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THE HARVARD ORIENTAL SERIES
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The prica of this Toloine Is ons dollar and fifty cents (tl.SO). According to the converrion-
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HARVARD
ORIENTAL SERIES
EDITED
WITH THE COOPERATION OF VARIOUS SCHOLARS
BY
CHARLES ROCKWELL LANMAN
Pkofbssor op Sansksit in Hakvard Unxybrsity
VOLUME IV.
CAMBRIDGE, MASS.
PUBLISHED BY HARVARD UNIVERSITY
1901
RAJA-gEKHARA'S KARPURA-MANJARI
A DRAMA BY THE INDIAN POET RAJAQEKHARA
(about 900 A.D.)
CRITICALLY EDITED IN THE ORIGINAL PRAKRIT, WITH A GLOSSARIAL
INDEX, AND AN ESSAY ON THE LIFE AND WRITINGS
OF THE POET
BY
STEN KONOW
OF THE UNIVERSITY OF CHUSTIANIA, NORWAY
AND TRANSLATED INTO ENGLISH WITH NOTES
BY
CHARLES ROCKWELL LANMAN
HoMOKAinr Mbmbbs of thk Asiatic Soaxrv of Bengal (Calcutta)
FouuGM Mbmbbs of thb Royal Bohbmian Soqbty of Sobncbs (Pragub)
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^/'' ^ ^ ■J ^ ^ W
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CAMBRIDGE, MASS.
PUBLISHED BY HARVARD UNIVERSITY
1901
H
Ck>PYRIOHT, 1900,
By harvard UNIVERSITY.
Nagari electrotype plates by W. Dnigulin, Leipzig,
The remaining plates by J. S. Cushing d Co., Norwood.
Printed from electrotype plates at
^S^t tNTottnooli press,
Norwood, Mom,, U.S. A,
First issue, 1901, One Thousand Copies,
• • - •
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• • • • -• "•• •• • • • •. • •
• • •• ..• ••
• ••••
• ••
PROFESSOR RICHARD PISCHEL
OF THE UNIVERSITY OF HALLE
AND
PROFESSOR SYLVAIN L^VI
OF THE COLLtOE DE FRANCE
IN RECOGNITION OF THEIB CONTEIBUTIONS TO THE
HISTORY OF THE HINDU THEATER
9ri|{0 Folutne in I9etiicateti bg ti^e Collabotatotsf
a- Mll^
CONTENTS.
PAOB
Pbefacb by the Editor of thb Series and Translator . . • xiii
Preface by the Editor of this Text ........ xxi
Critical Account of the Manuscripts xxiii
Abbreviations (Cross-reference to page 176 from) xxviii
PART I.
Prakrit Text of the Play, and Critical Apparatus . . . 1-116
PART II.
Glossarial Index 117-172
PART III.
Essay on Raja^ekhara's Life and Writings 173-209
1. Chronologioal Bibliography 175
Abbreviated titles of books 176
2. Rftja^ekhara's Ufe.
Earlier opinions as to his date 177
His relations to Mahendrap&la (Nirbhaya) and Mahip&la .... 178
R&ja9ekhara lived about 900 a.d 179
His personal history (family, sect) 180
His place of origin, the Western Deccan 180
Connection with Kanauj (and Chedi ?) 181
R&ja9ekhara's ancestry 182
3. Rftja^ekhara's Extant T^ritings.
Karpura-maiijari [= Camphor-cluster] 184
yiddhaH^abha£ijik&, or < The Statue ' 185
Bila-r&m&yana 186
B&larbharata or Prachanda-p&ndava 188
4. Lost Works and the Anthologies.
A tradition of more than four works . . . ' 188
Anthology-stanzas (24) identified in R&ja9ekhara'8 writings . . . .189
Anthology-stanzas (10), *^ of R&ja9ekhara)" not yet traced .... 190
ix
Contents.
PAGE
5. Rftjagekhara and the Prfikxit Literature.
The literary PriLkrits and the real vernaculars 191
Early Prtkrit lyrics 192
Hala*8 " Seven Centuries," Sattasu (M&hira^tn) 192
Jayavallabha's Vajj&lagga (Mahftr&stri) 193
Anandavardhana's Visamab&nalil& 193
Gui^adhya's Brhatkatha (P&i9&chi) 193
PrSkrit Kfivyas. R&vai^a-vaha 194
Bappai-r&a's Gaudarvaha, 750 a.d 195
Filkrit drama : sattakas 195
Karpurarmaftjari the only sattaka extant 195
Important for the history of the drama 196
€. Other Poets mentioned by Rftjagekhara 196
7. Mentiona of Rftja^ekhara in the Literature.
By Yasukalpa, Abhinanda, and Somadeva 197
In the Da^arupa and Sarasvati-kanthibhara^a 198
In several works of Ksemendra 198
In the K&vya-praka9a, Pr&krtarpihgala, etc 198
8. Rftjagekhara's Prftkrit.
^uraseni and Mah&rfistri his only dialects 199
^urasenl-Mfihftrastri doublets in this play 200
The poet's use of rare and provincial words 201
Mar&tbicisms 201
He sometimes confused his two dialects 202
His usage tested by Milrkandeya^s Prikrit Grammar 202
Possible inference as to obsolescence of said dialects 204
9. Rftjagekhara's Literary Characteriatioa.
Pischel's estimate of R&ja^ekhara 204
The poet's skill in metres, esx)ecially Pr&krit metres 205
His employment of rime 205
His fondness for proverbial expressions 205
Self-repetition. List of repeated passages 206
10. Rftjagekhara'a Favorite Metres.
1. 9&rdulavikridita ; 2. Vasantatilaka ; 3. ^loka; 4. Sragdharft . . . 206
5. Ary& ; then Tristubh, etc., etc 207
U. Metres of the KarpHra-mafijarl
The metres in the order of their frequency 207
Scene-groups 208
The metres in the order of their occurrence 209
CantetUs, . xi
PART IV.
FAQB
1. Geography of the Play in General.
The Deccan. Kuntala. Vidarbha. L&ta 213
2. Hindn Beaaona, Montha, and Aateriama.
Table of the seasons, months, and asterisms 214
3. Time-allaaiona of the Play and Time of the Action.
Time of the action of act i 215
Time of the action of act ii 216
Time of the action of act iii 216
Time of the action of act iv 216
Synoptic table of the time of the action 216
4. Synoptic Analyaia of the Play.
Analysis of act i 217
Analysis of act ii 218
Analysis of act iii 219
Analysis of act iv 220
5. Dramatia Peraonse 222
Annotated Translation of ths Kabp&ba-maI^jak! .... 223-288
/
PREFACE OF THE GENERAL EDITOR AND
TRANSLATOR.
HARVARD UNIVERSITY has undertaken the publication of a
Haevabd Oriental Series. The primary object of this Series,
as conceived by the two friends most concerned in its establishment, is
an historical one, — the elucidation of the history of religions, more
especially, of those of India.
The central point of interest in the history of India is the long
development of the religious thought and life of the Hindus, — a race
akin, by ties of blood and language, to our own Anglo-Saxon stock.
The value of the study of religions is coming to be recognized more
and more every day. The study tends to broaden and strengthen and
universalize the bases of religion, — a result of practical and immediate
benefit. Works which promote this study stand first in the plans of the
Oriental Series ; and they are especially timely now, when so much of
the widespread interest in Buddhism and other Oriental systems is mis-
directed by half-knowledge, or by downright error concerning them.
We may add that such works supply the material for the helpful
constructive criticism of the foundations of religious belief, to offset the
all too abounding destructive criticism of the day.
But to any one acquainted with the ways of the progress of science,
it will be evident that the purposes of this Series are not to be achieved
wholly by the direct means of publishing books upon the religions of
India. The indirect means to its end must be the publication also
of works concerning Indian literature and history and antiquities in
their manifold diversities of time and of system (Vedic, Brahmanical,
Jaina, and Buddhist), and in their considerable diversities of language
(Vedic, Sanskrit, Prakrit, and Pali).
xiU
xiv Preface of the General Editor and Translator.
The work now presented to the world of scholars is the first critical
edition of the only Prakrit drama extant, the Karpura-manjari of Raja-
Qekhara, who flourished about 900 a.d. The sacred scriptures of the
Jaina religion are written in Prakrit. And, considering the extreme
dearth of books for students of that tongue, it is hoped that this volume,
in connection with Jacobi's Handbook, may prove highly serviceable as
an introduction to the language of that very ancient religion.^
'^A critical edition of the Karpura-manjari is an urgent necessity
for the advancement of Prakrit studies." Thus wrote Pischel in 1876,
in the preface to his Hemachandra, p. xii. For the realization of his
long-deferred hope, we have at last to thank one of his own pupils.
Dr. Konow, whose work, as I trust, will clearly show the training in
rigorous philological method which he has received at the hands of his
eminent master.
The interest of this play is largely philological ; * but, as is elsewhere
shown,^ it is not without its importance for the history of the Indian
drama. It abounds in material which may well engage the attention
of the student of antiquities* and of folk-lore.^ And its allusions to
matters of geography or of the calendar, to facts of natural history or
to popular beliefs concerning those facts,® challenge the widest erudition
of the expositor. It presents questions of broader literary interest, such,
for example, as concern the degree to which Raja^ekhara is indebted for
motifs or for modes of expression to his predecessors,^ Kalidasa, Bhava-
bhuti, Dan^in, Bana, and Bhart^rhari. Its literary merit is, on the whole,
meagre. The plot is scanty. And the playwright knows little or
nothing of the development or depiction of character. Much of its fun
is such as is proper to the cheapest vaudeville ; so, for example, the parrot
incident that is lugged in at iv. 2*. The long-drawn discussion of love
at iii. 10-19 is invested with a singular negative interest by reason of its
sad lack of all nobility of conception.
1 Fischers Pr&krit Grammar is now soon iy. 9* £f. ; the Magician^s homage to the
to appear. It will mark the beginning of a Dreadful Goddess, iv. 19.
new epoch in these studies. * £.g., rain-drops transformed into pearls,
s See pp. xxi, 201-3. iii. 3i«, note ; mirage, ii. 40^.
• See p. 196. • Cp. i. 18i», 20», ii. 50-, ii. 6(>», iv. 18".
* For example, the merry-makings at the Botanical allusions — passim.
Banyan festival, iv. 10-18 ; palace-life, i. 86 ; ^ See p. 204, and, e.g., ii. 10*, iii 2*.
Preface of the Oeneral Editor and Translator. xv
The entrance of the Magician (at i. 21®) is signalized by several
ribald stanzas which throw a good deal of light on certain pathological
phases in the evolution of religion, such as have repeated themselves over
and over again in the history of the most varied peoples. To study these
phases from a point of widest scope is an essential condition for an intel-
ligent diagnosis of all such vagaries, whether exhibited in the fervors
of an American camp-meeting or of a Hindu temple-precinct.
The literary merit of a piece like this, however, is not, in my opinion,
to be summed up in any brief and disparaging dictum.^ The play
is surely redeemed from sweeping condemnation by the swing scene
(ii. 30-40). Here, specifically in stanzas 30-32, the author shows himself
a consummate master, not only of imitative language, but also of met-
rical forms. And the Sanskrit student must be dull indeed who is not
charmed by the liquid music and smoothly swinging rhythm of stanza 30;
while the stanzas 33-40, although contravening some of the canons of
Occidental taste, are really remarkable for the ingenuity and beauty
of their conceits. The King's verses of admiration upon the bursting
into blossom of the a^oka tree (ii. 47) need no apologist. And the
descriptive stanzas (as of sunset, evening, or moonrise, ii. 50, i. 85-36,
iii. 25) deserve high praise for their vividness and genuinely poetic sense
of the fairest aspects of nature. And some of the " enamored verses " *
will bear the test of Occidental criticism, — their tenderness and beauty
and dignity unimpeached. The contrasts between the love-lorn solem-
nity of the King and the mocking badinage of his Jester ^ show a
command of the shadings of expression that is by no means contemptible.
The Text and the Critical Apparatus. — I need add little to what is
said by Dr. Konow, pages xxiii-xxvi, about this part of the work. I am
confident that students will appreciate the pains I have taken to have
the typography convenient, especially that of the various readings. I
regret that these last are so copious ; but the exceptional nature of the
text must excuse their fulness.
Method of Citation. — The verse-portions are cited by act and stanza
and line, the line being indicated by a, 6, <?, or d» The prose clauses
1 Such as Apte's, in his Rajafekhara, ^ Cp. i. 32, ii. 5, 0, 10.
p. 24. » For example, at ii. 40i-«, ii. 60i-«, iii. 29.
xvi Preface of the General Editor and Translator.
between any two stanzas are numbered consecutively with Arabic numer-
als, and are cited by the number of the act with that of the preceding
stanza and that of the clause. Thus iv. 19^^ is the last clause between
iv. 19 and iv. 20. Similarly ii. 0^ is used to indicate the fifth of the
prose clauses preceding stanza 1 of act ii. It is thus apparent at a glance
whether any given citation refers to a passage of prose or of verse.
A simple and sufficient means of citation is absolutely indispensable
for any text of mingled verse and prose that is of consequence enough
to be studied and cited at all. The editor who fails to provide such
means is guilty of flagrant neglect of plain duty and of gross disregard
for the time and convenience of students and of his colleagues. By way
of punishment he may count upon the seriously circumscribed usefulness
of his book and the silent maledictions of those who are forced to use it.
Let me here call renewed attention to Ernst Leumann's " Request to the
future editors of dramas and post-Vedic prose texts of the Indian litera-
ture,"^ commending it to most thoughtful consideration.
The Glossarial Index. — To the Prakrit forms of this text I believe
that the Index will prove a very accurate and complete concordance.
The words of the stage-directions are in Sanskrit and are not included.
The English definitions may, I fear, seem inadequate by reason of brevity.
It is therefore well to mention that the reader must supplement the
definition of any given Prakrit word by a study of the senses of its
Sanskrit counterpart, or by reference to Pischel's edition of Hema-
chandra's Prakrit Grammar and Dictionary,* where these are cited.
Failing these books, it is hoped that the Translation will serve as an
entirely adequate complement to the Index.
The arrangement of the Index demands a word of explanation.
Verbal forms are assembled under the Sanskrit form of the root to which
they belong when this can be given ; otherwise, they are put under the
heading of the third singular present indicative of the Prakrit form.
Thus pa-adei stands under hat; while khuttai is given under khutiai,^
Similarly, jantia is put under yantra-^ while janta comes in alphabetic
place. Again, vi-inna is given under tr ; but vi-tthinna and un-naa (as
1 Zeitscbrift der deutschen morgenlftn- « Cited by tbe initials »* H." and " HD."
discben Gesellschaft, xlii. 161. * For otber examples, see my note to ii. 4.
Preface of the General Editor and Translator. xvii
quasi adjectives) and mildna (on account of the splitting of the ml-
group) are set in their alphabetic places and not under atr and nam
and mid. I trust that the occasional hints in my notes will reduce to a
minimum any practical inconveniences resulting from the arrangement
of the Index.
The Translation. — It is a part of the fundamental plans of this Series
that none of the texts published in it shall be without a translation. The
Series does not aim to consult the interests of Sanskrit students exclu-
sively. For better, for worse, this part of the plan is at all events in
accord with the dictates of absolute frankness. The wisdom of the
Wise Men of the East is to be estimated by Occidental readers with
entire fairness — nothing less, nothing more. And for this reason we may
neither withhold its excellencies nor cloak its defects. I am, moreover,
strongly persuaded that Indian studies would have exerted much larger
influence upon the intellectual life of our day, and would even have made
more rapid progress, if the masters of Indology had devoted more of
their time to the work of translation and popular exposition. The new
recruits for this field must be di*awn from the circle of those interested.
To enlarge that circle is therefore indispensable. Moreover, the com-
parative study of literature is now a recognized discipline with clear aims
and zealous votaries. And to such students also this translation makes
its appeal.
After the Text and Index were completed, I requested Dr. Konow to
make a translation ; and to my request he acceded with the utmost kind-
ness and promptness. But upon this matter, his own remarks, p. xxii,
may be consulted. The play is very diflScult to translate. The meta-
phors, be it for their boldness or their accumulation, are at times most
intractable. And often the point of a stanza or phrase requires for its
reproduction in English such a command of delicate nuances of expres-
sion as cannot be expected of one to whom English is not vernacular.
The revising of Dr. Konow's rendering proved to be not feasible. And
therefore, after trying and failing to find an American who was both
willing and able to translate the piece, I set myself most reluctantly to
the delightful and interesting work of making a new version.
Most reluctantly, — because it involved a delay of weeks in the
xviii Preface of the Q-eneral Editor and Translator.
progress of the labor of issuing the works of my two departed friends,
the Atharva-Veda of Professor Whitney and the Visuddhi-Maggfa of
Henry Clarke Warren. This delay has been a sore grief to me, although
tempered by the feeling that these Prakrit studies would at any rate
inure to the benefit of my equipment for the completion of Mr. Warren's
work.
The translation here presented is accordingly an essentially inde-
pendent one, of my own making. A good many of the best stanzas I
have rendered in metrical form. That I have not so rendered the rest
may be set down in part to their intrinsic inferiority, and in part to the
extreme pressure under which the keen sense of the above-mentioned
delay caused me to do the work. The marked diversities of tone and
style ^ I have endeavored faithfully to reproduce in the tone and style
of my English.* The translator must be able to feel the atmosphere
of each of the varying scenes and to adapt his version to their subtile
changes.
Almost at the outset it appeared that the translation, unless provided
with a running comment, would necessarily be obscure in many points
even to the Sanskritist. I hope that no one will find these notes unac-
ceptable. That this portion of the volume is intended in part for non-
Indianists, is the reason for writing the cA-sound in proper names with ch
(instead of the usual c) and for giving such notes as that on the Asuras
at ii. 31^
Scant as the action or stage-business of this play may be, it is the
interpreter's duty to make it intelligible to the otherwise unaided stu-
dent. In the introductory paragraphs, therefore, pages 213-222, I have
done my best to make clear the sequence of the inferential as well as of
the explicit parts of the action, and likewise the place and time of each
element thereof.
One little detail perhaps needs a word from the prefacer, to wit, the
version of pit/a-vaassa as 'old man.'^ The German AocA=*high,' and
Abend^zeit = ' even-tide.' So Prakrit piya = *dear,' and vaassa = * friend.'
1 Well illustrated at ii. 40> ff. Or com- coUoqoialiBms for the explanation of which
pare i. W ff. with i. 18^ ft. no dictionary less complete than the Century
* For this reason, readers whose native Dictionary, for example, will suffice,
tongue is not English may find occasional ' See note to i. 18^^.
Preface of the Q-eneral Editor and Translator. xix
But it is hardly less grotesquely incongruous to render piya-vaassa by
*dear friend' than to render Hochzeit by *high tide.' The connotation
of the colloquial "old man," as used even by very young men to one
another, with all its suggestions of jovial good-fellowship, shows for
itself how fatally misleading a wooden literalness may be.^ We all
know that a green black-herry is red.
There are some things in this play which are repellent to a mind that
is bred to the large variety of wholesome interests* that characterize
our best modem life. Instead of making the offensive ideas conspicu-
ous by the thin veil of an occasional Latin phrase, I have judged it
better to give them in English, simply toning down their more drastic
features.
War den Dichter will verstehen
Muss in Dichters Lande gehen.
Never was the truth of this couplet brought home to me with more
force than in the making of this translation. My own sojourn in India
was, alas, too short to absolve me from dependence upon books. I was
therefore glad to have the help of the native scholiast, Vasudeva. No
other scholia were accessible to me. And I gratefully record my indebt-
edness to Roxburgh's Flora Indica; and to several of the systematic
Sanskrit treatises on plants and minerals, mentioned below, p. 177 ; and,
last, not least, to my venerable friend, Bohtlingk. I am glad to bear
the shame of not having realized earlier the profit to be had from his
Hemachandra as an aid to the study of Sanskrit synonymy, if by this
confession any are led to take to heart the excellent words of three and
fifty years ago with which he closes his preface :
Ich bin iiberzeugt, dass mit dieser neuen Ausgabe Vielen gedient sein
wird; nur Einer, der es sich zum festen Vorsatz gemacht zu haben
scheint, bei seinen Sanskrit-Studien nie an die reinere Quelle zu gehen,
wird zu seinem eigenen Nachtheil und zu aller derer, die seine Werke
1 CoBOLLART. — Taking due account of ^ We must remember that these were
the diversities of tone, I have rendered vaassa often utterly lacking to the Indian villager,
by * my man ' at ii. 6> ; by a slightly impa- The Sanskrit student may make this point
tient * man * at iii. 2^ ; and by a dignified and clear to himself by consulting in the lexi-
stately * O friend ' at iv. 6**. cons the articles upon grama and its deriva-
tives.
Preface of the General Editor and Translator.
benutzen, nach wie vor AUes bei Seite liegen lassen, was auf diesem
Gebiete erscheint.
It is fitting, in this fourth volume of the Series (the first to contain a
preface from the General Editor), to acknowledge the twofold indebted-
ness of Harvard University to an alumnus, Dr. Fitzedward Hall, of the
class of 1846. He has, on the one hand, honored his Alma Mater by his
achievements in Oriental ^ as well as in English philology ; and, on the
other, he has made to the Library of the University a gift which is unique.
With pride of nativity^ and with loyalty to his college unimpaired by
years of absence, he has given to it his rare and early Indian printed
books, and — what is more — his precious collection of Sanskrit manu-
scripts.* These manuscripts, with some five hundred purchased by me in
Western India, constitute the largest and most valuable collection of
the kind in America. It is my fervent hope that they may be of much
service in realizing the plans of this Series, not only directly, but also by
way of stimulus to Oriental research.
C. R. LANMAN.
Harvard Univbrsitt,
March 31, 1900.
Postscript. — July 8, 1900. In the meantime, I have submitted the
proof-sheets of the entire translation to Dr. Konow, and he has returned
them all with many useful suggestions of improvement or correction.
For these it gives me great pleasure to make public acknowledgment of
my sincere thanks.
1 Students of English, considering the
part he has borne in the production of the
great ** Oxford English Dictionary,** and
the marvellous learning thereby attested,
might well enough be excused for not know-
ing that he had, long before, attained distinc-
tion as an Indianist. The first Sanskrit texts
ever published by an American were his
editions of Atmabodh and Tattvabodh (Mir-
zapore, 1852). And his early writings on
Indian philosophy, dramaturgy, epigraphy,
etc., are still cited with deference by the best
authorities of to-day.
* His ancestor, John Hall, immigrated
just 270 years ago from England to Charles-
town, about three miles from the seat of
Harvard College.
* Acquired during long official residence
in India, as Professor at Benares and as
Inspector of Public Instruction.
PREFACE BY THE EDITOR OF THIS TEXT.
fTlWENTY-FOUR years have passed since Professor Pischel, in the
-■- preface to his edition of Hemacandra's Prakrit grammar, declared a
critical edition of the Karpuramanjari to be a necessity for the advance-
ment of Prakrit studies. Rajagekhara has been highly esteemed for his
proficiency in the Prakrits, and it was to be hoped that a careful edition
of his only Prakrit play might throw some light upon the lingfuistic
history of India. But unfortunately, the materials then available proved
to be insufficient. Since that time new manuscripts have been found, and
some years ago Professor Pischel proposed to me to undertake the work,
and at the same time he kindly put at my disposal the collations which he
had formerly made with the view of editing the play himself. Though
regretting that the edition should not proceed from his master's hand,
I thankfully accepted his proposal, as he declared it impossible to find
the leisure necessary for the work himself.
I have myself collated only the manuscripts NRSTUW. For ABCP,
I used the collations made by Professor Pischel ; and Dr. Liiders kindly
collated O for me.
In the notes I have quoted all truly various readings. I leave unmen-
tioned the ya-gruti and the dental n in the Jaina mss. ; whereas, in the
readings of STU, I have always transcribed the dot -f consonant as
double consonant. I also pass by all evident blunders in silence. The
anunasika is generally indicated by the same sign as the anusvara ; and
this fact must be remembered in using the critical notes.
The chief aim of this edition then is a linguistic one. But besides, I
have also been guided by another consideration. I often had to regret
that no chrestomathy of the Prakrits of the plays exists, and it was my
hope that the Karpuramanjari might be usQd as such one. This consid-
xxi
xxii Preface hy the Editor of this Text.
— ^— ^-^^— ^■— ■— "^— ^^^-^■■"^^~-^^^"^"^^^"^^^~ ' — .^—i ^-i^^— ^^-^-^^.^— ^^^^^•«.^.^-^.^— ^^■••«ii^^^™™^«^.^««^™^«^^
eration has also, to some extent, influenced my work. Thus I have, in
some places, introduced the peculiar forms of the two dialects, even
against the reading of all manuscripts. Further, the vocabulary is com-
posed with the aim to serve students learning Prakrit. To study those
dialects it is, naturally, necessary to know Sanskrit, and I therefore
always refer to the corresponding Sanskrit form, where this is possible.
I have not made any attempt to give an etymological index, nor have
I intended to furnish a vocabulary which might be sufficient without
knowledge of Sanskrit.
From the same point of view I did not think it convenient to add a
translation. And I was also convinced that it should be impossible to me
to translate such an intricate text satisfactorily, as long as English was
not more familiar to me. On the other hand the general editor, from
quite another point of view, thought it necessary to add a translation.
Upon his request I therefore made an attempt to render the text in
English. But I soon felt how unsatisfactory my work must be, and
what I sent Professor Lanman can hardly be called more than a rude
paraphrase. I was therefore very glad to hear that he would work out
a translation himself.
My best thanks are due to those who have, in various ways, aided me
in the work, to Professor H. Jacobi, Dr. H. Liiders, and Dr. A. Stein ;
to the government of Madras for the courtesy and kindness with which
it forwarded new materials to me ; but above all to Professors Pischel
and Lanman. To the rich knowledge and kind benevolence of the former
I never appealed in vain, and though overloaded with other works, he has
kindly read the proofs of text and vocabulary. And the kind interest
which Professor Lanman has taken in my work, and the unselfish assist-
ance which he has rendered me, cannot, in any respect, be measured from
his prefatory remarks.
STEN KONOW.
UMIYKB8ITT OT KbISTIAKIA,
Jane 29, 1900.
CRITICAL ACCOUNT OF THE MANUSCRIPTS.
The Text. — Tliis edition of the text of the Karpura-mafijari is based
upon tlie following manuscripts :
A. Jaina ms., 8 leaves, with 9-13 lines on each page; 9^ inchea hy
4^ inches. Contains javanikantara i. See Bhandarkar, Report on the
search for Sanskrit rass. in the Bombay Presidency during 1882-83,
Bombay, 1884, p. 156, no. 418. The colophon reads: iti 5rikhnratana-
vabh oganadi n amani grijivasagarasiiri^iByaviicanricaryaviraei tayam k ar p u-
ramamjarimahanatikayuiii prathamam javanikaihtaratii vivrttam idaifa || (jri
II qri II rajanpure Ukhitam || rajanpure likhitam ||. Viicanacarya must be
the author of a commentary on the Karpiiramanjari. Of this commentary
a few traces are left. An incorrect ms. Aspirates are doubled ; nd is
often substituted for nt. Codex A is therefore possibly copied from a
South Indian original. Cp. Pischel, Nachrichten, Gottingen, 1873, 206 ff.
B. Jaina ms., 8 leaves, with 15 lines on each side; 10^ inches by 4^
inches. Prakrit text, Sanskrit translation, and some glosses. Contains
javanikantara i., the beginning of ii., as far as hidaiivajjam (ii. 1'), and
the end from sa rayanamayi (iv. 19"). See Kielhorn, Report on the
search for Sanskrit mss. in the Bombay Presidency during 1880-81,
Bombay, 1881, p. 83, no. 22. The colophon reads : iti grikarpuramaibja-
rinatika kasya [I] samapta. sarii. 1600 varse §nmahimanagaro.
C. Jaina ms., 11 leaves, with 8 lines on each page; 9| inches by 4^
inches. Kol. 3 is wanting. Contains javanikantara ii. See Bhandarkar,
I.e., p. 156, no. 419. The colophon reads: iti ^rikhugatunanabhogaiia-
QrijinasagarasiiriQisyavacanacaryaviracitayam karppuramamjaryyiiin dvi-
tiyam javanikanttaram vrttam [] ^r! || ciththadu edam likhidaiii dava di^eso
diyo mahio | ehi payattadu saihto saccam saccani kunamto wa || 1 ||
ray apurath tliidena udiyajfidisirorattasirtnarasimhasunujadena likhidam
jjeva I Kappuramatbjanniidaam. Codex C has the same peculiarities as
A, and seems to be a continuation of that ms.
N. A modern Niigari ms., 16 leaves text, 13 leaves translation, with
15 lines on each page; 13 inches by 8J inches. The wat«r-mark has
the date 1859. Several lacunas. Conclusion of the text wanting. See
xxiv Critical Account of the ManiLScripts,
Weber, Verzeichniss der Sanskrit- und Prakrit-handschriften der Konig-
lichen Bibliothek in Berlin, Berlin, 1886, no. 1558. The doubling of the
aspirates and the occasional writing of nd for nt point to a South Indian
origin; and forms such as 4iihnna for 4^°^bha and a few instances of
ya-^ruti (or writing of an intervocalic y in cases of secondary hiatus, as in
rat/aria for raana^ show influence from Jaina mss.
0. A modern Nagari ms., 21 leaves, with 18 lines on each page ; lOJ
inches by 9J inches. Prakrit text with some glosses. Sometimes correc-
tions in the margin. In a few places defective. The ms. was copied
after the year 1880. See Aufrecht, Catalogue of the Bodleian mss.,
p. 146*, no. 313.
?• Copy from a Jaina ms., 46 leaves, with 15 lines on each page, 11|
inches by 5f inches. Complete text and translation. Modem and very
incorrect. See Kielhorn, I.e., p. 83, no. 23. After each javanikantara
is the following colophon: iti Qrimatsuryavamgodbhavasahigilakulava-
taihsaQrimatprayaga (i. and ii., prayoga) dasamgajagripremarajaviracite
karpurakusumanamni karpuramaihjaribhasye . . . yavanikamtaram
samaptam. Ends : Qubham bhavatu || samvat 1931 prathamaasadliagukla-
pakse tithau sastyam ganivare likhitam idam vyasagopidasatmajena ||
malakhyanamna || grijayaijilanagare ||.
R. Copy of the ms. no. 417 of the Raghunatha temple library. See
Stein, Catalogue of the Sanskrit manuscripts in the Raghunatha temple
library of His Highness the Maharaja of Jammu and Kashmir, Bombay,
1894, p. 77. I owe the possession of the transcript to the kindness of
Dr. Stein, who had his assistant, pandit Sahajabhatta, make it for me.
Incorrect ; some lacunas ; conclusion wanting. Text, with the commen-
tary of Vasudeva.
S. Copy of the Tanjore ms., no. 10634, prepared for me through the
liberality of the government of Madras. Text with some lacunas. See
Bumell, Classified index to the Sanskrit mss. in the palace at Tanjore,
London, 1880, p. 168*". Grantha letters.
T. Copy of the Tanjore ms., no. 5253, made for Professor Pischel at
the request of the late Dr. Burnell. Complete text, with some lacunas.
Very incorrect. See Burnell, I.e.
U. Copy of the Tanjore ms., no. 10633", Grantha, prepared for my use.
Text with Sanskrit version. Some lacunas. See Burnell, I.e.
W. Jaina ms., 21 leaves, with 13-14 lines on each page, lOJ inches
by 4J inches. Complete text, with marginal paraphrase. See Weber,
no. 1557. The colophon reads : samatta kappuramamjari nama nadika
mahakaino sirirayasehassa kada . . . samvat 1520 varse gake. The
groups tth and ddh are, as a rule, not to be distinguished in this ms.
Critical Account of the Manuscripts. xxv
Commentaries. — Furthermore, I have used the following commentaries:
Vasudeva's gloss in the Raghunatha temple ms. and in the edition of
our play in the Kavyamala.
K. The commentary of Krsnasunu in a transcript of the Tanjore ms.,
no. 10633*, belonging/to Professor Pischel (see Burnell, I.e.). A new
copy was given me by the government of Madras together with S and U.
J. Pitambara's Jalpatiratnamanjari (Kielhorn, I.e., p. 65, no. 242),
collated by Professor Pischel. This is a different work from that con-
tained in the corrupt mss. described by Weber, I.e., nos. 1559, 1560.
Among these mss. we can distinguish two distinct groups : a South
Indian group, comprising STU; and a Jaina-group, to which belong
ABCPW.
STU agree in most particulars and must be traced back to a common
source. The doubling of a consonant is indicated by a dot before the
consonant; lingual 1 is substituted for dental 1; etc. Moreover, where the
discrepancies between the manuscripts are very considerable, STU have,
generally speaking, the same reading. Thus e.g. i. 6, 7, 8', 9, 10, 14^
18", 20»•^ 22«, 82^ u, 29^, 34«, 41«; iii. 4»'*, 5^ 8-, 2(fi, 22«; iv. 1», 9^*, 18»ff-,
20*, etc. And in the South Indian group, STU, the conclusion (which
is entirely missing in the Jaina g^roup) is different from that in NO (R
is incomplete).
BurneU was of opinion that T was copied from S. But in iv. 24, T
and U agree, as against S, See ako i. 20» 21*, 30«, 33^; ii. 41', 42»;
iii. 1^ 3^', 4*'*»^*, etc. It must therefore be concluded that T is copied
from U, perhaps with corrections from S (cp. ii. 11*, 16*, 41*'-; iii. 22',
etc.). The commentary of Krsnasunu agrees with this group; and in the
final stanza, with S.
The Jaina mss. are characterized by some common blunders and
omissions. Cp. ridiau, i. 1**; further, i. 7, 19^ 20"; iii. 4\ etc. More-
over, the complete absence of the conclusion in all these mss. is too extraor-
dinary to be a mere accident. In many readings also, this group differs
from the other mss. Cp. i. 9«'*, 15^; ii. 11*, 48*; iii. 1*, iv. 2^ 6^ etc.
Among the Jaina mss., B and W are relatively old. B is very cor-
rupt; W is much better. Both are North Indian mss. B was copied in
Mahim (in the Rohtak District) and bought for government in Bikaner.
The origin of W is not known.
A and C are attributed in their colophons (which mention the lost
commentary) to Vacanacarya, the pupil of Jinasagara, "the sun in the
sky of Kharatana." "Jinasagara was the first high-priest of a new branch
xxvi Critical Account of the Manuscripts.
of the Kharatara sect, which was established in 1630 a.d.,*' says
Bhandarkar, I.e., p. 44. Cp. Klatt, Indian Antiquary, xi. 250, and Speci-
men of a literary-bibliographical Jaina-onomasticon, Leipzig, 1882, p. 39.
A and C were copied in Rajanpur, Punjab, perhaps from a South Indian
original. See above; cp. also the reading gauttana in A, i. 19*.
P is a modem transcript, copied and bought in Jesalmir, from a
Jaina ms. It is perhaps in some places influenced by the South Indian
group (cp. i. 12®; ii. 45*, etc.); but it is clearly shown to belong to the
Jaina group by the agreements mentioned above, p. xxv.
The remaining mss., NOR, are all quite modem. They generally
agree with the Jaina group, as against STU; cp. i. 18**''", 20^*^ 22*, etc.,
and consider, above aU, the blunder which they have in common at ii. 28^.
They therefore seem to be derived from the same source as the Jaina mss.
On the other hand they have so many common blunders and various read-
ings that they must be classed apart ; cp. i. 8*, 9*, 10*, 15*, W^^, 20^ 84«;
ii. 1', 6^, 29^ etc. In the first act, N shows a nearer connection with R^
as at i. 7, 8, 12*, 13», 15-, 16^' >, 20**, 32^ 34*»», 35% etc. Both N and R
have the aspirates doubled in the South Indian way.
O and R are much more closely connected; cp. the critical notes to i. 4^
Some common blunders, which are not mentioned in the critical notes,
point in the same direction: such are joehaih instead of jonhaih, i. 1' ;
nihittaga- instead of -gga- , i. 4^ ; esya instead of ettha, i. 12* ; lagohim
instead of laggehiih, i. IB** ; the very frequent writing of d instead of tt,
etc. Many other readings are common characteristics of O and R : see
i. 4^ 6*, 9* ; ii. 0*, 12*, 25*, 29», 31^ 42^^ ; iii. 1*, 22*' « ; iv. 9*«-, etc.
NOR also sometimes differ from each other. Especially we find not
seldom that N agrees with the South Indian group (cp. i. 4**'*'" ; ii. SI**;
iii. 20"; iv. 20", etc.) and OR with W (e.g., u. 46*; iu. 16^; iv. 9*»%
17^ 18», 20*, etc.). But still NOR must be classed together.
The manuscripts of the Karpuramaiijari must therefore be classed
according to the following diagram :
Archettpe.
I
I I
y
I I j
.C B P W OR N T
Part I
TEXT AND CRITICAL APPARATUS
or TBB
KARPURA-MAfJJARl
EDITED BT
STEN KONOW
ABBREVIATIONS
For explanations of abbreviated forms of titles
under which certain books have been cited, see
the Chronological List of Books, etc., pages 175
to 177.
/-
X
M gF3 w<jj|.<a qCTt w^ ^wttM\ ^^^^H
aroro fa ^iqarg^ -TO ^mft Ai^Pm^tn i ^^M
<(-*l«l rt^«i<H^ Ijiw *in wtfti^imTfesn ^^B
f>%St ftl%?^ «Mj^<;)l ^t^ ^^^fl fiRT II ■) II 1
srfS^au' 1 1
!it<*r<:54iMn.wr<<^*<iiiM^Hr»ui(^'d<ii4«ij.ii;^i 1
a)V|lia)«HUHIi<Uli,fl!mT!r»»f 3n!RF^HllW,ll Sill 1
^7*33^' ^M
"^''l . « „ . m
wmmmimvs aw^uiihuu Hi^tiiiMaiuii i ■
!• ABPWNOET rtj, SD JI3. — AB
1> BW8T omit. — T transposea verses
s<r{. W •*!. - a noifl. B
2 sod 4.
« »*. - TU nijj.
2- AT -fammi. — Kvlmr- — B
I» STU fii. — ABWSK HM^, P m-
°^«IBH. — A 'CH^ij, P °iiauTf
55, oaisj, STU irajg. - A8TO
STU tn.
OTT — T ^rasBifiiwr.
2' AN Mnftra-. — ABPW0E8 -w,
!■ W a!*R), S V!^ttd. — ABPWSTD
N -OTi-. — A -tntmi. BSTU
wuniT, manil. — ABPWR ^.
•imi. — A N'T nrtOTi*
13, S OTT5. T 5W3. - B m. —
2' AN' )TT" fnroir:, B jtoh grjm:,
wo fir ft. — s naifan.
w srraift f^reir:, OS omit ^ wri
I'ABPW eihrra, Kurt iWh». —
ET Hfi «.
A ftrtj. B ftaiH. W ftrtj, S
3'T -liii-. — P •oiiiirann. - AE ^m
'is. — BW ^ran ^■
H i. 3] «QTV9airhT 'P^^l
1 f'jfwr'ifti^WRi ?Hn^ ^ f? ?;3 II ? 11 ■
1 »ir4 31' 1 ^^B
L i.«ill«uwimm!!i« ^ritfi «jj|iij}Ndr^ ^^H
^^^^k df i*3»r5 HH,ain4 ^l5*yen^<H(r)1t?"^l«"^^^ 'j^I i ^M
^^F Jiti^m^i^frivi ti!it«^rirfr«iR^"i^ivir? <if^ ■
ai'ii f«'ii ^ <Ti| MMi f'\r(i^wmM^\t;i\is»i»
rfnro ■^«mr«^«<<w^-m' 1 1^ t^jj tu^m^^Tl ftsi ^W^ 3?»?ra
5*flrf<(H!i «€('! mi\ v«i yiflKii, fwaiatii sjr)a«ir<' i
T?TT ^yHHFftMt 'J«Wi;' 1 WW »»r4n1«a)li. 4ri«Hr<;'
tttftrmTTnir ' ^ uutsvibiQi SU
1
vuk: UK", OR ^iiiJH 5^*"^' "tt".
^^H an*. B -g^. - NU ihn^. E
T ^JAJH WIUW- wiV'-
^^^P ^iVfd, T ^Qifir- - N8TU Ht. -
4" ABPWX j,i. _ A Tuiit. BWNOR
^^^T p ftwa, NO ag.
TRqj(. P "Wisr, SU imtf' T -fl-
F 3'BT omit.
35t. - %BT. N sWil, 8TO
1 4' ABP WN08TU -omta-.- ABPWNOR
w w- Wlff 3^. — BPW iii«.
B ~wii0laMt T °innT3TT> — oui<i>ii--
— HP mrkmm. w •ww, T ^
i — BW -siiiff, P "-gram.
- ABWE oa*. P o*r, mnt
^^^ lOAPWNORT jfere, B ofem. -
^^^L ORTU gfronr. — B •■nvr- —
^^^P A •vofH, BW *figaik, F *^afv,
^^^ SU -wfUn. T •rn^M.
fwHTT- — A finvif . B f^tftim
H 4'T 33ir instead of attmr. — BR
fW. P (OTOTt. w (Wr, N fer
^^^ •jftrT*, •am*- — P 'gf^M. —
ftmro, STn -MTT. — AP 3
^^^L mH. VS>. _ T "RSr. — AP
fenrrtk. B raiiifi, StJ Titi. Ta
^^^P •fiirew. — A>Bi^.BPSTU«^wfW.
fawHk WT ftl aroftnuTWt n^agt
^^^ 4* A SB, NSTU omit. — AB iwt. N
4' A wm. BPWNOESU to^i, T TOn
■ awm. STU amft- - abwnr
- sn .asil. -B jift, STD jSl
ft awfe. P araft, T mntx- — ABP
4' N qfnnf. T 'HTT. — A i]1iviTir%, 1
H firft^BT.
P ofr, w TOiJft, SU n4T. 1
W 8] mm aafaimtH [i- 4 H
qix ft 1 <4ri!nm^ M^ii y^r<' 1 u«) =i«l <!ir^<i ^m' i ■
sar ^hsn nT^mOtaf^' i ?;r fwfis ft faaig-i MTj\atr»»i' i 1
n« m^ntiih!) ^rS'Jl^ ^*ina(r<" 1 iR 5'^i'n< an^J- 1
^tarf^" iin fti ft jj'j ?3afeT ffew" i J''"'ir4i{{«uaHi.« ■
hutiriIti'^ ^H
irfsia" ^^^^H
^nfunf^: 1 Mt!!% tTRt" 1 ^^H
wito: 1 "f% ■^nSJ 4l!£ui>4«| f^^ ^t^W" 1 ^^H
A> T Bee above, Bt i. i\ — B % P fc.
■iviainlk«i*Hi|. — A q!l«ii|«t)i B ^d- ^H
— B ^, PNR omit; ^. SU
«i*,Pwra*,WTO**, NOE8TD H
L B^. — A ujv o^nra, B 055
V«n^. — ABPWNOE omit h- ^^^|
H sfnMi 4 < P gnafwuij o*, W tt
viofii. ^^1
W wfijHra, N BtfiirHraf^sft »p, a-
4" P rt <rt, W rt. STC «j. - OR ^^M
aftmrwt, 8U aftrwr 055. — ap
^mnhsar, STU iHot; a ^i.
a^fe, BWNORT at%, 8U 051.
Si. - P HKratft. S oimU; n
4' ABWNOET m- — A ^, B wt- —
ftlduif.
A ijsftift, B arfOTt. PW sfeat, N
4"PI»SJSlD, via. SB «fi,, T
ferf. srftiat, SU Ht^^favffinfl.
OT ft. - A «i*, BP ^, W
^. N ^, ,;„,«. - P
1 mj^naa^Tun- — A zms,
BWR sTOi. srir.
wtrftn. T i«UH.
4* N B^TO- — A vfjafdifd , B nfvHOT^ 1
4" A omitB; BWNOR -w* OTimft,
unft. N *HKld> "HTferfa-
P 'wwnraniBift-
1 4»-W TO, SU TS fii. - BST) ft, P
L ftnir. N riWru. — BPNBT omit
1 ft, _ wo wwm- — A Fftgreft,
ftwft. WR mi- uicujiN inft-
w B umluiHi P tHvj'uii , " ^nv-
infr^:
1 agift, STU -wfii.
4" B H^. W sn^. — PW WT3.
I 4" After 5H A iuBerta AwiHrtlH, BW
4"APWUSTU gBwn:, B omLts; NR
^;B>nT: ftftiw. — ABPW ^.
^M 4MJHIUIW- — B UUKIdmi(Ur P 1-
— A 'mraT, B -wraw, PWOET
^1 Wll49il4ll> ^ IWJildMHII- N U(NI[-
•U1H6I. N "*i»<fti' 8U -Wafti. — A
iM, B iWn. PaTaw, STUalTO.
i t] siSnraiohl It 1
■nfto^ro: 1 am X" 1 "5^ wfii^" 1 1
omni: 1 ^ ^3T!! tlW ^" 1 ^^H
Ulftuif'a*: 1 ^^^^1
<.^^<rs-^^i«rfl!<!ri «r^^^r<i!W <*l ar g^ im u ^H
ot™: 1 ftrfiiBi'i snj Tniftwi ^ir?'i "^w'l TRraf?('i ^^|
"^nf^- 1 # lidW 5|i|," 1 ^^^
Bi™.; lOTw'iqifij^W^SJ^fl'l ^^M
wtnpftfit'TOK^^'inferR.aT^S'i.i ^H
f^ ;n!! >< j^jP^-^jtHSii'N^ TB lOtiPTi II % n 1
4"^ A inft- srn. — ABPWO omit Hv
5'PNRT omit H5. — P quB^, n-
T;NBTfti»mtiwrifi?3iir
tjn*. SH irajsii, — ABPWSU
mftazw 1 mft wra etc.; R wra
omit ^; NH «sg. — N B^-
iiiBlead of sra ?; SU «» ^, T
5>'' A omit.. — PO OTT, STU «Hb
nut 1 »ra I 1 ?» 1 f» 5« 5* 1
Tiir.
«nft. «m otc.
5" A mft- «m. — SU m«. After aii
4'" A ugiuT ill the margin corrected to
OR .dd ^ fi* 85M.
•«. X TOSi — P <iH^3»i.
5«A0 omitwraw:; BWN8TU ^^wr:,
4" M.., BTOIt:. — AOT iw.
5*P Moa iiiBteadofwra— ABPWOR
wt; N mwiT-
«.farJj, N «T^. Sn »^II3. T
5' P jifira, STO «(ip!. — A »Sa. B
»if« ir ar. - APWNOKSTU irt.
»5o, P &». W ia. NO jn. R li-
B rt- - B8TU S. — B ins?,
99. SIT OTS, T SM. - P SiSfii
— A .dd, ni. SU n.
P wna, N iifin^a^. T tiPtuvji- —
P raiw, N nrnfr, T nm)-. -
6»PSU omit fit. — B OTB. K wirft.
B -ftrfii*. N -freii.
STU HftrasiT. — A sit 5«. — A
S'ABW ij!^'. P ,1^,1.. — BStl
snflOT*, BWSTIT 'Wlff. P 1ITT.
nfettraw, w nftennaw. NRT o-
-aral. K -sni. - WOT «n».
femaw. — P * I, N « «t,
»A.
an «t m, T * m.
6' ABPW on H an ijo. - OR oS-
5' Mi>. ^tok:. — 8U «., T mm*.
WW. — A "fewBwmi. B •ftqi^n-
1 6] msA ms\M*\'tnn [i. 8 ^|
1 A B t ^" ^ ' ^ ^
- _ -._^. ■
I fiifaw 1 HT fti TW «JS^ l)K^U3I mNdj^-t-M XTS^d ^1 m
1 mfhrrfsia: i ^^S
4<!«l «*ai«l*ll MwanrtTl r<« ^i,^4«li:i 1 ^H
^r<H>4r^<>ii«! ^nA^pH^nii. rir)i:Kr«4t4i*it n 9 n ^^H
^nPTRTra^w^BHfis^^'i srai'i ^^H
!Mrtr<4««l Hf5Rt«^H^XjfTT!!WTnftl ^^B
^r^r.<««ji^HmT^fi?HTti^ii t II 1
orrra: 1 m arnn fti in ^ftr^ tN' 1 I
QTTi " -latrslN4iv > " "raWWOIT'
!TO, im. — SftMirt-, T
NT 'fearawTHnr. uu 'fbjjmre. -
aftw, SU -aroiftsi'. — N ft-
ABPWu n «!ra vfiv. N n
ft« «i«. STII iiftu..
iaa n, R « >M tHh, 8U ili6i.
7'B -WOT, PNRSU »w3Tnr, W -^grw.
6' AP ^^wIT: inateftd of fafa-, R ^ir
T •flfl^iw. — A sftii wia nur.
fir.
— B ra. P a, w im. NO in,
6* 8TU omit m. — BR fafti, APSTU
K nho, STU OT.
omit ft; W 1%. — A w%i
7' B irai, WNOE TO. STU n.
BPWNOESTU sjBt. — A infil-
8-P Km, K «wn-, T BW. — ACT
■finasi, P fttftroi, N •ftmt, s
«mS. NOR iraiT, SU TOT, T 0.
•firer. - APW n, N S. — AB
fhlftwOT-. - A jxjt, BPWNOE
PWKSTU fMH, N ftM, fel«r.
TOJt. SU 035*. — A Hlri, P ft.
- E Ai, P nsftiOT. w ft M,
N omita; SU wt-
N S lire B^, Jj, S fiaw,
7ABPW omili io SE yirii 7 iliuidi
STU ftre. - AP tiftn«, N
irfUt v«r.e 8, ia .ftor 7>. NOR
MNPfflUH). — A Omits ft; P »,
inaort ids « between the two
N T, R i.
vereoB.
8' NOE mal. — PW 1(3, N »K. —
7*8TJ wraT, T UT3W. — N ». w,
N ilft. STU jlJ.
STH ^. — T ii)». ^ N mnH.
8' M... «TOR!, A |- on. - PSTU
mm -oral.
omit m. — P afiirai, N ftfaiir,
TNS8T jw, gift-. - N -.flft.
aftiil. _ SU in.
8' A mft* nw — AN'O h^, B mnt,
U VHUIUm ST-
8' w omitB; N Hnn. STU ore.
9" N' -UTTM. wmft. — APW fin-
SHO". B inww. finw, R fe-
WH*. STU fiuwtjaw . — B ga-
SgnO 1' fil 3^^, N 3t^H7< (J 33-
wftsfr
9" A offfii.BTOft— ABWTOjrre — N
TH » w:b TOirni tiwr. OR ^w giw
onrep arwT, SU tw (S tt) jwb
— NOB, -sit.
10»A vsm, BW VHfB. STU QBEI- —
U wftmr. — ABWOH fa^M*.
N fe^. — STU fe. — A WTO-
i%, B OTawfir, P wrawifti, STU
10*' APSU "u i r^PtiJij , B nnsfe?ifc. W
iiT%fegrt5, NO *uinirtjFUvF R 'oi-
ftrftrfe?! T '■vTTvavni nnF^arr- —
N gnr. — B TOi.
10' A jT Tiifr Bfk; BPWNOETU y-
^nm:- — B BWTTsgi, "W ^m-
TSJ — A oagra. P n gfag , N
OiaiSRO, oigff«. STU Hur-
11" A orft" |r° fffa- — P wreaWr B
«T3Wiin°, TU wi^smr— ABPNOfi
STU "wrftr. W -iraftp.
7] (raw dref-itfti'rtiH [i-
WTO": I HI ^if ' I an!itn.<*(.rmiii «m<i^' i ir^ m^ki^t^-
fl(T; ula'jjirt mn 3W ra^rot rawsH*^ uuan:* i w iftwi utillvfijjultiiilifi
11' m™. fWj-. — A irtfi-, B iirafir,
u •wqfe' — P imr ^ift HT- — A
TOtvfii^. BWNO via^, P wi-
ABPWNOESD ■ajftf. T -wifil-.
— ABR •«<3. P Tofii, W -bSi.
11' A nn 3 oOTnroora gwim trrft; B
12*8 TOmr, P nwtw, NOR to-,
T aioRT- — A Trfelfl°, PO 'v-
iiuH". — iq^er^. — A iia*,
B 'onsmr. — W -nrftm, N •%■
\W: 'rillUlTf'
12'' B SFT. P ^ «5««. — B •^. —
AN wasrr, W3=ir. — ABWNOR
•ga,'*P 'TO. — APWNORT uft-
)ir^i B -^g.
12' ABPTNOR omit wnro: ; TU |rr-
— ABPWNOS wra cfti; A srfit 3ra.
12" BW ■
amVi B (nnfin. P (hnfvnVi w
12' BP nat- — N U1EKIUW afc yw.
— B fwTO. N OTm, STU ^
(S awn) ^- — B snm. P »mBn. —
A wwwfiTrr, BP HQsrr. N tmra-
fcn?. R '^ftfiffnr- — P omits v-
— B gmuuHT, P MdUiiri?' — AU
as%. PN o^fg. w ftrift. R 3fa,
12' B miia, S0 omit. — B mftftn
fetBrnrt- — A adds ^rumnft-
12^^ A adds i
12°-' AU only fm: fffawfo TIST. — P
i 12]
♦l-riHW!!' I 5ret' I
4,(h«!I ^-
12°- * u omitH TI5IT aftj. — B s^nrr.
N afetnrawnra'i R aftiBnirrenpDTvr,
8 dlv^JJjr- — TU TBra*. — B
•ftraS, ow -itrt- — APW 0^1-
WhtHi B UiAikllJIUl, qgicjlsru,
R ayWwfe — AEW omit ^.
HIT- — A omitasQ*; B laUdUMI]] Q^.
13- AP i^, B few,. — BS ifk, P
fefe- — 8TJ ir HI 5° B^*. — B
lit lain rfliiileiHi, W °r^<Hif ir. N
13^ B Hiialiiti mimf)- — B fttulfHi
OS ftrtfii. — P wfii, osu Sfii,
T afii. — P liil. — A ^wre*,
P ((Auuiiud-
13' SU MIP, T KB^, N -w^. —
W a. — N omitB vil — A a-
jfe. _ ANBSD ftsn., B feat.
l3'STn m- - B fsnftsi. — p «-
iWrti*, W aiiiil', OR -jmil, T
13' B ia fir, P fii™ai»i, wo iiA
fir. — NE Sa w» fii Jiff. STF
fe. — AW •srarfew, B =■50', p
lasifaoT, .V 'ft3T, ufdaaairan
S, K -iBmftw, sn -ajnnw, T
•B«i<jial^«.
13' BP mn. sm- sn m. T m.
14- P loreifii, w wfi^rn, T clatfii. —
w jfir. — B -iron, POR -TO-
mt*. N •TOOTtfit — ABPWNOB
ira, tS.
14»A TOhr. BWNOESTO feift.
14' BP T>l«. - ANR B«Sl, B ^.
— AB TtftOT-, NSTU -IISBir,
iraw. — RP •wrftpnw, STD
*Q|t^MIII fS °B)-
^<r^MHIWt' I ^ f?' I
14* AB irrta", P orof?r- — ABO -g-
fer, W TT, N -am\w- — AP
WNR fii^ffT^, B H^nnr- — P
14' A aHliHIAI 4VW-
14* A gu tma nai; imt PNR drrrfk^i:,
8TU 5?n1Wr, 8 arids fireraat za: i
wot: I. — ABWOR bot trace
only. — APWX -fjunnin*, B 'h-
Ftif , ORT 'finfnWT'- — APO bh
ilWT- — wnrwra'isr'- -
58^, T niag^. — APO
— A 4I6«UII<J'.I&T
PW' -grftjiTTSp N uiHiUiiJn'&Ki&-
5Hi TT3T5l%Hnf[7 1 K flilUU-
iT3iiui.i6dHi 'SU "nnrafw-
B "iiiTnuftrfinfeio-
grmsB, P fafiirnjrftrfiffferawTJrem.
f(illwiiH<*iiw4sr. Biw HiMuifaftu-
nSMim iHA [( . B ■■rm. P •b™-
SRnwfwwcH, R "anrsT. T vKsfrr;
U uft*. — A BIO HOTftja", BPW
NORSTU Kemftrw- — N
BBi KHfa;ffi r- — BPWO gaw. —
W mrE^tUUUU TJf tit, STU (KrUHUI'
14= A Bi^, BPWNOKSTU n ft-
15" STU liwTTwT'- — T -ginsnr- — P
'WOT, S •H3TT- ■ — P 'TraiwTwnir.
NR "owia-nWi S ttimiiHiaiuivi'
IS^AOR ■T««HT. P 'CTnTft, N -smt.
— BW ifs% P Jctw, NSTU
•nro-- — ANR •wm, HP •wTi- ~
- ..^. W VtTd^CIHUIUI,
NOR 5Tt5RfRrfw«nff, 8 wfuraliiffl-
vkg.
15]
[10
' uMi-ri 1 TOfifiB jf^sarftifftiSt ^STOT ^f'tf Trait ii im n
tran I fire 'fta^JR!? % ar? '^jraaft aig qn hi? ft ^-
^<!i-<«!4(^ ^<Hf ' I WT ftainfrarMp^ai in^hj lUiNsr
wsa% R fear. — P ftro, T
tS^A g^, N girfft, S ikht, T ggm.
U niTHT' — B Tmnisi, T °iiftr tr-
5nr. — B Hftr^t- — AP firBai,
B HvsT, W firawi. — BT ofH. P
tThj N bHst H sftr- — N aT3T,
T STOT.
15' A8TU omit; B nHs. P an^.
16" A ^Hhramf^Ti P Igrfliit drnfax
wcfa. N omita %■; S sw «. U
Srfe sr instead of %-; T fg" iTW-
— ABPWN0R8U arre. — P
•Rfe*, 8TU 'fw. — A "TinrrhTr,
B •mrabrr. PWO -TiniifiTv.
16'' AB wWr, P wiMT'. NR vtw-. —
ABPWOR -af^. N • M^fa,}' , 8
•sftH''- — P °H5!WHm, W "wgm,
NOR "^iftrar. — BPORSTU wj-
16* N 'Bpnwira, irew. — B vm-
mVf N H^isawi. — B foudi P
omits.
16'' A nmnit B usvl^i P uv^rs , W
HHc fg, N nail^i OR ire^fii. —
B mft fe, p itH ft, w TriTt fe,
N ^ H. 3ifiB ft, R artis fe,
T stftg. — B uTd^ji". — N tnirfti
OR 5nSfis, T itftft. — A omitj
a; 8 w-
16' NR v^, wi. — AB ^, P omits.
— B ■^naift, PW g^isj, N a-
^d i faa'r — P wr, NR P5p. —
ACT ft, NRSU omit. — B a^rftu,
P s^nu, W oi^Tftnr, N a^irftrar,
8 'rar-
16" ABPW yu- — "W fff, N gat,
"1
uuu grePran^Tn
[l 16
OT. — TT mVr tnuiBpoBes OSP
«x|. — AB0E8TU ayfiiw, PW
eranftsflr. — vafii ^i-. — B
TTDVT'. — Mm, tsth-- — B °s*fv-
— BWR8TU daffij.
16' AWa fronnns-. ~ APWOT -q-
n^H, B ■qfiHrPi, N -iwjr.H, R
wflin. W FTrfiQ, T Hrf^mX U pre-
Bwnji. — B •uiftud^rHdHHi*' F
wr fiuHdirHMMtinm B JJli -— AWNOE
'irafe*, B "HsfiaH", P Wkfuafa-
BWJTO, S -qafcH*. T -wqftiw. U
•OCHJf%HWBW. — A (liH4h&l4i&^d-
nfrr, B !h«i«cLl(iiA«dHl . P waosT-
^^ 4&4id'4fTi S 4iH4IA^dHlM, T «Hit
8 w*taf g <'df<ri , N arawk«duj«iw-
S(J (tldui«i*}*d(nareMi*<TJf«ri, T
wanrarwirarf^MnJTsaft^- — ABW
fiirei-. — NE "K^. — A anvr,
SFST"- — B -grafe, T -grfw;.
— BWO m ft-. — A fesfto
w^iuuifju iFTwftwfii HwWii, B
rapoirTo uuTuuiiiirv<i/>i P toikb-
VUJUIWHIUdTl ' W rU^lRdUMCUHI-
lUrSQl, N rSMJIUUUUJtUltlllll W-
fsnn. rapmrcwreT". R rawrftw
oFTTOwraj aT^snn. SU auiRarw-
— BPW H^t«3, N n^fwa. STU
arimr g wa . — AP srfwo, BWOR
STU arftxB. N afs^ — ABPW08
5w. RTU 5wg. — ABPWNOeU
omit sal.
16' A gal tr aw wig- — AWO am.
rSTU Bra: PNB add ftra, — B
finaftra, STU -ftit. — BWES
aatfiB. T aafg; A tranopoBeB b*
ftp. — A FWi w. — APWOE
Qsi^, B rnrm. N WH^i 8 mi
iragfeT. TU SB oa^H — AW sna,
B tas, P on, N aea, s^, S
saw. STU rai. — NS •«».
le^APNR fitlT ft, BWO ?rai H, ST
fTK fil, U omit*.
i 17]
ff^inrsaohi
[la
srfiiaT'i
fij^ ^**l^«5t!! H?HT WB 1 Ui<«UI II "(t II
•"F": I Ht 5fra ^iTTO Jug an? iist «ki<!5'Mfi.at' i ^jw
4
17«TJ 'wifww. — BPSTII -mmn- ~
n^ABPWOR^-itftra-, N -ffrftwi^ —
A 'aa?!-. — WNOR 'waT. — P
17' A «9i^, BPNR w^tsfl.. W *at-
Sffl", S M<hir>miHMU(lllr T WWWSTi
U njpfWuRT- — ABPWNUR •»-
OT. — P -fiins*. N -firaij*,
-fcu!5«, 8TU •finftemr. — T •«-
17d B g^. — ABPWOR ^fwr- — B
•?wiri%°, PT -nwrfiir, 8U jwofa*.
— STU nrstfH-
18»APW vas. BNOR g^w. — A 0-
fr — "b fe?T. W igj, N fe?pS. —
A niii^HTit O H(iti<M.
18» B fep, APWNOR •wTt. — BP lihir.
— ABNOET -unr, P •fBi*. —
18' W fwft. — BP ■^. — ART -fti-
aWj B •HunT', P "V^nv'. N •fii-
18'' P 'w^piwir. N ftnwjw- — B 5-
Hnfr i(i-'pjid of BTOT. — N imr,
SU iTO, T «w «. — B wieBmvr-
18' A mr) fti|vqi; lA Wt, T omit* wl;
U wit. — W TOift- — A Mt
mio, STU ni ftiw. — A omita
vil; BPW waft, STJ 5^ 5Ba. — A
18» A ara^ iimfa q, O nw. SU w«. —
A MUIIW BW<li B BU(Mf «W*ni
P mnm BFT3. w Hffra, O s^
iw ^, R ^gwrt: SU »dd fa.
A ifimrat, BPWO OT^, NB
«3l . finRoM H^ aiTiT^ ^ XT%^ TTt^nij' 1 1
fe^ra: 1 OThmM OT <iwiu '^ Hrm*!i^r^r*ij r*i!^«M*y "fer- 1
^TO tft^ 3T? ^^ ^ W5 f^ sJc^^^l WfH* 1 ^ ^' K 1
M<M^n^^ir<r4riU H*^<^<K5^i<;l<♦l^,M ^r^<«yr^< MiMU mRp- 1
<*« *it f* ^*H*li ^ir*l"l M«M ^^l^rJ^^^^M^H^I*!] TTtq- ^^M
I^^TlW'l3TV^5W^ifT!i1^^nT^'°l ^^H
ra- — A "QirtiiiiiM 1 B *iiiV)<ifa, ^^^^^^^|
U nTOt. — A wtfpnwiT. B gpinr-
FRSTU -irf^mfil, N -ifsnT. ^^^|
ont. P ^iwiriT a, w TTiwiT. n
18' A n^ V ^^Tfis^ni:. UT h^ v- ^^^H
■4lir«i*iiv. ulruiv, it JTWIWHt "
18'STU omit i; NUR ft. — B grgiT- ^^^B
(ftpmnt, T gfisiMHit, u infwiwMit.
— After UT- P adds aCHmwu^rJii. H
18' 8U finrann — A frsfs vn.
*• , PWO mmrs 3 i- , NR win*
Q^3M trtoow liftw sT^ SI wi-
wfw WSTir I* iiuillllll see 1. IS'
E add. mJuria, STU .dd *- H
wi%ftl. - A sanfH, N wm- fl
sift, UT inn, 8IJ -zi. — N' sh- ^^H
After 27T° N adds aiHWWWiUgl- ^^^|
add^iwiHir^fju — A'of^, Bgl^w, ^^^^H
P Hi<i«Ml, W B^li-, KR ^W.
jgw^B-. — ABPWKOB o.nil
18'APNOHSU m:. T «ni. — A si-
or-WT%; T omits m.
s)gi, B ^, I> jfii, s j^jh. OEIT
18' ABPWNORT omit. — S 9w. —
«),, T g*. — A wiwft«-. OR
su -atraH-. — c ■ma-
•«5fii: sir ^d tMHlfiril]. — A
18'° T omits, see i. 18*. ~ B HW.
omits fiffssi*; P fiu^MiauMllii' —
PWSORSD «». — 8 a. — After
^^ B omifa fei™!ni&; WR wfew»!»d-
ar u adds fwiOrcrtu H^aHafiir
^^K — B Uml. NBSTn <HiA. }-
— 11 mifit, R wo, S w«r, U
^^H ft»t. — BPWSORSIT 4. - P »•
nanfa. — ABRSn mmi. — A
^^^^V ST. — BWO qi, N omits; R at. —
m la. — ^' atlTOTH iidMlTadll,
^^B N )iw. ORSTU H». — WT on.it
r ^r*a*jrd. R r WwiHft.
i. 18J wywsaahi [14
ftraann i firamo" I X[^ Tsi^' I VTTtJW ri<,'IHW ft)'H^<a f^i
fc?»«i I ^ivM%(<.'i<mir<,<JirftaiT^<>^<,i<H'Tfl rMir«"iTs fqi
ft snTirrftt" I FT ftar^srw^^^W jr^ MTism" i jRt t
4
18"ASTU omit.
18>"ABNOR8U rai, T 9^ wh. —
ABN «a, 8TU m-
18" ABPVNOR omit wdirot. — AB
PWOK g*iTw. — A fenraw. —
dfn, WOSU gferafk, N sftsrfH,
18'* A inn PS trfk lifcfi^ fe ai own
18" ASTD omit wi; P gw, NR gn gw,
w^. ~ W mnfr- — P •m.
W6TU irw. — BPNOR HTfrH Ban, W
wft m, 8TU fiwr mfm- — w
•ra^TvonT, ST0 ftrf gsgrr (T ^■
18'* BW omit. — 8U nr ^ fw fii gji,
T w fis fii grf. ~ NE snwfW-
18"BfQiraw*, NH8U firaniMww sghr
(S adds w), T -iflw gat. — A (T-
^feF#, P Ofew, 8U uftrrf. T u%H-
18" A a^ ffi^ Hid n, 8 wFj^, T
Kirfnrr v, U «Fvil w- — BW
md, P imnoiit omit mi A8TU
omit am ^, — A (atiiiiUCTS , W
fepirfafti, T forf^mfS' — ^ dii
STU m H. - W TOW *. - A
•WdflT, B w 91419 f^a, P vnra^, 8
a^H. T nuuuf^st. u wwarapr- —
N fewni^? w, R <i35 w°. — O
H «Ei«* rt sfiei^ fiuGtm ^ ^ft-
»bT ST uft *5ifir n vfzv ^ w»iw
OSlnfe instead of qf R'-K^HHs,
18'* A nw: irtfa fe^wt:, P im: nsfir,
NOR nair froawB m (N omitB
m) U3 (0 warn) witHt^ (N •%)
19' A W5^, BN ^;;^, P ^v;mt
^U gtj»*- — TU ma^. — STU
19" N ftr^. — ESU z.
16j
aaRan^nr
[L 19'
19' AO mftiaw, P inftrew-
19" T feMwta.
19' A foBHi WTf, NR omit.
19= AroR -Amiairi
-Br.
T wft-
19' BW fS fii, fit ftl iDBtead of m.
— ABPW08TU gsir. — B8TU
•awun. — W gn ft, U omitB. —
APORSTU ns.
19* A aro So? ftwo ftiRHima. B fii
a frnrvT. 8 oraits fiifwr.
19*STU omit 5ft; P «T — A nw,
8TU «w — A y. — P ga, NE
f. — ANOR mi- — A •heItTO,
I- — A JT^nVP' B SrTOTf
P arnuTt ^ awnrit, N aftrwr,
milUMI, R 3TWWI' S ir.<iTii4ui- —
5H-
19« W omitfl m. — A vjSB, OESU TO-
— BWNOR -mi, — BWO omit
ft ft. — STU f« fis «r w-
19'ANESTU omit sat; B on:- — N
omits H WW. — AP08TU BWS,
BW wire. NR OTW. — AOR
V^, BN ofic, STD qj»". —
omit* IT y-*dft, see i. 18^*. — A
WHS- N Asaf^in I B SiH^> ST
nuwo^ii' TJ wucnT^V' — A ftn-
inir BW fineavfiii P ftraifii. NR
ftrn^fil, STU »wl»ri3. - AB
vmf- — NR ftst, STU Wt
ta« — ABPW omit Bt-ami&fe.
— N gwf, T gwMt. — STU a-
19" s Mrarai-
19* APNR omit rtr; BW08TD fe. —
i. SO]
wJTWwrafu
[16
3f ^^rfrrfe^^rf? ^%3;fT ?Mt^ntHMl<4:
rrar I ^ f^HoMMjl "feRJ^WT ■^^<^<1!<LI ^^1*11 "Nf^iiRT^
aM<ui ^iffwT airaf^ <*r<4yt^ ^*^*ul iir* i
20- A 'finraTft, WR -ft. -f^ifiB. —
ABWNuR wftrar, P wwar. HU
wfew- — N "faint it.
20" Al'WR TKir. — APWNRT '^Bsr.
— B °(|kinlJIHriAWv|{|lr I' ■*aMji.
8 •BWlS- — B 3fw3Wn-
20' B reKVvT*' — ^' "finfWiH', U °fiff-
HTF°, sir 'fiimnB*.
20''AI'\VNURT Birar. n arra saftr. O
70fi1- — N fil- — AP B^tTT-
20' A ouMHiiA f-njBi, STU nan ra-
Vn. — A wsB a, STU BsavT. —
A fsUMHUI I BWT MIU!Mini> i*^'
fil- OQce only, 8TIJ fa» ft° PSS-
— B wjTwuT, I' snf( w^nnw
www, W «J1.T<III . N a^TrTO.
8 fro I divtiii4U > TU war"- —
A Uiilq, W vaiviTiiF- ^ dfHU]'
R fffriwi. — A {jimrfTTdTiSTu
o. B HT fifi ni Miff fafawatVj P
fafrfWin rlT OT fefeHSTTP, w at
omit ft" ; m fiF Hai Jw" , T fii-
TWire- — ABPWNOR omit ij-
3^: T tT^- Hare A inaertj »-
TO ft BWT fti. f*'R wrrt ft wii
tfmiji ft wv ft.
20' BPo omit. — A m H«re. w U
W^ omits HT- — A mBT'- W na-
T^TTHUI. 8 VPFI^'. — ST nvfzSTi
W fssm- — NH omit 5^. — Here
A inserte zoi VRITV I ^ SSHT ft-
fes3 Twrao. BNOR t'sT ftwo «-
ft(NR -VJiJimftFrat (B "Win) fe-
BT TOTi P 3W ftnw 9n>^[cnrftrRt
PHI- ^^ 3BT STK! T« n3 HieriMB-
CTKT PHT ftuKmn PS aart fti^
wft^pnnftRTOW fear vwi.
20' A «(thluuiii.
20' A sira. B m», P Sa, w wa, N
9^, gm. K ;ns, STn 9a-
— APWT ware- B ftvv, Nfi «•
Ssb, OS jnjTT- — A aT«HMruH),
17] nm HarH«iHm [L SO H
fiwOTi 1 anst in fnr' i ^ w^ ^ ^ht^to ftf^' i ^ * |
H Q. a £: ■
'riU»«!!i*!Ki»lT>( t^ snTg^flKT ^^Kffi ?5^r«ri!im r^ar
TSirarn gKrfnf Nil «ti>^rriM <*mim ftn *THt;s«-
■*r4^^Hi r^AM rf\tW^*S\HM\ 'iCi'iik to AWTa^t
STOT 'Tlt*)>t r<<»( -"WllHfll «!! -^^-Xtli <«<l<r)^r<*l HVT
ft gjj ■^^Istft"' 1
mnm, N tmivA. inaqnt. —
ftrwr «f33 (N wfiea-) «wm (R •v- H
Hnr) T9IT wMdiViHUuim . U rtv- ^|
1 BNR nfssni, STU unNnil. — AW
'firar STW fnr y3*jfawn1. — A H
•wA. — A addi is) 1 am f« i
TOi WUTT?, N wurnt, STU wmrtw. I
p.re PW i. 20".
WA ait ma, B mtvi. T «:ini:.
finnn. — P omiu w; Bwu n- ^r- ^^H
o. — ABWN ^, P oa, i-
- B ^v^, P w^. W wjHt N ^^B
a. H 3Ja. SO OT, T raj bh.
5533*, g55t, RU 5gsrtr T g- V
PNESTD omit i. - BW nfiiv
gwn. — Before r "RWNOR ^^M
— B ru*uiillii, STO OiMilH'
add HT%. ~ 8 <Hr<l)Wll^f«HT. ^^^1
20' A ^nr<MtiiMl<n fisBti B fvuff^iMui-
20« AB 5W,, W HW. - A yff. - A ^H
ftiifis Th**, P fsrwoHTTgRw finafiow,
93ig. P fan insiead of fe. — A ^^^1
w iTnaiArii°> N nn^ivijiii i7Miii3it>n
BTU onit w. — STi; imSTT. ^^H
fiinrfirrwr, finnwrirjiriin^iir fiija'i
20' A -H^. - WN ftFW-. ^ BWU ^^H
fi UllHATtKM<twUiiii04°' — ATU
•WTtHMT- — A u««iii4gti. B ur«Hlgi
omit fa; BP a, S MM fa. — AP
, HWRTCT. B WflUKIi W H(4iUKIi NR
(IdUKi R UdUdU ' T vlea^ogv.
— N IH. — AWO s^fr. B ff-
Sft*. P Hft-, T finiT". U JITOW.
m 1 gft*. — BW gfiraro, N ^■
— T iftAr- — w fira. — B w-
wnnffT R HfJrfeHTp, qrf^sr^vrv
3VTW- - ABPWNURT mVH*.
tWH HTR53iWniTWI HrasTWi U omit^
— STU WWSWT.
^ ftw. — ''b iMUvm, NE «^-
20'" A inn. NR fiwT. STU fi». — A
2
i. 20] a^t^bamlH [IS
inTOaft f^ ■fistbra^ ik <,<«!ri.?inf -ftsTT^arfti" i an?
^315 5^ 'ftST <*««M<I f^ T!! g«(<MH<:S*U nil^%(l3irftl" I
firewm I 3?? ft •ii»n,i*'y<!.i1y<t!a<.<ii'M»iiiiiH^ai afTjj 55 il-
omits 1«. — B ^, NB ^, BTU
20" ABPWSU omit m TO-
20" B gn, PW iaif%, sn ^, T H-
»«%. — NB n. STU omit; APW
20" A oil. — BW ^, HE j>t. — E
omits vr fviT> — N8TU omit fl.
— ABPWNSSTC HUT, o nr.
BPTNOB n HI**. T amiiAir
omits M, — A V, P m. OU tl,
NE omit » — A vfi33tT>, B »-
far, wo Jrfi^, SSU ^^,
E jWja-. — ABWE iniir, P
•WT^, N -ms', STU *Kig*. —
ABPWSa -VH. — ANOE «hig.
«4. — A Bifti, B Bfm. POH
STU omiti N irSl. — A Oftm.
e *«H*. w 3tiimn. std v-
fin^nTvfBi 8 ftrsniTnrfv, U fin-
20" S omits. - ABW 511, E Jit. —
BPWNOE (jR H, U omit.. — B
20
'P omits fim*. — ABP8F omit
Irt «ll P inssrt. n-, W JIB 3-
* * omit, fili N m irt ft, S,.
— A a^ra-, P •vrreu omit, ora-
w^nj^BTf, T qwmmrr irat tar-
n-i -jiliait-. - ABWNOR
— Nomitsig. — A HawHiiujira, B
gqVTnrr 1 Htaiihn 03sT (illegible),
PWOEmwii,N«OTWIHSiPWE
■a#. — A Mrgra, N Mn^. _
ABPW omit g^; ft. — APO
nfcfil, B Bftw, NE ^fe, STU
•dd (ii. _ A gxT«>. B ... sbove,
omit. — s omw, TO ftna.
20" B nn. - ABPWO8D omit m-
TD firanA-.
im, NR omit ini; T im-
JO»w <ir niM. - BEsn m. -
20
19] wwi snnHnm [i.
" i^TOi"' I ffl^ TT^ -irff H ^re^roiff^^^r T^" I
fa^mi: i aftnrafajt" | ^ ^TJI cT1% IJ^ ^Sff^ T? Hl<iy M<Sf1| ^-
1Z3T, T r<of^KRn'
20" A B* ■«.
20"" NK omit m- — AP 3«r4. — A
qns, B 3a, P ns, W da, NR m.
O ma, 8TU «ea- — A vmir
BNOR »niIT. P8 »OTT. W hvt
Tiwi, T mnftf. — 8U W. — A
rati^u i r^W Bi Hu^Jui , f'W ^fti^ (W
8Ta gaawfaPtf (S -ah) ift^»5-
A RW. BW gT3. 8TTJ m^.
20*' A Tiw 5Bi wa ftrOTw: »^ Tst-
wni ufimufd. P Tran ra 5fi fti-
nv: wft*, W ofr" tran wi %
fe^'v; TS5 n TOtwgwra oft*.
E. Iran ?BBi wa fu^m: vntv ^ifri
U omitit; 8T omit ffil-
20^^ B omits fin*. — A ftnonv, B
NOB omit.
20" N mi ira Hft. — P n^ *i^.
— W d insra, 8TD i. — NO
asm, R iiswT. 8 gsw*. T ggm, U
usw- — A "mcfsriin , B •^jtHtt-
OT, P 'BTjftaw, W •FlirfsrilT, NOR
Bifiwr. 8 "WT^. T H*jft4WI.
20** A •ahiwi^, P fawa afinr.
20'' W go, NR gw, — AW mn, B
wn, P fii. — STU 5. — B wjt,
P aan wraip, uKiv- — A a-
W, BP OSJT, 8Ta omit, — T
irfifST, U mn. — After mjT A
adds Hlff «, "W adds nv «-
20"P HI 4*, SftwB. 8TU iftHWl.
— A TVS'. BPWOa rrr- — 8U
»lg. — A TOffift. WR www,
n^dv- — A 5rn uifffufu *-
^. P 9IT mren^ffgnTQ, N mi
L JO] »i<iii«iiln [20
f^imm 1 ?V <,l«a5 si < tftj VSC^i a HW^ frt<!Jla(«Ol
#w fr^t^fz. JTO 3n^ 1? ^O^S ^ srotara^^tw
atk' 1
fil"!: 1 5vn ?nft«! jf* 3«T<*u5 <»1««<'(rjr<ii t^i^^jftr
ir^jJH*mr«' 1 rii «^ H^i'^t^tuw ^^TO w jri 55? ^
i*"J«!«HH «U*Hnl <W<r! "WSKi a -fl 4i«iMisni 'lifm-
5gt <!!?r<;" 1
^w, T BO^IST. — STU bIot.
mnrit. — 8U W?OT- — OSTU
— wfen. — OU H. — B int-
•OT- - B *■. — BOSTD omit
^_ M. w cuM, N nfis, nr-
•r: NR w. — P S. g w%. S
^H M - A »i«, V »i, K dm.
g* ^- T Hi S- - B Tpog.'p ,■
^^V - A rnOl. BWE lA^, N fin.
fTW3, N 5ftH5. ^frwg. 8 ^.
Aq, T gmn. n ^foaw. — P
1 STn mi. - OS H. - A an-
w*fii*. S T3wnc- — B sclera, P
^H nrfi' B MVKII > oJI MtHvlV- —
"JlsHfl- ^ wwrnt a^Wfwf ■ — ABO
I A (5rt*ft, N oWsft, S lOTil-
^Vi, P H^fVi N «%^, 8U tiHT,
H «t^. T uiaTan. U rujjmliirA. —
Tatr-
I P omi(B ma-qv
I M- A ft!) fimnr. bpne W. - a
HuifiS fiiiiiinH , 8 iri^ a^piTi-
F 1» f». BWNOESTF n, P 5W.
fsfiB TOT Wurftl * «">d omita the
- A Tn^, BPWNOE rOT. -
ntt. — B SST*. U HHIHilf^il]! S-
AN A. B lA 2 initxd of j lAj;
zr- — ABOR «»»»»*, P «tm-
W omiu S; P n vn, U qa v^
WW, W «l(|«usr> , N iKlut)M*4't T
I. - P IJ, *5 i, STD itj.
«(tOT%fiff, U omita. — BNR ■«.
— Afur ittj A r™. « tntmn
Efill. P ni^, WO .^isfiir. - A
in^ iprfg 1 HV V 1 91 Hrt ftl-
Hlwifl ii)^ av^ H r^ iFs a nfira
T tWHtf^ru •S'H^fefin, TT iWIHl-
litg. — P omihi «5-; 8D •^,
%fin. — A a rt, NOBSTU vm.
T -fint. - P IW. N omiU. - B
— AN omit it: d, STU W *
niHium Hura. p www tt^hti
- Mm. mife (N wfinfe).
n%in:, WO fir h% STU w %-
20" omiti m- — WNSTU xtv- —
31] wa aiar<4Wi'H(.H [L StO
anrjan^ ^Txnfsar Trfww" i
fiSiVK ■ I WKt>J iiftwwfrt w<(f«t*i'fl< ftffwgw:'* I s] c^ KRfT^^ ^T. *(~
AWOR •nnrra. 6 -asHigre, P
•*n8. SU •Hvnirnt. — BPWNOB
M 1(040) ■ — SU difin f|. — P QlJ
111. NH fjtt. 1" |ni 3T^ and omiU
^. — A srf^, W sm, NR wwi-
8 si%fii. — B qnmn*, R n^R*. T
n>^qil*. — A ulfiAqiujl, BPO Ht-
^tsvsfti 8TU •wwT- — A annrafl
inBtoad of jrnp*; BPO omit; WRT
OTTwr, N atit, 8 ffi. — PON
aft. w nvT, STU srefir. — bprt
omit «; NO H, 8U nt- — B mw-
rfipft, 8 inwn^t. U uiHtHit — A
PE md;
^ftwi. Pw ^uvuIt 8U ^ftm. —
A adds nwi I d<MlhilJ(Dll}4(a<ia»IHr-
w
N I
, O 1
8U M*i T ii^°. — 8 'arfv^it, T
NO w%fe. STU sre?.
"* A rvwuii fi<B*fl Sifili. — AB mij,
N ft 3TO. — P TO, W fm,"u
omits. — ASTU omit nl HI^HfB;
BO have jr w after OTW- — NR
^W. — W d«m. — B fa, T
na instead of ftm, U omite. —
A inainHUiw adds UlUlO-^tUJ in
; TU w. — A ■
m^, B-wraTOBTw,
, WK ■mr, R •513*. —
iiT^', R •CTSBiORr. — BP
WNR -urf. — A wimif, S n- 5,
T»hii, UatTn*. — STU«onw^
omit urHHi; A nrfrxim, P f><nui
N wrferg.
i"PWu firara: m ■ S (0 na) a-
am (P ojw) frnpToft (O -ir)-
iFwnftraTjiTww Aftw ufwiwftriH
*l*m. — ST uftAKm. — A fftfa-
»' A TfeH, PNR8TU *fTH, W ^-
^. — ABPWNR trasr, o 5nOT.
— w arnr. o |a. — A dsfea,
B 99111%. 8U afdrav T T daiiH-
fe. — A nvjf, B Bfi — BO o-
H- Hii HT*- — W 4h^. — A
OSTOfei B urcfuwli PWT lift'. —
STU ««■
j. 20] «Jaranin [23
njgfH ft!a|.^^V(.H*^1l)lj -(jjJ*!!^*!^*^ >lf^ m W^
i°'i '<ir<^n a)»H<)ir^'«rf<!! firor irtlt <tir<»<1 TiiauBwiiiiii
fa5««- 1 'S ? ^ 1 ^nTftrw" I iH<«l ^ r^ Pn^^^ttil 'H^-
#3fr^" nnn ^f ^<nft x^^i ^uT^.<wd qf^tllH^ <3.^
*Tf 7m ^3i?^" I ^^ u*t ^<l 3*^i*ii ««# g^ ^3^ ^-
^Hi ^^yi" 1
20" A omitB m- — ABOETn -a^.
waiitnnMiinii omits fsnn- — A q-
— A faqaMUTTD *rafl 1 v. B fiff-
mv, PW iranmn-- — 8 adds «-
mtra-
20" NR ntvri). U ^- ^:.
20" ABPWNRU omit ftj-; ST fti^.
un^s^Tumnmrw 1 8 finwHwrr-
wwA 5wyns*. — or m ^ onea
only. — 8 wrwftrtri.
20" B HV and omita «t fe; A ft. —
^^^^H TOiwiBvirTaiFun. — A v^npcniT-
P finrawV fuTpraww, W fir as-
^^H Ht, B .g^ifl, PW -g^^, N .R.
^^H SQHt, T -^r^. — A fqraiit, BP
*aaiti«*i- — AtlliJUJUdi Utt«f<j4iil>iq.
^^^1 "WO nit, NR omit; TU WJI- —
20" BO Tii, NE tnm OT. — AWNK
^^H NKU omit saa: san, S iiqx,
omit mi StI *. — A sinl, N
^^H T EQ. — A laaio^-
•^, SD -,5™, T-ji-Aj-
20" A Tfi» yn Hi. BNR «fii b5,
MifW, p r gr<.HWTti wT. w r
fH sa-
20^' A ftwwHW, N omiU OT». — A
OTW, U Homm. - AB sin, PW
sraar sT", NR h^sistT «3% 8U a3-
iifira, N ifro. R Sro, s w«r
corrected to w^W, T wHt. U WZH-
N w»9i5?ir st^Jin, RwfiigRW, STU
— P W^ wra^, 8T w^, U «-
-mimitn- — B ^i^. Pw «j1< am,
l«311&, APWNR ^Ttg, BO UTOur
STD vIHtrT — A (iiduiKii wssRnr,
«ftl, ST fcj, u aiftjara.
N unn-ipraTOiir, 8U hbtow, T
20" A ^'RXI, b"h,«I. — a 5*
93] mi MfiBUlKH [i. 31 1
fronii 1 m afi^iwro" 1 ar^'BsraiJWt if iiftwt ^»5^ 1
^Tf?!?rf«tH f^V fl<!!'J«!"H!4l 'Wiii H)f<" 1 ^J
zvA 1 Mu^iaaHldu'* ^^^^^|
1 'ii<uii'T)4^4g>i«Mr;(9n^ ^^M
1 <)<!)i^ r<i>HH^i^ r(ur<4^r<|) 1 ^^H
1 ^<Kli.l!ira)|:i{jlA4iil r<(Ji^ ^^M
1 TO ^ ?tfTl f^?T ai<<l^<lgi II !!<i II ^^M
nfaw QAnQio^ ^1
fi'F'^ISIRTOaJRTO'l 1
Jte- ms; srn 5*. — BWO 5.
gin. — BWOSTfl mwrft, P 177- 1
»«nB flwrt. — A JJm, B gqra,
zH. N nTSIlil. E TOH«. - PW ^^B
PWwiBfw, Ostes ni#, STa omit
NO «^, Sn i)T, T g)fk. - ^^H
— N 55. — A B insUad of 3in;
KOB add ai OTiM A7J. ^^H
H omit.. — N ftnftr. - BPW
20"A So) 5»:, PW ftmiaan, NB H
NRSTH -TO. — B si)a<i, NOE
omitjifl.— BONOTHnnp,w.»tfai. 1
wHni, 8U wWaw^, T aratm. —
APWO add ran rfi(AW .j.).
ar-, BTD •wi7OT^-. — A iHi«- 1
9ra;n ftran wsft fotraw ftpaat.
jTj, B -niJn. pwo -aij, N •»- J
20"A S ifii »i, su in *-ANk-
f»^, T -Jtaoig. ^^1
5«f%, BO -Si, P MOTBOT, B
21'' STU viRTn- ~- APWE -oaln, B ^^H
omits; STU ar^^.
ftsnraSg. N trftw. °a^, 8 ^^^H
a(il«j. TU Kvtj. — B ftrftrf^fg- ^^^^H
••^. — APW ^, B08TU
^1. N «iOT', E fmar. ^^B
omit. — A OTt atTOTt, PW arfij-
21' ABPWNOE aiTft, AW iiHaj-, BP ^^H
OBU n<ai3-, N aiftsgrir. - B ^H
iofltead of anwift, BPWO omit. —
A rSHMHUII 1 HHiHrUitl • P "HhT.
21' N S9, ET Sfia, 8U as. _ ABP 1
— AO omit fww. — BO life m.
WNOSraa, AiHi. — Pftaw. N I
P -ite) I, AWNET -ihsl. — PW
fcm7. — P w iiV. OT Mfe?-. 1
•dd ftj, NK .dd ftit- — A in
21' A iTa aaHn. — st^Sbtot. 1
the tflxt onlj oft Htf? and adds
21 A ra7" affli- — ^ HreaiwTwn 551* H
iw IRSint »iHk in tho uppsr mar-
faepi Ta hvamiol. H
i 21] *wh»«ij1h [M
a^ I fti Ht wt 5n!r^an!!i<l arsaj^ftret gtifl^ R' i
♦< 11141! ri 1*1*11 T5 f^frilTPIT "gTTin ^ Wt f^ ft H^tq^gHT I
J^ rM^I*n *<r^r?J <H|I?1 H\<*^ ^ «|IH1 ^♦I"I(?S'JH 11?^ II
afrf^afT'i
21' A TT^n. — N Tim I HUtTI HT5T-
*it. — T ft, U am.
21* N omits. — Only wid occaHioo-
klly 8U have mn anft at ; the others
read here and in the folloning tn*-
— A ^QORrf^- B sofotafSi V
8TU 3WTT ajT-
21* N omile. — W nsn- — A wt wt anil
omitefn-, BfW^frm — A -aWIfTsfti
- A «sw3T°< K ««-
w ar^aBTH'. —
21" A omits fti^s — STU VTR- — APW
ft, BO ^,'
21'NSU TOBM tITOW.
2I»B firj™. T a%ftt ^^ona. — STU
°W3lBWfW*-
NE
21' B *udifrn* I
add gsfn-
22'ABFWU nrd n (T!A a, N int «
Hn w. E jmt nr wwr w- — AH
5 «[, BPWO H fifc, E w f*. —
STU fti. — ABPR wm. W 5TO,
N arwr, inpur. — a unit, w
«i«. — Bfturr, OHijftfiBH,
STU fa. — PWRS •ursi, N 53-
wBrat, OTU -mit.
22" BW fronft, PN8U ftwnft. — N
ftrf^. — T ttmrivn. — FN n-
niul, IT staY
22' A tns V.
23"? «¥i t«i, w^. — APNH ft-
TrajT, B faftmST, W fdMidi- —
wirfitTT-
23'' A nm nsw. B wai wh, T ma
1 2f>J mn aqrHm-rttH [i. 25 1
1 ftisrar >Tt^ ^Jw^ ^ i55n 1
' ^1^V»Wt«iiWWtHTi,^wtll??ll 1
1 ffii'q'i 1
gPw >TOif5tf ^ri°i>^^^i ft ^ 1
5i|l<lH!! i»)M<S <!!«!! ^Tiftsairff 1 ^^H
Vii(!! 4<(<r>^HI<jlil!! r<^ ^^M
n)^ nri ^),a44n;iHCIwfg II 98 ii ^^|
1^ 1 ?5 SinnS' 1 W^«5 H<^l«!<^' 1 ^^H
u;m^: 1 3<i«m'i ft; qrr^'i ^^H
"wi q!fgfttftTtgarafeT^4'<iiirH'i ^^|
M*arH^: i ^^^^H
^fa W fit Hftro ^^^H41l ^^1
IS^ HWft T5W? 'fl?* 1 ^^^1
gjt. — ABPR n- ft-. — ABPW
24' N' d#. — B art-. — w -sti- ^^H
m. T «.
^^^H
23- B fim. — N lAm. — o b. —
24-ABNB8TU 3<I-. — A omiu n-: ^^H
Ttm.
B ^^^1
23' S m*. — ABPWOE Bift, N «•
ft. S *T, U »I».
24' A siraHq H>, B omitd 8*. ^^^^H
23' T «S, «.
24' AW.su nmi, B mm. ^^H
24'APO -Bhinw, B -nwlft. PU T.
24>STU fs. - T fana. — P iin ^^|
NOR fti.V «. —"net i«r,
M. sv init, T nwlnt. ^^H
ztm.
a- A wsmm. " 8i*w. — STF 8i-.
25- 08TU b. - T s^. — B in. ^^H
_ AR«U •OJOTOT. T -lU*! —
VI-. — W -vn. N -o^n^ ^^^1
AWORS W3-, BPU ««•. — B
2.51' B sMi. <iMl. T isfil. — AB ^^H
■firamflE. p"feiifi. NRT -fpTO.
PNR ifsm, T TV mr». — B ^^^1
24^ B «ia. P "^ — A -jfiimB.
m. nr n*. - B JH5, P o>w, ^^B
NRT -ini,! - B fej.
ST wrti V
L 35]
[26
in >TO <^ '?i©3f^' I
ran I ftp* fcam' I -^areH HW' I tl^ ft Wji filj nt^i;!!-
ftjra: I srfiT ^w <r"M»iii<<ki Ttgrt '!!ra 'BKit' I irf? wr
vi *«yn<«ii fij' I <T ?v ajnsftaj^' i
"»»''^: I wsftainl;'!
nw I 3i?^ 3ff^Lft3ff gfra^ftw'* I
25" W ara^-, STU saaffr- — P -irar
nunsit-
25" 8 wfnija*, TU vrv ^- ~ ABR
on, NOSTU WW-
25' B «iire, 8 Wf^. — A w^, BW
whg, P wfeft, NT wfbrg.
25'ABPWNOE ondt.
25' AS omit VHtR. — N HH, R jm.
SU *(%%, T ntr insteJ of aw.
25*8 M »ifii, B ftwft, PWO fih ft,
STU ft. — B «3», PW «r3ai.
