·KUMARASAMBHAVAM
I CANTOS IV & V)
with Mallınātha's Commentary, English translation,
grammatical and explanatory notes and Introduc.
don dealing with a few important topics,
Edited by
R. R. Deshpande, MA,
( Winner of Erau Daji Prize and of Bhagwandas
Purushottamdas Scholarship)
end
T. K. Tope, M.A LL. B.
(Vinner of Bhagwandas Purushottamdas Scholarship
Zala Vedanta Prize, Sir Lavrence Jenkins Scholarship
and Sohrab Khurshed Dastur Scholarship)
+
of
the department of Sanskrit Studies.
RR College, Malunga.

·ALPAS All rights reseried by the editors Vy Printed by- D.P. Bhagvat, Mouj Printing Bureau Gurgaon Bombay 4 Published by RR Deshpande TK. Tope, R. R College Bombay 19 ·PREFACE This edition of gran cantos IV and V is primarily intended for the First Year Arts students We thought it necessary to include Mallinatha's commentary (a's decidedly that is the best), in so for as there is a special advantage that would accrue to a student of Sanskrit, if he cultivates the habit of understanding his texts with the help of the com. mentaries, from this early stage in his University career. In the following pages, Mallinātha's commentary is followed by the English translation ( text, commentary and transla. tion thus making a unit in the case of every stanza ), to facilitate ready reference. In the 'Notes' has been thrown after the anvaya' of every stanza, all grammatical, explanatory or critical material, calculated to help the student thoroughly appreciate his text. The departure from the general praštice, pof the nature of the mention and explanation of the afankara's'. in the 'Notes', and of that of the devotibs & an entire section in the Introduction, to the discussion and scanning of the metres used by the poet, are intentional. We think this pťan would answer the purpose of intsiating the student inta, the rhetorical' and the prosodic aspects of his text,.much better than the relegation of these thiennes;ta appendices'. In the translation, the reader need not be frightened to see a number of brackets, semi-circular and rectangular. Throughout an attempt has been made to keep the English rendering as close to the original text as possible. This has necessitated putting some words, supplied of course to complete the sense, into rectangular brackets. Certain words, that may be found to be either difficult or used in an other than the usual sense, are put into semi-circular ·1 modern Ujjayini, near Bhopal. His reverential references to that city, and to the Great God is therein, the numerous passages describing the scenes on the banks of river Narmadā, and the fact that the gain ag dwelt on Rāmagin-the modern Ramteka near Nagpur,-all these along with other facts lead us to believe that the Stratford-on-Avon of our Shakespeare was in central India, and perhaps, Ujjayini. Kalidasa's early life is also a closed chapter to us. Legends that tell us that he was dull in his childhood, and that he got the peculiar powers as a gift from Kalt, after practising severe penance, etc. are better passed over. Such legends possess no historical value, and as such they must be accepted only after great consideration. From the study of Kalidasa's works it seems that." Kalidasa hiraselt must have been a man gifted with all the learnings of his age, rich, aristocratic, moving wholly in high society, familiar with and fond of life in the most luxurious metropolis of his time, passionately attached to the arts, acquainted with the sciences, deep in law and learning, versed in the forma. lised philosophies (Kalidasa by Sri Aurobindo p. 14). The legend that associates Kalidasa with king fi, deserves a careful consideration. The word H occurs in the title Fiq, even when by the ordinary rules of dramatic art, the word get ought to have been inserted. We see In the title of मालविकानिमित्रम् and मालनीमाधवम् the names of tho heroines and the heroes. The change that is introduced by Kalidasa does not seem to be a matter of mere accident but an intentional act. Perhaps ho wanted to make somo telerence to his patron, and this he accomplished by the charge. Shakespeare has also referred to king James in his dramas. This naturally raises the question about the idently of king Vikramiditya, the supposed palren of bidaga. Various theones have been forwardod by different scholars. Som ·including Dr. Wilson, believe that Kalidasa was one of the nine gems who adorned the court of king Vikramaditya ruling at Ujjayini, after the defeat of the S'akas. Strangely enough , however, no edict or inscription of this Vikramaditya is found. Similarly the view of Dr. Hoemle, who understands by the said Vikramaditys, king Yashodharman ( 600 A. D.). the conqueror of the Hunas, is untenable, for in edicts this king is eulogized as anus and qÀ21, and never by the title Vikramadiiya. So, this Vikramaditya must be sought somewhere else. A clear reference to the name of Keldasa is seen for the first time in the Athole inscripton dated 603 A. D. In the Mandosar inscription, which 18 still earlier, dated 437. A.D, we find verses from the pen of armait, which are quite similar to those of Kalidasa (179. of ETHÍ 18 similar to that of verse 66 from 1979 and 2 31 with stanzas 2 and 3 from 5th canto of EJECTTH). This similarity naturally raises the queshion as to who is the borrower. Dr. Kelth remorks, in this context "to suppose that Kalidasa knew these clumsy verses of an obscure poetaster and turned them into the simple elegance of his verse is absurd, to hold that a local poet appropriated and tried to Improve on a verse of the great poet of Unlayıni is natural and simple" (History of Sanskrit Literature P. 82 ). This clearly takes Kalidasa before 437 A. D., which may be laid down as terminus ad quom Scholars have also discovered similanty botween somo passages from the works of sim, a Buddhi. stic poet, who flounshed in 100 A. D. and those of our poct; and have come to the conclusion, that Kalidasa is later than 17. This conclusion serves tho purpose of terus a quo. Thus Kilidiss is deemed to have flounshed, at the court o! king Vikramaditya who ruled India between 200 A. D. and 500 A. D.KHssa's works, reveal an alm. osphore c! tronqui. lity, happiness and cus. In other kords the pos! has un.

·had said more than once, that Rat dwelt in his heart. Has he forgotten this, and also the sweet hours of their enjoy. ment? Otherwise it is dificult to explain Patı remaining uninjured even after Kama's departure from the world of the living. How pitable the lot of the world in the absence of Kama ? Wine cups in the hands of beautiful damsels, the maddening hummings of bees and the sweet notes of koul would be of no use, any more. Who, in his absence, can lead the ladies to their lovers abode, when the streets are enveloped in the noctural darkness? Come oh Kāma, come, at least for all these things. Let not the world be berelt of its charms. Do you not remember our love dalliances? Here, the flowery decoration and painting of my foot are still fresh. Return oh Kāma.' Kama'is not returning. Rati must follow him in death, and that too immediately; otherwise he may be lured away by the heavenly damsels, Vasanta, the friend of Kama, can be of some help to her, in preparing the funeral pyre. But he was not seen there. Was he made to share the same fate, as was experienced by Kama? Vasanta, who was standing a little away from Rati, all this while, appeared before her. His sight, as is natural, only heightend her sorrow. She repeated her resolve to follow Madana in death, Pativarata as she was. Even inanimate objects prove that a wife must follow her husband. Charming iga vanishes with the moon, and lighting is seen no more after the disappearance of the cloud. Ratu must follow Madana and Vasanta must help her.. In days of happiness, Vasanta had prepared a flowery bed for Madana and Rati. Alas! the same Vasanta is requested by her to prepare a funeral pyre! What an irony of fate? Vasanta's misfortune howaver does not end there. He will have to perform funeral rites and offer oblations to Madana and Rati. Extremely sad it is, but Vasanta must be prepared for it. Thus Rati stood ready for sell-immolation. Just then, a voice from above, comforted Rati, by assuring union with . VI.

·at her friend, suggesting her to answer the query. The friend explains in details, Parvati's longing for Sankara and her love-forn condition due to the disappointment she experenced at the time of the burning of Kama, She hersell is also entertaining deep anxiety for the safety of Parvati and wishes that the lord should take pity 07 his devotee immediately. The Brahmacharin, now turns to Parvati and asks "Is this true or is it a mere jest ? Pärvat answers it is true. This gives an opportunity to the student of Veda, to attack S'ive veho. mently. He explains at great length the ridiculours form, the dress, the belongings and conveynance of Sıva. A threeeyed god, with serpents entwining his neck, ashes of funeral pyre smeared to his limbs and the elephant-hide wom on the body, deserves only to be laughed at. Ono should shudder even at the more idea of friendship with him. Pārvata however, was longing for a life-long friendship, or why union, with him. Princess Pärvali after walking on the heaps of flowers and applying sandal paste to her fair bosom at the time of the celebration of the marriage, would be required to trend the ground scattered over with hair in the cemetary, and to experience an embrace of Siva's chest, smeared with funeralashes. She would by sitting on the back of the superannuated ball, who would find it difficult even to walk straight. So it is better for her to take away her mind from the improper tract, This oftack on S'wa the loved one of Parvati, naturally excited her anger and her lips bigan to quiver. Proudly sho spoke 'you do not know Siva.' Only those, who do not understand the ways o!the magnanimous sprzak in this manner. S'iva's Inauspicious form, his pernilos condition, lits wearing elephant-hldo on his body, his smcaring the tuneral ashes to his limbs and his moving on the old ball-ll thoss can bo uudersloot only by thoso who know his real nature. Curious and the ways of the gren!. Even with all this paraphernalia, Sira is respected by Indrs ·'IL -Kumārasambhava: a Mahakavya : The class of works to which arching belongs, according to the Sanskrit rhetoricians, is that of HETFICIS. As such 1947 is to be sharply distinguished from works such as मृच्छकटिक, रत्नावली, शाकुन्तलम् , etc. which constitute the dramatic.or'scenic part of literature in Sanskrt, and are therefore styled 'दृश्य काव्य'. At the same time, कुमारसंभव has to be held apart from works like वाण's फादम्बरी or पंचरित which are charactensez as a car and an HARAT respe. ctively, though both these, along with TERENU fall in the category of yu as distingwshed from the Et forms of literary composition. The reason for such a distinction to be made between a 1st and Fur or 3115714is, that the former as a rule 18 couched in verses, whereas the latter, for the major part, are couched in prose, though a-sprinkling of stanzas in the 979 and 37977 metres, is not only allowed, but regarded as necessary for a कथा (Vide साहित्यदर्पण of Apare?, VI, stanzas 332, 333). No careful reader is • likely to confound a महाकाव्य with a बम्पू-'गद्यपद्यात्मकं याव्यं sprgftituted' altet what has been said, regarding the mediurn of a 17 viz, verses or stanzas, as distinguished from mere prose: Yet one more pit-fall is to be avoided. That is, that though a Uus4 typically represented by Kälıdāsa's real' is all couched in verses, it is not a 71&1712 for the simple reason that it is too short to be so regarded. A. poetical work, composed in verses, satisfying the condition regarding the minimum length alone is entitled to be called महाकाव्य. x ·- in gen- Distinguishing: महाकाव्य from नाट्य or 'दृश्य काव्य eral, and further, fron कथाs or आख्यायिकाs, from चम्मूs and from खण्डकाव्यs, marks only the beginning of the process of learning what a महाकाव्य is. It is, however, even more impor. tant to learn, what a thing is than to learn what it is not The negative way serves its purpose all night, but cannot take any one far enough. This necessitates, therefore, a careful consideration of the positive, trants of a महाकाव्य, which alone can throw the required light on the form of literature, which कुमारसंभव represents. From the days of Dandin, the author of Kavyadarsha, the question has received the attention of rhe. toricians. Following is the account that विश्वनाथ in hts माहित्य- दर्पण, ' Mirror to Literature. gives in this connection- मगंयन्धो महाकाव्यं तम्रको नायकः मुरः ॥ ३१५॥ सर्वशः क्षत्रियों यापि धीरोदात्तगुमान्वित ।। एकवंगभवा भूपाः फुलजा यहचोपि वा ॥ ३१६॥ मारवीरशान्तानामेकांशी रम 'दप्यने । अनानि मऽपि रमाः सर्वे नाटकसन्धयः ॥ ३१७॥ इतिहासोद्भवं वृत्तमन्यता सजनाध्यम् । चत्यारम्तस्य यः स्युस्ते रेक र फलं भवेत् ॥ ३१८॥ भादी नमस्तिस्याशीवां पस्तुनिर्देश एव था । पविभिन्दा-गलादीनां सतां च गुणकीर्तनम् ॥ ३१९ ॥ एकरामयः परयमानेऽयवृत्तकः। नानिस्वल्या नातिदीपा: मां साधिका ६ ॥ ३२० ।। नानावृतमय. सावि सर्ग. यशन इयते । मान्त भाविमर्गस्य फ्यायाः सूचनं भवेत् ॥ ३२ ॥ मंगास्येन्दुरजनीयदोषान्नवागराः । प्रातमध्यार गृगयाभेल वनगागराः ॥ ३१२ ॥ मम्भोगपिप्रलम्भी र मुनिस्वर्गपुराचराः।

·रणप्रयाणोपयममन्त्रपुत्रोदयादयः ॥ १२३ ॥ वगनीया यथायोग सानोपाजा अमी इह । कवेत्तस्य वा नाना नायकस्थेतरस्य वा ॥ ३२४ ।। नामास्य सगापादेयकथया सर्गनाम तु । Or, in other words, a FEM3 is a composition is cantos, canto being the name given to the divisions into which the text of the entire महाकाव्य Is presented In a महाकाव्य, there figures a hero, who is a god, or in some cases a mortal born of a high 2194- farnıly, possessed noble qualities, or in some others, many such persons belonging to the sanie race are seen to occupy that role. The poet, it is necessary, develops some one as the main sentiment, may be it is the erotic, the heroic or the quietistic ( fr ) etc, against a back. ground of other sentiments which have to be brought in to ensure vamety and effect. The story to be unfolded during the course of the poem, should be known to history (or similar works), or else, it may ba any, i. e even imaginary, but one that deals with good folk The opening of the poem should be marked by a salutation ( Vide Toa: hair on apparacheter 1 C.I. 1), ora benediction or a reference to something vitally connected with the plot. To emphasize the moral tono, agare proceeds to state, that in places there should be censure of the evil and glorification of the qualities of the noble. On the formal side, a H61F.129 should be one composed in verses, all in the same metre, in a given canto, though towards the end of the canto, it will be seen by the author, that a different metre is adopted. The cantos in their own turn, would be neither ndiculously short nor abnormally long. Their number should be either 8 or moro. Occasionally a poet is seen reserving a whole canto for the display of his mastery over a variety of metres. Such a conlo composed in many metres, is however, an excspuon and not the rule. XII ·Every canto, towards the end, should indicate what is to follow in the next. As a ETF is but a form of belles letters, it is but meet that it should be full of beautiful descriptions of some of a wide range of themes. Twilight' (hues), the sun, the moon, the night or its beginning, the evening, the blinding darkness, the day, the dawn or the noon, from the realm of Nature, are some from which the poet may make his own choice. Or, alternatively, he may give graphic accounts of hunting expeditions, of mountain (scenery ), of seasons (and their specialties ), of forest (sites, of oceans, of love in union and separation, of sages, of the heavenly would, of citles, of sacrifices, of military expeditions, of marriages, of counsels ( given by expert ministers to the king they are serving ) or finally of births of sons (as that of 3 in 137 Canto III). The poem should be named after the poet himself, or after the plot, or alter the hero, or after some other character in the story (for instance शिशुपालवधम् where the slaughter of शिशुगल-the villain of the piece, is mentioned prominently in the name of that E1714). It is in no way difficult to show that these traits of a महामान्य, given by विश्वनाथ are revealed by कुमारसंभर. Thus God Shankara, who, it need hardly be said is possessed of noble qualities, is the hero ( aj 7147: gt: :... dignfaa:). The poem develops the Karuna Sentiment. ( vint- वीरशान्तानाम् ' boing only उपलक्षणात्मक, and there being no obligation on the poet that only some of these three should be taken up ), answering the front part of the condition o find gria', in Canto IV. The story is based on what the Puranas, which come under theIn, tell about Kärlkeya and the demon Táraka ( EN PL). The poem opens with the descripuon of Humālaya ( **s aplaza na at }-80 XIII ·vitally connected with the plot. Canto VIII does justice to the Sambhoga variety of Shringāra. The extent of the poem, as generally accepted, is elght cantos (ani szu4FT:=312 ani: or अष्टाधिकाः सर्गः). Upayama' or marriage is described in the seventh canto. The centos, without being too long or too short, strike the golden mean in respect of their extent. They end with a different metre, as shown in detail in the notes on those portions. Towards the end of canto IV, in the words heard from the sky, there is a suggestion as to what is to follow in Canto V; for, the words give an assurance to Rati of her union with her lord, which has the acceptance of Parvatı by Shankara (canto V) as its necessary pre-condition. Kälıdāss, it will be seen, has named this work after the main incident in the story, viz., the birth of Kārtıkeya tho Generalissimo-to-be, of the Gods. IV कुमारसंभवम् in the light of western literary criticism; An account of कुमारसंभवम् , and of महाकाव्य generally as they are called by Sanskrit rhetoricians, has so far been given. By way of giving a finishing touch to this aspect of the study of the poem, there need be added one more consideration To students of literary criticism, and to those of compartive literary criticism especially, the names given to and the characteristics stated of similar works in the western literary world, are sure to be interesting and instru. ctive To literary criticism as it obtains in English, are known two kinds of epic There is thus, what they call, the epic of growth' ('primitive epic' or 'authentic epic' according to some ) It has been explained, that this is not XIV ·entirely the work of a single author, and that there is so much of pre-existing material of the nature of foaling legends and earlier folk-posms, that contributes to the text of the epic of growth, which is thus the final product of the process of accretion and synthesis, that has occupied a long period of time. As typical instances of this variety of epic, are cited the Homeric Illiad and Odyssey, where Homer, it has to be noted is not the author of everything that is contained in the poems. Mahabharata, in the history of Sanskrit literature offers an instance of the epic of growth' thus understood, Vyāsa, having been responsible for, as far as was possible, systematically putting together the vast mass of stories, legends etc that already had been current. As differentiated from the epic of growth, there is another, the 'epic of art (or the 'literary epic'). In spite of the resemblances it may have with the epic of growth, such as that in regard to subject matter which is of the old mythical and heroic kind, in that of the use of the supernatural, in that of the structural plan etc. It has also points of difference from the epic of growth. Thus a single post invents or adopts to his own purpose, the legendary material. The freshness, spontaneity, the raciness that characterise the 'epic of growth are replaced by erudibon, bookishness, an easily noticed imitativeness, in the 'epic of art. (For details, read pages 139-141, 'An Introduction to the Study of Literature 'by W. H. Hudson). Milton's 'Paradise Lost' in English blerature and Valmiki's Rāmayana in Sanskrit (dropping what decidedly are interpolations), illustrate this class of 'epics of art! It may with advantage be added, that Ramayana is regarded as an 'illustration of the first and more virile form of artificial epic,-subjected to self-conscious rules, but palpitant with an early heroism (Vide--History of Epic The Indian Epic, pages 778-782). Gaylay and Kurtz, the authors of the 'History of Epic', point out that a beginning of artificial epic had been made with ·the Rāmāyana as ( the unified, artistically handled theme of Valmiki is in striķing contrast to the conglomerate and confused mass of the Mahabharata.' The Kavyas or 'arti. ficial court epics', they add, 'pushed artistic workmanship and aruficial rules to the extreme. In the light of these remarks, it will easily be seen that the five Mahakavyas रघुवंशम् , कुमारसंभवम् , नैषधम् शिशुपालवधम् and किरातार्जुनीयम् fall in the category of the 'epics of art (or artificial' or literary epics, and are an advance on Ramayana, the first 'epic of art' in Sanskrit ). V Metres employed in gol IV and V. Critics have observed that Kalidasa was well aware of the importance of employing the right metre in the right place. That the metra is, in poems, the vehicle for the thought to. be expressed and that there should be as perfect an agreemerit between the thought and its vehicle are commonplaces of the literary art, that no great author could afford to ignore This explains Kalidasa's choice of just the HI7rat metre for his Ch, half the beauty of which would vanish, sup. posing at were composed in some other metre. The words are important, no doubt But equally so are the peculiar combinations of short and long syllables, technically known as murs in which they are arranged A la ta is a fitting medium to convey all that is 'heroic' or vigorous or something akin to the same. The metre, again, is highly effective, when properly used, in the creation of the 'atmos. phere the author aims at. Thus it is due to no accidental circumstance, that we makes father a pronounce his XVI ·. blessing on his daughter on the eve of her departure to her husband's, in a stanza with its metre reminiscent of the Vedic worship and ritual (Vide na sita. Immer:1... Safrikai 67: 4174-11 ). One need only read aloud such stanzas to appreciate this aspect of propriety of a particular metre in a particular context This would help readers understand Kalidasa's employment of the latina metre, so eminently fitted for the delineation of the Frent sentiment, in stanzas 1-44 of Fam. IV. This same would bring out the reason why he selected aqet as the metre for stanzas 1-84, 5. V. Sanskrit, like other languages, has its own prosody. The rules laid down by this latter, have to be observed by the poet who cares to have the reputation as a versifier who knows his art well. By way of elementary things, it may be noted that Sanskrit prosody distinguishes long syll. from short-all long vowels ( such as XI, 6, 5, 7, S, , zit and it ) or consonants in conjunction with long vowels ( such as 576, etc ) being regarded as long. Likewise, the short vowels, 34,5, 3, E, etc. or consonants in conjunction with them (such as *, 4, 9 etc I are regarded as short syllables. As a further relevant detail, it may bz noted that a short vowel followed by an anuswāra or a visarga or a conjunct consonant is re. garded as long and that the last syllable in a foot (pāda or quarter ) is either short or long as the metre requires Follow ing are the technical names given to combinazions of syllables that are possible, -'L' standing for a long syllable and 'S' for a short one 4-SLL, meaning that it is a combination of three syllables, where the 16t is short, and the 2nd and 3rd are long. Similarly, W-LSS, SĽS, 7-SSS, A-ILL, I-LSL LLS and SSI. In the delinitions of metres signibes a short MA XVII ·u syllable and a stands for a long syllable. This should enable a learner to scan the first two lines of IV, 39, for instance, and see how the lines arc in keeping with the definition, विषमे ससजा गुरुः समे । सभरालोय गुहवियोगिनी, meaning in the odd lines, 1st and 3rd there is the combination of a, #, and a long syllable, and that in the even lines, 2nd and 4th, there is the combination of , H, I, a short syllablle and finally a long syllable. Metrically the lines inay thus be writien. na gran i 11-SSL (), SSL (1), SLS (5) and L(T). raat 7 arar paat—SSI. (#), LSS (H), LSL (0) s() and L (a). Similar treatment can be given to GTFT, the metre of V. 1-84, defined as a demeura di ANTTI, giving the combinations ज त ब र. The metre of IV, 45, called वसन्ततिलका, defied as Jha arra El Tarim. would yold thos, TTTT (illustrated by V, 85 and 85) Finally, the metre of IV, 46, is gretacar, delined as 3yrs agriza ZERTI TT TT 7m2 gituais. Lines 1 & 3 would give 7777 and lines 3 & 4, G. VI Kalidas as style. No study of a literary work can be regarded as complete unless the salient features of the style of the author are carefull considered. A perusal of Entrian IV & V should, therefore, enable one to understand the mm XVIII ·portant characteristics of Kalidasa's manner of wnting. It has been observed by those who have thoroughly and exhaus. tively studied this aspect of Kalıdāsa's works that GACÍHTH I, II and III cannot be regarded as representative of Kalıdāsa's style-n the sense, that the post seems to be at pans while wnting those portions of the work and in that there is less of the lucidity and naturalness and ease evidenced by the three cantos, than by other, and may we add, later, writings of the poet Fortunately, TAKIETH IV and V do not fall in a line with the preceding cantos of the work, in this respect.. And it can be stated unhesitatingly, that all those fcatures which mark hara's works, such as were composed by him when he dehnitely attained the maturity of his genius, as they can be seen from his T and UITA, can be found in a representalive enough measure in parteHTH IV & V, Kalıdāga has been hailed as the greatest exponent of the apati tira, by common consent of those who write on the theory of poetry. the best of all styles. The principle fea. tures of the Vaidarbhi style are, on the negative side, an, absence of inordinately long compounds and unduly involved constructions, and on the positive side, the presence of a fudicious combination of the qualities of lucidity (1972) sweetness (High ) vigour (3748) and others. The phrase judicious combination deserves a specially careful atten. tion, The composition must be possessed of the qualities in such a manner as to produce the impression of a thing that is beautiful quite naturally, even like the flower in a garden. There must be no deliberate striving alter ellect, at least as little of it possible.' Another point is that Sentiment (rasa ) should be the chief thing aimed; all else, the alnakaras in particular, of both s'abda and artha, must be subordinated to the former; and so must as OT XIX ·also the metre. In vew of the detailed observations mado on the various stanzas, as occasion required in the 'Notes', it should be no difficult task to understand how FAR#2774 IV and V come up to the slandard of the guidia. There are very few unnecessarily long compounds in the stanzas contained in this part of the work; involved constructions too, it not exactly conspicuous by their absence, are few and and far between. The pathetic sentiment is dominant in Canto IV and as would but be expected a large number of • stanzas are remarkable for their lucidity (Vide remarks in the 'Notes' on IV, 7, 10, 11,21,22, 32, to point out only the most evident) and ths 13, not unolten, happily combined with 'alliteraton Kálidass, there can be little doubt, was possessed of a rich imagination, which aided by his mastery over language; enabled him to endow his compositions with decoration. Among such alankāras, that beautıfy his writing, the most prominent and the most pleasant, in fact, tho forte of Kaldāsa, is his 3THI ( IV, 30, 46 ). Metaphors are not wanting, linaf, being an instanco. To point out just one delightlul fancy ( Füzar ), Teference may be made to V. 25. Oi generalisations, ihere is an ample measuro ('शरीरमाचं पल धर्मसाधनम् । 'म धर्मदेषु वय. रामाश्यते V. 33 and 16. respectively). Naturally, the 3r4-1964 is well represented. So are other fiqures, such as alat27A1 (V. 44). 499 (IV, 24 ), tz* (1,9), which have been cold and fully explained in their proper placcs. at: rarit ry antag.' illustrates the fata 71. Tinally, only one ** mark ingy.bu odded. That is that Kildas has been a gros! suosos: In composire dialogues. That betwcon thy riitt and mixt in Canto V, is enough to conviro the doubling. If there are any, that the poet's choo o! wortis and tho: 5 XX ·arrangement are absolutely perfect, and thoroughly suited to the development of the atmosphere, intended to be created. Words being well matched to the spint, metre and alankāras subordinated to the Sentiment, involved constructions and undeservedly long expressions being carefully weeded out, 'humour' and 'irony being introduced to heighten the 'dramatic' effect of an episode-all these have contributed to HTC IV and V being rendered some of the most pleasant of poetic compositions, which a reader is never tired to turnback to, though he may have read them twice thrice over previously..

·Errata ( Mistakes such as can easily be corrected by the reader are left out. Only those, positively misleading, are listed below. In making the corrections, the usual method of pnnting the word wrongly printed, and then giving the correct word instead, is not followed. Instead, the page. the line, the number of the word, and the correct spelling of the word, are given. Thus, ™, 9,2 & 3 Tretia means, on page 4, in line 9. the 2nd and the 3rd words should be quritiat. ) 9., 26, 2-berelt 91, 3, 1 & 2-to at १८,4,6-विलोलपत्या: 15, 3—fore-parts M€, 26, 8-drought 99, 14, 10-remulous $4, 13, 3-0 994, 1, 3-eyes? 13, 14, 3-complete 5, after 2, insert, having 20,4-disappeared 989, 8, 6-sun's 24, 8-knew 20, 8-pat- 60, 30, 3-99 974, 16, 4-leagues 9, 12,7-the 974, 6, 6-immortal 6, 7, 4-gud 932, 1, 6-krama 29, 10-à 999, 16, 6-seven 4*, 26,9-leather 4,7,9mwilderness 979, 28, 9-past 5,5,7--1S 989, 16, insert after 9,- for 900, 3, 9-proprety 984, 11.5-on 5,2-sprouts १५३, 14,6-तप.कृशा 26,5--critics 940, 3, after 6 insert, or 904, 16, alter 12, insert her 98%, 8.4.- १०८,27,9-उद्यमान 963, 21, 2-about 90$, 14, 10-nability 165, 5,3--39 the 150, 6, 1-14 qur, 13, 1-- altercation 191, 14,4--now 23, 1-possessed 3 75 19 I!

·कुमारसंभवम्। . चतुर्थः सर्गः। मूर्षियता रतिरित्युक्तम् । संप्रति तद्वृत्तान्तमेवाह- अथ मोहपरायणा सती विवशा कामवधूर्वियोधिता । विधिना प्रतिपादयिप्यता नववैधव्यमसह्यवेदनम् ॥१॥ अथेति ॥ अथानन्तरं मोहो मूर्छा परमयनमाश्रयो यस्याः सा मोहपरायणा मोहैकशरणा सती । 'परायणमभिप्रेते तत्परे परमाश्रये' इति यादवः । विवश मूढत्वानिश्चेष्टा कामवधू रतिः । असह्या दुःसहा वेदना यस्मिस्तत्तयोक्तम् । विधवाया गतभर्तृकाया भावो वैधव्यम् । नवं च तद्वधव्यं चैति नववैधव्यम् । नवग्रहणं दुःसहत्वद्योतनार्थम् । प्रतिपादयिष्यतानुभावयिष्यता । कियार्थक्रियायो लट् । विविना देवेन । 'विधिविधाने देवे च' इत्यमरः । विबोधिता । वधव्यानु- फलोऽयं विधिरिति भावः । अस्मिन्समें वियोगिनीयनानि-'विपमे ससजा गुरुः समे सभरा लोऽय गुरुर्वियोगिनी' इति लक्षणात् ॥ Then, Käma's Consort (i.e. Rati), who was entirely under the influence of the swoon (lit., with the swoon as her highest resort ), helpless (vivar's), was caused to be conscious [ again ] by Fate, desirous of causing [ her ] to experience fresh widow.hood of unbearable agony - 1 अवधानपरे चकार सा प्रलयान्तोन्मिपिते विलोचने। न विवेद तयोरतृप्तयोः प्रियमत्यन्तपिलुप्तदर्शनम् ॥ २॥ dead अवेति ॥ सा रतिः प्रलयान्ते मूछावसाने । 'प्रलयो नष्टचेटता ' इत्यमरः । उन्मिपिते उन्मीलिते विलोचने । अवधानं परं प्रधान ययोस्तेऽवधानपरे दिद.

·. कुमारसंभवम् । चतुर्थ क्षयावहिते चकार । द्रष्टव्याभावातु न विवेदैत्याह-नैति । प्रियं काममतृप्त- योस्तृप्ति न गतयोः। निलदिदृक्षमाणयोरित्यर्थः । तयोर्लोचनयोः । दर्शनक्रिया- पेक्षया संबन्धे षष्ठी । अत्यन्तविलुप्तं दर्शनं स्वलोचनयोः करणयोर्यस्य कर्मभूतस्य तमत्यन्तविलुप्तदर्शनं सन्तं न विवेद न ज्ञातवती । प्रियनाशापरिज्ञानादिदृक्षांचक इति तात्पर्यायः॥ She made her eyes, opened at the termination of the swoon ( pralayah) quite attentive; [ she, however, ] did not know the dear one of those two [ eyes ], not [fully ] satisfied, to have the [ chance of his ] sight [by others ] totally disappeared.-2 अयि जीवितनाथ जीवसीत्यभिधायोस्थितया तया पुरः। दशे पुरुपाकृति क्षिती हरकोपानलभस्म केवलम् ॥ ३ ॥ अधीति ॥ अयोति प्रश्न । 'अयि प्रश्नांनुनययोः' इति विश्वः । अयि जीवि. जीवसि प्राणिपि कचिदित्यभिधायोत्थितया तया रत्या पुरोऽने क्षिती पुरुषस्याकृतिरिवाकृतिर्यस्य तत्पुरुषाकृति केवलमेकं हरकोपानलभस्म ददृशे दृष्टम् । न तु पुरुष इति भावः॥ By her who had risen, having uttered [ the words ] oh my] lord of life, are you alive?", was seen on the ground in front (a heap of ] mere ashes of the fire of the wrath of Hara, with a form similar to that of ) a man.-3. अथ सा पुनरेव विद्वला वसुधालिङ्गनधूसरस्तनी।। विललाप विकर्णिमूर्धजा समदुःखामिव कुर्वती स्थलीम् ॥ ४ ॥ अधेनि ॥ अथ भस्मदर्शनानन्तरं पुनरेव विद्धला विश्लवा यमुधालिनधू. सम्तनी घमुधालिगनेन क्षितिलुण्टनेन धुरारी धूमरवर्ण स्तनी कुनी यस्याः सा ताजा । 'स्यातायोरस नादरांयोगोपधात् ' इति धीम् । विकोणमूर्धना विकीर्णा विक्षिप्ता मूर्धजाः केशा यस्याः सा तयांना सा रतिः स्थली यनंभू- तनाथ, nancasi .

·सगः। कुमारसंभवम् । मिम् । तत्रत्यान्याणिन इत्यर्थः । 'जानपदकुण्डगोणस्थल-' इत्यादिना हो । । समदुम्बा स्वतुल्यशोकां कुर्वतीव विललाप परिदेवितवती । 'विलापः परिदेव नम्' इत्यमरः॥ She then, distressed once again, bemoaned ( her lord's loss), with her breasts dusty on account of rolling about on the ground (vasudhalingana) with her hair disshevelled, [ and ] making the [ entire forest-] site possessed of an equal amount of grief, as it were.-4. उपमानमभूद्विलासिनां करणं यत्तय कौन्तिमत्तया। तदिदं गतमीदृशीं दशां न विदीर्य कठिनाः खलु त्रियः ॥५॥ उपेति ॥ तव यत्करणं गायम् । 'करणं साधकतमं क्षेत्रगानेन्द्रियेप्वपि' इत्यमरः । कान्तिमत्तया सौन्दर्यण हेतुना विलासिना विलमनशीलानाम् । 'यो कालरा-' इत्यादिना पिनुप्रत्ययः । उपमीयते येन तदुपमानमभूत् । तरकरण- मिदमीशी दशामवस्या गतम् । भस्मीभूतमित्यर्थः । तथापि न विदीयं न विदाणां भवामि । कर्तरि लट् । तथाहि । त्रियः कठिनाः रानु । कठिनत्वादविदीयमाण- स्वमित्यर्थः । कारणारकार्यसमर्थनरूपोऽर्थान्तरन्यासः । 'धीरसंचारिणी टिगति- गोपमागिता । स्मितपूर्व तथालापो विलाम इति कीर्तितः ॥ इति ।। "That body (करण) of yours which because of its handsomeness was the standard of comparison for lovely persons (viletinām ), where has it been reduced to this plight (lit., condition ), [ and even so ) I am not torn asunder; to be sure, women are tdugh !-5. 'धनुं मां त्यदधीनजीविनां विनिफीर्य क्षणभिन्नसीहृदः । नलिनी शतसेतुपन्धनो जलसंघात इयासि पियुतः ॥ ६॥ रेति ।। है प्रिय, क्षतगेनुवन्धनो भममेनुरन्धो अलमंपातो अनौपी नलिनी. मिव । जलेकापनीवितामिति शेर. । स्वस्थानजीविता लापमा मान पिनिकीय पत्र मा मिक्षिप्य भनियमांडरः क्षमलनगोहाः मन् । विद्वतः .

·कुमारसंभवम्। चतुर्थः पलायितोऽसि । सेतुसौहृदयोः स्थितिहेतुत्वेन साम्यम् । सुहृदो भावः सौहृदम् । युवादित्वादप्रत्ययः । 'हृदयस्य हल्लेखयदलासैघुइति हृदादेशः । अणि हृद्भावान 'हृद्भगसिन्वन्तै पूर्वपदस्य च' इत्युभयपदद्धिः । हृद्भूतस्याण्विधाने तूभयपद- वृद्धिः स्यात् । यथा सुहृदो भावः । सौहार्दमिति । तदेवाह वामनः-सौहृददौ- ९दशब्दावनणि हद्भावात्' इति ॥ "Where indeed have you who have broken in a moment [ the tie of ] affection, bolted off, having abandoned (vinikirya ) me who am dependent for my [ very J life on you, like a mass of water that has destroyed the construction of the dam ( that held it under check so far, and that runs away ], having left off the lotus--plant?-6 शतवानसि विप्रियं न मे प्रतिकृलं न च ते मया कृतम् । किमकारणमेव दर्शनं विलपन्त्यै रतये न दीयते ॥ ७॥ 'तेति ॥ हे प्रिय, त्वं मे मम विप्रियमप्रियं कृतवान्नासि । मया च ते तव प्रतिकूलमप्रियं न कृतम् । अकारणं निष्कारणमेव । परस्परापकाररूपकारणाभावेs- पीत्यर्थः । क्रियाविशेषणमेतत् । विलपन्त्यै । त्वदर्शनार्थिन्या अपीति भावः । रतये कि कयं दर्शनं न दीयते । क्रियाग्रहणाचतुर्थी । "You have not done [ anything ] disagreeable to me, nor has ( anything ) unfavourable to you been done by mes why [ then ], even when there is no cause, is your sight not granted to Rati, [ who is ] lamenting? 7 विप्रियमाशइते... स्मरसि स्मर मेखलागुणैरुत गोत्रस्खलितेषु यन्धनम् ।। व्युतफेसरदूषितेक्षणान्यवतंसोत्पलताडनानि या ॥ ८ ॥ स्मरमीति ॥ हे स्मर, गोवस्तालिनेषु नामव्यत्यारौषु । 'गोमं नाम्न्ययले पुले' इति विश्वः । भेगलागुगर्वन्धनं स्मरस्युत स्मरसि था! "विकलो किं किमुत च' इत्यमरः । व्युत केसरभ्रंटकिशकपिते क्षण ये तान्यवतंसो. .

