·DEDICATED TO
(olov),
Dr H N RANDLE, VA, D THIL
LIBRARIAV, IDIA OFFICE
LIBRARY, LODOV

·FOREWORD It is significant that two of the most gifted peoples of antiquity concerted the spirit of poetry as embodied in wonian's form. To the Muses of Hellenic mych the Hindus have created a parallel in che figure of Sarası atı, both East and West recognising that the temperament of woman is more sensitic than that of man to the indefinable and clusive cmotions of poctic inspiration. मरमाविप्रतिभा कि भेंट रूपमुद्देत् । इति श्रीमूर्तिमापना ब्रह्मास्त्राक्षीत् मरम्वताम् ।। Historical experience justfied thus primuose imagination by producing in Greece Sappho, perhaps che greatest of all singers of lyric passion, Myrtis, who dared to enter the lists uguns the mighcy Pindar, Ennna, and others, wlule India records a long series of gifted poeccsses who harc handled many chemes. The present work of Professor Chaudhuri gnes us all duc Time has spared of the verses written by women in Sanskrit and Prakrit, and for this SCOVICE we must be deeply grateíul to lum When wc ring further aficld and suncy the contributions of women to the literatures of the Dravidian languages and the Inicdical and modern icmaculars we shall see the vista greatly widening. To mention only two otitstanding figures in Tamil port, sc luic A1331 år (a narre that Sens co conc xacral personalitics) and Andal, the Sipplo ·PREFACE TO THE FIRST EDITION The object of this volume is to bnng to light, for the first time, the poetic gennis of the Sansknt poetesses, ancient and mediaeval, The materials have been collected mostly from unpublished 'manuscripts in the supplement, several Prakrit poetesses have also been dealt with The work 18 dinded into three parts The first part contains an Introduction in English wing informabons about the personal histones, dates works and trends of thought of the poetesses in the second part are given some seicct verses of the Sansknt and Praknt poetesses, with annotations and references 'The English transla Lion of the verses is given in the third part, followed by ten appendices in the Bibliography (Appendu IX), main entries will be found under the titles concerned Thanks are due to the following for kindly lending, or otherwise giving us esery laahty for consulting their manuscripts t The Libranan, India Office Library, London 2 The General Secretary, Royal Anapc Society of Bengal, Calcutta 3 The Secretary, Bombay Branch of the Royal Asiatic Soaety 4 The Secretary, Bhandarkar Oriental Research Institute, Poona 5 The Secretary, Sarasalı Mahil MSS Library, Tanjore 6 The 1 brelil 110 raphy under hou tirgus ir 103.11 nunder Vungsrints (p IV).

·Vill
PREFACE
Director Adyar MSS Library Adyar 7 The Curator
Government Oriental MSS Library Madras
Thanks are also due to the eminent Onental scholar
Dr L.D Barnett, CB FBA MA D Litt for kindly
writing a Foreword to this volume
CITY COLLEGE
CALCUTTA
August 1939
JBC
.
PREFACE TO THE SECOND EDITION
It is gratifying that'a second edition of this volume
has been called for and that the series has roused a keen
interest in India and abroad
In this edition the book has been thoroughly revised
and some additions and alterations made The transla
tion has been made more lateral
As a large number of MSS has been used from each
of which only a few verses in some cases even one or
two-have been culled
detailed critical accounts of
these have not been considered necessary Brief des
criptions however will be found in the Bibliography
UNIVERSITY OF
CALCUTTA
1941
JBC

·PART I INTRODUCTION ·CONTENTS Ingre 1 III Preface Toreword PART 1 INTRODUCTION I General observations II Dates and trorls of the Sansl rit l'oetesses III General tread of thought and stuk of the S'inshrit Pretesses IV Sanskrit Poetesses Oor onlslys nome Kumalls Kanaharıllı 3 Lalitangi 4 Vadlıurangi 5 Sunond 1. LY LVI 11 LVII LIHII 1 1 Prabludeti hafi 8 Innvanlı or Josanto 9 Vajas juba Tirsas of the Sausert l'octests Devoluin urhus I ardyo muller - itatuda fransı (II)storical joen) (19.desi a Vadkeri piya of Viralamariya carta, (111*tetit sl frontal) Iwas Santune- (rela.Lirve (l'ourants porral * LINII 7 IT امرا ·531 CONTENTS Page 4 Madhuravăn's Ramayana. haya. (Lpie poem) 3 Rūmabhadrāmba's Raghunathubhyudaya (Historical poem) LIX 6 Tirumalāmba's l'aradāmur. hu-parinaya campu (Historical prose-poetry) VI Modern Sanskrit Poetesses LIX 1. Anasuyā Kamalābai Bāpat LIX 2 Bālänbila LX Harumānbā LX 4 Jõūnasundri LXI 5. Eamākşi LXII 6. Jandayam Dhāti Alamelarmā LXII 7. Rādhapriya LXII 8 Ramabai LXIL 9. Sridevī Bālarāļñi 10 Sunamani Devi 11. Sundaravalli LXX 12 Triveni SUPPLEMENT VII Dates and works of Prabut Poetesses LXXI VIII General trend of thought and style of the Irakrit Poetesses LXXVII IS Comparison of the Sanskrit Poetesses with the (a) Prabrit Poetesses LXXVIII (6) Vedic Female Seers LXXIX (c) Buddhist Therīs LXXXIV X Conclusion XCI ·1 .. 