— STT7 ft. Bp. — A smfT'. —
M»a. -nro- — K w fit'. —
(and B id the trsiiBlation) adda
ra^ fira w nwT a%fi-
25* N omiU. — RT omit pwi- — AB
PWNOE •a%, 8T -u%. U -to. —
A vmn, w nvrom, STu «-
25'' N oiuita. — AO ST^. B M^at
instead of p^. — W 9!Vm', STU
*iWHI'- — Mai. txni-
25' A TTWT R. — Mas. «. — ST Iff-
25' wfiirwft. 8U omit; T nrftmiT.
25* SU omit tiWT. — A H T d T fiuaag .
B MrBB i fi Wt g . PW .frmra, NU
"HTtTH^, O 'Mif^wiz. T 'nfta- —
BPO wfiir*. SU B^, T omiu. —
APW -iRlrfti. BNR -m^. SU -wa-
25"'BPSU omit H- — STU Utitfk-
HTBt VUH WT*.
25"' " A Vtim^gin, u "Ufmizi*- — A
5W ftRnra', BR HiWt'i mnov,
STU sa Hi^flu uidfd-
25" A t^w- — P sTwfto sTwfw.
nw^ once only, R ar oDce only,
SU omit; T i
i
»n
BHW SafHKMiH
[i. 88
aift sr'i
26-N-*y. - A-jn. B -jsi, P-5.
27' APWOR firfTOTfe. B ftnnsrfk, N
«. _ A wuTncnit, B «mr. E *-
fennwfe. — u a.
m-, STH OTisr. — T •««.
27''ANORSTU vsmnrt, B ^^ehtiitoi-
26' S tnw. — ABPWNOEU -irfra-,
SJTt. P -wt, W -fmst. — AWNR
wftri, B omits; P flfti, irftig,
8 tHwt. — N TS?W- — NR
^f^i^i 8 ouwnlnr U Brara-
8 r«lftM , T r«|^n 1 u reraH. —
B vf€^, ST wfe^, U fnrwi.
26- ABPWNOE ftir. — ABPWO -n-
28*P mn inrtead of fe^v — B ^hsi-
ftSi N °ftH^i E 'Elludl- — B IT-
fegan'. N ^itii*j#i. 8 -ayfi*.
aniifii^. - APWNORSF
- ST in^, U .»raiy. — STTJ
V-
•^sarare. — NR ntirem-. — ABW
26''ABPWE8T0 wnirbi, NO snftrar-
NORSTU "rar, P -fiRw.
— ABNOHTU 'war- P ••rftr-
28" APWOR 4M*jj^ifa°, B ^^: K
3?g^,SU-355rrfc-- — A°H^-Miirii,
27" N v^aa. — A frafeaw-
wraTi», N 'MijfMiVi OS °aui4diVt
27'' A oH^wit, PW08TU sire^, N »it-
R TigRrHre. TU -ir^r^raT^. — AW
*riW**lfu. — B UWVKIIf H' 1 N g-
'ftroTr, BR 'fmdv, ST -hjiTp, XJ
•fwwTC. — STU fes-
i 28] airos^whi [M
srfiran i wrtsrawnni (airnn' I IJHt UfTOWt Wt ft 4^*4 till 'I**i1<.-
itarf^' I STB'iTdww 4W* ai<*ry<i ft nW ^<in<n r<;' i
wf ft Jl^iHtl' I lOT ^3?!t irfenfft' I fofs^' I m fti fn n-
^?i <i<;i+(r^<m ft 'feJ^ M ^ mMR' i ^ ■«* ofa*' i
28
A OTlri fdWUfri-
28' A ^rfina ^rftwi, w omitB.
28
APWSTU TO. — B 'Tra. — B T-
28»AON % B «, WT omit. — B ?-
omn, O -H^. _ B ms-. —
W- — A ■wrvrVdHI. SU ■uflMWr
PNORS Tiwamn — APNR ht-
T vifvvm. ~ N omite fii. — A
Ullljul M I B ■iftMiUtii , •^v^i'hT^i
ftisfelft, P ftji. — AB omit H-
SU rvifwMii. T uflllfdlV-
-'sU n^, TiTOT.
28
-'■ T omiti. — B TOT O, R omits fe.
28
U omitB. — A T«*, B una, P li-
- — A IIJIM HSIilUKIt B 41H4H- —
4 KZiQ«fii7i, NO vnrara, R m.
AS nifii, P =ras»W3, w iiAft,
N mEKmrs. — 8U 'nrrnriTTnHi
28
• A faj- flfn, B -jrawra. — BO kdd
V adds «m,ANOR add fim after
53TW.
•ra*. — B fcnFWOT, wnwra. NR
29^8^ wramtfti. - A nroi, NR
omit. — AB atfipn, P8U wafer,
nrai- — 8 w«^»'.
WNOR MKfvnr- - W T. - A
inft Bwa, Sir Sifl iW, - A sn-
wfearfe. PW Hftraaife, NK HTirtsT-
ft. wfinrofe, 8U -saw. - A
29
A ftniTrBTiS3' I B fwiTwfrS'i P TH-
■nfWjj-, w f*TTft|3-, NE fsm-
WTJJ3*i T)nmi7T73*i " Th«(i«lcaT*i
T fiwpsfgw", — ABPWSTII •*.
3W. N -isni-. — B -HWwaT, W
28
N jft wjft. — A omitB OTI. — B
n^.
Ml
[i. 31
W <*"{<.Wm ^B Wwt Jl«l^ l i. ^ "TfTl^^
»™a' I sift fl M^^r I
Ft H^*a ^ r^PtrSr^^j 3175, 'OTt in f%W II 90 H
sn'iaivTi'i
^^5S!T f^ f^^Jfrarf'B cms ST^NtIT^'H'!! H1?T I
ISfBlV m- — SSTU lOT- — ST g.
— ABPWOE wiSrat, N vbrW.
— w nnvrfa, RTU ntmrsTi 8
nftmij. — STU tj. — ABPWURT
29* A -S^, B 'Jijo a. NSTF -^ft.
— ABPWNOE (^. — M«.
arrat. — A fe.
29' AH omit. — BR fii^' n^, PW
29' A omits. — T oraitB vrVt- — B
arfj,, infc. T 5jnr. — WNOR
^ST-. — TU add om.
3(H AO Hai. B 3^, — A -afi^. B
■ssra. — A few. — AW 'hhIt.
BSRU a^. — A fc^, B fcui,
o n^sr 8 nss. TU ihi^.
30* A sruifii. T smft- — U USUI'. —
AT m^. Bsii sfjj, pwo afii^.
R SftJ, S SIji j>fl m, ABP
W.VR Mfe.
30- N -toFi. U -w*. — BE irefir.
— T -irafir. — ABW -ftisain-,
P "fcrawn". N °riiJMii4iiuiaHiiu,
30' N naj. _ ABP09 mi. w »)»
— AORSTU firfWiij. B -fijfaj,
PN -afij, W faftlj. — ABPW
NOR »ift.
30' BPNOR omil ftf. — P m STtr
mi — P <nrnin°. T obth" — P
•WW. N -wrfgy, OSTU -wtH', E
vlfira-. — ANRSTO omit fa, —
SU inra^mWi T MultjiRiT*. —
B -fiipTO, P -(iiyOTi, NOR ■&-
30^ BPWNORSTTI »ra. — SU s.
31- B 4j«, i jrat ! rntaii i irrt — a tSu
Wrra. rU HT KSBIET, NR a (R S)
CVT^' — A omits fii; N ar,
STU H - PRSTU fil^-, W fe-
31" B •««-am. — 8T0 m matesd of
ft. — Mbb. 'inwfii' — N uuuiifVr
y«ir^-
31' B V4IIV mraiTi P vdiv ra ¥oi arsi
W (idIV PW 3Wi N V3i; jra PBB,
V31V V3 «ra, BTU vm vi v-
snr sn-
31* B m:. BTU omit
32* N «inhD. — A -Amv.
32" BW wfsra, P wfsra. vvM, N
erfti, R wfta- — N ^sft^-. R8U
wft^. — AD 'vfBpin. NT -^nnr.
— AWO Hir- — APWNR •^■
ib. — N8T inn, 'wm.
32' AW Hftia-, B arf^o-, PN afmn-,
arfgs-, R HfwiT-, S[I ■tftmr,
— T TWH*- — B -jm- , PN -a- 1
^, ORT 'v^. ~ ST
32-AiW, Pmi. Twni. — AHter.
— Use. 'Qivfsirit. — A fcrvjfjT.
B iMft, W fafafrt. NRSU fa-
■rtfi!, fmmfif, T fittfa. — B
32'A n«i ^ fin^i, B vd l^m, P
falRH, N 7g ^ foVR, T omits.
32* A siiqirH rant wsfa )W *n»hwir,
B nmT «w I j^«Hgl«A »T fTO , P
wtwfe i^ TRiTfl Bn Hsra Fmr-
wii, W srnura bsih Tviarm (at
is cancelled) 9 glz^atT Hiflwin-
N wtn TCTV13 HB uITktII&i b-
BH BtUJI WJW QHlgM hSwUi
R WTO TSTSM WK (nfiiHUI • 8U
I 32' AN omit.
!32'ABPN8TU K^fv, O «vT«(. — A
j^ and adds m, BO add m.
SI]
HTO arafirafptmi
[i. 34
ITO ifTO •4<!ii,«V^ r«!l*i Th^ ansijfl II ?? II
atftsT'iij^ni'i
H?T r«r^<llgfS'*'l ^ f*Ulii. irff 1! § I
ilfl WaiW^^n 'SI? 15 fqi ft it^iUrf
fj^T ST ^ggssr?? jftftreft 5I5T yr<a*<i II ?!l II
w I srsai <*r^%(tr) mPtAW sriT!! ^ ith f%' i
fajni! I m ifii' ll^f? g^gff ^^ftfttaiT ftij^raft lil WR ft'
W 1 SIRTO WT!' I
i t
SS'N •ijBiipin*'- — ABPWNORSU
■ftB. T •«[«.
33" P woroaJ, "W qvrdnT, 8U gwm-
lH, T (npihi?. — APWO omit
t; BN jw- — APWO H^ipr-
AB 5ift, PWNOa infs, 8U
33* B w — N traonr, T mvr. —
Hm. irat. — N wft. — T *ar-
33*ANR TOTT. BW sfdtr, T m-
fip, U stnq*. — -ftrrt, T
33' W »rt w, B omito w-
33* N omita.
34' N
sife, o
TWT, N
- AB -fnRt. — BW
8U WTf. — BPWOR
34" BW ftwr, R ftfiw. STU ar »
w- — ABPR8U m v^, a V ws,
fin^. — A 515, NB8U ^.
34' B wrivstt^^ n Ai T ore SI nr-
— BTD fit.
34" B B^. — A ^reravT, N 3ii)flisi-
34' A otI wfilsiHUiv nm wfirani,
8TU vsivRI- — T gfv^. — 8 wi-
iDVi, T arramm, TT onvi. — T
34''BNR mm, m Bi ioHtead of
njm :■ — A Riimi w nw in
B WTB nwi glW«i iff ifii, U fa*
v^ ^ HT rtr-
34" WU OT*. — STO -fro- — A ftr-
ojift, B mrasft'
34* A ftMHiwi, P fa* , BT omit M;
.34]
t»
fnwt WW TiW I
=nft»ii I WW yRjiO «r«u<^i WW" I
Sit 1 otito" I ?n 1^ ^ Hl^r*OT" I
W I BTOix" I 7J I Uf^><{^l'l«^u<nti aitU*!! tfiffft M*i1-
I
NR ITWI. few'. — ABW0R8
34' T omits fof- — A pfnr BWhlftMI-
, B TO n 3*. W (n gfiai
P3 a 3-, U T3- — NR
add nrw-
34*A mi: fa^i*'tifiirfl. B ^imn. P
fsdQ*! •urumuii T Sanaa". —
B *nn, P auidMr S -Sii- — BP
•nittffl. — W adds wnnn aafaiim.
34' AP fw, 8U TIBT instead of faj'-
— B Boq. — APWNR nfs39i^,
BO (iisiM4> s ttfntinVi T mrBmSi
U wftRW3. — W adds W gw %■
34»B smn ts- — AP omit p= y; B
drautiu^, W "aS. N aHJluuiiuuiHTi
OR aWT^ mm (HMT inBtead of j-
fttB-; 8U omit g-; T .ti%. —
AN8U •^. B -Mwt. P -wgH, n-
fS ^^riljl) T MdSuit' — N omits
34°A iTTt rraT, P ttbT, T omita.
A fon^ faHoffl.
34»''AWO wra-, B maws.
N ni jftf H^ r R injfwsft. T ii jtj-
mft. — A Tti, B TH, PWNOR
^, STU omit.
34" BW TOB». N JifvBl- — A OT-
34'" AP fiw. B omits; N ttbT. — P
omits la*.
34'»'W fa ^. T ft. _ A OT irfwm
iBt*. BWOS OTT, P irra^w, NE
(mftaw. T nrnFfrHn. U oTdftjf^vnr.
34" A firewra. T omitB.
134" STU omit WB. — B "UJifB, W
■raCT, wfsT-, NR qift", SU «■
f^, T «H<urti. — A ftsST, BP
WOR i^, N omitB, T aSirfror.
— A ffffl, NRSTU gfti, ^fjg.
— A gwifti, N gsipfttf 80^ 3-
tBlflT, T omits.
S3] xnm dKir-\*itHK [i. 34 1
?r" ITS 5 r^dinW sTrrts! ^^
■
i;M^*^Ul!+^(r4l4^| uyu(:nin^"i ■
««nn," 1 15 ri»< <*l^<«Si((l'' 1 M
■f itutni 3TuIhia) frtcsfrt^' ^^1
W 1 Ijf? ^ffftre >Wfe^ li" 1 ifii ofwraS" 1 ■
"iftw 1 annt <*"i^t.*<»si(3tt TOt '^^ miinTl" i 1
So) 1 sra JTO Mwiss-t, 35s MHmu! sjgt ^^fiwsr ar- 1
^r=(< .^r^RuiMIU <«^«!l'" 1 rtl f'^jj <M nn<« f?^- 1
wi"i <4-*i i)i»iir«mi<ii<u M*ui iBiw*!"! 1
34" EW ft, P ^. », T omit.. —
34'» AP varvn. ~ W irfnanir, U g-
B f^v, T •lawi. — A -nujhii-,
f^srafn.
34" A omita. — BN huA. P fw. W
tin. — B omitfl ifsm- '^ *FH-
ni«. H*«^. £ vrai, s WW, TU
ftl. - A »(OT, STU iftsl. -
omit. — W PH WW. — E at. -S
A xiiiT. P raim. WNUK «r.
SH- — BP UAU, K V^l, M qCN~t,
SF smr. — NK •■i'l "tfe-
T g^wt, U gwt.
34"W Hit. - Pjg. Wat, »
34»» A omilB 3al-#fijwnrH. — P ftlH-.
OTU ft. — A fiiji-, PO fiijl-.
U omitB. — T vmv inMeud of
arnr w?. — U wr nv. ^ n «ts
B wrannar, N -wdunjimi). K •!?■
8«ftir, P fajifliJiai, i^ftw.
aoreraw- — u gaar, s hw- !■ g-
R qcImit, SU Sjftw, T a|tTHr,
n, — B irere. S nreigifl, T IBT-
— AO 'RftrfB^. — PW finw-
iw git, U omitfl. — PW sram —
ukiHi, SU juiiMi, T rujujnt.
P fiiTEiui. STU -mm — A wj^,
M" BO omit lui p =1, Tub. u hi
wwja- — AP wfw?, B siftr-
J. - B ja, P 5, NE ^. — A
wwmT NR «mwaiTT, SU ireftrMt,
■siftft-
T innto.
34"W >ni)>|rf (^, NEwwSm*.
34" BNR omit m; m TOT- — S fti-
T Hiite<!i
p. _ B wft, iim. - ABPWO
34" AP fti^oOTlt. WSU onil W- —
TOW, S QWT, TU 'inm- - AP
B irft 5. — APO iftflj. B «ft-
feintT. B ferer, wo feirre. NR
ftm, S ufitfti, T wfti. U »w).
— N Miuii:9. R "inT i S "irfif 1 3i ' B miUiUtjiJii - P QTilnQVlViffi ^ ^|
omita B; TU -n. ) mw. SU ^iwn. — P 3#. N 3- H
L 34] A^^H^awU [34 1
a™™- istHmiH;?^"!
fiijH: 1 OTsmfi™" 1 Ht 3t»| Tji 5I f^ ^T%r 55R ar? ^" 1
5j^ mm M>fi ^|ij '^jfii" 1 3tft finaTt 5^ f^ ^-
ftjaiiraft" 1 Hwna-^ 4«! if<n!i jr^snurt atft^ fl?-
f»^3T"ni«i n* ♦)^(;<r5«tm!0^r^»Ln<^'rij,«!<«n'^=("i
w 1 ftsnra^ ftpiraj^iiftisi ^-ri«M<u hRu^ »4<=(hu-
i«-«t r««i.RA<i ^^i^\ «*KS[i" 1
Vt fv, R omite. — A VPmV^ B
— ABPWSU nfiaat. — A mrr-
WWB, N wm, SU -wt, T in»:-
Ufa
u wOudli B wftrat. s Msifadl.
34" A a- wft j„ sra oimft, P wi,
TIT omit. — T oroite if.
WT wuyfe, S wmr. ~ TIT 3-w-
34"Tfi^-<!ai.-Aomit,fa; wfta-
34*»B omits fa^- — A ■^tjrgWH.
WT, U ft. — A sftTO-, BWNOE
34"WTB omil rf(, NH * nm. T g.
sm. — A anr, 8 M^ m. — P
NE .dd H. — A «)5ft,. R .ii!.ii).
gf, W ar WH. — A ^ corrected
T awfl H. — B omits aTpTT-^;
tog*; Hot, Pai a. — Aht%, n
1 «ifiw, s mfinmft, T mf^ iraiT,
A ^^ ioetead of ial. — A
^^^^L TT aifs 1 n 1' — s oroite nn h^ «.
reiaT P iSa. NR oa. mm, STO
^^H — BW ^. RW. — OTn «. —
^^V MB <ni initead of ^ wi «-
p». ~ W adds a?fe.
o4'' A ratrm^^anmnci i^ w»r- — A
^^H 34" AW ijn, B xai. P Kt, N «-
^H 54, T ^^."iT ^jmi" - STU
^^H
S -fm. T -WHfti, IT -STfw. -
^^H 34^'B oTt, W oroite. — AWNORSU
B HrlWJITO, P H^HWmr, HW-
^^K vihil. P mi^. T iij). — AWO
wmiTO. — B Hftni, P wfimr,
^^H ti) m, B ![T fa, P 71 a, T 3» jS,
W vmh. — N wOTuna- — A
^^^V TJ oroite fa. — A afW, B awfet,
ftpnrefen. B -rfvor. for ftf-
^^V F afM)g. ataTin), SU imtjhit.
mrijW, N ftt*rafer, SU frow-
^H TaftnM-
ficnT, T oraite. — A Vim, P «-
^^■^ 34" A omits 3w; P gsr: 5wrt, N Bzni,
gsan, WNE sunn, S jw, T «-
1 Tn mi. - A asfm-, B o*oft.
sragri' — A81T Kmon. B mSmf-
W SS\ mnr sra^^F.^riTii [i. 3& H
ft«OT 1 ^ ^ a)HLHr<" 1 1
W 1 nara nfi." 1 anSTJl 'TOfl B Wnj ST? ^fffisjajnf IRIT^- ^^|
T«rTC WT^^^t^rteriwftnf spfNt nfiwi" i ^H
^ Tren:3fNfin!5^jfTH wgwt in!# ^^H
^»IHll|i,S|iflft?nT5^iraif M^trw *WtHI ^^H
^T«tr fti ^ lai ft ^tff^ #3^5 wit nu ^^H
34" BSTD omit. — A Sfi,. m- i-.
ftoT". W -wiuuunir NT) wfjiln't ^^^^|
— A adds fti UimHdH OTt fiwri-
T nwilaiuirg. — PNB tiftj- V
m ftraaniT, P adda »fti ^:Ki7n
mi.
wiai-idH BT. w adda a «5rfe,
34" A ■?»; in». P amfc*. — A «,-
adds ri WUnftl-
*in. B -awI, P ooly jHn, ws
a4" AP iraft, BW8TU omit — A n-
ni-iMi8-
34'" A m iwsr. — B ofWaw, NH
"TOW, »w BIT, U g*«I- —
OSTD ilj. — adda mil-
SS-lIaa. vi. - ENOET -.hr. — A
vamft.
9W», oftifljam. — u omita
«. — ABP Soirtr w oDiit, ni.
STLf omit groi art — AP vfvnh,
w (trciiii' 1 MrsuiiMit 8 1141111-
Mm, T mtriuaiiv, U Qicriuttaii. —
B irarwini?, N -a^nr. — NT -h-
fw, omita •s^«^. — A whrt
35' ABPWSOET «iuinft. — 8 «« ^,
TT] fa. — ABPWNOR wifs TO.
T OTft. - iiSfti.
35- M... TOI. _ A TO - ST fa. -
B -fa,*, NK -fawi. - B OTtm,
W *OT, NE »lOT, mrajll. T
B*n. — B ura. — ABPWUOE
vi.
34- B jiffi, gisT rt, STH ^isn.
35«BWNOE ftrp-. — BNE -jfp-.
— B OT^, OT OTiT. U ?raTW.
— NSTtI -iitaTm — B m W
N auHldlM, 8T -minr, — A ^-
3*
i 36]
wfntsvv
[36
36*A f5- kmfmt, P omiU 1y; W
fj* u&Oi- — B dime I ^Kn, N 3-
fe*. — o 'vn**. — B fwrftnif*
36^ 8U ftm^. — BW «., 0R8U
Iff. — A uvfioiiiiy B mfinliify
N uvfinvfif » T iifvuv|(ii^ U mi*.
— A 9nT*
T qjsrat. — 8TU ^9^*
36*8 iivrcty T ijvrt^r U ^vrft* — B
fiit^, 8TU limiT. — M«. fqw-
^. — A ii>|d, 8U ^vA, T 5.
36> m if^i. — B m«f, #. — TU
Ulfllllllll*
36* ABOS vfit qfopv llr.
36* N ifir r. — PW8TU nf«nmR.
art 'ara a)"MH.Mifl-flt" i in 4H'ri'<<ii*u*B ftrfe^ssirfti « f-
0' C »1 II BH:. — BWBSU mflrf.
0*BO omit nfir- — PWOST ofr
nfir. — C qftmn, NU omit
(H NOB ^ once only. — BC8 omit
B^; T tPTO. U i!«K
0* BN omit Tisn. — N m['lfv*ln{A-
— BW aTw. — B Hrag^wni i m
9mT. U rilHjUjm-
OfB Hft nj, OR si Hftii «5, N «;
I'C M^Aiiiitfii, w nit sTunfti- — B
*irt, n*rt- — ESU fa, T
omitB. — BCPWNOR wftraT. —
P BW, STI gjl. T 351.
1*B >jl jf Ui ilSHfKJIMf^, CT uuHUvU ,
w vafam-- — CPWOH •^. —
B nrfiv, C frtnw, P rdUfilj W
fTrfrnn, HOB faliv, 8U frrfw.
T fnte. — B ^pt, CPNOB fj.
A w fcjt.
■, N-w
r' BCPWNOR snil. — BN iflj, C
?flT, w bH- — B BBnr«pT>i3fa-
w, N q3fsa>3, R wafarei, T w^-
Rinfnl. — BCPWNOBT -!HT.
— B fr#, TO. B BB, 8TD
«#. _ BCPWOB mrd, N TO-
fit, SV o*fll, T TOBI. — B bo),
OPW Bft, N Bli"0B ire, T Bi.
1' N omits; 8 fli. TI wimtm-
1" BO an. 8TO »». — B «B, OP aa,
w «), N an, osn mn, B n,
iil]
I fsfz ^ H?TOaft liHirHaHSl^HKU
T swt fWM. — B JTrf»w«g, C
?nfzT¥rv3i i* ferfmroa, W fiffft-
Mit1(JQj< N ftrftrTifHiraHi OR ?n-
ft^Wjft. 8 fyftrilH"] TU •MTTW"-
— N HT. ~ BN fww, COR ftsM. P
fc, W aia, 8 ^, T ftw. u i«.
I' B 3T ft OBHawnnBi °jIM|IU<JI' —
B fafs^iTfflT. C ftreH'j P fe-
fm^' , N ftw 1 SU fuHiHriij
T ftrifsHfe. — NT omit #. — B
Wam STIJ fHTO' — B rends fti3-
nr^ggi mid oniita all that followB
as f^r ns HI lOfllUIn iv- 19*°; C
ftiuudei ' P fi!(iMd*H I WSTII m-
ni#, N AHi<fTndH> tJR fttwwwH-
rCWNORS 53.-C«|flH, T*fTO. -
CPORl'sn^T"- Ngii3sr°, TgiTwrw-
— C ^MH i a<:rH . PWNSU 'mHrfti.
2* w w^'- — P •■5'' — "^ 'wag^^fff-
i*-C fzrfl, NS am. — t!P jiHii. — 8
wftiuii"- — SU 3ifxin!i T gnoQ.
N
2'C ftHftm, PRB -rm. — CW ftf.
NOR firaiTW.
2*'C TrawHT, P mftnm. — CP li,
WO -?CT, R 'Vf, U •OT. — N
nsTti' — C fasJrdi N farerm-
2' CP omit TTOi. — COR ?raranio, P
irjBWlO OT", S omita HI'-
3*0 Mwnifl-, N Hwrarr- — PTU m-
^. — PNTI wrsw-
a^* CWOR sftarrfTOT, SU •ftwjwftr.
— C 'liniTT- — S ijtMUl*. — C
'umf^Qi. P 'QirHuiiiii W •(nfsrfeoTi
N-irftfesiT, OR'trMiwMT, SU *fT(HMr'
3' PS ottT. NU js^. T wftr. — PSTU
ait, N a^ift. — P *4Jdil«i4in. N W-
3«CPWN0RT snil. — P WI. N TO
*«rafira'l <«(U4^<!!1<) M^r<5«,*^' ^^M
f^''IP'!i^p:wu% ^H
?jsrr5,3^fMi55,f?g?5i ^H
•i1tr)r*H^5?Tjar5?,^if^Ri ^^M
•grow 355, i^'f^'n^iiiti" ^H
Jr <*i*<-^-^HjMH*<«<n.Au=nti 1 ^^M
^ g€t fii^siT ws{^ ft f^ ^H
^nT H rri<!i:i|<;i»r«9<|tLI^"ir II M II ^^|
nnwfin'l arftsT'l ^^M
1 — cwNOEr tmim. — ere
N Bsft. E sBft, T 55», D fit- 1
P «TO. - OWN Hftiit, POE j-
j». - OE Bg<n1. - w mwl. 1
ftiit.
4< OW omit. — 8U triv IT oUmmh, 1
3^ c dHJii-<iv>aJuidl, w •wrarat ^tnvhr,
T udjraw. H
9 m 5-.
S-w iAt, SU irhr, T m. — T -til- ^^1
Hraftni. U -rMMIM*. ^^^^1
1 CNOR rngfn, P Jf?(k, W ^,
S'O -liawjjTO-. - STII -wmfwrn. ^H
1 SD 35», T pr. - CNTI jnj.
5'The line in P t»ioi. — C M, P ^^M
4>P oiOT, NSTU imm. - OPW
dn ud 3%, w itm, N f3i9. — ^^M
5^, NOE fil5fe. — CWNO (ii-
C finnftuT. PWNOE -gr. — P w- ^^H
u^fdi P ftrewfis. E frogf^T T
mifl and HtlWT. — N «, 8 «r in- ^^^|
(TOOT. - CNOETTJ 'g«a.
Bt«ad of {9. 1
4- OPWSO 115ft, E "rafe- — CPWNOE
5' a^ft. - W ira-. 1
TO^fe. 8U TO", T faa^i;.
5'. » U omita. — C TOrt 1 Hfs q, P 1
4' OE 3™. s iniira. n jmij. — SD
Mft V 1 TOmi. WN s«i'. - PC 1
1 omit HI. — CWOS Hgft, P wsfs.
EST omit va. — OE omit sHs » 1
L ii 6] «i{iuMiul4j pMy H
^^H apnfwt fk^wpsft Tjiaminii ^\ii m
^^M »<ik ^m\ ^ri^i^Al^HMy 1 ^^M
^H iT^sr^^n^HHl^fTif^i^TR ^^M
^^^■^r<fiv-i\<iii arwt " ^ n ^^H
fwa^' 1 r<«i4( r< ^arwt' 1 ^^^1
BiCIIU KIdUiAl IHBIIIIII B ulVmud:^ ^^^^^^^|
f"?™: 1 ars^ n4*i«Miu «a ^ ^' 1 ^^H
fi"ra<K 1 m ^m^' 1 ^^M
fay- 1 Tin? ^rfwairfir itgt Mft^w^il^ji f g»i'i ^^B
<<*i<^"i
srara: . 5ft J <nflwMTOtftaintair?it?ftft3r5asiTiT!wt^
6- U omiU verse 6. ~ C wnfiw. — N
TihiTftr mniTa (P -ir) h^ (W
fthr — C qreurra-
-fer) nfeai (P -m) gw fw ("ff
6> ST OTt. — wftra-, p lite-, wo
omita ft).
jilir, NK «fer, S nfijjHiiii-,
6" N Bsa. _ CP swni. W0R8TU
T »ihr. - N -BiH-,
■Mi
^^L 6- C owl S. — ST omil H. — CPW
6" C M* fawinS smj. P lit ». —
^^M NUE Bifi, ST 4to finr. — C
ifeaWrfa'- I' triWaWTTWi W unT*
^^H -fMfniia. PWNOKS -is. T -ij.
sanfti- ^ ireaiffTw, OR uliiBUiiui-
^^M 61CFWN 'iMra-, OR -^ifiiT-- —
SU owfe. T of^Hfa srat. — W
^^f NOS -vift.
•aTsTT. — N ira, OR fe, USTU
omit. — oinilB nwi W TO-
6' C omit., W fa- f3|n nfi,.
6^ PffTU B- m.- — w"inr. NORSTU
6' omita. — P feufe. WOK f^TM-
^.
fa, N WW farwwfe fiaMWw:H*-
6'C afhrareft, and omita the rert;
PWKS afT, N Bi^r^aMl, w-
STU hh; «finH!I. — PSTD omit
ffT-. TLT ^ffRft. — P gfairarjiT',
<*-.
W HiirfiauK-. N wmhhhI. 8)1 m-
6' -W OT, TD bSi. - NO mi OT«
BTO omil ini. — PW ..Id nm-
6* OR g»3t - vvni; ftreft^. ■
41] ^Hhi tjarn^ r -HiM [ii. 6
few*: I afnsr Hi^^Mtiji wi h? nfv ^»t^ a^rr^i^" i r«*<,*i-
Tim I TTO gflftiwr" I %^^HTFT^ ■fer" I
C'T «H. — T oroita iret, P few. —
CSTU iw. W inisRT- — C wan-
w. I* BunftTOTi T fannn:- — w
a, T fe. — N •wftnrri: S wufn-
(nwwTwt. — COR -alsn, P •ate^,
N .ifdmfa gt. T -ftsft- — 8 omita
few. — C ftmfw. PWNOK fiiH-
C mrnr, P iwi'i N DrerTi 8U
mnaTrnHO'. T uhtshwitw-- — C
6" C HH TO. PNOR aft- — C iifnn-
wa:, PW wfr ^dUHHJ w-
6" aws ODce ouiy, R aST once only,
SU i^ once only, T wg a.
6"C nan i Wt ft instead of this aen-
(enoe. — P omit* nWT. — U »ft
nm- — PSU «v. WN mfi, T
«V. — PN mir, S 31B, V vn. —
PWN8TU ora.t fa. — N ^ft?rat.
" CORSTU omit «ns|. — STU omit
H». — N ■ngmm- — CW -jijT.
>»0R fttH-. — CO BW iftF, PN
^WCi W' V9I9, R inp BW WFWI. —
IT nw. — W jiar- — ST imi,
TJ irar-
'* C rran h wtWji. — W •cimnB,
"N omitB. ■— C8TU irfw-. — CW
•fluwi* . OR •afew", ST •oTOip.
— R omitB oi fa*. — C famv-
Here eoda fol. 2; fol. 3 is wactiiig;
fol. 4 begins favr^ see ii. 9'. —
W fauWiHIllIildl-
'• N omita, STU omit W" W-
." POSIT Sivi; N mi*, T amr. -
N adds HTHwfe OR WWfe.
6"P only Sai.Hkril. — N 5e«T-, OR
WalU "H'JlWWJl^STaTEt AW. STU
iw^ilHTW^fft. — NSTU omit TO*.
6" P »r a ^ wfij. WOR n- ftj. N «■
wat, STU n^ w=. — ST add fe.
— PORSLI iw*'. N «MT-, Tw-
sjt". — PW -TOW, N -ape.
e^W 'fsw- inatead of -^JW, STU
omit. — P °^rlUIH[Stn, W "RHW-
ippill. OR °UJSitiilj- — NO aat.
S 5*- — HHwagmn- — PNUR
8U «M^-, W isiT>, T isR". —
P jpt. — STtI omit ara. — P
TO*. OK TOwf. — SV aftrift.
6" N nw fe, OR (mr; PN add ?^. -
PW atfii 33'. — N H5wnp. 8T
omit. — P fiijisnip, W f^jtr^rnj'
mnnr, N *HuiadJiiii< • O rvrttHiUi
B ftlttHW , 8 ftlij IM I iT<I W ^B HJI I p ,
QH^mmiP'
- PWURT W3?ift5,
SU >35iite. — W
— STU omit inf. — W
sslv aBT. — POR omit asw-
6" TU H. — 0R3 -JM, SU <»^-
^ °, T «MraHB3-W33°- — fW
mj, STU omit — N mruiaa i i j
WTmnHTPi ST °Mf juIjJi U 'flHlJUlv*
— 8 ujuul- . — PW -Kj.
6"' PWNOR fifc. TU TO. — N omit.
ft-UmraUT see ii. H''. — U omits
ft. — irasrtl. SU -a*. — OH
If*. — P ma, w ^, OE si-
sa, STU omit.
7'PWE isi-, o i33^. T ijir. —
WE -STO-, ST ••WUBji, 8 «ddi
mn.TUjre. — Pimii, ORqi^^.
— P B^. W Bull, STU wfli.
— P * aii. WORSTU Sfti.
7» P B, T Hi. - STU wmr. — PW
OR afwg. T afaw.
43)
[ii. 9
I
rsr«iat«ri«ii' i ^515 nT5.«<)<iiWi^«lii,3r+a<.ii,'i
7' W ^19 4HUuffl.
7* STU Trar iBxratgian smuiH.
8-P toT. — P -wn- — PWOE i-
8" 8U 'ssT, T awCT. — W '^rnrt, R
8- Mm. ra, 8 H 93. — T »m. — PW
OR 5%3, 8 gfiiw. — PORSTU
TJ3. W -fiira. — S "aw, TU -mi-
8* OR fires- — PW fegH- — P 'B-
vnng but below *fnvTins, W -a-
wnw. OR •frorarai (R °nr). S
• fTt wi MW , T •xrmm. TJ -imnB-
8' W trarr fjfta amoHi faBow :, n-
m fg*. STU ^fti fg* gf^ufn.
8' T pfTT*- — STU omit mi- — tV
OR RxiiriufuiiFMnn!'
8' FOR ^alwt, W gfea. T aahft. —
8U ws giB. — P wju. — W fe-
ag, SU Hsftrft. — W ftrfror.
9- 8 vm- — W ftmB". — T fero!-
sw. 'jit, 8 in-
9'' 08 "OHPftfj T H4ljl9*4UrV-
9' 0R8U Bww g«- — PW fira?. —
C hTt, W8U ?ite, T finr- — C
dSMudv, P TfiasiTVi W sfsErfcRTiri
-dTdU 1(1411! corrected to <j4ut(T|i,
R jruia4.1i!, 8U diTfunl?. T ^fmWfv-
9*cpwoRTU "srare. — cpwort
I BnfejiHI-
ii. y] *gTW»anhi [44
•Mill*! 3rirf"lir<4aiU! ilftaT ftl<^^ 'N^ rT Ifltrrft
^Tift ^fw ^tft wnrtwwi fnwt?T ^^Pw 1
ran 1 SfOTi'if!J»?7ShTf^<*4*l«!*!! g? »l4<)r^r<U-OT^1OTT'l
9' C fa" g^iTT^, POR fe* fava. ~
IC C hurai, P fjftaai, T jjta. —
wok" to — P ra, OB 9^.
STU vn. — CPSTa omit irzm-
— STU y aj. — CPWO »i,
8T (»5. 1 u (iM<- - w «-
BTO, Ofi ^afii', STU owwnrf»-
tan, OR Kcam.
inHro (T -wiwnhi, u 'vfmiv)-
10' finiKire, PW fc-aw.
10" CRT OTiT. Pwosu mr. — cp
w jmimalui, ^^', R ^rmfewre,
sfoaii, ■Wwraroro, OBhwwot.
8 UMruiHIli, T Mid(^«(iii1v. — OR
T mnilllftl: 8U .dd H - OE
^flM. — CW fc^iS, STC y. —
JH. - C .rfTOtlll, W -faWOTI,
C «Tl, PWO «3), SIJ «ift"- C
8 -aTOft. TU ip Blmft. — COE
mS^, p W115, w mij - em
omit a. — CP8TU m-
Wttr — OR add 036?.
10'8Tn o^t rai. - COR »fjwr.
PW8TD aihisi-. — Mu- w.
and in the foUovisg line •mi)4-
wra^r- — C qdiulwA't P wa-
ICB TO, T OTOT JOT. - ctrri]
^pfll*, 0E8TU «31|BnT". — 8TD
omit fe; W a;n- — C -af^nifn,
•«Itl.
PW -slwf, STU •httoT Btwwn-
10' PC «3>. — c ii4in]nmii, w Bur,
— CPWR fii^iTO-, fi^wmi-
TJ nmfaiSTinT-
m >dde f^, R edde fo.
10- W -irj. _ CP ftro-. — 8 •irer.
10' OE ii»ri%. STU JOT 0*. — T ».
- WSTI linsn. - w « f,.
ft-. - P -fp^.
46] fgdlii araftwti^roj [ii- 11
H*Ulr?n «(l<mr?5l aI^3T ^rS^I cT^^yaUT
irai I ^3TTO HI? fx? ^liMJ ■^•<*IK^*U ^**W*H;!ilyft ftl' I ITT
ffTWT*!
10*CPW jrar — C auraw, P -awwr.
Wa -aMW- — CSir omit oTTt.
— C iRnin<>i(im srart. P tnnnra-
sn. WOR mroraw (o -roir),
SU w afgfaw - — c nmrt —
CORT alwfii- P aftrsft, W 3-
^flSi- — C HWirVflns fweRtn!. P
10^- » U omiU. C TraiT. - PW OTT, RS
113. — P P3, ST TOi ini3
II' ST fir trsfir. u few- isfti- — T
at. — W omiU 3acT>
ll" CPW IKT WTd. ORST to*. U US'.
11' C gwnm. — OR w^ft. - CP o.
— CPWORT -war
!!'' f II3T fksfesCTH HJHHH^taiWIUIU.
— STU ?rfiDjT s ftji «• ahra-
i' C rran HWT»- — OR ij instead of
sane- — PW m to, OR ^. —
8T fii. — C w wt^Wi w vtailr
Tir tftro. 8 omits. — WOR •(-
BW IB. — CW HarfvrnvjTM , P
•Hftrawfe' OR 'HliEwrH, S **nTni-
wtt fe. T vn^winHn fei u 'ftr-
«t ftr.
r CW «8n. P «!TOftr. O «if\|, RSTU
flisfi- — C fliriH. jpra, STU
yp,^ — CPWuRSi; ft(. — STU
ft — C fcr. PW an. T 3wr.
I'P H9SI. 8U w». T sre w. — CW
HW3T. — C nfe z^^. — CI'R
wa. ira- — c garte. SU
1* PU omit. — C fB|* fawB <WH I
fe- siMft fi*. — CUK ara. —
il 11]
ft«w I ^ *irni<i n;r*<i >jr«<i hKh^i ar* I
it fri**!! I
i4«
y*y^f f^^«S*^
firewnr i
IT I
OB add «%%, T kdds fn ivn
11* C fsqguTT nwRwn[. — W8 omit
5a i OR aw, T 5«. — CPWOR
nfvST, T uftHdl Z%3T ^rMdi- —
P omits ^Ifftdi; S ^, Ij iIlfHiil-
— omiU w-
11' C nan wmrn- — CP ara, STU ai^-
— P omits few; W fquv^ui.
12- W omitB faflv — P -eafsa*, W
•aafes'i o °vard3'i R 'wn', S
wmyuririM't u 'eawd*- — CSU
omit 'iwi'- — S 'lilAUrnf , T 'fff-
■a, U •ftrfiijfej. — CS fr(fQ<
IZ** C mrin VMii *iBnV' — T ^I'jjia-
ftij. — «i, P ^, OR vi. T
n- — TT OT. — C flkSKuUiuaiM-
onrt, PW «wiiuu«ifHui4d. OR
•WSTWrfJTSTfffrea. U -waii- — Re»d
I3» -go. T tiii i wia i Ttr it. — WORSTU
vrm — PT ?iftw — CSTU «-
HwHii, P eraslfii, OR QBnsT^'
13" SU -wiai: — C iwrawmrfii, WOR
14^ C (jHfftiiiaiui 1 riTOn". — W8 •fiiv.
— P "3105™!- — C finnw, PSTU
nniran> OR fiyaruMi'
I4"CPW0R WHrflc, 8 m Trerarfsr. T
8U mz^, T wafa- — 8U omit
fn, — CPWOR wTQwir- — OR
'(Fftf-*isr, N begins here agftin
IT Adds m.
47] igalo sreri^.Tsfmr [ii 18
raon I
15* C UHfafldiUI* — P HT^- — N fti-
— CM qw, POfiSTC qw, W
15" CW V HI. PWN buS, STU afs-
iifr — NRS vtm. una.
1G° c u-iruatiwi' — P fewwt nnira^-
orarmTt finfiT Qj^dS(4- — CW a-
wirahft OV -ftra). NOR -wrafir-
•sftwt. - COR -q^g', W 'og^"-
16^ C uuu ^(uu^iH nrftr ht mnuaa-
m II IS II B wranr ■ ■ ■ , P m m-
ftiwnnjraTT T^jT HHiiiiuimiJui. HT
m vrfsrsTnHtiiiHdriirfMgiulianfiMMi,
U jn «iraMs»wiHJmr<MdinH«(\BiT-
WI- — WN HOT. _ W ftt if fs,
N « ^ 5. - C BtW, N ¥»5
finiiiH, t> fHCKnT' — NR 'nufni
17° CWNURST Hhf, U ?. — W 5fa-
^t, N Bsfe^I, T Tiftncft. — C ^-
wrfflO'i W ■nifrn*, N vuiruH*-
17" STU m #•• — c girtj, W -TO-
— C Hrfinr.
I8*N fa|. — C gwftg, P aWTO, W
3TSOTI, N 3W, OR "H, S UTS ilg,
T fo^, r «ra^. — C8TU
omit ra. ^ N qmrR. T uei4iin- —
c nnstres iiun^cH nre- — ^ '^•
ig'. — T *gH5i $.
18i> w »ft. - WNRT -wwr- — CNoas
, IS)
a^NMiiiht
nn I
TOT (
■VT I
TU fftfii. - N fiiH. STU omit
fe. _ CWNORT ajfij. — CW
19* c uvduiuHiwnif f sraKroFTOwren-
liT. — C OToiT hT?, r arwiT mo.
N amr Jrb- — HTIT omit «■.
19* NOR omit m- — C sfora, P 3-
aifir, WO -jam, N svjfarw. R
^ntHTi STU AQf . —
NOR •
U 1
20 IT omita.
20* C KnWTr P wfewi*, T ^IC'^IMrfHT-
«■ — C fa^ra-, FW ^mt', T
20" n. — u aw
irawra, Pen^iT. N omits
T iniHwt' — NOR
2t-N omitH few- — OORTU
- WOR iftwBP,
W Tim.
ST f^. — CO
W
TnniT- — C OP-, fti Tfvvft. P 'inm-
OR fqiTiMhflUiwtn ' 8 irnnrwHW-
iQ^ti TU iiuMiHuNrst. — P fil-
ar, fti^., NSTU fwar-
21'' CN '^p O -^ 8U -gw — C
faa. P a, w a, NOR omit; T *
— CPN afim r. w sftra r, or
asfnr iT'i TIT jUid''
22 T omitH.
22- PS f^. — CPN0R8U vitv, W
48]
rjHiu aiawaw^H
[ii. 34
*q": I ^ ?s'm3Rwfi!H^t3rf^'i
■SIT ■Ww^wsraB^jfifrnft T?c iftar ?ift i
fiiWT fHwr ^ ar Hftsfwt >^nB ^jro ^ « ?? ii
S*. — I
W atrifwi. N
SOSTI ^iint. — 811 vid m
n H Htfir. u
22 C nsvw (laHMiv, WS
— SU omit aw — COE ra. U
^tf- — C qrm. — P riuSlaul&i
8TU MimdrN
23-0 irni, OK imt. 8 >m. o ajot.
— COE mmMmu. P btut. WTU
BW. — cw tilt, STlI ifln.
23>c «tnt« i inj]jinrii« i 1 , w fcft™-, N
lalfWIUlUMrlHrHll. SU 'MHUiail-
— C H^, N HtW. T iVw- —
CT iii», an I*. T Sw »s.
23- STH *. — FOE -mi, N am-
isai. STU ■Tsmfl. — W -nijl,
23' CXSU' SHU — D BWI. — CPOB
«u, NbU a» — OW mifin*, P
imTiin^i n ft wfiiri^. — C 8B, PN
H, sn ai.
naiT •{fiNaKTujdmuii- —
SB
24- N -dSnT. OES -wnr, D •otiw-
I — w "^afe-
24' w. - NST -ITOB-. — T -fti-
«rara<^. — w 'J^H^, N •?»■»-
Fri, OR -igw. S -Bfti, T Autjfj.
24'P •fcrai', TD -Miir. — 8TD
•Bwfe. — W uniiq, OR mrest, SU
jnni, T steiajM. — 0E8TB ■««.
1 24' CPWNOR fining. — WOET •»-
ii. 24] g KHb^ N [60
H*!n<iJ "Srai^ f^ ^twf? r^^«*U <rl"ll ^ f^ ^^ II 'M II
<oMK^ ^ir ii|fer^H«tnj ii ^% ii
fe^rewT I aim <^^ij ajrf<i' i
»f-. U -B^v — COR •^rfim m-
felt «, P "^iflini aT''. ^ "HftTO
24' T omitB ftr|'. — C wshmre.
24=T »ft WTO. — STU HP Hr wc^.
N BBBRWTPffftrar, OR
24^ N ^. — CPW t
Iff- — C *HTWt-
T uhhIhuquijui. V •wfew. —
CW ma. P war, nr ir«a, ra-
m- S omiU; TU m — W qr-
fHTi, N nnr^; P wlds g.
24* T wfina.
2.VN fi n Huw i w ft. — Mbb. -jihrfa.
25''N jinflm grmn- ~ P •^. W fs
mmSm, N fa|;tnifii, OH ere^. STU
fb vfvmfi. — CWSU ft^, E
W awfk, OR OTs%, T mr- —
N d^.
26» C TRtra. U omite rwi- — P gsnB-
- CPWOE 'h™, N fWHTT. —
N ftirtra. STU 5TH.
26'' C ?gw. — PWN -moF. - T
26'T fcsn- — STU auit. — N tifcr,
STU qftift*. — CU -wiw, — N
26" CNOR -ftwfg, PW Twtft. — T
26' STU wfl. — C ftrf^, PNOE gS-
nnft". W ftj.
27' CW irtinW' — Mss. •wnir. — Mea.
■wufm (P 'HaTOT). — Mbb. •iwhn-
— N B. fl R w-
I
61]
fititi sRi^ranmi
[iL as
H ^^- ai fttars wpniTfist ins ^IW'iT'Staft i
!t7> 811 fiifir. — o ■HNm. — cw
27" C iiia«i«J i r« , NOBSU •wre, T -m-
B. — C faraaft. P ftmra, WOE
siTT%, N ViUWirdi T ^Wd. — 8T
fit. — OTB fim-
27' CN OTin, P OTJn, w n;ni, Ott
Bora. 8U msv, T eilaH' — COR
UOT, N8T gro, D fil!l. — C nw-
— P wrooftra, W8TU infiTO, N
'iijluiii. STU «nr- — C tjdilvi
PW I3»f, 8U ¥5fe. — C
27' CPSTU omit Tran- — WN omit
«lftl H. — CP RH3IH. WOR Hfii-
flnf, N KiaaTBt, STU boiwi. — C
enr m^, oe »fas!a. — stu
omit w. — C imrarns, P ujMl-
dhrfs, WOE tsiqn)-, N ftmifr.
8 Hfr.
28- ce aifimn. NOT -an. u -inii. —
P fajftur-. - s ftni*.
28
CPW xiiTii, 0»*iii*. —
"WNOR fiireWT. — R omits •wop.
- CT sWmhi), w Ml3.
28'T B aft*. — w OTvraA. -
•nun, STU OQT <IVI<IIDi (T 'Wift)'
— CPWNOE awtwmft, T -srat.
28' P ^mfir, S ujuwihui. — C tiipij.
— 8 wi. — 8T fii. — N ^■.
— T -waff.
28' CPSTII omit forann. — C fii fa
OT. P fw w aa. W omits ot; STU
«• N 53 «, 5^. R irar- — C
TTOSTHTa, O 19(11 ICIIT^'
[sa
^IJfWfeft W|H^ 15^ ^trllS, '*ii»>li,l
f^ rt'!!ir<4 Jti r*LI« IH'fl fni wftfefi!! rtlfttflB
28* C zWmWVS' PW' dfliHtguQqr. OR
vt^iiT. T sai^viVi U soTv rawtw-
,[. _ CWNOR fmWT. P HWT.
28* P flidWHiii!, W nironifTT?, N lil-
ftw. — P nhr fa. N OT fa. OE
aw. TTT omit fa. — C »femi, TU
- W aairat. — OE
omit AHUjf*.
28* c omitH m: u 3w w. — or •»
Wtni- — PN ^ fa, 80 omit;
T TO. — C «ft?infawi. PW 3H-
wp, S wIh'iM' — P vfa^ flnft
vnr^- N wfaiT finddTn. OR irfad
29'N H:m. — NOE aw, 8TU sir-
— CT ■wftftswirTH. P iffiT, o Tir-
Wi E "iin^. — c rjijrsai. P fa-
fgH, WNOBsru farfast. - c
mr, 8U nw-. — cpwt iwrif.
N0R8U -w^.
19^ NOB w^', T ira-. — COE ^^•
- c waTfa. POE ».
litfii. — C «Ri4, p fttnr. NSU
flmVt T BHtti- — C v^rLmVi P
vfamv. WN Hti. OB vsfaanfa'
29* TU annfa. — N fegnm omiu
ftrc. — CP 4jn)ufaiiiHi)n . ^ hw-
(ftwB Hra^j T tirilru4iii in-
29* C Tnftfiij', P ■BTTCig*, WKRU
■wiftig'. OT ■(nftag*. — POETU
Bft»Wi N Amv- — c smfVi "
anfaw-
29' C Hw tifawSj , F vm n w- —
PWOR vfasFnft. 8TU ansRt- —
29* P omits. — N »a «. S H pas. —
C aSw a!?«i, WOB rm w. N ad«
29*0 vfjwa fHWirii Ihwui . N ■»-
JnHi 8T 'KJHT-
29*CPW )iwi grwrgir^ fap« nfa
t3J fjahi Mar.<a,.-,<IH [ii. » 1
fer™; 1 !«th r^-<irf^-<(5r<in' 1 rtf^ <«nu m<,<i itii^<.«%((i |
** -^ ^ /^ , __ _^
Mi<M5!(r^« ««! «(ii^w«<i ■
tf^rem aii(.M4<ii i in w
fs^rs^-jfl <j«i'nr^H'^B35w« 1 ■
.HiifiifiR.'iin3ff<!ftFJT!Frfi(3rfe^^'"i ■
f"^-- 1 in^ ^TffinsrTftsir qiPasr ^ fk iraftr" i 1
"»t 1 ^ arot gt^iP^rH Jf <*^«^" 1 €t arot M-<\ff 1
ift f)«<«(|*Ur>i!fl|t" 1 ^^1
(C awra, P on.itt. fir* wfe)- —
29"PSTn omit m- — CPTNST mr, V
CWSU omil nm: P * mw.
U nr-. - n omit, ft. _ SD r 1
_ CPO 511. — F omiu B- - C
V. — W vfWsT «t, T «ftw, 1
maiiiw Bii.
II sftni. ■
29' C >ft «i5ai — cw -saBSi!. P f%-
29"'WNO omil ft|-i R ft,-. — W ■
lIHUIUi^T NR fsdMaiHll ft-
Stsmreawfl, s -aj^ %, T fij-
ft ga^ aftw truar. — C *wri- ^|
al+*wj5«l, TT ftilrfflj^ra ft —
irI. P -awl, w gansnfni! ST ^^H
29* C BTl, P Sfw, UK HrH, STU omit.
XSTU omit «ft>t. — CPWN8 ^^H
— C omita aa^: P aah iftt*. w
n9^< s. HfUi. ^^^^^^1
■MJ «5M SA, N ifal!. — CPW
29'^ C TTSITV, W fvpw vfn instead of ^^^|
NOR omit mif — P omila wn-.
Tim. — GW sms VI, 8 VI TV. ^^H
-P ftia^. I) fii*TO. BIT fiiit-
— C RSTTVHT, P HN 1 iCfl) . OR ^^^^^^H
TO, T ftSlftm. ~ P nmaftjm.
•fipft, T gwrfrol. - C «w, W S
«, TIT ^tadig^'l Cr 'Wit) HWITO.
29" UR grjurl. - ST wsrHH. V
W CWNED OOTM-, P mar. o imrt-,
«3T^- — C ■QAsni fwfirefft, P 'era-
s armiT'. T msrai-. — P -gaj-
WWfTOl, W -OgOTHftllt, N -B^
feir, W'oft^am 53ra, N -jftrefe-
in. — 8 omit. jam. — P fiiit-
the margin corrected to ^fe; R
ini, W fiiihrooia?, N8 fiSWal,
'wsioifniaiii T •v^n^nf^.
OR fmm fiUmH. — P aja.
29* OE omit, N omita nWT.
iL 29]
anwt"!
srf^ar'i
29'" P #«n TOHrPn. ORT omit to. —
aWnc. 8U ^^^rfscsrp KtvafarTv.
W OTjHm, N 3*r, OR ^m M-
^jHii, ST gn, U omitB. — C m-
•W3, W ^. N -HTt. — P ftr. N
IT, >K^jr in the margin cor-
wiftj. 8 rmadlMfd . T figr^urN,
rected to wfai', S "TSWH. — U
U ftnr»H».
•W.
29"STU omit m. — CPWWOE n.
HriBldarftwi. — P adds BWm.
STU 5TO- — CP HijnTiff. NOR
TuMEcUfHl-
•nrfir. B omita OTHT-— H
29" STU mrr mra:.
aw.
29''T Kwgf^. — C ftddi erf™.
sec ftwwbft, P fiiwt*ft. W ftrwi-
29" C Ht wm. 8 wf wt, T wt. —
ftifft. N Wl^Ht, U fsv^TTl- —
CN iWk. STU ^fei- — CW
T -apiw. — P 'aram, N -aain-
'tit. PNOR -srat.
29« C fir wim fronfe, PW fa- wnrt.
•fiirftra- - T fqi^ wraw.
29»' OW m, P sTsn, NO snr, R «nr,
SO-* 8U rcfT. — U •BTH'. — S •nr-
S Tflu. — OPT atHifw-, WNOR
m- — W atei- — Pros
6&]
[ii 33
^RWfwW^#TT??iW?5yT^ I
^ ^tw *<<UHl^u! nf^^^yr r^-<)<?s<d ii 9^ 11
31' P irt^fii ^ iff^fis instead of w
HT% — 'WO gwvasrar'. E wh-
•HIT. — C •fsOfi^KIHllVi 3U 'M-
SI*' C o^ffem-, PW fii^fWp, N fv^-
fts^Ti ST rerafr^T*, U wwrtnHi'-
— C ■(ijitllVIJ, P "011(11491 K "nn-
^Hi^, OR -iinflrwt. — N owtI.
31' Ci WUR ajurfe, N -aT — COR -a-
HT^W. — T omita VpnU.
31" CP H»iF Tftn H^ (0 ■?«). w an*
atwT «5tl*, OR 5wf irwT «5iTa, st
sim- — 8U vlnT< — P sHinpnir.
— S °B«nr. — C a^nnsff^nrnE 1 P
TOWpifrfB, OR oT^zTTnrfii. S v-
R Buia*- — N 'vi,
32''C gmsHsr, P twiflfiir . W wu}-
R fi4iH4!iirill<i"< SU SjUt^fuid*, T
■gwwBip, WO
Rll
■gw,
N -1
njT.
•wfina'j
32" U Ki^JlHufiiiMicirir-
PWNUR -grfiira-.
32" 8TU m WW ^ miftw. — CP -g-
«Tl, WSTU -B^. — P ft#°.
32" C fay I iransfwm. — STU wt a-
sm. — P -vai. T -wtT- — W
32»P MTB- — CU gm, P gw- — P
U ^''T- — C favTtTn, PS rawiftsTi
N ftiwin:H, T0 omit. — P aw-
fir, N oiuits, STU a«n?-
wjnRswh?
[66
fStn^l IRTO t<!!-ri'Hr<!,n«^H^<U II ?? II
ftit^RdtrlS, S M^fl« *jrtll<ti»alfi*ri-r*m.m8 II 98 II
im-<lrf*LQrfl«<.'rtnfo( ■<*$<!! « fTTt I
U<t4(i. A ^W-im('\i>S\ ftliftra#Wt II ?M II
?a!Tfi3iTj Harm mwTw ftr^raarfTT n ii ^% ii
33- C TOTO, W ran. ■
MKVMJU, P ^ruu, N 'KIlUUJUIIUl'
T IIJ||MlilU)iJNil*4ICi
P ira
■ S™
33" CW fe^ro:. — CPO gprr. "^ ^-
ra, N OPT*, fi lijiTT, S «pft». T
^pfireBf , U tanir. — T fiw, TJ
B. — N Tinrnn*' — P TjraTftr-
T noin «, D siv « before the
Terse. — C fedrHUa4ulvllUUC< P
^C93«i, PWOR mE«i;#, N fljri,
34" C fea- ffiiiriRT, W -fttftii, S Wa-
ftrfai, U -wr. — P w, S B. —
8 Hftfi corrected to 9f{^H. —
vfufiiiflT*, vniuiQ*) 8 KHww*,
35* CW Tiar, T wfii w before the
— NORT ffiiiitanp. — P •
U •oTOwtwinr- — C zm, wor
35" CW few:- — P fair», W fe-
frwT," N fef^, OR far%TT, B
fro^T, TU fintTT. — CNORT a,
B »ni. U firer — P wwimftr,
W 4RUT j'£* , N flnmranr. T gn-
WT3Tr- — f •aifl'Mri- — P ftt-
raoosaXHt. OR Twlriainii-
36* C irarr. — W awrraw- — N ii-
ifiwM". TT •TnnjftssftmW. — C "b-
36" CW fii|««:. — C ^pft^o, Wi-
67] f^fibi oi3r-i»i-rtiH [ii. 40
?5 -^ '^t^S'^tewifTaft 'Hlni!<tl|<U II ?S II
anirf'fi ^ ^^^ar^^fti^flt ^na^niTO ii ?t ii
^!W '5 %??, ^ f^ ftrsTjt <*•<"( r<(«a(t| II iio II
'
3,„. _ 8TU oiFR. — W ftraft-
37»C mt TTWT, W nirt. — STU m-
in*. — TU "^ira. — T iTTO. —
CP8 B^. - CSTU -^rAJ, N
■ywuiHiHilB.
37^ C fii5' 1 fer, NT 5*. _ CNORT
OS. — SU tw. — C -avra, T
mnr, STU tmvr- — C '^^w, PN
wim, •■fi^. E -■ft-iB, 8T
**tcuii, U 'sifn-
38»CW nwi. — PWNOE nrann*. —
C m i r<Hrw i j , PWNOR •OTff, N <i-
wWi 8U in) Ft*) T 'vutfETV- — P
omita ufii. — CPWNOR ^bstTT. T
^HT- — C (hldrVi^qTi ^UE *i3*-
38'' CW ftaro:. — CP swfir, W «.
Uiffl, N juiiiAH I STU 3QtTT- —
CPWSOE ei, ST fax, D filH. —
C «ire=i-, PW -faftmS, N •g*.
STU
39" CW TreiT- ~ sn iren*. — P ft-
m. N Tofti*!*. — CPN «fii
E «T- — OHT fii. — CPNOE
Wl3, W ilOT, 8 iSj, TH t>^. —
C 5«i, P ifa, NOES ifit. — C
mm. N TOT, T imr. u oar-
39'' CW fir^wK- — c p{3^, P ftjr?,
W filf^. N 5»1«, OE z^, SU
WfWi '^ 5^ Uiilr. — NU Niuc",
R nOTsfewrsra*, N -wwj^, T •«.
40* CW trai- — N omiU cm; S «.
— C grt, P 5m, W g^TV, N «■
*rt, S pwre, TU 53W- — fc-
«Wt-- — C =wii, STU -WIT- —
SU ih?T"- — N -ortw, OR -araa-.
T •m^. — STU ■sfcnr-
40'' CW fegirai:. — STU ww ^ w, XT
nra HI w w- — CPN fttSi. —
CPNSTU omit a; R ea- — W
■ IL 40J ailu^illH [58 1
1 OTT 1 BftraiOT' 1 ^ anr<<ai <tiu^<.n%iJ} ftm ^^ fhf niii 1
1 Pqa rt,ali <;«<g^«anu<nn<iiis, 1 M
1 ftps: 1 HT r<<^9^ii< '!)<iir<^'u|ni iii«'i 1
■ iwiiTTir=t»TO'i ^Rai-^yOf^f^jT i(*!i< 1 ar" 1 wrflHifMiN' 1 fl
^^^ ♦iHsl^l ^Jij^l *l!<4ys<!!« "
=(^»inf)i «a-»ji ■
^^H Hijl ^i^-j^^iimfoH
^H 4.« <««I<M <^l r<«^*.i,^r<<ul-<»il<r!-oS[l^ (4«r ■■
^^1 .tH^ui) ^aT^aft^^<maTOa'«''''Mt^^'^T^IIii'^" 1
^* 40= CPWSU omit «^; T «% — CP
W0R8TU 8B. — C f^Ei m gta
OST HaiwT, W HOTUf, N wj-
inS3t a. SU JHUifei tn]]5i w-
ftWT, 8 sft^WT W, U WttOTI- —
40" C w ^ nimnr-
41'N Bftreii. - P -OTT, w -iiftn..
adds ffRTTJ. — SU ^hn- — W
- SU xw\^. T .,^.
(hi « OE fta «. - C »j,
nw(. — SU fiillv- — C atjwitiii-
— W •awn), NSTU -SMlrt, OB
TOB irawi*, P ra^wo-, WN OT-
•ftrarafl. — N ^jrar. TU warn. —
igwsr, Uli BHfWMT? mp (0 w-
CPW -(imT.
m unran* (0 •»), SU -iinnini,
41- OR Tw. _ s inrti. - finrf,
T duuilHtr-
40' P omits fira*- — ORU omit m- ~
•a»^. w -wiilT. STU -inriir.
— sihi, S lihi, U <w».
W Icii^^d ^W, N l(iiyMHSirU(JlT>
41' CW sflr, P aitii, N ih, ORTD
OR firaws^^ H w- — P tB^-
sira, s tim. — OPNORSTU mil.
jfiwi. w tijzi, N «3ni[ fejT injT
w, OR uniifajr nwH* ingr. T ta-
infeSW. — OT !Jhl, PWNOE omit;
^^^L 8U «alv.
fiU^Wir, U ftr^). — C ^rHHIMi)>
^^H 40'P <n<« m. - NORSTU imi.
W a^iPTOH. N fl^, OR -WFJ. —
^^^^H 40* P ams Br*«i40 , ^ Kiijaijear*.
C fnrfj, P firaift, w joft, s -ft,
^^H OR -gft, SU -3^. T oi.,. —
OH «i Bit, S tKt. V fim.
59)
fgfdv
[li. 41
%5ii'i war ft «r<!jr^<i '^jfi^'i
ai<y^».r<"i
<i>3««: I FT ^^S^naift ^ r<(<^ ^^ w^ ar? ftrftifr-
41' P »4. — Sn omil * — OPWNO
ESU ntiTW.
41'CPN ai n. WOETO n. 8 m-
— F jufaruu fii firaft", S aaww
anml: T omita finr; U mmit. —
N •mil, S -oTils, U -vm^. — Cn
omit H.
41' w "fii^ mra, SU °fil3T pw. —
41 C jun nsn ?nn w*w. P wot aj*S
rraii, W BBT ^*n, N awf nwt «•■
41'*CPN omit TT3r; W rran wmrnlw-
sira. — C Mful^jfud PSU ar?f^-
fcrr, w nrftrf^, NOR wrftrftr.
T ftrfro- — WKOR ft. — OF
ftpiTwfT ^ ftpnfii, NOR snftrfiir,
T SHuflH. — C XTTTTTQinTi P HHT-
finnfa^, WNOR Hff r aa rT fi n (uR
fiwT. — CPWNOH omit htVi
B Tiww. — c H^fmfir, PWOR
Hmwrfw, N M^MHlfUi SU 'TPXi
41«C Hw. — T •end. — P 5ira
wn- — SU ^p. — COR twt,
N omita. — bTU omit »n(. — W
feft^nw, OR •doMir- — CPW
41' C ijfcKW, P Bfr fsi:WHi. WOR 5-
W fasftan. 9tT MWhuJiaHlWi T ^
rjw.wi i a.J l wi ; PSWS add »
41» CPNOR gm. — STU omit toi- —
STU TJ^ iim. — CP ftwd. N
ftsrfi^. SU r«IT'flHr, T TEOifiSTlTT-
CW smnrfa, 8U mt»«r, t mtot-
41* P wfinfjit 6, N -ftat w. — CPW
OR liwsr. N «ija i *'H l w. — CPN
xn^ti 8 minft, TU btitPb wivti)'
— CWSO wm. P BfrffB, R (r-
aJfii. 8 omita; WNOR add ft. —
STU add HI HWIWlflHl. after which
8 adds srft WTO aifBo v^.
41" C omits w ; P m w. -~ wastr-
ii 42] iEgnisium (60
amai^'i
uni iirauM I
s>5««: I HT n? ft sri ^" I
fawwBT I fti ftrftrw'* I
fnti I'M wa^iwHwfiwhi- — T
adda wfa Jirm FWT » &■
ft. — NT omit 5; 8U w. — N
TU H.
42'' STU omit rTB- — STU Hfroa*!-
iwN* (U wfir 8 •vn)- — Thw. —
T omitfl ft. — CP 0, N «g, BTU
omit — 8U hSt ftl. T Hdr ft?.
— ORTU n^ifbt, 8 WW*.
42' C fy^^qu, P uwiiciwIuiiUi WOH
CW omit nraVT; PN ftir, T «^
•rar.
42' C ftw nrnortoHtTam. PN funiJV-
QtfTtQ tuqtv^hi , 8 filflJltimilJIMtl)-
wr, TU o^^er. — OU add m.
42* C qfudUlii ftvBVTi NOH omit fe-
42' P °wp- — C n^nt iw> P irtRt
fir, N nwft aoi ft*. — 0R8
42*G «u, P nfi), NOB hq, SIT omit.
— NSU few ft. — 8 •diwir.
— W -vmf^, OE omit
— P 'VfwWir, OR °j|ftEilv««l
42° C adda Hnrn.
42'P »ft. W wraf, OE femora), 8TU
ift feMVJiia- — N fefea-
42<. 10. » CPWNOR «3. — U omita 42'*.
42" P Ht, W 115^, OE tm. — CPW
ft. — P Kj, 8 n|. T we ftfe-
42'* «m «S.
€1] ^3^ safJis.tHiH [ii* 4S
ftipw: 1 m wftww" I fff^ Tj^SJ af^ TSn^rf^kTO" ' ^ fwrfti** i ni
"fit" I m ^ihi ^^Hsi« nf^^" 1
42'* omita an; PWNOR gjff. — NST
WT^. — poa .dd jm.
42'* P -aiT* — ON omit ft. — 8 fit
wr, TU fii 3V vnv*' — N kdda
42'» T gw fe. — W «T«ft, N wnmft,
T MQuru nuKHuu nvmns. — c
42" W 3 ]rt. jjit- — OR ft, STU
omit. — C s| wpnft fti, TU ft
wv v — w simft. N8U wun-
fe- — T Jiwrm. U WW" mp*- —
iflfif. — C Adds mtm-
42"CPWN iwft. ~ p onot r. N
42'' W tniCTB — 'ET omits tnt — Mb*.
HTnw- ^- C •^snrad. P •jcantjrd,
W •anrt. N -gwrtSs. T -g^rrf. —
C wi,6ita, N ft^ jftg. — T i
— CIT amr, aw, 8U 3«-
•mi 3". — T rnHaiHnWT- — P
ft, KTU ftmt-
42" C m w rf a' a lwHwn , P Hmo«?o fin-
ftrhwironnflinani, WUlt htwii«-
I JW- — Ms8. wurw- — C
ra. — PWOE add ftjft.
•3^
42" CP sfii ov. NSTU arft. — CP
•nrisft, W vnnw^, STU mrrMT
feg*- — OB add % ruTuOdMIt-
42"»OD omit — P fcj* m ffft.
42" N ftw, 8TD ««. — CP ganaS.
', 8 sutt^qht, T bqiA-
ii 42]
[63
N *W, SU omit.
42" NO omit. ~ P Hfiinn- - T 5^
sonniTf. — WR om>t mn; HV
42*'N oraito. — OR add vnnnie «n-
are, T oTi-
'■[wwHi (R HTwwfa)-
43* N fGramn before the verse. — O
42'« N omits. — CPW ft iflji, OR f»
omite 43. — CPW W8'. — C -w-
ftr nfc, SU viTftB^, T riAfiul'
(TOwWi, R -finwretw. STU «fe-
42«N omit. nfis. - C mmn, P8U
wwn, RT "iwDwra-- — 8TU
ai*(rfn(i. TJ WW- — C frifiii, N
•WT.
•ftiffi.
W oraits m. - C ittmn. — 43
42»NOH*wf, 8TS«. IT i£.
is not reckoned m tone in C.
42" N omits. — P wrao'. w WF-. —
-sriMTFlOT, STU 'STOWrw.
43' P Sanskrit only. — o>tiiU vfoi-
— C HT ft, T omits R. — CPW
42»N omits. _ T m fii. — e sfij.
OR wnt', 8 QQiTOfs- — N
T S.
Adds fR.
68] fgfife giarH*iT(iH [ii. 43 H
ftjilf^air ^ llRra ^iftw'l'ra'=nCTm' 1 ran* irfn- lilt Ht 1
■ifp ii*S r«!!<Hr^it<H«^^-M<5^'l 1
(IMI FIVT thiMri ' ^^H
nn: a^mfk ruja^rwHi vommrT' ^|
•jnnafl|qif?;3T!!ftanrai!n"l ■
fcrowi.imTjw.'mf^qiftar^^^^ijnf^j"'! ^^^
TO" 1 ^arw fti ^315 H" 1
^H
few: 1 rtHlrfni4<(llR<l aiULl 1 ^^^H
«<«<^ 1 Wt 5t<4^rtV 1 ^^H
43'CP-WNOBSn mrnr. - S .jiiift-
^, T 'uPgiMintA). u 'uniniMl —
^1
c -wn*. — N nnijhr" - c -fa-
43» C omit. iifi. — CPOR «)rj, -WS ^
•te, T ftuT, 11 ftna. — *
ftj. ORg -Sirfiiri, 8 •RtrmfOT-
r. P R * iSre. WS n), OE
<|it. T -anftf^H. — CPWNO
Sw. — C VHTfssfis.
ifTO. K ofira. STO «fhi. - W
omiU ra. — P Qvagqi «, 8TD
43" C Tim fi^- »™. — CPWN ja.
■lait. — OOK xnn, w a^ro.
— T fii 3w H mn«-
S «nw*, n nrn.
43'C fay TO. - CPW .nzfum-
43" N ii*m<r. - C -nfcit, OT -nft.
43- C rrarro™.
afiiH. e add. fiRvt, T .dd.
43* CO VI once only, STtJ omit. ~
i«A« finant afira, u .dd. fim-
STD ajfj s. — WOB <i9m. 8
»t. - N jmnj, eu snnift, T
an^. — OE add TraiT mn «-
S fvWTO^l^VB^VT.
rtfii.
43'C mil Snifi.. - ST B«nr. -
POE-jftmi?. w .gmnt-
43"Cfi™- iminiBft <nt, P w A
43" C «|- in». — T «». — OWN «n.
WNORS TO, D omita; T «vl afUr
Pftj...
aj-. - P ^aw.
ii 44]
■^(uviuIh
I"
44' CPWSOE fiwwin. — C ijiwl, P
•faiB^, WNOE -inil, STU
44' su ow. — CPW -in. N -Sid. —
NSU ■rHuuiuit T M^rnv-
44- W «OT-. — P8T -Bftni. O -B-
»1^. — CPWNOE ^Ifail, ST *
firw-
44'' mnir. U but. — N -wgij —
COR lua, N ™. — S ^, U
WW- — N inw. qm. S, omita;
t4'F>Jt>i>9«ii9!i. WiAn) fna,
N lit 9x 3, OR am A. STU H)
nm 5»« a. — CNOK itffe-.
S TO amjufM ', Td rt (T Hi)
4S*P Qiai-, BT fnmx. — Uu. n-
mhi (TT nflii). — WN nonr, 8
'3iTf- T •gsf,
45» N ^fe, STD nnr. — N8Tn omil
TH. — C l|lhlH44l- P JIlilWA). N
UthPrHdl. 8 ^l^nd. TU gfivMt
inatead of oniR* — SufniTV- — OR
Ijw till art Hsniwt-
45' ON »ft#. S nil**. TU iftil. —
P OS. u mv. R nn, SU m,
T jRi. — POR ilKnm, N i(».
nwanH- — CP onrot, OB «-
iwft-
45' C Bfj OTt, PN OT OT, OE n
45' C BH". wg* rnnitiT riKMiHJlwurn w
H. P Kj* wt /inJuiA arawNnrfn
■. w omita fir*: OR fat inMii
WMtviQlH «, su lit* j
65]
<g?flo
riL47
^ai'^5
R(^i^ TOi^ii^ ft i
ffw^i
r ^ II 8« I
46* C omit! tmi — Mb8. rmnv- — C
• liaArMiii , P "HHfiirani. WNOE
'liaMiidiiii, 8 'fjaf^dliUi TU °^-
ftanj. — ST fe, N w.
46»N •»«, T -a*. — P -jTivl. — C
firoi. — Mas, •HOT, — OR 0. T a.
46' PO -jS. — CWNOE ftraftel, P
UUHUIIdlt 8U (jUUrCMT' — N Ulfl,
STtJ vwS. — CPW innlT. N
»wwW, OR ftnr, 8T0 fire-
46' C -jjOTl, N -iji.. — CPWNOR
ftnft*. — cpo IB f|it, w afj-
ft. N osfi, STU a^.
46' C ftw m JJWH! I Sft l!Bt, w j#,
N TO, 8 r^ TOHT I TOt. — CN8TU
omit fe- — C M4j1iJH«, U "01-
46' «OTil*, WOE arSx Hiwfii-
47'OWNOE fomn. — ON iftur,
FW0R8U cftjT. — P °ilBl^,
NSTU •(udliijrwill'
47'' CWSOa mi, PSTU ftii- — R8
TTJ ftm*. — CWOR °gw»f, P
STU °nvn!i N 'vrNHBidJ- ' — S
4T ST TOwtj «. — C
W lira-, N iftw, STI
47'CPNOSn fei, W fej, R ft«S, T
T3^- — C iriijiJDJu', NOR tmidnj]),
STU ^M^rrarr. — C (jJlflMlJUlvi.
W •fiuajn-, N -ft
P irt, STD 1
ii. 47] Ih l fiUM I iitH [66
•ill": I MTOlfil SR, ^ IB i't^i! I
47'W aw. — c rt * Ii *!*, P *
n <<ii s«, OE Trf « n 4<ri. —
OPWNO «i, E nil. - P ilwr,
NOR iiwnr, u Uti iHS. —
P aw. N ifoljj. — COE smnn
sw vi Wild. P WW miuilij fit
■kill ^ WW BITO fill *WB, N
vra tw niMifl srvnii ^^ sivilu
M m wmi (8 srafii), T (ii gn
47" CWNOE omit w. P n. — (TW
(J*, N jrt, OE jrt, T 5* », n
5* * — CWNOE gnu.
47" V «m. — WHV >ifi. E »3- —
C hiuIHi STD wujf.
47'OET iM *. — C await, w
•mil. 8U anaiaui).
47" ST It lOT, TI HI lllll. — OP 3>5-
fjniT aflin. W g^f^sr, N a^van-
vre, 8TU 4141 r^H wi-
48*8 omito fxjmt- — B n «S> T
a^ arft. — N viliiui. T «i(iitflld.
— OPWU in, OEST iRnnini.
48>W -Saw. 8C -Sai, T 8a». - 8
n. — OPE finm, WN fiian,
fimrav. — T omits 5; SU w.
— CPW mnii ifls.
48' mfiri), PKOET jfinS, 8 ^.
tit. — P omit! S. — CPW8T
nfir.
48'CPWN5», 8tt J <itfa, T3va
fit ft. — N omits ft. — COE
49-8 iift mAR, T iifii Sa. D Sft
vmi. — N MldflUUJ, 8U liliBliillu.
— soda, w vda, N h^it,
omT. E amii STU HO BboTo. —
w aHuiraaij. 8tu anr.
49''0 lAiiftir. P niftr, W roa-
ftaSnn?, N d4ll(ulMN4llji B^
67] f^fHi saftwRTTR pi BO
Misfit ^WWOfln^i 6TU aiJliwM'.
— w jm. — c ftiiOT, w urt,,
49' U omita. — C ftra* nfili S omite
. — C omiH fir.
OE (
- OE I-
49»U omita. — C juft. — CW0E8
tf. P ^, T ifip. — Instead of
49>.« N haa only low wuifif.
49* C im- iTO. — C -liwi, p -itar,
OE ^vr> 8 a^iH i^ifTt T nf sivn.
U grtwf. — 8 omite »ftg; T ia,
tj Tl^. — N Sam.
SO-O vMm, -ft. — N -ai. —
STU av^^. — OE •Slit.
SO'W ^iM. — OE finnn*. — P
5», w »(i, N BT. — p imt,
■W Bjft*. 8C siH*. — P xrfil-
in*) R UTIDIUT*-
SO-N ■j.iwT-. — -mi), 8 ■««.
— "WOESTU •sinr- — 8TD
50" Maa. «ii(. — e nxnaM, P 1*,
8U alfajltlH't T vnilVH*. — P
a«re, V nfii. — cpwNSTn qr-
— N8n Tjtiir, OE -ortar.
50' C rmn, P omita txm; N n«n *
wBW. — ijfiulvai liiMi . — Bu
"ST-
50'CWOE «bip, N ^iptrnt. — CH
8n mftii, p mmi «, T » xfi-
j»; Sn add 8. — OP mUfi, w
HOE iitfii. — PW add ft, BU
add m ire finr, T adda m.
iL 50]
v% qfbmi «nan<m: «i* i
[68
^llijt, T TOt. — N adds q^fif.
50^0 firavn vrs i vfii ^, su
— CPWO «(t^ E «k.
50* T omits qftnUQ.
50^ PWSTU «9f«iiri?R*
Tan I Hra^jBwu* i
JnjTSWftpjTTI ^H.t*(i 1 WTO
lg?l^feaif=ra iftST f^ ^fPui
r WSPR ^ MP^il II ^ II
Il>FWNOB (utm^, s fim, T (in
omBi TT luiujn. — Pw aIh^iv,
N ift^n, OR thfm, s •^,
I 1*P M^*mM, N jniniiiii OR awhOi
STU •5TO «■ — w nwnn o «i-
— gimvt- — N fifi-
1' N annmriBi D <4im4jw- — P ira*
■rag-, W JUI4U|lddM^UiftllHli, N
VO^uidd'i OR ujcjirddd") 8TJ Bw-
— w ftiw.
I'POET-fil, Wimniffi, Nini»ft._
T enAuuUi TJ AdMW- — P S^WS"
Slit, WR -ft, N ■»»?(%, OTI lliefl,
T i^MsUfil- — N AIMllli 8 AijUit,
TU nitfhi.
2- POR nrfbjtir, WN ■jwi, T -jpi. —
N8D -aji. — en o.
2» STU awr. _ E ■andMn:, S •».
QH^rll- — T tllHiil. — P "UlUdJUp
N 'M^C, T "uluv-
2" SV nw. — N iBihr. — PWNOB
•*5i. — PW iflf, NSD nh, T
2' PWN 01^.
in. 2]
[70
fiifwc I in qm^ ftsnrsrwt' i
Tim I
fejiac 1 otiot' I HtJ ljc( ^[5(' I iMum' I Ht «RFrW 3n5r WJ
ft fer<4«!!3i fw' I
2' P frnnrn. — STO ot»i (*. — P
J, W 54, N g* ft. OE 5«i. —
N asaw ftiil, 8U nftsKt, T li-
ftliti PO »id m, W fin, E n.
— Pa, WOE a — POE fi
fa onM only, S fiii % once ooly,
TIT omit. — PN «TO«shft, 8TU
2* N wt OHTR omits fVrfgrmt — HWmT-
unuT 3*. — w ftn ^ftuni, E fe-
fciuuHi 8TU ruPwijJt. — P iiTir-
urf^ WIT.
2* W inaerta «Tf3^ H before fn, 8
omito m- — F KfVia, E n^, 8TTT
S-w j4iri- — NT -Biar. — PW
NOE lij.
m *«|iii. — POET n<ii%, N B-
ftw. — Mae. mfva*. — N ?w-
BT. — Mhb. «f4ii.
P WlUUJi N WSIUi O IKtVIi E ^^,
T aSSiii bS. — PNOE viftji, W
nflrai. — PWNOE fc*. — OE
w njTii. — P nai ». WOE iij. —
p Sra. w Wi», NSTn ifli. — P
WNOR mjT w. — w fa a, Omt.
STD itj. — OESTg in.
T omita a«w. — "VPSU omit ft. —
P ruaum, W nfamQ, N refafinif,
OB firftij.
PWNOE Siting, su aifimra, T
»r»i.jn . — oEsn sSftii, T far
7iJ qnli vaOnmmT [liL 8
ftll. — N omita rt. — W
NK -fiirw, ST omit
3^ STU omit srd- ~ W ftwire; R
«id» H. — P -sfroWl, WOE "w-
filFH*, NSTU •Hftw. — STU
3" NOR omit; PW8 omit n# n*.
S'PWNORS omit ft|TOr:. — STtT
omit HT- — P irfr", N iKru<wl-
wft- — P °HiHI*WflIUIi N °HtWII7
HIUJIIU omita iiK>|lf; 'HnTT^HnTt
8 'UMiVi TU °«Thmnnmi- — W
corrected to fig. — STtJ omit nTQur.
3'" P omits ngtT> — R RaV once only.
3" P BT3°- — W 'enfirari- — P arfii-
H WNOR nfv^. su anrii, T
3" NR Mwfllf ODce only, S tnv< oum
only, U •At a.
3" N ?rat onc« only, 0E8TJ omit
3'* P fWT fwnr »nrt, w «tbI, N mnr-
ft. OR "BT. 8 omita; U wwi- —
W' mn, 8 gc|n[' — P liemjiuii-
w^, N HwdnnxTd yH^, hwjo-
fwndl^RQfBu^, R wwfiireTTinmH-
yH^HW mjf. — ORT omit ^.
S'^NSTU fir. — NOR omit mo. — P
•fgffi raa, W -feift, N diniw, OR
rnmu^ai . SU °mxt, T °1^i3t. —
N iTBfifti, T d^vriii- — STU ftd4
fe.
3" E8 rat once only.
iii. 3]
^V^ I lift wl? #
nsn I rT^ »T^' I
3" OR # jrft, STU omit Hft. — N
WHfidfii, sir nftrf, T litr'- —
p'mftr- — P ire^, wsu wsr^, T
3'*T STB H- — Mbb. wnnrwr. — o
WrTTHfiinrTOwnfii, N vtrnnrravMrfii'
— IijBtead of BRTlfiiHt W (ft, N
jigi, 8 w-TOitifs, TU Mfrairrfii' —
P UUlulfcU I ^ JifULUifctl, N ^■
»aif«Wi OR U^UhfiH, S 9(I^Vt>
T Hwnf»3», U du i fial . — PWOR
add gFrf9||fi (P -fiasi int. — p
Qiftra 'ftati N nfsv <iTfff, T omiu
vHt. — PWOR orait fiB. — N
HTO ft. STU m* a sre. — T
dUUIWUiui, WOE 'ujH [<||) , N w-
HiH". T ivuw- — P trNmir.
WOE -vHt, N whnro, S -wa, T
ikA. — OE ^fan- — P Bfe^,
S'^E TO* once only.
4'Msa. H^. — WNOE b^H'. — P
Hfesfcd, WST fjif, OE feit. —
P mnafas fsuu^OvOi WOE "fei
foTisaafisnDT. N • Q gfsg m a OTtsrafTi
S "fesferawR^ini, TU "fiiTf^siT-
(T ■a")*g*H«i5(.
4* PS BsgH, T ws^, V »ww^. —
P II j|MduA>?t w nn^aw , OR fin-
wT', S uurUrfWtfU'', T ninrs fire-
iHUulUuJIi'l. U nUlUi'lUOBM . — OE
4' P inserta nan I nit iret i fg^nit
before HJt. — STU n^ wAff H-
»nr^ Mttiiu wh iii«1t1Jj)(ii (T nHnr)
UfilfM (U uiFiru)- — OR omit
n^. — PWNOE B. — pw turm,
JJ omits. — OE omit hw- —
PW omit ftrrhn- — P 113 omito
nn; OR 1IH- — P BtTr- vfasi,
W wriroa', N Hfin«5r- — P ttvff,
N inrrfiT.
4^ EU TTSt ODce only.
73]
ffflTn sramm^ni
[iii B
4*N omits f^rsnC' — PSU omit TOt;
N rat «. — OR ■wm H. — Pw
9n^T3t N trn^Tfiiril. — OR omit
miff. — P omita HTSft; "W Fafa
jn^i P BrTre, N jTMaT- — P TFI-
r<ld I J , N tlhlfH^DTt, O 3Tn3i, R
sft, U mfcnift. — WOR omit «.
4*STU H^ «^. — P wra^-, "W
v^, N W3r^% OR wjwfe-. si:
W3*B^-. T W3THfr- — PWOK
WW, U -jftHTismn- — PWNOR
ftsT. — U addfl ftat «.
4> PS flilfft, W i^vt, N liW*, TU Bee
below. — W «, T H3t instead of
H; TJ omits. — P HWOT. STtJ m-
B!MTO»TOiD (Fipn< — P Hamu'- —
— adds mi, TU add wTrt ft«
4' R nif once only.
4^ "W omits in the i«xt. — OB Av sr,
TU hn MinflH. — P wiftrt, N
sMumrt, OR EhraiTvivr su S«-
ffiilii, T orennrffii- — P (auifa-
^ ft, N afvwr ft, OR Swfiwr^,
STU fewfimr m- — P wtftiar,
OR iftfewi* (0 T).
4»W omita in the text — PN Wnftl.
STU a« fit nfij mfw (U -wm).
- Mm. saifa; 8 fl.lda h- — TU
fifflSHOTT- — P W'RTTi OR ^(Wr
4"^ omits; R TOt once only.
5* ORT fe|- iTit. 8U omit fir. — I'W
ftm fl, N ftunfii, o ftiw, R ftw M.
STU firo W. — PNU whfTf. — TU
•WW". — WNT -jhidJir fW in),
8U -wn. - P vfffmv. WNOEU
■are, NU B«*, T Bjrsre. — "WKT
■■revm, ORU 'Rwvqi, 8 °infs3iv
S"- PW BT. — N »iafa«li4o , OR life-
iii. SJ vjnnarafu [74
WT (TO f?^ <V4a)li, 1W5 Tmf'H SOT WTOnnftu II ^ II
srf^aiT'i
■Sin. — W jit, NK anTi, T ijji.
— N omits ht: 8U an, T ot. —
PWNOEST Bfer. — s ilftg-
5' 8 omits; R Hst c
J only.
5' 8 omits feg*. — OEU omit nTt- —
PSO omit S. — P irffWTO. STII
«T15. — P WjO, N q53H. T Vi-
ftw- — POE HPiT*, N w mm
O^nft puts nrl after unw; 8 iT-
*, T a*. — 8TU A(T ftft*-)-
ramV(MM4am. — imrtr- —
5'P nat mn fffii w m, w 33* m. N
sft ■ HT, OE Hm aft BT- —
riMeHllJtF^iiJ (8 °|[^)> N gSV-
5*EU nit once only.
5'P Bit, ST oodtint ■.
6- w ma- — P vhwr.
u Sm. — N a^MTH. su srstre, T
df4H- — P vAM, S t^uiCfl.
7- P •s^fira-, WOE •onftir, 8 diifit-
•r, T \j<iHwtiianl<i8i't U ualu-
vmV' — "u^, E 'mt.
TW
P -iWfiraTij, WNOE inilfB-
76]
ipfla
[iii. 8
CIS I I fifcwfgiFi fafti-Tu' I
7' P (VimiiMU" uuwi^ii'i T nitwCt^T-
?''N •wmrwraftr. STU -uniisrw- —
PWNEST atfitit, tUfzH.
fturt favTO. — PNOE add «.
»W «fair. — P "ftnnw^w*. WOR
'duiMUVi N 'lutiQi wa, 8TU •m-
H. _ PWNOE H firg ayiv mnn-
n (W doTTTnjuiJUWi N RTnuretrT-
(8)- — U UKUHHIUU-
8* P •fefinnn wow. N uaw- — P omito
ft; OE w. — P vxm, N finrw-
Tft. — 8 ft, TU S. — WST Hfir.
— W ftddfl ^ftqrs w wffe TOt €-
fcHilufuUKit fenat srfa? Hitjyfui w-
(' OE Hljt, 8TU BWgt fasT (T (ffT^).
— A^O- — W BlfWHHl Hi
0R8U ^m-. su -ftrf^, T fgm-
ftiftrot; STU add ftw- - P m-
lift- — N Hftahr-, OE sifanffw,
8 HftrarsT, U Hftwra-; STU add
few- — P WRraiT. — POE omit n;
STU ftnr- — P w^. — WNO
RTU inifrev*, P wtn l g^ gtg p fr. 8
nrrasiifa' — WT i^mvs. N arrTnir
H, OS sfwnirH. SU Hwnit. — W
fasdf, N ft MM fa . 8U ftqfi-
aft-
i^ W gsrft OTO, PNSTU gvft. —
W omitB gur; 8 jnn- — PW0E8
TO. — PWNOE TOTM*. 8 w-
i» V omiU. — P8 5jwb, T uwwt-
WJOTSSBTIT [76
%>»: I Ht 'fii ^'SI ^ ITO ■'J"! fil Hmf'rt' I
8* U omits ftra- »ft — P 5^', N taTiT
«*, n Wiw. — Pw -toJ. — pw
T omit fe. — P fti rtr, W omits
f« m NOP fife, T (S inm —
N -rialTi ftl. — P tiWI I tifadW ' Mli
rayorftu sfhraiT guff Jiffti ^ "ft'
iift«r, N0E8TH -fer, s wa*.
— 8 nHffflt T fcij^n, V fttaoiHt-
— PW TOttft, N irasftHHfB, OR
UHlufifi TJ faHliiru,
8* P n*. w B*, N nil fa jIhijiw.
— NTU *i!(t|jii])|.
8'OHSTU irao- — T adds m fe«
ftra FO^MT WW fit UUJJItilu Ufa-
TTter wsi greo toJ pw w 5 tiiiHiii
9* STD WTO. - P wiwft- WOE OTife.
— T awirof.
Qt'TU ?w»T. - "W fw. — N8TU WT-
mr- — OR ■fife, STU 'dm. —
PWNOR »ri, T rt-
»« P omitH gn, NOE gjff, STU gij. —
P MrTftrowira, WOK nfcsorfei K
nfiiMijifd- — 8U fti.
9'' P H 35515. — T fomip gi
9' STU omit Ht. — W gur fii, PN
qqr, OR mi^, SU omit. — 8 m^.
— PTU a- once only, N TOT
UMhl, 8 (illu inrf fe, T UUJM' —
PW mnfe, N Hdfe, nnffn, S
MUUUJIli T utdfe.
9»N omta nwT- — FWOB •ftrftnit,
NT 'iH', 8 -ftfsri, TJ «fRwwTO. —
Mb8. fiiv°- — P 'uiTKaftUi N ?nj-
TonrerTHnTi OR '^red. — P ow-
uuh&iid1< W mniQvsfeQin^. N
fscsminnifei OR iicst iOvii^'i
8U irea TiOTH'ifs (U •«), T wk-
rw Sw. N 3w, 8T
77] qRfa aalH*i*Ti(H [iii. 11
tTar I
&fa. _ WNT fe. — P Hwfe, 8
jrtftf, T omiU w H*.
9* ST ^HotT, U «ftH.
lO'PNOSTU -Tmnfr. — U -grfr.
W^NBRTfrnaw, OEmnwwfei.STn
10«w ^fippiw. N vftum. OR Fjair-
10* NR *a^r6MHiolM{|* I °iniftHa°T
— P iwi^i N tpmiO'Ti TIT
10' ORSTU w*- — W fe w fff 51^-
ofir.
U*N onnT-, OH wnTt T 55^°. —
PST 'g^ftw', WN »5H*5r, U •«■
TOT. — PtI -ferfg.
11" Nfi -^fesr, S •i^fem', T •^fera*.
U -mssras — M»8. °inirnii. — W
uilum, NT viojqi, U (kuj7i]|.
11' P BjfrawnrfBriiHTSnmrtt, w oj?ra-
ttffl i f t, R s^snnsn%Tint9 omits
what follow? as far aa # h)^ n
incluBive, sea 12''; T a^Of a*WB'
ll-ip 5»^ ft w, W aj fif ^. NS R^
ftBH. a^ fifW, TD tr^ ftBM.
