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·A SOUVENIR
OF
THE SILVER JUBILEE CELEBRATION
OF THE
DEPARTMENT FOR THE PUBLICATION OF
ORIENTAL MANUSCRIPTS,
TRIVANDRUM.

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·HIS HIGHNESS THE MAHARAJA OF TRAVANCORE

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·CONTENTS PAGи Foreword A Brief resume of the working of the Department 1 - 32 ... 33. 42 Letters of appreciation 43 - 131 Contributions

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·FOREWORD Sanskrit and vernacular learning and literature as well as the arts have, throughout the ages, owed a great deal to the discerning and lavish patronage of successive Rulers in every part of India and Travancore has not only taken a high place in this worthy race but has produced kings who have achieved renown in musical composition and in poetry. It is therefore in the fitness of things that the Government of Travancore and the Palace have been active in the encouragement of the noteworthy activities of the Curator's department. All lovers of Sanskrit are aware of the Trivandrum Sanskrit Series and its unearthing of rare manuscripts, well edited publication of important works and I understand that similar work has been done in Malayalam. The testimony borne to its labours on this auspicious occasion of the Jubilee of the institution by scholars like Professor Sylvain Levi of Paris, Dr. Edgerton of Yale and Dr. Keith of Edinburgh speaks for itself and it is the hope of all who value scholarship and the things of the spirit that under the continued patronage of the State, the department may be a real centre of Oriental research. SIR C. P. RAMASWAMI AIYAR, K.C. I. E.

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·A BRIEF RESUME OF THE Working of the Department for the Publication of Oriental Manuscripts till 1934. Introduction. I have very great pleasure in announce ing that the department for the publication of Oriental Manuscripts has completed the twenty-fifth year of its existence and that the celebration of its Silver Jubilee is proposed to be conducted to day in obedience to the generous sanction of the Governm.int. It is my good fortune that I have been privileged to celebrate this Jubilee as the presiding officer of this department It is only in the fitness of things that a brief account of the working of the department should be placed before the public on this occasion. No opportunity has afforded itself till now to let the public know that the main work of this departinent is collection, preservation and publication of manuscripts. One of the principal duties to be discharged by the Curator in connection with the proposed establishment of a Central Manuscripts Library in the near future, is that he should travel throughout the State and deliver public lectures regarding the scope and utility of this department. As that work has not yet been commenced, I take this opportunity to subwit the following report regarding the working of this institution, Printing in Devanagari characters was not prevalent in Travancore four decades ago. As a number of priceless Sanskrit works were locked up in dark chambers of the various libraries and as the general public as well as the votaries of learning were cager to get at them, His Highness Sri Mulam Tirunal, the late Miharaja, for the first time commanded the getting down of Nagari types for the Goverzment Press. In doing so, His Highness's intention was to publish the manuscripts (Granthas) in the Granthappura (Library) in the Palace. At any rate, the introduction of printing in Devanagari was conducive to the development of general culture. It was first decided to print the Bhakti Manjari, a Stotra Grantha (a book of hymns) from the Granthappura. This work is the composition of His Most Gracious Highness Syati Tirunal; a sovereign of high talents ·in the field of literature and music, whose songs are the embodiment of the bliss of self-realisation. The lecision to print this work might have been due to its being a hymn in praise of Sri Padmanabha, the tutelury deity vf the Travancore Royal Family. Mahamahopadhyaya Dr. Ganapathi Sastrial, Principal of the Sanskrit College, was then in charge of the Palace Library and he was entriested, without prejudice tu his own duties, with the printing of these Grunthas To help him in his work, Government appointed as scribe on 14-12-1903, one Mr. R. Subrahmonya Sastrial. The preparatio!! of the Bhakti Manjari for the Press was immediately taken up The scribe had to present himself for duty at the house of Dr. Ganapathi Sastrial who had to correct the manuscripts during mornings, evenings and holidıys. The preparation of Daiva with Prushakarai, a grammatical work, was begun on 1-4-1904 and it was sent to the Press on 1-8-1904. It is this work that has been recorded as the first number of the Trivandrum Sanskrit Series. Though Bhakti Manjari was the first publication to bu made, yet Daiva came to be numbered as the first in the Trivandruin Sanskrit Series, for, His Highness Sri Mulam Tirunal was pleased to command that Bhakti Manjari and Syanandurapravarnanaprabandha ulso by Svati Tirunal, bu given away as gifts to those that recite them daily. These were therefore not included in the Series. Moreover, the work Daiva with Purushakara was permitted to be the first as a suggestion that success results only when God's Grace (Daivam) and human endeavour (Purushakaram) are combined. On 937-1905, (1) Abhinavakaustubhamala and Dakshinamurtistava, (2) Nalabhyulaya and (3) Durghatavrtti were sent to the Press. On 1-2-1906, Vyaktiviveka, a work on rhetoric, and on 5-3-1909 Brahmatattvaprakasika were prepared and sent to the Press. Of these, Bhakti Manjari was printed in 1904, Daivam and Abhinavakaustubhamala and Dakshinamurtistava in 1905, Nalabhyudaya in 1907, and all were published before August 1908. His Highness the Maharaja, who was highly interested in the spread of knowledge, was extremely pleased with these publications on account of their importance and utility, the commendable manner in which they were edited and the excellent printing, and commanded the creating of a separate department for the publication of not only the existing Valuable Sanskrit Manuscripts in the Palace Library. but ·3 on also those treasured up in the private libraries of ancient families in the land, thereby enhancing the literary prestige of the ancient scholars of the State. Therefore the Government announced in G. 0. No. E, 3037 dated 19-8.1908 the inauguration of a separate department and 4-9-1908/19-1-1084, this office came into existence with Dr. Ganapati Sastrial at its head. This institution, the Jubilee festivities of which we are celebrating today, owes its development to the untiring labours of Dr. Ganapati Sastrial and the sympaihetic appreciation of His Highness the Maharaja. CONTROL. When the department was created, it was placed under the control of the Director of Public Instruction. But Government in their proceedings No. E. 200, dated the 11th February 1910), placed this department under the direct control of the Huzur and it continues to be so. Strictly speaking, 1928 must be considered as the year for the Silver Jubilee Celebration as the preparation, printing and publication of manuscripts were begun in 1903, when Dr. Ganapati Sastrial was also the Principal of the Sanskrit College. Yet as the work was not done by a separate departmental head, the period prior to August 1908 may be regarded as one of embryonic developinent and hence left out of calculation. Calculated from the date of creation of a separate department, 4-9-1933 is the day on which 25 years are completed, Yet, this day has been chosen as the occasion for the celebration of this func. ction as it falls within the auspicious week of the Pallikkettu Ceremony (Royal Wedding) of Her Highness Sri Kartika Tirunal, and in view of the facility to secure the co-operation and felicitations of eminent men from this locality as well as from outside. Though the department is but 25 years old yet, judged by the prestige it enjoys, its fame and importance, it can take credit for work which in ordinary course would take many more years to get through. 113 works in Sanskrit and 46 in Malayalam, in all 159 works have been published, The following is a statement of the work turned out in the States of Mysore and Baroda in this field with the number of hands employed, expenditure involved and the time taken for the purpose. A comparison with our figures ·4 will, I may mention with pardonable pride, clearly show how this department was able to achieve more at a smaller cost and in less time. States. No. of years during which the department has been in existence. No. of works No. of lands published ( nployed. Cost to Govorniniat. Mysore 47 101 29 22,27% Baroda 20 67 11 33,385 Travancore 31 159 13,133 A detailed stalement showing the expenditure for these departments in the three states is also given below. Budget Estimate for 1933-34. States, Items. No. Rato. Amount. RA. Mysore مع Curator Assistant Curator Clerk Pandit Olerk Servants funt 50 (allowance) 1 150-10-200 25-23-50 26-2 -50 8 (14), 3 (13). 4 (12) 600 2,280 800 360 1,212 1 SEOTION IL MANUSCRIPTS AND PUBLICATIONS. 100-10-120 1,800 1 1 85-8-125 60.4-80 1,116 1,488 Graduate specialised in Kannada Resident Pandits to assist in Publication of Sanskrit and Kannada Works respectively. Travelling Pandit to assist in the Collection of Manuscripta in Sanskrit and Kannada Pandits to assist in the preparation of the desoriptive catalogue > 1 1 60-4-80 816 40-4-60 1,320 ·5 Budget Estimate for 1933-34. States. Items No. Rate. Amount. Rs. Rs. Mysore- (conta.) 35-3.50 972 2 2 Proof readers for Sanskrit and Kannada Copyists for Sanskrit and Kannada Pandit Librarian to be in charge of the manuscripts Literate Attenders 30-2-40 840 NA 40-4-60 17-1-20 720 480 SECTION III. PRINTED BOOKS. land 60-4-80 17-1-20 720 480 2 Librarian Literate attenders Increments socruing in the year Deduct Salary cut 192 488 Total I 29 15,508 350 ... .. 475 185 ... II. Travelling Allowance III Contingencies (1) Office expenses (ii) Purchase and Repair of Furniture, (iii) Purchase of Manuscripts and Books (iv) Binding charges (v) Clothing to menials (v1) Electric lighting charges (vii) Printing charges (viii) Stationery .. 1,545 400 65 200 3,460 90 .. Total I to III 22,278 I Saiaries Travancore 1 150 1,800 Curator Honorarium as Malayalam Ourator 25 300 ·6 Budget Estimates for 1933-34. States. Iteme, No. Rate. Amount. Ro Establishment Travancore (contd.) 70-5 1-100 50-6'1-70 2 Head Pandit Pandits Chief Pandit Assistant Pandits Clerk Peons 1,070 1,580 600 1,800 430 1 3 40-2/1-50) 25-53.40 9-116-11 Total I 12 7,988 II Allowances. Travelling Allowance .. 250 III Contingencies. 50 rare ** 300 * 978 .. 100 26 . Petty Construction and repairs ; Collection and trapsoription of mauuscripts. Rents Purchase and repair of furniture Purchase of Books Anchal charges Maintenance of Eleotrio Installation Pay of Menials Eleotrio current Office expenses and miscella aneous Expenditure in connection with the printing of the publiontions in the Goverament Press 72 100 206 3,000 Total of I to III 18,133 ·7 Baroda Institute consists of :- (1) Director . 450_75/3 -700. (2 & 3) Two Superintendents : one for MSS, the other for Printed Section. MSS Supdt, 100-10/2~-150. Printed Sec. 60-10/ 2100. (4 & 5) Two Pandits :- Jain Pandit 100-10/2-150. Srauta Pandit 100--10/2-150 (6) Head Clerk 42-50. (7) MS Copyist 20-40. (8) Accountant 20-40. (9) Despatcher 20--40. Nos, 1, 2, 4 and 5 form the editorial staff. The Transalation Branch which was transferred to the Institute oonsists of: 1. Translation Assistant 90-10/2_140. 2. Head Clerk 20-240 Budget allotment sanctioned for the current year is 33385. It is divided under the following heads as under :- Rs. (1) Permanent establishment (2) Dead stcok (3) Contingency (4) G. O. S. Printing (5) Premium for Fire Insuranco (6) Bhatta eto. (7) Form-printing (8) Book purchase (9) MSS Purchase (10) Book-binding 17,868. 200. 560. 12,000. 157. 100. 200. 1,000. 1,000. 300. Total Rs. 33,385. It is not only because of the large number of publications, but also because of their excellence that this department enjoys high prestige and great importance. In this ·8 connection, Sanakrit works like Blısa's plays, Aryamanjusrimulakalpa, Skandasvami Bhasya, Aryahhatiya tu Malayalam works like Arthasustra Bhasharyakhya require special mention. Bhasa's Plays. With the publication of Bhasa's plays, Travancore shines in the literary world with ever increasing splendour. Even today this cap.x"ment that brought these plays to light is held in high esteem by lcarzec mnell, who ever honour Travancore and its rulurs for establishing this institution. Though th..se plays wer: first brought to light by the Curator, I will be failing in my duty, if I do not make mertion of a fucu that I have leard, which rulounds to the glory of the Royal Family of Travancor. His Highness Sri Ayilliam T'irunal, G. C. S. l., Maharaja of Travancore (1860-1880), who was a muster of inuny fine arts, who was delighted in literature and nuusic and who always safeguardel the prestige of his States, was a research scholar of a high oriler as is evinced by the fact that he ordered the collection of all the manuscripts found in the various places in the State, especially in Padmanabłupuram, in Southern Travancore, with a view to treasury then up in the Palace Library. It is worthy of note that this collection included manuscripts rincarthed from the Manalikkara Matom. His Highness the Maharaja while examining these works bearing in mind the following sloka from Rajasekharakavi (regarding authorship) "भासनाटकचक्रेऽपि छेकैः क्षिप्ते परीक्षितुम् । स्वमवासवदत्तस्य दाहकोऽभून्न पावकः ॥" happened to look into a Grantha which he identified as "Svapnavasavadatta", the most important of Bhara's plays. From that time His Highness began to take a keoner interest in literature of the same kind and in the publication of Bhusa's plays. It redounds in no small measure to the glory of the Royal Family of this state that the rulers of this land · are ever keen and ready to bring about the publication of such rare and important works. The world is also indebted to Mabumabopadhyaya Dr. Ganapati Sastrial for the publication of Bhasi's plays. With their publication a lot of controversy and doubts arose regarding the authorship of the plays which were met by Dr. Ganapati Sastrial on the basis of valid and cogent argu. ments. The late lamented Kerala Varma Valia Koil Tampuran C. S. l., the Kalidasa of Kerala and Professor ·9 . A. R. Raja Raja Varma Koil Tampuran, the Panini of Kerala, have both borne testimony to the fact that His Highness Sri Ayilliam Tirunal had identified Svapnavasaradatta as one of Bhasa's plays. The controversialists too must have known of this and must purposely have avoided confessing the truth lest it should weaken their view point. Had it not been for the keen interest taken by His Highness Sri Ayi. lliam Tirunal Maharaja and the creation of a separate department for Sanskrit Publications by His Highness Sri iviulam Tirunal Maharaja and the untiring efforts of Dr. Ganapati Sastrial, the Curator, Bhasa's plays would never have seen the light of day. Aryamanjusrimulakalpa. This is a Tantric work pertaining to Buddhism. This manuscript was obtained from Manalikkara Matona at Padmanabhapurain. This manuscript which is written in bold characters with a broad margin at the ends and narrow top and bottom margins with a clear space all round the two holes, bears the appearance of a printed one, It is in Sanskrit characters but even the best Sanskrit scholars had to experience considerable diffi. culty in making it out as the lines were continuous, without any break between words. This seems to have been written with a kind of resinous ink. This manuscript comprises 307 palm leaves, each page containing six lines (17) Granthas). With a view to correct the grammatical errors found in this manuscript Professor Sylvain Levi of the Sarbone (Paris) was addressed and he wrote back to say that he had come across only a Chinese translation of it and that the original should be published at the earliest opportunity. From the prefatory note written by Dr. Ganapati Sastrial, it is seen that Professor Sylvain Levi was thus responsible for the publication of this work. Pandit K. P. Jayasval, the famous historian and research scholar, extols this publication in view of the fact that it embraces the Imperial History of India from 600 B. C., to 770 A. D. He says-: "In a Budhist work called Manjusrimulakalpa, which is in Sanskrit, there is a Book of Royal History. The whole book has been printed by the Travancore Government and the part having the 'Royal History' came out in 1925. This book gives the history of India (a) from the time of the Buddha upto the Mauryas, (b) the persecutors of the Buddhist religion (1.P., Pushyamitra) under the name ·10 ww “Gomin,” then, (c) the reviver of Buddhism dynasty of two kings froin Yaksha country whom, for reasons set out elsewhure, I 11:a ve identified with the two Kadphises, then after healing with some (d) provincial histories, it takes up (e) che imperial history of Inner India... ... ... The Janjusrimulakalpa" decided once for all that the treatinent of Indian history from the Gupta tines upto the Pala period has to be radically revised". It is worthy of special mention that Mr. K. P. Juynsval is preparing a new history of India, based ou Aryamanjusrimulakalpa, as the result of his sturly of this work has lxecome too large to be published in any periodiculandi, chut requisitions for this publication are continuosly pouring in. Skandasvami Bhashya. This is a very rare and ancient Blashya on the Rgvedu with a concurrent comnientury of Venkatamadhava. The renownel Sanskrit Sctolar Profox. sor Max Muller, who for the first time brought out the Rgveda with the commentary of Sayanacharya doos not make mention of this work of Skandasvamin thereby showing that he did not come across this rare inanuscript. Sayanacharya, who is greatly respected as a man of letters, himself admits that Skandasvamin was a greater authority and deserved greater recognition and respect. It is a matter for pride for Travancore that this Bhashya was obtained from this land itself, Again, Skandasvamin was the Guru of Harisvamin who was the son of Govindasyami, This Govinda . svami was the Guru of Jagad Guru Sri Sankaracharya, and an examination of the period in which Skandasvamin fourished leads us to the conclusion that Sri Sankaracharya's time was two hundred years earlier. This commentary of Venkatamadhava is the essence of the meaning of the Veda. Venkatamadhacharya has the peculiar gift of describing with the aid of Karikas at the beginning of the chapter u pretty large quantity of information Professor A. B. Keith, Dr. ř. W. Thomas, Professor Franklin Edgerton and Dewan V. P. Madhava Rao have all appreciated this edition in the following terms :- It is particularly gratifying that it has been possible to undertake the issue of the commentaries of Skandasva'min and Venkatamadhava on the Rgveda. We have long desired the issue of commentaries ·11 earlier than that of Sayana, and the new publication affords a valuable means of tracing the development of the interpretation of the most important text of Vedic literature. Its continuation will be warmly welcomed”. A. B. KEITH. “ The edition of the Rgveda with two commentaries of Skandasyami and Venka tainadhava is one of the most important new works in your series. It cannot fail to arouse a general interest. The commentary of Skandasvamın seems to be sound and sensible and that of Madhava, who in his introductory verses shows a due sense of the qualifications required in an expositor of the Rgveda, is commendably brief. You are doing work in publishing this edition". F. W. THOMAS. I am specially interested in No. 96, the beginning of the publication of the commentaries of Skandasyamin and Venkatamadhava on the Rgvedasambita. This is a highly important work which will be of the grertest interest to all Sanskrit scholars. I intend to study it carefully, and expect to make it the subject of a special seminar with my advanced students of Sanskrit next year in Yale University. After doing this I shall not fail to print in some American Journal, a notice of the work, calling attention to the exceptional interest and importance. I sincerely hope that you will be able to continue publishing the rest of this work with great rapidity". FRANKLIN EDGERTON. Patan Bhavan, Bangulore, 11-4-1930. Dear Mr. Sastriar, I was particularly pleased with the publication of Skandasvamin's Bhashya which Travancore has the proud privilege of having discovered and published. V. P. MADHAVA RAO.

·12 He seems The last lines are written in his own lund. to have felt very great pleasure at Travauxore's being able to publish the work. Aryabheliya Bhashya. This Bhushiya of Gargra Vilakanta Somayaji not merely forins an exposition but is an unrivalled amplification of the astronoinical work of Aryabhata even as Patanjali's Bhasya is to Paniniya. People haven't seen one like it till now and now this Bhusyu is a matter of great wonder to the scholars in British India and abroad and therefore a matter of satisfaction to the wliole of Kerala. It is clear from this work that Somayaji wan the Guru of the revered Ezhuttichchan, though inany u Pandit has believed otherwise. Arthasastra Bhashavyakhya. This is an old comment- „tury in Malayalam of Kautalya's work. The inanuscript is more than 1,000 years old and was obtained fronı the Palace Granthappuru and it is : mutter for no small pride thut we were in possession oĉ the manuscrip: which is moru than a thousand years old. Dr. Gunaprti Sustrial has published a Sanskrit cominen tary for the Arthasastra and it has been very much commended by savante. When we remember that t?ris Malayalam commentary was as much responsible for Dr. Ganapati Sastrial's work as the substance to its shadow then only we can in any way judga how inportant a work it should be. This has been made known in the preface to this work. If I were to go on in this strain, I have a great deal to say. I shall therefore content myself with the specific allusions I have made above. Malayalam Prblications. Though during the ten years following 1908, the publication of Sanskrit works was in full swing, the collection of Malayalam works was also attended to. About 35 books lika Ramacarita, an ancient Malayalam manuscript bordering too much on Tamil were collected. The publicaticn of Sanskrit Manuscripts roused the consciousness of the lovers of Malayalam and a demand for a similar treatment to this language of the land was incessantly made. Resolutions were brought in the Council to the effect that the expenditute under the head 'Preservation of Oriental Literattire' should not exclusively be tised for Sanskrit but should be shared between Malayalam and Sanskrit. The Curator Teplied that suite nanny rare works in Sanskit were w ·work attended to by this department is 13 awaiting publication, it would not be possible to undertake Malayalam Publications with the existing staff. Thereupon with effect from 14-1-1924, the Government passed orters in G. 0. No. 422 dated the 9th January 1924 appointing a Pandit on Rs. 50 for collection and Publication of Malayalam Manuscripts and placing them under the then Secretary Mr. Ullur S. Parames vara Aiyar. He continued to be the Malayalam Curator till 1-7-1925 and published the first nine works from Gurud-oké inapattu to Vyavahāramāla, under the title Śrī Mūlam Malayalam Series, each one of which deserves great praise. Then Dr. Sankara Menon, Director of Ayurveda, was appointed Curator without prejudice to his own duties, for the publication of Malayalam and Ayurveda Manuscripts and he continued to hold the office till the middle of October 1928. During this period 11 works from Nos. 10 to 20 of the Sri Mulam Malayalam Series and the first ten numbers of the Sri Vanchi Setu Lakshmi Series were published, Many of these publications may be placed in the forefront in view of their merit and usefulness. Colleztion of manuscripts. Another most important Manuscripts”. In our search for manuscripts the idea that is uppermost in our minds is to find out other copies of all precious works treasured up in the Palace Library, so as to enable their speedy collation and publication. Reference has already been made to the fact that this department itself was inaugurated with a view to publish ancient works preserved in the Palace Granthappura. Special attention is being devoted to discover rare, original and unpublished manuscripts that are found in some of the ancient families of this State. Tours are often undertaken by the Curator to collect these precious gems of Oriental Literature. Unlike the circuits made by the heads of other departments and officers of the State the Curator's tour is singular and as such deserves special mention. All other departments have many suboffices through the length and breadth of the State and the services of the subordinate offices can be availed of with advantage. But the Curator proceeds un tour as the servant of the public, in view of the fact that only by their co-oper. ation and kindness can the manuscripts be collected. Whereas the heads of departments proceed on tour as officers, the Curator has to do so as the humblest servant in that manus. cripts can be taken from their custodians only as a favour. For a long time after the inception of this department, ·14 collection of manuscripts was almost an inapossible affair owing to the reluctance of the owners theruof tu part with their palm-leaf treasurt. You will be surpriseri tu luar that though every owner was reluctant to lend these inauit-cripts, only very few knew their worth and usefulness. There have been instances innumerable where owner- of munuscripts have actually burnt thein to ashes lost they should be marlo use of by any person on enrth and where they were tied up into bundles and drifted mto the rivers. In my recent tour to Shencottah, I had to witness the sorry spectacle of some locse leaves of manuscripts driven down by the current of the river I was bathing in. With a view to examine them, myself and my assistant collected as many as 20 leaves with great difficulty and risk. To our great clelight and surprise these leaves turned out to be some portions of a parious commentary on the Sama Vedla Bhashya. Now that the scope and utility of the clepartment have beeu brought home to every manuscript lender, conditions have improved and the collection of manuscripts has been facilituted. Advisory Council. An Advisory Council consisting of four members was appointed in 1924, to examine and advise the order of publication of the various manuscripts keeping in view their usefulness and merit. The Council consisted of (1) the Curator (convener), (2, Mr. H. K. Nurayana Pillai B. A, B. L (3) Mr. K. Paramesvaran Pillai M. Ang and (4) Mr. V. Krishnan Tampi B. A. With the ainalyunation of the Sanskrit and Malayalam Curator's office from 17-8-1930, the Advisory Board was strengthened by the addition of M. R. Ry., Rao Sahib Ullur S. Parannusvara Aiyar Avl. M. A. B. L., and the Principal, Ayurveda College. Retirement of Dr. Ganapathi sāstrugal. He was 48 years old when he entered this department, but the enthusiasm he showed in his work might do credit to a much younger person. The rule that officers should retire at 55 was set aside and as many as eleven extensions were granted to him by the Government, as they recognised that the department being a technical one makes the worker in it more and more fit for the work as years advance. In October 1925 at the ripe age of 66, he handed over charge of the office leaving his blessings to the department for which he devoted the best part of his life. Present Curator. On 15-3-1926, the present Curator took charge of his office as Sanskrit Curator, Whereas only the first eighty-seven numbers of the Trivandrum ·15 Sanskrit Series were published in Dr. Gañapathi Sastrial's time, now 113 works in ali have been published. When Dr. Sankara Menon went on leave, the Government ordered in G. O, D, Dis. 1658/28/Genl., dated the 8th October 1928, the Sanskrit Curator to be in charge of the Malayalam publications also, and he continued to be so from 17-10-1928 to 16-8-1930. From 2-4-1929, the present Curator was put in supervising charge of the Sanskrit Schools in the State and he continues to be the Inspector of Sanskrit Schools of the State. Department for the Publication of Oriental Manus- Cripts. From 17-8-1930, to facilitate publication work, for the easy collection of manuscripts and better control, the offices of the Malayalam and Ayurveda Publications were amalgamated with the office of the Sanskrit Curator and a new department styled the department for the Publication of Oriental Manuscripts was created in Government Proceedings No. R. Dis, 651 of 30/mis dated the 15th August 1930, with the present Curator at its head. Besides the 113 Sanskrit works mentioned, 46 works in Malayalam and Ayurveda bave been published by the departmerit. Commentary on the Nāruyan iyan. This is a work by the famous Nārāyana Bhattatiri of Melputtur. As per Government order No. R. O. C. 1735 of 28/G. B., dated the 11th February 1929, the present Curator prepared a commentary for this memorable work bringing out all its excellences and enlarging many of the ideas in it and began publishing the same. The first two volumes containing 1400 pages have been completed and in the third volume, proofs have been corrected for about 40 formes. Two more volumes will be necessitated to complete the work. Commentary on Prakriyasarvasva. As this high class grammatical work of the game author had not a good commentary the Advisory Board asked the present Curator to prepare one in Sanskrit (vide resolution given below, passed at a meeting of the Board held on 13-3-1927), and this work is also in progress. “ Resolved further that Prakriyasarvasva by Narayana Bhattatiri be taken up for publication with the commentary obtained from the Palace Library, the said commentary being incomplete, the present Curator Mr. K. Sambasiva Sastrial, may write a ·16 commentary of his own from where it en is, in cuse he does not succeed to secure a complete copy of the said commentary froin any of tbe private libraries. Revision of prices. Though the quality of our publications would justify the prices fixed for then, Governnuent in G. O. R. O. C. 2084/27/Edn., dated 2-5-1928, reducul the prices to facilita te the speedy sale and thus widen the circulation of the seri es. The publications are now price ar Re. I per hundred pages, thus hringing them within easy reurli of the poorest scholor. Reprinting. As there is a great demand from certain companies for the rare publications of this department and some of them are prescribed as text-books in schools and colleges outside Travancore, reprinting is necessitated by the stock running short. The Government have been addressed and they are considering the question sympathetically. Central Manuscripts Library. Sayants und scholars from British India and elsewhere are engerly looking forward to the establishment of a Manuscripts Library which is now under consideration by the Government. The idea is to put for public use, the pablications of this department, the rara and ancient manuscripts of the Granthappura and the different readings of the Granthas we have in our library and collected from elsewhere. Visitors. Ever since this department was started and the publications begun, savants and scholars from British India and abroad continued to visit this office to learn at first hand, the working of our department and they have congratulated us on the excellence of our publications, Prominent among those who visited are ; 1, 0. C. Gangoli, Indian Oriental Arts Society, Cal. cutta (1915). 2. Dr. Meerwarth, Imperial Academy, Petrogrady Russia (1916). 3. Dr. F: W. Thusmas, India Office Library London (1921); 4. Mr. Narendrakumar Majumdar, Lecturer, Calcutta University (1921). 5. Mr. W. Y. Evans Wentz, Stanford University, California, America (1921). - ܀ ·17 6. Dr. Rabindranatha Tagore, Shantiniketan, Cal. cutta (1923). 7. Dr. Morgenstein Ph. D., University of Kristiania (1924). 8. Dr. M. Winternitz M. A, Ph. D., University of Prague (1924). 9. Dr. Pranjpye m. A., Fergusson College, Poona, (1925) 10. Manoranjan Ghose M A, Calcutta University (1925) 11. Professor Franklin Edgerton, University of Yale, America (1926). 12. Devaraj Sastri, Raj Pandit, Jammu and Kashmir State (1926). 13. Dr. C. Kunhan Raja M. A., D. Phil. (Oxon)., University of Madras (1928). 14. C. S. Ramaswami Sastrial B. A., B. L., Principal, Ramesvaram Devasthanam Sanskrit College, Madura (1928). 15. Rama Varma Appan Tampuran, Cochin, (1929). 16. M. R. Telang, Editor of Sanskrit works, Bombay (1929). 17. Brahmasri Kanippayyur Sankaran Namburippad (1929.) 18. Dr. Otto Stein Ph. D., University of Prague (1932). 19. Dr. Arnold A. Bake, University of Leiden (1932). 20. Dr. Ernst Waldschmidt, Curator for the Indian Section of the State Museum of Ethnography, Berlin (1933). Relation between Sister Departınents. This Department is in direct communication with the sister departments at Baroda, Mysore and Kashmir and the research departments of the various Universities and other Governments with regard to their nature and working. We have also been in the habit of exchanging publications, with these. Instances are not rare of our working system being felt useful and details asked for ; we have furnished information. This itself is proof positive of the importance and usefulness of our working system.

·* 18 Manuscript Libraries of Reference. Since this department was first started to print the manuscripts in the Palace Granthappura, the manuscripts, transcripts and printed books etc., of the Palace Library form the chicf source of manuscript reference to this department. Dr. Ganapati Sastrial was for a number of years in charge of the Palace Library. His Highness the Maharaja han beelt planseul to sanction permission to the present Curator also to examine these manuscripts. On my report that the tiranthas in the Granthappura" needed special classification, ristoration, rebinding etc., Her Highness the Maharani Kagent was pleased to put me without prejudice to my own cutiex, in charge of the work of compiling a new catalogue, transcripts of old copies, rebinding of works etc., with permission to employ fresh hands for the purpose if necessary. Accordingly a catalogue was prepared and submitted to the Palace in 1929 and the Granthas were transcribed and re-arranged, Thus it is a matter of importance that this department and the Palace Granthappura are indissolubly connected. Besides the Valia Kottaram Granthappura, about 315 libraries have been visited of which 298 are in Travancore, 11 in Cochin State and Malabar District and 6 in other parts of British India. In all 2852 Granthas have been collected, I would be failing in my duty if I do not make a special mention of the following libraries whose owners have been of special help to this department: 1. Kesavar Kesavar, Kalpakamangalam, Manalik. kara Matom, Padmanabhapuram. 2. The Library of Anantanarayana Sastrial, Vadiveesyaram. 3. The Palace Library, Kilimanur. 4 The Library at the Ennakkattu Kottaram, Mavelikkara. 5. Devan Narayanan Namburi, Padinjare Pullam Vazhe Matom, Harippad. 6. Damodaran Paramesvaran Potti, Changarapalli Matom, Harippad. 7. Krishnan Mootatu, Padinjaredattillom, Vaikom." 8. Valyedattu Narayanan Narayanan Mootatu, Ettunanur. 9. Jayantan Bhaskaran Mootatu, Vattappalli Illon, Kumaranallur, Mannanam.

