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VOLUME SIX
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·RUDRADĀSA'S
CANDRALEKHA
(A Drama in Prākrit)
The Prakrit Text and Sanskrit Chayii authentically cdited with a
Critical Introduction, Notes, Appendix, Select Glossary, etc.
BY
Dr. A. N. UPADHYE, M.A., D. Litt.
(PROFESSOR OF ARDILA:16:1DIII, RAJIN COLLEGE, KOLHAPUR)
Bir
Marta
PUBLISHED BY
JAYANTAKRISHNA H. DAVE, M. A., LL. B.
HONORARY REGISTRAR
BHARATIYA VIDYA BHAVAN
BOMBAY
V. S. 2001 ]
( A. D. 1945

·No text on this page.

·CONTENTS VI VII 1-66 5 9-64 9 11 12 19-53 General Editor's Preface Preface Introduction I. Critical Apparatus 2. Constitution and Presentation of the Text and Chāyā 3. Candralekhã: A Critical Study i) Dramatis Personao ii) Story of the Play iii) Synoptic Analysis of the Play iv) Prākrit Drama : Sattaka «) Early Indian Drama b) Rūpakas and Uparüpakas c) Naţikā and Sattaka d) Prākrits in the Drama e) Sattaka in the Evolution of Drama f) Sattakas known go far Rajasekhara and his Karpuramaſjari Nayacandra and his Rambhāmaüjarī Mārkandoya and his Vilāsayati Visvešvarą and his Śrăgäramaſjari Ghanaśyāma and his Anandasundari g) Candralekha : A. Sattaka v) Karpūramañjarī and Candralekha vi) Candralekha, as a Literary Piece vii) Irākrit in the Candralekhā viii) Metres in the Candralekha 4. Rudradāsa: the Author Camdalehā: Text with Sanskrit Chāyā and Variants Siloa-sui Notes Appendix Saddasün Corrigenda 19 20 21 24 28 31-52 32 35 43 48 52 53 56 57 63 64 81 86 91 93 ·Preface by the Gencral Editor ExcePring the Karpúra-mañarı of Rijas'okhura and the Ranıblamaſjari of Naycanlra, no other plays of the Sattaka lypo were published so far. This edition of Caudalchi, whiclı lias been brought out, ſor the first time, with remarkable critical acumen and praiseworthy Inlours, is a valuable addition to the wealth of our Rupaka literature. So far, very few Prākrit works of non-Jaina authors have seen the liglit of dily: the result has been that inost of the scholars are accustomed to look at l'rakrit as a sectarian language cultivated only by Jainas and that there is a general neglect of Prākrit studies, as a branch of specialised and higher research, in our University circles. But now from the vicw-point of the history of linguistic evolution in India, it is abundantly clear that, without critical study of and researches in the Prakrit literature and languages, we cannot get a true picture of our entire inedieval ludian culture. There is no loubt that Jaina authors have rendered yeoman service to the cause of Prakrit languages and literaturo; but 11ow it is becoming more and more clear that others also have tried to contribute their mito in this direction. Through political vicissitudes and foreign attacks, much of the riches of Preikrit litorature is lost in course of time. What little from this vast literature has come down to us lios scattered in various old Mss. librarios, and some of the works are almost on the verge of extinction. They could be immortalised by the offorts of learned researchers solely devoted to the cause of Prikrits liko Dr. A. N. Upadhye. It is mainly through Dr. Upadlıyo's cfforts and researches that we have becoine lately acquainted with many Prākrit compositions which were being neglected in the mss. libraries of the South whoru Dravidian languages are in vogue; and for this, I offer my sincere congratulations to this dear and inodest friend of mine. His Introduction, it will be seen, is a piece of solid research. He has thoroughly reviewed the various problems connected with the Sattaka form of draina; and special attention may be drawn to his critical study of some now Sattakas discovered by him. He has collected and presented the material with remarkable industry; and his study is characterised by systomatic thoroughness and sobriety of judgement. We believe, and we have great hopes that in the near future Dr. Upadhye will give us many valuable Präkrit works with learned Introductions which are usually the results of his extensive study and mature scholarship. It has been one of the chief aims of the Bharatiya Vidya Bhavana, Bombay, to bring to light such valuable and important Prakrit works ; and we hope, the learned and the wealthy of our nation will extend to us full cooperation in this direction, Bliaratiya Vidya Bhavana Bombay: April 1945: JINA VIJAYA MUNI ·PREFACE The present edition of the Camdalcha(Sk. Candralekha) of Rudradāsa (c. 1660) is based on rare siss, from the South, the transcripts of which I could procure with yrcai eliorts. Though the material was meagre and unsatisfactory, I have excrcised utınost care and scrutiny in presenting the text and Cliyi in an authentic manner. Even as it is, it should be a welcome addition to the published Prākrit literature, especially when there has been such a deplorable deartlı of Präkrit plays belonging to the Saitaka type which has been all along illustrated only by the Karpīramaſijarī. In the Introduction, aſter describing the ns. material and stating the procedure of text-constitution, the rarious aspects of Candralekhā are subjected to a critical scrutiny; and a biographical note on Rudradāsa, the author, is added at the end. The Sattaka, as a type of drama, is elaborately studied in the background of the evolution of Indian drama. Further, I have presented here a detailed study of half a dozen Sattakas most of which were mere names to us so far. The entire art gallery of Sattaka in Indian literature is no more to be appropriated by a solitary play of Rājasekhara, because now there are half a dozen members to occupy it, and some of them quite worthy. It is by such studies, I hope, the bounds of our knoweldge of Prākrit literature would be widened and its land-marks seen in a clearer perspective. While working on this text, various scholar-friends helped me with suggestions etc.; and it gives me pleasure to remember them with thanks: Mr. K. J. Dikshit, B. A., B. T., Sangli; Dr. A. M. Ghatage, Kolhapur; Dr. T. G. Mainkar, Sangli; Prof. M. V. Patwardhan, Sangli; and Dr. V. Raghavan, Madras. I am specially grateful to Prof. K. V. Krislına Ayyar, Calicut, for his valuable notes on Zamorins and Rudra. I record my regards to Professor B. H. Khardekar, Principal, Rajaram College, Kolhapur, whose silent sympathy for academic studies has given me the necessary peace and encouragement in my research I cannot adequately express my sense of obligation to Achārya Jinavijayaji, Hon. Director, Bhāratiya Vidya Bhavana, Bombay. He has an inborn zeal for Indian learning; and if the Candraleklā pursuits.

·CAUDALERA
appears today in a stately form, much of the credit should go to him.
His willing co-operation and guidance, his kindly interest in my
studies, and, above all, his akūrana-vītscilya towards me have made
even my heavy toils smooth and joyful.
My thanks are due to the Regency Council of the Government
of Kolhapur for the kind aid given to me in my work on the
Candralekha. I also acknowledge my indebtedness to the University
of Bombay for the grant-in-aid given towards the cost of the
publication of this work.
Karmanyevidhikīras te:
Kolhapur:
25th March, 1945
A. N. UPADHYE

·INTRODUCTION 1. CRITICAL APPARATUS F The Prākrit text and the Sanskrit chayā of the Candalehā (Sk. Candralekhā), presented in this edition, are based on the material from the following uss. : This stands for a Devanāgari transcript of Ms. No. 597 of the University Mss. Library, Trivandrum; and it was so kindly made available to me by Dr. L. A. Ravivarma, I am informed that the us. is in charge of the Curator's Office, Trivandrum. It is a paper Ms. written in Devanāgarī characters, measuring 13 by 8.1 inches and having 152 pages with 18 lines on each page. It was prepared some twenty years back. The original source from which it was actually copied cannot be traced now, nor is the age of it recorded. It is, however, surmised that the original source might be out of the three under-mentioned palm-leaf mss.: 1) Candralekhā Sattakam, obtained from Govind Pisharody, Kailasapuram, Vaikom; 2) Ibid., obtained from Brahmadattan Nainburippad, Kudallur Mana, Nagalasseri, Pittambi; 3) Ibid., obtained from Narayanan Vasudevan Namburippad, Poonnurkottu Mana, Kunuattunad. I understand that all the three sources, and particularly Nos. 2 and 3, are homes of hereditary scholarship; and Mss. from them are almost always trustworthy. I have had no direct access either to the Trivandrum M3, or to any of these three palm-leaf mss. ; but all my readings are taken from the transcript ka supplied to me. It contains both the Prākrit text and Sanskrit chāyā, written above and below on a page. There are some minor lacunae in a few places: they are quite negligible, and could be easily filled with the aid of the Sanskrit shade. In some places the text treats a few verses as running prose. It opens thus : श्री: चन्द्रलेखासट्टकम् (at the beginning of the Prākrit text) and ends with later the sa: A 11 (at the close of the chāyā). At the bottom of the pages of the transcript ka, described above, certain variant readings are noted in red ink and are assigned to kha about which the following information is supplied to me, ·2 CAMDALEHA It belongs to the Palace Library, Trivandrum, and hears the No. 1497. It is a palm-leaf Ms., 8.1: by 2 inches in size and containing 42 leaves. It is written in Malayālam script with 9 to 11 lines on a page. Nothing could be ascertained about the age of this ms. which is noticed as No. 3207, D.C.S.M., Vol. 4, Part I A. I have neither used the palm-leaf is. khr, nor have I got it complete transcript of it; all iny readings of kho stand for the entries (at the bottom of the pages of kr) which are about 135 in number and record variants of different length. They are usually connected with the Prākrit text and rarely with the chiiya. #--This is a transcript of a MS., No. : 3207 (?), belonging to the Govt. Oriental Mss. Library, Madras (ar-tinc camp, Tirupati); and I got it through the kind offices of the Curator, Dr. A. Shankaran. This Mudras m*. called Candralekhi, I am informed, is in Grantha charactors, on paper and in gooil condition. The size is 10by 9.1 inches, and the work covers 43 pages. The actual title of the Ms. is Manaroda-caritani'. It was copied in 1920–21 from a Ms. of M. R. Ry. A. Karunakar Menon Avl., B.A., B. L., High Court Vakil, Chalapuram, Calicut, Malabar Du. Following the Madras Ms., the transcript supplied to me contains only the Sanskrit chāyā and no Prākrit text at all. It gives the Sanskrit rendering of the Prakrit speeches assigning them to different characters but omits the stage-directions obviously because they are in Sanskrit. The prose and verses are not in any way distinguishable. It is full of lacune, sınall und big; some passages at the beginning are misplaced; the contents ure not well preserved; by itself it is not of much value, but when reud with ka it gives help in many places. It is full of scribal errors. It uses for 1 here and there. The transcript opons with the title: मानवेदचरितम् , and ends thus : इति चतुर्थ यवनिकान्तरम् । समाप्तोऽयं अन्यः ॥ C-My friend Dr. V. Raghavan, Madras, drew my attention to the faot that the text and chāya of Candralekha was being published in the Samskrta-sāhitya-parişat-patram, Calcutta, for 1932. procured the numbers (Vol. XIV, Nos. 10 and 11, February and March 1932 ) and found that the text and chāyā of the first Yavanikāntara and a few lines of those of the second one (ending with pekkhadu dāva mahārão at II, 1.5) are printed so far. Still it remains incomplete. These numbers reached my hands after the first forme of the text and chāyā was struck. I learn from Dr. S. K. Chatterji that it was being edited by the then Editor, Prof. Kshitis I ·INTRODUCTION Chandra Chatterji himself, and that he gave it up as the Ms. material he had in hand was very bad. The description of the mss. used hy him is not given. But after comparing the actual corrupt readings, some of which are noted by him also, I find that his text appears to be based on a copy of the us. ka described above, He also records a few readings of khai. As our sources are nearly identical, I have not noted down the readings of this printed text, called a here; but some of them I have discussed in the Notes. With the help of u I could check some uncertain readings in the 2nd and 3rd formes, This is all the material that was accessible to me after good many efforts. For editing the Prākrit text, ka is the only MS, available with a few readings of tha. The Curator's Office does not suggest any immediate relation between ka and kha, though they belong to one ind the same locality. The us. kha does show independent readings; it contains some passages not found in ka; and here and there it shows different arrangement of speeches and stage-directions. They show some mutual independence: one is not the direct copy of the other. The full copy of that is not before me; so the siglum kha just stands for 135 entries of various readings. The editor, therefore, had to constitute the Prākrit text mainly on the basis of ka. The readings supplied by kha are sensible and at times superior to those of ka; but, as their number was limited, their advantage could be taken only in a few places. In all the cases where the readings from both are available, they are clearly indicated in the foot-notes. Whenever a reading of ka is noted, it does not mean, unless specifically mentioned, that the text presented in the body agrees with that of kha: it only ineans that the editor, for reasons elaborated below, had to improve upon the actual readings of ka which, in important cases, are recorded in the foot-notes with all care and fidelity. If the reading of kha has been accepted in preference to that of ka, it is made quite explicit by giving the readings of both in those places. As the Prākrit text is primarily based on the ms. kci, we have to scrutinize its nature more carefully and note some of its important traits. First, it contains many evident blunders which can be unquestionably attributed to indifferent copying; some of them could not be called genuine readings. Secondly, the MS. exhibits consistently certain peculiarities which deserve to be explained before they are correctly emended without noting the variants: at times short ·4 QAYDALIDA and long vowels are not rightly distinguished, for instance, niara for niara, paara for påāra, turiain for turian; a short vowel with anusvāra and a long vowel are often mutually confused, for instance, dāni for dunin, ki for him; a duplicate consonant is not properly distinguished from a consonant preceded by an anusvāra, as in, sarandha for samiddha, tassa for tanisu, vimkhumbhu for vik khionbhu; conjunct groups are written, almost regularly, us bhkh, thith, thda; very often aspirated and unaspirated consonants serve each other's purpose ; more than once ţ and the stand for d and h, I for i, ph for bh, k for t, d, for dh, an for n!, nm for mla; sometimes ! is used for / '(also in the chāyā, though rarely); some consonants are indiscriininately written, one for the other, p & v, 6 & w, and I & ?. Such lapses are found scattered all over the Prākrit text in a bewildering quantity. Some of these, no doubt, have arisen out of the peculiarities of the Malayalam and Grantha characters and the mode of writing Prākrits adopted therein. Copyists, who were not quite well-versed with Prākrit phonology, have not been able to read correctly the ādarsa from which they prepared the corres. Lastly, we have another set of scribal lapses in this text as written in our MSS.: what looks like ya-śruti is seen in words like sayılu, loyce, samaya etc.: this may be partly due to the influence of Trivikrama's Prākrit grammar which has been quite popular in the South and partly to the preservation of Sanskrit medial y; more than once m is retained at the end of a metrical foot; nasal conjunct groups are often written as in bhingi, bhaſiū rather than as in bhimgi, lihanjiū; usually conjuncts are written like hm and hn, and not mh and nh; cch rather than ch is written at the initial of a word; in some words, here and there, we find ai, quu, $, pr and a visarga retained as in their Sanskrit counterparts; and we get declensional forms like meinií, līlāṁ etc. It is true that in many respects the dramatic Prākrits, as contrasted with Ardhamāgadhī and even Jaina Māhārāştrī, are moulded after the model of classical Sanskrit from which later on even ready-made forms were subjected to phonetic corruption and imported into Prākrit. The above lapses are definitely due to Sanskrit influence which was working on our text too, for obvious reasons: the contiguous presence of the Sanskrit chāyā with the Prākrit text, the neglect of Prākrit passages in preference to the chāyā in studying the drama, constant checking and correcting of the Prākrit text with the aid of the chāyā, and lastly, the confirmed habit of copyists to write Sanskrit works usually and Prākrit works rarely. We come across these lapses in a greater abundance especially in those texts ·INTRODUCTION 5 which are preserved in the South or in southern scripts. The readings, noted in the foot-notes, are sufficientiy exhaustive. Apparent scribal blunders are ignored; but the two other categories of misreadings are sufficiently illustrated. If it is felt that some of then do not deserve to be noted, I can only add that I have erred on the safer side. 2. CONSTITUTION AND PRESENTATION OF THE TEXT AND CHĀYA Though classified here according to a slightly different plan, similar scribal errors were found in the mss. of Kamsavaho and Usāņiruddham which have been already edited by me. As in them, the Prūkrit text has been presented here in a standardised form with regard to orthography and other external details; and the method of text-constitution is nearly the same. The Camdalehā is a late work, to be assigned to the closing period of Prākrit literature; so the grammatical standards, elaborated in earlier Prakrit grammars, cannot be altogether ignored. On the whole, when correcting the threefold scribal lapses, it is expected that the language of the text should conform to the recognised linguistic tendencies of Prakrits and to the rules laid down by Prākrit grammarians. This is a broad principle, though every detail has to be scrutinised on its own merits, at least in some cases. The tendencies of scribal errors being once detected, minor corrections could be made with the help of the chāyi, in view of the metrical needs in verses, in the light of illustrations noted by Pischel", and after comparing the forms with those in the text and variants presented by Konow in his edition of the Kappüramamjari which has served as a model for the Camdalebā. Utrnost fidelity to the Ms. is my guiding principle, 1 Kamsavabo, Hindi Grantha Ratnākara Kāryālaya, Bombay 1940; Usīniruddhawa: A Prākrit Kävya, Journal of the University of Bombay, X, 2, Bombay 1941. The latter is also edited by Sustri and Raja, Adyar Library, Madras 1943. 2 All the references to Pischel, unless otherwise stated, have in view his Grammatik der Prakrit-Sprachen, Strassburg 1900; a complete Index of the Präkrit words in it is prepared by Wickremasinghe and published in the Indian Antiquary. 3 Harvard Oriental Series, IV, Cambridge, Mass. 1901. The Präkrit text is edited by Konow and an English translation is added by Lanman.

·6 and my corrections do not go ljepon the threefull lapses which are sufficienly evident even from the select readings. No genuine reading is consciously sacrificed in the interest of some editorial discipline, a stray rule of grammar, a certain dialectal theory, or some linguistic espectation. Wheneyer I entertained esena slight suspicion that it is not unlikely that wher" light have some other alternative correction tiu savest, I have carefully noted the actual readinys, exactiy as they are in my transcript, in the foot-notes. Both Kappūramamjari and Camdalehā are Sattakas. The former is edited in a superb style by Sten Konow'; 4d it is quite natural that these two plays should be compared with regard to their Prakrit (linlocts. It is necessary to note Konow's method of text-constitution and also to indicate how I have proceedeil. Pischel points out ($ 12) that Māhārāştri, the phonetic structure of which was largely determined by the fact that it was abuve all usel in musical stanzas, has been employed in the Gathās and allied songs which lie scattered in the writings of authers on rhetories mul are grafted also in the dranias. According to Visvanätha (1-4th century A. D.), women not of lowly origiu should speak Sutraseni in drama, but in their songs (ūsām eva tu gūthiīsu) they should use Māhārāştri (Sāhityadarpaņa VI. 159). This application of Māhārāștri', Pischel concludes, “in lyrical poems destined for musical purposes is doubtless the oldest, and the dropping of consouants in such large proportions is primarily to be attributed to this eause In another context he remarks ($ 22): The Sauraseni occupies the first place among the Prākrit dialects which are used in the prose of the dramas, Pischel and Konow were were almosti simultaneously working on the Grammatik and Karpūramañjari; Pischel introduced a genuine order in the study of Präkrits by his monuinental grammar; and, taking their mutual relation into consideration, it is no wonder that Konow wanted to carry with zeal the theory laid down by Pischel into practice. Konow distinguished the dialect of the prose from that of the verses in the Karpūrumañjari (p. 202). This is put by Lanman in plain terms: "The Sauraseni is used as the conversational dialect, that is, in the prose passages; while the Māhārāştrī is regularly used in the stanzas' (p. 200), Acceptance of this rule with universal and retrospective applicability kas led Konow beyond the limits of readings supplied to him by nearly a dozen Mss.; and here is his frank confession: The chief aim of this edition then is a linguistic one. But besides, I have also ·INTRODUCTION 7 an been guided by another consideration. I often had to regret that no chrestomathy of the Prākrits of the plays exists, and it was my hope that the Karpūramañjarī might be used as such one. This consideration has also, to some extent, influenced my work. Thus I have, in some places, introduced the peculiar forms of the two dialects, even against the roading of all mss.' (pp. xxi-xxii, Italics mine). Some of the subsequent editors of dramas have not been able to agree with Konon's practice. Hillebrandt remarks thus in his Preface (p. iii) to Mudrăräkşasam (Breslau 1912): In plays Māhārāștri is restricted to songs: this in an old rule the correction of which I see no reason of doubting; but the restriction of Sauraseni to the prose passages of dramatic works is assumption to which I cannot accede.' He further points out how the best mss. admit Sauraseni verses. The greatest reaction against Konow's procedure comes from Dr. M. Ghosh who has re-edited the Karpīramaſijari.' A text-critic is not open to adverse criticism, if his grammatical standards are upheld by the readings of his genuine mss. systematically collated by him; but when, in spite of a large number of mss., he has to cmend his text against the best readings, simply because he has set before himself certain dialectal standards, one begins to suspect the universality of the standards and the soundness of his procedure. The zeal for scientific thoroughnesss, textual uniformity and strict editorial discipline is allright; but when it is satisfied at the cost of genuine readings, without a word of apologetic explanation, the text-critic is cutting the very sand under his feet. In editing the text of Camdalehā, the threefold scribal lapses only are corrected; and no genuine reading is silently tampered with to fulfil any dialectal convention. It is a modest and conscientious effort to record faithfully the text of Candalehā available to the editor from a single Ms. after judiciously eschewing the scribal lapses. In discarding, discriminating and determining the readings I have tried to be as careful and cautious as possible. It is quite likely that critical judgment may vary on minor details. I have, however, given the actual readings in all crucial cases, so that others may be able to correct iny errors and build a better text when some more Mss. are available. In presenting the Prākrit text I have followed nearly the same principles adopted in the Kaṁsavaho and Usăņiruddha, 1 Published by the University of Calcutta, Calcutta 1939.

·8 CAMDALEEN One point, however, I may touch upon here. This text rmiformly reads kií vi; some variant readings are kī vi; and as far as I remember, only once the reading is ki pi. ki for him is only a misreading belonging to the category that a long vowel often It is true compensates a short vowel with a musvåra in this Ms. that the Ms. confuses 1 and 19; but on the basis of this general tendency I have not corrected ki vi into kin pi, because the Ms. uniformly, with one stray exception, writes kim. vi. According to Hemacandra's grammar (VIII. ii, 218) the Sanskrit particle api is to be replaced by pi and vi. Pischel ($S 143, 171, 180) looks upon vi after an anusvēra as a mistake; and his view is backed by the authority of Mārkandeya (Prakrta-sarvasva, VIII. 17). I do appreciate, in this context, the grammatical authority, linguistic justification and the general practice of earlier texts on which his view is founded. But all this is not enough to emend the uniform reading of a Ms. in view of another consideration. The Cardalcha is a late work in which the author used the Präkrit dialect in i mechanical manner; and once vi got equated with the particle copi, it would be used mechanically wherever api was to be put. This practice lits been in vogue from a pretty long time. Some of the Mss. of Mudrăräkşasam, both from the South and North, collated by Hillebrandt do show vi after an anusvāro (see the readings on pp. 12, 17, 38, 66, 109, 132 etc.). In the mss. of the Mahāvīra-caritam (London 1928), as observed by Todar Mall (Intro., p. XXXIX), the word api always appears as vi, even after an anusvāra. He thought, following Pischel, that the correct form should be pi and emended accordingly. All this means that vi was, for our author, just a substitute for api without any reservations, and not behaving differently (i. e., becoming 2) after an arusvāra because of its enclitic nature. So I have retained the substitutes of api as they are given in the MS. I have retained the Daņdas almost as they are found in the Prākrit text, at times checking them with the help of the chāyā. For facility of reading and understanding I have added a comma in some places, after the vocatives (after the last, if there are many and interjections and in separating small sentences that follow in quick succession. Minor lacunae of a syllable or two are silently supplied; but if the reading is not definite or the passage is long, then it is put in square brackets. The corresponding chāyā is shown by the referential Roman figures I, II etc. The prose lines of the Prākrit text between two verses (which are separately numbered in each Yavanikāntara ) are numbered by threes. The letters a, b, c and d stand for the pādas of a verse. Thus I. 17. 22 means First Yavanikā- ·INTRODUCTION 9 ntara, prose line 22 after the verse No. 17; and I. 200 means the second pāda of verse No. 20 of the First Yavanikāntara. This would help the reader to refer to any Prākrit portion conveniently. The actual variant readings of the Prākrit text are noted immediatly below the same. The chāyā is based on two Mss. ka and ma, and only genuine and significant variants are noted just below it. If the chāyā agrees in both, but disagrees with the Prākrit text in any place, it is marked with an asterisk to indicate that it is not sanctioned by our text. Often the asterisk implies that the chāyā possibly presupposes a different reading in the Prākrit text. Good many lacunae are found in ma; the longer and the smaller but significant ones are duly noted in the variants. For the benefit of readers that they might easily equate Präkrit and Sanskrit words, the rules of Samdhi or phonetic combination are not strictly enforced on the readings, which are allowed to remain as they are in the mss. If the two BISS. disagree, the reading that is looser in Samdhi is accepted without noting the other reading. The chāyā does not repeat the names of characters and stage-directions, the omission of the latter, when they come in the middle of a line, being indicated by three dots within brackets. It is presented in a running form with Roman serial numbers (corresponding to those put in the Prakrit text) put for successive speeches on a page. Though verse Nos. are given, the lines are continuously printed, because they are no more metrical in the chāyā. Commas are added correspondir to those in the Prākrit text; they also separate some of the lines of In some cases, for instance kasmin for kahim when kutra would be better, one is tempted to correct the chayā, but I have not Some such suggestions are made in the Notes. The readings of the chāyā, whether they are phonetic equivalents or sense main as they are in the ass. a verse. done so. AA Ama Candanikā, a maid-servante ·10 CAMDALEZI Candralekhā, see Nāyikā. Candrikā, a maid-servant, attending on Candralekha. Cetī, a maid-servant, Candaniků by name. Cintāmaņi-deratā, the Deity presiding over the jewel Cintamani which was presented to Mānaveda by Sindhunätha through his minister Susruta. Devī, the Queen, the first wife of the King, Mänaveda. Gosaṁjña, see Vidūşaka. Kalabhāşiņí, a female Door-keeper. Mānaveda, see Rājan. Mañjubhāşiņi, a female Door-keeper. Naktamālikā, a maid-servant. Nāyikā, Candralekhā, the Heroine. She is introduced on the stage first as Adbhuta-kanyakä, Cintamani- or Ratu-sanbhavā, because she was brought forth miraculously by the jewel Cintāmaņi. She is the daughter of Candravarman, the king of Angas. Her mother and the mother of the Queen are sisters; so she is a sister to the Queen. She has a brother Candraketu by name. prophesied that she would be the wife of a universal monarch. Cintīmaņi-devatā brought her to the palace of king Mānaveda to whom she was married at last with Queen's consent. Pāripārsvaka, the Assistant of the Director(stītradhāra). Pratihāri, a female Door-keeper, Mañjubhäşini. Rājan, the King, Mānaveda, the Hero, who marries Candralekhã and acquires universal sovereignty. Sumati, a Minister of king Mānaveda. Susruta, the Minister of Sindhunātha. He brings the jewel Cintāmaņi as a present from his master to king Mänaveda. Sūtradhāra, the Director of the play. Tamālikā, a maid-servant, attending the Queen. Vaitālika (I and II), Bards, Mañjukaņtha and Madhurakantha by name. Vidūşaka, the Jester, a Companion of the King, also called Cakoraka, Gosamjña, It was ·INTRODUCTION ii) STORY OF THE PLAY The Queen of Mānareda had her aunt married to Candravarman, the king of Angas. Candravarman has a lovely daughter, Candralekhä by name. She had auspicious marks on her body; and it was prophesied that she would make her husband a universal monarch. Naturally she was an object of attraction for various kings. During spring, one day, the king Sindhunātha sent to Mānaveda a pleasure.gift of the jewel Cintamani, well-known for its miraculous potency to fulfil any desire. Mānaveda accepted the gift. was one of his ambitions that he should become the monarch of the earth surrounded by seven seas. Knowing from the King that the jewel is presided over by a Deity, namely, Cintamanidevatā, who grants any object of desire, Vidūşaka entreated the jewel Cintāmaņi to bring before them the most lovely girl on the earth. That day Candralekhā was sporting in the park at Campā. She was, through the power of that jewel, straight-way brought to the palace of Mānaveda. Her identity, however, was not known to any one excepting the Deity. She was so beautiful that her presence was a matter of surprise to all. The Queen welcomed her as a noble-born girl. From the moment the King saw her, he fell in love with her. Candralekhū also felt attachment for him. Once he attended her singing entertainment, and a second time he met her in the Plantain Arbour. Their passion for each other reached almost a fatal point. The Queen suspected and came to know about their love; and hearing about their secret meeting, she kept that poor girl under guard: she was not aware of her personal relation with her. The sudden disappearance of Candralekhā from Campā was a matter of great concern to the family. Her brother Candraketu came to the court of Mānaveda for Vişuvotsava. He gave out the distressing news to the Queen (of Mūnaveda) how her cousin sister Candralekhā, who was destined to be the wife of a Cakravartin and who was betrothed to king Mānaveda, had disappeared to their great The Queen immediately appealed to Mānaveda to inquire from the kings gathered there as to who had kidnapped princess Candralekhā. They all solemnly pleaded innocence in the matter. King Mānaveda, seeing no other way out, prayed to that Cintämaņi-devatā who consequently brought forth the same lovely sorrow.

·12 CAMODALEHA girl as Candralekhā. It was a surprise and joy for all. The goddess told the Queen that Candralekhā was destined to be the wife of a Cakravartin and that, therefore, she should consent to her being married to Mānaveda. She assented to it. Mangveda and Candralekhā were duly wedded; and thus all the ambitions of the king are fulfilled. iii) SYNOPTIC ANALYSIS OF THE PLAY The scenic division, which has no special reference to the canons of Indian Dramaturgy, is primarily meant for the convenience of following the events of the play. The entrances and exits, the place of action and independent episodes, narrated or acted, have served as the guiding principle. The play is enacted possibly in the Natyaśālā uttached to the palace of king Mānaveda, the audience consisting of the learned people in the royal court at whose instance it was being performed. Manager's Prelude (sthapan) Scene 1 (1.1). Recitation of the benediction (nundi). Scene 2 (I. 1. 1-). Enters the Director (sütradhāra), salutes Pārvatī and Siva, and hears the commencement of the play. Scene 3 (I. 4. 7). Enters the Assistant (pāripīrsvaka); botlı of them discuss the nature of Sattaka, its author Rudradāsa of the Pāraśava family (described), his teachers Rudra and Śrīkantha (described), the flavour of Präkrit, enactment of the Sattaka at the instance of the learned assembly of king Mānaveda (described elaborately) and the gist of the plot that in this play Mānaveda marries Candralekhā, the daughter of the king of Angas, who brings to him universal monarchy. Entrance of King and Queen announced. Exeunt. [The seasonal back-ground of the play is Vasanta or Spring, i. e., the two months, Caitra and Vaiſakha. There is a reference to breezes of Caitra at I. 24; and Vişuvotsava, at the beginning of the year, is being celebrated (IV.1.1 etc.). ] Yavanikāntara I [The action in this Yava. begins possibly late in the afternoon. The bard announces evening at I. 37. 9, and the King also refers to it, I. 40-41.] Scene 1 (1. 13. 5–). Metropolis, possibly a hall in the palace. Enter King and Queen with retinue. The King broods ·INTRODUCTION 13 over his ambition to become the lord of the earth bounded by seren seas, and requests the Queen to enjoy the beauty of the town at the advent of spring. Both of thein describe it. Vidūşaka also joins them with his fiorid description. Candanikā draws their attention to the hospitable invitation of Emerald Park ( marakatárāma); she almost competes with Vidūşaka in offering a beautiful description; and both want to win royal approbation. Vidūşaka proposes a visit to the Emerald Park. King's right eye is throbbing, and Vidūsaka prophesies that the King would win the earth sealed with seven seas, The Queen amens it. Scene 2 (I. 18. 8-). Emerald Park: All enter it.-Behind the stage, two bards, Mañjukantha and Madhurakantha, glorify and greet the King drawing his attention to the charms of the Park.-At Vidūşaka's request to enjoy the wealth of its beauty, the King describes the Park, They all sit to enjoy its charms. The King and Queen congratulate each other on the beauty of the season with its refreshing breezes.--Vidūşaka says that he forgot his learning at home; and when he demands something on loan, Candanikā is ready to give it. He feels offended. She sings a fine verse fulfilling his conditions and to the approval of the King. Vidūşaka quietly transfers his own defeat to the King, and announces the arrival of minister Sumati. Scene 3 (I. 27. 5–). Enters Sumati with Susruta, the minister of Sindhunātha. After mutual welfare-inquiry, Suśruta requests the King to accept Sindhunātha's pleasure-gift, namely, the jewel Cintämaņi, which was acquired by his master from the Ocean and which would fulll all the desires. It was put in a gold tray under silk cover. Sumati is asked to look duly after Suśruta. Exeunt. Scene 4 (I. 27. 27-). Vidūşaka removes the silk cover, and the King praises the lustre and power of that Cintamani. Finding Vidūşaka cold about its potency, the King tells him that such jewels are presided over by invisible Deities who can bestow any gift. Thereupon, with King's consent, he entreats, with his eyes closed, the Jewel to bring on the stage the most lovely girl. Scene 5 (1. 29. 16-). Enters the Heroine (mentioned as Adbhutakanyakā, Cintāmaņi-, or Ratna-sambhavā, later on as ·CANDALENA Candralekhā). The King adınires her beauty in rapturous stanzas. She also feels regard for him. The Queen recognises her as noble-born. Vidūşaka hints that she would be the queen of a Cakravartin. The King expresses his deep passion for her. The Heroine also is affected with love, and finds the situation unbearable. The Queen, noting that she was new to the place, offers her a seat. The Heroine appreciates her as a matching Queen for the King.-Behind the stage, the Bard glorifies Mänaveda and announces the evening in a couple of descriptive stanzas. The Heroine recognises the King about whom she had heard from her father. The Queen lores her like a sister; and with King's ready consent, she conducts her to the harem while she (i. e., the Heroine ) looks at the King affectionately.-The King welcomes evening with slight dejection, He insists on the Jewel being respectfully preserved, when Vidūşaka tells him that it may by thrown away now because it has already served its purpose. Exeunt All. Yavanikāntara II [Some days appear to have elapsed after the King saw the Heroine (II. 15. 3). The action here begins in the morning, after the King has come to the hall of audience. At the end there is a reference to snāna-velā, and midday is announced by the bard.] Scene 1 (II. 0.1-). Asthāna-mandapa or the hall of audience : Enter the King and the female Chowrie-bearer. He remembers the Heroine, her charming limbs, the cupid and his armoury etc., and sings enamoured stanzas. The Chowrie-bearer, however, is trying to divert his attention by describing the spring. Scene 2 (II. 8. 2–). Enters Vidūşaka to find the King pining with passion for the Heroine. The King assures him that his partiality for the Queen continues. Vidūsaka narrates to him his mission thus: “Being appointed by you to get some news from the harem, I went thither early morning. On my way I met Tamālikā, with a statue in her hand, who avoided me. I too proceeded indifferently. The maidservants (described) asked me severally about the episode of the Emerald Park. Somehow I managed to escape them and entered the harem where the Queen received me ·INTRODUCTION 15 with utmost hospitality. I was seen by the Heroine ( the King passionately broods on her). After spending some time happily, I took leave of the Queen. On my way back I met Candanikā who made a truce with me and gave me this letter in Heroine's hand-writing. Here it is." With thrill the King reads the love letter as well as the stanzas from Candanikā and Candrikā. Further Vidūşaka conveys to the King that Candanikā told him how the Queen has come to know Heroine's skill in singing, how she has fixed her musical entertainment in the Ruby Park (padmarägårāma) nearby so that the King might not know it, and how the King (and Vidūşaka, of course at Candanikā’s request) might witness the same secretly from a secluded spot. As they found the Queen and Heroine going to the Ruby Park, they also proceeded to the Park and took their seat on a sapphire slab under the Tamāla, not being visible to others. Scene 3 (II. 16. 7-). Ruby Park: Enter the Queen and (lovestricken) Heroine with retinue. The King feels happy to have a glimpse of Heroine's beautiful face; while she, reminded of the Emerald Park, is feeling love-sick.--- The Queen, Heroine etc. take their seat on a dias of lapis lazuli. The Heroine begins to play on the lute and sing. Vidūşaka appreciates her specialised skill, and the King is simply amazed at it. Vidūşaka describes her various limbs etc. in one line, and the King adds the other line of the stanza interpreting the description with some fanciful imagery. The musical entertainment is over, and the King feels sorry. Exeunt Queen, Heroine and retinue. Scene 4 (II. 33. 1-). On way back from the Ruby Park: The King and Vidūşaka stop for a while to hear what Naktamālikā and Tamālikā, the latter with a statue ( a statue (salabhañikā) in hand, are talking as they are going towards them. It is evident from their conversation that the Queen has suspected King's affection for the Heroine. She had received, as a present, a śărikā bird, Bandhumati by name, of retentive memory from queen Sāradā of Kāśmira. She placed the bird within the throat of a statue which was trickily put in the assembly hall where the King and Vidūaşka conversed. The bird has heard all that the King ·16 OAKDALEHÄ spoke, and now Tamālikā is carrying back the statue finding the King absent from the hall. The maid-serrants go, as it is the time for Queen's bath.-Behind the curtain, a bard announces midday and greets the King. The king feels anxious about the Sārikā episode which might enrage the Queen; but Vidūşaka assures him that his (i. e., King's) generosity would soon bring her round. Both go to the harem. Exeunt All. Yavanikāntara III [Some days (III. 4. 19) have elapsed between the II and III Yava. The action here begins early in the evening (pradoşa ). There are clear references to the passing of evening (III, 5, 3), the spread of darkness (III. 9) and the rise of moon which is elaborately described in different stanzas. ] Scene 1 (III. 0. 1-). Enter the King and Vidüşaka. The King feels dejected because the fate is not favourable. Vidūşaka tries to divert his attention, but the King feels quite helpless. Vidūşaka holds some hope for him, because he learnt from Candanikā the following details: The Heroine is suffering from acute pains of passion; she is physically weak; and for a change she has been taken to the Plantain Arbour near the lake. The various cooling remedies have no effect on her; she is almost nearing the end of her life; anyhow the day has passed; and somehow that orphan girl must be saved from death. This report moves the King; and as suggested by Vidūşaka, both of them start towards the Plantain Arbour: it is late in the evening and the Queen is away to salute Sthalīśvara. It is announced from behind the curtain, as the moon is rising, that the cooling measures are of no avail for the Heroine against the burning sensation of body; and no one knows who would save her. Scene 2 (III. 12. 1-). In order to save her, the King (with Vidūşaka) approaches the Heroine, lying on bed of leaves and attended by Candanikā and Candrikā who are using refrigerants. The Heroine tries to get up to welcome the King, but he sits with her holding her hand: at his touch she feels a sudden change, from conflagration to nectar-ocean. Both of them feel quite happy. The King ·INTRODUCTION welcomes the rising moon...-Behind the stage, the two Bards, Mañjukantha and Madhurakantha, greet the King with elaborate description of moonlight. All of them vie with each other in giving poetic descriptions of the rising moon.--As the Queen is returning to the Plantain Arbour after saluting Sthaliśvara, the noise of the rotinue was heard; Candanikā requests the King to see that this meeting is not disclosed to the Queen; he consents. Exeunt All. Yavanikāntara IV [The action here begins in the morning, and we have clear references to prabhātch or prabhūtc-velő, IV.1.3, IV. 2. 1, IV.5. 3.] Scene 1 (IV.0.1-). The hall of audience (listhündi-mand apa): Enter the King (dressed for the occasion), retinue and two female Door-keepers, Mañjubhāşiņi and Kalabhāşiņi. The King is feeling sorry that his contact with the Heroine was shortlived and unfruitful. The Pratihāris congratulate him on the occasion of the Vişuvotsava.-Behind the stage, the Bard wishes that morning might bring welfare to the King Scene 2 (IV. 6. 1-). The King gives audience to various feudatories who have come to pay respects to him. With suitable descriptions Kalabhāşiņī and Mañjubhūşiņi alternatively announce the kings of Vidarbha, Ujjayani, Manalūra, Cola, Anga, Magadha and Karnāta, and the rulers of Nepāla, Kāmboja, Pāñcāla, Turuşka, Cedi, Nişadha, Värānasī, Pārasīka, Mahārāştra, Vanga, Madra, Mathurā, Matsya, Kāśmīra, Kāñcī and Dravida. They were treated with due respects, and they were about to start back to their respective places. Scene 3 (IV. 25. 4-). The King is anxious to see the Heroine, and he is waiting for Vidūşaka from the harem. Enters Vidūşaka. He informs the King how, after receiving due hospitality, he happened to talk in dream about the meeting of the King and Heroine in the Plantain Arbour near the lake. This enraged the Queen very much. Consequently she has put the Heroine in chains and guarded her with an army of maid-servants (who are enumerated). 3 ..

·18 CAMDALEFZ Scene 4 (IV. 26. 31-). The King feels sorry that the Queen is very angry. But Vidūşaka tells him how her anger would disappear on account of her fresh sorrow. Vidūsaka discloses the following facts: After paying respects to the King, prince Candraketu, the son of her aunt's husband, Candravarman, the King of Angas, visited the Queen. He conveyed to her that his sister Candralekhā, her aunt's daughter, while she was playing in the park, has disappeared from Campā; and as yet she has not been traced. Candralekhā has been betrothed to the King (viz., Mūnaveda) knowing from an interpreter of marks on the body that she would make her husband a universal monarch. And all this, added Vidūşaka, has made the Queen sorrowful - The King became enraged and passed orders to investigate from the kings, gathered there, as to who had kidnapped Candralekhā. --Enters the Queen shedding tears, with Tamālikā, and requests the King to search out her sister Candralekhā. All the kings solemnly declare their innocence. The King appeals to the presiding Deity of the jewel Cintāmaņi to bring back Candralekhā. Scene 5 (IV. 27. 23-). Enters Cintāmaņi-devatā. She presents the Heroine, hereafter called Candralekhā. All are surprised. The Queen meets her bashful sister with joy. Cintāmaņidevatā announces that Candralekhā's husband would be a universal monarch and that therefore the Queen should consent to her marriage with the King. The Queen expresses her consent. Candralekhā is decorated for the occasion. All the kings, who had assembled for the Vişuvotsaya, are asked to stay for the wedding festival. The King and Candralekhă are wedded to the joy of all, especially of Vidūşaka who dances with glee.-The goddess wants to know what more can she do. The King felicitates himself; and the play closes with the usual benediction, in which he prays that kings should have stainless fame, that men should recognise mutual obligation, that the learned should be free from jealousy, and that the blessings of Sarasvati should flow for ever. Exeunt All.

·19 INTRODUCTION 1 iv) PRĀKRIT DRAMA: SATTAKA a) EARLY INDIAN DRAMA Even in the hands of early play-wrights like Bhāsa, Śūdraka and Kālidāsa, the dramatic compositions exhibit such a perfect form and finish that one is forced to postulate a long period of evolution and extensive experimentation prior to these authors. Ašvaghoşa's plays, though found in fragments, are quite mature products. Turning to treatises on dramaturgy by Bharata and others, we are faced with a bewildering mass of theoretic details about the various aspects of drama: it is more an attempt at systematic collection and compilation of the then known materials. This plethora of details, howsoever useful for practical purposes and for understanding the dramatic technique, will not give us a historical sketch of the origin and gradual growth of the drama. The Indian tradition claims divine origin for the drama: Brahman drew elements like recitation, song, mimetic art and sentiment from the four Vedas; Śiva and others contributed dancing etc.; and it was Bharata who brought it down to the Earth. Such an explanation cannot satisfy modern scholarship. Consequently the scholars took the drama almost in its final form and tried to trace back its various constituent elements in the different strata of ancient Indian literature, arranged according to relative chronology. The conversation has its counterpart in the dialogue-hymns of the Rgveda which were repeated at a sacrifice perhaps by two parties with musical modulation, which, as an art, was fully developed as seen in the Sāmaveda. Ethnologically music, dance and drama have developed together among many peoples. The rituals of the Mahāvrata ceremonial, too, possess elements from which the drama might develop. The literary form and the themes of the drama are heavily indebted to the recitations and the contents of the epics like the Mahābhārata and Rāmāyaņa. Pāṇini (c. 4th century B. C. speaks of natas and nata-sūtras, i. e., dancers and their hand-books. The Mahābhāșya of Patañjali (c. 140 B. C.) refers to a dramatic performance of some kind connected with the legends of Krşņa, Kamsa and Bali. All these references presume and would indicate a religious origin of drama. The drama, in its finished form, has much of the palace-life in it and can amuse only an audience 1 Sylvain Lévi: Le Théatre Indien, Paris 1890; A. B. Keith: The Sanskrit Drama, Oxford 1924; D. R. Mankad: The Types of Sanskrit Drama, Karachi 1936, ·20 CANDALEHA of intellectual aristocrats; but that need not preclude us from recognising its popular elements which are closely connected with the lives of common people. There are, then, other scholars who hold different theories of the secular origin for the drama, say, from a popular mime which was introduced into the religious ritual and which, later on, with the epic, forms the fore-runner of the early Indian drama. The Indian life was so much permeated with religious spirit that it is difficult to demarcate exclusively the religious from the secular. The presence of non-Sanskritic technical terms, the use of Prākrits, simplicity of the stage, the combination of music and dance, the mixture of prose and lyrics, introduction of a character like Vidūşaka, etc. are adduced as proofs for the popular origin. Bits of evidence are studiously sought in the drama to trace back its source to puppet-play and shadow-play. Some scholars have tried to trace the origin of Indian drama to the influence of the Greeks; but sober scholars feel convinced that its development can be satisfactorily explained by indigenous antecedents. 6) RŪPAKAS AND UPARŪPAKAS A critical study of the basic terms and of the types of dramas, unfolds altogether a complicated picture of the evolution of early Indian drama. Though etymologically Though etymologically they are quite akin, it appears that artta stands for mere dance, artya means dance with gesture or mimetic art, and nāțya signifies dance, gesture and dialogue (in prose and verse). It is the nätya that incorporated the essentials of a drama proper. The dramatic entertainments based on näțya have been designated by a general term Rūpaka. which originally connoted representation,' and those based on nrtya by Upa-rupakan? When they are mentioned as Rūpaka, there is much unanimity among theorists about the number ten and about the types, namely, Nāțaka, Prakaraṇa, Bhāņa, Vyāyoga, Samavakāra, Dima, ſhūmrga, Anka, Vīthi and Prahasana, Hemacandra classifies pāthya-Kāvya into twelve types which are the same as ten Rüpakas with the addition of Nātikā and Sattaka; and Rāmacandra recognises twelve, i. e., ten Rūpakas plus Nātikā and Prakaraņi, as the famous 1 See Mankad's book noted above, p. 23. 2 For more details gec Mankad's book noted above, chape. II-VI. 3 For the necessary extracts see the Appendix. r ·INTRODUCTION 21 22 Varieties of abhineya-kavya. About the exact number and cnumeration of the so-called Uparūpakas, there is no agreement among theorists. Perhaps different lists, as seen from the Bhāva-prakāšana, were current in different parts of India, and it is only the select ones that received recognition at the hands of different authorities, Putting all the known sub-types together, the number of Uparūpakas comes to about twentyfive. About these Keith remarks thus : “The later theory as seen in Visvanātha adds descriptions of eighteen minor forms of drama, Uparūpakas, which represent refinements on the original scheme. Needless to say, though omitted in the Nātyaśāstra, quotations are found ascribing to Bharata the doctrine, though he mentions in them but fifteen with several variations of name; the Agni Purīņa mentious eighteen with some variants of name, while a versc cited by Dhanika names seven forms of mimetic dramas, which it classes in conjunction with the Bhāņa. The age of these divisions is, therefore, uncertain; the Dasarūpa condescends to mention only the Nātikā, but obviously knows of the existence of others, confining its scope to the main forms, as its title indicates, The four types Nātī or Nātikā, Prakaranī or Prakaramika, Trođaka and Sattaka are treated by some as derivatives from or us allied to Rūpaka types and by others as Uparūpakas. The names of the first two are closely akin to Nāțaka and Prakarana, and the definition of Sattaka is made very much dependent on that of Nātikā. The Nātyaśāstra describes Nātikā as a mixture of Nātaka and Prakaraņa; Dasarūpaka includes it under Nātaka; Hemacandra and Rāmacandra treat it on par with ten Rūpakas; Bhāvaprakāśana follows the Nāļyaśāstra; and the Sahitya-darpaņa includes it under Uparūpakas. The Sattaka is not mentioned by the Nātyaśāstra and Dasarūpaka, which, however, mention Nātikā.; Hemacandra mentions Nātikā and Sattaka separately. Abhinavagupta, Śāradātanaya, Sāgaranandin etc. mention and define Sattaka. Viśvanātha calls Saţtaka an Uparūpaka. Almost everywhere the tendency is to define Sattaka in terms of the description of Nātikā. c) NĀTIKĀ AND SATTAKA In order to understand what Sattaka is, we must first note the salient traits of Nātikā. According to the Nātyaśāstra (XVIII. 1 The Sanskrit Drama, p. 349. 2 Dasarūpaka i. 8.

·22 CAMDALEHA 58-61), Nātikā is a variety of Nāțaka-Prakarana; its subject-matter is invented; the hero is a king; the heroine is either a girl from the harem or the sangita-sālā, and an object of attainment; it has many females, four acts, graceful histrionics (lalitábhinayatmika), well-arranged angas, royal (or love) affairs, conciliation, anger and trickery (dambha). It has a hero (izāyaka), a queen (devī). a go-between (dīti) and attendants (parijanc). The Dasarūpaka, however, adds that there is an endless variety of the forms of the Nātikā; and it may have one, two, three or four acts, with various combinations of characters and the like. Its subject-matter is taken from the Prakarana, and its hero, a self-controlled and light-hearted ( dhira-lalita) king, from the Nāțaka. Devi is the elder queen, of the type known as experienced, of royal lineage, serious; and it is through her consent, the hero is united with the heroine. The heroine also is of royal desceat, of the type known as inexperienced and is charming and exceedingly fascinating. Being connected with the harem, she is in the vicinity of the hero whose passion for her develops step by step by seeing and hearing about her. The hero is apprehensive through fear of the queen. There are four elements of kaisikī or gay style, as if respectively joined to the four acts. The principal sentiment is the erotic with its various characteristics. The Sāhitya-darpana practically covers all that is said in the Nātyaśāstra and amplified by the Daśarūpaka. It is silent about the endless variety of Nātikā and varying number of acts, but plainly calls it catur ankikā. The additional points of Bhāvaprakāśana are that a Nātikā can have a Vidūşaka but not Vița and Pithamarda. The Nātyaśāstra and Daśarūpaka do not mention Sattaka.? It is but accident that Rājasekhara's Karpūra-mañjarī is the earliest known Sattaka; and so far we know, he is the first to record its definition. According to him, Sattaka much resembles a Nātikā; but it does not possess Praveśakas, Viskambhakas and Ankas. It is a composition in Prākrit (päüda-bamdha) and it is a representation to be danced (sattaań naccidavvar). Let us see what the subsequent authors have to say in addition to and amplifying Rājasekhara's remarks. Abhinavagupta Sattaka is like Nātikā; and possibly to explain Bharata's silence an says that 1 The Sanskrit extracts are given in the Appendix. 2 For the information about Sattaka in original extracts from different sources, see the Appendix at the end.

·INTRODUCTION 23 about it, he adds that it is defined by Kohala and others. Hemacandra quotes perhaps an earlier verse which specifies that Sattaka is written in one language (eka-bhtīşayā) which is a-Prakrta-Samskrtii. It is a knotty term to explain; but I think, it implies that in il Sattaka both Sanskrit and Prākrit are not used as in a Năţikā. Rāmacandra-Guņacandra quote the same; they spell it Sātaka, and attribute its definition to Kchala. Kohala is an ancient celebrity connected with dramatic theory. Markandeya mentions him along with ſākalya, Bharata, Vararuci, Bhāmaha, Vasantarāja etc. in the opening verses of his Prākrit grammar: thus his name is associated with Prakrits as well. It is but natural, therefore, that he is credited to have recognised and defined Sattaka, which was entirely in Prakrit. According to the Bhāvaprakāśana, Sattaka is a variety of Nātikā based on wrtya. It possesses Kaišikī and Blūratī Vitti, i. e., Gay and Eloquent styles, and has no randra, furious sentiment. There are no sardhis; and corresponding to the division of Ankus, there are Yavanikāntaras. There are no chadana, skhalana, Dhruinti and nihnava. It uses Sauraseni and Māhārāștri languages: elsewhere he describes it as prakrsta-Prökrtancji. Soine opine that the king should not speak in Präkrit, while others hold that he might speak Māgadhi or Sauraseni. According to some authors, Satlaka is a variety of Rūpaka, similar to Nātikā, but its language is Prakrit. Sāgaranandin states that Sattaka avoids the vira heroic, bhayānaka terrible, bībhatsa odious sentiments, besides the randra furious. It has Saurasení, Prācyā and Mahārāștri. The king, like women, is to speak Prākrit. Though Bādarāyana and others prescribe for the king usually Sanskrit and occasionally Prakrit, still the king is to speak Prākrit. The Sāhitya-darpana states that the Sattaka is to be entirely in Prākrit ( Prūkytaiseşc-pathycom) and to possess plenty of adbhuta, marvellous sentiment. Rudradāsa makes it clear that it is in Prakrit and it is to be danced. Ghanaśyāma remarks that the whole of it is in Prakrit, and therefore it is called Sattaka. Whenever an illustration is noted in the above sources, it is that of Karpūra-mañjari. 1 It may be noted here that Vasudeva notes sanidhyangas like karana, avamarśa, vidhāna in his commentary on the Karpūramañjari, pp. 27, 55, Nirnayasagar od., Bombay 1900, ·24 CANDALERA d) PRĀKAITS IN THE DRAMA The extensive population of Indian sub-continent has been, especially in early days and all along, divided into linguistic units and sub-units according to the languages and dialects. The linguistic compartments are due partly to geographical area, religious grouping, social strata, race-clan distinctions, professional guilds etc.; and naturally there has been ample margin and definite scope for crosscurrent influences. The population presents a veritable museum of languages and dialects. When viewed historically, we see further a cleavage between popular speeches and literary languages; at times the same language may present these phases side by side, The literary languages under grammatical restrictions get fossilised and become stagnant as book-languages: they are now and then imitated in writing by men of letters who otherwise use popular languages for their day-to-day use. The popular dialects flow along their own currents; and now and then some of its stages are raised to a literary status which survives as a book-language. This process is going on for the last few thousand years over a vast area, as evidenced by literary records of different ages and places, beginning with Veda and upto modern times. The Indo-Aryan speech,' to put in broad terms, has ilowed in two beds, Saṁskſta and Prākṣta which have constantly influenced each other at different stages. The term Prūkyta (spelt as Prākrit) meaning, 'natural common' etc. primarily indicates uncultured popular dialects, existing side by side with Samskrta (spelt as Sanskrit), the accurately made,' polished' and 'refined' speech. The Prākrits, to begin with, are the dialects of unlettered masses used by them for their secular communication in their every day life; while Sanskrit is the language of the intellectual aristocrat, the priest, pundit or prince, who used it for religious and learned purposes. The language of every day conversation of even these must have been nearer the popular Prākrits than the literary Sanskrit. The former is a natural acquisition; and the latter, the principal literary form of speech, requires training in grammatical and phonetic niceties. Contemporary with the Vedic language, which is an artistic speech employed by the priest in his religious songs, there were 1 Here I am quoting a few remarks from my essay on Prākrit Literature, contributed to the Cyclopedio History or Dictionary of World Literature which is being edited by Mr. Joseph T. Shipley, U. S. A.

·INTRODUCTION use of popular dialects probably due to tribal groups, social strata etc. and arising out of literary and home usage or the use of Aryan speech by indigenous groups. The book-language has often to be distinguished from the spoken dialects. The Vedic literature gives some glimpses of popular speeches, the primary Prākrits, but no literature in them has come down to us. The classical Sanskrit, as standardised by Pāņini and his commentators, respectfully shelves all that was obsolate in the Vedic speech and studiously eschews all that belongs to the popular tongue: the such a rigorously standardised language was the job for selected intelligence; it is the language of the hieratic academy and not of the populace at large; and its fine specimens are seen in our Kāvgas, Nātakas, Campūs and Nyāya treatises. The ancient Indian drama presents a striking picture of the mixed use of language, different characters speaking different languages and dialects in the same play. This is looked upon by some as something analogous to the use of Doric ond Aeolic in certain parts of Greek plays. If we look at the drama in the light of the above remarks, we find some explanation for the use of different Prākrit languages. It bears resemblance, so far as its beginning is concerned, to the natural use of local or vulgar forms of speech in the mouths of uncultured persons. Broadly speaking Sanskrit is spoken by men of high rank and by religious personages, while women, queens not excepted, speak one kind of Prākrit with ordinary characters, minor dialects being used by inferior or special classes. According to their advocacy of secular or religious origin for the Indian drama, scholars hold that it was entirely either in Prākritor Sanskrit in the beginning. Neither the earliest treatise ou dramaturgy nor the oldest specimens of drama bear out the exclusivo claim of one or the other: they admit Sanskrit and Prākrit sido by side. The details about the use of Sanskrit, Prākrit dialects and other languages by different characters look more like a compilation of stray practices and prescriptions than a systematic codification of rules: one feels all the more convinced about this, when the details 1 Keith: The Sanskrit Drama, pp. 72–75, 85-89, 120-22, 140-42, 166, 181, 185, 203, 211-12, 219, 236, 257, 334-38, 350, etc, 4 ..

