHA~A COLLECTION]

1610. Sense objects are repulsive, the body loathsome, life is short;
one meets with friends as with wayfarers on a road
only to part again. One should leave t his worthless world
to the condemnation it deserves.
Such thoughts are common on the lips of men,
but are in the hearts of only few, the pure of soul.
BHARTR.H~"RI [ S ILHA ~A COLLECTION]

422
 Sec. 48] Peace
1611. ' iVhen I lived in ignorance
born of love's astigmatism;
I thought a woman was the world.
But nm, that I have used the salve
of clear discrimination,
my sight is straight and sees the world as brahma.
[BHARTl,tHARI COLLECTION, SILHA~A COLLECTION]

1612. Good mother Wealth, love some one else;

set not your heart on me.
Those who yearn for pleasures are your servants;
not those without desire.
For now I would live on barley grits
gathered as alms and purified
by the plate from which I eat them,
of quickly sewn palasa leaves.
[LAK$MIDHARA, SILHA~A COLLECTION]

1613. Oh festival flag of true religion, crowning wreath of God,

wife of Ocean, daughter of Jahnu, Ganges, I pray to you:
may my breath escape me as I lie upon your shore,
rocked by you, my eyes on you, holding in my heart your holy
name. VAKKUrA? [LAK~MiDHARA?]

1614,. We should give up present pleasures,

for they are fickle as a lightning flash,
giving us back to darkness when they end,
and receive instead the faultless joy of peace.
The voice is clear, the words are fine;
we, though, are shameless and have them not at heart,
but only say them over like a parrot. [SILHA~A COLLECTION]

1615. He has crossed all rivers of desire

and contemned all pain.
With grief at parting from his joys assuaged
and impure thoughts removed,
he has reached happiness at last and with closed eyes
attains complete contentment. Who?
Why, a fat old corpse in a graveyard.

423
 Peace [Sec. 48
1616. Gladly would I wear a patchwork made of broken leaves
and dwelling in the forest, keep myself alive
on water that brings joy because it is not begged.
But what I cannot do is speak, with failing limbs,
trembling and fearful, holding in my pain,
that humble, shameful sentence, " Give. " [SILH.A~A COLLECTION]

1617. Of necessity the pleasures of the senses leave,

though they have been with us for many a year.
What difference is in the manner of the parting
that men will not abandon them themselves?
When pleasures leave without our will
the heart is sorely grieved;
but when we leave them on our own
we gain the lasting joy of peace.
[BHART~ILO\RI COLLECTION, SILHA~A COLLECTION]

1618. How should there be so great reward

for us who undergo so little pain?-
for we, the trees, who ornament the woods,
are often burned by fire; but then our smoke
gives substance to the clouds, those friends of Ocean,
who nourish with their water all the world
without a thought of payment.

1619. Here stands the face, but where the honey of the lower lip?
Where now the sidelong glances, the tender conversation,
the eyebrow curved like Cupid's bow?
This is its joke on those made blind by passion,
as it sits, a trap for folly, on the friar's staff:
a skull, laughing with grinning teeth and with the soughing wind.

1610. This foolish girl still casts her eye upon me ceaselessly,
an eye as dark and lovely as a waterlily petal.
What does she hope to win? My folly now is gone
and extinguished is the flame stirred up by Cupid's shafts.
Yet she, poor piece of baggage, still keeps on. [JNANASIVA?]

424
Sec. 48] Peace
1621. Happy are they who pass childhood, youth and age
gamboling in the dirt, in sensual pleasures and in peace;
playing ever in a lap
of mother, of lotus-eyed enchantress and of holy rivers,
where in each several case they drink their fill
of breast, of lower lip, of stream.
1622. The river Time flows near us,
bringing every terror as its banks,
the days and nights, keep falling in.
Those who fall therewith can find
no foothold nor return. Yet, of the mighty
what is this daze that lets them sit so unconcerned?
[Verse 1623 is treated in the Notes.]
1624. The sky for garment, m) hollow hand for cup,
deer for my companions, meditation for my sleep,
the earth for couch and roots for food:-
'iVhen will this, my fondest heart's desire, be fulfilled
to set the crown upon my happiness? [SILHA~A COLLECTION]

1625. The glories of our youth

are fleeting as autumn clouds.
The pleasures of our senses
please at first but pain us in the end.

1626. Greetings, oh antelopes,

and blessings on your every tree, oh forest.
May all go well with you, oh rivers, sandbanks, rocks.
My heart has managed to escape at last
its most unhappy prison and yearns to have of you
a long acquaintance. [LAK~MiDHARA, SILHAl:lA COLLECTION]

1627. If others should be pleased to speak me ill,

I have " ron a favor "ithout cost.
Those who seek glory, in order to please others
more often spend their hard-earned cash.
[JNAN.~NKUSA, SILHA~A COLLECTION]

1628. A dog will gnaw at a human bone,

and though it be wormy, covered with spittle, stinking,
repulsive and even void of meat,
he delights in its incomparable taste.

425
 Peace [Sec. 48
If even Indra should come by,
the dog would look upon him with suspicion,
for one who is low does not consider
that what he has may not be worth the having.
[SULA? SILHA?:lA COLLECTION, BRARTJ;t.HARI COLLECTION]

1629. Can that be judgment where compassion plays no part,

or that be the way if we help not others on it?
Can that be law where we injure still our fellows,
or that be sacred knowledge which leads us not to peace?
[SILHA?:lA COLLECTION]

1630. Will those happy days come ev er when cross-legged

on a rock of the Himalayas by the Ganges
by continuous meditation upon brahma I shall enter
the trance of yoga; when old and fearless deer shall come
to scratch their horns against my limbs?
[KJ;t.f;l~A? SILRA~A COLLECTION]

1631. If I assumed this family out of love

and then cherished and protected it until this day,
it has now become a wet cloth clinging to my body
which I would leave but which I cannot doff.

1632. I have borne much, but yet with no forbearance;

have renounced the joys of home, but not because they palled.
I have suffered pain from cold winds and from heat,
but never used that pain that aids the soul.
I have meditated day and night-on wealth
and not upon that other, lasting truth.
I have performed all things the saints perform,
but have been cheated of all saintly fruit. [SILRA~A COLLECTION]

1633. My food is alms, my dwelling place the corner of a temple,

my couch the earth, my retinue comprised in this my body.
For clothes I wear a patchwork sewn of ancient rags,
and yet, alas, my thoughts leave not the pleasures of the senses.
[SILHA~A COLLECTION, BHARTJ;tHARI COLLECTION]

426
Sec. 48J P eace
1634. The body is but the product of semen and of blood,
which then becomes a meal for death, a dwelling place for
suffering,
a tavern for disease. A man may know all this
and yet, perforce, from lack of judgment,
drowning in the sea of ignorance,
he yearns for love, for sons, for women and for land.
[SILHAl',JA COLLECTION]

1635. Since this pile of elements

was not before nor will ever be again,
but knows the form of body only in a middle state,
we may see that union comes from elsewhere
and separation from within.
"\Vhat foundation is there then for love;
what basis then for grief? BHARTJ:tHARI [SILHAtiA COLLECTIO N]

1636. The jackals, birds and dogs are robbing you

and all about are insects and the worms.
You've been cheated sadly not to see your substance
turned by all creatures to such good account, oh corpse.

1637. These rogues, the senses, seeking to please themselves,

cozen a man with hope of pleasure
to enjoy their objects of delight.
In the end, when they have gained their purpose,
they lose all interest and leave their man
in the power of fate with one more bill to pay.
DASARATHA [SILHAtiA COLLECTION]

427
 Section 49

MISCELLANEOUS

1. The anthologist has gathered in this Section a number of verses

which he must have kept adding to his collection from time to time.
There is very little system to the additions, verses on the same subject
being scattered rather than gathered together. One observes some
effort to intercalate the additions of the second edition (K) among
additions of the first edition (N) that are appropriate or similar. Thus,
of verses dealing with the lady separated from her lover (virahi1;li),
1649 and 1691 are additions of N. In the second edition we find a
verse on much the same subject as 1649 placed just before it (1648).
Two verses from the same play as 1691 and dealing with the same
situation are inserted on either side (1690, 1692). But this principle
is not rigidly adhered to and one imagines that other factors, such as
the crowding of the margin of the author's manuscript, may have
occasioned the present position of many stanzas.
2. The Section begins with two stanzas addressed to the composite
deity Harihara (i.e., Vi~I,lu-Siva), who is not referred to elsewhere in the
anthology. Curiously, evidence for this compromise between the two
great gods of Hinduism is found several centuries earlier in southeast
Asia than in the Indian homeland. For the iconography one may com-
pare the handsome Cambodian image of the seventh century reproduced
by Coomaraswamy (fig. 333) and by Rowland (pI. 156a). Composite
images are not found in India until the tenth century, only shortly
before the time of our anthologist. The Siva half of the image was
white, the Vi$I,lu half dark blue or black; the head-dress combined the
conical mass of Siva's locks with the diadem of Visnu. These details
are referred to in our stanzas (1638, 1639).
3. In the selections which follow we are given examples of most of the
types of verse to which separate sections have already been assigned.
Absent are only the great gods and the seasons other than spring (1678,
1679). We are given a number of verses on love: on the shyness of its
first blossoming (1654,1665), the delights of its enjoyment (1641, 1651)

428
Sec. 49] Miscellaneous
and on the griefs of its interruption by absence or interference (1648,
1649, 1678, 1690-1692). Some of these verses are excellent. Verse
1641 expresses charmingly a lover's access of joy as he hears his approach-
ing mistress. In 1693 we have an invitation to sin, which, if its morals
are not abov e reproach, is intellectually impeccable. On the other
hand, married love and faith are sincerely expressed by the simple lines
of 1648. Finally, the power of love is portrayed as repulsively as is
possible in 1696.
4. Of other types, the allegorical epigram is well represented (1643,
1647, 1657, 1660, 1672, 1689). The last of these, though it may be
misunderstood (see notes), deserves high praise. Of characterizations
(see Section 35) we have a verse on the torrents of the upper Narmada
(1656), on a useless bull (1683), and Subandhu's famous verse on a charging
lion (1655). Flattery of kings (1644, 1663), discouragement (1667, 1676,
1681), peace (1645, 1686, 1697), and substantiations (1662, cf. Section
40) each have one or more examples.
5. In addition to types which have been met with before, the present
section contains a large number of niti stanzas, that is, gnomic verses
teaching some point of worldly wisdom. Actually, a few such verses
have been contained in the preceding sections, but only where they
qualified under some other rubric, such as good men, bad men, etc.,
as well. Several of the niti stanzas of this section are drawn from the
Hitopade8a, among them two of the best (1670, 1687). The wisdom
offered is sometimes what we should call moral (1666), sometimes what
we should call cynical (1658), but in either case it is usually good advice
expressed in a minimum of words. Two interesting verses are directed
against fatalism (1671, 1673). Of a different type is verse 1685, a
pleasing reflection of the Indian love of children.
6. On the whole the poetic level of the section is high, but the general
effect is spoiled when one reads the section straight through. One must
jump too rapidly from one sentiment to another. An observation of
this defect will lead one to take with some seriousness the Indian
division of poetry according to the sentiments.
1638. May you be united by that united body,
like the sky half covered by white autumn cloud,
of Vi~l).u of all forms and Siva, lord of all,
two mountains, of collyrium and ice.
1639. I praise that body of divergent attributes,
crowned half by matted locks and half by diadem,

429
 jl1iscellaneous [Sec. 49
bearing both moonbeams and a wreath of hea\ enly flo" ers,
dreadful both with skull-staff and with discus
and mounted on giant ox and giant bird:
the body joined of Vi1>l,1u and of Siva,
white as smiling jasmine and dark blue as sapphire.
[RAJ ASEKHARA ? ]

1640. Be not so proud, dear friend, that on your cheek

the ornament was painted by your lover's hand.
Another woman might have had the same
had the trembling of the hand not interfered. [KESATA?]

1641. Leave your fears, oh heart, and be at ease again.

Arrived is your dear medicine
against the wounds of Cupid's darts.
As she nears, the jingling ever grows
of bracelets shaken by her playful hand
in driving off the bees that fly to her sweet breath. [GONANDA]

1642. When after many days my love returned,

he talked of foreign lands for half the night;
then while still I feigned coy anger
the East, as if a rival wife,
turned angry red in earnest.
[Verses 1643, 1644 are treated in the Notes.]
1645. Even respected judgment fails,
the mind stumbles, wisdom is destroyed
and a man's firmness crumbles, when the heart
is poisoned by the pleasures of the senses.

1646. Before a king, in the presence of the learned,

and when meeting with a noblewoman for the noble act of love,
the heart is overcome with nervousness
and the most eloquent grows timid. [THE HITOPADESA]

1647. Oh flame-tree, even when you come in fruit,

what use is that to the hungry parrot?
What benefit can dependents gain
from a miser even though he rna y be rich?

430
Sec. 49] Miscellaneous
1648. Though dwelling here, I still am yours
and you, though there, are mine;
for they, dear husband, whose hearts are joined,
not they whose bodies only join,
are truly joined.

1649. The astrologers with looking at the sky,

with counting up the digits of the moon
and adding up the shadow on the gnomon,
get nothing but the pain of broken fingers.
That night will be the lucky one, that day propitious,
that will be the moment of good fortune,
when my love, who wanders now I know not where,
shall rise on the horizon of my eyes.
[VIDYANANDA? VASUDHARA?]

1650. You are the source of these offenses,

which, being proud, she will not bear;
and so she has forbid your going to her house.
Now if you go, she'll tie you in her girdle strings
and, striking you with the lily from her ear,
will cast you at her feet,
at which sole place of refuge I fear you'll linger long.

1651. I know that she is proud and that I've done offense,
but when I stand again within her courtyard
so great an agitation will affect her
as to drive away her anger, so great indeed
that with her limbs on fire and weakened by their trembling,
she will forget the girdle and the lily of her ear;
she will forget herself; and this attack of pride will end .
.. A TURKISH KING AND KING :BHOJA" (fanciful ascription),
[CHITTAPA AND VASU¥DHARA?]

1652. At his very birth the crowd of women who had come
for the immediate celebration fell in love
with the sweet beauty of his form and, thence inferring
that his handsomeness in youth would put to shame
the faces of all other men, did grieve at heart
that they had missed the fortune of being born his age.
VALLA}:lA

431
 ~1 iscellan eous [Sec. 49
1653. "Makes m e catch my breat h; hurts my lower lip
and raises a blush upon my skin. "
"You've met a gentleman from town? "
"No, no, my dear, I meant the winter wind. " [DHAR1tlAD_:\SA]

1654. The shy half glance, the sending of the go-between,

the joy and love that rises at the words
"We'll meet today; if not today, tomorrow."
Then when they meet, the sudden kisses and embracing:-
such is the fruit of love, the real bliss;
the rest we have in common with the beasts.

1655. See where the lion runs. Now high, now low,
his body bends with hindpart overtaking breast,
his tail raised stiff along his back
and barely curling at the tip.
The cavern of his mouth spreads wide with pointed teeth ;
his mane is bristling, he pricks his ears;
ferocious is his whole appearance,
as he leaps at the bull elephant. [SUBANDHU]

1656. These currents of the Narmada,

breaking through the Vindhyas and so deep
they reach to the lower world, bring terror.
They easily uproot, then cause to dance,
strike together, dash apart, set onward, leave and take,
swallow within their waves, then shiver and shake
the trees that stood upon their bank.

1657. With breezes cooled by spray , with sweet-sounding flight of

geese,
with blossoming lotuses and waters pure,
the lotus pond brought joy to all the world.
Then, later, when it saw its outward wealth was gone,
it gave its very bones to beggars in the guise
of lotus stems as white as the new moon [BHA VY A?]

1658. There is no way to satisfy

everyone on earth;
so always see to your own good.
What harm if others talk?
[Verse 1659 is treated in the Notes.]

482
Sec. 49] Miscellaneous
1660. The young bee, who once
drank from the calyx of the lotus,
now yearns for the bakula bud.
Ah, black honey-gatherer, where is truth?
1661. Oh traveler, we give no shelter now
t o travelers in this town.
One night, a young man came and laid him down to sleep
upon our marriage stage,
·who began in a low voice a song, but at the sound of clouds
remembered her that he had left behind.
He then did that, for which the people here
expect a bolt to fall upon their heads.
1662. The bird that is happy with his mate in sunlight,
when parted for the night cannot endure
the rays of the cool moon. Everything
is grievous to him whose heart holds grief.
[Verse 1663 is treated in the Notes.]

1664. Your breasts, oh daughter of a jungle chief,

with their brown slopes and nipples black
as unripe nuts of ebony,
are worthy to detain the fondling hand
of the young Pulinda hunter. The tribe of elephants,
humbly seeking that their lives be spared,
implores you therefore not to cover them
with breastcloth made of leaves. [VALLA~A]

1665. In shame she turns away her face,

thinking that everybody knows,
and when she sees two people talking,
thinks they talk of her.
When her companions smile at her,
the embarrassment increases.
My love is ever in alarm
from the fears within her heart. [SRi HAR~A-DEVA]

1666. In all he does, whether good or bad,

a wise man should consider the effect.
Deeds done too quickly ripen into thorns
that pierce the heart till death. [BHART:t;tHARI COLLECTION]

433
 NI iscellaneous [Sec. 49
1667. The rains bring mud, the autumn days bring heat;
in winter we are cold and in the frosts afflicted by the wind;
spring serves to disconcert the mind and summer's sun is fierce.
[?People are happy thinking time is time,
but tell me] what is pleasing about time?

1668. The power of youth is a darkness

that obscures young men's sight.
It is not dispelled by the luster of gems
nor removed by the rays of the sun.

1669. You're too hasty in your whims! What would you do,
throwing lotus seed into the pond?
Oh foolish lass! In this age there is no gratitude;
just wait and see, the pond will soon outshine your face.

1670. One who is dear, though he do an unkindness

will still be dear.
Though fire has burned up the household wealth,
does one give up fire? [THE HlTOPADESA]

1671. Poor Sukra is half blind. The sun has a crippled child.
Rahu has lost his limbs and the moon is ever waning.
But here are men, not knowing that these too
but suffer the results of their own deeds,
who blame their own misfortunes on the planets.

1672. If a gem that is worthy of a golden setting

is set instead in tin,
it cries not neither does it run away;
but it brings the jeweler to blame.
[PANCATANTRA, HITOPADESA]

1673. We praise the gods, but they are in the power of fate;
so fate deserves our praise. But fate can only give
the invariable fruit of any given deed.
If fruit is bound to deed, what use the gods and fate?
Give all your praise to virtuou s deeds, for over them
not even fate has power. [BHARTl,l.HARI COLLECTION]

434
Sec. 49J ~1iscellaneous

1674. If you quarrel with a common man

you destroy your reputation.
If you make of him your friend,
you undermine your v irtue.
A mall of judgment, looking to both sides,
annihiJates the fellow simply by neglect. [BH.~RAVIl

1675. Oh goddess Greed, praise be to y ou!

Well have you done your job;
since it was you who dwarfed the form
of Vi~lfu who was Endless.

1676. Some have left

and others are about to leave;
so why should we be sorry
that we too must go?
And yet our hearts are sad
that on this mighty road
the friends we meet can set
no place to meet again.

1677. So long can he stay on the road of virtue,

so long is a man the master of his senses
and feels shame and keeps good manners:-
as graceful women do not pierce his heart
with their arrow glances, feathered with black lashes,
shot from the dra,;o,'n eyebrow sidelong past the ear.
[BHART~HARI COLLECTION]

1678. If while her husband is on the way, his loving wife,

pining in his absence, should abandon life,
whose then would be the sin?
As the travel er turns this over in his heart, the cuckoo
from the treetop calls aloud, "'Tis yours, 'tis yours."

1679. The king there saw a garden where the sky was hid
by the rain of pollen shaken from the vines
that bent beneath their weight of opening buds;
a hall of public audience for royal Spring,
a sacrificial chamber for the god of love,
a pavilioned well, most perfect, for the thirsty bees.

435
 M iscellaneoU8 [Sec. 49
1680. You may always use two m edicines
to soothe the fire of love:
a sip of honey from a young girl ' s bp
and a pinch or two of her breast.

1681. A man may know the remedy,

but if he has not money, what's the use?
He is like one sitting without a goad
on the head of a must elephant.

1682. What woman does not know

that if she merely looks at me
r become as if struck dumb;
yet each and everyone is jealous of me.
r cannot cut myself in two
and offer up my body like a betel nut.
Truly, dear friend, r must have seen the moon
on the unlucky fourth.

1683. Every day with hoof or horn he strikes some traveler.

His skill at trampling down the crops is known to all the town.
He will not bear the yoke but just lies down and will not move.
I'd rather have an empty barn than this mean bull.

1684. When a pond is overflooded

a storm-drain offers cure.
A heart, when choked with grief,
is kept from bursting by laments. [BHAVABHUTI]

1685. Away with sandalwood and worthless nectar!

The moon is out; and lotus roots have lost the wager.
r know nothing on earth that can compare
to the dust upon a young son's body .

1686. The wise man, considering that youth is fleeting,

that the body soon is forfeited and wealth soon gone,
lays up no deeds which, while they furnish pleasure here,
will ripen into bitter fruit in future lives.

436
Sec. 49] ~i8CelUz1te01lS

1687. He that ever looks below

will feel that he is great;
while those that cast their eyes above
are al ways poor. [TIlE HITOPADESA]

1688. He speaks a lie

who speaks of darkness coming from the moon ,
of stinking odor coming from a lotus,
or of reproaches coming from a noble man.

1689. The hermit had brought up an elephant calf

with handfuls of top stems of wild rice
and given him the milk left over from his offering
in a cup of lotus leaves to drink.
At the calf full grown, about whose cheek
the intoxicated bees collect to drink
the ichor of an elephant in rut,
that hermit from a distance now looks on
with yearning not unmixed with fear.
[MU KTAPiI;>A? MA~OKA?]

1690. These characters which drops of sweat have marred,

their frames uneven from the trembling of the hand,
do from a slight examination of their shape
inform my heart somewhat.
Then by the charming wording and the repetitions
and by the final sentence left unsaid
they clearly tell the amorous confusion
of the long-lashed maid by whom they were composed.
RAJASEKHARA

1691. That it is written on soft palmleaf,

that it is sealed in thick sandal paste
with the impression of her breast,
and that the whole is bound by strings of lotus stem,
show this to be an amorous missive
fallen from some lady's hand. R.~JASEKHARA

1692. This lotus stem she must have worn as bracelet;

these flowers must have decked her ear;

15+s.c.p. 437
 Miscellaneous [Sec. 49
hers was this breastcloth made of plantain leaves ,
t o which the fever of her love has been as if transferred.
RAJASEKHA "R A

1693. The month of May is sweet ;

the forest lonely ; you are young;
and I am well equipped
and of the age when love is strong .
So go your way , my sweet,
or stay with me a while.
The tattletales already have
the evidence t hey need. VALL.-\' .. A

1694. Were not a drop of doctrine from the Moon of Sages,

better than a flood of cooling moonlight,
mixed within the vessel of its thought,
how would this heart find happiness
and, though it stood within a cold Himalayan cave,
how would it endure the unendurable
fire of separation from its love? DHA R MAKiRTI

1695. The vainglory

that each man bears within his soul
is heavier
than Vi~nu with all his thousand of illusions.

1696. An old dog, thin and purblind, lame and deaf,

docked of tail and famished, a potsherd round his neck,
with stinking mange and a body full of worms,
"rill still go running for a bitch. You see
how love will strike a creature when he' s down.
[ BHARTI;tU ARI C OLLE CTION]

1697. Many are seen to cross [?by their strength and practice]
on this deep lake, the heart, wherein they hold so much desire.
But few are they who dive wit hin, distinguishing what's there,
and, holding long their breath, succeed in getting it.
PA~:orTA JNANA SRi

438
 Section 50
PRAISE OF POETS

1. Such ver~es of the final Section as we can place in their original

settings come either from the prologues of plays or from introductory
verses to other works.
2. It is a convention of the Sanskrit theater that the stage-manager
should appear in the prologue and inform the audience of the name and
authorship of the play about to be performed. In this connection a few
v erses in praise of the author are appropriate. Among the older
playwrights such verses were always modest. Even as late as Murari
one finds a verse (1702) whose modesty leaves nothing to be desired.
In the prologues to Rajasekhara's plays we find high praise of the author
(1700, 1719), but Rajasekhara is careful to attribute these verses to
others, to 'an astrologer' or to 'the dean of the literary society' and it
may well be that friends of the poet would furnish such verses for a play,
much as an author's friends and' admirers write prefaces and forewords
to modern books. But with others, for example VallaQ.a (1703-1705,
1734), one suspects that the praise, which is fulsome, is self-generated.
3. The introductory verses to BaQ.a's Har~acarita and to similar works
proceed by a different convention. Here the author speaks of the vir-
tues of former authors in order to express his diffidence of undertaking
the work in hand. The author thus anticipates criticism and by his
modesty would deprecate it.
4. Finally, a few of the following verses, which one cannot place,
seem to fall under neither of these conventions, but to be spontaneous
expressions of one man's admiration for another. Perhaps the finest
of these is Abhinanda's praise of Rajasekhara (1714), where one may
note how the epithets increase in emotional intensity, referring succes-
, sively to the social, artistic, and ethical merits of the poet and culminat-
ing on a personal note that is rare in Sanskrit literature.
5. The praise of poets is for the most part in very general terms,
which agree with the definitions of the nature of poetry given by the
critics. Thus, the master poet produces nectar by his perfect suiting

439
 Praise of Poets [Sec. 50
of word to meaning (1715, 1724, 1726). With this one may compare
Mammata's definition: "poetry is the faultless (choice of) word and
meaning, possessed of special virtues and sometimes without trope
(ado~au sabdarthau sagu1),au kvacid anala1!/-krti)." Poets are praised for
their rendering of the rasas, sentiments or £lavors, especially the rasas
of love and pity (1703, 1716, 1724, 1734). Visvanatha was later to
define poetry as "a £lavored sentence (viikya'r[t Tasiitmaka1!/- kiivyam)."
Kalidasa is praised for his use of simile (1709) and for the simplicity of
his style (1736), recalling the emphasis \vhich the older critics like
Dal)Q.in had laid on figures of speech and their preference for the Vaidar-
bhi style. Verse 1708 would have the poet use nothing but words and
senses that are clear to everyone. The style that was popular in our
anthologist's time, however, was no longer simple. What is more, it
consciously aimed at achieving effects through suggestion rather than by
straight description. Verses 1704, 1705, 1715 praise suggestiveness in
poetry quite after the fashion of Anandavardhana's maxim" suggestion
is the soul of poetry (kiivyasyiitma dhvanilJ,)."
6. The poets most frequently mentioned in these verses have held
their fame to the present day and their works may still be read: Valmiki,
Vyasa, Kalidasa, Bharavi, Subandhu, Ba1).a, Bhavabhiiti. Of those
less often mentioned some have escaped the ravages of time: Aryasiira,
Murari, AQhyaraja if this name refers to King Har~a, Pravarasena.
Kumaradasa has been retrieved only recently after centuries of obscur-
ity. Other poets here praised are known to us only from quotations
in anthologies. Such has been the fate of the ancient poet Bhartrmetha
or BhartrmeI)tha and of almost all the poets of the Pala Empire, among
whom may be counted Satananda ('my father' 1699), Vagura, Yoges-
vara, Kesata, VallaI)a, and probably Dharmasoka.
7. Of special interest are the verses of Dharmakirti and Bhavabhiiti,
two of India's most original writers, which speak of the scorn and lack
of understanding which the writings of those authors found among
contemporaries. To such disappointment Dharmakirti replies with
bitterness (1726, 1729), Bhavabhiiti with the unreasoning hope of a
romantic (1731). If the souls of men could enjoy their posthumous
fame the one would now see his works admired even far beyond India,
the other 'would see his romantic hope fulfilled.

1698. We adore Subandhu, and who does not feel love

for the author of the Raghuvarpsa?

440
Sec. 50] Praise of Poets
We take pleasure in the poet PaQ.ini
and Haricandra charms the heart.
Sura's speech is pure and Bharavi's is beautiful by nature.
But it is Bhavabhuti who produces
a delight within our hearts that cannot be described.

1699. My father was unique in that his work

took for its subject what had not before been treated.
Vagura was well versed in the path of speech
trod by former master poets.
Y ogdvara knew how to make words blossom
when he wrote of the Reva and the Vindhyas,
of Pulindra and of Pamara girls,
and of a message carried by the rnonsoon wind. ABHINANDA

1700. Would you drink elixir with your ear

or fashion phrases which the wise approve;
would you reach the height of learning
or the farther shore of the stream of sentiments;
would you eat the sweetest fruit that the tree of life can give?
Then, brother, hear the nectar-dripping speech
of the poet Rajasekhara.
SA~{KARAVARMAN [AS QUOTED BY RAJASEKHARA]

1701. Many have worshiped the muse of speech, but truly

the bard Murari, who studied long and hard
within his teacher's house, knows the Musaean essence.
The soldier apes of Riima crossed the sea,
but it is the churning-mountain, whose mighty frame
stretched down to Hades, that knows the sea's full depth.
lIfUR_~RI?

1702. These phrases of Murari are like a trough beside a well;

the well: the nectar of Valmiki's verse,
deep and delicious from its praise
of a dynasty so brilliant as was Riima's. M UR.~RI

1703. Out upon those literary styles

that pain one with exertion!
Out on fruitless speech, in which does not appear
the nectareous delight produced by Vallal)a;

441
 Praise of Poets [Sec. 50
whose verses are a dancing ground for sentiments of love,
a moonrise for the high tide of our tears,
a cause of pride's annihilation
in all his literary rivals. VALLA~A

1704. How should young ears that have been led astray
by flattering shallo'wness
respect that art of poetry that would put
in every word the substance of the universe?
How should the mine of gems, the ocean,
whose maj esty was such tha t Mount Mainaka
submerged within its smallest fish 's mouth,
be plumbed by those 'whose great deed was no more
than fathoming a puddle by the road? V.ALL..-\~A

1705. What delights is when the soul of what one says

appears not in the words themselves
but in the way the words are put together;
this, rather than a flavor that is obvious ;
just as a woman's breast excites us
when but a glimpse of it is seen
as her silken garment flutters in the "ind;
this, rather than the breast laid bare. VALLA~A

[Verse 1706 is treated in the Notes.]

1707. To have produced a Rape of SIta

when the Dynasty of Raghu stood before,
one must have been Kumaradasa
or else been RavaQ.a.

1708. Your words are such that there is none

but lies in the common road of thought,
nor do you take a word in another sense
than what runs on the highway of our speech.
How different is the frigidly contrived
and arbitrary joining of the word and sense
by which these other cursed poets
exhaust our minds.

442
Sec. 50J P1'a1,se of Poets
1709. Supreme stands Kalidasa,
an ornament for the throats of poets,
who, having reaped the field of simile
with the sickle of his mind ,
has left all other poets to glean .
[Verses 1710, 1712 a re treated in the Notes .]

1711. The fame of Pravarasena,

bright as a lily ,
has crossed the ocean by a bridge
as did Rama's troop of apes.

1713. Kalidasa and the rest ,"ere poets,

poets too are we;
a mountain and an atom
are both substances. [KJ;t~1i ABHA. TT A ]

1714. Source of good companionship, storehouse of fine conversation,

magic charm for winning women's hearts,
wave of the lake of love, lov er of fine speech;
sole abode of beauty, repertoire of gentle song,
sea of firmness, tree upon the hill of justice,
Rajasekhara, my friend!
Now I have seen you, I depart well blessed. [ABHINANDA]

1715. When a special nectar, made up of the workings

of word and meaning, with its delightful current bathes
the minds of men of taste, we have true poetry;
but the finest subtlety therein
is that which bursts upon our inner sense
although not designated by the words. [HJ;t1?IKEsA?]

[Verses 1716, 1717 a re treated in the Notes.]

1718. The words of a good poet

even before one proves their excellence
pour sweetness in the ear.
A jasmine garland
attracts the eye
before one knows its scent. SUBAND H U

443
 Praise of Poets [Sec. 50
1719. A poet in ancient times rose from an anthill,
who later came to earth as Bhartrmetha;
again he appeared in guise of Bhavabhuti ,
and, as Rajasekhara, lives nO\y. RA J ASE KH A R A

[Verse 1720 is treated in the Notes.]

1721. What is that which as it is pressed
deeper within the hearts of men
stops their head from shaking more:
is it the poem of a poet
or is it a bowman's shaft? TA:\1A RA S A

1722. It took me a long time

to fathom , as it were,
the deep, sweet flood
of Kalidasa's muse.

1723. One man is able to compose a verse,

another has the gift of hearing;
your intellect excites our admiration
by its being blessed both ways.
A meeting of extraordinary virtues
is seldom present in a single substance ;
one sort of stone produces gold,
another serves to test it.

1724. In skillful usage and in learning,

in excellence of sense in every word,
in clarity and depth, in forming sentences
that furnish sentiment;
in the full development, unknown to other poets,
of meaning and of word : -
if you should ask for my opinion,
the poet AmarasiJ!lha is supreme. S.:iLIKA

[Verse 1725 is treated in the Notes.]

1726. Valmi:ki dammed the sea with rocks
put into place by monkeys,
and Vyasa filled it with the arrows shot by Partha ;
yet neither is suspected of hyperbole.

444
Sec. 50J Praise of Poets
On the other hand, I weigh both word and sense
and yet the public sneers and scorns my work.
Oh Reputation, I salute thee! DHARMAKiRTI

1727. Alas that Dak~a, the crest jewel of poets,

did never see King Utpalaraja, lover of the muses,
for thus the wealth of that Mount Rohal).a to suppliants
was held in vain, in that he could not purchase
the lovely poems of Dak~a as gems to grace his ear. nAK:?A

1728. In proportion to his knowledge

does the affection of a man's heart
open to the words of a master poet
and to eternal God.

1729. No one rides before, no one comes behind

and the path bears no fresh prints.
How now, am I alone? Ah yes, I see:
the path which the ancients opened up by now is overgrown
and the other, that broad and easy road, I've surely left.
THE VENERABLE DHARMAKIRTI

1730. One who fails to take to wife such learning

as may be worthy of his family, and thereby
does not beget that noble child, Resplendence,
or then who fails with gentle love to give that child
in marriage to one who seeks her, deserves our scorn
if to himself he should apply the name of man.
BHARTI.UIARI

1731. Those who scorn me in this world

have doubtless special wisdom,
so my writings are not made for them;
but are rather with the thought that some day will be born,
since time is endless and the world is wide,
one whose nature is the same as mine. [BHAVABHUTI]

1732. A treasury of learning, a noble house of endless fame,

an unstained mirror for reflecting the biography of kings,
a tree of paradise upon whose branches grow

15* 445
 P'raise of Poets [Sec. 50
the jeweled vines of excellence in all the arts:
depth of nature and victory over all
is what is given in that single word, 'a poet. '
1733. That path where Bal)a once had daily passed
and which again was found by Bhavabhiiti;
which came to be well worn by Kamalayudha
and long was used by KeSata;
the dust of which was honored by the touch
of Sri Vakpatiraja:
by grace of God that path still opens
, ?
to a certain man of genius. YOGESVARA.

[Verse 1734 is treated in the Notes.]

1735. By the works of A<;lhyaraja, if but remembered
as they lie within the heart,
my tongue is as it were drawn back
nor dares to utter my own poetry.
1736. Valmiki's muse is sealed; who would now praise
the works of Vyasa? And scorn is heaped on Bharavi.
If the student has but heard the poetry of Dharmasoka,
a source of dharma turned to flower ornament upon his ear,
why even tell him then about the blessed
hereditary master of Vaidarbhi style? DHARl\L~SOKA

1737. As long as the left side of Siva's body

is graced with woman's breast,
as long as Vi~l,lu's arms are busy
in clasping Lak$mi's neck;
as long as Brahma's hands keep moving
to the accents of his Vedic hymns:
so long may last the verses of good poets,
sweet potion for the conchshell of the ear! [RAJASEKHARA ]

1738. Vidyakara has built a treasury of well-turned verse,

verse hard to come by, of those poets who,
having like gods descended for a while as mortals,
together with their fame have gone to dwell in heaven.
May it serve to ornament the throats of all good men.
[VIDYAKARA]
Here ends the Treasury of Well-Turned Verse.

446
 ABBREVIATIONS AND REFERENCES
CORRECTIONS, ALTERNATIVE READINGS,
AND EMENDATIONS
NOTES
 ABBREVIATIONS AND REFERENCES

Where a work has been listed in the References of the Text Volume, I have,
with few exceptions, maintained the abbre,; iation used there. In general,
'Western-language works are listed by author, Sanskrit works by title. The
chief exceptions to this practice are those San~krit works whose title might
have led to ambiguity; thus, the works of Bhamaha, Rudrata, and Mammata
are referred to by author.

Abhinavagupta, see BhN8. and Dhv.

ABORI., Annals oftke Bhandarkar Orienta.l Research Institute, Poona.
Acharya, P. K., A Dictionary of Hindu Architecture [vo!. I of his Encyclopaedia
on Hindu Architecture], Oxford University Press [1927].
Acharya, P. K., Illustrations of Architectural and Sculptural Objects [vo!. V of
his Encyclopaedia on Hindu Architecture], Oxford University Press
(1934].
Acharya, P. K., .'4'1iina.r;ara, see Manasara.
Agni Pura'l}-a, AnSS. 41, Bombay, 1900.
A.K., The Namali1igan'U§iisana (Amarakosha) of Amarasirpha with the
commentary of KshIrasvamin, ed. by Krishnaji Govind Oka, Poona,
1913.
AmS., AmaruSataka. Unless otherwise specified, reff. are to the edition with
the commentary of Arjunavarmadeva, KM. 18, Bombay, 1889. Reff. to
Jivananda's text (which differs considerably) are to Kavyasa'Yf1,grahaIJ,
dvitiyo bhagaQ, sriJlvanandaVidyasagaraBhattadiryyeI;La viracitaya
vyakhyaya samalaxpk:rtaQ, third ed., Calcutta, 1888.
AnT., Anarghariighava of Murari. I have used two editions, which are essen-
tially the same with regard to text but which bear different commentaries:
(1) with the commentary of Rucipati, ed. by Pt. Durgaprasad and V. L.
PaI;Lsikar, KM. 5, fifth ed., Bombay, 1937; (2) with the commentary of
Jivananda Vidyasagara, third ed., Calcutta, Vacaspatya Press, 1936.
Jivananda's commentary, though modern, is the better of the two.
AnSS., Anandasrama Sanskrit Series, Poona.
Any., Anyoktimuktavali of HaxpsavijayagaQi, ed. by Pt. Kedarnath and V. L.
Pal).sIkar, KM. 88, Bombay, 1907.
Anyoktistabaka of Varpsidhara Misra, ed. by J. J. Parikh and R. G. Asti,
Chunilal Gandhi Vidyabhavan Studies No. 4, Surat, 1955.

449
 Abbreviations and References
Anyokty~takasamgraha, ed. Pratibha D. Trivedi, Bhiiratiya Vidyi Series
No. 11, Bombay, 1946.
Apte, Vaman Shivaram, The Practical Samkrit-Engliah Dictionary, third
ed., Bombay, Gopal Narayen & Co .• 1924.
Archer, W. G., Indian Painting, Oxford University Press. 1951.
Arth., The Arthaiiistra of Kautalya, Trivandrum Sanskrit Series Nos. 19, 82,
Trivandrum, 1924-25.
AryaS., The Arya-SaptaBati of Govardhanacharya, KM. 1, second revised
ed .• Bombay, 1895.
As., The Alankarasarvasva of Rajanaka Ruyyaka with the commentary of
Jayaratha, ed. by Pt. Girijiiprasiid Dvivedi, second ed., KM. 35, Bombay,
1989.
Auc., mahiikavisriK~emendrakrtii Aucityameiiracarcii, KM. (Original Series).
I. pp. 115-160.
Basham, A. L .• The Wonder that was India, London, Sidgwick and Jackson,
1954.
Belwalkar, Sbripad Krishna, Riima's LaIeT History or Uttara-riima-charita,
Part I: Introduction and Translation [no more published], HOS. 21.
Cambridge, Mass., 1915.
Bh., The Epigram8 aUributed to Bhartrhari, ed. by D. D. Kosambi, Singhi
Jain Series 28, Bombay, 1948. The commentator Riimacandra Budh-
endra is quoted from sriBharq-hariyogmdraviraciti Subhf1,itatri8ati,
ed. by Niiriyan RAm Acharya and D. D. Kosambi, Bombay, NSP, 1957.
Bhag. Pur., Bhiigavatapuratta. 8rimadbhiigavata-cUrt}-ikii-#kii, ed. by PiI)geya
RAmateja Siistri, PaJ;l9ita-pustakaIaya, KiSi [Benares, preface dated
ssIpvat 2014=A.D. 1957].
Bhiimaha, Kiivyiilankiira of Bhiimaha, Kashi Sanskrit Series, Benares, 1928.
Bhattacharyya, Benoytosh, The Indian Buddhin Iconography, Oxford
University Press, 1924.
BhG., Bhagavadgitii. GPP. The Bhagavadgitij with eleven commentariu,
Bombay, The Gujerati Printing Press, 1988.
Bhi~iitanakiivya, KM. (Original Series) 12, second ed., pp. 61-191, Bombay,
1988.
BhNS., NiitYaSiistra of Bharatamuni with the commentary of Abhinavaguptai
vo!. I, second ed., 1956; vol. n, 1984; vo!. ill, 1954; Gaekwad's Oriental
Series 36, 68, 124, Baroda.
BHSD., see Edgerton.
BIS., Otto Bohtlingk, Indiache Spriiche, zweite vermehrte und verbesserte
Aufiage, 3 vols., St. Petersburg, 1870-1873.
Bloomfield, M., "On Talking Birds in Hindu Fiction," Femchrift Windi8c",
pp. 349-361, Leipzig, 1914.
BrA. Up., BrJuuliira1Jyakopafl~at, AnSS. 15, fourth printing, PooD&, 1989.
Brown, W. Norman, TIu! Saundaryalahari, HOS. 48, Cambridge, Mass., 1958.

450
 Abbreviations and References
Buddh. Car., The BudJJuu:ariUz.: or, Acts o/the Budd~ ed. by E. H. Johnston,
published for the University of Lahore, Calcutta, 1985.
Burgess, J., The Rock Temples of Elurii or Vend, Bombay, 1877.
Burrow, T., The Sanskrit Langtuzge, London, Faber and Faber, 1955.
B. V.Pur., Brahmavaivarlapurii:I..UL, 2 vols., AnSS. 102, Poona, 1985.
CakrapiifJivijaya-mahakavya of bhatta-~midhara, Rajasthan Puratan
Granthamrua No. 20, Jaipur, 1960.
Chiindogya Upani§ad, AnandagirikrtaPkisaIJlvalitaSarpkarabh~yasameta,
AfllSS. 14, Poona, 1890.
Coomaraswamy, A. K., The Da'llce of Siva, New York, 1918.
Coomaraswamy, A. K., History of Indian and Indonesian Art, New York,
E. Weyhe, 1927.
Dhp., Der Dhiitupa/ha nach N. L. Westergaard; printed in Piittini's Gram-
matik, ed., Otto Bohtlingk, zweite Abtheilung, pp. 61-84, Leipzig, 1887.
Dhv., DJwanyiiUJka of Anandavardhana, with Abhinavagupta's Locana
(DJw. Loc.) and Sri Ramdiiraka's Biilapriyii, Kashi Sanskrit Series 185,
Benares, 1940.
Divyavadiina, ed. by E. B. CoweD and R. A. Neil, Cambridge, 1886.
DKC., The DaSakumaracharita of l>ru)QJn, ed. by Godbole and PaQsikar,
twelfth ed., Bombay, NSP., 1938.
DR., The DaSarilpaka of Dhanaiijaya, ed. by K. P. Parab, fifth ed., Bombay,
NSP., 1941.
Edgerton, Franklin, BHSD, Buddhist Hybrid Sanskrit Grammar and Dic-
tionary, vol. 11, Dictionary, New Haven, Conn., Yale University Press,
1958.
Emeneau, M. B., "Signed Verses by Sanskrit Poets," Indian Liflgui8tica, ~-
vol. 16 (Nov. 1955; Chatterji Jubilee Volume). /
Emeneau, M. B., "The Sinduvara Tree in Sanskrit Literature," University of
California Publico1ions in Cltusical PhikJkJgy, vol. 12 (1933-1944),
pp. 883-346.
Foucher, A., Etude sur Z'iconographie bouddhique de Z'lnde, 2 vols., Paris,
1900, 1905.
Frauwallner, Erich, Geachichte tier indischen Philosophie, 2 vols., Salzburg,
Otto Miiller, Verlag, 1958. 1956.
Getty, Alice, Ga1}da, Oxford, 1936.
Getty, Alice, The Gods of Northern Buddhism, Oxford. 1928.
Ghurye, Govind Sadashiv, Indian Costume, Bo~bay, 1951.
Gokhale: from correspondence with V. V. Gokhale, co-editor of Text Volume;
see Preface.
Gonda, J., Aspects of Early V~uiam, Utrecht, 1954.
Gop., T. A. Gopinatha Roo, Elements of Hindu Iconography, 2 vols. in 4,
Madras, Law Printing House, 1914-16.

451
 Abbreviations and References
HaIa, The GilthiUaptaSati of Satavahana, ed. by K. P. Parab, KM. 21. Bombay,
1899.
Har~., mahakaviBa1;labhatt;a1q1;arp Har,acaritam ... cUQsmaQiSrupkaravi-
racitayA Sa1iketakhyaya vyikbyaya sametam, Bombay, NSP, 1925.
Hit., Hitopadesa by Narayal)a, ed. by Peter Peterson, Bombay Sanskrit
Series S8, Bombay, 1887.
Hoernle, see Uvasagadaaiio.
Hopkins, E. W., ~'The Social and Military Position of the Ruling Caste in
Ancient India," JAOS., vol. 18 (1889), pp. 57-876.
HOS., Harvard Oriental Series, Cambridge, Mass., Harvard University Press.
Ind. Temp., Indian Temples, 136 photographs chosen and edited by Odette
Bruhl, with a preface by Sylvain Uvi, Oxford University Press, 1939.
Ingalls, Daniel H. H., "A Sanskrit Poetry of Village and Field: Yogesvara
and His Fellow Poets," JAOS., vol. 74 (1954), pp. 119-131.
Ingalls, Daniel H. H., "Words for Beauty in Classical Sanskrit Poetry,"
Indological Studies in Honor of W. Norman Brown, American Oriental
Society, 1962, New Haven, Conn., pp. 87-107.
Isa Up., IJiiviisyopan~at, AnSS., 5, sixth ed., Poona, 1934.
J ayadiiman, a collection of ancient texts on Sanskrit prosody and a classified
list of Sanskrit meters, ed. by H. D. Velankar, Harito~amaIa no. 1,
Bombay [1949].
JAOS., Journal of the American Oriental Society.
Jivananda Vidyasiigara, see Ama., Anr., and Yid.
J.I.Soc.Dr.Art, Journal oftke Indian Society of Oriental Art, Calcutta.
J iiiinaJrimitra, Jiiiinammitranibandhiivali, Tibetan Sanskrit Works Series
Volume 5, Patna, 1959.
JOIBar., Journal afthe Oriental Institute of Baroda, Baroda.
K, Raj guru codex of SRK., described in Text Volume, pp. xviii if.
KA., KavyiicliirAa of D8J;lQID, ed. by Vidyabhusana Pt. Rangacharya Raddi
Shastri, Government Oriental Series, Class A, No. 4, Bhandarkar Oriental
Research Institute, Poona, 1938.
KalpasiUra of Bhadrabahu, cd. by Hermann Jacobi, Abh. fur die K unde des
Morgenlandes, Band 7, no. 1, Leipzig, 1879.
Kiim. Sm., The KiimasUtra by Sri Vatsyayana Muni with the commentary
Jayamangala of Yashodhar[a], Kashi Sanskrit Series 29, Benares, 1929.
References are by adhikaratta, adhyiiya, Biltra.
Kane, P. V., see Sd.
KM., The Kii8ikii [of Vamana and Jayaditya], ed. by Pt. Ananta Sastri
Phadake, Kashi Sanskrit Series 87, Benares, 1931.
Kiivm., Kiivyamimii1psii of RajaSekhara. Unless otherwise specified ref!. are
to the ed. of C. D. Dalal, Gaekwad's Oriental Series No. 1, Baroda, 1916.
Also used: third ed., revised by Ramaswami Sastri Siromani, Baroda,
1934; and Kavyamimii1(l84 with Hindi translation by Pt. Kedlirnsth
Sarma Sarasvat, Bihir ~trabhqa Parl,ad, Patna, 1954.

452
 Abbreviations and References
Kautilya. see Arth.
Kavyiilankara, see Bhamaha, Rudrata.
KavyaprakiUa, see Ma.mmata.
Keith, Arthur Berriedale, The Religion and Philosophy of the Veda and
Upanishads, HOS. 81, 82, Cambridge, Mass .• 1925.
Keith. Arthur Berriedale. Rigveda Briihmo/fJ.a8, HOS. 25, Cambridge, Mass.,
1920.
KHA., Alafikiira.ciUJii.ma1Ji on Hemacandra's KavyanuSiisana. Reff. are to
vol. I of the ed. by Rasiklal C. Parikh, Sri Mahavira Jruna Vidyalaya,
Bombay, 1988.
Khajuralw, by Eliky Zannas and Jeannine Auboyer, The Hague, Mouton &
Co., 1960.
KHV., Viveka on Hemacandra's KavyanuAiisana. Reif. are to vol. I of ed. by
Rasiklal C. Parikh. Sri Mahavira .Jaina Vidyalaya, Bombay, 1938.
Kir. Arj., KiriiJiirjuniyam mahakavisriBharavipraJ.litam . . . Mallinatha-
siiriviracitaya . • . vyakhyaya . . . samudbhasitam, ed. Gurunatha
Vidyanidhi Bhattaca.ryya, fourth printing, Calcutta, Janakinath Kabya-
tirtha and Bros., 1342 [A.D. 1936].
Kirfel, Willibald, Die Kosmographie der I'1'Ukr '1UlCh den Quellen dargestellt,
Bonn, 1920.
KM. The Kavyamiila series, published by the NSP., Bombay: Original
Series for short works, gucchaka 1-14, 1886-1904; Main Series for longer
works, vols. 1-95, 1886-1913.
Konow, Sten, "Ananga, the Bodiless Cupid," ANTI~QPON FestschriftJacob
Wac~el, pp. 1 if., Gottingen, 1928.
Koppers, W., Die Bhilin Zentralindien, Wiener Beitra.ge zur Kulturgeschichte
und Linguistik Jahrg. 7, Horn, F. Berger, 1948.
Kosambi: from correspondence with D. D. Kosambi, co-editor of Text
Volume; see Preface.
Kosambi, D. D., An Introduction to the Study of Indian History, Bombay,
Popular Book Depot, 1956.
Kramrisch, Stella, The Art of India, London, 1955.
KSS., The Kathiisaritsiigara of Somadevabhat1;a, ed. Pt. Durgaprasid and
Kasinath Pandurang Parab, fourth ed., Bombay, NSP., 1980.
K um. Sam., The K umarasaT[1bhava of Kalidas8, ed. by Visudev Lak~mal)
Sastri Pa~ikar, twelfth ed., Bombay, NSP., 1935.
Kundamiila by Dinniiga (the work is in fact by Dhiranaga, see Text Volume,
p. lxxxii), Dakshinabharati Series 2, Bombay, 1923. Since this little
volume is exceediIigly hard to come by, the reader may refer in its stead
to the ed. with Hindi translation by ~I.1a Kumar Dhavan, Bharatiya
SaIpSlq-ta Bhavan, J8la.ndhar, 1955.
K utI., K uttanimatam Kavyam, ed. by Pt. Madhusudlln Kaul, Bibliotheca
Indica, Calcutta, 1944.

458
 Abbreviations and References
K .Z., K uhns Zeitschrijt = Zeitschrijt fur vergleichende Sprachf()'f8Chung,
Gottingen.
Lak!1midhara, see Saundarya.
Litiga Pura:';,a, ed. Jivananda Vidyasagara, Calcutta, 1885.
Mah .• Mahiiviracharita of Bhavahhilti with the commentary of , iraraghava,
ed. T. V. Ratnam Aiyar and S. Rangachariar, fourth ed., Bombay,
NSP., 1926.
Mahiib~a srimadbhagavatPatanjalimah~ipraQite Vyiikaraf)O.mahiih~e
navahnikam [continued in succeeding vols.] ... Kaiyatanirmita- Pradipa-
prakasitam . . . Nagesabhatta-viracita-Uddyota-udbhMitam, 6 vols.,
Bombay, NSP., 1935-.
! Mahalinga Sastri, see Vyajoktiratnavali.
f Maitriiya'fJi Samhitii, ed. Leopold von Schroeder, 4 vols., Leipzig, 1881-
1886 •
.ilfiil., Miilatimiidhava of Bhavabhuti. Refi. unless otherwise noted are to the
ed. with commentaries of Tripurari and Jagaddhara by Mangesh Rama-
krishna Telang and V. L. Sastri Pal).sikar, sixth ed., Bombay, 1936.
Reff. to Haridasa's commentary are to Miilatimiidha.vam ... sriyukta-
HaridiisaSiddhantaviigisaBhattacaryyeQa praI)itaya tikaya ... sahitam,
third ed., Calcutta, saka 1858 [A.D. 1936].
Mammata. Kiivyapraka.Ya with the commentaries of Nagoji Bhatta and
Govinda 'fhakkura, AnSS. 66, second ed., Poona, 1929.
Miinasiira on Architecture and Sculpture, Sanskrit text ed. by P. K. Acharya
[vol. III of his Encyclopaedia on Hindu Architecture], Oxford University
Press [1933].
Manu, The ~lanusmrt·i with the commentary ... of KullUka, ed. by Narayan
Ram Achiirya Kavyatirtha, tenth ed., Bombay, NSP., 1946.
Matsyapurii'fJU, AnSS. 54, Poona, 1907.
M Bh., The Mahiibhiirata for the first time critically edited by Vishnu
S. Sukthankar etc., Poona, Bhandarkar Oriental Research Institute,
1933-.
McCann, Charles, Trees of India, Bombay, D. B. Taraporevala Sons & Co.,
n.d. [19541].
Megh., The MeghadiUa of Kalidasa with the commentary of Mallinatha, ed.
by Pa:r;Isikar, thirteenth ed., Bombay, NSP., 1929.
Meyer, .T. J., Diimodaragupta's Kutf,animala, Leipzig, Lotus Verlag [1908].
Modern Review, a monthly review and miscellany, Calcutta.
J1rc., The Mrichchhakatika of $iulraka, ed. by K. P. Pariib, revised by V. L.
Sastri PaJ.lsikar, sixth ed., Bombay, NSP., 1926.
M. W., A Sanskrit-English Dict·ionary by Sir Monier Monier-Williams,
Oxford, 1899.
N, Palmleaf codex of SHK., described in Text Volume, pp. xvi fi.

454
 Abbreviations and References
N iigarruaroasva, kaviSekharaPadmaSri-viracita-Niigarasaroasva, .salpslqt mliI
aur saral bh~atika sahit, ed. by Pt. Sri Rajdhar Jha Kavyatirth,
Calcutta, Srinivas Girdhiirilal .L ohiya, 1926.
Navasiih,., Navasiihasii1ikacarita, Bombay Sanskrit Series 53, Bombay, 1895.
Nobel, J., BeitTiige ZUT iilteren Gcschichte des Ala:1fl,kiiTa8astTa, Berlin, 1911.
NSP., The Nirnaya Sagar Press, Bombay.
P, Prruanna-siihitya-ratniikaTa of Nandana; see description of the m ... m
Text Volume, pp. xxii-xxiii.
Pad. Pur., The Padma Puriif).(l, 4 vol., AnSS., Poona, 1893-1894.
Pii't)., Paf,ti'lli's Grammatik, herausgegeben, ubersetzt, erlautert ... von Otto
Bohtlingk, Leipzig, 1887.
Pancatantra: the reff. in the Text Volume and in the notes of the present
volume are to (1) Kosegarten, Pantschatantrum, edidit 10. Godofr.
Ludov. Kosegarten, Pars prima, textum sanscriticum simpliciorem
tenens, Bonn, 1848; (2) Bomb., The Pancato:ntra, ed. F. Kielhorn and
G. Biihler, Bombay Sanskrit Series 1, 3,5, Bombay; (3) Om., Kosegarten,
Pars secunda textum Sanscriticum omatiorem tenens, Gryphiswaldiae,
1859; (4) pum., The Panchatantra ... of Piirl)abhadra ed. by Joh.
HerteI, HOS. 11, Cambridge, Mass., 1908.
Piilgala, The CMandtu Samra by Sri Piilgalan8ga, third ed .• K.V. 91, Bombay,
1988.
Pischel, R., "Verkannte Sprichworter," Festgruss an Rudolf von Both,
Stuttgart, 1893.
Pratnii't)avartikab~a of Prajiiakara Gupta, Tibetan Sanskrit Works Series,
Patna, 1953.
P. W., Sanskrit- Wiirterbuch von Otto Bohtlingk und Rudolf Roth, 7 vols., St.
Petersburg, 1855-1875.
RA .• Riimacarita of Abhinanda, Gaekwad's Oriental Series 46, Baroda, 1980.
Ragh •• The Raghuva1[lJa of Kiilidasa with the commentary of Mallinatha, ed.
by Parab and P&J;lsikar, tenth ed., Bombay, NSP., 1932.
Ram., The Ramiiya't)Q. of Valmiki with the commentary (Tilaka) of Rima-
[varman], ed. by KiiSinath PalJ.«;lurailg Parab, 2 vols., Bombay, NSP .•
1888.
Ram. N.W., The Riimiiya1,Ul of Valmiki, North-Western Recension, 7 vols.,
ed. by Bhagavad Datta, Lahore, 1927-1947.
Riimacandra, see Bh.
Ras~angiidhara of Jagannatha, K.V. 12, second revised ed., Bombay,
NSP., 1894.
Rati., RatiraJuLsyam [of Kokkoka] srimatKiiicinAthalqtaDipakiikhyaya
vyakhyaya samudbhasitaIn. ed. by Ghila4iyaIopa SadanandaSistri,
Bombay Sanskrit Press, n.d.
Ratn. Ratniivali by Shriharsha Deva with a commentary by Pt. Jivananda
Vidyasagara, Calcutta, 1910.

455
 Abbreviations and References
Ratnachandraji, An Illustrated Ardha-!.lagadhi Dictionary by Shatavdhani
the Jaina Muni Shri Ratnachandraji Maharaj, 5 vols., Ajmer, 1923-1938.
Rowland, Benjamin, The Art and Architecture of 1·ndia, Penguin Books.
Baltimore, Md., 1953.
IJ,tu., The IJ,tusa'Tf/.hiira of Kalidasa with the commentary of Maf,lirama and
the Srngiiratilaka, ed. Pa~sikar, seventh ed., Bombay, NSP., 1931.
Rucipati, see Anr.
Rudrata, The Kavyala'likiira of Rudrata, KM. 2, Bombay, 1886.
RV., The Hymns of the Rig-veda . .. reprinted from the editio princeps. By
F. Max Miiller, 2 vols., London, 1873.
S, SaduktikaT1)iimrta of Sridharadasa, ed. by Pt. Rii.mavatiira Sarma and
Dr. Har Dutt Sharma, Punjab Oriental Series 15, Lahore, 1933. ''Vhen
necessary to distingmsh, this edition is denoted by Ss; SI and S 2 denote
Aufrecht's transcripts described in Text' olume, p. xxi.
Siidhanamiilil, ed. by Benoytosh Bhattacharyya, Gaekwad's Oriental Series
26, 42, Baroda, 1925.
Silk., The Abhijiiiina-Siikuntala of KaIidasa with the commentary of Raghava
Bhatta, ed. by NarayalJ. Ram Acarya Kavyatirtha, eleventh ed., Bombay,
NSP., 1947.
Sii'Tf/.khyakiirikil, The Stinkhya Ktirikti by is-wara Krishna [text and translation]
by Henry Thomas Colebrooke, Esq. Also the Bhasya or commentary
of Gaurapada, etc., Calcutta (reprint), 1887.
Siin., Das Santisataka, ed. by Karl Schonfeld, Leipzig, 1910.
Sat. Br., The White Yajuroeda ed. by Albrecht Weber, Part 2, The 9atapatha-
Briihmar;w, Berlin-London, 1855.
Satasai, see Hala.
Saundarya, Saundaryalahari ... sriLak~midhara-vyakhya-samala~, ed.
by Pt. N. N. Swami Ghanapathi, third ed., University of Mysore, M) sore,
1953. See also Brown.
Saura Puriir;a, AnSS.18, second ed., Poona, 1924.
Sbh., TheSubhii§itiivaliofVallabhadeva, ed. by Peter Peterson, Bombay, 1886.
Scharpe, A., Kiilidasa Lexicon, Vol. I, three parts, Rijksuniversiteit te Gent,
aflevering 117, 120,122, Bruges, 1954--1958.
Schmidt, R., Die 9ukasaptati, te:rtus simplicioT, Abhandlungen fur die Kunde
des Morgenlandes, 10,1 (1893), Leipzig.
Schmidt, R., Nachtrage zum Sanskrit-WOrterbuch, Leipzig, Otto Harrassowitz,
1928.
Sd., Siihityadarpa'r}-a of Sri Visvanatha Kaviraja with commentary by Pt. Sri
Krishna Mohun Thakur, two vols. bound in one, Kashi Sanskrit Series
145, Benares, 1947-48. Reference to P. V. Kane's notes on Sd. are to
The Siihityadarpa1}a of Visvanatha (Paricchedas I, IT, X) with ... the
History ofSanskrit Poetics by Mm. P. V. Kane, third ed., Bombay, NSP.,
1951.

456
 Abbreviations and References
Siddh. Kaum., The Siddhantakaumu.di [of Bhattoji Dik~ita] with the Tattva-
bodhini commentary of Jiianendra Sarasvati and the Subodhini com-
mentary of Jayakr~I).a, ed. by PaI).sikar, seventh ed., Bombay, NSP.,
1933.
Sis. Vadh., SiSupiilava..dha of Magha, Kashi Sanskrit Series 69, Benares, 1929.
Skan.da. Pura:'},(L, 7 vols., Sri Venkatesvara Steam Press, Bombay sarpvat
1966 [A.D. 1910].
Skb., Sarasvatika1J.thiihha1'a1J,(L by Dharesvara Bhojadeva with the com-
mentaries of Ramasirpha and Jagaddhara, KJ.1.. 94, second ed., Bombay,
1934.
Sm., Siddhantamuktavali; sriVisvanathaPaiicananaBhattacarya-viracita-
Karikiivali-Muktiivali . .. , second ed., Kashi Sanskrit Series 6, Benares,
1951.
Smk. The Suktimuktiivali of Bhagadatta J alhaDa, Gaekwad's Oriental Series
82, Baroda, 1938.
Sp., The Pa..ddhati of Sarilgadhara, ed. by Peter Peterson, Bombay Sanskrit
Series 37, Bombay, 1888.
Sramar,w, Bhagaviin Mahavira, ed. by Muni Ratna Prabha Vijaya, Vol. I1,
L ife, Part 1, Sri Jaina Siddhanta Society, Ahmedabad, 1948.
8rb. 8ubha-§itaratnabha1Jf!iigiira, enlarged and re-edited by NarayaI). Ram
Acharya, eighth ed., Bombay, NSP., 1952.
SRK., [Text Volume, viz.] The Suhha-§itaratnako~a, HaS. 42, Cambridge,
Mass., 1957.
Srn. Til.,8pigiira Tilaka, wrongly ascribed to Kalidasa. For edition used cf.
{ftu.
Stasiak, Stefan, "Le eataka, etude comparati, e," Rocznik 01jental-isticzny
vol. 2 (1919-1924), pp. 33-117.
S~"hii§itasa'1'ftgraha, ed. by Ceeil Bendall. Le ~M.U8eon, yol. 4 (1903), pp. 375-
402, vol. 5 (1904), pp. 4-46, 245-274.
Svap. Vas., S vapnavasavadatta as printed in Bhiisa'11iitakacakram, Poona
Oriental Series 54, Poona, 1937.
T, F. W. Thomas, Kavindravacanasamuccaya, Bibliotheca Indica, Calcutta,
1912. [Actually a fragment, about one third, of the SRK.] It should be
clear from context whether ref. is to Thomas's text or notes.
Tattviirthiidhigamasiltra, vacaka-Umasvati-praI).ita-Tattviirthasutra, ed. by Pt.
SukhlaIji Sailghvi Sastri, Sri Atmanand-janma-satabdi-smarak Gran-
thamala vol. 1, Benares, saIpvat 1996 [A.D. 1939].
Thomas, P., Kiima Kalpa or The Hindu Ritual of Love, eighth ed., Bombay,
D. B. Taraporevala Sons & Co., n.d. [e. 1960].
Ut. mahakaviBhavabhuti-viracitam Uttariiramacaritam, Viraraghava-krtaya.
... vyakhyaya ... sanathilqtam, tenth ed., Bombay, NSP., 1949.
Uvasagadasiio, cd. and tr. by A. F. Rudolf Hoernle, 2 vols., Bibliothcca
Indica work no. 105, Calcutta, 1890, 1888.

457
 Abbreviations and References
Vaiyiikara1)l1hh~af.UL8iira of KauQQa Bhatta, AnSS. 48, Poona, 1901.
Vart., Varltika on Pal)ini as printed in Siddh. Kaum.
Vayu Purii1]4, AnSS. 49, Poona, 1905.
Vid., ViddhaJalahhaiijika mahakavi-RajaSekhara-viraciti, ed. by Jivilnanda
Vidyasiigara, second ed., Calcutta, 1888. Ref. is also made to the com-
mentary of NiirayaQa Dik!?ita printed in the ed. of Bhiiskar Ramchandra
Arte, Poona, Arya-bhushana Press, 1886.
Vik., The VikramorvaSiya of KaIidasa with the commentary of Railganatha,
sixth ed., Bombay, NSP., 1925. Ref. is also made to the notes of Shankar
Pandurang Pandit's edition, Bombay Sanskrit Series 16, second ed.,
Bombay, 1889.
Virou Pur., Va~viikUtacandrika-tikaya sametam srimad- V~upurii1J4m,
lithograph, Bombay, saka 1824 [A.D. 1902].
/ Vogel, Jean Philippe, The Goose in Indian Literature and Art. Memoirs of
~ the Kern Institute No. 2, Leiden, 1962.
Vyajoktiratniivaliby Y. MahaIiilga Sastri, Thiruvaiyeru, Srinivasa Press, 1953.
Windisch, Ernst, J.l liira und Buddha, Abh. der phil-hist. Klasse de.r kon.
sachsischen Gesellschaft der Wissenschaften, Band 15, no. 4, Leipzig,
1895.
WZKM., Wiener Zeitschriftfiir die Kunde des MorgenlalIdu.
Yiijiiavalkyaamrti with the commentary Mitiiksharii of Vijiianeshvara, ed. by
Bapu Shastri Moghe, third ed., Bombay, 1892.
YaSodhara, see Kiim Sut.
Yule-Cordier, The Book of Ser Mareo Polo, tr. and ed. with notes by Sir
Henry Yule, third ed., revised by Henri Cordier, 2 vols., London, 1926.

458
 CORRECTIONS, ALTERNATIVE READINGS, AND
EMENDATIONS OF THE TEXT

The readings in the right-hand column furnish the text as translated.

For a general statement concerning the nature of the alterations see Preface;
for detailed justification see notes on the verses in question.

