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CiHBUDOi, Ham., U.B.A. 
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Pabllcatton Agent of Harrard Unlvenl^. 
Ginii and Company. 

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of the Uaiveraal Postal Union, by sending a Foetal Order for tbe price aa given below, to Harvard 
Vuivtnilj/, Cambridgt, Maitaehutettt, UrUted Stales (/ A 

The prica of this Toloine Is ons dollar and fifty cents (tl.SO). According to the converrion- 
tablea used in the United States money-order system as the Iwais of lnl«rnatiDna1 rooney-orden, 
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or lite and TO oentlues — S kroner and 05 ore — 3 florins and 65 cent* Netherlandish. 







Pkofbssor op Sansksit in Hakvard Unxybrsity 






(about 900 A.D.) 









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FouuGM Mbmbbs of thb Royal Bohbmian Soqbty of Sobncbs (Pragub) 

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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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9ri|{0 Folutne in I9etiicateti bg ti^e Collabotatotsf 

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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 

Prakrit Text of the Play, and Critical Apparatus . . . 1-116 

Glossarial Index 117-172 

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 




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 



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 




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). 


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 

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 

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 

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- 


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. 


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. 


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- 


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. 



Jane 29, 1900. 


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 

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 : 



I I 


I I j 

.C B P W OR N T 

Part I 


or TBB 





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. 



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 


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- — 


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- 


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- 


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 


«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, 


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. 


— 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. 


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, 


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- 

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 


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- 




' 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, 

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 

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, 


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- 

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] 




fij^ ^**l^«5t!! H?HT WB 1 Ui<«UI II "(t II 

•"F": I Ht 5fra ^iTTO Jug an? iist «ki<!5'' i ^jw 


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 

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 


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. 



[L 19' 

19' AO mftiaw, P inftrew- 

19" T feMwta. 

19' A foBHi WTf, NR omit. 

19= AroR -Amiairi 

T wft- 

19' BW fS fii, fit ftl iDBtead of m. 
— ABPW08TU gsir. — B8TU 
•awun. — W gn ft, U omitB. — 

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- — 


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] 



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 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 


(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 


tWH HTR53iWniTWI HrasTWi U omit^ 


^ ftw. — ''b iMUvm, NE «^- 

20'" A inn. NR fiwT. STU fi». — A 


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. 

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 


'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), 

■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. - 


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. — 


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- 


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 «- 


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 


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 ^,' 

2I»B firj™. T a%ftt ^^ona. — STU 



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- — 

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 «. 


23- B fim. — N lAm. — o b. — 

24-ABNB8TU 3<I-. — A omiu n-: ^^H 


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' 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 


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] 


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 

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- 

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. 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 


•^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 


A OTlri fdWUfri- 

28' A ^rfina ^rftwi, w omitB. 


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. 


-'■ T omiti. — B TOT O, R omits fe. 


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 


• A faj- flfn, B -jrawra. — BO kdd 

V adds «m,ANOR add fim after 


•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 


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 


N jft wjft. — A omitB OTI. — B 



[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 


^^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 

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- 


I 32' AN omit. 

!32'ABPN8TU K^fv, O «vT«(. — A 
j^ and adds m, BO add m. 


HTO arafirafptmi 

[i. 34 

ITO ifTO •4<!ii,«V^ r«!l*i Th^ ansijfl II ?? II 


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' 

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 


- 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; 



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- 


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-, 


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, 


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»:- 


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 


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 


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- 

34'" A m iwsr. — B ofWaw, NH 

"TOW, »w BIT, U g*«I- — 
OSTD ilj. — adda mil- 
SS-lIaa. vi. - ENOET — A 

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 

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 ^- 


i 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 


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, 


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. 


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 


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 


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-, 


^^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 
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 , 


- 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. 


[ii. 9 


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, 


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 

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 


y*y^f f^^«S*^ 

firewnr 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) 


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 


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 


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- — 


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- 



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*. 


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^' 


^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 " 

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] 


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». 


29"STU omit m. — CPWWOE n. 

HriBldarftwi. — P adds BWm. 

STU 5TO- — CP HijnTiff. NOR 


•nrfir. B omita OTHT-— H 

29" STU mrr mra:. 


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 


[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 



N -1 



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?- 



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. ■ 

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 

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*. 

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. 