·26 CAMDALEHA are judged in the light of subsequent practices in dramas and grammatical description of Prākrits. Bharata's details (XVII. 26–64) may be interesting for their own sake, but later writers on dramaturgy have become more concise. The Dasarūpakagives the following rules: Actions are to be characterized by the language, gesture, and costume of a special region; [ the drainatist] is to employ these suitably, taking them from common life. Sanskrit is to be spoken by men that are not of low rank, by devotees Izstātmanām), and in some cases by female ascetics, by the chief queen, by daughters of ministers and by courtezans. Prūkrit is generally [to be the language ] of women, and Saurasenī in the case of male characters of low rank. In like manner Pisūcas, very low person, and the like are to speak Paiśācī and Magadhi. Of whatever region an inferior character may be, of that region is his language to be. For a special purpose the language of the highest and subsequent characters may be changed.” Some of the prescriptions of Bharata that Bhikşu and Sramaņa are to speak Prakrit, that Śrotriya is to use Sanskrit and that Cāndāli is resorted to by Pulkasa etc. are certainly significant; and they may by looked upon as reflections of social facts, existing perhaps long before the age of Bharata. What were simple facts once became stereotyped conventions, growing obscure as time passed on. The theory and practice put together clearly show that these conventions are often analogical extensions, right or wrong, and were not quite strict and rigorously applied. The prescriptions from different sources and practices of different places and ages have intricately commingled to create a highly complicated situation; and no single hypothesis, howsoever, ingenious, can easily explain all the details in a satisfactory manner, The Indian drama, there are reasons to believe, had its preliminary aspect in a popular pantomime; and this would easily explain such dialectal practices that all women, including a queen, are to speak in Prākrit, and so also Vidūşaka, a Brāhmaṇa, of high social rank. The actresses who played the female rôle perhaps came from the lower strata of society, and naturally it is befitting for them that they spoke in Prākrit, or Saurasenī, the normal 1 Dasarūpakam, Gujarati Printing Press, Bombay 1927, II, 63-66; The Dasarūpa, Translated into English by G. C. O. Haas, Columbia University Press, New York 1912, 2. 96-99, pp. 74-75. 2 Sten Konow: Das Indische Drama, Berlin und Leipzig 1920, pp. 16–18; Keith: The Sanskrit Drama, pp. 334–38., etc, ·INTRODUCTION 27 prose dialect of the plays. The case of Vidūşaka stands on a slightly different footing. He is essentially a creation of the popular theatre, whence, just for mirth and joke, he was received and retained, even in court plays, as a conventional figure crystallised into a permanent type. Whatever may be his other traits, Viduşaka is a king's companion and guide through thick and thin. I think, he represents a caricature of the learned Purohita who was the sole adviser of the king in almost all home-affairs. The king depends on this confidant in all his affairs of the heart; and Vidūşaka claims that he is a learned Brāhmaṇa. This claim is confirmed by his name also. The name Vidūşakaḥ is just a hyper-Sanskritic back-formation of Prākrit viuso or viusao (with 7-suffix) which is to be connected with vidvas. There could be no better proof for his being a popular creation than the Prākritic basis of his name; and it is in the fitness of things that he speaks in Prākrit. We need not hesitate to believe that the origin of the mixed usage of Sanskrit and Prākrit in the drama might have started as a reflection of the actual practice in real life. Conversations in simple Sanskrit and Prūkrits could be easily understood by all: this points out to a period long before the rise of the form of court-poetry which assumed an artistic, dignified and elaborate style in the hands of authors like Kālidāsa, Bāņa and Bhavabhūti. This style was first evolved in epics, lyrics, Kavyas and prose romances; and side by side with them it cannot but affect the drama too. Even by the time of Bharata's Nātyaśāstra the use of Prākrits had become just a matter of conventional fixing; and it was mechanically followed by most of the authors. In view of the characters introduced therein and the society for which they were meant, plays might have been coinposed by certain authors solely in Sanskrit or Prākrit. The Sanskrit plays like the Dūtaväkya of Bhāsa and some of the early Bhānas have come down to us. It is but natural that the early specimens of entirely Prākrit plays have not survived: they were popular creations of unlettered masses; Prākrit compositions have been uniformly neglected all along, and even some of the best Prākrit poems, only the naines of which are known to us, are lost beyond recovery; and the orthodox theorists perhaps never liked to give a status to them among the recognised types of drama, 1 Words like ajjukā, dauvārika, bhattidürikā, mārsa or mürisa etc. definitely possess a Prākrit tingo; and ana is a Deši word of Tamil origin.

·28 CAMDALEHA e) SATTAKA IN THE EVOLUTION OF DRAMA The treatises on dramaturgy elaborately describe Nätaka first, and subsequently they just note in what respects the other types are similar to or different from it. This does not mean that all other types are just the variations of and derived from Nataka. The theorists adopt this procedure for convenience of treatment. They are not presenting these types and sub-types according to their historical evolution: perhaps they never had such an approach in view. They have conveniently classified the information and presented the topics in a suitable manner without worrying when and where the types and sub-types of drama arose. Various forms of dramatic representation, from just simple to the most complicated, have been in vogue since long in different parts of India ; and some of the primitive types survive even to this day in out-of-the-way villages enacted by village folk in their own way. The recognition of only ten Rūpakas by theorists indicates that these were standardised types worthy of the attention of cultured classes and court circles. Later theorists do recognise certain Uparūpakas. What is subsequently recognised is not necessarily later in age. Some of the popular forms of drama could not be easily and bodily recognised by orthodox theorists: that easily explains the attitude of theorists towards the so called Uparūpakas. It is one thing to trace the early prototypes of dramatic conversation, recitation and action in the nigvedic dialogues, epic poetry and Vedic ritual, and also try to detect similarities with Greek drama and indigenous mimes; and it is another to trace the possible evolution of Indian drama by arranging its types and sub-types in a logical and evolutionary sequence, after thoroughly studying all the theoretical details and available plays. Lately Prof. D. R. Mankad' has tried to trace the history of the evolution of Indian drama. Though one may not agree with him in all the minor details, the method adopted by him gives interesting results. He starts from nrtta which branches off into two currents : 1) tändava (uddhata)>nrtya>Bhāņa>Uparūpakas like Prekşaņaka, Ullopyaka, Sallāpaka, Silpaka>Rūpaka types: Vyāyoga>Samavakāra, Ihāmrga, Pima; 2) lāsya (masrna)>nrtya> Bhānikā>Uparūpakas like Bhāņa, Dombī, Nartanaka, Prasthānaka, 1 The Types of Sanskrit Drama, pp. 147 etc.

·INTRODUCTION 29 Halliśaka, Kāvya, Goșthi, Kalpavalli, Śrīgadita, Durbhallikā, Mallikā, Vihāsikā>Rūpaka types: Bhāņa>Vithi>Prahasana, Anka; and both these currents once more conflow to produce the finished types, Nāțaka and Prakaraņa. In his opinion (p. 164) Bhāņa seems to be the first dramatic type to evolve; and he states four characteristics of the first drama: 1) It was entirely in Sanskrit, 2) it was descriptive in nature, 3) it was monologous in form, and lastly 4) it was secular in matter. In the light of the gradual evolution of nitta, nrtya and nātya types outlined by him, Prof. D. R. Mankad distinguishes between certain stages of growth or periods in the nätya types themselves (p. 165): 1) The ratya, in its earliest phase, had a form which required only one actor and one act; 2) then it required many actors but had still only one act; 3) thereafter it came to be represented by less complicated types with many acts; and lastly, 4 ) the fourth phase is represented by the full-fledged Nataka and Prakaraņa types, which, when fully developed, gradually sent the other lesser types into oblivion. The problem of ascertaining the position of Sattaka in the evolution of drama is faced with many a difficulty; still an attempt is worth making. The term sattaka itself is a riddle; variants of spelling like sačaka, sāțaka, sūdika are known, but they do not improve the situation. The word is undoubtedly un-Sanskritic in etymology like some other names of Uparūpakas such as Dombi, Hallīsaka, Şidgaka. Perhaps it is to be traced back to a Deśī word possibly of Dravidian origin. Stripped of its k-suffix, it shows elements like sa+atta or āta; and perhaps it stood originally as an adjective of a surpressed term. There is a Dravidian word atta or attam, dance, play, from the root āļu or ādu meaning to dance, gesticulate, to act a part or play. If the basic meaning was 'dance', the suppressed term may be rūpaka: one can postulate a phrase sattaań rūvaar= a dramatic representation accompanied by dance. Or if the basic meaning was 'play', the suppressed term may be nartana: one can postulate a phrase sattaam nattanań (or şaccanań or naccidavvaṁ)= a dance accompanied by dramatic representation. Perhaps for brevity only the term sattaam has come That Sattaka is closely associated with dance' is an accepted fact. In the Barhut Inscription' the term sāļika occurs in the record below a bas-relief of the dancing scene; and the theorist Säradātanaya describes Sattaka as nitya-bhedātmaka. Turning 1 See the extract in the Appendix. in vogue.

·30 CAMDALEHA to the prologues of Sattakas, Rājasekhara uses the expression saţtaam naocidavvan; Nayacandra remarks aho pralurīntameva nartakciḥ; and Rudradāsa says pacttaha sattaa-nattane. About the theme, format and language of the Sattaka some broad outlines are available. It is a love intrigue, as suggested by its Gay and Eloquent (Raisiki and bhūratī) styles. It is preeminently associated with dance. It does not possess the orthodox, standardised divisions of crika, introductory scenes like praveścka and viskambhaka and various technical junetures seen in Nāțaka etc. The whole action is divided into four pauses indicated by the intervention of curtain (zararikāntara or javaº). It is replete with Marvellous («dbhuta) sentiment. It is agreed that it was composed entirely in Prākrit: Bādarāyaṇa, however, allowed an option of Sanskrit in the case of the King. The popular character and origin of Sattaka are obvious from its close association with dance, its loose format, its unceremonious construction and division, its sentiment of marvel, and above all its composition in Prākrit. An orthodox theorist like Bharata could not recognise and condescend to describe Sattaka, because its mould and format were not of the accepted frame-work. It is only Hemacandra, who must have been favourably impressed by such an outstanding comedy as the Karpūramañjarī of Rājasekhara, that recognises it on par with other Rūpakas. All others would include it among the related or subordinate types. Though Bharata silently passes over Sattaka, other earlier authors like Kobala, whose works have not come down to us, did give due recognition to it. Bharata's Nāļyaśāstra represents only one of the many schools of dramaturgy; and if Bharata does not mention Sattaka, it is no evidence at all against the antiquity of Sattaka as a form of drama. The Indian drama has its roots in dance: dance was its basic and primary element; and the association of Saţtaka with dance is quite clear. Further, its loose technique, unconventional form and Prākrit language point out to its high antiquity in the evolution of Indian drama. It is further confirmed by the fact that an ancient theorist like Kohala gave due recognition to it. The Barhut inscription (circa 200 B. C.) mentions sūdika, a form of dance, which appears to be a forerunner of satďaka. Being popular in vogue and language, earlier specimens have not come down to us. In all probability Rājasekhara was aware of some of them, for ·INTRODUCTION 31 nowhere does he claim that his is the first creation?. His definition only indicates that it was not quite familiar to his court circle. Bharata's treatise has left a great influence on subsequent authors. He recognises Nātikā, and later theorists define Sattaka in the back-ground of Nātikā. This does not mean that Sattaka is a popular and subsequent remodelling of Nātikā. But it is the reverse that appears to be true and historically justified. As à dramatic representation with dance, depicting love intrigue, enacted by a troop of girls, replete with marvellous sentiment and composed in popular Prākrit, the Sattaka has something graceful and attractive about it. The theorist may not have liked to admit it as it is, but it was bound to attract his attention. The cultured classes and court circles would certainly enjoy it; it is to satisfy their craving the Sattaka was made to conform to the orthodox canons of Nāțaka; and the result of such an effort is the Nātikā which is duly described by Bharata and others. Thus Nātikā is an orthodox edition of the popular Sattaka. The variety of the forms of Nātikā”, as suggested by the Dasarūpaka, perhaps indicates different attempts to raise the popular Sattaka to a status acceptable to a court audience. Once Nātikā was evolved and defined by an authority like Bharata, subsequent authors simply followed him; and Sattaka was, for a while, say during the period between Kohala and Rājasekhara, superseded by Nātikā. Under such circumstances Bādarāyaṇa and others wanted a bit of Sanskrit also to be introduced, through the royal mouth, in the popular Sattaka which was, in the biginning, entirely in Prākrit. f) SATTAKAS KNOWN SO FAR Ancient specimens of Sattaka have not come down to us. Prior to Rājasekhara, the Sattaka, though recognised as a type of drama by Kohala etc., never received a literary status among the accepted forms; it is only his Karpūra-mañjari that became a classical example of Sattaka. The Prākrit had assumed a static form by Rājasekhara's time; and a play entirely in Prākrit was bound to be a rigorous task for average poets in subsequent centuries : it is only some poets of rare or erratic genius that were tempted 1 Prof. Chakravarty holds somewhat different viow; see his paper Characteristic Features of the Sattaka form of Drama', Indian Historical Quarterly, VII, pp. 169-73. 2 For the extracts about Nātikä and Sattaka, see the Appendix.

·32 CANDALEHA to compose Sattakas. That would explain, to a certain extent, why we have a small number of Sattakas of it late period. There are possibilities of discovering more by exploring Miss. librarics, So far I have been able to list half a dozen Saltakus: 1) Kirpuramañjarī of Rājasekhara; 2) Rambhā-mañjari of Narandra: 3) Candralekhā of Rudradāsa; 4) Vilasavati of Markanleyit; 5) Srigaramañjarī of Viśveśvara; and 6) Anandiu-sundari of Ghanasyima?. The analysis etc. of Candralekhā have been already presented ; so some important details about the rest of them may be given here. These details, I beliere, would be riseful not only for il comparative study of different Sattakas but also to a student of Indian literature, especially in Präkrit. Rājas'ekhara and his Karpūra-inanjarī Rajasekhara belonged to the Yüyävara fimily. Akälajalada of great virtues was his grandfather, styled as onceitrusfr-vidiimani; his father was Darduka or Dubika, a great minister; and his mother was Silavati. He had married Avanti-sundari of the Chuina family. He reached eminence as a spiritual teacher or upīdhyaye of Mahendrapāla or Nirbhara-r'āja, through the stages of bila-kani and kavi-rāja: he was thus connected with the court of Kamanj at the time of both Mahendrapāla and his son Malīpālis. The dates available for these kings from epigraphic sources range from 903 to 917 A. D.; so it is evident that Rajasekhara lived about A. 1). 900. It is probable that he wrote some poems like the Haraviläsa. At present only five of his works have come down to us; four plays and the fifth, an incomplete encyclopedic treatise on different aspects of poetry: 1) Bāla-rāmāyaṇa, 2) Bāla-bhārata, 3) Karpūra-mañjari, 4) Viddha-śālabhañjikā, and 5) Kāvya-minnārsū. The Karpūramañjari' is a Sattaka, entirely in Prākrit and in four Javanikäntaras; and it was brought on the stage at the desire of the author's wife, Avanti-sundarī. I. In this excellent Sattaka, which is a stream of poetic flavours, king Caņdapāla, which name reminds one of Mahendrapala, takes to wife the Kuntala princess, Karpūra-mañjarī, really a cousin of Vibhramalekhā, in order to achieve the rank of an emperor. After the Nāndi and the Prastāvanā in which the author is introduced and queen 1 Two more Sattakas, as noted below, are attributed to him; but without inspecting their mss. nothing can be definitely said about them. 2 See the eds. of Karpūramañjari referred to above, pp. 5, 7.

·INTRODUCTION 33 the theme is suggested, the king and the queen describe the advent of spring. The bards also greet the king by elaborately depicting the scenes of spring. Vidūşaka and the maid-servant Vicakşaņā dwell on the same theme; they fall out in their poetic competition and begin abusing each other; her superiority being recognised by the king, Vidūşaka is about to quit the royal company. But he gets a pretext to come back with a magician, Bhairavānanda, who praises the Kaula religion and parades his miraculous ability to achieve any feat. At the king's suggestion and Vidūşaka's request, the magician brings on the stage the lovely Vidarbha princess in her bathing dress. The king falls in love with her and grows eloquent about her physical charms; and she also glances him affectionately. She discloses to the queen that she is the daughter of Vallabharāja and Śaśiprabhā of Kuntala country; the queen finds that she was her cousin sister Karpūrainañjarī, and takes her into the palace for dressing and toilet. II. The door-keeper tries, by describing nature, to divert the king who is passionately brooding over the charms of that heroine. Vidūşaka enters with Vicakşaņā with whom he has a truce and who has brought from Karpūramañjarī à love-letter describing her passion for the king: therein a stanza depicting heroine's pangs has been added by her friend. Vicakşaņā describes how the heroine was dressed and decorated; and the king frames the details with his own fancy. Both the king and heroine are suffering equally. At Vicakşaņā's hint, the king accompanied by Vidūşaka sees the heroine gracefully playing on the swing. Vidūşaka offers a poetic description, and the king continues his amorous plaints. It is learnt how she is suffering love-fever. Later the king sees her in the garden while she is embracing the Kurabaka, glancing the Tilaka and kicking the Asoka tree: all this only heightens king's passion for her. III. The queen has grown suspicious and has kept the heroine in a guarded room, but the king has got prepared an underground passage from it to the palace garden. The king broods over her charms and narrates to Vidūşaka a dream in which he met the heroine; Vidūşaka mocks him by narrating a fantastic counterdream. Both of them have a discussion about the philosophy of love. Karpūramañjarī is suffering excessively, and she discloses her pangs to her companion Kurangikā. The king, with Vidīşaka, hears it, approaches her to her pleasant surprise, and leads her to the pleasure- 5 . .

·34 CAMDALERA garden happily holding her by the hand. Two bards describe in long stanzas the moon-rise; the lovers under shining moon-light are in a mood of supreme felicity. The queen's arrival is announced. All disperse in haste, and the heroine retires to her roou through the under-ground passage. IV. The king and Vidūşaka describe the summer and its effect on love-stricken persons. Vidūşaka tells liim how the queen discovered the under-ground passage, closed it, and appointed an army of maid-servants to guard the heroine. The king is requested by the queen to attend the vatce-scivitrī festival. After Gauri is worshipped, the magician demands from the queen by way of dakşiņā that Ghanasāra-mañjarī, a daughter of Canılasena of Lāta, should be married to the king who thereby becomes a universal monarch. The queen consents to this and announces her intention to the king. By playing the trick of hide-and-seek, to the great confusion of the queen, the magician produced Ghanasäramaſjari on the scene. The marriage function goes on merrily; but soon the queen, to her regret, is made to realize that Ghanasäramaſjarī was only another naine of Karpūramañjari. The king thanks Bhairavānanda for fulfilling all his desires. We do not possess today earlier definitions and specimens of Saţtaka in the light of which Rājasekhara's performance could be judged. Rājasekhara defines Sattaka as analogous to Nātikā with certain reservations, and there is nothing in this play which is contradictory to Bharata's definition of Nātikā which perhaps he had in view. He has not specified the number of Javanikāntaras, but he has four; there are no Praveśaka and Viskambhaka; and excepting the stage-directions and names of characters, everything is in Prākrit, The abuses in an involved style, the series of names of female guards and the hide-and-seek scene may be interesting, but they lack effect in a play to be enacted; one wonders how that scene can be managed at all on a simple stage excepting through make-belief. Rājasekhara is more a poet than a playwright; and like those of some of his predecessors his play Karpūra-mañjarī is more worthy of being read and studied than staged. He is a consummate master of language and expression, rich in vocabulay, idiomatic usages and metrical forms. His descriptions of the spring, moon-rise, swingscene, the carcari dance, etc. are admirable pieces of poetry testifying to his rigorous training in the niceties and conventions of poetics. Some of his pictures are vivid, and his love-lorn songs full of ·INTRODUCTION sentiment. He introduces, possibly as an element of popular Sattaka, a carcari which indicates a group-dance accompanied by songs and poses, described by him (IV. 10--19). Nayacandra and his Rambhā-mañjarī Looking at the common verses of biographical interest in the Hammira Mahākāvya' (XIV. 46, 46* 1, 46* 3, 46* 4) and the Rambhā-mañjarī (I. 15-18), it is plain that it is the same Nayacandra that composed these two works. IIe gives some details about his spiritual predecessors. In the famous Kişnagaccha, there was one Jayasimhasūri who defeated in dispute Sāranga, an outstanding poet among those who composed in six languages and a great logician (prūmānika), and who wrote three works: Nyāyasāra-tīkā, a new grammar, and a kävya of Kumāranrpati. Sāranga's identity is uncertain. Of the three works, the first is a commentary on Bhāsarvajña's Nyāyaşūra (c. 900); and the third is the Kumārapāla-carita, in ten cantos, finished in Saṁvat 1422 (1. D. 1364-65). Jayasimha's pupil was Prasannacandra, respected by kings. Our author, Nayacandra, though i pupil of Prasannacandra, calls himself a veritable successor of Jayasimha in poetic merits. He mentions his labours in the field of poetry and refers to the blessings that the goddess of speech bestowed on him. He makes reference to earlier poets like Kukkoka, Sriharşa (the author of Naişadhīyaḥ, Vātsāyana, (Venikrpāņa-) Amara i. e., Amaracandra. He styles himself a second Amaracandra in poetry. This Amaracandra' is the author of Padmānanda Mahākāvya (following which the Hammira-kavya also is vīrānka) and flourished about the middle of the 13th century A. D. The Hammīra-kävya is a poem of great historical interest, and 3 1 Ed. Kirtane, Bombay 1879. 2 Ed. Rāmacandra Dinänātha, Bombay 1889. There is a fine ms. (dated Sainvat 1535 ) of Rambhā-mañjarī, Text and Sanskrit Gloss, No. 335 of 1884-86, in the Bhandarkar O. R. I., Poona. For some details about it, see Descriptive Catalogue etc. by P. K. Godo., Vol. XIV: Nataka, Poona 1937, p. 246-47. The above ed. is possibly based on this Ms. For some observations on this play, see Chakravarty's paper Characteristic Peatures of the Sattaka form of Drama' Indian H. Quarterly, Vol. VII, pp. 169-173. 3 Jinaratnakośa by H. D. Volankar, Poona 1944. 4 M. D. Desai: Jaina Sābityano Samkşipta Itihăsa, Bombay 1933, pp. 378-81; M. B. Jhavery: Comparative and Critical Study of Mantraśāstra, Intro. p. 222-23, Ahmedabad 1944.

·36 CANDALERA it celebrates the heroic career of Hammíra (incidentally that of his predecessors) who bravely fought gainst Alau'ildin and died on the battle field in 1:301 A. 1). Nayacandrit is aware of the standard of poetry laid clown in Kivyaprakāsı ote.; iind he tells how he has tried to inake his poem full of matter with flavour: the critics should not mind his faults of expression (for which, if any, he wants to be forgiven) wlich have not been altogether avoided even by authors like Kālidāsa. The composed this poem full of amorous, heroic and inarvellous sentiments to silence the court circle of Tomara Virama which asserted that no one at present could compose « Kāvya like earlier poets. The claims that his poetry possesses both the līlity of Amaracaandrit and rekrimci of Sriharşa. As to Nayacandra's age, he must have flourished between A. D. 1365, the date of Kumirapalactrita of his grand teacher Jayasimhasūri, and A. N. 1478, the date of the Poona M8. of Rambhā-mañjarī. The exact identification of king Tomari l'iraina would help us to bring these limits nearer. The editor of the Hammīra Kārya has added a remark like this: King Tomara Virama, whoever he was, appears to have lived seventy years before Akbar.'; but no evidence is given. In the list of the Tomara princes of Gwalior, there is a king Virama; and the datos available for his grandson, Dungarendradeva, are 1440-1453 A. 1). Deducting 50 years or so for two generations, we get about 1400 as the date of Vīrama. So we might assign Nayacandra to the beginning of the 15th century A. D. Nayacandra, as indicated by his spiritual genealogy, is a Jaina monk; but his mangala verses in the Hammīra kāvya are applicable to both Jaina and Hindu deities, and the nndı of Rambhā-mañjarī invokes Vişņu as Varalia. The Rumblā-muñjarī of Nayacandra is a Sattaka; so we might analyse its contents and study some of its aspects critically. I. After the nändi in which Varaha is saluted and Madana is greeted by referring to the amorous glances of grown-up girls, Sūtradhāra invokes god of love and glorifies Isvara and Pärvati. He introduces in elaborate expressions the king Jaitracandra or Jayacamda, alias Pangu, who is the son of Malladeva and Candralekha, who usurped the kingdom of Madanavarman, who defeated Yavanas and who was ruling over Benares; and announces his intention 'to Naţa that they should enact a prabandha in order to entertain the 1 G. M. Duff: The Ohronology of Indian p. 306, Westminister 1899; D.B. Bhandarka: A List of Insoriptions of Northern India, p, 404.

·INTRODUCTION 37 gathering of good people assembled at Benares for the yātrā (or annual festivity) of Viśvanātha at the time of summer solstice. The subject-matter, full of amorous flavour and with the great king Jaitracandra as the hero, would prove to be of quite absorbing interest. The prabandha to be staged is a Sattaka, Rambhā-mañjarī by name, which is in a way superior to the Karpūra-mañjari of Rājasekhara; its author is Nayacandra who, being blessed by the goddess of learning, is a skilled poet in six languages, and who has described himself by comparing his poetic gifts with those of Amaracandra and Śrīharsa. In this Satta king Jaitracandra, who has already seven wives, marries Rambhā as the eighth with a view to become the lord of earth. The king Jaitracandra, praised by bards in Sanskrit, Prākrit and Marāthi, enters with his queens; and he is greeted by a cuckoo from å mango tree with blossoms. The king and queen greet each other and are greeted by the bard on the advent of spring. There ensues an abusive quarrel between Vidūşaka and Karpūrika ; she laughs at his inheritance of scholarship from his wife's side and slights his poetic skill; both of them present their composition before royalty. Karpūrikā proves superior; Vidūşaka feels insulted and bids good bye to the palace. The queen describes moon-rise etc., and the king is anxious about Nārāyaṇadāsa who was to bring some news about Rambhā. Nārāyaṇadāsa accompanied by Rambhā in her wedding dress is brought in by Vidūşaka. The king received the name Jaitracandra, because, on the day of his birth, his grandfather defeated the Kharpara army which came to the Daśārņa country? Nārāyaṇadāsa has some happy news to convey: it is announced to the king from behind the curtain that Rambhā, born in the Kimmīra vaṁsa, the grand-daughter of Devarāja and the daughter of king Madanavarman of Lāța, who is as beautiful as Pārvatī, was betrothed to (?) Hamsa, but is carried off by her maternal uncle Śiva and has been brought here with the wedding kankand on her hand. The king receives her who comes in a palanquin; he begins to describe her limbs with an amorous eye; Vidūşaka and Nārāyaṇadāsa only switch on his appreciation for her; and his passion reaches a higher degree. The bard announces that it is an auspicious moment; the priests mutter the holy mantras; Vidūşaka declares that the king Jaitra and Rambhā are duly 1 The relevant lines stand thus : पत्तं तम्मि दसण्णगेसु पबलं जं खप्पराणं बलं, जित्तं झत्ति पियामहेण पहुणा जेत्तं ति नामं तओ। I. 43, ·38 CAMIDALIHA married; and there are jubilations for the maxi011. Morning is announced by the barı); along with other qenx Reimbhū is sent to the harem by the king who retires for his morning duties. II. Being separated from Ramlıhü, the king is pining for her by remembering her physical charms; and the door-keeper is trying to divert him ly describing garden sernes. lle is anxious to hear about her. The maid-servant Karparika informs him that Rambhā is quite happy in the sisterly company of the lurer where she is personally taken care of by the queen Rajimatı; and by assuring him of Rambha's deep inttachment, she l'eduels to the king her love-letter, despatched secretly, which only brighters his passion. Vidūşaka narrates to him his dream in which lie was a bee; later on he was changed into sandul wool the proaste of which was applied to Railkūs breast, and pressed by king's embrace he woke up. He interprets it that the king world soon met Rambha. The king is nervously anxious to meet her immediately. Karpūrikā, taking support of an Asokit branch, manages to bring down Rambhã through the window. Both king and Ramlü enjoy amorous pleasures. The queen arrives, and they have to disperse. III. The love-lorn queen welcomes the king; and after hearty amorous pleasures, the king asks luer permission to meet Rambhā like this to which she consents and happily retires to bed. Rambhā comes to the king wlio receives lior illectionately. Singing passionate lines alternatively, both of them go on lappily enjoying armorous sports through different conventional stages. The niylıt is easily spent and the dawn is announced hy bards. Ruuna is sent to the harem, and the king attends to his duties after morning formalities, More than once Nayacandra hints that the probarulhco of Jaitra-, Jaya, or Jayanta-candra is being enacted; and therefore, it is quite likely that he draws his story from some Prabandhas. There is an old, anonymous Prabandha', some important facts from which are: The Rāştrakūta Jaitracandra, son of Vijayacundra, ruled at Benares in the country of Kanyakubja. He liad a queen Karpūradevī; and he married also Subāgadevī, the daughter of a Sālāpati. He overpowered Lakşmaņusena of Bengal and Paramarddi of Kalyāṇakataka. He was highly praised by the poet Canda. He refused to give his kingdom to Suhāgadevi's son; 1 Purātanar-prabandha-samgraba, ed. by Jinavijayaji, Singhi Jaina Grantha mālā 2, Calcutta 1986, pp. 88-90, ·INTRODUCTION so she invoked the aid of Suratrāņa Sahābadina who was faced by Prthvīrāja and halted at Yoginipura. Jaitra-candra felt happy when his adversary, viz. Pșthvīrāja, was defeated, but his minister realized the danger to his kingdom. In his second campaign, the Suratrāna entered Benares in Saṁvat 1248, Caitra śu. 10, and was victorious against Jaitracandra who died in the river Yamunā and whose eldest son, in the battle. That Suratrāņa treated Suhāgadevi with disrespect for her treachery against her husband and her son was converted into a Turuska. According to the Prabandha-cintāmaņi of Merutunga', the great monarch (prājya-samrőījyc-laksmiṁ palayan) Jayacandra of Kāśī had a title Pangu; he married Sūhavā, the wife of a Sālāpati; he refused to recognise her son as the heir-apparent; she invited the Mlecchas or Turuşkas to attack Vārāṇasī; when it was beseiged, the king put her son on his elephant and plunged himself in the stream of Yamunā. In the prabandha about Śrīharşa, the author of Naişadbīya, the Prabandha-kośa of Rājasekhara' gives some facts about Jayantacandra, the son of Govindacandra and the king of Benares, who was famous as Pangula. He married a young, beautiful vidow, Sūhavadevī, the wife of a śālāpati from Anabilla-pattana on which Kumārapāla was ruling. To the displeasure of Sūhavadevī, he decided to give the kingdom to prince Meghacandra and not to her son. She managed to invite the Suratrāņa of Takşaśilā to attack Benares. The king was ruined in the battle, and the town was taken by the enemy. About the name of the father of Jayacandra, the Prabandhas do not agree among themselves, nor does any one agrees with Nayacandra's version. Modern historians: give this genealogy: Govindacandra (c. 1114-1155), Vijayacandra (c. 1155–1170) and Jayacandra (c. 1170–1193); that means Prapandhakośa has either confused Jaya- and Vijaya-candra or more probably the name of the latter is skipped over in the text; and according to Rambhāmañjarī we will have to admit that Malladeva was another name of Vijayacandra. The Prabandhas have no reference to his seven 1 Edited by Jinavijayaji, Singhi Jaina Granthamälā 1, śāntiniketan 1939, pp. 113-14. 2 Edited by Jinavijayaji, Singhi Jaina Granthavnālā 6, śāntiniketan 1935, pp. 54-58. 3 H. C. Ray: The Dynastic History of Northern India vol. I, Calcutta 1931, p. 548.

·CAMDALEAN wives and to the eighth wife Rainbhā noted by Nayacandra. In one Prabandha, Karpūradevī figures as a queen, but in our play there is a maid-servant Karpūrikā by name. The hero Jaitrecandra is a brave king of Benares, and he had a uitle Pangu: these two facts are unanimously accepted by two Prabandhas. The first Prabandha is silent about this title, though some other details are common. The two Prabandhas and our play explain the title Pangu almost similarly. So it is plain that Nayacandra's hero is the same as Jaitracandrit of Prabandhas; but our author appears to have added certain (letails to make the plot suited for a Sattaka the model for which was the Karpūra-maħjari. Our hero, then, is alreadly hinted above, is the same as Rājā Jaichand, almost the last king of the Gähavala dynasty, who had inade Benares his principal residence and who was overthrown by Muhammad of Ghör (Shihähu-ldin). It is not clear who this Madanavarman of Latat is; but it is not unlikely that Nayacandra had in view a Chandel ruler of that nie. Nayacandra's statement that Tuitracandra brought under control the kingdom of Madanavarman is based possibly on the account of the Prabandha according to which he overpowered Paramarddi who had inherited the kingdom of Madanavarman. Nayacandra refers to the Karpura-ınaîjari (Km.) of Rājasekhara, and he claims that his Rambhā-majjarī (Rm.) is in a way superior to it. Rm. imitates Km. in many respects. The scene of spring that is being described by the king, queen and bards, the quarrel between Jester and maid-servant in which the former claims hereditary scholarship, and the diversion of the love-dorn king with the description of nature by the door-keeper: all these remind us of similar situations in Km. Some ideas, too, are common, at times with slight variations: in both the Jester has i fantastic dream; the trees like Asoka, Bakula and Kurabaka are introduced to heighten king's passion; and the contents of the love letter are almost identical. We come across even some comnion expressions in both the texts (Km. II. 11 & Rm. I. 40; Km. I. 32-34 & I. 49). If the plot is scanty in Km., there is not even the semblance of it in Rm. Nayacandra's Prākrit verses are not as fluent as those of Rājasekhara. Nayacandra has, however, a pedantic mastery over Sanskrit expression; and a couple of his Sanskrit verses (III. 3-4) are really beautiful and testify to his potential poetic ability 1 This name reminds me of the name Candravarman of Lata in the Viddhaśālabhanjika.

·INTRODUCTION As a play, Rm. does not leave a favourable impression. One wonders how a cultured audience would receive the love dalliance of å king with his two queens, one after the other, on the stage. The tone of the amorous sentiment is devoid of depth and dignity: the depiction of it is more an exhibition than suggestion. In some places, strangely indeed, without making the characters speak and act, the author begins to describe their behaviour outside the stagedirections (II. 18-20; III. 7, 21). Though the Poona Ms. and, perhaps following it, the printed text of the Ramblā-mañjari call it à Nātikā: sunucīpata Rambhcimiñjuri nuīmuck sutik, Nayacandra has plainly called Rm. a Satta or Sattaka (1. 19). The play comes to a close within only three Javanikāntaras, so far as the present documentary evidence is concerned; but the ambition of the king to become the lord of earth is not explicitly fulfilled, though the King marries Rambhā in the very first Yavanikāntara and sports with her in the second and third. Either the play is incomplete, or the author has overlooked what he has put in Sūtradhāra's mouth': the abrupt ending of the play just in three Javanikāntaras and the absence of Bharata-vākya go to strengthen the former alternative. Nayacandra employs both Sanskrit and Prākrit in this play, and the use of them by different characters is interesting. The Nata, the queens Vasantasenā and Rambhā, Pratihārī, Vidūşaka and Cetī speak Prākrit, and their verses also are in Prakrit excepting one (II. 14) in the mouth of Ceti (with the phrase saṁskrtam aéritya) which is in Sanskrit. The Sūtradhāra, king, Nārāyaṇadāsa and Mangala-pāthaka have their speeches in Sanskrit, but their verses are in Sanskrit as well as Präkrit. One bard has a glorificatory prose passage in Prākrit, while others have their songs both in Sanskrit and Präkrit. The Nandi verses are in both the languages. The Dasarūpakiti, is seen above, admits a varying number of acts in a Nātikā which has been a model for later Sattaka; but whenever the number of Javanikāntaras is specified, it is necessarily and in this respect, the Rambhā-mañjarī, as a Sattaka, does not conformn to its description. Further in the use of languages too, it does not satisfy the accepted condition of Sattaka: it is not four; 1 इक्खागूण नरेस वसतिलओ सो जेत(०. ८. जयत)चंदप्पहू, जुत्तीए परिणीय सत्त घरिणी स्वेण जा अच्छरा। एयाणि भवितुं जहुत्तविहिणा भूमंडलाखंडलो, रंभं तं परिणेदि अटुमतियं एयम्मि सट्टे परे 6 ..

·CAIDALETTA entirely in Prākrit. The Bhīva-prakasanii anni Nataki-laksana-kos: record an opinion that Sanskrit was allowed for the king in a Sattaka; but this play allows not only the king but also some other characters to speak in Sanskrit. It is really a note-worthy convention that Nay:leandra is making even his Sanskrit-speaking characters utter some of their versos in Prikrit. When i Prakritspeaking character, the Ceti, utters i Sanskrit verse, the apologetic saṁskrtan üśritya is there. Unless some more Souttakis of the type of Rm. come to light, the promiscuous use of Sanskrit and Präkrit cannot be satisfactorily explaiucd, nor is it confirmelliy the views auf any theorists so far known. Nayacandra makes the bards sing the glory of Jaitricandra in three languages, Sanskrit, Präkrit in Muratlı; the Marāțhi passage deserves our special attention. I am reproducing it below from the Poona ms. (folio No. 3a) without any corrections: of a Feat Halat Testi तरि परिस्खलिला मयूरांचे पिच्छप्रतापु । जरि नयनविषयु केला वेणीदंड । तरि साक्षाजाला भ्रमरश्रेणीदंडु ॥ जरि दृगोचरी आला विसाल भाल । तरि अर्द्धचंद्रमंडलु भइला उर्णायुजालु ।। भ्रूजुगलु जाणु । द्वैधीकृतकंदर्पचापु । नयननिर्जितु जाला पंजनु निःप्रतापु॥ मुखमंडलु जाणु शशांकदेवताचे मंडलु ॥ सांगसुंदरताभूत्तिमंतु कामु। कल्पद्रुम जैसे सर्वलोकआशाविश्रामु ॥ This is a specimen of literary Marāthī of the age of Nayacandra or, to be more definite, of the period of the Ms., Samvat 1535 (A. D. 1477-78). Perhaps line rhyming with the ninth is missing. The passage is certainly in Marathi of an archaic type but not very old. It shows the full development of the characteristic features which belong to the language in its New Indo- Āryan stage and which cannot be traced to the Middle Indo-Aryan, for instance, the formation of the past tense in-1: pekhilā, pariskhalilā, kelā, jālā, ālā and bhailā, with its agreement with the subject; secondly, the formation of the Genetive in mayūrāce and devatūce, both sing. and pl.; and lastly, the form jāla, twice used without the present-day aspirate which came into use some time in the beginning of the 19th century.

·INTRODUCTION 43 Mārkandeya and his Vilasavatī Märkandeya is the author of the Prākrta-sarvasva? which occupies an important position among Prākrit grammars. Very little is known about his personal history. He composed his grammar in the reign of Mukundadeva who ruled over Utkala or Orissa. There was à king of Orissa of this name during the second half of the 17th century A. D. to which period Mārkandeya may be tentatively assigned. Prohibiting the Prohibiting the use of Genetive for purposive Dative, he remarks thus in his grammar (V. 131): aige arce fareatr: Teat: qelt FT RITTI I TOTT3r T311 HETT 39475 दुक्खं गइंदेसु ॥' 'सुहाअ रजं किर होइ रण्णो ।' इति मम विलासवतीसट्टके ॥ The remark is quite plain, and we learn that Mārkandeya composed a Sattaka, Vilāsavati by name. Viśvanātha (C. 14th century A. D.) mentions in his Sāhityadarpaņa (VI. 277–79, prose remark) one Vilāsavatī, a Nātya-rāsaka, which obviously must be an earlier and different work. The name of Vilasavati as a heroine is -pretty old and figures in the stories composed by Haribhadra (8th century A. D.), Sädhārana (11th century A. D.) etc. If discover a MS, of the Vilāsavati Sattaka, composed as it is by an eminent Prākrit grammarian like Mārkandeya, it would be of great value to assess the nature of Prākrit in a Sattaka. we can Vis'ves'vara and his Siragära-mañjari Viśvesvara, the son of Lakşmīdhara, belonged to Almodhā or Almora, and flourished during the first quarter of the 18th century A. D. The editors of Kāvyanālā have recorded that his eighth descendent, Deveśvara (Cunilāla) by name, lived some time earlier than 1910 at Anūpasahara on the Ganges. It is said that Viśveśvara began his literary enterprises at the age of ten and died prematurely at about forty. He is a voluminous writer, and there stand against his name more than twenty works of which Navamālikā is a Nātikā and Árngāra-mañjari is 1 Edited by S. P. V. Bhattanatha Swami, Vizagapatam 1927; L. Nitti- Dolci: Les Grammairiens Prākrits, Paris 1938, pp. 89 etc, 2 Tinaratnakośa by H. D. Velankar, Poona 1944, p. 358. 3 Kõvyamálā. VIII, pp. 51-52; M. Krishnamachariar: History of Classical Sanskrit Literature, p. 355.

·CAMDALEIĀ behind the curtain. At queen's suggestion, king retires to the terrace. III. After a little discussion with the king on some aspects of love, Vidūşaka informs him how the queen is strictly guarding the heroine, and how even Vasantatilaku's movements are restrained, lest she might bring about a meoting between king and heroine. Still Vidūşaka managed to see Vasantatilakä. He learnt from her that the heroine is terribly suffering from separation ; and every cooling measure is having an adverse effect on her. She is almost ready to end her life in order to get rid of this anguish of passion by hanging herself with a creeper-rope. To save her, she has been assured of a meeting with the king under the Madhavi bower. She is living on that hope; and the king, if he is sincere, should kindly save her. Seeing that praclosa is announced, Vidūşaka requests the king to go to that spot and safe her. Both of them proceed thither, describing various scenes. It is getting late at night, and they are wending their uneren way in thick darkness. They reach the rendezvous. There enters Sțgaramanjarī with a blue veil and accompanied by Vasuntatilakä: they are chatting about darkness in which the heroine's face is a moon indeed. The king is happy to hear their sound. With auspicious omens they reach the appointed spot. The king catches the opportunity, goes ahead, and leads the heroine to the bower; and they are left to themselves. The bashful heroine is patronisingly consoled by him; and he solemnly assures his wholo-hearted love to her, and further confirms it by falling at her feet. As she is ready to go, the king requests her to continue her love: Vasantatilakā expects the same from him. The kiny assures that for him, as for a bee, she is a lotus in preference to all other flowers. IV. The king remembers his meeting with the heroine and thinks about her beautiful limbs. He feels sorry at the cruel behaviour of the queen who has, by this time, imprisoned Vidüşaka and Vasantatilakā and kept S.-majjari in a guarded dark room, under solitary confinement. Vidūşaka enters lamenting over his lot especially in the prison. He approaches the anxious king and tells him how he has been luckily free. Inquired about the heroine, he narrates the following details: "To-day the queen went to worship Pārvatī; immediately after the jubilations, a divine voice discoursed to the queen about the duties of a devoted wife; taking the hint, she decided to bring together S.-mañjarī and the king; and she ·INTRODUCTION 47 released all.' The king felt happy and surprised at this sudden development. The penitent queen comes along with heroine and attendants; and the king welcomes them all. She presents Śrngārumañjarī to him, and bestows on her the status of equality, that of a co-queen. He accepts her according to Gandharva marriage; he gives a gift of jewelled wristlet to Vidūşaka. Vidūşaka is going home but returns with minister Cūrubhūti who greets the king as a Cakravartin and discloses the following details : Srnyāra-mañjarī is the daughter of Jatāketu, the king of Avanti ; her husband would become a Cakrapartin; she was being carried in way by Maniinūlin who had become a demon according to some curse which came to an end on the way, and she was dropped down in a hermitage ; thence she was brought to the palace and kept with the queen. The queen regretfully realized that S.-mañjarī was the daughter of her brother-in-law (ūvutta), and she apologised to her for the treatment so far given. The heroine thanks her in return. The king prays for an all-round welfare. As Sattakas, shaped according to the definition of Nātikā with certain reservations, both Karpūra-mañjarī and ſựngāra-mañjarī have much in common; and they inherit good many motifs, with or without minor changes, from the earlier plays' of Bhāsa, Kalidāsa, Harşa etc. In certain details Km. and Sm. have close resemblance: their titles, the names of queens, the quarrel between Jester and maid-servant, à philosophical discussion between king and Jester about love, etc. But everywhere Viśvesvara handles the situations and contrivances more skilfully; as constrasted with parallel situations in Km., the quarrel in this play is devoid of bald abuses ; and the author is not tempted to give a dry list of names of female guards. Viśveśvara does not slavishly follow Rājasekhara's special ideas and expressions, though in a few places we are reminded of certain verses and idioms in Km. The king sees the heroine in dream; he paints her in a picture; then her identity is ascertained: all this reminds us of the plot of Viddha-sālabhañjikā of Rājasekhara and the development of love-relation between Uşā and Aniruddha, and between Kandarpaketu and Vāsavadattā. The idea of bringing the heroine as an arbitrator is well conceived and managed with dignity: thus she is proved to be a veritable frăgăra-mañjari, as her name connotes. Visvesvara shows a good deal of poetic 1 Especially Svapn&vāsavadattā, Mālavikāgnimitra, Ratnāvalī, Priyadarsikā.

·48 JA DALEAL talent, smooth and Faroury presentation of details, and lucidity of expression. Some of his discussions are stiff. All his characters speak Prākrit, and there are four Yavanikāntaras. One of his remarks indicates that sivulhanges may be admitted in a Sattaka; and it is already noted above that Vasudeva detects some of them in the Karpūra-mañjari, though some theorists explicitly prohibit them. Ghanas'yāma and his Ananda-sundarī The poet Ghanaśyāma", who calls linself muharist-cīļūmani and who possessed epithets like Kanthirava, was the sun of Mahädeva and Kāśī, and a grandson of Caundāji Bālāji. Tšis was his elder brother; Sākambarī, his sister; Sundari and Kamalā, his wives; and Candrasekhara and Govardhana, bis two sons. He was born in 1700 A. D., and lived as far as 1750. At the age of 29 be became the minister of Tukkoji I (1729-1735) of Tanjore. lIe was a voluminous writer, starting his literary career at the age of 18. As he himself reports, he composed 64 works in Sanskrit, 20 in Prakrit and 25 in vernacular; a detailed list of his compositions is already prepared by Prof. Chaudhuri in his paper; and he covers various branches of literature: plays, poems, anthologies, Campus, commentaries and treatises on technical subjects like grammar, rhetoric, philosophy, etc. Ghanaśyāma was offensively self-conceited, and he paraded his learning in various quarters. He looked down upon earlier authors, even of established eminence; and he held poor opinion about their literary achievements. He styles himself saruci-bhäşā-kavi, with a mastery over seven or eight languages and scripts. He feels himself quite competent, almost equal, if not superior, to Rajasekhara, in composing a Sattaka which is entirely in Prakrit. His attitude towards Prakrit is well expressed in the conversation between Vidūşaka and Sūtradhāra. In his opinion, an eminent poet need not be ashamed of composing works in Prūkrit. A heretic shuns a sacrifice; ů voluptuory, virtues; a block-head, learning: one vainly condemns whatever is impossible for oneself. Those who are skilled in only one language are part-poets, while he who can compose in many languages is a full-blown poet of renown. According to Prof. Chaudhuri's list, Ghanaśyāma appears to 1 For the life and works of this poet, see Prof. J. B. Chaudhuri's paper *Sanskrit Poot Ghanaśyāma', Indian H. Quarterly, vol. XIX, 3, pp. 237-51.

·INTRODUCTION have composed three Sattakas: 1) Vaikuntha-carita, 2) Anandasundarī, and 3) an anonymous one. Two ass, of Ā.-sundarī have been accessible to me, and its contents are summarised below. I. After benedictory verses invoking Vişņu-Lakşmi etc., Sthāpaka or Sūtradhāra and Vidīşaka discuss a letter from an Association (sāmājika-lekhah) for staging an interesting play ; and it is decided to enact a Sattaka, the Ananda-sundarī, composed, at the age of 22, by Ghanaśyāma (described) who is as competent as Rājasekhara, who has won a title Kanthirava, and who can compose works in various languages. Sūtradhāra, who is wishing for a son, suggests the plot by a simile: śikhandacandra marries the daughter of Candavega; he has a son from her; and he becomes a universal monarch. The king reflects on his fortune and discloses certain details : The minister Diņdiraka has been sent out to subdue Vibhāņďaka of Sindhudurga who refused to pay the tribute; and he is expected to come back victorious. The king hopes that his anxiety for a son would soon disappear: the king of Angas has sent his daughter Anandasundarī to win his affection; fearing that the queen might know this, A.-sundari has been dressed as a man, with a name Pingalaka, and given in charge of the chamberlain Mandāraka; and as foretold by an astrologer, she might have a son. Bards greet the king with morning prayers by describing the advancing day. Vidūşaka has offended unwittingly another Brāhmaṇa Maņdūraka; and the king settles the quarrel by a present to the latter. The king wishes to see a nātaka staging how Ānandasundari was brought etc. composed by Pārijāta-kavi. Pingalaka and Mandāraka are also invited, and a garbhanūtaka is introduced. It depicts how 1 It has to be seon whether this anonymous play can be the Navagrahacarita which, though put by Keith under Nataka (The Sanskrit Drama, p. 315), is described by M. Krishnamachariar (History of Classical Sanskrit Literature, p. 248) as Sattaka in Prakrit. It is necessary that Mss. of Vaikunthacarita and Navagrahacarita should be inspected and seon whether they are Sattakas. 2 One complete ms. containing Prākrit text and Bhattanātha's Sanskrit commentary belongs to the Government collection at the Bhandarkar Oriental R. Institute, Poona, No. 432 of 1899-1915; and another transcript of a Ms. No. 683/4681 from The Tanjore Sarasvati Mahal Library, Tanjore. The latter is wanting in some portion at the beginning 7 ..

·50 CAMDALEHA 3 A.-sundari was dressed as a man and brought to the harem. As the characters of the spectators are there in the garbha-nāšaka, a good deal of fun is created by Vidūşaka who often misunderstands the situation. The king broods over A.-sundari's beauty while the play is going on. The time for midday meals is announced, and all get up for bath. II. The king tells Vidūşaka that Hemavati divulged their secret to the queen with the result that Mandāraka has been chained and Anandasundarī is confined in the ornament box by her. He reflects over the miserable lot which has befallen that beautiful girl on account of queen's jealousy. Vidūşaka blesses him with good luck. Then to divert king's mind, there enters the poet Pārijāta, alias Kanthirava, vaunting his poetic abilities. In a high-flown style, full of long compounds, subtle allusions and mythological references, he praises the metropolis Śrnkhalāvati and its specialities, the palace Damaruka, and the king Sikhaņdacandra of great glory and his virtues. The king is highly pleased and is ready to give any present, even his kingdom, to the poet who declines the offer by saying that he already possesses the kavitāmahā-sämrājya. To divert himself the king proposes to Vidūşaka that they should describe the various limbs of the heroine Ā.-sundarī; and they do so by singing the lines of a verse alternatively. The king is suffering acute pangs of separation which are heightened by midday announcements of bards: he realizes that the real remedy is to win queen's favour. III. The king feels happy now, because he has been able to win queen's favour. With sly interpellations Vidūşaka wants to know how this could be achieved. The king narrates the details how he met her in the bed-room, how she was angry with him, how he lay prostrate at her feet like a servant, and how thus finally her heart was won over and she promised to celebrate his marriage with the heroine Anandasundarī. The queen enters with the heroine and attendants, the former in wedding dress: the king must have an issue, so the marriage is approved by all. The queen bestows the heroine on the king, and the wedding ceremony is celebrated. The couple is blessed and greeted by all; and Vidūşaka exchanges a few bitter jokes with maid-servants. The king, heroine, Vidūşaka, etc. come to the Sạngāra-vana where the heroine is made acquainted with various trees etc. The evening and rising moon are announced by bards; the king and heroine retire to the bed-chamber.

·INTRODUCTION 51 was won. greet IV. Vidūşaka finds the king anxious about heroine's worries whether king's love for her would remain firm, whether she would have a meritorious son, and whether she would deliver happily. The king has assured her duly. Vidūşaka cuts a few jokes with him, and getting the necessary details he assures him that the period of pregnancy is full and that she would certainly deliver a son. The victorious minister Diņdiraka arrives. A garbhc-nūtakā composed by Pārijāta-kari is staged. It is shown how Diņdiraka leads à fleet, how the demon Vibhāņdaka is overpowered and made to run away by a sudden terrific uproar, and thus the victory The king is highly pleased with this triumph, and is almost ready to give his kingdom to the brave minister. Just at that moment the report of the birth of the prince is conveyed to the king. By eating a miraculous herb sent by her father Caņdarega, Anandasundarī is quite hale and hearty. The queen enters accompanied by heroine with the child and attendants, and congratulates the king on the birth of a prince. The queen names the prince Ananda-candra and puts him on king's lap. Bards the king; and the play ends with a significant Bharata-vīkya. Ghanaśyāma almost vies with Rājasekhara in composing a Sattaka; it must be said to his credit that he has a sufficiently independent plot; and excepting a few echoes of expression, he borrows very little from the Karpūramañjarī. The introduction of two garbha-nātakas is a peculiarity of the Ā.-sundarī, especially because they represent episodes which are a part and parcel of the theme of the play itself. It appears from a casual remark of Vidūşaka that Ghanaśyāma believed that a Sattaka without a garbha-nātaka is positively faulty (apahāsa-vhājana). Ghanaśyāma is more a Sanskrit poet; and some of his forms and expressions are artificial in Präkrit that at times his verses become intelligible only after they are rendered into Sanskrit. That only shows that later authors lacked close touch with the genuine style of early Prākrit works and still finished their compositions mainly by studying Prākrit grammars. In this respect Viśveśvara's expressions are more natural in Prākrit than those of Ghanaśyāma. Rājasekhara and other authors do use certain Deśī words. In a way the same tendency is carried to its logical extreme when Ghanaśyāma freely and studiously uses a number of Marāthī nouns and roots: some of his usages are current even in present-day Marāthī. To a great extent the interest of the reader or spectator of this play is sustained by the ·52 CAMDALEHA light humour with which many of the conversations and remarks, especially of Vidūşaka, are replete. The author creates humour by words of double meaning, stray pricky remarks, caricature of holy things, exaggeration, innocent tricks and slips, sly jokes, somewhat vulgar references, outspoken frankness and by light remarks on serious occasions. Ghanaśyāma is well-known for his pride and show of learning; and it is not surprising that the poet Pārijāta, alias Kanthirava, is only his own replica. The entire play in four Javanikāntaras is in Prākrit: Sūtradhāra, however, once quotes a Sanskrit verse which brought to Ghanaśyāma the title Kanthirava, and a second time repeats the request of the Association in Sanskrit. The king also speaks in Prākrit; only once in the fourth Yavanikāntara, he sings a verse in Sanskrit (Samskrtam āsritya). This sporadic use, I think, has nothing to do with the view of some theorists that the king is to speak in Sanskrit. 9) CANDRALEKHĀ: A SATTAKA It is but inevitable that a late author like Rudradāsa has in view the earlier definitions of Nātikā and Sattaka, and that his Candralekhā is influenced by the existing models of the same. The characters of Mānaveda, Devī and Candralekhã are of the time-honoured mould and quite suited for a Sattaka. The principal sentiment in the Candralekhā is erotic or srngāra presented in its various aspects and through suitable styles or vrtti. The marvellous sentiment, as stated in the Sāhityadarpaņa, is supplied in this play by introducing the jewel Cintāmaņi. Other sentiments like raudra, vīra, bhayānaka and bībhatsa are absent. We have a Sthāpanā at the beginning with Sūtradhāra and Pāripā. rśvaka. There are no Praveśaka and Viskambhaka, and instead of Anka we have Yavanikāntara, All the characters have their speeches and verses in Prākrit. It is only the names of characters and stage-directions that are in Sanskrit. It is natural that they should be in the same language in which the characters speak: this rule was observed by Aśvaghoşa; but after him the practice appears to have fallen into disuse and replaced by the convention of using Sanskrit for them. None of the Sațțakas has reverted to the practice seen in Aśvaghoşa's plays. The adjective baṁdhurango perhaps indicates that Rudradāsa has no objection for introducing Saṁdhyangas which are prohibited by. Śāradātanaya. Thus the 1 See pp. 21-3 above. 2 Keith: The Sanskrit Drama, p. 86, ·INTRODUCTION 53 Candralekhā fulfils the essentials of a Sattaka; and most of the motifs on which its plot is built are found in the Karpūra-mañjarī as well as in some Nātikās. v) KARPĪRAMAÑJARĪ AND CANDRALEKHA Reading side by side the two Saţtakas, Karpūra-mañjarī and Candralekhā, one is struck by the remarkable similarity between them. Some of the scenes and their sequence in Cl. closely resenible, if not imitate, the parallel scenes in corresponding places in Km; and a few instances may be added here. I. The Prastāvanā of Km. and Sthāpanā of Cl. ; the king, queen and Vidūşaka offer descriptions with the seasonal back-ground of spring; the heralds greet the king; Jester quarrels with a maid-servant; a beautiful heroine is described; Bards announce evening; and the characters retire from the stage. II. The attendant tries to divert king's mind; the king broods over heroine's beauty; in Km. the king sees the heroine on the swing and in Cl. at the singing entertainment; both king and Vidūşaka sing alternative lines of a verse and describe the maiden with fanciful imagery' III. The king and heroine meet in a park; the rising moon is described; and the meeting is dispersed by the queen's arrival. IV. The heroine is put into a prison by the and guarded by a battalion of maid-servants. Then there are many ideas and expressions common to both ; and the prologue at the opening is a good illustration: therein īśvara and Pārvatī, quarrelling in love, are referred to; Sattaka is defined; the author introduces himself, informs the audience at whose instance the play is staged, and gives the gist of the plot; and in all this even some sentences are identically worded. A few common ideas may be noted here. The Caitra breezes touch the Cola girls, and they are enjoyed by cobras on their way (Km. I. 1.5, 20 & CI. I. 23-4); Viļūşaka claims hereditary learning (Km. I. 18. 1 & Cl. I. 26. 2); the entrance of a heroine with moon-face (Km. I. 25. 6 otc. & Cl. I. 30, 31); musk cannot be sold in a village (Km. I. 18. 18 & CI. II. 9. 26); Jester has a truce with the maid-servant (Km. II. 6. 14-15 & CI. II. 10. 15); the king requests the heroine not to stand up lest there might be physical pain to her (Km. III. 21& CI. III. 12. 11-12); the king with horripilations resembles a Kadamba plant 1 Konow puts both the lines of a verse in the mouth of Vidüşaka. He has recorded some Mss. which put one line in the mouth of the king and the other in that of Vidusaka. Rudradāsa appears to have had before him suoh Mss. of Km.

