·PREFACE "What a great calamity! Sky brings forth a flower! Sands producc oil' A dramatic composition comes from the Southi -arclaimed an ictress in the course of introducing the Ascary scudamanı of Siltibhadra 1 greit drama by the greatest among the dramatists of hcrala We arc further told that the poct had to send his composition outside his region in order to win acciaim Even if the above statement 15 not the whole truth it is an cloquent essay on the state of literary aſtairs prevailing at that time in herala But then, the Kerala dramatist parhaps did not know that South India had already produced two great plays which could stand the test of time The Bhagavadajjukiya-'the farce of the Saint ard the Courtezan arcribed to Bodtajaca by a commentator and the Mattavla-1- 'lle Diversion of the Drunk by Mahendra virarra are referred to in inscriptions which date back to 610 A D Bo‘h these plays belong to the Pra basaaa type and exbibit some common features such as the exposition of the bypocrisy practised by mendicants, the decline of Buddhism in the South, the laxity in woral principles and the ignorance of religious bigots Kerala had the privilege of prex.ning the interesting plays to posteritim-thanks to the flouristiro stage tradition Following the boid esample of Saktıbbadra, dramatists likc Kulasekharavarman Ravarman and othors brought out tolerablı gocd dramas 072 wide var ety of top cs A suris ·6 being conducted by the present writer reveals that there are not less than a hundred plays produced in Kerala by her sons Many of these dramas were staged in the temple theatres of Kerala by professional actors As a result of these hectic activities, dramatic composi. tions both indigenous and coming from outside Kerala were assiduously copied and preserved Almost every house in ancient Kerala preserved such copies in their library The spade work of great savants like Mahamahopadhyaya T Ganapathi Sastrı brought to light a number of plays including the thirteen dramas ascribed to Bhasa and the Mattavılasa through the celebrated Trivandrum Sanskrit Series It was Mr Sastrı who discovered and published the present work for the first time It is with great pleasure that I bring out this important contribution of South India together with an English translation I am indebted to my friend Mr M Easwaran who undertook the publication of the work Sreelasyam, Rishimangalam, Trnandrum, Dec 31, 1973 Dr N P UNNI ·CONTENTS S 7 8 9 9 17 PREFACE CONTENTS ABBREVIATIONS INTRODUCTION Mahendravikramavarman The Plot Characters The Religion in Mattavilasa Mattavılasa on the Kerala s age The edition Manuscript materials Cast of characters TEXT TRANSLATION NOTES MATTAVILASA TIPPA VAM 18 21 32 35 36 37 69 91 Index of verses 96 102 Table of metres 102

·ABBREVIATIONS
BSOS
JOR
KSC
KUML
Bulletin of the School of Oriental Studies, London
Journal of Oriental Research, Madras
Keralasahityacarıtram by Ullur S Parameswara Iyer
Kerala University Manuscripts Library collection
Manuscripts
South Indian Inscriptions
Transcript Malayalam
Trivandrum Sanskrit Series
MSS
SII
TM
TSS

·INTRODUCTION MAHENDRAVILRAMAVARMAN Mahendravarman I also known as Mahendravikrama was perhaps the most outstanding among the rulers of the Pallava dynasty who held sway over a major part of South India during the early centuries of the Christian era His manifold contribut- 1ons to literature and architecture have earned him a permanent place in indian cultural history Since the name Pallava appears to be a Sanskritised form of the Middle Persian Pahlava 1 e, Parthian, the origin of the family is often traced back to the Parthian adventurers who came to India during the first or second century BC, and their eventual settlement in the South seems to have occurred duriog the early years of A Di The dissolution of the Satavahada empire and the political chaos prevalent in the South gave them an opportunity to establish themselves as a strong political power and soon they found themselves in an impregnable position extending their dominion over a large part of the South By the time Simhavishnu came to power the dynasty has come to stay and he proved himself to be its real founder ruling the tract between the rivers Krishna and Kaveri, having established his court at Käñcipuram The greatness of Simhavishou as a ruler is testified to by his son Mahendravikrama in the prologue of his Mattavilasprahasana in the following words "Simhavishou like a mountain wbuch bore the weight of the family of the Pallaxa, had overcome all the circles of feudatory princes by his policy, had the prowess equal to that of Indra and had bumiliated even Kubera, the lord of the heavenly wealth by his benevolence, greatness and wealth. This is corroborated by a veiled reference IL D Barnett, BSOS V-4, P 697 *TSS 55 p 3 ·10 to Simbavishnu contained in the Avantisurdarikathāsāra of Dandin, whose great grandfather was patronised by the king Mahendravikrama the son and successor of Sumbavshau who flourished between 580-630 AD, was a notable figure as a soldier, poet, musician architect, and religious reformer - A host of inscriptions and rock cut caves strewn all over the South bear testimony to this genius who gloried himself as Victracıtta in addition to assuming many other titles These titles found in his inscriptions reveal his astonishing variety of accomplishments rarely equalled by any other ruler "Vicitracitta' Mahendravikrama has proclaimed on various occasions that hrs accomplishments are myriadfold Thus the Sutradhāra in the prologue of his Prabasana is made to narrate that "Wisdom and bounty, mercy, dignity, comeliness, skill in arts, and guilelessness, Trust, valour, courtesy-such qualities, Finding no place in this our iron age, Have made ip him their common home, as blend In Nature's origin, the Primal Spirit, Creations fragments when the aeon ends '6 Further he states that 'from him good poet's verses win high reward though they are not of a bigh quality, for he himself is a poet of considerable merito That this enumeration of the qualities given by the Sutradhara is no exaggeration is proved by the living monuments of the author still available in the South As has been pointed out, his inscriptions give considerable information on the various aspects of his diverse qualities and interests "Titles Mahendravikrama has assumed a bewildernog variety of birudas after some of which he named his architectural caves Arunonlarhours, ES Y Rapalabraltar दनुजपविहृदयभूधर विभेदविज्ञात शक्तिनख कुलिशम् । जगदुदयहेतुविष्णुरवतु व पुनारसिंह व.।। "K A Nilakanta Sastry The Culture and History of the Tamils, Firma K L Mukhopadhyay, Calcutta, 1964, p 21 $TSS 55 p 3, Trans L D Barnett, BSOS V-4, pp 697-717 Ibrd, p4 ·11 Many of these titles are seen alphabetically arranged in his Inscriptions ? These titles are sigoificant siace they throw sufficient light on his personality The following are some of the important titles assumed by him Abbimukha --'one who looks forward' Aluptakāma-One who does not abandon bis desite Anityaraga--"One not permanently drawn to pleasures Avanıbhâjapa-'Earth vessel' - 1 e he whose glory fills the earth This occurs in his Prabasana and also forms the name of a cave at Siyamangalam called Avanıbhājana Pallavesvaragrba Cattakārı-Perhaps from Caityakarı-'one who made temples' This is because he claims to be the pioneer who made rockcut temples in South India The cave at Mapdagapattu (Villupuram Taluk, S Arcot Dist) is perhaps the first to be scooped in the South and Mahendravikrama proudly states that he made the 'Ayatana' for Brahima, Isvara and Visbau without the use of traditional materials like trober, brick, metal or mortar It was he who successfully handled hard rocks for the first time since Aſoka He has built pumerous similar cave temples in the different parts of Tamilnadu Citrakārappulı-Tbe tiger among artists' His proficiency and keen interest in the art of painting is revealed by the title In the Mamandûr inscription he states that he caused to be compiled a commentary called Daksinacitra (1 e South Indian Art of Paintiog) following the methods and rules laid down for such a work". "T. V Mabalogam, Kanchipuram in Early South Indian History, Asia Publishing House, Bombay, 1969 y 70 8See, A Reay, Pallara Architecture, Archaeological Survey of India Series XXXIV, KR Senivasan, Cave temples of the Pallaras, R Gopalan, History of the Pallavas of Kaoci, Jouveau Dubreuil, Pallara Antiquities and The Pallaras etc TN Ramachandran, The Royal Artist Mahendravarman, JOR VII, Madras, pp 235-237 V Ragbavan, Dakshinacitra, Journal of the Indian Society of Oriental Art, 1938, PP 195-96 ·12 Drphagatih-he of firm mind' Gunabhara-'one with abundance of virtues Thrs also occurs in the Prahasaga Kalahapriya--'lover of fight or disputes', which shows bis war-like qualities Kattuna- not bound by rules or regulations' Lalitankura-The charming Scion of the family' The title is vsed in naming the cave Lalitànkurr Pallyeśvaragrha o Tiruchirappalli Lokasalya-'the arrow of the world' Mattavılasa-'the wild sporter' The title is after the Prabasana composed by him where it meaps 'the wild pranks of a drunkard' Naibıkāmutrika-'one pot attached to the pleasures of this or the other world' Nityaviolta --'one who is ever modest' Puruşottama-'the best among men' Sankirnjati--mixed caste' or 'the name of a musical time' or 'a new variety of Tala or raga' 10 The title suggests the musical talents of the royal artist Satrumalla -the wrestler of the enemy or the cbampion against the foes' This occurs in the last verse which forms the epilogue of the farce Satyasandba- one who speaks truth' Vicitracitta-'Curious or inventive minded, or he whose mind is manysided' This occurs in the first cave temple built by him 11 Besides these he also assumed a considerable number of Telugu tules, the port of wagy of theo heng sot queclex This practice became so popular at that time that some Telugu rulers, the feudatories of Pallava overlords not only assumed the 10T Y Mahalingam, op cit, p 73 11See South Indian Inscriptions, Vols I-VI for details ·13 names of their chiefs like Mahendravarman etc, but also bore titles such as Mardavacıtta and Madadayılása indicating some affioity to Martavilasa and Vicitracıtta 12 From the point of view of the historians, Mabendravikrama's accession to the throne heralded an important epoch in South Iodian history It marked a renaissance in the field of religion, 3 Dew era in the history of South Indian Art, Arcbi. tecture and Painting, and a new impetus to literary activities The cultural connections which India had with South East Asia in the olden times are revived and developed by the Pallava King Author' Mahendravikrama was a poet and hor of a high calibre His admiration for his predecessors is revealed by his fascriptions where he mentions Valmiki, Vyasa and others These engraved in different caves scooped at his orders, contain a good number of Sanskrit verses of a bigh poetic excellence and composed 11 diverse metres In Martayılasa alone he has used dine different metres where the total number of verses comes only to twentythree His command over the different varieties of Prakrts is admirable * Short as is the play, it shows a variety of Prakrts, for the dramatis personae only the Kapalın and the Pasupata speak Sanskrit, the Buddhist, and Devasoma talk in Prākrt That of the Buddhist and Devasomā is practically Saurasen, but the madman uses Magadbi" 13 Besides Matravilusa, the authorship of Bhagavadasukaanother farce of equal if not more significance – is generally attributed to Mahendravikrama This is mostly based on a reference in the Mamandūt inscription where the line" gavadajjuka mattavılasādı occurs The coupling of Bhaga- Yadajjuka with Mattavılasa is taken as suggestue of their common authorsbip 14 But this seems doubtful siace a commentary 12T. V Mahalingam, op cit, p 81 13A B Keith, Sanskrit Drama, Oxford University Press, 1959, p 182. 14M Krishnamachariar, History of Classical Sanskrit Literafure, Motilal Benarsidass, Delhi, 1970, p 148 t ·14 to be oo Bhagavadajjuka mentions the author of the text Bodhāyana 16 Another work called Gandhamadana which is knowo Only from references is also attributed to him This is based on a broken fine 10 the Avantisundarikatha of Dandin which states 'sa ca tathā grbyamāna gandhamādana prabhrtıbbih Srivarakrtazh Samskrtaprākttānām ca Since Srivara happens to be a general name of the Pallavas used in tascriptrods, it $ possible that the above line may refer to a work called Gandhamıdana by Mahendravikrama 16 Rajasekhara's reference quoted in the Sūktimuktā vals of Jalbanal? also informs us of the title Sähasanka for its author wbicb is quite befitting to Mahendravikrama But no conclusion can be arrived at from these references till further evidences become available The authorship of Maltavrlasa is enough to earn him a unique place in the history of Sanskrit literature THE PLOT The scene opens with Satyasoma - a Kapalin accompanied by his weach Devasomā, emerging into the streets of Kafici from a liquor shop, apparently leaving behind his Kapala Both are sotoxicated and in need of support to escape from falling down Satyasoma could not even spell the name of his mistress and he calls ber Somadeva transposing the syllables, to which she reacts in a huff Now he proposes to abstain from drinking 10 remorse, but the damsel pleads him aot to break the vow of the order on her account He agrees and praises Sıva who has ordained his followers to drink liquor, enjoy the company of damsels and to assume simple though unwholesome attire, all as leading to the path of salvation Devasomā points out the diver gence in the point of view of the Buddhists, but he ridicules them saying that those fools declare contradictory views bolding the position that pain leads to pleasure He is of the view that a 15Ed P Anujaa Acban, Mangalodayam Press, Trichur, 1925 16M Krishnamachariar, op cit, 17 Ibid , शूर शास्त्रविर्शाता साहसराय म भूपति । सेप्य सबललोकस्य विदधे गधमादनम् ।।