23. Rasarali Peofiris) EAN SEPIT FOETIES XI Coaclasioa (cont.) Altnutim of some reas of Santini Porterra to other goods and some gomaris ainul the date of Sanoint Portoros XCIII PART II . TEXT 1 San-nt PvfZ6A. 1. eponymogz (15.) 1 2 Dharadeti 135 ) 3 Carlalarada (l: ) 3 4 Candralinta Philang! (-4) 3 Conana (I 6 Gandhidinta (1) 7. Ganrı (186) 8 8 Indnlella (1) 9 Jarlascaralı (15) 13 10 Keraliiis) 13 11. Kutala (1) 16 12 Lolli:) 16 13. Lahi Thakurás: (Is) 17 14. Vadul«i (25) 13. Jadhuratamı(IT) 16 Badirchena (11) 15 17. Mirula (2) 19 10 Vlor (fr) 20 10. Nagammă (lv) 2 20. Padmavati (16) 21 Thalgubastial(s) 31 ?. Rankansāt's) .. ..? --- 21 Sarati (2) ·XIV COMIENTS " 23 Sarasvatikuţumbuduhita (lv) 26 Sila Bhattīrıki (61) 27 Śit7 () 28 Sublındri(ly) 29 Tribhuynbasarasvati (33) 30 Vidyārnts (12v) 31 Vijja (29) 32 Vik tanıtımbi (114) SUPPLEMENT 34 34 38 38 39 10 12 55 Pige 61 64 65 67 67 68 69 69 70 II Prakrit Poetesses 1 Anulahenu (41) 2 Asuinddhi (25) 3 Avantisundari (3v) Madhavi (iv) Prahata (1) 6 Resa (2) Roh7 (lv) 8 Sastprabhi (1) 9 Vaddhavahi (1) PART III TRANSLATION I Sanskrt perses (1405) II Prakrit ver es (16) APPENDICES I Subjects treated by the Sanskrit Poetesse II Subjects treated by the Prakrit Poetesses III Alphabetical Inder of the first lines of the Sunshrit and Prikrit verses of the Poetesses. > 71 117 123 12 198 ·SANSKRIT POETESSES XT 132 140 31 Alphabetical Index of the first lines of the Sanskrit and Prakrit verses, arranged alphabetically under each Poetesy V Index of the Kavyas, arranged alphabetically under each Poetess VI Alphabetical Index of the works of the Modern Poetesses, arranged alphabetically under erch l'oetess VII Alphabetical Index of other verses quotes in this volume III Last of Abbreviations il Bibliography 1 General Index, including a list of the metres of the verses Corrections and additions 111 14-1 149 185

·INTRODUCTION
This solume is jotended to serve as av anthology
of select Sanskrit verses of as many as 33 poetesses
The verses numbering 140 are called from different
Sanskrit anthologies, collections of stotrns and
treatises ou rhetoric
The verses put together for the first time in the
present rorh, are specimens of Sauskrit poems that
Indian women were capable of producing However,
as in the cases of the Vedic hrmas of the female
Rss and the gatbag of the Buddhist Theris a doubt
mas be raised here as to thether or not these
Terses were the actual compositions of the poetesses
This kind of doubt 15 due estber to as inberent
prejudice in men against the capacity of the opposite
ses for the production of anything of literary or
cultural valuc, or to our goorance of the actual
state of things which prerailed in this country w
the past, or eren due to our desire not to allot tomen
to yppear as competitors in the literary or intellec
tual field
In order to remove any such doubt as to the
possibility of genuine poctical and literary contrı
bution, bs rompen in India, at man lete Guſhice to
refer the render to the follotrung fire authoritie of
different ages
The
Bhojran ab Lp7111
prescribes a special ritual bo which a married couple
ܕܐܨܨܬܐܐ

·II SANSKRIT POETESSES might have a learned and long lived daughter born to thems The Buddha s famous pronouncement that some women were superior to some men morally and intellectually 3 Vatsyayına s Kama sutra which speaks of the intelligence and Sastric knowledge of courte sans princesses and daughters of ministers and provides for the training of girls in the art of poetry among other things* The Lalita vistar in which Prince Siddartha meations the capacity for the composition of Terses as one of the accomplishments of the bride worthy of his hands 1 2 BrhUpan 14 17 "अथ य इच्छेद्दहिता मे पण्डिता जायेत सवमायुरियादिति” etc Samyutta v I p86 इन्थीपि हि एक्ची या सेग्यो पोसा, नाधिप । मेयावती सीलावती ३ kan as 1 3 12 "सन्त्यपि स्खलु शास्त्र प्रहत-बुद्वयो गणिका रान पुत्र्यो महामात्य दुहितरथ ।' Cp Majhama nikaya III p 906 "इध पन, माणव, एक्चो इत्थि वा पुरिपो वा समण वा ब्राह्मण वा डपसमित्वा परिपुच्छिता होति मो तेन कम्मेन महापानो होति ।' See Kamas list of 64 arts } 14 Pp8086 of Mahesa Tan sed Laltis Chap 10p 108 मा गाथ लेख लिसिते गुण अर्थ युक्ता या कन्य इदृश भवेन्मम ता वरेथा । * 5 ·I\TRODUCTION III 5 The Kavya mimamsa in which the celebrated poet, dramatist and rhetorician Rajasekhara records the following significant observation - "Like men, womes, too, can be poets Genus inheres 10 self, irrespective of sex difierences between men and women It is heard as well seen that princesses, daughters of ministers, courtesans and concubines are possessed of extensive knowledge of the Sastras and poetic genius' Rajasebhara practically reiterates the verdict in Tutsyasana's Kuna sutra Before dealing with the sentiments