·सर्ग । कुमारमभवम् । स्पलताडनानि । सधूलिक्षेपत्ताडनानीत्यर्थ । स्मरसि वा । अपकारस्मरणादि- दमदर्शनमिति भाव ॥ you remember, oh Cupid, the binding [ you were subjected to at my hands ) by the strings of the girdle on the occasions of [ your ) blundering in [ uttering ) the names ? [or, do you remember ) beatings by the lotus [ used as an ) ear-ornament, wherein your eyes were soiled (दृषित ) by the filaments which dropped down?-8 • हृदये यसतीति मत्प्रिय यदवोचस्तदवैमि केतवम् । उपचारपदं न चेदिद त्वमनहः कथमक्षता रतिः ॥ ९॥ हृदय इनि ॥ हृदये वससीति स्मरवाक्यानुवाद । इत्येवरूप मस्त्रिय यद योच उक्तवानसि । ब्रूनो उछि 'वच उम्' इत्युमागम । तत्केतवमवैमि मिथ्येति मन्ये । इद वचनमुपचारपद परम्य रचनार्थ यदसत्यभाषण स उप चारतस्य पद स्थानम् । कैतवस्थानमिति यावत् । न चेत्त्वमनमोऽशरीर । क्थ रतिरक्षताविनष्टा । आश्रयनाशेऽप्याश्रितमविनष्टमिति विरोधादिति भाव ॥ “That I know to be a bit of your ] roguery, what you said [and] was agreeable to me 'viz. you dwell in my heart'lf this were not a formal utterance ( upachirapada) how [ is it, that ] you are devoid of your body and still ] Rarı [ continues to be ) uninjured 7-9 न च मे कश्चिद्विचार किंतु रोक शोच्यत इत्याह- परलोकनयमवासिनः प्रतिपत्स्ये पदधीमह तव । विधिना जैन ऍष चञ्चितस्त्वदधीनं पलु देहिना सुसम् ॥ १० ॥ परलोकेति ॥ परलोक प्रति नवनवासिनोऽचिरप्रोपितस्य । अनेनानुगम नकालानतिपात सूच्यते । तव परवी मार्ग प्रतिपस्ये । वामनुगमिष्यामी खर्थ । अतो मे नास्ति विचार इति भार । किंतु विधिना देवेनैप जनो लोको दचित प्रतारित । देहिना मुख त्वदधीन त्वय्यधीन सलु । अधिश- 4 J ५ ·a new असति त्वयि वारुणीमदः प्रमदानामधुना विडम्बना ॥ १२॥ कुमारसंभवम् । चतुर्थः ब्दस्य शौण्डादिकत्वात् 'सप्तमी शौण्डेः' इति समासः । 'अध्युत्तरपदात्' इति खप्रत्ययः । एवमन्यत्रापि । सुखप्रदाभावे कुतः मुखमिति भावः ।। "I shall step on to the track ( padavi) of you, who are (or recent, nava ) traveller to the other world. By Fate is this person here [ that is, am ! here ], duped. Depending on you is the happiness of the embodied beings [or, alternatively, lines 3 and 4: 'This world of the living, ( ayam janob) has been duped by Fate ( in that it has been deprived of you ); on you depends the happiness. of the embodied beings ]'--10 तदेवाह- रजनीतिमिरावगुण्ठिते पुरमार्गे घनशब्दविलयाः। वसतिं प्रिय कामिनी प्रियास्त्वहते. प्रापयितुं क ईश्वरों ॥ ११ ॥ रजनीति ॥ हे प्रिय, रजनीतिमिरेणावगुण्ठित आवृते पुरमार्गे धनशब्द- विलवा गर्जितभीता. प्रियाः कामिना वसतिं प्रापयितुं त्वदृते त्वां विना । 'अन्यारादितरते-' इत्यादिना पञ्चमी । क ईश्वरः शक्तः । न कश्चिदित्यर्थः । न हि कामान्धानां भीतिरस्तीति भावः ॥ "Who, excepting you, oh dear, is able to lead (lit., to cause to reach) to the abode of [ their ] lovers, the beloved damsels, distressed at the rumbling of clouds, while the street in the city is enveloped in the darkness of the night?-11 Rollintarad Gi-cucrust नयनान्यरुणानि घूर्णयन्वचनानि स्खलयन्पदे पदे ।।... envelopes connot ۔۱۰ नयनानीति ॥ अरुणानि नयनानि घूर्णयन्ध्रमयन् । तथा पदे पदे प्रति- पदम् । वीसायां द्विरक्ति । वचनानि स्खलयन्विपर्यासयन्प्रमदानां वारुणीगदो मद्यमदोऽपुना त्वग्न्यसति विडम्बनानुकृतिमानम् । मदनामावे मदत्य ६ ·सर्गः। कुमारसंभवम् । निष्फलत्वादिति भावः । तया च शिशुपालवधे-'तां मदो दयितसंगमभूषः' (१०।३३) इति ॥ "The intoxication of proud young ] ladies due to wine, making their reddish eyes roll about, causing their utterances to falter at every step, is now, when you are not there, a [mere ] ridicule for a pointless imitation].-12. १ अवगम्यं कथोकतं वपुः प्रिययन्धोस्तव निष्फलोदयः बहुलेऽपि गते निशाकरस्त तां दुःखमन मोक्ष्यति ।। १३ ।। ... अवगम्येति ॥ हे अनङ्ग अशरीर, प्रियवन्धोः प्रियससस्यः तव वपुः शरीरं कथाकृतमकथा कथा संपद्यमानं कृतं शब्दमात्रावशिष्टमवगम्य ज्ञात्या निष्फलो- दयः । उद्दीप्याभावादुद्दीपनवैफल्यमिति भावः । निशाकरश्चन्द्रो बहुले कृष्णपक्ष गतेऽपि तनुता कार्य दुःखं यथा तथा कृच्छ्रान्मोश्यति । युथा वृद्धिरिति दुःखयिष्यत इत्यर्थः ॥ " Having known the body of you who hold your friends dear (or who are dear to your friends ] to be reduced to [the state of being the object of mere ] stories, oh limbless one, the moon [lit., maker of night ), with his Caccording to Sanskrit idiom, though her would be expected in the English rendering ] rising [ now all ] in vain, will give up his thinness with great difficulty, even after the dark fortnight has elapsed.-13. हरितारुणचामबन्धनः कलपुंस्कोकिलशब्दसूचितः। यद संप्रति कस्य वाणतां नयचूतप्रसयो गमिष्यति ॥१४॥ हरितेति ॥ हरितं चारुणं च । 'वों वर्णन' इति तत्पुरुषः । हरितारणं चाह बन्धनं धृन्तं पुरय यस्य स तथोक्तः । कलेन मधुरेण पुंस्कोकिलशब्दन पुरुषकोकिलनादेन सूचितोऽनुमापितच । चूनचर्वणवार्यत्वात्कलशब्दस्येति भावः । 'नवचूतप्रसवो नवचूतकुममं संप्रति कस्य यागर्ता शरत्वं गमिष्यति वद । अन्यस्य पुषवाणस्याभावादिति भावः ॥ ७ ·का . कुमारसंभवम् । चतुर्थः "Say, to the state of [ being ] whose arrow, will now go the fresh mango.sprout, with its stalk (also punningly, the feathered end of the arrow 1, charming as it is green and reddish [ and ) indicated by the sweet notes of the male Kokila bird ?-14, भलिपङ्किरनेकशस्त्वया गुणकृत्ये धनुपो नियोजिता । विस्तैः करुणस्वनैरियं गुरुशोकामनुरोदिनीव माम् ॥ १५ ॥ भलीति ॥ त्वयानेकशी बहुशो धनुषः कामुकस्य गुणकृत्ये मौर्वीकार्ये गुण. वत्कर्मणि च नियोजिताधिकृतेयमलिपतिः करुणस्वनैर्दीनस्वनैर्विरतैः कूजितगुरुशौका दुर्भरदुःखाम् । 'गुरुस्तु गीप्पती श्रेष्ठ गुरौ पितरि दुर्भरे' इति शब्दार्णवः । मामनुरोदितीव । उपसर्गात्सकर्मकत्वम् । 'हदादिभ्यः सार्वधातुके' इतीहागमः ॥ "The row of bees more than once appointed by you to the duty of [being] the string of your bow is, here (iya. ), as though lamenting with me whose grief is heavy, with its hummings, possessed of piteous notes.--15. प्रतिपद्य मनोहरं वपुः पुनरप्यादिश तावदुत्थितः । रतिदूतिपदेपु कोकिलां मधुरालापनिसर्गपण्डिताम् ॥ १६ ॥ प्रतिपयेति ॥ तावत्पुनरपि मनोहरं वपुः शरीरं प्रतिपद्य प्राप्योत्थितः सन् । मधुरालापेषु प्रियोक्तिषु निसर्गपण्डितां स्वभावप्रगल्भो कोकिलो रतिदूतिपदेषु सुरतदूतीस्थानेप्यादिशाशापय । प्रगल्भानामेव दौत्साधिकार इति भावः डबिन्तस्यापि दूतीशब्दस्य छन्दोभन्नभयाध्दस्व. । 'अपि मापं मपं कुर्याच्छन्दोमझे त्यजेतिरम्' इति केचिन् । 'उणादयो बहुलम्' इति बहुलप्रहणादिस इति वालगः ॥ “ Assuming ( your ) attractive form again, and rising up. [ do you ) just order the female Kokila, adept by nature [ lit., naturally learned, nisargapandita ] in Ethe art of uttering ] sweet notes, to the offices (पदेषु) of female messengers in love [-matters]-16, - ८ ·सर्गः। 4 कुमारसंभवम् । शिरसा प्रणिपत्य याचितान्युपगूढानि सवेपथूनि च । सुरतानि च तानि तेरहः स्मर संस्मृत्य न शान्तिरस्ति मे ॥१७॥ शिरसेति ॥ हे स्मर, शिरसा प्रणिपत्य याचितानि सवेपथूनि सकम्पानि । 'द्वितोऽथुच्' इत्यथुप्रत्ययः । साविकान्तरोपलक्षणमेतन् । 'लम्भप्रलयरोमायाः खेदो वैवर्ण्यवेपथ । अश्रुवैखर्यमित्यष्टौ सात्विकाः परिकीर्तिताः । इति । उपगूढान्यालिगनानि च । नपुंसके मावे कः । तान्यनुभूतप्रकाराणि रह एकान्ते सुरतानि च संस्मृत्य मे शान्तिनास्ति । अत्र समानककत्वं दुर्घटं समानक्रिया- पेक्षास्तीति केचित् ॥ Having recalled [ to my mind ] those entreaties (lit., beggings) with prostration followed by bent head (शिरसा प्रणिपल) those embracings accompanied by tremor [ or better, those embracings accompanied by tremor, begged of by you, with prostration followed by bent head ] and those amorous sports of yours, in private, oh Smara, there is no peace for me.-17 रचितं रतिपण्डित त्वया स्वयमङ्गेषु ममेदमार्तवम् । धियते कुसुमप्रसाधनं तच तयार वपुर्न दृश्यते ॥१८॥ रचितमिति ॥ है रतिपण्डित रतिकुशल, त्वया ममा२प्ववयवेषु वयं रचितम् । ऋतुरम्य प्राप्त आर्तवं वासन्तम् । 'ऋतौरण' इत्यण्प्रत्ययः । कुमुमप्रसाधनं पुष्पाभरणमिदं प्रियतेऽवतिष्ठते । 'धृन् अवस्थाने' इति धातोस्तौदादिकाकर्तरि लन् । तव तत्प्रसाधकं चारु सुन्दरं वपुस्तु न दृश्यते ॥ Here, oh learned in love, is being borne the seasonal decoration of flowers arranged on my limbs personally by you; that handsome form of yours ( however, ) is not [ to be ] seen !-18 वियुधैरसि यस्य दारणैरसमाते परिकर्मणि स्मृतः ।। तमिम कुरु दक्षिणेतर चरणं निर्मितरागमेदि मे ॥ १९ ॥ V ९ ·कुमारसंभवम् । चतुः विबुधैरिति ॥ दाणै. करैः । प्राणान्तिके कर्मणि नियोगादिति भावः । विबुधैर्देवैः । अनभिज्ञत्वं च ध्वन्यते । यस्य मचरणस्य परिकर्मणि प्रसाधने । 'परिकर्म प्रसाधनम्' इत्यमरः । असमाते सति स्मृतोऽसि तमिमं दक्षिणेतर वामं मे चरणं निर्मितरा रचितलाक्षारागं कुर्वेदागच्छ । "Comel and ] make this [ lit., other than the right ] left foot of mine, [one] with its dying completed [lit., produced], this [ foot ], while yet the decoration of whichrwas incomplete, you were remembered by the cruel gods.-19. 1. अहमेत्य पतङ्गवर्मना पुनरङ्काशयिणी भवामि ते । चतुरैः सुरकामिनीजनैः प्रिय यावन्न विलोभ्यसे दिवि ॥ २० ॥ अहमिति ॥ अहं पतावम॑ना शलभमार्गेण । अमिप्रवेशेनेत्यर्थः । 'पतङ्गः शलभे चामो माजोरेऽ शरे सगे' इति वैजयन्ती । एत्यागत्य पुनस्तेऽवाश्रयि- ण्युत्सङ्गवर्तिनी भकामि संप्रत्येव भविष्यामि । 'वर्तमानसामीप्ये वर्तमानवद्वा' इति लट् । हे प्रिय, दिवि स्वर्गे चतुरैः सुरकामिनीजनैरप्सरोगणैर्यावन विलोभ्यसे विलोभयिष्यसे । 'यावत्पुरानिपातयोलेट्' इति लट् ॥ "Coming by the path of [ that is, laid down by ] the moth, I shall be [ one ] resorting to your.lap again, oh dear, so long as you are not lured [ away] by the skilled hosts (janaja)of the celestial damsels in heaven.----20 मदनेन विनाकृता रतिः क्षणमात्रं किल जीवितेति मे। वचनीयमिदं व्यवस्थितं रमण त्वामनुयामि यद्यपि ॥ २९ ॥ मदनेनेति ॥ हे रमण, त्वामनुयामि यद्य यनुगमिष्याम्येव । 'वर्तमानसामीप्ये वर्तमानवद्वा' इति लट् । 'यद्यपीत्यवधारणे' इति केशवः । किंतु रतिर्मदनेन विनाकृता । वियोजिता सतीत्यर्थः । सुप्सुपेति समासः । क्षणमानं जीविता किलेतीदं वचनीयं निन्दा मे मम व्यवस्थित स्थिरमभूत् ॥ “Rati, berefølt of Madana, they say (Lila ), lived I may be, just ] for a moment," this censure in regard to me, has ·सर्गः। कुमारसंभवम् । got itself firmly established, oh sweet, though, to be sure (yadyapi) 1 [shall) follow you (in death, immediately). 21. मियतां कथमन्त्यमण्डन परलोकान्तरितस्य ते मया। सममेव गतोऽस्थतर्कितां गतिमनेन च जीवितेन च ॥ २२ ॥ नियतामिति ॥ परलोकेऽन्तरितस्य व्यवहितस्य । मृतस्येत्यर्थः । ते तव मयान्त्यमण्डनं कथं केन प्रकारेण क्रियताम् । क्रियतामित्यत्र कामचारे लोट योध्यः । द्रुतदग्धम्य ते यथेच्छमण्डनमपि न संभवतीलर्थः । कुतः । अनेन च जीवितेन च समं सदैवातर्कितामविचारितां गतिं गतोऽसि । इह मृतशरीरमपि नास्ति फस्य मण्डनमिति भावः ॥ "How can the last decoration [i.e. funeral rites ) of you screened from me by the other world, be effected by me? [For,] with your body and life simultaneously, you have reached a state ( sati, lit., course ), never before imagined.--22. कजुतां नयतः स्मरामि ते शरमुत्सनिषण्णधन्वनः । मधुना सद सस्मितां कयां नयनोपालयिलोकितं च यत् ॥२३॥ मुतामिनि ॥ शरएजुतामा नयत उत्पने निषण्णमगतं धनुयंस्य तस्य । 'नुपरयनगदेशः । ते तव यधुना वगन्तेन सह । 'मधुले यमन्ते च चोच' इति विश्वः । सम्मिनां कयामाला तथा यायनोपान्तवि. स्पोरिनमपारवीक्षगम् । तश्यनुराः । तग स्मरामि ॥ "[ Well do ) I remember the conversation, accompanied by a smile with Madhu [ Spring ], and that which int) I was a ) glance through the corner of the eye of you. with the how resting in your las, as you were straightening [lit.. Icading to the condition of being straighi ) the arrow.-23. " ·कुमारसंभवम् । चतुर्थः कनु ते हृदयंगमः सखा कुसुमायोजितकार्मुको मधुः। न खलूग्ररुपा पिनाकिना गमितः सोऽपि सुहृद्गतां गतिम् ॥२४॥ वेति ॥ हृदयं गच्छतीति हृदयंगमो हृद्यः । खप्रकरणे 'गर्मः मुप्युपसंख्या- नम्' इति सच्प्रत्ययः । 'अदिपदजन्तस्य मुम्' इति मुमागमः । ते तव ससा कुमुमैरायोजितमारचितं कामुक येन कामुकनिर्माता मधुर्वसन्तः क्व नु कया । गत इति शेषः । अथवा सोऽप्युमपा तीवकोपेण पिनाकिनेश्वरेण सुहृदा मदनेन गतां प्राप्तां गतिम् । भस्मतामित्यर्थः । न गमितः खलु न प्रापितः किम् । 'जिज्ञासानुनये सल' इत्यमरः ॥ "Where indeed is your bosom-friend, Madhu, who fashioned [ your ] bow with flowers? May I know ( khalu ), whether he too has not been made by the possessor of Pinrka [Lord Sankara] of fierce anger, to reach the state undergone by his friend?"-24 अथ तैः परिदेविताक्षरैहृदये दिग्धशरैरिवादतः । रतिमभ्युपपत्तुमातुरां मधुरात्मानमदर्शयत्पुरः ॥२५॥ भति ॥ अथ तैः परिदेविताक्षरैर्विलापवचनैर्हृदये दिग्धशरैपिलिप्तमुखैः शररिवाहतः सन् । 'विपाक्ते दिग्धलिप्तको' इत्यमरः । मधुर्वसन्त आनुरामापना रतिमभ्युपपत्तुमनुग्रहीतुम् । आश्वासयितुमित्यर्थः । 'अभ्युपपत्तिरनुप्रहः' इत्य. मरः । आत्मानं पुरोऽदर्शयत् । आविरभूदित्यर्थः ॥ Then Vasarita struck at heart by those words [lit., syllables] of lainentation, as though by arrows smeared with poison (dighdhaih) showed himself up in front, to console the distressed Rati.--25. तमवेक्ष्य रुरोद सा भृशं स्तनसंयाधमुरो जघान च । स्वजनस्य हि दुःखमग्रतो विवृतद्वारमियोपजायते ॥२६॥ तमिति ॥ सा रतिस्तं मधुमवेक्ष्य दृष्ट्वा भृशं रोद । स्तनौ संबाध्य स्तनसं. बाधम् । 'परिक्लिश्यमाने च' इति णमुल । उरो जघान ताडितवती च । .

·सर्गः। कुमारसंभवम् । तथाहि । स्वजनस्याग्रतो दुःखं विश्रुतमपसारितं द्वारं कपाटं यस्य तदिवोपजायत , आविर्भवति । उच्चालं प्रवतंत इत्युत्प्रेक्षाभिप्रायः ॥ On seeing him, she wept excessively (bhrio'um ) and beat her bosom, [ thereby ) having pained her breasts (stanatambadham ). As is well known (bi), grief in the presence of one's relatives becomes as though [that] which has its doors thrown open.-26 इति चैनमुवाच दुःखिता सुहृदः पश्य वसन्त किं स्थितम् । तदिदं फणशो विकीर्यते पवनैर्भस्म कपोतकर्युरम् ।। २७ ।। हतीति ॥ दुःखमस्या. संजातं दुःखिता । संजातदुःखेत्यर्थः । तारकादित्वा- दितच् । सा रतिरेनं वसन्तमित्युवाच च । चकारः, पूर्वोक्तसमुचयार्थ. । हे वसन्त, पश्य मुहृदस्त्वत्सगस्य किं स्थितं किमुपस्थितं तदिदं कपोतकर्युर पारा. यतशवलं कणशभूर्णीभूतम् । अल्पायांच्यस्प्रत्ययः । भम्म पवनैर्विकीर्यते विक्षि- प्यते । पश्य मम्मीभूतस्तै मुदित्यर्थ. ॥ And thus did the afflicted [ Rati ] speak to this [Vasanta] "See, oh Vasanta, what has remained of [your ) friend I' Those ashes here, variegated (karburam ) like a pigeon are being scattered about in particles by breezes (of wind ]."-27 मयि संप्रति देहि दर्शनं स्मर पर्युत्सुक एप माधयः । दयितास्वनयस्थितं नृणां न मल प्रेम चलं मुहजने ॥२८॥ भीति ॥ अयि म्मर, संप्रति दर्शनं देहि । एष माधवो पसन्तः पयु. रमुकरत्वदर्शनोत्कण्ठितः । त्वामप्यनाइलवतोऽम्य को माधव इत्याशपाह-- नुणो पुस्पा दयितामु प्रेमानपस्थितमम्धिरम् । चलमिलयं । मुद्दबने प्रेम तुन चलं मलु । "Ah ! vouchsafe your sight [ at least ] now : oh Smara, here this Madhava is all eager (Purpuluk. ) ( 10 see you ).

·कुमारसंभवम् । चतुर्थः The allection of men, not ( quite ) firm towards their beloveds, is indeed not fickle towards their ( male ] friends.-28. ईदृशाः सुहृदः कति न सन्तीसाशदुध न कोऽपीत्याह--- भमुना ननु पार्धयर्तिना जगदाशां ससुरासुरं तय । विसतन्तुगुणस्य कारितं धनुषः पेलवपुप्पपत्रिणः ॥ २९ ॥ 'अमुनेति ॥ ननु मदन, पार्श्ववर्तिना सहवरेणामुना वसन्तेन समुरासुरं मुरासुरसहितं जगद्विसतन्तुगुणस्य मृणालमूत्रमौर्वीकस्य पेलवानि कोमलानि पुष्पाण्येव पत्रिणो याणा यस्य तस्य तव धनुष आज्ञा कारितम् । जगदाज्ञा कारितेत्यर्थः । 'हकोरन्यतरस्याम्' इति जगतः कर्मत्वम् ॥ "Indeed, by this one standing by your side, the world along with the gods and the demons, was caused to carry out ( küritam ) the command of your bow, with tender flowers for its arrows and fibres of lotus-stalks as its string.-29. गत एव न ते निवर्तते स सखा दीप इवानिलाहतः। अहमस्य दशेय पश्य मामविपशव्यसनेन धूमिताम् ॥ ३० ॥ गत इति ॥ स ते सखानिलाहत्तो वायुताडितो दीप इव गत एव न निवर्तते । अहमस्य दीपायमानस्य दशा वर्तिरिव । तिष्टामीति शेषः । 'दशा वर्ताववस्थायां वखान्ते स्युर्दशा अपि' इति विश्वः । कुनः । अविषह्यव्यसनेन सोलुमशक्यदुःखप्रकर्षण धूमिता संजातधूमां मां पश्य । धूमवत्त्वान्नष्टदीप- दशासाम्यं धूमच व्यसनमेवेत्यर्थः ॥ " Definitely (eva ) gone is that friend of yours. Like a lamp struck by [a gale of ] wind, he does not return. 1 [am ] like the wick of this [ lamp ]. Look at me [ made ] smoky by the unbearable calamity [ owing to my lord's departure to theyonder world ].--30.

·andy कुमारसंभवम् । चतुर्थः कर्तव्यश्चायमर्थः स्त्रीणामित्याह, शशिना सह याति कौमुदी सह मेयेन तडित्पलीयते । प्रमदाः पतिवम॑गा इति प्रतिपन्नं हि विचेतनैरपि ॥३३॥ शशिनेति ॥ कौमुदी चन्द्रिका शशिना सह याति । शशिन्यम्तमिते स्वयं नश्यतीत्यर्थः । तडित्सौदामिनी मैपेन सह प्रलीयते प्रणश्यति । कर्तरि लट् । प्रमदाः स्त्रियः पतिवर्म गच्छन्तीति पतिवस्मंगाः पतिमार्गानुगामिन्य इत्येतद्विचे- तनैः । अविवेकिभिरपीत्यर्थः । नाथस्तु 'पृथग्जनेः' इति पपाठ । प्रतिपनं ज्ञातम् । अलवणा यवागू:' 'अनुदरा कन्या' इतिवदल्पत्वाभिप्रायेण विवेतनर- पीति निर्देशः । पतिवम॑गा इत्यत्र स्मृतिः-'आतति मुदिते हृष्टा प्रोषिते मलिना कृशा । मृते म्रियेत या पत्यौ सा स्त्री ज्ञेया पतिव्रता ॥' इति ॥ With the moon goes the moonlight; with the cloud is the lightening dissolved. That ladies follow the path of their husbands is really (hi), 'understood by even the insentient.-33. अमुनैव कपायितस्तनी सुभगेन प्रियगाभस्मना । नवपल्लवसंस्तरे यथा रचयिष्यामि तनुं विभावसौ ॥३४॥ अमुनेति ॥ अमुना पुरोवर्तिना सुभगेन शोभनेन प्रियगानभस्मनैव । एवकारो मण्डनान्तरनिवृत्त्ययः । कपायितस्तनी रजितस्तनी । 'रागे क्वाये कपायोऽस्त्री निर्यासे सौरभे रसे' इति वैजयन्ती । नवपल्लवसंस्तो यथा नवपल्लवतल्प इव विभावसौ वह्नौ तनुं शरीरं रचयिष्यामि निधास्यामीत्यर्थः । "With breasts decorated by these fine (subhaga ) ashes. of the body of my dear ( husband ), I shall place my body on the fire, as on a bed of fresh sprouts. 34. कुसुमास्तरणे सहायतां यहुशः सौम्य गतस्त्वमावयोः । कुर संप्रति तायदाशु मे प्रणिपाताअलियाचितश्चिताम् ॥ ३५ ॥ कुसुमेति ॥ हे सौम्य साधो, 'त्वमावयो रतिपयवाणयोर्वहुशो बहुवारं कुममास्तरणे पुष्पशयने सहायर्ता गतः । संप्रति प्रणिपाताअलिना याचितः ।

·संगः। . 'कुमारसंभवम् । अनलिपूर्वक प्रार्थितः सन्नित्यर्थः । आशु मे चितां काष्ठचयं कुरु कुरुष्व । यथैह तथागुत्रोपकर्तव्यं मित्रणेत्यर्थः ॥ Many a time have you acted as a helper [ lit., gone to the state of one that helps ), oh gentle one, in the [matter of the ) arrangement of a flower-bed, for us iwo. Do now, requested [ by me) with hands folded as a mark of salutation, quickly arrange the [funeral ] pyre for me.-35. तदनु ज्वलनं मदर्पित स्वरयेर्दक्षिणयानवीजनैः ।।... ५. विदितं सलु ते यथा सरः क्षणमप्युत्सहते न मां विना ॥३६॥ तदन्विनि ॥ तचिताकरणमन्वनन्तरं मध्यति मदर्पितं ज्वलनमामि दक्षिणवा- तवीजनलयमारुतसंचारणेस्त्वरयः त्वरितं ज्वलयेत्यर्थः । त्वराहेतुमाह-ते तय विदितं स । 'मतियुद्धिपूजार्थेभ्यश्च' इति वर्तमाने कः । तद्योगात्कार पटी । यथा येन प्रकारेण म्मरी मां विना क्षणमपि नोत्सहते न हप्यति । तथा स्वया शातमेवेत्यर्थः ॥ 'And after that, hasten [ the burning of ] the frre placed on me by the fannings with the southern breezes. Indeed, to you it is ( well J known that (utba ) Smara does not feel happy (nautahate) even for a moment, without me.-36. इति चापि विधाप दीयतां सलिलस्यालिरेफ एप नी। अविभाज्य परत्र.तं मया सहितः पास्यति तेस घान्धयः ॥३७॥ नीनि ॥ अपि चेत्येवं विधाय इत्या नावावाभ्यामक एव गलिलम्याननिदी- यताम् । तमप्रति ते बान्धवः गा म्मरः परन परलोके मया गहिती भग्य पाचति ॥ * Furthermore (dha api) having done this (iu), let just A cavity.ful of water by given us. That friend of yours, ·v कुमारसंभवम् । चतुर्थः 'in the other world, without dividing [ into twain as his share and niy-share-], will drink, that (very water ), along with me (mayā sabitab )-37. पिरलोकविधौ च माधय स्मरमुद्दिश्य विलोलपल्लयाः। नियपेः सहकारमञ्जरीः प्रियंचूतप्रसवो हि ते सखा ॥ ३८ ॥ 'परलोकेति ॥ किंच हे माधव वसन्त, परलोकविधी पिण्डोदकादिकर्मणि स्मरमुद्दिश्य विलोलाः पल्ल्या यांमु ताः सहकारमअरीथूतवारीनिवपैदेहि । हि यस्मात्कारणात्ते सखा स्मरः प्रियाभूतप्रसवा यस्य स तथोक्तः ॥ "And in rites with regard to the other world, you will offer (as libation, lit., or as a funeral offering ), oh Madhava, mango-blossoms with their sprouts waving (vilolapallavāh). For, your friend [is one ] who holds dear Call ) mango-produce. "_-38. इति देहविमुक्तये स्थितां रतिमाकाशभया सरस्वती। शफरीं ह्रदशोपविक्लयां प्रथमा वृधिरियान्वकम्पयत् ॥ ३९ ।। इतीति ॥ इति.देहस्य विमुक्तये शरीरस्य विसर्गाय स्थिताम् । कृतनिश्चया- मिति यावत् । रतिमाकाशभवा सरखत्यशरीरा वाग्नदशोपविलवा इदस्य जलाधारस्य शोषण विक्लवां शफरी प्रौष्ठीम् । 'प्रौष्टी तु शफरी द्वयोः' इत्य- मरः । प्रथमा वृष्टिर्वमिवान्वकम्पयदनुकम्पितवती सदयमुवाचेत्यर्थः । 'कृपा दयानुकम्पा स्यात्' इत्यमरः ।। A voice (rising ) from the sky, took pity on.Rati, (who ) thus stood [ prepared ] for the abandonment of her body, like the first shower [ of rain, after summer, taking pity on] a female Shaphara [a varity of fish ], distressed by the drying up of the pond [ she inhabits ].-39. - कुसुमायुधपनि दुर्लभस्तव भर्ता न विराद्भविष्यति । शृणु येन स कर्मणा गतः शलभत्वं हरलोचनार्चिपि ॥ ४० ॥ . १८ ·सर्गः। Lin" कुमारसंभवम् । कुसुमेति ॥ हे कुमुमायुधपनि रते, तब भर्ता चिराचिरं दुर्लभो न भविष्यति । किंत्वविरमेव सुलभो भविष्यतीत्यर्थः । किंच शुषु । तत्कर्मति शेषः । येन कर्मणा स ते भर्ता हरलोचनम्यार्चिाला । 'ज्वाला भासो न पुंस्यचिः' इत्यमरः । तम्मिश्शलभत्वं पतङ्गत्वं गतः । 'समी पतगशलभी' इत्यमरः ॥ "[ Oh ] spouse of [ the ] flower-weaponed [ god ], your husband will not be difficult to be secured, for_you, long. Listen to (that) act by which he was reduced to lit., went to the condition of a moth, in the flame ( archis) from Sankara's eye.-40 तदेव कर्मोपाचटे- अभिलापमुदीरितेन्द्रियः स्वसुतायामफरोत्प्रजापतिः। अथ तेन निगृह्य विक्रियामभिशप्तः फलमेतदन्वभूत् ॥४१॥ अभिलापति ।। उदीरितेन्द्रियः प्रेरितोन्द्रियः । म्मरेणेति शेपः । प्रजापति- व्रया स्वमुतार्या सरम्बन्याममिलापमनुरागमकरोत् । अथ तेन प्रजापतिना विकियामिन्द्रियविकारं निगृध निरुध्याभिशप्तः सन् । एतत्फलं दाहात्मकं स्वकर्म- फलमन्यभूत् ॥ The Lord of Creatures [ i. e. Brahma ). with his I sexual ] sense impelled (udirits) [ by Madana ] enter. tained a [ far from natural ) longing towards his own daughter. And [ subsequently ] cursed by him, on having controlled the abnormal activity. ( vikriya) (of his senses),- this ( one i. e. Mladana ), experienced this fruit. -41. शापावधिरपि तेनैवोक्त इत्साह कद्वयेन- १. परिणेप्यति पार्यती यदा तपसा तत्मपणीरतो हरः । उपलब्धसुरास्तदा स्मरं पपुषा स्वेन नियोजयिप्पति ॥४२॥ " ·कुमारसंभवम् । चतुर्थः इति चाह स धर्मयाचितः स्मरशापावधिदां सरस्वतीम् । अशनेरमृतस्य चोभयोर्वशिनश्वाम्बुधराश्च योनयः ॥४३॥ परिणेप्यतीति । इतीति च ।। धर्मेण धर्माख्यप्रजापतिना याचितः प्रार्थितः स भगवान्ब्रह्मा । तपसा कारणेन तस्यो पार्वत्यो प्रवणीकृतोऽभिमुसीकृतो हरः शिवो यदा पार्वती परिणेध्यत्युद्वक्ष्यति तदोपलब्धगुखः प्राप्तानन्दः सन् । सरं फार्म सेन वपुषा नियोजयिष्यति संगमयिष्यति । इत्येवं म्मरशापस्यावधिदाम- वसानदायिनी सरस्वती वाचं चाह । एवं शापावधिमप्युक्तवानित्यर्थः । ननु तथा कुदस्य कथमीदृशी शान्तिरत आह-वशिनो जितेन्द्रियाश्वाम्बुधराश्वाशनेर- मृतस्य चेत्युभयोोनयः प्रभवाः । वशिपक्षेऽशन्यमृतशब्दो कोपप्रसादपरी । अन्यत्र वैद्युताप्युदकपरी । युग्मकम् ॥ "When Hara will marry Parvati, [ being ) made to incline favourably towards her by the austerities [ she will practise ], ( then, lada) [ after ] having secured "happiness [ arising out of love or generally speaking ], [ he ] -i. e. Sankara ], will cause him to be endowed with [lit. united with ] his body [ again ]. And - thus (iucha) he uttered the speech, giving the limit (avadhi) of the curse on Madans, being besged of [ to do so ] by. Dharma [ A Creator ). Of both as'ani (anger and thunderboit and amrita favour and water ], the selto controlled ones (sal'inah ) and the clouds [lit., holders of water ] are sources --42 & 43. तदिदं परिरक्ष शोभने भयितव्यप्रियसंगर्म यपुः । रविपीतजला तपासये पुनरोधेन हि युज्यते नदी॥४४॥ तदिनि ॥ हे शोमने, हत्तम्मात्कारणाषितम्मो भविष्यन्त्रिपरांगमा यस्य तत्तयोक्तमिदं यपुः परिरक्ष । तथाहि । रविपीतमला नदी तपायये प्रारपि । "प्रारद सात्यये' इति दायुभः । पुनरोधेन प्राहेण गुज्यने गंगा ॥ Preserve well, therefore (tot), oh food lady, this body of yours, with its union with the dear one ) destined 1.

·सर्गा कुमारसंभवम् । ( bhavitavya) [ie. sure ] to take place. For, a river with the water evaporated [ lit., drunk in ) by the sun, is united again with the stream (or current ), at the end of Summer [ lit. heat ].-44" इत्थं रतेः किमपि भूतमदृश्यरूपं Lime. मुन्दीचकार मरणव्यवसायवुद्धिम् । तत्प्रत्ययाच कुसुमायुधवन्धुरेना- माश्वासयत्सुचरितार्थपदैर्वचोभिः ॥ ४५ ॥ इस्थमिति ॥ इत्थमनेन प्रकारेणादृश्यरूपं किमपि भूतं कश्चित्प्राणी । 'युक्त क्षमादायते भूतं प्राण्यतीते समे त्रियु' इत्यमरः । रतेमदनदाराणां मरण- व्यवसाययुद्धि मरणोद्योगवुद्धि मन्दीचकार । निवारयामासेत्यर्थः । 'मूढाल्पा- पटुनिर्भाग्या मन्दाः' इत्यमरः । अथ कुसुमायुधबन्धुर्वसन्तश्च तत्प्रत्ययात्तम्मि- न्भूते विश्वासान् । 'प्रत्ययोऽधीनशपथज्ञानविश्वासहेतुपु' इत्यमरः । एनो रति मुष्ट चरितार्थानि पदानि येषां तैर्वचोभिर्वात्यैराश्वासयत् । सर्वथा ते देवता- प्रसादानियसंगमो भविष्यतीत्यादिवचनैरस्या दुःखमपाचकारेत्यर्थः ॥. Some indescribable being, of an invisible form, thus slackened [ lit. made dull ) the thought (buddhi) of the act (vyavasāga ) of death ( inflicted on oneself ) of Rati. And owing to his confidence in that being ), the friend of the flower-weaponed [ god ) comforted this one, i. e. Rati] by utterances (vachobbub ) the words in which had their meaning well carried out.-45 अथ मदनयधूरुपष्टवान्तं व्यसनराशा परिपालयांयभूय । शशिन व दिवातनस्य लेखा किरणपरिक्षयधूसरा प्रदोषम्॥४६॥ अधेति ।। अथानन्तरं व्यसनेन दुःसेन कृशा मदनवधू रतिरुपलवान्तं विप.. दधि किरणपरिक्षयेण धूसरा मलिना दिवातनस्य दिनभवस्य । 'सायंचिरम्' इत्यादिना रघुप्रत्ययः । शशिनयन्दस्य लेसा प्रदोष रात्रिमिव परिपालयायभूव . २१

·कुमारसंभवम् ।
प्रतीक्षाचके । पुष्पिताप्रावृत्तम्-'अयुजि नयुगरेफतो यकारो युजि च नजी
जरगाव पुष्पिताप्रा' इति लक्षणात् ॥
The wife of Madana, emaciated with grief, awaited the
end of her calamity ( upaplava ) like the digit of the moon by
day, dusty on account of an all round reduction (aftara)
of rays, [ awaiting the arrival of ] the fore-part of
the night.-46."
इति श्रीमन्महामहोपाध्यायकोलाचलमलिनाथसूरिविरचितया संजीविनी-
समाख्यया व्याख्यया समेतः श्रीकालिदासकती कुमारसंभवे
महाकाव्ये रतिविलापो नाम चतुर्थः सर्गः।
4

·" पञ्चमः सर्गः। तथा समक्षं दहता मनोभवं पिनाकिना भन्नमनोरथा सती। निनिन्द रूपं हृदयेन पार्वती प्रियेषु सौभाग्यफला हि चाफ्ता ॥१॥ तथेनि । पर्वतम्यापत्यं स्त्री पार्वती तथा तेन प्रकारेणाक्ष्णोः समीपे समक्ष पुरतः । 'अव्ययं विभक्तिरामीपसमृद्धि-' इत्यादिनाध्ययीभावः । मनोमवं मन्मयं दहता . भस्मीकुर्वता पिनाकिनेश्वरेण भमः सण्डितो मनोरयोऽमिलापो यस्याः सा तथोक्ता सती हृदयेन मनसा रूपं सौन्दर्य निनिन्द । धिो रूपं यद्धरमनोहरणाय नालमिति गर्हितवतीत्यर्थः । युक्तं चैतदित्याह-तथाहि । चारुता सौन्दर्य प्रियेषु पतिपु विषये सौभाग्यं प्रियवाद.भ्यं फलं यस्याः सा तथोक्ता । सौन्दर्यस्य तदेव फलं यद्भ→सीमाग्यं लभ्यते । नो चेतिफलं तदिति भावः । अस्मिन्सनें घंशस्थ एनम्-'जती नु वंशस्यमुदीरितं जरी' इति लक्षणात्। Parvati being ( sati) [ one ] with her cherished desires frustrated by the possessor of the Pināka (i.e. god Sankara), thus burning the mind-born [Kima] before [ her very ) eyes, found fault with [ lit., blamed, censured ] her beauty (rūpa ) in her mind; for charm ( lit., the state of being charming, cbārutā ] has good luck [or success with the beloved as its fruit.-1. 'इयेप सा कर्तुमयन्ध्यरुपतां समाधिमास्थाय तपोभिरात्मनः। अवाप्यते या फथमन्यथा दुर्य तथाविधं प्रेम पतिश्च तादृशः ॥२॥ इयेपेति ॥ सा पार्वती समाधिमेशप्रतामारथायावलम्ब्य तपोभिर्वश्यमाण- नियमः करणभूतगमन: मत्यावन्ध्यरूपता सफलसोन्दर्य कमियोच्छति स्म । तपमा शिवं शोकमरीत्यर्थः । अन्यथा ततोऽन्यप्रकारेग कयं पातयम- पाप्यते । किं तवयम् । तयाभूता विधा प्रकारो यम्य समयाविध प्रेम प्रेदः येनार्धारदरा हरस्प भवेदिति भावः । तारसः पनिध । यो मृत्युंजय दत

·कुमारसंभवम् ।
पंचमः
भावः । द्वयमेव खल स्त्रीणामपेक्षितं यद्भर्तृवालभ्यं जीवदर्तृकत्वं चेति । तय
तपयकसाध्यमिति निश्चिकायेत्यर्थः । अत्र मनुः—'यदुष्करं यदुरापं यदुर्ग यच
दुस्तरम् । तत्सर्व तपसा प्राप्यं तपो हि दुरतिक्रमम् ॥ इति ॥
She desired to accomplish (kartum) [ in ] her own
[case ], the state of having beauty [ that was ] not
[ altogether ] fruitless, by austerities, after having resorted sy
to (anthāya) the concentration of her mental powers,
tamādhi ], or how is the pair secured otherwise [ viz.,-]
love of that[ noble ] kind, and a husband of that distinction
[ lit., of that type ] ?--2.
निशम्य चैनां तपसे कृतोद्यमा सुतां गिरीशप्रतिसक्तमानसाम् ।.
उवाचमेनापरिरभ्य वक्षसा नियारयन्ती महतो मुनियतात् ॥३॥
निराम्येति ॥ मेना मेनका च गिरीशप्रतिरक्तमानसो दरासपापितां तपसे
तपश्चरणाय कृतोद्यमां कृतोद्योग सुर्ता निशम्य श्रुर्वना पार्वती वक्षसा परिरभ्या.
लिजय महतो भुनियतात्तासो निवारयन्त्युवाच । मुनिप्रतादित्य यषि मुनिमतम्य
मेनकाया अनीप्सितत्वात् 'वारणायांनामीसितः' इति नापादानस्य तथापि
कृतोद्यमामिति मानसप्रवेशोकत्वात् 'ध्रुवमपायेऽपादानम्' इत्यपादानत्यमेव स्यात् ।
यथाह भाप्यकार:--'यथ मिथ्या संप्राप्य निवर्तते तग धुमपायेगदानमिति
प्रसिद्धम्' इति ।
Having learnt about [ lit., heard ] her daughter, who had
her mind firmly attached to the lord of mountain i.c.)
Sankara, ( and ) who had started her efforts for (practising]
penance, Mena ( Përvati's mother ) embracing her close to
( lit., by ) her bosom, ( with the purpose of ) disuading
her from the rigorous (mabatad ) vow of an ascetic,
said-3.
सामान्यनिषेधगुस्त्या विदोषनिषेधमाह-
मन पिताः सन्ति देपु देयतास्तपः परसे पच तायकेयपुः ।
• पदं सहेत भ्रमरस्य पेटयं शिरीषपुर्ण न पुनः पतन्त्रिणः ॥ ४॥

·सर्गः। कुमारसंभवम् । मनीपिता इति ॥ हे वत्से, मनस ईपिता इष्टा मनीषिताः । शकन्ध्यादि. स्वात्साधुः । देवताः शच्यादयो गृहेषु सन्ति । त्वं ता आराधयेति शेषः । तपः क तवेदं तावकम् । 'युष्मदस्मदोरन्यतरस्यां सञ्च' इत्यप्रत्ययः । 'तवक- ममकावेकवचने' इति तवकादेशः । वपुश्च क्व । तथाहि । पेलवं मृदुलं शिरीष पुष्प भ्रमरस्य भृगस्य पदं पदस्थिति सहेत । पतत्रिणः पुनः पक्षिणस्तु पदं न सहेत । अतिसीकुमार्यादिव्योपभोगयोग्यं ते वपुर्न दारुणतपःक्षममित्यर्थः । अत्र दृष्टान्तालंकारः ।।. "In the house, there ) are (santi) deities desired by the mind Or with 'मनीपितायार्च' as the reading, Worship the deities at home for (the obtainment of ) the mind's desire ]. Dear child, where [is ] penance and where this [ frail ] body of yours? The delicate, शिरीष flower, may bear the foot of a bee, but not certainly [ lit., again punah ] .that of a winged being [i.e.a bird]."-4 इति ध्रुवेच्छामनुशासतीसुतां शशांक मेना न नियन्तुमुद्यमात् । फ ईप्सितार्थस्थिरनिश्चयं मनः पयश्च निम्नाभिमुखं प्रतीपयेत् ॥५॥ इतीति ॥ इत्येवमनुशासत्युपदिशन्ती मेना ध्रुवेच्छा स्थिरव्यवसायां सुना पावंतीमुद्यमादुद्योगात्तपोलक्षणान्नियन्तुं निवारयितुं न शशाक समर्था नाभून् । तथाहि । ईप्सितार्थ इष्टार्थे स्थिरनिश्चयं मनो निम्नाभिमुखं पयश्च कः प्रतीपयेत्प्र- तिकूलयेत् । प्रतिनिवर्तयेदित्यर्थः । निम्नप्रवर्ण पय इवेष्टार्थाभिनिविष्ट मनी दुर्वारमिति भावः । अत्र दीपकानुप्राणितोयान्तरन्यासालंकारः ॥ Menaka. thus instructing her daughter of a firm desire, was not able to keep [ lit:, restrain, control ] her from her undertaking [ or resolve ]. Who would cause to run in the opposite direction (pratipayet ), the mind with its resolve firm in regard to the object that is desired, and water flowing in the direction of a lower level 2-5 २५ ·कुमारसंभवम् । पंचमः कदाचिदालनसखीमुखेन सा मनोरथझं पितरं मनस्विनी। अयाचतारण्यनिवासमात्मनः फलोदयान्ताय तपासमाधये ॥६॥ कदाचिदिति ॥ अथ कदाचिन्मनस्विनी स्थिरचित्ता सा पार्वती मनोरथज्ञम- भिलाषाभि पितरं हिमवन्तमासन्नसख्याप्तसखी सैव मुखमुपायः । 'मुखं निःस- रणे वक्त्रे प्रारम्भोपाययोरपि' इति विश्वः । तेन फलोदयः फलोत्पत्तिरन्तोऽवधि- र्यस्य तस्मै 'तपःसमाधये तपोनियमार्थमात्मनः स्वस्यारण्यनिवासं वनवासमया- चत । 'दुह्यान्-' इत्यादिना द्विकर्मकत्वम् ॥ Once; that spirited (manasvini) [ Parvati ], begged of her father who was aware of [ her ] heart's desire, [ permi. ssion for ] her (atmanah ) residence in the forest, for concentration of mental powers ] for penance with the winning (udaya, lit., rise) of the fruit as its end, through the medium [ lit. the mouth ] of her female friend who stood] close by-6. अथानुरूपाभिनिवेशतोपिणा कृताभ्यनुज्ञा गुरुणा गरीयसा। प्रजासु पश्चात्प्रथितं तदाख्यया जगाम गौरी शिखरं शिखण्डिमत्॥७ अयेति ॥ अर्थ गोर्यनुरूपेण योग्येनाभिनिवेशनाप्रहेण नुष्यतीति तथोक्तन गरीयसा पूज्यतमेन गुरुणा पित्रा कृताभ्यनुज्ञा तपः कुर्विति कृतानुमतिः सती पश्चात्तपःसिद्धपुत्तरकालं प्रजासु जनेषु तदाख्यया तस्या गीर्याः संशया प्रथितम् । गौरीशिखरामिति प्रसिद्धमित्यर्थः । शिसण्डिमत् । न तु हिंसप्राणिप्रत्रमिति भावः । शिरारं गृहं जगाम ययौ ॥ Then, with the permission granted by the noble (eariyan) father, having gratification at [ her ] firm attachment to a worthy [ Anurūpa person, as her husband'], Gauri went to the peak, teeming with peacocks, celebrated later among men ( prajāvu ) after her name ( akhya )( as Gauris'ikhara, Gauri's Peak ).-7.