Verse number
and line Reading of Text Volume TranslaWr' 8 reading
lld sumat;ai) subhat;ai)
1la agharavithi adharavithi
20c vitatimadhurantai)pratigati- vitatam adharantal). prati gati-
25a m8.lita- m8.lital).
25b sphurjallancana sphurj atkaiicana
28a iqiliri 8.Ipghri (=8.ilghri)
29b prab~yal.t pralq-tayai)
30a giro guror
3Ib nidratisphurad vidriti sphurad
39a phat;lapitha phat;lapi~a
40d adhrup aghalp
4la kapalavali kapalavali-
51b s8.rdhendur sarkendur
54b netiprasiddh8. natiprasiddha
54c rakl?ati vakl?yati (or. rak~yati)
sit;yate 'sit;yate
Md syati 'tsyati
57d siiny~aI;1a sunye~aI;1a
58a varendu b8.lendu
58c agniskhalad agniskhalad
giritvangad giri tvangad
mauli- mauli
5&1 8.rp.suniryan iIpsu niryan
rucirasaj ruci rasaj
66b umaya ubhaya
88c lajjitamasau lajj itarasair
91a sveccharamyaIp svecchirambh8Ql
95a .
asrkkano. asr~o

459
 Conections and Alternative Readings
Verse number
and line Reading of Text Volume Traml£Jt07"S Teading
97a sra] a sraJ a l11
102b paI).isthaya ... kaI).the kaI).thasthliya .. . paI).au
117c pratirodhinindad pratirodbi nindad-
12 Od jalamayastambhas jalamayal~ stambhas
125b arpsarp al11 se
125d alambya aliilgya ( ? )
142b a bhyarI). as rir sauvarr:tasrir
167c prathimasuccha ya prathimasu ceha a
l73c sarppratamayam sarppravasatam ( ?)
l76b vyamaq:l syamaq:l
l85b sthitinam sikhanam
sphutati sphurati
216b sravantim sra, antim
2l7c kundalatanta kandalakan ta
226b paI).q.uratata paI).q. uratara
230b bandhyal). vallyal).
235c tadibhivo taditivo
237d taIabhuval). tatabhuval).
242a chatravalambi vimalo chatravalambivimalo
256b paryanya parjanya
261d pratyudaste pratyupaste
280c babhru bahil;1 babhru bahil).
281a sakyiivatariil) sailkya vataral~
288a dllriipilya pllrapilya
290a vigalajjala vigalajjvala
301a pratailka k~atanka (?)
309c sacakita vara sacakitavlira
309d diirottlinil diirotthana
310c patrik:rtarp pa trilq-tal:t
334b 'vyaktas vyaktas
334<1 paficamalayal;1 paficamakalal;1
336d pratijanam prati janam
352b saJJac majjac
353b lihan likhan
357c vaijatya vaiyatya
372b sarpdhiviramad saIfldhi viramad
415a bhavagabhIraI!l tava gabhIral1l
419d vaidarbhyam vaidagdhyam
469d yata jata
50ld premapramadaspadam premapramadatpadam
504c racitomaya racitobhaya

460
 Corrections and Alternative Readings
Verse number
and line Reading of Text Volume Translator's reading
509b nijamujalate nijabhujalate
SlOe vaidarma vaidarbha
564c taparp traparp
575a pal)Qa pal)Qu
582b mufieitanu mufiei tanu
604<1 nirlk~ya nirlk~a
606b kriQa durodarapa1;lah kriQad urodara.pal)a~
610e bhujalatikagaQha bhujalatika gaQha
617a ruei vibhinne rucivibhinne
620d mal)Qalani mal)Qanani
636a d~ta~tiD ~ta ~ti}:l
637a avi~adas avisadas
638c cak!?ul). ceta\:l
642b vi~adarp. visadaf!1.
644b sahasa sahate
,6 45d manaparigraha\:l parikare manaparigrahe parikaral).
649c ghrtamadhumaya tvan ghrtamadhumayatvan
659b sarale sarale
676<1 pratirodhinirbharatara pratirodhi nirbharatara
685b pratyu~i pratye~i
714b api ayi
754b prascyotad pracyotad
764c sayyanisitha sayya nisitha
766b snigdhahladi madandham snigdhahladimadandham
778d opakrcchro opaJapyo
787a brasyad brasyad
834c kasmai kasmat
834d sarp..bh.rama vibhrama
850b ksarnii, kim ityuktibbil). ksama kim, atyuktibbhi.1).
858d vak~al). cak~ul).
862c otsalitaya occhalitaya
875c prasannanalina prasannamalina
876b sarrpannaspandanai sarp..pannal). syandanai
880b ghattiiilkam ghatitailkam
882a dharma gharma
883b sironikufici ta siro nikuficita
885c kuHibalarp kulacalarp..
886a ni~yanda ni~panda
886<1 oddhantai}:l odvantai}:l
887b kulayati kalayati
887c socyante rocyante

461
 Correctio'ns and llteT1lative R eadings
Verse numbe1'
and line Reading of l'e.rt Volume l'ra IIslator' s read il1g
890a pihita- pihito
890c saQ.atkarad sa Qatkarad
920a sparsi sparsa
927d ruohitas alodita.
932c kalanka}:l stoka kalaIikastoka
95tb pra:sadadc4'ka prasadattaka
965a samyak samyag
965d satkrtya jhatJqt a
973a taratu~iira taras tu~ara
975c tuna tanu
992a dhvantanila dhvantaniva
l043a mado~ma mado~I)a
l045b ma.d yatyatrabhramu madyatyabhramu
1054a vartarp viirtal)
l059b luthanad asmin luthanad yasmin
l060b hatvainalfl hatvaika~11
l061d vidadhate pidadhate
1065c sa imarp nrja}:l [corrupt]
t074d dagdha mugdha
1078b lak~mya la~m~
1106a bhavaka~thamayl bhava ka~thama) 1
1108b draghiyal) pracalatara draghi) al;1pracalatara
1114b antarita antarital).
1115ab kariI)al11 vi pak~adanaq1 kariI)iim up ek~} a danarp
113lc bhu~a[l~ bhii.~a[ I;lal).
1137d hutasana}:l hut:1Sanam
1141b kli~ta klisyat
1146a ciiQ.a ciita
1158c vipakvasakrama vipak~am akrama
1168c pravartita vivartita
1171a patac- patac
1175d arame na iira.mel)a ( ?)
1180b salaval). sal ab ha l;
mamahok~aQ. ,mi mahok!?al:t
1182a saII1tatik~a1;lam sarptati k~al)am
1187c durlak~a durlak~ya
1192b vipulatvarp vipulat' ag
1196c jaganty asya jagad yasya
1200b dukwa kukula
1203bc be eb
1203d kirp nama kil11 va na

462
 CO'l'rections a.nd Alternative Readings
Verse number
and line Reading of Text Volume Translator's reading
121lb a nto'rl)avam anyarJ)avam
1214d anupadi anupadhi
1226c atita anita
1229b tapaJ11 ti~thanti vatape svayarp ti~tbanti catape
1234a hi 'pi
1247c bhavatam bhavatad
1247d visiitrayatu visiitrayati
1262ab pasyantarp sa sriya pasyaitat sa sriya
medhyate khalu modate khalal)
1279a suddhamatau varya suddhamatav arya
1308<1 pral).ahutir pratarhutir (?)
1314a vatsa viphalarp vastraruciran
131Sd sral).e glane
1323b tatha 'pi tatha hi
1328c idam ahi[bhra]m.itarp paca- idam [ave]hi mitarppaca-
1335<1 sriQ. stri
1346d amu~ yasamudra amu~ya samudra
1351d vidhauvada vidhau vada
1352b puru~arp paru~arp

garn api gopatim (?)

1353d padabhrazp[ se]ta,narp pada[pra]bhra~tanalp
1355b nisasu nisasva-
1361d javailkuram yavailkuram
1364c cakra vaktra
1366c tvam apavasitarp. tvam upavasitarp
1367a rniirdhendul). miirdhnenduJ:t
1378c agharam adharam
1388b tatparij atasrajam te parijatasrajal).
1388c capsaral)pari!?ada te vapsarobhir abhitas te
1388<1 duQ.sahab dul:tSraval).
1396a vasanty ca santv
1396b atrabhavati atra bhavati
1401a pitisaram pitimanam
1403d praI.layinisiinye praI.layini sunye
1409c mukho sukho
1412a kaunti kaundi
1415a mandodv:;-ntail) mandoddhutail).
1416a karl)akajagad karI.laka jagad
1416b langima langhima
1425a ghara dhara
1431c muktara, arl).a muktakaparl)a (1)

463
 Corrections and Alternative Readings
Verse number
and line Reading of Text Volume Transl.atO'1-' s reading
1443a ma Sa
1444c [lani] [tani]
1458b syandate spandate
1464<1 prek!?yante prek~ante
1466d yad dhara yad dvara
1467c dravil)akal)a dravil)amada
1468c khedo nasmin khedo asmin (?)
1476c gUl)avatyal;l guI)avadbhyaI)
1482b manal;l samihita manal;1samihita
1484a Vl~asa vu~ama

1496a kapalebhyo kapalair yo

1498a kli~te'rtha kli~te'rthi
1522<1 saralam saralam
1530b agraputini ugraputini
1531b visaqtkatair visarp.katair
1534b bhr ti bhrta
1536d vasa vasa vasiiviisa
1537b pucchagra pucchagrail:t
1541b sallari sallaki
1549c dhama dharo
1551c ramal;l karotu deva}:l karoti
1552c 'mbunidher 'mbunidhir
1553b adhikamadhika adhikamadhjkalll
1566<1 pral)al;l * * pr~[oddhat]al)
1568c sriya bhiya
157lc arthibhyo vasu "\ ar!?ata sarvebhyo vasu k~ata
1576c yuddhotsavai yuddhotsave
1577d rohar:ta rohir:ta
1578a prasphurat prasphurat-
1578d syamam eva gabhira syaIDa meghagabhira
skandanti krandanti
1579b valimayai ratnair valimayair angair
1579c k!?lnoru prak~Ina
1585c patrar:t i patrar:ti te
1587a m~~tail;1 bhra~tail;1
1587b bhisayante 'grakuiijail:t sarvato bhisayante
1590b duraga bhujaga
1593c vyavallad vya,valgad
1600c [pUrvaJ1l] [Purr:tarp )
1607b sphurati tavad sphurati yavad
1616b pral)avabandha pral)anubandha

464
 CorrectiOl1.s and Alternative Readings
J1erse num-be?·
and line Reading of T ext Volume Translator's reading
1617d tyaktva. tyakta.
1636c opakaranno opakaraJ11 no
163& sthasita sthagita
1639a yad baddhordh, ajata'11 yad baddhardhajutarp
yad asthimukutarp. yad ardhamukutarp
1693c vrajatvamba vraja tvaJ11 va
1697b svasiiriibhyam abhyam svasarabhyasabhyam (?)
1700a saqunata'11 saqunata
1702c nipiitii nipiina
1704<1 a, ama. iidhama
1711b kusumo kumudo
1731d Iak!?miD prt hv1
1732<1 sasabdo sa sabdo
1734c rasabhagastimita rasabhiigal.l stimita
1736c hhiipa bhiita
1739a mosaI!l do!?aJ11 (?)

465
 NOTES

1. (b) Lit., 'best throat ornaments of the discerning.' The poems of the
anthology ornament the throat (i.e., are sweet-sounding when recited) as a
necklace ornaments the neck; ka1Jtha has both meanings; so also in 1709.
(c) akampakani: For nodding the head in wonder or admiration see 52, 137,
438, 514 and Ratn. 2.15. The gesture arises from the nod of assent; cf.
Kutt. 792: abhyupapattyavabodhakamastakacalmunn, just as the gesture of
anger (e.g.,Sd. 3.156, Har~. p. 9, line 11) arises from the head-shaking of denial
(cf. 587, 637, and Yasodhara on Kiim.Sut. 3.2.18: najiiniimfti tiryakiiraicalanena
prativacana'f!l, yojayet. Sanskrit uses the same, erbs, J.·amp and cal for both
gestures, as will be seen by examining the passages referred to. Actually,
nodding and shaking the head are not so different in India as they are in
Europe. The Indian expresses assent by an oblique rather than a vertical
motion of the head. (cd) malW.kavinam: The repetition of kavi is in bad
taste. One may also object to the construction of the whole verse. Strictly
speaking, manohara1Ji etc. is predicate to the subject of a relative clause
(with yiini omitted), viz. niiniikavindravacan{mi, and t~iim begins a new
clause. This is good conversational Sanskrit, but a su);~ita should be more
tightly constructed. 2. Punning verse: "May the victorious (Buddha) be
your aid, in whom neither the Maras nor the breasts of Mara's women caused
agitation; this although they possessed flashing scimitars in their upraised
arms [or, possessed bright nipples on breast-globes reaching to their armpits].
wore armor on their torso [or, had breasts that were tightly bound (by
bodices)], were passionate, marked with wounds [viz. warrior wounds or
lovers' nail wounds, cf. Intr. 19, par. 7 ff.], were destructive of the hearts of
their opponents, and were hard; although their battle array could be seen
spread out in the sky [or, although the weight of their limbs (i.e., their heavy
limbs) could be seen from their clothing's having slipped aside], and although
they were led by Kama [or, were champions in (making) love]." ASVA-
GHO~A ? ? The verse is not found in As' agho~a' s extant works and is unlike
him in style. (d) The Maras are often spoken of in the plural, like the devils
of Christian mythology, while the singular is used to refer to their leader.
3. (ab) The conceit is a common one; cf. 43 and note. (d) stat: benedictive
imperative (the so·called future imperative) of as. 4. (b) For Siva's burning
of Love, cf. Intr. 4, par. 12. (d) arkabandhu: the Buddha, cf. A.K. 1.1.15.
6. (c) bhiduro: The word is derived by Pii1J. 3.2.162 and has active, intransitive

466
 .Notes [Vs. 7-12
and passive meanings, viz. ' breaking,' and ' broken.' Cf. Lak1?midhara on
Saundar-ya 80: kannakartar·i kuraj ity atra kartary api kurac I Ra~ita8 tu
karma~i kartari ca kuraj iti vyiica§f;e. By Ralq;ita I suppose he refers to
Maitreya Rak~ita, tile author of the Dhiitupradipa, a commentary on the
Dhiiiupatha. Bhidura here, as in 17 and 1656, has active meaning. Possibly
it bears the further, specific connotation of vajra., the breaker par excellence,
cf. bhiduradhara in Suhh.i¥itasatTtgraha, p. 31, line 9, a.nd note. (c) kandu:
apparently a. frying-pan or ski:llet, for it was used to parch grain and to fry
pancakes (cf. quotations in P. W. a.nd in Ratnachandraji's Dictionary of
Ardhamagadhi), not ' an oven' (.M. ]1T.). The bulbs, or perhaps the seeds, of
life, are the sa1?tskiiras, tendencies or patterns inherited from our former lives.
These cook or ripen (Sanskrit uses the same word, pac, for both processes)
under the infiuence of desire (' proud Love '); cf. Vedanta Desika on Yamuna's
Gitiisamgraha vs. 1, kandabhutaraganivrttya tanmulakrodhadisa1nastado~a­
nivrf,til}, (Bhg. GP P. I, p. 19, line 2 from bottom). 7. The Buddha's virtues
are likened to the paraphernalia of a royal consecration. The connection of
the plantain or banana flower with consecration is new to me. For the pearl
necklace, cf. Ram. 6. 128. 77-78. (b) samasaritpurotsalacchikariil},: lit.,
'(rays) wherein the (cooling) spray-drops have risen from the overHood of his
lake of peace.' The forms utsalat and utsalita are used in our mss. more than
once for ucchalat and uccha,l ita; cf. 14, 862c, 1118a, 1734. (c)jagati, fern. =
jagaJ.. 8. (d) $a4ahhijiiakalpavitapi: lit., 'a wishing-tree for the six abhijiiiis,'
that is to say, a tree from which one may gather whatever one wishes of the
six superhuman insights or powers. For the list of these, see Edgerton's
BHSD., S.v. abhijiW. They are distinct from, but are here supposed to be
the reward of, the six perfections (piiramitiis) which are listed by name in the
verse. 9. Note the contrast between ahala and sabalam, and between the side-
long glances, which cost at least some effort, and the motionless eyebrow of
the Buddha. (b) Lit., 'granted that we may be persons, all of whose different
sorts of manifestations of the sentiment of surprise are hidden.' (d) stambhiiya
nal}, kevalam: 'is simply for our amazement,' leaves us nothing but amazement,
j.e., with no presence of mind to cover it up.
10. (d) For the myth see lutr. 4, par. 12. 11. As against Thomas, samaya
means moment, mamsuhhata (so read) means the soldier, Mara. The whole
is as much as to say that the devil fears his own shadow, and the poet may
mean no more. But we can read deeper if we wish. The Buddha purveys
no amulets. He shows us simply what we are, and when we see our lusts
and hatreds we may shun them. 12. Constr. 'May the garland of flowers,
opened by the kisses of the swarm of bees, who are beautiful with their (own)
flowers ... point to your good.' The verse is difficult. In translating, I
have added a few words (' little,' 'of their own,' 'real,' 'below') to make clear
what I think is the intention, namely that the pollen on the feet of the bees
is likened to new or unusual (apiirva) flowers swaying on graceful stems. I

467
Vs. 13-20] Notes
have taken Sriyal} as gen. sg. agreeing with niviihasya; formally, it could
equally well be ace. pl., object of iiSl'4yan, but in that case n:ija in a would be
left without antecedent. The, erse may contain double meanings, but
those suggested by T are not persuasive. K usumiiiijali (d), if it refers also
to a book (so T), cannot refer to the only Kusumii:fijali of "hich we know,
Udayana's, since that is markedly anti-Buddhist. 13. There is no elephant
(pace T) or comparison with one here. (a) adharavitMkrama (so read): 'by the
path of his lower lip.' 14. (a) utsalat: cf. 7b, note. (b ) ' brought fair women
to old age': a reference to the Buddha's abandonment of his family. 15. (a)
svar't}iilhadeha: the thousand eyes are placed all over lndra's body but are all
directed to the Buddha's feet in humble adoration. T errs in his reference
to svar'IJiitha gods; there is only one svaT1:ultha, 'lord of heaven,' viz. Indra.
For blue waterlilies as a stock metaphor for eyes see Intr. 16, par. 2. (b)
parisphuta : possibly the word may here mean ' bright,' but I prefer to take
the Buddhist Sanskrit meaning 'full,' see Edgerton, BHSD. The garland
of waterlilies is full, filled with blossoms, by the eyes. (c) pallava;' here not
the hem of a garment (T) but the spreading foliage of rays. (d) civara:
'monk's robe.' The gems, one may suppose, are rubies, ·whose luster might
well be thought to produce the red-yellow robe of the Buddhist monk.
16. Punning verse: '" What can you alone accomplish, flower·weaponed god,
toward ending my meditation? Even if all your flower-arrows were well-
shafted [or, even if all the gods (suparuQl).aJ,L) possessed flower-arrows], what
could they do?' That teacher, who with words such as these made them
(viz., the gods) armed with flowers [or, who made them (gods or arrows) armed
with good intentions], may he, conqueror of the Maras of the ten directions,
grant you a weapon." 17. The figure of speech is contradiction (- irodha).
The day-lotus and the moon are stock metaphors for a beautiful face, but a
day-lotus does not show its face in moonlight, nor does moonlight have scent.
So the face of PadmapaJ),i cannot be a day-lotus or the moon. Howe'i er, it
does keep the bees awake, as does the day-lotus, and it does delight the
cakoras, who feed on moonbeams (see lntr. 29, par. 3). (a)jyounapatapafa,la:
lit., '(a rain consisting of) masses of moonbeam cloths (i.e., layers).'
(c) madhildrii1Jiim: =madhw1rii:~:uim , 'bees.' bhidura: cf. 6e, note. 19. (a)
'unwavering because of its great speed': a churning stick, to which motion is
imparted by drawing on a rope coiled about the middle of the stick, wobbles
at slow speed but becomes steady, like a top, as the speed increases. For
the myth of the churning of the sea and the recovery therefrom of the moon
see lntr. 4, par. 11, and for Mandara, lntr. 47, par. 3. (c) potalaka: see Intr.
to present Section.
20. (cd) The reading is obscure. I read ~advitatam adhardrttal}. prat'i gati-
prar.liilibhi~. The verse then agrees perfectly with the miniature reproduced
by Foucher, pI. IV, fig. 4. The reason for the expression ~advitata, 'barely,
very slightly, stretched open,' appears from the descriptions of Lokanatha's

468
 Notes [Vs. 21-29
donation in the Siidhanamiilii, e.g., p. 40: tadadhalJ, samiiropitordhvamukham
... sil.cimukham tarpayantarn, 'satisfying the thirst of a needle-mouthed
ghost ... who stretches up his mouth before him.' The chief torment of
ghosts (pretiiM is that they cannot drink. The opening of their mouths is as
small as a needle; cf. Divyiivadiina., p. 8, line 20. Foucher (H, p. 27, note I)
and, following him, Bhattacharyya (p. 37) misunderstand the 8Ucimukha of
the tantric descriptions as a proper name. 21. Punning verse: "I praise him
(Lokesvara) who like the sun possesses endless light [or, who holds Amitabha),
who like a poet composes hymns with excellent sentiment and meaning [or,
has hymns composed (in his ha nor) by crowds of gods], who like spring gives
rise to feelings of pity [or, possesses accumulated pity (for all creatures)], and
who like the moon is the master who walks the sky [or, is Khasarpal)a)."
PURU~OTT..U.L-\'DEV.A. The third pun, as I have rendered it, seems unsatisfac-
tory. I should like to take satrt-bhrf,aka-ru1)am to mean ' crying out with the
sound of cuckoos (parahhrtaka.) all together,' but I cannot justify the forma-
tion of TU~a from TU. 22. The meter is an unusual form of iirya with a mora
distribution of 12-20-12-18. Lines ab have reference to an image of the
Bodhisattva, cd to his nature. 23. The point of the verse lies in the fact that
the lotus blooms only in the sunlight and therefore fears the moon. The
beauty of Lokanatha's face might lead one to think it a moon; so it is only
after inferring that it is not a moon that the lotus dared come into its presence.
Lokanatha, of course, is pictured holding a lotus. (b) lii:fichanayugam: the
moon has only a single spot. (cd) yatsarrz.nidhim •.. agiin (=agiit) ...
nirajam: 'to whose presence the lotus went ' ; nirajam is subject of the relative
clause. astu valJ, Sivadive.: 'may it be for (i.e., bring about) a clear day (or a
prosperous day) for you.' dive: dat. of dyo. 24. (b) aSoka: see rntr. 8,
par. 6,7. praminute: 'forms, makes,' a rare verb. 25. (a) Emend miilita- to
miilitalJ,. For the rest, the line strikes me as awkward and r have thought
of emending to angamoda.-samrddhi-Iuhdha-nipatad-. One might perhaps
read lubdha-nipatad from the mss., but samoccha. unfortunately, is hard to
transform. (b) For sphurjalliiiichana emend to sphurjatkiiiicana. 26. I can
make no sense of anan;ta in b nor of svapaT1)a in c. In d tiiraugha should
mean both 'the host of stars' and 'a host of Tiiras (the female saktis of
Maiijugho~a).' 27. The verse is an example of the trope ullekha. "The
representation of a single object in different ways, as it appears to different
perceivers or as there are differences (in the condition) of the object, is called
ullekha" (Sd. 10.37). Other examples are 53, 65, 140. 28. (a) For iirrz.hri
read iinghri. I owe the correction to Dr. V. Raghavan. The metaphor fits
the spiritual generosity of Maiijusri better than it does the shape of his foot.
$U.varr,uikumbha: part of the paraphernalia of royal consecration; see 269 note.
(b) ghusr1)ii.ru1)a: cf. kusumiiru1).a used of Mafijugho~a's color, Siidhanamalii,
p. 128, line 3, etc. 29. Punning verse. In b for prabhrtayalJ, read prakrtayalJ,.
"' Of yonder (day-lotuses) whose color has been imparted to them by the Sri

16+s.c.p. 469
Vs. 30-85] Notes
[glory or lotus] of the shining face of Maiijusri is heard even our name (viz.
sri) [se. How much more should their nature be ours!]. What are they whose
nature is of the moon (viz. night-blooming waterlilies sc. doing here)? And
yet this blue waterlily is bold enough to come into my presence.' May the
two eyes (of MaiijusrI), which are red at the corners in anger at this thought,
aid you." SANTAKARAGU PTA. The point of the verse is that MaiijusrI is
regularly portrayed with a blue waterlily.
30. For the iconography and myths, see Intr. to Section 4. (a) The triple
world: heaven, atmosphere, and earth. In place of giro I adopt the S reading
guror, lit., 'of which venerable one the three Vedas are the poetry.' If one
insists on giro one must take it in apposition with trived-i. ' the three "\ edas,
namely, his voices,' which is very awkward. (d) The triple strand: sattva,
rajas, tamas, which composes all matter (pralcrti) and so forms the covering
of God who is spirit. 31. For the myth of Siva's shooting the Triple City, see
Intr. 4, par. 13. A poetic fancy is here added to the myth. The Garuc;la
bird, being ViljilJu's mount, rushes forth to help the Vi~l}u-arrow on its way,
but is met by the sparks of Siva's third eye and recoils. Since snakes are the
traditional prey of the Garuq.a, as the Garuq.a rushes forth the snake-bowstring
draws back, thus drawing the bow; as the Garuc;la retreats the bowstring
advances, shooting the arrow. The fancy is used to exemplify the effort-
lessness by which Siva overcomes his foes. Construction: " '\ ictorious is the
effort limited by (i.e., consisting in no more than) joining [arrow to bowstring]
on the part of the City's Foe, who possesses an arrow shot from a bow ... "
(b) The translation follows the reading vidriiti (pres. pte. loco abs.) of the Anr.
text, which is unquestionably preferable. One needs vidriiti to contrast with
dhiivite just as unnamra contrasts with namra in c. aSuSuk§ar.z,i: 'fire.' 32. (a)
dohadarasavyagra: lit., ' intent upon his compulsive relish for.' The dis-
appointment of Vasuki's childhood may account for the compulsion. He
and his brothers were defrauded of the moon's nectar by the Garuc;la (1lfBh.
1.30). griimar.z,i: lit., 'village headman, sheriff,' here serves simply as an
equivalent of 'chief, prince,' cf. gar.z,agriirna1Ji 83. (cd) sa1?2da'1'['l8ikiiyantre:
'tongs'; what is meant is the trident mark on Siva's forehead. (d) iiharhyate:
pass. from iiba-rhayati, 'to cut at, tear'; here, to swage. Or it could be
from "rh vrddhau 'is added to,' but no forms of this root with preposition .a
have been recorded. 33. The accouterments of God after he has finished his
dance of destruction greet each other as persons might do after an earthquake,
happy to find that they at least have not been destroyed. For the form of
greeting cf. 717. 34. Parvati is jealous of Siva's evening worship, which
interrupts his attentions to her; cf. Kum. Sam. 8.49-51. So he deceives her
by folding his hands as it were not in prayer but so as to sho" how the lotuses,
less beautiful than Parvati, must close at night. (a) suhrdiim: ' like, almost,'
see 177 note. 35. Punning verse: "'Why are you hard-hearted, Parvati? '
'This is the nature of those born of a rocky mountain.' 'Why have you no

470
 Notes [Vs. 87-50
love [or, oiliness] for me?' ' A man of ashes could bear no oiliness.' 'Your
anger against me will bear no fruit [will get you nowhere], darling.' 'How
should there be fruit on a sthii1Ju [' post,' also name of Siva]?' May Siva,
thus dumbfounded by his mountain-born queen, long protect you." [BHOJA-
DEVA] 37. This verse, being in praise of the ocean, is here out of place. It is
translated in the correct place below, as 1208. 39. (a) granthi denotes the
knot made in the end of the string (i.e. , the serpent's body) in order to prevent
the skulls from slipping off. In place of pha'f}iipitha I read with S pha'f}iipitJ,a,
a bv. cp., 'possessing a hood for crest,' i.e., a serpent. If one keeps the K
reading, one must translate, 'emitted from the base (pitha) of the hood
(pha1J(L) which is deformed, etc.'
40. The three descriptions are not specifically attributed to three several
faces, but it seems best so to understand them. Hence I have supplied
' first,' ' then, ' ' at last.' (b) tribMr iva rav-ibhir: so also Pad. Pur. 1.3.43.
(d) suvaktra has a double meaning: 'fair countenance,' and ' Siva.' adham:
broken type; read agham. 41. An eight.word niindi; see Intr. 4, par. 21.
42. Like the preceding, an eight-word niindi. (a) A hyphen should be placed
at the end of the line. 43. The Veda speaks of eleven Rudras, who are
thought of as ten companions to the great Rudra plus the eleventh, the great
Rudra himself. Here the explanation is more poetic; cf. verse 3. The
present verse is an imitation of a Prakrit verse that was once famous, for it
formed the opening benediction of GUI)ag.hya's Brhatkathii. Abhinava
Gupta quotes the Prakrit ad BhN8. 19.129. 44. The opening verse of the
_~liilaiimaahava, an eight-word niindi; see Intr. 4, par. 21. (c) ketaka: Pan-
danus odoratiss'i mus. For the shape of the flower see 247 (likened to an
r elephant's tusk), AryaS.4 (to an arrow of Kama); cf. also Megh. 23, 1J.tu. 2.23.
46. The verse is ascribed by S to Rajasekhara, but this is impossible, for it is
quoted by Viimana, who lived a century or so before Rajasekhara's time.
(d) spha,jikadhavala: lit., ' white as crystal.' 47. The authorship of this verse
has been discussed by M. B. Emeneau in "Signed Verses by Sanskrit Poets,"
pp. 47-48. 48. The opening verse of the Har$acarita, on which the com-
mentator Sarpkara furnishes the following note. " At the founding of a city
a foundation pillar is [used]. After attaching [read ut~epa1Ja] to it banners,
ribbons and so forth, a chowrie (royal fly -whisk), white as the moon, is fixed
to the upper part of it at the side. Such is the custom. " Cf. also 338. The
rhyme of the verse is intentional; for a similar effect cf. Sd. 10.30, example 1.
49; The mss. attribute this to BiiI)a, perhaps by confusion with the preceding
verse. It is found in the AmS. and has long been famous. One can scarcely
find a more beautiful use of suggestion (dhvani) than in this verse. For
further comment see General Introduction.
50. (a) sa1jldhyiitiir;uJ.ava: See also 52 and KSS . 1.2; sa1jldhyiinatin, 'dancing
in the twilight,' is an epithet of Siva. (d) An ancient myth (cf. Intr. 36,
par. 8) tells how the mountains once possessed wings. These were clipped by

471
Vs. 51-,.57J Notes
Indra so that the mountains should remain still. In the present verse Indra
supposes the mountains to have grown their wings anew and looks to his
thunderbolt by which he may reclip them. 51. The burning of Kima; cf.
Intr. 4, par. 12. (b) flhatJcrta: unrecorded (Schmidt records ,takrta), ono-
matopoeic of a crunching or explosive sound; cf. 116b. 52. (a) piiroa~­
sQ:qulhya: this would naturally mean 'a full-moon twilight,' not' a half-moon
twilight.' Furthermore, it is a full not a half moon that looks like a woman's
earring. Accordingly, in (b) one should emend. sii.rdhendur to 8ii.rkerulur; on
full-moon twilights the sun is setting as the moon rises. I imagine that
kara't)iingahiira contains a further corruption, but I cannot guess at the
original. Fatde de mieu.r I take the literal to be "The golden mountain [i.e.,
Mt. Meru] together with sun and moon are swayed by his twistings of the
body to the rhythm (kara~)." i (cd) 1\'lt. Meru represents the head of Earth:
kiintatvil, 'of fair complexion,' because Mt. Meru is golden. The woods are
Earth's hair and the round sun and moon her earrings. 53. The trope is
u1lekha: cf. 27. (c) lekhiiko1.te . •• sa8ina1): 'at the crescent tip of the moon.'
54. The verse in our ms. (K) is corrupt. One should follow the readings of
Skb.: in (b) niitiprasiddh/i., (c) vak.ma1i (or ra/qya1i), 'n,yak, (d) 'Uyati.
Fate is supposed to write a prediction of one's future on one's forehead.
Here the prediction is written on the forehead of Siva's skulls. The syllables
of the message, being repeated in canon form, give the impression of a hesitant
decipherment. For their meaning one must rely on Bhoja, Skb. 4.21~, to
whom the verse is here attributed. Bhoja gives the verse as an example of
paryii.ya (the paryii.yokti of other authors), that is, a verse that transmits its
meaning in a hidden or round-about way. He further classifies the verse as
8akii:;"~ii., i.e., one that does not make explicit all the terms necessary for its
explanation. The intention of the skull message, he says, is to praise 8iva by
attributing to him the functions of all the other gods, since he will assume
those functions when the gods are dissolved at doomsday. He in place of
Brahma will create the world, in place of Vi~lJu will support it. In place
of V8JUJ)a he will rule the seas. He will take Kima's place among lovers,
Yama's task of destroying the earth, and Indra's prerogatives in heaven.
The names of these gods, however, are not made explicit. Bhoja leaves only
~ate nagair unnoticed; but the phrase makes sense if, with the com-
mentator Jagaddhara, we take the verb as passive. SS. (b) Siva's conical
headdress (see Intl'. 4, par. 6) is likened to an anthill not only because of its
shape but because it forms the dwelling of a snake, viz.-, the serpentine stream
of the Ganges. Snakes frequent anthills. 56. (c) The reference is to the
androgynous form of Siva. 57. (c) vyapagatakaraf)am could also be taken as
an adverb. (d) aunyaJc.,a1)a: read with Mrc. 8iinye~a1)a. The trance ofSiv8
rests in the . brabma .of dissolution, layabrahman, what is elsewhere called
brtihmanirvii~ and this is born of iunye~a'l',Ul, both. 'sight of the void ~ . and
'empty sight~' Compare the Upanishadic passage (BrA. 4.8.28), yad vai ·tan

472
 Notes [Vs. 58-78
na paAyati paJyan vai tan na paSyati, "that it [the soul in deep sleep or trance]
does not see: it is because it really sees that it does not see." 58. (a) "The
correct reading is doubtless biilendu, but the actual K reading, varendu .(a day-
old moon), could be explained as the equivalent thereofu (Kosambi). Read
biilendu. (cd) One should break the line of type after agni, gin, a1p8u, ruci
and omit the hyphen after mauli. By dividing thus instead of taking as a
solid compound one may count the canonical twelve words of a nandi (see
Intr. 4, par. 21). 59. Guha is Skanda, not Gal,)esa as translated in JAOS,
74.128. His mother here humors his greediness in order to win her husband'&
attention. God's response shows his forbearance to those whom he loves.
60. Add to var. leet. (b) S, kuiicitiigracara'T)am. (c) S, gauri11l nartayata!J.
61. The moods of horror, love and pity are combined; cf. 49. (a) sam:uyiin-
ii.""sukapallave!U: 'over the folds of their head-cloths.' Various examples of
8aT/1vyiina may be seen in P. Thomas, Kiima Kalpa or tM Hirulu Ritual of
Love, figures 7 if.; perhaps the most appropriate ~ustration for the present
verse would be figure 24. The cp. a1[l.8ukapallava is used for folded or
pleated cloth used anywhere on a person's attire; cf. 829. V~fgu~
athiram: that the smoke tarries on the braids of the women suggests the ex-
treme blackness and therefore beauty of the women's hair. (b) The suggested
sense, of course, is of a lover's hand and of the nail wounds which it in8.icts;
cf.Intr. 19, par. 7 fr. 62. Cf. 182. 65. The tropeis ullekha; cf. 27. 66. Pea-
cocks and snakes are traditional enemies. (d) umaya: misprint for ubhaya..
67. Cf. 49 and 61. 68. A monstrous example of the GauQi style. 69. The
emerald is the stone of the GaruQa, the enemy of snakes, and it is used as ·a
protection against snake-bite; hence it frightens Siva's serpent. The deerskin
mat is among the standard paraphernalia of ascetics.
70. (a) See the account of the churning of the ocean in Intr. 4, par. lI.
(c) sa8inam, 8ri8ailajam, avardhunim are to be taken yathiisa11lkhyam with the
three preceding sets of locatives. Since SaIpkara was able to digest the
kiilakala poison before he acquired the moon, he has no need of the moon's
ambrosia. Since he burned. Manmatha, he could have withstood the blandish-
ments of love. Since he can bear the fire of doomsday in his forehead he has
no need of Ganges' cooling stream. But such is his wondrous rajaniti-that
despite this he bears all three. Rajaniti implies duplicity or at least keeping
others in the dark as to one's intentions; cf. Mbh. 12, 108.88; 104.81--88;
181.8; 138.64; 140.31; and the description of PiirQ.abhadra, Paiicatantra,
p. 124, lines 2~23. 71. For B~ti and CamUl)Qi see Intr. 5, par. lI.
72. (a) kari1cumbha: the frontal lobes of an elephant, to which a woman's
breasts are often likened; cf. Intr. 16, par. 2. For cosmetics applied to the
breasts, see 889, note. For Siva's wearing of ashes, cf. Intr. 4, par. 8.
73. This verse, taken from the Miilatimiidhava, is there preceded by the prose
passage: devi ciimufJ4e bhagavtdi namaa tee (a) 8iiva,lambha: 'self-reliant
proud, bold.' nUumbha: this is certainly the name of a dancing pose and

473
Vs. 75- 82] Notes
P. W., Nachtrage, should be so corrected ; but just which pose I am not
certain. BhNS. 4.124-125 may refer to it in the following: PT$thatalJ li:uficitalJ
piido vak$ai caiva samunnatam I tilake ca karalJ sthiipyas tan nistambhitam
[var., niSumbhUam] ucyate. The sculptural representation from the temple
of Cidambararn (BhN8. I, pI. XI, fig. 64) makes it likely that the pose was
assumed by the strong stamping of one foot, which would suit the present
context. But SrI Haridasa Siddhanta, agisa in his edition of utiil. (p. 285 )
records a different tradition: ut~ptli tu bhavet plir$tlir -n:iSumbho ' ya-1'[t niga-
dyate I angulyo 'grliticitiiJJ sarvlilJ piidagratalasancare. Sri Haridasa ascribes
this verse to Bharata, where I have been unable to find it. (c) As the earth
sinks from the shaking of the world-tortoise, the seas are forced up until they
fill the hollows of Ciimu:t:l9ii'S skull; these, in turn, are likened to the depths
of Piitala from which the seas have risen. 75. The symptoms: sweat, trem-
bling, horripilation, are really those of love. 77. Siva has lost his bull to
Piirvati in a game of dice; cf. 98. This is doubtless the event portrayed in
the stone panel of Cave XIV at Ellora, cf. Burgess, The Rock Temples of
Elurii, pp. 33 ff., Cop. lI, i, pI. xxix, the signification of which Burgess and
Gopinatha Rao have missed. The words here might be spoken by either
Siva or Piirvati. I suppose nandin in b to refer to the bull himself although
it might refer to Siva's doorkeeper, who is sometimes imagined as a separate
character. (d) tryambakam: For suggestions regarding the origin of the
epithet (apparently 'possessing three mothers ' ) see Keith, Rel. and Phil. ,
p.149. Whatever its origin, in classical Sanskrit the epithet is taken to mean
'the god of three eyes.' 78. The poet fancies that in Siva's androgynous form
from his giving half his head to his partner the Ganges must crowd into half
the channel she would otherwise occupy and hence flows doubly deep.
(b) sa1(l,kirr;e: lit. 'joined.' 79. (a) The Ganges is supposed to arise from the
ewer (kama1:uJalu) of Brahma, the god born of the lotus. (c) udyiiiiin: 'dying,'
and also' going upward.' (cd) The figure is virodhiihhiisa, 'apparent contra-
diction.'
80. (a) The kohl comes from his kissing the bride's eyes. (b) angulibhasma-
mudriilJ: lit. 'the seals imprinted with ashes by the finger.' The image of
placing a seal upon a woman's breast is common, the ground of comparison
usually being the red calor exhibited both by lovers' scratches and minium
seals; cf. 613, 758, and lntr. 19, par. 7 if. Here the mark is in ash, from
ashes' being the normal ornament of Siva (cf. 72) and perhaps from the
suggestion of gentle embraces appropriate to the first night of love (cf. Kum.
Sam. 8.9); the brighter wounds will come later. (cd) With the spirit of this
compare Kum. Sam. 8.12. 81. (a) la~ariigam: normally a lady would paint
her toenails and the soles of her feet with red lac; cf. Kum. Sam. L83, 8rb.
269.420. The Ganges of Siva's headdress is here fancied to wash off the lac.
(c) For a similar fancy cf. Srb. 269.421. 82. The androgynous union of Siva
and Gauri has one disadvantage. (b) aviralaparirambhajanma: 'born from

474
 Notes [Vs. 88-94
constant (or close) embrace.' (c) The glance of true love; cf. 467c note.
(d) tryarnbakasya : cf. 77d note. 83. (cd) Lit. ' the circle of stars, being drawn
in and then emitted from the lip of whose upraised trunk, practises the
gra.cefulness of raised drops of spray.' 84. A skillful benedictory verse.
Since GaDesa is the remover of obstacles, his nod of approbation (cf. note on
verse 1 above) must indicate that one's obstacles are removed. The figure
kiivyalinga is used to furnish a complicated chain of causation leading up to
the nod. Nanclin beats t he drum for Siva's dance. The Prince's peacock
comes running at the sound which he mistakes for thunder, for peacocks
delight in thunder. The snake, fearing the peacock who is his traditional
enemy, crawls into GaDesa's trunk. Hence GaDesa shakes his head. (c) The
bees have been feeding on the ichor which drips down GaDesa's cheek; cf. 98.
85. GaDeSa's answer reveals a notion similar to that of the Bengali Vai~Davas,
where every man, if only he knew it, is an incarnation of Krishna and every
woman of Riidhii.. (b) iirya~~: the respectful form of address is required by
the difference in age. (c) " This and that became the world [so far as it is]
constituted of every man and woman." (d) Sikhibhanuf:i,: 'Lord of the Pea-
cock,' i.e., the Prince. 86. To the mother goddess as Bhavani. (b) Lit. 'the
blade of the bolt [such as Indra used] for clipping the wings of the mountain,
which mountain is none other than the buffalo demon.' jfah~amahasura­
saila is an upamiinottarapada cp. just like bhavajaladhijala and harahrdaya-
taJj.iiga. 88. " The reference is to a custom, still observed in many parts of
the country, that a bride-ta-be draw the figure of a god, usually Siva, as here,
and worship it with flowers. Parvati is in the strange position of having
drawn her lover and bridegroom; hence her mixed feelings" (Kosambi).
(c) rO$a: The anger would arise from jealousy of the Ganges; cf. 70. For
-rnasau gauryii " the reading of Sp. -rasair ga·uryii is preferable l ' (Kosambi);
cf.713d.
91. I find it impossible to translate the principal effect of the verse, which
depends on the suggestion contained in the word karnpi in d, lit. 'trembling,'
but suggesting ' compassionate' (anukarnpi). The structure of the verse is
thus comparable to that of 84. The god is characterized by a motion ap-
propriate to the benediction of the audience, here the trembling of compassion.
there the nod of approval. A fanciful and complicated chain of causation is
then constructed to explain the benedictory motion. Thus. the child god
trembles because he is cold because he had di, ed into the Ganges to clean
himself because he was covered with ashes from playing on his father's chest.
(a) svecchiirarnyarn: the reading is shared by the printed text of Smk. Thomas.
Inn., p. 56, reads svecchiira1Jyam. Since neither reading makes sense to me I
suggest emending to svecchlirarnbham, 'acting at will,' and have translated
accordingly. 92. (a) kalayan: One of the commonest meanings of the verb,
curiously overlooked by P.W. , is 'to touch, reach'; so also 422, 662, 688.
(b) rahhasad: equals atUsukhyat as in Ragh. 9.61. 93. (ab) Cf. 84c. 94. In the

475
Vs. 95-104] Notes
images of Gal)esa only one tusk is shown, the other being usuaH y held, broken
off, in his hand. From this the poet fancies the image to be both male
(tusked) and female (tuskless) and thus like the androgynous images of Gauri
and Girisa (Siva). 95. (a) One should separate ii srkkatw: ' to the corner of
the mouth.' (b) Compare Siik. 7.14.+2. 97. A fanciful explanation of the
size of stomach of Ku~maT,lc;la, the pumpkin goblin. (a) carcii: probably
name of Durga; so noted by P. W. but only from the dictionary Trika:T}4ase~a.
98. Siva has lost everything to Parvati at dice. Compare 77. '99. Of the
skeleton and the pumpkin goblins each hopes that he alone will be able to
accompany the bridegroom to the bride's house and so receive the gift.
kaSipu: the word, originally meaning ' mat, carpet,' comes to mean a gift of
food and clothes. P. W. notes the latter meaning only from lexica. The
change of meaning is analogous to that of pilr1)apiitra, first ' a full dish' and
then a gift to friends and servants. Concerning the custom of giving a
kaSipu Kosambi writes me, "The major personal retainers of a feudal house-
hold, even when they were held as slaves, always received this mark of
distinction at weddings." (d) iSaAivayol},: dv . cp. formed according to
Piir}-. 2.2.3S, of isa and sivii. (e) Add to var. Zed. S l' S 2' kasya cit tU1igokasya.
100. For the mythological incident see lntr. 4, par. 12. (a) khatakiimukha:
a position of the hand described BhN8. 9.57-63. Bharata begins by defining
m~ti, the balled-up fist. This becomes Sikhara by raising the thumb straight
up. This then becomes kapittha by joining the forefinger and the thumb.
Finally khatakiimukha is produced by then raising (unfolding) from the palm
the curved fourth and fifth fingers. The position is employed by actors to
represent among other things the drawing of an arrow (sariiva.kar~a:1fa.) or of a
string (rajjvakar~a). Jivananda on Ams. 1 fails to recognize the technical
term. Accordingly, his interpretation, while as usual it makes good sense, is
wrong. 101. A sort of geometrical puzzle. Guha has six mouths. Parvati
manages to cover two, leaving four, from which Brahma., who himself has four
heads, tries to turn away. But since Guha's heads are placed. in a row while
Brahma's heads face the four directions the turning is in vain and does not
prevent his hearing the embarrassing prattle. However, if the turning is
toward the audience it might be thought to work for their protection. (a) For
biting the lip see Tntr. 19, par. 7. 102. (a) goniisiiya: I do not know what sort
of a snake this is; sarpa, of course, can be any kind of snake. (b) Our mss.
have interchanged pii1Ji and ka1Jtha; read, with S, P, ka1Jthasthiiya . .. piit;tau
mar}-im. 103. (b) kim anganii: 'why a woman.' The expression might refer
to Siva's being accompanied by Parvati, but more likely to her forming part
of him. (d) cf. 1533d. 104. (a) For painting the breasts with musk in the
figure of a crocodile cf. 389, note. The figure painted on Sri's breast has been
transferred by her embrace to ViglU. (b) By slaying Madhu the god has
caused the faces of Madhu's wives to close as the day-lotuses close at moonrise.
(c) kriq,akrocJ..atanur: lit., 'in the boar-form [assumed] in playfulness'; cf.

476
 Notes [Vs. 105-111
kriq,o.gopiilarnurt·ilJ, 129, "-Ti£!iijha-$alJ, 135, and krUjiivariilw, 1201. The qualifier
kritJii indicates that the form was assumed temporarily and with no personal
object in view; that this form in no way limits the god's essential nature.
(d) rnusta: Hindi rnothii,a grass which grows in the shallow water of ponds
and is relished by wild boars; cf. 1141d, note. 105. The verse occurs Bhag.
Pur. 12.13.2. With ab cf. also Bhag. Pur. 2.7.13. For the myth of the
churning of the ocean see Intr. 4, par. 11. 106. The opening verse of Murari's
Anarghariighava. "\ i!?J;lu, the mace-bearing god, is envisaged as he lies on
the primeval waters, a lotus growing from his navel. In the blossom of the
lotus will be found Brahmii, who will soon undertake the creation of the
world. But the lotus has as yet only half opened under the effect of that eye
of Vi~I:1u which is the sun (the pu~rika lotus blooms only by day) and
which therefore brings joy to the sheldrake (see 452d, note) who has spent
the night pining in absence from his mate. The lotus still half sleeps because
of the propinquity of Vi~l).u's other eye, the moon, which furnishes a feast to
the cakora bird, for whose peculiar habit of drinking moonbeams see 17,
note. By its being half open and half closed as also by its whiteness the
umbilical lotus is fancied to resemble a conch shell. (a) ni~pratyii,harn: the
natural way of taking this would be as an adverb showing the manner of
worship. But Murari is seldom natural. Take, rather, as an indeclinable
dative in -am, justifiable by Pii"IJ. 2.4.83. 107. The grotesque notion of
Brahma's using the stem of Vi~J;lu's umbilical lotus as an elevator shaft is as
old as Viiyu Pur. 24.34. 108. This and the following verse are examples of
sle$aval"Tokti; cf. Rudrata 2.14 and KHA. III (Adhyaya 5, Siltra 7). 'Vhat
is spoken by one person is intentionally misinterpreted by another in order
to dumbfound him. '" Oh goddess, you are kupitii (angry).' 'It is you who
are ku-pitii (earth-father), for who else is parent of the world?' 'You are
rniitii (mother) of all creatures.' 'Nay, you are their miitii (creator, ordainer),
for none else has such wisdom.' 'Goddess, you are anantii (endless) in your
jesting quarrels.' 'Nay, it is you who are anantii (he who will not bow down).'
May Sauri, hereby recognizing [her] rank in endlessness [Le., her ever having
the last word] and bowing down to Lak~nll, be your protection." VAK-
PATIRAJA. (d) T's reading (jfiiitiinantapado) would mean 'on having heard
the word ananta.' 109. Another 8le~avakrokti; see 108. "'Who is that at
my door? ' 'Ha.ri. ' 'Run off then to the park. What do I want here with
a.n ape (hari)?' 'I am Kr~J.la, darling.' 'That frightens me even more.
How now, a black (kr~) ape?' 'Sweet innocent, I am Madhusiidana.'
'Off with you then to the honey-flowered vine.' [madhusUdana:' destroyer
of Madhu,' also 'consumer of honey,' i.e., a bee.] May Hari, thus rendered
speechless by his sweetheart and so embarrassed, be your protector."
[SUBHANGA ?]
110. (b) godhulidhumra: a pleasing touch of realism, which T destroys by
taking godhiU.·i to mean 'evening.' 111. The verse is difficult. I am certain

477
Vs. 112-122] Notes
that T's interpretation (niryiito: gen. sing.) is 'wrong, but I am not sure that
mine is right. I have supposed that the hands of \ i!?I;lU and La.k~mi are
thought to be so like the conchsheU in curve and whiteness as to seem minor
replicas of it, thus suggesting the miracle of a child born together with its
descendants. The reference, of course, is to the rise of Lak~mI with the shell
from the churned sea; cf. Intr. 4, par. 11. 112. (b) l..""Ulagiri : the seven
greatest mountains of India; cf. Pad. PUT. 1.6.7-8 Mahendro MaJ.ayaI},SahyalJ,
Suktimiin {lksaviin api I VindhyaS ca PiiriyiitraS casaptaite k"ldaparvatiil;. /I
(d) So small are they by comparison. siiidcura: The elephants' trunks
correspond to the sprouts (T). 113. The Aurva fire, being insatiable, was
placed beneath the sea lest it devour the earth. It remains as the submarine
fire, which drinks water so fast without being quenched that it causes a great
whirlpool to form above its mouth; cf. IntI'. 33, par. 29, and Intr. 36, par. 4 .
But the splash of the primordial whale's tail was apparently too much for it.
114. Dialogue between Vi~I).u in the form of a dwarf and the demon Bali.
Vhjl)u's answers, superficially innocuous, hint at his true nature and purpose.
(a) One may interpret in several ways: From what ?-from myself. For what
reason ?-for wealth. From what po" er ?-from my own. 115.' i!?I)u falls
in love at first sight with Sri as she rises, the Indian Anadyomene, from the
sea. 116. Of the onomatopoeic words, chamiti is regularly formed from
chamat, cf. KiiSikii on Pii1}.. 6.1.98 (where one should read chamat for chamit);
~thiiditi, unrecorded, from ~thiidat; cf. SIb. The reduplicated forms ca/ac-
catiti and dlwgaddlwgiti violate Pii1}.-. 6.1.99. For reduplicating catat Paoini
offers the option of cataccataditi or cata.ccaf,eti, the sequence ca#ti being
allowed (6.1.98) only in unreduplicated forms. 117. (c) Separate -pratirodhi
from nindad and place hyphen at end of line. 118. Not a benedictory verse
but an anyiipadesa; cf. Intr. 33. 119. The ingenuity of the original consists
in the poet's having found qualifiers that are appropriate both in sense and
grammar to Vi~I)u's eyes (netre: neuter dual) and Vi~I)u's body (tanu: fern.
sing.). Where the phonetic form of the inflection differs recourse is had to
puns. (a) bhakti-: either' apt for the gaze of those bent on devotion,' applying
to the body, or 'fond of gazing at those bent on devotion,' applying to the eyes.
(b) nite hita- applies to the eyes; nita-ihita- to the body. (c) The pre-sarpdhi
form mahiinidhi rasikatiim agrees with the eyes; mahiinidhir rasika:tiim with
the body. (d) kurntiim: dual third pers. act, or sing. third pers. middle.
120. (b) khalat: tossing in their boat on the waves of the deluge. (d) viyan-
mayo: Sound travels in iikiiSa (space, sky); accordingly, the utterance o-m is
thought to make a pillar of space in the water just as the water, being dashed
up, forms a pillar in the sky. One should read a visarga after jal..anmaya.
121. Construction: "May the feigned sleep, which depresses Se~a ... , of
Mura's victor, whose eyes ... and who is greedy ... , aid you." (c) apavrtti:
'turning aside,' here 'turning in one's sleep.' 112. A gopi, probably Radha,
seeks her lover, Krishna. (b) nipu1).am: 'completely, 'take with anvi$f,o.

478
 lvotes [Vs. 128-189
(d) The nicula, Barringtonia actdangula, grows by rivers like our willow, cf.
809, but has long, showy flower-clusters; cf. Vik. Urv. 4.18. 123. I find an
untranslatable charm in this verse. It deriyes from the contrast between
the simple, conversational style of the dialogue and the epic grandeur (~iti­
patir ahhiln mdnaniyo raghil7Jiim) of the exordium to the story. The contrast
is delightfully in keeping with the situation: a child of cattle herders who is in
truth the reincarnation of King Rama. 124. (b) In Vi!?I:m's cosmic form
Brahma sits in the umbilical lotus chanting siimans. The calyx of the lotus is
expressed metaphorically by kuti, a hut for religious practices. (cd) Bali is
delighted; see remarks under Intr. 6, par. 17. 125. (b) arrziam: an incorrect
form. Other quotations of the verse vary between aT[l,Sam, which is possible,
and Q1]2Se, which is preferable. Read a1]2Se. (c) Lit., 'doubled by her in-
creased beauty at that moment,' viz. as she raised herself naked from the
couch. Cd) iilambya.: the denotation is approximately equivalent to iilingya,
which is the reading of most of the quotations, but the connotations of iilingya
are more appropriate. Read iilingya. 126. The illusions are traditional
metaphors £01' the ,o bjects in question; cf. Intr. 16, par. 2, and Intr. 15, par. 8.
The romiivali is the thin line of hair growing above the navel (cf. 415, 434) and
undulating (valat) by reason of the triple fold of the waist (363, 452); T takes
the words punar in their full sense: 'again,' as though the moon, Indra's
elephant, and the tree of paradise had already been churned forth. But this
contradicts the usual form of the myth. I prefer to take them as simply
indicating succession. 127. (d) The Plowman: Balarama, Krishna's brother.
129. (b) pragraha: Cass-iafistu,la. (d) For k1it/ii cf. I04c, note.
130. For the use of fingernails in love-making, see Intr. 19, par. 7 ff. 131.
Krishna remembers the sorrow of his life as Rama. For the effect of the
monsoon season on separated lovers see Intr. 10. The kadamba blooms with
the first rains. (ab) Cf. 1586 ab. (d) sankitayii: suspecting that he has
another mistress. She is not aware of her identity with the Sitii of a former
age. 132. Cf. 62. (c) dhyiiniinubandha: 'protracted meditation.' 133. (a) ratna-
dipa: a lamp which consists of a jewel; the allusion is to the gem in Se~a's
hood. (d) iikekara: the term is defined BhNS. 8.79. 134. (b) khura-: cf.
Padma Pur. 5.3.36 pmyiinti toyiini khuriigravi~ate. 135. The verse is
difficult. (b) stimita: 'stilled, satisfied.' krirja: cf. 104c, note. (d) I take
the literal to be 'whose desire for leaping with difficulty became old -(i.e.,
inactive) in his limbs,' taking the nonce-word jirtJii,yitam as impersonal
passive. 136. (b) Snakes live on wind (cf. 253c note) and normally Se~a drinks
with delight the lotus-scented breath of Vi~l).u (cf. 1411); but here Vi~I.m's
sorrow has made his sighs too hot to suit Se~a's taste. (c) Lit. 'witnesses to his
loving memory of Radha.' 137. Cf. 107. 138. (d) The added notion may
be suggested that if Hari were asleep he could not aid his suppliants. 139.
(b) vaskayar;i: 'a cow whose calves are grown,' cf. P.TV. s.v. b~kayir;i. (d)
kiira'1}afiandasiinu: the son of Nanda by special process, i.e., by adoption.

479
Vs. 140-154] Notes
140. An example of the figure ullekha; cf. 27. (b) Z.a.gnair: the boys are
hanging upon Hari, not, as T would have it, upon the mounta.in. I have
taken the end of the line to mean iitmano haTer urji.ta,Tfl. ( = oja.s) .sambha ita1]t
yair ballavaputrais tai!;, sambhiivitiitmorjitailJ,. Also possible gra mmatically
would be sanibhiivitiitmabhiS corjitais ca putrai!;,. 142. (b) Of the, arious
readings: ahhyar'1}l1irir, abhyarT}ll$ir (T 1)' udgu~rir and udvaT1)airir only
the last makes any real sense to me and none makes good. poetry . This
being so, I have emended to sauvarry.a§rir (agreeing with dord.afr:u!~). The
parallel between the two halves of the verse lies in the golden color common
to pollen and to a mark on a touchstone. (d) Sr~1Ji: simply makes gra an
plural. masr1Ja~u1Y1Ja: 'smoothly polished.' patralJ,: I doubt that this
refers to inlay work on the armband (so T). It is rather descripti\ e of the
armband's shape; cf. suvarry.apatra, ayaJ),patra and P. W. s.v. pattra (6) " ein
schmaller, dunner Streifen von Metal." 143. (b) prativibhii ita: unrecorded,
'reflected.' (d) lalita: not in its usual sense but as in lalajjih-a. 144. (d)
smitam: because Murari is NarayaI)a incarnate. 145. (a) yaj-navariiha;o
see lntr. 6, par. 12. (cd) Just as the universe is imagined within the body of
the cosmic Vi!lI)u so it is here imagined within the belly of the boar incarnation.
147. (a) kanakanikClfasvacche: 'bright as the streak of gold upon a touch-
stone." (d) janita-: a double compound: janitavriqiinamralJ,+priyahasito.
148. In var.lect. for KHA. read KHV. The verse is used by Ra,ja.sekhara in
his Kiivyamimii'l'f1,sii as an example; it need not actually be his own. (a) adho
'dha.s tathopary upari: cf. PiitJ. 8.1.7; the prepositions govern the accusatives
niravadhi viSvam. (d) Lit. 'causing all the many heaps of darkness to reach
destruction. '
150. (a) Lit., 'for the hood of that serpent, which serpent is the Eastern
Hill.' (d) Before death the yogi should stare at the sun; cf. Isa Up. 15 ff.
(=BrA. Up. 5.15). Before going on a journey it is propitious to look at a
pUr1JakalaSa, a pot filled with water and green leaves and suitably decorated;
cf_ 269cd, note. 151. (a) sa1]1,Saktam: 'steadily, uninterruptedly,' adv. with
udyan. siktamulad: to be construed with udyan. (b) -amrtena: I ha, e taken
as an instrumental of cause with udyan. One could also argue for construing
with sikta. (d) biilapraviila: coral was supposed to grow as quickly as pearls.
I suppose that the young coral was thought to be redder than the old. 152.
(a) dantuTa: lit., 'dentate, bristling'; so also in 173a. 153. A play of words
in the original has not been translated. The flowered arrows of Kama are
five in number. They are set in motion by the 'fifth note' sung by the
cuckoo; cf. 166, 168, 334, 729, 737, 1145. In music the fifth note was the
tonic of the amorous mode. The basic comparison of the verse is less poetic
to English taste than to Indian. The atmosphere of love has brought
horripilation to the trees. 154. (a) malaya: Mt. Malaya is a general name for
the Western Ghats bordering the Malabar coast. (d) utkalika, since it means
both 'wave' and 'yearning,' is repeated. A wind naturally raises waves.

480
 Notes [Vs. 155-165
155. The ciltii.n ku.r a always symbolizes the man, the lover, while the flower of
the mango may symbolize the woman. (d) praiyanga'1'{'L ca muhul). krto: lit .•
'and again is brought in touch with her every limb.' 156. (c) madiikuliiku-
lat(l.yii: lit., 'through being full of joy and confused (or irresolute).' graha:
seizure. spasm (of pride or anger); cf. miinagraha in 1651d. 157. The verse
has been imitated b y Appaya Dik~ita, Kuvalayiinand.a 25 (Srh. 222.48).
(a) jambUniim: The jambu or rose-apple (E~enia jambolana, see McCann
plat e 27) flowers in spring, but its fruit, which is very dark (cf. 406, 1592),
does not ripen unt il the beginning of the rains (S 2.161.1d). The jambu
grows in hilly country. I have seen it on hillsides in Gujerat and it must
grow in the north since it figures there in both Hindu mythology (e.g., Ram.
N . W . 4.36.53 if.) and Buddhist legend (Buddh. Car. 5.8). But the poets
usually associate it with the Vindhyas (so 216 =MiiL 9.24, 1592 = Ut. 2.20,
Mii.l. 9.3.2, M egh. 20). (b) kiriilJ,: the Indian parrot is bright green with a red
beak. 159. The kund.a is the earliest of flowers to blossom.
160. (a) The cp. is lit., 'possessing limbs which are slow to move because of
weariness at the lonely-workings (Le .• lonesomeness) of separation.' Vira-
havidhura, ' lonesome from separation,' recurs in 979, and cf. 800; arambha
serves simply to make a noun out of vidhura. (c) vallari is not a vine growing
on the aSoka, but a spray or branch of the aioka itself, on which the line of red
flowers might look like an inscription written in red characters; cf. 165d.
Love letters were sometimes written in red, by using lac for ink; cf. K um.
Sam. 1.7. 161. (d) refers to the lengthening of days in spring. 161. (a)
parahhrtarutair: I have construed this with mukta; one could almost as well
construe it with vadan. (d) pUT1).lLpiiira: lit., a full cloth, a gift presented to a
friend on the receipt of good tidings or good fortune. Kiim. Sut. 6.2.50 states
that a woman should give pU:rTJ..apiitras to her close friends on the return of
her lover or husband from abroad. Here the south wind for the good news
he brings to Spring's mistresses, the wood nymphs, is given a cloakful of
white jasmine. The image is appropriate, for the petals of the early
flowering jasmine fall before spring brings the trees into leaf. 163. (ab) instr.
of accompaniment. (c) vasantasamaya~01J.-ipaii~ could also be a gen. tp.
'monarch of spring,' i.e., Love. (d) The campaka trees' (.I1. 1ichelia champ aka,
Linn.) yellow-red flowers are likened to the lamps of a festival. The cuckoos
and bees take the part of musicians. pra.migdha:' delicate' as applied to
flowers, 'well furnished with oil' as applied to lanterns ( T ). 164. The descrip-
tion is of the first days of spring. 165. (a) vicakilam: probably nom. neuter
(cf. Schmidt), the flower of the nicakila~ (masc.); Jasminum zambac. It
blooms much later than the kunda and is really a summer flower as is also
the piitali, cf. 212 below and Smk. 60.17. (b) For the poetic use of marks
left by lovers' teeth cf. Intr. 19, par. 7. The cp. of course could refer to the
wounds inflicted by a BAhliki instead of those she receives. The point of
the proper noun, however, is that the northerners from Balkh had very white

481
Vs. 166-174] Notes
skins, against which a wound would appear redder than against a dark skin.
(c) vivrntiiyate is a word made up for the occasion. I take it as from vi in the
sense of contrariety, opposition (cf. viloma 'against the grain ') plus urnta
'stem' plus denominative ending; the meaning being 'turns against the stem.'
JIvananda's explanation (Vid. 1.25) takes vi in the sense of viii$ta and he
explains: ' appears as with an extra stem' (viS4tavrntayulctam iva iibhiiti ), the
black bee on top and the black stem below making the flower appear to have
an extra stem. From this it was a short step to Bohtlingk's emendation
(P. W., Nachtrage 5) ki'J'!'!,Cid dvivrntayate: ' makes to have two stems.' These
interpretations are too ingenious and can best be corrected by actually
looking at a bee on a ki1Jt$uka flower. 166. (cd) Lit., 'the bow of the god
Kama, though it has been long abandoned, if it were put in practice, would
win .. .' Construe api with drojjhitam. 167. (c) There should be a break
in the type between -prathamasu and cchaya-. In early spring in India the
shadow that a man casts at noon is approximately the size of the man.
The sun, of course, is not' vertical' (T) at that time except over the equator.
As spring continues the noon shadow grows shorter. (d) stokaraso: lit., 'has
a small amount, a modicum, of delight.' 168. (b) Lit., 'the fine complexion
of their leaves [nb. patrii1ikura = cosmetic painting on the face, cf. 389 note],
bright from the pollen dust that has fallen from the flowers.' The suggestion
is of the yellow saffron powder used as a cosmetic. (c) gamhhiraJ.,..,.ama: I am
not certain of the meaning. If it is as I have given it it would describe weU
the cuckoo's cry. 169. (d) The black bees gathered at the budding tip of the
branch are likened to a smearing of poison paste. There is no reason to take
kalka as beeswax (T).
170. Cd) y~mabhi~. sthiitavyam a81nad: lit., 'therefore let you be present.'
171. For the myth of the burning of Love cf. lntr. 4, par. H. (cd) The
literal sense is that these sparks (exist) as a pretence (nibhena, instr. of con-
clition) of the eyes of them, viz. the cuckoos. Cuckoos have red eyes. 'The
poetical figure is apahnuti, the denying the actual object of reference and
placing of another in its stead. 172. (a) The comparison is with the shape of
the young moon as well as with the calor. (c) nicoZo..ka is especially a soldier's
tunic, thick enough to offer some protection in battle. 'This might 'weH be
wrapped about a weapon when it was delivered to the royal armory after a
campaign. It would be sealed and kept thus until issued again. (l owe this
suggestion to Kosambi.) (d)jatumudritam: the bud is a deeper red at the tip.
173. (a) dantura: cf. 152a and note. granthi: lit., knot, the swelling of the
sprout. (b) kii'pi sthiti/:L: 'an indescribable condition' (T). (c) As the line
stands it makes no sense. T emends ayG..m to apiim, which would give .1 Even
slight weariness from wayfaring now makes for bringing misfortune on
water," which he interprets to mean that a short walk now brings on a thirst.
This seems most unlikely. In loco mewris I have translated as if the line read
saT{tpravasatam for saT{tpratamayam. 174. The reference in cd is to the Spring

482
 Notes [Vs. 175-188
Festival (madanotsava), which, if not the origin of the- modern Holi (Sk.
holiikii), was celebrated in much the same fashion. Compare the Spring
Festival songs in Ratniivali 1.14-15. This explains the apparent contradic-
tion between vidhivat 'a,ccording to rule or custom' and unmiidyate 'is in-
toxicated' runs wild.' 175. The metaphors all refer to the presentation of a
play . Kosambi suggests the possibility of a reference to some lost play called
A nangavijaya, " Love's Victory," remarking that the reference would be
particularly appropriate if the play were written by Malayaraja, an author to
whom several of the verses of our anthology are attributed. (c) ~ii4ha:
Mount Malaya; P .W. quotes only from lexx. 176. (b) The ms. reading
vyiimaT[t must be emended to SyamaT[t, as S has it. Vyama as 'smoke' is
suspicious to begin with from its not having been found outside the lexica.
Decisive, however, is the argument that one does not make smoke (vyiima)
with smoke (dhumai M. The image of fire blackening the woods is as old as
the Rigveda (cf. lntr. 9, par. 3) and in the present context is highly poetical.
The tips of the tree twigs, especially of the ki7f1..8uka, turn dark as they first
begin to swell (cf. 189b) and this gives the woods a dark, smoky appearance.
T ' s taking of kiinanarn as nom. is impossible. The nom. is in sa khalu 'he
(fire) indeed,' i.e., no one but him. 177. (b) pra'1}(Lyi: the adjective means
literally' closely acquainted with, friendly to' and is occasionally used in
these verses in the literal sense, e.g., 555c. Far more common are two
extended senses not noticed in P. W. First, as here, 'close to, in, on, at.'
Other examples are 661a karapra1}ayiniT[t krtvii kapolasthalim: 'placing your
cheek on your hand'; 690a payodharapra'1}(Lyinim drsam: '[his] glance which
was on her breast. Cf. also 517, 658c. Second,' similar to, like,' e.g.,
j

370cd: torar;,apra1J,ayinii .• . Mhuy'ugena: 'with her two arms raised like a

gateway'; l016d: m.ani!"'1/astabakatrayapr(1)lLyiniT[t hiimsya Sriyam: 'beauty
like that of the three clusters of rubies of a necklace.' So also in 447, 737d,
685c, 1032c. Other words meaning friend or close companion are similarly
used, e.g., mitra 419a, suhrd 34a, 953a, sapa?ikti 974b, sakhi 202b. 178. (c)
miisalJ,: gen. sg. 179. Punning verse: "The calyxes of mucakunda now quite
filled with beautiful-winged [or, -feathered] bees [or, arrows], black as though
from the smearing on (of poison), look like Love's quivers." SUBH...~NGA.
181. (d) ' prasiiraj'U,§a/.l,: <enjoying extension,' referring to the lengthening
of the day s. 182. (a) duJ),Sli$ta: apparently, 'badly stuck together,' i.e.,
tightly stuck. For the colors cf. the comparison with red-beaked parrots in
157. 183. (a) karTJlLpraviila is any natural ornament passed over the ear,
sometimes a flower stalk, sometimes blades of young rice or barley, here a
little wreath of flowers or buds. (b) In my translation JAOS. 74.130 I was
misled by T 's note. The correct interpretation is furnished by a comparison
with ~tu. 6.7, where the drops of sweat are likened to pearls; here they are
likened to buds. The line forms a single compound. (c) haridrii: for tur-
meric on the cheek cf. 389a, note. (d) For a similar image cf. Ragh. 16.48.

