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·RĀJASEKHARA'S
KARPÜRAMAÑJARI
MANOMOHAN GHOSH, M.A., PH.D.
OF
O
ALCUTTA
LOVANCE SALES
RNING
UNIVERSITY OF CALCUTTA
1948

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·KARPÜRAMAN JARI

·First edition-1939.
Second edition21948.
Printed by K. V. APPA ROW,
at the Metropolitan Printing & Publishing House. Ltd.
90, Lower Circular Road, Calcutta

·DVANCEMENT OF LEARNING
KARPŪRAMAÑJART
(THE PRAKRIT PLAY OF RĀJASEKHIRA )
Critically edited with an Introlution and Nobre
By
MANOMOHAN GHOSH, M. A., Pu.I).
OF
PERBITY
LCUTTA
Second Edition
PUBLISHED BY THE
UNIVERSITY OF CALCUTTA
1948
Price Rs. 3,8/-

·BY THE SAME EDITOR
1. Abhinayadarpana of Nandikeśvara- manual
of gestures mul postures used in ancient Indian
lunce (nrul druma ( Calcutta Sanskrit Series,
No. V.) [Out of print]
2. Caturangadipika of Śūlapāņi- manual of
four-handel lice-chess (Calcutta Sanskrit Series,
No. XXI.) [Out of print]
3. Paniniya Siksa or the Šikṣā-Vedānga ascribed
to Pāṇini, the most ancient irork on Inulinaryron
Phonetics ( Calcutta University). [Out of print]
4.
Medieval Mysticism of India (Transluterl
from the original Bengali).
5. Bharata's Natyasastra-Cans of the ancient
Inelian drama, ilanne, music an other ulliri
arts. Translated from the original Sanskrit.
[ In the Press

·DEDICATED
TO
Prof. Dr. SUNITI KUMAR CHATTERJI

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·CONTENTS
1
2
Acknowledgments
Preface to the Second Edition
Bibliography
Abbreviations
3
7
..
Introduction
...
9
Prakrit Text
77
Notes
139
Select Glossary
...
169

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·ACKNOWLEDGMENTS (For the First Edition) It is my most pleasant duty to record here thanks to those who in one way or other has given me help in the preparation of this volume. In this connexion I should mention first the name or Dr. Syamaprasad Mookerjee during whose Vice-Chancellorship the work was undertaken. He took great interest in the work and gave me the necessary facility for its completion. I am very genuinely grateful to him for his kindness. Next I should offer my sincere thanks to Mr. Jogeschandra Chakravorti, M. A., the Registrar of the Calcutta University. It is due to him that this volume has been very promptly published. I am also to give thanks to my pupil Mr. [nov Dr. ] D. £. Hettiaratchi, B. A. (Lond.) for he has pointed out to me some misprints which escaped my notice. Last but not the least I should express my most respectful thanks to my teacher Prof. Dr. Suniti Kumar Chatterji for his occasional advice and suggestion during the preparation of this work. It is however needless to add that for all vies expressed in it the responsibility is entirely mine. THE EDITOR ·PREFACE TO THE SECOND EDITION The second dition of the Karparamai jari except for sonie minor additions, corrections and removal of misprints of the first edition, is virtually a reprint of the same. A few friend of mine interested in Prakrit, however, suggested that for the benefit of the students, an English, version of the text should be added to this edition. But the kind of translation which they really need should be ir strictly literal one which on no account may pass for a specimen of tolerahk. English. Hence I could not entertain the idea and have added instead a few more notes and a glossary of difficult and unfamiliar words, which it is hoped, will greatly facilitate the understanding of the text. And besides thiese Prof. Lanman's excellent free rendering of a slightly different version is also available in any gond library, and this day give the students some kind of supplementary help they will requirc. Calcutta, 140e, 1948. THE EDITOR.

·BIBLIOGRAPHY Als d rof, L. (ed.)-Kumārapālapratibodha, Hamburg, 1222. Anuals of the Bhandarkar Oriental Research Institute. Apte, V. S.- A Guide to Sanskrit, Bombay, 1912. Sanskrit-Eoglish Dictionary, Bombay. 1924. Bas a k, R. G.–The 'listory of North-Eastern India, Calcutta, 1934. Bhagavad-gītā. Bhā mah a-Kāvyālankāra (Nirnayasāgar ed.) Bloch, Jules-La formation de la langue marathe, Paris, 1914. Bulletin of the School of Oriental Studies. Catalogue of Sanskrit Mss. in the India Office Library. Carpentier, J. (ed.)-Uttaradhyayana-sūtra, Uppsala, 1922. Chatterji, S. K.-Origia and Development of the Bengali Language, Calcutta, 1926. Cowell, E. B. (ed.)- Prākrtaprakāśa. S. K.-Sanskrit Poetics, Vol. 1, London, 1923. Emene a u, M, B. (ed.)--Jambhaladatta's Version of the Vetālapancavimšati. New Haven, 1934. Gangadhar a bhatta's commentary to the Gathasaptaśati (Nirnayasāgar ed.) Garud a-pu rāna-Vangavāsī ed.) Geiger, W.-Pali Literatur und Sprache, Strassburg, 1916. De ·4 Ghosh, M. (ed.)- Abhinnyadarpana, Calcutta, 1934. Ghosli, M.-Mahārāştri, a late phase of Sauraseni, Calcutta, 1933. Grierso 1), Sir G.--An Introduction to the Maithili Dialect of the Bihari Language as spoken in North Bihar, Part I, Calcutta, 1909. Grierson, Sir G.-On the Modern Indo-Aryan Vernaculars, British Iudia Press, Bombay, 1933. Ha a s, G. C. 0. (ed.)-Dasarūpa, New York, 1912. Seth, Haraguviuddas- lalasaddamahanņavo, Calcutta, 1928. Hemaca udra-Kavyāuuśasana (Nirnayasāgar ed.) Präkrit Grammar (ed. Pischel). Hertel, J. (ed.) ---Mundaka Upanişad, Leipzig, 1924. Hillebrandt, d. (ed.)-Mudrārākşasa, Breslau, 1911 Neudruck, 1925. Hoernle, R--A Grammar of the Eastern Hindi compared with the other Gaudian Languages, London, 1880. Prākſlalakşaņa (Bibliotheca Indica). Indian Antiquary. Indian Historical Quarterly. Jacobi, H. (ed.)-Acārānga-sutra, London, 1882. Bhavisattakaha, Munich, 1918. Kalpa-sūtra, Leipzig, 1879. Sapatkumāracarita, Muvioh, 1921. Journal of the Americau Oriental Society. Journal of the Department of Letters, Calcutta University Kālidā sa-Meghaduta, Rtusamhāra. Keith, A. B.-Sanskrit Drama, Oxford, 1924 ·5 Kellog, A-Grammar of the Hindi Language (2nd edition) London, 1893. Kon 10 W, Sten (ed.)-Karpūramañjari (HOS), 1901. Liders, H.-Brückstücke der buddhistische Dramen, Berlin, 1910. M a m ma ţ a bha ¢ ¢a-Kavyaprakasa. Mārk and eya-Prākıtasarvasva (ed. Bhattanatha Svāmi), Vizagapatam, 1912. Natyaśāstra, ascribed to Bharata (Chowkbamba ed.) Nobel, J, Foundations of Indian Poetry, Calcutta, 1923. Pandit (Old Series). Patanjali,--Mahābhāşya (ed. Kielhorp). Pathak Commemoration Volume. Pischel, R--Grammatik der Präkrit-sprachen. Prakrta-paingala, (Bibliotheca ludica). Printz-Bbāsa's Prakrit, Frankfurt A. M., 1921. Rāja se k h a ra-Bālabhārata (Nirnayasāgar ed.) Bālarāmāyaṇa (ed. Jivananda) Karpūramañjarī (,) (Nirnayasāgar ed.). (ed. Konow). Kāvyamīmāņsā (3rd, Baroda ed.) Viddhaśālabhanjikā (ed. Jivānanda). Rudrata-Kāvyālankāra (Nirņayasāgar ed.) Sangitaratnākara (Abandāśrama ed.). Shastri, H. P-Catata Ft 1, Calcutta, 1923 B.E. Swain i, N.-Rajasthan-rā Dübā, Delhi, 1935. Todar Mall (ed.) Mahāviracarita, London, 1928. Turner, R. L.-Position of Romani in Indo-Aryan, London, 1926. 9

·6
Varma, Siddheshwar-Critical Studies in thc Phonetic
Observation of Indian Grammarians,
London, 1929,
Vātsyāya na-Kãmasūtra (Vargavāsi ed.)
Wackernagel, J.-Altindische Grammatik, Vol. I.,
Goetingen 1896.
Weber, A.-Ueber ein Fragment der Bhagavati, Berlin,
1865.
Whito ey, W.D.-Sanskrit Grammar, London, 1896.
Wintornitz, M.--History of Indian Literaturo,
Vol. I., Calcutta, 1926.

·ABBREVIATIONS Ap. = Apablıramsa. Beng. = Bengali. Bälar. =Balarāmāyaṇa. IHQ =Indian Historical Quarterly. JAOS =Journal of the American Oriental Society. JDL =Journal of the Department of Letters, Calcutta University. K. =KM, as reconstructed by Sten Konov. Kāvyamī. =Kāvyamīmāmsā of Rajasekhara. KM. =Karpīramañjarī. Lanman =Lanman's Translation of the Karpīramasjari. M. =Mahārāştri Pkt. Mahārāştrī=Mahārāştrī, a late phase of Sauraseni by Manomohan Ghosh in JDL. MIA. =Middle Indo-Aryan. NIA. =New Indo-Aryan. Pkt. =Middle Indo-Aryan of the Second Period. Rāj. Razjasekhara. Ś. =Saurasenī. Viddh. =Viddhasalabhanjikā. Vi, =Vararuci's Prakrtaprakāka. N. B.-References to the Kil. in the Introduction and Notes 1654ally relate to Prof. Korow's edttion.

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·INTRODUCTION I. GENERAL p. ii. 1. The Present Edition. Iu his preface to the Karpūramaſjari published in the Harvard Oriental Series Prof. La n man writes : "A critical edition of the Karpīramañjarī is an urgent necessity for the advancement of Prakrit studies." Thus wrote Pischel in 1879, in the preface to his Hemachandra For the realization of his long-deferred hope, we have at last to thaok one of his own pupils, Dr. Sten Konow, whose work, as I trust, will clearly show the training in rigorous philological method which he has received at the hands of his eminent master (p. xiv ). Hence any attempt to edit the KM. afresh, strongly calls for an explanation. It is true that the work was edited by a very competent scholar and from a good number of mss. of different recensions, but more than thirty-five years being past since Prof. Kono w's critical edition of the KM. was published (1901), and discovery of now data during the time as well as researches by various investigators having considerably modified some of the findings of earlier scholars on which Konow, Pischel and others had to depend, a new edition of the KM. in the light of later researches will parhaps not be considered unnecessary. For example, it is no looger possible after the discovery of the Buddhist drama-fragments by Lueders and the fragments of the Pkt.. Dhammapada by Dutreuil de Rhins, to maintain an orthodox attitude about the exhaustiveness of the ancient Pkt. grammars (see Pischel, Grammatik, pp. 45-49). For it is evident that, serviceable though they have been in their ·10 best ns. own way much have escaped the notice of authors of such works. Yet it was according to the dictum of these grammars rather than after the oldest and best ms. that modern editors (of Pkt. works) including Konow have up till now tried to correct their texts, Thus we find that in numerous passages Konow rejected the testimony of his on the plea that it wont against grammatical rules. It will be shown later on ( $ 11 ) that since Pkt. grammarians have not taken into notice all the various kinds of Pkt. current or available in literature in their time and since they have confined themselves only to a few late dialetcts neglecting others, their rules should not have the same binding force on our texts ( unlike what we are entitled to do in the case of classical Sanskrit, where insistence on the rules of grammar can be legitimately made ) and hence they should be used very cautiously in rectifying the alleged errors of mss, (cf. Konow, pp. 202-203 ). 2. But this procedure by itself cannot be said to have injured much Konow's edition of the KM. The saddest harm came from elsewhere. The antiquity of the tradi- 9 1. There are, however, some notable exceptions. J. Charpentier in his critical edition of the Uttaradhyayanasūtra, Uppsala 1922, seems to have followed the best mg. Johannes Hertel has very strongly protested against the procedure of correcting Prakrit texts according to Prakrit grammars. (“Mundaka Upanişad', Indo-Iranische Quellen und Forschungen, Heft III, Leipzig, 1924, pp. 7-8). 2. Another aspect of Konow's edition that should be mentioned here is his well-intentioned introduction of the peculiar forms of the two dialects ( Mahārāştri and Sauraseni ) even against the reading of all mss. (p. xxii ) ·11 mss. tion about the use of Mahārāştri in metrical Pkt. portions of a drama has been accepted by most scholars without any question. In following this tradition Sten Konow was badly misled in his reconstruction of the text of the KM. For in opposition to the testimony of the mss , including the best one, he made violent changes in the orthography of the metrical portions of the play to give it a Mahārāştri feature. Though such an interference with the testimony of is against the accepted principles of textual criticism", yet for reasons stated above Konow felt justified about it. It will be shown below ( $ 21 ) that the dictum about the use of M. in the metrical Pkt. passages of a drama, which later became a tradition (at least in later works on poetics ), is not earlier than the tenth century and probably much later, and hence Rājas-khara had no chance of following it Besides this we learn that a sattaka should be written in one language which should be neither M. nor Skt. 2 Thus we find that the KM. was written entirely in $. 3. The mss. of Pkt. works though they appear often to be full of mistakes are in many cases, oot really so 1. See note i in p. 2. Hertel's view in a way strengthens the accepted principles of textual criticism in case of Pkt. works. 2. In his Kāvyānušāsana Hema candra defines the saţtaka as follows: Vişkanbhakapraveśaka-rahito vastv ekabhāśayā bhavati/ a-prūkſta-sanskrtayā sa sațţako nātikā-pratimah || (p. 325, ed. Kāvyamālā ) The word 'Prākīta' in this quotation means M. For in his grammar Hemacandra does not use the term Mahārāştri and treats this under the name 'Prākſta' ( see, sesam prā krt a-vat, iv, 286 ).

·12 and in spite of their several apparently questionable aspects ( which are not many ) they are ordinarily good guides in reconstructing a text. The real significance of the corrupt nature of Pkt. mss. will be explained later on ($ $ 12-19). It was probably due to the apparently confusing nature of the mos. of the KM. that Konow did not venture to take any ms. as the basis of his critical edition, and he reconstructed the text in, what may be called, an eclectic fashion. But such a proce lure in the critical reconstruction of texts is not commendable. And the best ms. of the KM, as we shall see litter on ($8) represents the author more faithfully hap Konow or Pischel could ever have imagined. These, then, are the principal points on which a fresh critical edition of the KM. may be justified. Besides these there are others too. In spite of the great care and caution bestowed on the work by Profs. Lanman and Konow a few passages have still remained without any satisfactory explanation. An attempt has therefore been made here to throw fresh light on them. The literary merit and the personality of Rāj. have also been judged from a new stand-point, and fresh materials like the Kāvyamīmāmsā have been used for the purpose. 4. It should, however, be mentioned here that, though in the Harvard edition of the KM. there has now been discovered scope for some inprovement, it has the honour of serving most gloriously the cause of Pkt. studies for the last thirly-five years. and the present editor is fully conscions of his deep, debt to the work which coosiderably stimulated his enquiry in the domain of Pkt. philology, and brgs apology of Profs. Sten Konow and C. R. Lanman for his occasional criticism of their views. Our constant reference to their joint work will most ·13 clearly demonstrate how indispensable it will remain for some time to come for the study of this important text. 5. The Critical Apparatus. As our Apparatus. As our principle of reconstructing the text of the KM. has been different from that adopted by Konow, we could use, in addition to some new materials, all that he very carefully collated for a critical study of the work. The following is a short account of the eleven mss. of the text which he used. This is based on his Critical Account of the Manuscripts, (pp. xxiii-xxvi). A. Devapāgari ms. See Bhandarkar, Report on the search for Skt: mss, in the Bombay Presidency during 1882-1883, Bombay 1884, p. 156, no. 418. An incorrect ms. Aspirates are doubled ; nd is often substituted for nt. This ms. comes from a Jain source. mss. B. Devanāgari ms. Pkt, text, Skt. translation, and some glosses. Contains Act I. the beginning of II, as far as hid aā vajja ņ (II, 1) and the end from s ā ra y an ama yi(IV. 19). See Kielhorn, Report on the search for Skt. in the Bombay Presidency during 1880-81, Bombay, 1881, p. 83, no. 22. Date Sam. 1600, The mis. comes from a Jain source. According to Konow this is very corrupt. But in spite of this fact B often gives valuable help in reconstructing the text, especially in some few places where our best ms. fails to satisfy us. 0. Devanāgari ms. See Bhandarkar, l. 6. p. 156, no. 419. Contains Act II, This ms. has the same peculiarities as A and seems to be its continuation. The ms. comes from a Jain source, N. A modern Devanagari ms. Text with a Skt. translation. Couclusion of the text is wanting. See Weber, the ms.

·14 Verzeichniss der Sanskrit- und Prakrit-handschriften der Koeniglichen Bibliothek in Berlin, Berlin, 1886, no. 1558. The aspirates and occasional writing of rd for nt point to a South Indian origin ; and forms such as d i mnna for d i m bha and a few instances of ya-śruti show influence from Jain mss. O. A modern Devanāyari ms. Prakrit text with some glosses. Sometimes corrections in the margin. In a few places defective. See Aufrecht, Catalogue of the Bodleian mss. p, 146b, no. 313. P. Copy from a Jain ms. Complete text and translation. moderu and very incorrect. See Kielhorn, 1.c, p. 83, no. 23. R. Copy of the ms. No. 417 of the Raghunātha temple library. See Stein, Catalogue of the Sanskrit Manuscripts in the Raghupātha temple library of his Highness the Maharaja of Jammu and Kashmir, Bombay, 1894, p. 77, incorrect; some lacunas : conclusion wanting. Text with the commentary of Vasudeva. W. Devanāgari ms. from a Jain source. Complete text with marginal paraphrase. See, Weber no. 1557. Date, Sanvat 15281 Varșe śāke. The groups #th and ddh are as a rule pot to be distinguished in this mus. Prof. Konow has not properly appreciated the value of this ms. and has omitted to mention its other features. It uses dy for jj and often writes short e and short o as i and u respectively. Its occasional use of single consonants for double ones should be noticed. This is the oldest (c. 1470 A.C.) among the mss, of the KM, available at present and is the best one. We have discussed below (88) its value. 1. Prof. Konow dates it wrongly as Sam. 1520. .

·15 S. Copy of the Tanjore ms. Do, 10634. Grantha text with some lacunas. See Burpell, Classified index to the Skt. mss. in the palace at Tanjore, London, 1880, p. 1682. T. Copy of the Tanjore ms. no. 5253. Complete text. Some lacunas. Very incorrect. See Burnell. l.e. U. Copy of the Tanjore ms. no. 10633a, Grantha text with Skt. version. Some lacunas. See Burnell, 1.c. Of these eleven mss. we have made a first-hand study of the oldest ms. W ( from a rotographic copy ) and of O (in original). For the readings of the other nine mss. We depended on copious notes which Konow gives from his excellent collation at the foot of the text of his edition. In addition to materials handled by Konow we have used eight new mss. of which four are in Devanāgari and four in Southern scripts, Grantha, Malayalam and Telugu. Of the Devanagari mss. three belong to the Northern recension, and the remaining one as well as mss. written in Southern scripts belong to the Southern recension. These mss. are being described belov. D. Devanāgarī ms. in the possession of the Royal Asiatic Society of Bengal. A modern ms. (written in Samvat 1887), 9.8" x 6.5". Countrymade paper, bound like a modern book in full leather. The volume contains other works besides KM. Its bears the no. 1-E. 25 in the Society's own collection. This volume was formerly in the possession of the now defunct Fort William College of Bengal, for it bears a stamp in Urdu (Kťb K'lj Fwrt Włym ), in Devanagari ( Kitāb Kālij Fort Valiyam ), and in Bengali characters (Pustak Phort Uilyam). This ms. gives a clāsā up to tā iha u va visa du va 4 s s 4. (ed. Konow, II, 2916), It is not very caſefally ·16 written but has an unmistakable resemblance to the ms. O of Know and does not add to our knowledge of of the text. Its conclusion is as follows: Vidū. bho vaassa bhämario dijjautu huavahe lājahomo kiradu. Rājā. ( yathoktam nāțayati ). Bhaira. (Rājānam prati ) kim to bhūyaḥ priyam upakaromi (?). Rūjā. bhaavain tuha pasāena esā laddliā. Rājni. Parinedu mahara sayvūnam paccakkho. Rājā. ( Karpūramamjarīm pariniya yoginam prati saņskytam āśritya ) svāmiņs tvacaaraņāravinda-vasataḥ śrågārasamjīvini laddbā pamcaśara priyā nanu mayā Karpīramaijary asau / tallābheva ca cakravarti-padavi loke samāsāditā kim kim neha karoti.........mahatām sandarśanam jantuşu 11 iti niņkrāntā sarve caturtham yavanikāotara. samāptā ceyam Karpūramaſjarī, samvat 1878. G. Devanagari ms, in the Library of the India Office, London. See India Office Catalogue no. 4163. This ms. resembles most the ms. N of Konow. We are giving below its conclusion which is very similar to that of N. Vid u. bho vaasso bhāmario dijjamdu, hudavahe lājāmjaliao chippaņdu. Rājā. (bhramaņam nātayati ). Karpūra mañjari. (dhūmena vyāvịtamukhi tişthati ). 1. Punctuation, and brackets enclosing stage directions in this and the following extracts do not occur in mss.

·17 Vidū. dijjaü ācāli ācaliassa dakkhiņā. Rājā. vaassa gāma-sahassam diņņam. Vid it. sotthi hodo (iti nộtyati) Bhair a. mahārās uņo vi ki te piam kuņemi. Rājā. joīsara avaram kim piam vattadi, kumtale x x karapphamsapphara-sokkba-sithilīkae-sagge(?) pālayami(?)-a mahiala-rajjam cakkavațți-paaviramanijam. taha-vi edam bhodu ; sattho ņamdamdı sajjaņāṇa saalo vaggo khalāņam khijjadi, bahmaņajaņo sahummi-o(?) savvadā / meho muộcatu samciam pi salilam sassa(?)yiam bhūalam loo loha loha-parammubo' nudiabam dhamme mahim(?) paadu // (iti nih-krāntāḥ sarve). caturtha-javanikāntaram. samāptam idam Karptramamjari-sattakam. The existence of the last passage (sattho namdamdu etc.) uttered by the king in the ms. N has been attested by its chāyā ( see Konow, p. 114). This ms. is not carefully written and has many lacunas. It does not add to our knowledge of the text of the KM. I. Devanagarī ms. in the library of the India Office, London. See India Office Catalogue no. 4162. This ms. agrees to a great extent with the ms. R used by Konow, It often omits the anusvāra and substitutes d for t. It seems however to have been contabinated by O ; for the conclusion agrees to some extent with that of the latter (O), and is as follows: Vidū. bho vaassa vamirā dijjattu huavahe lājāhomo honu. Rājā (tathaiva bhramaņam nāțayati ), O. P. 80-3 ·18 Nāyikā. ( salajjam avanatamukhi ). ( vivāham nirvartya sotsābam yathārham abhyarcya sarvan visarjya cakravarti bhūtva tayoh saha rajyam cakre ). Bhaira. ( rājānam prati ) kim te bhūyaḥ priyam upakaromi. Rājā tuba pasāeņa laddhā esā. Rājii. ( sakalam apagatya) pariņida( ? )mahārācņa Kappuramamjarī tumbānam [pa]ccakkbam asudvaramahappiam (P). Rājā. (yoginam prati samskrtam āśritya ) syāmiņś taccaraņāravindavaşataḥ śrngārasanjivini labdbā pamcaśarapriyā nanu mayā Karpūramamjaryasau / tallabhena ca cakravarti-padavi loke samāsāditā kim kim neha karoti mahatām sandarśanam prāņişu // This ms, too does not add to our knowledge of the text of the KM. J. Devanāgarī ms. in the library of the India office, London, It is a recent copy of some South Indian mg, and resembles the mss. T and U of Konow except in the verse at the conclusion. The concluding verse in this ms, is the same as that in the ms. S of Sten Konow. See India Office Catalogue no. 7378. This ms. too does not add to our knowledge of the text of the KM. X. Telugu ms., palm-leaf pothi in the library of the India Ofice, London. See India Office Catalogue no. 7379. The conclusion of this ms. agrees with that of J described above, and TU of Konow. But in other matters it occasionally differs slightly from J. This ms. is not at all accurate, and has suffered gravely from ·19 woro-holes. This mus. does not know thā pak a which appears in TU of Sten Konow and in J. On this point alone the ms. gives an important information. no. Y. Telugu mos., palm-leaf pothi in the library of the India Office, London. See India Office Catalogue 7380. This mos. agrees very much with X, but does not know any sthāpaka. This is the only important feature of the mos. Z. Malayalam ms., palm-leaf pothi in the library of the India Office, London. See India Office Catalogue no. 8197. The conclusion of this ms. is shorter than that of the rest of the mss. of the Southern recension. It lacks the verses 23 and 24 of the Act IV, (ed, Konow). But unlike these mss. it has sūtra dhāra instead of sthāpaka. As sthāpaka. is a familiar figure in mss. of plays available in Kerala, his total non-existence in this ms. hailing in all likelihood from the same place may be said to give us enough ground for presumption that the original work of Rāj. knew no sthāpaka who has been introduced into the work by some late interpolator. For details on this point see $ 25. In this point alone the ms. has given valuable help in in reconstructing the text. V. Grantha ms., palm-leaf pothi in the library of the Visvabharati, Santiniketan. It bears the number. 2210. The ms. is worm-eaten and very much worn out. With great difficulty we examined the beginning and the end. It resemble the ms. T of Korow very much and has sthāpaka only after the second verse in the beginning. It does not seem to be a carefully written ms. It has tendency to substitute words which are not be found in ·20 any of the rest of the mss. ( Northern or Southorn) hitherto used. For example it lag via daha for cbaïlla ( I. 1b ) and n a var am for ka valam (I. 6b). It is sure that some interpolator triid his skill in Pkt, in this ms, or its prototype. This ms, too does not add to our knowledge of the text. 6. Besides the eight mss. not used by Konow we have examined afresh the three printed texts of the KM. published in India. Among them the editio princeps which appeared in the Pandit, Old Series, vol. vii (1872) is uncritical. It seems to have been prepared from a ms. agreeing more or less closely with N. of Konow. This printed text could scarcely be used for any improvement. The edition published from the Nirnayasagar Press ( First edition in 1887 and the Second edition in 1900) resembles most the mss. NR of konow. Though it cannot be called a critical edition it may be said to have retained its ms. value. The good edition of Vasudeva's commentary which it prints has been of much. help. The edition published by Jivananda Vidyasagara in 1889 is however of no value. The new commentery it gives is sometimes misleading. But, as the ms. materials used in connection with the present edition are not of equal value we shall discuss below their relative merit. The fact that Konow has not given any clear and explicit conclusion or opinion abont the relative authenticity of his inss., ity of his mss., requires that we shall include them also in our discussion. For the sako of convenience let us take them first. 7. The chief characteristic of the Southern recension of the KM, ms, as bas been pointed out by Konow, is the conclusion of the play. It is either altogether ·21 missing or different in the mes. of the Northern recension (Konow, p. XXV). Any cousideration of the relative value of ihe miss. of the KM, should be preceded by a discussion of the relative authenticity of the two availa. ble recensions. Following the familiar principle of the textuai criticism that the shorter text is other things being equal, to be preferred to the longer, we may at once assume that tue the mss. of the Northern recension which lack the ccrclusion occurring in the Southern recension follow Rāj.' original composition better than the other mss., ard the mss. of the Southern recension having the longest conclusion are of less value than those of the Northern one. Konow too in spite of his adoption of the conclusion or epilogue given in the Southern recension (as against its absence in the Northern one) in his edition has in directly given his verdict against the same. For example in the prologue to the KM. Konow rejects the peculiar readings of the Southern recension in thirteen cases quoted below? ; 1. lb papatřadu ; 36 0 ; 42 jaạo disai ; 49 sajjiamdi ; 420apphālopphālaņa ; 4110 gidaam ; 416 disaba; 6а bhaņijjai 7a suumālo ; 7b tattia ; Ja ņibbharadevassa ; 10b vi dhavaledi; 101 aņucittbaha ; 1. The conclusion of the play or the Bharata-vākya according to the Lestimony of the Nātyaśāstra is not necessarily an integral part of it. Hence its interpolation in the mss. of a play can easily be assumed. For details see Manomohan Ghosh, 'The Bharatavākya,' IHO, Vol. VI. 1930. pp. 485, 486. References cited below and ever afterwards in the Introduction will be, unless otherwise mentioned, to the Harvard ed, of the KM.

·22 As against this he accepts only rarely (e.g. in I. 15b 's imantiņina m ) the testimony of the Southern recension. Though it is possible not to agree with Konow as regards his acceptance or rejection of particular readings we can consider his judgment about the value of the Southern recension as fundamentally correct. But even if this Southern recension is inferior to the Northern oue, it is not without its value. For, in a very small number of cases, it supports the readings of our best ms. as against the inferior or later mss. of the Northern recension, and in some rare cases it seems to have retained the original reading better than its rival recension But the inferiority of the Southern mss. is not quite due to verbal interpolation ouly. Such interpolation and emendation indeed there are, but emendations occur not unoften in the matter of orthography too. Hence we find that in many cases these mss. substitute phonetically developed forms for older or archaic ones. A systematic occurrence of this phenomenon more or less in mss. of all the Pkt. works surely deserves our closest attention and should not at all be hastily ascribed to the carelessness or ignorance of scribes. We shall try later on (88) to account for a systematic substitution of developed fronus in a ms, and it may be assumed for the present that later the the more developed are its froms phonetically. So much so that ś. passages of a work in its very late mss. has often the chance of appearing as M. (See the various readings of verses 20, 21, 108, 134, 135 and 155 of the Mudrārākşasa in the edi,iou of A. Hillebrandt). Considered from this point of view also the Southern recension seems to be much younger in age than the Northern one. The following are a few cases Ms.

·23 reads phonetically where the Southcr: recension developed forms : I. 2a dambarai for За °ņāsāņa 3b dambarāi? ņāsāņam VO 49 , sajjïamdi 416 disaha 72 jaha 164 nivediam 20* kaimjalo 2029 labai sajjianti disadha jahä piredida kaviñjalo labadi > > 2033 karei karedi But in spite of this the Southern recension, though very rarely, preserved some older or original forms, e. g. I. 142 Kanna( anna )suvanna for jaccasuyaņņa Thus we may conclude that the Southern recension is less authentic than the Northern one, though in some rare cases it may have accidentally retained what may be considered the right reading. 8. As for the the Northern recension we need not discuss severally all the mss. of this class. From a study of the first twenty-five cases in which seven or more mss. (which otherwise differ among themselves ) agree as regards the presence or absence of a reading we can make a very dependable estimate of the relative antiquity and probable authenticity not only of the Northern but also of the Southern recension as well. 1. The final Anusvāra in fact represents the nasalization, and its disappearance in the subsequent age can easily be assumed (see below 19).

·24 I. ... .. 2b .. ... ... esa 410 ... Ia bhodu ABPWNOR T Ic Māgabi ABPW STU 'ghanaº ABPW ORS 4а ºppasāda ABPWNO STU ºppaņadisu ABPWNOR 4 pīridae A PWNOR T iarā BPWNORS U 47 AB WNOR T om. suniadi ABPWNOR 416 sūtradbārah APV O STU 5a edam A PWNORSTU 62 sakkaam BPW NORSTU ga ccia ABPW RSTU 101 sūtradbārah BPWNOR TU 11a mauli (maüli) ABPWNORSTU 11b medami ABPWNORS U 12b Pariñedi A PWNOR T 12' om. sthāpakah . ABPWNOR bhāva ehi ABPW NOR 14a gade ABPWNOR 14b isisi BW NORSTU 142 avamannia BPWNORSTU 148 iha bi BPWNORSTU 16a jadam ABPWNRSTU 168 oni. deyi ABPWNO SU .. ... .. The result of the above study can be gathered in the following :

·25 P agrees With W and five other mss. 23 times O 23 ) >> 3 B , 21 N 21 > R 19 21 3 А 19 27 a T 16 . 9 S . 15 1) U 3 15 39 Now we have seen before ($ 7 ) that the Southern mss. STU, as regards their age, are the youngest on account of their having the most developed forms in certain worde. And according to Konow W and B are relatively old among the Northern (Konow's Jaina ) mss. (p. xxv). Thus we have Wand B as being older than the rest of mss. ased by Konow. Of these two, B however is dated later than W. Hence W becomes our oldest ins. Now we are to consider along with this the other fact that the readings (or absence of readings ) with reference to which we have made the preceding study, occur with a single exception in the oldest ms. W. Hence it may probably be claimed that the degree in which the different mss. agree with W may well be considered as an indicator of their relative authenticity, and probably also of their age ; that is, P and O which agree with W 23 times are more authentic than B, N and R which agree with this only 21 times. The authenticity of A is still less, for it agrees with W only 19 times. The inferior value of the Southern mss. ascertained by another means (see $7) has been corroborated here ; for none of them agrees with the oldest ms. W more than 16 times. And this last figure is the indicator of their inferiority to the mss. of the Northern recension. Thus 0. P. 804 ·26 we may say without any hesitation that is the best among the mss, used by Konow. As no ms. older and better than this is available we shall use this as the basis of the present edition. 9. After having some more or less accurate idea of the relative worth of the mos, used by Konow we may proceed to an examination of the additional materials that have been used for the present edition. Now from the nature of our mss. this becomes an easy task. For none of these eight newly consulted mss. is in any way unique. It has been possible to find, among those used by Konow, mss. very closely resembling them. For example, the ms. D resembles the mg. O of Kopow. and the ms. G has similarity to Konow's N, while the mos. I seems to have a very substantial agreement with the ms. R. As for the five Southern mss, they agree mostly with T and U used by Konow. The points in which the new mass. D G I etc, vary do not add to our knowledge of the text. From these data one can easily ascertain their relative worth, which is practically nothing. 10. Principles of Reconstruction. Any discussion about the principles which should be followed in editing a Pkt. work, divides itself into two parts : the one, general, and the other, particular. The general part is to deal with facts which should be taken into consideration in applying the accepted cagons of textual criticism to Pkt. works, and the particular part is to treat in detail the mutual disagreement between mss., doublet readings occurring in each of them and such other aspects that they may present. A wholesale inaccuracy of the Pkt. msg. as well as carelessness of Indian editors have often been postulated by Pischel and other scholars, The grounds of their assumption are : (i) the readings of .