·15 further drinking is now secessary to wash his tongue polluted by the reference to the Buddhists and his mistress readily agrees with him while on the way to another tavern he notices the splendour of the city of Kanci Reaching a toddy shop, in his present mood he draws a comparison to the shop with a sacnfical ground They notice the dances of intoxicated med The sight of wine stored in jugs makes them eloquent and they pray for it But once it is offered, the Kapalın is unable to find his bowl and he asks bis companion if she knows where he kept it She is unable to furnish the informaton and after a lot of thinking he decides to go to the first shop they have visited earlier, in search of the bow! Now the companion points out that it is sinful to refuse the offer already at hand and he asks her to receive on the cow's horn as an emergency measure His enquiry proves fruitless, though he consoles bimself that the bowl is only a sign and that his occupation is not yet lost He suspects that the bowl must have been snatched away either by a dog or by a Buddhist mendicant sioce it contained roasted meat They decide to walk the streets of Kāici in search of the bow! Now, Nagasena, a Buddhist mendicant enters boldıog bis own bowl tucked under his armpit add covered with his upper garment He is on his way to the monastery having had a sumptuous feast from the house of a pious merchant Devasoma notices his furtive gait and points him to her companion who notices that somethiog is concealed by the mendicant under his arm The Kapálio challenges the Buddhist and the latter quickens his pace to avoid trouble from the drunkard This Is mistaken by the Kapālio as a sigo of theft aad presents Nāgasena, who does not fail to notice the beauty of the damsel The Kapalio wants to see the bowl of the mendicant and demands it, but the latter objects to it since the food is to be covered always The mendicant now was calling th: um.. of the Buddha Thr Kapalio wants bim to address Kbarapata tbe promulgator of the art of theft 18 Devasoma asks him to have another drink since it will take some time to settle the dispute The Kapalın agrees to it and both of them driak liquor offering the rest to Nägascoa 18Kharapata as an author of the science of thieving is kuowa siace the time of the Arthesastra ·16 who had to forgo this golden opportunity for fear of others seeing him drinking He pleads them to leave him alone wbile others want him to give up his bowl The Buddhist pretends ignorance and the Kapalın remarks that it is only expected from him since Buddhists in general pegate the existence of worldly objects The Kapālın tries to take the bowl by force at the suggestion of his wench aod falls down receivrag a kick from the Buddhist la trying to attack the Buddhist the girl also falls down and the former preks her up in compassion Now the Kapāla fatses hers voice and accuses the Buddhist of taking away his wench from him The explanatioc of the Buddhist does not appeal to him since if it were due to compassion he was the one who fell dowo first He again bewails for help in an attempt to secure the bowl Babhrukalpa-a Pasupata comes on the scene and is approached to arbitrate the issue by the disputants The newcomer notices the damsel, wbo was his own bawd till the Kapālın lured her away showing a few pieces of shells kept in his pocket So he decides to avenge his loss by encouraging the opposition The Buddhist explains his position and recites the moral rules which bind him in reply the Kapalı says that truth is his guiding principle At last the Buddhist is forced to show his bowl which is of a different size and colour Seeing it the Kapalın and his damsel dance in joy The Buddbist again sticks to his canonical sayings and remarks that the Kapalio should really be ashamed instead of dancing The Kapalın stands his ground and claims that it is his bowl and the sight of it makes him dance The Buddhist asks the Kapalıo to note the colour of the bowl which is dark and hence it does not belong to the Saivite But the latter is of the opinion tbat the former could very well have changed its colour as in the case of his cloth which has turned red from its original white colour The wench is sorry that their bowl has been polluted, but her lover consoles her pointing out the possibility of getting it purified Non the Buddhist points to the size of the bowl again to be intimidated by the Kapalıd who accuses him of practising jugglery The former is ready to part with his bowl in this hopeless situation Babhrukalpa admits that he could not judge the merits of the issue and suggests that they go before tbe court The girl is sure that they will lose the case since the rich Buddhist could easily bribe the ·17 officers. Babhrukalpa rejects her fear and promises justice The Kapālın agrees to the proposal and all of them are on their way to the judicial court. Now a madman comes their way holdiog a Kapāla rescued from a dog and offers it to Babhrukalpa as gift. But he is prompted to band it over to the Kapālın-2 worthy recipient. The madman places the bowl at the feet of the Kapālia in reverence and falls at his feet. The latter claims it to be the bow! lost by him and tries to grab it, when the madman suos away soatching if from him in a fit of anger The Kapālın is once again helpless and bewails for help All of them try to hold the lunatic and by their cajolery they induce him to return it to the Kapálin. The madman does accordingly and goes on his way Now all of them are happy. The Kapālio feels that his pedance bas borne fruit since he got his bowl back Babbrukalpa thinks that truth always prevails since the Buddhist was saved from the grapple of the intoxicated couple. The Kapálın offers unconditional apology to the Buddhist who gracefully accepts it All of them go their way and the farce comes to an end with the usual epilogue with a reference to the ruling king who is the author himself CHARACTLRS The characters in the farce are drawn from contemporary life. The Bauddha mendicants, Kapālikas and Pasupatas are among the tababitants of Kanci when Mahendravikrama ruled over the region From the references of Hieun Tsang who testifies that a large number of monasteries of Buddhists existed 10 Kānci we know that our author has only portrayed what he has seen around him “The characters are vigorously drawn, especially the tipsy Kapālın with his upfailing flow of logic and theology and the Buddbist work with his leaarogs towards wine and beauty and his desire to find scriptural warrant for them, while the damsel's shrewish femibidity is cleverly sketched, and the poor lupatic babbles and acts with a consequent consequence that reminds the reader of Lewis Carroll", 19 This observation is to the point 1'L. D. Barnett, BSOS V-4 pp 697-717 ·18 Satyasomi referred to as Kapalın is a Saiva mendicant of a low order carrying a human skull as alm bowl Babhrukalpa the Pasupata is another Saivi monk belonging to a different order Nagasena the Buddhist is just one among those thousands who walked the streets of Kanci in the seventh century A D Devasoma a bawd belonging to the Saivite order shifts her alliance to members of different sections as she pleases The madman who comes to the stage for a short while has no rellgious vocation as is the case with the other characters The common truit of these characters is that all of them are degenerated fellows who are keen only to keep up their outward app arance The Buddhist is cager to dr nk wine and enjoy pleasures with women if only he could get hold of a reli gious text where it is sanctioned The Pasupata who is chosen is an arbitrator is a biased rogue who makes use of the opportu Dity to avenge his grievance against one of the parties in dispute The moral degeneration of the religious beads comes in for vehement criticism from the royal author who bimself was an ardent Saivite His aim is to expose sham priests of religion and he achieves this end by the sharp characterisation of the villaros whose foibles make the work a delectable farce With exception to Bhagavadaļjuka nowhere else in the whole of Sanskrit literature we find a similar treatment of theme or characters THE RELIGION IN MAITAVILASA Though the work is only a short piece it is of special interest to the student of religion The characters belong to various religious sects of the time and they point to the degenera tion of the religions and religious practices which were reduced to mockery Satyasoma is a Kapalin--a Saiva mendicant of the skull bearing order Babhrukalpa is a Pasupata-a Saiva monk of another order Nagasena is a degenerated Buddhist meodicant All of them together through their ridiculous bedaviour and speech convey an idea of the religious background of the time The scene is lard in Karci, the most important city of South India of that period The religion of Mahendravikrama is a matter of controversy but it is believed that he was a Jan converted to Saivism ·19 The story that Appar also called Tirunavukkaraſu, himself a convert, has converted Mahendravikrama also to Saivism appa. rently suggested in the Periyapuranam is taken as an autheatic tradition While bis grand-mother was a Jain his father Simhavishou remained a devout Vaishnava It is to b: noted that though he was an ardent worshipper of Sıva be was no fanatic In the first rock-cut temple that he built at Mandaga. pattu in South Arcot, he installed the Trinity-Brahmı, Siva and Vishoni Remaining an ardent Saivite he built cave temples for Vishnu at Mabendravådı and Mamandür All these show that his was a period of religious tolerance and every religion enjoyed freedom to propagate its views This unbiased attitude enabled him to see eye to eye with the various religious sects and made bım eminently capable to criticise the bad practices which crept into the various religions From the Prahasana it is to be gathered that to a Kapalın a Kapāla is as essential as a sacred thread to the Brahmin and that once it is lost he has to acquire another within a specified time He should besmear bis limbs with sacred ashes, drink liquor from the skull of a human being He also carried a cow's hora for blowiog during his worship and drinking bouts and in emergency it is used as a bow to receive toddy Since he believes that there is some relation between the effect and the cause he holds that austerity in this life would not bring happiness in another, for austerity and bliss are of opposite pature He may enjoy carnal pleasures with his wench Kapalıka who follows him even to the liquor shop sharing the drink He holds the Buddhists in contempt Satyasoma the Kapalın in the farce is critical of the life of Sakyabhiksus Being a degenerate man he envies the life of the Buddhist monks who indulged freely in flesh and food aod became wearing being the managers of several Vinaras They Icad a very comfortable life agaiast the very tenets of their religion The cloth they wear is only to conceal their foibles Buddha, their teacher, is only a thief stealing doctrines from Malabhirata and Vedantic works before the vigilant eyes of 20T V Mabalıngam, op cit, p 76 ·20 Bralimins and compiling them into a doctrine of bis own Ja this respect he surpasses Kharapata, the promulgator of the science of theft His Māyāvāda is ridiculed since it is untenable to hold that ocean, mountain etc, are non-existent Nāgasena, the Buddhist monk in the play is again a degenerate He laments that the Buddha who has ordained an otherwise comfortable life for people like him failed to prescribe indulgence with women and drinking of liquor He is of the opinion that perhaps the Buddha might have prescribed them also since he was omniscient Perhaps the older mendicants must be concealing these prescriptions from the youngsters and a search for old copies of religious books will be beneficial since it is quite likely that such ordinances may be inscribed in them Ile is in search of ancient authentic text with a view to helping younger mendicants All this shows that the time in which Mahendravikrama lived was one of great religious activity The Bauddhas and Jainas had completely degenerated and their religion was held in contempt and their priests in ridicule 21 According to Hiuen Tsang, there were more than hundred Buddhist monasteries in Kancı with more than ten thousand monks He states "Not far from the south of the capital was a large monastery which was a rendezvous, for the most eminent men of the country" 2This monastery may probably be identified with the Räjayıhāra mentioned in the Prahasana of Mabendravikrama It is obvious that linga cult was in vogue in the Tamil country in the early Pallava period Mahendravikrama bimself has been an ardeat follower of the cult From the number of shrines he has excavated for Siva and from the invocatory verse at the beginning of his work we may conclude that he was a Saiva, though not probably belonging to the Kapalıka sect which he holds to ridicule Naturally the Saivite point of view is held in high esteem by bim though he never spares a sbam priest or mendicant of the religion 21T A Gopioatha Rao, Mattavilisaprahasana, The Madras Christian College Magazine, Vol XXXIV, No 8, Feb 1917. 22T V Mahalingan, op cit, p 89 ·21 Flic dominance of Saivism, thouglı subile in nature, was upheld in liter times by a section of the Hindus in Kerala The Cakyårs of Kerala who used to put on temple thcatrc a selected number of Sanskrit dramas naturally preſerred this farce because of its religious flavour. They further curtailed the scope of the piece at a later time shunting the portions relating to the Buddhist monk and his activities highlighting only the Saivite aspect of the theme MATTAVILASA ON THE KERALA STAGE Kuțiyattam in which dance, drama and music combine, is perhaps the carliest knowa form of enacting Sanskrit drama in Kerala and it is somewhat different from other forms of dramatic representations known to have existed elsewhere 23 Kulasckbaravarman, an ancient king of Kerala, himself a renowned dramatist and author of the dramas Tapanisamrarong and Subha. dridhananjaya and who had dopped the role of characters in his own plays, is credited with the reformation of the Kerala stage by boldly introduciog several tonovations which are generally observed 10 Kūțiyattam performances ! In this he is supposed to have been assisted by bus frieod Tolan, by composing manuals on stage-craft generally styled itfaprakāras and Kramadigikas for staging Sanskrit dramas in the temple theatre of Kerala 75 There are several restrictions to putting Sanskrit dramas on the Kerala Stage The drama is usually staged inside the Kültampalam--a temple theatre built to specifications - within the precincts of a temple by Ampalavasis, a section of the temple servants--the Cäkyårs, the Nampyārs and their someo Nanyārs While the Cäkyår performs the part of the male characters in the play the Nanyars act the role of women and the Nampyār is to work on the drum-the musical iostrument known as Milāvu "See Keralavarma Ammamantampuran, kūtrum Kūdijallarum Trichur, 1114 M. E, for details 24V P Uon, Kulasekharafarman and hu korks, (uopublished doctoral dissertation), Trivandrum, 1957 2SP V krishnayariyar, Tolamahikar, P K Bros, Calicui, 1953 ·22 The Vidūsaka is an essential character in this kind of performance in so far as he finds a place in the drama put on the stage He is to recite for the benefit of the masses a vernacular translation of every verse As 10 the case of Ankiya Nãt of Assam only one act of the drama is invariably covered in a Küti yáttam performance and that on no occasion is a drama staged in full unless it happens to be an one act play like Prahasanas Generally a performance lasts for many days ranging from sıx to eighteen or twenty days and in the case of Mantrankam at lasts for forty one days 26 Usually the performance takes place between the evening and midnight The first day is taken up with the depiction of Küttupurappăd the starting of the play or Pravesaka also called Sthapana in which the Sūtradhāra introduces the play On the second days is Nirvahana in which the Sūtradhāra wbo often dons the role of the priacipal character in the play, narrates with gestures the introductory portion of the particular act which is being staged The preliminaries over, the story begins usually on the the third day aod if the particular act happens to have a Vidusaka, the beginning of the story is further delayed by three or four days Sanskrit dramas are not staged as such in Kutiyattam Individual acts from well known classical dramas are selected and adapted for the stage and each of such acts is known by a different name 2 Every act which staged in Kutiyattam is ofted re-written according to the cxigencies of the stage and we have manuals that help the staging of the plays, composed by Cākyars These manuals supply introductory portions of the story to be enacted in the Nurvahana and in certain cases veroa. cular translations and parodies Without the assistance of such manuals no act of a drama could be staged and hence Cakyārs have prepared such manuals in advance for the plays or acts which they usually put on the temple theatre According to the tradition of the Cakyars the number of acts in which they are usually trained is only seventy tya verlading the on-w. diamus 26 Kerala yarma Amwamantampuran, op cit, P 126 11C1 Cf Mantranka (Prattrayaugandharayana Act 111) and Svapnānka (Svapna vasavadatta Act IV) ·23 and Prabasanas 25 These acts are selected from only 24 classical dramas and among them Maitanlasa of the Pallava King Mahendravikramavarman and Bhagaradajjuka are the two Pra hasapas adapted for the Kerala stage. Nattavilása with its religious theme projecting a Sarvite point of view and describiag a satirical story centering round a drunken Käpälika, his wife, a Buddhist Bhikçu of loose morals, a Pasupata and a lunatic was an obvious choice for the Cakyår 10 scarch of a farce fit to be enacted within the precincts of a Hindu temple especially in a temple consecrated to Siva Thc drunkea revelry of the Kāpālika is more or less equated with the dance of Sıva by the devotees, who in their religious mood, identify him with the God Supreme indulging in his eternal dance The dance of Siva, sometimes referred to as 'Alaila. vilusa tirunyliam'-the intoxicated dance of the Supreme Beingwas to appease goddess Durgā jo her formas Bhadrakalı Durgū, after killıog the demon Dåruka, returned to the side of Siva with ucabated fury and in a murderous mood The god assumed bis dancing stance to the escape the fury and Durgā was soon attracted by the divide dance castrog away her aoger she berself assuming the same dancing pose 23 The Kerala actors who play the role of Satyasoma- the Kapālio in the play suggest his similarly with Sıva and thus lends a holy atmosphere to the performance This attitude enbaoced the popularity of the farce in the Kerala theatre and such perfor mances were instituted as a mode of worship in temples consecrated to Siva by de tees to beget issues in their family Such offerings are made to Stva in the temple of Cerumappam pear Kottiyur in North Malabar where the performance of Mattarilasa by Cākyar is a regular featurc of the annual festivals, in addition, it is occasionally performed at the request of devotees 39 In order to fulfil their various desires, especially the desire to get an **K,R Pisharot: 'South Indian Theatre'-The Theatre of the Hindus, Susbilgupta (India) Ltd, Calcutta, 1955, p 201 **Dr C Achyutha Menon, Kalworship in Kerala, Voiversity of Madras, Madras, 1943, PP 41 and 203 Maqı Madhava Cakgår, Mattarılısam, 1968, Preface, p 1 ·24 offspring Similar performances are instituted also in the Sıva temple at Trkkariyuc ta the Kottayam District Thus the play has assumed a religious importance also at the hands of the Cakyar-an unusual status for a satirical composition Unfortunately no Attaprakara or Kramadipika giving a complete account of the stagiog of this Prahasana in Kūtiyattam is available to us However some old manuscripts contain certain information on this aspect, though only of a fragmentary nature A few commentaries or rather glosses on Mattaviasa are available in fragments, the manuscripts being rather old and brittle Dr L D Barnett bas referred to an anonymous com mentary upon it 31 According to him 'a large part of this commentary consists of Chāyā or Sanskuit renderings of the Prakrt passages' 2 But it contains no reference to the stagiog of the farce Another manuscript with the title Mattavılasa prahasanahka available to us again contains only a gloss in addition to the corresponding Sanskrit rendering for Prakrt lines The gloss is given partly in Malayalam also 33 The first refe rence to the farce being used in Kutiyattam performance is Provided by a fragmentary account on it in the last two leaves of a codex containing the text of the play S4 'The manuscript under reference contains a few verses used by the Cakyars in addition to instructions on using the respective tunes in which the verses are to be sung Yet another manuscript under the title Marta vilasalipparam contains 41 stokas purported to be a detailed commentary on the first verse of the play recited by the Sutradbara 35 This commentary in metrical form gives us some useful ioformation as to how Cakyārs used to enact tbe Nirvabana or 31 Brit Mus Or No 9272 BSOS III pp 281-285 London, 1923 25 32L D Barnett, "Some potes on Mattavıl isa', Ibid, p 281 33 Descriptive catalogue of Manuscripts in the Govt Mss Library, Bhandarkar Oriental Research Institute, Poona, 1937, Ms No 96/1919-24 HKUML MS NO 17872 B 85KUML MS NO 17946 B Sce appendix P 158 ·25 introductory portion of the play Even the most recent publication on this subject issued by an authonty who himself has been puttiog the farce on the temple theatre contains only a limited account 36 The information is mainly gathered by him in a traditional or hereditary capacity from practisiog Cakyārs of the last generation Moreover it is limited to so far as it refers only to the practice in vogue in the Kottiyur temple Putting all these accounts together we may get an idea of the stage practice with regard to the farce in Kerala At present the performance is generally limited to the Sıva temple, the stage being the usual Küttampalam found in the temple compound The duration is now limited to three days or evenings though we bave evidence to suppose that it was not so in ancient times An Attaprakāra on Bhagavadajuko states that in Mattavilasa, the Sutradhara alone holds the stage for seven days? and this obviously is to be followed by a further three or four days Though there are several characters 10 the play only the role of the principal character, that of the Kapālın, named Satyasoma is dooned by the Cakyār, the other relevant characters being represented by bim through 'stobba'38 Thus the number of characters appearing on the stage is limited to the irreducible Further, only a part of the story is enacted, the quarrel scene etc, being omitted and the performance coming to an end with the representation of the sixth verse of the play beginning with 'Udbhinnaśramaväribindu' etc A religious importance, has come to accrue to the play at the etpense of its dramatic significance הטומנת The following is the theme of this representation as suggested by the adapted version of the Cãkyār30 Satyasoma, a born Saiyite, married a Brahmin maiden called Devasoma Once, on his way to the Sıva temple, he noticed some Brahmin 36 Madi Madhava Cakyar, op cit, 37KUML. MS No TM 79, KSC I p 272 38 It is a peculiar feature of Kutiyattam The same actor assumes the pose of several, including women, simultaneously by his clever representation soMan: Madhava Cakyår, op. cit., pp 56 ·27 enters dressed in the costume of Sthapanāsūtradbāra He represents by action that he is going to mount Kailāsa to witness the dance of Siva, he was attracted by the sound of the drum while he was readiog the Bhāgavata after bis morning ablution. But on the way he meets with some Brabmins and decides to bless them by his dance He recites the first versell of the drama upto the middle of the second line ending with 'bbayāvesayaśād' and explains the meaning of the whole verse followed by action and blesses them Once again the process is repeated Then he represents by gesticulation the forms of Siva and Parvati and worships them to the accompaniment of the stotras sung by the Nanyār lady After worshipping other deities as well he retires for the day along with others On the second evening the Nirvabana, in which the connecting link of the story to be enacted, is provided The Câkyār dressed as Sūtradhāra gesticulates the meaning of the verse already bioted at in the previous evening His aim is to create a background for the principal character of the farce Kapālın, Satyasoma the Brahmin holding an alms bowl and supposed to be identified with Siva himself. For this the Nanyār lady recites the verses from the second and third cantos of Kumārasambhava of Kalidasa wherein the story of the penance of Parvati, the futile attempt of Kama instigated by gods to win Siva and the subsequent calamity in which he is burnt to ashes, the severe penance of Parvati and the final success by winning Siva for her husband etc, are described The Cakyår interprets through gesticulation the meaning of these verses as they are recited by the lady, who contioues the story probably based on some Attaprakāra The story is that Subrahmanya the son of Siva and Parvatı was elected the commander of the forces of the gods The demon Tåraka was killed in a fierce battle by Subrahmania Then a new class of demons called Raktabljas р 1 4-TSS No 55 भाषावेषवपु क्रियागुणकृतानाप्रित्य भेदान् गत भावावेशवशादनेकरसता लोक्ययात्रामयम् । नृत्त निष्प्रतिवद्धवोधर्माहमा य प्रेक्षश्च स्वय स व्याहावनिभाजन दिशतु वो दिम्य कपाली यश ॥

·28 who grew out of the blood shed on the battlefield posed a new threat which Subrahmanja could not combat. He sought the help of his father Sıva, who tried to kill the demons by his spear. But to his dismay a thousand Raktabijās spraog up from each drop of blood that was shed Then from bis third eye goddess Bhadrakali was produced and she wiped out the demons in a furious onslaught But once the aim was fulfilled she could not be subdued and she rusbed at the gods in an attempt to devour them To appease her, Sıva resorted to his famous dance in which the goddess was gradually enamoured After portraying this story by his gesticulation the Cãkyår recites the balance of the verse from the play, recited the previous day, beginning with 'Anekarasatām trailokyayātrā mayam' and enacts the meaning of the whole verse once again The Brahmins who are supposed to surround bum want to witness the boly dance of Siva and the Sūtradbāra says that it is enough to witness the dance of Satyasoma, the Kapalın, who is practically the god himself The Brabmins agree to this and they set out to meet the Kapālın Thus the story of the second day not only provides a religious atmosphere for the performance but also conoects up with the play at hand All these wild deviations from the drama proper arc woven around the meaning of the first verse which is 10 praise of Stva According to the version of the Maravili. satippaname3 oply the first portion of the story coding with Kámadahana seems to have been adapted by the Cákyär at first This portrayal is in sequel to the meaning of the word 'Aockarasatim' occuring in the verse, since in Kamadahana a!) the different emotions are hinted at." It is the latter half of the story that lends a religious fervour to the play by introducing the daoce of Siva, shich again cao sell be connected with the meaning of the verse at hand On the tbırd evening the Cákyår appears on the stage dressed on Satyasoma the Kapalın The Naryar recites 1 verse UKUMIL MS No 17946 B इस्पाय परामरह्न विषयरवेग ध्यते । *ldid. एवं सरमाम्वत्र आमदाहे प्रतिसा ।।