488
Vs. 184-195] Notes
184. Punning verse: "After breaking a portion from [or, after deceiving]
night, day wanders, suddenly warmer [or, suddenly grieved]; while night,
growing shorter [or, thinner] herefrom, maintains perfect clearness [or,
calmness of temper]. The first shows the nature of a man in the world to
those whom he loves; the other makes known that the position of a woman
depends on man." (a) sadyastapto: cf. 193a. 185. (b) I have translated the
version found in the text of Vamana, which has sikhaniim for sthitiniim and
sphurati for sphutati. The only way of making sense of the reading sthitiniirn
is to read catura in a (this is the reading of S and should be so noted among
the var. lect.) and connect this as forming a single cp. with sthitvniim. The
literal meaning would then be "Of the plak§a trees now in a state quick to
drop their old leaves, the stem appears, etc." As regards sphutati, this could
be right since the verb is sometimes used for sphurati, but the latter is more
correct and avoids the repetition of sphuta in d. 186. (b) kankelli is another
name for the aSoka. By phullacchatiilJ, 'blossoming streaks ' the poet refers to
the branches of the aSoka each covered with a line of flowers. Cf. 160 where
the branch was compared to a placard with a line of writing along it. Hence
the appropriateness of the metaphor, Love's arrows. (c) apavitram and
siirambham: neuters used as adverbs with the intransitive ujjrmhhate. 187.
The verse is full of sexual overtones, which I forbear pointing out as I am not
sure how many the author intended. (d) yuvii: the tree is now in its man-
hood, mature, as contrasted with childhood when already its buds perfumed
the wind. 189. Not found in any of Bhavabhuti's extant works.
190. The sight of this emblem of love would otherwise increa.se the sadness
of the wife in separation. 191. Punning verse: '" There is separation from
those we love [or, lovers have disengaged from embrace]; what things do not
burst forth, my friend (ujjrmbhitarrt na iili kailJ,)? [or, lotuses (niilika'ilJ,) have
blossomed]; even a friend grows rough [or, a small thirst grows greater];
stupid men (ja4air) have become lovers of their elder femaJe relati, es [or,
water (jalair) has become much loved]; a mine of vices is admired [or, the
moon is admired].' 'Alas, what is this; the Age of Discord?' 'N 0, no;
summer has arrived.''' [RATIMITRA?] 193. (a) The pun does not reproduce
well in English. Tiipa means grief, remorse, e.g., at injuring one's wife, and
also heat. Cf. 184 for a similar pun. For the slenderness of the night, cf. 167,
181, 184, 251. The verse is Ragh. 16.45. I imagine that the original ascrip-
tion was ragholJ" which by successive copyings was corrupted to batolJ,. 194.
Such merit as the verse possesses lies in the verbal figure, which some critics
called citra; see Skb. 2.214. The cps. which modify masi all end in root
nouns which take i in the locative. Thus, the effect, of various meaning with
similar sound, is reminiscent of yamaka. A similar verse is 250. 195. (a) It
sounds strange to speak of crows laying eggs in summer, but such is apparently
the practice of Indian crows. ~a, of course, begins with jy~tha in mid-
April, considerably earlier than summer in North America. But S 2.161.1a

484
 Notes [Vs. 196-208
makes the crow hen lay as late as the monsoon. (cd) Lit. 'The (last) remainder
of night. noisy with the shrike's call, drives off the sleep won from .. .' 196.
For a verse which imitates or is imitated from this see 1174. Both sikhabhiIJ
and pavanailJ are modified by the possessive genitive diivavahneIJ. (d) patra-
bhatiga was a design painted in aloe-paste (agallochum) or musk on a saffron
base which was applied to the cheeks, etc.; for further references cf. note on
389. 197. (ab) lit., 'in the vicinity of which (trees) is a herd of innocent
gazelles, who delight in the sweet, fondling mood of the hindolii and have been
attracted by the song of the girl attendant at the well.' Hindolii I take to be
the musical riiga of that name (' swing-song, cradle-song'). For prapapalikii
cf. Intr. 9, par. 5. vatahari'I')£L: = viitamrga. 198. Construction: 'The day is
passed by birds ... ' The two long cps. are bvs. modifying pa~ibhiIJ;
sithilitaprayii:r!l-sam is neuter used adverbially with niyaie. 8ithilita, though
properly subordinate (apradhana) in the cp., is construed with the kdh.
caiicac-, instr. of means. (a) Catuaccaiicu and similar phrases are popular in
verses of the Gau~i style; cf. 581, 800, 1171, 1528, 1586. (b) Lit., "the heat
of their wings." pa~aputa=pak§atiputa of 1154. (c) k~ta=k~f.ena,
'with difficulty, barely.' (d) For summer gales cf. 1172 and IJ,tu. 1.22 and 24.
200. The verse is not found in the extant plays of Bhavabhuti, but rf,haukate
is a favorite word of Bhavabhuti. 201. Bhavabhiiti too uses the phrase
sarasakadali , Mal. 2.3. In var. lect. for bread a. 202. (a) vilocanti'l'icaladari:
'the creases at the corners of the eyes.' (b) sakhailJ means no more than
'on,' 'the drops of water on the rope of moss.' For the use of words which
mean literally 'friend' in this weakened sense see 177b, note. (d) durani/:L-
sahatayii: instr. of chara.cteristic, 'with annoyance far removed.' T's
interpretation is impossible 203. (c) Compare l;ltu. 1.15 where the summer
heat overcomes the elephants' fear of lions, and 1.18 and 1.20 where the
traditional enmity of snakes and frogs is dissolved during the oppressive
summer day. pratapati tara?Jiiv: loco abs. Taking the pte. as a third pers.
sg. is apparently what led T to his grammatical diffieulties and emendation.
ii1f1,8avim: unrecorded vrddhi derivative of a1?l8u, 'ray-born, deriving from
the sun.' tapatandrim : ' lassi tude of heat.' 204. (a) The wavy line
may be deleted under jiitii/y,. (c) dhiitaki: Grislea to'lnemosa Roxb. I have
not seen the tree to know it. The context implies that the flowers
are red. (d) sami: Prosopis spicigera, as in 512e, a thorny tree with
very hard wood. The thick-growing cane and the thorny sami offer good
protection for bird nests. 206. (d) halamukta: there is no plowing in India
until a week or so after the rains have set in. 207. (b) udbalbajan: probably
equals udgata-balbajan. I suppose that this grass (Eleusina indica) grows on
the tops of anthills. If so, it would offer some nourishment to the fire, which
otherwise would pass the earthy structures by entirely. (d) ajya: drawn
butter poured into a sacrificial fire to make it flame high. 208. An ornitho-
logical catalogue. For sariiri see l15lc, note; for cakravaka, 452d, note;

485
Vs. 209-218] Notes
koya~ti, 1578d, note; siirasa, Intr. 11, par. 3. 209. (a) saptalii: the word was
used of various species of jasmine as is evident from A.K. which lists the word
in t wo places: with navamallikii; and with vimalii, bhuriphenii, etc. (the
double jasmine). Presumably it is the latter that is meant here. (c) komala-
gram: the reference is to the filament of the Siri$a flower ; cf. 210.
211. (a) haranti hrdayani: 'charm the heart.' (b) arghati : 'is precious. '
Cc) In summer they cool their breasts with sandalwood paste. 213. It was
thought that the meat of the coconut was a congealed form of the milk.
214. (a) jalayantramandira: such a structure is mentioned as a cool resort in
summer ~tu. 1.2. Ragh. 16.49 with its yantrapraviihailJ. SiSirailJ. makes it
clear that what is meant is a room down the mat walls of which water was
caused to flow, a method of refrigeration still used in India; cf. also 1583
below. (c) kmikiilaSe$aSriyam: lit., 'its splendor remaining only in skeleton
form'; so also Ut. 3.43. Cd) marmarayati: 'burns, fries,' from maT7llara=
murmura. parpata: the modern pappat, so deliciously prepared in South
India. 215. The white-flowered kutaja trees form the laughing audience
and the clouds a canopy for a dancing exhibition on a mountain stage (T). I
would not press the figure of speech (samasokti) beyond this into c and d.
216. (a) jambu: cf. 157a, note. (b) havantim: read sravanti111,. (c) tapinja
or tapiccha (893): another name for the tamiila tree (807, 928, 938), Xantho-
chymus pictorius Roxb., a black-barked tree that grows near rivers. 217 (a)
4imba: bud. (b) kiidambini: A.K. defines the word as meghamiilii; what is
meant is a cumulous cloud of oval shape like the kadamba blossom. (c) kun-
dalatanta: this makes no sense; read (with Mal.) ka?u1alakanta,' kandala here
has the sense of 'sprout.' (d) iilindhra: here probably not the banana,
though Kosambi writes me that there is a wild banana (Marathi: ban-keli),
since the banana flower is not specially noted for its scent. Tripurari on
111iil. glosses the word by punniiga (Rottleria tinctoria, a shade tree). lodhra:
SympZocos racemosa Roxb., a southern tree with white flowers. 218. (a)
arjuna-sarja: the two trees are often paired together in monsoon verses, e.g.,
~tu. 2.17. The arjuna (Terminalia arjuna), which grows to great size, is a
tree of extremes: its bark is whiter, its leaves larger, its blossoms longer (cf.
Ragh. 16.51) than those of any other forest tree. One may see fine specimens
in the park at Lahore. In the forest it gives a ghostly appearance (like our
beech trees) and Abhinavagupta, commenting on DhvanyaZoka p. 173, con-
trasts its forbidding aspect with that of such ingratiating trees as the mango.
The sarja or siila (also written sala), Vatica robusta, is a straight-boled forest
tree with resinous sap, which in ancient times grew in immense stands
throughout the Ganges valley. It was under a sal tree that the Jina reached
enlightenment (Kalpasiltra 120) and it was while plucking a sal branch that
Queen Mayii gave birth to the Buddha. Ram. 6.127.28 speaks of the great sal
forest by the Gumti River. (b) indranilasakala: simply ' sapphires,' so also
in 1333a; sakala is commonly used as a noun-adjunct of shape with the names

486
 Notes [Vs. 219-237
of objects that are small and round: pebbles, gems, eggs, etc. 219. The
figure is bhrama.
220. The cps., except the long one in c, a tp., are all bvs. and all agree
with rGiraya~. A similar verse is 228. 221. (a) datyuha: moorhen is the
common name for the bird in England; in America it is seldom seen. In
modern India (Bengal) the bird is called if,auk. It is an aquatic bird, the
size of a small duck, olive-green to black with a broad shield-like beak. and
long-toed feet like a rail. It has a distinctive guttural cry that sounds like
kek-kek-kek-kek (cf. 265). It is a shy bird (cf. 987 where it hides in hollow
trees) and I cannot find that it has been domesticated. However, one of our
verses speaks ofdatyuhas being kept in baskets (224). (c) jatiila: matted,
thick. ulapa: soft grass. 224. (b) datyuha: see 221, note. 225. (a) forest-
fires: see Intr. 9, par. 3. 226. (a) add to var. lect. N kva1JlLndardura. (b)
samhukiir:u!aka,: oyster's eggs, i.e., pearls. Thomas and my former translation
(JAOS. 74.123) are sadly mistaken. For pii'1J4uratata read with K, P,
pii'1J4uratara. vira~a: A1ldropogon muricaius, a sweet-smelling grass or cane
with spiked tip; cf. 1151d. (cd) The children are driving the fish into nets as
is still done in Bengal. cubhrus cuhhrilr: unrecorded; probably a cry to
scare up fish; but possibly a vernacular phrase (e.g., catch him, get him).
227. (c)viqojas: Indra. (d) The sapphires are the thunderheads, cf. 218.
228. The verse is similar to 220. The cps. are bvs. agreeing with niSiilJ,.
(d) janasya virahir.w: gen. of agent with soqhum, passive. 229. (b) disati
dMrarave murcchat·i: loco abs. (c) glwrayan: the causative in the sense of
the simplex.
230. (b) For bandhyiilJ, read with T vallyaly, (agreeing with dhanyii/y,). 231.
Punning verse: "Tbis rainy season is like an old woman. It is no longer
disturbed by dust [or, menses]; the light of its stars [or, pupils] is obscured
by a cloud curtain [or, by a thick cataract] j and its heavy clouds [or, breasts]
hang low." Shh. attributes the verse to V~DDHI, i.e., hKAV~DDHI. 232.
(a) jhalii: unexampled, is said by lexx. to mean 'sunlight, brilliance.' (b)
paryiivilii/;: tbis accounts for the half-black nature of the clouds, as the
viUjatiinala accounts for the half-fiery nature. (c) uddesasphurad, if it means
'flashing high,' is an unnatural expression, but it may be chosen for the rhyme
with apadesa. (cd) apadesGi . .. dahyante: they burn because of pretended
rainbow flame, i.e., by what is called rainbow flame but is really submarine
fire. 233. (d) svairi1Jyiih: i.e., abhisiirikiiyiilJ" cf. lntr. 10, par. 5. 234. (b)
sankii.YprsalJ,: attaining a point at which one suspects them to be. 235. (b) I
suspect the line is corrupt. The sound of rain would be high pitched (uttiila);
yet one cannot divideghanan uttiila. (c) tadibhivo: emend to tad itivo. 236.
A j01i or svabhavokti verse; see Intr. 35. Ca) jhiitkiiri1Jo: cf. 1578b. 237.
(a) va1f/Jiniim: from va~in; the meaning 'bamboo grove' is unrecorded,
but natural enough from the etymology. The parallels of similar verses require
that the image be of the flora which grows at the spot where lovers have their

487
Vs. 242-263] Notes
trysts; cf. 808, 815cd, 1588; bamboo pipes (from va1?lsi ) will not do. (b)
griima: simply makes sarit plUl"al. (d) tala: emend to tata·
242. (a) There should be no break in the type. 243. (d) krUjiila,sii~t: lit.,
'slow in sport,' but implying attentiveness; cf. Bh. 188 dayitii viliisiilasii,
which Ramacandra (2.83) glosses as ka~abhujak§epii.divividhaV'£bhramii­
ca·ra1Jatatparii. 244. Punning verse: " Siva [or, the peacock] sings, Gauri,
eyes flashing like lightning, [or, the white lightning with shaking stars]
dances. Then thick-set Mahakala [or, this great black cloud] beats the
drum." For l\1ahakala see Intr. 5, par. 12. 246. An example of apahnuti,
see Intr. 24, par. 5. '" In this time of downpours one can't stand up without
falling [or, I can't exist because of the absence of my husband].' ' You are
pining with love, unsteady one.' ' No, no, dear friend; the road is slippery .' ''
Add to information in var. lect. Sp. 525. T misinterprets the verse. 247.
For the shape of the ketaki ( = ketaka) flower cf. 4 4, note. " The ketaki is
traditionally said to attract snakes" (Kosambi). 248. (c) ta.1"1JLika: ' the
young of an animal.' 249. (d) kiilakiipiilika: a sorcerer of death or a sorcerer
in the guise of the (rainy) season. The kiipiilikas went naked, smearing their
bodies with ashes and wearing or carrying a skull (kapiila). Siva as kiipiilika
wears a skull in his hair. The khatvii:nga was the staff carried b y a kiipiili ka
(cf. Miil. 5.4); it had ribbons and bells attached to it and was sometimes
sUl"IDounted by a skull (so in 1619).
250. The figure is citm as in 194. (b) I suspect that the line is corrupt.
(c) The ciitaka bird will drink only raindrops straight from a cloud, cf. Intr. 88,
par. 15. Add to var. lect. N srotasi. 251. (a) Since the spring equinox the
sun has been fattening day at the expense of night; cf. 167, 181, 184, 193.
253. Cc) spr~tiilJ,: ' in contact with' in the weak sense of 'possessing.' piit'um
payodiinilam: snakes were supposed to live on wind: BIS. 6908 and verses
1140, 1144, 1269, 1411 below; cf. also such terms for snake as p ava:niiSin ; cf.
also 136b, note. (d) The tips of bamboo shoots are black; cf. 287. 254. Cd)
sthaputita: the word sthaputa, it seems to me, means hollow, depression, not
as the commentators on Jltliil. 5.16 would have it ' raised and depressed'; cf.
1530d, note. 256. (b) pary anyadharmikalJ,: the sense is banal; read par-
janyadharmikalJ with T; both forms would have had the same pronunciation
to Yogesvara. 258. (b) garbhako$a: the dictionaries know only the meaning
'uterus'; here clearly the fruit cluster of the red banana.
260. All three flowers blossom in the rains. (a) nipai lJ, = kadam.ba·il,l..
Cb) mihiiv: the reference is probably to fallen pollen. But there is a v ariety
of banana flower that is streaked or striped; see note of Shankar Pandurang
Pandit in his edition of Vik., p. 110. 261. (c) svairi1),i=abhisiirik.a; cf. Intr.
10, par. 5, and Intr. 24, par 3. Cd) pratyudiiste: emend to pratyupaste, 'serves,
attends.' krtiirlhalJ: in the full sense ' one who has attained his goal,' in the
weak sense' lucky, fortunate.' Both senses are here appropriate. 263. (c)
dhliriikadamba: quoted b y P. W. from lexx. as a kind of kadmnba, but the

488
 Notes [Vs. 264-271
specification dluirii- would fit any kada.mba in the rnonsoon season. 264. (a)
kiimam: the cranes 'may well' brave the buffaloes; the doves are more timid.
265. (b) I do not understand the mata in dvigur.w-mata. (c) diityuha: see 221,
note. (d) This line makes no sense to me. 266. Punning verse, forming the
poetic figure sarniisokti. Autumn is conceived as a woman pleasing her lover,
the moon, at the expense of rendering jealous his rival or her husband, the sun.
"Wearing on her white cloud [or, breast] a rainbow looking like the moist
wound of a fingernail, autumn gives pleasure to [or, makes beautiful] the moon
with its flaw [or, sin, viz. of adultery] and makes the sun more hot [or, mis-
erable]." [p Al.''1:!'H?] The verse is a favorite one with critics and is in simpler
meter than the following eight verses, none of which is quoted elsewhere.
Accordingly, if vss. 267-274 are by Manovinoda it does not follow that this
one is also. 267. Punning verse: "This autumn cries aloud her grief: 'Al-
though I bear the moon upon my face [or, have a moon-like face], have a
wealth of pure skies [or, fine clothes], and have a nether lip bright with [or,
bright as] bandhuka flowers, still, shame on me for my no longer having
broad clouds [or, for my fallen thighs and breasts.]'" MANOVINODA. (b)
bandhuka: also called bandhujiva, Pentapetes phoenica. It is a red tree-flower
that blooms in autumn. It blooms in the afternoon and falls the next
morning. From its color it serves as a simile for the rising sun (Kalpasii,tra
59), red jewels (cf. 287 below), but specially a girl's lip: 400, 409, 451; also
Svap. Vas. 4.0.113, KuH. 112. Worn in the part of a woman's hair it forms
a tilaka, Kum. Sam. 8.40. 269. (cd) mangalya'I'fL kalaSam: a golden jar (kum-
bha, ghafa" kalaSa) was part of the paraphernalia of many ceremonies. In the
royal consecration (28, 930) the jars were filled with water from the four
seas (Ram. 6.128.49 if.) or with water from the Ganges (Ram. 2.14.34) and
other holy rivers. A full jar was also used in the marriage ceremony, as
implied in the present verse and in 1576; in the inauguration of a city or a
new house (392), at good-luck ceremonies for those about to depart on a
journey (150d, 1449a), and on other occasions (1370). In this good-luck jar
(ma1igalyarp, kalaSam), which must always be full (empty jars were bad luck,
cf. Giinther, K.Z. 68 [1943], p. 130), a leaf or spray of leaves was often placed
(892) and this combination is likened in the present verse to the moon with its

1
dark spot. For further information see Th. Zachariae, Zeitschrifl des Vereins
fur Volkskunde, 15.77. (d) tarpatz,a: an offering of water to the ancestors,
here presumably referring to the water with which a festival marriage jar is
filled, which is poetically fancied to color the jar. V. Raghavan suggests to I
me in a letter, however; that the tarpatz,a might be ribbons tied to the jar or
some substance smeared on it.
270. (c) The third person plural seems to be used for the third person
singular. I had overlooked this until Mr. Richard Gombrich brought it to
my attention; but I see no other way of interpreting the verse. 271. Con-
struction: -taraval}, -rahhaso, -diSal}. are all n:om. pI. bvs. · modifying niSantiitJ,;

489
Vs. 272-284] Notes
prasflnair (flowers) is attached to niMntiilJ, as instr. of characteristic. (a)
sephiili: the identification given by P. W., and thence lifted by M. UT., is in-
correct. The flower is Nyetanthes arbor tristis, Linn.; see the description and
enlightening examples given by Emeneau, "The Sinduvara Tree," pp. 342 if.
The flower is a species of jasmine, white with a striking orange or red-colored
corolla-tube. It is the corolla, not the stem, that is meant by nala, as in
BaI).a's sephalikiikusumaniilapiiijara ... eaiieapuf,ena (quoted by Emeneau,
p. 344); cf. unniila in 335a below. The sephali blooms only at night; at
night's end it begins to droop; hence hrdayanibiq,iiSl4 tavasudhail},. 272. (a)
rajaJ;,piitajiiiiniim: 'who know where pollen has fallen.' (b) The charm of the
bee-priests is built on the magic syllable hum. (cd) Lit. 'with pride-stealing
victory over youths assured, the thick uproar, higher-pitched from their
intoxication on honey, of the bee-priests, swells forth.' 273. The verse,
which one may compare with 1150, might better have been included in
Section 35. 274. Like the preceding a jiiti verse. Several of the
epithets are repeated literally in 1183, which describes the mating
dance of the sparrow. (b) Best take as two bv. cpds.: madakalarutas
and stokaviieiilaeaiicul},. 275. (c) Lit. , 'with its environs covered with
calling geese.' (d) tiriintii, cf. kacchantii~~ in 283b; the suffLx is meaningless,
as in vaniintal~ for vanam. kuraba: this is the only passage \\ here I
have seen the amaranth mentioned as an autumn flower. Elsewhere
its blossoms are said to come in spring (~tu. 6.18; Vik. 2.7; Ragh. 9.29; and
above 177). The bees must be inferred from the compound. They could
easily have been mentioned expressly by substituting madhukara for mada·
kala. 276. Compare 317. 277. (b) pra!eyadhiima=himalaya (Kosambi).
ambara: 'sky' or 'clothing.' 278. (d) The image is suggested by the layers of
strato-cumulous clouds in autumn, which appear like the white sandbanks
of the autumnally retreating rivers, the blue sky between the clouds being
the river's lessened streams. 279. (a) iipina: 'udder,' the word and perhaps
the image in which it serves are borrowed from Kalidiisa, Ragh. 2.18.
280. (c) The line forms a single bv. and so should be printed solid. 281. (a)
sakyiivatiiriil},: read sankyiivatiiriil}, with S,P. 282. (a) It is impossible . to
garner all the cane sap; the bagasse continues to drip as it is hauled away by
waggon. dhira, n: 'saffron,' here 'saffron-colored.' (d) aecha: here in its
modern vernacular meaning of 'good,' perhaps for the first time. 283. (b)
kacchantiil~: cf. 275d. kiiia: Sacchariurn spontaneu1n; its seed is borne aloft
by a fluffy white tuft like that of our milkweed. (c) The river is the pupil of
the eye, the new-risen sandbank the white, and the lines of wagtails the black
collyrium ointment. (d) ka1]1,siiri =kr$~= black or dark blue; the two
colors are often not distinguished. 284. (b) kaSaya: probably 'astringent,'
but possibly' red.' The eating of the waterlily buds may be fancied to alter
the birds' throats from astringent to sweet. The passage is paralleled by
Mal. 7.1.80, where the second meaning, however, is given to kaiiiya.: kavalia-

490
 Notes [Vs. 285-299
aravinda - kesara - kasiia - h:a1Jfha - kalaha:rru;a - ghosa - ghagghara - kkhalia-
gambhira-bhiiradi: 'a deep voice, limpid and trembling as the voice of the
kalaha:171,Sas whose throats are red from the tips of red waterlilies they have
swallowed'; cf. also K um. Sam. 8.32. On both our verse (Dhv. ad 4.7) and
the Bhavabhuti passage the commentators take kaSiiya to mean 'sweet,' but
I ha, e seen no example where the word clearly has that meaning and the
meaning is inappropriate in both passages. (c) akathora: the tusks of young
elephants are both softer and whiter than those of the bulls. 285. (a) kalama,
m.: winter rice, which is harvested in January. (b) mai'ica: Hindi, maciin,
"a platform with high supports, from which one shouts or slings stones to
drive off wild animals; this is done even now" (Kosambi). 287. The verse is
reminiscent of Kir. 4.7-9 where the girl who guards the rice (kalamasya
gopika) likewise wears bandhujiva as a tilaka, lotuses on her breast and a
waterlily at her ear. (b) Lit., ' by reason of fresh waterlilies, earring service
is not absent from the purlieus of her ear.' (c) bandhufiva: cf. 267b. note.
288. (a) Cf. 289a. durapiiya: read puriipaya with S. The lower branches of
the trees have been submerged in the recent flood.
290. (a) As the line stands one must translate 'possessing hollows from
which water flows by the destruction of snakes.' This makes little sense;
furthermore, vigal seldom means 'to flow'; usually it means 'to give out, be
used up, cease.' So I suggest emending jala to jvala. The flame that came
from the tree-hollows in the time of forest fire before the flood and that is
fancifully supposed to come from the venomous mouths of snakes, has
ceased, for the hollows have been inundated and the snakes drowned. (c)
duribhavanti: n. pI. of pres. ptc. 291. (b) a.Yu: quick-growing rice, that
reaches maturity at the end of the rains. (c) Autumn is the season of funeral
ceremonies, at which brahmins are feasted. 292. (c) Cf. 291c, note. 293. (a)
yiitriilagnam: lit., 'the auspicious moment for departure on a journey or
pilgrimage.' 294. The areca palm (puga) ripens in December, but the fruit
is usually picked before ripe. The egg-sized fruit contains within its thick
rind the betel nut. (b) patola: Trichosanthes dioicida, a sort of red cucumber
said to be good for the bile; it is still called patol in Bengali (Hindi: parwal).
295. (d) For virasa, 'worthless,' cf. 484c, note. 296. (b) The hidden sparks
are the buds that will soon appear; cf. 152a. 298. The identity of the
damanaka, mentioned here and in 307, is puzzling. It cannot be, as P. W.
would have it, Artemisia indica, a small plant related to our wormwood and
sagebrush. It is, rather, a tree growing in the north (cf. 307) and white of
bark. One might guess that the term was applied to the birch (bhurja),
but of birches that I know only the cherry birch (betula lenta), which is not
white-barked, has leaves that can be called katumadhurii1Ji. (b) Presumably
the leaves turned yellow or brown in winter like the saffron or musk that was
used for patralekha (cf. 389a, note). 299. As the grain ripens, the peasant
moves from his house to the field-hut to prevent theft of the crop.

491
Vs. 301- 310] Notes
301. (a) pratafika makes-no more sen~e than the patafika of the ms. Various
emendations occur to me, of which that which does least violence to the text,
while making good sense, is ksatiiilka. The literal, then, would be 'placed on
her inner thighs which are marked with scars from the fire.' 302. The women
of. the poor in some parts of India wear no bodice or -breast cloth (kancuka,
staniirpJuka), being clad above the waist only in a draped cloth. This simple
costume was certainly commoner in ancient times. In this costume any
wide movement of a woman's arms, outward or upward, reveals the side of
her breast. References to this are frequent in verse. The gesture, as one
might suppose, was sometimes natural, as here and in 1152, 1182, and some-
times due to coquetry, e.g., in 509 and S. 2.17.4. (b) 8evyatiim: acc. noun
object of niyamiina~. 303. (b) "When the cut sheaves are piled high enough,
the oxen tread out the grain on an easily built threshing circle. This is
simpler than taking the whole stack to a single fixed threshing floor u (Kos-
ambi). 304. (d) badarii!,.'i: when the jujube becomes fully ripe it loses its
taste. 305. Karl)a in the Mahiihhiirata, the very type of generosity. 306.
(c) The Kundacaturthika was a love festival, celebrated in Bengal on Migha
Sukla Caturthi, i.e. in January, but in Western India three month later,
in Vaisakha. See references in V. Raghavan, Blwja'8 Srrigiira PrakiUa,
Madras, 1968, pp. 652~53. (d) ul:ulukii: a woman's cry. The '1' is
rapidly repeated, producing somewhat the effect of warbling. The
sound is still to be heard in Bengal, as a provocation to love or as an
auspicious cry at weddings. kiUiinangam: bv., agreeing with ma~~
lit., 'heart(s) in which love is called forth.' 307. This and the two following
verses are doubtless from a single work. They are in mandiikriintii, the
meter of KaIidasa's MeghadiUa, which has been generally used for messenger
poems ever since KaIidiisa's time, e.g., in Dhoyika's Pavanadma, Visudeva's
Bkrngalaqulesa and in the PadiiiUuu1ilta and Uddhavasa1fUk8a printed in
Jivinanda's Kiivyasarpgraha. (a) damanaka: see 298, note. (b) The poet
could not have written this without actually having camped out in a snow·
storm. The flakes all seem to come from a single focus above the light of -t he
fire; (d) P. W. stars the word himiini, 'a heavy fall of snow' as unexampled.
It occurs also in Kir. 4.12, 4.88. 308. (b) Lit., 'his limbs wrapped in rags
consisting of a network of snow, etc.' makikii normally means 'mist,' but ·
the meaning' snow' is _also given by P. W. and only this will fit with the word
jiila, 'network.' The subject-matter, then, is similar to that of the preceding
verse. 309. (c) 8acakita must be joined in a cp. to the following word, the
cp. to be analyzed as 8acakita-aviirapiiri",a-dr,ter, 'of the traveler whose
frightened sight travels to the farther shore' (Kosambi disagrees, but cf.
Piif].. 5.2.11). (d) For dUTotWnii read dUTOtthanii.
310. (b) The usual fancy concerning the moonstone is that it weeps at the
touch of the moon's rays; so 647, 915, 918, 1278. Here the connotation is
different and hints at a commerce of-lovers in which the partners sweat; cf.

492
 Notes [Vs. 311-319
Intr. 19, par. 6. (c) Emend piitrikrUifTl, to piitrilqtiiJJ,. Kosambi and Gokhale,
taking the printed version as gen. pI. of piitrikrf" object to this emendation,
but their interpretation leaves no construction for kamibhilJ.. With the '
emended line compare 517d. I understand the whole verse in its literal sense
as follows: "'The moonlight's beauty (indumahaaiifTl, Sriyal,t) fades, lacking
warm charm (liivafJ-yaiUnyiil}), [because] the laughter which it possessed in the
form of white waterlilies is banished afar, [and because] it has left those love-
sports which produced water in its darling moonstones which are now bathed
in frost, [and because] by lovers it is no longer made to be a recipient of their
glances even in the intervals of intercourse." For the distinction of 8au-
bhiigya, liivafJya and hi, see Ingalls, "Words for Beauty," pp. 97-99 and 102.
311. (ab) The dhvani is of a woman bereft, whose friends stand fanning her as
she weeps. (d) The mist rises from the ponds on winter nights. 312. (a)
navapiiga: the betel nut is gathered in winter; cf. 294, note. 313. (a) Lit.,
'the monkeys tremble much.' 314. (a) arghami: 'are precious,' as in 806.
(b) agriinna: food or grain from the first harvest. (cd) These lines as well as
the descriptions in 1178 and 1182 doubtless refer to husking rice by a machine
similer to what is now called in Bengal a t/henki. In different regions of India
rice is husked in different ways, being trodden out by cattle (808), pounded in
a mortar by hand, or pounded by a machine. The last method is -charac-
teristic of Bengal. The machine consists of a balanced beam to one end of
which the pounding stone is -attached. The operator by depressing the
opposite end of the beam, either pulling it down by hand (as here) or treading
it down by foot, raises the pounding stone which is then let fall (cf. udgi~
in d) on the rice. With maaroodgi~ compare fnll81'tWllaaan in 1178a; the
sense is that the beam works smoothly. 315. (b) 8ar~apiin: see 816 and 1184,
note. (d) pur;tyiignir: the public fire kept burning in a village square for the
use of travelerS and the poor. So also in 1805. See Peterson's note to
Sbh.1857. The merit (pu~ya) would attach to the philanthropist by whom
the fire was kept up. 316. (a) Cf. 815 and 1184, note. -(d) pUiTJ4rek,u: the
famous red sugar cane of east Bihar and west Bengal; so also in verse 1219.
317. Compare 276; the similarity of content doubtless explains S's ascription
of the verse to Bhisa.. (c) A dung fire gives oft' much smoke but little flame; cf.
802. 318. Preparation of mustard oil: .. mustard seed being first pounded
cold and the rest extracted by heat" (Kosambi). The fire apparently is kept
up through the night, but does not give off enough heat for the workers to
dispense with their straw bedding (paliila cf. 805, etc.). [Kosambi takes
palala to refer to the mustard chaff itself, but I doubt that this is possible.]
319. I am puzzled by the fact that the kr~ or gunja berry (.Abru8 pre-
catorim) is elsewhere -said to ripen and fall in summer, not winter (see Smk.
60.11 and 60.24). It is a beautiful red berry marked with a black spot;
hence the appropriateness of line b. (d) 8aJwcari: the vines are pictured as
wives of the trees to which they cling.

493
Vs. 320-337] Notes
320. (b) phalinyo: it is not clear to me what flower is meant, the priyailgu
vine (Aglaia oderata), Carthamu.s tinctorius, or Crocus sativus. I have chosen
the last as most appropriate to late winter, though the strong scent would
better describe the p riyangu. 321. A catalogue verse, like 208, the words
here being chosen largely for their alliteration. I cannot identify with
certainty all the plants. yaman'i: P. W . 'Ptychotis ajowan'; Kosambi, 'low-
grade b arley.' sata~pika: P. W. ' Anethum sowa'; in Hindi so(w)a means
fennel. viistukavii~tavaly.: both vastuka and viistu (starred) are given by P. W.
as 'Chenopodium,' i.e., orach. Ku.stumhini doubtless is the same as kustum-
baN, 'coriander.' 322. (c) sthaputanijavi~ kambhavi$ama1f1.: ' uneven in its
breadth of wrinkles,' a far-fetched expression. \ amana quotes the, erse as
an example of ojas, turgidness of style. For sthaputa cf. 1530, note. 323.
(b) The reference is to Siva in his androgynous form, as Ardhanarisvara, cf.
lntr. 4, par. 8; lntr. 14, par. 5. 324. (a) The chain of sidelong glances is
likened to a series of black bees (pupils) on white waterlilies (the white of
the eye); cf. the metaphor in 465c. In the next line the same referendum
underlies the metaphor of the spotted antelope, the black spots representing
the pupils against the white background. (c) vi$a"lJi§amiil}: cf. 496 vi§ama-
vi$am. (d) payiisur: precative of pa. 325. (c) Lit., ' possessing an at-will
skill for great and varied wonders.' 326. (a) karatw-mii:nmano: the word
seems to be corrupt; at least, I can make no sense of it. viimiiilganityiinganalJ,:
cf. 323b. 328. Cf. 81. 329. (a) TaU: the wife of Kama.
331. The five beginning with sound are: sound, touch, form, taste and
scent. 334. (b) 'vyaktas: read without avagraha, vyaktas. (d) paii.camalayal~,
the reading of N only, can scarcely be right, for pa?icama is the name of a note
or key and laya means tempo. Read paiicamakala~ with T, K (paficama-
m valy. of P, Sp., Smk., gives equally good sense). The paiicama is the note
of the cuckoo (cf. 153a, 166b, 168c, and lntr. 8, par. 2) and serves to usher in
the springtime, just as the symptoms noticed in ab serve to usher in the girl's
adolescence. kala: a low, sweet sound. 335. (a) unllaliilakabhaiijaniini: lit.,
'the breaking off of hairs that stick up' ; unnala, unrecorded, ' with the
blades or strands sticking up, ' is surely the correct reading, for which Yid.
and Biil. have substituted the better known word uttiila; cf. u.nniila in 271b.
(d) The second half of the line recurs in 346d, 348d. pratikalam: not in
P. W., ' at every moment ' ; so also in 347a, 520a. 336. The verse occurs
cl.),mulatively in Vid., the heroine writing one more line each act and the
manuscripts of her missives bringing successive transports to the hero.
(c) bhiiva: expression, the physical manifestation of an underlying state.
(d) In the printed edition this line is garbled, whence Arte's note and Grey's
translation make no sense. T's note makes sense but is wrong. For prati-
janam read prati janam. 337. The same simile is employed in 340, 399.
References to the painting of the breasts with saffron are frequent: 840d,
472d, 497a, 547a, 628a, 736a, 939b. (c) upiinta is regularly used to refer to

494
 Notes [Vs. 338-353
the side or slope of the breast; cf. 604, 612, 618, 682. 338. Cf. 48. 339. (ab)
Lit., 'whose eagerness for [or curiosity about] love comes close upon acquaint-
ance with the line marking the frontier of adolescence.' The poet seems to
have in mind a geometrical image (rekhaparicumbat: 'tangential to a line'),
but allows the word paricaya to inten ene.
340. The trope is apahnuti, the object of description being denied and a
metaphor put in its place, as "This is not her face; it is the full moon." See
Sd. 10.88. (ab) anta~Ja1!lh:riintasima: 'its boundary [which separates it from
its pair] moving inward,' that is to say, the groove between the breasts
becoming narrower. 341. (a) Lit., ' her buttocks seek an argument with
[i.e., seek to rival] . . . a vedf.' The vedi was narrow at the center and broad
at the sides, hence is used as a stock metaphor for a woman's waist much as
we use the term ' hourglass waist.' In the present passage, however, the poet
has in mind the image of an hourglass shifted from the vertical to the horizon-
tal. (b) madhu: the same as madhuka, Bassia latifolia, Hindi mahuwa. A
girl's cheek is likened to a mahuwa flower again in 842, 451. The likeness
arises not only from the pale color and velvety texture of the flower but from
its intoxicating properties; see ,\V. Koppers, Die Bhil in Zentralindien,
p. 305. (c) l.ava~'/,ya: that particular sort of beauty which gives women their
fascination; it is often referred to as a liquid, a paste, a wash, see Ingalls,
" Words for Beauty," pp. 99-100. By speaking of a 'thick lava1Jya of
saffron' the poet seeks to suggest a smooth golden complexion. 342. (b)
madhilka: see 341 b. sarrtmugdha: 'confused, uncertain,' as in the state
between sleep and waking; cf. 859d.346. (a) siiridyiUa: ' pachisi games.'
Pachisi was played between lovers, often for love-forfeits; cf. 605; for the
method of play ing the game cf. 1400, note. (d) The second half of the line
equals 335d, 348d. 347. (a) pratikalam: cf. 335d, note. (d) netraikapeyam:
her body is 'the sole drink for one's eyes.' This use of eka within a compound
to strengthen an expression deserves notice. Often it must be translated
quite freely. Thus, 456 (= Vik. 1.10) frngiiraikarasalJ: 'the very essence of
love'; 380d smaraikasuhrdii and 506a madanaikahandhur: 'Love's very best
friend'; 827d vif,aikakalpalatikii: 'the very wishing-tree of gallants'; so also in
691c, l022d, l085d, 1109a. 348. Cb) asutrita: 'effected by.' (d) Cf. 335d.
349. (b) Translated as printed in text. KHA. reads smitasudhasiktokti~u,
which makes a somewhat easier compound. (c) vyatikara: cf. 560a, 576a,
854d.
350. The young girl is speaking to her friend of the first signs of love. A
trembling of the eye, besides being a natural e:~q>ression of amorousness, was
considered a love-omen; cf. Mal. 1.11. (c) tasmin . .. Srutipra1Jayini: 'this
(dhvani) being at my ear today'; cf. 177b, note. 351. (b) garbhiilasam ura~:
just as the motions of a pregnant woman grow more languid. 352. sajjac:
read majjac with K. (c) vakrima: n. nom. sg. modifying cak~r. 353. (ab)
Emend lihan to likhan. The literal sense seems to be "It having long been

495
Vs. 354-369] Notes
attempted by the women to ornament with their own ornaments him who is
regarded by them as 'still only a child,' he buries (more lit., engraves) his wish
in his heart and expresses disinclination." 354. The last line contains a pun
in vibhrame, which can mean' flashing beauty,' or it can mean' confusion,'
here the confusion between childhood and maturity. 355. (c) ad- itiyatvarn:
cf. nava~ netriidvaitarn in 520d. 356. Almost the same idea occurs in 363 .
There are two monuments to commemorate the two who have departed.
(b) ciipalena: 'romping, childish liveliness.' For the triple fold of the waist
see 352, etc. 357. 1 prefer the reading of Am'. val:yatya in c for vaijiitya. A
literal translation of the verse will then be: "Bearing breasts created by
youth's gathering the hardness from every limb that now blossoms forth with
a charming softness, and waking to love that is 'mast~1Q (deliciousl) slippery)
with alternate propriety and boldness; to what rasas (fla, ors, charms) are
young women not superior?" One may grant that the reading vaijiitya
furnishes sense, viz., 'sweet with momentary contradictions of propriety,'
but the particular charm of adolescence was thought to lie not in its occasional
lapse of propriety but in its peculiar ambiguity from possessing both the shy
propriety of the child and the bolder flirting of the woman, cf. 346, 347.
Furthermore, vaiyiitya ( = diir$tya), a learned Pat:linian deri vath e, is just the
sort of word that would have appealed to Murari. 358. (a) tribhiigavaHtii.
dr$tir: 'a glance turned a third part aside,' i.e., not looking directly at you;
the same idea as in 348c, 351a, 352c, 360b. 359. (d) sa1?2'7nugdha: cf. 342b,
note.
361. (b) mugdhiih: 'white.' The meaning is not recorded in the dic-
tionaries, but cf. 527a, 7l4d, 955a, and Ingalls, "~ards for Beauty," p. 96.
(c) mugdha: 'ingenuous, charming.' (d) na.q.aha: 'attractive, charming,' as
latJaha in 342d. The word is a prakritism. For the saffron complexion of
the body cf. 341c. 362. Punning verse. The coming of adolescence is
described in terms of the ArthasiLYtm. "Her wandering eye [or. 'her eye, a
spy'], having discovered all the endearing movements of King Love, hastened
to report them thus to her ear: 'Childhood has departed [or, ' has set out on
a campaign ']; everywhere the body is filling out [or, ' e, erywhere there is
preparation for war ']; although there is a quavering of voice, the breasts
have come together [or, 'have made a treaty'].'" The eye running to the
ear indicates, of course, long eyes and sidelong glances. 363. (a) utkhelat:
unrecorded, 'shimmering.' (c) The first yad goes with drsyate in d, the
second yad stands for etasyii~. (d) Cf. 356. 365. Similar poetic fancies
(utprek$ii) occur in 413, 475, 784. 366. (b) al1te patnsya: 'on the edge of the
counterpane,' or perhaps 'behind the curtain.' (d) priyiim: his young bride.
369. The verse is to be explained by the custom of visiting lovers; see remarks
on abhisarikii Intr. 24, par. 3. The pragalbhii~, lit., 'bold ones,' are older
women who practise this custom. Their tales of love (smarakathii) naturally
would concern their nights' adventures. The young girl's gestures in repeat-

496
 Notes [Vs. 370-387
ing the stories would indicate the fear of moon and watchman, holding of
bracelets a nd binding of anklets to insure silence, etc. She longs to be in-
volved in such excitement herself but does not yet quite dare. The end of the
verse is charming, for the ingenue, wishing that she could catch lovers as do
the faster set, does not realize that she is twice as desirable to men for being
still as she is.
370. (c) prar,my'inii: ' like'; cf. 177b, note. 371. Punning verse: "Here
Youth the hierophant lays out the bali (sacrifice, or vali, 'waist furrows ') and
draws the sorcerer's circle of her breasts on my beloved that King Love may
win his magic powers." 372. (b) -sa'Yfl,dhi would be better separated in print
from viramad-. 373. (c) viisogupti: lit., a cloth prison, presumably a corset
for confining the waist. 376. The poet has seen the young lady (iyam)
before as a child, and is struck by the difference. 377. Only the sweet-flowered
vine is visited by bees. For the secondary meaning: bud (koraka, like
ku4mala in 342, mukula in 352, wlbheda in 364,380) is used of a young breast;
bee (silimu.kha) of the nipple (cf. 434). (a) haratitariim: cf. Pii1J. 5.4.11.
378. This punning' erse is difficult. The following translation is certain for
cd and contains what seems t he best of several possibilities for oh. " Formerly
her two breasts were as one might say calm and unmoved (dhrtam), but then
as though certain persons had instigated them to quarrel (paSciit prar,tunnam
iva, also: 'as though they had been pushed out from behind '), they bristled
up as one might say (ullasatpu.lakam) until their difference (antaram, . also
'the groove between the breasts') was ended through confidence (ucchviisa,
also 'sighs, heaving of the breast '). As the days go by they have exceeded
the measure of her dear friend's hand and they enjoy a lushness equal to one's
fondest wish."
380. (d) smaraikasuhrdii: lit., by Youth, ' best friend of Love'; see 347d,
note. 381. The three rare adverbs are drawn from Piitt. 5.3.22. (c) kalarnala
is a prakritism; cf. Hindi kalamala, 'restless, trembling.~ 383. (a) payo: The
word rings false to me, for it is difficult in the context to overlook the normal
meaning 'milk,' which is both biologically and aesthetically impossible in
this verse. 384. A humorous ma'ligalacarar,ta. This feigned indifference to
the object which is really desired was termed b·ibboka and Sd. ad 3.100 quotes
this verse under the definition of that term. There would seem to be some
connection between the term and the name of the author, Vibhoka, to whom
S ascribes the verse. 385. From the author's ViddhaSiilabhaiijikii, being the
king's description of l\1fgailkavali walking in the moonlight. 387. The
metaphors refer respectively to a woman's body, face, eyes, forehead, and
hair. Normally the lotus would not bloom constantly but only by day and
normally darkness would be dispelled by the moon. DaJ;lQin (KA. 2.24)
calls such a trope· adhhutopama: 'simile employing the marvelous,' and this
may have been what the author of 387 and 388 would·have called it (cf. 388d,
adhhutam). Later works on poetics, however (e.g., Mammata 10.100,

497
Vs. 888-406] Notes
especially example 449 and Sd. ad 10.47). call it atUayokti. 'hyperbole,' more
properly, for there is really no simile here at all. 388. The gradual develop-
ment ofa woman's breasts. For the trope see 887, note. 389. (a) Ornamental
painting with musk or agallochum (196, 614, 660, 681) was applied to the
cheeks (196, 407b, 474a. 590a, 625b, 664, 681, 721,722,781,896,1174) and tothe
breasts (614, 633d, 634c, 660, 785, 939c); cf. also 337, note. The painting was
often applied over a base of saffron (939b) or turmeric (183). The purpose was
to perfume the body and to create a pleasing figure or design (patrahha?iga,
patrankura, pat1'ali, patravali, patravalli or -i; note that our mss. regularly
write patra for pattra), especially that of the crocodile, the mount of Kiima
(patrabhangamakari 104a, patra'likuramakara 1582b, patrii:1iJcuram.akarika
633d, patramakari 72Ib). (c) The clause ends with tad.
390. A girl's face and eyes. The trope is called sarrJayopamii: 'simile of
doubt' (KA. 2.26), sasaTf/-deha (KA. 2.358, Bhamaha 3.43) or sa'1]1deha (Sd.
10.35-36). 391. The figure of speech is bhriintimiim: 'error, deception.' So
also 409. 392. The metaphors derive from the ritual of entering a new house.
For festival jars cf. 269cd, note. 393. Punning verse: "Hari bound one bali
[the demon Bali] and thereby stepped to supremacy. But the bending of
her waist is due to the binding [or, making] of three bal-is [wrinkles J." 394.
For the romiivali cf. Intr. 15, par. 3. 395. Introductory verse to the author's
love-comedy, the ViddhaSiilabhanjikii.. The figure of speech is vyiighiita of
which the requirement is that a thing done by one person by a certain means
be undone by another by the same means. 396. The moon's blemish in
Indian terms is its deer or rabbit, in European terms the man in the moon.
The trope here is vyatireka, that is, contrast working to the disadvantage of
the object which furnishes the metaphor. If the contrast goes to the extent
of showing the utter uselessness of the metaphor-object (e.g., vs. 400) the
figure is called pratipa. 397. The creator Brahma sits on the lotus that springs
from Vi~lfU'S navel. Lotuses always close their petals at moonrise, while in
the present case there would be the more reason therefor from the lotus's
jealousy of the greater beauty of the lady'S countenance. See also 442.
398. From the girl's hair, also a mass of darkness, the curls fall over her fore-
head; and her face has the eyes of a deer in place of the moon's deer-blemish;
cf. 396. Trope: vyatireka. 399. Cf. 337 and 340.
400. Trope: pratipa; see 396, note. 401. Cf. 432. 405. A famous verse,
from the author's Miilatfmiidhava, being the hero's plea to the barbarian who
is about to offer up the heroine as a human sacrifice. 406. Among aristocratic
ways of employing leisure was that of teaching pet parrots and mynas to talk;
see Kam. Sut. 1.4.21. Here the parrots have been taught catu expressions,
that is, such as would be used by a clever gentleman-about-town. For other
verses on talking parrots see Intr. 20, par. 2. (a) lavalam: this form
(neuter ?), unrecorded in P. W., occurs again in 447, 668. What is meant is
the round, white fruit of the lavali (655 , 983) vme, AverrhoQ acida. Since

498
 Notes [Vs. 407-422
it looks somewhat like a plum and is relished by parrots, I have translated
as 'parrot-plum.' The fruit is likened elsewhere to a girl's cheek (539).
The vine is native to southern India; Bhavabhiiti says that it grows on
clove trees (MOl. 10.8) and our verse 1132a associates it with the clove
and other southern flora. (b) jiimhavam: the fruit of the jambu or rose-apple;
cf. 157a, note. 407. For painting the cheek with musk see 389, note. For
the wounds from fingernails see Intr. 19, par. 7. The rhetorical questions
are similar to those of 620. 408. A similar process is described in 999. For
poetical use of the notion that sensual pleasures are a reward for merit
(pu1,Lya) , especially merit gained by asceticism (tapa$) in past lives, see 416,
422, 439, 444, 488, 551, 562, 565, 742 . 409. Figure of speech as in 391.
(b) bandhilka: cf. 267, note.
410. Lotuses bloom only in daylight. 411. The cakora bird is supposed to
live only on moonbeams; cf. Intr. 29, par. 3. 412. 'By a needle point,' i.e.,
sewn. 413. The same idea as in 365cd. 415. Ca) bhava: read with P, tava.
(b) For romiivali cf. Intr. 15, par. 3. 416. (d) Cf. 408, note. 417. Punning
verse: "Yon woman's nature is like a treatise on grammar, a mixture of gu~a
C" excellence' or ' full grade of the root '), vrddhi (' plumpness' or 'lengthened
grade of the root '), va:N}n.lopa (' causing loss of caste' or 'dropping of con-
sonants'), dvandvanipiita (' causing destruction of friendships' or 'copulative
compound and irregular form') and upasarga (' calamities' or 'prefixes ');
and it is difficult to know the meaning of her words [or, entitled' The Meaning
of Difficult Words ']." It is a question how far to carry the puns. There
may have been a work called Vyakara1,Laprakriya and there may have been a
grammal'ian Durghata. 418. (b) kulavibhau=kulapatau, 'husband.' 419.
The king is describing to his companion a painting of the heroine, l\frgankavali.
(d) vaidarbhyam: as the line stands, one must translate, "he must practise
the Vaidarbhi style." While the verse itself is composed in Vaidarbhi style,
which avoids compounds and harsh combinations of consonants, the phrase is
otherwise pointless. I prefer the reading of Vid., vaidagdhyam. The point
then is that even Love could find nothing lovely enough to do her justice.
ced: here in the sense of api; see P. W., s.v. ced 2.
420. (a) ca~#,8a: Le., Siva., whose pride, manifested in his burning of Kama,
might be said to be humbled by his falling in love with an angry (ca~qi)
mistress. CaIJ.Qi=Parvati, cf. Intr. 5, par. 2. Previous to that event Love
had his capital in the moon, which is now deserted, so that deer may graze in
it without fear. Hence the deer-mark of the moon; cf. 396, note. (c) kiiSa:
this grass is white and is relished by deer; hence the metaphor. 421. The
verse contains a pun. The woman's face, like the moon, should draw the
tide, if the ocean (jala-rMi) were not insensate (jatf,a-riiSi). 422. The image
) of a woman embracing a musical instrument (lute, drum, etc.) or falling asleep
in this position after a night of revelry is a favorite one in Sanskrit poetry
and Indian painting. Regularly the instrument is likened to a lover, e.g.,

499
Vs. 423-442] Notes
Riim 5.10.39, 40, 41, 49; Buddh. Car. 5.50,56; once, though. to a child, Ram..
5.10.44. (b) kalayasi: cf. 92a, note. (d) Cf. 408, note. 423. (c) s-indura:
For sealing a treasure with minium (red lead) or lac cf. 613, note. The trope
is apahnuti, cf. 171cd, 340, note. 424. The first half of the verse gi\ es con-
ventional metaphors for thighs, breasts, eyes and face. As with the poet
Heine, the conventionality of the beginning serves to set off the originalit)
and true feeling of the end. 425. This verse belongs rather to praise of the
moon than to praise of women. 426. The metaphors refer respectively to a
woman, her eyes, face, breasts, thighs. and arms. 427. (a) am.rta, artir
nayanayo1J,: similarly 1~Uil. 1.25.1 and below: 430, 431, 564, 1032. 428. The
weight of her buttocks makes the young woman herself walk slowly, and this
is the gait suited to propriety and beauty (~~lanu 3.10 and Sd. ad 3.58).
Their loveliness makes others walk slowly, for those wilD see her slacken
their pace to look at her. This double meaning, which T misunderstands, is
made explicit in a verse of the Bhikfatanaklivya (5.10). The breasts by their
protuberance may be fancied to be carrying off the girl's own heart; but their
beauty carries off the hearts of others. The mark of erasure on the moon is
its deer or rabbit; cf. 396, note. 429. (c) ma1}q,alavator: 'circle-possessors,' or
'province-possessors. '
430. Ca) sT1igaradrumamanjari: cf. 788a. (b) madhul1wyi vartir: cf. 427a,
note. 431. (a) amrtavarti1J,: cf. 427a, note. 432. Cf. 401. (a) adharapatra71l:
cf. 267b. 433. Figure of speech as in 391. (b) dadhadviim,jidharo: 'her
beauty-bearing lip.' 434. Description of pregnancy. The darkening of the
nipples (iinilacUcuka) is frequently mentioned in this connection in Sanskrit
literature, e.g., Kadambari ed. Peterson, p. 66; KSS. 22.5,34.32; Vik. 5.8; Ragh.
3.8. On the last-mentioned passage Mallinatha remarks that Vagbhata the
physician lists this among the symptoms of pregnancy. The last line, which
speaks of treasure niibher ada?l, lit., under the navel, must refer to the unborn
child. It is possible that the anthologist misunderstood the verse in 'mal.
part., but such is certainly not the original intention of the \erse. For the
superstitition of particular plants' growing over a treasure T refers to HaT~a­
carita tr. by E. B. Cowell and F. W. Thomas, p. 220, lines 7-8. 436. Punning
verse: "The breasts of the slender lass will not show their faces. This is in
shame that they have given no room to her necklace which is a gU,!),i n (,on a
string' or 'a man of virtue ')." BHOJYA-DEVA . Breasts large enough to
crowd one another are a sign of beauty; mukha may mean nipple as well as
face, cf. 556d. 437. Punning verse: " It's all very well for) our breasts to
slay the world; they are avivekin (' ignorant' or ' possessing no interval ').
But your eyes are priiptai;rava"l),a (' learned in scripture ' or 'reaching to the
ear, long-eyed ') and they have not left off their murder." DHARMAKIRTI.
438. 'Is it admiration': not in original, but to be inferred; cf. 1, note. 439.
(b) tapa1J,: cf. 408, note.
441. Cf. Intr. 4, par. 12. 442. From the viewpoint of logic Murari's verse

500
 Notes [Vs. 443-459
is an improvement on Har!i'a's t397), for it is the moon which was marred, not
the fair lady, as \\ ould have been likely from the discomfort of the creator.
(c) parivrij,ha=pati. 443. (b) tU$iirabhiinos: 'of the cold-rayed one,' i.e., of
the moon. 445. Punning verse: "Her seed-cup [or, treasury] is rich; about
her stand leaves [or, blades, weapons] and water hard to cross [or, a fortress].
The sun's circle [or, circle of allies] shines upon her and she has driven her
thorns below [or, has banished rebels]. Thus she has prepared herself, with
bees attracted to her [or, with arrow drawn back ready to shoot]. Yet,
wonder of wonders, the lotus, set on victory, has been conquered by your
face." [VIJJAK.i.] (b) ka1Jtaka/:t: the lotus (padma, kamala) has thorns on its
stem; cf. Saundarya 68. 446. Madhava's praise of the heroine Malati in this
verse of Bhavabhuti is reminiscent of a famous verse of Kalidasa (456 below).
447. The king is walking with his companion toward a new crystal pavilion
which he has had built when he catches a glimpse of M!'giinkavali over the
surrounding hedge or wall. (b) galitahari1Jal;: for the moon's deer cf. 396,
note. (c) sudhii: nectar, that is, moonlight, the sole sustenance of cakoras.
(d) lavala: cf. 406a. 448. The answer to the rhetorical question will be, as in
456 and similar verses, that the creator is unequal to producing such perfec-
tion. In particular, the commentator NarayaI)a Dik!i'ita notes that in con-
trast to the moon, the heroine's face is animated by the constant and ever-
fresh charm of Sarasvatl; her thighs are opportunely cool, to wit, in summer,
and warm, to wit, in winter; her eyes are not variable, being as charming by
day as by night. Figure of speech: pratipa; cf. 396, note. Verses 518 and
684 are similar. The author's name as given by S is a sobriquet derived
from the verse.
451. (a) madhuka: cf. 341b, note. (b) bandhuka: cf. 267b, note. (c) Lit.,
'with desire aroused by the mistaken notion of a crowd of relatives.' 452.
The images refer respectively to the folds of a woman's waist, the line of
abdominal hair, lips, teeth, face, eyes, breasts. (d) ratha1iga=cakraviika,
often translated ruddy goose, is really a species of sheldrake, a chubby bird
to which the breasts are often likened. The male and female of the species
separate at night and join each other at sunrise. Since the indivara blooms
at night (pace Thomas), a pair of sheldrake should not be together while the
indivara is awake. 455. Ca) kaumudil;: here not 'moonlight,' but 'pertaining
to the month of Karttika.' 456. Purfuavas' rhapsody on the nymph Urvasi,
from the VikramorvaSiya; cf. 347, note. 457. Figure of speech: pratipa; cf.
396, note. (b) hiiritam: 'the contest has been lost'; the causative of hr is
used in the sense of losing a contest or wager. The word-division allowed by
NarayaI)a Dik!?ita is improbable: ha rita'l'{t kuvalayais, 'alas, the lotuses are
gone' (ri gatau tudiidil;). 458. To the information in var. lect. add Smv. 16.2
(ba). 459. That the moon should rise while the face of the poet's lady is
lowered shows that the moon is lighter. (d) liighavam: 'lightness' and
, worthlessness.'

17+s.c.p. 501

L
Vs. 460-471] Notes
460. For the iconography cf. Intr. 4, par. 6. 441. Punning verse: " Slender
one, these your breasts cut a heavy figure [or, wage war in earnest], like two
kings who have broken the peace [or, who lack any interval between the.m]
and invade each other's circles [or, provinces]." 462. Punning verse: "The
shoreland of a woman's breast gives specially rich harvest, since therC()ll
taxes are paid first [or, a hand is placed first] and then the plow of fingernails
is yoked." (a) stanatatfbhumi1J.: an accordion word; staootati: the slope of
the breast, a swelling breast, cf. kumhhatati in 426; talibhumi~: shoreland of a
river. (d) for fingernail wounds see Intr. 19, par. 7. It would necessarily be
rich land on which one paid taxes before yoking theplow. And here the land
is so fruitful that the plow need be only a fingernail. 463. Punning verse:
"The swelling curves [or, provinces and districts] of these breasts are most
glorious, on which even kings with trembling lay their hand [or, pay taxesl."
464. For the iconography see !ntr. 4, par. 8 end. (d) tapas: cf. 408, note.
465. (c) The sapphire stands metaphor for the pupil, the pearls for the white
of her eyes; cf. 324a, 468c, 506c, 517c, and especially 521a. 466. For nail
wounds in general see Intr. 19, par. 7 fi. Kam. SUt. 2.4.5 recommends
among other places their infliction on the armpit. 467. In var. leet. for
Skm. read Smk. Verses 482 and 508, although they describe the beginning
rather than the full blossoming of love, show several parallels to this verse.
(a) The glance described in the first line is what Bharata calls the sa'likitii.
(the apprehensive or timid) glance: kirp. cic cala sthira ki1[l. tit . .. saili.:itii.
drstir ~ate (BhNS. 8.68). (b) The glance has here become what Hharata
calls the lalitii or voluptuous glance: madhura kuiicitiintii ca salihrU~epa ca
sasmitii I samanmathavikiira ca dr~#1J. sa lalitii smrtii I (BhNS. 8.74). The
poets refer often to the amorous motion of the angle or corner of the eye,
sometimes as a contraction (so here, mukulitam, or kuii.citam), sometimes
simply as a motion or trembling (cf. caliipii:nga, Silk. 1.20=515 below; and
tara'liga1J.iL, 517 below). (c) The glance is now the soft (snigdhii) glance of
true love. Cf. BhNS. 8.57 (page 8): vyiikosamadhya ( = kim cit phuUa) madhura
sthitatiiroohilii#'{I.i sanandiiSrukrtii dr$tilJ. snigdheyam ra1ibhiivajii. See also
82c, 274c. 468. (a) vibhrama'Valadvaktram: lit. 'her face turning with a
quick, coquettish motion.' The motion in question, of course, is that of the
eyebrow, but vibhrama is not grammatically connected with bhru since the
latter would appear as bhril if compounded with what follows. (c) Cf. Vide
1.38: le locane taru'l)Qketakapatradirghe. The white ketaka petal represents
the white of the eye, the waterlily the pupil; cf. 465c. 469. Compare Kum.
Sam.8.2. (d) yiitii: the idiom rings false; readjiitii with all other quotations
of the verse, lit., 'my newly-wed beloved has become a joy to me.'
470. (d) T quite misinterprets. The literal is 'when her cheek ... becomes
the object of her darting eyes,' i.e., when she lowers her eyes in modesty,
seeming to direct them to the very dimples of her cheeks that have revealed
her pleasure. 471. The lady's fright makes_her eyes so beautiful, it were a pity

502

J
 Notes [Vs. 473-488
to miss seeing them so. (c) viratacarita: or -calita (T): 'motionless.' 473.
Cf. 415. (b) parikalayitum: the precise sense which the verb has here, 'to
judge, gauge, test' is not recorded. 474. For musk painting see 389a, note.
(c) Pun on biila and vala. (d) tiira: 'pearl' or 'star,' Syiima vadhur: 'dark-
skinned bride' or 'this bride, the night.' 475. Cf. 865,418,784. 476. Words
of the king as he looks at a portrait of Siigarikii. 'Their counterparts'
supplied. 477. Mr. A. N. Pandeys has pointed out to me that this verse is
quoted in the margin of Vibhiiticandra's ms. of Manorathanandin's com-
mentary on Dharmakirti's Pramii:r,lllViirtika; see p. 525 of the edition of that
work published by the Journal of the Bihar and Orissa Research Society.
478. manas is neuter in gender. 479. Punning verse: "This necklace rolls
about on the circle of women's breasts. If such is the condition of pearls [or,
of liberated souls], who are we bondsmen of Love (to refrain)?" DHARMAKiRTI
[also AMARU COLLECTION].
480. (c) I prefer to take as kiintiim ayam, as being simpler, although
kiintiimayam . .. mantram (so T) is also possible. 481. Cf. 467, 490, 508.
(a) The adjectives of this line refer each to a separate, successive glance:
'hesitant, turning, shy (or, beautiful), smooth, motionless, slow.' The
commentators take alasa to indicate hesitancy because of shyness of looking
at the young man and valita as a turning sideways of the eye toward the man
because desire has overcome the shyness. Note that valita must here be
taken as an adjective, parallel with the other adjectives of the line, not as a:
noun as it probably is in alasavalitailJ, in 508 below. Compare Ut. 1.24-
alasalalitamugdhiini ... angakiini, where Bhavabhiiti again construes the
word alasa as a parallel to and not a modifier of the word following. (b)
antar: 'with pupils dilating from the wonder in her heart.' Adhikavikasad is
probably best taken as modifying tiirailJ" 'shining more brightly,' although
some of the commentators take it with vismaya. 484. (b) atathabhiivavirasam:
lit., 'is worthless by being false.' Virasa often has this meaning in philo-
sophical argument; cf. also 295d. 485. (b) punar: to be taken separately,
'again,' 'moreover,' not in a compound with janmani. (d) jat/.ayati and
tiipaT[t karoti represent two effects of love in separation, the states known
technically as jiiif,ya and saT[tjvara. The words are chosen for contrast;
literally they mean 'makes cold' and 'makes hot,' but one should not push
the contrast as far as the commentator Jagaddhara, who interprets: 'numbs
with delight when the heroine is present and tortures when she is absent.'
In the context from which the verse is taken Madhava is describing only the
pain of having lost sight of Malati. 486. Compare from, Sappho's cpO{VETO(
llOl Kf)VOS: "When I look at you, Brochea .•. in a moment a fire has overrun
my flesh, ... the sweat runs down me and a trembling takes me altogether,
until I am paler than grass." (b) Lit., 'with an arched eyebrow that moves
at its end.' The gesture still forms part of the repertoire of Indian dancers,
and is referred to also in 498. 488. (d) Lit., 'a creation of a body for me, who

508
Vs. 490-511] Notes
possess great austerities, and [a body] for this fair-browed one. ' The austeri-
ties, performed in former births, are what give the author sufficient merit to
see the beautiful maiden. Cf. 408, note.
490. Cf. 467, 482, 508. 492. (a) The original is more clever: vidru.rnacchiiyo:
'possessing the color of coral,' or 'without shade of trees.' 493. Description
of a portrait painted on a wall. (d) The reading found in the printed texts is
manmukham i~ad, which seems in better taste than our rnanmukhacandram,
but I am not sure that it is to be preferred. Cf. 579d mama '11etrotpalayugam,
where again a variant reading (nija for mama) would disassociate the com-
plimentary metaphor from the first person. 494. What on a superficial iew
sets the lover below common folk in truth sets him above. (c) mayi gate:
'when I go [to her house].' 495. (d) f,asiti: onomatopoeic of snapping a
louse between one's nails. 496. (d) T.li$amavi$am: cf. 824c. 497. (d) k$ana-
labdhanidral}: I prefer what I have given to T 's 'sleeping only in moments,'
although that is possible. 498. (c) Although bhrUbhanga may impl) frowning,
it is often used, as here, to refer to an amorous gesture (the same gesture as in
486b) that has nothing to do with a frown.
501. T, not unjustly, compares Rorace's I nterrnissa, Venus. I have
accepted his emendation in d pramiidiit. padam, which is both idiomatic
and neat. One can barely make sense of the ms. reading: ' build not again
a tenement for your mad love upon that treacherous path.' 502. For
interchange of clothes cf. 589 and 847 . (cd) Lit., 'and ,"vhat covering of
limbs occurs by interchange of robes, that implies that there was a granting
of our limbs.' 506. (a) madanaikahandhur: cf. 567a pu~pasiiyaka~akhal},:
'friend of Love.' For the use of eka in the cp. see 347d, note, and compare
Sbh. 1445 (=,srika1Jthacarita 12.88) duicaritaiknhan,dhU'ln:' the very best
friend of vice'; also 517d. (c) karburita: lit., 'studded, inlaid.' Cf. 465c, note.
507. Punning verse. "With a weight of breasts that is heavy [or, that is
Jupiter], with a shining Moon for face, and with feet that step slowly [or,
that are Saturn], she shines as if she were made up of the planets."
SAVAR:t'I [also BHART~HARI COLLECTION]. For a similar verse cf. Bhi~a.ta.­
nakiivya 5.14. 508. The verse is spoken by an older girl to her friend.
(a) alasavalitai l}: the commentators take valitail} as a noun, 'possessing
hesitant turnings.' See, however, 482a and note. (b) See note on 467b.
509. (b) Read nijabhujala.te.
510. For a woman's kissing a child in the presence of her 10\ er in order to
indicate her affection and stimulate his love, see Kiim. Silt. 2.8.81. (c) Read
vaidharbhiik~ara. 511. (ab) Lit., 'although being awake (jiigrati) , out of
shyness she embraces [her husband] tightly with a mind overcome by the
delusion of a dream.' That this is a pretense is not made explicit. (c)
priyo,sya rataye: dative of effect, not purpose; a favorite phrase in similar
contexts, cf. K U1n. Sam. 8.2. The delight, as line d here explains, can be
relished only b y a husband who recogmzes the symptoms of young love.