·27 moss. often violate the rules of ancient Pkt. grammars ; (2) and in the case of Pkt. passages occurring in plays, the distinction between different dialects seem occasionally to have been disregarded. A typical instance of the latter charge is to be met with in connexion with Konow's conjectural emendation of the verses of the KM. He as well as his guru Pischel and other scholars believed that in Indian plays Pkt. verses have always been in the Mahārāştri dialect. Though the early mss. of the KM had in the clearest manner given the verses in ., Konow did not care to examine the age and authenticity of the socalled old tradition about the assignment of M. to versified Pkt. passages of a drama. While editing the Pkt. . verses of the Bharata-Națyaśāstra and Bharata's observation on Pkt. occurring in it, the present writer was brought face to face with the question ; and after his careful investigation, it turned out that the above-mentioned tradition about the use of M. does not occur in the Natyaśāstra the oldest extant work on thesubject, and it does not even occur in the Dasarupaka which is slightly anterior in time to the KM*. Hence, there being no positive evidence about the existence of this tradition at his time we should have no reason to believe that Rāj. used M. in the metrical portions of his KM. Evidence of the mss. goes very 1. A. Hillebrandt was probably the first scholar to produce evidence affecting such a view, but he too was a believer in it in a modified manner (see his mudrārākşasa, Breslau, 1911; Neudruck, 1935, p, iii). 2. There is however in the Dasarūpaka a passage which may be interpreted as giving support to the tradition of using M. for the verses in a drama. But it has been shown elsewhere ($ 21) that such an interpretation is wrong, see Mahārāștri, P, 19 ).

·28 strongly to support our view in the matter. We have already seen that, according to Hemacandra's definition of a sattaka, the KM. could not have been composed in more languages (bhāşā ) than one ( see $ 2). All this very clearly demonstrates the soundness of the accepted canon of textual criticism which is for placing greater reliance on the ms. that can be considered the best on the ground of its age as well as its degree of accuracy. Il. The postulate that the Pkt. mss. which go against the ancient grammars are corrupt is based on a very erroneous assumption, viz, the Pkt. grammars have the same bindiog force on the Pkt. literature as the Skt. ones on the Skt. literature. The cases of the grammars of the two languages are entirely different. Skt. grammar had its origin in priestly circles, and the accuracy of speech which they aimed at establishing or maintaining was demanded primarily is connexion with the performance of Vedic rituals?. Hence the study of Skt. grammar was given from very ancient times an attention quite unique in the history of human culture. But the case of the Pkt. grammars was different. Pkt. was the current language of every-day use, and hence its control, even when it was given the dignified status of a vehicle of literature, was out of question, and for obvious reasons such rules were composed only very late. Thus we do not meet with great ancient names like Pāņini, Katyāyana and Patañjali in the field of Pkt. grammar. Canda ( ? 300 A. C.), Vararuci ( ? 600 A. C.), Kaccāyana (P 800 A. C.) and Hemacandra (1100 A. C.) come comparatively late, and their works can in no way bear comparison with the 1. See the introduction of the Mahābhāşya, rakşārthan Vedānām adhyeyam Vyākaranam. ed. Kielhorn, vol. I, p. 1; ārtvijinah syāma ity adhyeyam Vyākaranam, ibid. p. 3 ·29 no performance of the Three Sages (Tri-mupi). And by means should this be considered disparaging to these grammarians ; for, the circumstances under which they had to work have been considerably different from those in which Skt. grammarians wrote. In the Brahmanic circles the study of Pkt. was scarcely encouraged. For in the Garuda-purāņa (Pūrva, 98, 17) there is a passage which exhorts Brāhmaṇas, Kşatriyas and Vaiſyas to avoid among other things Pkt. Hence Pkt. was cared for by Jains and Buddhists only. But they did not care for preserving intact the linguistic form of their ancient texts, as did the Brāhmaṇas, by means of Śikṣā (phonetics ) and Vyakarana (grammar ). It may therefore be assumed a priori that Pkt. grammars were written late to meet some very limited practical need, such as the understanding of old Pkt, works, be they Jain 'canonical works and old dramas, or the composing of the new Pkt. poems or plays, and as such they had probably to be based on those texts oply which were accessible to their respective authors. A typical instance of such limited knowledge has been displayed by Vararuci, whose sūtras do not give us any information about the Pkt, of Ašvaghoşa's drama or of the Kharoşthi Dhammapada or of the Jain canons, while Paišāci, used in no available work, has been treated in them. Hence it is no longer possible to retain an absolute and unqualified faith in the exhaustiveness and infallibility of the Pkt. grammarians though Pischel was always ready to regard them with utmost confidence (see Grammatik, 11 42 ). 1. lokāyatam kutarkam ca Prakſtan mlecchabhāşitam / na śrotavyam dvijenaitad adho nayati tad dvijam // 2. The attitude, however, landed him at times in curious difficulties. For example when two grammars ·30 12. Apparently such a view may be said to render impossible a critical edition of a Pkt. work the mss. of which are very often not ouly in mutual disagreement with another but also have internal inconsistency in themselves as regards the orthography and other matters. Such a condition of mss. is indeed discouraging in the beginning ; but if one follows the accepted principles of textual criticism, which require to find out the best mas. (when such is available) and to reconstruct the text on its basis, one will have enough reason to be optimistic. Disagreement of other mss. with the best one as well as a want of accord between each other of these will, with a few negligible exceptions, appear to him then to be not due to any mistake, while the internal inconsistency in each of them will often represent things other than scribal errors. Let us clear these points by quoting suitable examples from the KM. 13. We have already shown (88) by referring to Konow's opinion, how he has in a way considered W to be the best among the mss. of the Northern (Konow's Jaina ) recension and by discussing along with this, his various readings from different mss. it has boen concluded that W can be considered the best among the eleven mss. utilised by Konow for his edition. We are discussiug below some passages with various readings from different mss. to demonstrate further the great worth of the mas. W. were found to differ he had to accept almost arbitrarily the testimony of one and to repudiate the other, much to the detriment of his wholesale regard for the Pkt. grammar as a class. (See IHQ. vol. VIII, no. 4. supplement; pp. 6f.)

·31 > 9 07 The following is a paasage in the KM. (1. 208 ) occurring in different mass. used by Konow as follows: W kavvam jjeva de kavittaņai pisuņodi B kathidam A kavyam N P yyeva 0 jevya de R jjeyva SU evva pisuņei T kaḥ pakaḥ vam eyvam de kaittanam 13a. Let us take the variants of each word one by one. B. kathida ņ for kar vam in the best ms. and almost all the rest in evidently due to a later emendation T. kaḥ pakaḥvaņ is evidently an error. Jjev a occurring in four mss, including the best one is the correct reading though Pischel will not allow the doubling of j after au anusvāra ( Grammatik $ 95). A wrong idea adout the phonetic value of the Pkt. apusvāra is responsible for this view. For the vowel with anusvāra following it, as we shall see later ou ( § 19 ), is a nasal vowel and has a short quantity in Pkt. except where metre demands otherwise. The reading STU. eyya (m) is evidently a simplified from. Readings P. yyeva, 0. jevya and R. jjevy a are all traceable to ije v a. As for the development of v a into v va it appears that the doubling might be merely a graphic device to indicate that the In this matter A. Hillebrandt follows Pischel in his Mudrārākşasa, Breslau, 1911, Neudruck 1935. , I, ·32 vowel following the double consonant, was accented and this accent left no room for the elision of the non-aspirate stop concerned. De is a word though existing in the best ms. and two others, can be taken for an interpolation. For it can well be left out without in any way injuring the sense of the sentence; besides this, as far as we can ascertain, it does not in any way embellish the expression. In view of the fact that the tendency of scribes was generally for adding to mss., we may well be sure of an interpolation here when the majority of the mss. does not record the word. This however seems to minimise the authority of our best ms. But as there are different independent mss. to check its readings we need not lose our faith in the best mg. which, being written about five centuries after the time of Raj. is liable to contain some interpolations or mistakes. But in course of our progress with the text we shall see that cases of bad corruption in the best me. are not many. WB. kayittaņa ņ is evidently the original reading. We are not sure if the intervocal v in Pkt. was still pronounced in Raj's days. But there can be no harm in assuming that though very weakly pronounced it was written as sach in his time. Indeed the mss, AN PORSTU have all changed ka vi into k a i but this latter reading shonld not be considered to have its origin in any error. For we shall see below that in other cases too these mss. record readings which are pbonetically more developed than that in the best pos. or mss. standing close to it. A systematic use of developed forms in a me. simply gives indication of the relatively young age of itself or its prototype. These remarks in connexion with ka vi applies also to STU pisun ei for pisuņ e di. It has been showo elsewhere that the socalled Mabārāștri ·33 is most probably a development of Sauraseni (Mahārāştri, JDL, XXIII, 1933). This in a way finds corroboration from the cases of words discussed above. The form pisu ņedi only is allowable in $. Hence the reading STU pisu nei takes us to the necessary conclusion that the prototype of these mss. came into existence at a time when the forms like pisu ņe di with its d sound existing had already gone out of use and its place was taken by pisu ņei which will be usually taken a M. form. as 14. The substitution of later forms mentioned above can be explained in two ways ; by considering the stageconvention regarding the use of various languages in a play, and by assuming an influence of the speech-habit of the writers of different mss. Let us first take notice of the principle of linguistic usage in the ancient Indian stage. Though it will be out of place to discuss here the subject elaborately yet we may give here in brief important data and our conclusions regarding them. The practice of using Sauraseni and other Pkts, in the stage arose undoubtedly at a time when Skt. could mostly be understood by the speakers of Pkt. (see Winternitz, Hist. of Indian Lit. vol. I, p. 43). The discovery of the dramafragments of Asyaghoşa, which, contain an older variety of Sauraseni and other dialects, standing nearer to Skt. than the later Pkts. of classical dramas, seems to give strong support to this view. It may also be assumed that the speakers of the later Pkts, such as the Sauraseni used in dramas, could also grasp without much difficulty the substance of the Skt. passages in them. But the fact that Skt. held its place beside the developed Ś. Was not 'due to its any degree of intelligibility, but because of the convention. That most of the different rüpakas and 0. P. 80-5 ·39 uparūpakas had for their plots, stories from well-known Epics, Purāņāņas, collections of folk-tales and were depicted on the stage with a very elaboarte and familiar code of suitable gestures (a bhina ya )? considerably slackened the demand of the audience belonging to the masses with regard to the intelligibility of the Skt. passages used in them. It may not however be assumed that the producers of such plays (sutradhāras) were completely indifferent to such an intelligibility. Bound though they were by convention in the case of Skt. passages they appear to have sometimes assimilated their Pkt, as far as possible, to the current popular speech just to make the Pkt. dialects used in dramas appear like living languages. This assimilation mostly consisted of a phonetic (and hence orthographic) change, or substitution of new inflectional and conjugational forms. Kai used in some mss. instead of the original kavi occurring in the best ms. can thus be explained. 15. Another way of explaining the appearauce of such developed forms is to assume that Pkt. being a language not bound down by grammars and lexicons, mss. of this language very easily imbibed the influence of the contemporary speech of North Indian scribes who spoke some kind of Apabhramsa, be it of the old, middle or late period'. One important aspect of this Ap. is that I.' For a treatment of such gestures see the Nan dik es vara's Abhinayadarpaņa edited by Manomohan Ghosh in the Calcutta Skt. Series No. V. Calcutta, 1934. 2. H. Jacobi has suspected similar influence of New Indian Verpaculars on the writers of Apabhramśa. See The Bhavisattakaha, Abhandhlung 7, (p. 54* ).

·35 its conjugational termination of the 3rd sing. Present iodicative, was ai, and an occasional omission, or weakening of intervocal non-basal stops was also a feature of this language'. Now in ś. present indic. 3rd sing. termination was -adi and intervocal stops were less often omitted or weakened. Hence if we assume an Apabhramsa ipfluence on the Pkt. mss. We can easily explain the substitution of forms like ka ï for ka v i and pis uņe i for pisu ņedi. This explanation seems to be more suitable than the preceding one ; and on accepting this, we can divide the mss. of the KM. into three following groups, according to their use of developed forms : (a). Oldest mes. W and B which stand near the original KM. (b). Less old than the perceding mss. are ANPOR etc. which have substituted ka i for k a v i. (c). Latest are STU etc. which contain besides kai for ka vi, pisurei for pis uredi read by all the rest of the mos, including the best one. 16. Let us take another passage from the KM (I. 1810.) with its various readings. W aba va hatthe kaikanam kim dappaņeņa Baba hatthammi kankaņe A aha batthe N kankanam pekkhiadi lakkhijjadi > > 1. The socalled M. also possesses these features. But I have shown elsewhere that, M. is nothing but a development of Ś. (See Mahārāştri). Hence no wonder about it.

·36 Raha vā batthe kaúkaue kim dappaņeņa pekkhiadi P » batthe kankaņam , S hatthammi kankane T kankaņam 17 97 >> seems U hatthammi Here B. abā is against all the rest of the mss. including the best one. Though not allowed by Pischel (Grammatik $ 203 ), aha as a s. from is correct according to Hemacandra. The form hatt be as well as ha ta tham mi is equally correct for $. though Pischel objects to this also (ibid § 366a ). We have shown elsewhere the untenable nature of his opinion (IHQ. vol. VIII, 1932, supplement pp. 9). But hatthe in the present passage existing in the best ms. should be accepted as occurring in the original work. The reading WNOPST kan ka na m to be better though ka åk a ņe is not wrong. But the passage is quite good without the introduction of Sanskritic locative absolute (bhāye saptami) which seems very much like a later emendation. Readings like pekkhiadi, pekkhiadi, lak k hijja. di are evidently late additions by pundits who probably tried thereby to make the entire passage clearer. Thus we see that the disagreement between different groups of mass. has not always occurred as result of accidental mistakes, and this disagreement sometime gives clae to the relative age and authenticity of the groups of mss. in question, and may, though indirectly give assistance to the proper reconstruction of the text. So far about the orthographic or other disagreements amo ng the different groups of manuscripts. Besides these ·37 there are found sometimes internal inconsistency in the mss. of Pkt. works. Let us take the case of our best ms. IV. ; 23b, (i) The root bhū in its present indicative 3rd and 2nd person sing. and imperative has the following forms: bhodi, hodi, 1, 2043 ; IV. 31. hoi, I. 3410. bhosi, I, 195. bhodu, I Ia, 14°, 2020,21 III. 32, 226, 242 ; IV. 1948 ; hou, I. 86; IV. 5d. (ii) padisiddhi and padisiddhi both occur ; padisiddhi, J. 106, 2033 ; pädisiddhi, I. 2012 ; II, 105 ; (iii) tuvam and tumam both occur ; tuvam, I. 2013 » 25, 3480 ; II, 68, 321, 4217, 472; III, 2., 349. tumam, I. 16', 193, 5, 2010, 29, 343' 20 ; II. II, 243; III. 220 ; 1V. 206. (iv) Original kş is sometimes expressed as kkb and sometimes as cch. kkh <kş as in pekkha, II. 435, 441 and pekkhāmi, III. 2018, pekkhi, IV, 918. cch <ks as in peccha, I. 14d; III, 32, 34b; IV. 10b, peccaadu in I. 163 and in pecchantīņam II, 300. (v) Verbs in the passive voice bave the following forms : -iadi, iasi, īāmi I. 48, 1818, 197; 2014, 26, 33,257, 8', 28°, 31a. -ijjae,-ijjadi,-ijjanti I. 49, 23b, 258, 32c, There appear also forms like kiradu I. 2040, 251. ; > ·38 17a. Now this variety of forms appears very much as due to confusion. We do not know whom whom to hold responsible for this, and an uncertainty in the matter makes the task of the editor difficult indeed. But on looking more carefully into the matter, these fluctuating forms may not appear to be so very inconvenient. Pkt. as we may well assume is based on a liviog speech controlled by no grammar, and hence it could possess many varying forms to express the same thing. Pkt. grammars with their very copious conjugational and declensional forms will corroborate us in the matter. And it can be assumed that old and new forms existed side by side in writing and probably to some extent in the spoken language as well. From such a consideration we may accept the above-mentioned varying forms as an evidence of the living spirit of the language which was at the basis of the literary Pkt. 17b. Let us discuss below the different groups of forms ( mentioned above) one after another. (i) As for the various forms of the root bhū in ś. Hemacandra allows bh as well as h (IV). 269 ) though Pischel seems to have given his verdict against hodu and hodi in Ś. (Grammatik $ 476 ). That doublets like bhodu, and hod u existed in §. can be corroborated by referring to New Indo-Aryan vernaculars developing out of ś. For example, in the following Rajasthāni couplet we have bhai as well as hoy both tracing their origin in bhodi: vā's cadbi patani kahai hota no națiyo koy / mai nat kar națani bhai natai so natani hoy? // I. N. Svāmi, Rājasthān-rā Dūhā, Delhi, 1935. p. 40.

·39 Hence it may be assumed that both the forms hodu, hou as well as bhodu was used by Rājašekbara. (ii) The doublets' padisiddhi and pādi. siddhi have been allowed by Vararuci(1.2) as well as Hemacandra ( I. 44 ). (iii) About tuvam in the doublets t u vam and tuma m Vr. and Hc. are silent, still the form tuvam is a genuine development from the original tvam. It is remark able that mss. DE (of the Prākſta-prakāśa) used by Cowell, read tuvam instead of tumam in Vr.'s sūtra 'yuşmadas tam tumam' (VI, 26) and its commentary. DE seem to have retained here the older reading while other mss. have changed the same for tumaņa further development from tuvam. As tuvam together with tumam occurs in the Trivendram plays', and tu va malone occurs in Asvaghoşa's work we may assume that tuvam and tumam existed side by side at the time of Raj. (iv) kş> (k)kh and (c)ch. In the fragments of Asvaghoşa (c)ch out of kş is not available and in the Asoka inscriptions it occurs only in Girnar, and on this basis it was considered a characteristic of the Western dialect. But in the Bharhut inscription kş> (k)kh and kş> (c)ch occurs. In the so-called Mahārāştri chapters (1-IX) I. Wilhelm Print z, Bhāsa's Prākrit, p. 29. 2. A. B. Keith, Sanskrit Drama, p. 88. 3. Jules Bloch, Langue Marathe. p.7. Prof. Bloch is for taking such forms as errors. But we cannot agree with him. The double forms probably show that both the pronunciations were current at the time of the writer and he kept both the forms side by side.

·40 of Vararuci, too, this change has very clearly been treated as an exception. For by his sūtra ska - ska - kşām khaḥ (III. 29 ) he has given a general rule for the reduction of kş into (k) kh, whereas his sūtras a k ş yā dişu chali chall (III. 30 ) and kşa mā- vrk şak saņeşu vā( III. 31 ) he merely restricts the general rule and says that in special cases kş may develop into (c)ch as well. Hemacandra too gives likewise his general and special rules regarding kş in his II. 3. 17, 18. All these facts seem to give reasons to doubt the validity of the view held by modern scholars on the basis of inscriptions that (k)kh k characterised the East and Midland dialects of the MIA and (c)ch <kşthose of the North-west and South-west (Jules Bloch, Langue Marathe, $ 104, p. 112 and S. K. Chatterji, Bengali Language, § 259, p. 469 )!. And this doubt is further strengthened from a study of those words of the Setubandha, which have in them development of kş. The evidence of New Indo-Aryan Vernaculars? on this point does not give us any real help, for (k)kh as well as (c)ch represent ks in all the dialects; and it is very difficult to be sure of their origin, assumption of interinfluence not explaining all the cases. For example, Hindi chai Marathi khi and Gujarati khå are all derived from 1. See Appendix for a criticism of this view, based on a discussion of relevant words occurring in the Setubandha, a poem written in M. 2. See Prof. R. L, Turner's study of the distribution of the two typical developments of ks in conection with Skt. akşeti and Pali acchati in Modern Indo-Aryan. Bulletin of the School of Oriental Studies, London, Vol. VIII,1936, D. 767.

·41 OIA kşaya (Sir George A. Grierson, On the Modern IAV. $ 178, p. 94). Here according to the modern theory about the geographical distribution of (k)kh and (c)ch from ks we are to assume that Hindi borrowed the word chai from the West, and Marathi and Gujarati borrowed khai and lihā respectively from the Midland. But this seems to be very confusing. Hence in the absence of any very conclusive data to support the view referred to above we may not interfere with forms like pecch- and pekkh- (both from preks) in W. See notes on P. 5, l. 6. (v) In the case of various passive forms too we may assume the existence of doublets or triplets. It may, therefore, be not wrong to credit Rāj. himself with these, and hence, (a) W will be considered the best ms. and it will form the basis of our reconstructed text. Its readings will not be given up except for very strong reasons ; and (b) doublets or triplets occurring in the best ms. will not be reduced to a single form. 18. Acceptance of these principles will create for us some difficulties. For example, the best ms. has y a-ý ruti in some places?. To be consistent, we are to accept this ya-śruti too. But on account of such ya-śruti occurring cases. 1. Similarly the ms. G used for S. P. Pandit's edition of the Vikramorvasi (Bombay, 1901) and mss. SNDRI used for Pischel's edition of the Abhijñāna-sakuntala ( Kiel, 1876 ) however record ya-śruti in quite a number of About his ms, G, S. P. Pandit writes : 'it appears...to be about two hundred years old, possibly older. So far as it goes it is very correct' (Critical Notice, p. 1). And according to Pischel his ms S is the oldest ms, of the Bengali recension and N is a good ms. 0. P. 80-6 ·42 in the ms fragments of the Bhagavati ( a Jain canonical work) Weber considered this to be one of the exclusive characteristics of Jain Pkts. (Ueber ein Fragment der Bhagavatī, aus dem Abhandlungen der Koengl. Akadempio der Wissenschaft zu Berlin, 1865 pp. 3978). But in the use of the ya-śruti Jain mss. follow no uniform practice. For example, in the mass. of the Kalpa-sutra and the Acāranga used by Jacobi for his critical edition of these works he has noticed erratic practice in this matter ( see the Kalpa-sūtra, Leipzig, 1879, pp. 20, 21 ; The Ācārāåga-sætra, London, 1883, p. xv ). Hemacandra in his grammar (I. 180 ) has prescribed ya-sruti after a and ā, but in his commentary he has said that occasionally it is seen elsewhere also. Now his rule is partially confirmed by some mss. i.e. they have the ya-śruti after a andā only, while many mss. have ya after i, i, u, u, e and o too. On this state of affairs Jacobi commeats : “From an etymological point of view, itis more self-consistent that ya-śruti should be written after all vowels because it is the remnant of a lost consonant" ( Kalpasūtra, p. 21). Now according to this very sound view even if such has not been expressly held by Vararuci and ya-śruti does not usually occur in most of the mss. of dramas, it should not be considered a linguistic feature characterizing the Jain Pkts. alone?. Pischel in his second part of Hemacandra's Pkt. Grammar (published in 1880) remarked (notes to attra I, 180 ) as follows: 1. Dr, L. Alsdorf also seems to take ya-śruti merely as a characteristic of Jain mss. Der Kumārapālapratibodha, Hamburg, 1929, P. 52, $ 2, ·43 H.'s beschraenkuņg des eintritts des y scheint mir für des Jain-prākrit nicht richtig ; ich stimme darin mit Eduard Müller überein. Die Jain-handschriften haben es namentlich auch nach i, 7 fast durchweg und diese ausdehnung haben es des gebrauches erhannt auch eine siksa bei Mārkandeya an: // anādāv aditau varnau pathitavyau yakāravad // iti pātba-sikşā. was Thus we see that Pischel too once expressed his view against restricting ya-śrati to the Jaio prakrit alone, though later on in his Pkt. grammar he coosidered it as a characteristic of the same Jain Pkt. (see Grammatik, $$45, 187). It should however be remembered in this connexion that Krama disvara who not a Jain. prescribed ya-śruti for all Pkt, dialects (ibid. 187). Hence we can well allow ya-śruti to all Pkts. where intervocal stops have been elided. The New Indo-Aryan vernaculars also having the yaśruti in their numerous tadbhava words give us sufficient ground to assume the existence of ya-sruti in all kinds of Pkt. from which those words have come down (see S. K. Chatterji, op. cit. $ 170, pp. 838 ff. Sir George A. Grierson, An Introduction to the Maithili Dialect of the Bihari Language as spoken in North Bihar, pt. 12, Grammar, Calcutta, 1909, $ 24, pp. 9-11 ; Pandit Hazari Prasad Dwivedi, "Hindi Ya-śruti-ki Pariksa", Madhuri, vol. 9, 1988 Vikram Samvat, pp, 5271 ). Along with this should be noted the fact that in Pali too ya-śruti sporadically appears (see Geiger, Pali Lit. and Spr. § 36). Hence words occurring with ya-śruti in the ms, W can be maintained in their original form in the reconstructed text. But this procedure requiring emendatian of many words where ya-śruti does not occur (but can be expected), we have not adopted this. It may be hoped that this will not in any way diminish the usefulnese of the text. - ·44 19. Another difficulty that may arise from the acceptance of W, is that it does not use the so-called anupāsika siga () and always uses anusvāra jostead of this. On account of an absence of this in the mss. used by him Konow questions Rājasekhara's linguistic skill (p. 203 ). But it seems that such an opinion was expressed without sufficient consideration. Whitney (Skt. Grammar, S 70ff) has made a very elaborate discussion about the nature of a suvāra on the basis of Panini and the Pratiśākhyas of different Vedas?, and has concluded that the two (the anusvāra and the anunāsika) are doubtless originally and properly equivalent, and the anusvāra is a nasal sound lacking that closure of the organs which is required to make a nasal mute or contact-sound and in its utterance there is nasal resonance along with some degree of openness of the mouth ( ibid. $ 70). This statement is to extent supported by the ſikşā ascribed to Pāṇini ( 23, Rk recension ). These views of Whitney on anusvāra though not accepted by Wackernagel (Altindische Grammatik, I. Lautlebre, $ 223 ) seem to be very sound and explain better the following facts : (i) It is a very common feature of the Pkt.2 especially Apabhramsa to anusvāra for the so-called some mes. use For the phonetic value of the anusvāra in the Prātišākhyas and the Sikşās see Siddheshwar Varma, Critical Studies in the Phonetic Observations of Indian Grammarians, pp. 148ff, 2. In Pkt, and Ap. mss, the nasal element of a consonant group including a nasal consonant seems to be often expressed by an anusvāra. Some scholars especially Jacobi is for assumming this and for substituing for such an ·45 anunāsika (º) sign (see Jacobi, Bhavisattakala, Abhand. luog, p. 23* aud Sanatkumāracarita, Einleitung, p. XXXI; Ludwig Alsdorf, Kumārapālapratibodha, pp. 52, 53, $4 ). (ii) In the tadbhava element of the Hindi, anusvāra after a long vowel, even before a mute consonant denotes uot a consouant but a nasalization, e.g. 'somtha' pronouuced 'soºth' pot sonth', 'cāmda' pronounced 'ca®d and not cand etc. (see Kellog, A Grammar of the Hindi Laoguage”, pp. 14, 549). All this however does not clear our difficulty about the anusvāra which may be considered to be the basalization of the vowel it follows. For in Skt. a vowel with an anusvāra is always long while in Pkt. and Apabbransa versification we optionally have short or long quantity in short vowels with anuspära. Jacobi in his critical editions of the Bhavisattakaha and the Sanatkumāracarita has used the so-called anunāsika against the anusvāra sign (of the mss.) for the cases which required to be read with a short quantity, but has retained the anusvåra (m) for all cases which do not have such requirements (see Bhavisattakaha, p. 23* and Sanatkumāracarita, p. XXXI.) anusvāra the nasal consonant of the group to which the following consonant belongs, i.e. for paņka (ms.) Jacobi will write panka. We are not sure whether this is altogether correct for Ap. What is the bar to its being pronounced as pa ka ? For such pronunciation see Alsdorf, op. cit p. 53. Side by side with this, existed a pronunciation in which apusvāra existed as a reduced nasal. For we know that the tadbhava element of the NIA which developed out of it is pā®k. Cf. Sir George A. Grierson, On the Modern IAV. $$ 103, 215 ; in $271 he thinks that ņ is a wrong mode of indicating nasalization.

·46 But such a distinction was not necessary to one who was a clever reader of Pkt. poetry. (We may remember here the Arabic writing with no vowel siga ). Want of cleverness in this matter among other things was probably a ground of censure with speakers of living Pkts. Hāla writes. amian pāuc-havvam padthiune soum-a je na jananti...te kaham na lajjanti (I.2.). But in spite of this kind of remarks Pkts. gradually ceased to live and hence length of short vowels with apusvāra required to be precisely indicated. This gave rise to the so-called apunāsıka (). Jacobi however thought that anusvāra and anunāsika were two different kinds of sound and hence should be represented by two different signs. We have given above the view of Whitney who contradicts the conclusion of Jacobi. It is now plain that the Pkt. writers considered the short vowel with anusvāra to be as good as a pure vowel having a variable quantity. That the vowel with an anusvāra is as good as a pure powel in the Rk Veda bas been partially admitted by the Rkprātiśākhya ( Whitney, Skt, Grammar, $ 71 d). If we can accept the Pkt. vowel with an anusvāra to be like a pure vowel we may optionally give it short or long quantity according to the dictum of the Prākſta-paingala ( ed. BI. 8). The sounduess of this view is corroborated by the tradition among the Hindi-speaking Pandits who style the so-called anupāsika, or candra-bindu (°) as a rdhāpusvār or half-anusvārai (Pandit Hazari Prasad Dwivedi of Santiniketan bas kindly brought this fact to my notice). This term as I subsequently discovered has been used in the mss. CD, of Canda's Prākſtalakşaņa exactly in this sense ( see the edition of the work by R. Hoerple, p. 45.). 1. The Malayalam speaking Pandits too have the amee ama for the candra-bindu (°).

·47 From this we can gather that the anusvāra, after the introduction of this new term very late towards the beginning of the New Indo-Aryan period (c. 1100 ) or even later, was set apart for the long nasalized vowels while the ardbānusvāra was used for the sbort nasalized It seems that the Pkt. orthography never cared for the quantity of the short vowel, followed by ap anusvāra though short as well as long quantity? obtained optionally among the Pkt. speakers. ones. the ms. Hence we need not question the use of anusvāras iu W for indicating short as well as long nasalized vowels?. Similar indifference to details on the part of the Pkt. and Apabhramsa writers is also seen in their use of same letters of the alphabet for expressing the short and long varieties of e and o. The initial n, and intervocal -no occurring in our ms. W do not find the sanction of Vararuci, aod Hemacandra too does not allow them except for the Jain Pkt. Ardhamāgadhi. Hence we do not accept these features of the ms. W. 1. The anusvāra is of two kinds : final and medial. The general Pkt. tendency of shoitening the original long final vowels has sometimes made the final vowel with anusvāra short, but the Pkt. rule of shortening the long vowel before a conjunct consonant made the medial vowel with anusvāra always long. For anusvara which was a substitute for the nasal stop added to its quantity. For the convenience of modern readers we have used in the reconstructed text the so-called anunāsika sign () to denote the short naşalized vowels, 2.

·48 20. It bas already been mentioned ( 8 ) that the ms. W has been taken as the basis of the text reconstructed here. Hence, variants of those readings only of w, which from the testimony of other mss. appear to be unoriginal will as a rule be recorded. Variants from the newly consulted moss. will not be recorded for they are scarcely unique. The cases of Konow's emendation unsupported by any ms. will not be recorded, for they have been subjected to a general discussion ( see $ 2). Evident errors of scribes, substitution of i, and u for short e and o respectively as well as abbreviated writing such as 12 for class-nasals will also be passed over in silence. When Konow gives his reading on the basis of including or not including W they will be indicated by K. while the readings of the remaining mss. which Konow rejected will be indicated by the name of those mss. some mss. II. KARPURAMANJARI 21. The language. According to Sten Konow the KM. has been composed in two dialects of Pkt. : §. and M?. But we have already ( $ 2 ) mentioned some facts which go against such a view. Here we shall discuss in details the principal argument that might be given in favour of changing the s. stanzas of the play into M. The Nātya- Šāstra not to speak of prescribing M. for the metrical portions of a play, does not even recognize any dialect of this name (Keith, Skt. Drama, p. 336). And we find that neither Rāj. nor any writer of poetics older than he gives any place to M. in a play. Hence it may be assumed that M.' had not been one of the dialects used in the I. Some say that the language of the KM. was the Āvanti Pkt. (see Ind. Ant; vol 50, 1921. p. 8. ).