·19 10. Suran Kandan Namburi, Udayamperur. 11. Thekkunkur Valia Tampuran, Nattasseri, Anmanam, Kottayam. 12. The Palace Library, Pandalam. 13. The Valia Raja's Library, Edappalli. 14. The Library at the Thazhmon Matom, Chengannur 15. Subrahmanyan Mootatu, Puttiyal Illom, Harippad. 16. The Library of Sankaranarayana Pillai, Nalekattil Veedu, Mannar, 17. Vishnu Namburi, Ettikkada [llom, Ayankudi, Kaduthuruthi. 18. Narayanan Mitran Namburi, Cherpakasseri Matom, Kudamalar. 19. Paramesvaran Narayanan Bhattatiri. Mulamana, Tiruvella. 20, Padmanabhan Narayanan Bhattatiri, Kuzhikattillom, Tiruvella. 21. C. Narayanan Bhattatiri, Paramburillom, Tiruvella. 22. The Library of Mahesvaran Bhattatiri, Kuzhikattu Illom, Tiruvella. 23. The Library of the Swamiyar Matom, Munchira. 24. Vayakkara Aryan Narayanan Moos, Kottayam. 25. Suryan Tuppan Bhattatiri, Kaladimana, Kottayam. 26. The Library at the Poonjattu Koikkal, Poonjar. 27. Harisyaran Padmanabhan Namburi, Nellipuzha, Kallampalli, Ettumanur. 28. Narayanan Narayanan Elayatu, Vembanattillom, Ambalapuzha. 29. Narayanan Paramesvaran Moos, Chirattamon Illom, Olessa, Kottayam. 30. The Library at the Vattappalli Matom, Suchindram. 31. K. M. P. Sankaran Namburippad, Kuttalakkattu Mana, Ankamali. 32. Kudallur Brahmadattan Namburipad, Nagalasseri, Pilakkatiri, Pattambi.

·20 here my dt ep In return for their permission to rise these libraries and for the help the owners render to this dejartarent, the Government have been pleased to sanction throu complimentary copies of each of the publications of this department, The printing of the publications of this Department has been executecl in the Goverument Press under the orilers of Government. The excellent finish as well as the accurate printing of these publications has evoked liv appreciation and approbation of several scholars in and outside India. That happy result is due in no small incisure to the genuine interest taken by the successive Superintendents in charge of the Press and the excellent stuff under them. Mr. Nilukunta Pillai, the present Superinten kunt um his stuff lauve been ever solicitous in nieeting the requirements of this Deurtment most cheerfully and I wish to express here obligations to them for the huarty co-operation and assistance extended to this Department from time to time. Before concluding, I have to acknowledge with yrate fulness, the advice and guidance given by the momburs of the Advisory Board in arranging and airrying on the work of publication undertaken by the department. Title and conclusion. The Sanskrit Publications were first styled as the ['rivanlrum Sanskrit Sarice. The Malayalam Publications that were hegun in 1921 had the title Sri Mulam Malayalain Bhasha Granthavali, and during the reign of Her Highness the Maharani Regent, the Sastraic scientific) works among these came to be known as Sri Vanchi Setu Lekshmi Granthavali. In the same way, the special name Setu Lakshmi Prasada Malu came to be given to such of the Sanskrit Publications that were made during the regency period. Now from the date of the installation of His Highness the Maharaja Sri Chithira Tirunal as the Ruler of the State, in momory of the event, all the publications of this department, Sanskrit and Malayalım, are styled as Sri Citrodaya Manjari Series. His Highness has been graciously pleased to permit us to do so. We cannot be too grateful to the Sovereign for the patronage His Highness has extended to us. It only remains for me now Ho pray to Lord Almighty to give long life, happiness and prosperity to His Highness Sri Chithira Tirunal Maharaja of K. SAMBASIVA SASTRI, Curator ·21 Statument showing the names of the works Published during the time of Mahamahopadhyaya Dr. T Ganapathi Sastrial (1903–1925). Name of work Serial T. S.S, No. No. Name of author Year of or commentator publication VEDANTA 1 7 Brahmatattvaprakasika 2 9 Virupaksapanca sika 3 12 "Paramarthasara 4 41 Adhyatma patalam Sadasivendrasarasvati 1909 Text. Virupaksanatha, Com. Vidyacakravartin 1910 Text, Adisesha, Com. Raghavananda 1911 Text. A pastumba Com. Sankaracharya 1915 Krsnanandasarasiati 1916 Do. Do. Prakasatmayatindra 1917 Krsnanandasara Do. svati Do 1918 Madhusudanasarasvati 1923 6 7 47 Siddhantasiddhanjana Part I 18 Do. Para II 53 Sabdanirnaya 58 Siddhantasiddhanjana Part III 61 Part IV 73 Isvarapratipattiprakasa 8 9 10 MIMAMSA 1912 11 19 Manantyodaya Narayana Bhatta & Narayana Pandita SRAUTA, GRHYA, AGAMA, and DARSANA 12 62 Sarvamatasangraha ,13 66 Maharthamanjari Com, Mabesvarananda 14 68 Tattvaprakasa Text. Bhajadewa Com. Srikumara 15 78 Asyalayanagrhysutra Com. Haradattacar- DO 1918 1919 1.920 ya 1.923 ·22 Name of work Serial T. S. S. No No. Name of author Year of or cominentate publication JYOTISHA 16 Paramesvaru 1916 49 Goladipika VYAKARANA 17 ܢܙ Daiva 18 19 20 21 6 Durghaturtti 33 Vararucasangraha 46 Paribhasavrtti 54 Sphotasiddhinyayavica- Text. Deva, Com Krenulilasukamuni. 1905 Saranadeva 1909 (um. Narayana 1913 Nilakantha Dikriti 1915 1:17 ra NYAYA 22 25 Kanadasiddhantacandri- 1918 Gangadharusuri Rajacudamaniina- 23 34 Manidarpana Do. 1914 24 35 Manisara Gopinatha 25 BUDDHIST RELIGION 70 Aryamanjusrimulakalp Part I 76 Do. Part II 84 Do Part III 26 27 1920 1922 1925 ALANKARA 28 29 30 5 Vyaktiviveka 40 Alankarasutri 50 Kasarnavasudhakara Mahima Bhatta Kajanaka Ruyyaka Singabhupala 1909 1915 1916 SMRTI Vaikbanasad harmapra- Vikhanas 1918 ona Asaucastaka Vararuci Yajnavalkyasmrti Part I Com. Visvarupacar- 1914 Do. Part II Do. Do. 1922 1994 ·23 Name of work Serial T. S.S, No. No. Name of author Year of or commentator publication. NITI 35 14 Nitisara 36 79 Arthasastra Text, Kamandāka, Com. Sankararya 1912 Part I Text. Kautalya Com. Dr. T Ganapathi Sastrial 1924 Part II Text. Kautalya Com, Dr. T. Ganapathi Sastrial Do. Part III Do. 1925 37 80 Do. 38 82 Do, TANTRA 39 40 41 42 43 44 Tantrasuddha Bhattaraka Vedottama 1915 43 Prapancahrdaya Do. 67 Tantraga muccaya Part I Text. Narayana Com Sankara 1919 71 Do, Part II Do. 1921 69 (sanasivagurudevapad Isanasivagurudevadhati Part I misra 1920 72 Do. Part II Do. 1921 77 Do. Part III Do. 1922 83 Do. Part IV Do. 1925 85 Visnusamhita Do 44 45 46 47 SILPA 48 49 50 51 30 Vastuvidya 56 Manusyalayacandrika 65 Mayamata 75 Silparatna Part I 1913 1917 1919 1922 Mayamuni Srikumara KOSA 52 1913 23 Nanartharnavasam ksepa Kesavasyamin Part 1 29 Do Part II Do. 31 Do Part III Do. 53 54 Do. Do ·24 Serial T. S. S. Name of work Name of author Year of No. No. or commentator publica tion 55 38 Namalinganusasana Text. Amarasimha Part 1 Com. Sarvananda 1914 56 43 Do. Part II Text. Amarasimha Bom, Keirasvami & Sarvananda 1915 57 51 Do. Part III Do. 1917 38 52 Do. Part IV Text. Amarasiinha Com. Saryananda Do. BHARATA 59 87 Sangitasamayasara Sangitakara Parsyadeva 1925 KAVYA 60 61 62 63 64 3 Nalabhyudaya Vamana Bhatta Bana 1907 4 Sivalilarnava Nilakantha Diksita 1909 24 Janakiparinaya Cakrakavi 1913 27 kumarasamhbaya Part I Text. Kalidasa Com. Arunagirinatha & Narayana Do. 32 Do. Part II Do. Do. 36 Do Part 111 Do 1914 57 Raghuviracarita 1917 63 Kiratarjuniyam Text. Bharavi Com. Citrabhanu 1918 64 Meghasandesa Text. Kalidasa Com. Daksinavartanatha 1919 86 Bharatacarita Krsaakavi 1925 66 67 68 69 STUTI 70 1905 2 Abhinavakaustubhamala Krenalilasukamuni & Caksinamurtistava 18 Narayaniya Text, Narayana Bhatta Com, Desamangalavarya 60 Laghustuti Text, Laghubhattaraka, Com. Raghavananda ·25 Name of work Serial T. S. S. No. No. Name of author Year of or commentator publication. NATAKA 73 74 8 Pradyumnadhyudaya 11 Tapatisamvarana Ravi Varma Bhupa 1910 Text, Kulasekharavarma, com. Sivarama. 1911 Do. 1912 Bhasa 1915 75 76 77 13 Subhadradhananjaya 15 Svapnavasavadatta 16 Pratijnayaugandharayana 78 79 80 81 82 83 84 85 17 Pancaratra 20 Avimaraka 21. Balacarita 22 Madhyamavyayogadi 26 Abhisekanataka 39 Carudatta 42 Pratimanataka 55 Mattavilasa prahasana Do Do. Do. Do. Do. Do. Do. Do. Mahendravikramavarma Text Harshadeva Com. Sivarama. 1912 Do. Do. Do. Do. 1913 1914 1915 1917 86 59 Nagananda Do. HASTYAYURVEDA 87 10 Matangalila Nilakantha 1910 ·26 Statement showing the names of the Sanskrit works Published by Mr. K. Samba-siva Sastrial from 1926 onwards Serial T.S. S.Name of work. Name of author Year of No. No. or commentator. publication. VEDA 1 96 Rksamhita Part I Com. Skandas vami & Venkatunadhava 1928 VEDANTA 2 93 Vedantaparibhasa Text. Dharmarajadhvarindra. Coin. Pedda Diksita. 3 103 Hamsasandesa 1828 1930 MIMAMSA 4 Com. Sucaritamisra 90 Mimamsaslokavartika Part 1 99 Do. Part II 5 Do 1926 1929 NYAYA 6 109 Nyayasara Com. Vasudevasuri 1931 VYAKARANA 7 8 89 Sphotasiddhi 106 Prakriyasarvasva Bharatamisra Narayana Bhatta 1927 1981 ALANKARA 9 88 Kavyaprakasa Part I Text Mammata Bhattu. Com. Vidyacakravarti & Bhattagopala. Do 10 100 Do. Part II 1926 1930 JYUTISHA 11 91 Horasastra Text. Varahamihira Com. Rudra ·27 Serial T.S.S. No. No. Name of work. Yeai Name of author of or commentator publication. 1928 12 13 95 Ranadipika 101 Aryabhatiya Part I Kumara Ganaka. Text. Aryabhatacarya Com. Nilakanthasomasutvan Do, 1930 1931 14 110 Do. Part 11 SILPA 15 1929 98 Silparatna Part IT Sri Kumara BHARATA 16 17 18 1928 1930 94 Brbaddesi 102 Dattila 112 Upakbyanadvayam Matangamuni Dattilamuni H. H. Svati Tirunal Maharaja Do. Do. Do. 1933 Do, 19 113 Sangitakrtis VAIDYA 20 21 92 Rasopanisat 111 Hrdayapriya 1928 1931 Paramesvara SMRTI 22 97 Naradiyamanusamhita Com. Bhavasyami 1929 KAVYA 23 107 Kavyaratna Arhaddasa 1931 NATAKA 24 108 Balamartandavijaya • Devaraja 1930 STUTI 104 Sambapancasika 1930 MISCELLANEOUS 105 Nidhipradipa Siddha Srikantha Sambhu. 1980 ·28 Statement showing the names of the works published by Mr. K. Sainbasiva Sastrial from 1928, onwords. Serial Number in the Name of work No. S.M. M. S. *S. V. S. L. S. S. C. M. S. Name of author Year of publicaction, VEDANTA 1 22 Tattvamasivyakhyana & Mabavakyakkattila Brahmanandavivekasamudram 1929 2 23 1929 PURANA 3 24 Kannassabharatam (Part I) Kannassabhagavatam Kannasa Panikkar 1930 Do. Do. 1932 4 +1 CAMPU 5 25 Randubhasacampukkal Punam Namburi 1930 HISTORY 6 *18 1931 Keralacaritama KATHAKALI Rasakrida 7 +2 Narayana 1932 GITA 8 21 Visnugita 1929 VAIDYA Astangasara Yogamrtam 1931 1931 JYOTISHA Prasnasara Madhava Dvija 1929 ·29 Serial Numbet in the Name of the work Name of author Year of No. S. M. M. S. public- 'S. V. S. L, S. ation +S. O. M. S. 12 :13 Balasankaram (Part II) Balasankara Namburi 1930 1931 13 '15 Do, (Part III) STUTI 14 :14 Narayaniya (Part I). Com. K. Sambsaiva Sastrial 15 1931 1931 "17 Do, (Part II) NITI 16 '12 Kantaliyam Bhasa (Part I) 1930 ·30 Statements showing thu 11:11?!!** 1sf' tw Maslayalam works published during the line 4€ Kavitilakın Olur si l'ourses varu Aiyar Avl, froen 1921-1925 Serial S. M.M.S. No. No. I 1 2 2 3 4 4 5 6 7 Name of work Nunt of author dir (mentator PATTU Gurudak-inapopemu Sat.muk huruma 111 Ezhuttacchan (kilippattu) Bhadrulpatti Parvatipurimam Dei. Purappattu Prahladlucuritanilliini [pittu) CAMPI Kalyannuaugandhikim GITAGRANTUA Girijakulyana Ummvi Vuriyar SMRTI Vyavahuramala 6 8 8 9 9 ·31 Statement showing the names of the works published during the time of Dr. Kolatheri Sankara Menon. 1925 - 1928. Serial Number in Name of work No S, M. M. S. S. V.S. L. S. JYOTISHA Name of author Year of publication. ܢܕ 2 1926 2 · 3 3 4 5 4 5 Do- Do, Do- '6 1927 6 :7 Do. 7 - 1 8 9 10 8 49 #10 1926 1928 Do. Do. Jatakapaddhati Vatasrenibhu. [deva Bhasajatakapaddhati Kochukrishnan [Asan Prasnabhasa Muhurta padavi Balasankaram (Purva Balasan karan [bhaga). Namburi Aryabhatiyam (Gitika Aryabhata- (pada carya VAIDYA Vaidyamanjari Sankaranara- (yana Rasavaisesikam (Sanskrit) Jyotsnika Narayana Tantraynktivicara (Sanskrit) CAMPU Bhasaramayanacampu T Part I Do. Part II. Do. [Part III. PURANA Srimadbhagavatam Bhasa Part I Do. Part II TANTRA Praisham KAVYA Paravatipanigrahanam Sankaran Namburi 11 15 12 13 19 20 1926 1928 Do. 14 10 1925 1926 15 14 16 17 1927 17 16 1926 ·32 Name of work Serial Number in No. S.M. M.S. S. V, S.L.S. Name of author Year of public ation. PATTU 18 13 1926 19 18 Moksadayakam (Kilip- Kottayaitu [pattu) Tampuran Bhismo padesam (Hamsappattu) GITA ** 1927 20 11 Krishnalila 1925 # STUTI 21 12 Vimsati 1926 ·33 LETTERS OF APPRECIATION. It is appropriate that India and the western world should owe to Travancore the invaluable contribution to the knowledge of Sanskrit Literature represented by the Trivandrum Sanskrit Series, for Travancore has long been well known as deeply imbued with the classical traditions of Hinduism. Under modern conditions, with their imposition of a materialistic outlook even in India itself, the study of Sanskrit has fallen upon evil days, and there is danger lest Hindus should lose sight of the necessity of maintaining an effective interest in their great spiritual and intellectual heritage, the many. sided Sanskrit Literature. It has, therefore, been a matter of the highest importance that the Government of H. E, the Maharaja of Travancore has fostered most generously the study of Sanskrit in many ways, and not least by financing the publication of the Trivandrum Series. There has thus been rendered available to scholars an unexpected wealth of literature extending from the Vedic period to modern times and illustrating every side of the multifarious activities of Hindu Pandits and Kavis. The many discussions which have been elicited in east and west alike by certain of these publications sufficiently attest their fundamental importance, and there has been a consensus of critics to accord unstinted praise to the late Curator, T. Ganapati Sāstrī, and to his successor, K. Såmbasiva Šāstrī, for the skill and competence of their work as editors and for their admirable selection of texts to publish. It is earnestly to be hoped that this inportant work will continue to receive the patronage of the Government of the State, to whose reputation for enlightened patronage of learning it has so largely contributed. A. BERRIEDALE KEITH, Regius Professor of Sanskrit and Comparative Philosophy. University of Edinburgh, ? xBrd September 1933.)

·34 । , , I Rue Guy De La Brosse Paris( Vo?) २९-११-३३. श्रीसाम्बाशवाख्य पण्डितश्रेष्ठ ! यः पूर्वो लेखो भवता प्रेषितः, स प्रवासार्थं प्रस्थिते मयि खगृहमा- गतः । तस्मात् प्रत्युत्तरस्य विलम्बनं कृतम् । इदानीं तु द्वितीयो लेखो लभ्यते । तत्रापि च पुनः प्रार्थना क्रियते अनन्तशयनग्रन्थावल्या रजतजू- बिलिमहोत्सवो नचिराद् भविष्यति, भवतां सन्निधानम् इप्यते । भवदागम- नस्य काले ज्ञाते तदुत्सवस्य कालनियमः कर्तुं शक्यते इति । अनन्तशयन- राज्यं तु फ्रान्स्देशाद् अतिदूरं, यात्रायाश्च व्ययो गरीयान् । मम च पण्डि- तलेशस्य याभीष्टा देवी, सा सरस्वत्येव । ननु भवतापि तच्छ्रुतम् । लक्ष्मी- देवी सरस्वतीदेव्याः सहवासं न जुषते । यद्यपि तत् सर्वत्र सत्यं, भवतां तु खदेशेऽन्यथा स्यादिति मन्ये । या हि संस्कृतग्रन्थावलिः पण्डितवरैः प्रकाश्यते, सा श्रीलक्ष्मीप्रसादमालेति कीर्त्यते । लक्ष्मीसकाशाद् भवान् वरं लब्धुमर्हति । भक्तैर्हि लक्ष्मीर् अष्टोत्तरशतनामभिः पूज्यते । भवदीया तु लक्ष्मीप्रसादमाला दशोत्तरशतसङ्ख्यां प्राप्ता। एवञ्च न केवलं देवी प्रसन्ना, सर्वेऽपि विद्वांसः प्रसादकूटमारोपिताः । ये ये हि ग्रन्थास्तन्मालायां प्रका- शिताः, तेषु तेषु सहृदया रससारम् आखादयन्ति । एकं तु मनसि कण्टकम् । मुद्रणं गच्छतां गमिष्यतां वा ग्रन्थानां प्रकाशनं कदा भविष्यति । पिप- ठिषवो हि वयम् । जीवितशेषश्च कियान् भविष्यतीति न ज्ञायते । महोत्सवदिने वर्तमाने नारायणं नमस्कृत्य लक्ष्मी चैव नरप्रियाम् । सरखतीं चैव देवी ततो गणपतिशास्त्रिनामोदीर्यताम् । स हि यशःशेषोऽपि न विस्मरणीयः । तेनैव मार्गः प्रथमं दर्शित आज्ञातश्च । तेनैवानन्तशयनराज्यकीर्तिर्दिक्षु वि- दिक्षु विस्तीर्णा ॥ शुभं भूयात् । मङ्गलं भूयात् । भवदीयः Sylvain Levi, ·35 I am most happy to express in this public way the high value which I set upon the Trivandrum Sanskrit Series. All Sanskrit scholars regard it as one of the most important and useful series of Sanskrit texts in existence In a cumparatively short time it has established itself as fully the equal of any other similar series, although several of its rivals have been in existence much longer. In it have been published a considerable number of previously unknown works some of which are of the very first rank in importance (such as the plays attributed to Bhasa). But those of its volumes which contain texts previously printed are also uniformly useful and valuable for various reasons. For example, Dr. Ganapati Šāstrī's edition of the Kautilīya Arthaśāstra, with commentary, is decidedly the best edition of that all-important work in existence ; the printed text is superior, from the critical scholarly standpoint, to other editions, and the commentary is of priinary and very great importance for the interpretation of the very difficult text. So, to mention another exainple, the edition of the Meghasandeśa' (more familiarly known as Meghadāta) of Kalidása has great importance for scholars, despite the large number of other editions of the poem, because it contains an otherwise unknown and important commentary. These are only ex. amples which might be multiplied many times. I shall take the liberty of inentioning one other new and original work, the Mātañgalīlā, a treatise ou elephantology, which interested me so much that I translated it into English with an introduction and glossary; this has led for the first time to a proper recognition of the importance, antiquity, and persistence of elephant-lore among the Hindus. It should be emphasized that the works contained in the Trivandrum Sanskrit Series are not only intrinsically important, but are presented to the scholarly world in a competent and useful manner. The editing is uniformly good ; the typography is excellent. Misprints are commendably rare. These features are by no means always found in hooks printed in India, and they increase the gratitude of scholars to the able editors of the Series. FRANKLIN EDGERTON M. A., EK, 11., Salisbury Professor of Sanskrit and Comparatrze Philology in Yale Unweisity, U. S. A.

·36 I have much pleasure in stating that ever since its inception the Trivandrum Series has been publishing many rare and important works. It would not be all exagucration to say that nearly every work published in the Series Mars testimony to the wisdom of the choice nadu by the Editor of the Series. In addition to this, the care and industry with which the Series has been edited have all along been commenūable. It is hoped that the Series will continue to do the very useful work that it has been duing and continue to supply the world of scholars with inaterial for work. Thera is a large number of very important works still a waiting (liscovery and publication ; and we are looking for this, to the South where manuscript libraries have not suffered the fate that they have in the North. May the Serius continue to have the support of the State and also of the Bestower of all Good, the Lord Eternal, is the fervent prayer of MALI AMAHOPADHYAYA G ANG ANATH JHA M. A., E LITT., Vice-Chancellor, University of Allahabad. www ·37 ॥ श्रीः ॥ अभिनन्दनपत्रिका जयति जयति विद्याशेवधिर्वञ्चिभूमि- जयति जयति चित्रो रामवर्मा नृपेन्दुः । जयति जयति सेयं संस्कृतग्रन्थमाला जयति जयति सर्व यत्र तद्भारतं नः ॥ १ ॥ आहारादिचतुष्टयं किल समं नृणां पशूनामपि प्राशस्त्यं पशुतो नृणां वितनुते ढेको विवेकोदयः । तस्मिन्नौपयिकत्वमेत्यविकलं सद्ग्रन्थसंशीलने- त्यालोच्य प्रबबन्धुरुज्ज्वलधियः सन्तः प्रबन्धान बहून् ॥ २॥ गुरुमुखपठनादिमक्रमेण प्रववृतिरे परितोऽपि ते प्रबन्धाः । अपितु भवनकोणमाश्रितास्ते न खलु ययुर्निखिलोपकारकाष्ठाम् ॥ ३ ॥ तालपत्रलिखितानिमान् क्वचिद् रक्षितान् कचिदुपेक्षितानपि । द्रष्टुमप्यहह नान्वमंसत ग्रन्थकारकुलजा अपीतरान् ॥ ४॥ एनं क्लेशमपोहितुं कृतधियः केचित् स्वकीयैर्धन- रन्ये सङ्घसमादरेण बहुधा ग्रन्थानमुद्रापयन् । मैसूरादिममण्डलाधिपतयोऽप्युत्साहयाम्चक्रिरे सद्ग्रन्थावलिमुद्रणाय विषये स्वीये महापण्डितान् ॥ ५ ॥ सत्कार्यकसमुत्सुकः प्रतिदिनं स्मर्तव्यनामा महान् मूलो वञ्चिमहीश्वरो गुणनिधिः श्रीरामवर्मा सुधीः । राज्ये स्वेऽपि चिरेण रक्षितमहाग्रन्थप्रकाशोचिंतां. शाखां काचिदतिष्ठिपन्नन भवेल्लोकोपकारो यया ॥

·38
विद्यावित्तविनीतचित्तविबुधश्रेणीशिरोलकृतिः
सारासारविवेककर्मचतुरोदञ्चत्कुशाग्रीयधीः ।
राजादेशवशंवदो गणपतिः शास्त्री समन्तादपि
ग्रन्थान् संपरिगृह्य साधु विमृशंस्तन्मुद्रणे व्यापूतः ॥ ७ ॥
तर्के व्याकरणेऽथ तन्त्रयुगलेऽलङ्कारसाहित्ययोः
सङ्गीतस्मृतिगृह्यनीतिषु तथा शिल्पागमज्यौतिषे ।
कल्पे मन्त्रचिकित्सयोरपि बहूनन्येषु शास्त्रेप्वपि
श्रेष्ठान् मुद्रणकर्मणा बहिरसौ ग्रन्थानवातीतरत् ॥ ८॥
विद्यास्थानविभेदो
नास्ति स यस्यैककोऽपि सम्रन्थः ।
आसीदनन्तशयन-
ग्रन्थावल्याममुद्रितोऽनेन ॥ ९ ॥
पाठान्तराणि तत्त-
स्थलेष्वदर्शिषत शास्त्रिणानेन ।
व्याख्या व्यधायि नव्या
कुत्रचिदन्यत्र टिप्पणी व्यरचि ॥ १०॥
प्रसन्नगम्भीरमनोरमाकृतिः
पदेन चार्थेन च सर्वतः सता।
प्रबन्धकालादिविमर्शमेदुरा
विभाति सर्वत्र विशिष्य भूमिका ॥ ११ ॥
इदमवधि तस्थिवांसि
श्रुतिमात्रेणैव भासचितानि ।
प्रकटय्य रूपकाणि
प्राज्ञसमाराधनं व्यधादेषः ॥ १२ ॥
भासो नाम महाकविः कवयिता नैषामिति प्रत्यव-
स्थानं केचन कुर्वते कतिपये तत्संग्रहान्मन्वते ।
आस्तामेतदिदं तु सत्फलमितः प्राचीनवागर्थशै-
ल्येवं खल्विति निर्णयन् सहृदयो धत्ते स्वचिते मुदम् ॥ १३ ॥

·39
व्युत्पित्सुयुत्पन्नो
विमर्शनिपुणोऽपि मुद्रितरेतैः ।
परिशीलितैः प्रबन्धै-
रनुदिनमुत्तेजयन्ति निजधिषणाम् ॥ १४ ॥
लोकोपकारक्षममात्मनीनं
सद्ग्रन्थमुद्रापणमास्थिताय ।
समानमस्मै बिरुदं महाघ-
मदान्मुदा भारतचक्रवर्ती ॥ १५॥
निसर्गशत्रुनिखिलस्य शर्मणः
कृपाविदूरः कृपणो हतो विधिः ।
अनेष्ट भूमेरपरं परं पदं
बुधेषु शोचत्स्वमुमार्यपण्डितम् ॥ १६ ॥
अनन्तरं तत्करुणाकटाक्षतः
समस्ततन्त्रेष्वपि लब्धकौशलः ।
सुधीमणिः साम्बशिवाभिधः पदं
तदङ्गयकार्षीन्नृपतेर्निदेशतः ॥ १७ ॥
श्रीमद्गणपतिकलितां
श्रीसाम्बशिवोऽनुसृत्य पदवीं ताम् ।
अद्यावधि सद्ग्रन्थान्
विमृश्य संशोध्य मुद्रयन्नास्ते ॥ १८ ॥
श्रीमूलरामवर्म-
ण्यस्तमिते वञ्चिराज्यभरणधुराम् ।
श्रीसेतुलक्ष्म्यभिख्या-
विख्याता निरवहन्महाराज्ञी ॥ १९ ॥
आतश्च सेतुलक्ष्मी-
प्रसादमालेति नूतनाप्याख्या।
आसीदनन्तशयन-
ग्रन्थावल्याश्चिराय विलसन्त्याः ॥ २०॥

·40
पाण्डित्यं परितः प्रशस्यमतुलः सद्ग्रन्थमुद्रोद्यमो
मान्या तद्विषयावमर्शसराणेः सूक्ष्मेक्षिका सुन्दरी ।
गम्भीरा मृदुला पचेलिमतमा वाग्गुम्फनप्रक्रिया
श्रीमत्साम्बशिवाभिधानविबुधोत्तंसे समुद्दयोतते ॥ २१ ॥
अत एव सूरिमणिनामुना कृत-
प्रसरे प्रबन्धनिकरे सुमुद्रित ।
परितश्चकास्ति परमानवद्यता
तनुयादसूयुरपि येन तन्नुतिम् ॥ २२॥
प्रक्रान्ता च चिरादनन्तशयनग्रन्थावलीमुद्रणा
श्रीमद्वञ्चिमहीमहेन्द्रकरुणानिर्विघ्ननिर्वर्तिता।
अद्यत्वे खलु पञ्चविंशतितमं सम्पूर्य नैज क्यः
षड्विंशे पदमादधाति तदिमे हृष्याम सर्वे क्यम् ।। २३ ॥
पञ्चविंशवयसः परिपूर्ते-
रुत्सवोऽयमधुना वरिवर्ति।
अत्र हेतुरधिवञ्च्युपसीद-
त्पद्मनाभकरुणापरिणाहः (परिणामः) ॥ २४ ॥
धर्मशमैकुलशेखरवंश्यो
रामवर्मनृपतिर्ननु चित्रः ।
सप्रसादमियमुत्सवमाज्ञा-
वृत्तिभिः प्रकृतिभिः परिपुष्यात् ॥ २५॥
जगदुपकृतिक्षमाणां
सद्ग्रन्थानां प्रकाशने हेतुः।
भूयादनन्तशयन
ग्रन्थावलिरुतरोचरं पुष्टा ॥ २६ ॥
एवं सततसमुद्यम-
मतिमहदैश्वर्यमायुरारोग्यम् ।
मतिविभवं च विशालं
श्रीसाम्बशिवाय माघको देयात् ॥ २७ ॥

·41 कुंरुतां कुशलानि कञ्जनाभः कुलदैवं कुलशेखरक्षितीशाम् । कुलशेखरचित्ररामवर्म- क्षितिपालस्य कुडुम्बकेन सार्धम् ॥ २८ ॥ विजयतां विसरश्च विपश्चितां विजयतामवमर्शनधोरणी। विजयतां कुलशेखरभूपति- विजयतामधिराडधिभारतम् ॥ २९ ॥ सत्प्रवन्धसमुदायमुद्रणा- पञ्चविंशतितमाब्दपूरणे । उत्सवं, तमभिनन्दितुं व्यधात् कृष्णसूरिरि ति पद्यविस्तरम् ॥ ३० ॥ Kumbakonam. R. V. Krishnamachariar, Mahamahopadhyaya, Abhinava Bhatta Bana. - ·42 श्रीमन्मूलक्षजन्मा रमणधनदयापागधारावसेका- ज्जाताङ्करा सुवर्णोज्ज्वलनवमहितग्रन्थजातप्रसूना । विज्ञानश्रीमरन्दैविबुधमधुलिहामाहरन्ती मनोऽसौ ग्रन्थालीकल्पवल्ली जयति जननुता वञ्चिभूस्वर्गमध्ये ॥१॥ विज्ञानाम्भोधिमध्याद् विबुधपरिवृढेरुद्धृतातिप्रयत्नात् कीटानां भुक्तयेऽकल्पत सुचिरमनर्घा च या दग्धदैवात् । विज्ञानां स्वप्रकाशैर्विबुधमतिकषोल्लेखलब्धप्रशास्तिः कण्ठान विद्योतयन्ती जगति जयतु सा ग्रन्थरत्नावलीयम् ॥ २ ॥ नानादुष्प्रापशास्त्राद्यनवधिकुसुमैर्गुम्भिता हृद्यवर्णै- रम्लाना ग्रन्थमाला प्रमदयति मनोऽस्माकमेषा प्रकामम् । को वा कर्तुं न कण्ठे स्पृहयति महितां यां नवामोददात्री यस्यां जागर्ति सारखतमधुलहरी प्राज्ञपुष्पन्धयानाम् ॥ ३ ॥ गणपतिकविलालनप्रकरैः प्रथममियं प्रथितैव भूतधाभ्याम् । अथ हरति मनो न कस्य साध्वी बुधनुतसाम्बशिवाकमावसन्ती ॥ ४ ॥ श्रीपद्मनाभकरुणामृतदृष्टिपाताद् आमोदयन्त्यपि दुरापसुमैरियं नः । श्रीवञ्चिनायकदृगञ्चलभृङ्गसङ्गाद् विज्ञानदिव्यलतिका लसतादजसम् ॥५॥ विज्ञानभिक्षामनिशं ददाना प्रज्ञामियं नः परिनर्तयन्ती । शिवा शिवाश्लेषविशेषहृया शिवाय जीयाच्छरदां सहस्रम् ॥ ६॥ Imptom- ·THE TRIVANDRUM SANSKRIT SERIES. By Professor M. Winternita (Prague, Czechoslovakia) The Department for the Publication of Sanskrit Manuscripts, Trivandrum, has done excellent work in publishing the Trivandrum Sanskrit Series, for which every Sanskrit scholar in India and in the West must ever feel thankful. Since, in 1905, the first number of the Series was published, no less than 111 volumes have appeared up to 1931. Many rare texts, formerly unknown, were edited here for the first time, and many old and well-known texts appeared in valuable new editions. The Mahamahopadhyāya T. Ganapati Šāstri, whose name will always be remembered as the discoverer of the so-called "Bhāsa plays”, and as the author of an extensive commentary on the Kautilīya Arthaśāstra, signed as the Editor of the first 87 volumes. Number 88 was edited by the Head Pandit of the Department R. Harihara Šāstri who had worked with the Mahamahopādhyāya. In 1927 Mm. Ganupati Şastri found a worthy successor as Curator of the Department in K. Sambasiva Šāstri, who has since edited 23 new numbers of the Series to which he has given the special title $ri Setu Lakşmi Prasādamālā, It was was quite a sensation, when in 1910 the late Mm. Ganapati" sāstri discovered eleven plays (two more followed soon after) which he declared to be the dramatic works of Bhāsa, the predecessor of Kalidasa. A whole literature has sprung up around these plays, and the controversy about the authorship cannot be said to be ended yet. The majority of Sanskrit Scholars are now of opinion that all the thirteen dramas are not the original works of Bhāsa, though some of them may be recasts of dramas composed by Bhāsa. This is not the place to discuss the arguments pro and con in detail. But whatever the final conclusion may be to which We shall bave to come, on the whole, I still adhere to the words I spoke in my lecture on Bhāsa in 1923* : " If it should finally be proved, that Bhāsa cannot be the author of these plays, they will get always have to be counted among the most valuable treasures of Indian literature, and we Readership Lecture delivered at the Calcutta University on 16th September 1923 (Sotae Problems of Indian Literatare. Caloutta Univer. rity Press 1926. p. 130).