— PW -te. N "iTwr, o ftriftai
corrected to •Hisft, S •^, TU
-mft- — 8 adds fe I aST 3lir rt
anrrWt i ti i ohw fw few-
iii 12] iftji*jyrtMlM [78
H STOjrfw ?j? f^ fii finairftpSt'!!
arf^ar'i
Q-NSn *», T im- — P ftrfifSHnr,
12> N w( mre. — w -fci, N niiaa-
l». — ST Sw-
1>T giiifiort, U Hjoni. — STD ft.
IS* N aftnit. STU uftml- — P «w-
j*, T nai«. — P nnlmit, WNU
CP tfe, WT »ft. — IT mi, T f«.
ireni, n int. — TtJ 8ju. —
STU amir- — T nit, U omita.
— P mwift, WN finsft, OK
■mft, TU omit
12* T omit! QtHB. — FWOB «4, N
13' "w 'iistijdTrri, 8 J4(9iKi-
13'' N ^Hiim, 8 vfiiuitii TU vliiuiwm.
— PWM 1^.
13- T It mmfm »» — ST ft. _
PN niriilWBTinr *Ql4 cometod
to *vim)-
13^T wj. — N frofir. — E giH-
13' W omiU; 8 ft «.
14' 8 MMJiiiSiVniT TO iiM(1ItQtVPI-
omits fii. — p MTpnn, w «ipn,
79]
qntO HOH*l'fliH
[iii la
r*4i^<!! nffSl^fijl 'Itl^ ft SI'S
arf^ar'i
3ii^jra%arft?^ ^«!j'ir^»!.n 5n
M*Hr*H irni! '5 fk^ ft r4««t*itTt I
arftar' 1
'sp^rtTTO ftr^wF? fti^'BTf? I
sroftrftnift? f^ft HHfi^i ws
*>!"! I irt ire' I 'Pi ^ij sTO ft 1 W5 ^ yirow
14* 8 fwiMr T rfldflUi ^ uwiigS^' —
w afnnt ft. F »l»iim. — N8
TU fb.
14'P t!m^, w <Rn, N itai. — P
ORST «[«, N OT^, U 3V.
ilS-N us;-. — PT -OTJ?. — PN <n,
jn.
15'8 itjslfii. TUjiftfiJftfr
fil). — IT •»!*.
15" P amir fWr. w «tl». NSTD •*.
— P 91 till w fil MdBuunn' —
OE sift. 8 are. ~ ■<? (<IWJl)».
S osft. OE fnnft. — W «l
15' N
15< PU liii «, W8 omit
16* ST HluuliS ITOtt^.
WT 4dl<J'. — ^ nwiBi 8 WMIft
TD mi!fi (T -tto. — P8 hij-
16- WOE li (w m) «• ft imfin )(-
im fii«nt. — P * ft, ST ft. —
N nfts, T tn<i«.
16' N8TU shnniDTajt. OB ft iiiwrTa. —
PWOR ftmra, N -ft. — P a»-
ifit. w 3wHh. T vhiffii.
16' U omita faj*. — OESTO ml. —
iii. 16] ^ tHhHiik [80
W^WW «*ii1^'iHli rrfw ft ril<;»im<8 fti ft M^-m
Tran I
*l*4rt!!<4trS-iiI<*Wl«!!<J*,l <4«<:)^
f ^J<li >*ir*i<lfl<!!
16" PWNOE ju. — WOE ooll fc; ST
ft, _ WT omit a. — SU «%n,
T wmt^ Ha- — u w sni. — N
^HTTRnn, S (hllUHUIIJi T MIUJHHI
(AUIUHIH 1 iT UiUliHUlU] omil* Mi(g-
Bw. — PW ^ mifh^, N utjuil-
wii n^qnra oorreoted to tm-
VjIMiIi E WHWMSti S Mlul^HJli c-
UfUIiulilldi T spT MiulMnli- — P
omiU ft; W inBlft. N 5i ff ft,
STU B ft. — P8T nnvi, N m-
— PNS omit fii fr; ETTJ «i fe.
— TU riaiSOD. — P O^. W
17' gii, 8TU anw- — W wrftw,
17'' P 51 3vf<iw(aaiUjJ4ll"i S dfiiiii iiwii*,
TU "finnvQr-
17' PN oifir, T witT, — 8U wiw, T
oitr. — N •Kit, OE 'An rfn-
1''' P ffivriT3iiiri N (|f 1 uw , 8 n htw-
ann, TU a sTftami' — 1" ihot-
- U 3ifff, - NORU g^Kft, S
17' P omita; W Sd H, OE irftl W, U
oNr «T-
18' P tin rill EiM(i(iid HjJfiTOfffO'/ ^ H'
18" P -wTsfl. — PWOR nHnff, 8U w-
ftm. T grlHlT- — P "WW?-
18' 8 tjur- — "WOE itn. NT Tint.
81]
[iiL 19
W PNOR «Hft. — N -vniT (I5H a-
5M w, OR »• emnt w, U w
W PN im «, W SB* w, OESU HI
H, T nfe ar-
19* PS UIMV- -^ 8U (jQilPlurtMIr T
•O^ftW- — PW' hIUQ' — P W1-
IQ"" W srt, T Q^. — P fr(Eif«nia«nii,
N -aro, T fiTBftrsraftrw- — P
•Jisgt. NO 'nmi, STU irjj. — OH
8!I, N omits. — NO Rsoi.
19- STtT oxwKt. - W «! g. — S
19* P OT, wd, R srw. T ?BB. —
N omito wm. — PWOR wHTJrai-
M«1(P> N TfVTinniTVTSstlfriTH . R
•owHfl^d . STU ifiuQibritj ^ithhT
(S OTHffl. T Sartfa) a (T
U fa). - P ^, T «n, n
19' W •fuu wtfiraiT I fimu'iwmaiHfl
liaHf HI ortwno arftifB iw nw
*adl »Tt lit HftwTOBHTO faregil
3irrvl> 886 iii. 22' IT.; N ^ow fw-
WRTnwfare'Jr Wd«rHHryT(iwi wi-
WSijT UWriUMQ SlUEIW dtiOiUHIU-
CI mill fiuaT?! dddist'
19' PW wgrnarT ^. TU w- — P
wtiini. — T furuOdMrnr; ^ addi
(nlstoii' — POSU jufurtUi w nifti-
fin, — Mas. EB. — N i[H5 inBtead of
Btni; T omits wm. — P feferftrer,
W AiruUI fwlHHIiru, NSU i^HUlflti
OR lihfiilMiru, T ftrf^TOnfo. — P
ftdda nrfmiiT i raivu'iwtfisiuQ
igTWaTT MilHIlI faf^w UH HW
»«Hi wt wt ■awnsTOwiHoadw no-
. 20] KlKHMmfH
■qrcftjF
20*PWN0RT ftm ra. S fet H. —
T fawftdH - — pwoas -w. T
20''W OTO-, fenftftra Hwift, R
fogftnfna, 8TU urtw^raaTiij (8
■WD). — P ftfftft, WN ftrefe, 8U
*<UHi T mUT' — P HH sir! I Milt, W
fiuifl, 8 HM^rir, T HHddl'-
20' P iJV fs, 8U HW wtfafiininr, T
jrer wwfiinni, P "ftw^. — PN
WHfd-
2(H FOR -guT. N •^. — PN wft- —
O aftrart. — OR w.
20»PN « HftsT, WORTU Hftw. 8
HRUT- — P th^ijWl, OR IhW^Hfi
8 H BWT, T S W. U 3IB W. ~
P cMfiJ, WNS lih^, N -ITI^-
ft. 'Jiuudt R 'inrSiir-
20* 8 rt. — N iTsai ftr fifc. — PN arofl',
■ PW fafauHl , NOR
w ftlH, T tjujiMiis. — P irriai-
ui4USt W •aiitij", N 'vfcudd:^
JPg, O '(Mill* I R lllKl^dlll'i S "qi
— w ft«*fl, OR feraT. — -fl
qif^T^mr*, NOR ■uviukiuI, T KnT-
rtAijfaa r; STU add few
— P wf i fe ro ^ fagT. "W
N ^u I ruHHif^Minr > vnr^vnr-
raMT, T in^suiifil BUiiHulRnn'; TIT
add fw. — PORS jTftrfH, N ^■
f*r»W. T fn^fH. U a™- — P 5?n
»nSflr. W w^, N ^ifk. OR g-
am. S ggrit, T ij^hI. U wis?. —
S'l'U Dili I an I few- — P ifnsvu-
womn, W nfsaqni*, N "wf-tw, OR
•(ftdlUWr. T nfoemtAdrHHi U omitB.
— PW ^rtaiflHi, N fn&qiM^iT, 8
wfe*, U omita; 8T add fsH. —
I
83] ?pfl6 B wr-< t ft T 'H**i [iii. 20
ffn: ureniffi ^iftwi nrfifViT fl"
PNOR -wftirar, w -BfturBf*. —
HMIWI (T °al(.faHfT° , U 'llJIiJ-
20*8 war. — ORTU 3 fe-. 8 n ftr.
— W omita wim-
aCWNOR omit m; T vmft. — P
wftrfwBi ttfaHTwt, R urawMl-
20'W ^. STU g^tfwwjra. — W
•trrra. N -qHiwr, T jwmraamwnift.
aOTWOS OH^, N im^. 8U na-
^- — P wwiffrfti, N titisfnTi
■snirsfaj*. — "W •^anrnn, NT
?TW (TI •*)■ — P ftiwtffl, MT
20»W ojg, N TBig, Tn*g, R ufg.
20»P mtftmrg, N g Hft gg a . T riaW-
mis. — P8U 'nmiTT, T •TORT.
20'" w Brif, N s(%s, R a^, 8 srera,
TU !ITO- — PTU WIITO. — P
NOR giiraw, N -wa, STO ^■
20" PWOR omit. — N ftrf»%Hi^w-
nn, 8 wi% TU ftn'.
20>'' P w « % q n>a a in, '^ lawf^iwi^m ,
O QfcqiidUld^^, R vfi£nil(l£na
instead of ^rfn; N ^ftl vfovni
20" R TOT fimfif.
20'* P omits anftnii. — P hwvbht
20" W Hift, S shpt, U HJ*. — PW
NORST TO. — ORT omit hOTT-
— W innfi'HTirftii OR 'inoi Pi- —
PN Hwroft- W Mmntt, ORSU
Htwt, T oii^. — "W8 Bft-
iiL 20]
n^iHMflUlH
20" SIT omit BT. — ngm. T few-
flftui' — w iuIhuaui ftnros^. —
STn *finft. — PN IW*. OE
•••ft, S rail, T irat.
JO" WNOSTn nwiirai. _ poe mm-
nft wuit. — WN omit B. — WOE
swrafe, N Miavwrd, OE 5" w.
20
' N ofig ij^fn^i OR gfs attfinr 1)8-
fore Ta. WNStr omit T3; T w.
— N *j=rRTftra, T ^a^n*. — PSU
SB, WT omit; OR w- — N ^jpfa.
Sir a^nftf'
20»-" N omito. — P 5W Wt, W Jit.
gr, STu ibH?- — T (mrHdiuit —
20" N fii^raiiDv HHiSft H^iTH- — R
Ffil WOTtrisrftfst jjir et«., Bee th»
following verse. — T tnuvidm-
— W HwriiB. ^vm». — W
21
SU ragii.
- T*,. -
NO iimi,
21
Njw,
mm- — PWNOE *-
ftw. 8 ifts-. - T
•«rt. -
PTOh^.
WSTOhj.
NOE -ag,
T Tra, n
•OT.
;'P fawT. N8U mm, OR aire. —
PWNOR Bife. STU g^. — P
VUUlVH^l, N dM^I vrifEl ; ^
frnnrftTTr luid adds in the margin
5FWT; STU •?^.
^rar 1 wgiHsrff «! lawn"
JJ-PWE -Mi, T -KOTli, tl TOW.
— PU UhImJUIV, T UHlHJIlli-
22' P Hofit, W ««fii, N man, T «■
mSi- — P uSj, WOE aft. —
N SUI1]((M|. — P H** UMjlli on
22' PWNOR nw^, T *wr. — S 'ai-
SW BBi U 'STBQI 8B. — P yWH-
fen*. — STD 'TutIUSIIMI- — P
WNOR #g3T, T Ham. — PN H-
^pH^. w fT3t wtfa. 8U HT<slf<i>
T Frat Btft- — w wtjniarft, SO
M* "WSTU omit m; oa m V*. — P
OR few, WN arvHur- — PN fii-
22* S BT 0DC8. — W mi. STU qi^.
P uf(.m((l(J)lJJi W yf(n4d*niri Oil
aftwiur^aiu , STU
IB- — P fiipwrati ^N fouiul,
OR fujIRiirciHTi 9T foiBEIlfHtTti D
fwooifesft. — N Uldfu), R Q3TKt,
8 a4*fr, T inia). u ^T*.
■•Oa omit — 8T omit »ft|; U
irta. — W •tnsnwi SU *HmiiJ)-
— P m, WN sia, STU omit.
— F nvrifl, N mni. STU nfo-
Wiul; U Eulda STQ.
22« N omita Hfi U wt «t. — P siwni
tm in%ii STU HvnTTur ftia fewni
(U ^). — OR nift, STU B5T.
22' P Oncuw, 8 "ftnTi T 'fe^' —
PT H4ir, OR rtuT-. — P da,
NO S3i«i, R 9m. STU -^ a.
— OR omit ara; ST (rfa^JB.
22" N fesKTm inzwn:, TU n% (T «»)
fe fe" (U vftmrn feoKni).
22'i 8TU srfinrf wct- - PNOE ipm.
iiL 23]
23- P -ftira-, WOESTC .fer, N uo-
ifes-. - H». <fiT (P fe. — N
iVAJUUTHCII, "SIVTT- It ''^- —
P tia, WXO tri. — STU p%
23' OH *, T a «ifjrm. — PWOH
wt^. N omits; STU ^. — N g-
>»w, OE Jjm, 8F |»rai, T
23' I" U4.fui w3i°. T (nsFi^iiftr-
24' PO fa3sw, w ^3vm, N feroB,
E fe3WB. T iFfiirew- — PN8
W3«=, W rta-. — P -gapw, W
'(gUMUli OB. 'UJHW-
24^'NOE - Oimirinul , 8 •to'. — N a-
iitftr, STU »nig. — P n? wnfin-
w!3i, WO firm furiraw ^ (O ^h),
in the margin tnt tSK^ltVI, B.
uv\v^nvf, TU im sin*.
24» P V OBfH, T amftrawiT*:, U omita
&•. — W RIOTS-, U WW. — OR
STU ^- — "P w^sfl^, WNSTU
25' Po" -BT, W -BT, N -^, R -sH, U
"OTi. — Nou 9- — pwnrtt:
IjSi AtS bat in the margin ^J.
25" P rt mrar, WNORTU Sstrar, S -vn-
— N aftym. STU -tr.
25' P wmH, W gont, ST rt^k^f. _ P
grcs*. WORS g^wT*, N w^^,
T wgsra'. — W 'ftHfr- — OR
•fyfitflflri S *ftjBiJ^i(ii4ii<i TU "fe-
2S<i PUR nqr, N ds instead of i^.
— NOR •WHTffiw. STU -VinTdQ.
— OR a. — Mes. nat- — N
25^ N omita.
87]
[Ui 27
l^aW SHI 1
♦'^■«*'<WTtMIH!jm!
iTOI "^Jlni rfl<*|l|<l II ?9 n
anf^ar'i
2tC0R plM. 26- .ft«r 28'. — TU
27'OEeTU omit «=i). — P .dd. TO-
MtAVUMUdlli' — N 3V^1Ta^pTI^-
fir. — N i9in\°, dM^ I" , R
-w .^■.
26>T iinnnnM. - P mm-, N g«-
u Ewrora-. - Pti -y . B- jw,
w> OK ^HW, STTJ «Tftr- — OR
TU .yi-. — 8 -nfj-. — N -mwrn-
•OIsflTO*.
— P fiESH-. N j)>m-. — NORT
■aljauHl.
w5j " uuiiiijirii-
26" U omitB fa^. — W 11^ instead
of wr. STU omit. — P ^inmim,
"uZlU afuiHI- — P U44IHJHJHJ".
— M«. -saihr. — W -isft.
27"' OE «hrasi?r. — V -faw. — P
WNOE -aai. — N jsan-, OESD
ri«a*. T Hwr. — R 'OTaraw-
27' T Mnrewr. — •mm', R 'h^-
mr. — NSTtI jraiir, w sMa-"
26»P *n, 8U omit m. — P wife. 8
*ii. n Bnfi.
SrawiT'. — P finararar. WOR
28" OR *raira.
tliijimU, N HlHIHtl. T 'HCT.
iii 28] ■ iJwmwTh [8
'ifew'i
28»P8 awT. — T -tfr .— PO •riarnii.
— P8T g%w.
28^TU fert. — WN fwtrft. — WN
OR mns*- — R *jnjniB. S -mif)-
oisi^ — P omitB V^IDl T OSIS' —
PO gr, WK «, T ea.
28«P8TU ftro. — N HRroiirw. SU «■
awRw, T waw. — PWOR fe^-
— P SraJHTt W WHHl. S qnnsT.
28* PWNT wrar- — P ^rrar 5tt awre-
ngwTT, O wt^-, STU HTH (8 n-
ms") fuHSfcWf uiiuftuQiii-
29* P filHfl'BriU'l I W rdUimUU) . N ft'-
wwgHHi , Riwati^Hui I R fiwa-
29'' PN fin^inaT-, WK fin^»nr- — N
05T.
uiw if(iir<ii"t U iniufui*-
30* PNO •*«(. — T WHuft. - NOR
30» NORSU H5- — PWH «tS, OR mt,
SU niM' — P ^3Hwn[aJB6.
lUUdKidauiUH, TU place fl^- after
grir. — PO WBU i MyJ , w r w-
w 'rrai. s jwi'- — R8U ufitm,
30* STU snfiwr. — P wwTgiifl ftwfir
instead of fm^.
^
pii. M
w-
r 'rat 'ftrer^^^ ftire «iiHt ii ?s •
arfttar'i
f^jsre ^ntt ?B^Wo|i33RJ WT stw WfiBrat ftra^ II ?? <
31* P irrt. — N dfrtdHJUgAM ^ I^qj , T
31' P iTfs. WOK infj, T IT. — P *•
pranra. w 113, N -ftrar, OT -111-
sft, R •fioiff, S -nwt. — P ihiHA.
w ^iira. N ^inHt. — P -gsn,
N -(jf, STC thj.
31' N omita «nit- — WOR wfauaMW ,
fii-. — N -ftrfaam, -fiifwt, K
ftrfwraij 8 "fiHrTi T •foHlrlrniTi U
*ddB H- — ffnj omit nnnTad- —
■WSTI omit ^. — PNT 'ftro^t-
31' N oroita.
32- PWN ailii. — STO fa. — w ft.
W3- — PW it^T, NT #». ORB
»B. C itj. — P fa, N I!*, OSTU
^fa. R ifa-
32> eTu «xin«fa-, — N •»»?•. _ p
nw. T q«g — NOR favvRV. —
P fa»t. - PWNOE «il, S fa.
•il, T fa[3t.
32' WN8 lii «.
33-PWOR 4j*fa, N *|iin, 8U 4ij.
— N afa. — PWNOR omit fa.
— N iwS, S nnr. T mm. —
P wImAji. — N lirilnp, S ofanr,
T nfaw, B ^w. — POR S,
Tit.
33>PW om. - P t!3sp, N8 toSsp.
— POR dfawi, W mfaini, N <|.
I3. — P fafa*. — V it-
33' 8Tn ii Ufa.
34'T ^OTn — W n«, OR (ft. —
Wlj frtfa, N fiirt 01.
''n<.'KiiMr<.mK<;ni.i ^ f^tafafaim gt»!! ^n ?a ii M
^im Uljl^rH^H : ' 1 «3 «)*r«irt*-1^ ^^^^H
^ifMi'S^^^t^WT'l ^^H
•ijutMR) 1 wnvn™' 1 finrof^ ij^ snRfimr airarai'i
WTi^pn fJnHiw orairfs i
ftiwi: 1 vi ^ fiWT^am <<^<MHi< ar^nftrscT a?nra:fH
^'1
W^ I HT ^"i«*IH<l!r**><l<<*r<'HMWir4<^H!i ilH\ ?^-
^t^N
■iwswe 1 WT J? M«^ *i^Ki^ ^^ ^i t^»*i\\ «<W*'yi*y
34" W His fijanftirj-, U iftnra-. —
mr B« mm gfrfiirH wwsfk raJ.
Nu'fOTwwin, T f^vptfitm. —
gafe fiiHaOTD awm sa fs ar-
WORU ft.
annisT. R 3srre niwiMWiir a^rorr
ai3 fe srauftni ^ ftsrefit h^tt-
34»NSTII nr^afiofo.
MW sreur w^ mr bh bth gr-
34' PWN wjT. — PWNOa TO. — w
fiiTH wwft otT, 8 fiianrfti ra
34*PWNSTTJ 'vsm; 8TU add ftrofii.
fii^ Sifl, T firanriit pj vm ftara-
me awimrat ho* ht 33^, U fii-
34» 8U omit. — T Hfa 53 wfanfinr.
— PW «inr«.
MT- 3rf.
34' wsu omit. — P wjlfyn 1 m fm-
34' P AntrfH wrfrratr «d% vma^ «t-
WB? annSfe 1 Tfir fi!:aini 'w; nfii-
finBT «^ wmrfn. NR omit ^-
wi a, T «*■ Hm wtHh ufiiwi g^-
fipuT see above; T fcy. _ POU
*i'i«i saflT-
omit ht; NK aw- — N otniU
34' PNT omit fanv:. — P m »ra
<^. - PWNTU "fiRCTW, OR
sranftram wrrar wfiiw i S^ife fii-
-ft!TT?r. — P -Sft^. NSU -Brft-
NOR •^rfoa*, T omitB 'HrtB3-
5?TnB. — PWNORS TO, T ^. —
NOE 8tn^, T «t7m^.
91]
qniM wf^ran^ffTR
[iii. 34
^aR MftfW*! TWrat T^arftf ^rra ^ *I^KHi<!! 58(5 w
34*8Tn omH «j*. — POBT Q^^, N
^i)9?i 8 9inf. — STTT ^ nmni-
Slfil omits wfi ^rfinVT* — N omits
mii 8TU «rt fti. _ OE g^fimr-
fm^, TU •i^. — P Ai, W8
omit; NB dm, O mot, TU ai. —
^. — N W!H> OR 51^, SU duTi
T niir. — IT omits iof and ^ni;
ST nvmirar 4ii4 icif . — N omits
n. — w iminfk» 8 tdwHf T sv-
Ulft. — W adds ^raiT I irt Qq[<«.
34''>PN ^ Jihmm ^mimi ^.
34" U xfn wfl* — PWSTU iwftf.
Wirt.
TTSai^'tt f'Tft M<(t*l JRiTOt ^ ^ «l<8ll I
5? jg'wftss'TtanTn!! ?sg?3T fit f ^jEif fir iw
?aft ar ^n^ «? at ^rais ftj^JB f^ni^nTt IR II
I vx «*«n<(i^r*iiTiii aro Trnwtefipsrr' i anfi-
0* N8 omit naiT-
I'PWSOK imsKi). — w w« firait,
M |iii9IU9(Ijl> T omita nnvt- — P
mrefr, W HTit nrot, N anW. T
IIHUt- — POB. Q91lfti W MHUUCI-
Hft, N omiU. — P n W^, W HI
VVi NOR HT ani> — P omiU JB-
— PWNOE Bftacst.
P PWNOE omit. ~ 8U omit fe. —
8TI g«nr. T ^snw-
V 8 omitB.
2- PSTU omit CT. — S •BTOfaBnwn-
V- — PW lagwH, N TagwH,
??H nvi ^i^*^ '!> ^^ margin as
— ORTU fir. 8 * ft. — «r
corroctod to 9, STU omit «. —
w ^, N ^ra^. 8U g|Hii. —
T RW(-
aT SIS', NR ails', T mZ'. — PW
NOR -Tfir. — PWOR •anftrat,
N -adwat. ~ TJ omit« «. — N
wreft. — PWN BWT, OR nv H,
T ara- — sr ftrwMtwr, T fan-
2' N Jift. OE ifJ 3ra, BTU ift it§; T
adds Q(, U adds ma. — PW a-
mr, NOR H*HB', 8T smvtH, U
nwwB. — PW °giifin39T, N -an-
Sfiliilffli, '(lufiuiMl, R and in
the margin BUlflumi, T STvfiimA
fv tr fifi 3iir VVTV ui*i omita the
Pt.>
fcjmi! I mihnt' I SIT <njlt!yi( ^l*iyJl"Tl 'fe'l
rest. — N nvt, U omitB STV m*.
■atiiw- — P d*(lf(uti'iAui. TV^ ft-
— N 'tTltlOllMl, 8 Hiauttl-.
5^. TU -sai^. - WT irfinr.
2*T omito. — P wvnmt. — N »iTH-
2'
W omito.
VIvfilDBit omito the rest. — P a-
BfiuiNiT. WO u gftua^') . R wufiii-
2"
P0R8T w:. — OR -a?!- — P rtfti-
wit. — OR fliqtrmnuaail. — SU
<U<iai<i 1 W UinfUmillWn , N MHI"
»dd W 3in fwre-
y 8U omit ^:. — W fti Bi, S ft; IB-
IB5ftwt.
— PWNTU ^. WB, R «g. 8
2'" N ^ OTi. — P -Ffwft. N ^jmft-
«. — N omito S; 8TU ira. — P
'qIhUi " uuHiuirvJ' , N Up^jji-
wrfiirft. — PNTU HHTfawrfa (TU
"aare), 8 nwrahn- — PWOR ai-
fe. — OK n^. — W m a. —
P wfira, W ^nhv- - 8TU (n^n.
Bfew. 8U n fet, T 5 fefta. _ P
omhrt, U wraiffraT»ft.
euw. WOR mwm, N wftw fei-
2'
N nwTSHtao, SU n i fasftan. —
W0R8TU WIT. — P as, W omito;
2» SU omit mm- — N •wri wr . U
firro, R foMfii.
tv. 3] nu4H>wjTt( [94
^ 1?? ft^ Haff ^<r+(^i(V ^fijsw?, 11 ? II
fk '^ nil^<!i ?I3T?ftt3?t ST?^ gfSPEPWt >Tff^' I 5t^'
tfltfiiHTjuiiHi TRTlHHHiff war^Ti #31^ I
fjif 4r«4*(^inm!!ir«ii|<(<ii si f^ ft HH^till
ifit i»^ fwJI^^i rm4<ijl wn wi M^ii II li II
*>i«»i I »mr^>TO'i
3* N ruisi H^ II fawn anr fdWH zrv-
wn- — WOR fiOTH. — P h^ttoi
and h^tIiui or cRpntr, 8 ^fniTi 1*
33-, U gj-.
3>P a»ft. JiOE (reft. — P M in-
stead of t^.
3"ni fiiTjra-. — P -fOTng. W -fm-
S». N -feraj, OET -ftisSB. —
P firoifc W (ajti, N -ift, OR
tft;. — STn am tfipfl, P
ytwt
3' WN srj. — W B n. — PWNO
B*. R TCI. — STH 9ii n <<n-
mitt. — PNO -ft, w -froft, E
'iWt, 8TJ °MTTf^, T 'vm?. —
UJJ> N iIi4Ujiri. OR °mv.
3> N fit m, E « ai. — STU ft
— PWN SofJH*, STO mfa^rJ l
emit. — P sifl, "WNOE «ft, T
«T a- — w uTsu'iMl, N gwra-
uremft, STU ftiH
WN jtft, S »)0WT,
u
4'P mBW, NR8TU
liluillH'
4*" P ■uuwuij
nw. — ws
4" N «flii%, T ft*.
■w naw, OR
STU -B-
PN
•fin^wn-
P omitJ) fii; N «, ST fti.
4' P OT, W 53), N0E8TD iiS.
4> NOESTU gsi.
5-P o^wfeftfenrr, W Tj^wfa*, 8U
■«R-. — WNOESTO •jftr. —
Mbh. "iiat*- — s mrsTiri-
95]
riT.7
FT^naws»TO^TT|Tq»^ I
TTw I ^ ^3^ ^1^ iHn^Til' I
»^ ^RT^^fhr^ ^iw f^ II ^ II
«rf^a;T'i
riNlrii-ftrIni *<^««^JIH ^^ ^ S ^^THij II « II
5'''W OTir, N BT%r, OR
STU FtwfBiftwr. — WNOR II-
N
5* OR -TEH-, T -or. — PWNOR -ar-
T 'uiTtQ flrm, II
5^PN "feiFniT. W 'femnnr. 0R8TU
.^nir- — PNOR vts, STU #5.
5' omite rraiT- — ^8 to OR ^.
— PWNOR qur. — P WW, W
C" N uoflu*- — W Ehno^i N shmin-
6^N 'vnbin''
6' OR -miiTOBfl, STTJ •tojW. — PNK
mfmtlrUHIi W <JIU4)- , 9«niP
corrected to qrfrH'- — T -^TaTfn.
6"? -fenwlOT, W -feret-. NU -fe?-
Ht-, T -ftnTOt*- — PW mn iir H?-
TO, T HWHUlMU-
7» P hI^hm I, "W s^hrt-, OR segwg, —
N ^tTb mVi 8T ftjvir, U fHvr>
— N fu^auui-
7^ T SSUIUIUTIIM WUIfll-
7' P ■*isflH, TU •wasrg. — P »wfa-
BVFnTT- — P Aiufujlint MrlUWi),
o °aj.it winivi: I R "WMt woiiii)-
IT'^P I
IT. 7] iKJ^WWwlH [96
war rtLi«r«(arf'<in,in,H»>nijmi i
^reWTJ 5^!!? 1^^ ^^ II t II
3rn!! HTD ^iD ^ <r?if<sM^i iTaififf ^?T srf^ I
rffii 'sif^ wftrgsrst'ireT «i*rm*4i <iwu ii c ii
ni. y arg^M^aa, TU aigtroiriHt (T
7' PW gnr, S omita.
w. ST
OE
U BIB-
8"? firefea*, w ftrtftra-, nor ftrS-
fea', STU HiHumfiw (S -BfesT)-
— TU ■ftjTtlT'-
fr N T^tfa. STU nrfwiH. — N ^hro-
ar, 8TU artirftw'! — PWNORU
'wurfiraranii, S 'djujrfHHiiiiIji T
8* PW ajTirfe, N aifft;, R cm^. — w
syn. NO s^nn, R aa n n
9" P marafr, W ire»i. OT nwnt. R v-
mm. — NOR •««•, STU ^•.
8 'wr. — T fsm- — WOE Bini,
ia the m&rgia ^mrt.
9'' WOE dcHlV wnfiw wfw OTWT A
WW B«ftWT (W •B5ft); in the
margin u our text — PNOSTtT
mm- — PO not a ^fe. N «mB
Hiife, TU mir «. — o TH^T. — P
owfflf N 9^sl?T, s^rf-
9^ P aw Ff w "sro fti. WOE n fiir^ nr
5ni (W imipff omita m) fir, NSTU
WTO n (SU it) w mnfa, O in tha
margin fiirea 3117 wurfil- — STgfti.
— P ft. T omita w. — PW r*.
T tr. - SU fc, BB, T ftTi w. -
P fl mfwift, WOE warfjnff. STU
diiifaint-
J9'P sHa, N ,^, T %(a, IT ifti. —
P HiD^tft*'. WOE anr^ 4isuini>
I — NT tmnm. — s awi.
97] «^ s
^l^' l ^mi ^^ rMrir4r«rrSI^-Mii*l! #^ ^i^ filRlf ' I
^<ua'^u !i ^Twin ^n^fl'^Mji ctHTiwuii f<^o»^*^f^M ! 1%
^*US*S^I ■<<'<*i.W^I f^W^r^ "ftRTf^fT r^^MH^^
9' P TIW finf , 8 omitB.
9'PW trf^ H nfra, N tnmr »rfw-
8TU fill srf™ after bfti. — N H-
WIT, OR NWIdl'
9* P wwj. W «i)^. — 8TD ssroft.
9" PWSTU w%ftT. — P wwftra, ^ w-
mwsifwQ. — P H.V ^. STU
omit t add nwi I Blftfa a I (T
omita ?) fty t-
OR grat n^ m- — pnor "tHt-
n. — P iMirueyiiir N "waiirar
— P FtirrawTT, N BTingsn^, o r-
wn, R wn, T ui.iid<jif{u- — P^*'
omit fawr; T n^r- — PNOR omit
w- ~ POR omit aofc. — P fej,
OR omit. — WT add iraiT I fTJt
yP translation only. — N JTJJt W^,
OR B5t KnrfTMT. Sir njt w- —
WT omit H. — OR nwT- — W
N -gwrT, STU -wwt omit Safe. —
STU fQllvrfRMt". —
T jsH^. — W K^, S wftw. —
^ ^n33 1 NR fwfili I O omita ;
STU fiiwftiM- - P am ^grfe-
r W JTO « I'efore snnf - — WOR «-
M<iy<iii (hiu6iiii, N ttHUDQi stin*
fewJIHWl fw-HHijn tmwwwrs^ omita
onarnnr untl ■% (ia; ST fdMUHV
ft! ira. — PN omit OTRI-, WOE
its ^ uTTw, w ■^. OR -ihnr.
— P omits F^-WWTsft- — NOR
i>iiiit H^; 8 H^xrr ftt. — W TFT-
wfTTaiftnrsiTSTsrwTfinihft. OR wr-
ipui ftt fii «HaiHik*iisft Qii^Mrai,
at, U QTUli: «hfUil(AiaiHCrUlafr WK-
STsft. — N nRUTilH^MII' , 6U
S nsswTif^ T fiirawT.
iv. 9] ^a^iJ^itiik [98
TTT^ f% *^l(ri'T^^lll*^i^?^Tl■^^^(^<^«T^^r^l(|yTtri^rf^<;5*<S;*^l-
3TWW^i^ mi<*r!4l ^nJi^cjJl l^aTwt <*'<U(^f^
9»P m H*r. — OE
STU UdtDHBI (U idHVI) ftrWAWBl
T^^KTi ^ iiniii°- — SU °StTt ftr. — I
PWURS omit $f^°; N nnw&wsft.
T (uiH^Mieil. — U omits Tna- — P
(Ull^'lAI U |(II4!U W 111 BW HTvhiTWjr. W
VlTHrflJlli N ■fesflumfWIlTti OR ">!-
^BHiiii fin fan ( H "S'^uiulMruiii hk
(K oniits mi). STU °<jin gtgfg lffr-
— P. dwiiiriv fs°, N afeiirw
fr, 8 dferar^r» i ti i 4i . — uk %-
o^HTift, 8 fiira^nwraftrwr, T fin-
9"*P OS' (JranT" »3?i° *a^u° uihuih.
uil(]i4;U]H- OR SKj' «jH° Haw
warfw* wrfini" (R adds «din")
U'jHUMi STU fiB3" awni" hj"I°
ff 533°) arrftiHf' ismrwra (8 "sHi
T •«;. _ PT fir, N fit HH. —
PW intO'Qin'ji N HTW fir qmraw-
>fti OR tniuvMia^, 8 imnirmftif)'
oa, T unw. — P -JnuEHutArndthdin
urtHucwui alrofs^Tstt, W (Tb k-
feawfTKWTa, N (uafiiirudAiHCrtiui-
WWWHW. OR atfJTawa^Rniff. 8
omits; T gfiiaaa g g Wr. u »rf^-
»ltj*'<gTsft> — P !wta^?aTftr3r
8 na'iH4i<iiairi;iu1>ft js^nrait zf%-
fa d fuitl 1 f£4i A I %r 4f Hfll sfli T R33°. XJ
WMH". — PW Efa5T3, N firrafe-
3TMt-
'^ T HTTwfW cnRjfrmTH^ ftr- — W
OT ajr, N sKf, R g»r, SU h-
«R-. — PW wsv nw (AdujAHl
N nsm' #3T° uiHujHitirR, OR n-
nwifst, U »[nr Tisrift*- — PW
omit fe. — PS omit wal-; WN
omrasirati, OR nmnhntft. T i-
ftrefa". — P wfeqra»i5nfaifr^
99]
wgii waftw
py. »
wt: Bnnrfn Bufifwi"
mrijfBi I sra^ 5rar5 "T" ' ^ i"cHM^r< " i snst ^amP^ -
fnnHft uiTu^tunHiui fh, OK tr-
Hw, T qfujw any rmn^, C miiT^~
omii; UK iini4U4i4l»fl , S -inl^nn.
— W diH^u^ll "JW- — PS Mim-
Htiftr W wdHid, T avr^vanhdidl.
" U omitB. — 8T WW ft. N jnw fil.
— PO gm, W nsir, R omita; T
3lrit- — ST -iOU BWWI. — P Jtfe-
Himsd' r *JR iHsTi" WbmIw sTwr
ifeafa. — PT fe, N TO fe. —
WOE omit in B^^, N eee below.
— P -^ttm. — w Kvraftrr. N
ftwwrmd. T omits,
P «8luluuriillJ, w
WMuiffi', T H^iftnfmfe*. — P H5-
W((t»ft «raral', OR STOWlfl-, T
WSflTHTSraT. — WNUR "Wdlw- —
v\v iidd TO ali ni wiul fft. N adds ftr.
' PWNuR wi!t zarc Bi««Fi sWjrtfijat.
* N Mt wifm aaft; tot. SU vm fs,
T H# instead of vm- — W fiii-
wfc, T fa fe. — P faiiia5*nw3T,
N ftraarrt, or finsfeg ft fo, TU
rsmreid- — 8 ilfyHT. — P adds
"> 8TU nfem.
i« PN omit HIT' — 811 Bi^, T Bi^ a.
— WN irBmwt.
h. 9]
ffipiirsOTifn
[100
niii, w Hijuif uj|H.jau(iiiic, N
8 nrtu uffHJJ^aiiniTi 1' fliisHw^u-
' rWIWHg*- — P BOTH
?ra^ ftfwrasafin. N 'asd T 'aOT-
— P omito fki W fefa, NR fa.
9" P sirsu> N8 gst srniTST^, TU gsfl
MifdHni-
9" NOR omit wft'. — P wraradwi,
W ■On-nG^Htii't, NU fli4|iaiOs4Ht T
uiuidiuOnvi'
gw PORSTU omit. - W Bw^.
10- N fira' wt o^sa 3 wmr-. — S =«-
OR aifflff, T mwr- — N wf^ni-
jTSn^r STU HTHfl*-
10'' P ftresfn. w ftrfafe. — N swtw-
fijwlw. -ftra^Ht, SU 'walsft, T
fTlS!" ) OR ■wTJi STU BIH51?t. —
W ufoTMrTwfiB' N •vrrdfii, OR "wr-
tyrri. STU siislTT^Tn^.
10' PWSU omit
11- P ^ 1*5»3. W -ifTThr, 8U TiT^.
— WORSU TWT sir. N ftfinfim,
T htht ^. — P ztmrnt. WOR
— P (uftHJIIisft'i S iiTdVaft-
IIi-Mm. -ng-. — PNORU 'wsisft, S
•Turanft, T ■qar*. — S im^. TU
tiTOTO. — POR ^. WN ^Tufe,
8 omitB. — P t^^, W «r. N
3g»:iS, S B|sft Ht, TU TOffT wt-
12" P TnTH^f^aBir^Vfa. W jnwtr, N
•«hi- — N -tffO, 8 HTIBT^«, U
•w^aw- — N TS*. 8 tw-. —
"WOR 'fTOWT- — N MaTsft, SU
nrmsft, T sum. — PS aft, N
101] wgin arafswrrann liv. 16
12" asu infl%, T lifeft. — P 3rf«-
— NSU timrt, T TROT. - WUK.S
•g^, N -wr, TU -Hvhift. — P
qi, W ^9^. N ^afe. OR h ft-
fn, S
r I, «, T ,1^, V
IS'Uj
. — p
, 01] -w-
^wmfgai T H Tt- — N wsafii. OH
la^T TCfe. - P vftma wi. WO in
the margin R irfi|«mn mS (W w-
ift), N «■ finnw srS, in the text
T (T -Jin). — P jmrt-
BTT. OR -gsft T -weff.
(FT. W •ffror^fT. N *■!-
ft iiMimwui I
— P
14' N
OR
UQiumifl' , T mnviipiw
, N ft-
TOinrafi, OR fHfmai»ft, ST ft|.
tFoivjiunfr, U ftoRvnmft.
WWT 'SOU, N •TOW- — ORST •»
iwi. — W Kffn, T ^Sfii.
15* N omits. — P
w -Breihnfe, o
«rfumft. 8TU iivTriq>]Thft qf(T
IW) ^niiihfH- (8 -ftinr, T -5-
^nr*)' — OR *4,ai4- — P Tsiaii
OR ^, SU V a^, T n *3I.
15''N omite. — W IJOHlUlTrv. 8 '9Tllir<
TU qrfvivnv- — P wiwwr*, 6
•fimiT- — ipHh, R wWh end of
the msB.
16" PNO mfer, WT airr, 8 mft«r.
- P -^uf,, NT .^, .^tp,
8 -frap. — TWO ttjwjr^r. —
WNT ■wwn, U Tiwi. — W8T
le'PWNo vpvTifii (w -fir). SU j»w-
wft. T 3t-<43lf^. — N nftsiTV
iT. 17] »S<4iMiiiin [loa 1
r«»rj;<lll^aia<U»il«U*4<«l ^wni.gia<'Hrtia)ril<j 1 1
!Kts?!fl A vi'-ifm^m'^ri nm-iKiM f^wifstf ii is ii ^^H
^t^fS^TOSTfJiwT %^sn!nm amna^ i ^^H
<*l<ri5««(«^ir«iM<^*l ^♦((.Pi) H«!*4ril ?^tIII It II ■
iriOTd' H
Mdiptii jTiii.*!.'! n«l w^KRHl «t'l<^%(l<l *Mt!J1t|<3T- 1
Mimn^jTi AT Jij^ai <4iii r=«!!ir=i< r<u5^r«'i3OT='i gnj^ 1
3RT5 >1^' 1 ^ r<4««3r< 3IVT «l^«Hli rit^ *<li m(1»III1: 1
^ftr'i J
■OTfii, sn rfhnft-, T oftwftifii.
Hiftrar , U TrewajTHWifea-- — PW
— P afcrow" , w wfi=i 3 WW-.
iyifn. — S sniiri'
N nnasnn-, o mftwwsKniHTi, STU
18' P oinita. - \\T? add wtftraT-
18^ w fiwtw.
18' PW8TU to; PN add g#. — 8
li r I4A1(ll4i(AcI4l]|M4ll> ■■ AjilKifiUI'
F^, NS 'Wa-, ■fadmm-JHUWg.
OinitB nWTTWt, U puts it after n-
I) IF ■ r t \iT •»"
w nj», NO BTiiMt*^ (0 -oa) aim
— i tnd'iliQ'HUslirlelril'lli " Trnf-
tflu 31 1(1 a ' p ^ 'TTfi^HarfBHflMI >
Iisit, SU WTTTW-. T HWfSr- — I'S
•ms^witfkmm, su "iflw, T
TU wa^fr. N 4asT^. — PWN .^ni,
•nhr.
IT-P iftftrnfl, N gftfinriT, gftrfw, T
S ufisjt «5T. U -fi^.
N 'fifTfa, S STHW-HRfe — W 'T-
18* P m Hwra ft, N wi 7mi ft ji^w.
ari, N FrraiffTrTH, i^ 'W3W- ~ P
fa (Off. N fa-nvfn, 'J faiiife-
18»FW0 aftg-. ~ P •g^aHimiiirHani.
WNT ^vdfii.
N °wi]uiitHa^n, S -irainfiw'. TU
18' asT5 once only, SU i^ once
•nftjir- — PWNO -oraw-
18 P '^iruUnOUi W °tTTTiTiT''i N "fllTHd*,
tift. »^.
*HiruH>il«i S KTasHmvif^nr
18' w jtjnn SaT. PNO add (![j. w ^.
ooiTBded lo wnS', T ^HgHTaff-
— STU mw; TU add «55I- — N
103] «j^ Htif-wmT R [ir. 18
«i^*f^ I Tj^ r«i<y <(i^ r<'" I aiiiiTiM f^sii -M^f-rfi r<^*i <^^
4Ji|i4:4nij; S aUdB ansi. — N ^,
SU gwfG OT, T Hi. — P Hm
18" W wi^. N »ft. ST omit; U itfs 18'
omitB iS — P '^RPJS', W *W1I-1
TU Mrarerat fiirafxM »™i (S w-i
wi) jjwmsa (S v^OTi^)' I
I8« wo iifefOT omit WW. - PS «%fv,
N uEwfa. T a^. T' K%n. - P
adds fifi TO3. W « ^ fW, O 5r 18'
55 fe- 18'
18" N m Sa J j, SU TO. T omits.
SiETrfer^. — P aBnnmfinjinifl. i IS'
W uiutiuuirviCHu, N uuTlouuv, ,
— w ifHr. N rfrff. - w ,raH
AtsniRm vm, N w^ &■. - PT
WZ3T. - P nftFOifeji, W ofe*, N
nfcgrfadii *-• u¥^> 8 wrjifTOr,
T QiifaaT. ir w-
« PWNO g*r. — POT H- — P fr
wiT fimraF w ncwT Jidlm , no
T3*BT l| VVA 1 1 ° dftMIJIIIiQIII OraBUTi
T fdia i farBrni fa ^ T u , IJ fa aw i fa fg-
vafssm- — P hH Tafc. W rst
noTfil. NTU ou.it OTfe; o njure-
— P feuifinrt a wt. N l^nrrfr.
'P fa. \V atft. OSTU 31, a. —
NO ij«jfv>fliiii. — pwsu smon-
— P ITFT sHt^. W uuidlihU^, N
3wt3Hi3 53, T[i swTaHr? vi-
>PS omit^'n^. — N ftnjHi, STU
wfiira-
•^ w ai w H wrnm, N wrfrofw. 9
•BT- — HiauM'J . — PWN8TU
IT. 18] »gt*jM i iilH [104
^%?i miiHKHyR f^" i HI ?i»ffTff 'fijrffjT snn ^w ^3S-
■^" I w^ ^^ ftfftrsT Hfts^ IT siT^rfH >iaT# fit" i
18" P ^ gwr. — wo omit ft. —
O "vfmi. STn 3*; PWO add v.
— T Srn MT', U 37n.
18'* N »TR| irw- — P > ll «HlitH , W -i-
^fm, NT ^\z°t t) f4i«duijcd. —
W •HTO-
18" 8 jfwn. — P •asnl fii, N itail
18">P ftirafii. WT -ijiHii (T -ft), N
Si«fij, iowfj. — p fijt, w
•ireji, NO ariaji. T omin. — w
NOT omit BWI: 811 are. — 8TU
omit PW. — P aiLU^JilftDIT. N
Vipim'i T ■uritul irfwafe. — P
omita fe, — T adds ruimrVii.
18" P omits. — N omits BT'. O RP- —
PW TTWWWH. N -TTHW, o -ireft.
— PW urtujiradeai, N *iimflVT. o
'uiirsdBal fe. TU "TOJai- — N
Su. — NSTII j»3tf»iOTT, o inx
g*. — NU omit fsm; 8 ft fsvt-
— PW aftmft. wte. 8 ilT,
TU ilft " I
18" WNO IRT. — NTH omit ft; OS
w. - «(ori. — PWNO »iir,
SU omit; T ajla. — P wift, WT
»lft, mj Si, SB »(i.
IS" P omits trat; w m. — SU fcr
r, T imftn j-. — PNO ufimt.
- PWNOS omit ft.
— W adds li »hft.
18"P Hit «* «. — PN8TU -ftj. —
18" P ij^w fa IJ5'. WNO ijiis iji-
(0 jfjor) SU gi JIT, N -iftai-
Unftlftli. — PWNO omit ft. —
W HT instesd of ^m. N omits;
ftw fii. — U adds (It.
18" omita.
18" w m stnomi vi. STU m. —
PWT omit ft; N ft, U m. — P
18"Ms.. n. — OS ftvmit - P HI-
wS. N iTO-, STU i»i?, — TU
105] wgw aaf-wfti^WH [i'> 18
if^HsiTt^nr^ 1
IS" P H 501. N S. „mil.; STU in.
w itthams. s *OTnft,
KlOTastl. — PNOSTJ omit aft-
wraw I' o«TBT. TU irerein — ^
mft; T iftwft. - PWNO .dd
nrraw, w nTlara, N w wwRft.
m n ma (P Aa, nin) Jaw
8 tntnA, T « raWj fta, u
HOT (P tijiii, w iina>
n„an). - M, i m rtT «« IS'
P ..mitB Tft. — ST omit qfhna-
IS" P ilfl, STU omit. - PNO ailfts.
IS-
W TO, W^. - WNU «« -
w ftofiro, N ftiafint. ftrf-
W * — W <nwi<im, TD -asn-
W. — POU ^ii-. - P -siyi, N
Uraftfai. - PS omit ft; WT ft.
— p n»ir«.
WN -mnm, -iMi*. STH
IS"
• OSTU iioj. - N ij, SU rt.
18" Sf. - PWSOS omit ft. —
PWN 5al omit ^. — PWNOTU
omit nfti _ SIT Hrofinafe, T
18" P arit mil. w misft. N m h-
18" NU fiiwisr. OST finni-. — P
PO osaraSfj. w mafs. N owi-
m m ami. TU now. — NO
TU ..mil H. - W nfalwrarMI,
PO ft^iijft. WN ftSft. S Hi*!, U
NO awmmtawat. o nwrsr. lu
18
' NO hh; oftuft-
,18]
■fTOlIST
s^THssroh^
^m-ti^n^H"**!!
'smt
^'1
§T^T^^KW PMyHU
<*i^<*4-
N
iif'jriitiHi' — msrr'- — N 1
g ,. 1' fbvmn. w firiaR/19^
N fuKiiHi OSU fijBiTii. T firarw- — I
W WT^TTlS. omits; T oiw«m- , 19'
gij. — WO add vv (C I'm) swa j
(0 5a«a) 'junwa f^rfir. , !9'
18" PN omit fn; W ^msr. '> wra«i- '
Tizfn- \ 19'
19» P "IJTOI afNW- — WN'S orait gd- j
— P ariinn. \\ N' tiiiu^ 'J bttjtt. i
ST H i l H TI W (T =m). — w »%«- j
TOT. N hfHititlH' ] 19'
19'' PNO iwft. - N wit OTO^. - 1
T '(AUHV4((i(J|. ! 19'
19' P nfawwfe a. OSTU "whi^fo. —
NU omit « 19=
^ aTsg? ft- — P f-inx*fa , N
— NU "^sumn.
' U oniilB an:. — W -dyidHHrfiri*'!.
' TLI ^" tirraTrao- — ■ P inrrfewrftT,
WO mirftiisrftT. N TnirftissifiT
'P -ifus. ^\ Tiftr ifaa. N ;jfd3, 8
erai ^- T 33T- - P HT — W
witi '-)T mVh- S HbCB' I- WB***.
■ TH
I'
1
su
4UUM. W jufciM.
PKSU oroit. — W ag- TTOI wst.
— T oinitH 3Uf^vfr{.
PNOSTU o.nit m-; W w ht- —
08 fmit HWrW-
107] vnii arafroismR [iv. 19
fiiraiH^'i! r=(<^i^«i*i("i ^af Strang fi?" i in nfisgaj
SwH5i: 1 fawn OTnm" I ^ ttiUJ<«%((I^H!i ai^r«j 1^" I
WJiUHIR HW *OrH "
M TOt iwra- — P aiararat
19"
ft
Sal.
19'>"WT iraT a. S aal and omiu the
reat. — TU omit nftiRHi — W
ft^NV- — P omita «; TLI w-
jgii, 13 Q ,jj^ q i n w r fa I m: I firt aihr
19'' P wo, W STB rt. — P HTrajfl
19" PN uranuia.ntiu w, STU omit.
19" P sTO «H, W ira ««, N ^ YW,
STO WW- *H, T ^ H-
19» NSTU Pi O aSa.
19" T n«m HT vfn.
19" W ^. wim *3- - P fepiirah-
fe riuuuuiil , -mqi. — P «gn
fe". — WT ■tfiHiiil, 8 fesire'. — [
PW «mi3 frs, omits; T aififvr- 1
19''P ant, WN H^ H. omila; SU I
H- — PO innnftw- N mnrrfirsT, 1 19'
PNOT vm. _ eu ea. T ooj. —
wo ^. 8 «TT. TU ftiT^.
P OBI^, S omits.
TU omit fovta.
' P omits Tsf. — P Vi^tWslTf 5fH
'NOT =R5irt. — P ra FTmgrtin.
N 'z^imir. H^uraaH- — P nw.
N SOT. O Jssim. STi; oiiiiN - P
gfwiSi N gfta 05, SU gnftw.
T Hfbr-- — P n^, W ir^w. —
p 3n^, w ftisnrad. T riw- —
Pfttj
^FWS 39?. — HniwOTW. STU
fe, TU tnfft TU- — W MRHra,
STU MrM% TU -OT-
' PU omit, — W liy I i mm w-
iy. 19] ggj w ^aht [108
ufcisil *m.HHIiT Huaiw"
(Mlfd. «5' ' ^ ^ wrorafe fir
19'«8 omiU «. — PWNO omit VT-
19*»TU omit m-
19=° N omilB wr; P adds yj. _ P
wp, W FTtfrarai. N wftwT. O
U Hft^rf — P ftrftsiWT, W MVT,
N ire ft, f^.
19" PWNO omit.
I9»» PN aw. — PNOT 'rtwT. — N
ftt^iT, S kIRhi TU wfin.
19"WNSTU »nirft.
la^'N Bwr aw, TU omit m. — P
renBWT. " fiiVltlQh N Hiluillllll'
•ivm. — PWNO omit «g-.
TU nnw. — PWN omit fe. —
8 adda m 5* WwHig, TU i< g-
19'«P ffoT, WO mri, NU nal w, 8
19" TIT omit HI- — U jnjt ft.
19^" S omits nftiw; T mn-. — PN qj-
HiH^aHtw iiT*8nr, STU q*vuv ;
adds V-
19'»W %HT. — PS omit mthft; N h-
nihid. — P irtonT. W •unr. N
•wmrti 8 fgwiBt', T •Titmfr, U
•vtmrnv- — P i^. WN ^. STU
omit. — w finnw. 8U jrfiww- —
P mnnvii. W trmvu, N nriru,
wniftiRPj, 8TD nraiviE'
19" P omits afan; O wy wfaw.
19*' 8 otT- — PN add «. S KldB vs.
19" P Kiwaft. Tl' fiiatwi*; 8TI add
vi- — WO uifiudll- i^ HIlisMlf .
— P 'QIIUUI^' N *UA4l|llf I 'S ra-
\
109] «rii9 jra Pn^-HM [iv- 19
ft?" I tmiw" I ijn!!r<4Hiiinii ftrfi^^ nrwrmtin h straff
19"T™8Tn ftfl- — PNO Mwtart,
W oinitsi STa HV t-
19" PWO on. — P •wndn Bjfiiii*.
WNO •»»(»•, S -aiT, T B^fatri,
U 'WIT — PSSF unronti (SU
•*, T nasioni- — P aWr, W
owfenr. SU °ff(^.
W'STU im. — PO lihg, N wAfj.
STU omit wtg.
19" P omita 2i^; -WOTF fiifl. _ W
THAW I ST nHsinni U f-nihiu. —
19^ STU omit ofir. — P n swa, W
Sg?fa?rfii. TgiJfenaRH. U
we ft H ^. — PWU ^ih^, 8
Jiaw, TO «fb^.
19'
I9'»W0U gjiT, Nrnflrrsn^. S omits
firati ^^1. — S adds 9
■ STU
'P BifT<v4i(n , W f^rir^nniT' N bt-
frfWOTJT, STU uifiuiii- — N fii-
' a omita.
' fuifoei <u u r^u fui 111 I tpw I S *fa-
«iia<iji TU 'ftmujuj- — P fiirfta-
•anftwTBnin' , W fqifyrj ofrTV w-
uiufl, N finftss uftuwui , STU
nilfau'wiii' — PCI fTTwriifti W r
TU iiftH (T HOT) vlnnt ai wm-
ft (U TiTT). — P wirraftiflBTr, w
USI^t, N inTsftift-
'WNSTU omit.
■—'WNSTL' omit wvi'ei- — N *
once only, 8T omit; U at- — W
nirafesw, ST HisTififdiv (S "t),
U finn*Ta*. — PO n n, W ^
BTtM- NST omit. — Jifirrw. S
IT. 19J
^igm^rahi
[110
n^iT. U rrfiniHr- — P hrtt, W
vvvi- S sinTcaE^. T Hrars?. U mi-
Tl! lyiuiiMdUUUll -t i a qfa wfe^o
Til rrair nrmr- — W uuHMidT ^
19°"? aw wrrwfit, W otT. — WO
g^jfijHH- — WTU omit fe. — PW
wniTt.^— P oa, NO sna, STU
Vaa and omit Ogfa.
19*' T fetdWi^Q- — fiitTiKhi a-
19"^ N omitH wf- — WNS nrmir onte
only. — PSTU omit I H m i hhi .
19'* N Tign •nfuvii wfe. Tl' rran w- —
WO PHI m- — w (4,111 uuil m7-
f*am fawBu^irr insteail of bm-
iTTin. — P 'granrrfsniT. w '^Rni-
fiibwi, N R3i^»iqirMfblMI. nw-
igtMW Bwnftiw mH, STU •nift?-
IMF- — P dVfIT Uiddt N dBHiQ
S^HF, STU omit. — P -gvum-
^. W 'Hw, N fnimie^jiafw^Al,
U 'suHaiSHgT. STU %mmR).*i T
•BTO'. — N fzmi: ST fere-. —
Pgingfeir, W vfqm^s', NO °n^,
STU q^tfd'.
'^ S nw, TU srfii H nw. — ^ ^■
wipir«ifti|iO'gHi . w 5^ ijupnuin-
fiH^fHUT, N uii|i]]i|(g°, ujijin-
inii'i S iiJti'i<U4il°' — BaOSTU
XtffWi P WHIH. W W fulfill HUIfH'
— BPO sramw iMiMi. w ara-
fillWi N aidUlHHlHr. STU owf^nffr.
"" P omita. — W awi w. N gnn »t,
O gwT, 8U HW. T omits. —
STU omit TOT- — B MKinyjHMMI'
muuiui w MidnrhuuRiiuiiii' f' ?w-
i&wTwftrawi, snnTwrmfinTOnrii
STIj rauifTiiii ^wuiiuMTi. —
Ill)
UHii arafsraii^nii
[iT. SO
■51? H? JirsnjrTO "itwi. srw wi? i
20»P -aitiucmi . W miJiiwiJmlii i , N
'uuiuHim, •asiHT, T 'a^rw. —
WN «M-, STB lasllii.
20> BPO ■msn. T m iu — B ift-
M?. N lihli. — BWNO unft,
Pfe
lO'PSTF in«nra=TOOTi7 (P aw, PT
°HHJii') nTOst aw *wa- — as-
f3. — B wnrwt, W jniTvffr, N
•ig, -ag. — N ftr^Rft.
20' w os*i% N osres-- — B jifii.
P *iral5, WNO ofinifi!, "STD
JfiiSj. — PSTH liW*, W SB*
w
20' B onifn^ I vmi^. PN sRtfrin?.
20' sum wm, P m>i. T ^- — B
na. FW vi^, O omits, 8 ^^n? n-
fe. TJ www ifta — P H, OSU
omit: T rdv- — P WTTOTO, MT-
TOTH nirra. S unram. TU immn;
S ftddr f« g. TU fa g.
20' B ?nifiraT5, PN n iw gig, w mmn-
DHCldlU. HfldlVi ST riUREm. IT
fnncW- — NSTU omit fe. — B
wrarnr, Pw msni. N imwv, o
iB\UiM\v, 8U fcrareitt . T fmn!' —
B tihtTfk. "WOSU foTOFlHft, T
ftreftsTfa-
20* omita. — S rt. — PWN8TU H-
iniw- — P fiH, 8TU fepfti- —
WO add frowiw (W only) m» n-
niUH*ui Tii iMwfrd (0 -gsrftw'jfewH
TO difctwrsTH (0 srew^Mfi) wfinsT
aijl ?m arftpTst yfiuwfis (O wfijr-
e[% (W only) TO faa ig ri rr M g ^ Ti ai
arn (W aittruawfc')-
20* U omits iraT, — BO omit wr*
ofH.
20' B mi^, STU omit. — N TO. —
B metrU. P "Haw , N ihuk, 08
ftrere'. — PWNU ^, 8 ^. — B
K«t
pa
6>^:ill«4HHI fi^liSt 4mH iifljf ife <;ijw ^ra*i
IT (
iMiH fi«-
■. P «!<«■». — PNOTU
fc. — XT «fig, O ^1^
W " If, T •»!■<¥#) MHl-
20* wo br- «■. — B saw. O ?-
frwj
20* B8 wBii nwJ; TIJ jal. — B 3- 20" B
NO rtiifl msnr njt fa (O omit»j ma inipifji ^grwaoh. u aw «-
»(.■! '-..lit mnr' w»«*. s bwbiw- n«. T wwb wiw,
20^ ST otoit trr vauf r jp aiHB- —
Ar. T 3nftav. C omit* ■ja'-aio-
— B wfiE. S *5». T wfii. — B
3Q(B. X zfvm- na- S omits;
T mvrftl — N am. S ocuiu.
. N .
P »nnw «-
I' TWTTr M ■3Wnwf»Tt. — I'S -«
Jnrit. N ■
, SU omit; T 1
;20"BP Tfti tnfl OTTssai {P -m). W
JO" I' Dmnhi m nS^, o »i)» g. STE , „^j_, ^ rti wm B58 ifonw-
■^•J. - 11 tPnifW, P wfawT- ^ ^ ,J5^, y ^ ,,„^
W, N .tfciMiftii, STII «fmm-, ^ jial *, S nsi) «• »fiwiaai-
30" O h^' W ftHljWim . — BPWO omit] (ft-, TU aa? etc.
113]
wgn araftwipfnn
[ir. SI
I ^Z^t 53t ft" I "51^ >*'^1,*4%lCI<4 HIWKH^lfil.'fir
WmnR r
'iiH'5^5? Wig wW%^
fisrs'i
20'° B omits ht; wr nw wragn-
ma ftf^tra afk; 8 roada mt a^
u(f PuiA, and thea follows a lacuna
which a Becood hand has filled
out OS in U; TU HT I 9^ f^ ^
vriiUVIdt few (jHlliUf (T lEIIftQ-
ftj. — SU omit ay-ft- — B
Hjst, W 3WR5TH WZa*. N git
S^gWT, '1' gSWt- — P HF^,
N rfMt, T wrn. — W Bfe,
' wg^daift
20" wi*, T Hif.
fir. — BPSU
nhn, NO nimd, T omits. — B
Tfe, POSTU omit. — B smi^-
ni, P ftnwrf, w inn in*ri, stu
onrnr vs-
20" ST add wnff.
21 B AMTrHdUW VkdUl « Hd<lU W!WH-
2i* P 9 vi fe fliHmUW iiw arifrt. W
211'P a, N S- — PWN -Hvsmr,
'jiSdHiennMi SIT °Rni.
21* ST liuU' — P 3^ gn u^ti4l<siiiiit
aAsftsTw, STU mw TO (T w)
2i<iT S. — PNO SaAi. — P B^gw-
OTjnr, W v^ gswaftsn, NSTU
■VHT (NT s") uaMa jTRf, gaw
21^ B wt oQiB I m Hisrh fawra i ^■
ira% Hidii few3, P aiwftoia ft-
tiQTH wTnn3 iauijIiI flu9% aran
ferfoi^n, N »if Enmr rowrfirw^"
HBTWWnHt r^'jAd ^sra% SRini-
iv. ai] «Joi5irahl [114 1
IRTf BS DKia •fTZ^tvU 1 llftWI H^TWT
"•aln' 1 crai nisn^ t^an ^rerft iraiv
1
1
?iHft fv>jiu4i wf www Kiwftift
fab<Jri arorararaTsft fwu^: , S a-
HW TrJlfiTO WSm^ Hiwal fcJUlf 1
(rrftt ammrariTO wmi Trf u daltu nil -
(lacuna) ^[t i RofrHTI^ fiR9I3 H-
on 1 HOlWfnP'g fTTSK 1 STof 1-
WT»Mt, TU mnB irawftra (U -u)
^H ^spTMT ««Ht am ui*iHi g-
va^ srrea? fa^ra (T •») wrg
HHcU fuarfri wag anpiiraR: htoi-
vTmiu'Iim) I gaftsna wilsra w*-
ifl: 5331 1 Ogt iraB ufdHufu H-
oaJ afijpTt-
few litoifvH yra 3l*t Rhran-
21*-* B irorarf 1130% 1 mran ^ni
ffgwt J gfeoH TO wfe faH^. —
Bui^Huifll 1 *Tai wrfcsKT fewtm,
^r- nwR ofH ft[ S ^ fioow-
wgi nwT oftira mnmft ^nrnii o-
floMii uurquMW Aihti wi noiaiTf
vt Hta fga[gMgwa1 Saw nw w
mmrfiiv t4 5t ara^ a «vt m-
^WT Hwi a« wrei TO OT«fi. w^
fiia toftg?n uifvmij ojw nvH3
nwf HufcHrrr feiBrhn i vsnv o-
an H T^ VfOHt o|H feftfta fti-
u*m MM. tula* wnriratT, N nsr
a^t(i 9T1TTmW alMI (MT faOTV
wnii ^liufn I irrfiraii ■^p^ smq-
ftaro otnrf ofir n>n fa fa wta
Hwwl finefii t ttbT ^cftaro f^i-
siaasTO a i finw aga 4i<niiiji(ii
■WT, TUT Bm wrfa, 8 ^fe
wMw( aoft tBHiin giift liira fe-
ar i frst ^ gfmr fti Hftra
M«-24 BPW omit _ N aim 1 ft-
wwnow WiTw win ulnvTWin vi-
(1311 1 riJM 1 QMHI "llUUtl n
t3V 1 filj ' HWJ Ste ra 4Hl-rt 1
*mlic(«il 99JT dailinltll tpl WOT
SraT 1 BitnTH fts S ouft fe fim
«i<j4Minu«ii Mn4IU1 a WESffTUaat
wwtfe r natT ^twi fin srar fcnr
wt* wwiHrfaai fin fin ^ oRifn
asfir end of the ms. The trans-
wt MiHii aawi "55'
116J QdU blSMifll>tK4 [lT< S8
fl% gig <*S'H g^sFnii ws ^rst hiTwi
"Wfra: I are ft ^ fttaf ^iftw^' i
OTt I ^ f^ ^ ft f^m' 1 31^' I
^ <l*l<*«|iH«l«!W'4l,Tat ft? *IM^l!
^nrtsn arf^ ■^srfj'isNt ft ami*i«»(i'inii
"* 3*3 ai5|"K«!i >Tftai si ttt^ ss>r ii ?? n
inn ft T! H^' I
— SD «*. —
Hsa. v)^ — After jqn T adds
H1tl9<]J44IUH44fll 44{NtHl6KV4Ullra-
GrTH(uwj«r«*d<iufduia8 faa i Mei l
22-T si giro finfi*. — Tn «. — S
22" S ■) n).
SM sS ^ xnB s, SU «M. —
T q^. — K btI rh (ftiMJ OJT J-
VI Ul HKJihmwil^lll-
22« 8D TbiwKr. T ftW 15155. — TU
wdffl M^JiawJiHI:.
22' eu fW » fD 8). — T Kftwj.
22'8»stirt«fint. — Tn»«*
<i.
22' Sn omit; T mi-
23 s omiU.
2» T ^ll„T . — TU -JBal. — T «-
23' TO hW.
- TU s
ira- — T rt — TD irj.
iv. 24]
VJiUMIQ
[116
n^dN
fiwrtfir (T fasfifd) wjniwhf ftr-
^QmRivii 5pft mv* — K m 8. —
8 -fera fin^*. — T adds TRUr «{-
24^ BS omit; O ifir
vunHi M win It
24*B ifir «^ 8TU vfii «^. — P
wsu
<v'fc'/i>y^
Part II
GLOSSARIAL INDEX
TO TBB
KARPURA-MAi^JABl
BT
STEN KONOW
GLOSSARIAL INDEX
AbbreTiktioDS: — tj.«>t*taania. — H.^HenucaudrB's Oramnuitik der Prikritspracben
^iddliabemacsndram, Adhjaja YIII) mit kritiicben uod erUutemden AjiinerkuDgcD
herausgegeben Ton Richard PiBchel. Theil L IL Halle, 1877, 1880. — HD. = The De«-
n&munAli of HemacbaDdra. £!dited with critical notes, a glosiar;, and a hiatorical in-
trodaction, by R. Fischel and Q. Biihler. Part L Bomba;, 1680 (Bombay Sanskrit
Seriei, No. XVII.).
sr ({/ter anu£vara « [q] and. a, L 1', 3\
6^ 12^ 17', 20", 22', 23^ 26S 33',
M""; U.4', 5', 6<, S'', ll'.^23^
27". ', 28% SO'. ', Sl-^ ', 40^ 46^ SO'';
iii, 1', S^ 4^- \ 5\ 6', 8>- ', 13', 14',
IB', 17', 18', 20*, 21', 22^ 25'».',
37', 31', 32"; It. 2\ 6', 9=, 10', 18",
19«- ". ca, L is 11', ir, 19".
20"- •■■ »•■ »', 22^ \ 23* ', W",
35'; ii. 6" ", 10*, 23", 24^29^47'■■d;
iiL S''. '«. 5\ 12", 18", 19", 20^; iy.
3i^l8H.is.«4 ign 22'.''.
twsee wn.
MT [ufii] a vocative partide, 0, pri-
thee, ii. 6*.
MTaTw [wftiaTi] wry long, I 21^.
nv [nd]a vocative particle, 0,ah,i.t^;
iv. 19". ".
«|q ts. a shoulder, iv. 12*.
■hnr [urmja garment, doth, L SS^*;
17..^, 10«.
«ft [m1^] o /ooi, iL 47".
nwjiil ['stJ li-ii/joMf bracelets, iii. 26''.
unnn [hwtth] wnea^wciecZ, sudden, iv.
18'.
sraifus unfolf/, ^ee sn.
tmf^Hnot performed, see ara,
aniT?ni«l3 ts. name (^ a man, i. 18*.
nniT U. without saffron, iii. 26".
MViitx«i ts. without earrings, iii, 26''.
suKBT [-bt]* Je«er, i. 20'*; ii. V, 8»,
10'.
mnictB. unbroken, whole, entire, ir.S^
apufiica [•h] un&roten, 1 16*.
wn ts. aloe, iii. H*", 27».
vnn [wii]j?rrt, foremost; front, fore-
most point, L 16s 26»; ii. 6», 14>,
20*, 43».
vfTSv [*im^\forepart of the hand
or arm. i. 4^
wfiiraifbir [ wfi ^Tc fitH] arranging of
the sacred fire, ir. 20'°.
wfiiTO— ^^^^^" 1
Ffrm [Hfim]>irt, i. 29^
nsvtr ta border, end, aktrt, i. 26% 27'';
Hig [snn] a respectful offering, i *>.
iii. 3% 22*.
srafro not -performed, see n^.
vtsvQ [-SI] coRyrium, L 20^\ 26'; ii 19».
a^j t8. arf 0/ a drama, i. 6"'.
wsaiftieee srasaifti.
Hj^ ta. a sprout, shoot, Hade, n. 21^.
•wursee ^nror.
sUf ta a Ml/, itmh, i. 13*, 14'. 20'*- ", ",
nvir ["nr] Cupid, i. 2^ 33-; ii 6-.
33-; u, 10', 12', 28"- % 36', 41», 42^
iiL 8', 17', 19', 24^ SS*; iv. 7*. 13".
iTOipw [wiis^wi) name qf a woman.
iT. 9'.
iii. 20'^ iv. ll^
•TOII^ [wnEOTi] name of a woman.
Hfiin ["sn] a wiman, female, L 14*, 26=,
iv. 9«.
361; iii, i6d.
wiRn [vpr] without interval, imme-
wwfe ts. finger, I 36'.
diately adjoining, i 12»; iv. 18".
H^saro [*^] without sandal, iii 26'.
•rfw [«f=m]wind, i 16', 17^ 20'; iii.
«w«gar [wrO«n] very wonderful, super-
20''.
natural i. 21°.
w^rni [«g*] r«semWt«^, iii. 25', 28''.
amvn [mowi] eaceedttiffJi/ Mj/enor, I
wgwrn [M^rol/aw. »▼■ 23*.
30*.
mnsH [wgsra] conoliatww, L 20".
■n^fin [moflw] exceedingly superior.
«i5finrt[MgfinPTO]doj/<tflerday,iy.24".
i20*.
imswr [Hg*]con(mtti(j/, (egw^nce, iii.
•f^ ts. cicar, transparent, ill 4''.
" 25«.
H^ftiT [Hi'fln] marvdlous, wonderful',
H^TIM [wgwi] iwe, iii 19'.
a wonder, i. 24", 26"; il 42'-;
■njSTT [h^] a»i/brmi(y to, ii. 31^
ui. 3".
•ng [«Pfl]o«ier. awo, L 20"; ii 6",
vfm [«ft] eye, I 16»; iL 3«, 27", 41';
29'».";iv. 18»'. a^Ba, i 4». ao-
iv. 1".
Iiam, L 18% 20»."; ii. 6«-"; iii
ttm^nv not produced, see vi^
13M4', 16'-«;iT.22',23'. awaih
mm [wn] to-day, I 20», 34»; ii. 1*,
ca, moreover, i. 18', 20". a^iie-
6". ". 29»; iii. 3'. ', 20», a4^ iy.
5a, i 27''; iii. 19". awe, iv. 2".
9'M8«, 19«-».
Ajm, it. 13», 15\ 17». appftpam,
■nor [«iro] an honorai^ man, master.
il".
L 12', 20»- ». ", 34'; iL 6^ iv. 20».
•Km [wB]car, see im[vm].
•raasrT [nrugr] honorj/k designation
srartv [Hsdtsa] eaeh other, iii 9*; iv. lO*-.
of the husband. 1 19*. 34"; iv. SO".
wn- [«fTWR] 86^, onese^ appft, L 6".
^^^^ Wff^a [vmm] superintendent, head
att&naam, iii. 4', 8'. attavo, ii
^^^L ^ihakkhlkid&o, iv. 9'1
10-; iii. 20''.
119] -mtrnt |
mv [wo] object, timining, i. 8«, 20'- ^
H»ahTOr [*si] swinging, ii. 35', 37".
WwrasT [fren"] ('jc western mountain
»P«MTT [-«nT] darkness, m. 22".
wgao [hot] not ^lowity/ existed before,
to set, ii. 50^.
quite new, wonderful, i. 26*,
m^nmi [vtimpfi] an assembly-room, ii. 3:
34".
fT3« tta(, i/oiider. amupft, i. 26''.
wn-see nn-.
wfeftildiJT [srlnfsigur] very clever, ii. 29'".
wreiT ts. a woman, i. 15»; iv. 7'.
wfetirfifa- [m fdtJHifui] very 6urmn^,/io(,
KSii7«iil [HHrmj request, iv. 23'.
ii. 41 ^
HWH [»n!H] wonder, i 26*.
wfdfwfa* [wftrfilftn] very cold, ii- il*.
H»^ [MWWM] rising from a seat in
W? [wi] u>e(. moirt, ii 11'.
honor of, iii. SO**.
•RB [«rw] M/^ ha^ portion, aide, i. SS'',
HWOTTsee HTO.
28 ; ii.42".
wrftwH [-s!] not bewildering, iii. aS".
MVIHIIkIh* [Hwrrhwr] Qiva as ha{f fe-
Miv tB. water, iii. 4>.
male, i. 28'.
Hint H. 4. 284. a particle expressii^
joy, i. 34".
«ni [«v]>iow, then, ii. 11\ adha iib
[atha kiift], w^ else, yea, cer-
swrpme, iii. 20'*.
tainly, i. 4", 21«; iv. 19". adha
H*BifTW [HWtau] ii/£« me, iv. 3*.
Ta [atha, va] or, or rather, 1 18'",
•Ht [wT]cai«inj, petforming, i. 16\
30». Qmw
94"; iL28''; iy. 94'.
unite, end, 1 14'; iu. 8"; It. 9». •.".'•.
HV to honor, praise, aocemi, iiL SS'.
wswts. interior; interval; different.
" accido. i. 34". acoidft, iL 6"-".
another, i. 7S 12', 29»- ^ 34", 36";
vmv [-m] a euH, lock of hair, i S6>;
il 1-; ui. 3"; iv. 18", 19«, SO".
ii.20».
■Pn^ [IT] ^ono toUhin, hidden, il
vAvnts. deeoraiiaii, ornament, i. 31*;
1 43»- ".
ii.24»
^^^K vin^ts. wiOwut, except, i. 34>^ >^
mSrfvH, 'hisaee «.
^^H
■mm [ira] o iimft, I 33*; ii 48'.
HOTVr se^ H + HQ.
W i. 34=*; ii. 11»; iv. 9".
HWWT [-wtf state, condition, ii. 8», 9'.
H twft [vrnt] intemoRy, vnthin, iii. IC",
HwarWaaee ^+ ura.
1
wrfsfw^ ts. name of tAe wife <^BA-
1 'VPS {^F9] (he moon. muhaanda,ii.l7'>.
ja^ekhara, i. 11*".
HOT [hut] another, iv. 12>, 18>.
I lia, i 17». andolida, i 16>.
HBTiTO [HWiftm] name o/o poet, i 8*.
■TSOT ta. occasion, i«ra,ii0^47*; m.26\
vpsvm ['^] stopping, end, iv. 10».
mm [°Ttm] necesBarilt/, iv. 18".
«rf^ [3ijfa]and, also; though, i. 1', 3',
17', 22', 26', 33'; u. 4', 5', 27", 29^
30', 31'; ui. 1',6',8M3',14'.15',
21', 25', 27', 32"; iy. 6', 9^ 19",
23=.
irfinnTz [*^] immodest, imtdent, iii. 8'.
vmto he. mlii, i. 29'<; iL 28'; iii.
37, ». u. 18. i,. igiT. K 20'i, Bi, ii.
6'Ml'; iiL22'i; iv. 2^ 20". at-
thi, i. 25^■^ 34"; iii. 9^ 13s 14^
16-^; iy. 9»-', 18". santi, iv. 91'.
asi, L IS'-*.
HHT ts. a demon, il SI*"; it. 19*.
«#>! ['ifNi] o (ree u^ft red flowers,
Jonesia AQoka, L 2(F; ii. 42*',
43', 46', 47\
kratoni [araNv] not drying up, not
withering up, iiL 26'.
»ni [tr] tteti, ii. 3''. Cp. m-
■ntX ahain,i.l3',16M8'.",20'*.»-'
3416. so. 38. ii_ g«_ 28*. 32', 41"; iii.
3"''«,4>>*,34»iiy.7',18»*. hai&.iii.
7-1. maIll,i20'^"«,28^32^34".'8;
ii. 1'' ; iiL 3', 20", 34'. mae, i. 25",
34"^; iL6», 8», 24»; iii. 3''; iv.
18'. majjha, i. 16'; iL 40'; iii
23*; iy. 21^ mama, iii. 4». ma-
ha, L 18*, 19^ 20". ", 25^, 30",
34'"; iL 3', 6=", 8% 9', 29''-", 42";
iii. 24''; iy. 19'«. me,L 18S20'''*',
34'- '=; iii. 2^, 3', 16^ 20''; iy. 2'".
amhe, L16', 34'", 36". amhapadi,
i. 4', 19', 20*>. ?o, i. 1'.
■rei ts. a partide implying sorrow or
surprise, alas, L 25'^; iL43''.
trfBurer [arftns] acting, gesticuiation,
iv. 16\
wftms [srfiwajneu', original, iiL 31'.
wfirsaw [mfvi^vrrt] presiding deity, ii.
48i>.
trfimTH [Hfinrm] intention, 1148' ; iiLS''.
wfira Twft™]'* fiing, i- la''-"; iii. 5^
nvt ts. a partide expressing surprise,
L 29'; iL 29". 43'-*; iii 4', 31';
iv. 0', 9", 19"*.
«ni)^ [nvtnv] haviruf the face down"
wards, ii. 13'".
HT [«to] a particle expressing pain or
anger, i. 18", 20^; iy. 2^
tit prep., to, until, iv, 4*' '■■ ftav^aiii
[akarpam] up to the ear, ii. 6*.
amulam, to the ground, L 4^
w»T3iit [vrnifpT] a sanctuarg, altar, iv.
18'".
Minr [si[3t] aKention, care, L 13'.
MTHT [-WT] see WBWTHT.
HTwaw [-OBsrat] HD. 1. 76. inqiatience,
longing, iL 10'.
WT [•^]Jirst; beginning vHth, i 1»;
iiL 10».
Mran [-gw] weapon, iii. 26'.
«nnTO [°=<] coming, return, iy. 19".
MTwrts. show, display, iL 24'', 32S
47'; iii. 12=.
MTWwfwsrH. 2. 159. ostentatious, im-
posing, ii. 31",
sfraaH. 2. 138. appUed, iv. 9".
mj -^ 1
mrm [-w] mouth, /ace, u. 1% 30»; iiL
T [ftwj] see are t-
3', 16«.
w [Tfe] H. 1. 91. thus, i g"; ii 22*.
•nupHur [-sFWlpfeosin^, delighting, iii.
40'.
28^
x^see TTO-
wnirift see ar + wi.
Twta thus, L18', 33'; iL 4H
wmr [-st] an order, command, i 18'i.
^S^this, that, aaih, il. 46'; It. 18'*.
«iraj ts. disease, pain, it. V.
iain, L 4^ 26-', 36'; iL 29"-. ir. 18"
Mraw [•»] an order, command, ii.42"''*.
19.a.M.M.»,« ipaih, iL27J; iit
vm + vto get, obtain, arrive, patto,
8'. idadi,L24';iL22',28';iiL20";
i. 13''; iii. 4''. patta, L 20''; iL
iv. 2», 19"' ", 23'. imam, iL 29*.
28*. pattamml, i. 35''.
imi^a, L 12«, 28'; iii. 19", 34^».
+ WI to complete; to arrive, come, ea-
aasa, L 10». imae, i. 34'. imie,
matta, ii 44''.
iL24';iT.20». imia,L28''. ime,L4».
MRm ts. beginning, i. 12*.
ima, iv. 14'. imau, it. 11». imio,
■iTfrarats. a basin or trench for water
L 34". imiu, iT. 10". iinaijiaia,
round tJte root of a tree, i. 34'\
n\
mfsqpn ['^] embracing, ii. 1% 43% 44''.
T3T [ww] another, i. 4'.
sunrlts. row, series, il 11'; iv. 21'*.
Wil [vfK] hence, this way, further, iL
•BwiT ts. line, row, range. L 4', 20''- '• »^
0', 41'; iT. 10", 22».
ii. 16«, 31», 32'; ui. 26"; iv. 2", 21".
TO [Til]here. L 14', 20^ 25'; iL 29".
wrfirats. turbid, greasy, i 13».
4P; iT. 18", 19'. Cp. n
nnra [•»] entering into, devotednesa,
Ymtitm [V9sm]jugglery, iii. 20'».«.
T'swmthe same, ii. 44'; iii. 12'>.
nreur I-=»1 fiea(, i 21», 24', 34*; it. 19".
^U the moon, iL 1', 29*. 30*. 41";
MWi [irr] ^wpe, ii. 9^.
" iiL IS 32'.
mnm [ww] an omameni, L 20»*, 28»;
lata, like, as, as it were, m. 20S 28«.
17. lO-, 14^ 19".
l«io wish, icchami, L 24'. icchai.
■mir [-wt] light, appearance, iL 41''.
L 11''. icchanti, iL 28''. icchida,
BTWunr [nimw] a proverb, it. 20'.
L34«.
+ STg<o eearc^ aiji^eslada, i. 20**.
T to go. ei, iiL Iff-, edu, ii. 0*.
+vto dismiss, send, pesehi, L 34"*.
+ wtito come, edi, ir. 19*. entL i
peaedu, iiL 34'. pesiam, ij. 7'.
15". ehi, L 12', 34'-"; iiL 20\
pesida, ii 6". pesida, it. 9",
■ entl. ii. 31'>.
18«.
[1»
^gta. her*, i. 7>; iL 4^ id. 1», Ifi",
IT^, IT. ^. <>
■tdddd^ in. 90*,
C»«sfe pekkfasini, ID. KP. fegcba,
i 14^; UL 3S^, 34^ ir. 10^ p^
Ua. i 18>; E 43*. 44>. peUdup
do, L lft\ peedMiitlpaib, iL 30*.
pekUndftTvliiii. ir. 9>*.
[•^t/e* m, smtk, L 18*, aO^»
34"; ii. 45'.
iv[4«rj«%A%,iiL89>. MhkL14»;
iiL 4^ Mn*, iL 1*,
<w ft y KHliMitaloM mmbT) i> 4n>
; iiL 89^*; ir. UF.
Ml eafldiee foHide, m. 13^
[•sclOe M^, iL 1*>.
[•nvjiioUev aeaUei, L 19*.
[«f«i]>I(; jpngMT, i ^; iL 10*; in
19».
[i«(]a A«y^ wmttitmh, L 19*;
iir.l8».
H. L 6a Oe mme, m. H
9 9rMUe^ wet, moietem. akUnl^
Qiih, ir. 8'.
to. high, devoted, iL 81*.
[•«] a eoUeefJoft, Aaip, L 98*; iL
91*; ir. 10«.
[ /^ wUhenng, iL 10*.
[«i«*]2(i|^ wtierior, & 99*; iiL
97*.
[vnott] frrii^H <%WHii^, heaml^id,
L 84^; iL 40*, 41*; iiL 4^ 97*.
['
l»iL90^».
9^,9S>.
16», 9(^»*.«^*^«, 98», S8\ 34F»;
iL 1«. 6", flF. 10», WP, 99», S9», 41\
43^, 43^ » 48*. 49*; m. 8^ 9>, 16*,
33*. 34*; ir. 1* 9*. S", T, 9", 19-.
M A^ dlaMtai; iiL 16^.
[aw]Jhd<,Mm»iLll>.
dk^U; iiL 99*; ir. 7*>.
ta. MrAai
eemitHmg dt^fip <f, L
p recw ii iy fliuiB,
preeadifi^ (Vwofpo, mMA wmd
wtecme obo ear, L 90**.
[•«]<M Mflwr ^onMHl, i 34*;
b.90«*.
9inw [**i] etm/tchei etti, eeiieeitei, 1. 19*.
91119 [awwl/idr, famr, iiL 7*.
afti [tM] •pflflefc, fttjwuMKHi, L ^, 90*;
iiL 31*.
afjf ts. Ii^, A^ CoB, iL 99**; iiL 7*.
Mwn rn [<na m ] raiemg, L lO**.
3^ ['nlliaee, region, iL 49**.
vagfir [anfw] htrfft, origin, L 84**.
9<aw [9(««r] a Nm0 lofuc, L 34* ; ir. 7^.
i«fai3«ee « Oaue.
li3J -«>( 1
dWj-H [3T^] op«ned, fiwoHeti, l 20''.
^w [3FTO] desirous, eagerly expecting.
3faift«i HD. 1. 127. Jem. -n, affiided.
ii.40'.
dejected, ii. 9'.
30^ H. 4 101. emerging, rising.
« Ca*ts., to give, offer, appenti, ii
ii. 31'.
38'. uppiu, ii 19'.
afttrasifesefl fii^+g^.
3WT ta. name of the wife of ^va, i. 24^.
9 [vm] one. eldia, i 26'; iii 25'; iv.
3«ra [3W] drunken, mad, iL 2*.
1', 2', 7', 9'. eliko, i 18', 20";
W»*»<« 5^+3?-
ii 6'"; iii 17'. eklia, i 4". ek-
kaiii, i 25", 26'. elfteptt, i 24',
" 47".
27'; ii e"; iii 4'. elitaBsiiii, i
gw- [3WR] fieai, iv. K
20». elike, iv. 2'.
srrf (-ifl] a female snake, i. 20*.
Qin [wno] near, ii 8'.
WffaH [iwfinr] the one or only friend.
iv. 22«.
iLM.
jMlfw- [°fe^] shining, i. 28'.
i^ra?fl [iiw] a single string of pearls.
OTWW [3OTr] instrument, means, iv
i 20'; iii. 6', 6', 20^
9",19«'".
ir^sff [iiSwm] the being one'by.one.
35WT [311W] procedure, iremediaXi
•ae, one by one, singly, iii 5*.
treatment, ii. 41', 42».''."; iii. 19'.
«^ ED. 1. 145. one another, iii. 10*.
wnj [5iffr] the moon, iii 28'.
o/ a comTpound, like to, I 32';
OTDunfil [Triw] mMs/c, ii 7'.
iii. 16'; lY. 9".
ifini H. 2. 134 hire, now, i 14', 20-;
30111111 [3UWT1T] coifipanson, i. 30*.
ii-43'.
aafr [ot-] o&ove, over, ii 20', 33'; iii
TRathis, ttat esa, i 4", 28'; ii 27>;
3'; iT. 9".
' iv. 3', 7', 20". 680, i 4', 28'. '.
OT»H. 2. 211; HD. 1.98. see, lo, ii.
34", ii 6». •", 43", 46' ; iii 8', 20».
60'.
34'. •; iv. 18', 20>. esl, i 20'. "■ •'.
TOW [afsiJH. 4 223. oveiftowing,
28", 3»i, 32-, 34'. '■; ii. 6", 8',
iLl'.
10'.>,41'.'; iv. 9". ia"'», 19".«.
OTW [OTi] iott, ii. IS-, 42" ; iy. 2'.
earn, i S", 11', 35'; ii. 8'. edaili.
i 4", 6'. 31', 34'; ii 6', 10", 29',
41>, 42', 43"; iii 9', 12', 34'''; iv.
am [wv] festival, pteasure, i. 13", 16',
61, i8>.H".'u.». edaasa, i 6',
18'; iv. 21'.
28'. •. eiiii40'. edae, i31'.
irfmr - [124 |
33^; ii. 9', 10*. ee, iv. 4". edaim,
qtfH [araiir] ^rd, rough, merciless, i
h. 8". edahiiii, ii 10*. edanam,
20'1
i 34»-".
s^ ts. a bracelet, i 18"^
irftm H. 2. 167. so much, so graU, ii.
w^ssi^ts. HD. 2. 12. the Agoka tree.
6".
i 17'.
Bwr [iTJ] here, I IS\ 25^ 34«; il 8=, 9",
vm Imn] glass, erystai, i 20"
44^ 47'.*; iii 12''; iv. 6", IS"".
Km [«re] work, affair, business, ii. 6",
etthiintaxe, in the meantime, i 29^.
28*. 29'' '• «■ '». Iriih kajjaiii, uj/<a(
vwruTt lim3ma]being in that condi-
t« t^ use ^, ii 28*; iii 1-, 12^
tion, i. 34".
19'.
TOW [tows] H. 1. 271. just so, ii 49*;
qnnnts. lam'pbyKk, used as a coUtf-
iii. 9".
rium, i. 20'; ii. 23», 41", 46«; iii
»rfw [*?w]sucft, iii 21".
33'-; iv. 14\
nt ta. thus, 80, I 18'>, 20"». "- «' "<••, ii
msan [wrea^] ffold, i 32»; ii 12"; iii. 1".
6^40^ 50»; iiL3^8^ 16'; IT. 4',
WiWHHHK [WTHR-] tutme of a bard,l 16';
18'M9"-«
iii 26'.
tll^[-^]Up, il3';ii41».
iv. 9'".
wtft^see ij+wa-
tramiresi [Kiwpmw] mount Meru, ii 15".
iftwanfimrHD. 1. 164 a female ser-
vant, ii. 9', 28*.
ern India, Cot\jemram. i 1B«,
Kt^ [wi] H. 1. 82. wet, moistened,
unal [vmat] a girdle, i 34«; ii. IS-, 23%
juicy, fresh, new, i 28'*; iii V\
34\ iii 18».
iv. 4', 7".
wefewr [-an] a bodice, i. 20'.
wltvs [sfiWj] a medicament, it. 6\
wfww [wiftaw] sour grud, ii 29".
«^ + B (o show, display, manifest, paa^
wnit [V3-] ^ J>Ianfaim free, ii 14»;
dei, iii 12^, 17*.
IT. 18'.
«iw« [«3to] a glance, a side-long look.
WV [-fa] a poet, i 1; 4'», 5*, 6», 8', 9«
i. 29*; iv. 24".
10», 20».
isfiffiiHD. 2. 52. a doth giH round
VTinii [fnfefor] pociry, o^ of poet, i
th£ loins, i. 27''.
19^ 20«' '«, ii 10».
wfimTW [wfep»] girdle, I SO*.
«!■« [W^] a Mng of poets, a ho-
wftasee f^.
norific epithet of a pod, i 11'.
qm ts. a drop, iv. 8*.
sunt [9P>m]gold, I 20*; iii. 22"; it. 9'«.
■ra [W3] a sacrifice, i. 24".
vnniFfiim [rnqHiim] tinkling, ii. 3S".
125] -w^i^rftra- ^^1
wftjg [-ftrc] youngest, ii. 6".
Sarins [-n] richly or euddenly produr ^^^^|
om^iT ['qtja ihom, pridde, stiag, iii
ced, i. ^^^1
24-; iT. 21', 22*.
ti-dPH^HH. 2. 169. shooting, ^rouUng, ^^^|
WTOts. tfw throat, 116», 20"; ii. P,
^^^1
2', 17»; iii 2% 6^ 20'; iv. 17".
mat [w] an arroaj, i 16'; iil 18^
sprig, ii. 14''; iii. 20*; vr. 7*. ^^^^|
Wlfi?* to excavate; carve, sculpture.
VF^HD. 2. 9. a blue lotus, iii. 3". ^^H
■riupa, iii. l?"". According to -^
soQiff [-nrsnjend of the world, uni- ^^^^M
Dtklrya. C^.Marathi,ka3h4s,Ta,v,e^\.
verstd destruction, n. 19-. ^^^|
VEST ['ml ear, i. 20", 32''; ii 27«; iii. 20^
iKwi [-5^] camphor, i IV^ 29*, 34"; iiL ^^H
m^an [qn^o^jm] name q/* a city, Ka-
^^H
nmy, iii. 6'.
«ur<ifHHl I^y] name of the heroine ^^^^
of our play, i 34*°' "; ii 6^, 28*, ^^^^|
ear, an ear-ring, L 14^
29«-',40',4S"-";iu.8S20«,22',31»; ^^H
wm [wot] a younj (/irl, i 26*.
iv. 9", 19>. ". ». «. «. »»■ ". M, 20". ». ^H
mmrit [wnfel] o Karndta woman, i. 1 5'.
am [ht] succession, regular course.
W^mt [TOfFiw] on ear-tottts, L 34*.
manner, iii. 4'', 5\ 25*; iv. 3'.