·49 stage before Raj. wrote his play, But there occurs in the Dasarūpa of Dhananjaya who was posterior to Rāj. by about two generations, a passage which tends to go against such an assumption. According to one interpretation the passage in question assigns in a play M. to women. But this interpretation is not right. We are discussing below the passge in question which is as follows: Strīſām tu Prākrtam prāyah ſauraseny adhameşu cal Pišācātyanta-nicādau Paisācam Māgadham tathā//II, 60. According to one interpretation this may mean : Prakrta? is generally ( to be the language) of women, and Ś. in (= for) the characters of low rank etc. (G.C.O. Haas, The Daſarūpa, N. Y, 1912. p, 75 ). This interpretation brings in M. in plays and assigns it to the entire women's speech whether it be in prose or verse, But even if writers of poetios later than Dhanaõjaya sign M. to women's verses or rather gātbās, and in some recensions of the classical plays we find women's gāthas in M. form, the use of M. prose by any female character is attested neither from any play nor from any work on poetics (see IHQ., VIII, 1932, Supplement, pp, 5, 7; Keith, Skt. Drama, pp, 142, 212 ). Hence this interpretation seems to be altogether erroneous. I. Prak’ta' in a narrow sense means the Mahārāștri dialect of Pkt. and is generally treated first of all in ancient grammars. 2. It is not clear on what evidence Keith states that in the Dasarūpa, Mahārāştri is assigned to the verses of persons who (normally) use 5. (Skt, Drama, P. 336 ). There is no other passage in the Dasarūpa than the one discussed above which treats of the language to be used by different characters, 0. P. 80-7 ·50 According to a second interpretation the Dasarūpa passage means : "The dialect used in cases of women is generally Ś. and the same is prescribed also for male characters of low rank etc.". Now this interpretation explains facts much better. For Ś. is exclusively the language of women and of men of low rank in all available ancient Indian dramas. Thus we can conclude that M. had no chance of having a place in the K., and Raj wrote this play entirely in $. ; and the testimony of the best ms. W. gives strong support to this. 22. We are discussing below the characteristics of Rāj.'s Ś. But we should again take notice of the fact that our best ms. of the play is nearly five hundred years later than the time in which it was actually composed, and hence the reconstructed text can be taken to represent approximately the original reserving mostly the essential characteristics of the dialect used by Raj, As far as phonology is concerned we have reasons to think that in a few cases our best ms., may not report the original state of affairs. But these could however be judged by an intensive study of the text. Phonology. Consona o ts. The chief phouological peculiarity of K. as available in plays and for that matter the s. of other works seems to be the maximum retention (i. e. non-elision or non-reduction) of stop consonants. some mss. vf the KM. later than the best one seems to have occasionally (though not systematically ) retained words in their full phonetic form, while the best ing. records them with elided or reduced consonants. Au 1. Pischel probably followed this interpretation when he wrote : $. als sprach der Frauen nennt auch das Dasa- Tūpa, 2. 60 (Grammatik, $ 22 ), ·51 attempt has been made before ( $814, 15 ) to explain the cause of such a change. In the reconstructed text however we have adopted the reading of the best and the oldest ms., for the fuller forms might as well be due to later emendations in a period when Pkt. became more or less a dead language. At that period the Sprachgefuehl' for Pkt. being lost, mss. had the chance of being emended with the help of grammars which gave very vague rules? regarding elision elision or reduction of stop consonants. Apart from the general feature of Ś, mentioned above the following points about the sounds of the KM. merit discussion : (i) The anusvāra developed from the final 'm' of the gen. pl. is sometimes elided in metrical passages, e.g. aņārgaraiņa= anangaratīnām, pettāņa = betrāņām. (ii) The original 'm' of the abusvāra before a vowel is sometimes restored in metrical passages (for the sake of metre), e. g. kāraṇam-atthi= karanam-atthi ; kumarinam-anga = kumariņam-anga. Note. This feature of the ſ. of the KM. i justa contionation of the OIA. phrasal combination. (iii) Cases of spontaneous cerebralization sometimes occur, e. g. padaa = patākā ; kaļhida=kyathita. (iv) Intervocal and 's' are in some few cases changed to 'b', e.g. divaha-divasa ; daha=daša, Note. This seems to be an instance of the so-called Mahārāştrism See Woolner, Introduction to Pkt. ch. IV. $ 27 ). I, Bhāmaha remarks that elision is not allowed when non-elision promotes euphony (yatra Srutisukham asti tatra na bhavaty eva on Vr. II. 2 ), ·52 (v) Initial ''is changed to 'c', in the word citthadi= tiştbati. (vi) Ipitial consonants of enclities when they are not after an anusvāra are treated as medial ones, e. g. avi-a = api-ca; ko-uņa-kah-punah. (vii) 'Y' of the word yaşthi changes to 'l' giving rise to latthi. Note. Mārkaņdeya a Pkt. grammarian of the 17th ceptury is expressly against recognizing latthi to be a $. word ( yaşthyam laś ca pa syāt ). But Hemacandra ( 12th century ) sanctions sanctions such a form for $. (I. 247 ), and his opinion should have more weight than that of Mārkaņdeya who came about four centuries after the latter. (See Pkt. Verses of the Bharata-Natyasastra, IHQ., vol. VIII, 1932, Supplement, p. 10) Sten Konow seems to think otherwise (see pp. 2028 )1 (Linguisticians however suggest a different origin for latthi). (viia) The termination -di', '-du' of the present indicative and imperative 3rd person singular, often appear as -i, -u; see notes op deu ( p. 1. ). 9). Note. Elision of 'd' in such cases occurs in Bhavabhūti as well (see Todar Mall, The Mahaviracarita p. xxxviii) and has been considered to be due his confusing of two Pkt. §. and M. (ibid ). (viii) Compound Consona o t s. Kb (kkb) as well as ch (och) from kş occurs in ß. of the KM. On the strength of Mārkandeya, Pischel and Konow would like to geekh (kkh) restricted to ś. but 1. A similar view has been expressed, though on a different ground, by Dr, Truman Michelgon. See JAOS, vol 41, 1921. p. 462.

·$s older grammarians do not countenance such a view which has been discussed before ($ 17b, iv). Mss. especially the older ones always allow in all dialects of Pkt. both the developments kh (kkh) and ch (cch). Pischel would, however, blame in such cases the "Ueberlieferung" of the mss. (Grammatik $ 317). But this view appears to be no longer tenable. Note. 1. In Bhavabhūti's Mahāvīracarita too we come across .cch' as well as 'kkh' for 'ks' e. g. pecchijjanta (p. 51. 1. 1. ) and pekkba (p. 56. I. 3.). The editors have not taken notice of the fact Note. 2. Märkandeya too does not give any general rule restricting kh (kkb) and ch (cch) to particular dialects. (ix) Vowels. Of the various developments of the vowel 'x', 'i' and 'u' (after labials) have been assigned to ś. and 'a' has been reserved for Mahārāştri, Ardbamāgadhi, Pali and Girnar Asokan ;(J. Bloch, Langue Marathe, § 31 ; S. K. Chatterji, Origin and Development of the Bengali Language, $ 173 ; R. L. Turner, The Position of Romani in Indo-Aryan, 6 8 ) of this assumed dialectal division on the basis of the development of ancient Indian Pkt. grammarians are silent, Io the s. of the KM. and in classical dramas too, we find all the developments of this sound, e,g, kada = krta, kidizkrti ditthi - drsti ; puttha=prstha ; sarisa = *saņisa-sadrsa. This phenomenon is accounted for by assuming a mixture of dialects, Note. In the Mahāvīracarita be find kada ( p. 46, 1, 1. kadanta (p. 155, 1,7) and kida occurs in very late mss. of the work (see y.l, of kada in Todar Mall's edition ). It may be mentioned here that ·54 in Pischel's first edition of the ſakuntalā, there were forms like maa ( =mrga ), kada ( =krta ) which have been changed by him to mia and kida in the second edition (See pp. 250ff. of the Harvard editon of the Sakuntalā). (x) Sometimes the diphthongs 'ai' and 'au' are represented as 'ai' and 'aü.' eg, Bhairavāṇanda Bhairavānanda, maüli=mauli. (xi) Short 'e' and short 'o' non-existent in Skt, are available in ś. The final vowelcoming after a long penultimate vowel is optionally short : e. g. Sarassaie= Sarasvatyai, angaņāo=argaņāh, (xii), Lack of vowel-sandbi in a compound word is sometimes noticeable : e., g. puņņiwā-indu. 22a. Sten Konow has assumed that the KM. was written in two dialects of Pkt., Ś, and of these the latter was used in the metrical passages. It bas already been shown ($ $ 2, 21 ) that such an assumption was unwarranted and the KM. was written solely in Ś. But Rāj's $. when tested by the Pkt. grammar of Mārkaņdeya, is found to be incorrect (see Konow, pp. 202-202 ). This is the reason why Konow has concluded that 'Rājasekhara's linguistic skill. was not so remarkable as he likes to tell us.' (ibid p. 203). We have pointed out before ($ $ 1, 11) 1. Mss, of the KM. except şU have Bhairavānanda. That no ms, reads Bheravānanda and SU read Bhaīraº is the reason for assuming the form Bhairavānanda. The Pkt. 'ai' sounded shorter than the Skt. 'ai', and it was something like the 'ai' of Modern Hindi ( See Sir George Grierson, On the modern IAV, $ 110). Pischel quotes Mārkandeya's view to say that the Skt. 'ai' does not occur in ... saj. See Grammatik 9 61.

·was as the inherent defect of the assumption which seeks to correct Pkt. texts with the help of the Pkt. grammarians' dicta. This disposes of Konow's claim of testing Raj's Ś. by the grammar of Mārkandeya, and we may conclude that Rāj's linguistic skill not defective us Konow likes us to believe (loc. cit). Occasional use of developed or so-called M. forms iike -i, jahā. jaha, iha (besides the fuller forms -di, jadhā and idha) in the KM. open if they were not due to late scribes, should not be made a ground for reproaching Rāi. with an ignorance of the characteristics of different Pkt. dialects. For all we know Ś, does not seem to be genetically different from M. aud Raj's usage in a way support the view that M. is a late phase of $. If he has sometimes used developed forms instead of uniformly using archaic ones and thus has not made his composition look exactly likes of early dram as we may think that he was writing merely to give esthetic pleasure to an audience and not fabricating a document of archaic Pkt. That he could write some sort of S., accurate enough to give such pleasure amply justifies his claim of being 'one skilled in all languages' (savva-bhāsā-cadura). This way of looking to it may however lessen the value of the KM. as a document of MIA. Put we should consider the fact that Rāj. being in all probablity a speaker of some sort of. Early New Indo-Aryan, was not in a position to give us. tbe Ś. of classical plays, which was by that time a dead language. Hence any assumption about the great value of the KM. as a document of Pkt. was fundamentally wrong (cf. Konow. p. 203). The KM. is evidently a late Pkt. work and as such its testimony on Pkt, is inferior to 1.. See Mahārīstri, IDL. XXIII. 1633. · ·56 that of the classical plays by Kalidāsa, sadraka, etc. That the KM. contains a number of deſi words, much larger than that occurring in any such classical play, is one of its late features. Developed forms if they have been actually used by Raj. cau be considered another of such feature. 23 The Original Feature. The KM. has been one of the few plays written entirely in Pkt. and as such it has a special claim to our attention. This exclusive use of Pkt. by all the characters in a play has not however been sanctioned by the Bharata-Natyasīsra (c. 500 A. C. in its present form ) which is the earliest available authority on the subject. Nor does the Dasarūpa of Dhananjaya who was younger than Rāj. by about two generations mentions sattaka or any kind of play in which Pkt. alone is to be used. (Dhanika however quotes in his Avaloka on the DR, a passage from the KM. but he never mentions sattaka in his commentary ). Thus we may well assume that this rather unconventional use of Pkt. for the entire play was an original idea with Rāj.1 But before we can give him any credit for this bold innovation we must try to find out what artistic purpose it served. Besides the KM. Rāj. wrote three or more plays and in them he adhered to the rules given in the Nś. about the assigumeot of Skt. and different dialects of Pkt. to different characters. Can it be said that the KM. just because of its language, is more excellent than other plays ? No, Raj. was well aware of the fact and he seems to have anticipated the criticism of the upholders of con- 1. The word sattaka is said to occurr in the form o sadaka in che Bharhut inscriptions ( Konow. p. 195 ). But sādaka does not probably mean a drama. It might as best have meant a kind of dance in which six members took part, ·57 Gention in the matter, To explain his position he puts in the mouth of the sutradhāra the question : "Then why has the poet abandoned the Skt. language and undertaken a composition in Pkt. ?" and answers the same in the person of the pāripārsvika by saying that a poem is a peculiar way of expression, be the language whichsoever it may." (The passage about Pkt. beiog sweeter than Skt. is spurious. On this see Notes). This however seems to be avoiding the real answer in a very clever way. The very fact that Raj. quite against the convention, used Pkt. for the entire play shows that he had some very weighty reason behind the step. Now can this be merely for the display of his linguistic ability ? For did he not mention himself as an expert in all languages (savyabhāsa-cadura)? It has already been mentioned that in the KM. Rāj. used only Sauraseni; hence we cannot assume that he wrote this to show his skill in using different languages. (cf. Konow, p. 203). The real reason behind the innovation seems to be Raj.'s desire for poetic experiment about which he as an artist cannot take the audience into confidence. Hence. his rather evasive answer quoted above. It is possible that in his experiment Avantisun darī, ' his talented wife, gave him hearty encouragement. for it was at her instance that the play was staged for the first time, and it is very likely that this first performance of the play took place in Rāj.'s own residence where a small audience was invited to attend. But all this is a conjecture. 1. Hemacandra in his Desināmamālā mentions Avantisundarī, the authoress of a Pkt. Dešikoşa, She may be identical with Rāj,'s wife. See Annals of the Bhandarkar Oriental Research Institute, vol. VIII, 1927, p. 64. O. P. 80-8 ·58 Whatever might be the actual condition under which the play was staged, it goes without saying that this novel play pleased the audience and it was afterwards circulated far and wide and gave rise to divergent recensions and at times readings of pretty bewildering nature. 24. All this may be said to point to its great popularity which, it is probable, was achieved partly by the beautiful dance introduced into it and partly by its exclusive use of Pkt, which was more comprehensible to the common people of those days than Skt. As for dances in the performance of the KM. we shall take up the subject later on ($ 26) and shall discuss here only how the Pkt. used in the play might bave made it popular. At the time of Rāj. (c. 900 A. C.) speakers of Indo-Aryan languages were already using in their daily life some kind of A pabhramsa? which was going to develop in course of two or three following centuries into a more or less analytic language ( an early stage of the New Indo-Aryan verna. culars ). Thus it is almost sure that the common people of those days were already finding it difficult to follow Skt. in prose or verse, though conditions were quite different some four or five centuries before Raj. when Kālidāsa and others wroto their dramas. Š. of the classical dramas though it had some features of a synthetic language was far simpler than Skt. and was obviously more easily intelligible to speakers of A pabhramśa which was then slowly developing. Hence it may be assumed that the common people of Rāj.'s time could enjoy his KM. written entirely in Pkt, better than other plays in which Pkt. Was assigned a minor position. By Ap. we mean that stage of the MIA, which came after the Pkt. of the dramas and poetical literature.

·59 24a. Its Literary Value. Though Rāj. might have written his play entirely in Pkt for making it intelligible to common people, it did not in any way lack embellishments of a Skt. drága-kāvya. From his very mangalācarana in which he mentions the three rītis we can assume his intention of applying all these ( Vaidarbhi, Māgadhi and Pāñcāli ) in the KM. And actually we see that the play has been written in an intermixture of Vaidarbhi and Pāñcālī with occasional examples of Māgadhi or Gaudi as it has been named in the Kāvga-mīmāṁsā (p. 8 ) by Rāj. In his classification of rītis Rāj. agrees with that of Vāmana (circa. 750-825 A.C.) For Bhāmaba (c. 700 A.C. ) and Dandin (c. 700 A.C.) bave named tio rītis, Vaidarbhi and Gaudi. To these, Vāmana has added a third, Pāñcālī, while in Rudrata's Kārgālamkāra we meet with a fourth, Laţi (Nobel, Foundation of Indian Poetry, p. 123 ; also S. K. De, Skt. Poetics, vol. II, p. 76). A suitable intermixture of three different ritis in the diction of the KM. his given it a varied charm which is not usually met with in the latter-day Skt. dramas. A great variety of. metres including the most complicated ones like Śārdūlavikridita, Vasantatilaka and Sragdhara etc. which he has used, has also given his play as a whole a delicate yet forceful rhythm which bespeaks the acute art-sense of Raj. Indeed he has imitated his predecessors like Kālidāsa, and Śrīharşa in building up his plot, but both in his language and character-painting Rāj. has shown considerable skill and ability (cf. Lanman, pp. xiyf. and also Konow, pp. 204f.) 25. Historical Value. Konow writes: “The Karpīramañjarī is also of importance for the history of the Indian drama in general. To judge from some indication ·60 in the thetorical literature, one must suppose that in early times, a sthāpaka (as well as a sutradhārā) had to do with the arrangement of the play. But in the most known plays the stbāpaka disappeared....... In the Karpūramañjar], we still find the sthāpaka in action" (n. 196). He admits, however, that the most of of mss, do not support the reading sthapaka in the place of sūtradhāra (ibid), and bas tried to raise his suggestion to a theory by discussing the last prose passage in the prologue of the KM. (1.121-3 ) which is as follows ; tā ehi anıntara-karanijjam sampademha jado malā rāci-derīnai bhūmiain ghettüņa ajjo ajjabhāriā a javanianture vattanti. But on a reconsideration of the passage which has variant readings we are inclined to believe that it was due to a misunderstanding of the original passage that it came to be corrupted, and the corruption introduced in some mss. the sthāpaka in the place of the sūtradhāra. We are giving our reasons below. I. Konow does not expressly mention which mss. read sthāpaka. But from the mss. cited we can gather that the following will be a true statement of the testimony of his mss. on this point : 1.21 PRT sthāpaka ANBW sutradhāra, OS silent ANPWORSTU B all mss. ..... 1.410. 1.419 1.5°, 80 ... 1,100 S sthäpaka ABPWORT Of the mss. PR of the Northern recension which record sthāpaka, P was influenced by the Southern recension ·61 Three mss. WANB including the best one uniformly put the passage in the mouth of the päripārsvika and this, as we shall see bellow, was most probably the original arrangement. The passage seems to have been corrupted in a peculiar fashion and the mischief came most probably form a misunderstanding of the expression ‘ajjā ajjabharia-a' which occurred in the original version of the passage instead of "ajjo ajjabharia-a'. The interpolator who changed the entire passage considered a(=Skt.ca) as equivalent to 'and' but in fact a here meant 'beside'. (Our suspicion in the matter in a way finds corroboration from the ms. P which reads ajja ajjabhāria' instead of 'ajjo ajjabhāriā-a' and has the verb vattadi in the singular). Now reconstructed in the light of above mentioned facts the passage will stand thus : bhava? ehi anantara-karanijjam sampāddemha. Jado a mahārāssa deže bhūmiam ghettīna ajjā ajjabhāriaa javaniantare citthadz5 [ Tr. Come sir, what we have at once to do let us (p. xxvi ). This probably shows that sthāpaka was a later insertion in the prototype of some of the Southem mss. This Southern recension is as we have seen ($7) is of inferior value. And R. on this point is suspicious too. New mss. examined especially those of the Southern recension give us enough ground for suspicion. 1. ABPWNOR bhāva ehi, CST tă ehi, A ehi dāva. 2. N mahārāassa deie, the remaining mss. mahārāadevīņam. 3. B appă, Pāja. 7. P omits a. 5. W citthamti, PN, vattadi, AV, vattamdi, T vattai, Rx dadi, ·62 accomplish ; for her ladyship Mrs. Director is on her part in the tiring room after finishing her make-up for the role of the chief queen of the king. ] It is apparent how the interpolator has added '7 (ām) to देवीए to change it into देवीण+i=देवीणां ( devinam ) and citthadi has been changed to cittbanti. This we may think disposes of the view of Prof. Konow who bas tried here to give support to Pischel's well-known theory of the puppet-play origin of Indian drama, which according to Keith “cannot be regarded as plausible" (The Sanskrit Drama, p. 56). We are not concerned here with the validity of this theory ; but it can be safely said that the materials are quite inadequate to find in the Karpūramaijarī any evidence in its support. 26. The KM., though it does not give us any help in studying the origin of the Indian drama, surely throws light on some minor points connected with its nature and later history. The prologue gives us a very graphic picture of the activities of Kuśilavas at the beginning of a play. The dbruvā songs about which the Nātyaśāstra devotes one entire chapter (XXXII) have been mentioned here. We also learn from it the names of various musical instruments which were in use in the orchestra of the time (c. 900 A. C.). The beautiful dance which occurs in act IV. and has been described by the Vidūşaka, illumines to some extent the usage of applying dance in the Indian stage. Besides this, the bhramari performed by the king at the end of the play gives a[so similar help to the student of the Indian drama. 27. The KM. has also some importance for the religious history of India. In it occurs one of the early references of the Tāptric teachings. Bhairavānanda ·63 wroogly taken to be a magician by Konow and Lanman was in fact a siddha-purusa of the Tantric sect. It was believed formerly that a person who has rightly exercised himself according to the method prescribed by the Tāptric tradition not only attained a spiritual height but also developed some occult powers (siddhis) by means of which he could accomplish miracles. Any one who could thus work miracles in this way was called a siddha. puruşa. Hence Bhairavānanda was not a magician in the ordinary sense but a siddha-puruşa having attained a spiritual height as well as occult powers according to the common Indian belief. And he was first a religious teacher and incidentally a maker of miracles. Konow and Lanman bave thoroughly misunderstood the character of Bhairavaanda, for Rajasekhara cannot he said to have any grudge against this Tāntric siddha-purusa to paint him as a magician and charlatan. For in the last act we see that the queen makes him her spiritual guide (guru). If Bhairavānanda were a mere magician his acceptance by the queen as her spiritual guide would have been improper. It is not possible that Rāj. lowered her dignity by purposely making her the disciple of a sorcerer. To the general reader who will superficially read the words of Bhairavānanda on his first entrance in the act I, they will apper very improper. But they had a double meaning and have been explained in the Notes. For he showed himself as a drunken person and said certain things which are apparently vulgar and immoral. But this apparently disgusting feature of his words is a way of concealment. The inner meaning of his words will be clear from the following translation : " I do not know any mystic formulae (mantra) or scriptures (tantra), neither any meditation had I to ·64 practice ; ( all this liberty was ) due to the favour of my spiritual guide (guru). I shall drink, and enjoy the company of a woman (i. e. my owo wife ) and shall attain the salvation attached to the Kaula tradition," "A widow or a candāla woman I may take as my legal wife. Wine may be drunk and meat may be eaten ; begging will bring me (lit. be) food, and a piece of hide will be the bed. To whom will these Kaula ways not appear as lovely po "Gods like Hari and Brahman say that the salvation will come from meditation and the performance of Vedic sacrifices. Only (siva) the consort of Umā bas seen salvation along with wine and woman."1 In the above translation which keeps close to the original we find nothing objectionable. For the teachings of the Tantra go against asceticism and hence a follower of this religious tradition will not admit that the company of one's wife or a moderate quantity of meat and drink will stand in the way of one's attaining salvation. Caste, Vedic rituals and customs also were discouraged by the followers of the Tantra. Hence Bhairavānanda said that the Tantra permitted one to take a widow or a caņdāla (a very low class) woman as his wife, and Vedic I. Lanman's free metrical translation of these passages gives only one of their two meanings. Any one taking this translation as their only meaning will do an injustice to Rāj.'s clever composition. We may remember here Rājasekhara's marriage with a Kşatriya lady. If Rāj. was a Brahmin then this marriage is likely to have occurred in the Tāntric from or his was the time-honoured anuloma marriage. 2.

·65 sacrifices were not neccessary for salvation. Thus we see that Bhairavānanda had a perfect method behind his pretended madness. His apparently vulgar and immoral words invested as they were with a double meaning were intended to produce some dramatic effect. All this information is very valuable for the history of Todian religion especially of the Tântric sect. III. RAJASEKHARA 28. His Date. From the evidence supplied by his dramas we learn that Rāj. was the upadhyāya of Mahendrapāla king of Kanauj and was also patronized by his son and successor Mabipala. Now the Siyodani inscription informs is that Mahendrapāla reigned between 903-907 A. C. while his son Mahipala about 917 A. C. (Epigraphia Indica, i. p. 171). There are, besides, other data for making an estimate. of Raj.'s time. In the Kavyamīmāņsā he quotes, among other authors, Udbhata and Anandavardhana who flourished respectively during the reign of Kashmirian kinge Jayāpida (719-813 A. C.) and Avantivarman (857-884 A. C.). And he in his turn was referred to by Somadeva and Soddhala for Sotthala) who flourished respectively in 960 A. C. and 990 A. C. From this it can be concluded that Raj. lived and had his literary activities circa 880-920 A. C. 29. His Place of Origin. From the Balarāmāyaṇa we learn that some among Rāj.'s ancestors were inhabitants Prof, Konow on the ground of some epigraphic and literary references has conjectured that Raj, at some time of his life had connexion with the Cedi court. But the name of Cedi curiously enough, does not occur in the geography of India given in Raj.'s Kāvyamīmāmsā (see pp. 93.) 0. P. 80-9 ·66 of Mahārāştra. Konow has identified this country with Vidarbha and Kuntala (p. 180) ; but after the discovery of Rāji's Kavyamimamsā we can no longer accept this identification, for in this work Mahārāşțra as distinct from Vidarbha and Kuntala, has been mentioned as a part of the Dakşiņāpatha or the Deccan (3rd. ed. p. 93).' But whatever be the location of Mahārāstra it appears by no means certain that Raj. had this locality as the place of his origin. Reasons for our doubt are as follows. We all know how Dandin has eulogised the Mahārāştri Pkt. But Rāj., though we know him from his works to be a great lover of Prakrit, har described it as the favourite language of the inhabitants of Lāța (Kavyamī, p. 51) and has not in any way associated it with Mahārāştra. This is an occasion where Rāj. might have given us some clear indication about his assumed birthplace. It cannot be said that out of modesty he has remained silent : for a person who boldly styles himself as the master of all languages (sabbabhāsā-cadura) can scarcely be credited with such weakness with regard to his native place which. if we are to believe Dandin, possessed the best kind of Prakrit. Hence it becomes difficult to believe that Mahārāştra was the birth-place of Rāj But this view may be objected to on the assumption that either the reputation of Mahārāştra as the home of the most excellent Pkt. no longer continued, or it may be that Daņdin's Mahārāştra (identical with Raj.'s) was somewhere on the southera border of the Indian Midland 1. In the Balarāmāyaṇa Rāj. inentifies Vidarbha with Kuntala. (III. 50-52, X. 74-75). Mr. Mirash i says 'Kuntala is generally taken to refer to the Southern Maratha country'. Annals of the Bhandarkar Oriental Research Institute, Poona XI. p. 366).

·*67 Let us (and not in the Western Deccarn as supposed by KOLOW: see p. 180) and was linguistically indivisible from it (S M. Ghosh. Mabārāştri, esp. $ 7). We have already shown the doubtful nature of the tradition recorded by Dandin (ibid). Rāj.'s absolute silence about M. seems to give strong support to our assumption that Dandin's praise of the M. was a patriotic exaggeration? (ibid $35). From the fact that Rāj. who recorded the tastes of different kings of the past with regard to their patronization of different languages, did not mention any of the kings of Maharastra who, if we are to believe Dandia, can be ex cepted to have patronized the Mahārāştri Pkt. (see Kāvyami. p. 50). On the other hand we find no data on the basis of which we can conclude that Raj.'s indifference to Mahārāştra in connection with Pkt. might be due to this country falling, at his time, from its past linguistic or cultural supremacy. now discuss the second alternative. As Sir George Grierson applies the name Mahārāştra to the locality lying south of the area where speeches directly descended from Sauraseni prevail nowadays (Linguistic Survey of India, Vol. VII, p. 123), it does not appear to be improbable that Mahārāştra of Raj. was contiguous to the Midland. But even then it will be difficult to connect Rāj. with Mahārāştra. For he seems to have given a very clear indication about his relation to the Midland. These are as follows: I. Mr. S. S. Ramas w a mi is for identifying Pravarasena the author of the Setubandha with Vākātaka Pravarasena. II (C. 405-435) the king of Kuntala. This identification will be acceptable if Mahārāştra of Dandin is to be considered another name of Kuntala. But Rāj. has two different countries with these two names (Kavyanī, p. 93). In Vätsyāyana (c. 400) occur the two different names Kuntala and Mahārāştra (VI, 5, 29 ; 7, 27).

·68 (i) In the Kavyami. he says : yo madhyadeśam nivasati sa kavih sarvabhāşa-nişannah (p. 51). The poet who lives in the Midland is well-versed in all languages). This taken with the fact that Raj. calls himself a master of all languages (sabbabhâsă-cadura) gives grounds of presumption to have the Midland as his birth-place. (ii) He glorifed Sauraseni, the Pkt. of Midland origin by writing one entire drama in it. (I have shown elsewhere that the term Prakrta mentioned in his Kāvy &- mīmāņsā can be nothing other than $. See Mahārāştrī,838). (iii) Rāj.'s partiality for Kananj and Pancālas too signifies more than his love and admiration for his pupil and patron both kings of Midland which had then Mahodaya (Kanauj) for its capital. He says that directions should be reckoned from this city and describes it as a very sacred place and its ladies as leaders of fashion in the matter of female dress, ornaments, speech and manners etc., for other Indian provinces (Kavyami. p. 8, Balar. X, 88-90). For the Pañcālas he has a great praise (Balar. X. 86), From the above three points we may be inclined to believe that Mahāraştra was not Rāj,'s place of origin even if this place was not the western Deccan. The traditions regarding Raj's origin and his own statements and predilections may be reconciled by assuming that his ancestors came to Madhyadeśa from some place in Mabärästra. 30. His Family. Raj. has given some information about himself and his family. From his Bālar, (1.6,13) and the Viddha. (1.5%) we learn that he belonged to the Yāyāyarakula. But it is not possible to gather from this whether he was a Brāhmaṇa or Ksatriya. His marriage with Avantisundari who was Ksatriya lady of Caubāna ·69 family makes it probable that he was a Kşatriya. But marrying a Ksatriya should not stand in the way of his having been a Brāhmana. For in those daya anuloma marriage, i. e. marrying below one's own varna was perhaps not yet prohibited. Or it may be that Raj. as bas been conjectured by Konow was Saiva (p. 180) and as such he could marry according to śaiva rites wife from any varna without degrading, himself in the least. But. Konow, too, following Apte considers Rāj. to have been a Brāhmaṇa, because he is said to have been an incarnation of Bhavabbūti and it was upbecomiog for a Kşatriyato be a guru or upadhyāya (loc. cit). The first objection is not at all strong ; as for the second, this too does not seem to be allowable, for the verdict of the Dharmasutras are not against this ; Rāj. might have been an upādhyāya of the king and a Kşatriya. That Raj.'s father Durduka was the chief minister ( mahāmatra ) of a king ( Bālar. I, 13), however, inclines us to believe that he was a Brāhmaṇa; for we know of some famous Brābmana ninisters, viz. Cânakya, Sāyaṇa etc. But we have no means to be sure on this point. As Brāhmanas have sometimes been the chief commander of the army (sepāpati ), a post to which Kşatriyas should naturally be entitled, Kşatriyas too at times might have occupied the position of a minister. Works like the Kāmandakiya Nitisära have not layed down any rule that Brāhmaṇas only would have to be made ministers. The Yāyāvara family whether it was Brāhmaṇa or not, had a great reputation for producing men of letters. Rāj. has several times mentioned this fact. But among these literary men Akālajalada only was one of his ancestors. Surapanda, Tarala and Kaviraja belonged probably to different branches of this family. The fact that Rāj. is ·70 a passage quoted in the Sūktimuktāvali (see Kāvyami. p. XXX ) speaks of yāyāvara-kulaśreni, or series of Yāyāvara families, justifies us to hold the above view. Even if these great names did not belong to the branch of the Yāyāvara family to which Rāj. belonged, his family was surely much distiuguished for learning and manifold activities, for his father Durduka came to occupy the position of a mahāmatra. 31. His Personality, Born in such a cultured family Räj. could receive a good education and become acquainted with different branches of the contemporary Hindu learning. From the fact of his display of great versatility in the newly discovered Kāvyamimāmgā we can infer all this. His enumeration, in connexion with the equipment of a poet, of the various arts and sciences in the chapter VIII of this work gives us an idea as to the liberal education of his time. Rāj. being himself a poet and applying to himself the proud title of a 'Kavirāja' who is above a 'Mahakavi' it will not be wrong to assume that he bimself came up to the standard he set up for the poets and had a fair acquaintance with different branches of studies besides literature in which he was a master. But Raj was not merely a scholar, He had some literary powers which have won for him a permanent, though not a very high place in the Sanskrit literature. Indeed he has freely drawn ideas, motifs, imageries etc. from his predecessors like Kalidasa and Bhavabhuti but he has always displayed sufficient skil in assimilating them and giving on them a stamp of his own by introducing at times novel expressions. From study of the chapters XI-XIII of the Kayyamīmāmsā where he discusses very elaborately the art of borrowing in course of literary compositions he shows a great deal ·71 of artistic sepse as well as great command over the Sanskrit language. 32. Rajasekhara's Works. Four plays of Raj. are extant, and a work on poetics by him named Kāvyamīmāmsā has come to light a few years ago. In his Kāvyānusaņa Hemacandra has named a poem (kāvga) of Rāj. named Haraviläsa. Thus we have altogether six works from the pen of Rāj. It is not however knoyn for certain how many works he composed. In his prologue to the Balarāmāyaṇa ve are informed that he wrote six works most probably including that play. But as we have no reliable evidence as to the order in which his available works were composed this information may give us varying numbers of his literary productions. V.S. Apte and Prof. Konow conjectured the chronological order of his works (available before 1901 ) as follows: Karparamaſjari, Viddhasalabhañjikā. Bālarāmāyaṇa and Bālabhārata. On the basis of this view Rāis works wonld be no less than nine. There is also a view that would take the Balarāmāyana and the Balabbārata as early productions of the poet. In pursuance of this we shall have the number of Rāji's works as not less than niue or ten. There is yet another view (of Mr. V. V. Mirashi') which considers the Bālar, to be the earliest of Rāj.'s works and this would make the number of Rāj.'s works as not less than ten. Mr. Mirashi's view seems to be the most plausible. From the Balarāmāyana passage it appears that the drama itself was the first play of Rāj. and he wrote before that five or six kavyas (possibly of different types ) I. 'The Chronological Order of Rajaſekhara's Works' in Pathak Commemoration Volume, Poona, 1934, PP. 359 f.

·72 and they were not very much appreciated : for Rāj. says that even if the critics would not care to study his purely poetical works so remarkable for their clever expressions the actors would for a long time recite bis ( disya ) kāyyas threadbare. The Haravilāsa mentioned by Hemacandra must have been one of the early kävyas of Rāj., which have been lost. This view would make the number of Räj,'s works no less than ten. In the chronological order of Rāj.'s works suggested below we have followed Mr. Mirashi (loc. cit.) as far as possible. (i). Sia Early works. Most probably they were poems to be read ( Sravya kāvyas=poems to be heard ) and the Harapilāsa might probably have been one of such kavyas. (i). Balarāmāyana. This was probably the first play of Rāj. (iii) Balabharata. This seems to be the next production. Its alternative title Pracaņdapāņdava seems to refer to Mabīpala. Mr. Mirashi gives argument why it should be placed before the Karpūramanjarī. (iv.) Kurpuramanjarī. Konow took this to be the first play of Rāj. (p 184). Bat the circumstances under which the play was originally produced go against such a view (see Introduction $ 23 ). (v). Viddhaśālabhañjikā. This play was written at the court of Yuvarājadeva I, who dealt a heavy blow to the declining power of the Pratibāra dynasty during the last years of Mahīpala's reign. According to Mr. Mirashi Rāj. seems to have come back to Tripuri the home of his ancestors. (vi). Kavyamīmāmsā. This seems to be the production of his declining age, and Mr. Mirashi thinks it was composed at the court of Tripuri. But omission of Cedi from his list of countries in this work cannot be explained on this assumption.