[li. 41 

%5ii'i war ft «r<!jr^<i '^jfi^'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, 


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 


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 «^ 

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. 


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] 


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 



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 


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 — 


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. 


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 


aj-. - P ^aw. 

ii 44] 



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 * 

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 «- 

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 




R(^i^ TOi^ii^ ft 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 

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 

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 


^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] 


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 

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. 


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 


■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. 


P -iWfiraTij, WNOE inilfB- 



[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- 
i^ W gsrft OTO, PNSTU gvft. — 
W omitB gur; 8 jnn- — PW0E8 
TO. — PWNOE TOTM*. 8 w- 

i» V omiU. — P8 5jwb, T uwwt- 


%>»: 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^- 

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'!! 

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, 


qntO HOH*l'fliH 

[iii la 

r*4i^<!! nffSl^fijl 'Itl^ ft SI'S 

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, 

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 

(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. 


[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- 


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 


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 


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. — 


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, 
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] 


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. 


' 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 


SU ragii. 

- T*,. - 

NO iimi, 



mm- — PWNOE *- 

ftw. 8 ifts-. - T 

•«rt. - 



NOE -ag, 

T Tra, n 


;'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 
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. 


[Ui 27 

l^aW SHI 1 


iTOI "^Jlni rfl<*|l|<l II ?9 n 


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- 


— P fiESH-. N j)>m-. — NORT 


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 


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 

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 


r 'rat 'ftrer^^^ ftire «iiHt ii ?s • 

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, 

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 


W^ I HT ^"i«*IH<l!r**><l<<*r<'HMWir4<^H!i ilH\ ?^- 


■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^. 


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. 

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 

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- 


W omito. 

VIvfilDBit omito the rest. — P a- 

BfiuiNiT. WO u gftua^') . R wufiii- 


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- 


— 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- 


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 

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, 


4'P mBW, NR8TU 

4*" P ■uuwuij 

nw. — ws 
4" N «flii%, T ft*. 

■w naw, OR 

STU -B- 



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- 



FT^naws»TO^TT|Tq»^ I 

TTw I ^ ^3^ ^1^ iHn^Til' I 

»^ ^RT^^fhr^ ^iw f^ II ^ II 

riNlrii-ftrIni *<^««^JIH ^^ ^ S ^^THij II « II 

5'''W OTir, N BT%r, OR 

STU FtwfBiftwr. — WNOR II- 


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?- 


7» P hI^hm I, "W s^hrt-, OR segwg, — 
N ^tTb mVi 8T ftjvir, U fHvr> 
— N fu^auui- 


7' P ■*isflH, TU •wasrg. — P »wfa- 

BVFnTT- — P Aiufujlint MrlUWi), 

o ° 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 



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 

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- 

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 

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- 


'^ 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^ 


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] 



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 

9" NOR omit wft'. — P wraradwi, 

W ■On-nG^Htii't, NU fli4|iaiOs4Ht T 


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 


. — 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 


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, 


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 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 

•^ 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. 


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 


• 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 H. - W nfalwrarMI, 

PO ft^iijft. WN ftSft. S Hi*!, U 

NO awmmtawat. o nwrsr. lu 


' NO hh; oftuft- 










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 




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 


M TOt iwra- — P aiararat 



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- — 

^FWS 39?. — HniwOTW. STU 

fe, TU tnfft TU- — W MRHra, 

' 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^. 


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 



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. — 


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, 

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* 


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 

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* 

20' B mi^, STU omit. — N TO. — 
B metrU. P "Haw , N ihuk, 08 
ftrere'. — PWNU ^, 8 ^. — B 



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 ?- 

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. 


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%^ 

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 



?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»«* 

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] 




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 



Part II 







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^«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. 

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», 

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- 


natural i. 21°. 

w^rni [«g*] r«semWt«^, iii. 25', 28''. 

amvn [mowi] eaceedttiffJi/ Mj/enor, I 

wgwrn [M^rol/aw. »▼■ 23*. 


mnsH [wgsra] conoliatww, L 20". 

■n^fin [moflw] exceedingly superior. 



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. 


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: 


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'', 


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". 


■Pn^ [IT] ^ono toUhin, hidden, il 

vAvnts. deeoraiiaii, ornament, i. 31*; 

1 43»- ". 


^^^K vin^ts. wiOwut, except, i. 34>^ >^ 

mSrfvH, 'hisaee «. 


■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. 