·29 which refers to the appearance of Satyasoma who has practically identified bimself with God Siva Thus he besmears his limbs with ashes, wears matted locks and a loin cloth, holds a tndent, sounds a handy double drum, sets his feet in a dancing spree, drinks wide from bis alms-bowl, and runs with his faltering fect 1n a hilarious mood accompanied by Devasoma 45 This verse not occurring in the farce of Mahendravikrama is recited again by the Nanyar Now the Cāljār donning the role of Kapalın and standing behind the curtain recites a verse of his own 10 praise of liquor. 'Goddess Liquor, mother of intoxication | poured into a cup, are ye afraid of me? Bereft of strength, am I Intoxicated? The whole world seems to be intoxicated' 46 Having repeated the verse he comes to the stage proper addresing Devasomā Here he uses the text prescribed for the character in the drama 7 The passage is repeated and the meaning is indicated by gestures His speech is completed with a stanza prescribed for bim in the play *9 Then he dances representing 151bid p 18 भस्मालवारगोर गणिकुमुमतामूलकोपीनधारी नृतारम्भप्रमक्तो मुखरहमरको दवमोमासहाय । पीत्वा पीत्वा पालात सहपति सुरामट्टास वितव. साधाव येष मत्त स्खलितपदयुग मत्यमोम कपारी ।। 46lbid भगवति । मदिरे । मदस्य मात चषकगता चक्तिासि किन्नु मत्त । चलिलतिरह विमस्मि मत्त विलसति मत इवाद्य जीवलोक ॥ "ISS 55p5 कपाली-(क्षीदना रूपयित्वा) प्रिय । ददमोमे सत्यमेवैनन्- तपसा कामरूपता प्राप्यत इति । यत् त्वया परमव्रतस्य विधिवद नुष्ठानेनान्य एव रूपातिशय क्षणात् प्रतिपन्न । तव हि-, 48 Ibid उद्धिनश्रमवारिविदु बदन सभ्रू लनाविनम खेल यातमकारणानि हसितायव्यक्तवर्णा मिर । रागाक्रानमधीरतारमलमापाङ्ग पुग नेप्रयो रसोपान्तविलम्बिनध विगलन्मालागुणा मूधंजा ॥

·30 by gesticulation the forms of Sıva and Parvati offering worship to them Now all of them enter inside the temple where the performance is held and worship the deity Once again they come back to the stage and this time the Cakyar resting on a wooden stool recounts the whole story by gestures, giving the details of his penance along with his wife, the blessing of the god giving bis identity to Satyasoma and the boon that whoever witnesses his dance will fulfil their desires like begetting an Issue He again worships the god, offers liquor 10 the worship, drinks it along with bis wife and repeats the verse describing the effect of liquor on her With a final worship of the god and an intoxicated dance, the performance comes to an end The above account of the performance with a religious outlook is gathered from a practising Cakyār who is still active on the stage We have already noticed that there is evidence in an old manuscript that the story of Kāmadabasa was freely adopted in the exposition of the first verse Since the manuscript 1$ two or three centuries old the practice itself might date back to several centuries But it is not likely that the mode of representation curtailing the scope of the farce was the age long custom, for it is an injustice to the royal author to select only a part of an one act farce add to represent it 10 ao cotirely differeot light Moreover this is not the case with regard to the stagiog of the plays of Bbāsa and others on the Kerala stage That this was not the case in carly days is made out by a fragmentary manuscript on staging the play The manuscript under refercoce guves some verses describing the city of Kanc) where Satyasoma flourished The Sıva Temple at Ekamra is also referred to in the description, which probably is to be for **KUML No 17872 B #fbid समाक्षी क्वीन्द्रवचरणा पत्र विद्योतते ॥ face #aat 71 #11 fant Taf Atan Tulfer fofalo ·31 enacting the Nirvabana. The stealthy way in which Nägasena the Buddhist mendicant enters the bazaar is portrayed 10 another stanzas. Another character mentioned here is Babbrukalpa the Pasupata2 Uomattaka, the lunatic, is referred to as being chased by dogs and crows 63 From these references we may hold that the play was staged in Küţiyattam during the last two or three centuries Such a fullfledged performance must have lasted for a considerable period We have already noticed that the Sutradhāra alone beld the stage for seven days at a stretch We may conclude that Mattavılāsa was a favourite piece of the Cäkyär repertoire and that it was widely used in the temple theatres of Kerala because of its Saivite flavour and its overwhelming humour best suited for festival occasions 10 Hindu temples It's popularity might have persuaded the Cākyār to give it a more dominant religious trait as a result of which it lost much of its dramatic merit as a farce, though it acquired a religious halo uprivalled in the whole field of dramatic literature in Sanskrit. Here dance acquires dominance over drama. Nilakantha (c 10th century AD) the reputed author of Kalyānasaugandhika vyājoga has bipted at this importance of तस्या विद्यापरिचयपटु कोऽपि विप्र स्वरुच्या । तन्त्र कापालिकमनुगतो भोगमोक्षानुमारि ॥ सम्यक् कृत्वा गुरुचरणयोवन्दन तन्नियोगात् । भूयो भूयो व्रतमनुचरन् तत्पुरश्चारुचारु ॥ देवसोमाख्यया पन्या सत्य सोमपदाभिध । एकामाख्य शिवक्षेत्रमागतो मददीक्षित ॥ BIIbid शठमति शाक्य गर्नस्सर्वतो दृहिन्यस्य सुरापण समगमद् यो नसेनाप.॥ 52Ibid ...हास्यावह वेप चन्द्रकलाजटाक्षसित..... विभ्रन् पाशुपनोऽभियाति सहमा यो वभ्र वल्पाह्वय ॥ सञ्चरति दुत बलिभुमा वृन्दैवभिश्वान्वित ।। 5sJbrd ·32 dancing in Mattavilasa, for it pleases the divine beings 64 It is quite probable that this aspect of the Prahasana might have contributed to a great extent in preserviog this humorous work to posterity THE EDITION Mattavilasaprahasana was published for the first time in the well known Trivandrum Sanskrit Series as No 55 in the year 1917 by MMT Ganapati Sastrı The date of the publication is given as 18th May 1917 The manuscript itself was secured by him as carly as 1909 along with those of the plays attributed to Bhasa A transcript of the manuscript was leat some six months prior to the date of publication to Mr TA Gopinatha Rao Superintendent of Archacology Travan core and he has published an article on the work in the Madras Christian College Magazine (Vol xxxiv No 8, p 408 Feb 1917) This was perhaps the first notice of the work announcing the discovery The publication was received by scholars interested in Indology all over the world with great enthusiasm A translation of the work in German entitled 'Die Streiche Des Berauschten was published by Dr J Hertel (Leipzig 1924) Soon an English translation was prepared by Dr L D Barnett and it was published in the pages of the Bulletin of the School of Oriental Stud cs London (BSOS V Part-4 pp 697 717, 1930) But these were only translations without the text being repro duced The Chowkhamba Sanskrit Series, Varanası bas published the text with some notes and translation 10 Hindi based on the Trivandrum edition A modern edition with an English trans- Iation has been a long felt need and an attempt is made here to fulfil this end The English translation of Dr Barnett is an excellent attempt in many respects and tbe present editor has carefully gone through it before attempting a fresh translation in which he is indebted to the learncd European scholar in a large measure Suill he feels justified in attempting a new translation To quote BILSCIP 125 नय मदिरामा धनपा प्रीति रिप्याम्यहम् ।

·33 an instanca, the first line of the farce, 'Bbåşāvezavapuhkriya - gunalflan áśritya bhedan galam' was translated by Dr. Barnett as "manifold in speech, dress, person, act and quality" obviously ignoring the import of the technical term 'vapuhkriyā'-bodily action which stands for Angikābhinaya along with the other modes of representation Vācika, Sättvika and Thåry, which are referred to in the line The tippana printed as appendıx to the present edition has clearly pointed out the meading of the term as 'Vapuhkriyetyāogikasca' Hence in translating the term as *person, act etc' the translator has not done justice to the original In the printing of the text the editor has adopted the practice followed by scholars like Mr M R Kale of giving the Sapskrit renderings of the original Prakrt passages retaining the Prairt within brackets This, he hopes, will facilitate casy understanding of the text A metrical commentary on the first stanza of the play is appended to the edition which throws light on the stagiog of the farce is the temple theatres of Kerala by professional actors. In preparing the edition the undermentioned manuscripts were consulted though they seldom sbow substantial variations of the tert VANUSCRIPTS MATERIAL A&B Two manuscripts used by T Ganapati Sastri in Trivandrum Sanskrit Series No 55, Trivandrum, 1917 (1) Obtained from Manalikkara mathom in South Travancore in 1909, Palm leaf, Malayalam script, Complete, 3-4 centuries old (2) Obtained from Nilakanthan Cakyar, Manganam, in North Travancore in the year 1914, Paim ieal, Malayalam script, Complete, 3-4 centuries old It is not possible to distroguish as to which of the two is referred to as 'Ka' or 'Kha' in the edition C• Kerala University Manuscripts Library (KUML) Ms No. 17622 A; Palm leaf, Size 16 X2 inches, Folios 8, 8 lines per page, 48 letters per tine;

·34 Malayalam script, Incomplete Begins from the 4th page of TSS 55, Very old, Date not given, Scribe unknown, Obtained from Narayanan Nambutiri, Kaltumadam Mana, Pundayurkulam, Cochin D E KUML Ms No 18096 C, Palm leaf, Size 13 x 13 inches, Folios & 10 fines per page, 48 letters per line Complete, Malayalam script, Date not given Scribe unknown, About 3 centuries old, Obtained from Thekkedathu flam, Tiruvalla AUML Ms No 17872 B, Palm leaf Sıze 71 x 15 inches Folios 19, 8 lines per page, 30 letters per line, Malayalam script, Complete, Scribe Sankara, Date not given About 3 centuries old, Obtained from Agnisarman Bhattatırı, Tharayıl Kuzhikkattillam, Tiruvalla KUML Ms No 22848 H Palm leaf, Malavalam "cript, Size 16xit inches Folios 5 10 flaes per page, 56 letters per linc Incomplete Begins at the 6th page of TSS 55 Obtained from Salvadı Iyer, Fort, Trivandrum Brit Mus Or. 9272 The manuscript contains an anonymous commentary "A large part of this commentary consists of cebayas os Sanskrit Tenderings of the Prakrt passages Dr L D Barbett, Some notes on the Mattavılāsa', BSOS 11 (1923-25), London, pp 281-285 Ms No 338 Q of Government Sanskrit College Library, Trippunithura Palm lear, Malayalam script, Size 16x2 inches, Folios 6 9 lines per page, 60 lectors per fins almost complete H ·ACKNOWLEDGEMENTS The editor places on record his thanks to Dr. K. Raghavan Pillai, Director and Professor of Sanskrit, Oriental Research Institute and. Manuscripts Library, University of Kerala, for permitting him to consult the relevant manuscript materials. He is also thankful to Prof. H. Gopalakrishna Iyer, Principal, Sanskrit College, Trippuoithura who gave him access to the Sanskrit College Library Manuscripts collection, Trippunithura. Thanks are also due to Sri S Bhaskaran Nair of the Visweswaranand lostitute of Saaskrit and Iadological Studies, Punjab, who provided the editor with a typewritten copy of the translation of the work by Dr. Barnett. The editor is grateful to the Archaeological Survey of India for providing him with the photograph of Mahendravarman and his quceas reproduced on the cover. This portrait sculpture of the royal author may be found in the rock cut Adivarahaperumal Temple at Mahabali. puram in Chingleput District, ·THE CAST OF CHARACTERS SC TRADHĀRA The stage-manager who is glad to introduce the play since it serves to pacify his senior wife angered by his devotion to his younger wife NATI An actress, tbe wife of Sūtradhāra who resents the partiality of her husband to her co-wife KAPALIN Satyasoma, a mendicant belonging to the skull-bearing order of the Saivite sect, residing near Ekāmranātha themple at Kanci A degenerate, he takes to wine and women abusing the tenets of his religion DEVASOMA A wench who has befriended Satyasoma sharing his drinks The daughter of a barber by birth, she had been the wife of a Pasupata before her elopement with her present paramour SĀKYABHIKSU Nagasena, a Buddhist mendicant who resents the elder members of the order who formulated their religious canons for their omission with regard to the rule concerning flirtations with women PASUPATA Babhrukalpa, a Saivite belonging to another order In trying to mediate the dispute between the Kapalın and the Buddhist he avenges the elopement of his wife with the former He is also referred to as Suranandın UNMATTAKA A lunatic roaming the streets of Kāñci to the accompaniment of mischievous children howling at his back His appearance on the scene helps to solve the dispute The action is supposed to take place in one of the streets of the city of Kancí of the seventh century when the play was produced ·मत्तविलासप्रहसनम् ·मतविलासपहसनम् श्रीमहेन्द्रविक्रमवर्मप्रणोतम् (नान्द्यन्ते तत प्रविशति सूत्रधार ।) सूत्रधार भापावेपवपु क्रियागुणस्तानाश्रित्य भेदान् गत भानावेशवशाटनेकरसता त्रैलोक्ययात्रामयम् । नृत्त निष्प्रतिवद्धनोधमहिमा य 1 प्रेक्षकश्च स्वय स व्याप्तावनिभानन दिशतु वो दिव्य कपाली यश ॥१॥ भो समासादित सलुमया यचीयसीभार्यामधिकृत्य समुत्पन्नव्यलीकाया ज्येष्ठाया मे कुटुम्चिन्या युक्ततर प्रसादनोपाय , यचिरस्याद्ययय प्रेक्षा धिकारे परिपदा नियुक्ता स्म तट यापदेनामुपमामि । (नेपथ्याभि- मुखमवलोक्य) आय इतरतावत् । (प्रविश्स) नटी-(सरोपम्) आर्य किं चिरत्य कालस्य यौवनगुणभरमत्तविलास- प्रहसन दर्शयितुमागतोऽसि । [अय्य ! किं चिररस कालस्स जोव्यपगुग भरमत्तविलासप्पहरुण दसेदु पात्रदो 1ि] १ करोतीत्यध्याहत्तव्यम् । २ C,D,E,H परिक्रम्प ने-1 ३H णमर-1 ·40 १ मत्तविलासप्रहसनम् सत्रधार-यथाह भवती । नटी- तयेय तावद दर्शय, या त्वया रमयितव्या। [ताए एव दाब दसहि, जा तुए रमहदवा ] सूनधार त्वया सह दर्शयिप्यामीति । नटी कित्तयैव नियुक्तोऽसि ? [कि ताए एव णिउत्तो सि ?] सूत्रधार एवमेतन् । अपि च, तत्र गता महान्तमनुग्रह लप्स्यसे । नटो- तवैव सल्वेतद्युज्यते । [तव एब खु एद जुइ ।] सूत्रधार ~भवति । किमिव न युज्यते । त्वत्प्रयोगपरितोपिता परिपद- नुग्रहीप्यतीति । नटी- (सहम) एवम् । लब्ध आर्यमिश्राणा प्रसाद । [एव । लद्धो अय्यमिरमाण पसादो।) सूत्रधार-बाढम् । लव्य । नटी- यद्यप, कि ते प्रियाख्यानिक ३ ददामि । [जइ एव, किं दे पिअक्साणिय दाम 1] सूत्रधार -अल प्रियाख्यानिकपुनरक्तेन । पश्य- उद्भिन्नरोमाञ्चकपोलरेख- माविर्मयूसस्मितमश्चित । लना प्रिये दुर्लभमानन ते भूयोऽपि किं प्रार्थयितव्यमस्ति ॥२॥ नटी- विमिदानीमार्येण प्रयोक्तव्यम् । [fक दागि স্বল पउजिदव ।] 5 १ २ ३ D दणिं। G तथैव । G नितका Eन । कुत , उद्भिन-1 प नाटक नाटवितव्यम् ।

·मत्तविलासप्रहसनम् सूत्रधार - ननु त्वयवाभिहित मत्तपिलामप्रहमनमिति । नटी नूनमस्मिन् । पक्षपाती मे कोप , येनाभिप्रायानुरूप भणितारिम | ग्रार्य क्तम पुन म कति , योऽनया: कृत्या प्रकाश्यते ? [गुण इमरिस पक्ग्ववादी म कोवो, जेग अभिप्पा अणुरूव ३ भणाविद सिअय्यकदमो उण हो कत्रो, जो इमाए किदीए पासोअदि ।] सूनयार - भवति श्रूयताम. पल्लवकुलधरणि मण्डल' कुलपर्वतस्य सर्वनयविजितसमस्त सामन्तमण्डलस्य ग्रासएडल- समपराममश्रिय आमहिमानुरूपदानविभूतिपरिभूत- राजराजस्य श्रीसिहविष्णुवर्मण पुत्र शत्रुपड्वर्ग- निग्रहपर परहितपरतन्त्रतया महाभूत सवर्मा महारान श्रीमहेन्द्रविक्रमवर्मा नाम । अपि च, प्रज्ञादानदयानुभाववृतय कान्ति क्लाशल सत्य शौर्यममायता विनय इत्येवम्प्रकारा गुणा अप्राप्तस्थितय ममेत्य शरण याता यमेक क्ली, कल्पान्ते जगदादिमादिपुरुष सर्गप्रभेटा इव ।।३। किन्च, प्राररे सूतिरत्नाना यस्मिन् गुणगरीयसाम् । अर्घन्ति बहु सूतानि सता सारलवून्यपि ॥ ४॥ १ Gअम्, अ- २ Gयेनानया कृत्या प्रात्मानमेव प्रकाशयिध्यति । ३ BE गद् म- D ताम् । विदितप-1 ५ Hलपर्वत- अन्ति बहुमून्य प्राप्नुवन्ति, श्नागमनन्या लमत इत्यर्थ ।