504
 Notes [Vs. 512-517
Bhiiva, a word of many meanings, is used here in the special sense defined by
Sd. 3.93, "Bhiiva is the first alteration in a heart that previously has known no
alteration [from love]." The delight of a husband who recognizes these
symptoms is heightened by the pretenses here described, for they show the
deep attachment which hides under the shyness and diffidence of the bride.
512. A famous stanza in ala1'[tkiira literature and justly so. The wife, re-
strained by the manners of the aristocratic household from embracing her
returning husband in public, shows her love by her tender treatment of his
mount. (c) pilu: the desert palm; sami: the thorny Prosopis spicigera, as in
204d; karira: the common desert thorn. In var. lect. for DaS. ad 41.4 read
DaS. ad 4.14. 513. Description of Sakuntala's departure from her first
meeting with King Du}:l~anta. The pretexts are in order to prolong her view
of him. 514. The travel er takes more pleasure in the well-girl (cf. Intr. 9,
par. 5) than in the water she serves. "The European equivalent would be
the traveler who is more interested in the barmaid than in his drink" (Kos-
ambi). (a) Since he cups his hands from afar (duriid eva) the gesture must be
one of salutation rather than simply preparatory to drinking the water.
(b) murdhnii calitam: cf. notes to verse 1; an ambiguous gesture, which could
be a sign of assent ("Yes, thank you, I've had enough.") or of wonder ("How
beautiful you are! "). (d) ak$u1J1Jo vidhir: 'a strange (unheard of) behavior.'
Var. lect., for Smk. 57.33 read Smk. 60.33. 515. (a) calapiingiim: cf. note on
467b. What is meant is the contraction of the corner of the eye as in a
voluptuous or loving glance. vepathumatim: the trembling is probably
intended of the eyelid though it might be of the pupil also. (b) mrsasi: the
reading seems to be found only in this version; see A. Scharpe Kiilidasa-
Lexicon, Vol. 1, Part 1; the vulgate reads svanasi. (d) Lit., 'we are dying
from our search for truth.' The king does not yet know whether Sakuntala
is of a caste that would permit him to enjoy her. 517. This is the first of
several verses from Vid. on dancing with a yo-yo or 'ball,' kandukakri<Jita (or
kandukanrtya, DKC., p. 205). The activity seems to have had nothing in
common with modern ball-games. It was a dance performed usually by a
single person. Even where several girls take part in the performance (e.g.,
531) the texts do not speak of throwing the kanduka from one performer to
another. Dancing with a kanduka was done by young girls, perhaps often in
the manner and for the purpose expressed in the sixth ucchviisa of the DKC.,
viz., as a rite in honor of the Goddess (vindhyaviisini) with the object of
winning a noble husband through her intercession. DalJ9in's description of
the dance, which is filled with obscure expressions, speaks not only of tossing
the kanduka up and down but of whirling it about in circles (mafL4alabhra-
ma1)£~u kandukasya, p. 209). A similar description is given by our verse
525c. This leads one to suppose that the kanduka was a yo-yo, i.e., two
small wheels joined by an axle about which a string is wound. The string
of the kanduka is actually referred to punningly by our verse 1486 and

505
Vs. 518-526J Notes
Miss W. Doniger has brought to my attention an eighteenth-century Indian
miniature of a girl playing with what is clearly a yo-yo (". G. Archer, lndia'tl.
Painting, Plate 14). (a) indumahnam: I imagine the spot was painted on
the kanduka, perhaps to make it look like a moon. In any case it was not
what a modern naturally thinks of, a spot of dust from bouncing off the
ground, for the kanduka did not bounce. (b) " The reading tiimram is taken
from the printed editions of Vid. as the Kreading made no sense and ~
seemed illegible. The later N photograph seems toconfrrID the reading
bhyasram" (Kosambi). (c) Cf. 465c, note. (d) Lit. , ' that are the very best
friends (cf. 506a, note) of tremblings of long eye-corners. ' Being' a friend of'
here means being close to, on, at (ef. 177b, note), i.e., the glances pass over
the eye-corner, not out from the center of the eye. 518. Compare verse 450,
519. Punning verse: "A single individual of good conduct [or, well-rounded]
reigns supreme; a fort iori, two placed close together. 'Yhat wonder then
that the world is conquered by a slender woman's breasts."
520. (a) pra1Jalidirgha: the angle of the eye, which was exaggerated by
painting it with collyrium in a line stretching toward the ear, is likened to a
canal or trench; so also in 522a. prati kalam: cf. 335d, not e. suhrda?t: ' in.
at, along,' as in 517d; cf. note thereon and on 177b. Suhrdaf.i, agrees with
vyak$epaf.i, and -pratibhuval}.. (d) netriidvaitam: cf. 355c. Other examples,
showing just this sense of advaita are: sabdadvaita1?~ tad.d 'jani, 'a unique
sound then arose' (8rarnatta Bhagavan, lVlahavira Il, i, p. 184, vs. 8); a-
nandadvaita.mayaTfl, rajakulaTfl, tad babhuva sakala:m api, ' the whole of that
royal family was then filled with a perfection of bliss ' (ibid. 11, i, p. 152, vs. 7).
521. (a) Lit., 'emitting incarnations of pearl necklaces.' The tertiu m. C07n-
parationis is the whiteness in the white of the eye and in pearls; cf. 465c.
(c) dugdhamugdha: ' white as milk.' For rnugdha in this sense cf. 361 h , note
and reff. (d) vibhrarnanti: for the connotations of v-ibhrmna see Ingalls,
"Words for Beauty," p. 104. 522. (a) Cf. 520 and note thereon; lit., ' with
an eye which is like a bucket for the canal ... ' (b) - i'Jikha?lti is suspect.
Both inkh and prenkh mean to go with a swaying motion. 524. The context
of the play shows the verse to be a description of a girl performi ng a dance
with a yo-yo; cf. 517, note. (a) karr;w.pa.8am: lit., ' ear-loop,' where piiSa was
originally simply an adjunct of shape, but since the cp. belongs to poetic
diction it comes to be thought of as meaning' a beautiful ear ' ; so Gar,taratna
on Pii1J 2.1.66. (b) taqaitkarn: the blade would be wound in a circle about the
ear to form an avataTfl,sa; blades of rice and barley, sometimes colored, were
also used for that purpose. From the speed of the dance the circle has come
undone and the blade projects like an arrow. (d) The simile, which seems
forced in English, is a natural development from the stock metaphors of water-
lily for eye and loop for ear. 525. Like the foregoing, of a girl dancing with a
yo-yo. (c) bhramaraka: synonym of kanduka, recorded by P.W. only from
lex. (d) T's note is mistaken. 526. Constr. " The kanduka dance, in which

506
 Notes [Vs. 527-548
the precious steps are (accompanied) with sharp jingling of jeweled anklets ...
and which is rendered specially vociferous by the ... bracelets, charms the
heart indescribably." (a) carn: see Ingalls, "Sanskrit 'V'ords for Beauty,"
p. 94. (b) taraJUira: possibly a pun is intended, 'pearl necklaces' or 'high-
pitched necklaces.' 527. The king bursts into this praise on seeing a statue
of his belm ed M~gailkavali. There is no need to seek puns in the verse
(pace T). (b) taru1JALketaka : the leaf is specified as young; the leaf of the
mature ketaka (Pa.n dan us odomiissimus) is three to five feet long. 528. (a)
amrf,ahhavanagarbha: I am uncertain of the sense of bhavana; Yid. reads
-bhuvan a; the other quotations differ completely. (c) The bakula or kesara
was noted for its heavy scent ; cf. Sd. ad 10.3 and 1660 below. In Mal.
Act. I, M:adhava is weaving a garland of bakula flowers by the temple of
Kama when he is seen by MalatI. 529. Vamana gives this verse as an example
of sweetness, Mammata as an example of false caesura in the fourth line.
530. (a) '~aterlilies are dark, new wine white; the comparison is to the
pupil and white of the coquette's eye; cf. 465c, note. 531. Constr. "The
kandu ka dance, in which there are twirling skirts ... of the deer-eyed ones
furnishes delight. " Cf. 517, note. 532. (b) Lit., ' at least when the whole
day(light) is over [but still] today [i.e., on this date, tonight]. Cd) aliipai/.t
sabii$paj halajjhalai lJ: lit. , ' with words of complaint accompanied by the
splash of tears.' Jhalajjhalii, ' the sound of falling tears,' has furnished a
sobriquet for the author. 533. T by failing to give proper force to sa1f1,-
purayantyii misses the point of the verse. "The lady is saying only the usual
words of farewell and benediction, but her clever companion by capping
(sm'{LpUrayantyii) each e:>...-pression makes her appear to be on the verge of
suicide" (Kosambi). 535. (c) Lit. 'thick from the fact that they arise from
the heaving of the base of her jar-like breasts.' The implication is that the
sighs are ma1'['tSala because her breasts are mii1f1,sala. (d) Her darkened cheek
is like the blemish on the moon, which therefore no longer suffers from in-
feriority to her face. 536. She dares not view her face in the mirror because
of its similarity to that stimulant of love, the moon. A similar cause of fear
is expressed in b. (c) Strange, because you are as like Kama as her face is
like the moon, etc. 537. The figure of speech is tulyayogitii. 538. The moon-
stone is said by the poets to weep at sight of the moon. Like other jewels it
is thought to come from the sea. 539. (c) lavali: see note on 406a.
540. (a). " The line recalls 204a" (T). Cb) Cf. 691a. (d) Such is her
fever that the moon's rays seem scorching hot. 541. (b) I imagine that the
heroine, .l\'1:rgailkavali, has drawn or seen a picture of Kiima [cf. 549 and note
there on], which merits real praise but to her eyes is incomparable with the
Kiima she has seen, viz. King Vidyadharamalla. In the first act of the play
from which the verse is taken ~gaIikavali worships the sleeping king in the
notion that he is the god of love. 542. (c) The form kaq,atkara (for katatkiira)
occurs again in 573. The word is onomatopoeic. 543. Her friends have

507
Vs. 544- 556] Notes
sought to allay her fever with a bed of cool lotus flowers and applications of
cooling sandalwood paste; to no avail. The sandalpaste stain on the petal
is fancifully equated with the mark on the moon. 544. Punning verse : " She
manifests [or, proclaims] constant fainting spells [or, t he doctrine of transi-
toriness]; she sees the world as empty {s-unya); she acts 'wi thout memory [or,
according to heterodox law]; she has, as it were, taken to the t eachings of
Buddhism." 545. (c) mr1J&a: lotus fibers (the tendrils which hang down in
the water from either the lotus or waterlily) were woven into bracelets and
necklaces for the lovelorn. Coming straight from the coolness of the water,
it was hoped they might allay the fever oflove; cf. 702d. (d) vrata: sen ice
or worship of a god according to a fixed ritual in order, usually, to secure a
specific blessing. Here the blessing is the return of the lover. Paint ing the
forehead with ashes, consecration with holy water and the wearing of the cira
are accompaniments of religious service; sandalwood paste and lotus fibers
are to cool love's fever. 546. Punning verse .: "'~ hy mention snakes [bi la-
iisinas; or, lovers: viliisinas], double-tongued and crooked, ,·,rho wound
cruelly with their teeth, breath and glance? You, although no snake, have
a certain snake's coil [or, lover's wile] which kills by terrible, hot poison
even when merely remembered." [BHATIA VASUDEVA]. 547. (d) tvatsarrl.-
kalpajaq.e sayan.e: 'in a couch cool through her love for you.' T compares
201d and 753b, which, though differing, strengthen the interpretation of tvat
as an objective genitive. 548. (cd) Constr. " Whiteness of her body appears
by means of ashes produced by the fire of the flame . . . kindled within
her .. .' 549. For painting the object of one's love cf. 726, 753, etc.
For painting an icon of Kama in the lover's image cf. Ratn., Act n near
beginning, also our verse 740 and perhaps 541. (c) Lit., ' looking thereon
with a suffusion of tears, she then suddenly made offering with mango
shoots.' (d) apahnuti is the denying of the true import of one's words or
actions. It becomes a standard trope in poetry; cf. Intr. 24, par. 5.
550. (d) I.e., the words of her prayer as she prepared for death were as
beautiful as the cuckoo's cry. 551. (a) sukrf.a: merit deriving from a former
birth, cf. 408, note. (b) niidhanyiiniim: 'not by those without wealth.'
Doubtless wealth of good karma is largely intended, but financial wealth is
not excluded. 552. (b) tagara: Tabe-rnaemontan,a corona:n:a, a plant which
bears a round, white flower, cf. 943d, 963. The flower was dried and ground
into a sweet-smelling powder which was applied to the body, Kam. Sat.
7.1.4; 7.1.9; 7.1.33. 553. (a) tiipabhuvam=tapab1ui.vam (T). (d) murmura-
tam dadhat: 'assuming the nature of chaff fire.' For the rest see 711ab.
554. (b) pat.upiika: "a particular way of preparing medicines, whereby the
material is wrapped in leaves, coated with clay and roasted in the fire" P.ll.
To translate the metaphor unpoetically, the sandal paste bastes her for
roasting. 556. Punning verse: "Hearing that her breasts were deep [or,
impregnable], that they had put below them the three folds of her waist

508
 Notes [Vs. 559-578
[vali; or, bali: three powerful enemies], that they were close together [or, well
allied] and high [or, noble], her plaintiff heart, for sure, took refuge under
them. Despite tllis, they did not ward off Love's entering arrows. But of
course; for where is one (of them) that turns away from that which enters [or,
where is one without a nipple]?" VALLAl'!A. (d) vimukha: the same pun as
in 4-36. The punning carries back into pravisato, which will be taken as
abl. sg. when vimukha is taken in the first sense and as acc. pI. object of
1'Q~aia~~ when vhnukho is taken in the second sense. 559. (a) Cf. 609a.
(b) The idea that the jewels of the girdle furnish a lamp by their brilliance
recurs in 609d.
560. (a) vyali kare: cf. 349c, 576a, 854d. 561. (a) sa?!Ldiinita: 'bound,
fettered.' (b) davayati : pres. ptc. caus. from du (gatau) , 'removing.' (c)
priyadrsO~L : cf. 579d, 591c. 562. (d) niilpatapasalJ,: cf. reff. in 408, note.
563. (b) atigajamanoriijya: ' Love's mental kingdom,' i.e., the kingdom that
Love has in our minds or imaginations. 564. (a) sa svargiid aparo vidhilJ: cf.
470d. sudhiisekalj, ~a1Jll1'(L netrayos: 'an immediate application of ambrosia
to the eyes, ' cf. 427a, note and reff. (b) aganjita: 'uncontemned, unques-
tioned'; cf. gafija, 'contempt.' (c) -tapam: read -trapam with S. (d) dayitiid
ahhyiisyam: lit. , 'willch must be learned from a lover.' 565. (a) samiilingaty:
loco abs. with preyasi. (b) Compare 568b, 601d, 690a. (c) tapobhir: cf. 408,
note. 566. The verse is either imitated from or is imitated by 594, probably
the former since we here have a number of women in place of one. (b) kiTJl
cid: 'in an indescribable way.' (c) The three nouns of the bv., udaya, lrlii,
and liilasa, correspond respectively to lasadviisal,t, pi'lwstanabhiira, and liilasa
in 594a. 567. (a) pu...Jpa,sayakasakhal,t: cf. madanaikabandhur in 506a. (c)
taptatapasi: cf. 408, note. 568. (b) Cf. 565b and note.
570. The author's name usually attributed to this verse is a sobriquet
derived from the verse itself. (b) Cf. 758a. (c) niibhimula, like ul'umula, is
a euphemism for pubes. (d) For casting a flower at the lamp, see also 591,
609. The phrase kar~wtpaleniiha1al:t recurs in 702b. 573. (d) kaq,atkiira: see
542, note. It here means neither' cracked' nor' broken in defeat' (T). As
applied to an enemy it must suggest some sound such as the gnashing
of teeth. As applied to the bed it denotes that argutatio lecti that has
betrayed lovers since beds were first made. 575. Constr. 'The sigh ... which
is younger brother of the flood ... is victorious.' (a) samarata: the inter-
course of a man and woman who are equally matched physically; cf. Yaso-
dhara on Kam. Sut. 2.6.7. pa-ruf,a: read pii1.l4u. 576. The young man is too
hasty for ills partner. (a) manojanmaprawj.havyalikara: cf. rUq,he rativyatilcare
in 560a. (b) 1nugdha: in the primary sense 'dizzy, fainting,' secondarily
'naif, inexperienced'; in the secondary sense it contrasts with the adjective
prawjha, ' bold, se>.'Ually experienced,' which is applied to the woman. (d)
Being pmwj.ha, she does not trouble to hide her feelings. 578. (c) For bhiiva
see 5lId, note. The M Vas, according to Sd. 3.94, are the natural gestures,

17· 509
Vs. 579-605] Notes
still somewhat restrained, which accompany early love . " ben more pro-
nounced they are called helii. 579. (b) jaratha3aragauram : similarly 5HOd
and 942b (jathara).
581. Subject-matter: viparitarata; see Intr. 19, par. 10. The long cps.
are adverbial. 582. (b) roma:iicamuiici: ' (actions) whicb release (i.e., bring on)
horripilation ' ; the word should be separated in print from wh.a t follows.
tanu: 'small.' 583. Constr. ' Of the lovely one ... who is again embarrassed
... the face is charming.' (b) More literally, ' clinging doggedly to her
resolve.' 585. See Intr. 19, par. 10, and 599, note. 586. (a) For nail wounds
see Intr. 19, par. 7, 8. 588. Subject-matter as in 581. Cb) dhammiUa: t he
chignon or knot into which the hair (alakavaUari ) is arranged ; same as kabar fha-
ndha in 589. 589. (a) For exchanging garments cf. 502, note. (c) ardhocchviisa:
lit., 'half-breaths,' that is, rapid breathing from the exertion of vipar'itarata;
cf. drutaSviisa in 581. (d) mohaniin te=ratiin:te.
590. (a) patriinku ra: cf. 389a, note. (b) rornii:nca.: lit., ' horripilation.'
(d) Cf. 579b. 591. (b) Cf. 570d. 592. The anklets jingle when the \..,'oman
lies below, the girdle when she assumes the active role above. 594. (a) The
cp. consists of four elements in conjunction; three of them are paralleled in
566c. 595. (d) Lit., ' the pains of her lov e were spoken by these physical
symptoms but concealed by her words. ' For bhiiva cf. 336c, note. 597. (c)
The literal is probably, 'as if perceptible from mere contact (iiSle~at) with the
visible (vilokya) [i.e., not needing actual sight of it], he closes his eyes and ... '
I prefer to take vilokya thus as a gerundive in compound than as a con-
tinuative (lyap), as Thomas took it. 598. (ab) l.."'im api him api : many small
things, unspecified, i.e., secrets. iisatti ... kapolam: lit., 'our cheeks not
budging from their close contact.' ca kra'l1UJ'T.UL: 'and as, and in the course
of'; Ut. reads akrame1J-lL: 'at random.' 599. Subject-matter as in 581.
Cd) Probably, 'she devoted the whole expenditure of her embarrassed glances
to me'; cf. 585d, which is probably imitated from, or an imitation of, the
present verse. But note also the T, S variant bharaiJ, for vyayalJ,.
600. Ca) bhiiva: see 511, note. 601. For massaging the feet of the beloved
cf. Silk. 3.18, Ragh. 19.26. That the lover's purpose is prevented is not
expressed here but implied; cf. 565b. 602. The lady and her lover both hint
that the time has come to retire, so the confidante tactfully prepares to
depart. (b) dirgha- lit., ' tremulous with the river-wave of its long side-
glance.' 603. (c) The AmS. reading is i§ad [or tiryag] vakritakandara/.!. sapu-
laka/.!. premollasanmiinasiim, thus assigning the first two epithets to the lover.
That may be artistically preferable since it carries out the hint contained in
the chala of b (he only pretended that the kiss was in jest; the symptoms of
passion show that it was in earnest); but one cannot really say which version
is original. 604. (ab) kiinte likhati and valati mukhendau are both lac. abs.
(d) niri~ii : emend to nirik$il; iti-pilroa makes a sort of compound of the
quotation, the compound agreeing with n i rik§il. 605. (c) sphiiribhavad-

510
 Notes [Vs. 606-618
ga1;uJ,aya = har$adga1:uJ,ayii. (d) Cf. 846a, note. 606. (ab) These lines form a
compound metaphor (sa1iga1lt rupakam): the eager embraces etc. are a stake
in a gambling match which is a love-sport, and Love is the guarantee. Kriq,ii
should not have been printed separate from durodarapa1Ji1lJ, with which it
forms a compound (kriif,ii eva durodara'l'{t krif!iidurodara'l'{t, kelidyutam ity
art has , tasya pa'1J11lJ, krf4adurodarapa1Ji1M. (d) tad api=tathiipi. 607. There
is anacoluthon between the two clauses of the verse, since the synonym
(staniil!l.8uka.) is substituted for kaiicuka in d and the anaphoric pronoun is
omitted. The fully expressed construction would be: yat kaiicuka7(l, na
cakar$a tasya kaficukasya sandhayas tarn utka'IJ-thiim vivavrulJ. For the same
idea e:\'])ressed differently cf. 640. The kancuka and its origins are described
by Ghurye, p. 125, and pp. 132-134. 608. If the translation is pompous and
in bad taste, the original is equally so. 609. (a) tariUpala: 'tree-waterlily,'
by which the poet would indicate both the shape and the softness of the
woman's thighs. Cb) urvolJ, purvam: 'above the thighs,' Le., urumulam.
paripaJyati: loco abs. (c) Cf. 570d. (d)jvalati: loco abs.
610. An example of the trope viSe$oJ.;ti, where despite the existence of its
cause an effect is absent. (a) palla.va: cf. 942d, note. (c) bhujalatikii should
be separated in print from gii.tj.ha. 611. (d) 'flood' for 'flood of sweat.'
612. (ab) Lit., 'the fingernail wounds emitting their lac-red liquid.' Cf.lntr.
19, par. 7 ff. kucayor upiin,te: as in 837. 613. (b) iirdra-: 'wet with blood.'
(cd) Jars served as the safe deposit boxes of ancient India. When so used
they were sealed with lac or red lead (sindura, cf. 423c) in which the name of
the owner could be impressed. The simile recurs in 758c. 614. The betyl
would be from the woman's lips, the aloe paste from her breast, the cur1Jb, from
her hair (or possibly forehead), the lac from the soles of her feet. These are
clues to the different positions she has assumed in intercourse. Cf. Ragh. 19.25
and K ir. 5.23, on which Mallinatha's commentaries furnish specific inferences,
which may be applied here also. In var. lect. for Sbb. read Sbh. 615. Cf.
lntr. 19, par. 8. 617. The verse is difficult and despite many attempts to
interpret it I am not wholly satisfied with the result. (a) The words nijaruci
and vibhinne, I think, must be read together in a compound, which is an
elliptical loco abs., ' there being a difference in their taste (desire)'; cf. the
proverb bhin'll.arucir hi l.okalJ, (Ragh. 6.30), 'everyone to his own taste.'
(b) vibhinne sa'l'{tpanne: I take these as impersonal passives, 'it having been
separated and it having been come together'; their construction is with
the genitive of agent dampatyor. As far as grammar is concerned, of course,
one could take vibhinne as a noun, 'a quarrel having occurred.' (d) viditau:
used actively, as was recognized by T. T adds, "for the general sense cf.
the verse Sp. 2066." This is in error. Doubtless he meant to write Sbhv.
(Suhhi¥itiivali) 2066, for that verse speaks of an assignation; but the situation
there pictured is different. 618. Punning verse: '" Fair bodied one, you look
at the line that comes from a fingernail (drawn) upon the slope of your breast.

511
Vs. 619-633] Notes
[or, Do you not see (paiya8i na) a sky-born (khasatTtbhiltiim) c.r escent beside a
cloud1] Why do you cover the tip of your breast with your robe? • 'I have
said it: because of [or, for the sake of] the cold-rayed moon.'" To explain:
one may ask why, if the girl is willing to show the evidence of her intercourse,
she should stop short of showing her breast in full. One may take the answer
in two ways. She covers her breast because the moon has made her cold; or
she covers the cloud (her breast) for the sake of the moon (so that the nail-
mark may shine). 619. Construction: One may take aayaniyam either as
subject modified by dr1tam, or, better, as object of dr1f,am (impersonal
passive); kiiminor ... -drao~ is genitive of agent with dr~tam and s#.h.i tam.
The three accusative cps. are adverbial, the first two modifying dr~tam. the
third sthitam. (b) There is a touch of learnedness here. Lit.," [it has been
looked] with an eagerness which arises from concomitance with theftavor of
their desires." (c) katham api smrtva: lit., still managing to remember,' se.
despite the taboos which are placed on one's thoughts by the presence of
parents and parents-in-law. (d) milattiira'Tf' katha1p. cit sthitam: lit., 'they
somehow manage to (be with) join(ed) pupils.' It would be indecorous to
gaze at each other openly or for long.
620. (d) ma7pJ,aliini: the word has the special sense of 'round nailmark,'
cf. Kam. Siit. 2.4.4. But doubtless one should read matu!aniini with T and Sbh.
621. (c) sakalam: cf. 218b, note. (d) Parrots are notedly fond of pomegranates.
Phalam must here refer to the seed, not the whole fruit. Arjunavarmadeva,
commenting on AmB. 16, suggests emending to da4imamr~iibijena, which while
logically preferable has no ms. authority. 622. (d) With her head bowed, only
half her face would show beneath her bee-black hair. 623. (d) For the three
folds of the waist see Intr. 15, par. 2. 625. Description from the Anargharii-
ghava of young women in the Dravidian temple of Love. The reference is to
mparitarata, cf. Intr. 19, par. 10. 626. (a) naJchapada: mark or imprint of
nails. (d) The punning yamaka is untraDslatable: lit., 'the cosmetic (va~ka)
is descriptive of (vaJ1lQka) .• .' descriptive. because it leads to an inference of
how the exposed surfaces have been rubbed clear. 628. (ab) Lit., 'inscribed
on the copperplate of her breast.' 629. The flaw, of course, is the wound from
her lover's teeth.
630. Description of a prostitute. In the epithets of ab T sees a suggestion
of the symptoms of snakebite. (c) aru~: 'crimson,' but the suggestion is of
a serpent's jewel. (d) That a harlot's lovers have poison to give might be
inferred from their name, bhujanga. 631. (d) Myna birds are noted for their
imitations. 632. The second speaker has returned from a rendezvous, her
breast scratched by her lover. She would have done better to let her friend's
hint pass unnoticed, for her reply convicts he.r absolutely. 633. The com-
mentators on the Anarghariighava are undecided whether the lady is leaving
her new lover or her newlywed husband; whether guTO~ is ablative or genitive;
and whether she wipes the man's breast or her own. I prefer the first alter-

512
 Notes [Vs. 634-649
native in each case. For painting the breast with musk cf. 389a, note. The
crocodile, being the mount of Kima, was an appropriate figure. In the
course of their embraces the image has been transferred from the woman to
the man. A similar description is used in a verse quoted under Sd. 10.89:
~i·v~oja-kasturi-lakpna v~alJ,sthale harelj,. 634. See 389a, note. The
commentators err in taking aniSam with likhantinam instead of carnatkaralJ,.
635. (aI) Cf. 649 and 685. 636. (a) dr~1ii should be separated in print from
dr~tilj, (Kosambi and Gokhale, contra, take dr~tadr~#1,I. as 'a quick glance or
half glance,' formed on the analogy of dr~tadr#a). (d) toJ,~atUit: at that very
moment. 637. (a) Sense demands that we analyze as fad eva ajikma-a~am:
'the same somewhat crooked glance.' a~adiis: read aviSadiis as in the other
quotations of the verse. (c) apatu: lit., 'unskillful, ineloquent,' because it
makes no use of words. 638. The reprimand is probably intended as spoken
by the confidante; hence I have supplied the word' him' in d. But it might
be spoken by the lover himself. (c) c~: This reading, which is shared
by S, is clumsy, for it makes the protasis of c simply repeat the sense of a.
I prefer to read cetaI,I. with Sbh. 639. A similar verse is 690.
640. (a) vinihitam: not used elsewhere, to my knowledge, of lowering the
face. All other versions readvinamitam. 641. The lady does not see the
evidence of her lover's faithlessness (cf. for example 685) until he comes
close. Seeing it, her eye starts; then, as he speaks of his affection, she stares
open-eyed at his effrontery. 641. (b) vifJada:rp,: read viSada1p; cf. 687. 643. The
words are ironical. 644. A bitter verse and one of great power, which T
misunderstands. A husband has apologized to his wife in order to deprecate
her anger at his infidelity. She replies by characterizing their marriage in
such terms as show that anger at marital infidelity cannot arise, for there is
no love for it to rise from. (b) sahasa: read sahate with Sp. 645. (d) miina-
parigrahal) parikare: T suggests, 'an assumption of appearance of resentment
is enjoined on my attendants.' But that is unlikely. The lapse which the
lady fears is not from her attendants but from her own heart. One must
therefore read, with all other quotations of the verse, miinaparigrahe pari-
karaJ.t, 'preparations for maintaining my pride [or, position of respect],' cf.
687d. 646. The original does not specify, as I have done in the translation,
what 'this fruit' is, but the inclusion of the verse in this Section indicates
that the anthologist thought the fruit to be the husband's faithlessness.
The text of the verse differs considerably in the different quotations of it.
Even as it stands, it need not be the words of a miinini, any more than the
somewhat similar verse 815 need be the words of an asati. Many a wife,
inclined neither to offense nor adultery, must sometimes contrast the bliss of
early love with the disappointment of marriage. 647. (d) ravigriiva: =
ri:ryakiinJa; the sunstone is said to cast off sparks at the touch of the sun; cf.
Siik. 2.7 and 861, 958, etc., below. 649. No object is specified with the
participle samii8linJan. Accordingly, by supplying miim one can take the

513
Vs. 650-668] Notes
verse to be spoken by the aggrieved mistress, in which case aakhi will refer to
the confidante. (So Bohtlingk, BIS. 6351 and Arjunavarmadeva on Ami.
109); or, by supplying tam one can take it to be spoken by the critical con-
fidante, in which case sakhi will refer to the heroine (so Krishna )[ohan
Thak:ur on Sd. ad 3.37). Of the two interpretations the first may be slightly
preferable; the situation will then be similar to that of 635 and 685. (c)
ghrtamadhumaya would be better joined with what follows.
650. I am not satisfied that I understand the text. The adverbial accusa-
tives in cd in place of feminine nominatives strike me as unnatural. Again.
pa~ta should mean 'roughly handled, mistreated.' 651. (ab) Construction:
'Why is your cheek led to darkness (mlanim) with tears by you placing it
etc.' Or, less probably, I think, 'Why is darkness (mlanima) led to your
cheek etc.' (c) bhrftgal}: 'bee,' but also 'lover.' kandali: the plantain or
banana flower is showy but has little scent. 652. (a) vaiicanaiva: 'is put o~
is simply a ruse.' 655. (a) lavali: cf. 406a, note. (d) cakorak.ri: the cp. does
not mean, as it is often taken, 'possessing, eyes like the eyes of a cakora bird,'
but 'possessing eyes that look like (or act like) cakora birds.' Cakora birds
-have sharp-pointed tails; hence cakora-eyes are eyes with long outer corners.
Cakora birds live on moonlight; hence cakora-eyes are also eyes which are
appreciative of beauty. premala4itam: lit. 'this naivete of love.' The lover
is placing the best color on the contrariness of his mistress. 656. (a) hatakopa:
'cursed anger.' 657. (a) The reading /q'tya is a considerable improvement on
the readings of other versions: vyartha, which is banal, and bhavya, which is
really rather senseless. 658. Punning verse: "Your darling, who lies fasting
(mukta-iihiira), having fallen at your feet, is not of false conduct, dear friend,
nor is he devoid of virtues [or, your dear pearl necklace (mukta-hiira),
which lies fallen at your feet is not ill-rounded nor devoid of strands]. Take
him [or, it], innocent one, and place him [or, it] on your neck. There is no
other way to cool the fever of your breast." BHATIAHARI. (c) For pra.1)aya
cf. 177b, note. (d) Pearl necklaces are cooling to the skin; the lover cools
a deeper flame. 659. (a) pari1)OJ.im: lit., 'result, future consequence,' as in
656c. (b) sarale: read sarale. (d) ara!tyanulita: proverbial for a useless
expostulation.
660. (b) 'Friend of King Love': for the epithet cf. Intr. 14, par. 4. (d)
saudMguruSyamalal;t: T's interpretation 'black as agallochum on stucco'
requires an impossible analysis of the cp. and makes poor sense. The croco-
dile emblem painted on the woman's breast is black with agallochum (aloe),
that being the substance with which it is painted, cf. note on 389a. I sug-
gest that saudhiiguTU means aloe used for plastering or smearing, i.e., aloe-
paste as opposed to the aloe wood that was burned for incense. 661. (a)
pra1J.Q,yinim: cf. 177b, note. 661. The Lucky Tear, cf. 668, note. Construc-
tion: 'Since (yad) .• . , therefore it is appropriate (tall ucitam).' (b) kalayati:
cf. 92a, note. 663. (b) The notion of the drops' fracturing from the hardness

514
 Notes [Vs. 664-688
of the breast was originally K8.lidiisa's, Kum. Sam. 5.24, from which the first
half of this verse is imitated. Cf. also 662, 688, 787, 746. The form dhiiriila
is constructed by PiifJ. 5.2.97. 664. (a) She is sitting with her cheek in her
hand, cf. 661 and 889a, note. The effect produced by her anger, here as in b
and e, might be more pleasurably produced by a lover. 666. (d) Lit., 'the
lover's steps were looked at by the gazelle-eyed one with uncertainty [viz.
whether to recall .him].' 668. (a) kanda.rpakandali: lit., 'Love's banana.'
In M al. 2.3, where ~Iiilati is likened to a banana (sarasakadaligarbhasubhaga)
the commentators say it is because of her softness, delicacy, whiteness, and
slenderness. But since the banana seems to have played a part in the rite of
royal consecration (cf. 7, note) the phrase here has perhaps the extra sense of
'royal emblem of King Kama.' (d) lavala: cf. 406a, note. 669. The mistress
fiares up at being called by another woman's name, cf. Intr. 21, par. 5.
672. (a) kalitaJ.!. = vidital}.. It is possible that the verse carries a second sense
as applied to a bracelet. 673. (a)jiite kelikalau: loco abs.; so also krte kiimitari:
'the lover having acted.' vyarthiinunitau:' in vain conciliation.' (b) ane-
haa=kiila; ~apanehas really means no more than ~apa. (cd) With this
pretence of sleep by which the woman avoids the appearance of desiring
intercourse cf. 511. (d) rahas=8Uratam as in 660c; kho/TJt!Q-nam: 'being
disappointed of,' 'missing out on.' 676. (b) Lit., 'anger has been assumed
by your mistress today.' (d) Separate sveclamhhal}.pratirodhi from what
follows; pratirodhi = vyutthiinavat: 'possessing an obstruction or outbreak of.'
677. The wife addressed must be an innocent (saralii) indeed to be happy at
such vengeance. (a) d~/ii: here in the sense of d~, 'mistreated.' aco#tii:
'struck,' or possibly 'torn'. Schmidt gives the latter meaning (s.v. cut) but cf.
Hindi iicot, 'a stroke t blow.' The participle is also written iicchotita; cf. 1162,
1185 1186. (b) sitkara is the sound of drawing in one's breath in pain; (Kiim.
t

Silt. 2.7.4). 679. (a) cetasy . 0-. vika:rifJ.i: 'in her dissatisfied heart. (b) vacal}.
t

svapaTatapratyayamiiniiJ:i~u: I am quite uncertain of the meaning, as

were the anthologists themselves to judge from the variants. Barely possible
is 'in the estrangement (svaparaJij)t demands (pratyiiya) and haughtiness
etc. of her words.' T divided vaca.(asv aparaJij, but the interpretation he gives
would require pratyayyamiina- and takes no account of iid~.
680. (b) wf,hati: 'rolls'=lulhat' or lota;ti. (c) iimuiica: lit., 'put on t as a
dress; the suggestion is of putting his arms about her neck. (d) -nakham,
etc.: this looks like a proverbial expression, but I am not sure of _the sense,
681. (c) Cf. 889a, note. 682. (a) krtva: i.e., krtaviin. For agalJ, cf. 641d.
(d) dhanyena: the prevailing rasa of the Section demands that it be the rake
himself, who has hidden in order to taste the pleasure of hearing his mistress
confess how much she loves him. For a similar situation cf. Ragh. 19.18.
upiiSru'fJ-d: instr. of a root adj. upii$ru (unrecorded), 'listening to'; urasi
krtii: 'placed on his breast t; roditii: periphrastic future, third pers. 683. Cf.
note on 663b. For the implication of cd cf. note on 408. (a) kalayati:

515-
Vs. 684-697] Notes
cf. 92a, note. 684. For the trope cf. 450, note. (c) As evidence that the
peacock's voice was considered beautiful T refers to BIS. 629, 975., 4849. (d)
miinaathair: a pretty conceit. The lady's mana (position, pride) is a reason for
her showing her superiority to the natural beauties noted in a-c; showing which,
of course, would mean giving up miilla (pride against her lover). 685. The
situation is similar to that of 685 and 649. The friend has sought to calm
the heroine's anger, who now replies. (b) pratyU#: grammar (=praty~e?)
and sense (at dawn?) are both impossible; read pratyqi with S, P. (c)
prar.utyinim: 'similar to,like'; cf. 177b, note. 686. (d) bhiivii/): cf. 386c, note.
687. T claims that the speaker is probably the salchi, not the lover. But
ayarp, jana/) in b can scarcely mean anything other than 'I,' and in such verses
the lover often refers to himself as a servant. (a) sakhivaca1Ul.A.TamiiS:
'successive expostulations of your friends.' (d) miina has a double meaning.
'pride' and 'position of respect.'
690. The verse is not unlike 639. (a) Cf. 565; for pra'T}ayin cf. 177b, note.
(b) nirbhartsayantya: from nirbhartsalla, 'lac,' the lipstick of the time, is
formed the unrecorded verb nirbhartsayati, 'to put on lipstick.' The verb
cannot have its recorded meaning here. 691. (a) yatra =ye~ dinqu. One
must take kule (family) separately and it is hard to say why the poet uses
this word rather than grbe. Perhaps it implies that the husband and wife no
longer form a family, i.e., are no longer living together. (c) eka: cf. note on
347. 692. (a) param: T takes as 'at most,' and may be right. There is the
possibility, though, of leap-construction (vyavahitiinvaya), taking para", tu
together: 'however.' 693. (b) Lit., 'this foot with ringing anklets was cast
forth in the rite of [stilling] the pregnant longing of the aSoka.' For kicking
the aSoka see Intr. 8, par. 7. (c) kelipatunii: 'skillful in love-play,' i.e., her
lover. 694. (b) Lit., 'since everyone gains the happiness which develops from
vidhi',· vidhi=fate, the power of kanna. 696. (a) sa8apatham: the com-
mentators take this in a double construction, both with ap~ and with
iinata/). (b) viiaabhavana: 'bedroom.' iitmanii: construe with dhrto in the
next line, the antecedent being kii:ntayii. The point is that the heroine :runs
to stop the lover herself, rather than sending a servant. The reading com-
pares favorably with the unmanaQ of Vam., Kpk., etc. (c) pa7J.isaTfl,]1Uta-
lasannivinibandham: adverb. Her hands would be cupped in the gesture of
submission (anjali); the knot that they hold would form an offering (upiiyana)
of reconciliation. The gesture of touching the nivi was generally recognized
as a sexual one and was a punishable breach of morals when made in public;
see Kautilya, Arth., II, p. 22, line 8. (d) JertaprafJiimakam: adverb with the
continuative dMvitva, which is construed instrumentally with dhrto. 697.
(b) sadbhave=vOllohhye (Jivananda). jana iva jane: in its first occurrence
the word bears the sense of 'a stranger, anyone to whom one is not bound by
ties of affection or family'; cf. Buddh. Car. 6.9 janibhavati: 'becomes a
stranger'; So also verse 1508 below. In its second occurrence jam = 'this

516
 Notes [Vs. 698-709
man/ a dead.ened substitute for priye, patau, 'my lover, my lord.' (c) No
need to emend as T does.. See remarks SBK., p. viii. 698. Punning verse:
.. Fair one, your buttocks are Prthu [broad], the glory of your eyes is certainly
Arjuna [bright], your waist is accompanied by Bali [the (three) folds (vali));
may the slope of your breast be Mindhitr [support me]." DAMODARA. The
proper names are taken from Epic legend. Presumably the verse is spoken
to appease an angry mistress. 699. The impersonal passive participles,
mukulitam etc., are each to be taken withmtinma; the locative absolutes,
dr,te etc., with preytUi.
700. The denominatives at1garakDragale in 4 and kuJ.yiimbupilrliya1e in b
are nonce words. 701. (a) iaaabhrlkkJaiib/artii: Siva, cf. Intr. 4, par. 6. (b) bud-
dhena: cf. 2. kamerul.: that the heroine's husband has defeated Kama is proved
by his having been able to leave her. (c) J&atra$i: obviously 2nd pers. sg. of han
~ T). 10.2 . The verse is probably spoken by the heroine's confidante; cf.
659a. (b) k~pa/eMJuItaJJ.: cf. 57Od. (d) For the lotus necklace as a means
to cure the fever of love, cf. 545, note and reft'. bMrliya1e: lit., 'is a burden.'
703. (b) Lit., 'fixed on the end of your nose.' So also 71Sb; cf. BhG. 6.18. (d)
yogini: a woman who practises yoga; wllogini: a woman separated from her
lover. 104. This verse is given by Vigbhata as an example of the trope
apahnuti: 'denial of the true matter in hand by means of that which is similar
to it.' The rains have come, but not her lover; whereat the heroine weeps (d).
Her confidante accordingly denies the presence of the monsoon, postulating
divine elephants for clouds, their white ear ornaments for cranes, and so on.
That her explanation could be believed implies that love-longing has led to
the heroine's utter loss of reason. 705. Ordinary lotus petals and white
sandalwood paste would not quench such a fever. (c) meharaslivaseka: a
pun, 'by drippings from the essence of oil' or 'by drippings of the emotion
of love.' 106. The verse makes puns on technical terms of Buddhist doctrine.
.. Heroine: 'That one is gone, the 8tlUgata [one from whom proceeds all
happiness. or. a Buddhist]; whereby he has reduced me to niriilamhanatii
[helplessness, or, the Siinyav iida doctrine of the unreality of external objects].'
Confidante: 'Frien~ that which you are fond of is k§a~ika [fickle, or, a
momentary entity], an~ what is more, niriitmaka [soulless in a moral sense,
or, soulless in a metaphysical sense] and completely 81lnya [worthless, or,
metaphysically void]. Let him go.'" BHOJYA-DEVA [=KING BHOJA]. For
8a vandyal}, lit., 'he is that to which one should bid farewell,' see also 1050,
1295. 707. (c) rtUa: sap in the case of the wood, emotion in the case of the
heroine; cf. 705c. 708. The rains have come but her husband has not re-
turned. (b) Lit., ' and the crowd of frogs intent upon their croaking.' (d)
muhur: 'still more.' 709. From the Ratniivali. The lotus couch furnishes
the king with evidence of the heroine's love-fever. (b) Take antar adverbially
not as a preposition; tmwr madhytl81J4 goes with parimalanam, 'rubbing,
trituration. '

517
Vs. 710-720] Notes
710. (a) The commentator Jagaddhara likewise read manoriiga against the
manoroga of the printed editions of Mill. 711. (b) prastha7[lpacal) pathaaiim:
lit., 'enough to boil a gallon of water.' Cf. Pa1J. 8.2.88. (c) camaJkari1.lO:
agreeing with ma1)ayo, lit., 'causing (us) amazement.' In place of this, the
printed text of the play and most quotations of this verse have the onomato·
poeic Uujatkarit;W: 'with a bang.' (d)" All the pearls of her necklace burst
like popcorn." K~emendra (Auc. ad 14) objects to this line on stylistic
grounds as introducing the strong style (ojas) where sweetness (miidhurya)
would be appropriate. The image itself seems not to have troubled him.
712. (a) Ui4idalapaka=paJcvatii4idala, the action noun piika being used as a
noun of result. (c) gauri krudhyatu: a mild oath, I appropriate here since
Gauri is the goddess of marriage' (T). (d) sahapli7[lSukhelafUlSakhi: 'a friend
since the childhood days of playing together in the dust'; an old expression;
cf. the Pali sahapii1isukilitii. 713. (a) Lit., 'possessing bracelets transformed
into armlets.' The stated cause is her raising her hands in salutation; the
hinted cause is the emaciation brought on by pining for her absent lover.
utta7[lSita: 'forming an ear-ornament (utta1!l8a),' the reference is to that
arrangement of the hair for which English and American have very different
terms: kiss curl (English), spit curl (American). (d) bhinna: 'touched,
marked by.' The different feelings or emotions (rasa) would be eagerness,
shame, love, etc.; cf. SSc. 714. The moonlight creeps through the bower and
falls on the limbs of ~gailkavali. She cries out. (b) api: read ay;, with S.
(d) 'fair as stalks of lotuses that are almost full grown.' When young they
would be green. For mugdha see 521, note. The tertia comparationis (samanya-
dharmiiu) are both the color and the elongation. 715. (b) Cf. 708b. note.
716. The pith of the plantain tree is soft and white. (b) kalii-s~a: 'with only
one digit left,' i.e., the moon on the last day of its waning. (d) in fear that she
may die of love. 717. The verse is in the form of a letter; first, the formal
greetings (cf. 33), then the message preceded by kiTfl canyat: 'and something
else-.' (c) calito gacchan: precisely asin Bengali (caliya yiiite), Hindi, etc.; I do
not recall seeing the collocation elsewhere in Sanskrit. (d) 'my servant, by
means of whom torture is forgotten, namely, Unconsciousness'; so T. The cp.
could be analyzed more logically as 'my attendant, Torture, whom I had for·
gotten in my swoon,' but this spoils the sense. 718. (a) madhyesadma:
indeclinable cp. in place of gen. tp.; cf. Pa1}. 2.1.18. 719. (a) haridra: the
turmeric that is used in curry powder and as a dyestuff is derived from the
tuberous root of the Curcuma longa. These tubers are dried in an oven,
whereupon they break open in short resinous fractures varying in tint from
yellow to reddish brown. However, the Sanskrit poets use the word haridra
regularly to refer to a yellow or golden color; cf. 963. (c) avartya, cf. livartita
in 9l6d andP. W. S.v. avartana.
720. (d) A proverbial saying, which may be quoted by way of parody (T's
suggestion) from the following verse, ascribed to Diim8.ga (Sbh. 8437). Tarko

518
 Notes [Vs. 721-786
'praiillha~ 8ruJ4yo vibhinrui I naika r,ir yasya matarp, pramar.wm I dharmaaya
tattva",. nihita",. gululya",./ maJaajano gena gato./J. 8a panJ.hii1}. ; cf. BIS. 2505. This
gnomic verse was later attached to the MaJaiihhiiraia by the commentator
Nilakm;ttha (it is missing in all other versions) and may be found in the critical
ed, Vaooparoa, App. I, no. 82, lines 65-69. 721. (b) pa1ramakari: 'the
ornamental crocodile,' cf. 889, note. (c) yasya viyogayoga:uidhuram: lit.,
'lovelorn by connection with separation from whom.' But the word yoga hints
at the almost religious trance of the lovelorn, cf. 70sd. 722. (b) patraracanau:
cf. 889, note. 724. punning verse: "I am made of iron, friend, of whom this
cruel lover is the loadstone. He is not anyone among [the synonyms of
loadstone. viz.] iikar~aJw. (that which draws the iron to it), dravaka (that
which makes the iron run to it) or cumbaka (that which kisses the iron); know
rather that he is bht'4maka (that which makes the iron filings circle about, or,
that which drives one mad)." SABD.iB.~A.VA. I owe this interpretation to V.
V. Gokhale. 725. (c) The question introduced by kaccit •• • na hopes for the
answer' 00.' Had the lover felt the south wind and seen the mango blossom
(cf. 154) his pain of separation would be as great as the heroine's. The wordst
of course, are spoken with kiiku., that is, a tone indicating that her real hope
is the opposite of the one expressed. 726. (b) Cf. 549. 727. (a) eka: See note
on 847. miiJar: a general term of endearment. 728. (c) sasudhiigrham: cf.
remarks on p. L~ of text volume. 729. (b) paficamal.&: cf. 153, note and
884d, note.
730. The confidante urges the heroine to give over pining and exhibit her
charms where they may be appreciated. The construction of the verse is
similar to 670 and 684. (a) cakorapra!Ulyinir: 'the wives of the caJrora birds.'
These birds, according to the poetic convention, feed only on moonbeams.
731. (b) Cf. 889, note. 732. Words of a messenger to an erring lover recently
spurned by his mistress. (cd) Construction: 'The crow publishes the thinness
naturally resulting from her separation from joy [by his] possessing a neck
ornamented with bracelets transferred [to it] by her raising her emaciated
arm in anger, etc.' While crows do pick up bracelets, I should not be con-
vinced were I the lover. (d) drafiga: lit., frontier town; see Stein's
lliijaiarangif').i index. 733. Construction: take kurvantya and vinyasya with
tvaya. (d) smaryate means both 'is remembered' and 'is loved.' 735. An
elaboration of the familiar theme: 'who is the lucky man to cause these tears? '
Line bmay be taken jokingly. Surely he must have died and the body been
consigned to the river to cause such an access of grief. T's interpretation
('whose corpse in a former birth was consigned etc.') reads more into the
verse than is in it. (b) k1wlat: Dhitupatha, khal calane. (c) kajjalakle-
dabMnji: n. pI. from -bhaj, 'sharing in the moist collyrium.' (d) Cf. 889,
note. 736. (a) The saffron would have come from her breasts, cf. 889, note.
Most of it would have been rubbed off in the amorous encounter with her lord.
The varieties of saffron vary in color from yellow to bright red. (c) Lit.,

519

L
Vs. 787-754] Notes
'that his mate was made by me lovelorn a moment by her mistaking him for
a [red] cakraviika.' 737. (b) kiryante kar.uda1).: cf. 668b, note. (d) hll"ucartil,1:
cf. 786c. kalapaiicama: cf. 153, note and 729. pra1)ayimu: 'like to,' cf.
177b, note.
740. (c) Cf. 549a. JroraSokhii:ma:njarika1).: 'bouquet of branches of the
hand,' i.e., fingers. 741. Spring is on its way but her husband has not
returned. 741. (d) Cf. 408, note. 744. (b) vikarai1).: 'transformed into.'
T's emendation to vikirail), is needless. (d) royendhan.a: The simile might be
suggested simply by the myth of submarine fire. On the other hand, it is not
impossible that the poet had seen Greek fire. This substance, probably
composed of sulphur, naphtha, and quicklime, took fire spontaneously when
wetted. It had been used by the Byzantines in fighting the Saracens as
early as the seventh century. 746. The progress of Mrgailkii:vali's tears; cf.
reff. in 663b, note. Lit.,' the streams of tear-water of the lotus-eyed one
[first] shimmer the surface within her eye.' 747. The king fancies that Love
has left his flower arrows which have become blunted, and is now using an
arrow presided over by V~a. The viiru1)iUtra is mentioned frequently in
the Mahiibhiirat.a (e.g., 1.96.37; 1.125.19; 6.81.27). It produces floods, just
as the iigneyam astram produces conflagrations. (d) vaktrodviinJa: 'emitted
from the mouth of the channel.' 748. (d) kuru prema anya-deSa-iigale is
elliptical. T's emendation: anyad ~ii gatib, 'find another lover, that is the
only way,' is unnecessary and seems out of keeping with this type of verse.
749. (a) ki1f1, vtUena vilailghitii.: an excess of viita was supposed to produce
fever and madness. mahiibh1ltii.rditii.: either 'hurt in the elements (dhiUus)
of the body,' for which T refers to Jolly's Medirnn (in Biihler's Grondriss) ,
p. 46, or 'possessed of a great devil,' cf. the expression bhUtagrasta. (b) aan-
nipiitalaharipracchiidita: 'overcome by a host of medical complications.'
(d) The author of the verse, as one might suspect, was a courtier of Bhoja.
751. Description of the hero Madhava in the first stage of love with Malati.
(d) le le bhiiviiJ.t: lit., 'various objects.' But the word bhav~ carries more
specific connotations. Tripuriiri glosses with uddipana-vibluivtilJ.: 'objects
which act as stimuli to the emotions.' Bhavabhiiti repeats the same phrase
in Mal. 1.89 where he specifies what these objects are: the new moon and
other objects of sweet nature, but above all the maiden Malati. 753. Miid-
hava's friend has asked him to paint a portrait of Malati; cf. reff. given 549,
note. (a) draM uilgamam: lit., 'the raising of my eyes.' (b) -iatf,ima: by. cp.,
not adverb. (cd) lit., 'my hand here in the process of painting is one of which
the fingers constantly tremble.' 754. (a) ku~a: Here, as often, Bhava-
bhiiti extends the meaning of a word. The commentators all take Tro,a to
mean a cluster or branch (guccha, latiipratiina, stabaka), and this fits the con-
text better than the recorded dictionary meanings. The white jasmine
produces multitudes of minute blossoms on a branch. These are frequently
likened to white teeth (cf. Srn Til. 3 and 428 above); hence the appropriateness

520
 Notes [Vs. 755-775
of karala, lit., 'open-mouthed and showing the teeth.' (b) praJcyotad: read
pracyotad. (c)' whose eyes half flirt': the description is of MaIati. The
advent of love makes her eyes dance, but she is young and would wish to hide
her feelings from her friends. 'Whose body bends': from the weight of her
breasts, or from the sorrow of separation. 755. From Madhava's lament on
losing ~[aIati. 757. The beauties of the spring evening are unbearable
without SitAe (a) kJl8riighiitailJ.: 'strokes of a whip (cf. kala)?' Krura is not
recorded in the dictionaries. The printed texts of the play read kampiigMtair.
Cc) ragariijam: 'the king of keys.' The cuckoo sings in the pancamo riigaQ.;
cf. reff. in 158, note. (d) Imitated in 797c. 758. The main object is ghanoru-
priigbMram: lit., 'the heavy weight of her thighs: (a) 8af1'8aktiingam: for
the gesture see 570b. (b) Cf. Intr. 19, par. 7 K. (c) The simile has been
used before, 61Scd.
761. (d) Lit., ' as delicate as a banana.' See 668, note. 761. The lover
dreams that he has finally won over his angry mistress. 763. Add to var.
lect. (C) N sa1(UlarJotii. 764. The context of the ven;e is helpful to its under-
standing. Sit&, remaining invisible, has fanned the fainting Rima with her
upper garment (uttariyam). Rama revives, seizes the garment, which
instantly becomes visible, and recognizing it, breaks forth w.ith this verse.
(c) sayya should be printed separate from ni8itka. 765. (c) cara1}iirdharud-
~: 'with but half his foot pressed to the ground.' The idiom re-
occurs 115780 pi.idiirdhaniruddhahh~.766. (ab) ahladi should be joined to
-madiindJw,m. The words pratll/ha • •• madiirulham form a single bv. made
up of a dvandva of many parts each expressing a successive state of the
heroine's eye, just as in 482a. (cd) The lover's gait would be slow, his
thoughts sad, his consciousness almost vanished; the lady's fever would be
great, her figure thin, her state near death. 769. (b) Cf. Intr. 4, par. 12.
Cd) parik.arasya: 'paraphernalia., collection of implements.'
770. Punning verse: .. You are rakla (red) with your new fronds, and I am
ralda (in love) with my dear one's virtues. The .silimukhas (bees) come to
you; the iilimukhas (arrows) shot from Love's bow to me. The stroke of the
sole of a beloved woman's foot brings you pleasure; truly, so does it me.
Everything of us is alike, oh aSoka ~ except that God has made me 8a8oka
(sad)." [VASOVARMAN?] For the aBoka's blossoming on being kicked cf.
Intr. 8, par. 7. As regards the lover, the stroke of his mistress' foot might
serve as his penance and mark the end of her anger. 772. (b) The tertium
comparationiB is the dark color. 773. (d) Or possibly, 'even if I dwelt in the
same place.' 775. (ab) The first line refers to the sentimental or spiritual
effect of ~[aIati's beauty, the second line to the physical effect. yatrii-
IokapathiivaJiiri?}i [sc. mu1Me], loco abs., is construed in both directions.
prastauti =utpiidayati. ~fuch has been written in an attempt to give a
precise meaning to the first line; cf. especially Vll"ar8ghav8o on Mak. 2.45;
but I doubt that it has a really precise meaning. Bhavabhiiti frequently

521
Vs. 776-795] Notes
sacrifices precision to fervor. 776. The subjects of the VfJaiireka (cC. Sd.
10.52) are much the same as in 778. (a)' at me': supplied from context.
(c) arcana: context demands a word meaning 'voice' and I have so translated
although arcana has not been recorded in this sense. 777. (cd) omitted by
K~ supplied from S. Lit.,' And afterward there "'till be contact of me with
[her] limbs busy in intercourse; [of me] who have gradually enacted love-jests
after sweet and loving conversation.' (e) Peterson in his note to Sbl&. p. 108
suggests that Vararuci is intended by the term Val'tikakara. 778." Correc-
tion of text: for upakrccho in dread upajaJYlJo, emended from the meaningless
ipajaccho of K." (Kosambi and Gokhale.) The sense of the "\ erse is that
the maiden is of such extraordinary beauty that she need not even show her
face, utter her sweet voice, or bend her brow in order to shame moon, cuckoo,
and the bowman Love. Being shamed, they show their enmity to her lover.
Verse 776 employs similar objects but the trope there is vyat'ireka whereas
here and in 794 it is pratyanika (Sd. 10.86-87). (b) o:iicit.akala(1)): perhaps
'manifesting their art,' taking the pte. from m1cayati = ja1ULyati.. 779. From
the Vid., where the king has caught a glimpse of ~4gailkiivali in his chamber
at night and supposes it to have been the vision of a dream.
780. Compare the verse snigdhaSyiimalakiinti quoted Dhv. 2.1 and Sd. 2.11,
where Rama in a similar manner expresses fear that Sitawill not be able to
support the pains of separation. The speaker of the present verse is likely
also to be Rama, in which case a second meaning will appear in paramapu·
~a: 'the highest soul, God.' 781. (c) Cf. 1129c. 784. Cf. 365 and reff. in
note. (d) Lit., 'the cruel, mortal pains which send off flames etc.' 785. A
logician speaks of love. As T has noticed, the verse is filled. with Nyaya
terminology: manaso 'murtatvam, udbhiltarilpatvam, anupapatti,. a1i:ubhava~i·
rodhal,t. 786. He remembers his beloved as she appeared on his parting from
her. Construction:" I remember the half-glances of her who, etc." (a)
manyuparampariihhir: 'successions of grief.' (c) hurrl.!crti:cf. 737d. 787.
Construction: I take the first three adverbial compounds with uktam, though
they might equally well be taken with ucchvasatyii. Actually no subordina-
tion ('because,' 'from ') is eJ...-pressed. (a} brasyoo: read brafyad. 788. (a)
Lit., 'on the tree which is Love regrown after being burned '; cf. 430a. (b)
pankapatala: 'layered mud,' i.e., thick mud. (d) Lit. 'I remember the young
one whose face was like the not-young [i.e., full] moon.' 789. (b) minadhvaja:
cf. Intr. 14, par. 4.
791. Add to reft'. in var. lect. Sbh. 1745. For a discussion of the verse see
R. Pischel, "Vel'kannte Sprichworter," pp. 114-115. He considers the verse
to be interpolated in the Jludrariik~asa, and points out a variant of the pro-
verb in the Karp1lramafijari, viz. sise sappo duantare vejjo. 793. (c) The
reference is to the sweat that accompanies intercourse; cf. Intr. 19, par. 6.
794. See 778, note. (d) Lit., 'he burns me with these rays as sharp as masses of
fire.' 795. (d) Lit., 'the glances [d!sa~, the general term] of the fair-eyed one,

522
 Notes [Vs. 796-812
wet with love and consisting in sidelong gla,llces [katak§a, the specific term]
which swung about [in measure with] the successive contraction [of the eye].'
796. The ~rapra was an arrow with a sickle or horse-shoe shaped blade;
hence it is h ere termed visphiiriigra: 'broad of tip.' The metaphor applies to
the eye with lid lowered along most of its length but raised at the outer
corner. 797. The king desires utter darkness that his imagination may paint
the world with his belmred. (c) Imitated from 757d. 798. (d) The kadamba
flower looks something like a pin-cushion. 799. For the churning of the sea
cf. Inu. 4, par. n.
800. (a) For the belief that cakoras drink moonlight see Intr. 29, par. 3.
(b) caii.caccaiicavas: cf. 198a, note. (cd) Lit., 'by which the moon may be made
poor of tejas in order to save the lives, etc.' virahavidhuritiiniim: cf. 160a,
note. tejall.: both ' light ' and, what is more to the point here, 'heat.' 801.
(a) The kiilakuta poison was churned from the sea together with the moon.
Sandalwood trees are frequented by snakes, cf. 1078. 802. (b) dhiiriib~pam:
the members of the cp. are placed in reverse order as in dhiiriiSru. prahhu1),:
'is capable of, tends to.' 804. (b) pavanastram: This is the vayavyam astram
of Mahabharata 1.218.15; 6.98.18, etc. Just as Varul).a's weapon produces
floods (see 747), the weapon presided over by Viiyu produces winds. (c)
haraprakii1pja: 'fine necklaces.' saralii~l:' long ' (Jivananda). (d) pravartita:
Jiv[manda's text reads pranartita, which is somewhat more poetical. 807.
The speaker is making excuses beforehand for the nail wounds she will receive
from her lover. (b) SiSoQ. pita: a periphrasis for 'husband.' In the mouth
of the present speaker the term may be ironical. (d) cheda: 'that which has
been broken '; hence, ja,fharacchedii nalagranthaya1J,: 'stems of cane, hard or
sharp where they have been broken off ' ; as such, they might well cut one
who was leaning over to draw water. 808. Abhinavagupta in his com-
mentary on Dkv. ad 2.6 puts this verse in the mouth of Krishna, who has left
Mathura for Dvarakii.. With the divine lover absent there is no longer
occasion for beds of love. B y pathetic fallacy the trees and vines are pictured
as grieving over his absence like the sentient gopfs. 809. (c) Lit., 'generous
in e>""Pense of uninterrupted love by wantons.' The wantons would be
village girls or gopis. (d) murale: a river in the extreme southwest of India.
nicula: Barringtoni a acutangula, cf. 122d, note.
810. Each reason that the girl gives for speeding the traveler on his way is
intended by her and will be taken by him as a reason for his remaining.
811. Doubtless spoken by a prapapiilikii; cf. Intr. 9, par. 5. 812. The verse
is a variation of the famous Prakrit verse RaIa 7.67, quoted by Dhv. ad 1.4,
in which the girl points out to the traveler where each person sleeps so that
he will not stumble into the wrong bed in the dark. (a) pari1)atavayasam
agTll'1Jir: lit., ' captain of the aged,' i.e., he takes first prize in decrepitude.
(b) Lit., 'her body relaxed from all her household labor.' (c) piipiiham: papa
is a natural word to use in the sense of sinful to have had such misfortune.