·सर्गः। कुमारसंभवम् । विमुच्य सा हारमहार्यनिश्चया विलोलयष्टिमविलुप्तचन्दनम्। बबन्ध बालारुणय वल्कलं पयोधरोत्सेधविशीर्णसंहति ॥ ८॥ . विमुच्येति ॥ अहार्यनिश्रयानिवार्यनिश्चया सा गौरी विलोलाभिश्चलाभियं- शिभिः प्रतिसरैः प्रमुष्टं चन्दनं स्तनान्तरगतं येन तं तथोक्त हारं मुचावली विमुच्य विहाय बालारुणयभ्र बालार्कपिङ्गलं पयोधरयोः स्तनयोरुत्सेधेनौच्छायण विशीर्णा विघटिता संइतिरक्यवसंश्यो यस्य तसयोक्तं वल्कलं कण्ठलम्बि स्तनोत- रीयभूतं ववन्ध । धारयामासेत्सर्थः ॥ She, with a resolve not to be shaken, having taken off ( vimucby.) her ) necklace, that caused the sandal paste ( applied to her breasts ) to be rubbed away by its unsteady (vilola ) strings, tied a bark ( Garment ), tawny (babhru ) like the young sun, with its contact (with the ] body (amhati ) loosened (विशर्णि lit., shattered ) by the protuberance of [ her ] breasts.--8. यथा प्रसिद्धर्मधुरं शिरोरुहेर्जटामिरप्येयमभूत्तदाननम् । न घट्पदश्रेणिभिरेव पङ्कजं सशैवलासङ्गमपि प्रकाशते ॥९॥ यथेति ॥ तस्या देव्या आननं तदाननं प्रसिदभूषितः । भूपिनी' इत्यमरः । रोहन्तीति उदाः । 'इगुपधशाप्रीकिरः कः' इति. कप्रत्ययः । शिरसि हहाम्नैः शिरोरुहेर्यथा मधुरं प्रियमभूत् । 'स्था- दुप्रियी तु मधुरी' इत्यमरः । जटाभिरप्येवं मधुरमभूत् । तथाहि पदर्ज पानं पट्पदणिभिधमरपतिभिरेव न किंतु सह शैवलासरेन सौवलासनमपि । 'तेन सदेति गुल्ययोगे' इति यहुव्रीहिः । प्रकाशते । शैवलेनापि शोमत एवेत्यर्थः ॥ The face of that [ Parvati ] was as much (ram) sweet with the matted hair, as (gatha ) with the hair well decorated (pruddbe). A lotus appears beautiful [lit. shines brightly ] not only with the rows of bees, bur. cven (when it is) associated with moss clinging [ro it).-9. प्रसिद्धी ख्यात- . २० ·कुमारसंभवम् । पंचमः प्रतिक्षणं सा कृतरोमविक्रियां व्रताय मौजी त्रिगुणां वभार याम् । अकारि तत्पूर्वनिवद्धया तो सरागमस्या रशनागुणास्पदम् ॥१०॥ प्रतीति ॥ सा देवी प्रतिक्षणं क्षणे क्षणे कृतरोमविक्रिया पारध्यात्कृतरोमायां त्रिगुण निरावृत्तां यां मौजी मुझमयी मेखलो व्रताय तपसे वभार । तदेव पूर्व प्रथमं यस्य तत्पूर्व यथा तथा निबद्ध्या तया मौऽयात्या देव्या रशना- गुणस्यास्पदं स्थानं जपनम् । सह रागेण सरागं सलोहितमकारि कृतम् । सीकुमार्यातिशयादिति भावः ॥ The string of munja grass with three threads [in it ), which she wore for [ carrying out ] the vow, [ and ] which made a change [ in the normal state ] of her hair.[i.e. caused her to experience horripilation ) every moment, by thate string ] worn [ lit., bound ] for that (tat ) the ( very ) first time (pūrva ), the seat of the strings of [ her ] girdle, was made' red [ lit., associated with redness].-10. "विसएरागादधरानिवर्तितः स्तनारागारणिताच कन्दुकात् । कुशाकुरादानपरिक्षतालिः कृतोऽक्षसूत्रप्रणयी तया करः ॥११॥ विसृष्टेति ॥ तया देव्या: विमटरागात्त्यक्तलाक्षारसरजनादधरादधरोधानिव- तितः । 'निसृष्टरागात् इति पाठे नितरां त्यकलाक्षारागान् । रागल्यागेन निष्प्रयोजनस्वादिति भावः । तथा तनाइरागेगारणितादगीरलान् । पतनसमये तस्य स्तनयोरुपरोधादिति भावः 1 कन्दुकाय निवर्तितः । कुसाकुरामामादानेन सवनेन परिक्षता मणिता अगुलयो यस्य स सयोक्तः करः पाणिरसस्त्रप्रणयक्ष- मालाराहचरः मृतः ।। By her, her hand turned away from the lower lip, which had given up [ its ) redness (the result of painting with the lacdye], [ And ] from the ball [rendered] reddish भाग) on account of the unguent of the breasts L'with which it came into contact), with its fingers . २८ ·सगः। कुमारसंभयम्। severely (pari) pricked because of the plucking of Kus'a grass, was made a lover of rosary beads [i.e. was kept busy counting the beads of the rosary ).--11. : महाईशय्यापरिवर्तनच्युतैः स्वकेशपुप्पैरपि या स्म दूयते। यंशेत सा याहुलतोपधायिनी निषेदुपी स्थण्डिल एय केवले ॥१२॥ महाहेति ॥ महानही मूल्यं यस्याः सा महार्हा श्रेष्टा या शय्या तम्या परिवर्तनेन लुण्ठनेन च्युतैर्धरैः स्वकेशपुष्पैरपि या देवी दूयते स्म क्लिदयनि म्म । पुष्पाधिकसीकुमायांदिति भावः.। सा देवी याहुलतामुपधत्त उपधानी- करोतीति बाहुलतोपधायिनी सती केवले संस्तरणरहिते स्थण्डिले भूमावेवाशेत शयितवती । तया निषेदुप्युपविष्टा च । 'कमुथ' इति नमुः । 'उगितच' इति छोप् । भूमावेव शयनादिव्यवहारो न जातूपरीत्यर्थः ॥ She who used to be pained even by the flowers from her ( own sva) hair, dropped by [ reason of ] rollings on the costly bed, [ now ] sat [ literally, sitting ] [ and ] slept on just [ era ] bare (kevale ) ground (thandila) with the creeper-like arm as [her ) pillow.--12: पुनर्ग्रहीतुं नियमस्थया तया दयेऽपि निक्षेप इयार्पित द्वयम् ।। लतासु तन्वीपु विलासोटितं बिलोलदृष्टं हरिणागनासु च ॥१३॥ पुनरिति ॥ नियमस्थया प्रतस्थया तया देय्या द्वयेऽपि द्वयं पुनर्ग्रहीतुं पुनरानेतुं निशेपोऽर्पितमिव निक्षेपरपेनानित किमु । चिन् 'दयीपु' इति प्रामादिकः पाठः । पुत्र दये कि दयनिमित्याह-तन्वीपु स्ता लिाग एव चेष्टितं विलासचेटिनं हरिणानागु विलोलदष्टं चालावलौतिं च मतस्यायो तसा तयोरदर्शनानादिषु दर्शनागातिमिवेत्युन्प्रेक्षा न तु वस्तु. तोऽगमगीनि भाव. ॥ By her abiding by (stbe) the row (nigama), was Entrusted f lit. given ] the rair [ of things] to the rair [of beings]. as a derosit (निर्सर)[with the intention] . २९ ·. कुमारसंभवम् । पंचमः to take back (1) movements full of grace (विलासचेष्टितम् ) to the creepers and (2) trenulous glances (विलालदृष्टम् ) to the female deer. 13. अतन्द्रिता सा स्वयमेव वृक्षकान्घटस्तनप्रस्रवणैर्व्यवर्धयत् । गुहोऽपियेषां प्रथमाप्तजन्मनां न पुत्रवात्सल्यमपाकरिष्यति ॥१४॥ अतन्द्रितेति ॥ सा देवी खयमेवातन्द्रितासंजाततन्द्रा सती । तारका- दित्वादितच्प्रत्ययः । वृक्षकान्सल्पवृक्षान् । 'अल्पे, इत्यल्पार्थे कप्रत्ययः । पटावेव स्तनौ तयोः प्रस्रवणैः प्रमतपयोभियंवर्धयत् । गुहः फुमारोऽपि प्रथमा- मजन्मना प्रथमलब्धजन्मनाम् । अप्रजातानामित्यर्थः । येषां वृक्षकाणां संबन्धि पुत्रवात्सल्यं मुतप्रेम नापाकरिष्यति । उत्तरत्र कुमारोदयेऽपि न तेषु पुतवात्सल्यं निवर्तिध्यत इत्यर्थः ॥ She, [ ever ] vigilant [ lit., not slack, standrita ], herself reared by pourings [ of milk in the form of water ) from breasts in the form of pitchers, the young trees, [her] affection as for her sons (putravatsalyam ) for whom the first born [ones ), even Guha [ Skanda or Kärtikeya ] would not be able to ) set aside.-14. अरण्ययीजाञ्जलिदानलालितास्तथा च तस्यां हरिणा विशश्वसुः । यथा तदीयैर्नयनैः कुतूहलारपुरः सखीनाममिमीत लोचने ॥१५॥ भरण्येति ॥ अरण्यवीजाना नीवारादीनामालयस्वेषां दानेन ललिता हरिणाच तस्यां देयो तथा विशवमुर्वियम्भं जग्मुः। 'समी वियम्भविधासी' इत्यमरः । यंपा कुतूहलादीमुक्यात्तदीय हरिणसंरधिभिनयनः करणः । वकीये लोचने ससीनां पुरः पुरतः । अनेन तेरो संवन्धराहत्यमुषम् । अमिमीत । अक्षिपरिमाणतारतम्यमानाय मानं , चकारेत्यर्थः । परितु सा पाती तदीयैः कुतूहलारपुरोऽप्रे वर्तमानानां सीना सोचने अमिमीत मतस्थ- रवानात्मन इत्याहुः । 'माइ माने' इलम्मादातोल । इयमेव गड विधागाय परा फाटा यदकिपीउनेऽपि न शुभ्यन्तीति भावः ॥

·सर्गः। १५ish T कुमारसंभवम् । And the deer fondled by the giving of cavity-luis (Anjali) of forest grown) seeds, trusted her to such an extent (tatha ) that (yathi) she measured the eyes of her fenrale friends standing Jin front ( purak ), with those of theirs [i, e. deer's, Jout of curiousity [alternatively, she measured her ( own) eyes with those of the deer, in the presence of her female friends, out of curiousity].-15 . तपःप्रभावमाह- कृताभिषेका हुतजातवेदसं त्वगुत्तरासगवतीमधीतिनीम् । दिलवस्तामृपयोऽभ्युपांगमन्न धर्मयुद्धेषु ययः समीक्ष्यते ॥ १६ ॥ कृति ॥ कृताभिपेको पृतनाना हुतजातवेदस हुतामिकाम् । नहोमामि. स्वः । त्वचा पल्कलेनोसरासरवतीमुतरीयक्ती स्वात्तरासगवतीम् । अधीत- मस्या अस्तीत्यधीतिनी स्तुतिपाठादिकुर्वतीम् । 'इत्यादिभ्यम' इतीनिप्रत्ययः । ना देवा दिदृक्षको द्रष्टुमिच्छव ऋपयो मुनयोऽभ्युपागमनगमुपागताः । न चात्र कनिष्टसेवादोष इलाह-~धर्म लघु वयो न समाश्यते न प्रमाणीक्रियते । सति धर्मज्येष्टये ययोज्यष्टयं न प्रयोजमिस्वर्थः । तथा च मनु:-'न तेन वृद्धो भयनि येनास्य पलितं शिरः । यो वा युवाप्यधीयानन्तं देवाः म्बीवरं विदुः ॥ इति ।। Sages approached t her ). being desirous of secing her (tim) who used to have taken her bath ( अभिषेक) [ likewise ) to have offered oblations ) to fire (jälaredat ), possessed of the burk as her upper garnient [ and who used to be ] reciting the sacred texts ( additinóm ). In regard to those that are senior (vriddha, lit., old ) in (rerformance of ] sacred dury, i dharma ). age is $10$ taken into account [at all.-16 विरोधिसत्योतिशतपूर्वमत्सरं मैराटप्रसपार्यितातिथि। नपोटमाभ्यन्तरसंभृतानलं तपोपन तय यभूय पापनम् ॥१७॥ विरोधानि धिमिः गलगोन्यानादिभिरनितर्वमय बनान- मेरम् । हिसारहितमित्यर्थः । दुरभीरनगयेनेमोनायिका पिता अनिएको ·पंचम : . कुमारसंभवम् । यस्मिस्तत्तयोक्तम् । नवानामुटजानां पर्णशालानामभ्यन्तरेषु संभृताः संचिता अनला अमयो यसिंतत्तथोकं तब तपोवनम् ! पावयतीति पावनं बभूव । अहिंसातिथिसत्कारामिपरिचर्याभिजगत्पावनं वभूवेत्यर्थः ॥ That penance grove, where the previous jealousy was given up by animals (rattva ) antagonistic Eto each other), where guests were honoured with the desired produce ( Prinara ) [ such as flowers etc.] by the trees, where fire was well preserved [ lit., collected ] inside a new [-ly erected ] cottage became [ endowed } the with purifying [quality].-17 यदा फलं पूर्वतपःसमाधिना न तावता लभ्यममंस्त काशितम् । तदानपेक्ष्य स्वशरीरमार्दवं तपो महत्सा चरितुं प्रचक्रमे ॥ १८॥ यदेति ॥ सा देवी यदा यस्मिन्काले तावता तावत्प्रमाणेन पूर्वतपःसमाधिना पूर्वेगानुष्ठीयमानप्रकारेण तपोनियमेन काहितं फलं लभ्यं, लब्धुं शक्य नामस्त । अशक्यममंतेत्यर्थः । तदा तत्काले । अबिलम्बनेसर्थः । बशरीरस्प मार्दवं मृदुत्वं सौकुमार्यमनपेक्ष्याविगणय्य महहुधरं तमश्चरितुं साधयितुं प्रचक्रम उपचक्रमे । When she considered the desired fruit (as) not obtainable with that much [távala ) previous concentration [of mental powers] for [ the practising of ] penance, (then. tada) disregarding the delicacy (mardaram) of her (ovn) body, she started practising great [er] austerities [still.]--18 लम ययौ फन्दुकलीलयापि या तया मुनीनां चरितं व्यगाहात । धुवं यपुः काञ्चनपनानिमितं मृदु प्रकृत्या च ससारमेव च ॥१९॥ सममिति ॥ मा देवी कन्दुकलीलया फन्नुकत्रोदयापि प्लम यया हानि प्राप तया देव्या मुनीना चरित तीनं तरी म्यान्चत प्रविष्टम् । अनारप्रेक्षते- वृषमस्या यपुः फायनपग्रेन मुवर्णम्मलेन निर्मित घटितम् । अनएप प्रन्या M ·सर्गः। . कुमारसंभवम् । पाखभावेन मृदु च मुकुमारमपि कामनखभावेन ससारं च कदिनमेव । तथा च तदुपादानकत्वाद्देव्या वपुषः सुकुमारस्थापि तीवतपःक्षमत्त्वमित्युत्प्रेक्षार्थः ।। -The activity (cbaritam) of sages [viz., practising penance) was carried out [lit,, fathomed or plunged into, vyagābyata] by her, whol prior to this ] used to be fatigued even on account of the sport with the ball ; surely her ] body, fashioned out of a gold lotus [ was ] by nature [ prakriti ] at once delicate and full of strength [ i. e. tough ).-19. शुचौ चतुर्णा ज्वलतां हविर्भुजां शुचिस्मिता मध्यगता सुमध्यमा । विजित्य नेत्रप्रतिघातिनी प्रभामनन्यदृष्टिः सवितारमैक्षत ॥२०॥ गुचाविति ॥ शुची प्रीष्मै शुचिस्मिता विशदमन्दहासा सुमथ्यमा पार्वती ज्यलता दीक्षिमता चतुर्णा हविर्भुजामामीनां मध्यगता सती । नेने प्रतिद्दन्तीति तो नेत्रप्रनिघातिनी प्रभा गावित्रं तेजो विजित्य न विद्यतेऽन्यत्र दृष्टियस्याः सानन्यदृष्टिः सती सवितारं सूर्यमैक्षत ददर्श । 'प्रीम पानिमध्यस्थो वर्षामु स्थण्डिलेशर' इति स्मरणान् । पचामिमध्ये तपश्चारत्यर्थः । तत्र सवितव पचमोप्रम:--'अमि. सविता सवितवाग्नि.' इति श्रीतलिशात् ॥ During summer (s'uchau ) (she) with a charming [lit., pure ) smile and a slender waist, standing [ lit., gane ) in the midst of four burning fires, having conquered the sun's ) lustre dazzling [ lit., striking against ) the eyes, with [ her] gaze (टि) [ riveted ] on naught else, looked (on) at the sun.--20. तथातितप्तं मचितुर्गभस्तिभिर्मुयं तदीयं कमलधियं दधी। अपायोयलमय दीर्घयोःशनैः शनैःश्यामिकया एतं पदम् ॥२१॥ नयति ॥ सवितुः सूर्यप गभनिमिः किरणम्नया पूर्वानप्रकारेणातित संत तस्या इदं तदीयं भुमं कमलप्रियं कमलस्य शोभा धी प्रार। सपा रविनापारकमतं न म्लापनि प्रत्युत रिकमान तथा तदीयं मुगमागीदिति मात्रः ।

·. कुमारसंभवम् । पंचमः किंत्वस्य मुखस्य दीर्थयोरपाङ्गयोः केवलं नेमान्तयोरेव शनैःशनैर्मन्दमन्दं श्याभिकया कालिना पदं स्थानं कृतम् । तयोः सौकुमार्यादित्यर्थः ॥ The face of that [ Pārvatí), heated excessively in that manner, by the rays of the sun, had the beauty (s'riyam ) of a lotus. In the long corners of the eyes of this [ face ] alone ( kevalam ), a footing was made, by degrees ( s'anaih sanaib ), by the darkness [ of skin or complexion.].-21. अयाचितोपस्थितमम्बु केवलं रसात्मकरयोडुपतेश्च रश्मयः । धभूव तस्याः किल पारणाविधिन वृक्षवृत्तिव्यतिरिक्तसाधनः॥२२॥. अयाचितेति ॥ अयाचितोपस्थितमप्रार्वितोपनतं केवलमम्बूदकं रसात्मकस्या. मृतमयस्योड़ना नक्षत्राणां पतिश्चन्द्रप्तस्य रश्मयश्च तस्याः पार्वत्याः पारणाविधि- रभ्यवहारकर्म बभूव । तावन्मानसाधनकोऽभूदित्यर्थः । साध्यसाधनयोरभेदेन पपदेशः साधनान्तरव्या मृत्त्यर्थः । किलेति प्रसिद्धी । गृक्षाणां या गृत्तिविनो- पायस्तद्वपतिरिक्त साधनमुपायो यस्य रा तथोक्तः पारणाविधिर्न बभूव । वृक्षोऽन्य- याचितोपस्थितेन मेघोदकेनेन्दुकिरणश्च जीवतीति प्रसिद्धम् । अम्बिकापि ताब- न्मात्रमवालम्भतेत्यर्थः ॥ Mere water that became available [lit., came near ] without being asked for and the rays of the lord of constellations (i. e. the moon ] with nectar as his essence [ these tivo ] indeed, became the means ( vidhi ) of the termination [ of the fast, she was observing ), having no means [ of subsistence ] other than [ those of ] the "irees.-22 निकामतप्ता विविधेन यहिना नभधरणेन्धनसंभृतेन सा । नपात्यये धारिभिरक्षिता नयैर्भुवा सहोप्माणममुञ्चदूर्ध्वगम् ॥२३॥ निकामेति ॥ विविधैन पचविधेनेत्यर्थः । नभयरेण गरेण । आदिला. पेणेपर्यः । इन्धनसंमृतेन फाटगमिन यहिना निकाममस्यन्तं समा गाम्पिका.. तपात्यये प्रोमान्ते । प्रापीलर्गः,। नारिभिरक्षिता सिता रानी शुग ३५

·सर्गः।
कुमारसंभवम् ।
पचामितप्तया सहोर्ध्वगमूर्ध्वप्रमतमूप्माणं बाप्पममुग्धत् । 'प्रीमोष्मयाणमूप्माणम्'
इति यादवः ॥
Extremely heated by the manifold fire-by that which
moved in the sky and [ the others ] built up with fuel, she,
sprinkled by fresh waters at the passing away of Summer,
gave forth, [ even ] along with the earth, vapour, going
upwards.-23.
स्थिताः क्षणं पक्षमसु ताडिताधराः पयोधरोत्सेधनिपातचूर्णिताः।
घलीपुतस्याः स्खलिताः प्रपेदिरे चिरेण नाभिं प्रथमोदविन्दवः॥२४॥
स्धिता इति ॥ उदकस्य विन्दव उदविन्दवः । 'मन्यादन-' इत्यादिनोदकशब्द.
म्यादादेशः । प्रथम उदविन्दवः । प्रथमविशेषणादविन्दूना विरलत्वं बहुवचनाना-
तिविरलत्वं च गम्यते । तथा च चिरत्वनाभ्यन्तरगमनयोर्निर्वाहः । तस्याः पा-
त्या पक्ष्ममु नेमलोममु क्षणं स्थिताः स्थिति गताः । स्थिता इत्यनेन पश्मा
सान्द्रत्वं क्षणमिति बैग्ध्यं च गम्यते । अनन्तरं ताडितो व्यथितोऽधर ऑटो
येते तथोक्ताः । एतेनाधरम्य मार्दवं गम्यते । ततः पयोधरयोः स्तनयोरुत्सेध
उपरिभागे निपातन पननेन चूर्णिता जरिताः । कुचकाटिन्यादिति भावः ।
तदनु वलीदररेखामु स्खलिताः । निनोन्नतत्वादिति भावः । इत्यं चिरेण न तु
शीघ्रम् । प्रतियन्धराहुल्यादिति भावः । नाभिं प्रपैदिरे प्रविटा न तु निजग्मुः ।
एतेन नाभेगाम्भीर्य गम्यते । अब प्रतिपदमर्थवत्त्वात्परिकरालंकारः ॥
Drops of the first [ shower of rain- water, which
stood for a while on [ her] eye-lashes, had struck the lower
lip, got themselves shattered into particles by their ] fall
on the protuberance of [ her ] breasts [ and ] stumbled
through the [ three] folds [on her belly ], reached,
after long. her navel.-24.
शिलाशयां तामनिफेतयासिनी निरन्तरास्यन्तरवानपुष्टिषु।
घ्यलोकयन्मिपितैस्तदिन्मयमदानपःसाक्ष्य उपस्थिताःक्षपा॥२५॥

·. 1 * कुमारसंभवम् । पंचमः शिलाशयामिति । निरन्तरासु नीरन्ध्रास्वन्तरे मध्ये वातो यासा तादृश्यो या घृष्टयस्तास्वन्तरवातवृष्टिषु । न निकेते गृहे वसतीत्यनिकैतवासिनीम् । अनावृतदेश. वासिनीमित्यर्थः । शिलायां शेत इति शिलाशयां शिलातलशायिनीम् । अधिकरणे शेतेः' इत्यप्रत्ययः । तां पार्वती साक्षाष्टिा साक्षी । 'साक्षाद्दष्टरि संज्ञायाम्' इतीनिप्रत्ययः तस्य कर्म साक्ष्यं महातपसः राश्ये स्थिताः क्षेपास्तडिन्मयविद्युत् पैरुन्मिपितरवलोकनैर्व्यलोकयनिव । इवेति चक्षुपा विलोकनमेवोत्प्रेक्ष्यते । साक्ष्य तु 'आदित्यचन्द्रावनिलोऽनलश्च योभूमिरापो हृदयं यमश्च । अहश्च रानिश्च उभे च संध्ये धर्मच जानाति गरस्य राम् ।।' इति प्रमाणसिद्धत्वान्नोत्प्रेक्ष्यमित्यनुसंधेयम् ॥ Nights standing witnesses as it were to her great penance, saw her, lying on a slab of ] stone, not staying in a house, [ all] through the ceaseless showers interspersed by winds, by the openings of their eyes (उम्मिपिन ) in the shape of I lit., full of) lightning [ flashes ).-25. एवं वर्षामु विहितं तप.प्रकारमुक्त्वा संप्रति हेमन्ते तपश्चरणप्रकारमाह--- निनाय सात्यन्तहिमोत्किरानिलाः सहस्यरात्रीरुदयासतत्परा। परस्परागन्दिनि चमवाकयोः पुरोवियुक्ते मिथुने कृपायती॥ २६॥ निनायेति ॥ सा पार्वती । उस्किरन्ति विपन्तीत्युस्किरा. । 'इगुपधा-' इत्यादिना कः । अत्यन्तं हिमानामुत्किरा अनिला यामु ता सहस्यरात्री. पीप. रात्रीः। 'पीपे तेपमहस्या द्वी' इत्यमरः । उदके पास उदवाराः । 'पेपंवासवाह. नधिषु च' इत्युदादेशः । उदवारो तत्परा आसत्ता तथा परस्परमाकन्दिन्यन्योन्य- माकोशिनि पुरोऽप्रे वियुक्ते विरहिणि । वियोग प्राप्त इति यावत् । चकवाकी च चकवाका चयाको तयोधवाकयोमिथुने द्वन्द्वे कृपावती राती निनाय । दुःमिषु कृपाइन्वं महतो स्वभाव इति चक्रवाकमिथुने कुरा न तु यानितयेति याच्यानव- काश. । 'अप्सु वासस्तु हेमन्ते क्रमशो वर्धयेत्तपः' इति मनु.॥ She, bent on staying in water, passed the nights of the month of pin, with the winds excessively scattering snow [ being ] full of compassion for the pair of the chakravikas, ·मर्गः। .कुमारसंभवम् । separated [ from each other ] in front [ of her ], piteously (a) crying out for each other.-26. मुखेन सा पद्मसुगन्धिना निशि प्रवेपमानाधरपत्रशोभिना । तुपारवृष्टिक्षतपद्मसंपदा सरोजसंधानमिवाकरोदपाम् ॥ २७ ॥ मुखेनेति ॥ सा पार्वती निशि रानी पद्मवत्मुगन्धिना सुरभिण। 'गन्धस्येन्-' इत्यादिनेकारः । प्रवेपमानः कम्पमानोऽधर ओष्ठ एव पत्रं दलं तेन शोभते तथोक्तेन मुखेन तुपारवृष्टया तुहिनवणक्षता नाशिताः पद्मसंपदो यास तासामा सरोजसंधानं पद्मसंघटनमकरोदिव । इत्यु-प्रेक्षालंकारः । पद्मान्तरं तुहिनेनोपहन्यते तन्मुखपमं तु न तथेति व्यतिरेकालंकारो व्यज्यत इत्युभयो. संकरः॥ She with her face fragrant like a lotus, [ appearing ] charming on account of the excessively ( pra ) throbbing leaf in the form of her ]lower lip, effected, at [ the hour of ] night, the restoration ( sandhānam lit. putting together or putting well ) as it were, of lotuses ( in the case ] of waters, with the wealth of their lotuses destroyed (क्षन).by the shower of snow.-27. स्वयंविशीर्णद्रुमपर्णवृत्तिता परा हि काष्टा तपसस्तया पुनः। तदप्यपाकीर्ण मतः प्रियंवदां यदन्त्यपणेति च पुराविदः ॥२८॥ स्वयमिति ॥ स्वयं विशीर्णानि स्वतश्च्युनानि हमपर्णान्येव गनिनीयनं यम्य तस्य भावम्नत्ता नपमः परा काष्टा परमुत्कों हि । 'काष्टोत्क स्थिती दिशि' इत्यमरः । तया देव्या पुनन्नत्पर्णवर्तनमप्यपाकीर्णमपाहतम् । अतः पापाक. रणाद्धतोः । प्रियं वदनानि प्रियंवदा । 'प्रियवशे वदः गच् ' इति गन्नत्ययः । 'अपिदजन्नस्य मुम्' इति मुमागमः । ता पार्वती पुराविदः पुराणनामारःकरण- समयेऽविद्यमानं पर्णभागं यम्या. सापनि यदन्ति । नामान्तरगमुययार्थधकारः। अन 'अपाम्' इत्यापाठ इतिशब्दाभिहिते द्वितीयानुपपत्तेः । यथाद वामनः- निपातेनाध्यमिहिने धर्मणि न कर्मविमतिः परिगणनस्य प्रायिकत्वान्' इति । म्वयं प्रियंवदाः परेषामरि प्रियवादभाजनानि भवन्तीनि भावः ।। A ·. 4 कुमारसंभवम् । The state of maintaining ( oneself ) on leaves of trees (द्रुमपर्णवृत्तिना) fallen of their own accord ( स्वयंविशीर्ण ) is, undoubtedly (b) the highest limit (2181) of austerities. By her, however (punah), even that was cast away. Hence [ those ] conversant with [ matters of ] old [times], speakof her, of agreeable speech ( Priyamvadim) as अपर्णा [or, alternatively, those conversant with matters of old times (who are themselves priyanvadah) of agreeable speech, call her अपर्णा ].-28 मृणालिकापेलवमेवमादिभिर्वतैः स्वमहं ग्लपयन्त्यहर्निशम् । तपः शरीरै कठिनैरुपार्जितं तपस्विनां दूरमधश्चकार सा ॥२९॥ मृणालिकेति ॥ मृणालिकापेलवं पद्मिनीकन्दकोमलं स्वं स्वकीयम शरीर- मेवमुक्तप्रकारतोयामिमध्यवासयतमादियेपो तैतैरहश्च निशा चाहर्निशम् । समा. हारे द्वन्द्वकवद्भावः । अत्यन्तसंयोगे द्वितीया । ग्लपयन्ती कर्शयन्ती राा पार्वती कठिनः क्लेशसहैरित्यर्थः । शरीररूपार्जितं संपादितं तपस्विनामृपीणां तपो दूरमत्यन्तमश्चकार तिरश्चकार । अतिशिश्य इत्यर्थः । तपखिभिरप्येवं तपः कर्तु न शक्यत इति तात्पर्यार्थः ॥ She, causing to be reduced her own body, delicate like a Small stalk of a lotus, by vows such as this and others (evanradibhih), by day and by night, far (diram) surpa. ssed [ lit., threw down ] the penance of ascetics secured, thanks to [ lit., by their ) tough bodies.--29. अथाजिनापाढधरः प्रगल्भवाग्ज्वलन्निव ब्रह्ममयेन तेजसा । विवेश फश्विजटिलस्तपोवनं शरीरवद्धःप्रथमाधमो यथा ॥३०॥ अथेति ॥ अथानन्तरमजिनं कृष्णमृगत्वा । आषाढः प्रयोजनमस्येत्यापाढः पालाशदण्डः । 'पालाशो दण्ड आपाढः' इत्यमरः । 'विशाखापाडादण्मन्थ. दण्डयोः' इत्याप्रत्ययः । तयोर्धरस्तथोक्तः प्रगल्भवाक्प्रौढवचनो ब्रह्ममयन वैदि. केन तेजसा । ब्रह्मवर्चसेनेत्यर्थः । ज्दलन्निव स्थितः । इदशब्दो निर्धारणार्थः ।

·. A कुमारसंभवम् । पंचमः विधिप्रयुक्तां परिगृह्य सकियां परिश्रमं नाम विनीय च क्षणम् । उमां स पश्यनृजुनैव चक्षुण प्रचक्रमे धक्तमनुज्झितामः ॥ ३२॥ विधीति ॥ स ब्रह्मचारी विधिना प्रयुक्तामनुष्टिता सस्क्रिया पूर्जा परिगृह्य स्वीकृत्य क्षणं परिश्रमं विश्रामं च विनीय नाम । नामेल्यपरमार्थ । अयोमा. मृजुनैव विलासरहितेनैव चक्षुपा पश्यन्ननुज्झितक्रमोऽयत्तोनितपरिपाटीकः सन् । वक्तुं प्रवक्रम पारेभे ॥ Having accepted the honour done (prayukta ) in keeping with the ( i'āstric ] rules (vidhi ), and having feignedly ( nāma ) removed (viniya, lit., led away ) fatigue, for a moment, he looking at Umā with just a straight [i. e. free altogether from gallantry or 'sexual immorality' ) eye, , began speaking, not casting off (anujjbita ) the due decoruin ( kraman),-32.. अपि क्रियाथै सुलभं समित्कुशं जलान्यपि स्नानविधिक्षमाणि ते । अपिस्वशक्त्या तपसि प्रवर्तसे शरीरमाद्यं खलु धर्मसाधनम्॥३३॥ अपीति ॥ अत्रापिशन्दः प्रश्ने । क्रियार्थ होमादिकर्मानुष्ठानार्थम् । समिधच कुशाच समित्कुंशम् । 'जातिरप्राणिनाम्' इति द्वन्दैकवद्भावः । सुलभमपि मुलभं कचित् । जन्मनि ते तव मानविधिक्षमाणि मानक्रियायोग्यान्यपि कचित् । किंच खशक्त्या निजसामथ्यांनुसारेण तपसि प्रवर्तसेऽपि । देहमपीडयित्वा तपश्चरसि कमिदित्यर्थः । युक्तं च नामतत् । खलु यस्माच्छरीरमाद्यं धर्मसाधनम् । धर्मस्तु कायेन वाचा बुद्या धनादिना च बहुभिः साध्यते तेषु च वपुरेख मुख्य साधनं सति देहे धर्मार्थकाममोक्षलक्षणाश्चतुर्वगां साध्यन्ते । अतएव 'सततमात्मानमेव गोपीत' इति श्रुतिः॥ " Are the sacrificiaļ sticks and Kus'a grass *easily obtainable to you? [ Likewise ] are there waters suitable [ATT, lit.. capable of ] for the performance ( vidhi ) of [your] bath ? Are you active in [regard to] your austerities, [ quite ) in accordance with your bodily ) strength ? The . - ·मर्गः। , . कुमारसंभवम् ।। body, is verily (khalu ), the foremost [lit.,.the first ] means for [ the performance of sacred ] duty.-33. अपि त्वदायर्जितवारिसंभृतं प्रवालमासामनुवन्धि वीरधाम् । चिरोज्झितालक्तकपाटलेन ते तुलां यदारोहति दन्तवाससा ॥ ३४ ॥ अपीति ॥ त्वयावजितेन सिक्तेन यारिणा संभृतं जनितमायां वीरा लताना प्रवाल पल्लवमनुवन्ध्यप्यनुस्यूतं किम् । यत्प्रवालं चिरोज्झितश्चिरकालत्यत्तो लाक्षारागो येन तत्तथापि पाटलम् । स्वभावरत्तमित्यर्थः । तेन चिरोज्दिातालक्त- कपाटलेन ते तय दन्तवारासाघरेण । 'ओटाधरी तु रदनच्छदो दशनवाससी' इत्यमरः । तुलां साम्यमारोहति । गच्छतीत्यर्थः । अन तुलाशब्दम्य सादृश्य- वाचित्वात्तयोगेऽपि 'तुल्यार्थरतुलोपमाभ्याम्-' इति न तृतीयाप्रतिषेधस्तत्र सूझे राहशवाचिन एव प्रहणादिति ।। " Are the tender leaves of these creepers, nourished [lit. produced ] by water sprinkled by you, continuous [-ly growing, anubandhi ] [ the leaves ] that attain [lit., mount ] comparison with your lower lip, red [ Pitala ], [ though it has ] since long given up the alaktaka ( lac ) dye?--34. अपि प्रसनं हरिणेपु ते मनः फरस्थदर्भप्रणयापदारपु। य उत्पलाक्षि प्रचलैविलोचनस्तयाक्षिसादृश्यामिव प्रयुसते ॥३५॥ अपानि । फरस्थान्दान्प्रणयेन प्रेहेनापहरन्तीनि ते तोपगु । गापराविति भावः । करस्थदर्भरगयाराधिपु' इति पाठे दाग प्रणयेन प्रार्थनयापगधिपु हरिणेषु विषये ते मन. प्रसममपि न पुभितं किम् । गापरावरि न कोरितम्यं तपस्विनिरिति भावः । हे उत्पलायि, ये हरणाः प्रचलवगविलीच. ननम्तवाक्षिगारश्यं प्रापत वाभिनयन्तीर । प्रगसत्यागगनेनाभि स्वपयनः साम्पमुग्यान्तीति भावः । 'उत्सलोरचल: ' इति पायतर उत्सलामतः । भागानयने ध्यानयनमिति न्यायेन सिप्पमागोन्पलचरित्रयः ।। "Is your mind unagitate ( lit., pleased pruunsam ) in regard to the deer that take away the dobbe i blades ] on r . ११ ·+ कुमारसंभवम् । पंचमः [your hands, in affection (प्रणय) [alternatively, with अपराधिधु as the reading instead of अपहारिषु “Is your mind unagitated in regard to the deer that olíend you, out of their affection [i.e.greed ] for the darbha grass on your hands],--[ these deer ) which, oh lotus-eyed (one), display asimilarity with your eyes," by their eyes that are ] excessively (pra) tremulous?-35. यदुच्यते पार्वति पापवृत्तये न रूपमित्यव्यभिचारि तद्वचः । तथा हि ते शीलमुदारदर्शने तपस्विनामप्युपदेशतां गतम् ॥३६॥ यदिति ॥ हे पार्वति, रूपं सौम्याकृतिः पापवृत्तये पापाचरणाय न भवतीति यदुच्यते । लोकैरिति शेषः । तद्वचो ग व्यभिचरति न स्खलतीत्यन्यभिचारि सत्यम् । ' यत्राकृतित्तम गुणाः न सुरूपाः पापसमाचारा भवन्ति ' इत्यादयो लोकवादा न विसंवादमासादयन्तीत्यर्थः । किमिति ज्ञायते.-तथा हि । हे उदार- दर्शने आयताक्षि । सुरूपे इत्यर्थः । अथवोन्नतज्ञाने । विवेकवतीत्यर्थः । ते तव शीलं सद्वृत्तम् । 'शीलं स्वभावे सदृत्ते' इत्यमरः । तपस्विनामप्युपदिश्यतेऽनेने- त्युपदेशः प्रवर्तकं प्रमाणं तत्तामुपदेशः गतं प्राप्तम् । मुनयोऽपि त्वां वीक्ष्य स्ववृत्ते प्रवर्तन्त इति भावः ॥ " That statement (vachab) which is [ often] made ( ucbyate), oh parvati, that [ excellent ] form is nor for [i. e. does not go hand in hand with, is incompatible with ] sinful behaviour, is absolutely true [lit. is not having a deviation (vyabhichāra ), 'For, oh wide-eyed [one]. your noble conduct has reached the state of being I little less than a regular course of] instruction (upadenata), even to the [ avowed or professional ] ascetics.-36. विकीर्णसप्तर्षिचलिग्रहासिभिस्तथा न गाहैः सलिलैर्दिवच्युतैः। यथा त्वदीयैश्चरितैरनाविलैर्महीधरः पावित एप सान्वयः ॥३७॥ ५२ ·सर्ग:। . कुमारसंभवम् । विकीणति ॥ एप महीधरो हिमवान् । सप्त च ते ऋषयश्च सप्तर्पयः । 'दिक्संख्ये संज्ञायाम्' इति समासः। विकीर्णः पर्यस्तैः सप्तर्षीणां संवन्धिभिर्वलिभिः पुष्पोपहारः प्रहसन्ति ये तथोलैर्दिवोऽन्तरिक्षाच्युताः सलिलस्तथा न पावितः । अनाविलरकलुपैस्त्वदीयैश्चरितैर्यथा सान्वयः सपुत्रपौत्रः पावितः पवित्रीकृतः ।। "This mountain [ Himalaya ] along with the [entire] line [ of ancestors ] has not been sanctified to the same extent (athi) by the waters of the Ganges, dropped down from heaven, [ and ] smiling brightly ( prahinibhih ) with the worship-material [ such as flowers etc] of [i.e, offerd hy ) the seven sages which gets itself scattered about (farami), to which (-yatha ) [the mountain is sancti fied ] by your pure activities.---37. अनेन धर्मः सविशेषमद्य मे त्रिवर्गसारः प्रतिभाति भाविनि । त्वया मनोनिर्विषयाकामया यदेक एव प्रतिगृह्य सेव्यते ॥३८॥ भनेनेति ॥ हे भाविनि प्रशस्ताभिप्राये, अनेन कारणैन धर्मः सविशेष साति. शयमय मे । प्रयाणां धर्मकामार्थांना वर्गस्त्रिवर्गः । 'त्रिवर्गो धर्मकामार्थचतुर्वर्गः समोक्षकः' इत्यमरः । तत्र सारः श्रेष्ठः प्रतिभाति । यद्यस्मात्कारणान्मनसो निर्विपयावर्थकामी यस्याम्वया त्वयैको धर्म एव प्रतिगृह्य स्वीकृत्य सेव्यते । यत्वयार्थकामी विहाय धर्म एवावलम्बितः । अतः सर्वथा नः रा धेयानिति प्रतिपद्यत इत्यर्थः॥ Oh [ lady ] of excellent thoughts [ bhivini or with bhimini, oh fortunate lady ] [ the performance of sacred ] duty appears to me, [to be especially (मविगेपम् ) best of the group of three [ Dharma, Artha and Kami ], to day, by. [ reason of this I fact ), that (yal ), by you with a mind that has Artha [ winning of wealth and Köma [ satisfaction of the carnal desire ), deprived of their objects Charitat ) { in other words, without any the least scope), only one (viz., Dharma), having been accepted, is being followed ( kryet. ).--38.

·. कुमारसंभवम्। पंचमः संप्रति मनोरथं जिनामुः प्रस्ताति- प्रयुक्तसत्कारविशेषमात्मना न मां परं संप्रतिपत्तुमर्हसि । nale. यतः सतां संनतगामि संगतं मनीपिभिः साप्तपदीनमुच्यते ॥३९॥ प्रयुक्तति ॥ आत्मना त्वया प्रयुक्तः कृतः सरकारविशेषः पूजातिशयो यस्य तं मां परगन्यं संप्रतिपत्तमवगन्तुं नार्हसि । हे संनतगानि संनतानि । ' अनगात्र- कण्ठेभ्यः' इति वक्तव्यान्टीप् । यतः कारणान्मनस इंपिभिर्मनीषिभिद्विद्भिः । शकन्ध्यादित्वासाधुः । सतां संगतं. सख्यं सप्तभिः पदैरापद्यत इति साप्तपदीन सप्तपदोचारणसाभ्यमुच्यते ! तबावयोस्त्वत्कृतसत्कारप्रयोगादेव सिद्धमित्यर्थः । 'साप्तपदीनं सख्यम्' इति निपातनात्साधु ।। "It does not bephve you ( na arbasi ) to takeme ( samprali paltum) to whom an excellent welcome has been offered, [ to be a ] stranger t peram], in so far as, oh [ you ) with drooping timbs, the friendship Tlit., coming together ] of the good, is by the learned declared to be [.one ] that is formed by [ an exchange of ] seven words.-39. अतोऽत्र किंचिद्भवती बहुक्षमा द्विजातिभायादुपपन्नचापलः । अयं जनः प्रष्टुमनास्तपोधने न चेद्रहस्यं प्रतिवक्तुमर्हसि ॥ ४० ॥ अत इति ॥ हे तपोधने, अतः सख्याद्धेतौरन प्रस्ताव बहुक्षमाम् । यहूक्तिस- हाम् यद्वा क्षमावतीम्। भवती त्यो द्विजातिभावादब्राह्मणत्वादुपपन्नचापलः सुलभ- धाष्टोऽयं जनः । स्वयमित्यर्थः । किंचित्प्रष्टुं मनो यस्य स किंचित्प्रष्टुमनाः प्रष्टकाम. । 'तुं काममनसोरपि' इति मकारलोपः । रहसि भवं रहस्यं गोप्य न चेत्प्रतिवतुमर्हसि ॥ "On this account (atab ), this person here [i.e. I] with his [ or my ] boldness [ easily ] explicable [ or justifi- , able], ( upapanna) on account of his for my] being.a.twice. born [i. e. a Brāhmana, ) has (or have) a mind to ask you, of great forbearance, something in this [ matter ] (atra);

·संगी। कुमारसंभवम् । oh [ lady ) with penance as your riches, if [ that be ) not a secret, it would behave you (tram arbasi ) to reply.--40 प्रटव्यमाह- फुले प्रमूतिः प्रथमस्य वेधसरित्रलोकसौन्दर्यमियोदितं वपुः । अमृग्यमैश्वर्यमुखं नवं ययस्तपाफलं स्याकिमतः परं यद ॥४१॥ कुल इति ॥ प्रथमम्य वेधमो हिरण्यगर्भस्य कुलेन्वयाये प्रसूतिरुत्पत्तिः । 'यशार्थ हिमया मष्टो हिमवानचलेश्वः' इति ब्रह्मपुराणवचनात् । पपुः शरीरं प्रयाणा लोकांना गौन्दर्यमिवोदितमेकर ममाहृतम् । ऐधर्यमुसं संपत्युसमग्य. मन्वेषणीयं न भयति । किंतु सिद्धमेवेत्यर्थः । क्यो नवम् । यौवनमित्यर्थः । अनः परमतोऽभ्यरिक तप फलं म्याद्रद । अस्ति चेदिति शेपः । न किंचिदस्तीत्यर्थः । Birth in the family of the first Creator ( vedhah); this form that has risen [ even ] like the beauty of the three worldst put together] the happiness that accrues to [ one in possession of ] wealth (ऐश्वर्यमुखम् ) in,not to be sought for; fresh youth (m-all these are at your disposal); tell me, what else ] higher than this, can be the fruit of austerities?-41 44 भयत्यनिष्पादपि नाम दुःसदान्मनस्विनीनां प्रतिपत्तिरीहनी। विचारमार्गमहितेन चेतमान दश्यते तश यशोदरि त्ययि ॥४२॥ भरतीगि ॥ दुगहागोठमशफ्यादनिष्टानादिकतादपि मनस्पिनीनो धीर. ग्राणामीशी सपथरणलक्षमा प्रतिरति प्रगतिः । 'प्रतितिानु गारये । प्राप्त प्रती प्रागल्ये' इति कैगया । भवति नाम : नामेति गंभावनगयाम् । विचारमार्गे पहिलन बसा विरोन तनिष्टं च । मोटर, स्वपि न इस्यते । शिकायमाणे तपरि नारासंभावित पारिसर्थः ।। There possibly ( não ) is a londoniy (protipattik ) of this sort on the part of spirited ladies, even al xome undesirable f ocaurence or event ].difficurTokari " 01 account -- ·अलभ्यशोकाभिभवेयमारुतिर्विमानना सुभ्र कुतः पितुर्गृहे | Man कुमारसंभवम् । पंचमः that too ( tat cha) is not seen in you, oh you of slender belly by [ my ] mind sent along the path of thought.---42. आनेष्टाभावमेव प्रपचयति- . . 'पराभिमशी न तवास्ति कः करं प्रसारयेत्पन्नगरतसूचये ॥ ४३ ॥ अलभ्येति ॥ हे मुनु, इयं वदीयाकृतिर्मूर्तिरलभ्यो लब्धुमनईः शौकैन भर्नाद्यवमानजेन दुःखेनाभिभवस्तिरस्कारो यस्याः सा तथोक्ता । दृश्यत इति शेषः । असंभावितश्यायमर्थ इत्याह-पितुर्गहे विमाननावमानः कुतः । न संभाव्यत एवेत्यर्थः । 'सुभ्रुः कुतस्तातगृहेऽवमाननम्' इति पाठान्तरकरणं तु साध्वसमेवो. कोपपत्तिसंभवात् । अन्यत्रापि 'सुश्रु त्वं कुपितेरयपास्तमशनं त्यक्ता 'कथा योपिताम्' इत्यादिप्रयोगदर्शनाद्वंशस्थवृत्ते पादादी जगणभाप्रसाचेत्यलं गोष्टीभिः । ने चान्यस्माद्भावीत्साह--पराभिमर्शः परधर्षणं तु तव नास्ति । पनगरत्नसूचयै फणिशिरोमणिशलाका ग्रहीतुमित्यर्थः । 'क्रियार्थीपपदस्य च कर्मणि स्थानिनः' इति चतुर्थी । करं हस्तं कः प्रसारयेत् 'सुन्न' इत्यत्र भ्रूशब्दस्योवस्थानीयत्वात् 'नेयदुवम्थानावस्त्री' इति नदीसंज्ञाप्रतिषेधात् 'अम्बार्थनद्योईस्वः' इति इस्वत्वं नास्ति । तेन ह्रस्वः प्रामादिक इति केचित् । अन्ये तु 'अप्राणिजातेधारज्ज्वादी, नाम्' इत्यत्र 'अलावू.' 'कर्कन्धू.' इत्युकारान्तादप्यूप्रत्ययमुदाजहार भाष्यकारः। एतस्मादेव ज्ञापकास्वचिदूकारान्तस्याप्यूडन्तत्वान्नदीत्वे हस्वत्वमित्याहुः । अत- एवाह वामनः-'ऊकारादप्यूप्रकृतेः' इति ॥ "This [ beautiful ] figure (akrit) [ of yours ] is one in the case of which humiliation due to grief is impossible of obtainment. Whence can there be disregard [ for you ). oh you of beautiful eye-brows, in the house of your ] father ? Touch at the hands of a stranger, [ simply.] exists not in your case. Who would [dare ] stretch out his hand for the pointed ( sūchi ) gem [ on the hood ] of a serpant [ or, with sūtaye as the reading instead of suchaye, who would dare stretch out his hand for the ·॥ सर्गः। कुमारसंभवम् । disturbance and removal of the gem on the hood of a serpant ]?-43. किमित्यपास्याभरणानि यौवने धृतं त्वया वार्धकशोभि वल्कलम् । पद प्रदोषे स्फुटचन्द्रतारका विभावरी यद्यरुणाय कल्पते ॥ ४ ॥ किमिति ॥ हे गौरि, किमिति केन हेतुना यौवने त्वयाभरणान्यपात्य विहाय । पृद्धस्य भावो वाचकम् । मनोनादित्वादन्प्रत्ययः । वार्धक युद्धसंघाते वृद्धत्वे । पृद्धकर्मणि' इति विश्वः । तम शोभत इति वार्धकशोभि वल्कलं धृतम् । प्रदोष रजनीमुरी फुटाः प्रकटायन्दरतारकाच यस्याः मा स्फुटचन्दतारका विभावरी राविरुणाय सूर्यमुताय करपते यद्यरुणं गन्तुं कल्पते किम् । वद यूहि । 'क्रियायों- पपदस्य-' इत्यादिना चतुया । दीयमानशशाइनारके प्रदोषे यद्यरुण उदेति ततो विभूषणापहारेण तप पल्कलधारणं संघटत इति भावः ।। For what has the bark garment becoming old age, been worn by you, after having thrown away (wpanga ) ( your ) ornaments (jusi ) in (your ) youth?? Say, whether (yadi), the night with the moon and the stars manifest, is fit for approaching the harbinger of the teri . sun ti.e. for coming to an untimely or premature end Jin • [just her fore-part [or beginning or youth, प्रदोष]. ~~44. ताप्रयोजनं निराफमाइ- दियं यदि प्रार्थयसे वृथा धमः पितुः प्रदेशास्तव देवभूमयः । अथोपयन्तारमलं समाधिनानरतमन्विष्यति मृग्यते हि तत् ॥४५॥ दिमिनि । दिवं स्वर्ग यार्थयस यामय यदि हि अमरपरप्रयासो गया निष्फल । यदि सथि तप्यसे ततः प्रमं मा कापीः । इत्त । तब पितु- हिमनः प्रदेशा देवभूमयः स्वगंपदार्थाः तस्या इत्यर्थः । अयोषयन्तारं वरं प्राययो नहिं गमाधिना तपमालम् न कर्तव्यमित्यर्थः । नियध्याय निवेध प्रति करणलारतीया । सयादि । र बर्नु । नान्विष्यति न मृगयते । प्रहीतारमिति .

