·PREFACE ise. This edition of an un cantos IV and Vis . primarily intended for the First Year Arts students We thought it necessary to include Mallinatha's commentary (a's decidedly that is the best), in so for as there is a special advantage that would accrue to a student of Sanskrit, if he cultivates the habit of understanding his texts with the help of the com mentaries, from this early stage in his University career. In the following pages, Mallinātha's commentary is followed by the English translation ( text, commentary and transla. tion thus making a unit in the case of every stanza ), to facilitate ready reference. In the 'Notes' has been thrown after the anvaya' of every stanza, all grammatical, explanatory or critical material, calculated to help the student thoroughly appreciate his text. The departure from the general praštiće, of the nature of the mention and explanation of the tatankaras". in the 'Notes', and of that of the devotior, &e an entire section in the introduction, to the discussion and scanning of the metres used by the poet, are intentional. We think this plan would answer the purpose of indsiating the student inta the rhetorical' and the prosodic aspects of his texfr.much better than the relegation of these tiesnesita appendices'. In the translation, the reader need not be thekspited to see a number of brackets, semi-circular and rectangular. Throughout an attempt has been made to keep the English rendering as close to the original text as possible. This has necessitated putting some words, supplied of course to complete the sense, into rectangular brackets. Certain vords, that may be found to be either difficult or used in an other than the usual sense, are put into semi-circular ·1 modern Ujjayini, near Bhopal. His reverential references to that city, and to the Great God in therein, the numerous passages describing the scenes on the banks of river Narmadā, and the fact that the 29 in dwelt on Rāma. gin-the modern Ramteka near Nagpur,-all these along with other facts lead us to believe that the Stratford-on-Avon of our Shakespeare was in central India, and perhaps, Ujjayini. Kalidasa's early life is also a closed chapter to us. Legends that tell us that he was dull in his childhood, and that he got the peculiar powers as a gift from Kalı, after practising severe penance, etc. are better passed over. Such legends possess no historical value, and as such they must be accepted only after great consideration. From the study of Kalidasa's works it seems that." Kalidasa hirasell must have been a man gifted with all the learnings of his age, rich, aristocratic, moving wholly in high society, familiar with and fond of life in the most luxurious metropolis of his time, passionately attached to the arts, acquainted with the sciences, deep in law and leaming, versed in the forma. lised philosophies ( Kaldása by Sri Aurobindo p. 14). The legend that associates Kälıdāsa with king Papa, deserves a careful consideration. The word FH occurs in the title fáil, even when by the ordinary rules of dramatic art, the word geta ought to have been inserted. We see in the title of मालविकामिमित्रम् and मालनीमाधवम् the names of the heroines and the heroes. The change that is introduced by Kalidasa does not seem to be a matter of mere accident but an intentional act. Perhaps ho wanted to make sono relcrence to his patron, and this he accomplished by the charge. Shakespeare has also referred to king James in his dramas. This naturally raises the question about the idently ol king Vikramaditya tho supposed palron of alldags. Various theones have been forwardod by different scholars. Somd ·including Dr. Wilson, believe that Kalidasa was one of the nine gems who adorned the court of king Vikramaditya ruling at Ujjayini, after the defeat of the S'akas. Strangely enough · however, no edict or inscription of this Vikramaditya is found. Similarly the view of Dr. Hoernle, who understands by the said Vikramaditys, king Yashodharman ( 600 A. D.). the conqueror of the Hunas, 18 untenable, for in edicts this king is eulogized as wat and acad, and never by the title Vikramadiiya. So, this Vikramaditya must be sought somewhere else, A clear reference to the name of . Keldasa is seen for the first time in the Athole inscription dated 603 A. D. In the Mandosar inscription, which 18 still earlier, dated 437. A.D, we find verses from the pen of Genit, which are quite similar to those of Kólidasa (1990 of artists similar to that of verse 66 from ug and a 31 with stanzas 2 and 3 from 5th canto of ETHETH). This similarity naturally raises the question as to who is the borrower. Dr. Kelth remorks, in this context "to suppose that Kalidasa knew these clumsy verses of an obscure poetaster and tumed them into the simple elegance of his verse is absurd, to hold that a local poet appropriated and tried to Improve on a verse of the great post of Ujjayıni is natural and B{mplo" (History of Sanskrit Literature P. 82 ). This clearly takes Kalidasa boloro 437 A.D., which may be laid down of terminus-ad quom Scholars have also discovered similanty botween somo passages from the works olin, a Buddhi. stic poet who flounshed in 100 A. D. and those of our poct; and have cone to the conclusion, that Kiidesa is later than 71. This conclusion serves the purpose of toonnus a quo, Thus Glidisis dcemed to have tlounished, at the court o! king Vikramaditya who ruled India baixoen 200 D. and 500 A. D. Issa'a works, reveal an almosphore ci tranquin lity, happincss and caso. In other words the pool bss un.

·had said more than once, that Ralı dwelt in his heart. Has he forgotten this, and also the sweet hours of their enjoy. ment? Otherwise it is dillicult to explain Ratı remaining uninjured even after Köma's departure from the world of the living. How pitable the lot of the world in the absence of Kāma ? Wine cups in the hands of beautiful damsels, the maddening hummings of bees and the sweet notes of koil would be of no use, any more. Who, in his absence, can lead the ladies to their lovers abode, when the streets are enveloped in the noctural darkness ? Come oh Káma, come, at least for all these things. Let not the world be berelt of its charms. Do you not remember our love dalliances ? Here, the flowery decoration and painting of my foot are still fresh. Return oh Kama.' Kama'is not returning. Rati must follow him in death, and that too immediately; otherwise he may be lured away by the heavenly damsels. Vasanta, the friend of Kama, can be of some help to her, in preparing the funeral pyre, But he was not seen there. Was he made to share the same fate, as was experienced by Kama? Vasanta, who was standing a little away from Rat), all this while, appeared before her, His sight as is natural, only heightend her sorrow. She repeated her resolve to follow Madana in death, Pativarata as she was. Even inanimate objects prove that a wife must follow her husband, Charming at vanishes with the moon, and lighting is seen no more after the disappearance of the cloud. Ralı must follow Madana and Vasanta must help her.. In days of happiness, Vasanta had prepared a flowery bed for Madana and Rati. Alas! the same Vasanta is requested by her to prepare a funeral pyre! What an irony of fate? Vasanta's misfortune however does not end there. He will have to perform funeral rites and offer oblations to Madana and Rati. Extremely sad it is, but Vasanta must be prepared for it. Thus Rati stood ready for sell-inmolation. Just then, a voice from above, comforted Rati, by assuring union with VI ·at her friend, suggesting her to answer the query. The friend explains in details, Pārvati's longing for Sankara and her love-forn condition due to the disappointment she experienced at the time of the burning of Kama. She herself is also entertaining deep anxlety for the safety of Pārvali and wishes that the lord should take pity on his devotee immediately. The Brahmacharin, now turns to Parvati and asks "Is this true or is it a mere jest? Pärvat answers it is true. This gives an opportunity to the student of Veda, to attack Sive vehe. mently. He explains at great length the ridiculours form, the dress, the belongings and conveynance of Shiva. A threeeyed god, with serpents entwining his neck, ashes of funeral pyre smeared to his limbs and the elephant-hide wom on the body, deserves only to be laughed al. Ono should shudder even at the mere idea of friendship with him. Pārvata however, was longing for a life-long friendship, or why vnion, with him. Princess Parvati after walking on the heaps of flowers and applying sandal.paste to her fair bosom at the time of the celebration of the marriage, would be required to trend the ground scattered over with hair in the cemetary, and to experience an embrace of Siva's chest, smeared with funeralashes. She would by sitting on the back of the superannuated ball, who would find it difficult even to walk" straight. So it is better for her to take away her mind from the improper tract, This oftack on Suva the loved ono of Parvati, naturally excited her anger and her lips bigan to quiver. Proudly sho spoke 'you do no! know Siva.' Only those, who do not understand the ways ortho magnanimous speak in this manner. S'Iva's Inauspicious form, his penniloss condition, lits weanng elephant-hido on his body, his scaring the tuncral ashes to his limbs and his moving on the old ball-ll thoscan bo uudersiood only by thoso who know his real nature. Curious and the ways of the gren! Even with all the paraphernalia, Siva is respected by Indrs ·IIII -Kumarasambhava: a Mahakavya : The class of works to which Arch belongs, according to the Sanskrit rhetoricians, is that of HEITTEIS. As such 1947 is to be sharply distinguished from works such as मृच्छकटिक, रत्नावली, शाकुन्तलम् , etc, which conshtute the dramatic.or'scenic part o! literature in Sanskrit, and are therefore styled 'दृश्य काव्य'. At the same time, कुमारसंभव has to be held apart from works like बाण' कादम्बरी or पंचरित which are charactersed as a war and an alta respe. ctively, though both these, along with herau fall in the category of 2 as distingwshed from the forms of literary composition. The reason for such a distinction to be made between a 'WERT and FA or 31679 Ft is, that the former as a rule is couched in verses, whereas the latter, for the major part, are couched in prose, though t-sprinkling of stanzas in the 997 and 77977 metres, is not only allowed, but regarded as necessary for a (Vide Tatim of Àrata, VI, stanzas 332, 333). No careful reader is likely to confound a महाकाव्य with a बम्पू-'गदपद्यात्मकं काव्यं gintaedt altet what has been said, regarding the medium of a 19 vaz, verses or stanzas, as distinguished from mere prose: Yet one more pit-fall is to be avoided. That is, that though a 405 2 typically represented by Kalidasa's huga' is all couched in verses, it is not a 761Fra for the simple reason that it is too short to be so regarded. A. poetical work, composed in verses, satisfying the condition regarding the minimum length alone is entitled to be called aमहाकाव्य.

·, . . . Distinguishing a महाकाव्य from नाट्य or 'दृश्य काव्य in gen. eral, and further, from कथाs or आख्यायिकाs, from चम्मूs and from खण्डकाव्यs, marks only the beginning of the process ol learning what a महाकाव्य is. It is, however, even more impor. tant to learn, what a thing is than to learn what it is not The negative way serves its purpose all night but cannot take any one lar enough. This necessitates, therefore, a careful consideration of the positive, traits of a 70771, which alone can throw the required light on the form of literature, which कुमारसंभव represents. From the days of Dandin, the author of Kavyadarsha, the question has received the attention of the. toricians. Following is the account that विश्वनाथ in hts माहित्य- दर्पण, ' Mirror to Literature. gives in this connection--- मगबन्धो महाकाव्यं तको मायकः मुरः ॥ ३॥५॥ सशः क्षत्रियों चापि धीरोदात्तगुणान्वित ः। एकवंगभवा भूपाः फुलजा यहयोपि वा ॥ ३१६॥ मारवीरशान्तानामकोशी रस इप्यने । अगानि मऽपि रमाः सर्वे नाटकसन्धयः ॥ ३१ ॥ इतिहासोदय वृत्तमन्यता सजनाश्रयम् । चस्यारम्तस्य वर्ग:स्तुस्नेक र फलं भवेत् ॥ ३१८॥ भादी नास्त्रश्याशीयों परतुनिर्देश एव था। चिनिन्दा गलादीनां सता च गुणकीर्तनम् ॥ ३१९ ॥ एकरामयः पधैरवमानेऽध्ययनकः। नातिस्वल्पा नानिदीपा मगा माधिका १६ ।। ३२० ।। नानायलमय. पानि सर्ग: श्चन दृश्यते । मान्त भाविमर्गस्य कथायाः सूचनं भवेन् ॥ ३२१॥ मंगास्येन्दुरजनीप्रदोषान्नवामराः । प्रातमभ्याम् गृगयागेल वनगागगः ॥ ११ ॥ गम्भोगविलम्भी च मुनिस्वर्गपुरानराः।

·रणप्रयाणोपयममन्त्रपुत्रोदयादयः ॥ ३२३ ।। वगनीया यथायोग सानोपाड़ा अमी इह । कवेत्तस्य वा नाना नायकस्येतरस्य वा ॥ ३२४ ॥ नामास्य सगीपादेयकथया सर्गनाम तु । Or, in other words, a 1707 is a composition is cantos, canto being the name given to the divisions into which the text of the entire o is'presented in a TIF.127, there figures a hero, who is a god, or in some cases a mortal born of a high 24-farmıly, possessed of noble qualities, or in some others, many such persons belonging to the sanie race are seen to occupy that role. The poet, it is necessary, develops some one as the main sentiment, may be it is the erotic, the heroic or the quietistic (1) etc, against a back. ground of other sentiments which have to be brought in to ensure vamety and effect. The story to be unfolded during the course of the poem, should be known to history (or similar works ), or else, it may ba any, i. e even imaginary, but one that deals with good folk The opening of the poem should be marked by a salutation ( Vide Fia: Paai qah acaait- TÄYNI W.1, 1), ora benediction or a reference to something vitally connected with the plot. To emphasize the moral tono, (914 proceeds to state, that in places there should be censure of the evil and glorification of the qualities of the noble. On the formal side, a HTFT should be one composed in verses, all in the same netre, in a given canto, though towards the end of the canto, it will be secn by the author, that a different metre is adopted. The cantos in their own turt, would be neither ridiculously short nor abnormally long. Their number should be either 8 or moro. Occasionally a poet is seen reserving a whole canto for the display of his mastery over a variety of motres. Such a conlo composed in many metres, is however, an excapuon and not the rule. X11 ·Every canto, towards the end, should indicate what is to follow in the next. As a Te is but a form of belles letters, it is but meet that it should be full of beautiful descriptions of some of a wide range of themes. Twilight' (hues), the sun, the moon, the night or its beginning, the evening, the blinding darkness, the day, the dawn or the noon, from the realm of Nature, are some from which the poet may make his own choice. Or, alternatively, he may * give graphic accounts of hunting expeditions, of mountain (scenery ), of seasons ( and their specialties ), of forest (site is, of oceans, of love in union and separation, of sages, of the heavenly world, of cities, of sacrices, of military expeditions, of marriages, of counsels ( given by expert ministers to the king they are serving ) or finally of births of sons (as that of ty in (vit Canto III). The poem should be named after the poet himself. or after the plot, or after the hero, or after some other character in the story (for instance शिशुपालवधम् where the slaughtar of शिशुगल-the villain of the piece, is mentioned prominently in the name of that #CI?T=4). It is in no way difficult to show that these traits of a महाराव्य, given by विश्वनाथ are revealed by कुमारसंभ. Thus God Shankara, who, it need hardly be said is possessed of noble qualities, is the hero ( atat 2144: 90: :oontlūTIETOfaa:). The poem develops the Karuna Sentiment. ( time. वीरशान्तानाम् ' being only उपलक्षणात्मक, and there being no obligation on the poet that only some of these three should be taken up ), answering the At part of the condition 'संभोगविप्रलम्भाच in Canto IV. The story is based on what the Puranas, which come under , tell about Kärlkeya and the demon Táraka ( en ). The poem opens with the description of Himalaya ( आदी यम्नुनिर्देश एव या )-50 XIII ·vitally connected with the plot. Canto VIII does justice to the Sambhoga variety of Shringāra. The extent of the poem, as generally accepted, is elght cantos (ani azi(4T:=-372 ani: or अष्टाधिकाः सर्गः). Upayama' 'or marriage is described in the seventh canto. The centos, without being too long or too short, stnke the golden mean in respect of their extent. They end with a different metre, as shown in detail in the notes on those portions. Towards the end of canto IV, in the words heard from the sky, there is a suggestion as to what is to follow in Canto V; for, the words give an assurance to Rati of her union with her lord, which has the acceptance of Parvatı by Shankara (canto V) as its necessary pre-condition. Kälıdāss, it will be seen, has named this work after the main incident in the story, viz., the birth of Kārtikeya the Generalissimo-to-be, of the Gods. IV more कुमारसंभवम् in the light of western literary criticism; An account of कुमारसंभवम् , and of महाकाव्य generally as they are called by Sanskrit rhetoricians, has so far been given. By way of giving a finishing touch to this aspect of the study of the poem, there need be added one consideration To students of literary cnticism, and to those of 'compartive literary criticism especially, the names given to and the characteristics stated of similar works in the western literary world, are sure to be interesting and instru. ctive To literary criticism as it obtains in English, are known two kinds of epic There is thus, what they call, the epic of growth' ('primitive epic' or 'authentic epic according to some ) It has been explained, that this is not XIV ·entrely the work of a single author, and that there is so much of pre-existing material of the nature of floating legends and earlier folk-poems, that contrbutes to the text of the epic of growth, which is thus the final product of the process of accretion and synthesis, that has occupied a long period of time. As typical instances of this variety of epic, are cited the Homeric Illiad and Odyssey, where Homer, it has to be noted is not the author of everything that is contained in the poems. Mahabharata, in the history of Sanskrit literature offers an instance of the epic of growth' thus understood, Vyāsa, having been responsible for, as far as was possible, systematically putting together the vast mass of stories, legends etc that already had been current. As differentiated from the epic of growth, there is another, the 'epic of art. (or the 'literary epic'). In spite of the resemblances it may have with the epic of growth, such as that in regard to subject matter which is of the old mythical and heroic kind, in that of the use of the supernatural, in that of the structural plan etc, it has also points of difference from the epic of growth. Thus a single post invents or adopts to his own-purpose, the legendary material. The freshness, spontaneity, the racıness that characterise the 'epic ol growth are replaced by erudition, bookishness, an easily noticed imitativeness, in the 'epic of art. (For details, read pages 139-141, 'An Introduction to the Study of Literature 'by W. H. Hudson). Milton's 'Paradise Lost' in English literature and Valmiki's Rāmayana in Sanskrit ( dropping what decidedly are interpolations), illustrate this class of 'epics of art'. It may with advantage be added, that Ramayana is regarded as an 'illustration of the first and more virile form of artificial epic,-subjected to sell-conscious rules, but palpitant with an early heroism (Vide--History of Epic The Indian Epic, pages 778-782). Gaylay and Kurtz, the authors of the 'History of Epic', point out that a beginning of artificial epic had been made with ·the Rāmāyana as ( the unified, artistically handled theme of Vālmiki is in strıking, contrast to the conglomerate and confused mass of the Mahabharata.' The Kavyas or 'arti. ficial court epics', they add, 'pushed artistic workmanship and aruficial rules to the extreme.' In the light of these remarks, it will easily be seen that the live Mahakavyas रघुवंशम् , कुमारसंभवम् । भैषधम् शिशुपालवधम् and किरातार्जुनीयम् fall in the category of the 'epics of art (or artificial' or Iterary epics, and are an advance on Ramayana, the first epic of art' in Sanskrt). V Metres employed in bolt IV and V. Critics have observed that Kalidasa was well aware of the importance of employmg the right metre in the right place. That the metra is, in poems, the vehicle for the thought to. be expressed and that there should be as perfect an agreemerit between the thought and its vehicle are commonplaces of the literary art, that no great author could afford to ignore This explains Kálidāsa's choice of just the #17trat metre for his , half the beauty of which would vanish, sup. posing at were composed in some other metre. The words are important, no doubt But equally so are the peculiar combinations of short and long syllables, technically known as Tuts in which they are arranged A ta ,is a fitting medium to convey all that is 'heroic' or vigorous or something akan to the same. The metre, again, is highly effective, when properly used, in the creation of the 'atmos. phere' the author airps at. Thus it is due to no accidental circumstance, that with inakes father a pronounce his XVI ·blessing on his daughter on the eve of her departure to her husband's, in a stanza with its metre reminiscent of the Vedic worship and ritual (Vide na sita. Immer: 1... Safaitai 67: 4174-11 ). One need only read aloud such stanzas to appreciate this aspect of propriety of a particular metre in a particular context This would help readers understand Kālıdāsa's employment of the fanta metre, so eminently fitted for the delineation of the sentiment, in stanzas 1-44 o FAIT. IV. This same would bring out the reason why he selected art as the metre for stanzas 1-84, . V. 1 Sanskrit, like other languages, has its own prosody. The rules laid down by this latter, have to be observed by the poet who cares to have the reputation as a versifier who knows his art well. By way of elementary things, it may be noted that Sanskrit prosody distinguishes long syllables from short-all long vowels ( such as 31, 6, 5, 7, 5, 9, zit and it) or consonants in conjunction with long vowels ( such as Fl, etc ) being regarded as long. Likewise, the short vowels, 37,5, 3, 5, etc. or consonants in conjunction with them ( such as fi, 9, 9 etc ) are regarded as short syllables. As a further relevant detail, it may be noted that a short vowel followed by an anuswāra or a visarga or a conjunct consonant is re. garded as long and that the last syllable in a foot (pāda or quarter ) is either short or long as the metre requires Following are the technical names given to combinations of syllables that are possible,-'L' standing for a long syllable and "S' for a short one 4-SLL, meaning that it is a combination of three syllables, where the 1st ts short, and the 2nd and 3rd are long. Similarly, *-LSS, E-SLS, 7-SSS, A-LLL, F-LSL 7 LLS and U SSI. In the definitions of metres signifies a short fit XVII ·. syllable and at stands for a long syllable. This should enable a learner to scan the first two lines of IV, 39, for instance, and see how the lines are in keeping with the definition, विषमे ससजा गुरुः समे । सभरालोष गुरुर्वियोगिनी, meaning in the odd lines, 1st and 3rd there is the combination of 2, 4, 7 and a long syllable, and that in the even lines, 2nd and 4th, there is the combination of #, #, 1, a short syllabile and finally a long syllable. Metrically the lines inay thus be writlen. gat erag die aa-SSL. (F), SSL (1), SLS (5) and L(). caman Pauh arar Faat—SSI. (77), LSS (*), LSL (0) s(a) and I (1). Similar treatment can be given to ATH7, the metre of V. 1-84, defined as a fa Eufe NO TRÌ, giving the combinations ज त ज र. The metre of IV. 45, called वमन्ततिलका, defined as Ja atraían lain. would yold tho 1975, TTTT (illustrated by V, 85 and 85) Finally, the metre of IV, 46, is gemacht, delined as 35 atas TTTt Stema gífqan. Lines 1 & 3 would give 777778 and lines 3 & 4, TTTT VI Kalidas as style. No study of a literary work can be regarded as complete unless the salent features. of the style of the author are carefull, considered. A perusal of कुमारसंभवम् IV & V should, therefore, enable one to understand the mm XVIII ·portant characteristics of Kälıdāsa's manner of wnting. It has been observed by those who have thoroughly and exhaus. tively studied this aspect of Kalıdāsa's works that GACÍHTH I, II and III cannot be regarded as representative of Kālıdāsa's style-n the sense, that the post seems to be at.pains while wnting those portions of the work and in that there is less of the lucidity and naturalness and ease ovidenced by the three cantos, than by other, and may we add, later, writings of the poet Fortunately, TAKVIHTH IV and V do not fall in a line with the preceding cantos of the work, in this respect.. And it can be stated unhesitatingly, that all those ſcatures which mark ara's works, such as were composed by him when he definitely attained the matunty of his genius, as they can be seen from his TFT and UTH, can be found in a representalive enough measure in FATTAHTA IV & V. Kälıdāga has been hailed as the greatest exponent of the azati tira, by common consent of those who write on the theory of poetry, the best of all styles. The principle fea. tures of the Vaidarbhi style are, on the negative side, an, absence of inordinately long compounds and unduly involved constructions, and on the positive side, the presence of judicious combination of the qualities of lucidity (147) sweetness (HTTC ) vigour (ar) and others. The phrase 'judicious combination' deserves a specially careful atten. tion, The composibon'must be possessed of the qualities in such a manner as to produce the impression of a thing that is beautiful quite naturally, even like the flower in a garden. There must be no deliberate striving after effect, at least ea little of it as possible.' Another point is that Sentiment (rasa ) should be the chief thing aimed; all else, the alnakaras in particular, of both s'abda and artha, must be subordinated to the former; and so must OT ·- also the metre. In vew of the detailed observations mado on the various stanzas, as occasion required in the Notes, it should be no difficult task to understand how FAR#1774 IV and V come up to the standard of the arta. Therc are very few unnecessarily long compounds in the stanzas contained in this part of the work; involved constructions too, it not exactly conspicuous by their absence, are few and and far between. The pathetic sentiment is dominant in Canto IV and as would but be expected a large number of • stanzas are remarkable for their lucidity (Vide remarks in the 'Notes' on IV, 7, 10, 11,21,22,32, to point out only the most evident) and ths 13, not unolten, happily combined with alliteration'. Kilidāss, there can be little doubt, was possessed of a rich imagination, which aided by his mastery over language; enabled him to endow his compositions with decoration. Among such alankaras, that beautıly his writing, the most prominent and the most pleasant, in fact, tho forte ol Kaldāsa, is his 3TA ( IV, 30, 46 ). Metaphors are not wanting, gif, being an instanco. To point out just one delightlul fancy ( JFüzr ), reference may be made to V, 25. Oi generalisations, ihere is an ample measure ( शरीरमाचं गल धर्मसाधनम् । “म धर्मगदेषु वय. रामाश्यते V. 33 and 16. respectively). Naturally, the 34-37 is well represented. So are other figures, such as ATHTAT (V. 44). qin (IV, 24 ), tza (1,9), which have been cited and fully explained in their proper places. at: r; aur angt af.' illustrates the fata 777. finally, only onc *• mark ingy.by added. That is that Közdesn has been a gros! suosos: in composing dialogues. That betweon this maiſtt. and win in Canto V, is enough to convires the doubliny. If there era any, that the pact's choco! woris and thor + XX ·arrangement are absolutely perfect, and thoroughly suited to the development of the atmosphere, intended to be created. Words being well matched to the spint, metre and alankaras subordinated to the Sentiment, involved constructions and undeservedly long expressions being carefully weeded out, 'humour' and 'rony being introduced to heighten the 'dramatic effect of an episode-all these have contributed to ATT IV and V being rendered some of the most pleasant of poetic compositions, which a reader is never fired to turnback to, though he may have read them twice thrice over previously..

·t1 Errata [ Mistakes such as can easily be corrected by the reader are left out. Only those, positively misleading, are listed be. low. In making the corrections, the usual method of prnting the word wrongly printed, and then giving the correct word instead, is not followed. Instead, the page. the line, the number of the word, and the correct spelling of the word, are given. Thus, y, 9,2 & 3qhatrat means, on page 4, in line 9, the 2nd and the 3rd words should be quitia. ) 9., 26, 2-berelt 997,3,1 & 2-to it १८, 4,6-विलोलपल्लवा: 15, 3—fore-parts 18, 26, 8-drought 998, 14, 10--tremulous $1, 13,3-OF 994, 1, 3-eyes ? 13, 14, 3-complete 5, after 2, insert, having 20,4-disappeared 479, 8. 6-sun's 24, 8-knew 20, 8-at- 30, 3-4 934, 16, 4-leagues 4, 12,7- the 976, 6, 6-Immortal ८८,7,4-ध्रियते 972, 1,6-krama 29, 10-à 934, 16, 6-seven 4*, 26,9-feather 979, 28, 9-past $4,7,9 wilderness $5,5,7- 989, 16, insert after 9,- for 900, 3.9-propriety 98%, 11.5-on 5,2-sprouts 942, 14, 6-74.TV 26, 5-critics 940, 3, after 6 insert, or 904, 16, alter 12, insert her 981, 8,4 १०८,27,9-उधमात् 943, 21, 2-about 905, 14, 10-inability १६८, 5, 3-अपिझ्न 14., 6, 1-1417 RvY, 13, 1-altercotion 191, 14,4--now 23, l-possessed ·कुमारसंभवम्। .. चतुर्थः सर्गः। मूर्षियता रतिरित्युक्तम् । संप्रति तद्वृत्तान्तमेवाह- अथ मोहपरायणा सती विवशा कामवधूर्यियोधिता । विधिना प्रतिपादयिष्यता नववैधव्यमसह्यवेदनम् ॥१॥ अथेति ॥ अथानन्तरं मोहो मूर्छा परमयनमाश्रयो यस्याः सा मोहपरायणा मोहैकशरणा सती । 'परायणमभिप्रेते तत्परे परमाश्रये' इति यादवः । विवशा मूढत्वानिश्चेष्टा कामवधू रतिः । असला दुःसहा वेदना यस्मिंस्तत्तथोकम् । विधवाया गतभर्तृकाया भावो वैधव्यम् । नवं च तद्वधव्यं चेति नववैधव्यम् । नवग्रहणं दुःसहत्वद्योतनार्थम् । प्रतिपादयिष्यतानुभावयिष्यता । क्रियाक्रियायो लट् । विधिना देवेन । विधिविधाने देवे च' इत्यमरः । विबोधिता। बंधव्यानु- फलोऽयं विधिरिति भावः । अस्मिन्समें वियोगिनीयत्तानि-'विपमे ससजा गुरु: समे सभरा लोऽय गुरुवियोगिनी' इति लक्षणात् ॥ Then, Kama's Consort (i. e. Rati), who was entirely under the influence of the swoon (lít., with the swoon as her highest resort ), helpless (virai's), was caused to be conscious [ again ] by Fate, desirous of causing [ her ] to experience fresh widow.hood of unbearable agony.-1 अवधानपरे चकार सा प्रलयान्तोन्मिपिते विलोचने। न विवेद तपोरतृप्तयोः प्रियमत्यन्तविलुप्तदर्शनम् ॥ २ ॥ dat भवेति ॥ सा रतिः प्रलयान्ते मूच्छावसाने । 'प्रलयो नष्टचेटता ' इत्यमरः । उन्मिपिते उन्मीलिते विलोचने । अवधानं परं प्रधान ययोस्तेऽवधानपरे दिद ह ·- कुमारसंभवम् । चतुर्थः क्षयावहिते चकार 1 द्रष्टव्याभावातु न विवेदैत्याह-नैति । प्रियं काममतृप्त- योस्तृप्ति न गतयोः। निसदिक्षमाणयोरित्यर्थः । तयोर्लोचनयोः । दर्शनक्रिया- पेक्षया संबन्धे षष्ठी । अत्यन्तविलुप्तं दर्शनं स्वलोचनयोः करणयोर्यस्य कर्मभूतस्य तमत्यन्तविलुप्तदर्शनं सन्तं न विवेद न ज्ञातवती । प्रियनाशापरिक्षानादिक्षांचक इति तात्पर्यार्थः ॥ She made her eyes, opened at the termination of the swoon (pralayah ) quite attentive; (she, however, ) did not know the dear one of those two [ eyes ], not [ fully ] satisfied, to have the [ chance of his ] sight [ by others ] totally disappeared.---2 अयि जीवितनाथ जीवसीत्यभिधायोस्थितया तया पुरः दहशे पुरुषाकृति क्षिती हरकोपानलभस्म केवलम् ॥ ३॥ अधीति ॥ अयोति प्रश्न । 'अयि प्रश्नांनुनययोः' इति विश्वः । अयि जोवि. जीवसि प्राणिपि कचिदित्यभिधायोत्थितया तया रत्या पुरोऽने क्षिती पुरुषल्याकृतिरिवाकृतिर्यस्य तत्पुरुषाकृति केवलमेकं हरकोपानलभस्म ददृशे दृष्यम् । न तु पुण्य इति भावः॥ . By her who had risen, having uttered [ the words ] oh [ my ) lord of life, are you alive ?", was seen on the ground in front [ a heap of ] mere ashes of the fire of the wrath of Hara, with a form similar to that of ) a man.-3. अथ सा पुनरेव विद्वला वसुधालिङ्गनधूसरस्तनी।। विललाप विकीर्ण मधजा समर्दुःखामिव फुर्वती स्थलीम् । अधेति ॥ अथ भस्मदर्शनानन्तरं पुनरेव विद्वला विश्वा यमुधालिनधू. परम्तनी घसुधालिगनेन क्षितिळण्टनेन धुरारी धूमरवर्णा स्ननी कुनी यस्याः सा तोला । 'स्यातायोपराननादरायोगोपधात् ' इति च । विकोणमूर्धजा विकीर्ण विक्षिप्ता मूर्धनाः केशा यस्याः सा तयागा सा रतिः स्थली यनभू- तनाथ, . suncated " ·सगः। कुमारसंभवम् । मिम् । तनत्यान्याणिन इत्यर्थः । 'जानपदकुण्डगोणस्थल-' इत्यादिना सोप् । । समदुरी स्वतुल्यशोकां कुर्वतीव विललाप परिदवितवती । 'विलापः परिदेव.. नम्' इत्यमरः ॥ She then, distressed once again, bemoaned ( her lord's loss ), with her breasts dusty on account of rolling about on the ground (vasudhalingana ) with her hair disshevelled, [ and ] making the [ entire forest-] site possessed of an equal amount of griel, as it were.-~4. उपमानमभूद्विलासिना करणं यत्तय कान्तिमत्तया। तदिदं गतमीहशी दशां न विदीर्य कठिनाः खलु स्त्रिया ॥५॥ उपति ।। तब यत्करणं गायम् । 'करणं साधकतम क्षेत्रगानेन्द्रियेप्वपि' इत्यमरः । कान्तिमत्तया सौन्दर्येण हेतुना विलासिनां विलमनशीलानाम् । 'वी कपलस-' इत्यादिना घिनुष्प्रत्ययः 1 उपमीयते येन तदुपमानमभूत् । तत्करण- मिदमीशी दशामवस्या गतम् । भस्मीभूतमित्यर्थः । तथापि न विदीयं न विदाणां भवामि । कर्तरि लट् । तथाहि । त्रियः कटिनाः राछ । कठिनत्वादविदीयमाण- स्वमित्यर्थः । कारणात्कार्यसमर्थनरूपोऽर्थान्तरन्यासः । 'धीरसंचारिणी हरिगति- गोपमागिता : स्मितपूर्व तथालापो दिलाम इति कीर्तितः ॥ इति ।। "That body (करण) of yours which because of its handsomeness was the standard of comparison for lovely persons (vilatinam ), --here has it been reduced to this plight ( lit., condition ), [ and even so 3 I am not torn Asunder; to be sure, women are tough !--5. ‘क नुं मां त्यदधीनजीविनां विनिफीर्य क्षणभिग्नसोहदः । नलिनी शतसेतुपन्धनो जलसंघात इयासि पितः ॥ ६॥ देति ॥ है प्रिय, क्षनगेनुबन्धनो भममेनुबन्धो अलमंपानो अलोपी नलिनी. मिव । जलेकापनीवितामिति घोष. । स्वरधानजीविता साप माकन मिनिकी पत्र मा मिक्षिप्य शनिमांडः समलनगोहाः मन् । विद्वतः . ३ ·। कुमारसंभवम् । चतुर्थः पलायितोऽसि । सेतुसौहृदयोः स्थितिहेतुत्वेन साम्यम् । सुहृदो भावः सौहृदम् । युवादित्वादण्प्रत्ययः । 'हृदयस्य हल्लेखयदण्लासेषु' इति हृदादेशः । अणि हृद्भावान 'हृद्भगसिन्वन्तै पूर्वपदस्य च' इत्युभयपदयद्धिः । हृद्भूतस्याण्विधाने तूभयपद- वृद्धिः स्यात् । यथा सुहृदो भावः । सौहार्दमिति । तदेवाह वामनः-सौहृददौ- ९दशब्दावनणि हृद्भावात्' इति ॥ "Where indeed have you who have broken in a moment [ the tie of ] affection, bolted off, having abandoned ( rinikirya) me who am dependent for my [ very ] life on you, like a mass of water that has destroyed the construction of the dam [ that held it under check so far, and that runs away ], having left off the lotus--plant?-6 शतवानसि विप्रियं न मे प्रतिकूलं न च ते मया कृतम् । । किमकारणमेव दर्शनं विलपन्त्यै रतये न दीयते ॥ ७॥ कृतेति ॥ हे प्रिय, त्वं मे मम विप्रियमप्रियं कृतवानासि । मया च ते तव प्रतिकूलमप्रियं न कृतम् । अकारण निष्कारणमेव । परस्परापकाररूपकारणाभावेs. पीत्यर्थः । क्रियाविशेषणमेतत् । विलपन्यै । त्वदर्शनार्थिन्या अपीति भावः । रतय किं कयं दर्शनं न दीयते । क्रियाप्रणाचतुर्थी ॥ "You have not done [ anything ] disagreeable to me, nor has ( anything ) unfavourable to you been done by me; why (then ), even when there is no cause, is your sight not granted to Rati, [ who is ] lamenting? 7 विप्रियमाशङ्कते स्मरसि स्मर मेखलागुणैरत गोत्रस्खलितेषु यन्धनम् ।। च्युतफेसरदूषितेक्षणान्यवतंसोत्पलताडनानि या ॥ ८ ॥ स्मरमीति ॥ हे स्मर, गोवस्तालिनेषु नामध्यस्यारोपु । 'पोनं नाम्न्ययले पुले' इति विश्वः । मेसलागुगर्वन्धनं स्मरस्युत स्मरसि वा! "विकलो किं किमुत च' इत्यमरः । च्युत केसरघंटकिशक पिते क्षण ये तान्यवतंसो. न ·[ used as an सर्ग । कुमारमभवम् । त्परताडनानि । सधूलिक्षेपताइनानीत्यर्थ । स्मरसि वा । अपकारस्मरणादि- दमदर्शनमिति भाव ॥ you remember, oh Cupid, the binding ! you were subjected to at my hands ) by the strings of the girdle on the occasions of [ your ) blundering in [ uttering ) the namest [or, do you remember ] beatings by the lotus ear-ornament, wherein your eyes were soiled (fur) by the filaments which dropped down 2-8 हृदये वसनीति मत्प्रिय यदवोचस्तदमि केतवम् । उपचारपदं न चेदिद त्वमनङ्गः कथमक्षता रति. ॥ ९॥ २ हृदय इति ॥ हृदये वससीति स्मरवाक्यानुवाद । इत्येवरूप मस्त्रिय यद योच उक्तवानसि । ब्रूनो उछि 'वच उम्' इत्युमागम । तत्वतवमवैमि मिथ्येति मन्ये । इद वचनमुपचारपद परम्य रखनार्थ यदसत्यभाषण स उप चारतस्य पद स्थानम् । कैतवस्थानमिति यावत् । न चेत्त्वमनमोऽशरीर । क्थ रतिरक्षताविनष्टा । आश्रयनाशेऽप्याश्रितमविनष्टमिति विरोधादिति भाव ॥ That I know I to be a bit of your ] roguery, what you said [and] was agreeable to me 'viz. you dwell in my heart'lf this were not a formal utterance ( upachirapada) how [ is it, that ] you are devoid of your body and still ] Rat: [ continues to be ) uninjured 7-9 न च मे कश्चिद्विचार किंतु लोक शोच्यत इत्याह-- परलोकनयमवासिनः प्रतिपत्स्ये पदवीमह तब । विधिना जैन एष पञ्चितस्त्वदधीनं गलु देहिना सुसम् ॥ १० ॥ परलोकेति ॥ परलोक प्रति नवनवासिनोऽचिरप्रोपितस्य । अनेनानुगम नकालनतिपात सूच्यते । तव परवी मार्ग प्रतिपत्स्ये । त्वामनुगमिष्यामी वर्थ । अतो मे नास्ति विचार इति भार । किंतु विधिना देवेनैय जनो लोको बचित प्रतारित । देहिना मुख त्वदधीन त्वय्यधीन सलु । अधिश. . ज + ५ ·a new eaucloped Cirha कुमारसंभवम् । चतुर्थः ब्दस्य शौण्डादिकत्वात् 'सप्तमी शोण्डैः' इति समासः । 'अध्युत्तरपदात्' इति खप्रत्ययः । एवमन्यत्रापि । सुखप्रदाभावे कुतः मुखमिति भावः ।। "I shall step on to the track ( padavi) of you, who are ( or recent, nava ) traveller to the other world. By Fate is this person here [ that is, am ! here ], duped. Depending on you is the happiness of the embodied beings [or, alternatively, lines 3 and 4: 'This world of the living, (ayam janoh) has been duped by Fate ( in that it has been deprived of you ); on you depends the happiness. of the enibodied beings ]'--10 तवाह, रजनीतिमिरावगुण्ठिते पुरमार्गे घनशब्दविल्याः । वसति प्रिय कामिनों प्रियास्वहते. प्रापयितु क ईश्वर ॥११॥ रजनीति ॥ हे प्रिय, रजनीतिमिरेणावगुण्ठित आवृते पुरमार्गे घनशब्द- विश्लवा गर्जितभीता. प्रियाः कामिना वसति प्रापयितुं त्वते त्वां विना । 'अन्यारादितरते-' इत्यादिना पश्चमी । क ईश्वरः शक्तः । न कश्चिदित्यर्थः । न हि कामान्धानां भीतिरस्तीति भावः । " Who, excepting you, oh dear, is able to lead (lit., to cause to reach) to the abode of [ their ] lovers, the beloved damsels, distressed at the rumbling of clouds, while the street in the city is enveloped in the darkness of the Pre or beta नयनान्यरुणानि चूर्णयन्वचनानि स्खलयन्पदे पदे ।।... cope असति त्वयि वारुणीमदः प्रमदानामधुना विडम्बना ।। १२ ॥ नयनानीति ॥ अरुणानि नयनानि चूर्णयन्नमयन् । तथा पदे पदे प्रति- पदम् । वीसायां द्विरक्ति । वचनानि स्खलयन्विपर्यासय प्रमदानां वारुणीगदो मद्यमदोऽपुना वग्यसति विडम्बनानुकृतिमानम् । मदनामावे मदत्य -- night?-11 Rajister Rollinsurat Si-curns ६ ·सर्गः कुमारसंभवम् । निष्फलत्वादिति भावः । तया च शिशुपालवधे-'तो मदो दयितसंगमभूषः' (१० । ३३) इति ॥ "The intoxication of proud [young ] ladies due to wine, making their reddish eyes roll about, causing their utterances to falter at every step, is now, when you are not there, a (mere ) ridicule (or a pointless imitation ).–12. अवगम्यं कथोकतं वपुः प्रियवन्धोस्तव निष्फलोदयः । बहुलेऽपि गते निशाकरस्तनुतां दुःखमन मोक्ष्यति ।। १३ ।। अवगम्येति । है अनङ्ग अशरीर, प्रियवन्धोः प्रियससस्यः तव वपुः शरीर कीकृतमकथा कथा संपद्यमानं कृतं शब्दमात्रावशिष्टमवगम्य ज्ञात्वा निष्फलो- दयः । उद्दीप्याभावादुद्दीपनवैफल्यमिति भावः । निशाकरश्चन्द्रो बहुले कृष्णपक्षे गतेऽपि तनुता कार्य दुःखं यथा तथा कृरट्रान्मोश्यति । यथा वृद्धिरिति दुःखयिष्यत इत्यर्थः ॥ ." Having known the body of you who hold your friends dear ( or who are dear to your friends ] to be reduced to [ the state of being the object of mere ] stories, oh limbless one, the moon [ lit., maker of night ], with his [ according to Sanskrit idiom, though 'her' would be expected in the English rendering ) rising ( now all ) in vain, will give up his thinness with great difficulty, even after the dark fortnight has elapsed.-13. - हरितारुणचागबन्धनः कलपुंस्कोकिलशब्दसूचितः। यद संप्रति कस्य चाणतां नवचूतप्रसयो गमिष्यति ॥१४॥ हरितेति ॥ हरितं चारुणं च । 'वर्णों वर्णन' इति तत्पुरुषः । हरितारणं चाह बन्धनं पुन्तं पुश्य यस्य स तथोक्तः । कलेन मधुरण पुंस्कोकिलशब्देन पुरुषकोकिलनादेन सूचितोऽनुमापितच ! चूतचर्वणकार्यत्वात्कलशब्दस्येति भावः । 'नवचूनप्रसवो नवचूतकुममं संप्रति कस्य यागतां शरत्वं गमिष्यति बद । अन्यस्य पुष्पवाणस्याभावादिति मावः ॥ ७ ·चतुर्थः . कुमारसंभवम् । "Say, to the state of [ being ] whose arrow, will now go the fresh mango sprout, with its stalk [ also punningly, the feathered end of the arrow ), charming as it is green and reddish ( and ) indicated by the sweet notes of the male Kokila bird ?-14, भलिपङ्किरनेकशस्त्वया गुणकृत्ये धनुपो नियोजिता । विरुतैः करुणस्वनैरियं गुरुशोकामनुरोदिनीच माम् ॥ १५ ॥ भलीति ॥ त्वयानेकशी बहुशो धनुषः काकस्य गुणकृत्से मौवीकार्ये गुण. पत्कर्मणि च नियोजिताधिकृतेयमलिपति : करुणस्वनीनस्वनैर्विस्तैः कूजितगुरुशीको दुर्भरदुःखाम् । 'गुरुस्तु गीपती श्रेष्ठे गुरौ पितरि दुर्भरे' इति शब्दार्णवः ।। मामनुरोदितीव । उपसर्गात्सकर्मकत्वम् । 'दादिभ्यः सार्वधातुके' इतीहागमः ॥ "The row of bees more than once appointed by you to the duty of [ being ! the string.ol your bow is, here (iyam ), as though lamenting with me whose grief is heavy, with its hummings, possessed of piteous notes.--15. प्रतिपद्य मनोहरं वपुः पुनरप्यादिश तावदुत्थितः । रतिदूतिपदेपु कोकिलां मधुरालापनिसर्गपण्डिताम् ॥ १६ ॥ प्रतिपद्येति ॥ तावत्पुनरपि मनोहरं वपुः शरीरं प्रतिपद्य प्राप्योत्थितः सन् । मधुरालापेषु प्रियोक्ति निसर्गपण्डितो स्वभावप्रगल्भो कोकिलो रतिदूतिपदेषु सुरतदूतीस्थानेप्वादिशाशापय । प्रगल्मानामेव दौत्याधिकार इति भावः डबिन्तस्यापि दूतीशब्दस्य छन्दोभन्नभयाध्दस्व. । 'अपि मापं मपं कुर्याच्छन्दोमने त्यजेतिरम्' इति केचिन् । 'उणादयो बहुलम्' इति बहुलप्रहशादिल इति वहगः ॥ " Assuming ( your ) attractive form again, and rising up. [ do you ) just order the female Kokila, adept by nature Elite, naturally learned, nisargapandita ] in Ethe art of uttering ] sweet notes, to the offices (पदपु) of female messengers in love [-matters]-16, 4. ८ ·सर्गः। शनि- 14 कुमारसंभवम् । शिरसा प्रणिपत्य याचितान्युपगूढानि सवेपथूनि च । सुरतानि च तानितेरहःस्मर संस्मृत्य न शान्तिरस्ति मे ॥१७॥ शिरसेति ॥ हे स्मर, शिरसा प्रणिपत्य याचितानि सवेपथूनि सकम्पानि । 'द्वितोऽथुच्' इलथुन्प्रत्ययः । सात्विकान्तरोपलक्षणमेतन् । 'स्तम्भप्रलयरोमाधाः स्खेदो वैवर्ण्यवेपथू । अदुवैखर्यमित्यष्टौ सात्विकाः परिकीर्तिताः । ' इति । उपगूढान्यालिगनानि च । नपुंसके मावे कः । तान्यनुभूतप्रकाराणि रह एकान्त सुरतानि च संस्मृत्य मे शान्तिनास्ति । अत्र समानककत्वं दुर्घटं समानक्रिया- पेक्षास्तीति केचित् ॥ Having recalled [ to my mind ] those entreaties (lit., beggings) with prostration followed by bent head (शिरसा प्रणिपल्ल) those embracings accompanied by tremor [ or better, those embracings accompanied by tremor, begged of by you, with prostration followed by bent head ) and those amorous sports of yours, in private, oh Smara, there is no peace for me.-17 रचितं रतिपण्डित त्वया स्वयमङ्गेषु ममेदमार्तवम् । धियते कुसुमप्रसाधनं तच तयार वपुर्न दृश्यते ॥ १८ ॥ रचितमिति ॥ हे रतिपण्डित रतिकुशल, त्वया ममानेप्ववयवेषु खयं रचितम् । ऋतुरम्य प्राप्त आर्तवं वासन्तम् । 'ऋतौरण्' इत्याप्रत्ययः । कुमुमप्रसाधनं पुष्पाभरणमिदं धियतेऽवतिष्ठते । 'धृन् अवस्थाने' इति धातोस्तौदादिकाकर्तरि लट् । तव तत्प्रसाधकं चार सुन्दरं वपुस्तु न दृश्यते ॥ "Here, oh learned in love, is being borne the seasonal decoration of flowers arranged on my limbs personally by you; that handsome form of yours ( however, ) is not [ to be ] seen!-18 विद्युधैरसि यस्य दारणैरसमाते परिकर्मणि स्मृतः। तमिमं कुरु दक्षिणेतर चरण निर्मितरागमेदि में ॥ १९॥ V ९ ·कुमारसंभवम् । चतुर्थः विबुधरिति ॥ दाणै. करैः । प्राणान्तिके कर्मणि नियोगादिति भावः । विबुधैर्देवैः । अनभिज्ञत्वं च ध्वन्यते । यस्य मचरणस्य परिकर्मणि प्रसाधने । 'परिकर्म प्रसाधनम्' इत्यमरः । असमाते सति स्मृतोऽसि तमिमं दक्षिणेतर वाम मे चरणं निर्मितराग रचितलाक्षारागं कर्वेह्यागच्छ । "Comel and ] make this [ lit., other than the right ] left foot of mine, Cone] with its dying completed [lit., produced), this { foot), while yet the decoration of which - was incomplete, you were remembered by the cruel gods.-19. 6. अहमेत्य पतङ्गवर्मना पुनरङ्काशयिणी भवामि ते । चतुरैः सुरकामिनीजनैः प्रिय यावन्न विलोभ्यसे दिवि ॥ २० ॥ महमिति ॥ अहं पतशवमना शलभमार्गेण । अमिप्रवेशेनेत्यर्थः । 'पतनः शलभे चानी माजोरेऽ शरे खगे' इति वैजयन्ती । एत्यागस्य पुनस्तेऽसायि- ण्युत्सङ्गवर्तिनी भकामि संप्रत्येव भविष्यामि । 'वर्तमानसामीप्ये वर्तमानवद्वा' इति लट् । हे प्रिय, दिवि स्वर्गे चतुरैः मुरकामिनीजनैरप्सरोगणैर्यावन्न विलोभ्यसै विलोभयिष्यसे । 'यावत्पुरानिपातयोलेट्' इति लट् ॥ Coming by the pathi of [ that is, laid down by ] the moth, I shall be [ one ] resorting to your.lap. again, oh dear, so long as you are not ſured [ away) by the skilled hosts (janaia)of the celestial damsels in heaven.----20 मदनेन विनाकृता रतिः क्षणमात्रं किल जीवितेति मे। वचनीयमिदं व्ययस्थितं रमण त्वामनुयामि यद्यपि ॥ २१ ॥ मदनेनेति ॥ हे रमण, वामनुयामि यद्य यनुगमिष्याम्येव । 'वर्तमानसामीप्ये वर्तमानवद्वा' इति लट् । 'यद्यपीत्यवधारणे' इति केशवः । किंतु रतिर्मदनेन विनाकृता । वियोजिता सतीत्यर्थः । सुप्सुपेति समासः । क्षणमात्रं जीविता किलेतीदं वचनीयं निन्दा मे मम व्यवस्थित स्थिरमभूत् ॥ "Rati, berel at of Madana, they say (kida ), lived [ may be, just ] for a moment, " this censure in regard to me, has ·सर्गः। कुमारसंभवम् । got itself firmly established, oh sweet, though, to be sure ( yadyapi) 1 [shall) follow you (in death, immediately), 21. मियतां कथमन्त्यमण्डन परलोकान्तरितस्य ते मया। सममेव गतोऽस्थतर्कितां गतिमनेन च जीवितेन च ॥ २२ ॥ क्रियतामिति ॥ परलोकेऽन्तरितस्य व्यवदितस्य । मृतस्यैत्यर्थः । ते तव मयान्त्यमण्डनं कथं केन प्रकारेण क्रियताम् । क्रियतामित्यत्र कामचारे लोट योध्यः । द्रुतदग्धम्य ते यथेच्छमण्डनमपि न संभवतालयः । कुतः । अन च जीवितेन च रामं सदैवातर्कितामविचारितां गनि गतोऽसि । इह मृतशरीरमपि नास्ति फस्य मण्डनमिति भावः ॥ "How can the last decoration [i. e. funeral rites ) of you screened from me by the other world, be effected by me? [ For, ) with your body and simultaneously, you have reached a state ( enti, lit., course ), never before imagined.-22. ऋजुतां नयतः स्मरामि ते शरमुत्सानिपण्णधन्वनः । मधुना सद सस्मितां कथां नयनोपालविलोकितं च यत् ॥२३॥ प्रमुतामिनि ॥ शरमजुतामा नयत उत्यो निषगमगर्न धनुर्यस्य तस्य । rama' स्यनगदेश । ते तव मधुना बगन्तेन सह । 'मधुदैले यमन्ते च चोच' इति विश्वः । सम्मिनां कथामाला तथा यायनोपानवि. परितमपासवीक्षगम् । तदयनरतः । तग म्मरामि ॥ "{ Well do ) I remember the conversation, accompanied hy a smile with Mathu ( Sprins ), and that ) which (y) (was a ) glance through the corner of the eye or your with the how resting in your las, as you were straightening [lit.. Icading to the condition of being straight ) the arrow.-23. ..