523
Vs. 813-822] Notes
The karma theory does not allow misfortune, such as separation from one's
husband, to the pure. But the word takes on added meaning from the young
wife's intent. She has not only built up bad karma in the past but is willing
to build up more in the future. 813. (c) iUnye: either a lonely place or an
empty house. Abandoned houses were and are used as places of assignation.
814. The neuter bvs. in a·c modify saJpgatam in d. In b contrast -iirambluJ
with anta. 815. A frequently quoted verse and deservedly so. The heroine
is not dreaming of adulterous loves on the riverbank, but of her one love,
whose love-making will never prove as exciting as it was before her marriage.
Our reading differs in every line from that given by ?tlammata. In at least
two instances common sense will show it to be preferable. Mammata has tii
eva caitrak$apii/:l. for tilS candragarbhii. niSii/.l., whereas the miilati 80wer, accord-
ing to poetic convention (see Kiivm., chapt. 14, p. 80, line 1) does not bloom
in the month of Caitra. For sa eva ca Mammata reads sa eva hi, which forces
one commentator to the desperate explanation: hiSabdo yadyapyartlulkaJ),
avyayiiniim anekarthakatviU. 817. Punning verse: '''When will women
blessed with merit get a lucky day on which the hostile moon does not rise?'
As she cries out thus in her wantonness, the cuckoo answers again and again,
'kuhu, kuhu'" The woman wants a night dark enough to visit her lover
without being seen. K uku is a name for the moonless day and night. It is
also an imitation of the cuckoo's call. 818. (a) malar gehini : the address,
probably, of a daughter-in-law to her mother-in-law. (c) badari: the jujube.
It is said that "the crookedness and hardness of the thorns of the badari are
found in nothing else," Prajiiakara Gupta, Pramii1)tlvarttikah~a, p. 184,
lines 8-4. praca1J4orage: possibly a pun is intended, 'possessing a fierce
snake: and 'possessing a violent lover (uraga=hhujaga).' (d) Lit., 'this
calamity [of being] with scratches on my body was incurred by me.' 819.
The trope is vyiijokti or apahnuti; see Intr. 24, par. 5. (d) yamunena: 'of the
Jumna'; the Jumna is said by the poets to be dark blue as opposed to the
Ganges which is said to be white, so 93lb, 995, 1388, 1599. Krishna is
regularly pictured as dark blue.
820. Trope as in 819. (d) colakalJ.: here obviously a long. tight-fitting
dress, donned by passing it over the head. This meaning of the word is un-
recorded. 821. Punning verse: "'In the evening, my friend, I was much
vexed with him [or, it], who [or, which] was perfumed, had been drinking
wine [or, smelling of flowers], flying about wildly and falling before my feet.'
'With your drunken lover?' 'Not at all; with my hair.'" Trope as in 819.
822. The situation described is similar to that of 1698 by the same author.
A travel er makes an improper proposal to a girl he meets by the way. Pan-
the, sayini and the long cp. in -oru. are vocative. The last defies Paf}. 4.1.69;
the form should be -oro. One may correct the grammar by emending to
asa1f1,hitoru, justifiable by Pa1J.. 4.1.70. (c) a1(l8uka: This could refer to the
robe on which the girl is sitting; more likely, though, to her undergarment,

524
 Notes [Vs. 828-830
thrown back by the raising of her knees. The girl's squatting position would
be a natural one when resting. 823. For a verse expressive of the same
attitude cf. Smk. 89.88. (c) .oogrhi'.lim alingya: 'embracing one's own woman
of the house.' (d) 8amiicaryate: 'be termed even metaphorically.' 824. (a)
pr4f.ULyaviiadam drltim: 'a glance clear with love,' i.e., clearly revealing its
love. (d) ramayatitaram: cf. Piif). 5.4.11. (e) K ascribes the verse to sri
H8.Il8. omitting the suffix of royalty, dem. The verse is actually taken from
King ~'s Rat,uWali. It is worth noting that N seems to distinguish
between King ~ always referred to as sri H~eva (897, 476, 1586;
these verses are all found in King H~'s extant plays) and another HaIls,
referred to without the royal suffix as Sri ~ (508, 689, 765; these verses do
not occur in King H~'sextant plays but have been preserved in the
Amaroiataka.). K on the other hand fails to make this distinction. K's
named quotations, ascribed simply to Sri HSll&, are both (824, 1189) from
King ~'s p.l ays. For completeness one may add that N quotes two of
the king's verses (469. 1665) anonymously; K quotes one of the king's verses
(709) anonymously . 825. The verse is written in that variety of iiryii meter
which is called jaglulfIacapalii and is often ascribed to a poetess named
Jaghanacapala, a name that no poetess is likely to have assumed. As
applied to the meter the term means 'possessing amphibrachs (u - u) in the
second and fourth feet of the latter (jaghana) half of the verse'; cf. Pingala
4.26. As applied to a woman the term means 'free with her loins,' i.e., un-
chaste. For a clever verse playing on both meanings cf. Kv". 779; other
occurrences of the word are noted by Emeneau, "Signed Verses by Sanskrit
Poets," pp. 42 fi'., where the present verse also is discussed. 826. (b) The
quotation ends at VlUatiT. iti: 'thus.' (c) The anklets must be kept from
jingling. (d) Lit., 'gaining her footsteps with difficulty. she practises the
path within her house.' 827. (b) nivrafJe: If correct, the word is unrecorded.
I translate from context. (d) vifo.ikakaJ.paU.rtikii: 'a very wishing branch for
gallants,' i.e., a branch from w.h ieh every lusty man can get his wish; cf. 847d,
note, and Smk. 89.8 vif,ace~ 828. For the suggested sense see
Intr. 24, par. 4. 829. The verse will be clear only if one pictures the women
as wearing skirts similar to the dhotis now worn by Indian men. The
garment would be full enough to pennit taking a turn of the material about
the ankles. (b) arra8ukapalhwa: this must refer to the extra material gathered
in pleats and spilling over the waist of the skirt proper, as may be well seen
in Ghurye,plate 213. This could be used to bind up the jewelS of the waist-
band (as also in verse SMab). (d) Lit., 'clearly these are beauties on the
street, distracted by the buzzing •..' But the word vikal~ suggests
the further sense of 'having their efforts rendered useless by.' Note also
that the word jhatikiira is used not only for the buzzing of bees but for the
jingling of jewelry.
830. From some lost description of a city or village a:t night. (a) m,amam:

525

l
Vs. 881-841] Notes
lit., 'difficult/ but doubtless it is mire that makes the difficulty, cf. 826a.
831. A description of Lanka at night, done in Mur8.l'i's fanciful and involved
style. The moonlight brings delight to the cakorll8 (cf. Intr. 29, par. 8), who
therefore fly up startling the ahhisiirikiis; liquefies the moonstones, whereby
the streets become wet enough to take the impression of lac from the painted
feet of the startled damsels; and gives its color to the drops which the moon-
stones exude. 832. The meter of this verse, as of 930, also ascribed to Bfu;ta,
and of 942 is a jiiJ.i measure of 28 matras to the quarter, for which I have been
unable to find a name or a description in standard works on metrics. It is
apparently based on the 21-syllable r.rrtta meter which Pingala (8.19) calls
saSivadanii (v v .... v _ '" _ " ' ' ' v _ v v _ v v _ v - v - ) and which is given
various other names by other authorities: rucirii (Vallabhadeva on 8i$. Vadh.
3.82), pancakiivali or dhrtam (Mallinatha on 8i~. Vadh. 3.82). The meter of
our verses, however, permits occasional substitutions of v v for - and vice versa
(e.g., 882c, 9aOcd, 942bc). 833. (d) instead of going on to where she could
embrace her lover. 834. (a) Cf. 829, note. (c) kasmai: read kasmiit withS,Smk.,
Smv. (d) sa'fl'LbhramaharaIJ.: P. W. records sa7[tbhrama once in the meaning of
vibhrama; accordingly, the ms. reading has some justification. But the other
readings, vibhramaharaIJ. (S) and vibhramadharaIJ. (Smk.) are preferable. 836.
(a) tami: 'night.' (b) The atiSayokti isa violent one. The sense is that their
eyes are so beautifully dark that collyrium sprouts up at each glance; hence, by
scattering about their glances they render all things invisible. (c) madanahuttl-
bhug: cf. Intr. 4, par. 12. 837. The speaker knows that the messenger has lain
with the lover she was sent to bring. But the speaker is 'V'idagdlwttamanayikii:
'a clever woman and a lady.' Instead of accusing her messenger with the true
fault. she charges her with a remissness which might have produced much
the same symptoms. The refl". in var. lect. will show that the verse has been
a favorite. A long controversy has raged over the question of which particu-
lar words contain the hint of the speaker's true knowledge and in what way
they contain it. Some follow Mammata in saying that the word adhamagya.
'the wretch,' suggests that the lover would descend to just such a trick; in
which case the suggestion is based on the primary power of a word (abhidhO.-
arayii vyaiijana). Others say that the evidence can really have been produced
by lovemaking only and not by bathing. For example, bathing would have
washed both lips free of rouge, not just the lower lip, etc.; in which case the
suggestion is based on the secondary power of a word (~a1]ii3raya vyaiijana).
For full particulars s~ the excellent notes of P. V. Kane in his edition of Sd.
(ad 2.16). 838. Add to var. lect. Sp. 3510. Cf. Intr. 19, par. 7 if.
840. Punning verse. U Your neck is without necklace [or, is a Buddhist
convent], your eyes are red [the color of the Buddhist robe], your lips have
lost their rouge [or, are without passion]. Are you becoming a nun, oh
messenger?" [BHIK~U.] 841. (c) pafica paiicanakhii bhakmiiIJ.: 'five five-
nailed [beasts] are to be eaten.' Manu lists them 5.18; Yajfiavalkya 1.177.

526
 Notes [Vs. 842-854
The phrase recurs co.n stantly in the Mimitpsi as an example of a permissive
rule which is injunctive only of its contrary; viz. you may eat of these five;
you must not eat ·o f any others. The lover by biting the messenger in love-
sport has gone be} ond the canonical list. 842. Peaceful words (saman),
generosity or bribery (a.mI4), causing the enemy to break faith with his
friends (bheda), and the rod, i.e., force (d4tl4a) are the four methods described
by the ATtJuUiistra fOf overcoming an enemy. The female messenger, having
failed to bring the lover by the first two methods, tried to cause him to break
faith by means of her own person. The fourth means is the occasion of an
indecent pun: d4r.u!a=ftJraa. 843. punning verse: "By your lower lip with-
out passion [or. withoutro~] like to the Buddha. oh messenger, you inform me
quite clearly of the vacuity [or, worthlessness] of all things." 844. (a) par-
Bviibkyiim:cf. 677a~ 845. (cI)chidriinvqi: in mal. part., cf. dafJ4a in 842.
841. Garments were ex.c hanged for sentimental. reasons (cf. 502) and also
simply by mistake (cf. Sbk. 1441, 1442, 1448). Where the lower robes of men
and women alike were of the dhoti type (see 829, note) it would be easy for a
man not to notice that he had put on his lady's garment. The messenger, of
COW'Se, has now proved equally inobservant. (c) prityii: the messenger's
expression adds insult to injury. The reading is more expressive than
pratyiinilam (Smk., Sp., Sbh.). (d) The irony of this line cannot be surpassed.
848. (b) The sweat and trembling, of course, like the wounded lip, have been
brought on by love not anger. (d) As against the apparent consolation the
messenger may guess that her deceit, at least, has been observed. 849. (ab)
For f'omiinca (horripilation), sitkMa, etc., as symptoms of intercourse cf. 582.
(cd) The question, of co~ rather than the suggested alternative expresses
what the speaker knows to be the true case.
850. (a) praaiidyiigaJ.ii: lit., 'I have come back having won him over.'
(b) 1 translate the reading of Sbh. and Smk.: klamii kim, atyuktibkil.&. Our
ms. reading would furnish the translation, "You are wan." "Why all these
questions? " This breaks the pattern of interrogation and spoils the verse.
851. Punning verse: "By your swollen lip, oh messenger, that has been bitten
by a snake [or, by (my ) lover] my heart is churned as the ocean was by Mt.
Mandara [11U1fldara-aga or, manda-f'iiga: by one whose love is small, i.e.~ has
ceased]." 852. (a) aadbhiiva: in the same sense as in 697. (c) iipiif!4utii.:
contrasted with f'iiga in b. 853. The compliment, as always in this section,
hides an insult. The messenger has used her body where that of the heroine
should have been employed. 854. Punning verse: "How should a lamp not
become extinguished [or, not attain nirvana], the wind being still [Of, the
breath. being suspended], darkness [or, the principle of ignorance] being
deni~ and its power of illumination developed by its cleanliness [or, by its
good .k arma), when at nighttime it sees a lover excited by the workings of the
arrows shot by Kirna.. who has come running at the sound of the girdle as
the garment is removed from the buttocks of a sleeping woman Y" The

527
Vs. 856-869] Notes
sense is that such a sight is enough to propel a lamp to paradise or to put it
out. (a) SuhhavaSa: applies to the cleanness of the wick. (d) vyatikara: cf.
849c, 560a, 576a. 856. Just before expiring the flame of an oil lamp rises
for a moment. The verse gives a fanciful explanation of the phenomenon.
(a) nirva1J-tL: punningly, as in 854. (c) akalayitum: 'in order to determine.'
sakalanka-: lit., 'a raising of its soot-embarrassed neck.' 858. For the con-
ventions see introduction to this section. (d) va~al): rather than emending
thus I prefer to emend to cakrul). 859. (cd) Lit., ' when earth-hiding darkness
holds sway.'
860. (a) divasam: acc. of extent of time. (cd) The white sea, red mountain,
and patches of darkness give the earth its dappled appearance. Line c is a
loco abs. 861. (b) su.ryakiinta: see 647, note. (c) ubhayato: to be construed
loosely with ahastamisra. 862. The picture is of the moment after the sun
has sunk, when from behind the mountains one sees the brilliant rays shooting
up to recolor the clouds of the zenith. (c) tdsalitayii: K favors this spelling;
cf. 7b. note. But out of regard to alliteration one should doubtless here read
ucchalitayii. Meter: nardataka: v v v v _ v _.., v v - v ... - v , , - . One may
note that for the first fifteen syllables this meter is identical with aa8ivadaflii,
cf. ~82, note. 863. (b) Cf. 867d. (d) kr~1Jlijinam: a black antelope skin
(originally a goat skin) was the traQitional mat on which an ascetic should
practise tapas. 864. (c) sa1[ltamasa: the stem is transferred to the a-declension
by PafJ. 5.4.79. acchabhalla: bear. -pa~at: the cp. must be taken as a bv.
with asram, lit., 'the blood of sunset, possessing a circumsession of darkness,
is drunk.' (d) The notion that pearls grow in the temples of elephants was
fruitful of poetic fancies; see 948, 1006, 1576, Kum. Sam. 1.6. 865. I suspect
the verse of corruptions. (a) kramatatagatin: 'of gradually extended motion,'
makes no proper sense to me. (d) If the reading were right one would have
to translate "she goes not to a flow of the eyes, i.e., does not weep, because
of her recent separation from the sun." But I imagine some such word as
kii:ntim should be substituted for viintam. 866. Evening in Siva's palace
(b) Lit., "An inclination to household tasks touches the heart of the pi8iicis."
Cf. Vik. Urv. 8.2. (d) The literal seems to be 'rubs the drums in accordance
with 8iva's intention,' but pratisad:raam is strange. For 8iva's evening
dance cf. Intr. 4, par. 16. 867. (c) 'with cry of struggling bees': As the day
lotuses close, the bees become imprisoned within them, cf. reff. in Intr. 80,
par. 2; hence they are here pictured as struggling to escape before the flowers
close. 868. (b) utpakpnabhiIJ. sthiyate: lit., 'wait with upraised wings,' cf.
867c. (cd) Since the prose passage which immediately precedes this verse in
Tap. refers to evening activities of the harim (rama7J.iyakam antal.Jpure
prado~arambhasya), one may suppose that the courtesans are making up for
an evening ballet at court. The first two lines, though, carry the hint that
the bright colors they apply are not without danger to their audience. 869.
(a) javii.: Hibiscus Toaa ainensis. The Sanskrit name means the flower of

528
 Notes [Vs. 870-878
Java. It is a shrub with white or red flowers grown in India for its astringent
juice from which a die is made (cf. 948). Note that this plant is not what
Americans call China rose, which is a true rose and is known to botanists by
the barbarous name of Rosa Chinemia.. (b) bhrsam: it is hard to say what
the word means here or with what to take it. I have taken it with vrajati.
appatel} = varut;Ul8!ja.
870. Punning verse: "Seeing the sun falling from heaven bitten by a
cobra [or, by the wild beast, time], his grandmother [or, the twilight] runs as
it were to his rescue with the sovereign remedy [or, with the moon]. 871. (d)
4amaritaiiriiJ.t: theptc. must be formed from 4amaru by the Viirt. priiti~
padikiid dhiitvarlhe bahtJam ~P.uwac ca, as palayati is formed from patu; cf.
Siddh. Kaum. under 2578. Because of the word Siraa the metaphor probably
refers to the appearance, not the sound of the owl, though one American owl
at least, Striz varia, sounds very like a tfamaro as I can testify. Kosambi
suggests to me that the two round eyes of the owl in the darkness would give
the appearance "of an hourglass on its side or horizontal figure-eight, which
would be the shape of the hand-drum (tjamaru)." 871. Const. "Twilight
appears ... like the tongue ... of the ogress night .. . " 873. Mt. Mandara
is the mountain from behind which the moon rises; cf. Kum. Sam. 8.59.
For its cosmological position see W. Kirfel, Die Kosmographie der lnder,
p. 93. 874. (a) skandhacakram: lit., 'the arc of the shoulders.' What is
meant is the bloody, curved end of a beheaded corpse. (b) kiipiilika: a 8aiva
sectarian who carries a skull (c) kalalab/w,ritam awl}: one may gloss this,
in accordance with Par;&.. 5.2.86, as kalalasya b/w,ro 'ntaI) sarpjato 'syar.uja-
k1w.1J4asya: 'the mass of embryo appearing within the eggshell.' The point of
the qualification, I suppose, is that the setting sun is yellow~red like the yolk
of an immense egg. 875. Ca) vrddhasarasa: see Intr. ll, par. 3. (b) ahhinila:
'jet black;' so also 886c. (c) praaannanalinii makes no sense to me. It
should mean 'with bright (or happy) lotuses.' But the lotus (nalina) closes
at night. Read with S praaannamalinii. (d) avapii!'4u: •almost white.'
For the complexion fading in the absence of a lover cf. 719 and Intr. 22, par. 3.
Sabari is probably used loosely of a foreigner, like htl~ru~i in ' 924. 876.
The figure of speech is that type of hyperbole which connects entities that are
unconnected by nature (aaatphaddhasarphandhiitiSayokti). (b) apandana, I
think, should certainly be emended to ayandana. More doubtfully I emend
sa1l'panna to 8affLpannal}. 'T he syawlaniJ. or tiniSa tree (Amerimnus, or in
the older terminology DaJbergia. ougeinensis) is a small relative of the true
bla.ckwood (siaoo). It has a strong, dark wood that was used for making
carriages and wheels, whence its names syandana and nima. The occasion
for the atiSayokti, I suppose, is the blackness of the surrounding sky. 878.
(a) pituJakara~i: 'accumulation, globulation.' (d) -dhyama: P. W. notes the
meaning' dark-colored.' In the printed text of the-play the rare words have
disappeared, common ones taking their place to the detriment of sense .and

529
Vs. 880-889] Notes
poetry. Thus, for karat;lim (heretofore unrecorded except in the negative
akarat;li) it prints karu1,UZm. For dhyiima. it prints Iyiima., making Rija.sekhara
guilty of a tautology he nowhere else exhibits.
880. (a) The text is corrupt, reading yiivakaghaltiitikam. The editors have
mended the meter by omitting ka. Kosambi understands ghaltiifika as
'the mark of a toll or tax paid at a ferry or river-crossing.' Preferring not to
emend the text into a chrcr:~ AEyo~v, I emend to yiivaghatitanka.m . The
beast to be slaughtered is regularly marked with vermilion on the forehead.
881. Vamana quotes this verse as an example of precision of meaning (artha-
vyakti). 882. (a) dhanoo: misprint; read ghanna. The verse consists of a
series of astronomical puns: 8aptiirci8 = Saturn; angiif'a = Mars; [deva-] guru =
Jupiter; tamo=Rahu; [daitya-]guro=Venus; iyiimatvam may hint at Byii-
manga=Mercury. One may extract a non-astronomical meaning from ab,
.. The sunset sun assumes the beauty of a heavy heap of the burning charcoal
of the day which has been burnt black by the flame of the summer sun." I
am unable to furnish a meaning for cd. BUDDH..iKARA. 883. (b) Separate
-nro from nikuiicita. 884. For Siva's dance see Intr...., par. 16. (c) Lit.,
"Leaving the statement, 'this is starred,' consider that the courtyard of the
sky ..." 885. (a) prabh/i is used in astronomical works for' shadow: e.g.,
the shadow cast by the hand of a sundial (see P.W. ad voc.). (b) ktwa:
'hands' or'rays.' (c) kuJiihaliim should be emended, I am sure, to l.,.....diicalam
(=kulaparvatam cf. 112b, note.), '(and with) the seven noble mountains.'
For the world's existence within the body of Hari (V4;I;m) see Intr. 6, par. 5.
886. (a) ni4Yatu1a: read ninJanda; lit., ' mountains are inferred by the steady
shining of herb-lights that paints their peaks.' Mountain herbs were sup-
posed to give off light at night; cf. Kum. Sam. 1.10. (c) dhvii:n1e limpati:
loc. abs. matta-: the cuckoo's being specified as female and drunk (either with
the springtime or love) gives a hint of Srrigiira to the verse. (d) uddhiintaila:
See P. W. ad voc.; a variant, surely paleographical only, of uddvantai~. The
editors have retained the reading since it is found in use elsewhere. 887. (b)
kulayati: an emendation, for which Gohkale suggests the meaning ' crowds
itself in,' comparing sa1pkulayati and aJ.:ulayati; I prefer to emend to kalayati,
lit., 'the courtyard of the sky, possessed of two or three stars, furnishes
evening light.' (c) socyante: Surely one should emend to rocyante; cf. 869.
paryantacaityadrumala: trees which are worshiped and which serve as bound-
ary markers. " Such trees, with minium daubs or red-daubed stones at their
base, are to be found about every Indian village even today" (Kosambi).
(d) ohhya'f'T.Wparakra'T1JCT}.a: 'whose strength is imminent.' It is not yet fully
dark. 888. (b) ni1]3a1pdhiruddh/intariila: lit., 'the distinction being obliterated
by the lack of interval (between the different ones).' (c) pramafJ.llko.m: a
philosophical term, 'the instrument for correct cognition of which is •••'
(d) gamakaJ.t: 'inferable from,' also a philosophical term. 889. ka,thiifliim: a
pun, being gen. pI. of ~fhii, 'heavenly region' and of k4l1ha. ' a beam.'

580
 Notes [Vs. 890-901
890. The translation is based 'on a number of guesses by several persons.
It accepts t he emendations of the editors and a suggestion of V. Raghavan
that one read -piJrito for -'p ihila in. a. I have supposed ,further in c that
t/4tkdra (separat ing sa) refers to ~ barely perceptible sound and in d that
damadamika .r efers to a loud noise. With the last compare damadamii. karoti
in Kas.on Pii~I,. 5.4.57. The book from which the verse is taken is referred
to by ' N u,' presumably a library code letter. 891. (d) See Intr. 6, par. 1,0.
893. This ominous verse sets the mood for the graveyard scene in the Mala-
timadJuwa. (a) liipi.ccha is another name of the tamiila, a dark tree th~t
grows by .r il'ers. (b) Pause after paryantiiJJ.,. pagasi nUiane: literally, 'new
water ' but, as Tripuriri remarks ad loo., turbid (kalwa) because it has
recently :falJen. The i~ae is of a turbid, rain-swollen stream. (c) viilya and
dhumya are both taken from piiSadYJar.za on Par} 4.2.49; their suffix is, pres-
cribed by 4.2.37 in the sense of aamUha (mass, collection), but dictionaries
and commentators often render it by mafJ4ala (cirele). 894. (a) vitanka:
the fillet or frieze above the va4nhhi; cf. P. K . Acharya, .A Dictionary of Hindu
Archi.tedUJ:c, s.v . vir.a,ika. VtUjJlhhi: the valj4hhi is described in Mana8ara,
ch•. 16, vss.26 and 61, and may be precisely visualized by reference to plate
50 of P. K. Acharya's lUustTatWna. It was a projecting member of the en-
tablature of a palace or temple and is best translated 'cornice.' This is the
only meaning, incidentally , that will fit th.e occurrences of the word in
K8.lidasa (e.g., Vik. 3.2; Miilav. 2.12; .Megh. 38). In later literature the word
has other meanings. gafl4astJuzlaigiimikam: 'the darkness of the cheek.'
The word for cheek (gar.uJastlaala=kapolapludaka) is used instead of a word
fo.r surface in order to fit the simile in cd. (b) Lit., 'the rays of lamps through
the distinct apertures of the window .I atticework that is open [in places] and
solid [in ot hers].' The meaning is that each window (ga.vQJqa) would show
numerous pinpoints of light through the interstices of its wood or stone
filigree work. (c) b1uu:qw,: ' in full measure, completely.' 896. The ahhi-
sarikiia wear dark clothes and ornaments in order to be hidden in the night.
(b) For musk painting o.n the cheek cf. 889, note. (c) abhika: 'lover.' (d)
Lit. .. Their graceful costume is like the heavy darkness." For -sakhi cf.
117b, note. 897. (c) sattra: the long sacrificial session. puramothanajalii-
j u1D: lit .., 'the massed hair of the destroyer of the citadel'; cf. Intr. 4, par. 13,
14., where also (par. 11) is an account of the churning of the moon from the
sea. 898 (c) hlrC1}a: 'hand' or ' ray.' (d)parimrlan: 'fondling,' but also
with the notion of ' rubbing on ' cosmetic. 899. (c) Lit., 'streams of the river
of bright moonlight nectar.' The separate rays would be the streams,
moonlight in general the river.
900. (b) qJhafikopalailJ-: the oonect reading; the printed texts of Ban. 2.7
have corrupted. it to 8pha#kQnt.arai~ 901. PIIDning verse: 41 The moon,
containing its digits [or, knowing the arts of love], curved [or, deceitful], red
as a bright lip [or, red of lip] and young of body, like a man-about-town kisses

581
Vs. 902-914] Notes
the young girls whose pride is loosening: on the heavy circle of their hips, on
their eyes, lip, cheek. neck, and breasts:' SRiKA~THA.. For the moon as
loosener of mana cf. 921. The places kissed agree llrith the prescription of
Rmi. 7.1 (Kam. Silt. 2.8.6-7 differs slightly). 901. Correct var. lect. to
read Auc. ad 12; Vkj. 2.88 (abdc); Bal. 10.41 (bdca). (a) raghubh'ubhujiim:
the reading is correct. In Bal. the verse is addressed by Rama to SitA as
they are flying back to Ayodhya in their airship. The' relationship' is no
more than what might be supposed natural between the moon and the sun,
from whom Rama's family. the Raghus, are descended. The particular turn
of phrase sarpbandhi raghubhubhujam is chosen, one may suppose, to excite
Sita's (cf. sumiari in c) reverence toward the moon. Other anthologists,
ignorant of the context, have emended wrongly to purohhiibhujam (Auc.)
and yadubhilbhujam (P), both Puru and Yadu being descended from the
moon. Note that every other epithet is tinged 'w ith 8r"gam as is appropriate
in pointing out the moon to one's beloved. Even Siva is 'Cat.t<;li's lord.'
904. (acd) These lines are essentially the same as a verse quoted in Sd. ad
10.88 as an example of the first type of apahnuti (cf. 704, note): nedafl'
nolJlwma:T.u!.alam amburiUir naitaA ca tiira navaphenabhailgai,a. I fwya11' sa..fi
kur.uJalitai,a. phatlindro niisau kalankai,a. sayito murtirii,a.11 (b) aetul): the bridge
built by Rima from India to Lanka. 905. An example of the trope bhrtinh-
man; 'the apprehension, from resemblance, of an object as being what it is
not, if this is suggested by poetic inspiration' (Sd. 10.86). 906. "What is
this [or, my lady], what will this be? The disc of the moon will fall from the
sky [or, from its robe]; I too will make [its] mark markless by painting it
with sandalpaste." Bmx~U SUM.ATI. I fail to see the point of the verse.
907. (a) citiicakram: funeral pyres were circular; cf. 1529d. (c) karpilra:
'camphor.' In Sanskrit the word often refers to the flower of the camphor
tree rather than as in English to the crystallized terpene (karpUrama~).
908. (d) viicanakalii.: 'for the art of reading.' 909. (a) Lit., 'in the order of
one, two, and so on.'
910. (d) viSvena: the world is likened to the churning stick, Mandara, with
which the gods churned the sea. The moonlight in the sky is the foaming
billows. 911. The antelope is the moon's mark. As the moon comes into
heaven the poet fancies that the nymphs present its antelope with a guest-
offering of durvii grass. The image is appropriate, both because durvii (Pan-
icum Dactylon) is relished by deer and because it is the darkest of grasses and
so is in keeping with the night sky; cf. KSS. 45.888 dUrviilatii-ayiim.altitigim
and Miil2.0.33 duva-samalango. 912. (a)gavyiltimiitrim: the form is justifiable
by Pii'fJ. 5.2.37 and 4.1.15. (d) jivagriiham •.. grhfJanti: The gerund in -am
(1)4mul) is permitted to be compounded withjiva by Patl. 8.4.86. 914. (b)
tilata1J4ulitam: sesamum seeds are black, rice white. The reference is to the
filigree work of moonlight and shadow. (cd) Lit., 'as if it were here and there
hollowed out by being pecked up by the beak-tips of caJrortU.' The ca1wra

582
 Notes [Vs. 915-921
bird lives on moonbeams. 915. (b) kapiitoghnim: a learned word taken from
PafJ,. 8.2.54 according to which it means 'strong enough to break the panel of
a door.' uUalayati: the commentator Rucidatta takes from lala ip8ayam
(Dhiitupa/ha 10.148); but better take as causative of latf4 viliUe (Dhiitupalha
1.881). (cd) The waterlily blossoms are likened to dark moonstones, weeping
drops of water; cf. 810, note. 916. Cd) avarlitair: cf. 719, note. bhrta:
'nourished, filled.' 917. The verse is preceded in A.nr. by the prose passage
drayataJri. ca bhagavtin ayam. (a) Lit., 'furnishing names to the directions
e., w., n., and s.' (b) jyotmiijiilajhal6jjlaalabhir: lit., 'by the splashing
of its masses of light.' The moonlight is thought of as a liquid. Jhala-
jjhalii or j1ull4iijhalii is an onomatopoeic word; cf. 582 and the com-
mentator Rucipati: 8Yiid ii8phiile jholaiijhalii iti Mravali. (cd) The metaphor
is a violent one. The ability of men to see at night has its source (seed) in the
Eastern Mountain. from which the moon rises as a sprout. 918. (b) The
commentators take nijair niryiisair with what follows whereas it must go
with what precedes. u4uhhir liijaiijali: both stars and parched grain
are white. For nijma va~a Jivinanda gives arghapiitra-nlpetldi, a
suggestion I have accepted though with some doubt. (d) ankurabhagna.
I am not sure whether ankura refers to the darkness ('blasted in the
sprout') or to the moonlight ('blasted by the first sprout of light'), but I
rather prefer the former. 919. For dancing in a nobleman's house on the
birth of a son cf. 71, 947. (c) patavii8a: a sweet smelling red powder scattered
on occasions of rejoicing and at festivals; cf. Ratn. 1.18 and references in J. J.
Meyer, Diimodaragupta', Kultatf.imata, p. 120, note. With the image in the
present verse one may compare Su. Vadh. 6.87.
920. The directions are personified as friends of the nayikii; so also in 944.
(a) For aparii I prefer the S, P reading sparla: 'fingers whose interiors have
the touch (softness) of waterlilies.' If one insists on preserving the K reading
one must take theep. to be irregularly ordered and equivalent to kahliiragar-
bhaapar8ibhilJ., 'which have touched the interior of waterlilies.' parigamiit:
'by possession of.' The word seems not to be recorded. With ab compare
the verse upodharOgef)4 vilolotarakam, for which see 988, note. 91~. The
general sense is that the heart of the mlinini (cf. Section 21) is softened at
moonrise. (a) Lit., 'in the heart (chest) which is uneven with the mountain-
fortresses of breasts.' (d) ali: 'black bees' which have been imprisoned while
the waterlilies were closed during the day; cf. 941 and Intr. 80, par. 2. krP·
afJ,4: swords are black or blue in Indian poetic tradition just as regularly as
they are bright, white, or Hashing in Europe. Cf. 1008, 1827 (malinaaya • •.
krpiif.Ul8Ya). 1576; Navaaiila. 1.62 (krPiir;uUatii tamiilanilii); ]{sS. 86.128
(nirmokamuktabhujagaiyamalena mahiUinii); Uvasagadasao 95 (niluppala-
gavaJaguliya-ayasi.kuaumappaga.8tJfn arim; a sword the color of a blue water-
lily, of a buffalo's horn, of a flax flower); R.e. 6.51 (utpalapattranila). An
examination of ancient Indian sword blades will show that the poets desCribed

18+s.c.p. 533
Vs. 928-986] Notes
just what they saw. The blue color is due to the tempering which gives the
blade resistance to rust. 913. (d) amhhoroha: the lotus, which properly
blooms only by day. (e) Concerning the ms. ascription of the verse, which is
doubtless incorrect, see Text Volume, Introduction, s.v. Dhoyika. 924. (a)
udgarbha: To the Indian taste pregnancy was quite in keeping with the mood
of Srtigara. RamasiIpha, commenting on this verse as quoted by Bhoja
(Skb. 1.193), notes that the simile is appropriate because the dark mark of
the moon would be represented by the nipple of the breast, which becomes
black with pregnancy; cf. 434 and note. hu;tla: the Buns were noted for their
yellow-red complexion. Vamana quotes a line just after quoting the present
verse in which an orange is likened to the sha,v ed chin of a Hun. (d) Lit.,
'with its finger-tips (rays) it manifests the first step of V~Qu., ' V~Qu's first
step in his dwarf incarnation covered the whole earth. 925. (a) dikkiilair:
The darkness had made it impossible to tell east from west. viyad api: lit.,
"running away from the sky, where has it gone?" (c) At full moon the
ocean rises to full tide. 927. A capping verse. Successive poets exert their
fancy on a given idea, here that the moon pours forth milk. Our anthologist
furnishes no names for the four poets. (a) utkarai~: lit., 'heaps,' simply
accentuates the word sahasra. (d) iilohittis means pink. While I have seen
stars that could be called pink I have never seen pink bubbles of milk. Ac-
cordingly, I have taken a suggestion of V. V. Gokhale to emend to iilo4itds:
'churned, dashed up.' 928. (a) laJqmirp pravahati: lit.~ 'carries off the beauty
of,' i.e., surpasses. (d) tamiila: a very dark tree; cf. 216, note and 807.
929. (a) bahalitam: impers. passive, 'it has become manifold, of various sorts.'
Line b furnishes an explanation of the patches of shadow; cf. 914; (d) Lit.,
'(light) which paints (vyaiijikii) play-cuttings of finger-foliage.' The effective-
ness of the line depends on the pun karakisalaya; a slender finger is often so
called; but kara means moonbeams as well as finger and kualaya in its proper
sense is what one strews on the couch of a love-fevered damsel.
930. For the meter see 832, note. (a) rodhra: Simplez racem08a Roxb.
The flower is yellow but the powder made from the bark is red. Note that
the first three metaphors indicate the changing color of the moon as it rises:
red, yellow, silver; cf. 926. (b) ahh~eko.kalaJa: cf. 26900, note. (d) Lit.,
'laughing to shame as it were the beauty of a haf1Ula •. .' 931. Meter:
sviigalii.. (b) The waters of the Jumna are always dark in. poetry cf. 819<1,
note. 932. (c) Read with S kakLilkasWka-. 933. (a) lavali: cf. 406a, note.
934. The moonlight is fancied to be the whitecaps of the ocean which have
risen to claim its stolen jewels. 936. (b) m~#,p.dhaya~: lit., 'sucking the
fist'; figuratively, 'child.' The literal meaning is intended here. The moon
puts the fist of darkness in its mouth, i.e., swallows or dispels the darkness.
For this usage, wherein m'U#-irpdhaya comes to mean little more than. 'drink-
ing,' see P. W.'s quotation ad voc. (d) dii./qiiyafJ.i: can be anyone of the
lunar mansions, the moon's wives, but is used particularly of his favori~
 Notes [Vs. 937-952
Revati. 937. The style is verbose. How could drops of camphor be any-
thing other than liquid (drcwa) in a? Also the words tdkara and patali serve
for little but to fill out the meter. 938. The drunken Plowman is Balarama;
cf. 127 and Intr. 6, par. 22; but any drunken plowman may be meant. For
tamdla cf. 216, note. The verse reads like a burlesque of a famous verse
quoted in Dhv. ad 1.18: upoljhariige7Ja viloWliiraka:TfI. taJ.hii grhfJ.arp saSinii
nuamukham I yatM. samasta", timirii",Jukarp tayii puro 'pi riigiid galitarp na
~m 11" The moon, blushing red with love, I so seizes the face of night, whose
starry eyes are rolling, I that all her cloak of darkness / unnoticed in her passion,
falls before her // 939. (c) kastilrimada: for painting designs on the breast
with musk see 889, note. (cd) -tuUifll, samiirohati: 'equals, compares with.'
940. (b) sudhiisiUi in the meaning 'moon' is masc. 941. The meter is what
Jain authors (Hemacandra and the RatnamaiijU1ii) call MalabhiriJ)i; cf.
J ayadiiman, Index, rn, 28. The scheme is " ... - . . .., - "-'" - - 1 .... " - -" . .
- v - u - -If It will be seen that considered in the gat£O. system this is simply
Viyogini with the addition of a heavy syllable to each quarter; in the miitrii
system, it is a variety of aupacchandasaka (Piilgala 4.88). (c) mugdhabhiivam:
'tenderness, childhood'; cf. 952d. (d) sphatikaccheda: cheda is used as an
adjunct of shape like sakala, cf. 218b, note. 942. In the original the use of
iva, 'as it were,' with each verb makes the figure utprelqii, 'fancy,' rather
than hyperbole (atiSayokti) as I have translated it. (b) jalharaSarakii1Jl!.a:
cf. 579b. Cd) dhvajapatapalla~: simply 'banners.' Pa1Wva is used of
various objects which hang lightly or sway in the breeze, usually of a spray of
leaves, but also of the loose end of a garment (see 829), and here of a banner
or flag (paf,a eva pallavata). 943. (a) analasa: the die extracted from the China
rose soon turns black. Hence the adjective. For the plant cf. 869a, note.
(b) yavani: Greek girl; but the Indians came to apply yavana to all foreigners
from the north. (d) Lit., 'the shape of a fresh tagara.' The tagara, Taber-
naemontana coronaria, has a round white flower, cf. 552b. 944. As in 920
the directions figure as friends of the niiyikii Night. To say that they with-
draw is to say that by the light of the moon the horizon is extended. 945.
(a) gorocana: a yellow-red paste or powder, said to have been made originally
of oxbile, applied usually to the face in propitious markings (rucakabha'liga;
cf. the term patrahhanga and 389, note) especially before a marriage ceremony;
cf. Kum. Same 7.15, 17. (c) gobhir: 'rays,' also 'cattle.' The pun is in-
tended. Since the moon has grown rich he has enough cattle to cover the
sky. 946. (a) samalokita: one can force a sense out of this by translating 'in
the forest at which he [or, we] is [or, are] looking,' i.e., the night; but I suspect
the te.x t is wrong. 947. Cf. 71, 919. Here the freeing of prisoners is added
to the other birth celebrations. For the bees, cf. 921d. 948. Cf. 864d, note.
950. For the iconography cf. Intr. 4, par. 6. 951. (b) I emend -prasiidad
drka- to -prasiiJiiItaka-; al1aka means a turret or minaret. · 951. (a) ketaka:
pandanus, as in 217, 247, 468, 517, 527, 601. (c) mroQliinkurailt piitavyli: I

585

L
Vs. 953-962] Notes
suppose because it is as thick as the water of the lily ponds. (d) amu.gdhav-i-
bhave: cf. 941c. 953. (a) 8uhrdo: cf. 177b, note. Cc) v iqambina~L' 'imitating,
like.' Cd) Lit., 'excelling the majesty of crystal rods.' 954. In (ab) the three
words dhrli-pragalbho gar.u!iili are unintelligible. ~ hat I would expect is
some word for 'pillow,' in which case the verse might be t ranslated as follows.
"This is a pillow for the lotus-soft cheek of the lady Night; it is not the moon
with its fresh rays. And this mark of a deer consisting of collyrium which
has been made upon the breast (of the pillow) by chance is made by the
corner of her eye; it is not the moon's mark." The verse is an example of
the trope apahnuti; see 704, note. 955. (a) jyotsnamugdha: ' white as moon-
light,' see 521, note. (b) toyopaZaly,: "Such stones, usually river-smoothed
quartz, were used as the equivalent of the modern icepack, and are st ill
worshiped as attributes of Sitalii Devi, the smallpox goddess " (Kosambi).
(c) kala mrgadrsiim: art of women? essential part? I fail to understand.
956. (b) tarkaya: 'suppose,' takes as its object the whole sentence consisting
of the rest of the verse ('the spider-moon appears with his rays ... eating the
darkness-gnats .. .'). Saii is nominative, not accusative, in accordance with
Mahiibhli$ya 11, pp. 119-120 (on pa'f,t. 1.3.1); Patanjali's phrase is bhavati
pacati, where pacati takes bhavati as predicate. Kaiyata extends the usage
to paSya mrgo dhiivati where the object of paiya is to be considered dhii.vat·i,
not mrgo. See also Vaiyakara1Jahh~a1Jasiira, p. 4, lines 18- 20. 957. (a)
katibhrarna.s: I am inclined to think that one should emend to tati- or to
paribhramas. However, P. W. quotes from a lex. kata in the sense of' board'
and it is barely possible that ka# here means gambling-board. (b) kaparda:
shells used for money. (d) paryantasthita: the moon has moved to the
western horizon. kathini: the chalk would be used for reckoning gains and
losses. 958. (a) piyante ... disaly,: the directions are drunk up, Le., covered.
(b) miirtar.uf.opala: cf. 647, note. (cd) Cf. lntr. 30, par. 2. alimayam
... antaly,Salyam: 'the bee-natured filing that is within (the lotus).' 959. (a)
-kiras: nom. pI. of -kir, 'scattering, putting to shame.' One wonders how
Muriiri, who is so careful an author, would justify the form. It must be
understood as kir+kvip, which is in defiance of Pii1}. 3.1.135, which requires
kir+ka to express agent, i.e., in this passage kiriis. One could easily emend
the text, but the same form, though not recorded by P. W., occurs elsewhere,
viz. 1496c. (b) Lit., "A few lotus-restoring rays cause the east to sprout."
(c) ito: either the ablative pronoun or p.p.p. of i, to go.
960. (a) pracivibhramakar1fikii: lit., ' ear-ornament to give tempting beauty
to the East.' (cd) idam ambhojam: 'this (actual) lotus.' For imprisoned
bees see Intr. 30, par. 2. 961. The verse is built on a literal understanding of
the words sahasrapattra (thousand-petaled) for lotus and sahasrii1]1.iu
(thousand-rayed) for the sun. 962. (d) kiiratJagu1Jiln: this answers the objec-
tion that might be made to likening bees, v.'hich are black, to pearls, which
are white. Blackness was a quality of the cause (viz. darkness) , of these hee-

536
 Notes [Vs. 963-975
pearls, so it must be of them. Cf. Gauq.apada on Sii1'{tkhyakiirikii 9: kiira1Ja1'{t
yallak§a?J-arrl- ta.llak§a?J-am eva kiiryam. 963. (a) tagara: cf. 552b, note.
sa1[Lkhyeya.se?a., etc.: 'the present (sthita) number (parikara) of stars
possesses a countable remainder,' i.e., only a countable number of stars
remains. (b) lwri,driitikurailJ.: the spike-shaped root or tuber of turmeric;
cf. 719, note. The flames are no longer red but yellow in the light of dawn;
cf. 974c. (c) stambhi ta: mercury brought to rest by amalgamation and
therefore without its luster. Cd) purii?J-Qsidhu: the calor, as may be judged
by the simile in the next stanza (964), was yellow. New rum like new
whiskey is white. The yellow color, as in the modern Bacardi, is acquired
from the kegs in ""hi ch the rum is aged; the brown color of other brands of
modern rum comes from the addition of caramel. Kalidasa speaks of the
fragrance of purii?J-asidhu, Ragh. 16.52. 964. (c) chatra: 'honeycomb,' cf.
Hindi chatta, 'honeycomb.' udvasamadhu:' dried of honey'; udvasa, though
unrecorded in this sense, must mean 'exiled, gone.' 965. (a) For samyak
read samyag. (b) vasal} sanwrtam: the dress has been put on or put in order
after love-making. Cf. KSS. 64.38 (quoted in P.1V.) yiivad vastra1[L ca ve?J-f1'{t
ca vi8Tastii1!~ santVf1Jomy aha-m. (c) koka=cakraviika; they have pined in
separation during the night. (d) siitkrtya.: read with S jhiitkrtya, 'making a
rushing noise with their wings,' cf. 236a, 1578b. 966. (c) uddhatarada~: the
notion is of dust struck up by the hoofs of the sun's horses, cf. 879. Dust,
being yellow-red of color, furnishes a metaphor for the dawn rays of the sun.
967. (d) kiiketi niimniitm,anaJ;,: 'crying out with their own name, kaka.' 968.
(a) When the sun is high one can look at him for only a moment; at rising,
however, our eyes like lotuses can honor him with a steady glance. (c) The
direction protected by the leader of the gods, i.e., Indra, is the east. (d)
bijako?a: the metaphor refers to the seed-pod of the lotus.
970. (a) patyau: in both senses, 'husband,' and, with kalaniim, 'lord of
digits.' 971. Punning verse: '" I have climbed to the fame of being king of
brahmins but I fell in love with wine [or, I clung close to the west].' Doubt-
less considering everything in this way, the moon jumps from the Western
Mountain into the sea [se. sets, or commits suicide]." N.AR.ASI~fH.A.. (a)
dvijariija is an epithet of the moon. 972." The quotation of this verse by
Bhoja is evidence that King Bhoja knew Lak!?midhara's poetry. One may
compare Lak~midhara's bitter remarks about Bhoja's literary circle, Text
Volume, lntr., S.Y. Lak~midhara" (Kosambi). 973. (a) Add to var. lect. S3
tiiras tU?iim, which is surely the correct reading. With the metaphor com-
pare 974b. 974. (b) Cf. 973 above. (c) Cf. 963b. kUTU1Jtaka: also spelled
kura1Jta(ka), a species of yellow amaranth; DKC. p. 152.7 speaks of a trellis
of kura~l,f;aka, by a pleasure house. Kiim. Sid. 1.4.10 says that a garland of
these flowers should hang on a peg in a niigaraka's bedroom; they bring
luck in love. A sweet-smelling unguent was prepared from kura1Jtaka,
Kiim. Sut. 7.1.6. 975. (a) divasakari7JaJ.t: poss. gen. with 8rotraSQ.1ikha~.

587
Vs. 976-989] Notes
kirttana~atramiila'l}'t: adverb. A pun is probably intended. Day scatters the
nak~atramiilil, 'constellations'; the elephant scatters his nak.<;atramalii, 'string
of pearls,' from his head-band. (c) Emend tuna to tanu (a 'small' spot).
976. (b) kurnbhodbhava: Agastya, for whose drinking of the ocean see Intl'. 33,
par. 8. (c) miidyan: 'welling up.' (d) kulasikhari-r:w:=kulagiraya~, cf.112b,
note. 978. Meter: MalabhariI:li, cf. 941. The black spot refers to the mark
of the moon. 'On his back,' because the belly of a tortoise is whitish whereas
his shell would not give the right col or for comparison with the moon. 979.
(c) virahavidhura: cf. 160a. (d) -krodhatiimras: cf. 967a. The reading is
better than -kroq,atiimras given by S, P, ,sp., and Skb.
980. Construction: "Songs are sung by pilgrims whose voices are clear and
sweet because the pain of winter cold was warded off .. ." (a) urukantha:
"what is called gudar or gudhri in modern Bengali" (Kosambi). (d) For
the love of Miidhava (Krishna) and Radha see lntr. 6, par. 22. 981. (b)
sphutitodare: 'the bed of which is cracked [with heat].' (d) jhiUi: hitherto
unrecorded in Sanskrit; the same word as Hindi and Bengali jhil, a lake or
tract of swampy land. 982. (b) ahimagor bimbe laZata?"{Ltape: loco abs.;
ahimagor, 'of non-cool rays,' is a learned word for the sun. 983. Punning
verse: "The tree-shadow, at first brought far by its great length and circum-
ference [or, raised high by great honor and possessions] but later ma~e short
by the great heat [or, reduced by weight of repentance] and brought to small
compass [or, to scorn], tired of chasing after those who abide in others'
embrace, clings to this earth as to one whose every limb is dear." MALAYA-
RAJA. Our text differs in every line from that of Tap., Smk., and Nat., to
which may be added Abhinavagupta on BhNS. 18.16, all of which agree
together. On the whole our text gives a better sense, though line c is difficult;
one must suppose that the shadows when long are imagined to be chasing
each other. 984. (a) vi~vadricaJ;.: cf. Piitt. 6.3.92. 985. (b) jvii.liijiilaja(iila:
lit., 'thick or jagged with the mass of fire.' (d) sunya: no one walks abroad
at noon. 986. The verse could well be the words of a vaitiilika concluding
an act of some lost play. 987. (a) Lit., 'from the kasmari to the fresh-leaved
krtamiila.' KiiSrnari is Gmelina arborea Roxb., a verbenaceous tree with
yellow flowers. In Bengal, where it is known by its other Sanskrit name,
giimbhiiri, it is sometimes planted for ornament. Krtamiila is Cassia fistula
(Bengali so'l}'tdali) with showy yellow flowers, see McCann, Trees of I'1'ulia,
plate 63. (b) aSmantaka: I cannot identify the plant, apparently a pod-
bearing bush. It is also known as 'bitter-leaf,' 'shiny-leaf,' and amlotaka.
(c) diityuhais: cf. 221, note. tinisasya kotaravaii skandhe: 'in the hollow trunk
of a tiniSa tree,' cf. 876b, note. 988. The stanza being out of context, it is
not certain what demon monarch is meant. I should guess Raval)a and that
the verse is from some lost Rama play. 989. (b) s~pastamba: 'grass-clumps.'
Peacocks may be seen in the morning pecking through the grass. 'Whether
Rajasekhara thought they were eating the grass is a moot point.

538
 Notes [Vs. 990-1005
990. The hyperbole ,,;rill strike the English reader as in deplorable taste,
but it is met with very commonly in Sanskrit; cf. KiT. 5.11; Kiivm., p. 68,
line 8 (niihhiguhabilav£sac- ) and 1563 below. (d) kuhunkaraspharam ...
niidam: 'a noise loud v;rith gurgling.' The word kuhu1ikiira appears to be un-
recorded. 991. (a) vi$van murmuranarma bibhra.ti: text and meaning doubt-
ful. 992. (a) the ms. reading dhvantiiniva should be kept, thus furnishing a
simile parallel to potarat in b. For a.dri as tree cf. A.K. 3.3.164. (cd) The
second half of the verse makes no sense. 993. The verse is doubtless corrupt.
"The smoke (dhumya 'would do as well as dhumo) traveling in the forest
causes the catu.pata.n a [or -patala' s] to move by means of these blasts of wind
with the tall masses of dust they have stirred up from the road. The deer
by the lake, filled with fear of pursuing forest-fire smoke, put the water
behind them, being deceived by the many white mirages." BUDDHAKARA-
GUPTA. Kosambi , writing me of the verse, would take pataliin as 'trees' and
vibhramabh?talJ, as ' possessing the sportiveness (of the smoke),' but the first
is a dictionary meaning only, if not a ghost meaning, and the second, while
proper, seems to me to have no point. As it stands the verse is hopeless.
994. (b)jalarmiku: the dictionaries give this as a synonym of diityuha; cf. 221,
note. But I imagine the minarail.ku or matsyarmika (cf. 1155), that is, the
kingfisher, is meant, for the kingfisher waits till he sees a fish surface to
attack. (cd) The more likely explanation is that fish use their spit to stun
insects. 995. The flattering inference is that the king's fame has made
everything indiscriminately white. A similar use of rhetoric occurs in 1439.
(a) Hemaca.ndra (KHA. 286) points to deva svasti as a solecism for devaya
svasti and justifies it as in keeping with the naIvete which the brahmins
have assumed in order to flatter the king. (d) For the convention concerning
the color of the Jumna and the Ganges see 931 and note. 996. The verse
is given as an example of vyajastuti by Jagannatha (Rasagangiidhara.,
p. 418), who attributes the same opinion of it to Abhinavagupta. As. ad 37
otherwise. 997. (c) The kaNJ.ati would be darker than a northern girl; hence
the earring would show brighter. 999. Pearls were thought to grow from
raindrops. For a similar description of the process see 408.
1000. The verse is addressed to some king of Ujjain. The final line has
reference to the whiteness of that city's buildings. 1001. Ca) The ocean
water, which is normally dark blue, has been turned white. Similar albifica-
tions are recorded in lines band c. 1002. The three similes gain a sort of
harmony by all referring to the myth of the churning of the sea; cf. Intr. 4,
par. 11. (c) bahu.lapak$a: the waning fortnight. (d) Note the graceful
yamaka. 1003.", iglU is ever prone to fall into his cosmic slumber; cf. lntr. 6,
par. 5. His consort, goddess of wea.lth and royal power, here welcomes the
cry of King Bhoja's fame which wakens her lord to his amorous duties.
Doubtless King Bhoja of Dhar is meant. (c) K$ema'l'ft tapatu is an unusual
expreSSlOn. 1005. For King Kuntalamalla see Text Volume, Intr., Section 9.

539
Vs. 1006-1025] Notes
s.v. Chittapa. (d) The king's fame is universal. 1006. (ab ) T he king's fa me
had its origin in a victorious battle. For the belief tha t pearls grow in the
skulls of elephants cf. 864, note. (cd) All the parts of the t ree are objects
notable for their whiteness. 1007. For the mark on the moon as a deer see
Intr. 29, par. 2, and 911, note. 1008. A vyiijasttdi, cf. Intr. 32, par. 5. (b)
'Dark as a waterlily petal.' For dark sword blades cf. 921, note. (c) I have
left sarnayasuZabhiim untranslated. It might mean any of various things:
'easy to meet,' 'received from war,' 'easy to strike up an agreement with.'
1009. (c) harir;w,lak$ma: bv. cp.
1010. (ab) The objects mentioned are those that were churned from the sea
of milk; cf. Intr. 4, par. n. (cd) The three goddesses no longer go to their
dark husbands, being unable to distinguish them in the universal whiteness.
1012. (a) siliisetur: the bridge from India to Lanka. 1013. (b) bhuj agarii}a:
i.e., Se~a, on whom the world rests. (d) nirmoker:Ul.; the slough, b eing from
Se!?a, would be white. 1016. Panegyric of King Kamboja; see Text' olume,
Intr., Section 9, s.v. Vasukalpa. (b) vibh~a1Ja: ' an ornament ' that some-
how (kimapi) shines although so far removed. There is a possibility that
vibhii$a1Ja was part of the name or title of the king's grandfather. (d) pra-
r;w,yinim: cf. 177b, note. 1017. Punning verse: "By your [white] fame's
coming to them mixed with your love [or, redness] toward your subjects, on
the faces of the nymphs of the quarters there suddenly appears a half tilaka
of saffron." The reference is to the round spot of red saffron or minium with
which women ornament their forehead. To the var. lect. one may add Skb.
3.40 and KHV, 84, both reading gU1Jiinuriiga. 1018. A vyiijastuti : see Intr.
32, par. 5. Ruyyaka points out (As. ad 37) that the blame is turned into
praise by applying the maxim vise~aprati~edhe sesabhyanujiiiinam: when one
makes specific exceptions one admits everything that has not been excepted.
Thus, the king's fame has whitened everything except the four items of ab.
1019. The style, which is simple, is most unlike Murari. (b) Lit., "Make
fruitful (or, pearl-full) the gU1Jas (necklace strings) of kings and your own
gU1Jas (virtues) as well." (c) Add to variants SI janayasi and jalaya.si.
(d) SI jaladhir aha.
1020. (b) nalpatapalJ,phalam: lit., 'would be the result of no little asceticism
[in past lives].' yadaparam: other than which, despite which, however.
1022. The point of the verse seems clear: don't run after the shadow of things
that are beyond mortal reach. But the wording of the verse presents diffi-
culties. The literal of c seems to be, "How can one seize him on this earth
although he is nectar to the sight of lovely opening eyes." But perhaps Sri is to
be taken in the sense of 'lotus'. The use of lava in d is unexpected. (d)' the
smallest part': Siva's crown contains only the crescent moon. 1024. The
adjectives are well chosen. K$udra (not only 'little' but 'mean'), bhiru
and cafi.cala would all apply to those who leave their protector in his hour of
peril. 1025. For Agastya cf. Intr. 33, par. 8. (ab) The creatures of the deep

540
 Notes [Vs. 1026-1048
express their sense of security. (cd) This furnishes the moral: never trust in
greatness. tamyat-: lit., 'with perishing whales and crocodiles.' 1026. If I
understand the verse, it is not really an anyapadesa. Close parallels are
furnished by 799 and by 8rb. 211.38. (d) murcchiti: a nonce form; I am not
certain of the sense. dvir ahhyahati~~: 'double stroke,' because each serves to
remind the lover of his absent one. 1027. (a) hastiivalepa: cf. Megh. 14.
(c) The syntax is tortured. The normal word order would be: [tad] asti
liifichanatl1. [yat] sa jetavyo harel}. (d) For the mythical sarabha cf. Intr. 33,
par. 12. The point of the verse lies in the sarabha's name, svayamjaya.
Other creatures would prove their strength by conquering others; the creature
of supreme strength proves his supremacy by conquering himself. yo refers
back to harett. 1029. A polite way of implying that the poet needs cash, not
promises.
1030. (d) Lit., 'that the branch-bark, which is like the section [from joint
to joint] of the body [which it encloses], should leave.' 1032. (c) amrtavarti-
pra'!:w.yinim: cf. 427, note, and 177, note. 1035. (d) eka: 'perfect, unique,'
cf. 347d, note. 1036. (c) The sandalwood tree grows on the Malabar mount-
ains, which are difficult of access. The word sthiti refers both to geographical
elevation and social rank. (d) tapam: ' fever ' in the double sense of 'heat'
and 'grief.' Sandalwood was used as a refrigerant. 1037. The Indian
cuckoo is black and like its Western relatives lays eggs in the nests of other
birds. Ca) dvija~: The crows claim Aryan status, being born twice: in the egg
and out of the egg. (d) I make a pause after te~am, taking the sense as "this
was your peculiar fault to them (in their eyes)." Although it fits better with
the caesura to take te$am with svabhiivo, it gives poorer sense. 1038. (d)
aka1Jtham utka1Jthital}: lit., ' up to their necks in longing,' an odd expression,
but cf. iika1Jthatrpta: 'satisfied up to one's neck.' The agreement of Sp. and
Smk. with this reading disparages Bohtlingk's emendation to utkarJtham
utka1J-thitalJ, (BIS. 1753). 1039. (c) a.sanipiSunair iitapair: 'heat as cruel as
thunderbolts.'
1040. (a) rajjvii dual} pravitatal}: lit., "The directions are spread with rope."
The reference is to high nets as opposed to the ground snares of b. 1041. (c)
viUf,avadahane: for the submarine fire see Intr. 33, par. 29. 1043. (a)
mado§mii-: Doubtless the correct reading lies in a compromise between our
text and S, viz. mado$1Jli-. 1045. The items in ab were all churned from the
ocean (cf. Intr. 4, par. ll) and are so considered to be members of the ocean's
family. (b) Delete the syllable tm from madyatyatrabhramu. Abhramu is
the cow-elephant of the east, the mate of Airavata. (cd) Lit., "From ponder-
ing ... the ocean burns within with a pretense of the fire named VaQava."
VaQava is the submarine fire. 1046. The construction is twisted. The
antecedent of yan in a is sindhura in c. In var.lect. for the second occurrence
of (a) read (c). 1047. (d) Lit., 'to cause motionlessness in its dust.' 1048. (a)
The words bear double senses, applicable either to oceans or men. Thus,

18* 541
Vs. 1050-1065] Notes
maryadiiJJhangabhui: 'respect for law and order,' or ' fear of transgressing
the shoreline'; amitarasataya: ' with unmeasured strength,' or ' with un-
measured liquidity.'
1050. (cd) Construction: ' but if your interior furnishes fear by the flames
etc.,' vandyas tadiinim bhavlin: cf. 706d and note. 1052. The verse puns on
the word hari (lion, God, ape); ,,' Although the lion's bod y is cut with cuts of
sharp claws that have sunk [into his flesh] and bears a mane smeared ,... ith
clots of blood, he is of indomitable majesty and bears t he name of hari.'
'So does an old ape. What's so wonderful about that ? ' " Kosamb i notes
that this stanza is in a noticeably later style of calligraphy than the rest of ~ .
1054. For the cataka see Jntr. 33, par. 15. (a) viirtiim: T he reading makes
poor sense. With it one must translate, " Tell [us] the news which has
happened in India, which you know." The S reading 'D iirliil}. is preferable.
1055. (a) dhikkarma'f,lii, probably bv., ' evil-working.' In var. lect. add
(b) 81.2 nirasyatii. 1056. (c) The form durliilita (for durlalita) appears
to be unrecorded. 1057. Punning verse, applicable to t he sun or to a king.
"The rainy [or, evil] days are past and you are seen, oh store of light [or,
store of military power]. Now that y ou fill the directions [or, fulfill our
hopes], how should clouds stand between [us]?" 1058. (d) karaku~uj..ikii­
lit., 'puny enough for the hollow of the little trough of his hand.' Before
last item of var. lect. insert 8 1• 2 gatau; 1059. (b) Lit., 'faint from rolling on
the broad mudflats.' asmin: The reading is inferior to the yasmin of S,
Sp.,8bh.
1060. (b) ainam is impossible. Of the 8 variants aikam is preferable.
1061. (d) I prefer the reading of 81.2 pidadhate. The peepul is like a king
who is indiscriminately generous. His noisy sycophants drive out the true
poets. With the reading vidadhate the verse says that the fault of the peepul
is that its birds give forth the cuckoo's cry. To make sense one might
suppose that a lover is speaking, to whom the song of the ko"--ila brings
memories painful in his present separation; cf. 757c, 778b. But in that case
the verse would cease to be an anyiipadesa. 1062. Birds and bats usually
eat up the banyan fruit before it matures. This fact is noticed elsewhere:
phala1!l- hina1!l- dadiinalJ" Any., p. 129, vs. 173; tuccha1!l- phala7!L, ibid., p. 130
vs. 176. Of the banyan sprout one may note A n y., p. 129, vs. 174, "The
banyan sprout either becomes a great tree or perishes root and all; it knows
no mean." 1063. The siilmali or silk~cotton tree, 8almali malaharica., has
showy red flowers (cf. Riim. 6.88.71; 1,ltu. 1.26). Its inedible fruit, on ripen-
ing, bursts the hard shell to release seeds to be blown to a distance by the
wind. 1064. (b) payal; paya iti: 'for pay as (water) is payas (milk).' The
parenthetical pun furnishes evidence of the friendship of the two substances.
1065. An argument showing that the faults of the moon are not shared by
the sun but concluding with the statement, applicable to others in anyapadesa
fashion, that the very faults of the moon are praiseworthy. In c the words

542
 Notes [Vs. 1069-1094
sa im.a.?TL n'[ja?~ must be corrupt. "It was he [viz. the moon] who played (the
lover) with the drunken wife of the god's chief priest, not that one [viz. the sun];
it was he who caused much discord in the affair of the gods and demons. not
that one. This [sun] is not born of .? . as he is . ? Nor is this one a
mine of vices [or, nightmaker] as he [viz. the moon] is. But say what mark
[or, fault] is there on the sun equal [in beauty] in the sight of human eyes
to the mark on the moon?" 1I1ADHUKUTA. (a) The reference is to the moon's
carrying off Tara, the wife of B:rhaspati. 1069. (a) punar api =tathapi. Cc)
itas: probably 'beyond here' in contrast to upiidhvam, but it could also be
taken directly (=asmiit) with kfiiriihdher.
1071. Cc) asa1TLj7"'UiIj,: 'without intelligence,' a sense of samjfiii found chiefly
in Jain authors; cf. TattviirthiidhigamasiUra 2.25. jalaSikhi-: cf. Megh. 5.
(d) nirmadam: 'without pride (insubordination)' and 'without must (the rut
of elephants).' 1072. (c) Lit., "''Ve shall admit an unequaled expression of
strength." 1073. (d) makari: a female makara (crocodile, shark, dolphin).
The figure of a makara. as vehicle of the god of love, was used as an ornament
(cf. 389, note), but I have found no other reference to its presence in the
jewelry of a crown. 1074. The flowers of ah are all noted for their scent,
safflower only for its color. (d) dagdhabhramara: 'cursed bee,' but I prefer
the reading of S: mugdhabhramara. 1075. (c) yadiilokabiihyais: one may
divide into yadii +lokabiihyais, 'when these outcaste nights,' or yad+iilo-
kahiihyais, ' that these unenlightened nights.' Both meanings are intended,
the first being more important since it points to the prastuta of the anyiipa-
desa. 1076. Kosambi has pointed out to me a parallel in Bh. 721. 1078.
Allegory and sentiment much as in 1050. Cb) lakfmyii: the reading of S, P,
Smk., .sp., etc. is la.k§mim, which is far better. (d) vyiiiJ,as: cf. 801, note.
1079. (a) krorjahh~ii: i.e., jewelry such as the great ocean holds. The point
of the verse is similar to 1069.
1084. (b) vyasanam: the word means more than 'passion,' sometimes 'vice,'
a desire or habit so strong that one loses judgment and comes to grief. 1085.
Punning verse: "Friend, these clouds by carrying ofi' all his glory harm their
friend [or, harm the sun]; why speak of [what they do to] those they dislike?"
The person addressed is feminine. 1086. A punning verse and a very good
one. "'What does this monkey not do with yonder bilva fruit [or, with the
fruit of wealth, i.e., riches or empire]? He laughs, dances, swings to and fro
and looks at the people below him." TAR..4,.1~UNANDIN. 1087. (b) utsahati:
irregular, for utsahate, 'undertakes, is willing to.' (c) siikhotaka: Trophis
aspera. 1088. (d) 'This bird' : the ciitaka. 1089. The moral might be " Great
men to be stirred to action require a great task," or "To great men a great
task is an easy thing."
1092. (c) sanmiirgajalasaya: 'lake by the good way side,' with a hint of
temptation along the path of good conduct. 1094. The blossoms of the
kadamba, which appear at the thunder of the monsoon clouds, are often

548
Vs. 1095-1118] Notes
likened to the horripilation of joy; cf. Mal. 3.1. 1095. Punning verse: "The
sun by stretching forth his ray toward the south [d4¥~-tUa. or. dividing
daksinii-iiSii. stretching forth his hand in hope of alms] has not only lessened
himself [or, cheapened himself] but has also shortened the day." 1096. The
verse bears two meanings. "One cannot stretcb or dry oil dishes. And
even when they are burned they give off oil before they crack." " One cannot
stretcb or make rough those who are fit objects of one's love [i.e .• true
friendsl. Even if they are hurt they manifest their love before they break."
I fail to see the point of vitanam, 'stretch.' 1097. (c) patl/"~asya: human
effort, regularly contrasted with daiva, God's effort. fate. In general the
direction of one's life is governed equally by both forces, but when one has
evil karma to expiate, daiva takes over the whole governance. 1098. (d) The
cloud is morally elevated by its altruism, physically elevated by having
dropped its weight of water.
1102. (a) -antarasarpgatim: I have adopted a suggestion of Kosambi and
Gokhale, dividing antarli-sarpgatim, 'access to the interior.' The praatu.-
taTtoo might then be the wicked courtier who tries to seize power after a king
has died. Less likely is antara-asarpgati: '(finding) no meeting with an
obstacle.' (d) plirva1JalJ: the moon of the parvan, the phase of fullness, as in
52a. 1105. For the world-tortoise cf. Intr. 4, par. lI. The verse is similar
to 1206. 1106. Punning verse. In a separate bhava from ~f,hamayi.
"You may well be of wood, little boat; still, you have a heart. Else how
would you be attracted [or, towed] by the virtues [or, ropes1 of others?"
1108. Each of the properties mentioned in ab should enable the ocean to be
of help, but it refuses. (b) driighiya~ should be joined in print to the words
which follow, with which it forms a compound. 1109. (a) Lit., 'unique
heap of undenigrated virtues.'
1111. (d) agre: adverbially with the loco abs.• 'as the thought develops
further.' 1112. As the water of the pond rises, the measuring-stick dis-
appears from sight: The verse allows of numerous applications. 1114. (b)
antaritii: read with S antaritiilJ. 1115. (a) As the verse stands, the best one
can do with this line is, 'the inimical ichor that is connected with the ear-
stroke of elephants,' which is extremely forced. I suggest emending to
kari1J1im upe~a, which gives easy and excellent sense. (d) Lit., 'fie on
the mortal addiction of this malimasa ('bee' or 'sinner'). 1117. Punning
verse: "In vain, oh gold, is your pride [or weight]. now that you have been
purified by fire, knife and acid, for you are placed in the scales [or. made
equal to] little gunja berries." sURABm{ 1). For the gunja" Abrus pre-
calorius, which was used by goldsmiths for makeweights. cf. 319 and Kosambi.
Introduction to tire Study of Indian History, p. 114. 1118. (a) waladbhis: cf.
7b, note. (b) daksi1Jdvarta: in establishing their terminology Indians viewed
conch shells from the side of the mouth opening. Western experts, on the
other hand, view them from the apex downward. Hence daJc8ifJiivarta

544
 Notes [Vs. 1119-1129
(right-twisting from the Indian point of view) equals sinistral (left-twisting
from the Western point of view). The reason usually assigned for prizing
sinistral shells, aside from their great rarity, is that P8.ficajanya, the conch of
Krishna, was of this variety. Such shells are much sought after for use in
temples and in our own days have brought up to 5,000 rupees. See B.
Prashad in Modem Review XXVII, 480-482. (c) mast: The quotations in
P. W. indicate that ink was usually manufactured from burned bones.
The chemical composition of burned oystershells would be similar. 1119.
Punning verse: "The hole [or, fault] of a pearl is for the string [or, for
virtue] and its inconstancy [or sheen] gives it the name of nayaka (' lover' or
'chief pearl in a necklace '). How else would it roll on the breasts and on
the heads of the rich Y"
1120. (b) The word bhr~f,o, whether from bhra""s or from braij makes n~
sense to me. (cd) The reference is to the pit of the mango, which is noted
for its hardness, cf. Srb. 289.108. That parrots sometimes break their beaks
on coconuts is noticed in Srb. 241.140. 1121. The kitp,piika was noted as
food for crows only. Cf. MarkafJ4eya Pura1}a 10.81 (quoted P. W., Nach-
triige): ki'f[l.pQkavr~aaya dhva~a bha.1a;anti netare. Monier-Williams identi-
fies it with Tric1wsanthes palmaJa, which is likely to be correct. Kosambi
write me as follows. "The only local siistris who knew anything about the
1citp,piika said that its fruit was the kau~ (Marathi). I then found that
Nadkan.ri's Indian Materia Medica identified this kau1J4ala with Trico-
santhes palmaJa. Niidk~ (who says nothing of kirppaka) says that it is
mixed with rice to poison crows when these birds get to be a nuisance." The
same fruit is designated in verse 1260 as maMkalaphala. (d) bhitti=avakii8a.
1123. ){ount Mainika by fleeing for refuge to the ocean escaped having its
wings clipped by Indra; cf. Intr. 86, par. 8. 1124. Construction: "8allaki
leaves .•. and lake ... belong to moun~ins. That is true; who denies it?
But that for which ... is the Vindhya, you." (a) sallaki: the olibanum tree
(BosweUia serrata or thurifera), which produces a gum resin similar to frank-
incense but brown instead of white. See Hoernle, note 42, page 19 of his trans-
lation of Uvasagadasiio and Yule-Cordier, The Book of Ser MaTeo Polo, TI,
p. 896. Sallaki is said to be a favorite of elephants Vik. 4.44, Miil. 9.6 ( = 1591
below) and 9.82, as are other resinous mountain trees, e.g., the aarala (Kum.
Same 1.9). (c) 'trunk upon his tusk': the position is assumed by elephants
when sleeping (cf. 1161) and, to judge from the present passage, when day-
dreaming. 1127. PUDning verse. "The wind, having touched a vine in
flower [or, which is menstruous], takes a bath in the lake. Then, fearful of
touching her again, he blows slowly." VINAYADEVA. 1128. (a) akar,a1J4:
lit., 'pulling.' (d) ruwin.a: the 'new' cry, for spring has just begun. At
the cry of the cuckoo women forget their resentments and their hearts turn
to love. 1129. The verse describes the turn of winter and spring, when the
kunda jasmine comes in blossom (cf. 298,296) and the south wind first blows.