·54 CAMDALEHA ; some (Km. III. 24 & Cl. III. 13); the appearance of earth at moon-rise (Km. III. 25 & Cl. III. 15); the achievement of the king in this play Km. IV. 23 & Cl. IV. 29); etc. There are also a few common or nearly common expressions, besides those in the Prologue, between the two works: see for instance, Km. I. 19. 7 & Cl. I. 26. 13; Km. I. 36.1 & Cl. I. 47.7; Km. II. 1.3 (note the variants) & CI. II. 1.4; Km. III. 24. 2 & Cl. III. 14. 2; Km. III. 26. 1-2 & CI. III. 16. 2-5; Km. IV. 9. 2 & Cl. IV. 26. 1; etc. Some verses have a similar ring, at times with certain common words; and some of them have the same metre in corresponding contexts : for instance, Km. II. 10-11 & CI. II. 14-15; Km. II. 32 & Cl. II. 23; Km. III. 29 & Cl. III. 21; etc. and Km. I. 1-2 & Cl. I. 1-2; Km. I. 17 & Cl. 24; etc. Even of the stage-directions are nearly the same at similar contexts: see for instance, Km. I. 25. 10-12 (see the variants) & Cl. I. 27. 16-17; Km. III. 20. 24-25 & Cl. III. 12. 9-10; ete. In giving the list of maid-servants (Km. IV. 9. 8 etc. & CI. IV. 26. 7 etc.) Rudradāsa, somehow setting aside his sense of moderation, mechanically follows the model of Rājasekhara. The opening words thaddam hou or deu, with some symbolic auspiciousness, are common to both; and it is not unlikely that the title Candralekhā, which in the case of Nātikā and Sattaka should be the same as the name of the heroine, has suggested itself to Rudradāsa from the title of the Mrgānkalekhā Kathā of Aparājita to which Rājasekhara has made reference in his prologue. Some of the motifs and situations are common; in a way they are found, with or without minor changes, in most of the Nātikās and Sattakas. The king becomes a Cakravartin after marrying a princess who is brought to his palace through some miraculous means; he falls in love with her, and she also loves him; the fever of love increases on both the sides; she sends a love letter to him; he sees her and also meets her; the suspicious queen watches her movements and finally imprisons her; at last the queen becomes favourable; and the wedding ceremony is celebrated. There are certain aspects of Km. which have not got their counterparts in Cl.: the round-about abuses exchanged by the Jester and Ceți; King's dream and Vidūşaka's counter-dream; and the discussion about the philosophy of love between the king and Jester. Whatever is ostentatious, excessive and extreme in Km. is often toned down and presented in a sober form in Cl. The vaunting Bhairavānanda with his licentious creed is replaced by the jewel ·INTRODUCTION 55 Cintāmaņi presided over by a patronising and benevolent deity; the swing and Aśoka scenes have their purpose served by a singing entertainment. Rājasekhara, as a young court-poet and having his play staged at the instance of his cultured wife Avantisundarī, shows a youthful buoyancy in depicting the amorous sentiment; his descriptions of womanly beauty are frank, and pining plaints of separated lovers are outspoken. Rudradāsa, however, shows a great deal of self-restraint without sacrificing the flow of sentiment: he fully describes his heroine, but she is not half-naked, brought before the king in her bathing dress; he gives fewer opportunities for the king to see and describe the heroine. In fine his amorous sentiment is characterised by a subdued spirit and presented with moderation. Rudradāsa has his innovations and improvements. The episode of the Sārikā bird, which is placed in the throat of a statue put in the drawing-room of the king and which overhears king's talk to divulge it to the jealous queen, is not found in Km.; but it is well used in Cl. to heighten queen's anger. A similar motif is employed by Rājasekhara in his Bālarāmāyaṇa (V.6). The scene of various feudatories paying respects to the king, introduced in Cl., has nothing dramatic about it; but possibly it is intended to tickle the vanity of Mānaveda who is not an imaginary hero but a ruler contemporary with the author. In Km., the heroine gives all her personal details to the queen, and their relation is clear almost from the beginning: this has forced Rājasekhara, through the mouth of Bhairavānanda, to give non-factual or imaginary names of the parents of Ghanasāramañjarī which is only another name of Karpūramañjarī whose parents are already once mentioned, and also to introduce that hide-and-seek scene so hard to manage on a simple stage. Rudradāsa has successfully improved on this. The heroine, when she comes first, is recognised only as noble-born; and her real identity and relation with the queen are disclosed almost at the end. In a way all this can be managed better on the stage. Rudradāsa makes no reference whatsoever either to Rājasekhara or to his Karpūra-mañjarī as for instance Nayacandra has done. The above observations make it abundantly clear that Cl. is primarily based on Km. and inherits many of its details. But the Candralekhā, it has to be admitted, distinguishes itself mainly on account of its author's individuality which is that of a rigorously trained poet who is endowed with a sober mind, pious temperament amateur skill, uncreative but orderly genius and subdued zeal.

·56 CAMDALEHÄ vi) CANDRALEKHĂ, AS A LITERARY PIECE When the spring season is bathing the earth with beauty, the miraculous jewel Cintāmaņi brings to the palace of king Mānaveda a lovely girl, of noble descent and winning appearance. The king falls in love with her, and she also feels attraction for him. The queen is suspicious and guards her movements. The king suffers pangs of separation, and his mind is being diverted by Vidūşaka and attendants. Once he gets an opportunity to see and hear the heroine singing in the Ruby park. Along with the passion of lovers, the jealousy of the queen increases. The lovers meet each other in the Plantain arbour. The queen now keeps the heroine in chains. The lovely heroine, it is disclosed, is Candralekhā, the cousin sister of the queen; and she was already betrothed to Mānaveda whom she would make a universal monarch. The queen consents to the marriage, and Mānaveda is wedded to Candralekhā. This is the outline of all that we get in the Candralekha by way of plot. The story is neither engrossing, nor are the threads of the plot complicated. This is all quite in keeping with the spirit of most of our dramas; and the subject-matter is just of the pattern dictated by theory for a Nātikā, and consequently for a Sattaka. In working out the development of the intrigue and some of the details of the plot (for instance, the Sārikā episode, Vidūşaka talking in dream, keeping the heroine unrecognised almost upto the end, etc.) Rudradāsa shows some cleverness. The characters are of timehonoured mould; their words, movements and acts have nothing extraordinary about them that they might get individualised and capture the attention of readers or spectators: in short there is no attempt at characterisation. Due to want of action, the Candralekha is more a dramatic poem with a set of florid and poetic extracts than a play; it deserves to be read, nay studied, rather than witnessed; and its author stands before our eyes more prominently as a poet. Rudradāsa has created many an opportunity for descriptions in which he could exhibit his poetic ability: the king Mānaveda, his metropolis, the spring scenes in the park etc., physical charms of à maiden, the condition of separated lovers, the singing entertainment, the evening, moon-rise, the feudatory kings etc. He takes peculiar pleasure in presenting long metres and prose passages loaded with lengthy compounds. These long speeches rumbling with compound expressions would certainly torture an audience.

·INTRODUCTION 57 What could have been gracefully acted in sharp conversation is described there at length. Racy conversation with pithy sentences pushing on the plot in a brisk manner is a thing perhaps unknown to our author. Even the Jester's quarrel with the maid servant has nothing particularly light and hurmorous about it. The pining plaints and the passionate outbursts of the king in the presence of Jester etc. afford nice occasions for the poet to introduce lyrical stanzas describing beauties of nature, graces of women and caprices of cupid. Rudradāsa's depiction of love or amorous sentiment lacks buoyancy and is presented under much restraint. Apart from the artificiality of his Präkrit dialect, Rudradāsa's style is forceful but heavy. His descriptions present a flurry of high sounding words; and there is little of originality and subtle touch in the imagery projected by him. Some of his ideas in the description of moon-light and heroine's graces have an air of novelty, but it is often obscured by heavy and elaborate expression, His rushing composition often reminds us of the style of Bhavabhūti and Rājasekhara; the latter, of course, is his immediate anodel. Though he does not possess much case of Prākrit expression, he can nearly rank with Rājasekhara in his love for long metres and his mastery over Prākrit versification. Some of his gāthā varieties are quite happy in their sound and sense; and here and there, though to a less extent when compared with Rājasekhara, he shows some inclination for sound effect and alliteration. This play, as the author tells us, was composed for the pandita-mandala, the Learned Circle, in the court of Mānayeda. Rudradāsa thus sought the approval of men of learning who were intent on discerning poetie merits and beauties in his play. He has strained every nerve to give elaborate descriptions, highly decked prose passages and high sounding verses; it is a fine exercise in cultivated style through literary Prākrit; but the result has fallen short of what a drama should really be. vii) PRĀKRIT IN THE CANDRALEKHA In estimating the cultivation of and the composition in a literary language, three factors are to be mainly considered: the grammatical mould, the literary nourishment and incidental influences. To be more explicit, in judging the composition of an author in a classical language we must try to ascertain what grammatical system he had studied, what tract of literature in that language ·5S CANDALEHA he was acquainted with, and what incidental influences on his language have been there from contemporary regional languages, from the author's mother-tongue and from his specialised knowledge etc. A post-medieval Jaina author from Gujarāt and round about writing in Prūkrit shows sufficient mastery over Hemacandra's Prākrit grammar. His language shows that he is acquainted with Ardhamāgadhi canon, post-canonical treatises and Prākrit (or, as we call it to-day, Jaina Mālārāștrī) works of authors like Haribhadra. The Sanskrit language in which he is normally adept, the popular Apabhrrśa poetry with its various peculiarities, the vernacular idioms and words, and the Jaina technical terms-all these, in some degree or the other, leave their stamp on his language and style. Many post-medieval Präkrit authors from the North not only show, like earlier authors, traces of popular Apabbraṁsa in their language but also add, without any hesitation, their songs and specific descriptions in Apabhramsa almost in continuation of their Prākrit composition. For us, from a distance, this is rather strange ; but for them, and really speaking, composition in Prākrit and Apābhramba, side by side, was but natural and inevitable in the North in post-medieval times. The South Indian authors like Līlāśuka, Srikantha, Rudradāsa and Rāma Pāņivāda, who come from the extreme South, hape contributed their mite to Prākrit literature under great handicaps which we may try to appreciate. They belong to the decadent period of Prākrit literature; Prākrit had no attraction for them as the language of their religious scriptures; they lived in a part of the country where the current languages were of Dravidian stock and unconnected with any stage of Prākrit; and their acquaintance with the Indo-Aryan languages was mainly through the study of classical Sanskrit grammar. In the light of the above remarks, a study of Candralekha shows certain facts. Rudradāsa is following the Prākrit grammar of Vararuci, the first nine chapters, as available in southern Mss. About the Prākrit literature which he had studied there is very little direct evidence in his style and language. He does not appear to have studied any Prākrit and Apabhramsa works of Jaina authors from the North: their influence is not seen at all. The Karpūramañjarī of Rājasekhara, as preserved in South Indian mss., was there before him; and he has closely followed it, even reproduced some sentences from it. It is quite likely that he studied Prākrit ·INTRODUCTION 59 portions of plays, gāthās from Häla's Kośa and poems like Rāvanavaho. His strength as a Prākrit poet is mainly based on his thorough grounding in Sanskrit language and literature, liis ability to corrupt Sanskrit words into Prūkrit, directly or analogically, by applying the rules of Vararuci's grammar, and lastly, on his facility of handling various metrical forms including the varietes of gāthā. It is but natural that the Prākrit of Candralekhā sounds artificial, much different from the lively expression in genuine Prākrit literature. Minor dialectal differences apart, the classical Prākrit stage, as distinguished from Sanskrit, characterises itself by certain phonetic peculiarities: the loss of vowel sounds ?, ř, ai and ar; the reduction of three sibilants to one; the final syllable to be necessarily a vowel, at times with anusvāra or nasalisation; simplification of conjunct groups through processes like assimilation; and the law of quantity which brings about shortening of long vowels before double consonants, reduction of several consonants to two and sometimes loss of one of the two consonants after an original long vowel or after a vowel which was originally short and has only been lengthened at the same time: 1 Speaking about its phonetic aspect, with Sanskrit at one end and the rise of Modern Indian languages at the other, the intervening stage of Prākrit in its wide sense or Middle Indo-Aryan can be split into various consecutive sub-stages: Old or Early Middle Indo-Aryan (Early Prākrit Stage), Transitional Middle Indo-Aryan, Second Middle Indo-Aryan (Prakrit Proper), and Third or: Late Middle Indo-Aryan (Apabhramsa). The first stage keeps the intervocal single stops intact; during the transitional period they get voiced or spirantised; and in the Prākrit Proper they drop off from the speech. Apabhramśa presupposes almost entirely the Prākritic vocabulary; and then it is an attempt at the grammatical approximation to the language of the people. These sub-stages can be roughly illustrated by various Prakrit dialects: Inscriptional Prākrit, Pāli, Paiſūcī; Saurasenī, Māgadhi; Māhäräştrī; and Apabhraniša. This marking of sub-stages is true so far as theoretical evolution in concerned; but once these stages are given å 1 H. Jacobi: Ansgewählte Erzälungen in Māhārūştri, Intro., p. XII, Leipzig 1886. 2 8. K. Chatterji: Indo-Aryan and Hindi, p. 84, Ahmedabad 1942.

·60 CANIDALCHA literary status and used in literature, they may be cultivated as literary languages side by side and even with cross influences and regional colouring. The chronological sequence can no more be maintained. According to Dr. Chatterji: “This spirant pronunciation appears to have been in force for the entire Aryan speech-area during a century or two both before and after Christ-roughly, from 200 B. C. to 200 A. D. Orthography in inseriptions, and hesitancy about intervocal stops are an indication of this spirant pronunciation: also some evidence is obtained from the employment of the Indian alphabet for an extra-Indian language like Old Kliotunese, which possessed these spirants. The Indians did not care to invent new signs for these new sounds." Turning to the evidence supplied by literature, that phase of Prākrit or Middle Indo-Aryan, which shows the general tendency of dropping intervocalie stops, appears to have come into a literary prominence and was used in an artistic style sometime in the first two centuries of the Christian era. It had its blooming expression through its favourite gāthā metre; and the collection of seven centuries of gāthās attributed to Hāla does presuppose a large body of lyrical songs. In general these găthās are elastic in sound, natural in expression and fresh in outlook. A continued literary cultivation was bound to give such a language an artificial appearance. Perhaps it was Mahārāstra, with its area round about Pratişthāna and under the Andhrabhỉtyas, that was the original cradle of this dialect; but soon it gained ground and popularity, as a literary language, elsewhere too. The phonology of Ardhamägadlī of the Jaina canon, which was rearranged at the Valabhi council in 453 A. D., came under its influence. The literary Präkrit cultivated by Jaina authors does possess elements of earlier stage as seen in the Vasudevahiņdī; but even that (which we call Jaina Māhārāstrī), in the works of Haribhadra etc., began to approach very near the dialect of lyrical gāthās. Even learned Sanskrit writers felt attraction for it. A highly trained poet like Pravarasena, who possessed a remarkable mastery over Sanskrit vocabulary and metres, chose this Prākrit dialect for a learned kavya, and we have his Setubandha today. Daņdin (earlier than 700 A. D.) compliments it as being written in the best Prākrit current in Mahārāştra. This Prākrit has been called by the name Māhārāştrī. The artistic poems like the Gaudavaho, Lūlávati etc. in gāthā metre, are also written in the same. Its popularity can be guaged by ·INTRODUCTION 61 some were more facts.: Prākrit grammarians give it an claborate treatment, and accepting it as a standard, note the deviations from it in the case of other dialects; rhetoricians quote plenty of verses in this dialect; and many more Kāvyas, than those available today, written in it. Delineating its back-ground, Jacobi? has suggested its influence even on Sanskrit poetry: “It was probably through its contact with a popular with a popular poetical art, the one in Māhārāștrī, that the Sanskrit poetry of the “Renaissance' also gained those qualities of freshness and naturalness which are praised in the case of Vaidarbhī. The Prakrit netre Gatha appears as Āryā in Sanskrit; and Somadeva in his Yasastilaka and Jayadeva in his Gītagovinda imitated some popular Apabhramsa metres, According to early dramatic theory, to a very great extent confirmed by the Prākrit speeches in plays, šauraseni was put in the mouth of ladies etc. Sauraseni is mentioned by Bharata (c. 3rd century A. D.) who does not mention the name of Māhārāştrī. The dramatic tradition of Bharata gives a place of recognition to Saurasení. Phonetically it belongs to the transitional stage in the evolution of Middle Indo-Aryan; but with the gradual popularity of Māhārāstrī, it was sure to be affected by it as a literary language. Jacobi has already detected a Pre-classical Prākrit,s which was used in place of Māhūrāştri in early days, in the Dhruvas of the Nāțyaśāstra. In some respects it is akin to Saurasenī,' a name already given to it by Bharata himself. It possesses many a trait of transitional character. The dialect of the sūtras of Dhavala etc., the Prākrit proso coinmentaries therein, and of the Pro-canonical texts of Digambarast is more akin to Saurasenī than to classical Māhārāştrī. possibly a literary language based on the popular speech of Sürasena country, has to be accepted as an eminent Prakrit of the plays. The Indian dramas, almost from the beginning, contain both Any way Sauraseni, 444444 1 Ausgewählte Erzälungen in Mahārāştri, Intro. p. XVII. 2 Ser Jacobi's discussion in his Essay on the Younger Litorary Präkrit, Bhavisattakahi (München 1918), Intro. pp. 81-89. 3 M. Ghosh: Prakrta Verses of the Bharata-Natya-śãatra, Section 4, Indian H. Q., vol. VIII, 1932; The Date of the Bharata-Nätgaśastra, p. 29, Journal of the Department of Lettors, vol XXV, Calcutta 1934. 4 A. N. Upadhye: Pravacanasira (Bombay 1935 ) Intro. p. 124 f.

·62 CANDALERA Sanskrit and Prakrit, and are written in prose and verse. The dialect of the Prakrit prose can be Saurasení, or Māgadhi or something approximating to it according to conventions which had at their basis actual facts in the society in carlier times, In early days the songs too inust have been in Sauraseni like the Dhruvas of the Nātyaśāstra. But with the rise of lyrical gūthūs in Māhārāștri, the preeminent Prakrit of poesy, the plays were sure to admit some of them for the entertainment of the audience. Though they are absent in the plays of Bhasi, their traces appear in the Myochakatikam and Sakuntalain. The Prakrit language of the plays in general and of the verses in particular was bound to be influenced by Mābārāştri tendencies. It is in this back-ground that we have to understand the remark of Visvanātha in his Sāhityadarpana (VI. 159): that women not of lowly origin should speak Sauraseni in drama, but in their songs they should use Māhārāștri”. The verses used in plays could not escape the influence of that elastic dialect so happily perpetuated in the gāthäs of Häla etc. Śauraseni and Mābāraştrī might have had their basis in popular speeches in two different regions; but it is almost beyond detection now. Once they became literary languages and were imitated in literature, all the while evolving side by side, inutual contamination, especially in the plays, was inevitable. When grammarians use these terms, we must try to grasp their limitations. The grammatical tradition they theinselves followed and the literature which they had in view give a specific significance to all that they add about them. Though it is true, to a certain degree, that they have a basic common tradition about Prākrit grammar, almost all our Prākrit grammars are partial attempts: their sphere of influence is often limited and the literature which they have taken into account is meagre. Naturally we face a complicated situation today in distinguishing Saurasenſ and Māhārāştrī as described by different Prākrit grammarians. In the plays soine influence is weilded by Sanskrit also on the Prākrit passages, because the passages in both of them are preserved side by side. Pischel, it is true, has attempted a comprehensive Prākrit grammar which is admirable; but by rigorously applying his standards to earlier texts we are faced with grave difficulties. A good illustration to the point 1 See the discussion above pp. 24-27. 2 Grammatik der Prākrit Sprachen, Strassburg 1900.

·63 INTRODUCTION is seen in Pischel's 2nd edition of Śakuntala brought out by Cappaller.? Without important new ms. material, dialectal changes iu Prākrit passages were effected in view of grammatical demands. With a zeal for thoroughness and uniformity Konow had to correct many forms, even against the readings of all ass., in order to make the prose thoroughly Śauraseni and verses thoroughly Mālārāstrī in the Karpūra-mañjarī. If the best mss. do not sanction i form, the editor, I think, has no right to restore it, simply because he holds a certain grammatical discipline as his standard. In his edition of Karpūra-mañjarī Konow has put all the verses in Māhārāşırī and prose in Saurasenī, following the definitions of these dialects mainly as given by Pischel. But in this edition of Candraleklā, as explained above (p. 5 f.), I have been faithful to the MS. I believe, neither the standard of Hemacandra nor that of Pischel can be rigorously applied to the Candralekha. It is true, in a general way, that the verses here show some tendency to use the verbal terminations -2, -4 rather than -di, -d26; but not that they do not at all use the latter in verses and the former in prose. Rudradāsa writes both his verses and prose in the same language; the terms Sauraseni and Māhārāştrī as defined by Hemacandra, Mārkandeya or Pischel need not be applied to it; it should be called Prūkta as the author calls it; it is nearly the same as the one described in the grammar of Vararuci, current in the south; and it is much influenced by the expressions of the Karpūra-nañjari. viii) METRES IN THE CANDRALEKHA The Candralekhã contains (41+34+24+30=) 129 verses, in different metres, distributed over four Yavanikīntaras. They are arranged below according to Devanāgari alphabets, with necessary references to Yava. and verse-number. Arya (2): II. 32, III. 22. Udgīti (1): II. 26. Upagīti (1): I. 11. Gīti (27): 1. 7, 8, 9, 10, 12, 25, 26, 31, 32, 33 and 37, II, 6, 11, 12, 17, 18, 22, 24, 25, 27, 28, 29, 30, 31 and 33, III. 1 and 7. Dodhaka (1): III. 21. Puşpitāgrā (3): 1.2, III. 2 and 13. 1 Kālidāsa's Sakuntala, Harvard Oriental Series, 16, ILurvard University Press 1922, Preface p. 15 f., and also p. 250 etc.

·CAMDALEHÀ : Přthvi (10): I. 17, 21 and 30, II. 23, III. 17 and 18, IV. 7, 25, 26 and 30. Mandākrāntā (2): II. S and 13. Mālinī (4): II. 5 and 9, III. 4 and 5. Rathoddhatā (2): I. 18, III. 23. Vasantatilaka (16): 1, 5, 13, 16, 35, 36 and 40, II. 16, III, 3 and 6, IV. 10, 12, 14, 16, 18, 20 and 22. Śārdūlavikrīdita (26): I. 1, 3, 6, 14, 20, 22, 23, 24, 28, 34 and 38, II. 1, 7, 10 and 21, III. 8, 11, 12, 14, 15, 16 and 20, IV. 1, 2, 5 and 17. śikhariņi (3): I. 4 and 41, II. 15. Sragdharā (27): I. 15, 19, 27 and 39, II. 2, 3, 4, 14 and 34, III. 9, 10, 19 and 24, IV.4, 6, 8, 9, 11, 13, 15, 19, 21, 23, 24, 27, 28 and 29. Hariņi (2): II. 19, 20. It is in the fitness of things that our author has included many Gītis etc. which are the verieties of Aryā, the same as Gāthā, the preeminent Prākrit metre. One Gīti is short by two mātrās in the 3rd pāda (II. 12). There are some cases of the violation of yati, for instance, I. 19 ( 4th line), I. 38 ( 3rd line), II. 5 (4th line), II. 8 ( 4th line), III. 4 (1st line), III. 19 (2nd line), III. 20 (4th line), IV. 1 (1st line), IV, 9 (first three lines), 11 (4th line) and 13 (3rd line). 4. RUDRADĀSA: THE AUTHOR The information which the author of Candralekha gives about himself in the Sthāpanā (1. 5. 4 etc.) of the play is quite meagre. His name is Rudradāsa; he belonged to the Păraśava community (varsa) the members of which took pride in their devotion to the feet of Brāhmaṇas, were far famed, and diverted themselves by literary compositions; and he was a disciple (sisya) of Rudra and Śrīkantha who were eminent in giving instructions. We may try to shed some light on the above points from other sources. According to the Manusmrti (IX. 178), Pāraśava is an issue of a Brāhmaṇa from a Śūdra lady. Yājñavalkya says that she is a wife by marriage. Such a son, though living, is as good as dead, i. e. he does not possess all the rights and privileges of a son; and hence his name pārasava (pārayann eva savaḥ). Kullūka allows frāddha etc. for him. The Pāraśavas have a pretty ·INTRODUCTION 65 22 high antiquity.? "An inscription from Bengal, belonging to the seventh century, describes a certain individual as (pāraśava' and makes him the issue of a Brahmin father and a Sūdra mother, which is in conformity with rules of the sacred laws. Bāna, in liis Harshacharita, also tells us that his father, a Brahmin, had a Sūdra wife besides a Brahmin one, and describes her issue as his pāraśava brothers'. In the Kerala province Pūrasarits are known as Vāriyaras (also spelt, Warrier) who form a subsection of the group of Ampalavāsis (literally, temple-residents) whose hereditary occupation is temple service. The duties of the Vāriyaras are to sweep the temple premises, cleanse the templeutensils, collect flowers and make garlands. They hold a rank below the Kșatriyas in the social hierarchy of Kerala. They are believed to have had their origin in the union of Nampūtiri (Kerala) Brāhmaṇas with Nāyar women; and like the Nīyars they follow the matrimonial system of inheritance. The text of Candralekhā (1. 5. 4 etc.) makes a reference to their menial service in the temple, and perhaps hints that they were not duly respected in the society. Our author, however, would not like them to le condemned, because they render service to Brāhmaṇas, they are devoted to literary pursuit, and among them has been born Rudra, of pure character ( sudulha-vuitta-suhao). Pāraśavas arc renowned for Sanskrit scholarship in Kerala from very early times. There is no doubt that Rudradāsa had worthy teachers in Rudra and Srikantha, the former definitely and the latter probably of the Pūraśava community. Considering their issociation with Zamorins of Calicut, it appears that this Rudra is the same as the author of the commentary Bhaktapriyā on the Nārāyaniyam (A. D. 1585) of Nārāyaṇa Bhattatiri (1560-1646 A. D.). Further this Śríkantha, it is likely, is the same as the author of the Präkrit Kāvya, the Soricaritta, in which he mentions Rudra as his fellowstudent. 3 Rudradāsa, like his teachers, enjoyed the patronage of the Zamorins of Calicut; and Mānaveda, whose marriage is celebrated in the Candralekhā, was his contemporary Zamorin. The Zamorins of Calicut were not only great warriors, but they were also great 1 G, S. Ghurye: Caste and Race in India, London 1932, p. 91. 2 M. Krishnamachariar: History of Classical Sanskrit Literature, p. 254. 3 See my paper «The Soricaritta : A Prākrit Kavya', Journal of the University of Bombay, XII, ii, pp. 47-62. 9 चं. ले.

·66 CANDALEHA on patrons of poets and philosophers. Every member of the royal family, prince and princess alike, took keen interest in Sanskrit learning; and some of them hold a high place in the history of Sanskrit literature in Kerala. Every year they convened a grand assembly of the learned, and extended patronage to scholars of outstanding talent and ability. Their generosity bestowed gifts not only on Brāhmaṇas but also on Vūriyars or Pärnsavis. In fact the hereditary tutor of the family was the Vāriyar of Deśamangalam. It is account of his commentary on the Nārāyaṇīyam that Rudra became a special favourite of the Zamorin Mānaveda (1. D. 1655-58 ), the author of Krsna-lāțaka. Mānaveda I showed great regard for Rudra by putting in his charge the education of his nephew and successor, Mänaveda II, known as Aśvati Tirunā! from the asterism under which he was born, Mānaveda II came to the throne in A. D. 1658 and ruled for four years. He was a man of learning and i lover of the learned. In his court flourished the east coast poet generally called Cidambarakavi who extolled the glories of his patrou in his play Lakşmi-Mānavedam. In all probability it is Mânaveda II who was the patron of our author Rudradāsa and who figures as the hero in the Candralekhā. Thus possibly Rudradāsa wrote the Candralekha some time about 1660 A. D. No other work of his has come to light so far.

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·[I] भई देउ गआणणो भगवई भासा मुहे भाउ सा भूदेवा कुसलं कुणंतु कइणो सच्चे पसीदंतु णो आणंदाउल-माणसा सहिअआ सजंतु णिम्मच्छर अच्छेसुं परिकीलिउं रस-सुहा-सोतेसु सुतेसु णो॥१॥ (नान्धन्ते, ततः प्रविशति सूत्रधारः।) सूत्रधारः- पणमह सुइ-राअ-हंसएसुं हर-णअणेसु मुहंबुऊसुएसुं। पअ-कमल-पहाविअंउमाए पढम-णइम्मि अवंग-भिंग-मालं ॥२॥ II अवि अ। देवे चंद-सिहामणिम्मि पणए सल्लोअ-कल्लोलिणि चूडा-मंडण-लालिअं णिज-पहा-रतंसुअग्गेण जे । सिग्छ छादिअ होति पेम्म-कलह-च्छेदे दुवे दक्षिणा पाआ पंचअ-कण्णआएँ पउरं लांच्छ पंअच्छंतु वो॥३॥ अवि अ। 1 K opens thus : श्रीः चन्द्रलेखासट्टकम् ॥. 2 rh भअवई. 3 x कुलणो. 4 सुत्तंसु. 5K 6 5 पठमणइदिअपाङ्गभिङ्गिमालम्. '7 सिखाम. 8 Kh मण्डल. 9 xh गिरिकपणआअ. 10 पअच्छेदु, but rh पअच्छन्तु. संस्कृतच्छाया] T) भद्रं ददातु गजाननो भगवती भाषा मुखे भातु सा, भूदेवाः कुशलं कुर्वन्तु कवयः सर्वे प्रसीदन्तु ते । आनन्दाकुलमानसाः सहृदयाः सजन्तु निर्मत्सरं, अच्छेषु परि- क्रीडितुं रससुधास्रोतस्सु सूक्तेषु नः॥१॥ II) प्रणमत शुचिराजहंसकेषु, हरनयनेषु मुखाम्बुजोत्सुकेषु । पदकमलप्रधावितामुमायाः, प्रथमनतावपाङ्गभृङ्गमालाम् ॥२॥ अपि च। देवे चन्द्रशिखामणौ प्रणते खर्लोककल्लोलिनी, चूडामण्डनलालितां निजप्रभारक्तां- शुकारेण यौ। शीघ्रं छादयित्वा भवतः प्रेमकलहच्छेदे द्वौ दक्षिणी, पादौ पर्वतकन्यकायाः १ has the opening title मानवेदचरितम्. २ ॥ *भूदेवः कुशलं करोतु*. ३ से, but corrected as ते. ४ ५ निर्भत्सरा. ५ ४ सूक्ष्मेषुः ६ . सुचिराय हंस. हरदनेषु. ८ KM मण्डलका . ९. येन. १० भगवतः. ११ मादौ तौ गिरिकन्यकाया.

·२ चंदलेहाए LI. 40/- दर-म्हेरे धेरे गहिज-बहुमाणे महुमहे सुणासीरे धीरे सुर-अण-मुहे पत्त-वडणे । घणाणंदे बंदे पणइ-समए भूद-पइणा खणं दिण्णे पुण्णे पणमह कैडक्खे बहुविहे ॥४॥ (नेपथ्ये कर्णं दत्त्वां) कह आढतो एच सण्णहिज्जत-सुरव-रवम्मंसलो कंसवाल- • सजण-जणिअ-झणझणाराव-पिञ्चरो ओअरण-प्पअट्ट-पट्टई-करामु- चंत-मणि-कंकण-झंकरण-संकुलो पत-विसेस-विणिउज्जत-सज्जत- कुसल-कुसीलव-कलकल-बहलो णट्टण-कोलाहलो। ता पुच्छिस्सं दाय किणद्विदच्वं ति । (परिक्रम्य नेपथ्याभिमुखमवलोक्य) मारिस, इदो दाव । (प्रविश्य पारिपार्श्वकः) पारिपार्श्वक:-"आणवेदु भावो। सूत्रधारः-कस्स गट्टणं आढप्पड तुम्हहिं । पारिपार्श्वकः-सट्टाओ णट्टिदव्वो। सूत्रधारः-(सहर्षम् ) अअं अवसरो अम्हाणं पओअ-विण्णाणं दै- सिद् । णिहसो खु सट्टओ णट्टआणं कईणं च विअड्डदाएँ। (विचिन्त्य) 12 1K दरन्येरे न्यरे. 2 : कन्दे पाणद, but Kh खन्दे पणइ. 3 कटक्खे. 4 Instead of this stage direction, which is found in Kh, we have परिक्रम्य नेपथ्याभिमुखमवलोक्य in r. TE gives this direction above, but ab adds it at this place. 6 . 7 E JŪETETT. 8 K विअदाए. प्रचुरी लक्ष्मी प्रयच्छतां वः ॥३॥ अपि च । ईषत्-स्मेरान् ब्रह्मणि गृहीतबहुमानान् मधु- मथे, शुनासीरे धीरान सुरगणमुखे प्राक्तनान् । घनानन्दान् स्कन्दे प्रणतिसमये भूत- पतिना, क्षणं दत्तान् पूर्णान् प्रणमत कटाक्षान् बहुविधान् ॥ ४॥ (...) कथमारब्ध एव सन्नमानमुरजरवमांसलः कांस्यतालसजनजनितझणझणारावपीवरः अपकरणप्रवृत्त नर्तकीकरामुध्यमानमणिकङ्कणझङ्करणसंकुलः पात्रविशेषविनियुज्यमानसजत्कुशलकुशी- लवकलकलबहुलः नर्तनकोलाहलः। तत् प्रक्ष्यामि तावत् किं नर्तितव्यम् इति । (...) मारिष, इतस्तावत् । I) आज्ञापयतु भाः। II) कस्य नर्तनमारभ्यते युष्माभिः । III) सट्टकः नर्तितव्यः। IV) अयं अवसरः अस्माकं प्रयोगविज्ञानं दर्शयितुम् । निकषः १ र ईषद् ब्रह्मणि सेरान्, M दरं स्थदरे स्वरान्मागृहीत. २ मुरवरव, # मुरपरव.३ M खणखणाराव; hereafter m-has a long gap upto the last päda of verse No. 9; & major portion is misplaced. further rather irregularly: so only , some readings could be notedk ४ भवान्, भाव.. 4K omits this.sentence, ·-1.6d] बाढम जणिअंतर सो सट्टओ सहअरो किल णाडिआए ताए चउज्जवणिअंतर-बंधुरंगो। चित्तत्थ-सुन्तिअ-रसो परमेक-भासो विक्खंभआदि-रहिओ कहिओ बुहेहिं ॥ ५ ॥ मारिस, कस्स उण सरस्सई-णीसंदो सट्टओ णट्टिदव्यो। पारिपार्श्वकः-"किं वि अच्छरिअं सुणादु भावो। वाअस-वअणादो पंचम-राओ उदंचइ, णिब-विडवादों मोअं उष्पज्जइ, कारक्खर-: फलादो पीऊस-रसो पसरह, जं देव-मंदिर-बाहिरालिंद-समजणा- दि-वावार-मन्न-पराअणाहिंतो पारसव-पसूहितो संझा-समअ-संफुल्लु- मल्लिआ-महुर-मअरंद-णीसंद-गब्भो संदभो पहवदि। सूत्रधारः-"मारिस, मा एव्वं । ण खुणिंदणिज्जा तत्थ-भवतो पारसवा । जदो जाणं बम्हण-लोअ-पाद-जुअली-सुस्सूसणं भूसणं जाणं णिम्मल-कव्व-चव्वण-कहा-संसीलणं कीलणं । वंसे जाण अ सुद्ध-वुत्त-सुहओ सो रुद्द-मुत्ता-मणी जाओ ताण थुईसु कस्स भुवणे जीहा णिरीहा भवे ॥६॥ 15 ताणिं चरजवणि', but Kh ताए. सुत्तितः, but rh सुत्तिअ. 3 Komits मारिस, but xh gives it. 4. F विटपादो. 5 x पापरिणाहितो. 6 पवह दि. 7 Komits मारिस, but sh has it. 8 5 तत्तभवन्तो. 95 पादुः. 10 थाण. खलु सट्टकोनर्तकानां कवीनां च विदग्धतायाः।(...) स सट्टका सहचरः किल नाटिकायाः, तस्याश्चतुर्यवनिकान्तरबन्धुराङ्गः। चित्रार्थसूत्रितरसः परमेकभाषः, विष्कम्भकादिरहितः कथितो बुधैः ॥ ५॥ मारिष, कस्य पुनः सरखतीनिष्यन्दः सट्टको नर्तितव्यः। I) किमपि आश्चर्य शृणोतु भावः। वायसवदनात् पञ्चमराग उदञ्चति, निम्बविटैपान्मोचमुत्पद्यते, कारस्करफलात् पीयूषरसः प्रसरति, यद्देवमन्दिरबाह्यालिन्दादिसंमार्जनादिव्यापार- मात्रपरायणात् पारशवपशोः संध्यासमयसंफुल्लमल्लिकामधुरमकरन्दनिष्यन्दगर्भः संदर्भः प्रभवति । II) मारिष, मैवं । न खलु निन्दनीयास्तत्रभवन्तः पारशवाः] । यतः, येषां ब्राह्मणलोकपादयुगलीशुश्रूषणं भूषणं, येषां निर्मलकाव्यचर्वणकथासंशीलनं क्रीडनम् । वंशे येषां च शुद्धवृत्तसुभगः स रुद्रमुक्तामणिर्जातस्तेषां स्तुतिषु कस्य भुवने जिह्ना निरीहा १ ॥ बन्धुराग- २ ॥ सूक्तिकरसः. ३ x omits मारिष given by M. ४ . विटपान्मौक्तिकमु. ५ र संमार्ज(मान)नादि. ६ र गर्भाः सन्दर्भाः प्रभवन्ति. .७ x omits मारिष. ८ ( शुद्धवृत्ते सुभगः- ·3 । ক? [I.6.1- पारिपार्श्वक:- "तस्स रुदस्स सिरिअंठस्स असिस्सो रुद्ददास-णाम- हेओ किल तस्स कई। सूत्रधारः-तं उववज्जई । तरणि-किरण-जाल-णिरत्थ-नंदादो एव्व अरविंदादो महुअराणंद कंदो पसरइ मरंद-णीसंदो। पारिपार्श्वकः -IIIतारिसोताणं रुद्द-सिरिअंठाणं सिक्खा-विसेसो। सूत्रधार:- किं भण्णई। वड-दल-गओ वि रुद्दो वक्खाणं जाण सुणिअ सिर-अंयं। मंदंदोलिअ-चंदं फंदंत-फणिंद-कुंडलं देइ ॥ ७ ॥ पारिपार्श्वक:--'णमो महप्पाणं । तेणं आवज्जिआ सज्जणा। सूत्रधारः --कह। पारिपार्श्वक:- पञ्चुव्वज्जइ पुलओ हिअअं उवणेइ आसणं सुहों। उवहरइ अग्घमच्छी सज्जण-कण्णादिहीण सुत्तीणं ॥४॥ 3 VII) किं च। कव्व-णिबंधे कइणो धम्म-अलं ओहरंति मुह-लग्गं । आणंद-बाह-सिसिरा सिर-अंप-समीरणा खु सूरीणं ॥९॥ 4 Kb भाव तेण. 5 (कलणो. 65 1xता उपपजई. 2K किं फणइ. ३ rh वडअलगओ. विबुहाणम्, but xh has सूरीणमू. भवेत् ॥ ६॥ I) तस्य रुद्रस्य श्रीकण्ठस्य च शिष्यो रुद्रदासनामधेयः किल तस्य कविः । II) तदुपपद्यते । तरणिकिरणजालनिरस्ततन्द्रादेवारविन्दान्मधुकरानन्दकन्दः प्रसरति मकरन्दनिष्यन्दः। III) किं तादृशस्तयोः रुद्रश्रीकण्ठयोः शिक्षाविशेषः। IV) किं भण्यते । वटतलगतोऽपि रुद्रो व्याख्यानं ययोः श्रुत्वा शिरःकम्पम् । मन्दान्दो- लितचन्द्रं स्पन्दमानफणीन्द्रकुण्डलं ददाति ॥ ७॥ V) नमो महद्भ्याम् । तेन आव- र्जिताः सजनाः। VI) कथम् । VII) प्रत्युद्बजति पुलकः हृदयमुपनयत्यासनं सुभगम् । उपहरत्यय॑मक्षि सजनकर्णातिथीनां सूक्तीनाम् ॥ ८ ॥ किं च । काव्यनिबन्धे कवेः धर्मजलमपहरन्ति मुखलग्नम् । आनन्दबाष्पशिशिराः शिरकम्पसमीरणाः खलु सूरी- १M पूरिणाम् for सूरीणाम, ·-I. 12.6] पढर्म जवाणित अब्भत्थिों च णेण । जह अगणिअ णवं ति दोसं अणिरूविअ णिअडदा-कअं 'णिदं । पम्हुसिअ तं असूअं रसिआ ओदंसअंतु किदिमेअं॥१०॥ सूत्रधारः-"किं अण्णं । पाअड-बंधो एव्व रसिआणं आणंद कंद- लेड । जदो जह होई अवर-माला मालइ-माला अ महुआणं । तह होइ अण्ण-भासा पाअड-भासा अरसिआणं ॥११॥ पारिपार्श्वकः -- तेण चिअ भणिअं। पाअडमई विसओ सिरिमाणवेअ-चरिअ-सिरी। रस-गब्भो संदभो संज्जण-पीदीण जोव्वर्ण एअं॥ १२ ॥ सूत्रधारः-कण णिजुता पुण पअट्टह सट्टअ-गट्टणे । पारिपार्श्वक:-Vतस्स एव्व णिरंतरोणमंत-सिरिमंत-सामंत-विअड: सउडत-णिवडंत-माणिक-मणि-समह-मोह-लेहा-पल्लविअ-पाअपीढस्स। खंड-परसु-सिहंड-ससि-खंड-पंडुर-महमहंत-महिअ-जस-पूर-कप्पूर-णि- अर-पन्वआअंत-भुवणंतरालस्स अदि-धवल-हिअअ-फलिह-पडिफ- लंत-परमेसर-पअ-पल्लवस्स समर-मुह-बलामोडि-गहिअ-जलच्छी- 1 F दिदम्. 2K पम्मुसिअ. 3 र यसूअं. 4 K होल, but xh होइ. 5 x माणचरिअसिरी, but xh has माणवेअचरिअ.. 65 सज्जपीदीणं, but rh has ६ सजण TKजोख्खण. 8 सामन्त. 10K पण्डरमहामहन्त, 11 K omits पूर. 12Kणीअर- चिअमउडन्त. 9x णिपडन्त. 13 जयलच्छी. णाम् ॥ ९॥ अभ्यर्थितं चानेन । यथा, अगणयित्वा नवमिति दोषमनिरूप्य निकटता. कृतां निन्दाम् । प्रेस्मृत्य तामसूयां रसिका अवतंसयन्तु कृतिमेताम् ॥ १० ॥ I) किम- न्यत् । प्राकृतबन्ध एव रसिकानामानन्दं कन्दिालयति । यतः, यथा भवति अवरमाला मालतीमाला च मधुपानाम् । तथा भवति अन्यभाषा प्राकृतभाषा च रसिकानाम् ॥ ११॥ II) ननु तेनैव भणितम् । भाषा खलु प्राकृतमयी विषयः श्रीमानवेदचरितश्रीः। रसगर्भः संदर्भः सजनप्रीतीनां यौवनमेतत् ॥ १२॥ III) केन नियुक्ताः पुनः प्रवर्तध्वे सट्टक- नर्तने । IV) तस्यैव निरॆन्तरावनमच्छ्रीमत्सामन्तविकटमकुटान्तनिपतन्माणिक्यमणि- समूहमयूखलेखापल्लवितपादपीठस्य खण्डपरशुशिखण्डशशिखण्डपाण्डुरसर्वतःप्रसरन्- महितयशःपूरकर्पूरनिकरपर्वतायमानभुवनान्तरालस्य अतिधवलहृदयस्फटिकप्रतिफलित- परमेश्वरपदपल्लवस्य समरमुखबलात्कारगृहीतजयलक्ष्मीमाल्यधम्मिल्लपर्यस्तमल्लिकामाल्य- १ . प्रमुष्य it has minor gaps in this speech. २ र मानवेतचरित'. ३ ॥ प्रवर्तवं समिकतने. ४ M निरन्तरोपन. ५ Komits विकट.

·६ 1.12.7- इंदलेहाए मल्ल-धम्मिल्ल-पल्लत्थ-मलिआ-मल्ल-बहल परिमलासंग-संगज-भिंग- रिझोलि-संसइअ-लोलुइँड-मंडलग्ग-मंडिअ-पअंड-भुअदंडस्स रिउ- 9 बल-सलह-लेहि चडुल-जाला-जाल-जज्जलंतअ-पआव-पावअ-पाआ- र-परिरक्खिअ-सअल-भुवणअलस्स अच्छिण्ण-दिण्ण-सुवण्ण-रअण- सामिद्धि-समिद्ध-मणि-मंदिर-वलही-जाल-कोलंत-सअल-दरिद-लोअ- ॥ स्स सव्व-भूदाणुकंपिणो संपों कअ-करणिजदाए जोव्वण-सुहं अणु- होतस्स राआहिराअ-परमेसरस्स सिरिमाणवेअस्स अस्थाण-मंडव- मंडणेण पंडिअ-मंडलेण । किं च। आस्सि खु सट्टअ-वरे णिों-भतुअस्स चक्केसरतण-कराण गुणाण ठाणं । तं किल चंदलेह अंगेसरस्स तण सिरिमाणवेओ ॥ १३ ॥ सूत्रधारः-"अहो, आअदा एव्व जवणिअंतरे महाराअ-देवीणं का- दूण भूमिअं अय्यो अव्यवल्लहा अ। ता अम्हहि अवसेस-करणिज्ज सज्जीअदु । (इति परिक्रम्य निष्क्रान्तौ ।) चारुं समुन्वहइ 13 ३ 1 K पल्लन्थ. 2 x omits बहल. 3 x रुच्छोलिसंसलअ. 4 पावपाअपाअर. 5 दुअण, but rh अण. 6 ततअकरणिजदाए. 7x होतस्स राणनकृत्वा राआहि. 8 मण्टप. 95 कीच. 10 x णिजभत्तअसक्केसर', but wh णिअभत्तुअस्स चक्केसर. 11 सिरिमाणमेओ. 12 K अविसेस. 13 संजीवअदु. बहलपरिमलासंगसंगतभृङ्गश्रेणीसंश्रितलोलोहण्डमण्डलाममण्डितप्रचण्डभुजदण्डस्य रिपुबलशलभलेहिचटुलज्वालाजालजाज्वल्यमानप्रतापपावकप्राकारपरिरक्षितसकलभुव- नतलस्य अच्छिन्नदत्तसुवर्णरत्नसमृद्धिसमृद्धमणिमन्दिरवलभीजालाक्रीडत्सकलदरिद्रलो- कस्य सर्वभूतानुकम्पिनः सांप्रतं कृतकरणीयतया यौवनसुखमनुभवतो राजाधिराज- परमेश्वरस्य श्रीमानवेदस्य आस्थानमण्डपमण्डनेन पण्डितमण्डलेन । किं च । अस्मिन् खलु सट्टकवरे निजभर्तुश्चक्रेश्वरत्वकराणां गुणानां स्थानम् । चारुं समुद्रहति तां किल चन्द्रलेखामङ्गेश्वरस्य तनयां श्रीमानवेदः ॥ १३॥ I) अहो आगता एव यवनिकान्तरे महाराजदेव्योः कृत्वा भूमिकामार्यः आर्यवल्लभा च। तदस्माभिः अवशेषकरणीयं सज्य- १ . has a long lacuna here upto the beginning of verse No. 17. २ र इषु by K omits og. ६ मानवेत. ७ र अविशेष, M_laouna. for रिपु.

·-1.15.2] पढम जवणिअंतरं ( स्थापना (ततः प्रविशति राजा देवी विदूषको विभवतश्च परिवारः । राजा-(स्वगतम्) "अहो किअ-करणिज्जाणं पि आसाए अणवसा- 6 णदा। जदो सव्वे साहु पवट्टिदा खु पउरा संतोसिआ बम्हणा वितेहिं कउ-संचएहि विहिआ देवा पसादुम्मुहा । पत्ता चेअ चउस्समुद्द-रसणालंकारिणी मेदिणी दाणि सत्त-समुद्द-मुद्दिअमिमं पत्थेइ मे माणसं ॥ १४॥ (प्रकाशं समन्तावलोक्य सहर्षम् ) देवि, इमस्सिं सुरहि-समए समारंभ- संभरिज्जंत-सिरि-मणहर-धरणि-कमलिगी-कमलाअंतम्मि अम्हाणं महाणअरम्मि मअरंद-गंडूसणं संपादेहि जहिच्छमुच्चलंत-छप्पअ-रि-3 छोलि-लंभिणं अच्छीणं । एअं खु लोलंताणंग-तुंग-अ-वड-पवणंदोलिआआस-गंगं खेलंतुद्दाम-रामा-चलण-हअ-सुहाअंत-कंकेलि-जालं। कीलंतासेस-लोअ-प्पअडिअ-मुरवाडंबरं तंब-चूड- कोड-ग्घोलंत-कोलाहल-मुहल-दिसा-अंकमेकं विभाइ ॥१५॥ देवी-(सर्वतो विलोक्य सहर्षम् )"अय्यउत, किं वण्णीअदि इमाए ण- अरीए सुरहि-समअ-समारंभ-जणि सोहग्गं । एसा खु 1 romits स्थापना, but xh gives it. 2K किंअरणिजाणं. 35 4 x कभिसञ्चएहि. BF पेत्थेइ. 6 kh समअसमारम्भ.. 7 : अ अम्हाणं for अम्हाणं. 8 दहिच्छमुच्चलतंतञ्चव्वअ- रित्तच्छालिलंभिणं अहच्छीणं. 9 5 तुग्गडुंएवधववर्णलोलिआआस. 10 x गेलंदुद्दाम. 11 चलणअं- सुहाअतं. 12 x लोअपडिअ. 13 : तंमचूडकोडंबोलंत. 14 x अंकमेकं. ताम् ॥ I) अहो कृतकरणीयानामपि आशाया अनवसानता । यतः, सर्वे साधु प्रवर्तिताः खलु पौराः संतोषिताः ब्राह्मणाः, वित्तैः क्रतुसंचयैः विहिताः देवाः प्रसादो. न्मुखाः। प्राप्ता चैव चतुस्समुद्ररशनालंकारिणी मेदिनी, इदानीं सप्तसमुद्रमुद्रितामिमां प्रार्थयते मे मानसम् ॥१४॥(...) देवि, अमुष्मिन् सुरभिसंमये समारम्भसंभ्रियमाणश्रीम- नोहरधरणिकमलिनीकमलायमाने अस्माकं महानगरे मकरन्दगण्डूषणं संपादय यथेच्छमु- चलच्छट्पदश्रेणिलँक्ष्यैः अक्ष्णोः । एतत् खलु, लोलद्नङ्गतुङ्गध्वजपटपवनान्दोलिताका- शगङ्गं, खेलदुद्दामरामाचरणहतसुखायमानकङ्केलिजालम् । क्रीडदशेषलोकप्रकटितमुरजा- डम्बरं ताम्रचूडभोर्डधूर्णमानकोलाहलमुखरदिक्चक्रमेकं विभाति ॥१५॥ II) आर्यपुत्र, १ सृष्टिसमयसमारम्भ for सुरभि etc, a lacuna. २. लोकं for लोक. ३ मुरबाडम्बरं. * क्रोडं पूर्णमान, 3 5 पवुरा.

·द 5 ३ चंहलेहाए [I.16-- तारुण्णएण रमणि व्व सुरूव-रम्मा जोण्हा-रसेण रअणि व्व फुरंत-चंदा । फुल्लुग्गमेण लदिअ व्व पवाल-पुण्णा रहेइ हत णअरी महु-संगमेणं ॥१६॥ राजा-"अहो सव्वदो रमणीअतणं णअरीए । तह । भमंत-भमर-च्छडा-कल-विराविआ वाविआ फुरंत-मअणचणा-विहव-जंदिरं मंदिरं । लसंत-णव-गट्टई-ललिअ-णणं पट्टणं वलंत-मलआणिलाअम-सिलाहिणो साहिणो॥ १७ ॥ विदूषकः-"भो वअस्स, पेक्ख । मंद-मंद-फंदंत-मलआणिल-केलि- घोलिरुप्पडिअ-विसरत-बिसिणी-धुलि-पाली-विउँल-कंचण-विआण- सोहिणी भुअंग-लोअ-कर-कमल-संगअ-गंगेअ-सिंग-मुह-संगलंत-सं- नद-कुंकुम-वारि-धारा-सिच्चंत-सअल-पहिअ-लोआ चम्मह-करप्फा- लिअ-धणुहअ-कोलाहल-मुहल-कउहा-मुहा दिस-विराअ-वेग-मुझंत- संचरंत-मुद्धाहिसारिआ-चलण-झणझणाअंत-णेउर-विराव-मुहुराविअ- 1 F सुरूप. 2 र पुरन्त. 3 x °गमेण इदि एब्च, but rh अश्व for एव्व. 4 F रमणीयत्तण. 5 x डुमंतभमर for भमंत etc. 6 Kफरन्तमअणच्छणा. 7 इलअ for ललि.given by xh. 8 फंदमलआणिल. 95 विसंत, but rh विसरत. 10 x विउल्ल. 11 लोलकरकमळसङ्गअंग- गेअसीग-, but rh लोय for लोल. 12 Kh चिरिचिरिआसिचंत for धारासिंचंत. 13 Komits सअल, but xh has सयललोया. 14 x पम्मह. 15 दिवविराअ. 16 K झणझणायन्त. किं वर्ण्यते अमुष्या नगर्याः सुरभिसमयसमारम्भजनितं सौभाग्यम् । एषा खलु,तारुण्येन रमणीवसुरूपरम्या, ज्योत्स्नारसेन रजनीव स्फुरञ्चन्द्रा।फुल्लोद्गमेन लतिकेव प्रवालपूर्णा, राजते हन्त नगरी मधुसंगमेन ॥ १६॥ I) अहो सर्वतो रमणीयत्वं नगर्याः । तथा च । भ्रमझमरच्छटाकलविराविताः वापिकाः, स्फुरन्मदनार्चनाविभवनन्दनशीलं मन्दि- रम् । लसन्नवनर्तकीललितनतनं पत्तनं, वलन्मलयानिलागमश्लाधिनः शाखिनः॥ १७ ॥ Im) भो वयस्य, पैश्य । मन्दमन्दस्पन्दमानमलयानिलकेलिघूर्णनशीलोत्पतितविसरद्वि- सिनीधूलिपालीविपुलकाञ्चनवितानशोभिनी भुजङ्गलोककरकमलसंगतगाङ्गेयशृङ्गमुखर्स- गलत्संततकुङ्कुमवारिधारासिच्यमानसकलपथिकलोका मन्मथकरास्फालितधनु:कोला- हलमुखरककुन्मुखा दिशाविराव वेग]मुहत्संचरन्मुग्धाभिसारिकाचरणझणझणायमान- 6 १romits मधु २ भ्रमत्मवरच्छटा. ३ - पश्य पश्य, ... ४ F मुखरकुङ्क खादिलाविरागमु', * ककुन्मुखादिसविरागवेगमज्यमान हैं. ५ बरणन्थणन्षणायमान.