·कुमारसंभवम् । पंचमः शेषः । किंतु तदने मायते ग्रहीतभिरिति शेपः । न हि वरार्थ त्वया तपसि वर्तितव्यं किंतु तेनैव त्वदर्थमिति भावः ॥ "If you are eagerly desiring [to win') heaven, in vain [is your ] effort. The regions [ in the possession ] of your father [ Himālaya ) are the residences ( bhūmayah ) of gods. Next (atha ), (if you eagerly desire to secure ) a husband, enough of concentration [ of mental powers for penance ]; a jewel seeks not [ rather, bi] it is saught atter [ by the needy ).--45, वरवाचकाक्षरअषणानन्तरमेव देव्या उष्णोच्यासमालम, प्रश्नेषु च प्रत्युत्तर--- मनुपलभ्य स्वयमेवाशधाह- निवेदितं निश्वसितेन सोमणा मनस्तु मे संशयमेव गाहते। न दृश्यते प्रार्थयितव्य एष ते भविष्यति प्रार्थितदुर्लभः कथम् ॥४६/ निवेदितामिति ।। सोमणा निश्वसितेन निवासवायुना निवेदितम् । चिन्तान भावेनोष्णोच्छ्वासेन ते परार्थित्वं सूचितमित्यर्थः । तर्हि किं प्रश्नव्यसनेनेत्याह- मनस्तु तथापि मे संशयमेव-गाहते प्रामोति । कुतः । ते तव ।' कृत्याना फर्ता का' इति पटी। प्राययितव्यः प्राययितुमई एव न दृश्यते । प्रायितदुर्लभः प्रार्थित यो दुर्लभः स कथं भविष्यति । नास्त्येवेत्यर्थः ।। By your hot ( Rregut, lit, accompanied by lieat ) sig! [ the reason for your practising austerities 3 has been tok My mind, however, entertains [ lit., bathes in ) a doubt { even a single (err) person ) cagerly lo be desired b you is not to be seen how will [ lie } be difficult of beir secured on being sought after [ by you ].-46. अथ पनिप्रार्थनामव सिद्ववारवाह- भदोस्थिरः कोऽपि तवेप्सितोयुयाचिराययोत्पलशस्यतां गरे उपेक्षते यः ऋथलरियनोर्जटाः कपोलदेरो कलमानपिनलाः ॥४५ . .

·मंगः कुमारसंभवम् । अहो इति ॥ अहो चित्रम् । तवैप्सित आप्नुमिष्टो युवा कोऽपि स्थिरः कठिनः । वसंत इति शेषः । कुतः। यो युवा चिराय चिरायमति कर्णोत्पलशून्यतां गते प्राप्ते कपोलदेशे गण्डस्थले लयाः शियिलयन्वना अतएव लाम्यिन्यस्ताः अथल. धिनी: कलमः गालिविशेपास्तेपामग्राणि तद्वपिनला जटा उपेक्षते । यस्त्वामीदृशी दृष्ट्वा न व्यथते स नूनं वज्रहृदय इत्यर्थः ।। "Oh, hard [-hearted, स्थिर, indeed ] is the young man desired by you, whoever (kopi ) ( he be ), who ignores the matted hair hanging loosely, tawny like the sprouts of paddy, on the region of your cheeks, which has reached a state of being devoid of the lotus.on the ear (used as an ornament], all this long (chiraya ).--47. मुनियतैस्वामतिमात्रकर्शितां दिवाकराप्लुटविभूपणास्पदाम् ।' शशाइलेखामिय पश्यतो दिवा सचेतसः कस्य मनो न दूयते॥४८॥ मुनियनेरिति । मुनितान्दायमादिभिरतिमानमत्यन्तं वर्मितां दिवाकरण सूर्पणाप्रटानि दग्धानि पातातपरसशान्मृदुत्वाच क्यामीकतानि विभूषणास्पदानि भूषणस्थानानि यस्यान्ता तथानाम् । अतएव दिवाहनि शशाइरेगामिव स्थित स्या पश्यनः सचेतसो जीवन. कस्य पुंगो मना न दूयते न परितप्यते । अपितु गर्यस्य वेत्यर्थः॥ " The mind of what person, is not afflicted to see (9591: ) you, cxtrcmcly reduced by the sages' vow, with the places of ornaments [ on your body ) scorched by the sun ['s rays and, therefore, looking ) like the digit of the moon by day[ extremely emaciated, and with the function (hopeda) of beautifying the whole world being snatched away ( भाणट) by the sun ]}-48. अवमि माभाम्पमदेन पश्चितं तय प्रियं यचतुरायलोकिनः । करोति लक्ष्य चिरमस्य चक्षुगेन पत्रमात्मीयमगलपदमनः॥४९॥ .

·. कुमारसंभवम् । पंचमः अवैमीति ॥ तब प्रियं बलभ सांभाग्यमदेन सौन्दर्यगर्वण का । यश्चित विप्रलब्धममि पेभि । प्रियश्चतुरं मधुरमवलोक्त इति चतुरावलोकिनारालप- क्ष्मणः कुटिलरोम्णः । 'अरालं वृजिनं जिमम्' इत्यमरः । अस्प त्वदीयस्य चक्षुष आत्मीयं वरं मुखं चिर लक्ष्यं विषयं न करोति । दृष्टिपथं न गच्छतीत्यर्थः । नदयं गर्वेण हतो निष्फलात्मलामो जात इति भावः । "I know your beloved to have been duped by [ his ] pride of beauty, in that he [ lit., who, 4: ) does not, for long, make his own face the mark for this eye of yours that beholds in so lovely ( chaturan ) lit., clever Ja manner [ and ) has curved eye-lashes.--49. कियाश्चिरं श्राम्यसि गौरि विद्यते ममापि पूर्वाश्रमसंचितं तपः । तदर्धभागेन लभस्व काक्षितं वरं तमिच्छामि च साधु वेदितुम् ५० कियदिति ॥ है गौरे, किंयरिकप्रमाणकम् । किमवधिकमित्यर्थः । निरंश्राम्यपि तपस्यसि । अत्यन्तसंयोगे द्वितीया । ममापि पूर्वाश्रम. प्रथमाश्रमा ब्रह्मचर्याश्रग. स्तन मंचित संपादितं तपो विद्यते अश्वासी भागश्च तेन तस्य तपसोऽधमागेनक- देशेन कादिक्षितमिष्टं वरमुपयन्तारं लभस्व । तं वरं साधुसम्यग्वेदितुं ज्ञातुमिच्छामि । यसी योग्यो भवति तदा ममापि संमतिरिति भावः ।। "How long are you going to toil for fatigue yourself, o'rāmyani ); oh Gauri![ to ] my credit ] even, there is ). penance accumulated during the first (pūrva ) stage of life (i. e. Brahmacharya ). Do you obtain the desired [one 7 with half the share of it. And [ che, as one more thing 1, I wish to know him well [i.e. in a detailed manner ]."-50. इति प्रविश्यामिद्विता द्विजन्मना मनोगतं सा न शशाक शंसितुम् । अथो क्यस्यां परिपार्श्ववर्तिनी विवर्तितानअननेत्रमैक्षत ॥५१॥ इतीति । इतीत्यं द्विजन्मान द्विजेन प्रविदयान्तर्गत्वा । आमवद्रहस्यमुद्रा- व्येत्यर्थः । अभिहितोता सा पार्वती मनोगतं हृदिस्थ वां शंसितुं वक्तुं न शशार ·सर्गः। कुमारसभवम्। समर्या नाभूत् । लनयेति शेषः । अयोऽनन्तरं परिपार्श्ववर्तिनी वयम्यां सखी विवर्तितं विचालितमनजन व्रतवशान्तिकचलं ननं यस्मिन्कर्मणि तत्तथैक्षत । नेत्रसंजयैव प्रत्युत्तरं वाचयांचकारेत्यर्थः ।। 38142.- She thus addressed by the twice-born [ one ] after [his ] having secured an entrance [ into her confidence,, i. e. having won her confidence ], was not able to speak out ( s'amritum ) [her] mind [ lit., the thought ) contained in her mind J. Then (athau), [ she ] looked at her female .friend, who constantly used to be by her side, having turned [her] eyes, devoid of collyrium (an-anjane) [towards the latter ].-51. *संखी तदीया तमुवाच वर्णिनं नियोध साधो तय चेत्कुतृहलम् । यदर्थमम्भोजमिवोप्णयारणं कृतं तपःसाधनमेतया वपुः ॥५२॥ सखीति ॥ तस्याः पार्वत्या इयं तदीया ससी वयस्या तम् । 'वर्णः प्रशम्नः । इति क्षीरस्वामी, । सोऽस्यास्तीति वर्णिनं ब्रह्मचारिणम् । 'वर्णाद्रह्मचारिणि इनीनिप्रत्ययः । उवाच ग्रूते स्म । किमिति । हे साधो विद्वन्, तब कुतूहलं चेत् । श्रोतुमम्तीनि शेषः । तर्हि निबोधावगच्छ । आकर्णयेत्यर्थः । बुध अवगमने इति धानोर्मीवादिकाहोद । श्रोतव्यं किं तदाह-यस्मै लाभायेदं यदर्थम् । 'अर्थन सह नित्यसमासः सर्वलिङ्गता चैति वक्तव्यम्' इति वार्तिकनियमारिकयाविशेषणम् । एतया पार्वत्याम्भोज पप्रमुष्णवारणमातपमिव वपुः शरीरं तप.साधनं कृतम् तपःप्रवृत्तिकारणमुच्यते धूयतामित्वर्थः ॥ The female friend of that [ Parvati ] said to that celibate student of Veda (वर्णिनम् अधचारिणम् ), "know fully, oh good man I if there is curiousity on your part, [ that ] for which, by this one has been made her body a means for penance ['even ] like a lotus ( being used as ] the warder off of (i. e, as an umbrella protecting one against the heat of the sun ]."--52. . . ५१ ·. कुमारसंभवम् । पंचमः दृमनःसहसंकल्पो आगरः कृशतारतिः । होत्यागोन्मादमून्तिा इत्यन- सदशा दश ॥' इति । तत्रास्याः काश्चिदशाः क्रममनासिव योजयति ' इयम् ' इत्यादिभिः पतिः श्लोकैः- इयं महेन्द्रप्रभृतीनधिश्रियश्चतुर्दिगीशानवमत्य मानिनी । “अरूपहार्य मदनस्य निग्रहात्पिनाकपाणिं पतिमाप्तुमिच्छति॥५३॥ इयामिति ॥ मानिनीन्द्राणीप्रकृतीरतिशय्य वर्तितव्यमित्यभिमानवतीयं पार्वलधिधियोऽधिकैश्वान्महेन्द्रप्रभृतीनिन्द्रादीश्चतमृणां दिशामाशानिन्द्रवरुणयम: कुबेरान् । 'तद्धितार्थ-' इत्यादिनोत्तरपदसमासः । अवमत्यावधूय मदनस्य' निग्रहानियहणाद्धेतोः। अकामुकत्वादित्यर्थः । रूपेण सौन्दर्येण हार्यों वशीकरणीयो न भवतीत्यरूपहाय पिनाकः पाणी यस्य तं पिनाकपाणिं हरम् । 'प्रहरणार्थेभ्यः परे निष्टासप्तम्या भवत.' इति साधु । पतिं भतारमाप्तुमिच्छति । एतेन संकल्पा• ' वस्था सूचिता॥ " This [ Parvati ] here, [ extremely ] proud, having disregarded the lords of the four quarters, Indra and others, possessed of great wealth, desires to secure as [ her ] . • husband, the [ god ] with the Pinika [ bow in his ] hand, who can not be enticed by beauty, by reason of [ his ] thwarting ( nigraba ) of Madana.-53. असहाहूंकारनिवर्तितः पुरा पुरारिमप्राप्तमुखः शिलीमुखः । र ८५ इमां हृदि व्यायतपातमक्षिणोद्विशीर्ण मूर्तेरपि पुष्पधन्वनः ॥५४॥.." असलेति ॥ पुरा पूर्वमसान सोहमशक्येन हुंकारेग रौद्रेण निवर्तितः । अतएव पुरारि हरमप्राप्तमुखोऽप्राप्तफलो विशीर्णमूर्नष्टशरीरस्यापि पुष्पधन्वनः कामस्य शिलीमुखो बाण इमां पार्वती हृदि व्यायतः।सुदूरावगाढ इति यावत् । तादृक्पातः प्रहारो पस्मिन्कर्मणि तत्तथाक्षिणोदकर्शत् । दग्धदेहस्यापि मार्गणो लमः । 'मृदुः सर्वत्र बाध्यते' इति भावः । अनेन विवृण्वती शैलमुतापि भापम्' (३।६८) इत्यभोक्तं चक्षुःप्रीतिमनःसनाख्यमवस्थाद्वयमनन्तरावस्थोपयोगितयान्य कार्या- वस्था सूचिता ॥ . ५२ ·। awarened . कुमारसंभवम् पंचमः तगानजनितमदनपेदनामेनां वीक्ष्य नियोऽपि रुरुदुरिति भावः । अत्र वर्णस्खलन- लक्षणकार्योक्त्या पुनः पुनस्तत्कारणीभूतमूळवस्थाप्रादुर्भावों व्यज्यतेऽन्यथा सखीरोदनानुपपत्तरिति । द्वादशावस्थापक्षे तु प्रलापावस्था च व्यज्यते । 'प्रलापो गुगकीर्तनम्' इत्यालंकारिकाः ॥ "When the life of Pinaki [Sankara ] had songs [ in its honour ] taken up [ for singing ], this one [ Parvati] here, many a time, made the young kinnara--princesses, her female companions in singing in the forest-regions, weep, by [ her] words that faltered in the throat [ thoked ] with tears.-56. विभागशेपासु निशासु च क्षणं निमील्य नेत्रे सहसा व्यवुध्यत । क नीलकण्ठ व्रजसीत्यलक्ष्यवागसत्यकण्ठार्पितयाहुयन्धना ॥१७॥ विभागेति ॥ किंचेति चार्थः । शिष्यत इति शेषः । कर्मणि पम् । त्रिभ्यो भागेभ्य. शेपास्ववशिष्टासु । यद्वा राखियानत्वेन प्रसिद्धत्वातृतीयो भागनि- भागः । संख्याशब्दस्य वृत्तिविपये पूरणार्थत्वमिप्यते । यथा 'शतांशः' 'सहस्रांशः' इति । त्रिभागः शेपो यासा तासु निशामु क्षणं क्षणमा ने निमील्य मालयित्वा सहसा सइ । हे नीलकण्ठ, के. प्रजसि कुल गच्छसीत्यलक्ष्या निर्विपया वाग्वचनं यस्याः सा तयोक्ता तयासत्ये मिथ्याभूते कण्ठेर्षित बाहुबन्धनं यस्याः सा तया सती व्ययुध्यत वियुवती । एतेन जागरोन्मादौ सूचिती। " And during nights with [ their ] third part remaining [two thirds already having been passed without a wink of sleep ], [ Pirvati] having closed [ her ] eyes for a moment, used to be awakened, -all on a sudden ( whana with aimless ( अश्ययाक) words 'IVhere oh Nilakantha! are you going?' [ and ] with the noose [lit., tic ] of [ her] arms thrown round a non-existing (ant) neck.-57. खनमाश्यप्रतिकृतिदर्शनतदास्पृष्ट स्पशाख्यानत्वारो सिरहिणां विनोदाः । तत्र सनसंदर्शनमुस्त्वा प्रतितिदर्शनमाह- . ५४ ·सर्गः। . कुमारसंभवम् । यदा वुधैः सर्वगतस्त्वमुच्यसे न वेत्सि भावस्थमिमं कथं जनम् इति स्वहस्तोल्लिखितश्च मुग्धया रहस्युपालभ्यत चन्द्रशेखरः॥१८॥ यदेति ॥ यदा । यत इत्यर्थः । यदेति हेतावित्युक्त्वा गणव्याख्यानेऽस्यौदा. हृतत्वान् । त्वं बुधैर्मनीषिभिः सर्वगतः सर्वव्यापीत्युच्यसे । तत इत्यध्याहारः । भावे. रत्याख्ये तिष्टतीति भावस्थम् । त्वय्यनुरागिणमित्यर्थः । इमं जनम् । इममित्यात्मनिर्देशः । कथं न वेत्सि न जानासीति मुग्धया मूढया । अकिंचित्कर- चित्रगतोपालम्भ इत्यजानानयेत्यर्थः । सया खहम्नेनालिखितचित्रे लिखितचन्द्र- शेखरो रहस्येकान्ते । सखीमात्रसमक्षमित्यर्थः । उपालभ्यत साधिक्षेपमुक्तश्च । उक्तसमुच्चयार्थश्वकारः । यद्यपि रहसीत्युकं तथापि ससीसमक्षकरणाहनात्यागो व्यज्यत एव ।। When you are described ( as ]' omnipresent ( lit., gone everywhere ), by the learned, how do you not know this person [i.e. me ] in love (Bhirastha ) [ with you ]?'-thus, further, (cha) was the moon-crested [ god ] drawn [ in a picture ] by her own hand, secretly rebuked, by the simple one (mugdhayi).-58 यदा च तस्याधिगमे जगत्पतेरपश्यदन्यं न विधि विचिन्यती | mer तदा सहास्माभिरनुमया गुरोरियं प्रपना तपसे तपोवनम् ॥ ५९ ॥ योनि ॥ जगत्पतेम्नस्येश्वरस्याधिगमे प्राप्तावन्यं विधिमुपायं विचिन्वती । मृगयमाणा यदा नापश्यत्तदेयं पार्वती गुरोः पितुरनुभयाम्माभिः सह तपसे तपरित तपोवनं प्रपन्ना प्राप्ता ॥ And when, searching [ a good deal ] . [ this one ] did not see any other means ( vidhi ) for the winning of that lord of the world, ( then-tada), along with us, [ Parvati i came to the penance-grove for [ practising ] austerities, with the permission of [ her ] father.-39 मेषु सण्या कृतजन्मसु स्वयं फलं तपःसाक्षिषु दृष्टमेप्यपि । नच मरोहाभिमुखोऽपिटश्यते मनोरथोऽस्या शशिमोलिसंभयः६० ५५ ·3.4x7 कुमारसंभवम् । पंचमः दुमेन्विति ॥ संख्या पार्वत्या वयं कृतं जन्म येषां तेषु । स्वयं रोपितैष्वि- त्यर्थः । तपराः साक्षिषु साक्षाद्दष्टप्वेषु द्रुमेष्वपि फलं दृष्टं लब्धम् । जनित- मित्यर्थः । अस्याः पार्वत्याः शशिमालिसंभ्रयश्चन्द्रशेखरविषयो मनोरथस्तु प्ररोहा- भिमुखोऽङ्कुरोन्मुखोऽपि न दृश्यते । 'प्ररोहस्त्वड्कुरोऽङ्कुरः' इति वैजयन्ती । खयं रोपितवृक्षफलकालेऽप्यस्या मनोरथस्य नाङ्कुरोदयोऽप्यस्ति । फलाशा तु दुरापास्तेत्यर्थः ।। "Even on these trees, brought into existence,' by [ my ] friend, personally, and witnesses to [ her ] penance, is seen [ their ] fruit. Her cherished desire - resorting to the god with the moon on his head is, however, not (na cha ) seen to be ready for [ so much as ] a shoot.-60. न वेद्मि स प्रार्थितदुर्लभः कदा सखीभिरैनोत्तरमीक्षितामिमाम् । तपाशामभ्युपपत्स्यते सखी पेय सीतां तदवग्रहक्षताम् ॥६॥ नेति ॥ प्रार्थितः सन्दुर्लभः प्रार्थितदुर्लभ स देवस्तपःकृशां तपसा कृशा क्षीणामतएव सपीभिरकोत्तरमथुप्रधान यया भवति 'तक्षेक्षितामिर्मा नः सखी तस्येन्द्रस्यावग्रहेणानारष्टया क्षता पीडिताम् । 'पृष्टिर्व तद्विधातेऽवमाहायग्रही समी' इत्यमरः । अवमहः । वर्षप्रतियन्ध इत्यर्थः । सीतां पृष्टभुवम् । 'सीता लागल. पद्धतिः' इत्यमरः । वृषा पासव इव । 'वांसवो कुत्रहा पृपा' इत्यमरः । कदाभ्यु- पपत्स्यते कदानुग्रहीप्यति न वेधि । अत्र वाक्यार्थ. कर्म । तदवग्रहक्षतामित्यत्रा- वग्रहक्षतामित्यनेनैव गतार्यत्वे तत्पदस्य वैयापत्तैमादिति भिन्नं पदं वेग्रीत्यस्य कर्मेति युक्तमुत्पश्यामः ॥ "I do not know, when he, difficult to be obtained though solicited, would favour [ our ) friend, here, emacia, ted (krinbim) by penance, and looked at by her friends, in a manner dominated by tears ( acrottaram ), like Indra (favour. ing the ploughed ground, dried up (क्षताम् ) by draught', [caused by him ]."-6! .

·सर्ग कुमारसंभवम् । अगूढसद्भावमितीह्नितशया निवेदितो नैष्टिकसुन्दरस्तया अयोदमेवं परिहास इत्युमामपृच्छदव्यञ्जितहर्षलक्षणः ॥ ६२ ।। अगदेति ॥ इनितनया पार्वतीहृदयामिजया ! 'इजितं हृद्तो भावः' इति रानमः । तया गौरीसख्येत्येवमगूढसद्भावं प्रकाशितसदभिप्रायं यया तथा निवेदितो शापिती निष्टा मरणमवधिर्यम्य स नैश्किो यावनीवब्रह्मचारी मुन्दरो विलासी । नैष्ठिकश्चासी मुन्दर श्रेति तथोक्तः । द्वयोरन्यतरस्य विशेषत्वविवक्षायां विशेषण. समासः। किंतु नैष्टिकत्वविशेषर्णन कामित्वविरोधः । अथवा देवस्पालांकिकमहिमा स्वादुभयं तात्विकमिति न विरोधः । अव्यजितं हर्षलक्षणं मुसरागादि हरि यस्य तथाभूतः सन् । अयि गारि । अयोति फोमलामन्त्रणे । इदं त्वत्सखीभाषित- मेवम् । सन्यं विमित्यर्थः । परिदासः केलि । 'दवकैलिपरीहासाः' इत्यमरः । इत्येवमुमामपृच्छस्पृष्टवान् ॥ The handsome, life-long (tren) Brahmachrin, thus informed by her who knew the secret of Parvati's heart, in A manner in which the_real intention (vadbbīra ) was disclosed, without disclosing signs of "joy the "ſelt] inquired of Uma,' or delicate ] one, is this so? [ Ori [ is it ) a jest "-62 अथाप्रहस्ते मुफुलीटतागुली समर्पयन्ती स्फटिकाक्षमालिकाम् । कथंचिददेस्तनया मिताक्षरं चिरम्यवस्थापितयामागपत ॥ ६३ ॥ मधेति ॥ अथानन्तरमदानया पार्वती मुकुलीरताद्गुली मंपुटीरतागुली । अप्रभामी हलगि समानाधिकरणममासः । हामाप्रहमायोगागिनोर्मेदाभेदा- दिति वामनः । तस्मिसमहमे सदिकानामक्षमानिस जपमानिरामयन्त्यामुग्नी कचिन्मदता करेन चिरम्ययायापितयापिचरेण स्वीलवार । एलेन समारोधी ध्यग्यते । मिताक्षरं परिमितवर्ग यथा तयामाश्त बमा । Then the daughier of the mountain, placins, the rosary of crystal beads, in Chic? I fore-hand, the fingers of which has been formed into a bud, having arranged (fit, one who ५१ ·कुमारसंभवम् । पंचमः arranged ) her speech after a long time, spoke some how (i.e. with great difficulty ) in a manner, where the words were measured (i. e. few ).-63 किमुवाचेत्याह-- यथा श्रुतं वेदविदां वर त्वया जनोयमुच्चैःपदलनोत्सुकः । तपः किलेदं तवाप्तिसाधनं मनोरथानामंगतिर्न विद्यते ॥२४॥ यथेति ॥ है वेदविदां वर वैदिकश्रेष्ठ, त्वया यथा श्रुतं सम्यपश्रुतम् । श्रुतार्थमेवाह-अयं जनः । खयमित्यर्थः । उपदस्य शिवलाभरूपोनतस्था- नस्य लङ्घन आक्रमण उत्सुकः । किमत्रायुक्तमित्यत्राह-इदं तपस्तदवाप्तेस्त. स्याँचपदस्याबाहेः प्रासः साधनं किल । किलेत्यलोके । अतितुच्छत्यादसाध- 'कमेवेत्यर्थः । तहि त्यग्यतामित्याशय दुराशा मां न मुबतीत्याशयेनाह- मनोरयानां कामानामगतिरविषयो न विद्यते । न हि स्वशकिपालोचनया कामाः प्रवर्तन्त इति भावः ।। "O [ you ) the best among the learned in the Vedas, this person is cager to attain to the exalted position [of being the consort of S'iva ), in that same ) manner ( 7*155) in which, you have heard from my friend. This penance is, I hope ( kila ), the means for obtaining it. There is ] no province that is not reached (agati ) by one's cherished desires. अथाह वर्णी विदितो महेश्वरस्तदर्थिनी त्वं पुनरेव घर्तसे। अमालाभ्यासरति विविन्त्य तं तयानुवृत्ति न च कर्तुमुत्सहे ॥६५॥ भयेति ॥ अथ वर्णी ब्रह्मचारी। 'यणिनी प्रप्रचारिणः' इत्यमरः । आह । उवावेत्यर्थः । 'आहेति भूताय लटप्रयोगो भ्रान्तिमूल:' याह यामनः । किमि स्याह-महेश्वरी महादेवो विदितः । गया मायत इत्यर्थः । पुनपर्थवावर्तमाने काम्ययः । तयोगास्पष्टी च । येन त्वं प्राग्भप्रमनौरया गृति भावः । पुनरेव वं तमीश्वरमयसे सदथिन्येव तलाव प्रस्तरी । तन्प्रभावमनुभूयापाति भावः । watantan. ५८ ·कुमारसंभवम् । पंचमः पर्यालोचय । क्रिमिति । कलहंसलक्षणं कलहंसंचिह्नम् । 'चिहं लक्ष्म च लक्षणम्' इत्यमरः । वचा नवोढाया दुकूलं वधूदुकूलम् । 'वधूः स्नुषा नवोडा श्री' इति विधः । तथा शोणितबिन्दून्वर्पतीति तथोक्तम् । आईमित्यर्थः । गजाजिनं च कृत्तिवासश्च । तपिनाकिन इत्याशयः । एते कदाचिनात्वपि योग संगतिमहतो यद्यहंतः किम् । एतत्त्वमेव चिन्तयेति पूर्वणान्वयः । पाणिग्रहणकाले वधूवरयोर्व- खान्तग्रन्धिः क्रियते । कृत्तिवाससा पाणिपीडने तु दुकूलधारिण्याम्नव कथं संघटिष्यत इति भावः॥ "Oh [ Parvati ] do you just (tavat ) think out quite by yourself (tram eva ) whether these two [things] deserve union [ with each other ] [ these two namely ] the silken robe of the bride, with the figures (wari, lit., marks ) of ,royal swans [ drawn on it Jand the elephant-lide dripping forth drops of blood.-67. चतुष्कपुप्पप्रकरावकीर्णयोः परोऽपि को नाम तवानुमन्यते। अलक्तकाकानि पदानि पादयोविकीर्णफेशासु परेतभूमिपु ॥६८॥ २०५१ चतुष्कैति ॥ चनुष्के गृहविशेपे यः पुष्पप्रकरस्तावकीर्णयोन्यस्तयोः । कुमुमा. स्तृतदिव्यभवनभूसंचारोचितयोरित्यर्थः । तव पादयोरलककादानि लाशारमितानि पदानि पादाकाराणि पादन्यासचिमनि । 'पदं शब्दे च पास्ये च व्यवसाया- पदेशयोः । पादतविहयोः' इति विश्वः । विकीर्णा विक्षिप्ताः फेशा. शवशिरोरहा यामु तामु विकीर्ण केशामु । 'अतरस्यं तत्र दृष्टं च' इति वचनात् 'स्वाहाघोप- सर्जनादसंयोगोषधात्' इति विकल्पान डीम् । परेनभूमिपु प्रेतभूमिय । गशाने- वित्यर्थः । परोऽपि शत्रुरपि को मामानुमन्यते। न कोयर्थः । नामेति पुत्सायाम् । पिनाकपाणिपाणिग्रहणे तस्य पोतभूमंचारित्वेन साहयात्तवापि सत्र संसाराऽवयंभावीति भावः ॥ Who would, even [ if he be an enemy, indeed, brook the idea (lita, agree with you) [ of seeing ] the foot-prints marked with the Alaktaka dye of your feci, ( first ) placed upon the cluster of flowers in Ilie quadrangular courtyard १ + ९.

·. सर्गः। कुमारसंभवम्। (चतुष्क) [ at the time of the marriage ] [being later seen on the ground of the dead, with hair scattered about [ on all sides ] ?-68 मयुक्तरूपं किमतः परं यद त्रिनेत्रंयक्षः मुलभ तयापि यत् । स्तनदयेऽस्मिन्हरिचन्दनास्पदे पदं चिताभरमरजः करिष्यति ॥६९॥ अयुक्तति ॥ त्रिनेत्रवक्षः त्र्यम्बकालिनमित्यर्थः । तव तत्संबन्धितया मुलभमपि सुप्रापं च । भवतीति शेषः । तवेति शेपे पष्टी ! 'न लोकाव्यय-' इत्यादिना फूद्योगलक्षणपष्टया निषेधान् । अत.परमस्मात्रिनेप्रवक्षोलाभादन्ययुक्तरूपमत्य. न्नायुफ किं वद । न किंचिदित्यर्थः । 'प्रशंसायो रूपप्' इति स्पष्प्रत्ययः । पुस्तः । यद्यस्मात्कारणारिचन्दनास्पदे हरिचन्दनस्यास्पदे स्थानभूतेऽस्मिन्स्तनद्वये चिताभस्म श्मशानभस्म तदेव रजवर्ण कर्नु । पदं करिष्यति पदं निधास्यति । भर्तुर्भवस्य भस्माइरागादिति भावः ॥ "O, say, what thing more undecorous (ayuktarūpam ) can there be than this that the particles of funeral ashes (lit., nshes from the funeral pyre ] easy to be obtained from the chest of S'iva [lit., the three eyed-god) will have a residence (Padam) even on this pair of breasts of yours [ which is] # proper abode for red-sandal (-powder ]-69 'यं च तेऽन्या पुरतो पिष्ठम्यना यदूदया यारणराजदार्यया । विलोक्य नोक्षमधिष्ठितं रथयामहाजनःोरमुखो भविष्यति॥७॥ इयमिति ॥ यं च से तय पुरत आदावान्या विडम्बना । परिहाग इत्यर्थः । या मेस्यबाद-हया परिणलिया । यः कर्मगि पर । यारणराजवाया स्वाधिारतमा पदमुक्षाणं साक्षम् । 'अचतुर- इत्यादिना निपात । लिस्य महामनः सागुमनः मेराग मिनमुनो भविष्यत्युपहमिपनि यर । इमिति ग संबन्धः । एमति नमिसिम्यजम-त्यादिना प्रत्ययः ॥ "And this again would be ano:her mockery of yours (only 1to start with 7979.), that ifie fichiwithe having muling isces on looking at the supti-annuatrı ·. कुमारसंभवम् । पंमधः (vriddha ) bully mounted by you, wedded ( to S'iva ) and worthy of being borne by a lordly elephant.-70 कमा 'द्वयं गतं संप्रति शोचनीयतां समागमप्रार्थनया पिनाकिनः । कलाच सा कान्तिमती कलावतस्त्वमस्य लोकस्यच नेत्रकौमुदी ७१ द्वयामिति ।। पिनाकिन ईश्वरस्य समागमप्रार्थनया प्राप्तिकामनया । क्रियमाणयति शेषः । संप्रति द्वयं शोचनीयतां शौच्यत्वं गतम् । किं तदाह--सा प्रागेव हरशिरोगता । अत्र सेति प्रसिद्धार्थत्वान्न यच्छन्दापेक्षा । तदुक्कं काव्यप्रकाशे-- 'प्रकान्तप्रसिद्धानुभूतार्थविषयस्तच्छब्दो यदुपादानं नापेक्षते' इति । कान्तिमती । निस्सयोगे मतुप् । कलावतचन्द्रस कला घोडशो भागधास्य लोकस्य नेत्र कौगुदी । नेत्रानन्दिनीत्यर्थः । त्वं च । कान्तिमतीत्वनेत्रकौमुदीत्वविशेषणयोरुभयनाप्यन्वयः । प्रागेकैव शोच्या । संप्रति तु त्वमप्यपरेति द्वयं शोच्यमिति पिण्डितार्थः । शोच्यत्वं च निकृष्टाश्रयणादिति भावः ॥ Two things have now gone to a lamentable state, by their soliciting the company of Kapālin (i. e. S'iva ), one ) the well-known ( a ) resplendent digit of the moon ( lit., one possessed of digits ) and ( the other ) you [ the veritable ] moon-light to the eyes of the world.-71. 'कन्या परयते रूपं माता वित्तं पिता श्रुतम् । बान्धवाः युलमिच्छन्ति (मिटातमितरे जनाः ॥' इति लोकानामाभाषणम् । तम किंचिदपि नाम्तीत्याह--- 'यपुर्विरूपाक्षमलक्ष्यजन्मता दिगम्यरत्वेन निवेदितं वसु । घरेषु यद्वालमृगाक्षि मृग्यते तदस्ति किं व्यस्तमपि त्रिलोचने ॥७२॥ वपुरिति ।। वपुस्तावदस्य विरूपाणि विकृतरूपाण्यक्षीणि नेत्राणि यस्य नहिरूपा- क्षम् । 'यहुमीही समय्यक्ष्णोः स्वानात्यच्' इति पञ्प्रत्ययः । वैस्यं च त्रिनेन स्वादिति क्षीरस्वामी । अतो न सौन्दर्यवातपित्यर्थः । अलक्ष्यमा जन्म यस्य तस्य भावन्तता । युलमपि न झायत इत्यर्थः । 'अलक्षिता जनिः' इति पाटे अनिफ्ल्पनिरलिना न शाता । 'जनिकपत्तिद्रवः' इसमरः । मम वित दिगम्मरत्वेनवनिवेदितम् । नास्तीति शापितमित्यर्थः । यदि वितं भवनि तदा ·सर्ग:। कुमारसंभवम् । कथं दिगम्बरो भवति । अतो ज्ञेयं निर्धनोऽयमिति । किंबहुना है बालमृगक्षि पार्वति, वरेषु वोट्टा 'वरी जामातृवोटारी' इति विश्वः । यदूपवित्तादिकं मृग्यते + कन्यातहन्धनिरविष्यते रात्रिलोचने त्र्यम्बके व्यताम् । एकमपि समस्तं मा भूदिति भावः । अस्ति किम् । नास्त्येवेत्यर्थः । “A body possessed of deformed eyes, condition of birth being unknown, wealth made known by his being possessed of the quarters as garments, oh fawn-eyed one, does that exist even singly ( vyattam) in the three-eyed god, which is [ generally ) sought [in a collected form ] in (the, case of] bridegrooms?-72 निवर्तयारमादसदीप्सितात्मनः क तद्विधस्त्वं क च पुण्यलक्षणा। अपेक्ष्यते साधुजनेन वैदिकी श्मशानशूलस्य न यूपसन्क्रिया ॥७३॥ निवर्तयेति ॥ अस्मादसदीप्सितादनिष्टमनोरयान्मनो निवर्तय निवारय । मा पूर्वाका विधा प्रारी यस्य तथोक्तः । अमङ्गलशील इत्यर्थः । छ । महदन्तर- मित्यर्थः । पुण्यलक्षणा प्रशस्तभाग्यचिहा त्वं चक्क ! अतो न तवायमई इत्यर्थः । " तथाहि । साधुमनेन । 'साधुवाधुपिके चारों सबने चाभिधेयवन्' इति विश्वा । मशानशूलस्य श्मशानभूमिनिसातस्य यप्यसकोपैदिको पेदोजा यूपो नाम पशुबन्धनसाधनभूतः संस्कृतदारविशेषस्तस्य सरिक्रया प्रोक्षणाभ्युक्षणादिसंस्कारो यूपसरिझया नापेक्ष्यते नेप्यते । यथा श्मशानशुले यूपसत्किया न कियते तथा स्वमपि तम्मन घटस इति तारायाथ.।। . -- "Turn away ( your ) mind from this improper desire. Where is he of that sort, and where [ are ] you, possessed of blessed signs 2 The honour [ by way consecration 3 of a sacrifical post ( yüpa ) in keeping with the rules of Veda, is not expected by the good in case of [ an iron ) stake in the cemetary."--73. इति दिजाती प्रतिफलपादिनि प्रयेपमानाघरलक्ष्यकोपया। विशितभूलतमाहिते तया विलोचने लियंगपानलोदिने ॥४॥ -- ·,कुमारसंभवम् । पंचमः इतीति । इत्येवंप्रकारेण द्विजातौ द्विजे प्रतिकूलवादिनि सति प्रवेपमानेन चचलेनाधरेणाधरोप्टेन लभ्योऽनुमेयः कोपः क्रोधो यस्यास्तथोक्तया तया पार्वत्यो- पान्तलोहिते प्रान्तरक्त. विलोचने विकुञ्चिते कुटिलिते भूलते यस्मिस्तत्तथा । सभनमित्यर्थः । तिर्यक्साच्याहित निहिते। अनादरात्तिर्यप्रेक्ष्यतेत्यर्थः ।। While the twice-born one was talking unfavourably, in this way, by her whose wrath could be infcrred, from the excessively throbbing lower lip, were cast askance ( tiryak), her eyes red at the corners, in a manner in which her creeper like eye-brows were knit.-74. ... उवाच चैनं परमार्थतो हरं न वेत्सि नूनं यत एवमात्य माम् । अलोकसामान्यमचिन्त्यहेतुकं द्विपन्ति मन्दाश्चरितं महात्मनाम् ७५ उवाचेति ।। अथैनं ग्रहाचारिणमुवाच च । किमिति । परमार्थतम्तत्त्वतो हर न नेसि न जानासि नूनम् । कुतः । यतो मामेवमुक्तया रोखात्य प्रवीपि । 'युवः पचानामादितः' इनि रूपसिद्धिः। अज्ञानादेवाय शिनद्वेपस्तवेत्याशयेनाद-मन्दा मूढाः । 'मूढाल्पापनिांग्या मन्दा.' इत्यमरः । लोकसामान्यमितरजनसाधारण न भवतीत्यलोकसामान्यमचिन्त्यहेनुकं दुर्योधकारणकं महात्मना परितम् । द्विपन्ति हेत्वपरिशानाडूपयन्ति । विद्वांगस्तु कोऽयन हेतुरशीति यह मन्यन्त इत्यर्थः ॥ And she thus spoke to him "indeed ( Rūnoma) you do not know Hara truely, whence you addrees me thus the dull-witted hate the conduct of the high-souled which is not common with that ) of ordinary run of people and which has a cause that is inscrutable.-75. गंप्रति 'अमालाभ्यासरनिम् (५।६५) इत्यायुर्ण पणनानम् 'पिपई इत्यादिभिः पद्भिः भोकैः परिहतमारभने- विपत्प्रतीकारपरेण महलं निषेप्यते भूतिसमुन्सुकेन था। जगच्छरण्यम्प निराशिषः संतः किमेभिराशोपहताग्मतिभिः७६ .