·APPENDIX Is the SETUBANDHA written in Jahārāstrī? Ancient Hindu grammarians of Prakrit never gave any rule or rules which may be taken to prove that the Middle Indo-Arynu developments like kşkh-, -kkh, kşp-cho-coh- in any way determine the dialectal affinity of the language in which they occur. But modera scholars have however tried to view the matter independently, and they suggest after a study of various data that these developments indicate a dialectal division of India. According to them kş> kb-,-kkh- is connected with the group of dialects including AMg., Mg.and ś., and kşsch-, -cch- to M, and cases which would not admit of explanation by means of this theory are explained on the assumption that some mixture of dialects has occured. In the present note we like to test this theory on the language of the Setubandha (Rāvanavaha ) which according to Dandin has been writen in M. The following are the words from the above-mentioned Pkt. poem. in which Old Indo-Aryan kş has developed to either kh ,-kkh-or ch.,-och-. (These have been collected from the glossary of Goldschmidt's edition.) (i) Words having kh-,-kikh-> kş: akkha ( N.pr.); akkhara, a-rakkhasa ; abikkheva ; ikkha ( Skt. iks as inz pekkhassa, pekkhijjanta, pekkhai, padikkhanti, aņavekkhia ; kakkha ; kaikha, kankhanta, kankbia ; khaa ; parikkhaa ; khi as in khapei, khaventi, kbavijjai, khavia ; khip as in akkhiyaſ, akkbitta, samakkhettūņa, ukkhiventi, ukkhippanti, ukkhippapta, ukkbitta, sa mukkhitta, parikkhitta, vikkhitta ; khubh as in khubbhai, khuhia, khohenti, khohenta, khohijjanta, khohia, ukkhohia; O. P. 80-10 ·174 AS pakkhubbhantaa, pakkhubia, samkhohia ; khaa : khana, takkhana ; kheva; khoba; gayakkha ; cakkhu; pakkhatte ; ņikkheva; dakkhiņāaņa ; dakkhiņņa ; dbummakkba ; pakkha; -vakkha ; paccakkhe, parikkhaa ; parirakkhana ; parokkha ; mokkha ; rakkhasa ; rakkha ; rakkhain rakkhijjai, rakkhia, parirakkhasu, parirakkbanta ; rukkha ; lakkha -kşya., -kş:); -lakkha as in lakkhijjai, ºjjanti, lakkhei, lakkhijjanta, lakkbi, alak khia, dallakkha ; vikkheva; vimokkha ; -mukkha ; samkhaa ; samkhoho ; hiraņņakkha. (ii) Words having ch-,-сch ks. accha (eye); -acchaa (=výkşaka) ; acchi ; acchivatta (akşi ) ; icch (Skt. ikş) as in pecchâmi, pecchai, pecchanti, peccha, pecchasu, pecchaba. pecchanta, pecchium. pecchia, recchiavva ; ucchevaņa ; chip- as in ucchippanta, ucсhitta (ofter vil. for ºkkhiº see also khip. above ), chunda ( kşud ) as in chundati, anacchiņa Occhundanti, ºaiocchuņa, anacchuņa ;- dacchi- hisi, 'hi, dacchāma, decchimha (?) from drakşa ; duppe- ccha (= prekşya); riccha ( řkşa ); . lacchī, 'lacchia ; Vaccha, vacchala. From a study of these words we find that kh-,-kkhks which is a non-M. feature appears in as many as 81 cases, while ch-,-cch-kş which is a M. feature only in about 30 cases. Thus the number of non-M. loan-words (81) in the Setubandha which might well have had doublets with M. phonetic character (with reference to original kş) are much in excess of words which have actually that character. All this tends to shaken very much our faith in the modern theory about the dialectal division of MIA on the basis of the divergent developments of the OIA kş. As the Setubandha has been written in M. which according to Dandin was Pkt. per excellence (prakſşta m ·75 prākita m ) we should expect that ch, cch <ks would be more available in it than kh-,-kkh- Skş; for it is always the case that if a dominating literary language or dialect takes loan-words from another language or dialect, it does so only very sparingly. Hence one must be very sceptical either about the value of Dandin's testimony about the language of the Setubandha, or the theory of dialectic division based on the development of ks. If however we like to adhere to the modern theory, the language of the Setubandha may be either M. or non- M. But such a vague proposition will not be of much use in the scientific study of the language in question. Hence we shall have to try other means for its proper indentification. If the language of the Setubandha is not M. it must be any one of the three dialects AMg. Mg. and $. containing kş. kh-, -kkh- which occur in the work in overwhelming number of cases as compared with kş.>ch--och- which is a M. feature. For obvious reasons the language of the Setubandha is not AMg., or Mg. and hence it may Now this apparent rivalry between $. and M. to claim the Setubandha as its own is indeed a difficult problem, and this cannot be easily solved unless we are to assume a genetic connexion between the two MIA dialecha Ś and M. Such a connexion was suspected by R. Hoerole long ago and the present writer too found reasons to have a similar view in this matter and the results of his investigations in this line have already been published in a paper named 'Mahārāştri, a late phase of Sauraseni (Journal of the Department of Letters of the Calcutta University, vol. xxxii, 1933). In this paper we gave the following reasons in support of our view : 1. M. as a MIA. dialect came to be recognized very lato (circa 600 A.C.). be s.

·76 (i) The Chapter XII of the Prākṣta-prakāśa (c. 600 A. C.) in which the name of M. occurs, is not from the hand of Vararuci.* (ii) Pkt. grammarians of Western India (which is very contiguous to Mahārāştra)such as Hemacandra, śubhacandra and śrutasāgara did not name any Pkt. as M. (iii) Early ( before 1000 A. C.) writers on poetics except Daņdin did not know any M. 2. The difference between $. and M., which is very meagre may be explained by assuming a chronological distance between the two. * In Cowell's edition the colophon of this chapter expressly ascribes it to Bhāmaha the commentator. This fact escaped my notice while writing the paper mentioned above.

·राजशेखर-कृता कर्पूरमञ्जरी

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·भई भोदु सरस्सईऍ कइणो णन्दन्तु वासाइणो अण्णाणं-पि परं पअदृदु वरा वाणी छइल्लप्पिआ। श्वच्छोमी तह मागही फुरदु णो सा किं-पि पञ्चालिआ ३रीदीआ ऑलिहन्तु कव्वकुसला जोण्हं चओरा वि॥१॥ 4 अकलिअपरिरम्भविन्भमाइं अजणिअचुम्बणडम्बराइँ दूरं। अघडिअघणताडणाइँ णिचं णमह अणङ्गरईण मोहणाइं ॥२॥ ( नान्यन्ते) सूत्रधारः। ससिहण्डमण्डणाणं संमोहणासाण सुरअणपिआणं । गिरिसगिरिन्दसुआण संघाडी वो सुहं देउ ॥३॥ अवि-अ इसारोसप्पसादप्पणदिसु बहुसो सग्गगङ्गाजलेणं आमूलं पूरिदाए तुहिणकरकलारुप्पसिप्पीअ रुहो । जोण्हामुत्ताहलिल्लं णदमउलिणिहित्तग्गहत्येहि दोहिं अग्धं सिग्धं-व देन्तोजअदि गिरिसुआपाअपङ्कहाणं ॥४॥ 8 12 . I. W सरस्सईए, K सरस्सई. 2. K वोमी, W वयोमी, G शोही, N वत्सोमौ. 3. ABPW रौदोघाउ (-पी) लिहन्तु, NORT रोदी भी लिहन्त, र रौईओ विलिरंतु, G विलहंतु. 4. K विभ, BW इव. 5. P संसोहणसाण, NG संमोहणाखाणं, BWO समोडणासाण, ·80 कर्परमारी परिक्रम्य नेपथ्याभिमुखम् अवलोक्य ) किं-पुण णट्टपअट्टो विष दीसदि अम्हकुसीलवाण पवञ्चो। जदो एक्का पत्ताचिआई. सिचआइं उचिणोदि । इअरा कुसुमावलीओ गुम्फेदि । अण्णा 4. पडिसीसआई पसारोदि । कावि-हु पट्टए वण्णिआओ वट्टेदि । एस वसो ठविदो ठाणे । इअं वीणा पडिसारीआदि । इमे तिण्णि-वि मुअङ्गा सजिजन्ति । एस कंसतालाणं 6पक्खाउन्जाण हलवोलो। एवं धुवागीदं आलवीअदि । 8 ता किंपि 'कुडुम्बं हक्कारिअ पुच्छिस्सं। (नेपथ्याभिमुखं संज्ञापयति) ततः प्रविशति पारिपाश्विकः। आणवेदु भाओ 12 सूत्रधारः। किं-पुण णट्टपअट्टा विअ दीसध । पारिपाश्विकः। सदृशं णच्चिदव्वं । सूत्रधारः। को-उण तस्स कई । पारिपाश्विकः । भाव कहिजदु एदं को भण्णइ रअणिवल्लहासहण्डो । रहुकुलचूडामणिणो महिन्दवालस्स को-अ गुरू ॥५॥ . J6 i. AB चियाई, W चिआइ'. 2. P सिचयाइ, A सिचांड, W मिचियांड. 3...G पडिसिम्सपात्र. 4. G कावि बसिधा कख पट्टए 5. K दम, W.एम. 6. W पक्वाउचाण. GDOR पक्खालणज्जालण, 7. BP कडम्बं WI कुडुम्ब, G कुडुम्बध, 0 कुडम्बादो.

·.81 प्रथमं जबनिकान्तरम् सूत्रधारः। (विचिन्त्य) अए पण्होत्तरं एदं। (प्रकाशं) राअसेहरो। पारिपाश्विकः। सो एदस्स कई । सूत्रधारः। (स्मृत्वा ) कथिदं 1जेव छइल्लेहिं । सो सट्टओ-त्ति भण्णइ दूर जो णाडिआएँ अणुहरदि । किं-पुण पवेसअविक्खम्भआइ इह केवलं णस्थि ॥६॥ (विचिन्त्य) ता किं-ति सक्कअं परिहरिअ पाइअबन्धे पअट्टो कइ। पारिपाश्विकः । सव्वभासा-चदुरण तेण भणिदं जेव "जहा 8 अत्थविससा ते चिअ सदा ते चैव परिणमन्ता-वि। उत्तिविसेसो कव्वं भासा जा होउ सा होउ ॥७॥ ता अप्पा किं ण वण्णिदो तेण । पारिपाविकः। सुणदु । वण्णिदो जेव तक्कालकईणं मज्झम्मि मअङ्कलेहाकहाकारेण अवराइएण, जधा बालकई कइराओ णिन्भरराअस्स तह उवज्झाओ। 10इअ जस्स पएहि परम्पराय माहप्पमारुढं ॥८॥ सो एअस्स कई सिरिराअसेहरो तिहुअणं-पि धवलेन्ति । हरिणङ्कपाडिसिद्धीऍ णिक्कलङ्का गुणा जस्स ॥९॥ सूत्रधारः। 12 , 16 I. R जेव, B जेव, Wीव. 2. W गाडिआए, P डियाई. 3. Kति, W हि. 4. See Notes. 5. Kधदुरेण W चतुरेण. 6. R जेव, B बेव, V दीव. 7. Kजधा, W महा. 8 B वञ्च, W तिचव. 9. Kजधा, 10. G इदि जस्स परम्पराए आप्प, O.P.80-11 Wom.

·82 सूत्रधारः। कर्पूरमञ्जरी ता केण 1समादिट्ठा पउआध । पारिपाश्विकः। चाहुआणकुलमउलिमालिआ राअसेहरकइन्दगेहिणी । भत्तुणो किदिमवन्तिसुन्दरी सा पउआइदुमेदमिच्छदि॥१०॥ किं-च चण्डवालधरणीहरिणको चक्वाट्टपअलाहणिमित्तं । एत्थ सट्टअवरे रससोत्ते कुन्तलाहिवसुदं परिणदि ॥११॥ ता भाव एहि । अणन्तरकराणिजं संपाउंम्ह । जदो महाराअस्स देईए भूमि घेत्तूण अजा अजमारिआ-अ जवाणअन्तरे चिट्ठदि। (इति परिक्रम्य निष्क्रान्तौ) प्रस्तावना। 12 ततः प्रविशति राजा देवी विदूषको विभवतश्च परिवारः। सर्वे परिक्रम्य यथोचितम् उपविशन्ति । राजा। देवि दक्खिणाहिवणरिन्दणन्दणे वद्धावीआस वसन्तारम्भण। जदो बिम्बोढे बहलं ण देन्ति मअणं णो गन्धतेल्लाइरा वेणीओ विरअन्ति लेन्ति ण तहा अङ्गम्मि कुप्पास। 1. K दिट्ठा, W ढा. 2. Kof, W ofa. 3. W संपाङमह, K संपाद०, 4. N रामस्स०, W रात्र. 5. N देईए, W देवीणं. 6. P भाज्जा, K पी. 7. G चिदि, W चिति, PN वदि. 8, OW न्दणे, Kन्दिणि, 16 ·जघा प्रथमं जवनिकान्तरम् 88 जं वाला मुहकुङ्कुमाम्म-वि घणे वट्टन्ति ढिल्लाअरा तं मण्णे सिसिरं विणिजिअ बला पत्तो वसन्तूसवो ॥१२॥ देबी। अहं-पि पडिवद्धाविआ भविस्सं । छोल्लन्ति दन्तरअणाइ गदे तुसारे ईसीसि चन्दणरसम्मि मणं कुणन्ति । एण्हिं सुवन्ति घरमज्झिमसालिआसु 4पाअन्तपुजिदपडं मिहुणाइँ पेच्छ ॥१३॥ ( नेपथ्ये) वैतालिकयोरेकः । जअ पुव्वदिगङ्गणाभुअङ्ग चम्पा- 8 चम्पअकण्णऊर राढाजणिदराढ चङ्गत्तणणिजिदकामरूव हरि- केलीकेलिआर अवमण्णिअकण्णसुवण्णदाण सव्वङ्गसुन्दरत्तण- रमणिज सुहाअ देवस्स भोदु सुरहिसमअसमारम्भो। इह हि पण्डीणं गण्डवलीपुलअणचवला कञ्चिबालाबलाणं माणं दोस्खण्डअन्ता रदिरहसरा चोडचोडालआणं । कण्णाडीणं कुणन्ता कुरलतरलणं कुन्तलीणं पिएसुं गुम्फन्ता णेहगण्ठि मलअसिहरिणो सिंघला एन्ति वाआ ।। ( अत्रैव ) द्वितीयः। जादं कुङ्कुमपङ्कलीढरमणीगण्डप्पहं चम्पअं थोआवट्टिददुद्धमुद्धकुसुमा पम्फुल्लिआ मल्लिआ । मूले सामलमग्गलग्गभसलं लक्खिजए किंसुअं पिज्जन्तं भमरोहिदोहि-वि दिसाभाएसु लग्गेहि-व ॥१५॥ 12 16 20 I. K fa, Wa. 2. K वसन्तुसवी, W वसन्तीसवो. 3. K छोसन्ति, W स्थोनंति. 4. BOA • पुनिद, W .पुनित. 5. STU मचिदक-(U)चवपदाण, K मषिदनमुवलवर ·84 कर्पूरमञ्जरी राजा। पिए विभमलेहे को अहं विद्धावओ तुज्झ का तुम-पि वद्धाविआ मज्झ। किं-पुण दो-वि अम्हे वद्धाविआ कञ्चणचण्डरअणचण्डेहिं वन्दीहिं । ता विन्भमपअट्टावों 4. तरट्टीणं णडावरं मलअमारुदन्दोलिदचन्दणलदाणचणणि चारुपवञ्चिदपञ्चमं कलकाण्ठकण्ठेसु कन्दलिदकन्दप्पकोदण्ड- दण्डचण्डिमं णिद्धबन्धवं वसुन्धरापुरन्धीए ता वित्थारिद- पसइप्पमाणच्छिणी महोच्छवं जहिच्छं पेच्छ । 8 देवी। जधा णिवेदिदं वन्दीहिं पअट्टा जेव मलआणिला । 'तधा-अ लकातोरणमालिआतरलिणो कुम्भुम्भवस्सासमे मन्दन्दोलिदचन्दणहुमलदा कप्पूरसम्पक्किणो। 12 ककोलीकुलकम्पिणो फणिलदाणिप्पट्टणट्टावआ चण्डं चुम्बिदतम्बपण्णिसलिला वाअन्ति चेत्ताणिला ॥१६ अवि-अ माणं मुञ्चध देह वल्लहजणे दिठं तरङ्गुत्तरं तारुण्णं दिअहाइँ पञ्च दह वा पीणत्थणुत्थम्भणं । 10इत्थं कोइलम सिखिदमिसा देवस्स पञ्चेसुणो दिण्णा चेत्तमहूसवेण सहसा आण-व्व सव्वङ्कसा ॥१७॥ 16 I. .W बसावट. 2. K विभमप्पचवा०, K विभभप्पपडा०, W विब्भममतपत्रवा. 3. K सरहोणं. W तरडीयं. 4. Kगाचणीर्ण, W सञ्चईशौणं. 5. K कलकड़ी०, W कलमबी०. 6. Kजधा, AWOD महा. 7. K तथा, WBOD सहा. 8. K कुसुम०, w कुंभौभ०. 9. BNOR सुचष, सुमध, WPA मुद. 10. K इत्थं, W इतयो. .

·85 प्रथमं जवनिकान्तरम् विदूषकः । भो तुम्हाणं 'सव्वस्सि मज्झे अहं एको कालक्खरिओ जस्स मे ससुरओ परघरेसु पोत्थाइ वहन्तओ आसि । चेटी। ( विहस्य ) तदो कमागदं ते पण्डिच्चं । विदूषकः। ( सक्रोधम् ) आ दासीए धूदे भविस्सकुट्टिणि 4 णिल्लक्खणे अविअक्खणे ईदिसोहं मुक्खो जं तए-वि उवहसी- आमि। अण्णं च रे परपुत्तविद्यालिणि भमरटेण्टे टेण्टाकराले तुट्ठसंघडिदे- अह वा हत्थे कङ्कणं किं दप्पणेण । विचक्षणा। एवं णेदं। तुरङ्गस्स सिग्धत्तणे किं सक्खिणो 8 पुच्छिन्जन्ति । ता वण्णअ वसन्तं । विदूषकः । कथं पञ्जरगदा सारि-व्व कुरुकुरुअन्ती चिट्ठसि । ण किं-पि जाणासि । तापिअवअस्सस्स देवीए पुरदो पढिस्सं । जदो ण कत्थूरिआ गामे वणे वा विक्किणीअदि। णेदं सुवण्णं 12 जं कसवाट्टि विणा कसीआदि । (इति पठति फुल्लुक्करं कलमकूरसमं वहन्ति जे सिन्धुवारविडवा मह वलहा जे गालिअस्स महिसीदहिणो सरिच्छा ते किं-च मुद्धविअइल्लपसूणपुञ्जा ॥१८॥ विचक्षणा । ( विहस्य ) णिकन्तारत्तणजोग्गं ते वअणं । ते 16 1. W सबसि. 2. K एको, WPB एको. 3. W ससुरउ. 4. K वि, WT om. वि. 5. K पञ्चरगदा, W मरगया. 6. NRSV पिभवयसस्स देवीए, K पिअवयस्सदेवीणं. 7. K विकिणी भदि, W विक्षणीयदि. 8. .K, Wदे.

·86 कर्पूरमजरी विदूषकः । किं-पि उदारवअणा 1तुमं पढ । देबी। (किञ्चित् स्मित्वा)। सहि विअक्खणे अम्हाणं पुरदो तुमं गाढकइत्तणेण उत्ताणा भोसि । ता पढ सम्पदं अज्ज- 4 उत्तस्स पुरदो सअं-कदं कव्वं। जदो तं कव्वं ज सभाए पढीअदि। तं सुवण्णं जं कसवट्टिआए णिव्वहादि । सा परिणी जा पदिं रखैदि। विचक्षणा । जं देवी आणवेदि। ( इति पठति ) 8 जे लङ्कागिरिमेहलाहिं खलिदा सम्भोअखिण्णोरई- फारफ्फुल्लफणावलीकवलणे पत्ता दरिदत्तणं । ते एण्हिं मलआणिला विरहिणीणीसाससम्पक्किणो जादा झत्ति सिसुत्तणे-वि बहला तारुण्णपुण्णा विअ ॥१९॥ 12 राजा। सञ्चं विअक्खणा विअक्खणा चदुरत्तणे उत्तीर्ण ता किं-पि अण्णं विचित्तदाए। कइणं सुकइ-त्ति । कवि- चूडामणित्तणे ठिदा एसा। विदूषकः। (सक्रोधम् ) ता उज्जु जेव किं ण भण्णइ अच्चुत्तमा विअक्खणा अच्चाधमो कविंजलो बम्भणो-त्ति । विचक्षणा। अज्ज मा कुप्प । कव्वं ज्जेव कवित्तणं पिसु- णेदि। जदो णिअकन्तारत्तणणिन्दणिज्जे वि अत्थे सुकुमारा 16 I. K तुम W तुमंपि. 2. W मेखलाहिं. 3, NG चदुरत्तणे, W चउरचणे. 4.5 उत्तीणं, W चदुरुत्तीर्ण. 5. 5B ता किंपि पस विचित्तदाए, Wता किमणं चदुरवयणविचिनदाए. 6. See Notes. 7. A जेव. B दीव, W (?). 8. Bअशावमी, W पञ्चायो. .

·प्रथम जवनिकान्तरम्
87
1वाणी लम्बत्थणीए विअ एकावली तुण्डिलाए विअ कञ्चुलिआ
काणाए विअ कज्जलसलाआ सुठ्ठदरं ण भादि रमणिज्जा ।
विदूषकः । तुब्भ उण रमणिज्जे-वि अत्थे ण सुन्दरा सद्दा-
वली। कणअकडिसुत्तए विअ लोहकिङ्कणीमालिआ पडिपट्टे 4
विअ टसरिविरअणा गोरङ्गीए विअ चन्दणचच्चा ण चारुत्तणं
अवलम्बेदि। तथा वि तुवं वण्णीअसि ।
विचक्षणा। अज्ज का तुम्हेहि समं 'अम्हाणं पाडिसिद्धी । जदो
तुवं णाराओ विअ णिरक्खरो-वि अणतुलाए णिउञ्जीअसि। 8
अहं पुण तुल-व्व लक्खरा-विण सुवण्णतोलणे णिउञ्जीआमि।
विदूषकः । ( सक्रोधम् ) एवं मह भणन्तीए तुह दक्खिणं-च
10जुहिट्ठिलजेठभाअरणामधेअं 11तडत्ति 12उप्पाडइस्सं ।
विचक्षणा। तुज्झ पुणो-हं उत्तरफग्गुणीपुरस्सरणामधेअं अङ्गं 12
13तडत्ति खाण्डस्सं।
राजा। वअस्स 14कइत्तणे 15ठिदा एसा ।
विदूषकः। (सक्रोधम् ) ता उज्जुलं जेव किं ण 16भण्णइ
I. K has a before वाणी. 2. y तु'डिलाए, K तुन्दिलाए.
3. W तुब्भ, K तुझ. 4. WN किंकणी.. 5. K विष, W विव.
6. B तुर्व, K तुम. 7. Kom, पम्हाणं after समं. 8. K तुलाए,
W•तुल्लाए. 9. K सुवणतोलणे, WPR सुबसलवे वि. 10. W जुझिटिल,
K जुहिदिर. 1. K तडत्ति, B तडित्त. 12. K उपाडस, W
उप्पाडयस्सं, 13. K तडत्ति, B तडित्त. 14. K कवृत्तणे, W कयत्तणे.
Th, Kठिदा, W णिदिदा. 16. K भन्नड, W भखेड.
,

·88 . कपूरमञ्जरी अम्हाणं चोडआ हरिउड्ढ-णन्दिउड्ढ-पोट्टिस-हालप्पहुदणिं-पि पुरदो सुकइ त्ति । (परिकामति) राजा। एवं थ्णेदं । विदूषकः रुष्ट इव सक्रोधम् उत्थाय परिक्रामति । विचक्षणा। (विहस्य ) तहिं गच्छ जहिं मे मादाए पढम- साडोलिआ गदा। विदूषकः । ( वलितग्रीवम् ) तुवं पुण तहिं गच्छ जहिं मे मादाए पढमा दन्तावली गदा। अण्णं च ईदिसस्स राउलस्स भई भोदु जहिं चेडिआ बम्भणेण समं समसीसिआए दीसदि मइरा पञ्चगव्वं च एकास्सिं भण्डे कीरदि कचं माणिकं च समं आहरणे पउञ्जीअदि। विचक्षणा। इह राउले' तं ते भोदु कण्ठहिदं जं तिलोअणो भअवं सीसे समुव्वहदि । तेणं च दे मुहं चूरीअदु जेण असोअतरू10 दोहलं लहदि। विदूषकः। आ दासीए आ दासीए पुत्ति टेण्टाकराले कोससअचट्टाण11 रच्छालोट्टणि एवं मं भणसि । ता मह महबम्भणस्स भणिदेण 16 तं तुमं लह12 जं फग्गुणसमए सोहचणो जणादो लहेदि जंच 8 12 2. I. K हरिड्ढ etc , हरियट्टणंदियट्टपुटिस०. W नेदं. 3. W साडोलिया, BP साडल्लिा (या). 4. W अन्न च. 4. W अन्न च. 5. W बंभणे, K वम्हणेगा. 6. K एक्कस्मिं भण्डए, W एगम्मि भंडे, 7. W राउले, K राबठल. 8. AN ते, K दे, Wom. 9. WOB भवं after तिलोणी, Kbefore तिलो.. 10. W add. तरुणीणं. II. W कोससयत्र, P कोसासय, N कोससबल. 12. K लह, W लहह. 13 WRT जणादी, K दोहली for जणाक्षे, BPOom. .

·4 ) प्रथमं जवनिकान्तरम् पामराहि-तो गलिबइलो लहदि । विचक्षणा। अहं पुण तुह एवं भणन्तस्स णेउरस्स विअ पाअ- लग्गस्स पाएण मुहं चूरइस्सं । अण्णं च उत्तरासादापुरस्सर- णक्खत्तणामधेअं अङ्गजुअलं उप्पाडिअ पल्लिस्सं । विदूषकः सक्रोधं परिकामति । ( जवनिकान्तरे किञ्चिदुच्चैः6 ) 'ईदिसं राउलं दूरेण वन्दी- अदि जहिं दासी बम्भणेण समं पडिसिद्धी करेदि । ता अज्जपहुदि णिअवसुन्धराणामवम्भणीए चलणसुस्सूसओ भविअ 8 गेहे जेव चिहिस्सं । सर्वे हसन्ति । देवी। कीदिसी अञ्ज-कविञ्जलेण विणा गोडी कीदिसी उण णअणञ्जणेण विणा पसाहणालच्छी । ( नेपथ्ये [ विदूषकः ]) ण-हु ण-हु आगमिस्सं । अणो को-वि पिअवअस्सो वअस्सेण अण्णेसीअदु । एसा वा दुट्ठदासी लम्बकुचं टप्परकण्णु-पडि- सीसअं देइअ मह ठाणे कीरदु10। अहं एको मुदो तुम्हाणं . 16 सव्वाणं मज्झम्मि 11। तुम्हे उण वरिसस जीवध । 12 2. K गलिवाल, W गलियवयलो. W go for g. 3: W णेवरस्स for ऐडरस्स. 4. W चुरिइस्सं. 5. WN साढ०. 6..See Note 7. W इदिसं. 8. K सुस्सूओ, W सगो. रवा, W om. APWNR कौरद, K करोअदु. I. PW मभरिम Kमजसी. 10.

·90 कर्पूरमजरी राजा। 1कविक्षलेण विणा कुदो हिअअस्स णिव्वुदि । विचक्षणा। मा अणुसन्धेध । अणुणअकक्कसो खु कविञ्जलओ बम्भणो। सलिलसित्तो सणगुणगण्ठी दिदं गाढअरो । 4 भोदि। 8 18 देवी। (समन्तादवलोक्य ) गाअन्तगोवहूपअखिदासु दोलासु विब्भमवदीसु णिविठ्ठदिट्ठी । जं जादि 'खञ्जिदतुरङ्गरहो दिणेसो तेण-व्व होन्ति दिअहा अइदीहदीहा ॥२०॥ प्रविश्य पटाक्षेपेण विदूषकः। आसणं आसणं । राजा। किं तेण । विदूषकः। भइरवाणन्दो दुवारे। उवविस्सदि । राजा। किं सो जो जणवअणादो 10 अञ्चब्भुदसिद्धी सुणीअदि। विदूषकः। अध किं । 18 · राजा । .. पवेस। विदूषको निष्क्रम्य तेनैव सह प्रविशति । I. APWN have this sentence. W निव्वुदी. 3. APW ख. K. 4. PBWO om. बम्हणी. 5. Kadd विश्र. 6. W सोदि. 7. W खंचिद, PPORU खंजिन. 8. See Note. 9. W उबविसदि, B उपविस्सदि, P उपविसदि, A उपवम्मदि, K चिदि. K पञ्चवभुष, . W १ ·91 8 प्रथमं जवनिकान्तरम् भैरवानन्दः। (किञ्चिन् मदम् अभिनीय) 1मन्तो ण तन्तो ण-अ किं-पि जाणे- उझाणं च ण किं-पि गुरुप्पसादा । मजं पिवामो माहिलं रमामो मोक्ख-च जामो कुलमग्गलग्गा ॥२१॥ अवि-अ रण्डा चण्डा दिक्खिदा धम्मदारा मंजं मंसं पिज्जए खज्जए-अ । भिक्खा भोजं चम्मखण्ड-च सेज्जा कोलो धम्मो कस्स णो भादि रम्मो ॥२२॥ किं-च मुत्तिं भणन्ति हरिबम्हमुहा-वि देवा झाणेण वेअपढणेण कदुक्किआहिं । एक्केण केवलमुमादइदेण दिहो मोक्खा समं सुरअकेलिसुरारसेहिं ॥२३॥ राजा । इदं आसणं । उचविसदु भइरवाणन्दो। भैरवानन्दः। ( उपविश्य ) किं कादव्वं । राजा। कहि-पि विसए अच्छरिअं दडे इच्छामि। 12 16 I. ABPWO मंतो ग तंतीण अकिं पि, K मन्नाण सन्ताण बकि पि. 2, K जाणे, W भाएं. 3. K झागं, Wभावं. 4. APNR दिकखिदा, W दिक्खंदा, B सिक्खिदा.

·92 कर्पूरमारी भैरवानन्दः। दंसमि तं-पि ससिणं 1वसुहावइण्णं थम्भमि तस्स-वि रविस्स रहं णहद्धे । आणाम जक्खसुरसिद्धगणङ्गणाओ तं णत्थि भूमिवलए मह जं ण सझं ॥२४॥ ता भण किं कीरदु। वअस्स भण किं-पि अउव्वं दिहें महिलारअणं । विदूषकः। अत्थि एत्थ दक्षिणावहे विच्छोमं णाम णअरं । तहिं मए एक कण्णआरअणं दिटुं। तं इह आणीअदु । भैरवानन्दः। आणीअदि । राजा। अवदारिज्जदु पुण्णिमाहरिणको धरणीअलम्मि । भैरवानन्दो ध्यान नाटयति । राजा । 8: 12 ततः प्रविशति पटाक्षेपेण नायिका। सर्वेऽवलोकयन्ति । राजा। अहह अच्छरिअं अच्छरिअं । जं धोअज्जणसोणलोअणजुअं लग्गालअग्गं मुहं हत्थालम्बिदकेसपल्लवचए दोलन्ति जं बिन्दुणो । जं एवं सिचअञ्चलं णिवसिदं तं ण्हाणकेलिहिदा आणीदा. इअमभूदेक्कजणणी जोईसरेणामुणा ॥२५॥ 16 I. W ०वनं. 2. W जकखु०. 3. K वञ्छीम, W वत्थोवमं. 4. K कसा०, W कमाया ००. 5. APW धशणीयलम्भि, B णोपले. 6. Wम भुदिक्क, ABNORTU •मझदेक, K ०मबभुएक ० ·98 प्रथमं जवनिकान्तरम् अवि-अ एक्केण पाणिणलिणेण णिवेसअन्ती वत्थञ्चलं घणथणत्थलसंसमाणं । चित्ते लिहिज्जदि ण कस्स-वि संजमन्ती अण्णेण 1चमणदो चलिदं कडिल्लं ॥२६॥ विदूषकः । ण्हाणावमुक्काहरणुच्चआए तरङ्गभङ्गक्खदमण्डणाए । ओल्लंसुउल्लासिथणुल्लणाए सुन्देरसव्वस्समिमीऍ दिट्ठी ॥२७॥ 8 नायिका। ( सानवलोक्य स्वगतम् ) एस महाराओ को-वि इमिणा गम्भीरमहुरेण सोहासमुदएण जाणअिदि । एसा- वि एदस्स महादेवी लक्खीअदि। अद्धणारिस्सरस्स वामद्धे अकहिआ-वि गोरी मुणिज्जदि । एसो-वि जोईसरो। एस 12 उण परिअणो। ( विचिन्त्य ) ता किं-ति एदस्स महिला- सहिदस्स-वि दिठी मं बहु मण्णेदि। ( इति त्र्यसं वीक्षते ) राजा। (विदूषकमपवार्य ) जं मुक्का सवणन्तरेण सहसा तिक्खा कडक्खच्छडा भिङ्गाहिछिदकेदअ-अग्गिमदलद्दोणीसरिच्छच्छवी । तं कप्पूररसेण णं धवलिदो जोण्हाएँ णं ण्हाविदो मुत्ताणं घणरेणुण-व्व छुरिदो जादो-म्हि एत्यन्तरे ॥२८॥ 16 - I. ANORSTU मणदी, W मशिदी. W .थणुनदाए, 4. IV लक्षौअदि, ० लक्खौदि, ० मुणौज्जदि. 4. K वि, w इ. 5. WP मुणिज्जदि. 6. W भिगाघिद, P भिंगाडिदि. 7. K सरिक, W सरिम्स.. .