·44 should-even in this case havee-very reason to be thankful to Mahāmahopadhyāya Ganapati Sāstrī, who hası unearthed these treasures for us." I had a good many letters from the late Ganapati Sastrī, one more enthusiastic than the other, when he discovered these plays one after the other. It was the genuine discoverer’s joy with which he always defenóled the authorship of Bha sa for all these plays. It was a great pleasure to me when early in November 1923, on my visit to Trivandrum, I could discuss the subject with the great Pandit. I well remember the stately figure of the Brahman who received me in his beautiful red robe, speaking Sanskrit clearly and (listinctly so that it was not difficult for an European unused to speaking Sanskrit to understand him. He was also very enthusiastic about the new Manuscripts of the Kauţilīya Arthabastra he had found, and he proudly pointed out to me many improvements of his text on the editio princeps, and showed me the proofs of his own great commentary. The latter was printed in Nos. 79, 80 and 82,, and forms one of the gems of the whole serice. He had found not only new Manuscripts of the text, but also considerable fragments of the ancient commentaries of Bhattasvámin and Madhavayajvan. But as these fragments proved insufficient for an edition of the commentaries, Ganpati Šāstrī set to work to write a commentary of his own, making use of the ancient commentaries as far as they were available. Everybody is now convinced of the great inaportance, if not of the great age, of the Arthasāstra both for the social history of ancient India, and for the history of Indian literature. But anybody who hus had occasion to study the Kautilīya, knows that the work is fall of difficulties, with which, translators and interpreters of the work have hitherto struggled in vain. Hence Gananati's Srimgla, as he has called his commentary, is an indispensable help for student of the Arthasāstra. There are few branches of Sanskrit literature which are not represented in the 111 volumes of the Series. Only a few of the most valuable texts may be mentioned here. ...« To begin with the Veda, No. 78 brings a new edition of the Āśvalāyanagrhyasūtra with.,the, commentary of Haradattācārya, and in No. 96 the present Curator of the Department. K. Sambašiva Sastrī, starts a new.edition of the Rksamhita (Sambita and Pada texts) with the Bhasya of Skandasvāmin and the commentary of Vetikatamadhavarya. every * ·45 Of Kavyas I may mention Kalidasa's Kumarasambhava with the two commentaries of Arunagirinatha and of Nārdyana Pandita (Nos. 27, 32, 36), and the famous Kirātār junīya of Bhāravi with a commentary by Citrabhānu (No. 63.) Kālidasa's Meghasandēša is published with a commentary by Dakşiņāvartanātha who is older than Mallinātha, in No. 64. An interesting Sandēśakā vya is the Hamsasandesa, by an unknown author, which though an imitation of Kildāsa's immortal poem, is more a devotional Saiva poem (No. 103). Devotional poetry is also represented by the Nārāyaṇīya of Nārāyaṇabhatta (No. 18) of the 16th century A. D., in which the whole story of the Bhagavata Purāna is summarized, and which in the Kerala country is regarded as a sacred book of devotion as much as the Bhagavata As to the drama, we have already referred to the “Bbāsa plays". Of importance for the history of the Sankrit drama aro also the Mattavilāsaprahasana (No. 55), the oldest Prahasana that has come down to us, as its author is Mahendravikramavarman who flourished at the beginning of the 7th century A. D. the two dramas Tapatīsamyarana and Subhadrādhananjaya (Nos. 11 and 13) of the royal poet Kulasekharavarman of Kerala, and the Pradyumnābhyudaya (No. 8) of another King of Kerala, Ravivarman. Great is the number of philosophical texts in the Series, Of Purvāmīmámsă works may be mentioned the Mānameyodaya (No. 19), and the Mīmāmsāslokavārtika with the Kašika (Nos. 90 and 99); of Vedānta texts, the Siddhantasiddhānjana by Krşņānanda Sarasvati (Nos. 47,48,58,61). A short treatise on the Kashmirian Pratyabhijñā doctrine is the Virūpākša pancāśikā (No, 9). To the same school bed longs the Maharthamañjarī in Prākrit standas with the Sans skrit commentary Parimala (No. 66) by Gorakşa Mahesyarānanda, a follower of Abhinavagupta. Nyāya treatises are Manidarpana (No. 34,) Maņisāra (No. 35) and Nyayasāra (No. 109); a treatise on Vaiseșika is the Kāņādasiddhāntacandrikā (No. 25). A short summary of all systems of philosophy is the Sarvamatasamgraha (No. 62). The Alamkārāsastra is well represented by new editions of Růýyaka's Alamkārasūtra (No. 40), and Mammata's Kavyaprakasa (Nos. 88, 100. We have also three rare works on musho Nos. 87, 94, 102). 4 ·46 Grammar has always been considered in India as the first of all sciences. So it is only right that the very first number of our Series should be a grammatical work, the Daiva, a treatise on the Dhātupātha in vurses, with the commentary of Kșşņalīlāśukamuni. Philosophy of language is the subject of two short treatises Sphotasid(hi (No. 89) and Sphotasiddhinyāvavicára (No. 51). In No. 106 K. Sambasiva Sästrī begins an edition of the Prakriyásar- Yasva by Narayana Bhatta, a handbook of grainmar which is very popular in Karala. Of lexicographical works we find Kegalvasvåmin's Nanarthärņavasamkşepa (Nos. 23,29,31) and above all an excellent edition of the Amarakosa with the commentary of Vandyaghatīva Sarvänanda (Nos. 38,43,51, 52). Of Dharmaśāstras we have to mention two very important works, the Yājõavalkyasmfti with the commentary of Visvarūpa (Nos. 74, 1), and the Nära liya- Manusamhita with the commentary of Bhavasvamin (No. 97). We have hitherto only had the two versions of the Narada smrti, edited by J. Jolly. The new edition gives the longer version, but shows considerable variants to Jolly's edition in the Bibliotheca India. We have already referred to the Arthasāstra of Kauţilya. There is also a good edition of Kamandaka's Nītisára with the Jayamangala of Sankarārya in No. 14 of the Series. The sciences of medicine, elephant lure (Gajašastra), and architecture (silpaśāstra), astronomy and astrology are also represented in the Series by some rare and interesting works. Among the latest publications are such important works as Parāhamihira's Horaśāstra (No. 91) and the Aryabhatīya (Nos. 101, 110). Some interesting and important Tantric works are also to be found in the Series, e.g., the Isa nasivagurudevapaddhati (Nos. 69,72,77,83), and the Vişnusamhită (No. 85), which is said to be the source of the Tantrasamuccaya (Nos, 67,71) and other Tantras. A Buddhist work of a Tantric character, though it describes itself as a Mahāvaipulya-Mahāyānasútra, is the Aryamanjuśrīmulakalpa of Bodhisattvapitakavataisa (Nos. 70,76,84). This important text, which was translated into Chinese as a Mahavaipulyasutra between 980 and 1000 A. D, and into Tibetan as a Tantra iu the 11th century, is ·47 here published for the first time in the original Sanskrit. OE the great importance of this work for the history of later Buddhism, also for Buddhist iconography, there cau be no doubt. More doubtful is the high age of the work which is ascribed by Dr. Benoytosh Bhattacharya (Gaekavad Oriental Series, Vol. 53, p. XXXIII ff), to the second century A. D), But his arguments are by no means convincing. The catholicite of the Trivandrum Series is not only proved by the inclusion of this Buddhist work. Lately also à Juina text has been published in the Series, the Munisuvratakāvya or Kāvyaratna by the Jain poet Arhaddasa (No. 107), This is a poem in ten sargas devoted to the Life of the Jain Tirthankara Munisuvrata, The Department for the Publication of Sanskrit Manuscripts, Trivandrum, and its present Curator, the worthy K. Sāmbasiva Sastrí, are to be heartily congratulated on having done such excellent service to Sanskrit learning. May this usef ul editorial work be continued in the same spirit and with the same success for many long years to come 1 ·48 THE ART OF SRI IIARSA. By Rama Varma Pareekshit Tampuran B. A., (9th Prince oj' C'ochin.) I have often deplored the apathy displayed by many modern Sanskrit Scholars rowarıls that nonuinental work of the great Śrī Harga "Naişadhiyacırita". At the buck of my mind is the doubt whether this want of appreciation has not beun caused, partly by the difficulıy or experiences at a cursory reading to understand the tough and tangled verses deliberately thrown in -as he himust:f admits----by the author, and partly by the unluc weight given---t lenst in this instance - to the criticisins of European scholars. It is a commoa saying in our midst here that Arur Atitiripad, who made a deep study of "Naişulla", und who washimself a poet* of no moan order, uvel to proclain tlmt as a Dhvani Kavya' Nashadha would not suffer in comparison with any work of even 'Kalidasa'. I have myself come across persons of learning and a critical mind who actually derived grunter pleasure in reading “Naişadha' than any other ancient or modern literary production. It is not, however, my intention here to claim for "Naişadha' the foremost place in Kavya Literature, but simply to awaken the curiosity of students to explore this vast field and find for themselves the innumerable invaluable gems imbedded therein. For this purpose I shall here dual only with the two messengerships narrated in this Kavya ; the first one in the third canto and the sucond in four cantos beginning from the sixth ; where the author has given evidence of his profound understanding of human nature and of his mastery over the evur-praiserl diction called Vaidarbhi Riti'. The first messenger, the divine swan, is a self-constituted one, desirous of making amends for the harsh words he addressed to King 'Nala' ou misunderstanding his intention and of doing in return something worthy of the great mercy shown to him by the King. What he undertakes to do is & most difficult job, the winning over for the King of the love of Damayanti, the daughter of the King of the 'Vidarbbas who is a very beautiful and accomplished maiden of budding youth and to gain whose hand Nala has been pining. How the swan suddenly appeared so neur Damayanti, who was then sporting in the extensive garden with her friends, that * The author of the Kevyt "Uttara Naishadha", which one hopes to dre long published in the Trivandrum Sapskrit Series ·49 then says she at once wished to capture him, bow he cleverly dodged all her attempts, while not altogether crushing the hope, and thus drew her away from her friends and how he then struck her dumb by beginning to speak like a human being, are all described by Sri Harşa in simple and flowing verses, employing words and sentences of double meaning in more than one appropriate place. The heavenly swan assumes the part of an affectionate well-wisher, scolds her in tones and words of great tenderness for her rashness in leaving her friends and following him to the jungles, and under the guise of letting her understand-as all good.natured people will do when they find themselves in a similar situation—who he is and why he · happens to be there, secures an opportunity to eulogise Nala and everything pertaining to him. He is first praised for his extreme piety and unstinted liberality, which through the favour of the Gods, have gained for him heavenly bliss on earth. The clever messenger that even the Goddesses are enamoured of him, makes a passing reference to the uncommon handsomeness of the King's face and again launches forth into short descriptions of his great learuing, wealth, prowess etc. Further he tells her as if anxious not to hide anything about himself from her--that he is a favourite of the King and such a constant visitor to his harem as to have been made by the ladies there their friend and confidant. Having thus carefully prepared the ground, he sows the seed by making the suggestion why she herself should not aspire to the enviable position of being Nala's beloved wife, as, in his opinion he and she alone are worthy of each other in all respects, and by going to the length of saying that, when out of sheer curiosity asked as to who was destined to be Nala's consort, the Creator seemed to him to have mentioned her name. As a consummate diplomat, the swan now pretends that this idea has struck him only just then, that, that being quite an extraneous matter, no more need be thought of it, and that he is only anxious to undo the wrong of having insidiously dragged her so far and thus tired her by obtaining for her whatever her heart desires. Here he stops to gauge the effect of his words, knowing full well the unwisdom of going any further, if the lady is indifferent or hostile to the idea of a union with Nala, ·50 a The accomplished princury rises to the occasion, takes the blame on herself for trying to capture him who, as heaven-born, deserves only to be revered, prulisus his noblom mindedness, says that nothing in the world could give her greater happiness than that occasioned by his “durun' and then throws out in a shy and churming way a hint that she is desirous of wedding the King and that at the same time conveys her fear of the impossibility of her wish being fulfilled. But the messenger, though he readily grasped her hidden meaning and was consequently pleaserl, is not quite satisfied and tries to induce her to speak plainly, assuring her that nothing is impossible in the work and proclaiming his ability to procure lier heart's desire whatever it is. Damayanti, still too coy to express it, again quibbles. The swan pays a glowing tribute to her wit and learning, but, in order to force her to make a clear pronouncernent, makes frontal attack by declaring that, though he has guessed her meaning, he is afraid of a probable change of her heart and consequently unwilling to help her with the great King and by requesting her to ark himn for anything else. Thus driven to a corner, Darnayauti yields. Her tear that she may lose a golden opportunity if she keeps up her present attitude gets the better of ber natural shyness. Not only does she announce her unwavering love for Nala, ridicule the idea of her marrying, of her own accord, any body else and express her unshakable deterinination even to commit suicide if her father forcus her to do so, but also turns herself a supplicant. She mentions her own love-lorn condition and coaxes the swan in winning words to make the King return her love; and is so agitated that she hastons to warn him of the risks if he delivers her message to the King at inopportune moments. The swan is overjoyed and, now that he has attained his purpose, at once informs Damayanti that the King has as much been a target of the Cupid's arrows as herself. To convince her of this fact he describes the ten Kama Varthas,' the King has been subject to on acoount of his deep love for her. He confesses that he is the messenger of Nala himself ; assures her that, inasmuch as their love is mutual and engrossing, their union is the easiest thing in the world; congratulates her and Nala on their good fortune and prophesies their enjoyment in future of perfect blige.

·51 With such sweet and encouraging words the swan takes leave of the heroine and hurries back to the love-stricken King It is thus that Sri Harga with a few bold touches gives us a most vivid picture of one of the most important incidents in his Itivrtta'. Let us now turn our attention to the second messengership narrated in this same Kāvya. The author here introduces us to a more dramatic situation. The messenger is no other than the hero Nala, the passionate and accepted lover of Damayanti. The senders of the message are the Gods, Indra, Agni, Yama and Varniņa, who so deeply fell in love with her as even to take an undue ad yantige of the King's promise to do any service for them made without fully knowing the sinister purpose at the back of their minds. And she to whom their message of love and request for marriage are to be taken is Ďamayanti herself who has already resolved to marry none else than her beloved Nala and who has been eagerly looking forward to see him at the Svayamvara Maņdap' and throw the Varanamāla' at bis neck. A more piquant situation can hardly be imagined. Nala has been burning with the desire to take his beloved into his arms and hold her in a long embrace, but is now in honour bound not only to hide his feelings but also to plead with her the cause of others. Damayanti's love for Nala also is to be tested in the furnace of a great temptation, It is with the hope of his own happiness shattered, but confident of an easy success in his mission because of his conviction that no damsel in the world would prefer a mortal man to the great immortal Gods, that he takes himself to the presence of the daughter of Bhima'. Sri Harsa's dramatic talent, unerring as it always is, creates a scene here which produces an altogether different effect on the hero. As the King protected by Tiraskariņividya' enters, he sees the female messengers of Agni, Yama and Varuņa returning crestfallen and hears the strong pleading of Indra's messenger and an equally strong but sweetly expressed refusal by the highly intelligeat and accomplished Damayanti. He is at once both buloyed up and dejected; buoyed up because he sees a silver lining in the dark clouds of his broken hopes, and dejected because he realises the 'extreme difficulty he will have to encounter in serving his masters. * ·52 With his love and honour thus contending for inastery Nala enters, feasts his cyes on the lovely enchunting youth ful figure of the queen of his heart and slowly but eagerly notes the excellence of every portion of lar byly SrT Harşa here, as in many other places, completely identifius himself with his hero, gives free play to his iiongination and lover will do on his first beholding his beloved and serve* 118 with an almost unsurpassable description of his heroine's 'Kēsādipāda'. The author further depicts beautifully in it from VPNLB the effects produced on the young ladies and particularly on Damayanti when the King lets go his · Tiraskaripi' and appears before them in his iinmaculate lovelimuss. 1 h hero and heroine are at once drawn to each other, but are forced to put breaks, the onio reneinbering his mesongership and the other realising the impossibility of her Nalut getting access to the female apartments in the royal palace. The feelings engendered in the hearts of the young nm-els at the sudden vision of a very handsuine youth with nobility imprinted on all his expressions and movements are so overpowering that they all stand voiceless, its is naturalxcept perhaps in the case of the rather unsexed women of inodu'n education. Damayanti recovers first, though only partly, welcomes the new comer in such pregunt phrases as only a highly accomplished lady of noble ancestry can give utform ance to. With a view to please him she frankly pruises him for his wonderful handsomeness which in her opinion can be compared only to that of the renowned Nala ; and thus ex. presses her eagerness to hear what he has come to say. Nala with difficulty masters his emotions ; announces himself as the messenger of the Gods; and, knowing well what a strong-willed lady he has to deal with, vividly portrays with illustrations the pitiable conditions to which his masters have been brought on account of their grent love for ber. Their messages are then delivered in their own words; and he requests her to please him also by accepting one of his masters as her husband. Damayanti listens, but only because of the beauty of his words. Completely ignoring his earnest pleading on behalf of the Gods, she takes him to task for not revealing his name and ancestry which she has asked for. The messenger to humour her, partly yields, tays that he is a scion of 'Somayaméa' and, without mentioning his name, in spite of ·53 her insistence, shows the harm in such parleying and urges her to give an immediate reply. Damiyanti tikes up the challenge. She makes her attitu le towards the Gods quusi manifest by her first reference to his messengership and humourously shows the incongruousness of : human being marrying a God and spending her days in the midst of divine damsels. Too shy to do so herself, she makes one of her friends inform him of her deep love for Nala, of her unalterable resolution as a Pativrata', of marrying him alone and of her determination, it forced to do oticrwise, to put an end to her life. in hoping to have thus silenced the messenger Damayanti counted without her host. Then follows an interesting measuring of swords in the wordy warfare between these two highly accomplished persons, until the messenger overwhelms Damayanti with argument after argument to prove that, however clever and ingenious she may be, she can escape from the hands of the Gods by no means whatever. The author thus presents to u- how a man or woman of high character holds to his or her principles, however great may be the temptations thrown in his or her way. But he does not stop there satisfied. He takes us further and gives us a keener insight into human nature by depicting in ever memorable verses how, when her strong will was broken and fear and grief gripped her heart, Damayanti loses her selfcontrol and amidst copious tears gives vent to her feelings in incoherent words and passionately calls on her Lord Nala to come and save her or at least not to go away from her heart when the 'Präņas' leave her body on account of the intense mental pain she suffers from. This unexpected out. burst on her part so much affects the great King that he forgets the role of the messenger and throws himself heart and soul into the task of pacifying ker and incidentally reveals himself. What happens afterwards and how the hero and heroine behave in this crisis I must request my readers to find out, if they want, from the engrossing pages of Naişadha itself. My intention is to whet their appetite and not to satisfy it. A word more and I have done. Any student of Sanskrit Literature worth the name cannot but be fairly acquainted with that deservedly famous poem of Kalidāsa, namely Megbasandesa'. Such a one, however, is apt to be led away ·54 with the idea that any Kšvys dealing with messengerships can only be its imitation good, bad or indifferent. The correction of this error is one of my objects in choosing the subject matter of this paper. In the Cloud-Messenger' and poems of that ilk the messenger is only a mute listener to the out-pourings of a stricken heart. Rarely, as in' Meghadata', he is made to serve the purpose of an Udriījuanavibhava' also. There is no presentation of «rumatic situations; nor are we made to see the most interesting effects of the playing upon each other of subtle intellects. Wo are indebted to Sri Harga's art for such a presentation of characters as the reader never loses bis interest in thein. Sri Harga is no slavish imitator and this fact is amply borne out by his incomparable work · Naiqadha' whose perusal will more than repay the trouble one at the beginning may find in deciphering it.

·ABBREV1ATIONS.
(USED IN "SANSKRIT POETESSES".)
DC Descriptive catalogue of the Oriental manuscripts
Library, Madras.
TC Trennial catalogue of Do.
SVH Sources of Vijianagar History.
IA Indian Antiquary
EI Epigraphia Indica
MYS, OML Catalogue of the Mysore Oriental manuscripts
Library.

·56 SANSKRIT POETESSES. By AI. Krishnamasharian, JI. A, NI !.., h. D., M. It A.S Principal Sub-Judge Devakoltai. 1, Among the authors of the hymns of the Rg Veda, we have some women. The Ātruyn house produced the portesses, Visvavaras (V. 28) aud Apala (VIII.91). In the Kaksivat house, there was a line of poetesses and of these Ghošā was the greatest She was the daughter of Kakşivanī. She calls herself a princess and probably her father was a ruler. She remained unmarried to a late age, then she was favoured with a husband by the grace of the Asvins. She wrote in Jagatſ metre and her versos are zasy anl well balanced (I.117,122). Juhu (X. 109), Susvati (VAI.I), Mandhatri (X.134), Madhavi (I.91), Susiurubha IV, Anulaksmi (II.78,III. 28, 63,72 and 76), Reva (1.87), Pahayi, (1.83) and Rohā (IL 63) are also poetie seers of the hymnus. Asvalāyana mentions Gārsī, Vācuknupī and Badavă Pretitheyi along with the ancient venerable æsis. Lopamudra is referred to in the Anukramani (1.1:3.192) 2. Dhanideva's Verse is quoted in 'Sarngucharapaddhati: शीलाविज्जामारुलामोरिकाद्याः काव्यं कर्तुं सन्ति विज्ञाः स्त्रियोऽपि । विद्यां वेत्तुं वादिनो निर्विजेतुं विश्वं वक्तुं यः प्रवीणः स वन्द्यः ।। Rājāsekhara praises some poetesses, 'Sila, Vijny.nka or Vijjā or Vijjikā. Subhadra, Prabhudevi, Yikutanitarnba. शब्दार्थयोः समो गुम्फः पाञ्चाली रीतिरुच्यते । शीलाभट्टारिकावाचि बाणोक्तिषु च सा यदि ॥ के वैकटनितम्बेन गिरां गुम्फेन रञ्जिताः। निन्दन्ति निजकान्तानां न मौग्ध्यमधुरं वचः ॥ सरखतीव कर्णाटी विजयात्रा जयत्यसौ । या वैदर्भगिरां वासः कालिदासादनन्तरम् ॥ सूक्तीनां सरकेलीनां कलानां च विलासभूः । प्रभुर्देवी कविाटी गतापि हृदि तिष्ठति ॥ पार्थस्य मनसि स्थानं लेभे लघु सुभद्रया । कवीनां च वचोवृत्तिचातुर्येण सुभद्रया ॥ नीलोत्पलदलश्यामां विज्जकां तामजानता । वृथैव दण्डिना प्रोक्ता सर्वशुक्ला सरस्वती ॥ 1. See Women Poets of the Rig Veda (IA, I. 113), Poums by Indian Women ty N. Maonicol (Her.' of India Series) ; JI. of Sam Bab Parishat, XVI.

·57 Śīla's expression followed her imegery!, Vikatanitambā's verse was elegant in simplicity. The style of Subhadrā appealed to the poetic mind and stuck to it for ever. Motikā and Māruld excelled in suggestions of ideas 3. Vijjā was Sarasvati incarnate except that she was dark in complexion". Vijjakā has been identified with the queen of Candrāditya, son of Pulakesin 11, from the Nerur and Kochre grants dated 659 A, D. 5 3. Rāja Şek haracarita mentions poetesses, Kamalila, Sunandā, Kanakavalli, Madhurūngſ, Lalitāngi and Vimalangī of Malava). Ballala's Bhoja carita mentions some postesses too, but it is doubtful if these were not fictitious names? 4. The anthologies also quote verses of Jaghan acapala (Padyav), Avilambitasarasvati (Padyav), Indulekhā (Subh) nuntīdevī (Subh) Candālavidyā (Skm), Nagamā (Sp), Padmāvati (Pint), Madalasā (Sp); Rajakasarasvati (Skm), Lakshmi (Sp), Vīrasarasvati (Padyav), Sarasvatī (Skm) and Sīta (Bhojaprabandha). Sila: प्रियाविरहितस्याद्य हृदि चिन्ता ममागता । इति मत्वा गता निद्री के कृतघ्नमुपासते ॥ Subh. 1197. 1. Vagbhata in his Kavyapusana quotes a verse as of Sila's. Is it Sita? See Peterson, Subh, 130. 2. See Peterson, Subh. 117, Thomas, Kav. 104, Aufrecht, ZDMG, XXVII, 85, CC, I 569, Bhandarkar Rep (1895) XIX, xlvii. 3. Peterson Subh, 94. 4. See Peterson, Subh. 119. Thomas, Kav. 104. Aufrecht, ZDMG, XXVII, 85, 00, I. 571, Bhandarkar, Rep (1897) xlx, xlvii Bhoja quotes from Vijjaka and Vikatanitamba. 5. IA, VIII, 44, 163. B. Bhatta carys (Briof Summary of Sahitya Sastra, Journal of Dep. of Letters, Caloutta, IX) says that he was conten. prrary of Dandin. 6. DO, XXI. 8167. JMY, XI. 7679 7 Some of these verses are very good. For instance : धनुः पौष्पं मौर्वी मधुकरमयी चञ्चलहशां दृशां कोणो बाणः सुहृदपि जडात्मा हिमकरः । स्वयं चैकोऽनङ्गत्रिभुवनमपि व्याकुलयति क्रियासद्धिः सत्त्वे भवति महतां नोपकरणे ॥

·58 Jaghanacapala: दुर्दिननिशीथपवने निस्सञ्चारासु नगरवीथीषु । पत्यौ विदेशयाते परं सुखं जघनचपलायाः ॥ Kay.518. Indulekh.. एके वारिनिधौ प्रवेशमपरे लोकान्तरालोकनं केचित् पावकयोगितां निजगदुः क्षीणेऽह्नि चण्डाचिषः । मिथ्या चैतदसाक्षिकं प्रियसखि ! प्रत्यक्षतीव्रातपं मन्येऽहं पुनरध्वनीनरमणीचेतोऽधिशेते रविः ॥ Subh. 1902 Marula: कृशा केनासि त्वं प्रकृतिरियमङ्गस्य ननु मे मलाघूमा कस्माद् गुरुजनगृहे पाचकतया । स्मरस्यस्मान् कच्चिन्नहि नहि नहीत्येवमगमत् स्मरोस्कम्पं बाला मम हृदि निपत्य प्ररुदिता ।। Subh. 1326. Morika मा गच्छ प्रमदाप्रिय! प्रियशतैर्भूयस्त्वमुक्तो मया बाला प्राङ्गणमागतेन भवता प्राप्नोति निष्ठां पराम् । किचान्यत् कुचमारपीडनसहैर्यत्नप्रबद्धैरपि त्रुट्यत्कञ्चुकजालकैरनुदिनं निस्सूत्रमस्मद्गृहम् ।। Subh. 1033. Vikatanitamba: अन्यासु तावदुपमर्दसहासु भृङ्ग! लोलं विनोदय मनः सुमनोलतासु । बालामजातरजसं कलिकामकाले व्यर्थ कदर्थयसि कि नवमालिकायाः ॥ Subi.735. Vidya or Vijja: किंशुककलिकान्तर्गतमिन्दुकलास्पर्धिकेसरं भाति । रक्तनिचोलकपिहितं धनुरिव जतुमुद्रितमनङ्गस्य ।। Subh. Int-118.