■wfrw [qwifeuT] mtwft, i. IS'", 34'».
WJlwts. a lotus, ii 11*, 16». 60»; iv. 22>'.
nto feQ, say. kadhemi, i 32*; W.
wmr ts. a name of Lak^l, iv. 24';
9'. kadhehi, ii 11». kadhedu,
wfto- [-ftiPi] shaJdng, agitating, L 17'.
iU.2». kadheni, iiL 16»; iv. 18».
WW- [■n^r] (Kfion, peiformance, iv. la"!
kahijjau, i. 5». kadtdadu, L 34';
wmn I«miD] magic, witchcraft, ii 26''.
iii 3". kadhido, u. 41», 50». aka-
Wta. hand; ray, beam, ii 16', 42';
dhidii. i. 28*. kadhidadi, i 6'.
iii Sfr, 24^ 26'.
wa [ifianlhow, why, 1 18», 30'; ii. I»,
«T|; ts. a 6oa^ iv. 9'*.
6'^. ", 11«, 40*; iii lO", 92'; iT. 2".
KUB ts. doinj, making, ii 6"; iv. 16^
Cp. wi.
wwm ts. a sword, iv. 9*.
karpa^ya), i. 19". 20'-
WTMtB. gaping; terrSile; fem. a ter-
«f^i [mr] loveUnesa, beauty, ii 27S 30".
rible form of Durga, i 18», 20"; ^^
VStB. a root, bulb, garlic, iii 28*,
^^^1
a9K
mrrinsT [-tt] made terrible, iv. i\ ^^H
v^soi [-5] Oupid, I 16»; ii 40'*, 41";
«(t- [•fni] an ^hant, u. 6">. ^^H
iii 28'.
q;^ to hold, do, notice, akalia, i 2>. ^^^|
«>cw*5i? [-OThfl name {f a woman.
^^^M
iv. 9".
DrVffifos- [-fbsq] t/ie cuc^. i. 16'. ^^^|
^^ - [138 1
aRTj ts. stain, fauU, Ui lO-.
m^mn ['m]doing, putting on, iii 28^;
where, L 24^ 26*.
^.4^.
xm ['oj ftody, iv. 14*.
tit*ra t3. rice, L 19'.
KTV t3. one-eyed, i. 20'.
wsnai la. (Ae Eadamba tree, iii- 34*.
amow ['Vf] a forest, park, u. 22".
amis, /owe, t^pid, ii. 5"; iv. 2^ 7'.
frreosi like a water-pot, ii. 24\
aiTB ts. weU, forsooth, iiL 19'.
iii. 7'. thaQakalasii^l, a woman
*iH»a (°uj Assam, L 14'.
having such breasts, u. 23''.
afureiin [•=ti] name oy a woman, iv. 9^.
qm^ ts. a swan, iii as^
atrfiraS [■'fl] a loving, beautiful woman,
qnn ts. 1. a sjnaU part; a digit of the
i. 33-; ii. 43^ 48'; iii 18^ iv. fr.
moon, i. #; ii lO', 46*; iii. 25^.
KUta. (at ike end of cwnp.) atithor,
2. any practical art, il 27=.
18^
wftiw [•»iT] ajlower, hud, ii. 27»; iii. 1»,
vnm ts. reason, Mttse, iL a?"", 43", 47';
wftqfHnn ['t] name of a woman, w. 9".
iii 1', 9".
WTOT U feod^/, iv. 22^.
WMlMSdl ['aTj jiai/ieo/'ott'oman,iT.9'l
wrft- ["fe] doinjr, catising, ii 10*.
«M4irHin) [■'fl] a river, ii. 3».
«M ts. time; death, the destroying god.
iRiaui [-^J eating, swallowing, i. 20''.
L 8'; ii. 6«, 28'*, 41', 50'; iii 4\
wsft»H ['ti\ eaten, chewed, iii. 2*'.
iv. 2", 19«.
wsra ['ma] tAe stuU, iv. 19".
an?T ts. filoci, iv. 14«, 18".
atfksgiH [wftr] name oy* the Vidusaha,
diH»flr<M [•wwftw] a scholarj i. 18'.
i.20'-".", 34'; ii. 27', 29'; iv.20'.
wra'WT [■ni-«*I opportunity, i. 36".
9^(9 ['-im] Qie c/ieefc, i. 32'*; iii. SS^
wrrfl ts. a name of Durgd, iv. 19".
qssa [wtm](1 poem, poetry, a Kdvya,
«ni+iito appear, become manifest.
i. 1", 8M9'.', 20'-'; iL4^.
paSsai, iii 11^
^te rvb, test, try. kasladi, i. 18<a.
ftmi [fsm] performance, a religious
nR-l-feto open, hhom. nasauti, ii.
lite, i. 24".
43".
ftw [vftrjii'orfc, compostfioB, i 11".
■rofsw [«wrl%BKT) a touch-stone, i 18'",
fifcHH ['^Wja tree, Butea jrondosa,
19'.
having red blossoms, i. 16'.
WHTH [WITO] red, qifected, iv. 23\
fiNir) ts. a female servant, i 36".
mt [win] /low, iv. 1', 34. kaharii pi
«Kfi;in1ts. a &eU, i 20*; ti 32", 34";
[kathamapi] somdiow, in any way.
iv. 17>.
ii. 39-; iii. 32". Op. w^.
fttfti [qffitl/ame, ii 35".
m/Hi H. 3. 60. Klere, i. 35"; ii. 42".
- ;m) ^^
fknthe interrogative protwun, who,
^nrm [11111] a petty village or hamlet, ^^^H
what, which; with vi, pi, it is
^^H
ind^nite, some one, a certain.
mwta. saffron, i. 13s 16»; ii. 8', 12*; ^^^B
The neuter kim is used with instr.
in the sense, what is the use of?
^[^]beard,i.20-'. ^^M
kiiii is used also as an inien-oj/-
«m [-n] /mmj>;>ac;ced, crooked, iii. M'. ^^H
ative particle, Idm ca, moreover.
1^^ ['^ ts. a iKiwd, i. 18', 34'\ ^^H
further, ko, L 4», 6'», 16', 20»,
^ ['fz^l crooked, cwled, ii 20-. ^^H
88", 36"; ii. 23', 27", 29"' ", 47'-,
^f*» ["^J/amilt/, household, rdor ^^^^|
iii. IB", ks, L 4'. 16', 20", 33',
4», 34»>. ^^^H
34', ■; a. 26>, 27'; uL 1'; i». 9',
KU<H ts. an ear-nn^, iL 18*. ^^^^^^|
16', 19". MA, Ll",4"."'", e"'".
SQT^m [t(] 6owec2, 6enf, ii. 6'>. ^^^^|
8', 11', 16", 18'. '•■ '■• ", 1*1. ",
nm ts. a lance, iv. 9"^.
20>. '■ ", 21". ', 22-, 23>, 24', 26', 28",
as?wt3. the hair of the head, ii. il"".
34', 36'1 iL 6", lO'.'.Ml'.', 16>,
^^Ti^tB. name oj a country, i. la*",
24^28•.'',29'■^41^42'■'*.".". '".".",
34^ kuntall, a Kuntala woman.
43", 47', 48'; iiL I*. ^ 2', 8'- *, 9',
i. 15^
12'. >, 13^ «. ., 14-. >. M6'' »• ■• ', ig-.
^•duiui ts. name of a woman, iv. 9'°.
20>. u. '". ", 34-. '; iY. 2'. ", 3', 4",
wnto be angry. Imppadi, ii. 47".
9", 18". «, 19". ". "•", 22'. '■ ", 23'.
kuppa, i. 20". ".
kaili, ii. 11'. kena, i. 10'. kassit
^OTTHH [fwfew] a sort of bodice, L IS"*.
i 23", 27'; ii. 32', 40>, 42'; iii. 8',
wttH ['mii]a girl, ii. 22'; iiL 17'.
9»; iv. 6'. kle, iii. 9'. ke ii
42».
10 to 13. iii. 16».
feurts. a ray, beam, ii 29', 50"; iii.
«M ts. a pikher, water-pot, jar, iL 44'.
26'.
w»nre [-onm] a white gourd, iv. 18".
ftma [If] a Kirata; a dwarf, iii. 34".
ansini ["wtiiv] an epithet of Agastya,
fewts. certainly, I think, ii 8^
"^ i. \1\
r4iHr«H- to sound jubilate, laugh, "lai
wqfwl ['irmJ|a deer-eywi woman, ii.
ii. 34''.
3^
fitiMUitsee tat.
r*«HH [°o] a young and tender shoot.
cot\fiienticd servant of Karpura-
ii. 42'.
mailjari, iii. 19^; iv. 20*.
•Star [•an] of what kind, I 20»; ii.
TOlts. a lock of hair, i. 15'.
42""; iii 3', 9'; i». 19".
mw [°w] a species of amaran^, ii.
•feH. 3. 68. why. ii. 4a«.
42'\43''\44', 45\
^ J
WF«-- ^^^^^^PF l'^ 1
5«^H- to croon, grumble, growl, "ra-
kide, iL 42*. "■ ». kidfto, iv. 9'*.
anto, iii. 2'. Taantl, L 18'*.
kaflj, iL 19». karapijjam, L 12».
^ is. family, }ierd, coUectum, ill*,
kadawa, L 34^'. k&dawaih, L
17^ 19'; ii. 2'',44J.
24^ ii. 29'. kario, iL 15". kari-
^snnn [-vm] the doctrine and practices
daifi, iv. 18>».
of hft-hand Qaktas, i. 22".
+ sran to decorate, 'kiaih, L 33». -ki-
^m ["sm] a river, stream, ii. lO"".
da, ii. 24^
vtraar M tJte blue iwrfet^ily, iL 19S
wmto draw, drag away, bend, kaij-
38", 42'.
dhijjai, iL 29". ka44hia, L 32*.
TOW [-ara] sfcii/ul, ciwer, i. 1"*.
kadd'iidao, iiL 4'.
ceTwa [°9ifcnT] an actor, i. 4^
+ mto draw, puU, snaich. aa44^
WRUts. afiouer, i. 4', IB"; ii. 6'*'", 7»,
i. 29".
21', 44% 46''; iii. 1", 22-, 24»i n.
mto spread, scatter, kirai, iiL 20".
18^', 19^ 21", 22^
kiranta, iii. 28".
^TOBT [-WT] Cupid, iii. 7"; iv. 2».
*«r«/em. mwi [•!!«] name of a plants
■EHWTHT [-wi] (/te Spring, iL 1».
L 29"; ii. 7'; iv. 21", 22",
«mn3« ["gw] CVd. ii- SS*.
Awifbff [-aiftwr] a meadow, iiL 20'.
WW ts. a cat-ity, ii, 30"; iii. 20'.
W3* ['Hwl] name o/aplanl, ii,6"'.'°-"-»».
yr t8. food, boiled rice, i. 19".
iftita. play, sport, amorous sport. L
« (tf mafte, do, prepare. Caus., to cause
24*, 26'; iiL 20', 23", 31"; iv. 2", 9".
to do. knpai, ii. 31'; iv. 6\ ka-
sfijwiT [•«it] causing pastime, i. 141
redi, i. 20''; i\. W. kunanti, i.
Sftratnmn l*^] a pleamre-park, ii. 22".
U"*; iv. 14", IS"', karissaiii, il
10", 43'; iT. 2*. kupa, iv. 20".
wftwaT [-hI] name of a woman, iv. 9".
karedu, iv. 20*'"'. kupanto, ii.
60*. kuoanU, i. 16'; iii. 28'. kn-
iftreMur [iPRja pleasure<ouck, m.
aantftpa, 11.46". kftduih, ii. 6".
27'.
kaupa, ii. 8'. kadua, iL &'; iii.
aftresan [-vm] the same, iiL 3-. M
5»; iv. 9M8", 19". kiijaLii.27';
no^ts. only, L 6", 24'; iL 28*. H
iiL IB*, kariadi, L 20". kijjau.
i« [ii] hair, i. 26". V
iii. 1'. kanadu, i. 20'^ 25'; iL
wmtR. theJUament of a flower, fibre; W
43"',B0»;iv. 19"."<',21',23'. kaa,
(he Bahda tree, iii. 1^ 24\ 25'. 1
iv. 17'. Hda, ii. 6'\ kao, iiL
wtinw [-am] a bow, i. 16»; Ui. 30". 1
32". kido, iL9'; iv. 18". Irfmrh,
uttTW [■^^]the ctKkoo, L 18'; iii. 31". 1
ii.47". kidaift, L19»;iL6Mr*.
47'; iii. 30'; iv. 20^. kae, iL 10*.
38-; iv. 18>. M
139] ~m 1
ntaiv^ the same, ii. 49*.
wti [an]hurt, torn, broken; awowtd,
wtft ['it] ten millions, iiL 5*-'.
i 28V ii- 11".
vtfKD. S. 33. desire, curiosity, ii.
wwr [•^] a sword, iv. 9".
37"; iii. 3'.
or^ to limp, hali. khanjia, i 21'.
wtgwm [wigwro] a pteasure-houae, iT.
onfaEsn BD. 2. 71. a side-door, back-
18".
door, iii. 20".
Khm ts. tefider, soft ii. 10*; iii 33*.
wftflT [-feKi] c/iolft, iii 33'.
^Ki [^]b^UmgiTig to the Ui/i-haTtd
qns [WB]an instant, moment, ii 3*.
Qdktas, i. 23*.
40^4I^47'^; iv. 9M8".
wn-niR ta. a loud and coi^fused noise.
qpn- to breoi, cut, crush, khaojis-
iii. 34'.
BBjfi, i. 20". khftudijjal, iv. 8*.
mtE [-u] mew;»r«m virUe, i. 20".
khawdaanta, i 15''.
■a, 5, after & am2 anuwdra ^ [wg]
«ni¥ t8. a piece, p(ai, i 23'.
indeed, methinka. kkhu, I 20";
vmtm l°m\breakirtg, cutting, frustrat-
iv. 2*. hu, I 4', aO'^, 34"^".";
ing, ii 27^; it. 3".
ii42'-S48''; Ui. 9'-; iv. 2', 18"
vtfPtm a kind of cake? jest, joke? (K,
khu, L 5»; ii. 0\ 6«, 10»; iii 3*.
kalikhau^a apupavi^egat, N, de-
KH tntens. Oatts., to cause to go. can-
^Suh kba4lkliaQda(&bdat kn4&-
kamio, ii. IS*-.
vftcakah), I 34".
+ «lfeto pass, adiktanta, iv. 18".
WT^ to eat. khajjae, L aS"*.
-t-«irb)aHacft,n(6(Iue. akkaoU, L 14*.
vm [vm] thin, emaciated, ii. 6»».
WR [WTjfiatt, ii. 11".
mamha, iii 22*.
faw [■«] quirted, tired, i 20*.
si to buy. ki^ido, iii 4°. ki^ida, i
ftnresee fiw.
34".
^see<Fn.
+fato sen. Yikkipladi, i 18'«. rik-
W5»H. 4. 116. tofaU short, ii 4",
ki^iidfi, iii. 5 '.
^ [w»] a rotor, iv. 3*.
wnto be tired out, exhausted, kilam-
ftm to play, move to and fro. khe-
mami, iii 19^. kilammantl, iii.
lanti, iv. 11".
20". kilanto, iii 8'.
mm [TtiPl] the sky, ii 30", 47"; iii 20",
iii. 20'.
mp ts. the Ganges, i 4'; iii. 3».
on+v Gaus^ to wash, wipe away.
mats, a flock, tnultitude; certain demi-
pakkhalido, iii. 3*.
gods who are the attendants qf
fwvto throw, cast khiv&nti, iy. 13*.
Qiva, i 2&% 33'i ii 28'; it. 19",
22:
a
ininD — [130 1
»ranir [■»!] counting, ii. ST>.
Igamissaili, i 20**; iv. 19'«. aga-
mm I'm] regard, kft g., whcU need
missadi, i?. 18". agantavraiii, ii.
we say of, iii. 1''.
19«. ftado, iT. 19". aada, ii
nfiis [of^] a knot, tie, i. 15", 20"; iiL
6". ", 42"; iv. 19". ftgadaifi, i
9-^ iv. 20'».
18*; iii 34'.
irftisaw [irNnno] name of a fragrant
+3»to rise, ascend, uggaa, iii 1«.
shrub, according to P= Tabemae-
+ftr« to come out, part, ijiggacchadi,
iv. 19=. piggaam, iii 20=.
mtU. the cheek, I 16', 16»; ii 37';
-ir^^to join, meet, saiiigada, iii 3'*,
iii. 34''.
>w ts. going away, iv. 7'*.
mt^ [-n] a mouthful, handful, iiL 90'.
mnir [-si] going, motion, iii 23\
nrl [nmjo limb, body, il 27"; iii 22'.
nuA; ta. deep, solemn, i 28*.
TPV ts. smdl, odor, ii 6'*.
»iTSlts. poison, ii. 11'.
IP«S55T l'^] a fragrant oil, L 13».
iRTto drop, fall Caus., to pour out,
iRntfnn ta. the musk-deer, iii 20\
M^' strain, galauti, ii ^^ g&-
nw [•«] womb, belly, interior, i 34";
liassa, i 19'.
iii. 3". '^4'; iv. SI''.
nrntm [-ms] inner apartment, iii. 22'.
iie'".
im to go, pass, gacchami, iii. 3'^ 34'.
gacchftnti, iv. 9*. gacch&,i20"'*;
hut lazy buU, i 20«.
ii 42". gacchamha, iii. 22». ga-
Jiw ['^] pride, il9\
missaiii. i 34'«; ii 60'; iv. 19"-".
ura ta. strong, vehement, intense, i 19",
gamissamo, i 36'. gao, iii 35''.
20*n ii45v iii 20'; iv. 1».
gado, iii 3", B'. gaa, i 33'. ga-
film ["An] summer, ii. 41"; iv. 1», 4'.
dft, i 18'\ 20"- "»; i7. 9', 19".
firn [ftr] speech, voine. words, ii. 29=.
gaaiti, i 35''; iii. S"- ". gadarh, ii.
fitft ta. a mountain, i. 20*.
V, IP; iii. 4'. 12^ gadae, iv. 20».
filftss f'rTsj] tfie frin^ (/ moMtitaina,
gae, il4-, 36^ gade, iii. 3'*, 8';
flimat'anf, (ft< /affcer of ifimifi,
17. 18". gadua, iy. 18*. 19»«.
i. 3''.
+ K^to accompany, aougaa, iv. ll^
firfw [-v] Qiva, i. 3"; iii ^^.
auugadft, ii 28^
fiifww [-m] ifin«(», i. 4".
+ sTa(o know, learn, avagamia, iii.
li^l ["fH] son^, singing, i». 17*.
34". '.
ijurta. quality, virtue; thread, string.
+ «r tn come, ftacchasi, ii 42". ftac-
cord. i. 10^ 20", 33'; ii. 2^ 4'.
chadi ii 41"; iii. 34'. fiaccha,
26^ 27s 28'; iii B^ iv. 19", 22',
iii 34". aacchadha, iv. 19'"'. ".
24'.
131] - Vj^rm 1
TjRi see tpH. 1 contact; coimtiff, stamping, ii. 37*, ^M
ma^ to stnny, tie, arrange. gampliedi,| 41»; iiL 10*; iv. 9'. H
i 4*. gumphantft, i 16*. guttha, w [m] 1. compact, dense, strong, i. |
iii a«, 5".
13<, 27", 29"; ii 6'", 12'; iii 20";
mts. a teacher, spirHual preceptor.
iv. 6S 8". 2. a doud, iii 4».
i. 6^22'; iv. 18'^"-«
waSTT [TPf] camphor, ii 21'.
11^ (o Wde. guijha, u. 21».
WB«i*HWiO [v^'] name of a woman.
+ 30io emfcrace. uvagu^ho, ii 46».
synonymous with Karpuramanjor
n+5H^fo (/iroif o«i, put Jorth. sa-
ri, iv. 18'*.!», 19", SO"-".
muggirai, ii. 45''.
wiCTts. a heO, iiSl''.
nH ['o] so(i(/, iii. 14».
w«r [-h] /iea(, warmth, ii 6'°; iii 20».
vas [nfVr] w/iat can 6e grasped, i- 30';
mH. 2. 144 a ^lotm, i 14', 18', 20«;
iii. Ib^
ii. 2''; iv. V, \B\
iHtwt iJrftwiJfBd cAoti, iii. 18".
OT^te. a grinding-stone, iii 30*.
vfmf [n'] wife, L 11«; iii IB-.
ofimT [fffmf] a wife, i 19', 34"; ii S*;
h to aing. gfianta, i 21'.
iii. IS-; iv. 18™.
jftm [-w] range of the organs of sen^,
«5aH. 4. 334. to throw, cast, ghal-
grip, hold, irifluence, iv. 2-, 20^
' lisBam, i. 20".
m^ [tsI] conversation, i. 20".
gfero I-ott] i«#r(m, ii 37'.
ifrt [>ftt] luWte, geOomsh, iii 34''.
^mirsee vf(.
liTTM ffce same, iii 31».
"•f [''W]/«»- •oe^' Aawtiy a pai-
nsee IT.
red body, i 20'.
«iT [iij coflerttoB, fteop, man, L 86^;
iM [ift-] F&rwri, i 28*j ii 6"*; iv. 18".
iiBO'.
iftwT (-to] a cow-herd, i. 21'.
^rafon [ix^]offour kind, fourfold.
m; fo sciee, faA%. gei?ha, iv. 20'^ ghet^
ii. 1".
tupa, i 12=. ge^ihift, iv. 19''. "■ ".
W3WjI [«g:wfe] sixty-four, iii 4'.
WtT [TClr] Ifte Oreek partridge (said
ft^Qius., to join, accomplish, form.
to feed on moonbeams), i l"".
gha4el, iii. 17'. aghaijia, i. 2*.
^ [■■] a wheel, ii. 18^, 23', 34'.
+ ^Cati8., to open, ugghatjijjanti
«^ HD. 3. 20. round, ii 34".
L36'.
'flpafg- [wra^] an emperor, i 12';
+ BH to be united, joined. saifighaiJaS,
iii. IB'; iv. 18"-", 23'.
iii. 9". saiiighadide. i 18*.
^qWTH [wraw] ruddy goose, ii. 8'', SC.
V^to rvb. ghattedi, i. 4«.
vvniTT [mraciT] wAeel-U)^ ii S3'; iii.
vwa, •WT [W3W, MT]/or»iiM5. joining;
19'.
H
W5- [138 1
wra [«gR] OH eye. il 5-.
wfMW [afiTOT] moonlight, iv. 19".
W|;w- see w»i.
«ynD [otbt] 5oiMj, waMng, i. 27*.
campiaib (P translates pi^itaih),
wifHD. sl 1. beautiful, i. 31^ 33-; iL
ii. 33'.
25», 28^ iv. 13^
WffH [•■] name of a Wee and its
^^mbmuty, i. 14^ 20'; iiL 9% 16'.
flowers, L 14', 16% 34"; iL 42";
«Fifw- U. 1. 36; 2. 164 btauty, ii. 24*.
iiL 1', 22", 30".
36<; iii. 6'. 13".
«nnt8. name of a town, Campa, i.
flvHi [aaf] smearing, anointing, i. 20'.
14'.
^j^ats. (rewjfiim^, iremuiofts, ii 41^
wm- [«w^] skin, L 23'.
flsw ts. waddling, iii 23*.
wwfj [wrafe] a Ufftip. cammatthia-
^-iicA'iuj, cp. i/ara(^i catapeih, i
anto, locking like a whip, H
20™.
39".
«^ H. 4. 206. to rise, increase, cadadi,
v' + VnCauB., to communicate, saib-
iii. 16'.
careata, ii 2'.
vnts. ivild, impetuous, angry, L 17'*,
"■ftw [ft] acting, behaviour, acts, ii
23«; IL 10".
40'.
viin [vdvm] t^te sun, i. 36\
TO to rftr, move; io get loose, calia,
WWOTW ["urei] name of a king. I 12'.
ii 1". caliarii, i. 27\
Wjltur ['^] name of a king, iv. 18".
WTts. (remuiotw, rolling, ii 5"; w.
wfinw-H. 2. 164. impetuosUy, I 16'.
16".
wgwT [v^ the fourth day (e. g.. qf
TOW [-mr] /«rf, L 20"; ii 13«, 33«,
a lunar fortnight), ii. 6", 29''.
42». 43*.
WBnn ["5»] moving, shaking, L 36<.
a lunar fortnight, iv. 18".
wfea [WTt| (he motion qf the fea in
■gt [oti] skilful, conversant with, I 7'.
the dance, iv. 12^ 16".
wgrwnt skill, loveliness, I 20'.
wasT ['(ih] unsieody, uwverifiy, L 15»;
wgwfg [wgiHfe] sixty-four, iii. 4*.
ii. 49«.
«sa [wsa]lfte moon, i. 32"; ii. 5", 6'".
27", 29'». '»■ ^■, 43'; iii. 16", 24',
vmrts. a chowry, fan, ii 31^ ir.
25^ 26', 29", 30'; iv. 19".
9».
W»3OT Msandal, i. 14", 17", 20»; ii.
wigiBT ts. a terryfc /(>rm of Durga,
10*. II*.'; iiL 20*. 28"; iv. 5', 6<,
i7. 18'o-'M9".
8«.
wift- [-ft^] wandering, moving, ir- 2*.
> <*Jtuwgi [*>idQn] name (f a woman,
wrata. lovely, i 16».
iy. 9».
wra [-ff] a fcoM/, iL 6''; iv. 14», 19«.
^^H
133] — av 1
*TM [•«] a (Aie/, robber, iii 31*.
f« + 3^(o j/aiAer, arrange, uccioedi,
wNrta. name of a country, L 1B^
i. 4\
msee %iT.
fKTflee tH.
firats. mind, heart, ii. W"--*, 49'; iii.
nm HD. 3. 24. ctftw, L is 5'; iiL 9*.
11", 12»; iv. 9^, SC.
wgw [TCSt] ifta sixth, iiL 18".
Ito ["»] 1. frrifffte, variegated, spotted.
nt [-31] moss, lustre, splendor, flash,
iv. 9'". 2. a piciuw, i. 27s 30";
i 29'i IL 32»; iiL 20'.
iL4^.
m ["t] a parasd, MmfrreKo, iL 29".
V^ + nto hide, conceal pacchftantl,
■fwrftrfe [fe^-] a painted wall, a waU-
i. 33^
picture, i. 36*.
wwar [a^<ra] a bee, ii. 2^
BJWH [TOgm] o name of Karitikeya, L3».
iv. 9\
WwrfisM [mnnfint] weighing six miffo.
■fen [-Ti] the fourteenth lunar man-
iL 17»; iu. 20'.
sion, ill 3".
■Hta. deception, guise, semblance, ii
^ long, ciraib, for a long time, u. i\
3B>; iii. 32«'.
ciraa, at last, iii. 23''.
Wf- to deceive, cheat chalida, iL 29'«.
sfH ts. co^, splendor, shimmer, L 29";
^ H. 1. 186. the hair qf the head,
iL47^ 50"; iv. 5'.
ii21«.
aror [-m] riflection, light, u. 6"; iiL 1*.
^to ^u& cumbia, i. 17'.
VI fo cover, smear, envelop, churia,
gwnir [-St] AissiM^f, i. 2».
iv. 5". churio, L 29".
^pwftl ts. a crest-jetvd; best, exceUent,
wna ta. stnearing. anointing, iii. 28*.
i. 6". -ttaqa [-tva], i. 20V
gm [OW] ^wnyer, iii. 8'.
yir_ (o crush, curalBsaih, l 20'". cu-
ftM [■«] ctetw. ii. 26'^; iii. e^
riadu, i. 20*".
ft?T [vt]field, width, L 30-.
^frm [°«i] top-knot, IT. 2*.
Vt^ H. 4 395. to cleanse, rub. chol-
*M, fHM. «aH. 2. 184. restrictive or
lanti. L 14*.
strei^tltening particle: used with
tad (like tad era) to mean Hhe
maee n^.
same'; i. 8', SI'*; iii. 1 1^19".
am ['v] conquest, triumph, iv. 20*.
%fjMT ['km] a female slave or ser-
■H- [giwl the world, iii. 12-. 17'.
vant, i. 20'«.«
aismr ['iwl subduing, ii. 41".
#Tr |ot] a lunar month, Mirch-AprH,
sv [wfeJi/; iL 47», 48'; iiL 12'. 15s
L 17^ la's.
33*; iv. 2". 3', 18'S
am- — [134 1
mw- [wfiR]/effj. -ifll, conquering, mn-
gns ["3] ?iard, solid, iv. 2,\ jaraijhaa-
quiskinff, ii. 41"»,
maoa, growing oW, ripe, matured.
vaa [tm] one of a daas of demigods, I
iiR
25'.
5Flt8. u'ater, i 4*; ii 11«, 24='», aC-;
51^ ts. moving, iv. 18\
iii 3"- 'S 20'.
5IW [afira] Jtoiie, weii-6om, jenuiwc,
HRRgifw [nrarja Itliation of water pre-
i. 14^ 32»; ii 19", as"; iiL l".
sented to the manes of a deceased
aregi? [sra?] old, decayed, iv. 4'*.
person, ii. 5*, 42".
omr ['^] people, man; common people,
aisrer ['Wja cloud, iii. 3'', 28*.
i. 4-, IS", 2P, 34"; ii 3», 6", 28^
SFoto speak, taiL jampanta, iiL 27*.
31^ 40^ 41* 47''; iii 12^, 16», 2T^,
biafJUWHi [-ftwiFm] tlie tiring-rooin,
28^ iv. 2". ', 9», 14^ 24«.
il2'.
OTDOT ["sr] fern. •j)l,prot]ucinff, causing:
W [tmjas, that, i 34'.''.'; ii 44*; iv.
fern, a mother, i. 26'*; iv. 9^.
20". jaha,t;iesa»ne,i34*. jSeeawi.
WHT [jirtilfeatival, procession, ii 44'*.
gjft [iTf ] H. 3. 60. where, i 20"- ^- '«. '».
mit [vm]from whence, from which
sriira [ira-] at u>^!. ii. 22-. See grfviv.
time; because, i. i\ U^- », 18'^ 19',
BTlfinir* [infti^ niy/ii, ii 29*, 4P; iv.4'.
20'.", 31', 34"-"; ii. 6',42"; iv.
wra [oiwt] oa/ar tw, tiU, in tlie mean-
\\y,20",22\
time, u. 41«; iii. 34».
flrar [OTi] as, as foUows, i. 7*, 8*, 13^
ftr to eoMjwer, surpass, curb, restrain.
16*;ii26',42";iv. IS'.'". Seeara.
he victorious, jaal, i 4*; iii 18*,
«fu^ [nfrjaf will, L 16'; iii 3". Cp.
30"; ;iv. 19". jfta, i 14*. jaadn.
srfv^B-
ii. 6'^ iv. 9", 18«. jia-, iii 4*.
qpi to 6e produced, he, become, happen.
jido, iii. 2'.
Caus., to produce, jfto, i 29«;
+ few to conquer, pijjida, i 14'.
ii 50*. jfii, i 20*, 35'; ii l^ S*;
+W5wio conquer, defeat. Tiijijjia,
iii. 28* jfiaA, i. 16'. jade, ii.
i 13*.
42". jadia, i 2»; ii 19», 32".
afa to live, jivadha, i 20*'.
+5*T to jrotf. become, samjaa, iii. 25^';
sifits. life, soul i 35\
iv. 23'.
aflfaH [-H] life. U. 9*.
mm [vtt]an instrument, machine, iv.
aflw [feyr] tongue, u. 47*.
13'. •jjala, an artificial stream
g«T [gn]a j?air, cowpte, l 26'; ii 13',
^ water, showerbath, iv. 10".
IS", 33», 37'.
•dharfL, the same, iii. 20^.
WW- [gOT]j/ouni?, ii.4i*.
aifww [wfwm] speedt, murmur, ii. S".
^Hsr [grw] a pair, couj)ie, L 20"; ii. 6**,
sre [wtl/ewT. ii- 42^
7", 13^ 16«.
135]
onmH [imawi] the same, iL 14».
asB [gs] see m*h^*||.
9V [si^iirj oid, tvofftetl, decayed, ii. 29" ;
iiL 28*.
^%fe [gftifist] name o/ the ddest
Fatidava prince. His eldest bro-
ther, the son o/Kutiti, was Karm,
which word means also ear, i.
20".
K [sms] eldest, i. 20'', 34"; ii. 10^' *.
ftftwH. 2. 167. so viHch as, i. 7*:
«)s [w] H. 4 280. a partide used to
atrengthert the sense, just, q^iite.
3f anvtsvara or a, l, fl precedes,
toe find the form jeva; otherwise,
jjeva. jeva, L 5', 7', 16', 20*- '■ ■",
34"; ii. 6", 24"; iii. 22^ 34^ it.
19™. jjeva, i. 8\ 20"; il V, 9\ 45' ;
iil 22', 34'; iv. 19«.«.«
atmif [ifrfiRl] a witch, sorceress, iv.
17''.
wltim [QtTFstJa sorcerer, i S6<i, 28^
iv. 18'», 19'*.
■tar [^mijjit, appropriate, i. 19*; ii. 5*,
23'; iv. 2'.
flftinn [asiiFPTT] moon%/i(, i. 1', 4', 89*;
ii. 11', 30''; iii 7», 25^ 28''.
vtsstiT [vjtPi] youtli, iii. n\ 18'.
Hl(o /more, jaijasi, i. 18"; ii.42"'",
47'-'. japa'i, i. Z^\ japadi, i.
32*; iii. 34". jaqimo, iii. 12'. ja-
panti, ii. 49'. japa, i. 34'; ii. 43".
jape, i. 22»; iil S*-^-", 15". ja-
nladi, i. 28'.
+wf( to order, command. apaTedi, i.
19*, 34'*. Epavedu, i. 4".
— ^
+ f9to communicate, speak, teO. tIq-
ipavedi, iv. 9", 18'. viogaTfidniii,
iv. 9", 18'^'. vippavladi, iL 28';
iv. 18'", 19". vippatto, iv. 18".
vippattaili, iv. 18". vippftvidftili,
iv. 18*.
SBRito bum, he hot, jalal, ii. 11'; iii.
20^.
+ga Qms., to make iUustrious. njja-
ledi, i. 19'.
ts. a jit^tjy sound, iv. 17*.
to sound, jingle. *paiita, iL
32*.
V^ [irfefii] qtiidcly, suddetily, at once,
i. 20'', aet-; ii. 38»; iil 3'. Cp.
^+aK. 4 173. Caxts., to cause to
drop, ooee. pajjharavedi, iv. 18".
qn [utr] meditation, contemplation,
i 22', 24S 34"; ii. 4^; iv. 19'*.
SOrHD. 4 2. gaping, large, uneven,
i. 20".
fdffd HD. 4 3. adorned with a tHaka
or mark made witJi sandal wood
or unguents, ii. ll^
Sdct 1. a scar, see bhamaratept^
2. ED. 4 3. a gambling-place.
tept&karala, terr^le in the gand>-
ling-places or a Durgd of Ote
gambling-^aces {K, urablupopa-
lak^itacavijika), i- 18S 20'*.
ts. a lord, chief, iiL 8^
snir [wh] place; tone, modt4ation, L
4'. 20'"; ii. 1"; iv. 19^".
uasHsee aij.
«Ta+firto c^iea^ deceive, mock, -n-
4aiubedi, iii 8".
IWT ts. mass, show, pomp, empty noise,
L 2»; iii. 12% UK
feat ta. a young child, i 30».
if+aato/y up. ud4nio, iv. 2".
fasw [fsfofi] loose, rdaxed, cardess, L
13'; ill 3^
m W tio(, i. 6^ 8», 13^ ^ 18". '«,
aO*- '■ »• •■ '«■ *>• w 22*, SB*, 27S 30^,
34.. fc. ., IT. 11. ii_ i._ 4.. i^ fi.^ ga, io\
l6^24^26^28''■^32^4o^4a^*■"■",
47'- ', 49^; iiL 8', ^^ 14', 15^ 16",
80*. 2a^ 34»j iT. 2"- »", 3", 9*, 18»,
19'.»,20».
mws [^m] eye, L 20", 34*; ii. 6», 19\
21'- N 38% 40', 42'; iii 20"; iv. 20^
WHT [fir] a town, i. 25''; ii. 30"; iii 5*.
roarrt [^niT] the same, ii. 3''.
*H. 4, 283. mrdy (as used hdj
qHestioningly), i 29% 34'°; ii. 47*
WFim \^Vt\ a luruir maiision, i. 20"-";
iii. 3'%
m^nr [w^] dandng, iv. 17".
niWJlfl \^f^ a female dancer, i 16';
iv. 11'.
nrivas [^fiifi] dancing, iiL 22^
HI? [^fo] dancing, acting, L 4'' "; ii.
15"; iii 14'.
m^raiT [:iRnm] causing to dance, move,
shake, L 16% 17%
m^ + fsH. 4. 150. to conjuse, mystify,
delude, vipatjida, iv. 19°\
mfi [5T3?] an actress, courtetan, ii 28'.
wfs33i HT^gm ] name of a poet, L 20'%
iBf^^nr) [ j^fanl ] a daughter, i 12".
» [inofn] a king, ii 35%
nrft'^ [lisa] t^e same, i 12^
infsnn [j^ftpr] o iotu* fiower, i 27«.
iirftrafl [iiftpflja iotw* plant, a pond
abounding m lotuses, i 35''; iii
19%
qra [sra] new. i 32»; ii 2% 19", 41% 42^
44' i iii 1% 4^ 24', 26% 30''; iv. 7%
9", 22%
vn- ["nm] the sky, iii 7% 29-. ^a-
haddhfl [nabho'rdhe] in tJie midst
of the sky, i 25%
ujwfw [inreiw] tfce sftt/, iii. 26".
iirrw?TMr [ h i hhw ] Piper betle, iv. 5».
WiftBT [s!ift«T]a fifiort («- light dom-
estic comedy in four acts, such aa
the RaindvaU, i 6*.
vnm [^l^] manifold, various, il 3%
lUiw [^m] name; by name; indeed, i
25% 34"-"; ii26'; iii 1", B"; iv.
9'% 18'^
ujm^t fsimr] another name, a. 20".
idtoSh [sfm^] name, i 20'*-"-"; iii.
31a. i(._ 9^., .0. 11, 1%
urmw [sfirra] aw iron staff on the gold'
amilk's sccUes, i. 20'%
wfni ['"nrl f*" ("■tnye- "■ 50*.
»in?l [fra] a iotiM-stoifc ii 16%
inrar [sir] a sAip, iv. 20*.
137] — finr 1
WW [iQvs]a deposit, pledge of love,
fiswj HD. 4. 31. abundant, exceeding;
L3».
very miuih, L 17«. Qj. Harathi
WV [ira] lord, husband, L 35=.
nipata or nippata.
iinft [:TTfil] (^e Tittvei, L 34"; il 24-.
ftrewani [fsrasw^] causing, iii 24'.
ftiH [fra] own, one's own, i. 19', 20",
ftrwi [fewT] vefee»HeM((is(), eaxeedingly;
33«, 34^'; u. 28^ 43»; iiL 20", 32^
doae.-JuU cf; iL 44"; iii. 7*-'; iv.
iv. 19".
19".
ftnrenrHD. 4. 3a a garment, doth,
firarorw [ftwrrra] another name of
ai, 16".
Mahendrapala, i. 9'.
fisnftw [ftrofea] near, at hand, il 41'.
ftirfiRT [W]caitse, motive; at the end
fiimw see o¥t+fii.
of a compound, in order to, for
fiaim [f^] the buttocks , the circum-
the sake of I 12', 34^"; ii. 43'";
ference qf the hips, u. 1', 15-, 24^
iii. 16<; iv. r, 18".
iii. 19'.
ftnifBnn? [ftrrrfwFfl] a woman with
forming, iii. 17".
large and handsome hips, iL 26>>;
ftlTWHT [frrar] without letters, iliiterate,
iii. 13*.
i. 20".
filTTSfn: l^-] uninterrupted, iv. e\
17^ 46^
fafitMlfiflW [farlBuffq] what can be
fiiraw [ft5w]cl««r, skil/ul, car^vl.
seen, ii. 47'*.
u. 40"; iv. 3'.
ftrlrfeaH [f^rcHwT] look, ii. 6«.
ftrerH. 4. 181; 3. BG. to see, i. 34".
fiu-HtwHii [firawn] undislinguiBked, un-
iiiredn [fira^j injunctioti, command, it.
itnportant, i. 18'.
28'.
ftral^see wt + fsf.
ftflRii; [few] flftiinless, i. 10".
ftrornn [fsr-JiwereniJMjf, warding off.
ftiw [ftw] continual, j)erpeiuai, con-
iii. 8".
etant; always, L 2", 33<i; ii lO",
finfel [fsffalj c(ose, compact, H 24<.
46"; iv. 22''.
fbt3W [ftraaw] teUin^, indicating, ii.8'.
ftrem [srerre] H. 1. 47, 257. the fore-
ftjin [IVan] entrance; expanse, con-
head, ii. 20'.
tour, i. 36'; iii 71, 21".
•fiirTO [ftrerm] round, ^iofruJar, iii 4".
ftiw^ H. 4 62. (0 6ecome dear, piv-
ftasn [fHsnt]heat, summa; iv. 3=, 5^
vadadi, I 19'.
6*.
fiirftHi^ [f^ffsa] without hindrance, iv.
ftr^ [fJrar] s^eep, ii. 50-; iii 3".
19^".
fa-jfiudW [f'l'a^] worthy of hlame,
firewi [^rew] nature, l 31"; il 25».
i.20^
finm [(smr] «fy/it; by night, ii 9-; iv. 3'.
fireiMT- ^^^^^" [138 J
^smm lf»raimj/en». TI, ajwnd, Ra-
tnh [mm]tftence, thereafter, then, iii
k^asa. IV. IB"*.
4-; iv. 3'. Cp. stil.
ftre [M Hte, similar, L 32-.
TO [wvi] triangalar, obliqus. ii. 1', 6=.
ftrfBSisee w + ft.
n^ Cans., to beat. t&4iuiQ&Qa- [ta^i-
ftijtral [fa^OTjcoite, iii. 7', 28s 29'';
tumanasj ^ovin^ Ike intetiitou to
iv. i:
beat, iii. S".
vHt^ [srh^] withoui interstices, dose.
n [-s] a shore, hank, iv. 20^
iv. 9'.
JO^ [nlftfii] Quiddy, at once, i 20». ■■;
rfil [*1 Waci, ii. H*.
iii 3\ 20'. Cp. Ijfil.
wlHaiM, [jfl-] a name i/ ftua, iii. 20".
nij [-g] balg, i 33''; ii. 8», 24'. -laA
tul^j'd [f5»:ei53]_/?oi«Mj, streaming, iii-
[lata] Ml/, ii l", 9', ll'. -llas,
31>.
Ihe same, i 28'.
qilvm [fsnaro] a sighing, sigh, i. SO';
!^ [-n] there, Jiere, ii. 27'; iii 9>.
u. lO-i iii. 20".
HrtJHidl [?nnrarf] 'ier honor, a respect-
nj [g] on interroffoitwe porticfa, iii. 8',
ful title, iii 22'.
19^; iv. 1", 2*.
n this, that, he, she, it. aa, iv. 3«.
fiir [jBB,] cerlainlg, iii. IV, 32-. oo-
BO, i 6\ 6', 10-, 19', 21>; ii. 1",
5H iv. 21'.
28». «, 46'; iii. 3", ", 4', 9', 10', 1 2*.
$3T [Jjt] on onMef, i. 80"; ii. 32", 33>,
B&, i. lS8',ll',19',34";ii4»,ll',
47-; iii. 13'. 18-; iv. 17>.
14», 29', 42"; iii h*-. ', 6'; iv. 1'. 9',
fin [^] ej/c i 30^, 32»; ii 3', 46".
18jo,M,3s j9,o, tatil. i 13', 19',
84 (3 + una] H. 4. 279. thai. A form
20''», 26--'', 26>, 29'; ii 8-. 9',
used onlg after anusvdra, i 18";
27-, 28», 29"',', 41'.', 43'. ",46';
iii 16'; iv 18'M9".
uiS',', 6',8', 9M2', 13M6'; iv.
S«n* [inm] decoration, attire, dress.
9', 18", 19'». •'. •'. tad as first part
i. 33», 34>'; ii. 26', 27», 28'; iv.
20'.
rja], ii 28'; takklla [tatkBla], i
ira [ot] affection, hve, i. 16*.
8^ takkhaoa [tatk?apa], iv. 18'»;
nit see M^H.
taggada [tadgata], ii 1', 11'; iv.
nit l«] not, i. 13*, 22-, 23«, 30>; iii 22-;
9*, 18'*; tabbhatta [tadbhartr],
iv. as-.
ii. 8». leoa, i 7', 8', 20", 21',';
v>ht+tH. 4. 143. to toss, pagollia.
a. 28''.', 29"; iii. 4", 6>, 17'; iv.
ii. 14», 36'.
18".". tepam, iii 5'. taasa, i
nm [an] bathing, taih, i. 26-, 28-,
4», 25», 34"; ii 6"; iii 3", 8";
30'; ii. 24".
iv. 18", 20-. He, ii. 6-, 10», IS-,
19'. tla, ii. 1'. 6'. 9', 17', as-,";
189] -nma^ 1
1112=, 3"". tfte, iL6»-", 28», 40'.
mm ts. fern, •ifl, young, a young man 1
tUsa. ii. IV, U\ 23", 29»; iii. 1",
or girl, I 30°; iL 4", 31^ 45'. 1
8". tasBiih, ii. 28''; iiL 16». te, i.
?refiirw-H. 2. 154. youth, iiL 19=. 1
SMS^'^SO; ilB"-"; m.24''; iv.*',
jfito suppose, guess, reason, takke- H
SK tao,iLl';iiL4';iv.l3^ taiiii.
mi, ii. 29"; iv. 18". takkiadi, i 1
iL 8*; iiL 22=. tehiih, L 34'"; iL
28'. 1
4a»'. Upa, iii 15^ tfioa. iv. 9^
nferrr [-^Ithin, smaU, little, It. 3», J
tapaiii, i. 31», SS-"; ii. 43'"; iiL 3'^
^f
4M1''; iv. B".".
naur [in] burning, ii ll^ ^^^H
Hit [fnm] thence, tJter^ore, thereafler.
HBT [Jlar«(/ii wotJo Mnd 1/ coarw
fACTi,L18'; iU.3-.i^.u,n.M,io.i-.i._
3i/&, i 20'.
41A =. '. e. .0, 6'.».*.»; it. 9', 18'*-»'-».
jn ['VJ]so, tht(S, and aUo; taha vi,
Q.. mft.
even then, stiU, yet, I 1=, 9*; ii
mit [■«!] so, tiius. tadba vi, mwH then.
42*. 44s 48"; iii 6'; iv. 3'-*, 20^
still, yet, L 16^ 20'"; iL 29'; iii
taha, L 13*, 34'- *■«■'*; iii. 20". Op.
18'; iv. 19^«. 23'. Q). to
aui.
IPW ['sw] a certain kind of rdigious
Hfta 3. 60. there, i 20»'-^ 25*; iL
treatises; chi^ remedy or charm,
0\ 29^ 42»-»»; iii 3", 5', 9=; iv.
i. 22'; iiL 18=; iv. 7*.
18", 19".
wr Caus^ to burju tavei iL 42*.
m [fm] therefore, then, i. 4", 6', 8', 10', ^_
wrm ta. name of a tree, iL 43^- '».
12', 16\ 18'*-'M9'.«,20'-*.«.«.»*, ^^H
imni^ [m*rnnf] «am« of a river, i
25', 28", 30", 34'"; ii. 1', 10', 11*, ^^H
l?-"; iii 3".
12*, 13*, 14*, 15*, 16*, 17* 18*. 19*, ^^B
Hrta [wTwa] *^ lea/ of piper heOe,
20*. 21*, 22*, 24\ 29'- "■ '«, 40», 41», ■
iv. 9".
42"-"«-^».", 43*»; iii 2', 3'-'.\ ^^M
TRf ts. a tvave, unsteady motion, i. 18*,
12*. 20''•'^ 220>>', 26^ 33*. 34"' % ^^H
28-; ii. 1", 6^
iv. 2', 18', 19».'s,i'.", aO*-'", ^^H
nqfo^ ['Tfljo woman's name, iv. 9".
mn [?fT3'] an ear-ring, ii 37*. ■
Htff - [MTfl] waving, tremulous, iv. 6'.
m«W ['sr] beating, i. 2*; ii. 47'. 1
ms^ a bold young woman, L 16'; iL 4''.
mfvsttvnsee H^. fl
nm ta. (remWijij. sparUtng, unsteady.
mr ts. Zouti, shrt/I, radiant, dear, shin- M
ii 30^ 46"; iiL 16".
ing, ii. 21', 35"; iiL 2"; iv. 17*. ■
WR«r ['WJ]a star, ii 17*. ■
nrfe- [-ftR] s/ioftiwj, i 17".
mnts. the pupil of the eye. iii. 19». H
ireta. a tree, i 20"; u. 42^ 43", 45-,
HitiUri? ['n^ unselfish friendship, iL ^^^|
47', 49'; iv. 18'«-'«.
^^H
mfw- ^^^^^^^^" [140 1
hHth l'^] such, h. as*.
who has on his head the half
Hnv [-roi] yo«(A, i. IS"*, 20^; iii 16»
moon, ardhacandra, which word
means also a clenched Jist, I 20*'.
TTHta. dapping 7tand«, beating time,
tinie {in music), iv. ll^ 12^ 17».
the navel of a woman, I 30»; iL
HTsraro [-^ /an, iii. 20^
24»; iii. IS"*.
ma [=a]Jiea(, ^iow, jwin, ii. 29», iv.
mw [fAi] acute, hot, warm, ii. 50".
a'.^T".
fiWTH [fmm] the third part {(f the
mft- I'«rrHK]/em. tasipl, terrifying.
eye, used in the side-long look of
(darming, n. 29°.
women), iL V, 9^.
fe, fe [«ft] jxirticic used to rgjort
ijt^m [fw^s^] the three worlds, I 10>;
(Ae ver^ woids spoken by some
ii. 10'.
one. The form ti occurs only
HiipT-H. 2. 154. height, elevation, i.
after anusvara. tti, L 6", 20^ *>,
34"; iii. 6-.
34'. ■=; ii. 8^ 29»', 39', 46''; iii. 32';
^see^.
jv. gs. .,»,.!, la^ 18^.".» IS'", 20".
^mm [gaAijHD. 6. 16. quiet, silent,
ti. L6» 98', 34'; ii. 29"; iii. 9".»;
iv. 20*.
iy. 2-, 9'M8".«-«
ftnnn [fnimv] Jiaving three joints, con-
corpulent, i. 20'.
sisting of three parts, iv. 14'.
^see WH.
finot [n7«ar] sAarp, «tron^, sewre, hot,
^wfrff [WTpr] similar to you, iv. 2".
i. 29-; ii. 3", 5", 46».
^, 'Wis. a horse, i. 18", 21*.
fe^ [fir] iftrec, i. 4"; ii. 42».
gfrati* [rufrrr] quickly, iv. 19".
ftrftre tB. darkness, iii. 26".
gjTOl [•*»] weighing, I 20".
ceri/ero, iii. 24»; iv. 21», 22".
i.20".»; iii. ai".
^[•«]Iii«, u.m
1".
Hs (o be pleased. Caus., to please, sa-
tisfy, tuttha, L Se''. tutthepa,
iiL 16". 'jala, water with sesor
iii. 20'". tosida, ii. 11*.
mum seed, offered to the dead as
^jffiT f-wiT]/rost, ice, snow, i. Ii*.
a libation, ii. b'. •antaram, so
gftmraiT [jfipr] the moon, i. 4".
q+«ni/o descend. Caus., to bring
finRT [-It] a certain tree, Clerodendrum
down. odioQO, iii. 20'". odiooft,
ii. 40'. avaipparii, 1 26". avad»-
finftsra [fnrtWT] an epithet of f ita,
nadu, i, 26'. i
141] -K 1
q + fti(o give, bestow, viipoa, iii. 11".
v^ [pa-] the same, ii. 1*. H
-l-B^fo put away, saniutt&jida, i.
USH [crnrai] a bunch, cluster of bios- H
30'.
soma, il 47^ H
AfewH. 2. 167. so mucfc, i. 7".
yi [w] targe, great, iii. 3". ^M
ffsst [?R] (hJ. i». 6".
vtsT [«ft«J2iHI«, smaU; a little, L 16*; ^^^|
?TtH [-n] water, iii 3'.
^^^M
iftuflr [g-] H. 1. 124. a quiver, u. 16*-.
vtrH. 1- 124, 265. large; great, big, ^^^M
mmtB. an arched doorway, i 17*.
27>, 44*; iii 6>, 19*. ^^^|
f*t*ee fif.
^M
•m ["W] staying, abidit^, ii. 50'*.
WW ["fim] lover, husband, i. 24". Fem. ^^^^B
^ to Jail asunder, be parted, tuttal.
•9^ wife, iii. 6*. daid&, w^e, L ^|
ii. 4'. tu(}ida, broken, ruined,
■
Ll8».
dsQ [a*f] loo/rin^, seetHj, ehowinff, L ■
imfthou, you. tumarti, i 16', 19'- »,
34"'-, ii. 3', 40', 42»- "• ■■, 43'; iii. ■
20W.».M.» 34!i.«.,so. ji_ 6._ ji',
31>. 31>. H
24«, 32', 42", 47'; iii. 2', SS-", 34-;
OTH [-wJaWe, »JW/|J, iiil7>. H
iv. 20", tae, i. 18"; iii. 30'; iv. 20».
svim« [smrl^ope-juicfli ii. 26^. f
tujjha, 1 16', 20', 34»'; iii. 21*, 24^
jfttOT [jfwnlr^fit, .outtern, i »)»;
IT. 22", 23''. tuha, i. 20'^ »"■ ""; ii.
iY. 9>.
7», 9", lO'"-', 42""; iii. 8*. 32»; iy.
afnniiT [ifnnrJAe Dekkhan, L 19<.
IP.ai". de,LHM8M9',20«.'-»',
•ladha [-pittha] tilt DMhan, I
32'; ii48'; iii. 20», SS*, 34*; iv.
2S', 34".
2», 9\ 18« 19'», 22'. tumhe, i.
afenir [irfwin] present, jj/i, Mmttn»-
20"; iv. 18'. tumhehiih, i. 20".
rolion, iv. 18>'. ".'•■».
tumhahimto, ii. 29^^. tmnhftiiaih,
smts. a eftcJc, rid/, stalh, handle, I
i 18', 20*'. TO, i. 3^
16% 32*; ii 6", 9-, 39i'l i.. 9", 20',
22'.
^ H. 4 16. to stay, cease, thakkanta.
airttiHta. kind of dance, iv. 11".
iii 20".
zmis. a tooth, ivory, i. 14», 20"; iii.
TO [«w] the female breast, i. 2*, 18^
31'.
27*; ii 1", 23*, 24* 29*, 33", 44»,
aa^ rj«n^, hrisHinff, ii. 46'. ts.
49*; iii 6», T, 21»; It. G».
VBVthe same, ii 27*.
aonn [vm] a mirror, i. 18".
■ftlBwH.2.169. having breasts. iill9''.
sftor- [afwlprcwd, arrogant, ii 41*.
«n [^ir] raised or rounded surface.
ITts. H. 2. 216. o It'tlie, el^Wif, ii
i. 27*.
14», 36-, 49'.
Bft^HOT - [142 1
Bft^rjin I'^fu] poverty , indigence, L
amlts. a female slave, i. 18°, 20**'"-";
20".
iv. 2«, 9".
an to split, cleave. daUnU, ii. 2*.
am ts. burning, ii. 10^ 29", 42^ iii 20'>.
+ f^to cut, break, (liddalanto, ii. 30«.
ftsra [faro] a day, i 18^ 21"; ii 9-.
33 19. leaf, petal i. 29^ ii. 6».".»*.«s,
10=; iv. 3S 6", 6^ 9".
14^ 38^ iv. 5', 21\
farar [aki] initiaHon, iv. 18".
m I'V] ten. uL 3'8, 26«. Q). a»
%f«iiH«ee at^.
fa^ [afe] a look, glance, eye, i IS",
iii. 6".
2P, 28"-^ ii l^ 5', 8", 23', 41";
gi( to bum. (Jajjhanta, iii. 27».
iii. 2S 11'.
a« [-IT] fen, i. 18". Op. TO.
few [-ST] day, ii 6"; iv. 3-.
afB [-ftijmiifc, 119«.
feuurfw [fe!-] lAe mtn, ii 50^.
^ to give, dei, ii. 37". denti, i. 13»;
fOTre [fe^] t'te ««me, i 21«.
iv. 9s 13». dehi, ii. 42", 43^.
lawT! L^^'S"] quarter oj the sky, ii ^.
deu, i. 3". dedu, ii. V. deha, i
ferets. dug, i 34»*; iv. 18", 19".
18'. dftissaiti, iv. 20". daia, L
fell (0 jioini ouf, show, dittho, i 24-^.
aO"; iiL 4'. dadawa, ir. 18'*.
+ MTto point oui, show, order, adi-
dento, L 4^. denta, ii. 2"; iii 2B».
aadi, iv. 9", 18'«. ». aditthaiii, ii
dyjae, iii. 9^ 33''. dijjadi. ii. 42".
26'.
dladu, iv. 18". dijjantu, iv. 21'.
+ ft«(o point out, show, piddisadi
dijjanta, iii. 27'. dijjamana, i
ii. 29". piddittha, iv. 18».
30". dipoa, ii. 6'"."; iii. 3', Kf.
+ hwt(o command, direct, in^ruot.
dip^a, i. IS'; iii 6"; iv. 9«, IS"-"',
aamadittha, i 10'. BamSdittharii,
21=. dippaih, iii 34". dip^a, ii.
ii. 43'".
16'.
fror [fsvjdiredion, quaHer of the
vm l'^] giving, g^, donation, ii h^.
sky. i. 14»; iii. 25", 26», 28'; iv.
47' ; iii. 17".
9-.».io.n
am ['n:] a wife, i 23'.
ara H. 4. 32. to show, daviai, ii.
direction, I IG^.
' 36".
^Jo consecrate, initiate, diitkhia, i
ara [mwr]j«rf, now. tndy, indeed, i
" 23'.
31', 34"; ii 6'"', 50'; iii 3', 22»-';
aTer [°«lla lamp, light, ii. 6"; iii. 27«.
iv. 20'^
aTit [-^1 long, I 21*, 35'; ii. 2"; iv. 9\
idvm [-wa] length, i 32'.
24".
ahwH. 2. 171. long, ii 9*.
VWm [*W] slavery, service, iv. 8'*.
sthm [aHiawi] a lonp lake, ii 3".
143] -M<n 1
gisT [fgnfa] second, other, iii 17*.
datthavra, ii. 29\ daduemi, L 25*.
^(9T [5=WI] a sin, misdeed, ii. S«.
damsido. ii. 6". daiiisiaili. ii. 21''.
^m [|;ni] sorrou', disiress, iL 8=.
dlsal. iv. 11». dttadi L 4'. 20«.
^sans [^a^] a wicked, malicious person.
disae, iL 30'. dlsadha, L 4'». dl-
iii. 20".
saDtL L 6^ diaadu. ii. 29'*. di-
J5[TO]»ictoi.laO».
ttha, ii. 40». ditthft, ii. 11', 40';
^fcl [%*ij wconi. litter, ii. 8>.
iiL 22'; iv. 9', 19". dittlialli, L
ms [^] mtU;. miUry juice, i 16''; iL
25'. •; iii. 2", 3'. dittha. ii. e-.
6». 29".
Sat». a god: a king, L 18'. 24-. 34";
^^[^]u««k, feeble, a. d".
ii. W, 22', 24*. 26'. 28', 29', 41',
^ [JH] a fr<«, i. 17>; iL 45', 46>; iy.
47', 49'; iiL24»; iv. 9". 21'.
aa-.
Salts, a queen; Parvati, L 12'-'. 16»,
|R,[3A.JH. 1. 116. difficult to be
18", 19". 34".".''; iL6".", 11",
attained, iv. W
22-, 28>. 29'. '", 42". '•■ ", 43», 47";
^m!W« [g^] difficult to be wen, iii
iiL 8'. ", 34'. •; iv. 9'. '■ "• "■ "■ »,
12-.
13..!,ii.]i.i..u.»..,, i9..».» 23._
sou [Jirja Aior. L21'; iL4a»."i iiL
Swww [Sa^] an astrologer, iv. 18".
20"; i«. 9', 18", 19'-".
i9mKl^vr]anotherplaco,foreiynpartt,
3J.ee 1,.
iv. 18".
gsfe- [%irf^]Aawnj iiw> moon*, L
i«ta. Msr. ii. lOMl"; iiLir', ao*,". ^^^|
34'.
deliantaia, anotttr bcdy, L 34"; ^^^|
Jfel [-11] a inujWer, L 34"; ir.
^^^1
18".
imisfil [A:-] a plarUain4ike arm, ir.
7'.
dante, iiL 27'.
jhwra [%•] having both halves, i.e.fiiU
yt3. distant. Jar. Adv.. to a distance.
(of the moon). L 32V
hinUy, entiray, L 2», 6'. 20";
ahaxH- [^] to cut in two, to breaJc.
iill'.
dolihandaanta, i. IB"*.
^m [^]spoiU»g, di^iguration, de-
iait [if] a bucket, cavity, L 29'.
fect, i 19'; iL 23'.
jtstfo swing, oscillate, dolanti. L
26».
20'; iv. 2'.
jflwrts. a swing, hammock, i. 21'; iL
fn [JOT] H. 1. 192. ugly, hideous,
29". 30'. 31'. 37', 39-, 40'. '.
iii. 23>.
*5!TOT [3*am]a creeper-like arm, iv.
fsfo^ee. Oitu.foehoui.ihse.. Co appear.
16>.
dutthmli, L 24'. datthuoa. iiL e-.
il*a» [%>lnij thirty-two, iv. 11'.
iim- [144 1
woman, the desire of ^ants at
4".
budding time, L ao*'-"; ii. 45', 47".
^ H. 2. 126. a daughter, I 18».
atww [-m] the same, ii. 43".
^ [-n] incense, perfume, iii. 14".
fgtwo. duTe, i. W, 34^".^'; iii. 17-.
■gara% [-irafS] a pUlar or doud of
dohiit, i. 4«, 30"; iv. 12". dohi,
smoke, iii. 27'.
ii 18". doBu, i. le-i. dosurii, iv.
m(o /io^ carry, contain, stop, dlia-
T.
rai, ii. 48'. dharantao, iii. 31".
dharia, iii. 3=.
vww [vs^nz] a Jlag, banner, ii. 31'.
^the same, i 30'.
wy [-gs] o bow, I 32«, 33"; iv. 9^ 20^.
wy^H. 1. 22. a how, ii. 3".
\sm ['v] religion, custom, I 23''.
WBanr [iwott:] iow/ul wi/e, i. 23«.
il'.
tnito bow, make obeisance to; to nnk.
VTvlts. earth, country, i. 12*. •dala
^amaha, i 2". QnniaiiU, ii 31*.
[-tala] the surface of the earth.
paa, i. 4".
the earth, i. 25».
+^to rise, ascend, mniamaatl, ii
tra^ te. white, handsoTne, ii. 23», 31*.
31«.
•ami- to make whiie or re^lendent.
+«rft(o he changed, ripe, pari^ia-
dhavalenti, i. 10*. dhayalia, iii.
manU, i. 8*. paripaaib, ii 6*.
7'. dbavalio, L 29«.
+ Ttto bow down, paoamami, iv. 19*.
wftm- H. 2. 154. tfAileness, ii. 41".
panamanti, iv. 18".
VT+n^Hn'o think over; make peace
int to disappear, pattha, iii 3*. ^at-
with. &9us&±dbemi, iii. 2'. avu-
thae, ii 40*.
Kuiidhedha, i. 20".
+ft(o place, put. oihio, ii 29». pi-
40\
hiftrii, ii. 30«. ijihitta, i. 4".
»fl to carry, bring, condud. paiseadhft,
+fir(o firing ofcotri, arrange, vihide,
i 34". paia,, ii 11».
iv. 18'».
+ wio bring, fi^emi, i 25". ftpedi.
w«I [-sTl oasauM. aftocftin?, ii. 46".
iv. 19". apia, ii 43^ iii 4*. ai;il-
vmts. a stream, current, ii 9"; iii
adi, i. 25**. &9iadu, i 25'. a^ia,
20", 28"; iv. 13*.
i. 26''. anidaiifi, iv. 19".
mfr- [°fr=i] carrying, iv. g"' ".
+ 3fl(o offer, present, uvaoijjo, iv. 7".
«To (o rwn. dLavantMsa, i. 18".
+ qfitio marry. Caus., to cause to
^ J
146] -«nv 1
marry, paripef, i. 12^ paripe-
xnw [ir^Tfr] behind, from behind; afler-
dawa, iv. 18*'. paripaadaTTa, iv.
wards, L 34"; il C*.
18\
v^mn [nf«w»] iarf; western, iv. *>,
VC to J^^i/i (k'- QaccidavTaib, i 4'^
9'".
iisats. ytre. panca, i. 18"; iv. 4",
OM ["al/oof ; pace; dignity, rank, i 9'',
98. '. ". paficehiih, iii. 19^".
12», 21»; 17. IV:
vmm [•m]the Jive products of iha
vsnt [irarfn] nature, natunU condition,
cow, i ao**.
ii. 26'^.
OWTO [•Wl.^fleen, 1 34»'.
mrjiBTH [lamimi] producing, i. 16».
qsmmirts. Cwpid, ii. 19", 38".
ii«5*see qiT+n.
oswits. tfie/^lh note of the gamut.
TOTCsee w^+H.
said to beproduced by the cuckoo;
mnn [ww] imj«(uoi«, iii. 30".
name of a musical mode, i. 16°;
v»^[vs°] position, rank, 17.23".
ii. 2*, 6''; iii. 20'; iv. 6-.
mflrerr [iratni^]<'ie ^ iVaiapafi, the
moOT [ITT] Cupid, i. 32«; ii 46"; iv.
creator, iii. 17».
8*.
wwre^see wni + w.
QsvmtB. name of the country bdweett
mftg [iraite] rte fore-arm, ii. 16«.
the Yamuna and the Ganges,
mftH [03t»] everting, iv. 4".
the Doab, iii. 5'.
to I(ltH] dufit, iv. 6'.
mwrftwrr [-vn] a doU, ii. 12".
imi [qfl] a t«ws?, iv. 2'",
vsKfmn [vjs^rftmt] the Pancalikd style
wsarawi [owmteija ftirid of drum, cp.
in poetry, L 1'.
fltntfi pakhfttlj, i. 4'".
TROH [-51 Cupid, I 18"; iv. 4«.
TWHiftiasee BRi+a
(raaKts. a cage, i. 18'^ iii. 31«.
ujta. fflud, paste, I 16«; iL 8*. 12*;
q^+3^Cbu£., to tear out, erotJicate.
iv. 4*.
upp&daJBBaiii, i 20". upp^^i^
vgst l-m] a lotus, ii. 13^ 33*.
L 20". uppft^ida, iv. 2*.
ti|;TV ts. the same, iii. 3*,
nj ts. a garment, silk cloth, i 36«.
crfiiats. turbid, Bmeared, anointed, iv.
«5W [■V] a laWrt, pajette, L 4».
8«.
"Sgw [o^mw] a silk garment, ii. 14'.
«i|««ts. a /oiufl, L4^35''.
vsto recite. pa<Jhi9sam, i. 18"; iii.
MBBMi [immi] c^rl^, openly, i 30'';
30*. pa4ha,il9'-*; iL 10'. par
iL 43=.
4hiadi, I 19'.
^H W8BWI [npnfl/resfc, Tiew, iii. 1^.
oc [-Z] a garment, doth, I W.
^^^H iran^ [vnip] on everj/ limi, iv. 9-.
flTO [m^]faUing, iv. 18».
JO
WTwr— ^^^^^™ [146 J
W>sv [Tizmf}a flag, bantier, iii 20*;
Bwsee Hi^+B.
iv. 20-.
offlmfH see n+nfe
ufra^ST [v^tv^] a Bilk doth, i. 20".
Q^+a^ Caus., to produce, uppftdedi.
iii. 12».
ably or congratulating in her turn,
+^m:to be produced, ijippajjadi, I
Ll3'.
34'".
uflfafaiaw [nfirPBWW] a dream in re-
+ 8Rio become. Caua., to accom-
turn, iii. 8\
plish, produce. Badipa^i^aiiii iii
cfrolTO [irfinittwjo mask, i 4», 20";
20*-". saiiipademi, ii. 41'. saiii-
iv. IS**, [K, anuk&ry&niirupaTar-
pademba, I 12^. saiiipadaissadi.
nanamukha].
ii43'.
nam [osit] reading, reciting, L 2i\
+ 5g^to be produced, samuppaopa,
OOT lvTm]Jir8t, L aO". » 34»*; iiL
iil 4'; iv. 19".
17°.
qft [-fa] a husband, 1 19;
wm [mnn] atiachment, iil 8*. 9*.
nah [vsh] a lamp, iil 22*.
«nire [nurfe] a bow. courtesy, l 4'.
life [wfj^] a line, rote, series, il 1*, 17'';
vtn- [mnftH] attached to, joined to.
iv. la"-.
iv. T''.
owiT [m»MTT] HD. 6. 66. a mass, large
giro [osra] the bread-fruit, iv. 32*.
quantity, il 33'.
wirm [nnrm] a fcow, salutation, L 34".
uwa [BMm) day-break, dawn, il 6'°.
owrfiiaKsee )ift5?i + g.
wftnw [irrfiiiw]en«ii(ioM, Binditship,
iii. 22»; iv. IS"*.
i. 18'-".».
owmr [n-] mmsure, size, esdent, I 16';
wiiTo iSyd//a woman, L I5».
ui. 3".
QQJ [w] pale, yeUowish, ii. 10°; iv. 5».
W ta. other, different ; intent on, 1 18«- *;
ii. 6'"; iil 33«.
cessivdy, at the utmost, i l^ 34'*;
mwfWT [n-:ftat] rwW/e ond anwer, i. B».
illK
wt{o>«. padai, il SS*. pa4anti,
wnts. ftw7^terf. best, U. as".
iv. 13".
qtaw [-wi*] (n*iA, reaiUy, il 22'.
+f5i (o/ali dovm, to be cast at. ui-
mwlj- [-ftOTlan epithet of Brahmd,
vadia, ii. 6', 46".
iv. ig^
+W^ to jump up, to emerge, samup-
arm ts. an wniMtetrupted «encs, «tio-
paijia, iii. 3".
cession, i. 9*, 18*'"'*.
IFT [-a] a leaf, il 1», 7«.
w^ ['KOT] tfte eucfcoo, ii. 2".
TOi [m^] o dramatis persona, I 4'.
xikw [-S3T] oKendarifs, suite, I 28*.
147] — mftfcflS J
trfwrns [v^vit]tegting, examining, ii.
wnn [wltfOJrtj?, streaming forth, ii
29\
H>.
TOW [!■] Woflaom, ii. 6**,
ii. 6"".
^ratw [n5Ta]j«-opi^ja/ori/ Bering, pro-
ofcnft I-feJmafuriiy, iii 4«.
pitiation, favor, i 4», 22», 34*'. ■
uftwigiTtin [-xmiyra] dagiUng whUmesB,
ijVt^ + Wi[v] to present. *lddaiii, ii 6**.
iii. 34".
OHTT [r] spreading, iii. IK
ufirwta. embracing, i. 2*; iii. 7".
TOHPn [oSTVl] decoration, toilet, l 20'*;
nftarfl [-orfe] order, succession, iv.
ii 19", 22», 24^
l6^
q^ [HfS!] o bud, flower, i IS*.
^rfwfw- [-vfm] moving about, iy. 19^'.
o» [-v] way; reacft, iii. 2^.
om [imT]I^ft(, sptewdor, ffimflonfi/, i.
19«, 34-; iv. 7».
16».
nfim ta. jolting, merriment, ii 6*.
iiWT In*] ririftiMff, afcootiMj, iii. 7*.
(n« [-tr] ^ard, ftarsA, I 7'.
mm [mm] pouwr, ^ficacy, ii e*", 45»;
TCSfice «f + n.
iii. 8«; iv. 18».
otIwi [•«] ititTWtJie, unknoxm, n.
0^ [TOfir] beginning, b^mning unifc,
18".
i. 32".
QThm [ornrJeocA other, mutual, iii
qjSTsee v^+v.
11*; iT. la*.
v^ [iwfti] fcejinntny, beginning wift,
HFStj [HDj] o fred, couch, L Se"*.
/rom, ct«r since, i 20»<'."; ii 3».
nssats. a sprout, i. 26*; iii 23'.
ai(o drink. Caus., to cause to drirA.
OTsa [WBB] dispfaj/, dirersjfi/, ii. 40*.
piftmo, i 22''. pi&nto, iii 8'. pi-
irasa- [mremi-] to display, show, ea^nd.
anU, iv. 19*. pijjae, i 23*. pij-
pavancida, i 16^
jantaih, i 16*. pjdo, iii S'*-".
VOQ ['f]the wind, ii. ll^ I4», SO';
pSda, ii 29".
iii 22*.
am Mfoot; beam, i 4-, 20>»; iii
m? [n«T] violent, iv. 1*.
28*.
WTB ["-la itream, current, ii 10* ;
vnm [vmm] the exbramty of the feet.
iii lO, 20».
i 14*.
ndv [ndmjan interlude m a drama,
WTwn [wtwit] a rampart, waU, ii 31".
ie".
QT3«T [vratn] the B-akrit language, i
mr [v«^] f^ jM^n 0/ t;w hand, I
7*.
30«; ii. 38».
wraa the same, i 6».
TOfir(Ae some, i 16».
mftftwIHD.6. 77. emulation, rivalry,
ilHT [v] outbreak, course, iii 20».
il0*,20"."; ii 10».
■
qiftwi- ^^^^^^^^" [148 ■
mfaw [«rfi*i] a reeding or reading
iH^ to press, squeeee. pwjio. iii 7''.
uoman, iv. 9"'.
rfn ['=i)yaj!, round, i IS"*; iii. 7».
vm [ma] We, soul, Hi 3\
gffw [TTJ/iirwisW u^ft feathers, ii
mftnts. hand, i. 27'; iii. 23'.
3^ IT. 20-.
vmi ts. a lotv-easte man, i. 20".
gl^ <^e same, iv. 9\
qrrrasT ['H] o pit/eon, iii. 27''.
gsvfo heap up, coUeci. pimjijjai, iii
Tuftwir ['a] (/«; coro/ free, iv. 22".
' 26". puDJia, i 14".
ma+ofato guard, observe, paijirftle-
gsits. heap, multitude, i ig*; ii. 46*.
" du, iL 41*.
^see?l«-
irrf5rftT«r capital; a treasure; a paragon
^ [^] ihe bflcfc, ii. 39".
of, ii, 3^ iv. 19*. {K, bhafigipra-
gnwa [g^^) revived, refreshed, iii
karah palayitrka; yadva palittaa
20'".
iti de(;lpadaiJi mulatilry&iu varta-
^ [S^Jo^ain, {toci^; on the other 1
ta iti saifipriidayali.)
ftand, i 34='; u. 3=, 6^, 6''' '^ 26", J
oiH [-"q] side, fiank, ii. 36^ 46''.
28*, 49"; iii 17"; iv. 18", lQ^.»'-*\
mjc [mw] a present, gift, il 7'.
pupu. ii. 23''; iii. 9^^, 14''. Cp. 3W.
fa see fa.
gw [^]fUled, full, accomplislied, fai-
fiiw [fm] dear, beloved, agreeable, i. l"*,
jaied, i. 20''; ii 41'^; iii 19*; iv.
3M5M6'; ii. 27- ir. 2^22'.l
23".
^mn [gfihn] the day offuM moon, i
18", 2(P», 32*; ii. 6"", Vy, 41», 43»;
25», 34"; ii 6'", 29'».«; iii. 20'^;
iii. 2', 20', 34'; iv. 9*.
iv. 19«
finrevl [finreraft] a female friend, a
ga [Tja son, i 18M9'; iv. 2'.
lady's coit/idante, ii. 8'. 42"-'";
3?tf?iw [-fiwiljo dott, iii 20'; iv. 18".
iii. 30^ 34=.
TO» [■'^] a (iatw^Ater, i 20«; iv. 19".".
fqf [vw] ripe, il 50-.
TCft [-mr] iie/ore, in the presence of.
fiif t3. yellow-red, ii 60*-
i. 18", 19S«, 20«'; ii. 10', 29"; iii
fin« ts. tail-feather, ii. 14'; iv. 14^
30'.
fiisgiTts. reddish-yellow, tawny, gold-
JP«T [-^ an elderly married woman,
colored, ii. 8», 12*; iii. 26^
i 16'.
finw ts. mass, ball, i. 35«
girar [^■.•] preceding, i 20".".
firjiw ["*»] coiwriflff, iv. 18'*.
jf?H [•««] a »»an, i. 7".
fiiHW l"^] slanderous, iii 9''.
3* [gwc] fc</ore; formerly, iu. 1", 22-;
front- [-^m-] to indicate, pisuiiai, ii
iv. 19«.
"^ 24''." pi8u^edi, i 20'.
filjsr [qgw] broad, large, iv. 9'.
iv. 21".
1 149] -wfHv- 1
gaiT-, gRhi-. H. 4. 181. (o look, behold.
^1^ [fOV] touc^ contact, iv. 6°. H
TOsnn I'W^] ftompiioiion, i IS*.
Wat8./rt<i(, resuU, ii. 6'"; iv. 21'. H
waw [-w] planA, sftieW, expanse; L 30", H
tribe, a mountaineer, iv. li\
32"; ii 15*, 23'^; iv. 9". H
wa [fk] eastern, l 14^ iiL 25"; iy. Q\
^Bffrfin [cq>^nr)a cryatal-stone, iL H
y ts. stream, fiood, iii. SEC.
^a
TOir ta. JOling, i 34'".
<I^«e FI^. ^^H
ffto/tH. puriae. 14".
vnr [ciFTT] lar^ ^eal, L 20^; iii ^^^^|
niEH [n^l neffar, iii. 30'.
^m
iN^, vssee ^
^seepg^. ^^m
v^^ ^f^\swung, shaken, i. 21*.
^ [WSS] dear, white, dearly, evidently, ^^^H
aw [«H] iow, (yTedion, iii. 8*'», 9'' '■*,
ii 12"; iv. aa".
12^'.^15^
ya(o open, blow, blossom. Intern., the
&TSK [ui*H] circuit, border, iii. U"*.
same, phullantt, iL 49'. phull&i,
oH?i [9if?t] ortyicioily made pleasant.
ii. 38». pamphullia, L 16".
seasoned, iv. B*-.
g«i ta. flower, i. 19*.
v^ name of a pod, i ao*".
q|*n [*?WR] a shriek, houA, iv. IS*.
vin a garment, doth, i. a?*-; iL 24".
tftrnw [jam] a fcooft, i. 18*.
«T«« see irftwTWi Q). Marathl baila.
TJtTOH [jinra] H. 1. 170. the areca nut.
irawwrnr [aw-Jnome o/" a woman, iv.
iv. 5^
9'".
iftDnrar (Qmnt] a rubj/, ii. I5>; iv.
SfT [wt] HD. 6. 89. a jeSt, ii. 6«.
18".
spnnilname ^ a woman, iv. 9".
trv to ask. pucchfimi, iiL 8». pucchia-
wf«t- [-^ast] a panegyrist, bard, i 16»-*.
s&m, I 4". pucchia, I 34'. pu-
■«*^+f^ (o I'irjfi. close. ^ibadd!laIh, iv.
cchianti, i. 18".
9'.
*H [WW] (o«cA, contact, iii 24''; iv.
tion, posture, i. 6', 7'; ii. 4"; iv.
21'.
11-, la".
a»wj [wT*] a kinsman, friend, i. 16*.
ponding to JE^nttary- March, i.
«*■- [ii»w] (^e ^od firo/imd. i. 24".
20*».
nvs [sTvnil/em. -m, a Brdhmana;
iinnts. (^le fewd o/ a serpent, i 20^
fern, the wife of a Brahmana, i.
iKfiiFrar [-mjf^w betd plant, i 17«.
20*,«."."; iii.8'./e»j. i. 20".
TFWT HD. 6. 82. a shieJd, iv. 9'.
■ftfti- [■fn] a peacock, iL lb\
*
mm- ^^^^" [150 J
mm ['rml perforce, violenay, i 13*;
HWa- [wirawl/em. •vadl./aL^red.ezaii-
It. 22".
ed, venerabU, holy, i 20"; ii e"*;
wftlts. an oblation, iv. 15*.
iii. 3"; iy. 18".", 19'-".
■Kats. copious, abundant, i. 13% 20*;
Hf te. breaking, i 28*.
ii. 3», 37'; iv. SI-".
Hfifts. bending, iv. 9*.
«ft[fiir«r[Hftift™[T]asi3ter,i.34«-'*ww»;
wip ts. /ra^, iii 2K
ii.6^9MO»■^
Hwrrfgra [wnrffem] enalauei by women.
n -I- mt to value, esteem, •maoniedi, i
a hen-pecked husband, iii 2'.
28".
nam to break bhafija, iu. 21».
m^ l-Vft] often, L4-; ii 29".
W5-" [Hii] a ioni, master, iv. 9", 18'. «
BTsferarHD. 6. 92. a doU, iv. 19".
wnsts. on arrott), ii. 11"; iv. 13*.
20»
■rrofo ftarross, torment, bahapijjo,
iT. 2». bahaoijja, iv. 2".
ii. 47'; iv. 7'. bhaqasi i 20»»;
mmta. young, new, i. 13°, IV; ii 41^
42^', 45», 49»; iii 8', 19^.
pimo, ii 23*. bhaQ&mo, ii 48^
wnniT [-fa] a jw«m5 poe(, i. 9».
bhapanti, I 24»; iii 9'. », bha^
vn (-w] a tear, ii. 9% 10* ; iii 20».
pa, i 20", 25'. »; u. 6', 40*, 47=;
wife [^fro] H. 2. 140. external, i. S**".
iii 8'; iv. 4'. bhaijaha, ii. 16".
■i^ta. an arm, i 30''; iv. 12».
bbapia, i 34^''. bbapantasaa, I
wi^g-r tB. a shoulder, ii 24".
20'". bhaiiijaS, i 5», 6». bhapl-
ftl^ts. a drop, i 26"; iii. 3", 4».
adi, i 20".*'; ii 10». bbatmae.
fvnts. the Biniba fruit; the disk of
iii 12". bhapidft, ii. 42", bha^
the sun or moon, i 13»; ii 20'';
pidaifi, i. 7'; iv. 2«, 18'*-".
iii. 25'', 32"; iy. 3". saihpuoija-
wmm [wniwja smaU vessel, cup, i
bimbattava [earbpurvabimbatTaj,
20»
/uflness of dUk, iii. 25*.
Hw- [«nl husband, i 11"; ii 8".
firats. the ^e, fOn-ous stalk (f a lo-
w^ I'V] happiness, blessing, i I; 20";
tus, iii. 20»; iv. 7°.
iv. 5*.
•[|«H. 4 101. sinlanff, incUning, il
inra [«■] shaking, moving, ii. 1".
31".
vm [«r]o tee, ii 13"; iii 2".
gw+ftowofcen. Tibuddho, iii 7*.
JWrinCT [»r] having an unsteady char-
vN*H. 4. 162. Cans., to pass, bold,
acter, or, having a scar like a
" ii. 29*.
bee, i 18«. (BNJ, bhramapacUft;
*wH. 4. 2. speecfc, tronto, ii 4«.
P, bhramaravat \Ho yasyilh. teto
ni madli7a8thito[I] mamivtQe^a),!. ti-
161] -»«« 1
ta bhl?a,pft; 0. bhramarasadrcena
+ ffrtto tear up, break throi^h. ijib-
tetakhyagul,yagena[!]. tetA ak^i-
bliinnassa, iv. 18".
golakam iti kecit; A'.bhamarat^m-
?J«1f Lw^lj] « paramour, gaUant, i.
14*.
haraprani4he ve^yorahkiije var-
mm 1^] iAc Urch tree, iii. 2B^
tata bhramaravarpakiiiamapau.
gf«i«t/ood /or a cat, iv. 2\ (0, bbut-
tatha ca prayogah. teiiitaTaloka-
thallah majjane bhutti. bhnmi-
nakutiihalabliamgabhlrur iti yad-
patanayogyab; bharitrayogya iti
va bhramarapaifi vitaoftiii temta
Tfi bhutbir iti bhfteaj&iii.)
bliuyate.)
^H. 4 177. erring, oblivious, it.
20".
iv. 19»-".
your M (he ttwW, iiL 26S 28^ ir.
irikm l-vi]what is to be, the future.
20*.
i. 18\
^(o 6e, become. Caus., to cfteruA, a^-
iWitHD. 6. 101. tee, i 16'-''; ii
/erf, t«n. hosi. i. 19\ hoi, i. 7', 8»;
44-.
iv. 23>. bhodi, L20", 34"'; iv.3',
m to shine, seem, appear, bhffi, i 23'*,
18".". bonti, LSI"; iL 10-, 49»;
33^ iiL 31»>.
iiL 19-; iv. 2". hava, iiL 23".
■i-^the same, vibh^ ii. 41-.
hou, L IV 6"; iiL 23"; iv. 5-. bho-
war [mi] a broOier, i. 20".
du, L 14», 20«-»', 34"; iL 49*; iiL
wurrt [w] walking round from l^ to
3', 22', 24*; iv. 19*", 21», 23'. ha-
right, iv. 21".
vaBtu, iii. 24". bhavissaiii, i. 13»;
Wrtts. a burden, weight, mass, I 18";
iL 28*. hohii, iL 39«; iiL 32*.
ii. 21"; iii. 21".
bhavlBsadL iv. 18*°'". bhavia, i
Hiftwr [writ] a wife, 1 12\
20^*; ii. 9', 32»; iiL 3'». bhavi-
PWts. being, condition; feding, senti-
dawaih, ii. 42**. bhavapijja, iL
ment; a venerable, worthy man
26^.
(term of address), i. 4», 6«; iL 10«,
SO"; iiL ]0^ 20".
bhavidaib, i. 34*».
Hwfiirawsee j.
+ Wt (0 arise, be bom. Caus^ to honoff
show respect to; to fancy, ima-
ftnor [-w] aims, i. 23«.
gine, saibbbadaipaili, L 18°. 8&i&-
6nf [H-Jfl tee, 129"; ii. 6«.
bhavebi, iii. 20»». satfabhavaiB-
firai [kr] a eeruint, slave, L 33<*.
eadi, iii. 20". sambbavladi, iv.
fa^+^pass. to shoot up, be raised.
2'«.
Dbbhijjadn, iii. 80*.
TgAm ts. terrestrial globe, iiL 25'.
^H 8««>- ^^^^^ 1
gflF^ ["sa] an earth-moon, ii. 27^
•WIT [-ol/em. 'maJ, made of consisting
^ta. earth; ground, i. ZS'', 34".
of i 36»; iv. 18", ig"*.
gfimt [-wi] diaracter, costume in a
mt^ [nirrrfja deer-eyed woman, ii
play, i. la'.
46"; iv. 16».
gatat [-ini] ceHar, Mflderyroimd cAam-
mnr [*3^] beeswax, i 13*. (£*, hima-
ber, iii. 26-.
vTai}opa^ainaD&rtha± hi laadbu-
^to rujoni. decorate, bhusida, ii
cchi^tam adbare dadhatiti loka-
IP.
praaiddhih.)
+faifte same, ■rihusaanti, L 3K ti-
mm [-3^] hve, Cupid, ii 10", 16^ 33^
husia, ii. 22^
36^ 45'>; iii IS"-"", IS", 2^,30";
uqnr [°mF] omameid, decoration, i. 30*,
iv. W
ai"; ii. 23", as*; iii. IS", 26".
WOT«3 [wwwh] the same, iv. 20°.
nam, iv. 23^. bharida, iii. 20'.
9=, 20»; iv. 19«.
^ ['Z]!. spUHing, wound, iii. IK
mTT«5wtr [H«*«r»^] the same, iii
2. difference, iii. 15".
26".
fiwnina [wraisFa] name of a yogin,
wiRRWr [^'mstt]the moon, ii 47*;
L 21', 24», 34«-"."; u. 6"; iv.
iv. 18".
18".«.".«
H^n [fffir] spiniKOMS liquor, i. 20".
' Ht [mIr] a Mwafive pariWe, 0, air, i.
wafe [rfh-] head, i 4«.
18', 34'"; ii. 24', 29", 32', 43^ 44',
itH [wrl/^esft, meat, i 23^
47'; iii. 2', 3', 8*. 9', 22", 26'; iv.
»nir [mil] way, doctrine, i. 22''.
20'*, 21'.
ijtsa ['m]food, meal, L 23".
nirsnmnts. name of a woman, iv.
9"*.
i&-m of respedfid address to wo-
traqi [-si] spintuoi4S liquor, urine, i
men, iL42'; iii. 20"; iv. 18^
22^ 23*.
tivto fall, decline, decay, bhattho,
iragm [•*!] bathing, iv. 4^ B*.
iii. 8'.
Hwnumsi [n53Fr]/em. 'li, Aweper o/ a
in to whirl, Bwarm round, bbamiaib,
bath, iv. 9".
iilS".
wawTftw [wiwtftwr] a cat, ii. 29".
+iifTto wander abotit, turn round.
inn ['yn] the middle, centre; the waist.
paribbhamantlu, iv. 11'.
majjhe, between, among, i 8», 18',
i:0", 30«; ii. 6^ 20^ iii 4', 7', 19^
iv. 18"".
BH [s] madness, rut, ii 6'".
JTiBW ["«!«] the same, iii. 21*.
153] —afg 1
HTSfire [*>nT|[] midday, u. 41"; iv. 4». 8'.
jifiBW ["lani] centra/, L I*'.
w^ [h35i] a Ariwd of drum, iv. 16'.
wsafrtB. a shoot, aproui, ftower-bud.
wito 6e minded, think, mappemi, iii.
ii. 46d; iu. 13".
4". manue, i. 13", SC, 33"; iii
jrf35^ [mft^ral/em. 'ttln. red as mad-
16=; iv. 2'. mapnedi, i 28*. map-
der, ii. 41".
^antao, ii. 8".
wfiay ['W] mujyerf tw madder, ii.
H-trfWo honor, belove. ahimada, ii.
BO".
6".
mshr ts. an anklet, iL 13*.
+ »ra*o despise, disregard, avamap-
mwta. loi-dy, swed,, L 18"; iL 32».
pida, i. 14^
nsawT [-mla Sox, cfwftet, iv. 19'°,
vm [•sw]a Vedic hymn; a charm.
inii- [-tr] )iuji(/, thought, desire, I 14'';
spea, l 22'; ii. 6H
ii. 32'; iii. 10^ IP, 12', 28".
SRI- [JFm-] (0 consul, (ieUfterafe, taifc.
mir [-sn^] o iitti«, fl^Wiy. iv. 9".
w^BT- (o (pou' stow, (o decrease, man-
ii. 28^ SI".
tharijjantu, iii. 20'.
wftir ta. a gem,jewd. I 34", 36-; ii. 9^,
jRI ts. so/1, j7witto, i 17".
15", 26", 29'\ 32', 33", 34"; iii. 2',
psgirajl ['?Tf] name i/ a woman, iv.
18«-"; iv. 10M3'.
9'^
jnffHw- [°s!Jfc»] dever, wise, iv. 24*.
Bimi [-s*™] Cwjjtd, iv. 2'. Qj. vurg-
*nil1j-fiiu [•^HtFtm]c}teckittg the mind,
tmrn [-WW] aw emerald, ii. 13'; iiL 2*,
iiL 16'.
18".
vtSfm I'iTta] beautify iii. 27«.
wwagsai ['var] a place or seat adorn-
«nif>^ [-^gl Vupid, iy. 13".
ed with emeralds, emerald-arbor.
mrrrv [*»ftTn] xoish, desire, m. 8'.
iL29', 4P, 42*'.", 43»; iv. 18'.
jnifiTB the same, ii. S".
B^ HD. 6. 120. pride, degance, charm.
mift^a [-iihra] Ctipid, iii. 10". 20".
iL 23'; iii 30*. {K, il 23= vilftsa.)
mmir [-'i] a« omamewi, emheUishment,
WT5I a Mardtha tooman, i. 16».
trimmings, L 3', 28'; ii. 47'; iii
wajT ['a] name of a mountain-range
12"-M3", 26'; iv. 20'.
of South-western India, i. 16",
jirreats. a globe, ring, disk; a group.
16'-*, 20=.
coUedion, I SS*; ii. 30"; iii. 5', 31-;
wftro [-^l black, dark, iii. 25'.
iv. 23".
Rfem ['WT]a kind of jasmin, L 16".
inii=iT t3. the same, iii. 23^ 26".
H.*tJjfl ['o^bI a boxing-match, it. 21".
wuia [-5] a haO, arbor, I 36".
vmv! Itour] a cemetery, iv. 15".
iratn [htj!'] (Ac sum, iii. 3".
nftr ts. ia»y)-fcfeic/c, a black powder used
in?- ^^^^™ [164 1
to paiiU the eyes, ii. T**; iii 32";
n^FS [Jiitma] a great festival, I 18^;
iv. 14-.
iv. 9'-, 21".
n^H. 4 192. to wiak, long for. m&-
wgTiaiigr [ftv^-] jugglery, ii. 44".
hijjaJ, iii 9*.
iii. 20-.
iroaHD. 6. 143. old, dder, ii. 9'.
mta. a prohibitive particle, not, i
inpgial ts. great queen, queen-consort,
20*. ".I'."; ii 6% 39», 40*; iii 8«,
i28\
21-, 32"; iv. 4'.
UVIHHMU [•■i»nn]o greai Brahmana,
wrwiBf [•nvf]the Magadhi style in
i. 20".
poetry, i. 1=.
wim [-n] pride, jealous anger, i 15^
man flesh, iv. 15'.
18-; iii. 30«.
JTHire [•'ral mind, heart; name of a
sacred lake, ii 6", BO*-; iii 2''; iv.
^M ii. 0\ V, 6'", 9', 42"- "■ "■ ». " ; iii
23' (rosakas&am&^aBaval [ro^a-
30», 34'; iv. 18'-", IS^.", 20".
ka^&yamSnasavatl], having her
wgraaiapwt [•Sranpw*] o ^eai lanner of
mind affected by anger).
victory, iii 19''.
wifto* [-w] a ruby, i gO*"; iii. IB"; iv.
wfcra [-^tra] (Ae /ace o/ the earth.
19".
the earth, iii. 14'.
Hifijifquc [-smiR] name of a bard,
iy. 26'.
pala, i 5''.