545
Vs. 1131-1142] Notes
(cd) The hair over the forehead was worn in a. .r uche of curls. These would
be loosened or straightened by love-sports; cf. 781c.
1131. The meter of this verse, as of 1281, is Varpsamrua, that is, a mi~"ture
of Val1lsastha and Indravarpsa; see Jayadliman, p. 154 and index of Sanskrit
meters below. (c) The printed emendation is faulty ; read bhfl.$a (~Ia~ pm].
1132. (a) lavali: cf. 406a, note. lodhra: cf. 217d, note. kara11j a: PO'1lgamia
glabra Vent., the oil-bearing seeds of which are used in medicine and love-
magic (Nligarasarvasva 12.8, p. 55). 1134. (b) Lit., 'possessing an application
of ashes [to his body] prepared by the pollen of flowers.' 1135. (d) Cf. 1136d.
1136. (a) gliif,hamarmanivahe: 'possessing a heap of deep wounds [from Love's
arrows].' (b) candana8o~1Ji : the fever of love is such t hat even the cooling
sandalwood paste applied to the breas t is parched. (d) Cf. 1135d. 1137.
(d) Doubtless one should read, with Sp. and Sbh., huiiisanam in place of
hutiiSanaJ;. It is the heart of the wife left without her husband that burns
with grief. Kama enters to warm himself at that fire. 1138. (b) pra1)Q.yapi-
sunam: 'manifesting or hinting at love.' But the other sense of piSuna,
'cruel,' is sufficiently presented to the mind to prepare it for bhayam in a,
the real threat or danger to lovers in the full exuberance of the spring. (c)
mlidhavi$u; Gaertnera racemosa; cf. 177. 1139. (b) va:namalli: ' wild jasmine,'
or, reading with S navamalli, ' newly blossomed jasmine.'
1140. (ab) Snakes were supposed to live on wind, cf. 253c, note, an idea
which is here combined with the conventional image of the wind's reviving a
woman wearied in love's battle. 1141. (b) The S reading kli.syatpina is
preferable to kli~tiipina. (d) gundrii: the root of Cyperus perlenttis Roxb., a
kind of sedge with an edible tuberous root, growing in the water. Similar
species are the musta (Hindi mothli), Cyperus rotundus, ·cf. Sak. 2.6 and Ragh.
9.59, 15.19; and the chufa of Southern Europe. All these varieties are much
relished by hogs. The papyrus belongs to the same famil y . 1142. DviiraJ...--:a:
the fabled home of Krishna on the coast of KatHawar and site of a temple to
Krishna-Vii?l).u. (c) karikathinakariisphiilakiila: lit., ' the keeping time, by
beating, of the hard (tough) trunks of elephants.' (d) panciinaniigra: 'best
of lions.' Dvarka was famous for lions and it is there, in the forest of Girnar,
that the last remaining lions of India are found to this day. The) differ
from other lions by their size and by their having a black tip to their tails.
Guggulu: ambergris. The word is regularly given in the dictionaries as
, bdellium,' i.e., a sort of gum resin, but this does not accord with the Sanskrit
descriptions of its color or its origin and P. W. wisely adds to its definition,
"oder etwa ein anderer Stoff, der aus dem Meere kam." Guggulu, which
was used as a perfume, is frequently called saindhava and samudn:ya, i.e.,
'from the ocean.' The Bhiivaprakasa (q. in P. W.) describes its five varieties
as mahi§lik§a (dark), mahanila (black), kumuda (blue), padma (white), and
hira1Jya (golden). One may compare this with the statement of Webster's
International Dictionary: "ambergris is white, ash-gray, yellow or black

546
 Notes [Vs. 1144-1161
and often variegated like marble." While the subject needs further research,
I would take it that guggulu means ambergris. 1144. (c) sahhyo: well-bred,
courteous, and therefore gentle. (d) bhujangi: cf. 1140, note. 1145. (c)
lotha,yama!~: V ide reads loq.aymual)., which may be preferable. paficamam:
cf. 153, note. 1146. (a) Emend ciu!n. to cUta. The former makes no sense,
while the latter is needed to pair with the vine in b. As in the Sakuntala,
the marriage of mango and vine is the counterpart in nature to love between
man and woman, mentioned in d. (d) jarjarayati: apparently unrecorded
except in the participle; lit., ' pierces full of holes.' 1147. On the monsoon
gales; cf. 1172. 'T he verse is too corrupt to permit of translation. In
particular, in (a) vanani cannot be right (emend to vaniinta?); in (b) sar(l.Syan-
daSpigaritw,1J, and in (d) biila make no sense to me. BUDDHAKARAGUPTA. 1148.
Surely from the part of a gluttonous clown in some lost play. For the gustatory
delights furnished by spiced fish cf. Bp. 4033, Sbh. 2357. The words here
exaggerate the speaker's gluttony: jambiila, a 'swamp' of cumin; nirvil1JO"
'bathing,' but specifically the bathing of elephants, cf. Ragh. 1.71. 1149. In
Kalidasa's play the pursuit of the deer leads King Dub~anta to Sakuntala's
hermitage. The shy flight of the deer, who looks back at the king so gracefully,
prepares the mood of the audience for the pursuit of Sakuntala.
1150. Compare 273. (b) pala: meat. (c) viSiila: one must take the word
as a noun, a usage unrecorded in this sense. 1151. (c) saTari: said by the
dictionaries to be the same bird as ati, Turdus ginginianus, a kind of thrush.
On the possibility that sarari =sara-a# I have translated as 'reed-thrush.'
(d) vira~: 'prickly cane,' cf. 226b. By the bank of the river, which has run
dry, the cane bends low enough with dew for the fledglings to quench their
thirst on the falling drops. 1152. The pretty but low-caste girl is a well
attendant, cf. 197 and Intr. 9, par. 5; hence the erotic imagery. (a) Cf. 302,
note. (b) Compare 3Hc. 1154. The presence of prostitutes with their
jingling anklets sets the mood for love, while the nature of the anklet bearers
may suggest the dove's happiness in having a mate all to himself. The
fanciful ascription indicates that this was a capping verse. (a) I have
supplied the words 'walk home' from such scenes as Kutt. 390 if. 1155. Cc)
bw:J4ati: unrecorded; cf. Bengali, bucf.ji, 'to dip, sink.' 1156. (b) krarner;a:
The cock's wings are too weak or his body too heavy to make the treetop in
a single flight. 1157. (d) payo gam dogdhi: double ace., 'is milking the cow
of milk.' 1158. (a) -ki1!/-tanur: In JAOS, 74.125 I took this to mean 'of
decayed body,' which is etymologically reasonable but leaves karr;liigranthita
difficult to explain. Kosambi writes me that he takes -ki'T(ttanur to mean
'ticks,' which makes good sense and though unrecorded (the dictionaries give
only 'a kind of spider ') may be right. (b) pravicalal: I would now take as
trembling rather than wagging. (c) vipakvasakrama: emend to vipak§am
ilkrama.
1160. (c) Cf. Mill. 4.10. 1161. (d) For this position assumed by sleeping

547
Vs. 1162-1184] Notes
elephants see also 1124c. 1162. (b) iicchotita: cf. 677a, note. 1166. (c) anava-
rata-: 'possessing a muzzle whose nostrils quiver uninterruptedly.' 1167. The
verse shows a skillful choice of word and image. Note especially the following.
Samakr~f.are1Ju: the first gathering of a horse's forefeet as he prepares to rise
gives just this impression. Unmuktakiiyal).: A horse when he sits or lies might
well be called bound, for he then has little control of his limbs. He acquires
grace and ease of motion only when standing. As the poet puts it, when the
horse rises he is 'released upwards.' Asyanupilrvya1/l dhunoti: everyone who
has watched horses has seen this; but who else has thought to mention it?
1168. (c) pravarlita-: read withS vivartita-. 1169. I doubt that the picture is
taken from life. The verse is an example of anyiipadeSa (cf. Intr. 33) rather than
of jati. The mood of pity mixed with love is doubtless responsible for the
ascription of the verse by S to Kalidasa, he having been the master of portray-
ing that combination. (c) Lit., 'distressed by emotions which come under
the force of love for his beloved and of fear for his life.'
1171. (a) One should delete the hyphen at the end of the line. caiicaccaiicala:
cf. 198a, note. 1172. (cd) Cf. 1656cd and note. 1173. (b) sthali: here, I think.
the country of upper Bengal as opposed to the lowlands of the delta. The rest
of the description fits the supposition. 1174. (d) The image is of an attendant
painting a woman's face with black musk. For patrahhailga cf. 389, note.
1175. (d) iirame na yiinty: it is possible to understand the line as a rhetorical
question; but I prefer to read iiriim.e'IJU. yiinty. The dove (kapota) is a bird
of sorrow and ill-omen, cf. Ram 6.35.31, Viiyu 19.6. Anyone who has heard
its cry amid deserted dwellings will testify to its oppresive melancholy.
1176. (ab) -dviiram and -bhii1J4am are bvs. agreeing with tigiiram in d. 1177.
(c) micimici: unrecorded, cf. Bengali micimici. 'blinking, burning dimly.'
1178. Cf. 314, note, and 1182. (c) hi1:rftlqti: approximately what is represented
in English by 'ugh.' (d) gamaka: "in der Musiklehre ein tiefer Brustton,"
P. W. Nachtrage. ka1J4ani: given by the dictionaries only in the sense of a
mortar for husking rice. Here and in 1182 it must mean the woman who does
the husking; in 1310 it probably means the husking-shed.
1180. (b) The text is corrupt. Kosambi takes mamaho~ii'-' as 'bulls
dedicated to the mother goddess,' cf. JAOS. 74.127, but this now seems to me
far too speculative. V. V. Raghavan has suggested to me the emending of
miimaho~al). to 'mi maho~iil)., which I accept, but we are still left with the
mysterious salaviil).. I suggest that one emend to salabhiil), 'locusts, grass-
hoppers.' jiilmailJ,: 'by poor wretches,' I suppose refers to the herders.
1182. (a) Emend -sarptati to -sa7{liati and separate from the following. (b)
For nailmarks cf. Intr. 19, par. 7 ff. (d) ka1J4ani: cf. 1178<1, note. 1183.1n
general compare 274. 1184. Two other verses of the anthology speak of the
mustard plant (315, 816). In Bengal it is sown in October-November and
ripens in February-March. Like our western mustard it turns the fields a
brilliant yellow, which fades gradually to brown as the flowers fall. Kosambi

548
 Notes [Vs. 1185-1196
sends me the following particulars. "Mustard seeds grow in narrow, spike-
shaped pods, hence the phalasilci of 1184. The flowers are arranged in
vertical sprays, the seed setting from the bottom upwards; hence the flowers
wither in that order." 1185. (a) sarasi: here, apparently, a backwater.
P. W. gives the meanings 'a dried-up lake' and 'a large lake.' (b) iico#ta:
cf. 677a, note. (d) iimrecha: 'dance,' a Prakritism from ti+nart. 1186. (b)
iicof,ayan: cf. 677a, note. (c) khale: the ground of the cow pen. (d) go~tha:
the cow pen or feeding pen itself; it would be enclosed by a wall of baked mud
(tati), against which the bull butts with his horns, gaining an easy victory.
Cf. Kir. 4.11 jayiiSriyiinadantam uccai/.l. ~atasindhurodhasa'Tfl. dadaria •••
adhipa1ll gavam. I suspect the verse is intended as an anyapadesa, a figure
of which its author was fond; cf. 1029, 1042, 1051, 1078, 1080-81, 1083-84,
1094. 1187. (a) diivavahner: abl. in apposition with -kariilat, to be construed
with adilriit, 'not far from the fire.' (c) Read durla1cMJa. (d) svasthal~:
with some doubts, I have taken as a bv. 1188. Bhavabhiiti's description of
VaImiki's hermitage, where preparations are afoot for the feeding of guests.
(a) ma1J4a: the thick scum from the top of the pot in which rice has been
boiled. ~madhura: the commentator Viraraghava suggests that the
ma7J4a has been rendered doubly warm and sweet by the drinking of the deer's
beloved doe. Otherwise there would be no point in the word madhura.
Every one knows that rice scum is sweet. (d) karkandhu: the jujube, very
like our plum. It is cooked with vegetables to impart to them its sweetness.
1189. Like the preceding verse, a description of a hermitage. The teachings
of the presiding sage have spread to the trees.
1190. The verse, given only by ms. K, is fragmentary. "Herein •..
offered in their hands by old women of the forest .•. the interiors terrible
with jagged peaks ... the eaves, strewn at the entrance with the bones of men
who have been sacrificed like animals, ... forest ... make the heart tremble."
H9!. (cd) Constr.: "they ply the ancient liquor, whose roUnds are alternated
with merriment, .. by means of bilva cups." Saraka is probably in its original
meaning of 'the passing about of wine or liquor' rather than in its usual
meaning of 'goblet.' miilura: another name for the bilva tree and its fruit,
.A.egle marmeloa Corr.; cf. Miil9.3+1 and 1343b, note. What is meant here
is doubtless the hollowed-out and dried skin of the fruit. 1192. The 'verse
describes an orange. In b I suggest reading -vipulatvag; the cp. jviilak- is
unintelligible to me. "The orange is beautiful with a new seal upon its face.
a sacrificial cord in the shape of its little navel, its skin thick and loose. ','
all its greenness overcome now by a ruddiness manifested by its successive
[stages of] ripening." ABHINANDA. 1193. (d) The Sabdakolpadruma, q. by
P. W., gives 81lnyam as a synonym of gaganam. niicchiiditam:' is not hidden,'
i.e., is well known. 1194. (c) S* supports the earth and in turn rests on
the Sea of Milk. His shape is here likened to a lotus root. (d) The putuf,arika
lotus is white, hence an appropriate metaphor for the Sea of Milk. 1196.

549
Vs. 1197-1212J Notes
(b) yasya dvipam . .. mahi: Cf. 1889a. (c) jaganty asya: Read jagad ya$ya
with all the other citations, to which may be added Anyoktya$takasa1?lgraha
12.2. The relative is indispensable. The subject of bibhrati is ambuda~.
(d) bhavati k$obhetta kalpantaram: lit., 'by its wrath (or violence) will come the
next age.' The end of the present age, it is thought, will come by flood or fire,
or, in some accounts, by both. 1197. (c) Cf. USa. (d)jala'17Ui.nu-$im: i.e., Sri,
the presiding goddess of royalty, wealth, and beauty. Cf. Intr. 6, par. 7.
1198. (b) hrdaye: as the seat of thought and imagination hrdaya often takes the
place of manas. (c) iiSrayaghasmarasya: the term asrayiiSa, 'eater of its
dwelling-place,' is a stock epithet of fire; cf. 1284. 1199. (a) munir: Agastya
as the star Canopus; see lntr. 88, par. 8.
1200. (a) anyaIJ ko 'pi: 'a different, special sort of.' jiitharo: the fue of the
belly, which by burning the food causes digestion. (b) dukii.la: emend to
kukula; cf. 801b. The term is used as a pejorative, as chaff gh es off more
smoke than flame. (d) Lit., 'without filling the space within to its further
side.' 1201. For the boar incarnation see lntr. 6, par. 10. (b) krUjiivariiho:
cf. 104, note. 1202. (cd) tad . .. yenoditena dinam: 'a [light] by which when
risen [there is] day.' 1203. Praise of Parasu Rama, the ideal brahmin
warrior; cf. Intr. 36, par. 6. The original order of the piidas is doubtless
acbd as in all other versions, for the hero must have conquered the earth by
his valor before he could give it away. (b) nirvyiijadiina: a straightforward
gift, one that' expects nothing in return; cf. 1618. (d) h:i'f!!, niima ,lokiintaram:
so ms. K only. Kosambi writes me that he interprets as "What more is
heaven that this, i.e., what more could have been achieved even in heaven?"
But I doubt that Bhavabhiiti would have written such unintelligible Sanskrit.
The correct reading is doubtless either ki'f!!, vii na lokottaram (Mahiivira, DeM.)
or kiT{/- kiT{/- na lokottaram (Han., Smk.). 1204. (a) tad-vidvi$am: 'of his foes,'
viz. demons such as Hira~yak~a; cf. Intr. 6, par. n. 1206. For the rhetoric
compare n05. 1207. As with clouds, so with men who would be useful or
charitable; for while many are rich in wealth or ability, who is richer than
he that can help such men achieve their goal? The verse may be thought on
by fathers and teachers. (a) pari~manti: 'come to an end,' hence, here,
'be quenched.' 1208. The anthologist has inserted this verse twice, under
number 87 and here. 1209. (a) Cf. Intr. 6, par. 4 ff.
1210. (c) The line suffers from tautology. 1211. (b) anto'rr,w.vam: both
sa'f!!,dhi and sense are impossible. Emend to anyaT"(Lavam. (d) payasiim by
double construction (kiikagolakanyiiyena) with yamiiya and a.ntargato. The
Vagava fire controls the waters of the ocean by burning up their excess and
thus preventing floods. 1212. I suspect ah of being corrupt. In b the adj.
vaikrtas is awkward if not impossible, and I am not certain how to take a.
As best I can: " [There is] a quenching of the fire which belongs to that [ocean]
in which the waters reside, and when the association [of submarine fue and
ocean water] comes to an end, at the coming of a cloud [the fire] is still trans-

550
 Notes [Vs. 1213-1230
formed b y that water. However, there is another [fire], ever wakeful, which
in the cataclysm of the night of doom will steadily sacrifice [i.e., transform]
the ocean waters into its flame." KESATA. 1213. Of this and the following
v erse certainly one is imitated from the other. Since the first verse is more
precise and forceful than the second it appears to be the model, a fact which
supports the ascription, for Dharmakirti is older than Bhavabhuti. (ab) The
readings are in every way better than those furnished by Bh. and Sbh. (d)
Lit., " By whom is this taught to the good?" Cf. 1233d. 1214. Cf. note on
1213. Cd) Read anupadhi (so Ut.) in place of anupadi. The heaping up of
adjectives in cd is characteristic of Bhavabhuti. Tad idam sums up lines ab
and is then modified by three afterthoughts; aviparyiisitarasam, anupadhi,
viSuddham. Ralul$ya1?t sadhunam, grammatically in apposition with too
idam, has almost the foree of a predicate, the sense being "this ... is the
glorious secret of good men." 1215. (b) parapatatu: a Vedic rather than a
Classical expression. This reading, shared by Sbh. and by one recension of
Bh., forces one to take gacchatu vii yathe§tham as 'or let her fare in accordance
with his wish.' The common reading (most of Bh., Sp., BIS., etc.) is samii-
msatu, which demands an interpretation of the whole line as "Let fortune
enter or let her go as she pleases." (d) dhiriilJ,: 'men of firmness.' The
firmness intended is both intellectual, viz. wisdom, and moral, viz. firm
principles. 1216. Punning verse: "How can a hole ever be pierced [sc. how
can a vulnerable spot be found] in men of purity? It can be made as with a
pearl by means of str~as [or, by means of their virtues]." TRYAMBAK.A?
BHART~HA.RI? For the moral cf. 1333. 1218. Punning verse; "The scoundrel
and the good man imitate respectively the front and hind parts of a needle.
One makes a hole and the other, possessing the thread [or, possessing virtue],
fills it in." GOBHAITA. 1219. (a) For PUI).9-ra sugar cane see 316, note.
1222. The poet's words, it seems to me, belie his indifference. 1223. (c)
mukulitiif~: 'closed,' as eyes are closed; the expression is contrasted with
un1114a in d: the opening of the eye of wisdom. (d) Lit., "But this eye-
opening of the ·wisdom of good men, being without limits, is victorious."
1224. Punning verse: " Taking the part ofthe good [or, having a good feather],
upright [or, straight], leading to good results [or, possessed of an arrow-head],
clinging to virtue [or, clinging to the bow-string] ;-how strange that good
men and arrows should possess the same virtues." [BHAITA VASUDEVA]. 1226.
(c) To furnish correct idiom and sense one must emend iitita to iinita. 1228.
Punning verse: "Unprecedented are the fires of anger of a good man and of a
wicked man. The first is quenched by oil [or, love]; the second waxes greater
with water [or, when restrained]. " [GOBHAITA]. 1229. (b) The reading is doubt-
less corrupt. Sthii with the accusative in the sense of upastJui is scarcely found
outside RV. Furthermore, the conjunction vii is here senseless. Read svaya1fl
ti~thanti ciUape (so BIS. and cf. Srb. t~thanti svayam iitape).
1230. Punning verse: "They depend not on (others') love [or, on oil] nor

551

- - - -- - - - ---- -
Vs. 1232-1261] Notes
on their fitness [or, on a dish] nor on difference of status [or, on a wick].
Ever attached to others' good, good men are like jewel-lamps." By jewel-
lamps are meant jewels that shine by themselves in the dark and can so be
used as lamps, requiring, of course, no oil or wick. 1232. (c) sumanaaiim:
pun, 'flowers' or 'good (wise) men.' (d) 'left and right': also 'the bad and
the good.' 1233. (d) Lit., "Is this taught by anyone to the good?" Cf.
1213d. 1234. (d) For hi read 'pi. 1235. (d) Lit., "the water standing in the
ocean-belly of the lord of waters leaves its saltiness [or, harshness]." 1238.
(d) The line is found also as Bp. 248d.
1240. Punning verse: "Good men behave like archers' bows: they rest
only wJ:len their virtue has risen to its peak [or, when the bowstring has been
lifted to the point of the bow]." The lifting of the string. I presume, refers
to the winding it about the upper point of the bow when the lower end has
been disengaged. 1241. And yet the jackal, in whose mouth the Pancatamra
places this persuasive verse, did the deer's family little good. 1242. (d) I
have not elsewhere seen dhik used with the instrumental. One may explain
it here as attraction to the case of the relative. 1244. (e) The ascription ce~
is presumably the code letter or shelf mark of the manuscript from which
the anthologist took the verse; cf. Text Volume, Intr., Section 9. 1247. (cd)
I suggest emending to bhavatiid ayam .•. viri1raya1i, lit., "let there be this
ridicule (of the good man's work) that this (robe) be spoiled (by the malicious
man) with holes (through which his wicked character will show)." If one
follows the emendation of the text-editors, one will understand as "the
ridicule belongs to you (viz. malicious men) since this (robe) must be spoiled
with holes." 1248. (a) ~lIii:r.u!a: pumpkin. "It is a superstitious belief in
India that the kiismii:1)iJas do not thrive when they are pointed [at] with [the]
fingers and counted." Rasiklal Parikh, KHA., Vol. 11, p. 237. The man
of honor (miinin) is just as tender before the finger of reproach.
1250. Punning verse ~ "Although it has no taste we love the fruit of the
cotton, for its virtuous birth [or. its birth in the form of threads] serves to
hide the shame [or, shameful parts] of others." 1251. A punning verse which
I fail to understand. As best I can: "believing that the sap can be gathered
only by a dish which has a string [or, only by a virtuous recipient], everyone
understands himself to be your relative and runs [to you ?]." 1251. The
words bibhya1i, vadanti, aSnati are feminine present participles, vocative.
1256. Punning verse: "Both a wicked man and a cloud are noisy, unkind
[or, dark] and destructive of the works of their friends [or, of the sun]. Both
are created for the destruction of hope [or, of the directions]."
1260. (c) ma,hiikiila: a name for the 1citppaka, Tric'hosanthes palmata; cf.
1121, note. 1261. Cb) piSunapratuJ,hiibhimanodyamal): the attributes ina dis-
orderly way are the contraries of the good man's in a. PiSuna contrasts
with sadbhava, prawJ,ha (grown-up, sophisticated) with 8at'ala (simple, in-
nocent), and abhimiina (self-interest, conceit) with ni~atiga (disinterest,

552
 Notes [Vs. 1262-1289
absence of egoism and possessiveness). 1262. Punning verse. The text of
ab is corrupt. A possible emendation would be devaniim api paSyaitat sa
mya modate khaJa.h,. "See how this holds even among the gods: that a
villain [or. V~t;lu] waxes great with wealth [or, with the goddess Sri], while
Siva, who possesses no discus [or, no devious ways] is not in possession of even
a robe." Khalais known from a lexicon as ' the sun' and thus as Vi~t;lu.
One may stay closer to the mss. by reading Sriyam edJwte if one will allow a
genitive with edh. 1266. For verses in evidence of this disparagement of
the ocean. cf. 1025, 1058, etc.• and Intr. 88, par. 8. 1267. (b) paricayacale:
there is no need to emend as BIS. does. The literal sense of the compound
is 'which turns by its close acquaintance with (i.e., by its frequent experience
of) a succession of strokes from the edge of the staff, misfortune.' 1269. (c)
pavanaiino: fo.1' the superstition that .snakes live on air cf. 25Sc, note. Living
on air• .i.e., fasting from vegetarian as well as meat diet, is taken as the highest
form of non-violence.
1272. Several of the adjectives might apply to a snake as well as to a villain,
e.g., randhranvqir,ti: 'seeking out a hole. ' But the puns are not carried through.
1278. (d) upalakhaf'J44m: simply 'a stone, a gem'; kha1J4a is an adjunct of
shape like saJuda, cf. 218, note. What is meant here, of course, is the moonstone,
cf. 310, note. draooyati: 'melts, dissolves.' 1279. (ab) Suddhamatau varyajane:
the reading is impossible, whether one takes it as vii+iiryajane (what occasion
is there for vd?) or as oiirya-jane. I .h ave translated as though the text read
8uddhamatiiv aryajane. Hit. reads viSrabdhe Suddhamatau; Shh.: Suddhamatau
viSvaate.
1281. Punning verse, of which I doubt that I understand all the puns
correctly. Perhaps: "Who is not pained by a villain as by a hot day, a man
who pains the circle of his friends :[or. a day which possesses a hot orb of.the
sun], a man who is dear to the goddess of destruction [or, a day which is
hated by baldheaded men], who [or, which] presages future grief, a man who
grows richer by driving out one who lives (with him) [or, a day which is more
painful as it is further separated from the springtime]?" NARADATTA.
For meter see llSI, note. 1282. The :t:epetition of prakrti in a and d may be
counted a fault. (c) tiipakrokacanicayair: 'heaps of (i.e., many) painful
saws.' 1284. (ab) The first three words are stock epithets of :fire; iiSrayaAal):
lit.• 'eating its dwelling-place,' cf. 1198c. (d) bhiJamani h1Jlo.tp. h1Jlo.m: 'the
oblation has been offered in ashes,' i.e., has been wasted. On the other hand.
the idiom piivake hutatp. patitam~ 'the oblation has fallen in the fire,' means
that the gift has been placed with an ideal recipient; cf. Sak 4.2+30. 1285.
For poetic references to the moon's spot see !ntr. 29. par. 2. 1286. (b)
gtJ/IJ-ifllllJ,: 'men of virtue' or 'gems worthy of being on a string.' !lS9. Pun-
ning verse: "I greatly fear a potter even because of the string, for when the
dish is finished he cuts it off (from the unformed clay) with that very string."
Or "I greatly fear a man of plots even because of virtue, for he destroys even

558
Vs. 1292-1814] Notes
a worthy suppliant by that man's very virtue. n (b) caATiko: one who uses
Cakrii:1J.i; cakl'a means a potter's wheel and. also a plot, a 'crooked. or fraudulent
contrivance' (Apte). The latter sense, unrecorded in P.W., recurs in 1298
and 1863 below.
1292. (a) uddhava: lit., 'joy'; so also in d; cf. P. W., Nachtrage. (d}nicakais:
=nicais, adv., 'humbly.' 1294. (c) malinahrdayo: cf. 1285. 1295. (d) Lit.,
"Such friendship should be greeted from afar," i.e., avoided; cf. 106d, note.
1296. snigdha and sneha are both used punningly, 'oiP and 'love.' 1297. (d)
anyad anuttariit: 'other than non-answering.' 1198. The description fits both
a wicked man and a snake. (a) cakra: coil of a snake or plot (cf. 1289b,
note); sambhiirin: 'full of.'
1302. (a) Durvasas' curse in Sake brought on forgetfulness. 1304. This
and the following verse are doubtless from the same work. The anthologist
seems to have reversed their order. (c) plu#akanthoJ,J..' the traveler's clothing
was scorched by his huddling too close to the fire the night before, cf. 1805&.
(d) kunthan: The root /cunth 'to be in pain' is listed in the Dhp. but has
hitherto not been recorded in use. It recurs, 131Od. 1305. (a) PU/I'.,yagnaU:
see note on 315d. (c) parija4e: 'very cold.' (d) vate vati: loc. abs. kafJ.Qn:
the verb has not been recorded except from grammatical works. 1307. (a)
tanur: the use of the sing. for the pt is irregular. 1308. The verse presents
difficulties. (a) vaptr: father (P. W. quotes only lexica, but cf. Schmidt).
(b) pracchanne: 'in hiding, to one side' (?), unrecorded in this sense. (d) I
make no sense of prii1)iihtdir and have translated priitarhtdir (=priitarhoma).
The sharing out of food to the starving family seems to be likened to the daily
worship of the rising sun in the Vedic ritual. In place of the Vedie offering
of soma (andhas) to the sun what is here offered is to the children and is
merely a bit of ordinary food (andhas has this meaning according to A.K.)
tied up in a loincloth. 1309. (c) Lit., 'for getting a place on the wall spangled
with the shining rays of the sun.'
1310. (ab) A household of any respectability would keep these functions
separate. In rural Bengal a courtyard, where grain is dried and the children
play, would form the center of the household, with the men's sleeping room
on one side, the women's on the opposite. The kitchen would form a third
side and a cattle shed or storeroom the fourth. The husking shed (kafJ.JJani;
Bengali, 4henki-ghar, cf. 314, note) would be set up at one side of the court-
yard. The wife when about to give birth would move to a special apartment.
(d) kunthati: cf. 1304d. 1312. (cd) Lit., 'Wbat is there that the busy poor
man's wife does not do?' 1313. (c) vattlana: 'distributing, dealing out,' un-
recorded; the root vattt is given by Dhp. 1314. (a) Of the reading viphalam
Kosambi writes me, "viphalam: in vain, to be taken with rodil,l., rather
awkwardly, as another verb intervenes." The awkwardness is more striking
when one compares the reading of Sp.: vastra-ru.ciriin. It seems to me that
ruciran or some synonym must be what the author wrote. (cd) The penniless

554
 Notes [Vs. 1315-1337
traveIer, of course, is the father. The fact that he hides himself by lowering
his face argues for this and the words putUJl} pro#taJ!., lit., 'went again into
foreign lands.' clinch it. 1315. (b) iva probably softens the word atigi1qtam,
i.e., 'I rather believe it because it was said by friends.' (d) I translate the P
reading gliine, for I doubt that 8ra~ can mean simply 'heated' nor can
binduhhir v-igalitam very well mean 'evaporated.' 1316. (a) dharmaraU: to
be taken as fern. VOC., not with mayi. (b) dvariilindaJca: the room, covered
but sometimes open at the sides, just inside the gate. (c) This reading is
common to all texts of the Bengali tradition and though at first sight more
difficult than that of the western texts is doubtless preferable. Sbh., Smk.:
ity uktvli. (Sp. ukJe) saJuua praca1J4ogrhi1).wakye1UI. nirbhartsitalJ,. But if the
matron had suddenly cursed him out he would leave quickly.
1322. I fail to understand the first quarter of the verse, which seems to me
corrupt. For the rest, perhaps: "Desiring what desire, however small, does the
stomach-goblin distress the wife of the house! [He should know that] one who
dwells with a miser has nothing." SUBlLiNGA. 1323. (b) The reading tatha hi
seems preferable. (c) It is bad luck to speak of the dead. 1325. (c) anena:
the antecedent is savena. 1326. (c) ekiintadhrtir: both 'keeping for ever' and
'keeping to one side, for oneself.' 1327. Punning verse: "A miser (krPa~)
and a sword (krpaf)ll) differ only in shape [or, in the letter a]. Both have a
tightly closed fist [or, a tightly bound hilt], sit in the treasure room [or, rest
in the sheath], and are naturally black [morally of the miser, physically of
the swordblade, cf. 921, note]." GOBHATIA. 1328. (c) The restoration of the
text is wrong. mitam must go with paca, for the word mitarp,paca means
miser. The likeliest restoration is idam avehi mitarp,paca-mandiram.
1330. Punning verse: "The moon must travel along the same section of
sky [or, with the same tom coat] by night as the sun by day. My! but they
must be poor." 1331. An indirect play on words. "Our bodies black, we go
from house to house, calling out our names ourselves, after the fashion of
crows." To explain: the crow calls out kii, kii; that is his name (kaka).
1332. PUDning verse. Perhaps:'" From this point may begin instruction
in bahuvrihi compounds • [or, 'from this man may come possession of much
rice']. My hopes of this [or, my directions for this] were false. My mind
was like that of one who is confused because he has not studied what should
come first (in a compound) and what last [or, what is east and what is west]."
1333. (a) For the Jumna cf. note on 931. indTanilaS~: cf. 218b, note.
(c) cakravaIa means no more than cakra, cf. 1206c. 1335. (d) For the corrupt
first word of the ms. I emend to stri rather than Sri. 1337. (b) Rav8Qa's
follower, Marlea, transformed himself into 8 golden deer in order to lead Rama
away from Sitii; Ram. 3.42.15. (d) Compare the proverb: yasmai deviil.t
prayacchanti pu~aya parabhavam I buddhirp, tasyapakar~anti, M.Bh. 2.72.8
(=5.34.78) and the Latin proverb quos dew perdere vult dementat prius; cf.
Hopkins, JA.OS. 13, ccxxix, and R. Schmidt, Sukasaptati simplicior, p. 29.

555
 Vs. 1338-1363] Notes
1338. Punning verse: "Whether there is truth in the scandal or whether it is
quite untrue, still the cry of the multitude pulls down the greatness of those
of high station; for of the sun who has passed beyond Libra [or, who is beyond
comparison] and who has clearly cast out all darkness his brightness is not
the same [now that people say] 'he has entered Virgo' [or, 'he has slept
with his daughter']."
1340. Both Lak~mi and the kiilakilf,a poison were born of the ocean; see
Intr. 4, par. n. 1341. Agastya was born from a water pot or jug; see Intr. 88,
par. 8 and cf. vs. 1846. 1342. (c) kiilakUta: cf. note on 1340. 1343.
For the moral, compare 1851, 1498. (b) bilva: Aegle marmelos Corr., a citrus
tree that bears large fruits. 1344. Punning verse: .. His ornament is a
frightening human skull, his servant the cripple Bbrngin, and his wealth a
single aged bull. Such is the state of Siva, lord of the gods, with the crescent
moon (vakre vidhau) resting on his head. When crooked fate (vokre vidhau)
falls on our heads who are we [to fare any better]?" The pun lies in vidhau,
loco of both vidhu and vidhi. For BhrIigin cf. Intr. 5, par. n. 1345. The
general meaning of the verse seems clear but the particulars are obscure, I
suspect from corruptions of the text. (b) sa: Is one to take sa."wandha as
antecedent? I have preferred to take premii as subject and to regard na~ sa
as corrupt. (c) sarpbarulhiin: the ablative is difficult. (d) udanaf[& jamz.yati
makes good sense but is an odd expression. 1346. Cf. 1341. (c) Vatapi: a
demon swallowed by Agastya. (d) amU§Ya should be printed apart from
--- samudrapanam. 1348. (a) karma: the tortoise on whom the world rests.
1349. (d) kiilakUta: cf. 1840, note. kiiloiiim: 'blackness,' also 'deadliness.'
1350. For the iconography cf. Intr. 4. 1351. Cf. 1348. (d) Separate
vidhau from vada. 1352. (b) pu~am is impossible; read, pa~am with Bp.
Giim api seems improbable; perhaps one should emend to gopaJ.im, since this
stays closer to the ms. than the gocaram of Bp. 1353. (d) padabhra1(l.8etiinam:
'those who have gone to [undergone] a fall from their position.' This fits the
ms. lacuna, but the simpler padaprabhr~taniim would be in far better style.
1354. (a) kasya: i.e., of anyone's heart. (c) yad: 'since.' 1355. Add to reil.
Hit. 4.106 and BIS. 6897. For niSiisu read niSiisv-a as in Hit., Sp., and Sbh.
(d) kuhakacakito: both 'timid because of a cheat [in the past]' and 'fearful of
a cheat [in the future].' 1358. (c) kamalinyii: lit., 'the lotus grove.' 1359.
(a)jiimadagnyo: the son of Jamadagni, Rama with the Ax, cf. Intr. 86, par. 6.
1361. (c) Cf. Sarp,khyakiirikii 9. (d)javiinkuram: one must read yaviinkuram
with BIS. and San. Our anthologist would not have distinguished java and
yavii in pronunciation. 1362. (a) 8iira1igai~: the word is seldom used in this
sense. For the ciitaka bird see Intr. 33, par. 15. 1363. Punning verse:
"Vi~J.lu himself is water, fire, air, space, earth, indeed the whole universe; for
him, the conqueror of the gods, anything would be easy. But be brought
low Bali by a trick, assuming the form of a dwarf. Which goes to show
that one who is naturally crooked [or, who by nature holds the discus1 will

556
 Notes [Vs. 1364-1382
do even a straight (Le. meritorious) thing crookedly." MUIjJTIKARAGUHA.
For cakra cf. 1289b. note. and for the dwarf incarnation of cf. Intr. 6, par. 17.
1364. RAhu, the eclipse demon, has no heart, for just as he first sipped the
moon's ambrosia Indra cut off his head. BAllU's head has accordingly
remained immortal with no accompanying body. (c) I emend cakra to
vaktra although "the paleography offers no justification for it" (Kosambi).
The compound is incorrect since its subordinate member governs riihoa, but
such cases are common: 8iipe~a1ve 'pi gamakatviit samiisa~. 1365. Punning
verse: "Sesamum seeds are picked and then put out to dry. After being
dried they are taken to be cleaned. They are then brought to fire and after
being burned are crushed by a hard machine. Thus, oil [or, love] is the
occasion of one pain after another." 1366. Punning verse: "Oh, milk, you
are foolish, for the butter [or, the love] you hold-is the very cause of your
misfortunes. It is for its sake that you are left out over night, then cut,
churned and heated over the fire." In (c) one should probably read upa-
viUitam. 1367. For the iconography of Siva see Intr. 4. (a) For milrdhe
read murdhtu:. (d) iSvaraJ.t: here 'a rich man.' 1368. (c) tapas: probably the
disciplined asceticism by which Arjuna won his divine arms. Possibly,
though, the poet may have considered the whole Bharata war as tapas.
1370. (b) kalii: 'arts,' also 'digits of the moon.' mangalaghaf,aJ.t: cf. 269,
note. 1371. Jarisandha's wars against Mathura and the expedition which
Krishna, Arjuna, and Bhima later undertook against him are narrated in
MBh., Book 2. 1372. Punning verse: "The moon is anemic [or, waning], its
body crooked by nature, dull [or, pronouncing the wordjaln, liquid] of soul. a
mine of faults [or, maker of night], and it rejoices at the time of the downfall
of its friends [or, at the setting of the sun]; and yet the Highest Lord bears it
on his head. The great heed neither vice nor virtue in those that seek
refuge." 1374. (cd) .M ilk is both white and pure like the ha1fl.8a; hence,
perhaps, arose the superstition, as old as the epic (cf. MBh. 1.69.10). that he
can drink it alone from a ~ of milk and water. 1377. For the ciitaka
see Intr. 83, par. 15. 1378. (c) For iighiiram read iidhiiram.
1381. (a) kii:mboja: as applied to horses the name naturally refers to the
northwest. for Afghanistan and Central Asia were the source of the beSt
horses. But the word must here bear also another sense. for the verse was
written, according to S. by Vasukalpa, whom Kosambi has shown (Text
Volume. Intr.) to have been a court poet of a King Kamboja of the junior
PaIa line. In the first sense kii:mboja is to be construed in a cp. with what
follows, in the second sense as a vocative. (d) I have expanded the line in
translating in order to show its full sense. The red dust gives to the sky the
appearance of sunset, the time when lotUses close. kifll. ca: 'what is more.'
anvay~=8afTlhandaJ.a. 1382. (a) yantriit)iim: l know not what sorts of
machines are meant: perhaps catapults and battering rams. (cd) The rays
of the sun, reddened by the red minium paint of the elephants, deceive the

557
T
Vs. 1383-1390J Notes
sheldrake, birds who deplore the coming of night because they must then be
separated from their mates; cf. lntr. 21, par. 2. 1383. For the dark blue
calor of swordblades see note on 921. For the conventional whiteness of
fame or glory see Intr. 32, par. 4. I am told by Kosambi that according to
popular Indian belief sapphires may be tested in milk. He adds that Yud -
dhamalla should be an equivalent of Ahavamalla, the title assumed b y two
of the Caluky a kings of KalyaI).i: T ailappa II (A.D . 973-991 ) and Somesvara I
(A.D. 1042-1068). 1384. The exudation from the cheeks of the elephants
would be black; toddy palm leaves, of course, furnished the chief writing
material of ancient India. Apparently, Sri Candradeva , the patron of the poet
(see Text Volume, Intr. s.v. Abhinanda) had gained a victory on t he seacoast.
The same king is praised by Suvinita in 1402. 1385. Punning verse : " You
are loving [or, red] toward good men, death [or black] toward your enemies,
drunk in [or, yellow] by women's glances and possessed of white fame. So,
truly you are the support of all four classes of society [or, of the four colors ]."
ACALA. 1386. Punning verse: "Whom do you not make joyful? [or, you
bring no joy to Karpsa]. Your body is instinct with fame and mercy [or,
your body was held by Yasoda]; you leave not your yearning for truth [or,
your yearning for Satya=Satyabhama]: truly, you are Vasude,a [or, truly,
indeed, you are a good king]." BHADRA. The pUllS refer to the relativ es
of Vasudeva-K.r~I).a: KaIllsa, his uncle; Yasoda, his mother; Satyabhama,
his wife. If, as is likely, the king whom the poet here addresses was named
Viisudeva, the final pun will be triple. 1387. Punning verse: "Your rule of
procedure [or, rule of grammar] is equal to Dak~iputra (i.e., Par.lini): there is
no breaking of the class orders [or, no dropping of letters], no reliance on [or,
no rule of suffixes from] an outsider, no revolution [or, no deviation from the
base-form], nor are the people ever disaffected [or, the word-roots broken];
while your virtue and increase [or, normal and lengthened vowel grades] are
ever for the benefit of the world." Fancifully ascribed to PiiDini (8's ascrip-
tion to the Sabdiir1Java is more likely ). The puns conspire to suggest that
under the king here addressed social law was as well regulated as the laws of
grammar. 1388. The presence of the mortal king in heaven need not imply
his death. He may be fancied to visit lndra after the fashion of legendary
heroes like Du.\:l~anta_ The readings throughout our text are inferior to
those of 8mk., which I have followed in translating. (b) Read madhupiis te
piirijiitasrajai;,. The verse would furnish no praise, and so be pointless, if
the garland(s) were Indra's. (c) Read yadi viipsarobhir abhitas te. Yadi vii
is necessary to contrast the two sorts of noisy interruption. Pari§adii te is
improbable, for the nymphs form the pari$ad of Indra. (d) for dul,Lsahai;,
read du1JSrava~. 1389. (a) Cf. 1196b. (b) nabhasi vapur: the sage Agastya
(see lntr. 33, par. 8) as the star Canopus is scarcely seen in the sky of northern
India.
1390. Construction:' Of which brahmins the leafhut yards were strewn ... ,

558
 Notes [Vs. 1391-1400
now in the grounds of those brahmins' palaces fall pearls ... ' With the
general sense cf. 1394. (d) kriqiiyuddha: lit., 'playful battle.' The word
combines the notion of kandarpakeli (567d) and nidhuvanayudh (608c).
The breaking of pearl necklaces is characteristic of viparitaraia (cf. 58lc)
,yhich in turn implies the weariness of the lover from excess of enjoyment.
The contrast with ah is thus extreme. 1391. For fate's writing a man's
future on his forehead see 54, note. 1392. The verse seemed too good to
relegate to the notes, though the double meanings force the translation to be
freer than I should like. Each epithet (of moon, sea, cloud, tree) applies
also to the king. kala:' digit of the moon, art.' iiSii:' hope, direction.'
1393. Punning verse; "Your name recited by forest dwellers frightens your
enemies, as a magic charm frightens snakes: snakes who have no feet [or.
applied to enemies, who have lost their position], who dwell in holes and who
have gathered up their coils [or, applied to enemies, who have had their
enjoyments cut short] ." D AK!?A. 1394. Cf. 1390. (c) ranga1: 'moving'
from rangati, hitherto knov,rn only from Dhp. 1395. Punning verse; "Oh
lord, I beg you have mercy and leave your undertakings of war. There are
indeed still vipak$as [' enemies' or 'wingless creatures '] who are elevated
[with pride or in physical height}, but they are (only) mountains." The
mountains had their wings clipped by Indra. 1396. (a) I make no sense of
vasa1l.ty and so read with 8 and 8bh. ca santv, lit., 'let all the holy texts be
[for reference].' (b) I prefer aim bhavati (8, Sbh.) although atrahhavati, 'the
lady, your sword,' is possible. (d)tridaSa: lit., 'thirty,' but the reference as
usual is to the thirty-three gods of heaven. 1397. (d) taptakutharam: the
heated a..x was for the ordeal of truth, as in Chiindogya Up. 6.16.1. 1398. (b)
'1Ulvakha~u!ama~uJala: kha'IJifa has the sense of continent or section of the
earth, but I suspect a proper name is here meant, either 'NavakhaI,lq.a
Province' or 'a new province of KhaI~q.a.' My translation by Khandesh is
only a guess. (c) Viiraq.a: the name seems not to be recorded. Kosambi
suggests to me a connection with the Maratm name for Berar, Varaq.a. A
lit. translation of the line; 'streaming from the eye-irrigation trenches of
nearby despondent Vara.q.a brides.' (d) muiija: tenth-century king of Dhar,
uncle of the famous King Bhoja..
1400. Punning verse, in which the destitute wives of the king's enemies
are likened to a player's pieces ('counters,' 'men') in a pachisi game. Our
text gives the true reading, that of Sp., Srb. quite missing the point. The
game seems to have been play ed much as now, the pieces setting out from
'home' and moving along squares (grhii'IJi) according to the throw of the dice.
A piece (sari) might be protected by joining it with another into a 'double'
or 'block' (lagna), but if it was a 'single' (ekatiimgata) it could be caught
(baddha) by the opponent and 'sent home' until it could be started again
(mukta) by another throw. "The wives of your enemies. are like the pieces
of a dice game: soiled from the dust which falls on them as they touch the

559
Vs. 1401-1410] Notes
earth, cast out from home, embraced [or, handled] without fear by the hands
even of common men; sometimes becoming single women without shame [or,
sometimes losing their block and becoming singles] and so being caught, and
sometimes set free again." (c) nirlagnal): in the first sense from laj, ppp.
lagna, a permissible substitute for lajj, lajjita.; in the second sense from lag.
1401. (a) The correct reading is doubtless that of ms. K: pitimana~ not
pitisiiram. The former is to be derived with perfect regularity by Pii1J.
5.1.128, pfta+imanic and means 'yellowness'; cf. niliman, Sukliman, etc.
The editors, and perhaps N, had in mind the word pitaaara, said to mean
topaz or yellow sandalwood, neither of which meanings here furnishes sense.
Frogs turn lighter in color during the monsoon. (d) Swords, from the -dark-
ness of their blades, are often likened to snakes, cf. note on 921. Note
siiyaka in the sense of sword rather than arrow; so also of a gold-hilted sword
MBh. 4.38.30 and 33. 1402. (c) Sricandra: the same king praised in 1884.
1403. Punning verse: "Oh king, in the palace of your enemies even in the
desert the royal way of life to which they are so long accustomed continues
just the same; the gate is guarded by swordsmen [or, rhinoceroses], the outer
courts are attended by elephants whose cheeks are wet with rut, the inner
courts by chamberlains [or, snakes] and the royal couch is visited by queens
[or, by buffaloes]." VIJAYAP.iLA? 1404. (c) praJiipa: both 'valor' and
'heat.' 1405. (a) sinduviira: the word is used both of Vile.?: negundo and
Vilex trifolia. With the present passage compare K um. Same 3.58 muJctijka-
liipikrtasinduvaram. The appropriateness of both passages derives from the
fact that "the flowers of. the sinduvara. ... are small and white and in long,
loose clusters (panicles)," Emeneau, "The Sinduviira Tree," p. 836, q.v. for
further examples from kii:vya literature. (b) jarad-bhuri-: the reading is
certainly wrong; one wants something like bharodbhinfl4 or bharodbhiisi, but
I am not sure enough to emend. (c) palrankurii'TJi: cf. 889, note. 1407. A
frequently quoted verse. Aufrecht ZDMG. 36.364 compares it to Vti8ava-
dattii, pp. 40-41. The author, as given by N's ascription, is called by the
first words of the stanza. 1409. (c) muklw: read auklw. The cp. as it stands
would mean 'with his head appearing in the course of the pleasure of his
dream.' But one cannot construe this, for it can scarcely modify cak.,ur
and cannot be taken adverbially. By emending to sukho the construction
becomes clear and the sense is greatly improved. (d) palalah1uuma: lit.,
'ashes of a straw fire.'
1410. Punning verse: "They (viz. your friends) are persons of great
wealth (pina-dhaniil)) in land (kau, loco of ku) [or, your enemies are persons
whose wealth is (no more than) their loincloth], for they enjoy the highest
fruit of the earth [or, they eat myrobolan fruits]. At the gates of them (who
are your friends) troops of horses neigh [or, at the gates (of your enemies)
there are no (na) troops of elephants (danti) and horses]. They (your friends)
obtain the earth [or, (your enemies) obtain destruction]. Why say more!
 Notes [Vs. 1411-1415
Of those on whom you look, oh highest lord, with anger or with grace, the
families (of the latter) are completely honored [or, the families (of the former)
are blackened (aamalafT&. lqtam)]." JAyAnITYA. 1411. (ab) I have followed
JIvAnanda, who, though more modem, is a better interpreter than Rucipati.
Lit., 'because of your activity which is deep (i.e., · immeasurable, great)
because of the strength of your arm which is wonderful because of the ease,
etc.' (cd) Lit., 'now he sleeps comfortably on the couch which is the snake,
puffed up by air from his [viz. the snake's] having drunk in the sigh-breeze,
etc.' For the superstition that snakes eat wind cf. 253c, note. NarayaJ)a's
breath would be cool by its coming from the sea, sweet-smelling from its
proximity to the lotus of his navel; compare 136b. 1411. (ab) miidhaviis the
spring creeper; kaunti is doubtless an error for kaundi (so 8), voc. of kaundi
[laUi]. Le., kunda vine; madayamiis Arabian or wild jasmine. 1413. (c) para-
cakrahhimanrpaJer: this almost surely contains a pun on the king's name: 'a
king who is terrible [and who is King Bhima] to the troops of his eneinies.'
Whether this King Bhima is the same as that of 1431 one cannot say. 1414.
(c) dhallita: unrecorded, :rendered in the margin by iikalita, 'held.' Doubtless
the nymphs fear to break their necklaces in their haste to see the battle and
so hold them from swinging. The image is not uncommon. 1415. (a)
OO'{)f"nULib,: the reading is quite possible but I prefer to read with Anr. 00-
dhtltai~; the serpent maidens sway their heads to the song but must do so
slowly because of the weight of their jewel headdresses. (b) Lit., 'possessing
a flood of joy-sweat pouring forth but not escaping from the seams of their
skin which swells with strong and stiff horripilation.' The poet fanCies that
the horripilation has closed the pores and so prevents the sweat of joy from
escaping. Actually, of course, snakes do not sweat-I cannot vouch for
serpent maidens; but the Indians seem to have been unaware of this (cf. 159().
There is a Coleridgean imagery to the verse, which may be shown
more strikingly by translation into a rhyme and sentiment that Coleridge
might have used:
Serpent maidens sing your praise
on crags beside the sea,
slowly swaying upraised heads
heavy with.cobra jeweIry.
Sweetly come the syllables
and indistinct the songs,
for the mouths of serpent maidens
are filled with double tongues.
The sweat of passion gathers
upon their gleaming skin
but flows not forth; poor serpents,
that must keep their love within.

561
Vs. 1416-1429] Notes
1416. (a) One should separate kar'T}aka from what follows. Karl;la of MBh.
fame is the stock embodiment of generosity (cf. 305), but likely enough the
king here addressed was also called KaM).a or KarI;laka. (b) For lmigima
read langhima. The S reading also makes sense: the dust removes (m~as)
the depredations (langhana) of the host of termites, i.e., serves as an in-
secticide. 1417. Punning verse: "You are Prthu [or, great] by your virtues,
Rama [or, dear] because of your fame; you are Nala and Bharata [or, you
delight not in greed (na lobharato)]. In mighty battle you are Satrughna
[or, a slayer of your enemies] and you are always Yudhi~thira [firm in war].
Since by your good deeds you thus bear the form of ancient kings, how
should you, your Majesty, though you conquer the three worlds, not be
Maf!1dhatr [or, my protector]?" ViRY.nnTRA. 1418. Punning verse, doubt-
less a dedication: "You are my master and I have taken to the ways of a
gardener; so I offer in your honor these flowers of speech. If they be without
virtue [or, if they lack a string (to hold the garland together)], wear them not
about your neck nor put them on your breast. Only tuck them for a moment
in your ear because they are fresh, and my labor will be rev;'arded." VIRYA-
MITRA. 1419. Punning verse: "He always furnishes one single danger (or fear)
to many enemies simultaneously and that is, therefore, oh king, a great wonder
[or, but this great deed is no wonder for you (te nasti citram)] ViRY.B1ITRA.
1421. Punning verse: "Whence have you learned this new science of
archery, by which crowds of arrows [or, suppliants] come back to you and
the bowstring [or, your virtue] flies to heaven?" ViRYAMITRA. 1422. Pun-
ning verse: "Although she is in a sal forest, your enemy's wife is without a
sal forest [or, has a face which has lost its curls of hair]. Although her throat
is encircled with a necklace, she is without a necklace [or, she goes on foot]
VIRYAMITRA. (a) In her poverty she would not take care to arrange her hair.
1423. Doubtless addressed by the poet to his patron, King Kamboja; cf. also
1576. 1425. (a) ghiirii: read dhiirii. (b) visphiiriiyataiiilini ... pheniimbhasi:
lit., 'broadly-spreading foam-water.' What the poet has in mind is not what
an English speaker thinks of as foam but the bubbling, sparkling surface of
water, in which images are fractured and multiplied. Hence the conclusion
of the verse: the seven heads with which Se!?a upholds the earth are reflected
in the 'flood of foam' so that they appear multiplied to the onlooker.
1427. (c) priirohaSiili: 'possessing aerial limbs.' The banyan sends down
trunks from its branches which take root; hence it has many trunks, as Se!?a
has many heads. (d) catvare: the banyan is the typical crossroads tree. As
regards the tortoise, its shell gives the appearance of crossroads wherever
the reticulations meet. 1428. (d) riijyapiila: doubtless in a double sense.
1429. Punning verse: '" May the parts in the hair of our women not be
asinduTe7}a (without the red paint, i.e., may our women not be widowed).'
It is with this thought that your enemies in battle abandon their swords
from afar (asim dure1)a)."

562
 Notes [Vs. 1480-1444
1430. Punning verse: '" You take delight In selzmg (her) hair [or, in
capturing (the kingdom of) Kuntala]. Pulling off (her) girdle [or, putting to
flight (the forces of) Conjeeveram], you quickly draw away her hands [or,
undertake the defeat of Bengal].' Oh Majesty, when the bard in praising
you, who enjoy double meanings, has said this, your women, embarrassed,
glance at ea,c h other; (but) your enemies are afraid. ~' 1431. (a) bhime:
presumably the proper name as well as an epithet of the poet's patron; cf.
1413. (b) g?,h~tit.a: imperat. 2 pI. Ciirnara1!'/, vii diSo va: all kings must become
Bhlma's flyswa tters or must run away. (c) riivar~a: these syllables must be
corrupt. One expects something like niiriicaviddharn; or, if one will allow
muktaka to mean ' arrow' (so given by lexx.) one could emend more gently
to muktakapaT1.wviddham. 1432. Riddle verse. Dividing the words as in
the printed text: "You always do what is good for Bhavani [ = Parvati], for
you stand on the Himalaya Mountain. Thus, you are Sarpkara [Siva], but
you never ha\ e a Skanda [Siva's son]." The answer is given by dividing
thus: bhaviin ihitakrn nitYa1?t tva??l hi miini giri sthitalj / atalj sa1!tkara eviisi
sad-iiskanda~t para1?t na te / / "You always do what you have undertaken, for
you are proud and stick to your word. Thus, you are a destroyer, but you
never 0"\ erstep righteousness." 1433. A backhanded way of saying that
despite the king's modesty , the fame of his virtues has spread to the shore
of the ocean. 1434. Compare Kum. Sarn. 5.20, where Parvati, practising
tapas, sits amid four fires. (c) virnuktahiira: 'fasting' or 'without pearl
necklaces.' 1436. Punning verse: "Your enemies have become just like you.
Their bodies are ornamented with riches [or, ashes], their beauty has been
marred (lit., ' taken from them ') by the rouge of their mistresses [or, dividing
kantiira-agen,a., their beauty has been marred (viz. by scratches) by a tree
of the forest], and they levy taxes on the three Kalingas [or, they hold their
hands over their (naked) arse and pr--]." 1437. (d) Lit., 'will go to the
condition of a pomegranate fruit exploded by ripeness.' 1439. Cf. 995.
1440. Punning verse: "Your swordblade bride, oh king, although but one,
assumes two forms in battle: she is a whore to [or, a burster of] enemy elephants
and a bawd for [or, a splitter of] soldiers." 1441. Cf. 1423. (d) Lit., 'in the ear
of the camp of your enemy's wives.' 1442. For locks falling across the cheek
as a sign of distress or mourning cf. Megh. lI, 29. 1443. Punning verse,
which is spoiled in the text by the misreading ma. Read sa. "l\fay the
Sruti (fame) of your enemies -be like the sruti (grammatical rule) in regard to
the suffix I.;vip. [The suffix k vip always disappears.] And may the fame of
anga (Bengal) together with its allies be like the grammatical rule in regard
to ailga (a verbal root) in the aorist active. [In the aorist active the root takes
vrddhi, ' increase.']" 1444. All men are made of earth, water, fire, wind!
and air, but the elements of King Kamboja (cf. 1381) are above the ordinary.
The suggestions furnished by the specifications of the elements are: first and
second, that the king is generous; third, that he is beautiful; fourth, that he

568
 Vs. 1445-1456] Notes
is rich and fortunate; fifth, that he is kindly. (c) lani: a " 'T ong conj ecture;
read tiini. 1445. Punning verse. Perhaps: " By means of your fa ce (rnukh-
ena), oh prince of heroes, enemies become friendly [or, enemies do not face
you (mukhe na)], being deprived of their weapons by the magnificent strength
of your arm." 1446. Cc) kva?)an: the verb is regularly used both for trumpet-
ing and for buzzing. paryii/7)ana: the word is not found in P. W . From
context it should mean something like 'a round of music ' and from form it
should be derived from aniti. (d) The implication is that the king has
accomplished everything other than the aforesaid comical impossibilities.
1447. For a similar hyperbole cf. 1565. (a) tlL1ikavihati : ' chisel-blows.'
1448. Punning verse. '" This (king) is known to everyone as generous.'
'What does he give?' 'Everything that is bad (ahi ta) for the v.'Orld [or, all
gifts (iihita) to the world].' 'But that is poor fare l ' 'No; from t he time that
this (king) became prosperous a recipient of gifts has wished that if the
wishing-jewel would give it would give as much.' '' AKG O lL-\ . 1449. All the
omens are favorable. For the water-jar cf. 269, note. In general, of course,
crows and jackals are omens of disaster, but the particulars here given
reverse the effect. For the jackal on the left I have heard the \ erse, but do
not know its source: rnrgii ye viimagii dr$fii sarve slL1!1-padbalapradii/:l..
1450. Meter: Rucira. In India a king's eyes are traditionally red. The

-- verse softens them to pink to produce the conceit that Lak~mi mistakes
their glance for a lotus. The implication is that Lak5mI (wealth and fortune)
attends all on whom the king looks graciously . 1452. Cb) bibhrat: one may
interpret in either of two ways: as stem-form in cp. with what follows, or as
rnasc. agreeing with adharo~taf.i,. The first is more natural, since it is literally
the enemy who bears a forehead, not his lip. But the second might help
out the conceit. Just as the lip bears (stands below) a furrowed forehead, so
does the scimitar bear someone's split head. 1453. (cd) Lit., ' beca use of her
crying child your foeman's wife weeps long.' But a contrast is intended
between the weeping of the child who is ignorant of what has happened and
the long weeping of the mother, who knows. 1454. Punning v erse: "Is one
more blessed in finding wells or in finding men like you, both of whom though
constantly and much enjoyed by the thirsty [or, the d esirous] remain clear [or,
gracious], where the buckets [or, men of virtue] are filled the moment they enter,
since ever new reward is necessarily obtained by those who bend over before
them?" AMARADATTA. (d) sukrtaghatitas: lit., ' brought to one b y one's good
deeds in a former birth.' 1455. Piety (dharma) is pictured in m) thology as a
cow who loses one foot with the passing of each age; cf. •~anu 1.81-82. 1456.
Puns on the names of Mahabharata heroes: "You are the foundation of piety [or,
sprung from the god Dharma, i.e., Yuddhif?thira]. In this world you are
terrible [or, you are Bhima] in the forefront of battle. You are bright with
fame [or, you are Arjuna]. No one is your likeness in family [or, you are
Nakula]. But if anyone is your equal, he is surely a god [or, he is Sahadeva].