·कुमारसंभवम् । चतुर्थः कनु ते हृदयंगमः सखा कुसुमायोजितकार्मुको मधुः। न खलूनरपा पिनाकिना गमितः सोऽपि सुहगतां गतिम् ॥२४॥ वेति ॥ हृदयं गच्छतीति हृदयंगमो हृयः । खप्रकरणे 'गर्मः मुप्युपसंख्या- नम्' इति सच्प्रत्ययः । 'अदिपदजन्तस्य मुम्' इति मुमागमः । ते तव ससा कुमुमैरायोजितमारचितं कामुक येन कामुकनिर्माता मधुर्वसन्तः क नुक वा । गत इति शेषः । अथवा सोऽप्युमपा तीवकोपेण पिनाकिनेश्वरेण सुहृदा मदनेन गतां प्राप्तां गतिम् । भस्मतामित्यर्थः । न गमितः खलु न प्रापितः किम् । 'जिज्ञासानुनये संलु' इत्यमरः ॥ "Where indeed is your bosom-friend, Madhu, who fashioned [ your ] bow with flowers? May I know ( khalu ), whether he too has not been made by the possessor of Pināka (Lord Sankara) of fierce anger, to reach the state undergone by his friend?"-24 अथ तैः परिदेविताक्षरैर्हृदये दिग्धशरैरिवाहतः । रतिमभ्युपपत्तुमातुरां मधुरात्मानमदर्शयत्पुरः ॥२५॥ भयेति ॥ अथ तैः परिदेविताक्षरैर्विलापवचनैर्हृदये दिग्धशरैर्विपलिप्तमुखैः शरैरिवाहतः सन् । 'विपाक्ते दिग्धलिप्तकौ' इत्यमरः । मधुर्वसन्त आनुरामापनां रतिमभ्युपपत्तुमनुप्रहीतुम् । आश्वासयितुमित्यर्थः । 'अभ्युपपत्तिरनुप्रहः' इत्य. मरः । आत्मानं पुरोऽदर्शयत् । आविरभूदित्यर्थः ॥ Then Vasarita struck at heart by those words[lit., syllables] of lamentation, as though by arrows smeared with poison ( dighdhaih) showed himself up in front, to console the distressed Rati.--25. तमवेक्ष्य रुरोद सा भृशं स्तनसंधाधमुरो जघान च । स्वजनस्य हि दुःखमग्रतो विवृतद्वारमियोपजायते ॥२६॥ तमिति ॥ सा रतिस्तं मधुमवेक्ष्य दृष्ट्वा भृशं रोद । स्तनौ संबाध्य स्तनसं. बाधम् । 'परिक्लिश्यमाने च' इति णमुल । उरो जघान ताडितवती च । * ·सर्गः। कुमारसंभवम् । तथाहि । स्वजनस्याग्रतो दुःखं विश्रुतमपसारितं द्वारं कपाटं यस्य तदिवोपजायत , आविर्भवति । उसलं प्रवर्तत इत्युत्प्रेक्षाभिप्रायः ॥ On seeing him, she wept excessively (bhrio'am ) and beat her bosom, [ thereby ] having pained her breasts (stanatambädham ). As is well known (bi ), grief in the presence of one's relatives becomes as though (that) which has its doors thrown open.-26 इति चैनमुवाच दुःखिता सुहृदः पश्य वसन्त किं स्थितम् । तदिदं फणशो विकीर्यते पचनैर्भस्म कपोतकर्युरम् ॥ २७ ॥ इतीति ॥ दुःखमस्या. संजातं दुःखिता । संजातदुःसत्यर्थः । तारकादित्वा- दितम् । सा रतिरेनं वसन्तमित्युवाय च । चकारः, पूर्वोक्तसमुचयार्थ..। है वसन्त, पश्य मुहृदस्वत्सगस्य किं स्थितं किमुपस्थितं तदिदं कपोतकथुरं पारा. वतशवलं कणशोभूतम् । अल्पायांच्चस्प्रत्ययः । भम्स पवनैर्विकीर्यते विक्षि- प्यते । पश्य मम्मीभूतस्तै मुहदित्यर्थः ॥ And thus did the afflicted [ Rati ] speak to this [Vasanta] See, oh Vasanta, what has remained of [your ) friend ! Those ashes here, variegated ( karburam ) like a pigeon are being scattered about in particles by breezes (of wind ]."-27 अयि संप्रति देहि दर्शनं स्मर पर्युत्सुक एप माधयः । दयितास्वनस्थितं नृणां न मल प्रेम चलं मुहजने ॥ २८ ॥ भीति ॥ अयि म्मर, संप्रति दर्शनं देहि । एष माधवो पसन्तः पयु- रमुकरत्वदर्शनोत्पण्ठितः । त्वामप्यनादलयतोऽम्य को माधव इत्यारापाह- नणां पुरुषाशी दयिनामु प्रेमानपस्थितमम्मिरम् । चलमिलथं । मुहब्बने प्रेम तुन चलं गलु । "An ! vouchsale your sight [ at least ] now: oh Smara, here this Mithava is all cager (Paryutaoke ) ( 10 sec you ). " ____ ·कुमारसंभवम् । चतुर्थः The allection of men, not ( quite ) firm towards their beloveds, is indeed not fickle towards their ( male ) friends.-28. ईदृशाः सुहृदः कति न सन्तीत्याराध न कोऽपीत्याह--- अमुना ननु पार्धयर्तिना जगदाक्षां ससुरासुरं तव । विसतन्तुगुणस्य कारितं धनुषः पेलवपुष्पपत्रिणः ॥ २९ ।। 'अमुनेति ॥ ननु मदन, पार्श्ववर्तिना सहबरेणामुना वसन्तेन समुरासुर मुरासुरसहितं जगद्विसतन्तुगुणस्य मृणालमूवमोकिम्य पेलवानि कोमलानि पुष्पाण्येव पत्रिणी याणा यस्य तस्य तव धनुष आशा कारितम् । जगदाज्ञा कारितेत्यर्थः । 'हकोरन्यतरस्याम्' इति जगतः कर्मत्वम् ॥ "Indeed, by this one standing by your side, the world along with the gods and the demons, was caused to carry .out (kiritam) the command of your bow, with tender flowers for its arrows and fibres of lotus-stalks as its string.-29. गत एव न ते निवर्तते स सखा दीप इवानिलाहतः। अहमस्य दशेष पश्य मामविपहव्यसनेन धूमिताम् ॥ ३० ॥ गत इति ॥ स ते सखानिलाहतो वायुताडितो दीप इव गत एव न निवर्तते । अहमस्य दीपायमानस्य दशा वतिरिव । तिष्टामीति शेषः । 'दशा वर्ताववस्थायां वसान्ते स्युर्दशा अपि' इति विश्वः । कुनः । अविषह्यव्यसनेन सोदुमशक्यदुःखप्रकर्षण भूमिता संजातधूमां मां पश्य । धूमवत्त्वान्नष्टदीप- दशारााम्यं धूमथ व्यसनमेवेत्यर्थः ॥ " Definitely ( eva ) gone is that friend of yours, Like a lamp struck by [ a gale of ] wind, he does not return. 1 [am ] like the wick of this [ lamp ]. Look at me [ made ] smoky by the unbearable calamity [owing to my lord's departure to the yonder world ].-30. १४.

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

·संगः। .. ४.८ 'कुमारसंभवम् । अअलिपूर्वकं प्रार्थितः सन्नित्यर्थः । आशु मे पिता काष्ठचयं कुरु कुरुष्व । यथेह तथागुत्रोपकर्तव्य मित्रणेत्यर्थः ॥ Many a time have you acted as a helper ( lit., gone to the state of one that helps ), oh gentle one, in the Ematter of the Jarrangement of a flower bed, for us two. Do now, requested [ by me ) with hands folded as a mark of salutation, quickly arrange the [ funeral ] pyre for me,-35. तदनु ज्वलनं मदर्पितं त्वरयेईक्षिणयानयोजनः ।।... ' विदितं सलु ते यथा स्मरः क्षणमप्युत्सहते न मां विना ॥३६॥ तदन्विति ॥ तचिताकरणमन्वनन्तरं मयतिं मदर्षितं ज्वलनमानि दक्षिणवा- तवीन मलयमारतसंचारणस्वरयः त्वरितं ज्वलयेत्यर्थः । त्वराहेनुमाह--ते तब विदितं स । 'मतियुद्धिपूजार्थेभ्यश्च' इति वर्तमाने कः । तद्योगात्करि पष्टी । यथा येन प्रकारेण म्मरो मा विना क्षणमपि नोत्सहते न हप्यति । तया वया शातमेवेत्यर्थः ॥ "And after that, hasten t the burning of ] the fire placed on me by the fannings with the southern breezes. Indeed, to you it is [ well ) known that (yatba) Smara does not feel happy (na utsabate) even for a moment, without me.--36. इति चापि विधाप दीयतां सलिलस्याअलिक एप नी अविभाज्य.परन.तं मया सदितः पास्यति तेस घान्धयः॥३७॥ इनीति ॥ अपि श्रेत्येवं विधाय इत्या नावावाभ्यामक एव गलिलम्याप्रसिद्धी यताम् । समाति रा ते बान्धवः गयाँ म्मरः परम परीके मया गहितोमी. भग्य पास्यति ॥ "Furthermore (che api) having done this (iti), let just A cavity.ful of water by given us. That friend of yours, .

·कुमारसंभवम् ।
चतुर्थः
in the other world, without dividing ( into twain as his
share and my-share-], will drink, that ( very water },
along with me ( mayā sabitab )–37.
पिरलोकविधौ च माधव मरमुद्दिश्य विलोलपल्लयाः ।
नियपेः सहकारमञ्जरीः प्रियंचूतप्रसवो हि ते सखा ॥ ३८ ॥
'परलोकेति ॥ किंच हे माधव वसन्त, परलोकविधी पिण्डोदकादिकर्मणि
स्मरमुद्दिश्य विलोलाः पाडवा यांमु ताः सहकारमजरीधृतवालरीनिवपैदैहि । हि
यस्मात्कारणात्ते सखा स्मरः प्रियाभूतप्रसवा यस्य स तथोकः ॥
"And in rites with regard to the other world, you
will offer (as libation, lit., or as a funeral offering ), oh
Madhava, mango-blossoms with their sprouts waving
(vilolapallavān). For, your friend [is one ) who holds
dear [ all ] mango produce. "--38.
इति देहविमुक्तये स्थितां रतिमाकाशभया सरस्वती ।।
शफरीं ह्रदशोपविक्लवां प्रथमा वृष्पिरिवान्वकम्पयत् ॥ ३९ ।।
इतीति ॥ इति देहस्य विमुक्तये शरीरस्य विसर्गाय स्थिताम् । कृतनिश्चया-
मिति यावत् । रतिमाकाशभवा सरखत्यशरीरा वाग्नदशोपविलवा इदस्य
जलाधारस्य शोपेण विक्लवी शफरी प्रोष्ठीम् । 'पौष्टी तु शफरी द्वयोः' इत्य-
मरः । प्रथमा वृष्टिवर्पमिवान्वकम्पयदनुकम्पितवती सदयमुवाचैत्यर्थः । 'कृपा
दयानुकम्पा स्यात्' इत्यमरः ।।
A voice (rising ) from the sky, took pity on.Rati, (who )
thus stood [ prepared ] for the abandonment of her body,
like the first shower [ of rain, after summer, taking pity
on") a female Shaphara C a varity of fish ), distressed by
the drying up of the pond [ she inhabits ].-39.
- कुसुमायुधपनि दुर्लभस्तय भर्ता न चिराद्भविष्यति ।
शृणु येन स कर्मणा गतः शलभत्वं हरलोचनार्चिपि ॥ ४०.॥

·सर्गः।
Imp
-
कुमारसंभवम् ।
कुसुमेति ॥ हे कुमुमायुधपनि रते, तब भर्ता चिराचिरं दुर्लभो न
भविष्यति । किंत्वविरमेव सुलभो भविष्यतीत्यर्थः । किंच सृषु । तत्कर्मति
शेषः । येन कर्मणा स ते भी हरलोचनम्यार्चिाला । 'ज्वाला भासौ न
घुम्यर्थिः' इत्यमरः । तम्मिशलभत्वं पतङ्गत्वं गतः । 'समौ पतङ्गशलभी'
इत्यमरः ॥
[ Oh ] spouse of [ the ] flower-weaponed [ god ], your
husband will not be difficult to be secured, for_you, long.
Listen to (that) act by which he was reduced to lit., went
to ) the condition of a moth, in the flame (archis) from
S'ankara's eye.-40
तदेव कर्मोपाचटे-
अभिलापमुदीरितेन्द्रियः स्वसुतायामफरोत्प्रजापतिः।
अथ तेन निगृह्य विनियामभिशप्तः फलमेतदन्यभूत् ॥४१॥
अभिसापेति ॥ उदीरितेन्द्रियः प्रेरितोन्द्रियः । म्मरेणेति शेपः । प्रजापति-
या स्वमुतायां सरस्वत्याममिलापमनुरागमकरोत् । अथ तेन प्रजापतिना
विक्रियामिन्द्रियविकारं निगृध निरुध्याभिशप्तः सन् । एतत्फलं दाहारमकं स्वकर्म-
फलमन्यभूत् ॥
" The Lord of Creatures [ i. e. Brahmä ). with his
I sexual ) sense impelled ( udirita ) ( by Madana ) enter.
tained a [ far from natural } longing towards his own
daughter. And [ subsequently ] cursed by him, on having
controlled the abnormal activity ( vikriya ) (of his senses),-
this [one i.e. Madana], experienced this fruit.--41.
झापावधिरपि तेनेवोक्त इलाहगेकदयेन-
१. परिणेप्यति पार्यती यदा तपसा तत्मयणीरतो हरः ।
उपलब्धसुरास्तदा स्मरं पपुषा स्वेन नियोजयिष्यति ॥४२॥

·कुमारसंभवम् । चतुर्थः इति चाह स धर्मयाचितः स्मरशापावधिदां सरस्वतीम् । अशनेरमृतस्य चोभयोर्वशिनश्वाम्बुधराश्च योनयः ॥४३॥ परिणेप्यतीति । इतीति च ।। धर्मेण धर्माख्यप्रजापतिना याचितः प्रार्थितः स भगवान्ब्रह्मा । तपसा कारणेन तस्यो पार्वत्यो प्रवणीकृतोऽभिमुसीकृतो हरः शिवो यदा पार्वती परिणेध्यत्युद्वक्ष्यति तदोपलब्धमुखः प्राप्तानन्दः सन् । सरं कामं सेन वपुषा नियोजयिष्यति संगमयिष्यति । इत्येवं स्मरशापस्यावधिदाम- वसानदायिनी सरखती वाचं चाह । एवं शापावधिमयुक्तवानित्यर्थः । ननु तथा कुद्धस्य कथमोदी शान्तिरत आह সবিনী নিবনিযাথায়হান मृतस्य चैत्युभयोोनयः प्रभवाः । वशिपक्षेऽशन्यमृतशब्दौ कोपप्रसादपरी । अन्यत्र वैद्युताभ्युदकपरी । युग्मकम् ॥ " When Hara will marry Parvati, [ being ) made to incline favourably towards hier by the austerities [ she will practise ), (tben, tada ) [ after ] having secured "happiness [ arising out of love or generally speaking], [he] -i. e. Sankara ), will cause him to be endowed with [lit. united with ] his body [ again ]. And -thus (it chs) he uttered the speech, giving the limit (avadhi) of the curse on Madana, being besged of [ to do so] by. Dharma [ A Creator ]. Of both r'ani ( anger and thunderbolt and amrita favour and water ], the selfcontrolled ones ( sai'inah ) and the clouds [lit., holders of water 3 are sources.-42843. तदिदं परिरक्ष शोभने भवितव्याप्रियसंगम यपुः। रविपीतजला तपास्पये पुनरोधेन हि युज्यते नदी ।। ४ ॥ तदिनि । हे गोमने, तत्तम्माकारणाषितम्यो भविष्यन्त्रिपसंगमो यस्य तत्तयोतमिदं ययुः परिरक्ष । तथाहि । रविपीतमला नदी तापये मारि । 'माह सगत्यये' इति हायुधः । पुनरोधेन प्रयाण गुज्यने गंगा ॥ "Preserve well, therefore (tot ), oli so lady. this body of yours, with its union with the dear (orie i destined ·साह। कुमारसंभवम् । ( bhavitayya) [ie. sure to take place. For, a river with the water evaporated [ lit., drunk in ) by the sun, is united again with the stream ( or current ), at the end of Summer [ lit. heat ].-44" p. इत्थं रतेः किमपि भूतमदृश्यरूपं मुन्दीचकार मरणव्यवसायबुद्धिम् ।। तत्प्रत्ययाच कुसुमायुधवन्धुरेना- माश्वासयत्सुचरितार्थपदैर्वचोभिः ॥ ४५ ॥ इस्थमिति ॥ इत्थमनेन प्रकारेणादृश्यरूपं किमपि भूतं कश्चित्प्राणी । 'युक्त क्षमादायते भूतं प्राण्यतीते समे विधु' इत्यमरः । रतेमदनदाराणा मरण- व्यवसायबुद्धिं मरणोद्योगवुद्धि मन्दीचकार । निवारयामासेत्यर्थः । 'मूढाल्पा- पटुनिर्भाग्या मन्दाः' इत्यमरः । अथ कुसुमायुधबन्धुर्वसन्तश्च तत्प्रत्ययात्तम्मि- न्भूते विश्वासान् । 'प्रत्ययोऽधीनशपथज्ञानविश्वासहेतुपु' इत्यमरः । एनो रति मुष्ठु चरितार्थानि पदानि येषां तेर्वचोभिर्वाक्येरावासयत् । सर्वथा ते देवता. प्रसादानियसंगमो भविष्यतीत्यादिवचनैरत्या दु.खमपाचकारेत्यर्थः ।।. Some indescribable being, of an invisible form, thus slackened [ lit. made dull ] the thought (buddhi) of the act (vyavasāga ) of death ( inflicted on oneself ) of Rati. And owing to his confidence in that being ), the friend of the flower-weaponed [ god ) comforted this one, i. e. Rati] by utterances (yachobbub ) the words in which had their meaning well carried out.--45 अथ मदनवधूस्पष्टवान्तं व्यसनकशा परिपालयांयभूय । म शशिन व दिवातनस्य लेगा किरणपरिक्षयधूसरा प्रदोषम्॥४६॥ भधेति ।। अथानन्तरं व्यसनेन दुःसेन कृशा मदनवधू रतिरुपलवान्तं विप. दवधि किरणपरिक्षयेण धूसरा मलिना दिवातनस्य दिनभवस्य । 'सायचिरम्' इत्यादिना टयुप्रत्ययः । शशिनयन्दस्य लेखा प्रदोष रात्रिमिव परिपालयविभूव .

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

·.. पञ्चमः सर्गः। तथा समक्षं दहता मनोभवं पिनाकिना भलमनोरथा सती । निनिन्द रूपं हृदयेन पार्वती प्रियेषु सौभाग्यफला हि चाफ्ता ॥१॥ तथेनि । पर्वतम्यापत्यं स्त्री पार्वती तथा तेन प्रकारेणाणोः समीपे समक्ष पुरतः । 'अव्ययं विभक्तिरामीपसमृद्धि- इत्यादिनाध्ययीभावः । मनोमवं मन्मयं दहता भस्मीकुर्वता पिनाकिनेश्वरेण भमः सण्डितो मनोरथोप्रमिलायो यस्याः सा तथोक्ता सती हृदयेन मनसा रूप सौन्दर्य निनिन्द ! धिो रूपं पद्धरमनोहरणाय नालमिति गर्हितवतीत्यर्थः । युक्तं चैतदित्याह-तथाहि । चारुता सौन्दर्य प्रियेषु पतिषु विषये सौभाग्यं प्रियवासभ्यं फलं यस्याः सा तथोक्ता । सौन्दर्यस्य तदेव फलं यद् सौभाग्यं लभ्यते । नो द्विफलं तदिति । अस्मिन्स, बंशस्थं एनम्-'जती नु वंशस्यमुदीरितं जरौ' इति लक्षणात् ॥ Parvati being (sati ) [one ) with her cherished desires frustrated by the possessor of the Pināka [i.e.god Sankara), thus burning the mind-born [Kima ] before [ her very ] eyes, found fault with [ lite, blamed, censured ] her beauty (rūpe ) in her mind; for charm (lit., the state of being charming, cbārută ] has good luck (or success ] with the beloved as its fruit.-1. 'इयेप सा फतुमयन्भ्यरुपतां समाधिमास्थाय तपोभिरात्मनः। अंधाप्यते या फथमन्यथा दर्य तथाविधं प्रेम पतिश्च ताराः ॥२॥ इयेति ॥ सा पार्वती समाधिमेशप्रतामारथायावलम्ब्य तपोभिवेश्यमाण- नियमः करणभूनेगमनः मत्यावन्ध्यरूपता सफलसोन्दर्य कमियोच्छति स्म । तपमा शिवं शोकमरीत्यर्थः । अन्यथा ततोऽन्यप्रकारेग कयं या तयम- पाप्यते । किं तवयम् । तथाभूता विधा प्रकारो यम्य समयाविधं प्रेम मेदः येनार्धाहदरा हरस्य भवेदिति भावः । तादृशः पनिध । यो मृत्युंजय इनि

·.
कुमारसंभवम् ।
पंचमः
भावः । द्वयमेव खलु स्त्रीणामपेक्षितं यतवाटभ्यं जीवद करवं चेति । तय
तपयकसाध्यमिति निश्चिकायेत्यर्थः । अत्र मनुः—'यहुष्कर यदुरापं मदुर्ग यध
दुस्तरम् । तत्सर्व तपसा प्राप्यं तपो हि दुरतिक्रमम् ॥ इति ॥
She desired to accomplish (kartum) [ in ] her own
[case ], the state of having beauty [ that was ] not
[ altogether ] fruitless, by austerities, after having resorted s"
to (asthāya) the concentration [ of her mental powers,
samadhi ] or_how is the pair secured otherwise [ viz.,-]
love of that [ noble 1 kind, and a husband of that distinction
[ lit., of that type ] 2--2.
निशम्य चैनां तपसे कृतोद्यमांसुतां गिरीशप्रतिसक्तमानसाम् ।.
उवाचमेना परिरभ्य पक्षसा निवारयन्ती महतो मुनियतात् ॥३॥
निशम्येति ॥ मेना मेनका च गिरीशप्रतिराकमानसो दरासपापितां तपसे
तपक्षरणाय कृतीयमा मृतोद्योगां सुता निशम्य श्रुत्वना पार्वती वक्षसा परिरभ्या.
लिजय महतो मुनित्रतात्तासी निवारयन्त्युवाच । मनिप्रतादित्य ययपि मुनिमतम्य
मेनकाया अनीसितत्वात् 'वारणा नामीप्सितः' इति नापादानव तथापि
कृतोद्यमामिति मानसप्रवेशोकत्वात् 'ध्रुवमपायेऽपादानम् इत्यपादानत्यमेव स्यात् ।
यथाह माष्यकार:--'यथ मिथ्या संप्राप्य निवर्तते तग धुमपायेगदानमिति
प्रसिद्धम्' इति ॥
Having learnt about [ lit., heard ] her daughter, who had
her mind firmly attached to the lord of mountain i.c.)
Sankara, ( and ) who liad started her efforts for (practising]
penance, Miena [ Porvati's mother ) embracing her close to
( lit., by ) her bosom, ( with the purpose of ) dissuading
her from the rigorous (mabatul ) vow of an ascetic,
said-3.
सामान्यनिषेधगुस्त्या विशेषनिषेधमाह-
म पिताः सन्ति गुदेषु देपतास्तपः क पासे पच तायकेयपुः ।
पदं सदेत भ्रमरस्य पेटय शिरीषपुर्ण न पुनः पतन्त्रिणः ॥ ४॥

·सर्गः। कुमारसंभवम् । मनीपिता इति ॥ हे वत्से, मनस ईपिता इष्टा मनीषिताः । शकन्ध्यादि. स्वात्साधुः । देवताः शच्यादयो गृहेषु सन्ति । त्वं ता आराधयेति शेषः । तपः क तवेदं तावकम् । 'युष्मदस्मदोरन्यतरस्यां सञ्च' इत्यप्रत्ययः । 'तवक- ममकावेकवचने' इति तवकादेशः । वपुश्च क्व । तथाहि । पेलवं मृदुलं शिरीष पुष्प भ्रमरस्य भृगस्य पदं पदस्थिति सहेत । पतत्रिणः पुनः पक्षिणस्तु पदं न सहेत । अतिसौकुमार्यादिव्योपभोगयोग्यं ते वपुर्न दारुणतपःक्षममित्यर्थः । अत्र दृष्टान्तालंकारः ॥. " In the house, [ there ) are (santi) deities desired by the mind [ Or with 'मनीपितायार्च' as the reading, Worship the deities at home for (the obtainment of the mind's desire ]. Dear child, where [is] penance and where this [ frail ] body of yours? The delicate, शिरीष flower, may bear the foot of a bee, but not certainly [ lit., again punah ] that of a winged being (i.e. a bird ]."-4 इति ध्रुवेच्छामनुशासतीसुतां शशांक मेना न नियन्तुमुद्यमात् । क ईप्सितार्थस्थिरनिश्चयं मनः पयश्च निम्नाभिमुखं प्रतीपयेत् ॥५॥ इतीति ॥ इत्येवमनुशासत्युपदिशन्ती मेना ध्रुवेच्छा स्थिरव्यवसायां सुनां पावंतीमुद्यमादुद्योगात्तपोलक्षणाभियन्तुं निवारयितुं न शशाक समर्था नाभून् । तथाहि । ईप्सितार्थ इटार्थे स्थिरनिश्चयं मनो निम्नाभिमुखं पयश्च कः प्रतीपयेत्प्र. तिकूलयेत् । प्रतिनिवर्तयेदित्यर्थः । निम्नप्रवणं पय इवेष्टाभिनिविष्टं मनी दुारमिति भावः । अत्र दीपकानुप्राणिनोऽर्यान्तरन्यासालंकारः ॥ Menaki. thus instructing her daughter of a firm desire, was not able to keep [ lit., restrain, control ] her from her undertaking [ or resolve ]. Who would cause to run in the opposite direction (prutipayet ), the mind with its resolve firm in regard to the object that is desired, and water flowing in the direction of a lower level 2-5 ३५ ·कुमारसंभवम् । पंचमः कदाचिदासनसखीमुखेन सा मनोरथमं पितरं मनस्विनी। अयाचतारण्यनिवासमात्मनः फलोदयान्ताय तपःसमाधये ॥६॥ कदाचिदिति ॥ अथ कदाचिन्मनस्विनी स्थिरावता सा पार्वती मनोरथज्ञम- भिलाषाभिझं पितरं हिमवन्तमासनसख्याप्तसखी सैव मुखमुपायः । 'मुखं निःस- रणे वक्त्रे प्रारम्भोपाययोरपि' इति विश्वः । तेन फलोदयः फलोत्पत्तिरन्तोऽवधि- र्यस्य तस्मै 'तपःसमाधये तपोनियमार्थमात्मनः स्वस्यारण्यनिवासं वनवासमया- चत । 'इत्याच्-' इत्यादिना द्विकर्मकत्वम् ॥ Once; that spirited (manasvini) [ Parvati ], begged of her father who was aware of ( her ] heart's desire, ( permi. ssion for ] her (atmanah ) residence in the forest, for concentration [ of mental powers ] for penance with the winning (udaya, lit., rise) of the fruit as its end, through the medium [ lit. the mouth ] of her female friend who stood] close by:-6. अथानुरूपाभिनिवेशतोषिणा कृताभ्यनुज्ञा गुरुणा गरीयसा। प्रजासु पश्चात्प्रथित तदाख्यया जगाम गौरी शिखरं शिखण्डिमत्॥७ अथेति ॥ अथं गौर्यनुरूपेण योग्येनाभिनिवेशेनाप्रहेण नुष्यतीति तथोक्तन गरीयसा पूज्यतमेन गुरुणा पित्रा कृताभ्यनुज्ञा तपः कुर्विति कृतानुमतिः सती पश्चात्तपःसिद्धपुत्तरकालं प्रजासु जनेषु तदाख्यया तस्या गीर्याः संशया प्रथितम् । गौरीशिखरामिति प्रसिद्धमित्यर्थः । शिसण्डिमत् । न तु हिंसप्राणिप्रत्रमिति भावः । शिरारं गृहं जगाम ययौ ॥ Then, with the permission granted by the noble (eariyan) father, having gratification at [ her ) firm attachment to a worthy [ Anurūpe person, as her husband'), Gauri went to the peak, teaming with peacocks, celebrated later among men (prajāsu ) after her name (ikhya )( as Gauris'ikhara, Gauri's Peak ].--7.

·सर्गः। कुमारसंभवम् । विमुच्य सा हारमहार्यनिश्चया विलोलयष्टिप्रविलुप्तचन्दनम्। यबन्ध वालारुणय वल्कलं पयोधरोत्सेधविशीर्णसंहति ॥ ॥ . विमुच्येति ॥ अहार्यनिश्यानिवार्यनिथया सा गौरी विलोलाभिश्चलाभिर्य- टिभिः प्रतिसरः प्रमुष्टं चन्दनं स्तनान्तरगतं येन तं तथोक्तं हार मुकावली विमुच्य विहाय बालारुणवभ्र बालार्कपिङ्गलं पयोधरयोः स्तनयोरुत्सेधेनौच्छ्रायेण विशीर्णा विघटिता संइतिरवयवसंश्लेषो यस्य तसयोक्तं वल्कलं कण्ठलम्बि स्तनोत- रीयभूतं ववन्ध । धारयामासेत्सर्थः ॥ She, with a resolve not to be shaken, having taken off ( vimuchy.) her ] necklace, that caused the sandal paste ( applied to her breasts ) to be rubbed away by its unsteady (vilola ) strings, tied a bark ( Sarment ), tawny ( babhru ) like the young sun, with its contact (with the ] body (ramhati) loosened (faruri lit., shattered ) by the protuberance of [ her ] breasts.-8. यथा प्रसिद्धर्मधुरं शिरोरुहर्जटामिरप्येयमभूत्तदाननम् । न घट्पदश्रेणिभिरेव पङ्कज सशैवलासङ्गमपि प्रकाशते ॥९॥ यथेति ॥ तस्या देव्या आननं तदाननं प्रसिद्धभूषितः । भूपिती' इत्यमरः । रोहन्तीति रुदाः । 'इगुपधशाप्रीकिरः कः काप्रत्ययः । शिरसि रहानैः शिरोरुहेर्यथा मधुरं प्रियमभूत् । 'स्वा दुनियौ तु मधुरी' इत्यमरः । जटाभिरप्येवं मधुरमभूत् । तथाहि पर पानं पट्पदणिभिधमरपतिभिरेव न किंतु सह शैवलासरेन सौवलासनमपि । 'तेन सदेति गुल्ययोगे' इति यहुव्रीहिः । प्रकाशते । शैवलेनापि शोमत एवेत्यर्थः ॥ The face of that [ Parvati ] was as much (ram) sweet with the matted hair, as (-yatha ) with the hair well decorated (pruddbe ). A lotus appears beautiful [ lit. shines brightly ) not only with the row's of bees, but even (wlien it is) associated with moss clinging [to it).-9. m- - प्रसिद्धी ख्यात- .