*<irm#*iwi ["KpntiT] name of a woman.
wftwr ts. a fvoman, i 7'', 22*, 25*.
iv. 9'«.
wfiw? ['T)]a buffalo-cow, i la*.
wtftnift [-fi^an angry, jeaUma wo-
wiiT ts. i/ie earih, ii aa*-.
man, ii. 60''; iii 27^ 30».
irihRi [-HHjifte surface of the earth,
m^ [-gB] man; man/cind, (h« world
the earih, i 34»'; ii. 10=.
of men, I 31"; ii Se-; iii 8'. 14*.
n; [■^']the spring, ii 5^ 6«; iy. 7\
16»; iv. 23'*.
19". mahusaTa [-dhuteaTa], (Re
wm [-^ a mother, i. 20".
spring festival, i 16*.
in^vm/em. 'cchilL H. 3. 142. a ma-
ay [l3T]swee(, charming, i 28", 36'';
ternal unde, fern. autU, i 34"- ".
iiil'.
WTW [-B] wind, i. 16'.
nn- [n^iQ-] 'o teconw nceet mabu-
wth4 ['HTja great -flowered jasmin.
rijjal, ii. 26''.
iii2^
itjftn-H. 2. 154. sweetness, beauty,
nrai ts. a garland, chaplet, row, string.
iL2\
i 20»; ii 6S 13^ 20-; iii 18"; iv. 9»«.
156] -^ J
wiftmr [-m] the same, i. 11', 17'; iii. 2".
+ MW(o loosen, take off. avamukka,
WW [•■] a weight of gold, iii 3'«.
l28'.
jTOta. a month, iv. 9^.
+3^fo loosen, shed, mnmukka, iiL
ar^ai [-WJTO] majestt/, dignity, L 9^
SS".
■fttMi; {wn']the moon, ii. 42'; iii. 21',
g^ \^]fainting, swooning, i. 35*.
26^.
gf| (-fe] the clenched hand, fist, i. BO*;
■ftnjjHfm [wir] the moon-gem, ffuppoaed
iii. 19".
to ooze away under the moon's
pjH. 4. 7. to know, think, under-
rays, iy. 18^*.
stand, mu^asi, iii. 8*. mo^di.
f44M|;Hgi ["Tijstwr] name of a tuoman.
i. 28'. mupido, ii. 48'.
iv. 9'. -kadM [-katha], the story
pna [n-J/em. -Ii, "lis, a lotus-JStre,
of Mrgankalekhd, a poem of Apa-
ii. 6", 11"; iii. 20'.
rdjita, L 8».
gm [gwi] a pearl, pearl-oyster, i 29*;
ftwu [la-] a kind of drum, I 4'.
iii. 3'".
■fagrTO [new] sweetness, iii 14".
gHTRH [-Tifrawlo pearl, iii. 3", 4*, 5».
ftl^ [-gil] a jxUr, com^, iii 9'.
'ttapa [-tva], condition of being
ftrerio >trt, comtine. milido, ii. 6".
a pearl, iii. 4'.
milidam, L 34='. milidassa, iii. 9\
WHiufw-*! [-HiiftHdfi] abounding in, or
ftreiTO [wrFf]faded, withered, ii. 6'".
consisting of pearls, L 4«; if.
■ftiFl [-vm] under the pretext of, in the
10-.
disguise of I 18"; it. 22*.
^ [•fn] rdease, final emancipation^
fti^ [-gst] pair, couple, i. 1*».
124*.
wfcifo be closed, milanta, i. 36^.
g^ [•V\a seal, stamp, (often, i. SS";
+VHto dose the eyes. saiiimlliftDai,
ii. 3'. 41'; Ui. 9*.
iii. 7^
gf^ [-fci] sealed, closed, L 35*.
+«gg(o become manifest, sannjin-
gw [•'m] yooiisft, innocent; charming,
mil^ L 31"; ii. 2^.
lovdy, i. 16", 19*, 34"; ii ge*; it.
WT3P3 ['gaFis] name of a tree, iii
21', 22».
25".
gsw [jpi] price, iii. 6".
gw» i^lfoolish, L 18".
gn [-wl/sm. *mulii,/ace, mouth, open-
ing; beginning with, L 13", 20*'-**,
L18-. muficanto, ii. 50"; iii.25".
24-, 26', 34*'; ii. 10". 17", 27^
muccanta, iii. 27". mottupa, iii.
32", 47"; iii. 9*. 21', 22», 25", 28',
3*; iy. 13'. mukka, ii. 6"; iii.
33'. 34"-''; IT. 23".
34». mukko. iii lO. mukka, i.
WTO [-ur] noisy, tinkiing, ii. 32", 34».
29', 31'.
gi^ l-iFs] a moon-like face, ii. 30*.
mtts. root, grouTid, i. 4^ 16"; ii. 2*,
24*; iv. 2', 18^".".
^to die. Cans., to kill rnndo, L 20".
mfira9ijj&, ii. b\
ma[to purify, deanse. majjidfl, ii. 11'.
iN^H. 4. 91, to loosen, emit, to be
emitted, mellanti, iv. 22\
fitwi [°W5ri] a girdle, flank of a moun-
tain, i. 20-; ii. Sa*-; iii 13'; iv. 1\
)ftm \^v]final emancipation; scatter-
ing, brewing, i. 22^ 24*'j iv. 21\
iftftw [iftftratjo pearl, ii. 17'; iii. 4'',
20\ aJK -ttapa [-tva], condition
of being a pearl, iii. 4*.
nhnr [*«] sweetmeat. Hi 8'.
litt [Bip] a peacocli, iv. 1 4*.
iftfti [wt-]Aead, i. 11'; iv. 20'.
sflvir [*^]hewAda'ing , one of ^ Jive
arrmvs of Cupid; coitus, love,
2% 32^; ii 32'*; iii. 26".
s^ttfAo, whicA, what; that, when, he-
eattse, in order that, jo, L 6», 19'
21", 34'"; iii. 12». ja, i. 8^ 19^
ii aa*-; iii 16»; iv. 9". jaiii, i 13",
19'.", 20*''* 21», 25^ 26*'»'>', 29",
34«.M. ii. 3d_ fiir^ 7b_ g.^ iid^ 27",
28^ 46% 47'; iii. 9% 16', 23"; iv.
4", 9'*, IS"- ^, 19", 22'- ', 23^.
jepa, i 18\ 20", 34'^; ii 8", 42",
44«; iii 16", 34'; iv. 18". jepaih,
i Z^O; iii 13^. jia, ii. 41*. jassa,
i 9*, 10*. 18*; iv. 3«, 20". jissa,
ii. 23*'*; iii 22'. jassiib, ii.
iii 10*. je, i ig*. ", 20*; ii. 5';
iii 17", 24*; iv. 21"''', 22»-". jehi
[156
iii. 22''. jftoaih, i. 33'; iii 11»; iv.
9'- '. jeBuiti, ii 5".
\-to restrain, regulate, jimtia, iv.
17».
im+VRto restrain, bind, gather. e&A-
jamantl, i 27^
ST to go, happen, be possQAe. jaai ii
S'*. j5i, i 21% 30". 'J; it. 20". ja-
mo, i. 22''. jauti, iv. 9*1. jantl,
ii SI-".
+ Tifa (o hdieve, tru^. pattiSLmi, ii. 6*.
^to be proper, ft. jujjadi i 34".
■+^to appoint, use. piuiijl&ini, i
20". fiianjiasi, i. 20". oiutt&o,
iv. 9'.
+ n (o represent on the stage, ad, per-
form; to use, employ, pauiijadha,
i 10'. paunjajum, i II". paun-
jladi, i 20»».
TH [•v]force, speed, ii. 31*, 39*.
nnn [•«] a gem, jewd, i. 14*; ii 18*.
Twftr [Tiftt] niffW, ii. ll"*.
nrftraww [-wl^rawm] the lover of the
night, tjie moon, which is <dso
called raja, i 6*.
TT [-fc] the mn, i 25"; iv. 2", 3".
IT [•^]sexttal pleasure; the wife <^
Cupid, i. 2", 15"; ii 2*; iv. 9=.
TiTWW [riH-] Cupid, iii. 19*.
ra^ [ftis] violent, wild, iv. 15».
WOT ["vi] guarding, iv. 9^ 'ghara
[•grba] a prison, iii. 34"; iv. 19".
-bhavana [iia] the same, iv. 9'.
T^ to guard, watch, raklchijjae, i.
32'.
1 1"] -^ 1
1 rmto arrange, produce. rai&, iii. 30*.
iHts. sap, juice, flavor, desire, love, H
B ra'i&, iL 20.
sentiment (tn poetry), i. 12% 14% ^|
r +ftiio arrange, eff'ed, perform, make.
24% 29'; ii. 11*' >, 12*; iii. 10% 31>, ^^H
viraanti, i. IS**;!?. 17^ viraaeBam,
^^^1
ii.44^
Tmvm I'm] an dixir qf life, iL 8*. ^^^^H
TWT ["finlo high-way, main road, i.
Tlf + i^ to quit, leave, virahido, iii. 8% ^^^^^H
20'", 32».
TV i'v] a carriage, i 21% 25"; ii 18% ^^^|
TS[fo be colored, pleased. Qiua., to
^m
please, satisfy, rajjae, iii. SS".
iVB [-w] impetuosity, i. 15"; ii 44"; ^^^^|
rajjanti, iii. 6". ratta, ii. 50=.
^^H
ranjedi, i. 19^.
rtm ["Pi] secret, mystery, esoteric teach-
XV[to sound, tinkle, rapanta, ii. 32»,
ing, ii 49". '. ».
3^\ raoia, ii. 4>.
T^ [-^^] the Raghu-family, i 5%
TiwTta. a slut, whore, widow, I 23»;
n« {•v]passion; a mdody, ii. 2*. ra-
iii 8'.
araa [rigaraja], the king of me-
msee ts[.
lodies, the best musical mode, ii. 2'.
ife [nfi](Ae night, iii. 7«; iv. 9".
CTW- [•v^]a king, i. 34'; iv. 18'«.
T3in ["»] a gem, jewd, i. 20", 26*. '; iv.
Twraw [-w^] royai /amiZy, court,
19'^
i. 20'". "■ ".
TOTiwii [nr] name of a bard, i. 16'.
nwAaT [Tm']name of a u«wm»i, it.
Tmrrart [arm"] the ocean, iii. 3".
9".
Tfe [■f?i] sexual pleasure, ii. 49*.
HHmr [■m^] a king-parrot, ii 14».
wi(o rejoice ai, liave sexual inter'
mif^ [-wtot] tte poet Eaja^elJiara,
course with, ramftmo, i. 22^.
i6', 10», 11».
+ fvto come to an end, to cease, vi-
nsits. lustre; name o/" a distria in
ramaa, iv. 24^
Bengal, i 14*.
vm ts. f/ie /(;;) and the loins, L 30%
Tig ts. name of a demon, ii. 21".
34V ii. 23% 34«; iv. 7\
fr^ftHTHD. 7. 7. a row, iine, series.
iii. 20'.
20'•^30'; iv. 5'.
ft?! [-w] empfy, void, ii. 40% ■ttapa
TBnrt ts. a loveiy yown? twwian, ii. 30'.
[-tva], indigence, iv. 24%
Wmhr [ii]pfe(won(, charming, iii 31'.
tt^ [-^h] styU, didion, i l*.
iw ['wjjjieasinj, agreeable, lovely, i.
iTfij(fce same, i 20'.
23"; iv. 9", 16'.
«f«i [-fa] wish, passion, Wcit^, iii. 14''.
n ts. a (Ty, ^el^ notse, sound, ii. 32^,
«g [-BE] awjffT/, i36%
K 33% 34"; iv. I5", 16«, 17%
¥^ [-B] the god ^iva, i. 4".
*tt— ^^^^^™ [158 1
vn [«To] silver, i 4^
nva [-bo] aim, mark, iL 41*.
vi[+nf^i(o ascend, ahirudbae, ii.
n^to see, behold, kkkhijjae, L I6<.
29".
lakkhiadi, iiL 10'.
+ wto ascend, obtain. Gaus., to raise,
m to adhere, ding to, to follow, dapse.
place: to plant, ftrahia. it. 9".
laggaS, ii. 25'*. lagga, i 16s 26*.
arudhaiii, i. 9". Srovidi, ii. 42".
lagga, i. 22"; iL 6'\ laggarh. ii
SrovidawS, ii. 29".
24'. laggaasa, L 20". laggehi,
+ vto develop, rise, grow, parud^&i
L 16".
iii. 9". paru(Jhe, iii. 8*.
wjT ts. name af Geglon and Us capital.
vfvt [-fw] bhod, iv. 19-.
L 17', 20".
«fiit8. growth, natural production,
wfip- [-nsi] youth, freshness, iL 24'*.
cttstom or habit (which, according
wmto leap, jump over, lafighaantl,
ii.3K
to a well-known saying, prevails
even over precept), ii. 27''.
5if^ ["f^] mounting, transgressing.
va [■^]/orm,Jigtire, beautg, i. 29', 31',
iL27«.
34"; IL 12^ 49'; iii. 9'-, iv. 9», 14^
«ncf ['vit] success, splendor, the god-
20».
dess of fortune, I 20", 33", 34^»;
i a vocative pnrtide, ho, i 18\
iL 22", 25", 28^ 41', 48*; iiL 18",
fej tB. dust, i. 29*.
22', 26'; iv. 19".
Ji( H, 4 100. to shine, appear beauti-
asaUB [3135^] the (moon) mark, or spot
ful rehai, ii. 16*. rehae, ii. 23^
on the moon, iii. 32".
iin shine, beautg (K, ii. 41* flobhil), ii.
«5wninT [mwRyil the spot on the
41% 49'; iv. 20».
moon, which is held to resemble a
JW [-wi] line, streak, iL 37"; iv. 12',
deer, iii. 31".
wftww [sTfsmr] marked,furnished with,
TtnftaM ['inftwa] with the hair erect.
ii. 7".
thriUed, ii. 46''.
«^ ED. 7. 26. charming. iiL 18*.
itw [•■] anger, wrath, iL 47'; iv. 23'.
srfj [vftsja stick, stem, stalk; liana;
itnrn- H. 4. 105. to polish. ros&Qiaiii,
a string of pearls adorned wiSi
ii. l2^ iii 22".
a gem; anything thin or slender
(at the end oj compounds c^Ur
words meaning body), ii. 6"*, IC,
mr ['o] time in music, iv. 12'', 17''''.
24^ 41'; iii. 2', 6", 18"; iv. 19".
wwr [-m] a creeper, creeping p/an(, i
aint [^^rm] soft, smooth, fine, charming.
28*. 34»; ii. l"", O'', 11=; iii. 27'>.
iii. 28"; iv. S*. laohaa, the same,
tna [-B] one /»Mi«ir.-d thousaud, iii. 4^
ii. 24^.
159] - ^ ^^^
aai [-mja creeper, creeping plant, i.
cTOV ['m]heauty, loveliness, i. 32>; ^^^|
16=, 3i'\
il ^^^H
5m+MT(o speaft. alaviadi, i. 4".
;rm [°n] dancing, dance, iv. 10>. ^^^H
+33(0 speak, say. ullavidaiii, iv.
wm I'V] gaining, oUaining, i 12>. ^^^H
18'^
ftrajio tvrite, engrave, paint. lihaJ, ^^^B
^ to take, get, obtain. Caits., to cause
ii 40''. lihijjal, i 27". libido, T
to take, to give, laliaj, iv, dK
iL8'. ^^J
lahadi, i. 20".". lahanti, iii IS-*.
+^to engrave, paint, vilihiiub, i ^^^^|
laha, i. 20". lahasu, iv. 19\ la^
^^H
hadu, iii 20'". lahejja, iii 33^
^+«Tr to embrace. alingasu, i ^^^^|
lahanti, ii SI". labbhai. iv. 23".
^m
laddha, i 20". laddLa, iv. 23".
^ to lick, grind, rub. ll^ha, i 16*. ^^^H
laddham, ii. 1=; iv. 22". lambhio,
+^to lick, to ddight in. vilibantu, ^^^|
ii. 44". lambhido, iii. 20'". lam-
^H
bhia, ii. 13'.
^m ts. p^ay, sport, beauty, ease, grace, ^^^^M
+ wmto toiich, anoiiit. samffilambba-
i 34'», 36»; ii 30", 37-; ill. 3'; iv. ^^^|
nio, ii. 11'.
4", 7-, 17". hiagbara [°grha], a ^^H
STW to hang down. lambijjanta, iii. 27'*.
pleasure-house, iii 27''. lllavaqa ^^^^|
+ ira(o resort to, partake in. ava-
[■na], a pleasure-garden, iv. 2K ^^^^M
lambedi, i 20\
lilojjaipa ["dyana], the same, iii. ^^^^|
+ HT fo support alambia, i. 26''.
^m
5TW ts. hanging down, i. 20".
^mx ['^]play, sport, ii. 34*. ^^^H
HMiHUiiil [°5fRT]a woinan with large,
011^^0 rob, ^under. liuLtijjanti, iii ^^^^|
pendulous breasts, i. 20'.
lu^tia, iii ^^^H
5nHt8. attainment, (Staining, ii 28«;
^+feio tear off. vilutta, ii. 24^ ^^
iii. 15".
graiiHD. 7. 28. a creeping plant,
*raio appear, come to light, lasia,
liana, i. 32'.
ii. 49^
^ [-m] a leHer, writing, ii. 6". »
+ feio shine, become manifest, vila-
inn ["Wt] a line, streak, the moon's
saT, L 36"; U. 48".
crescent, ii. 20", 41", 43"; iv. 9'.
aij [-g] quickly, easily, iii. 11"; iv. 19'».
sftsT ['Wj/Ac world, mankind, men, ii.
WrH. 4 238. to put on. lenti, i 13".
50»; iii. 9"; iv. 18".
HTwr ['^]parc}ied or Jried grain, iv.
^twn I'W^] an eye, i. 26». 35"; ii 3«,
21'.
50"; iii 8*, 16% 19-, 21".
iniTO i'^kv] nam of a country, part
Fft^ H. 4 146. to sleep; to roll m the
<f Gujarat, iv. IS'"."*.
ground, lottai, ii. 4". ''
Ht^— [160 1
irt^ roVing on the grmind. raccbS-
to be in the Yata-tree during the
lottapli street -walJcer, strumpet,
VatasdvUrivrata, an observance
i. 20*^.
among uomen on the day of the
full moon oj Jydi^tha, iv. 9'^
#V ts. copper, i. 20'.
B|mn [isiw] HD. 7. 29. growth, iv. 3».
BTpn ['^^] growth, increase, ii. 29".
vsee m.
«i|raH [n>iTOTi]/em. 'via, con^atMiartMs-,
•TO [vsVoot, iii. 3'.
Ll6'.
m^[-mci]fem. -mBi, Jriend, companion,
vf^- [life] H. 2. 154. growth, length.
ii.13*.
i. 34».
WMxn [-^^J voice, speech, words, I 19*' ',
aw M a forest, L 17^ 18"; ii. SO-.
20» 21*; ii. 42M.
«r [inJcoJor, beatUy, i. 14»; iL T*-,
nwff [-a^J/flce, il US 18^ 29«, 42«;
41-.
iiL 32^ iv. 6^
aww [tSt] (?escnjj«on, ijrflMe, jL 1';
a«TW [TWiJ/effl. •881,/rifiwd, companion,
m. 30».
i. 20", 25'; ii. 6». ", 11", 29'-",
g%«T ['ftnafT]a color, paint, i. 4*.
43", 47'; iii. 2'.», 3*, 8", 12', SO'-;
HHI [owf] tidings, neivs, it. 9'.
iv. 2", 5", 18", 20'», 21'.
ara ['5g]an ofijcct, iii 31'.
«te [irJ/amiJi/./jiie, i. 4', 18».
aa Gtus., to cause to sound, to play.
HHTtWDT [-Ti&v^jbamhoo-manna, Hi-
ySia, iv. 16».
basheer (whose Iwstre is BimUar
aal [-ifl] (he «#a; vaU. iv. 9".
to that of the opal), iii. 4».
as^ io salute, pay homage to, to wor'
wa to speak, call, vuccami, i. 34'*.
ship, vandiduiti, L 36". vandla-
vm [qe] a tree, ii. 44\
di, i. 20'^
«W- I'Wt] f^e ireasf, fcosom, iii. 19*'.
vmn [nsini] H. 1. 242. Cupid, ii. 3",
owr [-rarja ^VZ, yoMwjf woman, iv.
18^3^''; iii. 11'. Q). www.
igt'.sa,".
aitB. 6es(, excellent; a boon, favor;
awtwname o/ a town, the capital of
a bridegroom, i. l^ 12''; iL 17»;
Kuntala, according to the com-
iv. 19*.
mentaries, Tidarbhd, i. 25*.
afig ['^J 6eB(, tHosf excellent, preemi-
tmfaithe Vaidarbht style i« poetry.
nent, ii. ll'i; iii. 2".
i. K
gfbaa c(fl(/i, (?armeM(, iL 36'; iii. 3",
on to deceive, dupe, vancio, ii. S*.
22'; iv. 7".
aswin [-^l/rowd, iii. 34^
afol [as] ram; a year, i. 20"; iv. 24''.
91 [-2] (/(e /i9-free, iv. IS'"-'".
afrouT [aw-J a eunuch, iii. 34".
aigifiiril [-swfirrf] the divinity fancied
afrft- ['fil] raining, iii. 3".
1 161] —fa 1
1 oiif- to describe, praise, yaflpemi, ii.
mav ['W] the eaHh, L 25«. H
1 32'. vawaa, L 18". Tanpiasi,
a^to bear, carri/. vahanti, L 19». ^^^B
K 1.20'°. Taijoido, i.8'-". Ta^pida,
vahanto, L ^^^^|
1 ii 24^ iii. 26>.
■^■mrzthe same. samuwahadi, L ^^^^|
Era to turn round, surround; appear.
^m
valaota, iii. 27^ valia, L 30»; ii.
sf ["g] a wife, L 21'; ii 2'; iii 26-; ^^^1
24"; iii. 2".
^^^1
smr [-uja bracket; a circle, I 25'';
arts, or, i 18"- ''■>», 20<», 30'; ii 27*; ^^^|
ii. 9^ 16-, 32=; iii. 13', 18«, 27',
^^^1
32^ iv. 7».
mfo bloic. vaanti, i 17''. ^^^^|
mTH [■foH] OTitTouniiaJ, ewcircfed;
+ f^Cai(d., to blow out. ijuvYavido, ^^^^|
6(nt«d, curved, I 33'»; iii- ig*-; iv.
^^H
20''.
am M wind, ^^H
tRivt [ifl] fta doping roof, i. 36".
amnr [°3^] sounding, playing, iv. 18*. ^^^^|
aq}a fold of skin on the leUy, ii.
amiTts. Apeec^i, voice, i. l^ 20'. ^^^H
v.
am [°n] unnd, i. 32'. ^^^|
ac«n[ [•nn] dear, heloved; lover, husband,
am tB. left, i 20>», 28*. ^^H
i. 18', 19^ 34"; ii. e*-, 29".
aimir [°5i] a dwarf, pigmy, iii 34*.
a^srerw [•mm] name qf a Mng, i.
aiTH [°w] a i^essej, cwp, iv. lO"*, 13*.
a4«.
aift tB. twzier, iv. 6*', 8".
tR^ ta. a creeping, winding plant, ii.
areur ta. consisting qf water, iv.
36^
13^
as to dweR. ^asai, iv. 2(y.
amnTts. spirituous liquor, iii 14*;
+6ifo dtce^ stay. piTasat, ii. 49^
iv. 6^
aH + ^ to put on, wear; to attire.
•ai5S [uT-]«r?e, i IS-.
piatthfi, ii. 14'. pivasiaiii, L 26".
ara + aft(o make fragrant pariva-
aw ["n] ir\fl.uence; used in the instru-
Bia, iv. 5=.
mental case with the sense, on
awts. dwelling, abode, ii S*"; iii
m account of, I 31', 36'^; ii. 31=; iv.
22'.
W l8■■^
are [an-] the poet Vyaaa, i. 1'.
1 aaswts. the spritijr, i. 12^ 13^ 18";
arerts. (fte day, i 35'; ii 2"; iv.
1 ii.l».
S".
1 (resTOun ["sn] name of a woman, iv. 9".
1 orhnits. 1. the earth, i. 16^ 2. »a»te
ing, iv. 9'".
L "* of the wife of the Yidufoka, i.
fe, after anusvdra fit, [wfil] though.
■ 20^'.
also, cp. kiiii. vi, i 4°'°, 7', 8»,
11
few- ^d^^ [162 1
13', 164 ", IB", ao". '■••>•• "•".",
firsftw [vnil separation, absence, iL
24-, 26', 27', 28'. ■■•.'■', 30', SI*',
9=.
33',34"."."'",36";iLl',5',6".'',
^w [-ma^force, prowess, valor, I
8', 10', IS-.', 23s 26'-», 28', 29",
U\
4,l'■',i2•■^■'•^•', 45-, 46>, 47", 48-. ',
ftraonw ['bwh] aw inier^wde ferfujeeTi the
49'; iii I'- '', S'- ', 4>, S'- ', 9-,
acts of a dratna, i. 6\
1B=, 20^ 33»; iv. 1', 6^ 9', 16»,
feasai? [Marathl fETgrS] to scatter.
IQiT, SI. a, »5, si^ 191, », 30.M^ 20^ «, 22»,
ii. 35".
23'. pi, I 1», 4", 10", 13', 16',
fafet [°^] raWoMS, iii. 27'-; iv. 11», 20.
18", 19«, 20". ••, 22-, 24", 26-',
•ttai^ [°tya] variety, strikinyness,
34', 3B».'; ii. 1', II'.", 27', 28',
iii. 31'. -dfi ['ta] the same, I 20";
39», 42", 46% 48'; iii. 2', 3'*, 9<,
iii4«.
12", 13", Us 15>, 16>. =, 32'; 17. 2-,
fiiWTH- [*o-] (o mafte pale, outshine.
4-,9»".".
vicchaanto, ii. 30«.
few [ra] 03, tike, L I', 4'. », 18",
fifWH [°3] interruyiion, ii. 39».
20'. '.•.".■•."; ii. 6'".", lis 40>,
fawtst- H. 4. 46. io cause to ^iver.
46'; iii. 2', 8', 10', 19", 20"; iv. 2".
viccholanto, ii. 30''.
Cp.m.
firare- [°fiH] wictoriowa, iv. 4^.
fasre«T [°wfiF5r]a kind of jasmin, i.
fegpin- ["^^-J to act as lightning.
19".
vijjuUehaidaifi, ii. 40*.
ftaiwjnn [■^aro] drcums^edjwiae, clever,
i. 20'.
118".
ftOTOTin ["^Sinr] name of the queen's
firnsts. deception, fraud, ii aS*.
female servant, i. 18', 19^ 20'- '.
feirann [•m] disguise, inntation, mock-
34"; ii. 6*' ".».", 10^ 11*, 41«,
ery, iii. 12», 33".
42^ 43', 66'.
few ["311] a branch, bush, thicket. I
fiiMi ["3^] dever, experienced, ii.
19"; ii. 43^-''.
29'\
fiwTW [-ww] dowfii, hesitation, suspi-
country from which the Yaidurya
cion, iii. lO.
jewel is hrought, i. 34".
fa«ft»ra ['^^>^] gaping, opening, diS'
play, machination, iv. 18'*.
finjn ['SIT] without, I m\ 20»«.
fewi^see iM+fii.
rantif see ^JH+ra.
fajpSfa see 5tT+fe.
firenr ["^ntl consideration, ii. 6*.
^i^THTT [qpHHiK] a commetitaior, ii
fewra ["aira] efeninj?, ii. BO*.
32'.
163] — ftrro ^^1
fma [-wt] extension, minute detaiU,
faBTifanfl [°^a coquettish wotnan, a ^^^^^|
L 34*; ii. 32»; iv. 3', 18'.
14*. ^^^^^1
fefwur ["ffftmj iar^e. u-ide, ii. 23^
fa^see ^ + 1^- ^^^^|
fra + fsi(o (e^i, onnounce. nivedemi.
^fmn I'TPt] ointment, unguent, cos- ^^^^M
ii. 10"; iv. 18*. nivedehi, i. 34\
metic, i. 30". ^™
nivedaissadi, ii. 29\ ^ivedladi,
fesTHUi [-a^i] an eye, iii. 22".
ii. 22'. nivedidaiii, L 16'; iv.
fantH ts. rolling, unsteady, ii 32'^.
19-".
firaiTH [Tnfe] inverted, ii 16''.
^p^hj?rf[?] resplendent? tinkling? [K,
ferrets, marriage, iv. IS**''*, 19»'.»».",
ujjvaia; J, manjugho?a; R, vidra-
20", 21«.
pa; U, vistaravat; in the Sala-
fbaj+w^fo enter, apuppavittho, iv.
ramayana, Iraiislated vyatikara,
181
sadr^a, and mi^ra], ii. 31\
+gq(o sit down, uvavisa, iv. 19*.*.
fcws?m [fau^j sei>aration, iv. i\
uvavisadu, i 24'; ii. 29". uvavi-
fesm [tta] p^turhation, Jiurry of
Bia, i. 34\ ii 4P.
mind caused by lov6, amorous
+ Uto enter, fix. Caua., to fix, apply,
play, I 2', 16'; ii 3"; iii. 12',
place, arrange, pivittha, i ZV';
32».
iii. 12». pivittha, iii. 2*. oi'e-
fawHHiei [=»iiTWHi] name of the queen;
saanti, ii. 36^ piveaaanti, i 27'.
pivesia, ii. 15». pivesiam, ii. 18'.
19".
piveeidao, iv. 9'.
fasnnisa [•umirdJem. 'vaJ, whirling
+ n(o enter. Caus., to introduce, pa-
round, swinging, i. SI*".
visamha, iii. 20^". pavisia, iii
fowireiin ['Hiresn] name of a woman,
34^ pavittba, iii 2". pavittlifie,
iv. 9'.
iv. 18'=. pavesaa, i 21'.
fipTnir ['^]a car, vehicle, i. 34"; ii.
few ['Vjjmison, iii. 20.
31"; iv. 19'«.
fimM ["TO] an object, matter; range.
fesrar, 'm [-vt] arrangement, dres-
reach, i 24-'; ii 8=».
sing, emleUishmeiit, L 20^; ii.
faHJlH. 4. 176. to burst opeji, be ex-
28\
panded, ii. 4''.
fents. separation, i. 35'; ii. 42^
ftrrft- ['ftpt]/e*«- 'liinl. separated from
ftmift- ['fhil/em. 'ripl, wandering
the lover or mistress, i 20^;
about, iv. ig^".
ii. 2'.
ftaw i'"^] correct, acctirate, iv. 12".
fimmtB. coquetry, grace, heautg, ii.
feira [°m] difference, mode, variety, L
40-; iii 31'.
8•.^ iii. 15".
H
fiitwr —
[164
ftiQHiT ["im] a mark on the forehead
tvith sandal etc, iiL 32^
fcfil l'^] performance J manner, con-
duct J nde, fate, destiny, ii. 28*;
iii. 14*; iv. 1^, 3^ 18^1
ftipmr [^ipnir] omametit, decoration^ iL
25^
ciHram [•srw] i>roduced by fanning,
iv.8«.
^hitofan. Yljalssaih, iii. 22^
ejhin ts. a lute, i. 4^
OfRT [^Irn^] 92621^^, tidif^s, ii 11^
^+f5r(^t^., to u;ar(2 q^. i^vSria, ii
29*^.
^to be, abide, stay, vatt^ ii- 4^
20^ iiL 29^ vattadi, i. 34"; ii.
41», 50*; iii. 22^ iv. 19^. vattanti,
i. 12\ 13«; ii. 5^; iiL 27^.
+mCa'is., to stir, chum, ftvattia,
i. 16^
+^Caus., to rub, dean, anoint.
uwattiam, ii. 12\
+ffto go forward, proceed; to arise,
be produced; to begin; to be oc-
cupied with, paattttif iL 4<^. pa-
attatl, L 1^ pavattadu, iii. 20^
paatto, L 36«. paafta, iv. 16^
paatto, L 4«, 6«; iiL 3". pattttfi,
i 4", 16*.
+^Hto become, arrive. Oaus., to anoint
saihYutto, iL 60^ saiiiYuttS., iiL
22^ saihvaUiaQam, ii. 46^
^to increase. Caus., to augment; to
congratulate, va^^^anti, iiL 11^
vacjdhia, iii. 10*. vaddhaviasi,
L 12». vaddhavida, L 16«.
q[V to rain, yarisidoiii, iii 3^^.
asr [«7] the Veda, L 24^
mrfvsr [Srarfsw] a jeweller, iii 4^
^Ntot [•fm]feeling, pain, m. 4*; !▼.
19".
d^Qir [Sai] a physician, iv. 7s 18*^.
Silff ts. a braid cf hair, L 13^; iL 1^
39^
d^ ts. a yZttfe, iv. 6*, 18*.
dflpifr ['«T]an altar, raised seat, iL
29*\
ikf^m ^|S[]H. 2. 133. the Yaidurya
jewd, caVs eye, L 34^®.
dm ts. time, opportunity, iL 6", 41*.
d«5 to surround, endose, embrace, ve-
(Jhiuin, L 30^
dn M drew, appard, iiL 18»; iv. 7*,
18^^
m to pierce. Caus., to cut, pei;f orate,
bore, vindhanti, L 32*. viddha-
vida, iiL 4®.
m, 9 [f9] liZre, a«. wa, L 18*, 29*,
35*; iL 33^ 34^ 36^ 39% 46*, 48»»
iiL 2•.^20•, 25*. va, L 4*, 16*
iL 35^ 3r>, 38^ 40^ iiL 20*, 28»»
iv. 9^ 17^. Q>. fiswf.
ton to /aiu^. safike, iv. 22".
m+f^Oaus., to hear, listen to. vi-
samaa, iL 29".
fv^Caus., to teach, instrud. sikkha-
vlasi, iL 27^
nnCaus., to wither, emaciate, sosa-
^ijjo, iv. 2^ sosaoijja, iv. 2\
\» »
165] — C3 1
nto hear, sima, ii. 27^. euQasa, i. tionT ['•^^]BD.6. 7. a couple, union, ^
a', sufl&du, iL 9'; i?. 9*. eoupa.
contact, I. '6\
i 36'. suuiadi, L 4'^ 21'; iL 10'.
a^nani [mJ u^ith sandal, rvbbed vfith
Buvvantam, iL 27'^. Budaiii, a
sandal, iv. 6'.
24'; iii 20'.
5W ['Bijfrue, reoi; adv. indeed, Jor-
■cn^Jo praise. saUhaijijjo, iv. 3'.
sooth, L 20'; iL 6^; iii 8% 12',
>jnr + 35'o be loosened, relaxed, tiaa-
20*."; iv. ao>. Compar., sacca-
santaiii, iL 24^
dara, ii. 6''.
+ftifo tn(s(, confide, rely, visasiadi,
H^stT [w=] at one's own wiU, It. 2*.
iv. 20\
Hsai ts. read^, jjrepared, ii 28', 29";
iv. 20".
H55inr [°i] a good person, iiL 20".
F [5a] ojie's owH, iv. 19".
vmi'to be prepared, made ready.
WH [^H] a hundred, iiL 27=. Q). ^.
sajjlanti, L 4*. sajjyjanta, iiL
^ [531m] self, ii. 47>.
27'!.
5RS [wna] to be accomplished, attain-
HWW [tPl^] a bed, coucJt, iii. 27".
able, possible, L 25'".
€Ma [wKsi] aiZ, efifire, L 34^; ii. 5=,
iraw ['u\heaping up, coUedion, iL 1*;
28s 47=; iv. 6^, 20\ 24».
iv. 9'.
pftnmiH ["VT^ arrangement qf inci-
^^m ts. going, motion, iii. 23'.
dents, i. 34".
fl^lft- ['fr^j/eHi. 'ripl, mouinir, tiiOHd-
Hjar [assH] (/le Sanskrit language, i. 7».
ering, iv. 19**.
Cipj the same, i. 6'.
wsffii- ['fci]/e»n. °v!ni, bringing to
WjRI [usTi] sw^ar, ii. 26'i.
life, resuscitating, ii. 3«; iv.
Sfca- [Hife^Jan eye-tvUness, i. 18'";
23".
iii. 24^
H^tWHt {•■Smfx]uniting, bringing (0-
^nr [raai] heaven, i. 4".
fffiifter, i. 34".
^ [w] fteSi(o(ioH, scrwjjie, Jear, iiL
Bar [-on] etwnin^', L 34", 36'; ii 41',
34".
50'; iv.4«.
nil [tt] a rendezvous, ii. 41", 50'.
B5W [-w] a A-iHd oj drama, i. 4", 6*,
Hlf ts. (o!(cft, COTiforf, ii. 28".
12^
mm ts. meding, union, itdercourse, iiL
^ [IP] ftem/., i. 20".
6^34^ iv. 3'.9».
^ [■ffpijjem. 'gitil, touching.
5^ + g/o lie pleased, propitious, pa-
meeting, attacked to, iL 20*; iiL
9laU, iiL 21''.
24^
53 [iih] a /iMMdrerf, i. 20"'. ", Cp. ^w.
^-
[166
1^ [wss] a word, sounds speech^ noiscj
i. 8*, 20^ 36<^; iii. 31^; iv, 9«.
OTTftr- [•fiR]/em. •v^;ii, burning ^ qf-
Jlicted, iv. 9«.
toHh- [•fiR]/ew. •sim, pleasing^ com-
forthig, ii. 29**.
nfuts. unioTi, friendship, peace, ii.
gl4. 15, 16^
^fomrts. with the Bdficama mode,
iT. 6*.
wn [-a] a snake, iv. 18^,
^9<T ts. same, equal, like, even, plain;
adv., together, with, i 19*, 20^*^.",
240; ii. 106. iii. 6^ 8*; iv. 6^
12«.
^mr [ni] time, L 20» 36»»; iL 6« 50^
iii. 3", 19«; iv. 4^ 7^ 18^.
HuUsn ts. oiometJ unfh jewels, iii.
18*.
^mrKosir ["irTf%RT] a setting on a par
with, equality, L 20^.
Qimm l*n^] meeting, arrival, iii 8*.
^mu^ ts. beginning, L 14^
uHiRa [*il%] abundance, iL 44P.
9gT3 ['ftw]^! appropriate, iv. 19**.
9||[33iT [''Q] collection, multitude, L 28^.
^^ ['^]the ocean, ii 29", 43*; iiL
4'.
HW?^ ['STW] sea-shore, iii. 3".
^iflifu^ [HnjrjmtA peacocks^ tailr
Jeatliers, iv. 14^
ig^ [•nfir] wow, i. 36*».
ira%- ['fifp(\ mixed with, having con-
tact with, I 17^ 20=.
WRk [^TTOT^ now, i. 19^ 34^; iiL 26^.
^ [03] a cavUy,fold, ii. 6*3. a*. « 7*.
^Efg^ [•y&l/wCf iii. 26^.
wm ts. birtA, origination, iv. 22^
9)ThT M copulation, L 20; iL 28^
«^ [ijij/aa/i^r, opposite, iL 36*.
W- ['Tfic] a lake, pond, iiL 29*.
W [w] an arrow, iL 3^ 45*>; iiL 11«;
iv. 4^ 20*.
mxf [tx^] the autumn, iii. 3^S 28<>.
9OT \w] refuge, ii. 10^
nnnfts. a path, line, row, swarm^
iL6».
9mts. straight, honest, ii. 23% 3(K
•tta^a [^tva], sincerity, iiL lO''.
H^w€ [•FPft] tfee goddess of poetry^
l\\
w:m^the same, L 34"**; iL lO'**.
Btvt [*«T9^] impetuously, iL 50^
^fbfir [•fcr] a nt;er, iL 27^ 36*.
^frcv [o^] eguaZ, Uke, L 19^, 29^
Hfw ['3^] f'*^ ««»»^ i- 35»; iL 10*, 11%
38*; iiL 14<^.
^9l [w] body, iv. 19'«, 2K
Btfft* [iFti^]j%in. •ri9l, embodied, iv.
19«*.
9^^mRT [iFRTaiT] a pin, stick used as a
brush or pencH, L 20^, 34".
^fents. water, L 17^ 20"; iiL 20%
22^; iv. 13\
^mm [•vnf] worship, attendance, L
34««.
wem [v] an ear, L 29»; ii. 8% 18»;
iiL 2^ 19*; iv. 6».
9CR [ira*']a mountoifieer, savage, iv.
19«*.
[OT]et;cry, eocfe, aU, L 7% 14*,
■ 167] -fvmr 1
1 18"; ii. 6<.», 24', 27', 28^ iii. 8*;
mar [■OTrJin (?ie ei'enj'nj, iv. 4^ S**,
P iv. 2^18"' ",23^.
18'.
P gsiaw [Fawn] all-scratching, i. e. very
5IW3H [sw] name ^ a mercAanf,
1 galling or exciting, i. IS"*.
iiL5^.
1 FBBW [wira] (/ie ver;/ essence, L 28^
^ + nio adorn, decorate, pasahift,
WB|; [imi''] I/ie twoow, iv. 23''.
ii. 22».
SOTT [iiira°] ffte same, iii. SO", 31'.
ffunift [-ifl] complefeness ^ outfit, out-
«ftr- [iiftR] (fte same, i. 25»; ii. lO",
Jit, the requisites, ii. 4P, 42'-8.";
20\ 21^ 32'i; iv. 3".
iv. 9'^ 19".
vfms tlte same, iii. 33^
Hurer [wi-] blacldsh, 1 16".
sfennn [Triioiim] «ame of a qtteen, the
HiHi [toi*] Hit/Zii, iv. 8"^.
mother of Karpuramanjari, i
^R ts. essence, vigor, iiL 10^.
34". ".
FTTif ts. an antelope, ii. 20''; iv. l^
wfcw* [?rfirar]a digit of the moon,
i. 3'.
i;a»ii o/' Ifte queen, iv. 9", 18»,
vm. [»ay] a Jather- in-law, 1 18\
20".
^ (o endure, socjhawo, it. 1'.
BiftMT ["w] a /tind fl^ bird, Maina,
g^ta. together with; at the same
Acridotheres tristis, i. 18'».
time, ii. 6". ^ 9«.''.i, 42", SO*.";
SifeFB [BBa] H. 1. 44. like, similar.
iii. 34'; iv. 2*.
iv. 19'". "da [3adrk?ata] likeness.
ffHSTT [°aT]a companion, friend, hus-
resemblance, iv, 19°=' "*.
band, ii. 41'.
CTffoJ [°wt] lOTfft ;oy, ii. 34''.
il4'.
STOi ts. yoroWi/, suddenly, i 18^ 29-;
HRHW ["tiFai];^ posUion <f a rival
ii. 45'>; iii. B^ 20».
wife, iv. 23».
Hm [°wt] a» assembly, i. 19'.
mv [»m°] a sigh, ii 9*.
B»ra [wwia] !/i«aie disposition, nature,
Fnmi Iwre^] direction, order, iii 9".
iii 11'.
HWR [wsfntlprodticedfrom the mango.
iv. 5''.
13".
Wife- [Tnft»5!] a (ree, ii. 46'.
sfenn [■fjgra]yrjertrfs?iip, ii. 28'.
giftwB ['fwmHj/em. -hi, /oci»ir one
wfe ["fil accompanied ly, together mth,
another, iv. 12''.
i. 28"; ii. 42*.
nffiFrfar HD. 8. 62. a garment, doth.
otI [-"at] a /enwle /*■ lend, i. 19*; ii. 7»,
i. 20»\
29^ 4r, 43'", 50*. »; iii 19», 20^;
fesm ['TO] a cMh, garment, I 4*. 26";
iv. 9", 19^'.»',
iii.22».
fa-MHIUI — ^^^^^^V [168 1
ftaijiraw [ftranmi] teaching, ii 8".
ftwfH [f^i^] a verse, U. 7^ 9\ 9'.
fe^ [nhm] quiddy, I i^.
fefinnsi [rawja dream, iii 2',3'-''*-%
ferg^ [Tifhira] speed, l 18".
4^ 8», 20'.
fepr [7>] Zoue, jjossitm, ii 3"; iii 10*;
ftrfw [ftifti-] coW; i/ie coW eeoson, i
iv. 19"*, 23".
13'; iv. 6".
ftw(o sprinUe. sincanti. iv. lOK
ftftR^aMn [ftiftiihrau] artificial refri-
sincijjantl, iii 20'. sitta, iii 22'.
geration, means for cooling, ii
sitto, i. 20".
41", 42'-«"; iill9^
ftsarr [fti-] ii/iftle, iinfirie, ii 32*.
fsH^TO [fti^] childhood, itifancy, i
ftlferer [firftwr] tinkUtig, singing, i
20''.
18'.
ftWTf [ftiqj-] a loci qf hair l^ on
ftfea- [ftrftnTO-]io reZoz, bosen. si-
Qie crown oJ the head {used as
ijhilaami, ii 1'.
synonymous with cekhara), i. B».
ftfftra [fe^] affectionate, i. 16'.
feflft- [fsnirfci] a mountain, i IS^.
few ts. a ftind o/ sujiemaiuroi being,
ftir |fwT](oj), tip; edge, ii 47'; iii.
i25'=.
25'; iv. ^\
firfctts. !«(cAmift mosTcjjouw, i 21\
fefRwHD. 8. 31. aie female breasts.
fts^snr name of a tree (Vitex ue-
i. 34t; iii 16"; iv. 7«.
gundo) and its flower, i. n^\ iv. 7'.
bThh [iflfra]cooi, cold, i 15'*; iv. 4S
ftrfwH. 2. 138. a conch-shell, i. 4^
e-.h-^.d.
fer- [ftiral'iead, (op, fiummrt, ii 4&^;
BhriiHufl [-sfl] a woman, i. 15"; ii 28".
iii3\ iv. 19^».
^ [iH'] nature, disposition, ii. 6*.
feftram ['jT'] sandal'icood, iv. 4».
Bfe [sKj/ieod, i 20"; iv. 2*, 12',
fufiHMl ['B^]o Mnd of toddy-pcdm,
18".
iil».
w« [TO] a parrot, iv. 2'.
ftrftnH^ [vliiuiiiai] the renowned
nwr I'm] a daughter, i. 3", 12".
Sajaoekhara, i. lO-.
HjHK [-wnrj i«ry ddicaie or s<fi, i
ftrftjBsiraB [iflaangu] name oj a king,
7-. 20-.
m.6\
HB^ ["fa] an KTce/iefit poei, i. 20*'.
ftti M] weaWi, dignity, beauty, i
Hzar [mEmn]ea»ene«tIy, exceedingly.
SS^ ii 48'; iii. 15<.
i. 20'; iv. 20'*.
ftite [fvffv] the flower oj Axxida si-
muMTir [ffu^] having beautiful eyes, ii
rissa, iv. 7".
U".
ftar [ftf] sfowe, rocft, ii IS"*; iv. 9%
wn [f^] a ('jreod, fibre, ii. 60=.
feflwB [ftRftgci] an arrow, ii 19^
stIWT [f^WR] an author of SiUras,
38^ 46^ iv. 4", 9'.
u. 32'.
169] -TO 1
^ [^fis]a pearl-oyster, iii. 3", 4''*''.
ease, joy, i. 3% 14*, 34", 36"; ii
«f«l [ww] weU-condilioned, ii. 1».
28''; iii 24*; iv. 21».
Fsai ta. /cm*, -rt, beautiful, lovdy, L
HBH [tjh] blessed, beloved, heaut^vl.
20'; ii 44*; iii. 28', 34"; iv.
ii 9«, 10"; iv. 3". -ttapa [-tva],
SI-'.
beauty, loveliness, iii 13*.
tnarirtflts. name of a wmian, iv.
MH^fli [-WHwn] a happy evening, ii
9".
49'.
h^<t4<u [-fa] beauty, lavdiness, 1 14».
nwfWa [■wrfiraja witty saying, good
g^ [m^] the same. i. 28^ 33'; ii.
counsel, iv. 9'- '".
48".
« ts. go, proceed, flow. aaraJ, ii. 6".
wTOsaa ['inKni] very straight, honest.
saranta, ii. 35«.
sincere, ii 27'.
+ wlto go away, to vanish. OBSr
BB^ta. very great, iii. 12''.
ranti iii. IQ^; iv. 16\
wnw [w=] rementbaing, recollection,
+Vto flow forth, to grow. Caus.,
ii 10".
ta extend, paaaranta, iii 10", 11».
m ts. a (7(H^ i. 25^ sura-ai^a [-jaaaji
pasarida, i 16*.
the gods, i. 3\
+iifHOi«s., to arrange, paijisaredi,
^rsj [°rl] copulation, sexual intercourse,
i 4^ paclisanadi i 4*.
i24^.
ia 3. 81. his, her, i 29'; ii I', 6",
wqpts. a subterranean passage, iii
13', 18", SO", 35«, 46».
22', 34"; iY.9%M8'M9>.".
Sirofka [wy] sweat, perspiration, iii
ygfi<n ["ftrrl *fte Conf^es, iii S'.
22'.
rrfti ["ftj] (7ie spring, i. 14^; ii 22".
Ssar [vm] a l>ed, couch, l 23"; ii 4'';
HTlts. spirituous liquor, i 24'^; iv.
iii. 3% 27".
4^ 19».
$fe- [ife^] merchant, iii 4*,
*j«*auii ["OWi] name of a woman, i
SiffT ['sn] the word aena, iv. 9*.
34"; ii. 9'.
VC^ [m^]a female attendant in
H^krts. very waving, unsteady, iii.
the women's apartments, i 36';
11«.
iv. 9'.
wm l^]gold, a golden coin, L IP,
5ei*o attend upon, freguent. aevaJ,
18'», 19', 20"; ii 41'; iii 4\
' iil7".
5^\32'.
+ft to practice, enjoy, piaevia, iv. 8\
^^ b^] very round, iii 4".
^ [V9] remaining; rest, ii 29''*'';
g^gFM [^3^] attentive, obedient, i.
iv. 4".
20". "
^ [wT]a crest; chapl^, Modern,
■ g» [*m]happy, ogreetMe; happiness,
iii. 13'.
[170
ivf^rsir [ifi^nfewT] a kind of flower
supposed to blossom by moon-light^
Hhjteror [ilhSfil valor, i 82«, _ ^
Hhff [*•] reei, i. 26».
HlH [dw] a stream, i 12*; ii 27*;
oHnsf [^Af^] a Zeamed Brahmana^
iv. 20».
tflfadM [#•] a harem-keeper, iii 34®.
#giir [ztv'] emaciating^ name of one
of the arrows of Cupid, i 32^; iii.
26<'.
^tfpn [^hrnii] heauiy, charm, ii 3*.
#B5mr [lAmssRJHD. a 37. horse-
radish, i 20*®, {K, phalguna-
m&si tatkandaih kha94a'yanti;
J, pu^panimittaiii 9S.kh&n&m tro-
tanam ity artha^)
Qhp [vtarr] light, splendor, L 28S 29S
31«' *, 34^^ ii 10\ 25*; iii
2&^.
Htfil- [iftfiw] shining, lovely, ii 7*,
CQRT to tumble, faU doum, end. kha-
lia, i 20^. khaliam, i 32*.
wmOaus., to stop, arrest, thambhe-
mi, i 25*.
^+11 to spread, to make abed, pat-
tharijjanti, i 36*.
+fcrto increase. Caus., to spread, ex-
tend. Tittharanti, ii 2^. vitthE-
rida, iii. 8^
Wi to stand, remain, find place. Caus., to
place, arrange, citthasi, i 18^*;
iii 2^ thM, i 34\ citthadi, i
21*; ii &^\ iv. 20», cittha, ii
42^1; iv. 19«*, 20*. citthadu, i
84*^; ii 41^ citthissam, i 20»*.
thia, ii 33^ iii 23\ thida,
iv. 18»«. thio, ii 1*, 46^; iii 4f.
thido, iii 3«, 4*. thia, i 26^
thida, i 20^. 18. thiam, ii 47*.
thidaiii, i 20^^ tliidepa, ii 29^
thie, iii 25s t^^via, ii 43^ tha-
vio, ii 17\ thavidoy i 4?. th&-
vidao, iv. 9^\
+3^ to stand up, rise, utthiu^a, iii
21*. uttliia, ii 43*.
+v^ Caus., to place, establish, pa-
(jdtthavida, iv. 18".
^\^^Rto stand, to be setOed, fixed.
saiiithido, iii 3^^ samthift, iii
3*, 5*. saiiithida, iv. 19^.
^snCaus., to wash, bathe, vh&vio,
i29<^.
vpi to touch, puttlia, iv. 22*.
cqi^ Caus., to split, deave. ph&4idS>o,
iii 4^
^^H. 4. 177. to break, JaU asunder.
phudanti, iii 20".
+vfo open, become mantfesL pa-
huttai, ii 4*.
f^fo appear, become manifest, to
quiver, vibrate, phuraii, i K
phorantao, iii. 31*.
+f^to quiver, shine, blaze out. vip-
phura^ iv. 3*=. vipphuranto, iv. 24*.
^ to remember, sumarasi, ii. 24^
+fe to forget, visumaridsiih, iv. 19**.
99 to fall down. samsamH^am, i
27*.
171] -^ 1
esq to sleep. auvanti, L 14^ sutto,
B5i#aHD. 8. 64. murmuring, noise,
m.3'.
l4'»; iii.34«.
mts. a vocative particle used in
addressing a female friend, i7.
tsee vrsK.
19".
tgt3. fern. 'Si, a swan, Jtaminga, ii.
«ftr^ [•frsi] turmeric, iii V.
6'", 8'; iii 29-.
^B.to laugh, mock. Gtits., to cause to
Bjn-io caH, summon, hakkilrai, ii.
smile, laugh, hasanti, iv. 18''.
33". hakkariuua, ii. 36". hak-
haaaiitle, i 20". haaia, It.
karia, i. 4'*. hakkanadu, iv.
18".
20«.
+ 3iiio dende, ridicule, uvahasiami.
tpa [•m] a hand, i. 18'", 26", 36'; ii
i. 18".
filT, ™ aga. d; iii. 3b, 23"; iv.
+ fyto smile. Tilmsia, iv. IS'"'. ^^^H
98,.,io,n i2M5% 20'^
vr ah, alas, ^^^^M
»5T to strike, beat. li.a&, ii. 43».
Hi+ift'o lie inferior to. parihia- ^^^H
^nexclam., go to! mind you! ii. 26».
mai^a, iii. 8''. ^M
•in ['w] carrying, ii. G*'.
VTts. a garland, necklace, ii. 10*, 11", H
Wt3. a name o/ fit'o, ii. 6"; iii. 3*.
17«, 23", 32', 35«; iii. 2«, 18", 20'; H
BOirts. stealing, fascinating, ii. 28",
H
31"; iii. 18'.
W?t ts. name of a poet, I 20*". H
I^ts. a name of Vi^mi, i. 24*.
Wats. laughter, merriment, a 3", lO"-; H
«ftw*3gT» [llft«fl^] H. 2. 87. the city
H
of Barifcandra, supposed to he
fs ts. fcemwse, /or, i. 14', 16\ H
situated in mid-air, a fata mor-
ftaTM [^]Aear£. i. 34=^ ii. 26', 30^, H
gana, ii 40^
43'; iii. 8', le-i, 18', 20". ^^H
fv)i^'<' go, wander, hi^cjase, ilL ^^^^|
n\
^^H
irfraj [-qa] name i^ a poet, i. 20".
sftwsfl ts. a name of Bengal, I
1%s^iHW [-m] a swing, ii. 29^ \ ■
14=.
fil-dlHWWWwiTifl ["*nHiraiHl]i/ie swing- H
breaker, the swing-festival, ii 6". H
iU. 20'', 34».
ftpg^Hin [°st] swinging, ii. 32<i, 3^. ^|
Tr^nT ["Si] a diamond, ii 26". ^^^^|
22'i.
^see s;s. ^^^H
nftuflst. a doe, female antelope, ii
^qnr ts. (Ae £ouni hum, murmur, hum- ^^^^M
41<-.
ming, i. 360; iii. 20'; iv. 15>. ^^H
5fP— %^
ra^ts. a smdll mtisical instrument,
perhaps ti$nbrelj drum^ iv. 16^
|W« [^]fire, iv. 21*.
^to carry f carry away^ captivate^ to
enchant haraiy iii. 20^, 22\ ha-
ranti, ii 26\
[172
+ iT^fo imitate^ resewble. a^oharal,
L 6s axiuharadi, iL 41'.
+^<o avoH. pariharia, i 6^
+fisrto sporty play, Yiharal, iL 4K
%ciTt8. eo^e, facility f iL 29^ 36*,
47»>.
Part III
ESSAY
ow
RUAgEKHARA'S LIFE AND WRITINGS
BY
STEN KONOW
1. Chronological List of Books and Papers Concerning
Rs.ja<;ekhara.
1827. llVilaon, H. H. Select specimens of the theatre of the Hindus. 3 vols. Calcutta,
1826-27. Refereiicefl to M ed., 2 vols., London, 1871.
1S62. Hall, Fits-Edward. Vestiges of three royaJ lines of Kanyakubja, or Kanauj,
with indicutiunB of its literature. Journal of the Astatic Society of Bengal,
IKSi. 1 ff.
1B69. Govlnda Deva B'tUtri. The Bulardmdyat^a. A drama bj Rdjasekhara. Edited
etc. Benares. Reprinted from the Paudit, a monthly joaraal of the Benarea
college, devoted to Sanskrit literature, old series, Tol. Ui., qos. 25-35.
1871. Vamanacarya. The ViddhaiSIabhaBjikS edited etc The l^dit, old aeries,
vols. vi. and vii., nos. 05-73.
1872. VamaoacSiya. The Kaqiuramanjarf edited etc. The Pandit, old series, vol.
by Rajashekhara,
1873. (JIvSaaDda VldyaaSgara.) Biddhashala Bhanjika, a dram
with a coraiiientary by Satyavrata Saiuasrami. Calcutta.
1873. Aufrecbt, Theodor. Ueber die Paddhati von (^arngadhara. Zeitscbrift der
deutachcn niorgenlandischen Gesellschaft, xxvii. 1-120.
1678. Borooah, Auundoram. Bhavabhuti and his place in Sanskrit literature.
Calcutta.
1879. Cnnniueliaiii, A. Report of a tour in the Central Provinces in 1873-74 and
1874-75. Archaeological survey of India, ii. 85. Calcutta.
IBBl. BoTOoah, Anundoram. Practical Englbh -Sanskrit Dictionary. VoL 8. With
a prefatojy essay on the ancient geography of India. Calcutta. See especially
§§ 134 and the following.
1883. MlUler, F. Max. India : what can it teach us? London.
1883. Piscbel, R. [Review of} Kausika's Zorn (Tschandakau^ikn). Ein indiaohea
Drama von Kachemisvara. Zum ersten Male und nietrisch iibersetzt von Ludwig
Fritze. Gdttingische gelehrte Anzeigen. 1883, pages 1217-41.
1883. HarlQcandra. Karpiir Maiiijarl, sattak (Yah natak i^uddha prakrt bh&sa mem
Kaja9esara kabi ka ban&ya hua liai . . .) Banaros : Aryayantr&laya sambat 1939.
1883. JTbauanda Vidyftaagara. Biddhashala bhanjika, a drama by Rajasekhankabi.
Edited Kith a commentary. Calcutta. " Dvitiyasaraskaraijam."
18B4. BhondarltBr, R. Q. Report on the search for Sanskrit mss. in the Bombay
Fresideucy during the year 1882-S3. Bombay.
176
176 Rdjagekhara^ Life and Writings.
1884. Peterson, Peter. A second report of operations in search of Sanskrit mss.
Journal of the Bombay Branch of the Royal Asiatic Society, no. xliv. Pages
59f, 63f.
1884. JIvSnanda VidySUagara. BftlarlUnayana nam a natakam mahakavi 9ri Raja<;e-
khara viracitam . . . vyakhyay&nvitam. Calcutta.
1885. Cappeller, Carl. Pracandapftndava [or B&labharata] ein Drama des R&ja9e-
khara. Strassburg.
1886. Apte, Vaman Shivram. Rfijasekhara : his life and writings. Foona : " Arya-
Bhushana " Press. Pages 54.
1886. Bbftakar Rftmohandra Arte. The Viddhas&labhanjikft of R&jasekhara: with
the commentary of Narayana Dixit ... To which is added the Ritusamhftra
of K&lid&sa with a close English translation and various readings by Keshava
R&oji Godbole. Poona.
1886. Peterson, Peter, and Dorgftprasftda. The Subhftshitftvali of Vallabhadeva.
Bombay Sanskrit Series, no. xxxi. Bombay.
1887. Dnrgftprasftda and KAstnfttha Pftnfluranga Paraba. The Karpiiramanjari
(with the commentary of Vftsudeva) and the B&labh&rata of R&jasekhara. Bom-
bay. Kftyyamftlft. 4.
1887. Fleet, John F. The date of the poet R&ja^khara. Indian Antiquary, zri.
175-178.
1889. Kielhom, F. Siyadoni stone inscription. Epigraphia Indica, L 162-179.
1890. L^vl, Sylvain. Le th^&tre Indien. Paris.
1890. Vaman Shastri Islampurkar. A lucky wife or Karpoormanjari. Composed
from Prakrita or Maharashtri dialect. Bombay: " Tattvarvivechaka " Press,
y&gvilasarratnakara, ratna 1.
[This seems to be the most convenient place for the names of a few books
(1. Dictionaries; 2. Grammars; 3. Texts; 4. Books on plants, minerals, etc.) to
which I have made more or less frequent reference in the Notes to the Trans-
lation. The list includes only works whose titles have been abbreviated or about
the precise edition of which there might be some doubt. — C. R. L.]
BR. = Sanskrit-Worterbuch von Bdhtlingk und Roth. St. Petersburg, 1855-75.
OB. = Sanskrit-Worterbuch in kiirzerer Fassung von Otto Bohtlingk. St. Petersburg,
1879-89.
Molesworth = Dictionary, Mar&thi and English, by James T. Molesworth. 2d ed.
Bombay, 1857.
Hemachandra = Hemak'andra's AbhidhSnak'intftmani, ein systematisch angeordnetes
syhonymisches Lexicon. Herausgegeben, iibersetzt und mit Anmerkungen
begleitet von Otto Bohtlingk und Charles Rieu. St. Petersburg, 1847.
HD. = The Des'in&mam&l& of Hemachandra. Part I. Text and critical notes. By R.
Pischel. Bombay, 1880. (See p. 117.)
H. = Hemacandra's Grammatik der Prakritsprachen, herausgegeben von R. Pischel.
HaUe, 1877-80. (See p. 117.)
2. Rajaffkkara's Life.
177
Vararaolii = The Prnkrita-PrakBs'a, or the Prakrit Grammar of VararuchL Edited and
translated by E. B. Cowell. Hertford, 1854.
Jaoobl = Ausgenahlte Erzuhlungen in MglmriUhtrl. Ziir Einfiihrung in daa Studium
dea Prakrit. Grammatik. Test. Worterbuch. Von Hermann Jaeobi. Leip-
Eig, ISSG. Appended ia a sketch of the ^Buraseni.
WTiitoey = A Sanskrit Grammar, By William D. Whitney. 2d ed. Leipzig, 1880.
Qakuntaia = S'akuntala ... by Kalidasa. Edited by Monier Williams. 2ded. Oxford,
187S. Cited on account of the annotations.
Kalidosa. Herausgegeben tou A. F. Stenzler.
Menhadfita = Meghaduta .
Breslau, 1874.
Kadamboil = The Eodambari of Bana. Edited by Klti;inStb I^i^dnrang Parab. Bom-
bay, Nirnaya S&gara Press, 1890. The references are to page and line of the
l«it ; but may be found vrith equal facility in the translation of Mi^ C. M,
Ridding, London, 1896.
HaiBbaohailta = The Harshacharita of B&ija. Edited by K. P. Parab and Dh. P. Taza.
Bombay, Ninjaya Sitgara Preaa, 1802. The test references (aa before) will
serve also for the translation of Cowell and Thomas, Loudon, 18B7.
Parab, Snbli.
= Subhoahita-ratna-bhandugaram, or Gem.i of Sanskrit Poetry. Selected
Tanged by K. P. Parab. 2d ed, Bombay, Nirnaya SSgara Press, 1886.
1 O. Bohtlingk. 2d ed. St. Petersbarg,
BprUcli« = Indiache Spriiche. Herauagegeben v
1870-73,
Rozbnrgti = Flora Indica, or Descriptions of Indian Plants. By William Boxbui^h.
Calcutta, 1874. Reprinted from Carey's ed. of 1832.
RSjauiehaiitu = Rajanighaijta^ahito BhanTantariya-nighai^tuh. Poena, 1896. ^nanda-
iti;rama Series, no. 33.
8R. = Saiiigitarratnakara. Same Series, no. 36.
GrifflttiB = The Paintings in the Buddhist Cave-Temples of Ajanta, Khandesh, India.
By John Griffiths. 2 vols., folio. London, 1896-97. The references to thia
work were added by me in the proofs. Hence their extreme brevity.
be hoped that some one with a good knowledge of the artificial poetry may <
make a careful study of these picture
2. Baja^ekhara's Life.
Earlier Opinions as to Raja^ekhara's Date. — The name of Rajagekhara
has been known to Indian scholars ever since the beginning o£ our cen-
tury. Extracts from two of his works were published by the late H. H.
Wilson. That critic also tried to fix as his date the end of the eleventh
or the beginning of the twelfth century a.d.
Aufrecht, in his treatise on the ^arngadharapaddhati, collected the
different verses ascribed in that anthology to the name of Rajagekhara
178 Rdjagehhara^B Life and WritingB.
and expressed liimself (p. 77) to the effect that, in his opinion, the poet
was the immediate predecessor of. Jayadeva.
Anundoram Borooah is of opinion that the tradition according to
which Rajagekhara is said to have been a contemporary of Qamkara
should be trusted, and that, accordingly, " we can safely fix the seventh
century as his probable date."
I pass by the opinion of F. Max Miiller that Rajagekhara lived in the
fourteenth century, as being founded on a confusion of our poet with a
younger Rajagekhara who wrote the Prabandhakoga, about 1347 A.D.
(see p. 196).
The different allusions made by the poet himself in his works were
discussed by Pischel, who came to the conclusion that Rajagekhara must
have lived at the end of the tenth or the beginning of the eleventh
century.
Peterson and Durgaprasada assure us that Rajagekhara's real date is
the middle of the eighth century; which, according to them, is shown by
the fact that Ksirasvamin, who was the teacher of Jayasiihha of Kashmir
(a.d. 750), quotes a verse from the Viddhagalabhanjika, and that the
king Mahendrapala, to whom Rajagekhara himself refers as being a pupil
of his own, was reigning in 761 A.D.
Vaman Shivram Apte, in discussing these various views, comes to the
conclusion that Rajagekhara lived between the end of the seventh and
the middle of the tenth century, most probably about the end of the
eighth, because he quotes Bhavabhuti and is himself quoted in the
Dagarupa.
Durgaprasada and Paraba place our poet between 884 and 959 A.D.
Raja^ekhara's Relations to Mahendrapfllai and to the Latter's Son,
Hahipaia. — Rajagekhara, in all his four extant plays, declares himself
to be the spiritual teacher of a king Mahendrapala or Nirbhayaraja. Cp.
Yiddh. i. 6 (ed. Arte), Raghukulatilako Mahendrapalah sakalakalani-
layah sa yasya gisyah ; Karp. i. 5, Mahindavalassa ko a guru ; i. 9, Nib-
bhararaassa taha uvajjhao ; Balar. i. 5, Nirbhayaguruh ; Balabh. i. 11,
devo yasya Mahendrapalanrpatih gisyo Raghugramanih.
Aufrecht had declared Mahendrapala and Nirbhaya to be one and the
same person, and their identity was proved by Pischel, p. 1221. Nir-
bhaya, accordingly, is a biruda or ovofia iravrjyvpLKov of Mahendrapala.
The mss. of the Karpuramanjari are in favor of the form Nibbhara (only
the Jaina mss. read Nibbhaya), and Nirbhaya may be a false Sanskrit
translation of this name.
Mahendrapala's son was Mahipala, the paramount sovereign of
2. Rajafekha:
I Life.
179
Aryavartft, i.e., according to Balar. vi. 52' (p. 170,6, ed. Goviiida), the
country to the north of the Narmada. Cp. Balabh. i. 7' (^p. 2. 16, ed.
Cappeller), tena (Mahlpaladevena) ca Raghuvam^.amuktamaninAi'yavarta-
maharajadhirajena i^riNirbhayanareDdraDandaueiiaradhitah sabhasadal;!.
Cp. C. Mabel Duff's Chronology of India, p. 296 and 82 ff.
Raja^ekhaia lived about 900 A.D. — Now Fleet has shown that this
Mahipala must be identilied with the king Mahlpala of the Asni inscrip-
tion, dated Vikrama saiiivat 974 = a.d. 917. and has thus proved that
Rajaijekliara lived at the beginning of the tenth century a.d. As pointed
out by Pischel and Fleet, the Balabharata was performed in Mahodaya,
and Mahodaya is another name of Kanyakubja (Balar. x. 87', 89'=p. 306.
6, 15), with which town Mahendrapala and Mahipala are connected in the
Siyadoni inscription. See Kielhorn, p. 170 f. For Mahendrapala we have
the dates 903-4 and 907-8. Fleet was not aware of the fact that Malien-
drapala and Nirbhaya are one and the same, and thought that Mahendra-
pala must be another son or a grandson of Nirbhayanarendra, whoso real
name, according to him, was Mahisapala. But this form of the word is
rather suBpicioua, and the published photograph of the Asni inscription is
in favor of Mahindrapala, as pointed out by Kielhorn, p. 171". As for
this form, see Biihler, Epigraphia Indica, i. 244.
Kielhorn's summing up of the names of the four sovereigns of Mahodaya
or Kanyakubja or Kanauj, as presented to ua by the Siyadoni inscription,
together with their known dat«s, may here be repeated for the reader's
convenience from Epigraphia Indica, i. 171 :
1. Bhoja, A.D. 862, 876, and 882.
%. Mahendrapala or Nirbhayanarendra or Mahisapala, A.D. 903 and
907; pupil of the poet Raja^ekhara.
3, His son Ksitipala or Mahipala or Henimbapiila, A.u. 917; patron
of Kajagekhara.
4. His son Devapfda, a.d. 948.
Fleet, Indian Antiquary, xv. 105 ff., has edited an inscription from
Dighwa-Dubauli, of the Maharaja MaljendrapSla of Mahodaya, dated
Harsa samvat 155 = a.d. 761-2. As shown by Fleet, svi. 175 ff., this
feudatory Maharaja must be quite a different person from the pupil of
Raja^ekhara, bat may possibly have been one of his ancestors. Peterson
and Durgaprasada coufounde<l both, and thus arrived at the false date
mentioned above.
The historical facta being thus finally established, it is no longer neces-
sary to comment iipon other suggestions or conjectures respecting the
poet's date. Nor can any authority be attributed to tUe traditional account
that Rfijagekbara was a contemporary of ^inii^Tacarya. This opinion is
founded on the ^aihkaradigvijaya, a work which is, in every respect, very
untrustworthy. The same must be said about the South Indian tradition
according to which Rfijagekhara was king of Malabar, liie real name being
Kulagekhara Perumal. This king, according to the Keralotpatti or
Kerala vigeaamahiltmy a lived in S22 a.d. (I) See Apte, p. 13, note.
Rflja;ekhara's Personal History. A YSy&vara Brahman, of the QUiya
Sect. — Rajagekhara gives more details about himself and his family than
most Indian authors. According to Ualar.i. 6', 13''; Viddh.i. 5', he belonged
to a Yayavara family. Hall, p. 14, note, translates yayiivara with ' main-
tainer of a sacrificial hearth'; and Nirayana Diksita, in his commentarj'
on Viddh. i. 5', quotes Devala to show that yayavara means a kind of
grhastha: dvividho grhastho ySySvarah ^alina^ ca, ' there are two kinds of
grhastha, the yayavara and the ^alina," But probably yayavara is the
name of the family. The Yayavaras were brahmans. Apte, p. 18, justly
remarks that Raja^ekhara must also be presumed to have been a brahman
because he is said to be an incarnation of Bhavabhuti and because it is not
becoming for a ksatriya to be a guru or upadhyaya. On the other hand,
Raja<;ekhara's wife, Avantisundarl, is called, at Karp. i. 11", " The crest-
garland of the Chauhan family," and was accordingly a Rajput princess.
[Conjectures about her name in Pischel's Priikrit-grammatik, p. 39-40.]
Raja(;ekbara seems to have been a 9aiva. This, as pointed out by
Apte, p. 19, is rendered probable by the introductory stanzas to his works.
Thus two of the four introductory stanzas in the Karpiiramafljari are in
praise of ^iva and Parvatl, as are also Viddh. i. 8 and Balabh. i. 1, 2;
whereas, in the Balaramayana, the abstract deity " vaninam gumpha " is
extolled. But he cannot have been a bigot; for iu the third ayvasa of the
ya^astilakacampu we are told that he, like many other poets, when oc-
casion arose, did honor to the religion of the Jains. See Peterson, A
second report, 1884, p. 45 f.
Raja^khara's Place of Origin the Western Deccan. — Raja^ekhara's
family seems to originate from Maharastra, that is (cp. Balar. x. 73'"-,
p. 302. 18 ff.), from Vidarbha and Kuntala. His great-grandfather,
Akalajalada, is called, in the Balar. i. 13'. p. 9, 1, Maharastraciidamani,
'a crest-jewel of Maharastra.' Narayana Diksita, in the introduction to
his commentary on the Viddha^alabbanjika, tells us that KiijaQekhara in
the Balaramayana declares himself to be from Maharastra, and that he
made use of the language of that country to a great extent. And in the
2. Rdjafekha
I Life.
181
colophon to the Benares edition of tlie Karpiiramanjar!, the poet is styled
Maharastracudaniani 'a crest-jewel of Mabaritatra.' On the other laand,
in the Sfiktimuktavali, Raja^ekhara's ancestor. Surananda, is called Cedi-
man4alanian(Janani, 'an ornament of the country of the Cedis.'
Apte has pointed out tliat our poet is especially acquainted with
Southern customs and places and often alludes to Southern rivers, 8uch
as Kaveri, Tamraparni, Narraada, etc. He knows "the black cheeks,
the pure smile, and the teeth ruhbed white with the rind of betel, of the
Dravicia women, the curling ringlets of Karnatic maidens, tlie pleasure-
Beeking propensities of Lata," etc. See Apte, p. 20 f. In the Aiicityavi-
caracarca, v. 27, a stanza by Rajagekhara is quoted which does not occur
in any of liis known works:
karnStida9anantitah9itamahar^stritatitstthatah
priudhandhrlstnnapiditah praiia<riaibbrubhangaTitrssitah |
latilmhurivestitai; ca malayaBtritarjanitarjitah
so 'yarii sariiprati Raja^ctharakavir V&ro^asira THBchati ||
' Marked by the teeth of the Karnata maidens, hurt by the sharp glances
of the MaharSstra women, pressed by the voluptuous breasts of the
Andhris, frightened by the frown of his beloved friend, embraced by the
arms of the Lata maidens, menaced by the fore-finger of the women from
Malaya, the poet liiijaQekhara nowadays is longing for Benares.' As the
stanza is given by Ksemendra, the Rajagekhara here mentioned is presiun-
ably no other than our poet. Tlie countries that are named range from
Cambay to Comoriii, and justify little more than the conjecture that Raja-
gekhara was from the Western Deccan. And as we find him in the posi-
tion of court-poet at Kanauj, far to the north, we must suppose that he, like
Bilhana, left his native country to seek wealth and fame at foreign courts.
Rajaqekhaia at the Court of Ea&auj. — Rajagekhara seems to have been
very proud of his position as tlie guru of king Mahendrapala, and he
mentions this fact in all his plays. In the Suktimuktavali ^ve find a
stanza by a pupil (antevasin) of Rajagekhara, beginning iigaskarini kai-
tabhapra ma thane. It would of course be impossible to tell whether this
antevasin was the king Mahendrapala.
The poet's connection with the court of Kanauj seems to have con-
tinued on into the reign of Mahendrapala's son and successor, MaliTpala ;
for it was at the request of the latter that the Balabharata was represented.
But we do not know how long Rajagekhara remained at Mahipala's court.
Raja^khara at the Court of Cedi. — Rajagekhara seems also to have
had some connection with the Cedi princes. His name occurs in verse
182 Itaja(ekhara^% Life and Writings.
85 of the Bilhari inscription of the rulers of Cedi, published by Kielhorn
in the Epigraphia Indica, i. 251 ff. The verse runs:
su9li8tabandhaghatan& vismitakavir&ja^ekharastutya |
astam iyam dkalpam krti9 ca kirti9 ca purvvi ca |
* May this composition, the several parts of which are well-joined, and
which would deserve praise even from the wonder-struck poet Raja^ekhara,
last to the end of the world, as well as the preceding eulogy.' (Kielhorn.)
The reference to our poet in a Cedi inscription gains somewhat in its
significance from a stanza in the Suktimuktavali, which is attributed to
the name of Rajagekhara, and which may perhaps be of interest in this
connection:
nadiD&m Mekalasuta Dipgnam Ranavigrahah |
kaTiuam ca Surananda^ Cedimandalaniandanam |
* The Narmada among rivers, Ranavigraha among kings, and Surananda
among poets adorn the country of the Cedis.' This verse seems to be
written in praise of Ranavigraha, and if that be the case, it cannot belong
to the younger Rajagekhara. As shown by Fleet,^ Ranavigraha is a
biruda of the Cedi prince ^aihkaragana, who lived about the middle of the
tenth century. We may therefore, perhaps, conclude that Rajagekhara
at some time of his life had connection with the Cedi court.
R&jagekhara's Ancestry. — Some details about Rajagekhara's ancestry
are given in his works. His father was a high minister, mahamantrin
(Balar. i. 7^ ; Balabh, i. 8i8)i Durduka (Balar. i. IS^), or Duhika (Viddh.
i. 5^) ; and his mother's name was ^ilavati (Balar. i. 13^). Poetical skill
appears to have been traditional in the family. In a well-known stanza,
Balar. i. 18, we read :
sa murtto yatr&sid gunagana ivikalajaladah
Suranandah so 'pi 9ravaiiaputapeyena vacasa |
na c&nye ganyante Tarala-Kavir&ja-prabhrtayo
mahabhagas'tasminn ayam ajani yayfivarakule ||
' This illustrious man (Rajagekhara) was born in the Yayavara family ; to
which belonged Akalajalada, like a host of virtues incarnate ; and Sura-
nanda, whose words are worthy of being drunk in by the ears ; not to speak
of others, such as Tarala and Kaviraja.' See Aufrecht, p. 77. Pischel,
p. 1223, gives a slightly different translation, and remarks that the verse
does not prove that Tarala and Kaviraja belonged to Rajagekhara's family.
^The dynastieBof the Eanarese districts a.d. 1318. Gazetteer of the Bombay Presi-
of the Bombay Presidency from the earliest dency. Vol. L, Part ii., Bombay 1896, p.
historical times to the Musalman conquest of 414.
2. Rdjofekhara's Life,
188
But in a stanza, given by Peterson in his Second Report, p. 59, and prob-
ably written by the younger Ritjat^ekhara, it is expressly stated that
Tarala was a yilyavara.
Akalajaloda was the great-grandfather of Rajagekbara : see Balar. i.
131 ; Viddh. i. 5^; Aufrecht. p. 4. Stanza 777 of ^arngadhara's Paddhati is
attributed to Akiilajalada ; and as liis name is ingeniously woven into
the stanza, with a double or hidden meaning (see Aufrecht, p. 4), we
can hardly doubt the correctness of tlie attribution. The Subhaaitavali
contains the same stanza, as no. 84S ; and here it is attributed to a " South-
erner," daksinatya.' But whether this Southern poet, Akiilajalada, the
author of the stanza, is identical with the ancestor of Raja^ekhara is not
yet proved. According to a stanza ascribed to Raja^ekhara in the Sfdtti-
muktavali, the dramatist Kadambarlrama plagiarized from Akalajalada
and thereby achieved fame ae an excellent writer. See Peterson's intro-
duction to the Subhasitavali, p. 102,
Surananda must also have been a poet, as may be inferred from the
epithets given to him by Rajagekhara, in the Ranavigraha stanza (above,
p. Iti2), and as is directly stated in the stanza just quoted (p. 182).
Tarala's name occurs in a stanza which, in the Suktimiditavali and the
Hariharavali, is given under Raja^ekhara's name :
Yayavarakiilii<;rener )ittrayaHt«<; ca maiuianam |
Buvartiabaiitlharuciras Taralas taralo yidha ||
'As the central gem, brilliant with golden setting, adorns the necklace,
thus Taiala, illustrious on account of his Suvarnabandha, adorns the
Yayavara family.' Suvarnabandha, with its double meaniug, seems to
contain an allusion to some work of Tarala.
As for Kaviraja, this must mean a different person from the author of
the Raghavapandaviya, if indeed the word is here used as a proper name.
It is, of coarse, often merely a honorific title, and is applied to various
poets. Thus Raja^ekhara himself, according to Karp. i. 9", was succes-
sively called balakavi and kaviraja; and, at Viddli. i. 5^ he calls himself
KavirajaQekhara — cp. Bilhari inscription, p. 182. See Pischel, Die Hof-
diehter, p. 37.
■The Padyavall contains 1
re) ascribed to a poet "of the Deccau
(or
Bee Ptgchel, Die Hofdletiter des LakHmana^
sens, GtiUingcu, 1803, p. 10.
184 Itdjafekhara*s Life and Writings,
3. R&jagekhara's Extant Writings.
Four plays are extant which are ascribed to Rajagekhara. Their
names are as follows :
1. Karpura-manjari.
2. Yiddha-falabhanjika, or 'The Statue.'
3. Bala-ramayana.
4. Bala-bharata or Pracanda-pandava.
Karp&ra-mi^jarl [= Camphor-cluster]. — This is, in my opinion, the
oldest of our poet's plays : see below. It is called a Sattaka. This word
is said, at i. 6, to mean a kind of Natika where the pravegakas and vi-
skambhakas are wanting. The Sahityadarpana (no. 542) adds that it is
written entirely in Prakrit ; that the " marvellous flavor " (adbhuta rasa)
prevails in it ; that its acts are named javanika ; and that it, in other
particulars, is like the Natika ; further (no. 429), that the title of a
Sattaka, as well as that of a Natika, is to be taken from the name of the
heroine. And the Karpuramanjari and the Ratnavali are cited as titles
exemplifying the rule.
The Karpuramanjari contains four acts called javanikantara. It tells
us how the king Can^apala marries Karpuramanjari, the daughter of the
Kuntala king, and thus becomes a paramount sovereign. The jealousy of
the queen, and the machinations that bring the king and the heroine
together, form the plot of the play. The adbhuta rasa is represented by
the sorcerer Bhairavananda and his tricks. See Apte, p. 22 f . ; Levi,
p. 249 f .
That the Karpuramanjari is the oldest of Rajagekhara's known plays I
am inclined to infer from the circumstance that it was not, like the other
plays, acted at the request of the king, but by the wish of the poet's wife
Avantisundari.
The Karpuramanjari was edited for the first time by Vamanacarya in
.The Pandit, 1866-72. Then follows the edition by Durgaprasada and
Paraba, 1887.
I have seen two paraphrases of the Karpuramanjari in modern ver-
naculars. The first is a Hindi translation by the well-known poet Hari-
gcandra (cp. Grierson, The modern vernacular literature of Hindustan,
Calcutta, 1889, no. 581), and was printed in the year 1883. The other is
a Marathi translation, Bombay, 1890. See the chronological list under
1883 and 1890.
Of the existing commentaries, the best known is that of Vasudeva,
Jiojafekhara'g Erfant Writings.
185
wliicit Durgaprasadii aud Paralta liave subjoined in their edition. It 13
hardly more thau a Sanskrit paraphrase, and is of relatively small value.
Much better is the South Indian commentary of Kranasunu. Pitambara's
JalpatiratiiiitQaiijarl is also of some use. The commentary of DharmadSsa
is known to me by name only. It is quoted by Durgaprasada and Paraba
in their edition of the play. For furtlier information, see the critical
account of the msa., p. xxiii ff.
Viddha-^MabliaSjikft. — The next production of our poet seems to have
been the Vtddha-calabhaiijika or The Statue. This is a Natika in four
acts, and the author seems, in several points, to have imitated the Ratna-
vall. In one passage (iv. 1^* = p. 118. 12 ff. in the edition of Arte) the
plays of ^I'iharsa are perhaps directly alluded to. The plot is quite similar
to that of the Karpiiramaiijari. The King Candravarman of Lata has
no son. He therefore tries to pass off as a boy his only daughter Mrgau-
kavalT, and sends her under the name of Mrgaukavarman to the Queen of
King Vidyiidharamalla.
In the first act, Vidyadharamalla tells the VidOsaka' that he has, in
a dream, seen a beautiful girl ; but that, as he tried to catch her, she es-
caped, leaving her necklace. This was, as we learn in the third act, no
dream, but an actual fact brought about by the conti'ivings of the King's
minister, who knew who the disguised " boy " in the Queen's apartment
was. An attendant persuades "the boy "to enter the King's sleeping-
room, telling her that she would there meet the god of love. A seer had
already foretold that whoever should take Mrgfiukavali to wife would
become a universal emperor. And on this account the minister desired
to bring it about that his royal master and Mrgafikavali should fall in love
with each other. Afterwards, the King sees in the garden some maidens
amusing themselves at swinging, and among them recognizes the face he
saw in his dream. He ia now thoroughly enamored. In a pleasure house
he beholds a picture and a statue of Mrgafikavali, and puts the necklace
on the statue. At last he gets a glance of the girl herself, but she imme-
diately di-sappears.
In the second act, after some irrelevant incidents, the King again be-
holds his beloved, and learns that she is, in her turn, enamored of him.
In the third act, after a long dialogue, and a trick played by the VidO-
saka upon the Queen's confidante Mekhala, we find the King and the
Heroine together in the garden. But their meeting is brought to a sud-
den end by the announcement of the approach of the Queen.
In the fourth act, the Vidusaka and his wife appear on the stage, the
latter, asleep. In her sleep, she discloses the fact that the Queen is
186 Rdjofekhara^B Life and Writings.
intending to make the King marry Mrgankavarman in the disguise of a
woman, in order to get her revenge for the trick played upon Mekhala.
Further on, the wedding takes place ; and now a messenger comes from
Candravarman to announce that his master has got a son, and that the
supposed Mrgankavarman is in fact the daughter of Candravarman.
A good resume of the play is given by Wilson, ii. 364-60. See also
Apte, p. 24; Levi, p. 245. Apte passes judgment on the literary merit
of the play at p. 28. ^
The play was represented at the request of griyuvarajadeva (i. 5*),
that is, according to Wilson, the heir-apparent, probably at his installation
in the joint administration of the government. The heir-apparent must
be Mahipala. But, as shown above (p. 181), there is some evidence that
Rajagekhara was connected with the Cedi princes. It is therefore pos-
sible that Yuvarajadeva may be one of the Cedi princes, either Keyura-
varsa Yuvarajadeva I., who reigned about the middle of the tenth century,
or Yuvarajadeva II., who was a contemporary of king Vakpati of Malava.
See Kielhorn, Epigraphia Indica, ii. 304; and cp, C. Mabel Duff, Chro-
nology of India, p. 293.
The Viddhagalabhaiijika was edited by Vamanacarya (1866-71),
Jivananda Vidyasagara (1873 and 1883), and Bhaskar Ramchandra Arte
(1886). Arte has subjoined the commentary of Narayana DIksita, the son
of Ranganatha DIksita and a pupil of Damodara. Narayana was a native
of Maharastra ; according to Aufrecht, he lived in the eighteenth century.
Baia-r&m&yana. — This is a Nataka in ten acts. Of all Indian dramas
it is probably the greatest in bulk. The prologue alone, as Apte observes,
is as long as an act, and each act has the bulk of a Natika like the Ratna-
vali. The number of stanzas is 741. It is hard to see how so lengthy a
play could well have been brought out upon the stage. And the author
himself seems to have felt this difficulty; for he says (at i. 12): "If some
wise critic should find it to be a fault of this Balaramayana that it is too
long, that acute critic should be asked whether or not some virtue is to be
found in the diction. And if this be the case, well then, let him read and
enjoy my six compositions." It is here of no importance whether the pro-
logue is a later addition to the play, as is made probable by Pischel, p.
1227. On the other hand, we may conclude from the words of i. 1* that
the play was really represented at the request of the king Mahendrapala.
1 [Without unfairness to R&ja9ekhara, piece. Such a treatment is in prospect from
non-Sanskritists can hardly accept Apte's the pen of Mr. Montgomery Schuyler, Jr., a
strictures until some one has made a sympa- pupil of my friend, I^ofessor Jackson of
thetic translation and interpretation of the Columbia University. — C. R. L.]
3. Jidjapekhara's Uxtant Writings.
187
The Biilariiniuyana relates the whole history of Rama from STta's
svayamvara to the slaying of Rava^a and the return to Ayodhya after Sita
had passed through the ordeal of fire. Ravana is from the very beginning
represented as the jealous rival of Rama and as taking a part in the
svayamvara; and his love and longing play a much more prominent role
than his ferocity and cruelty. The banishment of Rama is, in the Balara-
miiyana, brought about by ^iirpanakha and other demons under the dis-
guise of Da^aratha and Kiiikeyi.
A full analysis of the play ia hardly called for. It would involve
a repetition of well-known incidents. The reader may consult Levi,
p. 272 ff. ; Apte, p. 31 ff, ; and Banmgartner, Das Kamayana und die
Rama-literatur der Inder, Freiburg iui Breisgau, 1894, p. 126.
As for his sources, the poet seems to give some hints concerning them
in the stanza at Balar. i. 16 and Balabh. i. 12, which is ascribed to
Daivajna :
bafaliura Vainiikabhavah pura tcavis
tatali prapede bhuvi BhartnueiithalSru |
sthitah punar yo Bhavabhutirekhaya
sa Turtnto eaiuprati Kajai^kharah |{
' He who in former days was the poet sprung from the ant-hill (Valmiki)
and subsequently assumed on earth the form of Bbartrmentha and who
again appeared in the person of Bhavabhuti, the same is now Rajajekhara.'
Tliat our poet is largely indebted to the works of Valmiki and Bhava-
bhuti is clearly shown by Apte. For the most part he drew upon the
Ramiiyana of Valmiki; and where he deviated, "he clearly imitated
Bhavabhuti ; and there are unmistakable signs that he had tlie Malmvii-a-
charita before him at the time of writing this play [cp. e.g. Balar. x. 65
and Mahav. i. 55]. ... In the sixth act, he follows Bhavabhuti in
exculpating Daijaratha's wife. . . . The scene of Lanka and Alaka is a
clear imitation of Bhavabhuti etc." See Apte, p. 37, 38. Levi (p. 292 f.)
speaks of Raja^ekhara's relation to Bhavabhuti, and shows (Appendice, p.
37) that the former occasionally imitated Kalidiisa.
Bbartrmentha is less known. Cp, Peterson and Durgaprasada, Intro-
duction, p. 92 ; Biihler, Detailed report of a tour in search of Sanskrit
mss., Bombay, 1877, p. 42; Aufrecht, ZDjMG. 36. 368; Levi, p. 183.
Bbartrmentha seems also to be called Hastipaka, which word is equiva-
lent to Mentha. His kavya, Hayagrivavadha, is known from the Raja-
taraiigini and from quotations. Now I think that Levi was right in
inferring from the verse before us that Bhartrmentha has, in soma way or
other, treated the lustorj' of Riima. But I cannot deem Levi's supposi-
tion (Appendice, p. 47), that the work in which Bhiirtrmentha did so may
188 Rdjafekhara^B Life and Writings.
be the Bbattikavya, to be a probable one. The same opinion that Levi
held, had been previously expressed by Borooah, p. 20.
Bnrnell's opinion of the Balaramayana is that ^4t has nothing remark-
able about it but its prosy length." See Classified Index, p. 169. But it
must be admitted that there are several passages of great lyrical beauty in
it, and that the poet's mastery of the several languages is better shown in
the Balaramayana than in any other of his plays.
The Balaramayana was edited by Govinda Deva, Benares, 1869, and by
Jivananda, Calcutta, 1884. No complete commentary is known to exist.
Baia-bh&rata. — Rajagekhara's last work is the Bala-bharata, or, as it is
sometimes called, the Pracan^a-pandava. Both names are used in the play
itself: see i. 8^ and *. It is a Nataka (see text, i. 8); and as such, it ought
to contain at least five acts. In fact, however, it has only two. It seems
accordingly to be incomplete, and was very likely " projected on the same
plan as the Bala-ramayana " (Apte, p. 39).
As the poet himself tells us, the Bala-bharata is founded on the Maha-
bharata. See i. 4, where Rajagekhara implores Vyasa to grant him the
help of his muse. The play has three stanzas taken directly from the
Maha-bharata. These are: i. 18 = MBh. i. 62. 53 (=2383); ii. 5 = MBh.
i. 1. Ill (= 109) or V. 29. 53 (= 861); and ii. 6 = i. 1. 110 (=108) or
V. 29. 52 (=860).
In the first act, the svayamvara of DraupadI is described. In the
second act we learn how Yudhisthira lost everything in gambling; how
Duhgasana dragged DraupadI by the hair of the head; and how at last the
Pandavas depart to the forest.
For an account of the contents, see Apte, p. 40-41. See also Wilson,
ii. 361. "The story is not very interestingly told; . . . but the verses are
smooth and flowing," says Apte.
The play was represented at Mahodaya (Kanauj) before Mahipala, then
paramount sovereign over Aryavarta, and it appears to have been the last
work of our poet.
The Bala-bharata was edited by Cappeller, Strassburg, 1885. See A.
Weber's notice of the edition in Indische Studien, xviii. 481-3. It was
also edited by Durgaprasad and Parab, Bombay, 1887, in the Kavya-mala.
In this latter edition, after stanza i. 32, only the chaya of the Prakrit
passages is given.
4. Lost Works and the Anthologies.
A Tradition of More than Four Works. — Rajagekhara speaks of '' our
six works" at Balar. i. 12, as we saw, p. 186. Four of these have been dis-
4, Lost Works and the Anthologies.
189
cusBed. Of the other two we have at present uo knowledge. If we may
trust the statement made at Karp, i, 9, that the poet had already achieved
eminence when he wrote the Karpuramafijarl, it may be that these other
two works preceded the Karpuramafijarl and were his earliest productions.
And it is of course possible that they are still extant under some other
author-name (such, for instance, as Candra-cuda}, equivalent in meaning
to " Raja^ekbara," but quite unlike it in form.
Fragments in the Anthologies. — The Anthologies give a considerable
number of stanzas which they ascribe to Raja^ekhara. It may be that
some of these are taken from "these other two works." And it is worth
wliile to assemble them here, either as a help for future atudenta in the
identification of the two works, if they are still extant ; or else as frag-
ments, if they are lost.