564
 Notes [Vs. 1457-1472
On the other hand, no enemy is difficult for you to govern [or, no enemy of
yours is a Dul}siisana]." HALAYU DlL..\.. 1457. (cd) The Sanskrit is para-
tactic: "The bUl'ning line of enemies is the moth. Your lamp of valor burns."
1458. (b) syandate: read spatulate. 1459. (cd) I.e., all women cast sidelong
glances of love at the handsome king.
1460. Punning verse: "You are not unhappy [or, you are the king of rivers
(nadi -illas)] with all your charms of merit, wealth and women [or, with the
sparkling of the best jewels born of your merit]. Your harim is resplendent
with the full majesty of the sun (ahima.kara) [or, yOUl' pure interior is resplend-
ent with the full majesty of snakes and crocodiles (ahi-makara)]. You
never are angry [or, the sea-monster is in yOUl' depth (nakro 'dhas te)]. You
possess conquered gods at your feet [or, you possess the sleeping god Ajita
(Vigm)]. Although you are identical with the ocean, oh master, you are not
at all an ocean [or, you are never sealed up, stingy (sa-mwlro)] to your sub-
jects." 1461. (a) ka1u1arodarahhuvi : so also in 1466a, not a cave but a
natural depression within the mountains, a gorge or hollow. 1462 (d) vyatikara:
'workings, actions.' 1463. Punning verse: "Look you, Gobhata, what can
we do? Such is the way of our fate. Our gur;a (virtue) leads only to the
production of do~a (vice), just as the gur;a (full grade) of the root d~ pro-
duces (the word) M§a." 1464. (b) etasya: i.e., udarasya. (d) prek§yante:
emend to prek$ante. 1466. In var. lect. for BIS. 3718 read BIS. 3780. (ab)
The wandering ascetic finds food, drink, and clothing without demeaning
himself. giriguru: the father of mountains, the Himalaya, where an ascetic
would naturally wander. Jivananda, followed by Bohtlingk, errs in taking
guru " .jth griiva, ' great rocks.' (d) yad dhiira-: read yad dviira-. 1467. (c)
ka?fa: 'drop (of wealth).' The reading, though possible, is found in none of
the mss. of Bh. nor in San., which have mada instead. I prefer to read mada.
1468. (c) nasminnaparam: This strange reading is borne out by Bh. and one
suspects that the more grammatical variants such as khedo hy asmin na param
(cf. BIS.) and khedo niismin paramam (BIS .• San.) are corrections rather than
the original. Since apa.ram is unknown as an adverb, I suggest that the
original reading disregarded saqtdhi and was atal} khedo asmin na param:
'therefore [there should be] no resentment at this, but (only pity).'
1472. Punning verse in which each sentence refers either to Rama or to a
disappointed suppliant. "I have wandered astray in Janasthana, my mind
blinded by the mirage of the golden deer [or, I have wandered astray in the
cities of men, my mind blinded by the thirst of seeking gold]. I have lamented
tearfully in all directions, calling out, "Vaidehi (Sita)" [or ... calling out,
"Give to me, forsooth" (vai d.ehi)]. I have joined (my arrow to, i.e., have
shot off) the successive heads of the lord of Lanka [or, I have made great
effort (l..Tf,ii ala1?l gha/ana) in counting the successive expressions of a bad
master (kiibhartur)]. I have become Rama but I have not obtained the
mother of Kusa and Lava (i.e., Sita) [or, but I have not obtained a state of

19-s.c.p. 565
~ ,'i

Vs. 1475-1493] Notes

happy wealth]." ABffiNANDA? [HANUMANNArAKA.] (c) One might also
divide kii bhartur ••. ghatanii. 1475. For Eali and Vi ~l).u see Intr. 6,
par. 17. Gifts should be made at the right time and place and to the right
person, BhG. 17.20. In the present case all factors were perfect. (b)
viijimakha: the horse sacrifice, holiest of Vedic rites. 1476. (c) Emend to
gU1}avadbhyal,t. 1477. (b) gaccha .. . : lit., "Go, Dignity, to where the proud
stand." The reading is a great improvement over that of Sp., Sbh. 1478.
(c) katakam atato: probably, 'wandering in circles'; possibly, 'wandering
from one royal camp to another,' but one would then expect the plural.
1479. (c) bhramarahite: 'for the sake of bees.'
1480. (a) Lit., 'possessing voices stuttering with intoxication [or, with
insanity] and wild-eyed with drunkenness [or, with pride].' 1482. (b) manalJ.
should be joined to what follows. 1483. Punning verse: "This is the house
of Siva [or, of a rich man], for here poison, the bull and ashes are held in
honor. If one is not [as deadly as] poison, [as stupid as] a bull, or [as useless
as] ashes no account is taken of him here." 1484. In a emend ~asa to
vi~ama. Punning verse: "From one who destroys your hopes [or, from
one who destroyed Kama], whose vision is faulty [or, who has an uneven
number of eyes], who is puffed up by wealth [or, who is smeared with ashes]
and who delights in the company of snakes, who would not starve like
Bh!,ilgin? Hope not for fruit from a rich man [or, from Siva] who is without
virtue [or, who is beyond the strands of matter]." For Siva's skeleton
attendant Bh!,ilgin, see Intr. 5, par. n. 1485. Punning verse: "If men will
endure being crushed by a bolt and held under foot, all because of their love
of virtue [or, being ground by a diamond and held between two feet in the
wish to be strung], then they must be jewels." [VACASPATI.] Indian
jewelers hold the jewel or bead with their toes while drilling the hole for the
string. 1486. Punning verse: "How should men of virtue [or, objects on a
string] ever rise to a height if they visit the wrong place [i.e., how can they
prosper if they seek help from a miser or a villain]? Has anyone ever seen
a yoyo bounce up from the mud?" For yoyos (kanduka) see 517, note.
1487. (cd) Lit., 'from much erasure even a line of hope does not show up in
the wax.' masnz,a as a m. or n. noun is unknown to P. W.; from context it
must mean 'wax.'
1491. Punning verse: "Now that Vikramaditya is gone only his fame is
left in the world as in a lake, for good taste (rasavattii) has ceased [or, the
lake's possession of cranes (stirasa) has ceased], new poets (navanz. .k ayatiti
navakti) come to the fore [or, no herons appear]; and who does not go to grief?
(carati no (a)karrt kaM [or, no great heron is moving]." SUB A?>Il)HU. The
verse permits of several other interpretations as well; one may interpret
navakii simply as nouveau.x arrives with suffix .k a as diminutive or perjorative;
carati no karp, ka~ could mean 'who does not do what to whom?' i.e., it is
now dog eat dog. 1492. (a) The genitive with tanoti is strange. 1493. To

566
 Notes [Vs. 1494-1514
the reff. should be added Paiicatantra ed. Kosegarten 2.86 (caret apud Piir1).)
and BIS. 2310. Compare 1040, 1508 and for the moral 1343, 1351. 1494. Cf.
1602. 1495 .. Punning '\Terse: "Oh earth (vasumati), those who sink down on
a .r ich (vasuma.ti) relative in hope of a drop of money you hold (as lightly, i.e.,
to be as worthless) as straws. Say of whom do you reckon there is any
weight [or, worth ]1 " 1496. (a) For kapiilebhyo read kapiilair yo. For Siva's
skulls cf. lntr. 4, par. 6. (c) -kira~;' genitive of kir+kvip, cf. 959a, note.
1498. (a) The ms. reading -kl#te 'rthaSasye makes no sense in the context.
Emend to kli§f.e 'rthiSasye (so SI)' The other S readings are S2 kli$torthi,
S3 kli$tarthi. (b) Punning line: "I have been no hurricane upon the tribe of
mountains which have grown wings [or, which are my arisen enemies]."
For winged mountains see Intr. 36, par. 3. 1499. (b) Add to var. lect. 81.2
vyasaninam.
1500. (a) §ricmu1ra: tenth-century king of eastern Bengal; cf. 1384 and
Text Volume, Intr., s.v. Abhinanda. (d) Lit., "Where is a source from which
honor (may flow) and where is there an intensity of splendor of your merits?"
1501. Punning verse: "The source of nectar (viz. the moon) is wasting;
GaI)eSa has but one tusk; even the blessed ri'\Ter goddess of the gods (viz. the
Ganges) has stumbled. Where have you ever seen the nourishing [or, a coil]
of the virtuous [or, of necklaces] who attend upon a rich man [or, which belong to
Siva] other than in the case of a liar [or, his snake]? Why, oh heart, be distressed
here to no avail?" (a) For the single tusk of Gal,lesa see Intr. S,par. 9. (b) The
Ganges missed her step when she fell from heaven. 1503. (b) janibhutam:
'have become like ordinary persons, i.e., strangers,' cf. 697b, note. (d) I
have supplied 'poor fool' simply from context. 1505. (c) kva •.. janma
bhavati: lit., 'and where your birth (in it),' i.e., you should have been saved
for birth in the krtayuga. 1506. (b) svagata-: lit., 'who has no two minds
concerning the power (of intelligence) which belongs to him.' 1507. (b)
nistU$a: 'urn:nixed with chaff, unalloyed.' 1508. An anyiipadesa; see
Section 33, especially 1040, also 1493 and note. (a) Add 8 1 jviilaja#lii.
1509. Another anyiipadeSa. (d) Add 8 2 priyo 'pi.
1510. Another anyiipadesa. Wealth may be dangerous but poverty is un-
bearable. 15H. (a) The reading moha has support outside our mss. in the
Kiivyasamgra.ha ed. of Siin. (-m iha). (b) svasthiilJ: 'unruffled, unconcerned.'
1513. Punning verse: "The lotus turns her face from the stalk although it
has accompanied her from birth. This is ever the way of those who possess
wealth [or, Lak~mi] toward those who are full of virtues [or, threads]."
SAROKA. The lotus is the seat of Lak~mi. Its stalk, or rather root which
hangs down in the water, is fibrous (gu~PU71Ul). 1514. There is a macabre
delicacy to this verse, which describes the burning of a beautiful woman's
body. The metaphors of cd have been met with in Section 16. Plantains:
thighs; lotuses: feet; tendrils: arms; fronds: hands; jars: breasts; moon: face;
cloud: hair. The remark which accompanies the verse on the cover folio of

567
--
Vs. 1515-1534] Notes
N says simply, "When such a woman is given the sacrament (of burning),
nirveda." 1515. (c) dugdhasyata: inst. sg. pres. pte. of dughda+asu,k+1..-yac,
formed on the analogy of k§irasyati , Pii1'}. 7.1.51. 1517. Punning verse:
"There is softness where there is no meaning [or, wealth] and hardness where
there is much. Meaning [or, wealth] and softness ne, er dwell together in a
verse or in the world."
1520. Punning verse: " A woman's fallen breasts make no expiation [or,
generally do not charm the heart]; that is why men are chary of touching
them." To explain: a sinner would be untouchable until he performed
expiation. 1522. (d) saralam: read saralam. 1525. Punning verse: "That
which was born with one [or, which has given birth only once], is well-oiled
[or, well-loved], and is borne wit h honor on the head [or, is honored with (a
bow of) the head],--even one's hair. turns color [or, ceases to be loved] with
old age; how much more a woman." 1527. Punning verse: "A woman's
breasts are honored like the rich when they are hard and close-set [or, not
separated (from friends)], and are scorned like the poor when they are sep-
arated [or, alone] and bowed down." N IRDAYA. 1528. (a) -bhuja/.t and
-dhiimnaS modify citiiyii/.t. (b) iikr§ tamiirler modifies savasya. (d) anta/.t-
plU?yamii1}ab.: a similar fancy occurs in 1539 (plU§Yadvadanakuharas) and
Smk. 94.7 (dandahyamiinodaral:t). 1529. Construction: The ablatives are in
double construction (kiikiik$igolakanyiiyena) with sudiiram and with pibanti;
the instrumentals are construed primarily with vi¥tebhyas but also with
pibanti. (d) vasii: the fatty juice of meat, which, when congealed, becomes
lard; distinguished from medas, the fat that lies over the fl esh j cf. Bimala-
charan Deb, A BORI. 26 (1945) 202-205. savavapurma1J4al.ebhyab.: cf.
citiicakram in 907a.
1530. (b) All other versions have atltsa for anga and ugra for agraj ugra, I
think, must be the original reading. asthisa1'{LStha: the meat between the
bones, i.e., in the joints. (d) sthaputa: the commentators say that sthaputa
here means 'raised and depressed places,' but from the context of its occur-
rences (P.W. and 254d, 322c above) it seems rather to mean 'wrinkle, hollow,
pit.' I take it to refer here to the eyesockets and marrow cavities. 1531.
(b) visarrtkatair,' read visarrtkatair. 1532. (a) The hands, being women's, would
be painted with lac. 1533. (a) 'half dropped because of their irregular
panting.' The sense fits the mood of horror better than the traditional
interpretation based on the reading griisa for 8viisa. (b) iidardaram: this, as
well as the other reading found in mss. of the play, iighargharam, has not been
recorded as occurring elsewhere. The commentators take both words as
onomatopoeic. (d) cf. I03d. 1534. The verse lacks a predicate, this being
furnished by the preceding prose passage of the play: tathii khalv iYa1!1 purata
eva. (a) cf. 1567, 1577. (b) bhrtipriigbhiira: possibly ' [because of] t he weight
of their burden of.' But bhrti has not been recorded elsewhere in this sense.
I prefer the vulgate bhrta. (c) karkara, m.: 'bone,' noted only from lex. by

568
 Notes [Vs. 1535-1553
P. W. 1535. (b) Lit., 'possessing horrible interiors filled with bare sinews.'
1536. (c) The reference is to fire-breathing jackals; see Intr. 44, par. 1.
chimiti: perhaps one should emend to chamiti; at any rate the sense is that of
the latter (see 116, note), onomatopoeic of an object falling into a liquid.
(d) There should be no break in type between vasa and vlUa. Take vlUa in
instrumental sense as 'scent.' ajasrasrutahahulavasa: lit., 'much and
constantly inflowing fat (juices of the flesh, cf. 1529, note).' 1537. (b) Syntax
demands that one emend pucchiigra- to pucchiigrail}.. 1539. The readings
prahala (b) and valat (c) are an improvement on the pralaya and lalat of the
printed edition.
1540. (c) The ulkananas could be either ghouls (as in 1531) or jackals (as in
1529, 1536) but probably the latter. 1541. A picture of Siva's wild dance.
(b) The reference is to Siva's matted locks (jafii) which fly out and up as he
dances. Emend sallari to saU.aki, 'porcupine'; for short final vowel cf. P. W.
1542. The flavors of virya and sf'ligara combined. Painting one's beloyed is
a symptom of viprala:mbha-Srftgara; cf. 753. For patravalli (the same term
681) cf. 389, note. (a) dasarathi: dual masc. acc. suvela: the mountain of
Lanka on which RavaI)a's capital was situated. (d) valana: 'curving (tran-
!5itive), causing to bend,' unrecorded (cf. Schmidt for vallanii in intransitive
sense) but readily understandable. The word is more precise and therefore
more characteristic of Murari than the racana. of the printed texts of Anr.
1543. Constr. 'How is Dasagriva (to be) described, of which hero, possessing
heads which had been cut off and regrown, the mouths argued .. .' (c)
dainya: here not in the sense of humility but rather shame or fear (Jiviinanda: I I
kiitaryam). A hero's job is to give, not beg; cf. M Bh. 12.8.6-7; 12.60.13 fr.;
1.87.12; 1.87.17. 1544. Raval)a speaks to Rama. 1545. RavaJ)a speaks to
Jatayu; cf. 1560. 1546. RavaJ)a speaks. (d) sa bhagavarp,s . •. : lit., 'the
blessed Siva himself is my evidence.' 1547. Words addressed by RavaJ)a's
ambassador, Malyavan, to ParaSu Rama upon that hero's refusing to deliver
to RavaJ)a the ax as a weapon with which to fight Rama Dasarathi. 1548.
W'ith these words RavaJ)a refuses to take the test at Sita's svaya1ftvara.
(a) rudrades tulanam: the reference is to RavaI)a's lifting up Kailasa. 1549.
Raval)a speaks to Parasu Rama. (c) -dhama: emend to dharo (so Biil.).
1550. (b) Add to var. leet. S sifija. 1551. (d) If the verse is to be ascribed
to Rajasekhara we must read deval}. karoti in place of ramal), karotu and must
translate'RavaJ)a draws the string,' for that is what Rajasekhara certainly
wrote and what he meant. In the play from which the verse is taken RavaJ)a
has just lifted the bow. Three verses later (our 1548) he lets it drop. Riima
comes to the test only later. The alteration of reading and meaning began
with Han. and is typical of the way that collection adapts the work of others
to its use. 1552. (c) ambunidher: read with RA. ambunidhir. (d) langhito:
lit., 'overcame, outdid.' The line hints at that other, physical fire which
Hanuman set to Lanka. 1553. From the description of Raval)a's final battle

569
Vs. 1554-1566] Notes
with Rama. (b) Read adhikam adhika7[L. 1554. (c) jalpati sarrz,bhramol-
banamukhe: lac. abs., 'speaking with his face thick with, that is, full of,
te~or.' (d) Rama is so sure he will not miss that he straightens out, i.e.,
prepares, just ten arrows for the ten heads. 1555. Possibly BhIma is the
speaker. Bhima was the most famous of fighters with the club. For
whirling about as a maneuver in club fighting see Hopkins, Ru,ling Caste,
p. 282. (d) I.e., twisting it about my fingers. 1556. Bhima has captured
Dul;Sasana. 1557. (a) Lit., 'stealing the luster of the tusk of a young ele-
phant.' (d) jatajuta: matted or flocked hair. Rama in his forest exile was
dressed as an ascetic. 1558. Other interpretations of hari and balam (valam)
are possible; but8p. places the verse in its section on lions. (d) api: one may
take the particle as out of position, going with the verb rather than with the
subject. 1559. (d) Lit., 'gave fear to the lord of the gods (in heaven) and to
the lord of serpents (in the lower world).' Since the Ganges flows thT{mgh
both their dominions they were nervous about an expedition of such size on
that river.
1560. RavaI).a speaks to Jatayu; cf. 1545. For Mount Mainaka see Intr.
36, par. 3. 1561. Parasu Rama addressing Skanda, the god of war. (c)
adhara and adheya are technical terms of Nyaya. The properties of the
superstratum (adheyadharmaf,l,) do not depend on the substratum. The
qualities of a pot do not change by the pot's being placed on the ground, nor
is the blueness of the blue color which inheres in the pot dependent on the
pot (blueness is eternal; pots are not). The inference in the present instance,
of course, is that what one learns does not depend on who one is. 1562. His
ambassador proposes RavaI).a's marriage to Sitae 1563. Cf. 990. Constr.
'By the women, possessing thigh-columns, etc., belonging to whose (viz. that
king's) troops, the water of rivers was plunged into, water possessing jungle
fowl, etc.' Rajasekhara (Kavm. p. 68) holds this verse up to ridicule. It
has been manufactured by stealing the striking images from two older verses,
both of which Rajasekhara gives. One of them is very good poetry. Ap-
parently Rama is reminiscing with Slta: vindhyasyiidreIJ- parisara71.adi narmada
subhru sai$ii I yiidobharttul; prathamagrhir;tirrz, ya7[L vidul; paScimasya I yasyam
antal; sphuritaiapharatrasahasiikulak§i I svairaTfl, svaira7[L katham api maya
tiram uttiiritasi I1 Despite Bhavabhflti's reputation I agree with Rajase-
khara. The transfer of trasahasa from SIta's eyes to the thighs of female
campfollowers is worthy of Mac Flecknoe. 1564. (b) Lit., 'bore (the earth)
whose great mountain-nails were shaken loose by the weight of the unbridled
sportiveness of whose army.' Hela could refer to the soldiers' joy in either
battle or triumph. 1565. Cf. 1447. (a)udyoge: the word has the sense it
bears in 'U dyogaparvan.' (ab) The construction is loose: lit., 'on the sky's
path, muddy with the flood of water ... with the dust raised up by .. .'
(c) kara: 'hand' or 'sunbeam.' asviya: aSvana7[L samuha/:l.. 1566. (b) yatra=
yasmin in agreement with deve. (d) For the missing ak§aras I have supplied

570
 Notes [Vs. 1567-1573
(pratt)oddhatalJ" which furnishes good sense: lit., 'the king of snakes, swollen
up with breath that was tightly bound in by the jewel· nails pressed into (his
head) by the weight, etc.' For another verse in which Murari plays with the
notion of the pneumatic quality of the world-snake see 1(.11. 1567. (a)
gU11jatkuPijakufira: cf. 1534, 1577. The rest of the line is lit. 'spreading an
ear·fever to hosts of elephants.' (c) Lailka is said to have been situated on
top of Mount Trikflta (here trikakud), otherwise known as Suvela, cf. 1542.
1568. (a) nrpati candra: ' moon of kings,' but probably the Pala king Sricandra-
deva is meant; see Text Volume, Intr., s.v. Abhinanda. (c) Sriyii: Read
bhi ya with ms. (d) Lit., 'whose joys in battle-sport were destroyed, i.e.,
terminated.' The enemy recei'IIing the new mistress, Fear, would have
ceased fighting. 1569. (c) bhujofmO, also means 'the venom of snakes.'
Kaliidu/.lJila if it means 'wicked in the art of' seems a rather unflattering
expression. (d) One could also divide as adbhuta·guttiidhiirii, 'such reservoirs
of astounding virtue' were the earth-rulers of his line. Dhara was the realm
of King Mufija and King Bhoja.
1570. Rahu has only head, no body. He swallows sun and moon during
their eclipse. The moon trembles lest the upward-flying heads be new
Rahus; Rahu prepares a 'holiday of feasting' in the supposition that they are
new suns. 1571. (c) Emend to saroebhyo vasu kar~atii. As the line is printed
one can barely make sense of it: 'and by him, raining wealth to the poor,
Mount Rohal).a (se. the heap of his suppliants?) has been increased so that its
thousand peaks are their heads shining with lines of jewels that have been
imposed on them.' This is not only far-fetched (and why sa1'f'/,rUrJ,ha?) but
has nothing to do with the temple construction of ab. By taking the K
reading and emending var~ata to kar$ata one gets a perfectly clear sense.
which is in harmony with ab. Rohal),a is the gem-bearing mountain of
Ceylon, an excellent metaphor for the towering steeple of a medieval Indian
temple. 1572. Punning verse in which Splgarasekhara, the father of the
heroine of Subandhu's romance, is favorably compared with Indra. "Yonder
one (Indra) is protector of the gods [or, is a drinker of wine], but this (Srnga-
raSekhara) has his whole heart set on piety. A planet, viz. Brhaspati [the
planet Jupiter], serves in his (Indra's) court [or, Indra was caught in iniquity
(viz. with Ahalya)]. but he (Srngarasekhara) loves the path which pleases his
elders [n.b. depending on the sense in which one takes it guru will go with
the prior or the latter clause]. His (Indra's) hand bears great affection for
the thunderbolt [or, has a great liking for money in great quantity]. He
(SpigaraSekhara) is a giver of all his wealth and overcomes the lord of gods
as though that one were a straw." [SUBANDHU.] 1573. Punning verse,
describing Srngarasekhara (see preceding verse): "He drew back the string
[or, he drew the life] of his bow on the battlefield (and forthwith) the enemy
lost their life. His arrows reached their goal in the enemy host [or, the enemy
gained one hundred thousand arrows] (and thereby) he carried off their fame.

571
Vs. 1574-1578] Notes
When he lost patience, the hastening enemies lost the fixity of their heads
[or, the enemies, hastening because they thought he had lost the earth, lost
the fixity of their heads]. Dissolution into the five elements (i.e., death) took
place in the enemy army. (Our) king obtained no further battle [or, no other
number]." [SUBANDHU.] 1574. Even the wishing·trees of paradise, which
are supposed to give gifts immediately, required fertilizing by the charity of
the king. But possibly the verse is to be taken allegorically of the king's
gifts to such immortals as poets and brahmins, gifts, made for the early
products of their art or science, which enabled the source to put forth perfect
fruit later. I am indebted to Kosambi for the latter suggestion. (c) prau-
q,haphalopamardavinamat: 'bending down with the supplanting [of the green
fruit] by ripe fruit.' 1575. (ab) Constr. 'which king bears arms which by
the trick of bowstring-scars (seem) sullied by the reproach .. .' (d) la..,n.bhii:
hedge, enclosure, q. by P. W. from one lex. 1576. The victory of Vasukalpa's
patron over the king of Orissa (cf. also 1423) is likened to a royal marriage in
which that patron is wedded to the widowed Lak$mI (royal fortune) of
Orissa's defeated king. Cb) kumbhamauk1ika: for the notion that pearls
grow in the heads of elephants see 864, note. liijanjalau: handfuls of l.iija
(parched grain) were scattered at weddings and at royal consecrations.
(c) Darbha grass, which forms the marriage bracelet, is dark and hence is here
likened to the flashing of a sword blade; cf. 921, note. For yuddhotsavai read
yuddhotsave. 1577. (ab) Crows and owls are traditional enemies. When the
wind blows through the bamboo stalks it sounds like the hooting of owls, by
which the crows are frightened and become silent. For the wording of a
compare 1534, 1567. (b) krauncavato: the reading of the printed text of Ut.,
krauncabhido, is superficially easier since everyone has heard of the Krauiica
mountain. Our ms. reading, on the other hand, and it is supported by mss.
of Ut., will be found preferable when one considers that Krauiica is part of
the Himiilaya whereas the mountain referred to in this verse must be at the
headwaters of the Godiivari (see Ut. 2.30). The Hariva1!LSa knows of a
Krauficaviin mountain (see P. W.), which may be the same as ours. haun-
cavato 'ya1'fl, girO}: lit., "this mountain belongs to Krauficavan." The
personifying of mountains is not unusual. (c) Peacocks a.re traditional
enemies of snakes; hence the snakes are frightened by the peacocks' cry.
(d) roha1J.a: emend to rohi1).a. Commentators are of two minds whether
rohirta designates the banyan tree (so Triprnari and Haridasa on ~Mal. 9.31.1
and all commentators on DKC. 73.7) or the sandalwood tree (so Tripurari on
111iil. 5.15 and Vlraraghava on our present verse). Since snakes are generally
associated with sandalwood trees (see 801, 1078) I have chosen the latter
meaning. 1578. (ab) The lunar beams melt the moonstones; cf. 310, note.
prasphurat should be joined by a hyphen to sarviiilgina. jhiitkurvale: ono-
matopoeic. P. W., Nachtrage, quotes jhiitkiirin in the sense of whistling of

572
 Notes [Vs. 1579-1585
the wind; cf. 236 where it is used of the rustling of a bird's feathers; here, as
in 1589b, 'makes a rushing or roaring sound.' (c) nameru: Elaeocarpus
ganitrus Roxb., the tree from which come the rudra~a nuts used for rosaries.
It is a mountain tree, growing in the Himalaya, cf. Kum. Sam. 1.55. (d) The
line is sadly corrupt. One may emend to syiimii meghagabhiragadgadagiral;t
krandant·i kOYfl$taya~. This then furnishes a cause for the wakefulness of
the peacocks (cf. 84, note). However, the description, either as emended or
as printed, does not fit either of the species of birds known as kOYafti, viz.
the lapwing or the Bengal paddy-bird. Both are wading birds and so do not
belong on a mountain. The lapwing has a noticeably high-pitched cry
(whence the English and German names, peewit and Kiebitz) which could
never be mistaken for thunder; and neither bird is black. One must
therefore suppose either that 'black koy~ti' refers to some unidentified
mountain bird or that the reading koy~ti is corrupt. 1579. (a) adhatte ...
mudam: probably, 'furnishes joy (to the beholder).' Also possible would be
'receives joy (with, i.e., in, its limbs).' But it seems inappropriate for the
mountain to have received joy from the gouging of its sides. mikura: the
projecting portion of the armlet, whether clasp or fittings (Beschlag) or pro-
jecting metal tendril. Reference to any volume on Indian sculpture will
furnish numerous examples, e.g., Kramrisch, plates 52, 54, 99. (be) The
reading of our mss. are much inferior here to those of Anr. For ratnair read -r
angair, 'with its limbs (wrinkled etc.).' For ~inorumulo read prak§inamulo.
The word urumil,la can mean only the top of the thigh, i.e., the groin (cf. Kiim.
Sut. 2.9.6 and Sridhara on Bhiig. Pur. 2.5.30), which makes no sense here.
1580. (cd) Lit., 'By only this, by the wicked one ... the world has been
made distracted by practical considerations of rich and poor.' 1581. (e) Mt.
Kailasa is so high that the sun comes close to it. The sun, of course, wakes
lotuses, the moon puts them to sleep. 1582. Cf. 1579. (b) For cheek orna-
ment (patriinkura) in the shape of a crocodile (Love's emblem) see 389, note.
(e) sphatika-: lit., 'In the beauty of its crystal totality.' The poet is obviously
thinking of a reflected image. Jivananda, as usual, interprets correctly;
Rucipati errs. 1583. (c)jalagrhavitardika: the raised dais of a water-chamber,
cf. 214, note. Fountains would play upon the walls of the chamber, causing
the interior to be refrigerated. It may be that Raval)a's encircling arms are
here thought of as the spigots of the fountains. 1584. (b) kandalita: 'put
forth, emitted,' here of a liquid rather than in the original sense of a bud or
sprout. For the liquefaction of moonstones see 310, note. (c) Gauri waters
the trees of her forest-dwelling like another Sakuntala. (cd) dhiitreyaka-
bhratr: Skanda as the son of Siva is brother to the trees that spring from
the water emitted through the agency of Siva's moon and as the son of GaurI
is their nurse's son. 1585. Rama describes Mt. PrasravalJ.a to Sita. (ab)
Lit., 'this mountain, of which the darkness of the caves is frequented by

573
Vs. 1586-1609] Notes
owls frightened by the hubbub of ravens flocking together because of the
brightness of the rays of jewels at night. (c) .Read patra1Ji tee (d) kataukiit:
'for amusement,' quoted in this sense (narma~~) by P.W. only from lex:x ..;
cf. use of kutuhalinyo in 944c. 1586. According to the Southern recension
of the Ramayal)a (4.28.1) .Rama passed the fll'St monsoon of his absence
from Sita on Mt. Malyavan (the Northwest rescension, 4.20, has him pass
this season on Mt. Prasrava:r;ta). Compare also Ragh. 13.26. With th.e first
two lines compare 131ab. (a) virujam: acc. of viruj, 'sharp pain.' (d) un-
manayanti: cf. P. W., Nachtrage. 1587. (a) mr$tt1i~:emend to bhra~tail}. (cf.
1149c) or read withS, Smk., Skb., 84tail}. (b) bh~ayante 'graA.:uiijal:lf: 'frighten
one with their upper thickets.' Both. the expression and the construction
(one does not want another instrumental) are awkward. Read sarvato
bhi§ayante with S, Smk., Skb. 1589. (b) jhiit"':tair: cf. 1578b, note.
1590. The reference to J anasthiina is found in the prose passage which
precedes this verse in the play. (b) duraga: This makes no sense; read with
Ut. bhujaga. (c) vivare~ is tautological, 'in the openings within the fissures.'
Ut. (printed text) reads virala-svalpambhaso, 'with little water in few places.'
Belvalkar's mss. apparently read vilasat-svalpiimbhaso. 1591. (b) Lit.,
'achieves increase, magnified by reverberation.' (c) sallakiniim: cf. 1124a,
note. 1592. (c) jambil: for the rose-apple and its association with the Vin-
dhyas see 157a, note. 1593. (c) For vyavallad read vyavalgad. (cd) Lit.,
'possessing pitch pines sticky with exudations of streams of pitch flowing
from holes (made by) fresh tusk strokes of excellent opposing elephants in a
galloping troop.' 1594. (b) Srutam upaSama-: cf. 1629d. (c) In the Bhart:rhari
mss. the line reads: mano mandaspanda.'T{'t bahi'r ati- [or api] cirasyiipi vimrsan,
where one will take mandaspandam to mean' (is) slow to show desire (for
external objects).' Our reading, which makes for a neater structure of the
verse, forces one to take mandaspandam more literally. 1597.. (a) Lit., 'by
the sharp arrows, namely the insults (humiliations) of wicked people.' 1599.
(b) kiilindi: for its color cf. 931, note.
1600. (c) For [pilrva1!t] read Lpil~am]; another possibility would be
vetram. As printed, the line would mean,. "Out upon youth which precedes
the stage of life which is broken from running after various pleasures." It
seems to me that youth itself should be broken. 1601. (a) praf}.ayinim: cf.
177b, note. 1602. Cf. 1494. 1603. (a) Lit., "In one place (one finds) a lyre-
party, in one place poets' speech strewn with nectar." 1604. (a) viveka: the
term vivekajiiana is used, especially in Vedanta, to refer to that knowledge
which can distinguish the self (soul) from what is not the self. From such
knowledge of the self one gains discrimination in all other matters, as here
between what is useful and what is useless (wealth). 1607. (b) For tiivad read
with all other quotations of the verse yavad. (d) 1.."'Va ... kva: as regularly, to
indicate a lack of connection or compatibility between terms. 1609. (b) All
other versions read ni~pandilqtaSantayo 'pi. Our reading ni$kandil.,Tta.

574
 Notes [Vs. 1611-1630
though an unusual word (cf. 1466a). makes rather better sense. The com-
pound ending in siinti can be taken adverbially.
1611. (a) .tim,irasm,!/'skiira: 'the effect of timira.' Timira is the disease of the
eyes which.causes a man to see double. etc. (b) Lit., "I saw the whole world as
consisting in a woman." (d) I.e., the woman is the same as anything else. There
is no difference between a clod and gold. 1612. (b) kii ni/:l.Yprhii'IJiim asi: lit.,
"'Who are y ou to those without desire? " (c) paliiSa: also called ki1'f1.iuka. Butea
frondosa or flame of the forest. It has very large leaves. Leaf eu ps are made by
stitching the leaves together with fine twigs. 1616. (b) -avabandha; emend to
-anubandha (so ,san.): lit.• ' I would make a maintenance of my continuity of
breat h (life).' 1617. (d) tyaJ.,ivii: emend to tyaktii, 'being abandoned on one's
own account, they furnish ... peace.' The irregular use of svayam to refer
to something other than the grammatical subject of the sentence has led to
our ms. reading (also found in some Bh. mss.); but that reading compounds
the error, for one cannot then construe the continuative (ktva) with vidadhati.
1618. An allegorical epigram; see Section 33. The trees are destroyed for all
their good works but their destruction leads to the good of others, for which
and for the example of their foster children, the clouds, they are thankful.
The verse is well placed in the present section. for if men in like case would
think thus. they might find peace. (c) dhumasamuhahaddhava~alJ,: 'whose
bodies are composed of masses of smoke.' Clouds were supposed to be
composed of smoke. fire, water, and wind; cf. Megh. 5. (d) nirvyiijam: cf.
1203b. note. 1619. (c) khatvanga: cf. 249dt note.
1620. (c) smarasamara-;' lit., 'flame of fever from the workings of Love's
war-arrow.' Sarnara is an improvement over the sahara of Bh. 1621. An
e.'\Cample of the figure yathiisa'Tl1.khya or parallel series. 1622. (b) -cchedaiJ.t
paiad.bhir: lit., 'by the falling sections of its banks which are days and nights.'
1623. Punning verse: '" I've got me a wife, I've got me a son, / I've got me
wealth and a crowd of friends.' I As a man is crying this me-me-me / death
ties up the goat and takes him away." / Me-me: imitation of the bleating of a
goat. 1624. In reff., for ,san. 1.98 read ,san. ed. Sch6nfeld 1.96. (d) parama-:
I
1

lit. t 'for the accumulation of highest satisfaction.' 1628. (c) saSankitam

ik§ate: our version agrees with San. On the other hand. Bh. has vilokya na
sankate. which furnishes a different and weaker point to the verse. In the Bh.
version the dog is merely shameless; in ours he fears being robbed, for he
cannot imagine that anyone's taste should differ from his own. 1629. (a)
svarasavalitii: lit., '(where compassion) is not entwined in its very essence. t
(d) srutam . .. upaSama: cf. 1594b.
1630. (cd) Lit., 'when fearless old deer will obtain the pleasure of scratching
their horns (against me).' The middle voice of sa'1f1.prap is unparalleled and
the absence of reference to where the deer are to scratch their horns is
awkward. A better reading for grammar and sense, though it has less
mss. support, is ka7J4uyante jaralhahari1Jli1J, sviiitgam aitge madiye (Bh. with

575
Vs. 1633-1646] Notes
Ramacandra's Corn. 3.98). 1633. (b) bhuva/.t: This use of the plur al, or perhaps
the singular of an a-stem, is unrecorded in P. W. and is suspect. Other quota-
tions of the verse substitute mahi or ca bhu/.t. 1634. (a ) s01}ita: the body was
supposed to be generated by the combination of semen and m enstrual blood.
1636. (c) -opakiiriinno: read -opakiirii1!l no. 1637. (d) Lit., "N ow, having
enetered the power of fate's command, he is bound by new karma." 1638.
(c) sthasita: emend to sthagita. The cp. is lit. 'rivaling the path of the stars
half of which is covered by autumn clouds.' Autumn clouds are always
white; thus, the parallelism of white-black, Siva-' i~t:lu is kept . 1639. (a)
yad baddlwrdhvajata1!l- yad asthimukuta,m: the first of these epith ets could
apply quite properly to Siva, but the second cannot possibly apply to Vil?1)u.
I see nothing for it but to throw out the reading in favor of S : yad baddhiirdhn.-
juta1!l- yad ardhamukuta,m.
1640. (b) For ornamental painting on the cheeks see 389, note. (d) vepa-
thur: for the trembling of passion which prevents a 10\ er s hand from its
artistic endeavor cf. 753. One is free to imagine whether the trembling hand
is that of another lover than the kiinta of b or of t he same. In the first case
the speaker, motivated perhaps by envy, would be merely tbroVling a chill
on her friend's happiness. In the second case the speaker's words would be
infuriating. The parallels from this type of literature (e.g., 574) r ather favor
the former choice. 1641. (d) cf. S2.17.4d. 1642. (a) kiilerza bahun ii: to be
taken directly with samiiyiite. katham api: 'somehow or other ' half the
night passed. (c) The speaker, wife or mistress, was delighted to have her
lover back, but it would have been no more than natural to put on at least a
show of anger at his long neglect. 1643. An anyiipadeia, which may be tak'e n
to refer either to a miser or to a miinini depending on how one takes the puns.
"Oh waterlily who have no idea of what is appropriate, who does not laugh
at your actions? For you seal up your ko~a (calyx, 01' moneybag, or vulva)
when mitra (the sun, or your friend) who is anuragin (red-colored, or desirous,
or passionate) stretches forth his rays [or, his hand]? " 1644. Punning verse:
"Your majesty, for the present our dwellings are the same : possessing great
vessels of gold [or. the receptacle of piteous cries of ch.ildren (prthuJ.:a)],
possessing a retinue all of whom are well ornamented [or, possessing a ret inue
all of whom are sitting on the bare earth], and crowded with brilliant elephants
[or, and crowded with the dust of mice (bila-satka, those who sit in holes)] ."
A vyiijastuti (trick praise). The commentators remark that the word sa't]l-
prati, 'for the present,' indicates that the poet hopes for a gift, after which his
house will no longer be the same. The commentators also furnish alternative
(and improbable) ways of taking vilasatkare7Ju : 'dust which is (satka=santab.)
in holes' or 'water (kam) and dust which are (SQt) in holes.' 1646. (ab)
Christian Lassen's emendation of this line now appears in most of t he printed
versions: riijani vidU§'ii1ll madhye vaTaBUTatiiniiTll samiigame stri1.1iim . The
emendation makes clear sense, whereas our reading with its repetition of ara

576
 Notes [Vs. 1647-1661
is difficult. But ours must be the true reading, since it appears also in the
Hit. mss. Finally, against the emendation one may remark that it is not
characteristic of Sanskrit-speaking lovers to lose their tongues before a
woman simply because she is desirable. 1647. An allegorical epigram.
(a) ki1?l..Stl.ke: its flowers are wonderfully showy but have no honey and its
frui t is inedible; cf. Srb. 227.182, and Anandagiri on BhG. 2.42: ki1[l.8uko hi
ptLfPasiili sobhamiino 'nvhhuyate, na pU1'U§ahhogyaphalahhiigi lakfyate. 1649.
K~emendra (Kkk.) ascribes the verse to Vidyananda.
1651. The verse is an answer, like a capping verse, to the verse preceding.
1652. (c) kiilimakarim: 'making black,' (d) Lit., 'not having obtained a lucky
birth at the same time with him, it was grieved by the hearts (of them).'
1653. An apahnuti. For explanation of the type cf. Intr. 24, par. 5. In
var. lect., for Vmm. 8.26 read Vmm. 4.26. 1654. Cb) prityii: iustr. of accom-
paniment or characterization. The expression prityii pramodaS suffers from
tautology, but no more than the other available readings: Sp., pritiprasiidaS,-
Sbh. prititt prasiidai. The particle ca connects the whole clause to the pre-
ceding clause. (d) tad eva suratam: i.e., this is surata in its proper, etymo-
logical sense; surata in its conventional sense of intercourse is what we have
in common with the beasts. Cf. the remarks on sentiment in sex, Intr. 19,
par. 5. 1655. (a) uda?icat and avancat modify the whole expression aiicita-
vapuIJ. In the course of his final sprint the lion's curved body is seen now
bounding high, now falling low. Grey's 'Now rising high behind and now
before' would be more like a rocking-horse. paSciirdha-: lit., '(his body)
occupying its forepart with its hindpart,' cf. 1149b whence Subandhu doubt-
less derived the image. (b) stabdhottiinita modifies liingula, not pr~tha as the
commentator would have it. A lion's back is anything but stiff when he is
running or leaping to attack. 1656. (ab) -pra1Jayinatt .•. praviihii/.t: 'currents
which are in the Narmada,' cf. 177b, note. The Narmada is said to be the
daughter of Mekala. bhidurii: see 6c, note. (cd) For a similar massing of
participles cf. 1172cd. Note that the order of the participles follows the
sequence of the actions. 1657. An allegorical epigram. The lotus pond
represents the man of true charity. 1658. The verse is given in reverse order
(cdab) by Sp. 1434: Sbh. 2905 and BIS. 6922. Sbh. attributes it to Bharavi,
but the verse is not found in that author's Kiratiirjuneya. (d) Lit., "What
(harm) will people do who chatter much (se. about your selfishness}?"
1659. Punning verse: "Pre-eminent above all is the power of the bow tip [or,
wealth to be counted in ten millions] of a bow, since from it arrows [or,
suppliants] cast from the string [or, even without virtue] reach their mark
[or, get hundreds of thousands (of gold pieces)]. t,
1660. An allegorical epigram; cf. Siik. 5.1. The bee spends the night in
the calyx of the lotus, then runs off next day to taste new sweets. Similar is
a young man. 1661. The verse expresses the extreme effect of vipralambha-
Srrlgiira. (d) To have a man commit suicide in one's house or on one's

577
Vs. 1662-1683] Notes
doorstep brings divine punishment. To such belief, for example, the diir~ii
owes much of its persuasion. The notion is that since one could have pre-
vented the death one is responsible for it. 1662.vihagena: i.e., the caA:-ravaka,
see Intr. 27, par. 2. 1663. Punning verse, of which the first compound in c
seems to be corrupt; one suspects that it should end in tarmigi7;li. "If the
Ganges of my elegant poetry with its various precious qualities, which have
won (lit., unsealed) vast amazement amongst all persons, should take its place
in the deep ocean of your heart: a Ganges, [? the waves of which are] ...
which flows with numerous flavors [or, poetic sentiments] and which has a
powerful roar [or, which has not a few poetic suggestions], then a new (holy
spot, the) meeting of the Ganges and the ocean, would, so to speak, appear."
1664. (b) sundara:=yuvii, young man. (d) anuniithate: Mamm ata , Kpk. ad
7.50 finds fault with the verse because of this un grammatical form. The
verb niith in the sense of asking should be active, not middle... 1665. (a) Lit.,.
'draws her face away from every one! 1667. (d) kiila~ kiila iti prahUyati
janalJ,: Kosambi understands as "People say 'This is the (fine) season. m
But the sentence does not make sense to me nor do I understand the lack of
adversative particle before what follows. Prana.§yati in place of prahrfllati
would make sense to me. 1669. A round-about way of saying that the girl's
face is very like a lotus in beauty.
1671. (a) SUkra: the planet Venus. The sun's son is Saturn (saura), who
is lame. He is also called sani, the slow one, for his lameness makes him slow
in completing his orbit. (b) For Riihu see 1364, note.. 1673. (a) hata:
'cursed.' (cd) Note the improvements over the Bh. readings: amarm'fi
where Bh. has aparail}. (some mss., however, amaraib-) and satkarmabhyo
where Bh. has tatkarmahhyo. 1674. (c) sthital}.: our reading makes sense, 'a
man of judgment stands and looks to both sides,' but is inferior to Kif". A:rj.:
sthitim, 'seeing the state (i.e., the way matters lie) on both sides.' 1675.
Vi":r:tu transformed himself into a dwarf in order to beg land from Bali; cf.
Intr. 6, par. 17. 1676. The road is the endless road of transmigration.
Every one travels it, so there would be no cause for grief if we could choose
our companions for the journey ahead. But we can make no such arrange-
ments. 1677. Sbh. attributes the verse to Dharmakirti. 1678. (d) The
two-syllable word tava is intended to represent the cuckoo's cry. The presence
of the cuckoo suggests springtime, which would augment the sufferings of
the absent lover to the point where he would read a direct accusation. into
the cuckoo's cry.
1682. (c) The line is difficult, but by stretching the meaning perhaps one
can make sense of it as it stands. I suppose that cutting up her body is sug-
gested as a means of removing the cause of jealousy or of giving t he recipients
some of the beauty that has caused their envy.. Serving the body up as betel
would formalize the apology. (d) "Looking at the moon on the fourth d.a y
of the lunar month is considered unlucky" (Kosambi). 1683. (c) n.itar:iim

578
 Notes [Vs. 1684-1699
yiiti dharm:z,im: lit., ' he always takes to the earth,' i.e., he lies down when one
tries to put the yoke to his shoulder. 1684. (d) avadhiiryate: 'is held in,
restricted.' 1685. Cf. 239. (ab) The substances are all used to cool a fever,
but the fever of longing can be cured only by a son. (d) dhuler: the child
comes to his father's embrace from playing in the dust. 1688. (d) yad:
the correlative tad is omitted. 1689.ln var.lect. for8p. 54.1 read8p. 918 and
add Auc. ad 16 (p. 129). K!?emendra finds fault with the verse for not express-
ing more forcibly the sentiment of fear. This seems to me to miss the point of
the verse, which was better seen by Peterson, cf. his note in Sbh. The verse
is an allegorical epigram. V. e all have something of the hermit's mixed
emotions when we see our children grown. The fear is not for ourselves but
for the now grown child. (e) :Muktapic}.a is the title of King Lalitiiditya of
Kashmir (c. A.D. 724-760). K~emendra attributes the verse to him, S
attributes it to the little known Manoka.
1690. The king in RiijaSekhara's ViddhaSiilabhaiijikii examines a love
letter from l\1rgiil'lkiivali. In this and the following selections our anthologist
has reversed the order by which the verses occur in the play. (b) Lit.,
' Since they are (as described in a), they become somewhat understood in my
heart by their smallest (peculiarity of) shape.' 1691. The king discovers
?t{rgiinkiivali's love letter; cf. 1690. 1692. The king comes upon evidence of
:M~giiIikiivali's recent presence in the garden; cf. 1690. (a) mrtllilam: the lotus-
stem bracelet is indicative of love-longing; cf. lntr. 22, par. 8. 1693. (c) Read
vraja tva7]l vii. (d) Lit., ' a clear object for the words of scandal-bearers has
already (tiivat, by just so much as has already occurred) arisen.' 1694. (a)
munindu: the Buddha. (c) l.,"Uta1) prfipya pritim: I see no way but to construe
with the genitive manasal) , 'how would the fire be supported by his heart,
finding happiness where?' 1696. Add to reff. BIS. 1895. (b) pitharaka-: The
image is of a potsherd encircling the dog's neck, not of something stuck in his
throat, as Bohtlingk takes it. One may suppose that the dog had stuck his
head in a jar and come out with the top of the jar encircling his neck or that
he has been fitted, to stop him from stealing, with a sort of kang, like a
Chinese criminal. 1697. (b) The first half line appears to be corrupt, but it is
barely possible that the duals refer to something in a previous context that
we are not given. I have translated as though it read svasiiriibhyiisiibhyiim.
(d) The reference is to the breath control of yoga and to the finding of the
Buddha in the heart. 1698. (b) diik$iputre: the metronymic refers properly
to the grammarian, with whom the poet PiiI)ini, much later in date, was
confused. Obviously it is the poet who is here meant. (c) sura: the Buddhist
author, AryaSUra, whose Jatakamiila is insufferably pious but is written in
correct and even elegant Sanskrit. haricandra: an author of this name is
praised by BiiI)a, Har$acarita 1.12. His works are not preserved. (d) kam
api: 'indescribable.' 1699. (a) tiitalJ,: Abhinanda's father was Satananda,
many of whose verses are included in the present anthology; see index of

579
Vs. 1700--1709] Notes
authors. S here reads ba~, but while Bi.J;la was among the greatest of
Sanskrit authors, his subject matter was traditional. Lit., the line says
"Father, unique in this respect, accomplished a creation the subject of which
was matter that was quite new." (b) For Vagura cf. index of authors.
(c) jhaiijhii.nilapr~sito.: If our reading is right (cf. S variant) this should refer to
a messenger-poem (e.g., J1w.iijMnilalmru:Je8a) composed by YogeSvara.
1700. The verse occurs in the prologues to two of Raja.Sekhara's plays.
In Biil. it is attributed to the courtier (6abhya) Sarpkaravarman; in Yid. it is
attributed to ~J;la Sarpkaravarman, 'the dean of the literary society
(go~thiga~t1w.).' (a) For 8a1(&~ read with all other quotations .a1(&matti.
1701. Many mss. of the Anr. do not include this stanza, which. may be
by another hand than Murari's. For the myths referred to in cd, see
Intr. 45, par. 9, and Intr. 4, par. n. 1702. The verse is a skillful
combination of modesty and encomium. (c) Emend nipiita to nipana
(so Anr.). A nipii:na is a watering trough or small stone-enclosed cistern
placed beside a large well. 1703. (c) The antecedent of the metaphors is
pritay~; lit., 'delights that are a dancing ground of the hairs of the body.'
The reference is to the horripilation that accompanies the emotion of love.
(d) Lit., 'That are causes of the disappearance of the dripping of pride from
the cheeks of rivals in literature.' Prati in compounds such as pratigaJ'T)Q
(see Edgerton, BHSD.), pratibalam, etc. has the sense of 'rival: The dJwani
is of the ichor which drips from the cheek of a must elephant. 1704. (a)
tdtiina: 'superficial,' the antonym, when applied to poetry. of gambhi,a; cf.
BIS. 2086. ullapito.: a rare verb; in its few occurrences (P. W.) it refers to
coaxing or endearing speech. The idea here is that superficial poetry flatters
the ears of the ignorant by being understandable to them; real poetry would
shame such ears. (d) I make no sense of the N reading and so adopt the
reading of K; saphariidluzma: 'the meanest of its fish'; anMUd4p: 'brink of
the mouth,' the mouth being thought of as a yawning gu1I; girindra,: i.e., Mt.
Mainaka, cf. Intr. 36, par. 3. For the image furnished by the line compare
verse 1208, by the same author. 1785. (b) padaniim arlJultmii: lit., 'the soul
of the meaning of one's words.' Compare Anandavardhana. "the soul of
poetry is suggestion." (cd) The same simile is used of dlwani by Abhinava-
gupta, Dhv. Loc. p. 138. 1706. Yamaka verse: "This world, in which the sun
of BhAravi has set, which is deprived of the moon of Kilidisa by force of
time, and in which the lamp of BiI;1a has gone out, has now been illuminated
by a gem (ratna)." [BHOJA-DEVA?] The word 1'atR4 must be part of an
author's name. 1707. For Kumiradisa's JanakihaTaf)4 see !ntr. to Text
Volume. 1708. (b) Lit., 'nor is there anyone (of your words) which. in its
meaning runs not on the royal road of speech.' arl1uitmti: 'consisting of
meaning,' 'so far as meaning is concerned..' 1709. (a) kaf)IhaMTa,ta.: double
meaning as in verse 1. (aI) Lit., 'other poets made a gleaning as it were in
the field, etc.'

580
 Notes [Vs. 1710-1720
1710. Punning verse: .. The pride of poets vanished because of the Vasava-
dattA just as (the pride) of the sons of PAI;lq.u (vanished) because of the spear
given by Indra (vasava-datta) which went to Kan;ta." B~A. Indra. gave
.K arr)a a magic spear in return for K811).8·s invulnerable armor. The Viisava-
dattii is Subandhu's romance. 1711. The title of Pravarasena's poem was
TM Building of the Bridge (Iduba.ndha). (b) Read, with K kumtuio- in place
of l-wumo-. Kumuda besides meaning waterlily was the name of one of the
commanders of Rama's apes. The other puns found in the verse by SaqUtara
Kavi in his commentary on Har,ll£4rila are improbable. Sarpkara Kavi was
simply unaware of the identity of Pravarasena and so missed the main point
of the stanza. 1712. Punning verse: "Those who devote themselves to jii!i
(unadorned verses, characterizations) [or, who enjoy birth] are as common
as dogs in every house. Few are the poets who are creative [or, who have
extra feet] like larahhaa. B.i.~A. For the mythical sarabha see Intr. 88,
par. 12. 1714. The praise is well written and I believe was well deserved.
Raj~ who continued to pour forth his seemingly effortless art despite
his wanderings all over India, must truly have been a dJwiryambtulhi, for the
word dhairya implies both intellectual and moral firmness. His unenvious
praise of other poets marks him also as dha.nniUlridroma. (d) Lit., " You
are seen; we depart." Merely to see a truly great man is blessing enough.
1716. Punning verse: "Your speech. oh poet laureate, charms the heart as
does a ~~-eYe? damsel, for it [or,she] possesses golden tropes [or, orna-
ments], IS ~killfuI m the puns and sentiments which it manifests [or, is skillful
in embrac~ a !over ~th manifest affection], uses flashing [or, trembling]
sentences ill Vaui8l'bhi style. possesses delicate combinations of words and
t'Ound-abou~ expressions [or, POssesses a crooked motion of her steps]. shows
many emoti~ns, and though gentle has a form well fitted for battles [or, well
fitted for bemg embraced]. [SAxOKA?] (b) _..l_L __ ~L_.' te ' f P W
. Mahii' PUUUUU7KUlU. s p, c. . .,
quoting vytdpattl; the pun recurs 172Od. (d) kavituIra: this was a title
of many poets, among others of lLija.Sekhara. 1711. Punning verse: "He
through whom the goddess of speech became a mother (i.e.• he whom the god_
dess of speech adopted as a son) .and to Whom with all sorts of flattering words
in her ~outh she ~ve the se~timents (became) spoiled and undisciplined in
his frolics. Ob~ the pam~ of penury which bad sons bring about by
the vices of thell" tongues, she (VIZ. Speech) now buries her wealth [or, mean-
ing] from him in this and that (hiding place), leaving him destitute."
VALLA:~A. The verse would fit better into a section on 'blame of poets.'
1719. RajaSekhara attributes the verse to 'an astrologer' or 'astrologers.'
(a) valmikablUlval): i.e., Valmiki.
1120. Punning verse: "Not a breath issued forth while the arrow was in
her heart [or, no chapter divisions appeared when BiiJ;1a was in her heart]. but
the goddess of speech had marvelously long strides [or, but the speech COD-
sisted in marvelously long compounds]. (a) There are no ucclwii8a divisions

581
Vs. 1721-1736] Notes
in the KiidamhaTi. 1721. When struck by an arrow a man writhes with his
head, but if the arrow is pressed into his heart the motion ceases. When
confronted by a good poem a man nods his head in approbation (see le, note).
I suppose the sense of the verse is that when the poem is really laid to heart
it produces motionless ecstasy. 1712. I agree with the \'erse. KAlidasa's
language is simple, but his poetic effects are often very subtle. (c) iva: i ..e.,
even after a long time I have not really or fully fathomed it. 1723. (e)
Vidyakara attributes the verse to KaIidasa, but this is because he has mis-
understood the statement by which RajaSekhara introduces the verse in his
Kavm.: "KaIidiisa was of a different opinion, namely that appreciation is
separate from poetic ability and poetic ability separate from appreciatio~
because these two qualities differ both in their own nature and in the objects
on which they operate. As they say, '''One man is able to compose a verse,
etc.' " There is no reason to suppose that Kalidiisa wrote the verse. 1714.
We know as little of AmarasiIpha., since the person referred to is presumably
different from the lexicographer, as we do of his encomiast, Salika. 1715.
Punning verse: "How can this speech [or, cow] of YOUl'S, although tightly
constructed [or, tightly bound], be powerful [or, untied]; how is it that being
easy to understand, yOUI' speech partakes of nothing other than the Vaidarbhi
style [or, how is it that the cow touches indeed nothing other than darbluJ.
grass although (other grass) is easy to find]? Since she is said to be fertile
(unbarren) on earth, how is she unapproachable by other master poets [lit.,
poet-bulls] ? Or how is it that even though often milked by many she still
flows with nectar?" SABD1R~AVA. 1727. If the verse is truly by D~
one can scarcely imagine a more conceited lament. Utpalaraja was a name
of King Muiija of Dhar and also of several kings of Kashmir. (c) rolwtr.m: the
gem-bearing mountain of Ceylon. 1729. (d) vii11W./;I: the "wrong' road, but
also the •charming' road. urjitaJ}:' left, abandoned,' = 1I.ifIl1ta/;l. (e) The
honorific suffix after the name is given only by N.
1730. (b) myam: by 'resplendence' is meant both the wealth and. fame
that derive from learning. Both should be passed on, to the needy and to
one's students. 1731. (d) For ~i/;l, which utterly destroys the line, read
prthvi with the printed texts of Miil. 1732. (d) For 8aAabdO read ,a sabdo.
1733. (a) unnito: 'inferred, discovered.' (c) viikpatiriija: the author of the
GaiidavaJw. (d) kaaya cid: I suspect the verse is taken from the prologue to a
play and refers to YOgeSvar& himself, but it could refer to some poet friend.
1734. Punning verse: .. When that most wonderful rec.eptac1e of f'tua rose
upward, a portion of its TlUa (elixir or poetic sentiment) remained behind on
earth, motionless, like something heavy in the billowy ocean [or, in the ocean
of Val1IlJ.la]." VALLA~A. (a) TlUadMmani: I imagine this refers to the
pitcher of ambrosia which arose in the hand of Dhanvantari from the churning
of the sea. utsalite: cf.7b, note. (c) rQ.8ablaiiga: read rtuablaiigal). 1735. <a)
ii4hyaraja: probably an epithet of BiJ)8's patron, King H~. 1736. (c)

582
1

Notes [Vs. 1737-1739

hhiipu: emend to bhtUa (the suggestion comes to me from V. V. Raghavan).
The line carries a pun on the author's name, Dharmasoka, 'aSoka flower of
dharma.' (d) with some misgiving I have taken tiitalJ, as 'young man, student.'
By vaiMrbhagarbhes-vara the poet seems to mean Kalidasa. 1737. (c) Lit., 'as
long as the two hands of Brahma are intent on their activity for the production
of tone at each saman.' For pratisiima-siirat)4 the printed text of Vide reads
( pralima-prasiiraf)4, 'the making of images.' I prefer our reading. For siira1J,a
in the specific sense of 'the emitting of a note or sound' see P.W. Anyone
who has attended a Vedic service will recognize the gesture referred to. The
singers keep track of the Vedic accents in their music by mnemotechnic
gestures of their hands. 1739. The verse appears only in K, where it is added
{ after the word samiiptam, 'finis.' Accordingly, it is either a stray verse which
the scribe knew not where to put or it is a colophon referring to the compiler or
owner or borrower of the book. My guess is that it is a stray verse, but its
corruption prevents one from being sure. The first six syllables of the ms.
are gibberish. With grave doubts I suggest taking the original to have begun
with parasya do~am and would translate as follows: "This fellow is very clever
at finding fault with others for their breaking the law; yet he himself lives in
lawlessness. How is that? He doesn't hate it, so he does it." One may
mmpare such verses as 1275.

588
 INDEX OF SANSKRIT 1\1:ETERS
I NDEX OF SANSKRIT WORDS
INDEX OF AUTHORS
INDEX OF NAMES AND SUBJECTS
 INDEX OF SANSKRIT METERS

Late Classical writers of Sanskrit used a more limited number of meters than
those of the Early Classical period and they almost never committed. faults of
quantity or caesura. Since the majority of Vidyakara's selections date from
the seventh to the eleventh centuries, the meters of his verses present few
problems; most of them will be immediately recognized by the reader. The
following list may be useful, though, for reference. In the case of each meter
the total number of verses employing it is given, for this figure throws light on
the type of literature (kiivya, kha1J4akiivya, theater, gnomic) which the antho-
logist favored. While the total is given for each meter, only the first eight
occurrences of the common meters are listed by individual verse number. To
list each verse by meter seemed needless.

A. Va~, 8amacat~adi
11 syllables to the quarter
Indravajra. - - v _ - v v _ v __

259, 1121, 1156, 1854, 1866, 1442, 1487. Total: 7

Upen<iravajri. v _ v _ _ v v _ v _ _
179,545. Total: 2
Upajiiti. "- - v - - ...... _ ... - -
182, 193, 227, 241, 266, 856, 418. 448, etc. Total: 25
Rathoddhata. - v _ '" v " _ v _ v _
615. Total: 1
Svagatii. - ... - v v v _ v v _ _
981, 947, 1658, 1662, 1686. Total: 5
12 syllables to the quarter
Drutavilambita. .. ...... - ...... - v v _ ... -
881, 489, 487, 502, 504, 505, 898, 1187, etc. Total: 15
VaIpSastha. v _ v _ _ ... v _ v _ v _
180, 628, 817, 946, 1258, 1339, 1688, 1674, etc. Total: 10
VatpSamaJa. ~ _ '" __ u v _ u _ v _

1181, 1281. Total: 2

18 syllables to the quarter
O"' ..... -ini.
&. &a.u.a.&9~ - - - , '"' "" '" u - v _ v - -

754. Total: 1
RucirB.. "" - u _, u u u "" _ u _ t..I _

1450. Total: 1

587
 Index of Sanskrit Meters
14 syllablesto the quarter
Vasantatilaka, - - ~ - ~ ~ ~ - ~ ~ _ ... - -
1, 5, 6, 27, 28, 41, 94, 100, etc. Total: 189
15 syllables to the quarter
Milini. \J!J \I ..., V Y _ _, _ u _ _ '" __

18, 188, 218, 216, 299, 825, 327, 882, etc. Total: 54
17 syllables to the quarter
HariJ)i. \01 "" .., 'W v _ u -
V _, _ _ _ _, ..., _ ""

107, ll8, 147, 159, 164,270, 317, 852, etc. Total: 74

Mandakranta. - - - -, .... '" .. '" -, -.., - - ... - -
4, 80, 81, 82, 123, 142, 160, 162, etc. Total: 76
Nard.at:aka. \tI..., "" " _ IJ _ U, v .., - '" '" - "'" "'" -

862. (irregular caesura) Total: 1

114, 116, 127, 148, 211, 323, 518, 526, etc. Total: 15
SikhariJ)i. "" - -- - - -, '" v v v "" - - "" ..., '" -
13, 16, 17, 20, 24, 29, 36, 46, etc. Total: 252
19 syllables to the quarter
Sardiilavikriqita. - - - " .., - v _ v v v _, _ _ .., _ _ .., _

2, 3, 7, 8, 9, 11, 12, 14, etc. Total: 615

21 syllables to the quarter
S..... ....:Il. .. ...a •
.£.~~Q ____ u _ _, '" '" '"' v .......... _, _ "'" _ _ "" __

10, 26, 39, 40, 49, 51, 56, 57, etc. Total: 86
B. Va~, ardhasamacatttnJadi
10-11 syllables
Viyogini. a and c, .., .., -.., . . -.., - . . - b and d, " .., - - " " -" -" -
1287, 1276. Total: 2
12-13 syllables
Pu~pitagra. a and e, v ... .... '" v v - v - u - - b and d,
UV""'IJ_UU_""_"' __

86, 586, 625, 723, 9140, 933, 1088, 1519, etc. Total: 10
C.8loka
8 syllables to the quarter
Sloka. a and e, x x x x'" - - - b and d, x x x x .... -.... -
(irregularities and varieties are not here noticed.)
48, 48, 64, 78, 330, 371, 393, 895, etc. Total: 158
D. MiiJravrttaJ)
Arya (varieties are not here noticed)

21, 22, 45, 66, 72, 87, 89, 112, etc. Total: 187

588
 Index of Sarukrit Meters
JAti (see note on 882)
882, 980, 942. Total: 8
MilabhAril)i (see note on 941)
941,978. Total: 2

Meters in order of their frequency

SirdiilavikrieJita 615 85.4%
Sikharit;li 252
VasantatilakA 189
Sloka 153
AryA 187
Sragdhari 86
Mandakranti. 76
HariJ;li 74
MaIinI 54
Upajiti with Indra- and Upendra-vajra 34 96.2%
Drutavilambita 15
Prtbvi 15
Pufl>itagra 10
ValpSastha 10
Etc.

589
 INDEX OF SANSKRIT WORDS

The following index contains all Sanskrit words that ha, e been defined or
discussed in the notes and introductions. The words are listed in the order
of the Sanskrit syllabary. Doubled consonant plus r is simplified as in mss.
Nand K; thus patra in place of patlra.

~ukapallava, 61a,829a. abhinila, 875b.

agaiijita, 5Mb. abhisiirikii, Intr. 10, par. .'); Intr. 24,
agriinna,314b. par. 3.
ailka. Intr. 29, par. 3. abhlka,896c.
aJikura, 1579a. abhya~parakrama, 887d.
aJigirakiirayate. 700. abhyudayate, 859b.
seeha, 282d. abhramu, l045b.
acchabhalla,864c. amrtavartir nayanayo.... 427a.
aiicitakala, 778b. ambhoruha, 923d.
atiSayokti, 387, 836b. ayarp j~, 687.
adeha, Intr. 14, par. 5. ~yarudita, 659d.
adbhutopami, Intr. 16, par. 4; 387.388. arkabandhu, 4d.
adriputri, Jntr. 5, par. 2. arcana, 776c.
adrisuta, !ntr. 5, par. 2. arjuna, 21880
advitiyatva, 35Sc. arthavyakti,881.
advaita, 355e, 52Od. arthatman, 1705b, 1708b.
adho 'dhss, 148a. arthaniaranyiisa, Intr. 40, par. I.
anaitga, Intr. 14, par. 5, 6. ardhaniriSvara, Intr. 14, par. 5; Inu. 4,
anaJigavijaya, 175. par. 8.
anunithate, 1664«1. ardhocchvisa,589c.
anuriiga, Intr. 17, par. 1. alasa, 24.3d.
-anta, 275d. alasavalita. 4828. 508a.
antarisaxpghati, 1102a. avataxpsa,524b.
anyal}. ko 'pi, 1200a. avapfu:lQ.u, 875d.
anyapadda, Intr. 33, par. 2; Intr. 36. doka, Intr. 8, par. 6 , 7; Intr. 38, par.
par. 1. 36; 693b.
anyokti, Intr. 33. par. 2. aSmantaks, 987b.
anvaya, I381d. asarpjiii, l07lc.
apadeSa, Intr. 33, par. 2. asati, Intr. 24.
apavrtti, 12Ic. asaIllaSarB, Intr. 14, par. 3.
apahnuti, 17100, 340, 428, 549<1, 704, ahimagu, 982b.
904; Intr. 24, par. 5.
ap8ilga,461b. iIpSavi, 2OSc.
appati, 869b. ikal)tham,l038d.
apradhAna,198. ikampalm, le.
aprastutapnwlIpsa, Intr. 38, par. 2. ikekara. 188d.
abhijiii, 8. Acopta, 677a.