·59 Bhavadevi: सजन्मानौ तुल्यावभिजनभुवा जन्म च सह- प्रवृद्धौ नाना च स्तन इति समानावुदयिनौ । मिथः सीमामात्रे यदिदमनयोमण्डलवतो- रपि स्पर्धायुद्धं तदिह नमस्यः कठिनिमा । Kav. 62. 5. Gangadevi was consort of Kampana of Kamparaya the secondison of Bukka' (1343-1379) A. D. who predeceased his father by two years. In Madhuravijaya or Virakamparayacarita, a poem, now extant only as a fragment, she narrates in melodious verses the exploits of her husband and narrates the history of his expedition to the south. The city of Vijayanagar with its temple and suburbs is described with all magnificence. Then comes the moving army and its relays on its way to Kanci, where it is quartered for the winter. Inspired by the exhortation of a Goddess in his dream to extirpate the Musalmans and to restore the country to its ancient glory, be advances to the south, kills the Sultan of Madura aud commemorates his victory by munificent grants to the temples of the country . 6. Kamakoti or Abhirama Kāmā kşi was the daughter of Sabhapati, son of Abhirama of Srivatsagotra. Related to the Díndimas, she flourished about 1500 A. D., when the glory of Vijayanagar empire was at its height". In a poem Abhinava-Ramabhyudaya, in 24 cantos, she related in exquisite verses the story of Ramayana 5. 7. Tirumalamba's literary achievements were the subject of universal admiration. She began under King Krsna De varaya (1509-1529 A. D.) and continued to the days of Acyutaraya (1529-1542 A. D.) of the Tuluva Dynasty of Vijayanagar. The only extant work of hers, Varadambikapariņayaº, 1. EC, Mysore, Dt. No. 46 and see also EI, XII. 162. But Sewell (Frogotten Empire, 29) gives to Bukka reigo, 1343-1379 A. D. See also TC, III. 2985. 2. Ed. By Hariharasastrı, Trivandrum, with a historical introduotion by T. A. Gopinatha Row, T. C. III. 2985 3. For an account of this poem, see Suurees of Vijayanagar Erstory. 4. See Vibhagapatramala (TC, II. 2462) Edited with translation and notes by T. Gopinatha Row in JA,XLVII, 83, 94, 125. 5 TC, IV, TANJ. CAT. VII. 3244. For a full account, see paper by Lakshmau Sarup in Proceedings of Fourth Oriental Conference, II. 181. 5202. 6 - -- ·60 4 is a pleasant prose-poetic compusition. It lugins with a short, grineological history and describes the exploits of Narsa, his marriage of (hamamta, and the birth of the 6! Acyuta! Then follows the marriage of Ac:yula and Vara. damba, a princess of Salaga and ends with the installation of their boy China l'ankatadri, as the Yuvarujn *. 8. Priyanvada was the daughter of Sivarama iind wife of Rghunatha. She lived in Faridpur, East Bengal, suon after 1600 A, 1)." She wrote the form Syammrahasya and her earliest verse was in praise of kijesņa. कालिन्दीपुलिनेषु केलिकलनं कंसादिदैत्यद्विष गोपालीभिरभिष्टुतं व्रजवधूनेत्रोत्पलैरर्चितम् । बर्हालङ्कृतमस्तकं सुललितैरङ्गैस्त्रिभङ्गं भजे गोविन्दं व्रजसुन्दरं भवहरं वंशीधरं श्यामलम् ॥ 9. Vaijayanti was the daughter of Maralihuttu of the village of Dhanuka in Faridpur District. She married Krşnanátha, son of Durgadāna, Taraka vägīsa of Kotalipada. She lived in the middle of 17th century A. D. She learnt Sanskrit under her father and was proficient in Mimmm. Once when her husband could not make out & passage: TT TETT and tanght his pupils wrongly as meaning, "Here too not suid, and there ton not said", but dissatisfied with the interpretation, a ppenred to be troubled over it, Vaijayanti gave the correction construction *** ga अकं, तत्र अपिना उक्तम् ।. She wrote tine poetry but it is all merged in Anandalatikacampu composed by her husband Krsmanatha, and her collaboration there is mentioned by Krsnanatha himself आनन्दलतिकाचम्पूर्येनाकारि स्त्रिया सह. Once it is said while Krsnauatha was composing verses descriptive of a nayika, Vaijayanti composed a verse at once. अहिरयं कलधौतगिरिभ्रमात् स्तनमगात् किल नामिहदोत्थितः । इति निवेदयितुं नयने हि यच्छ्रवणसीमनि किं समुपस्थिते ।। Jayanti is mentioned in an article by the editor of Visvakośa in an old magazine, Bangavashi, East Bengal, Shu has written a fine peom, said to have been seen by Pandit Amülyacaran Vidyabhūşan, Assistant Secretary Bengal Sahitya Parishat 1. Aayata ascended the throne in 1530 A. D. 2. SV 190, 3.' For 80 alcount soe Sah, XXI. 112, ter I 48-4adebted for this information to J. N. O. Ganguly, Ae www ܘܬ݂ܳ:܀ ·61 1 ; 10. Madhuravaņi, whose real name is not known, flourished in the court of the King Raghunatha Naik of Tanjore who came to the throne about 1614 A. D. His son Vijayaraghava Naik ruled till 1662 A. D. In 14 cantos she wrote a poem on the story of Rāmāyaṇa in measures as graceful as the author's extant name. Her description of good poetry is lovely In the 1st canto she thus describes the circumstances under which the poem came to be cumposed : Once where the Prince Raghunatha-Bhupa was seated on his throne surrounded by the accomplished courtladies, one of them sang verses from the beautiful Andhra- Rāmāyaṇa composed by the Prince himself ; while another complimented him for his untiring devotion to God Śrī Rāma. This set the Prince thinking on Śrī Rama, and he considered within himself as follows : "Many are the stories of Vishnu ; and amongst them it is Rama's story that serves as nectar to me. Though enjoyed thousands of times, it seems to me ever fresh and pleases me most. Hundreds of ladies are assembled here, who are skilled in composing orginal Sanskrit and Telugu works, who amongst these could best render my Andhra Rāmāyaṇa into Sanskrit verses. With such thoughts, the Prince retired from the Court, God Sri Rama appeared to him that night in a vision and said "I understand what is now uppermost in your mind. Give up all anxiety in the matter. Know that the lady, whon you have honoured with the title Madhuravā ņi, is the ablest of all the court-ladies". Next day when the court assembled he called Madhuravāņi to his side and related to her, the vision he had the previous night, and directed her to bring out an excellent work on Sri Rama, which shall be replete with beautiful alankaras (figures of speech) and rasas: (emotions) in language that is charning and melodious”. She replied “With the aid of one (yourself) that always has Sri Rama at heart, I can say the work is achieved". About the end of the 1st canto, there is a lively description of her royal patron and his splendid court 2 11. Uppayya, Manorama and Subhadra of Malabar, Avantisundari, wife of Rajasekhara, and Sundari anche Kamala, wives of Ghanasyama, were peotesses of renown *, 1. "मध्येमणीभित्त्यनुबिम्बित स्वं मत्वा रमां यत्र विनन्तुकामा । करे तदीये कमलं तदानीमलक्षमाणा त्रपते नताशी ।" 2. See MYS. OUR Sup 10. There is a brief socount of it, by Narasimha Iyougar in thn Indian Review. JRAS, O S. 1, Index. See para 166. Sapra.

·68 Gangadevi, Madhuruvā Ņi and Tirumambut have already been mentioned. 12. Lakhina Thakurani is the famous pinetess of Mithila: A verse of hers is repeatál: आक्रान्ता दशमध्वजस्य गतिना सम्मूर्च्छिता निर्जले तुर्यद्वादशमद्वितीयमतिमन्नेकादशाभस्तनी । सा षष्ठी कटिपञ्चमी च नवमभ्रूः सप्तमीवर्जिता प्रामोत्यष्टमवेदनां त्वमधुना तूर्ण तृतीयो भव ॥ Here is an indirect forin of the signs of the zendine', numbered in serial order from Vega'. "Attacked with th.: severe onslaught of the (toul of Love is she. Dist raught like a (raft or a fish in a dry place is she. Oh; Thou bill-mindest one, the clamsel mund, of arms as a water jar, with archel eyebrows (the destined wife of thou who art like it for amongst kings and who is not (gross) like a shop-keeper: wife who plies the scales (who has no equal). She feels pain like that of a scorpion bite. Surely, let the result of inarried life relieve her." 13. Trivcui was the daughter of Udayendrapurain Anantacharya and was so named because she wild born immediately after her father completed his poem Yadava- Raghava-Paulaviya, Shu live in 1817-1843 A. D). She was married to Prativadi-Bhayankaram Venkutăcirya of Sriperumbudur. Her poetic instincts manifested themselves even before har narraig, and after her marriage, she studied philosophy, under her husband. She had & Hon who predeceased her and after she became i widow she wished to erect a temple for some idols discovered in her place and presented to her by the Collector who was pleased with her Haratipancaka. For that purposes she went to the courts of Travancore and was well received tberu. Dewan Rangacariya of Mysoru was her admirer und by his 1. Pandit A. M. Sruivanacar ya of Agaram noar Coujovaram has a similar Verge. "मेषारोहनिभं निरीक्ष्य वृषभं मत्वा त्वया द्वन्द्वभा- वाप्त्यै कर्कटवत् प्रतीपगमना सिंहावलमाश्चिता। कन्यासावतुलापि वृश्चिकसमैर्बाणैधनुष्यर्पितै- रामुक्ता मकरध्वजेन कलिता कुम्भस्तनी मानहक् ॥" 2. As translated by G. A. Grierson IA, XV. 318. 1 ·63 patronage she completed the shrines. She was prolix in her writings and her capacity to make up saināsyas extempore was remarkable. Among womon she stands foremost in poetic contributions to Sanskrit Literature. Her peums of devotion are Lakşmīsahasra and Ranganathasahera, her lyrics, are Sukasamdeśn and Bhřiyasandesa, and her poms are Rangabhyudaya and Sumipatkumaravijaya, her plays Pangarātsamudaya and Tattvamudrabhadrodaya, the latter of which is allegorical, Lakśmi Rañji was a princess of Kadathanadu, Ikavalam Kov layam, Malabur. She lived about 1890 Her Santangopulakävya iu 3 cantos relotus a story that a brahmin lost his ten children successively, Arjuna promised to save the last and when he was unable to do it and resolved to enter the fire Krsna intervened and from Vaikuntha brought back all the ten lost childr«. The last canto has Yamaka composition Sundaravalli lived about 900 A. D. She was the daughter of Narasimha Iyengar of Mysore, and studied under Kasturi Rangacarya. She wrote Ramayanacampu in 6 cantos corresponding to the Kandas of Ramayanı, 2 Jananasundari was a dancing girl of Kumbakonan. She li vod there and passed away about 1910. She was the pupil of Kuppu:wim Sastri of Srivatsagotra aud was, as shu says, the author of several works ; of these however only Halāsyacampū m 6 Stabakas has been traced. There are old gentlemen living in the southern diatricts who remember her discourses, clancing and recitals, well and. with delight and 1. Fisher, Bar-at-law, of Madura was her particular putron. She visited the Mysore court and there received the title Kayiratua. Her narration of the wedding of Minakşi and Sundareśı makes plaasant reading. In verse she is fond of alliteration * मधुरीकृतगरलत्वाद् मधुराभिख्या तदादि सा नगरी। निजसीमस्थफणित्वाद् विभाति हालास्यनामतश्चेह ।। तस्या ललाटलीनस्वाहापतिरेव शान्तसन्तापः । रेजे कुङ्कुमतिलकव्याजान्नूनं बुधा हि कालविदः ॥ 1. Printed Trichut. 2. Printed Bangalore. 3. Priated Suiviaya Press, Kumbakonam.

·63 FOLK SONGS OF KERALA by T. K. Krishna Menon, Ernakulam, Twenty-five years ago, the Government of Travancore inaugurated an Institution to engage itself in the publication of Oriental Manuscripts. The idea of the present talented Curator, Mr. K. Sambasiva Sastri, to celebrate the Jubilee of that institution by the publication of a memorial volume, is a very happy one. In this he can take stock of the work it has already accomplished, announce the nature of the work that will be done in the immediate future, receive criticisms and suggestions from savants here and abroad that will contribute to the value and improvement of the work of this department, and also give room for a few learned articles which will be allied to that work and relevant to furnish fresh aveniles to it. The discrimination shown in the selection of the works for publication in the several series started by the institution, the informing introductions and illuminating notes that adorn many of them have shown the wide and deep erudition of the editors and have covered their generous government with undying glory. "May the activities of this institution prosper' shall be at this auspicious period, the wish and prayer of scholars who have had occasion to know them and to appreciate them. With this contribution I pay my humble tribute to the worth and work of this institution. Folklore means the lore of the folk, the learning of the people. It was Mr. W. J. Thomas who coined this word in 1846 ; and he intended to mean by it "the traditional learn. ing of the cultivated classes of civilised nations". In this sense it has been adopted by several other countries. The import of the word, as elaborated, stands now for the science also, which treats of the survivals of archaic beliefs and customs in modern ages ; that is, that department of the study, of archaeology which covers everything connected with ancient observances and customs, notions and beliefs, traditions and superstitions and even prejudices of the common people. This study of folklore is of recent growth. £t was only ju 1378 that the Folklore Society of London, the first of its kind, was started. In these days, in every civilised' land, ·66 there are bodies engaged in the collection, classification and study of folklore. Folklore as such began to come into being from ancient times. Even folk-tales nude their appearance in literature at a very early period. In ludiit, we have Jatakas and the Pancatantra ; tomer his incorpornied many folk-tales in his immortal poems, and the Arabs have their Thousand and ouc Nights. In fart oury country has its own store of folkore, The folklore is generally classified under thret min divisions. (1) Beliefs and customs ; (2) Narratives and saying- ; and (3. Art. (1) There are branches to these major heads. For, the first will take in (a) superstitious beliefs and practices, cor'iected with animate and inanimate nature, with ghosts and goblins ; witeh-raft and leah-craft, magic and diviuation ; and (b) traditional custons which will include customs during festive days and Hasons and those during ceremonies linked with inrth and death and every important even between those LW incidents. (2) Narratives and sayings will comprise: tales and fables, myths and legends, nursery rhymes, rildhıs and proverbs. (3) And Art will embrace folk music with ballads and songs and folk drama. Our theme is folksong which will c«rtuinly crme in the art section, but will also find a plac: in the narrative portion as historical, devotional, sentimental or roin'utic songs. Cecil Sharp, who devoted his life to folk-song and folkdance, has done service of iminense value ; and in recent years British composers coʻrsiler it a pleasure and a piece of patriotic duty to resort to folk-songs for their pattern and their inspiration. It is interesting to trace the growth of folk-nough, although there be somu who cousider the work as a study of decadence with 110 gladsome prospect alsout it. Let us see if it is so after all. "In the course of ages, the uncouth, vocal utterances of primitive mann developed into sounds of inore or less definite pitch. From these emerged short phrases, in which rhythm probably played the principal part, reiterated with interminalle persistency". What we call the burden of the song or its refrain is reminiscent of this tendency. “You will then find the phrase repeated at a different level by way of contrast or variety. It is hyia combination of these nodes that melody is gradually reached.

·67 an ones. When this stage is reached, the history of a song as a musical form falls into two main courses : the folk-song and the arl-song. An art-song is the regult of a conscious effort of a skilled and civilised person, while a folk-song is unconscious product of the mind guided more by instinct than by method. A gifted singer will make a poem, off-hand, about current events, and will sing it to an appropriate tune of an existing song, or will make up a tune, from typical A familiar, popular form will, as a rule, be the one most acceptable. Novelty has rarely any charms for the singers or for their listeners. Some of these folk songs may be of doubtful value ; and while the tines are mostly good, they may not, in mauy Cases, be of surpassing beauty; there may be irregularities of time and mode as well. With all these plausible defects, these songs reflect the life of the people who sing them and of those who listen to them, and generally contribute in no small measure to their hilarity and to make the even tenor of their lives, pleasant and enjoyable. In the early stages of folk-song, one will invariably find that singing and dancing go hand in hand. Except to hazard a suggestion, I am not prepared to decide the right of precedence between the two. It is more than likely that, instead of a song being a subordinate adjunct to a dance, the dance must have had its origin in the mimetic actions that naturally accompany rudimentary songs. Whatever that might be, folk-dances have an interest of their own ; their inherent simplicity, vigour and dignity indicate the level of folk-culture. "They stimulate muscular activity of a rhythmical sort. From the point of view of art as well as physical culture, and in that they enhance the joy of life these traditional dances have a value, all their own. The flawless ,varied steps, the pose and rhythmic movements, the swaying to and fro of the body, the bending and rising, the advance and retire, to see these is to admire them. There is harmony in these picturesque mass movements, and when these accompany their appropriate songs, one gets the divine thrill. In a primitive rural village, under the canopy of heaven, and with the soft, cool air wafting on you from the smiling greens around, these folk dances and folk-songs have their best environment. Every country, even every race, owns its collection of folk-songs, its store of ballads, As a rule, these will be the results of a spontaneous outburst of the inspiration of the ·68 people. These popular songs, historical ballads and devotional hymns may not compare favourabiy in their texture and technique with the finished products of the conscious efforts of civilised poets. But these two represent in a remarkable degree the tastes, the feelings and the aspirations of the country or of the race to which they belong. In fart they form a record of the short and simple aunals of the people, "a record of the inner life, of the loves and hatredis, doubts and fears, hopes and beliefs " of each race, nay of each generation of each race. “ Unlike the cultivated arts which are often marred by a complicated forınality and artificiality, au excessive elegance and over-refinement of mannerism, the folk-art of every nation has a primitive purity, directness, vigour, vitality and robustness which serve as a perenuial fund for the regeneration and strengthening of natural life and national art from age to age." Folksongs are the songs of the folk, of the common people. They are songs composed by the cominon people. From age to age they are handed down by oral tradition. They are sung by the common people when they go through the merry round of their daily toil', when they sow, reap or clean the weeds ; when they carry a load or drive a country cart ; when maidens go to fetch water from the village well, ur mothers lull their babies to sleep. At festive seasons like Onam, Vishu and Thiruvathiray and on ceremonial occasions in the family, like marriage or birth, they are sung: Above all, in some of these songs you will find the outpóttings of a sad or gladsome heart to its favourite deity ; fbrI there is one thing in which a race expresses itself freely and 'fully, that thing is its religion.

·69 activities, under three groups, as those actuated by reason, imagination and emotion. In the realm of pure reason, of science, there is no scope for striking differences. Hortunately, there is no chemistry special for India, as different from one for Europe or for America. When it comes to imagination, let us take the case of philosophy for instance, for, you will find Kant, Comte and Sankara have different modes of approaching the great problems of the universe. While in the emotional sphere the contrast is pointed. Let us take the case of music or poetry; there we shall notice the soul-genius of each race exhibited in its separate aspects. As Mr. Dutt rightly remarks, “It is through the medium of these more than any other that the soul quality of each nation finds its characteristic self-expression. It is through the national art that u nation makes its contribution to human culture". It can easily be seen that for the development of the creative genius of an individual as of a race, it is necessary to look to his national art, rhythmic mould and inspirational channel'. However great an Indian might be, no great work will be done by a slavish imitation of foreign models. From the life and work of Toru Dutt, one will understand what I mein. She came to her own, she produced her lasting works only when, on the advice of the late Professor Edmund Gosse, she took to Indian models, to Indian scenes and incidents. Thus you will realise the value of our folk-songs in stimulating our national literature. There is another use for our folk-songs, and that specially in these days of depression. Even apart from the gloomy prospect caused by the reduction of trade and want of work, there is among our moderns an artificiality borne of the cramping effects of foreign etiquette and alien influences: Sach condicions are absent in rural parts and among the simple, unlettered people there. In the face of poveruy and its attendant trials, these folk-songs help to keep them aloft and to retain the spirit of tbe old-world ways and the childlike joy. That is no small good turu of our folk-songs. For, depend upon it, when a race loses its vitality 10 face bad days and gives way to despair, it is certain to be lost. Songs are sung when soldiers march to meet the enemy to drive their dull cares away and to incite them to action and martial music we know are not from the strains of a Beethoven or of a Wagner. They are songs of the folk that speak of simple joys or ballads that narrate the brave deeds of the beroes of their land. For a reyinient of Ghurka soldiers a ·70 national ditty or a well-known byıllad of theirs will be much more appealing and inspiriting thun an English tune or a Welsh air. We can see the correctness of lux contention by an appeal to our personal experience in our daily lives. A ballad, according to Andrew Lang, an authority on myths and legends and folklore, is from ballep’-to dance, and means a song sung to the rhythmetic movement of a dancing chorus. The word is also applied to any popular story told in simple versc. It is under this seront definition that our northern hallads, familiarly known as Vatakkan l'attu and Thachchoji Pättu, find a place. 'l hachchoji is a Dason in the Muttati Ainšom of Kurumbrail Taluk in North Malabar These ballads narrate the gallant exploits of Jlēppayil Kunhi, Othēnan, a valiant Nayar of Thachchöji. These display the life of the Malayalis of those days in a ronli-tic manner, of their rough and ready ways and of their bold and straight dealings. Othēnan was a Robin Hood minus his plundering propensities, and he had his little John in Othayathcytathil Kandasseri. Othénau was a source of terror in his locality. Valayavur Kutti Nambi, who finally married Chiruthaikutti the sister of Othênan had to complain to her on one occurion about her brother. Whether it was the charms of Chirutha or the charms of Othenan that tempted Kutti Nambi to form the alliance, the song is silent. We shall leave the solution of that problem to the research student who his much to learn from these ballads, of the history, custom and society of the Nayars of North Malubar. In Malabar, (very community his its store of folksongs, Nayars, Thiyyas, Valans, Pānans, Pulluvas, Pulayas, Malayars and all. In spite of the interplay of old and new modes of thought among all classes of people, these songs still pulsate in the rhythm of their social and family lives. There is the nursery in which all of us are reared. * Thanks to an old fashioned nurse says Mr. Marrett "there in the nursery we come in contact with the under-world of pleasant folk-lore. These old time values retain their spell. These values grow up with us and in variously transmuted formas enrich adult life, quickening the serse of wonder, the spirit of adventure and the love of simple and vital things But, unless we are on the look-out, and try to appreciate the value of these songs and dances, and make an earnest effort to see that these are not lost to us, we and those who ·- 71 come after us shall be able to enjoy the arcadian, blissful life of which these folksongs form an integral part, only, if at all, in rare and out-of-the-way bocks. Many influences are conspiring to belittle folksongs, to ruthlessly kill them, The call of the city is, perhaps an economic cal] ; and unless and until we reconstruct our villages, the lure of the city will be constant and tempting. In Europe and America, people have found out by actual experience that the enchantment of the city life is after all only an illusion which distance creates. But here we have yet to learn that dear lesson. Again a perversion, the mentality of the machine age, due to the dominance of the industrial ura, ihese have contributed to a considerable degree to the lamentable neglect of folk. sougs. We think it beneath our dignity, the high-brows at any rate do, to lasort to thrise to enliven our gloomy days. Now a-days we have music to order. There is the harmful harmonium, there is the grating gramophone I enter here and now, my emphatic protest against the introduction of harmonium into the musical world. Has it not supplanted the Veeņa thut adorus the hands of the Goddess of Music? It drowns the beautiful human voice. It kills harmony. It enslaves one as a drug as Dr. Arnold Bake rightly remarks ; and those addicted to it, and who is not, try to create concord in a dingy room instead of singiny like a lark 'under the canopy of the sky, in the freedom of the air. It is high time we make an exhaustive collection of our folk-songs, dances and games. For, please take my word for it, and I am sufficiently supported by competent authority, they alone create a constant stream of inspiration essential for the rejuvenation of a nation's creative genius, for the resuscitation of its national culture and for its spiritual development”. More than a quarter of a century ago, Mr. Charles E. Gover, published a book called the Folk songs of South India". In his preface to that work, lie deplores the lamentable negligence shown by the Malayalis in collecting and collating them. There is a great mass of noble ballads and songs he says " ready to hand in Malayalam folk Literature. But total negh:ct has fallen upon it... ....... It has not had a chance of obtaining the notice it so richly deserves". In a similar strain the late Mr. Tatakanaran writes in his Comparative Study of English and Malayalam”. “No antiquarian has yet arisen among the people endowed with the necessary earnestness of purpose, intensity of interest, and sufficiency of means and influence 64 12 .

·72 . Our #ystem to attempt a complete or even it partial cullerotion of these ballads of Kerala". Believe me when I Nayanel I say it with sorrow and emphasır, that it will be watimul mis fortune if our folk-sungs and indigenoue argument and the priceless tradition commectal with them ':r*rmitted to die. An artist's style to be miching must la nuntional. Look at Madhusuden Duit : he tried to imitate the Puglish style, and so he is rememlxrerit to lay only buy thu kunio-hunter. But take our Tagore, whu is nationul to the core ; he hag become a classic in his life time. As. Mr. li, s. Dutt remarks, " For the renaissance and growth of Hu: poctical, lyrical and musical genius, we have to wwk inspiration at first hand froin the Nior house of our folk-s, folk-music and folk-lore". I appoul to the educated 11X'n women of Kerala to work for the collection and propularisation of these. They will then be doing a great putriutir work. Let them seu these introduced in our schools of education is too cosmopolitan”, said the late Mr. Cecil Sharp 25 years ago ; it is calculated to produce citizens of the world rather than English citizens How 10 this be remedied? Let every child be put in pur•resion of those which are the peculiar products of his ruce. The first and foremost, the mother-tongue. Then there are the talon, legends and proverbs. Finally the folksongs, tha sinaple ditties that, like wild flowers, have sprung proru the heart of the people. The introduction of folk songs will not only affect the life of England, it will greatly tend also to arouse that love of country and pride of race, the x8*10% of which we now deplore I can heur the cry of The mudern oda. cational experts. “Out with your nursery rhyines. We Want inore science" But this cry has not illected the hoary, sacred cdifices of learniug in Euro um linerion Let us say decisively like the people there that we are nok machines. More of Sciunce does not ineun lemn u lettere We want more of letters to keep up hutnalle. E non science is to mean less of light, of faith and of joy, of frein air and music we shall not have chat sort of scincu. That all. Let us thus stand firm by our folksongs. existence under adversa conditions for such a length of reveals a power of sheer endurance, and the bold they has et the national mind," A loving touch will aguin engem ayte lite, in them and an access of growth and a glania 7 . " Thoir ·73 NARAYANA BUATTAPADA. By Rao Sahib S. Paramesvara Aiyar, M. A., B. L. Kavitilaka Retired Derran Peishkai ond District Magistrate and member of the Advisory Beard of the Department for the Publication of oriental manuscripts, Trivandrum. Kerala has, in all ages, been the chosen home of Sanskrit culture. The only other part of India that can in any way be compared with it, in this respect, is Kashmir. This land of Sriparasurama has preserved intact several customs and institucions of ancient India, swept away by the tides of time elsewhere. The manuscript libraries which it possesses are some of the most valuable in all Bharatavarsha, and it is from the contributions made by then that the Travancore Government have been able to bring to light such works of intestimable worth as Skandasvamin's Bhashya on the Rksamhita, Kautalya's Arthasastra, Visvarupa's Balakrida on Yajvavalkyasmrti, Dakshinavartanatha's Pradipa on Meghasandesa, Mahimabhatra's Vyaktiviveka, Mahendravikrama's Mattavilasa, and last, but not least, the thirteen plays attributed to Bhasa, to mention only a few among the one hundred and odd volumes of the Triyandrum Sauskrit Series. As has been aptly said, it is the unexpected that often happens, and the great Mahayana work, Aryamanjusrimula kalpa, included in this series, has been of signal help to that distinguished orientalist, Mr. K. P. Jayaswal, in the reconstruction of a period of Hindu History hitherto considered wholly unfathomable. Mr. Jayaswal has generously acknowledged the light that he has been able to derive from this source even recently when he presided over the eighth Oriental Conference at Baroda. The Department for the Publication of Oriental Manuscripts in Travancore, which has already achieved so much, has even a more brilliant future before it, if the Government will but continue to advance its interests with the same parental solicitude that they have done in the past. The indigenous Brahmans of Kerala, known as Namputiris, have been the main repositories of this time-honoured culture, and from generation to generation they have main. tained that sacred lamp in ever-increasing effulgence. With the advent of education on western lines in the country, a different era has commenced, but it is needless to advert to it in this connection. Three stars of the very first magnitode in the firmament of letters have shone in that com. munity in the past, viz., Sankara, the great Advaitachrya, ·74 + than whom perhaps the world has not produced a mightier intellectual giant, Prabhakura, the well-known founder of the Puryamimamsa system of Philosophy that goes by his name, and Narayana Bhattaprada (Bhattatiri), the list nguished poet and grammarian, about whom I propose to make some observatious in the present paper. Several other luminaries of remarkablo brilliance have also risen among then, such as Lilasuka, the author of Srikrishnakarnamrta, Laksmidasa, the author of Sukasandesal, Vasudeva, the author of Yudhishthiravijaya and other Yamukakavyas, Damoda ra of Kakkasseri, the author of Vasunutivikrama, and Purnasarasvati, the Hallinatha of Kerala ; but their place is subordinate to that of the three mentioned before. Two of Narayana's works, Naruyaniya, the devotional px xm in praise of Mahavishnu, and the Mana' section of Manureyodya, have already been published as Nos. 18 and 19 of the Tri. vandrum Sanskrit Series, while three other works, the Champus entitled Svahasudhakar.. and Kotiviraha, and the treatise on Vyakarana, Dliatukavya, have come out in the Bombay Kavyamala Series. The most important work of Bhattapada, Prakriyasarvasva, is at present in course of publication in the Trivandrum Sanskrit Series, the first volume having alrjady been printed as No. 106. The Unadi. sutra section of this work has been recently publislırd by the Madras University. A little to the north of the ancient Vaishnavite shrine of Tirunavai on the banks of the Bhuratappuzha (Nila) in the Malabar District, culogised in the Vaishnavite Tamil Devotional songs of Nammalvar and Tirumankaulvar, there is a small temple known as Chandanakkavu consecrated to Bhagavati. A bout a miles to the enst of that remple there flourised of old a Jamputiri illam (house), by name Melputtur, which is now extinct, having morged in the Maravancheri Tekketa tu illam. Narayana Bbnttapada, the subject of our sketch, was born in the Melputtur illam in 735 M. E./1559-60 A, D., as the son of Matrdatta Bhuttatir, Matrdatta was a well-known Mimamsaka of his time, and his house was a gurukula for imparting instruction in that Sastra. It is worthy of note in this connection that Purvamimamsa found support in Kerala Frou very carly times, and the tradition is that it had the honour of a visit from Kumarilabhatta himself. Narayana's mother was a daughter of Payyur illam which, for some generations, produced Mimamsakas of the highest order. In the first half of the ·75 15th century of the Christian era, there lived a renowned Sarvatantrasvatantra in that illam in the person of one who is venerated as a Maharshi by his contemporaries. His son, Paramesvara Bhattatiri, was the author of Jaiminiyasutrarthasangraha and other Purvamimamsa works. Though born and brought up in such inspiring environments, Narayana, until about sixteen years of age, could not pick up anything more than the rudiments of Sanskrit. He led a lazy and wayward life, much to the disappointment of his parents, u itil one day by chance he met Achyuta Pisharoti of Trikkantiyur, the most distinguished Jyautishika of his generation and an acknowledged authority on Vyakarna, Ayurveda and other branches of knowledge. Narayana had a yonuger brother hy name Matrdatta, and when both of them went up to Katavallur for an examination in the Vedas, the latter alone was declared successful by the authorities. This incident had occurred some time before the youth met Pisharoti, and repentance from that moment had begun to work a vital change in his mental outlook. The following verse is said to have been presented to Pisharoti by Bhattatiri at their first meeting : मनं महामोहमये महाब्धौ मन्दं महात्मन् ! ममताकुलेन । कृपापयोधे! मनसोद्धरासं कृत्वोडपं ज्ञानमयं प्रपन्नम् ।। Pisharoti, who was an Ampalavasi by caste, and who, being a neighbour, was a friend of Bhattatiri's father, after putting certain questions to the young man, was satisfied that his natural gifts were extraordinary, ard that, under proper training and guidance, they were sure to lead him up to limitless heights of fame. He then began to teach him Vyakarana, and within the next ten years Bhattatiri secured unrivalled proficiency not only in that department of learning, but also in numerous others, sitting at the feet of several teachers of eminence. At the conclusion of his Prakriyasarvasava the poet mentions some of these teachers in the verse quoted below : मीमांसादि स्वतातान्निगममविकलं माधवाचार्यवर्यात् तर्क दामोदराख्यादपि पदपदवीमच्युतार्याद् बुधेन्द्रात् । तेषां कारुण्ययोगात् किमपि च कवितामाप्नुवं; कार्यमेतद् भूयात् कृष्णार्पणं मे भवतु च सततं धीरघारेः कथायाम् ।। Four teachers ars mentioned in this verse, his own father who taught him Mimamsa, etc., Madhaya Veda, i ·76 Damodara Tarka, and Achyuta Vyakarana. We know not thing, unfortunately, about Madhava or Danoları, al hongh some say that Madhava was a Tamil Brahmin, to whose house in Choladesa both Bhattatiri anıt Pisharoti went and studied the Vedas together. Bhattatiri is also known in have married a lady of this Pisharoti's family, who is referred to as Svati, as probably having been born under that star, in some of his stray Sringura velnes, one of which I ******p*t: अन्तः स्वाति ! मुहुः स्मरामि तव तानास्वादधौताधरा- नास्विन्नानसहायपाणिकमलप्रारब्धमुग्धाञ्जलीन् । गण्डान्दोलितकुण्डलान् कबरिकाषण्डभ्रमषट्पदान् कण्ठान्तर्विलसत्कपोतनिनदान् कन्दर्पवीरोत्सवान् ।। Although the poet had several teachers, I nerated Achyuta more than even his own father. When that teacher fell ill in 799 M. E/1624 A. D., he attendteel lhis sick bed, recited with him the following appropriata Vurst (ccurring in Singabhupa's Rasarnavasudhakara : काये सीदति कण्ठरोधिनि कफे कुण्ठे च वाणीपथे जिह्वायां दृशि जीविते जिगमिषौ श्वासे शनैः शाम्यति । आगत्य स्वयमेव नः करुणया कात्यायनीकामुकः कर्णे वर्णयताद् भवार्णवभयादुत्तारकं....... a few moments before his expiry, and when he found that Pisharoti could not proceed further owing to extreine wenkuess, completed the verse by the recital of the word तारकम्, thereby szcuring the good fortune of impurting Paraku, padesa to his guru at the time of his cenuise. He also composed the following Charamasloka in meinory of Achyuta : हे शब्दागम ! निर्दयं विबुधतालुब्धैर्निपीडिष्यसे धाष्टबैंकप्रवणासि वैद्यसरणे! नष्टोऽस्यलङ्कार ! भोः । हन्त ज्योतिषतन्त्र! पर्यवसिता तिथ्यृक्षयोस्ते कथा विद्यात्मा स्वरसर्पदद्य भवतामाधारभूरच्युतः ।। By 762 M. E./1586 A. D., Bhat tatiri had become not only an expert in several Sastras and particularly in V yakarana, but also a poet of transcendent eininence. It was then that he was afflicted with an acute altack of rheumatism, and finding that medical succour was of no revail, he proceeded to the sacred Srikrishna shrine of Guruvayur, now so .wellknown all over India in connection with the recent temple-1 entry' satyagraha movement, to offor worship there. Even .... १ ·77 at the present rlay, worship in this temple is believed to be a sure remedy for rheumatism, in many Astika patients do durive real benefit from such worship. Bhattatiri repaired to that shrine with his younger brother Matrdatta, already referred to, in the month of Chingam (August-September) in 762 M. É., and worshiped Srikrishna for a hundred days, composing ten verses cach day in praise of the Deity and dictating them to Matrolatta who acted as his scribe. Matrdatta himself was a poet and scholar of no mean order, and his Bhaktisamvardhanasata ka is a work of more than common incrit. The work was completed on the 28th day of Vrichikam of that year. This is the great Narayaniya, a stotra called by that name both because it sings the glory of and is surg by Narayana,--the noblest work India has produced in Sanskrit in the field of devotional poetry. I assert this with due regard to the undoubted merits of works like Muka's Panchasati, Vecantaciesika's Padukasahasra and Venkatadhvarin's Lakshmisahasra 111 which, from the very circumscribed nature of the subject matter, its treatment cannot help becoming monotonous. Naryaniya, on the other hand, is a highly embellished epitoine of the incidents narrated in the Srimadbhagavatapurana, which is beyond question the loftiest work in the sacred literature of the Hindus from the devotional point of view. Every trait of the poet's incomparable genius shines at its best in this marvellous work of art, and the joy that it affords alike to the Bhavuka and the Bhakta is not for words to describe. The poem is not known even in South India to anything like the extent it ought to be, and it hohoves the Government of Travancore to publish a cheap roprint of the text at least in Dev.inagari and make it available to devntees of every class of society thronghout India. One of the peculiar excellences of Bhattatiri as a poet is that he is oqually at home in the Vaidurbhi and Gaudi styles of composition. The following from the Rasakrida section is a specimen of his Vaidarbhi style : केशपाशधृतपिन्छिकाविततिसञ्चलन्मकरकुण्डलं हारजालवनमालिकाललितमङ्गरागघनसौरभम् । पीतचेलधृतकाञ्चिकाञ्चितमुदञ्चदंशुमाणिनू पुरं रासकेलिपरिभूषितं तव हि रूपमीश कलयामहे ।। वेणुनादकृततानदानकलगानरागगातेयोजना- लोभनीयमृदुपादपातकृततालमेलनमनोहरम् ।