My collections are made from two anthologies : the Paddhati of (^arii-
gadhara, and the Subhasitiivali of Vallabhadeva. It is convenient to have
their dates given here, ^arngadhara's work was written about 1363 A.D.
(Grierson, Modern Vernacular Literature of Hindustan, p. 6). Valla-
bhadeva flourished probably between 1400 and 1450 a.d. (Buhler, Kunst-
poesie, p. 71). I give first the twenty-five pratikas of the twenty-four
stanzas which I have identified as parts of Raja^ekhara's four known
plays ; and then those of the ten stanzas which I have not been able
to trace in Rajagekhara's writings,
The few stanzas from Vallabhadeva's collection are marked " Val." ;
the rest are from yfiriigadhara's. In order to avoid " overrunning " of
lines, I abbreviate Viddh. by V. ; Biila-r. by R. ; Bala-bh. by Bh, ; and
Karp. by K.
Anthology-stanzas (34) identified in Rflja^ekhaia's Writings. — We will
first examine the stanzas given by the Anthologies with or without ex-
plicit statement of authorship, and traceable to the ^vritings of our poet.
The following eleven are ascribed by the Anthologist to Raja^ekliara,
either expressly by name, or else by reference to one of his plays, and are
found in his writings :
8659. taraibgaya drgo. = V. iii. 27 ; R. iii. 25 ; Bh. i. 31.
3750. nirvyaja dayite. ^ R. iv. 44.
8757. abhyutthanam npagate.!= R. iv. 43.
8837. dhatte pankajinitale. = V. i. 43.
3928. vaktra5rijita-.= V. ii. 11.
8936. vahneh gaktir. = R. v. 35.
190 Rdja^ekhara^B Ufe and Writings.
Val. 322. udanvacchinna. = R. i« 8. See Bhartrhari, and below, p. 190.
Val. 1411. dahombhah. = V. ii. 21. Cp. K. ii. 29.
Val. 2228. bhindanah sundarinam. = V. i. 12. See below.
Val. 2281 = Val. 3446. lokottaram caritam. = R. ii. 51.
Val. 2282. = prthvi sthira bhava. = R. i. 48.
The following eleven, accredited by the anthologist, ^^^^g^dhara, to
" Somebody" (^Ka%yacit^ or the like), that is, given as anonymous verses,
are found in Rajagekhara's writings :
1099. yasya vajramaner bhede. = R. iii. 66.
3077. kulagurur abalanam. "kasyapi." = V. i. 1.
3282. padbhyam muktas. = Bh. i. 28.
3373. tad vaktram yadi. = V. i. 14 ; R. ii. 17.
3516. upaprakaragram. = V. i. 31.
3591. sairandhrikarakrsta-. = V. ii. 23.
• « •
3719. vrajaty aparavaridhim. = V. iv. 1.
[3722. ( = Val. 2223, above.) bhindano manininam. « V. i. 12.]
3816. ye dolakelikarah. = V. i. 27 ; cp. R. x. 55.
3912. celancalena. = V. ii. 9.
3929. amandamani-. = V. ii. 6.
The stanza drgd dagdham is given as an anonymous one by Vallabha-
deva, no. 1309 ; while ^ariigadhara (no. 3078) ascribes it to Ksemendra
(about 1037 a.d. ! ). As a matter of fact, it is found more than a century
earlier, at Viddh. i. 2. (See also Spriiche.)
Three of Raja^ekhara's stanzas occur in one recension or another of the
^atakas of Bhartrhari (about 650 A.D.?). Did our dramatist take them
from his predecessor ? or were they taken from Rajagekhara by some later
redactor of the ^atakas and added thereto (as was the case with Kalidasa's
andghrdtam puspam^ f Apte discusses the question at p. 52 and deems
the latter alternative the more likely. Vallabhadeva ascribes the first to
Rajagekhara, see above. For detailed references, see Spriiche, where all
three are given. The stanzas are :
Balar. i. 8, udanvacchinna bhuh (see above) ;
Balar. iii. 17, sthitih punye 'ranye ;
Balar. vii. 40, vahati bhuvanagrenim.
Anthology-Stanzas (lo), **of Rftja^ekharai'' not yet traced. — There re-
main a few stanzas which the anthologies ascribe to Rajagekhara, but which
have not yet been traced by me to any of his known works. They are :
85. tarn vande padmasadmanam.
251. nunam dugdhabdhi-. (See Indische Spriiche, 3806.)
5. Rdjufrkhai
ml the Prakrit Literature.
3423. ahare \-iratib- (Spruche,'1079.) =Val. 3485, as anonymous.
3926. cancallolaticaluni.
Val. 2563. indor Uksma.
Val. 3046. (iatur varidharasya.
174. trayo 'gnayas trayo verUh.
188. Bhaso Katnila-Somilaii.
189. aho prabhiivo vagdevyah.
190. Sarasvatipavitranani.
Tlie first of these ten looks like the introductory stanza of some
lost work. The Raja^ekhara to whom the last four are ascribed is, I opine,
the younger Bajagekhara, of later date than our dramatist (see p. 196).
6. Baja^ekhara and the Prakrit Literature.
The Literary Prakrits and the Real Vernaculars. — Riijagekhara's
writings would probably be of less importance to us if we were better in-
formed about the history of Prakrit literature. But on this subject our
knowledge is exceedingly limited. The word Prakrit itself has different
meanings. Thus in modern Indian books, we Und it used in the sense of
vernacular; but its general use is to designate the literary dialects de-
scribed by the Prakrit grammarians. These dialects were not real ver-
naculars, and are clearly distinguished from them by native writers, tlie
literary dialects being called Prakrits, while the spoken vernaculars are
called ApabUraii^as or De^ibbiisas.
The Prakrits are, of course, developed from Apabhran^as, and the first
beginnings of Prakrit literature must therefore be traced back to the old
literature in the vernaculars; but this task still lies beyond the reach of
our abilities. From a comparative analysis of the ancient literary remains
of India, it must be concluded that, from the earliest times, there were
many stanzas current among the people, relating old legends and tradi-
tional tales, and that many of those stanzas were current in the old
vernaculars. Most of them are probably incorporated in the great Indian
epics, and our principal knowledge of them must be derived from those
sources. Such stanzas ai'e alluded to and quoted as early as in the time of
the Brahmanas; and several Vedic hymns must be reckoned to that branch
of literature. But this question is connected with the history of Indian
literature in general and cannot be discussed here. Our present inquiries
must be restricted to the poetical literature in Prakrit proper, and I
must therefore leave out of account the large Pali literature, which has
a history of its own, and also the literature of the Jainas, though tliis
192
Rdjapekkara's Life and Writings.
sect has exerted the preponderating influence upon the development
of Prakrit literature in general. Thus moat of the authors who have
written on Prakrit grammar and lexicography are Jaiuas. And the
circumstance that the Jaiuas chose the Maharastrl for their literary com-
positions, contributed greatly to the development of that language for
literary uses.
On the other band, the Jainas cannot be supposed to have written in
a language not before used in literature, and modern inquiries point to the
conclusion that a large poetical literature existed in Prakrit, though only
a small portion of it has come down to us. The reason for this fact is not
vei-y hard to find. The golden age of Prakrit literature falls in the time
before the Sanskrit literature had reached ita clasaical perfection. The
great gap in the history of that literature, between the end of the epic
period and the epoch which Max Miiller called the renaissance of Sanskrit
literature, has proved to be partly an illusion, and we now know that
Sanskrit literature dates much farther back than was formerly supposed.
But its fuller development at the hands of the great mediaeval poets of
India absorbed all the interest of the educated classes, and to this day the
systematic searches for mss. in India have often had Sanskrit literature
chiefly in view.
Early Pr&krit Lyrics. — The oldest poetry of India is contained in the
Vedic hymns and belongs to the religious branch of lyrics. In later times,
we find this branch of literature represented by the poems of the different
Indian sects, the religious gatakas, the stotras, and stutis. A good deal of
this literature is written in Prakrit, but must be treated in connection with
the religious history of India, especially that of the Jains. It is in the
secular lyrics that the Indian literature has reached its highest perfection.
This literature has not produced many complete works, but is generally
contained in numerous detached verses, each giving a little genre-picture
of Indian life. Most of these verees are erotic, and are generally admired
by the critics.
Holla's "Seven Centuries." — Such verses were, in early times, col-
lected into anthologies, often called (^atakas or centuries. The most
ancient extant anthology that we know is the Sattasai or the "Seven
Centuries " of Hala. This work is entirely written in Maharastrl Prakrit,
and we have no knowledge of the existence of any work, of that kind and
of equal age, written in Sanskrit. Uala is another name of Satavahana,
8 name which often occurs in tlie Andhrabhrtya dynasty. Hala was
probably not himself the compiler of the Sattasai, but only the compiler's
Rrijafekkara and the Prakrit Literature.
193
patron. T!ie time of hia life cannot be fixed with certainty, but he prob-
ably belongs to the first centuries of our era, and he must have lived a
long time before Biina, who, in his Harsacarita, Introduction, verse 13,
praises the Sattasai. In Hala's anthology, the author's name is quoted
after many of the verses, and from this fact we may conclude that Prakrit
lyrics have a history which goes back to a time long before Hala. Un- '
fortunately we do not know anything but the names of some of these poeta.
Nor are we much better informed as to the later development of this ,
branch of Prakrit literature.
Jayavallabha's Vajjalagga. — Bbandarkar. Report for 1883-84, p. 17,
notices a second anthology, the VajjiUagga, composed by the ^vetambara
Jain, Jayavallabha. I cannot, from the materials at my disposal, fix
his time ; but the commentary of Ratnadeva is dated in the year 1393,
which must, according to Bbandarkar, be of the Vikrama era, and the
same scholar has found verses from the Gaudavaho in the collection. The
name Vajjalagga is derived from the systematic arrangement in vrajyas or
chapters, each treating a different subject. There are 48 such chapters,
which are enumerated in 5 gathas. The total number of verses is 704;
and, judging by the specimen given by Bhanclarkar, the Vajjalagga must
be much like to the Sattasai. For the form of the title, cp. Bbandarkar,
I.C., p. 324, comm. on stanza 4; and HD. 7. 17. The language is the
Maharastri.
I am not aware of the existence of other poetical anthologies in Prakrit.
Anandavardhana's Visamabanaliia. — Anandavardhana, who, accord-
ing to the Rajataraiiginl, v. 34, obtained fame under the king Avanti-
varman of Kashmir (855-84), wrote a Priikrit poem, the Visamabaiialila.
We know this work from quotations in the author's rhetorical work, the
Dhvanyaloka. These quotations seem to show that the Visamabanalila
was also an anthology, probably written for the use of poets (kavivyut-
pattaye, Dhvanyaloka, iv. 7).
Anandavardhana quotes verses in Apabhrafi^a and may have composed
bis anthology also in Apabhrah^a. The quotations by Hemacandra must
be taken from some such work, but we do not know anything more about
it, and the Apabhran^a literature lies outside of our subject. Nor can I
here dwell on works such as the Rsabhapaiica^ika of Dhanapala (tenth
century), because it belongs to the religious literature of the Jains.
Gunftdhya's Brhatkath^. — The lyrical Prakrit literature is, for the
most part, written in Maharastri. But the first name which occurs in the
poetical Prakrit literature, is connected with another dialect, the Paicacl.
194 Rajafekhara's Life and Writings.
The poet Gunadliya is said to liave WTitten his Brhatkatha in that lan-
guage. Gunadhya is commonly supposed to have lived in the first centu-
ries of our era. See Biihler. Report, p. 47. The Brhatkatha was not an
original work of Gunadhya, but a compilation of folk-tales then current,
such as the Paucatantra and the Vetalapaficaviu^uti, which collections are,
to this day, widely spread in the modern vernaculars of India. The work
itself has not been found, but we know it pretty well from the two trans-
lations, one by Ksemendra, the Brhatkatharaanjarl, and the other by
Somadeva, the Kathiisaritsagara. According to the testimony of those
authors and of Dandiu, it was written in the Pai^aci language. This dia-
lect is described by Hemacandra in his Prakrit grammar, iv. 303 ff., and
it is probable that Hemacandra made actual use of a copy of the Brhat-
katha. See Piscbel, De Grammaticis Pracriticis, Vratislaviae, 1874, p. 33.
Biihler, also, when in India, was told that manuscripts of the work were
still extant.
The Pai^acI seems to be more closely connected with the really spoken
vernaculars of ancient India than is any other litei-ary Prakrit. Aijd that
branch of literature which is represented by the Brhatkathii must always
have been popular. In some of the Sanskrit collections of folk-tales we
also find verses in the old vernaculars, the Apabhrantas, But tlie history
of this literature is too closely connected with the general literary and
linguistic history of India to be dealt with here, and we shall only state
the fact that the earliest collection of folk-tales of which we have certain
knowledge was written in Prakrit.
In the Mahakavya, on the other hand, the priority must unquestionably
be assigned to the Sanskrit literature. Aside from the Ramayana, no
Prakrit kavya can claim an antiquity equal to that of the Buddhacarita
of Agvaghosa.
Prflkrit Eilvyas. Rftvana-vaha. — The oldest Prakrit kiivya is the
Setubandha. This poem, whose Prakrit name is Ravanavaha or Dahamu-
havaha, contains in 15 Sargaa the story of Rama, from the starting of the
monkey army to the slaying of Rilvana. It was formerly ascribed to
Kalidasa ; so by the commentator Ramadasa, who lived under the emperor
Akbar. And also in the colophons the name of Kalidasa occurs. But
tradition generally ascribes the poem to Pravarasena. Thus Bfina does, in
the Harsacarita, Introduction, verse 14, and Ksemendra, in the Aucitya-
vicaracarca, verse 1(3. According to Ritvanavaha, i. 9, the work seems to
have been completed at the request of a king by some poet. Pravarasena
was therefore probably a king. We know four kings by that name. As
the Ravanavaha is mentioned bv Dandin and Bana, it cannot be later than
5. Rdjagekhara and the Prakrit Literature. 195
the sixth century. Tradition seema to point to one of the two Kashminan
kings of that name. The poem was perhaps written on the occasion of the
building of a great bridge over the Vitaata or ilehlam by Pravarasena II.
See Rajatarangini, iii. 354. This king is now commonly placed in the
sixth century after Christ.
It is likely that Pravarasena was not himself the author, but that the
work was merely dedicated to him. We cannot ascertain who the real
author was. But it is not probable tiiat we have to do with a work by
Kalidasa. The excessive use of compounds is not in accord with Kalidusa's
style ; and it would be difficult to understand why Bana and Ksemendra
did not ascribe the work to Kalidasa, if it were really written by him.
Bappai-rfia's Gaada-Taha. — Another Prakrit kavya is the Gaudavaha
of Bftppai-raa, written about 750 a.d. and in celebration of the poet's
patron, king Yagovarman of Kanauj. This poem seems to have come
down to ua in mutilated form. The different parts of it are very loosely
connected, and the theme itself, the slaying of the Cauda king, is hardly
more than vaguely alluded to. The king Ya^ovarman was subjugated by
the king Lalitaditya of Kashmir (about 726 a.d.), and Bappairaa therefore
was a contemporary of Bhavabhilti. See Rajatarangini, iv. 144. His
Sanskrit name is Vakpatiraja, probably a translation of the Prakrit name.
Anandavardhana, in his Dhvanyaloka, quotes verses from a third
Prakrit kavya, the Harivijaya of Sarvasena, which work is not otherwise
known.
Rajai;ekhara is not known to have written other works than dramas.
Pr&krit Drama : Sattakas. — The Indian drama seems to have its root
partly in Sanskrit, partly in Prakrit literature. The one play which is
written in Prakrit exclusively is the Karpfiraraaiijari. But we are, I
tliiuk, right in concluding from the definition of the word sattaka, given
in the work itself, that the Karpfiraraaiijari was not the first composition
of its kind. And the word sattaka occurs, in the form sadaka, as early as
on the Bharhut stiipa. The quotation from Tagore, given by Levi, ii. 5,
may help us to understand the origin of the sattaka. In most character-
istics it agrees with the NatikS, but W!is perhaps classed separately, not
only because it was written entirely in Prakrit, hut also because a distinct
kind of dancing was used in it.
Earp&ra-maSjari the only Sattaka Extant. — At all events, Rajage-
khara's work is the only extant pure Pnikrit drama; and his cliief im-
portance in the history of Prakrit literature lies in the fact that he has
196 Rdjafekhara^s Life and Writings.
given to us a unique specimen of a kind of literature which has perhaps
a history of its own.
This Play Important for the History of the Drama. — The Karpura-
manjari is also of importance for the history of the Indian drama in
general. To judge from some indications in the rhetorical literature, we
must suppose that, in early times, a sthapaka (as well as the sutradhara)
had something to do with the arrangement of the play. But in most of
the known plays, the sthapaka has disappeared. In his recension of
Levi's book, Le theatre Indien, in the Gottingische Gelehrte Anzeigen,
1891, p. 361, Pischel has suggested that this fact is owing to a reformation
by Bhasa (cp. Pischel, ibidem, 1883, p.. 1284).
In the Karpuramanjari we still find the sthapaka in action. Most of
the mss., it is true, have substituted the more usual word sutradhara for
sthapaka, where the latter occurs ; but it clearly appears from the whole
arrangement of the introduction that this proceeding is false. In i. 12',
we learn that the "ajjo" is busy with his wife in the tiring-room. There
is no question that the word ajja or arya in this passage means the sutra-
dhara. It therefore follows that the sutradhara was not on the stage
between the end of the nandi and that of the prastavana. We must ac-
cordingly conclude that those manuscripts are right which represent a
sthapaka as coming on the stage immediately after the nandi.
It may also be noted here that this same passage, i. 12', clearly shows
that the female roles were sometimes played by female actors.
The nandi itself is of interest in the Karpuramanjari, because verses
are recited after it. This is a curious fact. We find the same again in
the Parvatiparinayanataka. (Pischel, l.c., p. 360.) The Karpdramanjari,
accordingly, may be consulted with profit by the student of the general
history of the Indian drama ; and it is not unlikely that the Sattaka has
on this point preserved traces of a more ancient stage of development in
this branch of literature.
6. Other Poets mentioned by B&ja^ekhara.
Several Other Poets are occasionally mentioned in the Writings of
R&ja9ekhara. — Many of the memorial verses which occur in the anthol-
ogies, and are ascribed to him, were most probably not written by our
poet. Some of them are, according to the Hariharavali, taken from the
" Bhojaprabandha of Rajagekhara." It is, accordingly, probable that they
are extracts from the PrabandhakoQa of the younger Rajagekhara, which
was written in 1847. Most of those verses are collected in alphabetical
Mentions of Rajagekhai
<■ the Literature.
197
arrangement, after the name of the poets mentioned, in the introduction
to the edition of the Karpuramaiijar! in the Kavyamala, In this placQ
I can only take notice of the poeta alluded to in Rajagekhara's plays.
Hariuddha, Nandiuddha, Pottisa, and Hala are mentioned as poets at
Karp. i. SO**. The Tanjore mss. of this passage, however, have, instead,
the names Haribamhasiddhi (?), Oddisa, PSlittaa, Campaaraa, and Malla-
eehara. With reference to these names, see Pische!, Gottingische Gelehrte
Anzeigen, 1891, p. 365.
Aparajita is mentioned at Karp. i. 8', as a poet contemporary with
Rujagekhara, and as speaking in terms of highest praise of the merits and
achievements of Rajagekhara. In the Tanjore mss., Aparajita bears the
BXirnamo Babbararaa. He is said to be the author of a Mrgiinkalekhakatha.
This work is not otherwise known, but was probably a composition ,
founded on a tale like that of Kathasaritsagara 65. 221 S, Stanzas by
Bhattaparajita occur as no. 1024 of the Subhasitavali (see also the Intro-
duction thereto, p. 103) and in the Padyavali.
^amkaravarman or Krsna^aihkara^arman was another contemporary
poet. His name is mentioned in the first form at Balar. i. 16'; and in the
second at Viddh. i. 6'. Ho is called sabbya in the Balaramaj-ana, and
gostbigaristha in the Viddha^alabhaiijika; but be is not otherwise known.
A ^amkaravarman occurs among the poets of the Suktimuktiivali.
Daivajiia is mentioned at Bular, i. 15' and Balabh. i. 11'. This may
be a proper name and refer to some contemporary poet. Or it may be a
fiiraple appellative, to be rendered by 'fortune-teller '-(so Fleet, p. 176).
7. Mentions of R£ja?ekhara in the Literature.
By Vasukalpa, Abhinanda, and Somadeva. — According to Aufrecbt in
the CatJilogua catalogorum, p. 502, Hiija^ekhara is mentioned in the
Suktimuktiivali as a contemporary poet by Vasukalpa and Abhinanda.
We do not know anything about Vasukalpa, but we have two poets named
Abhinanda. The one is known as the author of a kavya, the Ramacarita,
and was the son of ^atananda. The other was called {ifiudabliinanda, and
WHS a son of .layanta Vrttikara, His great-great-grandfather lived under
king Muktapida Lalitaditya of Kaslimir, whose accession, according to
Buhler, cannot have taken place before 724. Gaudiibbinanda must there-
fore have lived about the middle of the ninth century. He is known as
the author of the Kadambarikathasara and of the Yogavasisthasara.
Buhler, Indian Antiquary, ii, 102 ff., thought the two Abhinandas to be
one and the same. On that point, cp. Durgapraaada and Paraba, Kavyar
mala. Part ii, 50. Abhinanda is also quoted, Suvrttatilaka iii. 16, 29.
198 Rajafekhara's Life and Writings,
lliijjLfeldiara'a name is further mentioned in Somadeva's Ya^astilaka-
campQ. According to the coloitbon, this work was written gaka 882 =
A.B. 960. As mentioned above, we are told in the third agvasa that
Kajaqekhara occasionally pays honor to the religion of the Jains. As far
as I can see, these words cannot apply to the known works uf the poet.
In the Da^fipa and the Sarasvati-kanth&bliaraiia. — The Dagarupa
quotes Karp. i. 23 (iii. 14 = p. 117 in Hull's edition), Viddh. i. 31 (iv. 50
= p. 182), and Balar. iv. 60 (ii. 2 = p. 62). The last passage is said to
be taken from the Hanumannataka — see Jivonanda's ed., ii. 14.
From the tSarasvati-kanthabharana (ed. by Anundoram Boiooali,
Calcutta, 1883), I have noted the following quotations: Balar. i. 42
(p. 224); Balar. iu. 25 =Viddh. iii. 27= Bfilabh. i. 31 (p. 214); Bihir.
V. 8 = Viddh. iii. 2 (p. 315); Balar. vi. 19 (p. 81); Balar. vi. 34 (p. 26);
Karp. i. 1 (p. 138); Karp. i. 19 (p. 848); Karp. i. 25 (p. 348); Karp. ii.
11 (p. 108); Karp. ii. 42 (p. 194); Viddh. i. 3 (p. 149); Viddh. i. 8 =
Balabb. i. 9 (p. 67); Viddh. i. 14 = Bilar. ii. 17 (p. 215) ; Viddh. i. 15
(p. 179); Viddh. i. 19 (p. 367); Viddh. i. 20 (p. 72); Viddh. i. 31 (p. 223);
Viddh. iii. 5 (p. 104 and 214); Viddh. iii. 14 (p. 72). Cp. Colonel G.
A. Jacob, Journal of the Royal Asiatic Society, 1897, p. 304 ff.
In Works of Ksemendra. — Ksemcndra, also, in several of his works
gives references from Bajagekhara's plays. In the Aueityavicaracarca,
we find Balar. i. 39 (v. 13); ii. 20 (v. 20); iv. 1 (v. 36); v. 11 (v. 14);
X. 41 (v. 12); Balabh. ii. 11 (v. 12); Karp. i. 18 (v. 18); and likewise
the following stanzas which I cannot trace: citacakraih caudrah(v. 15);
strinam madhye (v, 16); Karnatidai;anankitah (v. 27). In the Kavikan-
thabhara^a only one stanza by Raja<;ekhara is quoted (nakhadalitahari-
dragranthigaure, 6. 1), and this one is not from his known works. In the
Suvrttatilaka, iii. 35, Raja^ekhara is praised for his ability iu the ^ardiila^
vikridita metre; and from liia works the following two passages are given,
namely, Viddh. i. 30 (at ii. 23) and Balar. i. 63 (at ii. 41).
In the Kavya-prakfi^a, Prakrta-pingala, etc. — The Kavya-prakaga also
contains a number of citations from Rajagekharu. Thus we iind there
Karp. i. 19, 20; ii. 4, 9; Viddh. i. 2; etc. (cp. Jacob. I.e., 1898, pp. 294,
303, 305, S13). Further quotations from Raja^ekhara, and mentions of
him, are found in the PrakrtapiBgala (Karp. i. 4, 20, 22, 23. 26; ii. 5);
Ganaratnamahodadhi (see Pischel, p. 1223); Hemacandra's Prakrit gram-
mar (see Pischel, I.e.); Maiikha's ^rikanthaearita (xxv. 74); Abhinava-
gupta (see Jacob, I.e., 1897, p. 2y7); Ruyyaka (see Jacob, I.e., 1897,
Rajagekhara'g Prakrit.
p. 307); aud in later wurka, such as the Kuvalayuuiiuda, the S^httya-
ilarpana, and Markand^y^B Prakrit grammar ; also in Kaleyakutuhala.
A special interest has been attached to the quotation in KBiraBvamin's
commentary on Amara i. 8', where, in speaking of the form gonasa, he
quotes Viddh. i. 3 to show that the form gonasa also is used in the same
sense. Ksirasvamin further quotes Viddh. i. 11 to show that taraka is
neuter as well as feminine. Cp. Apte, p. 6. Peterson identified the
commentator Ksirasvamin with Ksira, who is mentioned, Rajatar. iv. 489,
as the tutor of king jByupida; and thus he came to the conclusion that
Uajagekhara was much older than we now know him to be, Aufrecbt on
tlie other hand had already stated (ZDMG. 28. 104) that Ksirasvamin
must have lived in the eleventh century, since he quotes Bhoja and is him-
self quoted by Vardhamaiia.
8. Ra.ja9ekJiara's Prfi,krit.
Raja^ekhara was, to use Apte's words, " a poet of great learning and
much information." The poet himself seems to be very proud of his
linguistic skill, as he directly calls himself sarvabhriHavicaksana (Balar.
i, IQi) or earvabhasacadura (Karp. i. 7'). Biilar. i. 11, he mentions the
different languages used in literary compositions : Sanskrit, Prakrit, Apa-
bhraA^a, and BhutabhSsa. As far as we know, lie himself wrote only in
Sanskrit and Prakrit. It would be out of place here to discuss his knowl-
edge of Sanskrit. It must suffice to state that be shows a great profi-
ciency in that language. I must here be contented to examine his Prakrit.
The Prakrits of the plays, it must be remembered, were no really spoken
vernaculars : but rather, essentially literary fictions founded on the ver-
naculars. They were perpetually influenced, not only by the Sanskrit,
but also by the spoken languages. Most of the so-called de^i-words must
be derived from this last source. Cp. S. P. Pandit's note to Dhniva'a
article on the Rise of the Drama, Transactions of the Ninth International
Congress of Orientalists, i. 313.
C&uraseni and Mfthikrfistr]. — These are the ouly Prakrit dialects which
occur in tlie writings of Raja^ekhara. Herein, therefore, he has not
evinced a breadth of liuguistic knowledge comparable with that of the
author of the Mfcchakatiku.
[Addition by the General Editor. — In order that this volume may be
of service to students of Priikrit in America, to whom, for the most part,
no help from a teacher and no elementary books will be accessible, I am
constrained to make the following Addition. For a good general account
200
Rdjafekhara's Life and Writings.
of Prakrit, see Jacobi's article, " Prakrit Languages," in Johnson's Uni-
versal Cyclopaedia.
The 9^^^^^!^^ is used as the conversational dialect, that is, in the
prose passages; while the Maharastri is regularly used in the stanzas.
Upon this point the beginner should consult Jacobi, Introduction, §§ 9, 10.
The chief distinctive peculiarities of the ^^^uraseni are succinctly stated
by Jacobi, pages LXX-LXXII. These the learner should study. I am
convinced that the best basis for a clear understanding of the differences
between the two dialects is afforded by some concrete examples. I have
therefore thought it worth while to devote a little space to a collection of
some of the doublets which actually occur in this play. In the first col-
umn is given the Sanskrit form ; in the second, its ^^uraseni counterpart ;
and in the third, the Maharastri form.
^auraseni-Mahftr&stri Doublets used in this Play. —
Sanskrit.
QaorasenL
Mahara^tn.
Si^nflilrri'ti.
CaoraBenL
Mahara?^
(Proae.)
(Verae.)
(ProM.)
(Verse.)
atha
adha
aha
sthita
thida
•
thia
tath&
tadh&
taha
sth&pita
th&vida
th&Yia
yathft
jadhft
jahft
kaUta
kaUda
kalia
IrftthftTn
1r<>/ihftih
kvathita
kadhida
kadhia
iha
idha
iha
ghatita
gha^ida
ghadia
tatas
tado
tao
dayitft
daidft
dai&
etad
edaih
eaih
puukhita
punkhida
punkhia
bhtUitft
bhOsidft
vi-hOsift
eti
edi
ei
bhrta
bharida
bharia
jftnftti
j&nftdi
jftnfti
ni-ve9ita
ni-vesida
ni-vesia
dad&tu
dedu
deu
ava-tlrna
odi|ma
ava-inna
bhavati, -tu
bhodi, -du
hoi, hou
adbhuta
acc-abbhuda
abbhoa
bhavi^yati
bhavissadi
hohii
labhate
lahadi
lahai
prasrti
pasadi
paBai
Tartate
ya(tadi
va^tai
prabhrti
pahudi
pahui
-yartat&m
pavattadu
paattau
pr&krta
pftuda
paua
tisthati
citthadi
^&i
sai'nskrta
•
sakkada
sakkaa
harati
haradi
harai
manoratha
manoraha
•
marakata
maragada
maragaa
kathyat&m
kadhladu
kahijjau
mithuna
midhuna
raihiuia
kriyat&m
karladu
kijjau
ratna
radai>a
raaQa
dr9yate
dlftadi
disai
rati
radi
rai
bhanyate
bhanladi
•
bhannai
riU
ridi
rli
lat&
ladft
laft
krta
•
kida
kaa
y&ta
yftda
▼fta
gata
gada
gaa
9ata
sada
8aa
j&ta
jfida
jaa
sarasvatl
saraasadl
Rarassal
jita
jida
jia
sarit
Burarsaridft
sarift
hita
hida
hia
manmatha
xnammadha
vammaha
&-nIta
&-nIda
a-nia
•
divasa
divasa
diaha
8. Riljapekhara's Prakrit.
201
These forma can all be easily found in the Glosaarial Index : and from
the Index it appears at a glance which of the citations are prose and which
are poetry, the exponential part of the citation being a number for the
prose and a letter for the verse. By the help of this table it will be easy
to form a clear idea of the extent to which the manuscripts, as we have
them, conform to the prescriptions of the native grammarians or disregard
tliem.] [K»i. or TH. ADDmOK.]
Rare and Provincial Words. — The most striking feature of Raja^a-
khara's Prakrits is his abundant use of rare and provincial words. We
give some instances from the KarpCramafijari :
caDgima-
taratti
bliaaala
bakkara
olaggftvia
caHi-
tasara
bhutihalU'
vacchoma
olla
campia
timisa
bliulla
vacchonil
kankelli
calli
pakkhanjja
maratta
varilla
kandariuija
chaiUa
pMisiddhi
maradhi
vindurilla
kandolta
chuUai
pAlittiA
maUalla
BUlmlja
kodda'
upparakanna
polla
mahiU
sippi
khaijakkia
Mkkida
bauUia
rlflcholi
Bihina
khalakhapda
tent&kar&la
buddana
rosaoia
bakkftrai
galibailla
thakkura
boU
laugimo^
etc.
cafiga
^hlUa
bolei
la^tlma
cangattana
niei
bbamaralent&
lumbl
In Raja(;ekiiara'3 other works, also, many such words occur. Most of them
are explained in the Prakrit grammars and lexicons ; some of them have
equivalents only in modern vernaculars.
[The student who uses diligently the smaller St. Petersburg Lexicon
in the reading of this play cannot fail to bo struck by the frequency with
which the writings of Rajagekhara, notably the Balar., have furnished to
Bobtlingk his first authentication of many words. The starred kala-
kaarika is supported by i. 18". The word dhati (cp. ii. 46) is one of four
synonyms for 'sudden attack' (prapata, abhyavaskanda, dhati, abhya-
sadana, see Hemachandra, 800), for not one of which, in this sense, Iiad a
quotation been hitherto adduced, save a single one from Sayana (BR. v.
1524).~C. R. L.]
Har&thlcisms- — Marathl words are used on a large scale by Rajage-
khara, according to Naruyana Dikshita and Apte, And indeed, on the
whole, our poet seems to be largely indebted to the vernaculars. Forms
such as kai><^ariiina, catti-, tasara, pakkhaujja, etc., are known only from
■Th[s word is rather dubioua; but a
obliged to adopt it.
s readings all seem W be glosses, I w
202 Itdjafekhard's Life and Writings,
modern dialects, and a fonn like dhilla represents a more advanced stage
of phonetic development than the literary Prakrits in general. Compare
Pischel on Hemacandra i. 89. I cannot here enter into the question
concerning Rajagekhara's relation to the spoken vernaculars, from want of
sufficient materials.
The Poet sometimes confused his Two Dialects. — I must be content
to touch upon the following question : Was Rajagekhara able to dis-
tinguish correctly the two Prakrit dialects which he used in his plays ?
The question is difficult on account of the miserable condition of the mss.
The Indian editions caimot be trusted ; and the Prakrit passages in the
critically edited Balabharata are not extensive enough to be made the
basis of the inquiry. Moreover, a mere glance at the various readings
suffices to show that, in most instances, the text has been restored con-
jecturally.
There remains the Karpuramanjari. The mss. of this work are by no
means correct nor consistent in their readings. Words such as ratna,
sarasvati, iha, manoratha, mithuna, etc., are constantly written raana,
sarassai, iha, manoraha, mihuna, in the prose as well as in the verses.
And at i. 20", the form raana in the ^^^raseni is also supported by
Krsnasunu, who gives the two translations ratna and racana. On the
other hand, in all mss., we find forms like idam in verses (e.g. iv. 2*).
But generally some of the mss. have the correct form. It is therefore
necessary to examine critically the practice of RSLja^ekhara, and to test his
forms upon the touchstone of the native grammarians where they give
distinct rules for dialectic usage.
Raja^ekhara's Usage tested by Mftrkandeya's Pr&krit Grammar. —
Markan^eya, in his Praki'tasarvasva, gives a fuller description of the
^auraseni than the other grammarians ; and I shall try in the following
paragraphs to show how some of his rules are practised by Rajagekhara. I
quote Markan^eya after the ms. Wilson 158* in the Bodleyana (Aufrecht
no. 412).^ The chapter on the yaurascni begins fol. 51* and contains
nine prakaranas.
In the fourth prakarana we find a sutra, ksanaksirasadirksanam cchah
na syat, *cch should not be substituted [for ks] in ksana, ksira, sadrksa.'
In accordance with this rule I have adopted the reading sarikkha in iv.
According to a sutra in the third prakarana, 1 should not be substituted
for y in yasti (yastyam la§ ca na syat). But at Karp. ii. 6^ and iv. 19**,
1 It is a pity that this ms. is insufficient as tried to procure new material from Southern
the basis for au edition of the text I have India through Professor G. Oppert, but in vain.
Kaja^ekhara' 8 Prakrit.
203
all HISS, read latthi. Cp. Piacliel on Hemacaiidra 1. 247, -where several
instances of lattlii are quoted from the ^aitraseni. It is not without
interest that all tliese quotations are taken from RSjacekhara'a writings.
Mark. vi. has the efltra, ata uttarasya Her e syat ■ . . idudbhyam
uttarasya fier mrai va syat, ' in words ending in -a. -e is substituted for the
affix of the locative singular ; in words ending in -i and -u, -mrai may be
substituted.' But in the Karpuramanjari we find the following instances
of -mmi in a-themes: niajjhammi i. 8', kuhanimmi iii. 20'.
Another sutra in the same prakarana runs thus: do Saaali [ do eva syat
. , . iid atah kvaeid | ato Raser at syat kvacit, 'for the ablative sing, only the
allix do is substituted. ... In words ending in -a sometimes a is substi-
tuted.' Accordingly the forms ending in -hiriito ought not to be used in
the ^iiuraseni. Stil! in the Karpiiramanjari, forms occur such as pamarii-
hithto i. 20^; tumhahiriito ii. 29"; candahimto ii. 29", jalahimto iii. S",
tumhririsubiiiito iv. 2'".
In the nominative sing. masc. of the pronoun etad, Markan4eya
forbids the use of the form esa in the pauraseni: na esa etadah | suna
etada esa na syat. This rule is in accordance with the general practice in
alt critical editions. But at Karp. i. 4'" and ii. 27' and iv. 20", all mss.
read esa, instead of the correct eso.
As for the verbal inflexion, the form ghettiiiia in the paiiraseni, i, 12*,
is of interest compared with the regular genhia, iv, ig'^-WpSJ
Of less importance is the use of the dhatvadega raun = jfia in prose,
Cp. Pischel on Hemacandra iv. 7, etc.
These instances point to the conclusion that Ruja<;ekhara's linguistic
skill was not so remarkable as he likes to tell us. For some important
questions in Prakrit phonology and inflexion, his writings are of no
importance. I shall only mention two eases,
The question whether we have to assume a cerebral 1 for the Prakrits
is as dubious as before. The South Indian mss. of the Karpuramanjari
always have cerebral 1, the others generally 1.
Nor is the use of the Anunasika elucidated by these manuscripts. The
very probable supposition that in the nom. plur. neutr. and instr. plur.
the Anunasika m%t«t be used when the final syllable is short, is neither
strengthened nor weakened by the mss. Most of them write the Anu-
svara or nothing. Only R sometimes uses the Anunasika, but very irreg-
ularly, to denote a long as well as a short syllable, and U in one place
(iii. 16) has the Anunasika correctly.
After all we must therefore state that Rajaijekhara is more important
for our knowledge of the Prakrit lexicography than of the phonology and
inflexion. I
204
Edjapekhara's Life and Writinga.
Possible Inference as to Obsolescence of Said Dialects. — Finally, from the
fact that Kajil^^ekhil^a, " who kuew all languages " (i. T'), did not correctly
distinguish the different Prakrits, we may infer that the living knowledge
of those dialects was, at that time, considerably diminished. This suppo-
sition is not disproved by the fact that Soraadeva, the author of the
Lalitavigraharajanatakii (Kielhorn, Indian Antiquary, xx. 201 &.; Got-
tinger Nachrichten, 1893, 552) writes a Prakrit which is in close accord-
ance with the rules of Hemacandra. Hemacandra's grarainar is dedicated
to king Jayasitiilia of AnMlvad (1094-1143), and is therefore older than the
Lalitavigraharajaniitjika, which was written in Sambhar, 1153. 'i"he late
Dr. Biihler, some years ago, drew my attention to the close connection
between the courts of Anhilvad and Sambhar. (Cp. also Gazetteer of the
Bombay Presidency, Vol. i.. Part i., 179 ff.) And it is quite probable
that Jayasimha sent copies of Hemacandra's grammar to Sambhar. If
auch is the case, the fact would sufficiently account for the correct Prakrit
in Somadeva's work.
9. B&ja^ekhara's Literary Oharacteristics.
Piscbel's Estimate of the Poet. — Pischei has given a brief statement,
p. 1227 f„ which it may be well to reprint : Raja$ekhara war ein Mebter
des Wortes und seine Dramen sind uberaus wichtig fiir die Kenntnis des
Sanskrit und noch mehr des Prakrit. Seine Verse sind elegant und fliess-
end und selbst in dem entsetzhch langweiligeti Balaramayana wird man
manche Scene wegen des Wohllauts der Verse, wegen der Sprichworter
und der Anspielungen auf Sitten und Gebrauehe nicht ohne Interesse
und Genuss lesen. Aber als Dramatiker steht Raja^ekhara nicht hoch.
Im Balaramayapa erweist er sich als staiken Nachahmer^ des Kalidasa
uijd Bhavabhiiti, in der Viddha^ilabbaiijika und der Karpiiramaiijarl ala
Nachahmer des Dichters der unter priharsa's Naraen gehenden Stucke,
ohne dessen Witz zu erreichen. Nur im 2. und 3. Akte der Viddh.
sind zwei launige Scenen eingelegt, deren Grundziige man aber unschwer
in der ersten Scene des 3. Aktes des Nfigananda erkennt. Eine unglaub-
liche Geschmaeklosigkeit ist die Scene im 5. Akt des Balar, (p. 119 ff.), wo
die kiinstliche Sita und Sindiirika mit den Drosselu im Munde, die San-
skrit und Prakrit sprechen, auftreten.
Apte also discusses our poet's literary characteristics at length, pages
41-44. [The poet's works ought, as I think, to be translated and inter-
' A sjatematlc study of our poet's writ-
ings, with a view to determine the eitent to
which he imitated his predeceBSors, would
be, I am persuaded, a fTuitfvU one. The
afoka scene of our present piny recalls that
ot the 3. act ot Malavika, — C. R. L.
Rdj'afekhara'a Literary Characteristics.
205
preted by some Western scliolar before a judgment is passed upou them
which the Occident may fairly accept. See my notes to ii. 30, 31, 82.
Native judgment sometimes goes too far in condemnation ; and it often
goes too far in praise. Of the latter error, the following stanza (attrib-
uted to a certain " highly cultured ^ii^i^kar^'arman," at Balar. i. 17 =
Viddh. i. 7) is an example :
patuib 9rotrara8a;aiiaih, racuyitum Tica1;i satim ummata,
vyutpnttim param&m avuptiim, aviLiihim labdhiuii rasaarotasah, j
bhoktum svgdu phalaih en jivitataror, yady asti t« ksutukam,
tad bhmtah ^rnu Raja9ekharftkaveh suklih sudhasyandiiiili|| — C.B.L.]
The Poet's Skill in Metres. — Raja^ekhara's masterly command of the
more elaborate metres is one of his most notable characteriatics. He
especially excelled in Sragdhara and (as has indeed been pointed out by
the Indian critic, Ksemendra, p. 198: cp. p. 209, where the metres of the
present play are given) in pardulavikridita. Our poet's metrical skill
is by no means restricted to Sanskrit ; in Prakrit versification also he
has shown a really remarkable power. His predecessors usually contented
themselves with an occasional Anustubh or Arya in the Prakrit portions
o£ their plays ; while Raja^ekhara (as Apte observes, p. 44) has given us
nearly forty Prakrit stanzas in the highly artificial ^ardulavikrtclita alone
(they number 33). This is a matter of no mean importance to the student
of Indian metres. See below, p. 206 ; and cp. Stenzler'a metrical notes,
published after his death, ZDMG. xliv. 1-82.
Rime. — Rime forms an essential element of versification in the poetry
of the modern Indian vernaculars, and also in Prakrit; but not in Sanskrit.
Where rime occurs in Sanskrit poetry, as, for instance, in that of Jayadeva,
we may assume that the influence of the vernacular or of Prakrit poetry
has been at work. It is of interest to note that Rajagekhara makes
occasional use of rime. Instances are: Viddh. i. 4, 5; iii. 8; Karp.iii. 29,
30, 31. [It may be added that two of the Magician's ribald songs, i. 22,
23, are full of internal rimes. So ii. 11. — Rime, Antya-anuprasa, is freely
used, for example, in the Gita-govinda and Moha-mudgara. Cp. Siihitya-
darpatia, no. 637; Ch. P. Brown, Sanskrit Prosody, p. 21; Pischel, H.,
p. 208. — C. R. L.]
Proverbial Expressions. — Another prominent literary characteristic of
Raja^ekbaru is his fondness for the use of proverbial expressions. [In our
present play, I have noted saws or proverbs or proverbial expressions at
the following places: i.18"''"''"; ill'; iii. 0''; iv. 18*-"; 20^; and perhaps
206 Rdjafekhara'% Life and Writings.
ii. 26**, 29^\ and iv. 20^*(?) ought to be added. Apte has collected a good
many on p. 45 of his essay.
The Indian form of " A bird in the hand is worth two in the bush "
may be mentioned, since our poet gives it at Viddh. i. 22' : it reads,
" Better a partridge to-day than a pea-hen to-morrow," varam takkalova-
nada tittiri na una diahantarida mori. A far older form of the saw is
• • •
given by Vatsyayana, in the Kamasutra, p. 19^ ed. Bombay, who, in a
most interesting carpe-diem-argument, says, '' Better a dove to-day than a
peacock to-morrow," varam adya kapotah q\o mayurat. In Manwaring's
Marathi Proverbs, no. 616, we find "Why do you want a mirror in whicJi
to see your bracelet ? " From i. 18^^ it appears that the saying is at least
a thousand years old.
Colonel George A. Jacob informs me that he has a "Handful of
Popular Maxims current in Sanskrit Literature" now (Feb., 1900) in
press in Bombay. — C. R. L.]
R&ja9ekhara Repeats Himself. — Cappeller has already drawn attention
(p. vi f.) to the fact that Rajagekhara frequently repeats himself. These
repetitions extend sometimes over a whole stanza, sometimes only over a
part. I give the following list, which is not exhaustive:
B£lar. i. 9 = Balabh. i. 15. Bftlar. v. 39 = Viddh. i. 24.-
Baiar. i. 10 = Balabh. i. 5. Bftlar. v. 73 = Viddh. iii. 15.
Bftlar. i. 14 = Bftlabh. i. 3. Bftlar. vi. 11 = Bftlar. vi. 16.
Bftlar. i. 16 = Bftlabh. i. 12. Bftlar. vii. 31, cp. Bftlar. x. 43.
Bftlar. i. 17 = Viddh. i. 7. Bftlar. vii. 38 = Balar. x. 44.
Bftlar. i. 18 = Bftlabh. i. 11. Bftlar. vii. 39 = Bftlar. x. 46.
Bftlar. i. 20 = Bftlabh. i. 14. Bftlar. viii. 11, cp. Viddh. Iv. 20.
Bftlar. ii. 17 = Viddh. i. 14. Bftlar. x. 40 = Viddh. iii. 11.
Bftlar. iU. 23 = Viddh. ii. 5. Bftlar. x. 58, cp. Bftlabh. L 19.
Bftlar. iii. 26 = | ?.fl!t^^'.!: oV Bftlabh. i. 9 = Viddh. i. 8.
I Viddh. m. 27. _,, ,, . ^^ ,r. ,^, .. «^
Bftlabh. i. 22 = Viddh. ii. 22.
Bftlar. iii. 39 = Bftlabh. i. 65.
Bftlar. iii. 54 = Bftlar. vii. 68.
Bftlar. V. 5, cp. Bftlar. vii. 77.
Bftlar. V. 8 = Viddh. iii. 2.
Bftlar. V. 25 = Viddh. iv. 6, cp.
Karp. iv. 2. Karp. iii. 26 = Viddh. ui. 12.
Bftlabh. i. 27 = Viddh. ui. 16.
Bftlabh. ii. 3, cp. Karp. ii. 32.
Bftlabh. ii. 7 = Bftlabh. ii. 13.
Bftlabh. ii. 15, cp. Viddh. i. 17.
10. B&ja^ekhara's Favorite Metres.
1. Cardaiavikrijlita ; 2. Vasantatilaka ; 3. gioka; 4. Sragdhara.—
In the Suvrttatilaka, iii. 85, Ksemendra praises Rajafekhara for his ability
in the ^^i^dulavikridita ; and this metre is, in fact, used to a great extent
in his works. Thus I have noted 208 instances from the Balaramayana,
41 from the Balabharata, 36 from the ViddhaQalabhanjika, and 24 from
11. Metres of the Karpiira-mafijari.
the Kiirpui-amafijarl. The second plice in frequency must be attributed
to the Vasantatilaka, which metre occurs 159 times in the Balar., 25 in the
Balabh., 11 in the Viddh., and 23 in the Karp. The third place in
frequency ia held by the ^loka. Of this there are 126 instances in the
Balar., 25 in the Biitabb., and S in the Viddh. To the Sragdhara belongs
the fourth place, with 94 occurrences in the Balar., 12 in the Balabh., 10
in the Viddh., and II in the Karp.
etc. — Of other metres, the following
5. AxY&; then Tristubh; etc.,
occur more or less frequently ;
Xrya
Upagiti
Giti
Tristubb
D rutavilambita
Pu^pitigra
To these must be added some very free Prakrit metres, such, for instance,
as Viddh. i, 4, 5; ii. T; iii. 8, and Karp. iii, 29, 30. The two stanzas last
mentioned are of a form not known from other sources. The stanza iii.
29 forms the half of a Matrasamaka, but is shown by the rime to be
intended as a complete stanza. Each pada consists of 8 syllabic instants.
The following stanza, iii. 30, is constructed on a similar scheme, each pada
containing 12 syllabic instants.
Pvthvf
Vanijaatha
Prahar^inl
Vasautamalika,
MandakranU
palini
MaJiui
Qikharini
Bathoddhata
SvSgata
Ruciri
HarinI
11. Metres of the Earpara-maQjarl.
The Metres in the Order of Their Frequency. — In the KarpQra-
manjari, the metres, listed in the oi-der of their frequency, and each with
the number of its occurrences, are given in the subjoined table. Under
"Tristubh"
Arya'
;ncluded Indravajra, Upendravajra, and Upajati.
32
(pard til a vikr Id ita
Vasantatilaka .
Tristubh . . .
Sragdhara . .
Rathoddhata .
Prthvl ....
Malini ....
Mandakranta ,
... 24 Giti 2
... 23 Pu^pitigra 2
... 12 Upagiti 1
. . . 11 Van^tha 1
... 9 galini 1
... 7 gikharini 1
... 7 iii. 29, 30 (above, p. 207) . ■ . . 2
... 5 Sum 144
1 Now that, in the unpbibrach which ehorto is ponnitled It a new word begin with
forms lliB sixth tool of the first half of the Ihe second syllable of that foot : e.g. i. 3, 8,
Arya, the resolution of the long into two 9; ii. 37, 48, 49.
208 Rdjafekhara^s Life and Wrttings.
[Scene-groups. — There are four considerable passages in this play in
which metres of the same kind are, so to say, " bunched," and in which,
accordingly, the unity of thought of the passage is reflected in the unity
of its metrical form. The passages are : in act ii., stanzas 12-22, eleven
arya stanzas, forming the ^^ Tiring-scene "; again in act ii., stanzas 33-40,
eight arya stanzas, forming the ^^ Swing-scene " ; then in act iv., stanzas
10-18, nine stanzas of hendecasyllabics, being six tristubh and three sva-
gata stanzas, describing the Banyan festival scene. Finally, in act iii.,
the passage 9-17, consisting of nine vasantatilaka stanzas, forms the bulk
of the "lengthy and vapid discussion of love."
It is worth noting that a ^^^^^^^^i^ita serves as the initial stanza
of the Prologue, of act i. proper (i. 13), of the love-scene in the first act
(i. 26), of act ii., and of act iii. ; see the Table, p. 209. The same metri-
cal form is especially employed for the more elevated passages of descrip-
tion : for example, i. 16-18, the spring ; i. 35, the evening; iii. 25, moon-
rise ; iii. 27, the garden scene. And it is also used at the climax of some
gravely emotional passages, as at iv. 9. — L.] ^
The Metres in the Order of Their Occurrence. — The following table
(p. 209) gives the metres of the Karpura-manjari in the order of their
occurrence in the text. See also p. 289, note to iv. 19^.
11. Metrtt of the Karpura-maJijarl.
Hetres of tiie Karp&ra-maSjarl.
At I.
Am II.
.„„.. 1
Act IT.
rr" ~
gaTdaiaTikni}jta
ii. 1
gardalaTikrldiUi
111. 1
QfirdUavikrldita [v
1
Srya
i. 2
i*ugpitaera
ii. 2
Uandakr&QlA
iii. 2
MiUiiil iv
2
l>u8piUier4
1. 8
iryu
ii. 3
gaidaiavlkridlta
iii. 3
Qflrdaiavikrldiia iv
3
Ptthvl
i. 4
Sngdhara
ii. 4
ill. 4
4
QftrdOlBvikrldila
i. 5
Arya
ii. 5
m. 6
Indravajra iv
6
Vasantatiiaka
i. 8
GIU
ii. 8
ill. 6
iv
6
Vp.h\\
i. 7
irji
il. 7
RatboddbatA
Iii. 7
M&llnl iv
7
Sragdhara
1. 8
ii. "8
gardfllavikridlta
UL 8
XryS iv
8
Vaaantatilaka
i.
ii.
MMlm
iii. fi
VasanUUlaka iv
R
(QardQlavikridita
J. 10
illO
Sragdhara
111.10
iv
10
Indravajra
1. n
Ratboddhntft
ii. U
(^ikhariiil
m.n
■' iv
11
UpajSti
1.12
SvapBi*
ii. 12
Sryd
iii. 12
iv
12
L13
QarddlaTikrldita
ii. 13
lillS
Iv
13
i. 14
VasanlatiUkft
ii. 14
iii. 14
iv
14
L'pendr.Lvajrft
1.15
Sr»gdhar4
ii. 16
m, 16
" iv
15
UpajSti
1.16
QardQlavikridita
ii.16
iii. IS
iv
18
Svigatft
il7
ii. 17
11117
17
1.18
ii.l8
UI. 18
M&llDl iv
18
i.lO
Vasantatilaka
U. 19
111.10
Sragdharft iv
10
irya
1.20
girdOUTikrfdita
il.20
>'
ill. 20
PrthTl iv
20
MlUnl
i.21
U.21
111.21
RathoddhalA iv
21
VoMntatilaka
L22
Indravajra
ii.22
111.22
Vasautatilaka iv
22
(QardQlavikridita
i.23
4^inl
ii.23
HaodakrAnU
iii. 23
RatboddbatA iv
23
i.24
VaaaDtatUaka
U.24
Mftliiil
iu. 24
iv
24
GIU
i. 26
cardfllHTikridiW
li.26
li.28
Dpajatl
iii. 26
iii. 20
QardQlavikridita _
126
l*rthvl
1 27 j Vaaantalilaka
11.27
QftrdiUayikrliUla
lil. 27
gardOlavlkridita
i. 28 Upajici
U.28
Sragdharft
iii. 28
SragdLara
1. 20 . gsxdQlavikrtdlu
11.29
gsrd1l!avikrl4iu
111. 20
[See p. 207]
L 30 1 Mand&kr&ntA
11.80
111.30
i.31
L'pajatl
li.31
Sragdharft
111.31
Raiboddhata
132
QardalaTikrldlW
1L32
Prlh?l
ill. 32
133
ManJakranU
11.83
5tya
1U.33
1.^4
IMh^-I
ii. 34
11134
ScWKiTlOU OV
13l>
<;krdnlavikr1dlt8
li.35
"
STiKZiB.
tsa
ljragdhar&
ii.36
ii.37
U. 38
ii.30
11.40
ii.4i
ii.42
1143
il44
U.45
11.40
11.47
ii.48
ii.41t
SragdbarS
MUlnl
Upajflti
QardHlavIkn^ta
PrlLvI
Act 1 bid sa
" 11. " 60
" HI " 34
" iv. " 24
Sum 144
ii.oO|sragdhara
Paet IV
TRANSLATION
OF THB
KARPURA-MAfJJARl
WITH
AN INTRODUCTION AND NOTES
BY
C. R. LANMAN
Mulier est hominis confusio ;
Madame, the sentence of this Latin is —
Womman is mannes joye and al his blis.
— Chaucer, ** The Nonne Preestes TWe," 344.
1. Geography of the Play in General.
The geography of the play in general and the geographical allusiona
of the text demand some notice. The action of the play^ is at the court
of King Chandapala, that is, in bis palace and palace gardens. I do not
know that this name designates an historical personage ; but the poet
plainly intended that we should imagine the general scene of the play to
be in the Deccan (cp. "Here in the Deccan," i. 25*, 34*). Chandapala
addresses his queen as "daughter of the [a] sovereign of the Deccan,"
i. 12^. And the fact that the king of Kuntala and Chan(lapala are repre-
sented as marrying aunt and niece (i. 34*) would lead us to imagine
Chandapala's " kingdom in the Deccan " as not far from that of his father-
in-law (which is undefined) nor from that of Kuntala. Moreover, the
allusions* of i, 15 and 17 (cp. 20) point with clearness to the Deccan or
' Southern India (cp, i. 36, note 3),
Kuntala seems to have included parts of the region that is drained by
the upper Kistna and the Tungabhadra.^ It covered what is now the
southernmost part of the Bombay Presidency and of Haiderabad, and the
northwest corner of Madras, with part of Mysore * — say the Districts of
North Kanara, of Belgaum, and of Bellary; and perhaps it reached even
farther east. The inscription of Kurugode^ names as capital of Kuntala
the town of Kurugode, which is fourteen miles from Bellary town, north
and west.
Vidarbha seems to have reached from the Kistna north nearly to the
Narbada. It is included in Maharastra.' And Kuntala seems also to
have been so included.' This may throw light on the statement of the
commentators (Konow, p. 160) about Vacchoma as capital of Kuntala.
Lata designated, in the time of our poet, the region north of the lower
Narbada and east of the Gulf of Cambay, modern Broach or Central and
Southern Gujarat, Ptolemy's Xapiic^. See Epigraphia Indica, i. 274, iv.
Ftolemj'a BanotFSiril; cp. Ind. Ant. xiil.
' The place where the play waa flret rirpra.
tented or brought out, may hare been the
court of Nirbbara ; aee 1. 9 and p. 217.
^ The allusions to Bengal and Assam etc.
(1, 14') are not such as to yield data for geo-
graphical InfeTences.
• See Duff, Chronology of India, under
&.D. 973, and Borooab's Essay, § 145.
* Including the onae important BanaTasi,
' Colebrooke'fl Easaya, iL [272], [273].
■ See Borooah, § 140-R ; BaJar. x. 74.
' According to pasHBges in BSInr.. wtaicb
Boroonb (note 3) doea not specify. According
lo Da^akuniftracharita, yiii., p, 6B, ed. Peter-
son, the Lords of VanaTftsin and of Kuutahi
seem to have been vassala of Vidatbba.
214
Introduction to the Translation.
246 ; and Borooah's Essay, § 154. The statement of.iv. 18* "the wed-
ding is set for here and today, while the bride is in the country of Lata,"
indicates that Chandapala's realm was not Lata.^ Another northern place
is Kanauj, mentioned in the Jester's dream (iii. 5^) 'as if distant. I
imagine Chandapala's realm as south or southeast of Kuntala.
2. Hindu Seasons, Months, and Asterisms.
In the Prakrit text above, and in the sequel also, there is a considera-
ble number of allusions to the Hindu seasons and months and asterisms.
Convenient tables of the months, etc., are so rare in this country that I
am confident that the American student will welcome the ensuing table.
;■■"
BSASOlf
Yas&nta
Spring
Grlshma
SumiBttr
Yarsha
Bains
Qarad
Autumn
Hemanta
Winter
gi^ira
Cool season
MONTH
r Chftitra
tv&i^ikha
f Jy&ish^a
rQr&yana
iBhftdrapada
r A^vina
iKftrttika
rM&rga9li8ha
\ P&usha
f Mftgha
I Pbftlguna
TIMS
March-April
April-May
May-June
June-July
July-August
Aug. -Sept.
Sept -Oct.
Oct.-Nov.
Nov.-Dec.
Dec. -Jan.
Jan.-Feb.
Feb.-Mar.
ASTERISMS III WHIOB FULL MOON MAT OGCUR
14, CMtrft ; 16, Sy&tl
16, yi^&khft; 17, Anur&dhft«
18, Jyeshthft ; 19, MtUa
20, P.-Ashftdhft ; 21, U.-Ashft^hft
23, Qravana ; 24, Qrayifihthft
25, Qata-bhishaj ; 26,P.-Bh.; 27,U.-Bh.
28, RevaU ; 1, A^vlnl ; 2, BharanI
8, Krttikft ; 4, RohinI
6, Mrgar9lr8ba ; 6, Ardrft
7, Punar-vasu ; 8, Pushy a
9, A^leshft; 10, Magb&
11, P.-PhalgunI; 12, U.-Pb.; 13, Hasta
Whitney's Suryasiddhanta, Journal of American Oriental Society, vi.
414 and 468, may be consulted ; also his essay on the Lunar Zodiac,
Oriental and Linguistic Studies, i. 341 f . For the older division into three
seasons. Hot, Wet, and Cold, which is still in popular use, see Biihler,
Epigraphia Indica, ii. 262, and Manwaring's Marathi Proverbs, no. 1279.
Older month-names: Whitney, Journal, vi. 414 ; or Sewell and Dikshita,
Indian Calendar, p. 24. Very instructive is Part X (<?) of Manwaring.
I abbreviate Purva, 'former,' by P.; Uttara, 'latter,' by U. ; Phalguni
by Ph. ; and Bhadrapada by Bh. The 22d asterism is Abhijit : see not-e
to i. 208^ and Whitney's Zodiac, p. 409.
^ It ifi trae that at iv. 18^^ the text says, as this is in palpable conflict with W. 1&^* >,
** Here (? ettha) in the L&ta country.** But it may be etiha = * there.*
3. Time-allvtiont of the PUy and Time of the Action.
3. Time-allusions of the Flay and Time of the Action.
For the determination of the time of tlje action, we have one datum
which is hoth certain and precise, that of the Banyan festival (act iv.)-
It synchronizes with the full moon of Jyaistha. — The second datum, that
of the Swing festival of Giiuri (act ii.), if I have identified it aright, is no
less certain and precise. The fourth day of that festival falls on the sixth
lunar day of the bright half of Chaitra. — The tliird datum is drawn from
the allusions to the beginning of spring (act i.). These are entirely cer-
tain. Whether wo may take them us intending precision, is a question
rather of common sense than of erudition.' The evidence is in favor of
interpreting them precisely.
The action of the play, accordingly, covers a period of just two and
one-half lunations : that is, alt of Chaitra, all of Vai^akha, and the light
half of Jyiiistha. The scene of the play being in the south, we may sup-
pose the lunar months to be reckoned as from new moon to new moon,*
rather than as from full to fuU.^ — There remains act iii. Ita action
takes place at a full moon : is it that of Chaitra or of Vaigakha?
Act I. — The initial motif of the play proper is the advent of spring.
The niontli is Chaitra, i. 17^ 18'*; the frost is gone, i. 14"; the Malabar
winds, from the southwest, have set in, i. IS"*, 16*'', 20^; the spring has
begun, i. 12', 14', 18", with all its beauties, i. 16'. — The act ends with
evening, i. 35, and at least one night intervenes between acts i. and ii.
And since the time of act ii. is the sixth of the bright fortnight of Chaitra,
the latest date for act i. is the fifth of that fortniglit.
But it appears, from act ii. 4,* that a considerable number of days
■ must have elapsed since act i. During that time, but not after the begin-
ning of act ii.,* King and Heroine have seen each other, ii. 42'*'", and
become deeply enamored. We can hardly make the interval less than
five days, and would therefore set the time of act i. on the first of the
bright fortnight of Chaitra. The duration of act i. is part of one day.
fortnight (kr^na), or that of the waning
moon. See Ep, Ind., i. 404 ; or The Indian
Calendar, p, 4. Thus; o.
* The purnimtbouita Byatem, diminuendo-
crescendo, tlius: ><.
• So too from ii. 8, 0. Perhaps aiso from
ii. 1« Certainly not from i. 34». It ta odd
that the King waila five days to propound hia
(luestiou, ii. 11'; but the plaTwright needed
it as introduction to his tiring scene.
' In the Swing scene, although the King
seps the Heroine, she does not ape him.
' There is great discordance between
popular iisnge and the statements of the
learned bookmakers of India in regard to
seasonal divisions: see Bilhler, Epigrapbia
Indica, ii. Wl. So here in New England,
we speak of one of oar characteristic bluster-
ing vernal winds as "a regular March wind,"
even if it be a little before or after the calen-
dar month of March.
' The MnJMUitft system. In this, the
bright fortnight (^nkla), or fortnight of the
waiiog moon, comes first, and then the dark
216 IntrodiLction to the Translation.
Act II. — The time is still Madhu, ii. &\ or Chaitra, and the spring
"is very gently coming on," ii. 1*. The nights are still chilly, ii. 41*.
We read at ii. 29*, "Today is the fourth day of the Swing festival."
The allusions to the worship of Gauri that accompanied the festival (see
ii. 6^»®, ii. 29*) indicate that the gduryd dolotsava is intended (see note
to ii. 6^, and additional note thereto, on p. 289), and this begins on the
third of the bright half of Chaitra. The date of act ii. is therefore the
sixth of waxing Chaitra. — The act lasts part of one day. When the
Swing scene ends, evening is near, ii. 41*. The agoka scene is somewhat
later in the same evening, for the Heroine has in the meantime been
" exquisitely decorated," ii. 43^.
Act ni. — The action is on the evening of the night of a full moon,
iii. 26^ 32*, which must be that of either Chaitra or Vaigakha. The
allusions to punkahs and shower-baths, iii. 20, and to the " intense heat "
{ffhanorghamma^ iii. 20*), indicate that the hot weather (March to May,
inclusive) is far advanced. I therefore deem the latter alternative the
more probable one, and place the action of act iii. at the full moon of
Vaigakha. This date allows ample time for the Queen's jealousy (cp.
p. 247, note 7, with p. 289, note to ii. 41®) to drive her to the drastic
measure of imprisoning the Heroine, and time for the construction of
the subterranean passage (p. 219). And it still falls within the limits of
spring (yasantd) — cp. the next paragraph.
Act IV. — The spring (mahu-sanum) has now gone, iv. 7**; the sum-
mer (jffimJia^ iv. 1) is come, iv. 4% 5**, 6**. The time of the action is ex-
plicitly defined, iv. 9^^ as the "Banyan festival." This falls on the day
of the full moon of Jyaistha, iv. 9^® note. In substantial accordance
herewith is the allusion, iv. 3*, to the length of the days, which reaches
its maximum a little later; and so is the statement, iv. 18", that the
image of Gauri was set up " on the fourteenth day just past," that is, the
fourteenth of the light half of Jyaistha. — The action of the merry-making
(p. 221, scene 3) runs over a part of the day-time. The wedding takes
place in the evening, iv. 18^.
Synoptic Table op the Time op the Action.
Act I. : beginning of spring, first of Chaitra, bright half [Say March 16].
latenral of five days.
Act n. : fourth day of Swing festival of G&orl, sixth of Ch&itra, ditto . . [Say March 20].
InteiTftl of atK>at ten daya + Juat one lunation.
Act III. : full moon of Vfti^ftkha [Say May 1].
Interval of one lunation.
Act IV. :• Banyan festival, full moon of Jy&istha [Say June 1].
4. Synoptir Analyiii» of the Play.
4. Synoptic Analyeie of the Play.
The purpose of this synopsis is to make clear 1. the places or scenes
of the action in detail, and 2. the details of the stage-business. Since the
references to the text are given throughout, it will also serve 3. as a useful
finding-table. For greater convenience, I have divided the synopsis into
scenes, guided partly by the entrances and exits and partly by the places
of the action, but without special reference to the canons of the native
dramaturgy.
Several scenes are double or even multiple scenes : that ia, the stage
represents simultaneously the scene of the principal action and also the
King in some place of observation or concealment near by (such are scenes
4 and 7 of act ii.: cp. note to iii. 34'); or the stage is imagined to repre-
sent successively (as in act iii., scene 2, and act iv., scene 5) several places
in which the players have to be, during the course of that scene. In the
latter case, the place cornea to the actor instead of the actor's going to
the place. His going, however, ia mimetically indicated by a "stepping
about."
By "palace garden" or "palace," as used in the sequel, is meant of
course the palace garden or palace of King Chandapala.
Pbologue, I. 1 to I. 12*.
During the prologue, the stage represents the play-house (or ndtya-
fala, Levi, p. 3T1) of the King for whom the play is enacted. The first
performance may have been for King Nibbliara, i. 9, 11.
Scene 1. Enters the Director {sfUratlhara} and recites the benediction, i. 1-2 .
[Then exit]
Scene 2. Enters the Stage-manager (sthapaka) and praises ^iva, i. 3-4, and
describes the preparations for the play, i. 4'.
Scene 3. Enters the Assistant {paTipari^uika) of the Stage-manager, i, 4".
They discuBS the play, the author, why he writes in Prakrit, at
whose instance the piece is given, and the gist of the plot, L 4^*-12'.
Exeunt.
Act I.
Scene 1 (the advent of spring): the palace garden. Enter King and Queen,
with retinue, i. 12". They congratulate each other on the arrival of
spring, and describe the season in stanzas, i. 13-14.
Behind the stage, two Bards describe the beauties of spring, i.
16-16, and are followed in the same strain by the royal pair, i. 16*-18.
Scene 2 (comic intermezzo) : place and actors as before. Jester and Vichak-
ahanS quarrel, i. 18'. Retorts, sharp and coarse, follow; then rival
218 Introduction to the Translation.
stanzas, i. 19-20; then threats, i. 20". General laughter, i. 20*.
Exit Jester, i. 2Q*\
Scene 3 (the tipsy Magician) : place and actors as before. Reenters Jester, i.
21^, announcing the Magician, who follows, i. 21*, tipsy, singing ribald
songs. He offers to show a specimen of his powers to the King, i.
26\ The latter suggests that he produce on the stage a lovely girl.
The wizard sets about it, i. 25*^. Thereupon —
Scene 4 (love scene) : place and actors as before. Enters the Heroine, i. 25".
Sapturous stanzas from the King, i. 26-27. She gives the King a
coquettish glance, i. 28'. He is deeply enamored, i. 29-34. She tells
her story, i. 34^*^. The Queen asks that the Heroine may remain a
fortnight, i. 34", and conducts her to the gynaeceum, i. 34*.
Behind the stage, two Bards in descriptive stanzas announce the
evening, i. 35-36, and the King goes to prayer.
Act II.
Scene 1 (the love-sick King) : the palace garden. Enter King and Porteress,
ii. 0\ Enamored stanzas, ii. 1-6.
Scene 2 (the billet-doux) : place and actors as before. Enter Jester and Vichak-
shanft, ii. 6*. They discuss briefly the King's condition, ii. 6^^®, un-
heard by him.
They address the King, ii. 6". It transpires that Vichakshana
bears a love-letter, ii. 6^, from the Heroine to the King. This the
King reads, ii. 8. Stanzas from Vichakshana, from her sister, and
from the Jester, ii. 9-11.
The King asks, ii. 11*, what happened to the Heroine after the
Queen conducted her (at i. 34^ to the gynaeceum. Properly the
replies form no new, scene ; but they have such dramatic unity that
it is well to treat them as a scene.
Scene 3 (the tiring scene, a duo between Vichakshana and King): place and
actors as before. Introductory questions and answers, ii. 11*^. In
eleven half-stanzas, ii. 12-22, Vichakshana describes how the Hero-
ine was arrayed and adorned in the gynaeceum. The King caps
each half-stanza with one of his own, in which he interprets the
description with some fanciful conceit. Exit Vichakshana, ii. 29®.
It now transpires that she and the Jester have arranged that the
Heroine shall swing in a swing set up before the idol of ParvatI, and
that the King shall have an opportunity to observe her from an arbor
near by, ii. 29*"^ With the Jester, the King "makes as if entering "
the Plantain Arbor, ii. 29".
Scene 4 (the swing scene) : the palace garden; the Heroine in the swing; King
and Jester concealed in the Plantain Arbor. The King pours forth
his soul in rapturous stanzas, ii. 30-32.
4. Synoptic Anali/M of tke Flaif.
219
I
Then follows, in eight stanzas, ii. 33-40, the Jester's description
of the Heroine's swinging. It ia filled with pretty conceits and foi-mB
a pendant to the tiring scene. — The Heroine quits the swing, li. 40*.
Scene 5 (serio-comic intermezzo) : the gardens. The King at the Plantaia
Arbor laments her departure in tragic, strains, and the Jester gives
mocking response, ii. 40*— II. Evening approaches, ii. 41'; but
night's coolness avails not to attemper the King's amorous fever,
ii. 41".
The Jester leaves the King "alone" on the Emerald Seat, ii. 41',
and makes aa if leaving the stage to get something to cool him off,
ii. 41'. The King continues his amorous plaint, ii. 42.
Scene 6 ( " stage-traffick " ) : a part, near by, of the gardens. Reenters Vicbak-
sbana with refrigerants, ii. 42'. She and the Jester, ii. 43', arrange
it so that the King shall witness the coming a<;oka scene.
The King is imagined to secrete himself behind a shrub, ii. 43'.
Scene 7 (the aqoka scene) : the garden. Enters the Heroine, ii. 43'. She em-
braces a young amaranth, looks at a tllaka, and touches with the tip
of her foot an a^oka tree ; whereupon all three burst into gorgeoua
bloom, ii. 43"-47.
King and Jester discuss the matter, ii. 47'-49*.
Behind the scene a Bard describes the evening, ii. 50. Exeunt all.
See also p. 289, n. 2.
Act III.
From iii. 34' we infer that, between the last act and this, jealousy has
prompted the Queen to imprison tbe Heroine in some room in the Queen's
section of the palace ; and that, unknown to the Queen, a secret subter-
ranean passage has been made from this room to the palace garden.
The room where the lovers meet (iii, 20") and the lamp-incident oc-
curs (iii. 22*} adjoins the prison room, as I think ; for the lovers go from
their meeting-room to the garden by the subterranean passage, and they
must enter the passage from the prison room or near it. This meeting-
room has a "back-door" entrance, perhaps from some obscure court-yard.
The prison room is an "inner room," close and sweat-provokiug, iii.
22'. That it is near the Queen's I infer from iv. 19'''** and ''"^.
Scene 1 (tbe King's vision): a place outside the palace (perhaps an obscure
court-yard ? ) near the lovers' meeting-room. Enter King and Jester.
The King describes a vision in which he met the Heroine, iii. 2*— 3.
To divert him, the Jester tells an elaborate counter-vision, iii. 3'-7.
The two engage in a lengthy and vapid discussion of love, iii. 8'-19.
From behind the stage they hear the enamored plaints of the
Heroine, iii. 19'. The Jester indulges himself in much badinage
with the King, iii. 20'. Both "make as if entering," by a "back-
220 Introduction to the Tran%lation,
door," the meeting-room, iii. 20", that is, they " step about" by way
of intimation to the spectators that they are entering it, though
remaining, of course, on the stage.
Scene 2 (the lovers' meeting) : [part 1] a room near the prison room (see above).
Enters the Heroine, with her friend, to meet King and Jester, iii. 20".
The King takes the Heroine's hand, iii. 20*. She has just come from
a close '^inner-room," so the Jester fans her, and in so doing puts
out the lamp, iii. 22^"^.
King and Heroine hand in hand, — the four now grope their way
[part 2] through the prison room (? see above), and then [part 3]
through the dark passage, iii. 22", to the gardens [part 4].
Scene 3 (the moonrise scene) : the palace garden. A continuation of the last
part of the foregoing scene. Stanzas of admiration and delight
from the King, iiL 23-24. Behind the stage. Bards describe the rise
of the full moon, iii. 25-28. Then follow stanzas by the Jester,
Kurangikft, and the Heroine, iii. 29-31, and the King, iii. 32-34.
Sudden uproar, iii. 34^ The Queen has heard of her consort's
tricks and is coming, iii. 34^ The Heroine escapes, by the secret
passage, to her prison, iii. 34^ Exeunt omnes.
Act IV.
From iv. 9^^ it appears that the Queen has now learned of the subter-
ranean passage and blocked up its entrance. We are forced to assume
that this closure of the passage is made (xt the garden end thereof. For the
Heroine, the passage thus becomes a cul-de-sac : its prison end is open ;
she can enter it and traverse its entire length ; but she cannot get out at
the garden end.
Accordingly, somewhere near the garden end, a new branch passage
has been excavated from the main passage to the sanctuary of Chamun^a
near the Banyan, the mouth of this branch passage being concealed behind
the idol, iv. 18^. Between the entrance of the Magician and that of the
King (scene 5), the Heroine traverses the passage that connects the prison
and the sanctuary five times.
Scene 1 (the love-sick King): presumably, the King's apartments. Enters,
with his Jester, the King, and bemoans the ardor of summer and of
love. Episode of the tame parrot, iv. 2^. More stanzas of love and
summer, iv. 3-9.
The Jester now tells the King how the Queen has closed up the
entrance to [the garden end of] the subterranean passage, and tells
of the guards that have been set all about that entrance, iv. 9^".
Scene 2 (''stage-traffick"): place and actors the same. Enters S&rangika, iv.
9^, with a message from the Queen: ^'The King must mount the
4. Synoptic Anali/sis of t!ie Play.
221
palace roof today to see the Banyan feBtiyal," ir. 9". Exit Sfijafi-
gika, iv. 9".
Scene 3 (the Banyan festival) : from the palace roof, iv. 9", King and Jester
look down on an elaborate dance. In nine stanzas, iv. 10-18, the
Jester describes the dance, the merry-makings, and the off-hand
theatre play {impersonations with masks, etc.).
We must here imagine a slight interval in which King and Jester
come down from the palace terrace and go to the Emerald Seat, and
thence to the Plantain Arbor, But see note to ii. 29'.
Scene 4 ("some necessaiy question of the play"): the Plantain Arbor, palace
garden, iv. 18^. Keenters Sirahgikft, iv, 18', with a message from
the Queen: "The Queen has arranged that the King, this very even-
ing, shall take to wife yet another princess, iv. 18', a princess of
Lata, named Ghanasara-mafljarl," iv. IS'"'. The messenger, further-
more, narrates that the Magician induced the Queen to assent to this
arrangement on the ground that her husband, the King, would be-
come an Emperor by contracting this new marital alliance, iv. 18".
The ceremony is to take place in a sanctuary neaj the Banyan, pre-
sumably the festival Banyan, iv, 18*^. Exit Sirangiki.
After exchanging suspicions (iv. 18"^ that the Mugician is at the
bottom of this affair, exeunt King and Jester. The mention of their
exit is omitted in the stage directions.
Scene 5 (the wedding) : the sanctuary of Chimundft, in the palace garden, near
the Banyan. With two episodes;
Episnde I", the prison n
Episode 2*, the prison n
n ; \\ the Queen'8 tipartment.
n ; 2^, the Queen's apartment.
Enters the Magician, iv. 18", and does homage to the Goddess, iv,
19, whose idol screens the mouth of the new branch passage, iv. 18",
Enters the Heroine, iv. IS", coming from her prison, and issuing
forth from the passage by a small opening behind the idol.
Enters the Queen, iv. W", coming from the garden, and is dum-
founded at seeing the Heroine, whose escape from the prison she
thought she had at last effectually blocked. The Queen cannot
believe her own eyes, iv. 19'^"*. Accordingly,
Episode IV The Queen, iv. 19"', on pretest of returning to her
apartments to get some things for the wedding (iv. 19'^, " steps about"
on the stage, to indicate that she is leaving. We are to imagine that
she goes by way of the garden to the prison room. The Magician
sees through her pretext and sends the Heroine hurriedly back, iv.
19^, by the new branch passage, to her prison, which she is of course
imagined to reach before the Queen. The Queen is again no less
astonished to find the Heroine qiiietly seated in the prison, iv. 19",
and, after a few words witli her, " starts " to return to the sanctuary,
222 Introduction to the Translation.
iv. 19*^. Thereupon, the Heroine returns thither by the secret pas-
sage, with speed (see iv. 19*^).
Episode l^ The Queen, on her way back, to make good her pre-
text, stops at her own apartment for a moment while she and her
friends pick up the things for the wedding, iv. 19**. Arriving at
the sanctuary, she is again dumfounded, iv. 19^, at seeing the
Heroine as before.
Episodes 2* and 2^ are simply repetitions of the same manoeuvres,
iv. W^ and iv. 19*^.
Enters the King, with his Jester and Kurangikft, iv. 19**. Effusive
admiration on the part of the King, iv. 19**-20. The Jester shuts
him up, iv. 20*. The attendants proceed to arrange the wedding
costume for the King and for " Ghanasara-mafljarl," iv. 20*. It now
transpires, iv. 20^, that the latter is no other than Karptlra-mafijarl.
The ceremony is performed, iv. 21', and the King ^' takes his seat as
an Emperor," iv. 21*.
Behind the stage, a Bard congratulates him, iv. 21*; the King
felicitates himself, iv. 23 ; and the play closes with the usual bene-
diction.
6. Dramatis Personad.
Chan^a-pala, the King.
Kapifijala, his Jester (VidtkBhaks), a Brahman.
Vibhrama-lekha, the Queen.
Vichakshana and Sarangika, her attendants.
Bhairavananda, a master magician.
Kanchana-chanda and Ratna-chan^a, two bards.
PorteresS) an nnnamed woman, who serves as door-keeper.
A tame parrot.
Karpura-manjari, the Heroine.
Kurangika, her confidante.
NoTB. — The Heroine is the daughter of Vallabha-rftja, Ring of Kuntala, and of his wife,
Qafi-prabha (p. 240). The latter is the sister of Vibhrama-lekh&^s mother. The Heroine and
tiie Queen of our play are therefore first cousins (daughters of sisters).
Abbreviations. — For abbreviated titles of books and papers cited,
see pages 175-177.
/
karpuramaSjarl
ACT I.
PROLOGUE.
Invocation.
All hail to Sarasvati I ^ joy to the poets, Vyasa^ and the rest ! may
the most excellent words of others too ^ turn out highly acceptable to the
critics ! may the Vaidarbhi style of writing* flash like a revelation upon
us, — so too the Magadhi and also the Panchalika ! may the connoisseurs
of poetry let these styles melt on their tongue, as do Chakora birds with
the moon-beams 1 ** 1
Moreover :
Ever cherish ye deep reverence for® the loves of Cupid and [his
wife] Rati, in which no flurried embraces are noticed, no noisy kissing is
going on, nor amorous beating of the breasts.^ 2
^End of the invocation,^']
Stage-manager. May the union of ^iva and [Parvati, his wife,]
the Daughter of Himalaya, who are dear to the hosts of the Gods, whose
pledge of love is [their son,] the Six-faced [God, Karttikeya], and who are
adorned with a crescent moon [on their brows], yield you happiness. 3
And again :
Victorious is Rudra,^ who often, as he bows low ^^ to assuage [his Par-
1 The Goddess of Speech.
> Reputed author of the Mahft-bh&rata.
B That is, of this dramatic company, no
less than those of the more famous poets.
* The styles (riti) are enumerated at S&hi-
tya-darpana, no. 625 f . See Kavyftdar^a, i. 40 f .
* On which they are said to feed.
* *Bow down (far, i.e.) low before.'
7 * Loves, not possessing noticed embrace-
hurries, nor produced kissing-noise, nor per-
formed breast-beatings.'
* Recited presumably by the stLtra-dh^ra
or Director (who here makes his exit) ; and,
if so, an interesting survival of older dramatic
usage. See Konow's Essay, p. 106 ; and
L6vi, pp. 379, 185. The "Director's" first
subordinate seems to have been the " Stage-
manager" ; and subordinate in turn to the
latter was his " Assistant." See p. 217.
* Tantamount to Qiva.
10 * In his bowings.'
223
i. 4 — Translation, [224
vati's] jealous anger, lays — a bit quickly^ — at the lotus-like feet of the
Daughter of Himalaya his offering of pearly moon-beams,^ together with
a silvery conch made of the moon's slender crescent and filled to the brim '
with waters of the Ganges of Heaven, and places his two hands the while
[in token of reverence] on his bowed head. 4
[ Walks about the stage and looks toward the tiring-room.']
But our players seem [already] to be busy about their acting : for one
actress is getting together such costumes as suit the roles ; another is
twining garlands of flowers ; [4] a third is putting the masks in order ;
some one seems to be rubbing colors on a palette ; here they are tuning *
a flute ; there a lute is being strung ; [8] and here they are making ready
three drums; here the noise of timbrels is heard; [lO] there they are
rehearsing the introductory stanza. So Til call some attendant and
inquire.
[Looks toward the tiring-room and beckons,"] [13]
[Enters the Assistant of the Stage-manager,]
Assistant. Sir, your commands, [is]
Stage-maxageb. You seem to be busy about a play, are you not ?
Assistant. To be sure. We are going to enact a Sattaka.
Stage-manager. But who is the author of it ?
Assistant. Your worship, let this be answered: who is called
"Moon-crowned"?^ and who is the teacher of Mahendrapala, the crest-
jewel of the race of Raghu ? 5
Stage-manageb. {^Reflecting.'] Aha ! that, I think, is an answer in
the form of a question : \_aloud] Raja gekhara I
Assistant. [Yes,] he is the author of it.
Stage-manager. {Recollecting,'] It has been said by the con-
noisseurs :
" Sattaka " is the name of a play which much resembles a Natika, ex-
cepting only that Pravegakas, Vishkambhakas, and Ankas do not occur. 6
[Reflecting.] Then why has the poet abandoned the Sanskrit lan-
guage and undertaken a composition in Prakrit ?
1 For fear lest her anger increase. * Literally, • Having the night's beloved
« * Of moon-light pearls.' (raanivallaha) [i.e. the moon, which is also
> See under a. Literally, *to the root,' called raja] as his crown' (siha^^*) [ San-
and so, * radically, completely.' Similarly skrit, gikhai^da, used as an equivalent for
at ii. 2*. gekhara]. That is, the assistant's reply is
* See OB. under sthana 1 (w). couched in the form of a charade.
Act First.
-i. 12»
Assistant. Sanskrit poems are harsh ; but a Prakrit poem is very
smooth ; the difference between them in this respect is as great as that
between man and woman, 7
And he who is expert in all languages ' has said :
The various themes remain the same ; the words remain the same,
although undergoing [certain phonetic] modifications' : a poem is a
peculiar way of expression," be the language whichsoever it may. 8
Stage-manageb. And has he then [the poet] made no statement
about himself?
Assistant. Listen. A statement has indeed been iqade by one of
his poet contemporaries, the author of the story of Mrgaiikalekha, by
Aparajita,* namely, as follows :
He who has risen to lofty dignity by the successive steps of young
poet, chief poet, and teacher of King Nibbhara,' [i.e. Mahendrapala], — 9
He is the author of it, the famous Raja^ekhara, whose merits make
resplendent the three worlds even, [and] are left unblemished [even] by
the rivalry of the moon. 10
Stage-manageb. At whose instance then are you enacting the
play?
Assistant. The crest-garland of the Chauhan family,' the wife of
the chief jKiet Kajagekhara, the lady whose husband wrote the play,
Avantisundan, — the desires us to enact it.^ 11
Moreover :
In this excellent Sattaka, which is a river of poetic flavors, [King]
Chandapala, the moon of our earth, in order to achieve the rank of an
Emperor, takes to wife the daughter of the Lord of Kuntala. 12
Staob-manaqek. Come, then 1 what we have at once to do let va
accomplish ; for the Director and his wife, who have taken the parts of
the King and the Queen, are waiting in the tiring-room.
[The two walk about the stage and exeunt.'] [4]
lEnd of the Prologue.'}
1 ThiB seeme (o refer to Rilja;elcbara. —
The following jmUw is like the Greek " reci-
talivo Sri."
* Such namely bb obtain between PrS-
krit words and the oorrespoodiog Saoakrit
' That is, its distinctive character lies in
Its mode of expression. The deflnitlon Is, In
the original and u we give it, loose.
« See p, 197. ' See p. 178.
• See p. 180, and C. M. Duff's Chronology
of India, p. 277, and Journal of the Rojal
Asiatic Society, 1899, p. 640.
' LiL, 'it, the work of her husband.'
i. 126 —
Translation.
[226
\Then enter the King, the Queen, the Jester, and, according to rank, the attendants. All walk
about the stage and take seats in due order,'] [7]
King. O Queen, daughter of the sovereign of the Deccan, I congrat-
ulate you that the spring is begun. ^ For,
Inasmuch as the maidens no longer put much wax on their lips,^ and
do not in arranging their braids anoint them with fragrant oil, and do not
put on a bodice, and are indifferent even as to the use of the thick saffron^
for their mouths, — therefore I think the festal spring-time is at hand and
has overcome by its power the cold. 13
Queen. I too, in my turn, will congratulate you.
Now that the frosts are gone, [again fair maidens] rub their pearly
teeth.* Little by little [again] they set their hearts on extract of sandal.^
At this season, behold, couples sleep on the verandas of their dwellings,^
the blankets heaped [unused] at the foot [of their couches]. 14
First Bard. {_Behind the stage,'] Victory, victory to thee, [O King] !
Thou gallant of the women of the East, thou champak-bloom ear-orna-
ment of the town of Champa,^ thou whose lustre (rddha) transcends the
loveliness of Raclha,® who hast conquered Assam by thy prowess, who
1 See p. 214-215.
3 As they would in the cold weather to
prevent chapping.
'In the Indian materia medica (see
Dhanvantarlya Nighantu, p. 96) saffron is
esteemed fragrant and pungent and hot and
as a specific for cough, phlegm, and sore
throat. Hence pretty girls have less need of it
at the end of the season of cold and of colds.
* With rind of betel (cp. p. 181). Konow
cites Viddh.f p. 75^ (choUida = gharsita), and
H. 4.395 (choU = tak?) : * Fair maidens (do,
i.e. putzen, on-mrjanti) cleanse their teeth.*
This too is a sign of returning spring : for in
the cold weather, it was actually painful to
cleanse them because of cracked lips. — V &-
sudeva renders choUanti by sphoranti:
* the teeth-jewels flash,* i.e. girls show their
pearly teeth in laughing, which they could
not bear to do while their lips were so
chapped. Cp. Rtu-saihh&ra, iy. 6.
^Esteemed as the most eminent refrig-
erant (Dhanyantari, p. 93), and so the exact
opposite of the calefacient saffron. Cp. In-
dische Sprttche, 1763, 2215.
^Ghara seems to include the whole
dwelling-place, i.e. the central bungalow and
all the adjoining compound. In cold weather,
people slept, for the sake of warmth, in the
aniar-grha, the innermost apartment or
perhaps the central bungalow. Now, on ac-
count of the heat, they haye left off doing so,
and sleep in the saUas : these may be thatch-
roofed sheds without walls (to secure shade
and allow circulation of air), or else yeran-
das around the aniar-grha ; and might, in
either case, be called majjhima as being
'between* the antargfha and the walls of
the compound.
y&tsy&yana, K&masatra, ed. Bombay,
1891, p. 44, 45, speaks of a dwelling with
spacious court, and with two sleeping-rooms
(bhavanam dvi-yasagrham) , an inner (abhy-
aniaram) and an outer (bahyam) ; the com-
ment refers also to the yastnvidya.
7 The champak-tree has a yery fragrant
golden flower much used as a decoration for
the hair and ears. The far-fetched metaphor
of the bombastic panegyrist is chosen here in
part for the sake of the pun.
8 Literally, *0 thou, haying the loyeli-
ness of Bftdhft [a district of western Bengal]
227] Act First. — i. 16»
providest merry-makings (kdi) for Hari-keli,' who mayst well make light
of ^ the beauty of genuine gold, who delighteat us by the comeliness of all
thy person ! — May the beginning of the fragrant seitson [spring] be a
joy to thee ! For now,
Cool from the Malabar mountains, are coming the [vernal] breexes.*
Wanton they raffle the down on the cheeks * of llie randiaii women.
Breaking the jealoua pride ' of the tender maiden* of Kaiichi,
Filling the matrons of Chola with passion for love's embraces,
Waving the tresses [fair] of the beauties Uiat ili.tU lu KiunSta,
Tying the knots d£ love 'twist the Kuntala girts and their lovers. 3fi
Second Bard. [Behind the ttage.'\ The champak bloom has become
like to a Maratha girl's cheek when rubbed with saffron-paste.' The
jasmines, with blossoms as fair as slightly churned milk, are bursting and
bursting.^ The dhak-tree,* blackish at the root,^ and with beea clinging
to itB tips, looks as if bees were clinging to it from head to foot^" and
drinking its juices. IS j
King. Dear Vibhramalekha, say not that I have congratulated thee»
nor that thou hast congratulated me ; but rather that both of us have been
congratulated by the two bards, Kaiiehana-ehanda and Ratna-chanda.u
[2] So now to her heart's content let my Queen with eyes as big as [her]
BUrpasaed by thy (ridha or) lustra ' — agMn
a pun.
lA name for Bengal (Hemachandra,
657) — again a pun.
^LiUrally, 'haat made light of.' i.e. art
so handagme that thou canst well afford to do
so. — When it comes to the version of Indian
panegyric, English is poor Indeed.
*Cp. MadanlkS's song busumaaha-pia-
duao, near the beginning of act i. of BatnUvall
{translated, Wilson, ii. 270). Also, Kadam-
bari, p. 437*. Similarly Tennyson, Locksley
Hall, line 20, ■' In the Spring " etc.
' Literally, ' Wanton in causing hoiripila-
tlon on the edges of the cheeks.'
' So that they yield to the seductions of
love. The same Idea at ii. BOb and iii. 30*.
*Of safFroD it is also said that it will
make the face as fair as the full moon's disk
— Togaratn&Icara, under k^ndrarogacikitBa,
p. 382° of Poona ed. Tlie teniuni coiupam-
tiouis appears tu be the color
golden-hued champak blossom and to the
flesh-tint of the cheek when somewhat
yeUowed by the overlaying of aaHron.
'The flowers of most varieties are very I
fragrant and of pure mUky whiteness — cp. I
19-.
^TheBulea frondosa, a middle-sized tree,
its trunk crooked and covered with ash-
colored, spongy, scabrous bark. Lac insects
[Coccldnt] are frequent on its small branches
and lesi-Btaiks. So lioiburgh, p. &10 !. The
lac exudes from the punctures made by the
coccns.— See Griffiths, fig. 72 and pi. 03.
■So that this u>o (see preceding note)
looks as if bees were swarming upon it.
•'' Literally,' appears (iLotalur)aB if quaffed
by bees iliat cling [to it] even in two direc-
tions or points, i.e. even at top and bottom.'
— Perhape bhaaala (here rendered -bee')
refers (inaccurately ?) to the coccus insects.
'■ He is called hy the equivalent name
MSiiikya-cbanda at iii. 2,6'.
i. 168—
Translation.
[228
open palm,^ contemplate this festal season of spring : ^ — [of spring,] that
quickens bold maids unto amorous flurry ; that sets a-dancing like dance-
girls the creepers that sway in the Malabar breezes ; that sweetly recites
its panchama-note in the throats of the soft-throated [cuckoos] ;^ that
brings forth in ample measure the rods for the bows of Cupid and speed-
eth the arrows of love with vehemence none may hinder ; * [of spring,]
the loved friend of [that] matron staid, [the Earth,] the Keeper of Treas-
ure. [3]
Queen. The Malabar-breezes have indeed beg^n, as the bards have
said. For,
Waving the garlands that hang in the doorways of Lafika,^ slowly
swaying the sandal-tree thickets in the hermitage of Agastya,® blended
with odors of camphor, making to tremble the clumps of agoka,^ setting
completely a-dancing the creepers of betel, impetuously kissing the waters
of Tamraparni,® [hither at last] are blowing the breezes of Chaitra.* 17
And again:
" Your jealous pride quit ye, [fair maids] I give [each] to your darling
a glance, be it never so restless !^^ U^^l tender youth, that plumps your
swelling breasts, by days is measured,^ five [petchance], or ten! " — such
is, as it were, the Five-arrowed God's ^ all-galling command, disguised
1 Cp. note to i. 32.
> I take mahoflava (madhn-ntaava) as an
instance of rapaka (Dandin's Poetics, ii. 66)
and interpret it, not as * spring-festival,' but
rather as * the spring which is like to a festi-
yal,' and so, Hhe festal season of spring.'