·42 मत्तविलाप्सप्रहसनम् नटी किमिदानीमार्येण विलम् यते । नन्वपूर्वतया त्वरितमनु- प्ठातव्योऽय प्रयोग । [कि दाणि अय्येण विलम्दिी अदि । ण अपुरुषदाए तुरिन अणुटिइयो अश्य पत्रोत्रो।] सूत्रधार -अह 'तु, सम्प्रति सङ्गीतधन परिगुणक्थयास्मि निघता नीत । पये) प्रिये । देवसोमे। सूत्रधार युवतिसर - एप सुरया कपालविभव पपालीव।। ५॥ (निष्क्रान्तौ।) स्थापना (तत प्रविशति सपरिग्रह पालो ।) कपाती-(क्षोवता रूपयित्या) प्रिये । देवसोमे 'सत्यमेवैतत्-तपसा कामरूपता प्राप्यत इति । यत् त्वया परमव्रतस्य विधि- वदनुष्ठानेनान्य एष रूपातिशय क्षणात् प्रतिपन्न । तव हि, उद्भिन्नश्रमवारिबिन्दु बदन सभ्र लताविभ्रम खेल यातमकारणानि हसितान्यव्यक्तरर्णा गिर । रागाकान्तमधीरतारमलसापाङ्ग युग नेनयो- रसोपान्तविलम्बिनश्च विगलन्मालागुणा मूर्धजा ॥ ६ ॥ - हन्त सम्प्रति--1 २ E (श्रुत्ता) युवति ३ E, Hश्रामुखम् । ४ C,D-मेतत् ·मत्तविलामप्रहमनम् 43 देवसोमा-भगवन ! मत्तामिव मत्तामिय मां भणमि। [मश्र मत्त विश्व मत्त विश्रम मणासि] कपाली- फिमाह भवती। देवसोमा-न मलु फिञ्चिद भणामि । [ण हु विश्चिमणामि ।] कपाली- चिन्नुसलु मत्तोऽस्मि । देवसोमा-भगवन् परिभ्रमति परिभ्रमति पृथीवी । पुर : पतामीन । अवलम्बस्वेदानी माम्। [भगवं । परिम्भमई परिम्मद पुहुवी। पुरी वदामि विश्र । अवलम्ब दाणि म 1] कपाली- प्रिये 'तथास्तु11 [अवनम्बमान • पतनं म्पयिला] प्रिये ! सोमदे। कि त्वं पितामि, यदवलम्निनुमुपसर्पतो मे । दृरीभवमि। देवसोमा- अहोनुग्गल्यागतकोपा मोमदेवा, या लया शीर्पण प्रणाम्या- नुनीयमानापि दुरीभवति । [ग्रहोणग्नु अाअादकोत्रा सोमदेवा, जा तुए सीसेण पणामिप्र ण णोप्रमाणा वि दूरिहोइ ।] कपाली ननु त्वमेवासि मोमदेवा। (ध्यात्म) नहि , देवमोमा। देवसोमा- भगवन । ननु तथा वल्लभा सोमदेवा, नार्हति मम नाम- केनाभिधातुम् [मनव!तहा बलहा सोमदेवा, णाहदि मम णामणामिघार्दु।] कपाली- भवति । मुलभपदस्पलितो मे मदोऽयं तवागापराद्धः । देवसोमा-दिष्टया न लम। [दिटिया ण तुव ।] कपाली- क्यं मद्यदोषो मामेव सड नामयति । भवतु भवतु 15 अद्यप्रभृति मद्यनिषेपणानिवृतोऽस्मि। - D या। प्रिये..। २ D नहि नहि। ३ G मधेयेन-1 ४ EG-राध्यति । ५ Fमवतु | प्रद्य-1 अहमद्य- ·मत्तविलासप्रहसनम देवसोमा भगवन मा मा मम कारणाद व्रतभङ्गन तप सण्डयि- तुम [पादयो पतति ।] [भव | मा मा मम कारणादो बद भङ्गे शतको सण्टेदु । कपाली- (सइपमुत्पाप्यानिट ग्य) पूर्ण पूर्ण नम शिवाय । प्रिये पेया सुरा प्रियतमामुसमीक्षितव्य ग्राह्य स्वभावललितो विकृतश्च वेप | येनेदमीशमहश्यत मोक्षरम नीर्धायुरस्तु भगवान स पिनाक्पाणि ॥ ६॥ देवसोमा-भगवन ननु तथा भणितव्यम् । अर्हन्लो मोक्षमार्गम- न्यथा वर्णयन्ति। [भअवाण तहा भागिदव्य । अधन्ते मोक्खमम अण्णहा वाण अन्ति।] कपाली- भद्रे ' ते सन्तु मिथ्याटषय । कुत, कार्यस्य नि संशयमात्महतो मरूपता हेतुभिरभ्युपेत्य । दु यस्य कार्य सुचमामनन्त स्वेनैव वाक्येन हता वराका ॥८॥ देवसोमा-शान्त शान्त पापम् । स त सन्त पाव] कपाली- शान्त शान्त पापम् । नसलु ते पापा आक्षेपमुखेनाप्यभि- धातुमर्हन्ति, ये ब्रह्मचर्यकेशनिर्लोटन -म नधारण-भोजन CDE ड्य च। १ G-मामा एव भगवन् मम- २ ३ D कृष्ण कृष्ण E,Gघणं घिणं। Gअन्यथा मोक्षमार्ग-1 ५ F-न मोजन-1 ·मतविलासप्रहसनम् 45 वेलानियम-मलिनपटपरिधानादिभिः प्राणिनः परिक्लेश यन्ति। तदिदानी कुतीर्थसङ्कीर्तनोपहतां जिह्वां सुरया प्रक्षालयितुमिच्छामि। देवसोमा-तेन ह्यन्यमिदानीं सुरापणं गच्छावः। तेण हि भएणं दाणि सुरापणं गच्छामो ]] कपाली- प्रिये ! तथास्तु । [उभौ परिकामठः कपाली- अहोतुखलु विमानशिखरविश्रान्तघनरसितसन्दिग्धमृद- गशब्दस्य मधुसमयनिर्माणमातृकायमाणमाल्यापरणस्य कुमुमशरविजयघोपणायमानवरयुवतिकाची रवस्य काञ्ची- पुरस्य परा विभूति:। अपिच, अनतिशयमनन्तं सोख्यमप्रत्यनीक समधिगतमतत्वा मेनिरे यन्मुनीन्द्राः। तदिह निरयशेपं दृष्टमेतत् तु चित्र यदुत करणभोग्यं कामभोगात्मक च ।।। देवसोमा-भगवन् ! भगवतीवारुणीवानवगीतमधुरा काञ्ची । [भवं ! मनवदी वारुणी विश्र अणवणोअमहुरा पञ्चो ।] कपाली- प्रिये ! पश्य पश्य । एष मुरापणो यज्ञवाट विभूतिमनु- करोति । अत्रहि ध्वजस्तम्भो यूपः, सुरा सोमः, शौण्डा FD दिकण्ट-1 २ C-तु। काञ्चो- ३ Omits F रवस्य परा | Haplological omission of काजीपुरस्य । H टमनु- E ·46 मत्तविलाराप्रहसनम् , ऋत्विजः, चपकाश्चमसाः, शूल्यमांसप्रभृय उपदंशा हविवि शेपाः मत्तवचनानि यजूंपि, गीतानि सामानि, उदङ्काः सुवाः, तर्पोऽग्नि :, सुरापणाधिपतिर्यजमान :। देवसोमा-आवयोरप्यत्र भिक्षा रद्रभगो भविस्यति । [श्रह्मान. पिएरथ भिरखा सदमाश्रो भविश्सदि ।] कपाली- अहो दर्शनीयानि प्रहतमर्द लकरणानुगतानि विविधाग-. हारवचनम्र विकाराणि उच्छ्तिकहरतावलम्बितोत्तरी- याणि विगलित वसनप्रतिसमाधानक्षणविपमितलयानि व्याकुलितकण्ठगुणानि मत्तविलासनृत्तानि । देवसोमा- अहो रसिकः खल्वाचार्यः। अहो रसिलोखु श्राश्रय्यो।] कपाली- एषा,भगवती वारणी चपकेस्वावर्जिता प्रत्यादेशो मण्डना- नाम्, अनुनय : 'प्रणयकुपिताना, पराक्रमो , यौवनस्य, जीवितं विभ्रमाणाम । किंबहुना, मिथ्या त्रिलोचनविलोचनपावकेन भस्मीकृतां मदनमूर्तिमुदाहरान्ति । स्नेहात्मिका तदभितापवशाद् विलीना सेयं प्रिये ! मदयति प्रसभं मनांसि ।।१०।। देवसोमा-भगवन् ! युज्यत एतत् । नहि लोकोपकारनिरतो लोक- नाथो लोकं विनाशयति । भव ! जुन एक हि लोप्रो- वश्रारगिरदो लोग्रयाहो लोड विणादि ।] (उभौ कपोलपटह कुरुत:।] १ G भिक्षा विभाग : २ C, D, E मद्दल ३ F णाहितानि ; Cणाहतानि । Eलितानि।

·मत्तविलासप्रहसनम्
47
कपाली- भवति !भिक्षां देहि ।
(नेपथ्ये)
भगवन् ! एया भिक्षा । प्रतिगृहातु भगवान्। [भश्रवं एसा
मिक्खा । पहिगण्हदु मश्रवं]
कपाली-'एप' प्रतिगृहामि । प्रिये !क्यमे कपालम् ।
देवसोमा- अहमपि न पश्यामि । [अहंवि ण पेक्वामि]
कपाली-(ध्यावा) श्रा, तस्मिन्ने व मुरापणे विस्मृतमिति तयामि।
भवतु, प्रतिनिवृत्य द्रक्ष्यायः।
देवसोमा--मगवन् ! अधर्मः सल्वेप आदरोपनीताया :मिक्षाया
अप्रतिग्रहः। किमिदानी कुर्वः। [मप्र ! अधम्मो खु एसो
श्रादरोवणीदार मिक्वाए अप्पहिग्गहो । कि दांगी फरम्ह ]
कपाली- आपद्धर्म प्रमाणीकृत्य गोयङ्गण प्रतिगृह्यताम् ।
देवसोमा-भगवन् ! तया। (प्रतिगृहानि)[मग्रवं! वह ।]
(उमो परिक्रम्पापलोकपतः)
कपाली- कमिहापि न दृश्यते । (विपादं रूपयित्वा) भो भो माहेश्वराः!
'माहेश्वराः! अस्मदीयं भिक्षाभाजनमिह मद्भिः किं दृष्टम् ।
किमाहुर्भवन्तः न सलु वयं पश्याम इति। हा हतोऽस्मि ।
भ्रष्ट' मे तपः। केनाहमिदानी कपाली भविस्यामि । भोः
कष्टम् ।
१ FOnits G-भवान् ।
२ C.D,E एष एए।
३ H प्रिये, पाप-1
४ 0 उभौ तभाकरवा 4-1
५ E-टम् । (करीन्दत्वा) किमा-1

·48 भत्तविलासप्रहसनम् येन मम पानभोजन- शयनेषु नितान्तमुपकृतं शुचिना। तस्याद्य मां वियोगः सन्मित्रस्येव पीडयति ॥२२।। (पतितः शिरस्ताइनं रूपयित्वा) भवतु । अस्ति लक्षणमात्रम् । न मुक्तोऽस्मि कपालिसंज्ञाया। (उत्तष्ठति ।) देवसोमा--भगवन् ! केनसलु गृहीतं कपालम् । [भनव ! के खु गहीद कवालं कपाली- प्रिये ! तर्कयामि शूल्यमांसगर्भत्वाच्छुना या शाक्यभिक्षुणा वेति । देवसोमा-तेन ह्यन्वेपणनिमित्त सर्व काञ्चीपुरं परिभ्रमायः। [तेण हि अण्णेसणणिमित्त सव्वं वश्चीउरं परिकममामो।] कपाली-प्रिये! तथा । (उभौ परिकामतः1) (ततः प्रविशति शाक्यमितुः पात्रहस्तः 1) शाक्यभिक्षु-अहो' उपासकस्य घनदासश्रेष्टिन : सर्वावासमहादान महिमा, यास्मिन् मयाभिमतवर्णगन्धरसो मत्स्यमांसप्रकार बहुलोऽयं पिण्डपात : समासादित ः। यावदिदानी राज- विहारमेव गच्छामि । [परिक्रम्य प्रात्मगतम्] भोः परम- कारणिकेन भगवता तथागतेन प्रामादेपु वासः , मुविहि- तशय्येषु पर्यवेषु शयनं, पूर्वाद भोजनम् अपराने .. , १ Bण्या। २ G-ल भवेत् । ३ G-सर्वमेव ४ CF-पुरम् ५ HOnits ६ F (पन्धमाशाय) ग्रहो ·. 49 मतविलासप्रहसनम सुरसानि पानवानि, पञ्चसुगत्योपहित ताम्बूल, इलक्ष्णव सनपरिधानमित्येतेपदे मिथुमद्ध स्यानुग्रह कुता कि- न्नुसलु स्त्रीपरिग्रह सुरपान विधान च न दृष्टम् । अथवा क्थ सर्वज्ञ एतन पश्यति । अवश्यमेतदुश्वुद्धस्थविरनि- ग्त्साहरस्माक तरणजनाना मत्सरेण पिटक्पुरतकेपु स्त्री- सुरापान विधानानि परामृष्टानीति तर्पयामि । उत्रनुसल्य विनष्टमूलपाठ ममासादयेयम् । तत सम्पूर्ण युद्धवचन लोके प्रकाशयन् सङ्घोपकार करिष्यामि । (परिझामति) [अहो उवासप्रस्सा घणदाससैटिगा स-बावासमहादाणमहिमाणो, जहिं मए अभिमदवरणगन्धरसो मच्छमसपारबहुलो अन पिण्ड- पादो समामादिदो। नाव दाणि राप्राविहार एव्व गच्छामि । मो 1 परमकारुणिएण भअवदा तह गएण पासादेनु बासो, मुविहि' असय्येसु पजके सु सश्रण , पुठवराहे मोअग, अवरहे सुरसाणि पाणप्राणि, पञ्चसुगन्धो वहिन तम्बोल्ल', सहवसण- परिघाण ति एदेहि उवदेसेहि भिक्खुसद्धस्स गुग्गह करन्तेण किण्ण हु10 इत्यापारिग्गहो सुरावाणविहाण च र दिट्ट । श्रहर कह सकम्मो एत ण पक्खदि । अवस्स एदेहि दुट- - ४ १ G घोबोधित- २ G न च। ३ G प्रेरिस्पति। G बचनानि परा-1 ५ ६ Fणो महा- ७ C हिद-1F हिस। A.F वोचित्र, C, Dघवा। E C, D म्नु । १० खु।

·50 भत्तविलासप्रहसनम् मुद्धस्थविरहि जिन्छाएहि ब्रह्माण्ड तरुणजमारण मछरेण पिडा-- पुत्पएसु इथिया मुराषागविहाणाणि पलामिटाणि ति तक मि । कहिंगुहु अविणमूलपाठं 'समासादए। दो बुद्धवनलोए पासवन्तो सङ्घोवतार करिस्स] • देवसोमा- भगवन् ! मश्य । एप रक्तपटोऽस्मिन् विश्वस्तपुरपसम्पाते' राजमार्ग:सङ कुचितसर्वाङ्ग उभयपक्षसञ्चारितष्टि : शकि- पदविक्षेपस्त्वरितत्वरितं गच्छति । [मश्रर ! पेरख पेक्स एसो रसाडो इमास्मि विस्सत्यपुरिम- “सम्पादे रामगो सड फु इदसम्बगो उमयपक्खसवारिददिही "सकिदपदविक्षेत्री सुरिनगन्छ । सपाली-प्रिये ! एवमेतत्। श्रपिचास्य हरते चोपरान्तःप्रछादित किमप्यस्तीन । 'देवसोमा--भगवन् ! तेन हि अब लम्ब्यासाद्य जानीयः। [भप्रर्ष ! तेग हि श्रोल मित्र प्रासादिन-जायोमो।] कपाली- भवति! तथा। (उपगम्य) भो भिक्षी तिष्ठ। B वया- २ G सशारे रा-1 ३ B. D श्रो। ४ ० अवलम्रित समासाद्ये जा- B.C. D अविल। ६ D (उमायनुगम्म)।

·मत्तविलासप्रहसनम् 51 शाश्यमिक्ष:-कोनुसलु मामेवं भणति । (निवृत्यावलोक्य) अयि ! अयमे- कामवासी दुष्ट कापालिकः । भवतु, अस्य सुराविभ्रमस्य लक्ष्यं न भवामि । (Bat- गच्छति ।). [कोणु खु.मं. एक मणादि । अद अयं एनवासी दुहायालियो। मोह इमरस मुराविद्यममरस लक्खंग होमि] कपाली-प्रिये ! हन्त जब्धः कपालम् । अस्य. हि मदर्शन:- जनित भयात् त्वस्य चौर्यसाक्षित्वं प्रतिपन्ना । (इ.वमुपमा म्याग्रतो रुगदि ।) आ :धूत ! 'क्वेदानी गमिप्यसि । शाक्यभिक्षुः-कापालिकोपासक ! मा"मैवम्। किमतत्। (प्रात्मगतम्) अहो ललितरूपा उपासिका। [वालिबाउस ! मा मा एवं । कि एदं । ग्रहो ललिग्रस्त्रा' उवासिया कपाली- भो भिक्षो! दर्शय तावत् । यावदेतत् ते पाणी चीवरान्त: प्रहादितं द्रष्टुमिच्छामि । शापयभिक्षुः-किमत्र द्रष्टव्यम् । भिक्षाभाजनं सल्वेतन् । [कि एत्प पेक्स्वि. दब्वं । मिक्लामाश्रणं खु एदं।] कपाली-अत एव द्रष्टुमिच्छामि। १. Gपाली। २ B, C, D खरितोग- ३ Eरयेव चौ-1 C Omics पू मा मा एवं वस्तुम् : C, F, Omits H य मवान् । Caग्तिं - ·62 मत्तविलासप्रहसनम् शक्यभिक्ष:- :-आ;, उपासक ! मा मैवम् । प्रछन्नं खल्वेतन्नेतव्यम् । [श्रा, उस ! मा मा एवं । पच्छरणं खु एवं णेदवं।] कपाली- नूनमेवमादिप्रछादननिमित्तं बहुचीवरधारणं बुद्ध नोपदि- ष्टम्। शाक्यभिक्षुः-सत्यमेतत् । [सच्च एदं] कपाली- इदं तत् संवृत सत्यम्। परमार्थसत्यं श्रोतुमिच्छामि । शक्य भिक्षुः-भवत्वेतावान् परिहास :। अतिक्रामति भिक्षावेला । साध- याम्यहम् । (प्रतिष्ठते) [भोदु एत्तनो परिहासो। अदिवदि मिरखावेला। सहेमि अहं । फपाली- आ:, धूत ! क्व गमिष्यसि । दीयतां मे कपालम् । (चौपरान्तमा लम्बते ।) शाक्यभिक्षुः नमो बुद्धाय । [गमो बुद्धाय ।] कपाली-नम: खरपटायेति वक्तव्यं, येन चोरशास्त्रप्रणीतम् । अथवा खरपटादप्यास्मिन्नधिकारे बुद्धएवाधिक:। कुतः, वेदान्तेभ्यो गृहीत्वार्थान् यो महाभारतादपि । विप्राणं मिपातामेव कृतवान् कोशसञ्चयम् ॥१२॥ शाक्यभिक्षुः-शान्तं पापं शान्तं पापम् । सन्तं पापं सन्तं पा कपाली- एवं सुवृत्तस्य तपस्विन : कथमिव पापं न शाम्यति । १ D,GOmits २ Gइं; संपरमस--- ३ Gi धू- ४ C,DE मबल- ५ G शान्त शान्तं पापम् ।