·कुमारसंभवम् । पंचमः प्रतिक्षणं सा कृतरोमविक्रियां व्रताय मौजी त्रिगुणां चभार याम् । अकारि तत्पूर्वनिवद्धया तो सरागमस्या रशनागुणास्पदम् ॥१०॥ प्रतीति ॥ सा देवी प्रतिक्षणं क्षणे क्षणे कृतरोमविक्रिया पारध्यात्कृतरोमायां त्रिगुणां निरावृत्तां यां मौजी मुशर्मयों मेखलो व्रताय तपसे बभार । तदेव पूर्व प्रथमं यस्य तत्पूर्व यथा तथा निबद्ध्या तया मौऽयास्या देव्या रशना- गुणस्यास्पदं स्थानं जपनम् । सह रागेण सरागं सलोहितमकारि कृतम् । सीकुमार्यातिशयादिति भावः ॥ - The string of munja grass with three threads [in it ], which she wore for [ carrying out ] the vow, [ and ] which made a change [in the normal state ) of her hair.[i. e. caused her to experience horripilation ] every moment,- by that string ) worn ( lit., bound ] for that (tat) the ( very ) first time (pūrva ), the seat of the strings of [ her ] girdle, .was made' red [ lite, associated . with redness ].-10. "विसष्टरागाधरानिवर्तितः स्तनागरागारणिताच कन्दुकात् । कुशाकुरादानपरिक्षताङ्गुलिः कृतोऽक्षसूत्रप्रणयी तया करः ॥११॥ विसष्टेति ॥ तया देश्या: विमृष्टरागात्त्यक्तलाक्षारसरजनादधरादधरोशनिव- तितः । निसृष्टरागात्, इति पाठे नितरां त्यकलाक्षारागान् । रागलागेन निष्प्रयोजनरवादिति भावः । तथा स्तनाशरारोगागितादीनान् । पतनसमये तस्य स्तनयोरुपरोधादिति भावः । कन्दुकाय निवर्तितः । कुशापुराणामादानेन सवनेन परिक्षता मणिता अगुलयो यस्य स सयोक्तः करः पाणिरक्षस्यप्रणरत्यक्ष- मालाराहचरः कृतः ॥ By her, her hand turned away from the lower lip, which had given up ( its ) redness ( the result of painting with the lac dye ], [ and ) from the ball (rendered ) reddish (भग ) on account of the unguent of the breasts L'with which it cane into contact), with its fingers 4 . २८ ·सगः। कुमारसंभयम्। severely (pari) pricked because of the plucking of Kus'a grass, was made a lover of rosary beads [i. e. was kept busy counting the beads of the rosary ].-11. : महाईशय्यापरिवर्तनच्युतैः स्वकेशपुप्पैरपि या स्म दूयते। यशेत सा याहुलतोपधायिनी निषेदुपी स्थण्डिल एय केवले ॥१२॥ महाहेति ॥ महानही मूल्यं यस्याः सा महाहाँ श्रेष्टा या शय्या तम्या परिवर्तनेन लुण्ठनेन च्युतैर्धटैः स्वकेशपुप्पैरपि या देवी दूयते स्म क्लियति म्म । पुष्पाधिकसीकुमायोदिति भावः । सा देवी याहुलतामुपधत्त उपधानी- करोतीति याहुलतोपधायिनी सती केवले संस्तरणरहिते स्थण्डिले भूमावेवाशेत शयितवती । तया निषेदुप्युपविष्टा च । 'कमुथ' इति नमुः । 'उगितश्व' इति छीप् । भूमावेव शयनादिव्यवहारो न जातूपरीत्यर्थ ॥ She who used to be pained even by the flowers from her ( own sva) hair, dropped by [ reason of ] rollings on the costly bed, [ now ] sat [ literally, sitting ] [ and ] slept on just [era ] bare (kevale) ground (handila ) with the creeper-like arm as [ her ] pillow.--12: पुनर्ग्रहीतुं नियमस्थया तया दयेऽपि निक्षेप पार्पित द्वयम् । लतासु तन्वीषु पिलासचेष्टितं बिलोलदृष्टं हरिणागनासु च ॥१३॥ पुनरिति ॥ नियमस्थया प्रतस्थया तया देव्या द्वयेऽपि द्वयं पुनर्ग्रहीतुं पुनराने निक्षेपोऽपितमिव निक्षेपरवेनापित किमु । इचिन् 'दीयु' इति प्रामादिकः पाठः । पुत्र दये कि दयनिमित्याह-तन्वी सतामु विलास एव चैटिनं विलासचेटिनं हरिणामनागु विलोलाष्टं चालावलौक्तिं च प्रतस्यायो तसा तयोरदर्शनानादिषु दर्शनाशातिभिवेत्युन्प्रेक्षा न तु वस्तु. तोऽर्षणमम्मीनि भाव. ॥ By her abiding by (otbe ) the yow (niyama), was Entrusted f lit. given ] the rair [ of things to the rair [ of beings ). As a deposit ( fuit) [with the intention ·, कुमारसंभवम् । पंचमः to take back(1) movements full of grace ( faremaalear) to the creepers and ( 2 ) trenulous glances (विलोलदृष्टम् ) to the female deer. 13. अतन्द्रिता सा स्वयमेव वृक्षकान्घटस्तनप्रस्रवणैर्व्यवर्धयत् । गुहोऽपियेपांप्रथमाप्तजन्मनां न पुत्रवात्सल्यमपाकरिष्यति ॥१४॥ अतन्द्रितेति ॥ सा देवी खयमेवातन्द्रितासंजाततन्द्रा सती । तारका- दिवादितच्प्रत्ययः । वृक्षकान्खल्पवृक्षान् । 'अल्पे इत्यल्पार्थे कप्रत्ययः । पटावेव स्तनौ तयोः प्रस्रवणैः प्रमृतपयोभियंवर्धयन् । गुहः फुमारोऽपि प्रथमा- सजन्मना प्रथमलब्धजन्मनाम् । अप्रजातानामित्यर्थः । येषां वृक्षकाणां संबन्धि पुत्रवात्सल्यं मुतप्रेम नापाकरिष्यति । उत्तरत्र कुमारोदयेऽपि न तेषु पुतवात्सल्यं निवर्तिष्यत इत्यर्थः ॥ She, [ ever] vigilant [ lit., not slack, stundriti ], herself reared by pourings [ of milk in the form of water Jfrom breasts in the form of pitchers, the young trees, (her ] affection as for her sons (Putraritsalyam) for whom the first born [ones }, even Guha [ Skanda or Kärtikeya ) would not be able to ) set aside.--14. अरण्ययीजाञ्जलिदानलालितास्तथा च तस्यां हरिणा विशश्वसुः। यथा तदीयैर्नयनैः कुतूहलारपुरः सखीनामामिमीत लोचने ॥१५॥ भरण्येति ॥ अरण्यनीजाना नीवारादीनामजलयस्तेषां दानेन ललिता हरिणाय तस्यां देश्या तथा विशवमुर्वियम्भ जग्मुः । 'समी वियम्भविदासी' इत्यमरः । यंपा कुनहलादीमुक्यातदीय हरिणसंरधिभिनयनः करणः । म्वकीये लोचने ससीनां पुरः पुरतः । अनेन तेयो संवन्धराहत्यमुणम् । अमिमीत । अक्षिपरिमागतारतम्यमानाय मानं , चकारेत्यर्थः । परितु सा पारती तदीयैः कुतूहलारपुरोऽने वर्तमानानां सीनां लोचने अमिमीत मतस्थ. रवानात्मन इत्याहुः । 'माइ माने' इत्यम्माक्षातोले । इयमेन पर विश्वागण्य परा फाटा यदक्षिपीडनेपि न उभ्यन्तीति भावः ॥

·सर्गः। कुमारसंभवम् । And the deer fondled by the giving of cavity-fuls (anjai) of forest grown) seeds, trusted her to such an extent (latbã ) that (yatha) she measured the eyes of her female friends standing in front (purab ), with those of theirs [i, e. deer's, Jout of curiousity Calternatively, she measured her ( own) eyes with those of the deer, in the presence of her female friends, out of curiousity ).-15. तपःप्रभावमाह--- कृताभिषेका हुतजातवेदसं त्वगुत्तरासगवतीमधीतिनीम् । दिलवस्तामृषयोऽभ्युपांगमन्न धर्मयुद्धेषु क्यः समीक्ष्यते ॥१६॥ धमेति ॥ कृताभिपेको पृतनाना हुतजातवेदस हुतामिकाम् । नहोमामि. सर्थः । त्वचा पल्कलेनोसरासरवतोमुतरीयक्ती स्वात्तरासजवतीम् । अधीत- मस्या अस्तीत्यधीसिनी स्तुतिपाटादिकुर्वतीम् । 'इटादिभ्यम इतीनिप्रत्ययः । नां देवा दिदृक्षको द्रष्टुमिच्छर ऋषयो मुनयोऽभ्युपागमनगमुपागताः । न चात्र कनिधसेवादोष इलाह-धर्मानेषु वयो न समास्यते न प्रमाणीक्रियते । सति धर्मग्येष्टये वयोज्यष्टयं न प्रयोगामित्यर्थः । तथा च मनु:-'न तेन यो भयति येनास्य पलित शिरः । यो पा युवाप्यधीयानन्तुं देवाः म्वविरं विदुः ॥ इति । Sages approached t her ], being desirous of secing her ( tam) who used to have taken her bath ( अभिषेक) [ likewise ) to have offered [ oblations ) to fire (jälaredat ), possessed of the burk as her upper garment [ and who used to be } reciting the sacred texts ( adhitinim ), in regard to those that are senior (riddha, lit., old ) in Crerformance of 1 sacred dury, i dharme ). age is not taken into account at all ].-16 विरोधिसत्योनियतपूर्यमत्सरं द्रुमैराटप्रसपार्यितातिथि। नपोटमाभ्यन्तरसंभृतानलं सपोपन तय पभूय पापनम् ॥१७॥ पिरोनि रोधिभिः गोन्यावादिभिरविनर्यमरमर खावं. औरण । हिरस्तिमित्यर्थः । हुमैरभार प्रगायनेको नारिताः पिता अनियको ·पंचम: कुमारसंभवम् । यस्मिस्तत्तथोक्तम् । नवानामुटजानां पर्णशालानामभ्यन्तरेषु संभृताः संचिता अनला अमयो यसिंतत्तथोकं तब तपोवनम् ! पावयतीति पावनं बभूव । अहिंसातिथिसत्कारामिपरिचर्याभिजगत्पावनं वभूवेत्यर्थः ॥ That penance grove, where the previous jealousy was given up by animals (sattva ) antagonistic Eto each other), where guests were honoured with the desired produce (prüsava ) [ such as flowers etc. ] by the trees, where fire was well preserved [ lit., collected ] inside a new [-ly erected ] cottage became [ endowed ) the with purifying [ quality].-17 यदा फलं पूर्वतपःसमाधिना न तावता लभ्यममंस्त काशितम् । तदानपेक्ष्य स्वशरीरमार्दवं तपो महत्सा चरितुं प्रचक्रमे ॥१८॥ यदेति ॥ सा देवी यदा यस्मिन्काले तावता तावत्प्रमाणेन पूर्वतपःसमाधिना पूर्वेणानुष्टीयमानप्रकारेण तपोनियमेन काहितं फलं लभ्यं लब्धुं शक्य नामस्त । अशक्यमनतेत्यर्थः । तदा तत्काले । अविलम्बनेसः । बशरीरस्प मार्दवं मृदुत्वं सौकुमार्यमनपेक्ष्याविगणय्य महहुवरं तमश्चरितुं साधयितुं प्रचक्रम उपचक्रमे ॥ When she considered the desired fruit [ as] not obtain. able with that much [távala ) previous concentration Cof mental powers] for [ the practising of ] penance, (then, tada ) disregarding the delicacy (märdaten) of her (own) body, she started practising great [er] austerities (still. 1-18 सामं ययौ कन्दुकलीलयापि या तया मुनीनां चरितं व्यगाहात । ध्रुवं वपुः काञ्चनपानिमितं मृदु प्रकृत्या च ससारमेव च ॥१९॥ सममिति ॥ या देवी कन्दुकलीलया फन्दुककोडयापि ग्लम यया सानि प्राप तया देय्या मुनीनां चरित तीनं तपो म्यगायत प्रविष्टम् । अनारप्रेक्षते- सुषमस्या यपुः फायनपन मुवर्णकमलेन निर्मित पटितम् । अनएप प्रत्या .

·सर्गः। . कुमारसंभवम् । पद्मस्वभावेन मृदु च मुकुमारमपि कामनखभावेन ससारं च कदिनमेव । तथा च तदुपादानकत्वाद्देव्या वपुषः सुकुमारस्थापि तीवतपःक्षमत्वमित्युत्ोक्षार्थ: । The activity (charitam) of sages (viz., practising penance) was carried out (lit., fathomed or plunged into, vy=gäbyata] by her, whol prior to this ] used to be fatigued even on account of the sport with the ball ; surely [her] body, fashioned out of a gold lotus [ was ] by nature [ prakriti ] : at once delicate and full of strength I i. e. tough ).-19. शुचौ चतुर्णा ज्वलता हविर्भुजां शुचिस्मिता मध्यगता सुमध्यमा । विजित्य नेत्रप्रतिघातिनी प्रभामनन्यदृष्टिः सवितारमैक्षत ॥ २० ॥ शुचाविति ॥ शुची मीमै शुचिस्मिता विशदमन्दहासा सुमध्यमा पार्वती ज्यलतां दीक्षिमता चतुणों हविर्भुजाममीनां मध्यगता सती । नेने प्रतिदन्तीति तो मैनप्रनिघातिनी प्रभा गावित्रं तेजो विजित्य न विद्यतेऽन्यत्र इष्टियस्याः सानन्यदृष्टिः सती सरितारं सूर्यमैक्षत ददर्श । 'प्रोप्ने पधाधिमध्यस्थो वर्षामु स्थण्डिलेशरः' इति स्मरणान् । पचामिमध्ये तपश्चारत्यर्थः । तत्र सविर्तव पचमोधी:--'अमि. सविता रावितवाग्नि.' इति श्रीतलिक्षात् ॥ During summer ( s'uchau ) ( she) with a charming Clit., pure J smile and a slender waisi, standing [ lit., gane ) in the midst of four burning fires, having conquered the sun's ) lustre dazzling [ lit., striking against ) the eyes, with [ her ] gaze (टि) [ riveted ] on naught else, looked (on) at the sun.--20. सथातितप्तं सवितुर्गभस्तिभिर्मुर्य तदीयं कमलधियं धी। अपायोयलमय दीर्घयोःशनैः शनायामिकया एतं पदम् ॥२१॥ सति ॥ सचिनुः सूर्यप गभनिमिः किरणम्नया पूर्वानप्रकारेणातितप्त संत तस्या इदं तदीयं भुग कमलधियं कमलम्स शोभा धी प्रार। या रविनापारकमतं न म्लापनि प्रत्युत रियमति तथा तदीयं मुगमागीदिनि मावः ।

·. - कुमारसंभवम् । पंचमः कित्वस्य मुखस्य दीर्थयोरपाङ्गयोः केवलं नेमान्तयोरेव शनैःशनैर्मन्दमन्दं श्याभिकया कालिना पदं स्थानं कृतम् । तयोः सौकुमार्यादित्यर्थः ।। The face of that [ Pārvatí), heated excessively in that manner, by the rays of the sun, had the beauty (o'riyam ) of a lotus. In the long corners of the eyes of this [face ] alone ( kevalam ), a footing was made, by degrees (sanaib s'anaib ), by the darkness [ of skin or complexion. ).-21. अयाचितोपस्थितमम्बु केवलं रसात्मकस्योडुपतेश्च रश्मयः । धभूव तस्याः किल पारणाविधिन वृक्षवृत्तिव्यतिरिक्तसाधनः॥२२॥. अयाचितेति ॥ अयाचितोपस्थितमप्रार्थितोपनतं केवलमम्वूदक रसात्मकस्या. मृतमयस्योड़ना नक्षत्राणां पतिश्चन्द्रस्तस्य रश्मयश्च तस्याः पार्वत्याः पारणाविधि- रभ्यवहारकर्म बभूव । तावन्मानसाधनकोऽभूदित्यर्थः । साध्यसाधनयोरभेदेन व्यपदेशः साधनान्तरच्या मृत्त्यर्थः । किलेति प्रसिद्धी । गृक्षाणां या मृत्तिर्जीवनो. पायस्तद्वपतिरिक्त साधनमुपायो यस्य स तथोक्तः पारणाविधिर्न बभूव । वृक्षोऽन्य- याचितोपस्थितेन मेघोदकेनेन्दुकिरणश्च जीवतीति प्रसिद्धम् । अम्बिकापि ताद- न्मात्रमवालम्भतेत्यर्थः ॥ Mere water that became available [lit., came near ] without being asked for and the rays of the lord of constellations [i.e. the moon ] with nectar as his essence--- [ these tivo ) indeed, became the means (vidhi) of the termination [ of the fast, she was observing), having no means [ of subsistence ] Other than [ those of ] the "irees.-22 निकामतता विविधेन यह्निना नभधरणेन्धनसंभृतेन सा । नपात्यये धारिभिरक्षिता नयैर्भुचा सहोप्माणममुञ्चदूर्ध्वगम् ॥२३॥ निकामेति ॥ विविधन पविधेनेत्यर्थः । नमरण गररेण । आदिला. पेणेपर्यः । इन्धनसंमृतेन काष्टगमिदन यहिना निकाममस्यन्तं समा गाम्पिका तपात्यये श्रीमान्ते । प्रागपीसर्गः,। नयारिभिरक्षिता सिसा सभी गुग

·सर्गः।
कुमारसंभवम् ।
पचामितप्तया सहोर्ध्वगमूर्ध्वप्रमृतमूष्माणं बाष्पममुमत् । 'प्रीमोमयाप्पमूष्माणम्'
इति यादवः ॥
Extremely heated by the manifold fire-by that which
moved in the sky and [ the others ) built up with fuel, she,
sprinkled by fresh waters at the passing away of Summer,
gave forth, [ even ] along with the earth, vapour, going
upwards.-23.
स्थिताः क्षणं पक्ष्मसु ताडिताधराः पयोधरोत्सेधनिपातचूर्णिताः।
यलीपुतस्याः स्खलिताः प्रपेदिरे विरेण नाभिं प्रथमोदविन्दवः॥२४॥
स्थिता इति ॥ उदकस्य विन्दव उदविन्दवः । 'मन्यादन-' इत्यादिनोदकशब्द.
स्पोदादेशः । प्रथम उदविन्दवः । प्रथमविशेषणादविन्दूना विरलत्वं बहुवचनाना-
तिविरलत्वं च गम्यते । तथा च चिरत्वनाभ्यन्तरगमनयोर्निर्वाहः । तस्याः पा-
वत्या पक्ष्मम नेमलोममु क्षणं स्थिताः स्थिति गताः । स्थिता इत्यनेन पक्ष्मा
सान्द्रत्वं क्षणमिति घग्घ्यं च गम्यते । अनन्तरं ताडितो व्यथितोऽधर ओटो
येते तथोक्ताः । एतेनाधरम्य मदिवं गम्यते । ततः पयोधरयोः लनयोहरसैध
उपरिभागे निपातन पननेन चूर्णिता जरिताः । कुचकाठिन्यादिति भावः ।
तदनु वलीदररेखामु स्खलिताः । निनोनतत्वादिति भावः । इत्यं चिरेण न तु
शीघ्रम् । प्रतिवन्धराहुल्यादिति भावः । नाभि प्रपेदिरे प्रविष्टा न तु निजग्मुः।
एतेन नाभेगाम्भीर्य गम्यते । अत्र प्रतिपदमर्यवत्त्वात्परिकरालंकारः ॥
Drops of the first [ shower of rain-J water, which
stood for a while on [ her ] eye-lashes, had struck the lower
lip, got themselves shattered into particles by their ) fall
on the protuberance of [ her ] breasts [ and ] stumbied
through the. [ three] folds [on her belly ], reached,
after long, her navel.--24,
शिलाशयां तामनिफेतयासिनी निरन्तरास्यन्तरवानपुष्टिपु।
घ्यलोकयन्मिपितैस्तडिन्मपर्महातपःसाक्ष्य इपस्थिताःक्षपा॥२५॥

·- कुमारसंभवम् । पंचमः शिलाशयामिति ॥ निरन्तरासु नीरन्ध्रास्वन्तरे मध्ये वातो यासा तादृश्यो या घृष्टयस्तास्वन्तरवातवृष्टिषु । न निकेते गृहे वसतीत्यनिकेतवासिनीम् । अनावृतदेश. यासिनीमित्यर्थः । शिलायां शेत इति शिलाशयां शिलातलशायिनीम् । अधिकरणे शेतेः' इत्यच्यत्ययः । तां पार्वती साक्षाष्टिा साक्षी । 'साक्षाद्दष्टरि संज्ञायाम्' इतीनिप्रत्ययः तस्य कर्म साक्ष्यं महातपसः साश्ये स्थिताः पास्तडिन्मयविद्युद्ध- पैरुन्मिपितरवलोकनळलोकयन्निव । इवेति चक्षुषा बिलोकनमेवोत्प्रेक्ष्यते । साक्ष्य तु 'आदित्यचन्द्रावनिलोऽनलश्च योभूमिरापो हृदयं यमश्च । अहश्च रानिश्च उभे च संध्यै धर्मश्र जानाति गरस्य पृतम् ।।' इति प्रमाणसिद्धत्वान्नोत्प्रेक्ष्यमित्यनुसंधेयम् ॥ Nights standing witnesses as it were to her great penance, saw her, lying on a [ slab of ] stone, not staying in a house, [ all] through the ceaseless showers interspersed by winds, by the openings of their eyes (उन्मिापन ) in the shape of I lit., fuil of.] lightning [ flashes ].-25. एवं वर्षामु विहितं तप.प्रकारमुक्त्वा संप्रति हेमन्ते तपश्चरणप्रकारमाह--- निनाय सात्यन्तहिमोत्किरानिलाः सहस्यरात्रीरदवासतत्परा । परस्परामन्दिनि चमवाकयोः पुरोवियुक्ते मिथुने कृपावती॥ २६॥ निनायेति ॥ सा पार्वती । उस्किरन्ति विपन्तारयुरिकरा. . 'इगुपधना-' इत्यादिना कः । अत्यन्तं हिमानामुत्किरा अनिला यामु ता सहस्यरात्री. पीप. रात्रीः । 'पापे तपमहस्या द्वा' इत्यमरः । उदके पास उदयाराः । 'पेपंवासवाह. नधियु च' इत्युदादेशः । उदवारो तत्परा आसत्ता तथा परस्परमाकन्दिन्यन्यान्य- मामोशिनि पुरोऽप्रेवियुक्त विरहिणि । वियोग प्राप्त :ति यावत् । चकवाकी च चकवाकय चमवाको तयोचकवाक्योर्मिधुने द्वन्द्वे कृपावती राती निनाय । दुःमिषु कृपाइन्वं महतो स्वभाव इति चक्रवाकमिथुने कुरा न तु यामितयेति वाच्यानव- कारा । 'अप्सु वासस्तु हेमन्ते क्रमशो वर्धयेत्तपः' इति मनु.॥ She, bent on staying in water, passed the nights of the month of cry, with the winds excessively scattering snow [ being ] full of compassion for the pair of the chakravikas, ·मर्गः। कुमारसंभवम् । separated [ from each other ] in front [ of her ], piteously (a) crying out for each other.-26. मुखेन सा पद्मसुगन्धिना निशि प्रवेपमानाधरपत्रशोभिना । तुपारवृष्टिक्षतपद्मसंपदा सरोजसंधानमिवाकरोदपाम् ॥ २७ ॥ मुखेनेति ॥ सा पार्वती निशि रात्री पद्मवत्सुगन्धिना मुरभिश । 'गन्धस्यैन्-' इत्यादिनेकारः । प्रवेपमानः कम्पमानोऽधर ओष्ठ एव पत्रं दलं तेन शोभते तथोक्तेन मुखेन तुपारवृष्टया तुहिनवर्पण क्षता नाशिताः पद्मसंपदो यास तासामपा सरोजसंधानं पद्मसंघटनमकरोदिव । इत्यु-प्रेक्षालंकारः । पद्मान्तरं तुहिनेनोपहन्यते तन्मुखपमं तु न तथेति व्यतिरेकालंकारो व्यज्यत इत्युभयो. संकरः॥ She with her face fragrant like: a lotus, [ appearing ] charming on account of the excessively ( pra ) throbbing leaf in the form of [ her ] lower lip, effected, at [ the hour of ] night, the restoration ( sandhānam lit. putting together or putting well ) as it were, of lotuses [ in the case ] of waters, with the wealth of their lotuses destroyed ( 47 ),by the shower of snow,--27. स्वयंविशीर्णद्रुमपर्णवृत्तिता परा हि काप्टा तपसस्तया पुनः। तदप्यपाकीर्ण मतः प्रियंवदां वदन्त्यपर्णेनि च पुराविदः ॥२८॥ स्वयमिति ॥ स्वयं विशीगानि स्वतश्च्युनानि हमपर्णान्येव निर्जीवनं यम्य तस्य भावम्नत्ता नपमः परा काटा परमुत्कों हि । 'बाटोको स्थिती दिशि' इत्यमरः । तया देव्या पुनम्नत्पवर्तनमप्यपाकीर्णमपानम् । अतः पर्णापाक. रणद्धतीः । प्रियं वदतीनि प्रियंवदा । ' प्रियवशे वदः गच् ' इति गच्प्रत्ययः । 'भरपदजन्नस्य मुम्' इति मुमागमः । ता पार्वती पुराविदः पुराणनामारःकरण- समयेऽविद्यमानं पर्णभक्षणं यम्या. सापनि यदन्ति । नामान्तरगमुययायकारः । अन 'अपाम्' इत्यपाठ इनिशब्दाभिहित द्वितीयानुपपत्तेः । यथाद वामनः- 'निपातेनाप्यमिहिने धर्मगि न कर्मविमतिः परिगणनस्य प्रायिकत्वात् ' दनि । म्वयं प्रियंवदाः परेषामरि प्रियवादभाजनानि भवन्तीनि भावः ॥ . A ·+ . 4 कुमारसंभवम् । The state of maintaining ( oneself ) on leaves of trees (द्रुमपर्णवृत्तिना) fallen of their own accord ( स्वयंविशीर्ण ) is, undoubtedly (hi) the highest limit (791) of austerities. By her, however (Punah ), even that was cast away. Hence ['those ] conversant with matters of ) old [times], speak of her, of agreeable speech ( Priyamvadim) as अपर्णा [or, alternatively, those conversant with matters of old times (who are themselves priyamvadab) of agreeable speech, call her अपर्णा ].-28 मृणालिकापेलवमेवमादिभिर्वतैः स्वमहंग्लपयन्यहर्निशम् । तपः शरीरैः कठिनैरुपार्जितं तपस्विनां दूरमधश्चकार सा॥२९॥ मृणालिकेति ॥ मृणालिकापेलवं पद्मिनीकन्दकोमलं स्वं स्वकीयम शरीर- मेवमुक्तप्रकारतोयामिमभ्यवासयतमादियेपो तैःतैरहश्च निशा चाहर्निशम् । समा. हारे द्वन्द्वैकवद्भावः । अत्यन्तसंयोगे द्वितीया । ग्लपयन्ती कर्शयन्ती सा पार्वती कठिनः क्लेशसहैरित्यर्थः । शरीरैरुपार्जितं संपादितं तपस्विनामृपीणां तपो दूरमत्यन्तमधश्वकार तिरश्चकार । अतिशिश्य इत्यर्थः । तपखिभिरप्येवं तपः कर्तु न शक्यत इति तात्पर्यार्थः ॥ She, causing to be reduced her own body, delicate like a small stalk of a lotus, by vows such as this and others (evanādibhil), by day and by night, far (dūram ) surpa. ssed [ lit., threw down ) the penance of ascetics secured, thanks to [ lit., by their ) tough bodies.--29. अथाजिनापाढधरः प्रगल्भवाग्ज्वलन्निव ब्रह्ममयेन तेजसा। विवेश फश्चिजटिलस्तपोवनं शरीरवद्धः प्रथमाश्रमो यथा ॥३०॥ अथेति ॥ अथानन्तरमजिनं कृष्णमृगत्वा । आषाढः प्रयोजनमस्यैत्यापाढः पालाशदण्डः । 'पालाशो दण्ड आपाढः' इत्यमरः । 'विशाखापाडादण्मन्थ. दण्डयोः' इत्याप्रत्ययः । तयोधरस्तथोक्तः प्रगल्भवाक्प्रौढवचनो ब्रह्ममयन वैदि. केन तेजसा । ब्रह्मवर्चसेनेत्यर्थः । ज्वलन्निव स्थितः । इदशब्दो निर्धारणार्थः ।

·. - कुमारसंभवम् । पंचमः विधिप्रयुक्तां परिगृह्य सस्कियां परिश्रमं नाम विनीय च क्षणम् । उमां स पश्यतृजुनैव चक्षुण प्रचक्रमे धक्तमनुज्झितकमः ॥३२॥ विधीति ॥ स ब्रह्मचारी विधिना प्रयुक्तामनुष्टिता सस्क्रियां पूजां परिगृह्य स्वीकृत्य क्षणं परिश्रमं विश्राम च विनीय नाम । नामस्परमार्थे । अथोमा- मृजुनैव विलासरहितेनैव चक्षुषा पश्यन्ननुज्झितक्रमोऽस्यतोनितपरिपाटीकः सन् । वक्तुं प्रवक्रम पारेभे ॥ Having accepted the honour done (prayukta ) in keeping with the [ rastric ] rules ( vidhi ), and having feignedly ( nāma ) removed (viniya, lit., led away ) fatigue, for a moment, he looking at Umã with just a straight [i. e. free altogether from gallantry or 'sexual immorality' ) eye, began speaking, not casting off ( enujjhita ) the due decoruin ( kramah),-32.. अपि कियाथै सुलभ समित्कुशं जलान्यपि मानविधिक्षमाणि ते। अपि स्वशक्त्या तपसि प्रवर्तसे शरीरमाधं खलु धर्मसाधनम्॥३३॥ अपीति ॥ अत्रापिशब्दः प्रश्ने । क्रिया होमादिकर्मानुष्टानार्थम् । समिधच कुशाश्च समित्कुंशम् । 'जातिरप्राणिनाम्' इति द्वन्दैकवद्भावः । सुलभमपि मुलभ कचित् । जलानि ते तव मानविधिक्षमाणि मानक्रियायोग्याल्यपि कचित् । किंच, स्वशक्त्या निजसामथ्यांनुसारेण तपसि प्रवर्तसेऽपि । देहमपीडयित्वा तपश्चरसि कमिदित्यर्थः । युक्तं च नामतत् । खलु यस्माच्छरीरमाद्यं धर्मसाधनम् । धर्मस्तु कायेन वाचा बुद्धया धनादिना च बहुभिः साध्यते तेषु च वपुरेख मुख्यं साधनं सति देहे धर्मार्थकाममोक्षलक्षणाश्चतुर्वा साध्यन्ते । अतएव 'सततमात्मानमेव गोपीत' इति श्रुतिः॥ "Are the sacrificial sticks and Kus'a grass "easily obtainable to you? [ Likewise ] are there waters suitable lii.. capable of ] for the performance ( vidhi ) of [your] bath ? Are you active in [regard to] your austerities, I quite ) in accordance with your [ bodily ) strength > The - ।

·मर्गः। A . 4 कुमारसंभवम् ।। body, is verily ( khalu ), the foremost [ lit.,.the first ] means for [ the performance of sacred ] duty.-33. अपि त्वदायर्जितवारिसंभृतं प्रवालमासामनुवन्धि वीरुधाम् । विरोज्झितालक्तकपाटलेन ते तुलां यदारोहति दन्तवाससा ॥ ३४ ॥ अपीति ॥ त्वयावजितेन सिक्तैन वारिणा संभृतं जनितमागां वीस्था लताना प्रवाल पल्लवमनुवन्ध्यप्यनुस्यूतं किम् । यत्प्रवालं चिरोज्झितश्चिरकालस्यतो लाक्षारागो येन तत्तथापि पाटलम् । स्वभावरतमित्यर्थः । तेन चिरोज्झितालक्त- कपाटलेन ते तय दन्तवाससाघरेण । 'ओटापरी तु रदनच्छदी दशनवासी' इत्यमरः । तुलां साम्यमारोहति । गच्छतीत्यर्थः । अन तुलाराब्दम्य सादृश्य- याचित्वात्तद्योगेऽपि 'तुल्यार्थरतुलोपमाभ्याम्-' इति न तृतीयाप्रतिषेधस्तत्र सूझे राहशवाचिन एव प्रहणादिति ॥ Are the tender leaves of these creepers, nourished [lit. produced ] by water sprinkled by you, continuous [-ly growing, snubandhi ] [ the leaves ) that attain [ lit., mount comparison with your lower lip, red ( pitala ), ( thougfi it has ] since long given up the alaktaka ( lac ) dye?-34. अपि प्रसनं हरिणेपु ते मनः फरस्थदर्भप्रणयापहारिषु । य उत्पलाक्षि प्रचलैर्विलोचनस्तयाक्षिसादृश्यमिय प्रयुसते ॥३५॥ अपानि ।। फरस्थान्दभान्प्रणयेन प्रेहेनापहरन्तीनि ते तथागु । गापराविति भावः । करस्थदर्भप्रणयाराधिपु' इति पाठे दाग प्रणयेन प्रार्थनयापगधिषु हरिणेषु विषये ते मन. प्राममपि न मुभिनं किम् । गापरावरि न योपितम्यं तपस्विमिरिनि भावः । हे उत्पलाक्षि, ये हरिणः प्रचलयमलविलोच. नम्तवासिगारश्यं प्रगत वाभिनयन्ती । प्रगलस्यान्मृगनेनाभि स्वयमः साम्पमुरसान्तीति भावः । 'उत्तरचल: ' इति पायनर उत्सलामत: । भापानयने प्रयानयनमिति न्यायेन शिप्यमागोचलचरित्रयः ॥ " Is your mind unagitatc ( lit., pleased pruunan ) in regard to the deer that take away the darkhublades ) on . . १ ·+ कुमारसंभवम् । पंचमः [your hands, in affection (प्रणय) [alternatively, with अपराधिषु as the reading instead of अपहारिपु “ Is your mind unagitated in regard to the deer that ofíend you, out of their affection [i. e. greed ] for the dardhe grass on your hands),-[ these deer ) which, oh lotus-eyed (one), display asimilarity with your eyes, "by their eyes that are ] excessively (pra) tremulous --35. - यदुच्यते पार्वति पापवृत्तये न रूपमित्यव्यभिचारि तद्वचः । तथा हि ते शीलमुदारदर्शने तपस्विनामप्युपदेशतां गतम् ॥३६॥ यदिति ॥ हे पार्वति, रूमं सौम्याकृतिः पापत्तये पापाचरणाय न भवतीति अदुच्यते । लोकैरिति शेषः । तद्वो न व्यभिचरति न स्खलतीयन्यभिचारि सत्यम् । यत्राकृतिस्तम गुणाः न सुरूपाः पापसमाचारा भवन्ति ' इत्यादयो लोकवादा न विसंवादमासादयन्तीत्यर्थः । किमिति ज्ञायते.-तथा हिं । हे उदार- दर्शने आयताक्षि । सुरूपे इत्यर्थः । अथवोन्नतज्ञाने । विवेकवतीत्यर्थः । ते तव शीलं सद्वृत्तम् । ' शीलं स्वभावे सदृत्ते' इत्यमरः । तपस्विनामप्युपदिश्यतेऽनेनै- त्युपदेशः प्रवर्तकं प्रमाणं तत्तामुपदेशो गतं प्राप्तम् । मुनयोऽपि त्वां वीक्ष्य स्ववृत्ते प्रवर्तन्त इति भावः ॥ " That statement (vachak) which is [ often ] made ( ucbyate ), oh Parvati, that [ excellent ] form is nor for [i. e. does not go hand in hand with, is incompatible with ] sinful behaviour, is absolutely true [lit, is not having a deviation ( vyabhichāra ), For, ch wide-eyed fone], your noble conduct has reached the state of being I little less than a regular course of ] instruction (upadersta), even to the [ avowed or professional ] ascetics.-36. विकीर्णसप्तर्विदलिग्रहासिभिस्तथा न गारैः सलिलैर्दिवच्युतैः। यथा त्वदीयैश्चरितैरनाविलैर्महीधरः पावित एप सान्वयः ॥३७॥ + ·सर्ग:। . - कुमारसंभवम् । विकीणति ॥ एप महीधरो हिमवान् । स च ते ऋपयश्च सप्तर्पयः । 'दिक्संख्ये संज्ञायाम्' इति समासः । विकीर्णः पर्यस्तैः सप्तपणां संवन्धिभिलिभिः पुष्पोपहारैः प्रहसन्ति ये तथोलैर्दिवोऽन्तरिक्षाच्युतैर्गाः सलिलस्तथा न पावितः । अनाविलरकलुपैस्स्वदीयैश्चरितैर्यथा सान्वयः सपुत्रपौत्रः पावितः पवित्रीकृतः ।। "This mountain [ Himalaya ] along with the [entire] line [ of ancestors ] has not been sanctified to the same extent (athi) by the waters of the Ganges, dropped down from heaven, [ and ] smiling brightly ( prahinibhib) with the worship--material ( such as flowers etc ] of [i.e. offetd by the seven sages which gets itself scattered about (farami), to which (-yatha ) [the mountain is sancti fied ] by your pure activities.---37. अनेन धर्मः सविशेषमद्य मे त्रिवर्गसारः प्रतिभाति भाविनि । त्वया मनोनिर्विपयार्थकामया यदेक एव प्रतिगृह्य सेव्यते ॥ ३८ ॥ भनेनेति ॥ हे भाविनि प्रशस्ताभिप्राये, अनेन कारणेन धर्मः सविशेष साति. शयमद्य मे । प्रयाणां धर्मकामार्थानों वर्गस्त्रिवर्गः । 'त्रिवर्गो धर्मकामाश्चतुर्वर्गः समीक्षकः' इत्यमरः । तत्र सारः श्रेष्ठः प्रतिभाति । यद्यस्मात्कारणान्मनसो निविषयावर्थकामी यस्याम्तया त्वयैको धर्म एव प्रतिगृह्य स्वीकृत्य सेव्यते । यत्त्वयार्थकामी विहाय धर्म एवावलम्बितः । अतः सर्वेशं नः रा धेयानिति प्रतिपद्यत इत्यर्थः॥ Oh [ lady ] of excellent thoughts [ bhivini or with bhimini, oh fortunate lady ] [ the performance of sacred ] duty appears to me, [to be especially (मविशेषम् ) best of the group of three [ Dharma, Artha and Kams], to day, by. ( reason of) this { fact ), that ( yat ), by you with a mind that has Artha [ winning of wealth and Köma [ satisfaction of the carnal desire ), deprived of their objects Citarat ) { in other words, without any the least score), only one (viz., Dharnia), having been accepted, is being followed ( kevyat. ).--38. ) ·कुमारसंभवम् । पंचमः संप्रति मनोरथं जिनामुः प्रस्ताति- प्रयुक्तसत्कारविशेषमात्मना न मां परं संप्रतिपत्तुमर्हसि । nale. यतः सतां संनतगाभि संगतं मनीषिभिः साप्तपदीनमुच्यते ॥३९॥ प्रयुक्तति ॥ आत्मना त्वया प्रयुक्तः कृतः सरकारविशेषः पूजातिशयो यस्य तं मां परगन्यं संप्रतिपत्तमवगन्तुं नार्हसि । है संनतगानि संनतानि । ' अङ्गगात्र- कण्ठेभ्यः' इति वक्तव्यान्टीप् । यतः कारणान्मनस इंपिभिर्मनीषिभिर्विद्वद्भिः । शकन्भ्वादित्वासाधुः । सतां संगतं. सख्यं सप्तभिः पदैरापद्यत इति साप्तपदीनं सप्तपदोचारणसाभ्यमुच्यते ! तयावयोस्त्वत्कृतसत्कारप्रयोगादेव सिद्धमिल्यर्थः । 'साप्तपदीनं सख्यम्' इति निपातनात्साधु । "It does not bephve you ( na arbasi ) to takeme ( samprati paltum) to whom an excellent welcome has been oflered, [ to be a stranger [ Param ], in so far as, oh [ you ] with drooping timbs, the friendship T lit., coming together ] of the good, is by the learned declared to be [-one ] that is Formed by [ an exchange of] seven words.-39. अतोऽत्र किंचिद्भवती बहुक्षमा द्विजातिभावादुपपन्नचापलः । अयं जनः प्रष्टुमनास्तपोधने न चेद्रहस्यं प्रतिवक्तुमर्हसि ॥ ४० ॥ भत इति ॥ हे तपोधने, अतः सख्याद्धेतोरन प्रस्ताव बहुक्षमाम् । बहूक्तिस- हाम् यद्वा क्षमावतीम्। भवती खो द्विजातिभावादब्राह्मणत्वादुपपन्नचापलः सुलभ- धाष्टोऽयं जनः । स्वयमित्यर्थः । किंचित्प्रष्टुं मनो यस्य स किंचित्प्रष्टुमनाः प्रष्टकाम. । 'तुं काममनसोरपि' इति मकारलोपः । रहसि भवं रहस्यं गोप्य न चेत्प्रतिवतुमर्हसि ॥ "On this account (atab ), this person here [i.e. I] with his [ or my ] boldness [ easily ] explicable [ or justifi. , able], ( upapanna ) on account of his [or my] being a .iwice. born [i. e. a Brāhmana, ) has (or have) a mind to ask you, of great forbearance, something in this [ matter ] (atra); ४४ - ·सर्गः। कुमारमंमवम् । oh [ lady ] with penance as your riches,if [ that be ] not a secret, it would behave you (tram arbasi ) to reply.--40 प्रष्टव्यमाह- फुले प्रमूतिः प्रथमस्य वेधसत्रिलोकसौन्दर्यमियोदितं वपुः । अमृग्यमैश्वर्यमुखं नवं ययस्तपाफलं स्याकिमतः परं यद ॥४१॥ कुल इति ॥ प्रथमम्य वेधमो हिरण्यगर्भस्य कुलेन्वयाये प्रसूतिरुत्पत्तिः । 'यशार्थ हि मया मृष्टो हिमवानचलेश्वरः' इति ब्रह्मपुराणवचनात् । पपुः शरीरं प्रयागो लोकांना गान्दर्यमिवोदितमेकन ममाहतम् । ऐधर्यमुसं संपत्युसमग्य. मन्येषणीयं न भवति । किंतु सिद्धर्मवेत्यर्थः । वयो नवम् । यौवनमित्यर्थः । अतः परमतोऽभ्यरिक तप फलं म्याद । अस्ति चेदिति शेपः । न किंचिदस्तीत्यर्थः ।। " Birth in the family of the first Creator ( vedhah); this form that has risen [ even ] like the beauty of the three sorlds ( put together ]; the happiness that accrues to [ one in possession of ] wealth (ऐश्वगुसम् ) innot to be sought for fresh youth [-~all these are at your disposal]; tell me, what I else ] higher than this, can be the fruit of austerities?-41 भयत्यनिष्टादपि नाम दुःसदान्मनस्विनीनां प्रतिपत्तिरीहनी। विचारमार्गमहितेन चेतमान दश्यते तश यशोदरि त्ययि ॥४२॥ भागि ॥ दुगहात्मोहमशपयादनिटादादिकतादपि मनस्थिनीनां धीर. ग्राणामीशी सपथरणलक्षमा प्रतिरति प्रतिः । 'प्रतितिानु गरये । प्राप्त प्रासी प्रागल्ये' इति कैगया । भनि नाम । नामेति गंभावनगयाम् । विधारमार्गे प्रदिलन चरा विशेन तदनिटं च । हे मोटारे, स्वयि न दृश्यतेशिवायमाणे तभरि नारासंभावित पारिसर्थः ।। "There possibly ( noun ) is a londoniy (protipottik ) of this sort on the part of spirited ladies, even af some undesirable i accurence or event ). difficuli to Exar; 01 account ·-Cwwwan- कुमारसंभवम् । पंचमः that too ( tot eba) is not seen in you, oh you of slender belly by [ my ] mind sent along the path of thought..-42, आनेष्टाभावमेव प्रपञ्चयति- अलभ्यशोकाभिभनेयमाकतिर्विमानना सुधु कुतः पितुहे 'पराभिमशॉ न तवास्ति कः करं प्रसारयेत्पनगरतसूचये ॥ १३ ॥ अलभ्येति ॥ हे मुनु, इयं वदीयाकृतिमूर्तिरलभ्यो लब्धुमनईः शोकैन भाद्यवमानजेन दुःखेनाभिभवस्तिरस्कारो यस्याः सा तथोक्ता । दृश्यत इति शेषः । असंभावितधायमर्थ इत्याह-पितुहे विमाननावमानः कुतः । न संभाव्यत एवेत्यर्थः । 'सुभ्रुः कुतस्तांतरहेऽवमाननम्' इति पाठान्तरकरणं तु साध्वसमेवो. कोपपत्तिसंभवात् । अन्यत्रापि 'सुभ्रु त्वं कुपितेरयपास्तमशनं त्यक्ता कथा योषिताम्' इत्यादिप्रयोगदर्शनाद्वंशस्थवृत्ते पादादी जगणभशप्रसशाचेत्यलं गोष्टीभिः । न चान्यस्माद्भावालाह-पराभिमर्शः परधर्षणं तु तव नास्ति । पनगरत्नसूचये फाणशिरोमणिशलाका ग्रहीतुमित्यर्थः । 'क्रियार्थीपपदस्य च कर्मणि स्थानिनः' इति चतुर्थी । करं हस्तं कः प्रसारयेत् 'सुन' इत्यत्र भ्रूशब्दस्योवस्थानीयत्वात् 'नेयदुवढ्स्थानावस्त्री' इति नदीसंज्ञाप्रतिषेधात् 'अम्बार्थनद्योईस्यः' इति इस्वत्वं नास्ति । तेन इस्वः प्रामादिक इति केचित् । अन्ये तु 'अप्राणिजातेधारज्ज्वादी, नाम्' इत्यत्र 'अलाबू: 'कर्कन्धू.' इत्युकारान्तादप्यूप्रत्ययमुदाजहार भाष्यकारः। एतस्मादेव ज्ञापकावचिदूकारान्तस्याप्यूछन्तत्वान्नदीत्वे ह्रस्वत्वमित्याहुः । अत- एवाह वामनः-'ऊकारादप्यूप्रकृतेः' इति ॥ "This [ beautiful 3 figure ( akrit)[ of yours ] is one in the case of which humiliation due to grief is impossible of obtainment. Whence can there be disregard [ for you ], oh you of beautiful eye-brows, in the house of your ] father ? Touch at the hands of a stranger, [ simply.] exists not in your case. Who would [dare ] stretch out his hand for the pointed (suchi) gem [ on the hood ] of a serpant [ or, with sūtaye as the reading instead of sūchaye, who would dare stretch out his hand for the ४६ ·सर्गः। कुमारसंभवम् । disturbance and removal of the gem on the hood of a serpant ]?–43. किमित्यपास्याभरणानि यौवने धृतं त्वया चार्धकशोभि वल्कलम् । घद प्रदोपे स्फुटचन्दतारका विभावरी यद्यरुणाय कल्पते ॥४४॥ किमिति हि गरि, किमिति केन हेतुना यौवने स्वयाभरणान्यपास्य विहाय । पद्धस्य भावो वाचकम् । मनोनादित्वादन्प्रत्ययः । वार्धक वृद्धसंघाते वृद्धत्व । पृद्धकर्मणि' इति विधः । तत्र शोमत इति वार्धकशोभि वल्कले धृतम् । प्रदोष रजनीमुरी फुटाः प्रकटाधन्दरतारकाच यस्याः मा स्फुटचन्दतारका विभावरी राविरुणाय सूर्यगुताय करपने यद्यरुणं गन्तुं कल्पते किम् । वद यूहि । "कियाथों- पपदस्प--' इत्यादिना चतुर्थी । दीयमानशशाईतारके प्रदोषे यद्यरुण उदेति ततो विभूषणापहारेण तच पल्कलधारणं संघटत इति भावः ।। " For what has the ark garment becoming old age, been worn by you, after having thrown away ( *panya ) (your) ornaments [just ) in (your ) youth?? Say, whether (gadi), the night with the moon and the stars manifest, is fit for approaching the harbinger of the **** sunti.e. for coming to an untimely or premature end Jin • [just her] fore-part [or beginning or youth, प्रदोप]. ~44. तपःप्रयोजन निराफतुंमाह- दियं यदि प्रार्थयसे वृथा थमः पिनुः प्रदेशास्तव देषभूमयः। अथोपयन्तारमलं समाधिनानरतमन्विष्यति मृग्यते हि तत् ॥५५॥ दिवमिति । दिवं स्वर्ग यार्थयस यामय यदि हि अमलमारप्रयासो या निष्फल. 1 यदि साथ तन्यसे तनः अमं मा काः । इत्त. तव पितु- हिमयनः प्रदेश देवभूमयः स्वर्गपार्थाः तपस्या इत्यर्थः । अयोषयन्तारं बरं प्रायमे नहि गमाधिना सपमालम् न कर्तव्यमित्यर्थः । निषेध्यम्य निषेध प्रति करणलालीया । सयादि । र बर्नु । नान्विष्यति न मृगयने । प्रहातारमिति + -- 1 - ·कुमारसंभवम् । पंचमः शेषः । किंतु तदनं रायते महीनृभिरिति शेपः । न हि वरार्थ त्वया तपसि वर्तितव्यं किंतु तेनैव त्वदर्थमिति भरवः ।। "If you are eagerly desiring E to win' heaven, in vain [is your ] effort. The regions [ in the possession of your father [Himālaya ) are the residences ( bhūmayah ) of gods. Next (atha ), (if you eagerly desire to secure ) a husband, enough of concentration of mental powers for penance ) a jewel seeks nat (rather, hi ) it is sought after [ by the needy ).- 45. वरवाचकाक्षरप्रवणानन्तरमेव देव्या वष्णोच्यासमालमा प्रक्षेषु न प्रत्युत्तर--- मनुपलभ्य स्वयमेवाशधाह- निवेदितं निश्वसितेन सोमणा मनस्तु मे संशयमेव गाहते। न हश्यते प्रार्थयितन्य एष ते भविष्यति मार्थितदुर्लभः कथम् ॥४६॥ निवेदितामिति ।। सोमगा निश्वासन निवासवायुना निवेदितम् । चिन्तानु भावेनोष्णोच्चारोन ते घरार्थित्वं सूचितमित्यर्थः । तर्हि किं प्रश्रव्यसनेनेत्याह- मनस्तु तथापि मे संशयमेव गाहते प्रामाति । कुतः । ते तव । 'त्याना फर्ता या' इति पष्टी। प्रार्थयितव्यः प्राययितुमहं एव न दृश्यते । प्रायितदुलभः प्राणि यो दुर्लभः स कथं भविष्यति । नास्त्येवेत्यर्थः ।। By your hot ( सोमवार, lite, accompanied by heat) sigi I thic reason for your practising austerities } lias been tok My mind, however, entertains [ lit., bathes in ) a doubt [even ) A single (a) [ person ) cagerly to be desired b you is not (to be ] sceir low will [le } be difficult of beir Secured on being sought after [ by you ].-46. अथ पनिप्रार्थनामय सिद्धववाह- भदो स्थिरः कोऽपि तवेप्सितो युयाचिराय यात्पलशस्यता गरे उपेक्षते यः सथलस्विनीर्जटाः कपोलदेरो फलमानपिङ्गलाः ॥१५ + •ve ·मग कुमारसंभवम् । अहो इति ॥ अहो चित्रम् । तसित आप्नुमिष्टी युवा कोऽपि स्थिरः कटिनः । वर्तत इति शेषः । कुतः । यो युवा चिराय चिरायगत कणोत्पलमून्यतां गते प्राप्ते कपोलदेशे गाइस्थले लयाः शियिलयन्वना अतएव लम्बिन्यस्ताः थल. चिनी: कलमः गालिविशेपास्तेपामग्राणि तद्वलिङ्गला जटा उपेक्षते । यस्त्वामीदृशी दृष्ट्या न व्यथते स नूनं वज्रहृदय इत्यर्थः ।। "Oh, hard t-hearted, स्थिर, indeed ] is the young man desired by you, whoever (kopi ) ( he be ), who ignores the matted hair hanging loosely, tawny like the sprouts of Paddy, on the region of your cheeks, which has reached a state of being devoid of the lotus.on the ear (used as an ornament ], all this long (chiriya).-47. मुनियतस्त्यामतिमात्रफर्शितां दियाकराप्लुष्टविभूषणास्पदाम् । शशाइलेखामिय पश्यतो दिवा सचेतसः कस्य मनोन दूयते॥४८॥ मुनिम्नरिति । सुनितान्द्रायमादिभिरतिमानमत्यन्तं वर्णितां दिवारण सूर्यगाप्सुटानि दग्धानि वातातपरसान्मृदुत्वाध श्यामीतानि विभूपणास्पदानि भूषणस्थानानि यस्यान्ता तथानाम् । अतएव दिवाहानि शशाइरेग्यामिव स्थिा स्वां पश्यनः सचेतसो जीवन. कस्य पुंगो मना न दूयते न परितप्यते । अपितु गर्यस्य वेत्यर्थः॥ The mind of what person, is not afflicted to see [***7:) you, extremely reduced by the sages' vow, with the places of ornaments [ on your body ) scorched by the sun ['s rays and, therefore, looking ) like the digit of the moon by day[ extremely emaciased, and with the function (ispeda) of beautifying the whole world being snatched away ( प्राण) by the sun ?-48. अपमि सौभाग्यमदेन पश्चिनं नय प्रियं यधतुरायलोकिनः । करोति लक्ष्य चिरमस्य चनुगेन यत्रमात्मीयमगलपदमनः४९॥ .. - ·. कुमारसंभवम् । पंचमः अवैमीति ॥ तब प्रियं बलभं सौभाग्यमदेन सौन्दर्यगर्वण का । पचितं विप्रलब्धमपमि पेभि । प्रियश्चतुरं मधुरमवलोकत इति चतुरावलोकिनारालप- क्ष्मणः कुटिलरोमणः । अगलं जिनं जिह्मम् ' इत्यमरः । अस्य त्वदीयस्य चक्षुष आत्मीय वर मुखं चिर लक्ष्यं विषय न करोति । दृष्टिपथं न गच्छतीत्यर्थः । तदयं गर्देण हतो निष्फलात्मलामो जात इति भावः ॥ "I know your beloved to have been duped by { his ] pride of beauty, in that he [ lit., who, 9 ) does not, for long, make his own face the mark for this eye of yours that beholds in so lovely (chaturka ) [ lit., clever ] a manner [ and ] has curved eye-lashes.-~-49. कियाचिरं धाम्यसि गौरि विद्यते ममापि पूर्वाश्रमसंचितं तपः । तदर्धभागेन लभस्व काक्षितं बरं तमिच्छामि च साधु वेदितुम् ५० कियदिति ॥ है गौरि, कियरिकप्रमाणकम् । किमवाधिकमित्यर्थः । चिरंश्राम्यसि तपस्यसि । अत्यन्तसंयोगे द्वितीया । ममापि पूर्वाश्रम. प्रथमाश्रमो ब्रह्मचर्याश्रम- स्तन मंचित संपादित तपो विद्यते अर्धश्वासी भागश्च तेन तस्य तपसोऽमागेनैफ- देशेन कादिक्षितमिष्टं वरमुपयन्तारं लभस्म । तं वरं साधु सम्यग्वेदितुं ज्ञातुमिच्छामि। यासी योग्यो भवति तदा ममापि संमतिरिति भावः ।। " How long are you going to toil for fatigue yourself, inyatoh Gauri!t to ] my [ credit ] even, there is ]. penance accumulated during the first (pūrva ) stage of life (i. e. Brahmacharya 3. Do you obtain the desired [one ] with half the share of it. And [ cha, as one more thing 1, I wish to know him well [i.e. in n detailed manner]."-50. इति प्रविश्यामिद्विता द्विजन्मना मनोगतं सा न शशाक शंसितुम् । अथो क्यस्यां परिपार्श्ववर्तिनी विवर्तितानजननेत्रमैक्षत ॥५१॥ इतीति ॥ इतीत्यं द्विजन्मान द्विजेन प्रविदयान्ता । आसवद्रहस्यमुद्धा ध्येत्यर्थः । अभिहितोक्का सा पार्वती मनोगतं हृदिस्थ व शंसितुं वक्तुं न शशाक ·सर्गः। कुमारसभवम्। समर्या नाभूत् । लनयेति शेषः । अयोऽनन्तरं परिपार्धवर्तिनी वयम्यां ससी विवर्तितं विचालितमनजनं व्रतवशान्तिकन्नलं ननं यस्मिन्कर्मणि तत्तथैक्षत । नेत्रसंनयैव प्रत्युत्तरं वाचयांचकारेत्यर्थः ।। 38142.. She thus addressed by the twice-born [ one ] after [his ] having secured an entrance [ into her confidence,, i. e. having won her confidence ], was not able to speak out (s'amsitum ) [her] mind [ lit., the (thought) contained in her mind ]. Then (sthan), [ she ] looked at her female .friend, who constantly used to be by her side, having turned [her eyes, devoid of collyrium (an-anjane) [towards the latter ].-51. संखी तदीया तमुवाच वर्णिनं नियोध साधो तय चेत्कुतूहलम् । यदर्थमम्भोजमिवोप्णयारणं कृतं तपःसाधनमेतया वपुः ॥५२॥ सखीति ॥ तस्याः पार्वत्या इयं तदीया ससी वयस्या तम् । 'वर्णः प्रशन्तः । इति क्षीरस्वामी, । सोऽस्यास्तीति वर्णिनं ब्रह्मचारिणम् । 'वाद्ब्रह्मचारिशि' इनानिप्रत्ययः । उवाच ते स्म । किमिति । हे साधो विद्वन्, तव कुतूहलं चैन् । श्रोतुमन्तीनि शेषः । तर्हि निबोधावगच्छ । आकर्णयेत्यर्थ । 'युध अवगमने इति धानोर्मोवादिकाहो । श्रोतव्यं किं तदाह-यस्मै लाभायेदं यदर्थम् । 'अर्थन सह नित्यसमासः सर्वलिझता चेति वक्तव्यम्' इति वार्तिकनियमारिकयाविशेषणम् । एतया पावत्याम्भोज पप्रमुष्णवारणमातपमिव वपुः शरीर तप.साधनं कृतम् तपःप्रवृत्तिकारणमुच्यते भ्रूयतामित्वर्थः ॥ The female friend of that ( Parvati ) said to that celibate student of Veda (वर्णिनम् अधचारिणम् ), "know fully, oh good man I if there is curiousity on your part, [that] for which, by this one has been made her body a means för penance ['even ] like a lotus ( being uses as the warder off of ( i. e, as an umbrella protecting one against the ) heat [of the sun )."-52.