Similarly, ^ creeper dance-girls,' i.e. ^ creepers
that are like dance-girls.'
' Literally, [spring,] ^possessing the note,
sweet and recited (or sweetly recited), in the
throats of the soft-throated [kokilas or
kolls].'
^I take this as a copulative compound
(Whitney, Grammar, § 1257) made up of two
possessive compounds: literally [spring,]
* possessing abundantly-produced Cupid's-
bow-rods and possessing unbroken arrow-
impetuosity.' — The exceedingly long word
is notable for its excessive alliterative use
of nd's.
* Ceylon.
* Located on a crest of the Malabar range
by the Rftmftyana, ed. Bombay, iv. 41. 15 ;
but a later stanza (34) of the same canto
inconsistently puts his dwelling on Mount
Kufijara in Ceylon. — The canto contains
many of the geographical allusions which
occur in this play. Cp. Lassen, Indische
Alterthumskunde, i. 153 f.
^ Kankelli, a name for the a9oka-tree —
see my notes to 1. 20*^
B A river rising near the southern end of
the Western Ghauts and flowing generally
south and east to the gulf of Manar. At
present the name Malaya is hardly applied to
the Ghauts so far south.
9 The first month of spring, March- April,
p. 214.
w Literally, * a glance, followed by un-
steady movements (of the eyes).'
1* Literally, * youth [is] for days.'
^ Cupid's. — For 20 names of Cupid and
for names of his belongings, see Hema-
chandra, 227 ft
under the melodious warblings of the cuckoo, which the festal seafiOD of
Ghaitra [just now] hath suddenly given.^ 18
Hi there I among you all, Vm the only one that's a bit of a ,
scholar: for my father-in-law's father-in-law used to lug around books at
another man's house.
Attendant [Vichakshaiiii] , \_Buritg out laughin^-l Got your learn-
ing by direct inheritance, then, didn't you ? [4]
Jester. [^Rather nettled.^ Ha, you slave-girl's child, who'll be a
bawd in your next birth, you Vichakshana, Small-Fraction-er !^ am I such
a fool as to be laughed at even by you ? [6] And besides, — O you polluter
of other men's sons, you light-o'-love,* you ten-or of the gambling-hells,
hand and glove with ruined folk!* — what have t/ou got to say against my
inheriting my learning?* please take notice that they who are bom in
Akala-jalada's family do get their learning by inheritance! but there's no
use in talking.— " Bangle on your wrist, no need of a mirror." * [lo}
Vichakshana. [Rejlectinff.^ Right you are ' — Nor of asking ^ the
bystanders if a horse is speeding, when you see him on the dead run. —
Come now, give us a description of spring. [l4J
Jester. How do you come to be standing there chattering like a
caged starling ? ^ You don't know anything. — So I'll give ray recitation
' I find a very similaT thoitgbt in Eavya-
prafcSfa, x. 105, p. 705, ed. Bombay ();iveii
also by B5htUtigX, Sprilcbe, 2021, kfinsh,
etc.).
' 1 coiu this word to reproduce the jin-
gliiig and riming billiugsgale of the orlginul —
^iUakkhana viakkha^e, ' insignilicsnt Vich-
akBhanS' ; and neglect the -i.
* An uiiclpar word ; perhapa ' having the
cbaracter ol a bee ' (iu its flight), i.e. 'un-
Bteady, capricious.'
■ ■ tbou, united Trith mined folk,' root
' ' Was the inheriting of my learning a
discredit ? >
' The fact is as plain without talk as is a
bangle on jour wrist without a mirror. This
last seems to be a proverb (p. 20fl) and in
abrupt form.
' That is, ' and no need of asking ' etc. —
Appareutly a eecond proverb of tlio same
purport an the foregoing.
''Caged aarii.' Tlie same aa the maana-
saria, Skt. madana-sarika. From maana or
maya^a Platts derives maina, the namu of
the mina bird; see his Ilindiisl^nl Dic'y,
under maina, p. 1 lOSa. The miua in the talk-
ing starllug or religious gracklu of India, Iha
Eulabes religiosa ; see Century Dic'y, uuder
Eulabes, and picture.
As Dr. Konow tells me, the lirika ia
mentioned with the parrot (sake aalika) aa
early as Ajoka's reign, namely in Edict 5 of
the Delhi Pillar: see Senart, Les Mits des
plliera. p. 44. fifi. or Bllhler, ZDMG. ilvi.
64, 60, or BUhler, Epigraphia Indica, ii.
250.
The birds are habitual companions in
liLerature and In life. A caged parrot and
the mina are mentioned together, Mrcchaka-
tlk3, ed. SteuKler, p. 71", the latter as chat-
tering (kurukurfladi) like a saucy bouse-mnid.
Cp. the whole scene with tht^ caged aaria,
Ralnllvali, beginning of act 11. i and parrot
i. 18 w_
Trmmlation,
[230
before my old man ^ and the Queen : for musk isn't sold in a petty hamlet
or a jungle ; nor is gold tested without a touchstone.* [l8]
[5o saying, he recitesJ]
The Sinduvara shrubs that bear a quantity of blossoms like to rice-
pudding,' — my favorites are they ; and also the multitudes of fair jasmine
blooms, like to strained buffalo-milk.* 19
ViCHAKSHANA. [Derisively.'] Your words are as paltry as you your-
self are.*
Jester. Well then, Miss Noble- Words, do you give a recital.
Queen. \^Sfiiiling a hit.] Friend Vichakshana, you're rather puffed
up ^ with pride before us on account of your strong poetic ability. [5] So
then, do you recite now, before my lord, [the King], a bit of poetry of
your own making : for that is true poetry which will bear recital® in the
assemblies ; that is pure gold which proves clear ^ on the touchstone ; she
is a true wife who gladdens her husband ; he is a true son who makes his
family illustrious. [7]
Vichakshana. As the Queen commands. [So Baying^ she recites.]
episode of this play, iv. 4. In KSS. 77, parrot
and mina tell stories. — Caged birds in fres-
coes, Griffiths, pi. 45.
The Indian exquisite (nagarika) spent
the time between his forenoon meal and his
midday nap in teaching his parrots and star-
lings to talk : see Kftmasfltra, ed. Bombay,
1891, p. 48", 49^> ; B&na's Kadambari, p. 356
end. For this accomplishment both birds
have great capacity. They can rattle off at
a great rate the Vedas and (^fistras, which
they incessantly overheard: K&dambarf, p.
811, 88 ; cp. Harshacharita, p. 244^, 221 end ;
also, above, p. 204, Pischel. Secrets must
not be told in their presence : comm. to Manu
yii. 149. A very learned parrot appears at
KSS. lix. 28 ff. Both birds alike come to
grief for their much talk, Sprtiche, 899.
See T. C. Jerdon, Birds of India, Cal-
cutta, 1863, ii. p. 320-340 ; R. C. Temple has
a valuable paper about the bird, Panj&bl
Sh&rak, Indian Antiquary, zi. 291-3 : cp. xiv.
305 (Aelian^s description). See also Wilson,
Hindu Theatre, ii. 277 ; and Index to Bid-
ding's K&dambari, p. 225, under maina. While
I am studying this subject, my friend Rouse,
of Rugby School, sends me his charming
book. The Talking Thrush, London, 1899.
And Bloomfield refers me to K&ugika, x. 2,
etc. (very pretty symbolism).
^The S&hitya-daipana, no. 431, allows
vaassa, * comrade,' as a form of address to
the king, to be used by royal sages and by
the jester. When so used by the jester, with
pia-, it seems to me to connote no less famil-
iarity than our colloquial ** Old Man." — The
chief of police uses it when he offers to treat
the low-caste fisherman, who, after finding
(^akuntal&'s ring, gives part of the money-
reward to the officers (end of prelude to act
vi.). Cp. preface, p. xix.
^ I mustnH cast my pearls before swine,
nor seek the applause of **the unskilful.*'
Only **the judicious" must pass upon my
verses. — Proverbial expressions again.
' In whiteness. Cp. i. 16i> and Kftdambarl,
p. 100, 261. — The Jester^s verses smack of
the kitchen.
* * Your words match your own paltri-
ness,' taking kant&ratta^ as = karpanya.
^For utta^a, Konow cites P&iyalacchX,
Bt. 75.
^ * That is poetry which is recited ' etc.
7 Sub voce ]^vya4 : cp. H. 4. 62.
The winds that had almost died on ' the ilauks of the mountains of
Lankii, that had grown weak from filling wide-expanded hood after hood
of the serpents,' wearied with dalliance,^ — -at this season, they, as Mala-
bar-winds, mingling with the sighs of maids whose lovers have left them,
have become, suddenly, although in their childhood,' strong, filled as it
were with freshness. 20
King. Truly, Vichakslmna is clever (yichakghaim^ by reason of her
bMII in expression and her variety of diction. And so, she stands — what
else ? — as a crest-jewel of poets.
Jester. [Nettled.^ Then why don't you say it straight out: , " Vi-
chakshana's at the tip-top in poetry, [and I,] KapiSjala, a Brahman, at
the very bottom " ? [*]
VlCHAKSHANA. My good man, don't get excited. It's your poem
that betrays your poetic ability: ^ for your words, fine [enough in them-
selvesj, although [spent] on a matter blameable for paltriness, — like a
string of pearls on a flabby-breasted [old hag], like a [trig] bodice on a
pot-bellied creature, like the collyrium pencil * on a one-eyed womau, —
are not over and above charming. [7]
1 Boot ikhal : ' stumbled,' or (as we eay
of the wind) 'fallen'; and bo, 'checked by,'
' Literally, ' had come to imiioverishmetit
In the wide-expanded hood-row's (subjectiTO
genitive I) awallowing.' The ranks of ex-
panded hoods of the female serpenls have
swallowed so much of the wind that its force
has slackened I Characterisl.ic exaggeratJou '.
Quite similar is the idea of Dandin, who calls
the slack south-wind the " leavings from the
repasts of the serpents of the Malabar hilla,"
Dagakumararcharita, I. v., beginning, — " Tho
anakes. 'tia said, on wind are fed," Sprdehe,
i&T.i, pha^ pavaaabhnk: cp. 43TS. "The
Cobras . . . prefer lAking their food at dusk
or In the night." — Fayrer, p. 8.
My colleagne, Mr. Samuel Garman, Her-
petologist of the Agaasiz MuDeum, kindly
refers me lo Sir Joseph f ayrer'a Tbanatu-
phidiaof India, 2d ed., London, 18T4. Plates
1-6 of this magnificent folio are devoted to
the very deadly Naja tripndlans, the Nsga,
or Cobra di Capello. I quote from page 7:
" Some of (ilie snake-catchers have a curious
notion concerning the Hex of the Cobra. They
say that the hooded snakes are all females
and poisonous ; and that the males are all
hoodiess and innocent." It is not venture-
some to assume that this belief, albeit un-
founded, was current a thousand years ago
and accepted by our poet. Hence the signifi-
cance of his specific mention of the female
serpeots. The males are in fact smaller than
the females, Mr. Garman tells me. — If Fayrer
is not accessible, the reader may consult
Joseph Ewart's Poisonous Snakes of India,
London, 187B.
> Cp. Bbartrhori's ardham nitva.
• Because the season in wliich they blow
has only just begim. — The whole stanza is
commented in Jhaiklkar's ed. of KSvya-
praka^a, iv. 41, p. 157.
° That is, if you have any ; and here,
yoars sliow that you haven't. — I purposely
nse 'betray,' as having, like pisn^iedi, a
aiuiet«r connotation.
' That ia, the airokea of the pencil with
which wonipn applied the collyrium to blacken
their eyelids and eyebrows by way of adorn-
i. 208 —
Translation.
[232
Jester. With you, on the contrary, although your matter was
charming, — it wasn't pretty, the way you strung the words together. [8]
Like a row of copper bells on a golden girdle, like trimmings of coarse
silk on a [fine] silken fabric, like sandal-ointment on a girl of loveliest
tint,^ — it [your language] doesn't partake of the elegance [of your
ideas]. ^ But in spite of all that, you do get praised. [lO]
ViCHAKSHANA. My good man, don't get excited. There's no rival-
^g you ' ^or you, though unlettered as the iron beam of a goldsmith's
balance, are employed [in a, that t«] as part of a [still finer] balance for
weighing jewels ; while I, though lettered like a [common] balance, am
not employed in the weighing of gold.* [l4]
Jester. If you ridicule me that way, I'll tear off that part of you
that goes by the name of Yudhishthira's eldest brother,* your left one, and
your right one too, in a hurry. [15]
ViCHAKSHANA. And I'll break that part of you that goes by the
name of the asterism* following Latter Phalguni, in a hurry. [l6]
King. Man, don't talk that way. She has some standing^ in the line
of poetry, [is]
Jester. [^Nettled,'] Then why don't you say it straight out : "Our
little hussy's a first-rate poet, ahead even of Harivrddha, Nandivrddha,
Pottisa, Hala, and the rest"? [_So saying^ he prances around on the
stage.'} [21]
ViCHAKSHANA. {_I>erisivelt/.'] You take yourself off to where my
first swaddling-clothes went.^ [23]
1 To an Occidental, gaora, * yellowish * is
a doubtful compliment : it is applied to a
beautiful woman of golden flesh-tint, at
R&m&yana v. 10. 52, ed. Bombay, and is used
similarly here, as 1 think.
' Or, your uncouth words dp not sup-
port or keep from falling (avalambedi), that
is, do not keep from appearing ridiculous, the
elegance of your ideas. — The jester^ s words
are good and his subject bad (like pearls on a
hag) : Vichakshan&'s words are bad and her
subject good (like a coarse patch on a fine
fabric). I am not sure about avalambedi.
If I am right, the sandal-ointment seems out
of place.
' Presumably, the beam of the common
balance, for bulky things like cotton, had
its diyisions marked by letters (ak^aras) ;
while the beam of the balance for weighing
gold or finer objects was not lettered. At
any rate, the play of words on ** unlettered "
( = ^ unmarked * and * illiterate ') and *^ let-
tered ^^ ( = * marked ' and ^ literate ') is palpa-
ble. — She means, ** you, jester, are a rough
stick ; but are employed on work (poetry) as
fine as gem- weighing — that is, royal favor
gives you a chance at * high art ^ : while with
me the case is reversed.*^
* Karna : kar^a, as appellative, means
*ear.'
^ Hasta : hasta means also * hand.* See
p. 214.
• Compare BR. viL 1330, under k).
' That is, ** to the devil knows where ! "
288] Aat First. — i. 20°
Jestee. [^Turnif^ his head to look back.'\ And yoa — to where my
mother's first set of teeth weiit.^ [25] Here's luck to such a royal court
as this, where a hussy appears [to be set] on a par with a Brahman,
where strong drink and the five products of the [sacred] cow are put in
one and the same dish, where glass and ruby are employed together on
the [same] parure. [26]
VicttAKSHANA. In tilis royal court may you have that* put on your
neck [namely, a half-wring, as we might say], which the Exalted Triple-
eyed God [5'va] wears on his head [namely, the half-ring of the moou] ;
and may your head be well bruised by that [namely, the touch of a foot]
by which " the longings of the agoka tree are satisfied [namely, the touch
of a maiden's foot]. [37]
Jestee. Ila, you slave-girl's child, you terror of the gambling-hells,
you wholesale polluter of young men,* you street- walker! that's the way
you talk to me, [is it ?] well then, as sure as I'm a great Brahman,^ you
shall get that by which, about February or March, the longings^ of the
horse-radish tree^ are satisfied ; and that which a strong but lazy bull
gets from the outcastes.^ [29]
ViCHAKSHANA, While I, if you go rattling on that way, like the
[jingling] bangles on my foot,* with my foot I'll smash your face. And
onder klijiti- . . . vimddliata, and p. 228
end. See also Paul Elmer Mora's " Centurj o(
Indian Epigrams," do. XI ; and Sprllcbe, 5603,
raktagoka, a alanzo. wbicti soma Msa. insert in
tbe Viltmmorv^l immediaUsly afier raktaka-
damba, iv, 30, Tbe flowera are of a beauliful
orange color, changing gradually to red.
* RfFoms to mean the aame as para-pntta-
vittiili^i, i- 18". — ButV&audeva, p, 17", ex-
plains it as 'gelling your living by perjury,'
lalcing kosa as ' false oath.'
' ' By the word of me, a great Brahman,"
■ Sarcastically here.
^ Moringa plerygospenna, called dafi;^-
mnla at RHjanlghantu, p. 142, Poona. The
bulbs are cut up for a pungent sauce and the
limbs are tiim off Cor their flowers.
' A cut in his nose, for the insertion of a
nose-ring (cp. Mannarine, Mar&thi Proverbs,
no. 201). —Cp. Hemachandra, 1268, and
Mar&tbl baila. — For ablative, see p. 203.
" The point of comparison between (he
jester and tbe bangles is tbe seoselesa noise
'The
To the devil knows wlipi-e."
ardha-^andra, literally.
' half-
s Civa
1 (cp. i. 3-) ;
but tbe word means also 'the hand beat like
the crescent moon for clutching.' ' To (give,
i.e.] put a half-moon on a man's neck' = ' to
wring his neck.'
■ Literally, ' by which the a^oka tree
gels its dohada : ' dohada, ' the whimsical
longing of a pregnant woman,' is here tbe
desire of the budding tree to bloom. This ia
accomplished by the touch of a fair maid's
I foot Tbe "toucb" as applied to the jester
would be a rude kick.
Tbe a; oka is one of the loveliest of Indian
trees. It blooms at tbe beginning of the hot
weather, say tbe botanists ; when touched by
a fair maiden's foot, say the poets. — The
latter have very much lo say about it ; com-
pare iL 43, below, and Vasiideva's Scholion
thereto, and see especially iL 47. Indeed,
the S&hitya.darpana makes the matter to be
one ot " common notoriety " — see no. DTO,
i. 20a—
Translation.
[234
what's more, I'll tear oflf from you the pair of parts [your ears] that go
by the name of the asterism ^ that follows Latter Asha<Jha, and chuck 'em
away. [3l]
Jester. [ Walking testily abotU the stage — then in a rather loud voice,
behind the curtain — ] Commend me to such a royal court as this — when*
it's a devil of a way off ! [a court] where a slave-girl sets up a rivalry with
a Brahman! Well, from this day on, / propose — obediently paying my
humble duty to my worshipful spouse Vasumdhara — to stay just at home I
[^Laughter all round.'] [35]
Queen. What sort of fun can we have without our worthy Kapin-
jala? [or] how adorn our eyes beautifully without coUyrium ? [36]
Jester. [From the tiring room."] Oh no, you won't get me to come
back, not by a long shot! better look out for somebody else to be your
" old man ": or perhaps you might put this mean little wench in my place,
after giving her a mask with a long beard, and awful ears.* — I'm the only
one among you that's dead and done for; but you — here's life to you for
a hundred years! [4l]
ViGHAKSHANA. Don't try to make up with^ the Brahman Kapinjala:
conciliation only makes him all the harsher, just as sprinkling water on a
knot in a hempen rope makes it all the tighter. [43]
Queen. [Looking in every direction around her.] For that the God
of Day, resting his glance on the unsteady swings that are tossed to and
fro by the feet of the singing wives of the herdsmen, driveth his car with
halting coursers,^ — therefore are the days very, very long.® 21
Jester. [ReiMering hurriedly.'^] Give place, give place!'
Kino. For whom? ^
Jester. Bhairavananda is standing at the door.
that both make. P&da-lagga, * attached to
my foot ' = * on my foot.'
^ Strictly speaking, Abhijit (containing
a Lyrae) comes next after Latter Ashftdhft,
but it is so far from the ecliptic as hardly to
count. Then comes Qrava^a: ^ravana means
also * ear.' See p. 214, and Whitney's Essay
on the Lunar Zodiac, there cited, pages 410,
409, and 355.
* Literally, *such a court is praised
when' . . . , like the German das lobe ich mir,
^ ** Ears like a bamboo cup " — says the
Scholiast.
* I take a9a-8aifadhedhA as a Frftkrit
counterpart of ann-samdhayata, from sam-
dhay as denominatiye of samdhi.
. ^ Literally, * goes, having a limping-steed
car, a car with limping steeds.'
> This stanza is a covert hint (dhvanyate)
at the fact that she greatly misses her jester.
— Scholiast.
7 See L^vi, Th^tre, p. 374.
B Although this English phrase means
'make way or room,' it is perhaps the
nearest feasible equivalent for what is liter-
ally * a seat, a seat! '
» « What (purpose is there) with it (the
seat)?'
385]
Act First.
:.24
Queen. The one who is popularly reported to be a wonderful master
w
Jbster. Yes, to be sure.
King. Have him eater.
IThe Jester goes oal, and rtintert leith thf Maffieian,']
Bh5iraVanaND.\. \^Aa if a little ioozj/.'\ '
As for black-book and spell, — tbey may all go to belli*
My teacher's excused me from practice for traDce.*
With drink and with women we fare mi^ikty well,
As oil — to aotvation — we merrily dance 1 * 22
Moreover :
A fiery young wench to tbe altar I've led.'
Good nieat I cousunie, and I guzzle sitrong drink;
And it all comea aa alms, — with a pelt for my bed.
What better religion could any one think ? ' 23
And again :
Gods Vishnu and Brahm and the uthurs may preach
Of aakation by trance, holy rites, and the Vedies.'
'Twaa Umu's fond lover' alone that could leach
Us salvation plus brandy plus fun with the ladies.
24
1 See A. v. W. Jackson on tipsy epiaodea
In plays. Am. J'n'l of Philology, ziz. 250.
"Literally, 'Iknow uotiiag of (= 1
ignore) spells [and] Tantraa.' The latter I
take here to be the trentUea called Tantras -^
op. Aufreclit, Bodleian Catalogue, 01-0&.
■ The intent contemplation which was
Tery anciently and widely practised in order
to bring on a state of hypnotic trance.
• Literally, ' unto saWatlon we go, follow-
ing tbe Kuln way.' The " Kula way " is so
catted because its followers (Kfiulas) refer to
a Kula Upanishad aa scriptural authority for
"their practices (WiiiUms).— The union of
the male principle in nature with the female
ia typified in the androgynous form of Qlva,
n which the right side Is male and the left is
female. The latter represents the personified
wer' of nature (5Bfcti = ' power'), and her
worshippers are called (;akias or FoUowera of
tbe Left-hand Way. This worship degenet-
Ated into the most Indescribable llcentious-
L It was oatenslbly practised in order to
Attain, in the manner prescribed by the
Tiuitras, the supernatural poweia such as the
Magician is here supposed to possess. I— Tlie
reader may consult Monier- Williams, Brab-
manism and Hinduism,' p. IHO-lfie.
For tbe doubtless satirical juxtaposition
of sensuality and salvation, cp. a lampoon on
tbe Buddhists, cited by Leumann, Wiener
Zeitschrift fiir die Kunde des Horgeulaades,
iii. 332, which I render as follows ;
A good soft bed ; an early drink on rising ;
Dinner at noon ; his toddy in the evening ;
Sweetmeats at nlgbt ; — to crown it all, salv»-
' 'A hot strumpet has been consecialed
(see dik^) as lawful wife.'
* Literally, ' to whom does the E&ula re-
ligion not appear cliarming ? '
' I have assumed " Vedy " (riming with
" lady ") as a colloquially humorous mispro-
nunciation of "Veda," tbe name of tbe
oldest holy scripture of India. It will seem
natural enough to any Yankee.
' (^iva, as god of the Left-baud f^Itktas.
i. 241 —
Translation.
[236
Ku^o. Here is a seat. Let Bhairavananda take it.
Bhaibavananda. ISeating himself.'} What'll you have me do ?
Kino. Glad to see a wonder in 'most any line you please.
Bhaibavananda.
I can bring down the moon to the ground
And show you its rabbit-face ^ round.
The car of the sun I can stop in mid-sky.
Wives of sprites, gods, or Siddhas through heaven that fly.
Or of Qiva's retainers, — I fetch ^em anigh.
Lord knows what on earth I can't do if I try. 25
So tell me what youll have done.
Kino. ^Looking at the Jester.'} Say, man, has a peerless gem of a
woman been seen * anywhere ?
Jesteb. There is here in the Deccan ^ a town named Vidarbha. There
I have seen one gem of a girl. Her let him '* fetch anigh " [to us] here. [7]
Bhaibavananda. I am fetching her anigh.
King. Bring down the full moon^ to the ground.
IBhairavdnanda represents in pantomime * the practice for trance."] [10]
IThen enters, with a hurried toss of the curtain, the Heroine. — All gaze.'] [12]
Kino. Oh, wonderful, wonderful I
Since the tips of her curly locks yet stick to her face, since her eyes
are red with the washed-off coUyrium, since drops are a-tremble on the
massy tresses she holds in her hand,^ since she has but a single garment
and that but half put on,^ — therefore I think this girl, who alone can fill
me with wonder,® was busied with her play in the bath* [at the moment
when she was] '^ fetched anigh " by yonder master Magician. 26
And again:
With one lily-hand arranging the border of the garment that falls on
^The Hindu sees, not a **man in the
moon,'* but a rabbit (cp. H. C. Warren,
Buddhism in Translations, p. 274) , or a black-
antelope (cp. note to ii. 20 below).
^ We miss the tae or tne (* have you
seen ') which appears in the variants, and is
answered by mae, i. 25*.
> See page 213.
* Literally, * the moon on the night
of the full,' — in palpable allusion to the
first line of the Magician's stanza (25), but
with covert allusion to any full-moon-faced
beauty whom the king would be glad now to
OAA
» See L^vi, Th^fttre, p. 887.
* Literally, * hand-supported mass of
sprays of hair.'
7 * Since a single garment-border (or gar-
ment«kirt) has been put on.' — She had no
time to put it all on properly.
8 Literally, * sole-producer of marvels.'
» Cp. ii. 24 and note to IL 24'.
287] Act Fint. ' — i. 29
her rounded breasts so firm,i with tlie other restraining ^ the Bari * that
flutters as she walks,* — who in a picture could her grace portray ? * 27
Jestee. For her bath she had doffed her ample parure. Her adorn-
ments were spoiled by the breaking of the wavea.^ Her slender form
shows ueath her dripping vestui-e.' This maiden's glance is the sum and
substance of loveliness. 28
Heroine. [At she looks at theviaU — aside.^ That this is some great
King is made manifest by the way in wliich he plainly unites the graces
of dignity and charm. ^ Of this one too I have an opinion, [namely.] that
she is his First-Queen — you don't need to be told, in order to recognize
Gaurl* at the left side of the Half-woman God.'" And this is the master
Magician, [s] Here again are the attendants. [Stops to reflect.'] Then
why does his look seem to make so much of me, even in the presence of
his wife? [So sai/iitg, she gives a coquettish t/lance.^^'] [9]
King. [Aside — to the Jester.] When she suddenly, past my ear, shot
a sidelong glance sharply flashing, [a flasliing glance] whose brilliancy
was like that of the cavities of the petals on the tips of the ketakas where
the bee sucks, "^ — then was I whitened surely with the best of camphor
'Literally, 'on her finn-breasl-hiUB ' ;
thala Is used of pans of the body nliich msiy
be conaideretl as raised or elevated or pro-
jflcling or rounded ftboTe or beyond its general
Biirfaue — so of buLtocke (ii. 1'), of clieekB, of
breastB. Cp. BR., B.v. sthaU (3V 4*}.
' Dr. Konow books the word, of course,
under root yam.
* The kadilla (defined by HD. as kafi-
vastra) is doubtless the sari (or saree or sary),
a long piece of silk or cotton wrapped about
the hips, with one end falling nearly to the
feel and the other thrown over the bead, and
here the sajoe aa the potts or 'garmeol' of
Hue b — since she wore but "one."
• Literally, 'Uieka4i^l*"*'ich was moved
(from the, l.e.)by the walking,' cankrajoaiiB-
tM, Whitney, $ 1098.
' Literally, 'she is not portrayed in auy
one's picture.'
■ Of the pool or river in which she had
been bathing.
' Literally, (the glance of this one)
■ having a body-liana (laft) coming into eight
(nUasin) from lier dripping vesture,' oll-
aiisQa-alta.Bi-tanQ-llaae : or, ailasinmightbe
■mdiant,' i.e. 'radiantly beautiful' — seeBB.
under las -f nd.
' Literally, ' This one is known as a king
by this (imii^B) prof ound-and-charmiug grace-
union.' Here imitia means ' this which you
plainly see, this plain or manifest ' (union),
reminding us a littb of Latin ills. As UBed
of the character, gunbhira is ' deep, solemn,
* Literally, ' Gilurl, even untold, ia
known : ' — and it's just as easy, even with-
out help, to recognize the Queen.
I" See n.
1.22".
u Vflsudeva defines try-a^ram as tixyag-
udA3citam, (Bhelooksaiook) 'lient sideways.'
The king refers to this glance at ii. 1". — See
notes on the coquettish glance, ii. B\ iii. 2''.
" Literally, ' when a sharp eldeglance-
fissb was shot ear-nigh suddenly, — [a flash]
posaeasing brilliancy (ohavi) like [that of]
bee-sucked ketaka-tip-petal cavities.' 1 take
aav. as 'with an ear- interval.' not bitUng,
Kataksachata occurs in the 2d example to
Sabitya^arpana, no. 100, cited by BR. iL
10T2. The pplu aaddhia, 'pulled al' by bees,
is booked under kfj ■+ a.
i. 29
Translation,
[288
(karpura)^^ bathed sm*ely with moonlight. Meantime I am become over-
laid as it were with dense pearl-diist. 29
[As heforej aside — to the Jester,']
Oh, the splendor of her beauty!
Methinks her waist, circled with triple folds, were easily grasped even
by a baby's fist, while to compass the expanse of her hips is not possible ^
even with the two arms.^ A tender child's hand suggests a comparison
for the bigness of her eyes.* And so [by reason of her beauty], it is not
possible in a picture to portray her as she really is.^ 30
JF/STER. Albeit her adornments are stripped off for the bath and her
cosmetics are washed away by it, [yet] how lovely she is ! or rather, let
me say.
Even women who are devoid of [natural] beauty put on adornments,
[for] they win a certain comeliness by such embellishment ; [but] adorn-
ments make the comeliness even of a person who is naturally handsome to
unfold itself [to still greater beauty] .^ 31
King. That's true of this girl, at any rate. For
Her loveliness is like to gold, untarnished, unalloyed.^ Her almond-
eyes reach even to her ears.^ The expanse of her cheeks is like to
the full-orbed moon. That she is under the protection of the Five-
arrowed God, [who guards her] with bended bow,® [is clear], because
1 Or, with a pun of which the King is not
consciously guilty, *then was I irradiated
with love for Karptlra (-mafljarl)/
3 The phrase no jai (yati) seems to be
used like es geht nicfu, that xoonH go, etc.
' The expanse is not possible to be embraced '
(ve?^). For the use of the infinitive here and
in d, see Jacobi, § 116. — ^* Expanse : *^ cp. i.
> The style of beauty here exaggeratedly
described is abundantly illustrated by the
sculptures of ancient Indian monuments.
They out-Hubens Rubens in his most drastic
avalanches of buttocks. See A. Cunning-
ham^s Bharhut, Plate xxiii. Hindu painters
show more self-restraint than the sculptors
and poets : see Griffiths, L p. 9*.
^ * The bigness has a comparison (given,
i.e.) suggested by the hand.* Cp. L 32*.
epaccakkham.
• Literally, * even of a person nature-
handsome, the comeliness opens its eyes by
[aid of] adornments.* Repeated at ii. 25.
' Literally, * gold, new (or fresh) and
genuine.* The two adjectives are not with-
out appropriateness of reference to girlish
loveliness also.
B A strange bit of racial psychology
underlies the varying national ideals of
beauty of person (cp. note to ii. 46). — Lit-
erally, ' Of her eyes the length id brought to
a stop (skhalitam, * stumbled, fallen,* — or
as pple of the causative) by her cars.* Cp. i.
16* ; 30" ; 34« ; ii. 27». Of a handsome young
ascetic, B&na says, *'his eyes were so long
that he seemed to wear them as a chaplet,**
Kftdambarl, p. 280. See Griffiths, i. S^.
* Dhai^uddai^da is * bow-stock;* but
stock in this connection (see Century Dic*y,
S.V. stock J sense 9) is superfluous in English.
Act First.
-i. 34*
hia arrows,^ " Parcher," " Bewilderer," and the rest,' are piercing me
through. 32
Jester. [ With a smUe.~\ The wind of the highway knows the liana's
power of resistance.'
King. \_With a »mile.'\ I tell you, old man :
The embelUshnieut effected hy their own manifold excellences makes
handsome the person of women ; * while splendor of attire seems [rather]
to conceal ' their beauty of form. Accordingly, for those on whose Hmbs
is imprinted the seal of a certain loveliness,* Cupid, methinka, with bended
bow, stands as the ever-ready servant.^ 33
Moreover : Of this maiden
The spread of the hips is such that no creeper-like girdle is on them ;
the breast-liills are so towering as to hide from her sight her waist ; * the
eyes are so long that there is no [room for a] lotus on her ear ; * and the
face beams forth with such radiance that it seems like a second moon on
the night of full moon." 34
Queen. Worthy Kapinjala, find out " who she is.
Jestek. \_To the Heroine.'^ Come, sweet-faced girl,8it down and tell
me who you are.
Queen. A seat for her I
Although we say btne-Uring when wa mean
the string, we say siraply bow when we mean
tlie bme^toek. Cp. vana-antare etc.
'Literally his 'seekers.' The vBTb is
listed under vyadh.
'Namely, "Inflamer," " Ruiner," and
"Crazer" — aaihdipana, accafaiia, muni-
dana ; see Uhle'a Velila, p. 8". Or cp.
Mahe^vara's comment on Amarako^a, 1. 1.
'SI, The two here meutioned are punned
upon at ill. 2S, see note.
' Sodlrattana, ' manliness, pride, sett-
respect.' For this passage, Dr. Konow sug-
gests 'power o[ resistance.' Cupid knows
how liard it is U> conquer the King and so is
shooting at him with great energy.
I give with diffidence the following inter-
pretation : By i. 32, the King means, " Cupid
guards this fascinating girl, and 1 Eear I may
not win her." "Never fear," aaya the
Jester, reassuringly ; " the wind knows how
little reaiBtance the swaying creeper offers."
* ■ The person of women is beautiful
[when] embeilUhed by the host of iheir own
excellences.'
* In Index under chad. — Cp. ii. 26, 27.
' ' To whose limbs a certain imprint of
loreliness is gone.'
' Ready to read from their coquettish
glances their unspoken commands and to en-
thrall their loveis accordingly. — ScboUon.
' Literally, ' the breast elevation (or
prominence} Is so that she sees not her navel
at all.'
» Cp. note to i. 32h.
'" ' And so outshining is the face that the
night of full moon [is] possessing two moons.'
R&jai;ekhara repeats this idea (aee p. 200) in
his three other plays, Viddh. iii. 27, Bftlar.
iiL 26, Balabh. i. 31; cp. gsriigadhara 3659
and p. 189: ndaflcaya molcham manig ;
tihavatn ca dvicandram nabhah.
" ' Know thou by asking,' ' wxiSov.'
i. 34« —
Translation.
[240
Jester. Here is my over-garment, [s]
[^The Jester gives the Heroine the garment, and she sits down upon itJ]
Jbstbe. Now tell me.
Heroine. There is here in the Deccan, at Kuntala,^ a king named
Vallabha-raja, beloved (yallabha') by all his people.
Queen. [^Aside^ to herself.^ Yes, and he's my aunt's husband, [lo]
Heroine. His consort is named ^^^i-p^^bha.
Queen. [Aside^ as before.'] And she's my mother's sister.
Heroine. [Smiling.] They call me by way of joke [?] their " bought
daughter." [is]
Queen. [Aside.] Such splendor of beauty, surely, was not produced
save from the loins of 9^^*P^^1^b^> ^^i* ^^^^ pencils of precious beryl,^
save from Beryl Mountain. [Alovd.] You are Karpura-manjarl, aren't
you 1 [20] [The Heroine stands abashed,']
Queen. Come, little sister, embrace me. [So saying the Queen puts
her arms around her.]
Heroine. Oh joy! here at last Karpura-maiijari has begun to receive
recognition I * [24]
Queen. Today, Bhairavananda, by your kindness, I have been made
to enjoy an uncommonly neat [but] queer little arrangement in seeing
[this] little sister.* So let her stay now for a fortnight. Afterwards
you shall carry ^ her back by your magic power.^ [27]
Bhairavananda. As the Queen says.
Jester. [To the £ing.] Say I we're everlastingly® — both of us —
left out in the cold, you and I, since they have got together in a cosey
family circle.® For these two women are " little sister " each to the other ;
1 See p. 218.
* The verbal idea in each of these two
clauses is expressed by a derivative of the
same root pad, with ud or vnth nis.
•Literally, * beryl-gem-pencils.' The
beryl occurs in hexagonal prisms ; hence the
appropriateness of the word *' pencil.'* Some
varieties are very beautiful (the emerald is
one of them), while others are very little
worth ; hence the need of the word **gem."
^ Literally, * of K. this is the first saluta-
tion : ' but if put thus, it might imply that she
is glad she has received none before.
^ Literally, * today an unprecedented
(= uncommonly neat) queer-little-arrange-
ment (= samviha^aa, cp. OB. vii. 5^), with
the sight of the little-sister, has been caused
by your kindness to be enjoyed by me.'
In the Prftkrit, the verb is plural, —
*^ honoris causa," says the Scholiast
7 Literally, * contemplation-car ; ' that is,
the supernatural power which you will attain
by trance-practice will serve you to carry
her home through the air to Kuntala.
• In rendering param, I venture to use
this English vulgarism because it suits the
Jester.
* * Since of them (Queen, Heroine, Y i-
B41] Act First. — i. 35
wLile Bhairavananda ia praised and made much of for bringing them to-
gether. [33] ' And here a terrestrial Goddess of Speech, a go-between,
[18 parading about,] reincarnated as a downright Queen.' [34]
Queen. Vicliakshana, to Bbairaviinanda must be shown every atten-
tion his heart can wieh^and you may go to your eldest sister, Sulakahapa,
and tell her so.' [35]
V1CHAK8HANA. As the Queen commands.
Queen. [To the IS,7ig.'\ My lord, pray let rae take my leave ;^ for
you see the state the little sister is in,* and I'm going to the women's
apartments * to arrange her attire with beauty and grace. [38]
Keko. [Of course you may go ; for] it is quite proper to fill the
runnels about the roots of the champaka creeper with musk and
camphor.'
FiBST Bakd. \^BeM>id the stage.'[ May twilight bring its gladness
to my King. [41]
The hot-rayed sun's round orb, like to the body ' of the soul of day, —
■who knows where that in all the world is gone,* now that the time for
day to die® is come? And even this lotus-pool, '° as if her eyes were sealed
in a swoon on hearing of the long separation [that awaits her,] now that her
lord is departed, hath shut fast the lids of all her lily-eyes." 35
chaksbanS. and Hagiciao) tbere is an assem-
bled family,'
' Dr. Konow refers the allusion, (sbfcbb-
lie, says Ihe Scholiast) of this seiileiice to
VlchakHbanfl, comparing li. 10> ; and takes
debantarsQa with devi, as tlie reading of W
suggests. It vexes the Jester to see Vi-
cbakebana so honored.
' 'AtteuLioD is la be paid . , ., telling
your sister.'
* See Index, under i|.
< ' I ajn going ... on account ot Uie
beauty and grace of attire of the little sister
who has this condition,' wiiicli you pliUnly
see. — She bad been snatched from the bath
by the MogiciaTi (cp. i. 28 and 28).
' Tbe action is taken op again at ii. 11'.
* The Scholiast t^es this as a case of
samua-nkti, citing for it Kivya-prnka^a,
X. 07, p. 671, Bombay ed., — cp. SShitya-
darpai.ia, p. 309'"-", transl., p. 308. The
"champaka creeper" suggests a slender,
lovely woman, — here the Heroine. It is
proper to bestow thereon all needful atten-
tion.
' Taking pio4* u ' body ' ; but Dr.
Konow lakes jiva,-pi^da as ' Lebens-masse,'
' Lebens-hauch.'
' Literally, ' who knows where (kfthjlii)
in the world (pi) that is gone?" — In other
words, I think that pi, although adding an
indefinite idea to tbe interrogative, d'les not
convert tbe interrogative into an indefinite
('BomewherB') in this passage.
■ 'The occasion for the death (kala) [o(
the day] having arrived' (s^p) = VSsudeva,
" Biiyamsamaye."
>° In PrSkrit this ia feminine (nalim),
and 80 I refer xa it by the feminine pronoun
in English. — Literally, ' the pool has become
(jai, imder jan) having lilies shut ("shut,"
as used of the eyes),' — Son^a, under gm,
Jacobl, S Ql.
" Tlie pool (feminine) of day-blooming .
lotuses closes her "eyes" (the blossoms on
ber "face") In a swoon ot grief when her
i. 36 —
Translation.
[242
Second Babd.
Opened [now] for our pleasure are jewelled roof-terraces and the
picture-galleries.^ By the attendants, couches, delightful in the starlight,'
are hastily ^ spread. Silks begin to rustle as the fingers of the restless
hands of the ladies in waiting move over them.^ The pleasant murmur
of the voices of women who have made up their quarrels^ is heard in the
arbors. 36
King. And we will go to our evening worship.^
[^At these words, exeunt omnes,']
[End of the First Act.']
beloved lord (the sun) leaves her. The son^s
departure is hinted at in the first half-stanza ;
and the second half-stanza is of course in
clear allegorical allusion to the Heroine, and
to her grief at being separated from the King.
— This is a case of *^ transfer" (sam&dhi,
Kftvyftdar^a, i. 93) : ** because the ways of
the Heroine are here transferred to the lotus-
pool,** says the Scholiast. For day-blooming
and night-blooming lotuses, see note to IL 50,
with which stanza this may be compared.
1 'The pleasure-terraces-and-galleries.* —
Such places serve as rendezvous for lovers,
says the Scholiast. Open roofe are much
used in the East as a kind of pleasanoe at
night. With Vftsudeva, I take dtta-bhittl-
^ivesa as = citra-gf has.
* * In the star-time.*
* ** Hastily : ** there is scarcely any twi-
light in Southern India. — See root stf.
^ 'The sound (rustle) of silk has begun
by reason of the moving of the fingers * etc.
* * The hum of women angry and tran-
quillized.*
* * To pay worship, [namely, our] even-
ing-prayer,* somewhat like ir^avlj^Bai viXtiv.
[Then enter the Ring and the Portereu.']
1 the stage.^ This way, this way,
J bit o
» Apr — »]
PORTERESa. [ Walking around a
OKingl
King. [Takes several gtepg, and then, with h
On that occasion >
Not from their places^ moved even the breadth of a sesamum seed her
fair rounded buttocks ; * her belly seemed aa if Blightly overflowing with
wavy folds ; ' her neck she bent aside ; while the braided tress, that from
her moon-like face did stray,* was clasped within the folding of her
breasts : ^ [thus] in fourfold wise her slender form she showed, as on me
sideways she her glance did bend.* 1 ,
PoRTERESs. [To herself, aiide.'\ How now — even today — piling up t
the same old palm-leaves ? — the same old stock phrases ? * — Well, I must |
sing the praises of spring-time to him and so slacken his passion for her.
[Aloud.^ Contemplate, O King, the flowery season,'" which is very gently 1
coming on." [5]
[Now] are lengthening the days that break completely •* the seal of the
throat of the cuckoo's mate, that make the bees to hum with sweetness
< ' Of tier, looking-coquettlahljr at me, the
body -liana became (jan) bavin g-four-diBpo8a!B
or •arrangingB (-vicUia) ; ' that ia. tour dispo-
aitioRB OT altitudes of sa many parts of ber
liana-like body presented themselves to my
notice aa she glanced etc.
' ' The same piling togethei of palm-
leaves, Ibe same word-scries : ' proverbial
equivalent for threshing Ibe same old straw.
'" 'Give a glance at the flowery season."
The Scholiast seems to think tbe form of ex-
pression a little forced. And I certainly do.
" ' Wliich ie maturing a very little.' This
is vague as a time-datum ; but the statement
at ii, tf seems more defliilte.
" See i. i^ noie. Cp. also p. 203.
1 That is, of course, on the heroine. Sup-
ply "says."
' The occasion described at i. 28', when
the gave him tbe coqueitieb glance which be
now recalls in line d.
' For the fonn of the ablative, see H. 3. 9.
' Properly, 'well-conditioned butlock-
hill ' .
■ cp. i. 27b,
' ■ (Was) possessing slightly overflowing
fold-wftves.' Cp. ii. 6>>.
' 'The braid in straying from her fac^
moon;' or 'Ibe braid, in tlie nodding to and
Iro of her face-moon ; ' either ve^ or &pa9-
endn might be tbe subject of bhoma^a,
' ' By ber braid a breast-embrace was
goL'
ii. 2 —
Translation.
[244
long drawn out,^ that among forsaken lovers waken anew the Panchama
note,2 the king of melodies, — [the days that are] crazy with passion, [days
that are] the abodes of the trobps of loves. 2
King. [Qiving no ear to it. — In impassioned style.']
When, to the eyes of all in the place of assembly, she appeared as*
an abounding stream of loveliness, as a city of the manifold dwellings of
laughter and amorous delight,^ as a paragon ^ of comeliness, as a lake whose
blue lotuses were eyes, but withal as the enlivener of my passion, — then
did Cupid fix a sharp piercing arrow on the string of his bow.® 3
\_As if crazed with love.] From the very instant that I first saw her, —
the fawn-eyed^ girl, —
If I paint a picture, she flashes forth upon it ; ^ she falls not short
in [any] excellencies ; ® on [my] couch, [meseems,] she slumbers ; but I
see her face like a full-blown flower in every quarter of the sky; ^^ of my
talk she is the subject ; of my verses, she the theme ; ^^ from my brooding
thoughts ne'er parted^ for long is the tender wanton maid.^* 4
And again :
They whom the coquettish half -glance of her piercing restless eye hath
smit,^* will [soon] to death be done by koil's note ^ and spring and moon
1 < Giving a prolonged quality of sweet-
ness to the hum of the bees.*
s * That set agoing (saih-oar, cans.) the
Pafichama note.' Cp. i. 16>; also Qftrfiga-
dhara's Faddhati, no. 2048 (in the season of
flowers, the koU utters the fifth or Pafichama
note, our G ; the frog, A ; the elephant, B).
> ' When she became the beauty-stream
(of the eyes of, i.e.) in the eyes of the people
of etc. *Cp. ii.22»».
^ I am in doubt about this word. And the
Scholia are not fully clear to me.
6 Pankha is the arrow's notched and
feathered end which is fixed on the string.
(See Raghuvaft^a ii. 31.) **The arrow was
*punkha-ed' on the bow" means *Uhe
arrow's notch was fixed on the bow-string."
This action is called samdhana. So iv. 20<^.
' Properly * gazelle-eyed.' The gazelle
is a small and graceful antelope, with large
liquid eyes. The reader should see the beau-
tiful pictures of P. L. Sclater and 0. Thomas's
Book of Antelopes, London, 1894 — , if he
would know the full foroe of this epithet.
* ^On a picture she bursts forth.' If I
amuse myself with painting, my pictures
always turn out to be portraits of her.
* This clause seems strangely inept
i<> * She blossoms out [like a flower] in ' etc.
11 * In [my] talk she is present ; in [my]
poetry, she comes forward or makes her ap-
pearance or (if the author will forgive me)
bobs up.'
^ * In [my] meditation, not separated is '
etc.
^ Dr. Konow books the verbs under sphuf,
khutt^i* loft* visa^t^i (Skt. 9at), vfi, in\ ;
see his references to Pischel's Hemachandra.
Skt. tm^ is * to part ' (intrans.), as we say of
a rope. Cp. Marft^hl tu^em, and Moles-
worth, p. 383b: *' whilst of moda^em the
sense is 'to break,' with the ever-inherent
implication of destruction of form or state,
the sense of tu^^em is * to break,' with the
implication of parting or separating."
1^ < They who have been looked at (di^fha)
by a third-part of her eye.' Cp. Hftla's Sap-
ta^ataka, no. 606.
1* Cp. note to ii. 2« and cp. i. 16«. Cp.
S&hitya-darpana, no. 216.
S46]
Act Second.
-ii. 6»
and love ; ' while they on whom hath fallen her full glance ' are dead and
ready for our last farewella.' 5
[j4s if lost in pensive remembrance.'] And again ;
Before* her, [flies] a glance, [like] a line of bees, [straight and sting-
•^ ing] ; * while [in the middle,* or] about her waist there is a garland of
milk-white wavy folds ; ' and behind her proceeds, amid her coquettish \
peepings, Cupid, holding bis bow bent so nearly round that the string I
touches bis ear.*
[_Stop9 to think.] My man is long coming back. [2]
fTAe Jater and Virhatshonn crif'f aii-l icii't ahoMt.'J
Jester. Say, Vicbakshana, is this all true ?
ViCHAKSHANA. Yes, it's all true, only more so. [s]
Jester. I don't believe you — you are so awful funny I
ViCHAKBHAKA. My good man, don't talk that way: there's one time
for joking, and another for the consideration of business.
Jester. \_Looking before him.] Here's my old man, as out of spirits
(jnukka-mdnaga)^ as a gander that's quit Lake Manasa (miikka-mana»a)}'^
emaciated with the fever-of-love (inada) as an elephant with rut (marfa),
> For the Moon as I^ive's ally, see KS-
dambul, p. 55B", kiiiiiiii&-<;ftra'Baha7a; can-
dramih. Cp. note to iii. 30.
* 'Full look' (ditthi), in contraat with
the " thlrd-part-look " of line a.
( > Are fit for Cbe gift of the two handfuls
of Besamum-natar,' the cuBtomary libation to
the departed.
*Tbe metaphorio language Is here so
"bold" (prindhm, as VJlsudeva justly ob-
gerves), that no bare EnglUh veraion anfficea
to reproduce tbo thought.
' ' Before [ber] is Ibe bee-row of her
eyes.' Kalld&sa epenka (MeghadUla, 36) of
the temple girls and their eyes, "Whose
glances gleam, like bees, along the aky," a
free but good rendering of madhakara-^reiji-
dirghin ka^akjan. This last is precisely
what RAjagckhnra seems here to have in
mind. Coquettish glances may reach far, like
the bee's long flight ; are straight as a " bee-
line i " like the bees, they leave a ating ; per-
haps also they are bright aa the bees' shining
wings, for bees are described as spbnraot or
'fiashing' at SprUohe, lB8«d.— See H. H.
the Megbadilta passage ;
cp. SpHiche, 246.?, where the katakfa is
likened to a swarm of heea. — See iii. 2''.
The "row" or "string" (grepi) in
which the wild goeae fly is mentioned even in
the Rigveda (iii. 8. 0) ; and a "string" of
bees forms the "bow-string" of Cupid's
sugar-cane bow (Megh., 71). Bhinga-saraQi
is here about the same aa bhramara-pankti
or madhnkara-^re^i. — Correction in pn>oE :
Konow takes bbinga-aarani here rather as
the dark eyebrows.
' " BeEore," " in the middle," and " be-
hind" are in evident contraat, — majjhe, wiib
double meaning, signifying here ' on her belly.'
' ' There is a boiled-milk wave-garlaud '
— cp. ii. !■> note. See kvath in Index.
' ' Holding hia bow rounded to the ear."
See under i. — Cp. iv. 20".
* Here Is a series of elaborate puns.
■" His true and glorious home in the
Himalayas, in order to return (about the end
of November) to Ibe every-day waters of
India — seeC, B. L. in Journal Am. Or. Soc'y,
xiz., p. lSG-6.
ii. 610—
TranBlation.
[246
languishing (mildnd) from his violent inner-ardor ^ (^ghana-ghamnui) like
a stick of lotus-root wilted (mildnd) in the strong heat (^gharui-gharnmd)^
his color (chad) lost like the brightness (chad) of a lamp that they give
you by day-time, pale and wasted (pandura-parikkhlria) like the moon
which is pale and wasted (pandura-parikkhiTia) [by the sun's splendor] at
day-break at the end of the night of the full.^ [lO]
Both. {^Stepping aiout.'] Victory, victory to the King 1
King. Man I how have you gone so far as even again to meet
Vichakshana?
Jester. This time Vichakshana did the "going," for she came to
make it all up with me. And when she had made up, I stopped to talk
with her till ever so much time went by.^ [15]
King. " Making up 1 " — what's the use ?
Jester. [The use is] that (jam) here, with a letter in her hand * from
a regular little dear, is — Vichakshana ! [l7]
King. {^Acting as if he noticed a pleasant odor."] It seems to me as if
I smelt the fragrance of ketaka blossoms.
Vichakshana. Here in my hand is a letter on ketaka flower-
leaves. [20]
King. How do there come to be ketaka flowers in March ? *
Vichakshana. Bhairavananda has imparted to us a spell by whose
power one blossom already has been made to appear on the ketaka-stock
in the Queen's palace-garden. [22] With some of its hollow flower-leaves,
today, the fourth day of the " Swing-breaker," • the Queen has paid
^ So, despite OB., 8.y. gharma, end, as
against BR., s.v. gharma, 1, end.
3 ^ Like the daybreak full-moon-night
moon.' » See BR. vi. 477 top.
^ See A. V. Williams Jackson's notes on
billets-doux in plays, American Journal of
of Philology, xix. 262. Further interesting
allusions may be found at KumAra-sambhava,
i. 7 ; and in Kftdambarl, p. 433^ The last pas-
sage speaks of scratching a message with the
finger nails, and, as here, on petals of ketakl.
^ ' In Madhu,' the older name of Ch&itra
= March-April : see Whitney, JAOS. vi. 413-
4. The Screw-pine or ketaka does not flower
till the rainy season, says Roxburgh, p. 707,
i.e., some three months later. Roxburgh adds :
" The tender white leaves of the flowers . . .
yield that most delightful fragrance . . . ; of
all the perfumes in the world it must be the
richest and most powerful." See Fandanua
in Century Dic'y, and note to iv. 21*>. Also
Griffiths, i. p. 36i>, and pi. 63.
• There are various Swing festivals. The
most famous is the dola-yatra (culminating
with the Ph&lguna full moon), during which
images of Krishna are placed on a swing and
swung. The weight of the idols often broke
the swing: hence the name in the text. —
Again, on the eleventh of the bright half of
Ch&itra, Vishnu and Lakshml are swung. —
The context of the passage before us (cp. ii.
20^) indicates that here the Swing festival of
Gfturl (and Qiva) is intended, the gaurya
dolotsava. This andolana-vrata is a rite
observed by women and begins on the third
of the bright half of Gh&itra. Herein agree
247] Act Second. — ii. 8
homage to Parvati, the beloved of ^iva. And again, a couple more of them
she haa [taken and] bestowed as a mark of favor on her "little Bister,"
Karpura-maiijari. And the latter haa paid homage to the same exalted
Gauri ' with one of her two flower-leaves; [25] and the other
Hollow flower-leaf of the ketaka blossom as a present to you your
friend hath sent; and it is inscribed with a couplet" which is lovely with
its words (yanna) [written] in musk-ink, [or, punning] which is lovely
■with the color' (yanna) of the musk-ink.' 7
[With that, she haruls him the bilUl-doui,']
Kino. [^Opena o«(' (the somewhat folded leaf) and reads it.']
By staining a white goose with saffron-paste till her feathers were
ruddy (^pilSjara'), 1 suppose (An'/a) that I cheated her gander into thinking
"She must be the mate of a Ruddy Goose" (cakravdka'). To pay for it
now, my misdeed is making me to know misfortune,^ in that (jena'),
although near,' thou comest not within range of even my half-glance. 8
Hemadri, the Vmtarka, Nlryaya-sindhn, »nd
Dharmn-Eindhu. S^^ See p. 280 and 216.
' Farvall.
* ' Aiid il (jam) is iiiHcribed with a, ;lokii-
couplet/ Ibat is, a couplet which forms a
jloka (= stanza 8). — With this inierpreW-
tioD, each of the two members of Ihe couplet
would be a half of stanza g. — OthiirwiBO, we
may assume that siloa lb used aa ci^uivalent to
"verse," and with the same looseness as iu
English, and meaning 'line' or ' half -stanza '
here, and 'stanza' at ii. e», 9'.
■ Colored chalks and brilliant miQiams
(red lead, etc.) were used as surrogates for
Ink. At Jataka, iv. 489", words are written
on a wall with Tenailion or "native cinna-
bar," jiti-hingnlakft, Cp. Horace, Satires,
ii. 7. 98. See Bilhler, Palceography, p. B2,
03 i and my note to ill. 18 below. Any color
would show well on the white floral leaves of
the ketaka.
* E^a-nahi, ■ antelope navel,' is one of
the many names for 'mask' or kaatorik*.
This is reddish-yellow, overpowers the intense
odor of ketakas, and provokes even elephants
to mt. — RSjanighantn, p. 100.
In the same volume, p. 430, aahasra-
vedhin is said to be a name for three Ihings,
sorrel, musk (kastorikft), and asafeticU
(hinga). The laat is a gum from the Ferula
alliacea. It may be that the drug sambu! or
Bunibul, the musk-root of commerce (a prod-
not of Ferula Sumbul, see Ferula' and snmbul
in Century Dic'y), which is a fair substitale
for musk, is here intended instead of the
genuine animal secretion, and that it was
used to make a colored ''ink." This is the
less unlikely Hince the railically identical
hingn and hingnla are names, one for the
plant and the other for the pigment 1 — If not,
then wo must render, "lovely with the ink-
words [or ink-color] and lovely with musk":
in this case it is not Incredible that the
Heroine added a dash of the drastic perfume
to her missive to make sure that her royal
lover's passion should not flag.
^ Or, ' reaches his hand (so. karun) for it.'
' ■ Because (Jam) her husband (tab-
bhatta, under tad) was cheated [into] think-
ing . . . [by me], making (kj) a female
hafisa [which is naturally white] [to be]
possessing a saffron-pasle-ruddy body, there-
fore this misdeed of mine has turned out
(pari-nam) as a teacher of misfortunes,' etc.
Her misdeed, like bad karma, bears appro-
priate fruit (Manu xii. 02) in a separation like
that of Ruddy Goose and mate (p. 262, n. 3;
'I.e.
. l*.
The Queen is already ieaioua (cp. ii. aU"),
and compels this separation (ep. ii. 0=).
ii. 81 —
Translation.
[248
l^Reads it a second and a third time.'] These words indeed are an
elixir of life to my ears!
ViCHAKSH ANA. I too have made a stanza, — a second one, which
describes the plight of my dear friend, — and written it down. Here it is.
King. IBeads it.]
At endless length, like to her days and nights, her [love-lorn] sighs go
[slowly] trooping by^^ With her bejewelled bracelets,* fall her streams
of tears. And in thy absence, O fair lover, the hope of life for that
dejected maid hath grown as feeble as her slender form. 9
ViCHAKSHANA. [And] Iiere ^ is a stanza about her plight, composed
by my elder sister, Sulakshana, who is serving her as lady in waiting:
listen to this, O King I
Her sighs escape like pearls from off their string,* and make the sandal
to wither.* Hotly her body burns [with love's fever]. The beauty of
the laugh on her face is naught save a memory.^ Moreover, the pale tint
of her limbs is as faint ^ as the moon's slender sickle by day. Ever her
floods of tears for thee,® O fair lover, are like to rivers. 10
Kino. [^Sighing.] What is there to say ? in poetry she's your "elder
sister," sure enough.
Jesteb. This Vichakshana is Goddess of Poetry for the earth, and
her " elder sister " is Goddess of Poetry for the three worlds. So I'll set
up no rivalry with them. [5] But [as I'm] before my old man, I'll
describe, with such words as befit me, the longings of love.
Vichakshana. Recite. We're listening.
Jester. Moonlight ® is excessively hot, like to poison is sandal-water.
1 * With the days and nights, long [are
her] sigh-columns.' Her sighs are like an
army, passing in long drawn oat ^* columns "
(dai^da, used in the sense of daj^^vyoha).
Cp. da^da at iv. 11.
> The bracelets slip from her arms because
she is so emaciated with love's fever. This
is a frequent motif: see Qakuntalft, st. 66
(Williams) or 67 (Pischel), and MeghadQta,
2. — K&vya-prakft^a, z. 112, p. 786, Bombay,
cites this stanza to illustrate sahokti
> The function of jeva is slightly to
emphasize the gesture which distinguishes
this deictically used ettha from that of il. 8*.
^ * Are possessing a pearl-string-like es-
cape.'
* They are so hot that they (are sandal-
ucoo^a-causing, i.e.) shrivel up even the cool
sandaL Is this right? if so, the juxtaposition
of the pearls is incongruous. Root csu\ is said
to mean * become small.'
* * Has memory as its refuge,' has need to
be remembered (cp. Sprttche, 2253d), since it
can no more be seen. This seems to me to be
a distinct reminiscence of K&lidftsa's beautiful
phrase samsmara^iya-^bha, Qak., near be-
ginning of act iv.
T Properly, * tender, soft.'
> *' For the sake of thee,' toha kae = tava
krte.
* Moonlight, sandal, pearls, night winds,
lotus-root, and water are all refrigerants or
249] Act Second. — U. 14
a pearl -neckliiee is like cauatic potash on a wound, the night winds burn
my body, a fibrous lotus-root bristles like arrows,' and ablaze is my slim
body, albeit wet with water, — because I've seen the ehoicest maid, with
lotus-face, and eyes so fair. 11
Kma. I say, man, you too need rubbing down with a drop of sandal-
water yourself.*
Accordingly, tell me some circumstance about her. What next did
the Queen do with her after taking her^ to the women's apartments? [a]
Jester. Vichakshana, you tell what was done.
ViCHAKSHANA. They made her toilet, sire, and decorated her with
her sectarial mark and her ornaments, and entertained her. [5]
KiKQ. How 80?
Vichakshana. Her firm limbs were anointed * with paste of aaffron-
flssence until they were yellow*.'
KiNQ. That was burnishing a golden doll till it was beautifully
bright.' 12
Vichakshana. Her companions put on her feet a pair^ of emerald
anklets.
King. That was surrounding a pair of shamefaced lotuses with
swarms of bees.^ 13
Vichakshana. She was arrayed in a couple of silken garments as
blue as the tail-feathers of a king-parrot.
King. That was tipping out the stems of the plantain with leaves
that are gently tossed in the breeze." 14
aia esteemed Ha such (see Sprtlche, 3260 ;
Raja-nlghontu, p. 167 ; and cp. Rtu-saihhara
L 2, 4 and iv. 2): even the; briug no coolness
to one burning with Iotb's lever. Similar
ideas, Sprilcbe, 2243, 1081. — The sunza is
fnll of internal rimea.
1 'Is an arrow-series.'
> To cool your apparent fervor of love.
' As mentioned at i. 34"*.
* For Cbe meaning, BR. vi. 761, compare
ndvartana — Bee Amarakofa ii. Q. 121.
' Until her natural flenb-tinl became still
more beautifully yellow.
• 'Accordingly (ta) the beauty of agolden
doll was polielied bright.' Similarly the ta
□I the next ten stanzas.
' ' Her feet were caused to receive a pair '
■ Hoot bhram = ' roam, range " (trans., as
in room lAe vxjodi — aee BR. bhram 2, for
ezampleH), and so 'stray around, surround';
causative, 'cause to surround.'— Active con-
struction, "They caused bees to surround the
pair of lotuses": passive, "The pair was
cau.sed to be snrrouuded with bees," — Cp.
the note on ii, 1{I>>; cp. also all-moli, and my
note on avali at iii. 26''.
» 'Thenlhesboot of the plantain [became]
poBBeSBingstlghilywlnd-toased leaf-tips.' Her
thighs are likened to the stems of a plantain
and her wavy silks to Ita leaves. — Scholion.
Raja-nighantu, xi. lOT, p. 149, gives ora-
ii. 16 —
TranBlation.
[260
ViCHAKSHANA. Over the expanse of her buttocks was placed a
girdle bejeweUed with rubies.
King. That was making a peacock dance on the cliffs of Golden
Mountain.^ 15
ViCHAKSHANA. Upon her two fore-arms, — as it were, the stalks of
her lotus-like hands,* — were put rows of bracelets.
King. That was — tell me^ — was it not making them as lovely as an
inverted quiver of Cupid 1 16
ViCHAKSHANA. A choico uecklacc of monster-pearls^ was placed on
her neck.
King. That was giving to the moon of her face an ample retinue of
stars, ranged in ranks about it.^ 17
ViCHAKSHANA. And a pair of ear-rings, studded with gems, was put
in her ears.
King. That was transforming her face into a chariot of Cupid and
furnishing it with two wheels to drive it to and fro.^ 18
ViCHAKSHANA. With native collyrium they adorned her eyes.^
King. That was putting ® a bee on the fresh blue-lotus • that serves as
siamblia/ thigh-pillared* or * thigh-Btemmed/
as one of 16 names for plantain. KftlldSsa has
the same comparison at MeghadQta 93 ; and
so has Amaru, as cited by BR. under kadala.
Parab, Subh., p. 449, 9I. 396, has lambhiti^
kadaU-Btambhas iad-orabhyam parabha-
▼am. Op. rambhom ; also iv. 1^ below.
1 Mount Mem, to whose rocky steeps her
buttocks firm are likened here. Op. ii. 34 n.
3 * On her handlotus-forearmstalk-pair.'
« 'Then, tell me, does it [the "pair"]
not look like [or appear beautiful as or glitter
as] a reversed Cupid's quiver ? ' — The fore-
arm and the quiver have the same general
shape. See Griffiths, i. p. 16 a, b, and pi. 73,
83. The synonyms for quiver stand at
Amarako^ ii. 8. 88 ; but I cannot cite any
special description of Cupid's quiver. The
nose is compared to an inverted quiver,
ParaVs Subh., p. 436, 9I. 121.
^ * Six-m&fika-pearls.' If a miyaka or
* bean ' was 4| grains, these would weigh over
a pennyweight apiece and be worUi each
some 27 x 27 or 729 times as much as a one-
grain pearl 1 Cp. iii. 3^^ below.
' * Then a multitude of stars in ranks
[or rows — as the pearls strung on their
several parallel strings are in rows] attends
upon her face-moon.'
^ *Then her face- Cupid-car with two
wheels was driven to and fro.' Ear-rings like
veritable wheels: Griffiths, figs. 12, 60, 62,
64,661
7 * Her eyes were made possessing native-
collyrium-produced decoration.'
> ^ Then a fresh-bluelotus-bee was given
to the Five-arrowed God.' — See root y:
uppiu = uppio ( Jacobi, § 2, line 6, Lautlehre)
= arpito. — Konow thinks I am wrong, and
that silimuha here means only * arrow.' Cp.
U. 38.
*The blue-lotus (knvalaya, utpala) is
one of the five fiowers that serve as Cupid's
arrows. A fair maid's eyes are often likened
(as here) to such a lotus (see SprUche, 3702,
3818, 3838); or, the face is a lotus, and
the restless eyes are bees (2668, 2660).
The fondness of the bees for the lotus is a
common-place of the poets. The dark col-
lyrium is here likened to the dark bees that
swarm about the blossoms. Cp. Raghuvan9a,
m.8.
one of the arrows of the Five-arrowed God. [0/",] That was giving a
fresh lotus-arrow ^ to the Five-arrowed God.* 19
VicHAKSHASA. The wreath of curly locks that fringes the crescent
of her forehead ^ waa arranged.
King. That was the siiotted antelope appearing on the inoon's
disk.* 20
ViCHAKSHANA. Upon the temples of the bright-eyed maid they
heaped the flowers her tressy burden hid.^
KiNQ. That was letting you see a contest between Rahu and the
Moon, on the part of the fawn-eyed girl.^ ZL
ViCHAKSHAKA. Thu3 the Queen decorated the girl with decorations
to her heart's content.
Kino. That was an adorning of the ground of a pleasure grove ^ by
the beauty of spring.^ 22
Jestek. This, O King, ia very truth that I tell you:
The maid whose look is straight and bright, — collyrium befits her
[eyes] . Whose breasts are like to ample jars, — a pearl necklace becomes
her. But if upon the round expanse of her buttocks you place a gorgeous
girdle, we may call this adorning and rfts-adorning her,* 23
iAb in Sprilcbe, 6fl91^ filimnlcha (see
BR.) meana not only ' bee,' but also ' arrow."
» That is, the renewal (implied in ijftva)
o! the decoration of her eyea was like renew-
ing that one of Cupid's five arrowa which
consists of a blue lotus.
* ' Clinging tu the edge of her forehead-
• 'Acoordingly.tbe black-spotted antelope
is (v^t) on the moon'a disk in the middle.' ~
Majjhau (= -ao, i.e. madhyit), abl. aing.,
used Bilverbially. — The face is tba moon's
disk and the locks are the dark apoLs upon it.
The dark apot or fleck on the moon greatly
enhances its beauty (QnkuntaiH, aaras^ani,
1. 20, Williams), and is often likened to the
black or dappled antelope (Kavyadar9a, n. 36).
Hence the moon in called mfgaoka and hari^-
lak^Qa or -Uulchaiia. RHja^ekiiara calls it
hariva'takfrnan twice, and calls it e^anka and
mianka and harinanka In this play. Cp.
Ilftla, no. U.— For the names of the "fleck,"
see Hemachandra. 106. — For the name
"rabbit-marked," see 1. 25 and note.
* ' OF the maid with eyes bright as
camphor-gnm the tress-burden w
a hidden flower-heap.' — Let the reader notice,
with reference to the aequel (iv. la* 20"),
tliat ghaQO-B&ra is one of eleven aynonyma
tor camphor (karpora, which see, li&ja-
nigbantu, p. 101].
''Then a boxing-match between RShu
and Moon was abown [you] by the gazelle-
eyed one.' — Kfthu, the demon who causes
eclipses by "swallowing" or "hiding" the
moon, is hero likened to the heavy treitses;
and the blossoms, to the moon.
Tresses and flowers hare a strife to see
wbicli shail cover or bide the other. Her
lovely treasea win — they ecUpae the flowers.
' ' Sport-grove -ground.' — Orelse/spott-
grovo-earth,' that is an earth or world ol
places or opportunities for amorous delighta.
In either case the Heroine ia meanL Cp.
ii. 2\
■ This means the Queen. — Scholiou.
* ' And, on the other hand, on whose
wheel-like buttock-expanse is a certain girdle-
pride, of her we call thli adornment and
dis-ado rumen t ' — if I may venture so to
ii. 231—
Translation.
[262
KiNQ. [Again^ with his thoughts on lier.^
Her soft bathing garment, wet and clinging closely * to her waist with
its triple folds, and to her shoulders,^ [but] loose upon her magnificent
buttocks* and jar-like breasts,* betrays the tenderness^ of her liana-like
form and its beauty. 24
Jester. [As if vexed,'] Ho you! I described her as adorned with all
her ornaments: while you, — you won't remember her except^ as robbed
of all her decorations by the water.® — Well, hasn't my lord ever heard
this?»
Adornments make the comeliness even of a person who is naturally
handsome to unfold itself [to still greater beauty]. A certain splendor
results from adorning even genuine precious stones with diamonds. 25
KiNQ. 'Tis only the hearts of fools, mind you,^^ that fair women ^^ rob
by the bewitching accessories of attire;^ while clever men have to be won ^
by natural beauty. Grape-juice isn't sweetened with sugar.^* 26
ViCHAKSHANA. As the King hss intimated:^
To swelling breasts, or eyes that to the budding ears do reach,^® [or]
face that serves as moon unto the earth, and body that is a stream of the
rivers of loveliness,^^ what excellence is imparted by^® the art of dress
and adornment ? [Very little, perhaps. But] why ^ [then] is even that
reproduce the paronomasia of bhnsaQam
dnsaif^aiii.
I Cp. U. 0*.
3 'Adhering (laggam), water-close* (Le.
skin-tight with the water, jala-^iviijam).
* * On triple-fold-provided-navel and on
arm-roots* : cp. Amarakoga, ii. 6. 79.
^ * Getting loose on her paragons of but-
tocks and breasts.' See gvas + ud, * sich
lOsen,' in BR. * Cp. ii. 44*.
^ Perhaps langima- is connected with
langh, * spring,' and means ' springiness, elas-
ticity,' and so 'litheness.' That is not far
from Vftsndev's definition, tanu^ya, 'youth-
fulness, tenderness.'
^ "Not . . . except" renders jeva.
> He had already so described her, i. 26.
• It wasn't the Jester's fault if the King
hadn't heard the first half — see L 31^
lOHanta.
II KaXMrvyoi.
1^ Or, ' excellence (gui^} of the witchery
of attire.'
1* Bhava^iyja : we must take the causar
tive of bhu as = * cause to come or yield,'
colloquial 'fetch' ("that'll fetch him"),
slang * fetch' (=* allure, attract').
M It must be sweet by nature, if at all.
Cp. Sprttche, 3316. " At i. 33*»».
"Cp. i. 32*»». — Or, 'that reach to the
ear-buds' (the fiowers placed as ornaments
over or in the ears). " Cp. ii. 8».
18 > What merit of breasts etc. is made by
the art etc. ? '
1* ' Listen to this (i^am) reason ... for
this fact (tattha— see Whitney, § 803a),
that (jam) even that (tarn pi — the toilet
adornment just mentioned) is all (sawam)
agreeable : What (frustration or) impair-
ment of natural growth is there?' The
reason is put in the form of a rhetorical
question. I take tattha and jam as correla-
tives. — Rudhi outmatches artifice (yoga)
and has a power [for better, for worse] quite
independent of the tricks of the toilet — says
the Scholiast.
253] Act Second. —11.29^
all agreeable? Listen while I tell you the reason' for it now: You
cannot spoil natural beauty ! 37
King. Moreover, my honest Kapiiljala, here's a point for you:'
What is the use of artiticial ways of adornment? Those are the tricks
of actresses. The person itself that takes the heart of a man,^ that is
lovely. Therefore, matrons, at that supremely happy moment in which
they are united with their husbands, and in which the joy of love that
brings a whole host of excellences is attained, do not wish at all for
splendid attire. 28
VlCRAKSHAlJA. Sire, this I may tell you : not only by the Queen's
orders did I follow Karpura-maujari,* but also because I had come to t«rms
of close friendship* with her. Therefore, as I'm ready at her need, I will,
again [as before] make myself her attendant.
For the purpose of testing the heat of her [love-fever], their hand was
laid in the fold between her breasts* by her friends, and was often as-
tonished out of it' by the burning and quickly^ withdrawn. — [But] what
of that even ? Give ear to these words, pleasing, yet alarming : ^ Ward-
ing off the moonbeams with her hand for a shade, she passes the
night.'" 29
The rest of the business Kapiiijala will tell you. And [as he says], so
it should be done.
[.-ll Ihii, the ilepg about ihe »tage, and then txii.'] [3]
King. But, man, what is that "rest of the business"?
Jester. Today is the fourth day of the Swing festival." [s] And
ere it close, Karpiira-marijarl is going to be put in the swing in front of
the [image of] Parvati. So my lord is going to wait at the Kmerald
' > Ligteti to the raosoii, being heard
(enwuitaiii, passive of ^td, Jacob!, % 09. 3),
i.e. the reason, whQe I tell it.'
» ' You. this one, are Instructed.'
* ■ What own-person (^ia-ftDgam) is man-
heart-capti rating. '
* Tae : loosely used genitive with a^D-
gadi.
* > Had come to the amity of apple-of-the-
eye-Eriendship.' Cp. Psalra xvii. 8.
> ' The hand, laid on or in, was with-
drawn from the depression (atsanga-taa)
between her breastH.' — For the dative in -Sa,
cp. JacobI, § 38, and i. 14^, 3i", iv. 31".
'See BR., ^amara, >a very astounding
thing.' The hand Is spoken of — boldly —
as astounded.
' Helii (helae), 'without more ado.' —
* The reason for the alarm makes the
ScholtivBt much troable, — Her behavior
seems to Indicate that she Is love-sick (cp. IL
fi'', canda-m&raQijja), if not also a bit moon-
" Cp. Vallabhadeva, no. 1411, and Ko-
now's Essay, p. 190.
>■ Cp. ij. 6*> aod note.
ii. 297 —
Ih'anslation.
[254
Seati and watch Karpura-maajari while she swings. This is "that rest of
the business." [8]
King. [Reflecting, 1 Well, you have scored one on the old lady, keen
as she is. [lO]
Tester. Made the old cat drink sour gruel and think it was milk^ —
I gue99.
King. Who else but you ^ is ready at my need ? What else but the
moon is clever enough to raise the tides of the ocean ? [i3]
{At thaty they step about and make as if they were entering the Plantain Arbor.'] [14]
Jester. Here is the raised seat begemmed with crystal. And so,
man, sit down on it. [l6]
{The King does so,"]
Jester. [Raising his hand."} O King, behold the moon at the
full 1 [19]
King. [Looking.'} Oh 1 it's the face of my beloved in the swing that
he's pointing out to me when he says ^^moon at the full." [Regards
her attentively.'} [22]
Paling the face of every beauty here,* making the sky's hollow vault
to ripple^ with the liquid moonlight of her loveliness, and breaking the
haughty pride in the hearts of maids that regard her,^ appeareth the moon-
like orb of her face as she moves straight to and fro in her sport on the
swing. [ Or,] appeareth the moon-like orb of her face, artless and mobile,
as she plays at swing.^ 30
1 Literally *' Emerald-Heap.'* This is,
I think, a jocosely exaggerating nickname
for a seat, liberally ornamented, as we may
presume, with gems. The scholion to this
passage calls it ** a kind of raised seat** ; and
to such a seat allusion is made at iL 29^.
The name appears to include not only the
seat, but also an arbor (called *^ Plantain
Arbor ** at ii. 29^^) or other shelter in which
it was placed, since a door is mentioned at
iL 42a. To judge from iv. 18«, the "Seat**
and the ** Arbor** would seem to be in two
different localities. I cannot reconcile the
apparent contradiction. Of course, we might
render the name by " Emerald Arbor.**
a [By me] ' she, thinkmg (ii) [This is]
** milk** (duddham), was made to drink sour
gruel — [thus] I conjecture.* — Proverbial.
Konow cites Viddh., p. 114^, and H&syft-
mava, 38=**.
* For the ablatives, see p. 203.
^ 'Making colorless (viechaa) the faces
of the (circle, i.e.) entire collection of beauties
in the town.* * See under viochola.
* 'That regard (iky) her,* with envy of
her beauty, namely.
7 'Appears her face-moon, straightly
(sarala) moving-to-and-fro (tarala) in her
swing-sport.* Or, ' Appears her face, artless
(straight, not crooked) and mobile.*
The two adjectives are used of a look, in
like collocation, in Bhartrhari*s smitam
kimoit. Tarala, used of winds, waves,
lightning, of eyes, glances, faces a-tremble
255] Act Second. — ii. 33
And again :
/ With [waving] chowriea' raised aloft, Avitii showy rows of banners
dazzling- white, [and] with bells, — assuming a likeness to the resplen-
dent (?) Asura-maidens' cara,^ [now] mounting the rampart, in its course,
ascending, descending, coming, and going, the swing captivates' the heart
of men with its sinkings and risings.* 31
And again :
With the tinkling jewelled anklets.^
With the Hashing jitigting necklace,
With the show of girdles garrulous
From their ringing, ringing bells,"
With the sound of lovely jingles
From the rows of rolling bangles, —
[Pray] whose henrt is not bewildered
While the moon-faced maiden swiDgB?'
Jesteu. Oh! you're an apborist;* but I'll be your commentator and
describe her with all prolixity.
Pained neath the pressure of her towering breasts,
Her rosy feet cry out to Love for help, —
Their voice her tinkling anklets set with gems.* 33
with angry i
, means 'mobile, bright.
Note the uncommonly effective employ-
ment o( alliteration and of well-balanced
paronomasia in the swing-line, which Is an
admirable bit of word-painting. The metre
of K&lidJaa's lyrical master-piece suits it to
perfection. The following verse may give
some idea of the rhythm and the internal
Moves to I and fro, | swinging high, | swing-
ing low, II now arise, | thenastnk | ing.
' A kind of fan-like brush, made of the
yak's tail, often with bejewelled handle, and
serving aa one of the insignia of royalty. Pic-
tured in GrifHtba, pi. 5, 7; Banners, 1. p. 15 b.
' The order of words in my version is
ambiguous, ns it is in the original : the
uncertain "resplendent" may qualify "Asura-
maidens" (aaura-tarofli) or "cars." — The
Asuras are the foes of the gods.
' ' Makestka^i) captivation (-harapam)
by (-vasi) its couralng (ria).' Raa, raya,
from ri, ' run, currere,' aa used of the motion
of liiinids, is not an unfit word.
* What was said o( the foregoing stanza
applies in large measure to this.
' The four adjectives that fill up Hues
ubc arebahnvTLhis tohindolavami >aewlng-
ing which possesses (I.e. in which become
manifest) tinkling-jewelled-anklela, jlngling-
necklacG-flash, rlnglng-hell-m oiithy-gi rdle-
display, [and] roUing-bangle-row-produced-
BWeet-jingle-sound.'
' Little bells were attached to the girdles.
See Bbartrhari'aetagcalad, orSprilcbe, 1456;
with which — in general, alflo — our stanza
may be compared.
' 'To the heart of whom is her swinging
not bewildering ( heart-tie wild ering) ? '
Note again the beautiful appropriateness
of the rhythm : it is that of the prlbvi, with
its i!i\a of jingling trihrachs and bell-like,
chiming cretics. The stanza is a four df/urfs
in the use of imitative words (onomatopteia).
Compare Edgar A. Poe's "The Bells."
RSjafekhara repeats the first half of the
Stanza at BAlabh. ii. 3.
jjy For pictorial illustration of a swing-
scene, see Orit£ths, figure 6a.
' You express yourself with all the exag-
gerated concision of a writer of aphorisms (cp.
Max MtUier's Sanskrit Literature, p. Tlf.).
' 'The pair of her foot-lotuses, pressed
by the superposed-breast-monn tain-slopes,
calls as it were to I.ovc with the sound of the
tinkling jewelled anklets.'
ii. 34 —
Translation.
[266
Her rounded buttocks, as she plays at swing,
For joy are laughing, laughing once again, —
Their voice the chiming of her jewelled zone. ^
The stream of pearls adown her neck that flows,
Bright undulating with the moving swing,
Bears far and wide King Cupid^s name and fame,
As if they hung like creepers o^er its flood. '
Her garments tossed, as gainst the wind* she swings,
Reveal some glimpses of her lovely form,
Which calls to Love to nestle by her side. ^
Her earrings, striking gainst her saffroned cheeks,
Mark lines that do a playful tally keep.
To count each oscillation of the swing.*
Sudden she opes her eager bloomy eyes.
Big as her palm, and Cupid's quiver fills
With piercing shafts of lotus-petals blue.*
And on the downward glide, behind her head
Stands out her braid, like stock of Cupid's whip.
And says ** Stay not the coursing of the swing 1 " ^
Thus all this maiden's winsome-graceful ways,
Displayed in swinging, form a picture bright,
Which Love, sly limner, paints in every heart 1 *
34
35
36
37
38
39
40
1 * Her chariot-wheel-rounded buttocks,
swing-play-voioeful (i.e. -jingling), seem to
laugh for joy, with the sound of the bells of
her bejewelled girdle.' — Bejewelled girdle :
Griffiths, pi. 55. Bells on bracelets, fig. 6;
on trappings, pi. 6.
* ' Her pearl-necklace, with the semblance
of a bright (tara) river (saria), flowing with
the sport of the swinging, seems as if scatter-
ing afar the fame-creepers of the Flower-
weaponed King.* Her necklace of magnifi-
cent (cp. ii. 17*) pearls is compared to a
stream which snatches and carries far and
wide Cupid's fame. This again is likened —
in boldest metaphor — to a vine swaying
loosely over the stream; the impetuosity of
the stream tears the vine from its support and
carries it far away ; or it spreads his fame far
and wide. (In short, her ornate beauty is a
"card" for Cupid.) Bhartrhari, in his
abhimata (Sprttche, 494), speaks of ** cutting
the creeper of shame/'
* Produced by her motion through the air.
* * Revealed slightly by her garments
tossed by the envisaged wind, her limbs, call-
ing upon Love, make him, as it were, to settle
down beside them.'
* * Her earring-pair, by its contact-plays
upon her thick-besaffroned cheeks, seems (to
give marks for the oscillations, i.e.) to make
a mark for each oscillation of the swing, with
an eagerness of counting.'
* * Her eyes, like her palm [in size —
cp. i. 16*, 30<'], on a sudden blossomed-open
with curiosity, seem to deliver bluelotus-petal-
arrows to the Five-arrowed Grod.'
7 * The braid-stock behind her, acting the
part of Cupid's whip, (goes downward, as it
were, saying, i.e.) seems to say [threaten-
ingly] as she sinks or is on the downward
oscillation, *^ There shall in no wise be an
interruption of the course of the swing." '
I take padai of the first half of the for-
ward oscillation, when the braid stands out.
Of course it may refer to the first half of the
backward oscillation; and if so, we must
render, * the braid falls on her back.'
* *■ Thus this maiden's winsome-grace-
257]
KiNQ. [Dejectedly.^ Ah, Karpura-maiijari has dismounted ! Empty
I the swing ; empty my heart ; empty tlie eyes of one who fain would
Jestbr. She's come it on you like a streak o' lightning,' eh ? in a
wink — seen — vanished ? [3]
King. Speak thou not thus. [Say rather,] like the mirage''' — seen
and evanished.^ £ffe makes as if recalling something.] [6]
As red as madder are her close-seated lips ; like freah-wrought gold
Wight is her slender form ; her glance outdoes in dazzling litstrousness
or in whiteness,* the new moon's slender crescent ; her jot-black hair is like
eoUyrium. Thus o'er the maid, with tremuions fawn-like eyes, there
playa this beauty of colors ; * and by them,^ arrogant Cupid in enthralling
youthful hearts, seems to have fulfilled his purpose. 41
Jester. Here's the Emerald Seat. Sit down on it,' old man, and
wait for her. [a] Besides, the evening is at hand. [Thai/ do ««.] [4]
King. The night, though very chill, [to me] seems like the very
scorching hour of a summer's midday. [5]
Jester. Well then, with [the remembrance of her] Loveliness as his
[sole] companion, let the King just wait a jiffy while T fetch the various
refrigerants to cool hira off. [At that, he makes aa if he were leavivg ike
stage,^ and looks before him.] Why, but here's Vichakshana coming this
way [and already] quite near by. [8]
radiant swing.dispUy-way8, — in whoae heart
(citta) does not the skilfiil piclure-maker
(citta-ara, SItt. eitra-kara), Love, as it were,
depict [ihem] ? '
Vilasa is ' grace,' but also ' merry play '
with a connotation of coquetry. Ujjala,
' blazing out, bright.' — To pavanca I osaign
the meaning a^ambara given by Uala,yudha.
— Caiia has a vague meaning tor which even
Iho word "acta" U too precise; "waya" is
perhaps Ita best English counterpart, — The
I'rftkril makes a pun on citta, nhlch is lost
iu Sanskrit. — Properly, (kioQa is 'skilful,
clever.' I take It as '(playfully) skilful,'
thereby straining it a little, I fear, in tlie di-
rection of vidagdha, 'sly.'
1 'Then it was lightuing-stteaked (ini-
peiBonaJ passive of denominative) by her.'
* * Like the town of llariQchandra. ' — He
was expelled from heaven (or pride ; but, re-
o be intentional and I
penting during his fall, he was forgiven and
was stayed in mid-air, where be and his are
now sometimes seen in their aerial city.
' Note the striking contrast between the
King's love-lorn solemnity and tbe Jester's
facet! ousn ess. The difference between ^afflu
and pa-9at(ha seem
have reproduced it i:
* DhaTaliroa- is
diance of a glacice
the moon.
» For leha, see note to iv. 20«.
' ' By which (jia, acilioet rehae) Cnpid
appears as possessing an accomplished objeek'
' I suppose tlkat the Iflng had risen from
it in his excitement. He does not seem to
have left the Arbor since ii. 20".
' We have therefore now to imagine the
stage as represenUng simultaaeauaiy two dit-
ferenl scenes: 1, the "Emerald Seat" with
ii. 41» —
Translation.
[258
King. At hand is
The time appointed, as ber friends have told it.^ [9]
[As if recollecting ; and betraying by his manner the eagerness oflove,"]
[10]
Thy hands and feet are shoots of tenderest growth;
Thine eyes, meseems, are water-lilies blue ;
Thy face, albeit like the [cool-rayed] moon ; —
Although thy form is like a champi^ fresh ; —
Alas, oh marvel ! how they me inflame ! * 42
Jestbb. [Looking attentively.'] Ah, here^s Vichakshana, with vari-
ous refrigerants. [2]
[Tlien enters Vichakshand carrying the refrigerants,^
ViCHAKSHANA. [Stepping about.] Oh, how my 'dear girl suffers
from the burning fever of separation I [5]
Jester. [Approaching her.] Lady, what have you here ?
ViCHAKSHANA. Various refrigerants.
Jestbb. Whom are they for ?
ViCHAKSHANl. My dear girl. [lO]
- Jestbb. Well then, give me half.
ViCHAKSHANA. What f or ?
Jestbb. For the King.
ViCHAKSHANA. But, [I mean,] for what reason ?
Jestbb. And what's the reason in Karpiira-manjarrs case ? [15]
ViCHAKSHANA. Don*t you know she's seen the King ?
Jbsteb. And you — don't you know the King's seen Karpiira-
maniari ?
'' lAt thatf they both laugh.]
the King seated, ** alone ** ; and 2. the meeting-
place (near by, to be sore) of the Jester and
Yichakshanft. Op. the Analysis, p. 219.
We are to suppose that the King does
not hear the Jester^s remarks (ii. 41> and iL
42') nor the ensuing colloquy (ii. 42^ as far
as iL 49^) ; and that, in strictness, the Jester
does not hear the King*s remark, ii. 41*.
And yet, curiously enough, the Jester
does turn this last phrase to account by quot-
ing it, mockingly, at ii. 50^, as if he had legit-
imately overheard it. See ii. 60^ and note.
1 The King here lapses into rhythm, al-
though the forms are Q&urasenI : see preced-
ing note. The appointment refers, I think,
to a nocturnal meeting immediately following
the close of act ii. Sgf** See additional note
upon p. 289.
* ** Inflame,'* with literal and with meta-
phorical meaning, as in Pr&krit. One ex-
pects green shoots, water-lilies, etc., to be
cooling, not inflammatory. Similarly ill. 20.
* * Possessing a taken coolness-contriv-
ance totality.' See OB., ^igiropacara. S&-
magri, * totality of the needful requisites.'
B&na gives a most interesting list of the
means used to allay the heat of the body at
Harsha-charita, p. 177-178.
259]
Act Second.
— ii. 48«
ViCHAKSHANA. Where is the King, then ?
Jesteb. At the Emerald Seat, as you ^ directed. [20]
ViCHAKSHANA. Well then, stay with the King near the door of the
Emerald Seat, in order that, since each has seen the other, the last fare-
well may now be said to all refrigerants 1 ^
Jesteb. [Put* his arms around her. Then^ throwing away the refrig^
erants^ he says to them:'] Be off to the land of Never-come-back I \^And
addressing her:"] Why then must we stay in the neighborhood of the
door ? [26]
ViCHAKSHANA. On account of the Queen's directions.
Jester. Why such directions ? '
ViCHAKSHANA. The Quccu has planted there ^ three young trees.
Jesteb. What trees? What trees? [ao]
ViCHAKSHANA. An amaranth, a tilaka, and an agoka.
Jesteb. Pray what is she going to do with them ?
ViCHAKSHANA. The Quccu said to Karpura-manjari :
When a maiden who is in love, embraces an amaranth, or looks at a
tilaka, or touches with the tip of her foot an agoka, then they burst into
bloom. So do thou satisfy for them their longings.^ 43
And now Karpiira-manjari is going to do it.
Jesteb. Well then, I'll fetch the old man from the Emerald Seat,
station him where he'll be hidden by the tamala shrub, and let him witness
the affair with his own eyes.* [2] J[Se makes as if doing so.*' To the
King.'] Ho there, up and behold the moon's crescent [beaming] over
the ocean of your heart.® [5]
[^The King rises and looks."]
^Then enters exquisitely adorned, KarpQra-mafiJarl.'] [7]
Kabpijba-maSjabI. But where's Vichakshana ?
1 At ii. 20^ '. There he seems to have
remained since ii. 20^^. Cp. ii. 41^ and note.
* Cp. ii. 6*. The ardor of the two lovers
is now such that nothing will any longer avail
to cool them.
' ' Of what nature (significance) are the
directions ? *
^ In the palace garden, near the door of
the Plantain Arbor (with its *' Emerald
Seat*') and the scene of the swinging.
* Do thou satisfy for them their long-
ings to bring forth flowers, by doing these
several acts : cp. i. 20^ and see my notes
thereto.
> * I will make this thing to be before his
eyes.'
7 See note to ii. 417.
8 Compare BaghuvaAfa, xii. 36, where
Sit&'s laugh is likened to the moon rising
from the ocean.
ii. 43»
TVanslatian.
[260
ViCHAKSHANA. {^Coming up. to her from behind.'] My dear, now do
as the Queen directed. [lO]
King. But man I what's this ?
Jesteb. Just you keep behind the tamala bush and you'll find out.
ViCHAKSHANA. Here's the amaranth. [13]
IKarpUra-mafijari puts her arms around it,']
King. This lovely maiden, whose swelling breasts are ample as a
water-jar,^ by her impetuous, close embrace, hath made the young ama-
ranth tree to blossom with such a profusion of flowers that a [veritable]
procession of swarms of bees has [already] arrived here 1 44
Jesteb. Ah see, ah see, the mighty jugglery I For
The amaranth tree, young though it is, just now close enfolded in her
tender arms, all on a sudden shoots forth a multitude of flowers, — Love's
arrows, as it were* 45
King. Yes, not one whit less is the power ^ of longing.
ViCHAKSHANA. Here is the tilaka tree.
[KarpUra-mafijari stands a good while looking at it with sidelong glancesJ]
King. Piercing, restless, and just touched with jet-black collyrium,*
and having ever as their ready helper the Five-arrowed God* who bears
the [flowery] shafts, — such are her eyes ; and when* with them upon the
tilak tree the fawn-eyed girl a sudden onset ^ makes, then it stands as if
thrilled with delight,^ its crown all bristling® with masses of clustering
blossoms. 46
ViCHAKSHANA. And here's the a^oka tre^.