and general trend of thought in these verses, at may be con- Tenient to introduce the reader to their authors individually, in the alphabetical order of their names, with such details regarding their personal history and their compositions as may be supplied 110V JOUS The Subbasita bururali, composed Dot later than the 17th Century ID, contains a stanza from the pen of an unhnorn poetegs The date of the above anthology may be taken to indicate only the loses limit of the date of the poetess herseli The stanze has for its tleme oply a lore messigo poetically expressed that we karo in it is but a simple and spontaneous outburst of a distressed heart 1 h I u3 FTAT TAISET 771717 मस्तारा यामनि गमति, न स्वरा पीरप या विभागमपेनते । श्रूयते ग्यत 7 रात पुश्या महामार दुहितग गगिरा कनुपि भाया।

·IT S.INSKRIT POETESSES BIAT ADELI She is also called Bhāra kader or Bhirnhadou Of the three verses of Bhivatlevi, contained in the present work, two are reproduced frotu the haundra- Tacana-samuccaya and one from the Sad-uktı.harni- Dirta There is no other means of determining lier date, even the date ad guen, than the probable date of the compilation of the two anthologies in which the verses are quoted and preserred, the Karindra-Tacanasamuccaja compiled in the 11th Century AD, and Sad-uktı-Larnamrta not earlier than the 13th Century A. D / One of the verses of the Karindra-vacana-samuccayal offers rather a delicate description of the bust of a young woman with the employment of pun as a figure of speech Of the other two verses in these anthologies, one' vividly portrays the gradual separation between the couple and the other draws a picture of bon a reunion was brought about between them The piteous des cription how the separation came about and her agonies knew no bounds is typically feminine The gradations of the husband's behaviour towards the wife are well demarcated Iirst, 10 brooking of difference whatsoever, in body or soul, secoud, slacheping on the part of the husband while her love for him as being intensified all the more, third, the degradation of their union in vedlock to a mere common relation between an allpowerful lord, on the one hand, and an all submisive 1 V 177, p 54 2 KIS, 359, p 110 ·INTRODUCTION but despairing wife, on the other She, desertheless, maintains her traditional situe of forbearance and magnanimity in not blaming her hasband even for that The other serser alters the picture and study depicts how the happy change came about in the sinning leart of the husband as though by a magic brought by the tested virtue of the wife The husband falls at the feet of the wife and begs her forgiveness The trife, still pdignant and uureconciled at heart, pretends 10difference and forgiveness So she piously points out to ber kusband that he need not degrade lumself so, fo- lie is, after all, a man, free to do that he likes, but she berself, woman, ougbt not to have lived when deserted in such a way by her husband So, it 13 she mbo ought to jilead for forgiveness, and not be As a woman, the poetes displays a keen psycho logical insiglit soto the nature of women altare ready to forgire and forget the misdeeds of their loved ones, Set giving tray to temporary adignation or muda winch is but the other side of love Sreelues and sıraphicity are the tro pre domina ting features of her stile She espresses herself charmioglr in short and simple sentences, avoiding lons, unfamiliar abd compound Fords as well as compliented metaphors and other learr rbetorical dices, often indulged at ls poela and nutliors at the e sjanse of their mocados nad style This frerduid 1 th? + , p 1C1 ·SANSKRIT POETESSES from too many embellishments enhances the beauty of her verses all the more That slie pas fairls well skilled in the art of rhetoric too is, however, clearly manifest from the few figures of speech she uses For example, in the first serse are found the figures of speech called ślısta-samisolti and atısayohti, and in the third arthāntarn-nyása and āksepa (vidhyābbāsa) Bhavaderı, thus, proves lierself a poetess of singular merit 3 CANDILAT IDIA She was a contemporary of Kälıdāea, ie flouris!