·--1.17.21] पदम जवणिमंतर मार-वीर-विजअ भेरी-मणहरा मज वि भएदि रई वि रमयदि आ- गंदं वि आणंदेह दर्य वि दप्पेइ इज महायजरी। चेटी- इदं वि पेक्खदु महाराओ। एसो खु मंद-भरुअंदोलिअ-पं." लथ-पल्लव-हत्य-संण्णा-मिस्सेहि महुर-मड-रस-महमहंत-परिमलंध. मधुअर-माला-मंजु-सिजिआरावेहि भरगआरामो महाराअस्स महु- मासोदार-बड्डिअं अक्षणो समिद्धिं ओदसेदं विअ आआरं करेइ । राजा -(विलोक्य) साहु भणिअं चंदणिआए। विदूषकः-भो वअस्स, जह दासीए धीदाए वअणं तुझ सिलाह- मिजं तह मह वि चओरअस बम्हणस्त जइ सिलाहीअदि वअणं. ता कहेमि। राजा-अस्स, को संदेहो। कहि। विदूषकः-"सुणादु वअस्सो । एसो जहामिह-भुजत-बम्हण-लोअ-॥ कोलाहलो विअ कोइल-कोलाहलो पमोद उप्पादेई । महाणस-धूम- प्पसरो व्व कुसुमुप्पडत-महुअर-गणो अण-पीदि करेइ । बहलज्ज- भजंत-सरिसव-गंधो विअ पुप्फ-गंधो धाणं आणंदेइ । 1 r विरमएदि for रमएदि.2 आणन्त वि. Kलई for si. but rh इयं. 4 पेक्ख, but rh पेक्खदु. 5 x पदल्लाथ for पल्लन्थ. 6 6 सण्णोमिस्सेहि. ? F परिमलंधमधूधमधुअर. 8 5 मञ्जरी for मंजु. 9 x समिन्ध for समिद्धि. 10 : ओसेदुविध. 11 K omits तुज्झ. 125 चओरस्स, but xh चओरअस्स. 13 कोहि ।. 14 x भो वास्स. 155 कुसुमप्पड़त. 16 Kणयण. 17 x पुप्पगन्धो. नूपुरविरावमुखरीकृतमारवीरविजयभेरीमनोहरा मदमपि सदयति रतिमपि रमयति आनन्दमयानन्दयति दर्पमपि दर्पयति इयं महानगरी॥ I) इद्मपि पश्यतु महाराजः । एष खलु मन्दमारुतान्दोलितपर्यस्तपल्लवहस्तसंज्ञामित्रैः मधुरमधुरससर्वतःप्रसरत्परि- मलान्धमधुकरमालामञ्जुशिजितारावैः मैरकतारामो महाराजस्य मधुमासोदारवर्धिता. मात्मनः समृद्धिं दर्शयितुमिव आकारं करोति । II) साधु भणितं चन्दनिकया । III) भो वयस्य, यथा दास्याः पुध्याः वचनं तव श्लाघनीय तथा [ममापि] चकोरस्य ब्राह्मणस्य यदि श्लाघ्यते वचनं तत् कथयामि। IV) वयस्य, कः सन्देहः। कथय । V) शृणोतु वयस्यः । एष यथामृष्टभुञ्जानब्राह्मणलोककोलाहल इव कोकिलकोलाहलः प्रमोदमुत्पा- दयति । महानसधूमप्रसर इव कुसुमोत्पतन्मधुकरगणो नयनप्रीति करोति । बहलाज्य- १ Ka omit पर्यस्त. २ र मरतकारामो. ३ र मासोदारवर्तिता, मासोदारप्रवर्धिता. ४M आकारणं करोति.. ५K चन्द्रिकया. हर एष खलु यथा . ७ प्रमोदमुपपादयतिः ८ लाज्य २ चंद .

·चंदलेहाए [I.17.22- राजा-(सस्मितम् ) "सच्चं एदं। विदूषकः -"दासीए धीदे, उच्छि-भक्खिणि, ण तुझ एव्व अणं अहिणंदणिज्ज मह विषअब अहिणंदीअदि वअस्सेण । चेटो -(सावझं हसति ।) विदूषकः -भो वअस्स, गच्छम्ह भरगउज्जाणं । (इति सर्व परि- कामन्ति ।) राजा-(दक्षिणाक्षिस्पन्दनं सूचयन् ) देवि, फंदए पअल-पह-मालिअं दाहिणं महमिदं विलोअणं । किं फलं अह वितकिएहि किं केण देव-सरणी मुणीअदि ॥ १४ ॥ देवी-(सहर्षम् ) "अज्जउत, देव्वेण चिअ जाणीअदि। विदूषकः --किं च मए वि एक्केण बम्हणेण । देवी -VI'अय्य चओरअ, किं नुए जाणीअदि । विदूषकः-VII होदि, पुव्वं एव्व वअस्सस्स चस्सिंधु-बंध-बंधुरं वसुंधरं देऊण वि अपरितुडेण विहिणा पुणो सत-समुद्द-मुद्दिों एअं वअस्सस्स भुमअंचले बंधिउं अअं आरंभो कीरइ ति । उच्छि8. 25 वलअणं, but xh वअणं. 3 kh चन्दनिका for चेटी. 4 पद्म for पम्ह. 5महामितं. 65 पfor फलं. 7 K विचिन्तिएहि की, Kh वितङ्किएहि किं. 8 देवसरणिम्मुणीअदि. 9 K चउरस्सिन्धु. 10 दाऊण, butrh देऊण वि. ll Kh अकि- दस्थेण for अपरितुटेण. 12 The following speech, which is put in the mouth of देवी by lgh उच्छुरण for kh, is just added here by E. भय॑मानसर्षपगन्ध इव पुष्पगन्धः प्राणमानन्दयति । I) सत्यमेतत् । II) दास्याः पुत्रि, उच्छिष्टभक्षिणि, न तवैव वचनमभिनन्दनीयं ममापि वचनमभिनन्द्यते वयस्येन । III) भो वयस्य, गच्छामो मेरकतोद्यानम् । IV) देवि, स्पन्दते प्रचलपद्ममालिक, दक्षिणं मम इदं विलोचनम् । किं फैलं अथ वितर्कितैः किं, केन दैवसरणियिते ॥ १८ ॥ V) आर्यपुत्र, देवेनैव ज्ञायते । VI) किं च मयाप्येकेन ब्राह्मणेन । VII) आर्य चको- रक, किं त्वया ज्ञायते । VIII) भवति, पूर्व एवं वयस्यस्य चतुस्सिन्धुबन्धबन्धुरां वसुंधरां दत्त्वापि अकृतार्थेन विधिना पुनः सप्तसमुद्रमुद्रितामेनां वयस्यस्य ध्रुवांचले ॥ वचनमभिनन्दयति । ममापि etc. २ : मरतकोद्यानम्. ३ ॥ छलं. ४ K अथवा वितर्कितैः, अथवा तकीयते. ५ . मयाप्येतेन. ६ KM omit एव. UM After writing to a there is a long lacuna in M upto मआदो (I. 26.3); and this is indicated by the transcript with a remark; (अत्र पत्रत्रयपरिमितो ग्रन्थपातः), ८Kr omit बन्ध.

·--1.20b] पढर्म जवाणिअंतर देवी-'भो' भअवं विहे, पुणो वि एव्वं एव होही । चेटी -"एसो मरगआरामो। पविसदु महाराओ। (सर्वे उद्यान- प्रवेश नाटयन्ति ।) (नेपथ्ये वैतालिकयोरेकः) वैतालिक:-जअ जअ महाराअ, राआहिराअ परमेसर, पाअ- पारिजाअ-पल्लव-च्छाआ-णिञ्च-विहार-णिरस्थ संहाव, पंअंड-पाव, ॥ पंडिअ-जण-कप्प-पादव, वम्मह-मणहरंग-लावण्ण-गुण-णिगलिअ- सअल-महिला-माणस, सिरिमाणवेअ, सह-दाइणी होउ महारा- अस्स आराम-लच्छी। तह पेक्खदु दाव महाराओ। अन्नाणं वित्थरंतो महु-गरवइणो पाण-गोट्ठी-णिएओ लोलंबाणं विडाणं सअल-पिअ-महेलाण संगीअ-साला । कीला-ठाणं पडीराअल-पवण-किसोराण सेणा-णिवेसो एसो तेल्लोक-वीरस्स हुँ रइ-बइणो भाइ आराम-देसो ॥१९॥ द्वितीय:- किं च । एत्थ सण्णिहिदे महाराए पञ्चुव्वजइ चंचलीअ-णिवहो फुल्लुप्पडतो जवा कूअंता अ कुणंति कोइल-उला सोशामि साअदं । 1 Fभे, but xh omits it. 25 होहि. 3 xh चन्दनिका for चेटी. 4 xh रूपयन्ति. 55 नैपथ्ये. 6 पाअपारिजअ. '7 K वअंडपआव. 8 K वादप, Kh वाअप for पादव. 9 K अथ्थाण विथ्थरन्तं. 10 5 महुरवअणो, but rh महुणरचइणो. 11 rh लोलंबालीविडाणं. 12 K a for 13 K omits feater, but it is added by th. 14 x veterat. बद्भुमयमारम्भः क्रियते इति । I) भो भगवन् विधे, पुनरपि एवमेव भवति । II) एष मैरकतारामः । प्रविशतु महाराजः। III) जय जय महाराज, राजाधिराजपरमेश्वर, पादपारिजातपल्लवच्छायानित्यविहारनिरस्तसंताप, प्रचण्डप्रताप, पण्डितजनकल्पपादप, मन्मथमनोहराङ्गलावण्यगुणनिगडितसकलमहिलामानस,श्रीमानवेद, सुखदायिनी भवतु महाराजस्य आरामलक्ष्मीः। तथा पश्यतु तावन्महाराजः। आत्मानं विस्तृणन् मधुनर- पतेः पानगोष्ठीनिकेतः, लोलम्बानां विटानां सकलपिकमहिलानां संगीतशाला । कौडा- स्थानं पटीराचलपवन किशोराणां सेनानिवेशः, एष त्रैलोक्यवीरस्य खलु रतिपतेर्भाति आरामदेशः ॥ १९ ॥ IV) किं च । अत्र संनिहिते महाराजे, प्रत्युद्वजति चञ्चरीक- निवहः फुल्लोत्पतञ्जवात्, कूजन्तश्च कुर्वन्ति कोकिलाः श्रोत्रामृतं स्वागतम् । शीघ्र १ र उत for इति.. २ Komits भो. ३ मरतकारामः. ४ K श्रीश्रीमानवेत. ५ x omits तथा. ६ x omits सङ्गीत...किशोराणां, but this is supplied by Kh. ७ चञ्चलीक.

·[1.20c- सिग्छ अन्धभुवाहरसि भाबर नारिणो पाचवा दाणि पल्लव-चामलेहि आ वोति बाआहआ ॥२० विदूषकः -- साहु गीअं मंजुअंठ-महुरकंठोहिं बंदीहि । पेक्खदु दाव वअस्सो महु-समज-विन्यारिअं भरगआराम-समिडिं। राजा - ( समन्तादवलोक्य) अस्स, साहु तुए मणिदं । इह हि विभाइ महिलंगुली-किसल-पाडलं पाडलं समुल्लसइ फलिआ पवन-गोलिआ मलिआ। दिताओं सुरहे दर-विआसरं केसर समुन्वहइ संपलं पहिअ-कंप चंपों ॥२१॥ 3 अवि अ। 18 पक्खंदोलण-मारुएण भसलो आणंदअंतो महुं पल्लाथा कुसुमाउ पास-गमिअं पाएइ पाणेसरिं। उग्गाउं महुरं च माहव-महा-बंदी जैसं कोइलो माअंदाण मरंद-सार-लहरी-सारस्सअं सेवएँ ॥२२॥ विदूषकः-"भो वअस्त, आमूल-पुस्फिअस्स बाल-रतासोअस्स मरगअ-वेदिआ उवविसिअ मलअ-महीहरादो उवागअस्स महु- 1 F अग्धं उपाहरन्ति. 2 x वाअवा. 3 x दाणी. 4 वन्दहि. 5 समय. 6 rh महुरसो. लिआ for पवणणोल्लिआ. 7 बहि अकंपअं. 8 - वालगमिअं. 9x वाएइ वाणेसरी. 10 उग्गलं. 115 वसंकोललो, Kh जसंकोइलो. 12. सेदहि, but rh सेवए. 13 K मअगवेदिआज. 14 K मलय'. अर्ध्यमुपाहरन्ति मकरन्दोगारिणः पादपाः, इदानीं पल्लवचामरैर्लतिका चीजयन्ति वाता- हताः ॥२०॥ I) साधु गीतं मधुकण्ठमधुरकण्ठाभ्यां बन्दिभ्याम् । पश्यतु तावद्वयस्यः मधुसमयविस्तारितां मरकतारामसमृद्धिम् । II) वयस्य, साधु त्वया भणितम् । इह हि, विभाति महिलाङ्गुली किसलयपाटलं पाटलं, समुल्लसति फुल्लिता पवननुन्ना मल्लिका । दिशः सुरभयति एतत् दरविकस्वरं केसरं, समुद्वहति संपदं पथिककम्पदं चम्पकम् ॥ २१॥ अपि च । पक्षान्दोलनमारुतेन भ्रमरः आनन्दयन् मधु, पर्यस्तात् कुसुमात् पार्श्वगमितां पाययति प्राणेश्वरीम् । उदातुं मधुरं च माधवमहाबन्दी यशः कोकिलः माकन्दानां मरन्दसारलहरीसारखतं सेवते ॥ २२ ॥ III) भो वयस्य, आमूलपुष्पितस्य बालरक्ताशोकस्य मरकतवेदिकायां उपविश्य मलयमहीधरादुपागतस्य मधुसमयस्फुट- - १ करकेन्दार्गाभिणः for मकरन्दोद्गारिणः. २K वीजन्ति. ३ र मरतकाराम'. ४ र फुल्लता. ५ र बहल for अमर. ६ पर्यस्ताम् कुसुमान् पार्श्वगतान पाय. ७ मरतकवें. ८ र महीधरमुपा.

·-1.257 पद्धर्म जमा समअ-फुडंल-पव-कुसुम-परिमल-बाहुइझं घेतूण परिसरे ठिअस्स : मलआणिलस्स दे परिसरं पत्तस्स सेवावसरं देहि । पेक्खम्ह मर- गआराम-लच्छि। राजा-तह । ( इति सर्व यथोचितमुपविशन्ति !) देवी-दाणि अहं वडावइस्सं अय्यउर्स । एदे चूसिअ-बोल-बाल-महिला-मालिंदु-सेआअमा লিনা জাহাঙ্গি ভাগ- গঞ্জ-কী-ওয়া। लीला-लालिअ-केरली-चिहुरआ-आणंदणीसंदिणो रोमंचुग्गमणाणुमेन-दलणा कीलंति वाअंकुरा ॥२३॥ राजा-अहं वि तुमं वड्डावइस्सं। अताणं वि बुभुक्खिदाण पुढमं दाऊण आण तो तुंगा मंगल-चंदणदि-भिउणो कादूण पाअं खणा । एहि गण्हिअ सोरहेक-णिलअं कंदप्प-मिततरं तं आलिंगिउमूसुआ परिसरं पता अ चेताणिला ॥२४॥ देवी-IVपेक्खदु दाव अजउतो सोहग्गं कालस्स । जओ किसलइदासोअ-लदा कीर-मुहाभोअ-कीसुअ-च्छाआ। कीलंति के वि दिअहा केसर-खलमाण-बाल-पवमाणा ॥२५॥ 1 x algi for vigasi. 2 khay. 3 K omits atiór which is given by kh. 4 K फालिन्दु. 55 चंदणन्दि. 6 K एण्णी गणिअ. '7 Komits this word, but xh has जतो. sx केऽपि दिवसा, but xh has दियाहा for दिवसा of K. pean भवकुसुमपरिमलप्राभृतं गृहीत्वा परिसरे स्थितस्य मलयानिलस्य तव परिसरं प्राप्तस्य सेवावसरं देहि । पश्यामः मैरकतारामलक्ष्मीम् । I) तथा । II) इदानीमहं वर्धयि- ष्यामि आर्यपुत्रम् । एते चूषितचोलबालमहिलामालेन्दुस्वेदागमाः, पीयमाना जनना- सिकाभिः नलिनीनालीककेलीकराः। लीलालालितकेरलीचिकुराः आनन्दनिष्यन्दिनः, रोमाञ्चोगमनानुमेयगमनाः क्रीडन्ति वाताङ्कुराः ॥ २३ ॥ III) अहमपि त्वां वर्धयि- ज्यामि । आत्मानमपि बुभुक्षितानां प्रथमं दत्त्वा नागानां ततः, तुङ्गान्मङ्गलचन्दनाद्रि- भृगोः कृत्वा पातं क्षणात् । इदानीं गृहीत्वा सौरभैकनिलयं कन्दर्पमित्रान्तरं, त्वामालि- ङ्गितुमुत्सुकाः परिसरं प्राप्ताश्च चैत्रानिलाः ॥ २४ ॥ IV) पश्यतु तावदार्यपुत्रः सौभाग्य कालस्य । यतः, किसलयिताशोकलताः कीरमुखाभोगकिंशुकच्छायाः। क्रीडन्ति केऽपि १ Komits तव परिसरं प्राप्तस्य. for भृगो. २ x मरतकाराम'. ३ केलीकरम्. ४ र तुङ्गामङ्गल. ५ भृङ्गा ·३ चंदलेहाए [I. 25.1- राजा-"देवि, किं भाइ । महुअर-कलकल-मुहले मलआणिल-भंगि-संग-तरंगे। महुमास-गई-सोते मअरंदमए णिमए भुवर्ण ॥ २६॥ विदूषकः -"वअस्स, किं वंचिदो म्हि । जदो पुरुवं एव्व अम्हाणं घरए परंपराए समाग पंडिअसई कइतवं च पहिसु पडिरोहअ- भआदो अम्ह-बम्हनी-सअणिजे क-पात संढविआ मंजूसिआ णिहाविअ लोह-शालाए गाढं बंधित मुहं वि दाऊण साडम्मि समद्दे संगहिअ आअदो। ता अज्ज तुवं तुझ कातणस अद्धं मे देहि जेण अहं वि तुम्हाणं कण्ण-पुडस्स पीऊस-गंडूसणं करिस्सं । (हस्तौ प्रसारयति। चेटी - I'अय्य, पडिगण्ह । अहं दे देमि । विदूषकः-'आ दासीए धीदे, को उमण पंडिओ पारिआ उझिअ एरंडादो अहिलसिदं कामेई । अहब तुमं तुज्झ कइत्तणं दंसेहि। तदो पडिगहिस्सं । देवी-चंदणिए, दसहि अक्षणो छैदल्लणं । किं च । सा पडिहा जा ठाणे पसरइ। सा णीदी जा काले उज्जलइ । सा इथिआ जा भट्ट- मणोरहे वट्टइ। सा मेती जा अणत्थे ओलंबइ। 1 K omits देवि. 25 फणइ. 3 K मलयाणिल'. 4 K णिमजहि, but rh णिमजए. 5 खरए. 65 कलत्तणं. 7 5 पाअसढविआअं. 8 K साडं वि. 9_xi चन्दनिका for चेटी. 10 x कामिजदि, but rh कामेइ. 11_K कलत्तणं. 12 F चन्दिणिए. 13 K च्छउत्तणं. 14 K की च पडिहा. दिवसाः केसरस्खलद्वालपवमानाः ॥ २५॥ I) देवि, किं भण्यते । मधुकरकलकलमु- खरे मलयानिलभङ्गिसंगततरङ्गे। मधुमासनदीस्रोतसि मकरन्दमये निमजति भुवनम् ॥ २६ ॥ II) वयस्य, किंचिद्वञ्चितोऽस्मि । यतः पूर्वमेव अस्माकं गृहे परम्परया समागतं पण्डितत्वं कवित्वं च पथिषु प्रतिरोधकमयादमब्राह्मणीशयनीयैकपार्श्वसंस्थापितायां मषिकायां निधाय लोहसालया गाढं बद्ध्वा मुद्रामपि दत्त्वा शाटके समुद्रे संगृ- ह्यागतः। तदद्य त्वं तव कवित्वस्या मे देहि येनाहमपि युष्माकं कर्णपुटस्य पीयूष- गण्डूषणं करिष्यामि । III) आर्य, प्रतिगृहाण । अहं ते ददामि। IV) आः दास्याः पुत्रि, कः पुनः पण्डितः पारिजातमुज्झित्वा एरण्डादभिलषितं कामयते । अथवा त्वं तव कवित्वं दर्शय । ततः प्रतिग्रहीष्यामि। V) चन्दनिके, दर्शयात्मनो वैदग्ध्यम् । किं च । सा प्रतिभा या स्थाने प्रसरति । सा नीतिः या काले उज्वलति । सा स्त्री या भर्तृमनोरथे 12 १ र मन्यते for भण्यते. २ र मधुरकल'. ३ र सङ्गतरङ्गे. ४ K भयादन्यस्मिन् ब्रह्मणि शय, M भयाद- सद्भाह्मण्यारशय. ५ वाटामपि, साटामपि. ६ र सङ्गत्यागतः ७ ॥ तदन्यत्वं. ८ . करिष्ये. ९ . कामयति. १० M प्रतिगृह्णामि. ११ र हले चन्दिनिके.

·पढम जवणिअंतर -I. 27.9] चेटी -जं भट्टिणी आणवेदि। विदूषकः-"जइ अक्षणो छइल्लुणं देसटुं ववसिदा सि ता जमअं कादव्वं, मलआणिलो वण्णिव्वो, सद्धरा अबुझं । चेटी-"तह । सुणाहि तुवं । बाला वालालि-तण्हा-पसमण-कुसला चंदणहिस्स तुंगा सिंगा सिंगार-विदा-विअरण-गुरुणो मंथरं विष्फुरंतो। लोल लोलंबआलं परिमल-अरलं भामअंता हरता माणं माणसिणीणं णव-सुरहि-सिरी-बंधवा गंधवाहा ॥ २७ ॥ राजा-साहु चंदणिए साहु । जदो जमए वि सुहओ सद्दो सुअमो अन्यो। विदूषकः -'जई एव्वं जिअं देवीए पराजिअं वअस्सण । (पुरो ३ विलोक्य ) अहो अमच्चो सुमई दुवारे । राजा--"किं सुमई । पवेसेहि णं विदूषकः-(परिक्रम्य, सुमतिना सह प्रविश्य )"एसो सुमई । [सुमतिः]- 'जेदु देवो। VIII). राजा IX). 'सुमदे कि सुमतिः-देव, सिंधुणाहामञ्चो सुस्सुदो दडुकामो चिट्ठइ । 1 rh चन्दनिका for चेटी. 25 च्छइत्तणं।. 3 xh चन्दानका- तह पठति |, but K has जह for 4 सोगा सीगारचिन्दा'. 5 लोलम्बओलं. 6 x adds विदूषकः- again before this sentence. 7 x puts this speech in the mouth of Vidūşaka. am-timrapamMand वर्तते । सा मैत्री या अनर्थे अवलम्ज्यते । 1) यद् भट्टिनी आज्ञापयति । II) यदि आत्मनो वैदग्ध्यं दर्शयितुं व्यवसितासि तद् यमकं कर्तव्यं, मलयानिलो वर्णयितव्यः, स्रग्धरा च वृत्तम् । III) तथा। शृणु त्वम् । बाला व्यालालितृष्णाप्रशमनकुशलाः चन्दनाद्रेस्तुङ्गात्, शृङ्गात् शृङ्गारविद्यावितरणगुरवः मन्थरं विस्तृणन्ति । लोलं लोलम्बजालं परिमलतरलं भ्रामयन्तो हरन्तः, मानं मनस्विनीनां नवसुरभिश्रीबान्धवाः गन्धवाहाः ॥२७॥ IV) साधु चन्दनिके साधु । यतः यमकेऽपि सुभगः शब्दः सुगमः अर्थः। V) यद्येवं जितं देव्या पराजितं वयस्येन। (...) अहो अमात्यः सुमतिरे। VI) किं सुमतिः। प्रवेशय ऍनम् । VII) एष सुमतिः। VIII) जयतु देवः । IX) सुमते किम् । X) देव, १ भी for भट्टिनी. २ र ब्यालालितृष्णाः, 1 व्याळाळिकृष्ण. ३ र चन्दनाद्रेस्सतुङ्गाः शङ्गाः, मल- यादेस्तुगातः ४ विस्तरन्ति. ५ र वमन्तो for हरन्त. ६॥ श्रीवन्धवो ग. ७ x omits एनम्, , ·चंहलेदार 1.27.10- राजा -"ता अविलंबिले आहि । सुमतिः - देदो आगवेदि । (इति निष्क्रम्य सुश्रुतेन सह प्रविश्य ) [सुश्रुतः]-जेदु देवो। राजा-सुस्तुद, अवि कुसल सिंधुभाहस । सुश्रुतः - संपदं देवस्त कुसलाणुजोरम । किं च महाराज, देवस्स सिंधुणाहस चिर-सेवा-पलादिएण समुद्दे दियो चिंतामणि-जाई- ओ को विमहामनी । तं च सअल-जण-चिंतिअन्थ-दाण-कुसलं महा-रअणं महाराअ-पसाद-नितएण सिंधुणाहेण महाराअस्स सि- रिमाणवेअस्स पाहुदीकरहि ति दाऊण पेसिओ अहं। ता जिणउ वसो चिंतामणी महाराज-सपिणहि-लाहेण। होउ अ महाराअ- प्पसाद-गहणेण सिंधुगाहो सअल-महिवाल-मडैल-सिलाहणिजो। 21 ( इति चीनांशुकनिचुलितचिन्तामणि काञ्चनभाजने निक्षिपति।) राजा-'"सुम्दे, सुवं एव्व हुन्श सहि सुस्सुदं जहोइदं संभाविदूण पेसेहि सिंधुणाह-सासं। सुमतिः-जं देवो आणवेदि। राजा - VIIसुस्सुद, एवं करेहि। 1 x puts this speech in the mouth of Sumati, 2xh महामणि for चितामणि. K जातीओ. 4 K वित्त एण. 55 एसो for वंसो. 6 Kh महामणि for चिन्तामणीर्ण. TK महाराअस्स णिहि. 8 : मंसल for मंडल. 9 5 सही. 10 K सहाअं for सआसं. ll x adds (इति निष्क्रान्तौ) here. 12 This and the next speech are found only in Kh which does not put this sentence in the mouth of the king bat adds it in continuation of Sumati's speech जं देवो etc., and puts the next speech in Susruta's mouth. सिन्धुनाथामात्यः सुश्रुतो द्रष्टकामस्तिष्ठति । I) तदविलम्बितमानयनम् । II) यद्देव आज्ञापयति । III) जयतु देवः । IV) सुश्रुत, अपि कुशलं सिन्धुनाथस्य । V) सांप्रतं देवस्य कुशलानुयोगेन । किं च महाराज, देवस्य सिन्धुनाथस्य चिर- सेवाप्रसादितेन समुद्रेण दत्तः चिन्तामणिजातीयः कोऽपि महामणिः। तं च सकल- जनचिन्तितार्थदानकुशलं महारत्नं महाराजप्रसादवृतेन सिन्धुनाथेन महाराजस्य श्रीमानवेदस्य प्राभृतीकुरु इति दत्त्वा प्रेषितोऽहम् । तज्जयतु वंशः चिन्तामणीनां महाराजसन्निधिलाभेन । भवतु च महाराजप्रसादग्रहणेन सिन्धुनाथः सकलमही- पालमण्डलश्लाघनीयः । VI) सुमते, त्वमेव तव सखायं सुश्रुतं यथोचितं संभाव्य प्रेषय सिन्धुनाथसकाशम् । VII) यद्देव आज्ञापयति । VIII) सुश्रुत, एवं कुरु । १ कुशलानुवादेन. २ र महाराजस्य देवस्य, A किञ्च देवमहादेवस्य. ३ x lacuna, K प्रसादवित्तेन. ४ मानवेतस्य, 1 मानवेदस्य. ५ एष चिन्तामणिः for वंशः चिन्तामणीनां found in N. ६ M assigns this sentence to the king and the next to Suśruta; but they are not found in K. anjali ·-1.296] पढम जवणिअंतर सुश्रुतः-"जं देवो आणवेदि। (इति निष्क्रान्तौ ।) विदूषकः-"भो वअस्स, आणवेहि अस्स महामणिणो णिउलंग अवणेदु । राजा-वअस्स, जं दे रोएड्। (विदूषको मुद्रामवमुच्य निचुलमपनयति ।) राजा-(सकौतुकम् )अहो पहा-पसरो। अज्ज हि अच्छेरं अमुअस्स अच्छ-मणिणो दीहेहिं मोहेहि णं तेल्लोकं णव-पोमराअ-रअणविण्णं व लक्खिज्जए। एसो वासर-दीव-धूसर-छई सूरो वि दूरोसिओ संझाए कवली-किदो व्व सहसा णट्ठो अअं आदवो ॥२६॥ विदूषकः-'भो वअस्स, अगणिएहि अणग्धेहिं उम्मीलंत-बहल- दीह-मोह-लेहुज्जोअ-खज्जोआविअ-सहस्सरस्सीहिं महा-रअण-सह- स्सेहिं पूरिअं खु दे कोस-घरअं । किं ताणं पि अहिओ से पहाओ जेण अच्छरीअं करेसि। राजा - "वअस्स, एसो खु चिंतामणि ति पसिद्धो असाहारणो एव्व । जदो पत्थेइ जं जं सअलो जणो वि हत्थे अअं तस्स खु देइ तं तं । मंदार-कप्पहुँम-कामहेणू-संताणआणं गणिओ अ मज्झे ॥२९॥ 1 x reads विदूषकः- and puts the stage-direction (in round brackets) in his mouth. 2. देहेहि. 3 Kh interchanges the places of the last two lines. 4K सन्धाए, 5 R अहिदेवहाओ, but rh अहिओ से पहाओ. 6 दुमआमहेण. I) यद्देव आज्ञापयति । II) भो वयस्य, आज्ञापय अस्य महामणेर्निचुलमपनेतुम् । III) वयस्य, यत्ते रोचते । IV) अहो प्रभाप्रसरः। अद्य खलु, आश्चर्य अमुष्याच्छमणे- दीधैर्मयूखैरेतत्, त्रैलोक्यं नवपद्मरागरत्नोत्कीर्णमिव लक्ष्यते । एष वासरदीपधूसर- च्छविः सूर्योऽपि दूरापमृतः, संध्यया कवलीकृत इव सहसा नष्टः अयमातपः ॥ २८ ॥ v) भो वयस्य, अगणितैरनध्यैरुन्मीलदहलदीर्घमयूखरेखोर्यंतखद्योतीकृतसहसर- रिमभिः महारत्नसहस्रैः पूरितं खलु ते कोशगृहम् । किं तेषामप्यधिकः अस्य प्रभावः येनाश्चर्य करोषि । VI) वयस्य, एष खलु चिन्तामणिरिति प्रसिद्धः असाधारण एव । यतः, प्रार्थयति यद्यत् सकलो जनोऽपि हस्ते अयं तस्य खलु ददाति तत् तत् । मन्दार- १ ः अद्य खलु, A अस्य हि. २ M °ध्याच्छिमादीप्तमयू'. ३ सूर्यो विदूरापसृतः, & सूर्यो वि lacuna. ४ 5 अगणणीयैर, ४ अगुणितरोधैरु'. ५ र 'धिका अर्घ्यप्रभावः, M *धिकोऽस्य प्रभाव.. ६ ॥ येन त्वमप्याश्चर्य. ७ ॥ प्रार्थयते; and some lacuna in this passage. ३ चंद .

·चंदलेहाए [1.29.1- विदूषकः- अहो पंडिआणं वि बुद्धी अंध-परंपरं अणुवइ, जदो तुए एदाए सिलाए दाण-विअड्डआ वण्णीअदि। परमत्थदो उण • ससस्स विसाणुन्भवो, आआसस्स पसूणुग्गमो, मिअतिण्हिआए सलिल-रूवतणं, एदस्स सिला-विसेसस्स अभिमद-दाण-पंडिच्चं च अणत्यंतरं। राजा-I'मा मा एव्वं भण। अचिंतणिजो खु मणि-मंतोसहीणं पहावो। विदूषकः- "भो वअस्स, जइ एव्वं इदं में कहेहि । कहं पुण एदस्स अचेदणस्स उवल-विसेसस्स दाणं संभवइ । राजा--"वअस्स, एआरिसाणं अप्पञ्चक्ख-चारिणीओ अहिदेव- आओ विज्जति। विदूषकः-जुज्जइ । ता अहं किं वि पत्थेमि णं महारअणं । (विचिन्त्य, अपवार्य ) भो वअस्स, एण्हि इह महिअले जा कण्णआणं रअण-भूओं कण्णआ ने पुरदो दंसेहि ति पत्थेमि । राजा-जं अहिरुइदं वअस्सस्स । (विदूषकः प्रार्थनामीलितलोचनस्तिष्ठति । ततः प्रविशत्यपटीक्षेपेण नायिका । सर्वे सकौतुकमवलोकयन्ति ।) राजा-(सविस्मयम् )अहह । 1 x omits अहो. 2K बुद्धीए अंध'. 3 एदाहि. 4 x विअदभा. 55 पसूणुब्भवोगमो. 8 x अचेदणं उवल. 9 भूता. 10 x writes these stage-directions as if they form a speech of Vidasaka. कल्पद्रुमकामधेनुसन्तानकानां गणितश्च मध्ये ॥ २९॥ I) अहो पण्डितानामपि बुद्धि- रन्धपरंपरामनुवर्तते, यतः त्वया एतस्याः शिलायाः दानविदग्धता वर्ण्यते । पर. मार्थतः पुनः शशस्य विषाणोद्भवः, आकाशस्य प्रसूनोद्गमः, मृगतृष्णिकायाः सलि- लरूपत्वम्, एतस्य शिलाविशेषस्य अभिमतदानपाण्डित्यं च अनर्थान्तरम् । II) मा मा एवं भण । अचिन्तनीयः खलु मणिमन्त्रौषधीनां प्रभावः। III) भो वयस्य, यद्येव- मिदं मे कथय । कथं पुनरेतस्याचेतनस्योपलविशेषस्य दानं संभवति । IV) यस्य, एतादृशानामप्रत्यक्षचारिण्यः अधिदेवता विद्यन्ते । V) युज्यते । तदहं किमपि प्रार्थ- यामि एतन्महारत्नम् । (...) भो वयस्य, इदानीमिह महीतले या कन्यकानां रतभूता कन्यका तां पुरो दर्शयेति प्रार्थयामि। VI) यदभिरुचितं वयस्यस्य । VII) अहह । १ . lacuna here. २ x संभवः for 'रूपत्वम् . ३ M हि for खलु. ४ भो वयस्य. ५ र भपि देवता for अधि', 'चारिभ्योऽधिदेवता. 6 K omits ono FIT. 7K omits मे.

·-1. 3361 पढमं जणिअंतरं १९ अहो महिअले कहं अविरलुज्जला विज्जुला नहिं फुरइ पुण्णिमा कहमहो वहती कहुं । अहो कणअ-कुंभए अवि कहं दरिदतणं घणे पुलिण-मंडले कह गई ण संदीसह ॥ ३०॥ अवि अ। सुह-गंधो तम-बंधो सविलासा णील-जीरअ-वलासा । अअलंको हरिणको अदिड-पुव्वं खु दीसए सव्वं ॥ ३१ ॥ कुह वि अहो पल्लविओ कोरइओ कुह वि कुह वि मंजरिओ। को एस संपदाओ कुसुमाउह-विअज-सिद्ध-विज्जाए ॥ ३२ ॥ नायिका-(स्वगतम्) अहो, वम्मह-लोअं आरोविद म्हि काए वि देवआए। एसो खु भअवं वम्महो। एसा अ देवी रई। एसो अ परिअणो। देवी-"अभिजाअ-कुल-संभवा का वि कण्णआ। विदूषकः-(सावधानं निरूप्य ) 'भो वअस्स, पेक्ख पेक्ख चक्रवट्टि- महिसी-पद-लाह-इंध-बंधुराइ इमाए अब्भुद-कण्णआए अंगाइ। राजा-(अपवार्य) वअस्स, णं एवं भण । अहमहमिआ गएहिं पेम्माउँलिएहि लक्खणेहिं वि। जह-ठाण-संठिएहिं आलिंगिअमंगअंकिसंगीए ॥३३॥ 1 K अविरलज्जला. 2 Kणीरणीलअविलासा. 3 5 मुजविओ. 4 K लोहं for लोअं. 5 K मम्महो. 6 5 कापि for का वि. 7 Kलब्भ for इंध. 8 : पेम्मउलाएहि. 9K संदठिएहिं. अहो महीतले कथमविरलोज्जवला विद्युत् , तस्यां स्फुरति पूर्णिमा कथमहो वहन्ती कुहूम् । अहो कनककुम्भयोरपि कथं दरिद्रत्वं, घने पुलिनमण्डले कथं नदी न संदृश्यते ॥३०॥ अपि च । सुखगन्धस्तमोबन्धः सविलासा नीलनीरजपलाशाः, अकलको हरिणाङ्कः अह- टपूर्व खलु दृश्यते सर्वम् ॥ ३१ ॥ काप्यहो पल्लवितः कोरकितः क्वापि कापि मञ्जरितः, क एष संप्रदायः कुसुमायुधविजयसिद्धविद्यायाः॥३२॥ I) अहो मन्मथलोकमारोपितास्मि कयापि देवतया। एष खलु भगवान् मन्मथः । एषा च देवी रतिः । एष च परिजनः । II) अभिजातकुलसंभवा कापि कन्यका । III) भो वयस्य, पश्य पैश्य चक्रवर्तिमहिषी- पदलाभचिह्नबन्धुराणि अमुष्या अद्भुतकन्याया अङ्गानि । IV) वयस्य, नन्वेवं भण । अह- महमिकागतैः प्रेमाकुलितैर्लक्षणैरपि । यथास्थानसंस्थितैरालिङ्गितमङ्गं कृशाङ्गयाः ॥ ३३ २ । कुम्भम् for २ M कुत्रापि for कापि in this line. ३ M अहो अभिजते कुल'. ४ ॥ पश्य is not repeated. ५ एनदेव for नन्वेवं; some lucunas in the following verse, कुहूम्.

·२० नंदलेहाण [I. 38.1- नायिका-(राजानमवलोक्य स्वगतम्) किं णु खु एदं पेक्खिअ अदिह- पुरुवस्स अवत्थंतरस्स पतं होइ मे चितं । राजा-वअस्स, णेतंदोलण-घोलिदो व्व गलिओ ईसीसि कण्णेउरो लावण्ण-दुम-मंजरि व्व लसिओ सेओ णिडालंतरे। सोहा-संगहणोसुआइ व करे लग्गाइ पुष्र्काई से तं मण्णे कुसुम-ग्गहम्मि मणिणा णीदा इंअं एदिणा ॥३४॥ (स्वगतम् ) अहो इह द्विदाए वि से आढत-णिन्वहणे अहिणिवेसो। जदो पुण्णे पसूण-णिअरेहि तहिं लुएहिं खिग्णे सिरीसअ-सिरी-हसिरे करम्मि । नेण किंचि परिकंचिअ-चंचलेणं आदेइ मज्झ मण-फुल्लमिअं रसोलं ॥३५॥ (इति सस्पृहमवलोकयति ।) नायिका-(अधोमुखी) कीस उण अअंडे ऊरू मे वेवंति। राजा-(स्वगतम्) पत्तेसु मज्झ णअणेसु मुहंबुअं से पाअंबुअं परिगआ खु अवंग-माला। 1 x घोलिद ब्व. 2 x मञ्जरिव. 3 x ललाडंतरे. 4 K संगहआसु. BK लग्गाल, butt 65 पुप्फाल. '7_K इयं. 8 K द्विदए. 9 5 अढत्त. 10 वेपन्ति. I) किं नु खल्वेतं प्रेक्ष्य अदृष्टपूर्वस्यावस्थान्तरस्य पात्रं भवति मे चित्तम् । II) वैयस्य, नेत्रान्दोलनचालित इव गलित ईषदीषत् कर्णपूरः, लावण्यद्रुममञ्जरीव लसितः खेदो ललाटान्तरे शोभासंग्रहणोत्सुकानीव करे लग्नानि पुष्पाण्यस्या, तन्मन्ये कुसुमग्रहे मणिना नीता इयमेतेन ॥ ३४ ॥ (...) अहो इह स्थिताया अपि अस्या आरब्धव्यापारे अभिनिवेशः। यतः, पूर्ण प्रसूननिकरैः तस्मिन् लूनैः, खिन्ने शिरीषकधीहसनशीले करे। नेत्रेण किंचित्परिकुश्चितचञ्चलेन, आददाति मम मनःफुल्लमियं रसाम् ॥ ३५ ॥ III) कस्मात् पुनरकाण्डे ऊरू मे वेपेते । IV) प्राप्तयोर्मम नयनयोर्मुखाम्बुजमस्याः, पादाम्बुजं प्रतिगता खलु कटाक्षमाला। हंसाकुलात् कमलात् कमलान्तरे, भृङ्गच्छटेव १ र अननुभूत for अदृष्ट given by M; M some lacuna. lacuna. . ३ K मजरीविलसितः, M 'मञ्जरीव लळितस्स्वदो निटालान्तरे. ४ K इहागताया. ५ र पूर्णैः, M पूर्णे. ६ : निकरैरस्मिन् , . प्रसूनकरैः तस्मिन्, ७ शिरीषनी', 4 शिरीषकश्रीभासुरे करे, ८ प रसाधम्. ९ । वेपते, IV ८ xh लग्गाइ. २ र वयस्य पश्य, M a short १ ·२१ -I.37. 10] पढम जवणिअंतरं हंसाउलाउ कमला कमलंतरम्मि भिंग-छडा व परिरेहइ धावमाणा ॥३६॥ विदूषकः-(राजानं निरीक्ष्य, निर्वर्ण्य, अपवार्य) भो वअस्स, ण केवलं लक्खणाइ तुज्झ अणाई वि किं वि पेम्म-परवसाइ से अंगं आलिंगंति। राजा-(अपवार्य )"वअस्स, केवलं इमाए जोवणुभेद-तरंगिणं पुलोएमि । पेक्खदु दाव। उइंसिअ-थण-कभं उम्मज्जलेण जोवण-गएणं। कूलंकस-रस-भरिआ सरसि व्व तरंगिआ पवालंगी ॥३७॥ नायिका-(सविषादम् ,स्वगतम्)"किं करोमि । ण सक्कुणोमि एत्य ठाउं । देवी-(निर्वर्ण्य, स्वगतम्) अदिड-पुरुव-जण-दंसणेण इमाए विसादो विअ लक्खीअदि । ता एवं दाव । (प्रकाशम् ) भद्दे एहि, एत्थ उव- विस (इति नायिका हस्ते गृहीत्वा स्वासनार्धे उपवेशयति ।) नायिका-(उपविश्य ) अणुग्गहीद म्हि देवीए रईए। (स्वगतम्) अहो, सुहओ एदाणं समवाओ। (नेपथ्ये) वैतालिकः-जअ जअ तिभुवणेक्क-णाह, लोअ-लोअण-चंद, सुंदरै- मंदाविअ-कंदप्प-माण, माणवेअ, सुहाअ सायंतण-संझा होउ' देवस्स । अज्ज खु 1 भिंगझडा. 2Kणअणालुं वि. 3 जोव्वर्णभेदतरमाणं पुणेएमि. 4K गईणम्. 5 The stage-direction (स्वगतम्), which I have put at the beginning of the next sentence, is put by r immediately after (उपविश्य). 6x सुन्दर. TK omits माण, 8 x सम्छा होइ. परिराजते धावमाना ॥ ३६॥ I) भो वयस्य, न केवलं लक्षणानि तव नयने अपि किमपि प्रेमवशे अस्या अङ्गमौलिङ्गतः। II) वयस्य, केवलममुष्याः यौवनोद्भेदतरङ्गिणं प्रलोक- यामि । पश्य तावत्, अॅदर्शितस्तनकुम्भमुन्मजता यौवनगजेन । कूलंकषरसभरिता सरसीव तरङ्गिता प्रवालाङ्गी ॥ ३७॥ III) किं करोमि । न शक्नोमि अत्र स्थातुम् । IV) अदृष्टपूर्वजनदर्शनेनास्या विषाद इव लक्ष्यते । तदेवं तावत् । (..") भद्रे एहि, अत्र उपविश । V) अनुगृहीतास्मि देव्या रत्या । (...) अहो सुभग एतेषां समवायः। VI) जय जय त्रिभुवनैकनाथ, लोकलोचनचन्द्र, सौन्दर्यमन्दीकृतकन्दर्पमान, मानवेद, १ . परिराजति. २ र मालिङ्गितः, मालिङ्गति. ३ ॥ "तरङ्गणं. ४ . अवलोकयामि. ५ x आस्तां for तदेवं found in M. ६ . भद्रमुखि for भद्रे. ५K मानवेत, A मानवेद.

·चंदलेहाए [I. 386- एसा बंधुर-बंधुजीअ-कलिआ-सोहा णिदाहंसुणो रिंगोली पडिबिंबआण लहरी-बुंदेसु संदीसए। सिग्धं ओदरिउ णहाउ दिण-लच्छीए समद्दोदए माणिक्केहि मणोहरेहि रइआ सोआण-वीहि व्व से ॥३॥ कि च। सेरं सेरंधि-सत्यो विलिहंइ सिहिणे चित्तलं पत-लेह रामाणं णेत-लच्छी-कसणिअ-रमणाआण-मग्गंतराणं । आलक्खिज्जत-कालाअरु-बहलअरुद्दाम-धूमंधआरो गेहेसुं देइ मेतिं रअणि-मुह-महंतुग्गमाणं तमाणं ॥ ३९॥ नायिका -(सानन्दं स्वगतम् )'अहो, सो एव्व एसो जस्स जसं सव्वदा तांदो वण्णेदि । (सस्पृहमवलोक्य ) सरिसं खु तादस्स वण्णणं । देवी-"अय्यउत्त, इमाअं अब्भुद-कण्णआ बहिणिआअं मिव मे हिअअं सिणिज्झइ। किं च, अभिजाआ खु एसा, ता अंतेउरे एव्व ठाउं उइदा । अणुजाणादु अय्यउत्तो अंतेउरं गेहूँ । राजा-देवि, एत्थ किं अहं पुच्छिदव्यो । जं अहिरूँइदं देवीए। 1 ओदरउं. 21 विलहल for विलिहइ. 3 दमाण for तमाणं. 4 तदो. 5 सरिर्दू for सरिसं. 65 अहिरुहिदं. सुखाय सायंतनसंध्या भवतु देवस्य । अद्य खलु, एंषा बन्धुरबन्धुजीवकलिकाशोभा निदाघांशोः, श्रेणी प्रतिबिम्बानां लहरीवृन्देषु संदृश्यते । शीघ्रमवतरितुं नभसः दिन- लक्ष्म्याः समुद्रोदके, माणिक्यैर्मनोहरैः रचिता सोपानवीथी वास्याः॥ ३८॥ किं च । खैरं सैरन्ध्रीसार्थः विलिखति स्तने चित्रवत्पत्रलेखां, रामाणां नेत्रलक्ष्मीकृष्णीकृतरम- णायानमार्गान्तराणाम् । आलक्ष्यमानकालागरुबहलतरोद्दामधूमान्धकारः, गेहेषु ददाति मैत्री रजनीमुखमहदुद्गमानां तमसाम् ॥३९॥ I) अहो स एव एष यस्य यशः सर्वदा तात: वर्णयति । (.) सदृशं खलु तातस्य वर्णनम् । II) आर्यपुत्र, अमुध्यामद्भुतकन्यकायां भगिन्यामिव मे हृदयं नियति । किं च, अभिजाता खलु एषा, तदन्तःपुर एव स्थातु- मुचिता। अनुजानातु आर्यपुत्रः अन्तःपुरं नेतुम् । III) देवि, अत्र किमहं प्रष्टव्यः। १ र एषो. २ M रिन्छोली for श्रेणी. ३ र धन for दिन. ४ र रुचिरा for रचिता. ५ वीथीव यस्याः. ६ र साथै. ७ : दह्य for आलक्ष्य'. ८ र तमोद्दाम. ९ x मुखे महदुमानन्दमासाम्. १० अथवा for अहो. ११ ॥ अस्या' for अमुष्या १२ : "कन्यायां. १३ ॥ अनुशापयतु. १४ x omits अत्र, किमहमत्र for अत्र किमई.

·२३ -I.41.3] पढम जवणिअंतर देवी-(उत्थाय) एहि भद्दमुहि, अंदेउरं पविसम्ह । नायिका-आम । ( इत्युत्थाय आत्मगतं नायकं सानुराग तिर्थक् पश्यन्ती सप- रिवारया देव्या सह निष्क्रान्ता।) राजा-(सनिर्वेदम्) IT'मज्झम्मि हत पडिजण पमोअ-वंझा संझा कराल-मुह-भीसण-सण्णिवाआ। देवाण दाणव-घड व्व दिसाण मज्झं पीऊस-पाण-विहदि सहसा करेदि ॥ ४० ॥ (समन्तादवलोक्य) अहवा। मुहे राउन्भेओ णअण-सुहओ दीसइ फुडं णिडालग्गे लग्गे अणसरइ सेए उडुगणो। सरोआणं दाणिं अणुकुणइ कोसे सिहिर्ण पिआ-सारिच्छेणं मह फुरइ संझा सुहअरी ॥ ४१ ॥ विदूषकः-(निरूप्य )भो वअस्स, एतो खु अम्हाणं तिभुवण-लोह- णिज्जा रूविणी अब्भुद-कण्णआ समासादिआ। पुणो किं णिस्सा- रेण इमिणा मणिणा कज्ज । गहिएसु तंडुलेसु किं नुसेहि करणिज्ज। 1 x omits आम and adds (उत्थाय) etc., while rh reads आं (इत्युस्थाय etc.) 2 धर्ट पदिसाण मंझ. 3 x omits अहवा. 4 5 सरोआणि. 5 x माणि, but rh दाणि. 6 K सिहिणिों. 7x विआ. 8 - पुठइ. 9 K सुहहरी. 10 : एता. 11 पुणो की णिस्सारण, Kh पुणो वि किं. 12. तंसुलेसु. यद्भिरुचितं देव्याः। I) एहि भद्रमुखि, अन्तःपुरं प्रविशावः। II) आम। III) मध्ये हन्त पतित्वा प्रमोदवन्ध्या, संध्या करालमुखभीषणसंनिपाता। देवानां दानवघटेव दृशोर्मम, पीयूषपानविहति सहसा करोति ॥४०॥ (...) अथवा । मुखे रागोद्भेदः नयन- सुभगः दृश्यते स्फुटं, ललाटाग्रे लग्नाननुसरति खेदानुडुगणः। सरोजानामिदानीमनु- करोति कोशान् स्तन, प्रियासादृश्येन मम स्फुरति संध्या सुखकरी ॥४१॥ IV) भो वयस्य, एतस्मात् खलु अस्माकं त्रिभुवनलोभनीया रूपिणी अद्भुतकन्यका समासादिता पुनः किं निस्सारणामुना मणिना कार्यम् । गृहीतेषु तण्डुलेषु किं तुषैः करणीयम् । १६ प्रविशामः, २ x omits आम. ३ : श्रीमोद for प्रमोद. ४ . निटालाग्रे for ललाटाग्रे. ५ कोश- स्तनम् , ४ कोशसूनं. ६ र श्रिया for प्रिया. ७ x सुखहरी. ८ इत: for एतस्मात्. ९ श्लाघनीया for लोभनीया. १० Mणानेन for णामुना.

·चंदलेहाए II. 4.1.4-- राजा-"गोसण्ण, मा मा एव्वं । किं इंदिरा गहिआ मुउंदेण णाहिणंदीऑदि दुद्ध-वारिही। ता उद्धरेहि णं । मणिराअं पुणो वि 'अम्हाणं अणगहिउँ देवाराहण-मंदिरे अञ्चणथं ठाविऊण गच्छम्ह संझं वंदिडं। (निष्क्रान्ताः सर्वे ।) ॥ इअं चंदलेहा पढ़मं जवणिअंतरं॥ 1 Kणन्दिअदि. 2K इ#. 3 K पठमं. a I) गोसंश, मा मा एवं । किमिन्दिरायां गृहीतायां मुकुन्देन नाभिनन्द्यते दुग्धवारिधिः। तदुद्धर एनम् । मणिराजं पुनरपि अस्माकमनुग्रहीतुं देवाराधनमन्दिरे अर्चनार्थ स्थाप- यित्वा गच्छावः संध्यां वन्दितुम् ॥ ॥ इति चन्द्रलेखायां प्रथम यवनिकान्तरम् ॥ १ KM put the Danda after मणिराज.