·53
मत्तविलासप्रहसनम्
देवसोमा-भगवन् ! परिभ्रान्त इव लक्ष्यसे । नैतत् सुसोपायसुलभ
कपालम् । तदेतेन गोशृङ्गेण सुरां पीत्वा जातथलो भूत्वाऽ
नेन सह विवादं कुरु । [मअवं ! परिस्सन्तो वि लक्खीअसि ।
गण एदं सुदोवाअसुनहं कवालं । ता एदिणा गोसिङ्गेण सुर पिवित्र
जादवलो मविश्न इमिणा सह विवादं करेहि]
कपाली- तथास्तु।
(देवसोमा कपालिने मुग प्रयच्छति ।)
फपाली- (पीत्वा) प्रिये ! त्वयापि श्रमापनोद : कर्तव्य:
देवसोमा- भगवन् ! तथा । (पिरति) [भग्रवं ! तह 1]
फपाली- अयमस्माकमपकारी । संविभागप्रधान : स्वसिद्धान्तः ।
शेपमाचार्याय प्रदीयताम् ।
देवसोमा- यद् भगवानाज्ञापयति । गृह्णातु भगवान् ।
[जं भवं प्राणवेदि । गण्हदु मन ।]
शाक्यभिक्ष :-(श्रात्मगतम) अहो सुसोपनतोऽभ्युदयः। एतावान्
दोप:-महाजनो द्रक्ष्यति। (पकाशम्) भवति!
मामैवम् । न वर्धतेऽस्माकम् । (सक्वणी लेढि)। [अहो सुहो-
वनदो अन्भुदयो। एतत्री दोमो-महाजणो पेक्खिस्सदि ।
मोदि ! मामा एव ।ण वड्ददि ब्रह्माणं ।]
१ C मा सुरां।
૨ Cन्त : प्रमाणयितव्य: ।
भवान् ।
G अत्र सलु एप दो-
५ C, D, E परिनिहति ।
६ A दही

·54 मत्तविलासप्रहसनम देवसोमा- ध्वंसस्व । कुतस्ते एतावन्ति भागधेयानि । [ध । कुदो दे एत्तिश्राणि भाअधेश्राणि] कपाली- प्रिये ! इयमस्येच्छाविरोधिनी वाग मुखप्रसेकेन स्खल (य ? ति। शाक्यभिक्षुः-इदानीमपि नास्ति ते करणा। [इदाणि विणात्य दे करुण।।] कपाली- यद्यस्ति करणा, कथं वीतरागो भविष्यामि । शाक्यभिक्षुः-एवं वीतरागिणा वीतरोपेणापि भवितव्यम् । [एवं बौन- रागिण। वीतरोसेण वि होदव्वं ।] कपाली- वीतरोपो भविष्यामि, यदि मे स्वकं दास्यति । शाक्यभिक्षुः-कि ते स्वकम् । [कि दे स ] कपाली- कपालम्। शाक्यभिक्षु:-क कपालम् । [कह कवाल 1] कंपाली- कथं कपालमित्याह । अथवा युक्तमेतत् । दृष्टानि वस्तूनि महीसमुद्र- महीधरादीनि महान्ति मोहात् । अपह्र वानस्य मुतः कथं त्व- मल्पं न निहोतुमलं कपालम् ॥१३॥ देवसोमा-भगवन् ! केवलं लाल्यमानो न दास्यति । तदेतस्य हस्ता- दाच्छिद्य गच्छाव:। [भत्र ! केपल लालियमाणो ण दइस्सदि । ता एदस्स हत्थादो प्राच्छिन्दिा गच्छामो।] G दुष्ट | कुतस्ते एतानि भा-1 २ Gपि ते नास्तिक- ३ E.G कस्मिन् - ·मत्तविलासप्रहसनम् 55 कपाली- प्रिये ! तथा। (आच्छेत्तुं व्याप्रियते।) शाक्यभिक्षुः-ध्यमस्व दुष्टकापालिक ! [धनु दुष्ट वालि श्र!] (हस्तेन नुदम् पादेन तात्यात)। कपाली- कथं पतितोऽम्मि । देवसोमा- मृतोऽसि दास्याः पुत्र ! [मुदो सि दामोएवृत्त ! ] (केशाकर्षण रूयित्वा निरालम्बना पतिता।) शाक्यभिक्षुः-(प्रात्मगतम्) अहं (अर्घ वा) बुद्धस्य विज्ञानं, येन मुण्डनं दृष्टम् । (प्रकाशम्) उत्तिष्टोत्तिष्ठ उपासिके । उत्तिष्ठ । (हति देसी मानुत्पापयति ।) [अथ बुद्धस्स विएगाणं, जेण मुण्हणं दिट्ट उठेहि उठे हि उसिए! उहि। ] कपाली- पश्यन्तु पश्यन्तु माहेश्वरा : अनेन दुष्टभिक्षुनामधारकेण नागसेनेन मम प्रियतमापाणिग्रहणं क्रियमाणम् । शाक्यभिक्ष :-आ उपासक ! (आयुस्मन् ! वा) मा मैवम् । धर्म : खल्य- रमाक' विपमपति तानुकम्पा । [श्रा बुल ! मा मा एव धम्मो खु बहाण विसमपदिदाणुकमा।] कपाली- किमयमपि सर्वत्रधर्म:। नन्वहं पूर्व पतितोऽस्मि । भवतु, किमनेन । इदानीं तव शिर कपालं मम भिक्षा- कपालं भविष्यति। स गच्छ दु। १ C येते। २ ३ D न् पादेन पातयति । D शाक्पण। ५ 0 (- इस्तेन गृहाति) ១ A दिं। G ल्वयं श्र। Gटानां श्रा ·56 मतविलासप्रहसनम् (सर्व कलह रूपयन्ति) शाक्यभिक्षुः-दुखं दुसम् । [दुक्ख दुक्ख!] कपाली- पश्यन्तु पश्यन्तु माहेश्वराः। एप दुष्टभिक्षुनामधारको मम भिक्षाकपालं मुपित्या स्वयमेवाकन्दति । भवतु, अह- मप्याक्रोशयिष्ये । अब्रह्मण्यम् अब्रह्मण्यम् । (ततः प्रविशति पाशुपत :) पाशुपतः-मत्यसोम! किमर्थमाक्रन्दसि । कपालो- भो बभ्र फल्प! अयं दुष्टभिक्षुनामधारको नागसेनो मम भिक्षाकपालं चोरयित्या दातु नेच्छति । पाशुपत :-(प्रात्मगतम्) यदस्माभिरनुष्ठे थे, गन्ध : तदनुष्ठितम् ! एप दुरात्मा, तां क्षौरिकस्य दासी मम दयितां चीयरान्तदर्शितया। आकर्पति काकण्या बहुशो गांपासमुन्ट्येव ॥१४॥ तदिदानी प्रतिहस्तिप्रोत्साहनेन शत्रुपक्षं ध्वंसयामि । (अकाशम्) भो नागसेन अप्येवमेतद्, यथायमाह । शाक्यभिक्षुः-भगवन् ! त्वमप्येवं भणसि। अदत्तादानाद्विरमणं शिक्षापदम् । मृपावादाद्विरमणं शिक्षापदम् । अब्रह्मचर्या- द्विरमणं शिक्षापदम्। प्राणातिपाताद्विरमणं शिक्षापदम् । १ २ ३ ४ C(कुर्वन्ति) D, F को नागसेनो मम Cलं चोरयित्वा स्व- D अयेय- गा: G न अस्मत् श। ०पिन जानासि। अद- ·57 मत्तविलासप्रहसनम् अकाल भोजनाद्विरमणं शिक्षापदम् । अस्माकं बुद्ध धर्म शरणं गछामि। [मश्र ! तुव पि एवं मणासि । श्रादिगणादाणा वेरमणं सिक्खापद । मुधावादा वेरमणं सिक्खापदं ठरम्हचर्याः रमणासिक्खापद। अकालमोत्रणा वेरमण सिक्सापदं । ब्रह्माय बुद्धधम्म सरण गच्छामि ।] पाशुपतः सत्यसोम ! ईदृश एपां ममयः। किमत्र प्रतिवचनम् । कपाली- नन्वस्माकमनृतं न वक्रव्यमिति समयः । पाशुपतः-उभयमप्युपपन्नम् । कोऽत्र निर्णयोपाय । शाक्यभिक्ष :-"वुद्धवचनंप्रमाणीकुर्वन् भिक्षुःसुराभाजनं गृहातीति कोऽत्र हेतुः। (बुद्धवण पमाणीकरअन्तो भिकन, सुरामाश्रण गण्हादि ति को एत्य हेदू।) पाशुपतः- नहि प्रतिज्ञामानेण हेतुवादिनः सिद्धिरस्ति । कपाली प्रत्यक्षे हेतुवचनं निरर्थकम् । पाशुपतः- कथं प्रत्यक्षमेव । देवसोमा- भगवन् ! एतस्य हस्ते चीवरान्तःप्रच्छादितं कपालम् । [भनव एदस्स हत्ये चीवरान्वपच्छादिदं कवाल ।] पाशुपतः- श्रुतं भवता। शाक्यभिक्ष :-भो भगवन् ! एतत् कपालं न परकीयम् । [मो मअयं ! एकवालं ण परकेर।] कपाली- तेन हि दर्शय तावत् । शाक्यभिक्ष:-तथा । [तह ।] (दर्शयति ।) - १ Gबुद्ध ध- २ A महम्मच ३ AF द । मोअणकालत्येरावे- ४ D-को नि ५ G भो बुद्ध- ·58 मत्तविलासप्रहसनम कपाली- पश्यन्तु पश्यन्तु माहेश्वरा कापालिकेन कृतमन्याय्यमस्य भदन्तस्य साधुवृत्तता च । शाक्यभिक्षु -अदत्तादानाद्धिरमण शिक्षापदम् । [अदिएणादाणा वेरमण निक्सापद 1] (ति पुनस्तदेव पठति ।) (उभौ नृत्यत ।) शाक्यभिक्ष -हा विक् । लजितव्ये काले नृत्यति । [इद्धि । नजिदव्ये काल णवाद । कपाली आ को नृत्यति । (सर्वतो विलोक्य) आ मम नष्टभिक्षा- भाजन दर्शनकुतूहलमलयानिलप्रयुलायात्रुवमस्यनृत्तबुद्धि प्रीतिलताया विलसितेपु । शक्यभिक्षु -भगवन् । केन कारणेनैतन्न लक्ष्यते। भो आचष्टा भगवान् । अस्याय वर्ण । [भव केण कारणण एद ण लक्खोयाद । भो अचिकम्वदु भअव । इमस वरणो।) कपाली- किमन वक्तव्यम्। तनुमया दृष्टम् । काकादपि कृष्णमिद कपालम् शाक्यभिक्षु तेन ह्येतन्मदीयमिति स्वयमेवाभ्युपगतम् । सिंग हि एद ममकेर वि स एव अन्मुवगद 1] कपाली- सत्यमभ्युपगत तव वर्णान्तरकरणे नैपुण्यम् । १ AF कपालिने कृ २ AB ण मुनि शि ३ E म्। [इत्यादि पठित्वा उमौ नृत्यत ] ACD Omits, but repeats the whole passage as earlier ५ c उदिव्ये का R (कृय यात्मगतम्) H नजनितकुतू । G भो भ ६ किमनृतननु मया-1 ७ ·मत्तविलासप्रहत्तनम् 59 पश्य, यदेतदासीन् प्रथम स्वभावतो मृणालमङ्गछविचोरमम्बरम् । ननु त्वया नीतमचिन्त्यकर्मणा तदेव यालारुणरागताम्रताम॥१५॥ अपि च, आवृतं यहिरन्तश्च कपायेणानपायिना । त्वां प्राप्त स्यात् कथं नाम कपालमकपायितम् ॥१६॥ सव्वलक्खमसम्पपग- देवसोमा-हा हतारिम मन्दभागा। मर्वलक्षणमम्पन्नतया कमला- सनशीर्पकपालानुभावस्य पर्णिमामीसोमदर्शनस्य नित्यमुरा- गन्धिन एतस्य मलिनपटममर्गणेयमीवश्यवस्था संवृत्ता। (हति रोदिति)। [हा हदझि मन्दमात्रा। दाए, कमलासणसीसकवाल'गुमावस्त पुण्यमासिसोमदंसगरम गिच्चनुरागन्धिणो एदस्स मनिनपडसंसग्गेग इन इंदिसी अवस्था संवत्ता] | कपाली- प्रिये! अलं सन्तापेन। पुन 'शुचिर्मविप्यति । अयन्ते' हि महान्ति भूतानि प्रायश्चित्तरपनीतकल्मपाणि भवन्ति । तयाहिः- १ G या पर्ण- C यथा-प्रास्थाय ·60 मतविलासप्रहसनम - आस्थाय प्रयतो महाव्रतमिद वालेन्दुचूडामणि स्वामी नो मुमुचे पितामहशिरश्छेदोद्भवादेनस । नाथोऽपि निदिवौकसा त्रिशिरस त्वष्टु रतनूज पुरा हत्या यज्ञशतेन शान्तदुरितो भेजे पुन पुण्यताम् ॥१७॥ भो । बभ्रु कल्प नन्वेवमेतत् । पाशुपत आगमानु गतमभिहितम् । शाक्यभिक्षु-भो । वर्णस्ताव-मया कृत । अस्य सस्थानपरिमाण केन निमितम् । [भो ३ वण्णो दाव भए किदो । इमस लएठा- परिमाण केण णिम्मिद ।] कपाली-ननु मायासन्तानसम्भवा खलु भवन्त शाक्यभिक्षु -कियती वेला भवन्तमाकोशामि। गृह्णातु भगवान् । [कत्ति चेल भव त अकोसामि । गण्हदु मनव] कपाली-नूनमेय बुद्ध नापि दानपारमिता पूरिता । शाक्यभिक्ष - एव गते किमिदानी मे शरणम् । [एव गदे किं राणि मे सरण] कपाली- ननु बुद्धधर्मसङ्घा । पाशुपत -नाय व्यवहारो मया परिन्छेत्त, शक्यते । Cनुरूपमभिा २ Gण तावत् कथम् । ३ C भोदु वएणो । G गृहातु भ- ५ Fब किदे किं ·61 मत्तविलासप्रहसनम् तदधिकरणमेव यास्यामः। देवसोमा--भगवन् ! यद्ययं, नमः कपालाय । [भप्रव! जद एवं, णमो कवालस्स 1] पाशुपत :-फोऽभिप्रायः। देवसोमा-एप पुनरनेकविहारसमधिगतवित्तसञ्चयो यथाकाम मधि- करणकार णिकानां मुखानि पूरयितु पारयति । अम्माकं पुनरहिचर्मभूतिमात्रविभवस्य दरिदकापालिकरय परिचारि कारणों कोऽत्र बमयोऽधिकरणं प्रवेष्टुम् । [एमो उग अरोग्र विहरमोग्रसमविदगिसमन्नग्रो जहा काम अघिकरणारियाणं मुहागि पूगेदु पारेदि । अझा पुग अहिनम्म मुदिमत्तविमवरस-- दरिद्दकवानिग्रस्म परिशारित्राणं को एत्त विभवो अविकरणं पपिस्टुि पाशुपत :-नैव देयम् । अजिझै सारगुरुभिः स्थिरैःशणैः मुजन्मभिः । तैर्धो धार्यते स्तम्भैः प्रासाद इव माधुभिः॥१८॥ कपाली- कृतमनेन । कुनश्चिदपि न्याय हत्तेर्भयं नास्ति । शाक्यभिक्षुः-मो भगवन् ! त्वं तावदनतो भय । [मो भव! तुम दाव अगदो होहि'1] : पाशुपत :-याटम् । १ C में कार। २ All mss read शागिहा। ३ G दरिद्र। Cम मैपम्-प्रजिी : etc. ५ BCE-N ६ D पाय पतमवलोक्य) मो। • A,B,C, F-होदु । B, C, D, E-दम्। प्रयमः कल्यः ।

·62 मत्तविलासप्रहसनम (स परिकामनिर) (तत प्रविशत्युन्मत्तक ।) उन्मत्तक --एष एप दुष्प्यु क्कुर । शूल्यमासगर्भ कपाल गृहीत्वा धावसि । दास्या पुन कुन गमिष्यसि । एप इदानी कपालं निक्षिप्य मा खादितुकामोऽभिमुसमाधावति । (दिशो विलोक्य) अनेन प्रस्तरेण दन्तानस्य भड क्ष्यामि । क्थ कपालमुझित्या पलायसे । उन्मत्तो दुटकुक कुर ईदृशेन नाम शूरत्वेन मया सहापि रोप क्रोपि। ग्रामसूकर मारा गगनमुत्पतितेन सागरेण प्रभज्यरावण' चलाद् गृहीत शम्सुतस्तिमिङ्गिल । अयि एरण्डवृक्ष वि भणसि अली- क्मलीकमिति । नन्वेष मुसलसमविशाललम्बहरतो दर्द रो मे साक्षी । अथवा त्रैलोक्यविदितपराक्रमस्य साक्षिणा किं कार्यम् । एवं करिष्यामि । कुस्कुरसादितशेप मासखण्ड खादिप्यामि । (खादन् भ्रान्त ।) हा हा बारपेण 13मारितोऽस्मि (रुदित्वा विलोक्य) क एप मा ताडयसि। (विलोक्य ।) ५ ४ G ति। G श्वगणेन । २ न सह। ६ G प्रतिमाय । ह विरोध क। Gज्य ऐरावत । G रगलमा- G त ससुत- ६ G comments ग्रामसूकर कुकुर , तस्य गल कण्ठ , गगन- मुत्पतितेन मया श्वगणेन सह ऐरावत प्रतिमभ्य गृहीतः समु- तस्तिमिङ्गिल इति उन्मत्तालाप G हनुमत एषा मुसलसमविशाललम्बहस्ते दुर्दुरे मे शक्ति । G अथवा कि मम त्रैलोक्यविदितपराक्रमस्य शक्त्या कायम । १२ G व तावत् करिष्ये । १३ G मालितोऽस्मि बाष्पण ।