590
J

Index of Sanskrit Words

acchot;ita, 6778. iirjita. 140b.
lp, 1I5Ie.
idardaram, 15S8b. eke.. 847d,5068.
idheyadhanna. I561c. ekadanta, Intr. 5. par. .
inaccha, 1185<1. ek8.vali, Intr. 41, par. 3.
iipIna, 279a.
abarhyate, 32d. aurva, Intr. 33, par. 29.
irambha,IOOa.
lvartayati, 7IDe, 916d. kaIika, Intr. 11, par. 3.
iSu,29Ib. katt k &JMef9,,214tc.
iSuSuIojaJ:U, 3Ib. kacChinta,275d,283b.
iSrayaghasmara, 119Se. kaiicuka, 607.
iSrayiiSa, 12840. kap, Intr. 19, par. 6; 957a.
~«;lha, 175c. kathini,957d.
" iisara, lotr. 10, par.!. ka<;latkira, 54t2c, 573d.
isutrita, MSb. kaQati, 1305d.
iihallita, 1414c. kaQthahara, I b, 1709a.
~<;1ani, 1178d.
indumaQi. Intr. 29, par. 3. kadamba, Intr. 10, par. 3; 131, 708d.
iWivau, 99d.
kanda,6o.
kandarodarabhu, 1462a.
utkara, 927a. kandalita, 1584b.
utkalikii, 154td. kandaU,7,260b,65IC, 668,761d.
utkhelant, 363a. kandu,6c.
uttaJpsita, 7138. kanduka, 517.
uttiina, 1704&. kapatagbni, 9Ub.
uttwigamauli. Intr. 4, par. 6. kapota, 1175d.
utpreqa, 365, 942. kabanoandha, 58Sb.
utsaIant, 7b, 146, 1118a. kamala, Intr. 29, par. 3.
u~ta, 862, 1734ta. kampate (siral.l), le.
utsahati, 1087b. kara, Intr. 16, par. 4; lotr. 29, par. 3.
udgirQa, 314td. karaku~u:liki., 1058d.
uddhava, 1292a. karaiija, 1132a.
uddhanta, 886d. ~52b.
udbalbaja, 207b. k:araJ;rl, 878a.
udbheda, 377. karira,512c.
UdVBSa,964c. karkandhii, 1188d.
UIlIl8Ia, 271.a, 835a. karkara, 15Mc.
upary upari. 148&. karQa,805.
upiiota, 337e. kan;lapasa, 5246.
upiiSru, 682d. karQapravila, 1838.
urukanthB, 98Oa. karpiira, DOTe.
wjita,1729d. karburita, 506c.
uliilukii, 306<1. ka1a6ka, Intr. 29, par. 3.
ulkimukha, Intr. 44, par. 1. kalabharita,874c.
ulIapita, 1704a.. kaJama, 285a.
ullalayau,9l5b. kalama1a, 381c.
ullekha, 27, 53, 65, 140. kalayati, 928, 422, 662.
kalaSa, 15Od, 26900.392.
-tiru, 822. kalab"'P~ Inu. 11, par. 3.
flrumiila, Intr. 19, par. 6; 57Oc, 609b, kaJiSep,716b.
1579bc. kalita, 672a.

591
 IndeaJ of Sanskrit Words
kavlndra, 1716.d koraka, 877.
kdA~~284b. kop, IIU kundak~.
kaSipu. 99. kairava, Intr. 29, ps.i . 8.
kaft.a, 19Se. kautukat, 1585d.
kasra, 757a. kaundi, 1412a.
kahlira, InU. 29, par. 3. kaumudi, 4550.
kadamba, Intr. 11, par. 3. kri<;li-, 104c, lasb, 1201b.
kidambini, 217b, Intr. 10, par.!. kri<;liyuddha,139Od.
kipilika, 249d, 874b. kri<;taJasa, 242d.
kimboja, 1381a. kv~ati, 1446c.
1di.ra~nandasunu, 139d. qudra,I0248.
kivyaliilga, 84. qurapra, 796.
kaSa, 283b, 42Oc.
kASmari,987a. khaiijarita, lotr. 11, par. 2.
kirpsuka, InU. 8, par. 5; 1612c, khatakfunukha,I00a.
1647a. kbatviiilga, 249d.
kUptanu, 11588. khaQ.4a, 1278d.
kim api, 598a. khaJa, 1186c, 1262.
kirp cid, 566b. khaJati, 735b.
kiIppaka, Intr. 33, par. 36: 1121. ~ Inu. 2, pal'. 6.
-kir, 959a, 1496c.
lrukftlanala,1200b. gajamukha, Intr. 5, par. 7.
ku1:aja, 215. gajovadana, Intr. 5, par. 7.
kuQmala, 377. gandhavaba, lntr. 34, par. 1.
kunthati, 1304d. gamaka, 1I78d.
kunda, Inu. 8, par. 4: Inu. 34, par. 1. garbhakO!j8, 258b.
kundak~, 7548. gavyiitimatrl,9128.
kundacaturtbika, 306c. gBmbhiri, 9878.
kumuda, Intr. 29, par. 3. giriguru, 146Gb.
kumbha, 269cd, 28a. giriduhitr, Intr. 5, par. 2.
kuraba, 275d. gugguJu, 1142<1.
kurabaka, Intr. 8, par. 7. guiija, 319, 1117.
kulagiri, 112b, 88Se. guJ.UL, Iotr.16, par. 4: Inu. 33, par. 20, 23.
kulavibhu, 418. gundra, 1141d.
kulaSikharin,976d. grbiiSramavrata, Intr. 24, par. 2.
kulyambupiiriiyate, 700. gotraskhaJaoa. Intr. 21. par. 5.
kuvalaya, Iotr. 16, par. 2. goniisa,l02a.
kusumadhanus, Iotr. 14, par. S. gorocana, 94.5a.
kusumiiiijali, 12d. ~thatap. 1186d.
kustumbini, 321. gauQi, Iou. 46, par. 2.
kuhUJikira,99Od. gauri krudhyatu, 712c.
kuhii,817. ~,32a.
lqtamila,987a.
lqtirtha,261d. gha1:a, 269.
lqp~, 921d. gh~,28b.
Jcmtala,319. ghorayati, 229c.
~~jina, 863d.
ketaka, Intr. 10, par. 3; 44c, 247, 468c, cakora, Inu. 29, par. 3; 17,411.
527b. cakoraqi, 655d.
ketaki, 8U ketaka. cakra, 1289b.
kesara, 528c. cakravika, 452d; Inu. 27, par. 2.
ko~, 1578d,208. caiicaccaiicu, 198n.

592
 Index of Sanskrit Words
cataccapti, 116. jhalajjhalii, 532d, 917b.
C8Qc;ii, 4208. jhal8., 232a.
candrakanti, lotr. 29, per. 8. jbiitkarin, 236a.
campaka, 163d. jhitkurute, 965<1, 1578b.
caral,lArdharuddhavasudha, 765c. jhilli, 981d.
carcii, 97a.
caJati (sira1;l), le. tasiti, 495d.
calito gacchant, 717c.
citaka, 25Oc; Intr. SS, par. 15; Intr. 40, ~tkiira, 89Oc.
par. 5. c;lamaritaSiras, 87ld.
capaJa, 356b. c;limba, 217a.
climara, 48.
cam, 5268. c;lhaukate, 200.
citiicakra,907a.
citra, 194, 250. tagara, 552b.
cut, 67780 tapas, Intr. 4, par. 7; 408, 562, 565e,
cubniS cubriir iti, 226d. 567e.
ciil:AJiJ..LIra, 155. tamiiJa, 216c.
ced,419d. ~,2408c.
coJaka,82Od. tarp~, 269d.
tacpdalapaka, 7128.
chatra, 964c. tiipabhii. 5538.
chamiti, 116. tiipiccha, 216d, 898.
ehekokti, Intr. 15, par. 2. tiipiDja, 216d.
eheda, MId. tiniSa, 876b, 987c.
tilaka, Intr. 8, par. 7.
jagati,7c. tilata~c;lulita. 914b.
jatajii!a, Intr. 2, par. 5; Intr. 4, par. 6. tirinta. 275d.
jatliJ:naQ~la, Intr. 4, par. 6. tulyayogiti, 537.
jatasarphati, Intr.4, par. 6. toyendhana, 744d.
j~yati, 485d. toyopaJa, 955b.
jana, 697b. trikakud, 1567c.
janibhiita. 1503b. tribhiigavilita. 358a.
jambu, 157a. tryambaka, 77d. 82d.
jarajarayati, 114&1.
jalagrhavitardik8., 1583c. dalq;in8.varta, 1118b.
j~n~t 1197dL dantura, 1528.
jalayantramandira, 21408. damadamikii, 89Od.
jaJaraJiku,994b. damanaka, 298.
jalariiSi, 421. davayati,561b.
java, 869a, 943a. daqayaJfi,936d.
jac;lya, 485d. diilq;iputra, 1698b.
jati (type of poetry), Intr. 35; Intr. 10, diityUha, 221a.
par. 2; Intr. 11, par. 4: Intr. 12, par. du (gatau), 561b.
2; Intr. 13, par. 2; !ntr. 81, par. 1. dugdhamugdha, 521c.
jiimbava,406b. dughasyati, 1515c.
j8lma, 1180b. durgbat.a, 417.
jiqliyita, 135d. durIalita, l056c.
jivagriiham,912d. d~~t.a. 1828.
d~ 677a.
jhailkiira, 829d. dun, Intr. 18, par. 3; Intr. 25.
jhaiijhiinila, Intr. M, par. 4.. diirvi, 911.

598
 Index of Sanskrit Words
~ti (varieties 00, 467. paticama,834d.
dainya, Intr. 42, par. 2; US43c. paiicamargal,la, Intr. 14, par. 3.
draIiga, 732d. paficamasth8.na, cf. 153.
dravayati, 1278d. patapataIa, 17a.
dvaraka, 1142. patavSsa, 919c.
dvarilindaka, 1316b. patupaka, 554b.
patola, 2D4h.
dhagaddhagiti, 116. patikasthana, Intr. 38, par. 2.
dhammilla, 588b. patra, 142<1, 432a.
dhiitaki, 204c. patrabhaDga, 196d, 889a.
dhariikadamba, 263c. patrabhailgamakara (-i, -ika), 889a,
dharibawa, 802b. 1048.
dhiriila, 663b. patramakari, 389a, 721b.
dhiiriisara, Intr. 10, par. 1. patravalli or -i, 889a.
dhikkarman, 1055a. patriilkura, 389a, 5908.
drura (adj.), 1215d. patriiIilruramakara, 389a, 1582b.
dhira (noun), 282a. patrili, 389a.
dhiimya, 893c. patriivali, 389a.
dhyama, 878d. padabandha, 1716b.
dhruva, Inu. 33, par. 2. payas, 1064.
dhvani, 49, 1705cd. parikara, 769d.
parikalayati, 478b.
nagariirambha, 48, 338. parigama, 920&.
na<;laba, 361d. parijac,ta, 18OSc.
nameru, 1578c. pariJ;mti, 65980
nardataka, 862. parimaiana,709b.
navakha~u;la, 1398b. parivr4ha, 442c.
navamaJJika, Intr. 8, par. 4, and cf. parisphuta, 15b.
malliki. parpata, 214d. .
niibhimUla, Intr. 19, par. 6; 57Oc. paryantacaityadruma, 887c.
nicuJa, 122d. paryiiI)ana, 1446c.
nicolaka, 172c. paryaya, 54.
nidhuvanayudh, Inu. 19, par. 5. paryayokti,54.
nipana, 1702c. parvan, 1102d.
nip~, 122b. pala, 1150b.
nirbhartsayati,690b. paIala, 318.
nirmada, I07Id. paWa, 16120.
nirlagna, 14OOc. pallava, loo, 942d',
nirv~ (bathing), 1148. rupSukapallava.
nirvyajadana, 1203b. pavaoasin, 253.
nivnu;m, 827b. pavanastra, 804.b.
niSumbba,738. paSya mrgo dhiivati, 956b.
nicakais, 1292d. piidardhanIruddhabhii,765c.
nipa, 2608. piiramita, S.
nDotpaJa, Intr. 16, par. 2. ~a, 528, 1lO2d.
nivi,696c. pitiman, 140180
netraikapeya, 847d. pDu,512c.
nyagrodha, Intr. 33, par. 36; cf. 1062. pu~u;larika, 1194d.
pu~u;1requ, 316d.
paqaputa, 19Sb. pw;aya, 408.
panes paiiesnakha bhalqy~, Mic. pw;ayiigni, 815d.
paiiesb~ Intr. 14, par. 8. punar api, 1069a.

594
 index of San8krit Words
plll'ii\l8Sidhu, 963d. physical manifestation) 386c, 595,
PUfpacapa, Intr. 14. par. 3. 686d; (young love) 51ld, 578c, 6OOa;
piigs, 294, 812&. (stimulant of emotion) 152d.
piitana, Intr. 44, par. 1. bhitti, 1121d.
piin;1ak.alaSa, 15Od. bhidura, 6c, 17e.
piin;tapitra. 162d. bbinna, 713d.
piirvariiga, Intr. 18, par. 2. bbplga, 651c.
potalaka, lntr. 2, par. 6. bhrama, 219.
pa~, 1097c. bhramara, Intr.38, par. 14.
pragraha, 129b. bhramaraka, 525c.
praca~C;loraga, 81Be. bhriintimiin, Intr. 16, par. 4; 391, 409,
pracchanna, 1308. 488,905.
p~yin, 177b. bhriibbailga, 498c.
pratikabun,335d,847a,5~
pratirodhi, 676. makara or -i, I018d; see also patra-
prativibh8vita, 143b. makari and patriilikuramakara.
pratipa, Intr. 16, par. 4; 396, 400, 450, inakaraketana, Intr. 14, par. 4.
457. mailgalya, 269cd.
pratyanIka, 778. manes, 285b.
prapapiilikii., Intr. 9, par. 5; 197, 514. ~C;la,1188a.
prabha, 88590. m~~a, Intr. 16, par. 4.
prabhu. 802b. mada, Intr. 88, par. 10.
praminute, 24.b. madana, lntr. 14, par. 2-
praSasti, Intr.46. madanotsava, 174cd.
prasthaIppaca, 711b. madanaikabandhu, M7d, 506&.
priileyadhiman. 277b. madhu, 341b.
priyailgu, 320b. madhUka, Mlb, 342b, 451a.
madhiidra, I7e.
phaQipi..w, 89a. madhyesad.ma, 71Sa.
phalasiici.11M. manasijanman. Intr. 14, par. 2.
phalini, 820b. manojanman, Intr. 14, par. 2.
manoriijya, 568b.
baka, Intr. 11, par. 8. maDmatha, Intr. 14, par. 2.
bakuIa, lntr. 8. par. 7; 528c. marmarayati, 214d.
badara, 304; 3U also l1ssd and vss. 316, malaya, 154a.
822. malayagiri, Intr. M, par. 1.
badari,81Be. mallikii, Intr. M, par. 1; IJU also
bandbujiva. 267b, 287c. navamallika.
bandhiika.267b. masi, 1118c.
bahalita, 929a. ~ (adj.), 814<1.
bahula~ lOO2c. masp;m (noun), 1487c.
bilapraviila, 151«1. ~~,142d.
bibbo~884. mahikAJaphala, 1260.
bUva, IM3b; 3U also ll91d. mahiibhiitiirdita, 749a.
bu"'~ti, 11550. mahikii, 8OSb.
mall', 727a.
bbarita, 814c. m8dhavi, 1188c.
bbavati pacati, 956b. mana, 687d.
bbasmani hutam, 1284d. miinini, Intr. 21.
bhiriiyate,102d. mirasubhata, H.
bhiiva: (emotion, attitude), Intr. 21, mir8l;1, 2d, 16.
par. 2; Intr. 42, par. 1; (expression, miIati, 815.

595
 Index of Sanskrit Words
mWdIpaka. Intr. 41, par. 8. lavalI, 406a; Intr. M, par. 1.
mAliira, 1191<1. ~.81a.
micimici, 1177c. liV8t;lya, MIc.
mitra, 177b. lodhra, 217d; Intr. 84, par. 1.
mInadhvaja, Intr. 14, par. 4.
mukula, 377. varpSin. 231a.
mukha, 436. va"abhi, 894a.
mugdba,361h. ~tana. 1313c.
mugdhabhisiriki, Inu. 24, par. 3. vanAnta, 275d.
m~tllPdhaya, 936b. vandya, 706.
musta, 104<1, 1141d. vapq-, 1808.
miircchiti, 1026d. varada, Intr. 2, par. 5.
IIlfI.l8la, 545c. valita, 4828.
mohanante, 589<1. vallari, l6Oc.
vasa, 1529d.
yajiiavar8ha, Intr. 6, par. 12; 145a. vaskayar;u. 189b.
yath8sarpkhya, Intr. 41, par. 3; 70e, vii4ava. Inlr. 83, par. 29.
1621. viitahariJ;ul, 197ab.
yadaparam, 1020b. viityii, 8930.
yam aka, 194, 626d, 1002<1. virada, 189Se.
yamini,321. v~,747.
yamunB, 819d,981b. viisabhavana, 600b.
yavani, 943b. vasogupti, 37Sc.
yatrilagna, 2938. viistuka-vistu, 321..
yiithika, Inu. 10, par. 3. vikalilqta, 829d.
viJikhati, 522b.
raIigati, 1394c. vicakila,I65a.
ratikaJaba, Inu. 19, par 5. vitaflka, 8948.
ratidipa, Intr. 26. vitaikakalpalatiki, 847d, 827d.
rativimarda, Intr. 19, par. 5. vitanu, Intr. 14, par. 5.
ratnadipa, 133a, 1230. vidagdhottamanayiki, 837.
ratbiiilga, 452d. vidhi.564a.
rabhasat, 92b. vinihitam, 6408.
ramayatitariim, 824d. viparitarata, Intr. 19, par. 10; 581, 588,
ravigriiva, 641d. 585,587-589,592,599.
rasa, 8Sc, 718d. vipralambha-SrDgira, Intr. 8, par. 11;
riga, 151c. Intr. 10, par. 6; Intr. 18, par. 1;
riijaniti, 10e. Intr. 21, par. 2; Inu. 22; 28.
riijahaIpsa, Intr. 11, par. 8. vibhrama, 521d.
rajiva, Intr. 29, par. 3. virasa, 295d, 484c.
rucakabhruiga, 94.5a. virahavidhura, 160&.
rodhra, 980a. viruj, ]586a.
romiivalI, Intr. IS, par. 8. virodha. 17.
ro~ 1571. virodhiibhasa, 79cd.
roh.quL, 1577<1. vivrntayate, 165c.
viveka, 1604&.
laqmim pravahati. 928a. viSiila, l15Oc.
Ia~, 36ld. ~kti, 6]0.
Iambh8.,1575d. viAvadryaiic. 9848.
layabmhroan, S7d. ~w,a,496d.
lalit&, l403d. ~~a,824c.
lavala, 406a. visphiriigra, 700.

596
f\

l~ of Sanskrit WOJ'ds
vfrar.ta, 226b, 1151d. saIpvyana, 61a.
vedI, 34la. saIJ1Myopama, lnti. 16, par. "; 800.
./ vaiyatya, 357c. srupsakta, 151a.
vairagya, Intr. 42, par. 1. sakhi, 17Th.
vyaiijana. Intr. 2-4. par. 4; Intr. 25. srupkalpabhava, Intr. 14, par. 2.
par. 2; 837. ~yey~, 963a.
vyatikara, 349c, 560a, 576a, S54d. S8.Ipjvarai}., 485d.
vyatireka, Intr. 16, par. 4; 896, 776. sadbbava, 697b, 852a.
vyavahitiinvaya, 692a. S8IJltamasa, 864c.
vyasana, 10Mb. S8.Ipdarp~ikiiyantra, 3200.
vyakarat;laprakriya, 417. saIpdiinita, 561a.
vyiijastuti, Intr. 82, par. 5; Intr. 33, smp.deha, 890.
par. 2; Intr. 46, par. 2. saqtdhyiitiiQ4ava.50a.
vyajokti, Intr. 24, par. 5. 8aI!ldhyiina1io, 508.
sapailkti, 177b.
saptali, 209a.
SakaJa, 21Sb, 621e. sabhya,l144c.
SatapUlfl>ikii, 321. samaya,11.
Sabari, 875d. samasokti, 215, 266; Intr. 34, par. 2.
SamI,204d, 512c. srup.bhoga·~, Intr. 19; Intr. 20,
Wnb~c;laka., 226b. par. 1.
Sarad, Intr. 11. sarpmugdba, 842b, 859<1.
Sarabha, Intr. 83, par. 12. saraka, n91e.
Sariri, 1I51e, 208. sarala, 804c.
Sallaki, 1541b. sarasakadalI, 201.
Sallaki, 112411. sarasi, 1185a.
SaSivadana, 832, 862. sarja, 21Sa.
sakhotaka, Intr. 33, par. 36; IOS7c. S8.I18Pa, 1184, 815b.
santirasa, Intr. 42, par. 1. sasamdeha, 890.
saridyiita, 846a, 605d, 1400. sahaPmPsukhelanasakhi. 712<1.
AAJrnali, Intr. 33. par. 36; 1063. s8kiirikp, 54.
s~, 209c. 8ee also vss. 210, 212. siikhota, see sakhotaka.
Silindhra, 217d. siiyaka, HOld.
Silimukha. 877. sBraQa, 1737e.
stinya, 1I93d. siirasa, Intr. 11, par. 3.
stinye, Sl3c. siila, 21Sa.
siinyeqaQa, 57d. sa~bha, 738.
siira, 169Se. siddhiirtha, 1184.
SrDgaraikarasa, M7d. see also vs. 456. sinduvara, 1405a.
iiepbiili, 271a. sindiira, 423c, 613.
SmaSina, Intr. 44, par. l. sitkiira, 677b.
sri, Intr. 6, pal'. 7; 810. sudhiisiiti, NOb.
SreQI, 142d. suparvan, 16.
slelJ&vakrokti, lOS, 109. sumanas, 1282c and cf. vs. 16e.
suratadipa, Intr. 26.
suvaktra, 4Od.
~trka, IntI'. 5, par. 4.
suvan;mkwnbha,28b.
~ti, 116.
~~batlqta, 51 b. suhrd, Ma, 177b.
siicimukha, 2Ocd.
sfiryakanta,647a, 861b.
sa vandyal;l, see vandya. saudhaguru, 66Od.
S8.J!lvrta.965b. saubhagya, 310.

597
•
 Index of Sanskrit Words
skandhacakra, 8748.. hmpsa, Intr. H,par. 3.
sthaputa, 322c, 153Od. bari,1052.
sthapupta, 254<1. baricandra, l608e.
sthali, 1173b. haridrii, 183c, 889a, 719a.
sthiti, 1036c. hiraprakAJ.lQa,804c.
sp~ta, 253c. harita, 457b.
smarB, Intr. 14, par. 2. hava,578c.
smaraikasuhrd, M7d, 38Od. hlndola, 197ab.
syandana, 876b. himani, 307d.
svabbavokti, see jati. hiirplqti, 1178e.
svaqW.tha, 15a. biiJ.ta, 9248.
svairiI.rl, 233d. hrdaya, 1198b.

• 598
 INDEX OF AUTHORS

For perhaps half the verses of the SRK. one may furnish the author's name
with some certainty. The remainder fall into two categories: those which
must remain anonymous since a name is nowhere ascribed to them, and those
on which the sources disagree. The latter category presents an editor or
cataloguer with problems. For example, verse 104 is ascribed by our antholo-
gist to Vakpatiraja but by Sridhara to Nagna; at the same time it occurs in
the extant editions of the Ve7).isarp,hiira of Bhatta NarayaQ.a. to whom Nandana
ascribes the verse, and in the Hanumanniitaka. whence Smk. ascribes the
verse to Hanuman. The cause of such disagreements, other than the faulti-
ness of anthologists' memories, is that a verse was often borrowed or plagiar-
ized; one anthologist would have seen it in the original context, another
would know it only from a work into which it had been adopted. Now, it
would be foolish, except in an apparalus criticus, to list all ascriptions that
have been given to a verse, for some of them are patently wrong. On the
other hand, one cannot be entirely objective in choosing one ascription over
another.
I have made the following list as complete as seemed ~onable in view of
the above facts. I have included those few verses which were omitted byover-
sight in pp.lxviii-cvi of the Text Volume. Other discrepancies from that list
are due to my giving somewhat less weight to the authority of Sridhara.'s
ascriptions and almost no weight to those of Nalldana. Furthennore, I have
added to this list such extant texts as the Amaru, Bhartrhari, and Silh8J.la
collections and those composite works-the Paiicatantra, Hitopade8a, and
Hanumanniitaka-not because the reputed authors of those works were the
true authors of the verses nowadays ascribed to them, but because the works
are famous and the reader may wish a convenient view of just how much of
them is contained in Vidyakara's anthology. The complete listing of
ascriptions will be found in the Text Volume in the apparalus criticU8 to each
verse.
In the list which follows, verses of which the ascriptions are doubtful are
printed in italics and works which are secondary are contained within brackets.

Abhinanda, 77, 144. 173, 252, 282, 803, Acala or Acalasitpba, 100.408.461,637,
8040,317,689,595.744,762,947,948, 554, 596, MT, 876, 999, 1029, 1M2,
1001, 1058, 1192, 1295, 1384, 1391, 1051, 1078, 1080, 1081, 1088, 1084,
1472, 1552, 1699,lTl~ 1094. 1115. 1116. 1129. 1185, 1189.
Abhi8ek a, 255. 1186.1885.

599
 Index of Authors
Acyuta, 100. Bhatta sri Sivasviimin, 8U Sivasvamin.
Amaradatta. 14.54.. Bhatta Vasudeva, see Visudeva.
AmarasiIpha, 408, 1006, 1007. lOOS, Bhat1:odbhata, 455.
1028, 1071. 1362. Bhava.363.
~aru, 511, 603, 694, 702, 731, 734. Bhavabhiiti, 44, 78, 84, 189, 200, 215,
See also AmarUka. 216, 217. 218, 405, 427, 446, 482,
[Amaru collection]. 49. 100, 479. 481, 483, 484, 485, 598, 710, 716, 752, 753,.
508, 532, 572. 603, 614, 621, 622, 639, 754,755,775,783,893,987,1188,1203,
640,641,645,646,648,649,653,657, 1214, 1244, 1530, 1531, 1532, 1533.
659,664,666,667,671,678, 695,697, 1534, 1562, 1563, 1564, 1565, 1577,
728,765,803,816,835. 1589, 1500, 1591, 1592, 1684, 1781.
Amariika or Amaruka, 591, 619, 636, Bhavaka-devi, 429, 646.
638. See also Amaru. Bbavya, 1657.
Amrtadatta, 119. Bhenohramaka, 450.
Anandavardhana, 421, 1202. Bhikl}u, 359, 839, 840.
ADgoka, 1448. Bhoja, 35, 54, 350, 436,706,1038, 1110,
Apariiji~ta, 5, 730, 924, 925. Hoo, 1106. Cf. 1651, note.
Aravinda, 717. Bhojya-deva, see Bhoja.
(Arya)sUra, 1292. Bhramaradeva, 721.
AAvaghOlpl, 2. Bhrogara, 11 S3.
Atula, 1364. BijaJrura, 841.
Bimboka, 998.
Balabhadra, 92. BOpilita, 642.
B~a,48,49,56,91, 194,203,204,514, Buddhiikara, 23, 24, 882.
588, 803, 832, 930, 1166, 1174, 1304, Buddhakaragupta, 17, 993. 10l4, 1121,
1305,1434, 1710~ 1711,1712,1735. 1147.
Bhadra,1386.
Bbagavata ~, 105. Cakra,705.
Bhagiratba, 82, 86, 142, 941. cakra~,692,876. 1168.
Bhagura,413. Chittapa, 101, 749, 926, lOOS, 1012,
Bhalla~, 1025, 1040, 1075. 1401, 1435, 1650.
Bharavi, 1625, 1662, 1674. Ci~ga, 718.
B~hari,1215,1216,1217,1222,1498, Cittiika,490, 1455.
1610, 1635, 1730. See also Bhattahari.
[B~hari collection]: verses of the Daqa, 72, 81, 259, 628, 950. 969, 1015,
kernel collection, 1-200 in Kosambi's 1392, 1393. 1446. 1588, 1727.
ed. of Bh.: 489, 507,1204,1213,1217, Damodara, 698,1021.
1221, 1222, 1225, 1243, 1273, 1277, Damodaragupta, 829.
1384, 1343, 1461, 1465, 1467, 1471, D~4in, 492, 1512.
1605, 1611, 1617, 1628, 1633, 1666, sri DaAaratha, 1211, 1637.
1613, 1677, 1696; verses elsewhere Devagupta, 835.
ascribed to Bhartrhari, 201 ff. of Dharadhara,l199.
Kosambi's edition of Bh.: 312, 497, sri Dharru;lidhara, 181.391.558, 130ft
498, 1215, 1241, 1242, 1267, 1330, sri Dharmadiisa, 1302. 1653.
1348, 1351, 1353, 1362, 1468, 1470, sri Dharmikara or Dharmakara, 180,
1473, 1498, 1594, 1603, 1604, 1612, 410. 1079.
1620, 1630, 1632. Dharmakirti, 437, 439, 440, 454, 477,
Bh8sa, 43, 88, 138, 276,. 905. 478,479, 481,501.539.645,657,720,
Bh8.s0ka.1394. 919, 1213, 1518, 1694, 1726, 1729.
Bhattabarl,658. See also Bhartrhari. SrI DbarmapaIa, 64, 877.
Bbaiia NiriiYaI)a (see also NaraYBQa). Dharm8S0ka, 69, 988, 1786.
104, 125, 1556. Dhiranaga, 55, 764.

600
 Index of AutJuws
(Dhoyika), sa note on 928. sri KamaIayudha, 284, 299, 1587•.
~boka.288, 549. 622, 670, 980, 1487. KaQikiikara, 1108.
Dvandiika, 1059. .. Karkaraja,68.
Kan;lotpala, 6'10.
Gadidbara, 1039. Kavimalla,957.
bbatta GaJ;Ulpati, 892, 894, 984, 1089. Kavinanda,1025.
GaIigiidhara, 1406. Kavir8.ja, 70, 1010, 1020, 1825, 1880.
Gobhata or Gobhana, 377, 1218, 1228, KaviSekhara, 92, 661.
1232, 1296, 1827. KeSata, 512, 1193, 1195, 1198, 1210,
Gonanda, 87, 672, 1641. 1212, 1510, 1636, 1640.
Gw;mkara, 1271, 1272. Khadira, 1118.
GUQikarabhadra, 1595. Khipaka, 1457.
GUJ,leSvara, 889. Kolika, 585.
~~, 1630.
Haliiyudha, 146, 1456. Su also MBIa· ~~bhatta, 1713.
yudha. K~mendra, 586.
[BanumllDlUitakal, lOO, IM, 771, 921, ~nUSvara, 1537, 1538, 1539.
922,1359,1404,1457,1472,1557,1560. ~itiSa, 758.
Haniiman,1105. Kumarabhatta or bhatta Kumara, 620,
sri ~(see note on 824e), 508, 639, 765. 653.
sri ~-deva (see note on 824e), 897, K11Illiradasa,1137.
469,476,709,824,1189,1536,1665. Kumudiikaramati, 9.
IIallapaIa-deva, 390. KuSalaniitha, 1068, 1112.
Hastipaka, 1161.
Himiiilga, 430. Lac;lahacandra, 337, 338, 1101.
Himboka,656. LaIq;.midhara, 75, 313, 844, 401, 600,
Hiitgoka, 649. 635, 715, 823, 884, 972, 1045, 1054,
[BitopadeSa]. 1225, 1241, 1257, 1265, 1055, 1184, 1612, 1613, 1626.
1279, 1355, 1524, 1646, 1670, 1672, Lalitoka, 828.
1687.
lIpjikeSa, 1715. Madhu, 1156.
MadhukaJ,ltba, 1185, 1187.
(JaghanacapaIa), see note on 825. MadhukUta, 693, 1065, 1205, 1388.
Jatanihavirdhana,66. ~uSna,209, 287, 1043, 1188.
Jayaditya, 1410, 1535. Magba, 626, 627.
Jayika, 792. See also Joyika. Mahakavi, 599.
Jhalajjbala, 532. MabiiSakti,1011.
JitArinandin, 12. Mahavrata, 689.
JitAripiida, 28. ~odadld,571,654, 1428, 1447.
Jivacandra, 604. Maitnsri, 1032.
Jiianananta, 1601. Malayaraja, 867, 868, 981, 982, 988.
Jii9n8IikuSa, 1627. Malayavata, 883.
JiianaSiva, 1620. MaIayudha,146. See also Haliiyudha.
p~Q.ita JiianaSri, 1697. MaJ:t<Jana,85.
J iiBnaSrimitra, 19. 22. ~~a, 67, 1023, 1237.
Joyika. 1515. Su also Jayika. MaJ:tgalii.rjuna, 192.
MaiijuSrimitra, 1414.
KaIidisa, 198, 205, 456, 4091, 493, 505, Manoka, 680, 1689.
518, 515. 516, 774, 806, 1149, 1165, Manovinoda, 162, 163, 267, 268, 269,
1~, 1246, 1519. Cf. notes on 1169, 270, 271, 272, 278, 274,324,825,826,
1519,1723. 441,472,473,474,547,548,577,578,
KamalMbara, 423. 669,886.

601
 Index of Authors
MAtrgupta, 1499. 711,712,713, n4, 719. 729,745,746,
Mayiira, 61, 151. 747,757,760,761,771,772,779.797,
Meths,I558. 798,799,800,801,802,804,878,895,
MuktApIc;Ia, 1689. 896,902,903,907,908,909,922,926,
MWija (raja), 756, 1197. 928,952,953,963,964,974,989,990
Muxari,81,32,78,79,106,I07,117,158, 1000, 1140, 1145, 1223, 1321, 1846,
357,442,448,444,606,625,633,634, 1546, 1547, 1548, 1549. 1550. 1551,
831, 860, 861, 889, 910, 911, 912, 913, 1639, 1690, 1691, 1692. (1700), 1719,
914,915,916,911,918,958,959,960, 1737.
961, 962, 984, 985, 1002, 1019, 1411, Rija&ri, 898, 899.
1415, 1526, 1542, 1543, 1553, 1566, m lUjyapiila, 360, 701.
1570, 1574, 1575, 1579, 1580, 1581, Raqobibhi~ 40.
1582, 1583, 1584, 1585, 1701, 1702. RatbiiJiga, 452, 995, 1396.
M~raguha, 1363. RatiJnjtra, 191.
Ratipila, 641.
NihillB, 1408. Ratnakirti, 18.
Naradatta, 1281. Ravigupta, 805, 1258, 1269.1316, 1856,
NarasiIpha, 374, 683, 760, 793, 971, 1857,1358.
1559. Risiika, 1326.
N9.riyat;ta, 1072. See also Bhatta Niiri- Rudra, 872, MS.
y~) Rudrata, 812.
N9.riy~lacchi, 214.
Nila, 156. Sa~va.724,1047,lll1,12S8,1828,
NDapataha or NDapana, 323. 1387, 1725.
Nirdaya,1527. Sakatiya-Sabara, 1070.
SakaVJddhi, 231.
[paiicatantra], 825, 1241, 1263, 1277, sakoka, 1716.
1337, 1498, 1672. Silika or SiJikanitha.1061. 1062, 1063,
P~ 251, 266, 438, 451, 6/H, 920, 1249.1724.
946, 1387, 1528, 1529. SaIiika, 1123.
Paramei;vara, 509, 763, 794, 796, 932, Sambiika, 637.
937, 1449, 1450. SarpghaSri(-mitra), 4, 41, 152, 1013.
sri PiiSavarman. 11. 1266. 1544, 1545.
(pau?)t8yani, 176. ~1107.
Prabhakara(-deva), 600,550. Sarpkaravarman, 1700.
PTadyunruna,470, 567, 648. ~569.
PrakiiSaV8ll8, 1274. Sintakaragupta, 29. 776.
Pravarasena, 723. ~ 118, 1152.
Pw;lya, 1227. Saroka, 420, 1513.
:Punqottama(-deva), 21, 27, 127, 833, Sarva, 939. 978.
986. Sarvavarman,1023.
~piika, 136. Sasikara, 1514-
Puftika, 738. Satinanda. 76. 123, 253, 285. 820. 870,
671,978,1106,1122.1186.1299,1316.
Ragbunandana, 185, 869. 1509.1522. .
RijaSekbara, 84, 62. 83, 90, 102, 113. Satyabodha, 1461.
132, 1408, 167, 165. 166. 190, 195, 211, Sivanp, 177. 819, 507.
212,213,327.835.836,316,355,875, Siddboka, 728.
380, 888, 385. 395, 409, 411, 418, 419. SilibbanAriki, 815,. 860.
447,448,457,464,468,517,518,520, [S~ collection]. 4.77. 1861, 1461.
521,522,528,524,525,526,527,528, 1482, 1466. 1467, 1468, 1494, 1511,
540,541,552,606,612,663,679,703, 1595, 1596, 1597, 1598, 1599, 1602.

602
 ]nJea; of Autluws
1604, 1606, 1607, 1609, 14110, 1611, Vaidyadbanya. 688.
1612, 1614, 1616, 1617, 16~ 1626, Vainateya. 1810.
1627, 1628.• 1629. 1630, 1632, 1688, VaiSya, SOl.
16M, 1685, 1637. VajramUfti, 861.
Si~tha. 866. Vikktit;a, 155, 406, 551, 643, 725, 741,
Sivasvimin, 807, 608, 609,610, 611, 886. 759, 1458, 1500, 1613.
975, 976. 977. Vikpatirija, 104, lOS, 108, 114, 115,
SomanAthaprUasti, 50. 116, 124, 137, 141, 148, 1155.
Sonnoka, 129, 189, 140, 146, 581, 682, , allat;l8, 10, 25, 26, 88, 39, 172,333,353,
685, 686, 787, 1188. 428,488,556,568,680,665,682,748,
Sri Bhagiratha, IIU Bbagiratha. 766,773,822,1022,1026,1027,1037,
Sridhamnandin, 7, 8. 1046, 1056, 1103, 1208, 1376, 1377,
Sri D~dhara, .e DharanIdhara. 1878, 1879, 1407, 1416, 1506, 1540,
Sri Dhannikara, IIU DhannAkara. 1599, 1609, 1652, 1664, 1693, 1703,
Sri 1Iarfa, .e IIarp. 1704, 1705, 1717, 1734.
SlikaQtha. IM, 901, 1128. Vimadeva, 425.
Sri PiiSavannan. IIU PiSavannan. Vaniroha, 1109.
SrDgira, 588, 585, 588, 778, 1158. Vandyatatbigata, 785.
Subandhu, 12M, 1491, 1572, 1578, 1655, Var8ba. 1179, 1206.
1718. VuAbamibira, 184, 150.
SubhiDga. 80, 89, 109, 181, 169, 179, Vararuci, 125, 1111.
224, 286, 290, 821, 1044, 1822, 1890, Vii'tikaklra, 777, 997.
14012. VMat&, 1200.
Sucarita, 1118. Visudeva (Bbana V.), 546, 1224-
Suddoka, 376. Vasudhara, IIU Vaswpdhara.
SUdraka, 57. Vasukalpa, 8, 6, IS, 80, 98, 94, 899, 542,
St1la. 1628. 897, 921, 986, 956, 1016, 1125, 1126,
St1la~ 1516. 1881, 1897, 1423, 1424, 1425, 1426,
bbikfu Sumati, 906. 1481, 1444, 1459, 1576.
Surabhi, 588,111'1. Vaswpdbara, 1091, 1649, 1651.
Suvan;uuekha. 402, 1048. Vatoka, 229.
SUVlbhoka, 837. Vetoka, IIU Vittoka.
Suvimm, 1402. Vibhoka, see Vittoka.
Viddiika, 871, 1124. Su al80 Vidhiika.
Timarasa, 1721. VidhOka, 865. Su al80 ViddUka.
T~dana or Tar&.Qinaodin, 726, VidyA or Vijjaka, 149, 445, 574, 807,
1082, 1086. 808, 809, 996, 1050, 1267, 1875,
Tathigatadisa, 1889. 1619.
Trilocana, 18, 14, 20, 167. Vidyi.kara, 1, 1788.
Tryambaka , 1216. Vidyinan~ 1649.
Twiga, 97, 98, 99. VijayaplJa, 1103.
Vijayendra, 891.
Vijjaka, IIU Vidyi.
Udbbatta, IIU BhattOObbata. Vikal&nitambi, 572, 659.
Upidhyiyadiroara, 1157. SrI Vikramiditya-deva, 426. 452, 1154,
Utpalarija, 382,881,558, 1605. 1187.
Vinayadeva, 65, 158, 1127, 1188.
Vicaspati, 816, 422, 557, U96, 1201, VII'&, 1092, 1313.
1277, 14185. VIryamitra, 42, BM, 359,407,488,46'7,
VigiSvara, 1336. 480, 590, 650, 769, 1060, 11840, 1417,
Vigura. 178,210,292, 1182. 1418,1419,1420,1421,1422.
Va1ddoka, 1~. ViM1cbadatta, 188. 278, 1348, 791 Dote.

603
......- -- -

Index of Authors
Vi~I;1uhari, 722, 968. YaSovarman, 240. 742, '170.
Vittoka or Vibhoka or Vetoka, 384,387, Yogesvara, 53, 59, 60, 71, 74, 103, 188,
388, 853, 1099, 1496. 206, 207, 208, 220, 221, 250, 254, 256,
Vyasa, 1221, 1324. 257, 258, 263, 264., 291, 297, 305, 314,
315,318,814,923,938,970,979, HU.
Yagoka, 389. 1163, 1164, 1178, 1191, 1312, 1453,
Yaqlpyiika, 1069. 1733.

604
 ? 5 f.

INDEX OF NAMES AND SUBJECTS

This index Lists the proper names and subjects discussed in the sectional
introductions and notes. In general, the names of plants and flowers which
occur only once are not given here since the reader may find a description or
identification of the plant by looking at the note on the verse in question.

a hhisarika, Intr.lO, par. 5; lntr. 24, par. 3. night, lntr. 30, pa,r. 2; imprisoned in
abhiseka, 7, note; 269, note. waterlily during the day, 921d, note.
Agastya, Intr. 33, par. 8; Intr. 36, par.5. benedictory verses, Intr. 1, par. 2;
allegorical epigram, lntr. 33. Intr. 4, par. 20.
amaranth, lntr. 8, par. 7; 275d, note. Bengal, its poetry of village and field,
A.maru collection, Intr. 21 , par. 3. Intr. 35, par. 5 ff.
ambergris, 1142d, note. betel nut, 294, note, 312a, note.
Ambika, Intr. 5, par. 12. Bhairava: Siva, Intr. 4, par. 3; Mafiju-
ambrosia, churned from the sea, Intr.4, gho§a, !ntr. 3, par. 2 and vs. 26.
par. 11. Bhargava, 1ntr. 45, par. 7.
Amitabha, lntr. 2, par. 2, 5. Bhavani, Intr. 5, par. 3.
Andhra , Intr. 34, par. 1. Bhima:epic hero, Intr. 45, par. 11;
androgynous Siva, Intr. 4, par. 5; lntr. historical king, 1413, note, 1431, note.
14, par. 5. Bhrllgin, see Bhplgiriti.
arjllDa tree, 218a, note. BhrDgiriti, Intr. 5, par. 11.
arrows of Love, lntr. 14, par. 3; Intr. birds: king of, see Garuga; talking birds,
23, par. 2. lntr. 20, par. 2. See also cakora,
ashes, lotr. 4, par. 8. ciitaka, crows, cuckoo, dove, goose,
. asoka tree and flower, Intr. 8, par. 6; moorhen, parrots, peacocks, shel-
blossoms at the touch of a young drake, swan, wagtail.
woman s foot, lntr. 8, par, 7; said to blame,lntr. 33, par. 2.
bear no fruit, Intr. 33, par. 36. Blessed One (Krishna-Vi!?J:lu), lntr. 6,
Aurva, see 'Ocean, submarine fire. par. 2·.
autumn, Intr. 11. Blue-throat (Siva), Intr. 4, par. 3, H.
Avalokitesvara, Intr. 2, par. 2. boar, incarnation of Vi~J:lu, Intr. 6, pa.r.
10; sacrifice-boar, Intr. 6, par. 12.
bakula flower, Intr. 8, par. 7; 528c, note. bodhisattva, lntr. 2, par. 1.
BaIarama, Intr. 6, par. 22. bowman: Love, Intr. 14, par. 3; 8iva,
Bali, lntr. 6, par. 17. Intr. 4, par. 3; vs. 96.
ball-playing, see yo-yo. Brahma, Intr. 4, par. 1, 14; Intr.6, par.
banana, see plantain. 4, 5, 6, 13; chants Vedic hymns, 124,
banyan tree, Intr. 33, par. 36; vs. 1062; note; sits on a lotus, 397, note.
1427, note. breasts, painted with saffron, musk, etc.,
bees, lntr. 83, par. 14; composing 337, note, 389a, note; likened to the
Kiima's bowstring, Intr. 14, par. 3; frontal lobes of an elephant, 72a,
feed on ichor of must elephant, 84, 126b; other similes and metaphors,
note, 93; imprisoned in lotus for the Intr. 16, par. 2.

605
 Index of Names and Subjecl$
bridge, built by RAma, 904b, note. dramatic element in poetry, Abhinava·
Buddha, Intr. 1. gupta~s explanation of, Inb. 21, par. 2.
buffalo demon, Intr. 5, par. 3. DraupadI, Inu. 45, par. 11.
Dl~hSiisana, Intr. 45. par. 11.
/ cakora bird, Intr. 29, par. 3: Intr. 80, diirvii grass. 911. note.
par. 2; 17, note, 411, note: Intl'. 2. Durvisas. 1802, note.
par. 5. Dvirki. Intr. 84, par. 8; 1142d, note.
cakravaka, flU sheldrake. dwarf, incarnation of Vu,J}.u, Intr. 6, par.
Cim~Qi, Intr. 5, par. 11. 17.
~~, Intl'. 5, par. 3: 4208, note.
Candradeva, see Sricandra. elephant, lotr. 33, par. 10; frontal lobes, ~
Candrahasa, Intr. 45, par. 5. 72&, 126b; habitat the Vindhyas, Intr.
Carci, Intr. 5, par. 3. 83, par. 37; Intl'. 47, par. 5; in rut,
/ cii.taka bird, Intr. 83, par. 15. Intr. 83, par. 14; pearls supposed to
/ ' champak flower, 163, note. grow in elephant's forehead. 864d,
characterizations, Intr. 35; Intra 10, par. note; tusks, 284c, note.
2; Intr. 11, par. 4; Intr. 12, par. 2; eJephant, demon. Intr. 4, par. 8.
Intr. 18, par. 2; Intr. 81, par. 1. emerald, Intr. 83, par. 23; protectioll - -
charcoal-burner, Intra 83, par. 16. against snakes, 69, note.
China rose, 869a, note. 948&, note. emotion (bhdva). IntT. 21, par. 2;
chrrming of the sea, see ocean. Intr. 42, par. 1.
clothes, interchange of. 502, 847, note. Em~, Inu. 6. par. 10.
clouds, Intr. 88, par. 17. epigram, allegorical, Intr. 38.
conch, Intr. 38. par. 28; attribute of eyes, likened to waterlilies, Intr. 16,
V~J;lu, Intr. 6. par. 8; sinistral conch, par. 2; glances of, Intr. 17. par. 2, 3.
1118b, note.
confidante of the heroine, In~ 21, par. ". fable. Intr. 88, p8l'. 8; Intr. 40, par. 5.
cosmetics, see face-painting. face.painting, 889&, note.
crane, Intr. 11, par. 8. fame, whiteness of, Intr. 32, par. 4.
crocodile, emblem of Kama, Intra 14, ferry-boat, Intr. 38, par. 20.
par.4;104a,889,note. fingernail, see nail wounds.
/' crows, Inu. 38, par. 18; lay eggs in fish, emblem of Kiima, IntT. 14, par. 4;
,-/' summer, 195, note; proverbial ene- incarnation of Vu,J}.u, Intr. 6, par. 15.
mies of owls, 1577, note. flame-tree (kirrUuka), spring flower,
cuckoo, Intra 38, par. 18; harbinger of lntr. 8, par. 5; 1612c, note; 1647.
spring, Intr. 8, par. 2. flattery, .u praise.
flavor (TQ8a), Intr. 21, pa.r . 2; Intr. 50,
DiJqA~, 936d, note. par. 5.
damanaka tree, 298, note. flood, Intr. 11. par. 2 and cf. Intr. 83,
dance: of Siva, Intr. 4, par. 16; of par. 32; ViP.u in boar incarnation
GaDe!j8, Intr. 5, par. 8; of CimUJ;u;~ii, saves earth from flood, Intr. 6, par. 10,
Intr. 5, par. 11. 11; Vitl)U in fishincamation saves
DaAaratha, Intr. 45, par. 4. Manu from flood, Intr. 6, par. 16•
.-/ deer, Intra 38, par. 18; as the mark of flowers and trees, see amaranth, arjuna,
the moon, 896, note. doka, bakula, banyan tree, cbampak.
demon women, Intr. 4, par. 15. China rose, dam~ flame-tree,
Devaki. Intr. 6, par. 22. guiija berry, jambu, jasmine, jujube.
Devi. Iotr. 5, par. 2. kadamba, karaiija, ketald, kiIppika,
Dhanvantari, Intr.4, par. 11. 1qtamila, Iodhra, lotus, madhiika,
discus, attribute ofViP.u, Intr. 6, par. 8. mango, parrot-plum, peepul, sal tree,
Diti, Intra 6, par. 11. sandalwood tree. silk-cotton tree,
/'" dove, bird of sorrow and ill-omen, 1175d. tagara, tamiIa, waterlily.

606
 Index of N amea and Subjects
forest-lire, lntr. 9, par. 3; Iotr. 33, par. 21. Jamadagni, Intr. 45, par. 7.
frog, Intr. 38, par. 13. jambu tree, 157a, note.
Janaka, Intr. 405, par. 4.
GaQ8pati, see GaJ;leSa. Janaki (Sita), Intr. 45, par. 4.
GaJ).eSa, Intr. 5, par. 7,8,9; one-tusked, jars, festival or good luck jars, 26900,
94, note. note; metaphor for breasts, Intr. 16,
Ganges, lntr. 4, par. 3,6; death by its par. 2.
holy stream, vs. 1613; triple-Rowing, jasmine, Intr. S, par. 4; Intr. 10, par. 3;
viz., in heaven, earth, and Hades, vs. lntr. 34, par. 1.
30; its waters white, SI9<1, note. JatAyu, Intr. 45, par. S.
GaruQa, king of birds, mount of V~J;lU, jiti, sa characterizations.
lntr. 6, par. 4. jewels, Intr. 38, par. 23.
Gauri, Intr. 5, par. 2. jujube fruit, 304d, note; SlSc; 118Sd,
glances, Intr. 17, par. 2. note; see also vss. 316, 322.
golden mountain, see Meru. Jumna, its water dark, 931b, note.
goose, lntr. 11, par. 3; canse parate
- - - milk from water. 1374, note. kadamba, Intr. 10, par. 3.
gopi, lntr. 6, par. 22. KailBsa, mountain, Intr. 45, par. 5;
gotraskhalana, Intr. 21, par. 5. Intr. 47, par. 2.
Govardhana, Intr. 6, par. 22. Ki1a, Intr. 5, par. 12.
Great Lord (Siva), Intr. 4, par. 3. kilakiita poison, Intr. 4, par. 11.
Greek fire, 744d, note. Kilaritri, Intr. 4, par. 14; Intr. 5, par.
Goba, the war god, called also Kumi.ra, 12.
Intr. 5, par. 5. Kili, Intr. 5, par. 2.
guIija berry, 319, note; 1117, note. Kilindi, the river Junma, 122.
Kiima (Love), Intr. 14; Intr. 1, par. 3;
harpsa, sa goose. Intr. 3, par. 2; Intr. 4, par. 3; arrows
Hanumin, Intr. 45, par. 9. of, Intr. 14, par. 3; Intr. 23, par. 2;
Ham (Siva), lntr. 4, par. 3. burning of Kama by Siva's glance,
Hari (Vi{lJ;lu). iotr. 6, par 2. Intr. 4, par. 12; vs. 51; Intr. 14, par.
Harihara, Intr. 49, par. 2. 5.
Hayagriva, Intr. 6, par. 16. Kiimboja, king, 1381a, note.
head-shaking and head-nodding, le, note Karpsa, Intr. 6. par_ 22.
Heramba, Intr. 5, par. 7. karaiija tree, 1132, note.
herbs, give off light at night, 8868, note. karma (fate), lntr. 33, par. 24..
heron, Iotr. 11, par. 3. ~, 305, note.
HimiiJaya, personified as father of Kirtavirya, Intr. 36, par. 6.
Parvati, Intr. 4, par. 12. KiiSyapa, Iotr. 36, par. 6.
HiraJ;lyakaSipu, Intr. 6, par. 11, 13. Kaustubha jewel, lntr. 4, par. II ;
HiraJ;ly~, Intr. 6, par. 11. Intr. 6, par. 3.
horripilation, Intr. 19, par. 6. Kiveri, river, Intr. M, par. 1.
Kerala, Intr. 34, par. 1.
ichor, lntr. 5, par. 9; Intr. 38, par. 14; Kdava, Intr. 6, par. 2.
84, note. ketaki flower, Intr. 10, par. 3; 44c, note;
immortality, drink of, sa ambrosia. 247, note; 468c, note; 527b, note.
incarnations, !ntr. 6, par. 8-22. ~ Intr. 2, par. 6.
Indra, !ntr. 6,par. 2; harrassed by kitppika tree, Intr. 38, par. 36; 1121,
Ri~, Intr. 45, par. 5. note.
ink, manufacture of, 1118c, note. kiIpSuka, 3U flame tree.
innuendo, Intr. 24, par. 4; Intr. 25, Krawicav8n, mountain, Intr. 47, par. 4.
par• .2; flU al&o suggestion. Krishna, Intr. 6, par. 2, 20-22; dark
irony, Intr. 21, par. 4, 847d, note. blue of color, S19d, note.

607
 Index of Na?'lUs and Subjects
Iqtamala, 987&, note. MafijughOlia, Intl'. 3.
Krttikas, see Pie ides. Mai'ijuSri, Intr. 3.
Kumiira, Intr. 3, par. 2; Intr. 5, par. 4 , Manu , Intr. 6, p ar. 61.
5. Mara, lntr. I , par. 2, 3.
MiirkaDQeya, IntT. 6, par. 5 .
may a, lotr. 6, par. 5, 22.
lake, lntr. 33, par. 25.
Mena, Intr. 36, pa,r. 3.
Lakljmana, Intr. 45, par. 4, 8.
Meru, mountain, Intr. 4 , p a r. 16 ; Intr.
Lak~mi, see Sri.
33, par. 12.
Lanka, IntT. 45, pal'. 8 . messenger , female , lntr. 1 , par. 3;
lavali, see parrot-plum. Intr.25.
lily, see waterlily. Mind-born (Kama) , Intr. 14, par. 2.
lion, Intr. 33, par. 11 ; mount of the miniature painting, lntr. 35 , par. 2.
mother-goddess, lntr. 5 , par. 3; monkey, Intr. 33, par. 13.
lions of Dviirka, 1142d, note. mood, see flavar.
lodhra, lntr. 34, par. 1 ; 2 17d, note. moon, IntT. 29; in allegorical epigrams, ..-----
Lokaniitha, IntT. 2, par. 2. Intr. 3 3 , par. 27; churned from the sea,
Lokesvara, Intr. 2, par. 2. IntT. 4, par. 11; crescent moon of
-lotus, attribute of Vi!?I:1u, Intr. 6, par. 3 ; 8iv a's hea,ddress, lntr. 4 , par. 6 ;
att ribute of PadrnapaI,li, Intr. 2, par. friend of Kama, Intr. 14, par. 4;
5; blossoms by day, hence loves the
moon's mark or blemish (deer or
sun, 149; closes at night, 34, 104, rabbit) , 396, note; 1nlI'. 29, par. 2;
IntT. 29, par. 2; imprisons bees, lotr. simile for a beautiful face , lntr. 16,
30, par. 2; lotus-stem bracelets to
par. 2. ~
allay the fever of love, Intr. 18, par. 1 ;
moonstone , weeps when touched b y /
545c, note; lotus of Vi~t:lu's navel, moonbeams, 3l0b, note ; 538, note ;
Intr. 6, par. 6; Intr. 33, par. 26.
831, note; lntr. 29, par. 3; lntr. 33,
Love, see Kiima.
par. 23.
love-in-enjoyment, Intr. 19; Intr. 20,
moorhen, 221a, note.
par. 1. mother-goddess, see Devi.
love-in-separation, lotr. 8 , par. 12 ;
mountain, daughter of the, Intr. 5,
Intr. 10, par. 6; Intr. 18, par. 1;
par. 2.
IntT. 21, par. 2; Intr. 22; IntT. 23.
mountain, golden, see Meru.
mountains, their wings clipped b y Indra,
IDB{)e,attribute of V~J;lu, IntT.6, par. IntI". 36, par. 3.
3. Mura, lntl'. 6 , par. 2.
Miidhava (Vi!?I:1u), Intl'. 6, par. 2. Murajit (Vi~I;lU), IntI'. 6, par. 2.
Madhu, IntT. 6, par. 2. MuraHi, river, 809d; Intr. 34, par. 1.
madhiika flower, 341b, note. Murari (V~I:1u), Intr. 6, par. 2.
Madhusudana (Vi!?I;lU), IntT. 6, par. 2. Muraripu (V~J;lu), IntT. 6, par. 2.
Mahiikala, lntr. 5, par. 12. mustard plant, 1184, note.
Mainaka, mountain, lntl'. 36, pal'. 3. must elephant, see elephant in rut.
Malabar mountain, 1036c, note; IntT.
34, par. 1. nail wounds in love-making, Intr. 19,
Malyavan, mountain, Intr. 47, par. 4. par. 7 ft
Man-Lion, incarnation of Visnu, Intr. 6 , name, woman addressed by another
par. 13, 14. woman's name, see gotraskhalana.
Mandara, Intr.4,par. 11; Intr.47,par.3; Nanda, Intr. 6, par. 22.
813, note. Nandin, IntT. 5 , par. 10.
mango, most perfect of trees, IntT. 33, nand! verses,. Intr.4, par. 21.
par. 36 ; flowers in spring, Intr. 8, Narmada , river, lntr. 34, par. ] .
par. 2. nectar, see am brosia.

608
 Index of Names and Subjects
nlti verses, Intr. 37, par. 1; lntr. 49, praise, of kings, Intr. 82; Intr. 41;
par. 5. artful praise, Intr. 33, par. 2.
Np;irpha, see Man-Lion. pralaya, cosmic dissolution, lntr. 6, par.
16 and cf. par. 5.
PrasravaQ.a, mountain, Intr. 47, par. 4.
ocean, lntr. 33, par. 28; churning of,
pregnancy, poetic descriptions of, 434,
lntr. 4, par. 11; drunk up by Agastya,
note.
lntr. 33, par. 8; earth sinks within,
Prince, the, see Kumara.
lntr. 6, par. 11 ; greatness of, lntr. 36,
Priti, Intr. 14, par. 4.
par. 2 ff.; ocean of milk, lntr. 6, par.
prostitution, vss. 630, 827, 868, 1154.
4; submarine fire, lntr. 33, par. 29;
proverb, lntr. 33, par. 3.
lntr. 36, par. 4; 113, note.
Pulastya, Intr. 45, par. 5.
omens, 1449, note.
pumpkins, die if pointed at, 1248, ----
ornamental painting, see face-painting.
note.
, owls, proverbial enemies of crows, 1577,
P~paka, lntr. 45 , par. 5.
note.
Riidhii, Intr. 6, par. 8, 22; vss. 808,980.
pachisi, 346a, note; 605d, and especially Raghu, lntr. 45, par. 4.
1400, note. Rahu, lntr. 4, par. 11; 1570, note.
PadmapiiQ.i, lntr. 2, par. 5. rains, lntr. 10.
painting portrait of one's love, 549, 726, Rama Dasarathi, legend of, lntr. 45,
740,753. par. 4 ff.; as inca,r nation of V~Q.u,
Pampa, lake, Intr. 34, par. l. lntr. 6, par. 19; Rama's bridge, 904b,
Piiiiciila, Intr. 45, par. 11. note; Intr. 45, par. 9.
Pal;u~avas, Intr. 6, par. 20. Rama with the ,A.,{, see ParaSu Rama.
ParaSu Rama, Intr. 36, par. 6; challen- RiimaYaQ.a, Intr. 45, pal'. 2 ff.
ges Skanda, lntr. 45, par. 11; his rasa, see flavor.
battle with Rama Diisarathi, lntr. 45, Rati, Intr. 14, pal'. 4.
par. 7. RavaI)a, Intr. 45, par. 5 ff.
parrot-plum, 406a, note. refrigerants, lntr. 22, par. 3.
parrots, talking, Intr. 20, par. 2. ReQ.uka, lntr. 45, par. 7.
Parvati, lntr. 5, par. 2; marriage to Siva, Reva, river, see Narmada.
Intr. 4, par. 12, 19. rice husking, 314cd, note.
Piitala, lntr. 6, par. 11. rivers, Intr. 33, par. 32.
peace, mood of, Intr. 42, par. 1. RohaQ.a, 1571c, note.
peacocks, dance in the monsoon, lntr. romavali, lntr. 15, par. 3.
10, par. 4; love the sound of thunder, Rudra (Siva), lntr. 4, par. 5.
84, note; mount of Kumara-Guha, rum, 963d, note.
lntt. 5, par. 6; proverbial enemies of
snakes, 66, 84, note, 97, 1577c, note; sakhota tree, Intr. 33, par. 86.
voice considered beautiful, 684c. Sakya, lntr. 1, par. 3.
pearls, Intr. 33, par. 23; from the fore- sal tree, 218a, note.
head of an elephant, 864<1, note; Sambhu (Siva), lntr. 4, par. 3.
1006; from raindrops, 999, 4OS. Satpk:ara (Siva), Intr. 4, par. 3.
peepul tree, lntr. 33, par. 36. sandalwood paste, lntr. 9, par. 4, Intr.
plantain tree, metaphor for a woman's IS, par. 1.
thigh, lntr. 16, par. 2. sandalwood tree, lntr. 38, par. 35;
Pleides, Intr. 5, par. 4. Intt. 34, par. 1; haunt of snakes, 801a,
Plowman, the, see Balarama. note.
Potalaka, lntr. 2, par. 6. sapphires, tested in milk, 1383, note.
pots, see jars. Sarabha, mythical beast, lntr. 33, par. ------
Prabr8da, lntr. 6, par. 18. 12.

609
 Index of Names and Subjects
Samgin (V~\lu), Intr. 6, par. 2. sun, Intr. 7; Intr. 33, par. 33. ~
Satyavrata, lntr. 6, par. 16. sunstone, 647d, note; Intr. 83, par. ,.r
, Sauri (V~t;lu), Inu. 6, par. 2.
sea, ~ ocean.
23.
sum,. Intr. 4, par. 11.
seers, the seven, Inu. 6, par. 16. SuveJa, mountain, 1542a, note.
sentiment, lee fiavor. swan, Intr. 11, par. 3.
serpent prince, lee Sqa. swords, of dark blue color, 921, note.
~, Intr. 4, par. 6, 8, 11 ; Intr. 6, par. 4.
sex, treatment of in court poetry, tagara flower, 552b. note.
Intr.19. tamila tree, 216c. note.
sheldrake, pines at night in absence Tamilland, Inn. 34, par. 1.
/ from its mate, rejoices by day, 452d, tiit;l«;lava., dance, Inu. 4, par. 16.
note; Intr. 27, par. 2; Inu. 80, par. Taraka, Intr. 4. par. 12, 14.
2. thorns on a lotus, +iSb. ~>
silk-cotton tree, Intr. 33, par. 86. Three-eyed (Siva), Inu. 4, par. 3. ~
Sitii, Intr. 45, par. 4 ft. tortoise that supports the earth. Intr.
8iva, Intr. 4; androgynous form, Inu. 4, pa.r , 11; an incarnation of V~u,
4, par. 8; Intr. 14, par. 5; aspects of, Intr. 6, par. 18 and cf. par. 7.
Inu. 4, par. 17, 18, 19; dance of, IntT. trees, Intr. 33, par. 34.
4. par. 16; iconography, Intr. 4. par. trees and flowers, ~ list s.v. flowers and
5, 6, 7, 8; myth of the churning of the trees.
ocean, Inu. 4, par. ll; myth of the trident, IDtr. 4, par. 7.
burning of K8ma, Inn. 4, par. 12; Triple City, destruction or, Intr. 4,
myth of the destruction of the triple par. 13.
city, Inu. 4, par. 13, 14; names of, triple fold, ~ waist.
Inu. 4, par. 3; his connection with Tripura, IIU Triple City.
RiVat;ta, !ntr. 45, par. 5, 10. Tryambaka, Intr. 5, par. 4 and 77d, note.
Skanda, ~ Kumira.
SkulM>earer (Siva), Inu. 4, par. 5, 8. UCChail}SraV8S. Inu. 4, par. 11.
" snakes, afraid of emeralds, 69, note;
./ dwell in antbills, 55, note; eat wind, Vii«;lava, ~ ocean, submarine fire.
25Se, note; jewels in snake's bood, Vasudeva, Intr. 6, par. 22.
Inu. 6, par. 4; proverbial prey of Visuki, IIU ~
peacocks,66,84,oote,97,1577,note; Videha, Intr. 45, par. 4.
snakes of Siva, Inu. 4, par. 6; world- Vidyakara, Pref., Intr. 1, par. 1.
snake, Intr. 41, par. 8. Vinayaka, Intr. 5, par. 7.
south wind, Iotr. 14, par. 4; Inu~ 34, Vindhya, mountains, Intr. 88, par. 8,
par. 1. 87; Intr. 47, par. 4..
spring, !ntr. 8; !ntr. 14, par. "- viparitarata., Intr. 19. par. 10.
Sri, churned from sea, Inn. 4, par. 11; V~t;1u. lnu. 6; attributes, par. 8;
Intr. 6, par. 7; Inu. 86, par. 2. churning of sea, Intr. 4., par. ll;
Sricandra, king, Intr. 46, par. 4; vs. consort, Intr. 6. par. 7; cosmic form,
1884. par. 4.5, 6; incarnations of, par. 8-22;
steps. three steps of VitJ}.u, Inn. 6, lotus of Vist;lu's navel, par. 6; names
par. 17. of. par. 2; sleep of. par. 5; temple at
S~u (Siva), Intr. 4, par. 3. Dvirki, Intr. 34,par. 8; transforms
submarine fire, xe ocean. self into arrow, Inu. 4, par. 14; 81,
Sogata, lntr. I, par. 8. note.
suggestion, lntr. SO, par. 5; lee alao
innuendo. wagtail,Intr. ll.par. 2.
SugrIva, lnu. 45, par. 9. waist, three folds of, lntr. IS. par. 2.
summer. Intr. 9. water-cooled chamber, 2140, note.

610
 Index of N a'TTl£S and Subjects
waterlily, [ntr.I6, par, 2; Intr. 29, par. 2. Yamantaka, Intr. 3, par. 2.
well. girl attendants at. Intr. D, par. 5; Yamarl, Intr. 3, par. 2.
514. note. YaSoda, Intr. 6. par. 22.
winter, lntr. 12; lntr. 13. YOgeSvara, poet, Intr. 35, par. 6.
world-snake, 8U ~. yo-yo, Intr. 17, par. 4; 517, note.
world-tortoise. 8U tortoise. Yuddhamalla, king, 1383, note.

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611