·4 कुमारसंभवम् । विपदिति ॥ विपत्तीकारपरेण । अनर्थपरिहारार्थिनेत्यर्थः । “उपसर्गस्य धन्यमनुष्ये बहुलम्' इति दीर्घः । भूतिममुत्सुकनश्वयकामैन या मगलं गन्ध. माल्यादिकं निपेव्यते । शरणे रक्षणे साधुः शरण्य. । 'तत्र साधुः' इति यत्प्रत्ययः।. 'शरणं गृहरक्षित्रो.' इत्यमरः । जगतः शरण्यन्तस्य जगच्छरपस्य निराशिपो निरमिलापस्य मतः शिवस्य । 'आशीरुरगदंशयां विप्रवाक्याभिलापयोः' इति शाश्वत । आशया तृष्णगोपहना दृषितात्मतिरन्तःकरण वृत्तिर्यपां तैरोभिर्मझले. किम् । वेत्यर्थः । पूर्व मनलमित्येकवचनस्य जात्यभिप्रायत्वादेभिरिनि बहुवचनेन परामर्शी न विरुयते । इटावास्यनिष्टपरिहारार्थिनो हि मङ्गलाचार. निर्बन्धः । तदुभयासंमृटस्य तु यथाकथंचिदानाम् । को दोष इत्यर्थः । एतेन 'अमालाभ्यासरतिम्' (५। ६५) इत्युक्तं प्रत्युतम् ॥ An auspicious thing is resorted to [ esther Jby one bent on counter-acting a calamity, or by one who longs for prosperity ( bbūti ). Of what use, to one who is the refuge of the world, and [ who is ) without any desires, are these [ things ] which affect ( or taint ) the operations (वृत्ति ) of [one's ] mind by creating longings?--76. अकिंचनः सन्प्रभवः स संपदा त्रिलोकनाथः पितृसद्मगोचरः सभीमरूपः शिव इत्युीर्यते न सन्ति याथार्थ्यविदःपिनाकिनः ७७॥ अकिंचनेति ॥ स हरः। न विद्यते किंचन इन्यं यस्य सोऽचिनो दरिद्रः सन् । संपदा अमवस्यस्मादिति प्रभवः कारणम् । पितृपद्मगोचरः श्मशानाश्रयः सन् । नयागां लोकानां नाय. । 'तद्धितार्थ-' इत्यादिनोत्तरपदसमासः । म देवो भीमरूपी मयंकराकार सन् । शिवः सीम्यरूप इत्युदीर्यने उच्यते । अतः पिना. किनो हरस्य यथाभूतोऽयों यथार्थस्तस्य भावो यातायं तत्त्वं तस्य विदो न सन्ति । लोकोत्तरमहिनो निलेपस्य यथाकथंचिदवस्थानं न दोषायति भावः । एतेन अवस्तुनियन्यपरे' (५६६) इति परिदृतं वेदितव्यम् ।। "He is the source of [all] riches [ though ] hinuscit penniless (Ita-though possessed of naught ). ( He is ) the lord of the three worlds, I though ) always found in the A कु.सं.५ ६५ ·कुमारसंभवम् । पंचमः cemetary [ lit.,-the home of the manes ). He is declared ( to be] gentle (Siva) though possessed of a terrible form. Knowers of the holder of Pināka, (i. e. Sankara ) as he actually is, there are none.--77' देवस्य लौकिकमलौकिकं च प्रसाधनं नास्तीत्याशयेनाह- विभूपणोद्भासि पिनद्धभोगि वा गजाजिनालम्बि दुकूलधारिया । कपालि वा स्यादथवेन्दुशेखरं न विश्वमूतैरवधार्यते वपुः ॥७॥ विभूपणेति ॥ विश्वं मूर्तिर्यस्येति विश्वमूर्तेरष्टमूर्तेः शिवस्य वपुः शरीरं भूषणे. रुद्धासत इति भूषणोद्भासि स्यात् । पिनद्धभोग्यामुक्तभुजंगमं वा स्यात् । पिनद्धति नखतेरपिपूर्वात्कर्मणि क्तः । 'वष्टि भागरिरल्लोपमवाप्योरुपसर्गयोः ' इत्यकारलोपः। गजाजिनालम्बि स्यात् । अथवा दुकूलधारि स्यात् । कपालमस्यास्तीति कपालि ब्रह्म- शिरः कपालशेखरं वा स्यात् इन्दुशेखरं वा स्यात् । नावधार्यते न निर्धार्यते । सर्व संभवतीत्यर्थ: । एतेन ' त्वमेव तावत् ' (५ । ६७) इति श्लोकोक्तं प्रत्युक्तमिति ज्ञेयम् ॥ "The body (of him) with [ the entire ] universe for his form, cannot be apprehended. [ It may be ] radiant on account of ornaments or entwined with serpents. [It may be] wearing the elephant hide, or putting on silken garment. [ It may be ) possessed of a skull or of the moon on the crest.-78 'अयुक्तरूप किमत.परं पद' (५। ६९) इति श्लोकोप प्रत्याह- तदङ्गसंसर्गमयाप्य फल्पते ध्रुवं चितामस्म रजोविशुद्धये । तथाहि नृत्याभिनयक्रियाच्युतं विलिप्यते मौलिभिरम्परीकसाम्७९ तदिति । तस्य शिवस्याझं तस्य संसर्गमवाप्यासाद्य चितामामय रजोविशुदये कास्पते । अलं पर्यागोतीत्यर्थः । अलमयोगात् 'नमःस्वस्तिम्बाहा-' इत्यादिना चतुर्थी । धुवं शोधकत्वम् । प्रमागसिमित्यर्थः । प्रमागमेवार-तथाहि । प्रसि- इमेवेत्यर्थः । नृत्ये ताण्डवे योऽभिनयोऽर्थव्यप्रकथाविशेषः स एय किया तया निमित्तेन च्युतं पतितम् । चितामस्मरज इति शेषः । अम्बराक दयानां ·सर्गः कुमारसंभवम् । मौलिभिर्विलिप्यते भियते । अशुद्ध चैत्कयमिन्द्रादिभिर्धियतेत्यापत्तिरनुमानं वा प्रमाणमित्यर्थः।। "Indeed [even ) the particles of ashes from the funeral pyre, are capable of sanctification, after having obtained the contact with his body. For, it is well known (tatbābi) [that the particles of dust ) that drop down in the acts of exihibiting gestures in the dances, are borne on (lit.,-by) their heads by the gods ( lit., by those who ) have heaven as their abode.--79 यदुक्तम् ‘दिगम्बरत्वेन निवेदितं वमु' (५। ७२), ' इयं च तेऽन्या पुरती विदम्बना' (५१७.) इत्यादि च तत्रौत्तरमाह- असंपदस्तस्य वृपेण गच्छतः प्रभिन्नदिग्यारणवाहनो वृपा। करोति पादायुपगम्य मौलिना विनिद्रमन्दाररजोरुणाङ्गुली॥८॥ भसंपद इति ॥ प्रभिन्नो मदसावी दिवारणो दिग्गजो वाहनं यस्य सः ऐरावतेनोढ इत्यर्थः । या देवेन्द्रोऽसंपदो दरिद्रस्य यूपेण गच्छतो कृपभारुदस्य तस्येश्वरस्य पादी मालिना मुकुटेनोपगम्य । प्रणम्येत्यर्थः । विनिद्राणां विकसिताना मन्दाराणा कल्पतरुकुमुमानां रजोमि.. परागरणा अद्गुलयो ययोस्ती तथोक्ती करोति । दिग्गजारोहिणामिन्द्रादीनामपि वन्यस्येन्दुमाले. किं संपदा, पारोहणे वा को दोष इत्यर्थः ।। "Indra, who has for his vehicle the quarter-elephant in ichoral exudation ( prabbinna ), having approached, with his head 71. e. having prostrated himself at the feet of him, who is penniless, and who moves about on the bull, makes (them i.e. the feet ) possessed of toes reddish with the pollen of the full-blown Mandāra-flowers.--80 यदुक्तम् ' अलक्ष्यजन्मता' (५।७२) इति तत्रोत्तरमाह- पिवक्षता दोपमपि च्युतात्मना त्वयैकमीशं प्रति साधु भाषितम् । यमामनन्त्यात्मभुवोऽपि कारणं कथं स लक्ष्यमभयो भविष्यति ८१ ime ६७ ·• कुमारसंभवम्। पंचमः 'विवक्षनेति ॥ च्युतात्मना नष्टखभावेनातएव दोष दूषणं विवक्षता ववतुमिच्छ- तापि त्वयेशं प्रत्येकम् 'अलक्ष्यजन्मता' इत्येतदेकम् । वच इत्यर्थः । साधु भापितं सम्यगुक्तम् । कुतः । यमीश्वरमात्मभुवोऽपि ब्रह्मणोपि । ब्रह्मात्मभूः मुरज्येष्टः' इत्यमरः । कारणमामनन्त्युदाहरन्ति । विद्वांस इति शेषः । पाघ्रामास्थानादाग् -' इत्यादिना मनादेशः । स ईश्वरः कथं लक्ष्यप्रभवो लक्ष्य- जन्मा भविष्यति । अनादिनिधनस्य भगवतः कारणशहाकलङ्कश्च नान्विप्यत इत्यर्थः ॥ "By you of a depraved soul, even [while] desirous of declaring [only his] fault, has been said agreeably [.e. to the advantage ], (at least) one thing, about the lord. How can he whom they declare to be the originating ] cause of even Brahma (lit., the self-existent ), have an origin that can be known (lit., seen ) 7-81 अलं विवादेन यथा श्रुतस्त्वया तथाविधस्तायदशेपमस्तु सः। ममात्र भावकरसं मनः स्थितं न कामवृत्तिर्ववनीयमीक्षते ॥ ८२ ॥ अलमिनि ॥ अथवा विवादेन कलहेनालम् । त्वया यथा येन प्रकारेण स ईश्वरः श्रुतोऽशेष कात्स्न्येन तथाविधस्तावत्प्रकार एवास्तु । मम मनस्त्वत्रेश्वरे भावः शृगार एकोऽद्वितीयो रस आस्वाद्यो यस्य तत्तथा स्थितम् । तथाहि । कामवृत्ति. स्वेच्छाव्यवहारी वचनीयमस्थानसशापवाद नेक्षते न विचारयति न हि स्वेच्छासंचारिणी लोकापवादाब्दिम्यतीति भावः ॥ "Enough of this altercation. Indeed ( tavat ), let hin be entirely of that form as has been heard by you. My mind possessed of [just ] one sentiment [ viz.] love, however, is set on him. One behaving in consonance with one's will (कामवृत्तिः ) minds not censure.-82.... निवार्यतामालि किमप्ययं वटुः पुनर्चिवक्षुः स्फुरितोत्तराधरः। न केवलं यो महतोऽपभापते शृणोति तस्मादपि यःस पापभाक् ८३ निवार्यतामिति ॥ है आलि ससि । 'आलिः ससी वयस्या च ' इत्यमरः । स्फुरितोत्तराधरः स्फुरणभूयिष्टौष्टोऽयं यटुमाणवकः पुनः किमपि विवर्भुवस्तु- - ६८ ·सर्गः। कुमारसंभवम् । मिच्छुः । ध्रुवः मन्नन्तादृप्रत्ययः । निवार्यताम् । तहि वस्नुमेय कथं न ददासी. , स्याह---तथाहि । यो महनः पूज्यानपमापतेऽपवदति न केवलं स पापभाग्भवति । किंतु तस्मादपभाषमाणात्पुरुषायः शृणोति सोऽपि पापभाक् । मवतीति रोपः । अत्र स्मृतिः-'गुरोः प्राप्तः परावादी न श्रोतव्यः कथंचन । की तत्र पिधातमी गन्तव्यं वा ततोऽन्यतः ॥' इति ।। O friend, let this chap [ of a Brahmacharin ] with his lower lip quivering prominently [ and, therefore obviously ] desirous of speaking something again, be warded off. Not only he who speaks ill of the great, but also [ the one ] who. listens to him is a sinner.--83 संप्रति गन्तव्यपक्षमाश्रयते- इतो गमिष्याम्यथवेति यादिनी चचाल वाला स्तनभिन्नवल्कला I.., स्वरूपमास्थाय च तां कृतस्सितः समाललम्ये पराजतनः ॥८॥'.. इत इति । अथवेतोऽन्यत्र गमिष्यामीति वादिनी वदन्ती मनाभ्यां भिन्न- वल्कला रयवनाकुचनम्नचीरा याला पार्वती चचाल । अपराजतनी धूपभवजय खरूपमास्थाय निजामानिल कृतम्मित. सन् तां पार्वनी रामाललम्बे जग्राह । "Or else (athavi), I shall go away from hence. "So saying the maiden whose bark garment slipped from her breast, proceeded. And [ that very moment ] S'iva (lit.,-one who has the lordły bull as his emblem on the flag), assuming his own (i.e. usual ) form, made a smile, and held her up (by the hand ).--84. तं वीक्ष्य वेपथुमती सरसाद्याष्टि-..! निक्षेपणाय पदमुद्धतमुवहन्ती। मार्गाचलल्यनिकराकुलितेव सिन्धु: Caract शैलाधिराजतनया न ययौ न तस्थौ ॥ ८५ ॥ तमिति ॥ तं देवं वीभ्य वेपथुमती कमावनी मरसायष्टिः विनगात्री महादेवदर्शनन देव्याः साविकमावोदय उक्तः । निक्षेपणायान्यत्र विन्यासायोदृन- ६२ ·. . कुमारसंभवम् । पंचमः मुक्षिप्तं पदमब्धिमुदहन्ती शैलाधिराजतनया पार्वती मार्गेऽचलस्तस्य व्यतिकरण समाहत्या । अवरोधनेनेति यावत् । आकुलिता संभ्रमिता सिन्धु दीव । 'देशे नदविशेपेऽन्धी सिन्धुना सरिति स्त्रियाम्' इत्यमरः । न ययौ न तस्थी । लज्जयेति भावः वसन्ततिलकावृत्तमेतत् ॥ On seeing him, the daughter of the lord of mountains, all trembling, with her slender body, full of perspiration, (and) possessing a foot (that was) uplifted (with the intention of) placing it (elsewhere ) moved not, nor stood, like a river embarassed by the obstacle of a mountain in her way.--85 अद्य प्रभृत्यवनताङ्गि तयासि दासः क्रीतस्तपोभिरिति पादिनि चन्द्रमौलौ । 'अह्राय सा नियमजं फ्लममुत्ससर्ज क्लेशः फलेन हि पुनर्नवतां विधत्ते ॥८६॥ अद्येति ॥ चन्द्रमौली शिवे । हे अवनताङ्गि पार्वति, अब प्रभृति । अम्मादिना. दारभ्येत्यर्थः । प्रभृतियोगादद्येति सप्तम्यर्थवाचिना पञ्चम्यों लक्ष्यते । तव तपोभिः क्रीतः । दास दाने । दासत आत्मानं ददातीति दासोऽस्मीति वादिनि वदति सति । सा देव्यहाय सपदि । 'दाग्झटित्यासाहाय द्रामक्ष सपदि द्रुतम्। इत्यमरः । नियमजं तपोजन्यं क्लमं क्लेशमुत्ससर्ज । फलप्राप्त्या क्लेशं विसमारे- त्यर्थः । तथाहि । क्लेशः फलेन फलसिद्धया पुनर्नवता विधत्ते । पूर्ववदेवाश्लिष्टता- गापादयतीत्यर्थः । सफल. क्लेशो न क्लेश इति भावः ॥ "O you of stooping limbs, from this day on, I am your slave bought by (your) austerities," while the moon-crested (God) was speaking thus, she (Parvati) instantly ceased to feel (lit., -abandoned ) the fatigue caused by (her) vow. • For fatigue makes for (i.e. leads to, ridhatta), freshness again by (its ) fruit. पनि भीगन्महामहोपाध्यायकोलाचलमलिनाधयारिविरचितया संगीविनी. समाख्यया व्याख्यया समेतः याकालिदासकृती कुमारसंभव महाकाव्ये तपफलोदयो नाम पञ्चमः सर्गः॥

·(NOTES) Canto IV Stanza 1 : Construe_370 HIETTE27 faran eft pas असह्यवेदनं नववैधव्यं प्रतिपादयिष्यता विधिना विवोधिता। To be able to understand the significance of 3-'afferwards' or 'then,'contents of stanzas 72 to 75 from the preceding (III) canto have to be recalled. Kalidasa has already informed his readers how Madana's attempt at hitting S'ankara who was practising penance, with the former's Sammohana-arrow ended disastrously in Kāma's being reduced to ashes, by the fire arising out of the third eye of S'ankara and in Rati's having fallen into a swoon, paralysing all the activities of her senses. The swoon was, the poet continues, a veritable boon in disguise to Rati, in that, thanks to the loss of consciousness, for some time, she did not know the sudden end, that the highly incensed Sankara put to the career of her Lord. Read : क्रोधं प्रभो संहर संहरेति यावद्भिरः खे मरतो चरन्ति । तावस वझिर्भवनेत्रनम्मा भस्मावशेष मदनं चकार । and तीवाभिपड्प्रभवण वृत्ति मोहेन संस्तम्भयनेन्द्रियाणाम् । अज्ञातभर्तृव्यसना मुहूतं कृतोपकारेव रतिर्यभूव ।- stanzas 72 & 73 from Canto III, Kumārasambhava, The following three stanzas refer to Sankara's having disappeared and Párvas's having returned in the direction of her residence helped herein by her loving father. This explains the meaning of 374'- that is, subsequent to the happenings described in the stanzas, and even there more particularly, to those described in stanzas 73-76, or briefly, to Rati's having fallen into a swoon. S'ankara's having disappeared and Parvat's having ·कुमारसंभवम् । चतुर्थः returned home. मोहपरायणा-मोहः परं अयनं यस्याः सा-with the swoon as hier highest resort, that is completely under the influence of the swoon. faceam is literally without any sway, influence or power, here, 'helpless.'1994: the 'bride,' 1 e, the consort of Madana. fara, Destiny, is qualified by altarafgaat, instrumental singular of the future participle from the causal of fa+*(-to know, experience), meaning by one that desired to cause (Ratı) to experience -726977 - which is the object (to be caused to experience ). 67944 is fueriii-fara: 42: भर्ता यस्याः सा तस्याः-भावः widowhood. In the age iri whtch Kalidasa flourished and wrote his works, ayon was the highest calamity that could befall a Hindu lady, and was by itself, therefore sulhiciently unbearable. Add to it, the freshness (77-77) of the calamity and it bocomes one the agony (am) due to which is literally unendurable (TIT). jaardar- Nominative singular, leminine base, of the past passivo participle of the causal of f1+4- was made conscious, was brought (back) to consciousness. The idea in the stanza da not very dishcult to follow, Raua would have continuod in her helpless, unconscious condition and would have boen all happy for it-but (hard-hearted ) Destiny would not lnt her alone even in her halplessness and unconsciousness. Destiny thought it fit to bring Pati back to consciousness, thus making her undergo the unbearab!o agony of fresh widowhood, which she was so long sparcd. Carobil readers will not In!! to note that in lines 2,3 and 4 of tho s'enza, words containing the consonant'q'combined with sono voril, (... TU, Fafvar. TO132,...17) come together, which, howover is not a'matter of mno ax dent. The poe! is busy securing the alliterative effect. Tho retrata which this and the following stanzas upto the 44h om couched is feciftrat by nero end ta ७२ ·my life, कुमारसंभवम् । चतुर्थः represented as having ultered the words "oh Lord of are you alive ? " In all such cases fa serves the purpose of the inverted commas in English-standing singly for both the inverted commas--those that precede the words that mark the beginning of a statement and also those that mark the completion of the statement. The construction of the sentence is passive. 'By her who rose..., was seen merely (a heap of) ashes ' etc. EÀ, therefore, is third person singular of the perfect from et passive base. What was seen by Rati, was just the (heap of) ashes of the fire in the form of Hara's anger (a metaphor] that had a form similar to that of a man. Dissolve पुरुपाकृति as पुरुषस्य आकृतिरिव आकृतिः यस्य तत्-a compound of the उपमानपूर्वपद class. where there is उत्तरपदलोप. Cf हरिणलोचना eto which would, when fully dissolved, give Erret a adat: ul, the frist part of the compound containing the standard of comparison in it and the latter member (278) being dropped altogether in the compound expression as it appears in the language. [VideofynaTANTE बहुवीहिरुपदलोपश्च ]. In case the reading is पुरुषाकृतिः हरकोपानल- # Tì, the interpretation of the stanza will be on the basis that... and gearka: are in apposition or grammatcally the same construction. The rendering will be By her...was seen a human form...just ashes of the fire of the wrath of Hara the general idea remaining the same. In the preceding stanza Rati is said not to have known that Madana was no more. With the purpose of finding him out, she therefore, looked about her. Far from seeing her lord hale and hearty, as formerly, however, she was confronted by his body no doubt appearng limb for limb, as before, but with one vital difference, that there was no longer ·सगैः कुमारसंभवम् । any life in them--all of them having been bumt down to ashes by the use of S'onkara! Stanza4: Constrve--अथ पुनः एव बिहला सा बसुधालिद्गन- धूसरस्तनी विकीर्णमूर्धना स्थली समदुःसां - कुर्वती इव विललाप । Rah saw her husband reduced to ashes and then (अथ), as was only to be expected, became once more distressed (विवला ). Her hair were disshevelled. She rolled about on the ground in that forest site, her breasts soiled by their contact with the dust particles ( यमुधायाः आलिङ्गनेन धूसरी स्तनी यस्याः सा). Thus conditioned, she lamented (helplessly ), lamented long enough to make that forest-site too, as though possessed of the game amount of gref. Kölıdăsa is indulging In a fancy (Erherr) here, in that he ascribes gnef to the forest-site, which strictly speaking can have no grief (no loy esther). Incidentally, it may be pointed out, that the stanza typifies the poet's atblude towards Nature. Oftner than not in Kalidasa's works, Nature is represented as being in sympathy with the characters he is depicting, Cl, among others, the passage assigned toप्रियंवदा in Sikuntala, IV-1 केवलं तपोवन- विरहकातरा राख्येव । त्वयोपस्थितवियोगस्य तपोवनस्यापि तायन् ममवस्था दयने । उद्भलितदर्भकवला मृगाः परित्यक्तनतंना मयूराः । अपमृतराष्टुपत्रा Trauta Em: 1 and another assigned to Afa, in Paghu. vams'a VIII, 70, where the subject matter is similar in nature to the one that K l,disa is dealing with here, viz, bereavement on the loss of the beloved ( Aja's having lost Indumau ). पिलपमिति योगलाधिपः करगाग्रथितं प्रिया प्रति । अकरोत् पृथिवारहानपि गुतवापारमापषितान् ।। Stanza s : Construe--यन् तव करणम् कान्तिमत्तया पिलासिनाम् उपमानम् अभून, तत् ६६ इंशीम् दशा गतम्, न विदीय, त्रियः कठिनाः राला ७५ ·कुमारसंभवम् । चतुर्थः From this stanza onwards upto the 24in, Kalidasa sets forth the lamentation of Rati for her lord. Nothing could be more natural than that the first point that struck Rata was the proverbial handsomeness of which Madana, ( Cupid-like ] was possessed. In fact, Madana was the standard of comparison ( 3466H, like the moon which is the standard of comparison in the description of the beauty of face, with all Sanskrit poets ) while describing the physical handsomeness of lovely men (विलासिनः, विलासः येषां ते), by virtue of the Possession of beauty (कान्तिः सौदर्य अस्ति यस्य-तस्य भावः- STATI). Rati states, that Madana's body (Frot, generally instrument, tool, means; - later limb such as hand or foot but finally, as here, 'body') was possessed of beauty. But this oh alas I is a matter of the past. It has been reduced to such a plight now Even when her lord has little else remaining of him but ashes, Rati continues to live. Is she not justified in concluding that her hard-heartedness alone could account for her survival ? Or why speak of ( a Madana and) a Rati? Indeed, it would be only stating the truth to say that women as a class, are hard-hearted. 'Cruelty. thy name is woman'-as Shakespeare would have put.. it. Compare for a similar sentiment, though expressed by Rama tor Sika : दीये किं न सहरधाहमथवा रामस्य किं दुष्करम् । Uttara Ramacharitam. The stanza under consideration, f. e. Kumārasambhava IV, 5, contains an instance of the A4 विशेषस्य समर्थनम् variety of अर्थान्तरन्यास, in so far as, the gencral statement in line 4 supports the happening in the life of an individual, stated in the first three lines. Stanza 6 : Construe-क्षतसैनुबन्धनः जलसङ्घात : नलिनामिव क्षण- भिन्नसाइदा त्वदधीनजीवितां मां विनिकीर्य कनु विद्रुतः असि ।

·¢ AA: कुमारसंभवम् । Rati imagines Madana to be standing in front of her and puts to him a question as to where he has gone (aga ), in fact run away, having abandoned her dependent for her very life ( 274 teari ET: Hmata) on him, breaking off in a trice (the lie of ) affection (2017 foi E FRT 8. ). This act of his, is on a par with that of a mass ( ciera: from å +47) of water, that destroys the construction of the dam that controlled it for some time, and runs away, no one knows where (#), after having cast away the lotus-plant (that drew its very life from it). क्षतसेतुबन्धनः-क्षतं सेतोबन्धनं यस्य or येन सः. विनिकीर्य-absolutve form from fa tf+, having abandoned. From 3+ good, and heart, respectively giving geç a friend, two different forms, can be had in Sanskrit, meaning the state of being a friend' or 'friendship. One is at 19: DIETA where there 15 द्धि of the first स्वर only, in keeping with युवादित्यादण् प्रत्ययः, the other beng सौहार्दम् where there is उभयपदद्धि, according to ' हृद्भगमिन्ध्यन्ते पूर्वपदस्य च. ' The stanza contaans an instance of Uparma, with स्वं (मो etc) as the उपमेय and जलसङ्घात (नलिनी etc) as the 34777, and boltıng off to a destination, difficult to understand, as the common property (Francordat ). Stanza 7 : Construem(s) À fapori harta sitt, 1 प्रतिकूलं न कृतम् विलपन्त्ये रतये किम् अकारणम् एव दर्शनं न दीयते । Ratt alternatively thinks that, more probably than not, her Jord hos pot gone away at all. But for some reason or other, which cannot be made out ( 39 ), he is denying to her, lamenting though she may be (ar), the opportunity of seeing him. And this, despite the fact that the 'relation as it obtained between the two, till very recently, was little short ·1 कुमारसंभवम् । चतुर्थः of what may be characterized as 'Ideal. "You did nothing whatsoever that was disagreeable to me," says Rah, "nor was anything unfavourable done by me towards you.' " For the expression of a similar idea, read मनसापि न विप्रियं मया कृतge na ft TEIÐ HT -Raghuvams'a, VIII, 52. A critical student of Kumarasambhava IV, will have noted that stanza 7th is a pleasant departure on the part of Kälıdāsa, in the manner of expressing the sentiment, as this stanza, so far is the first, to contain the element of lucidity (TE), sufficient to do justice fo the tenderness of the feeling in Rau's mind. Satnza 8 : Construe) HC Tarracay hem yê: वन्धनम् उत, च्युतकेसरदूषितक्षणानि अवतंसोत्पलताडनानि वा स्मरसि (1) Rati finds it very difficult to say anything definitely about Madana and the reasons that prompted him to act the way he did. Dismissing from her mind the thought that Madana was somewhere there, in close vicinity, and still, without any reason, he did not show himselt up, she now recollects a few offences, she gave him. For one thing, Rati had tied Madana down, occasions he committed blunders in gddressing Rati by the names (of some other lady or ladies, being absent-minded ) by the strings of her waist-band (miya:). Quite likely, Smara, Smara ( one who remembers ) that he is, well remembers the punishment, Or it is not improbable, that he recalled to his mind the beatings with the lotuses, Rati put on her ears by way of ornaments, which ( beatings ) resulted in soiling the eyes of Madana with the filaments, that dropped down, in the process. Tirardy--in the mistakes ( RIFA) committed in ultenng the names. Rifat Is a past passive participle from स्वर used here in keeping with ' नपुंसके भावे यतः ' in the same on ·कुमारसंभवम् । चतुर्थः 9, therefore, is roguery, Ja94-97411X., is a sentence. here an utterance, Juart from straf to go near or to approach, later means all formal things that are said or done when two parties come together. 'JUD 341 HERS.'-a passage assigned to all persons going into the presence of the king is an instance of an उपचार. Such (उपचारs) are not always to be literally understood. Rat means to say that Madana's saying she dwelt in his heart belongs to just this class of utterancos, a mere formal utterance; that she need not be surprised, much less shocked, to find it emptied of its contents, 1773033 is a clause by itself. (How 18 it F37 Rati inquires, that you are limbless, i.e. devoid of your body, dead, burnt downwhereas, Rate continues to be uninjured (T)? This, like the seventh stanza, has the quality of lucidity, well-matched with the feeling it ernbodies. Stanza 10 Construe-l area: a2 944 31 sifat- परस्ये; एष जनः विधिना वञ्चितः, देहिनां सुखं खल त्वदधीनम् । "While yet you are a new traveller along the way leading to the other, 1 e. the heavenly world-before you have traversed a considerable distance --I shall follow your track." Rat thus declares her resolve to follow Madana in death and that too quickly enough lest he shall have gone far ahead making it difficult to her to overtake him. The reason is, that life no longer holds the same charm to her. "This person has been deceived by Fate"--can be taken to refer to the loss that Rat is made to sustain, 3pi 3: being a combination, very often occurring in Sanskrit as the equivalent of are or '1. Instances of such a use of erg 57: can be ated by the score : जनमिममनुरक्तं विद्धि नाथेति गेये ।-मालविकामिमित्रम्, II. 5; कयमेदुपदे निरागसं जनमाभाष्यमिमं न मन्यसे । रघुवंशम् VIII. 48 and co ·ht: 1 कुमारसभवम्। अर्थ जनः कस्य हस्ते समर्पितः । शाकुन्तलम् IV, alter stanza, 13 are some of them. In spite of this general use, however, there is an advantage in interpreting the expression as standing for 'this world' the whole of it. For thus understoof, the third and the fourth lines hang together well, instead of appearing to have been loosely brought together. The thought in lines three and four then is : By fate, the whole world here has been deceived (in so far as it has been deprived of youthe veriest source of its happiness, worth the name ), the happiness of the beings possessed of a body depends on you. I would seem from the contents of the next two stanzas that Kalidasa meant to refer to be world of the living by ari 17: in this context, as the following two stanzas are taken up with detailing the unwelcome effects of Madana's departure to the other world, on the lates and TATS in general ( rather than on Rata individually ). afaracai-from afar future, third person singular 'I shall reach : 'I shall follow.' at from by the addition of the possessive termination - देहः अस्य अस्ति इति देही- the embodied. परलोकं (प्रति ) नवः प्रवासी (प्रवस्तुं शीलं यस्य सः तस्य, a case of ताच्छील्ये गिनि.) परलोकनवप्रवासिनः The stanza illustrates a combination of the quality ( ) of perspicuity (875) and the S'abdalankara called anuprasa, alliteration. Stanza 11 : Construe-() 94, stattfafartagirza grarif पनशन्दविलवाः प्रियाः कामिना वसतिं प्रापयितुं त्वत् ऋते क ईश्वरः। Now that Madana can not any longer help them, who will be able (7:57:) to lesd the damsels in love so much so that they cannot brook any further delay in their lovers coming to their places, but prepare themselves to go over ..

·कुमारसंभवम् । चतुर्थः to the residence of the lovers instead, playing the role of abhisărikas ( as they technically are characterised ). The sky is Overcast with clouds, with clouds that roar and frighten the ladies, making them full of distress (faal:). The city street is literally wrapped up in darkness. Except the god of love (FTI E' excepting you' where a = :) Rati pertinently asks, who else is equal to the task of safely leading the ladies to their destination ? References to अभिसारिका are common enough in Sanskrit literature. Kalidasa in his Vikramorvasiyam makes the heroine resort to the behaviour of an abhisanka-Acts II and III. But for lave, this would be impossible. The stanza under consideration like the one that follows it gives a beautiful pen-picture. For a while the poet seems to have changed places with a painter and with just a few deft touches he helps his reader visualise the whole scene for himself. The abhisarikas here are made to live and move before our very eyes as it were, and so are the proud young ladies in the next stanza. रजन्याः तिमिरेण अवगुपिटने-रजनी तिमिरावगुण्ठिते (परस्प मार्गे ), Stanza 12 : Construe—na 79ana mfan, apala स्खलयन् प्रमदानां वारणीमदः त्वयि असति अधुना विडम्बना । Now that Madana is not there ( a.alu ), proud young ladies helping themselves to a lot of wine, in the company ot their lovers, their eyes becoming red, consequently rolling about in that intoxicated condition, their words faltering as a result at every step-all this which was so very lovely whilo yet Madana was there to give them a peculiar grace-has turned out to be a mere mockery (fac477).-Iittle more than a ridicule. Without love to give a meaning and a charm to ·सर्गः। कुमारसंभवम् । the behaviour of the young ladies, the whole episode dege. nerates into an absolute farce 1 वारुणी-वरुणस्य इयम् said to be the wife of वरुण in सभापर्व, and the daughter of शुक्राचार्य in आदिपर्व of महाभारत, is wine. Stanza 13 : Construe-(?) satt fortaret: a ag: FEL अवगम्य निशाकरः निष्फलोदयः (सन् ) बहुले गते अपि तनुनो दुःख मोश्यति । Rabnow continues describing the effect of Madana's logs, on the moon ( Faalt?: ), the dear friend of his. 'Having leamt that your body is reduced to being the object of stories (कधीकृतम्-खि form, न कथा अकथा, कया संपद्यमानं कृतम् , कथा- faqeni ),' says she, "the Maker of Night will have realised that his rising in the sky would be of no avail (Even a beau. tiful moon-lit night would cease to serve any purpose of young men and women, though it used to be an ideal time for them to meet and enjoy each other's company so far, as Kama is no longer in the picture. The very spirit of the enjoy. ment has been trreparably lost ), and thus would with great difficulty () give up the thinness of his body, caused by the dark hall (is) of the month, even alter the latter has elapsed ( a ). Tho moon waxing during the bright half of the month and waning during the dark, is a physical phenomenon that Kalidasa exploits for his poctic purpose here. The 'moon's * person, a beloved frend of Kamo. On Kāma's departure to the yonder world, the moon would consider that there is no point in his assuming the full (and ultimately rounded ) glory of his form. Giving up of thinness ( ago) on his port, would bo a difficult and more or less mechanical mater, hereafter.

·कुमारसंभवम् । चतुर्थः प्रियबन्धोः (१) प्रियाः बन्धवः यस्य, तस्य ( बहुव्रीहि ), of him who loves his friends dearly or (२) प्रियथासौ बन्धुश्च प्रियबन्धुः तस्य (कर्मधारय) adear friend. बहुल:-कृष्णपक्षः. Stanza 14 : Construe-aftalGuatera: Eragtillensate चितः नवचूतप्रसवः कस्य पाणता संप्रति गमिष्यति, वद । Not only the moon (stanza 13 ), but the mango-blossom also will be a great sufferer, in the absence of Madana. The fresh ( 77 ) mango (TT) blossom (sera:), having a green Teddish (ETATS) and attractive ( 278 ) stalk (alt=TT), (with its presence ) indicated ( even from a distance ) by the sweet (*) notes ( 77 ) of a male koil, was a ( never falling) shaft that enriched the arraoury of Madana. Whose arrow can it be, hereafter, the one bow-wielder that used it having disappeared ? कस्य वाणतां गमिष्यति is simply कस्य बाणः भविष्यति. हरितारणचाह- Tua: is a paranomastic (fraz) expression. For besides the meaning explained above, as going with the arrow, it means having an attractive, green-red (feather ) tied to it. egetfi also is to be rendered as going with the arrowindicated by the hissing sound of tts own. The word gealth is specially intended to suggest the sharpness of the notes of the koil (who has to be a male of the species ) as also al the soldier discharging the arrow from his bow. has the whole sontence boginning with 'ftar etc uplo mala'. as its object. In explanation of an being Koma's arrow, it may be polnted out that Koma is altomatively called was where five different flowers or blossoms oro said to bo sorving the purpose of his arrow. The list traditionally quoted in this conneclion is contained in the following stanza: cy ·सर्गः। कुमारसंभवम् । (१) अरविन्दं (२) अशोकं च (३) चूतं च (४) नवमल्लिका । (५) नीलोत्पलं च quà qume arm: For this yery reason, Káma is given another name yet, viz 97471, the flowers being regarded as constituting his bow. Starza I5 : Construe-त्वया अनेकशः धनुषः गुणते नियोजिता इयम् अलिपतितः कदणस्वनः विहतः गुरुशोकां माम् अनुरोदिति इव । Rati next describes the sympathetic lamenting on the part of the row of bees, often employed (Paala) by Madana to serve the purpose of being the string of his bow [i.e. of acting as an excitant of love ). on former occasions. The bees are very sorry to find Rati in a miserable condibon. Kölıdāsa carefully uses the word Tarta: to ensure that the sympathisers are shown to belong to the same sex as the sympathised. By their cries (faza:-which here is used in keeping with 'ajus me*:') having piteous notes (FTUTELA :), they are following Rati in mourning the loss of Madana, confronted as Rati is, with heavy grief. In Shakuntala, Kalidaso represents the male kokila to be full of sympathy for the hero, Dusyanta . कण्ठेषु स्मलितं गतेप्री शिशिरे पुस्कोकिलानां स्वम् । Act IV, 4. Auf Nominative singular, feminine base, past passivo participle of the causal (प्रयोग) of नि+युन गुणस्य कृत्यम् गुणयलम् the duty or the work of a (bow-) string. Stanza 16: Construereligiag: 591:aftfart 01977: Ayurfrientent ellest fredag in stands fourtson, above, the male Kokila with his sweet notes hos already been menfonod, though as ono that tuggests the mango-blo:son. In this, Ra' reques's her lord to assume his attractive form (watci 433 ) again and some ·कुमारसभवम् । चतुर्थः diately or by way of the first thing to be done (तावत्-प्रथमम् ) bid ( entfer-Imperative 2nd person singular sifa) the female kokila, in other words, to appoint her to the duties (4-office, duty ) of a female go-between in lovematters. For she--the whole class of female koils ( sirat 549794) is eminently fitted to the task, being learned or expert (OSA) in sweet notes (or talks ) by nature (feat). Hy ridg निसर्गतः पण्डिता (this latter being an instance of a form by the additon of the gag termination- yusi gia: ÁFICHE BRIT: ETC पण्डिता, in keepmg with तदस्य संजातमिति तारकादिभ्य इतच् CH. पुलकितः देहः तारकितं नमः etc.) मधुरालापनिसर्गपण्डिता. Regarding रतिदृतिपदेषु there is some difficulty as the compound is dissolved as रत्या दूती रतिदूती तासा पदेषु .e. the word designating a female messenger ends in a long vowel, rather than , a short one and still Köl.dāsa's text appears to be fa, Mollinātha accounts for this by saying that the metrical exigencies havo led the poet to turn ती into ति.हीवन्तस्यापि दूतीशब्दस्य छन्दोभाभयात् हस्वः. This poetic licence is sanctioned elsewhere as in "afa Ari फुर्यात् छन्दोभने त्यजेद्गिरम् । Kalidasa, is seen using the form दूति in other works of his also : da zarafai Atgal Raghuvamsam XIX, 8. and i amarelagere fra i Vikramorvas'iyam, Act. IV. Some have fought shy of what appeared to them a grammatical mistake and have actually emended fa into T—thus for instance, the Trvendram edition. Others delend the poetby saying या इतिरपि स्मृता इति शब्दभेदप्रकाशे. Regarding a reading given by soms editions रतितपदेषु कोकिलान्...पण्डितान्- only this much need be said that here is another attempt at emending the text so as to have like any locative plural, POSAFE accusative plural. But this is defeated by Kalidasa's ·सर्गः। कुमारसंभवम् । own characterisation of the female of the specfes as naturally clever at S'ikuntala, Act V, 22. TARTOTECT Harga संदृश्यते किमुत याः प्रतियोधवस्यः । etc Stanza 17 : Construe-(R) At, frcan Tree many सवेपथूनि उपगूढानि च तानि रहः ते मुरतानि च संस्मृत्य मे शान्तिः न अम्ति । Having referred to the change that Madana's departure signified to the abhisärikas (st 11), to the young proud ladies giving themselves the pleasure of enjoying liberal doses of wine (st 12), to the moon (st 13), to the mango blossom (st14), to the row of bees (st 15 ) and to the female kokila (at 16), Rati now turns to the memory of the sweet Intimate moments she enjoyed in the company of her husband, beforo the 'denizen of the cemetary region burt him downa momory which only deepens her sorrow all the more, by denying all peace to her. There were thus those never-to-be forgotten embraces (उपगूदानि-'नपुंसके भावे .') accompanted by tremor, begged by Madana with prostration and bent head, and those many love-sports (ant) they had in privale ( TK: -- which alas I are now no more ! The presence ol only two s makes it difficult to understand three things viz, (I) supplications (2) embraces and (3) love-sports as being intended. For one more thing, the use of the gerund GFTY Is regarded as a mistate as the subject or author of embraces etc is Madana and that of remembering is tla. This stinga too stands out from many others in this canto. for its prasada. Stanza 18. Construe-(€) Upra 2947 47 i रचितम् आर्तव मुममगाधनम् इदं प्रियते, तव तत् चार वपुःन ने। Ratt has mentioned tho lovo-sports in the last disnza. In this she speaks of the decoration of powers that anda per.

·कुमारसंभवम्। चतुर्थः sonally ( Fai) arranged on her limbs. She is deeply moved to sco that the decoration of flowers belonging to the seasonthe speciality of the season (Ed: Hafa sanda) is to be seen on her body-but the handsome form of Madana who tastefully arranged the decoration is gone past the range of vision. A parallel to the stanza, in point of the idea, 13 Raghuvams'a VIII, 51...fred Facialista parafiar त्वमात्मना । पिगिमां देहभृतामसारताम् ॥ Stanza: 19 : Construe-qft Tarif PTA (ma) Tel: विबुधैः स्मृतः असि तम् इमं दक्षिणेतरं मे चरणं निर्मितरागं कुरु, एहि । Like the floral decoration the dying of the left foot of Ratu for ornamental purposes is fresh event. In fact, before It was completed (after for TRIA ) the cruel gods thought of sending Madana on the mission of luring god S'ankora into accepting the hand of Parvati, so that they (the) gods should be in a position to secure a commander-in-chief for their army. How hard-hearted (CTE) indeed were the gods, that they paid no heed to the consequence which Madana would be required to suffer, in their concem for their convenience. For Indra having remembered , when approached by gods, refer to Faria Canto II, stanza 63 and for the readiness with which Madana presented himself before Indro, read stanza 64, ibid. Reference to the left foot (other than the right ) has a special significance as the experts say, decoration of the left part of their body is highly appreciated by the fair sex. far, a wise ono i.e. a god Cl. अमरा निर्जरा देवानिदशा विबुधाः सुराः । निर्मितरागम्-निर्मितः रागः यस्य सः तम्। Stanza 20 : Construe-(1) A4 qanarit 27 3 ga: से अशाप्रपिशी भवामि, दिवि चतुरः मुरकामिनीजनैः यावत् न विलोभ्यसे। << ·सर्गः। कुमारसंभवम् । Rati's jealousy is roused and she is afraid unless she hures and follows her lord to the other world, having burnt herself up [62964 1944following the path of a moth. (falling into the flame of a lamp and being consumed ) 906_FL via and moth ), there is every possible lity of the celestial damsels, who have reduced seduction of other ladies' husbands to a fine art (8t), tempting away Kama. Without giving them time to do anything of the sort, Rat declares 'I shall burn myselt up and resort to your lap ( again ) Oh darling (114) Madana.' 17 ( neuter la path, आईआधयितु शीलं यस्याः-a case of तारखीये णिनिः. भवामि !diomati. cally. stands for भविष्यामि according to 'पर्तमानसामीप्ये वर्तमानवद्वा इनि लट् ' Similarly विलोभ्यसेनविलोमयिप्यमे In keeping with याय. रपुरानिपातयोलंद, इति लट् । Stanza 21 Construe-(?) 19", af af 1917 start, मदनेन विनाता रतिः क्षणमा जीविता किल इति वचनीयं मे व्यवस्थितम् । Rati is very sorry that though she is going to follow Madana to heaven. Immediately (941A=3341FTIH ), sull tho stigma that she indeed lived, may be for no more than a momont (RTTATT ), is now permanently established. Futuro goneratone would talk dispsragingly of Ral. A chasto ledy that sho was, she was not expected to survivo her consort evon for a fraction of a moment. Videre fra 9 ELIT मेया पनिता। The stanza is noteworthy for the quah!y olame it contains. Stanza 22 · Construc-generating a good of झियताम् , अन म जारितेन य सममेर अनगि गति गतः अपि । fali's lo! is particularly d:!!ult in that she canno! hare the sa!iscon o! perlorming area tho quis. funeral ·चतुर्थः कुमारसंभवम् । rites (FA AVST) in regard to her husband of whom there was no remnant, except the ashes presenting an outline of the human forra, Others could have the consolation, poor though, of putting flowers etc. on the corpse of their dear one. That too was denied to poor Rati. For, unlike others, Madana has gone to a condition, never before imagined (अतर्किता-अकल्पिता or अविचारिता) along with his life and body alike, at one and the same time. What a difference it has made between other people's departure to the other world and that of Madania. Rati's plight in this respect, is even more miserable than that of an ordinary woman ( a '' as Sanskritists put it). Birth and death have been the niddles that have occupied the minds of thinkers of all ages, and all lands; and even there, 'death' has proved a problem, more difficult of solution, if not impossible of one, Indeed. Rightly doos Kalidasa refer to the state after death as tarifat-not ( 80 much as even ) guessed about. The problem has, in fact, baffled all human attempts al solving it A parallells, what Shakespeare makes his 'Prince of Denmark' say: But that the dread of something alter death The undiscovered country from whose bourn No traveller returns--puzzles the will The remark regarding prasada holda equally good of this stanza, as of the previous. Stanza 23 : Construe-haqorat: 74 at ud: ते मधुना सह सस्मिता कर्या तन् नयनोपान्तविलोक्तिं च ( अहं) स्मरामि । Rati draws a fine picture, or better Kalidasa makes hor draw one oi kima holding a conversation with his bosom friend. Madhu, (spring personified )in a manner accompanied by Kima's noveriailing smile, while he was busy stralah.

·'साः। कुमारसंभवम् । tening (ऋजुतां नयतः) the arrow. the bow lying in his lap:- and cleverly and characteristically, managing at the same time to direct a slanting glance at Rati. A scene worthy of being portrayed by a genius in the field of painting, saya Ravivarma. उत्सझे निपाणं धनुः यस्य सः उत्सङ्गनिषण्णधन्वा-Mark that धनु: gets itsell changed into yra at the end of a again compound. Vide-धनुषश्चेति नहादेशः' नयनस्य ( and not नयनयोः as one of his eyes was directed by Madana towards Madhu, bow and the arrow and the other towards his beloved Rati.) उपान्तेन विलोकित (= विलोकनम् ) नयनोपान्तविलोकितम्, Stanza 24 : Construe- कुमुमायोजितकार्मुकः ते हृदयंगमः सया मधु. क.नु । सः अपि उग्ररुपा पिनाकिना मुहृद्तो गति न गमितः खलु । Visualising the conversation between her husband and his intimate friend Madhu, Rati naturally is led to wish to know more about htrn-Where is he, who prepared (आयोनिन ) Kama's bow with flowers, formerly, and therefore was expected to be present in this helpless condition of his friend's consort, gone? Rati's mind which has already received a rude shock in Kima's death, is easily led to suspect the death ol Madhu also. The wielder of the Pinika bow (पिनाक: अस्य अस्ति इति पिनाकी-दांकरः) was notorious enough for the severity ( 34-37) o! his wrath (). If he could claim one victim, he could as well claim another-especially when the latter helped the former in his 'questionable' undertakings. पुमुमैः आयोजित कार्मुकं येन सः 1 हृदयं गच्छनि इति हदयंगमः । Tha anusmita on य in हृदय in the compound ts accounted lor by 'अपिदजन्तस्य मुम् इनि मुमागमः' उप्रा स्ट् यस्य सः देन उपयश (बहुमीहि) गमितः-past passive participle of the causal (प्रयोजक) ·कुमारसंभवम् । चतुर्थः of Tone that has been caused to go. eg in the translation is rendered by 'may I know,' for Mallinātha quotes 3HTET in support of the rendering-'जिज्ञासानुनये खल' इत्यमरः Stanza 25 : Construe-344 d:ficaatett: RTO 9 EU आहतः मधुः आतुर्रा रतिम् अभ्युपपत्तुम् आत्मानं पुरः अदर्शयत् । All the time Rati was lamenting, Madhu was listening, not being quite far oft from her. He, however, could not bring himself up to go near her, thus only causing her greater amount of grief. Ratı, being beside herself with grief, failed to notice his presence. On being mentioned by name, and hearing a query about his whereabouts, Madhu steps forward, struck at his heart by those words (Brit:-lit, syllables) of lamentation (afteraa=ritch), which were as though arrows besmeared with poison (faru), to offer consolation to Rah, who was so very distressed. Rruat: has an alterna. tive reading farge: where stands for the tip of the arrow. The reading is regarded as being as good as rurait:. In Stanzas 24 and 25, there is an Instance of the figure of speech called पर्याय defined by विश्वनाथ in his साहिवदर्पण as क्वचिदेकमनेकस्मिन् ( अनेकं चैकग क्रमान ) भवति ( क्रियते या चेत् ) तदा पर्याय इप्यते ॥ The variety here Illustrated is that where a thing or a being goes to two places (or more ), as Madhu who was at a little distance from Rati has walked into her presence. In the preceding stánza two beings l. e. Madana and his friend Madhu ere regarded by Reti, to have been caused to undergo the same condition viz. death. It therefore, answors ini ad 1 In elther case the transition takes pleco 80 very quickly, ૧૨ ·सर्गः। case कुमारसंभवम् । अभ्युपपत्तुम्-infinitive from अभि उप+पद-to favour, oblige. Stanza 26 : Construe-तम् अवश्य सा भृशं सरोद, उरः स्तनसंवाचं जधान च, स्वजनस्य अमतः हि दुःखं वियतद्वारम् इव उपजायते । The very first reatcion on the part of Rati, to her seeing Madhu was weeping all the more (भृशम्). She beat her bosom so much so that her breasts were pained. स्तना संबाध्य स्तनसं. याधम् is a णमुल्' gerund in accordance with the Sutra 'परिक्ति- श्यमाने च' From the individual of Rati, Kalidasa generalises in lines 3 and 4, 'as is well known (PE) gref has its doors thrown wide open (वियुतानि द्वाराणि यस्य तत्) in the presence of ones own relatives or beloved friends. The stanza contains an instance of the figure अर्थान्तरन्यास. Cf Bhavabha. ta's version of this in उत्तररामचरितम् IV'8. संतानवाहीन्यपि मानुपाणां दुःखानि सबुन्धुवियोगजानि । दृष्टे जने प्रेयसि दुःसहानि स्रोतः सबैरिव संप्लवन्ते ॥ Act IV Stanza :ST Construe-दुःखिता (सा) एनम् इति उवाच (हे) वसन्त पश्य मुहृदः किं स्थितम्, तत् इदं कपोतकरं भस्म पवनैः कणशः विकीर्यते। Rat in that afflicted condition of hers asks Vasanta to see what remained of his friend it was just ( a heap of) ashes of variegated colour (1. e, no uniform specific hue as such spotted' is the literal rendering of art which the commen. tators explain by 99% ] and here too, Fate was so very spiteful towards her. For even the ashes were being scattered by breezes, particle by particle. Stanza: 28 Construe-अयि स्मर, संप्रति दर्शनं देहि, एष माधवः पर्युत्मुकः, दयितामु अनवस्थितं नृणो प्रेम मुहजने न चलं खलु । .