·63 मत्तविलासप्रहसनम दुष्टारका । यस्य वा क्रय घा भागिनेय • सल्वहा भीमसेनस्य घटोत्स्च इव । अपि च शृणुथ, गृहीतशूना बहुवेपधारिण शत पिशाचा उदरे वहन्ति मे । शत च व्याघ्रारणा निसर्गभीपण मुखेन मुश्चाम्यह महारगान् ॥१६॥ क्थ' मा वाधन्ते । प्रसीदन्तु दारक्भर्तार । अस्य मास- सरडस्य कारणाद मा मा चाधध्वम् । (अग्रतो दिलोक्य) एप सल्यस्माकमा चार्य शूरनन्दी । यावदेनमुपसामि । (इति धावति) [शे एशे दुदृकुक्कुले । शुल्लमशगम क्वाल गरिहा धावशि। दाशीवुत्त । पहिं गमिश्शिशि । एशे दारिण क्वाल णिक्सिविषम सायिदुवामो अहिमुह आहायइ । इमिणा पत्थलेण दन्नाणि शे भजिश । यह कवाल उज्मि पलाअशि । उम्मत्ते दुह्रकुक्कुले ईदिशेण णाम शूलत्तणेण मए शह पि लाश क्लेशि। गामशूगल आलुहिअ गगण- मुपदिदेण शागलेण पडिभञ्जिब लावण बला गहीदे शाकशुदै तिमिङ्गले । अइ एलएडलुक्स ' किं भणाशि- अलिअ अलिअ त्ति । ण एशे मुशलशविशाललम्बहत्ये दद्दले मे, शक्सी । अब तेलोकविदियपलकमश्श शक्पिणा किं क्य्य । एव' कलिइश । कुक्लिसादिअशेश मशसएड सादिश्श । हा हा मालिदोम्हि, वप्फेण मालि- ४ G कमरिवासुदेवस्य भागि । २ Gसा ३ Gथ पुनरपि मो ताडयन्ति। प्रसी। Gमा ताब्यथ । Gउपहराम | comments पूजयामि, अस्य नायिष्ये कपालमिति शेष । ६ F णशूल। Pवदावक- ·मत्तविलासग्रहसनम् दोम्हि । के एशे में तालेशि । दुट्ठदाला! जइशवा कश्श या भायणेओ खु अहं, भीमशेणइश घटुक्को विक्ष । अवित्र शुणाथ, गहीदशूला बहुवेशधालियो शदं पिशाबा उदले वहन्ति मे । शदं च वग्याण णिशम्गभीशणं मुद्देण मुञ्चामि अहं महोलये । कहं मं बाहन्ति । पशीदन्तु पशीदन्तु दालअभट्टा । इमरश मंशसएडइश कालणादो मा में वाहेह । एशे ग्बु अम्हाणं प्राआलिए शूलनन्दी । जायं णं उवशप्पामि !] पाशुपतः-अये ! श्रयमुन्मत्तकः इत एवाभिवर्तते । य एपः, निविष्टोज्झितचित्रचीवरधरी रूक्ष नितान्ताकुलैः केशनद्धतभरमपा मुनिचयनिर्माल्यमालाकुल:। उच्छिष्टाशनलोलुप लिभुजामन्नास्यमानी गरी- भूयान् ग्रामकसारसञ्चय इव भ्राम्यन् मनुष्याकृतिः ॥२०॥ उन्मत्तकः-यावदेनमुपसामि (उपग)। महासाधोश्चरडालकुक्कु- रस्य सकाशादपिगतमेतत् कपालं प्रतिगृहातु भगवान् । २ D पारदुनि- CE लात, D-लावृते: ३ C, D, E (गु पत मवलोक्य) याव- याद् मया अधि- मवान् ! भगशन ! मस्त केन बन्दामि। ४ ·मत्तयिलासप्रहसनम् 65 [जाय यं उमशप्प मि । महाशाहुणो चएघ ल कुक्कु लश्श शअाशादो अहि अदं पदं कवालं पहिगण्हदु मप्रव] पाशुपतः-(सहांटतेपम) पाने प्रतिपाद्यताम् । उन्मत्तकः-महाब्राह्मण ! क्रियतां प्रसादः । [महाबम्हण ! कलिअदु पशादो।] शाक्यभिक्षुः :-एप महापाशुपत एतस्य योग्यः । [एसो महार सुक्दो एदरस नोगी। उन्मत्तकः-(पालिनमुपगम्य कगलं भूमौ निक्षिप्य प्रदक्षिणीकृत्य पादयोः पतित्वा) महादेव ! क्रियतां प्रसादः। एप तेऽञ्जलिः । [महादेव ! कलीग्रदु पशादो। एशो दे अञ्जली ।] कपालो- अस्मदीय कपालम् । देवसोमा-एवमेतत् । [एवं एद] कपालो- भगवत्प्रसादात् पुनरपि कपाली संवृत्तः । (ग्रहोमिच्छति ।) उन्मत्तकः-दास्या-पुत्र! विषं खाद । [दाशीएवुत्त ! विश खादेहि ।] (गलमाच्छिद्य गच्छति ।) कालो- (अनुमर) एवं यमपुरुपो मे जीवितं हरति । अभ्यवपद्ये तां भवन्ती। उभी- भवतु ! आवां ते सहायी भवावः। [होदु । श्रम्हे दे सहारा होम ] (सर्वे रुन्धन्ति) कपाली-भोः! तिष्ठतिष्ट । उन्मत्तक:-कम्मान्मां स्न्धन्ति। [विश्व म लुन्धन्ति ।) कपाली- अस्मदीयं कपालं दत्वा गम्यताम् । १ D पहि। २ C प्रिये अस्म। ३ ० -दीयमिदं क- ४ G भगवन् एव- C हन्त यम-E-कष्टं एप!

·66 मत्तविलासप्रहसनम् उन्मत्तकः---मूढ ! किं न पश्यसि, सुवर्णभाजन सल्वेतत् । [मूद ! कि ण पेक्खसि, शुषण्णभानण खु एदं ।] कपाली- एवंविधं सुवर्णभाजनं केन कृतम् । उन्मत्तकः-एतेन सुवर्णवर्णपटावृतेन सुवर्णकारा'वुत्ते न कृतमिति भगवन् ! सुवर्णभाजनमिति भणामि । [एदिणा शुषण्णव- एगपाडावुदेण शुषणकारावृत्तएण विदं त्ति भन ! शुवण्णभाषण त्ति भणामि ।। शाक्यभिक्षुः-किं भणासि । उन्मत्तकः-- -सुवर्णभाजनमिति। [शुवण्णभाषणं त्ति ।] शाक्यभिक्ष :-किमयमुन्म-त्तकः । [क्मिय उम्मत्तो।] उन्मत्तकः- उन्मत्तक इति बहुश एतं शब्दं श्रृणोमि । एतद् गृहीत्या दर्शयोन्मत्तकम् । [उन्मत्तश्रो ति बहुशो एवं शुणोमि । एवं गयि दलिशेहि उम्मत्ता] (पालिने कपाल प्रयछति) फपाली- (पाल गृहीत्वा) अयमिदानी कुड्ये नान्तहित ! शोधमनु- गम्यताम् । उन्मत्तकः-लब्धप्रसादोऽस्मि । [लद्धप्पणादे हि ।] (निष्क्रान्तो जवनोन्मत्तः 1) १ G-कारेण ऋतु- २ G The whole passage is given as युप्मा उन्मत्तका । युप्माकं पुत्रा उन्मत्ताः। एतद् दत्वा दर्शयामि उन्मत्तपत्वम् ।

·67 मत्तविलासप्रहसनम् शाक्यभिक्ष :-अहो आश्चर्यम् । परपक्षरय लाभेनाहं परितुष्टोऽस्मि । [अहो अच्छरिन । परवक्खस्स लाभेण अह परिहो हि ।] कपाली- (कपाल परिष्वज्य) 1 चिरं मया चरितमसण्डितं तपो महेश्वरे भगवति भक्तिररित मे । तिरोहितः स तु सहसा मुखेन न- रत्वमद्य यत् कुशलि कपाल ! दृश्यसे ॥२१॥ देवसोमा-भगवन् । चन्द्रसमागतमिव प्रदोपं भगवन्तं पश्यन्त्या अद्यानन्दतीव मे दृष्टिः [मश्रवं । चन्दममागदं विश्न पोस मनवन्तं पेक्खन्तीए अज आणन्ददी वित्र मे दिट्ठी ।] पाशुपतः-दिष्ट या भवान् वर्धते । कपाली- नन्वभ्युदयो भवतामेव । पाशुपतः-(प्रात्मगतम) सत्यमेतत्-नास्त्यदोपवतां भयमिति । यदद्यमद्य भिक्षुाध्रमुसात् परिभ्रष्टः। (प्रकाशम्) यावदहमिदानीमेव सुहदभ्युदयकृतमानन्दं पुरोधाय भगवतः पूर्व स्थली निवासिनो धूमवेलां' प्रतिपालयामि । अयं चाद्यप्रभृति, १ २ ३ अस्तु। CD तिश्रय- ल D चव्याघ्र ७ C ला सम्माश्यामि । श्रय-1 H धूम्रवेला । E त् कथमपि - ८C मि अद्य- ·68 मतविलासप्रहसनम् विरोधः पूर्वसम्बद्धो युवयोरस्तु शाश्वतः। परस्परप्रीतिकरः किरातार्जुनयोरिव ।।२२।। (निष्क्रान्तः पाशुपतः।) कपाली- भो नागसेन ! यन्मयापराधः कृतः, तत् प्रसन्नहृदयं त्वामि- च्छामि। शाक्यभिक्षुः-किमेतदप्यभ्यर्थनीयम् । किं ते नियं करोमि [f एद पि अमस्यण । निदे पि क्रेमि ।] कपाली- यदि मे भगवान् प्रसन्नः, किमतः परमहमिच्छामि। शाक्यभिक्ष:-गच्छामि तावदहम् । [गच्छामि दाब अहं ।] कपाली- गच्छतु भवान पुनदर्शनाय । शाक्यभिक्षुः तथा भवतु । [तह होदु ।] (निष्क्रान्त:) कपाली- प्रिये देवसोमे ! गच्छावरतावत् । (भरतवावयम) शश्वद, भूत्यै प्रजानां वहतु विधिहुतामाहुतिं जातवेदा वेदान् विप्रा भजन्तां सुरभिदुहितरी भूरिदोहा भवन्तु उदा कतः स्वेषु धर्मेश्यमपि विगतव्यापदाचन्द्रतार राजन्यानस्तुशाक्तिप्रशमितरिपुरणा शत्रुमल्ल न लोकः।।२३।। (निष्क्रान्तो।) मराविलासप्रहसनं समाप्त १ After this oi? २ H देवान वि-1 ३ H कषय- ·MATTAVILASA PRAHASANA TRANSLATION ·68 मत्तविलासप्रहसनम् विरोधः पूर्वसम्बद्धो युवयोरन्तु शाश्वतः। परस्परप्रीतिकरः किरातार्जुनयोरिव ॥२२॥ (निष्क्रान्तः पाशुपतः।) कपाली- भो नागसेन ! यन्मयापराधः कृतः, तत् प्रसन्नहृदयं त्वामि-- च्छामि। शापयभिक्षुः-किमेतदप्यभ्यर्थनीयम् । किं ते प्रियं करोमि [F एद पि श्रमत्यणाअ । निदे पिन करेमि ।] कपाली- यदि मे भगवान् प्रसन्नः, किमतः परमहमिच्छामि। शाक्यभिक्ष :-गच्छामि तावदह्म । [गच्छामि टाव श्रहं ] कपाली- गच्छतु भवान पुनदर्शनाय । शाक्यभिक्षुः-तथा भवतु । [तह होदु ।] (निष्क्रान्त:) कपाली- प्रिये देवसोमे ! गच्छावस्तावत् । (भरतबाउयम) शश्वद् भूत्यै प्रजानां वहतु विधिहुतामाहुतिं जातवेदा वेदान् विप्रा भजन्तां सुरभिदुहितरो भूरिदोहा भवन्तु उा क् तः स्वेपु धर्मव्ययमपि विगतव्यापदाचन्द्रतार राजन्वानस्तुशाक्तिप्रशमितरिपुरणा शत्रुमल्ले न लोकः।।२३।। (निष्क्रान्तौ।) मत्तविलासप्रहसनं समाप्तम् १ २ ३ After this भरतपास्यम् । H देवान् वि-1 Hमय- ·MATTAVILASA PRAHASANA TRANSLATION

·MATTAVILASA PRAHASANA
OF
VANIE DRAVSKRAVAVARHAN
(At the end of benediction the Stage-Manager enters)
STAGE-MANAGER
May that divine Skull-bearer (Siva)
of unfettered omniscience,
Himself a spectator and who dances
Seszed of emotions and portraying sentiments
Comprising the course of the three worlds
By speech and dress by action and feelings
Grant thee glory that fills the bowl of Universe
Ah! I have secured an agreeable means to cheer my
senior wife who is offended on account of the younger lady,
the assembly have asked me to put on 1 play Now I will
approach ber (Looking fowards the tıring room) Lady' Hither,
pray!
(Entering)
ACTRESS (Angrily) $it, after all these years bave you come
to stage the farce of the intoxicated brimming with
the vigour of youth?
STAGE-MANAGER As you say, madam
ACTRESS Stage it then along with her, who is to be delighted
by you
STAGE-MANAGER I am to stage it with you
ACTRESS Are you under her instruction?
STAGE-MANAGER It is so And, by doing that, you are to
win great favour
ACTRESS It is only proper that you get at

·72 STAGE MANAGER Madam, why not it be so ? Pleased with your performance the assembly will bestow its favour on you ACTRESS (Joyfully) Yes! I have earned the pleasurc of the assembly of honourable men' STAGE-MANAGER Sure! You have earned it ACTRESS In that case what reward shall I give you for this agreeable news? STAGE-MANAGER No need for a repeated reward See What more is to be desired for by me, my Love? After having seen thy face Spreading the rays of smile, With cheeks thrilled and eyebrows arched- A rare sight indeed! (2) ACTRESS What are you going to stage now? STAGE-MANAGER You yourself have said it the farce of the Sport of the Intoxicated' ACTRESS Even my anger seems to be biased towards this man and it makes me speak as I feel Sır, who is this poet who wins recognition by this work? STAGE-MANAGER Pray, listen madam He is the great king, intent on the suppression of the sıxfold category of enemies, subservieat to the wishes of others by sharing the duties of primary elements, by name Mahendravikramavarman son of Simhavishnuvarman —the principal mountain of the continent of the Pallava race, who has won over all the feudatory princes by his prudence, who in valour and prospe rity is an equal to Indra and who has humiliated Kubera by munificence befisting his prosperity Moreover- Wisdom bounty mercy splendour Courage, beauty and skili un arts, Truth, prowess, honesty, modesty ·78 And all such qualities together, Finding themselves without a home Tend on him ibe only one To protect them in Kalı age As creatures reach the Primeval Being The Universal Cause at the end of the world. (3) rurther In him a mide of gems with wise sayings of immense worth- Many a speech of lesser worth, Grow in value coming from the good (4) ACTRESS Now why do you delay, sır' Surely the novelty of the piece warrants early action STAGE-MANAGER As for me- I with my wealth in music Was subdued by the narration of poet's worth, (Behind the curtain) Devasoma' My dear As this Kapalın with the wealth of bowl And the friendly wench, by wine! (5) (Exeuni) Prologue (The Kapalın entors with a damsel) KAPALIN (Intoxicated) Devasoma! Dear It is true that austerities grant grace For, you have gained a rate elegance in no time by performing the highest auste rity Thus- Thy face is sprung with beads of sweat, Thy quivering eyebrows arch, ·74 Sportive thy gait, causeless smiles, And thy accents indistinct, The pair of eyes with reddish tunge With rolling pupils, ends languid, Tresses land on shoulder's end, Their garland strings untied (6) DEVASOMA Revered Sır, you speak of me as though I am drunk, I am drunk KAPALIN What do you say, madam ? DEVASOMA I am not saying anything KAPALIN Am I intoxicated? DEVASOMA. Revered Sır, the ground is revolving, -revolv. cag' I am about to fall down Support me now KAPALIN Dear, be it so (In trying to support he falls down) Dear Somadeva! Why are you angry with me? You keep away when I reach co support you DEVASOMA Indeed Somadeva is angry, she keeps away from you even if you try to pacify her by bowing your head before her KAPALIN Surely you are Somadeva (Thinking) No! Devasama DEVASOMA Revered sir, indeed Somadeva is so favourable a lady to you that you cannot call me by my own name KAPALIN Madam, my drunkenness is at fault which caused this slip in words DEVASOMA Fortunately you are not! KAPALIN How the vice of liquor has seized me! Well' Well! From today onwards I will abstain from drinking DEVASOMA Revered sir, don't interrupt your penance by breaking vows op my account (Falls at his feet) KAPALIN (Joyfully lifting her up and embracing) Dhrroa, Dhrznal Reverence to Siva! O my dear!

·75 Take to wine and gaze at beloved's face, Doo the natural, yet loathsome, dress Long lived be the Lord of Pipaka bow, Who thus proclaimed the way to Liberation (7) DEVASOMA Revered str, you should not say like that The Buddhists describe the path to liberation differently KAPALIN My good lady! Thev are beretics For- Having accepted by logical reasoning That effect undoubtedly resembles its cause Miserable as they are, they contradict their doctrines Conceiving pleasure as effect of pain DEVASOVA God forbidi God forbid KAPALIN God forbid! God forbid Those singers who torment living beings by forcing them to practise celibacy, skave off hair, wear filth, fix time for meals and don impure garments, should not be referred to even by way of reproach Hence, I would like to wash by wine mv tongue, made impure by the reference to the heretics DEVASOMA So, now we shallg, to another liquor stop KAPALIN Dear, be it so (Both walk around) KAPALIN Wonderful indeed is the great prosperity of Kancı, with the sounds of drum getting confused in tbe din of the roaring clouds which rest on the pinnacle of tempies, the market of flower-garlands serving as a model for the season of Spriog, thc tinkling girdies of fair damsels proclaiming the triumph of Cupid Moreover- What those venerable sages conceive- They who know the truth behiad ·76 As bliss, unsurpassed endless unique Here it is found all complete, But strange! it is scnsual, indeed! To be enjoyed through the seases (9) DEVASOMA Revered sir Goddess Liquor is as faultlessly sweet as Kanci KAPALIN Look Look my dear! This liquor shop emulates the grace of a sacrificial ground Here the signpost forms the sacrificial post, liquor the Soma juict, drunkards the priests, cups the bowls, condiments like roasted meats the oblations, talks of the intoxicated the Yajur mantras, their songs the Soma hymns, leathern bags the sacrificial ladles thirst the fire, and the keeper of the shop the patron of the sacrifice DEVSOMA And our alms here would form the portion set apart for Rudra KAPALIN. How beautiful the sportive dances of the intoxicated, who follow the beats of drum, exhibit the diverse alterations of gesture speech'and eyebrows. support with raised hands the upper garment tha' slips down, lose the rhythm the moment they try to put back the garment to its place and throw the neck laces into disorder DEVASOMA Ah: The master is a connoisseur KAPALIN This goddess Liquor poured into the cup represents indeed the rejection of embellishments, the reconciliation of tovers in quarrel the prowess of youth and the essence of amorous play ta short Incorrect ideed what they say That fire from Sua's third eye Burnt to asbes the form of Kama But, liquefied rato orl by beat Ob dear! it iflames the mind perforce (10) ·77 DEVASOMA Revered sir, it is possible The Lord of the world intent on doing good would not destroy th-world (Both drum on their cheeks) KAPALIN Madam! Give us alust (Behind the curiain) Revered sır! Here is alms' Pray, accept it, sir KAPALIN Here I accept Dear, where is my skull? DEVASOMA Me too could not find it KAPALIN (Thinking) Ab' I guess that it was left forgottea in that liquor shop Well, let us go back and look for it DEVASOMA Revered sir, it is sinful not to receive the alms offered with respect Now, what shall we do? KAPALIN In accordance with the law of contingency 19 calamity, take it in the cow's horn DEVASOMA Revered sir, so be it (Accepts) (Both walk around and search) KAPALIN Why, I could not see it cven here (In despair) O Mahesvaras! O Mahesvaras' Have anyone amongst you seen my alms-bowl? What do you gentlemen say?-'We didn t see it' Alas! I am undone! My penance is lost By what shall I now become a Kapalio Oh, misery The virtous one who always served Me in my drinks, meals and sleep! Now that its absence, for good, from me Disheartens, as of a worthy friend (Falls down and beats kis head) All right' It 15 just a token I am not yet stripped off the title Kapalın (Stands up) DEVASOMA Revered sir, who could have taken the bowl?