- ed about the 4th century AD Nothing more 18 known about her She seems to be a Court poetess of the celebrated king Vibramaditya, and to be much faroured by him, as erident from the fact that he allowed her name to be coupled with him as the joint author of the same poem The above verse is found in the anthology Sad ukti-harnämrta, under the joint authorship of Candalaridyā, Tabramiditya and Kalıdāsa It is benutıful pen-picture of a moon-lit night, with the silvery moon bathing the worn out world ia mul, as at were, and quenching the thirst of the withered Lumuda-flower As the name of Kilidisa is associated with this verse, it is difficult to decide the poetess' own inerit in composing it. It is indeed a high class poetical composition, but how much of it is the work of the ·NTHODUCTION VII celebrated poet and how much of the other tro is open to question However, the vert fact that Cantalarıdza pas thought fit to be cited as a joint author with Kalidasa seems to imply that she was at least a renowned poetess of that time 4 CU DRAKASTI BIIK ŞUNI The epithet Bhilsuni attached to her name is enough to suggest that she was a Buddhist sister, probably of lepal We knot, lorerer, nothing about her beyond the fact that : Sanshrit stotra on Aralokitesrara vas her composition The stotra 19 an asfala, composed as it is of eight stanzas only It she describes the physical and mental characteri stics of Arslobitesrara ---the be tuty of his body and the sublists of 213 soul He has the pure serene beauty of the nook and lustrous loveliness of the lotus 1113 face is Irhe the moon his eyes like the lotus, luis hands and feet are crimson like lotus petals his gait 23 graceful like that of a bu He, the Victor, 19 an ocean of hoowledge, the offerer of boons, the remover of calamities, the teacher guide and redecuer of mankind The stotra is undoubtedls an outcome of her Taner deration and pious heart and the object of prance is the iconic form of Bodhisattra Araloki te vara, Jalusana detr The uclad is composed 15 tho tofala wnetre througbout Ler choice of world is out hapns in all places nor is her art of versifica tion perfect The phrsical features of the Boddhi sutra art uterugleil at ratiom mit uns spiritual ·VIII SANSKRIT POETESSES characteristics, and eren the description of the playsical traits does not follow any well ordered system The diction too is not always very lucid, nor does it yield 4 sensible meaning in all places The stotra stands, nevertheless, as à rire example of simple homage of a devoted female heart, characterised by spontaneity of espression and sincerity of tone In the alphabetical indes of printed books and manuscripts published by the Asiatic Society of Bengal, two stotras are catalogued, one under the name of Candrahanta Bhaksunı' and the other under CaudrikaThe stotras are found on examination to be identical, which fact alone proves the identity of the two nanes I doubt about the identity of the two names, Candrabantā and Candrika, may be set at rest, but the fact is that in one IS the name is spelt as Candrakanta and in the other as Candrikanta and not as Candria Candrianta 19 obviously a wrong spelling of Candrakanta 5 CITAN She, as her name implies, is a South Indian poetess Her stanza, composed in the Sardula vikri dita metre, is found quoted in the Sarasvati Lantha bharann of Bboyndera who flourished not later than the 10th Century A D The sime 1s preserved also in the Sargadhara puddhati?. 1 See pp Han 1 206 of the Alphabetical inder See pp 213 and, op eit The VISS are RISB, Hodgson collection nos B 39 and B E 3 Tanjore Sarasvati Vahal Sanskrit VISS Library JIS ·I\TRODUCTION IT The stanz3, w far as its theme goes, is an eologt of Sira, betraying her own religious faith The deity is represented in his aggresie spirit and orer. berring attitude The deiti in his Jababharata arrinle oreTDOTTET3 fire incarnations of Vinu, the rural god Cinnammt seems to be ra her fond of long com. pound, mil bombastic strie But her poeni undoubtedly bespeals of her knowledge of the Smrtos and the Pusing & CIDIL ADIPIKI Her rerre, composed in the Intimetre, hag been reproduced from the Surugidara paddlata in which it 14 found quoted There is no earlier rorh in which it may be tracell The sinnya 13 prolauls intended to le useful lo the loncetrire 79 it descrilex in detail the process of perfuming clothes and rooms Icon dealın, rith such a theme can hasil Lase anrthin thich is straling erther in thought or an expresion or in metre It 14 technical and inatter of fart ani! that is all cone irri Iman ns eighteen tasape of Gauri are uclu le 1 in the toucat trork The latter limit (Iredite mi le fised 24 tlie serenterath centarı ID 29 xl I foun i qurter 17 work that caugot line datri later tl a that period She is quoted, for at stance twJN ·x SANSKRIT POETESSES in the Subti-sundara', a work by Sundaradeva, Tho cites also a verse, composed in praise of Shah Jehana. Sundaradeva also quotes Tendatta', author of Padya-ven Vemdatta is also known as the author of the Pañca-tattva-prakāsıkā, written in 1644 AD Venīdatta, too, has quoted Gauri in his Padya-ven'. It is, however, certain that the date of Sundaradeva cannot be later than 1710 AD which is the date of the manu.cript of his work, prepared by Daivajña Damodara Maudgalı." She comes out in her poems as a versatile writer on such subjects as Sıra, Kalpa-Tiksa, King, Woman and Nature,--subjects devotional, mythological, political, erotic and lyrical Under the head political come such subjects as the King, the majesty of the King, the King's enemy, the King's weapon bhusandı, the King's warfare and the wife of the King's enemy. Vader the head erotic her themes are a woman, a woman after bath, different features of a beautiful 111 1 MS , Blau Daji's collection, No 1237, Bombas branch of the Royal Asiatic Society 5,9974a fa 677., etc १, नो चापाग्लनं, etc Date of accession 1629 A D ur 32, यदीजानि च मातिमानि करिणा, etc 11. 