·कुमारसंभवम्। चतुर्थः Rat next addresses herself to Madana requesting him to grant a sight, as there his friend Madhava was all eager for it. The love of men not quite steady towards ladies whom they love (only to give them up as others have caught their fancy in the meanwhilo ) is seen to be not. fickle in respect of their (men) friends. At least, for the sake of Madhava, Madana ought to show himself up. Men being fickle in their attachment to ladies is a common enough idea in Kalidasa's works (Sakuntala 'Triturats :' after stanza 1, ActV. In Malavikägnimitra too, Agnimitra takes a fancy to ref.1 though previously he made love to the queen, and to guard ), if not in Sanskrit literature generally, (Udayana, the hero of Ratnīvalı by uiet, making approaches to it a 'maid-servant, though already having a call in 91797fil, is a case in point ). Stanza 29 : Construe-3 ani 39 turi stort 74 विसतन्तुगुणस्य पैलवपुष्पपत्रिणः धनुषः आशा पारितम् । Madana can ill afford to forget indeed () that thanks to this Vasanta, whoconstantly used to be by the side of Madana, (पावर्तितुं शीलं यस्य, साछील्ये गिनिः, सेन पार्भवतिना ) the otherwise frail bow of Madana-with the threads of filaments as the string, and delicato fiowors as tho arrow was modo to achlovo the singular ſoat of bringing the entire world under the sway of (making it obay the behests ol) Madana, gods and demons included. बिसतन्तः गुणः यस्य. पेसवानि (delicate) पुणणि पविगः यस्य 977-that which is possossed of a leather, therolore, an arrow. It WOS a common practice in those days to attach loathers (o! herons , for instance, ) to the arrow'Ono having a festher' thus become a synonym o!' .' The contras! between tho krsil bow and the conquest of the whole world thould be cardully noted. The construction ·सर्गः। कुमारसंभवम् । अमुना जगत् आज्ञा कारितम् where जगत् and आज्ञा both are objects as the root & governs two accusatives, and where the construction finally is causal passive is grammatically worth noting. Stanza 30; Construe #: à Het 3face: #19: : 17, न निवर्तते, अहम् अस्य दशेव, अविषह्यव्यसनेन धूमिर्ता मां पश्य । Rab'a words having proved a cry in the wildneress. as there was not even the remotest indication of her lord retum ing, she concludes and conveys the conclusion to Vasanta. "Gone ( to be sure te) is your friend like a lamp struck by a gale of wind-he would not return (Band present for future.)" "I am" Rati Continues," like a wick of that lamp, Look at me (rendered ) smoky by the calamity ( 2987 or qnel) that is (simply) unbearable." Madana corresponds to a lamp, Rati to the wick of the same. The wind blows out the lamp, Madara has departed never to return. The wick is full of smoke (धूमः अस्याः संजातः इति, तदस्य संजातमिति तारकादिभ्य इतच्) after the lamp has been put out by the terrible (faqu ) blast ( with reference to the wick), Rati is made full of smoke (metaphorically is no longer her former self, all her brightness, jovial nature etc having disappeared ) by the unbea. rable calamity. In tgas VIII. 38 Kalidāsa compares 871 with 'तैलनिकविन्दु ' and इन्दुमत्ती with a 'दीपार्चिः. A happy simile happily expressed. Stanza 31 : Construe% at fayga Agar dari पृतम् ; अनपायिनि संश्रयझुमे गजभाने वालरी पतनाय (भवति ) ita agar = fun--half the slaughter from fang: a person who kills (वि+शस् to kill), संश्रयस्य हुमः संश्रयद्रुमः a tree of resort ( to the enti-creeper, dependent on it). ९५ ·11 कुमारसंभवम् । At the time of the slauhgter of Kāma, Fate left me out, thus perpetrating only half the cruel deed," Rati continues, "( where in fact he could as well have perpetrated the whole, for-) when the tree of resort, regarded as free from injury (न विद्यते अपायः अस्य इति अनपायी तस्मिन् ) is broken down by an elephant, the creeper is only doomed to fall down. The fall of the tree renders it impossible for the creeper to exist any longer. The same holds good about Madana's death and Rati's existence. ase gay is an idiomatic way of expressing the idea 'the creoper is bound to fall in Sanskrit. Road a parallel from the companion study of this vil pa from Raghuvams'a' अथया मम भाग्यविप्लवादशनिः कल्पित एष वेधसा । यदनेन तरुने पातितः क्षपिता तहिटपाश्रिता लता । VIII, 47. Stanza 32: Construe-i poartai Ha parati क्रियताम् । ननु विधुरो मा ज्वलनातिसर्जनात् पत्युः अन्तिकं प्रापय । बन्धुजनस्य प्रयोजनम् ( कार्यम् ) पन्धुजनप्रयोजनम् service rendered to a friend 377 elther adjectival or adverbial-(a) that which follows immediately, or without leaving a gap (b) immediately, without any delay, fayu separated from my husband and ) allicted. ज्वलने अतिसर्जनम्-ज्वलनातिसर्जनम् , प्रापय- Imperative 2nd person singuler of the causal of 9+379 cause ( me ) to reach--is the object of the vicinity (of my lord ). "Now that this is the inevitable course of things, now that the complement of the cruel deed of Fate must in the nature of things take place, even if Fate left the work hall.dono (-HT), without any loss of time, kindly let a service bo rondor ed by you to your friend," Rati requests Vasanta, "throwing me into the fire, lesd me into the presence of my lord." प्रापय, ९ ·pt: 1 कुमारसंभवम् । Stanza 33: ConstrueT TE A mila, afzz Haare प्रलीयते; प्रमदाः पतिवमंगा इति विचेतनैरपि प्रतिपनं हि । Observation of our surroundings, which need not be very minute, leads us to the conclusion that women as a rule follow their husbands, whether alive or dead, go (moonlight personified) follows the moon, wherever the latter goes. On the cloud pouring out all the water contained in it, and thus ceasing to exist, lightning gets herself dissolved. And no one would seriously enough credit either at or afert with that much intelligence or discrimination, which living beings possess. The less intelligent (if not insentient) moon-lght and lightning lead the way, that intelligent Rati has to follow. JAT: in this context, stands for such of them as care to have the reputation of a पतिव्रता. As usual, Raghuvamsa has a parallel, in शशिनं पुनरेति शर्वरी दयिता द्वन्दचरं पतत्रिणम् । VIII, 56. In प्रतिमा the instances of the moon being followed by aTCT, the creeper collapsing after the forest tree and the female elephant not deserting the lordly-elephant sunkin mire are cited and the generalisation established 720 4:1 The stanza under consideration, Kumara IV, 33 is remarkable for prasada aliteration प्रलीयते, प्रमदा,... पतिवमंगा...प्रतिपनं, and the अर्थान्तरन्यास it contains. Stanza 34. Construe-31971 a fAMITEAFT - तलनी विभावसौ नवपलवसंस्तरे यथा तनुं रचयिष्यामि । Ratı says she is going to immolate herself on the funeral Pyre of her lord. Like other ladies in a similar conditon, Rati need not wait for any adomment. Just the ashes of the body of her dear Madana' (BE HET ) would be a fine ( ) material with which to decorate her breasts and for . कु.सं.७ ·कुमारसंभवम्। चतुर्थः which no elaborate preparations were necessary ( gala ). "Thus decorated," says Rafi, "I shall place myself on fire (विभावसु-विभा lustre वमु wealth यस्य सः) [as gladly and easily] as on a bed of soft (It.) fresh leaves." कपायिती (रजितौ ) स्तनी यत्याः सा कयायितस्तनी, संस्तर-a bed. Rat says that to her the ashes of the body of Madana would be (as) welcome (as an embrace with him that the fire would be giving her the same comfort and delight as her bed of fresh soit leaves (formerly), just with the purpose ol leaving no scope for Vasanta to argue that Rat should not act so rashly and part with her life. Stanza : 35 Construe-(a) is EUAFITW : sred: सहायर्ता गतः, संप्रति तावत् प्रणिपाताअलियाचितः ( सन् ) चिताम् भे आशु कुरु । Rati reminds Madhu that on several occasions (45T:) in the past, he acted as a helper to both Madana and Rata in arranging their bed of flowers. This, Madhava did very willingly, a friond of Medana that he was. Would it be too much to expect him to arrange the funeral pyre for Roti, now that Madana is no more ?"Do it guickly, "being begged of by me with hands folded in an act of salutation." For a true friend stands by you not only when you are in affluent circumstances, but even when you are confronted by the direst of calamtes. Literally is the latter part of the stanza, 30 often quoted start at a face :, to be understood. TER to be distinguished from her help or assistance, is a person who helps: तस्य भावः सहायता. प्रणिपाताय अअलिः तेन याचितः प्रणिपाताजलियाचितः । . says Rati, ·सर्गः। कुमारसंभवम् । Stanza 38 : Construe-70 Aarti vari luar: त्वरयः, मां बिना यथा स्मरः क्षणम् अपि न उत्सहते (तथा) ते सतु विदितम् । Rati continues her importunity to Vasanta-"by the fannings of the southern breeze, quicken the fire placed on me (af affaq-Heftan), for, it as well known to you, that (291) Smara does not feel at ease, even for a moment, without me." It is pertinent to note that the southern breeze (personified ) i. e. the one coming from the Malaya mountain and one of the excitants of love, is like Vasanta, a friend of Madana. So that, Vasanta need not experience any difficulty in requisitioning the services of latusta, in the in. terests of their cornmon friends-~मदन and रति, वीजनम् the act of fanning. Stanza 37. Construe39 Fa fauna 4: Te Afrire अअलिः नौ दीयताम् । तं स ते वान्धवः परत्र मया सहितः अविभज्य पास्यति । In this stanza and in the next, Rat gives Vasanta an idea of the offerings after death, that they (Madana and she ) would appreciate. "Give us, just one cavityful of water, having done this ( quickend the fire placed on me ). That friend of yours will drink it with me, in the other world, without dividing it into two." What a contrast, incidentally, between Madana and Rati having shared wine from the same chasaka formerly and this prospect of drinking the same cavityful of water, offered as part of funeral rites by Madhu I Rati is delighted, however, at the prospect, as she will drink, may be just plain water, along with her husband. Stanza 38 : Construe-(2) 7749, Út 7 TA Zitty विलोलपालवा. सहकारमारी: निवपः, ते सखा हि प्रियचूतप्रसवः । After having relerred to the cavityful of water, to be offered in common to Madana and Rati, Rati proceeds to inform ९९ ·कुमारसंभवम् । चतुर्थः Vasanta as to what he should offer with reierence to Smara in the nte regarding the other world (qafq-funeral rite] Vasanta need find no difficulty in understanding the propriely of offering clusters of mango (FETC ) blossoms, with their sprouts (FET) tremulous ( Actas ), to Madana. For he knew well enough that his dear friend was so fond of the produce of all kinds ) of mango. प्रियाः चूतस्य ( आम्रवृक्षस्य ) प्रसवाः यस्य सः प्रियचूतप्रसवः । निवपेः- from fit+99 to offer, especially to the departed. CI. para निवापःस्यात् '-अमरः। Stanza 39 : Construe-spa celana ferat afat 37191TTI सरस्वती हृदशोपविक्लवां शफरी प्रथमा घृष्टिः इव अन्दकम्पयत् । Ratz stood prepared to throw herself into fire. At this junc. ture a voice (lit. speech or presiding deity of speech) arising from sky took pity on her, like the first shower of rain (after the long scorching Summer ) being full of compassion towards a female shaphara (a kind of fish), sorely distressed (farmar) by the drying up ( Eīta ) of the pond (5). Nothing could have been more timely and more comforting to Rata in that predicament, than the dayino words. Powers on high-or the supernatural eloment intervening at the eleventh hour and removing the difficulties, thus making it possible for the poets to lead his readers safely to and thus they lived happily ever after' is by no means unusual in Sansknt literature. The artificiality of this device of which the literary critia complain, and with justihcation, is however, conspicous by its absence in the present content. For ordinary gratefulness, if no other considerations, made it incumbent on the gods, that they should help Rati out of dilhculty, as Madana, her consort had sacrificed his life, to serve their cause.

·सर्गः। कुमारसंभवम्। The stanza contains a beautiful upamā, where it corresponds to शफरी, आकाशभवा सरस्वती to प्रथमा वृष्टि, रती।' being full of distress through grief to the Ter being scorched by the parched up condition of the pond she stays in the common property (साधारण धर्म ) between सरस्वती and प्रथमा वृष्टि being a compassionate attitude towards those that needed it. Stanza 40: Construe-() Argeoista tai Parera gaiH: न भविष्यनि, येन कर्मणा सः हरलोचनानिषि शलमत्वं गतः (तन कर्म ) शृणु। The divine words purport to say that Rati's husband would not for long (fra=fam) be difficult to be obtained and that there was something he did on a former occasion due to which he was burnt in the flame from the eye of S'ankara even like a moth. 375:--a flame. Stanza 41 : Construe-aghahat: fa: para af लापम् अकरोत् । अथ तेन विश्रियां निगृह्य अभिशप्तः (स्मरः) एतत् फलम् अन्वभूत् । It so happened that Prajapats once entertained an incestuous desire for his own daughter Saraswati. The latter, coming to know what her father was about herned herself into a doe, with the purpose of runing away from him. But the father blinded by passion proved himself to be resourceful (?) enough in that he assumed the form of a deer and began chasing Saraswati ( Sandhya, according to some accounts ). Were it not for the timely aid given by the redoubtable Lord S'ankara, who ran to the succour of Saraswati and cut off the head of Prajapali (or Brahmadeva ), Saraswati would have been hard put it to extricate herself from the extremely awkward predicament in which she found herself. As a result, Brahmadera continues to remain suspended in the sky in the ·चतुर्थः कुमारसंभवम् । form of the constellation Arcy, and S'iva's arrow is what is known as the constellation आH, always following मृगशिरस्. This story occuring in S'aiva Purēna may be be traced back to Rigveda, Aitareya-brāhmana etc. and has to regarded as representing a phase of the life of humanity, before it became civilized enough to consider such relations 'unnatural'. Prajapati's passion for his daughter is referred to elsewhere in Sanskrit literature, by Dandin, for instance, in the account of facraat, where a defence is sought to be given of her own behaviour by a concubine. उदीरितानि इंद्रियाणि (senses) यस्य सः उदीरितेन्द्रियः roughly, with his Passion roused or excited. विविरया is विरुद्धा किरया a perverse action here, though generally, just a change or modification. Prajapatı, in the account Kalidasa gives, controls himself (A+E-face is a gerund ) but holds Kāma responsible for the impelling ( GERUITE) of his passion and the divine speech continues, "cursed by him, Madana experienced this fruit, viz, of being burnt by the fire from Hara's eye on the forehead." Stanza 42-43 : Construe--1981 altorana: ET: 71 area परिणेष्यति तदा उपलब्धपुखः (स) स्मरं खेन वपुपा नियोजयिष्यति (४२) धर्मयाचितः स इति च स्मरशापावधिदा सरस्वतीम् आह; अशनेः अमृतस्य च उभयोः वशिनः च अम्बुधराः च योनयः । (४३). In stanca 43, the divine speech assures Rad that he (7.-9714fa: ) being requested by Dharma [ a la bom of Brahmadeva's right breast having Kāma as his son with Sama and Harsa as the other two, as per the account in Adiparva, Mahabhārata ), who naturally was full of concern for his son Smara, uttered words stating the limit (190) of the curse. The words uttered by Prajāpati are contained in stanza 42 and amount to "When Hara, favourably disposed towards ૧૦૨ ·कुमारसंभवम् चतुर्थः Stanza 44: Construe-(है) शोभने तत् इदं भवितव्यप्रियसंगम पपुः परिरक्ष; रविपीतजला नदी हि तपात्यये पुनः ओपेन युज्यते । भवितव्यः प्रियेण संगमः (union ) यस्य तत् ( वपुः) रविणा पीतं (evaporated, it, drunk) जलं यस्याः सा (नदी) The divine speech further says that the union of Rali with her lord is a forgone conclusion. She con rest assured re. garding it as much as any one can regarding the union of the river personited ), though with water evaporated by the Summer Sun, with her current on the advent of the rainy season. The stanza contains an instance of the figure ( साधम्र्येण) दृष्टान्त, there being a parallelism between रती, नदी; रती's being separated fromm' मदन temporarily, नदी having water in it evaporated-and both being destined to have the desired reunion with Madana and the current. Vide definition. दृष्टान्तः पुनरेतेषां सर्वेषां प्रतिबिम्बनम् । काव्यप्रकाश x. 102. Stanza 45 : Construe-इत्थं अदृश्यरूपं किम् अपि भूतं रतेः भरण- व्यवसायबुद्धि मन्दीचकार, तत्प्रत्ययात् च कुसुमायुधषन्धुः एना सुचरितार्थ- पदैः वचोमि. आश्वासयत् । Some invisible being-for though the words were heard, the speaker could not be seen either by Rati or by Madhu-thus (इत्यं) slackened the idea (बुद्धि) regarding the determination or resolve (व्यवसाय) of death on the part of Rati. The friend (बन्धु) of Madana, out of faith in the truth of those words consoled her by utterances ( वचाभिः), the words in which had well carried out their meaning, i. e. provod significant, or true later on. मन्दीचकार-Perfect third person singular of मन्दीक- अभूततदावे खि from मन्दः and कृ. (न मन्दः अमन्दः मन्द संपद्यमानः) सुष्ठु चरितः अर्थः येषा तानि सुचरितार्थानि पदानि । १०४ ·सर्गः कुमारसंभवम् । Stanza 46: Construc-39 TETET TE JEFTrai RETETE परिमयधूमा दिवानस्य शशिनः लेगा प्रदोषम् इस प्रतिपालपबभूव । rata-Periphrastic Perfect 3rd person singular from atmawalted. fernant 797 Uforaft27P***. 17 (21004: IT: 14799) or ai: 1114: tho foro-part of the night which marks the beginning of thefts etc. Then Rati emaciated through grief, thus resembling the digit of the moon by day-time, solled or dusty on account of the all round (1) loss of rays, waited for the end of the calamity ( 9997), like the digit of the moon waiting for the beginning of night-which restores to her, her full glory, The stanza contains on 3975 with tat corresponding to , both being emanated ono due to griel, the other being obscured by the light of the sun, either, however, having a bright prospect before her, at sure to be united with lord, the digit of the moon under lavourable circumstances, vi2 night-time, gure to shine brightly. In keeping with the requirements of a Mahitarya, as stated by thetoriclans, Kidaga has composed stanzas 45 and 46 in metres different from the one in which the first 44 stanzas are couched. The 45th verse is in the art and the 46th, in the glomerat metre 104 ·Canto V Stanza 1 : Construe-am Heat AA1 TH- मनोरथा सती पार्वती रूपं हृदयेन, निनिन्द, चारुता हि प्रियेषु सौगाग्यफला । The preceeding canto is devoted to the lament of Rati. In this canto, Kalıdāsa proceeds with the story. Pārval was created by the creator, after bringing together all the sweet and lovely things, and casting them into a mould, ( Read Kumāra, canto 1 Stanzas 31 to 48 ). Neither these chams, nor the flowery arrow of Cupid, could be of any use in winning over the heart of S'ankara, who was practising penance for some reasons, no one knew. (Read are 1923TT Kumāra I 57). On the contrary, at Kumāra III 75, Kalidasa descubes this paragon of beauty as one full of grief and shame, grief for her lost hopes and shame for her discomhture in the presence of her friends. She returned back to her father's abode with shattered hopes (W: HICU: URI: HT-9714- HTT). The poor Cupid was reduced to ashes. Pārvati realized from this, the futility of her physical charms and cursed them. For of what use are the charms if they fail to attract the loved one ? (सौभाग्यं फलं यस्याः सा-सौभाग्यफला). For a smilar idea read Kumāra VII. 22 स्त्रीणां प्रियालोकफलो हि वेशः । अश्णोः समीपे- समक्षम् अव्ययीभाव vide ' अव्ययं विभक्तिसमीप समृद्धि' । तथा In that violent manner. Read notes on stanza 1st canto IV, HOHT: From te (mind) and (to be bom), bom of mind, the same as i. e. Kāma or Cupid. The stanza is an illustration of अर्थातरन्यास of the विशेषस्य सामान्येन समर्थनम् type. The metre in this conto from stanzas 1 to 84 is try defined as " जती तु वंशस्थमुदीरितं जरी."

·सर्गः। कुमारसंभवम् । Stanza2: Construe---सा समाधिमास्थाय तपोभिः आत्मनः अवन्ध्यरूपतां कर्नु इयेष, अन्यथा तथाविधं प्रेम, तादृशः पतिः (इति एतत्) द्वयं कथं वा अवाप्यते। Though rudely shocked, Parvati refused to be disheartened, she, thought that penance would help her, where physical charms had failed. She could win the heart of the stern deity. by austerities, that would be stermer still. Meditation (समाधि) was the only sure means at her disposal, now. The love of that exceptional sort (तथाविधं ), and the lord of that fame, could be won by only egually great sacnfices on her part. She wished to make her beauty fruitful 1. e. win over S'ankara by austershes ( अवन्ध्यं रूपं यस्याः सा अवन्ध्यरूपता, तस्याः भावः अवन्ध्यरूपता). तपस् is the only means of attaning the difficult. Read, Manu XI 238 यद् दुष्करं यद् दुरापं यद् दुर्ग यश्च दुस्तरम् । तस्सर्व तपसा प्राप्यं तपो हि दुरितकमम् । तपस् is in other words hard work coupled with perseverance. These two things definitely leadto success. समाधि is concentration of mind on one object. It is the 8th and the last stage of yoga. इयेप Perf 3rd per. sing from 1 to desire. Barend Passire 3rd per sing from अव + आप to obtain. Stanza 3:Construe-गिरीशप्रतिसकमान तपसे कृतोद्यमा सुतां च निशम्य मैना वक्षसा परिरभ्य महतः मुनिव्रतात् निवारयन्ती एना उवाच । Parvatı had fixed her mind on the lord of the mountains (गिरीशे प्रतिसकं मानसं यस्याः सा-गिरीशप्रतिसक्तमानमा) and had made determination ( कृतः उद्यमः यया-कृतोद्यमो) for practising penance. Having heard this about her daughter the peace of the mind of Menē, mother of Parvati, was disturbed. Menā believed that her delicate daughter would find it extremely difficult to perform the penance, and a ·कुमारसंभवम् । पंचमः wanted to dissuade her (F1401, ) from the path of the rigorous vow of the ascetic ( महतः मुनिव्रतात् ). She threw her arms round the neck of her daughter and said Stanza 4 : Construe-Te Aria 94: सन्ति, हे वत्से व तपः क च तावकं वपुः पेलवं शिरीपपुष्पं भ्रमरस्य पदं सहेत पतत्रिणः 97: Menā appreciates Parvati's longing for Sankara but suggests to her daughter a less difficult course of reaching the goal. The deities such as get and others which are usually associated with marriage can certainly be worshipped even by staying at home, and thus be made to bring the desired object. If at is so, why unnecessarily undertake the troubles of performing the austerites, that are completely incompatible with Pārvan's delicacy ? Her body was fraul and delicate, and the penance was severe and stern ( the repetition of # points the disparity between the two things 'द्वी क्वशब्दो महदन्तर सूचयतः' Cfr. सूर्यप्रभवो वंशः क्व चाल्पविषया मतिः Raghu I. 2.). The शिरीष flower, very delicate (Tea) indeed, would perhaps bear the burden of the tender foot of a bee, but surely not that of a bird. ( cafè sfat ett a bird ). It would both bend and break under that weight. Is not Menā's Pārvati as delicate and tender as the facta flower ? The stanza contains Ella अलंकार as there exists विम्वप्रतिबिम्बभाव between the body of Parvati end the first flower, worship of the gods at home and the foot of a bee, and lastly the unbearability of the penance and the foot of a bird. Stanza 5 : Construe-fa siguran 71 vast gat 34417 नियन्तुं न शशाक, ईप्सितार्थस्थिरनिश्चयं मनः निम्नाभिमुखं पयः च कः प्रतीपयेत् ।

·सर्गः। कुमारसंभवम्। Menā however could not succeed, her daughter's will, having proved itself stronger, she could not restrain her (facing 7 1914 ) from the firm resolve. There is however no wonder, that Men was unsuccessful. For who is able to cause to go in the opposite direction (Falam) the mind, that has made a Irm resolve to win the desired object ? (fRhei स्थिरः निश्चयः यस्य तत्-ईप्सितार्थस्थिरनिश्चर्य ) It is as impossible as the attempt to revert the current of water running on a lowlevel, from its course.( ** la fage find in the direction of a place on the lower level ). Such attempts, in the very nature of things, are bound to fail. The stanza contains 4196 and अर्थातरन्यास अलंकारs-दीपक because का प्रतीपयेत् is to be taken along with प्रकृत ( मनः) and the अप्रकृत (पयः) and अर्थातरन्यास for the समर्थन of विशेष by सामान्य 1. a. the nability to revert the current of water on a low level, from its course is a general phenomenon which 13 used here for explaining and justifying the failure of Mena's attempts. The Denominative from adity, which is from wara: 37: A. Stanza 6 : Construee TIE I foarte सपीमुखेन फलोदयान्ताय तपः समाधये आत्मनः अरण्यनिवासं अयाचत । Meni's attempts, were bound to fail. However the task of Parvati, became a bit dilficult. Had Mena been one with her resolve, Pärvat would have easily secured the permission of her father, through her mother ag young maidens are wont to do. That previlego however was denied to her. But being conldent that her father, as he knew her desires (ar), would consider the question from a different view point she begged of him through the medium of her friend who was standing by permission to stay in the coltudes of forest (ayah). There she would carry on penance till the ·कुमारसंभवम् । पंचमः acquisition of the fruit. (फलस्य उदयः फलोदयः सः अन्तः अवधिः यस्य तस्मै फलोदयान्ताय ). Sparited or मनस्विनी as she was, she would either reach her goal i.e. win the love of the lord of worlds or continue practising penance indefinitely. The root 41 governs two accussatives, here पितरम् and अरण्यनिवासम् vide दुह्याच इत्यादिना द्विकर्मकत्वम् । Stanza 7:Construe -अथ अनुरूपाभिनिवेशतोषिणा गरीयसा गुरुणा कृताभ्यनुज्ञा गौरी पश्चात् प्रजासु तदाख्यया प्रथितं शिखण्डिमत् शिखरं जगाम। Himalaya, the lord of the mountains, was pleased at Parvat's attachment to a person worthy of her (अनुरूपः रूपस्य योग्यः (worthy ) तस्मिन् अभिनिवेशः तेन तोष्टुम् शीलमस्य-अनुरूपा- भिनिवेशतोपिन् ). Hence with magnanimity of heart, he gave the necessary permission to his darling child (Bar अभ्युज्ञा यस्याः सा-कृताभ्यनुज्ञा )Gauri immediately repaired to the peak of the mountain that abouned in peacocks (feraldsuet), where she practised severe austerities. As a result of this, the peak came to be known among the people (4914) as गौरीशिखर । Stanza 8 : Construe---अहार्यनिश्चया सा विलोलयाधिप्रविलुप्तचन्दनं हार विमुच्य बालारुणबभ्रु पयोधरोत्सेधविशीर्णसंहति वल्कलं बबन्ध । A new phase in the life of Parvati began, Delicate, though she was, she no longer remained a pet child looked after by her mother, but became a nyit putting on her body the rough bark garment (वल्कलं) that was tawny () in colour hke the young sun (बालाण) (वालारणवत् बभ्र-यालाएणय). It pressed too tightly against her breasts, but the close fitting ( संहति 11.

·सर्गः। कुमारसंभवम् । from (सं+हन् ) was loosened (विशीर्ण) on account of the protuberance (उत्सेध ) of the breast (पयोधरयोः उत्सेधेन विशीर्णा संहतिः यस्य पयोधरोत्सोधविशीर्णसंहति ) The compound means that the close contact of the garment with Parvati's bosom was loosened on account of the plumpness of her breasts. No more was to be seen on her body the dazzling jewel necklace that robbed the bosom of its sandle paste (विलोलाभिः यटिभिः ( strings) प्रविलुप्त चन्दनं येन तत् विलोलयष्टिप्रविलुप्तचन्दनम् ) It was thrown away by her. astraat as she was, with a resoluteness of alm (अहार्यः निश्चयः यस्याः सा-अहार्यनिश्चया). The stanza contains पर्याय अलंकार of the second variety as defined by मम्मट at Kavya-prakashax 117 ' एवं क्रमेणानेकस्मिन्पर्यायोऽन्यस्ततोऽन्यथा। Here the bosom that was the resting place of the necklace on former occassion, is no weanng वल्कल. Starizas : Construe-यथा प्रसिद्धः शिरोरहैः (तथा) जटामिरपि तदाननं एवं मधुरमभूत् पङ्कजं पट्पदधेणिभिरेव न सशैवलासङ्गमपि प्रकाशते । Necklace or no necklace, Parvati's charms remained unaltered, her face ( आननं ) that shone formerly, with decorated (प्रसिद्धः ) har, (शिरोपहैः ) continued to do so oven when ornaments were removed and they were matted (जटाभि.). For do we not see that the beauty of lotus ( पङ्कज) shines not only when, the rows of bees (षट्पदश्रेणिभिः ) hover round it, but also when it is in close contact with moss ( cas ) certainly an ugly object ? Read for a similar idea Sakuntala 1. 20 सरसिजमनुविद्धं शैवलेनापि रम्यं । मलिनमपि हिमांशालक्ष्मलक्ष्मी तनोति। इयमधिकमनोज्ञा वल्कलेनापि तन्वी । किमिव हि मधुराणां मण्डनं नाकृतीनाम् ॥ and also Kirita IV 23 and VII 5. The stanza contains साधम्यण दृष्टान्त as there exists बिम्बप्रतिविम्वभाव between the आनन that "" ·कुमारसंभवम् । पंचमः was formerly decked with omamented hair and the T along with पट्पदश्रेणिs.Similarly, the आनन with जटा, has corresponding it to the पङ्कज with शैवाल, Starnza 10 : Construe-सा प्रतिक्षणं कृतरोमविनियां निगुणां यो मोजी बताय बभार, तत्पूर्वनिरद्धया तया अस्याः रशनागुणास्पदं सरागमकारि। Pārvati's girdle was also not to be seen on her body. The place of the girdle was occupied by the rough Munja string with three threads (त्रिगुणां, CI. माजी त्रिवृत्समाश्लक्ष्णा at Manu II 42) which Pirvah was expected to wear as she was observing the vow. This new girdle (1. e. Munja string ) rough as it was, and was worn by Pārvatı for that the very first time (तत्पूर्वनिबद्धया-तदेव पूर्व यस्य तत् तत्पूर्वम् । यथा तथा निबद्धया ) created horripilation (रोमविक्रियां ) on her delicate body, at every moment ( alderoi ). It was also responsible for reddening (सरागं) the fore-pasts of her hips, that were the seat of the gardle ( रसनागुणास्पदम् ) which upto this time had never come in contact with anything half as hard as the Munja grass. Note the passive construction तया......अकारि । Stanza il: Construe-विसृष्टरागात् अधरात्, स्तनाङ्गरागारुणितात कन्दुकात् च निवर्तितः करः कुशाङ्कुरादानपरिक्षताङ्गलि: अक्षसूत्रप्रणयी कृतः। Parvati, young maiden as she was, used to paint her lip with red dye and apply red unguent to her bosom. Her mode of diversion was a play with a ball (Fe), that at times used to strke against her breasts and become red itself (स्तनस्य अंगरागः स्तनांगरागः ते अणितात् स्तनांगरागारणितात) The form • (अणितात् is frora अरुण with the termination इतच् ). But now as an ascetic, she no longer indulged in this game. Her hand was १२ ·सर्गः। कुमारसंभवम् । tumed away by her from the lower lip which no longer remained red. (विसृष्टः रागः यस्मात् विमष्टरागात् अपरात्) and also from the ball. It was now employed in cutting the grass for sacred purposes. While being cut the tips of the grass used to injure her fingers (कुशानाम् अंकुराः तेषां आदानेन (plucking परिक्षताः - injured अगुलयः यस्य सः ). The hand was also used continously by her in counting the beads in the rosary for the sake of japa. अक्षसूचे प्रणयः (affection) अस्य अस्तीति-अक्षसूत्रप्रणयी which literally means a lover of the rosary of beads. This stanza too, like the 8th one contains the figure qafe. Stanza 12 : Construe-महाईशय्यापरिवर्तनच्युतैः स्वकेशपुष्पैः अपि या दूयते स्म सा बाहुलतोपधायिनी केवले स्थण्डिले एव निषेदुषी अशेत । Pārvate the fondled child of Meni used to sleep, while she was at home, on a very costly bed, possessed of soft cushions. Even on such a bed tender Paryatı used to be pained (दूयते स्म ) by the delicate and sweet flowers worn by her in her hair (स्वकेशपुणैः ) but were loosened (च्युतैः ) in her roll. ings (परिवर्तन ) on the costly bed ( महाशिघ्या ). So delicate Pirvata was (महान् अर्हः मूल्यम् यस्याः सा महा [ very costly ] तस्यां शय्यायां परिवर्तनम् तेन च्युतैः महार्हशय्यापरिवर्तनच्युतैः ) The same princess now slept on bare earth ( Rives a raised portion of earth ). This was her coach, under the canopy of the skies and where her hand served the purpose of a pillow (प्रशस्तो याहुः बाहुलता, तां उपदधाति इति बाहुलतोपधायिनी ). Firvah led this life as itislaid down for an asectic. Read याज्ञवल्क्य II151 स्वप्यार भूमौ शुची रात्रौ दिवसं प्रपदैर्नयेत् । स्थानासनविहारैर्वा योगाभ्यासेन वा तथा ॥ निषेदुषी Nominative singular feminine base of the perfect participle from नि+सद् to sit (Masculme form is निषेदिवान् ). . कु.सं.८ ·कुमारसंभवम् । पंचम Stanza 13:Construa-नियमत्यया तया द्वये अपि द्वयम् पुनः प्रहीतुं निक्षेपः इव अर्पितम्। तन्वीपुलतासु विलासचेष्टितं हरिणागनासु विलोलदृष्टं च । 'तपस्विनी who is obsering a vow ( नियमस्था-नियमे तिष्ठति इति, नियम is a व्रत. Read नियमाः शौचसंतोपतपो यज्ञहुतादयः ') must abandon parsionate glances, witching smile and sportive dances. A rigrous life is laid down for her. Parvati was ob. serving it true to the letters. The sportive movements (विलास एव चेटितम् विलासचोटिवम् ) and the tremulous glances (विलोल दृष्टम् ) which she always possessed upto that time, were no longer with her. She parted with them, however not for over, but with the intention of receiving them back (पुनः ग्रहीतुम् ) alter her vow. They were placed as a deposit (Aata ) with the creepers and female deer, the former being the fit abode for the sportive movements, and the latter for the tremelous glances. Read for a similar idea Raghu VIII 59. कलमन्य. भृतासु भाषितं कलहंसीपु मदालसं गतम् । पृपतीषु विलोलमीक्षितं पदनाधूतलतासु विभ्रमाः ॥ The figure of speech in this stanza is उत्प्रेक्षा as indicated by the word इव 'as it were 'पार्वती entrusted the two l.e. the विलासचेष्टितं and विलोलदृष्टं as a deposit to the two i.e. लता and हरिणागना as though. The past passive participles चेष्टितं and ce mean and a respectively, in keeping with नपुंसके भावे कः - Stanza 14 Construe--सा अतन्द्रिता स्वयं घटस्तनप्रस्रवणैः वृक्षकान- वर्धयत्, प्रयमाप्तजन्मनां येषां पुत्रवात्सल्यं गुहः अपि न अपाकरिष्यति । In the solitude of the forest, Pärvati reared some plants, that blossomed on the mountan. Unwearied (अतन्द्रिता)as she was. nursed them by pourngs (प्रस्रवण)of water frorn the jars that were, like breasts, very plump. She did this ·et: 1 कुमारसंभवम् । work with motherly care. She was more affectionate towards them than towards her own son T, as they were her first children. Even T who was flesh of her flesh and bone of her bone would not set aside ( 73914fefa ) her motherly love (पुत्रवात्सल्यम्) for them. (घटस्तनप्रस्रवणैः घटः एव स्तनः तस्य प्रसवः तैः) which means by the pourings of water from her breast-like jar. Like the plants also would be reared on the flow of milk coming from the far-like breasts of Parvat. Vide for a similar idea, " यो हेमकुम्भस्तननि.सताना स्कन्दस्य मातुः पयसां रसज्ञ." Raghu II. The beautiful scene of the young maidens watering the plants 13 of frequent occurence in the writings of Kalidasa and other Sanskrit poets Read VI, 51 and lets Act I. 1s Kumāra or Kartikeya, so called because he was reared in a cave ( JETTAT, TETSH97) or 'one who protects the army गृहति रक्षति सेनाम् । वृक्षकान्-Plants अल्पार्थे कप्रत्ययः । Stanza 15 : Construe—31 puedisiacertarat: at: तथा विशश्वसुः यथा तया कुतूहलात् तदीयैः नयनैः, पुरः ( वर्तमानानां ) सखीना लोचने अमिमीत। The deer fondled with gifts ( dana ) of cavity-fuls of forest com trusted (free-perfect 3rd person plural farag:) Pärvati to such an extent (197) that (PT) Parvatı measured the eyes of her frends standing in front of her (99) with ( i. e. by bringing them near ) those of the deer. It is difficult to see why Parvati's friends ( erat and not great ) should not be regarded as those that had beautiful eyes. The objection that there is greater point in edit's being regarded as possessed of beautiful eyes, rather than her friends is not conyincing enough. Why not credit Parvati's friends who must have been worthy of her in all respects, with the possession 114 ·कुमारसंभवम् । पंचमः of beautiful eyes. The temptation to compare their eyes with those of the deer, naturally, must have been irresistible to पार्वती. Besides, पार्वती comparing her eyes with those of the deer, detracts from the amount of trust the deer could be regarded as reposed in her, as against the interpretation, where great is understood as companng her friends' eyes with those of the deer. Pārvati won the confidence of the deer to so great an extent that even when the deer were made to stand close to the friends and not merely in the presence of the friends, the deer were not frightened. They went through the whole process of comparison,-a physical one--without being disturbed in the least, to say nothing of the point that Pārvata was herself observing a vow and therefore there was a lesser probability of her compairing her own eyes with thos the deer. अरण्ये भवानाम् बीजानाम् अञ्जलयः तेषा दानेन लालिताः तया लोचने अमिमीत is a passive construction. Stanza 16: Construemföraat Enorach cayTrasad अधौतिनी तो दिदृक्षकः ऋषयः अभ्युपगमन् ; धर्मद्धेषु वयः न समीक्ष्यते । The stanza gives a discription of a few essentials of the day-to-day programme of the way Parvat-practised the vow she undertook. To ensure punty of body, Pärvat took her bath (कृतः अभिपेकः - स्नानम् - यया). For securing purity of mind, she next offered oblations to the sacred fire ( 59: Armaer: 441 Fr at SinagHH). While observing a vow, there is little surprise that she had only a bark ( 77 ) as her upper garment (उत्तरासगः ). Finally to secure purnty of soul (आत्मशुद्धि) she used to complete her study of the sacred texts-3efan KET: sfat 3rfita-it. A faithful observance of this 'time-table contanued for a few days, won for Parvati a reputation great enough to attract sages, who approached her, presumably in a rever- .