·78 KAPALIN Dear, I guess, either by a dog or by a Buddhist mendicant since it contained roasted meat DEVASOMA Then let us go about the city of Kanci in search of it KAPALIN Yes, my dear! (Both walk around) (Then enters a Buddhist Monk with a bowl in his hand) BUDDHIST MONK Wonderful indeed is the bounty of our lay brother Merchant Dhanada sa which excels those from all other sources From him I obtained this alms-meal with a rich variety of fish and meat having an agreeable colour smell and taste Now I will go to the royal monastery (IVaking about to himself) Hal the venerable Tathagata who is extremely com. passionate has favoured the congregation of monks by prescribing for them lodging in pa la tral buildings, sleep in couch with well made bed spreads, eating in the forenoon, savoury beverages in the afternoon, chewing betel with five fragrant spices and wearing fize soft garments, but why is it that possession of women and drinking of liquor not prescribed by him? How could the omniscient fail to see that? I am sure that those lazy wretched elders must have blotted out from the canonical books the ordinances regarding women and drinking of liquor to spite us, the youngsters From where can I procure an uncorrupted original text? Then by making known to the world thic complete teachings of the Buddba I shall do service to the congregation of the Buddhists DEVASOVA Look, revered sir, look! There a man in red garments is hurrying a long this main road crowded with trusted folks, with his limbs shravelled, eyes cast on both sides and stealthy steps KAPALIN Dear, it is true! And what is more, there is some. thing in his hand concealed by the clothes ·19 DEVASOVA Revered sir, we may catch hold of him and find out KAPALIN Lady, we will (Approaching) o llonl' You stop' BUDDHIST MONK Who is it that address-S me like this (Looking back) Aye, it is that scoundrel Kapalın who lives in Elamra Well I should not become the target of his drunken pranks (Hurries clong) KAPALIN O dear! Now I got the skull His fright and the hurry on seeing mº are clear esdan for the theft (Runs forward and blochs his way) Ha' Rascal' Where will you go now? BUDDHIST MONK O Brotter hapalın' Dont be like that What is this' (To himself) Ha' What a b autıful sister KAPALIN O Mon!' Now you sh I want to as that thing bidden by your hands u dorthe robe BUDDHIST MONK What is there to be seen' It is just an alms-bowl KAPALIN That is why I want to see it BUDDHIST MONK O Brother! Don't be like that It should always be concealed MAPALIN Sure! That is why the Buddha 'as ordained you to wear so much clothes--for such hiding purposes BUDDHIST MONK Yes, that is true! KAPALIN This is that "corcealed truth I » uld like to hear about the real truth' BUDDHIST MONK Well enough with your Jones! The alms hour is passing I am on my way (Halks away) KAPALIN Ab' Scoundrel! Where do you go? Gre me mit skull (Sei es the end of the ro) BUDDHIST MOVK Reverence to t) - Buddhi! KAPALIN Rather say 'Reveronce to II 2p bo pronul gated the Sulence of theft Orri tha Buddha ·80 Whymay be superior to Kharapata in this field He, ere the very eyes of Brahmins, Has built a treasure of canons Gathering the ideas from Mahabharata As also from texts on Vedanta (12) BUDDHIST MONK May the sin be forgiven KAPALIN How could then the sin of such a well behaved monk not be forgiven' DEVASOMA Revered sır, you seems to be tired This Skull could not be easily obtained So drink some liquor from this cow's horn and you may quarrel with him with new-found strength KAPALIN Yes! So be it (Devasoma gives liquor to the Kapalın) KAPALIN Dear, you too must remove your fatigue DEVASOMA Yes, your reverence! (She drinks) KAPALIN This fellow has offended us But our doctrina lays stress on sharing So give the rest of it to the revered teacher DEVASOMA As you command your reverencet o sir, take this BUDDHIST MONK (To himself) Aki What a facile good fortunel The trouble is that other folks will see (Aloud) Lady, don't-it is not proper for us (Licks the corner of the mouth) DEYASOMA Go to hell! How could you have such luck KAPALIN His words falter for they stand against his desire BUDDHIST MONK Don't you have pity on me even now KAPALIN If I have pity bow could I be 'free from passion BUDDHIST MONK Then if you are free from passion you should also become free from anger ·81 KALPAIN I shall be free from anger if you would give me my property BUDDHIST MONK What is your property? KAPALIN The skull BUDDHIST MONK What Skull? KAPALIN He says 'What, skull?' Or, perhaps, it is only proper Thou, the son of one who conceals Out of delusion, expansive things Earth, ocean, mountains-seen by all Arn't adequate to conceal a small bowl (13) DEVASOMA Revered sır' He won't give it away by simple coaxing So we shall tear it off from his hands and go KAPALIN Dear, I will (Tries to snatch it anay) BUDDHIST MONK Get lost, you wicked Kapalia' (Pushes him off by hand and hicks him) KAPALIN Ah! I have been knocked down DEVASOMA O son of a slave, you are dead' (Tries to pull his hair and falls down getting no hold) BUDDHIST MONK (To himsell) Worthy is the wisdom of the Buddha' It is he who has provided for shaving off the head (Aloud) Get up, you sister, get up' (He helps Devasoma lo rise) KAPALIN Look at Mabesvaras' Look at The band of my beloved is being taken by this scamp Nagasena who claims himself to be a monk! BUDDHIST MONK O Brother, don't you say sol Compas sion to those who fall 10 distress is just our religious duty ·82 KAPALIN Is this also the law of the omniscient one? Was I not the one who fell down first? Well, what purpose would it serve Now the skull of your head will become my alms bowl (All scuffle together) BUDDHIST MONK Ob, misery' misery! KAPALIN O Mahesvaras! Look, Look! This scoundrel feigning to be a Monk wails himself after stealing my aims. skull Well, I will also bewail. An outrage on Brahmin, an outrage on Brahmin!" (Then enters a Pasupala) PASUPATA O Satyasoma, why do you bewail? KAPALIN O Babhrukalpa! This scoundrel Naga sena claiming to be a mook has stolen my alms skull and refuses to give it back PASUPATA (To himself) What Iought to do has already been done by the Gandharvas, for this scoundrel Like a cow being led by a handful of fodder Lures my beloved-tbat slave of a barber, Showing a few shells covered by his robe (14) So I shall trounce he enemy by encouraging the proxy (Aloud) Oh, Nagasena, is it so as he says? BUDDHIST MONK Oh sır, you too talk like thist Abstention from taking things not offered is our moral precept, abstention from vain talk is our moral precept, atsteative from breach ofælbay' is dar moral pro cept, abstention from destroying life is our moral precept, abstention from untimely eating is our mora precept I take refuge in our Buddhist precepts.

·83 PASUPATA O Satyasomal Such is their rule of conduct What is your answer to this? KAPALIN Why, our code of conduct is that we should not speak falsehood PASUPATA Both are in order What means is there to decide the issue BUDDHIST MONK What reason is there to suppose that a monk who follows the percepts of the Buddha will take a liquor bowl? PASUPATA But one adducing mere reason could not establish the fact by simple assertion KAPALIN When it is perceptible, mere statement of reason is of no purpose PASUPATA What? It is perceptible? DEVASOMA Venerable sir, the skull is in his hands hidden by the robe PASUPATA You heard it sır? BUDDHIST MONK Revered sir, thus skull does not belong to another KAPALIN Now then, show it! BUDDHIST MONK All right' (Shows) KAPALIN Look Mabesvaras! Look at, the unjust action of the Kapalın and the virtuous conduct of this Buddhist monk BUDDHIST MONK Abstention from taking things not offered is our moral precept (He repears the same rules of conduct as before) (Both dance) BUDDHIST MONK Oh fie! He dances at a time when he should be ashamed KAPALIN Ha? Who is dancing? (Looking at all sides) Surely be must be imaginiog me dancing when the creeper of ment ·84 my delight sways in the Malaya breeze at the sight of my Skull which was given up for lost BUDDHIST MONK Venerable sir! Why dont you see it? O venerable one! You just ask This is its colour KAPALIN What is there to be spoken of? Have I not seen it? This skull is blacker than a crow! BUDDHIST MONK Hence you yourself admit that this 18 mire KAPALIN True, I admit your skill in changing colours See This cloth at first, by nature, partook Of the whiteness of the lotus fibre Now you, of unthinkable feats, have made it Into coppery red of the early dawa (15) Moreover- Encompassed both in and out By yellowish red, sticking fast, The skull bowl once it reaches you How could be then untinctured! (16) DEVASOMA Alas! I am undone, unfortunate as I am Possessed of all good qualities, splendid as the skull of the lotus seated god, having the appearance of the full moon and with the everlasting smell of liquor. this has come to such 2 state by the touch of this fellow's untidy robes KAPALIN Dear, don't worry yourself It will be purified again It has been said that even bigger things get purified and freed from deflement through expiatory rites For example Our Lord beariog the crescent on his forchcad Having recourse to this great penance with devotion, ·85 Was freed from the son of cutting Brabman's head That leader of divine beings, Having killed Trisıras, the son of Tvastar Regained merit with his misery subdued, By performing a hundred sacrifices (17) Let us go Oh Babhrukalpa, is it not so? PASUPATA What you have said is true to the scriptures BUDDHIST MONK Welli The colour was changed by me But who has made its shape and size? KAPALIN Indeed, you people are the progeny of Maya's son BUDDHIST MONK How long shall I wrangle with you! You take it KALPAIN Surely, even the Buddba has thus exercised the perfection of liberality BUDDHIST MONK In this plightwhat will be my protection? KAPALIN Of course, the Buddha the law and the Monkhood PASUPATA This dispute cannot be settled by me to the court DEVASOMA Revered sir, if it is so, then good bye to the skulli PASUPATA What do you mean? DEVASOMA Why, this man with an abundance of wealth accrued from several monasteries could fill the mouths of court officials as he pleases For me, the maid of of a poor Kapalın whose sole possession is the slough of a snake, what wealth have I to enter the court? PASUPATA It is not to Not crooked, of heavy weight, Firm, yet tender, of doble birth, Justice they uphold, those good men, As pillars support the lofty mansions (18) ·KAPALIN Enough with this An honest man has nothing to be afraid of BUDDHIST MONK Revered sit, you just lead the way PASUPATA Certajaly (They all walk about) (Then enters a madman) MADMAN Tbere is that wicked dog You run off with a skull full of roasted meat Son of slave', where are you going? Now he comes towards me dropping the skull and intent on biting me (Looking around) I will smash his teeth with this stone What You run off leaving the skull? The crazy wicked dog that you are why are you angry with me for such bravery! The ocean having reached upto the sky on the back of a domestic pig smashed Ravana and seized the seamonster the son of Sukra! Hallo, castor oil-plant, what do you say? Untrue Untrue!" But this frog with pats as big as a mace is my witness Or, perhaps there is no need for a witness for one whose valour is known in all the three worlds I will do this I will eat the piece of meat left over by the dog (Eats it and becoines crazy) Alast I am killed! I am killed by tears (IVeeps and looks around) Who is it that beats me' (Loohing)You wicked boys! I am the nephew of what is bis name, as Ghatotkaca was of Bbimasena Further you listen A hundred fiends with different forms Holding pikes, my belly holds, With a hundred tigers that terrify Fsom mouth I spit out great serpents (19) How they trouble me! Be pleased youngmen, be pleased You don't trouble meon account of this picce ·87 of meat (Looking ahead) Wby, there is our preceptor Suranandia I will approach bim (Runs up) PASUPATA Hey! Thıs lunatic comes bither He 15- Wearing a robe of spotted rags used and cast off, The hair rough, dis hevelled and full of ash and dust Yet wearing garlands—the remains of offerings, Flocks of crows do tend on him for leavings, A heap of village litter that moves in human form (20) MADVAN I will go to him (Approaching) Venerable sit, please accept this skull which I have obtained from a most respectable dog belonging to a Candala. PASUPATA (Casting a glance) Let it be given to a worthy recipient, MADMAN O revered Brabmın, be pleased with me BUDDHIST MONK This revered Kapalio is worthy of it MADMAN (Approaching the Kapalın, placing the skull on the ground and falling at his feet after going around him from left to right) O great god! Be pleased Here I raise my hands in salutation KAPALIN Our skull' DEVASOMA Yes, it is so KAPALIN By the grace of god once again I have become a Kapalın (IVants to take 11) MADMAN You son of a slave' Eat poison' (Snatches away the skull and goes on his way) KAPALIN (Pursuing) This messenger of Yama is taking away You wila ztrare BOTH Yes, both of us will help you muy Wit (All of them block the way) KAPALIN IIcy' You stop, stop!

·88 MADMAN Why do they stop me! KAPALIN You give our skull and be off MADMAN Fool' Why don't you see? This is a golden bowl KAPALIN Who is it that made such a golden bowl? MADMAN Revered sir, I call it a golden bowl since it was made by the brother in law of the goldsmith who dons a gold coloured robe BUDDHIST MONK What do you say? MADMAN It is a golden bowl BUDDHIST MONK Is he a madman? MADMAN I hear the word 'madman' oftentimes You take this and show me the madman (Hands over the skull to the Kapalın) KAPALIN (Taking the bow!) There he is just behind the wall Make haste and follow him MADMAN I am pleased (The madman retires it haste) BUDDHIST MONK O wonderful I am delighted at the gain of my opponent KAPALIN (Embracing the skull) For long have I donc penance unbroken, Intact is my devotion to holy Mahesvara, O blessed skulll since you are seen, to my joy, Now, He has just gone to oblivion (21) DEVASOMA Revered sir my eyes are delighted bow wben I bebold you like the evening in conjunction with the moon PASUPATA Fortunately you are well off KAPALIN Indeed, sir, the success is yours PASUPATA (To himself) It is true that the innocent has nothing to be afraid of, for the monk bas just been

·89
saved from the jaws of tiger (Aloud) Now I go to
await the 'smoke hout'of the god of the eastern shrine
having taken to my heart the joy at the success of the
friend Henceforth
May your dispute, fore ordained,
Be everlasting, a source of mutual joy,
As that between Kirata and Arjuna (22)
(The Pasupata retires)
KAPALIN O Nagasena, since I have offended you I besecch
you to forgive me
BUDDHIST MONK What is there to be sought for? What
shall I do to please you?
KAPALIN If your Reverence is pleased with me what more
shall I seek for?
BUDDHIST MONK I am on my way
KAPALIN Good bye, sir We shall meet you again
BUDDHIST MONK So be at (Exit)
KAPALIN Dear Devasoma! Let us go
(Epilogue)
May the sacred fire ever carry oblations
Bestowed on it for the good of mankind
May the Brahmins take recourse to Vedas,
May the kide give milk to pleaty,
And as long as there are moon and stars
Let men intent on their duty, bereft of all distress,
Be under the sway of a worthy king
In Sa trurralla wbo extinguished foes by might (23)
(Exeunt both)
The end