·. कुमारसंभवम् । पंचमः दृडानःसहसंकल्पो आगरः कृशतारतिः । होत्यागोन्मादमूच्छन्तिा इत्यन- अदशा दश ॥' इति । तत्रास्याः काश्चिदशाः क्रममनाइरीव योजयति 'इयम् इत्यादिभिः पड्डिः श्लोकः-- इयं महेन्द्रप्रभृतीनधिधियश्चतुर्दिगीशानवमत्य मानिनी । 'अरूपहार्य मदनस्य निग्रहात्पिनाकपाणि पतिमाप्तुमिच्छति॥५३॥ इयमिति ॥ मानिनीन्द्राणीप्रभृतीरतिशम्य वर्तितव्यमित्यभिमानवतीयं पार्वलधिधियोपिकैश्वान्महेन्द्रप्रभृतीनिन्दादीश्चतमृणां दिशामीशानिन्द्रवरुणयम कुबेरान् । 'तद्धितार्थ-' इत्यादिनोत्तरपदसमासः । अवनत्यानध्य मदनस्य' निग्रहान्निवहणाद्धेतोः। अकामुकत्वादित्यर्थः । रूपेण सौन्दर्येण हार्यों वशीकरणीयो न भवतीत्यरूपहाय पिनाकः पाणौ यस्य तं पिनाकपाणिं हरम् । 'प्रहरणार्थेभ्यः परे निष्टासप्तम्या भवत.' इति साधु । पतिं भतारमाप्नुमिच्छति । एतेन संकल्पा.' वस्था सूचिता ॥ " This [ Parvati ] here, [extremely ] proud, having , disregarded the lords of the four quarters, Indra and others, possessed of great wealth, desires to secure as [ her] • husband, the [ god ] with the Finaka [ bow in his ] hand, who can not be enticed by beauty, by reason of [ his ] thwarting ( nigraba ) of Madana.-53. असहाहुंकारनिवर्तितः पुरा पुरारिमप्राप्तमुखः शिलीमुखः । * इमां हृदि व्यायतपातमक्षिणोद्विशीर्णमुर्तेरपि पुष्पधन्वनः ॥५४॥ असलेति ॥ पुरा पूर्वमसन सोहमशक्येन हुंकारेण रौद्रेण निवर्तितः ।अतएव पुरारि हरमप्राप्तमुखोऽप्राप्तफलो विशीर्णमूर्तेर्नष्टशरीरस्यापि पुष्पधन्वनः कामस्य शिलीमुखो घाण इमां पार्वती हृदि व्यायतः ।सुदूरावगाढ इति यावत् । तारकपातः महारो पस्मिन्कर्मणि तत्तथाक्षिणोदकर्शत् । दग्धदेहस्यापि मार्गणो लमः । 'मृदुः सर्वत्र बाध्यते' इति भावः । अनेन विवृण्वती शैलमुतापि भापम्' (३ । ६८) इत्यत्रोक्तं चक्षुःप्रीतिमनःसनाख्यमवस्थाद्वयमनन्तरावस्थोपयोगितयान्य या- वस्था सूचिता ॥

·। awarened कुमारसंभवम् पंचमः तगानजनितमदनपेदनामेनां वीक्ष्य नियोऽपि रुरुदुरिति भावः । अत्र वर्णस्खलन- लक्षणकार्योक्त्या पुनः पुनस्तत्कारणीभूतमूळवस्थाप्रादुर्भावों व्यज्यतेऽन्यथा सखीरोदनानुपपत्तरिति । द्वादशावस्थापक्षे तु प्रलापावस्था च व्यज्यते । 'प्रलाप गुगकीर्तनम्' इत्यालंकारिकाः ॥ "When the life of Pinaki [Sankara ] had songs [ in its honour ] taken up [ for singing ], this one [ Parvati] here, many a time, made the young kinnara--princesses, her female companions in singing in the forest-regions, weep, by [ her] words that faltered in the throat [ choked ] with tears.-56. विभागशेपासु निशासु च क्षणं निमील्य नेत्रे सहसा व्यबुध्यत । क नीलकण्ट ब्रजसीत्यलक्ष्यवागसत्यकण्ठार्पितयाहुयन्धना ॥५॥ विभागेति ॥ किंचेति चार्थः । शिष्यत इति शेषः । कर्मणि पम् । त्रिभ्यो भागेभ्य. शेपास्ववशिष्टासु । यद्वा रानियामत्वेन प्रसिद्धत्वातीयो भागति- भागः । संख्याशब्दस्य वृत्तिविपये पूरणार्थत्वमिप्यते । यथा 'शतांशः' 'सहस्रांशः' इति । त्रिभागः शेपो यासा तासु निशामु क्षणं क्षणमा ने निमील्य मीलयित्वा सहसा सद्य. । है नीलकण्ठ, के प्रजसि कुन गच्छसीखलक्ष्या निर्विपया वाग्वचनं यस्याः सा तथोक्ता तयासत्ये मिथ्याभूते कण्ठेऽर्पित बाहुपन्धनं यस्याः सा तया सती व्ययुध्यत विबुद्धवती । एतेन जागरोन्मादौ सूचिती ।। "And during nights with (their ) third part remaining [two thirds already having been passed without a wink of sleep ). ( Parvati ) having closed her ) eyes for a moment, used to be awakened, -all on a sudden (when). with aimless (7477) words 'Where oh Nilakantha ! are you going?' [ and ] with the noose [lit., tic ] of [ her] arms thrown round a non-existing (ant) neck.-57. खनमास्यप्रतिकृतिदर्शनतदास्पृष्ट स्पशाख्याभत्यारो पिरहिणां विनोदाः । तत्र सूत्रसंदर्शनमुरत्वा प्रतिरतिदर्शनमाह- ५४ ·सर्गः। . , . कुमारसंभवम् । यदा वुधैः सर्वगतस्त्वमुच्यसे न येसि भावस्थमिमं कथं जनम् । इति स्वहस्तोल्लिखितश्च मुग्घया रहस्युपालभ्यत चन्द्रशेखरः॥५८॥ यदेति ॥ यदा । यत इत्यर्थः । यदेति हेतावित्युक्त्वा गणव्याख्यानेऽस्यौदा. हृतत्वान् । त्वं दुधैर्मनीषिभिः सर्वगतः सर्वव्यापीत्युच्यसै । तत इत्यध्याहारः । भावे. रत्याख्ये तिष्टतीति भावस्थम् । त्वय्यनुरागिणमित्यर्थः । इमं जनम् । इममित्यात्मनिर्देशः । कथं न वेत्सि न जानासीति मुग्धया मूढया । अकिंचित्कर- चित्रगतोपालम्भ इत्यजानानयेत्यर्थः । सया खहम्तेनोलिखितचित्रे लिखितचन्द्र- शेखरो रहस्येकान्ते । सखीमात्रसमक्षमित्यर्थः । उपालभ्यत साधिक्षेपमुक्तश्च । उक्तसमुच्चयार्थश्चकारः । यद्यपि रहसीत्युक्तं तथापि ससीसमक्षकरणाप्टनात्यागो व्यज्यत एव ।। When you are described ( as ]' omnipresent ( lit., gone everywhere ], by the learned, how do you not know this person [i.e. me ] in love ( bhirastha ) [ with you ]?'-thus, further, (cha) was the moon-crested [ god ] drawn [in a picture ) by her own hand, secretly rebuked,' by the simple one (mugdhayi).-58 यदा च तस्याधिगमे जगत्पतेरपश्यदन्यं न विधि विचिन्वती | mer तदा सदास्माभिरनुभया गुरोरियं प्रपना तपसे तपोवनम् ॥ ५९॥ . यदेति ॥ जगत्पतेम्नस्येश्वरस्याधिगमे प्राप्तावन्य विधिमुपायं विचिन्वती । मृगयमाणा यदा नापश्यत्तदेयं पार्वती गुरोः पितुरनुमयाम्माभिः सह तपसे तपथरिखं तपोवनं प्रपना प्राप्ता ॥ And when, searching [ a good deal ] . [ this one ) did not see any other means ( vidhi ) for the winning of that lord of the world, ( then-tadi), along with us, [ Parvati 1 came to the penance-grove for [ practising ] austerities, with the permission of (her ) father.--$9 मेषु सण्या कृतजन्मसु स्वयं फलं तपःसाक्षिषु दृष्टमेप्यपि । नच मरोहाभिमुखोऽपिदृश्यते मनोरथोऽस्या शशिमोलिसंभयः६० ५५ ·। - कुमारसंभवम् । पंचमः दुमेन्विति ॥ संख्या पार्वत्या स्वयं कृतं जन्म येषां तेषु । स्वयं रोपितैधि- त्यर्थः । तपसः साक्षिषु साक्षाद्दष्टप्वेषु द्रुमेष्वपि फलं दृष्टं लब्धम् । जमित- मित्यर्थः । अस्याः पार्वत्याः शशिमालिसंश्रयश्चन्द्रशेखरविषयो मनोरथस्तु प्ररोहा- भिमुखोऽड्कुरोन्मुखोऽपि न दृश्यते । 'प्ररोहस्त्वड्कुरोऽड्कुरः' इति वैजयन्ती । खयं रोपितवृक्षफलकालेऽप्यस्या मनोरथस्य नाङ्कुरोदयोऽप्यस्ति । फलाशा तु दुरापास्तेत्यर्थः ॥ "Even on these trees, brought into existence,' by [ my friend, personally, and witnesses to [ her ] penance, is seen [ their ] fruit. Her cherished desire - resorting to the god with the moon on his head is, however, not ( na cha ) seen to be ready for [ so much as ] a shoot.-60. न वेझि स प्रार्थितदुर्लभः कदा सखीभिरैनोत्तरमीक्षितामिमाम् । तपःकृशामभ्युपपत्स्यते सखी वृषेव सीतां तदवनहक्षताम् ॥६१॥ नेति ॥ प्रार्थितः सन्दुर्लभः प्रार्थितदुर्लभ स देवस्तपाकशां तपसा कृशा क्षीणामतएव सपीभिरनोत्तरमथुप्रधानं यया भवति 'तक्षेक्षितामिमा नः समी तस्येन्द्रस्यावग्रहेणानादृष्टया क्षती पीडिताम् । 'पृष्टि तद्विधातेऽवमाहायग्रही समौ' इत्यमरः । अवमहः । वर्षप्रतियन्ध इत्यर्थः । सीता पृष्टभुवम् । 'सौता लागल. पद्धतिः' इत्यमरः । वृषा पासव इव । 'वांसवो यत्रहा पृपा' इत्यमरः । कदाभ्यु- पपत्स्यते कदानुग्रहीप्यति न वैधि । अत्र वाक्यार्थ. कर्म । तदवग्रहक्षतामित्यत्रा- वाहक्षतामित्यनेनैव गतार्थत्वे तत्पदस्य वैयापत्तैगदिति मिनं पदं वेग्रीत्यस्य कर्मेति युक्तमुत्पश्यामः ॥ "I do not know, when he, difficult to be obtained though solicited, would favour [our ) friend, here, emacia, ted (krisbam) by penance, and looked at by her friends, in a manner dominated by tears (acrottaram ), lıke Indra (favour. ing ) the ploughed ground, dried up ( 11714) hy drauglit'. [ caused by him ]."-61 ·सर्गः। कुमारसंभवम् । अगूढसद्भावमितीह्नितशया निवेदितो नैष्टिकसुन्दरस्तया अयोदमेवं परिहास इत्युमामपृच्छदव्यजितहर्षलक्षणः ॥ ६२ ।। भगूदेति ॥ इनितनया पार्वतीहृदयामिजया । 'इजितं हृद्तो भावः' इति सनमः । तया गौरीसख्येत्येवमगूढसद्भावं प्रकाशितसदभिप्राय यया तथा निवेदितो ज्ञापितो निष्टा मरणमवधिर्यम्य स नैश्किो यावनीवब्रह्मचारी मुन्दरो विलासी । नैष्ठिकश्वासी मुन्दरति तथोक्तः । द्वयोरन्यतरस्य विशेषयन्वविवक्षायां विशेषण- समासः। किंतु नैष्टिकत्वविशेषर्णन कामित्वविरोधः । अथवा देवस्पालांकिकमहिमा स्वादुभयं तात्त्विकामति न विरोधः । अन्यजितं हर्पक्षण मुसरागादि हरिनं यस्य तथाभूतः सन् । अयि गारि । अयोति पोमलामन्त्रणे। इदं त्वत्ससीभाषित. मेवम् । सन्यं विमित्यर्थः । परिहासः वेलिा । 'वकैलिपरीहासाः' इत्यमरः । इत्येवमुमामपृच्छस्पृथ्वान् ॥ The handsome, life-long (2784) Brahmachrin, thus informed by her who knew the secret of Parvati's heart, in A manner in which the_real intention (nadbbīra ) was disclosed. [ without disclosing signs of joy (he felt ] inquired of Uma,'( delicate ) one, is this so? [ Or] [isit ajest?"-62 अथाप्रहस्ते मुफुलीटतागुली समर्पयन्ती स्फटिफाक्षमालिकाम् । कथंचिदद्वेलनया मिताक्षर चिरव्यवस्थापितयामागपत ।। ६३ ॥ भधति ॥ अथानन्तरमदमनया पाईनी मुकुलीस्तादगुली मंगुटीला गुलः । अप्रभामोहनगि समानाधिकरणममासः । हमापापहनायोगगुगिनोगेंदामेंदा- दिनि वामनः । तस्मिनमहमे सदिकानामक्षमालिको बसमानिरामयन्त्यामुमती कचिन्मदता कटेन विरय्ययायापितयाश्चिरेण स्वीपलवार । एलेन समोपरोधी ध्यम्यते । मिताक्षर परिमितरण यथा तयाभारत यभार । Then the daughier of the mountain, placing, the rosary of crystal beads, in C fic? I forc-hand, the fingers of which 1100 been formed into a bud, having arranged (fit., one who ·कुमारसंभवम् । पंचमः arranged ) her speech after a long time, spoke some how (i.e. with great difficulty ) in a manner, where the words were measured (i. e. few ).-63 किमुवाचेत्याह- यथा श्रुतं वेदविदां वर त्वया जनोयमुच्चैःपदलङ्घनोत्सुकः। तपः किलेदं तद्याप्तिसाधनं मनोरथानामगतिर्न विद्यते ॥४॥ यथेति ॥ हे वेदविदां वर वैदिकश्रेष्ठ, त्वया यथा श्रुतं सम्यकश्रुतम् । श्रुतार्थमेवाह-अयं जनः । खयमित्यर्थः । उवैःपदस्य शिवलभरूयोनतस्था- नस्य लङ्घन आक्रमण उत्सुकः । किमत्रायुक्तमित्यत्राह-इदं तपस्तदवास्त. स्योःपदस्याबाहेः प्रातः साधनं किल । किलेत्यलोके । अतितुच्छत्यादसाथ- कमेवेत्यर्थः । तहि त्यग्यतामित्याशङ्कय दुराशा मां न मुबतीत्याशयेनाह- मनोरयानां कामानामगतिरविषयो न विद्यते । न हि स्वशकिार्यालोचनया कामाः प्रवर्तन्त इति भावः ।। "Of you] the best among the learned in the Vedas, this person is cager to attain to the exalted position [of being the consort of S'iva ), in that [ same ) manner (*1b7) in which, you have heard frorn my friend. This penance is, I hope (Hila ), the means for obtaining it. [ There is ] no province that is not reached (urai) by one's cherished desires."64 अथाह वर्णी विदितो महेश्वरस्तदर्थिनी त्वं पुनरेव घर्तसे। अमालाभ्यासरति विचिन्त्य तं तयानुवृत्ति न च कर्तुमुत्सहे ॥६५॥ भयेति ॥ अथ वर्णी ब्रह्मचारी। 'यणिनी प्रप्रचारिणः' इत्यमरः । आह । उवावेत्यर्थः । 'आहेति भूतायें लट्प्रयोगो भ्रान्तिमूलः' इरयाह वामनः । किमि स्याह-महेश्वरी महादेवो विदितः । मया भायत इत्यर्थः । युनपर्थवावर्तमाने पप्रत्ययः । तोगारपष्टी च । येन त्वं प्राग्भप्रमनौरया एतेति भावः । पुनरेव वं तमीधरमर्षयसे तदर्धिन्येव तलाव प्रस्तरी । तम्प्रभावमनुभूयापाति भावः ।

·कुमारसंभवम् । पंचमः पोलोचय । किमिति । कलहंसलक्षणं कलहंसंचिह्नम् । 'चिहं लक्ष्म च लक्षणम्' इत्यमरः । वध्वा नवोढाया दुकूलं वधूदुकूलम् । 'वधूः स्नुषा नवोढा श्री' इति विधः । तथा शोणितबिन्दून्वर्पतीति तथोक्तम् । आईमित्यर्थः । गजाजिनं च कृत्तिवासश्च । तस्पिनाकिन इत्याशयः । एते कदाचिनात्वपि योग संगतिमहतो यद्यहंतः किम् । एतत्वमेव चिन्तयेति पूर्वणान्वयः । पाणिग्रहणकाले वधूवरयोर्व- स्त्रान्तप्रन्धिः क्रियते । कृत्तिवाससा पाणिपीडने तु दुकूलधारिण्याम्नव कथं संघटिष्यत इति भावः॥ "Oh [ Parvati ] do you just (tavat ) think out quite by yourself ( tvam eva) whether these two [things] deserve Union [ with each other ] [ these two namely ) the silken robe of the bride, with the figures (eri, lit., marks ) of royal swans ( drawn un it Jand the elephant-hide dripping forth drops of blood.-67. चतुष्कपुप्पप्रकराचकीर्णयोः परोऽपि को नाम तवानुमन्यते। अलक्तकाकानि पदानि पादयोविकीर्णफेशासु परेतभूमिपु ॥६॥ २६॥ चतुष्कैति ॥ चनुष्के गृहविशेषे यः पुष्पप्रकरस्तावकीर्णयोन्यस्तयोः । कुसुमा. स्तृतदिव्यभवनभूसंचारोचितयोरत्यर्थः । तव पादयोरलकाकाहानि लाभारमितानि पदानि पादाकाराणि पारन्यासचिहानि। 'पदंशब्दे च वाक्ये च व्यवसाया. पदेशयोः । पादतबिहयोः' इति विधः । विकार्णा विक्षिप्ताः केशा. वशिरोरहा यासु तामु विकीर्णवेशामु । 'अतरस्यं तन्त्र दृष्टं च' इति वचनात् 'स्वासाचोप- सर्जनादसयोगोपधान्' इति विकल्यान हो । परेनभूमिपु प्रेतभूमियु । मशाने- वित्यर्थः । परोऽपि शनुरपि को नामानुमन्यते। न कोऽत्रीत्यर्थः । नामेति युनसायाम् । पिनाकपाणिपाणिग्रहणे तस्य परतभूमंचारित्वेन साहपयांतयापि तत्र संचारवयंभावीति भावः ॥ "Who would, even [if he be ] an enemy, indeed, braole the idea (lita, agree with you)[ of seeing the foot-prints marked with the Alaktaka dye of your fecs, ( first ) placed Upon the cluster of Mowers in Ilie quadrangular courtyard ·सर्गः। कुमारसंभवम् । (चतुष्क) [ at the time of the marriage ] [being later seen on the ground of the dead, with hair scattered about [ on all sides ] ?-68 मयुक्तरूप किमतः परं यद त्रिनेत्रवक्षः मुलभ तयापि यत् । स्तनदयेऽस्मिन्हरिचन्दनास्पदे पदं चिताभरमरजः करिष्यति ॥६९॥ भयुक्तति ॥ त्रिनेत्रवक्षः त्र्यम्बकालिनमित्यर्थः । तव तत्संबन्धितया मुलममपि सुग्रा च । भवतीति शेषः । तवति शेषे पष्टी ! 'न लोकान्यय-' इत्यादिना .फुद्योगलक्षणपष्टया निषेधान् । अत.परमस्मात्रिनेत्रवक्षोलाभादन्ययुक्तरूपमत्य. न्तायुफ कि बद । न किंचिदित्यर्थः । 'प्रशंसायो रूपप्' इति स्पष्प्रत्ययः । पुस्तः । यद्यस्मात्कारणारिचन्दनास्पदे हरिचन्दनस्यास्पदे स्थानभूतऽस्मिन्स्तनद्वये चिताभस्म श्मशानभस्म तदेव रजवर्ण कर्नु । पदं करिष्यति पदं निधास्यति । भर्भवस्य मस्मानरागादिति भावः ॥ "O, say, what thing more undecorous (ayuktarūpam ) can there be than this that the particles of funeral ashes [lit., nshes from the funeral pyre ] easy to be obtained from the chest of Siva [lit., the three eyed-god) will have a residence (Padam ) even on this pair of breasts of yours [which is ] # proper abode for red-sandal(-powder]7-69 'यं च तेऽन्या पुरतो विडम्यना यदूदया धारणराजदार्यया । विलोक्य वृद्धाशमधिष्ठितं रथयामहाजनःसोरमुखो भविष्यति॥७॥ यमिति ॥ यं च से तय पुरत आदावान्या विडम्बना । परिहाग इत्यर्थः । या मेस्यमाह-कल्या परिणीलया । यः कर्मगि म । वारणानहाया स्वपाधिरितमाई गम्मुक्षाणं पृशाम् । 'अचतुर- इत्यादिना निपात । रिलोस्य महामनः सागुमनः म्मेपर गिनमुनो भविष्यत्युपहमिप्यनि यर । इयमिति पूग संबन्धः । मेगेनि 'नमियतिरम्यनमस्यादिना प्रत्ययः ॥ "And this again would be another mockery of yours (only 1to start with 7977.), that ifie fical WFhc having smiling faces on looking at the supti-annuairt ·कुमारसंभवम् । पमतः ( vriddha ) bully mounted by you, wedded ( to S'iva ) and worthy of being borne by a lordly elephant.---70 'द्वयं गतं संप्रति शोचनीयतां समागमप्रार्थनया पिनाकिनः । कलाच सा कान्तिमती कलावतस्त्वमस्य लोकस्यच नेत्रकौमुदी ७१ द्वयामिति ।। पिनाकिन ईश्वरस्य समागमप्रार्थनया प्राप्तिकामनया । क्रियमाणयति शेषः । संप्रति द्वयं शोचनीयतां शौच्यत्वं गतम् । किं तदाह---सा प्रागेव हरशिरोगता । अत्र सेति प्रसिद्धार्थत्वान्न यच्छन्दापेक्षा । तदुक्कं काव्यप्रकाशे- 'प्रकान्तप्रसिद्धानुभूतार्थविषयस्तरछब्दो यदुपादानं नापेक्षते' इति । कान्तिमती । निस्सयोगे मतुप् । कलावतचन्द्रस कला घोडशो भागधास्य लोकस्य नेत्र कौगुदी । मैनानन्दिनीत्यर्थः । त्वं च । कान्तिमतीत्वनेत्रकौमुदीत्वविशेषणयोभियत्राप्यन्वयः । प्रागेकैव शोच्या । संप्रति तु त्वमप्यपरेति द्वयं शोच्यमिति पिण्डितार्थः । शोच्यत्वं च निकृष्टाश्रयणादिति भावः ॥ Two things have now gone to a lamentable state, by their soliciting the company of Kapalin (i. e. S'iva ), [ one ) the well-known ( xã ) resplendent digit of the moon ( lit., one possessed of digits) and f the other ] you [ the veritable ] moon-light to the eyes of the world.-71. 'कन्या परयते रूपं माता वितं पिता श्रुतम् । बान्धवाः कुलमिच्छन्ति मिष्टाप्तमितरे जनाः ॥' इति लोकानामाभाषणम् । तम किंचिदपि नास्तीत्याह-- चपुर्विरूपाक्षमलक्ष्यजन्मता दिगम्यरत्वेन निवेदितं वसु । घरेषु यद्वालमृगाक्षि मृग्यते तदस्ति किं व्यस्तमपि त्रिलोचने ॥७२॥ वपुरिति ।। वपुस्तावदस्य विरूपाणि विकृतरूपाण्यक्षीणि नेत्राणि यस्य नहिरूपा- क्षम् । 'यहुमीही समथ्यश्णोः स्वानात्यच्' इति पञ्प्रत्ययः । वैरप्यं च त्रिनेन. स्वादिति क्षीरस्वामी । अतो न सौन्दर्यवातपित्यर्थः । अलक्ष्यमशातं जन्म या तस्य भावन्तता । युलमपि न शायत इत्यर्थः । 'अलक्षिता अनिः' इति पारे जनिकपनिरतलिना न शाता । जनिरुत्पत्तिकद्रवः' इसमरः । ममु वित दिगमरत्येक निवेदितम् । नास्तीति भापिसमित्यर्थः । यदि वितं भवनि तदा ६२ ·सर्गः। कुमारसंभवम् । कथं दिगम्बरो भवति । अतो ज्ञेयं निर्धनोऽयमिति । किंबहुना है बालमृगाक्षि पार्वति, वरेषु वोट्टषु 'वरी जामातृवोटारी' इति विश्वः । यदूपवित्तादिकं मृग्यते + कन्यातहन्धनिरविष्यते रात्रिलोचने त्र्यम्बके व्यस्तम् । एकमपि समस्तं मा भूदिति भावः । अस्ति किम् । नास्त्येवेत्यर्थः ।। “A body possessed of deformed eyes, condition of birth being unknown, wealth made known by his being possessed of the quarters as garments, oh fawn-eyed one, does that exist even singly ( vyattam ) in the three-eyed god, which is I generally ) sought [in a collected form ] in (the, case of] bridegrooms?--72 निवर्तयारमादसदीप्सिताल्मनः कतद्विधस्त्वं क च पुण्यलक्षणा role अपेक्ष्यते साधुजनेन वैदिकी श्मशानशूलस्य न यूपसन्क्रिया ॥७३॥ नियन्येति ॥ अस्मादसदीप्सितादनिष्टमनोरयान्मनो निवर्तय निवारय । मा पूर्वोक्ता विधा प्रारी यस्य तथोक्तः । अमलशील इत्यर्थः । धः । महदन्तर. मित्यर्थः । पुण्यलक्षणा प्रशस्तभाग्यचिहा वं चक्क । अतो न तवायमई इत्यर्थः । तथाहि । साधुजनेन । 'साधु पिके चारों सबने चाभिधेयवन्' इति विश्व । मशानशूदस्य श्मशानभूमिनियातस्य यध्यरातोदिको पेदोका यूपो नाम पशुबन्धनसाधनभूतः संस्कृतदारविशेषस्तस्य सरिक्रया प्रोक्षणाभ्युक्षणादिसंस्वारो यूपसरिक्रया नापेक्ष्यते नेप्यते । यथा स्मशानशले यूपसत्किया न मिल्यो तथा स्वमपि तम्मन घटस इति तात्यधि. ॥ *-- "Turn away ( your ) mind from this improper desire. Where is the of that sort, and where [ are ] you, possessed of blessed signs? The honour [ by way of consecration] of a sacrifical post ( yüpa ) in keeping with the rules of Veda, is not expected by the good in case of [ an iron ) stake in the cemetary. "--73. इति दिजाती प्रतिफलपादिनि प्रपेपमानाघरलक्ष्यकोपया। विचितभूलतमाहिते तया विलोचने लियंगुपानलोदिने ॥४॥ -- ·,कुमारसंभवम् । पंचमः इतीति । इत्येवंप्रकारेण द्विजातौ द्विजे प्रतिकूलवादिनि सति प्रवेपमानेन चञ्चलेनाधरेणाधरोष्टेन लश्योऽनुमेयः कोपः क्रोधों यस्यास्तथोक्तया तया पार्वत्यो.. पान्तलोहिते प्रान्तरक्ते. विलोचने विकुश्चिते कुदिलिते भूलते यस्मिंस्तत्तथा । सभनमित्यर्थः । तिर्यक्साच्याहिते निहिते। अनादरात्तिर्यगक्ष्यतेत्यर्थः ॥ While the twice-born one was talking unfavourably, in this way, by her whose wrath could be infcrred, from the excessively throbbing lower lip, were cast askance ( tiryak), her eyes red at the corners, in a manner in which her creeper like eye-brows were knit.-74. ... उवाच चैनं परमार्थतो हरं न वेत्सि नूनं यत एवमात्थ माम् । अलोकसामान्यमचिन्त्यहेतुकं द्विपन्ति मन्दाश्चरितं महात्मनाम् ७५ उवाचेति ।। अथैनं ब्रह्मचारिणमुवाच च । किमिति । परमार्थततत्वतो हरं न नेसि न जानासि नूनम् । कुतः । यतो मामेवमुक्तया रोखात्य प्रवीपि । 'युवः पानामादितः-'इनि रूपसिद्धिः । अज्ञानादेवाय शिनद्वेपस्तदैत्याशयेनाद-मन्दा मूढाः । 'मूढाल्पापनिांग्या मन्दा.' इत्यमरः । लोकसामान्यमितरजनसाधारण न भवतीत्यलोकसामान्यमचिन्त्यहेतुकं दुर्योधकारणकं महात्मनो चरितम् । द्विपन्ति हेत्वपरिशानापयन्ति । विद्वांगस्तु कोऽयम हेतुरशीति यह मन्यन्त इत्यर्थः ।। And she thus spoke to him "indeed ( mūsom ) you do not know Hara trugly, whence you addrees me thus the dull-witted hate the conduct of the high-souled which is common with that ) of ordinary run of people and which has a cause that is inscrutable.--75. गंगति 'अमालाभ्यासलिम्' (५१६५) इत्यायुर्ण कागजातम् 'पिपई इत्यादिभिः पाभिः भोकैः परिहतमारभने- विपत्प्रतीकारपरेण मानं निषेप्यते भूतिसमुत्सुफेन या। जगच्छरण्यम्प निराशिपः संतः किमेभिराशोपहनाममृतिभिः ७६ not Hair ·4 " , कुमारसंभवम् । विपदिति ॥ विपत्तीकारपरेण । अनर्थपरिहारार्थिनेत्यर्थः । 'उपसर्गस्य धन्यमनुष्ये बहुलम्' इति दीर्घः । भूतिगमुत्सुकनश्वयकामैन वा मगलं गन्ध. माल्यादिकं निपेव्यते । शरणे रक्षणे साधुः शरण्य. । 'तत्र साधुः' इति यत्प्रत्ययः।। 'शरणं गृहरक्षित्रो.' इत्यमरः । जगत• शरण्यन्तस्य जगच्छरपस्य निराशियो निरमिलापस्य मतः शिवस्य । 'आशीरगदंशयां विप्रवाक्यामिलापयोः' इति शाश्वत । आशया तृष्णगोपहना दृषितात्मतिरन्तःकरण पत्तियां तैभिमझलै. किम् । युवेत्यर्थः । पूर्व मालमित्येकवचनस्य जात्यभिप्रायत्वादभिरिनि बहुवचनेन परामर्शी न विरुयते । इटावात्यनिष्टपरिहारार्थिनो हि मङ्गलाचार. निर्बन्धः । तदुभयासंमृष्टस्य तु यथाकथंचिदाम्नाम् । को दोष इत्यर्थः । एतेन 'अमलाभ्यासरतिम्' (५। ६५) इत्युक्तं प्रत्युतम् ।। An auspicious thing is resorted to [ either ]by one bent on counter-acting a calamity, or by one who longs for prosperity ( bhuti).Of what use, to one who is the refuge of the world, and [ who is ] without any desires, are these [ things ] which affect ( or taint ) the operations (वृत्ति) of [one's mind by creating longings ?--76. अकिंचनः सन्प्रभवः स संपदां त्रिलोकनाथः पितृसद्मगोचरः । स भीमरूपः शिष इत्युीर्यते न सन्ति याथार्थ्यविदापिनाकिन।७। अकिंचनेति ॥ स हरः। न विद्यते किंचन द्रव्यं यस्य सोचिनो दरिद्रः सन् । संपदा प्रमवयस्मादिति प्रभवः कारणम् । पितृपद्मगोचरः स्मशानाश्रयः सन् । त्यागा लोकानां नाय. । 'तद्धितार्थ-' इत्यादिनोत्तरपदसमासः । म देवो भीमरूपी मयंकराकार सन् । शिवः सौम्यरूप इत्युदयने उच्यते । अतः पिना. किनो हरस्य यथाभूतोऽयों यथार्थस्तस्य भावो याचार्य तत्त्वं तस्य विदो न सन्ति । लोकोत्तरमहिनो निलपस्य यथाकचिदवस्थानं न दोषायेति भावः । एतेन • अवस्तुनियधारे ' ( ५६६ ) इति परिदृतं वेदितव्यम् ।। "He is the source of [all] riches [ though] hinuscif penniless (lit:-though possessed of naught ). ( He is ) the lord of the three worlds, I though) always found in the कु.सं.५ ६५ ·, . कुमारसंभवम् । पंचमः cemetary [ lit.,-the home of the manes ]. He is declared [ to be] gentle (Siva) though possessed of a terrible form. Knowers of the holder of Pināka, (i. e. S'ankara ) as he actually is, there are none.--77' देवस्य लौकिकमलौकिकं च प्रसाधनं नास्तीत्याशयेनाह- विभूपणोद्भासि पिनद्धभोगि वा गजाजिनालम्बि दुकूलधारि वा । कपालि वा स्यादथवेन्दुशेखरं न विश्वमूर्तेरवधार्यते वपुः ॥७॥ विभूपणेति ॥ विश्वं मूर्तिर्यस्येति विश्वमूर्तेरष्टमूर्तेः शिवस्य वपुः शरीरं भूषणै- रुद्धासत इति भूषणोद्भासि स्यात् । पिनद्धभोग्यामुक्तभुजंगमं वा स्यात् । पिनद्धति नातेरपिपूर्वात्कर्मणि क्तः । 'वष्टि भागरिरल्लोपमवायोरुपसर्गयोः ' इत्यकारलोपः। गजाजिनालम्बि स्यात् । अथवा दुकूलधारि स्यात् । कपालमस्यास्तीति कपालि ब्रह्म- शिरः कपालशेखरं वा स्यात् इन्दुशेसरं वा स्यात् । नावधार्यते न निर्धार्यते । सर्व संभवतीत्यर्थ: । एतेन · त्वमेव तावत् ' (५। ६७) इति श्लोकोक्तं प्रत्युक्तमिति ज्ञेयम् ॥ "The body ( of him ) with [ the entire ) universe for his form, cannot be apprehended. [ It may be ) radiant on account of ornaments or entwined with serpents. (It may be] wearing the elephant hide, or putting on silken garment. may be) possessed of a skull or of the moon on the crest.-78 'अयुक्तरूप किमत.परं पद' (५। ६९) इति श्लोकोक्तं प्रत्याह- तदङ्गसंसर्गमवाप्य फल्पते ध्रुवं चिताभस्म रजोविशुद्धये । तथाहि नृत्याभिनयक्रियाच्युतं विलिप्यते मौलिभिरम्बरीकसाम्७९ तदिति ॥ तस्य शिवस्या तस्य संसर्गमवाप्यासाद्य चिताममेव रजोविशुद्धये कल्पते । अलं पर्यागोतीत्यर्थः । अलमयोगात् 'नमास्यस्तिम्यादा-' इत्यादिना चतुर्था । ध्रुवं शोधकत्वम् । प्रमागसिमित्यर्थः । प्रमागमेवाह-सपाहि । प्रसि- समेवेत्यर्थः । नत्ये ताण्डवे योऽभिनयोऽर्थव्यप्रकटाविदोषः स एय किया तथा निमित्तेन च्युतं पतितम् । चितामस्मरज इति शेषः । अम्बराकरा दयानां - ·सर्गः कुमारसंभवम् । मौलिभिर्विलिप्यते प्रियते । अशुद्ध चत्कयमिन्द्रादिभिधियतेत्यापत्तिरनुमानं वा प्रमाणमित्यर्थः ।। "Indeed [ even ) the particles of ashes from the funeral pyre, are capable of sanctification, after having obtained the contact with his body. For, it is well known (tatbābi ) (that the particles of dust ] that drop down in the acts of exihibiting gestures in the dances, are borne on ( lit.,-by) their heads by the gods ( lit., by those who ) have heaven as their abode.--79 यदुक्तम् 'दिगम्बरत्वेन निवेदितं वसु' (५। ५२), ' इयं च तेऽन्या पुरती विदम्बना' (५१.) इत्यादि च तत्रोत्तरमाह- असंपदस्तस्य वृपेण गच्छतः प्रभिन्नदिग्यारणवाहनो वृपा। करोति पादावुपगम्य मौलिना विनिद्रमन्दाररजोरणागुली ॥८॥ भसंपद इति ॥ प्रभिन्नो मदसावी दिग्वारणो दिग्गजो वाहनं यस्य सः ऐरावतेनोढ इत्यर्थः । वृषा देवेन्द्रोऽसंपदो दरिद्रस्य पुषेण गच्छतो कृपभारुदस्य तस्येश्वरस्य पादौ मीलिना मुकुटेनोपगम्य । प्रणम्येत्यर्थः । विनिद्राणां विकसिताना मन्दाराणा कल्पतरुकुमुमानां रजोभि.. परागरणा अगुलयो ययोस्ता तयोती करोति । दिग्गजारोहिणामिन्द्रादीनामपि वन्यस्येन्दुमाले. कि संपदा, वृषारोहणे वा को दोप इत्यर्थः ॥ "Indra, who has for his vehicle the quarter-elephant in ichoral exudation ( prabhinna ), having approached, with his head (i.e. having prostrated himself at ) the feet of him, who is penniless, and who moves about on the bull, makes (them i.e. the feet ) possessed of toes reddish with the pollen of the full-blown Mandāra-flowers.--80 यदुक्तम् ' अलक्ष्यजन्मता' (५। ७२) इति तत्रोत्तरमाहima पिवक्षता दोपमपि च्युतात्मना त्वयैकीशं प्रति साधु भापितम् । यमामनन्त्यात्मभुवोऽपि कारणं कथं स लक्ष्यमभयो भविष्यति ८१ ·• कुमारसंभवम्। पंचमः 'विवक्षनेति ॥ च्युतात्मना नष्टखभावेनातएव दोपं दूषणं विवक्षता ववतुमिच्छ- तापि त्वयेशं प्रत्येकम् 'अलक्ष्यजन्मता' इत्येतदेकम् । वच इत्यर्थः । साधु भाषितं सम्यगुक्तम् । कुन्तः । यमीश्वरमात्मभुवोऽपि ब्रह्मणोपि । ब्रह्मात्मभूः सुरज्येष्टः' इत्यमरः । कारणमामनन्त्युदाहरन्ति । विद्वांस इति शेषः । 'पाघ्रामास्थानादाग् –' इत्यादिना मनादेशः । स ईश्वरः कथं लश्यप्रभवो लक्ष्य- जन्मा भविष्यति । अनादिनिधनस्य भगवतः कारणशवाकलङ्गश्च नान्विप्यत इत्यर्थः ॥ "By you of a depraved soul, even [while] desirous of declaring [ only this ] fault, has been said agreeably [.. to the advantage ], (at least) one thing, about the lord. How can he whom they declare to be the originating ] cause of even Brahma (lit., the self-existent ), have an origin that can be known (lit., seen)?-81 अलं विवादेन यथा श्रुतस्त्वया तथाविधस्तावदशेपमस्तु सः। ममात्र भावकरस मनः स्थितं न कामवृत्तिर्वचनीयमीक्षते ॥ ८२॥ अलमिनि ॥ अथवा विवादेन कलहेनालम् । त्वया यथा येन प्रकारेण स ईश्वरः श्रुतोऽशेष कात्स्न्येन तथाविधस्तावत्प्रकार एवास्तु । मम मनस्त्वत्रेश्वरे भावः शृङ्गार एकोऽद्वितीयो रस आस्वाद्यो यस्य तत्तथा स्थितम् । तथाहि । कामवृत्ति. स्वेच्छाव्यवहारी वचनीयमस्थानसशापवाद नेक्षते न विचारयति न हि स्वेच्छासंचारिणो लोकापवादादिभ्यतीति भावः ॥ "Enough of this altercation. Indeed (tavat ), let him be entirely of that form as has been heard by you. My mind possessed of [just ] one sentiment [ viz.] love, however, is set on him. One behaving in consonance with one's will (कामवृत्तिः ) minds not censure.-82 63... निवार्यतामालि किमप्ययं वटुः पुनर्विवक्षुः स्फुरितोत्तराधरः । न केवलं यो महतोऽपभापते शृणोति तस्मादपि यःस पापभाक् ८३ निवार्यतामिति ।। है आलि ससि । 'आलि. सरसी वयस्या च ' इत्यमरः । स्फुरितोत्तराधरः स्फुरणभूयिष्टौष्टोऽयं बटुर्माणयकः पुनः किमपि विवर्भुवस्तु.