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", 

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. 

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. 

Minr [si[3t] aKention, care, L 13'. 


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. 



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'\ 


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'. 


+ 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'>. 



^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 


[i«(]a A«y^ wmttitmh, L 19*; 


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 

[vnott] frrii^H <%WHii^, heaml^id, 
L 84^; iL 40*, 41*; iiL 4^ 97*. 




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^. 

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*; 

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. 


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«. 


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^ 


ir^sff [iiSwm] the being 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*. 


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». 


34'. •; iv. 18', 20>. esl, i 20'. "■ •'. 

TOW [afsiJH. 4 223. oveiftowing, 

28", 3»i, 32-, 34'. '■; ii. 6", 8', 


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, 


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. 


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". 


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'; 


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, 


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- 


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*, 



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. 


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*. 


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=. 


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". 


ftw [vftrjii'orfc, compostfioB, i 11". 

■rofsw [«wrl%BKT) a touch-stone, i 18'", 

fifcHH ['^Wja tree, Butea jrondosa, 


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 


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 


10 to 13. iii. 16». 

feurts. a ray, beam, ii 29', 50"; iii. 

«M ts. a pikher, water-pot, jar, iL 44'. 


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''. 


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". 


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- 


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. 



+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", 



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'. 


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'"'. ". 


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". 


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". 


'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; 



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'. 


^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 



«^ 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". 


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'. 


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". 


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". 


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«. 


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'. 


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'. 


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 



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«. 


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- 


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. 


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«. 


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. 

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. 

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. 

+ga Qms., to make iUustrious. njja- 

ledi, i. 19'. 

ts. a jit^tjy sound, iv. 17*. 
to sound, jingle. *paiita, iL 
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\ 


47'- ', 49^; iiL 8', ^^ 14', 15^ 16", 

80*. 2a^ 34»j iT. 2"- »", 3", 9*, 18», 

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 

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; 


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". 


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'. 


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'. 


fiirftHi^ [f^ffsa] without hindrance, iv. 

ftr^ [fJrar] s^eep, ii. 50-; iii 3". 


fa-jfiudW [f'l'a^] worthy of hlame, 

firewi [^rew] nature, l 31"; il 25». 


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, 


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. 


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'^ 


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 


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'«-'«. 


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". 


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'; 


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 


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 


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'. 


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 ["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, 



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<.". 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', 


^ 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^ 


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**'"-"; 


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". 


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'". 


fror [fsvjdiredion, quaHer of the 

vm l'^] giving, g^, donation, ii h^. 

sky. i. 14»; iii. 25", 26», 28'; iv. 

47' ; iii. 17". 


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'. 


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- 


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'. 


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'. '■ "• "■ "■ », 


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, 1,. 

iv. 18". 

gsfe- [%irf^]Aawnj iiw> moon*, L 

i«ta. Msr. ii. lOMl"; iiLir', ao*,". ^^^| 


deliantaia, anotttr bcdy, L 34"; ^^^| 

Jfel [-11] a inujWer, L 34"; ir. 



imisfil [A:-] a plarUain4ike arm, ir. 


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. 


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 


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. 


dutthmli, L 24'. datthuoa. iiL e-. 

il*a» [%>lnij thirty-two, iv. 11'. 

iim- [144 1 

woman, the desire of ^ants at 


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- 


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«. 


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*. 


•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- 


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*. 


v^mn [nf«w»] iarf; western, iv. *>, 

VC to J^^i/i (k'- QaccidavTaib, i 4'^ 


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». 


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». 


"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». 

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 



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. 



nam [osit] reading, reciting, L 2i\ 

+ 5g^to be produced, samuppaopa, 

OOT lvTm]Jir8t, L aO". » 34»*; iiL 

iil 4'; iv. 19". 


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». 


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 



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^ 


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». 


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, 


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*. 


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". 


QT3«T [vratn] the B-akrit language, i 

mr [v«^] f^ jM^n 0/ t;w hand, I 


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*. 


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 


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 


^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^ 


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. 


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'. 


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". 


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^ 


iftDnrar (Qmnt] a rubj/, ii. I5>; iv. 

SfT [wt] HD. 6. 89. a jeSt, ii. 6«. 


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". 


*H [WW] (o«cA, contact, iii 24''; iv. 

tion, posture, i. 6', 7'; ii. 4"; iv. 