·78 पाणिसंकणितकणं च मुहुरंसलम्बितकराम्बुजं श्रोणिबिम्बचलदम्बरं भजत रासकेलिरसडम्वरम् ॥ These verres may be profitably compared with those composed in the Gaudi style in the Narasimhavathura section quoted below : तप्तस्वर्णसवर्णपूर्णदतिरक्षाक्षं सटाकेसर- प्रोत्कम्पप्रतिकुम्बिताम्बरमहो जीयात् तवेदं वपुः । व्यातव्याप्तमहादरीसखमुखं खड्गोग्रवल्गन्महा . जिहानिर्गमदृश्यमानसुमहादंष्ट्रायुगोड्डामरम् ॥ उत्सर्पद्वलिभगभीषणहर्नु हस्वस्थवीयस्तर- ग्रीवं पीवरदोश्शतोद्गतनखजूरांशुदूरोवणम् । व्योमोल्लशिवनापनोपमवनप्रध्वाननिर्धावित- स्पर्धालुप्रकरं नमामि भवतस्तन्नारसिंह वपुः ।। "The sound must seern an echo to the sense said Pope, and in each of the above illusirations, that echo is full to overflowing. As an instance of the inflifluousness of Bhattatiri's dic ion, the following verses describing the arrival of Uddhava at Gokula may be cited : सायं स गोपभवनानि भवच्चरित्र- गीतामृतप्रसृतकर्णरसायनानि । पश्यन् प्रमोदसरितेव किलोषमानो गच्छन् भवद्भवनसन्निधिमन्वयासीत् ॥ तावद् ददर्श पशुदोहविलोकलोलं भक्तोत्तमागतिमिव प्रतिपालयन्तम् । भूमन् ! भवन्तमयमग्रजवन्तमन्त- ब्रह्मानुभूतिरससिन्धुमिवोद्वमन्तम् ।। The poet's unique powers of condensation may be seen from the verse quoted bulow, wherein the teachings of the Bhagavadgita are compressed in a nut-shell : जिष्णोस्त्वं कृष्णा ! सूतः खलु समरमुखे बन्धुधाते दयालं खिन्नं तं वीक्ष्य वार किमिदमयि सखे ! नित्य एकोऽयमात्मा । .

·79 . को वध्यः कोऽत्र हन्ता तदिह वधभयं प्रोज्झ्य मय्यर्पितात्मा धर्म्य युद्धं चरेति प्रकृतिमनयथा दर्शयन् विश्वरूपम् ।। In more than one place the poet passionately emphasises his partiality for Muhavishnu and even cites Sankarabhagavat. pada, the Smarta Advaitist, as a witness for the position taken up by him :- श्रीशङ्करोऽपि भगवान् सकलेषु तावत् त्वामेव मानयति; यो नहि पक्षपाती । त्वनिष्ठमेव स हि नामसहस्रकादि व्याख्यद् भवत्स्तुतिपरश्च गति प्रपेदे ॥ Bharitatiri had no fnlse notions about the eternal superiority of his own caste. Finding that in his time the Brah. man had fallen from his high state, he doos not hesitate to condem him as follows: स्त्रीशूद्रास्त्वत्कथादिश्रवणविरहिता आसतां ते दयाहा- स्त्वत्पादासन्नयातान् द्विजकुलजनुषो हन्त शोचाम्यशान्तान् । वृत्त्यर्थं ते यजन्तो बहुकथितमपि त्वामनाकर्णयन्तो हप्ता विद्याभिजात्यैः किमु न विदधते तादृशं मा कृथा माम् ॥ I now leave this sweet poem with regret and proceed. Even some time prior to the composition of Narayaniya, Bhattatiri had begun to write his Champukavyas. He engaged himself in this congenial occupation at odd intervals for many years, and as muny as thrity works of that type from his pen have come down to us. The most important among them are, besides Svahasudhakara and Kotiviraha already referred to, Panchali-vayamvara Nalayanicharita, Subhadraharana, Rajasuya, Kaunteyashtaka, Kirata and Dutavakya, all based on episodes in the Mahabharata, Matsyavatara and Nrgamoksha dealing with incidents in the Srimadbhagavata, Dkashayajna and Tripuradahana touching events in the Sivapurana, Surpanakhapralapa relating to Ramayana, Ashtamichampa which is a description of the Kartikai Ashtami festival in the Vaikam temple dedicated to Siva in North Travancore, and Gosrinagaravarnana which is a description of the town of Cochin in his time. Surely Bhattatiri has composed more, Champus than any other poet in India. His intimate acquaintance ·80 with Purvamimusi is xhibited in lea jarinya, liis imaginative power in Subhulrahurani, iu his kert sense of nba servation in Aslan.chupi u (orinagaruvarnana. Among the more famous (hampukavyas in Sanskrit, Bhejisdeva's Ramayana is notel for rusi, Anuntablutra's Bharatas for ullekha, Trivikrama shatia's Nalachamp for slesha, and Nilakanthadikshita's Nilikauthavijiya for humour. Bhaititiri combines in his works all these poetic (Xullorees, and his champus form it unique treit in themselves. Si vorul of these works were composed at the instalrice of an older conta temporary and intimate friend of his, Ittiravi (hikkiyar "Ravinartaka) of Kuttancheri, who was hun-11 il punt of merit, as his Mudrarakshasukatha-am published in the Cal cutta' Oriental Series will testify: Chakkiyarkut", in which is included the exposition of Trihines and Punims, in at survival of the Sutaprtvachan institution of ancient India. It now flourishes only in Kerala, wlure it is seen to have been in existence even in the carily centuries of the Christian era, as revealed by a reference in the anciert 'Tamil classical work, Chilappatikaranı. Chukkiyars form it sertion of the Ampalavasi cominunity whose hereiclitary profession in the performance of plays and the exposition of itsmis and Puranas in Hindu teinples. Ittiravi Chakkiyar was desirous of securing fresh Prabandhas for the success of his profession and Bliattatiri more than satisfied his closir. Surpuitnakhapralapa wis one of the earliust Champus of the author', It is a Nıranunasikaprabandha, 1. e., it contains no mal lottering since it is the complaint of Surpurukha to Ritvann after Lakshmana cut off her nose it Panchavati. Ravinartaka was a Chakkiyar of great natural gifts, and tradition has it that when he hand to explain tha pissage: "ET ET TRAVAIH! 76- रिभवग्रस्तस्य धिक् ते भुजाः' occurring in that Chun, although Bhastairi had to us at: instead of , b.muse the latter would not be a Niranunasika word, the Chukkiyul" explained its appropriateness by saying that the arms of Rivana could only be mentioned in the feminine and not in the masculine gender, because they woro so powerless aguinst Srirama. I shall now quote a few passages-Verse and prose from these Churapus to show how eminent a Champukarı Bhattatiri is. When Yudhishthira was asked who he and his brothers were when they went to the court of Drupada on the occasion of Panchalisvayamvara, he had to preserve r ·81 his incognito and at the same time to speak the truth. Both these objects are achieved by reciting the following verse: धर्मात् ख्याततमे द्विजाधिपकुले जातोऽहमेषा च मे माता पावनजन्मतामभिवहन् नन्वेष मे सोदरः । किञ्चाखण्डलसत्प्रमोदजनको भ्राता ममायं परो नासत्योदितमत्र विद्धि सहजद्वन्द्वं ममैतावपि ॥ The following verse from Dutavakya describes Srikrishna's angur when Duryodhana ordered his imprisonment on the delivery of his fateful message before the great war: तावद् देवस्य देहाज्झटिति पटुतडित्कोटिवत्ताडिताक्षः संहारोन्निद्ररुद्रस्फुटनिटिलशिखिज्वालजालप्रकाशः । कल्पान्तक्रूरसूरोत्करकिरणसमाहारघोरः समन्ता- दारुन्धानः सभां तां निरपतदतुलः कोऽपि तेजस्समूहः ॥ The versa quoted below from Ashtamichampu is a dem scription of Sri Rama : वैदेहीपीनतुझस्तनभरयुगलीगाढगाढाइपाली- केलीसम्मर्दमिश्रीकृतघुसृणलसच्चारुदोरन्तरालः । कौसल्याभाग्यसीमा वलमथनमणिश्यामलः कोमलाङ्गः कश्चित् सच्चिन्मधूलीरसनवलहरीस्यन्दगन्धः समिन्धे । Trayi (Veda) is described as a Nayika in the following Verse from Matsyavatara : उद्यत्तारामिरामां विधिमयवदनालक्ष्यकामानुबन्धां सोऽयं प्रौदार्थवादप्रचयकचभरां चारुमन्त्रानुलापाम् । गूढाद्वैतप्रदेशात्मकगुरुजघनामुल्लसत्पादशोभा- मापूर्णाङ्गी त्रिवेदीसुदृशमपहरन् पूर्णकामो बभूव । The Gadya quoted below from Subhadrabarana describing the growth of Subhadra's love towards Arjuna illustrates Bhattatiri’s matchluss power of psychological analysis : सुभद्रा तु बाल्य एव गदनिगदितपार्थप्रभावश्रवणकन्दलितकौतुकरसा, कृष्णीनामप्यर्जुनो न मे तुल्य इति वीरवादान्, अर्जुनतुल्यगुणो भवेति बाल- ·82 जनाशीर्वादान् , कृष्णस्यापि तत्तत्प्रसङ्गेषु प्रियसखगुणवर्णनान्युपशृण्वती, क- मेण सखीजनानुयोजितकोरुजाङ्गलजनवाचा तत्त्वतोनिशमिततदीयरूपमाधुर्या, मुहुर्मुहुः श्रवणात् प्रत्यक्षमिव तं निरीक्षमाणा, तारुण्यश्रिया लावण्यविलासैश्च सहैव दिनेदिने परिवर्धमानमनोभवखेदा, पुनरकाण्डे हलधरस्य सयोधनप्रदाना- भिलाषप्रसङ्गमाकर्ण्य तप्तजलसिक्ता, निदाघकालचालमालतीव दुरन्तसन्ताप- दन्दह्यमाना, ततः; स्वयंवर एव सर्वाभिमत इत्युपश्रुत्य किमपि समाश्वस्त- चित्ता, तदनन्तरं च पार्थस्य तीर्थयात्रावृत्तं निशम्य तत इतस्तदुदन्तान्वेषिणी, सर्वथासौ प्रियसखमनालोक्य न यास्यतीति कलितविलोकनाभिनिवेशा, पुन- रपरान्तगमनात् परं तदुदन्तमवेदयन्ती, गतो वेति विचिन्त्य महाखेदमनु- भवन्ती, सामयिकसमापतितजलदागमप्रदीपितमन्मथा, त्वत्कुशलकाझी फ- गुनप्रियसखः कंसहन्तैव ते तापहन्ता भविष्यतीति हृदयसखीभिः समा- श्वास्यमाना, कथंकथमपि दिनानि निनाय । The Gadya extracted below froin Matsyaratara describes the speedy growth of Adimatsya : ततश्च तूलजालनिपतितबालस्फुलिङ्ग इव तरुणीजनद्रयारकुरित- दुर्लभरागाङ्कुर इव सुमतिजनहृदयनिहितोपदेशलेश इव तार्किक्रयूथविनि- हितविवादलव इव सज्जनसमाचरितदुश्चरितलेश इव पिशुनमुखनिहितनिगूढ- वृत्त इव निमेषमात्रेण निरवधि परिवर्धमाने In the following verse in Rajasuya Sisupala condemna Srikrishnu with all the inveterate fury of'un implacable - enemy : *प्रागेवासौ विसार:कपिदसुस्वधे होमसौखिका स्तम्भ प्रातः कथलिबबादस्यबारः सर्ववतु न्यानाम् । मुन्यात्मा वीरहत्यां व्यषित निस्वधि स्वस्य दारानदोषा- नत्याक्षीद राघवाल्मा हरिचरितमहो सर्वमेवामिराम।। स्त्रीनो गोनो गुरुनः खगफाणिमिवधानाकुमात्रं किलादि पर्यास्थद् दारुमात्रं शकटमरमयद् गोपिका गव्यमोंषी । प्राण्यं माग, तं. मुहुरपक्कतवांस्तद्वयादाशदेशा- नादिन देखि लोकात्मणिमनुषदझे स्वौषि दोषानपान . M Sbe the fine slesha in this verse.

·83 An elephant by name Chandrasekharan was attached to the Vaikam temple in Bhattatiri's time and the animal is thus described in Ashtamichampu : अतिविकटकरटोपान्तनितान्तवान्तमदजलधारासारतरलचञ्चलीकसञ्चय- कलनिनदमुखरितककुभं , चलाचलकर्णतालयुगलान्दोललीलावधूतललितकर्ण- चामरमण्डितगण्डमण्डलघणघणायमानघण्टायुगलपरिष्कृतबन्धुरुकन्धरम्, अत्यु- ज्जृम्भमाणमदभराभोगपरिपूर्णमानविपुलनयनान्तम्, अत्याक्तदन्तमुसलच्छलेन निखिलदन्तावलमदकन्दलोन्मूलनकुदारूद्वितथमिव दधानं , विविधकिङ्किणी- निनदव्याजेन सकलकरिकुलविजयघोषमिवोद्धाटयन्तं, विवर्तमिव पुष्कलावर्त- कानां, परिणाममिव कुलगिरीणां, विश्रमसर्वस्वमिवाभ्रगुवल्लभस्य, जन्मान्तर- मिव दिल्मातङ्गानां, व्यत्यासमिवाचनशैलस्य, मस्तकापालङ्कृताभिः सुवर्ण- मयीभिः शशिकलाभिर्निजनामधेयमिव यथार्थमातन्वानं, चन्द्रशेखरं नाम कमपि गन्धसिन्धुरमधिरुरोह । Bhattatiri describes the Portuguese whom he found in Cochin in the following words in Gosrinagaravarnana : श्यामधवलोणरुचिदीप्रतरकूर्पासैराप्रपदीननिगृहितगात्रतया प्रावृड- म्भोदैः शारदाम्भोदैः सन्ध्याम्भोदैश्च सम्भूय कुम्भिनीतले सम्भ्रमाद्भिरिव दृश्यमानः नितम्बविम्बलम्बितकरालकरवालतया स्कन्धदेशलम्बमानदन्दशूक- भीमरूपचन्दनबुमायमाणतुपाण्डुविग्रहः कुञ्जगर्भदृश्यमानपकपृथुलदाडिमी- फलायमानैः कन्चुकान्तकिञ्चिदवेक्षणीयविषाण्डरवदनविम्बैः पारसीकलोकैः सम्बरिष्णुभिरुपरुध्यमाननिखिलमार्गे The poet reveals his marvellous knowledge of Vyakarana and Mimamsa in several portions of these works. Two typical verses are quoted below, the ifiret from Panchalisvayamvara and the second from Matsyavatara : येषामयं शाश्चतिको विरोधस्तेषामहो द्वन्द्धसमुत्सुकानाम् । द्रागेकवद्भावमसौ विधास्यन्नन्धो नृपः शाब्दिकवद् बभासे ॥ इत्वमयमनविस्तृतिमविदेशच्यातिमखिलवाघ च । प्रथयन्छबरस्वामीनावरस्वामीव लक्षितो.लोकैः ।। One more poetical-work of Bhattatiri may be .referred to in this connection. It is Sripadasaptati, a poem in ·84 m seventy verses of the Sarılulavikriclita metre, coruposel in praise of Mukkolaikkal Blagavati (Parvati) in Corhin State, where the poet appears to have spent the evening of his life. The work is an Xhibition of Bhati.tiri's reinarkable gifts as an Ullekhakara. Two verses from the poem are extracted below : त्वत्पादाञ्चलरूपकल्पलतिकानालप्रवालद्वयं ये तावत् कलयन्ति जातु शिरसा नम्रेण कम्रोज्ज्वलम् । तेषामेव हि देवि! नन्दनवनक्रीडासु लभ्यं पुनः स्वर्वल्लीतरुणप्रवालभरणं; सेवानुरूपं फलम् ।। आनम्रस्य पुरद्रुहः शिरसि ते पादाब्जपातः शिवे! जीयाद् येन बभूव पङ्कजवती मौलिसवन्ती क्षणम् । किञ्चोदञ्चितबालपल्लववती जाता जटावल्लरी लाक्षापातवशेन सान्ध्यसुषमासान्द्रा च चान्द्री कला || Uttararamacarita, a Kavja in six Sargas, is also attributed to Bhattatiri, though not on arlequite data. The poet has written an exhaustivo commentary on the verse beginning with "goarça" in Amarukasa tuka, showing his extraordinary proficiency in Alankara, Bhattatiri, in the course of his peregrinations, appears to have visited the courts of the Zamorin of Calicut, Virakeralavarma, King of Cochin from 776 to 790 M. E., whose oounger brother, Kochunni Tampuran, was a particular friend KE the poet, Godavarma Raja of Vatakkunkur, which principality has since merged in Travancord, and Puratam Tirunal Raja of Chempakasseri (Ampalappuzha), which has also shared a similar fate. The following verses are in praise of Virakeralavarma: चित्रं भोस्त्वच्चरित्रं नरवर! तव नन्वभ्यमित्रीणयात्रा- वार्तामात्रादमित्राः शिव शिव! चलिताः प्राज्यमुत्सृज्य राज्यम् । जीवन्त्येते कथञ्चित् किल पुनरधुना सङ्गतास्तुगतुङ्ग- क्ष्माभृत्कूटे कुटीरीकृतविटपिमहाकोटरा माटराज ! ॥ श्वेतीकुर्वति सर्वतस्त्रिजगतीं त्वत्कीर्तिपूरेऽधुना माटक्ष्मावर! सत्यमापणजुषां भूयान् विषादोदयः । रत्नानि स्फटिकीकृतानि; कनकैः संप्राप्यते रूप्यता याता च प्रचुरा दुकूलपटली धौताम्बराडम्बरम् ।।

·85 The following verse praises Godavarma Raja of Vatakkuinkur : त्वद्धामा काञ्चनाद्रौ द्रवति सुरगणाः प्रापुरार्ता विरिञ्च सोऽयं प्रागेव शम्भुं शरणमुपगतः पङ्कजम्लानिखिन्नः। शम्भुः प्रागेव यातो रजतगिरिविनाशाकुलः पद्मनाभं सोऽपि क्षीराब्धिशोषादवशमतिरगात् त्वन्मनीषां विशालाम् ॥ The Raja of Chempakasseri, a Namputiri Brahman, was a distinguished scholar and patron of letters himself, and owing to the generous consideration shown to him, the poet lived in his court for some years. The following verses are in praise of this ruler : गोत्राभ्युद्वहनोधुरस्य महता चक्रेण कृत्तद्विषो लक्ष्मी वाचमपि प्रियां कलयतः स्थास्त्रोर्द्विजेन्द्रोपरि। भूयः शूरकुलैकभूषणमणेर्देवेन नारायणे- नैक्यं निश्चितमेव निश्चलधृते ! ते देवनारायण! ॥ संरुद्ध देवनारायणनृप ! भवता नास्तिकानां प्रचारे त्वत्सेना हन्त चार्वाकवदयि परलोकोदयं खण्डयन्ति । कान्तारे वैरिणस्ते क्षपणकजनवत् सप्तभङ्गी भजन्ते तेषां राज्ये च ही ही सुगतमत इव श्रूयते शून्यवादः ।। Devi narayana is the generic designation of the Rajas of Chempakaseri. It was at the court of Devanarayana that Bhattatiri composed his magnum opus, Prakriyasarvasva, and established his as a Vaiyakarana. The Vyakarana generally studied in Kerala in former days was the Rupavatara of Dharmakirti, until it was ousted by the Prakriyakaumudi of Ramachandra, who lived in the 14th century A. D. Ramachandra is referred to with res - pect by Achyuta Piskaroti in his Pravesaka, a grammatical primer compused by him. Battatiri, on being presented to the Raja of Chempakasseri, prayed for his longevity in the following verse which revealed his proficiency in Vyakarana : अव्यञ्जनस्तायकेतुर्यत् पदं घटयिष्यति । तत् ते भवतु कल्पान्तं देवनारायण ! प्रभो! ॥ name ·86 whereupon the Raja became so pleased with him that he asked him to write a new Vyakarana. This fact has been mentioned by the poet in the introductory verses to Prakriyasarvasva, quoted below: सोऽथ कदाचन राजा खगुणैराकृष्य सन्निधिं नीतम् । श्रीमातृदत्तसूनुं नारायणसंज्ञमशिषदवनिसुरम् ॥ वृत्तौ चारु न रूपसिद्धिकथनं रूपावतारे पुनः कौमुद्यादिषु चात्र सूत्रमखिलं नास्त्येव तस्मात् त्वया । रूपानीतिसमस्तसूत्रसहितं स्पष्ट मितं प्रक्रिया- सर्वस्वानिहितं निबम्धनमिदं कार्य मदुतावना ।। It was with a view to avoid the defects in previous grammatical works such as Kasika vrtti, Rupavatara and Prakriyakaumudi that the Raja or lered Bhattatiri to compose a new Vyakarama in twenty khandas or sections, and in doing so gave him dofinite instructions as to how the work shoull be execared. Perspicuity and brevity were to be the cardinal features of Prakriya ATVASV. Bhattatiri composed the whole work within the incredibly short space of sixty days. This was in 792 M. E, when the poet was about 57 years of age. The satisfaction of the cluins of clarity and condensation at one and the same time was a difficult feat, but the poet was more than equal to its In the composition of this work Bhattatari was no slave to precedent. He found that certain grammatical forms not approved by the three. Munis (Panjai, Katyayana and Patmjali) band the support of Naiyakaranas like Bhoja, the author of Sarasvatikanthabharana, that Panini, after all, representked:omly one, though no doubt the arost widelydecepted, sekanal of thought in that doeanch of learning, and thikt some usages of great writers could be justified unly on table with mrity of non-Paniniya grammaarians. To cite an instance, Visrāna is a word which has been used by both Bhavabhuti and Murari, tuo great Pandita poets, although Kasikavrtti condemna.it asincorrect. Bhattatiri naturally does not accept the verdict of Kasika ir the matter and prom ceeds to observe ; www ·81 विश्रामस्यापशब्दत्वं वृत्युक्तं नाद्रियामहे । मुरारिभवभूत्यादीन् न प्रमाणीकरोति-कः॥ This eclectic attitude of the poet brought down upon him the ire of some of his contemporaries, especially outside Kerala, although Bhattoji Dikshita,.the author of Siddhantakaumudi, a devoted follower of Munitraya, appreciated his labours and even expressed a desire to make his personal acquaintance. At the close of the work. Bhattatiri says ; संक्षेपातिशयेऽपि वाच्यबहुताहेतोरभूद् विस्तरः स्पष्टत्वेऽपि कृते स्वभावगहना मागा मनागस्फुटाः। एवं व्यक्तिमियान् पदार्थ इयता अन्थेन यातोऽयमि- त्येवं यो विमृशेत् स एव कलयेदस्मिन् प्रबन्धे गुणान् ॥ विद्वांसो विदितं हि सर्वमिति न द्रक्ष्यन्ति मन्दाः पुनः प्रारभ्याधिकमार्गदर्शनपरिश्रान्ता विरस्यन्ति च । अन्ये मत्सरिणः कथामपि च नो कुर्युः, किमेतैः क्षतं यन्मबुद्धिविशुद्धये नरपतेर्मोदाय चेदं कृतम् ॥ One peculiar charm of the work consists in the provision of numerous Karikas to enable the student to commit rare grammatical forms to memory, as examples of which the following may bo-cited:: भिदेलिमाति काठानि: शालयोऽमी पवेलिमाः ।। छिदेलिमा जीर्णरज्जुस्हणजमलं दहेलिमम्: h उसलरभ्याल्या, राज्यसिसि कर्तस्वतिः कचिन संदिरेवोपलाभ्योऽज इति कर्मस्तुतिः कचित् ॥ लाभो ज्ञानं च धात्वर्थः प्रशंसा घोव्यते परमहा उपलम्भ्यः प्रशंसाई इलोवाचष्ट शरः।। The controversy between conservatives and radicals in regard to the accuracy of non-Paniniyan forms grew more and more auntter as years. artvanced, and Bhattarsirir wrote another work.A paniniyapramanyasadhana'; in vindication of the position taken up by him. He says therein: १., विश्रामो हदयस्य यत्र जरसा यस्मिन्नहार्यों रस: Uttararamacharita. 'प्रवेशर्विश्रामशाखिन वाचाम्' Anargharughava.

·88 दृष्ट्वा शास्त्रगणान् प्रयोगसहितान् प्रायेग दाक्षीसुत. प्रोचे; तस्य तु विच्युतानि कतिचित् कात्यायनः प्रोक्तवान । तद्भष्टान्यवदत् पतञ्जलिमुनिस्तेनाप्यनुक्तं वचि- ल्लोकात् प्राक्तनशास्त्रतोऽपि जगदुर्विज्ञाय भोजादयः ।। पूर्वव्याकरणादि मूलरहितं युक्त्यैव यत् साध्यते कैश्चित् तत्र मुनित्रयप्रतिहते हेयत्वमुद्घोप्यते । अन्यभ्यो गुणवत्तया च बहुभिर्यद् गृह्यते नन्विदं तस्मात् खल्वयमन्यशास्त्रमखिलं मिथ्येति विभ्राम्यति ॥ Bhattatiri's chief opponent in Cheadles was u Pulita, named Vainateya in Apaniniyapramanyasadhana. It hus not yet been possible to alonrify hin. Bharatiri also sent his work for approval to Soinesvarudikshit. and Yagnnnarayanadikshita of Tanjore. They were his frienils and apparently supporters. Somesvara is referred to as the author of Kamadevavijaya. I have not been able to identify him either. Yagnanarayana was, of course, the chief minister of the celebrated Raghunutha Nayakıt of Tanjore who reigned from 1614 to 1649 A. D. The Sahityaritrakara of this poet has been recently published by the Maclras University." The following versus in Apuniniyaprumunyasudhuna refers to Yagnanarayana: युष्मद्वैदुष्यधूतं खल कटकभुवि त्रायते भोगिराज वाणीवेणीविधूतामपि सुरसरितं ककृतीको जटायाम् । इत्येवं यज्ञनारायणविबुधमहादीक्षिताः शत्रुवर्ग- आणाद् देवस्य तस्याप्यपहरसि धिया साधु सार्वश्यगर्वम् ।। युष्मास्वेव क्षितीशो विपुलनयनिधिस्तिष्ठते राज्यदृष्टौ तिष्ठध्वे यूयमेव प्रथितबुधजने सन्दिहाने समेते। युष्मभ्यं तिष्ठते कस्त्रिदशगुरुसमानोऽपि युष्माहगन्यः प्रज्ञालो! यज्ञनारायणविबुधमहादीक्षिता वीक्ष्यते कः ॥ अवस्थाः केरलस्थाः खयमतिमृदवस्तत्र चाहं विशेषात् सर्वे दूरप्रचारे खलु शिथिलधियः किं पुनर्देशभेदे । एवंभावेऽपि दैवात् कुहचन समये कल्यताकल्यते चेत् प्रज्ञाब्धीन् यज्ञनारायणघरणिमहादीक्षितानीक्षिताहे ॥

·89 From th: last of these rerses it may be seen that Bhattatiri had by that time become apparently too old to undertake a journey to Tanjore. Dhatukavya is the bird work on Vyakarana composed by Bhattatiri. It is made up of 248 verses in three Sargas and is a continuation of the Vasudevavijaya of Vasudevabhatttiri. At the commencement of the work the author says: "उदाहृतं पाणिनिसूत्रमण्डलं प्राग् वासुदेवेन तदूर्ध्वतोऽपरः । उदाहरत्यस्य वृकोदरोदितान् धातून क्रमेणैव हि माधवाश्रयात् ॥ An example of every verbal root in Sanskrit is contained in this short work in the crder in which it occurs in the Dhatupatha. The work was composed in three days, apparently at Ambalappuzha. The Mana section of the Manameyodaya exhibiting the author's proficiency in Nyaya was also composed ai Ampalappuzha. The Meya section was added to it by another Pandita also named Narayana who flourished in the first half of the ninth century of the Malabar era in the court of Manavedaraja of Calicut, who was himself a great Vaiyakarana and the author of a commentary on Prakriya sarvasvu, besides Purvabharatachampu and Krishnagiti. Several stray verses of incomparable beauty on diverse subjects composed by Bhatiatiri from time to time have come down to us, some of which are quoted below. The following verses are in praise of Srikrishua of Guruvayur : श्रुत्वा निरस्ताखिलदोषमेनं त्रिदोषशान्त्यै वयमागताः सः । अपि त्विदानी गुरुवायुनाथं स्फुरचतुर्दोषममुं प्रतीमः ॥ भक्तोत्रेषु धृतादरां धृतदरामेकत्र हस्ताम्बुजे पद्माधारणपद्मधारणलसद्वक्षःकराम्भोरुहाम् । आचोदग्रसुदर्शनामपशमैर्दुर्दर्शनामदभुत- च्छायां कामपि वायुमन्दिरगतां ध्यायामि मायामयीम् ॥