·सगः। कुमारसंभवम् । मिच्छुः । ध्रुवः मन्नन्तादुप्रत्ययः । निवार्यताम् । तहि वस्तुमेय कथं न ददासी. , स्याह---तथाहि । यो महनः पूज्यानपमापतेऽसवदति न केवलं स पापभाग्भवति । किंतु तस्मादपभाषमाणात्पुरुषायः गोति सोऽपि पापभाक् । मवतीनि शेषः । अत्र स्मृतिः-'गुरोः प्रातः परावादी न श्रीनव्यः कथंचन । की तत्र पिधातश्री गन्तयं वा ततोऽन्यतः ॥ इति ।। "Ofriend, let this chap [ of a Brahmacharin] with his lower líp quivering prominently (and, therefore obviously ) desirous of speaking something again, be warded off. Not only he who speaks ill of the great, but also [ the one ) who' listens to him is a sinner.-83 संप्रति गन्तव्यपक्षमाश्रयते- इतो गमिष्याम्यथयेति वादिनी चचाल बाला स्तनभिन्नवल्कला I... स्वरूपमास्थाय च तां कृतस्मितः समाललम्ये पराजतनः ॥ ८४॥', ' इत इति । अथवेतोऽन्यत्र गमिष्यामीति वादिनी बदन्ती मनाभ्यां भिन्न- वल्कला रयत्नाकुचयनचीरा याला पार्वती चचाल । पराजतनी धूपमवजय बम्पमास्थाय निजापमानिल निम्मित. सन् तां पार्वनी समाललम्बे जग्राह ।। "Or else ( athara ), I shall go away from hence." So saying the maiden whose bark garment slipped from her breast, proceeded. And [ that very moment ] Siva (lit.,-one who has the lordły bull as his emblem on the flag ), assuming his own (i. e. usual ) form, made a smile, and held her up (by the hand ).--84. तं वीक्ष्य वेपथुमती सरसागयष्टि- निक्षेपणाय पदमुद्धतमुद्रहन्ती । मार्गाचलल्यनिकराकुलितेव सिन्धुः cariac शैलाधिराजतनया न ययौ न तस्थौ ।। ८५ ॥ तमिति ॥ तं देवं वीभ्य वेषधुमती करवनी मरसायटि: म्यिनगात्रा महादेवदर्शनन देव्याः साविकमावोदय उक्तः । निक्षेपणायान्यत्र विन्यासायोदृन- ·. . कुमारसंभवम् । पंचमः मुक्षिप्तं पदमधिमुद्वहन्ती शैलाधिराजतनया पार्वती मार्गेऽनलस्तस्य व्यतिकरण समाहत्या । अवरोधनेनैति यावत् । आकुलिता संभ्रमिता सिन्धुर्नदीव । 'देशे नदविशेपेऽन्धौ सिन्धुर्ना सरिति स्त्रियाम्' इत्यमरः । न ययौ न तस्थौ । लज्जयेति भावः वसन्ततिलकावृत्तमेतत् ॥ On seeing him, the daughter of the lord of mountains, all trembling, with her slender body, full of perspiration, (and) possessing a foot (that was) uplifted (with the intention of) placing it (elsewhere) moved not, nor stood, like a river embarassed by the obstacle of a mountain in her way.-85 अद्य प्रभृत्यवनताङ्गि तयासि दासः क्रीतस्तपोभिरिति धादिनि चन्द्रमौलौ । 'अह्नाय सा नियम क्लममुत्ससर्ज क्लेशः फलेन हि पुनर्नवतां विधत्ते ॥ ८६ ॥ अद्येति ॥ चन्द्रमौली शिवे । हे अवनतानि पार्वति, अद्य प्रभृति । अम्माद्दिना. दारभ्येत्यर्थः । प्रभृतियोगादद्येति सप्तम्यर्थवाविना पञ्चम्यों लक्ष्यते । तव तपोभिः क्रीतः । दास दाने । दासत आत्मानं ददातीति दासोऽस्मीति वादिनि वदति सति । सा देव्यहाय सपदि । 'दाग्झटित्यज्ञसाहाय द्रामक्ष सपदि द्रुतम्' इत्यमरः । नियम तपोजन्यं क्लमं क्लेशमुत्ससर्ज । फलप्राप्त्या लेशं विसस्मारे- त्यर्थः । तथाहि । क्लेशः फलेन फलसिद्धया पुनर्नवा विधत्ते । पूर्ववदेवालिष्टता- गापादयतीत्यर्थः । सफल. क्लेशो न क्लेश इति भावः ॥ "O you of stooping limbs, from this day on, I am your slave bought by (your) austerities," while the moon-crested (God) was speaking thus, she (Parvati) instantly ceased to feel ( lit., -abandoned ) the fatigue caused by (her) vow. • For fatigue makes for (i.e. leads to, ridhatke ), freshness again by (its ) fruit. पति भीगन्महामहोपाध्यायकोलाचलमलिनाधरिविरचितया संजीविनी- समाख्यया व्याख्यया समेतः श्रीकालिदासकृनौ कुमारसंभव महाकाव्ये तपफलोदयो नाम पञ्चमः सर्गः॥ ७० ·(NOTES) Canto IV Stanza I : Construe-- ATTATI Paan te असह्यवेदनं नववैधन्यं प्रतिपादयिष्यता विधिना विबोधिता। To be able to understand the significance of T-'afterwards' or 'then,' contents of stanzas 72 to 75 from the preceding (III) canto have to be recalled. Kalidasa has already informed his readers how Madana's attempt at hitting S'ankara who was practising penance, with the former's Sammohana-arrow ended disastrously in Käma's being reduced to ashes, by the fire arising out of the third eye of S'ankara and in Rati's having fallen into a swoon, paralysing all the activities of her senses. The swoon was, the poet continues, a ventable boon in disguise to Rati, in that, thanks to the loss of consciousness, for some time, she did not know the sudden end, that the highly incensed Sankara put to the career of her Lord. Read : क्रोध प्रभो संहर संहरेति यावद्विरः खे मरतो चरन्ति । araca EXTRFHC Haat THT and तीब्राभिषड्गप्रभवेण वृत्ति मोहेन संस्तम्भयनेन्द्रियाणाम् । अज्ञातमन्यसना मुहूतं कृतोपकारेष रतिर्थभूव ।- stanzas 72 & 73 from Canto III, Kumārasambhava, The following three stanzas reler to Sankara's having disappeared and Parvat's having returned in the direction of her residence helped herein by her loving father. This explains the meaning of 379'- that is, subsequent to the happenings described in the stanzas, and even there more particularly, to those described in stanzas 73-76, or briefly, to Rati's having fallen into a swoon. S'ankara's having disappeared and Parvat's having ·कुमारसंभवम् । चतुर्थः returned home. मोहपरायणा-मोहः परं अयनं यस्याः सा--with the swoon as hier highest resort, that is completely under the influence of the swoon. Gaan is literally without any sway, influence or power, here, 'helpless.'1994the 'bride,' i e, the consort of Madana. fara, Destiny, is qualified by altaraffald, instru. mental singular of the future participle from the causal of aft + (-to know, expenence), meaning by one that desired to cause (Ratu) to experience - 28 TL - which is the object (to be caused to experiencs ). वैधव्यम् is विधवायाः-विगतः धवः HAR ETT: HTETT :: widowhood. In the age in which Kalidasa flourished and wrote his works, a tot was the highest calamity that could belall a Hindu lady, and was by itself, therefore sufficiently unbearable. Add to it, the freshness (74-57) of the calamity and at bocomes one tho agony (a) due to which is literally unendurable (ru). it straat- Nominative singular, leminine base, of the past passivo partciple of the causal of f+94- was made conscious, was brought (back) to consciousness. The idea in the stanza la not very difficult to follow. Rau would have continuod in her helpless, unconscious condition and would have boen all happy for it-but (hard-hearted ) Desliny would not int her alone even in her halplessness and unconsciousness. Destiny thought it fit to bring Rati back to consciousness, thus making her undergo the unbearablo agony of fresh widowhood. which she was so long spared. Carobil readers will no! (111 to note that in linas 2,3 and 4 of tho s'enza, words containing the consonant. 'combined with sono vondl, (... TL, 1947, pasta,...1774) como together, which, howover is not a'matter of man ardent. The poe! is busy securing the alliterative cffcct. Tho mora la wizichts and the following stangas upto the 44h or couched is (dirt by niro and ta ·my life, कुमारसंभवम् । चतुर्थः Jepresented as having uttered the words "oh Lord of are you alive ? " In all such cases fa serves the purpose of the inverted commas in English-standing singly for both the inverted commas--those that precede the words that mark the beginning of a statement and also those that mark the completion of the statement. The construction of the sentence is passive. 'By her who rose..., was seen merely (a heap of) ashes .etc. ET, therefore, is third person singular of the perfect from em passive base. What was seen by Rati, was just the (heap of) ashes of the fire in the form of Hara's anger (a metaphor] that had a form similar to that of a man. Dissolve पुरुषाकृति as पुरुषस्य आकृतिरिव आकृतिः यस्य तत्-a compound of the उपमानपूर्वपद class, where there is उत्तरपदलोप. Cf हरिणलोचना etc which would, when fully dissolved, give rate a ad aar: ul, the frist part of the compound containing the standard of comparison in it and the latter member (199) being dropped altogether in the compound expression as at appears in the language. [Vide-Targuarantee बहुचीहिरुतपदलोपश्च ]. In case the reading is पुरुषाकृतिः हरकोपानल- #ITA , the interpretation of the stanza will be on the basis that... and genda: are in apposition or grammatcally the same construction. The rendering will be-'By her...was seen a human form...just ashes of the fire of the wrath of Hara'--the general idea remaining the same. In the preceding stanza Rati is said not to have known that Madana was no more. With the purpose of finding him out, she therefore, looked about her. Far from seeing her lord hale and hearty, as formerly, however, she was confronted by his body no doubt appearng limb for limb, as before, but with one vital difference, that there was no longer VY ·सगः कुमारसंभवम् । any life in them--all of them having been bumt down to ashes by the use of S'onkara! Stanza 4: Construe--अप पुनः एव विहला सा बसुधालिगन- धूसरस्तनी विकीर्णमूर्धना स्थली समदुःसां - कुर्वती इव विललाप । Ralı saw her husband reduced to ashes and then ( 372 ), as was only to be expected, became once more distressed (PETIT). Her hair were disshevelled, She rolled about on the ground in that forest site, her breasts soiled by their contact with the dust particles (वसुधायाः आलिगनेन धूसरी सनी यस्याः सा), Thus conditioned, she lamented (helplessly ), lamented long enough to make that forest-site too, as though possessed of the game amount of grief. Kalidasa is indulging In a fancy (Ether) here, in that he ascribes gnef to the forest-site, which strictly speaking can have no grief (no loy either ). Incidentally, it may be pointed out, that the stanza typifies the poet's attitude towards Nature. Oftner than not in Kalidasa's works, Nature is represented as being in sympathy with the characters he is depicting. Ct, among others, the Passage assigned toप्रियंवदा in Sakuntala, ry-नवलंतपोवन- विरहकातरा राख्येव । त्वयोपस्थितवियोगस्य तपोवनस्यापि तावन् ममवस्था इयने । उदलितदर्भकवला मृगाः परित्यक्तनतंना मयूराः । अपमृतराष्टुपत्रा Tirta Ent: 1 and another assigned to Afa, in Paghu. vams'a VIII, 70, where the subject matter is similar in natura to the one that kel,disa is dealing with here, viz, bereavement on the loss of the beloved ( Aja's having lost Indumal ). बिलपमिति योगलाधिपः करगार्थमथितं प्रियो प्रनि । मकरोत् पृथिवीरहानपि गुनमारगरमपापषितान् ।। Starzas : Construe--यन् तव शरणम् कान्तिमत्तया विलासिनाम् उपमानम् अभूत, तन् ६ दशीम् द गतम्, न विदीय, प्रियः पठिनाः राला ·कुमारसंभवम् । चतुर्थः From this stanza onwards upto the 24th, Kalidasa sets forth the lamentation of Rati for her lord. Nothing could be more natural than that the first point that struck Rati was the proverbial handsomeness of which Madana, ( Cupid-like ] was possessed. In fact, Madana was the standard of comparison (3441AH, like the moon which is the standard of comparison in the description of the beauty of faco, with all Sanskrit poets while describing the physical handsomeness of lovely men (विलासिना, विलासः येषां ते), by virtue of the possession of beauty (कान्ति' सौदर्य अस्ति यस्य-तस्य भावः- TEGATI). Rati states, that Madana's body (Fatet, generally instrument, tool, means; - later limb such as hand or foot -but finally, as here, 'body') was possessed of beauty. But this oh alas I is a matter of the past. It has been reduced to such a plight now Even when her lord has little else remaining of him but ashes, Rati continues to live. Is she not justfied in concluding that her hard-heartedness alone could account for her survival ? Or why speak of (a Madana and) a Rate> Indeed, it would be only stating the truth to say that women as a class, are hard-hearted. 'Cruelty. thy name is woman'-s Shakespeare would have put . it. Compare for a similar sentiment, though expressed by Rima tor Sika : दी किं न सहस्रधाहमयवा रामस्य किं दुष्करम् । Uttara Ramacharitam. The stanza under consideration, 1. e. Kumārasambhava IV, 5, contains an instance of the A Alqen 77 variety of BuiaG474, in so far as, the gencral statement in line 4 supports the happening in the life of an individual, stated in the first three lines. Stanza 6 Construe-क्षतसैनुबन्धनः जलसङ्घात : नलिनीमिव क्षण. भिन्नसीहदः त्वद्धीनजीवितां मां विनिकीर्य क नु विद्वतः असि ।

·+ AA: कुमारसमयम्। Ratı imagines Madana to be standing in front of her and puts to him a question as to where he has gone (aga: ), in fact run away, having abandoned her dependent for her very life ( fr strani FIT: -ana) on him, breaking off in a trice ( the le of ) affection ( eritel fai E TRT H. ). This act of his, ia on a par with that of a mass ( ties: from +2) of water, that destroys the construction of the dam that controlled it for some time, and runs away, no one knows where (#), after having cast away the lotus-plant ( that drew its very life from it ). क्षतसेतुबन्धनः--क्षत सेतोबन्धनं यस्य or येन सः. विनिकीर्य-absolutve form from fat, having abandoned. From 3+ good, and heart, respectively giving Tag a friend, two different forms, can be had in Sanskrit, meaning the state of being a friend or 'friendship.' One is set 2712: DET where there 1s द्धि of the first स्वर only, in keeping with युवादित्वादण् प्रत्ययः, the other being सौहार्दम् where there is उभयपदऋद्धि, according to ' हृद्भगमिध्वन्ते पूर्वपदस्य च. ' The stanza contains an instance of Upama, with a (at etc) as the उपमेय and जलसङ्घात (नलिनी eta ) as the 347777, and boltıng off to a destination, difficult to understand, as the common property ( krat vrf ). Stanza 1 : Construer() Afrikaans a Sit, 41 a प्रतिकूलं न कृतम् विलपन्त्ये रतये किम् अकारणम् एव दर्शनं न दीयते । Rab alternatively thinks that, more probably than not her Iord hos not gone away at all. But for some reason or other, which cannot be made out ( *Ficha ), he is denying to her, lamenting though she may be (), the opportunity of seeing him. And this, despite the fact that the 'relaton' as it obtained between the two, till very recently, was little short ·1 कुमारसंभवम् । चतुर्थः of what may be characterized as 'ideal. "You did nothing whatsoever that was disagreeable to me," says Rah, "nor was anything unfavourable done by me towards you. "For the expression of a similar idea, read मनसापि न विप्रियं मया कृतqe na TEME HTH Raghuvams'a, VIII, 52. A critical student of Kumārasambhava IV, will have noted that stanza 7th is a pleasant departure on the part of Kölıdāsa, in the manner of expressing the sentiment, as this stanza, so far is the first, to contain the element of lucidity (TE), sufficient to do justice fo the tenderness of the feeling in Rat's mind, Satnza 8 : Construe) Terreny de Tê: वन्धनम् उत, च्युतकेसरदूषितक्षणानि अवतंसोत्पलताडनानि वा स्मरसि (1) 1 Rati finds it very difficult to say anything definitely about Madana and the reasons that prompted him to act the way he did. Dismissing from her mind the thought that Madana was somewhere there, in close vicinity, and still, without any reason, he did not show himselt up, she now recollects a few offences, she gave him. For one thing, Rati had tied Madana down, occasions he commiited blunders in ddressing Rati by the names other lady or "ladies, being absent-minded ) by the strings of her waist-band (hamiyat:). Quite likely, Smara, Smara ( one who remembers ) that he is, well remembers the punishment. Or it is not improbable, that he recalled to his mind the beatings with the lotuses, Rah put on her ears by way of ornaments, which ( beatings ) resulted in soiling the eyes of Madana with the filaments, that dropped down, in the process. Tinkarnay--in the mistakes ( Rifa) committed in ulerng the names. Rain is a past passive participle from स्वर used here in keeping with ' नपुंसके भावे यतः " In the same on (of some ·कुमारसंभवम् । चतुर्थः #ra, therefore, is roguery, Jar441-994 lit., is a sentence, here an utterance, 34ait from 54+75 to go near or to approach, later means all formal things that are said or done when two parties come together. 'TUT 45 .'-a passage assigned to all persons going into the presence of the king is an instance of an Tr. Such (34TITS) are not always to be literally understood. Rati means to say that Madana's saying she dwelt in his heart bolongs to just this class of utterancos, a mere formal utterance; that she need not be surprised, much less shocked, to find it emptied of its contents, 74317 13 a clause by itself. ( How is it Rati inquires, that you are limbless, i.e. devoid of your body, dead, burnt downwhereas, Rat continues to be uninjured (**)? This, like the seventh stanza, has the quality of lucidity, well-matched with the feeling it ernbodies. Stanza 10 Construe—a: aa aala- पत्स्ये; एप जनः विधिना वञ्चितः, देहिनां सुखं खल स्वदधीनम् । "While yet you are a new traveller along the way leading to the other, 1 e. the heavenly world-before you have traversed a considerable distance --I shall follow your track." Rat: thus declares her resolve to follow Madana in death and that too quickly enough lest he shall have gone far ahead making it difficult to her to overtake him. The reason is, that Irle no longer holds the same charm to her. "This person has been deceived by Fate"--can be taken to refer to the loss that Rat: is made to sustain, 374 77: being a combination, very often occurring in Sanskrit as the equivalent of one or 'T. Instances of such a use of ori 77: can be cted by the score : जनमिममनुरक्तं विद्धि नाथेति गेये ।-मालविकाग्निमित्रम्, 1. 5; कयमेदुपदे निरागसं जनमाभाप्यमिमं न मन्यसे । रघुवंशम् VIII. 48 and co ·ht: 1 कुमारसभवम्। अर्थ जनः कस्य हस्ते समर्पितः । शाकुन्तलम् IV. alter stanza, 13 are some of them. In spite of this general use, however, there is an advantage in interpreting the expression as standing for 'this world'-the whole of it. For thus understoof, the third and the fourth lines hang together well, instead of appearing to have been loosely brought together. The thought in lines three and four then is : By fate, the whole world here has been deceived (in so far as it has been deprived of youthe veriest source of its happiness, worth the name ), the happiness of the beings possessed of a body depends on you, I would seem from the contents of the next two stanzas that Kalidasa meant to refer to be world of the living by ari 17: in this context, as the following two stanzas are taken up with detailing the unwelcome effects of Madana's departure to the other world, on the waters and TTS in general ( rather than on Rats individually ). ufaraset-from afar future, third person singular 'I shall reach : 'I shall follow.' from by the addition of the possessive termination - देहः अस्य अस्ति इति देहा- the embodied. परलोकं (प्रति ) नवः प्रवासी (प्रवस्तुं शीलं यस्य सः तस्य, a case of ताच्छील्ये णिनि.) परलोकनवप्रवासिनः The stanza illustrates a combination of the quality (ToT) of perspicuity () and the S'abdalankara called anuprasa, alliteration. Stanza 11 : Construe-(&) 04, stafafaragozat gratif घनशन्दविलवाः प्रियाः कामिना वसति प्रापयितुं स्वत् ऋते कईश्वरः। Now that Madana can not any longer help them, who will be able (4:59) to lead the damsels in love so much so that they cannot brook any further delay in their lovers coming to their places, but prepare themselves to go over इ.सं.६ <t ·are कुमारसंभवम् । चतुर्थः to the residence of the lovers instead, playing the role of abhisarikas ( as they technically are characterised ). The sky is Overcast with clouds, with clouds that roar and frighten the ladies, making them full of distress (faqat: ). The city street is literally wrapped up in darkness. Except the god of love (F41 d'excepting you' where T = :) Rati pertinently asks, who else is equal to the task of safely leading the ladies to their destination ? References to अभिसारिका common enough in Sanskrit literature. Kalidasa in his Vikramorvasiyam makes the heroine resort to the behaviour of an abhisanka-Acts II and III. But for lave, this would be impossible. The stanza under consideration like the one that follows it gives a beautiful pen-picture. For a while the poet seems to have changed places with a painter and with just a few deft touches he helps his reader visualise the whole scene for himself. The abhisarikas here are made to live and move before our very eyes as it were, and so are the proud young ladies in the next stanza. रजन्याः तिमिरेण अवगुष्ठिने-रजनी तिमिरावगुण्ठिते (पुरस्प मार्गे), Stanza 12 : Construera para par, 6 apala स्खलयन् प्रमदानो पारणीमदः खपि असति अधुना विडम्बना । Now that Madana is not there ( wafa.alu ), proud young ladies helping themselves to a lot of wine, in the company ot their lovers, their eyes becoming red, consequently rolling about in that intoxicated condition their words faltering as a result at every step-all this which was so very lovely while yet Madana was there to give them a peculiar grace-has turned out to be a mere mockery (1624) Iittle more than a ridicule. Without love to give a meaning and a charm to ·सर्गः। कुमारसंभवम् । the behaviour of the young ladies, the whole episode dege. nerates into an absolute farce 1 वारुणी-वरुणस्य इयम् said to be the wife of वरुण in सभापर्व, and the daughter of शुक्राचार्य in आदिपर्व of महाभारत, is wine. Stanza 13 : Construe-() at Poptaret: aq ag: ada अवगम्य निशाकरः निष्फलोदयः (सन् ) बहुले गते अपि तमुनो दुःख मोश्यति । Ratnow continues describing the effect of Madana's loss, on the moon (aast: ), the dear friend of his. 'Having leamt that your body is reduced to being the object of stories (कीकतम्-afa form, न कथा अकया, कथा संपद्यमानं कृतम्, कथा- faqah),' says she, "the Maker of Night will have realised that his rising in the sky would be of no avail (Even a beau. tiful moon-Iıt night would cease to serve any purpose of young men and women, though it used to be an ideal time for them to meet and enjoy each other's company so far, as Kūma is no longer in the picture. The very spirit of the enjoy. ment has been irreparably lost), and thus would with great difficulty (37) give up the thinness of his body, caused by the dark hall (is) of the month, even aller the latter has elapsed ( a )." Tho moon waxing during the bright half of the month and waning during the dark, is a physical phenomenon that Kalidasa exploits for his poctic purpose here. The 'moon 'Is a person, a beloved friend of Xama. On Käma's departure to the yonder world, the moon would consider that there is no point in his assuming the full (and ultimately rounded) glory of his form. Giving up of thinness (TECH) on his part. would be a dillicult and more or less mechanical matter, herealier. ter ·कुमारसंभवम् । चतुर्थः प्रियवन्धोः-(१) प्रियाः बन्धवः यस्य, तस्य (बहुव्रीहि ), ot him who loves his friends dearly or (२) प्रियश्चासौ बन्धुश्च प्रियवन्धुः तस्य (कर्मधारय) adear friend. बहुल:- कृष्णपक्षा. Stanza 14 : Construe-ataque ETA: Esgerler चितः नवचूतप्रसवः कस्य पाणतां संप्रति गमिष्यति, वद । Not only the moon (stanza 13 ), but the mango-blossom also will be a great sufferer, in the absence of Madana. The fresh ( 72 ) mango (**blossom (saa:), having a green Teddish (fi) and attractive ( 116 ) stalk (W=FT), (with its presence ) indicated ( even from a distance ) by the sweet () notes (2) of a male koil, was a ( never failing) shaft that enriched the armoury of Madana. Whose arrow can it be, hereafter, the one bow-wielder that used it having disappeared ? कस्य पाणतां गमिष्यति is simply कस्य बाणः भविष्यति. हरितारणचारqua: is a paranomastic (B) expression. For besides the meaning explained above, as going with the arrow, it means having an attractive, green-red (foather ) tied to its Engrai Re: also is to be rendered as going with the arrowindicated by the hissing sound of its own. The word jaar Is specially intended to suggest the sharpness of the noteg of the koil (who has to be a male of the species ) as also of the soldier discharging the arrow from his bow. a has the whole sontence boginning with 'ftar etc upło mala'. as its object. In explanation of CMAT being K-ma's trrow, it may be polnted out that Köma is altomatively called 467" where five different dlowers or blossoms aro sald to bo sorving the purpose of his arrow. The list traditionally quoted in this conneclion is contained in the following stanzo:

·ref: 1 कुमारसंभवम् । (6) अरविन्दं (२) अशोकं च (३) चूतं च (४) नवमलिका । (५) नीलोत्पलं च qed quare 47:1 For this very reason, Käma is given another name yet, viz TTTRI, the flowers being regarded as constituting his bow. Stanza 15:Construe-त्वया अनेकशः धनुषः गुणते नियोजिता इयम् अलिपतितः कदणस्वनः विरुतैः गुरुशोकां माम् अनुरोदिति इव । Rati next describes the sympathetic lamenting on the part of the row of bees, often employed (Alf77) by Madana to serve the purpose of being the string of his bow [l.e. of acting as an excitant of love ). on former occasions. The bees are very sorry to find Rati in a miserable condition. Küldāsa carefully uses the word Tart: to ensure that the sympathisers are shown to belong to the same sex as the sympathised. By their crles (fearai-which here is used in keeping with नपुंसके मावे कः')having piteous notes (करणस्वनः), they are following Rati in mourning the loss of Madano, confronted as Rati is, with heavy grief. In Stuntala, Kalidasa represents the male kokila to be full of sympathy for the horo, Dusyanta . कण्ठेषु एमलितं गतेप्री शिशिरे पुस्कोकिलानां स्वम् । Act IV, 4. Film--Nominative singular, leminine base, past passivo Participle of the causal (प्रयोग) of निफ्युज. गुणस्य कृत्यम् गुणाला the duty or the work of a bow-) string. Stanza 16: Construeigiaz: 997: of aftra ant af: मधुराला निसर्गपण्डितो कोकिला रतिनिपदेषु आदिए । In stanza fourtson, above, the male Kokila with his sweet has already been mensoned, though as one that tuggests the mango-blossom. In this. Re: reques's he: lord to assume his etiactivo form ( atatag:) again and in no ·चतुर्थः कुमारसभवम् । diately or by way of the first thing to be done (arqq=4HH) bid ( m+fett-Imperative 2nd person singular alar) the female kokila, in other words, to appoint her to the duties ( 92-office, duty ) of a female go-between in lovematters. For she--the whole class of female koils (Firat 497 ) is eminently fitted to the task, being learned or expert (OS) in sweet notes (or talks) by nature (Ret). Haig निसर्गतः पण्डिता (this latter being an instance of a form by the additon of the इतच termination - पण्डा बुद्धिः संजाता अस्याः इति पण्डिता, in keeping with तदस्य संजातमिति तारकादिभ्य इतच् CH. पुलकितः देहः तारकितं नमः etc.) मधुरालापनिसर्गपण्डिता. Regarding रतिदृतिपदेषु there is some difficulty as the compound is dissolved as रत्या दूती रतिदूती तासा पदेषु . e. the word designating a female messenger ends in a long vowel, rather than , a short one and still Kälıdāsa's text appears to be fa. Mallinātha accounts for this by saying that the metrical exigencies have led the poet to turn ती into ति. छीवन्तस्यापि दूतीशब्दस्य छन्दोभभयात् हस्वा. This poetic licence is sanctioned elsewhere as in '3114 ani out Checa i Kālıdāsa, is seen using the form ofa in other works of his also : da zarafai Atgtr Reghuvamsam XIX, 8. and 5414fabafi Vikramorvas'iyam, Act. IV. Some have fought shy of what appeared to their a grammatical mistake and have actually emended fà into 7-thus for instance, the Trivendram edition. Others delend the poet by saying दूत्या तिरपि स्मृता इति शन्दभेदप्रकाशे. Regarding a reading given by soms edhtions रतितपदेषु कोकिलान्...पण्डितानonly this much need be said that here is another attempt at emending the text so as to have like my locative plural, foarte accusative plural. But this is doleatod by Kalidīsa's ·सर्गः। कुमारसंभवम् । own characterisation of the female of the species as naturally clever at S'ikuntala, Act V, 22. Tareascara संदृश्यते किमुत याः प्रतियोधवश्यः । etc Stanza 17 : Construe-() AT, Pirca forma many सवेपथूनि उपगूढानि च तानि रहः ते सुरतानि च संस्मृत्य मे शान्तिः न अस्ति । Having referred to the change that Madana's departure signified to the abhisărikās (st 11), to the young proud ladies giving themselves the pleasure of enjoying liberal doses of wine (st 12), to the moon (st 13 ), to the mango blossom (st 14 ), to the row of bees (st 15 ) and to the female kokila (at 16 ), Rati now tums to the memory of the sweet Intimate moments she enjoyed in the company of her husband, beforo the denizen of the cemetary region burt him down a memory which only deepens her sorrow all the more, by denying all peace to her. There were thus those never-to-be forgotten embraces ( 914 -- aga mii') accompanied by tremor, begged by Madana with prostration and bent head, and those many love-sports (Frant) they had in privale (6) which alas I are now no more ! The presence of only two 3s makes it difficult to understand three things viz, (I) supplications (2) embraces and (3) love-sports as being intended. For one more thing, the use of the gerund ONIC is regarded as a mistate as the subject or author of embraces ete is Madana and that of remembering is tla. This stanza 100 stands out from many others in this canto. lor its prusada. Stanza 18. Construe-(e) Tapis 1997 * xil å रचितम् आर्तवं पुमुममगाधनम् इदं प्रियते, तव तत् चार वपुःन पस्ने। Ratt has mentioned tho lovo-sports in the last stanza. In this the speaks of the decoraton of lowers that kind per. V ·कुमारसंभवम्। sonally ( Fai) arranged on her limbs. She is deeply moved to sco that the decoration of flowers belonging to the seasonthe speciality of the season (Ed: Afandan-is to be seen on her body-but the handsome form of Madana who tastefully arranged the decoration is gone past the range of vision. A parallel to the stanza, in point of the idea, 13 Raghuvams'a VIII, 51...fra calcista pu farar स्वमात्मना । पिगिमां देहभृतामसारताम् ॥ Stanza: 19 : Construe--get oft*#fOT TATA (ma) Tel: विबुधैः स्मृतः असि तम् इमं दक्षिणेतरं मे चरणं निर्मितरागं कुरु, एहि । Like the floral decoration the dying of the left foot of Ratu for ornamental purposes is a fresh event. In fact, belore at was completed (aftet TAI ) the cruel gods thought of sending Madana on the mission of Iuring god S'ankara into accepting the hand of Parvati, so that they (the ) gods should be in a position to secure a commander-in-chief for their army. How hard-hearted (CIE" ) indeed were the gods, that they paid no heed to the consequence which Madana would be required to suffer, in their concern for their convenience. For Indra having remembered ET, when approached by gods, refer to FarCEPHATTI Canto II, stanza 63 and for the readiness with which Madana presented himgeli belore Indro, read stanza 64, ibid. Reference to the left foot ( other than the right ) has a special significance as the experts say, decoration of the left part of their body is highly appreciated by the fair sex. far, a wise ono l. e. a god ct. अमरा निर्जरा देवानिदशा विबुधाः मुराः । निर्मितरागम्-निर्मितः रागः यस्य सः तम् । Stanza 20 : Construem(8) A4 Carrier gee gR: अायिनी भवामि, दिवि चतुरे मुरकामिनीजनैः यावत् न विलोभ्यसे।

·सर्गः। कुमारसंभवम् । Rati's jealousy is roused and she is afraid unless sho humies and follows her lord to the other world, having burnt herself up (99189657 179-following the path of a moth. (falling into the flame of a lamp and being consumed ) 9017C va fand moth ), there is every possible lity of the celestial damsels, who have reduced seduction of other ladios' husbands to a fine art (at:), tempting away Kama. Without giving them time to do anything of the sort Rati declares 'I shall burn myself up and resort to your lap ( again ) Oh darling (04) Madana.' ann (neuter ) a path, आईआश्रयितु शीलं यस्याः-acase of तारछील्ये णिनिः. भवामि Idiomati. cally, stands for भविष्यामि according to 'पर्तमानसामीप्ये वर्तमानवद्वा इनि रु' Similarly विलोभ्यसेनविलोमयिप्यमे In keeping with याय. रपुरानिपातयोलंद, इति लट् । Stanza 21 Construe(2) 1937, ap 5914 41, मदनेन विनाता रतिः क्षणमा जीविता किल इति वचनीयं मे व्यवस्थितम् । Rati is very sorry that though she is going to follow Madana to heaven, immediately (941A=33414TH), sull tho stigma that sho indeed lived, may be for no more than & momont ( TTATT ), is now permanently established. Futuro generations would talk dispsragingly of Ray. A chasto lody that sho was, sho was not expected to survivo her consort evon for a fraction of a moment. Vido T 94 91 91 मेया पनिता। The stanza ts noteworthy for the quah'y of the it contains. Stanza 22 Construc-परस्पेशन्तरिदम्प से अस्यमदन मसाथ fram, *** sifa T THAT rift mt : fai fal's lo! is particularly d:!cult, in that she canno! haro the schon o! perloming area tho it. Iuneral ·कुमारसंभवम् । য rites (PHT HVE) in regard to her husband of whom there was no remnant, except the ashes presenting an outline of the human forta. Others could have the consolation, poor though, of putting flowers etc. on the corpse of their dear one. That too was denied to poor Rati. For, unlike others, Madana has gone to a condition, never before imagined (अतर्किता अकल्पिता or अविचारिता) along with his lle and body alike, at one and the same time. What a difference it has made between other people's departure to the other world and that of Madana. Rati's plight in this respect, is even more miserable than that of an ordinary woman ( a 'STETIT TEH' as Sanskritists put it). Birth and death have been the niddles that have occupied the minds of thinkers of all ages, and all lands; and even there, 'death has proved a problemy more difficult of solution, if not impossible of one, Indeed. Rightly does Kalidēsa refer to the state after death as tarifat-not ( so much as even ) guessed about. The problem has, in fact, baffled all human attempts at solving it A parallel is, what Shakespeare makes his 'Prince of Denmark' say: But that the dread of something alter death The undiscovered country from whose boum No traveller returns--puzzles the will The remark regarding prasada holda equally good of this stanza, as of the previous. Stanza 23 : Construerha@gwing: avata: a मधुना सह सस्मितो कर्या तत् नयनोयन्तविलौक्तिं च (अई) स्मरामि । Rati draws a fino picture, or better Kölıdäsa makes hor draw one of Kims holding a conversation with his bosom friend, Madhu, Espring personified Jin a manner accompanied by Kima's noveriailing smile, while he was busy straigh.