33, नो म्लानि भजते दिने न च, tte 4 Sce Notices by Rajendra Lal Batra, Vs no 1436 5 See the text under Gauti, PBL 6 शके दंताग-भू-नुल्ये [१६३२] विकृत्यन्दे मधी गुरी । कृष्ण पक्ष चनुांचालिगद्दामोदरः मुधीः ।। 3 ·INTRODUCTION Ver Toman eye broms, et es, side glance, lips, feet and nails on the toes The morning breeze and the summerday are the two themes of her lyrical poems In her poem on Suya, Gauri intoles the blessiugs not of Sir the terrific dents, the Destroyer of the unirerse, but of Sira, the luspicious, the Preser. In it, Siva is pictured in a happy, serene and amorous mood, fondly embraced by luis bemutaful consort Purratı, and well disposed towards mrnlınd ( lof Gauri, p 8) She proceeds nest to eulogise the King 15 patron, devoting no less thau si stanzas to portraying his power and mijesti The King 18 first representel 18 the preserver und uplolder of righteousness on carti Religion and moralits have lost their owny, the Vedas have become obsolete, the Smrtis corrupt the Bri umanas poncrless lor it is for the King alone to retro and rejuvenate the lingdom of God on earth The King in theu described as the destroser of cual, is the cougueror of his paeinies, whose ill repute 78 binel as the rier Laund, n3 the spots of the moon, as a ferocious animal, 18 tle coil of a suale as the nech of Saint Antha, 19 n moss as the cucloo, anil as the dark cloud -17 sprend far and ride She 13te all thest imigeries onls to bring out the maguture of the (sils the king has to overcome, And the choshals of the insh enlaces, after all the grezinta of the King himself (r 3) The two of suzis on the weapon blu anli, 100 ho to allusinte trupreme night of the hank ·VII SAVSI RIT POETESSES The King the piteous This terrible treipon is a destroyer like the great goddess Kali or poisonous like the deadly venomous snake on the arm of Siva but to the King it 18 mere adornment, to be handled at will (v 15) The stanza on tar serves the same purpose The wat lasts for a very short time indeed has to make no effort whatsoever yet the whole host of bis mighty enemies is immediately brought to subjugation (v 6) In the last stanza of this series condition of the wife of the vanquished enemy is vividly portrayed The proud and bezutıful lady glowing with anger is nevertheless compelled to se-k shelter in hills quite unfit for affording real security to her never turning back to the conqueror for mercy (7) Now Gauri turns her attention to a more famular gubject VIZ beauty of the fair ses and devotes eight stanzas to this topic The fair damsel 19 first of all described as created by Brahmn Himself as the better half of man (v 8) A lady just coming out of water after bath surpasses even Rati in beauty While she shines forth with her own splendour she is taken by all to be the water goddess herself (v 9) The beauty of the parlous features of a lady too 38 described with considerable ingenuity Tirst 1 The word Gauri here may mean (1) a far damsel or ") the goddess Uma or (3) again the poetess berselt it being a frequent habit with Indian writers to estol them selres Cp uja ·INTRODUCTION XII lier eye-brows are depicted as a pair of beautiful dark umbrellas, presented with pleasure by the creator to the eyes Her eyes put to blame the cakora and khañjana bırds, the fish and the deer, even surpassing the eyes of all of them in beauty. The Creator provided the eyes witii beautiful umbrella-like ege-brows as emblems of sovereignty (110) Iu the best strazi, the eyes thenselses of the lady are described Here the face is described as the lake of love, the repository of the nectar of heanty, while the eyes ure compared to a pair of saları fish floating about happily and conduciug to amorous sentimentsiv 11) IIer annorous side glances act like a snake bite that immediately benumbs even the gods, not to speak of men's, 12) Hler lips are constituted of the very essence of ambrogin and coral Just as anbrosia reatahens a suale-bitten nun, so they, in a monient, revive and cheer up the love-lorn hearts 13) IIer saffron-red feet are the most perfect creations of the Creator ho crented corals and red-lotuses, but never got complete satisfaction until he cane to crente those lovels feet (14) Similarly her red finger-au11s are described as the fro jutale of the blossom of love (1.16) Thus the eye-brots are compared to a pair of umbrellas, the