·9+ 1 + कर्परमारी ( बिदूषकं तथैव )। अहो से स्वसोहा । मण्णे मझं तिवलिवलिअं डिम्भमुहिएँ गेज्झं णो बाहुहिं रमणफलों वेढिदु जादि दोहिं । णेत्तच्छेत्तं तरुणपसईकिजमाणोवमाणं ता पञ्चक्खं मह विलिहिदु जादि एसा ण चित्ते ॥२९॥ 4कहं ण्हाणधोदविलेवणा-वि समुत्तारिदभूषणा-वि रमणिजा। अह-वा 8 स्वेण मुक्काओं विभूसीअन्ति ताणं अलंकारवसेण सोहा । णिसग्गचङ्गस्स ण' माणुसस्स सोहा समुम्मीलदि भूसणेहिं ॥३० एदाए एदं दाव। जदो लावण्णं णवजच्चकञ्चणणिहं णेत्ताण दीहत्तणं कण्णेहिं खलिदं कवोलफलआ दोखण्डचन्दोवमा । एसा पञ्चसरेण सन्धिदधणुद्दण्डेण रक्खिजए जेणं सोसणमोहणप्पहुदिणो विन्धन्ति में मग्गणा ॥३१॥ विदूषकः । (विहस्य) जाणे रच्छासु लुण्ठदि तुह सोण्डीरत्तणं । राजा। (विहस्य ) पिअवअस्स कमि दे । अङ्गं चङ्गं णिअगुणगणालंकिदं कामिणीणं पच्छाअन्ती तणुगुणसिरि भादि णेवच्छलच्छी। W मुद्विड. 3. K मह, W महि. + See Notes on this. 5. B मुकाउ, A मुत्ताओ, K मुक्का व. 6. PRSTU FEC, W fagetafel. 7. STU v. 8. K race, AWO दोहंड. 9. A जाणेमि रथ्यासु झुठदि तुह सोंडीरत्तर्ण, W जाणेदि मेव राशए से लुधिना सोडी, Kजाणादि रच्छायादो लम्बी सोडऔरतणं. 12 16 1. WNOR कुष.. 2. - ·1 देवी। 8 प्रथमं जवनिकान्तरम् 95 इत्थं जाणं अवअवगदा का-वि सुन्देरमुद्दा मण्णे ताणं 1वलइदधणू णिञ्चभिच्चो अणडो॥३२॥ 2अवि-अ एदाए तहा रमणवित्थरो जह ण ठादि कञ्चीलदा तहा सिहिणतुङ्गिमा जह णिएइ णाहि ण-हु। तहा णअणवड्ढिमा जह ण किं-पि कण्णुप्पलं तहा-अ मुहमुज्जलं दुससिणी जहा पुणिमा ॥३३॥ अज्ज कविजल पुच्छिी जाण का एस-त्ति । विदूषकः। ( तां प्रति ) एहि मुद्धमुहि उवविसिअ णिवेदेहि का तुम-ति । देवी। आसणं इमीए। विदूषकः । एदं मे उत्तरीअं । विदूषकनायिके वस्त्रदानेन उपवेशने नाटयतः । विदूषकः। सम्पदं कहिज्जदु। नायिका । अत्यि एत्थ 'दक्षिणावहे कुन्तलेसुं सअलजणवल्लहो वल्लहराओ णाम राआ। देवी। (स्वगतम् ) जो मह माउच्छओ होदि । नायिका। तस्स घरणी ससिप्पहा णाम । देवी। सा-वि मे माउच्छिआ। 12 16 2. I. ANR वलइद, W बलदव, K अवि., W अन्नं च. 3. W सिहण. 4. WU उपविसित्र. 5. W add. नायका उपविशति. 6. W add. का तुम ति. 7. W वह, B ०पह, K०वधे. 8. K मोदि, PNWOR हो, ·96 4 8 कपरमारी नायिका । ( विहस्य ) तेहिं अहं खलखण्डेहिं कीदा दुहिद-त्ति पुच्चामि । देवी। (स्वगतम् ) ण हि खसिप्पहागन्मं अन्तरेण ईदिसी रूवसोहा । णो वा विदूरभूमिगम्भुप्पत्तिं अन्तरेण वेरु- लिअमणिसलाआ णिप्पज्जन्ति । (प्रकाश) णं तुवं कप्पूरमारी। नायिका अधोमुखी तिष्ठति । 6देवी । , एहि बहिणिए आलिङ्गसु मं ( इति परिष्वजेते )। नायिका। अम्ह-कप्पूरमञ्जरीए "एसो पढमपणामो । देवी। अज्ज मए भइरवानन्द तुज्झ पसाएण अपूव्वं सं- विहाणअं अणुभविदं बहिणिआए दंसणेण । चिठ्ठदु दाव पञ्चसत्तदिवसाइं। पच्छा झाणविमाणेण पुणो णइस्सध । भैरवानन्दः। जं भणदि देवी । विदूषकः । ( राजानम् उद्दिश्य ) अम्हे परं इत्थ दुवे -वि बाहिरा तुवं अहं च । जदो एदाणं मिलिदं 10कुडुम्बं वदि । 11जदो इमीओ दो-वि बहिणिआओ। भइरवानन्दो उण एदाणं सञ्जोअअरो अग्घिदो महग्घिदो। एसा विअक्खणा महीअल- सरस्सई कुट्टिणी-देवी ज्जेव देहन्तरेण वदृदि । 18 16 I. K खलख्यण्डेहि, W खलखंडण. 2. W गब्भमन्तरेण. 3. K रुव०, W कप.. .4. W गबभुप्पत्तिमन्तरेण. 5. K. तिष्ठति, W अहोमुही चिदि. 6. Wom. देवी. 7. W एसी before कप्पू०. 8. K अपूर्व, W अउव्वं. 9. K दिवसाइ', wo दिवहांड. I0. K कुडुम्वं, W कुडवं, Wom. जदो.

·97 प्रथमं जवनिकान्तरम् देबी। विअकक्खणे 1णिअजेट्टबहिणिशं सुलक्खणं भणि भइरवाणन्दस्स हिअइच्छिदा सपज्जा कादच्वा । विचक्षणा। जं देवी आणवेदि । +देवी। (राजानं प्रति ) अज्जउत्त पेसेहि मं जेण बहिणीए । एदावत्थाए णेवच्छलच्छीलीलाणिमित्तं अन्तेउरं गमिस्सं । राजा । जुज्जदि चम्पअलदाए कत्थूरिआकप्पूररसेहिं आलवाल- पूरणं । ( नेपथ्ये ) वैतालिकयोरेकः। सुहसञ्झा भोदु देवस्स । एदं वासरजीवपिण्डसरिसं चण्डंसुणो मण्डलं को जाणादि कहिं-पि सम्पदि गदं पत्तम्मि कालन्तरे । जादा किं-च इअं-पि दीहविरहा सोऊण गाहे गदे णिद्दामुद्दिदलोअण-व्व गलिणी मीलन्तापकेरुहा ॥३४॥ द्वितीयः । उग्घाडिज्जन्ती लीलामणिमअवलहीचित्तभित्तिणिवेसा पल्लङ्का किङ्करीहिं उदुसमअसुहा पत्थरिज्जन्ति झत्ति । सेरन्धीलोलहत्थडलिचलणवसा पट्टसो पअट्टो हुंकारो मण्डवेसु विलसदि महुरो रुट्टतुट्टङ्गणाणं ॥३५॥ राजा। अम्हे-वि सञ्झं वन्दितुं गमिस्सामो। इति निष्क्रान्ताः सर्वे। प्रथमं जवनिकान्तरम् । 5 12 16 2. IV .वहिणिय०. K भणित्र. 3. Wadd. तं कुणमि. 4. Vom. वी. 5. Wसीजण। K सोऊण. 6. w add. पठति. īWV offio for 8, Vउड० for उदु, १, सदो. for सही, O.P.80-13 चित, ·4 8 ततः प्रविशति राजा प्रतीहारी च । ( परिक्रामितकेन ) प्रतीहारी। इदो इदो महाराओ। राजा। (कानिचित् पदानि दत्वा ताम् अनुसन्धाय ) तहिं खु अवसरे णो ठाणाहिं तिलन्तरं-पि चलिदा सुत्था णिअम्बत्थली थोउव्वेल्लवलीतरङ्गमुदरं कण्ठो तिरिच्छिछिदो । वेणीए उण आणणेन्दुभमणे लद्धं थणालिङ्गणं जादा तीए चउव्विहा तनुलदा तंसं वलन्ती मए ॥१॥ प्रतीहारी। (स्वगतम्) कहं अज्ज-वि सो चेव सिरिताडीसञ्चओ ताओ चैव अक्खरपंतीओ। ता बसन्तवण्णणण सिढिल- आमि से तग्गदं हिदआवज। (प्रकाश) दिहिं देदु महाराओ ईसीसि जरढाअमाणे कुसुमाअरम्मि । भूलाहि-तो परहुदवहूकण्ठमुई दलन्ता देन्तो दीहं महुरिमगुणं जम्पिए छप्पआणं । संचारेन्ता विरहिसु णव पञ्चमं किं च राअं राउम्मत्ता रइकुलहरा वासरा वित्थरन्ति ॥२॥ राजा। (तद् अनाकर्ण्य सानुरागं ) अत्थाणीजणलोअणाण बहला लावण्णकल्लोलिणी लीमाविन्भमहासवासणअरी सोहग्गपालित्तिआ । 12 16 ~ I, KT, Wणो, 2. K थोडवेल, थोउब्विल्ल०, 3, K तिरिच्छि, W तिरिथी, 3, K०, संचत्री W संचउ०, 4, K हिदावज्ज, W माणसं, 5, K देदु, CWNORS देउ. 6, K पालिचिपा, Woपालिहिया, ·99 द्वितीयं जवनिकान्तरम् णेत्तेन्दीवरदीहिआ मह पुणो सिङ्गारसज्जीविणी जं जादा अह मम्महेण धणुहे तिक्खो सरो सन्धिदो ॥३॥ ( सोन्मादमिव ) दंसणक्खणादो पहुदि कुरङ्गच्छीए चित्ते वहुट्टदि ण खुट्टदि सा गुणेसुं सेजाऍ लुट्टदि विसहदि दिङ्मुहेसुं । वोल्लम्मि वट्टदि पअदि कव्वबन्धे झाणे ण तुट्टदि चिरं तरुणी तरट्टी ॥४॥ 4अवि-अ जे तीऍ तिक्खचलचक्खुतिहाअदिठ्ठा कामचन्दमहुपञ्चममारणिजा । जेसुं पुणो णिवडिदा सअला-वि दिट्ठी वट्टन्ति ते तिल-जलञ्जलिदाणजोग्गा ॥५॥ 8 ते 12 ( संस्मरणमिव ) अवि-अ अग्गम्मि भिङ्गसरणी णअणाण तीए मज्झे पुणो कढिददुद्धतरङ्गमाला। पच्छा-अ से सरदि तंसणिरिक्खिदेस आअण्णमण्डलिदचावहरो अणडो ॥६॥ (विचिन्त्य ) चिराअदि वअस्सो। 16 1. W बहुदि, 2, K खुद्ददि, W हदि, 3, K तरही w तरको, 4 wom.s, Wवी, ·100 कर्पूरमअरी प्रविश्य विदूषको विचक्षणा च परिकामतः । विदूषकः। अइ विअक्खणे सव्वं सच्चं एदं । विचक्षणा। सव्वं सच्चअरं । ' विदूषकः। णाहं पत्तिजामि जदो परिहाससीला खु तुवं । विचक्षणा। अज मा एवं भण। अण्णो वक्करकालो अण्णो कज्जावआरकालो। विदूषकः। (पुरो विलोक्य) एसो पिअवअस्सो हंसो विअ मुक्क- 8 माणसो करी विअ मअक्खामो मुणालदण्डो विअ घणधम्म- मिलाणो दिणदिण्णदीवो विअ विअलिअच्छाओ पभादपुण्णिमा- चन्दो विअ पण्डुरपरिक्खणो चिहदि । उभौ। (परिक्रम्य उपसृत्य च ) जअदु जअदु महाराओ। राजा। वअस्स कहं पुणो विअक्खणाए मिलिदो-सि । विदूषकः । अज्ज विअक्खणा मए सह सन्धि काढुं आअदा। किदसन्धीए एदाए सह मन्तअन्तस्स एत्तिआ वेला लग्गा । राजा। सन्धिकरणस्स किं फलं । विदूषकः। एसा अहिमदजणपेसिदलेहहत्था जंविअक्खणा आगदा। 12 16 1, Kषा, W भय, , W add, कप्परमभरोए महाराय- संविहिदा पैसिदा तुम, 3. K, मचकवामी; W मयजल खामी, 4. K कर, Waहिं, 5, K एचिचा, W एदा, 6, K •करणस, W .कारणस्स T, W बियाणागदा, ·द्वितीयं जवनिकान्तरम् 101 राजा। (गन्धं सूचयित्वा ) केदईकुसुमगन्धो विअ । विचक्षणा। केदईदललेहो एसो मह हत्थे । राजा। महुसमए किं केदईकुसुमं । विचक्षणा । 1भइरवाणन्ददिण्णतन्तप्पहावेण देवीए भवणुज्जाणे 4 केदईलट्टीए एको दाव पसवो दंसिदो । तस्य दोहिं दल- सम्पुडेहिं अज्ज हिण्डोलअपमज्जणीए चउत्थीए हरवल्लहाए देवीए देवी अच्चिदा । अण्णं च दलसम्पुडजुअलं पुण कणि?- बहिणिआए कप्पूरमञ्जरीए पसादीकदं। तीए वि एक्केण दल- 8 सम्पुडेण भअवदी गोरी ज्जेव अच्चिदा। अण्णं च केदईकुसुमपत्तसम्पुडं पाहुडं तुह सहाएँ पेसिदं । एणणाहिमसिवण्णसोहिणा जं सिलोअजुअलेण लंछिदं ॥७॥ ( लेखं समर्पयति )। राजा। (प्रसार्य वाचयति) हसिं कुङ्कुमपङ्कपिञ्जरतणुं काऊण जं वञ्चिदो तब्भत्ता किल चक्कवाअधरणी एस-त्ति मण्णन्तओ। एदं तं मह दुक्किदं परिणदं दुक्खाण सिक्खावणं एक्कत्यो-वि ण जासि जेण विसअं दिछीतिहाअस्स-वि ॥८॥ राजा [ तदेव ] 4द्विस्त्रिीचयति । विदूषकः । एदाइं ताई मअणरसाअणाइं अक्खराइं । 12 16 . I, K दिण, W विस, 2, 5 कैदई०, W वैभई०, 3. K सुम०, WR. "कुसम० 4. Woस्त्रि वाचयता, 5, R W मणरसा- अकबरा, ·4 102 कर्पूरमारी विचक्षणा । 1दुहिओ उण मए पिअसहीए अवत्थाणिवेदओ कदुअ सिलोओ लिहिदो एत्थ । राजा। (वाचयति) सह दिवसणिसाहिं दीहरा सासदण्डा सह मणिवलएदि बाहधारा गलन्ति । तुह सुहअ विओए तीऍ उब्बिम्बिरीए सह-अ तणुलदाए दुब्बला जीविदासा ॥९॥ 8 विचक्षणा । इह ज्जेव एदाए अवत्थाए मह महल्लबाहिणिआए सुलक्षणाए ओलग्गा भाविअ सिलोगो कदो तं महाराओ सुणदु। णीसासा हारजट्ठीसरिसपसरणा चन्दणुच्चोडकारी चण्डो देहस्स दाहो 'सुमरणसरणा हाससोहा मुहम्मि । अङ्गाणं पण्डुभावो दिवहससिकलाकोमलो किं-च तीए णिचं बाहप्पवाहा तुह सुहअ कदे होन्ति कुल्लाहितुल्ला ॥ राजा। (निःश्वस्य) किं भण्णइ। कइत्तणेण तुह जेठबहि- खु सा। विदूषकः। एसा विअक्खणा महीअलसरस्सई। एदाए उण जे बहिणिआ तिहुअणसरस्सई। ता एदाहिं समं पांडिसिद्धिं 12 16 णिआ10 . I, K दुदिओ, W दुविउ, 2, K.दिवस०, W दिवस्स०, 3, K विओए, W विचए, 4, Kउब्धि, Weवि., 5, K पोलम्गा. W.उलग्णाभवौत्रा, 6, W सुणेदु, 7, K सुमरण. W समरण, 8, K कोमली, W .कोमला, 9, OR सुकरतणेय, W सुकयतणण, K करतणे, Io, K बहिणित्रा, w.विहिरिपा, ·द्वितीयं जवनिकान्तरम् 103 ण करिस्सं। किं पुण पिअवअस्सस्स पुरदो मअणावत्थं अत्तणो उचिदेहिं अक्सरेहिं णिवेदेमि । विचक्षणा । पढ। एदं सुणीअदि । विदूषकः। परं जोण्हा उण्हा गरलसरिसो चन्दणरसो 4 खरक्खारो हारो रअणिपवणा देहतवणा । मुणाली बाणाली जलइ-अ जलद्दा तणुलदा वरिहा जं दिट्ठा कमलवअणा सा सुणअणा ॥११॥ ६ राजा। वसस्स ता तुमं-पि थोएण चन्दणरसेण समालिहि- ज्जसि। ता कहेसु तग्गदं किं-पि वत्तं । अध अन्तेउरे णइस देवीए किं किदं तिस्सा। विदूषकः। विअक्खणे किं किदं । विचक्षणा। मण्डिदा टिक्किदा भूसिदा तोसिदा-अ । राजा। कथं वि। विचक्षणा। 'घणमुवट्टिदमङ्गं कुङ्कुमपङ्कपिञ्जरं तिस्सा । राजा। रोसाणिअं फुडं ता कञ्चणमअबालिआरूवं ॥१२॥ विचक्षणा। मरगअमञ्जीरजु चरणा से लम्भिआ वअंसीहिं। राजा। भमिअमहोमुहपङ्कअजुअलं ता भमरमालाए ॥१३॥ 12 16 3. 11 1. CORT उचिदेह, IV उश्चिदेहं, 3. K पढ, W पढा. om, उपाहा, W 4. खरखा, खदकखा, 5. K W थोवेण, W वियक्खणे for विश्र, 7. P मुदि, थोरण, ·4 104 कर्पूरमञ्जरी विचक्षणा। राअसुअपिच्छणीलं पढेंसुअजुअलअं णिअत्था सा । राजा। कअलीऍ कन्दली ता खरपवणपणोल्लिअदलग्गा ॥१४॥ विचक्षणा । तीए णिअम्बफलए णिवेसिआ पोमराअमणिकञ्ची । राजा । कञ्चणसेलसिलाए बरही ता कारिओ णटुं ॥१५॥ विचक्षणा । दिण्णाश्वलआवलीओं करकमलपओढणालजुअलम्मि। राजा। ताभण किं ण-हि रेहइ विवरीअं मअणतोणीरं ॥१६॥ विचक्षणा । कण्ठम्मि तीएँ ठविदो छम्मासअमोत्तिआण वरहारो। राजा । सेवइ ता पंतीहिं मुहचन्दं तारआणिअरो ॥१७॥ विचक्षणा । उहएसु वि सवणेसुं णिवेसिअं रअणकुण्डलजुअं से । राजा । ता वअणमम्महरहो दोहि वि चक्केहि चङ्कमिदो ॥१८॥ विचक्षणा । जच्चक्षणजणिदपसाहणाइँ तीए काइँ णअणाई । राजा । ता उप्पण्णे णअकुवलअसिलिम्मुहे पञ्चबाणस्स ॥१९॥ विचक्षणा । कुडिलालआण माला ललाडलोलग्गसङ्गिणी 'रइआ । राजा । सा ससिबिम्बस्सोवरि वट्टइ मज्झाओं सारङ्गो । २०॥ विचक्षणा। घणसारतारणअणाएँ गूढकुसुमुच्चओ चिहुरभारो। राजा। ससिराहुममल्लजुझंव दंसिदमेणणअणाए ॥२१॥ 16 विचक्षणा। इअ 10देवीएँ जहिच्छिअपसाहणेहिं पसाहिआ कुमरी। राजा। ता केलिकाणणमही विहूसिआ सुरहिलच्छीए ॥२२॥ K पिच्छ, W पिं5, 2. K कन्दली ता, W कंदलया, 3. K बलावलौउ, 1W वलयास्तौड, 4. W किन हि, K कि गा, 5. Keइएस', W उहएस, 6. W उप्पणे, 7. K रडा, W रईपा, 8. Kघणसारतार- भाइ, Wधणसारमंजरोए, 9. Pa, W, To. W देवीर. 12 - ·105 4 8 द्वितीयं अवनिकान्तरम् विचक्षणा । देव इदं परमत्थं विण्णवीअदि जिस्सा दिट्ठी सरलधवला कजलं तीऍ जोग्गं जा वित्थिण्णत्थणकलसिणी रेहइ तीऍ हारो । चक्काआरे रमणफलए को-वि कञ्चीमरहो जिस्सा तिस्सा पुण पभणिमो भूसणं दूसणं-च ॥२३॥ राजा। (पुनस्ताम् अनुसन्धाय ) तिवलिवलिअणाहीबाहुमूलेसुं लग्गं थणकलसणिअम्बाडम्बरेसूसन्तं । जलणिविडमिमीए लण्हरं ण्हाणपोत्तं पिसुणदि तणुलच्छीलङ्गिमं चङ्गिमंच ॥२४॥ विदूषकः। (सक्रोधमिव) भो मए सव्वालंकिदा विण्णिदा। तुम पुण जलविलुत्तपसाहणं जेव सुमरसि । ता किं ण सुदं देवेण 12 णिसग्गचङ्गस्स-वि माणुसस्स सोहा समुम्मीलदि भूसणेहिं । मणीण जच्चाण-वि कञ्चणेण विभूसणे लब्भदि का-वि लच्छी ।।२५ राजा। मुद्धाण णाम हिअआइँ हरन्ति हन्त णेवच्छकप्पणगुणेण णिअम्बिणीओ । छेआ पुणो पअइचङ्गिमभावणिजा दक्खारसो ण महुरजदि सक्कराए ॥२६॥ विचक्षणा। जधा देवेण दिठं थोराणं थणआण कण्णकलिआलवीण अच्छीण वा भूचन्दस्स मुद्धस्स कन्तिसरिआसोत्तस्स गत्तस्स-अ । 16 20 I. 2. . STU तौए, W तौर. K मरको, W रमो. 3. K रस्सन्स, W रससर्सर्भ. . 4. K लण्हर्ष, W सायं. 5. K बरिषदा, W विस्सिदा. 6. K सुमरसि, W समरसि. 0.P.80-14 ·106 00- कर्पूरमजरी को णेवच्छकलाएँ कीरदि गुणो जे तं-पि सव्वं पिअं सुत्तव्वं सुण तत्थ कारणमिमं रूढीऍ का खण्डणा ॥२७ राजा। सुप्पञ्जल कविञ्जल एस सिक्खावीअसि । + किं कजं कित्तिमेणं विरअणविहिणा सो णडीणं विडम्बो तं चङ्गं जं णिसग्गं जणमणहरणं तेण सीमन्तिणीओ। जस्सिं सव्वङ्गसङ्गो सअलगुणगणो सो अदम्भो अलम्भो तस्सिं णेच्छन्ति काले परमसुहअरे किं-पिणेवच्छलच्छि । विचक्षणा। देव इदं विण्णवीआदि । ण केवलं देवीणिअमेण तिस्सा अनुगद-म्हि । तारामेत्तीए वि सहित्तणं उवगदा कप्पूर- मञ्जरीए। तेण तवजसज्जा अहं पुण ओलग्गाविआ भविस्सं । तिस्सा तावपरिक्णिाएँ णिहिदो हत्थे थणुत्थङ्गदो दाहुड्डामरिदो सहीहि बहुसो हेलाएँ कड्ढिजदि । किं तेणावि इमं णिसामअ गिरं सन्तोसणिं तासणि हत्थच्छत्तणिवारिदेन्दुकिरणा बोलेइ सा जामिाण ॥२९॥ कजसेसं कविञ्जलओ णिवेदइस्सदि। तं च तधा कादव्वं । इति परिक्रम्य निष्क्रामति राजा। (सरभसम् उपसृत्य विदूषकं प्रति) किं पुण तं कज्जसेसं । विदूषकः। अज्ज 'हिन्दोलअचउत्थी। तहिं गोरिं कदुअ देवीए कप्पूरमजरी हिन्दोलए आरोइदव्वा । ता मरगअपुञ्जडिदेण 12 16 Wom. देव. 2. K तारामतीए. W तारयमित्तौए. 3K पीलग्गा.. W उलग्णा.. 4. K उडामरिदी, W डामरिदो. 5. K सन्तोसणं, W संसोसणं 6. K तथा, W तर, 7. K चदुत्यौ, W पउयोए. 8. Kअहिदण, W पुजिहिदेण.

·107 द्वितीयं जवनिकान्तरम् जेव देवेण कप्पूरमञ्जरी हिन्दोलअन्ती दट्टव्वा । एदं तं कज्जसेसं। राजा । ( विचिन्त्य ) ता अइणिउणा-वि छलिदा देवी । पाइआ “जुण्णमजारिआ दुद्धं-त्ति तक। ( विदूषकं प्रति ) 4 वअस्स को अण्णो तुम्हाहिंतो मे कज्जसज्जो। को अण्णो चन्दाहिंतो "समुहवड्ढणणिहो । इति परिक्रम्य कदलीगृहप्रवेशं नाटयति । विदूषकः। इअं अच्चुत्तमा फलिहमणिवेदिआ। ता इह उप- 6 विसदु वअस्सो। राजा तथा करोति । विदूषकः । (हस्तम् उद्यम्य ) भो दीसदु पुण्णिमा-इन्दु । राजा। ( विलोक्य स्वगतं ) अहो दोलारूढाए मह वल्लहाए 12 वअणं पुण्णिमा-इन्दु-त्ति णिदिसदि। (सम्यग् अवलोक्य ) विच्छाअन्तो 'णअररमणीमण्डलस्साणणाई विच्छालेन्तो गअणकुहरं कन्तिजोण्हाजलेण । पेच्छन्तीणं हिअअणिहिदं णिहलन्तो-अ दप्पं दोलालीलासरलतरलो दीसदे से मुहेन्दू ॥३०॥ अवि-अ उच्चेहिं गोउरेहिं धुअधवलवडाडम्बरिलावलीहिं घण्टाहिं विन्दुरिल्लासुरतरुणिविमाणाणुसारं लहन्ती । 16 20 I. K हिन्दोलपती, W हिन्दोवालयंती. 2. K fact, W कल्लिदा. 3. K जुसमज्जा.. W जुसमजा.. 4. K •बटाणिकी, W बढणतणिवी. 5. W दी. 6. Co'दु, Wor'द. 7. K साब. णार' W.साणणाई. 8. W विशखिंती.

·.108 4 कपरमारी पाआरं लडअन्ती कुणदि रअवसा उण्णमन्ती णमन्ती एन्ति जन्ति-अ दोला जणमणहरणी बुड्डणुब्बुड्डणेहिं ॥ अवि-अ रणन्तमणिणेउरं झणझणन्तहारच्छडं कणक्काणिदकिङ्किणीमुहरमेहलाडम्बरं । विलोलवलआवलीजणिदमसिखारवं ण कस्स. मणमोहणं ससिमुहीऍ हिन्दोलणं ॥३२ 8 विदूषकः । भो सुत्तारो तुवं। अहं पुण वित्तिआरो भविअ वित्थरेण वण्णेमि । राजा। उवरिणअथणप्पन्मारचम्पिअं चरणपङ्कआण जुअं। 12 विदूषकः। 1पुक्कारह-व्व मअणं रणन्तमणिणेउररवेण ॥३३॥ राजा। हिन्दोलणलीलाललणलम्पडं रहचकचक्कलं रमणं । 16 विदूषकः। किलकिलइ-व्व सहरिसं कञ्चीमणिकिङ्किणिरवेण॥३४॥ राजा तारन्दोलणहेलासरन्तसरिअच्छलण से हारो। 20 विदूषकः। विक्किरइ-व कुसुमाउहणरवइणो कित्तिवल्लीओ ॥३५॥ राजा। सम्मुहपवणपणोल्लिअवरिल्लदरदाविआई अङ्गाई । I. W पुकारयन्ध. 2. P .लोलाचलालम्पड, 3. K किलकिलाइ, W किलबिलिर, 4. K कंचमधि, W मणिकची. 5. K मिबिरड, W विलित, 6, K संझपषध, W अनुपपण - ·द्वितीय जवनिकान्तरम् 109 विदूषकः । हक्वारिऊण मअणं पासम्मि णिवेसअन्ति-ञ्च ॥३६॥ राजा। 4 ताडङ्कजुअं गण्डेसु बहलघुसिणसु घडणलीलाहिं । विदूषकः । देइ-व दोलन्दोलणरहाओ गणणकोड्डेण ॥३७॥ राजा। R णअणाइँ पसइसरिसाइँ झत्ति फुल्लाइँ कोदुहल्लेण । विदूषकः। 4अप्पेन्ति-व कुवलअदलसिलिम्मुहे पञ्चबाणस्स ॥३९॥ राजा। 12 दोलारअविच्छेओ कह-पि मा होहि इति पडइ-व्व । विदूषकः। पिडिम्मि वेणिदण्डो वम्महचम्मठिआअन्तो ॥३९॥ 16 20 इअ एदाएँ विलासुज्जलाई दोलापवञ्चचरिआई । विदूषकः। कस्स ण लिहइ-व चित्ते णिउणं कन्दप्पचित्तअरो ॥४०॥ राजा। ( सविषादम् ) 'अवइण्णा कप्पूरमञ्जरी। रित्ता दोला। रित्तं मज्झ चित्तं । रित्ताइं दंसणुस्सुअजणणअणाई। विदूषकः । ता विज्जुल्लेह-व्व खणदिठ्ठणहा । राजा। मा एवं भण। हरिअन्दपुरि-व्व दिट्ठा पणहा-अ। K .उण, W .उब्ब. 2. K सन्ति, W सिमन्ति. 3. K गणण, W गगण. 4. K अपेन्ति-व, W अप्पत्ति-व्व. 5. K सिलीमुह, W सिलिंमुहे. 6. STU एदाए, W एसा. 7. CPORT पवमा, W अवयणा. -8. W व for व. 9. Kहरिभन्दपुरी विष, हरयंद- I.

·110 कर्परमजरी (स्मृतिनाटितकेन) मजिठी ओठमुद्दा णवघडिअसुवण्णुज्जला अंगलट्ठी दिट्ठी बालिन्दुलेहाधवलिमजअणी कुन्तला कज्जलाभा । 4 इत्थं वण्णाण रहा विरअइ हरिणीचञ्चलच्छीअ एसा कन्दप्पो जाअदप्पो जगजणजअणे बद्धलक्खुट्टआदि ॥४१॥ विदूषकः । एदं तं मरगअपुलं । इह उपविसिअ पिअवअस्स पडिवालेदुतं । सञ्झा-वि सण्णिहिदा ज्जेव वदृदि । (तथा कुरुते) 8 राजा। (स्मरणम् अभिनीय ) अइसिसिरं-पि हिमाणिं सन्ताव- दाइणिं मज्झण्णवेलं अणुहवामि । विदूषकः । ता लच्छीसहअरो खणं चिट्ठदु देवो जाव अहं सिसिरोवआरसामगि संपाडेमि। (इति नाट्येन निष्क्रम्य पुरो विलोक्य च) किं पुण विअक्खणा इदो णिअडिआ आगच्छदि । राजा। सण्णिहिदो संकेदकालो कहिदो मन्तीहिं-पि ( स्मृत्वा मदनाक्तम् अभिनीय) किसलअकरचरणा-वि-हु कुवलअणअणा मिअङ्कवअणा-वि। अहह णवचम्पअङ्गी तह-वि-हु तावेइ अच्छरिअं ॥४२॥ विदूषकः । (सम्यग् विलोक्य ) अहो विअक्खणा सिसिरोवआर- सामग्गिसहिदा आअदा । ततः प्रविशति गृहीतशिशिरोपचारसामग्री विचक्षणा। विचक्षणा। (परिक्रम्य ) अहो पिअसहीए विरहदाहजरो । विदूषकः। (उपसृत्य ) भोदी किं एदं । K संबहस संवेग.. 2. K भौदिW भादि, 12 16 20 ·111 8 द्वितीयं जवनिकान्तरम् विचक्षणा। सिसिरोवआरसामग्गी । विदूषकः। कस्स कदे। बिचक्षणा । पिअसहीए कदे । विदूषकः। ता मज्झं-पि अद्धं देहि । विचक्षणा। किं णिमित्तं । विदूषकः। महाराअस्स कदे। विचक्षणा। किं-पुण कारणं । विदूषकः। कप्पूरमञ्जरीए-वि किं । विचक्षणा। किं ण 1जाणास महाराअस्स दंसणं । विदूषकः। तुवं-पि किं ण जाणासि महाराअस्स कप्पूरमञ्जरीए दंसणं। (इत्युभौ हसतः) विचक्षणा। ता कहिं महाराओ। विदूषकः। तुह वअणेण मरगअपुजे चिट्ठदि । विचक्षणा। ता महाराएण सह मरगअपुञ्जदुआरे चिट्ट जेण उहअदंसणे जादे सिसिरोवआरसामग्गीए जलञ्जली दिन्जदि । विदूषकः। (ताम् उपसृत्य) तहिं गच्छ जदो णागच्छसि 1; ( इति क्षिपति। तां प्रति ) ता कीस तीए दुआरदेसे भविदव्वं । विचक्षणा। देवीए आदेसण । विदूषकः। किं तीए आदेसो। विचक्षणा । तहिं देवीए बालतरुआ तिण्णि आरोविदा । विदूषकः। के के। 20 3. OP नागच्छसि, I. W W यापसि. 2. Kउभौ. W उभे. W पागकदि. 4. N •तरषा, W..