·सर्गः। कुमारसंभवम् । ential attitude. In the domain of piety or of the observance of duty (dharma), the vulgar distinction of young and old, junior and senior, counts not. That was why the otherwise experienced, old sages did not think it below their dignity to approach Parvati. As is Kalidasa's wont, he seizes the opportunity to strengthen the specific instance of Parvati in this context, by a generalisation, in the last line, 'in regard to those that are senior in point of the observance of duty, age is not taken into account (at all )-thus making the stanza under consideration an instance of अर्थान्तरन्यास of the सामान्येन विशेषस्य Ta type. Reverence towards one worthy of it Irrespective of age or sex, is one of the vital factors of the culture of Sanskrit writers of note. There are thus a number of versions of the idea embodied in the last line of the stanza: at 7 घयः समीक्ष्यते Kalidisa, in Raghuvam'sa XI, शिशुत्वं रेणं वा भवतु ननु पन्यासि जगता-गुणाः पूजास्थानं गुणिपु न च लिश न च वयः।--Bhava. bhuti, in spital Act IV, 11.......saftrihidefagaraya. पशुचिमिः । रजयांचकार विरजाः स मृगान् कमिवेशतेरमयितुं न गुणाः । Bharavi in ftuaritaH VI, 24. Outside the domain of belles letters, Manu, the law-giver also expresses the same idea in न तेन वृद्धो भवति येनास्य पलितं शिरः। यो वै युवाप्यधीयानस्तं देवाः स्थ. fari fori 1 Stanza 17:Construe-विरोधिसत्वोज्नितपूर्वमत्सरं दुमैः अभीष्टप्रसवा. चिंतातिथि नवोटजाभ्यन्तरसंभृता नलं तत् तपोवनं च पावनं बभूव । As a result of the austerities of Parvati that penance-grove became sanctifying ( 9 54-77967). The beasts that were born enemies of each other gave up thair previous mallco (CNT). Thanks to the trees, Parvati honoured the guests who visited that is rama with the desired ·कुमारसंभवम् । पंचमः produce of the same (1. e. 'trees ). The fire was well kept (संमृत ) inside i. e. under the roof of a new hutspecially erected for the purpose. विरोधः येषां वर्तते ते विरोधिनः। ते विरोधिभिः सः-प्राणिभिः-उमितः पूर्वः मत्सरः यस्मिन् वर (तपोवनम् ). द्रुमैः+ अभीष्ट...तिथि is a case of : सापेक्ष समास the two words constituting one expression in point of sense. अभीष्टः प्रसवः तेन अर्विताः (समानिताः ) अतिथयः यस्मिन् तत् ( तपोवनम् )। नवः उटजः तस्य अभ्यन्तरे सम्यक् भृतः अनलः ( fure ) यस्मिन् तत् (तपोवनम् )। Though a literal rendering of the second line would suggest that the guests who paid a visit to the penance grove, were entertained by the trees, the meaning that is intended to be brought out by the poet is that Parvati ( Kartri ) received the guests and treated them hospitably,-only, in this respect, she was helped immensely by the trees which thus were the means (Sadhana)at Pirvat's disposal. The idea of beasts in the forest giving up their natural anupathy, under the influence of the presence of a magnanimous person, is of common occurence in Sanskrit litera. ture. Thus Bāna in his description of Jābāli's hermitage says अन्न हि शाश्धतिकमपहाय विरोध......' etc. Stanza 18 : Construe-यदा तावता पूर्वतपःसमाधिना काक्षितं फलं लभ्यं न अमंस्त तदा वशरीरमार्दवम् अनपेक्ष्य सा महत् तपः चरितुं प्रचक्रमे । The penance that Parvati practised brought hosts of adrar. ring sages to her as'rama, no doubt. But she did not succeed in winning her heart's cherished desire. Disregarding the 'softness' (मार्दवम् ) of her body. she therefore, started प्रक्रिम् Perfect third person singular) practising a mightier (महत-महत्तरम् ) penance. Though Kalidisa has not stated in as many words, it is easy to see that Porvata was one who ·AT: 1 कुमारसंभवम् । believed in the truth of the adage 'effort unending' (Pargie: stranu! ). She could know no rest till the objective was secured. 3f-aonist, third person singular from 4. Stanza 19 : Construe-- para 39 al trattar मुनीनां चरितं व्यगायत; विम् ( अस्याः पार्वत्याः ) वपुः काचनपनिर्मितम् प्रकृत्या मृदु च ससारम् एव च। Before Pärvat took to penance, she used to be fatigued ( pet ) even by reason of her playing with the ball. Resolute as she was, she now immersed herself into the life of ascetics. The construction is passive 'by her the life of the sages was plunged into. The poet satisfies the sceptics, by resorting to a fancy ( 2 ): indeed ( 978 ) the body of Pārvati must have been fashioned out of a golden lotuswhich alone accounts satisfactorily for the curious combination of delicacy and toughness that was manifested by her. It is possible to have the finest possible thread of gold (+2547 ) yet gold is one of the most enduring metals. The softness' of Parvati's body causing her fatigue even after Bporting with the ball is not incompitable with her toughness that carried her through the severe penance she had started. CATCHit., possessing essence, 1 e. strength, therefore tough Stanza 20 : Construe-14, aquisasai हविर्भुजा मध्यगता शुचिस्मिता मुमध्यमा (पार्वती) नेत्रप्रतिधातिनी प्रभा विजित्य अनन्यदृष्टिः (सती) सवितारमैक्षत। The first ga in the stanza is the same as try or summer. The other in the compound practice lrt, is 'pure' but here charming. 'Occasi onally, Kalidesa appears to be striving after alliteration. The stanza under consideration is a convin- + ·कुमारसंभवम्। पंचमः cing instance of this tendency on his part. rá afara 7 97941 are not accidental combinations of words. The stanza deals with tho particular kind of penance called 42ETT that Parvati practised dunng summer. With fires to her right and left, a fire behind her and one in front of' her she kept on gazing at the sun, with her eyes directed towards nothing else. Others might have had their eyes dazzled by the burning lustre of the sun, if not actually hurt. But Parvati had scored over that (नेत्रप्रतिघातिनी प्रभा विजित्य). The sun is regarded as the fifth fire in this HATT. During the season that the sun is at its hottest, the penance is practised, the rigour of it is, therefore, easily understood. For the identity between the Sun and fire vide'अग्निः सविता analit:' from the scriptures. afar—from g to impel, is literally the impeller and refers to the goading or urging activity of the sun, especially after the night is over. Humanity that rests itself during nocturnal hours, is made to resume its duties in all freshness and vigour, by the sun immediately after its rise. In Rigveda Al is one of the live solar deities, the other four being मित्र, विष्णुः पूषन् and सूर्य. A play on the root Su, to impel is a common feature of the hymns addressed to savitri. In the stanza under consideration faq=r=sun. नेत्रे प्रतिहन्तुं शीलं यस्याः सा नेत्रप्रतिपातिनी । न अन्यस्मिन् दृष्टिः यस्याः सा अनन्यदृष्टिः। Stanza : 21 Construe-s: THETAT: 4727 fagi aga कमलश्रियं दधौ । अस्य दीर्घयोः अपाङ्गयोः केवलं श्यामिकया शनैः शनैः पदं कृतम् । Pārval's face thus heated intensely by the rays of the Sun (गभस्ति-गो शेयवर्गः तं बभस्ति, दीपयति इति ), nstead of sulfenng in १२० ·सर्गः। कुमारसंभवम् । any way, appeared all the more to advantage, even as does a lotus shine brightly and beautfully when in contact with the rays of the sun. The 'tough'ness of Parvati stood her in good stead, except, however, in one respect. Dark colour (44) made its appearance, though by slow degrees ( : za:) In the long corners of her eyes. That was the only respect in which Parvatı yielded to some extent to the intensity of the powers in Nature (here, the sua's burning heat ). But even there, it was somewhat of an uphill task, for the sun's rays to secure a victory over Parvati. With her, the usual 'I came, I saw, I conquered' of the sun's rays failed. Not without a long struggle, ( a: za: ) was it that they could make themselves felt by Pārvati, leaving dark marks in the corners of her eyes. This however, did not mean Parvati's giving up the task she had undertaken. 5414629 TË Ha passive construction, the corresponding active voice would be श्यामिका (शनः ta:) mart 1 Possession of wide eyes, or corners of eyes with Sanskrit poets, is a sign of beauty. Stanza .22 Construe-afar: fes groufafa: 2 999. पस्थितम् अम्यु रसात्मकस्य उडुपतेः च रश्मयः यभूव, वृक्षव्यतिरिक्तसाधनः न । All this while that Parvati was observing a vow, she was observing a fast. The formal conclusion or termination of the fast, or breaking of the fast, ufafd. was no elaborate affair with Parvati. Only () water and that too unsought (अयाचित) and the rays of the lord (पति) of constellations (उडु-derived as उ क्रोधं डीयते, उना शंभुना डीयते वा). e. of the moon served her purpose. Without exaggeration, therefore. !! can be said that the पारणाविधि had no extaneous (व्यतिरिक्त) means, except those which the trees depend on for their १२१ L ·कुमारसंभवम् । पंचमः subsistence. The cool rays of the moon exercise a favourable influence on the growth of trees (the moon is thus also called atga: ); and the other essential, helping trees grow is water, which is not sought with any special pains. karat : तस्याः व्यतिरिकं साधनं यस्मिन् सः। रस is nectar and the moon is sard to be having nectar as the essence, for the reason that the rays of the moon are regarded as being made up of nectar (to: 3ICHT RO TCHA: ). yt:, the nectar-rayed one, is in fact a synonym of Frii. Stanza 23 : Construe-farina (orfat) tapo part- संमृतेन वह्निना च निकामतप्ता (सा) तपात्यये नवैः वारिभिः उक्षिता (सती) भुवा सह ऊर्ध्वगम् उष्माणम् अमुचत् । The preceding three stanzas (20-22 ) described the austerities Parvati practised during Summer. The poet, next turns to a detailed account of what Parvati did or experienced (stanza 23) in the rainy season. At the end of the hot season (2464 an Fra: 3 ) i.e.on the advent of the rainy season, Parvati extremely heated by the two--fold fire, the one that was built up ( R) of fuel ( 7 ) ( in fact there were four such, and if the number is to be stressed, it would appear that विविधेन is a better reading than द्विपिधेन) and the other that moved in the sky i.e. the sun, was sprinkled over by fresh water and gave forth vapour ( STATTA 3T) that went up in the air. The poet very aptly likens Parvati, thus charac terised, with the earth heated during summer, and giving forth vapour on the first contact with showers of rain after a long period of time. The figure in the stanza, however, is TER, the idea being expressed as 'Parvati ' along with tho earth), gare forth vapour. १२२ ·ar: 1 कुमारसंभवम् । Stanza 24 : Construe-H: 99 tri firar, aifone पौधरोत्सेधनिपातचूर्णिताः, क्लीषु स्खलिताः चिरेण तस्याः नामि 40, प्रपेदिरे। The stanza is devoted to a detailed account of something like a regular journey that the drops of fresh water ( in the beginning of the rainy season ) completed after having tallen on Parvati's head. Immediately after falling on the head, they were caught up in the rich eye-lashes (sign of beauty ) of Parvati. Having escaped from there they fell on and beather lower-lip, the next obstacle in their way, downwards. This was by no means the last or even the last but one stage in the journey of the drops of water. Their next encounter was with the protuberant breasts of Parvati. It may be noted en passant that 747297: F.4: protuberance of the breasts is only a Sanskritism for Thurgat rired. That the drops of water should have got themselves shattered into particles(alat) due to this falls, need occasion no surprise. Such of the particles as could persist proceeded along the three ) folds on the belly of Parvati, another sign of feminine beauty as Sanskrit poets concelve it ( Read'मध्येन सा दिविलममध्या । वलित्रयं चारु यभार al'as Kalidasa has himself described this trait of Parvati's beauty, at Kumārsambhave, I, 39). Slipping along the folds, they reached after a long enough perod of time ( chirena) the navel, which the commentator tells us was deep and kept the drops of water that reached it, imprisoned. The stanza is an instance of the 914 370, 80 beautiful as to have been quoted by the author of Airait in his treatment of that figure ( for the definition of the figure, refer to noles on stanza...24 Canto IV). T: Thu: 177 Aanta: तेन चूर्णिताः-पयो...चूर्णिताः ।

·कुमारसंभवम् । पंचमः Stanza : 25 Construe-Palaug og anney afataaneet शिलाशयां ता महातपःसाक्ष्ये स्थिताःक्षपाः तडिन्मयः उन्मिपितः व्यलोकयन इव। The rainy season continued gaining in strength and so did Pārvati's penance. She had no house to dwell in (as she wilfully had given it up for free ant). She slept on a slab of stono. Meanwhile the sky continued pouring incessant (fakat ) showers of rain, down on earth, interspersed by ſa liberal amount of) gales of wind. अन्तरे वाताः यासां ताः अन्तरवाताः च ताः पृष्टयः च तासु अन्तरवातवृष्टिषु । Undeterred, the resolute young girl was carrying on the observance of her row. There were only Nights (personification ) who acted as witnesses ( PET -as eye-witnesses to this singular performance of austerities. The witnessing ladies ( Nights ) had for their eyes, as though, ( lit, for the openings of their eyes, ) the flashes of lightning. The figure of speech in the stanza is evidently aday as the Nights, who normally cannot be regarded as perceinng anything are fancied to be doing 80, as though, with eyes in the form of flashes of lightnings, by which they are characterised during the rainy season. उन्मिपित past passive participle from उत्+मिप् to open, used in accordance with agad na, a glance, act of looking. Het च तत् तपध तस्य साक्ष्यम्-तस्मिन् । साक्ष्य is a disinterested watch. ing of an event. क्षपा (क्षपयति चेटाम् )-Night Stanza 26: Construe-उदयासतत्परा, परस्परामान्दिनि पुरः वियुक्त परवाकयोः मिथुने कृपावती, सा अत्यन्तहिमात्किरानिलाः सहस्यरानीः निनाय। in is the five month of the Hindu calender, so called as It is the coldest and thus the best suited to give men १२४ ·ht: 1 कुमारसंभवम् । strength (सहस् ) or energy सहसि साधुः सहस्यः । Pirvati spent (fatara ) the nights of this month, which were full of winds that scattered about snow, excessively ( 347416i fatura तादृशाः अनिलाः यामु ता.), being bent on staying in water (उदके वासः, तस्मिन् तत्परा, क being dropped according to 'पेपं alkatearing I'). Though herself facing these inclemences of weather, Parvati did not give up her inherent kindness towards those who stood in need of it. All the time she stood in the cold (benumbing) water, she was full of pity towards the pair of the chakravāka birds, piteously crying for each other, as they (imagined they were separated from each other. The ai is a species of birds, which according to Sansknt poets typifies conjugal love, thwarted as a rule by the arrival of night. The male and the female of the species are actually separated by just a leaf or a petal, but they imagine themselves to be legues and leagues away, oblivious of tho real state of things, and keep on crying out for each other. Stanza 27 : Construe-fara agafat darnalar मुसेन सा तुपारष्टिक्षतपनसंपदाम् अपाम् सरोजसंधानम् अकरोत् इव । A fart (best of the classes of beautiful ladies) that Parvati was, she was possessed of a broath os fragrant as that of a lotus. That is why the poet refers to her face as that which was as fragrant as a lotus (9991 Toon gata). Another point to be noted is that the face was appearing beautiful (fa) on account of the leal in the form of the lower lip which was excessively () throbbing ( 4 ) due to the ortremo cold of the season. Putting together the lects, there. fore, that (a) Parvati's taco wss like a lolus in appearanco as well as (b) in regard to its fragrance and that (c) the ·कुमारसंभवम् । पंचमः lower lip that was exceedingly tremulous, there, could be regarded as a leaf [ that quivers so very much ), Kalidāsa fancies ( Erdan) that thus equipped, Parvati effected (34FFU a putting together (74-744) as though, of the waters (319) and the lotuses, a regular wealth of which the waters had lost due to the destruction wrought by the shower of snow at night time. The idea is that though the waters had lost all other latuses along with the leaves thereof, they had their loss more than made good, in so far as, there was in the midst of them a lotus of lotuses (the face of qadr who stood in the waters) in full possession of its inherent fragrance; and not without its highly tremulous leaf ( the lower quivering lip of पार्वती). प्रवेपमानः अधरः एव पत्रम् ( metaphor ) तेन शोभितुं शोलं यस्य ( ताच्छील्येणिनिः ) तेन प्रवेपमानाधरपत्रोभिना । तुपारस्य ( snow ) टश क्षता (नष्टा) पश-संपत यामां-तामा तुषारपष्टिक्षतपनसंपदाम् (अपाम्) srat T4 in this case the 'is restoration of lost lotuses to the waters. Stanza 28: Construeerifting aquaferat fe 799: TUTT; तया पुनः तत् अपि अपाकीर्णम् , अतः प्रियंवदाः पुराविदः ताम् अपर्ण इति पपदन्ति। The way that Parvati practised her rigorous austerities during the three seasons (the hot, rainy and cold ) has been described so far. The present stanza refers to the utter privation that Parvati subiected herself to, all these months. The stato ol (AT) maintaining ( a ) oneself on the leaves of trees ( LATVI) Iallen (liter) of their own accord (1997) Is acknowledged on all hands as the verlest limit (ETZT ) of austeritles. By Pirvati, again, even that was cast away-she did not partake even of the leaves of trees falling down as a १२५ ·सर्गः। कुमारसंभवम् । matter of course (स्वयम् ). On this account (अतः) the experts in the sphere of matters of old, who speak agreeably (प्रियंवदाः), call her Aparns. It has at once to be admitted that fatest: has here no propriety, especially when we remember that the same author has significantly named the vivacious frend of his immotal heroine of S'ikuntala. प्रियंवदा [अतः खलु प्रियंवदासि त्वम्-after stanza 20 Act I शाकुन्तलम् ]. Matters are in no way improved if fodact is regarded as the reading, qualifying af ( en ) One rather expects some expression of the nature of यथार्यवक्तारः qualifying पुराविदः. स्वयं विशीर्णः द्रुमपर्णः धृत्तिः - तस्या मावः । प्रियं वदंति इति प्रियंवदाः । -the anuswära on the second syllable being accounted for by 'अपिदजन्तस्य मुम.'Khdisa is pretty fond of pressing de. rivation of words into his own service. न पर्णम् ( अपि ) अस्याः (मत्यत्वेन विद्यमानम् )-अपर्णा. In fact, the Purina hterature regards अपर्णा as the name of a sister of Pirvali's ( मैना च मुपुये तिनः कन्या योगवतीस्ततः । उमैकपर्ण पर्णा च तीनतपरायणाः-मत्स्य- पुराण, 3,8). That does not seem to matter from the view point of Kalidasa, who gives Porvati another name yet viz. अपर्णा ( the others being पर्वतस्य अपलं श्री पार्वती, and उमा-as she was called, when मेना, her mother, prohibitted मा प्रतिषेधे -her from practising penance, or tried to do so, ). Cl other such derivations in कुमारसंभव 1, 26. यथा प्रहादनाच्चन्दः प्रतापात्त. पनो यया। तथैव सोऽभूदन्वर्थो रामा प्रतिरपनान् ॥ Raghuvamsa V. 12. रामा प्रातिरानात् । and क्षतान हिल प्रायन इत्युदमा सग्रस्य पदो मुपनैपु स्व: this latter from एएवंश II, 53. Stanza 29 : Construe -एवमादिमिः कः मृगलियारेला स्वम् अहम् आनि ग्लपयन्ती सा, तपस्विना पठनः शरैः उपार्जितं तपः दरम् अपहार।

·कुमारसंभवम् । पंचमः The stanza is intended to sum up the austenties practised by Pārvati. She caused her body, delicate () like the small ( #15mit *) lolus-stalk (more) to be reduced ( 3444cft present participle from the causal of tet) by vows such as have been so for described. But while so causing her body to be reduced, she achieved what many others, better equipped physically, could not. She left far behind ( lit. be. low 34: ), that is, she far surpassed the austerities, secured (34+2.P. p. ) by the ascelics with their tough bodies ( afet riit: ). In effect, the frailness of Pārvati's body was no obstacle in her way. Even the professional ascetics were beaten by her, on their own ground. : PART 7816- निशम् is a समाहारद्वन्दू. Stanza 30 : Construe—374 arrangiau: metara aura तेजसा ज्वलन् इव कावत् जटिलः शरीरयरः प्रथमाधमः यथा तपोवनं विवेश । 314--Alter Pärvati had gurpassed other asetics in practising ansterities, as indicated in the previous stanza. From this stanza onwards, the interest of the story deepens. For, a certain ( person ), holding in his hand a stalf of the wood of the palas a tree ( आषाढधरः--आपाढस्या धरः, धरतीति धरः) and having deer-skin (kata yuarynaria: 47:), and matted hair ( ), quite confident ( FTTH ) of his (powers of ) speech, burning as though with the lustre lu!l of (1. e. the result of ) the study of sacred literature, and thus resembling the first stage of human lıfe (according to the Dharmashastra of tho Hindus ) viz, brahmacharyaasrama endowed with a body or Incernale ( पदं शरीरं येन, पश, also शरीरपद्धः according to (encara rury: 1',) entered, without any previous Intimation being alvon, and therefore quite suddenly of 14 a १२८ ·कुमारसंभवम् । #: Well disposed, that is thoroughly courteous, ( statag amat watt) towards visitors that Pārvati was, she went forth (wla+30+5 perlect 3rd person singular agent ) to receive him with a worship (77f=far) preceded by great regard for him. The incident that an ascetic hke Pärvat should have been very particular in offering a welcome to a Brahma. chari guest, need cause no surprise. For; even in the case of those that have their minds firmly established (araz) in equality (R) and who thus are not expected to make any distinction between an individual and an individual or between a thing and a thing--there are activities (Tha:) marked by extreme respect (uferinter:) towards those that are possessed of excellent forms. साम्ये निषिष्टयतमाम् is a सापेक्ष समास-साम्ये निविष्टं चेतः येषाम् तेषाम् । वपुप विशेषः-पशिषः is a Sanskritism for farezzag: and further fafarzag-17 (967:) CI afira--by no means an ordinary quest' an exceptionally great visitor. That handsomeness 13 a great lorca and the possession of it at onco distinguishes a person from the rest is an idea commonly held by Sanskrit wnters. A physically handsome person is his own recommendation, that is what Sansknt wnters believed. The figure of speech in the stanza. is endendy. (विशेषस्य सामान्येन समर्थनम् !ype of) अन्तरन्याग. Stanza 32: Construo-faforget affigt oftad, tri 98- धर्म गाम विनीय, उमाम् ऋजुना एव चभुषा पश्यन, अनुमितरमा गः बस्तुं प्रचममै। The visitor having acccple the welcome ollered in keeping with the rules laid down in that connection by tho s'astra. (Afung777) and feigned to have terrOVRT his fatigue (718 ---- 10 ·मर्गः। कुमारसंभवम् । idiomatically used to mean 'feignedly') as in fact, fatigue there was none, looking at Uma with just a straight eye, ( 547 g 239 ) proceeded to speak to her, without giving up decorum (F1A: ). 53 Fa: is an eye that looked at Parvati without any gallantry, or hint of amorous or sexual feeling, as would be come a naft. There was nothing like an embarassment that the visitor felt FC# is literally 'order,' but here is practically the same thing as canMari Ridracuestant-propriety' or 'decorum'. Feigning that there was fatigue and then making an attempt at removing the same, was quite necessary as Sankara was disguised as a brahmachari, and had to keep up the show that he came from a distance. Stanza 33 : Construe-3 for fi a , Taifa ते स्नानविधिक्षमाणि, अपि स्वशक्त्या तापम प्रवर्तसे,-शरीरं सलु आयं धर्म- साधनम् । The portion beginning with this stanza, upto the 83rd, both Inclusive, is most interesting, and illustrative of the great mastery with which Kälıdass builds up his dialogues. Along with Sätuntala V, Raghuvamsam II, with the conflict between Slökuntala and Dusyanta in the former, and the opposed vlews put forth by Sankara's servant fint in the form of a lion. ond King Dilips, K'satriya every inch of him, In the latter, Kumara V, 33-83 is fustly pointed out as proof of the great powers the author evidently had in investing a sluation with life. The reader feels, he is listening to a conversation actually dating placu between two parties, conver231on that beconnu part of his personal esperiene.

·कुमारसंभवम् । पंचमः The visitor was aware of Karma, So after resting himself for a while he began making courteous inquiries of the host- Parvati. Even a stranger could see, she was practising austerihes. There could have been no other natural query and none more polite than the one, the Brahmacharin is making. 34 standing at the beginning of a sentence has an interrogalive force. Were the sacrificial fuel ( 49: ) and kusa grass easily available to the host ? And did the waters prove to be suitable quite for her bath ? Was she not overexerting herself in the practice of austerities ?-Suppossing she did, which more probably than not, she did not it was as well stated, rather frankly body is the foremost means for the performance of duty.' Kalidasa makes all his characters focing situations similar to the one, that the ascetic was, begin their quenes, by making the speakers ask about the general wellbeing of the other party, CA 8 V, 4-10. ( अप्यप्रणीमन्त्रकृतामृपीणा कुशाभयुद्धः कुशली गुरुस्त । etc Stanza 34 : Construe-3114 cararsanitize SRT 7 प्रवालम् अनुबन्धि, यत् चिरोग्झितालक्तकपाटलेन ते दन्तवाससा तुलाम् आरोहति। त्वया आवर्जितं वरि तेन संभृतम्-produced ( संमृत led or supported) by water poured or sprinkled over by you. fatu- 13 a creeper-Hair, therefore-of the creepers. ^u + (possesive gay-having a bond that follows something gone before, therefore, continuous. Gan lit., is the cover (garment) of teeth i. e, the ( lower ) lip. Folk fra: 467 येन (तथापि ) पाटलेन red even though it has given up the use of red lac-dye since long. The ' FET' is amply manifested by the stranger to the hermitage. After queries that concerned the host directly or १३२ ·कुमारसंभवम् । पंचमः stanza in the present, the speaker is very keen on subtly flattering the person addressed : Oh lotus eyed one--the deer who by their highly tremulous eyes, reach or attain, similanty with your eyes'. The usual relation between the eyes of a beautiful girl and those of the deer Viz; the JYÀY 344 THE, is in the present instance topsy-turvied. Põrvati's eyes are the standard (1911), which the eyes of the deer (24271) reached, by their tremulousness. The ligure, therefore, in tho stanza is ( व्यतिरेक where the उपमेय surpasses the उपमान ) i For definition of the same read उपमानाद्यदन्यस्य व्यतिरेकः स एव सः।' काव्यप्रकाश x 105 मम्मट] Stanza 36: Construe-(?)fa, TT TYTO zeyd (तन ) अव्यभिचारि वचः, तथाहि, (हे) उदारदर्शने ते शीलं तपस्विनाम् अपि उपदेशता गतम् । Even supposing that the complimentary references in the preceding stanzas were lost upon the person for whom they were intended, the young student of Veda, steadily progresses saying, the statement which is often ) made, 'oh Parvati, that beauty (of form or body) does not lcad to a sinful conduct is without an exception (37-21aa iti fie TR)-. e. absolutely fre. For (anit ), oh you of noble appearance, your character has been an object-lesson (342A–Iit, the state of being an instruction ) to the ascetics. The words roll two_compliments into one--that for beauty and that for character. The stanza illustrates the TFERT विशेषेण समर्थन type of ) अर्थान्तरन्यास. That physical handsome. ness and noble conduct go hand in hand is a favounte idea to which Sanskrit poets refer sooften न ताशा आकृतिविशेषा artwatalar Säkuntala Act IV before stanzal. 7 urzfa: TEST 9" १३४ ·मर्गः। कुमारसंभवम् । विनहाति वृत्तम्-मृच्छकटिक Act IX, 16. भिद्येत वा सप्तमीहशस्य निर्मा- पणस्य । उत्तररामचरितम् Act IV between stanzas 20 and 21. This is in direct opposition to Goldsmith's 'Handsome is that handsome does.' Stanza 37: Contrue-एष महीधरः सान्वयः विकीर्णसप्तर्षिअलि- महासिमिः दिवः च्युनः गाः मलिलः तथा न पावितः, यथा वदीयः अनाविल: चरितः (पावितः)। The tribute to the noble conduct of Parvati continues Her lather, the mighty Himalaya has not been sanctified to such an extent by the waters of the Ganges falling from heaven and smiling brightly, thanks to the material of worship (fas), such as flowers etc thrown into them by the seven sages, as by the pure (आरिल-turbid अनाविल-not turbid, pure ) conduct of Pirvati. विकीण सप्तपणा यलिभिः प्रहासिभिः। The river Ganges with hor holy waters did not sanculy the mountain Himalaya, through its association with the latter so much as did the daughter of Himalaya, absolutely pure in her conduct. सान्वय-अन्वयेत सहितः । अन्वयः what goes after, or follows, tho lino of descendants also' family.' but here tho line is that of ancestors, 1. ० tha isther, grandfather etc. of Himalaya according to somo It is salest to render 36749 by a lino ( of parsons hailing from the same femily.] Stanza 38 :Construe-३) भारिनि, यन् मनोनिविषयायंश. मया स्वया एकः एव प्रनिश्च सेम्यने, अनेन धर्म: गमिषम् त्रिवर्गगारः अागे प्रतिमाति। According to the view of life that obtained in thoso ancient days, a human being had lo'ir qoils tsach'oro sr*, **, cand मोश.oftheretho tourth (मोक्षelaxation may bedropped १५ ·कुमारसंभवम् । पंचमः while considering the life related to this world, terra firma emphasising the practical side of it. Thus three goals are left for consideration-Duty ( 27 ), Wealth (which is to be won 31 ) and ( satisfaction of carnal ) Desire (FH). This is the group of three or forgot. The speaker is finally convinced regarding the fact, that e, particularly सविशेषम् ) is the best (essencc-ur) of the lot-not so much on any other account but because of this (onder) that by Pārvati was it being followed, having been first picked up ( aftue) or accepted, with her mind that gave no scope at all to 37 and काम, and followed at thus to the exclusion ( एक एवं ) of the other two. If Parvati rejects 3 and 977, she must have excellent reasons for doing so and people of the sort of the visitor would better conclude that h alone was the best of the three, from that day (at least 3PT ), if they knew that not before. मनसः निर्विषयी ( without sphere or scope or objects ) अर्थस्प कामश्चेति अर्थकामी यस्याः सा । तया । भाविनि-oh you a good thoughts or feelings ( HTC ) oh fortunate one ( 271A= itaru ). It is difficult to decide, which one is the better of the two readings. Stanza 39 : Construe—37461 Sgurrfarii A1 or 0. तिपत्तुं न अर्हसि । यतः, (हे ) संनतगात्रि, मनीषिभिः सतां संगतं साप्त. पदीनम् उच्यते। Stanzas 33-38 were all meant for one purpose by the visitor-paying compliments to the host though very skilfully. That over, the brahmacharin proceeds to say that Parvati need not consider him a stranger (96—snother, stranger).

·सर्गः कुमारसंभवम् । For has she not personally (RHI) offered him an excellent welcome? And again, another reason 15 ( 49:-_46417 ) that by the wise ( HAG: ) the friendship of the good is declared to arise from ( an exchange of seven words haft: q: 3191- प्यते इति साप्तमदीनम् । Though the word पद alternatively means & step, and in regard to the territe, that is what the 7 part of the compound means, there is no point in understanding the term Fint as signifying in the present context, the result of walking a distance of seven paces together. Already the visitor has spoken so many words-in fact so many times seven. And the host belonging to the class of 615 that she was, listened to all that was said. Why not con. clude then that a fnendship had already sprung into exis. tence, intimately connecting the guest and the host ? A similor argument occurs again in Kälıdāsa's git, II, 58 though the specific reference to sevenwords is not repea. ted verbatim : सम्बन्धमाभाषणपूर्वमाहुः, वृत्तः स नी संगतयोवनान्ते । संनतानि पात्राणि यस्या- तत्संयुद्धी संनतगायि oh beautiful one, Int, possessed of drooping limbs. Stanza 40. Construe-Claira, sa: 349 Euat Hal full- तिभावान उपएमचापलः अयं जन. किंचित् प्रामनाः (वर्तते ।) रहस्यं न चत् प्रतिवातुम् अहंसि। Having prepared the necessary ground by the reference to the fnendship as a springs up between one good person and another, the Ait continues in the same strain further, taking care however that the speech is brought to some concrete point His progress has been blow, but steady and sure, at the same time, Add to the fact thata Inendship bo'ween us has now sprung up, thallama Brahmin (la TTT), ·कुमारसंभवम् । पंचमः and as such, with some rashness (773) only to be expected of me. Brahminhood and some little chāpala go together, and the former is the justification of the latter (aTi5 i.e. reasonable, justifiable, logical Sic FR N: JTTATT:). Another arcumstance is that the revered presence of the host (374) is possessed of great forbearance. The visitor proceeds arguing, step by step. "It is but natural under the circums. tances that I, here am minded to ask (you) something," he says, "in case there is no secret (to be guarded), it behoves the worthy host ( Parvati ) to answer." A Brahmana (as well as a Ksatriya and a Vais'ya ) is considered to be twice-born, because according to the dharma s'asrta, the time he sees the light of day, he is said to be barn once and he is just a S'udra then but on the way ( or उपनयन ) संस्कार being performed on him, he is again born and now is not a s'udra, any longer (That 914d ng: ÅEFTTCL द्विज उच्यते।). प्रष्टुं मनः यस्य सः प्रष्टुमनाः, the अनुस्वार being dropped in the compound, according to 'तुं काममनसोरपि' वक्तुं कामः यस्य स: thus gives वक्तुकामः and not वक्तुंकामः । That the Brahman class was a little too talkative, strong enough for any amount of talk, and presumably over Inquisitive, if not precisely prying into other people's affairs ] seems to have been Bhavabhutr's experience too सिद्धं ह्येतद्वाचि वीर्य द्विजानाम् । उत्तररामafton Act V. 32. But the boldness of the antatti pressing this talkativeness into his service, by arguing that, that is a justification for his being curious in regard to a matter, connected with the personal life of the host is simply to be ad. mired! Already when the host is characterised as "EHAT, she has no chance of taking offence, even if she means.

·मर्गः। 1 कुमारसंभवम्। Stanza 41 : Construe7446 26: salai, ag: false सौन्दर्यम् इव उदितम् , ऐश्वर्यमुखम् अमृग्यम्, अतःपरं किं तप.फलं स्यात् वद। The ascetic who was no inmate of the penance-grove wonders as to what really is the fruit having which in view Parvati is practising such a severe penance. Her birth (791: ) has been in the family of the first creator @ 71:), as Himalaya was created by Bahmadeva himself' attú pe मया मष्टो हिमवानचलेश्वरः' and he was not the creation of an imitation-creator,' or an ordinary Prajāpati. Nor could Securing a beautiful body be the motive, for Parvati's body was the loveliness of the three worlds put together. Nor again could appiness flowing out of possession of wealth ( bezi Is ईश्वरस्य भावः तस्य मुसम् ) or power have prompted her began her austerities, for such happiness was not something to be sought for 37--977 ) by her--her father having all the best wealth in his possession ( vide-slanza 2nd, conto 1,5m). Would not Pärvati herself say, what wished for fruit led her practise the rigorous penance ? Stanza 42 : Construe-29612 after fi Haritalar इंदशी प्रतिपनिः भवति नाम; ( है ) शोदरि तत् (अनिटं ) र विचारमार्ग- प्रहिनन चेतसा त्वयिन यते। It sometimes so hoppens that spiated ladies (HalfT4: ) possibly (979) have such tendencies (aftaff) on ccount of come calamity. But in the case of that slender-bellied one no such calamity could be seen, how much so ever the mind directed along the path o! thought might bo made to search. fraica : da feta (2+ up to send, direct part pessive participlo ofa) farinda.

·कुमारसंभवम्। पंचमः Stanza 43: Constrúe-3449fa: Serikal, () मुनु पितुः गृहे विमानना कुतः, पराभिमर्शः तब न अस्ति, पनगरत्नसूचय कः करं प्रसारयेत् । The first two lines in this stanza are an amplification of the idea in the previous stanza which stated only in a general manner that Parvati's case did not adınıt of any guess of a calamity having befallen her. Her ( very superb) form was one to which humiliation (1949) due to grief was impossible of obtainment. (No one could so much as think of causing gnet to beautıful Parvati and thus humiliate her. In the house of her father, again, whence could there be any insult offered to her? No outsider (96) could dare so much as touch (rudely of course ) Pārvats. Who would stretch forth his hand for the pointed jewel (on the head) of a serpant? पनगस्य रत्नसूचिः is a Sanskritisn for सूचियुतं पन्नगस्य TETE a pointed gem on tho hood of a serpant for disturbing or removing, gives a better sense. man would stretch out his hand to reach and remove by disturbing the pointed jewel on the serpant's hood? Obvi. ously the idea is, that a stranger trying to touch great rudely would have shared the fate of the person referred to in the last line of the stanza. What sans situat TRIO —DINER: ( vocalive ) is 99. Strictly, according to some, 9: should be the vocative singular of gu(nominative singular ). Kalıdāsa is thus seen deviating from grammar. But Vamana's sutra traieu Ità: 13 quoted in the poet's defence; according to this latter view en. visaged by Vāmana, gst also as vocative singular, is correct. 1 ·A: 1 कुमारसंभवम् । Even in these stanzas ( 42 and 43 ) the speaker takes special care to punctuate his speech with a ririt' here, and all there. Stanza 44 : Construe-219 THT BUT 41 grain वल्कलं किम् इति धृतम् । वद यदि प्रदोषे विभावरी स्फुटचन्दतारका अरुणाय कल्पते । * Why is it then (fa) that by you has been worn a bark-garment that would appear all right, in old age ( anta) In this ( fresh ) youth of yours, having cast off all ornaments ( 37744–399+39 to throw off » The ascetic inquires and puts one more question. "Tell ( me ) "he says, "whether night (Paaralt), having all the stars scattered (Falam) away. ( according to the variant reading a frianter, Instead of स्फुटचन्दतारका, prefered to that accepted by मदिनाथ, on grounds of symmetry ) is fit ( to meet ), just at the commencement of her career (para--lore-part of the night) the harbinger of the Sun ( 37 eur)". Nothing can be more unnatural than Parvati's taking to a bark garment in youth and than the night having her career brought abruptly to an end -her being required to laco Aruna, just when she is in the bloom of her youth and decked with stars. The figure of speech in the stanza is far fatal--for in the two passages, relating to Parvati and the night, the simulanty 1s understood as one reads what has been said of them, and as it has not been stated in so many words and the samo common characteristic ( viz ebrupt end being put to a fine promising career) is mentioned separately ( vide IPT गा स्याययोगम्यगाम्ययोः । एकोऽीि धर्मः सामान्यो यत्र निर्दिश्यते पृरह) सिमिति अपास्य...तम् and बद यदि...पने are two separate ·कुमारसंभवम्। पंचमः expressions, intended to refer to the some cammon characteristic, Impropriety. The following parallelisms may be noted: पार्वती-विभावरी, अपास्तानि आभरणानि-विनिकीणाः तारकाः ( or in case फुटचन्दतारकाः is the reading तानि आभरणानि to be understood as going with Pärvati, by implication for no ornaments can be thrown away unless they are worn-and the moon and the stars shining brightly as going with the night) raaand वाईकशोभिवल्कलधारण-अक्षणाय कल्पनम् . Stanza 45: Construe-aff Pad T4 24: 141, 74 Pag: a. देवभूमयः, अथ उपयन्तारम् (प्रार्थयसे) समाधिना अलम् ; रत्नं न अन्वि- प्यति तत् हि मृग्यते । . The ascetic trying hard to understand the reason why Pārvat is practising penance, thinks, only for a while, that at is likely, that like other persons practising rigorous austerities, she wants to attain to heaven. But the very moment, he dismisses this theoretical conjecture, as in Parvati's case it is superfluous to go in for tapas or Samadhi; already the gods are the denizens of the exalted regions of Himālaya, her father. The company of gods is no longer a goal to be achieved—but an established fact. So one more and the last conjecture (374); Pärvati wants to securo a husband (Fr4fit, from 79+48 to marry ) worthy of her. Even in that case, there is no need for austerities. For a jewel or precious stone [ ga for a beautiful girl of the distinction of Pärvati] does not go about seeking an owner for itself ( 7 for a worthy husband), it rather, is sought alter (by the owner, and the beautiful girl is sought after by the prospective bridegroom ). Thus understood, the verse would bc an instance of the figure अप्रस्तुतप्रशंसा. रत्नम् however is defined as १४२ ·सर्गः। कुमारसंभवम् । जाती जाती यदुत्कृष्टं तदलमभिधीयते as the best of a class and in keeping with जाती एकवचनम् , रत्नम्-रत्नानि, All best things are sought after-they do not go about seeking their appreciators. This would make the stanza an instance of (विशेषस्य सामान्येन समर्थनम् type of ) अर्थान्तरन्यास. Stanza 46: Construe--सोध्मणा निःश्वसितेन निवेदितम् , मे मनः तु संशयम् एव गाहते, ते प्रार्थयितव्यः एव न दृश्यते, प्रार्थितदुर्लभ. कथं भविष्यति । his quess As the ascetic mentioned 's husband'-उपयन्ता-in the preceding stanza, Paryati who did not so far utter a single word, and in all probability did not by any other indication make it possible for the stranger (who had by this time been a friend, at least, so he said ) to ascertain the reason for her austerities, heaved a sigh (निःश्वसित). This betrayed (निवेदित) Parvati's secret. The speaker's mind is even now in oscillation. The sigh of Parvati was proof of the correctness of But how to believe that there was any one under the sun, who wes to be eagerly desired or solicited ( utt. पितम्यः) by Pirvati. a vertable gem of a young girl? 'My mind is plunged in doubt, he therefore says, 'how can that unknown porson, 'X' say, be difficult ol obtainment even on being eagerly wished for by you?" प्रार्थितवानी दुर्लभः (इ.मेन लभ्यः) प्राषितदुर्लभः । Kalidisa's Dusyanta in Sakuntala Act III. 13 expresses a smilar difficulty in लगेत पा प्रार्थयिता न वा घियम् । धिया दुरापः कपमास्मिनो भवेत् । Stanza 47 : Construe-अहो तव शिनः सः अपि युवा धाः यः 'विरास होत्पलशून्यता गने कपोलदेवो घरमापरिदमा भयपनी जयः उपेक्षते। 12 ·कुमारसंभवम् । पंचमः As Parvati did not deny the presence of such a young man sought as her life's companion by her, the ascetic has no other alternative, but that of concluding that there was some such 'X'. It is very interesting to see how Sankara him. selí unhesitatingly attacks this young man (who is, as the readers are shortly to come to know, lord Sankra and none else ), saying, "Extremely stiff ( f897), or hard--hearted) must this young man, who so ever he is, be,-that, he has (like one who is devoid of aesthetic sense altogether) been ignoring, (dua) the loosely hanging, paddy-shoot like tawny, matted hair or the region of your cheek-.which has since long( fair ) been without any lotus, used as earornament. Oh I for a more liberal distribution of the sense of appreciation-so that this insensible young man would have got ils benefit and realised the utter foolishness of making a young, beautiful girl like Pārvali practise penance, compelling herto give upusing any flowers as car-ornaments, and driving her to growing matted hair 1 It need not be said, that the young visitor's heart is going out in sympathy to Porvati, who has been so ill-treated by the young man of her desire. An intelligent reader does not fail to read another meaning in the word fear:, which is the equivalent of fun (). This is of course intended by the poet. Stanza 48: Construeert: 172 tafrat fartuszfar- पणास्पदाम् (अतः च) दिवा पाशाइलेसाम् इय त्या परमतः सचेतसः कस्य मनः न यते। Breathes there a man (lit. a person with a heart antar:) whose mind is not polned to see Pirveli extremely reduced (अतिमान कशिता अतिमाप्रकर्शिता, अतिगत मानो यथा अनिमात्रम् reduced so as to pass all limits ), and with the places of wearing 1 ye ·prit: 1 कुमारसंभवम् । omaments on her body, scorched all (3762) by the sun ('s ternble heat)? Can any one imagine one so unaesthetic as to be able to look with perfect calm at the digit of the moon ( Tell at the start), extremely reduced (in size) (altappartat) and with the function (aspada) of beauti. fying ( vibhusana ) the world destroyed, ( 315z'burnt up') by the sun, standing in full possession of its burning glory in the sky, by day-time? Pirvati in her present plight 18 comparable only to the digit of the moon as descmbed above. From the ascetic's view-point at leastthere can be no son of man who will not be deeply affected by the sight leither of art or of the moon's digit). Bhartrhari too refers to the moon by day-time as a sight that pains all 'es'in the stanza where he refers to the seven is of his heart. sit pariat:' heads the list, he gives. Stanza 49: Construe-i fari hargaca afecta : चतुरावलोकिनः अरालपक्ष्मण. अस्य चक्षुषः आत्मीय वक्त्रं, चिरं लक्ष्यं न करोति । The attack that opened with an accusation of hard-hearted. negs (stanza 47 ) is made all the more formidable by another accusation yet. That loved one ( 24 ) of yours, is, (besides being stony-hearted ) deceived or misled by his intoxication of beauty. Conscious of his physical handsomeness, priding himself on the possession of that handsomeness, he certainly is under a delusion ( tanafu)-in that he does not show his face to these eyes of yours with curved (3) eyelashos, eyes which look (at things ) so prettily (IH). No one that is not deluded by a disproporlionato sense of pride for physical handsomeness could have kept his face away ·कुमारसंभवम् । पंचमः -- from these lovely eyes, for so inordinately a long period of time. चतुरम् ( adverbially ) अवलोकितुं शील यस्य 'ताच्छील्यणिनि.-चतुराव- लोकिनः। अराल 1s curved or crooked. Having straight eyelashes is no sign of beauty. In fact, all arts agree that beauty lies in curves rather than anywhere else. अरालानि पक्ष्माणि ( पक्ष्मन् exe-lash ) यस्य तत्-तस्य (चक्षुषः). Stanza 50 : Construe-(हे) गौरि कियत् चिरं श्राम्यसि, मम अपि पूर्वाश्रमसंचितं तपः विद्यते; तदर्धभागेन काक्षितं लभख; तं वरं च साधु वैदितुम् इच्छामि । The brahmacharin's sympathy was not of the lip-deep variety. He has a concrete offer to make, to help pārval out of the difficulty. He too, (as Pirvath) has penance accumulated in his first stage of life. ( ब्रह्मचर्य ). Now that Parvati's austerities by themselves have not won her, her desired object, the brahmacharin makes a gift of half of his own penance to her, May she thus obtain the desired (thing or person). Only he would like to have one thing in the bargain-a detailed knowledge of that husband, whom Parvati sought all these days. पूर्वप्रथम, पूर्व आश्रमे संचितम् पूर्वाश्रमसंचितम्, 'That Kalidasa freely uses the term get in the sense of the ( and not the previous, which has occasioned a difficulty to some readers of the stanza under consideration ) is easily demonstrated. To start with, in this very canto, in the 10th stanza, there is 'सरपूर्वनिवदया तया'; another is कान्येन निर्णयितुं च रूपम्-दरन्ति तत्पूर्वसमागतानाम्-मालविकामिमिनम् IV, B and प्रत्यारवीनैनमिगुप्रयोगे तरपूर्वभहे वितथप्रयत्नः ए 1, 42. in all these passages, Kalidisa equates पूर्व with प्रथम.