11-, la". 

a»wj [wT*] a kinsman, friend, i. 16*. 

ponding to JE^nttary- March, i. 

«*■- [ii»w] (^e ^od firo/imd. i. 24". 


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*. 


wip ts. /ra^, iii 2K 


Hwrrfgra [wnrffem] enalauei by women. 

n -I- mt to value, esteem, •maoniedi, i 

a hen-pecked husband, iii 2'. 


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*. 


■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, 


/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". 


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. 


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.) 


^H. 4 177. erring, oblivious, it. 


iv. 19»-". 

your M (he ttwW, iiL 26S 28^ ir. 

irikm l-vi]what is to be, the future. 


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»; 


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 


(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. 


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- 



+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". 


fiwnina [wraisFa] name of a yogin, 

wiRRWr [^'mstt]the moon, ii 47*; 

L 21', 24», 34«-"."; u. 6"; iv. 

iv. 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. 


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". 


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. 



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'. 


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'. 


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«, 


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. 


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"- ". 


WTW [-B] wind, i. 16'. 

nn- [n^iQ-] 'o teconw nceet mabu- 

wth4 ['HTja great -flowered jasmin. 

rijjal, ii. 26''. 


itjftn-H. 2. 154. sweetness, beauty, 

nrai ts. a garland, chaplet, row, string. 


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'«. 


jTOta. a month, iv. 9^. 

+3^fo loosen, shed, mnmukka, iiL 

ar^ai [-WJTO] majestt/, dignity, L 9^ 


■fttMi; {wn']the moon, ii. 42'; iii. 21', 

g^ \^]fainting, swooning, i. 35*. 


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 


disguise of I 18"; it. 22*. 

^ [•fn] rdease, final emancipation^ 

fti^ [-gst] pair, couple, i. 1*». 


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». 


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 


iii. 22''. jftoaih, i. 33'; iii 11»; iv. 
9'- '. jeBuiti, ii 5". 
\-to restrain, regulate, jimtia, iv. 

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. 


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, 



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 


please, satisfy, rajjae, iii. SS". 

iVB [-w] impetuosity, i. 15"; ii 44"; ^^^^| 

rajjanti, iii. 6". ratta, ii. 50=. 


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, 


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". 


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<. 


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, 

to a well-known saying, prevails 

even over precept), ii. 27''. 

5if^ ["f^] mounting, transgressing. 

va [■^]/orm,Jigtire, beautg, i. 29', 31', 


34"; IL 12^ 49'; iii. 9'-, iv. 9», 14^ 

«ncf ['vit] success, splendor, the god- 


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 


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^ 


hadu, iii 20'". lahejja, iii 33^ 

^+«Tr to embrace. alingasu, i ^^^^| 

lahanti, ii SI". labbhai. iv. 23". 


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- 


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''. 


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«, 


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'. 


m^[-mci]fem. -mBi, Jriend, companion, 

vf^- [life] H. 2. 154. growth, length. 


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«; 


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. 


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. 


valaota, iii. 27^ valia, L 30»; ii. 

sf ["g] a wife, L 21'; ii 2'; iii 26-; ^^^1 

24"; iii. 2". 


smr [-uja bracket; a circle, I 25''; 

arts, or, i 18"- ''■>», 20<», 30'; ii 27*; ^^^| 

ii. 9^ 16-, 32=; iii. 13', 18«, 27', 


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. 



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 


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*. 


aift tB. twzier, iv. 6*', 8". 

tR^ ta. a creeping, winding plant, ii. 

areur ta. consisting qf water, iv. 



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. 


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». 


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», 

few- ^d^^ [162 1 

13', 164 ", IB", ao". '■••>•• "•".", 

firsftw [vnil separation, absence, iL 

24-, 26', 27', 28'. ■■•.'■', 30', SI*', 



^w [-ma^force, prowess, valor, I 

8', 10', IS-.', 23s 26'-», 28', 29", 


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<, 


12", 13", Us 15>, 16>. =, 32'; 17. 2-, 

fiiWTH- [*o-] (o mafte pale, outshine. 


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''. 


firare- [°fiH] wictoriowa, iv. 4^. 

fasre«T [°wfiF5r]a kind of jasmin, i. 

fegpin- ["^^-J to act as lightning. 


vijjuUehaidaifi, ii. 40*. 

ftaiwjnn [■^aro] drcums^edjwiae, clever, 

i. 20'. 