·'स। कुमारसंभवम् । tening (ऋजुतां नयतः) the arrow. the bow lying in his lap:- and cleverly and characteristically, managing at the same time to direct a slanting glance at Rati. A scene worthy of being portrayed by a genius in the field of painting, saya Ravivarma. उत्सझे निपणं धनुः यस्य सः उत्सनिषण्णधन्वा-Mark that धनु: gets itseli changed into 79 at the end of a fat compound. Vide-'धनुषश्चेति नडादेशः' नयनस्य ( and not नयनयोः as one of his eyes was directed by Madana towards Madhu, bow and the arrow and the other towards his beloved Rati.) उपान्तेन विलोकितं (= विलोकनम् ) नयनोपान्तविलोकितम्. Stanza 24 : Construe- कुमुमायोजितकामुकः ते हृदयंगमः ससा मधु. क.नु । सः अपि उप्ररुपा पिनाकिना मुहृद्तो गति न गमितः खलु । Visualising the conversation between her liusband and his intimate friend Madhu, Rati naturally is led to wish to know more about him-Where is he, who prepared (Braifon) Koma's bow with flowers, formerly, and therefore was expected to be present in this helpless condition of his friend's consort, gone? Rati's mind which has already received a rude shock in Kimi's death, is easily led to suspect the death of Madhu also. The wielder of the Pinaka bow (ARIE: अस्य अस्ति इति पिनाकी-दांकरः) was notorious enough for the severity (उप्र-रव ) ol his wrath (ब्द). If he could clam one victum. he could as well claim another-especially when the latter helped the former in his questionable' undertakings. कुमुमैः आयोजित कार्मुकं येन सः 1 हृदयं गति इति हृदयंगमः । Tho anuswära on 7 in 4 in the compound is accounted for by 'अदिपदजन्तस्य मुम् इनि मुमागमः' उप्रा रद यस्य सः देन उप्रश (बहुमीहि) समितः--past passive participle of the causal (प्रयोजक) ·कुमारसंभवम् । धतुर्थः of Tone that has been caused to go. ay in the translation 15 rendered by 'may I know,' for Mallinātha quotes HET in support of the rendering-'जिज्ञासानुनये खलु' इत्यमरः Stanza 25 : Construe-344 d: iftaaret: fragt: 597 आहतः मधुः आतुर्रा रतिम् अभ्युपपत्तुम् आत्मानं पुरः अदर्शयत् । All the time Rati was lamenting, Madhu was listening, not being quite far oft from her. He, however, could not bring himself up to go near her, thus only causing her greater amount of grief. Ratı, being beside herself with gref, failed to notice his presence. On being mentioned by name, and hearing a query about his whereabouts, Madhu steps forward, struck at his heart by those words (Briti-lit. syllables) of lamentation (aftgaa=1697), which were as though arrows besmeared with poison (fara ), to offer consolation to Rall, who was so very distressed. Pat: has an alterna. live reading forumas: where a stands for the tip of the arrow. The reading is regarded as being as good as eruit:. In Stanzas 24 and 25, there is an instance of the higure of speech called पर्याय defined by विश्वनाथ in his साहिवदर्पण as क्वचिदेकमनेकस्मिन् ( अनेकं चैकग क्रमान) भवति ( क्रियते या चेत् ) तदा पर्याय इष्यते ॥ The variety here illustrated is that where a thing or a being goes to two places (or more ), os Madhu who was at a little distance from Rati has walked into her presence. In the preceding stanza two beings l. e. Madana and his friend Madhu ere regarded by Rati, to have been caused to undergo the same condition viz. death. Its therefore, answors i din elther case the transition takes pleco so very quickly. ૧૨ ·सर्गः । case कुमारसंभवम् । अभ्युपपत्तुम्-infinitive from अभि उप+पद-to favour, oblige. Stanza 26 : Construe-तम् अवेक्ष्य सा भृशं सरोद, उरः स्तनसंवाधं जधान च, स्वजनस्य अमतः हि दुःखं विश्तद्वारम् इव उपजायते। The very first reatcion on the part of Rati, to her seeing Madhu was weeping all the more (ETH). She beat her bosom so much so that her breasts were pained. स्तनी संबाध्य स्तनसं. याधम् is a ' णमुल्' gerund in accordance with the Sutra 'परिक्ति- श्यमाने च' From the individual of Rati, Kalıdāsa generalises in lines 3 and 4, 'as is well known (PC) gref has its doors thrown wide open (विश्रुतानि द्वाराणि यस्य तत्) in the presence of ones own relatives or beloved friends. The stanza contains an instance of the figure अर्थान्तरन्यास.Cf Bhavabhu. ti's version of this in उत्तररामचरितम् IV'8. संतानवाहीन्यपि मानुपाणां दुःखानि सङ्घन्धुवियोगजानि । दृष्टे जने प्रेयसि दुःसहानि स्रोतः सौरिव संप्लवन्ते ।। Act IV Stanza : 57 Construe--दुःखिता (सा) एनम् इति उवाच (हे) वसन्त पश्य मुहृदः किं स्थितम्, तत् इदं कपोतकरं भस्म पवनैः कणशः विकीर्यते। Rat in that afflicted condition of hers asks Vasanta to see what remained of his friend it was just ( a heap of) ashes of variegated colour [1. e, no uniform specific hue as such spotted 'is the literal rendering of it which the commen. tators explain by रावल ] and here too. Fate was so very spiteful towards her. For even the ashes were being scattered by breezes, particle by particle. Stanza: 28 Construe--अयि स्मर, संप्रति देहि, एप, माधवः पर्युत्मुकः, दयितामु अनवस्थितं नृणो प्रेम मुहृजने न चलं खलु । ९३ ·चतुर्थः कुमारसंभवम्। Rab next addresses herself to Madana requesting him to grant a sight, as there his friend Madhava was all eager for it. The love of men not quite steady towards ladies whom they love (only to give them up as others have caught their fancy in the moanwhilo ) is seen to be not.ficklc in respect of their (men) friends. At least, for the sake of Madhava, Madana ought to show himself up. Men being fickle in their attachment to ladies is a common enough idea in Kalidasa's works (Sakuntala Elvis Til after stanza 1, ActV. In Malavikägnimitra too, Agnimitra takes a fancy to his though previously he made love to the queen, and to und ), if not in Sanskrit literature generally, (Udayana, the hero of Ratnīvalı by tief, making approsches to it a 'maid-servant, though already having a cal in amait, is a case In point ). Stanza 29 : Construe-3 rautala gat gusi store i74 दिसतन्तुगुणस्य पेलवपुष्पपत्रिणः धनुपः आशा कारितम् । Medana can ill afford to forget indeed (7) that thanks to this Vasanta.whoconstantly used to be by the side of Madona, (पावर्तितुं शीलं यस्य, साथील्ये गिनिः, सेन पार्भवतिना ) the otherwise frail bow of Madana-with the threads of filaments as the string, and delicato liowors as the arrow was mado to achloro the singular ſeat of bringing the entire world under the way of making it obey the behests of) Madana, gods and demons Included. विसतन्तुः गुणः यस्य. पेस्पानि (delicate) पुण्ाशि परिगः यस्य +7-that which is possessed of a leather, therolon, an arrow. It WAS A common practice in thoso days to attach foothers ( of herons , lor instance, ) to the arrows-'Ono having a festher' thus becomo a synonym o!' T.' The contras! botween the trail bow and the conquest of the whole world thould be carefully noted. The construction ·सर्गः। कुमारसंभवम् । अमुना जगत् आज्ञा कारितम् where जगत् and आज्ञा both are objects as the root & governs two accusatives, and where the consfruction finally is causal passive is grammatically worth noting. Stanza 30 ; Construe ni à fret 3faciet: 19:56: 17, न निवर्तते, अहम् अस्य दशेव, अविषह्यव्यसनेन धूमिर्ता मां पश्य । Rah's words having proved a cry in the wildneress. as there was not even the remotest indication of her lord return ing, she concludes and conveys the conclusion to Vasanta. "Gone ( to be sure t) is your friend like a lamp struck by a gale of wind-he would not retumn (Band present for future.)" "I am" Ratl Continues," like a wick of that lamp. Look at me (rendered ) smoky by the calamity ( 28 of qnel) that is (simply) unbearable." Madana corresponds to a lamp, Rati to the wick of the same. The wind blows out the lamp, Madana has departed never to return. The wick is full of smoke (धूमः अस्याः संजातः इति, तदस्य संजातमिति तारकादिभ्य इतच्) alter the lamp has been put out by the terrible (faqı) blast ( with reference to the wick ), Rati is made full of smoke (metaphorically is no longer her former self, all her brightness, jovial nature etc having disappeared ) by the unbea. rable calamity. In taat VIII, 38 Källdāsa compares 871 with 'तैलनिकविन्दु ' and इन्दुमत्ती with a 'दीपार्चिः. A happy simile happily expressed. Stanza 31 : Construeret at Pam Anar på ark कृतम् ; अनपायिनि संश्रयहमे गजभने वल्लरी पतनाय (भवति ), अर्धय तदैशर्स च अर्धवैशसम्--half the slaughter from विशसः a person who kills (वि+शस् to kill). संध्यस्य हुमः संश्रयहमः a tree of resort ( to the tett-creeper, dependent on it). ९५ ·कुमारसंभवम् । चतुर्थः At the time of the slauhgter of Kāma, Fate left me out thus perpetrating only half the cruel deed," Rati continues, "(where in fact he could as well have perpetrated the whole, for-) when the tree of resort, regarded as free from injury (न विद्यते अपायः अस्य इति अनपायी तस्मिन् ) is broken down by an elephant, the creeper is only doomed to fall down.' "The fall of the tree renders it impossible for the creeper to exist any longer. The same holds good about Madana's death and Rati's existence. Co ty is an idiomatic way of expressing tho idea' the crooper is bound to fall in Sanskrit. Read a parallel from the companion study of this vilēpa from Raghuvamsa• अथवा मम भाग्यविप्लवादशनिः कल्पित एष वेषसा । यदनेन तरुन पातितः क्षपिता तटिपाश्रिता लता । VIII, 47. Stanza 32: Construe-07 Toyotaxant HE 20Ti क्रियताम् ; ननु विधुरो मा ज्वलनातिसर्जनात् पत्युः अन्तिकं प्रापय । बन्धुजनस्य प्रयोजनम् ( कार्यम् ) पन्धुजनप्रयोजनम् service rendered to a friend to either adjectival or adverbial-(a) that which follows immediately, or without leaving a gap (b) immediately, without any delay. fayt-separated from my husband and ) alicted. ज्वलने अतिसर्जनम् ---ज्वलनातिसर्जनम् , प्रापय- Imperative 2nd person singuler of the causal of 9+*19 cause ( me ) to reach-- und is the object of 1994, the vicinity (of my lord ). "Now that this is the inevitable course of things, now that the complement of the cruol deed of Fate must in the nature of things take place, even 11 Fate left the work hall.dono (_HT), without any loss of time, kindly lot a service bo rondor. ed by you to your friend," Rati requests Vasanta, "throwing me into the fire, lesd mo into the presence of my lord."

·pit: 1 कुमारसंभवम् । Stanza 33: Construeerimla, azt nga e प्रलीयते प्रमदाः पतिवमंगा इति विचेतनैरपि प्रतिपहि। Observation of our surroundings, which need not be very minute, leads us to the conclusion that women as a rule follow their husbands, whether alive or dead, tu ( moonlight personified) follows the moon, wherever the latter goes. On the cloud pouring out all the water contained in it and thus ceasing to exist, lightning gets herself dissolved. And no one would seriously enough credit either or afct with that much intelligence or discrimination, which living beings possess. The less intelligent (if not insentient) moon-light and lightning lead the way, that intelligent Rati has to follow. 791: in this context, stands for such of them as care to have the reputation of a पतिव्रता. As usual, Raghuvams'a has a parallel, in frigora Tetrafuar द्वन्दचरं पतत्रिणम् । VIII, 56. In प्रतिमा the instances of the moon being followed by clic, the creeper collapsing after the forest tree and the female elephant not deserting the lordly-elephant sunkin mire are cited and the generalisation established Hatte Fra: 1 The stanza under consideration, Kumara IV, 33 is remarkable for prasada alliteration sud, Thal... पतिवमैगा...प्रतिपनं, and the अर्थान्तरन्यास It contains. Stanza 34 . Construe-29T1 tha NTHEHET 99 fa- तलनी विभावसौ नवपल्लवसंस्तरे यथा तर्नु रचयिष्यामि । Rat says she is going to immolate herself on the funeral Pyre of her lord. Like other ladies in a similar condition, Rati need not wait for any adomment. Just the ashes of the body of her dear Madana' (THT) would be a fine () material with which to decorate her breasts and for . कु.सं.७ ·11 कुमारसंभवम् । चतुर्थः which no elaborate preparations were necessary ( a ). "Thus decorated," says Rati, "I shall place myself on fire (विभावसु-विभा lustre वमु wealth यस्य सः) [as gladly and easily] as on a bed of soft ( Int. ) fresh leaves." कपायिती (रजितौ ) स्तनी यस्याः सा कयायितस्तनी, संस्तर-a bed. Ratı says that to her the ashes of the body of Madana would be (as) welcome (as an embrace with him), that the fire would be giving her the same comfort and delight as her bed of fresh soft leaves (formerly ). Just with the purpose of leaving no scope for Vasanta to argue that Ratu should not act so rashly and part with her life. Stanza : 35 Construe-(a) in HIFIŪT ART: 34: सहायता गतः, संप्रति तावत् प्रणिपाताजलियाचितः (सन् ) चिताम् में आशु कुरु। Rati reminds Madhu that on several occasions (45T:) in the past, he acted as a helper to both Madana and Rata in arranging their bed of flowers. This, Madhava did very willingly, a friend of Madana that he was. Would it be too much to expect him to arrange the funeral pyre for Rati, now that Madana is no more?" Do it guickly," says Rati, being begged of by mc with hands folded in an act of salutation." For a true friend stands by you not only when you are in affluent circumstances, but even when you are confronted by the direst of calamites. Literally is the latter part of the stanza, 30 often quoted start wind a data , to be understood. HERT to be distinguished from a help or assistance, is a person who helps: तस्य भावः सहायता. प्रणिपाताय अअलिः तेन याचितः प्रणिपातालियाचितः ।

·सर्गः। कुमारसंभवम् । Stanza 38 : Construe-028 arti basi hawanapita: त्वरयः, मां विना यथा स्मरः क्षणम् अपि न उत्सहते (तथा) ते सलु विदितम् । Rati continues her importunity to Vasanta-"by the fannings of the southern breeze, quicken the fire placed on me (af affaq-effa), for, it as well known to you, that (240) Smara does not feel at ease, even for a moment, without me." It is pertinent to note that the southern breeze (personified ) i. e. the one coming from the Malaya mountain and one of the excitants of love, is like Vasanta, a friend of Madana. So that, Vasanta need not experience any difficulty in requisitioning the services of glausta, in the in. terests of their coramon friends-~-मदन and रति, बीजनम् the act of fanning. Stanza 37, Construe-34 a fan : Ta HRKIRT अवलिः नौ दीयताम् । तं स ते बान्धवः परत्र मया सहितः अविभग्य पास्यति In this stanza and in the next, Rat gives Vasanta an idea of the offerings after death, that they (Madana and she ) would appreciate. "Give us, just one cavityful of water, having done this ( quickend the fire placed on me ). That friend of yours will drink it with me, in the other world, without dividing it into two." What a contrast, incidentaly, between Madana and Rati having shared wine from the same chasaka formerly and this prospect of drinking the same cavityful of water, offered as part of funeral rites by Madhu ! Rati is delighted, however, at the prospect, as she will drink, may be fust plain water, along with her husband. Stanza 38 : Construe-() 7749, út a FPTH विलोलपाठवा. सहकारमजरी: निवपः, ते सखा हि प्रियचूतप्रसवः । After having relerred to the cavityful of water, to be offered in common to Madana and Rati, Rati proceeds to inform ९९ ·कुमारसंभवम् । चतुर्थः Vasanta as to what he should offer with reierence to Smara in the nte regarding the other world ( 9a-funeral nite] Vasanta need find no difficulty in understanding the proprio eiy of offering clusters of mango ( TESTC) blossoms, with their sprouts ( 7 ) tremulous (acid }, to Madana. For he knew well enough that his dear frend was so fond of the produce ( of all kinds ) of mango. प्रियाः चूतस्य ( आम्रवृक्षस्य ) प्रसवाः यस्य सः प्रियचूतप्रसवः । निवपेः- from fa +99 to offer, especially to the departed. Chakra निवापास्यात् '-अमरः। Stanza 39 : Construe-efa agian erat fat 39191T EI सरस्वती हृदशोपविलवां शफरी प्रथमा वृष्टिः इव अन्वकम्पयत् । Rati stood prepared to throw herself into fire. At this junc. ture a voice (lit. speech or presiding deity of speech ) arising from sky took pity on her, like the first shower of rain (after the long scorching Summer ) being full of compassion towards a female shaphara (a kind of fish), sorely distressed (faisal) by the drying up ( 4 ) of the pond (). Nothing could have been more timely and more comforting to Rati in that predicament, than the divino words. Powers on high--or the supernatural eloment intervening at the eleventh hour and removing the difficulties, thus making it possible for the poets to lead his readers safely to and thus they lived happily ever after' is by no means unusual in Sansknt literature. The artificiality' of this device of which the literary critia complain, and with justification, is however, conspicous by its absence in the present content. For ordinary gratefulness, if no other considerations, made it incumbent on the gods, that they should help Rati out of difficulty, as Madana, her consort had sacrificed his life, to serve their cause. +-- ·सर्गः। कुमारसंभवम् । The stanza contains a beautiful upamā, where the corresponds to शफरी, आकाशभवा सरस्वती to प्रथमा वृष्टि, रती। ' being full of distress through grief to the Tat being scorched by the parched up condition of the pond she stays in, the common property (साधारण धर्म ) between सरस्वती and प्रथमा वृष्टि being a compassionate attitude towards those that needed it. Stanza 40: Construe-() sargetafsiran Hati fara su: न भविष्यनि, येन कर्मणा सः हरलोचनाविपि शलमत्वं गतः (तत् कर्म) शृणु। The divine words purport to say that Rati's husband would not for long (AT=1) be difficult to be obtained and that there was something he did on a former occasion due to which he was burnt in the flame from the eye of Sankara even like a moth. 3:.-a flame. Stanza 41: Construe-hafar: Tfa: para af लापम् अकरोत् । अथ तेन विश्रियां निगृह्य अभिशप्तः (स्मरः) एतत् फलम् अन्वभूत् । It so happened that Prajapats once entertained an incestuous desire for his own daughter Saraswati. The latter, coming to know what her father was about turned herself into a doe, with the purpose of runing away from him. But the father blinded by passion proved himself to be resourceful (?) enough in that he assumed the form of a deer and began chasing Saraswati ( Sandhya, according to some accounts ). Were it not for the timely aid given by the redoubtable Lord S'ankara, who ran to the succour of Saraswati and cut off the head of Prajapati (or Brahmadeva ), Saraswati would have been hard put to it to extricate herself from the extremely Awkward predicament in which she found herself. As a result, Brahmadeva continues to remain suspended in the sky in the vo ·कुमारसंभवम् । चतुर्थः form of the constellation arcy, and S'iva's arrow is what is known as the constellation mat, always following KITA. This slory occuring in S'aiva Purēna may be be traced back to Rigveda, Antareya-brāhmana etc. and has to regarded as representing a phase of the life of humanity, before it became civilized enough to consider such relations 'unnatural'. Prajapati's passion for his daughter is referred to elsewhere in Sanskrit literature, by Dandın, for instance, in the account of Baraat, where a defence is sought to be given of her own behaviour by a concubine. उदीरितानि इंद्रियाणि (senses) यस्य सः उदीरितेन्द्रियः roughly, with his passion roused or excited. Para is faran firar 'a perverse action here, though generally, just a change or modifcation. Prajāpatı, in the account Kälıdāsa gives, controls himself (A+e-farle is a gerund ) but holds Kāma responsible for the impelling ( JEU) of his passion and the divine speech continues, "cursed by him, Madana experienced this fruit, Viz, of being burnt by the fire from Hara's eye on the forehead." Stanza 42-43 - Construe--9h denatura: @T: 71 redt परिणेष्यति तदा उपलब्धपुखः (स) स्मर खेन वपुषा नियोजयिष्यति (४२) धर्मयाचितः स इति च स्मरशापावधिदा सरस्वतीम् आह; अशनेः अमृतस्य च उभयोः वशिनः च अम्बुधराः च योनयः । (४३). In stanza 43, the divine speech assures Rate that he (सः-प्रजापतिः) being requested by Dharma [a प्रजापति born of Brahmadeva's right breast having Kāma as his son with Sama and Harsa as the other two, as per the account in Adiparva, Mahabhārata ), who naturally was full of concern for his son Smara, uttered words stating the limit (3C) of the curse. The words uttered by Prajāpati are contained in stanza 42 and amount to "When Hara, favourably disposed towards ·कुमारसंभवम् चतुर्थः Stanza 44: Construe--(हे) शोभने तत् इदं भवितव्यप्रियसंगम मपुः परिरक्ष; रविपीतजला नदी हि तपात्यये पुनः ओपन युज्यते । भवितव्यः प्रियेण संगमः (union ) यस्य तत् ( वपुः) रविणा पीतं (evaporated, it drunk) जलं यस्याः सा (नदी) The divine speech further says that the union of Rali with her lord is a forgone conclusion. She can rest assured re. garding it as much as any one can regarding the union of the river ( personited ), though with water evaporated by the Summer Sun, with her current on the advent of the rainy season. The stanza contains an instance of the figure (साधयेण) दृष्टान्त, there being a parallelism between रती, नदी; रती's being separated from 69 temporanly, at having water in it evaporated-and both being destined to have the desired reunion with Madana and the current. Vide definition. दृष्टान्तः पुनरेतेषां सर्वेषां प्रतिबिम्बनम् । काव्यप्रकाश x. 102. Stanza 45 : Construe-इत्थं अदृश्यरूपं किम् अपि भूतं रतः भरण- व्यवसायबुद्धि मन्दीचकार, तत्प्रत्ययात् च कुसुमायुधषन्धुः एना सुचरितार्थ- पदैः वचोमि. आश्वासयत् । Some invisible being-for though the words were heard, the speaker could not be seen either by Rati or by Madhu-thus (इत्य) slackened the idea (बुद्धि) regarding the determination or resolve (व्यवसाय) of death on the part of Rati. The friend (बन्धु) of Madana, out of faith in the truth of those words consoled her by utterances (वचाोभः), the words in which had well carried out their meaning, i. e. provod significant, or true later on. मन्दीचकार--Perfect third person singular of मन्दीक- अभूततद्भावे खि from मन्दः and कृ. (न मन्दः अमन्दः मन्द संपद्यमानः) सुष्ठु चरितः अर्थः येषां तानि सुचरितार्थानि पदानि । १०४ ·fo: कुमारमंमयम् । Stanza 46: Construc-379 EPERTI TE JASTRI RETET- परिसयधूमा दिवानस्प शशिनः लेगा प्रदोषम् इव प्रतिपालबभूव । aurentPeriphrastic Perfect 3rd person singular from what awaited. Beragat 4727 a-fesor flereymu. 717-71*: : 217 ) Or ARAI: 714: the foro-part of the night which marks the beginning of thefts etc Then Rati emaciated through grief, thus resembling the digit of the moon by day-time, gofled or dusty on account of the all round (?) loss of rays, waited for the end of the calamity ( 7977), like the digit of the moon waiting for the beginning of night-which restores to her, her full glory, The stanza contains an 3975 with a corresponding to sar, both being emicated ono due to griel, the other being obscured by the light of the sun, either, however, having a bright prospect before her, o sure to be united with lord, the digit of the moont under favourable circumstances, vi2 night-time, gure to shine brightly. In keeping with the requirements of a Mahitavya, as stated by rhetoricans, Kuidasa bag composed stanzas 45 and 46 in metres different from the one in which the first 44 stanzas are couched. The 45th vergd is in the wall and the 46th, in the TOTETT metre ·Canto V Stanza 1 : Construe-4 i gear frit T- मनोरथा सती पार्वती रूपं हृदयेन, निनिन्द, चारुता हि प्रियेषु सौभाग्यफला । The preceeding canto is devoted to the lament of Rati. In this canto, Kalidasa proceeds with the story. Parval was created by the creator, after bringing together all the sweet and lovely things, and casting them into a mould, (Read Kumāra, cantol Stanzas 31 to 48 ). Neither these charms, nor the flowery arrow of Cupid, could be of any use in winning over the heart of Sankara, who was practising penance for some reasons, no one knew. (Read at THE 19277TT Kumāra I 57). On the contrary, at Kumāra III 75, Kalıdāsa describes this paragon of beauty as one full of grief and shame, grief for her lost hopes and shame for her discomfzture in the presence of her friends. She returned back to her father's abode with shattered hopes (U: ATITU: TRIT: H-4H- HITTET). The poor Cupid was reduced to ashes, Parvati realized from this, the futility of her physical charms and cursed them. For of what use are the charms if they fail to attract the loved one ? (सौभाग्यं फलं यस्याः सा-सौभाग्यफला ). For a sumilar idea read Kumāra VII. 22 स्त्रीणां प्रियालोकफलो हि वेशः । अक्ष्णोः समीपे- समक्षम् अव्ययीभाव vide ' अव्ययं विभक्तिसमीप समृद्धि'। तथा In that violent manner. Read notes on stanza 1st canto IV. HMTT: From H (mind) and (to be bom ), born of mind, the same as as i. e. Kāma or Cupid. The stanza is an illustration of अर्थातरन्यास of the विशेषस्य सामान्येन समर्थनम् type. The metre in this canto from stanzas 1 to 84 is the defined as "जती तु वंशस्थमुदीरितं जरौ."

·सगः। कुमारसंभवम् । Stanza2: Construe-सा समाधिमारथाय तपोभिः आत्मनः अवन्ध्यरूपता का इयेष, अन्यथा तथाविधं प्रेम, तादृशः पतिः (इति एतत्) द्वयं कथं वा अवाप्यते। Though rudely shocked, Parvati refused to be disheartened she, thought that penance would help her, where physical charms had failed. She could win the heart of the stern deity. by austerities, that would be sterner still. Meditation (समाधि) was the only sure means at her disposal, now. The love of that exceptional sort (तथाविधं ), and the lord of that farme, could be won by only egually great sacnfices on her part. She wished to make her beauty fruitful 1. e, win over S'ankara by austernbes ( अवन्ध्यं रूपं यस्याः सा अवन्ध्यरूपता, तस्याः भावः अवन्ध्यरूपता). तपस् is the only means of attaning the difficult. Read, Manu XI 238 यद् दुष्करं यद् दुरापं यद् दुर्ग यश्च दुस्तरम् । तस्सर्व तपसा प्राप्यं तपो हि दुरितक्रमम् । तपस् is in other words hard work coupled with perseverance. These two things definitely leadto success. समाधि is concentration of mind on one object. It is the 8th and the last stage of yoga. इयेप Perf 3rd per. sing from 7 to desire. Baru Passire 3rd per sing from अव + आप to obtain. Stanza 3 : Construe-गिरीशप्रतिसकमानसा तपसे कृतोद्यमा सुतां च निशम्य मेना वक्षसा परिरभ्य महतः मुनिव्रतात् निवारयन्ती एना उवाच । Parvatı had fixed her mind on the lord of the mountains (गिरीशे प्रतिसकं मानसं यस्याः सा-गिरीशप्रतिसकमानमा) and had made determination ( कृतः उद्यमः यया-कृतोचमो) for practising penance. Having heard this about her daughter the peace of the mind of Menã, mother of Parvati, was disturbed. Menā believed that her delicate daughter would fund it extremely difficult to perform the penance, and a १०७ ·कुमारसंभवम् । पंचमः wanted to dissuade her (Maret) from the path of the rigorous vow of the ascetic (HET: Aait). She threw her arms round the neck of her daughter and said Stanza 4 : Construe-ey Fiftar 94: सन्ति, हे वत्से व तपः कच तावकं वपुः पेलवं शिरीषपुष्पं भ्रमरस्य पदं सहेत पतत्रिणः पुनः न। Menā appreciatoa Paryalı's longing for Sankara but suggests to her daughter a less difficult course of reaching the goal. The deities such as stand others which are usually associated with marriage can certainly be worshipped even by staying at home, and thus be made to bring the desired object. If it is so, why unnecessarily undertake the troubles of performing the austerites, that are completely incompatible with Pārvah's delicacy ? Her body was fraul and delicate, and the penance was severe and stern the repetition of # points the disparity between the two things 'द्वौकशब्दौ महदन्तर सूचयतः' Cfr. सूर्यप्रभवो वंशः क्व चाल्पविषया मतिः Raghu I. 2. ). The शिरीष flower, very delicate (desa ) indeed, would perhaps bear the burden of the tender foot of a bee, but surely not that of a bird. (tafa sfa T a bird ). It would both bend and break under that weight. Is not Mena's Pārvati as delicate and tender as the firsta flower? The stanza contains Erik अलंकार as there exists बिम्बप्रतिबिम्बभाव between the body of Parvati and the first flower, worship of the gods at home and the foot of a bee, and lastly the unbearability of the penance and the foot of a bird. Stanza 5 : Construe-T SETA hat est gai STATE नियन्तुं न शशाक, ईप्सितार्थस्थिरनिश्चयं मनः निम्नाभिमुखं पयः च कः प्रतीपयेत् ।

·: कुमारसंभवम्। Menā however could not succeed, her daughter's will, having proved itself stronger, she could not restrain her (farang 7 1914 ) from the firm resolve. There is however no wonder, that Mena was unsuccessful. For who is able to cause to go in the opposite direction (ata) the mind, that has made a lim resolve to win the desired object ? (fRud! स्थिरः निश्चयः यस्य तत्-ईप्सितार्थस्थिरनिश्चर्य ) It is as impossible as the attempt to revert the current of water running on a lowlesel, from its course. ( na wage na in the direction of a place on the lower level ). Such attempts, in the very nature of things, are bound to fail. The stanza contains 14 and अर्थातरन्यास अलंकार-दीपक because कः प्रतीपयेत् is to be taken along with (ta:) and the wm (TY:) and diatas for the समर्थन of विशेष by सामान्य 1. e. the nabalty to revert the current of water on a low level, from its course is a generol phenomenon which is used here for explaining and justifying the failure of Menä's attempts. STET Denominative from Adity, which is from wama: *T: ETIRRE A. Stanza 6 : Construert Fitta ftar S147. सपीमुखेन फलोदयान्ताय तपः समाधये आत्मनः अरण्यनिवासं अयाचत । Meni's attempts, were bound to fail. However the task of Parvati, became a bit difficult. Had Mena been one with her resolve, Parvat would have easily secured the permission of her lather, through her mother as young maidens are wont to do. That previlego however was denied to her. But being confident that her father, as he knew her desires (ar), would consider the question from a different view point she begged of him through the medium of her friend who was standing by, permission to stay in the coutudes of forest (aurant). There she would carry on penance till the ·कुमारसंभवम् । पंचमः acquisition of the fruit. (फलस्य उदयः फलोदयः सः अन्तः अवधिः यस्य तस्मै फलोदयान्ताय ). Spirited or मनस्विनी as she was, she would either reach her goal i.e. win the love of the lord of worlds or continue practising penance indefinitely. The root 41 governs two accussatives, here पितरम् and अरण्यनिवासम् nde दुह्याच इत्यादिना द्विकर्मकत्वम् । Stanza 7: Construe---अथ अनुरूपाभिनिवेशतोषिणा गरीयसा गुरुणा कृताभ्यनुज्ञा गौरी पश्चात् प्रजासु तदाख्यया प्रथितं शिखण्डिमत् शिखरं जगाम। Himalaya, the lord of the mountains, was pleased at Parvath's attachment to a person worthy of her (अनुरूपः रूपस्य योग्यः ( worthy ) तस्मिन् अभिनिवेशः तेन तोष्टुम् शीलमस्य-अनुरूपा- भिनिवेशतोपिन् ). Hence with' mamanimity of heart, he gave the necessary permission to his darling child (gar अभ्युज्ञा यस्याः सा कृताभ्यनुज्ञा )Gauri immediately repaired to the peak of the mountan that abourned in peacocks (शिखण्डिमत्), where she practised severe austenties. As a result of this, the peak corne to be known among the people (प्रजासु) as गौरीशिखर । Stanza 8 : Construe---अहार्यनिश्चया सा विलोलयाधिप्रविलुप्तचन्दनं हार विमुच्य बालारुणबभ्रु पयोधरोत्सधविशीर्णसंहति वल्कलं बबन्ध । A new phase in the life of Pārvati began, Delicate, though she was, she no longer remained a pet child looked after by her mother, but became a ulk putting on her body the rough bark garment (वल्कलं) that was tawny () in colour hke the young sun (बालारुण) (बालारुणवत् बभ्र-बालाघणयच). It pressed too tightly against her breasts, but the close fitting ( defa ·सर्गः। कुमारसंभवम् । from (सं+हन ) was loosened (विशीर्ण) on account of the protuberance (उत्सेध ) of the breast (पयोधरयोः उत्सेधेन विशीर्णा संहतिः यस्य पयोधरोत्सोधविशीर्णसंहति ) The compound means that the close contact of the garment with Parvati's bosom was loosened on account of the plumpness of her breasts. No more was to be seen on her body the dazzling jewel necklace that robbed the bosom of its sandle paste (विलोलाभिः यष्टिभिः strings ) प्रविलुप्तं चन्दनं येन तत् विलोलयष्टिप्रविलुप्तचन्दनम् ) It was thrown away by her. astaaft as she was, with a resoluteness of aim (अहार्यः निश्चयः यस्याः सा-अहार्यनिश्चया). The stanza contains पर्याय अलंकार of the second varnety as defined by मम्मट at Kavya-prakashax 117 ' एवं क्रमेणानकस्मिन्पर्यायोऽन्यस्ततोऽन्यथा। Here the bosom that was the resting place of the necklace on former occassion, is no weanng वल्कल. Stariza s : Construe-यथा प्रसिदैः शिरोरुहैः (तथा) जामिरपि तदाननं एवं मधुरमभूत् पङ्कजं पट्पदश्रेणिभिरेव न सशैवलासनमपि प्रकाशते । Necklace or no necklace, Părvati's charms remained unaltered, her face ( आननं ) that shone formerly, with decorated (प्रसिद्धः ) har, (शिरोषहैः ) continued to do so even when ornaments were removed and they were matted (जटाभि.). For do we not see that the beauty of lotus ( पङ्कज ) shines not only when, the rows of bees (षट्पदश्रेणिभिः ) hover round it, but also when it is in close contact with moss (शैवल ) certainly an ugly object ? Read for a similar idea Säkuntala 1. 20 सरसिजमनुविदं शैवलेनापि रम्यं । मलिनमपि हिमांशाश्मलक्ष्मी तनोति। इयमधिकमनोज्ञा वल्कलेनापि तन्वी । किमिव हि मधुराणां मण्डनं नाकृतीनाम् ॥ and also Kirata Iv 23 and VII 5. The stanza contains साधम्यण दृष्टान्त as there exists बिम्बप्रतिविम्वभाव between the आनन that ·कुमारसंभवम् । पंचमः was formerly decked with omamented hair and the along with पट्पदश्रेणिs. Similarly, the आनन with जटा, has corresponding it to the पङ्कज with शैवाल, Stanza. 10 : Construe-सा प्रतिक्षणं कृतरोमविकियां त्रिगुणां यो मौजी बताय बभार, तत्पूर्वनिबद्धया तया अस्याः रशनागुणास्पदं सरागमकारि। Parvato's girdle was also not to be seen on her body. The place of the girdle was occupied by the rough Munja string with three threads (त्रिगुणां, Cf. माजी विवृत्समाश्लक्ष्णा at Manu lI 42 ) which Pärvafi was expected to wear as she was observing the vow. This new girdle (1. e. Munja' string) rough as it was, and was worn by Parvati for that the very first time (तत्पूर्वनिबद्धया-तदेव पूर्व यस्य तत् तत्पूर्वम् । यथा तथा निबद्धया) created horripilation (रोमविक्रियां) on her delicate body, at every moment (प्रतिक्षणं ). It was also responsible for reddening (सरागं) the fore-pasts of her hips, that were the seat of the girdle ( रसनागुणास्पदम् ) which upto this time had never come in contact with anything half as hard as the Munja grass. Note the passive construction तया......अकारि । Stanzail : Construe-विसृष्टरागात् अपरात्, स्तनाङ्गरागारुणितान् कन्दुकात् च निवर्तितः करः कुशाङ्करादानपरिक्षतागुलि: अक्षसूत्रप्रणयी कृतः। Pārvati, young maiden as she was, used to paint her lip with red dye and apply red unguent to her bosom. Her mode of diversion was a play with a ball ( कन्दुक), that at times used to stnke against her breasts and become red itself (स्तनस्य अंगरागः स्तनांगरागः तै अरुणितात् स्तनांगरागारणितात) The form • (अणितात् is from अरुण with the termination इतच् ). But now as an ascetic, she no longer indulged in this game. Her hand was १२ ·सर्गः। कुमारसंभवम् । tumed away by her from the lower lip which no longer remained red. (विस्टः रागः यस्मात् विमुष्टरागात् अपरात्) and also from the ball. It was now employed in cutting the grass for sacred purposes. While being cut the tops of the grass used to injure her fingers (कुशानाम् अंकुराः तेषां आदानेन ( plucking परिक्षताः - Injured अगुलयः यस्य सः ). The hand was also used continously by her incounting the beads in the rosary for the sake of japa. अक्षसूचे प्रणयः (affection) अस्य अस्तीति-अक्षसूत्रप्रणयी which literally means a lover of the rosary of beads. This stanza too, like the 8th one contains the figure qafe. Stanza 12 : Construe-महाईशय्यापरिवर्तनच्युतैः स्वकेशपुष्पैः अपि या दूयते स्म सा बाहुलतोपधायिनी केवले स्थण्डिले एव निषेदुपी अशेत । Pārvate the fondled child of Meni used to sleep, while she was at home, on a very costly bed,possessed of softcushions. Even on such a bed tender Parvat used to be pained (दूयते स्म ) by the delicate and sweet flowers worn by her in her hair ( स्वकेशपुणैः ) but were loosened (च्युतैः ) in her rollings (aftada ) on the costly bed ( HEITAI ). So delicate Pirvati was (महान् अहः मूल्यम् यस्याः सा महाही [ very costly ] तस्यां शय्यायां परिवर्तनम् तेन च्युतैः महाईशव्यापरिवर्तनच्युतः ) The same princess now slept on bare earth ( Floss a raised portion of earth ). This was her coach, under the canopy of the skies and where her hand served the purpose of a pillow (प्रशस्तो बाहुः बाहुलता, ता उपदधाति इति बाहुलतोपधायिनी). Parvath led this luleas its laid down for an asectic. Read याज्ञवल्क्य III51 स्वप्याद्- भूमौ शुची रात्री दिवसं प्रपदैर्नयेत् ।स्थानासनविहारैर्वा योगाभ्यासेन वा तथा । निपेदुषी Nominative singular feminine base of the perfect participle trom नि+सद् to sit ( Masculine form is निवेदिवान् ). कु.सं.८ ·कुमारसंभवम् । पंचम stanza 13: Construa-नियमत्थया तया द्वये अपि द्वयम् पुनः प्रहीतुं निक्षेपः इव अर्पितम्। तन्वीपुलतासु विलासचेष्टितं हरिणागनासु विलोलदृष्टं च । 'तपस्विनी who is obsering a vow (नियमस्था-नियमे तिष्ठति इति, नियम is a व्रत. Read नियमाः शौचसंतोपतपो मजहुतादयः') must abandon parsionate glances, witching smile and sportive dances. A rigrous life is laid down for her. Parvati was ob. serving it true to the letters. The sportive movements (विलास एव चैटितम् विलासचोटवम् ) and the tremulous glances (विलोल दृष्टम् ) which she always possessed upto that time, were no longer with her. She parted with them, however not for over, but with the intention of receiving them back (पुनः ग्रहीतुम्) alter her vow. They were placed as adepostt (निक्षेप ) with the creepers and female deer, the former being the fit abode for the sportive movements, and the latter for the tremelous glances. Read for a similar idea Raghu VIII 59. कलमन्य. मृतासु भाषितं कलहंसीपु मदालसं गतम् । पृपतीषु विलोलमीक्षितं पवनाधूतलतासु PART: I The figure of speech in this stanza is IT as indicated by the word ge'as it were ad entrusted the two i.e. the विलासचेष्टितं and विलोलष्टं as a deposit to the troie. लता and हरिणाशना as though. The past passive participles चेष्टितं and te mean 2014 and a respectively, in keeping with नपुंसके भावे कः --- - . Stanza 14 Construe--सा अतन्द्रिता स्वयं घटस्तनप्रस्रवणैः वृक्षकान- वर्धयत् , प्रयमाप्तजन्मनां येषां पुत्रवात्सल्यं गुहः अपि न अपाकरिष्यति । In the solitude of the forest. Pärvati reared some plants, that blossormed on the mountan. Unwearied (अतन्द्रिता)as she was. she nursed them by pourings (प्रसवण)of water from the lars that were, like breasts, very plump. She did this ·सर्गः। कुमारसंभवम् । work with motherly care. She was more affectionate towards them than towards her own son T, as they were her first children. Even T who was flesh of her flesh and bone of her bone would not set aside ( 739919flat ) her motherly love (पुत्रवात्सल्यम् ) for them. (घटस्तनप्रस्रवणैः घटः एव स्तनः तस्य प्रसवः तैः) which means by the pourings of water from her breast-like jar. Like the plants also would be reared on the flow of milk coming from the jar-like breasts of Parvati Vide for a sirnslar idea, " यो हेमकुम्भस्तननि.सूतानां स्कन्दस्य मातुः पयसां रसज्ञ." Raghu IT. The beautiful scene of the young maidens watering the plants 13 of frequent occurence in the writings of Kalidasa and other Sansknt poets Read VI, 5I and TFT Act I. Is Kumāra or Kārtikeya, so called because he was reared in a cave ( JETTA TETSH97) or 'one who protects the army' गृहति रक्षति सेनाम् । वृक्षकान्-Plants अल्पार्थे कप्रत्ययः । Stanza 15 : Construe—disartsfasat: Elton: Fakt तथा विशश्वसुः यथा तया कुतूहलात् तदीयैः नयनैः, पुरः ( वर्तमानानां ) सखीना लोचने अमिमीत । The deer fondled with gifts ( dana ) of cavity-fuls of forest com trusted (farre-perfect 3rd person plural fare:) Parvati to such an extent (197) that (24T) Pirvatı measured the eyes of her frends standing in front of her ( 97 ) with ( i. e. by bringing them near ) those of the deer. It is difficult to see why Parvati's frends ( erat and not creat ) should not be regarded as those that had beautiful eyes. The objection that there is greater point in gradit's being regarded as pogg. essed of beautiful eyes, rather than her friends is not convincing enough. Why not credit Parvati's friends who must have been worthy of her in all respects, with the possession ·कुमारसंभवम् । पंचमः of beautiful eyes. The temptation to compare their eyes with those of the deer, naturally, must have been irresistible to पार्वती. Besides, पार्वती comparing her eyes with those of the door, detracts from the amount of trust the deer could be regarded as reposed in her, as against the interpretation, where great is understood as comparing her friends' eyes with those of the deer. Parvati won the confidence of the deer to so great an extent that even when the deer were made to stand close to the friends and not merely in the presence of the friends, the deer were not frightened. They went through the whole process of comparison,-a physical one--without being disturbed in the least, to say nothing of the point that Pārvat was herself observing a vow and therefore there was a lessor probability of her comparing her own those of the deer. अरण्ये भवानाम् चीजानाम् अञ्जलयः तेषा दानेन लालिताः तया लोचने अमिमीत is a passive construction. Stanza 16: Construeramat groach cayerasa अधीतिनी तो दिदृक्षकः ऋषयः अभ्युपगमन ; धर्मयुद्धषु वयः न समीक्ष्यते । The stanza gives a discription of a few essentials of the day-to-day programme of the way Parvati -practised the yow she undertook. To ensure punty of body, Parvat took her bath ( कृतः अभिपेकः - F77977 - 71). For securing purity of mind, she next offered oblations to the sacred fire ( 5: AKTIET: THE FI ACHIETGEH). While observing a vow, there is little surprise that she had only a bark ( 49 ) as her upper garment( situa: ). Finally to secure purity of soul ( 31 ) she used to complete her study of the sacred texts-अधीतम् अस्याः sfatulaat. A faithful observance of this 'time-table 'contanued for a few days, won for Parvati a reputation great enough to attract sages, who approached her, presumably in a revereyes w 136 ·सर्गः। कुमारसंभवम् । ential attitude. In the domain of piety or of the observance of duty (dharma), the vulgar distinction of young and old, junior and senior, counts not. That was why the otherwise experienced, old sages did not think it below their dignity to approach Parvati. As is Kalidasa's wont, he seizes the opportunity to strengthen the specific instance of Parvati in this context by a generalisation, in the last line, 'in regard to those that are senior in point of the observance of duty, age is not taken into account (at all )-thus making the stanza under consideration an instance of अर्थान्तरन्यास of the सामान्येन विशेषस्य trobar type. Reverence towards one worthy of it Irrespective of age or sex, is one of the vital factors of the culture of Sansknt writers of note. There are thus a number of versions of the idea embodied in the last line of the stanza: əhat घयः समीक्ष्यते Kalidisa, in Raghuvam'sa XI, शिशुत्वं श्रेणं वा भवनु ननु पन्यासि जगता-गुणाः पूजास्थानं गुणिषु न च लिश न च यः।--Bhavabhut, in उत्तररामचरितम् Act IV. 11.......अतजिममतिश्चरितैर्मुनीनधरय. शुचिमिः । रजांचकार विरजाः स मृगान् कमिवेशतेरमयितुं न गुणाः । Bharavi in ftuariato VI, 24. Outside the domain of belles letters, Manu, the law-giver also expresses the same idea in न तेन वृद्धो भवति येनास्य पलितं शिरः। यो वै युवाप्यधीयानस्तं देवाः स्थ. विरं विदुः। Stanza 17: Construe--विरोधिसत्त्वौतितपूर्वमत्सरं दुमैः अभीष्टप्रसवा. चिंतातिथि नवोटजाभ्यन्तरसंभृता नलं सत् सपोवनं च पावनं बभूव । As a result of the austerities of Parvati that penance-grove became sanctifying (fa f-1967). The beasts that were bom enemies of each other gave up thair previous malloo ( FC ). Thanks to the trees, Parvati honoured the quests who visited that is rama with the desired 10 ·कुमारसंभवम् । पंचमः produce of the same (1. e. trees). The fire was well kept ( T ) Inside i. e. under the roof of a new hutspecially erected for the purpose. Paty: 30 dana:) ते विरोधिभिः सवैः-प्राणिभिः-उजिशतः पूर्वः मत्सरः यस्मिन् तत् (तपोवनम् ). द्रुमैः+ अभीष्ट...तिथि is a case of a सापेक्ष समास the two words constituting one expression in point of sense. 312: ?: तेन अर्विताः (संमानिताः) अतिथयः यस्मिन् तत् (तपोवनम् ) । नवः उटजः तस्य अभ्यन्तरे सम्यक् भृतः अनलः ( fure ) यस्मिन् तत् (तपोवनम् )। Though a literal rendering of the second line would suggest that the guests who paid a visit to the penance grove, were entertained by the trees, the meaning that is intended to be brought out by the poet is that Parvati (Kartri ) received the guests and treated them hospitably,-only, in this respect, she was helped immensely by the trees which thus were the means (Sadhana ) at Pārvati's disposal. The idea of beasts in the forest giving up their natural anupathy, under the influence of the presence of a magnanimous person, is of common occurence in Sansknt litera. ture. Thus Bāna in his description of Jabali's hermitage says A nager fattu...... etc. Stanza 18: Construe- rar getan: hitra preturi mici लभ्यं न अमंस्त तदा स्वशरीरमार्दवम् अनपेक्ष्य सा महत् तपः चरितुं प्रचक्रमे । The penance that Parvati practised brought hosts of admi. ring sages to her as'rama, no doubt. But she did not succeed in winning her heart's cherished desire. Disregarding the softness' (79) of her body, she therefore, started (1+ perfect third person singular ) practising a mightier (FETSAETTA) penance. Though Kalıdāsa has not stated in as many words, it is easy to see that Porvatı was one who ·AT: 1 : कुमारसंभवम् । believed in the truth of the adage 'effort unending' (ATIE: stahaug ). She could know no rest till the objective was secured. 3f-aorist, third person singular from FT. Stanza 19 : Construe-pale 47 379 m at 27295 मुनीनां चरितं व्यगायत; ध्रुवम् ( अस्याः पार्वत्याः ) वपुः काधनपद्यनिर्मितम् प्रकृत्या मृदु च ससारम् एव च । Before Parvati took to penance, she used to be fatigued () even by reason of her playing with the ball. Resolute as she was, she now immersed herself into the life of ascetics. The construction is passive 'by her the life of the sages was plunged into. The poet satisfies the sceptics, by resorting to a fancy ( ara) : indeed ( 174 ) the body of Pārvati must have been fashioned out of a golden lotuswhich alone accounts satisfactorily for the curious combination of delicacy and toughness that was manifested by her. It is possible to have the finest possible thread of gold ( 279 ) yet gold is one of the most enduring metals. The softness' of Pārvati's body causing her fatigue even after sporting with the ball is not incompitable with her toughness that carried her through the severe penance she had started. ATC it., possessing essence, h. e. strength, therefore tough Stanza 20 : Construet, quirasai हविर्भुजा मध्यगता शुचिस्मिता सुमध्यमा (पार्वती) नेत्रप्रतिधातिनी प्रभा विजित्य अनन्यदृष्टिः (सती) सवितारमैक्षत। The first in the stanza is the same as tray or summier. The other in the compound gali lits, is 'pure' but here charming. 'Occasi onally, Kalıdısa appears to be striving after alliteration. The stanza under consideration is a convin- + ·कुमारसंभवम् । पंचमः cing instance of this tendency on his part. rat graffid! HAUST Y are not accidental combinations of words. The stanza deals with tho particular kind of penance called 1777 that Parvati practised during summer. With fires to her right and left, a fire behind her and one in front of' her she kept on gazing at the sun, with her eyes directed towards nothing else. Others might have had their eyes dazzled by the burning lustre of the sun, if not actually hurt. But Pārvati had scored over that (azala AFCA). The sun is regarded as the fifth fire in this TATTA. During the season that the sun is at its hottest, the penance is practised, the rigour of it is, therefore, easily understood. For the identity between the Sun and fire vide' अग्निः सविता adqili: ' from the scriptures. alaal—from y to impel, is literally the impeller and refers to the goading or urging activity of the sun, especially after the night is over. Humanity that rests itself during nocturnal hours, is made to resume its duties in all freshness and vigour, by the sun immediately after its nse. In Rigveda alat is one of the five solar deities, the other four being मित्र, विष्णुः पूषन् and सूर्य. A play on the root Su, to impel is a common feature of the hymns addressed to savitri. In the stanza under consideration 19== sun. नेने प्रतिहन्तुं शीलं यस्याः सा नेत्रप्रतिघातिनी । न अन्यस्मिन् दृष्टिः यस्याः सा अनन्यदृष्टिः। Stanza : 21 Construelas: TTT: 127 fogů achie कमलश्रियं दधौ । अस्य दीर्घयोः अपाङ्गयोः केवलं श्यामिकया शनैः शनैः पर्द कृतम् । Pārval's face thus heated intensely by the rays of the Sun (गभस्ति-गो आयवर्गः तं वस्ति, दीपयति इति ), mstead of sultering in १२० ·सर्गः। कुमारसंभवम् । any way, appeared all the more to advantage, even as does a lotus shine brightly and beautifully when in contact with the rays of the sun. The 'tough'ness of Parvati stood her in good stead, except, however, in one respect. Dark colour (TTT) made its appearance, though by slow degrees ( TX: Ta:) In the long corners of her eyes. That was the only respect in which Parvatı yielded to some extent to the intensity of the powers in Nature ( here, the sua's burning heat ). But even there, it was somewhat of an uphill task, for the sun's rays to secure a victory over Parvati. With her, the usual 'I came, I saw, I conquered of the sun's rays failed. Not without a long struggle, ( Ta: ta: ) was it that they could make themselves felt by Parvati, leaving dark marks in the corners of her eyes. This however, did not mean Parvati's giving up the task she had undertaken. 44741 VE H a passive construction, the corresponding active voice would be anlatan (sta: शनैः) पदं कृतवती । Possession of wide eyes, or corners of eyes with Sanskrit poets, is a sign of beauty. Stanza .22 Construe-ari: fes arculafa: 1797 179061. पस्थितम् अम्बु रसात्मकस्य उडुपतेः च रस्मयः यभूव, वृक्षव्यतिरिक्तसाधनः न । All this while that Parvati was observing a vow, she was observing a fast. The formal conclusion or termination of the fast or breaking of the fast, arcunfald. was no elaborate affair with Pērvati. Only (FA) water and that too unsought (अयाचित) and the rays of the lord (पति) of constellations (उडु-derived as उ क्रोधं डीयते, उना शंभुना डीयते वा) e. of the moon served her purpose. Without exaggeration, therefore. It can be said that the पारणाविधि had no extraneous (व्यनिरिक्त) meang, except those which the trees depend on for their १२१ ·कुमारसंभवम् । पंचमः subsistence. The cool rays of the moon exercise a favourable influence on the growth of trees (the moon is thus also called tila: ); and the other essential, helping trees grow is water, which is not sought with any special pains. Temat : तस्याः व्यतिरिकं साधनं यस्मिन् सः। रस is nectar and the moon is sard to be having nectar as the essence, for the reason that the rays of the moon are regarded as being made up of nectar (6 GTCAT ART 8 THCHA: ). gut?:, the nectar-rayed one, is in fact a synonym of चन्द्रः. Stanza 23 : Construe-faraha (orta) qua- संमृतेन वह्निना च निकामतप्ता (सा) तपासये नवैः वारिभिः उक्षिता (सती) भुवा सह अर्ध्वगम् उभ्माणम् अमुचत् । The preceding three stanzas (20-22 ) described the austerities Parvati practised during Summer. The poet, next turns to a detailed account of what Porvati did or experienced (stanza 23) in the rainy season. At the end of the hot season (aney are AFFA-dan ) i. e.on the advent of the rainy season, Parvati extremely heated by the two--fold ftre, the one that was built up ( * ) of fuel ( ) ( In fact there were four such, and if the number is to be stressed, it would appear that विविधेन 1s a better reading than विविधन) and the other that moved in the sky i.e. the sun, was sprinkled over by fresh water and gave forth vapour (STATTA ) that went up in the air. The poet very aptly likens Parvati, thus charac terised, with the earth heated during summer, and giving forth vapour on the first contact with showers of rain after a long period of time. The figure in the stanza, however, is TER, the idea being expressed as 'Parvati along with tho earth #k), gare forth vapour. १२२ ·gai: 1 कुमारसंभवम् । Stanza 24: Construe-m-98: 99 ghi fetar:, afm. पौधरोत्सेधनिपातचूर्णिताः, वलीषु स्वलिताः चिरेण तस्याः नामि 40, प्रपेदिरे। The stanza is devoted to a detailed account of something like a regular journey that the drops of fresh water ( in the beginning of the rainy season ) completed after having tallen on Parvat's head. Immediately after falling on the head, they were caught up in the nch eye-lashes ( sign of beauty ) of Parvati. Having escaped from there they fell on and beather lower-lip, the next obstacle in their way, downwards. This was by no means the last or even the last but one stage in the journey of the drops of water. Their next encounter was with the protuberant breasts of Parvati. It may be noted en passant, that IUTü: DF4: protuberance of the breasts is only a Sanskntism for gehangat girerü, That the drops of water should have got themselves shattered into particles(afhan) due to this falls, need occasion no surprise. Such of the particles as could persist proceeded along the three ) folds on the belly (of Parvati, another sign of feminine beauty as Sanskrit poets concelve it ( Read'मध्येन सा दिविलममध्या । वलित्रयं चारु धमार 4711' as Kalidasa has himgelt described this trait of Parvati's beauty, at Kumārsambhava, I, 39). Slipping along the folds, they reached after a long enough period of time ( chirena) the navel, which the commentator tells us was deep and kept the drops of water that reached it, imprisoned. The stanza is an instance of the azia TETT, so beautiful as to have been quoted by the author of nierazko in his treatment of that figure ( for the definition of the figure, refer to noles on stanza...24 Canto IV), cat: Joha: 7 Antal: तेन चूर्णिता:-पयो...चूर्णिताः । 33 ·कुमारसंभवम् । पंचमः Stanza : 25 Construe--aug game og fedandet शिलाशयां ता महातपासाक्ष्ये स्थिताः क्षपाः तडिन्मथैः उन्मिपितः व्यलोकयन इव। The rainy season continued gaining in strength and so did Pārvati's penance. She had no house to dwell in (as she wilfully had given it up fatheast). She slept on a slab of stono. Meanwhile the sky continued pouring incessant (facet) showers of rain, down on earth, interspersed by ſa liberal amount of ) gales of wind. wat ara: urat at: 31-TOTT: च ताः पृष्टयः च तासु अन्तरवावष्टिषु । Undeterred, the resolute young girl was carrying on the observance of her yow. There were only Nights (personification) who acted as witnesses (Therat: 3-as eye-witnesses to this singular performance of austerities. The witnessing ladies ( Nights ) had for their eyes, as though. ( lite for the openings of their eyes, c) the flashes of lightning. The figure of speech in the stanza is evidently op as the Nights, who normally cannot be regarded as perceinng anything are tancied to be doing so, as though, with eyes in the form of flashes of lightnings, by which they are characterised during the rainy season. sfruta past passive participle from stry to open, used in accordance with mal na F:, a glance, act of looking. He च तत् तपध तस्य साक्ष्यम्-सस्मिन् । साक्ष्य is a drainterested watch. ing of an event. क्षपा (क्षपयति चैयाम् )-Night Stanza 26: Constnue-उदयासतत्परा, परस्परामान्दिनि पुरः वियुले परवाकयोः मिथुने कृपावती, सा अत्यन्तहिमात्किरानिलाः सहस्यरात्रीः निनाय । en is the di month of the Hindu calender,so called as It is the coldest and thus the best suited to give men १२४ ·सर्गः। (उदके वासः, कुमारसंभवम् । strength (सहस् ) or energy सहसि साधुः सहस्यः । Pirvai spent (fataire ) the nights of this month, which were full of winds that scattered about snow, excessively ( 347 Chafaria तादृशाः अनिलाः यामु ता.), being bent on staying in water तस्मिन् तत्परा, क being dropped according to 'पेपं aitalearing TI'). Though herself facing these inclemences of weather, Parvati did not give up her inherent kindness towards those who stood in need of it. All the time she stood in the cold ( benumbing) water, she was full of pity towards the pair of the chakravāka birds, piteously crying for each other, as they (imagined they) were separated from each other. The ai is a species of birds, which according to Sansknt poets typifies conjugal love, thwarted as a rule by the arrival of night. The male and the female of the species are actually separated by just a leaf or a petal, but they imagine themselves to be legues and leagues away, oblivious of the real state of things, and keep on crying out for each other. Stanza 27 : Construe-4 Tea Garraldar मुसेन सा पारष्टिक्षतपनसंपदाम् अपाम् सरोजसंधानम् अकरोत् इव । A ft (best of the classes of beautful ladies) that Parvatt was, she was possessed of a broath os fragrant as that of a lotus. That is why the poet relors to her face as that which was as fragrant as a lotus (957 mayat gata). Another point to be noted is that the face was appearing beautiful (titral) on occount of the lost in the form of the lower lip which was excessively (+) throbbing ( ) due to the ortremo cold of the season. Putting together the lacts, there. lore, that ( a ) Parvati's laco was like a lotus in appearancs as well as (b) in rogard to its fragrance and that (c) the ·कुमारसंभवम् । पंचमः lower lip that was exceedingly tremulous, there, could be Tegarded as a leaf [ that quivers so very much ), Kalidāsa fancies (cian) that thus equipped, Parvati effected (AUT) a putting together ( 29-H) as though, of the waters (31974) and the lotuses, a regular wealth of which the waters had lost due to the destruction wrought by the shower of snow at night time. The idea is that though the waters had lost all other latuses along with the leaves thereof, they had their loss more than made good, in so far as, there was in the Inidst of them a lotus of lotuses (the face of qadr who stood in the waters) in full possession of its inherent fragrance; and not without its highly tremulous leaf ( the lower quivering lip of पार्वती), प्रवेपमानः अधरः एव पत्रम् ( metaphor ) तेन शोभितुं शोलं यस्य ( ताच्छील्येणिनिः ) तेन प्रवेपमानाधरपत्रोभिना । तुषारस्य (snow) पृष्टया क्षता (नष्टा) पश-संपत यामां-तामा तुषारयष्टिक्षतपासंपदाम् (अपाम्), zrat A4 in this case the is restoration of lost lotuses to the waters. Stanza 28: Construeifasing afferat PT98: 9021; तया पुनः तत् अपि अपाकीर्णम् , अतः प्रियंवदाः पुराविदः ताम् अपर्ण इति सपदन्ति। The way that Parvati practised her rigorous austenities during the three seasons (the hot, rainy and cold ) har been described so far. The present stanza refers to the utter privation that Parvati subiected herself to, all these montis. The stato ol (7) maintaining (a) oneself on the leaves of trees (1997) lallen ( fur) of their own accord (1994) is acknowledged on all hands as the verlest limit (TZT ) of austeritles. By Pirvati, again, even that was cast away-she did not partake even of the leaves of trees falling down as a १२१ ·सर्गः। कुमारसंभवम् । matter of course ( स्वयम् ). On this account (अतः) the experts in the sphere of matters of old, who speak agreeably (प्रियंवदाः), call her Aparnt. It has at once to be admitted that fataset: has here no propriety, especially when we remember that the same author has significantly named the vivacious frend of his immotal heroine of s'akuntala, प्रियंवदा [अतः खलु प्रियंवदासि त्वम्-after stanza 20 Act Iशाकुन्तलम् ]. Matters are in no way improved if fragt is regarded as the reading, qualifying at ( 7 ) One rather expects some Bxpression of the nature of यथार्यवक्तारः qualifying पुराविदः. स्वयं विशीर्णः द्रुमपर्णः वृत्तिः - तस्या मावः । प्रियं वदंति इति प्रियंवदाः । -the anuswära on the second syllable being accounted for by 'अद्विपदजन्तस्य मुम.'Khdisa is pretty fond of pressing de. rivation of words into his own service. न पर्णम् ( अपि ) अस्याः (मत्यत्वेन विद्यमानम् )-अपर्णा. In fact, the Purina hterature regards अपर्णा as the name of a sister of Parvati's ( मेना च मुघुये वित्रः कन्या योगवतीस्ततः । उमैकपर्णापर्णा च तीवनतपरायणाः---मत्स्य- पुराण, 3,8). That does not seem to matter from the view point of Kalidasa, who gives Porvali another name yet viz. अपर्ण ( the others beling पर्वतस्य अपलं स्त्री पार्वती, and उमा-as she was called, when मैना, her mother, prohibitted मा प्रतिषेधे -her from practising penonce, or tried to do so, ). Cl other such derivations in कुमारसंभव 1, 26. यथा प्रवादनाच्चन्दः प्रतापात्त. पनो यया। तथैव सोऽभूदन्क्यों रामा प्रतिरपनान् ॥ Raghuvamsa v. 12. रामा प्रतिरजनात् । and sतान हिल प्रायन इन्युदप्रः सनस्य पदो मुपनेषु : this latter from वंश II, 53. Stanza 29 : Construe-एवमादिमिः मौः गृणालिकालवं स्वम् अहम् आनि ग्लपयन्ती सा, तपस्विना पठिनः सः उपार्जितं तपः दरम् अयपहार। T ·कुमारसंभवम् । पंचमः The stanza is intended to sum up the austenties practised by Parvati. She caused her body, delicate ( 16 ) like the small ( #77 ) lotus-stalk (ure) to be reduced ( 3444 st present participle from the causal of tat) by vows such as have been so for described. But while so causing her body to be reduced, she achieved what many others, better equipped physically, could not. She left far behind ( lit be. low 3: ), that is, she far surpassed the austerities, secured ( 34+37-P.P. p. 394 ) by the ascelies with their lough bodies (feat Tit ). In effect, the fralness of Pārvatı's body was no obstacle in her way. Even the professional ascetics were beaten by her, on their own ground. Me: a fam 7 918- निशम् is a समाहारद्वन्द्र. Stanza 30 : Construe-34 auteur: margt annat तेजसा ज्वलन् इव कावत् जटिलः शरीरमा प्रयमाप्रमः यथा तपोवनं विवेश । 3--Alter Parvati had surpassed other asetics in practising anisterities, as indicated in the previous stanza. From this stanza onwards, the interest of the story deepens. For, & certain person ), holding in his hand a staff of the wood of the palasta tree ( आषाढधरः--आपाढस्या परः, परतीति धरः) and having deer-skin ( Part 21:47:), and matted hair (), quite confident (ATH) of his (powers of ) speech, buming as though with the lustre full of (1. e. the result of ) the study of sacred literature, and thug resembling the first stage of human life (according to the Dharmashastra of tho Hindus ) viz, brahmacharyaasrama endowed with a body or Incarnale (artire da, xoc, also Tingi according to (carry TTY: 1', ) entered, without any previous Intimation being alvon, and therofor quito suddenly or १२८ ·कुमारसंभवम् । 09: Well disposed, that is thoroughly courteous, ( Brauery erit siderent ) towards visitors that Pārvati was, she went forth (प्रति+उद+इ perlect 3rd person singular प्रत्युदियाय ) to receive him with a worship (ref=far ) preceded by great regard for him. The incident that an ascetic like Pāryati should have been very particular in offering a welcome to a Brahma. chari guest, need cause no surprise. For; even in the case of those that have their minds firmly established (araz) in equality (mm) and who thus are not expected to make any distinction between an individual and an individual or between a thing and a thing-there are activities (TITAT: ) marked by extreme respect (ulatser:) towards those that are possessed of excellent forms. साम्ये निषिष्टयतमाम् is a सापेक्ष समास-साम्यै निविष्टं चेतः येषाम् तेषाम् । वपुप- विशेष:-पपुर्विशेषः is a Sanskritism lor fafizagi and further fafarzag-17 (967:) CI faianta--"by no means an ordinary guest: an exceptionally great visitor. That 'handsomeness 19 a great forc3 and the possession of it at onco distinguishes a person from the rest is an idea commonly held by Sanskrit wnters. A physically handsome person is his own recommendation, that is what Sansknt wnters believed. The figure of speech in the stanzi. is endently. (विशेषस्य सामान्येन समर्थनम् !ype ol) अथांन्तरम्यान, Stanza 32: Construo-fanget offrat otud, tri 912 धर्म नाम विनीय, उमाम् ऋजुना एव चभुषा पश्यन् , अनुग्मितपरमःगः वस्तु प्रचारमै। The visitor having accepled the wolcomo ollered in keeping with the rulos laid down in that connection by to s'astra (ARD) and feigned to have sortOVRT his latiqur ( 212 ·मर्गः। कुमारसंभवम् । idiomatically used to mean 'feignedly') as in fact, fatigue there was none, looking at Umā with just a straight eye, ( 441 47 237 ) proceeded to speak to her, without giving up decorum (F14:). 43 731: is an eye that looked at Parvati without any gallantry, or hint of amorous or sexual feeling, as would become a agit. There was nothing like an embarassment that the visitor lelt FC# is literally 'order,' but here is practically the same thing asesinori Ridraget start-propriety' or 'decorum'. Feigning that there was fatigue and then making an attempt at removing the same, was quite necessary as Sankara was disguised as a brahmachari, and had to keep up the show that he came from a distance, Stanza 33 : Construe-319 fra BATERI TAHA, 7501a ते स्नानविधिक्षमाणि, अपि स्वशक्त्या तापम प्रवर्तसे,-शरीरं सलु आवं धर्म- साधनम् । The portion beginning with this stanza, upto the 83rd, both Inclusive, is most interesting, and illustrative of the great mastery with which Kölidisa builds up his dialogues. Along with Slökuntala V, Raghuvamsam il, with the conflict between Sökuntala and Dusyanta in the former, and the opposed vlews put forth by Sankara's servant fan in the form of a llon. ond King Dilips, K'satriya every inch of him, in the latter, Kumara V, 33-83 is justly pointed out as proof of the great powers the author ovidently had in investing a aluation with life. The reader feels, ho is listening to a conversation actually dating place between two partics, conversion that beconng part of his personal copcriene.