opes to a pur of fisht, the fact to a lahe the amorous glance to a snake bite, the lips to the life girmas ainbrosia, the feet to the best of all red objects, and thic puls on the toes to petals ·VIT SANSKRIT POLTESSES as a All these metaphors Ire very appropriate 101 charming and display equally the great gift of inngi nation and of espression with which the poetess Gaun was fully endowel Her stanzis on Nature are similarly tinged with a marvello 18 poetic and imaginative talent The similes used by her are novel at the same time charming an l true to the point In one of ber verses she depicts the cool morning breeze as an ardent lover repeatedly embracing its lady love --the flowery and street scented gol len creeper (16) In the other the hot summer day following upon the cool and morous days of the spring 18 described as the cause of torture for the lover who is separated from his beloved thunderbolt scorching the tender creepers and trees of the spring as the doomsday of the fair ladies in love (v 1") Gauri represents the tree of all desires (halpa Trhsa) as the best of all heavenly trees yield ng objects of desire at all times (+ 18) Thus Gauri shoes an originality of conception trith the versatility of her poetic genius Rhetori cally metrically and rhythmically slie 19 perfect and stands unsurpassed An easy grace is a marked quality of her poet e diction Her stanzas are free from artificial forced and pedantic espressions Alliterations contribute to the streetness of the rhythm The similes and metaphors are used with propriety slill and effect She has acquitted herself admirably of all amorous suggestions in offering a poetic delineation of the eyes lips etc of the fair ·NVIRODUCTION ху ser She has employed with perfect mastery not less than bine different metres samal and ardha sama jati? und matra Her Terses are remarkable for the successful employment of such figures of speech as samasolti, malopama yıbhavana apahnati anumana' and vgatirela 8 IVDULEKHA It is rather a pity that only one verge of Indulebha shoull have been quoted and preserved for as by Vallabhadeva in his Subhasitasalı (15th Century AD) The sample offered is a Lright gem of poetic art inarbed by music and rhythm and the idea too is an ingenious one The figure of speech artfully employed 19 the vibharana The phenomenon of sunget suggests a problem to popular plantasy-where does the sun retire for the might? Some say thus sot otherwise Rejecting all the current ideas Indulekh. advances her own answer the sun at might enters into the heart of a lore lorn woman and makes it burn itensely throughout the whole night 9 JagawCAPALI The name of the metre Jagh inacapala of which the verse of Jaghanacapala 18 an illustration may give rise to the doubt whether the poetess is Distorical personality This verse palvely portrays 1 3 4 Gauris 16 (31) P 13 1 (1) apd 16 (31) 16 (21) SMS) 10 (95) 11 | 3(18) and 1( ) 10 ( ) o ·ܠܐܙܠ SANSKRIT POLTESSES the free lore of a faithless wife of the Jaghanacapala class when her husband is away from home There is nothing in espression which deserres coniment, though it is found appositely quotes not only in rhetorical treatises but also in the Karindra-vacana. samuccaya and other Sanskrit anthologies, veni 10 K2H 1LI Her name seems to betray her connection with Kerala in South India Her verse, reproduced in the present work, 15 culled from Venidatta's lady. The verse is a thoughtful eulogy of Sarasvati, which sets forth the two opposite aspects of the Hindu goddess of learning, one inaccessible and the other accessible, The goddess is gracious and easily accessible to the great poets who draw inspirations from her The netre employed is the arga The idea 19 age old, there being nothing very net in it 11 KUTALA Her verse in ārvā metre, appropriately called kulatoktı, is quoted and preserved for us by Harı Karı in his Subhāsıta bărarali (17th Century AD) It exposes, without any poetic embellishment and restraint, the gross idea of pleasure in an unchaste roman Apart from depicting such psschology of an unchaste woman, there is nothing noticeable in it 12 LAKSUT We would kare sadly missed Labsmi's charming philosophical stanza but for its quotation and preservation in the Sārugadhara-padhatı (14th Century ·INTRODUCTION ҳуц 1D) Tlie thought expressed in it may not be quite der, but the imagers used in arguing her point is simple charming Her rerce is full of rhythm and music and her stole Ters refreshing The truth which she seeks to convey is that the will of God alone prerails throughout lature as tell as in all affairs of men Though eager for sweet scented flowers why does not the bee care for the sweet smelling Priyamga' Laksmis repls 13- because Providence has willed it so and not otherwise The same esplanation she offers for all other