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^-''. 


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*. 


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'^. 


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, 


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'; 


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'. 


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- 


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". 


fiitwr — 


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 

ciHram [•srw] i>roduced by fanning, 

^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 

^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*; !▼. 

d^Qir [Sai] a physician, iv. 7s 18*^. 
Silff ts. a braid cf hair, L 13^; iL 1^ 

d^ ts. a yZttfe, iv. 6*, 18*. 
dflpifr ['«T]an altar, raised seat, iL 

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*, 


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>. 


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'"; 


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', 


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". 


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''. 


53 [iih] a /iMMdrerf, i. 20"'. ", Cp. ^w. 



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^ 

^mr [ni] time, L 20» 36»»; iL 6« 50^ 

iii. 3", 19«; iv. 4^ 7^ 18^. 
HuUsn ts. oiometJ unfh jewels, iii. 


^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 

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^ 

9mts. straight, honest, ii. 23% 3(K 

•tta^a [^tva], sincerity, iiL lO''. 
H^w€ [•FPft] tfee goddess of poetry^ 

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. 

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 

wem [v] an ear, L 29»; ii. 8% 18»; 

iiL 2^ 19*; iv. 6». 
9CR [ira*']a mountoifieer, savage, iv. 


[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^. 


P gsiaw [Fawn] all-scratching, i. e. very 

5IW3H [sw] name ^ a mercAanf, 

1 galling or exciting, i. IS"*. 


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\ 


^ (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''. 


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''. 


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^'.»', 


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 



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. 


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^ 


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, 



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-. 


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". 


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], 


beauty, loveliness, iii 13*. 

tnarirtflts. name of a wmian, iv. 

MH^fli [-WHwn] a happy evening, ii 



h^<t4<u [-fa] beauty, lavdiness, 1 14». 

nwfWa [■wrfiraja witty saying, good 

g^ [m^] the same. i. 28^ 33'; ii. 

counsel, iv. 9'- '". 


« 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*. 


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'. 


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'; 


iv. 9'. 

wm l^]gold, a golden coin, L IP, 

5ei*o attend upon, freguent. aevaJ, 

18'», 19', 20"; ii 41'; iii 4\ 

' iil7". 


+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'. 


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. 

^tfpn [^hrnii] heauiy, charm, ii 3*. 
#B5mr [lAmssRJHD. a 37. horse- 
radish, i 20*®, {K, phalguna- 

m&si tatkandaih kha94a'yanti; 

J, pu^panimittaiii tro- 

tanam ity artha^) 
Qhp [vtarr] light, splendor, L 28S 29S 

31«' *, 34^^ ii 10\ 25*; iii 

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, 

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 


171] -^ 1 

esq to sleep. auvanti, L 14^ sutto, 

B5i#aHD. 8. 64. murmuring, noise, 


l4'»; iii.34«. 

mts. a vocative particle used in 

addressing a female friend, i7. 

tsee vrsK. 


tgt3. fern. 'Si, a swan, Jtaminga, ii. 

«ftr^ [•frsi] turmeric, iii V. 

6'", 8'; iii 29-. 

^ 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. 



+ 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", 


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 


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 ^^^^| 



irfraj [-qa] name i^ a poet, i. 20". 

sftwsfl ts. a name of Bengal, I 

1%s^iHW [-m] a swing, ii. 29^ \ ■ 


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". ^^^^| 


^see s;s. ^^^H 

nftuflst. a doe, female antelope, ii 

^qnr ts. (Ae £ouni hum, murmur, hum- ^^^^M 


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\ 


+ 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*, 

Part III 






1. Chronological List of Books and Papers Concerning 

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. 

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 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. 

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, 

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. 


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 

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 

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 

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. 


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. 


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: 

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 


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, 


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 


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 

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. 


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. 


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. 


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 


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. 


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 

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 

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. 


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 


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. — 










































































bhavati, -tu 

bhodi, -du 

hoi, hou 











































































































8. Riljapekhara's Prakrit. 


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 : 


























































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- 

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. 


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 


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. 


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 ; 





D rutavilambita 


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. 













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 


;ncluded Indravajra, Upendravajra, and Upajati. 