·NOTES Vyaplavanıbhajanam etc Here there is an allusion to the author's title Aranibhajana which is so dearly used by him in his inscriptions (See introduction, p 11) Yamanagunabhara etc The phrase contains two of the author's titles Gunabhara and Mattavılasa mentioned in his 10- scription. (See introduction p 12) One of his inscriptions read Gunabhara namanı rajani Anena lingena lingin jnanam Prathanciraja loke Vipak savrtleh paravritam This has been rendered as 'while the king called Gunabhara is a worshipper of the linga, let the knowledge which has turned back from hostile (ripaksa) conduct be spread for a jong time in the world by this linga' Sangitadhanah etc This cpithet ascribed to the Sutradbara is also suggestive of the royal authors talents in music Gandhanasastra has been mentioned in the very first line of his Mamandur inscription The words 'apraplapurvannirrestu rady asravanakrnatira' and 'kanthasrutiguna asadharanasampadah' etc, occurring in the inscription seem to suggest that be wanted to achieve what was not achieved before in the realm of music The tstle Sankırnajan (see introduction p. 12) was perhaps assumed by bim since he has invented a particular method of musical tims It may also represent a mixed raga wherein traces of two or more cagze ans dussemblr Dhrina dhrrna namah etc The word is used in the sense of some sort of blessiegs Manuscripts give various forms for this as-dhrsna dhrsna aad dhirna dhurna The usage seems to be peculiar to the Saivites of the Kapalika sect Ms G notes dhirna dhima namah siaj ett tesam samage asth' ·92 Peya sura etc The verse occurring in our play has been ascribed to Bhasa by Somadeva in his Yasashilaka This bow ever does not deprive the authorship of the verse to Mahendra vikrama since anthologists are often found to depend on their memory in ascribing ses to authors Esa surapano jajnava tavibhutım etc The liquorshop is here compared to a sacrificial ground Yupa is the sacrificial post to which animals are tied before killing them for sacrificial purposes Soma juice forms an offering of drink Riviks are those priests who perform the rites Camasa 15 a ladle used in sacrifices Havis are specially cooked offerings of solid foods Directions and ritual formulae are compared with the wild utterances of intoxicated men who frequent such shops Theur gay songs are likened to Sama hymns sung at sacrifices The manager of the shop is concieved as the chief patron who causes the sacrifice to be condusted by providing facilities Rajavihara etc According to Hieun Tsang the city of Kancı was about six miles in circumference He notes that there were more than a hundred Buddhist monasteries with more than ten thousand Terayadia monks to the south of the city there was a large monastery where the em nent men of the country used to assemble Scholars hold that this monastery may be identified with the Rajavihara referred to by the Sakyabbiksu in our play Ekamravası etc Ms G comments Ekampavasi ekampakhya sivacsetre vastum silam asya That our author is familiar with the locality is evident from the presence of one of his jascriptions found in a pillar situated inside the temple The pillar is carved in the typical Mahendra style Samutasaiyamete The Kapalun makes fun of the distinctions entertained by some schools of Buddhists between samvrtasatja liter ully truth in concealment or relative verity and paraniarthikasatya or transcendental or noumeaal reality ·93 Namah Kharapataza etc Kharapata as an author of the science of thieving is knoin since the time of Arthasastra It is only reasonable to suppose that Mahendravikrama has quoted the tradition The tradtion of making harapata the guardian deity of theives is a fairly old one and Bhasa also in Is Carudaifa has mentioned him It has been suggested that he is identical with Muladera or Karnisuta the famous cbaracter mentioned in old Indian literature Yena mundanam drstam etc Ruddhist monks have to shave off their beads according to their canons. Now it has come as a blessing for Nagasena when Devasoma tries to seize hold of his hair in her fury She falls down in the attempt since there is nothing to seize upon Prijatamapanigrahanam etc, The word 'panigrahana', literally means 'taking of the hand', though it is generally used to denote (marriage in which the bridegroom has to take the hands of the bride as enjoined by the rites Here the Kapalın plays on the popular sense of the word to embarrass the Buddhist monk who took the hands of Devasoma out of compassion Buddhist monks should practise celibacy Yad osmabhihetc This seems to be a proverbial phrase talon from an anustubh verse The Pasupata on seeing bis own consort being seduced by the Kapalın, makes this observation Siksapadam etc There are "ten articles of discipline ordained for the Buddhists Here the Bhiksu repeats five out of the ten to clear himself of the imputation cast on him by the Kapalio He suggests that he a is firm follower of the Buddhist canons Pitamahasıraccheda etc The reference is to a legend 10 Hindu mythology Ac ording to it once Brahman offended Siva who assumed bus terrible phase as Bhairava and cut Brahman's head by his thumb nail It is the skull of that head which he carries with him in his phase as Kapalio God Indra killed Vatra the tripple-headed son of Tvastar The Vedic poets often praise ladra for this action ·94 Both these gods had to perform expiatory rites to absolve themselves of the sin incurred by them Pasjantu pasy anfu Afahesi aras etc Dr L D Barnett remarks "This speech in the printed edition is assigned to the Kapalın, obviously by error He assigns it to Pasupata in his translation But the present editor is for retaiging it according to the printed edition The Kapalın is sure that the bowl concealed by the clothes of the Buddhist belongs to him despite the difference in its colour So he makes a derisive remark like this All the manuscripts support this view Moreover, it is for the third time that the Kapalın addresses the Mahesvara in an effort to establish the injustice done by the Buddbists Mfaj asan tuna etc There is a pup on the double meaning of the word Maya The name of Buddha's mother is also given as Maya The word also denotes illusion in the context thereby suggesting that the Buddhists are jugglers Danaparamita etc It means Perfection of bounty' which is the first among several such perfections ascribed to the Buddha. The Sakyabhiksu here is ready to hand over his own bowl to the hapalın just to be relieved of his trouble when the latter compliments the former comparing his act to danaparamira A note of sarcasm also is binted at by his words Graniasuh ara e c Ms G gives the following comments Gramasularah huhhurah lasja galam kantham gaganan utpat tena maja siaganena saha Arraialam pranbhangja grhirah sasarah timingala is unmatrapralapak Bhagineyah etc Ghatotkaca was the son of Bhimasena and not his nephewas contended by the lunatic Here he shows his 1940rance and confusion regarding the characters of the Epics Accordiog to Ms the lunatic claims himself to be the Rephew of Vasudeva Javad enam upa sarramı etc Ms G gives a different reading and comments joiad enam upalarami pujaj omi Asya rajisje ·95 kapalam ini sesah After this the words 'Bhaga an, nastalena sandami' occur Candrasamagalam ka etc Here the Kapalın with his dark body smeared all over with gray ashes is compared with the gray cvening atmospbere and the white skull to the moon Sana mendicants smear their body with ash's consisting or burnt cow dung in licu of ashes from cremation grounds This is to emulate Siva who wears the ashes collected from cremation grounds Puriasthal etc The reference is to the neighbourhood of he Ekamranatha temple at hancı where the deliv installed is Suva Tbis is also referred to earlier by the Buddhist when the remarks that the wiched hapalın is a resident of Ekamra Dhumas ela etc Pasupatas are supposed to baunt the cremation grounds as ordained by their spiritual disciplines Such grounds are often located to the immediate vicinity of Saila temples Virodhah etc The story of Arjuna's penance which results in a fight between him and Siva who assumes the form of a Kirata to test his devotec is alluded to here The dispute ends with a happy note since both the parties are satisfied at the outcome of the issue Satrunallena etc The epilogue of the farce mentions yet another title of our author as Satrurralla (sce introduction p 12) Mahendravihrama has scooped a cave temple at Dalayanur callcd Satrumallesvara named after his title ·MATTAVILASA TIPPANAM [This metrical commentary or tippanam in 41 verses is an elaborare discussion on the first stanza of Mattavılasaprahasana It has been pointed out that the Cakyars of Kerala used to put on the farce in a peculiar way using the verses from the Kumarasambhava of Kalidasa to enact the introductory portion of the adapted version This tippanam composed by an anonymous author, who probably was a member of the Cakyar community, refers to the various verses of Kumara. sambhava pointing out the different emotions suggested by them It is composed for the benefit of the practising Cakyar This is obtained from a palm leaf manuscript with the Tegister number 17946 preserved in the Oriental Research Institute and Manuscripts Library of the Kerala University. The script is Malayalam The manuscript is roughly 300 years old It is written on a single leal, twenty inches long and having a width of two inches This is perhaps the only manu. script of the work now available The work was originally noticed by the present editor in the pages of tbe Journal of Oriental Research Institute and Manuscripts Library of the University of Kerala, Vol XIX No 1 2, pp 7-17) ·मत्तविलासटिप्पणम् अविघ्नमस्तु । अत्र मत्तविलामे भापेत्यादि ।। कामध्वंसी व्योमकेशः कपालीत्युदिनशिवः। श्रेयो दिश्याद् व्रतालम्बी दिव्यस्मुरपुरेश्वरः ॥ १ ॥ अद्वितीयरिशवस्वस्मिन् लोकानुभाव्य मायया । नानाभूतानि तच्चेष्टा द्रष्ट्र त्वं च नटत्ययम् ॥२॥ अतस्त्रैलोक्ययात्रायाः प्रवृत्तेत्तरूपता। कृतकत्याद्भुतत्वादारोप्येश्वररूपता ।।३।। समर्थ्यते प्रवृत्तेश्च कर्त्त निष्ठतया सदा । नानाभूतात्मनस्तस्य नर्तकत्यञ्च सिध्यति ॥१॥ अतरसुरनराश्वादि भूमिकामवलम्व्य यः । तवस्थानुकारेण नृत्यतीत्युदितं भवेत् ।।५।। श्रस्य सामान्यनृत्तेन साम्य भेदश्च कथ्यते । भापा लविपु राज्येषु भूतेषु च पृथक स्थिता ॥६॥ 1. भाषावपवपुःक्रियागुणकृतानाप्रित्य भेदान् गतं भावावेशवशाद नेकरसता त्रैलोक्ययात्रामयम् । नृत्तनिष्प्रतिवदोघमहिमा यः प्रेक्षा स्वयं सध्यावावनिभाउनं दिशतु यो दिव्यः पाही दतः॥

·98
वरनाभरणमात्यादिवेयो भिन्नस्ततस्तत ।
वपुपा कृष्णपीतादिवर्णतो वहुधा भिदा ॥७॥
स्थूलमध्यशत्वादिप्रमाणेरपि भूयश ।
केचिद. बहुमुसारतत्र बहुवाहास्तधा परे ॥८॥
बहुनेवा परे केचिदेवपादादिवता ।
चतुष्पादा परे केचिदुरगा पक्षिण परे ॥४॥
स्तनयेशादिचित्राणि सुकुमारापि कानिचित ।
रूपाणि उमदष्ट्रादिभीपणान्यपराणि च ॥ १०॥
इत्यवान्तरभेदाच्च वपुषामप्रमेयता।
गमना दनियाऽसरया प्रतिव्यक्तिविभेदिनी ॥११॥
सत्त्व रजस्तम इति गुणा मायादिभूपिता ।
तद भेदाभयना भाना बहुधा चित्तचिनिया ॥१॥
ज्ञानधर्मादयस्सत्त्वधिकारास्निदशाधिका ।
राजसा कोपहिंसाया असुरादिसमाश्रिता ।।१३।।
तामसा मोहनिद्राया राक्षसादिसमेषिता ।
येयासम्मेलने भाषा अनन्तारसमुदाहता ॥१८॥
चित्सत्य क्वचिद भेद चिन्माह क्वचिद भयम् ।
कचिलोध क्वचिरलोम क्रचिनिद्रामृत काचित् ॥१५॥
क्वचिन्मद कनचिन्मोद क्यचिस्नेह क्वचिदभ्रमः।
प्रतिलोक प्रतिजनं भावावेशस्य पैभवात् ॥ १६॥
प्रास्वादात्तर तय तस्य तस्य निरन्तरम् ।
लाग्यानामयन्नृत्तमनेगरसता गतम् ॥१७॥
रत्यादीना प्रतिव्यनिभेदात्तपामनन्तता।
व्यतिरेयोऽस्य मामापदण्टावरसारमन 1 ॥१८॥

·99 "गुण्योद्भव" मित्यादि वक्तुश्चैतन्मतं कवेः । एवं भूतानि तच्चेप्टा रूपं नृत्तं च शङ्करः ॥१६॥ द्रष्टा च वयमेवेति व्यतिरेकोऽस्य पूर्वतः । द्रष्टुश्च कोपहादिविकारागगोऽस्य तु ॥२०॥ माया तत्कार्यमोहादिप्रतिबन्धविवर्जितः। प्रमोघमहिमेवायं सच्चिदानन्दविग्रहः ॥२१॥ एवं यश प्रदानेऽस्य कल्यत्वञ्च समर्थितम् । पूर्वसिद्धम्य नाट्यस्य शिव एव प्रवर्तकः ॥२२॥ स्खयन्ताण्डवनिर्माता देवी लास्यप्रवत्तिका । इति तद्र पता चास्य मंगृहीता कपालिनः ॥२३॥ "ताएउपत्रटनं नाटय लास्यं नृत्तश्च नर्तने" इति नृत्तपदेनात्र नाटयमेवाभिधीयते ॥ २४॥ त्रैलोक्यात्मवरूपग्य नृत्तस्यायं प्रवर्तकः । इनि नृत्तत्वमारोप्य कथ्यतेऽत्र कपालिनः ।। २५ ।। तच्च मापाद्यभिनयांश्चतुरग्समवेक्ष्य तु। रत्यादिमायावेशेन प्राप्त नवरमात्मना ।।२६॥ वपुःक्रियेत्याद्किय मात्विस्थ गुणैः कृतः। मापा च वाचिकः प्रोक्ती वपश्चाहार्य उच्यते ॥२७॥ मर्वन्तत्त्वेन तम्येय प्रेक्षात्यञ्च युज्यते । तत्र मर्वरसस्येशी नाटयस्यास्य प्रकाशकः ॥ २८ ॥ 2. Malavikagnimitra of Kalidasa, I.4. देवानामिमामात मुनयः कान्त चातुप गदगुमानध्यातवर साडगं पिमक्त विधा। जैगुण्योदभवमन लोक्चरितं नानारसं दृश्यते नाटयं भिन्नरचर्जनस्य याप्येकं समाराधनम् ।। 3. Amarakosa, Natyavarga-line 381 ·100 इत्यस्य कामदहन विपयत्वेन कथ्यते । सेनापतिमभीच्छद्भिरसुरैरभ्यर्थितः स्मरः ॥ २६ ॥ हरम्मोहयितुम्मोहाद् वसन्तेन सहाभ्यगात् । शृङ्गारोद्दीपनलेन वसन्तोऽत्राभिवर्णितः॥३०॥ आलम्बनविभावश्च "निर्वाणे त्यादिनोदितः। "व्यापारयामास मुख लोचनानि धृतेश्च्युतः ॥३१॥ इत्यौत्सुक्यानुभावा च रतेस्सम्यक् प्रकाशितौ। "विवृण्वती त्याद्य क्त्यैव देव्या भावः प्रकाशितः ॥३२॥ अन्योन्यालम्बनत्वेन विभावाधु पहिता। रतिः शृङ्गाररसतां नीताऽत्र परिदृश्यते ॥३३ ।। "श्रुताप्सरोगीतिरपि प्रसंख्यानपरो हरः" । इत्युक्त्याध्यवसायात्मा इत्साहो वीरतां गतः ॥३४॥ "तपःपरामर्श त्यादि क्रोधाद्रौद्रः प्रकाशितः । "यापच्चरन्ति मरतां गिरस्तावत्तनूनपात् ।। ३५।। "भस्मीचकारे" त्युक्त्यैव देवेष्वद्भुतमीरितम् । रत्या मोहप्रलापादौ करणोऽपि निवेदितः ॥३६॥ प्रमथैविकृताकारैः स्मरस्य जलतां प्रति । हास्यवाक्यानि कुर्वद्भिहस्योऽपि प्रतिपादितः॥३७॥ 4. Kumarasambhava, Nirnayasagar edition:III 52 5. Ibrd III 67 6. Ibid III 68 7. Ibid III 40 8. Ibid III 37 9. Ibid III 72 ·101 तदा प्रेतपिशाचाद्य रधिरान्त्रवसाहितः। प्रकाशितौ स्वचेष्टाभिी वीभत्सभयानको ॥३८॥ 'वरज्य विघ्नन्तपसः जगामान्तर्धिमौश्वरः । इति प्रशमनिर्देशाच्छान्तोऽप्यत्र प्रकाशितः ॥३६॥ एवं सर्वे रसारतत्र कामदाहे प्रकीर्तिताः। मवृत्तस्यापीश्वरस्य सदा निर्विघ्नवोपतः॥४०॥ स्थस्यैव द्रष्ट्र ता साधु नान्येषामल्पचेतसाम् । एवं सर्वरसव्यक्त्य महेशस्य प्रभाषतः॥४१॥ उक्तवाक्यार्थसिभ्यर्थ कामदाहोऽत्र युज्यते । इति सर्व शिवम् । गुरवे नमः। मुसौरभ सुलावण्यं सौकुमार्यञ्च सुप्रभम् । मनरसंक्षोभकारित्वं लोकोत्तरचमत्कृति ।। अनघं गुणसंपूर्ण पर्युदासेन शिष्यते । अनुसार उपस्थान विधिः स्वाधीनतन्त्रकः ।। मरनवित निवासासंभावनानु किन्न्यायाः। खलु इव । रवि मत्तविलाटिप्प समाप्तम् ।। 10. Ibid III 74 ·102 श्लोकानुक्रमणी श्लोकः पृष्ठम् दृष्टानि वस्तूनि निर्विष्टोभित पेया सुरा इनोकः अजिह्र:सार अनतिशय श्राकरे सूक्ति श्रावृतं यहि आस्थाय प्र उद्भिन्नरोमा থিম कार्यस्य निरसं गाहीदला गहीतशूला चिरं मया तां क्षौरिकस्य पृष्ठम् 61 45 41 59 60 40 42 44 64 63 67 56 प्रज्ञादान भाषावेप मिथ्यात्रिलो यदेतदासीत् येन मम पान विरोधः पूर्व वेदान्तेभ्यो शश्वद, भूत्यै सम्प्रति सनी 54 64 44 41 39 46 59 48 68 52 68 42 वृत्तानुक्रमणी Nos. of verses Metres अनुष्ठ प् आर्ग इन्द्रयमा मालिनी रचिरा वंशस्थम् वसन्ततिलका शार्दूलविक्रीडितम् साधरा 4, 12, 16, 18, 22 5, 11, 14 2, 8, 13 9 21 15, 19 7,10 1,3,6, 17,20 23 ·KOKILASANDESA OF UDDANDA Ed By DR N. P UNNI This lyric of 162 verses belongs to the class of Sandesakavyas inaugurated by the Megbaduta and bids fair to attain its mellifluous delectability The messenger here is aptly a Kokila which is chosen as it is the Shashtham or sixth astram of Kamadeva (in II 47) This versatile poet seeped in Kalıdásan lore, was, we are informed in the learned introduction, born in Chingleput, but became domiciled in Kerala where he was patronised by Manavikrama of Calicut who ruled from 1467 to 1475 A D The editor has done an excellent job and deserves the siacere gratitude of all orientalists' The Hindu “Kokilasandesa is a valuable poem, rich in information about the 15th century Kerala Thus po less than 19 temple towns, 13 political regions or cities 8 rivers and 2 festivals, besides a number of literary, religious and political personalities find place in the said descriptions One can well imagine what a mine of contemporary information the present work happens to be The editor, besides giving a critical edition of this charming poem, bas, in his 50 page introduction, given a good account of Uddanda, his times and contemporaries, an idea of his works and a resume of the Kokilasandesa The potes and indexes supplied by bio add to the usefulness of this edition He deserves to be congratulated for presenting a finc work in Sanskrit produced in Kerala to readers outside that region in a very attractive form," Vishveshvaranand Indological Jour-al Price Rs 8 COLLEGE BOOK HOUSE, NG ROAD, TRIVANDRUM ·Forthcoming by the same author BHASA PLAYS A STUDY IN MANUSCRIPTS "Barring the controversial Yajoaphalan" observes Dr. V Raghavan, "no new manuscript material or other fresh evidence has come to light on the standing problem of Bhasa" Indeed, the question is so vexed that some consider at as "beyond discussion!” Here is an attempt to study the problem from a new angle. Complete and authentic details of nearly 200 manuscripts of plays attributed to Bhasa available in the various libraries, though remaining unnoticed by scholars for want of ioformation, is presented here for the first time of these manuscripts more than 150 are yet to be made use of by editors Nearly all of them are on palm leaves and in the local verna. cular Malayalam The various aspects dealt with bercin include the different titles of the plays, the problem of authorship, a survey of Bhasa manuscripts, Bhasa plays on the Kerala stage etc. etc, The present author's chief interest 13 to revive the discussion on the problem in the light of fresh manuscript materials on which information is presented here. He also wishes to point out the ample scope for the critical editions of these works taking into account the stage practices of these plays wherein the professional actors in Keralı try to bring out the "oper sigaificance of these plays. COLLEGE BOOK HOUSE MG. ROAD, TRIVANDRUM.