·112 4 कर्पूरमारी विचक्षणा। कुरुवअतिलअअसोआ । विदूषकः। ता किं तेहिं। विचक्षणा। भणिदा सा देवीए जधा कुरुवअतिलअअसोआ आलिङ्गणदंसणग्गचलणहआ । विअसन्ति सुन्दरीणं येता ताणं देहि दोहलं ॥४३॥ एहिं तं संपाडइस्सदि । विदूषकः । ता मरगअपुजादो पिअवअस्सं आणिअ तमाल- 8 विडवन्तरि ठविअ एवं पञ्चक्खं करइस्सं । (तथा नाटयित्वा राजानं प्रति ) भो भो उडिअ संपेक्ख णिअहिअअसमुद्दचन्दलेहं। राजा तथा करोति । ततः प्रविशति विशेषभूषिताङ्गी कर्पूरमञ्जरी। 12 कर्पूरमझरी। कहिं पुण विअक्खणा । विचक्षणा। (ताम् उपसृत्य ) सही कीरदु देवीए समादिहें । वअस्स किं-पुण ते। विदूषकः। तमालविडवन्तरिदो भविअ जाण । विचक्षणा। एस कुरुवअतरू । । कर्पूरमञ्जरी तम् आलिङ्गति । राजा। 16 2. I. Wom. जधा. wom. ता. 3. K करइस्सं, W करसस्स. 4. POR भूषितांगी. 5. W भूतांगौ. CPOR कौर, w कौरठ. 6. K देवीए, W देवी, ·113 4 द्वितीयं जवनिकान्तरम् राजा। णवकुरुवअरुक्खो कुम्भथोरत्थणीए रहसविरइदेणं णिन्भरालिङ्गणेणं । तह कुसुमसमिद्धिं लम्भिदो सुन्दरीए जह भसलकुलाणं एत्य जत्ता समत्ता ॥४४॥ विदूषकः। भो भो पेक्ख महेन्दजालं। जेण बालो-वि कुरुवअतरू तरुणीए गाढमवगूढो । सहस-त्ति कुसुमणिअरं मअणसरं विअ समुग्गिरइ ॥४५॥ राजा। इंदिसो ज्जेव दोहलस्स पहावो । विचक्षणा। असं तिलअटुमो । कर्पूरमञ्जरी चिरं तिर्यग अवलोकयति । 8 राजा। 12 तिक्खाणं तरलाण कज्जलकलासंवग्गिदाणं-पि से पासे पञ्चसरं सिलीमुहधरं णिचं कुणन्ताण-अ । णेत्ताणं तिलअद्दुमे णिवडिदा धाडी मअज्छीऍ जं तं सो मञ्जरिपुञ्जदन्तुरसिरो रोमञ्चिदो वट्टदि ॥४६॥ विचक्षणा। एसो-वि असोहसाही । कर्पूरमञ्जरी चरणेन ताडयति । 16 असोअतरुताडणं रणिदणेउरेणांहिआ कदं च मअलन्छणच्छविमुहीऍ हेलुल्लसं । 20 I. Kकुसुम, W कुसम०. 2, K पेक्ष, W पिक्य, 3, Wom, 4. N वहदि, W वहिदि, 5, K.एसो. Wएसे, 0. P.80-15 ·114 कर्पूरमअरी सिहासु सअलासु-वि थवअमण्डणाडम्बरं ठिदं च गअणङ्गणे जणणिरिक्खणिज्जं खणं ॥४७॥ विदूषकः। भो वअस्स जं सण कदं दोहलदाणं देवीए एत्य जाणसि किं कारणं । राजा। तुवं जाणसि । विदूषकः। भणामि जदि देवो ण कुप्पदि । राजा। को एत्थ रोसावसरो। भण। उम्मुद्दिदा जीहा । 4 8 विदूषकः। 12 इह जइ-वि कामिणीणं सुन्देरं धरइ अवअवाण सिरी । अहिदेवऍ-व्व णिवसइ तह-वि-हु तारुण्णऍ तीए ॥४८॥ राजा । मुणिदो-दे अहिप्पाओ। किं-पुण किं-पि भणामो । वालाओं होन्ति कोऊहलेण एमेव चवलचित्ताओ। 6दरोल्लसिअथणीओं पुण धरन्ति मअरद्धअरहस्सं ॥४९॥ विदूषकः। 'तरुणो-वि रूअरेहारहस्सेण फुल्लन्ति । रइरहस्सं जाणन्ति । 18 (नेपथ्ये ) वैतालिकः। सुहसम्झा भोदु देवस्स । लोआणं लोअणेहिं सह कमलवणं अद्धणिदं कुणन्तो मुञ्चन्तो तिव्वभावं सह-अ सहरिसं माणिणीमाणसेहिं । ण उणो 2. 1. Kत्यव०, छवय.. CPNOS foc, W fex', 3. K चिरिक्य, W पिरक्व०. 4. COR माणसि, W जाण. 5. K चवलं, W चलप.. 6. W दरबसिय उपोच. 7. K तरुणी, W तारुणी.

·द्वितीयं जवनिकान्तरम् 115 मनिहारत्तसुत्तच्छविकिरणचओ चक्कवाएक्कमित्तो जादो अत्याचलत्थो उवह दिणमणी पक्वणारिङ्गपिङ्गो ॥५०॥ राजा। संणिहिदो सञ्झासमयो वट्टदि । विदूषकः। संकेदकालो कषिदो बन्दीहि । कर्पूरमञ्जरी। सहि विअक्खणे गमिस्सं दाव। विआलो संपत्तो। विदूषकः। एवं कीरदु। इति परिक्रम्य निष्क्रान्ताः सर्वे । 8 द्वितीयं जवनिकान्तरं। I. K संकीद, W संप.. 2. W add.पि.

·116 4 कर्पूरमञ्जरी ततः प्रविशति राजा विदूषकश्च । राजा। (ताम् अनुसन्धाय ) दूरे किजदु चम्पअस्स कलिआ कज्जं हलिद्दीऍ किं ओल्लोल्लाइ वि कञ्चणेण गणणा का णाम जच्चेण-वि। लावण्णस्स णउग्गदिन्दुमहुरच्छाअस्स तिस्सा पुरो 2पच्छग्गेहि-वि केसस्स कुसुमुक्केरेहि किं कारणं ॥१॥ अवि-अ मरगअमणिगुच्छा हारलट्ठि-व्व तारा भमरकवलिअन्ता मालईमालिअ-व्व । रहसवलिअकण्ठी तीऍ दिट्ठी वरिट्ठा सवणपहणिविठ्ठा माणसं मे पइट्ठा ॥२॥ 12 विदूषकः। भो वअस्स किं तुवं भज्जाजिदो पइ-व्व किं-पि किं-पि कुरुकुराअन्तो चिट्ठसि । राजा। वअस्स पिकं सुविण दिडं। तं अणुसन्धामि । विदूषकः। ता कीदिसं तं कधेदु पिअवअस्सो । CO 16 राजा। जाणे पङ्करहाणणा सुविणए मं केलिसज्जागदं कन्दोट्टेण तडत्ति ताडिदुमणा हत्थन्तरे संठिदा । ता कोड्डेण मए-बि झति गहिदा ढिलं वरिलञ्चले तं मोतूण गदं च तीऍ सहसा णडा-खु णिद्दा-वि मे ॥३॥ K पञ्चग्ग , W पञ्चुग्ग. 3. R पा, W पिड 4. W सवि अं. 5. W मणुसंधासि. 6. K मोसूण, 20 1. w add. य to गणणा. 2. Wमरण.

·117
4
8
तृतीयं जवनिकान्तरम्
विदूषकः। (स्वगतम् ) भोदु एवं दाव। (प्रकाशम् ) भो
वअस्स अज्ज मए 'वि सुविण दिडं।
राजा। (सप्रत्याशम् ) ता कहिज्जदु कीदिसं तं सुविण ।
विदूषकः। अज्ज सुविणए सुरसरिसोत्ते सुत्तो-म्हि ।
राजा। तदो तदो।
विदूषकः। ता हरसिरोवरि दिण्णलीलावआए गङ्गाए पक्खा-
लिदो-म्हि तोएण।
राजा। तदो तदो।
विदूषकः। तदोसरअसमअवरिसिणा जलहरेण जहिच्छं पीदो-म्हि।
राजा। अच्छरिअं अच्छरिअं। तदो तदो।
विदूषकः । तदो चित्ताणक्खत्तगदे भअवदि मत्तण्डे तम्बवण्णी-
णदीसंगमे समुदं गदो सो महामेदो। जाणे अहं-पि तस्स
गब्भठिदो गच्छामि।
राजा। तदो तदो।
विदूषकः। तहो तहिं सो थूलजलबिन्दूहि परिसिढुं पअट्टो ।
अहं-च रक्षणाअरसुत्तिहिं मुत्तासुत्तिणामधेाहिं तो समुप्फाडिअ
जलबिन्दूहि पीदो। ताण-च दसमासप्पमाणो मुक्ताहलो
भविअ गम्भे संठिदो।
राजा। तदो तदो।
12
16
.
I, Wom. वि. 2. W सिवणए. 3. K परिसि०, W वरसि.
4. K भवद्वि सत्तण्डे, W भगवं मचडे,

·118 कर्पूरमारी विदूषकः। तदो चउस्सठिसु सुत्तिसु द्विदो घणम्बुविन्दू जिदवंसरोअणो। सुवत्तुलं णिञ्चलमच्छमुज्जलं कमेण पत्तो णवमोत्तिअत्तणं ॥४॥ 4 तदो सो-हं अत्ताणं ताणं गभगदं मुत्ताहलत्तणेण मण्णेमि राजा। तदो तदो। विदूषकः। तदो परिणदिकाले समुद्दाओ कड्ढिदाओ ताओ सुत्तिओ फाडिदाओ। अहं चदुस्सद्विमुत्ताहलत्तणं गदो ठिदो। 8 कीदो च एक्केण सेडिणा सुवण्णलक्खं देइअ । राजा। अहो विचित्तदा सुविणअस्स। तदो तदो। विदूषकः। तदो तेण आणि वेअडिअं विद्धाविदा मोत्तिआ। मम-वि ईसीसि वेअणा ससुप्पण्णा । राजा। तदो तदो। विदूषकः। तेणं च मुत्ताहलमण्डलेणं एकेकदाए दसमासिएणं । एक्कावली लट्ठिकमेण "गुच्छा सा संठिदा कोडिसुवण्णमुल्ला ॥५॥ राजा। तदो तदो। विदूषकः। तदो तं करण्डिआए कदुअ साअरदत्तो गदो पञ्चालाहिवस्स सिरिवज्जाउहस्स णअरं कण्णउज्जं णाम । तदो सा किक्किणीदा कोडीए सुवण्णस्स । राजा। तदो तदो। 12 16 20 L .K चउस्स, W चउस०. 2. K चदुसस०, W चदुस०. 3. K कोदो, W कीदी, 4. K देवभ, W देय, 5. Wom, this sentence, 6. K मखलेण, W महसेण, 7. K गुच्छा,. W गुछा, ·119 तृतीयं जवनिकान्तरम् विदूषकः । तदो-अ दळूण थोरत्थणतुङ्गिमाणं एक्कावलीए तह चङ्गिमाणं । सा तेण दिण्णा दइआएँ कण्ठे रज्जन्ति छेआ समसंगमम्मि ॥६॥ अवि-अ 4 8 12 2णहबहलिदजोण्हाणिभरे रचिमज्झे कुसुमसरपहारत्ताससंमीलिदाणं । णिहुवणपरिरम्भे णिभरुतुङ्गपीण- स्थणकलसणिवेसा पीडिदो-हं विबुद्धो ॥७॥ राजा। (किश्चिद् विहस्य विचिन्त्य ) सुविणअमेणमसचं तं दिलु मेणुसन्धमाणस्स । पडिसुविणएण तस्स विणिवारणं तुह अभिप्पाओ ॥८॥ विदूषकः। भट्टो ठक्कुरो छुहाकिलन्तो वम्भणो अविणीद- हिअआ बालरण्डा विरहिदो-अ माणुसो मणोरहमोदएहिं अत्ताणं विडम्बेदि। अवि-अ पुच्छामि वअस्सं कस्स एस पहावो । राजा। पेम्मस्स। विदूषकः । भो देवीगदे पणअप्परूढे-वि' पेम्मे किं-णु कप्पूरमरिं 16 सव्वङ्गवित्थारिअलोअणो पिअन्तो विअ पलोएसि। किं तत्तो परिहीअमाणगुणा देवी। राज।। मा एवं भण 1. Kदण, W तहण, 2. W वहलिद०, 3. K सर- सरहपत्तास०, 4. See Note, 5. K 6. Kविडम्बदि, W विडंबेद, 7. Wom, वि, 8. K विव्यारिमा, W .विद्यारिष . W प्रहारुत्तास W - ·120 कर्परमञ्जरी कीए वि संघडदि कस्स-वि पेम्मगण्ठी एमेज इत्थ ण-हु कारणमस्थि रूअं । चङ्गत्तणं पुणु महिज्जदि जं तहिं-पि तं दिज्जए पिसुणलोअमुहेसु मुद्दा ॥९॥ विदूषकः। भो वअस्स 'किं पुण एदं पेम्मं-ति भणदि । राजा। अण्णोण्णमिलिदस्स मिहुणस्स भअरद्धसासणे पणअ- परूढहिअअगण्ठिं पेम्म-ति छहल्ला भणन्ति । 8 विदूषकः। कीदिसो सो। राजा। जस्सि विअप्पषडणाइकलङ्गमुक्को अन्तो मणम्मि सरलत्तणमेइ भावो । एकेकअस्स पसरन्तरसप्पवाहो सिङ्गारखड्ढिअमणोहवदिण्णसारो ॥१०॥ विदूषकः। कथं विअ सो लच्छीअदि । 12 राजा॥ 16 जाणं सहाअपसरन्तसलोलदिट्टी पेरन्तलुण्ठिअमणाण परोपरेण । विंड्ढन्तवम्महविइण्णरसप्पसारो ताणं पआसइ लहू-वि स चित्तभेओ ॥११॥ I. K कि उणं, W पुण किं, 2. K पेन्मं, W पेम, 3. W शिवयस्स, 4. K विभ, W वि च, 5. K विरण, W वियना, 6. K मेषी, W.उ.

·तृतीयं जवनिकान्तरम् 121 4 राजा। 8 विदूषकः। अन्तोणिविट्ठमणविन्भमडम्बरो जो सो भण्णए मअणमण्डणमेत्य पेम्म । दुल्लक्खअं-पि पअडेइ जणो जअम्मि तं जाणिमो सुबहुलं मअणेन्दजालं ॥१२॥ किं-च जदि चित्तगदं पेम्मं अणुराअं उप्पादेदि ता किं किज्जाद मण्डणाडम्बरविडम्बणाए । वअस्स सच्चं इणं । किं मेहलावलअसेहरणेउरेहि किं चङ्गिमाएँ किमु मण्डणडम्बरहिं । तं अण्णमत्थि इह किं-पि णिअम्बिणीणं जेणं लहन्ति सुहअत्तणमञ्जरीओ ॥१३॥ किं गेअणट्टविहिणा किमु वारुणीए धूवेण किं 4अगुरुणो किमु कुङ्कुमेण । मिहत्तणे महिअलम्मि ण किंपि अण्णं 6रुच्चिस्स अत्थि सरिसं पुणु माणुसस्स ॥१४॥ अवि-अ जा चक्रवट्टियरिणी जणगेहिणी जा पेम्मम्मि ताण ण तिलं-पि विसेसलम्भो । 12 16 I. K मेत्य, W .मिच्छ, 2. Kणेन्द०, W .सिंद, 3.K •रीहिं, WOtष, 4. P अगुरणा, IV गुरणा, 5. K..भि. W पलं-पि, 6. K रुचिरुस, Wत्तरस्स, O, P.80-16 ·122 4 कपुरमञ्जरो 1जाणे सिरीऍ जइ किज्जदि को-वि भेदो माणिक्कभूसणणिसणकुङ्कुमेहिं ॥१५॥ किं लोअणेहि तरलेहि किमाणणेण चन्दोवमेण सिहिणेहि किमुण्णएहिं । ता किं-पि अण्णमिह भूवलए णिमित्तं जेणङ्गणाओं हिअआओं ण उत्तरन्ति ॥१६॥ विदूषकः। एवं णेदं। किं पुण अण्णं पि मे कधेसु जं 8 कुमारत्तणे माणुसस्स ण मणोज्जं तस्स-वि तारुण्णएण किं-पि चङ्गवणं 4चडदि। राजा। णूणं दुवे इह पआवइणो जम्मि जे देहणिम्मवणजोवणदाणदक्खा । एक्को घडेइ पढमं कुमरीणमङ्गं कण्डारिऊण पअडेइ पुणो दुईओ ॥१७॥ तेण-अ 6समणिवलअकञ्चीणेउरा वेसलच्छी मरगअमणिमाला गोरिआ हारलछी । हिअअहरणमन्तं जोव्वणं कामिणीणं जअइ मअणकण्डं छट्ठअं लट्ठअंच ॥१८॥ 12 16 I. Kाणे सिरोष, W जाणे सरीर, 2. K किज्जद की-वि, W किनधि को-इ, 3. W तस्मावि, 4. K चडदि, W चडइ. 5. K मपन्मि. W मस्मि, 6. K समणि, W सुमिण, ·123 4 8 तृतीयं जवनिकान्तरम् अदो-अ अङ्गं लावण्णपुण्णं सवणपरिसरे लोअणे 1फारतारे श्वच्छं थोरत्थणिलं तिवलिवलइअं मुट्ठिगेझं-च मज्झं । चक्काआरो निअम्बो तरुणिमसमए किं णु अण्णण कर्ज पञ्चेहिं चेअ बाला मअणजअमहावेजअन्तीओं होन्ति ॥१९॥ ( नेपथ्ये ) सहि कुरङ्गीए इमिणा सिसिरोवआरेण णलिणि-व्व कामं किलिस्सामि। विस-व्व बिसकन्दली विसहर-व्व हारच्छडा वअस्समिव अत्तणो किरदि तालविन्ताणिलो। तहा-अ करणिग्गअं जलइ जन्तधाराजलं ण चन्दणमहोसहं हरइ देहदाह-च मे ॥२०॥ विदूषकः। सुदं पिअवअस्सेण । भरिआ कण्णा पीऊस- 12 गण्डूसेण । ता किं अज-वि उवेक्खीअदि घणधम्मेण किल- म्मन्ती मुणालिआ, 'गाढक्कढिअसहेण सलिलेण सिञ्चिज्जन्ती केलिकुसुमपुत्तलिआ, छम्मासिअमुत्तिआणं तडत्ति फुट्टन्ती एक्का- वली, गण्ठीवण्णअकेआरिआ लूडिज्जन्ती गन्धहरिणएहिं । ता 16 सच्चं सुविण ते सम्पण्णं । एहि पविसम्ह। 10 उभिज्जदु मअरद्धअपडा। पअट्टदु कण्णकुहरम्मि 11पञ्चमहुङ्काराणं रिञ्छोली । थक्कन्तु बाहप्पवाहा । मन्थरिज्जन्तु णीसासप्पसवा। लहदु लावण्णं पुणो णवभाव । 20 I. Kफार०, Wहार०, 2. Kवई, W वयं, 3. Kणु, W तु, 4. See Note, 5. K गलिणी, W तालिणी, 6. K किलम्भन्ती, W किलिमंती, 7. K वढिद०, W क्वढिणं, 8. K सिक्षिबन्ती, W सिचंती. 9. Wom, 10. K 54f***, W salas II. K ot7, W ofte.

·124 कर्पूरमञ्जरी इति खडक्किकोद्घाटनेन ततः प्रविशति नायिका कुरङ्गि का च । नायिका । (ससाध्वसम् आत्मगतम् ) 1अम्मो किं एस 2गअणङ्ग- णेहिं अवइण्णो पुण्णिमाहरिणको । किंवा तुढेण 4णील- कण्ठेण णिअअदेहं लम्भिओ मणोहओ। किंवा हिअअस्स दुज्जणो णअणाण सज्जणो मं सम्भावेदि । (प्रकाशम्) इदं इन्द्रजालं पेक्खामि । विदूषकः। (राजानं हस्ते गृहीत्वा) भोदि सचं इन्द्रजालं सम्पण्णं। नायिका लजते । कुरङ्गिका । सहि कप्पूरमञ्जरि अब्भुट्ठाणेण 'सम्भावेहि भट्टार। 8 नायिका उत्थातुम् इच्छति । 12 राजा। (हस्ते गृहीत्वा) उहिऊण थणभारभङ्गुरं मा मिअङ्कमुहि भञ्ज मज्झ । तुज्झ ईदिसणिवेसदसणे लोअणाण मअणो पसीददु ॥२१॥ अवि-अ जिस्सा पुरो हरदि णो हरिआललच्छी रोसाणिअंण कणों ण-अ चम्पआई। ताई सुवण्णकुसुमेहि विलोअणाई अञ्चेमि जेहि हरिणच्छि तुम-सि दिवा ॥२२॥ 16 I. W पह, 2. W गयषंगविधि, 3. W अवयणो हरिषंक, 4. K बोलक०, W गोलयंठ, 5. Wom, 6, Wom,. 7. K बैंकि, W वेट, 8. See Note, 9. NOR पसौद, W पसौदत.

·125 4 8 द्वितीयं जवनिकान्तरम् विदूषकः। गम्भहरवासेण सेअसलिलसित्तगत्ता संभूदा तत्त- भोदी कप्पूरमञ्जरी । सिचअञ्चलेण विज्जिस्सं दाव । ( तथा कुर्वन् ) हा हा कहं वरिलञ्चलेण णिव्वाणो पदीवो। ( विचिन्त्य स्वगतम् ) लीलुज्जाणं जेव गच्छम्ह । (प्रकाशम्) भो अन्धार- पणच्चिदं वदि । ता णिक्कमम्ह सुरङ्गामुहण ज्जेव पमदुजाणं दाव। सर्वे निष्क्रमणं नाटयन्ति । राजा। (कर्पूरमञ्जरी करे गृहीत्वा) मज्झ हत्थठिदपाणिपल्लवा ईसिसञ्चरणचञ्चुरा भव । जं चिराअ कलहंसमण्डली भोदु केलिगमणम्मि दूहवा ।।२३।। (स्पर्शसुखम् अमिनीय) जे णवस्स तउसस्स कण्टआ जे कदम्बकुसुमस्स केसरा । अज्ज तुज्झ करफंससक्खिणो ते हवन्तु णणु णिज्जिा धुवं ।। (नेपथ्थे ) वैतालिकः। सुहाणुबन्धणो भोदु देवस्स चन्दुज्जोओ भूगोले तिमिराणुबन्धमलिणे भूमीहरे-व्व छिदे सञ्जादा पवभुञ्जपिञ्जरमुही जोण्हाएँ पुव्वा दिसा । मुञ्चन्तो 'मुचुकुन्दकेसरसिहासोहाणुकारे करे चन्दो एक्ककलाकमेण-अगदो सम्पुण्णबिम्बत्तणं ॥२५॥ अवि-अ 12 16 20 I, PN AR, Wतदो, 2. W वजिर्स, SV वौनिस्म 3, K जाणं. W ज्जाथे, 4. K पमदु०, W पमलु०, 5. K.कुसुम, कुसमा, 6. 6. W मुहणु, K सहजि०. 7. K कैसर, W कैसरि०. .

·126 कपरमञ्जरी अकुङ्कुमचन्दणं दसदिसावहूमण्डणं अकङ्कणमकुण्डलं भुवणमण्डलीभूसणं । असोसणममोहणं मअरलञ्छणस्साउहं मिअङ्ककिरणावली णहअलम्मि पुञ्जीजदि ॥१६॥ विदूषकः । एसा कञ्चणचण्डेण वणिंदा चन्दुजोअलच्छी । ता संपदं माणिक्कचण्डस्सावसरो। (नेपथ्ये) द्वितीयो वन्दी । डज्झन्तागुरुधूववट्टिवलआ दिजन्तदीवुजला लम्बिज्जन्तविचित्तमोत्तिअलदा मुञ्चन्तपारावआ। सजिजन्तमणोज्जकोलिसअणा जम्पन्तदूईसआ सेज्जुच्छङ्गवलन्तमाणिणिजणा वट्टन्ति सेज्जाहरा ॥२७॥ 12. अवि-अ देन्ता कप्पूरपूरच्छुरणमिव दिसासुन्दरीणं मुहेसुं लण्हं जोण्हं किरन्ता भुअणजणमणाणन्दणं चन्दणं च । जुण्णं कन्दप्पकन्दं तिहुअणकलणाकन्दलिलं कुणन्तो जादा एणकपादा ससअजलहरुम्मुक्कधाराणुकारा ॥२८॥ विदूषकः। दिसअवअंसो णहसरहंसो। णिहुअणकन्दो वट्टइ चन्दो ॥२९॥ कुरङ्गिका। ससिहररईअ मरहो माणिणिमाणघरट्टो। णवचम्पअकोअण्डो मअणो जअइ पचण्डो ॥३०॥ I, K वइ. W ०बह, ०2. K जोलच्छौ, W जोपच्छली 3. Kजपन्त, W पंतु, 4. K.हरुमुक्क, W .हरोमुक, 16 20 ·द्वितीयं जवनिकान्तरम् 127 4 (कपूरमञ्जरी प्रति ) पिअसहि तए कदं चन्दवण्णणं महाराअस्स पुरदो पढिस्सं । कर्पूरमञ्जरी लजते । कुरङ्गिका पठति । मण्डले ससहरस्स गोरए दन्तपञ्जरविलासचोरए । भादि लञ्छणमओ ! फुरन्तओ केलिकोइलतुलं वरन्तओ ॥ राजा | अहो कप्पूरमजरीए अहिणवअत्थदसणं उत्तिविचित्त- तणं रमणीओ रसणिस्सन्दो-अ । (तां प्रति) मा कहिं-पि वअणेण विन्भमो होहि इत्ति तुह णूणमिन्दुणा । लन्छणच्छलमसीविससओ पेच्छ बिम्बवलए णिए कदो ॥३२॥ किं च पण्डुरंगि जइ रजए मुहं कोमलङ्गि खडिआरसेण दे । दिज्जए पुण कवोलकज्जलं ता लहेज्ज ससिणो विडम्बणं ॥३३॥ 12 (चन्द्रम् उद्विश्य ) मुक्कसङ्कं हरिणङ्क किं तुवं सुन्दरीपरिसरे हिण्डसि । तुज्झ बिम्बपरिपण्डुरत्तणं पेच्छ दिण्णमिमिणा मुहेण दे ॥३४॥ नेपथ्ये कलकलः। सबै आकर्णितकेन राजा। किं पुण एस महाकोलाहलो । कर्पूरमञ्जरी । ( ससाध्वसा) पिअसहि एदं अवगमिअ आगच्छ । 16 K विभमी, W विवभड़, 3. I. K फुरन्ती, W फुरंगत, 2. K विड़, W वेड., 4. Ka,W.

·128
कपरमारो
विदूषकः । देवीए पिअवअस्सस्स वञ्चणाकदं अवगमिअ
आअच्छदि । ता कुज्जवामणकिराअवरिसवरसोविदल्लाणं एस
हलबोलो।
4. कर्पूरमञ्जरी । ता में पेसेदु महाराओ जेण ज्जेव इहागदा-वि ण
जाणीआमि । सुरङ्गामुहण पविसिअ रक्खाधरं गच्छामि जह
देवी महाराएण सह संगम ण जाणादि ।
इति निष्क्रान्ताः सर्वे।
तृतीयं जवनिकान्तरम् ।
8
..
IK घर, W र, 2. w add, राजा एवं कुचम्क, ३. K
अवनिका, यवनिका,

·पवणो। 4 ततः प्रविशति राजा विद्रूपकश्च । राजा। अहो गाढअरो अम्ह-गिम्हो। अहो पवलो मलअ- ता कहं सहिदव्वो। जदो इह कुसुमसरेक्कगोअराणं इदमुभअं-पि हु दूसहं-ति मण्णे । जरढरविकरालिदो-अ कालो सुहअजणेण पिएण विप्पलम्भो ॥१॥ विदूषकः । एक्के वम्महवहणिज्जा अण्णे तावसोसणिज्जा। अम्हा- रिसो जणो ण कामस्स वहणिज्जो ण तावस्स सोसणिज्जो । ( नेपथ्ये) शुकः। किं णु खु दे समूलुप्पाडिअचूडिअं सीसं करइस्सं । राजा। (विहस्य) वअस्स लीलावणसच्छन्दचारिणा केलीसूएण किं भणि। विदूषकः । (सक्रोधम्) आ दासीए पुत्त सुल्लअकरणजुग्गो-सि । ( नेपथ्ये) सव्वं तुम्हारिसाहितो संभावीअदि जदि ण मे होन्ति पक्खा- वलीओ। 8 12 2. K ण, W न. 3. K हौन्ति, W I. दूसहं, V दूसयं. हुन्तीउए. O.P.80-17 ·4 8 130 कपरमारी राजा। कहं उड्डीणो विअ । (विदूषकं प्रति) णिसा तलिणवित्थरा तह दिणेसु वड्ढत्तणं ससी लहइ खण्डणं तह अखण्डबिम्बो रई । णिदाहदिअसेसु 1विप्फुरइ जस्स एस कमो कहं ण स विही तदो खुरसिहाहि खण्डिजइ ॥२॥ किं च णिउणं सेवणिज्जो जदि सुहअसंगमो भोदि। जदो मज्झण्हे सिरिखण्डपङ्ककलणा आ संझमोलंसुअं मज्जणमा पओससमअं सारं सुरा सअिला । गिम्हे पच्छिमजामिणीणिहुवणं जं किं-पि पञ्चेसुणो 6एदे पञ्चसिलीमुहा विजइणो सेसा सरा जज्जरा ॥३॥ विदूषकः। मा एवं भण। पण्डुच्छविच्छुरिदणाअलदादलाणं साहारतेल्लपरिपेसलपोप्फलाणं । कप्पूरपंसुपरिवासिदचन्दणाणं भदं णिदाहदिवसाण वअस्स भोदु ॥४॥ राजा। इदं पुण एत्थ रमणिज्ज । सपञ्चमतरङ्गिणो सवणसीअला वेणवो समं सिसिरवारिणा वअणसीला वारुणी । I. विम्फरड, 1W विफुरड. 2. K सिहादि, w .सिंहाहिं. 3. K खपिचड, W खण्डिजदु. 4. K मुहसंशमो. W मुहिसंगमी. 5. K पीस०, W पउसस०. 6. NORSTU एद W एटी. 7. K पण्डुच्छवि०, W पंडत्यवि०. 8. K साहार०, W सहार०. 9. K पोफलाणं, W .पुफलाणं. 12 16 ·131 4 8 चतुर्थं जवनिकान्तरम् सचन्दणघणत्थणी 1सअणसीअला कामिणी णिदाहदिवसोसहं भण ण सीअलं कस्स-वि ॥५॥ अवि-अ प्लीलुत्तंसे सिरीसं सिहिणपरिसरे सिणधुवाराण हारो अङ्गे ओलं वरिलं रमणपणइणी मेहला उप्पलेहिं । दोसुं दोकन्दलीसु णवविसवलआ कामविजो मणोज्जो 'तावातथेक्वतन्तं महुसमअगदे एस वेसो-वलाणं ॥६॥ विदूषकः। अहं पुण भणामि मज्झण्हसण्हघणचन्दणपङ्किलाणं साअं णिवेसिअणिरन्तरमज्जणाणं । सामासु वीअणवारिकणुक्खिदाणं दासत्तणं कुणदि पञ्चसरो विहूणं ॥७॥ राजा। (स्मरणम् अभिनीय) 6पञ्चग्गं णवरूवभङ्गिघडणरम्भे जणे संगम 'जाणं ताण खणं-व रत्तिदिअहा गच्छन्ति दीहा अवि । जाणं ते-अ मणं-पि देन्ति रहं चित्तस्स सन्ताविणो ताणं जन्ति मणोरहेकजणणा मासोवमा वासरा ॥८॥ ( विदूषकं प्रति ) अवि-अ अस्थि तग्गदा का-वि वत्ता । 12 16 . I, PNR सण, IV सायण०. 2. K लोलु०, W लीलो०. 3. TV भणजी. 4. K तक, W तंकिक.. 5. K वहां, V वरुणं. 6. K पञ्चग्गं, W पंचग्गं. 7. जाणं ताणं etc., V वंछताण मणम्मि होति सहसा ने ग्राम इल्लोइली.

·132
कपरमारी
विदूषकः। अस्थि । सुणदु वअस्स । कहेमि सुहासिकं ते ।
जा सा कप्पूरमञ्जरीए रक्खाभवणे सुरङ्गा दिण्णा सा देवीए दिहा।
राजा। तदो तदो।
* विदूषकः। तदो सुरङ्गदुआरं पिहुलसिलासञ्चएण णिरन्धं करिअ
णिबद्धं । अण्णं च अणङ्गसेणा कलिङ्गसणा कामसेणा वसन्तसेणा
विन्भमसेण-त्ति पञ्च चामरधारिणीओ सेण-त्ति णामधेआla
फरक्किदफरआ करवालहत्था सहचारणीओ कारामन्दिरस्स
8 रक्खाणिमित्तं पूवदिसाए णिउत्ताओ। अणङ्गलेहा चन्दणलेहा
चित्तलेहा मिअङ्कलेहा विभमलेह-त्ति णामधेआओ पञ्च सेरन्धीओ
पुखिदसिलिमुहधणुहत्था दक्खिणदिसाए णिवेसिदाओ।
कुन्दमाला चन्दमाला चन्दणमाला मङ्गलमाला काञ्चणमाल-त्ति
णामधेआओ तह कलिदकुन्तहत्थाओ तम्बोलकरण्डवाहिणीओ
पच्छिमदिसाए ठविदाओ। अणङ्गकेली बक्करकेली सुन्दरकेलि
राअकेली कन्दप्पकेलीणामधेआओ 4 फडअचक्कवेल्लणविज्जुरिल्ला
मजणपालीओa उत्तरदिसाए आढत्ताओ। ताणं पि पुण मज्झे
16 मन्दरवदी कल्लोलवदी तरंगवदी मदिरावदी केलिवदी-त्ति
णामधेआओ कणअवेत्तदण्डहत्थाओ सुहासिअपढिआओ
अज्झक्खीकदाओ।
राजा। अहो देवोए सामग्गी अन्तेउरोचिदा ।
12
I.
.
K महासिदं, W कसुहासिनं. Ia. W. adds सण after
नामधेषा 2. K मिअङ्क, W मियंग०. W add. निविडसन सरंधीसत्येण.
4. OR फडयचाचेलपविजु रिहा, 'W फव्यकाध्यमचिलला विखुषधिदुरिल्लाउ,
4a. V. adds केलौसट्टेण after •पालौनो 5. K अभाखौ०, W अक्खी०,
.

·चतुर्थ जवनिकान्तरम् 133 विदूषकः। एसा देवीए सारङ्गिआ णाम सही किमपि विण्ण- विदुं पेसिदा । ततः प्रविशति सारङ्गिका । सारङ्गिका। जअदु जअदु महाराअ । भट्टारकं देवी विण्णवेदि 4 अज वडसावित्तीमहूसवोवअरणाइं केलिविमाणं आरुहिअ देवेण पेखिदव्वाइं-त्ति । राजा। जं आदिसदि देवी। चेटी निष्क्रान्ता । उभे प्रासादाधिरोहणं नाटयतः। ततः प्रविशति चर्चरी। विदूषकः। मुत्ताहलिल्लाहरणोच्चआओ लासावसाणे तलिणंसुआओ। सिञ्चन्ति अण्णोण्णमिमीओपेच्छ जन्तजलेणं मणिभाइणेहिं ॥९ 12 8 इदो-अ 16 परिन्भमन्तीओं विचित्तबन्धं इमाओं दोसोलह णचणीओ। खेलन्ति तालाणुगदप्पआओ तुहङ्गणे दीसदि दण्डरासो ॥१०॥ समंससीसा समबाहुहत्था रेहाविसुद्धा अवराओं देन्ति । पंतीहि दोहिं लअतालबन्धं परोप्परं साहिमुही चलन्ति ॥११॥ मोत्तूण अण्णा मणिवारआईं जन्तेहि धारासलिलं खिवन्ति । पडन्ति ताओ सहिआणमङ्गे श्मणोभुवो वारुणबाणचङ्गा ॥१२॥ I. W K पेखिदब्वाइ'ति, W पिक्खिदश्ववित्तित्ति. 2. K सिञ्चन्ति, सिंचिंति. 3. K भुवो, IV हवा.