(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" ~ 


ii. 1 


111. 1 

QfirdUavikrldita [v 



i. 2 


ii. 2 


iii. 2 

MiUiiil iv 



1. 8 


ii. 3 


iii. 3 

Qflrdaiavikrldiia iv 



i. 4 


ii. 4 

ill. 4 



i. 5 


ii. 5 

m. 6 

Indravajra iv 



i. 8 


ii. 8 

ill. 6 




i. 7 


il. 7 


Iii. 7 

M&llnl iv 



1. 8 

ii. "8 


UL 8 

XryS iv 






iii. fi 

VasanUUlaka iv 



J. 10 







1. n 


ii. U 



■' iv 





ii. 12 


iii. 12 





ii. 13 




i. 14 


ii. 14 

iii. 14 






ii. 16 

m, 16 

" iv 






iii. IS 





ii. 17 





UI. 18 

M&llDl iv 




U. 19 


Sragdharft iv 







ill. 20 

PrthTl iv 






RathoddhalA iv 







Vasautatilaka iv 







iii. 23 

RatboddbatA iv 






iu. 24 




i. 26 




iii. 26 
iii. 20 

QardQlavikridita _ 



1 27 j Vaaantalilaka 



lil. 27 


i. 28 Upajici 



iii. 28 


1. 20 . gsxdQlavikrtdlu 



111. 20 

[See p. 207] 

L 30 1 Mand&kr&ntA 













ill. 32 








ii. 34 










U. 38 










Act 1 bid sa 
" 11. " 60 
" HI " 34 
" iv. " 24 
Sum 144 


Paet IV 








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. 


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. 













Cool season 


r Chftitra 

f Jy&ish^a 


r A^vina 

\ P&usha 

f Mftgha 
I Pbftlguna 




Aug. -Sept. 

Sept -Oct. 

Dec. -Jan. 



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 

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 

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'. 


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. 



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. 


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- 

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. 






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.' 


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 

[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 

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 — 



\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 

^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— 



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 

^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, 

' 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. 

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_ 



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 — 



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 

^ 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 


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— 



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 

* 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 


Act First. 


Queen. The one who is popularly reported to be a wonderful master 


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. 


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 — 



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. 

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 


» 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. 


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 



(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*. 


• 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 

* 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« — 



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 

* * 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 

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- 

' 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 — 



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- 

* * 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 

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 

ii. 2 — 



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 ' 

^ 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. 


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— 



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 

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; 


. l*. 

The Queen is already ieaioua (cp. ii. aU"), 
and compels this separation (ep. ii. 0=). 

ii. 81 — 



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- 

* 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 

* 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 

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 — 



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, 

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, 

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— 



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 

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 

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^ 


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- 

* > 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 — 



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- 

' 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 — 



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 * 








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- 


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» — 



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,"] 


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. 


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 

> * I will make this thing to be before his 

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» 



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- 

* ' 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 


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— 



{^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 — 

** 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- 

* * 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. 


[^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 

' ■ 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 

" 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— 



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. 


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 

«*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 

* 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»— 



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 

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,' 

* ' Of what persons, possessing hearts 

iii. 13 — 



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« — 



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 


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^. 


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 



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 

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 


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 - 



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 

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 


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- 

' 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.' 


[^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 


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. 


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 

' The three long bahu-villiiB are " adjec- 

tives that contain reasons" — hetn-garbhft- 

' 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 

'"'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 . 


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 — 



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- 


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" — 



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- 

' ' 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« 



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 

^ 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. 


Act Fourth. 

-iv. 20 

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] 


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 

* 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 



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 


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. 



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 

* * All that which is obtained among 

^ 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. 






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been more thoroughly marked. 

Supplement to Whitney s Sanskrit Grammar. 

The Roots, Verb-forms, and primary Derivatives of the Sanskrit Lan- 
guage. A Supplement to his Sanskrit Grammar, by William 
Dwight Whitney. 1885. Svo. xiv-(-2So pages. Paper: Mailing 
price, ^2.00. 

The fact that the roots are briefly and clearly defined, and the forms conveniently 
given, makes this work useful even in the early stages of Sanskrit study. Eacli formation 
imd derivative is dated according to the period of its appearance in the literary records of 
the language. 

Cappellers Sanskrit-English Dictionary. 

A Sanskrit-English Dictionary. Based upon the St Petersburg Lexi- 
cons. By Carl Cappeller, Professor at the University of Jena. 
Royal 8vo. Cloth, viii + 672 pages. By mail, 1^.25. 