·सर्गः। कुमार संभवम् । Stanza 51 : Construe-इति द्विजन्मना प्रविश्य अभिहिता सा मनोरथं शंसितुं न शशाक, अयो परिपार्थवर्तिनी वयस्यां विवर्वितानजननेत्रम् ऐक्षत । The sympathetic attitude of the Brahmacharin, coupled with his readiness to offer half of his penance, so that Parvati may Becure her object, and the accuracy of his guess about the cause of the penance, made it quite essential for her to say something in response. But owing to bashfulness she could not speak out her desire. Hence she looked at her friend who was standing by her side ( परिपाई वर्तितुं शीलं यस्याः ताम्- aftarafdaft) in a manner in which, the eyes of Parvat that were without collyrium were turned towards the friend (विवर्तिनं अनजनं नेनं यस्मिन् कर्मणि तत् तथा-विवर्तितानञ्जननेत्रम् ), The eyes were without 392 as Parvati was practising penance. fate having entered i. e. here, having rightly known, though he was not told about it, by any one else. silden Inlinitive from शंम् to tell. द्विजाति-twice-born. Like जन्म, जाति is to be traced back to the root rt and means birth. For the explanation of the term, refer tothe notes on stanza40. cantov. अयो means अप It is an archaic expression. साधी तव Stanza 52: Construe-तदीया ससी तं वर्णिनं उवाच,' कुतूहलं चेत् निबोध यदर्थम् एतया अम्भीजम् उष्णवारणम् इव वपुः तपः- साधनम् कृतम्।" Pirvati's friend understood the meaning of the glance andsaid to the Brahmacharin. (पर्गिनम्-वर्णः स्तुति. अम्यानाति-तम् ) "O Leamed Brahmin, curlous as you are to know the secret of Pörvan's heart, know it fully (14) trom me. I would just ciplain why this delicato body is made by her the means o! practising penance (तरः साधनम् ) like some one msting the ·कुमारसंभवम् । पंचमः tender lotus ( अम्भोजम् ) a means to screen the heat of the scorching sun. Stanza 53 : Construe--अधिधियः चतुर्दिगीशान महेन्द्रप्रभृतीनवमत्य इयं मानिनी मदनस्य निग्रहात् अरूपहार्य पिनाकपाणिं पति आप्तुं इच्छति । This friend of mine disdained the lords the four quarters (चतुर्णा दिशा ईशान-चतुर्दिगीशान्) महेन्द्र, यम, वरुण and कुबेर even after : knowing fully well that they are possessed of supreme powers ('अधिश्रियः अधिका श्रीः येषां तान् ). She aspires for a Lord greater still, the wileder of Pināka and the subduer of Smara. Such an aspiration is but natural in the case of a Atletat like Parvati. Sankara however could not be won merely by physical charms (अरूपहार्य ). Hence this recourse to penancer Incidentally it is interesting to note the characteristics expected in a lover by Parvat, the paragon of beauty. The first is bravery as suggested by the word freqrit and the other is the nature of not easily being led away merely by physical charms (अरूपहार्यम् ). चतुर्दिगीशान-The ancient Sanskrit poets believed that the different quarters ware protected by the presiding deties. F is the Lord of the East, 9# the south, वरुण, the West and कुबेर the North. Stanza 54 : Construe-पुरा असाहुंकारनिवर्तितः पुरारिम् अप्राप्त मुसः विशीणंगतेः अपि पुष्पधन्वनः शिलीमुखः इमा हदि घ्यायतपातम् अक्षिणोत् । Kama discharged his flowery arrow at Sankara with the intention of wounding him. The arrow (शिली 1.e. शल्यं मुगे यस्य T: Priyan: ) however was tumed back by the unbearablo Humkira sound of Sankara ( असायन हुंकारेण निवर्तित -अगा. हुँकारनिवर्तितः ) Not only this, but also the body of the dis. १५८ ·मगः। कुमारसंभवम् । charger was shatterred to pieces. (Fasimi : PT : fasttt. ya: ) The arrow however found another target in the frailbodied Parvati, who could not resist the attack. It entered her heart so as to go a long way in it. (1981: :441 HTM तथा) and created adeep wound ( अक्षिणोन्). न प्राप्त मुखम् ( point or tbp) यस्य सः अप्राप्तमुसः। पुष्पाणि धनुः यम्य सः पुष्पधन्या. For the change of T3 Into 1999 at the end of a TEATR compound, refer to the notes on कुमार IV २३. पुरारि:-पुराणाम् अरि: an epithet of S'ankara. The three sons of Arts obtained a boon from Brahmadeva to be able to build three cities, which could be destroyed only by a single arrow. As usual Brahmadeva granted the request, and these demons' began to trouble the denizens of the three worlds. S'ankara who was approached by the dis. tressed gods, ultimately destroyed all the cities, along with the Asuras. Hence he is called the destroyer of the cities or पुरारि: The reading स्मरारिम् is accepted by some as it removes tho anrachronism which is otherwise forced by the epithet Seit, We however need not worry much about this, as it is possiblo that Kalidasa himself forgot for a while, that the particular exploit of Siva came afterwards. He used the epithet to convey the idea of his great powers, which would cxplain why the never failing arrow of Kama was retumod back merely by the Humkire sound. Stanza 55 . Construe-47 7914 JOHTAISTA सापाला पितुः गृहे तुपारगपातशिलानले अपि निति न मानु लभतेमा Tho wound created by the arrow, deprived Pirnati olter comfort (falA: ). Mat for a single moncn! ( 7 353 ) could sho experience essa end tranquility. The love ogony was hisia in her mind (9) and all the olempts to allsy tho hoat ·कुमारसंभवम्। पंचमः of love by the application of sandal paste to her fore-head were fruitless It only rendered her beautiful tresses dusty (ललाटिकाचन्दनं तेन धूराराणि अलकानि यस्याः सा ललाटिकावन्दनधूसरा. FT.) Taft is a mark made with sandal or any other fragrant powder on the forehead. Pārvali ah that she was and hence quite innocent of such changes ( 1 ) tried to get a cooling effect by sleeping on the different slabs of stones in the icy regeion of the Himalayas ( तुषाराणां संघाताः ताश्च शिलाच तासो तलेघु-तुपारसंघातशिलातलेघु ). Read for a similar idea पार्वती- oftor IV 4. But even these were of no use. If at all a change of condition was brought about it was in the case of the slabs of stone, which must have grown warmer (if indeed they did not melt away ), but none took place in case of Parvati. Stanza 56 : Construem: sita Sito (ata) अनेकशः बनान्तसंगीतसखी: किनरराजकन्यकाः राबाप्पकण्ठस्खलितैः पदैः अरोदयत् । Parvati tried to divert herself in the company of the princesses of kinnare-kings, by singing the ballads and eulogizing the exploits of the Pinaka-holder. This mode of diversion instead of bringing relaxation only aggravated her agony. Was she not uniortunate in not having such a great god for her consort? Naturally her throat was choked, and indistinct and faltering were the songs recited by her ( याप्पेण सहिते कण्ठे स्खलितः-सवाष्पकण्ठस्खलितः). Her piteous condition drew tears from the gentle eyes of her friends, who were moved at the sight. Their throats were also choked, and their attempts at singing were rarely successful. Note the causal construct.cn in the stanza. अरोदयत् caused to larment or weep. उपात्त. पर्णः (गीतिममः) यम्मिन्-उपात्तवणे. This verse shows the प्रलापावम्या ol Parvati and by प्रलाप is to be understood गुरुगंधीतनम्. 140 ·सर्गः। कुमारंसभवम्। Stanza st:Construe-त्रिभागशेषामु निशामु च क्षणं नेत्रे निमील्य सहसा (हे) नीलकण्ठ, क. प्रजासि इति अलक्ष्यवाक् असत्यकण्यार्पितवाहु- वन्धना (इयं ) व्यबुध्यत । Nights, too, brought no relief to Parvati, as she could not get sleep till after mid-night. When sleep slowly closed her eyes, the very next moment she got up and uttered "O God of szure neck (नीलकण्ठ) where are you flying?"Further shecast her charming arms round a non-existing neck, with the hope that the running away and would be prevented by her, from doing so (Vide a II 57 for a similar idea ). But there was no real नीलकण्ठ, It was merely a creation of her own fancy, and a result of constant thinking of him. However the impression created on her mind was so strong that Parvatı believed in the real existence of fm. The epithet नीलकण्ठ 1s significant. The poet has described the dream of Pārvatı wherein, she enjoyed the embrace of S'ankara's neck, which is blue (as a result of the deadly poision drunk by him ). This blueness lingered in her mind. तृतीयः भागः त्रिभागः सः शेपः यामु-त्रिभागशेषामु. The night is called त्रियामा as it is divi.. ded into three parts. The third part begins approximately by 2 8. m. Till this hour, Parvati got not even a wink of sleep. अविद्यमानं लक्ष्यं यस्याः सा अलक्ष्या, अलक्ष्या वाक् यस्या. सा अलक्ष्यवाक् । असत्य कण्ठे अर्पितं बाहुबन्धनं यया सा असत्यकण्ठापितबाहुपन्धना । महिनाथ rernarks on this stanza एतेन जागरोन्मादी सूचितौ । Stanza : 58 Construe-त्वं युधः सदा सर्वगतः उच्यसे, भावस्थम् इमं जने कथं न वेरिस इति मुग्धया स्वहस्तोद्धिविनः चन्द्रशेखरः रहसि उपालभ्यतचा १५१ ·कुमारसंभवम् । पंचमः As is usual, with the persons in love to paint a portrait of the loved one, Pārvah drew the picture of S'ankara with her own hand. She thought that the moon-crested god (Teatret यस्य सः चन्द्रशेखरः where शेखरः means an ornament for the head ) in the picture was the real Sankara, and chided him for his indifference to her. For did he not know, omnipresent as he was, that Parvata was entertaining affection for him? (Tra fagra ga HRT: where 79 means affection or love). Even the learned ones in whose words we must have an implicat faith have declared S'ankara to be omnipresent{pata.). This action shows how innocent (191) she was ! Her innocence becomes all the more prominent, as her friends watched and knew the entire action of Pārvali, even when she thought that she was by hersell (TER). TFTY TERET: 34TFRI is a passive construction. This stenza also shows Parvati in उन्मादावस्था. Stanza 59 : Construe-461 7 farat eller spira; अधिगमे अन्य विपि न अपश्यत् , ता गुरोः अनुशया अस्माभिः सह तपसे तपोवनं प्राप्ता. Stanzas 55 to 58 describe the love-lom condition of Pärvati, She was in a way mad with love of S'ankara. But there were no means of sccunng (FTF) the Lord of the worlds. Her physical charms were of no avail as has already been seen. So ultimately sho went to the holy ponance-grove, along with her friend after securing the permission of hor father. Starza 60:ConstrueTEZI ZİDag 49:eest ry JĀI अपि फलम् हयम्, अस्याः शशिमोलिरांध्यः मनोरयः परोहाभिमुपः अपि न च स्यते। 143 ·सर्गः। कुमारसंभवम् । + Pārvati's friend, very cleverly suggests the long period over which Parvati practised penance. The trees that were planted by her (mi rai àg) are now sufficiently grown up. They have witnessed her austerities (ay.UI). On their branches is seen the fruit. But poor Parvati's desire, that has its resort in Sankara (शशिमौलि. 1.. शंकरः संध्रयः यस्य सः शशि- मौलिसंश्रयः ) has not put forth even a shoot (प्ररोहं प्रति अभिमुखः TUESE. ), what to talk about flowers and fruits ? Though Pārvau's penance was no less old than the trees, the latter stole an easy march over the former, and Parvati's desire remained where it was. Kalidasa thus contrasts the fruit-laden trees planted by Parvatı herself with her fruntless Penance. Stanza 61 : Construe-प्रार्थितदुर्लभः सः तपःकृशा सखीभिः अस्रोत्तरम् इंक्षिताम् इमां सखी तदवग्रहक्षता सीतां वृषा इव कदा अभ्युपपत्स्यते न वेभि । The friend concludes her speech She, along with her other friends, is very eager to see Pārvat's desire fulfilled But the Lord is difficult to be obtained even when solicited. Parvati's condition however was causing great anxiety to them. The penance-worn ( 29: i) Pārvat became an object of great concern to her friends, who with eyes dimmed with tears (अश्रुप्रधानं यथा तथा-अनोत्तरम् ), looked at her and perhaps prayed to the God on their and Parvatı's behalf. The favour of that lord, alane, would save Parvatı from impending danger, and this favour was justly expected by thern of the lord. Does not Indra, the lord of rains ( asta adi TT) favour the ploughed lend ( A ), that is parched on account of the drought caused by hm (तस्य अवग्रहेण क्षताम् तदवह- SELTSIE where are means drought) by pouring down showers ? Kāldāsa, true to his great reputation puts a very ·कुमारसंभवम् । पंचमः fitting simile, in the mouth of the friend at the conclusion of her speech. The penance-worn Pärvat is rightly compared to far, the ploughed land, that is dry on account of drought. Such a land especially is in great need of rain. Indra who is responsible for the drought and consequently for the pitiable condition of the land does take great pity on the land, and sends down showers of rain. Should they .( Pärvati's frends) not expect similar favour coming from Sankara, who alone was responsible for the penance-wom condition of Pārvadı ? Such stanzas point out the truth of the statement' 3941 fragrah.' is an epithet of Indra, as he sends down (afa fa ) rain by tearing asunder the clouds with his thunder-bolt. an und Future 3rd person singular of अभि+उप+पद् to favour. Stanza 62 : Construe- TATT fa fengri fatalen: नैष्ठिकमुन्दरः अव्यजितहर्षलक्षणः अयि इदम् एवम् ( उत) परिहासः इति उमाम् अपृच्छत्। Thus the handsome Brahmacharin was fully informed (farza: ) of Porvati's intention by her friend. She did no! conceal the real state of Parvatl's mind (75: arra: AT e gugla). The Brahmacharin, who was no one elso but Lord Sankara himsell, the object of Pärvati's love, was naturally beside himself with joy as he got the direct prool of tho deep attachment of Parvati to him. But shrewd, as ho was, he concealed the signs of joy (म व्यंजितम्-अभ्यजितम् हर्षल. 2707 769 #: 3psuitsi229: ) quite natural on such occo sions. He put such further questions, as ought to bo answered by Pirvati hersell. He querried whether all that wag sald by the friend was a statement of fact or a more jost.

·सर्गः। कुमारसंभवम् । Was Parvati really in deep love with Sankara ? Kälıdāsa as usual has managed this dialogue very effectively. The suple question aftere put by the guest, made it qute essential for Pārvatí to answer herself. She could not inow look at her jacal friend, as she did on the former occasion, (vide verse 51 ) and avoid to answer herself. The Brahma. charin is successful in compelling her to break the silence and speak to him. Afari and 24 au are the two types of Brahmacharins. Afef leads a life of celibacy till death (@aer मरणं अवधिः यस्य सः नैष्टिकः. Read नैष्टिको ब्रह्मचारी तु वसेाचार्य. अनिधी। तदभावेऽस्य तनये पल्या वैश्वानरेप्रपवा ॥ याज्ञवल्यय 1 49). उपकुर्वाण however is allowed to marry and enter गृहस्थाश्रम. The word सुन्दर which according to some suggests कामुकत्य is supposed to be rather incompatible with the word Brahmacharin. Afzary delends FIT and remarks, that as the statement is made with reference to the God who possesses extraordinary powers, nothing is incompatible. We how. ever think that the word it means 'handsome' and nothing else. The appearance of a Brahmacharin and especially that of age is usually handsome. So thero is no Incompatibility at a!! As such no explanation like the one given by A74 is called for. Stanza 63: Construe-4 grammairegal C# T2TR3. मालि समर्पयन्ती औः सनया रिव्ययस्थापिकार कथंचित मिताक्षरम् সমার। Now, was Pírval required to conless hor love for the lord of the worlds. There were on her body some signs of nervous. ness and bashfulness, which are quito nslural on such OCCSS!ons. The members of the fair sex liko to love, but ·कुमारसंभवम् । GEH: dislike to admit it. Pārvat could be no exception to this rule. While the conversation of her friend and Bhramachārın was going on, Parvati did not stop her japa. Now was her turn to speak, as such she discontinued the japa, brought the rosary of beads (FFIEFTATIST.) in the fore-part of her hand, (paret 2674-3FT: ) where she could keep it during her conversation with the Brahmachann. As the rosary was to remain there, she brought together all the lingers, thus forning them into a bud (मुकुलीकृताः अगुलयः यस्मिन् , मुकुली. कृताङ्गुली where मुकुल: means a bud ). Parvati, daughter of Himalayāya, was expected to possess firmness of mind. However her mind was in great confusion, on this occasion. She composed herself somehow or other, arranged the speech she was to deliver, in her mind, for a long time. (चिरं व्यवस्थापिता वाक् यया-चिरव्यवस्थापितवाक् ), answered with great difficulty (RH) in few words. [मितानि अक्षराणि यस्मिन् कर्मणि-मिताक्षरम् . Stanza 64: Construe-(.) asrast 96, 5947 48 (TI) अयं जनः उफःपदलद्धनात्मकः, इदं तपः तदवाप्तिसाधनं किल, मनोरथानाम् अगतिः न विद्यते। The measured words uttered by Parvati answor completely the question put to her, and show that Parval was in no way incapable of rising to such occasions. She remarked that whatever was sald by her friend was true. She did os. pire for being the consort of S'iva, an exalted position indeed. (उचैः पदस्य लंघने उत्सुकः-उधःपदलंघनोत्सुकः ). Themeans of reaching the exalted position were given by the people as TT. This explains why she was practising penance. Further Parvati herseli anticipates the charge of boldness, as sho ·सर्गः। कुमारसंभवम् । was longing for Sankara. She admits it. but defends by explaining the nature of ambitions. It is such that ambi. Hons in general know no bounds limits. Persons do not entertain derires, alter fully considering their limitations, but often by conveniently forgetting them. The stanza contains are ETC as the particular behaviour of Parvati is justified, by the general rule 'Nothing is inaccessible to desires. Stanza 65: Construe-39 auf 37716, TEAT:( ## ) Ana, त्वं पुनः तदथिनी एवं वर्तसे, अमङ्गलाभ्यासरति तं विचिन्त्य तव अनुप्तिं कर्नु न च उत्सद्दे। After all the Brahmacharin got an opportunity of talking to Parvati directly. He fully uses it for testing her sincerity. He finds fault with Sankara, with apparent justification, and informs Parvati of his inability to agree with her, in her choice. The great god was known to the Brahmacharin, along with his (t. e. lord's ) liking for inauspicious things, such as चितामस्म, गजाजिन etc. (अमहलानाम् अभ्यामे रति. यस्य सः तम्-अमला. OTEL, where it means a course of conduct ). How such an ugly person can be a fitting match for the delicate and handsomo Parvat? The mere idea was repugnant to tho just mind of the Brahmachörin. Moreover had S'iva not insulted Porvat formerly. by burning Madana (vide , Fartha III 74)? Still shots longing for him (gade). How could her sell-respect allow her lo entertain desires for him? In stanzas 65 to 73, may be noted a besutiful czample of humour o! altuation, as tho Brahmacharin, who Is Sankara hlarsoll Incognito, Is attacking S'antara with all vehomenon, he has at his commend. $40 ·were was . कुमारसंभवम् । पंचमः Stanza 66 : Construe--(हे) अवस्तुनिवन्धपरे, आमुक्तविवाहकौतुकः अयं ते करः वलयाकृताहिना शंभोः करेण तत्प्रथमावलम्बनं कथं नु सहिष्यते । The Brahmachann taunts Parvatı by addressing her as 10 निर्बन्धपरे. अवस्तुनि यः निधन्धः सः परं यस्याःसा) she was अवस्तुनिन्धपरा as she was persistent in her love for Sankara whose hikings for nauspicious things well known. She attempting, only for a worthless object (अवस्तु). The very first union of Parvati's hand with that of Sankara would not be delightfulat all. It would be an union of two precise opposltes; one delicate and handsome, the other rough and dreadful Pārvati's tender hand would be beautified by the nuptial string (आमुक्तं विवाहार्थ कौतुकं यस्मिन् ), while Sankara's hand would be without any decoration, but possessing the entwining serpents (वलयाकृताः अहयः यस्मिन् तत् ). How possibly could Pārvali's hand suffer the first grasp of it by that of S'an kara? तत् एव प्रथमावलम्बनम्-तत्प्रथमावलम्बनम् विवाहकौतुक is the marriage thread worn round the wrist by the bride and bridegroom. The time limit of keeping it on the wrist is either three days or one year, according to different authontes. Stanza 67: Construe-त्वम् एव तावत् स्वयं परिचिंतय, यदि कल. हंसलक्षणं वधूद्कूलं शोणितविन्दु वर्षि गजाजिनं च एते कदाचिन् योगम् अहंतः। Parvati, pnncess as she was, would be weanng costly silken garment (दुकूल, something like the modem Benitras make decked with royal swans (फलहंसाः लक्षणं यस्य तन्-फल. हमलक्षणम् ) on her wedding ceremony. The bridegroom 1.6. S'ankara would put on his body a how elephant-skin (गजाजिन) that would be stroorning forth drops of blood, (शोणितस्य रिन्दून वर्षि शीलं यस्य सत्-शोणितविन्दु) on account ·सर्गः। कुमारसंभवम् । of its freshness. Does even Piryati think that the knot, which would be tied just after the wedding ceremony, of her garment with that of S'ankara would be really a happy scene to look at ? The Brahmacharin asks Parvat to think out for herself. Note the contrast between the chat auat which would be soft, white and attractive and the fora. fazard Tilfara dark in colour and hideous to look at on account of drops of blood oozing from it. Stanza 68 : Construe-aa tocagem.uzel2: 924: 3477- काङ्कानि पदानि कः नाम परः अपि विकीर्णकेशामु परेतभूमिपु अनुमन्यते । Stall more pitiable, would be the scene, when Parvati would go to her husband's house, which is nothing but a cemetary. The princess Parvati would be treading, at the time of marriage, on the flowers in the quadrangulor court- Yard. ( चनुष्के यः पुष्पप्रकरः तस्मिन् अवार्णयोः चतुष्कपुष्पप्रकरावकीर्णयोः where : means 'mass'). Her feet that are painted with Alaktaka dye would leave foot-prints on the mass of flowers ( 3 og arra-330M ). The very feet will have to tread after marriage, not on soft grounds but on the regions of cemetary. ( Managing where ata means' departed ordead') scattered over not with flowers, but with hair of corpses. ( farmi: lar: 4-PACHETTE) Such a sight would not bo liked even by an enemy ( 9 ) of Parvati, much less by her kith and kin. Tot is a tean supported on four pillars. Ilero the marriage pendal is meant. Note again the contrast between graut and the form olararik. Read for a simllar contrast, but relenng to a diller. ont occasion. Raghu Vill 57–74**TU-TUPATE 79756- हानम् । तदित रिपहियते क्यं वर वामोर रितापिरोदणम् ।

·कुमारसंभवम् । पंचम Stanza 69: Construe-417 39 gítargareT HETT FTA- द्वये त्रिनेत्रवक्षःमुलभं चितामस्मरजः पदं करिष्यति, अतः परम् अयुक्तरूपं किम् वद । What would be Pārvati's condition, at the time of the eager. ly longed for first embrace of S'ankara ? The three-eyed god whose ugliness is heightened by the smearing of his body with funeral ashes (Parer: HEH ENTFA TI GO Gilerarate- (7) would impart these very ashes to her fair bosom, which knew only the fragrant Harichandana and which is a fit abode only of that. Nothing would be more unseemly. One's aes. thetic sense revolts against even the idea. Poor Parvati however will have to undergo it personally but she must thank herself for all that. The contrast between after and GEITHE: deserves to be marked. Stanza 70 : Construerei 977: 34041 57781 47 574 वारणराजहार्यया त्यया अधिष्ठितं मृद्धोक्षं विलोक्य महाजनः स्मैरमुखः भविष्यति । At the time of marriage procession, just after the wedding ceremony there would be great fun for the onlookers, o! the cost of Parvati. The bride, princess as she was, deserved to be taken in a procession, only on the back of a young Jordly elephant (rulat trada <r41ROTETI). But Parva!! the consort of poor S'iva would be required to mount tho super-annuated bull ( TETT FAT* TIR: ATHL) hardly able to walk atraight, and thus be an oblect of ridiculo and mock. cry to others. The good people, though templed to burst into laughter of such a humorous sight, would check Il sul tho omilo would bo zcen on their feces, while they would balooking at tho procession (Fai gri 2757 P UT: whoir ·:1 नीयतां गतम् । कुमारसंभवम् । स्मेर means मस्मित): ऊदा past passive participle from यह ० marry -'married' ay is also from the same root. Stanza 71 : Construeret: Farurat ala ci sint. कलावतः कान्ति मती सा कला , अस्य लोकस्य नेत्रकौमुदी त्वंच। Now that Parvati has fixed her attachment upon S'ankara and that she is bent on marrying him, the Brahmachari Bays- There are now (Ft) two (lit, a pair ) that have gone to a condition worth being pltied (Firarear), on account of the eager desire on the part of those two for union (41717) with the bearer of skulls (Furth of a fa)-that wel. known (1) digit of the possessor of digits (1.e the moon ) and of late, you the moon-light to the eyes of the world. How sorry is the idea that not only is there the strange company of the moon and the Kapalin, absolutely unworthy of her (the lovely digit 5 being personfied la more beautiful thing was not united with an uglier being but history is going to repeat itsell Parvati, who was the beauty of the three worlds put together ('frerutaallar og') and gave the same delight to the eyes of those that saw her as the moonlight was going to follow in the foot-steps of the moon's digit! Oh, the plty of it! that beauty and indiscretion should go together, in this the second instance too. Stanza 72:Construe~वपुः विरुपासम्, अलक्ष्यजन्मता, दिगम्बरत्वेन बमु निवेदितम्: (१) बालमृगाति, घरेषु यत् मृम्यते तन् मिलोचने म्यम्तमरि अस्ति किम्। The Brahmacharin is emboldened to the citent of actually setting forth in an nalytical fashion the so many reasons why that god frequenting the retary region should 1.V.

·कुमारसंभवम् । । पंचम not be chosen as a husband. To begin with, his form is deformed in that he has ugly eyes (fearfor sefiit en 17) or three eyes (fany-lain number). (People already know that the non.possession of the necessary number of limbs or parts of the same constitutes ugliness. It, however, is high time that some of them, especially persons like Parvah are told that possession of an extra third eye too is not a case of 'more the merrier'-but another variety of ugliness itself). Lethng that alone-what about the descent of this bridegroom (97)? The only thing that is known in this connection is that the birth of the person is not known to any one (lit. not seen by any one)! Regarding wealth, well, it has already been made known ( to the whole world) by his having the quarters for his garment (having nothing even so much as to cover his body with), Significantly does the ascetic ask Parvati,' oh you possessed of eyes like those of the young deer (what a con trast with the fastra of the ac), are the things such as are collectively sought in a bridegroom to be found even singly (59ECTA 319 )-say just one of them, found in the 'three-eyed' one ? पालमृगस्य अक्षिणी इव अक्षिणी यस्याः ( उपमानपूर्वपदबहुमीहि ) सा बालमृगाक्षी, तत्संबुद्धिः (vocative) बालमृगाक्षि । There is point in मम्मट's criticism that अलश्यनम्रता does not pointedly bring out the fault or deliciency of the bridegroom. as do tho two other clauses. Instead of the compound, there should have been two expressions such as in idi, one being the sublect and the other the predicate of the sentence, describing the weak point of the vara, ! १६२ ·gi: 1 कुमारसंभवम् । Stanza 73 : Construe—3FAFE 3inang #7: Aktu, aizgy: का, पुण्यलक्षणा त्वं च ध, साधुजनेन श्मशानशूलस्य वैदिकी यूपसरिक्रया न अपेक्ष्यते। In all sincerity, does the brahmacharin advise Parvati to turn her mind away from this evil or improper ( 381 ) desire (Para-past passive participle used in keeping with agat TETE). What a world of difference between a person of the type of him(1. e. Kapali) and Parvati of blessed characteristics ? By good folk the honour done to the sacriti. cial post ( 99 ) in keeping with the Vedic rites ( alatt ) is not ( so much as ever ) expected of an iron-stake in the cemetary region. Simply because is used for the pur. pose of tying the sacrificial victim and so is the 13 for tying the condemned criminal, it does not follow that the honour done to the former should be extended to the latter. That would be merely going by superficial resemblance between two things. Stanza 74 : Construe-la alasaight Paardr, xã TATAY. लक्ष्यकोपया तया उपान्तलोहिते विलोचने विधितभूलतम् तिर्यक् आहिते । Parvati certainly did not like all that the brahmacharin said obout S'ankara. She did not at once express her disappr. oval in so many words. Before that by her, whose anger was evident from her excessively quivering lower lip, were cast her two eyes, red at the comers (Tarate: Sata) slankingly (fax) with the creeper-like eye-brows contractes ( amat po offer 491 FAIT it now that the twice-bom was speaking unfavourably (about her heart's choice ). oft - दिनु शीलमस्य प्रतिकूलवादी सम्मिन् दिजाती प्रतिकूलवादिनि is a locative absolute construction. Inadentally, it may be pointed out that ·as कुमारसंभवम् । पंचमः the word die finally rendered by unfavourable or unfavourably according as it is taken an adjective or adverb, hails from a different universe of discourse. The universe of discourse is the water of a river, or any other current. When it moves so as to oppose (wa) or do harm to the bank (bas), it is said to be place. The sense underwent a generalisation subsequently, and even in contexts where water, bank etc. were out of question, the word came to be used to signify unfavourable or unfavourably.' The disparging remarks by the student of Veda roused the anger of Pārvata-she controlled herself a good deal, however, and did not say all that her first impulse would have made her to. Yet the truth had to be stated, the ingnorant had to be enlightened. So she proceeds to explain Siva's greatness to the visitor to the as'rama, in the few stanzas that follow (75-81). Stanza 75 : Construe—a gare 7 Torfa: ca पेरिस यतः माम् एवम् आत्थ; मन्दाः महारमनाम् अलोकसामान्य अचिन्त्य. हेतुकं चरितं द्विपन्ति । And ( 7 ) she addressed (3972 ) him [thus? You do not know Hara truely, 4CATén: indeed ( 994 ), on which accoun! you speak to me thus i e. disparagingly about him. And by no means is this a soltary Instance of its kind, Parvati continues strengthening her statement about the reason why the Brahmacharin had only censure and that too unmit gated, for Hara. The dull-wits ( mandih ) hato high-sould porsens' doings { charitam-hitrát 4997), which they have as their exclusive possession, ( Ilt., which are not common with (those of the people न लो: सामान्यम् or simply, न सके VITAT 1. e. extra-ordinary and ) the cause of which ta past 1 ·trit: 1 कुमारसंभवम् । (even the understanding of the dull-witted gries. *fra: देतुः ( कारणं) यस्य तन् । It neod not be explained that the stanza contains, an instance of ( fammen gara 14a lypc of), अर्थान्तरन्यास. 3179—2nd person singular of , present tense. 'You - speak. The contrast between the trade that the brahmacharin had ogainst S'ivo, and the dignibed manner that Pasvat has started making an answer, which she later develops point by point, should very carefully be nated. It certainly does not always pay to descend to the level of the adversary: so long as the case one is representing is strong, as Parvati was confident it was, indulging in a style full of abusive terms, or something akin to that does more harm than good to the cage Parvati was wol aware of this. She does not therefore, overstate her cage #7: need not be regarded as a term of abuse. It only speaks of the persons, so characterised, as being on a low intellectual level. Whatever else thoy are able to follow. they are not able to appreciate the noble deods of magnanimous Bouls (like Haro) and henco their hatrod of the groal. TA: : (highest object I truth ) aFaiz. Stanza 76: Consisuo-qalaca afTICA U AT fi. **1; 334 filileri: 179: MTATUETTA: Tfa: (***:) In answer to S'onkara's lovo ol Inauspicious conduce ( *77*******), tha: 150 Brahmacharin slad os the first obmotion to Pirrott's matya Hars, Pirvih saya. An auss.clour thing ( a ) t resorted to either (1) by ono ·कुमारसंभवम् । पंचमः that wants to counter (प्रतीकारपर-प्रतीकारे परः-तत्परः--) a calamity (297) or (2) by one that is keenly desirous of prospenty, 1. e. attaining prosperty ( wa=prospenty). But neither getting rid of a calamity, present or future, nor achieving prosperity that yet is not secured, can be regarded as a motive that could prompt Hara to resort to a मगल. The two alternatives, mutually exclusive and ordinarily, col. lectively exhausbvc, are found simply not applying in Sankara's case, for the reason that s'ankara is a high-sould exceptional kind of a person (महात्मन्, अलोकसामान्यं चरितं stanza 75). One thing more; Hara is himself the refuge of the enhre world (जगतः शरण्यः-शरणे साधु: शरण्यः excellent in the matter of protection) and devoid of any longing (आशी: longing, eager desire; निर्गता आशीः यस्य स निराशाः तस्य निराशिपः). Of what uso to him, thus characterised (-शरण्यस्य, frufer: aa:) are these mangalas wherein the activities (वृत्ति ) of the raind (आत्मन्) are affected ( उपहत) as a rule by hope or longing ? The construction तस्य...एभिः किम् is idiomatic and of the अन्धस्य दीपैन किम् type. For the ordinary, considerations such as auspicious', 'inauspicious have a meaning. But such 'standards' or 'norms do not weigh with great persons like Hara. The Brahmacharin need not stress the area of Sankara on this account. भूत्यो समुत्मकः-भूतिसमुत्सुकः। आशया उपहता (affected or sullied) आरमत्तिः येषु तैः। Stanza 77: Construe-स: अकिंचनः सन् संपदा प्रभवः, पितृसन- गोचरः ( सन् )बिलोकनायः भीमरूपः सः शिवः इति उदीर्यते, पिनाकिनः याथार्यविदान सन्ति।

·an: कुमारसंभवम् । That S'iva has no wealth (4771. e. h) . speak of is true and Parvati doas not wish to deny that. But there is the other side of the shield too, which, the Brahmacharin lalled to nole, and that is, that paradoxically. cnough. S'iva is the very sourca ( 967:) of all niches. This should bs enough by way of relutation of 'FINITEIT AIR Further, Siva is the lord of the three worlds, though to those who look at things superficially, he is known as one whose sphere is (i. c. who dwells in ) the cemetary [immter the dwelling place of the manes I. e. depared ancestors--the cemetery. Thai HEP 17: 1 tilat=1774 1. So one who dubs S'onkara as the inhabitant of the cemetary, ought to note that Sankara is the master of the thrce worlds, and as such the latter too are his sphere. Again by reason of the association of serpents, the garland of skulla, or the third ayo, which when open, emits fire, the Lord is one possessod ol a terribla form, still he is declared to bo S'iva 1. e. Suspt. cious. Tho truth is, that there is doarth of men who know S'iva properly or as he is. TT 13 from spam ( a. "TIES AT ETT 791)--the nature of boing !althful to facta 1. e. truth याशय सितानि यापाध्यविदः । The points that the visitor rolsed against Santara in stanza 65. 66 ero thu: on swored by Pirvall. Stanza 78: Construo-fra 13. Rigtig f794 infa T, marítt(Sy iztu zen 11 yirmi 1977, भाने The proper way of understoring the groat Lomi is not to t'a!nk of any erro! his, or a few costitia oth's. at a time. lle is posse:nic! the untretin as his form म ·कुमारसंभवम् । पंचमः (An ana: TFT #:). This wrong approach would not thers. fore help those who want to guage the truth. The body may sometimes shine brightly because of the ornaments worn (fanu: JATET TA ), or it may have serpents tied about (पिनाः from अपि+नह , giving both अपिनद and पिनद्ध as past passive participle, ) at may wear the elephant-hide ( TURU अजिनम् आलम्बितुं शीलं यस्य) ordon a garment fashioned cut of rich material, and ostentatious. It may have skulls worn round the neck or the moon on the crest. Thinking of these details only as each one of them strikes the person who wants to know Shiva, in turn, and not taking a comprchensive view, would not take the person far enough in his undertaking. The ferya ( stanza 72 ) etc. pointed out by the ascetc as disqualifications of the person chosen by 'पार्वती are thus refuted. Stanza 79; Construerent are faran teica: ni विशुद्धये कल्पते; तथाहि नृत्याभिनय क्रियाच्युतं (तत्) अम्बरीकसाम् pilafita farina As a specific reply to what the ascetic said in regard to the Impropriety of the ashes from the funeral pyres coming into contact with Parvati's breasts, worthy of red sandal ( stanza 69 ), Parvat says, particles of ashes from the pyres, having come into contact with his lunbs become capable of sanctifying others, who subsequently luckily, come in contact with them. For that very reason on their heads are bomo (lite smeared ) tho partices o! ashes, fallen in the act of gesticulation (1974) while S'iva is danang, by the dwellers of the heavenly world. Even the gods, (***TA SITTEETTI atat *09:- 11 ) far from being ashamed of applying .

·कुमारसंभवम् । पंचमः विनिद्राणि मन्दाराणि ( मन्दारवृक्षपुष्पागि ) तेषां रजांसि तैः-अरुणाः अगु- 22:41: at : The fact that Indra with a wreath of Mandār flowers in his head, is not ashamed to touch Sankara's feet with his head reverentially, should silence all the 'talk of dilapidated or superannuated bull of Sankara, The master of the quarter--elephant (oaza ) considers himself obliged to get the opportunity of saluting in all modesty, the owner of the old bull प्रभिन्नः दिग्वारणः ( i. e. ऐरावतः ) वाहनं यस्य सः । Stanza 81: Construe hi anal 3 nyara 491 , प्रति एक साधु भापितम् ; यम् आत्मभुवः अपि कारणम् आमनन्ति स कथं लक्ष्यप्रभवः भविष्यति । Pärvat disliked most the depravity of soul, the low taste that the ascetic displayed, when he spoke of S'ankara having his birth unknown (334TRATT). She therefore does not think it improper, characterising the guest as a Walet (za: BTHT FRA:). His inherent low taste, very probably made the ascetic right glad when he mentioned Siva's descent as an unknown something. But unawanngly, while wishing to speak of a fault of S'uva, he paid one of the most handsome tributes (5$ my h) to the Lord. It is literally impossible, that the origination of the cause of i.e. the source of the sell-born ( 3T17) or the creator, can ever be seen by any one. That the cause of the cause of all creation should remain hidden in point of its orignation from all, subsequently created is but to be expected. Tho choico of words on the part of the ascetic :'was singularly happy. Only Instead of reflecting in any way against S'iva, the words do him a well deserved honour ! Parvat's still of tuming the very words of the ascetic against him, is remarkable.

·git: 1 कुमारमभवंम् । वक्तुम् इच्छन् , विवक्षन्- present participle from the desiderative of वच्-तेन विवक्षिता। 311+5R1- to declare (especially when the declaration is on the part of scnptures ) third person plural 3|aita, Stazna 82. Construe-lea 974; 791991 ya: qay: तावत् सः अशेषम् अस्तु; मम भावंकरसं मनः अन स्थितं, कामवृत्तिः वचनी. यम् न ईक्षते। If this answer given by Parvati, in a manner so as to retute every point that the ascetic raised, has not satisfied the brahmacharin, then, nothing is likely to be of any use by way of argument with him. Parvati, therefore, states in clear terms, that she does not want to continue the discuoslon any longer ( 347ftaria). She is even ready to grant that Lord Siva is of that type, and that also completely (519: 1TR FİT TUTETI 1791 ) of which, he has been heard to be by the granta Alter all there is some such thing as a personal view of the matter, which Parvati takes, and no one can prevent her from taking that. "My mind, with just one predominant (5) sentiment (1) towards Hara. vız, that of lovo ( 217 ) is fixedly attached (fema) to him. And one who behaves as one thinks lit ( Fida Tit. HET ), docs not mind (a 827) censuro (29814 ) by others. In other words--I have made my choico and that is final. My mind has only one attilude towards S'antara. That is one of lovo, unadultorated love. I em going to act as I think 1.1. finy amount of censure by the 'pople' la incape. blo ol making mo sworva from the path I have adoptod." भाषः (महार: or अनुरागः) एE: (-प्रशान.) रमः यस्य तत् भाकरणम् । 1.1 ·कुमारसंभवम् । पंचमः The third line refers to urddi's individual case. The fourth embodies a generalisation holding good of a class of persons to whom niet belongs, and is intended as the ata or justi. fication of what she said about herself. The stanza, therefore contains an instance of (fra fancy HARAM type of ] अर्थान्तरन्यारा. Stanza 83 : Construe“(?) ane yataiftcrat: ( 317: va) किमपि पुनः विवशुः अयं बटुः निवार्यताम् । यः महताम् अपभाषते स केवलं न, तस्मात् यः शृणोति सः अपि पापभाक् । On having given the ascetic to understand that once and for all she had fixed her love on Sankara irrespective of what others, like him, may bay, Pārvatı did not want to continue speaking to him. But then, she saw that the brahmacharin (5:) had his lower lip prominently quivering and thus was obviously desirous of saying something ( of the sort he already had ), again (ga:). She however, had by this time lost all patience with him, who typified the class of ignorant ones, failing to appreciate the deeds of noble persons, but condemning the latter unblushingly. So she asks her friend to have the ascetic shown out of the ashrama ( Int., warded off). The consideration that weighed with Parvati in deciding that the brahmacharin be better turned out than listned to, is given in the form of a general proposition in lines 3 & 4 of the stanza; not only he who speaks ill of (Thy) or scandalıses the great but one that listens to such a person also has his or her ) share of the sin. Parvati would be the last person to have such a sin stand permanently lo her discredit. The figuro manifestly, is अर्थान्तरन्यास (of the विशेषस्य सामान्येन समर्थन type).

·सर्गः। कुमारसंभवम् । Manu, at ii, 200 lays down jurat qart na ang madai को तत्र विधातव्यो गन्तव्यं वा ततोऽन्यतः ॥ आलि: is a female fnend BIR is the vocative of the same.' Oh female friend.' pica (स्फुरणं, नपुंसके भावे कः) यस्मिन् उत्तरं(प्रधान) स स्फुरितोसरः, स्फुरितोत्तरः अधरः यस्य सः । विवक्षुः-वक्तुम् इच्छु: ' destrous of speaking.' पाप Hacia 1977 1 If the proposition stated by Pörvali is followed in spint by the majonty of people in any community at any time, much of a particular kind of literature, whether spoken or printed, would lose its point and vogue. As years roll on in the history of human civilization, can we stato confidently, that we are becoming more full of reverence for noble qualitles ? The question is better left unanswered. Stanza 84: Construe-37991 A: fait fait FTT- भिमवल्कला सा चचाल च स्वरूपम् आस्याय नम्मितः पराजतनः तां समाललम्बेच। The two 93 are idiomatically used in the stanza to show that two things happened simultaneously. No sooner-than has its best equivalent in Sanskrit in these two s. It was one thing for Parvati to say to her friend' let this ascetic be shown the door', it was another to have the espulsion of the stranger actually achieved. For no female friend of Päriyeti could be equal to the task of driving out the ascet.c(unless sho were an amazon and in this latter case she hardly could have been an afa: of Parvati specially in view of V-15 comparing the eyes of the friend with thoso of the deer 1) Põrvali who failo: to note this in der extrezo onger, corrects her mistake by changing le: mind, *cways Introduces a chango o! thought in Sanskrit. 'O;' in vlow of the physical Impossibility of my Instruction to you being carried out 29!!!

·कुमारसंभवम् । पंचमः Pārvati 'I shall go away from hence and suddenly, presumably with a jerk to her body, she made for walking a little further off from (996 moved away ) the place, her bark-garment slipping off from her breast in the quickness of the action. And that very moment, the bull-bannered God (T15:44 *:), assuming his form ( as against the disguise so far donned) made a smile, nothing more being needed to indicate his having been amused, and caught hold of her. S'iva thoroughly convinced regarding the genuineness and the the intensity of qrafat's alfechon for him, did not add even a word. What use are words on such occasions ? A smile and the act of takıng hold of Pārvati (FHITETT) was the fitting close to the alteration, the two had had so far. And Kalidāsa provided just that in 'स्वरूपमास्थाय कृतस्मितः ता समाललम्बे । : JEU :-On Siva's banner was the figure of a lordly bull, the characteristic of the god. Stanza 85 : Construe-तं वीक्ष्य वेपथुमती, सरसाइयष्टिः, निक्षेपणाय उद्धृतम् पदम् उद्वहन्ती शैलाधिराजतनया, मार्गचलव्यतिकराकलिता सिंधुः इव न यया न तस्थौ। To see her lord in his proper form, Pārval was right glad no doubt. But the immediate reaction on her part to the manifes. tation of S'iva, was being all aquiver ( any quivering at passessed of (the delicate frame of her body (šifra) being full of perspiration ( 4-TR). Experts observe that the body being full of trembling all over, and perspiration are indics. tion of the rise of the atas 2719 Thus characterised, the daughter of the lord of mountains, could not really decide the course she should take, under the conditions as they Uy ·सर्गः। कुमारसंभवम् । obtamed then-she, therefore, had one of her feet, hifted up for placing it elsewhere in the act of going away from the scene of the conversation, but not having been able to decide she should go away, with hesitation as to whether she should, getting the upper hand, she stood in that very condition. The there again is well worth the delineation by a master-artist. Pärvat neither proceeded (7974), for the foot that was lifted up was not actually planted, nor stood, for one foot was hifted up. Parvat with her mind thus divided, is aptly likened to a niver which getting embarassed, neither runs ahead nor exactly stands stil), when in contact (oe@ #t) with a mountain on the way. Here is a singular phenomenon of a word picture (river-mountain, ) beautıfying a word picture already given, (wat) not standing, not proceeding, being caught hold of by Sankara and both pictures are bound to people the mind of the reader, long after he has completed the perusal of the stanza and kept away his copy of Saria (V) The conflict between Parvati's eagerness to look at her lord, and her overwhelming bashfulness is very effectively described. The former seemed to make her stay on the latter prompting her to run away as soon as possible. मार्गे अचल. नस्य व्यतिकरः (TTT: ) a 31197Bar i fory' a river, Stanza 86 . Construe-(0)2998, ora 77 TIA: शीतः दासः इति चन्द्रमोली वादिनि (सति ) सा नियम क्लमम् अहाय" उत्ससर्ज; लेशः हि फलेन पुनः नवता विधत्ते । The rest of the story is easily and briefly told. While lord S'iya was saying 'Oh you with drooping ( i, e. beautiful) hmbs, from today, I am your slave (79.) purchased (by you) by (your) austenities' she quickly ( 144 ) leit off or 1 ·कुमारसंभवम् । पंचमः got rid of (JEHH) her fatigue (H) that arose out of her yow (f28-514). This need not be a cause for any surprise. For (the rule is ) fatigue makes for freshness-leads the person who has for long been toiling, to freshness by the fruit it has won for the toiler. The canto closes with Parvati's success in her undertaking, which thanks more to her austerities secured the destroyer of Madana for Pārvatı, to be a slave of hers for all time to come her physical beauty having played only a secondary part in the whole process. And the story is well rounded off with an stufat, worthy of Kalidāsa. The last line has a maxim-like ring about it and is on the tip of the tongue of all Sanskritists, obviously for the reason that it crystallises a matter of common experience.' Reward of labour, brings fresh vigour to the workers.--- लेशः फलेन हि पुनर्नयता विधत्ते 녀