·134 कर्पूरमञ्जरी इसा मसीकजलकालकाआ तिकण्डचावाओं विलासिणीओ। पुलिन्दरूवेण जणस्स हासं समोरपिच्छाहरणा कुणन्ति ॥१३॥ हत्थे महामंसबलीधराओ हुंकारफेक्काररवा रउद्दा । 4 3णिसांअरीणं पडिसीसएहिं अण्णा मसाणाभिणअंकुणन्ति ॥१४॥ का-वि वाइदकरालहुडुक्का मन्दमहललएण मिअच्छि । 4दोल्लदाहि परिवाडिचलाहिं चल्लिकम्मकरणस्मि पअट्टा॥१५॥ किङ्किणिकदरणझणसई कण्ठगीदिलअजन्तिदतालं । 8 जोइणीवलअणचणकलिं तालणेउररवा विरअन्ति ॥१६॥ कोदुहल्लवसजङ्गमवेसा वेणुवादणपरी अवराओ । कालवेसवसभामिअलोआ ओसरन्ति पणमन्ति हसन्ति ॥१७॥ प्रविश्य 12 सारङ्गिका । (पुसे विलोक्य) एस महाराओ मरगदपुजादो कअली- घरअं अणुपविठो। ता देवीए विण्णविदं विण्णवेमि । ( उपसृत्य ) जअदु जअदु भट्टा। देवी, विष्णवेदि जधा साअंसमए तुम्हे परिणाविदव्ब-त्ति । विदूषकः। भोदि किं एदं अकण्डकुम्हण्डपडणं । राजा। सारङ्गिए सवित्थरं कहेसु किं पणेदं-ति । सारङ्गिका। एदं विण्णवीअदि । अदिक्कन्तचउद्दसीदिअसे देवीए पोम्मराअमाणिक्कमअं गोरिं कदुअ भइरवाणन्दस्स पासे 16 3. K I. K वेण, IV रुपेण, 2. Kघरात्री, Wधरीऔ. •अरोणं, WOवरोहिं. +. दोनदाहि, W भूलदाहिं ·135 -1 चतुर्थं जवनिकान्तरम् पडिहाविदा । स च दिक्खा गहिदा। तदा ताए विण्णत्तो जोईसरो गुरुदक्षिणाणिमित्तं । भणिदं च तेण। जदि अवस्सं दक्खिणा दाअन ता एसा दीअदु । तदो देवीए विण्णत्तं जं आदिसदि मअयं तं काअव्वं । पुण उल्लविदं च तेण। अस्थि 4 एत्थ लाडदेसम्मि चण्डसेणो णाम राआ। तस्स दुहिदा घणसार- मञ्जरी-त्ति । सा देवण्णएहिं आइट्ठा चक्कवट्टियरिणी भविस्सदि- त्ति। तदो सा महाराएण परिणाविदव्वा जेण गुरुस्स दक्षिणा दिण्णा भविस्सदि। भत्ता-बि चक्कवट्टि कदो होदि। तदो 8 देवीए विहसिअ भणिदं जं आणवेदि भअवं तं कीरदि। अहं च विण्णविदुं पेसिदा। गुरुस्स गुरुदक्खिणा सा दिण्णा । विदूषकः। (विहस्य ) ता उवक्खाणं एदं। सीसे सप्पो देसन्तरे वेजो । इह अज विवाहो। लाडदेसे घणसारमञ्जरी। 12 राजा। किं ते भइरवाणन्दस्स पहावो परोक्खो। सारङ्गिका। देवीए कारिदे पमदुजाणस्स मज्झट्टिदै वडतरुमूले चामुण्डाअदणे10 भइरवाणन्दो देवीए समं आगमिस्सादि । अग्गदो-अदक्खिणाविहिदो केअईलदाहरए विवाहो भविस्सदि। 16 ता इह जेव देवेण गन्तव्वं । ( इति परिक्रम्य निष्क्रान्ता) राजा। (साकूतं ) वअस्स 12सव्वं एदं भइरवाणन्दस्स विअम्भिदं-ति तक्कमि । 1. K पडि०, W पदि.. 2. 2. K गहिदा, W. गदौहा. 3. K एसा दो अदु, W पसादीकयदु. 4. IV om. W om. 5. Kaoufe, W देवस एहिं. 6. K राएण, W रायहत्येण. 7. K दो, Wता 8.K FECT W om. 9. N , K दे. 10. Pापदणे, W पाययणे, II. K देवीए सम, W देवी. 12. K सब्ब, सच. .

·136 4 कर्पूरमञ्जरी विदूषकः । एवं णेदं । ण-हु मअलञ्छणमन्तरेण अण्णो मिअङ्क- मणिपुत्तलिअंपज्झरावेदि। ण-हु सरअसमीरमन्तरेण सेहालिआ कुसुमुक्करं वा किरदि। (प्रविश्य) भैरवानन्दः। इअं सा वडतरुमूले णिकन्तस्स सुरङ्गा- दुवारस्स पिधाणे चामुण्डा। ( तां चामुण्डा हस्तेन प्रणम्य ) कप्पन्तकेलिभवणे कालस्स असुराण रुहिरसुरपुरं । जअइ पिअन्ती काली परमेठी-कवालचसएण ॥१८॥ (प्रविश्योपविश्य च ) अज-वि ण णिग्गच्छदि सुरङ्गादुवारेण कप्पूरमञ्जरी। ततः प्रविशति सुरङ्गाद्वारोद्घाटननाटितकेन कर्पूरमञ्जरी । कप्पूरमञ्जरी। भअवं पणमिज्जसि । भैरवानन्दः। पुत्ति इच्छिअं वरं लह । इह जेव उपविस । कर्पूरमञ्जरी 'उपविशति । भैरवानन्दः। (स्वगतम् ) अज-वि ण एदि देवी । 8 12 प्रविश्य 16 राज्ञी। (परिक्रम्य पुरो विलोक्य च) अए इअंभअवदी चामुण्डा । (प्रणम्यावलोक्य च ) अध इअं कप्पूरमञ्जरी। ता किं दं। भैरवानन्दं प्रति ) इदं विण्णवीअदि णिअभवणे विवाहसामाग्गिं कदुअ आगद-म्हि । तदो तं गण्हिअ आगमिस्सं । भैरवानन्दः। वच्छे एवं कीरदुः। राज्ञी व्यावृत्य परिक्रामति । 20 I. K पझरावेदि, W पब्भवेदि. 2. K पिथाणे, W विधाणे. Wपुराण १०. 4. Kउपविशति, W तथा कृत्वा. 5. Kद, W 3.

·137 4 8 चतुर्थ जवनिकान्तरम् भैरवानन्दः । (विहस्य बगतम्) इअं कप्पूरमञ्जरीधरं अण्णमिदं गदा। (प्रकाशं ) पुत्ति कप्पूरमञ्जरी सुरङ्गादुवारेण जेव तुरिदपदं गदुअ णिअभवणे चिट्ठ। देवीए आगमणे पुणो आगन्तव्वं । "कर्पूरमञ्जरी तथा करोति । राज्ञी। इदं रक्खापरं । (प्रविश्यावलोक्य च स्वगतम्) अए इअं कप्पूरमजरी। सा का-वि सारिक्खआ दिट्ठा। (प्रकाशं ) वच्छे कप्पूरमञ्जरी कीदिसं ते सरीरं । (आकाशे) किं भणसि सिरे वेअणा समुप्पण्ण-त्ति । (स्वगतम्) ता पुणो गमिस्सं । ( प्रविश्य पाश्वीण्यवलोक्य ) हला सहीओ विवाहोअरणाइ लहुँ गेण्हिअ आगच्छध । ( इति परिकामति) प्रविश्य कर्पूरमञ्जरी तथैवास्ते । राशी। (पुरोऽवलोक्य ) इअं कप्पूरमञ्जरी । भैरवानन्दः। वच्छे विन्भमलेहे आणीदाइं विवाहोवअरणाइं । अध इं। किं पुण घणसारमञ्जरीसमुचिदाइं आहरणाई वीसरिआई। ता पुणो गमिस्सं । भैरवानन्दः। एवं भोदु । राज्ञी निष्क्रामति नाटितकेत। भैरवानन्दः। कप्पूरमञ्जरी तं जेव कीरदु । कर्पूरमञ्जरी निष्क्रान्ता । राज्ञी। ( रक्षागृहप्रवेशं नाटयति । कर्पूरमञ्जरी दृष्टा ) अए सारि- क्खएण विडम्बिदो-म्हि । (स्वगतं ) झाणविमाणेण णिविग्धं 20 w add. इति निष्कान्ता. 2. K आगन्तब्वं, IV प्रातब्ब K कर्प... करोति, W कडूं। जं भवं भाणवैदि। निष्कान्ता। 4. Wom. 5. K प्रकाशं, TV om. 6. IV om. .त्ति. 7. राज्ञी 8. Kगेव्हिअ, IV गिणहअ. 9. K सारिक्वएस, IV सिरिक्वएण, O.P.80-18 12 राज्ञी । 16 . I. 3.

·138 चामुण्डायतन. कर्परमञ्जरी परिसरे अप्पणो तं आणेदि महाजोई । (प्रकाश) जं जं णिवेदिदव्वं तं तं लहुअं गेण्हिअ आअच्छध । प्रवेशनाटितकेन तामवलोक्य ) अहो सारिक्खदा । धैरबानन्दः। देवि उपविससु। महाराओ आगदो जेव वट्टदि। ततः प्रविशति राजा विदूषकः कुरङ्गिका च । भैरवानन्दः। आसणं महाराअस्स । 4 - सर्वे यथोचितमुपविशन्ति । राजा। (जनान्तिकम् [?]) एसा सा कप्पूरमञ्जरी । सरीरिणी 3मअरध्वअपारिद्धिआ देहन्तरसंठिदसिङ्गारसवरचावलट्ठी दिवस- सञ्चारिणी पुण्णिमाइन्दुचन्दिआ । अवि-अ गुणगणमाणिक्क- 12 सुत्तिआ रअणमई अक्षणसलाआ। जधा-अ एसा आरण्णकुसुम- णिप्फण्णा महुलच्छी। किं-च भुवणजअपडाआ रूअरेहा इमीए जह तह णअणाणं गोअरं जस्स जादि । वसइ मअरकेऊ तस्स चित्ते विचित्ते वलइअधणुदण्डो पुखिदेहिं सरेहिं ॥११॥ विदूषकः। (जनान्तिकम् ) सचं कदं तए आहाण। 'तडं 16 I. K आणदि, W तमाणेदि. 2. K सरीरिणी, W गै करिमञ्जरी सारक्खिवा विलासधरणी, 3, W रशियपरिधिा 4, K रणमई, W मग्गिजणमणस्स. 5. 0 अरसकुमुमणिप्फसा, TV लावण्यकुमुमणिसमा, 6. Kमभरोज, V मयरद्धो. 7. K तडं W महाणयतर्ड, ·ता 8 चतुर्थ जवनिकान्तरम् 139 गदाए वि णावाए ण विस्ससीअदि। 1ता तुण्हीओ चिठ्ठ । भैरवानन्दः । वच्छे पत्तं विवाहमङ्गलमुहुत्तं । ता महाराअस्स किजदु तए जघोचिदप्पडिवण्णं । राशी! कुरङ्गिए तुमं महाराअस्स विवाहणेवच्छं कुरु । । सारङ्गिआ-वि घणसारमञ्जरीए करेदु । इत्युभे अप्युभयोविवाहघटनां नाट्यतः। भैरवानन्दः । वच्छे उवज्झाओ हक्कारीअदु । राशी। एसो वि उवज्झाओ अजकविञ्जलो चिट्ठदि । कीरदु अग्गिआरिअं। विदूषकः। भो वअस्स उत्तरीए गण्ठिं दाइस्सं दाव । परिणेदु महाराओ कप्पूरमञ्जरी । (इति हस्ते हस्तं ग्राहयति कर्पूरमजर्याः) 3राज्ञी। (स्वगतं ) किंणेदं । भैरवानन्दः। उवजाओ सुठुदरं भुल्लो-सि । मञ्जरीए 'घणसारमञ्जरि-त्ति णामन्तरं । राजा। (करमादाय) जे कण्ठआ तिउसमुद्धफलेसु होन्ति जे केअईकुसुमगन्धदलावलीसु । फंसेण Bणूणमिह मज्झ सरीरतुल्ला ते सुन्दरीए बहलं पुलअंकुरिल्ला ॥३०॥ 12 जदो कप्पूर- 16 1. K geht fes, for W see Note. 2. WV udd अजउत before एसो. 3. W राज्ञों इत्या कण्य...णिदं इति चमतकत्य. +. IV has अपरं after ति. 5. K कण्डा, IV के विते. 6. 0 मिह, K दुह.

·110
कर्पूरमअरी
विदूषकः । भो वअस्स भामरीओ दिजन्तु । हुअवहे लाजा
खिपिज्जन्तु ।
भ्रामर्या नाटयति नायकः। धूमेन व्यावृत्तमुखी
राज्ञी सपरिवारा निष्क्रान्ता1 ।
चतुर्थ जवनिकान्तरम् ।
4
1. Wadd. सव्वाणं पञ्चक्खं परौणौदा कप्प रमञ्जरी and the Southern
mss, add the following:
ने प ध्ये
बैतालिकः। सुहाअ भोदु विवाहमहूसवो देवस्स ।
जं मूद्धं तिमिसं णवं च पणसं जे पारिभद्दद्दुमा
जे दण्डा कमलाण किं च कुसुमं जकेअईसंभवं ।
।
सङ्के तुज्झ कलेवरे गुणगणं लद्धं बला तारिसा
रोमचा फुडपुटकण्टअमिसा मेल्लन्ति णिचुलसा ।।
भैरवानन्दः। अण्णं किं दे पिकं करीअदु।
राजा। इदो वि परं किं पिझं। जदो
देवी रोसकसाअमाणसवई णो होइ सावत्तए
लद्धा पुण्णससङ्कमण्डलमुही सिङ्गारसजीविणी।
सजा अवि चकवट्टिपअवी किं अण्णभन्भत्थणं
सव्वं तुज्झ अणुग्गहेण भरिअं जं माणुसे लगभइ ।।
तधावि इदं भोदु।
भरत वा क्य म
अणुदिअहं विफुरन्तो मणीसिजणसअलगुणविणासअरो।
रित्तत्तणदाचग्गी विरमउ कमलाकडक्खवरिसेण ।।
इति निष्कान्ताः सर्वे ।

·KARPTRAJANJARI Notes : Critical and Exegetical* ACT. I P. 79 l. 1. sa rassa i e = sarasvatyai ). The Skt. word bhadra (Pkt bhauda) requires the dative case. See Pāṇini, II. 3.73. Hence we have preferred sarassaże to sarassia. Kaino (=Kaveh) should be taken with sarassaïe, and the meaning of the whole expression will be, May the speech of the poet flourish.' Cf. gumpho rāņinām vijayate, Balar. I. 1., bhāratī kaver jayati Kavyaprakasa I. l. Others including old commentators construe kaino with vāsāino and in that case the expression will mean "May the goddess S. flourish: But such a meaning is improper, for no one need bless a goddess. Vasudeva's defence of this construction is unsatisfactory. 1.2. an nāņa m-p i-of others too'i.e., of the lesser poets, such as the author of the play ; cf. Lanman, p. 223, n3. pa a ţ ţa du. Southern mss read parattadu but as they read ppaata and pautta in i. 42 and i. 416 respectively, in this case we have followed the Northern muss. 1. 3. kimpi-an adverb to phurdu. It means 'to some extent. The reading kiin-ca (=moreover, and again, further ) occurring in other mss. seems to impoverish the sense. in this work Rāj. has principally used y Reference to individual words and expressions within these Noles refer (unless otherwise mentioned) to the Harvard edition of the KM.

·142 [ Page 79, line 3. two rītis : Vaidarbbi and Māgadhi (=Gaudi) with occasional sprinkling of Paicāli. Hence he says, 'Muy Vaidarbhi and Māgadhi styles occur to us and the Pāñcālikā as well, to some extent. phura du(=sphuratıl) 'start into view', become manifest', 'appear clearly.''become displayed.' 1. 4. ridia oli hantu (=rītih avalihantu) 'let (them) taste the rītis'. 'o-lik (-ava-lih ) means 'to taste'; cf. avalehia (-avalehika) a kind of sweet thick paste (see Pâia-saddamahaņņavo, sub voce). Mss. and K. have divided the members of the expression as rizão (rödīão) lihartu (let them lick the rītis) much to the impoverishment of the sense. 1. 5. daram-'entirely,''completely'; cf. duram uddhitapāpah, Meghadata I, 55. It is an adv. to the three adjs. of mohaņāiin and not to ramaha as has been taken by Lanman. 1. 6. ghaņa tāda ņāim. The word ghana means here 'violents or 'coarse' (cf. the sense of sthila in the sthilahastāvalepān, Meghaduta. I. 14). On this point see Vātsyāyaṇa, ch. vi (Samprayogikādhikaraña). The reading thanatadanāimn would impoverish the sense, for tādana according to the Kāmaśāstra relates not only to thanı (breast) but to other parts of the body as well. 1.7. (nandyante) sūtra dharah. The substitution of sthapaka in late mass. seems to be due to a misunderstanding of I. 121-8. which stands very corrupt there. See Introduction $35. 1.8. sam mohaņāsā ņ a. 'The destroyer of ignorance'. On harms proceeding from sammoha see the Bhagavadgitā, II, 62. The reading chammuha (=sanmukha) creates difficulty, for it is not easy to explain why ·Page 79, line 8 ] 143 of thetwo sons of Siva and Pārrafi, only Kárttikeya should be given preference. Cf. Lannau. Vasudeva rends sumohu - ņāsūna and explains it variously. 1.9. deu. Sauraseni, it is beliered, require: elu. In fact mss. VUDG going back probasly to one are hetype read it as such. This may however be a later emendation, for in some cases all ass. read similar forms, e.g., bolei (II. 294 ), dei (II. 37b), li hai (II. 1'3), paāsa. ( III. 11d ), puallei ( 111. 124, 174 ). For a discussion on such cases see Introduction 22. 1. 11. jalen am. The plural in julehim seems to encumber the sense unduly ; cf. II, 30b. 1. 12. -sippia, It is equivalent to Skt. #sīpyd, instr. of *sīppī. Ś. being nearer to Skt. than any other Pkt. this reading has been adopted against sippie in W. For the $. character of the metrical passages see Introduction (98 21, 22 ). Sippi is both a small boat-shaped vessel used iu pājā for offering water, and a bivalve shell, which may be extended to mean conch-shell. The word occurs in NIA. P. 80 1.1. kim-p uņa. The reading kim.una seems to be wrong : see Pischel, Grammatik $143. Similar want of voicing of the initial unvoiced stop of the next word is to be met with in kim-ca (I. 19.), tihuanam-pi (1. 102 ). Wooluer seems to follow Sten Konow; see Introduction to Pkt. ch. iv. 3. 1. 2. pa va ica (=prapanca).-'group', 'crowd' etc. 1. 3. ia rā. Konow reads idarā without support from any mss. 1. 4. pad is is a ū i m=prat işirşakānz-masks paţ ţa e...Va t țed impounding on a slab of stone'. This expression is an exact equivalent of New Bengali patag bate পাটায় বাটে, , ·144 ſ Page 80, line 6 vannião=yamkall, colours for painting the actors and actresses. 1. 5. ţha vido t hi ņe (=sthāpitah sthane), lit. has been placed in tone (sthana) P. 80 1.6. tiņņivi mia ngā Tinni (=trăni) is used in all genders and is an example of the confusion of gender in Pkt. (see Pischel, Grammatik $ 438 ); tinni is the source of NIA tin fua, tinta, etc, 1.7. pak k hāujja (=paksītodya) is a wooden drum while mianga (mrdanga) was a drum made of burnt clay, and was possibly of a bigger size. evam-'in this manner.' This use of the word probably gave rise to New Bengali 97 as a copulative conj. meaning and'. dhu vāgida m (=dhrītāgālam). Lanman has missed the sense of this. Dhruvā songs are to be sung on particular occasions in course of producing a play, For rules regarding the use of such songs which should always be in Ś, see Nś. ch. xxxii. Examples of such songs given in this work (N6.) have been edited by the present writer in IHQ, vol. viii, 1932, The word dhuva giges New Bengali dhua gal, gal burden of a song. 17 1. 8. kudumbam (=kutumbam). This should better be translated as a member of the family or of the party of actors' and not as an attendant as Lapman does. hakkāri a--calling'. This verb bas its equivalent in New Bengali há kar deoa 6*17 (831, to call from a distance, ·Page 80, line 14 ] 115 P. 81 1. 14. k o-uņa (=koh-Punah). This seems to give Hindi kaun fa, Bengali kon 14th, etc. 1. 16. b haņņai. The usual ſauraseni form would be bhanadi (=lhanyale) thich no ns. gives. The form bhanijjadi spoils the metre. The developed form of this word is due to its being the part of a stereotyped living expression. In Early Vaithili bhanaVilyāpati bhāne (=bhanati Vidyāpatir [eturl] bhanyate [cr]) we have bhannai > bhane. 1. 4. dūram. See duram explained above. nādiāe ( =nāti kāyā) ). In Skt. the root anu-hir (=to imitate ) is used with the genitive or the accusative; see V. S. Apte, Guide to Skt. § 118. 1. 5. paves a-vikkhambhā i.........ņatthi (praveśa-viskambhakādi...........Nāsti ). 1. 6. paia ban dhe pa atto kai. Ραια instead of pāžia, if correct, because ſu seems to be no exclusive & characteristic . See the description of ś. as given in the Nś. ch. xvii ( xpii) and the editor's paper 'Date of the Bharata-Nătyaśāstra' (Journal of the Dept. of Letters, Calcutta Univ. XXV. 193+) All mss. except ABPW, give after this passage the following: parusā sakkaa-bandhū-pāua-band ho-vi hoi suumāro purisa-mahilānam jettiam ihantarain tettiam imānam. This stanza does not occur in the best ms. W, and a very old ms. B., and modifies the statement about the practical similarity between Pkt. and Skt. (one being the evolution of the other) and the author's indifference about the language to be employed in a kāpya, which is immediately to follow. Hence it has been considered spurious. 1. 8. sabbabhā sā-c a duren a etc. In all mes. except BWAP, this sentence has been preceded by paru sū eto. Sec Note on 1. 6 above. 0, P.-19 ·146 [ Page 81, line 9 есе уа. cceva 1. 9. att ha visesā (=arthavisesīh). Visesa here means 'excellences' and the whole stanza may be paraphrased as follows: The same is the excellence of meaning, and words are also the same (in Pkt. as well as in Skt.) the former being the nodification (of the latter. Moreover it is ) excellent expressions (that constitute) a poem, be the language whatever it may. 1.9. te ccia, te Ccia and seem to have come from the Skt. phrase tac caiva. From tucceva we have taccia ; creva (ccia) wrongly separated from the phrase stands as a substitute of Skt. eva. 1. 10. jā ho u sa ho u. This MIA expression has its exact equivalent in New Bengali jā hok tā hok 691€ | 651? (=in any manner ). 1.11. tā appă kimpa vaņạido tena etc. The way of eulogising oneself by quoting an admirer seems to be an original device of Rāj. 1. 12. suna du. This reading occurring in the best ms. W, is the proper reading, for nominative in the third person makes the verb honorific while Konow's suņasu puts the verb in the second person which is used among intimate relations. 1. 14. u vajjhão ( =upūdhyāyalı) gives the NIA ojha chi, , 1. 13. Aparāia, "Aparā jiti' occurring in the Kāvyamīmāsā (p. 45) may be an adj. from this name. 1.3. Cāh uāņa kula-ma ülimālia etc.- This is indeed a novel occasion for the production of plays which are usually staged in days of religious and other festivals (see the Abhinayadarpaņa, 13-14). About the importance of this play in settling the chronology of Rāj.'s plays see Introduction $ 32, P. 82 ·Page 82, line 8 ] 147 1.8. sam pāųem ha. The root pā! is the causative form of par? (=pat) ja d .........citthadi. This senteace has been very badly handed down and stauds more or less mutilated in all the mss. Full discussion on its reconstruction see Introduction 25. 1. 14. n and a pe. The Skt. form is nulini. All mss. except WO. have the Sanskritised form in nandini. vad dāvia si. This word is cognate with Hindī, badhārī 24791 'festire joy and Middle Bengali bad hūai atat as in unandu-bäd hai 318 (cf. Skt cardhāpana). The alternative reading vudil haviasi is however coguate with the NIA root badh ( to increase, to grow) which also is from the Skt. root widh. 1. 16. ma a ņ a. This word is equivalent to Skt. *mrdana or*mralana (softening). Hence maana relates to anything oily or fatty like bee's wax or butter, and not to wax alone. Bengali word mayān mata meaning 'ghee used with flour to be made into lucis of or fried wafers to make them tender in the mouth, is connected with this word. 1. 3. padiraddhā riil. See the Note On vaddhaviasi above. 1. 4. chollanti. Cholla means to 'cleanse'; ef. NIA. chol to cleanse, to scrape. 1. 6. Suvanti (=svapanti). This Pkt. root suva is responsible for the NIA root 80 ( =so C*11 ) meaning 'to sleep', 'to lie down'. 1. 7. mihuņa -( mithuna) a couple, man and woman; peccha (=preksa). For the place of the development kş► ch in $. see Introduction 3 17b. Il. 8ff. jaa puppadig ang anabhuaig a etc. This passage has suffered much in transmission. See Notes on different words below, P. 83 ·148 [ Page 83, line 8ff Very bhu a iga-'gallant, lover, husband or lord in general. In all the five adjs. the countries have been considered as a nāyikā to the king. Campa-c a mo pa a-k a ņ ņ a ür a. dear (lit, c. ear-ornament) to the land named Campā (modern Bhagalpur). Raờ h ā-j a nid a-r āàha. 'One who has caused lustre (prosperity) to the country oamed Rādhā (the modern Burdwan dist. of Bengal, and some adjoining places). Cangattaì a-nijjid a-kā ma rů v a. Konow has unneccessarily disregarded the testimoney of his best ms. and tagged caiigat tana to the previous adj. but it fitly goes along with Kamariva (= Kamarãipa in Assam). The word cangattana has tro meanings : (i) beauty, (ii) strength, and so has Kamarātva: (i) one having a power to assume any form (even the most beautiful one) according to one's desire. (ii) the name of a country, In Konow's reading the pun has been spoiled. Harik e li-k eliāra-The provider of sports to Harikeli (Beogal of the delta). 1. 10. a va ma ņ ņi d a-Kaņņas u vaļņadāņ a. One who has disregarded the bribe or payment of the people of Karnasuvarna ( modern Murshidabad district ) agaiost the inyasion of their territory. The reading jaccasuvanna though it stands in the best mss. may be disregarded ; for Karnasuvarna is a well-known geographical name signifying an Eastern country like Radha, Karmarūpa etc., and as such it embellishes the expression. Surely the king has been eulogised here as the lord of Eastern countries like Radbā, Kamarüpa etc. Karnasuvarna has lately been located in the the Northern Rādhā (R. Basak. "The Hist. of North-Eastern India, Calcutta. 1934, p. 132.)

·Page 83, line 11 ] 149 1. 11. i ha. The s. form idka occuring in Pkt. grammar of Hcmacandra (ir. 268 ) does not seen to occur in Pkt. literature (see Pāiasaddamabannava sub l'oce ). The mss. of KII. 100 except one, read ihn, and see Nś. (Chaukhamba ed.) on s. It gives a rule that except in case of yatha and trutha, th of Skt. vill be h in Ś( ch. xviii 15). See M. Ghose, 'Date of the Bharata NS. 1. 13. Coda-codāla ā!? a m. The bodice and hairs of the Cola women. The word cola (Skt.) meaning'inhabitant of Cola' as well as a 'bodice' goes back to Pkt. Colla. 1. 17. Tananiganų a ppah a. The reading Maradhi does not occur in the best piss, and it is not necessary; kumkuma when applied to women's face is said to make it as fair as full moon's face (see Lanman, in p. 226 note 6 ). Besides this, there is no literary or other tradition making Marathi women fairer than their sisters in other parts of India. P. 84 1.5. kandalida-k a n d a p p a-ko da n d acandin a. kandalida means 'fighting' ; cf. Skt, kandala 'battle'. danda means 'assault', The whole expression in translation will be that which is terrible on account of the assault that may proceed from the bow of Kandarpa ( Cupid ) who is in a fighting mood', Cf. Laoman. 1. 6. řiddha ba n d ha ram, Mss, other than WBA read siniddha and this form also may be allowed, See Vararuci, iii. 64. vitthärida...........peccha, Kopow reads pekkha against peccha in majority of mss. including the best one. Märkandeya thinks that peccha is a substitute of paśya while pekkha comes from preksa. See Prākệtasarvasya. ed. Bhattanātha Srāmin, ix. 112. See Introduction $ 175. As for widening the eyes for enjoying a pleasing ·150 [Pnge 84, line 6 85 sight cf. Bharatrivalokandirtham visāliknyatām tc cakṣuḥ, Bhāsa's, Pratimā, Acts iv and vii. 1.7. mahoccba vam. The great festival (i.e. of the spring ) which is being celebrated by the dance of maidens and creepers, and songs songs of cuckoos. Cf. vasantasao in I. 12 above, Mss. Other than BPV have either mahusava or mahussava. 1. 13. cand a m--passionately. 1. 15. d i ¢ ¢ ha m. means 'look'. The reading dithin of K. is unnecessary. Cf. Skt. krtam, śrutam etc. 1.1. tum hā ņ am sa vya sşiņ. Savva ( sarva ) in this expression with its inherent plural idea dispensed with the plural form. The use of two different case-endings in the same sense seems be due to a blending of two expressions tumhānam majjhe and savvassim majjhe, such a state of affairs being expected naturally in Pkt. which was the language of the common people. kāla k kharia (=kālākşarika )-lit. one who has learnt how to write letters with black ink; In the system of primary education as current even now in India; the child has to learn writing his letters and write them first with chalk and then with ink. 1. 2. jassa Sa Suro paraghares u potthai v a banta o a si. In this sentenee interpolators have tried their hands,much to the detriment of the sense. Sasurn in enough to create humour. Potthai is equivalent to Skt. prstadi i. e, "books and other things and this 'other things makes a sly hint about water and fire wood which a domestic servant has to carry ). This deepens the humour. The reading potthiäim (=pūstākāni or books ) ignores this and amages the sense very much.

·Page 85 line 3 ] 151 mean 'one one man 1. 3. kamā gadam ( = ramigatam ), -'coming in succession, 1. 6. bha marațeaţa-tentát is a desi word meaning the gambling hail'; the expression is not rery clear and may whose passion takes her constantly from to anotber ( lit. bee in a gambling bal). Cf. Lanman. tentā ka rālā-In a Pkt. compound, members are sometimes transposed ; tenth in this espression is same as the the word in the previous expression. Here the expression means 'one who is a terror of of the the gambling ball. Of. Beng. juācor #testa cheat (lit. a thief of a gambler ), 1. 7. tuttha sa ighaide-one who provides satisfaction to others (by her person ), After uttering this word the angry Vidūşaka abruptly stops abusing Vicakşaņā whom he now challenges in a literary duel. A group of mss. or rather their original has wrongly added something to complete the unutterd sentence. hat the ka i kane kim dappaļeņa- Kono wreads paramparii-pandiccassa. parampañe panliecam before this. But the best ma. and several others do not contain this. We find it quite unnecessary. Old type of kankanas ( bangles or wrist-bands ) had sinall mirrors fixed on them, Thus, one having a bangle had no need of a mirror. The expression in hand is, as has been guessed by Lanman, i proverb, It is often met with in NIA. language and literature. Its modern counterpart in Hindi is 'hath-kangan-ko ārsi kyā, 79 कङ्गनको पारसी का; cf. also Old Bengali hat he re kankana mia lou dāpaña 5tet 64 #1*19 #1 COTT 1799 (=haste re kankanak mā lokatu darpanam) 'O you have a kankaņa in band, do not look for a mirror, 'Rūma-ko rūpa nihārati Janaki kangana-ke naga-ke parachali ri To fretta ...

·152 [ Page 85, line 7 Fifa 27 y corff Rasika-vibāri, Lanman's explanation of this expression is however different. (See p. 225) a ha. See notes on iha (p. 71) 1. 8. tura nga ssa -Konow reads dharantassa as an adj. to this word but most of the mss. including the best one have no support for him. The meaning also does not suffer without this addition. For turanga, is used here in its etymological sense aud means 'a swift horse' and to ascertain the swiftness of such an animal one must ride it or see it ridden, and not ask for the testimony of others. This also seems to be a proverbial expression like, 'The test of the pudding is in the eating.' pia va ass ass a devis purado-Vidūsaka wants to recite before the quesn, just as Vicakşaņā is asked by the queen to recite before the king (ajjauttassa puadr, I, 196 ) Here the reading of the best mss. seeme to be wrong. 1. 18. kao tās attaņa-rattana means ranjana ; the root rattaya being a ramadhatu from ratta (= rakta) P. 86 1.3. tuyam-This form is very old and is met with in Asvaghosa ( see Keith, Skt. Drama, p. 88 ) 1. 5. niyvaba di-lit. this means 'carries' i. e., supports the genuineness of, Cf. the Skt. root, nir-vaha, means 'to support. 1. 12. saccam pia k kha nā........ uttinam-This passage has suffered much in transmission. N. gives the true reading. The passage in translation will be 'Truely V. ie an expert in clever sayings, ( lit. in the cleverness of sayings ). 1. 13. tā kimpi a ņ ņam vicittadão -This passage too has not been properly preserved; B. here seems to give the correct reading ; P. also may be said to support this. In the reading of W. a and cadura- .....................