This dictionary covers a wide range of Sanskrit texts. It is accurate, suffident^ and 
brief. Typog^phy, paper, and binding are excellent. The size b truly handy ; the price, 
small. The author had already published a Sanskrit-German Dictionary. This Sanskrit- 
English one, therefore, has practically the advantage of being a second edition, and is an 
improvement upon its German original in many ways. 

Lanman*s Sanskrit Reader. 

A Sanskrit Reader : with Vocabulary and Notes. By Charles Rock- 
well Lanman, Professor of Sanskrit in Harvard University. For use 
in colleges and for private study. Royal 8vo. Complete : Text, Notes, 
and Vocabulary, xxiv -h 405 pages. Cloth : Mailing price, f 2.cxx 
Text alone, for use in examinations, 106 pages. Cloth : Mailing price, 
85 cents. Notes alone, viii + 109 pages. Cloth : Mailing price, 85 

This Reader is constructed with especial reference to the needs of those who have to 
lise it without a teacher. The text is in Oriental characters. The selections are from the 
Maha-bharata, Hitopade^a, Katha-sarit-sagara, Laws of Manu, the Rigveda, the Brah- 
manas, and the Sutras. The Sanskrit words of the Notes and Vocabulary are in English 
letters. In the Vocabulary great pains have been taken to show how secondary, tertiary, 
and later meanings have grown out of the original meaning, and to illustrate these transi- 
tions of meaning by analogies from the English and other familiar tongues, and to enable 
the student to trace every form back to its root by means of references to Whitney's chap- 
ters on word-formation, and by giving the root itself and the intermediate forms ^ Etymo- 
logically kindred words from the Greek, Latin, Anglo-Saxon, and English are given along 
with their meanings. The Notes render ample assistance in the interpretation of difficult 
passages, and in the explanation of allusions to the antiquities of India. With them are 
given concise literary-historical introductions to a number of the most important branches 
of the literature. 

Sanskrit Text in English Letters. 

Parts of Nala and Hitopade^a in English Letters. Prepared by 
Charles R. Lanman. Royal 8vo. Paper, vi -t- 44 pages. Mailing 
price, 30 cents. 

The Sanskrit text of the first forty-four pages of Lanman^s Reader, reprinted in 
English characters. The Vocabulary and Notes of the Reader apply exactly also to this 
reprint, inasmuch as the reprint corresponds page for page and line for line with its 
original. With the help of the Grammar and of the Reader and of this reprint, the student 
will be able to acquire a knowledge of the forms and structure of the Sanskrit language 
and to do some reading, without first troubling himself to learn the N&gari alphabet. 

Perry's Sanskrit Primer. 

A Sanskrit Primer; based on the Leitfaden fiir den Elementar-cursus 
des Sanskrit of Prof. Georg Biihler of Vienna. By Edward Delavak 
Perry, Ph.D., Professor of Greek in Columbia College, New York. 
1885. 8vo. xU + 230 pages. Mailing price, $1.60. 

This book is an attempt to combine Professor Blihler's admirable practical exercises in 

translating from Sanskrit into Englisli and from English into Sanskrit, with the systematic 
exposition of the Grammar as given by Professor Whitney. To this end, the Leitfaden 
has really been rewritten. An introduction has been added, giving a general view of the 
structure of the language : and the exercises have been somewhat abbreviated. Care has 
been taken <o retain nothing but what would meet the real needs of a beginner; and 
regard has been had for those who may take up the study without a teacher. The book 
has sufficient vocabularies. 

Kaegi's Rigveda. 

The Rigveda : the oldest literature of the Indians. By Adolf Kaeci, 
Professor in the University of Ziirich. Authorized translation [from 
the German], with additions to the notes, by Robert Arrowsmith, 
Ph.D. 1886. 8vo. Cloth. viii+ 198 pages. Mailing price, S1.65. 

This work treats of Vedic literature and exegesis, of the Vedic people, and of Vedic 
dvilimion ; of the language and form of the hymns of the Veda ; of their contents \ and 
of the Vedic religious thought ; of the Vedic divinities ; of the Vedic beliefs, especially 
the belief in Immortality ; of Vedic secular poetry ; etc. The notes (pages 95-180) com- 
prise a very full explanatory, justificative, and bibliographical comment upon the maia body 
of the book. 

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 


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 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 ( = 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 

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. 



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 

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 


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