·90 धामानि व्याघ्रपुर्या प्रकटितनिजभूमानि, नित्यं प्रपुष्य- द्गङ्गासङ्गत्वराणि, क्षितिधरसुतया साधुमझत्वराणि । एतानि स्फीतफालेक्षणदहनशिखागाढलीढस्मराणि व्यामूढेरस्मराणि, प्रणतजनतमोघस्मराणि स्मराणि ।। भुजगान् मुजगीकुरुषे वामीकुरुषे च वाममेवाङ्गम् । व्याघ्रपुरालय! शम्भो ! कोऽयमिदानीमभूततद्भावः ? ॥" In the following verses the juvet. sings the glories of Srikrishna of Ainpalappuzha (murunuclipuru). नालं बालमृगीदृशां कुचतटाद् व्यावर्तितुं कुत्रचि- न्नालं वा सरसेषु काव्यसरसालापेप्वनालोचितुम् । लोलं मे हृदयं तथापि गगनस्रोतस्विनीसङ्गिन कोलम्बद्युतिलोभनीयवपुषं बालं बतालम्बते ।। अञ्चितायतहगञ्चलेन यश्चारु चारयति गोपिकामनः । एष घोषनवनीतमोषको मोमुषीतु मम शेमुषीमलम् ।। The following are a few miscellaneous vorsig: आस्तां पीयूषलाभः सुमुखि ! गरजरामृत्युहारी प्रसिद्ध- स्तल्लाभोपायचिन्तापि च गरलजुषो हेतुरुल्लाघतायाः । नो चेदालोलदृष्टप्रतिभयभुजगीदष्टमर्मा मुहस्ते यामेवालम्ब्य जीवे कथमधरसुधामाधुरीमप्यजानन् । हे रोगा! ननु यूयमेव सुहृदो निस्पृहोऽहं कृतः काव्यालङ्कृतितर्ककोविदसभायोगेषु भोगेषु च । नो चेत् कृष्णपदारविन्दभजनं वेदान्तचिन्तामपि त्यक्त्वा श्वःश्व इति प्रमादहरहो याम्येव याम्यां पुरीम् ॥ यः कृत्वा विश्वरङ्गं रजनियवनिकाप्रोज्ज्वलद्भानुदीपं शश्वत्सन्तुष्टसम्प्रेक्षकमखिलजगद्मान्तिनाट्यं वितत्य । कौघोद्दण्डमार्दङ्गिकलयवशगान् वासनागानसक्तान जीवच्छात्रान् मुकुन्दः स्वयमभिरमते क्रीडयन् , सोऽस्तु भूत्यै ·91 Narayana Bhattapadla, as already stated, spent his last days at Mukkolaikkal in Cochin According to tradition he passed away there at the ripe old age of 106. The only poet who, to our knowledge. lived for over a hundred years is Vedanta Desika, the great Vaishnavacharya who died when was 102 years old in 1369 A. D. Bhaitatiri's active literary career must have ended by about 810 M. E. Even while alive, the poet had become an object of veneration among his country-men, ils the followiug versos from the Bhramarasandesa of Vasudeva, who was a youger contemporary of his, go to prove : हेरम्बेण प्रथितविभवां मातृदत्तद्विजेन्द्र- श्रीमच्छिष्योत्करमुखरितैरास्तृतां शास्त्रघोषैः । आरान्नारायणकविवचस्स्यन्दमाधुर्यनन्द. द्वाणीमन्दस्मितसुरभिलां याहि पाटीरवाटीम् ॥ सूक्तं नारायणकविमुखाम्भोजनिःष्यन्दमानं पीत्वा वापीकमलमधुषु प्राप्तनिर्वेदभारः । बिम्बे भानोरपरगिरिशृङ्गेण सञ्चुम्ब्यमान लम्बेथास्त्वं भ्रमर! धरणौ वल्लभक्षोणिबन्धोः ॥ The Astaka Hindus of Kerala rugard him as an Avatar of Adisesha. He is also believed to have received the sakshatkara of Srikrishna at Guruvayur, as may be seen from the following verse of Vattappalli Patchu Muttatu, who lived in the first half of the 17th century of the Malabar era, in the introduction to his commentary on Rajasuyachampu: सर्वस्वं हृद्यपद्यव्रजमिलितिलसत्प्रक्रियं धातुकाव्यं स्तोत्रं नारायणीयं निखिलमपि पुराणप्रकाण्डान्तरङ्गम् । येनातान्यप्रयासाद् गुरुपवनपुरेऽन्वक्षमैक्षिष्ट कृष्णः सोऽमुं चम्पु व्यभाणीत् कविकुलतिलकः केरलक्ष्मासुरेन्द्रः ।। Bhattatiri's champus are studied and his Narayaniya recited in every home with any pretensions to traditional culture in Kerala. His Narayaniya has been imitated by Unnayi Variyar (Ramaparasuya) in his Ramapanchasati and his Champus by a score of poets like Manadeva, Itavettikkat Nampatiri and Asvati Tirunal Elaya Raja. His works have been the main source of inspiration to Malayalam poets like Kunchan Nampiyar. His influence on every succeeding ·92 generation of writers has been phenomenal, and there is no doubt that the cultural debt that Kerala owes to him is in. estimable. The land of Parasurama has every reason to be proud of this eminent poet, Sastrakara and Vishnubhakta, Owing to considerations of space, it has not been possible for me to place before the readers of this Silver Jubilee Volume more facts about Bhattapada ; but enough, I believe, has been stated to give them an idea of the place that he should occupy in Sanskrit literature.

·SANSKRIT MANUSCRIPTS AND THEIR PUBLICATION. 7y Rao Bahadur Di S. Krishnaswami Iyengar, M. A., Hony. Ph. ]). University Professor, Mysore and Mladrus (Retd.) A few wucks hence the Asiatic Society of Bengal is going to colebrate the 150th year of its foundation. This event marks not inerely an important stage in the history of the growth of the Society, but susms actually to mark an eproch in the intellectual and cultural history of India. The foundation of the Asiatic Society of Bengal was symbolical of the rising interest in Asiatic culture more or less. Among the many branches of its activity, not the least has been the recovery of lost works of literature both in Indian and extra-Indian languages, The activities of this Asiatic Sociery naturally evoked responsus in other centres, and one of the visible signs of this activity has been the collection of manuscripts and the publication of as many of these as proved feasible in the series called Bibliotheca Indica etc, series. Various centres had started work, and several of them have done romarkable work, though some of them have ccased to do so. Among the more recent in this branch of activity, the most prominent place ought to be assigned to the three Hindu States of Mysore, Baroda and Travancore. The Mysore Oriental Library and the Oriental Series that it published brought out a large number of important works, and the series counte perhaps inore than a hundred volumes, although, during the last decade and inore, activity in this line has suffered a very considerable set back in Baroda, they began somewhat later, but the Gaekwad's Series, which is the visible evidence of this activity, continues as yet and has been responsible for bringing out a number of very important works, although in the actual to al number that does not come up to the output either of Mysore or of Travancore. Sinuilar activity became manifest in Travancore as well and thanks to the sympathetic guidance of His Highness the late Maharaja 'Srimalam Tirunal of Travancore, and his successor Her Highness Maharani Satu Lakşmi Bai, the Series continued to do excellent work to the honour of the State, and brought ·94 " distinction of a unique character to the Pandit chiefly responsible for the publication of the series, the late Māhā mahopādhyāya ni. T. Ganpati Süstrigal. The noble: work thus begun and carried through almost the first stage «£ 100 works by the late Pandit, has been taken up and is being continued by his successor, Pandit Sāmbasiva 'Sāstrigal, un ier the enlightened patronage of the present Maharaja His Highness Chittirai Tirunāl. The published works havu already reached, or are about to reach, the auspicious number 108 and the works brought out court among thein some unique ones in the whole range of Sanskrit Literature. A crisis threatened some years ago, and might have resulted in the cessation of this work. As a result of consultation, and, thanks to the enlightened and syinpathetic policy of the Government itself, the threatened crisis passecl away, and this literary work came out without scathe. We are very pleased indeed to see the series continue. The Silver Jubilee of the foundation of this laudable effort is about to be celebrated, and in response to a request froin the Curator, we have written these words with pleasure and wish this institution a long life and prosperity. The thanks of the enlightened public ought certainly to go in abonnded measure to the administration of the State and its heads, both the Mahārāņi Regent now retired, and its young, promising ruler, the present Maharaja alike, for their steady perseverance, under even disadvantages, financial circumstances, in the con inunnce of this good work. "May their sacrifices be everlastingly fruitful and their liberality in a cause like this continue undiininisher!", is the prayer of all who wish well of th: State and take a pride in the best achievements of this great land. The country of Travancore and the neighbouring territory where the spokun language is Malayalara have been peculiarly fortunate in their freedom from the ravages of war and tae cousuquent change of political conditions through much of their history. These invasions became more and mure destructive as time advanced, and literature and literary works suffered much along with everything else, As the Muhammadan power established itself and extended gradually to occupy the whole of Hindustan, Brahmanical learning and literature had to retire to a distance for safety. South India became inore and more the home of this fugitive literature, Long before this period of compulsory migra. tion, Sanskrit had found a comfortable home in the south ·(1) works from Northern India, brought alone 2 his utinost to preserve this heritage of culture from extinc- There is therefore 95 for over a millennium. This migration only proved to be an additionni stimulus to the development of Sanskrit learning. We have it remarkable statement in one of the Chola inscriptions dating about A. D. 1024 that the territory of Kosala which will then was regarded as not quite suitable for the residence of Brahmans had come gr::dually to be adopted by them for residence. This Brahmanical migration into what is now the feudatory states of Orissa and its immediate neighbourhood was the direct consequence of Mahmud of Ghazni's attack upon Kanuj. It was at that time that the great Ganagaikondachola from the south offered an asylum to the Gauda (Bengal) Brahmans flying southwards for protection by giving them homes in the various Agraharas, or Brahmin settlements, in his territory to the south of the Krishna. This state of things continued so long as the whole of the country remained more or less unsafe for Brahmans and Brahmanical learning till ai last the foundation of Vijayanagar provided a safe enclave for them in the territory south of the Krishna---Tungabhadra line. With the foundation of Vijayanagar, Sanskrit learning and literary patronag. generally took a new start, and all that has been preserved to us both in the field of learning and literature as well as in religion were due to this Hindu Empire more or less. Therefore the man iscript literature of South India must necessarily be vast and must consist of Bralım immigrants of early times and later on with the Brahman immigration under stress of circumstances referred to above. (2) Secondly there has been a considerable stimulus to composing works in Sanskrit during the early period and perhaps to a far larger extent in the later. Therefore this falls into two classes, literature that is northern and souther in common, and literatur: produced in South India. The responsibility therefore lies on the South Indian to do tion. Malabar has remained almost free from the ravage of invasions and counter invasions that the rest of the country suffered from, and the wealth of manuscript material recovered therefron during the years when the Madras Government was making a serious effort to collect them was something us hope that the Silver Jubilee of this Institution will prove to be but the earnest of the far larger work that it is to do bereafter in its full manhood and ripe age. 9 ·96 VEDANTA VAKYARTHA VIVEKA. By Mahāmuhopūdhūyu Bhattı Srī liodnyurmu Raja V..lin Rayaa nangrumore. वन्दे विश्वाधिकं रुद्रं क्षेत्रे शृङ्गपुराभिधे । ब्रह्मत्वलिङ्गभूतेन लिङ्गरूपेण संस्थितम् ।। नमो नमो नमस्तस्मै ब्रह्मानन्दयतीन्दवे । प्रकाशयत्यर्थजातं शाङ्करं यस्य चन्द्रिका ।। श्रीकोटिलिङ्गराजेन विदुषा गोदवर्मणा । सत्यमित्यादिवेदान्तवाक्यस्यार्थो विविच्यते ।। तैत्तिरीयोपनिषद्तं 'सत्यं ज्ञानमनन्तं ब्रह्मेति वाक्यं ब्रह्मणः स्वरूप- लक्षणपरम् । अतस्तद्वाक्यवाच्यार्थबोधे ब्रह्मत्वविशिष्टसत्यत्वादिविशिष्टयोरभेद इव ब्रह्मसत्यादिस्वरूपयोः शुद्धयोरप्यभेदो भासते । अन्यथा तद्वाक्यस्य शुद्ध- ब्रह्मस्वरूपे शुद्धसत्यादिखरूपाद् भेदभ्रमनिवर्तकधीपरत्वाभावापत्त्या स्वरूपल- क्षणपरवाक्यत्वमेव न स्यात् । स्वरूपे स्वरूपाद् भेदभ्रमनिवर्तकधीपरवाक्यस्यैव स्वरूपलक्षणपरवाक्यत्वात् । न युक्तस्वरूपयोरभेदानवगाहिधीजनकत्वे तद्वा- क्यस्य उक्तभेदधीनिवर्तकधीपरत्वं सम्भवति । ननूक्तस्वरूपाभेदावगाहिधीनि- वयोक्तभेदभ्रमः किमाकारकः । न च यत्र ब्रह्मत्वं यत्र च सत्यत्वं तत् तन्नेत्याकारकः ब्रह्मत्वोपलक्षितस्वरूपनिष्ठनिरवच्छिन्नविशेष्यतानिरूपिता या प्रतियोगितासम्बन्धावच्छिन्नधर्मानवच्छिन्नसत्यत्वोपलक्षितस्वरूपनिष्ठप्रकारता- निरूपितभेदत्वावच्छिन्नप्रकारता तन्निरूपक इति वाच्यं, तथा सति तन्द्रमस्य भेदांशे निर्धर्मितावच्छेदकतया तदंशे किमपि ज्ञानं न विरोधीति तन्द्रमस्य उक्तस्वरूपाभेदावगाहिधीनिवर्त्यत्वासम्भवादिति चेदुच्यते । तादृशभेदनमः प्रतियोगितासम्बन्धावच्छिन्नधर्मानवच्छिन्नसत्यत्वोपलक्षितस्वरूपनिष्ठावच्छेदक- ताका या भेदत्वावच्छिन्नविशेष्यता तनिरूपिता या ब्रह्मत्वोपलक्षितस्वरूपनिष्ठ- धर्मानवच्छिन्नप्रकारतानिरूपितवृत्तित्वत्वावच्छिन्नप्रकारता तन्निरूपको यत्र ब्र- मत्वं यत्र च सत्यत्वं तत्र तद्भेद इत्याकारकः नच तादृशाकारको भेदभ्रमो- ऽनाहार्यो न सम्भवति शुद्धघटादिस्वरूपे तत्स्वरूपाद् भेदम्रमस्यानाहार्यस्यानु- पत्या शुद्धतत्स्वरूपे शुद्धतत्स्वरूपाद् भेदभ्रमं प्रति शुद्धतत्स्वरूपज्ञानस्य प्रति- बन्धकत्वकल्पनात । तथाच तादृशनमः कथमुक्ताभेदावगाहिधनिवर्त्य इति ·97 वाच्यं, यत्र च तत्त्वं यत्र चंदत्वं तयोरेकत्रापरभेद इत्याकारकस्य तत्त्वेदत्वादि- रूपभिन्नधर्मोपलक्षितशुद्धदेवदत्तस्वरूपयोः भेदभ्रमस्याहार्यत्वव्यवहाराभावात् । भिन्नधर्मानुपलक्षितशुद्धतत्स्वरूपयोः भेदभ्रमं प्रत्येव शुद्धतत्स्वरूपज्ञानस्य प्रति- बन्धकत्वकल्पनात् । ब्रह्मसत्यत्वादिभिन्नधर्मोपलक्षितशुद्धब्रह्मादिस्वरूपयोः भेद- भ्रमं प्रति तत्स्वरूपज्ञानस्याप्रतिबन्धकत्वेन तादृशभेदभ्रमस्यानाहार्यस्य सम्भ. वात् । अथ कथं वाच्यार्थाभेदबोधे शुद्धयोः ब्रह्मसत्यादिस्वरूपयोरभेदभानं ब्रह्मसत्यादिपदानां ब्रह्मत्वसत्यत्वादिविशिष्ट एव शक्ततया शुद्धरूपेण ब्रह्मस. त्यादिस्वरूपयोः पदजन्योपस्थितेरभावन शुद्धतत्स्वरूपयोर्भानासम्भवात् । नच लक्षणया तदुपस्थितिः वाच्यार्थाभेदबोधोत्तरं विरोधप्रतिसन्धाने सत्येव लक्ष- णावतारादिति चेन्न इतराविशेषणत्वेनोपस्थिति विनापि घटः प्रमेयवानित्यादौ घटत्वविशिष्टप्रमेयविशिष्टयोः तादात्म्यावगाहितया घटत्वप्रमेयत्वयोस्तादात्म्य- भानवदितराविशेषितरूपेणोपस्थिति विनापि शुद्धयोरभेदभानसम्भवात् । ननु शुद्धयोरमेदभानाझीकार वाच्यार्थाभेदज्ञानं कीदृशम् । नच ब्रह्मत्वविशिष्टे अभे- देन सत्यत्वविशिष्टावगाहित्वे सति शुद्धब्रह्मस्वरूपे अभेदेन शुद्धसत्यस्वरूपा- वगाहिसमूहालम्बनात्मकं सम्भवति तादृशस्वरूपयोरत्वन्ताभेदेन सम्बन्धाभा. वात् । निरवच्छिन्नमुख्यविशेष्यताकशाब्दबोधानङ्गीकाराच्चेति चेन्न शुद्धसत्य- स्वरूपाभेदत्वावच्छिन्नधर्मिकशुद्धब्रह्मस्वरूपवृत्चित्वप्रकारकसमूहालम्बनात्मक- स्यैव वाच्यार्थाभेदज्ञानस्याङ्गीकारात् । नचाभेदाभेदत्वयोः उपस्थापकपदा- भावात् तयोः संसर्गताभिन्नविषयतया भानं न सम्भवतीति वाच्यं विशेषण- विभक्तेरभेदार्थकत्वस्य मणिकारैरुक्तत्वात् । निपातसाधारणनामार्थयोरभेदेनैवा- न्बय इति पक्षे घटो न पट इत्यादौ घटवृत्तिपटप्रतियोगिकभेदबोधस्य सर्व- मतेऽपि गमनं द्रव्यं भवतीत्यादौं भवत्यर्थासाधारणधर्मादौ द्रव्यवृत्तित्ववोधस्य च प्रथमाया आधेयत्वार्थकत्वेनैव निर्वाहाच्च प्रथमयोरेवान तदुपस्थापकत्वात् । यहा सत्यं ब्रह्मेत्यादिखरूपलक्षणस्थलीयवाक्यस्य ब्रह्मत्वसत्यत्वायुपलशितशुद्ध- स्वरुपयोः मेदनमादिनिवर्सकधीजनकत्वसम्पत्त्यर्थ तादृशवाक्यवाच्यार्थाभेदकोने विशेषणविभक्तविशेष्यविभक्तेर्चा व्यापकत्वार्थकता स्वीकृत्या ब्रह्मस्वरूपासिंककि शेष्यनिष्ठमेदापतियोगिस्वरूपं तारस्वरूपात्माविशेष्यव्यापकत्वं सत्यस्वरूपा- मकविशेषणनिछत्तया मातीति स्वीक्रियते । तथा च सर्वथा. सत्यं ब्रह्मेत्यादि- स्वरुपलक्षणस्थलीयवाच्यार्थाभेदबोधे ब्रह्मत्वसत्यत्वाद्युपलक्षितशुद्धस्वरूपयोरषि माम् । वस्तुतस्तु सिद्धान्ते सत्यब्रह्मस्वरूपमात्रविषयकनिर्विकल्पकबोध रुख 14 ·98 - तादृशस्वरूपाज्ञानप्रयुक्तस्य ब्रह्मत्वसत्यत्वौद्युपलक्षितस्वरूपयोः भेदभ्रमस्य निव- तकः । अत एव तादृशस्वरूपं तयोरभेद इति व्यवह्रियते । तस्य तदनिवर्त- कत्वे तव्यवहारानुपपत्तेः । निवर्तकत्वे तु भेदधीविरोधिधीविषयत्वरूपभेदवि- रोधित्वेन तव्यवहारोपपत्तेश्च । उक्तञ्च तत्त्वमस्यादिपक्षकाखण्डार्थकत्वानुमाने लघुचन्द्रिकायां व्यक्तिस्वरूपमात्रज्ञानस्यैवोक्तरीत्या भेदधीनिवर्तकत्वाद् व्यक्तिस्वरूपमेवाभेद इति । ननु तद्धर्ममादाय व्यावृत्ताकारमेव ज्ञानं तद्धमवि- शिष्टयोस्तद्धर्मोपलक्षितयोर्वा भेदभ्रमनिवर्तकं वाच्यम् अन्यथातिप्रसङ्गात् । तथाच सत्यत्वादिधर्ममादाय व्यावृत्ताकारस्यैव ज्ञानस्य उक्तभ्रमनिवर्तकतया कथ- मुक्तनिर्विकल्पकबोधस्य तन्निवर्तकत्वम् उक्तबोधस्य सत्यत्वादिधर्ममादाय व्या- वृत्ताकारत्वाभावात् । सप्रकारकज्ञानस्यैव व्यावृत्ताकारत्वादिति चेन्न सप्रकारक- स्यैव ज्ञानस्य व्यावृत्ताकारत्वमिति नियमाभावेन निष्प्रकारकस्याप्युक्तनिर्विकल्प- कबोधस्य व्यावृत्ताकारत्वसम्भवात् । तथाहि व्यावृत्ताकारत्वं च व्यावर्तकधर्मा- श्रयविषयकत्वम् । तच्च द्विविधं, विशेषणं व्यावर्तकधर्ममादाय तदाश्रयविषय- कत्वरूपम् , उपलक्षणं व्यावर्तकधर्ममादाय तदाश्रयविषयकत्वरूपं वेति । तत्र द्वितीयमपि द्विविधं धर्मान्तरोपस्थापकम् उपलक्षणमादाय तदाश्रयविषयकत्व- रूपम् । स्वरूपोपस्थापकम् उपलक्षणमादाय तदाश्रयविषयकत्वरूपञ्चेति । तत्र विशेषणं धर्मान्तरोपस्थापकमुपलक्षणं वा आदाय व्यावृत्ताकारत्वे ज्ञानस्य स- प्रकारतैव, स्वरूपोपस्थापकमुपलक्षणमादाय व्यावृत्ताकारत्वे निष्प्रकारतैव । तदुक्तमद्वैतसिद्धौ-- "व्यावृत्ताकारत्वेन ज्ञानस्य भ्रमनिवर्तकता, नतु तत्र विशेषप्रकारकत्वनियमः । व्यावृत्ताकारता हि द्वेधा भवति विशेषणादुपलक्ष- णाच । तत्राद्ये सप्रकारकत्वनियमः । द्वितीयेऽपि धर्मान्तरस्योपस्थापकं दु- पलक्षणं, तस्माद् व्यावृत्ताकारत्वे सप्रकारतव । यदि स्वरूपोपलक्षणाद् व्यावृ- त्ताकारता, तदा निष्प्रकारतैव उपलक्षणस्य तत्राप्रवेशादिति । अद्वैतसिद्धौ विशेषप्रकारकत्वेति व्यावृत्ताकारताघटकव्यावर्तकधर्मप्रकारत्वेत्यर्थः । विशेषणा- दुपलक्षणाचेति विशेषणमादाय उपलक्षणमादाय चेत्यर्थः । द्वितीयेऽपीत्यादि । यद्धर्मविषयकज्ञानेन धर्मस्य धर्मिणो वोपस्थितिद्वारा स्वाविषयकं स्वाश्रयविषयक यत्. ज्ञानं जन्यते स धर्मः तज्ज्ञानविषयस्वाश्रयोपलक्षणम् । अत्र स्वपदत्रयेण यत्तत्पदार्थधर्मो ग्राह्यः । तदुक्तं लघुचन्द्रिकायां-धर्मस्य धर्मिणो वा उप- स्थितिद्वारा स्वाविषयकं स्वाश्रयस्य यज्ज्ञानं येन जन्यते तसिन् स्वाश्रयस्य ज्ञाने तस्योपलक्षणत्वमिति । चन्द्रिकायां तस्मिन् स्वाश्रयस्येत्यादिवाक्यस्य तस्य ·99 धर्मस्य तस्मिन् ज्ञाने विषयीभूतस्वाश्रयोपलक्षणत्वमित्यर्थः । तत्र धर्मस्योप- स्थितिद्वारा स्वाविषयकस्वाश्रयविषयकज्ञानजनकज्ञानविषयो धर्मो धर्मान्तरोप- स्थापकमुपलक्षणम् । धर्मिण उपस्थितिद्वारा तादृशो धर्मः स्वरूपोपलक्षणम् । तत्र धर्मान्तरोषस्थापकादुपलक्षणाद् व्यावृत्ताकारत्वे सप्रकारकत्वमेव काकवन्तो देवदत्तगृहा इत्यादौ काकाद्युपस्थापितस्योत्तृणत्वादेः गृहे प्रकारतया भानात् स्वरूपोपलक्षणाद् व्यावृत्ताकारत्वे निष्प्रकारत्वमेव । प्रकृष्टप्रकाशश्चन्द्र इ- त्यादी चन्द्रस्वरूपोपस्थापकलक्षणावतारप्रयोजकवाच्यार्थज्ञानविषययोश्चन्द्रत्व- प्रकृष्टप्रकाशत्वाद्योश्चन्द्रस्वरूपे प्रकारतया भानादर्शनादित्यर्थः । यद्वा स्वनि- ठविषयत्वानिरूपितस्वाश्रयनिष्ठविषयताकं यज्ज्ञानं यद्धर्मविषयकज्ञानजन्यं स धर्मः तज्ज्ञानविषयस्वाश्रयोपलक्षणम् । स्वशब्दैर्धर्मो ग्राह्यः जन्यत्वं च धर्मस्य धर्मिणो वा उपस्थितिद्वारा साक्षाद् वा । शेषं पूर्ववद् बोध्यम् । तस्मात् सत्यं ब्रह्मेत्यादिस्वरूपलक्षणवाक्यात् सत्यत्वादिविशिष्टविषयकज्ञानप्रयोज्यशुद्धोपस्थि- तिजन्यत्वे सति यत्सत्यत्वाद्यविषयकतदाश्रयविषयकत्वं तद्रूपसत्यत्वाद्युपलक्षि- तविषयकत्ववत् स्वरूपमात्रविषयकनिर्विकल्पबोध एव स्वीक्रियते । तत्प्रयोज- कतया ब्रह्मत्वसत्यत्वादिविशिष्टात्मकवाच्यार्थाभेदज्ञानमपि नतु वाच्यार्थाभेद- ज्ञाने शुद्धस्वरूपयोरभेदस्य व्याप्यव्यापकभावस्य वा भानम् । यद्वा वाच्यार्था- भेदज्ञाने उक्तव्यापकत्वभानमप्यङ्गीक्रियते । अन्यथोक्तनिर्विकल्पकबोधस्योक्त भ्रमविरोधित्वं सर्वसम्मतं न स्यात् । तदङ्गीकारे तु निर्विकल्पकोत्पत्तिकाले उक्त- व्यापकत्वविषयकवाच्यार्थाभेदज्ञाननाशेन उक्तव्यापकत्वधीजन्यसंस्कारसत्त्वात् तदुबोधकविधया उक्तनिर्विकल्पकबोधस्योक्तभेदभ्रमविरोधित्वं सर्वसम्मतं स- म्भवत्येव । उक्तव्यापकत्वग्रहस्येव तज्जन्यसंस्कारोबोधकयोः सत्त्वेऽपि उक्त- भेदबुद्धरनाहार्यायाः तार्किकादिमतेऽप्यनुत्पादात् । अत एव संक्षेपशारीरके- "सामानाधिकरण्यमत्र भवति प्राथभ्यभागन्वयः पश्चादेव विशेषणेतरतया पश्चाद्विरोधोद्भवः । उत्पन्ने च विरोध एकरसके वस्तुन्यखण्डात्मके वृत्तिर्लक्षणया भवत्ययमिह ज्ञेयः क्रमः सूरिभिः ॥" इत्यनेन मुख्यतापर्यविषयतया खरूपमात्रविषयकनिर्विकल्पकबोध एव सत्य- मित्यादिवाक्याद् दर्शितः । तद्बोधप्रयोजकतया वाच्यार्थाभेदज्ञानमपि । अस्य संक्षेपशारीरकस्यायमर्थः अत्र सत्यादिवाक्ये सामानाधिकरण्यं पदयोः समानविभक्तिकस्वरूपसमभिव्याहारज्ञानं प्राथम्यभागन्वयः प्रथमो मुख्यतात्पर्य- ·100 विषयशाब्दधीप्रयोजकः । पश्चादेवेति अन्वय इत्यनुषज्यते । तथाच विशेष- णेतरतया विशेषणविशेष्यभावेन वाच्यार्थाभेदज्ञानं पश्चादन्वय इत्यर्थः । पश्चा- द्विरोधोद्भव इति अन्वय इत्या वात्राप्यनुषङ्गाद् विरोधोद्भवः विरोधज्ञानं वा- च्यार्थाभेदज्ञाने प्रमात्वाभावात् तात्पर्य नोपपद्यत इत्याकारं पश्चादन्वय इत्यर्थः । अत्र सर्वत्रान्वयपदस्य मुख्यतात्पर्य विषयशाब्दीप्रयोजकः अर्थः । विरोधे उक्तविरोधज्ञाने उत्पन्ने सति एकरसके पदार्थान्तरसंसर्गनरैपक्ष्यण समाने अखण्डात्मके अपर्यायानेकशब्दोपस्थापिते पदार्थान्तरानन्विते वृत्तिः शाब्दधीरिति । अत्र वाच्यार्थाभेदज्ञानोत्तरं तत्राप्रमात्वज्ञानेन तात्पर्यानुषप- त्तिज्ञानरूपविरोधप्रतिसन्धानात् शुद्धव्यक्तिबोधे तात्पर्यमिति तात्पर्यज्ञाने सत्येव लक्षणावताराद् वाच्याथाभेदज्ञानस्य मुख्यतात्पर्यविषयशुद्धव्यक्तिबोध- प्रयोजकलक्षणावतारप्रयोजकविरोधप्रतिसन्धानप्रयोजकतया मुख्यतात्पर्यविषय- शाब्धीपयोजकत्वं बोध्यम् । ननु सामानाधिकरण्यज्ञानं तादाम्यसंसर्गक- शाब्दज्ञान प्रत्येव हेतुः । मुख्यतात्पर्यविषयशाब्दधीश्च निर्विकल्पकतया संस- गीनवगाहिनीति तां प्रति तस्य प्रयोजकत्वाभावात् तद्धीप्रयोजकेषु तस्य प्राथ- म्येन परिगणनं न युक्तमिति चेदुते । मुख्यतात्पर्यविषयशाब्दाधियश्च नि- विकल्पकत्वेन संसर्ग नवगाहित्वात् तां प्रति सामानाधिकरण्यज्ञानस्य हेतुत्वा- भावेऽपि तद्धीप्रयोजकवाच्यार्थाभेदज्ञानं प्रति हेतुतथा परम्परया तद्धीप्रयोज- कत्वात् तत्पयोजकेषु तस्य प्राथम्येन परिगणनं युक्तम् । वस्तुतस्तु सामाना- धिकरण्यज्ञानं ताइशशाब्दधियं प्रति साक्षादेव हेतुः । तथाहि-चतुर्थी हि सामानाधिकरण्यम् । अध्यासे इदं रजतमित्यादौ, बाधायां स्थाणुः पुमा- नित्यादौ, विशेषणविशेष्यभावे नीलमुत्पलमित्यादौ, अभेदे तत्त्वमसीत्यादा- विति । अध्यास इत्यादौ सर्वत्र सक्षम्या आधेयत्वमर्थः । समानविभक्तिकस्व- रूपे सामानाधिकरण्ये तदन्वयः अध्यासपदस्य आधारारोप्ययोः तादात्म्य. बोधकनामद्वयमर्थः । तथाचाध्यासे सामानाधिकरण्यमित्यस्याधारारोप्ययोस्ता- दास्यबोधकनामद्वयनिष्ठं -सामानाधिकरण्यामित्यर्थः । इदं रजतमित्यादौ इद- मंश आधारः । तदुक्तं सिद्धान्तलेशसंग्रहे --- "शुक्त्यशोऽधिष्ठानम् इदमंश आधारः सविकासाज्ञानविषयोऽधिष्ठान अतद्रूपो हि तद्रूपेणारोप्यबुद्धौ स्फुर- नाधार इति संक्षेपशारीरके विचनादिति । सिद्धान्तलेशसंग्रहे अतद्रूपोऽपी- त्यावेस्समर्थः -- लोऽफि वास्तवतत्तादाल्यशून्योऽनि तद्रूपेण तवादा- समेन पायबस सफरत असे समाज आधार इति । तथा वस्नको ·101 स्तादात्म्यबोधकमिदं रजतमिति नामद्वयमाधारारोप्ययोस्तादात्म्यबोधकमिति तनिष्ठसामानाधिकरण्यमध्यासे सामानाधिकरण्यम् । बाधायामित्यत्र ब्राधा- पदस्य बाध्यमानतादात्म्योपलक्षिताधिष्ठानबोधकनामद्वयमर्थः । तथाच बा. धायां सामानाधिकर ग्यमित्यस्य तादृशनामद्वयनिष्ठं सामानाधिकरण्यमित्यर्थः । बाध्यमानत्वञ्च स्वनिष्ठाभावप्रतियोगितया ज्ञायमानत्वं स्वमधिष्ठानम् । उपल- क्षितत्वं चात्र तत्सम्बन्धोत्तरकालीनतदभाववत्त्वम् । स्थाणुः पुमानित्यादौ स्थाणुपदं स्थाणुतादात्म्येन ज्ञातार्थकम् । पुमानिति सावधारणम् । तथाच स्थाणुतादात्म्येन ज्ञातः पुमानेव न स्थाणुरित्यर्थः । तथाच तादृशवाक्यात् पुंरूपाधिष्ठ,ने स्थाणुतादात्म्येन ज्ञाते स्थाणुतादात्म्याभावबोधात् तत्तादात्म्यम् । अधिष्ठाननिष्ठाभावप्रतियोगितया ज्ञायमानत्वेन बाध्यमानम् । अयं स्थाणु- रिति भ्रमदशायां स्थाणुतादात्म्यस्य पुंसि सत्त्वादिदानीमभावाच । तत्तादा- स्योपलक्षितं पुंरूपमधिष्ठानम् । तथाच बाध्यमानतादात्म्योपलक्षिताधिष्ठान- बोधकं तन्नामद्वयमिति तन्निष्ठसामानाधिकरण्यं बाधायां सामानाधिकरण्यम् । विशेषणविशेष्यभाव इत्यत्र विशेषणविशेष्यभावपदस्योक्ततादात्म्यान्यतादा- म्यबोधकनामद्वयमर्थः । तथाच विशेषणविशेष्यभावे सामानाधिकरण्यमित्यस्य ताहशतादात्म्यबोधकनामद्वयनिष्ठं सामानाधिकरण्यमित्यर्थ. । नीलोत्पलयोः तादात्म्यस्य उक्ततादात्म्यान्यत्वेन तत्तादात्म्यबोधकं नीलमुत्पलमिति नामद्वय- मिति तन्निष्ठसामानाधिकरण्यं विशेषणविशेष्यभावे सामानाधिकरण्यम् । अभेद इत्यत्रामेदबोधकनामद्वयमभेदपदार्थः । अभेदश्च जीवत्वेश्वरत्वाद्युपलक्षितशुद्ध- व्यक्तिरेव । तद्विषयकप्रमया तदुपलक्षितशुद्धव्यक्त्योः भेदप्रमोच्छेदात् । यद्विषयकप्रमया यादृशमेदभ्रम उच्छिद्यते, तस्यैव तादृशभेदविरोध्यभेदत्वात् । तदुक्तं लघुचन्द्रिकायां-- “यादृशभेदस्य ज्ञानं यद्विषयकप्रमयोच्छेद्यं, ताह- शमेदविरोध्यभेदः स एवे"ति । तथाच शुद्धव्यक्तिबोधकनामद्वयनिष्ठं सामा- नाधिकरण्यम् अभेदे सामानाधिकरण्यमित्यर्थः । तत्त्वमसीत्यादौ लक्षणया जीव- त्वेश्वरत्वोपलक्षितशुद्धव्यक्तरेव बोधात् तनिष्ठसामानाधिकरण्यमभेदे सामानाधि- करण्यम् । यद्वा अध्यासे आधारारोप्ययोः वादालयबाधायां बाध्यमानतादा. म्योपलक्षिताधिष्ठाने विशेषणविशष्यभाव उक्ततादाम्यान्यतादास्ये अभेदे शुन्यक्तौ इति अध्यास इत्यादेरर्थः । ब्रोधकत्वं सप्तम्यर्थः । सामानाधिकरण्ये तदन्वयः । तथा चाध्यासे सामानाधिकरण्यमित्यादेराधारारोप्ययोः तादात्स्य- बोधक सामानाधिकरण्यमित्यादिरर्थः । सर्व चैतदागमबाघोद्धारादौ लघुच- .