happenings everywhere 13 LAKSVI DEYI THAKURII She was the celebrated Queen of King Sirasımha of Mithila who reigned in the loth Century A D Her verse in the Totaba metre throws some light on the social conditions of Jithila of her time, TIZ, that sisters were at times sold probably during marriage, for a large sum of money and that such marriages were viewed with disfarour by the public at least, by the Queen herself The diction is graceful, and graphicis the description of the shore but thonghtiess wars of a person vbo secures , fortune without any toil and effort of his own JADILASI The lower limit of the date of this poetess mat be fixed as the 11th Centure AD, since one of her verse is found in the Sungadhara paddhati com piled not later than that date ·IVTII SANSKRIT POETESSES masim Of the two verses of Vadālaså, given in this volume, one is religious and didactic, and the other a description of Nature with a lyrıcal touch in at. In the first verse, she advises us to think about the other world, always bearing in mind the "As you sow, so you reap". None can escape the consequences of his own acts, and his fate, here or hereafter, 19 decided by those effects alone. The second verse describes how the rumbling clouds during the rainy season cause heart-burns to the separated lovers. Madālasā was one of those few ancient poetesses who turned their thoughts to the other world In fact, her religious verse 19 the only one of its kind in this volume. The idea expressed in the second verse 18 ancient It 18, nevertheless, an interesting composition the mode of expression of which is rather charming. 15 VADHURATARNI This poetess cannot be later than the 17th Century A.D., for her verse "Akárena sası,' etc , 18 found in the Subhasita-hārāvali of Harı Kavi Tho flourished about the 17th Century AD. We do not know whether Madhuravarnī was the same as Madhuravāni, the talented poetess who adorned the court of the Nagaka King Raghunatha of Tanjore (circa 1614 A D) and successfully translated into Sanskrit Raghunātba's Telugu epic Andhra Rimāyana. She belonged to a scholarly family and was herself well-versed in all branches Sanskrit ·I THODECTION Literatare She corpo ed her own er ions of the clas acs Kumara cambhaya oi Kalidasa, Valsadha of Sribarsa and so on and wrote original campus too! The serce given 18 the Subha ita bararalı desenbes Low au unchasie wonau recogoz es the good qualities of her husband get cannot remain content with him, but mast run after the forbidden The verse is a beautıful portrayal of the mental perversity of a bad type of woman and leads an in sight into her psychology The style is mue cal and graceful Ia JADIPEKSA14 Her verse, reproduced in the present trorl from the Subha itu-sarasamuccara offers a fine example of poetry on Vatore The theme of her serse, the adsept of the spring, goes to suggest that, perhaps, she had composed five other stanza« each Resoted to one partıcular season The time chosen is the meet 108 point of winter and spring Then the bees are swarming in the lotus pool and houming together as though to impel the loto- buds to come abore the water level soon for full blo soning The imagert is very fine ipdeed Vadirek ana po seves an easy and exquisite style enlirened bra subtle artistic ence and she has succe fulls Laudled bala bhursi, aleo called mala bburini, a Icetre pot commopls used 1 See Pamatan2-cacpu of ladhurafat ·SITSARIT POFTESSES TRIP 'The present work includes two verres of Murula, one culled from Jallanns Sukti nuhtsuali (13th Centura. ).) and the other from thio Singadhar poddlatı (11th Century ! 1), to mention only the oldest of the Sanskrit anthologies in church they are quoted Both tliese jersegilent Srith the single topic of love. the first portraying spiration the second reunon In the first verse, we find the pictnre of a girl, grief stricken at her stparation from lier lover irung hurd, however, to nord detection by lar elders So all throughout the day she, with the greatest difficulty. cheche the tears that are always threatening 10 overfor der eres But during the night when she 19 alone, sbe gives sent to ler sorror and her bed by comes wet with her tears Leat this too be discovered by her people, she carefully dries it up in the sun the next morning It 19 in this was that she 19 spending her time In the second reta, tre find the separated girl reunited with her lorer She has become thun through pioing for her lover, and has prid no attention so long to her dress or ornaments ulusly through neglect Her lorer notes these signs with delight and play fully shs her the She at first pretende indifference and answers that she is quite happy and healthy, but immediately after falls on her lorer's chest and gives sent to a flood of joyful tears Virula is evidently a great and famous poetess