·[IT] (ततः प्रविशति राजा चामरग्राहिणी च ।) राजा-(निश्वस्य साशंसम्) 'लज्जा-जंतण-लंछिंआ वि सहसा तंसावलोजसुआ तं देसं णव-पुंडरीअ-णिअर-च्छण्णं कुणंता खणं । संचारा चउरं भमंत-भुमंआ मुद्धा सिणिद्धा अ में आणंदंतु पुणो वि केअअ-सिहा-लच्छीणमच्छीण से ॥१॥ चामरग्राहिणी -(स्वगतम् )"अहो, अज्ज वि महाराओ तं मरगअ- उज्जाण-वुतंतं एव्व चव्वंतो पवायंत-वअण-पंकओ रुअ-रुइअ- च्छितेण चितेण किं वि किं वि जंपतो उल्लिहिओ विअ चिट्ठइ ।। ता वसंत-वण्णणेण अण्णरिस गेमि से माणसं । (प्रकाशं) पेक्खदु दाव महाराओ। सूणाहिंतो पिबंतो भमइ महुअरो मंदमंदं मरंदं चूआहितो पडतो महमहइ स-भंगाणुबंधो सुअंधो। मलाहिंतो हसंतो विलसइ पहिउक्कर-सोओ असोओ सिंगाहिंतो वलंतो मलअ-सिहरिणो वाइ सीओ अवाओ॥२॥ 6 1 x begins this Sceno vith this sentence अथ चन्द्रलेखायां द्वितीयं यवनिकान्तरम् । 2 Kलच्छिआ. 35 तस्साव. 4K भमआ for भुमआ. 5_K सिणिद्धाअमामण्डदन्तु. वकुओ for पंकओ. 7 जपतो उल्लिखितो. 8 x डुमइ महुररो. 9 x चूडाहितो, 10 x सोगा- हितो, but Kh सिंगाहिंतो. [संस्कृतच्छाया] I) लजायन्त्रणलाञ्छिता अपि सहसा व्यस्रावलोकोत्सुकाः, तं देशं नवपुण्डरीक- निकरच्छन्नं कुर्वन्तः क्षणम् । संचाराश्चतुरं भ्रमझुवः मुग्धाः स्निग्धाश्च माम्, आन- न्दयन्तु पुनरपि केतकशिखालक्ष्मिणोः अक्ष्णोः अस्याः॥१॥ II) अहो, अद्यापि महा- राजः तं मरकतोद्यानवृत्तान्तमेव चर्चयन् शुष्यद्वदनपङ्कजो रणरणिकाक्षिप्तेन चित्तेन किमपि किमपि जल्पन उल्लिखित इव तिष्ठति । तद्वसन्तवर्णनेन अन्यस्मिन् नयाम्यस्य मानसम् । (...) पश्यतु तावन्महाराजः। सूनेभ्यः पिबन् भ्रमति मधुकरो मन्दमन्द मकरन्द, चूतेभ्यः पतन् सर्वतः प्रसरति संभृङ्गानुवन्धः सुगन्धः । मूलात् हसन् विलसति पैथिकोत्करशोकः अशोकः, शृङ्गेभ्यः वलमानः मलयशिखरिणः वाति शीतश्च १ . लक्षिता for लान्छिता. २ निग्धागमा for निग्धाश्च मा. ३ र "शिखालक्ष्म्या अं. ४ x omits अस्याः. ५ x omits शुष्यद्. ६ : किमपि only once. ७ x प्रसझानुबन्धान् गन्धमूलात्, M मुगानुबन्धस्मग- धैर्मूलाइसन् for सभृङ्गा etc. ८ . पथिकोरकशोक शाद. ९ र मातरिश्ववातः tor वाति etc. ४ चंद. har ·। २६ चंदलेहाए [II.2.1- राजा-(अनाकर्ण्य) अहो रूव-सिरी। तह अ। णेतं कंदोट्ट-मित्तं अहर-मणि-सिरी बंधजीएक-बंध वाणी पीऊस-वेणी णव-पुलिण-अल-न्योर-बिंबो णिअंबो। गतं लाअण्ण-सोतं घण-सिहिण-भरच्चंत-मुज्झंत-मज्झं उत्तेहिं किं बहूहिं जिणंइ मह चिरा जम्म-फुलं फलिलं ॥३॥ एहि च। सामंतो सो वसंतो लसइ पिअ-वहू-काहलेहिं कलेहि आसण्णो एव्व पुण्णा उण सइअ-वरो णड-तंदो अ चंदो। णासीरो सो समीरो चलइ मलअदो णेत-कोणो अ बाणो सण्णडो सो सिणिद्धो जिणउ तिहुवर्ण ता असंगो अणंगो॥४॥ (विचिन्त्य ) अहव जिअं एव्व अणेण अम्हारिस-मम्म-हणणुम्मु- हेण वम्महेण तिहुवणं । जदो महुर-महुरमेदे हंत गाअंति किति दिसि दिसि कलअंठा "बंदिणो णंदिणो से। अवि अ गहिअ-गव्वं सव्व-तेल्लोक-हेला- विअअ-धंअ-वडाअंदोलिआ बालिआ सा ॥५॥ 1K अहरसिरी. 2K पाणी. 3 K भरंचन्त. 4 5 जणइ for जिणइ. 5 हलीलम् for फलिल्लं. 6 x omits कलेहि. 7 x सइअणट्ठदन्तो अ. 8 : सो जअउ तिहुवर्ण, but rh सो सिणिन्धो जिणउ तिहुवणं. 9 x व but xh एव्व. 10 5 मम्महेणणं मुहेणं मम्महेण. 11 गायन्ति. 12 : वन्दिणे से. 13 K असिअ. 14 x केल्लोक्क. 15K डअ for धा. वातः ॥२॥ I) अहो रूपश्रीः। तथा च । नेत्रं नीलोत्पल मित्रम् अधरमणिश्रीबन्धुजीवै- कबन्धुः, वाणी पीयूषवेणी नवपुलिनतेलस्थूलबिम्बो नितम्बः। गात्रं लावण्यस्रोतः धनस्तनभरात्यन्तमुह्यन्मध्यम् , उक्तैः किं बढुभिः जयति मम चिरात् जन्मफुल्लं फलवत् ॥३॥ इदानीं च। सामन्तः स वसन्तो लसति पिकवेधूकाहलैः कलैः, आसन्न एवं पुण्यात् पुनः सचिवपरो नष्टतन्द्रश्च चन्द्रः। नासीरः स समीरचलति मलयतो नेत्रकोणश्च बाणः, सन्नद्धः स स्निग्धो जयतु त्रिभुवनं तदसंगो अनङ्गः ॥ ४॥ (...) अथवा जित- मेवानेन असादृशां मर्महननोन्मुखेन मन्मथेन त्रिभुवनम् । यतः, मधुरमधुरमेते हन्त गायन्ति कीर्ति, दिशि दिशि कलकण्ठाः बन्दिनो नन्दिनोऽस्य । अपि च गृहीतगर्व सर्व- १ . वायुः for वातः. २ K पुलिनस्थूल'. ३ x °भारात्यन्तो मु. ४ . बछुना. ५ : वधूहाहाकलैः कालैः, ६ : आसन्ने and lacnna upto पुनः, M *सन्न and lacuna upto नः सचिव, ७ तदासङ्गम् , & देशमे कोऽनङ्ग: for तदसंगो etce. ८ . 'मधुरमेके. ९ च निगृहीत.

·Puran -II. 8.1] Fo दुदिअं जवणिअंतरं चामरग्राहिणी-(स्वगतम् )"अहो, णिअ-सासणेक-वसंवदाविअ-सअ- ल-महिअलो हविअ अप्पणा कुसुमसरासणस्स सासणं अणुंवट्ट- माणो ण किं वि जाणादि महाराओ। सव्वहा हरि-हर-सरसिरुहासण-हरिहय-पमुहा मुहा कहिजंति । णाहो खु णवर एक्को मअणो भुवणाण चोदहाणं वि॥ ६ ॥ राजा-अच्छ। जं जेहिं णअणंचलेहि तइआ मंदाणिलंदोलिए पिऊसण्णव-सीअलंबु-लहरी-मज्झम्मि णिम्मजिअं । तं तेहिं महमेण्हिमुण्ह-विसमे कप्पंत-वादाहए घोर-क्खेडअ -णई-सोतम्मि छितं मणं ॥ ७॥ -पूर-पूरिअ- किंच। etc. जाला हेला-विहसिअ-रई लोअणागोअरे सा बाला ताला-पहुदि परुसा चंदिआ-मंद-वाआ। जाला-माला पलअ-सिहिणो पल्लवाली-मुणाली- माला हालाहलमवि अकोलाहलो कोइलाणं ॥४॥ (विचिन्त्य ) किं णु खु वअस्सो में चिराअदि । 1 x महिअले, but xh 'लो. 2 वट्टमाणेण कीवि जाणादि. 3 सुरवण एको for 4 K तइआआ मन्दा. 5K तन्तेहीमहमेहि 6 बादाहते. '7 K च्छत्त. 8 K बहुदिवरुचा for पडुदि परुसा. 9 4 वलय. 10 x कोइदाणम्. ll K omits मे which is given by Kh. त्रैलोक्यहेला-, विजयध्वजपताकान्दोलिता चालिका सा ॥ ५॥ I) अहो, निजशासनक- वैशंवदीकृतसकलमहीतलो भूत्वात्मना कुसुमशरासनस्य शासनमनुवर्तमानो न किमपि जानाति महाराजः। सर्वथा, हरिहरसरसीरुहासनहरिहयप्रमुखा मुधा कथ्यन्ते । नाथ: खलु परमेको मद्नो भुवनानां चतुर्दशानामपि ॥ ६॥ II) आश्चर्यम् । यद्यैः नयनाञ्चलैः तदा मन्दानिलान्दोलिते, पीयूषार्णवशीतलाम्बुलहरीमध्ये निमजितम् । तत् तैः मम इदानीमुष्णविषमे कल्पान्तवाताहते, घोरक्ष्वेडकपूरपूरितनदीस्रोतसि क्षिप्तं मनः ॥७॥ किं च । यदा हेलाविहसितरतिर्लोचनागोचरे सा, बाला तदाप्रभृति परुषाश्चन्द्रिकाम. न्वाताः । ज्वालामालाःप्रलयशिखिनः पल्लवालीमृणाली,माला हालाहलमपि च कोला- P- १ . विजृमि for विजय.२ र लोलिता लालिका सा for "दोलिता etc. ३ ॥ बालका. ४ K वशंवन्दीकृत ॥ वशपदीकृत'. ५ x किमपि विजानाति. ६ ॥ वरमेको. ७ K यद्याभ्यां नयनाञ्चलाभ्यां मन्दा', M_laouna for तदा. ८ : पीयूष नव'. ९ विषमेकान्तवान्तवाता. १० र घेरत्येलपूरित, A धोरध्वेड lacuna तार्णव- जले झटिव क्षिप्तं मनः। ११ ॥ "विलसिता रति lacuna, ·७ चंदलेहाए [II.8.2- (ततः प्रविशति विदूषकः।) । विदूषकः-(सहर्षम् )"हंत साहिअं कजं । तं वअस्सस्स णिवेदेमि। (परिक्रम्य, पुरोऽवलोक्य) एसो वअस्सो अहिणव-पिअंगु-सामलंगो वि पच्चूस-ससि-मंडल-पंडुर-महुरेहिं अवअहिं णिदाह-गंगा-पवाहो विअ कमेण विमुक्क-गभीरतणो बहुल-पक्ख-चंदो विअ दिणे दिणे विमुच्चंत-कला-समुदओ तुहिणाअलो व्व विजंभंत-मअणोतं एव्व अंभुद-कण्णअं झाअंतो थिमिओ चिट्ठइ । (विचिन्त्य ) अहो एआरि- साणं वि महापुरुसाणं माणसं मअणेण कीलामिओ कीरइ । सव्वहा मअण-मारुअ-विलोलिअस्स माणसस्स ण को वि पडिआरं करे । ता कुसुम-सरासण-सरासार-झरंत-हिअअं वअस्सं सूर-इरण-विसू- रंत-कुमुव कुमुआअरं सरदिंदु-सुंदर-मुहीए वुतंत-चंदिआ-णीसं- देण आणंदेमि । (उपसृत्य) जिणउँ भवं । राजा-"वअस्स, किं दिहा देवी। विदूषकः- किं दमिलमंडआए ‘पवहो सि। उज्जुअं एव्व पुच्छ। किं दिहा तथंहोदी मणिसंभवेति । किमिणं मूलं मुणंतस्स मम पतं 1 ता for तं. 2 णिवाह, but Kh णिदाह. 3 5 'लोव्वंभंतमअणो. 4 1 अब्भुदंणअं, but xh अब्भुदकण्णअं. 5 x omits अहो. 6 K किलामिओ. 7 परिआरं. 8 जणउ भन्वं. 9 F उज्जणीएव्व. 10 x तत्तहोदी. 11 - सूर्ण मूलत्तस्स. हल कोकिलानाम् ॥ ८॥ (...) किं नु खलु वयस्यो मे चिरायति । I) हन्त साधितं कार्यम् । तद् वयस्याय निवेदयामि । (...) एष वयस्यः अभिनवप्रियङ्गुश्यामलाङ्गोऽपि प्रत्यूषशशिमण्डलपाण्डुरमधुरैः अवयवैः निदाघगङ्गाप्रवाह इव कमेण विमुक्तगम्भीरत्वो वहुलपक्षचन्द्र इव दिने दिने विमुच्यमानकलासमुदयः तुहिनाचल इव विजृम्भमाण- मैंदनः तामेवाद्भुतकन्यकां ध्यायन् स्तिमितस्तिष्ठति । (...) अहो एतादृशानामपि महा- पुरुषाणां मानसं मदनेन क्रीडामृगः क्रियते। सर्वथा मदनमारुतविलोलितस्य मानसस्य न कोऽपि प्रतीकारं करोति । तत् कुसुमशरासनशरासारसंतप्यमानहृदयं वयस्यं सूर्य- किरणविशुष्यत्कुमुदमिव कुमुदाकरं शरदिन्दुसुन्दमुख्याः वृत्तान्तचन्द्रिकानिष्यन्देन आनन्दयामि । (..) जयतु भवान् । II) वयस्य, किं दृष्टा देवी । III) किं मिलम- ण्डकया प्रवृत्तोऽसि । ऋजुकमेव पृच्छ । किं दृष्टा तत्रभवती मणिसंभवेति। किमिदं मूलं । १ . वयस्यस्य. २ र यामि इति. ३K omits प्रियङ्गु, M प्रियं तु. ४ र वदनः for मदनः. ५ K omits वयस्य, x laouna. ६ K किं चन्द्रमिलमण्डकया, A lacans जया प्रवृत्तोऽसि. ७ र व्रज्ये पप्रच्छ for ऋजुकमेव etc. ८४ अत्र भवती .

·-II. 9.9] दुदिलं जवणिअंतरं दंसीअदि, रअण-वेदिणो मंदिरे माणिक्क-मणि ति का विक्किणी- अदि, अणुभूद-बम्हाणंदस्स पुरंदो इंदाल-परमत्थदा समत्थी-13 अदि। किं मए ण मुणि मरगआरामादो एव्व नुए देवी-पक्ख- * वादस्स सतिला सलिलंजली दिण्ण ति। राजा-"मा मा एवं। जइ वि मणमिमस्सि कण्णआणिबद्ध तह वि गलइ देवी-पक्खवादो कहं मे। स-रइ कमलिणीअं दिण्ण केली-पआरो विसुमरइ खुणो सो माणसं राजहंसो॥ ९ ॥ ता आदिदो पहुदि कहेहि। विदूषकः -"सुणादु वअस्सो। एसो अहं अंबेउर-वुतंतं जाण ति तुए पेसिदो गोसम्मि एव्व पत्थिदो फलिहंकणेणं गंतुं पवुत्तो। राजा -"तदो तदो। विदूषकः -I'तदो दूरादो एव्व दिहा मए के वि कीला-सालभंजिअं गण्हि आअच्छंती तमालिआ। तदो तदो। विदूषकः- "तदो सा मं अपेक्खंती विअ अण्णेण मग्गेण गआ। राजा-(स्वगतम्)"किणिमितं । (प्रकाशं) तदो तदो। 3 राजा malload 1K वित्तीणिअदि. 2 Kधुरदो. 3 सतिलो. 4 K पख्खपादो. 5र कहेदि. GK फलिहवरेण. 7 . कि वि. 8 K भचिआं गृहिम आमच्छिती. जानतः मम पत्रं देते, रत्नवेदिनो मन्दिरे माणिक्यमणिरिति काचो विक्रीयते, अनुभू- तब्रह्मानन्दस्य पुरतः इन्द्रजालपरमार्थता समर्थ्यते । किं मया न शातं मरकतारामादेव त्वया देवीपक्षपातस्य सतिलः सलिलाञ्जलिर्दत्त इति । I) मा मा एवम् । यद्यपि मन अमुष्यां कन्यकायां निवद्धं, तथापि गलति देवीपक्षपातः कथं मे। सरति कमलिन्यां दत्तकेलीप्रचारः, विस्मरति खलु नो से मानसं राजहंसः ॥९॥ तदादितः प्रभृति कथय । II) शृणोतु वयस्यः। एपोऽहं अन्तःपुरवृत्तान्तं जानीहीति त्वया प्रेषितः प्रभाते एव प्रस्थितः स्फटिकाङ्गणेन गन्तुं प्रवृत्तः। III) ततस्ततः। IV) ततो दूरादेव दृष्टा मया कामपि क्रीडाशालभञ्जिकां गृहीत्वा आगच्छन्ती तमालिका । V) ततस्ततः। VI) ततः सा मामपैश्यन्तीव अन्येन मार्गेण गता । VII) किनिमित्तम् । (") ततस्ततः। १K omits मम, perhaps laouna. २ दृश्यते. ३ ४ मरतकारा. ४ र नृत्त for दत्त. ५ मनो बन्धो for नो स. ६ Komits प्रभाते. ७ . स्फटिकाङ्कणेण. ८ x पश्यन्तीव अन्येनैव मार्गेण, M"पश्यन्ती चान्येन मा.

·चंदलेहाए [II.9. 10- विदूषकः-"मज्झ अदंसणं अहिलसंतीए किं दसणेणं ति अहं वि तुम्हि एव्व गंतुमाढतो। राजा--"तदो तदो। विदूषकः-"तदो तहिं संमज्जणादि-वावार-केलि-लग्गेण दासेरई- वग्गण णव-णिहुवण-केलि-सिदिल-बंध-विगलिअंस-घोलंत-पज्जुसि- 15 अ-मालई-माला-महमहंत-बहल-परिमल-भर-भमंत-भसल-मंडलेहि धम्मिल्लेहिं सुरअ-भर-किलम्मंत-चंचलेहि णअणंचलेहिं थोआवसि- ह-पुराण-कत्यूरी-पत्त-भंग-लेहाहिं गंड-लेहाहिं रमण-दिढ-दिण्ण-बि- "दु-मणहरेहिं अहरेहिं मंडल-किअ-माणिक-मणि-सअल-विण्णास- संका-अर-तंबराअर्माण-मणि-माला-दिण्ण-उकंठेहिं कंठेहिं वल्लह- णव-णह-दल-विलिहिअ-चंदलेहा-मणोहरोहिं पओहरेहिं मोहण-वेअ- । खंडिअ-कंची-गुण-सिढिल-णिअसणेहिं जहणेहिं तुरिअ-विण्णास- महुर-झणझणाअंत-णेउर-कलकल-सुहअ-संचलणेहिं चलणेहिं आअ- च्छिों पाडिकं एव्व मरगउज्जाण-वुत्तंतं अहं पुच्छिदो। राजा-तदो किं तुए पडिवण्णं । विदूषकः -" इमिणा अत्याण-रअण-खंभेण किं पडिवण्णं । किं 18 21 1 K सिडिल. 2K भमल. 3 x धम्मल्लेहि. 4 x तोयावसिट्ट 6 x उकण्ठेहि. 7 तुरिय. 8 x आयच्छिअ. 95 अत्ताणरअणमेण. 5 K राअमपणमणि. I) ममादर्शनमभिलषन्त्याः किं दर्शनेनेति अहमपि तूष्णीमेव गन्तुमारब्धः। II) तत- स्ततः। III) ततस्तत्र संमार्जनादिव्यापारकेलीलग्नेन दासेरैकीवर्गेण नवनिधुवनकेली- शिथिलबन्धविगलितांसघूर्णमानपर्युषितमालतीमालासर्वतःप्रसरदहलपरिमलभरभ्रम- भ्रमरमण्डलैर्मल्लैधम्मिल्लैः सुरतभरथमक्लाम्यच्चञ्चलैनयनाञ्चलैः स्तोकावशिष्टपुराणकस्तू- रीपत्रभङ्गलेखाभिर्गण्डरेखाभिः रमणदृढदत्तबिन्दुमनोहरैः अधरैः मण्डलीकृतमाणिक्य- मणिशकलविन्यासशङ्काकरताम्रायमाणमणिमालादत्तोत्कण्ठैः कण्ठैः वल्लभनवनखदलवि. लिखितचन्द्रलेखामनोहरैः पयोधरैः मोहनवेगखण्डितकाञ्चीगुणशिथिलनिवसनैः जघनैः त्वरितविन्यासमधुरझणझणायमाननूपुरकलकलसुभगसंचरणैश्चरणैरागत्य प्रत्येकमेव मरकतोद्यानवृत्तान्तमहं पृष्टः। IV) ततः किं त्वया प्रतिपन्नम् । V) अनेन आस्थानरत्न- स्तम्भेन किं प्रतिपन्नम् । किं कस्तूरी पंकणे विक्रीयते । किं पुरोडाशं शवरीणां दीयते । किं १ र मम दर्शन'. २ . ततस्तस्मिन्, ३ र दासीवर्गेण. ४ . 'भ्रमद्भसळम. ५ र यनानिलैः. ६ . omits पुराण. ७ र लेखाभिः for रेखाभिः. ८r omits दल. ९ ॥ ततस्त्वया किं म. १० र वक्रणे, M पट्टणे for पक्कणे. ११ K समराणां for शबराणां, a launar ·॥ -II. 9. 42] दुदिों जवणिअंतरं कत्यूरी पकणे विक्विणीअदि । किं पुरोलास समराणं दिज्जइ। किं पंचगवं वाअसाणं पडिवज्जीअदि । राजा-(सस्मितम् )"अहो विअदाए विलासो। विदूषकः -"किं एत्थ अच्छरी को उण वासस्स लिवि-विण्णासे चितीअदि। को वम्मीइणो पद-बंधे कोदु करेदि । को बुहप्पइणो छग्गुण्ण-दसणे विम्हअंगण्हइ । राजा --IT'सच्चं । तदो तदो। विदूषकः-IVतदो ताणं ईसा-रज्जु-भमाडिज्जंत-भुमआ-कंवणुच्छि- तेहिं चडुल-चडुलेहिं कर्डक्ख-मरगअ-पासाणेहिं तालिओ। कह कह वि तदो संकडादो णिकमिअ पदुमराअ-सज्ज-वण-परिअंतेण गदुअ पलित-फलिअ-मणि-सिलालिंद-बहल-जोण्हा-जाल-धवलाअंत-दस- दिसा-मुहं माणिक-मणि-मंदिरोल्लसिअ-मंसल-मऊह-माला-बालोदव- पल्लविअ-णहंतरं विविह-वावार-नुवरंत-विलासिणी-महुरालाव-को- लाहल-मणहरं अंतेउरं पविटो म्हि। राजा-तदो तदो। विदूषकः- "तदो विद्दम-मणि-मंडिअ-मंडव-मज्झे पोमराआसण- णिसण्णा देवी, अणंतर-णिहिते फलिह-मणि-सिलासणे चंदावम्मि.. 33 ARAM 4 Kथग्गुण. . wayprun "M4HMAKAR.Cne, 1 x पणे. 2K देअदाए for विअदाए. 3 वासस्स. 55 ककवणु 6 x खडख्ख.7K संकटादो. K परतंतेण. 9r omits मणि. 10K मऊलह. 1] पालादच. 12 x omits मंडिअ. 13 चन्दादिपम्मि. पञ्चगव्यं वायसानां प्रतिपाद्यते । I) अहो विदग्धतायाः विलासः। II) किमत्राश्चर्यम् । कः पुनर्व्यासस्य लिपिविन्यासे चित्रीयते । को वाल्मीकेः पदबन्धे कौतुकं करोति । को बृहस्पतेः पाड्गुण्यदर्शने विस्मयं गृह्णाति । III) सत्यम् । ततस्ततः। IV) ततस्ता- सामीारज्जूभ्राम्यमाणभूकवणोत्क्षिप्तः चटुलचटुलैः कटाक्षमरकतपाषाणस्ताडितः । कथंकथमपि ततः सङ्कटानिष्क्रम्य पारागसर्जवनपर्यन्तेन गत्वा प्रदीप्तस्फटिकमणि- शिलालिन्दबहलज्योत्स्नाजालधवलायमानदशदिङ्मुखं माणिक्यमणिमन्दिरोल्लासिमांस- लमयूखमालाबालातपपल्लषितनभोऽन्तरं विविधव्यापारत्वरमाणविलासिनीमधुरालाप कोलाहलमनोहरमन्तःपुरं प्रविष्टोऽस्मि । V) ततस्ततः। VI) ततो विद्रुमैमाणमण्डि- तमण्डपमध्ये पारागासननिषण्णा देवी, अनन्तरनिहिते स्फटिकमणिशिलासने चन्द्रा- १ x lacuna हे ते विदग्धताया. २ Kलिपिज्ञाने नि, कि laeuna विशानेन चि'. ३ K करोति for गृह्णाति- ४ has a long ln.cuna after ततस्तासां upto हारीतपक्ष ete. (p. 32, 1.49). ५ x *रख्या for रज्जू. ६Komita जाल, Komits मणि, ·३२ चंदलेहाए [II. 9. 43- बालादव-लच्छि व्व समासीणा सा अन्मुद-कण्णा, ताणं तंबोल- दाणं कुणंतीओ चंदणिआ-चंदिआओ मए दिवाओ। राजा-तदो तदो। विदूषकः -"तदो दूरादो एव्व मं दट्टण चओरओ आअच्छदि ति देवीए कंचणासणं उवणाइअं। तहिं च सुहं णिसण्णो अहं देवीए विअंभंत-चारु-तारुण्ण-सण्णाह-सुहअ-णव-भूसण-वहू-कवोल-पाली- कोमलेहिं तंबोलेहिं हारीद-पक्ख-हरिअ-णिम्मलेहिं पोफलेहिं मणहर-वारहिं पसुवइ-जडा-चंद-खंड-धवलेहिं कप्पूर-सअलेहिं च संभाविओ। राजा -"किं भण्णइ संभावणा-णिवणतणं देवीए। विदूषकः-(सेयम् ) किं एव्वं भणसि । किं णारदे संपते महोण- महिसी ण बहु मण्णइ । किं वसिढे पविढे महुमह-महिला ण सिला- हेइ । किं अरविंद-मंदिरे अब्भागए चंद-सेहर-सुंदरी णाहिणंदेइ । राजा-"जुतं एव्व । नदो तदो। विदूषकः- "तदो ताए अन्भुद-कण्णआए चंदिआ-धवलं मंद-हसि- अ-चंदण-चच्चिों दाऊण णीसंदंत-बहुमाण-मअरंद-सोतेहिं तेहि कंदोट्ट-मालिआ-मंडणं लंभिओ 51 57 1 5 मआ दिहा, but rh मए दिट्ठाओ. 2 x हसण. 3 x फोफलेही. 4K वाएही, but sh 'वाएहिं उवाएहि पसु. 5 5 डवलेहि. 6 मिहिसी. 7 Kणीसन्तबहु . तपे बालातपलक्ष्मीरिव समासीना सा अद्भुतकन्यका, तयोस्ताम्बूलदानं कुर्वन्त्यो चन्दनि- काचन्द्रिके मया दृष्टाः। I) ततस्ततः। II) ततो दूरादेव मां दृष्ट्रा चकोरक आगच्छ- तीति देव्या काञ्चनासनमुपानीतम् । तस्मिंश्च सुखं निषण्णः अहं देव्या विजृम्भमाणचारुता- रुण्यसंनाहसुभगनवभूषणवधूकपोलपालिकोमलैः ताम्बूलै हारीतपक्षहरितनिर्मलैः पूग- फलैः मनोहरपाकैः पशुपतिजटाचन्द्रखण्डधवलैः कर्पूरशकलैश्च संभावितः। III) किं भण्यते संभावनानिपुणत्वं देव्याः। IV) किमेवं भणसि । किं नारदे संप्राप्ते मघवन्म- हिषी न बहु मन्यते । किं वसिष्ठे प्रविष्टे मधुमैथमहिला न श्लाघते । किमरविन्दमन्दिरे अभ्यागते चन्द्रशेखरसुन्दरी नाभिनन्दति। V) युक्तमेव । ततस्ततः। VI) ततस्तया अद्भुतकन्यकया चन्द्रिकाधवलां मन्दहसितचन्दनचर्चिकां दत्त्वा निष्यन्दमानबहुमान- १ K omits पूगफलैः and 'चन्द्रखण्ड' which are given by M. २ . मधोनो महिषी. ३ ॥ माधव for मधुमयं. ४ K चाहत for अहुत.

·-II. 10.13] दुदिलं जवणिअंतरं राजा-(तामनुसंधाय) तं तं तह दीहर जह भवे अष्णो ण कण्णेउरो विबोहाण महा शहर जह थणा दिल्लीअरा कुंकुमे । वच्छोए तह पंडिमा जह पुरो सुण्णप्पणो दप्पगो लाअण्णं तह अंगअश्मि जह णो गझं णिओलंसुअं॥१०॥ अयि, पुणो वि दिहि-गोअरे भवे । विदूषकः-"भ वअस्स, जावं म्हुतिनि ताव सव्वं वुत्तंत-सेसं सुणिअ पच्छा जहिच्छ चव्वेहि । राजा -"दो नदो। विदूषकः -तदो तकालोइदेहिं आलावहिं के पि कालं विणोदि- ऊर्ण देवीए अणुमदो पत्थिदो म्हि । राजा -(स्वगतम् )'ण लद्धो को वि दंसणोवाओ। विदूषकः-"किं तदो तदो ति ण पुच्छीअदि । राजा --""वअस्स, चिंतेमि णत्थि दंसणोवाओ ति । विदूषकः-पुणो वि किंचि सुणिअ णिरासो होहि । राजा-I कहेहि। विदूषकः- 'नदो मम णिग्गमादो पुरुवं एव्व चंदणिआ जं किंचि भणिअ णिग्गमिअ मग्गे फलिह-पडोहरुप्पर-अग्गे लग्गा आसि । 1 R अण्णेण करणे. 2K डिल्लाअरा. 3 सुचप्पणो, rh सुनप्पणो. 4 6 गझण्णिओलोसुणम्. 5_r पंमुसिमि. GK विणोदऊण. 7 k दसणोवाओ. 8 Kकि च.9 पलिहपडोहरप्पर. मकरन्दस्रोतोभ्यां नेत्राभ्यां नीलोत्पलमालिकामण्डनं लम्भितः। I) तन्नेत्रं तथा दीर्घ यथा भवेत् अन्यन्न कर्णपूर, विम्बोष्टयोः प्रभा तथा यथा स्तनौ शिथिलादरौ कुङ्कुमे । चक्षोजे तथा पाण्डुता यथा पुरः शून्यार्पणो दर्पणः, लावण्यं तथा अङ्गके यथा नो ग्राह्य निचो- लांशुकम् ॥ १०॥ अयि, पुनरपि दृष्टिगोचरे भवेत् । II) भो वयस्य, यावन्न प्रस्मरामि तावत् सर्व वृत्तान्तशेपं श्रुत्वा पश्चात् यथेच्छं चय । III) ततस्ततः। IV) तत- स्तत्कालोचितैः आलापैः कमपि कालं विनोधैं देव्यानुमतः प्रस्थितोऽस्मि । V) न लब्धः कोऽपि दर्शनोपायः I VI) किं ततस्तत इति न पृच्छयते । VII) वयस्य, चिन्तयामि नास्ति दर्शनोपाय इति | VIII) पुनरपि किंचित् श्रुत्वा निराशो भव । IX) कथय । x) ततो मम निर्गमात् पूर्वमेव चन्दनिका यत्किंचित् १ र लीलादरौ for शिथिलादरी. २ 5 तथा रेणुके यथारेण ग्रायं. ३ x °लोचितर्देव्या आलापैः. ४ विनो- दयित्वा. ५ . किमपि for किंचित. ६ K चन्दनिकया य. ५च.

·ether 15 राजा चंदलेहाए [II.10.14- राजा-(सप्रत्याशम् ) लदो दो। विदूषकः-"दो भए सह किद-संधी भासा । राजा-(सस्मितम् ) रिसो त संधी विदूषकः --IV एरितो। (इति पत्रिका दर्शवित्वा) एसोयहोदीए अ- "ब्भुद-कण्णआए सरस्सई-दिलासोपाडर-बिमासो अ। -(सहर्षमादाय वाचति ।) को उण कुणइ गिरोह अक्षयाहि अति पखवाद-धुआं। इह को वि राजहंसो उकलि माणसम्मि वड्डेई ॥११॥ (सरोमाञ्चम् ) सवण-उड-गोअरो वि अशास-सुहाइ व्व झति भह दंतो। उप्पुलइअभंगं उप्पल-णअणाअ कुणइ संदेसो ॥ १२ ॥ (पुनरपि विलिर्वाचति ।) विदूषकः- "भो अस्स, किं चव्विअ-चवणेण । पुणो वि पेक्ख । 'चंदणिआए वि एत्य एव्य दुवे सिलोआ कदुअ लिहिआ। राजा-(वाचति ।) VII)रतासोअं वहइ सुरहि सा वि तं दक्खिऊणं चंदो मोहं वहइ भुवणे सा वि तेणं णअंगी। 15 तत्तहोदीए. 2 वढेइ. 3 विअषससुहाइ. 4 उप्पुलअमंग. 5 चन्दिणिआए. 6 x सोयं. 7 सुरही. 8. विथोणं for वि तेणं. भणित्वा निर्गम्य मार्गे स्फटिकपश्चाद्भागगृहाग्रे लग्ना आसीत् । I) ततस्ततः । II) ततो मया सह कृतसंधिर्णता सा। III) कीदृशः स संधिः। IV) ईदृशः। (...) एष तत्रभवत्या अद्भुतकन्यकायाः सरखतीविलासो अक्षरविन्यासश्च । V) कः पुनः करोति निरोधं अवगाह्य झटिति पक्षपातधुतम् , इह कोऽपि राजहंसः उत्कलिकां मानसे वर्धयति ॥ ११॥ (...) श्रवणपुटगोचरोऽपि च स्पर्शसुखानीच झटिति मम दर्देत् । उत्पु- लकितमङ्गमुत्पलनयनायाः करोति संदेशः॥१२॥ VI) भो वयस्य, किं चर्वितचर्वणेन । पुनरपि पश्य । चन्दनिकयापि अत्रैव द्वौ श्लोको कृत्वा लिखितौ। VII) रक्ताशोकं बिभर्ति सुरंभिं सापि तं दृष्ट्वा, चन्द्रो मयूखं वहति भुवने सापि तेन नंताङ्गी । १ र कन्यायाः. २ : पक्षवाते धुते, M पक्षपात lacuna. ३ वर्धयति ॥ इति. ४ र दम्भम् for ददत. ५ र रक्ताश्लोकं विभक्त. ६ सुरभितं, M सुरभिः. ७ र मयूख मोहमिति च वहति. ८ । सापि नताशी. 3 ·-II. 15.2 दुदिलं जवणिअंतरं सो जीआदो शिवडा सा पत्रवाणास्त वाणो पच्छा तेणं दलिअ-नासा बिबाला खणणं ॥ १३ ॥ अवि अ। चंडा ते सास-दंडा तह अह मुहमा मिह-बादाण वादा बाहा तिव्व-पवाहा तह जह सजला दिण्ण-मुद्दा समुद्दा । देहो बटुंत-दाहो तह नह पलंउइंड-तूरो उ मारो कामो किं कादुकामो म उस युधिमो दूमिमाए इमाए॥१४॥ को उण अफंदइ चंदणि संदभ-सरपीए। विदूषकः- चंदिइ अदइ । तिस्ते वि सिलोअंपेक्ख । राजा-(वाचयति ।) Uण चंदो आणंदं कुणइ | अ कंदोट्ट-कलिआ ण माअंद-संद-पपअलिअ-परंदो वि पवणो। ण संदो णीसंदो" मलाज-रसाणं विविसमं वसंतीए तीए किमिह मुगिमो किं च भणिमो॥ १५ ॥ अहो सुहओ संदभो चंदिशाए। (विचिन्त्य ) वअस्स, कहं पुण अदिह-पुरुवासुं चंदणिआ-चंदिआसुं से चंदमुहीए विस्संभो। 15 पञ्चौ. 2 Kगीपवादा, Ihut xin गिम. 3 x पादा for बाहा. 4 K वल'. 5 Kh सूरो तुसारो, 6K 9_K मादपद. 10 Kणीसंदे. 11 अप्फुन्दइ. T६ चन्दणिआ. SK किस्से. मलअसरसाणं. 12K चन्दणिआए. 13 5 चन्दिणिआ. स जीवातः निपतति सदा पञ्चवाणस्य वाणः, पश्चात् तेन दलिततनुः सापि बाला क्षणेन ॥ १३ ॥ अपि च । चण्डास्ते श्वासदण्डात्तथा यथा सुभगा ग्रीष्मवातानां वाताः, बाप्पाः तीवप्रवाहास्तथा यथा सकला दत्तमुद्राः समुद्राः। देहो वर्धमान- दाहः तथा यथा प्रलयोद्दण्डसूर्यस्तु मारः, कामः किं कर्तुकामः न च पुनर्जानीमः दूनायाः अमुष्याः ॥ १४॥ कः पुनराजामति चन्दनिका संदर्भसरण्याम् । I) चन्द्रिका आकामति । तस्या अपि श्लोक पश्य । II) न चन्द्र आनन्दं करोति न च नीलोत्प- लकलिका, न माकन्दस्पैन्दप्रगलितमरन्दोऽपि पवनः। न सान्द्रो निप्यन्दो मलयजर- सानामपि विषम, वसन्त्यास्तस्याः किमिह जानीमः किं च भणामः ॥ १५ ॥ अहो सुभगः संदर्भश्चन्द्रिकायाः । (...) वयस्य, कथं पुनरदृष्टपूर्वयोः चन्दनिकाचन्द्रिक- १ र सापि जीवातः जीवादिति च नियतति, सभ्यातः for स जीवात. २ र पश्चात् तौ दलित. र 'वाता न वाता. ४ ॥ सूर्यस्तुपार:. ५ M दूनयानया. ६ र निकासन्दर्भसरण्याः, ७- चन्दनिकामाका'. ८ र 'स्पन्दः प्रग. ९भश्चन्दनिकाया.

·। 6 चंदलेहाए [II. 15.8- विदूषकः-"चंदणिआ भणादि। भट्टिणीए तस्सि एव्व दिअहे मह बहिणिआ चंदिआ ताए रअणसंभवाए सहितणे णिउता। तदोतं एव्व सव्वदा अणुवटुंती चंदिआ ताए अप्पणो हिअ विअ विस्सं- भदैहाणं आसी । अहं च तिस्से भइणि ति सिणेह-पतं जाअ ति। राजा-"जुज्जइ। विदूषकः -'पुणो वि ताए किं वि पत्थिअं च। अज खु चंदिआ- मुहादो अदिसइद-सुर-सुंदरी-गीअं रअणसंभवाए गीअं ति सुर्णि कोदुएण वट्टमाणाए भट्टिणीए महाराअं संकिअ णादिदूरं पोमरा- आराम गमिऊण गीअंसोदव्वं ति समओ किंदो। राजा-IVतदो तदो। विदूषकः -"दो दाणिं भट्टिणी रअणसंभवा अ पदुमराआराम गमिस्संति । तहिं च तुम्हेहि परंत-ठिअस्स बाल-तमालस्स पसरंत- हरिणील-सिला-वेदिआ-मजह-मालंधआर-मज्झे ठाअव्वं ति राजा-(सप्रमोदम्) अम्हाणं ईंअं अब्भत्थणा । विदूषकः-(कर्णं दत्त्वा)"जेण णूउर-णिणादो सुणीअदि तेण पत्थिआ देवी रअणसंभवा अ पोमराआरामं । ता गच्छम्ह । 1K णिवुत्ता. 2 5 संवदा. 3 K°दठाणे. 4 किस्से. 5 x omits च. 6 K सुणुअ. 7 K कओ, but xh किदो. 8 K वाम for बाल. 9 मऊहवालंडआर. 10 इयं. 11 : सुणीहदि. योरस्याश्चन्द्रमुख्याः विश्रम्भः। I) चन्दनिका भणति । भट्टिन्या तस्मिन्नेव दिवसे मम भंगिनी चन्द्रिका तस्या रत्नसंभवायाः सखित्वे नियुक्ता । ततस्तामेव सर्वदा अनु- वर्तमाना चन्द्रिका तस्या आत्मनो हृदयमिव विनम्भस्थानमासीत् । अहं च तस्या भगिनीति स्नेहपात्रं जाता इति । II) युज्यते । III) पुनरपि तया किमपि प्रार्थित च । अद्य खलु चन्द्रिकामुखात् अतिशयितसुरसुन्दरीगीतं रत्नसंभवाया गीतमिति श्रुत्वा कौतुकेन वर्तमानया भट्टिन्या महाराजं शङ्कित्वा नातिदूरं पद्मरागारामं गत्वा गेयं श्रोतव्यमिति समयः कृतः। IV) ततस्ततः। V) तत इदानीं भैट्टिनी रत्नसंभवा च पद्मरागारामं गमिष्यतः। तस्मिंश्च युवाभ्यां पर्यन्तस्थितस्य बालतमालस्य प्रसरद्धरि- नीलशिलावेदिकामयूखमालान्धकारमध्ये स्थातव्यमिति। VI) अस्माकमियमभ्यर्थना । VII) येन नूपुरनिनादः श्रूयते तेन प्रस्थिता देवी रत्नसंभवा च पद्मरागारामम् । १ . भगिनिका च'. २ ( हृदयमिवात्मनो for आत्मनो हृदयमिव. ३ र वर्तमानायाः, ४ Komits भट्टिनी. ५ M गमभति. ६ साल for बाल. ७ र लेखालेख for वेदिकामयूख.

·3 -II. 17. 11 दुदिलं जवणिअंतरं राजा-"जहा । ( उभावुत्थाय परिकामतः।) राजा--(नपुरश्रवणमभिनीय सहर्पम् ) "सोदूण णेउर-रवं दइआअ पाणा उज्जीविआ मह मणोभव-बाणा-खिण्णा। आरावर्मवुअ-कुलाण णिदाह-दाह- जूराविआ विअ मऊर-गणा कुणंति ॥ १६ ॥ विदूपकः - भो वअस्स, इमाए विलुलिअ-मुउल-कुल-परिमल-भर- तरलअर-भसल-पडल-कलकल-सुहआए वाल-बउल-वाडिआए ग- च्छम्ह पोमराआराम-परंतं । (उभौ परिकामतः ।) विदूषकः- पत्त म्ह पदुमराज-उजाणं । एसो तमालो, एसा इंद- णील-वेदिआ, मऊह-मालंधआरे ता एस्थ उर्वविसिअ ठामो। राजा-तहा । (तथा कुरुतः ।) (ततः प्रविशति देवी नायिका विभवतश्च परिवारः।) देवी-भद्दमुहि, पविसम्ह पउमराअ-उज्जाणं । नायिका-(सनिःश्वासं स्वगतम्) VI'विसमो माहव-मासो विलक्खणो एव्व विसमवाणो सो अदि-दुल्लहे अ पेम्मं अहह परं मज्झ ईरिसं ' कम्मं ॥१७॥ (प्रकाशम्) तह । ( सर्वा उद्यानप्रवेशं नाटयन्ति ।) 1_xx सेदूण. 2K उग्गीविरं मह. 3 K पाण for बाण, 4K झराविआ. 5 पधल. 6K माल- धआरो. 7 उपवि. 8 Kadds no consent of tho king, but puts tas stage direction तथा कुरुतः at the closo of Vidasaka's speech. 9 K विलङ्खणे. 10 ईसिसं. 11 F कम्म. 12 xh रूपयन्ति for नाटयन्ति. तद् गच्छावः। I) तथा। II) श्रुत्वा नूपुररवं दयितायाः प्राणाः, उज्जीविता मम मनो- भवबाणखिन्नाः । आरावमम्बुदकुलानां निदाधदाह, संतप्तीकृता इव मयूरगणाः कुर्वन्ति ॥ १६ ॥ III) भो वयस्य, अमुंया विलुलितमुकुलकुलपरिमलभरंतरलतरभ्रमरपटलक- लकलसुभगया बालवकुलवाटिकया गच्छावः पझरागारामपर्यन्तम् । IV) प्राप्तौ स्वः पद्मरागोद्यानम् । एप तमालः, एषा इन्द्रनीलवेदिका, मयूखमालान्धकारे तत्रोपविश्य तिष्ठावः। V) तथा । VI) भद्रमुखि, प्रविशावः पद्मरागोद्यानम् । VII) विषमो माधव- मासः विलक्षण एवं विपमबाणः सः । अतिदुर्लभे च प्रेम अहह परं मम ईदृशं कर्म ॥१७॥ १ . दयितयोः. २ K. उज्जीवितं, M उद्धीवतां. ३ M चूर्णी" for संतप्ती . ४ . अनया. ५ र भरण or भर- ६ KM भसल for भ्रमर. ७ M एष. ८ Kr वेदिकामयूखमालान्धकार:. ९ र तत्रोपविश्य, M तदत्र प्रविश्य. १० Komits तथा. ११६ इव for एक.

·yore । म ३ [IL. 17.2- राजा --(आलोक्य सहर्षम् )हत। पुण्ण-हरिणक-वाणा फुडंत-शक-मुंडरीअ-दल-पअणा। फुरइ मह एन्थ पुरदो गुप्फाउह-पुरूसआर-सामग्गी ॥१॥ नायिका -(अपवार्य )"हला चंदिए, सरपआरामो मणोजो। अअं दुक्खअरो। नहिं खु भसल-माला लोअज-रसाअणं उवणेइ, कोइल- जालं कण्णामि णीसंदेइ, मलआणिल-परिफंदणं चंदण-चच्चं करेइ । एन्थ उण भसल-पडलं उत्पादगि पाइलोउणे गरल-कवलं कण्णाणं मे कुणंति अ कोइला । दिसइ विसमं देहे दाहं चलो मलआणिलो पिअसहि जतं एक जं मेण भिंदइ जीविअं॥ १९ ॥ चन्दनिका -(अपवार्य )"विहिणो अनुकूलक्षणे सव्वं ममाणुजलं, वि- वरीअतणे सव्वं विवरीज राजा -(सावधानं निरूप्य) 'वअस्स, पेक्व । दलिअ-णलिणी-कंदाभोआ कवोलअ-वालिआ थिमिअ-भुमआ-लेहं णेतं पसुत- -कणीणिअं। किमिह बहुणा तिस्से लोल मिलाण-मुणालिआ- लुलिअ-लुलिअं गतं णेतूसवं पंसवेइ मे ॥ २० ॥ 1 F हरिणपङ्कअवअणा. मणज्जो. 35 °अरो खु तहिं खु. 4. रसायणं. 55 नायिका- TK उप्पादकी. लेनं for णेत्तं. 9 K लुलुअलुलुअंगेतं. 10 K वसवेइ. "") तथा । I) हन्त । पूर्णहरिणाङ्कवदना स्फुटनवपुण्डरीकदलनयना । स्फुरति ममात्र पुरतः पुष्पायुधपुरुपकारसामग्री ॥१८॥ II) हला चन्द्रिके, मरकतारामो मनोशः। अयं दुःखकरः । तत्र खलु भ्रमरमाला लोचनरसायनमुपनयति, कोकिलजालं कर्णामृतं निष्य- न्दयति, मलयानिलपरिस्पन्दनं चन्दनचर्चा करोति । अत्र पुनः, भ्रमरपटलमुत्पाताग्निं प्रयच्छति लोचने, गरलकवलं कर्णयोः मे कुर्वन्ति च कोकिलाः। दिशति विषमं देहे दाहं चलो मलयानिलः, प्रियसखि न तदेकं यन्मे न भिनत्ति जीवितम् ॥ १९॥ III) विधे- रनुकूलत्वे सर्व ममानुकूलं, विपरीतत्वे सर्व विपरीतम् । IV) वयस्य, पैश्य । दलितन- लिनीकन्दाभोगा कपोलकपालिका, स्तिमितभ्रलेखं ने प्रसुप्तकनीनिकम् । किमिह बहुना तस्याः 'लोलं म्लानमृणालिका-, लुलितलुलितं गात्रं नेत्रोत्सवं प्रसूते मे ॥ २० ॥ १६ दुःखतरः. २ K omits तत्र, कस्मिन् for it. ३ भसल, ४ भसळ for भ्रमर. ४ : "निलस्पर्शपरि'. ५ KM भसल for भ्रमर.६ र कल्याण for कर्णयोः. ७ x puts this sentence in the mouth of Candrika. ८ M पश्य पश्य for वयस्य पश्य. ९ x तस्यापि for तस्याः, १० ॥ मुग्ध for लोलं. ११ : वर्धते for प्रसूते. Jan एत्थ उण. 6K for ससल.

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·FII. 22.3 चंद्रलेहाए 1 ग्रहण-गव्व-वचिदे विपचिए, अगनिज-गुण अमिअ-गुणाअं इमाए अणुराअंती कहं ग लज्जसि त । अहव परिवादिणीणं अवआसो णधि संकाए । (निर्वर्ण्य ) अहह इमाए कंचण-कमणीअंगीए चलंत-कर-पल्लवं कल-रणंत-तंती-गुणं वलंत-अणंचलं मुह-गलत-दंत-प्पहं। ललंत-मणि-कुंडलं परिलुलंग-लंवालों मणं हरइमाम महुर-गीअ-लीलाइदं ॥२३॥ विदूषकः-(निर्वर्ण्य )"भो वअस्स, अच्छरीअं इमाए चंपअ-दल-को- मलंगीए एक्कमेकं वि अंग लोअण-पीऊस-पूरणं । वह अ। परिलसिअ-चिउर-माला तिस्से गव-फुल्ल-मल्लिआ-सअला। GIA राजा- II लावण्ण-दिण-सिरीए रेहइ पच्छा स-तारआ रअणी ॥२४॥ विदूषकः I"कुडिला अ कुरल-माला परिलोलइ सललिअं णअंगीए। FASNAND IV). मअणेण तरुण-माणस-बंधण-हरिणील-सिंखला चलिआ॥२५॥ पारणम् for वयस्य, 1 K Ttform for Tf075. 2 K omits å given by th. 3 gfigsa. 4 K पूरणं. 5 x किस्से. 6 K सिल for दिण. 7 कुटिला. 8 x बण्डण. 9 सीखला. स्वराणां विशुद्धता । अहो श्रुतीनां विनियोगक्रमः । किं च । कतिपयगुणग्रहणगर्वव- ञ्चिते विपञ्चिके, अंगणनीयगुणामेनामनुगायन्ती कथं न लजसे त्वम् । अथवा परिवा- दिनीनामवकाशो नास्ति शङ्कायाः। (...) अहह अमुग्याः काञ्चनकमनीयाझ्याः, चल- करपल्लवं कलरणतन्त्रीगुणं, वर्लमाननयनाञ्चलं मुखगलद्दन्तप्रभम् । लन्मणिकुण्डलं परिलुलल्लम्बालकं, मनो हरति मामकं मधुरगीतलीलायितम् ॥ २३ ॥ I) भो आश्चर्य अस्याश्चम्पकदलकोमलाङ्ग्याः एकैकमप्यङ्गं लोचनपीयूपपूरणम् । तथा च । परिलसितचिकुरमाला तस्या नवफुल्लमल्लिकाशबला । II) लावण्यदिनश्रियो राजते पश्चात् सतारका रजनी ॥ २४ ॥ III) कुटिली च कुरुलमाला परिलोलति सल- लितं नताझ्याः। IV) मदनेन तरुणमानसबन्धनहरिनीलशृङ्खला चलिता ॥२५॥ १ . किं च अयि कति . २ . अगणितगुणामेतां अनुगुणा अन्मनयन्ती कथं, for अगणनीय etc. given by x. ३ ४ वादीनां for वादिनीनाम्. ४ . लसन्नयना' for बलमाननयना. ५ र उप्तलन् for ललन्. ६ र परि- स्फुट for परिलुल'. ७ पश्य for आश्चर्य. ८ : एकमेक'. ९ ६ शकला. १० ॥ कुटिला वकुलमाला. ११६ परिमलति, परिलोलकिसलयित.

·-II. 30b] दुदि जवणिअंतर विदूषकः- "सरसिअ-दल-णअणाए सललिअमुण्णामिआ भुमआ। "कालिंदी-लहरीणं कंदलिओ एव्व परिभवंकूरो ॥२६॥ विदूषकः- "ओदंस-कुवलअं से अवगलिअं किं वि गंड-फलअम्मि । V'तरल-णअणंचलेणं तजिअमेअं खु होइ हेट्ठ-मुहं ॥ २७॥ विदूषकः- "किसलअ-मिदुलंगीए गीएण वि लोअणं किलम्मदि से । was V"कण्णत-दीह-अतं खणेण कादूण दूंमिश्र एअं॥२४॥ विदूषकः- VIT'उप्पल-विलोअणाए उम्मिसि सम-अलं कवोलेसुं। राजा- VIT'उज्जल-पीजस-कणा उदंचिआ किंचि पंचमी-चंदे ॥ २९ ॥ विदूषकः- परिमलअंति दिसाओ पल्लव-गतीअ सुरहि-णीसासा। IX) "तारुण्ण-सुरहि-समए ता पता मलअ-सेल-पवमाणा ॥ ३० ॥ 1: तझि. 2K भूमि for दूमिअं. 3 x उम्मिसभं. 4 K सअलं for समअलं. 5 K कञ्चि. 6 'मलयन्ति. 7 K मलय. I) सरसिजदलनयनायाः सललितमुन्नामिता भ्रूः। II) कालिन्दीलहरीणां कन्दलित एव परिभवाकरः ॥ २६ ॥ III) अवतंसकुवलयमस्या अवगलितं किमपि गण्डफलके । IV) तरलनयनाञ्चलेन तर्जितमेतत् खलु भवति अधोमुखम् ॥ २७॥ V) किसलयमृदु- लाझ्याः गीतेनापि लोचनं क्लाम्यति अस्याः । VI) कर्णान्तदीर्घयात्रां क्षणेन कृत्वा दून- मेतत् ॥ २८॥ VII) उत्पलविलोचनायाः उन्मिषितं श्रमजलं कपोलयोः। VIII) उज्व- लपीयूषकणाः उदञ्चिताः किंचित् पञ्चमीचन्द्रे ॥ २९ ॥ IX) परिमलयन्ति दिशः पल्लव- गाच्या सुरभिनिश्वासाः। X) तारुण्यसुरभिसमये तत्प्राप्ताः मलयशैलपवमानाः ॥३०॥ १ 'मुन्नावमितभूः. २ परिमलार• for परिभवाङ्करः of M. ३ x 'नयनां चालन, ४ नयनालस्त- जित. ४ Komits अस्याः. ५ ( कृत्वा एतत्, ६ x omits असमलं. ७ M विपरिमल'. ८r तस्मात्मामा. ६ चंद ·चंदलेहाए [II. 31a- विदूषकः- तरलोहर-विवरादो गलंति देताण चंदिआ-लेसा। I"गीअ-सुहंबुहि-लहरी-सीअर-णिअरा स-हेलमुल्लसिआ॥३१॥ विदूषकः- "मह ण णिवट्टइ दिट्ठी मणहर-वअणंबुआ किसंगीए। III). राजा wasa 3 I'को उण हरेइ णेत्तं सचेअणो पुण्णिमा-चंदा ॥३२॥ देवी-भद्दमुहि, किलम्मए दे वदणं, ता विरमेहि । नायिका--"तहाँ । (विरमति ।) राजा-(सविषादम् )Vाहत, अवग्गहो सवण-पीऊस-वरिसाणं किदो। देवी-भद्दमुहि, उद्वेहि गच्छम्ह । 'तह। (उत्थाय निष्कान्ता देवी परिजनश्च ।) राजा-हंत, किदो णेत्त-पीऊस-वरिसाणं च । वअस्स पेक्ख । पदुम-वदणाअ दाणि परिरहिओ पदुमराअ-आरामो। अत्यमिअ-चंदलेहो गअणाभोओ व्व होइ णट्ठ-पहो ॥ ३३ ॥ विदूषकः-Xभो वअस्स, उरिअ-णिहाणं महिं व इमं उज्झिम नायिका-X) 1K हरविवराओ for तरला etc., but rh तरलाहरविवादो. 25 सुहम्बुलहरी. 3. दिही. 4 K विदूषकः- for देवी. 5 K omits तहा given by Kh. 6 K परिसाणं. 7 K परिसाणं. 85 has no च. 9K उद्धारि. 10 Kमही I) तरलाधरविवरादलन्ति दन्तानां चन्द्रिकालेशाः। II) गीतसुधाम्बुधिलहरीशीकर- निकराः सहेलमुल्लसिताः॥ ३१ ॥ III) मम न निवर्तते दृष्टिः मनोहरवदनाम्बुजात् कृशाङ्ग्याः। IV) का पुनर्हरति नेत्रं सचेतनः पूर्णिमाचन्द्रात् ॥ ३२ ॥ V) भद्रमुखि, क्लाम्यति ते वदनं, तस्माद् विरम। VI) तथा । VII) हन्त, अवग्रहः श्रवणपीयूष- वर्षाणां कृतः। VIII) भद्रमुखि, उत्तिष्ठ गच्छावः। IX) तथा। X) हन्त, तथा नेत्र- पीयूषवर्षाणां च । वयस्य, पश्य । पद्मवदनया इदानी परिरहितः पद्मरागारामः । अस्तमि- तचन्द्रलेखः गगनाभोगो भवति नष्टप्रभः ॥ ३३ ॥ XI) भो वयस्य, उद्धृतनिधानां मही. १ x keeps blank space for this line. २ K सुधाम्बुलहरी. ३ x चन्द्रः for चन्द्रात. ४ नं तदिरम. ५ K omits तथा- ६ अन्तरपग्रह for हन्त अवग्रहः. ७ ४ जातः for कृतः, ८ गच्छामः ९ Momits तथा. १० र महीमिव झिला, निधानमिममुझिला. A ·3 । -II.33.18] दुदिलं जवणिअंतरं गमिस्सामो। (विलोक्य ) वअस्स, एदाओ णतमालिआ सालभंजि- आ-हत्था तमालिआ अ किं वि सल्लवंतीओ इदो एव्व आअच्छंति।। ता एत्थ वि मुहुक्तं णिलुका ठाजण सुणन्ह इमाणं आलावं। राजा-तह। (ततः प्रविशतश्चेट्यौ ।) एका-I"तमालिए, किमत्था एसा सालभंजिआ। द्वितीया --सहि णतमालिए, सुणाहि आदिदो एव्व । नक्तमालिका -IVतमालिए, अवहिद म्हि । तमालिका-'णशमालिए, पुरुवं मरगआरामे चिंतामणि-संभवाअं कण्णआअंकिं वि सिणिद्धं पेक्खिा महाराअस्त दिहिं जं किं वि आसंकमाणाए भट्टिणीए अज्ज पहादे पेसिद म्हि । विदूषकः- "वअस्स, पहादे दिहस्स सुतस्त विवरणं होइ। राजा-VIIअवहिदा सुणम्ह । 9 नक्तमालिका-VIII) कहं । तमालिका-हंजे णतमालिए, इमं कस्सीर-णाह-वल्लहाए मह पाहुडीकिदं तत्थभवदीए सारआए पसादेण समासादिअ-धारणा- ववहार-पंडिच्चं बुद्धिमदि णाम अम्हाअं कीला-सारिअं इमाए साल-15 1 K तमालिआ हरिणन्तमालिआ अ. 25 सल्लपंतीओ. 3 5 आअच्छदि. 4 कि एसा, but xh किमत्था एसा. bणत्तमालिए सहि for सहि etc. 6 K संभवाकग्णआश्र.7 F सुणसुणह्म. 8 K पालडी', but kh पाहुडी. 9 K तत्तभवदीए. 10 K समासादिआ था. 11 x पाण्डिच्चं. 12 K बुद्धिमदीणाम. मिव इममुज्झित्वा गमिष्यावः। (...) वयस्य, एते नक्तमालिका शालभलिकाहस्ता तमा- लिका चं किमपि संलपन्त्यो इत एवागच्छतः। तस्मादत्र अपि मुहूर्त निर्लक्ष्यं स्थित्वा शृणुवः अनयोरालापम् । I) तथा। II) तमालिके, किमर्था एषा शालभलिका। III) सखि नकमालिके, शृणु आदित एव । IV) तमालिके, अवहितास्मि। V) नक्तमालिके, पूर्व मरकतारामे चिन्तामणिसंभवायां कन्यकायां किमपि स्निग्धां [प्रेक्ष्य] महाराजस्य दृष्टि यत्किमपि आशङ्कमानया भट्टिन्याद्य प्रभाते प्रेषितास्मि । VI) वयस्य, प्रभाते दृष्टस्य सूत्रस्य विवरणं भविष्यति । VII) अवहितौ शृणुवः । VIII) कथम् । IX) हले नक्त- मालिके, इमां काश्मीरनाथवेल्लभया मे प्राभृतीकृतां कथमत्रभवत्याः शारदायाः प्रसादेन समासादितधारणाव्यवहारपाण्डित्यां बुद्धिमतीं नाम अस्माकंक्रीडाशारिकां अस्याः शाल- १ ॥ भो मयस्य. २ x omits च. ३ ॥ तदत्र. ४ ( एव मूका स्थित्वा for मुहूर्त etc. ५ र शृणुमः. ६ किमेषा for किमर्था एषा found in x. ७ omits कन्यकायां. ८ ॥ भो वयस्य. ९ र वदिष्यति for भविष्यति found in .. १० । शृणुमः. ११ वल्लभाया. १२ बुद्धिमतीनामस्साक.