·103 4 .. अधिकं न्यायरत्नावल्यादितोऽवसेयम् । अत्रेदं बोध्यम् । सत्यं ब्रह्मेत्यादि- स्वरूपलक्षणस्थले लक्ष्यत्वाभिमतलक्षणत्वाभिमतस्वरूपयोरत्यन्ताभेदेन लक्ष्य- लक्षणभावव्यवहारापत्तिमाशङ्कय तयवहार उपपादितोऽद्वैतसिद्धौ ‘नचामेदे लक्ष्यलक्षणभावायोगः अन्तःकरणवृत्तिनिबन्धनाकारभे(दे)नोभयोपपत्तरिति । अद्वैतसिद्धौ लक्ष्यलक्षणभावायोग इति इदं लक्ष्यमिदं लक्षणमिति व्यवहारायोग इत्यर्थः । इतरभेदानुमिती यः पक्षस्तदेव लक्ष्यं यो हेतुस्तदेव लक्षणमिति व्यवहियते । तथाच ययोरत्यन्ताभेदः तयोर्हेतुत्वाभिमते पक्षत्वाभिमतसम्बन्धि- वायोगेन पक्षहेतुभावायोगा उक्तव्यवहारायोग इति भावः । अन्तःकरणवृत्ति- निबन्धनाकारभेदेनेति विभिन्नमनोवृत्तिविषयत्वरूपोपाधिनिबन्धनाभ्यामाका राभ्यां रूपाभ्यामकस्यापि स्वरूपस्य भेदेनेत्यर्थः । तादृशमनोवृत्तिश्च सत्यं ब्रह्मेत्यादिस्वरूपलक्षणस्थले ब्रह्मादिपदार्थस्वरूपमात्रस्य सत्यादिपदार्थस्वरूप- मात्रस्य च लक्षणयोपस्थितिः । उभयोपपत्तेरिति । इदं लक्ष्यमिदं लक्षणमिति यौ व्यवहारौ तदुपपत्तेरित्यर्थः । अयं भावः - यदा ब्रह्मपदार्थस्वरूपमात्रस्य सत्यादिपदार्थस्वरूपमात्रस्य च लक्षणयोपस्थितिः, तदैव साक्षिणा तादृशोप- स्थितिविषयत्वाभ्यां तत्स्वरूपे गृह्यते ज्ञानाज्ञानविषयत्वाभ्यां सर्वस्यापि वस्तुनः साक्षिग्राह्यत्वात् । तदुक्तं विवरण "सर्व वस्तु ज्ञाततयाज्ञाततया च साक्षि- चैतन्यस्य विषय" इति । ततस्तादृशोपस्थितिभ्यां खरूपमात्रविषयकनिर्विक- ल्पकबोधः । ततः साक्षिणा पूर्व गृहीताभ्यां तादृशोपस्थितिविषयत्वोपहित- रूपाभ्यां तस्वरूपयार्वैशिष्टयग्रहः । तत्स्वरूपयोस्तादृशोपस्थितिविषयत्वोप- हितरूपाभ्यां भेदेन वैशिष्टयग्रहसम्भवात् । तदेव हेतौ पक्षधर्मताज्ञानम् । ततो व्याप्तिस्मरणेनानुमितिः । तथाच तत्स्वरूपं ब्रह्मपदजन्यतादृशोपस्थितिविषय- त्वोपहितरूपेण इतरभेदानुमितौ पक्षत्वाल्लक्ष्यमिति सत्यपदजन्यतादृशोपस्थिति- विषयत्वोपहितरूपेण तत्र हेतुत्वाल्लक्षणमिति व्यवहियते इति ॥

·104 LIGHT THROWN ON CULTURAL CURRENTS BY THE TRIVANDRUM SANSKRIT SERIES. By P. K. Narayann Pillai, B. A., B. L., M. L. A. Retired Judge, High Court, and Member, Advisory Board for publication of Oriental Mss This paper is contributud by way of participation in the celebration of the Silver Jubilee of the Department for the Publication of Oriental Manuscripts and in appreciation of the good work which stands to the credit of that Depart. ment. The organization and maintenance of the Departmınt have redounded to the renown of the sovereigns of the State in no small measure. The doctorial degree conferred on the eminent scholar Dr. Ganapati Sastri, the previous curator is a mark of approciation hy Europe.in scholars of his profound attainments and meritorious achievenients and I trust that the time is not far off for his learnod successor Mr. K. Sambasiva Sastri to meat with a similar rocognition from distinguishod savants. The Kerala Country is separated by a long range of mountains from the rest of India and occupies to some extent an isolated position. Nalurally there are marked differences in customs, manners, physical features, social organization and political history, observable in Kerala. One would expect a sinilar isolation in the field of culture also. That however does not appear to have been the case, at any rate to any noteworshy extent. Interfluent currents of culture seem to have existed betweon Kerala and other parts of India not in any pronounced slape, but in the silent, subdued fashion characteristic of scholarship. The publications in the Trivandrum Sanskrit Series afford some evidence in support of my view. view. I do not however mean to say that the lines along which culture developed in Malabar and elsewhere were identical. I mean only to draw attention to the connection that subsisted between Malabar and other parts of India, from a cultural standpoint. In the remote past, Malahar for the most part was under the sway of the Perumals elected from forcign centres by Malabar Brahmins. The Kerala-Kshiti-Ratna-Mala, a treatise on Malabar land tenure, says "काश्मीराबन्तिचोलेभ्य आनीय क्षत्रियं द्विजा ·106 That is to say, Perumals have been brought in from Kashmir, Avanti, Chola and other places. I was sceptical about this statement, at any rate with respect to distant Kashmir, in the absence of any corroboration. But my scepticism has almost given way in the light of additional evidence on the subject. The great monistic philosopher, Sri Sankara born in Kerala, is believed to have gone so far afiell as Kashmir to allvocate his philosophy and to have establishel the Asrama at Badarinath, where the religious service used to be conducted by Brahmins drawn from Malabar. Kahemendra who flourished during the reign of Ananta Devu in Kashmir (A. D. 1028 to 1080), quotes from his own work Lavanyarati, the following verse in the Ouchitya-vichara-churcha , viz, मार्गे केतकसूचिभिन्नचरणा सीत्कारिणी केरली रम्यं रम्यमहो मुहुः कुरुविटेनेत्यर्थिता सस्मिता । Now Kshemendra is one who insists on an acquaintance with various countries as a qualification for poets. His work Narma-mala, now published by the Kashmir Oriental Publication Dapartment, shows that students from other parts of India used to butake themselves to Kashmir for advanced studtes and among them, arrivals from Bengal were his pet aversion Sambhu, another Kashmir poet who lived while Sri Harsha Deva was reigning (A. D. 1088 to 1100), Bays as follows:- एताः केरलसुन्दरीरदरुचः सन्त्येव मुक्तालता मल्लीमाल्यमयानि सौरभभरोद्दामानि दामानि च । (अन्योक्तिमुक्तालता) अङ्के केरलसुन्दरीकचभरश्यामं कलकं वहन् मिथ्यारोहति पूर्वपर्वतशिखां मुग्धस्तमीबान्धवः । (राजेन्द्रकर्णपूरः) कीरी हारलतासु केरलवधूधम्मिल्लमालासु या चोली दन्तचतुष्किकासु मुरली लीलास्मितेषु युतिः । Bhliata, supposed to be another Kashmir poet earlier tban Kshemendra, qas the following verse on the cocoanut tree in his $ataka, ·106 एष श्रीमानविरलगुणग्रामणी लिकेर- श्छया यस्य प्रभवति चिरं धर्मशान्त्यै जनानाम् । तेनाम्भोभिः कतिचन जना वासरांस्तर्पयध्वं दास्यत्येतच्छतगुणमयं वारि मूनी दधानः ।। It is difficult as it seems to me, to reject these references to the graces and charms of Malabar ladies and the beneficence of the cocoanut tree, hy Kashmir poets, as mere fanciful flights. Light furnished hy the Trivandrum Sanskrit Series forbids such a rejection. I may refer to a few of the publications in the Series as lending support to my point. Nyaya-sara (No. 109), recently publisherl, contains a commentary by one Vasudeva. At the conclusion of the commentary it is stated that it was written by Vasudova, son of Surya-Suri of Kashmir. There cannot be any doubt that this Vasudeva is the author of Yudhisthira-Vijaya, a Kavya, widely prevalent in Malabar and procurable, as I see, in Kashmir also. The Kavya was coinposed when the Perumals were in power, that is to say about the beginning of the 9th century A. D., and the author is referred to is the son of Ravi, same as Surya. Vasudeva-Vijaya, another Kavya illustrative of grammatical rules, published in the Kavya-Mala Series, rnay also be, by the same author. What is significant however is the immigration of scholars from Kashmir into Kerala even before the days of Kshemendra and Sambhu, the settlement of such scholars in Malabar and the cultural contact established hetwoon the two distant countries. Another work that may be referred to in this connection is Alankarasutra (No. 40). The Vritti on this work was written by Mankhuka, a minister at the court of the Kashmir Kings. The Sutra and the Vritti found their way to the court of Ravi Varma the conqueror, King of Quilon, where they were communted on by Samudrabandha, in the 13th century A. D. Maharthamanjari (No. 66) composed in the Chola country deals with the Saiva Cult devem loped by Abhinavagupta and others in Kashmir. This work was found out from Kottayam and Tiruvella in Travancore. Then there is another publication Paramartha-sara (No. 12) which deserves notice in this connection. It deals with Advaita philosophy and is said by Dr. Ganapati Sastri to be the work of Adisesha himself. Another work of the same name has now been published in the Kashmir Saries, ·107 also said to liave been composed by Sesha who according to the leurned elitor was a Yogi and not the Serpent-Lord as opined by Dr Ganapati Sastri. The main difference between thu two publications is that the Trivandrum Pablication is Vaishnavile and the other Saiyice, But for this difference, both of them agree in the inain. It is rather difficult to deterioine which is the origmal, and which is the variant. It is however strange that the same work with the above said inoxlification was found in Malabar and Kashmir. I me y lowever avlil that the Trivandruin publication seems to have found its way into Travancore from the adjoining Tamil Country The considerations set forth in the previous paragraphs loud colour to the statement in the Kerala-Kshiti-ratna-mala and lead me to think that some connection existed between Kaslımir and Keralas in the remote past. I now take up another cultural current namely between Bengal avut Malabar. Gita-Govindam of Jayadeva, a Bengal Poet, is chanted in many temples in Malabar. From that u Zinorin of Calicut took the cue and produced Krishnan Attom for representation on the stage. That was further developed into Raman Attom or Kathakali, by the Kottarakkara Raja, a scion of the Travancore Royal Family. Till a few ycars ago Kathakali, which is a variety of pantomimic acting, was almost the only form of dramatic recreation in Malabar. Thus the stage in Malabar owes a good deal to Bengal. Not only that. Yatra-Play performed by Malabar Brahmins has, I think its source in the Yatra performances of Bengal. No doubt, I have heard people deriving Yatrakali from Sastra-kali. It is a false derivation, since there is very little peculiarly Sastraic in the Yatra performances. In a modern Bengal drama, by Girish Chunder Ghose, as I recollect, there is a well-known character called "Vilyamangalam Thakur. After a dissolute life, as the story goes he is said to have become a saintly person. Tradition in Kerala also urrakes mention of a Vilvamangalam Swamiyar who is suid to have been a spiritual preceptor to some of the Malabar Kings, Chempakasseri Raja or Raja of Poraca as he is called by Portugese writers, being one among them. Prakriya-sarvasvam, the first part of which was recently published in the Trivandrum Sanskrit Series says that the Chemnakasseri Raja had received holy initiation from a Sanyasin wbo hailed from the Brindavan. See the verse beginning " aangat farma:" etc. This Sanyasin in ·108 Let me the light of the tradition, I take to be none other than Vilyamangalam. It might be that the Malabar Vilvamangalam was a relation or disciple of the Bengal Vilvamangalam Anyhow that also points to previous connection between Bengal and Malabar. Aryamanjusrimulakalpa (Nos. 70, 76 and 84), which deals with Buddhistic lore in regard to health, wealth, necromancy, astrology, etc., is a work from Upper India. It has got scriptural authority with the Buddhists. It was translated into the Chinese language. The original however was not available anywhere in India except Travancorc. In the hands of Pandit K. P. Jayaswal, the publication has now served to throw light on a dark epoch in Indian History and to question the correctness of some views expressed by Vincent Smith. It is indeed creditable that such a valuable work was discovered and published here. What is strange in this connection is that the publication is based on a copy nade by a Buddhist monk from what was known as the Madhyadesa which means the province west of Allahabad. not however be understood as holding the view that the work under reference is a Bengal production. The author no doubt refers to Bengal among the various parts of India like Kashmir, Sindh, Madhyu-desil, Anga, Kasi, Magadha, Simhala, Andhra, Karnata, Dravida, Arbuda, Şahyadesa, Malaya and so forth. Probably the author also bulonged to Madhya-desa. References to other parts of India in works produced in Kerala are also not uncommon. See for example Ranadipiku (No. 95), a treatise on military preparations, by Kumara Ganaka, a Malabar astrologer who flourished, as it seems to me before the Perumals were vanquished. The following passage is instructive वदन्तु बहुधा कामं मुनीन्द्राः शुद्धमानसाः । अहं सत्यं प्रवक्ष्यामि युक्त्या परमसारया ।। युक्तियुक्तमुपादेयं वचनं बालकादपि । अन्यत् तृणमिव त्याज्यमप्युक्तं पद्मजन्मना । कर्णाटे द्राविडे गौडे काश्मीरे कोकणेऽपि च । तुरुष्कराज्ये वैदेहे वङ्गाले सिंहलेऽपि च ॥ पाण्ड्यमालवलाटादिपरदेशेषु नामभम् । प्रधानं जन्मनक्षत्रात् सर्वेषां सर्वकर्मसु ॥ केरले भुवि लोकानां जन्मभं ग्राह्यमेव हि ।

·109 Other lipper [nlian productions have also reached Malabar in the remote past. See for example Artha-sasthra (Nos. 79, 80 and 82) and Isanasivagurudevapaddhati (Nos. 69, 72, 77 and 83). Years ago, a vernacular commentary was written on the Ari hasastra and it is so helpful and profound as to afford guidance even to a scholar like Dr. Ganapaihi Sastri. Thi general circulation and currency of well-known Works like the Mahabharaia, Rimayana and the works of pouts like Kalidiesit ali Bkavablıuti would not lead to any valid inference. They are the common property of all lovers of Indian culture and are indispensable like air and water for living beings. It is the rara avis that arrests attention, tells its own tale, no matter how indistinctly, and creates a craving for new and clear vistas. It is also probable that notable works produced in enlightenel centres in the Madras Presidency woull purculate the cultural stratum of Malabar on account of contiguity. Vishnu-Bhagavata according to a learned writer in the Historical Quarterly, is a South Indian production, in all probability by an author in the Dravida country. That work has overshadowed other Puranas in the Kerala country. Similarly, Sivalilarnava (No. 1) by Nilakanta Dikshita, Manidar pana (No. 34) by Rajachudamani Dikshita, Siddhanta-siddhanjana (Nos. 47, 48, 58 and 61). by Krishnanandasırasvati, Mattavilasa prahasana (No. 55) by Mahendravikrama Varma, Bharatacarita (No. 86) and Hamsa sandesa (No. 103) are procurable in Malabar on the ground stated above. No doubt, Dr. Ganapati Sastri is silent on the native village of Krishnakavi, author of Bharatacarita. I am however inclined to think that he was a native of Tinnevelly from his fond and frequent references to the Tamraparni River. Tradition says that Naraburi Brahmins from British Malabar used to proceed to Chola and Pandya territories in pursuit of learning. We have also accounts of incursions by foreign scholars into Kerala to contest the supremacy of indiyenous intellectuals. Uddanda Sastri (circa 1426 A, D.) is said to be one of such for...idable controversialists. Не marched into Malabar from Chola country, caught Tartar in his learned discussions on the west coast, and remained to praise his opponents, being quite content with a Malabar domicile. One of his works Mulllika-marutam, published many years ago at Calcutta led the erudite editor into the pompous blunder of concluding that it was a work by the Well-known author, Dandi.

·110 An idea of our foreign relations in the field of culture may be gained froin the previous paragraphs. If we leave out the short-lived occupation of the Malabar District in the days of H; der and Tippu, the Kerala country may be said to hav had no misfortune to be under the iron heols of invaders delighting in bonfires of books and libraries. The 6 mild Hindu" was nowhere milder than in Malabar in his attitude towards other religions in spite of their transmulittive activity on the followers of other creuds. Whatever be the problems arising from the silent outgrowth of such a situation, indigenous pursuit of knowledge and its title-decus did not meet with any outrage in the past. Bhasa's works wiped out of existence in other parts of India, were therefore found to survive only in Travancore. I am not unaware of the keen controyersy about the authenticity of the works published in the Trivandrum Sanskrit. Scries as Bhasa's productions. The fact however remaius that these lovely plays were not found in quarters where they should have been found if the contentions of those who oppose the Bhasa theory were well-founded. The enthusiasm generated among scholars by the discovery of these plays and the abiding glory secured by their publication would not be seriously affected by the criticul batterie's opened on their authorship. Anothur publication on which the dupartinent deserves congratulation is the Bhashya on Rig-Veda by Skandasvami. The great commentator was a native of Valabhi. Mr. Sumbasiva Sastrigal kas argued strenuously establish that Valabhi is Valaputtanarn in Malabar. Valabki, however, is known as a town in Guzerat. Sue for example the statement in the Dasakumaracharita quoted by Apte, “अस्ति सौराष्ट्रेषु वलभी नाम नगरी।", Granting therefore that Skandasyaini was not a native of Kerala, we canuot under-rate the discovery of his work in Kerala and its importance in the study of vedic literature. The prevalent Bhashya by Sayana is much later than that of Skandaswami. Apart from general literature, the productions of Malabar Scholars iu the past disclose two distinctive features (1) simplification and elucidation of the sciences and arts in Sanskrit, and (2) specialisation in certain specific directions. Under the first head may be placed the works of Narayana Bhattapada. His Prakriyasarvasva, a lucid treatise on grammar has recently been published in the Trivandrum Sanskrit ·111 Scries. I wonder how Siddhanta-kaumudi by Bhattoji still holls the field against. Prakriyusarvasva. Dhatu-kavya by the same author following the Dhatu-vritti by Madhavacharya kıs been published in the Kavya-mala Series in Bombay. Similarly Matanga-lila (No. 10) on elephants and their cliseases is a work which boils down an elaborate treatise, Palakapya, published some ycars ago by the Anandasramamntt, Purnia, Tantrasamuccaya (Nos. 67 and 71) and Manameyoxlaya (No. 19) may also be placed under the same category. Turning to the other head vie., specialisation, we see an annount of earnestness in Jyotisha (astronomy and astrology), Ayurveda (medicine), Mimamsa and Silpa (architecture) The branch of astronomy known as Drig-ganita is special to Kerala. The founder of that system is one Para- Ineswarı (circa. 1430 A. D.). His work Gola-dipika is No. 49. He has written a number of other books on the same subject, and one of them his commentary on Aryabhatiyam appears to have been published at Leyden His son's discipke, Nilakanta Somayaji, a sturdy seholar, with whom I had to deal at some length in my essay on Ezhuthacchan, a Malayalaın poet, is the author of an erudite commentary on the Aryabhatiya, two parts of which have already been published in our Sanskrit Series. Dr. Sankara Menon, a former Director of Ayurvela in the service of the State, has also brought out a number of works on Jyotisha, in addition to some rare treatises on Ayurveda. In the field of Ayurveda, Malabar has an octad of physicians' families, called Ashta-vaidyans, with a perpetual succession of eminent physicians in each of them. They are the hereditary custodians of native medicine. The highwatermark of efficiency reached by these physicians would not of course, remain constant, on account of variations in individual intelligence. The marvellous achievements of the late Aryan Narayanan Moos of Vayakkara family, in the healing art are matters of recent history. At a remote age the Alattur Nambis bore the palm. Dhanvantari Das of the Chirattaman family is threatening to overtop, many others at present. So it is with them. The general level of learning maintained by these families is indeed very high. The main authority they have been following for many decades is Vagbhata's Ashtanga-hrdaya. In addition to that, each of these families, I understand, has its special ·112 treatises and arcana for treatment. It is indeed a pity that these eminent physicians have not recorded their experiences to contribute to the development of the Ayurvedic system. Modifications of the muthods laid down in the Ashtangabrdaya have been however found necessary in some instances by other eminent physicians and Hrdayapriya (No. 111) by Patchu Mootatu, a physician at the court of Ayilliam Tiranal Maharaja, is the outcome of such necessity. I am glad however to note that the archives of thu Ashta-vaid. yans have been invaded by our enterprising curators and two of the spoils recovererl (1) Rasavaiseshika by Bhadanta Nagarjuna with Narasimha's Bhashya and (2) Rasopanishad have been made available to the public by Dr, Sankura Menon and Mr. Sambasiva Sastrigal respectively. The first work, according to Dr. Sankara Menon is a Malabar proiuction. He has advanced many arguments to establish his view and I wish it were so. I regret however to say that I remain unconvinced. The second work viz., Rasopanishad also refers to Nagarjuna, but it is difficult to say whether he is the same as the author of the first work or some one elsс. Rasopanishad is an interesting work dealing with the marvellous uses of mercury and mercuric prepara - tions. The author vouchsafex perputual youth, extremo longevity and othur blessings by mercuric medicinos. I expect some native physicians would study the subject and put the prescriptions to the test. The author of the work, though it stands in the name of Lord Paramasiva, appears to have been acquainted with various parts of India. See for example the following passages. (1) मेढपाटे, स्वाटे, वैराटनगरे, नेपाले, चमूरले, काश्मीरे, आन्ध्रदेशे, श्रीपर्वते, दमिलदेशे, करहट्टे च जायते । (2) अस्ति दक्षिणापथे शेषणविषये राशिनं नाम ग्रामः । What is strange however is the elose acquaintance claimed by the author with Malabur. See the following. दक्षिणे केरलेन्द्रस्य राष्ट्रे वनसमाकुले। नातिदूरे समुद्रस्य प्रामे प्रीतिसमाहये ।। ततः पिप्पलिसंस्थानाः पाषाणा हेमधातवः । तानादाय प्रयत्नेन वक्ष्णचूर्णानि कारयेत् ॥ I am unable to identify the Preeti Grama alluded to by the author. . --- ·113 Coming to Mimamsa, Uddanda Sastri who lived about 500 years ago in his Kokila-sandesa eulogises the high proficiency of the Ko'tavam Rajax in that branch of study. Manameyodaya, evidently by two Malabar scholars, and Mimamsasloka rar. ila (Nos. 90 and 99) point to the special study of the subject in Kerala. Lastly about Silpam. I remember to have read in Prananath Sarasvati's Tagore Law Lectures on Hindu Religious Endowments, that Upper Indian treatises on architecture are not available and the only treatise that he came across, Manasara, was a South indian production. Silparatnanı, composed at the instance of the Chempakasseri "Kaja Manushyalayachandrika and Vastu-vidya among the publications, bear testimony to the avidity of Keraliyas in the art of architecture. Dattilam, Brihaddesi and Sangitasamayasara are treatises on music. These are no doubt rare, but cannot be regarded as evidence of any wide-spread interest in the development of the art of music in Kerala. They appear to hiave been collected hy some lovers of music. The above bird's-eye view of the Trivandrum Sanskı it Series enables us to guiu an insight into the inter-relations of Kerala with other parts of India in regar] to Sapskritic studies and Indian culture in the past. It also serves to indicate the lines along which sholarship developed in Kerala. My views, I have to add, are the result of the impressions formed on a general acquaintance with the publications in question. I have not critically examined them and I trust, a critical examination would yield much better and more interesting results. On the whole there is good reason to congratulate the department on the laudable ootturn of the work undertaken by it. Much more remains to be done, and I hope as time goes by, the department, if properly encouraged, would establish further claims to esteem and praise in the cause of Oriental Studies and Indian Culture. May the Department grow froma stage to stage ! आरम्भतो गणपतिप्रतिपत्तिपात्रं संवर्धिता तदनु साम्बशिवप्रसादात् । चित्रक्षजस्य नृपतेः कृपया चकास्तु प्रलप्रबन्धगणमुद्रणकार्यशाखा ॥

·; 114 THE EARLIEST CHERA KING KNOWN TO LITERATURE By K, G. Sesha Aiyar B. 4., B. L. Judge, High Cout, (Retd.), Trivandrum. The only source from which the story of the old Chera Kingdom can be constructed is the Literature of the Sangam Period. Of the three ancient Tamil Kingrloms, the Chola and the Pandya Kingdom have lo 'g since ceased to exist but the Chera Kingdom still survives in the Indian States of Cochin and Travancore. A connected history of this ancient kingdom has not yet been written ; and any one who desires to study its ancient history must go to the greut Tamil classics of the Sangam age. Thanks to the indefatigable energy and industry and the invincible love of Tamil of the greatest living Tamil scholar, Mahamahupadhyaya Dakshinatyakalanidhi Dr. Swaminatha Aiyar, correct and critical editions of most of these classics are 110w available in print and among these the most impo, tant sources of information for building up an account of the early Cheras ard Puranan- UrU, Patirrup-pattu and Silappatikaran. The lymcs of Puranaruru are mainly court lyrics in praise of Tamil Kings or chieftains by contemporary poets; and they supply us with information about 17 Chera Kings; but there is reason to bilieve that the names are, in some cases, reduplications. Silappatakaram is a well-known epic that ileals with the achievements of Cen Kuttuvan, the great Chera king who built a temple in memory of Patui-Devi. Patirrup-pattu is exclusively devoted to a eulogy of the Cheras; and though originally there were ten decads in that collection, each sung of a different Chera monarch by a contemporary poet, only eight decads have so far been rescued by Dr Swaminatha Aiyar from oblivion. A vigorous search has yet to be made to discover the first and the tenth decad of Patirruppattu ; and let us hope that the Lepartment for the Publication of Oriental Manuscripts which has already won an undying name among Sanskritists by discovering and publishing Bhasa's plays and various other rare and valuable Sanskrit works, will also apply itself to the discovery and publication of the two missing decade of Patirup-patiu, relating as they do to Chera kings of antiquity, and of other old Tamil works, that may be found lying neglected in the collection of čadjan books still to be found in various places in Travancore and elsewhere. ; ܦ ·115 I feel little doubt that the earliest Chera known to Tamil literaturu is Cheranan Perum Corru Udiyan Chieralatan, who is celebrated in song by Muranciyur Mudinagarayar in puram 2. That lyric which if we except some references to him in Agananuru, is the only poem sung in his honour, is given in translation below. Hail, noblo king! whoso nature well combines The qualities of all the clements Whose long, forgiving suffring is a match To inother earth's ; whose judgment wise is wide As all-pervading ether, and whose inight Like air illimitable, and like fire Resistless, with refreshful mercy still Is lonpered, which thy glorious sway upholds As water cool enlivens nature's face. Hail, warrior-king! Thy land with plenty smiles, With untold wealth the deep sea's bosom yields, And treasures niew that ceaseless to thy ports From foreign lands rich merchant vessels bring. The sun that in thy eastern sea is born In thy foam crested-western ocean seeks His rest at eve. Sky bounds thy lanu alone! Majestic monarch! When the ten times ten Kauravas, crowred with golden tumpai wreaths, Wrathful in battle'gainst the heroes five- Lords of the fiery steeds with tossing mane Their patrimony lusting after, fought, Thou didst unstinted savoury food supply To either host, till all the Kurus fell, Illustrious king ! though luscious milk may sour, The sun his brilliance loge, and e'en the four Vedas themselves their holy teachings change, Mayst thou by ministers be served, whose love For thee and wisdom in thy councils shall Constant through all vicissitudes remain ! Mayst thou in power and glory steadfast shine Throughout all time like Potiya's sacred mount And golden peaked Himalaya, where rest The dainty headed fawn and large-eyed deer, Securely by the holy triple fire Which for their ev'ning rites the sages raise ! In this translation, I have followed the ancient commentator of Purananuru who makes out that this Chera king yas a contemporary of the Pandavas and the Kauravas, and " ·116 50F ; in the great battle of Kurukshetral, he supplied the rival armies with food. The words of the lyric need not, it seems to me, be necessarily so construed. Perhaps this king gave a memorial feast of the nature of a Sraddha at the anniversary of the Mahabharata War, in which the heroes from whom he traced his descent had died, and that is what the poet refers to here. This seems to be supported by a lyric by Mamulanar (Agam 233) which reads as follows :- மறப்படைக்குதிரை மாறாமைந்திற் றுறக்கமெய்திய தொய்யா நல்வின் முதியர்ப்பேணிய வுதியஞசோல் பெருஞ்சோறு கொடுத்த ஞான்றை Udiyan Cheral was obviously famous for his lavish hospitality, and his kitchen has become a bye.word for sumptuous feeding. Thus in Agam 168, we read Germ LL னேன்றகோடாநெஞ்சினுதியன ல் போல. 'T'his poem is by a Cheraman who is stated to have died at Kottambalam and perhaps he is i lentical with Kottambalattut-tunciya Mak-kodai. He tells us in this lyric that Udiyan's royal kitchen wus at Kulumur, perhaps Piolemy's Kourellour, a place situated possibly in North Travancore. We cannot say whether Kulumur was the original capital of the Chera ; perhaps it was, but we can only say that Tamil tradition does not appear to have known a time when the Chera capital was not Vanci. We see from Aganaizuru that Udiyan Cheral extended his kingdom by his conquests. Mamulanar refers to him in Ayam 65 as t® 4 sur 502 $ glu 4 sur C#that is, Udiyan Cheral who conquered others' territories and annexed thein to his own. He seems to have won a naval victory ; for in Agam 45, Vellivitiyar refers to him as கடல் கால கிளர்ந்தவென்றி நல்வேல் வானவரம்பன் that is, Vanavaramban who with his victorious javelin overthrew his foes on the sea. Both here and in puram 2, Udiyan Cheral is called Vanavaramban. We do not know whether this epithet was originally வானவ மடன் the equivalent in Tamil of the well-known Devanampriya, and was afterwards by mistake written by a scribe as வானவராயன். It is interesting to note that am ing the several names denoting the Cheras av poslovi is onl'. If Udiyan Cheral was great in war, he was also great in the arts of peace. Trade and cornwerce flourished in the land, and iarchant men called at its ports. He was a munificent patron of letters, as we see from Agam 65, were we read ·117 உதியன்சேல் பாடி சென்ற பர்சிலர் போல alaradosti au TL He may be regardled as the founder of the Chera dynasty. Having regard to the scheme of arrangement adopted in Patirrup-pattı, there can be 110 doubt that he was the hero of the first decad of that collection, which is now unfortunately missing ; for we find from thu Patigam of II Patrrup-punttu that Ediyan Cheral was the father of Imaya. varamban Nedum Chera latin, tho hero of that decad. From the same source we learn that Uaiyan Cheral married Nallini, the daughter of Veliyan Venman, afterwards known as Cholan Porvaikko Perunurkilli, whose father, Tittan, we learn from the Sangam classics was the earliest of the Chola kings who ruled at Craiyur. It is possible to (leterrning the prolrable date of Udiyan Cheral. In my paper entitled "A Problem of Ancient South Indian History" I Indian Historical Quarterly ; XVI.Q.J. M. S.) and elsewhere I have given reasons for holding tbat Cen kuttuvan the treat ascended the throne of the Chera Kingdom about 125 A. C. According to the accounts given in the decade of Patirrup-pattu, now available, three Cheras reigned before him viz : Imayavaramban Nedum Cheralathan for 58 years, Palayanai Cel-kelu Kuttuvan for 25 years and Kalankai-kanni Narmudi Cheral for 25 years Udiyan Cheral was the father of Imayavaramban ; and on the basis of the figures above given, Udiyan Cheral's concluding year would be 17 A. C. If we allow to Vanavuramban Udiyan Cheral's reign the conventional 25 years which cannot be held to be an exaggerated estimate, hu may be regarded as having comnienced his reign in circa. 8 B. (.