·कुमारसंभवम् । पंचमः The visitor was aware of Karma, So after resting himself for a while he began moking courteous inquiries of the host- Parvati. Even a stranger could see, she was practising austerihes. There could have been no other natural query and none more polite than the one, the Brahmacharin is making. 34 standing at the beginning of a sentence has an interrogalive force. Were the sacrificial fuel ( 79: ) and kusa grass easily available to the host ? And did the waters prove to be suitable quite for her bath ? Was she not over-exerting herself in the practice of austerities 2-Suppossing she did, which more probably than not, she did not it was as well stated, rather frankly body is the foremost means for the performance of duty.' Kalidasa makes all his characters facing Bituations similar to the one, that the ascetic was, begin their quenes, by making the speakers ask about the general wellbeing of the other party, CA URT V, 4-10. (अप्यप्रणीमन्त्रकृतामृषीणां कुशाभयुद्ध कुशली गुरुस्तै । etc Stanza 34 : Construe-3 zarafatáz en det प्रवालम् अनुबन्धि, यत् चिरोग्झितालक्तकपाटलेन ते दन्तवाससा तुलाम् आरोहति। त्वया आवर्जितं वारि तेन संमृतम्-produced ( संभूत ted or supported) by water poured or sprinkled over by you. fatu- 13 a creeper-far, therefore-of the creepers. **+77 (possesive karaft-having a bond that_follows_something gone before, therefore, continuous. ARTE lit,, 18 the cover (garment) of teeth 1. e. he (lower ) lip. fact tha: 4947 येन (तथापि ) पाटलेन red even though it has given up the use of red lac-dye since long. The 'कमज्जल' amply manifested by the stranger to the hermitage. After queries that concerned the host directly or १३२ ·FAIRTTİTEET पंचमः stanza in the present the speaker is very keen on subtly flattering the person addressed : Oh jotus eyed one--the deer who by their highly tremulous eyes, reach or attain, similanty with your eyes'. The usual relation between the eyes of a beautiful girl and those of the deer Viz; the TÀ 344FTHE, is in the present instance topsy-turvied. Pasvatı's eyes are the standard (@rara), which the eyes of the deer (suur) reached, by their tremulousness. The ligure, therefore, in thestanza is ( व्यतिरेक where the उपमेय gurpasses the उपमान ) i For delation of the same read उपमानाद्यदन्यस्य व्यतिरेकः स एव सः।' काव्यप्रकाश x 105 मम्मट] Stanza 36: Construe-(e), TTT Ya fa 4 ayd (तन्) अव्यभिचारि वचः, तथाहि, (है) उदारदर्शने ते शील तपस्विनाम् अपि उपदेशता गतम् । Even supposing that the complimentary references in the preceding stanzas were lost upon the person for whom they were intended, the young student of Veda, steadily progresses saying, the statement which is (often) mede, 'oh Pārvad, that beauty (of form or body ) does not Icad to a sintul conduct is without an exception (37-A7 litríta fra TRT-1. A. absolutely frue. For (male), oh you of noble appearance, your character has been an object-lesson (34TAI–It, the state of being an instruction ) to the ascetics.' The words roll two compliments into one--that for beauty and that for character. The stanza illustrates the (FMTEURT विशेषेण समर्थन type of ) अर्थान्तरन्यास. That physical handsorne. ness and noble conduct go hand in hand is a favounte idea to which Sanskrit poets refer so often न ताशा आकृतिविशेषा गुण. विरोधिनो भवन्ति। Sakuntala Act IV before stanzal. न खाकृतिः मुसदृशी --- ·मर्गः। कुमारसंभवम् । विजहाति वृत्तम्-गृच्छकटिक Act IX, 16. भिद्येत वा सद्वृत्तमीदशस्य निर्मा- णस्य । उत्तररामचरितम् Act IV between stanzas 20 and 21. This is in direct opposition to Goldsmith's 'Handsome is that handsome does.' Stanza 37 : Contrue-एप महीधरः सान्वयः विकीर्णसप्तर्षिअलि- महासिभिः दिवः च्युनः गाः मलिलः तथा न पावितः, यथा त्वदीयः अनाविल: चरितः (पाक्तिः)। The tribute to the noble conduct of Parvati continues Her lather, the mighty Himalaya has not been sanctified to such an extent by the waters of the Ganges falling from heaven and smiling brightly, thanks to the material of worship (1), such as flowers etc thrown into then by the seven sages, as by the pure (आसिल-turbid अनाविल-not turbid, pure ) conduct of Pirvati. विकी सप्तपणा यलिभिः प्रहासिभिः। The river Ganges with her holy waters did not sanculy the mountain Himalaya, through its association with the latter so much as did tho daughter of Himalaya, absolutely pure in her conduct. सान्वय-अन्वयेत सहितः । अन्वयः what goes after, or follows, the lino of descendants also 'family.' but here the line is that of ancestors, 1 .. the father, grandfather etc. of Himālaya according to somo It is salest to render 3799 by a lino ( oi porsons hailing from the same family. ] Stanza 38 :Construc---) भाविनि, यन् मनोनिविषयाश मया स्वया एकः एक प्रतियच सेम्यन, अनैन धर्म: गविशेषम् प्रिवर्गगारः अा मे प्रतिमाति। According to the view of life that obtained in thoso ancient days, a human being had lost gorla toach'avo tra, xi, and att. Of these the fourth (inco lux!.com ) may be dropped ·कुमारसंभवम् । पंचमः while considering the life related to this world, terra firma emphasising the practical side of it. Thus three goals are left for consideration-Duty ( 27 ), Wealth (which is to be won 312f ) and ( satisfaction of carnal ) Desire (#). This is the group of three or feat. The speaker is finally convinced regarding the fact, that stå, particularly ( Alatract) is the best ( essenco-ure) of the lot-not so much on any other account, but because of this () that by Pārvati was it being followed, having been first picked up ( aftur) or accepted, with her mind that gave no scope at all to 37 and काम, and followed it thus to the exclusion ( एक एवं ) of the other two. If Parvati rejects of and 414, she must have excellent reasons for doing so and people of the sort of the visitor would better conclude that alone was the best of the three, from that day ( at least 3PT ), if they knew that not before, मनसः निर्विषयौ ( without sphere or scope or objects) अर्थस्य कामश्चेति अर्थकामी यस्याः सा । तया । भाविनि-oh you of good thoughts or feelings ( 972 ) 4-oh fortunate one ( 2TH= atit ). It is difficult to decide, which one is the better of the two readings. Stanza 39 : Construe—377 Sigurarefasto #t vi 17. तिपत्तुं न अर्हसि । यतः,(हे) संनतगात्रि, मनीषिभिः सतां संगतं साप्त. पदीनम् उच्यते। Stanzas 33-38 were all meant for one purpose by the visitor-paying compliments to the host though very skilfully. That over, the brahmacharin proceeds to say that Parvati need not consider him a stranger (9—another, stranger ).

·सर्गः कुमारसंभवम् । For has she not personally (RHI) offered him an excellent welcome? And again, another reason 13 ( 79:46417 ) that by the wise ( FIA: ) the friendship of the good is declared to arise from ( an exchange of seven words naft: da: 3721- प्यते इति साप्तमदीनम् । Though the word पद alternatively means a step, and in regard to the Terite, that is what the 97 part of the compound means, there is no point in under. standing the term Fitas signifying in the present context, the result of walking a distance of seven paces together. Already the visitor has spoken so many words-in fact so many times seven, And the host belonging to the class of 615 that she was, listened to all that was said. Why not con. clude then that a fnendship had already sprung into exis. tence, intimately connecting the guest and the host ? A similar argument occurs again in Kölıdāsa's gån, II, 58 though the specific reference to sevenwords is not repea. ted verbatin: सम्बन्धमाभाषणपूर्वमाहुः, वृत्तः स नी संगतयौवनान्ते। संनतानि गात्राणि यस्या- तत्संयुद्धी संनतगानि oh beautiful one, Int, possessed of drooping limbs. Stanza 40. Construe-Ragna, sa: 317 uHwat last- तिभावान् उपपमचापलः अयं जन. किंचित् प्रथमनाः (वर्तते ।) रहस्यं न चन् प्रतिवातुम् अहसि। Having prepared the necessary ground by the reference to the inendship as i springs up between one good person and another, the 17 continues in the same strain further, taking care however that the speech is brought to some concrete point. His progress has been slow, but steady and sure, at the same time, Add to the fact that a fnendship between us has now spring up, tha!Tama Brahmin (ihlet), ·कुमारसंभवम् । पंचमः and as such, with some rashness (195) only to be expected of me. Brahminhood and some little chāpala go together, and the former is the justification of the latter (a7781 i. e. reasonable, justifiable, logical and T : STATT:). Another arcumstance is that the revered presence of the host (mat) is possessed of great forbearance. The visitor proceeds arquing, step by step. "It is but natural under the circums. tances that I, here am minded to ask (you) something," he says, "in case there is no secret (to be guarded ), it behoves the worthy host ( Parvati ) to answer," A Brahmana (as well as a Ksatriya and a Vais'ya ) is considered to be twice-born, because according to the dharma s'asrta, the time he sees the light of day, he is said to be born once and he is just a S'udra then but on the aitaren or उपनयन ) संस्कार being performed on him, he is again born and now is not a s'udra, any longer ( 214d na: BELTE द्विज उच्यते।). प्रष्टुं मनः यस्य सः प्रष्टुमनाः, the अनुस्वार being dropped in the compound, according to 'तुं काममनसोरपि' वक्तुं कामः यस्य स: thus gives वस्तुकामः and not वक्तुंकामः । That the Brahmin class was a little too talkative, strong enough for any amount of talk, [ and presumably over inquisitive, if not precisely prying into other people's affairs ) seems to have been Bhavabhutr's experience too सिद्धं घेतद्वाचि वीर्य द्विजानाम् । उत्तररामfor Act V. 32. But the boldness of the stafit pressing this talkativeness into his service, by arguing that, that is a justification for his being curious in regard to a matter, conniected with the personal life of the host is simply to be ad. mired! Already when the host is characterised as HAT, she has no chance of taking offence, even if she means. १३८ ·मर्गः। कुमारसंभवम् । Stanza 41 : Construe-795 QUE: E fallai, ag: Papie सौन्दर्यम् इव उदितम् , ऐश्वर्यमुखम् अमृग्यम्, अतःपरं किं तप.फलं स्यात् वदा The ascetic who was no inmate of the penance-grove wonders as to what really is the fruit having which in view Parvati is practising such a severe penance. Her birth (int:) has been in the family of the first creator @eri:), as Himalaya was created by Bahmadeva himself' att fe मया मृटो हिमवानचलेश्वरः ' and he was not the creation of an 'imitation-creator,' or an ordinary Prajāpati. Nor could securing a beautiful body be the motive, for Parvati's body was the loveliness of the three worlds put together. Nor again could happiness flowing out of possession of wealth (1978 Is ईश्वरस्य भावः तस्य मुसम् ) or power have prompted her begin her austerities, for such happiness was not something to be sought for 3-4 ) by her--her father having all the best wealth in his possession ( vide-stanza 2nd, conto 1, JATTHE). Would not Porvat herself say, what wished for fruit led her practise the rigorous penence ? Stanza 42 : Construe--97612 Zrc 37 TARATE इंदशी प्रतिपनिः भवति नाम; (हे ) मृशोदरि तत् ( अनिटं ) विचारमार्ग- प्रहिनन चेतसा त्वयि नयने । It sometimes so hoppens that spinted ladies (Halft.4: ) possibly (979) have such tendencies (afta) on exount of some calamity. But in the case o! that alendebellied one no such calamity could be see, how much so ever the mind directed along the pothol thought might bo made to search. fraina : da afeta (2+ up to send, direct part pessive participio C7 ) ftalarinda.

·कुमारसंभवम् । पंचमः Stanza 43: Constrúe-344 wafa: fosfat, () मुटु पितुः गृहे विमानना कुतः, पराभिमर्शः तब न अस्ति, पनगरलसूचय कः करं प्रसारयेत् । The first two lines in this stanza are an amplification of the idea in the previous stanza which stated only in a general manner that Parvati's case did not admit of any guess of a calamity having befallen her. Her (very superb) form was one to which humiliation (fa) due to grief was impossible of obtainment. (No one could so much as think of causing gnet to beautıful Parvati and thus humiliate her. In the house of her father, again, whence could there be any insult offered to her? No outsider (9) could dare so much as touch (nudely of course ) Pārvati. Who would stretch forth his hand for the pointed jewel (on the head) of a serpant? पागस्य रत्नसूचिः is a Sanskritism for सूचियुतं पन्नगत्य रत्नम् a pointed gem on the hood of a serpant सूतये-for disturbing or removing, gives a bottor sense. What sane man would stretch out his hand to reach and remove by disturbing the pointed jewel on the serpant's hood? Obyously the idea is, that a stranger trying to touch great rudely would have shared the fate of the person referred to in the last line of the stanza. sitaat: FRI: 71-igna: ( vocalive ) is ut. Strictly, according to some, 97: should be the vocative singular of ga( nominative singular ). Kālıdāsa is thus seen deviating from grammar. But Vamana's sutra ataque ard: 13 quoted in the poet's defence; according to this latter view en. visaged by Vamana, u also as vocative singular, is correct. 1 ·A: 1 कुमारसंभवम् । Even in these stanzas ( 42 and 43 ) the speaker takes special care to punctuate his speech with a 'T'here, and a.' there. Stanza 44 : Construe-12 ha Team ATÝ वल्कलं किम् इति धृतम् । वद यदि प्रदोषे विभावरी स्फुटचन्दतारका अरुणाय कल्पते । +) 'Why is it then (fa) that by you has been wom a bark-garment that would appear all right, in old age ( anta) In this ( fresh ) youth of yours, having cast off all ornaments (*1714—379+37 to throw off ? The ascetic inquires and puts one more question. "Tell ( me ) " he says, "whether night (Paarl), having all the stars scattered (fa) away. ( according to the variant reading afar morati , Instead of फुटचन्दतारका, prefered to that accepted by मल्लिनाथ, on grounds of symmetry ) is fit ( to meet ), just at the commencement of her career (hramofore-part of the night) the harbinger of the Sun ( 37eur)". Nothing can be more unnatural than Parvati's taking to a bark garment in youth and than the night having her career brought abruptly to an end -her being required to laco Aruna, just when she is in the bloom of her youth and decked with stars. The figure of speech in the stanza is for in the two possages, relating to Pirveti and the night, the similanty Is understood as one reads what has been said of them, and as it has not been stated in so many words and the samo common characteristic ( viz abrupt end being put to a fine promising career) is mentoned separately ( vido PTAI गास्यासययोगम्यगाम्ययोः । एकोऽसि धर्मः सामान्यो यत्र निर्दिस्यते पृषद) सिमिति अपास्य...तम् and पद यदि...रम्पले are two separate ·कुमारसंभवम्। पंचमः expressions, intended to refer to the some cammon characteristic, Impropriety. The following parallelisms may be noted: पार्वती-विभावरी, अपास्तानि आभरणनि-विनिकाणाः तारकाः ( or in case फुदचन्दतारकाः is the reading तानि आभरणानि to be understood as going with Parvati, by implication for no ornaments can be thrown away unless they are wom-and the moon and the stars shining brightly as going with the night) aaand पाईकशोभिवल्कलधारण-अक्षणाय कल्पनम् . Stanza 45 : Construeerful : 141, 99 fag: देवभूमयः, अथ उपयन्तारम् (प्रार्थयसे) समाधिना अलम् ; रत्नं न अन्वि- प्यति तत् हि मृग्यते । The ascetic trying hard to understand the reason why Pārvati is practising penance, thinks, only for a while, that it is likely, that like other persons practising rigorous austerities, she wants to attain to heaven. But the very moment, he dismisses this theoretical conjecture, as in Parvati's case it is superfluous to go in for tapas or Samadhi; already the gods are the denizens of the exalted regions of Himalaya, her father. The company of gods is no longer a goal to be achieved—but an established fact. So one more and tho last conjecture (374); Pärvati wants to securo a husband (5r4ril, from 54+47 to marry ) worthy of her. Even in that case, there is no need for austerities. For a jewel or precious stone [ nga for a beautiful girl of the distinction of Pärvati] does not go about seeking an owner for itsell ( 9 for a worthy husband), it rather, is sought alter (by the owner, and the beautiful gırl is sought after by the prospective bridegroom ). Thus understood, the verse would be an instance of the figure अप्रस्तुतप्रशंसा. रत्नम् however is defined as १४२ ·सर्गः। कुमारसंभवम् । जाती जाती यदुत्कृष्टं तदनमभिधीयते as the best of a class and in keeping with जाती एकवचनम् , रत्नम्-रत्नानि, All best things are sought after-they do not go about seeking their appreciators. This would make the stanza an instance of (विशेषस्य सामान्येन समर्थनम् type of ) अर्थान्तरन्यास, Stanza 46 : Construe--सोध्मणा निःश्वसितेन निवेदितम् , मे मनः तु संशयम् एव गाहते, ते प्रार्थयितव्यः एव न दृश्यते, प्रार्थितदुर्लभ. कथं भविष्यति । now his guess As the ascetic mentioned a husband'-उपयन्ता-in the preceding stanza, Parvati who did not so far utter a single word, and in all probability did not by any other indication make it possible for the stranger ( who had by this time been a friend, at least, so he said ) to ascertain the reason for her austerities, heaved a sigh (निःश्वसित ). This betrayed (निवेदित) Pirvati's secret. The speaker's mind is even in oscillation. The sigh of Parvati was proof of the correctness of But how to believe that there was any one under the sun, who was to bs eagerly desired or solicited (प्रार्थ- यितथ्यः) by Pirvati. a vertable germ of a young girl? 'MY mind is plunged in doubt, he therefore Bays, 'how can that unknown person. 'x'say. be difficult ol obtainment even on being eagerly wished for by you?" प्राधिनधागा दुर्लभः (दु.मेन लभ्यः) प्राषितदुर्लभः। Kaidisa's Dusyanta in Sakuntala AcII. 13 expresses a similar difficulty in लगेत पा प्रार्थयिता न वा घियम् । प्रिया दुरापः कपीरिममो भवेन् । Stanza 47 : Construe-अहो तब गिनः सः अपि युवा घर: य: 'विराय होरपलशुन्यतो गते पोलदेश करमापरिदमा भयरयिनीजाः उपेक्षते। 1४३ ·कुमारसंभवम् । पंचमः As Parvati did not deny the presence of such a young man sought as her life's companion by her, the ascetic has no other alternative, but that of concluding that there was some such 'X'. It is very interesting to see how S'ankara himself unhesitatıngly attacks this young man (who is, as the readers are shortly to come to know, lord Sankra and none else ), saying, "Extremely stiff ( f877), or hard-hearted) must this young man, wlto so ever he is, be,-that, he has (like one who is devoid of aesthetic sense altogether) been ignoring, ( Stud) the loosely hanging, paddy-shoot like tawny, matted hair or the region of your cheek-.which has since long( ferere) been without any lotus, used as ear-- omament. Oh I for a more liberal distribution of the sense of appreciation-so that this insensible young man would have got its benefit and realised the utter foolishness of making a young, beautiful girllike Parvati practise penance, compelling herto give upusing any flowers as car-ornaments, and driving her to growing matted hair! It need not be said, that the young visitor's heart is going out in sympathy to Porvati, who has been so ill-treated by the young man of her desire. An intelligent reader does not fail to read another meaning in the word fierro, which is the equivalent of Fine (97). This is of course intended by the poet. Stanza 48: Construeret: Steffrat Pengar: पणासदाम् (अतः च) दिवा पाशालेसाम् इय त्यो परमतः सचेतसः कस्य मनः न यते। Breathes there a man (lit. e person with a heart rear:) whose mind is not polned to see Pirvali oxtremely reduced (अतिमान करिता अनिमाप्रकर्शिता, अतिगत मानो यथा अनिमात्रम् reduced so as to pass all Ilmits ), and with the places of wearing 17 ·सर्गः। कुमारसंभवम् । omaments on her body, scorched all ( 31132) by the sun ('s ternble heat)? Can any one imagine one so unaesthetic as to be able to look with perfect calm at the digit of the moon ( The item), extremely reduced (in size ) (aftaraftar) and with the function (aspada) of beauti. fying ( vibhusana ) the world destroyed, ( 315z'burnt up') by the sun, standing in full possession of its burning glory in the sky, by day-time? Parvati in her present plight 18 comparable only to the digit of the moon as described above. From the ascetic's view-point at least there can be no son of man who will not be deeply affected by the sight (either of red or of the moon's digit). Bhartrihari too refers to the moon by day-time as a sight that pains all 'Terus in the stanza where he refers to the seven Ts of his heart. at Pantat' heads the list, he gives. Stanza 49: Construe-fore aranea afecara a: चतुरावलोकिनः अरालपक्ष्मण. अस्य चापः आत्मीयं वक्त्रं, चिरं लक्ष्य न करोति । The attack that opened with an accusation of hard-hearted. negg (stanza 47 ) is made all the more formidable by another accusation yet. That loved one ( 94 ) of yours, is, (besides being stony-hearted ) deceived or misled by his intoxication of beauty. Conscious of his physical handsomeness, priding himself on the possession of that handsomeness, he certainly is under a delusion (tan) in that he does not show his lace to these eyes of yours with curved (3) cyelashos, eyes which look (of things ) so prettty (ICH). Ho one that is not deluded by a disproportionato sense of pride for physical handsomeness could have kept his face away ·कुमारसंभवम् । पंचमः from these lovely eyes, for so inordinately a long period of time. चतुरम् ( adverbially ) अवलोकितुं शील यस्य 'ताच्छील्योणिनि.-चतुराव- लोकिनः। अराल 1s curved or crooked. Having straight eyelashes is no sign of beauty. In fact, all arts agree that beauty lies in curves rather than anywhere else. Ta TATO (पश्मन् exe-lash) यस्य तत्-तस्य (चक्षुषः). Stanza 50: Construe--(हे) गौरि कियत् चिरं श्राम्यसि, मम अपि पूर्वाश्रमसंचितं तपः विद्यते; तदर्धभागेन काक्षितं लभख; तं वरं च साधु वैदितुम् इच्छामि। The brahmacharin's sympathy was not of the lip-deep vanety. He has a concrete offer to make, to help Parvati out of the difficulty. He too, (as Parvath) has penance accumulated in his first stage of life, ( 9 ). Now that Pārvati's austerities by themselves have not won her, her desired object, the brahmacharin makes a gift of half of his own penance to her, May she thus obtain the desired (thing or person). Only he would like to have one thing in the bargain-a detailed knowledge of that husband, whom Parvati sought all these days. पूर्वप्रथम, पूर्व आश्रमे संचितम् पूर्वाश्रमसंचितम्, 'That Kalidasa freely uses the term in the sense of g (and not the previous, which has occasioned a difficulty to some readers of the stanza under consideration ) is easily demonstrated. To start with, in this very canto, in the 10th stanza, there is 'सपूर्वनिबट्या तया'; another is कारस्न्येन निर्वर्णयितुं च काम्-दरन्ति तत्पूर्वसमागतानाम्-मालविकामिमित्रम् IV, B and प्रत्यारवीन्ननमिगुप्रयोग तरपूर्वभने वितथप्रयत्नः रम् 11, 42. in all these Passages, Kalidisa equates पूर्व with प्रथम.

·सर्गः। कुमार संभवम् । Stanza 51 : Construe-इति द्विजन्मना प्रविश्य अभिहिता सा मनोरथं शंसितुं न शशाक, अयो परिपावर्तिनी वयस्यां विवर्वितानजननेत्रम् ऐक्षत । The sympathetic attitude of the Brahmachann, coupled with his readiness to offer half of his penance, so that Parvati may secure her object, and the accuracy of his guess about the cause of the penance, made it quite essential for her to say something in response. But owing to bashfulness she could not speak out her desire. Hence she looked at her friend who was standing by her side (परिपाई वर्तितुं शीलं यस्याः ताम्- aftarafdaft) in a manner in which the eyes of Parvat that were without collyrium were turned towards the friend (विवर्तिनं अनञ्जनं नेत्रं यस्मिन् कर्मणि तत् तथा-विवर्तितानअननेत्रम् ), The eyes were without 327 as Parvat was practising penance. प्रविश्य having entered i.e. here, having rightly known, though he was not told about it, by any one else. sifon Infinitive from शंम् to tell. द्विजाति-twice-born. Like जन्म, जाति is to be traced back to the root vrtand means birth. For the explanation of the term. refer tothe notes on stanza 40. cantov. अयो means अप It is an archaic expression. Stanza 52: Construe-तदीया ससी तं वर्णिन उवाच, 'हे साधी तव कुतूहलं चेत् निबोध यदर्थम् एतया अम्भोजम् उष्णवारणम् इव वपुः तपः- साधनम् कृतम्।' Pirvali's friend understood the meaning of the glance and said to the Brahmacharin. (पर्गिनम्-वर्णः स्तुति. अम्यानाति-तम् ) "O Leamed Brahmin, curious as you are to know the secret ol Pirvah's heart, know it fully (नियोध) from me. I would just explain why this delicato body is made by her the means o! practising penance (तरः साधनम् ) like some one making the ·कुमारसंभवम् । पंचमः tender lotus ( 3 FISH ) a means to screen the heat of the scorching sun. Stanza 53 : Construc-34: TIET RETIRita इयं मानिनी मदनस्य निग्रहात् अरूपहार्य पिनाकपाणि पति आप्तु इच्छति This friend of mine disdained the lords of the four quarters (चतुर्णा दिशा ईशान्-चतुर्दिगीशान) महेन्द्र, यम, वरुण and कुबेर even after : knowing fully well that they are possessed of supreme powers ('अधिश्रियः अधिका श्रीः येषां तान् ). She aspires for a Lord greater still, the wileder of Pināka and the subdluer of Smara. Such an aspiration is but natural in the case of a Alatait like Parvati. S'ankara however could not be won merely by physical charms (E46). Hence this recourse to penance Incidentally it is interesting to note the characteristics expected in a lover by Parvatu the paragon of beauty. The first is bravery as suggested by the word water and the other is the nature of not easily being led away merely by physical charms (अरूपहार्यम् ). चतुर्दिगीशान-The ancient Sanskrit poets believed that the different quarters ware protected by the presiding deties. F is the Lord of the East, 28 the south, वरुण, the West and कुबेर the North. Stanza 54 : Construe_907 Traganfararda: gefa *011- मुसः विशीणंगूर्तेः अपि पुष्पधन्वनः शिलीमुखः इमा हदि ध्यायतपातम् अक्षिणात् । Kims discharged his flowery arrow at Sankara with the intention of wounding him. The arrow (fara td. e. Tigh FR a: Pri: ) however was tumed back by the unbearablo Humköra sound of Santara ( a jeho farebn-374 Entrada: ) Not only this, but also tho body of the dis.