·21 24 27 चंदलेहाए [IT. 33.19- भंजिआए कंठ-विवरम्मि ठाविजण चओरएण सह सल्लवंतस्स अय्य- उतस्स अस्थाण-मंडवे सण्णिहिम्मि जह कुह वि छलेण ठावेहि ति। नक्तमालिका--"तदो तदो। तमालिका -"तदो मए जाव भट्टा देवाराहण-मंदिरादो ण णिग्गओ ताव चिअ एसा सालभंजिआ तहिं एव्व अत्थाण-मंडवे सण्णि- हाविआ। राजा -वअस्स, वंचिद म्ह । विदूषकः-IV किं एतिएण । नक्तमालिका-'तदो तदो। तमालिका-"तदो दाणिं महाराअं तत्थ असण्णिहिदं जाणिअ सालभंजिअं घेतण आअद म्हि । नक्तमालिका -Vi"किं सुदं अवहारिअं वा महाराअस्स वअणं बुद्धि- मदीए सालभंजिआए। तमालिका-VI"सव्वं सुदमवहारिअं च। (उभौ हसतः।) विदूषकः -IK आ दासीए धीदे बुद्धिमदि, तुह कंठं भिंद। तमालिका-"णतमालिए, तुमं पुण कहिं पवुतां । नक्तमालिका-भट्टिणीए ण्हाण-वेला आअद ति पत्थिद म्हि । तमालिका--XIIता गच्छम्ह । ( इति निष्क्रान्ते ।) 15 सपिणहम्मि. 2K च्छलेण. 3 मन्दिराहो. 4K तावच्छिअ. 5x मण्टपे. 6 सालभ- 91.7 K does not present this as the speech of Tamālikā, but adds it to that of Naktamalika above. 8 Kh छीद for भिंद, 9 K संवुत्ता for पवुत्ता. भञ्जिकायाः कण्ठविवरे स्थापयित्वा चकोरकेण सह संलपतः आर्यपुत्रस्य आस्थानमण्डपे संनिधौ यत्र कुत्रापि च्छलेन स्थापय इति । I) ततस्ततः। II) ततो मया यावत् भर्ता देवाराधनमन्दिरात् न निर्गतः तावदेव शालभञ्जिका तस्मिन्नेवास्थानमण्डपे संनिधा- पिता। III) वयस्य, वैञ्चिताः स्मः। IV) किमेतावता। V) ततस्ततः। VI) तत इदानी महाराज तत्रासंनिहितं ज्ञात्वा शालभञ्जिकां गृहीत्वा आगतास्मि । VII) किं श्रुत- मवधारितं वा महाराजस्य वचनं बुद्धिमत्या शालभजिकया। VIII) सर्व श्रुतमवधारितं च । IX) आः दास्याः पुत्रि बुद्धिमति, तव कण्ठं भिन्दै । X) नकमालिके, त्वं पुन: कस्मिन् प्रवृत्ता। XI) भट्टिन्याः स्नानवेला आगता इति प्रस्थितास्मि । XII) तद् १ कण्ठसिख lacuna ; some lacuna in this passage.. २ x तावत्, x lacuna. ३ ४ ताव- देवैषा साल'. ४ वनितोऽस्मि. ५ ४ अहमेतावता for किमेता'. ६ च for वा. ७ M puts this speechi in the mouth of fait. 6 Mafy for free. S M a short lacunt. 33 .

·-II. 34.91 दुदिअंजवणिअंतरं (नेपथ्ये) वैतालिकः-"सुहा मज्झम-संझा होइ देवस्स । अज हि लोलेहि उप्पलेहिं हिम-जल-मिलिअं चंदणं मंदमंगे पावंतीओ सुवंते मणिवर-रइए मंदिरे सुंदरीओ। तिब्बेहिं आदवेहि विहुरिअ-हिअओ संस राअहंसो उदंडाणं फुडाणं पविसइ सणि पुंडरीआण मूलं ॥ ३४ ॥ विदूषकः-"भो वअस्स, किं चिंति मज्झण्हे वट्टइ। राजा -"वअस्स, णं इमं एव्व सारिआ-वुत्तंतं चिंतेमि । विदूषकः -IV) एत्थ का चिंता । णिसग्गदो एव्व दुम्मइणी हु देवी ।। अज्ज उण सारिआ-वअणं सुणिअ अहिअअरं किं वि पणअ-कलहं करेइ । सा अतुह दक्खिण्णदाए मिहिर-पहाए तिमिर-पडल-पणासं पाविहिइ। राजा-सव्वहा अंतेउरं एव्व गच्छम्ह । (इति निष्क्रान्तौ ।) ॥ इअ चंदलेहाअं दुदिअं जवणिअंतरं ॥ 25 लोलोहिं. 3 x पावन्तीए, but rh संदतीओ. 4 x संसिसोअहंसो. 55 चिन्तीअ. 6 K omits of given by xh, 7 दुम्मइणि उ देवी. 8 K तुठ. 9 : दख्खिणदाए. 10 K वहाए for पहाए. ll K भणार्स for पणासं. 125 जुदिअं, Kh द्विदीर्य. गच्छावः। I) सुखाय मध्यमसंध्या भवतु, देवस्य । अद्य हि, लोलैरुत्पलैहिमजलमिलितं चन्दनं मन्दमङ्गे, प्रापयन्त्यैः स्वपन्ति मणिवररचिते मन्द्रेि सुन्दर्यः। तीनैरातर्विधुरित- हृदयः संश्रयं राजहंसः, उद्दण्डानां स्फुटानां प्रविशति शनैः पुण्डरीकाणां मूलम् ॥ ३४ ॥ II) भो वयस्य, किं चिन्तयित्वा मध्याह्ने वर्तसे । III) वयस्य, ईममेव शारिकावृत्तान्तं चिन्तयामि । IV) अत्र का चिन्ता । निसर्गत एव दुर्मतिः खलु देवी । अद्य पुनः शारि- कावचनं श्रुत्वा अधिकतरं किमपि प्रणयकलहं करोति । सा च तव दाक्षिण्यतया मिहिर- प्रभया तिमिरपंटलप्रणाशं प्रापयिष्यते । V) सर्वथा अन्तःपुरमेव गच्छावः । ॥ इति चन्द्रलेखायां द्वितीयं यवनिकान्तरम् ॥ 9 -- 1K सुहाय. AN 8 M has good many gaps upto the close of this scene, २ M खलु for हि. ३ र पातं- त्ययन्त्यः, M lacuna.. ४ KM सुन्दर्याः. ५ पुटानां. ६ ॥ चिन्त्यते म. ७ romits अधिकतरं किमपि, & lacuna 'तरां कलैंहकोटिं करोति. ८ ॥ पटैलीव नाशं.

·[IIT] (ततः प्रविशति राजा विदूषकश्च ।) राजा-(स्वगतम्) "मह खण-संठविओ सो देवी-दिढ-कोव-सेउ-बंधेणं । उकंठा-गइ-सोतो भिण्णे तस्सि सुदूसहो वहइ ॥१॥ (निश्वस्य) हंत पडिऊलवणं भअवदो देवस्स । जदो उभअमिणमहो समं खुजाअं मह विरहो अ जणे वल्लहेणं । मदकल-कलकंठ-कामिणीणं कलकल-हालहलाउलो अ कालो॥२॥ विदूषकः - भो वअस्स, किं वि जससि होउ दे हिअअं। अइ. वाहिओ खु सो कहं कहं वि पडिदिस-पलित-रत-कमल-पलआ- णल-जाला-जाल-दुरालोओ जुअ-सहस्स-दीहअरो वासरो, पतो अ पप्फुल्ल-विमल-मल्लिआ-फुल्ल-धवलो विअंभणारंभ-णीसरंत-सरस- सीअलामोद-सुहअ-कुमुअ-कोसो पओसो। भो पेक्ख सच्छ-महुरो दरमुल्लसंतो फुल्लुगमो अणह-पल्लव-मलिआणं । 1 r begins the Scene with this sentence : अथ तृतीयं यवनिकान्तरम् ।. 2K घणसट्टविओ. 3 Kends the first line thus: कोपसेउबन्धउक्कण्ठा 1. 4 K तस्सी. 5 x अवह मिण. 6 x वल्लहेण. T K सारसिs, but xh ऊससिअं. 8 5 अतिवाहितो. 9 . पलआणिल. 10 x °द्धवलो. 11: सरसी. 12 F फुल्लङ्गमोअणपअल्लमल्लिआणं. [संस्कृतच्छाया] I) मम क्षणसंस्थापितं तत् देवीदृढकोपसेतुबन्धेन । उत्कण्ठानदीस्रोतः मिन्ने तस्मिन् सुदुस्सहो वहति ॥१॥ (...) हन्त, प्रतिकूलत्वं भगवतो देवस्य । यतः, उभयमि- दमहो समं खलु जातं, मम विरहश्च जनेन वल्लभेन । मदकलकलकण्ठकामिनीनां, कल- कलहालहलाकुलश्च कालः ॥२॥ II) भो वयस्य, किमपि उच्छसितं भवतु ते हृदयम् । अतिवाहितः खलु स कथं कथमपि प्रतिदिशाप्रदीप्तरक्तकमलप्रलयानलज्वालाजालदुरा. लोकः युगसहस्रदीर्घतरो वासरः, प्राप्तश्च प्रफुल्लविमलमल्लिकाफुल्लधवलः विजृम्भमाणा- रम्भनिस्सरत्सरसशीतलामोदसुभग'मुदकोशः प्रदोषः । भोः पश्य स्वच्छमधुरो दरोल्ल- १रक्षणं for क्षण. २ र कोपबन्धनोल्कण्ठा नदीलोतसः विभियेन तस्मिन्. ३ KM देवस्य. ४ . उदय" for उभय'. ५ ४ हल° for हाल'. ६ K आश्वासितं for उच्छसितं. ७ र प्रलयानिल. ८ M दीर्थो वासरः. ९ x प्रोत्फुछ. १० । कुमुदाशोकः. ११ ६ पश्य सकलान, so it has a laouna ; M 'फुल्लोत्करळप्रचलति मल्लिकानाम्, ·13 -III. 4.8] तइ जवणिअंतर दिण्णो दिसासु सअलासु भविस्त-जोण्हा- सण्णाह-बीअ-णिअरो व्व पआंसएणं ॥३॥ राजा-(सोद्वेग)"किं एवं भणासि। पअडंत-मअ-रोस-दूसह-दुइ- दुग्धुट्ट-विसाण-कोणादो कहं वि मोइदस्त कराल-दिढ-दाढा-वेढ- संकंड-विसंकड-सीह-सुह-कुहर-विवर-पवेसो किं पाण-रक्खणोवा- ओ। पेक्ख दाद। कुमुअ-णिअर-घोलंतालि-रिंगोलि-पासो दलिअ-धवल-मल्ली-फुल्ल-सोहट्टहासो। अहिसरह पुरिल्लो मं पओसाहिधाणो घणतम-तम-कालो हंत कालो करालो॥४॥ किं मे सरणं । विदूषकः-"वअस्स, चंदणिआए वअणं सरणं। राजा-(सप्रत्याशम् )"वअस्स, किं तं चंदणिआए वअणं । विदूषकः-सुणादु वअस्सो। अहं खु एण्हि तुए पसादिआए देवीए सेवणं कादूण णिवट्टमाणो मग्गे तत्थहोदीए रअणसंभवाए मअण-वेअणा-विणोअणथं चंदणारविंद-कंदोट्ट-चंदोजअ-चंदमणि- मोत्तिों-मुणाल-वलअ-कअली-करपूर-पुरस्सरं सिसिरोवआर-साम- गि संपादअंतीए चंदणिआए घडिदो म्हि । 1_Kजोहसलाह. 2 5 पिअद्वंत. 3 : दुब्बट्ट, 4 K संकढविसंकढ. 5 6 फुरिलो. 6 x often reads चन्दिणिआ for चन्दणिआ. 7 : पसादिआहि. 8 तत्तहोदीए. 9 रविणोअणवथं. 10 चन्दज्जोअचन्दमोणिमोख्खिअ. 11 x रोपसारसामग्गी. सन् ,फुल्लोद्गमो अनघपल्लवमल्लिकानाम् । दत्तः दिशासु सकलासु दिशासु भविष्यज्योत्स्ना-, सन्नाहबीजनिकर इव प्रदोषकेनं ॥ ३ ॥ I) किमेवं भणसि । प्रवर्धमानमदरोषदुस्सह- दुष्टवारणविषाणकोणात्कथमपि मोचितस्य करालदृढदंष्ट्रावेष्टसंकटविशंकटसिंहमुखकुहर- विवरप्रवेशः किं प्राणरक्षणोपायः। पश्य तावत् । कुमुदनिकरघूर्णमानालिश्रेणिपाशः, दलितधवलमल्लीफुल्लशोभाट्टहासः। अभिसरति पुरतो मां प्रदोषाभिधानो, धनतमतमः- कालः हन्त कालः करालः॥ ४॥ किं मे शरणम् । II) वयस्य, चन्दनिकायाः वचनं शरं- णम् । III) वयस्य, किं तत् चन्दनिकाया वचनम् । IV) शुणोतु वयस्यः। अहं खल्वि- दानी त्वया प्रसादितायाः देव्याः सेवनं कृत्वा निवर्तमानो मार्गे तत्रभवत्या रत्नसंभ- वाया मदनवेदनाविनोदनाथ चन्दनारविन्दनीलोत्पलकुमुदचन्द्रमणिमौक्तिकमृणालवल- यकदलीकर्पूरपुरस्सरां शिशिरोपचारसामनी संपादयन्त्या चन्दनिकया घटितोऽस्मि । १ र प्रदोष एनम्. २ र वयस्य किमेवं. ३ ४ गज for वारण. ४ ॥ कथं कथमपि for कथमपि. ५ बज for नेष्ट. ६ ४ पुरस्तान्मां. ७ KM भो वयस्य, ८६ चन्दिनिका'. ९ x omits शरणम्, १० र वदनम्. ११ । विनोदार्थ, ।

·चंदलेहाए [III. 4.9- राजा-"तदो तदो। विदूषकः-"नदो सा मं दळूण दीह-दीह-णीसास-धूसराविआहर- उडा पल-पह-जालग्ग-लग्ग-णिवडत-बाह-बिंदु-संदोह-संदाणिआ- पुव्व-हार-लहि-मंडिअ-सिहिण-मंडला तत्थ एव्व ठिआ। राजा-तदो तदो। विदूषकः-'तदो चंदणिए, कीस परुण्णा सि ति मए पुच्छिदाए ताए भणि। राजा-किं वि। विदूषकः-"अयं चओरअ, ण-आणामि किं भणामि तस्सि अदि- "ट्ट-पुरुवाअं दिढ-बर्द्ध-सिणेहा । पुरुवं एव्व मुणिअं खुतुए पिअस- हीए रअणसंभवाए दिणे दिणे विभंत-मअणाएस-दूसहतणं । अज्ज उण सा दूसंहाआस-दूमिआ णिसग्ग-दुब्बला बाला अणणुभूअ- 21 पुरुवं अवत्यंतरं अणहोंती मअण-संताव-विणोदणथं अम्हहिं अवि- रल-मोतिअ-जाल-वालुओं-सीअल-सुहअ-तीराए नुहिण-जल-दीहि- आए पच्छिम-तीर-परिसर-बालुज्जाण-कदली-वणं पाविदा । तहिं , पलअ-समुदिअ-चंड-मतंड-किरण-दूसह-संदाव-बाहिआए तिस्से णव- 1 Kधूना for धूस. 2 r omits some portion here, पअल etc. to किं भणामि (line 17); but it is given by Kb rather in such & corrupt form that only important variants are noted. 3 Kh पंम for पम्ह. 4 th किं स वरुण्णा. 5 rh फणिअम्. 6 xh अअ चओर ण. 7 तसिं, but rh तस्सि. 8 x बंध. 9 r reads thus : दूसहामञ्जएसमच्छो कलएदे कास्सिरं कचीदमिलपइमुहा भूमिपआसदूमिआ. 10 K omits वालु in वालुआ. 11 x तुदिणजतुदी. 12K च किस्से पलभ. 13 किस्से. I) ततस्ततः। II) ततः सा मां दृष्ट्वा दीर्घदीर्घनिःश्वासधूसरीकृताधरपुटा प्रचलपक्ष्मजा- लामलग्ननिपतद्वाष्पविन्दुसंदोहसंदानितापूर्वहारयष्टिमण्डितस्तनमण्डला तत्रैव स्थिता । III) ततस्ततः। IV) ततश्चन्दनिके, कस्मात् प्ररुदितासीति मया पृष्टया तया भणितम् । V) किमिव । VI) आर्य चकोरक, न जानामि किं भणामि तस्यामदृष्टपूर्वायां दृढबद्ध- हात् । पूर्वमेव ज्ञातं खलु त्वया प्रियसख्या रत्नसंभवाया दिने दिने विजृम्भमाणमदै- नायासंदुस्सहत्त्वम् । अद्य पुनः सा दुस्सहायासदूना निसर्गदुर्बला बाला अननुभूतपूर्व- मवस्थान्तरमनुभवन्ती मदनसंतापविनोदनार्थमस्माभिरविरलमौक्तिकजालवालुकाशीतल- सुभगतीरायाः तुहिनजलदीर्घिकायाः पश्चिमतीरपरिसरबालोद्यानकदलीवनं प्रापिता । तसिंचं प्रलयसमुदितचण्डमार्तण्डकिरणदुस्सहसंतापबाधितायाः तस्याः नवनवपल्लव- १ . धूसरायिताधर'. २ लेहा for लेहात्. ३ मदनयादुस्सहं. ४ x निस्सहत्वम् for दुस्सहत्वम् । ५ ॥ अन्य lacuna पुन'. ६ Momits पूर्व. ७ : सन्तापिनो विनों, ८ र तस्मिंश्च तस्याः प्रलय', ९r omits तस्याः 24 ·-III. 4. 391 तइ जवाणअंतर णव-पल्लव-पल्लंक-णिन्नाणेहि [पालेअ-सलिल-मीसंदणेहि चंदण- चञ्चा-दाणेहिं] चंदमणि-चुण्णुच्छुरणेहिं कप्यूर-रेणु-पाडणेहिं कदली- दल-वीअणेहिं च दूमिओओ संतद-परुग्ण-महीओ सहीओ किल-: म्मति । दंड-सेस-बिसिणी-संड-गह-ममर-संचार-णिलुकाइ दुक्खा- उलाइव सअल-सरसि-जलाइ, लूण-सअल-किसलअ-गलिअ-सोहा- णि संदाव-जणिअ-विवण्णतणाई व धमद-वणाई, उच्छिण्णा पवाल- दल-मुंडाइ कदली-काणण-संडाइ होति। तह वि गिरणुक्कोसो एव्व महुमासो, णिकरुणो एव्व णिसाणाहो, णिग्विणो एव्द मलआणिलो, णिरणुकंपो एव्व वम्महो, जं एदाए बालिआए बंधव-विरहिदाए । विदेस-द्विदाए तवस्सिणीए कण्णआए दीह-वरं कर्णतो जीविज-हरणे पवट्ठति । तहाँ दूसहेहिं देहि वम्मह-विसिहहिं बाहिआणं सहस्सइत्तं आढत-णिग्गमाणं तिस्से पाणाणं आसासण-कारणण तेण वअणो- वण्णासेण कह कह वि णिवारणं [कुणंतीहिं अम्हहिं अइवाहिओ दिवसो। अओ परंण सकं अम्हाणं । ता सा] बाला जह ण मरि- हिई तह उवाओ चिंतीअदु ति। 236 39 TKजलाल 1 T चुण्णच्छु. 2 r omits च. B F दूमिआएओ. K omits सहीओ. 5 F संचारि. 6 I दुःखाउताएव. for जलाइ. 85 लूअ for लूण. 9 x दलमण्डालदलकदली. 10K पालिआए. 11 वैरं. 12 Kधरणे. 13 5 तत for तहा. 14 वाहिआणं. 15 6 णिवारणं कुर्णति बाला. 16 5 मरीहिइ. पर्यनिर्माणः प्रालेयसलिलनिष्यन्दनैः चन्दनचर्चादानैः चन्द्रमणिचूर्णोच्छुरणैः कर्पूर- रेणुपातनैः कदलीदलवीजनैः च दूनाः संततमरुदितमुख्यः सख्यः क्लास्यन्ति । दण्ड- शेषबिसिनीषण्डनष्टभ्रमरसंचारमूकान्नि दुःखाकुलानि इव सकलसरसीजलानि, लूनस- कलकिसलयगलितशोभानि संतापजनितविवर्णत्वानीव प्रमद्वनानि, उच्छिन्नप्रवालदल- मुण्डानि कदलीकाननषण्डानि भवन्ति । तथापि निरनुक्रोश एव मधुमासः, निष्करुण एव निशानाथः, निघृण एव मलयानिलः, निरनुकम्प एव मन्मथः, यदेतस्याः बालि- कायाः बान्धवचिरहितायाः विदेशस्थितायाः तपखिन्याः कन्यकायाः दीर्घवैरं कुर्वन्तो जीवितहरणे प्रवर्तन्ते । तथा दुस्सहैश्च तैर्मन्मथविशिखैर्वाधितानां सहस्रकृत्वः आरब्ध- निर्गमानां तस्याः प्राणानामाश्वासनकारणेन तेन तेन वचनोपन्यासेन कथं कथमपि निवारणं कुर्वन्तीभिरस्माभिरतिवाहितो दिवसः। अतः परं न शक्यमसाकम् । तस्मात् १ चलपणिचूर्णच्छुरणैः for चन्द्र ete, २ बोषितायाः स'. ३ 'वासका'. ४ ॥ तत् for तसात. ७ चंदन ·५० चंदलेहाए [III.4.40- राजा-(सकरुणम्) भअवंतिभुवण-महणिज-सासण कुसुम-सरासण, गहिअ-चलणमेअं कं वि पत्थेमि अत्यं परुसअर-मुहहिं मग्गणेहिं इमोहि। किसल-मिउलमंग छिंद मा सुंदरीएं णवर मह पहारं एव्व तेहिं पदेहि ॥ ५॥ विदूषकः -"भो वअस्स, उवहिदे पाअस-भोअणम्मि किं तं इदं पलविअ कालं खिंवसि । गच्छम्ह तुरिअं तुहिण-जल-दीहिआ-परि- सरं । अदिकामिआ अ संझा। राजा-(समन्तादवलोक्य )IT'साहु दिई अस्सेण । तह अ। रतीअ णाह-विरहेण सुदूसहेणं उत्तम्मिरी अ उडु-मोतिअ-चुण्ण-पुण्णा । बाल-प्पवाल-सअणिज्ज-णिहा खु संझा देहुम्हएण विअ सा मिउला मिलाइ ॥६॥ 3 किं च। राई-वासरएहि आढता दिदकपाली। कुंकुम-रसो व्व गलिओ संझा-राओ पओहरालग्गो॥७॥ 1 K किसलअमि. र छिंदमाणा मुं. 3 x °एणपरमअपहार. 4 भो वअस्स एवं गए कजे पुणो वि किं पलवसि गच्छम्ह, but the reading of Kl is adopted. 5_Kh विवसि. 6 संज्ञा. 7 K देहुम्मएण- सा वाला यथा न मरिष्यति तथा उपायश्चिन्त्यतामिति । I) भगवन् त्रिभुवनमहनीय- शासन कुसुमशरासन, गृहीतचरणमेतं किमपि प्रार्थयाम्यर्थ, परुषतरमुखैर्गिणैरेभिः । किसलयमृदुलमङ्गं छिन्द्धि मा सुन्दाः, नवरं मम प्रहारमेव तैरपि देहि ॥ ५॥ II) भो वयस्य, उपस्थिते पायसभोजने किं त्वमिदं प्रलप्य कालं शिपसि । गच्छावस्त्वरितं तुहिन- जलदीर्घिकापरिसरम् । अतिक्रान्ता च संध्या । III) साधु दृष्टं वयस्येन । तथा च । रात्रौ नाथविरहेण सुदुस्सहेन उत्तमनशीला च उडुमौक्तिकचूर्णपूर्णा । वालप्रवालशय- नीयनिभा खलु संध्या देहोष्मणा इव सा मृदुला म्लायति ॥ ६॥ किं च । रात्रिवासरा- भ्यामारब्धायां दृढाकपाल्याम् । कुङ्कुमरस इव गलितः संध्यारागः पयोधरालग्नः॥ ७ ॥ १ र चरणमेकमपि. २ मुस्तादृशैः शरैः. ३ x च्छिन्दमाना सुन्दर्याः, ४ . परि" for अति'. ५ र ६ . "मन शिलाचा, M उत्तमनशीलायाः मौक्तिक'. x. 'मणालसा मृ, ८ x omits किंच. ९६ घरे लग्न रात्र्या.

·3 -III. 9.7] तइसं जवाणेअंतर विदूषकः -"भो वअस्त, पेलख। तेल्लोकस्स कराल-काल-फणिणा दहस्स गहुम्हणो मुच्छंतस्स मुहुतरण अ पुणो मीलंत-सूरच्छिणो। संझा-सोणिम-सोणिपसरिज अंगनि कालप्पहं काओलं व सविस्त-मंडलिक शिकंदनाउँदएँ ॥।॥ राजा -"वअस्स, सच एव्व। कत्यूरी-पंक-दिण्णो णह-सिरि-वजहे भंगुरो पक्ष-भंगो वित्यारिलं परिहं जलहर-घडली-दुरं मेईजीए। ओलंबतो पुरतोषिज-विरह-दसा-दुक्स-हेटागआणं आसाणं वेणि-बंधी पसरइणिबिडो एस कालंधआरो॥९॥ विदूषकः-"ता गच्छम्ह इमिणा फलिह-मणि-सउह-दाहिण-भाअ- बाल-बउलाराम-पेरंतेण तुहिण-जल-दीहिओ-परिसरं । एण्हि च गआ देवी भअवंतं थलीसरं ददृ । राजा-वअस्स, आदेतेहि तुहिण-जल-दीहिआ-परिसरस्स मग्गं। विदूषकः-'भो वअस्स, इदो इदो एदु भवं । (उभौ परिक्रामतः।) राजा-(स्वगतम्) अच्छेरं, अपुब्व-वल्लहा-दंसणथं पत्थिदस्स मे अपुन्वो परिवारो अपुत्वं वाहणं च । तह अ। 1 Kणाणो. 2 मुझन्तस्स. 3 x सूरम्भिणो. 4 K पसरअं. 5 x णिप्पन्दमफुन्दए. 65 मेहुरं. 75 मेभुणीए. 87 लम्बन्तो पुरतो विआवि. 9 F हेटाणसाणं वेणीबन्धो पसरइ. 10 x कालन्धराओ. 11 x दी सिआ. 12 : थलीसरओट्टम् , but rh °सरं दटुम् । 13 आदेहि. I) भो वयस्य, पश्यं । त्रैलोक्यस्य करालकालफणिना दुष्टस्य नष्टोमणः, मूर्च्छतो मुहूर्तेन पुनर्मीलत्सूर्याक्षस्य । संध्याशोणिमशोणितं प्रसृतमङ्गे कालप्रभं, कापोलमिव तमिस्रम- ण्डलमिदं निष्पन्दमाकामति ॥ ८ ॥ II) वयस्य, सत्यमेतत् । कस्तूरीपैङ्कदत्तो नभाश्रीव- दने चित्रका पत्रभङ्गः, विस्तारवनिचोलः जलधरपँटलीमेदुरो मेदिन्याः। अवलम्बमानः पुरतः प्रियविरहदशार्दुःखाधोगतानां, आशानां वेणीवन्धः प्रसरति निविडः एष काला- न्धकारः ॥९॥ III) तद् गच्छावः अनेने स्फटिकमणिसौधदक्षिणभागबालबकुलाराम- पर्यन्तेन तुहिनजलदीर्घिकापरिसरम् । इदानीं च गता देवी भगवन्तं स्थलीश्वरं द्रष्टुम् । IV) वयस्य, आदेशय तुहिनजलदीर्घिकापरिसरस्य मार्गम् । V) भो वयस्यै, इत इत एतु भवान् । VI) आश्चर्यम् , अपूर्ववल्लभादर्शनार्थ प्रस्थितस्य मे अपूर्वः परिवारः अपूर्व १ ॥ पश्य पश्य for पश्य. २ कोकोकलमिव, M काकोलमिव. ३ सत्यमेतत्. ४ र पङ्को दत्तो, . पङ्कदत्तनभ'. ५ x चित्रभङ्गुरः for चित्रकः of A. ६ x धरपटलं मेदुरं. ७ पुरस्तात् प्रिय. ८ K दुःखाधोग- ताननां वेणीबन्धः, M दुःखाय आननानामाशानां. ११ x omits भो वयस्य. ९ g omits अनेन. १० ॥ तदादेशय for वयस्य आदेशय.

·चंदलेहाए IIII. 108- सव्वेहिं इंदिएहि सह चला मणं अगदा मग्ग-देसे बद्धासंगो अणंगो अणुसरइ करासज्ज-कोदंड-दंडो। वाहिज्जती तीए गहिअ-रअमणप्यहि संकरपरहि उकंउंदोलिआए पिअ-जण-सविहे एस गच्छानि दाणिं ॥१०॥ विदूषकः -"वजस्स, अदूरे दाणिं तुहिण-जल-दीहिआ। (नेपथ्यो) कापरेहिमलं तुसार-सलिलासारहि सिंचेहि मा दूरे कीरउ दूसह सरसिज घोरे हारेण किं। दाणि होहिंइ देह-दाह-चउरो चंदो खु मज्झे जह ता घेप्पंतु जिरंतराइ भिसिणी-पत्तादवताइ मे ॥११॥ विदूषकः-(आकर्ण्य )"भो वअस्त, किं गंडूसिसवहिं पीऊस, ता दाणिं णअणाणं वि कुणउ सुहा-कवल-गहें । राजा-मा जंप, जं पुणो वि किंचि सुणीअदि। विदूषकः -IV एसो तुण्हीओ म्हि । (नेपथ्ये) किं करम्ह । फेणाअंत-मुहा मुणाल-लदिओं पता भिलाणतणं सज्जा-पल्लव-संचओ वि सहसा संकोइँदो दीसइ । 1 r बन्धासङ्गो. 2K करासंज्ञको. 3K वाहिजंकीअ. 4 x सविए एस. 5 दोहिइ. 6 x घप्पंतु. 75 कवल. 8 जप्प. 9 किं पि अ सुणी. 10 K इदिआ for लदिआ. 11 5 सेजो. 12K सङ्कोइदं. वाहनं च । तथा च । सबैरिन्द्रियैः सह चलति मनः अग्रतो मार्गदेशे, बद्धासंगः अनङ्गः अनुसरति करासक्तकोदण्डदण्डः । उह्यमानया तया गृहीतरयमनल्पैः संकल्पैः, उत्क- ण्ठान्दोलिंकया प्रियजनसविधमेप गच्छामीदानीम् ॥ १०॥ I) वयस्य, अदूरे इदानीं तुहिनजलदीर्घिका । (...) कर्पूरैरलं तुषारसलिलासारैः सिञ्च मां, दूरे क्रियतां दुःसहं सरसिज घोरेण हारेण किम् । इदानीं भविष्यति देहदाहचतुरश्चन्द्रः खलु मध्ये नमः, तस्माद् गृह्यन्तां निरन्तराणि विसिनीपत्रातपत्राणि मे ॥ ११॥ II) भो वयस्य, कि गण्डू षितं श्रवणाभ्यां पीयूष, तस्माद् इदानीं नयनयोरपि कुरु सुधाकवलग्रहम् । III) मा जल्प, यत् पुनरपि किंचित् श्रूयते । IV) एष तूष्णीकोऽस्मि । (...) किं कुर्मः। फेनाय- मानमुख्यः मृणाललतिकाः प्राप्ताः म्लानत्वं, शय्यापल्लवसंचयोऽपि सहसा संकोचितो १ र 'न्दोलिकायां प्रिय'. २ भो वयस्य. ३ र सिन्नेथ मां. ४ र इदानीं तु भवि'. ५ . तद् for तस्मादू. ६ u lacunar 5 किमपि for किंचित् of M.

·GREE -III. 12.15] तइस जाणिअंतर लाजाइ व्व फुडंति मोशिअ-गणा देहस्स दाहग्गिणा । एत्थाणस्थ-अरो इमाम सरणं किंवा जाणिज्जए॥१२॥ राजा-अं अवसरो उपसब्धिहुँ । ( उभावुपर्पतः ।) विदूपर्क:-"किं सबल-भुषणेझवाहे महाराआहिराए परजिअलं परिरक्खमाणे माणवेए कि सरशिनिंतीदि। (ततः प्रविशति पल्लवशयनशायिनी नायिका शिशिरोषचारव्याते चन्दनिकाचन्द्रिकेच।) नायिका -कप्पूरहिमलं [III. 11] इत्यादि पठति । चन्दनिकाचन्द्रिके-कि कर [III. 1.2] इत्यादि पठतः । विदूषकः-"पिअसहि, अन्नामेण संभावेहि महारं । नायिका- तह । (अवलोषय स्वगतम्) हिअआदो विग्गो लोअण- पहे ठिओ। (उत्थातुमिच्छति ।) राजा-(हस्ते गृहीत्वा संहोपविश्य )"पिए चंदमुहि, मा करेहि नुह मार- दूमिअंतणुमिमं पुणो वि तं, तुझ एरिस-दसावलोअणं मज्झ जुत- मुवआराडंबरं। नायिका-(स्वगतम् )अच्छरीअं, कहं एसो एक्को एव्व हिअआव- हारणे पलआणिल-जालंतरे मं भर्जिअ संप सरीर-फंसे उण अ- मिअ-समुद्द-मज्झम्मि मज्जावेइ । 9 1 x दाहग्गिणो. 2x puts this in the mouth of the king after (उभावुपसर्पतः), but sh assigns it to Vidusaka. 3 puts तह after the stage-direction. 4 K लोअणपगे टिओ. 5 x उपविश्य for सहोप. 6 5 दसोवलोअणं, 7 °मुपहारंडंबरन्. 8 5 मशिअ. 9 5 मझावेइ. दृश्यते । लाजानीय स्फुटन्ति मौक्तिकगणाः देहस्य दाहाग्निना, अत्रानर्थपरोऽस्थाः शरणं किं वा न ज्ञायते ॥ १२ ॥ I) अयमवसर उपसर्पितम् । II) किं सकलभुवनैकनाथे महा- राजाधिराजे धरणीतलं परिरक्षति मानवेदे किं शरणमिति चिन्त्यते । III) प्रियसखि, अभ्युत्थानेन संभावय भैारम् । IV) तथा। (...) हृदयान्निर्गत्य लोचनपथे स्थितः। V) प्रिये चन्द्रमुखि, मा कुरुत तवं मारदूनां तनुमिमां पुनरपि त्वम् , तव ईदृशदशावलो- कनं मम युक्तमुपचरावडम्वरम् । VI) आश्चर्य, कथमेप एक एव हृदयावस्थाने प्रलया- नलज्वालान्तरे मां भर्जयित्वा सांप्रतं शरीरस्पर्श पुनर् अमृतसमुद्रमध्ये मजयति । १ . मौक्ति a long lacuna upto "शोकानन्दकारिणा etc. on the next page. २ र मानवेते, . lacuna, ३ Komits तव. ४ र प्रलयान्तरज्वाला ·3 चंदलेहाए [ITI.12.16- राजा-(स्पर्शसुखमभिनीय स्वगतम्) 'मम वहइ विलोळ-लोअणाए करअल-फंस-सुहा-रसेणमंगं । णव-जलहर-जोबा-विंदु-विंद- पसरण-तुट्ठ-कांव-लडि-सोहं ॥ १३ ॥ नायिका-सहि चंदणिए, किं क्स अइहामि पत्तो गिम्हो जेण सिज्जति गताई। चन्दनिका -(सपरिहासम् )"पिअसहि, अंकालोवगएण समीवे वसं- तेण राअहंस-निलएण असोआणंद-कारिणा कंदप-मिक्षेणणेणं चिअ दे अंगाइ सिज्जति । (नायिका लजां नाटयति ।) राजा-(सस्पृहम् )"हंहो हरिण-लंगण, मा पुवदि-सिरे तिरोहिअ-तण चिडेहि उद्वेहि तं अम्हाणं अणुगहिउं कुण खणं जोण्हा-पआसुग्गमं । दौणि जेण पिआअ से पिअ-सहि-च्छेउति-संसूअणे संलक्खिज्जउ णं विलक्ख-हसिअ-च्छाआ-वलक्खं मुहं १४ (नेपथ्ये) वैतालिक:-"सुह-दाइणी होउँ देवस्स चंदुज्जोअ-लच्छी । अज्ज खु एअं अंजण-पुंज-पंजर-दरी-लीणं व लक्खिज्जए तेल्लोकं ण खु जाव दाव किरणंकूरो सारंसुणो। 1 बिन्दुबिन्दु. 4 यदि for लदि. 3 x अतिकमिअ. 4 K समीपे. x राजस. 6 x कदम्बमित्तेण. 7 सिझन्ति.8Kलंझण. 9 xx 'तआ for तणू. 10- दाणी. 11 सल्लख्खि 12 K होइ. 13 5 दरीणीलं व. 14 K भुसारंसुणो. I) मम वहति विलोललोचनायाः, करतलस्पर्शसुधारसेन अङ्गम् । नवजलधरतोयविन्दु- वृन्द-, प्रसरणतुटकदम्बयष्टिशोभाम् ॥ १३॥ II) सखि चन्दनिके, किं वसन्तमतिकस्य प्राप्तो ग्रीष्मः येन खिद्यन्ति गात्राणि । III) प्रियसखि, ननु कालोपगतेन समीपे वसता राजहंसतिलकेन अशोकानन्दकारिणा कन्दर्पमित्रेणानेनैव ते अङ्गानि विद्यन्ति । IV) हंहो हरिणलाञ्छन, मा पूर्वाद्विशिरसि तिरोहिततनुस्तिष्ठ उत्तिष्ठ त्वं, अस्माननुग्र- हीतुं कुरु क्षणं ज्योत्साप्रकाशोद्गमम् । इदानी येन प्रियायाः अस्याः प्रियसखीच्छेको- तिसंसूचने, संलक्ष्यतामिदं विलक्षहसितच्छायावलक्षं मुखम् ॥ १४॥ V) सुखदायिनी भवतु देवस्य चन्द्रोद्योतलक्ष्मीः। अद्य खलु, एतदअनपुअपारदरीलीनमिव लक्ष्यते, १ गात्राणि for अङ्गानि. २ उत्तिष्ठत for उत्तिष्ठ त्वं. ३ र अस्माकमनु. ४ x शोधमम्. ५ प्रियायां. ६ कस्याः for अस्सा. ५॥ संलक्ष्यते इदं. ८ र पारशालीन: क ·-III. 186] तइ जवाणअंतर मुच्छ उज्झिा उद्विआहि कुमुअ-च्छाआहि पञ्चुग्गओ सिंगारग्गिम-पल्लवो उवगओ सिंगम्मि पुन्वद्दिणो ॥ १५ ॥ अवि अ॥ कंदप्पोजल-कित्ति-कंदल-दला चंदोज-जीआदुणो राई-हास-लवा पुरंदर-दिसा-मल्ली-पसणुग्गमा । उज्वेलंत-तमस्समुह-लहरी-लीपच्छ-फेण-डा पुवद्दिम्मि कमेण मुख-धवला बड्डति जोण्हकुरा ॥ १६ ॥ राजा--"सअल-जण-कण्ण-उड-मजरंद-णीसंद-वाहिणा सुभासिअ- कीला-सुअ-पंजरेण मंजुकंठेण बंदिणा उवसिलोइदा चंदुज्जोअ- लच्छी । संप पुण सरस्सई-चलण-सरसिज-महु-सलिल-पूरिअ- हिअआलवाल-वढंत-बाल-पडिहा-वल्ली-पल्लवाअंत-सुति-रत-कंठस्स महुरकंठंस्सावसरो। (नेपथ्ये) विपंडुर-मुह-छई गहिअ-गन्भ-पुष्णोअरी पुरंदर-दिसा खणं भविअ लोअणाणंदिणी। तदो पुण जणेइ णं हरिण-लंछणं णंदणं अअंकुणइ तक्खणं अहिणहंकणं रिंखणं ॥१७॥ अवि अ। AN दिसा-चिउर-चूलिआ धवल-मालई-मालिआ जिरंतर-विलंविआ णह-विआण-मुत्ता-लआ। 1 x उहिआइ. 3K पसूणगामा. 3 K उज्वेलन्त. 4 मुड्डध. 5T "सिलोलदा. 6 r प्रतिहा for पडिहा. T F कपलसावसारो. 8 विषण्डर. 9 विलंखिआ. 105 सुत्तालिआ. त्रैलोक्यं न खलु यावत् तावत् किरणाथरस्तुषारांशोः। मूर्छामुज्झित्वा उत्थिताभिः कुमुदच्छायाभिः प्रत्युद्गतः, शृङ्गारानिमपल्लवः उपगतः शृङ्गे पूर्वाद्रेः॥ १५॥ अपि च । कन्दर्पोज्वल कीर्तिकन्दलदलाः कुमुदजीवातवः, रात्रीहासलवाः पुरन्दरदिशामल्लीप्रसू- नोद्गमाः। उद्वेलत्तमस्समुद्रलहरीलीनाच्छफेनच्छटाः, पूर्वाद्री क्रमेण मुग्धधवलाः वर्धन्ते ज्योत्स्नाङ्कुराः ॥ १६ ॥ I) सकलजनकर्णपुटमकरन्द निष्यन्दवाहिना सुभाषितक्रीडाशुक- पजरेण मजुकण्ठेन बन्दिना उपश्लोकिता चन्द्रोद्योतलक्ष्मीः । सांप्रतं पुनः सरखती- चरणसरसिजमधुसलिलपूरितहृदयालवालवर्धमानबालप्रतिभावल्लीपल्लवायमानसूक्तिरक्त- कण्ठस्य मधुरकण्ठस्यावसरः। ("") विपाण्डुरमुखच्छविः गृहीतैगर्भपूर्णोदरी, पुरन्दर- दिशा क्षणं भूत्वा लोचनानन्दिनी। ततो पुनर्जनयति इमं हरिणलाञ्छनं नन्दन, अयं १ दिली. २ p omits वर्धमानवाल.. ३ . गरुक for गृहीत, ४ र पुनयति, - ·चंदलेहार [II. 180- विवासिन-पोरसाइकल दुख-शारा करा गलंलि राणी-बहू-तिल-दिसुजो इंदुजो॥ १६ चन्दनिका --'तह पजहा एन चंद-इरणा वज। जा धुव्ववित्स सिंगे कह दिसतरि -কিন্তু তার चंचूर्ण पूरणेसु पिण धवल बलोरा पारे िबुटवं । হতি অধ্যক্ষ ফাতও গণি জাতটি हज्जा हत्थंजलीहि भारिज-शिवणा साखु जोण्हा सु-सहा नायिका-विअसहि दिए, तुजवि वोहि चंदिझा-उज्जो। चन्द्रिका -जह आणवेदि पिअसही। चंदादो किरणकुरा पअलिगा चंडं चोर-च्छडा- चंचू-संचअ-वेअ-खंडिअ-मुहा मुंडनणं पाविआ। दीसते धवलाप्रमाण-कुमुअ-च्छाआहि संवद्धिआ एहि उल्लसिअद्द-पल्लव-सहस्सुव्वेल्लिअंग्गा इव ॥ २० ॥ राजा-अहो अहमहनिआए पवुत्तो कइसण-कलहो। 1 x विपासिअ. 2 बन्धूर्ण for चंचूर्ण. 3 K चन्दिमदुजाअम्. । दीसन्दे. x ओयुल्ल । AMAnt., सिअद्दबल्लव. 6 K "अङ्गा for "जग्गा. करोति तत्क्षणमभिनमोऽङ्गणं रिक्षणम् ॥ १७ ॥ अपि च । दिशाचिकुरचूलिका धवल- मालतीमालिकाः, निरन्तरविलम्विता नभोवितानमुक्तालता। पिपासितचकोरिकावदन- दुग्धधाराः कराः, गलन्ति रजनीवधूदिकविन्दोः इन्दोः ॥ १८॥ I) तथा प्रवृत्ता एवं चन्द्रकिरणाः । तथा च । था पूर्वाद्रेः शृङ्गे कथमपि प्रसृता तीक्ष्णतृष्णाकुलानां, चञ्चूनां पूरणेषु अपि न चपलचकोराणां पारयति पूर्वम् । इदानी प्रस्थैर्मेया परिलसति मृणाला- न्तरालैः पेया, हार्या हस्ताक्षलिभिः भरितत्रिभुवना सा खलु ज्योत्स्ना सुलक्षणा ॥ १९ ॥ II) प्रियसखि चन्द्रिके, त्वमपि वर्णय चन्द्रिकोद्योतम् । III) यथा आज्ञापयति प्रिय. सखी । चन्द्रात् किरणाकुराःप्रगलिताचण्डं चकोरच्छटा-, चञ्चूसंचयवेगखण्डितमुखाः खर्वत्वं प्रापिताः। दृश्यन्ते धवलायमानकुमुदच्छायाभिः संवर्धिताः, इदानीमुल्लसिताद्र- पल्लवसहस्रोद्वेल्लिताना इव ॥ २०॥ IV) अहो अहमहमिकया प्रवृत्तः कवित्वकलेहः । १ K "मधिनभोगणं. २ ॥ विलुलिता for विलम्बिता. ३ र मुग्ध for दुग्ध. ४ Kलसन्ति for गलन्ति ५ KM तिलकविन्दोरिन्दोः. ६ र प्रस्मृता. ७ तीक्ष्णतीक्ष्णाकु. ८ र बन्धूनां for चचूनां. ९ ४ भृत for भरित. १० र गलिताश्वस्यं, प्रचलिता'. ११, M संमेलिता. १२ . प्रवृत्ता. १३ निपुणता for कलहः of M.

·3 -111.28.2] तइ जवणिअंतरं विदूषकः-"अहं वि मह कइतणं पअडीकरिस्सं । सुणह मज्झ सुति- सोहरगं। चंदण-चञ्चिअ-सव्व-दिसंतो चारु-चओर-सुहाइ कुणंतो। दीह-पसारिअ-दीहिंइ-बुंदो दीसइ दिण्ण-रसो णव-चंदो ॥२१॥ चन्द्रिका -"महाराअ, चंदुज्जोए पिअसहीए किदो सिलोओ। राजा-चंदिए, वरिसेहि सवण-पीजसं। चन्द्रिका - पिअसहि, किं पढिस्सं । (नायिका लजते ।) चन्द्रिका-(पठति ।) ''वहइ कलंक-मिसेणं काल-भुअंग ससी णिउच्छंगे। किरणाली-णालेहि किरइ कहं अण्णहा गरलं ॥ २२ ॥ राजा-अहो संदभ-चाउरी रस-णीसंदो अ। पिए, आणणेण तुह णिज्जिओ ससी लोअणेण पुण तजिओ मिओ। ताण जुज्जइ दुवाण संगमो अग्गदो वि चरणं अलज्जदा ॥२३॥ (चन्द्रं प्रति) हंहो हरिण-लंडण, तुम खु इमाए णिअ-रूव-णिज्जिअ- लच्छीए कोमलच्छीए 15 सुहण मझ. 2 : दीहिवुन्दो. 3 5 महाराज (हिजो) चंदु. 4 पठिस्सम्. 5 अणेण. 6 K निजओ. I) अहमपि मम कवित्वं प्रकटीकरिष्ये । शृणुत मम सूक्तिसौभाग्यम् । चन्दनचर्चितसर्व- दिगन्तः, चारुचकोरसुखानि कुर्वन् । दीर्घप्रसारितदीधितिवृन्दः, दृश्यते दत्तरसो नव- चन्द्रः॥ २१ ॥ II) महाराज, चन्द्रोद्योते प्रियसख्या कृतः श्लोकः। III) चन्द्रिके, वर्षय श्रवणपीयूषम् । IV) प्रियसखि, किं पठिष्यामि । V) वहति कलङ्कमिषेण काल- भुजङ्गं शशी निजोत्सङ्गे। किरणालीनालैः किरति कथमन्यथा गरलम् ॥२२॥ VI) अहो संदर्भचातुरी रसनिष्यन्दश्च । प्रिये, आननेन तव निर्जितः शशी, लोचनेन पुनस्तर्जितो मृगः । तयोः युज्यते द्वयोः संगमः, अनतोऽपि चरणमलजता ॥२३॥ (...) हहो हरिण- १ वर्ष श्रव. २ M वक्ष्यामि for पठिष्यामि. ३ र निजकरोत्सङ्गे. ४ र अनेन for आननेन. ५ र लोच- नेन मृगोऽपि तर्जितः, M लोचनेन च मृदो विनिर्जितः.. ६ 5 तस्मात् न for तयोः. ७ र लज्जताम् । ८ चंद.

·3 चंदलेहाए [III. 24- चुंवंतो विवएणं रमसि बिस-लआ-पंडुरं गंड-रेह दिण्णाणंदो कुणंतो विहरसि सिहिणे तक्खणं अंकपालि। आलोलेहिं करेहिं कुणसि असणा-फसणं संस णं मे किं णं पुव्वं खु पुण्णं किदमहह नुए जेणममेअ होमि ॥२४॥ (नेपश्ये कलकलः, सर्व ससंभ्रममाकर्णयन्ति ।) विदूषकः-"होदि चन्दणिए, जाण को एसो कलकलो ति। चन्दनिका-(उत्थायावलोक्य ससंभ्रमम् )"एसा खु देवी थलीसरं दट्टण इदो एव्व आअच्छदि ति से अंतेउर-चारिणो कुज्ज-किराअ-वरिस- वर-वामण-पुरस्सरस्स परिवार-जणस्स एसो कलकलो । ता जह देवीए ण जाणिज्जइ एसो वुत्तंतो तह करेउ महाराओ। अम्हे वि अंतेउरं एव्व नुरिजं गमिस्सामो। राजा-IIतह । (इति सर्वे निष्कान्ताः।) ॥ इअ चंदलेहाअंतइ जवणिअंतरं॥ १ M 1K बिम्बणेणं. 2 दिण्णाणन्तो. K अंकपालीम्. 4 K रअणासण. पुण्णं पुत्वं खु for किं णं etc. 6x परिसवर. 7 K जाहिजए. लाञ्छन, त्वं खल्वस्याः निजरूपनिर्जितलक्ष्म्याः कोमलाक्ष्याः, चुम्बन विम्बेन रमसे विसलतापाण्डुरां गैण्डरेखां, दत्तानन्दः कुर्वन् विहरसि स्तने तत्क्षणमङ्कपालीम् । आ- लोलैः करैः करोषि च रशनास्पर्शनं शंस ननु मे, कि पूर्व भूरि पुण्यं कृतमहह खलु त्वया येन एवमेव भवामि ॥ २४ ॥ I) भवति चन्दनिके, जानीहि क एष कलकल इति । II) एषा खलु देवी स्थलीश्वरं दृष्ट्वा इत एवागच्छति । तस्यान्तःपुरचारिणः कुञ्जकिरा- तवर्षवरवामनपुरस्सरस्य परिवारजनस्यैष कलकलः। तस्मात् यथा देव्या न ज्ञायते एष वृत्तान्तः तथा करोतु महाराजः । वयमप्यन्तःपुरमेव त्वरितं गमिष्यामः। III) तथा । ॥ इति चन्द्रलेखायां तृतीयं यवनिकान्तरम् ॥ Rom PRA-Nature १r omits कोमलाक्ष्याः २ . चुम्ब वि. ३ ॥ गन्धरेखां. ४ M विसरसि. ५ M स्तनेन for स्तने. ६ र स्पर्श for स्पर्शनं. ७ . ऑसैनन्मे. ८ किं पूर्वं पुण्यं कृत'. ९ परिवारस्यैष. १० ॥ तद् for ११ K गमिष्याव: for तस्मात् ·[IV] (ततः प्रविशत्यलंकृतो राजा विभवतश्च परिवारः प्रतीहायौँ च ।) राजा-(सानुशयं स्वगतम् )"हंत, कहं वि संपादिए मुहुतं दालणा। देव्वेण चिराभिलसिए चंपअ-दल-कोमलंगीए खण-संणिहाणे इमिणा अविस्संभ-भअ-कारिणा दक्खिण्ण-हदएण वंचिदो म्हि । जदो तुंगाणं सिहिणाण ताण खु अमाअंताण वच्छ-त्यले दूरे चिढउ अंकपालि-कहणं फंसो वि णासादिओ। छेओतीसु सहीए किं वि णमिअं मुखं मुहंभोरुह तं उण्णामिअ दक्खिअंविण मए का वा कहा चुंबणे ॥१॥ प्रतीहारी-(अन्यां प्रति)"मंजुभासिणि, एहि विसुवोसवे सअल- लोअ-लोअणाणंद-पण्णिमा-चंदं मही-महिंदं माणवेदं पेक्खिअ संव- च्छरं सुप्पभादं करेहि । एसो खु महाराओ पदीव-मणि-दप्पण-सा- अकुंभ-पुण्णकुंभ-प्पहुदीहिं मंगलेहिं अलंकिदे महत्थाण-मंडवे छत्तेणं णव-पुंडरीअ-रुइणा डिंडीरिआ-पंडुरे पलंकम्मि पलित-भूसण-पहा-पिंगेहि अंगेहि अ। 1 F संपादए वि मुहुत्तद्दआ. 2 : कोमलंगाए. 3 K अयमाअंताण. 4 5 च्छेओत्तोसु. 55 often मञ्जुभाषिणि. 6 5 महीन्दं. 7 करेदि. [संस्कृतच्छाया] I) हन्त, कथमपि संपादिते मुहूर्त दयालुना दैवेन चिराभिलषिते चम्पकदलकोम- लाङ्या क्षणसंनिधाने अनेनाविनम्भभयकारिणा दाक्षिण्यहतकेन वञ्चितोऽसि । यतः, तुझ्योः स्तनयोस्तयोः खलु अमातोः वक्षःस्थले, दूरे तिष्ठत्वङ्कपालीकथन स्पर्शोऽपि नासादितः। छेकोतिषु सख्याः किमपि नमितं मुग्धं मुखाम्भोरुह, तदुर्भमय्य दृष्टमपि न मया का वा कथा चुम्बने ॥ १॥ II) मजुभाषिणि, इदानीं विषुवोत्सवे सकललोक- लोचनानन्दपूर्णिमाचन्द्रं महीमहेन्द्रं मानवेदं प्रेक्ष्य संवत्सरं सुप्रभातं कुरु । एष खलु महाराजः प्रदीपमणिदर्पणशातकुम्भपूर्णकुम्भप्रभृतिभिः मङ्गलैरलंकृते महास्थानमण्टपे, छत्रेण नवपुण्डरीकरुचिना डिण्डीरिकापाण्डुरे, पर्यङ्के प्रदीप्तभूषणप्रभापिङ्गैः अझैश्च । १F संभावितेऽपि मुं. २ KM मुहूर्तदयालुना. ३ लाझ्यास्तस्याः क्ष. ४K अमुना for अनेना. ५ अयमात्मनि for अमातोः of M. ६ ॥ तदुन्नाम्य. ७ 5 मानवेतं, M मानवेदं. ८ र कुरुते. ९ च्छत्रे, ४ चित्रेण. १० ॥ डिण्डीरापाण्डुरे. MARA ·क 3 चंदलेहाए [IV. 26- णिते णव-भम्म-पंक अ-मुहाराओ अणंतासणे छताअंत-विसल्ल-मज्झम-फणे णाराअणो वढिओ ॥२॥ मञ्जुभाषिणी-(सानन्दम् )"अव्वो सुप्पहाअं इंद। अज्ज सुप्पहादं संव- च्छरं। (विलोक्य) अहो विसुवोसव-वितेसालंकिदस्स अस्थाणस्स सिरी । एत्थ हि णीलंसु-उल्लोज-विलंबिआणं मुता-लदाणं णिबिडंतराणं । रेहति माला णव-पावुसम्मि जीमअ-लंबा इव वारि-धारा ॥३॥ कलभाषिणी-मंजुभासिणि पेक्ख । पत्तेसुं कंचणेसुं इह कुह वि इभे पोमराआण पुंजा एदे मुताफलाणं पुण तह अ इमे इंदणीलोप्पलाणं । संके बालादवाणं अवि गहिज-रसं चंदिआणं तमाणं संघा सेवेदुभेदं तिहुवण-सुहअं आअदा णिविरोहं ॥ ४॥ मञ्जभाषिणी -""कलभासिणि, इमं वि पेक्ख । वीअंतीण बहूण कंकण-झणकारिल्ल-दो-वल्लरी- मंदंदोलिअ-चामलाणिल-कला-विच्छोइअग्गा इमे । 1 K णवसम्बुपङ्कअ. 2 k for for a. 3 K अंबो. 4 K इह. sr संबहरं. 65 उल्ले. 7 F पावुसंमी. 85 लम्पालअवारि'. 9K आअदाणं विरोहम्. 10 K विच्छोलिअंगा. निद्रान्ते नवस्वर्णपङ्कजमुखारागः अनन्तासने, च्छत्रायमाणविशालमध्यमफणे नारायण इव स्थितः ॥२॥ I) अवो सुप्रभातमिदम् । अद्य सुप्रभातं संवत्सरम् । (') अहो विषुवोत्सव विशेषालंकृतस्यास्थानस्य श्रीः। अत्र हि, नीलांशुकोल्लोचविलम्वितानां, मुक्ता- लतानां निविडान्तराणाम् । राजन्ति माला नवप्रावृषि, जीमूतलम्बा इव वारिधाराः॥३॥ II) मजुभाषिणि प्रेक्ष। पात्रेषु काञ्चनेषु इह वापि इमे पद्मरागाणां पुजाः, एते मुक्ता- फलानां पुनः तथा चेमे इन्द्रनीलोपलानाम् । शङ्के बालातपानां अपि गृहीतरसं चन्द्रि- काणां तमसां, सङ्घाः सेवितुमेतत् त्रिभुवनशरणं आगता निर्विरोधम् ॥४॥ III) कलभा- षिणि, इदमपि पश्य । वीजन्तीनां वधूनां कङ्कण_णत्कारवद्दोवल्लरी-, मन्दान्दोलितचामरा- १ M निद्रान्तेन प्रसन्नचारुवदनाम्भोजः अनन्तासने. २ : अम्बो, M अहो. ३ : नीलांशुकालोल वि: ४ र लम्बालकवारिधाराः. ५ u omits प्रेक्ष. ६ K कासि इमे च पद्म, M कचित् for वापि, ७ र 'नीलोत्पलानाम् ८ K आहनानितिनिरोधः. ९ . लमपि for इदमपि, १० र 'झणत्कारट्टदावरी, M कङ्कणकणत्कार RANNAu , ·3 -IV. 76] चउत्थं जवणिअंतरं दीवा दीह-सिहा महिंद-पइणो अस्थाण-रित्थाण से सामग्गीऍ सिलाहणे खु परिदो रेहति देता विज॥५॥ (नेपथ्ये) सोत्थि, जअ जअ महाराज परम-माहेसर सिरि-माणवेअ, सुह देउ पहाद-वेला महाराअस्स । अज्ज हि आआसे पंचसाइं परिणमिअ-पलंडु-च्छडा-पंडुराई ताराई चंचलीआ कुमुअ-महु-सुहा-पाण-मता पसुता। जाओ णीसास-कण्हाविअ-मुउर-समो मंदिमो चंदिआए। पुव्वासा-सोअ-साहा [लहई) कुसुमिआ याअ-संगं उसाए॥६॥ कलभाषिणी-"महाराअ, संणिवडिआ अ सअला चउस्सिंधु-रस- णा-बंध-बंधुराअं वसुंधरा राआणो, उवद्विदा अ दुवारुदेसं, महा- राअस्स पसादं पडिपालंता चिट्ठति । राजा-"कलभासिणि, तेण खं पवेसिजउ । मजुभाषिणी-एसो पुढभ उवागओ वच्छोम-णाहो। जहिं किल सरस्सई लसइ साहु-रीदि गआ जहिं कुणइ अप्पणो भुवणमेक-रज्जं सरो। 1K रेहकिदंता. 2 नैपथ्ये. 3 x आएसेप्पञ्च. 4 K च्छटापाण्डुराई. bK काणाविअमुउरतमो. 6 K चिट्ठदि. 7 F हि for खु given by Kh. 8 K उपागओ. हरीदी for रीदिं. निलकलाविक्षोभिताया इमे। दीपाः दीर्धशिखा महीन्द्रपतेः आस्थानदीनामस्याः, सामन्याः श्लाघनं खलु परितो राजन्ति ददत इव ॥ ५॥ (...) स्वस्ति, जय जय महाराज परम- माहेश्वर श्रीमानवेदै, सुखं ददातु प्रभातवेला महाराजस्य । अघ खलु, आकाशे पञ्चषाणि परिणतपलाण्डुच्छटापाण्डुराणि, ताराणि चञ्चलीकाः कुमुद्मधुसुधापानमत्ताः प्रसुप्ताः । जातः निश्वासकृष्णितमुकुरसमा मन्दिमा चन्द्रिकायाः, पूर्वाशाशोकशाखा लभते कुसु- मिता पादसंगं उषायाः॥ ६॥ I) महाराज, संनिपतिताश्च सकलाश्चतुस्सिन्धुरशना- यन्धबन्धुरायां वसुंधरायां राजानः, उपस्थिताश्च द्वारोद्देश, महाराजस्य प्रसाद प्रतिपाल- यन्तस्तिष्ठन्ति । II) कलभाषिणि, तेन खलु प्रवेश्यन्ताम् । III) एष प्रथममुपागतो वैदर्भनाथः। यस्मिन् किल सरखती लसति साधुरीतिं गता, यस्मिन् करोति आत्मनो १ र क्षोभिताङ्गा इमे. २ आस्थानन्धीनाम'. ३ मानवेत. ४ ॥ परिणमन्ति for परिणत. ५४ omits लभते, शाखालुब्धा lacuna पाद. ६ ॥ द्वारोद्देशे.