·118 ENCOURAGEMENT OF ORIENTAL LITERATURE BY TRAVANCORE SOVEREIGNS. By K. Sambasiva Sastrigal, Curator. From time immemorial the Kings of Travancore were not only renowned for their valour and heroism, but also for their encouragement of arts and literature. It is no exaggeration to say that literature and arts wero their chosen field for enjoyment-for the bliss of self-realisation. Such eujoyment was two-fold ; first, by the production of literary works and secondly by the appreciation of literary gems brought into existence by other authors. This literature comprised three languages, Tamil, Malayalam and Sanskrit. Though the capital of the Chera Kings was the land of Vanchi, they often used to march into the Pandya Desa, actuated by the desire to conquer their enemies and win for themselves undying reputation. These marches were conducive to a partiality for Tamil. As all the lands from Kerala to Kanchipura were once under the sway of the Chera Kings, the influence exartea by Tamil was considerable and would be clear to any one wlio had occasion tu examine the panuscript libraries in Malabar. Four years ago, 8. c., in 1105, I had occasion to peruse an ancient Tamil manuscript by name Thiruvaimozhi in the library of Brahmadattan Namburippad of Kudallur, proving the truth of the statemont made above. Similarly many manuscripts of the type are available in many places. With the spread of Sanskrit throughout Southern India, all the Kings and Lords were delighted with it. In course of time, there emerged a Desa.bhasha. The result of the inter-play of Sanskrit and dialectic Tamil was the formation of the Malayalam language. This language would never have come into existence, but for the permeation of Sanskrit, But for the influence exerted by Sanskrit there would have been no Malayalam-speaking people, and all the people would have been Tamilians. The fact that a language possesses extraordinary powers to radically chauge the history of the world can never be denied. And if the intensity of the connection between Malayalam and Sanskrit is diminishing by gradual degrees, 4 ·119 the change can only le attributed to the influence brought to bear on Malayalam languuge by English and other languages. It is doubtful whether many have completely grasped the significance of the line comme "संस्कृतहिमगिरिजाता" The facts momioned here will amply prove that the Cherut Kings were highly delighted in the study of Tamil Litorature. Tami Literature. The historical treatise Patittupattu deals wiih the epoch of the ancient Chera Kings. It is known that Elan kovadikal the younger brother of the famous King Cheran Chenkuttuvan was the author of the Chilappatikuram Kavya and that he renounced all wordly thoughts, immersing himself in Sabda Brahma. It is also gleaned from historical treatises that Cheran Chenkuttuvan himself honound two great poets, Bharanan and Chattanar and their works. It is widely known that come Dasakas in Patittupattu were written by the poet Bharanan. He was one of the foremost who had the fortuue to receive presents from Chenkuttuvan. More than 80 songs seem to have been composed by him. Chattanar seems so have been a mercbant of Madura. He was authorised to peruse and criticise and correct the works written by other poets It is seen from the following verse in Balaramabharata that a Chera King has written a work based on the story narrated by Sundara. "कैलासशैलगमने पथि संस्मृतेन भक्तेन सुन्दरवरेण स चेरभूपः । आरुह्य वाहमधिगम्य च शैलाशे श्रीसुन्दरेण कथितं चरितं चकार ॥" It is not clear what this work was and which Chera King was responsible for this production. It is well knowa that the famous 'King Kulasekhara Alvar was the author of a work called Tirumozbi, which is even now used for recitation in temples by Vaishnavas. Another work of this Kulasekhara Alvar named Mukundamala is beld in high esteem by Keraliyas. The famous King Kulasekhara Varma is the author of thşde dramas, Tapatikamvarana, Subhadradhananjaya and chainnalihinbeka and of the prose text Aacharyainanjari, ·120 Of these, the first two works have beuu published as Nos. 11 and 13 of the Trivandruin sanskrit Series. The following sloka from Subhadradhananjaya shows that this Kulasekharavarm had goori taste in inusic, and was well-read in Kalidasu's works, besides being generous and a stauuch devotee of Vishnu. "आसिक्तौ ग्रामरागैर्गलदमृतरसैभरतर्भावयन्तौ कर्णी नः कालिदासप्रविहितरचनाः कर्णपूरीक्रियास्ताम् । स्वीर्कुवन्तु स्वकीयं धनमिव सुहृदः स्वापतेयं मदीयं चेतः पीताम्बरश्च प्रतिभवमभवः पादपीठीकरोतु ।।" The Maharaja had great respect towards Pandits. This is evinced by the dialogue in verses quoted below, between Sumati, the commentator of Tapatisamvarann, and His Highness. The commentary referred to above has been written with a view to clearly bring out the hidden mcaning conveyed in the work. This also shows that His Highness had an inordinate love towards Dvani kavyas in general. "मुहूत स्थितवत्यस्मिन् मय्यत्र स महीपतिः । श्रितप्रसादया दृष्टया वीक्षमाणः सभासदः ।। अनुज्ञाप्योदगात् तस्मान्निरंगच्छन्मया सह । .... .... .... .... .... .... रहो नर्म वदन् प्रायान्मन्त्रशालामनन्यगाम् ।। अथावदत् सुखासीनं मां नरेशः प्रहृष्टवान् । रचिताद्य मया विद्वन् ! कथञ्चिन्नाटकद्वयी ।। एकं संवरणं नाम धनञ्जयमितीतरत् । ध्वनिलक्षणयुक्ता सा रचिता नाटकद्वयी । ध्वनियुक्काव्यसरणिः शस्तेति प्रोच्यते बुधैः । एतसाद् ध्वनियुक्ता सा रचिता नाटकद्वयी ।। द्रष्टव्या भवता सेयं नाट्यलक्षणवेदिता । तां पश्यन्नवधायैषा सदसद्धेति कथ्यताम् ।।" After the regime of the Chera Kings, there was a Kaja naried Venattadikal, who was a Tamil Poet. This Raja is'.

·121 known to have composed a very sweet Tamil Kavya, Tiru. visaippa by name. After that there was another King Rama Varma by name who was also called Chera Raja. It is becoming established that the old work Ramacharita is his composition and this fact is borne out by the concluding song in that text : agomejaglmeroesma209 6029 (6) 0 (1) []samal- [രും തളരുമാറു വരും വൻ പിറവിയും കാതയിൽക്കിടന്നു നീന്തുമതൊഴിത്തുകൊൾവതിന്നൊന്നുമില്ല [amogiseupanilcannoum alam [0"] 00 (01) COMDOlsomainlesal (७) []monama നക്കാമ്പുടയ ചീരാമനമ്പിനോ [Shamim oneी (७) [°] choail Doldediod പോതിൽമാതിനിടമാവരുടൽ വീ (9) [ഴ്] വതിനു പിൻ (പോകിപോകചയനൻചരണതാരണയ് വരേ. Those who have read this work will be easily convinced that there is no other Mahakavya so sweet and so pregnant with poetical art. We shall now proceed to the works of king Ravi Varma Kulasekhara, otherwise famous as Sangramadhira. It is knowa from historical records that many foreign Pandits who visited his court were highly honoured by him, that the kingdoms of Pandya and Chola were conquered by him, and that he was the Emperor of Southern India. He has written a drama, Pradyumnabhyudaya, published as No. 8 of the Trivandrum Sanskrit Series. From the line occurring therein, भरतजलधिकर्णधारः प्रबन्धा यदुक्ष्मापतिः । it is known that he was proficient in Bharatasastra and from the words of the Sutradhara, "अस्ति किल सङ्गीतशास्त्रपारदृश्वना निखिलगुणरत्नरोहणगिरिणा कविजन- मयूरकालमेघेन साहित्यविद्याविचक्षणेन दक्षिणभोजराजेन महाराजपरमे- श्वरेण समामधीरापरनामधेयेन श्रीरविवर्मदेवेन विरचितं प्रद्युम्नाभ्युदयं नाम नाटकम् " ·122 which give an insight into the name of the author, it is also understood that be was a lover of literature and niusic and that he fostered and encouragel poets and scholars. The line "कथं दक्षिणभोज! त्वां ब्रुवते बुद्धिमद्वरम् ।" bears ample testimony to the fact thut he was celebrated as Bhojaraja. It is also known from the stanza, "भूपालैरिलकार्तवीर्यसगरैर्यः पूर्वमासीत् कृतः पश्चात् प्रौढतमोहरं यदुपतिस्तं भद्रदीपोत्सवम् । चक्रे शक्र इवाश्रयः सुमनसां सम्राट् त्रयीधर्मविद् रङ्गेऽस्मिन् रुचिराङ्कसंश्रितरमारोचिष्णवे विष्णवे ॥" inscribed on the walls of Srirangam temple that he had celebrated the on great Bhadradipa festival at Srirangam. From the Sutradhara's words, "सङ्ग्रामभूमिषु सभासु च धीर एष शस्त्रेण बुद्धिविभवेन च तैक्ष्ण्यभाजा । दोन्धकारितधियो नृपतीन् बुधांश्व जित्वा क्षितौ विहरते जयसिंहसूनुः ॥" it is kuown that the king was famous not orly for his valour and heroism in war but equally so in the councils of learned men. The next Maharaja Aditya Varına, also called Sarvanganatha was a great scholar, poet, musician and grammarian, besides being proficient in Dharmasastra and Arthasasira, as is known from the inscriptions in the Sri Krishna temple at Vadasseri. As instances, the following stanzas written by himself as well as by other posts may be referred to: "शब्दज्ञोऽस्म्यथ लक्ष्यलक्षणगुरुः साहित्यसङ्गीतयोः स्मृत्यर्थात्मपुराणशास्त्रनिगमान् .जाने प्रमाणान्यसि । पत्रिंशत्स्वपि हेतिषु श्रमगुणैश्शोभे कलानां कुला- न्यभ्यासे युधि भूपतींश्च विजये सर्वाङ्गनायोऽस्म्यतः ।। साहित्ये निपुणाः केचित् केचित् शास्त्रे च कोविदाः। केचिद् गीते कृताभ्यासाः केचित् शास्त्रे कृतश्रमाः ॥ - ·128 2 आदित्यवर्मन् ! भवतः साम्यमिच्छन्ति ते कथम् । पारंगतेन विद्याना- मेकां विद्यां समाश्रिताः ॥" In the Bhashasandesa Kavya, Unninilisandesa the King is eulogised thus: -- (ആകല്പം വാണരുളു പകയക്കന്തകാ! എന്ത ഭൂമി- ക്കാകല്പം നീ മഴവർമണിയേ! വാണിയും പൂവിൽമാതും വീകിച്ചേ വന്നഴകൊടു പുണന്നീടുമാതിച്ചവമ്മാ! മേഘത്തോടും കൊടയിലിടയിൻറാരു കല്യാണസിഡോ!'' The next King who ruled the land was Vira Ravivarma Ktulasekhara.. It is known from the inscription in the Keralapuram Temple, namely, പദ്മനാഭപദാരവിന്ദസേവകരുമായി, തുലാപുരുഷാദി- ഷോഡശമഹാദാനദാതാവുമായി, സകലവില്യാപാരങ് ഗതരുമാ യി, സർജനരക്ഷാധുരന്ധരരുമായി, സമസ്തരിപുവറ്റതാമ Qാ സൂയരുമായി.'' that he was conversant with all sciences. Further from another inscription in the same place, "श्रीपश्मनाभपदपङ्कजभक्तिभूम- प्रादुर्भवत्प्रचुरसम्पदुमातनूजः । राजा कथां रघुपते रविवर्मनामा तत् सजिघृक्षति सतां मुदमातनोतु ॥" it is seen that he was the son of Umayamma Rani' and the author of Ramayanakathasangraha. The next king to be referred to is the famous Martanda Varnna (1729-1758)- the maker of Modern Travancore. Though he did not assume the reins of administration early in youth, he took great interest in political matters and spared no pains in the extermination of all political All the opponents and reconstruction of Travancore. countries that he conquered with foresight and statesmanship were humbly dedicated to his tutelary doity Sri. Padmapabba - Though he was highly interested in literature_he could find no tinxe to take any active part in that field. But there alent testimony to show that he made mafi. cerit grants to poets and scholars. * ·124 Among the learned men who sought his protection, mention may be made of the following persons, namely, Devaraja, Ramapanivada, Ramapurathu Varyar and Kunchan Nambiar, of whom Devaraja is the author of an excell nt dramı Balamartandavijaya, published as No. 108 of the Trivandrum Sanskrit Series. Besides, he was the class-mate and friend of His Highness's nephew Sri Ramavarma Yuvaraja--a great scholar and poet. Devaraja earned for himself the title of modern Kalidasa. The derivation of this title is thus indicated in the words of the king, 'वाचि तत्त्वार्थसंयोगात् कालिदासो नवो ह्यसौ । बहवः कवयः सन्ति भुवने कवयन्ति ये ॥" Another stanza: - "जयप्रस्थानवेलायाममै व्यापहारिणे । अग्रहारद्वयं दत्तं वृत्त्यलङ्कारहेतवे ॥" also proves that two houses and many garlands were given to him as presents. It is known from another stanza in the same dramaa viz, "एका भूषणभूषितेयमितरा माणिक्यहारोज्ज्वला कौशयाम्बरधारिणीयमपरा चामीकराढ्या परा । एषा पेटचतुष्टयी मणिमयी सम्मानिता ते मया धीमन् ! मामकपद्मनाभचरिताख्यातुः प्रबन्धात्मना । that four boxes containing many ornaments, gold, emeralds and silks were also presented to him by the king. Ramapanivada was a Keraliya and a great poet. He is known to be the anthor of Raghaviyamahakuvya, Sitaraghava-- a dramatic treatise and of many kupakus, 6. Gay Lilavati, Chandrika etc. It is known from the following stanza in Sitaraghavanataka अधिस्यानन्दूरं जयति जगतीपालनपरं परं ज्योतिः शीतद्युतिधवलशेषाहिशयनम् । यदन्तः सन्तन्वन्नखिलनृपतीनां नतु परं सुराणामप्युच्चैरधिवसति मार्ताण्डनृपतिः ॥" and from the statement, "तत्र तावत् त्वदुपन्यस्ताधिकगुणगणसम्पन्नेन वैकुण्ठतोऽप्यतिशय- रमणीयतत्तन्नव्यद्रव्यसम्पूरितस्यानन्दूरमन्दिरेण सर्वात्मना पद्मनाभसमर्पितसम- ·125 स्तनिजविभवेन सर्वसामन्तकुलमुकुटमाणमरीचिवीचिनीराजितचरणकमलेन इ- दानन्तिनेन राज्ञा वञ्चिमार्ताण्डेन" occurring therein that he was a dependant of Martandavarma and from the words, "ST ക that he elicited the king's admiration even before the time the latter ascended the throne. That Ramapurathu Varyar was a Malayalam Poet and dependent on the King is clearly proved from the following portion occurring in Kuchelavrtham Vanchippatta, മൂത്തിമൂന്നും മുപ്പത്തുമുക്കോടി ദേവന്മാരുമൊരു മൂത്തിയായ് മുപ്പാരിന്നു വിളക്കുമായ് മാർത്താണ്ഡാഖയായിരിക്കും പ്രത്യേ ക്ഷ ദവതയുടെ മാഹാത്മ്യമോത്തിട്ടു .'നസ്സലിഞ്ഞിടുന്നൂ. It is widely known that this song was composed by Varyar within the short time that he was permitted to accompany the King from Vaikom Temple to Trivandrum. It is equally well-known that Kunchan Nambiar was also a dependent of the King. The report that His Highness spoke in praise of Nalacharita written by Unnayi Varyar in preference to the innumerable works of Kunchan Nambiar has Spread in all parts of this land. It is a matter for surprise that such a brave and heroic king found great delight in the encouragement of arts and letters. From a publication entitled Sri Martanda Mahatmyam Kilippattu, recently edited and brought to light by Mr. M. Raja Raja Varma M.A., B. L. Retired Devaswom Commissioner, it is clearly miuifest that His Highness Marthanda Varmá Maharaja attended a Sastra-sadlas at Madura, during his stay there, and that by dint of his arguments, Fanquished all the Pandits assembled there. This is borne out by the following lines quoted from the above publication, *പിന്നെയങ്ങാരുദിനം മന്ത്രി മിസാകൻറെ മുമ്പിൽ വന്നിട്ടു 2 ബുവണ്ണർ സംസാരിക്കുന്നനേരം സുബന്തേ തിങന്തേ തത് പ്രകൃതിപ്രത്യയങ്ങൾ സമ് ബന്ധമായിശ്ശബ്ദം വികരിച്ചീടുന്നതും തത് ക്രമപ്രകരണം 1ഭാനപയാദി ഉത് ക്രമമനുക്രമമായിട്ടു വരുന്നതും ·126 സൂത്രകല്പനകളിലുള്ളാരു യുക്തി(താനും ശാസ്ത്രങ്ങൾ ധാത്രീന്ദ്രൻ മു ഖത്തിൽനിന്നു തദ തടിനീസരസ്വതിയാദികളൊ കുമ്പോൾ ലിളകിവരുന്നതു കണ്ടു ഭീതരായ്ക്കുന്നാർ .'' In another portion of the same book, it is stated that His Highness held a conversation in Sanskrit with a Brahmin messenger of the then Raja of Quilon, The following lines from the book go to prove that His Highness was quite at home in the art of speaking in Sanskrit, (സൂരികൾമുമ്പനായുള്ള ബ്രാഹ്മണൻ ഭൂരിമോദാത് പറഞ്ഞീടിനാ ൻ സംസ്കൃതേ. "सर्णघोरस्य दूतोऽस्म्यहं नृप! व्यङ्घमाकर्णय भूपालभाषितम् । एकवंशोद्भवावावां महीपते! नाशं विधातुं तु नावि भूपती ॥ दूतोक्तिमेवमाकर्ण्य नृपोऽवदत् सधूर्णघोरोऽप्यतिपातकोऽस्त्यहो । आकर्णनीयं नहि पापिनामकं शीघ्रं हनिष्यामि हे तं सर द्विज!॥" After that, Rama Varma Kartika Tirunal, famous as Dharmaraja reigned from 1758 10 179 d. He equalled his uncle in valour and heroism, as is proved by the fact that he extended Travancore by the annuxation of Alargad and Parur Taluks and dedicated the conquerei portions also to Sripadmanabha. He was not only a great poet and scholar, but a highly accomplished person in Bharananatyasastra. He has coinposed a Natyasastru work known as Bálaramabharatam In it, he has made suitable changes in the art of dancing as necessitated by i he requirements of the country. The following verses froin Balaram: bharata referring to the greatz.ess of his dynasty may be read with advantage :- श्रीबालरामकुलशेखरवञ्चिभूपः सङ्गीततालभरताम्बुधिपूर्णचन्द्रः । आदक्षिणाधिहिमभूधरमात्तकीर्ति- विद्याकलाविनयभः परिरक्षति क्षमाम् ॥

·127 चेरक्षितीशकुलभूषणदिव्यरलं श्रीकेरलक्षितिभृद्भुतमौलिरत्नम् । विद्वद्गणस्य मुखपङ्कजमित्ररत्नं श्रीबालरामकुलशेखरराजरत्नम् ॥ लास्यतन्त्रमवलोक्य विशालं शास्त्रमारचितमात्मसुखाय । बालरामभरतं बुधवाः पश्यताद्भुतरसाधिकचित्रम् ॥ It is known that inny musicians, scientists and great poets like Devaraja and scholars like Sadasiva Dikshita adorned the Kug's court. Of these Puthiyakkal Tampan and Itrirarisanihon have written Kathakali Torks. A scholar known as Kalyanasubrahmanya has written a rhetorical treatise called Alankurakaustubha, panegyrizing Ramavarma. One stanza from it is quo-ed below :- "राराजन्मधुराधरां प्रविलसच्चोलां कनत्कुन्तला काश्मीराङ्गविभूषणातिललितां काञ्चीगुणालङ्कृताम् । क्षोणी श्रीरघुरामवन्निरुपमा रत्नाकरोरूमिका- जाला तामनुरञ्जयत्वनुदिनं श्रीरामवर्मप्रभुः ॥" It is also seen that the scholar Subrahmanya has written a Kavya, named Padmanabhavijaya in 8 cantos stanza for example is quoted below : - आचन्द्रतारकमयं भुवि वञ्चिपाल- श्रीरामवर्गकुलशेखरसार्वभौमः। श्रीपद्मनाभकृपया सहभागिनेयः श्रीमान् मृकण्डुसुतवज्जयतु स्थिरायुः ॥" Sadasiva Dikshita has also written a work named Ramayarmayasobhushana clearly bringing out the King's deep insight in music and literature. Two stanzas from the same are quoted below:- "विद्वद्गजानपि निरङ्कुशवर्तिनः स्वै रुद्ध्वा गुणैः कनकशृङ्खलिकानुबद्धान् । कृत्वा वस प्रतिपदं ननु वञ्चिबाल- श्रीरामवर्मकुलशेखरसार्वभौम ! ॥ A -- - ·I28 यदृच्छासल्लापैः समधिगतषट्तन्त्रविभवै- श्चमत्कुर्वन् धीरान् सपदि रसभावप्रकटनैः । कवीन् धिन्वन् गानक्रमविवरणाद् गायकवरान् परिष्कुर्वन् वञ्चिक्षितिपतिलकोऽयं विजयते ॥" The youngest brother of Edavettikattu Nambudiri has written a work Rukmani parinayam by name and a stunaza referring to the King runs thus:-- "राजा किमिन्दुरपि नार्यभिमानहारी राजा परं विजयते भुवि रामवर्मा । नालीकभङ्गकृदतीव नदीनबन्धु- नक्षत्रपो नवसुधाविभवैकहेतुः ॥" This famous Maharaja had a nephew, Asvati Tirunal Rama Varma, who was gifted with poetical talents both in Sanskrit as well as Malayalam. He is the author of a number of works. Among them may be mentioned, Vanchimaharajastavam, Kuchelyrttam and Kartaviryavijayam (Campus) : Rukminiparinayam (Natakana); Rukmi. nisvaymvaram, Poundrakavadham and l'utapamokshain (Attakatha). It is also known that Asvati Tirumal Rarna Varma completed the work Narakasuravadhan Attakatha, begun by his uncle Rama Varma Maharaja. The poztical talent inherent in the nephew was noticed by the uncle who, it is said, has inserted in his Rajasuyam Kathakali, the following sloka written by the former describing the Chakrayudha of Vishnu. "भास्वद्भास्करभासुरारिनिकरप्रोद्गच्छदुस्रच्छटा- सद्यःक्लप्तकरालमांसलतमोभङ्गं रथाङ्गाभिधम् । वैकुण्ठस्य सुरारिकण्ठकदलीकाण्डाटवीकर्तन- क्रीडाजस्रविनोदसाधकतमं प्रादुर्बभूवायुधम् ॥" Next comes the great Svati Tirunal Maharaja,(1829- 1847) famous as the claimant to prenatal sovereignty, as there was no other beir-apparent for the throne before his birth. Quite early in youth he acquired consummate erudition in the art of pusic and in different literatures. The following musicians and scholars were honoured by the King; Ksirabdhi Sastri, Bhattacharya of Choladesa, Gaudavasudeva ·129 Sastri, Ayyasastri, Meruswarni, Vadivelu, Sivanandam, Chinnayya and Parameswara Bhagavatar etc. Though the musical songs are composed in conformity with those of Tyagaraja, all bis compositions have a sweetness peculiarly their own, inasmuch as they are devoted to the praise of Sripadmanabha, Of his Sanskrit works, Bhaktimanjari and Syanandurapuravarnanaprabandha have already been published from this office. Though he has written many literary works, the fact that he had a special predilection for music is amply borne out by the following stanza. “आक्रान्ता कलिनेव हन्त जगती पापीयसा गायक- व्यूहेन क्षितिपालसंसदखिलाक्रान्ता समन्तादपि । नृत्यत्पङ्कजसम्भवप्रणयिनीलीलाविन्दोदरा- मन्दस्यन्दिमरन्दसुन्दरगिरां कुत्रावकाशोऽस्तु नः ॥" There are many works of the type of Utsavaprabandhas and Upakhyanas written by His Highness in Sanskrit and Malayalam. To show the consummation of his literary taste, it is reported that he made munificent grants to a scholar who disclosed his unbearable proverty by the following stanza, "दारिद्यस्य दयालुत्वं किं ब्रवीमि नराधिप!। आत्मनाशमनाहत्य भवन्तं मामदर्शयत् ॥" Similarly, many Tampis, Koil Tampurans and feudatary chiefs of Malabar have been the recipients of many presents from His Highness. The following three stanzas written by them deserve mention :- "श्रीदोऽपि किन्नरपतिः स परं कुबेरो यस्याधिकं नवसुधा परितोषदात्री । तद्राजराज इति नाम कथं तदीय- मन्वर्थमस्ति नृपते! भवतस्तु युक्तम् ॥" Tampi "वाणी यस्य मनोरमा कुवलयानन्दप्रदं यन्मुखं. पाणी सन्ततचिन्तितार्थघटनाचिन्तामणी चार्थिनाम् ।

·130 मीमांसापदमेव मध्यमलघु श्रुत्यन्तसन्चारिणी दृष्टिस्तं नृपमन्तरा भगवती विद्या कुतो वर्तते ॥" Koil Tampuran “षष्ठीतत्पुरुषायो नृपतिषु प्रायेण विद्वत्पभू- शब्दः सम्प्रति कर्मधारयतयाप्यामाति वञ्चीश्वरे । इत्यालोच्य विलोक्य सम्प्रति बहुव्रीहित्वमेतत्पदे किं शोकादिव न स्थितिः कचिदपि द्वन्द्वाव्ययीभवियोः ॥" Elaya Tampuran of Ctangatore Martandavarma Maharaja who reigned from 1847 to 1860, was a literary cunnoisseur who had special interest in Kathakali. He has written a Kathakali work, named Simhadhvajacharitam. His reign was the golden age of Kathakali. It is known that by virtue of his deep insight into it he has hingself acted in Kathakali. NOW 18 In 1860 Rama Varma Maharaja (Ayilliam Tirunal) descended the throne. He was proficient in all arts, especialtyd in music and literature. He used to adorn all councils conyénél 'for musical concerts and Sastrăic discussions. Mr. Elathur Ramaswami Sastrigal, widely known as Gomatta dasan used to preside over his council. Mr. Sastrigal was even permitted to tender advice in Sastraic matters. He has composed many works namely Vrttaratnakara, Jalandharasuravádhama nthakali, thie' commentary on Srikrishnavilasam etc. The King's council was adorned by many great musicians, viz. Raghavabhagavathar and others. His Highness was a research scholar of a high order as is evinced by the fact that he ordered the collection of all the manuscripts found in the various places in the State, especially in Padmanabhapuram, in Southern Travancore, with a view to treasure them up in the Palace Library. It is worthy of note that this collection included inánuscripts una earthed from the Manalikksra Mapoyen." Hits Aphress the Maharaja while examining these works bearing in mind the following sloka from Rajasekharakaři (teğärdiag authorship), "भासनादरकोपिछेकैगशिसे पीमितुम्॥

·131 happened to look into the grantha which be identified as "Svapnavasavadatta”, the most important of Bhasa's plays. His Highness has written some works in Malayalam prose such as Sakuntala, Meenaketanacarita etc. Sri Visakham Tirunal (1880-1885) had great respect for Sanskrit literature. He was not only a poet, but took special interest in honouring scholars in Sastras and music. The following stanza, "भास्वान् भास्वानिवौजस्वी गङ्गा गङ्गेव पावनी । लक्षदीपोपमो लोके लक्षदीपमहोत्सवः ॥" exhibited in Sri Padmanabhaswami Temple in connection with Leksacī pa is said to be composed by His Highness. His Highness Sri Mulam Tirunal who reigned from 1885 to 1924 is mainly responsible for the spread of Oriental Culture throughout the world. It was His Highness who inaugаrated the Sanskrit College, Ayurveda College and introduced many new schools, throughout the State. This department for the publication of Oriental Manuscripts owes its birth to the kind patronage of His Highness and it has to be specially borne in mind that the Silver Jubilee When we arm.celebrating to-day is the fruition of the generous step taken by Him.

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