·Page 86, line 13) 133 taaņa is superfluous, for we have cadurattaņa of atti in the previous sentence What the king means to say here is that 'as her power of composing clever things has been demonstrated, what is the 10 of demanding in her case brilliance (mittuda ) at other kinds i. c. of rīti ( style ) or of alamkira ( figure of speach)In this passage Rīj. shows himseit as a critic of high order. This sentence is followed in W. by the following . Xin bhannai sukricii!??? id est. Diri aj mrium mali valasarassai esi tiku ?!?? Deri (k.18!! kurricu!im ????. ???? th:lit es, Tuis part is evidentiy corrupt and possibly due to some interpolation. 1. 16, accā uhana (=Qiyadham). Tio lengthening of the second a is clue to the analogy of expressions like naridhiamat, adhamidhamu, ai jū1:17 ttc. The lading accadhani is due to Skt. influence, ba mbhan o-This reading ( and not beinh!?!) is <-vidently the older and the right reading, fur it retains the fuller forin of the word (xer Keith, Skt. Drama. 1). 26). P. 87. 1.1. tuntilāe ria kañculia-In Pkt. tundilū seems to be preferable to tundilū which seems to be its Sanskritised form; karculia has its SIA form kii culi. 1. 3. tubbh a--This is evidently a much older form than 11jjha <+12.742 <lubhya ; cf. makvo *mabh vu which is comparable to .Ivestic matoja. 1. 1. padipaţte via țasa rivira a nie Paulipatta (=pralpatta) the reverse of wearing apparel i.e. the side which is not open to view ; tasariciraani miany ‘embroidery made with tasura (Skt. tasara ) a kind of cream-coloured silk. 1. 6. tuva-gee before. O, P.--20 ·154 [ Pago 87, line 6 vaņņiasi-are praised', the root varnto praise. 1.8. ņārão via ņirkkhar o--'as unlettercd as a jewellers' weighing apparatı' in which are used small guðjās or stones and no weight-picces marked with letters such as I scer, 2 soers etc. (sce also below; cf. Häla's Gatha-saptaſati, II, 91 ). 1. 9. tull - VV a laddhakklarā,-'one who has got letters like a big weighing machine' which uses big picces of stone marked with figures such as 1, 2, 3, etc., indicating scers and maunds ctc. 1. ll. Juh itt lila. This form of the word with Z instead of g shows the Eastern affinity of Vidāşaka's language which according to the Ns. is the Pracyā an (Eastern) variety of Ś. Cf. Pāli yudhitthila, 1. 13. tadatti. (=taat tidu) as swift as lightning' (talat=larit). P. 88. 1.6. sad oliā. This seems to be a genuine desi word though K. ignores it. This worl is probably cognate with Bengli 15 and Skt. Sāti. Konow, however, reads sāhulia against the testimony of the best ms.. 1. 8. rāülas sa-Konow reads rūaalassa. Vr. allows both the forms (soe iy. 1.) but as the best ms. gives ranla we have adopted this. 1. 10, kiradil=kriyate") Pischel denies that it is a ś. Word and finds fault with Indian editors (gce Grammatik ( 547). The long i of kira is probably due to analogy of disadi, suniadi, curiadu, etc. 1. 12. ja m...bha a v am sa mu v vahadi. Siva Wears ardhacandra on his forehead. Now the "ardhacandra gesture by hand indicates among other ·Page 88, line 12] 153 things 'turning one by one's neck (gala-hasta-dana). Lamman's interpretation i the passage is not clear and he misunderstand the meaning of the fardhacandra' hand (see IIIQ. XII. 1986, 1). 736 ). 1.13. jena a soatar u etc. Járka tree is given donado in the form of a young woman's kick. 1.16, ma h a ba mbha na-s a( = inahāóricapiz- SI'N ) of a mahā-brābınana'. M. is a Brahmana who has degraced himself by accupring gifts given at the first Krāddha ofered to the dead 2. an agraériddarhīyakin, Dr. J. K. Ryder has made a very unfortunate blunder over this latter term. S JAUS, Vol. 23, p. 7). Vidisaka's reference to himself as a Vlahābrahmana is meant for creating fun. This device has been used by dramatists like Kālidāsa, Sriharu ctc. The adj. ürhat when compounded with saikha, tili, 11271117, 1417, jietişiir and drija Ibrahmana) degrades, their «ne. Jahabrahma in Bhatti-kāvya ( 11 ) may be called an exerption to this rule or it may be justified in a different manner. 11. 3-.uttarã-sidh ūņak kh att anā u a dham .....a nga juga la n=hasta (from Hastā astr. ri-m); g ha llissa m=will throw away : cf. the Hindi root ghalnā. 1. ]7. sohanjana. This is the Pkt. form of the Skt. Koblun jana. In Hiuli it is sah:jan #f79 and in Bengali sajma Afisat. Sūjini flowers are sometimes cooked and caten and hence a sohaijını trec is often inuudle flowerless and this trcatmint of the tree by people occurs in the month of Phālguna. The Vidāşaka curses Vicaksāna by saying that she may be flowerless (nišpuspa) which for a woman means becoming old. P. 89 1. 8. ņiar a sundharan sua bhanic. The confusion of word-order in this compound to b a m- ·156 [ Page 89, line 12 is in keeping with the genius of Pkt. Vidasaka's feigned agitated state may also be responsible for this. 1. 12. pasāhanā lacchi-the beauty of toilet. 1.13. la iba ku cca m...kir du, Give her mask with long beards and cars as big as tappara and let her occupy my place for crcating laughter'. Vidūşaka says that though they (i.c. the king and the queen) have praised Vicakşaņā more than himself yet she cannot replace him. But by wearing a laughable mask she may make an atte:upt to do so. Tappara is a big hat-like thing which rural people wear on their head for protection against the sun. The word is probably connected with Bengali topar 66197, & kind of headgear used (mostly) on cermonial occasions Middle Bengali 'helmet'. 1.16. muda (=mrta). Cf. Hindi mūī, T. 1.2. mā aṇusandhedh a-do not look after (him). 11. 2-3. a ņuņa a ka k ka s ......gādhadaro bhodi "This Brahman Kapi jala is (liable to be ) macle harsh by entreaties ; ( for ) hempen rope when soaked in water becomes tighter', P. 90 1. 12. Bhairavānanda du vāre. 'Bh. is at the door. This is one complete sentence, and another is ulciarissadi he will sit.' Konow probably connects this to the preceding expression in one sentence and finds the mss. wrong on this point. Hence his reading is Bh. duvare citthadi. P. 91 1. 13. 'a cc abbhua (=atyadbhuta). cf. Bengali ācābhutī til strange. 1.3. ma nto na ta n to na ctc. For the tru3 explanation of this stanza and two following ones see Introduction 27. Cf. ckka na kijjai manta ma tanta, ņia gharani lai keli karant) niaghara-ghariņi jāva na ·Page 93, line ] 157 P. 93 majjai, tāca ki pancatırņa (»ņa?) riharijjai-28-Krsņācārya-pida - Doli ( 19 @H, P. Shastri's cd.). 1. * citte lihijjali ? a "In whose heart is shrut to be imprevall ( lit. bu inscrib.d), To Lanınan cita is clivalrut to Skt. ciini, picture. 1. S. olla mu- alla si-tha nullana e (=indriisukoilusisianolamniri). #22ziņā means zalc'uepalcam 'manifesturss' Hence the whole expression means of one whose breasts have been disclosed by vet clothes.' This expression has been much langged in transmission. Toe b-t mus. t)) stands distorted. B. given the clue to the true reading. Its reading granullană seems to be due to a confusion between Devanagri ihan and dha , 1. 12. munijjadi-the Pkt. root muna to (to know) seems to be at the basis of the Skt. word muni too. P.94 1.1. Tīva sobā. The beauty of form ( rūpa= physical form); cf. gorapadharāin itorrim, Raghu. II. 3. 1.6. ka dh a m .......... a ha vū. This scutence and the following verse bave been attributed by a group of miss. including 1. to tajister. But from the context this appears to be wrong. BPNOR here correctly Icad the passage as a continuation of the king's speech. . 1.8. rüvena mukko etc. In this case too the best ms. is misleading. The stanza in translation will be as follows: "Those who are wit! out Ibrantiful) form (of their body) can be given beauty by ornaiurnt ; (for) their charm is dependent on Oruanxunts, but t.e cların of persons who are naturally possessed of beauty, is not enhanced by ornaments.' Thc king means to say that ·158 [ Page 94, line 15 Karpīrana ijarī is naturally beautiful and hence her beauty is not dependent on ornaments. The corruption of this stanza has probably been affected by the specch of Vidītsaka in Act II. 38 where using partly a similar language he gives a diametrically opposite view which does not l'ise above the commonplace, while the king's words bespeak a very refined tasto 1. 13. jāņ C...sondirattia ņ a n. This passage has suffered inuch in transmission. AP. give clue to the correct reading. 'I see this infatuation making you behave life a drunkard' (lit. methinks your drunkenness will make you roll on the road). Sonlira ( =kaundira) from sauna, excited, intoxicated, drunk. 1.9. muddha in u hi (mugdhamukhi), mugaha here means 'lovely, charming.' P. 95 P.96 1. l. khalak hund e him. Skt. khala means 'carth'; hence the expression incans 'by mans of clods of carth.' Indian parents sometimes playfully provoko their small children by such expressions. With Karpīrama jarī this has been a modest tray of disclosing her royal parentage. Cf. Lannan. 1.16. ex ... d chantar eņa. "This carthly Sarasvati is the goddess go-between incarnate.' "The Marthly Sarasvati is a humerous reference to the queen's appreciation of Vicaksanā. With this remark the jaster slyly hints that Vicaksana the queen's trusted maid will ultimately serve as the king's go-between for winning the love of Karpīrama jarī. The end of the story amply jirstifies such a vicv. P. 97. 1.6. āla vāla=#ūdrāpāla Skt. 1.9. candaņs=candānsı, the sun.

·Page 98, line 9 ] 189 Act. II. P.98. 1.9. ka h a ... pa'ntio. Though the sense of this passage is quite clear from the context, yet its literal meaning is not s0. It seems that the reference is here to a dull boy who does not improve his writing and for a long time keep on writing on the same set of palm-leares (tāưī) with the washable ink. The more inuli spoms to exists in the Bengali componud !-7.17 mraning probably 'iplantain) icaves and palın laves). 1.11. tagga a-hida a vajja m--the attiction of the heart in connection with her ; ūzujjan= mapud 117.in). Southern ms. read here minas:?m which is evidently an emendation for ārajjam. 1. 19. pūlittin= pariki= piririi frontl. root par to take across. P.99. 1. 4. citte rahut tali pilt til di laraghrętali <raghrstati), lit. ske ruha herself to my hcart (P. reads cahuttadi and W.ca hutadi. Ishe does not fall short of or diminish (even after rubbing leerself', P. 100. 1.6. kajjā paārakāla (=kūrvatiira")-'tims for getting into business'. P. 101. 1. 6. Ha r a valla ha e derin deri a ocidū Haravallabhavai dryi derī arcitaarcitā is here akarmake kariari kta / =da); Konow's cmendation is unnecessery, P. 102. 1. #. dih ar ā-Is the origin of tl.is word a hypothetical *digharu as opposed to drigha (Skt.). Bengali di ghal 1199 is based on Prakrit *dighala. 1. 11. nisās ā etc. Lannan's translation of this stanza is not altogсther right ; nisāsā ......Dasaraņā means 'sighs as long as the pearl string,' i. e, very deep. candan uccoda kāri means 'drying up the sandal (applied on the breast for cooling the body).'

·160 [ Page 103, line 10 P. 103. P. 104, 1.10. vattam is equivalent to either Skt. orttam or vārtām. 1.2. kharapa van a-p a nollia-dalag gā. Konow reads dara against khara in the best mss. which is quite right here. By this adj. the princess wearing a green sāri has been compared to a plaintain plant the outer leaves (dalagga) of which have been turned down by violent wind (khara-pataņa); dalagga (=dalāgram) means agradalah 'outer leaves', for in Pkt, members of a compound are often arbitrarily placed. See Gangādharabhatta's comm. to Gāthāsaptašati, I. 1. 1. 6. ma a n a tonira m (=madana-laniram quiver of the god of Love. The appropriateness of the simile lies in the fact that Madana has five arrows in his quiver and there are five fingers in a land. 1. 13. lalūtalolaggasangini This Pkt. compound too violates the word order prescribed in Skt. gramınars. In Skt. it will be lola-lalūlâ g rasaigini. P. 105. 1. l. deva idam cte. Konow with niss, other than W'S. put this specch in the mouth of the jester. But considering the partiality hc has for ornaments it appears to be wrong. See Notes on II. 25 below, 1. 4. kī icira girdle of one string (rka yasļir bhatet kilici). 1. 11. SOV valań kidī vannida. Tha jester has nowhere before described Karpīramañjari with all her ornaments ; it may be that he is referring to some such description which he gave of the princess during the interval between the Act I and Act II. This is what he was going to say. It is possibly due to a misunderstanding of this passage that the stanza beginning with Jissīt ditthi etc. (II.23.) has in some late mss. been put into the mouth of the jester, though W. allots this to Vicakşaņā, m ;

·Page 105, line 8 ] 161 .. P 106 1. 13. His a gg a c a i ga s = a...b hũ s a n c hi. The jester here stoutls gives his own view as opposed to the king's in I, 31. and provokes the latter's repls in the next passage. 1. 20. thoranam etc. The substance of this stanza is: Toilet dnes not effect any improvement to a lady's full round breast-, her wide eyes, lovely face and her body; or, in other words, it puts things in a disadvantage ; for example, clothes will come the charning brca-ts, collrrium will put a black mark round ti:c , the natural grace of the face will be corrie by the potrder and the beautiful formation of the body will be nbscured br garments. Still these vill please all. Now what is the reason of this. The remarkable reason of this is that is beautiful by nature (route) canuot br «poilt. 1.2. suttavam (=érotaryam ) lit. 'that which ought to be heard'; as an adj. to kiranam. it means ‘remarkable'; kilttarum has influenced the formation of this word. 1. 4. nadin a vidla mbo. 'an imitation or deception of the actresses'. For the make up of a nadi see the Saugitaratnākara, VII, 1250-1257. 1.5. nisgga 'natural condition'. Konoy reads niangam' against W., nisaugom gives a better sense to the passage. 1. 6. ad amb h 0,- honest, undeceitful; alambho (for alabbha=alabhya) unattainable'. 1.7. prama s ha a re kale'in that pleasant age' i. e., youth. Lanman's interpretation of the whole stanza is not in keeping with the spirit of the preceding passages. 1.14. bolei=passes. The root bol is desī and meang 'to pass away' O. P. 80-21 .. 1 ·162 [ Page 107, line 19. P.107 1. 4. pāiā juņņa-majjāri ā......t a k k a m. Here Konow unnecessarily disregards the testimony of W. The expression means 'The old cat has been made to drink the buttermilk as milk'. W. puts this passage in the mouth of the king. This seems to be only right. The king was only thinking in these terms and in our modern taste it is bad enough. An open reference to the queen as an old cat would have been a piece of impudence on the part of the jester to whom the later mss. ascribe it. Considering the caution the jester displays later on (II. 47.) Konow's ascription of the specch to bim quite unjustified. 1. 19. ucce him goüre hiņ etc. This passage seems to have been much damaged in transmission. An ignorance of the exact construction of the swing night possibly have been responsible for this. For aught we know the swing on which Karpūramai jari was placed was something like the body of an Indian chariot and as such it had steeples (gopūra) and banners (dhoaja ) and bells ( ghantā ), due to all of which it had the similarity of a heavenly car carrying a goddess. The sort of swing that is used in the swing-festival of Kysan should be remembered in this connexion. 1. 11. uv a r i ț ¢ h i at han a p p a b bhāra. campiam etc. In W. alternative lines of this and the seven succeeding stanzas have been divided between the jester and the king. The king praises the heroine with short descriptions (sutta=sītra) of her charm and the jester makes comments ( vitti = vilti) on the same. See l. 8 above. But Konow overlooked this fact. campia-This is a desi word which means 'pressing'. It is probably connected with the Bengali root capā 61999 P.109 to press.

·Page 110, line 10) 163 1. 11. tā ra m-'clearly', 'excellently. In this stanza the gracefully moring white pearl string has been compared to a stream which sprinkles the creeper of C'upid's exploits with water. P.109 1. t. ghusiņa (= jhiarz=y)ʻrubbed'. 1. 10. silim in u lie. Tro arrows being two eyes, Here ioo Rāj has used dual. an unusual thing for Pkt. Gram warians however will consider this to be plural. P.110 1. 8. a isisir a m. pi etc. llimani means here cold season. The whole expression means, 'though the winter is very cold, yet it seems tn be as hot as the sunbar middag'. 1. 10. la cch is a ha a ro.-'a'one' (lit. lahomi or Rūjnlukşmi as his companion); cf. hypänımālradritiyn ......samāyāto' si, Jambhaladatta's Version of the Vetālapa.ca-vimsati, ed. M. B. Emeneau, p 10. line 11-12. 1. 13. saņņibido ......wantibim. muntihim in this passage has been road by Konow as sahihim against W. and other mss. But this seems to be unvecessary. King's friends were also a kind of mantrin or sacira (Minister) to him ; cf. iyron ima sa kamatanlasuirassit pīdī, Mālavikāgoimitra, IV. 181 (ed. Pandit) P.111 1. 17. kisa tie duvarade se bha vi. dav va -'Why should she ( Karpīramu:ījari ) stop at the door ' Lanman's translation seems to be wrong; for Vicakşanā already (11. 14. 15 above) tells the jester that they should stay there for the mutual meeting of the king and Karpūrama jari. On this the jester enquires of Vicakşaņā what reasons will bring Karpūramanjarī at the door of the Emerald Bower. P.113 1. 4. j attā (=yātrā), rush', lit. 'start. sa matta (=scmāptā) 'entire'. 1. 12. kajjala ka lās a my aggidāņa ņ ·164 [ Page 119, live io P.114 'unade promineot (samragyida samvargitu) by the art of (giving) collyrium'. Kouor's reading is opposed to W. and does not carry any good sense. 1.1. sibās u (=śikhasu)'in branches'. 1. 10. tie by her', i, e. by the Śrī or the goddess of beauty referred to in previous half of the couplet. 1.12. bālā o. Konow reads bālāu, but it should be emended even against W. ACT. III. P.116 P.119 1. 4. ollollā i-v i ( =ārdrürdrõ-pi) 'even very liquid', molten gold has a very bright yellow colour. 1. 8. tārā (=tārāl), 'excellent'. 1. 10. rahas a-palia ka ņdh i 'one who forcibly makes (others) turn (their) head (lit. ncck). Lauman's interpretation can hardly be supported. 1. 11. sa vaņa pa ba ņivitth a 'entering the region of ears', i.e. very large. Lanman's translatiou does oot seem to be accurate. 1. 18. hatthanta re-'one cubit apart. 1. 5. na hab a h ali dajo hņāņibbh are etc. lu the night that was filled with the moonlight that made the sky ample. Here also we find Pkt. word order in the first part of the compound. According to Skt, grammar the compound would be johnübahalidanaha. Konow's reading seems to impoverish the sense. 1. 10. guvina a ... abhippão. The first half of the passage has been much distorted in all mss. except PWNOR. From suvinaa we have Old Beng. suināta. a ņus and hamāņa here means, comforting', of. āt mānam anusandehi. Hitopadesa 4. 3. (ref. of Apte's Skt. Dictionary ).

·Page 125, line 3] 165 å balā P.120 1. 191. citta bheo (=citru-õhed uh), 'a peculiar distintiunihoin the prerious coudition). P.123 1.10. karaạigg a d ain 'coming out from the hands'; but such an espression does uot well fit iu with the coutext. The origical reading was perhaps kurunilaggam 'coming in close coatact with the bands', but this is not given in any of the mss. 1. 16. ganthi vaņņ a...h a rin ehi. See uotus ou Vikramorvasi 1.17 (Icf. of Aple's Skt. Dictionary ) ludijantı=lilyante. P.124 1. 12. ma jiba a m ( = 1nadi yakam) lit. 'the slender middle portion' i. e, waist of. Bengali mājā 18, P.125 1.3. k a ham varilla i calea etc, This puling out of the lawp by the jester was occasioned by Rāj. with a view to give the king an opportuuity to make advances to Kurpīramanjari who was (maideu) and lienee vas naturally shy. See Vātsyāyada (II. 2. 10) bālāyā upõrvayas candhakare 'a girl who was 110t approached before (by any other man) should be approached in darkness. 1. 11. ņa vassa taus assa ( nau isyu trupusasya ) 'of a young cucuinber (which has thorns sharp and prickly)'; horripilation at the touch of a p-rson of the opposite sex has been consid-red as making the body thorny, standing hairs being compared with these thorus. This word has wrongly been displaced by timisa omissiou of which by Roxburgh was only natural. Cf. Lanman's note on li'nisa. P.126 1. 19. sasi b a r a'r aia ma rat to. The pride of the moon ( sasihara=susudharu ) and the sun (rai= ravi). The starzı refers to late Indian spring which is another name for summer characterized by the hot sun and the pleasant moon (see Rtusamhāra I.1).

·166 [ Page 129, line 2 P.128 1.1. devie pia va a ssena etc. This speech has been prcceded in Kobow's ed. by the exit and reentrance of Kurangikā. But this is unnecessary. Before her going the Jester inſers the real reasou of the noise. This passage meens : 'the deception practised by the dear friend (king) on the queen bring found out, she comes...' The Skt. trauslation will make it clear ; devyai priyavayasyasya val capākplam avagamya (sā) agacchati.. 1.2. tä kujj a vā maņ a etc.-Though Konow puts this in the mouth of Kurangikä it should be the continuation of what the jester was saying. Iss. PNT support such a view. ACT, IV. P 129 1. 2. aho gāạ ha a ro anhag imho. lustra] of this sentence and two succeeding ones, Konow reads a couplet, but W. reads Prose. So do PNOR. But the second part of the couplet does not at all occur in them. 1, 5. suba aja ņ a.--'a beautiful person'. 1.7. Vaba nijia ( =*vadhunīyu = vadhya ) "liable to be struck or to be killed'; the root 'han' means 'to strike or to kill'. Kouow's vādhanijj. (= *ladhaniya) means 'liable to put obstacle or trouble.' 1.9. k im ņ u k liu de etc.-This passage and the five succeeding ones do not seem to have any organic counexion with the plot of the play. It is possible that a portion of it coutaiuing relevant passages have been lost or this portion his accidentally crept in. 1.2. taliņa vittha rā of short duration'. 1.7. majjbanhe sirikh and a • etc. In this staoza Rāj. suggests a new set of five objects as Love's arrows, P.130 ·Page 132, line 5 ] 167 P.131 P.132 P.133 1. 4. li luttamse sirisam etc. Laoman's translation of this stanza is defective. liluttomase sirisam means 'Sirisce flower at the sporting crest'; sindhurara here means $. flower and not S. berry as Lanman takes it. Konow's reading of the stanza is also not defensible. Jo the third foot should be read kūmarijjo (Pridyah) manoja meaning 'endowed with lore-charm, and pleasing'. 1. 14. PAccaggam navariva etc. Tl.is quarter of the stanza has been badly changed in mss. other than WOR, because of its difficulty. W. too does not serm to give it aright 1.5. a na ngase nākalingase a cte. The speech of the jester containing the names of many maid. servants has been much distorted in later times. 1. 16. ã d hattão (=Uhrah) 'assigned', 'placed'. 1. 11. talin a ņ suão 'haring thin clothes'. Skt. talina means 'thiu'. Lanmad's translation here seems to be wrong. The use of this adj. to clothes suggests that they bring drenched the voluptuous charm of the dar.cer's physical form became visible. 1. 12. jantajaleŋam mani bhāinchim with water from syringe as well as jewelled cups. Of the meaning of manibhainn we are not sure. 1. 14. 8ola h -=sodasā sodulsa solasa solah). This word gires Beng. şola (=sola) (ta. naccani. It is cognate with Beng. mücau, nācuni atbal, algat 'dancer'. 1 16. rehā.yiguddhaObserving correct rehā ( =rekha ). For the meaning of rekha see the Abhinayadarpaņa, p. 27. 1. 18. motti ņ a...vā raāi 'leaving aside jewelled cups'. See maņivāraehim above, i ·168 [ Page 135, line 11 1, 11. P.134 1.1. tikanda cā vā ( =trikāņdacāpāh) 'having three arrows and a bow'. 1. 2. palinda. An aboriginal tribe dwelling in jungles. 1.5. huduk ka ( =qlamaru ). See the Saņīgtaratnākara, VI ; 1072. 1. 8. joiniva la a. Konow seems to be wrong in separating this into three parts. It means the bracelets of a Yogini who wore iron bangles. The passage appears to be corrupt. P.135 81% e sap po otc. Cf. Mudrārākṣasa, I. 22. 1. 16. Aggado da kk hiņāvihid ............ pirāha bha viss a d i. It seeins that this passage, occuring in NO. has been considered difficult and unmeaning and hence discarded. It means 'next (ayratah) the marriage whlch is demanded as tlakšiņā will take place'. P.136 1. 2. pajjarīvedi(=*praksarapaynti) W. reads here wrongly palibhavelli na hu sa ra as a miramantaren a ......... This passage though occurring in W. between -vedi and schülü has been given up in some mss. and by Konow. But this has spoilt the passage. Cf. Viddhasāla, p. 634. P.138 1.1. parisare appaņo 'in one's own proximity', 'neighbourhood'. Konow reads here parisappiņā with PN. 1.9. ja não tik a m. No ms. gives this, but from the context this is to be assumed. 1. 10. pāriddhi ā ( =pāridhvajiha ), dahjā > -ddhia. This word means 'standard-bearer'. 1. 12. gattia (sutrikā) 'string'. P.139 1.3. padi va ņņam (=prativarnan) 'dress', costume'. muddhā (mugdha) 'very young'. The End ·SELEIT GLOSSIRY ऋन्तानत्तण অন্ধন্ত্রি । 'अनित) not produced. . की धान्ना-amaihen of Kh.cE अकगड ' अकागड़) accidental, कम्माडी-arcnance Karate. . sudden. (कान्तरङ्गन pleasi::g अग्गहथ । अग्रहस्त) fingers. one's beloved wife. अस्थानी प्रास्थानी) assembly room. क्न्द लिदा कन्दग्नित' Aghtingsait. आदत ( आधत) held. कन्दो (नन्दकमन्द) bre laas. बाल बाल (*माई पाल। watering करगिहा (करण्डिका) basket. trench around the root क नमकर-bried Kalana rice of a tree. shich is scirn in Viar- June and is harveste! उडडामरिद (रित) terrific, in December- January उम्विम्बिगै (उबिना) anxious. (Aman rice). For कन्दम उदुसमन (ऋतुसमय) season. see Kumara, 5.47 and उल्लणा (उल्बणत्व) manifestness. Raghu, 4. 3. कसवट्टिया (कषपहिका। touchstone. एणणाहि (एणनाभि) musk. किलकिल-the root किलकिन्न : chatter. औलग्गा (अवलना) devoted, कौरदि (क्रियने) the root करतो श्रील्ल from उल्ल (उद्र) watery, to do, . moist, wet. कुडुम्ब (कुटुम्व) member of the family, relation. भोलोन (पील+श्रोह) very wet. कुणन्ति-the root कुण (क), to do. कुप्पासप (कूसक) bodice. कमावभार (कार्यावतार) presenta- | कुम्भुभव (कुम्भोद्भव) Agastya rho tion of business. was born form a Jar. कडिल्ल (कटौवस्त्र) garment for the कुरकुरअन्ती-~the root कुरकुर. to lower part of the body. make a chirping noise. कढिद (कथित) boiled. from कुड्ड, wonder, कल्ली-the Asoka tree. curiosity. कोड ·170 SELECT GLOSSARY grasp, to take. tafsy (@fcm) chalk. छडल (विदग्ध) clever or learned au-piece of earth (E.) man, CR-the root ge, to break fia (fea) scattered, overinto pieces. spread गलिवडल्ल-गलि unruly and वह हेष (निपुण, चतुर) clever bullock. learned man गुम्फदि-the root गुम्फ, to string कोलन्ति-the root छोल्ल, to together, scrape. Ft (gr) gate. 77 (3773) old, full-grown, aferaathe root az to throw, gu () old. cf. Hindi staat. gfeu (ae) rubbed, 24-head-gears ; see notes (ster) the root@, to p. 156 caft-a kind of silk, embroidery with the same, (at) the Cakora bird. fefeci (face-farararat) beautiful, pleasing, T= gambling hall. $70noun from F. चनिमा, चनिग्माण-noun from चङ्गा CAT (ts.) show, pomp. -restless, clever, expert. fear (ts.) small child. aut-licker, form the root E, to lick. for (free) loose, not tight. 737-the root 73, to mount. sf (a) violence, im 1941 (tigat) the Pān or petuosity, Tämbulacreeper. fraqmcrushed. OTH (art) a kind of चम्महिमा (चर्मयष्टिका) a whip made weapon. with leather strips, wift from (ITC) orange. चल्लि-a kind of dance waayeg, costume, dress. movemnant, probably cennected with Cāri. De (Fra) faleiti, oblique. See NS. Oh, XI. तभत्ता (तभा) her husband.

·SELECT GLOSSARY । तम्बपमो-तामपर्णी, a river rising पम्फनिभा (प्रफुल्लिता? blorning. in the Malaya moun. पञ्च (प्रपञ्च) heap. crowd. lain and famous for its पर्वम-प्रवेशक) Praveſaka, pearls. Introductory Scene. तरही-an iinpudent woman, पाडिसिद्धि (प्रतिसिद्धि' rivary, तलिण (तलिन) short. emulation. तिउस (वपुस) cucumber. तिरिच्छि (तिर्यक् ) oblique. पामर-ts.) a person of lor तिलाअण (विलोचन) Sira. origin. . तीणौर (तूगौर) quiver. पारिहिया (पारिवभिका) standard. bearer. थक्वन्तु-the roat धक्क, to remain, पालित्तिा (पारिधिका) apaianquin. to be at rest. पाहुड (प्राभूत) present. थोर ( स्थूल ) plump, large. पिच्छ (पुच्छ) tail, feather of a tail (as of a peacock). दन्तुर-(ts.) uneven, rising, पिअर-ts.) taxny, reddish. covered with, दरोडसिप (दरोब्लसित) slightly yellow. raised पिहल (पृथुल) large. दाहुडामरिद (दाह+उड्डामरित) | पुकार-the root पुकार, to cry, terrible on account of burning sensation. पहिदा (प्रखिता ) sring. दीहल (दोहद) the longing of a : पोत्याइ (पुस्तादि) Pothi and pregnant woman. . similar things. . पोप्फल (यूगफल) Pluga fruit धाडो (धाटी) attack, assault. पौम्म (पद्म, lotus. पोम्पराब (पद्मराग) ruby. पडिवा (प्रतिवर्ण) dress, पडिसारीपदि (प्रतितार्यते) the root फरक्किद (फ बकिद) brandhished. प्रति-सार, to tune फुल्लुक्कर (पुष्य तकर) bunch of stringed instrument, flowers- पण्डी (पाण्ड्यी) a Pandya woman. पत्थरिजदि (प्रस्तायने) the root प्र-स्त. वाहधारा-वाष्यधारा, stream of to spread. tears, Hindi पुकारना. -- a ·172 SELECT GLOSSARY बुड्डणुबुडण (बुडण + उब्वुडण) । लम्वत्थ णी (लम्बस्तमी) a roman with breasts hanging, बुड्डण-diving in, and उब्लुइडण diving out लगाष (नाक) thin, fine. atas-the root, a to pass. वअंसी (वयस्था) female friend of भसल (अमर) bee. sanie age. भारण (भाजन) receptacle. वरम-bullock. . भुल्ल (धान्त) mistaken. cf. Bengali वक्करकाल = time of prattle. जून-mistake. . वच्छोमी = Vaidarbhi. मणिवलही ( मणिवलभी) topmost वत्त (वृत्त) tidings, news. room of the house. वरही (वहि) peacock. मण्डलिद (मण्डलिस) bent, curved. | वरिल्ल-cloth, saree. मसाण (श्ममान) cremation ground. बहणिज्ज (*बधनीय) adj. fit to be killed. महल्ल (महत्) elder. महिनदि (महीयते) is honoured. विअडल्ल (विधकिल) Sajina tree. माउछो-masc of. माउछिपा विश्राल (विकाल) afternoon. (माखसका) mother's विक्खम्भा (विष्कम्भक) a kind of sister. Intermediary Scene; महिप्प (माहात्मा) greatness. see the NS. XX, 37-39 मिस (मिष) pretext. विकिरड (विकौरति) the root वि-कीर मिहुण (मिथुन) pair, couple. lo scatter मुणाल (मशाल) lotus-stem. विच्छालन्त (विचालयन्त) washing. मुणिजदि-~-the root to fagfest --corruptor (fem). know. विडम्ब (ts.) imitation. cari- मुग्णिद (ज्ञात ) see above. cature. मोर (मयूर) peacock. वित्थर (विस्तर) duration. मोहण (मोहन) sexual interourse. ! विदूरभूमि-the name of a land from which vaidīırj'cı रमणफलप (रमनफलक ) buttock, (lapis lasuli) is brought. hip. faaste--the fans to scatter. freitat (ts.) series, row. वेषडिय (वैकटिक) diamond-cutter, रहड (राज) the root रह, to shine, to exist. . jeweller. बोझ-word. dafar-polished, cleansed, संघाडी (संगटी) ) embrace of लट्टी (यष्टि) stick. loyers सुण, ·SELECT GLOSSARY 173 संविहाणच :मंविधानक Crange- सिमुक्ता शिशु intancy. nment. सिइण्ड 'शिखण्ड । a crest. सजन (माध्य. power. मिहिण मन' breast. 759-a kind of pia. :. मुत्तच तब्य be heard. साह (य) ine. मुल्ल (शून्य) mea: cooked rith मरिच्छ (सहच) similar the hea:es rise. सव्वंकसा (स बैंकषः। alpowerful. मजाहर (पाय्याटह) bearoom. मुसिहण्ड (शशिखगड } Crescent सोणीरत्तए-patience. hercism. moon. हकारिअ---he root, हकार ocal. माडीलिपा (शाटिका, a suree हारच्छडा--cluster of mecklaces. मामा (श्यामा) dark. हिम्टोल हिन्दोल' swing. साहार (सहकार) mango :ree. : हिदावन दियापद्य) Sorror at सिचत्र (सिचय) clothes. heart सिञ्चिद (शिञ्जित) tinkling sound हिन्दोलन (हिन्दोलक) siring. of ornanients, kind ct musical farsit-oyster shells, instrument. - CORRECTION p. 84 line 12 Read Finaisia; p. 92 line 4 Read SIFA जक्ख

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