·चंदलेहाए [ IV. Te- जहिं च पुढभो रसो जअइ दे पसादेण ण अअं अवइ मेइणी-जुवइ-मंडणं कुंडिणं ॥ ७ ॥ एसो अ गंभीर-महुरेहिं चरण-संचरणेहिं उवगमिअ, अच्छोलंबत-चूडा-मउडअ-घडमाणेक-माणिक-छाआ- रिंछोलीहि घणाहिं तुह उर्वरि गुरुं उब्वमंतो व राअं। विच्छोहिज्जत-हार-च्छइ-कुल-धवलाअंत-सच्छोह-वच्छो वेदव्भाणं अहीसो पणमइ णिहुअं तुज्झ पावीढ-मूले॥ ॥ कलभाषिणी-"एसो खु उज्जअणी-वल्लहो । अअं खु हेडिल्लाअंत-सग्गाण खु सइ वि महा-काल-चूलेंदु-लेहा- जोण्हाहिं अन्न-कितीहि वि तह धवलाअंत-रच्छा-मुहाणं । सिप्पा-वादंकुराचुंबिअ-सुरअ-किलम्मंत-रामाणणाणं एदाणं सासणेणं तुह णवर अवंतीण रक्खं करेदि ॥९॥ एसो अ आरद्ध-पाअ-णमणो सवणोम्वलंत- कण्णेउरं तुह पुरो जह-दप्पणम्मि । ओलोइऊण गलि जह-ठाणमेअं ठावेई संपइ करेदि अ दे पणामं ॥ १० ॥ 1 x मेइणिजुवई. 2 घटमाणेक. 3 x रिच्छोलीहिं. 4K उपरि. 5K विच्छोलिजन्त. 6 Kh वच्छोमाण for वेदब्माण. - K पावीड. 8 K उझअणी'. 0 हेट्टीणाअंत, but rh हेट्टील्ला. 10 K सुधापादकुरा. 11 x आरण्डपाअ. 12 Kणोवलन्त. भुवनमेकराज्यं स्मरः। यस्मिंश्च प्रथमो रसो जयति ते प्रसादेन ननु, अयमवति मेदिनी- युवतिमण्डनं कुण्डिनम् ॥ ७ ॥ एष च गम्भीरमधुरैश्चरणसंचरणैरुपगम्य, अच्छावलम्ब- मानचूडामकुटकघटमानकमाणिक्यच्छाया-, श्रेणिभिः घनाभिः तव उपरि गुरुमुद्रमन्निव रागम् । विक्षोभ्यमाणहारच्छविवहुधवलायमानसच्छोभवक्षाः, वैदर्भाणामधीशः प्रणमति निभृतं तव पादपीठमूले ॥ ८॥ I) एर्षे खलूजयिनीवल्लभः । अयं खलु, अधोभवत्स्वर्गाणां खलु सदापि महाकालचूडेन्दुलेखा-, ज्योत्स्नाभिरात्मकीर्तिभिरपि तथा धवलायमान- रथ्योमुखानाम् । सिनावातानुराचुम्बितसुरतलाम्यद्रामाननानां, एतेषां शासनेन तव नवरैमवन्तीनां रक्षां करोति ॥ ९॥ एष च, आरब्धपादनमनः श्रवणोपरिभवत्, कर्णपूर तव पुरो नखंदर्पणे। अवलोक्य गलितं यथास्थानमेतं, स्थापयति संप्रति करोति च ते १ सुरश्च for सरः. २ K प्रसादेन ननु (तद्), प्रसादेन तदपतिमेदिनी. ३. रिज्छोलीभिः for श्रेणिभिः ४ ॥ उज्जयिनीवल्लभोऽयं खलु for एष etc. खलु. ५. रथ्यामुखां. ६ र सुप्रा. ७६ नपरम lacuna रमवन्तीनां, ८ 'दर्पणेषु.

·-IV. 131] चउत्थं जवणिअंतर मञ्जुभाषिणी-"एसो रिवु-मंडल-खंडण-पअंडो पंडो, कहमस्स सुह- अतणं वण्णिदव्वं । लोवामुद्दा-सहाओ स हि मुणि-पवरो अस्थि से सोत्थिवाई मंदहिं मारुएहि कणइ अमललो चामल-गाहि-लीलें। कोसो सा तवषण्णी मणि-गण-अणणी किं एहिं बाहि पूर्ण अंसंस-मतेण वि ण खु सरिसा अस्स भूवाल-लोआ ॥११॥ नारिसोवि एसो। चूलंत-सत्र-णव-मोतिअ-सार-जाल- घोलंत-दीहिई-मिसेण पलित-रूवं । किर्ति णि सवदि पाहुडिऊण नुज्झ पाअंबुझं पणमए मणलर-णाहो ॥ १२ ॥ कलभाषिणी-"एसो महिला-बाल-णह-लेहा-फालिज्जत-बहल-कप्पू- र-खंड-पंडुर-जस-मंडल-दिण्ण-तेल्लोक-सअलंगिअ-धवल-दुजल-णि- ओलो चोलो। जो आलोलिज्जत-णिञ्च-कदु-दहण-सिहुद्दाम-धूम-च्छंडाहिं घोलंतीहिं कुर्णते मिअ-मअ-मअअं पत्त-भंगं दिसाणं । 1K सो for से. 2K "लीलाम्. 3 x सोत्तम्ब for सा तंब. 4. किं वयेहि. विसेसो for वि एसो. 6 दीहिहि. 7 5 सपदि. 8 K पालिजन्त. 9 5च्छटाहि. प्रणामम् ॥ १० ॥ I) एष रिपुमण्डलखण्डनप्रचण्डः पाण्ड्यः, कथमस्य तु सुभगत्वं वर्ण- यितव्यम् । लोपामुद्रासहायः स हि मुनिप्रेवरः अस्ति अस्य वस्तिवादी, मन्दैः मारुतैः करोति च मलयः चामरग्राहिलीलाम् । कोशः सा ताम्रपर्णी मणिगणजननी किंवा एभिः बहुर्भिः, नूनमंशांशमात्रेणापि न खलु सदृशा अस्य भूपाललोकाः ॥ ११ ॥ तादृशोऽप्येषः, चूडान्तसक्तनवमौक्तिकसारजाल-, घूर्णमानदीधिति मिषेण प्रदीप्तरूपाम् । कीर्ति निजां स- पदि प्राभृतीकृत्य तव, पादाम्बुजं प्रणमति मणलूरनाथः ॥ १२॥ II) एष महिलाबालनख- लेखापाट्यमानबहलकर्पूरखण्डपाण्डुरयशोमण्डलदत्तत्रैलोक्यसकलाङ्गिकधवलदुकूलनि- चोलचोला । यः, आलोल्यमाननित्यक्रतुदहनशिखोदामधूमच्छटाभिः, धूर्णमानाभिः १ र प्रमाणम्. २ र प्रवरः अगस्त्योऽस्य. ३ र वातः for मारुतैः. ४ र किं बडुमिरेभिः. ५ . सदृशः ...' लोकः. ६ रमणलूरुनाथः. & K a short lacuna after बहल, १० ॥ सर्वाङ्गीण for सकलानिक. ११ . दुकूलं. १२ र निचुलश्नोलः, १३ र आलोक्यमानं. ७ M साल for बाल. ८ र पात्यमान.

·संता IV. 136- ओलंवंतग्ग-तंबोलअ-दल-कसणाअंत-दिचकवाले चोले पालेइ हेला-विहुणिअ-णिवई तुज्झ कारुण्णएणं ॥१३॥ सो एसो माणिक-मोलिं-मणि-मोह-परोह-लेहा- पंज-च्छलेण जलिअंणिअअं पआवं। दंतो व्व तुज्झ चलणं सरणं जणाणं णं ओणमेइ भरवाल-मणे खणेणं ॥ १४॥ मजुभाषिणी---'एसो पलित-पाव-पावअ-ज्जाला-दिण्ण-दिसंगणा- कुंकुमंगराओ। जो खु जपंतो बंधवाणं अभअमहिम मग्गणाणं कुणंतो कंपंतो दुइ-लो अवि सअल-छइलाण पीदि दिसंतो। लुपंतो सतु-रामा-सिहिण-मलअ पत्त-तुम्हाणुकंपं चंपं संपण्ण-रिद्धिं णिअ-भुअ-सिहरे रक्खए चुक्क-हीणं ॥१५॥ पावीढअस्स सविहे पडिअस्स तस्स सोहंत-सार-मणि-पारिओ किरीडो। लंबेहि पल्लव-णिहहि करंचलेहि संवाहणं कुणइ दे पअ-पंकआणं ॥१६॥ 2 दिक्चकवाले. 35 रिवई for णिवई. 3 x रिवई for णिवई. 4K मौलि'. 5 F जाणा दिण्ण. 6 जप्पतो. /K अपि. 8 च्छलंला. लम्पन्तो. 10 चुंखहीणम्. 11 पावीडअस्स. 12 1 फंफुरिओ. 13 वण्णव bul xh पल्लव. करोति मृगमदमयं पत्रभङ्गं दिशाम् । अवलम्बमानाग्रताम्बूलकदलकृष्णायमानदिक्चक्र- पालान , चोलान् पालयति हेलाविधूतनृपतिः तव कारुण्येन ॥ १३॥ स एषः, माणि- क्यमौलिमणिमयूखप्ररोहरेखा-, पुअच्छलेन ज्वलितं निजकं प्रतापम् । दिव तव चरणं शरणं जनानां, नन्ववनमति नरपालमणे क्षणेन ॥ १४ ॥ I) एष प्रदीप्तप्रतापपावकज्वा- लादत्तदिगङ्गनाकुङ्कुमाङ्गरागोऽङ्गराजः । यः खलु, जल्पन् बान्धवानामभयमभिमतं मार्गणानां कुर्वन् , कम्पयन् दुष्टलोकमपि सकलविदग्धानां प्रीति दर्शयन् । लुम्पन् शत्रुरामास्तनमलयजं प्राप्तयुष्मदनुकम्पां, चम्पां संपनर्द्धि निजभुजशिखरे रक्षति प्रमाद- हीनम् ॥ १५॥ पादपीठस्य सविधे पतितस्य तस्य, शोभमानसारमणिप्रस्फुरितः किरीट: । लोलैः पल्लवनिभैः कराञ्चलैः, संवाहनं करोति ते पदपङ्कजयोः ॥ १६ ॥ 1r for १K आलम्बमानाय. २ ॥ हरितायमान for कृष्णायमान. ३ I omits चोलान्. ४ x हेलाविधृतं. ५ ॥ लेखा for रेखा. ६K विद्रण्डानां. ७॥ प्रीतिं दिश lacuna. ८ संपन्नधिः, ९ किरीटलम् पल्लव ·-IV. 19d1 चउत्थं जवणिवंत कलभाषिणी-एसो सअले-जण-वल्लहो मअह-वल्लहो । जो खु लाहिल्लो रिखुणो सिरी-करंधरी-केस-उगहेतुं बला छाइल्लो पुर-सुंदरीणमुदिओ घेत्तूर्ण मुत्तिं सरो। एकल्लो सअलम्मि भूमि-वलए वीराण धीराण वा तक्विल्लो तुइ एस पुप्फणअरं रक्खेइ सोक्खाअरं ॥ १७ ॥ पुलोअदु महाराओ। एसो पड़त-मउडत-समप्पियाहिं मुशाहलेहि धवलेहि पितरोहिं । तारावरोहण-वहू-णिबिडकपालिं कारेदि पाद-णह-बिंब-णिसेसरं ते ॥१४॥ मजुभाषिणी-एसो समर-मुह-महुश-दिण-पुण्णमंत-वल्लहंकपाली- तसिअच्छरा-चंचलच्छि-कोण-लच्छी-रिंछोलि-विच्छ्रण-सामलंगो कलिंगो। एहि एदस्स वीरुकर-सिरमणिणो कित्ति-जोण्हाहि नाहि थोराआरा चओरा ससहर-मणिणो णिच्च-णीसंदमंता। उब्वेल्ला सिंधु-वेला सइ कुमुअ-गणा होति णिदा-दलिद्दा थेरादो णह-लज्जा विहरइ हरिणा चंचलच्छी अलच्छी ॥१९॥ 15 सकल. 2 K करमरी. 3 K च्छालल्लो. 4 K पत्तण मुत्ती. 5 रख्खाइ, kh रख्खेइ. 7K समंपिओहिं. 8 5 णिबिडन्तपाली. 9 x पादणबीब, but rh णहबिह. 10K दिण्णमन्तवल्लहंक'. 11 5 तूसिञ्चिअच्छरा. 12 r omits कोणलच्छी. 13 K वीरुंकरसिरमहिणो. 14 K णीसन्तमन्ता. 15K हान्ति, but xh होन्ति. 16 K णिन्तादलिन्दा for णिहा etc. I) एष सकलजनवल्लभो मगधवल्लभः । यः खलु, लाभवान् रिपोः श्रीन्दिकचग्रहेषु बलात्, छायावान् मृगलोचनानामुदितः गृहीत्वा मूर्ति स्मरः। एकाकी सकले भूमिवलये वीराणां धीराणां वा, तात्पर्यवान् त्वयि एप पुष्पनगरं रक्षति सौख्याकरम् ॥१७॥ प्रलोकयतु महाराजः । एष पतन्मकुटान्तसमर्पितैः, मुक्ताफलैर्धवलैर्निरन्तरैः । तारावरो- धनवधूनिविडाङ्कपाली, कारयति पाद्नखविम्बनिशेश्वरं ते ॥ १८॥ II) एष समरमुखमु- हूर्तदत्तपुण्यवद्वल्लभाङ्कपालीतोषिताप्सरश्चञ्चलाक्षिकोणलक्ष्मीश्रेणि विच्छुरणश्यामलाङ्गः कलिङ्गः । इदानीमेतस्य वीरोत्करशिरोमणेः कीर्तिज्योत्स्नाभिस्ताभिः, स्थूलाकाराश्च- कोराः शशधरमणयः नित्यनिष्यन्दवन्तः । उद्वेलाः सिन्धुवेलाः सदा कुमुद्गणाः भवन्ति निद्रादरिद्राः, स्थविरीत् नष्टलजा विहरति हरिणां चञ्चलाक्षी च लक्ष्मीः ॥ १९ ॥ १ K भवो for रिपो. २ M श्रीकेशग्रहणेपु. . ३ x omits बलात. ४ K एकः for एकाकी. ५ र त्व lacuna हृष्टनगरं. ६ ॥ विलोकयतु. ७ K. मुकुलान्त-समुत्थितैः. ८ ॥ रिन्छोळी for श्रेणि. for स्थविरात. १० र हरिणा.. ९चंद. 6 फुप्फ. K but ९K ब्रह्मणः ·६६ चंदलेहाए [IV. 2006- एसो अ तुज्झ करुणा-रस-लालसेण चितेण चित-रअणं णव-पाद-वीढं। ओल्लीकरेइ णइ-घोलिर-मोलि-माला- णीसंदमाण-मअरंदअ-सारणीहिं ॥२०॥ कलभाषिणी-"अअं सअल-रिवु-कुल-विलासिणी-लोअ-कालमेघ-ज- ल-वरिस-पाउस-सण्णाहो कण्णाड-णाहो। उच्छण्णे सत्तु-सेण्णे सवदि णिअ-घरे जस्स सोऊण णाम चंडासि-च्छिण्ण-वीर-तिस-पज-करं संगरं अंतरेणं । जुत्ताणं संभमेणं परं-वरण-समारंभ-जंभालएणं अंगालंकार-लच्छी किल सलिल-लिवी होइ सग्गंगणाणं ॥२१॥ (सकौतुकं निर्वर्ण्य ) णक्खेसु तुज्झ सअलेसु फुडं इमस्स चूडामणीतु वि अ छोलण-णिम्मलेसुं । बिंबा दुवाण वि तुहाण बहुतणेण सोहंति जोग्गदर-ठाण-पडिट्ठिअंगा॥ २२ ॥ मजुभाषिणी- "एसो पाल-पालो पणमइ चलणे तुज्झ कारुण्ण-लोलो कलभाषिणी- Iकंबोएसो वि एसो पणिवडइ सिहा-लीढ-पौवीढ-पासो। 1X एसो तुझ. 2 3 पादपीठम्. 3 Kधूरइ for घोलिर. 4x णिस्सन्द but xh णीसन्द. Br धोरणीहि, but xh सारणीहि. 6_K परिस. 7. उझंणे. तिसअप.9 K वरवरण, 10x सलदलिवि होइ संगंगणाणम्. 1l x मणिस्सुडिअच्छो'. 125 जोग्गदठाण, but xh जोग्गदर', 13 x omits कंबो. 14 K पाविट्ट. एष च तव करुणारंसलालसेन, चित्तेन चित्ररत्नं नवपादपीठम् । आर्दीकरोति नतिघूर्ण- नशीलमौलिमाला-, निष्यन्दमानमकरन्दसारणीभिः ॥२०॥ I) अयं सकलरिपुकुलविला. सिनीलोकैकालमेघजलवर्षप्रावृट्सन्नाहः कर्णाटनाथः। उत्सन्ने शत्रुसैन्ये सपदि निजगृहे यस्य श्रुत्वा नाम, चण्डासिच्छिन्नवीरत्रिदशपदकरं सगरमन्तरेण । युक्तानां संभ्रमेण पर- वरणसमारम्भजृम्भितेन, अङ्गालङ्कारलक्ष्मीः किल सलिललिपिः भवति स्वर्गाङ्गनानाम् ॥ २१॥ (") नखेषु तव सकलेषु स्फुटमस्य, चूडामणिष्वपि च शोधननिर्मलेषु । बिम्बौ द्वयोरपि युवयोर्बहुत्वेन, शोभेते योग्यतरस्थानप्रतिष्ठिताङ्गौ ॥ २२ ॥ II) एष नेपालपाल: प्रणमति चरणौ तव कारुण्यलोलः, III) काम्बोजेशोऽपि एष प्रणिपतति शिखालीढ- १ ॥ कण for रस. २४ लोचन for लोक. ३ M सलिललविर्भवति. ४ र 'ममुष्य for 'मस्य. ५ x omits च. ६ गोपन for शोधन. ७ ॥ प्रतिष्ठिताङ्गेन. ८ एष विशेषः प्रणिपतति शिखा एषः for काम्बोज etc. analaa ।

·-IV.24d] चउत्थं जवणिअंतरं ६७ sim III) HD BA emove मञ्जुभाषिणी- "एसो अञ्चेदि चूडामणि-किरण-पसूणेहि पंचाल-गाहो कलभाषिणी- II) एसो भूमिं पवण्णो विलसइ विहिआमित-दुक्खो तुरुक्खो॥ मक्षुभाषिणी- Wएसो चेदि-प्पवीरो कलभाषिणी- IV)अअमिह णिसढो मञ्जभाषिणी- "एस वाराणसीसो कलभाषिणी- VI'एसो सो पारसीओ मजुभाषिणी- VII)अअभवि महरदुसरो कलभाषिणी- 'एस वंगो। मजुभाषिणी- Ix)एसो मद्दाहिराओ कलभाषिणी- xअअमिह महुरा-वल्लहो मजुभाषिणी- "एस मच्छो कलभाषिणी- XT)एदे कस्सीर-कंची-दमिल-पइ-मुहा भूमिपाला णमंति ॥२४॥ 1K अअमपि. पादपीठपार्श्वः। I) एषोऽर्चयति चूडामणिकिरणप्रसूनैः पाञ्चालनाथः, II) एष भूमि प्रपन्नो विलसति विहितामित्रदुःखस्तुरुष्कः ॥ २३ ॥ III) एष चेदिप्रवीरः, IV) अय- मिह निषधः, V) एष वाराणसीशः, VI) एष स पारसीकः, VII) अयमपि महा- राष्ट्रेश्वरः, VIII) एष वङ्गः, IX) एष मद्राधिराजः, X) अयमिह मथुरावल्लभः, xi) एष मत्स्यः, XII) एते काश्मीरकाञ्चीद्र मिलपतिमुखा भूमिपाला नमन्ति ॥२४॥ VIII). SI) - १६मधुरा.

·६८ 3 चंदलेहाए [IV. 24, 1- मजुभाषिणी-"कलभासिणि, पेक्ख । गलंत-कणअंगदो गल-दलत-हार-च्छडो चलंत-मणि-कंकणो चलण-गुंजि-मंजीरओ। वलंत-मउडतरो णरवईण दाणिं अअं अहं-पुढमिआ-कओ णमण- -संभमो जिंभए ॥२५॥ कलभाषिणी-अहो जमणाणतरं एव्व महाराएण जहोइदं संभा- विआ जंभाअंत-णिभर-हरिस-वल्लरी-पल्लवाअंत-धवल-हास-पंडु- रिअ-गंड-रेहा-रेहंत-मुह-पुंडरीआ महाराअ-प्पसाद-लाह-किदन्था णिव-सत्था पत्थाढु एव्व आढता । राजा-(स्वगतम् )अवि णाम पुणो वि भवे तिस्से हरिणंक-वअ- : णाए दसणं । (विचिन्त्य) किं णु हु हिजो एव्व देवीए अंतेउरं णाइदो वअस्सो विलंबइ। (ततः प्रविशति विदूषकः।) विदूषकः-(सरभसमुपसृत्य )"भो वअस्स, दिहिआ वड्डसि इमिण' विसुवूसवेण। राजा-(दीर्घ निःश्वस्य) 'दहंति मलआणिला परितवंति मं कोइला अअं हरइ जीविअं पहरणुम्मुहो वम्महो । 1K पुठमिआ. 2 डवल. 3 K इज्जो. 4 Kणालदो. 5 x तपन्ति. 6 K बहरणंमुहो. I) कलभाषिणि, पश्य । गलत्कनकाङ्गदः गलंदलद्धारच्छटः,चलन्मणिकङ्कणः चरणगुञ्जि- मजीरकः । वलन्मकुटान्तरः नरपतीनामिदानीमयं, अहं-प्रथमिकाकृतः नमनसंभ्रमो जृम्भते ॥ २५ ॥ II) अहो नमनानन्तरमेव महाराजेन यथोचितं संभाविताः जृम्भमाण- निर्भरहर्षवल्लरीपल्लवायमानधवलहासपाण्डुरितगण्डरेखाराजन्मुखपुण्डरीकाः महाराज- प्रसादलाभकृतार्थाः नृपसार्थाः प्रस्थातुमेवारब्धाः। III) अपि नाम पुनरपि भवेत् तस्या हरिणाङ्कवदनाया दर्शनम् । (...) किं नु खलु ह्यः एव देव्या अन्तःपुरमानायितो वयस्यो विलम्बते। IV) भो वयस्य, दिष्ट्या वर्धसे अनेन विषुवोत्सवेन । V) दहन्ति मल- यानिलाः परितपन्ति मां कोकिलाः, अयं हरति जीवितं प्रहरणोन्मुखो मन्मथः । १ र गलगलहार. २ Komits इदानीं. ३K omits अहं. ४ . रेखाराज . ५K omits महाराज.. ६ ॥ निवासार्थ for नृपसार्थाः, ७r omits पुनरपि. ८ खलु अन्तःपुर. ९ ४ वर्धख for वर्धसे. १० र अमुना for अनेन of M. 9 ·-IV. 26. 15.] चउत्थं जवणिअंतरं ६९ हहा कह वि सा खणं हिअअ-वल्लहा दुलहा कहं णु पुण दिहिआ भण अस्स वड्डामि हा ॥ २६ ॥ कहेहि दाव तगअं कं वि वुत्तंतं । विदूषकः-'भो वअस्स, सा किल देवीए अंतेउर-गम्भ-घरअम्मि कणअ-सिंखलहिं बंधिअ ठाविआ। राजा-अहो णिकरुणतणं देवीए । विदूषकः-"पुणो वि सुण देवीए णिकरुणतणं । राजा-IV कहेहि। विदूषकः-"विहंगिआ कुरंगिआ तरंगिआ सारंगिआ पदंगिआ अ पंच चामल-उगाहिणीओ पुव-दुवारम्मि तिस्से रक्खं काहुँ ठावि- आओ। मंदारिआ माअंदिआ मदअंतिआ अरविंदिआ सिंदूरिआ' अ पंच संवाहण-कारिणीओ दाहिण-दुवारम्मिणिओइदाओ। तमा- लिआ णतमालिआ णोमालिआ तरलिआ कदलिआ अपंच पहाणो- वअरण-संपादिणीओ पच्छिम-दुवारम्मि पेरिदाओ । कलहंसिआ। कदलिँआ कमलिआ कदंबिआ कलपिंगिआ अ पंच सेरंधीओ उत्तर- दुवारम्मि पेसिदाओ। पतलेहा चितलेहा मअणलेहा विलासलेहा मअलेहा अपंच तंबोल-दाइणीओ सरीर-रक्खाअं संठाविआओ। 1 K omits दाव given by Kh. 2 र विहिङ्गिआ. 3 F दुवारमितिस्सो. 4 K खादु. 5K दाहिणि for दाहिण. 6 णत्ततमालिआ दन्तमालिआ णोमालिआ. 75 पश्चिम. केदलिआ and adds कादम्बिआ after कदम्बिआ. 9 5 कलपित्तिआ. 10 सट्टाविआओ. हेहा कथमपि सा क्षणं हृदयवल्लभा दुर्लभा, कथं नु पुनर्दिष्ट्या भण वयस्य वर्धे तत् ॥ २६॥ कथय तावरगतं कमपि वृत्तान्तम् । I) भो वयस्य, सा किल देव्याः अन्तःपुर- गर्भगृहे कनकशृङ्खलाभिः बद्धा स्थापिता। II) अहो निष्करुणत्वं देव्याः। III) पुनरपि शृणु देव्या निष्करुणत्वम् । IV) कथय । V) विहङ्गिका कुरङ्गिका तरङ्गिका सारङ्गिका पतङ्गिका च पञ्च चामरग्राहिण्यः पूर्वद्वारे तस्याः रक्षा कर्तुं स्थापिताः। मन्दारिका माक- न्दिका मदयन्तिका अरविन्दिका सिन्दूरिका च पञ्च संवाहनकारिण्यः दक्षिणद्वारे नियो- जिताः। तमालिका नक्तमालिका नवमालिका तरलिका कदलिका च पञ्च स्नानोपकरण- संपादिन्यः पश्चिमद्वारे प्रेरिताः। कलहंसिका कलिका कर्मलिका कदम्बिका कलपिङ्गिका च पञ्च सैरन्ध्यः उत्तरद्वारे प्रेषिताः। पत्रलेखा चित्रलेखा मदनलेखा विलासलेखा मद्- १ र हाहा. २ वर्धामि तव. ३ K omits this remark. ४ र मकरनिका. ५ तमालिका नक्त- नमालिका नव', M तमालिका नव'. ६ ॥ कदलिका नत्तमालिका च. . ७ र कलहंसिका कमलिनीका कद. ८. कमलिका कलविङ्गिका कादम्बिका च. 8 Komits ·18 चंदलेहाए [IV. 26. 16- राजा-'कीस उण देवीए अअं संरंभो। विदूषकः - भो वअरस, जइण कोवं करेसि ता कहेमि। राजा -"को एत्थ कोवावसरो विदूषकः-I'सुणादु वअस्सो। एवं खु जाणिों एव्व वअस्सस्स जं हिजो एव्व मिसीहिणीअं देवीए आणाइदो म्हि ति । राजा-तं जाणिअं । पुणो कहेहि । विदूषकः-पुणो अंतेउरंगओ अहं अहिअं कंचणासण-दाणादिणा देवीए संभाविओ। तहिं आढचे सव्वाहिं पुर-सुंदरीहिं महंते अंते- 24 उर-संगीअ-कोलाहले विरमिए तत्थ एव्व तमालिआए पत्थरिए पट्ट-पलंक-अले गम्भ-धरए अ पन्भारे वल्लही-मुहम्मि जहिच्छं पासुतो म्हि। राजा -VI"तदो तदो विदूषकः-VIतदो मए सिविणए पलविअंकिल। राजा-IN) किं पलवि। विदूषकः-तुहिण-दीहिआ-परिसर-वुतंतो। राजा-अहो पमादो। (विचिन्त्य) पुणो वि गहिओ एव्व रोस- राहुणा देवीए हिअअ-चंदो । नदो एव्व एसो संरंभो। 27 1K कोपं for कोवं. 2 पवाल्लंकसले. 35 पसुत्तो, but xh पासुत्तो. लेखा च पञ्च ताम्बूलदायिन्यः शरीररक्षायां संस्थापिताः। I) कस्मात् पुनर्देव्या अयं संरम्भः। II) भो वयस्य, यदि न कोपं करोपि तत्कथयामि । III) कोऽत्र कोपावसरः। IV) शृणोतु वयस्यः । एतत् खलु ज्ञातमेव वयस्यस्य यत् ह्यः एव निशीथिन्यां देव्या आनायितोऽस्मीति। V) तत् ज्ञातम् । पुनः कथय । VI) पुनरन्तःपुरं गतोऽहमधिकं काञ्चनासनदानादिना देव्या संभावितः। तस्मिन् आरब्धे सर्वाभिः पुरसुन्दरीभिः मह- त्यन्तःपुरसंगीतकोलाहले विरमिते तत्रैव तमालिकया प्रस्तुते पट्टपर्यङ्कतले गर्भगृहे च प्रोग्भारे वलभीमुखे यथेच्छ प्रसुप्तोऽस्मि । VII) ततस्ततः। VIII) ततो मया खप्ने प्रलपितं किल । IX) किं प्रलपितम्। X) तुहिनदीर्घिकापरिसरवृत्तान्तः। XI) अहो प्रमादः । (...) पुनरपि गृहीत एव रोषराहुणा देव्याः हृदयचन्द्रः। तत एवैष संरम्भः। १ M वयस्य कस्मात्, २ र आशापितो for आनायितो.. ३ M adds सबहुमानं before प्रस्तुते. ४ omits प्रस्तुते पट्टपर्यकतले. ५ प्रारद्वारे, . प्राग्भारवलभीमुखे. ६ र यथेष्टं प्र. ७ M तुहिनजलदी', ·36 VIII) akos 45 -IV. 26. 491 স্বার্থ জলীয়ব विदूषकः-"भो वअस्स, मा उत्तम्म । संपलं अम्हाणं अणुऊल-देव-॥ तणेण देवीए ण कोवावसरो। राजा-"वअस्स, कीस उण तं। विदूषकः-"दूसहेण दुक्खावेएण पराअत-चिता खु देवी। राजा-(ससंभ्रमम् )"कहं कह देवीए दुक्खोवणिवाओ। विदूषकः-'अज्ज खु विसुबूसवे तुमं पर्णमिऊण देवीए माउसिआ- वइणो अंगेसरस्स चंदवम्मणो पुत्तो कुमार-चंदकेदू अंतेउरं पविट्ठो ।” राजा -"सिग्धं कहेहि। विदूषकः - Vातदो देवीए जहोइदं संभाविओ पुच्छिदो अतणो परिअणस्स अ कुसलं। 'तदो तदो। विदूषकः -"तदो देण चंदकेदुणा देवीए अध्प-माउसीआ-पूआए चंदलेहा-णामहेआए कुसलं पुच्छिदेण भणिों। जह । सा खु चंदलेहा चंद-लेहा-मणहरंगी सअल-कण्णआ-कुल-तिलअ-भूदा मे वच्छा तत्थ चंपा-णअरीअं कदाइ कीला-रसिआ अण्णाहि अणुरूवाहिं कुमारीहिं सह बालुज्नाणं गआ ण दिट्ठा, ण जाणामो कस्सि गआ. केण वाणीद ति । सा अम्हहिं एसा खु कुमारी णिअ-पाणिग्गाहिणो 1K कोपावसरो. 2 x has only one कहं. 3 x दुःखावणिवाओ. 4K विसुसूसवे. 5K 6 K omits at given by kh. 7_r केतुणा. 8K मालसीआ. 9 जण for 10 x कदाणि. 11 दिण्णे, but xh दिट्ठा. I) भो वयस्य, मा उत्ताम्य । सांप्रतमस्माकमनुकूलदैवत्वेन देव्याः न कोपावसरः। II) वयस्य कस्मात् पुनः तत् । III) दुःसहेन दुःखावेगेन परायत्तचित्ता खलु देवी । IV) कथं कथं देव्या दुःखोपनिपातः। V) अद्य खलु विषुवोत्सवे त्वां प्रणम्य देव्याः मातृष्वसृपतेः अङ्गेश्वरस्य चन्द्रवर्मणः पुत्रः कुमारचन्द्र केतुः अन्तःपुरं प्रविष्टः । VI) शीघ्रं कथय । VII) ततो देव्या यथोचितं संभावितः पृष्टश्चात्मनः परिजनस्य च कुशलम् । VIII) ततस्ततः। IX) ततस्तेन चन्द्रकेतुना देव्याः आत्ममातृष्वसूसुतायाः चन्द्रलेखानामधेयायाः कुशलं पृष्टेन भणितम् । यथा । सा खलु चन्द्रलेखा चन्द्रलेखा- मनोहराङ्गी सकलकन्यकाकुलतिलकंभूता मे वत्सा तत्र चम्पानगर्या कदाचित् क्रीडा- रसिका अन्याभिरनुरूपाभिः कुमारीभिः सह बालोद्यानं गता न दृष्टा, न जानीमश्च कस्मिन् गता केन वा नीता इति । सो चास्माभिः एषा खलु कुमारी निजपाणिग्राहिणः १ Komits तत्. २ M सुदुःसहेन. ३ M भवति for खलु. निपातः. ६ कुमारश्चन्द. ७r omits ततो. ८ K omits सा. पणिमिऊण. ४ K omits one कथं. ५ र दुःखाव- K reads जन for कुल, १० र तस्मादस्माभिः for सा etc.

·51 चंदलेहाए | IV. 2650- सत्त-समुद्द-मुद्दिअ-महिअलेक्क-णाहतणं करिस्सिदि ति लक्खण- वेदिणो जणादो जाणिअ महाराअस्स वअमेण दिण्ण ति। राजा-(ससंभ्रमं खड्गमादाय) "मोतूणं जो खु संकं हरिअ कुमरिअं मज्झ दिण्णं णिवालो बालो भ-लोअ-गोले णिवसइ णिभि तस्स वेएणमेसो। सतूणं णिहुरहि-क्खुडण-चडचडाराव-वाआल-हारो खग्गो रावेइ Yणं रण-सिरि-चलणं सोणिआलतएहि ॥२७॥ कलभासिणि, गच्छ । गिवारिजंतु णिवाला सव्वे, पुच्छिज्जंतु अ केण चोरिआ सा कण्ण ति। कलभाषिणी--"जं देवो आणवेदि। (इति निष्क्रान्ता ।) विदूषकः - Iदेवी अतं अवत्थं सोऊण हा बहिणिए चंदलेहे कहि गआ सि देहि पडिवणं ति पलवंती अविरल-पडतेहिं बाह-प्पवाहहिं अंतेउरे महण्णवं विरईऊण वअस्सस्स णिवेदइउं आअमिस्सिदि। (ततः प्रविशति मुदिता देवी तमालिका च ।) देवी-(सवाष्पम् )" हा तवस्सिणि चंदलेहे, कहिं गआसि । पुव्वं वि 9 सा बोला मंदभाइणीए भए ण दिहा। 3 6 home 1 x मुदिअं.. मेकातूणं for मोत्तणं... र सकुरिअ. 4 : अज्ञ. 5 भृअन्तस्स वेओण'. 65 णं. '7 K पुलिंजन्तुए केणं, but xh पुच्छि. SK अन्तअपथ्य सो. 9 भहिणिए. 10 K विरलऊण. 11K णिवेद अउं. 12K omits वाला. सप्तसमुद्रमुद्रितमहीतलैकनाथत्वं करिष्यतीति लक्षणवेदिनो जनात् शात्वा महाराजस्य वचनेन दत्ता इति । I) मुक्त्वा यः खलु शहां हेत्वा कुमारिकां मम दत्तां नृपालः, वालो भूलोकगोले निवसति निभृतं तस्य वेगेन एपः । शत्रूणां निष्ठुरास्थित्रुटनचटचटाराववा- चॉटधारः, खड्गः रजयति नूनं रणश्रीचरणं शोणितालक्तकैः ॥२७॥ कलभाषिणि, गच्छ । निवार्यन्तां नृपालाः सर्वे, पृच्छयन्तां च केन चोरिता कन्यका इति । II) यद् देव आज्ञापयति । III) देवी च तामवस्थां श्रुत्वा हा भगिनिके चन्द्रलेखे कुत्र गतासि देहि प्रतिवचनम् इति प्रलपन्ती अविरलपतद्भिः वाष्पप्रवाहैः अन्तःपुरे महार्णवं विरचय्य वयस्यस्य निवेदयितुमागमिष्यति । IV) हा तपखिनि चन्द्रलेखे, कुत्र गतासि । १K च्छित्त्वा (मम) for हृत्वा. २ र भूगोल' for भूलोक. ३ ॥ वाचालधारः. ४ र रगयति, A राजयति. ५ र रणशिरः श्री'. ६ ॥ लोहिता' for शोणिता. ७ M निवार्यताम्. ८ ॥ भगिनि. ९ ॥ विलपन्ती. १० M अन्तःपुरं.

·-IV. 27.25.1 चउत्थं जवणिअंतर 12 तमालिका -"भट्टिणि, जाव एदे विससव-संगमिआ णरवइ-लोआ ण गच्छति ताव गदुअ भट्टिणो णिवेद॑म्ह। देवी-तह । (उभे परिक्रामतः ।) तमालिका -भट्टिणि, एसो भट्टा । ता उवसप्पम्ह । देवी-(उपसृत्य) जेदु अजउत्तो । अजउत, मज्झ बहिणिआ चंद- लेहा णाम कीला-णिमितं सह सहीहिं लीलुजाणं गआ ण जाणी- अदि केण णीद ति। (प्रविश्य कलभाषिणी) कलभाषिणी -"जेदु महाराओ। महाराअ, सव्वे वि णिवा महा-15 राअ-पाआणं संवंति अम्हहिं ण जाणिज्जइति । राजा -(विचिन्त्य) भअवदी चिंतामणि-देवदा एव्व एत्थ सरणं । (अअलि बद्धा) भअवदि चिंतामणि-देवदे, एसो अंजली । संणिहि। देहि । उद्धर इमादो अणत्थादो"। (ततः प्रविशत्यपटीक्षेपेण चिन्तामणिदेवता ।) चिन्तामणिदेवता-VIDअलं संभमेण । मए णीदा एत्थ एव्वाणीदा । एसा असा । (इति नायिकां दर्शयति ।) I Kगरपइ. 2Kणाअच्छंति. 3 x णिवेदमि. 4 F भहिणीआ. 55 इलजाणं. 6 K सम्वन्ति. 7x जाहिज्जइ. 8 K puts this speech in the mouth of Kalabhasini in continuation, but Kh assigns it to the king. 9 5 देवता. 10 5 उडुर, but rh omits it. 11 K has a stage direction : (इति निमीलितलोचना तिष्ठति), but it is not given by gh. 12 K एव्वणीदा. पूर्वमपि सा बाला मन्दागिन्या मया न दृष्टा । I) भट्टिनि, यावदेते विषुवोत्सवसंगता नरपतिलोका न गच्छन्ति तावद् गत्वा भनिवेदेयावहे । II) तथा। III) भट्टिन, एष भर्ता । तदुपसावः। IV) जयत्वार्यपुत्रः । आर्यपुत्र, मम भगिनी चन्द्रलेखा नाम क्रीडानिमित्तं सह सखीभिः लीलोद्यानं गता न ज्ञायते केन नीतेति। V) जयतु महा- राजः। महाराज, सर्वेऽपि नृपा महाराजपादान् शपन्ति अस्माभिर्न ज्ञायते इति । VI) भगवती चिन्तामणिदेवता एवात्र शरणम् । (...) भगवति चिन्तामणिदेवते, एषो- ऽञ्जलिः। संनिधि देहि । उद्धर असाद् अनर्थात् । VII) अलं संभ्रमेण । मया नीता १Kमन्दभाग्यया-मया. २ ॥ निवेदयामः, ३ र भर्तृदारिके for भट्टिनि. ४ पादात शान्तिरमा, ५ x भगवति चिन्तामणिदेवदत्ते पातरजम् । ६ माममुष्मादू for असाद. १०चंद .

·3 चंदलेहाए [IV. 27. 26- (सर्व ससंभ्रममवलोकयन्ति ।) देवी-(सविस्मयमञ्जलिं बद्धा)"अय्यउत, किं एअं। राजा - देवि, धम्मिल्लो इंदणीलं फलिह-मरगअं लोअणं लोल-तारं माणिकं ओह-बिंबं णव-डसण-गणे संपओ मोतिआणं । सोआई पोमराअं कर-चरण-अलं सव्वमंगं पवालं ता मण्णे हंत चिंतामणि-समहिकिदा देवदा पणमेसा ॥२४॥ ता पणमम्ह । (सर्वे प्रणमन्ति । चिन्तामणिदेवता -II) उच्चि। (सर्व उत्तिष्ठन्ति ।) देवी-(वद्धाञ्जलिः नायिकामवलोक्य सहर्षम् ) भअवदि, णं एसा सा मह बहिणिआ चंदलेहा। चिन्तामणिदेवता-'एसा सा। देवी-वच्छे चंदलेहे, आच्छ आलिंगेहि मं । (चन्द्रलेखा राजानं तिर्यक्पश्यन्ती लजानतमुखी तिष्ठति ।) चिन्तामणिदेवता-VIVवच्छे, गच्छ । नुह जेट्ठ-भइणी दुक्खं वइ । देवी-(बाहू प्रसार्य)VIIIअदि-णिग्धिणे, एहि आलिंगेहि। (कण्ठे गृहीत्वा सहर्षम् ) हत, जीवंत-वच्छा मे माउसिआ। वच्छे चंदलेहे, सहसु "मह अवराह-सव्वस्सं। 1 K omits देवि, but Kh has it. 2 धम्मलो. 31 पुलिह for फलिह. 4K सडण for डसण. 5 rh सञ्चओ. 6 सोमाई.7K समकिदा. 8K आणमेसा for णूण. 9 K आयच्छ. 10 Kलज्जानामित अत्रैवानीता। एषा चै सा। I) आर्यपुत्र, किमेतत् । II) देवि, धम्मिल्ल इन्द्रनीलं स्फटिक- मरकतं लोचनं लोलतारं, माणिक्य ओष्ठविम्ब नवदशनगपाः संचयो मौक्तिकानाम् । सौम्यं वा पद्मरागं करचरणतलं सर्वमङ्गं प्रवालं, तन्मन्ये हन्त चिन्तामणिसमधिकृता देवता नूनमेषा ॥ २८॥ तत् प्रणमामः। III) उत्तिष्ठ । IV) भगवति, नन्वेषा सा मम भगिनी चन्द्रलेखा। V) एषा सा । VI) वत्से चन्द्रलेखे, आगच्छ आलिङ्ग माम् । VII) वत्से, गच्छं। तव ज्येष्ठभगिनी दुःखं वर्तते । VIII) अतिनिघृणे, एह्यालिङ्ग । (") हन्त, जीवद्वत्सा मे मातृष्वसा। वत्से चन्द्रलेखे, सहख ममापराधसर्वखम् । १ . 'नीता च. २ x omits च. ३ . धम्मा. ४ M omits वा. (भगवती) चन्द्रलेखा. ७ पश्य for गच्छ.. ८ र आलिङ्ग मां for एपालिङ्ग- 4 ५रप्रणमावः ६ सा ·-IV. 28.27] चरत्थं जवणिअंतरं नायिका-(स्वगतम्) कहं अहं एव्वं सिणिद्धाए जेडे-भइणीए वि एति कालं रोस-पतं किद म्हि मंद-भाइणी देव्वेण । चिन्तामणिदेवता--"महाराअ-महिसि, सुणेसु दाणि । एसा खु चंद-15 लेहा णिअ-पाणि-ग्गाहिणो सत-साअरालंकरणं मेइणि करे सम- प्पेइ । ता अणुमण्ण भट्टारं से पाणि-गहणत्थं । देवी-जं भअवदी आणवेदि । तमालिए गच्छ, अंतेउरादो। चंदलेहोइदाइ अहिणवाहरणाइ उवणेहि । तमालिका-जं भट्टिणी आणवेदि । (इति निष्क्रान्ता ।) विदूषकः-(सहर्षम् ) सुटु संजाअं । देवी-"कलभासिणि गच्छ, विसूसव-समागआ अंगेसर-पमुहा राआणो कहिज्जंतु विवाह-मंगल-दिअहे अदिवाहिअ गंतव्वं ति। कलभाषिणी-IIजं भट्टिणी आणवेदि। (इति निष्क्रान्ता ।) चिन्तामणिदेवता--VITYण केवलं इमे ण गच्छंति किंतु सत-दीव- वासिणो वि सव्वे संपों एत्थ संणिवडिहिंति । राजा-I'किं किं ण फलइ भअवदीए पसादो। 15 जट्ट for जेट्ट. 2 5 दब्वेण. 3 5 महिसी. 4 rh सुणादु. 5 K मेइणी. 6 : समाग- आएओ अङ्गे. 7_K कहिजतु. 85 सण्णिपहन्ति. 9 5 किं किं ण सणइ भों, rh किं प मलइ भ. I) कथमहमेवं स्निग्धाया ज्येष्ठभगिन्याः अप्येतावन्तं कालं रोषपात्रं कृतास्मि मन्दागिनी देवेन । II) महाराजमहिषि, शृणु इदानीम् । एषा खलु चन्द्रलेखा निजपाणिग्राहिणः सससागरालंकारिणी मेदिनीं करे समर्पयति । तस्मादनुमन्यख भरिमस्याः पाणिग्रह- णार्थम्। III) यद् भगवत्याज्ञापयति । तमालिके गच्छ, अन्तःपुरात् चन्द्रलेखोचितानि अभिनवाभरणानि उपानय । IV) यद् भट्टिन्याज्ञापयति । V) सुष्ठु संजातम् । VI) कल- भाषिणि गच्छ, विषुवोत्सवसमागताः अङ्गेश्वरप्रमुखा राजानः कथ्यन्तां विवाहमङ्गल- दिवसानतिवाह्य गन्तव्यमिति । VII) यद् भट्टियाज्ञापयति। VIII) न केवलं इमेन गच्छन्ति किंतु सप्तद्वीपवासिनोऽपि सर्वे सांप्रतमत्र संनिपतिष्यन्ति। IX) किं किं ने b. १ र भाग्या देवेन. २ र महाराजमहिषी, M महाराज! महिषि ! ३ र शृणोत्विदानीं. ४ F omits करे. ५ x आभरणानि for अभिनवाभरणानि. ६ र उपनय. ७ M सुष्टु जातं. ८Kromit न. ९ KM omit किंतु. १० ॥ सर्वेऽत्र सां. ११ र भणति for न फलति.

·चंदलेहाए [11.28. 28- 39 (प्रविश्य तमालिका) तमालिका-'इमाइ आभरणाइ। देवी-(आभरणान्यादाय चन्द्रलेखामलंकृत्य)अय्यउत्त, परिघेप्पउ एसा मह बहिणिआ चंदलेहा। राजा -कस्स वा देवीए पसादो जाहिणंदणिजो। देवी-'अय्यउत, जह एसा बंधवाणं ण सोअणिज्जा तह करेहि। राजा--जं देवी भणादि। देवी-(उपसृत्य चन्द्रलेखां समर्पयति ।) राजा-(सादरं प्रतिगृह्णाति ।) विदूषकः-(सहर्षमुत्थाय)"हंत सफलो मे मरगअ-उज्जाण-पत्थणा- परिसमो। ता सोत्थि होउ वअस्सस्स, सिवं होउ देवीए, सुहं होउ देवीए चंदलेहाए। किं च । मह विभवं होउ, कल्लाणं होउ वम्म- हस्स, भई होउ महुमासस्स, कुसलं होउ मलआणिलस्स, मंगलं होउ हरिणलंछणो, जअउ पुढमो रसो, वड्ढउ वम्मह-परक्कम- सिद्धी। (इति नृत्यति ।) चिन्तामणिदेवता-VI"चिंतामणि-संभवाअं किमण्णं पुण देवीअं संपा- दणिज्जं। 1 K परिष्वउ, kh परिधन्वउ.. 2K भहिणीभा. 3 Kh आणवेदि. 4 x परिम्मोत्तो सोस्थि, but xh परिसमो ता. Ex होइ. 6 लन्छणो मङ्गलं जमउ, 7x मम्महपरिकम. फलति भगवत्याः प्रसादः। I) इमान्याभरणानि । II) आर्यपुत्र, परिगृह्यतामेषा मम भगिनी चन्द्रलेखा। III) कस्य वा देव्याः प्रसादो नाभिनन्दनीयः। IV) आर्यपुत्र, यथैषा बान्धवानां न शोचनीया तथा कुरु । ) यद् देवी भणति । VI) हन्त, सफलो मे मरकतोद्यानप्रार्थनापरिश्रमः। तेत् स्वस्ति भवतु वयस्यस्य, शिवं भवतु देव्याः, सुखं भवतु देव्याश्चन्द्रलेखायाः। किं च । मम विभवं भवतु, कल्याणं भवतु मन्मथस्य, भद्रं भवतु मधुमासस्य, कुशलं भवतु मलयानिलस्य, मङ्गलं भवतु हरिणलक्ष्मणो, जयतु प्रथमो रसः, वर्धतां मन्मथपराक्रमसिद्धिः। VII) चिन्तामणिसंभवायाः किमन्यत् १ . भट्टिणि इमा. २ ॥ अस्या for कस्य वा. ३ x बन्धूनां for बान्धवानां. ४ K मरतकोधान', M मरतकोद्याने. ५ र तसात् for तत्. ६ ममापि भवतु कल्याणं, M ममापि भाव्य भवतु. ७ M कुशलं for भद्रं. ८ भद्रं for कुशलं. ९ र लक्ष्मणो मजलं जयतु. १० र देव्याः किमन्यत् for किम to "देव्याः, M omits चिन्तामणिसंभवायाः and reads this remark thus: *किमन्यत्पुनस्ते प्रियं संपादनीयं ।

·वउत्थं जवणिअंतरं -IV. 80.] राजा-(अमिनन्ध) अदोवरं किं मे पि। आणंदं चंदवम्मा कह वि अ गमिओ णंदणा-दसणेणं पता चिते पसादं णिअअ-बहिणिआ-संगमेणं च देवी। लद्धा मुद्धा अ सक्षण्णव-लसिअ-मही-पत्ति-संपत्ति-मूलं हत्थे मे चंदलेहा भअवदि तुमए तं ण जंसि छुहा मे ॥२९॥ तह एतिअं होउ। कुणंतु कुमुअ-प्पहं तिहुवणम्मि किति णिवा मुणंतु इअरेअरं उवकिदिं घणा माणुसा। सुणतु गअ-मच्छरं सहिअआ कईणं किदि जिणंतु कइणो चिरं वहउ भारई-मंगलं ॥३०॥ (निष्कान्ताः सर्वे ।) [॥ इअ चंदलेहाअं चउत्थं जवणिअंतरं ॥] 1 kणंदणं दंसणेणं. 2K हिअअवहिणिआ. 3 x अत्थों for एत्तिअं. 4 K पुणन्तु गअमझरं. 5 K omits this stage-direction given by Kh. 6 K has a Sanskrit colophon: इति चन्द्- लेखायां चतुर्थ यवनिकान्तरम् ॥ पुनर्देव्याः संपादनीयम् । I) अतः परं किं मे प्रियम् । आनन्दं चन्द्रवर्मा कथमपि च गतो नन्दनादर्शनेन, प्राप्ता चित्तप्रसादं निजभगिनिकासंगमेन च देवी । लब्धा मुग्धा च सप्तार्णवलसितमहीप्राप्तिसंपत्तिमूलं, हस्ते मे चन्द्रलेखा भगवति त्वया तन्न यस्मिन् स्पृहा मे ॥ २९ ॥ तथाप्येतावद् भवतु । कुर्वन्तु कुमुदप्रभां त्रिभुवने कीर्तिं नृपाः, जानन्तु इतरेतरमुपकृति धना मानुषाः । शृण्वन्तु गतमत्सरं सहृदयाः कवीनां कृति, जयन्तु कवयश्चिरं भवतु भारतीमङ्गलम् ॥ ३०॥ ॥ इति चन्द्रलेखायां चतुर्थ यवनिकान्तरम् ॥ ॥ चन्द्रलेखा नामेयं कृतिः समाप्ता॥ २ : संप्राप्ति, ॥ संपत्ति. ३ . इति चतुर्थ & M many gaps in this and the next verse. यवनिकान्तरम् । ४ M concludes thus : समाप्तोऽयं ग्रन्थः.