[KarpQra-mafijarl makes as if she were giving it a dainty kick,]
1 Cp. ii. 24«».
* * Precisely such is the power. ' The tree^s
longing (and the girrs ?) most have been so
powerful as to produce this magic effect
* *• Anointed with a small portion of col-
lyrium.'
* ' Ever making or putting (kr) Cupid at
her side.*
» Literally * When (jam) the attack of
the fawn-eyed girl's eyes, piercing, etc., fell
on (was precipitated on) the tilaka-tree, then
(tarn) it stood thrilled as it were, etc.'
* Hemacbandra, 800, gives dha^ as one
of four synonyms (see above, p. 201) for
^'sudden attack," ** surprise," — for that
which, *Mf it happen by night, is called
sauptika," so familiar as main incident and
as title of book x. of the Mah&-bh&rata.
^ Properly, » horripilated, bristling.'
Hindu poets constantly make allusion to
horripilation or bristling of the hair as caused
by emotions of pleasure. This again (see
note to i. 32) is a curious fact of racial psy-
chology ; we think of it chiefly as a sign of
terror. Cp. iii. 24 and note and iv. 21.
B Dantura, * toothed, tusked,' and so
* thickly beset,' or * bristling,' and in evident
rapport with romaiicio.
No aooner' had the-maid, whose face is fair
Ab is the radiance of the dapple moon,*
Id graceful pla^, to the a9oka given.
With [rosy] foot* whose [jewelled] anklets rang,
A [dainty] touch, — than • in an instant buret
Forth into blossom, e'en from every spray
In all its crown, a gorgeous show of flowers —
A sight for all the denizens of heaven 1
47
Jester. Say, man, do you know the reason why the Queen* didn't
satisfy the longings of the trees lierself ?
King. I suppose of course you know? [2]
JesTeb. I"11 tell, if the King won't get wrathy.
King. What occasion is there for anger? unseal your tongue and
apeak, [s]
Jester. Although in this world comelinesB of person does maintain
the attractiveneaa of doting matrons," nevertheless, niethinkst it is in
youth's tenderest prime that Lakshmi (or Loveliness perBonified') mani-
fests herself as presiding deity. 48
King. I catch your drift ; ^ and, what's more, have something to say
[on that point] myself,
In spite of the fact that^ [very] young maidens,^ by reason of their
eager curiosity,' are [a bit] iickle-minded, nevertheless,^ it is with them,
— their breasts just budding into view, — that the mystery of the Dolphin-
bannered [God of Love] doth abide. 49
Jester. [Yes,] even trees blossom out with the mystery of the
beauty of form ; but they know not the mystery of love.'"
' The two ca'8 hint at the fact that the
toDcbisg with the foot and the burating into
bloom occurred simultaneously. — Scholiast.
Cp. iii. a*.
* ' Deer*potted [moon], [moon] flecked
like the black antelope,' — see ii. 20 note.
* A^bi^,
* ' Do you know what is the reason (in
this, ettha, Whitney, % 303 a, i.e.) for this,
that (jam) the Queen, et«. ?'
* It seems to me licit to asaign this con-
notation to kimipi, which 1 take as antitheti-
cal to both tam^nae and balan.
* 'Understood is your
what you mean,' namely, that the
a trifle pass^ as compared with ttiis tender
bud, Karpara-maHjarl. The form of the Jest-
er's statement was purposely vague.
' ' Maidens are llckle — just so (emea) I —
but (pn^o) the mystery abides with ew."
For emea, see Weber's Hala, no. 865.
" Like Karpara-ma&jarf, as contrasted
with the oldish Queen.
' Which is still onrestrained by the ex-
periences and the sophistications of life.
'" A staid matron like the Queen may
continue to i)ear lovely children, as the trees
bear lovely blossoms ; but she no longer
knows the keenness of youthful passion.
ii. 498—
Translation.
[262
{^Behind the stageJ]
One op the Bards. A pleasant evening to the King I
Behold, [the sun,] the jewel of the day,^
His face red-yellow, like an orange ripe,^
Hangs on the crest of yonder sunset-hill.
Now Ruddy Groose and mate, alas, must part : *
Their only friend hath left them — he whose rays
Are myriad strings dyed gorgeous, madder-red>
He slackens now his fierce impetuous heat.
And with it quick the pride of jealous maids;*
Lulls half to sleep the eyes of all the world ^
And drowsy lilies that bestud the pool.^ SO
King. At hand is now the even-tide —
Jester.
** The time appointed, as her friends have told it.'* * [2]
KARPURA-MASfjARi. Vichakshana dear, I'll go now ; it's evening.
ViCHAKSHANA. So let US do.
l^TTiereuponf they step abotUy and exeunt omnes,^
[End of the Second Act.']
1 The stanza in outline reads: *The sun
(dipamapi), making . . . , relaxing . . . ,
possessing a madder . . . ray multitude, sole
friend . . . , has become (jao) suuset-hill-
aituated,* etc. I have reversed the sequence
of the clauses.
* One is tempted to think that a ^nor-
ange : an orange : : a naddre : an adder : : a
numpire : an umpire ; but it appears that the
n of n&ranj, ^aringa, was lost before the word
was adopted into English speech. See C. P.
G. Scott, Transactions of the American Phil-
ological Association, rrlii. 278, 272.
* The love and constancy of the Ruddy
Gk>06e and her mate are proverbial. They are
doomed to pass the night in most pitiful sepa-
ration. Hence the sun is their ** sole friend."
See Wilson's Meghadata, note to 82.
4 * Possessing a multitude of rays which
have the color (or gorgeousness) of madder-
dyed-strings.'
* * And at the same time (saha a) relax-
ing or making to relent (mniicanto) speedily
(sarahasam) his impetuousness (tiwa-bha-
▼am), together with the hearts of jealous-
proud- maids.' — Night and moonlight (cp. ii.
5*») put an end to their pouting (as do the
breezes of spring, 1. 16>>), so that they yield to
the gentle influences of love. The same idea
at iii. 80*.
^ * With the eyes of people at the same
time (saha) making the lotus-group to be
possessing half-sleep.' There is here a slight
laxity of expression.
7 The day-blooming lotuses (kamala's)
that close their eyes (nimllanti) at evening,
as opposed to the night-blooming lotuses
(komuda's) , that open their eyes (onmifanti)
at evening — see Kftvyftdar^a, i. 94, and
9tU8adih&ra, iii. 23.
The latter are white and close their eyes
at dawn, as appears from what is perhaps the
loveliest of all the stanzas of Kftlidasa, to wit,
antarhite etc., near the beginning of act iv.
of gak. — Cp. his Urva^I, iii. 16.— See B5ht-
Ihigk's Hemachandra, 1160-1165, p. 217.—
With this stanza, cp. i. 86 and iv. 18*^.
> The Jester mockingly takes his words
from the E^ing's own mouth (see ii. 41*).
The part that he quotes forms an indravajrft
line, but in the dialect of prose. See p. 267,
note 8, and j^* p. 289.
ACT III.
[^Then tnltrs the King witk the Jetler,^
KiKG. [ With hig thougktt on Aer.]
Fat far away from me the champak^ bud I
What use have I for juicy turmeric?'
Of what esteem is gold thougli ne'er so pure?
Before her loTeliness, whose radiance sweet,
Is likest that of newly risen moon,
What need of bakul blooms, profuse and fresh?' X
And again :
Bright ae a necklace strung with emerald genis.
Or wreath of jasmines where the bees have sucked,
Her lovely glance, oa quick she bent her neck,*
Shot sidelong by,* and pierced my very heart,' 2
Jester. Say, man, what do you stand there for, reeling off your
twaddle like aD uxorious hushand ? ^
' See 1. U', 10», and notes.
» The rhizome of Curcuma longa, a plant
of the ginger family. It Is used as a condi-
ment ; aa a dye-stuff, it yields lovely sliades
of yellow ; and when chewed, aSecls the
■aUva as would saffron. See Pliny, N. H.
xxl. 70, cited by BR.: Indicaherba, lingiberis
efflgfe, conmanducata croci vhn reddit. — In
oll-ollai (instr. s. fem. with bai-), Che stem ia
doubled.
' ■ What occasion Is there (with, i.e.!
for heaps of blooms of bakul, tbough freah ? '
The bakul, Mimnaopa Elengi, Roxburgh,
p. 318, has flowers that are whiU and fra-
* ' With an impetnoualy bended neck ' —
as avyajibhaya.
' ' Glance, directed Inwards (see vig -f ni
7) in BR.) the region of her ear.' The coquet-
tish glance is usually sidelong and comes
OS it were from the outer comer of the eye
(apinga). In darting such a glance, the girl
may bend ber neck or torn her bead and so
look by the place where, with her head in Its
natural position, her ear would be. —
One might suspect here a reminiscence of
Bhartrhari,wbo, In his san-marge, q.v., speaks
of "glance arrows" (drfti-banaa) whicb are
^vapa-palha-gatfcs.
" The " Sidelong glance," katak^, etc. —
Dan^in, in his Poetics, ii. 327, gives, aa
example of vige^kti, a stanza which says :
The women have no battle-cars, elephants,
cavalry, nor foot-soldiers ; and yet with their
sidelong glance (apanga-dr^ti) they conquer
the three worlds. — Parab, Subh,. p. 434-6,
baa some 19 staniafi on the kata^sa. — See
Bhaitfhari'a stanza, just cited, = Sprllche
6824. Further, Hula's Sapta^taka, &05. —
See also ii. 5 and my note on ii. 6K
"Bhftjjajida, literally, 'wife-conquered,'
seems to me in this connection necessarily to
suggest the doting, foolish, overfond husband,
raUier than the hen-pecked one. For the
contempt in which the latter waa held, see
SprUohe, 4086.
iii. 22—
Translation.
[264
King. My thoughts, man, are on a vision that I've seen in sleep.
Jbsteb. Well then, old man, tell it to me.
King. Methinks a maid with a lily-face stood in my vision within
reach of my hand, and was about to strike me quickly with a blue lotus as
I lay on my pleasure-couch. And then with eager haste did I catch hold
upon the loose end ^ of her garment. No sooner ^ did she, leaving it in my
hand, depart, than ^ my sleep, as it seemed, suddenly vanished too. 3
Jbsteb. lAaide^ to himself. ] Should think it might have I \^Aloud. ]
Say, man, I too saw a vision last night.' [4]
King. [EoDpectanUy.'\ Tell me then, what was the vision ?
Jester. Methinks, last night in my vision I fell asleep by the
Ganges. [7]
King. And then, and then ?
Jestbb. Well, then the Ganges put her graceful little foot on the
head of (}\yb, and washed me clean away with her water. [9]
King. And then, and then ?
Jesteb. Then by a cloud that was raining at the autumn season to
[its or my] heart's content* I was absorbed, [u]
King. A marvel, a marvel! — And then, and then ?
Jester. And then, when the lordly sun had entered the asterism of
Chitra,^ the great cloud went near(?)* the place where the Tamraparni ^
^ ^ With eagerness by me hastily she was
held or caught on the loose end/
* Ca . . . a : op. ii. 47 note. — Root muo.
s Adya. — Modem English distinguishes
by **last night'' and «* to-night'' what in
Sanskrit is contextually distinguished : thus,
adya^ asmabhir aira^ afitvi, prata^^, etc.,
* to-night we'll stop here, and early to-morrow
morning,' etc.
* Is jadhiccham used dir& koipo0 (kaki-
k^ivat, as the Hindus say)? I see no great
pertinence in it in either case.
* At the time of R&ja^ekhara, the autum-
nal equinoctial colure would be less than ten
degrees west of Spica, and the sun would be
»* in Chitrft " in " autumn " (iii. S^i).
For the transformation of rain-drops into
pearls, see Sprtiche, 844, 1544, 4020. Accord-
ing to the stanza samtaptayasi (Ind. Ant. xiv.
823 ; SprQche, 6781 ; and elsewhere), the
transformation takes place under Sv&U : see
p. 214, above. So in Manwaring's liiarftthi
proverbs, no. 1291 : **If the Sv&ti rain fall,
there will be a crop of rubies and i)earls, but '
you will not get cotton enough for a lamp-
wick." Now Chitrft and SvftU have as their
principal stars respectively Spica and Arotu-
rus; and at the time of Rftja^ekhara, the
approximate longitude of these two stars was
respectively 188° 82' and 188° 66', that is
practically the same. The author's mention
of Chitrft, therefore, is not fortuitous, but
significant. — My thanks are due to my
honored colleague. Dr. Asaph Hall, for his
kind help in matters of this nature. Cp.
Whitney, Oriental and Linguistic Studies, ii.
377, and his chart of the zodiac.
^ Is anie^a used '* prepositionally " (like
antare^a), here compounded with its ** gov-
erned " word-stem, and in the sense of ante,
* near ' ?
7 Cp. i. 17* note.
265]
Act Third.
— iii. 61
empties into the ocean. I, too, as I think, am within the cloud and go
with it. [15]
King. And then, and then ?
Jester. Then the cloud started to rain there with great big drops of
water ; and the sea-oysters, such as they call pearl-oysters, emerged from
the waters ^ and absorbed me ; and I was within them and became a
monster pearl.^ [l8]
King. And then, and then ?
Jester. Then in four-and-sixty pearl-oysters [successively] I was a
drop of cloud- water, surpassing the opal* in hue, [and then,] in due
course, I attained once more to the condition of being a pearl, one of per-
fect roundness,^ clear, and flashing. 4
So I, whom you see before you,^ fancy that my own self in the shape
of a pearl,® was inside of those pearl-oysters, [l]
King. And then, and then ?
Jester. Then those pearl-oysters were taken from the ocean as soon
as they were mature, and they were opened. And I was among the four-
and-sixty pearls. And a certain merchant bought me, giving [for me]
a hundred thousand gold pieces. [5]
King. Oh, what a wonderful vision I And then, and then ?
Jester. Then the merchant sent for the jeweller and had him
bore a hole through me.^ And that gave me a little something of
a pain. [9]
King. And then, and then ?
Jester. And with the pearls of that lot,® weighing ten mdshakas
apiece, a single row was strung in necklace style,^ and it was priced at
ten million gold pieces. 5
King. And then, and then ?
1 For the form, see p. 203.
3 This time it is a pearl of ten m&fakas
— see my note to ii. 17^ See note 6, p. 264.
* The tabasheer is a variety of opal found
in the joints of the bamboo.
* * I arrived at new-pearl-ness, very
round, without any flat surfaces* etc., i.e.
* I arrived anew at ' etc.
^ Thus I would express the force of so
aham.
«*With or by (my) pearl-ness.' For
attanaam, see Pischel on II. 3. 60.
f * Then by him, fetching the jeweller,
the pearl was caused to be drilled.*
> « With that pearl-lot (of 64 pearls),
weighing 10 mi^akas apiece.* Tlie ex-
pression is loose; the adjective is logic-
ally an adjunct of mntiahala and not of
mai^dala.
* That is, so as to form a necklace rather
than a bracelet or what not : cp. hara-latfhi,
iii. I8i> ; and mai^-yaffii Urva9l, ill. 10, and
Kale's note.
iii. 6»—
JVanslation.
[266
Jester. Then [the merchant, whose name was] Sagaradatta, put it in
his casket and went to the capital of Vajrayudha, the king of Paiichala,
to Kanauj ; and there he sold it for the ten million. [3]
King. And then, and then ?
Jesteb. And then,
As he, [the King of Kanauj,] considered her towering ample breasts,
and also the beauty of the single string of pearls, he put it on the neck of
his beloved. — Men of sense are pleased to see like meet with like. 6
Moreover :
At midnight's hour, which was full of moonlight resplendent through-
out the sky, in love's embrace the royal pair had closed their eyes for
terror at the shaft^ of the Flower-arrowed God. Then by the plumpness'
of her exceedingly towering, full, and jar-like breasts was I sore beset —
[and so] awoke ! 7
King. [ With a faint amile^ and then reflecting.']
You knew that this vision of mine, in which I met with her whom I
love as my life (jE?dna-<ama-), was unreal ; and so you thought you could
dismiss it from my mind by your counter-vision.' 8
Jester. A decayed chieftain, a brahman exhausted with hunger, a
naughty young wench, and a forsaken man, — these beguile themselves
with the sweetmeats of wishes.^ And I ask you, man, whose power, now,
is that? 5
Klng. Love's. [3]
Jester. Although your love for the Queen has grown by [long]
attachment, why, pray, do you, sir, fairly spreading your eyes over all of
Karpura-manjari's person, gaze at her as if you were absorbing her ? are
the Queen's good points inferior to hers ? [5]
King. Speak not thus !
Suppose the knot of love is tied betwixt some man and some maid; for
all that, beauty, I think, is not the [sole] cause of it.® But if, even in that
1 Strictly, •blows,' •ahots.'
* Konow refers me to Kirfttftrjonlya, iv.
8, where MaUin&th glosses nive^a by • large-
ness, plumpness * [of the breasts].
* •This vision, not real, — it, possessing a
meeting with the life-equal-girl, thouknowest.
And by [thy] counter- vision, the warding-off
or dlsmiHsal of it [of my vision] is thy inten-
tion.* ^ Konow compares Yiddh. i. 22^.
* That is. Of whose power are these
wishes and longings a manifestation ? For
the first two of the four cases, pemmam seems
to be too specific.
* • Just under those circumstances (emea,
cp. ii. 40*), beauty, methinks, is not the [sole]
cause of it' (tattha) : but rather, says the
Scholiast) the working out of the inborn
nature.
ease,' the [girl's] loveliness is much praised,' that is done to put a seal on^
the mouths of imkind-spoken people. 9
Jester. But what, sir, is that which they call " Love, love " ?
King. The knot of attachment which exists between a mutually
united pair, and which has grown strong under the dispensation of the
Dolphin-bannered God, — that the connoisseui-s call "Love." [a]
jEaTEU. And of what sort is it ?
Kino. [Love is that] in which the feeling within the heart attains*
to sincerity and is devoid of the blemishes of auspicious behavior and
so forth ; * in which there is an on-flowing stream of longing of each for
(.he other ; whose very essence is imparted by Cupid and enhanced by
amorous play. 10
Jestek. And how might it be recognized ?
King. They whose hearts are set, eacli toward the other, in utter
commotion by the unforced flow of very restless glances ; who speed ever,
more and more, the arrows that Cupid gives them ; — of such persons* the
heart-wound becomes very easily manifest. U
Jester. That which has the outward beauty of a deeply seated
disturbance of heart, — that the world calls " Love with Cupid's adorn-
ment." Hard as it may be to recognize, a person does manifest it among
people. That we know to be Cupid's very raiglity jugglery. 12
Moreover, if the love that is in the heart ^ [of the one] awakens [in the
otlier a corresponding] attachment, what occasion is there in that case
for the trickery of the bravery of ornaments ?
King. That's true, man I
What need of girdles, bracelets, diadems, anklets ? what need of
beauty ?^ and what need of the shows of ornament ? [There is no need
completely agibited by glances which are
nalure-flowing and very restlesa, ihe send-
IngB-fortli of tbe Ciipid-|{iveD -arrows iucreaae,
— of them' etc.
In this Tcrston I follow NB. reading
(instead of lo^tU, 'Tobbed') In^thia, 'agi-
tated.' I take perantS'luntiiia a» ' boundaiy-
agitated,' 'agitated to their very limila.' —
See OB. under tar + vi 5).
' For maqa and citta, occurring together
at iii. 12^ > and iii, 11, there aeems to b« but
one available Knglisb word, namely ' heart.'
' Neither gewgawanorbeauty signify much
where the passion is mutual. Canga and ita
' Where beauty U not the sole cause of
the attacbnient.
^ Ab an ostensible reason (or the love. —
Since mah ia not neceasarily = kanks (see
Pischel, II. 4. 102), I suppose I am justified in
connecting mamjai here with Vedic mah
('is extolled, is mngnified'], and not with
manth, MarJLthI mathaQem (' is revolved, con-
sidered, taken into account').
' 'Then (tam, oorrelalive to jam, 'if') a
seal is put on ' etc. * Ei, that is, eti.
' 'Of suspicion -behavior and so forth,'
vi*PP^el>'^A9a-al-'
* ' Of what persons, possessing hearts
iii. 13 —
Translation.
[268
of all that.] And so,^ in this world, it is something else^ which puts the
flowers of happiness in the grasp of fair maidens. 13
And again :
What need of the performance of song and dance ? and what need of
strong drink ? what need of incense of aloes ? and what need of saffron ?
— On all the earth in daintiness naught else can equal man*s tender
passion.^ 14
And again :
The consort of an emperor and the wife of a common man, — in the
matter of love there is not even a grain of distinction between them to be
found, methinks, [even] if a certain difference in outward splendor is
effected by rubies and decorations and garments and saffron. 15
And again :
Why speak of restless eyes — of face like to the moon — of towering
breasts ? There is some other reason here, I think, why women from our
hearts^ do ne'er withdraw. 16
Jesteb. That is so. But explain to me another thing : [Even in
that] which during childhood is unattractive to the heart of a man, —
even in that, with [the attainment of] adolescence, a certain beauty
develops itself. [2]
King. Surely there must be here in the world two Creators who are
skilful in building the body and in giving it the bloom of youth: the
one fashions the first girlish form ; while the second, by giving it the
finishing touches,^ brings out its loveliness.^ 17
And therefore :
Bejewelled bracelets and girdles and anklets, beauty of dress, strings
of emerald gems, mineral rouge,^ a necklace of pearls, — [all those things]
derivatives are used of natural beauty — cp.
^iaagga-canga, iL 26*, and paai-oangima, ii.
26<>. As to the form (instr. b. fern., from Skt.
an-stcm 1), cp. amha cited by Jacobi, § 42, ^.
^ I take tarn as * and so/
* * There is of faii^waisted maids some-
thing else [than gewgavre — namely, native
attractiveness], by which they get the flowers
of happiness.* Or, suhaatta^a may be the
ensemble of womanly charms that draw and
hold fast her lover's heart.
* I am not sure that I have hit just the
right meaning of mccissa : nor do I see the
appositeness of po^n.
* Ablative singular or plural, H. 8. 8, 9.
* ^ By carviug it or sculpturing it (Scho-
liast, ntldrya), by putting on the nicer
touches* as contrasted with the first or
rougher ** fashioning'* (ghaja^a). The
Marft^ ka^dara^em, cited by Dr. Konow,
is an instrument used for the finer work of
goldsmiths and others.
^ * Makes fully manifest (the form), dis-
plays it to advantage.*
^ Properly, gfiirika, which is usually de-
fined as * ruddle, red chalk.* But Hema-
chandra, 1086, makes it a synonym of dhatn,
and this is a liquid mineral which wells up
Act Tlnrd.
— iii. 208
are surpassed by the youthful bloom of maidens,^ which is the spell that
fascinates the heart, and la a sixth arrow of Cupid,^ and a charming one.
Moreover ; 18
A form full of loveliness, eyes that reach almost to the ear and have
large pupils, a bosom with ample breasts, a waist that has the triple folds
and may yet be grasped by the fist, wheel-like buttocks,^ ^ pray what
need of aught else in the time of tender youth ? Just these five things
put into maidens' hands Cupid's great banner of victory,* 19
[Behind tht ttagr (is heard the Heroine, saying:)]
Friend KuraSgika, I am really languishing by reason of these refriger-
ants, aa a lotus [languishes by reason of the arrival of the torrid season
that calls for the use of refrigerants].
A shoot of lotus-root [to me] seems like poison ; a string of pearls
seems like a poisonous serpent ; the breeze from the palm-leaf fan seems
to spread flames ; * likewise the water from the jets of the shower-bath as
it comes out on my hand is hot ; and not the saodal, that sovereign
remedy [against heat], allays the burning of my frame. ^ 20
Jester. Did the old man hear? are his ears loaded with a jowl-full
of the nectar ? ' [2] wiU he then even today take no notice of his lotus
root * that is languishing by reason of the intense heat ? of his saffron
dolly that he has to play with,^ that is being sprinkled with most intol-
erably scalding water?'" of his single string of monster pearls that [now]
< ' By just these five thingH maids become
possesBiDg Cupid's bajiner.^
* ' The wind spreads as it were Ita frieod.'
The friend ot the wind Is the fire, — Heina-
ehajidra, 1009, p. 444. OB. cites ani]»-aarAthi
u a Dame tor Sre from MBh. i. 15. 1 = 1068.
■ Similar thougbu at li, 42.
^ Nectar □( the Heroine's words. — The
ladicTous incongruity at tiie metaphors is
doubtless intenlioDal.
■ Manalia, properly ' little lotus^root.'
le it used in the sense of mr^&lim, ■ lotos-
plant,' part pm tolof At any rate, it must
be rendered bo as to bring out the jocose
allusion to the Heroine's own words at iii. 19".
— MrnSlikJl is used as a girl's name (with
many otiiers) in the K&dambail, p. 360'.
' ' Play * aaftron-doUy,' — cp. ii. 12.
10 ' Water intensely boiled and intolei-
able,' in allusion to iii. 20*.
from the ground. The wounded Qalya is
said to run blood as the mountain runs g&i-
rika, MBh., Ix. 13. 14 = 1X9. It is mentioned
at Meghodflta, 102, as a pigment (dhatu-i&ga);
and at Kum&ra-sambbava, 1. 7, as a sort of
liquid mineral color (dhata-raaa), such as
might be used to inscribe love-letlera on
birch bark. Cp. my nole on ii. 7, above.
From tlie Hame poom, i. 4, we may infer that
it was used as a cosmetic, since it is there
menUoned as a decoration for the nymphs of
heaven. So here.
' The five words ot linea ab are nomina-
tives absolute, with anacoluthon. We must
repeat them In accusative form in cl as objects
^ tie regularly has Bve : cp. paSca-bana,
paScesQ, pafica-sara, in Index, and p. 2S9, n, 2.
■ VVe have had motil of these most fleshly
details already at i. 32 and 30 and ii. 23.
iii. 20« —
Translation.
[270
in a trice is parting ? ^ of his meadow of rose-bay ,2 that the musk-deer are
plundering ? * [3] — Well, your vision has turned out true.* Come, let us
go in. [5] Let Cupid's banner be exalted. Let the strains of cuckoo-
warblingfs start up in your wind-pipe. [7] Ease up with the floods of
tears. Slow down with the torrents of sighs. [9] Let loveliness renew
itself. Let us go in by the back door.*
lAt thaty they make as if they were going tn.] [12]
[Then enters the Heroine, with KurahgikdJ]
Heboinb. \^Timidlt/ — to herself .'] Why! is this the full moon sud-
denly descended from the court of heaven ? [15] or has the Blue-necked
God [^iva], well-pleased, allowed Cupid to resume his own bodily
form ? ® or is some one who is a rascally foe of my heart and a kindly
friend of my eyes about to show me special favor? ^Aloud.'] This I
regard as a piece of jugglery. [l9]
Jester. [^Taking the King's hand.'} Lady, the jugglery has become
real. [21]
[The Heroine stands abashed.']
KuBANGiKA. Dear Karpura-manjari, rise to meet your lord and
salute him. [23]
[The Heroine is on the point of rising."]
King. [Taking her hand."]
Thy waist is ready to break neath the burden of thy bosom : break it
not, O moon-faced maiden, by rising I — Cupid have mercy on my eyes
after the sight of such ampleness [of breasts] ! ^ 21
Moreover:
In presence of whom, not the beauty of orpiment hath any charm, nor
^ The allusions to lotus and doll were pat
enough. But the tertium comparationis of
this figure and the next, Konow thinks, is
merely the Heroine^ s anguish.
^ The Tabemsemontana (see this in Cen-
tury Dic^y) coronaria, known as Adam^s
apple or East Indian rose-bay. It is a very
fragrant shrub, having shining dark-green
leathery leaves, **with elevations above the
veins" (Roxburgh, p. 249). Its Prftkrit
name, ** knot-leaf," may refer to this.
' No jealous rival of the King has turned
up thus far. — But see Konow's view, note 1.
* Only in the most general way (cp. iii.
3): he met her in the dream, and now he
meets her in fact
* For the full significance of this clause
and the following stage-directions, as I under-
stand them, see p. 210-220.
^ Cupid was burned by the fire of Qiva's
wrathful glance and is therefore called
** Bodiless" or An-anga. The story is told
at R&m&yana, i. 23. 10-14, Bombay ; or Ku-
m&ra-sambhava, iii. 71.
7 For their beauty is enough to blind
me I — See note on ^ivesa, iii. 7^.
271]
Act Third.
burnislied gold, nor champak blooms, — with golden flowers I piiy homage
to those eyes with which thou, O fawn-eyed girl, hast been beheld.' 23
Jester. Her ladyship, Karpiira-raauiari, by staying in the inner
room, has become moist witli perspiration. So now I will fan her with
the border of my robe. l_So doing.'] Oh dear! I've put out the light
with the wind from my garment. [4] \_Reflecting. — To himielf.] Never
mind. We'll just go to the pleasure-garden. l^Aloud.] Say, this i*
dancing around in the darkl so let's go out now to the pleasure-grounds,
just by the subterranean exit. [9]
\_AU make as if they were going oul.} [10]
King. [Holding Karpura-viafijarl by the hand.]
Keeping thy hand, which is like a tender spray, within mine, assume
thou, [I pray,] a little unsteadiness* as thou movest along ; in order that
the kala-hafisu8, as they go about in their play, may at last find a rival
who outmatches them in comeliness.* 23
\_Shomng by his demeanor hi/ delight at the touch of her iawi.]
The prickles of the young gourd-melon,* the filaments of the cadamba
flower, which today are witnesses of the touch of thy hand, — these will
remain as if fastening themselves to my limbs.^ M
\Behind the itage-l
A Babd. May the rising moon bring pleasure to the King.
1 To wboBe eyes ? to his own ? if ao. the
StanKs Is Sat indeed!
" Caficttra seems to be an intenBive adjec-
tive from car : cp. caficuryate, and Wliiiney,
5 n48k Cjailjapa, tartura, eM.). TIib pur-
pose of the " unBleadinesa " or "wiuldling"
is, aa I euppoae, lo enhance the similitude
of the girl to the much belauded leal.
* ' In order that at, last the kala-hai^sa-
group, in its play-going, may be uncomely.'
The kala-ha^sa or kadamba seems to
be a kind of while teal with gray wings
(Hemachandra, 1327). Its cry is often spoken
of as most agreeable (kaU — see the examples
in BK,, S.Y. (la), and Hemachandm, 1409).
It was tamed aad held in high esteem. ItSna
often Tnentions it — see Index to Itidding'a
Kadambarl, p. 224.
' Beoiacaoa cerifera, like the pumpkin,
but with a waxy coat. I do not find this in
Roxburgh ; but at p. TOO, under Cucurbita
Pepo, he says of the fruit, that it it, '■ when
young, exceedingly hairy." Note that of our
common Cue urbitaceiB (cucumber, pumpkin),
the fruits are often sharp-prickly and the
' That is, the delight which I feel at the
touch of thy hand causes such horripilation
that the asperities of these plants seem to
hare transferred themselves to my limbs for
good and all. Cp. note to ii. 40''.
This conceit of RSjafekbara reeura at
It. 21 and if. 22 ; see the notes. One la
tempted to query whether it is not a reminia-
cence of Blna : cp. Karaha-charita, lest
p. 20'''^, ntkantakita- kapola-phalakeua,
lagna-karijotpal a-keaara-pak^ma-^akale na.
iva mokiia-^af ina. ^^^ See p. 'J2\}.
.... '^J
Traf4-l2*i.fM.
[272
WLL.r t;-*; ?0Tii.d rjall of :ic rrAni. > i- lliik bj reason of xiae darkness
Zh if It w«:r*: in a sur/t^rraneii: cLan^b^r. lie fa*:* of ihe eastern quarter of
thf; ssicy ha« l^'':oirjf: a^ vellow as a jorii.z bircL with the immnlig^ht ; and
th«; inry^n. bendiTx'^ forth rajj^ that are like in l^amj to the tufts of the
fiUrnens of the wing-scred,^ has risen, digit bj digit, till at last the fall disk
iii afxive the horizon.' 25
And again :
Without saffron, without sandaL' is the embellishment of the ten
bride-like regions of heaven;^ without bracelets, without ear-rings, ia the
decoration of the round earth ;^ without withering, without fainting, are
the flowers • (or without - Parcher/* without - Bewildeier," is the 'weapon
of the God with the Dolphin-ensign >;' a garland of moon-beams is massed
in the skv.^ 96
' MaauuU, Ptc iu gpc i mmn saberifoUnm,
Boxborgh, p. 612, % middling sized tree. The
flowen are white and fragrant and very long,
and ibow a prominent column of united
•tamens. — I ufte ** tofta '* adTisedlT for iih&.
* * The moon haa gone to f ull-diakedneas
in the one-digiumanner.^
* That is. All the heaven is made lovely
by the new-risen moon/* the cool-rayed one **:
it makeii the sky yellow, and that without the
help of saffn-m ; it makes the air seem cool,
and that without the help of sandaL — This
stanza recurs at Viddh. iiL 12.
* Tlie •• ten points " or ** regions '' are the
four cardinal points, the four intermediate
points (NE. etc.)* the zenith and nadir.
These are likened to brides. So Bharti'-
hari, in his bho^ paryankah, describing the
ascetic, says : *' His couch is the ground ;
the blue sky above is his roof ; and the moon-
beams he bath for his candle ; north, east,
south, and west are the maidens (dik-kanyas)
that fan him with breezes for chowries.**
It&ja^ekhara has the same bold metaphor two
stanzas later, iii. 28*, in disa-snndari (if not
also in a variant of iii. 29, ''dig-vadhu'');
and it recurs as dik-sondari in Jayadeva, Git.
Til. 1. B&na speaks of the ** regions/' a^aa,
as maidens, Kadambarl, p. 390^^
* I take bhnvaya-mapdali as * round of
the earth,' = mahi-ma^dala or bhn-mapdala,
Viddh. reads dharapi- for bhuva^a-.
* That is, In the cool moon-light, the
Ik'wers are recovering tnm tlite intense heat,
which -parched'* or *- withered** them
(a^onyal) and which "bewildered*' them
or *- made them faint *' C? aBohsjmt), in tlie
day-time.
Since the stanza it a des oipUou of the
loveliness of the ni^ at moon-riae (iiL 26>),
of its tones of color and ita leriTios flowen,
it most be that the prior interpietsUon of line c
is also the one primarily intended by the poet.
' From Cnpid*8 equipment are "***^"g
** Parcher *' and *- Bewilderer ** : these aie the
names of two of Lovers aiiowa — aee note to
L32^. Both of these names are *^^^\p^f4
among those of the oelestial we^Mxns, paxtiiy
allegorical, partly fandfnl, fdkich sie re-
hearsed in the BAmlyana, cantos 27 and M
of book L ; see especially L 27. 14, 15 and i
66. 7, 8, ed. Bombay. — Lovers arrows, his
bow, and his missiles are all formed of
flowers : pofpft^y asya. ifs-eipa. astn^i,
Hemachandra, 22^.
I cannot help feeling that this altematire
interpretation, although secondary in the
intention of the poet, is the key to the whole
wretched difficulty of this line. Ihe Ghanoe
for a pun has seduced the anthor into nsiiig
mohana of flowers — a use which I cannot
deem unforced. — BR., under ^of, die na
mlayanti na ^ufyanU kusom&nL
* The area of denotation of ftyali and ilS
is not coincident with that of any English
word. See Hemachandra, 1428, for their
273] Act Third. — lii. 39
Jester. Well, Kanchana-chanda has descriljed the loveliueBS of moon-
riae ; so now it's Manikya-chandu's ' turn.
ISehind the iU>ge.'\
The Second Bard. The pleasure-pavilions show circling wreaths
of incense rising from burning aloes ; they are ablaze with the lighted
lamps ; ^ they have pendent festoons of lustrous (or rarest) pearls ; ^ they
Bwarm with doves let loose ; in them are prepared charming pleasure-
couches, and hundreds of confidantes are talking ; while on the divans
appear the pouting women-folk.* 27
And again :
The moon-beams seera as if overspreading profusely with camphor the
faces of those beauties, the quarters of the sky ; ^ they scatter soft moon-
light which rejoices the heart of the people of the earth as does sandal ;
they make the withered bulb of Love to sprout anew with amorous doings ;
and are like to jets sent forth from an autumn cloud. 38
Jesteb.
White Bwaii of heaven's pool,'
Of 5iva"B crest, the jew'l,'
A bull)' of love
'S the moon above I 29
B^nonyma, among which is mila. 'Bow,'
'string,' and 'screak' are among the more
serviceable English veraionH o( the words.
We find avail nswl ol a ' string ' of
pearls ; and of a ' wreatli ' of tresses ; but
also of a 'set' of («eth ; and, humorously.
even of a parrot's two winga, a 'set' of
wings, iv, 2'*. Like its synonym rajl, it is
used with dhama of a -column' of smoke.
Mala is ueed of bees, ii. 1:! ; of curly locks,
ii. at). — J;y= See Konow's version, p. 289.
' 'I'his designation is nearly laniamounl
to Kalna-chanija, the name he bore nl i. 18".
' 'Ablaze with given or brouBlit--in lamps.'
■ See additional note, p. 289.
■'The pavilions are possessing-divivn-
surface-appearing-jealouB- women-folk.' Uc-
changa, ' on the surface,' = ' on,' with atten-
uated meaning, as in the ease of tala = ' on '
and antara = ■ in.'
^ ' I'he moon-beams (enaiiksr-paa) are
giving as it were an overspreadiug (see char
in OB.) with floods of camphor to the faces
of the sky-quarter beauties.' They flood
things in every quarter with a pale whilenen
like that of camphor-gum. — For dik-«nndari,
see iii. 20- note.
* Similarly the sun is so called, e.g. Da{a-
kum&ia-charita, p. V.
' For the moon as ^iva's crest-jewel cp.
i. 3. — The pronunciation of jewel so as to
rime with pool is an inelegance nliicb ac-
cords, as I think, with tbe tone of this brief
doggerel as intended by the author.
■ Kanda, ' bulb ' : more specifically, an
'onion.' One can hardly doubt that the
Jesl«r lakes this particular word out of Uie
Bard's mouth in order to make fun of it. —
In the Bard's stania. It would have been a
little less prosaic if we bad said "withered
root ; " but it is hardly competent to the
translator to let the Jester's allusion dis-
appear. Cp. p. 302, note 8.
Concerning the rimes in tliia and the fol-
lowing two stanzas, see p. 205. — For metre
of 29 and 30, see p. 20T.
m. 30 -
Translation.
[274
KuKAKGiKA. Proud of his ally, the moon,^ crushing the pride of
jealous maids,^ with bow of fresh champak blossoms, Cupid is victor, the
impetuous. 30
[^To Karpura-mafijari.'] My dear girl, I'm going to recite to the King
the verses which you made describing the moon.
IKarpUra-mafijarl stands abashed. Kurangikd recites,"]
On the moon's yellowish disk, which seems to have stolen its charming
hue from some ivory cage,^ appears in all its beauty,^ manifest,^ the
antelope with which the disk is marked,® bearing a likeness to a playful
koil. 31
King. Oh, what an intuition for quite new conceits^ has Karpura-
manjari I what charm in expression and pleasing words ! and what flow
of sentiment I \^Addres8tnff the Heroine.']
It must be that the moon, for fear lest thy [lovely] face be mistaken
for its own, hath made — behold ! — upon its own round disk a black
collyrium-mark, disguised as its ^^ Fleck." ^ 32
And again :
If, O tender-limbed one, thy face were colored palish with chalk-water,
[and if,] besides, black colly rium for the cheeks were put [on it], — then
it might mock at the moon (or, then its likeness to the moon would be
complete).^ 33
1 * Possessing pride made by the moon.*
The moon is Love's most potent coadjutor —
cp. notes to ii. 6^ and 50^, and especiaUy
KSdambarl, p. 569^.
> Gharaf^, is a * hand-mill* such as the
women turn in India — see the excellent k»-
^ftk^a-verse, re re gharaf^, Parab's Subh. p.
434, 105, for which Peterson, SubhashiUlyall,
2388, has re re yantraka. Vfisudeva says
** crusher," pe^a^a-karta.
s Vilasa is * outside looks * and also
'beauty* — such as old ivory might have.
Cp. Kadambarl, p. 300^1.
* Thus I render bhai.
* And thus phorantao.
* * The fleck-antelope * : cp. ii. 20, note.
7 Yatthn, * the substance * (as distin-
guished from the form, ntti) is in this case
little more than a ^ conceit,* that is * ingenious
thought or fancy.*
* * Surely by the moon, thinking to itself
(tti) [with a touch of jealousy], "Not in
any wise shall there be an error (vibbhama)
[occasioned] by the face of thee,** a black-
collyrium-distinguisher (visesaa) has been
made on its own disk-round, with " Fleck **
disguise.* — For the well-known antelope-
spot, see note to ii. 20. — The position of toha
after the tti is exceptional.
* Either, 1. ' Then it would attain to
derision of the moon (genitive), would get a
chance to mock at the moon* on account of
its superior beauty.
Or else, 2. 'Then the moon (nomina-
tive) would get a mocking, i.e. would incur
contempt.*
Or else, 3. * Then it would attain to the
assimiption-of-the-appearance of the moon.*
Cp. fihartrhari*s vaktram candra-vi4-
ambi, pankaja-parihasa-k^ame locane. Here
the parallelism of parih&sa, and B5htlingk*B
interpretation of his conjectural -vidambi
275]
Act Third.
-iii. 34"
ITo the moo-.]
O antelope-flecked one, why waoderest thou, nonchalant, so near this
beauty ? Lo, here is the face that gave to thee the exceeding paleness of
its own white cheeks 1 34
[TremtndottS racket behind ike ttage. AH lUlen.'\ '
King. But what is this uproar ?
KarpDra-maSjabi. [Tfi(A aome trepidation.'\ My dear girl, [go
and] find out what it is and come back to me. [5}
[Kitrangikd goet out and reiaten.']
Jester. Just this : the Queen has found out that my old man has
tricked her,' and is coming.
KxTKANGiKA. Well, it's hunchbacks and dwarfs* and pigmies and
eunuchs and harem-keepera that are making the hullabaloo, [b]
Karpura-maS-iari. Then let the King excuse roe, so that I, before
the Queen finds out about my meeting with the King, may go to my
prison by the same subterranean passage by which I came.*
[Thtreupon, exeunt pmnfj.]
[Eadoflht Third Acl-I
(«ee BR. b.v., and, Sprache, SBOC), support
the first of the above versions.
The secood Tersion amounts to about the
name thing as the fint, and is supported hj
Sprttche, 453.
Mahabala Krishna gastrin, in his edition
of the t^rngara^taka, 22 (Nlrnaja fiagara
PresH, ISSB), supports B's cotijecture, but
renders it by caudra-annkari etc., as In the
third version.
Since the chalk-water and collyrium only
enhance tbe beauty of her face and its like-
ness te the moon, I am unable to translate
the vi of jai t1
1 We may suppose that the aciora now
(all loto two groups, King and Jester forming
the one, Heroine and her friend forming the
other. And tbe two set« of qaestiona and
answers that follow in dovetail, may be
thought of as proceeding each independently
of the other.
^ ' Uaa resorted to trickery ' (vailca^
gadam), or 'has come here by a trick' (vaii-
eaqa-agadain).
' Griffiths, i., p. 10b, speaks of dwarfs as
favorite subjectfi of painting and sculpture.
"Then, as now in India, they served to
amuse persons of rank." Plates 20, G5, 86. —
Concerning tbe inmates of the seraglio, see
SObitya-darpaiia, § 81.
' ' May go to my prison, entering by this
same subterranean opening.'
ACT IV.
[^Then enters the King with the Jester."]
King. Alas !
The summer's heat is very intense ; ^ mighty is love ; how pray is it to
be borne ? Yet that fawn-eyed girl, albeit in one and the same palace
with me, is hard to reach, as fate will have it. 1
For,
f In this world, by those who are under the power of the Flower-arrowed
I God alone, both these things indeed are very hard to bear, I think : the
time that is made terrible by the intense sun, and separation from the
beloved.2 2
Jester. Some folks are harassed by Cupid, and others are wilted by
the heat ; but a chap of my stripe is neither harassed by Love nor wilted
by the heat. m * ., »
•^ [Behind the stage.]
A Parrot. Well, won't Polly tear out your top-knot by the roots ?
^ — /guess I [4]
King. {^Laughinff.l Man, was the pet parrot talking which was
roaming about at will in the pleasure-grove ?
Jester. {^Angrily.'] Ah, you wretch of a bird, you'll be cat's meat
*■ -^ [(The parrot again) behind the stage.]
There's nothing I mightn't expect from the like of you* — if I hadn't
a set of wings.* [lo]
King. Why! I believe it has flown. ^To the Jester.']
The nights are of short duration and the days are waxing long. The
round of the moon is broken* and the disk of the sun is unbroken. Why
^ GMldhaar\ i.e. gadhatara-. iy. 2^<>, seems also to come from the parrot.
s The thought of this stanza is repeated in For the ablative, see p. 203. — Cp. V iddh. p. 29*.
different language at B&lar. v. 25 and Viddh. * ** Set** seems to be used humorously ;
iy. 6, as Dr. Konow points out, p. 206. see note to iii. 2Q^.
** Every thing (any thing) is deemed ^*The moon attains diminution' — so
possible from the like of you.* This speech, that it yields less coolness, as I suppose.
276
should not an arrangement whose course appears to be this in summer
days, — why should it not be broken, then, with knife-points?' 3
Moreover,^ it is altogether to be praised^ if it bring me a meeting with
my beloved. For
At midday, the touch of sandal-poate ; until twilight, moistened gar-
ments ;* play in the bathing-pools until night-fall ; in the evening, cool
liquor;^ and love's embraces iu the last watch of a summer night; ^ these
are the five arrows with which Cupid wins his victories: his other shafts
are split and broken. 4
Jester. Say not so, [Say rather:]
A blessing on the summer days, O friend, because^ in them the betel*
leaves are overlaid with a palish shimmer, and the areca nuts are delightful
with the flavor of mango oil, and the sandal is made [still more] fragrant
with powdered camphor. 5
King. [Yes.] And this too is pleasant about them:'
Flutes, tremulous as if with koil notes,'" are cooling to the ears ; liquor
with cold water is cooling to the mouth; a sweetheart with massive
breasts anointed with sandal is cooling to the touch: for any one there is
for the summer days an antidote that is altogether cooling. 6
And again:
In the graceful chaplet, an acacia bloom; near the breast, a necklace
of sinduvara berries ; on the limbs, a moistened garment;" attached to the
waist, a girdle with blue lotuses; on the two plantain-like arms," bracelets
of fresh lotus-roots : such is the apparel for [enamored] women that is
' Kha^^A " ' broken, incomplete," or (o(
the moon} 'not full, gibbous'; a-kluifida is
'not inconiplete,' 'completa' in form and
perhapB also in power; klundijjai Is <be
broken, cut, brought to nought' The "knife-
points" are congruous enough with "cut,"
hardly BO with "arrangement."
* An adveraaLive conjunction (kimtu?)
would be much more appropriate here.
■ ' It [the arrangament] Is altogether
(ginqua) to be praised' (;1igh).
* OU-a:
: cp. i
' Cp. my not* to i. 22 and the lampoon
there quoted.
* Cp. Ravana-Taha, ed. Goldachmidt, lii.
13. — Jath Idm pi = ■ some, a little,' with
^ihuTananL
' The three long bahu-villiiB are " adjec-
tives that contain reasons" — hetn-garbhft-
vit^^nani.
' Piper belle, a perennial creeper, Rox-
burgh, p. 53, 560. " The leaves are used as a
wrapper for the little pellets of areca nut and
lime which are extensively chewed in the
Enat." The pallets are carried in boxes (cp.
iv. 9'°) commonlj made of silver filigree.
See Century Dic'y, under betel and beiet
box. — Areca palm, Griffiths, fig. 00.
< 'About them' (ettha), I.e. the summer
daya.
'"'Having koH-notes and wavy.' The
"waviness" or tremolo effect that may be
given to the music of the flute may be sup-
posed to suggest liquidity and m
1 Cp. iv. 4'.
" Cp. my note to ii. IV.
iv. 7— Trantilation. [278
likely to be prescribed ^ by the physician [who treats the disease] of love,^
as the sole charm against the pains of the heat when the spring season
melts into Summer. ^ 7
Jesteb. And I say, moreover :
Of women who at midday are anointed with smooth, thick, sandal-
paste, who bathe the whole evening through,^ who in the nights are be-
sprinkled with drops of water that come from the punkahs, — of such, the
Five-arrowed God accomplishes the enslavement. 8
King. [Making <u \fhe were recollecting %omething.'\
For those, to whom is given complete union with a person lovely with
the combination of garb and fresh beauty,^ — for them the nights and
days, though long, go by like a twinkling ; and to whose sore-pained heart
these [days]^ bring not even to a small degree the delights of love, — for
them the days give birth to [vain] wishes only and drag by as if they
were each a month long. 9
[Addressing the Jester."] Is there any news about herf
Jester. Yes, there is. Listen, old man ! Here's a joke for you. [5]
The subterranean passage that was made to Karpura-mafijari's prison, was
discovered by the Queen. Then, with a pile of huge stones, she closed up
the entrance to the passage so that no one could slip through.^ [?]
Five chowry-holders, girls with names ending in send^ Anaiiga-sena,
Kama-sena, Kalifiga-sena, Vasanta-sena, and Vibhrama-sena, with noisily
brandished swords and shields in their hands, were appointed to keep
guard over her prison on the east side. [8]
Five ladies in waiting, with names ending in lekhd^ Anaiiga-lekha,
Chandana-lekha, Chitra-lekha, M|*ganka-lekha, and Vibhrama-lekha, with
bows in their hands and arrows on the string, were set [to keep guard]
on the south side. [9]
^ ^ To be offered or brought into service ' does not show here how far the summer has
— root m + npa. progressed. — This costume, at all events, is
*0r, 'by the Cupid-physician,* *by Dr. light.
Cupid. * But perhaps this would be too jocose * * Possessing practised interval-less bath-
for the King in his present mood. **He*s ings in the evening.'
got it bad. '' * I take gha4a9& as * combination ' — see
* * At the going of the season of Madhu,' OB. And to bhangi I assign the meaning
i.e. of the season of spring or vasania. This ' Art und Weise sich zu kleiden * (= * garb *)
consisted of the months March-April and given it by OB., s.v., with a citation for it in
April-May, whose older names were Madhu that sense from our poet,
and Madhava (see p. 214, or Whitney, JAOS. * Or, * These burning days,' samiavi^o.
vi. 414, and cp. note to ii. O^^). Vasania is "^ ' The entrance was closed by the Queen,
followed by gri^ma, * summer,^ but the text making (kr) it hole-less.' See p. 220.
279] A,t Fourth. — iv. 10
Betel-box bearers,^ girls with names endiug in mSld, Kunda-mala,
Kafichana-mala, Bakula-mala, Mailgala-mulii, and Munikya-mala, carrying
lances in their hands, were stationed [to keep guard] on the west side. [lO]
Bath-keepers, girls with names ending in keli, Ananga-keli, Barkara-
keli,^ Sundara-keli, Raja-kell, and Kandarpa-keli, holding shields and
swords, took their places* on the north side, [ll]
And over [all] those, five reciters of witty sayings, girls with names
ending in vatl, MandaravatI, Tarangavati, Kallolavati, Madiravati, and
KelivatI, were appointed as overseers, each with a bright golden staff in
her hand, [la]
King. Well, well! that's the entire personnel of the Queen's apart-
ments I
Jestbr. Here's the Queen's friend, Siirangika, sent with some mes-
sage from her. [141 „ „ , _ ,
^ •■ -* [Hen enteri SaraHgika.^ [15]
Sarangika. Victory, victory to my lord I The Queen's message is
that today the King must mount to the terrace of his pleasure-palace and
inspect the preparations and accessories* for the great festival of the Deity
of the Banyan.' [is]
Kino. Ah the Queen directs I
[Exit the aHendant."] [20]
{King and Jester step about, maiii
g luif they wtrt
the charcharifi']
ending lo the .
pa]
Then begint
Jester. Behold, these maidens,^ richly adorned with pearls,^ at the
close of the dance but scantily attired, are sprinkling each other with
'The Toyal 'belel-box. umbrella, etc.,
were ofwn lioniB by regularly appointed ot-
flcers. See for example, In BR., the com-
pounds of tambiiU ; and cp. nole to iv. G".
' See Zachariae. MaukbakofB. Nacbtrtige.
■ I suppose sdhatta ( — arabdha, H. 2.
138) meaiiB ' fassl«n Fuss.'
* UvMtraQa seemB to imply all this,
' The deity Bnppoeed to reside Ibereln
during the vattt-Mvttri-vrata. The time of
this observance is given as the full moon of
JySiatha by the Vratfirka. I have a litho-
gniplied edition of the Vratarka, Benares,
1G31 (*.D. 18T5) ; and its treatnteiit of the
matter begins on folio 121, reverao, line Jl.
— Ot Bee Nirnaya-alndho, II., folio 11a, 3.
— Or tiee HeniSdri, Chatur?arpi-chintttma?i,
Vralakhanila, xxi., p. 2T3*. — My papii, Mr.
Albert Henry Allen of San Francisco, baa
prepared a well^digested account of this ob-
servance which will, 1 truei, be published in
Tol. xxi. of the Journal of the American Ori-
ental Society, pages 63-66.
' The carCBJT is a peculiar dance (cp.
Vikramorvajl, act iv,), accompanied by vari-
ous poaes as mentioned in the next verse. —
Root vi; + pra, in the sense of ' makes its
dftiut, begins, pf AC los ' ?
'< Whom they see as the; look down from
the pnlace roof.
' ' fosse sain g pearly-omament-accumula-
iv. 10 —
Translation.
[280
water which they take with jewelled cups from the jets of the shower-
bath. 10
And here ^
Circling around with charmingly- varied pose of hands and feet,^ these
two and thirty dancing-girls, — they tread their mazy rounds, their steps
keeping time with the music* In thy court is seen the " Staff-dance."* U
With their shoulders and heads even,^ with their arms and hands even,
other maidens, each with clean-cut pose,^ and ranged in two rows each
facing the other, are rendering the challi-deince ^ and regulating its tempo
by the beaten measure.* 12
Still others, quitting the jewelled cups, throw [direct] from the
showering-machine the jets of water.* These — fair as Cupid's arrows,
though consisting only of water ^* — fall on the person of friends [stand-
ing by]. 13
Here, coquettish girls, their bodies anointed with blackest collyrium,"
1 The Saifagita-Ratnftkara, Ananda-iQra-
ma edition, in its nartana-chapter (vii.)*
explains many of the technical terms that
here follow. I am unable to go into the mat-
ter in detail, but give a few references to the
book, whose title I cite as SR.
* I take bandha as pose in the nautch.
* ' Possessing steps (pada) that have
followed the beats * (tala), that is, * the time
or measure,* which was marked by clapping
of hands, and perhaps also (as in iy. 17*) by
the rhythm of the song.
* The rasa is a rustic dance like that of
Krishna with the herdswomen. See Vishnu-
pur&na, v. 13. 23, or Hall's Wilson, vol. iv.,
p. 324 f. — From SR. I cite da94A-pakfa, vii.
642 ; da9da-reciia, vii. 651 ; da^^^-pi^^f ^U*
711, 966, 1016, 1186.
What the ** staff-dance '* is I know not
Perhaps a dance in which the dancers were
arranged in '^columns*' (cp. iv. 12, and
da9da as used at iL 9*)? — I recently wit-
nessed, as part of a light entertainment, a
^* cane-dance,*' in which a negro performer
held a staff, and struck the floor rhythmically
with it, in time with his feet. — Has it aught
to do with the ** staff-dancer** of the Qata-
patha-brfthmana ? see Eggeling, Sacred Books
of the East, 44. 417.
^ Sama seems to be a technical term for
Mn a natural position.* Svabh&vena sthito
bhomau samah p&do ^bhidhiyate, SR. vii.
316. Konow cites Nfttyar^ftstra, x. 18.
* OB. defines rekha as * correct poee of
all the limbs in dancing.* ** Pose-clear,**
** with clean-cut poses,*' may be an avyayl-
bh&va, or else an adjective with caUim.
7 SR., vii. 1215, enumerates ten rustic
dances. The first is call : it is ** not too fast
nor too slow** (in the madhya-laya) ; and is
characterized by the ** simultaneity ** (yanga-
padya) of the movement of the feet, thighs,
waist, and arms. The same dance, performed
quickly and with the dancers facing each
other, is called calivada.
B * The calli, possessing a connection of
tala and tempo * : that is, * whose tempo is
regulated by the tala* (see above). The
layas or tempi are fast, middling, and slow.
* * Others throw jet-water by means of
the jantas.* They don*t use the cups, just
mentioned at iv. 10 ; but perhaps they put
their fingers partly over the orifices of the
jantas so as to make the water squirt directly
on their playmates. See mac
10 ' These (tao — sc. dharao, * jets *), hav-
ing a beauty [as] of water-arrows of Cupid.'
Eonow cites Viddh. iii. 25i».
11 * Possessing lampblack-coUyrium-black-
bodies.*
281]
Act Fourth,
— iv. 18"
holding triple^ bows, and adorned with tail-feathers of peacocks, are
parading about as savage mountaineers,^ [and so] making sport for the
people. 14
Yet others, bearing in their hands offerings of human flesh, and terri-
ble with their groans and shrieks and cries, and wearing the masks of
night-wandering ogresses, are enacting a cemetery-scene. 15
And one fawn-eyed girl, sounding the drum that makes you shudder,^
and with the pleasant noise of a tambour, with her creeper-like arms alter-
nately^ swaying, has started to execute the performance of the challi, 16
Others are performing, as might a fay, a graceful dance in tempo,* with
a jingling made by their bells, with the measure regulated by the tempo
of vocal music,^ and with the clear tinkle of anklets. 17
Still others, their garments a-flutter by reason of their eagerness,
intently playing the flutes, and setting the people a-laughing by their
dark dress, recede, bow, and laugh. 18
[Enters Sdrangik&J]
Sakangika. [^Lookinff before her.'] Here is the King, who has come
from the Emerald Seat^ into the Plantain Arbor. — Well, I'll go to
him and announce the Queen's message. [4] [^Approaches.'] Victory,
victory to my lord I The Queen's message is : " This evening I will
bring it about that you shall lead a new bride around^ the nuptial
tire." [7]
Jester. But Lady! what means this shower of watermelons^ from a
clear sky ?
King. Sarangika, explain it all in full. [9]
Sauangika. You shall hear. On the fourteenth day,^^ just past, the
* *' Triple " : made in three pieces ?
* TlovXtpdai Aypuxpdyoiy Ptolemy, vii. 1. 64.
> SR. treats hudukka at vi. 1072. Moles-
worth defines it as a small drum, shaped like
an hourglass. It is held in the hand and
rattled. — Is not this the drum formed of the
tops of two human skulls cut in howl-shape
and with skin stretched across the bowls, and
set crown to crown ? Clappers are fastened
to it by thongs a few inches long, so that if
you grasp the constricted part and twist the
wrist, the clappers thump the membranes. —
See root vad.
* Contradicts yaugapadya, p. 280, note 7.
* * Perform tempo-dance-grace.*
^ For jantia, see under yantra-. — Cp.
note to iv. 1 1^
7 See page 254, note 1.
* See root ni-pari.
* Properly, ' white gourds,* the Benincasa
cerifera of iii. 24 — see note. Cp. p. 205 end.
10 Of the bright fortnight of Jyftistha ; see
p. 216. Cp. Kftdambarl, p. 128«, where the
Queen goes to pay homage to Qiva '* on the
fourteenth day** of the month. Gfturl is
(Jiva's consort.
iv. 18" —
TVanslcUian.
[282
Queen had Bhairavananda make an image of Gaun bejewelled with rubies
and set it up. [ll] And he, the master Magician, was consulted by the
Queen, after she had begun the observances for its consecration, with
regard to the matter of a reward for [him, as] her preceptor. And he
replied: ^^If you absolutely must give a reward, then I suggest the
following."^ To which the Queen said, "As your Reverence directs."
[16] And he continued and said: "There, in the Lata country,^ is a
King named Chan4asena. He has a daughter named Ghanasara-manjari.^
She has been pointed out by the astrologers as destined to become the
consort of an Emperor. [20] So the King must marry her, in order not
only that the preceptor may not fail of his reward, but also that your
husband may become an Emperor." [22] Then the Queen laughed and
said, "As your Reverence directs.". And I was sent to make the
announcement. And the reward to the preceptor has been given. [25]
Jesteb. ^Laughing.'] Here^s an instance of that old saw, " Snake
on your head — and the doctor away" (or in some other country).*
The wedding is [set for] today and here, while Ghanasara-manjari is in
the country of Lata. [28]
Kino. Have you never seen Bhairavananda show his magic power ? ^
Sabangika. [Continuing her message.] The Queen has had a
sanctuary to ChamuiKJLa^ built at the foot of the banyan that stands in
the middle of the pleasure-garden. [30] And Bhairavananda is going
to meet the Queen there. And in the hall of state which is there situ-
ated and has just been put in readiness for it, the wedding is to take
place. \_So naying^ she steps about and exit.'] [33]
Kino. Man, I have a notion that this is all a blooming job of
Bhairavananda. [34]
Jesteb. That's a fact. Nobody but the moon — you'd better be-
lieve — can make the moonstone statue to ooze ^ or the [night-blooming]
gephalika to blossom profusely.^ [36]
1 * Then let this [reward] be given.'
s For L&^ see p. 214.
> See iv. 20^* and note.
^ The proverb is dificossed elaborately
and interestingly l^ Pischel, Festgross an
Roth, p. 116. Cp. B5htlingk, Berichte der
sftchsischen Oesellschaft, 1894, xlvi. 7.
* For if you (the Jester) have, you know
he can bring the bride here in a trice.
* Qiva's consort, in a terrible form.
7 The moonstone is a fabulous gem, sup-
posed to ooze or deliquesce under the moon*8
rays : cp., for example, K&dambarl, p. 395^.
The *' Thirty-two tales of the throne"
are related by 32 heavenly nymphs who have
been transformed into statues (puttalikas) of
moonstone : see Indische Studien, xv. 442, 294.
' None but the Magician could bring all
288] Act Fourth. — iv. 19»
[Enters the Magician.] [37]
Bhaibavananda. Here is tlie CliiLiuundii idol serving to screen the
[new] entrance which has been opened from the root of this banyan to
the subterranean passage. ^ [He Btretehe» out his hand to it in worshipCl
[saying to Chamunda, or rather, saying of her:]
A dissolution of the universe' is her pleas ure- house ; the blood of the
demons is her fiery draught; victorious is Kali^ as she quaEfs it, in pi'es-
ence of Kala,* from a goblet made of the skull of Parameshthin.^ IS
[^Enters (the sanctuary) and »its domn.'] Not even yet is Karpiira-
tnaiijari [to be seen] coming out by the exit from the subterranean passage I
^KarpSra-mafiJari, in pantomimf, mates an opening in the mouth of Ike patsagt, and enteri."]
Kaepuea-maSjabi. Reverend Sir, I salute thee. [4]
BeIjeavananda. Mayst thou get a suitable husband. Sit down
right here.
[ATarpa ra -ma ji/art si'M i/oion.] [7]
Bhaibavananda, [To himeelf.'\ Not even yet does the Queen
seem to be coming 1 '
lEnttrs the Queen.] [10]
QcEEN. \^Stepping about, and looking in front of Aer.] Here is the
exalted Chamunda. \^Pa^» homage to it. Then looking about, she gaj/s:']
Karpura-mahjari here/'' Well, what does thi.s mean? [To Bhairavdn-
anda.^ I have this to tell you : I have made ready, before coming to you,
all things needful for the wedding ; but they are in my own apartments
of the palace. So I will get them and return to you. [is]
Bhairavananda. Do so, my darling.
[The Queen take$ a few iteps abovl the stage, (as if ahe were) departing.^ [20]
this about, just tu tlie moon ia the only one
able to make the fepb&lika bloom. Konow
cites Viddh., p. 83*, 86'. Cp. ii. 60, note T.
The atage-directioos ought here to odd,
iti ni^antaD, 'Exeunt' [King and Jester].
Cp. p. 221.
1 ■ Here at tlie banyan-tree-root la tlie
Chilmundft-ido!, acoTe^ofthe[nowly]opeDed-
out entrance to tlie subterranean paasage,'
3 That is, the scene of the disBolution
etc. ; the expression la a little loose. — For a
olasBillcatlon and description of the various
dissolutions of the universe, sea Vlshnu-
pur&na, book vi., chaplera 3, 4, 5.
» Or Chftmundtt, Qivft's consort, in a
terrible form.
• Death or Time, the Death-god or AJl-
destroyer.
' ' From a goblet made of the skull of
Brahmin,' whom Qiva slew for his pride on
the occasion of an " lucideuiol " dissolution
of the universe (kaJpa-k?»ye) as narrated in
Katha-sarit-s&gara, ii. 13.
" ' Not even yet does the Queen come.'
I See p. 28a, note 4.
■ Tbe Queen does not actually leave the
stage. The ata^ coutinucs to represent the
shrine of ChAmunda ; but the audieoce is re-
iv. 19«
Translation.
[284
Bhaibavananda. [To himself^ laughing.^ She's gone to search
Karpura-manjari's apartment I [Aloud,^ Karpura-manjari, my daughter,
by way of the subterranean passage, not otherwise, and at a quick pace,
do you go to your own apartment and stay there. — When the Queen
comes back, you're to come back. [23]
[Karpura-manjarX does «o.]
Queen. Here is the prison-room. [27] \_JSnter8 and looks around. —
To herself.'] Well, I am surprised 1 ^ Karpura-manjari here ! It's some-
body that looks very much like her ! [Aloud.'] Karpura-manjari, my
darling, how are you feeling ? [Pretends to listen and repeats the imaginary
reply. ]^ What's that you say, that you've just got a headache ? [To her-
self.] Well then, I'll go back there [to my own apartments]. [Enters^
and looks to one side and another.] Hallo, friends, be quick and take the
things for the wedding and return [with me]. [39] [With these words^
she steps abotU.^]
[Karp^a-malijafl enters and sits just as before.^'] [41]
Queen. [Looking before her.] Karpura-manjari here!^
Bhaibayananda. Vibhrama-lekha, my darling, the things for the
wedding have been brought? [44]
Queen. Certainly. But some ornaments which would be suitable
for Ghanasara-manjari have been forgotten. So I'll go back.
Bhaieavananda. Very well. [48]
[The Queen acts a Hide pantomime as if she were making an exiL] [49]
quired to imagine that it represents also at
the same time, for a few minutes, as the
action requires, first the shrine and the
prison, and then the shrine and the Queen's
apartments ; and that it does so for two
occasions, the first being for the action of
iv. 19^^, and the second being for the action
of iv. 10^3-^. See the Synoptic Analysis,
p. 221-2.
^ This phrase renders ae.
s Literally, * in the air.' This is a ** dra-
matic phrase '' (n&tya-okti) used to designate
an imaginary reply which the actor is sup-
posed to hear and to repeat for the benefit
of the audience. The device is familiar to
English readers from Douglas Jerrold's
*' Curtain Lectures." There the unhappy
Mr. Caudle's replies are regularly **in the
air." See S&hitya-darpana, no. 425, or
Monier Williams, Qak., p. 96.
* That is, the audience has to imagine
that she enters her own palace-apartments.
^ In order to indicate to the spectators
that she is returning with her attendants
from her private apartments to the shrine of
Chftmund&.
^ That is, while the Queen is delaying to
get the things, the Heroine hastens back by
the secret passage, arrives before the Queen,
and so Is discovered seated in the sanctuary,
just as she was when the Queen (supposedly)
left her at iv. 19».
^ In the sanctuary, to which the Queen
is now supposed to have returned.
285]
Act Fourth.
-iv. 20
Bhaieavananda.
did before.^ [so]
KarpuFEi-maajari, my daughter, do just as you
[Exit KarpSra-maSjan.'] [51]
Qdeen. l^Pretendif^ in pantomime to enter the prison-room, and seeing
Karpurormafljarl.^ Well, well, I am nonijlussed^ by the resemblance!
[To Aerse(f.] It's the magic car of the master Magician, which moves
about through the air or through walla,* that brought her here 1 [55]
[Aloud.^* Friends, take each of you what I told you to take and come
along back with me. [57] [iSAe enacts a little pantomime a» if she had
(come back and) entered the sanctuary of Ghdmvndd and espied her (Kar-
pura-maiijari).] Oh, what a resemblance ! [59]
Bhairavananda. Sit down, O Queen. The King also has just
arrived. [60] ^^
{Then enters the King, with the Jester, and KurangikH.'] ^^^|
Bhairavananda. Place, place for the King! [6a] ^^|
\_All fit rloian in due order.']
King. She is, in embodied form, a paragon of the Dolphin-bannered
God ; she is a transformed bow -staff of the wild mountaineer " Passion";
she is the light of the full moon, abroad by day.* [64]
And again:
She is the casket for the rubies of a host of excellences; a jewelled
doll. Likewise, as she wanders about, she is the flowery beauty of
spring, [66]
Moreover:
If* the beauty^ of this maiden's form, which is the ensign of her con-
quest of the world, comes — in whatever way* — within range of a man's
eyes, then there takes up his abode in that man's bewildered » heart the
1 Nsmely, as at iv. Ifitu".
' MoleHworth Rivea this very meaning for
tbe MarathI tiH4^Mi>< Prftkrit i;ii4.
» ' Without hindrance or obstruction ' —
from gravity, walls, or the like. Cp. note to
1.84".
* Between iv. 19" and Iv. It** the Queen
1h soppoaed to go from the prison-room to her
own apartments.
' See additional note, p. 289.
* ' To the range of whose eyes beauty
goes, in the heart of that [man] Cupid dwells.'
^ I would assign to relia here and at li.
41< Che meaning ■beaut;.' The verb reb
means ' ie lovely, rojate,' in H^a, no. SOB ;
cp, II. 4. 100. — Moleaworth defines Marfilbl
rekhala (from rekhanem, from Skt. rekba,
Mine') as 'neat, comely, pretty.' — But it
may be tlint two words of quite diverse origin
have flowed together in the Pr&krit reha. Sec
additional note, p. 289.
■ Jaha taha, as a phrase.
' I lake vicitte aa = Skt. vi-eitte, 'besinn-
ungaloa,' not ridtre. Cp. nol« to IL 40^
iv. 20
Translation.
[286
Dolphin-bannered God, his bow-staff bent aUnost double with the arrows
on the string.^ 20
Jester. {^Aside^ to the King^^ You have made the old saw come
true, " Can't trust a boat even when it's touched the shore." ^ Now just
cork up 1 [4]
Queen. \To Kurangikd.'\ Kurafigika, do you arrange the wedding
costume for the King; and let Sarafigika arrange it for Ghanasara-
manjari.* [6]
[Thereupon both busy ihemselves in pantomime about the wedding of the two,"] [7]
Bhairavananda. We must summon a preceptor.*
QuEBK. Here stands the crest-jewel of all learned Brahmans, my
husband's Preceptor, the worthy Kapinjala. So let him start the sacred
fire. [10]
Jesteb. Here I am and ready I Say, man, now I'll tie a knot in your up-
per garment .' With your hand take the hand of — Karpura-man jari ! [l3]
\The Queen utters an exclamation of surprise and looks on with a touch of despondency,"]
Bhairavananda. [Well, O King], you have lost your head!^ for
Ghanasara-maiijari is only another name for Karpura-manjari.® [16]
Kino. [^Taking her hand."]
The prickles that are on the lovely fruits of the gourd-melon,® and on
1 Valaia, * bent almost into a circle * —
cp. iL 6<^. — For ponkhia, see iL 3<i note.
s For the ** dramatic phrase,** see Sfthitya-
darpana, no. 426.
* Here you are, in plain sight of the goal
of your wishes, like a boat that has crossed
the water and reached the farther shore.
And yet you persist in this sentimental gush
(iv. 10»*-iv. 20). I can't trust you. — Root
^▼as, passive, impersonal, with locative.
* The Queen, on entering, iv. 19^, ex-
pects to find the ''Ghanas&ra-mafljaif,**
whom (at iv. 18^) she had promised as a new
consort for the King. Instead, she finds the
Heroine, iv. 19^^. Hurrying to the prison,
she finds (iv. 19*) there also the Heroine.
Or is it the Heroine^s double, so like her (iv.
19^) as to deceive the Queen's eyes ? She
will rather trust her ears, and so elicits a
reply from the prisoner (iv. 19**) and recog-
nizes by her voice that she is certainly the
Heroine. On her return to the sanctuary,
she finds (iv. 19**, for the third time) again
the Heroine. Her second visit to the prison
(and fourth finding of the Heroine) suggests
the suspicion, iv. 19**, of supernatural means
of commimication between the two places.
And yet, on her second return, iv. 19**, it
may be, after all, a resemblance ! — Her per-
plexities are still unsolved when she bids
S&rafigikfl, at iv. 20*, to array the bride ; they
reach their climax at iv. 20^ ; and give place
to unpleasant certainty upon the utterance of
the Jester's last word at iv. 20^.
* To conduct the nuptial ceremony.
* The symbolical wedding-knot, p. 289.
' * You are forgetting yourself extremely. '
Cp. Molesworth, s.v. bhnla^em, * become
infatuated, lose one's understanding (by
drinking, through riches, honors, love, etc.).'
Even the King Is still in the dark about the
identity of the new bride I
* See p. 261, n. 6 : gh apas&ra = karpnra.
* The whole stanza is simply a variation
the rows of leaf -petals that contain the ketaka-bloom.' — the touch of
tliee, fair maid, assuredly hath trausferred these to my limbs as a thick-
set mass of bristling down.' 21
Jester. Come, man, let the circuniambulations ^ he performed and
the parched grain be thrown into the tire.
[The King acts as if he icere doing all this. The Heroiue utandi abtuhed. The King, haeiny
brought the vsedding ceremony lo an end, in happy mood,* saluling all in fitting manner,
takea his seat as an Emperor.'\ [4]
^Behind the tiage.']
A Baud. May the wedding feast bring delight to the King !
The lovely gourd-melon,^ the fresh young bread-fruit,^ the coral trees,^
the stalks of the lotus-blossoms,* the bloom of the ketaka besides, — I
fancy that thy person must have taken to itself by force the qualities [of
these plants, because] over all thy limbs appear such horripilations, like
unto prickles that one could see and touch.' 22
4
of aiheme which vre have heard — se« ili. 24
and ttio notes, and it. 22*. For the goord-
meloQ in particiJar, see note to iii, 21*. — Ab
to horripilation, see note lo ii. 46^.
> Concerning odor et«. of the ketaka or
■crew-pine, aee now to ii. tt". The leaves,
says Roxburgh, p. TOT, are closely imbricated
in three spiral rows, very smooth and glossy,
nmrgitis and back armed with very fine
spines. . ■ . The female flowers have no
other calyx than the termination of the three
rows of leaves. The text is in good accord
with this fact. — Kalidftwi speaks of " ketakl-
needles," Rtu-saHalijlra, ii. 23.
* ' As a thick-set horripilation-shool-
range.' — It ma; be that ankora is to be
taken as 'hair' rather than as 'shoot,'
although both amount to the same tiling
here. As for ali, I despair of finding a fit
English word for it; see my note to iii. 26'*.
Perhaps the word Tange, considering its
Asope, is as ^oimI as any.
* The groom leads the bride thrice sun-
wise around the nuptial fire. See ray San-
skrit Reader, p. 400.
■ Molesworth gives ' joy, delight, gratifi-
cation ' for otuba : cp. BR, v. 1168.
* Already ineutiuned twice: iii. 24* (see
note) and iv. 21'.
* The ArtocarpuB integrifolia or jack-
fruit: see Roxburgh, p. 633. For pictures,
see Century Dic'y, s.v. bread-fruit ; or H. W.
Cave's Picturesque Ceylon, volume " Col-
ombo," p. &2, and plate xxi, a beautiful one.
In Ceylon, Cave has counted as many as 80
fruits on one tree, some weighing 40~50
pomids each. They are pale green with
grauHlattd mxTtwcm. Other species o( Arto-
carpus, the hirauta and the echinata, have,
as their names imply, very spinous fruits.
'The Erythrina indica: see Roxburgh
(p. 541), who mentions otber spinous species.
The bark oC its younger branches is armed
with small black sharp prickles. The tree
or shrub is used for hedges and Is largely
employed to support lie black pepper vine.
See Century Dic'y, under Erythrina.
■ The kamala is the blossom of the No-
lumbium speciosum. "Flowers large, and
beautiful beyond description," says Rox-
burgh, p. 450. There are two varieties, one
with rose-colored flowers, and one with per-
fectly whil« flowers, Danda here evidently
means the peduncles. These "ore armed
with small inoffensive prickles." Cp. SprUohe,
29S8, 0432, 2250. — Beautiful pictnnts of
lotuses, Griffitlis, flgs. 01-63.
' ' I suspect in thy body [this] collection
iv, 22^ — END.
Translation.
[288
Bhaibavananda. Is there anything else that you would wish done ?
Kino. Is there anything I could wish better even than this ? For
The Queen, although she now has a rival in my affections,^ is not
angry ; I have obtained a maiden who has a face like the full moon's orb
and who awakens my passion to new life ; and I have attained to the
rank of Emperor! ' What else could one ask for ? By thy favor I have
gained all that men think worth the having.' 23
Yet for this would I pray :
IWords of Bharata.^'i
May the forest-fire of Poverty, which day after day gleams far and
wide, which brings to naught all the excellences of men of learning,^ be
quenched by the rain of the sidelong glances of Fortune I 24
[^Thereupouy exeunt omnes.']
lEnd of the Fourth AcL'i
of qoalities [to haye been] attained by force ;
such horripilationB, under the semblance of
evident and touched prickles, are coming out,
continually appearing.* —
Phuda, *open, manifest, clear to the
senses, palpable.* I take it as coordinate
with puttluL — Mellanti, * are let loose, shoot
out,* equivalent to muoyante. — Perhaps ^ioo-
ullasft is * uninterruptedly arising.*
The whole verse repeats the substance of
iiL 24 and iv. 21 —see the notes.
^ * The Queen, in the position of rival
wife, is not angry.*
**The rank of Emperor has come to
pass.*
* * All that which is obtained among
mankind.*
^ The author of the famous Nfttya-^Sstra;
see L^vi, Th^fttre, p. 297 etc Cp. the close
of the Qakuntalft, of the MftlavUOl (2d ed.
Pandit, p. 162^), of the Urva9l (ed. Kale,
1808, p. 14e*), and of the Ratnavall (ed.
Cappeller, p. 329^).
* Sanskrit books make frequent allusion
to the poverty of men of learning. Fortuna
has no fondness for them — Sprttcbe, 2670.
See also 6i32, 2081. The enmity (vaira,
virodha) between the Goddess of Fortune
(Qrl) and the Goddess of Learning (Saras-
vatl) is proverbial : Spriiche, 4086, 3941.
Additional Notes.
ii. 6". — Swing tealival of GSurl: see
Hemfalri (12C0 i.d.), ed. Bibl. lod,, ii. 2,
p. 453, quoting Devl-purltna, andole dolajet
(Devim); Nirnaya-sindhu, Benares, 1876, il,
folio 2a, 6 (Ibidem, Ga, 1, Hwiuging of Lak-
Blimi); VraUtrka, Bentirea, 1876, folio IGa, 11;
DbBrma-aindbu, Bombay, 188S, p. 31 end
(the festival lasts Co llie end of the month,
masa-parjuitA). For andolana-vidhi, He-
mSdri, I.e., p. 7451.
ii. 41', 60*. — The "appointment" here
mentioned would aeem to have been arratiK»i
by Vlchakabauft with Ibe Jester during or
before tbe scene between King and I'orleress,
ii.O'. The inten-al Is "long" to the King,
ii. 83 : cp. ii. 0"*. To this arrangement, per-
haps, the lAccuh eduh of iL 0' refers. At
ii. 41' tbe Jester gives the King lo understand,
if only in tbe vaguest way, that be is tu meet
the Heroine. I think tbe clandestine meet-
ing which results from this appointment
must take place in the night of the evening
with which act ii. closes, since the meeting
was then "at hand." It cannot be the meet-
ing of act iii., which is some 40 days later.
And the a^ka scene involves no " meeting."
^~ln this clandestine meeting, finally, ne
may see the occasion of the culmination of
tbe (jiieen's jealousy and of her itnprisonlng
the Heroine.
iii. 26. —Dr. Konow writes me that he
now renders tbiit stanm as follows : AU eiu
Schmuck ftlr die Weltgegendfraueu, ohue
(d.h. verschieden von) Safran uml ohue San-
del, ats eine Zierde fUr den Erdenrund, ohne
Arm- und Obren-ringe, als eine Waffe des
Liebcsgotles, die von Sosaua und Mohana
venwhieden ist (die nicht versiegt uiid nlchC
bethiirt), werdeu die Mondstrahien ange-
hftuft. — That is, he lakes the three nouna
substantive at Lbe end of a, b, c, as in appo-
sition with -Avali.
iii. 27. — "Some reference should be
made to the profusion of jewelled ornaments
of goldsmiths' work everywhere displayed.
Strings of pearls and precious stones are
hung on houses, doorways, and canopy,
pillars, and worn by men and women.
Hindu poetry constantly speaks of them as
festive decorations of towns and bouses, till
It is not surprising that conventionalized
jewelry should come to be a regular element
of painted and carved archilectuial ornament
(plates 6, 10, and 13)."— Qriffiths, l.,p. IB a.
iv. IB". ", — Konow writes me that these
two passages seem to bare been originally
metrical [such was my own opinion], but
that he has not been able to restore the
iv. 20. — Since my note on rehi was
written, I tind that Ur. Konow has altered
the electroplate of p. 158 and set up two
articles reha. — He doubla my Interpretation
of vidtle.
iv. 20". — A symbolical tying together
o( tbe ends of the sari-like garments of bride
and groom is doubtless here intended. Dr.
Konow refers me to WIntemltz, das altin-
diache Huchzeits-rltuell, Vienna, 1802, where
similar customs are cit«d : see pages 60, 64,
49. The tike still obtain in Southern India ;
see J> F, Keams, Marriage Ceremoniea, etc.,
Madras, 1868, p. 40, 57. Cp.also G. A. Grier-
son, Bibiu Peasant Life, S 1331, 1337.
1
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Hopkins's Religions of India.
The Religions of India. By Edward Washburn Hopkins, Pro.
• f essor of Sanskrit in Yale University. 1895, i2mo. Cloth, xvi
+ 612 pages. Mailing price, $2,00.
This is the first of Professor Morris Jastrow's Series of Handbooks on the History of
ReligioTVS. The book gives an account of the religions of India in the chronological
order of their development. The point of view is chiefly historical and descriptive, but
the causes leading to the successive phases of religious belief are kept prominently before
the reader. A new feature of this boolc, as compared with the one work that has preceded
it on the same lines, Earth's Religions of India, Is the constant employment of illustrative
material, drawn from the original sources. Copious extracts are given from Vedic, Brah-
manic, Jain, Buddhistic, and later sectarian literatures. The volume contains also a full
description of the modern sects of to-day, a chapter on the religions of the wild tribes,
and one on the relations between the religions of India and those of the West. The
book is supplied with index, map, and a substantial bibliography.
Philadelphia Oriental Studies.
Oriental Studies. A selection of the papers read before The Oriental
Club of Philadelphia, 1 888-1 894. Boston, 1894. 8vo. Cloth. 278
pages. Mailing price, f 2.00.
The volume contains thirteen papers. Among them are three that have to do with
Indie studies : The Physical Geography of India, by Professor M. W. Easton ; the Holy
Numbers of the Rigveda, by Professor £. W. Hopkins ; The Aryan Name of the Tongue,
by Professor H. CoUitz.
Jackson's A vesta Grammar.
An Avesta Grammar in comparison with Sanskrit By A. V.
Williams Jackson, Professor of Indo-Iranian Languages in Columbia
College, New York City. Part I. : Phonology, Inflection, Word-
Formation. With an introduction on the Avesta. 1892. 8vo. Cloth,
xlviii + 273 pages. Mailing price, f 2.20.
The introduction gives a ludd account of the Avesta and of Avestan studies, of the
contents and character of the Avesta, of the religion of Zoroaster, etc. In the treatment
of the language, constant reference is made to the Sanskrit and to Whitney^s grammar.
Jackson's Avesta Reader.
Avesta Reader: First Series. Easier texts, notes, and vocabulary.
By A. V. Williams Jackson. 1893. 8vo. Cloth. viii+ 112 pages.
Mailing price, $ 1.85.
The selections include passages from Yasna, Visparad, Yashts, and Vendidad, and the
text is based on Geldner*s edition. The book b intended for beginners.
Other Avestan IVorks.
A Hymn of Zoroaster: Yasna 31. Translated with comments by A.
V. Williams Jackson. 1888. 8vo. xii + 62 pages. Paper, cut
Mailing price, f 1.05.
Text and translation are on opposite pages. Commentary follows. An introduction
on method, and full indexes are given.
The Avestan alphabet and its transcription. By A. V. Williams
Jackson. With appendices. 1890. 8vo. Paper. 36 pages. Mail-
ing price, 80 cents.
Discusses the Avestan alphabet paleographically and phonologically, and proposes a
scheme of transliteration, which has since been sanctioned by Brugmann.
Harvard Oriental Series.
Edited, with the cooperation of x'arious scholars, by
Charles Rockwell Lanman,
Proftsser of Sanikrit in Haroard UnivtrHty.
Published by Harvard University, Cambridge, Massachusetts,
United States of America.
*(* A cop; of uiy one of tbew vahinws. postage paid, may be obtained directly anywbeie
Ilmiti of the Universal Postal Union by sending a Poilal Order for the price as given below, It
UnntrsUy, Camiridgt, Maiiachumis, Uniud Slalis n/ Amtriia.
Volume I, — The Jataka-mala : or Bodhisattvavadana-mala, by Arya-
5ura ; edited by Dr. Hendrik Kern, Professor in the University of
Leiden, Netherlands. 1891. Royal 8vo. Cloth, xiv-f-254 pages.
This is the editio princeps of a collection of Buddhist stories in Sanskrit. The text
is priDted in Nagari characters. An English translation of this work, by Professor
Speyer of the Netheriandish University of Groningen, has been published in the
Bijdragen tot de taal-, laud-, en volksnkunde van Nedtrlandsch Indie. The same
version has also appeared in revised form in Professor Max Miiller's Sacred Books of
the Buddhists, London, Henry Frowde, 1895.
Tlie price of volume I. is one dollar and fifty cents (fi.50) =6 shillings and
3 pence ^ 6 marks and 25 pfennigs -= 7 francs or lire and 70 centimes ^ 5 kroner
and 5J ttre -° 3 florins »nd 65 cents Netherlandish.
Volume II, — The Satiikhya-pravacana-bhasya : or Commentary on the
exposition of the Sankhya philosophy; by Vijflanabhiksu ; edited by
Richard Garbe, Professor in the University of Konigsberg, Prussia.
1895. Royal 8 vo. Cloth. xiv+ 196 pages.
This volume contains the original Sanskrit text of the Sankhya Aphorisms and of
VijOana's Commentary', all printed in Roman letters. A German translation of tlie
wtiole work was published by Professor Garbe in the AbhandlungtH fiir die Kunde dei
II
MorgtHlandes, vol. ix.. Leipzig, Brockhaus, 1889. "In spite of all the false assumptioiu J
and the errors of which VijQanabhiksu b undoubtedly guilty, his Commentary . .
after all the one and only work which instructs us concerning many particulars of the J
doctrines of what is, in my estimation, the most significant system of philosophy that I
India has produced." — Ediior^s Preface.
The price of volume II. is the same as that of volume I.
Volume 111. — Buddhism in Translations. By Henry Clarke Warren.
1896. Svo. XX + 520 pages.
This is a series of extracts from Pa.li writings, done iolo English, and so arranged
as to give a general idea of Ceylonese Buddhism. The work consists of over a hundred
■elections, comprised in hve chapters of about one hundred pages each. Of thesct
chapters ii., iii., and iv. are on Buddhist doctrine, and concern themselves respectively
with the philosophical conceptions that underlie the Buddhist religious system, with the
doctrine of Karma and rebirth, and with the scheme of salvation from misery. Chapter i.
gives the account of the previous existences of Gotama Buddha and of his life in the
last existence up to the attainment of Buddhaship ; while the sections of chapter \
about Buddhist monastic life.
The price of volume III. is one dollar and twenty cents (fi.ao) = 4 shillings and
II pence = 5 marks = 6 francs or lire and zo centimes = 4 kroner and 44 tire = 2 floriiw
and 91 cents Netherlandish.
Volume IV. — Raja-^ekhara's KarpOra-mafljari, a drama by the Indian
poet Raja-gekhara (about 900 A.D.); critically edited in the original
Prakrit, with a glossarial index and an essay on the life and writings of
the poet, by Dr. Sten Konow, of the University of Christiania, Nor-
way ; and translated into English with notes by Professor Lanman,
1901, Royal 8vo. Cloth. xxviii + 289 pages.
Here for the first time in the history of Indian philology we have the text of s
Prakrit play presented to us in strictly correct Prakrit. Dr. Konow is a pupil of Professor
Pischel of Halle, whose preliminary studies for his forthcoming Prakrit grammar have
already made his authority upon this subject of the very highest. The proofs have had
the benefit of Professor Pischel's revision. The importance of the play is primarily
linguistic rather than literary.
The price of volume IV. is the same as that of volume I.
/« preparation.
The Atharva Veda Sanhita, translated into English, with a full critical
and exegetical commentary, by the late William Dwight WHiTMEy,
Professor of Sanskrit in Yale University. Edited by Charles Rock-
well Lanman, Professor of Sanskrit in Harvard University. Royal
Svo. Cloth.
An announcement as to this great work, with a fiiU statement (from which this is
taken) of its plan, scope, and contents, was made by the author in the Journal of the
American Oriental Society, volume 15, page cUxi, April, 1S92. The plan includes,
the first place, critical notes upon the text, giving the various readings of the
scripts, and not alone of those collated by Whitney in Europe, but also of those of the
apparatus used by S. ?, Pandit in the great Bombay edition. Second, the readings of
the Paippalada or Cashmere version, furnished by the late Professor Roth. Further,
notice of the corresponding passages in all tlie other Vedic texts, with report of the
various readings. Further, the data of the Hindu scholiast respectiiig authorship,
divinity, and meter of each verse. Also, references to the ancillary literature, especially
to the well-edited Kau^ika and Vailana Sutras, with account of the ritualistic use
thereiu made of the hymns or parts of hymns, so far as this appears to cast any light
upon their meaning. Also, extracts from the printed commentary. And, finally, a
simple literal translation, with introduction and indices.
We may perhaps add that the critical commentary has been made the most
important feature of the work. No account, at once so systematic, extensive, and
complete, of the critical status of any Vedic text has ever been undertaken before ;
and the material is here presented in just such thoroughly lucid, orderly, and well-
digested form as the previous works of its lamented author would lead us to expect.
Its publication will — as we hope — mark a new epoch in the history of Vedic criticism.
To the student of folk-lore, and of primitive religions, the translation itself will offer
abundant, interesting, and important material.
Buddha-ghosa's Way of Purity {Visuddhi-magga), a systematic treatise
of Buddhist doctrine by Buddha-ghosa (about 400 A.D.) : critically
edited in the original Pali by Henry Clarke Warren, of Cambridge,
Massachusetts. Brought out after his death by Charles Rockwell
Lanman.
The "Way of Puritj'," which has been for fifteen centuries one of the "books
of power" in the East, is, as Chiiders says, "a truly great work, written in terse and
lucid language, and showing a marvelous grasp of the subject." Mr. Warren's plan
was to publish a scholarly edition of the Pali text of the book, with full but well-sifted
critical apparatus, a complete English translation, an index of names, and other useful
appendices, and to trace back to their sources all the quotations which Buddha-ghosa
constantly makes from the writings of his predecessors. The text, it is hoped, may be
published without too much more labor. Of the translation about one-third is made ;
and it has been determined to complete the version and publish it as soon as is feasible.
Mr. Warren died in January, 1899, in the forty-fifth year of his age. Accounts
of his life and work may be found in the (New York) Nation for Jan. iz, 1899; in the
Harvard Graduates' Magazine iox March, 1899; in *i^s Journal of the Royal Asiatic
Society lor April, 1899 (with a list of his writings); in the (Chicago) Open Court for
June, 1899; or in t\\t Journal 0/ the American Oriental Society, vol. xx,, second half.
I-
.1
A Vedic Concordance : being an alphabetic index to every line of every
stanza of every hymn of the published Vedic literature, and to every
sacrificial and ritual formula thereof. By Maurice Bloomfield, Pro-
fessor of Sanskrit and Comparative Philology in Johns Hopkins
University.
The conception of the plan of this work dates back to the year 1892, when two sepa-
rate announcements of it were published, — one in ihe/oAns Hopkins University Circulars
(vol. zi.y no. 99, June, 1892), and the other in the Proceedings of the American Oriental
Society (for April, 1892, Journal, vol. xv., p. clxxiii). It is nothing less than an alphabetic
index to every line {p&da) of every stanza of the entire published Vedic literature and to
every liturgical formula {yajusy prdi^a, etc.) therein contained. In brief, it is a Concord-
ance to the Vedic Mantras, 'it will enable the student of the Vedas to see at a glance
every occurrence of a given text (verse or formula) in the whole Vedic literature and to
ascertain with ease the liturgical uses of that text. Among the many uses of this collection
the following may be mentioned : —
First, it will serve as a register of the varietas lectionis for the texts of the Vedic litera-
ture. The individual passages appear in different Vedic texts, often in different form, vary-
ing more or less in the choice or the arrangement or the grammatical form of the words.
Second, the Concordance will give the key to the liturgical employment of every
Mantra as prescribed by the ceremonial books. It will thus become possible greatly to
advance our knowledge of the hymns and the ceremonies in their relation to one another.
The text and the liturgical action that accompanied it often serve as a mutual commentary
each to the other, that yields us a clear understanding of both.
Third, the future editor of a Vedic text will find in a complete assemblage of all the
Mantras an auxiliary of the very first importance. In the constitution of a Vedic text, the
Mantras are the most intractable part of the material concerned, because they are written
in a dialect which — differing, as it does, considerably from the classical speech — was
imperfectly understood by the scribes. Since much of the material of this kind with which
the future editor will have to deal, is quite certain (as experience shows) to be contained
in the literature previously published, it is obvious how serviceable the Concordance will
be in the establishment of the new texts.
This work, moreover, will be most useful in determining the relations of the different
Vedic schools {^dkhils) to one another. And divers subsidiary uses of such a collection
as this will suggest themselves to various scholars. Thus the initial words of the several
Mantras form by themselves a very considerable part of a word-index to the Mantras.
And, again, the great frequency with which the Mantras begin with the name of a divinity,
incidentally makes the book a most useful tool for the student of the Vedic mythology and
religion.
8
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