·मर्गः। कुमारसंभवम् । charger was shatterred to pieces. ( विशाणां मूर्तिः यस्य सः विशीर्णala: ) The arrow however found another target in the frailbodied Parvati, who could not resist the attack. It entered her heart so as to goa long way in it. (व्यायतः पातः यथा भवति तथा) and created a deep wound ( अक्षिणोन्). न प्राप्तं मुखम् ( point or tbp) यस्य सः अप्रासमुसः। पुष्पाणि धनुः यस्य सः पुष्पधन्या. For the change of T3 Into 4797 at the end of a dit compound, refer to the notes on कुमार IV २३. पुरारि:-पुराणाम् अरिan epithet of S'ankara. The three sons of Arts obtained a boon from Brahmadeva to be able to build three cities, which could be destroyed only by a single arrow. As usual Brahmadeva granted the request, and these demons' began to trouble the denizens three worlds, S'ankara who was approached by the dis. tressed gods, ultimately destroyed all the cities, along with the Asuris. Hence he is called the destroyer of the cities of guft: The reading fifth is accepted by some as it removes tho anrachronism which is otherwise forced by the epithet State. We however need not worry much about this, as ll 15 possiblo that Kalidasa himself forgot for a while, that the particular exploit ol Siva came afterwards. He used the epithet to convey the idea of his great powers, which would cxplain why the never failing arrow of Kama was retumod back merely by tho Humköra sound. Stanza 55 . Construem477 2314 3** THERE लमा बाला पितुः गद तुपारगंपानशिलातले अपि नितिन मातु सभामा The wound created by the arrow, deprived Parvati olte: comfort (AL: ). Mat for a s!ngle momen! ( 1371) could sho experienco cssa and tranquility. Tho love agony was rising in her mind (57) and all the alicmpts to allay the heat ·कुमारसंभवम्। पंचमः of love by the application of sandal paste to her fore-head were fruitless It only rendered her beautiful tresses dusty (ललाटिकाचन्दनं तेन धूराराणि अलकानि यस्याः सा-ललाटिकाचन्दनधूसरा. 341,1 ) call is a mark made with sandal or any other fragrant powder on the forehead. Pārvatı art that she was and hence quite innocent of such changes (FIT ) tried to get a cooling effect by sleeping on the different slabs of stones in the icy regeion of the Himalayas (au farar: are frecer तासों तलेघु-तुपारसंघातशिलातलघु ). Read for a similar idea पार्वती- oftopt IV 4. But even these were of no use. If at all a change of condition was brought about it was in the case of the slabs of stone, which must have grown warmer (if indeed they did not melt away), but none took place in case of Parvati. Stanza 56 : Construerat: mita 39 (aa) अनेकशः बनान्तसंगीतसखी: किनरराजकन्यकाः राबाष्पकण्ठस्खलितः पदैः अरोदयत् । Parvati tried to divert herself in the company of the princesses of kinnara-kings, by singing the ballads and eulogizing the exploits of the Pinaka-holder. This mode of diversion instead of bringing relaxation only aggravated her agony. Was she not uniortunate in not having such a great god for her consort ? Naturally her throat was choked, and indistinct and faltering were the songs recited by her ( याप्पेश सहिते का? स्खलितः-सवाष्पकण्ठस्खलितः). Her piteous condition drew tears from the gentle eyes of her friends, who were moved at the sight. Their throats were also choked, and their attempts at singing were rarely successful. Note the causal construct.en In tha stanza. अरोदयत् caused to lament or weep. उपात्त. पर्ग: (गीतिममः) यम्मिन्-उपात्तवणे. This verse shows the प्रलापातम्या of Pirrati and by प्रलाप is to be understood गुगर्महीर्तनम् SALE 14 ·सर्गः। कुमारंसभवम्। Stanza st: Construe-त्रिभागशेषामु निशामु च क्षणं नेत्रे निमौल्य सहसा (हे) नीलकण्ठ, व ब्रजसि इति अलक्ष्यवाक् असत्यकण्यर्पितवाहु- वन्धना (इयं ) व्यबुध्यत । Nights, too, brought no relief to Parvati, as she could not get sleep till after mid-night. When sleep slowly closed her eyes, the very next moment she got up and uttered "O God of szure neck (नीलकण्ठ) where are you flying?"Further shecast her chaming arms round a non-existing neck, with the hope that the running away as would be prevented by her, from doing so (Vide मेघदूत II 57 for a similar idea ). But there was no real , It was merely a creation of her own fancy, and a result of constant thinking of him. However the impression created on her mind was so strong that Parvatı believed in the real existence of fe. The epithet नीलकण्ठ 1s significant. The poet has described the dream of Pirvati wherein, she enjoyed the embrace of Sankara's neck, which is blue (as a result of the deadly poision drunk by hum). This blueness lingered in her mind. तृतीयः भागः त्रिभागः सः शेपः यामु-त्रिभागशेषामु. The night is called त्रियामा as it is diva.. ded into three parts. The third part begins approximately by 2 a. m. Till this hour, Parvati got not even a wink of sleep. अविद्यमानं लक्ष्यं यस्याः सा अलक्ष्या, अलक्ष्या वाक् यस्या. सा अलक्ष्यवाक् । असत्य कण्ठे अर्पितं वाहुबन्धनं यया सा असत्यकण्टार्पितबाहुबन्धना । मल्लिनाथ rermarks on this stanza एतेन जागरोन्मादी चितौ । Stanza : 58 Construe-वं युधः सदा सर्वगतः उच्यसे, भावस्थम् इमं जनं कथं न देसि इति मुग्धया स्वहस्तोहिग्विनः चन्द्रशेखरः रहसि उपालभ्यतच.

·an ornament for the कुमारसंभवम् । पंचमः As is usual, with the persons u love to paint a portrait of the loved one, Pārvat drew the picture of Sankara with her own hand. She thought that the moon-crested god (* THEO यस्य सः चन्द्रशेखरः where शेखरः means head ) in the picture was the real s'ankara, and chided him for his indifference to her. For did he not know, omnipresent as he was, that Pârvata was entertaining affection for him? ( Tra Qere a HART: where 179 means affection or love), Even the learned ones in whose words we must have an implotfaith have declared S'ankara to be omnipreseni(Hawra.). This action shows how innocent (e) she was ! Her innocence becomes all the more prominent, as her fnends watched and knew the entire action of Pārvali, even when she thought that she was by hersell (TER). TI PRETETE 3412 is a passive construction. This stenza also shows Parvati in उन्मादायस्था. Stanza 59: Construe1 farad se spread: अधिगमे अन्य विधि न अपश्यत् , तश गुरोः अनुज्ञया अस्माभिः सह तपसे तपोवनं प्राप्ता। Stanzas 55 to 58 descnbe the love-lom condition of Parvati, She was in a way mad with love of S'ankara. But there were no means of sccunng (af) the Lord of the worlds. Her physical charms were ol no avail as has already beon seen. So ultimately showent to the holy ponancs-grove, along with her friend after securing the permission of hor father. Stanza 60 : Construo- FAI PRIRE 22:00 3 अपि फलम् यम्, अन्याः शशिमौलिराधयः मनोरयः प्ररोहाभिमुयः अपि न च श्यते। १५२ ·सर्गः। कुमारसंभवम् । Pārvati's friend, very cleverly suggests the long period over which Parvati practised penance. The trees that were planted by her (pH gai àg) are now sufficiently grown up. They have witnessed her austerities (a4.arity). On their branches is seen the fruit. But poor Pārvati's desire, that has its resort in Sankara (शशिमौलि. 1 .. शंकरः संध्यः यस्य सः शशि- मौलिसंश्रयः ) has not put forth even a shoot, (प्ररोहं प्रति अभिमुखः TREISE. ), what to talk about flowers and fruits ? Though Pārvau's penance was no less old than the trees, the latter stole an easy march over the former, and Parvati's desire remained where it was. Kalidasa thus contrasts the fruit-laden trees planted by Parvatı herself with her fruitless Penance. Stanza 61 : Construe-प्रार्थितदुर्लभः सः तपःकृशा सखीभिः अस्रोत्तरम् इक्षिताम् इमां सखी तदवग्रहक्षता सीतां वृषा इव कदा अभ्युपपत्स्यते न वेभि । The friend concludes her speech She, along with her other friends, is very eager to see Pārvat's desire fulfilled But the Lord is difficult to be obtained even when solicited. Parvati's condition however was causing great anxiety to them. The penance-worn ( at: asti) Pārvabı became an object of great concern to her Inends, who with eyes dimmed with tears (अश्रुप्रधानं यथा तथा-अनोत्तरम् ), looked at her and perhaps prayed to the God on their and Parvato's behalf. The favour of that lord, alone, would save Pārvatı from impending danger, and this favour was justly expected by them of the lord. Does not Indra, the lord of rains (actar undir 77) favour the ploughed land ( I ), that is parched on ac count of the drought caused by hum (तस्य अव ग्रहेण क्षताम्-तदवह- VELISIH where he means drought) by pouring down showers? Kāldāsa, true to his great reputation puts a very १५३ ·कुमारसंभवम् । पंचमः fitting simile, in the mouth of the friend at the conclusion of her speech. The penance-worn Pärvat is rightly compared to Har, the ploughed land, that is dry on account of drought. Such a land especially is in great need of rain. Indra who is responsible for the drought and consequently for the pitiable condition of the land does take great pity on the land, and sends down showers of rain. Should they ( Parvati's friends ) not expect similar favour coming from S'ankara, who alone was responsible for the penance-worn condition of Parvatı ? Such stanzas point out the truth of the statement' STATE IT.' is an epithet of Indra, as he sends down ( aefa fa ) rain by tearing asunder the clouds with his thunder-bolt. ?gd Future 3rd person singular of 3+34+47 to favour. Stanza 62: Consine-ETRETT ETT fa fengri fataleti नैष्टिकमुन्दरः अव्यजितहर्षलक्षणः अयि इदम् एवम् ( उत) परिहासः इति उमाम् अपृच्छत् । Thus the handsome Brahmacharin was fully informed (Maica: ) of Parvates intention by her friend. She did no! conceal the real state of Pärvati's mind (75: a: AAC e ca). The Brahmachūrin, who was no one else but Lord Sankara himsell, the object of Parvati's love, was naturally beside himself with joy as he got the direct prool of tho deep attachment of Parvati to him. But shrewd, as ho was, he concealed the signs of joy (न म्यजितम्-अभ्यजितम् हर्षल. er 769 #: 3usardan: ) quite natural on such acos. słons. He put such further questions, as ought to bo answered by Pirvati hersell. He quorried whether all that wag bald by the friend was a statement of fact or a more jost. 144 ·सर्गः। कुमारसंभवम् । Was Parvati really in deep love with Sankara ? Kõlidāsa as usual has managed this dialogue very effectively. The simple question is aftera put by the guest, made it qute essential for Pārvatí to answer herself. She could not inow look at her jacal friend, as she did on the former occasion, (vide verse 51 ) and avoid to answer herself. The Brahmacharin is successful in compelling her to break the silence and speak to him. He and antio are the two types of Brahmacharins. Aff leads a life of celibacy till death (@er मरणं अवधिः यस्य सः नैष्टिकः. Read नैष्टिको ब्रह्मचारी तु वसेशचार्य- निधी । तदभावेऽस्य तनये पल्यो वैश्वानरेप्रपवा ॥ याज्ञवल्यय 149). 97219 however is allowed to marry and enter PR129. The word 557 which according to some suggests 779507 13 supposed to be rather incompatible with the word Brahmacherin. Afteary defends Ficy and remarks, that as the statement is made with reference to the God who possesses extraordinary powers, nothing is incompatible. We how. ever think that the word TR means 'handsome' and nothing else. The appearance of a Brahmacharin and especially that of age is usually handsome. So there is no Incompatibility at all As such no explanation like the one given by a74 is called for. Stanza 63: Construo-49 STRATEgo The Ti24133. मालिका समर्पयन्ती अः सनया रिव्ययस्थापिकार सचिन मिताक्षरम् अभापत। Now, was Pirval required to confess hor love for the lord of the worlds. There were on her body como signs of nervour. ness and bashfulness. which are quito nslural on such ACCSSIONl. The members of the fair sex liko to love, but ·कुमारसंभवम् । पंचमः dislike to admit it. Pārvat could be no exception to this rule. While the conversation of her friend and Bhramachānın was going on, Parvati did not stop her japa. Now was her turn to speak, as such she discontinued the japa, brought the rosary of beads (स्फटिकाक्षमाला.) in the fore-part of her hand, (Haret E67-37677: ) where she could keep it during her conversation with the Brahmachānn. As the rosary was to remain there, she brought together all the fingers, thus forming them into a bud (मुकुलीकृताः अङ्गुलयः यस्मिन् , मुकुली. कृताङ्गुली where मुकुल: means a bud ). Pārvati, daughter of Himalayāya, was expected to possess firmness of mind. However her mind was in great confusion, on this occasion. She composed herself somehow or other, arranged the speech she was to deliver, in her mind, for a long time. (चिरं व्यवस्थापिता वाक् यया-चिरव्यवस्थापितवाक् ), answered with great difficulty (RPC) in few words, [मितानि अक्षराणि यस्मिन् कर्मणि-मिताक्षरम् ]. Stanza 64: Construe-(asfaat , 6941 yi ( AUTI अयं जनः उच्चैःपदलधनात्मकः, इदं तपः तदवाप्तिसाधनं किल, मनोरथानाम् अगतिः न विद्यते। The measured words uttered by Parvati answor completely the question put to her, and show that Pirval was in no way incapable of rising to such occasions. She remarked that whatever was sald by her friend was true. She did as. pire for being the consort of Stiva, an exalted position indeed. (उचैः पदस्य लंघने उत्सुकः--उपःपदलंघनोत्सुकः). Themeans of reaching the exalted position were given by the people as TT. This explains why she was practising penance. Further Parvati herseli anticipates the charge of boldness, as sho $40 ·सर्गः। कुमारसंभवम् । was longing for Sankara. She admits ft. but defends by explaining the nature of ambitions. It is such that ambi. Hons in general know no bounds limits. Persons do not entertain derires, after fully considering their limitations, but often by conveniently forgetting them. The stanza contains are ETC as the particular behaviour of Pārvati is justified, by the general rule 'Nothing is inaccessible to desires. Stanza 65: Construe-39 quff 317, TEAT: ( 7 ) ARA, पुनः तदथिनी एवं वर्तसे, अमङ्गलाभ्यासरति तं विचिन्त्य तव अनुवृत्तिं कर्नु न च उत्सहे। After all the Brahmacharin got an opportunity of talking to Parvati directly. He fully uses it for testing her sincerity. He linds fault with S'ankara, with apparent justification, and Informs Pārvati of his inability to agree with her, in her choice. The great god was known to the Brahmacharin, elong with his (t. e. lord's ) liking for inauspicious things, such as चितामस्म, गजाजिन etc. (अमहलानाम् अभ्यामे रति. यस्य सः तम्-अमजला. *adt, where fagle means a course of conduct ). How such an ugly person can be a fitting match for the delicate and handsomo Parvat? The more Ider was repugnant to tho just mind of the Brahmacherin. Moreover had S'iva not insulted Parvat formerly. by burning Madana (vide Fakta III 74)? Still she is longing for him (garia). How could her sell-respect allow her to entertain desires for him? In Bianzas 65 to 73, may be noted a bosutiful ciample of humour o! altuation, as tho Brahrtschann, who Is Sankara himself incognito, 's attacking Santara with all vehomencs, he has at his commond.

·were was . कुमारसंभवम् । पंवमः Stanza 66 : Construe-(हे ) अवस्तुनिर्बन्धपरे, आमुफविवाहकौतुकः अयं ते करः वलयाकृताहिना शंभोः करेण तत्प्रथमावलम्बनं कथं नु सहिप्यते । The Brahmacharin taunts Parvati by addressing her as अवस्तु निर्बन्धपरे. अवस्तुनि यः निर्षन्धः सः परं यस्याःसा) she was अवस्तुनिर्भन्धपरा as she was persistent in her love for S'ankara whose bkings for nauspicious things well known. She attempting, only for a worthless object (अवस्तु). The very first union of Parvati's hand with that of Sankara would not be delightfulat all. It would be an union of two precise opposi. tes; one delicate and handsome, the other rough and dreadful Parvati's tender hand would be beautified by the nuptial string (आमुक्तं विवाहार्थ कौतुकं यस्मिन् ), while Sankara's hand would be without any decoration, but possessing the entwining serpents (वलयाकृताः अहयः यस्मिन् तत् ). How possibly could Pārvali's hand suffer the first grasp of it by that of S'ankara ? तत् एव प्रथमावलम्बनम्-तत्प्रथमावलम्बनम् विवाहकौतुक is the marriage thread worn round the wrist by the bride and bridegroom. The time limit of keeping it on the wrist is either three days or one year, according to different authontes. Stanza 67: Construe-त्वम् एव तावत् स्वयं परिचितय, यदि कल- हंसलक्षणं वधूदकूलं शोणितविन्दुवर्षि गजाजिनं च एते कदाचित् योगम् अहंतः । Parvati, pnncess as she was, would be weanng costly silken garment (दुकूल, something like the modem Beniras makey decked with royal swans, (कलहंसाः लक्षणं यस्य तन्-फल- हमलक्षणम् ) on her wedding ceremony. The bridegroom 1.6. S'antara would put on his body a now elephant-skin (Tata) that would be streaming forth drops of blood. (शोणितस्य विन्दून वर्षिई शीतं यस्य सत्-शोणितबिन्दु) on account १५८ ·सर्गः। कुंमारसंभवम् । of its freshness. Does even Piryati think that the knot, which would be tied just after the wedding ceremony, of her garment with that of S'ankara would be really a happy scene to look at ? The Brahmacharin asks Parvati to think out for herself. Note the contrast between the gari au at which would be solt, white and attractive and the force Paragraf Tifata dark in colour and hideous to look at on account of drops of blood oozing from it. Stanza 68: Construe-aa aqugquelug: 924:37 काङ्कानि पदानि कः नाम परः अपि विकीर्णकेशामु परेतभूमिपु अनुमन्यते । Still more pitiable, would be the scene, when Parvati would go to her husband's house, which is nothing but a cemetary. The princess Parvati would be treading, at the time of marriage, on the flowers in the quadrangular court- Yard. (चनुप्के यः पुष्पप्रकरः तस्मिन् अवकीर्णयोः चतुष्कपुष्पप्रकरावकीर्णयोः where : means 'mass'). Her feef that are painted with Alaktaka dye would leave foot-prints on the mass of flowers S: 93 ar- ). The very feet will have to tread after marriage, not on soft grounds but on the reglons of cemetary, (Harag where ata means' departed ordead) scattered over not with flowers, but with hair of corpses. (fami :: arfautiaire ) Such a sight would not boliked even by an enemy ( 9 ) of Parvati, much less by her kith and kin. चतुप Is a गृहविशेष supported on lour pillars. Ilere the marriago pendal is meant. Note again the contrast betweon gout and the front Blaze. Read for a similar contrast, but relenng to a dille:- ont occasion. Raghu VIII 57–44TUPIŪRA TI 978- हाम् । तदिन रिपहियते कार्य कर मामोक पितापिरोदणम् । T ·कुमारसंभवम् । पंचम Stanza 69: Construe-47eafo gitargure TEFTAT- द्वये त्रिनेत्रवक्षःमुलभ चितामस्मरजः पदं करिष्यति, अतः परम् अयुक्तरूपं किम् वद । What would be Paryatı's condition, at the time of the eager. ly longed for first embrace of S'ankara ? The three-eyed god whose ugliness is heightened by the smearing of his body with funeral ashes (Fatir: HEH FARA TI GT 51-fanten- 17:) would impart these very ashes to her fair bosom, which knew only the fragrant Harichandana and which is a fit abode only of that. Nothing would be more unseemly. One's aes. thetic sense revolts against even the idea. Poor Parvati however will have to undergo it personally but she must thank herself for all that. The contrast between after and RETET: deserves to be marked. Stanza 70: Construe-999: 441 95=771 477 5741 वारणराजहार्यया त्वया अधिष्ठितं वृद्धोक्षं विलोक्य महाजनः स्मरमुखः भविष्यति । At the time of marriage procession, just after the wedding ceremony there would be great fun for the onlookers, at the cost of Pärvati. The bride, princess as she was, deserved to be taken in a procession, only on the back of a young Jordly elephant (runt tarda criaRotteri). But Parvati the consort of poor Siva would be required to mount tho supor-annuated bull ( TETET ETT TIL ) hardly able to walk straight, and thus bo on oblect of ridiculo and mock. cry to others. The good peoplo, though tempted to burst Into laughter at such a humorous sight would check IL sh tho smllo would be seen on their fcoes, while thay would ba looking at the procession (मेरं गगं सास :-मेरमुगः where ·01:1 कुमारसंभवम् ।, स्मेर means मस्मित). ऊदा past passive participle from यह 10 marry-'married' ay is also from the same root. Stanza 11 : Construeret: martuartrat la ai ira. नीयतां गतम् , कलावतः कान्ति मत्ती सा कला च, अस्य लोकस्य नेत्रकौमुदी त्वं । Now that Parvati has fixed her attachment upon Sankara and that she is bent on marrying him, the Brahmachar Bays- There are now (Fafa) two (lit, a pair ) that have gone to a condition worth being pltied (itanreat ), on account of the eager desire on the part of those two for union (41) with the bearer of skulls (Fra 964 af fa)-that wel. known (1) digit of the possessor of digits (i.e the mpon ) and of late, you the moon-light to the eyes of the world. How sorry is the idea that not only is there the strange company of the moon and the Kapalin, absolutely unworthy of her (the lovely digit being personfied ha more beautiful thing wos not united with an uglier being but history is going to repeat itsell Parvati, who was the beauty of the three worlds put together ('निलेकसौन्दर्यमिवोदितं वपुः') and gave the same delight to the cyes of those that saw her as the moonlight was going to follow in the foot-steps of the moon's digit! Oh, the plly of it! that beauty and indiscretion should go together, in this the second instance too. Stanza 72: Construema: TT, THAT, facta 19 fairean: () tammes, aly TT * The fisitad म्पम्नमति अस्ति किम् । Tho Brahmacharin is emboldened to the catent of actually setting forth in an analyt.cal fashlon the so many reasons why that god frequenting the cemetary region should 1.8.2 ·कुमारसंभवम् । • पंचम not be chosen as a husband. To begin with, his form is deformed, in that he has ugly eyes (fearft eftir ha) or three eyes (fan-tak in number). (People already know that the non possession of the necessary number of limbs or parts of the same constitutes ugliness. It, however, is high time that some of them, especially persons like Parvati are told that possession of an extra third eye too is not a case of 'more the merrier'-but another variety of ugliness itself ). Lethng that alone-what about the descent of this bridegroom (??)? The only thing that is known in this connection is that the birth of the person is not known to any one (lit. not seen by any one )! Rogarding wealth, well, it has already been made known (to the whole world) by his having the quarters for his garment (having nothing even so much is to cover his body with), Significantly does the ascetic ask Pārvali,' oh you possessed of eyes like those of the young deer (what a contrast with the face of the 9), are the things such as are collectively sought in a bridegroom to be found even singly (54674 39 )-say just one of them, found in the 'three-eyed' one ? गालमृगस्य अक्षिणी इव अक्षिणी यस्याः ( उपमानपूर्वपदबहुमीहि ) सा बालमृगाक्षी, सरसंवृद्धिः (vocative ) बालमृगाक्षि । There is point in मम्मट's criticism that अलभ्यजनता does not pointedly bring out the fault or deliciency of the bridegroom. os do tho two other clauses. Instead of the compound, there should have been two expressions such as Emai, one being the subject and the other the predicato of the sentence, describlng the weak point of the Vara, 1 ·an: 1 कुमारसंभवम् । Stanza 73: Construe-EATE 3 SAAT #4: Rqda, aigu: का, पुण्यलक्षणा त्वं च छ, साधुजनेन श्मशानशूलस्य वैदिकी यूपसरिक्रया न अपेक्ष्यते। In all sincerity, does the brahmacharin advise Parvati to turn her mind away from this evil or improper (161) desire ( Pira-past passive participle used in keeping with gut a TETET). What a world of difference between a person of the type of him(i.e. Kapali) and Parvati of blessed characteristics ? By good folk the honour done to the sacrifi. cial post ( 7 ) in keeping with the Vedıç rites ( area) is not ( so much as ever ) expected of an iron-stake in the cemetary region. Simply because is used for the pur. pose of tying the sacrificial victim and so is the Tea for tying the condemned criminal, it does not follow that the honour done to the former should be extended to the latter. That would be merely going by superficial resemblance between two things. Stanza 74: Construe-a lasaigha Parat, STAT4C. लक्ष्यकोपया तया उपान्तलोहिते विलोचने विधितभूलतम् तिर्यक् आहिते । Parvati certainly did not like all that the brahmacharin said obout S'ankara. She did not at once express her disappr. oval in so many words. Before that by her, whose anger was evident from her excessively quivering lower lip, were cast her two eyes, red at the comers (TTTT: Tita) slantingly (fast) with the creeper-like eye-brows contracted ( AMA affe&M 491 FAIT #47 know that the twice-bom was speaking unfavourably (about her heart's choice after one दिनु शीलमस्य प्रनिलवादी सम्मिन्. द्विजाती प्रतिकूलवादिनि is a locative absolute construction. Inodentally, it may be pointed out that ·as an कुमारसंभवम् । GETA: the word ild finally rendered by unfavourable or unfavourably according as it is taken adjective or adverb, hails from a different universe of discourse. The universe of discourse is the water of a river, or any other current. When it moves so as to oppose (fa) or do harm to the bank (m), it is said to be alaeact. The sense underwent a generalisation subsequently, and even in contexts where water, bank etc. were out of question, the word came to be used to signify' unfavourable or unfavourably.' The disparging remarks by the student of Veda roused the anger of Pārvatı-she controlled herself a good deal, however, and did not say all that her first impulse would have made her to. Yet the truth had to be stated, the ingnorant had to be enlightened. So she proceeds explain Siva's greatness to the visitor to the as'rama, in the few stanzas that follow (75-81), Stanza 75 : Construe-5771 2917 at få porta: Cia बेसि यतः माम् एवम् आत्थ; मन्दाः महात्मनाम् अलोकसामान्यं अपिन्स- हेतुकं चरितं द्विपन्ति । And() she addressed (347) hım [hus] You do not know Hara truely. Ucatia: indeed ( 174 ), on which account you speak to me thus i e. disparagingly about him.' And by no means is this a solitary Instance of its kind, Parvati continues strengthening her statement about the reason why the Brahmacharin had only censure and that too unmitt gated, for Hara. The dull-wits ( mandih ) hato high-sould porsons' doings (charitam-hrát 49977), which they have as their exclusive possession, (lit., which are not common with (those of ) the people of Fit F or simply, 7 ott TITATT 1. e. extra-ordinary and the cause of which ta past 1 ·tri: 1 कुमारसंभवम् । (even the understanding of the dull-witted ones. *ft: : ( HTTİ) 2 071 It nood not be explained that the stanza contains, an instance of ( faire marta 944 type of), अर्थान्तरन्यास. 3124—2nd person singular of a present tense.' You - speak. The contrast between the turade that the brahmacharin had ogainst S'uvo, and the dignihed manner that Pirvou hos started making an answer, which she later develops point by point, should very carelully be noted. It certainly does not always pay to descend to the level of the adversary: so long as the care one is representing is strong, as Parvati was confident it was, indulging in a style full of abusive terms, or something akin to that does mo harm than good to the case Parvati was well aware of this. She does not therefore, overstate her cage, 1 need not be regarded as a term of abuse. It only speaks of the persons, so characterised, as being on a low intellectual level. Whatever else thoy are able to follow they are not able to appreciate tho noble deods of magnanimous souls (like Haro ) and henco their hatred of the groal. 914: : ( highest objectie truth ) avail Stanza 76: Construo- ATTI fi. 517; 4 fuifra: #14: anticitatiala: Tfat: (x2) - In answer to Sonkara's lovo ob trauspicious conduct ( *********U*), tha: no Brahmacharin sland of the first obation to Pirrott's may Hars, Pirvoa siya. An ausriclour thina (**) i resorted to either (1) by ono ·कुमारसंभवम् । पंचमः that wants to counter (प्रतीकारपर-प्रतीकारे पर:-तत्परः-- a calamity (विपत् ) or (2) by one that is keenly desirous of prospenty, 1. e. attaining prosperity ( a=prospenty). But neither getting rid of a calamity, present or future, nor achieving prosperity that yet is not secured, can be regarded as a motive that could prompt Hara to resort to a मगल. The two alternatives, mutually exclusive and ordinarily, col. lectively exhaustivo, are found simply not applying in Sankara's case, for the reason that S'ankara is a high-sould exceptional kind of a person (महात्मन् , अलोकसामान्यं चरितं stanza 75). One thing more, Hara is himself the refuge of the entire world (जगतः शरण्यः-शरणे साधुः शरण्यः excellent in the matter of protection) and devoid of any longing (आशी: longing, eager desire; निर्गता आशीः यस्य स निराशाः तस्य निराशिषः). Of what uso to him, thus characterised (-शरण्यस्य, नियशिपः सतः) are these mangalas wherein the activities (वृत्ति) of the mind (आत्मन्) are affected (उपहत) as a rule by hope or longing ? The construction तस्य...एभिः किम् is idiomatic and of the अन्धस्य दीपेन किम् type. For the ordinary, considerations such as auspicious', 'inauspicious have a meaning. But such 'standards' or 'norms do not weigh with great persons like Hara, The Brahmacharin need not stress the area of Sankara on this account. भूत्यो समुत्मकः-भूतिसमुत्सुकः। आशया उपहता (affected or sullied) आरमत्तिः येषु तः। Stanza 77: Construe--सः अकिंचनः सन् संपदा प्रभवः, पितृसय- गोचरः ( सन् ) त्रिलोकनायः भीमरूपः सः शिवः इति उदीर्यते, पिनाकिनः यायाविदः न सन्ति । .

·and कुमारसंभवम् । That S'iva has no wealth (24971. e. Tai :) 10. speak of is true and Parvati doas not wish to deny that. But there is the other side of the shield too, which, the Brahmacharin failed to note, and that is, that paradoxically. enough. S'iva is the very source ( 967:) of all nches. This should be enough by way of relutation of 'FETETT A Further, Siva is the lord of the three worlds, though to those who look at things superficially, he is known as one whose sphere 19 (i. c. who dwells in ) the cemetary (foto the dwelling place of the manes 1.e. depared ancestors--the cemetery, Thai PET : 1512=1174: 3. So one who dubs S'onkara as the inhabitant of the cemetary, ought to note that Sankara is the master of the three worlds, and as such the latter too are his sphere. Again by reason of the associaton oserpents, the garland of skulls, or the third oyo, which whon opan, emits fira, the Lord is one possessed ol a terribla form, still he is declared to bo S'iva 1. e. dusche clous. Tho truth is, that there is doarth of men who know Stva properly or as he is. ETTCH 19 from ( TA, TILU TUT EART (141)--the nature of boing {althful to fact: 1. c. truth are refor: The points that the visitor raised against S'antara in alanza 65. 66 era thu: antwored by Parvall. Stanza 78: Construo-ft 13. Barrio f7 info 47, tranfitearst TT Thít 21 11 *** Ferri 1274, wགའ་ The propa! way of undersining the groat Lomi is not to think of any chars -o! hu, or a few chiriginta oth's at a time. Ite is poisonic the untretin as his form ·कुमारसंभवम्। पंचमः (f* ard: 464 #:). This wrong approach would not there. fore help those who want to guage the truth. The body may sometimes shine brightly because of the ornaments worn (Aamuo: 3ATHTİ TER ), or it may have serpents tied about (पिना: from अपि + नह , giving both अपिनद्ध and पिनद्ध as past passive participle, ) it may wear the elephant-hide (TRY अजिनम् आलम्बितुं शीलं यस्य) or dern a garument lashioned out of rich material, and ostentatious. It may have skulls wom round the neck or the moon on the crest. Thinking ol these details only as each one of them strikes the person who wants to know Siva, in tum, and not taking a comprchensive vew, would not take the person for enough in his undertaking. The fee ( stanza 72 ) etc, pointed out by the ascetic as disqualifications of the person chosen by grad are thus refuted. Stanza 79; Construe-anteng Barat frantica: Y विशुद्धये कल्पते; तथाहि नृत्याभिनयक्रियाच्युतं (तत्) अम्बरीकसाम् मीसिमिः विलिप्यते। As a specific reply to what the ascetic said in regard to the Impropriety of the ashes from the funeral pyres coming into contact with Parvati's breasts, worthy of red sandal ( stanza 69), Parvat says, particles of ashes from the pyres, having come into contact with his lumbs become capable of sanctifying others, who subsequently luckily, come in contact with them. For that very reason on their heads are bome (lit smeared ) tho particos o! ashes, fallen in the act of gesticulation (1870) while S'iva is danang-by the dwellers of the heavenly world. Even the gods, (**744 17:44 atat :- 1) far from being ashamed of applying ·कुमारसंभवम् । पंचमः विनिद्राणि मन्दाराणि ( मन्दारवृक्षपुष्पागि) तेषां रजांति, ते:-अरुणा: अगु- 74: 41: at: The fact that Indra with a wreath of Mandar flowers in his head, is not ashamed to touch Sankara's feet with his head reverentially, should silence all the 'talk of dilapidated or superannuated bull of Sankara. The master of the quarter--elephant ( oaza ) considers himself obliged to get the opportunity of saluting in all modesty, the owner of the 'old' bull sfata: feraru: ( i. e. ftra: ) Iet 75 #: | Stanza 81: Construe fti fana 3 zyarat 1747 प्रति एक साधु भापितम् ; यम् आत्मभुवः अपि कारणम् आमनन्ति स कथं लक्ष्यप्रभवः भविष्यति । Pārvalı disliked most the depravty of soul, the low taste that the ascetic displayed, when he spoke of Sankara having his birth unknown (34A). Sho therefore does not think it improper, characterising the guest as a Catar (: TH FR #:). His inherent low taste, very probably made the ascetic right glad when he mentioned Siva's descent as an unknown something. But unawanngly, while wishing to speak of a fault of Siva, he paid one of the most handsome tributes ( m ) to the Lord. It is literally impossible, that the origination of the cause of t.e. the source of the sell-bom (311) or the creator, con ever be seen by any one. That the cause of the cause of all creation should remain hidden in point of its orignation from all, subsequently created is but to be expected. Tho choico of words on the part of the ascetic Y 47: _was singularly happy. Only Instead of reflecting in any way against S'iva, the words do him a well deserved honour ! Parvati's skull of tuming the very words of the ascetic against him, is remarkable.

·gi: 1 कुमारमभवंम् । वक्तुम् इच्छन् , विवक्षन्- present participle from the desiderative of वच्-तेन विवक्षिता। 3+1+FRIto declare (especially when the declaration is on the part of scnptures ) third person plural 31-a. Stazna 82. Construe-aea 74; 7911991 a: quiay: तावत् सः अशेपम् अस्तु; मम भावकरसं मनः अन स्थितं, कामवृत्तिः वचनी- यम् न ईक्षते। If this answer given by pārvall, in a manner so as to retute every point that the ascetic raised, has not satisfied the brahmacharin, then, nothing is likely to be of any use by way of argument with him. Parvati, therefore, states in clear terms, that she does not want to continue the discu Balon any longer ( 342 farza). She is even ready to grant that Lord Siva is of that type, and that also completely (39 19: HR HT TARTT 141) of which, he has been heard to be by the arantz After all there is some such thing as a personal view of the matter, which Parvati takes, and no one can prevent her from taking that. "My mind, with just one predominant (F.) sentiment (1) towards Hara. viz. that of love ( 1717 ) is fixedly attached (177) to him. And one who behaves as one thinks lit ( 177 TIH. den ), docs not mind ( a ) censuro (49317 ) by others. In other words--I have made my choico and that is final. My mind has only ono attilude towards S'entara. That is one of lovo, -runadultorated love. I om going to act as I think it. Any amount of censure by the 'poplo' la incapa. blo ol making mo sworvo from the path I have adoptod." भाषः (आहारः or अनुरागः ) एय: (प्रशान.) रमः यस्य तत् भाकरणम् । 1.1 ·कुमारसंभवम् । पंचमः The third line refers to reali's individual case. The fourth embodies a generalisation holding good of a class of persons to whom niet belongs, and is intended as the 70a or justi. fication of what she said about herself. The stanza, therefore contains an instance of Carrie FAA type of ] अर्थान्तरन्यास. Stanza 83 : Construe-( 2 ) ale waaietarat: ( 37: ) किमपि पुनः विवभु: अयं बटुः निवार्यताम् । यः महताम् अपभाषते स केवलं न, तस्मात् यः शृणोति सः अपि पापभाक् । On having given the ascetic to understand that once and for all she had fixed her love on Sankara irrespective of what others, like him, way bay, Pārvatı did not want to continue speaking to him. But then, she saw that the brahmacharin ( : ) had his lower lip prominently quivering and thus was obviously desirous of saying something ( of the sort he already had ), again ( 99 ). She however, had by this time lost all patience with him, who typified the class of ignorant ones, failing to appreciate the deeds of noble persons, but condemning the latter unblushugly. So she asks her friend to have the ascetic shown out of the ashrama ( Iit., warded off). The consideration that weighed with Parvati in deciding that the brahmacharin be better tumed out than listned to, is given in the form of a general proposition in lines 3 & 4 of the stanza; not only he who speaks ill of ( *T417) or scandalıses the grest but one that listens to such a person also has his ( or her ) share of the sin. Parvati would be the last person to have such a sin stand permanently' lo her discredit. The ſiguro manifestly, is अर्थान्तरन्यास ( of the विशेषस्य सामान्येन समर्थन type).

·सर्गः। कुमारसंभवम् । Manu, at ii, 200 lays down gate otant fri aniq addı की तत्र विधातव्यो गन्तव्यं वा ततोऽन्यतः ॥ आलि: is a female friend BIR is the vocative of the same.' Oh female friend.' Haiti (स्फुरणं, नपुंसके भावे कः) यस्मिन् उत्तरं(प्रधान) स स्फुरितोसरः, स्फुरितोत्तरः अधरः यस्य सः । विवभुः-वस्तुम् इच्छु: desirous of speaking.' पाएं Hacia 91971 1 If the proposition stated by Pörvali is followed In spint by the majonty of people in any community at any t!me, much of a particular kind of literature, whether spoken or printed, would lose its point and vogue. As years roll on in the history of human civilization, can we stato confidently, that we are becoming more full of reverence for noble qualities? The question is better left unanswered. Stanza 84: Construe-3991 : Oh FIT- मिभवल्कला सा चचाल च स्वरूपम् आस्याय नम्मितः पराजतनः तां समाललम्बे च। The two 7s are idiomatically used in the stanza to show that two things happened simultaneously. No sooner-than' has its best equivalent in Sanskrit in these two 43. It was one thing for Parvati to say to her friend' let this ascetic be shown the door', it was another to have the espulsion of the stranger actually achleved. For no female friend of Pariyeti could be equal to the task of driving out the ascet.c(unless sho werd an amazon and in this latter case she hardly could have bron an fa: of Parvati specially in view of Y-15 comparing the eyes of the friend with thoto of the deer 1) Pärvati who isilo: to note this in der extremo onger, corrects her mistake by changing 1.e: mind, ** clways Introduocs a chango o! thought in Sanskrit. 'Oi' in vlow all the physical Impossibility of my Instruction, to you being carried out us!

·कुमारसंभवम् । पंचमः Parvati 'I shall go away from hence and suddenly, presumably with a jerk to her body, she made for walking a little further off from ( moved away ) the place, her bark-gament slipping off from her breast in the quickness of the action. And that very moment, the bull-bannered God (74415 464), assuming his form ( as against the disguise so far donned ) made a smile, nothing more being needed to indicate his having been amused, and caught hold of her. S'iya thoroughly convinced regarding the genuineness and the the intensity of qrial's affection for him, did not add even a word. What use are words on such occasions? A smile and the act of taking hold of Pārvalı (FHEIT) was the fitting close to the alteration, the two had had so far. And Kalidāsa provided just that in 'स्वरूपमारथाय ऋतस्मितः तां समाललम्बे । A: HEY :-On Siva's banner was the figure of a lordly bull, the characteristic of the god. Stanza 85 : Construe-तं वीक्ष्य वेपथुमती, सरसाइयष्टिः, निक्षेपणाय उधृतम् पदम् उद्वहन्ती शैलाधिराजतनया, मार्गाचलव्यतिकराकलिता सिंधुः इव न ययान तस्थौ । To see horlord in his propor form, Pārvalı was right glad no doubt. But the immediate reaction on her part to the manifes. tation of s'ıva, was being all aquiver (aqy quivering wat passessed of (the delicate frame of her body (årufalta) being full of perspiration (#-78). Experts observe that the body being full of trembling all over, and perspiration are indics. tion of the rise of the 1719 Thus characterised, the daughter of the lord of mountains, could not really decide the course she should take, under the conditions as they .

·सर्गः। कुमारसंभवम् । obtained then-she, therefore, had one of her feet, lifted up for placing it elsewhere in the act of going away from the scene of the conversation, but not having been able to decide she should go away, with hesitation as to whether she should, getting the upper hand, she stood in that very condition. The theme again is well worth the delineation by a master-artist. Pärvat neither proceeded (7947), for the foot that was lifted up was not actually planted, nor stood, for one foot was lifted up. Parvatı with her mind thus divided, is aptly likened Jo a niver which getting embarassed, neither runs ahead nor exactly stands stil), when in contact (zat) with a mountain on the way, Here is a singular phenomenon of a word picture (river-mountain, ) beautifying a word picture already given, (9) not standing, not proceeding, being caught hold of by Sankara and both pictures are bound to people the mind of the reader, long after he has completed the perusal of the stanza and kept away his copy of Sanat (V) The conflict between Parvati's eagerness to look at her lord, and her overwhelming bashfulness is very effectively described. The former seemed to make her stay on the latter prompting her to run away as soon as possible. Fri 7. Trahan: (TITI: ) ja stigthar i mange a river, Stanza 86. Construe-() 99ff, atya 77 TIA: कीतः दासः इति चन्द्रमौली वादिनि (सति ) सा नियमज क्लमम् अहाय उत्ससर्ज मेशः हि फलेन पुनः नवता विधत्ते । The rest of the story is easily and briefly told. While lord S'lya was saying 'Oh you with drooping ( i. e. beautiful) limbs, from today, I am your slave (79.) purchased (by you) by (your) austenities' she quickly ( 3819 ) left off or 1 ·कुमारसंभवम् । पंचमः got rid of (Jihof) her fatigue (*) that arose out of her yow (farm-). This need not be a cause for any surprise. For (the rule is ) fatigue makes for freshness-leads the person who has for long been toiling, to freshness by the fruit it has won for the toiler. The canto closes with Parvati's success in her undertaking, which thanks more to her austerities secured the destroyer of Madana for Parvati, to be a slave of hers for all time to come her physical beauty having played only a secondary part in the whole process. And the story is well rounded off with an upacara, worthy of Kalidāsa. The last line has a maxım-like ring about it and is on the tip of the tongue of all Sanskritists, obviously for the reason that it crystallıses a matter of common experience.' Reward of labour, bangs fresh vigour to the orkers. लेशः फलेन हि पुनर्नवता विधत्ते । 41