·७८
चंदलेहाए
'अणुदिअहं विफुरंतो मणीसि-जण-सअल-गुण-विणासअरो।
रिततण-दावग्गी विरमउ कमला-कडक्ख-वरिसेण ॥'
कप्पूरमंजरी, IV. 1.
"May the forest-fire of Poverty, which day after day gleams
far and wide, which brings to naught all the excellences of men of
learning, be quenchcd by the rain of the side-long ylauces of Fortune!"

·सिलोअसूई को उण कुणा अच्छेरं अमुअस्स गलंतकणअंगदो गहिअचलणमेअं चलंतकरपल्लवं चंडा ते सालदंडा चंदणचच्चिअसव चंदादो किरणकुरा चुंबतो विवरण चूलंतसत्तणव छत्तेणं णवपुंडरीम जइ विमणमिमस्ति जइ होइ अवरमाला जाहिं किल सरस्सई जं जेहिं णअणंचलेहि जंपतो बंधवाणं जाणं वम्हणलोअ जा पुवहिस्स सिंगे जाला हेलाविहसि अगणिअ णवं ति I. 10 I.28 अच्छोलंबंतचूडा IV. 8 अत्ताणं वित्थरंतो I. 19 अत्ताणं वि बुभुक्खिदाण I. 24 आस्सि खु सट्ट I. 13 अहमहमिआगएहि I. 33 अहो महिमले कह I.30 आआसे पंचसाई IV. 6 आणणेण तुह णिजिओ III. 23 आणंदं चंदवम्मा IV.29 आरद्धपाअणमणो IV. 10 आलोलिजंतणिच IV. 13 उच्छण्णे सत्तुसेण्णे IV. 21 उहंसिअथणकुंभ I.37 उप्पलविलोअणाए II. 29 उभयमिणमहो सम III. 2 एअं अंजणपुंजपंजर III. 15 एहि एदस्स वीरुकर IV. 19 एदे चूसिअचोल I.23 IV.20 एसो चेदिप्पवीरो IV. 24 एसोणेपालपालो IV. 23 एसो पड़तमउडत IV. 18 एसा बंधुरबंधुजी I.38 ओदंसकुवलअं से II. 27 कत्थूरीपंकदिण्णो III. 9 कप्पूरेहिमलं तुसार III. 11 कव्वणिबंधे कइणो I. 9 कंदप्पोजलकित्ति III. 16 किसलअमिदुलंगीए II. 28 किसलइदासोअलदा I.25 कुडिला अ कुरलमाला II. 25 कुणंतु कुमुअप्पह IV.30 कुमुअणिअरघोलंतालि III. 4 कुसलवसंतसहाओ II. 22 कुह वि अहो पल्लविओ I.32 णक्खेसु तुज्झ II. 11 IV. 25 III. 5 II. 23 II. 14 III. 21 III. 20 III. 24 IV. 12 IV. 2 II. 9 I. 11 IV. 7 II. 7 IV. 15 I. 6 III. 19 II. 8 IV. 22 II. 15 IV. 3 II. 3 I. 34 II. 31 II. 10 II. 21 I. 16 IV. 1 III. 8 I. 4 II. 20 IV. 26 III. 18 I. 3 IV. 28 I. 22 I. 20 एसो अ तुज्झ ण चंदो आणंद णीलंसुउल्लो णेत्तं कंदोमित्तं णेत्तंदोलणघोलिदो तरलाहरविवरादो तणेत्तं तह दीहरं तंतीणं हणणेण तारुण्णएण रमपि तुंगाणं सिहिणाण तेल्लोकस्स करालकाल दरम्हेरे थेरे दलिअणलिणीकंदा दहंति मलणाणिला दिसाचिउरचूलिआ देवे चंदसिहामणिम्मि धम्मिल्लो इंदणीलं पक्खंदोलणमारुएण पञ्चवजइ चंचली ·चंदलेहाए पञ्चुव्वजइ पुलओ पणमह सुइराअ पत्तेसु मज्झ णअणेसु पत्तेसु कंचणेसुं पत्थेइ जज पदुमवणाअ दाणि परिमलअंति दिसाओ परिलसिअचिउरमाला पावीढअस्स सविहे पुण्णहरिणंकवअणा पुण्णे पसूणणिअरेहि फंदए पअलपम्ह फेणाअंतमुहा मुणाल बाला वालालितण्हा भई देउ गआणणो ममंतभमरच्छडा भसलपडलं उप्पाद भासा खु पाअडमई भो पेक्ख सच्छमहुरो मज्झम्मि हंत मम वहइ विलोल मह खणसंठविओ मह ण णिवट्टह दिट्ठी महुअरकलकलमुहले महुरमहरमेदे हत माणिकमोलि मा पुवद्दिसिरे मुहे राउन्भेओ IS I. 1.86 IV. 1 I.20 II.33 II.30 IL. IV. 16 II. 18 I.5 1.18 III. 1 27 1. । I.17 II. 10 I.18 III. 3 I.0 III. 13 III. 1 II.3 I.26 II. 5 IV. 1 III. 14 I.41 मोलणं जो ख संकं रत्तासोअं वहइ सुरहि रत्तीअ णाहविरहेण राईवासरपहि लज्जाजतणलंछिआ लाहिल्लो रिवुणो लोलंताणंगतुंग लोलेहि उप्पलेहि लोवामुद्दासहाओ वडदलगओ वि रुद्दो वहइ कलंकमिसेणं विपंडुरमुइच्छई विभाइ महिलंगुली विसमो माहवमासो IV.27 II. 13 III. 6 III. 7 II. 1 IV. 17 I. 15 II. 34 IV. 11 I. 7 III. 2 III. 17 I.21 JI. 17 IV. 5 II.26 II, 12 I. 14 III. 10 II. 4 I.31 II. I.30 II. 10 I. 5 II. 6 वीअंतीण वहण सरसिअदलणअणाए सवणउडगोअरो सव्वे साहु पट्टिदा सव्वेहि इंदिएहि सामंतो सो वसंतो सुहगंधो तमबंधो सूणाहितो पिबंतो सेरं सेरंघिसत्थो सोदूण णेउररवं सो सट्टओ सहअरो हरिहरसरसि हेट्ठिलाअंतसग्गाण IV. 9 happ AmeriphopAMIN ·NOTES Yavanikāntara I 4) 6 Looking now at the reading of c(i. e., the Calcutta ed. of a portion of Candralekhaa published in the संस्कृतसाहित्यपरिषत् पत्रम् , February and March 1932 ) and in the light of the chaya of K, we can even read दरत्धेरे म्हेरे = दरं स्थविरे स्मेरान् ; see the corrupt chaya of s. दरं or दर = ईषत् is not unknown to Sanskrit, दर being usually used in a compound : दरस्मितसमुलसद्वनकान्तिपूरामृतैः etc. in the गङ्गालहरी 49. In d पुण्णे may be better rendered as पुण्यान् holy.--. 2 रवम्मंसलो, कंसत्ताल show spontaneous doubling of म and त ... 3 ओअरण = अवतरण, waving of light?-1. 4 बहलो बलः, copious, thick.---. 6 नृत् and नट are treated as synonyms by the छायाकार. 5) 1. 3 Here the figure of speech is निदर्शना.-1. 6 The मनुस्मृति explains the term पारशव thus : यं ब्राह्मणस्तु शुदायां कामादुत्पादयेत्सुतम् । स पारयन्व शवस्तस्मात् पारशवः स्मृतः ॥ ९-१७८. Kullaka's commentary on it runs thus : विपन्नस्त्वेष विधिः स्मृतः' इति याज्ञवल्क्यदर्शनात्परिणीतायामेव शूद्रायां ब्राह्मणः कामार्थं पुत्रं जनयेत् स जीवन्नेव शवतुल्य इति पारशवः स्मृतः । यद्यप्ययं पित्रुपकारार्थं श्राद्धादि करोत्येव तथाप्यसंपूर्णोपकारत्वाच्छव- व्यपदेशः ॥. 6) A pun on the word वंश is implied ; of. तुहिनकिरणवंशस्थूलमुक्ताफलानां etc. चम्पभारत I. 2; and thereon the commentary remarks : वेणुषु मौक्तिकोत्पत्तिोकप्रसिद्धा ।... 2 Can we have a danda after किल, and take तस्स कई = तस्य कृतिः। 7). 1 महप्पाणं = महात्मभ्याम्. 8) 6 सुहअं = सुभगम्, even सुखदम्. 10) & Better read णव त्ति = नवा (कृतिः) इति.- पम्हुसिअ = विस्मृत्य, cf. Hema. VIII. iv. 75 : विस्मुः पम्हुस-विम्हर-वीसराः ।. 11) a Or even अपरमाला, a garland made of any other flower. 12) . 4 खंडपरसु = °परशु, an epithet of Siva.. -महमहंत, f. Hema. VIII. iv. 77-8 : प्रसरेः पयल्लोवेल्लौ । महमहो गन्धे ।.--.8 Rather संसइअ = संशयित; the idea is that the sword मण्डलाय) in his hand created the illusion of a row of bees. 13) 1. 1 जवनिकान्तर is quite usual in Sanskrit: यवनिकान्तर looks like hyper- Sanskritisation.-... 6 Here is perhaps the only पि after an अनुसार, otherwise we have वि. 14) b Can it be that वित्तेहिं = वृत्तैः = वर्तितैः, performed ?-. 1. Looking at 15. 2, here also we may read सुरहि- समअ-समारंभ etc.-1.3 Rather read छप्पअ-रिंछोलि-लच्छीणं अच्छीणं = षट्पदश्रेणिलक्ष्मीकयोः अक्ष्णोः; and thus we have alliteration too. 15) C तंबचूड-कोड, bosom or the chest of the cock from which starts its shrill note; c reads तम्मचूडकोडं घोलन्त etc. 16) c फुल = पुष्प, see verse I. 35 also. 17) 1.6 c reads मुहराविअ.-10. 7-8 The text uses both the terminations, and f, quite indiscriminately.-l. 11 The chāyā is not quite 11 चं.ले.

·80 CALIDALEHA 18) पम्ह-मालि satisfactory; it may be read thus : मरकतारामः महाराजस्य मधुमासावतारवर्धिताम् आत्मनः समृद्धिम् अवतंसयितुमिव आचारं करोति ।, i. e., the मरकताराम is observing hospitality (ar) towards youu Majesty as if in order to crown (अवतंसयितुमिव) its glory which is enhanced by the advent (अवतार) of spring.--. 13 After this remark of the king, according C, there follows the passage I. 17. 23 to I. 18 (included) and thereafter comes I. 17. 15 to I. 17.22.---. 16 जहामिट्ठ = जहा- इट्ट == यथेष्ट may be an illustration of Samdhi-consonanti, see Pischel S 353. पक्ष्ममालिकम् , पक्ष्मन् an eyelash ; it also means a filament of flower.d. 6 भुभअंचले - भ्रफुटयाले 01: भुवमले. 19) There is प्रतिभा in the last line. 21) ) गोल्ल is connected with नुद् by Vararuci VIII, 7, but with rep ly Hemacandru VIIT. iv. 143. 22) il. Perhaps there is a pun on the word सारखत meaning in stream, or the सारखत grammar, or even the worship of सरखती. 23) ) Should we read नालीअ केलीअरा? 24) ८ सोरहेकणिलअं- सौहदैकनिलगम्? 26) .. 4 णिहावि etc. = निधाप्य लोहशलाकया etc.--. 12 ओलंबर == अवलम्बते, supports. 27)l. 16 तं = तत् ? ... 2 The figure of speech is निदर्शना.---29) 1. 6 This appears to be a well-known saying; compare Daśakumära-curita, P. 76, 1. 9 (Agashe's ed., B. S. S.): अचिन्त्यो हि मणिमन्त्रौषधीनां प्रभावः, इति प्रसृतेषु लोकप्रवादेषु etc.; also समराइचकहा, p. 413 (Jacobi's ed., B. I.): सन्चो खु एस लोयवाओ, जं अचिंतो हि मणिमंतोसहीण पभावो ति!.---. 12 = पत्थेमि = प्रार्थये. 30) The figure of speech seems to be अतिशयोक्ति. 35) d आदेइ = आदत्ते. 36). 4 For तरंगिणं are we to read तरंगे - तरक्षान् ननु. 39) d महंतुग्गमाणं महोद्मानां.--. 6 देवीए = देव्यै. 41)c Rather: कोसो for कोसे, and then construe : सरोजानां कोशः स्तनम् अनुकरोति ।.--. 6 अम्हाणं - अस्मान् ; गच्छम्ह, पविसम्ह etc. appear to be used with the sense of Imperativc. Yavanikāntara II 1) तंसावलोअ = व्यश्रावलोक means looking horizontally, with side-glances'; cf. Km. II. 1 d: तंसं पुलंतीअ मं।. c reads तस्सावलोऊसआ = तस्यावलोकोत्सुकाः, ----. 2 चव्वंतो= चर्वन ; पञ्चायंत= म्लान, f. Hema. VIII. iv. 18 : 'म्लेर्वा-पव्वायौ'1. 3) d Also जणइ = जनयति, “ makes the flower of my life fruitful'. 4) d असंगो = अशङ्कः, fearless? 8) 1.7 विजंभंत-मअणो has a double meaning; #is a kind of plant when construed with Himālaya.-l. 9 कीलामिअ-क्रीडामृग is an animal kept for pleasure.l. 15 दमिलमंडआ apparently means 'roundabout way', though the etymology is not clear. It indicates the way of putting things in the fashion of a. द्रविड ; cf. द्राविडीप्राणायाम in मराठी. 9) स-रइ = सरति, रत्या सह यथा स्यात् तथा, सरति सहर्षम्, सानन्दम्.-८. 14 विगलिअंस = अंसविगलिब?-... 25 Perhaps he wants to suggest that he remained silent like a jewelled pillar in the palace-hall.---..26 , पक्कण, a house of a. low-born person, a village %3 ·NOTES inhabited by savages. gitare = getsrat, any oblation, the leaving of an offering, Soma juice, a sacrificial oblation made of ground rice and offered in Kapālas or vessels. Of Course it cannot be given to a low-caste man. quce = 98764, the five products of the cow taken collectively: viz., milk, curds, clarified butter or ghee, urine and cow-dung क्षीरं दधि तथा चाज्यं मूत्रं गोमयमेव च।).--.. 30 Tyuo = 777047, this refers to the six expedients to be used by a king in his foreign policy, namely, i si, peace or alliance; 2 fana, war; 3 , march or expedition; 4 F or 97, halt; 5 **T, seeking shelter; 6 or durata duplicity; see herra VII. 160: संधिं च विग्रहं चैव यानमासनमेव च द्वैधीभावं संश्रयं च षड्गुणांश्चिन्तयेत् सदा ॥-1. 36 सिलालिंद = सिलालिद्ध, आलिद्ध standing for आश्लिष्ट ?.----. 47 उवणाइ = उपनायितम् was ordered to be offered'. 10) I. 3 99, perhaps aloe also, is an er for 4, see Hema. VIII. iv, 2._. 13 EET is explained as ETHIFOL, datata 22; 1842-377, however, is not quite clear. The chāyā gives just a suitable rendering. 11) The sense is somewhat obscure : some words are used with a double meaning. 12) Two is are lacking in the third pāda; perhaps a word like मे or मह is required between अंग and उप्पल. 13) a Rather read bet; and the first line may be explained thus: The y i, e., Pete) bears the red site (i. e., turns red through shame) at the sight of the king (who is superior to eta in point of benevolence); and the lovelorn (797) damsel too bears (suffers) sorrow (11) at the sight of the king (whose love she has not yet won).-b मोह = मयूख as well as मोह.-- can there be a pun here also?: garet = i stara: “from the bow-string', ii oftare from life'; oftara ana falls from life' or 'dies', i. e., "suffers death pangs'. 14) 1. 1 csi-fcuft, the path of literary composition. 15) c what is the wrong (fri) with her that we should know and speak out? 1. 6 Obviously faftingT= as wat is doubly abstract; or it may be rendered as विभ्रम्भदस्थानम्. 20) 1.7 कवलिआ = कवलिका, a piece of cloth over a sore or wound, a bandage; here it appears to signify something like a cloth-bag for books. 22) 7. 1 TH="# means a number of notes, gamut'... 2 yor= virtue, as well as string.--. 3 Are we to read गणिजगुणे, Voc., qualifying विपंचिए ? अमितगुणायाम् अस्याम् अनुरागयन्ती (=aacrimaldit), attaching yourself to this lady possessed of innumerable yors (also singing after this lady.).-. 4 ofarlent = lute, as well as slanderer.. 23) ll. 1-2 have a metrical ring here and there. 32) 1.7 अवग्नहो is to be understood with -वरिसाणं च. 33) ८. 4 गिलुका = निलीना, see Hema. VIII. iv. 55.--, 13 What event facut has in view for ·84 CAMDALERA 5), ) the term me is not quite explicit: perhaps he thinks that he would get an explanation why duiſsar carried a statue this morning (II. 9. or why the Queen arranged the singing entertainment without inviting the King (II. 15. 10)._-... 31 311g == FUSHÍBRIT.. 35 कहि == कुत्र... 39 होउ or होदु would be the mornial reading. 34) 1.1 Either the subject भवं (= भवान्) is understood, or real वट्टसि-1. 5 दक्खिण्णदाए == दक्षिणतया, दाक्षिण्यता is doubly abstract; पाविहिद = प्राप्स्यति. Yavanikāntara III 4) I. 35 Rather TERIER. 5) 1. 33 Rather apena311 == adilar. 6) The verse may be construed thus: TITT ATT (i. Eng moon)- विरहेण उत्तमनशीलायाः रात्रयाः देहोष्मणा इव उड्डमौक्तिकचूर्णपूर्णा बालप्रवालशयनीयनिभा मृदुला *** Faza u I. 8) Fra: a "dark as the ruven'?; rather तमिस्स-मंडलमिणं णिप्फंदमप्फंदए.9) 1. 3 थलीसर == स्थलेश्वर, a tutelarry god presiding over some particular spot. 11) c HIENOTE = E: is an satura compound. 12) 29 is Mas., so MHL 2009.- 10 # etc. has a metrical ring.-. 13 Can it be fears Ter207?; as it stands, it can be equated with Eurazů, while I was trying to know his mind'. 19b qafe = a, see # VIII. iv. 86.-- ft=a. 20) « 931f331 = moci: or sales. 23) d Read farago=farc:; and the two lines may be rendered thus : "That the two (i. e., the moon and the deer) should unite in friendship is in the fitness of things (becauso both of them are your enemies, being defeated by you); but that they (your vanquished foes) should novo at lurge in your presence is a shameless affair on their part.' 24) « The reading faqitur would do; antar atuetai pac, i. e., “kissing her beautiful cheek by getting yourself reflected in it'. data or farm also means reflection: बिम्ब फले बिम्बिकायाः प्रतिविम्बे च मण्डले । विश्वः.d Better होसि भवसि for होमि%3B the line then may be rendered thus: Pray tell me what righteous deeds have you performed in your former birth, so that you sliould be so (i. e., should have the pleasure of doing the aforesaid acts)?'; this reminds us of a line of Bhartrhari: तन्मे ब्रूहि कुरा कुत्र भवता किं नाम तप्तं तप:1. Yavanikāntara IV 1) cag=en--. 1 aya is the equinoctial point. This play has the back-ground of the anna season, and the author has specifically mentioned the चैत्रानिल (I. 24). So विषुवोत्सव is a festivity connected with a day when sun enters the vernal equinox, say about the 20th of March. Apparently the safety is . During this festivity, it is suggested in the play, the imperial king holds:

·NOTES 85 something like a Durbar and the feudatories pay respects to him. 2) 6 मुहाराओ = मुखरागः, and the lengthening of the rowel is metris causa.? 4)d एवं तिहुवण-सुहरं = एतं त्रिभुवनसुखदं? 6) c ef. 'निःश्वासान्ध इवादर्शश्चन्द्रमा न विराजते । Ramayana.d, Read [लहिअ] for [ लहइ]; the line means: The branch of zate in the form of the East has put forth flowers having roceived the touch of the feet of उषस्'; cf. the poetic convention : पादाघातात् स्त्रीणाम् अशोकः विकसति ।. 8) c अच्छावलम्बमाना चूडा यस्य तादृशः मुकुटकः ।. 9) There is यतिभा in the first three lines.--- हेटिलाअंत अधस्तनीभवत्स्वर्गाणां.- Should we read a for वि?—be Compare बाह्योद्यान- स्थितहरशिरश्चन्द्रिकाधौतहा, and यत्र स्त्रीणां हरति सुरतग्लानिमशानुकूलः सिप्रावातः प्रियतम इव प्रार्थनाचाटुकारः । गेध० 7, 31; also रघु. VI. 32-34. 10) a The chāya. श्रवणोपरिभवत् presumes a reading like सवणोवरिलं ; सवणोव्वलंत = श्रवणोद्वलतू ; OF it is a wrong reading for सवणोज्जलंत = श्रवणोज्ज्वलत्. 11) a Compare सौनातिको यस्य भवत्यगस्त्यः । रघु. VI. 61.---. Note the usual यति is violated. 12) d मणलूरनाथ is apparently the पाण्ड्य king, ef. चम्पूभारत III. 38-9 and the remarks of the commentary of रामचन्द्र. 13) a आलोइजंत-?-d Should we read विवई for णिवई ..... 2 We want कुंकुमंगराओ अंगराओ. 17) dd Read better तत्तिल्लो for तकिलो, and it stands for तत्परः. 20) चित्ररत्नं or चित्ररचनम्. 21) 6 वरवरण = choosing of husband'? Construe : निजगृहे यस्य नाम श्रुत्वा चण्डासि......करं संगरं विना एव शत्रुसैन्ये उत्सन्ने (सति) वरवरणसमारम्भनम्भितेन संभ्रमण युक्तानां स्वर्गाशनानां सलिललिपिः (खेदकणमाला एव) अङ्गालंकारलक्ष्मीः भवति किल।. 25) 2. 6 अंतेउरं गाइदो = अन्तःपुरं नायितः. 27) 1.7 Context requires रुदिता for मुदिता.-- 1. 10 संगमिआ = संगमिता; rather भā for भर्तुः in the chayi..... 19 Rather पादैः शपन्ति is the chāyā. 28) 0 °गणो संचओ, that would correspond to other Nominatives in that verse.- सोआई= श्रोत्रे-1. 16 "सागरालङ्करणां in the chāya ?-1. 43 Read the chāya °संभवायां किमन्यत् पुनर्देव्या. 29) I. 1. The chāys presupposes तह वि एत्ति होउ ।. 29) d स्पृहा of the chāya presupposes Fesel in Prākrit. 30)d Either चिरं वहउ भारई-मंगलं = चिरं वहतु Ted- 2h, i. e, 'Let or may the blessings of Sarasvati flow for ever.'; or चिरं हवउ भारई मंगलं = चिरं भवतु भारती मङ्गलम् , i. e., Let or may the Speech fare well for long?. mona ·APPENDIX REMARKS AND EXTRACTS ON SATTAKA AND NATIKA The TTETRTIER 01 Bharatı (XVllI. 1-3) does not mention Et, nor is it specified in describing the Natiki ( 11111, 58–60). -The अग्निपुराण, of uncertain lates, mentitylis सह (338. :) as one of the various types of dramat.-~-Neither tit दशरूपक (of धनंजय (10th century A. 11.) nor its conimentary boy liis contemporary ufete makes any reference to 1. अभिनवगुप्त (close of the 10th century A. D.) refers, in his cominentary on the नाट्यशास्त्र of भरत, t) सहक IIMore than once: उक्तव्याख्याने तु कोहलादिलक्षिततोटकराकरासकादिसंग्रहः फलं नाटिकायाः उदाहरणत्वादिति । (नाट्यशास्त्र Vol. II, p. 407, G. O. S., LXVIII, Baroda 1934); ind अत एव न दशसंख्याविभागार्थो येन सट्टकादीनां त्यागः स्यात् । (Ibid. p. 408). The lescription of नाटिका is given by hiin on p. 435, and is quoted below. हेमचन्द्र (1089-1172 A. D.) refers to राष्ट्रक in his काव्यानुशासनम् thus : पाठ्यं नाटकप्रकरणनाटिकासमवकारेहामृगडिमव्यायोगोत्सृष्टिकाइप्रहसनभाणवीथीसष्टकादि। (८-३) तथा च नाटकादीनि वीथ्यन्तानि वाक्यार्थाभिनयस्वभावानि भरतमुनिनोपदर्शितानि, सहकश्च कश्चित् (p. 432, ed. R. C. Parikh, Bombay 1938); further on P. 44. we have a quotation : विष्कम्भकप्रवेशकरहितो यस्त्वेकभाषया भवति। अप्राकृतसंस्कृतया स सहको नाटिका. प्रतिमः ॥ इति, and the विवेक commentary runs thus : सहके च नाटिकायामिव रतिफलं वृत्तं व्युत्पाद्यते। एवं नाटकादीनां खरूपं तत्फलं च दर्शितम् । तच्छरीरभूतसंधिसंध्यज्ञादिलक्षणविस्तरस्तु भरतादेवावसेयः ।। रामचन्द्र and गुणचन्द्र (middle of the 12th century A. D.), the pupils of Hemacandra, do not include us in the 12 types of dramas described by them; but there is a casual remark in their commentary: कियतोऽपि लक्षणविधावभिप्रेतस्य, तेन कोहलप्रणीतलक्ष्माणः साटकादयो न लक्ष्यन्ते । लक्षणीयबाहुल्येऽपि हि यावत्येव भागे लक्षयितुः श्रद्धा तावानेव लक्ष्यते।. Specifying other रूपकs, there is a quotation like this on p. 213 : विष्कम्भकप्रवेशकरहितो यस्त्वेकभाषया भवति । अप्राकृतसंस्कृतया स सहको नाटिकाप्रतिमः ॥ (नाट्यदर्पणम् I, pp. 25-26,G.O.S.XLVIII, Baroda 1929). The भावप्रकाशनम् (G. O. S., XLV, Baroda 1930) of Saradatanaya (c. 1175-1250 A. D.) refers to सट्टक which is considered to be one of the so-called उपरूपकs. It is interesting to note that in some ·APPENDIX 87 places the reading सट्टक shows variant readings तोटक and नाटक (p. 180, 1. 12, p. 181, 1.1). In this context some extracts from the Introduction (pp. 52-3) may be given here: “The systematic treatment of all the twenty kinds of Uparūpakas, however, is found only in the Bhāvaprakāśana. The list of seventeen Uparūpakas, as supplied by the Agnipuräna, cannot be considered as very early as the Purāņa itself contains quotations from the Dhvanyāloka and displays remarkable similarity with the Bhoja's theory of Srigārarasa. Considering all these facts we can conclude for the present that these Uparūpakas were unknown when the Nātyaśāstra was composed, but originated before the time of Dhanika, and probably Kohala was responsible for inventing these Uparūpakas. Among the lists of Uparūpakas supplied by several writers beginning from Dhanika to Viśvanātha the heaviest is perhaps that of Sāradātanaya who mentions two lists each having twenty names (pp. 221, 8; 255, 1). But in the first list Sattaka has an independent place while Bhāņa is omitted and in the second list which seems to be more accurate Bhāna is mentioned instead of Sattaka as the latter is included in the Nātikā." "Sattaka also is mentioned here as a different form of Natika (p. 244, 15), but once again this subject is brought for discussion at the end of the section dealing with the Uparūpakas (p. 269, 1). Here following Bhoja ſāradātanaya gives the Sattaka an independent place thereby increasing the number of Uparūpakas.” The relevant passages may be given here. After the description of the नाटिका, we have the following lines on p. 244 : सैव प्रवेशकेनापि विष्कम्भेन विना कृता। अङ्कस्थानीयविन्यस्तचतुर्यवनिकान्तरा । प्रकृष्ट-प्राकृतमयी सट्टकं नामतो भवेत् ।. In another context, after a remark ते नृत्यभेदाः प्रायेण संख्यया विंशतिर्मता (p. 255), the सहक is thus described on p. 269 : सट्टकं नाटिकाभेदो नृत्यभेदात्मकं भवेत् । कैविकीभारतीयुक्तहीनरौद्ररसादिकम् ॥ सर्वसंधिविहीनं च नाटिकाप्रतिरूपकम् । शूरसेनमहाराष्ट्रवाच्य- भाषादिकल्पितम् ॥ अङ्कस्थानीयविच्छेदचतुर्यवनिकान्तरम् । छादनस्खलनभ्रान्तिनिहवादेरसंभवात् ॥ न वदेत्प्राकृती भाषां राजेति कतिचिजगुः। मागध्या शौरसेन्या वा वदेद्राजेति केचन ॥ नाटिकाप्रतिरूपं यद्विशेषो रूपकस्य तत् । सट्टकं तेन तस्याहु षां तां प्राकृती परे ॥ राजशेखरकृतं तद्यथा कर्पूरमञ्जरी ।. The नाटकलक्षणरत्नकोश (ed. Dillon, London 1937) of Sagaranandin (c. 13th centerry A. D.) describes सट्टक thus on p. 133 : अथ सट्टकम् । तच्च नाटिका-[pp. 113-4] प्रतिरूपकम् । कैशिकी-भारतीप्रधानम् । रौद्रवीरभयानक- बीभत्समवमर्शसंधिशून्यम् । यथा कर्पूरमञ्जरी । अन्तर्यमनिकान्तम् । यथाके यमनिकयावच्छेदा भवन्ति तथात्रापि । शौरसेनीप्राच्यामहाराष्ट्रीयुक्तम् । स्त्रीवद्राज्ञोऽपि प्राकृतपाठः । यद्यपि बादरायणप्रभृतिभिरुक्तं राज्ञः संस्कृतपाठः कार्यात् प्राकृतपाठः । तत्र रूपकमेवेदं कार्यमिति राज्ञापि प्राकृतपाठः कर्तव्यः ।. In another context (p. 90), about the language of the 47, there is a remark: सट्टके स्त्रीप्रधानत्वाद्रूपकस्यानुरोधतः। नृपः स्त्रीवत्पठेदेष पाठस्य नियतो विधिः ॥. - ·T; AADALTHHA The Tarte TOT (ri. K. p. Trivedi, Bombay 1909) of T ( 1st filiurter of the i1th trotury 1, 1). ) ventions ten 67xs in which it is not given in place; ille l'intentary TGITTA remarks thus on p. 101 : दश रूपकाणीति । नाटिकाम कादीनानपानावादिति भावः । तत्प्रकारस्तु दशरूपके द्रष्टव्यः ।। The arterieur (od 1.1. , Bombas 19:33 ) of liśvanātha (between 1300--138.1 A. D.) inclultis ... in the list of 18 उपरूपका (VI. 4-6); anti it is itscrihat thite (VI. T--5): अम सकम् । सट्टकं प्राकृताशेषपाठ्यं स्यादवेशकम् । न च निकम्मकोऽन पर चारो रगः ॥ अंका जवानकाल्याः स्युः स्यादन्यनाटिकासमम् । यथा करमारी ।।. The definition ut' aile-7 is thus venly the FTETTE (XVIII. 58-61): प्रकरणनाटकमेवादुत्पाचं वस्तु नाम जपति । अन्तःपुर संगीता कन्याधिकल्प कर्तव्या ॥ स्त्रीमाया चतुरमा ललिताभिनवात्मिका गुविनानी । बहुमतगीपाला संभोगामा व ॥ राजोपचार- (p. ८. कामोपचार-) गुत्ता । प्रसादन सोधदम्भ-(१). 1. तामिनिमगाव.) मंबुजा । नायादेवीदूती- सपरिजना नाटिका शेवा ॥ [अन्तभावगता येबा भावयोरुमगोर्यतः । अन एव दर्शानि रूपाणीत्युदितानि वै॥]. The commentary of Abhinavagupta is interesting and deserves to be noted; it runs thus : प्रकरणनाटकाभ्यां मैदान लक्षणान्यायान्नायिका शेगेति दरेण संवन्धः । उत्पाद्यं वस्तु चरितं च नायकं च नृपतिम् अन्तःपुरकन्या संगीतशालामन्यां वाधिकृत प्राप्यतेन अभिसंधाय कर्तव्या। त्रियः प्रायेण बाहुल्येन चत्र । चन्वारोऽकाः । यस्साः कस्याधिदनस्वासाः सरसोऽवस्थासमावापः कार्य इति यावत् । ललिताभिनयात्मिकेति कैशिकीयं बद्धत्यर्थः । मुष्ट पूर्णतया विहितानि पत्वार्यपि फैशियमानि यत्र । 'अङ्गगात्रकण्ठेभ्य' इत्यत्र स्वागविशेषणाभावात् जीयू प्रयोगः । एतदपि न मुनित्रयमनमिलनात्यमिति त्वन्ये । रतिपुरस्सरः संभोगो राज्यप्राप्त्यादिलक्षण आत्मा प्रधानभूः फलं यस्याम् । अत एवाइ राजगतरुपचौरैः व्यव- हारैर्युक्ता, अन्यां चेदुद्दिश्य तत्र व्यवहारः, तत्पूर्वनायिकागतः क्रोधप्रसादवञ्चनरवश्यं भाव्यमिति दर्शयति प्रसा- दनेति, आर्यानुरोधात्नोधस्य पाल्पाठः ॥ ननु यस्याः क्रोधो गवति सा न काचिदुकेल्याशंक्याह नायकेति । नायकस्य येयं देव्याद्या नायिका तथाभिलषितनायिकान्तरविपये दूतीकृतं सपरिजनं परिजनसमृद्धिर्यस्याम् । एतदुभयप्रधान सर्व तत्रेयर्थः । अन्यत्संध्यज्ञादि सर्व तत्रेत्यर्थः । अन्यत्संध्यत्रादि सर्व पूर्ववदेव । तत्रैका- नायिका तावद् व्याख्याता भवति । षटपदेयं नाटिकेति संग्रहाणगारिणो भलोलटायाः । श्रीशङ्ककस्तु अयुक्त- मेतदित्याभिधायाटधेति व्याचष्टे । तथा हि देवी कन्या च स्याताख्याताभेदेन द्विधेति । घण्टकादयस्त्वाहुः- नायको नृपतिरित्येतावन्मानं नाटकादावुपजीवितः न तु प्रख्यातत्वमपि तदद्वयादन्येऽष्टाविति षोडशभेदा इति । नायको नृपतिरिति ये प्रथमां पठन्ति तैर्यतेल्याच्याहत्यैकवाक्यतायां तूभयस्य कार्यम् । अन्ये प्रथममार्याध पृथ- गेव च वाक्यं योजयन्ति प्रकरणभेदात्प्रकरणलक्षणांशात् उत्पाद्य वस्तु नाटकलक्षणांशाच्य नृपतिर्नायकः स्थिते यत्रेत्यभिप्राये नाटिकवंभूतेति ॥ अन्ये तु प्रकरणनाटकभेदान् नाटिका भिद्यते नाटकशब्देनाभिनेयं रूपकमात्र तस्यां सौकुमार्यप्रदर्शनाय स्त्रीत्वेन निर्देश इति प्रकरणिकापि सार्थवाहादिनायकयोगेन कैशिकीप्रधाना लभ्यत इत्याहुः ॥ The दशरूपक (III. 43-48) defines Natika thus : लक्ष्यते नाटिकाप्यत्र संकीर्णान्यनिवृत्तये । तत्र वस्तु प्रकरणान्नाटकानायको नृपः ॥ प्रख्यातो धीरललितः शृङ्गारोऽङ्गी सल- क्षणः । स्त्रीप्रायचतुरङ्कादिभेदकं यदि चेष्यते ॥ एकद्विव्यङ्कपात्रादिभेदेनानन्तरूपता । देवी तत्र भवेज्येष्ठा प्रगल्भा नृपवंशजा ॥ गम्भीरा मानिनी कृच्छ्रात्तद्वशान्नेतृसंगमः । नायिका तादृशी मुग्धा दिव्या चातिमनोहरा ॥ अन्तःपुरादिसंबन्धादासन्ना श्रुविदर्शनैः । अनुरागो नवावस्थो नेतुस्तस्यां यथोत्तरम् ॥ नेता तत्र प्रवर्तेत देवी- mar ।

·APPENDIX 89 - त्रासेन शङ्कितः । कैशिक्यझैश्चतुर्भिश्च युक्ताक्षैरिव नाटिका ॥. My friend Dr. A. M. Ghatage expects the reading एकद्वित्र्यशपात्रादि etc.; and thus he would remove the possibility of variation in the number of the acts of a Natiki. The साहित्यदर्पण describes नाटिका thus (VI. 269-72): नाटिका क्लुप्तवृत्ता स्यात्स्त्रीप्राया चतुरक्षिका । प्रख्यातो धीरललितस्तत्र स्यान्नायको नृपः ॥ स्यादन्तःपुरसंवद्धा संगीत- व्यापृताथवा । नवानुरागा कन्यात्र नायिका नृपवंशजा। संप्रवर्तेत नेतास्यां देव्यास्त्रासेन शंकितः। देवी पुनर्भवेज्येष्ठा प्रगल्भा नृपवंशजा ॥ पदे पदे मानवती तद्वशः संगमो द्वयोः । वृत्तिः स्यात्कैशिकी खल्पविमर्शाः संधयः पुनः ।।. Turning to Sattakas themselves, Rājasekhara (c. 900 A. D.) uses the term more than once in his justa ( ed. Konow, Cambridge, Mass. 1901): सट्ट णचिदव्वं । (p. 4); कधिदं जेव छइलेहि । सो सट्टओ त्ति भण्णइ दूरं जो णाडिआइ अणुहरइ । किं उण पवेसविक्खभंकाई केवलं ण दीसंति ॥ (विचिन्त्य) ता किं ति सक्कदं परिहरिअ पाउदबंधे पउत्तो कई । (p. p.4-5); चंडवालधरणीहरिणको चकवट्टिपअलाहणिमित्तं । एत्थ सट्टअवरे रससोत्ते कुंतलाहिवसुअं परिणे ॥ The chāyā gives * as its Sanskrit equivalent and even Nat is used by the Ms. of strant. The commentators quote a definition of Sudhakara : सैव प्रवेशकेनापि विष्कम्भेण विना कृता । अङ्कस्थानीय- विन्यस्तचतुर्जवनिकान्तरा ॥ प्रकृष्टप्राकृतमयी सट्टकं नामतो भवेत् ।। The following casual references to सट्टक in the रम्भामञ्जरी ( Bombay 1889), besides the verse quoted in the Intro., may be noted here: तदर्थ सट्टकमाश्रित्य (p. 8); नट:-ता किं पयोजणविसेसं पडिवज्जिय एस सट्टयप्पबंधबंधप्पारंभो। (p. 10); the word is used in two more places where the passages require slight emendation as shown in square brackets : शार्दूलविक्रीडित [विक्रीडितं] सट्टक (५. ८. शाटा)-बन्धमधिकृत्य । (p. 7), and संदेशसट्टयं [संदेस-पट्टयं] दाइय etc. (p. 33). What Rudradisa has to say about Sattaka, we get at चंदलेहा I. 4.10-5.1. Further I could spot some remarks about Sattaka in the ECO-CA of ETH (middle of the 18th century A. D.): BFT GET आणंदसुंदरीणामहेअं तारिक्खं सदृशं तं जेव्व इमस्सिं महासमाए जोग्गं । वि०-पाउडं खु तं सव्वं । सू.- अदो जेव्व सदृअंति भणिज्जइ । वि० को णु खु तस्स कई । सू०-को अण्णो पुराअणकईणं वि दुकरम्मि सरस्सईभासाणिबंधणम्मि राअसेहरकइणो परं णिउणो । वि०-अवि सो महरदृचूडामणी धणस्सामकई । (B.0. R. I., MS. p. 2). On this passage the commentator Bhattanātha remarks thus : अनेन सर्वप्राकृतं सट्टकमिति स्पष्टमुक्तं भवति । तथा चाहुराचार्याः । सैव प्रवेशेन विना विष्कम्भेण विना कृता । अङ्कस्थानीयविन्यस्तचतुर्यवनिकान्तरा ॥ प्रकृष्टप्राकृतमयी सट्टकं नामनामतः । सैव नाटिकेवेत्यर्थः इति । Turning to epigraphic records, the Barhut Inscriptions (c. 200 B.O.) have a line like this: साडिक-संमदं तुरं देवानं । and it accompanies bas-relief which represents a dancing scene. Some read it sūdika, 12.ले.

·90 CANDALERA sūdikasa. It is translated thus: “The jovial ravishing music of the gods, joyous with dancing'. Barua und Sinha have a note on it thus: “Joernle No. 14-translatos Music of the gods, gay with dancing.' Sidika may be taken to be it somewhat irregularly formed cquivalent of Sk. Sūpika, it kind of dramatic performance, applicublo to the dancing of apsarasas. Sk. Sūrika means gambling with dive (Tawney). Sammault is both an adjective gay' and a substantive gaity. Here it forins a compound with sāļika. Turam = tiryam, musical instrument, music. It is also likely that the threc words sidika, sampula inil tura refer respectively to three groups of dancers, singers, iind players on instruments as seen in the amusement-scene below which the label stands. Hultzsch [rofs. oinitted] translates: 'the music of the gods, which gladdons by (i. e., accompanied with) acting." Sätaka, a nüţaka-bheda (Bharata-Nätya-Sästra)”. (See Barhut Inscriptions, p. 48, Calcutta 1920).

·सद्दसूई This (flox24" gives ia la important words which deserve the attention of the students of Prikrii vocabulary. Some clillicult words with their meaning are also included. मच्छरी 1.28.1 गज्झ (ब्राह्मम् ) II. 10d. अच्छेर 1.6.1 गम्हिअ.240 अनउत्त (आयपुत्र) I.2.1.1 गदुअ II. 9.35 अदिहि (अतिथि) I. 81. गंगेज (गाङ्गेय), gold, I. 17 3. अदोपरं (मतः परम्) IV.28. 1.5 चंचली IV.60 अपुच्च III.1.12 चंदिमा (चन्द्रिका) III. 19. 1 अय्य (आय)!... चंदिआ (चन्द्रिका) IV.4c अश्यउत्त (आर्यपुत्र)I ... चंदोजअ, a kind of lotus that blooms अवग्गह, draught, II. 3.3 at moon-rise, III. 4. 6, III. अहवा.1.1 1.60 अंकण II.).3 चामल (चामर), I. 20d, IV.56 अंकपाली, embrice:, III. 7U चुक (for प्रमाद) IV. 15d आढत्त (आरब्ध) I.31.1, IV.25. A चोदह II. 6d आर IV. 100 छइल्लणं I. 26. 12, 16 आलिंद , in raised place or terrace छिन्त (क्षिप्त) II. 7d for sleeping upon, 1. 5. 4: इत्ति II. 8. 16 छोल्लण (तक्षण), trimming, IV. 22b इस्थिभा I.26.13 जाला II. Sa उजु II. 8. 15 जीहा (जिह्वा) I. 6d ओदार (भवतार) I. 17. 12 णिडाल I.416 कपणेउर (कर्णपूर) II. 1066 णिहित II.9.42 कटुभ II. 12.3 तस्सि (for तस्याम्) III. 4. 17 कवण, sling, II. 9. 33 तंबोल (ताम्बूल) IV. 26. 15 कंसत्ताल (कांस्यताल), a cymbal, I. 4. 2 ताला II.86 कारक्खर (कारस्कर m), tame of a poiso- | तुम्हि IT. 9. 11 nous medical plant, I. 5. 3. थेर (स्थविर), Brahman, I. 4; IV. किसल (किसलय) I. 216, III. 50 190 कीस III. 4. 14 थोर (स्थूल) IV. 196 कीसुभ (किंशुक) I. 250 दक्खिऊणं II. 13a कुज III. 24.4 दामिल IV. 24 कुणते IV. 130 दलिद्द (दरिद्र) IV. 190 कुह (कुत्र) II.33. 20 दंता (= ददतः) IV. 5d, also IV. 140 the new moon, I. 306 दंतो (ददत्) II. 126 खुरली, military exercise, practising | दिअह I. 25c archery, II, 22. 8 दीहर (दीर्घ) II, 10a छुहा IV. 290 ·92 CADIDATENA दुग्घुट, an elephant, III. 3.0 मरंद (मकरन्द). G. A, I. 22, II. 2a देव (देव), fitte, I. 18.! मिव 1.8). धीदा (दुहित) 1. 17. 11 मुरव (मुरन), iitrus!!, {.... पडीर (पटीर), Nandal, I. 13t; मुहल (मुखर), missy. I. tirl पदुमराम 11.9.35 मोअ (मोच ), plintain, banana पल्लत्थ (पर्यस्त) I. 17. 10 fituit, I.. पंचमराअ, (Out of the Rangass tor musi-मोह (मयूस्ख) I. eal modees, I... पच्छोम (वैदर्भ) IV.6.5 पाअड (प्राकृत) I. Ildalst ort पाटिक IL.9.11 वलक्ष, hits, ILL. I.11l पादवीढं IV. 200 यही (पलमी) IV.:6.25 विआसर (विकम्बर), hitthing, I. Ple पारसव (पारशव) I.5.5f., SENauty पाबीट (पादपीठ) IV. 8th, IV. 166 विद्दा [विजा] (विशा) I. 275, I. 32d विसंकड, krtifiil, ILL. 3.3 पाहुड II. 33, 17 विसुबोमब IV. 1. 1. पाहुद्र (प्राभृत) I. 27. 18 पिचर (पीवर), abounding with, I. 1.3 | वेलरिभ ] 1.20. 1 विसूसच IV. 27.10, IV.28.22 पुढम (प्रथम) I.24 पुरत्तो III.90 सइ (सदा) IV. 14 yftet (for grar) III. 40 सइअ (सचिव) II 15 पुरुव II. 15.2. सहअ 1.5, Set: Aentlis and Intro. पुरुवं (पूर्वम्) I. 26. 1, 1. 38. 2, सर (मर) 17. Tb, 17th समर (शयर) 11.9.26 I.37.2 पुरुस II. 8.9 सरर्दिदु 1. 8. 12 पुव्वं I. 31. सहस्सइत्तं (सहस्रकृत्वः) III. 4.35 पूआ (पुत्री) IV. 26. 44 संके (शके) IV. Ac पेक्खंती II.9.8 संदभ (संदर्भ 1), a literary or mu- पेरंत II. 15.13 sical composition, I. 5, 6, पोमराभ I. 280, II. 9. 41. I. 120 फंस III. 12. 14, III. 136 संदाणिअ, bound together, tied, III. फास II. 126 4.1 बलामोडि D, foree, I. 12. 6. संदाव (संताप) IIT.4.30 बुहप्पड II. 9.30 सारिग्छ [.41d. भट्टा (भा) IV. 27. 13 साला (शलाका) I. 26. 4 भसल (भ्रमर) I. 22a सिहिण I. 410, II. 30 भिड (भृगु), the level summit of a सिंखल (शृङ्खला)IV. 26.3 of a mountain, I. 240 सुप्पहाअं (also हार्द)IV.2.1 भुमआ II. 10 सेवे, IV.4d. मऊह II.9.37 सोत्त (स्रोतस्) I. 260, मणोज II. 18.1 हज्ज (हार्य) III. 19d. मत्त (मात्र) I. 5.5 हिजो (गः) IV. 25. 6, IV. 26. 20 ·3 Corrigenda Readors aro requested to make some corrections from the correct readings that are givon below. According to the Yavanikāntaras they are divided into ſour paragraphs; and rolerences are to verses and successive lines. The correct readings from the Präkrit text are printed in black and those from the chāyā in ordinary types. I. 4. 2 संणहि'. 5. 4 बाह्यालिन्दादि; 12. 4 खंडपरसु-, 12.9 जालक्रीड°; 13. 3 सज्यताम् ; 150 तंवचूड- Page 8, head line चंदलेहाए ; 17. 5 ककुब्मुखा; 18. 6 बन्दुम; 230 चिहुरआ आणंद; 27. 19 संणिहि; Page 16 head line चंदलेहाए; 36. 2 प्रेम[पर]वशे; 38d. वीथीवास्याः; 39c आलक्ष्यमाणका; 40b संणिवाआ; 416 अणुसरइ ; 41. 6 अणुगहिउं. II. 40 सचिववरो; 4d संणद्धो; 4d. संनद्धः; 9. 33 रज्ज; 9. 48 संणाह; 116 पक्षपातधुताम् ; 150 माकन्दस्यन्द; 15. 4 सखीत्वे, 33d भोगो [इव] भवति; 33. 20 संणिहिम्मि; 33. 23 संणिहाविआ; 33. 28 असंणि हिद; 33. 34 भिन्द्धि; Page 44, foot-note 8 chāya, 8 M विन्धि, K भिन्द. III. 30 सकलासु भविष्य'; 3d संणाह...पओसएणं; 3d प्रदोषकेण ; 4. 35 दुस्सहैः ते; 5 °चरणमेके कमपि; 60 उत्तम्मिरीअ%B 60 उत्तम्मिरीअ%3; 8d काकोलमिव (and omit the v.1. of M); 9b विस्तारवानि; 9. 5 ऐतु; 10a अग्गदो; 11c मज्झेणहं; 11 मध्येनभः; 12.8 हृदयान्निर्गत्य ; 12. 12. युक्तमुपचारा; 12. 14. पलआणल; 13a विलोल; 14. 2 चन्द्रोड्योत; 166 ; उद्वेलत्त; 16. 2 चन्द्रोद्योत; 19. 1 चन्द्रिकोड्योतम् ; 21, 1 चन्द्रोद्योते; 23d विचरणं. IV. 5a वीजयन्तीनां ; 56 विच्छोलिअग्गा; 6d पुवासासोअ; 9a महाकाल-; 10. 1 तु; 11.1 Remove Danda after एसो; 130 दिक्चक्रवालान्; 20. 2 संणाहो; 25.6 °मानायितो; 27. 10 संगता. . 3 B ·BY Dr. A. N. UPADIYE 10, 1. Peninsullatair ofan Unknown Ancient Writer: Prikrit Tort odited with Introduction, Translation, Notes with capitis B 17.11.4 from Maribhaulra's Connnontury, ind a Glossary. Second Fil., limisel in Enburzod, Crown PP. 96, Kolhapur 1936 2. Pravougastina of Kundakuma. An authoritative work on Jaina ontology, opistoniology otr: I'mikrit tort, llore Sunshrit, eminenturies of Amrtacandra and Jayason. Hindi esposibi lige Hunde llumaraja: Elited with an English Translation and it erilical chalalu Introduction etc. New Edition, l'ublishol in the Rayachandra Jaing Sitramilit vol. 9, Royal 8vo pp. 16+132 + 376+64, Bombay 193.7. 3. Purandora-galinio vl' yorimadasitAn Apublis'it work on Jaina Mysticism: Aprablıraris'in turto with Viurionis hings, Sanskrit Pikā of Brahmudovik and lindi oxpxition of Daulat.run, ihw the critical Text of Yogasära with IIiui puma polirane: Elited with a crilieul Introduction in English. New Id., Published in the Kayahututit Jiim Sintrumul vol. Royal Svo PP. 12---124+390, Bombay 10:57. 4. Varanyacarita (f Jatiuwi ni nani. A Sanskrit Purīnic kīvya of A. D. 7th century: Elited for the first time from two qualun-le: Mss with Various Readings, a critical Intruxluction, Notes, ca. Published in the Mānikachandra D. Joina Grantlumili No. 40, Crowat 27. 16+884390, Bombay 1938. 5. Karisavalo of Itima l'āņi vzidil A Prikrit Poem in Classical Style: Text and Chãyü critically cited for the first time with Various Rulings, Introduction, Translation, Notes, etc. Iublished by lindi Grantha Kutnikara Kāryalaya, Hirabay, Bumbay 4, 1940, Crown R 50+214, 6. Usunirudilhan'a: A Prikrit Kívyu (attributeri tu līma Panivida), Text with Critical Introduction, Variant Reulings and Select (ilossary, Published in the Journal of the University of Bombay, Vol. X, lurt 2, Suptornbur 1941, Royal 890 PP- 156-194, 7. Tiloyapannatti of Jndivasala. An Ancient Präkrit Text clealing with Jaina Cosmography, Dogmaties etc.,: Authentically editod for the first time (in collaboration with Prof. Hiralal Tuin) with Various lendinga etc. Part I, Published by Jaina Sanuskrti Sazăruksaka Hungha, Sholapur 1943, Double Crown Pp. 8+38+532. 8. Brhat Katrākośa of Harisona. A Thesaurus of 157 Tales in Sanskrit, connected with the Bhagavati Aradhanī of S'ivīrya: The Sanskrit Text authentically edited for the first time, with Various Readings, with a Critical Introduction (covering 122 pagos), Notes, Index of Propor Names sta. Published in the Singhi Jaina Series, No. 17, Bbüratiya Vidya Bhavana, Bombay 1943, Super Royal pp. 8+20+1284-406, ·95 9. The Dhūrtāklayarul: A Critical Study. This is a critical essay on the Dhurtākhyala (of Haribhadra) which is a unique satire in Indian literaturo. Included in Acharya Jinavijayaji's edition, Bhūratīya Vidyā Bhavana, Bombay 194, Super Royal pp. 1-51, 10 Candralckhea of Rudradāsa: À Drama in Prakrit. The Prākrit Text and Sanskrit chiya authentically edited with a critical Introduction, Notes It is an important Satſaka resembling Karpuramanjarī in various respects. The Introduction prosents a study of Sattaka in the back-ground of Indian theory of dramas and also a critical survey of some half a dozen Sattakas, most of them brought to light for the first time. Printed in graceful types at the Nirnayasagara Press, Bombay, Bhāratīya Vidyā Bhavana, Bombay 1945, Royal 8vo pr. 8+66+96. Brhat Kathākos'a of Harişena Brhai kathakosa of Harişeņa (A. D. 931-32): A Thesaurus of 157 Tulos in Sanskrit connected with the Bhagavati Ārādhanā of Sivārya. The Sanskrit Text authentically cdited for the first time, with Various Readings, with a Critical Introduction (covering 129 pages), Notes, Indox of Proper Names etc. Published in the Singhī Jaina Series, No. 17, Bhāratiya Vidya Bhavana, Bombay, 1913, Super Royal pp. 84-20+128 + 406. Select Opinions and Reviews Dr. S. K. CIIATTERII, The University of Calcutta, Calcutta: "It is really munum opus for which any scholar may feel proud. The learned introduction is a molel of what such an introduction should be. Your extensive learning and your profligious industry both elicit unstinted admiration;... the subsection... on the language of the text is a very valuable addition to our positive knowledge of Sanskrit, Trakrit (anıl Blaslia) philology, T'iuc Lidije Library Bullatin: 'as a sourco of information on social conditions, religious history, cultural elements, linguistic data, historical and geographical side-lights cte., the work is indeed valuable and would pay amply it detailed stuly, and for such a study, Dr. Upadhye has already contributed much in his critical apparatus in this volume. (V. RAGHAVAN) Journal of the University of Bombay: "His [i. e. Dr. Upadhye's ] erudition and his knowledge of the editorial technique coupled with the speed with which he works are the things, very rare and inost covetable........The Editor has adorned tho work with a brilliant and an exhaustive Introduction in which he has discussed with a scholarly grasp all possible aspects relating to the work'. (A S. GOPANI) Indion IIistorical Quarterly: In a long Introduction the learned editor besides drawing atteution to the critical apparatus and the method followed in the presentation of the text, gives a comprehensive account of the narrative tale in old Indian literature with special reference to the literature of the Jains which can boust of a rich store of this material'. (C. CHAKRAVARTI). 2 Apple