She is one of the Sansirit poetesses to whom Dhanadadeva paid highest compliments both for their Cause ·INTRODUOTION XXI 1 Sho appro erudition and the high quality of their poetry Eren 1a these ttro stray verses llarula, displaye ber great poetical powers, charu of diction and rhetorcal perfection Her delincation of the two pictures bears the impress of her deep sympathy and keep psychological insight Both the verses way stand as high class Sanskrit love poems with realistic touches in them The sentiments of grief, indignation and joy are accurately portrayed The entire artlessness of her style is refreshing priately employs mandakranta, the metre usually used to express pathos 18 JIOPIKA The four verses of Worıha given in this work are gathered from the Sukti-multavali, the Surngadhara paddhati, the Subhasitāvali and other Sanskrit anthologies All of these, too, deal with a single topic of love, in four successive phases, viz , separation, sending the messenger naiden to her lover by the lady, direct pleading by her and happy reunion The first verse represents the sad plight of a lady separated from her lover 11th tear drenched eyes ale draws lines on the floor representing the number of days before her lover could return to her, but dares not coout them lest the counting should falsify her orn estimate ISP , 163, 26 शाला विज्ञा-माइला-गौरिकाया काव्य तु सन्तु विज्ञा स्त्रियोऽपि । विद्या वेत्तु वादिनी निर्विजेतु दात वहु य प्रवामा म वन्य ॥

·VII SSKRIT POITFSSFS In the secon i verse 1 messenger maiden is bent by the lads in lore to her indigoint lorer Thia clever maiden sweetly placates him by asking him to come to the lady as each of them is ibcamplete with out the other as ench is supremely frorths of the other In the thiri verse the lads lore orerjored at meeting her lover pleads with him not to go nay and leave her agun thereby sending her immediatels to death Her house 15 of course not fit to accord bım a right rogal welcome set ehe 19 there to dedicato herself entirely to him In the fourth verse the two lovers are united and in supreme bliss The lover foregoes all idea of leaving his lads love even at the cost of neglecting his mundane aftairs and suffering monetars loves thereby Like Harula Noribe too was a poetess of renown is her verses are found in so many anthologies as well 19 in several famous treatises or rhetoric has been placed by Dhanadadeya in the foremost rank of Sangkrit poetesses ! Like Marul Vorika is a delicate painter of the different phases of love its sentimients expressions moods and dev ces Her delineations are lıfe like and entrancing and her style is elegant and exquisite She too 19 MAGAJ The inme sloys that she Tas Southern Indian lads One of her verses a salutation to the 1 SP F 163 P 6 ·INTRODUCTION XXIII rising sun is preserved in the Saragadhara paddbatı The sun is beautifullr desertbed as crimson lihe a Parrot's beal and as the ear-ting of the eastero horizon In this single verse the poetess gires considerable evidence of her poetic genius The verse is embellished with alliterations, by means of which a sweet musical effect has been secured 20 PADMAVATI Two of ber Fer es, viz ,"Dantalı dadını lauja", etc., and "Harinvas te arance, etc" have been quoted by Haribhaskara ju lus Padyawrta tarangin? Haribhashara is no other than Bhushara, son of a paji, graud son of Hari and great grand son of Pura ottama”, whose commentary on the Yrita ratnalara was composed in the Vibrama rear 17321 e 1676 A D According to Haribhasbara's own statement the Padyamrta tarangiui was completed in the rear 1730 1 2 PT, (Poona), f 4 (b), s 62, PT, (london), ? 6 For a good account of Haribhaskara and his family, see PT, no of 1890-81, Blandarkar & Report 3 See Reports of Bhandarkar, 1881-87 For his Pari hbaca bhIslara, see op cit, 1853-54 P 80 4 JIS do 230 of 1850, Bhandarkar : Report श्रापाढ-मासे मुबलन-पो सचहि सप्तेन्दु मिते सुमेऽदे। गुरौ नवम्याभगमन् समाप्ति मन्-पथ पीयूष सरभिणायम् । He composed the work in basi ताम्मुसे मास्तर वारया हरिरिलपराभिध , etc ·SYIY SANSKRIT POETESSES Venidatta', too, in his ladya-venı has quoted all the nineteen Ferses of Padm watı but one that had place in our work. Nothing 18 knoten of Padmavati's life It may be that she was a native of Gujrat, anyhow, she has devoted two verses to the description of the damsels of Gujrat Like Gauri, Padmivati, too, has dealt with a great variety of subjects, some of which are common to both Pidu vati's subjects consist of the King, the miser and the villain, the hair, the face, the nose, the caste mark, the thront, and the arms of a beautiful woman, the lion, the horse and the crow, the lamp and the dawn, the stars, the summer, the summer-wind, the rainy season and the sentiment of disgu Thus she has dealt with human beings, animals, inanimate things, natural phenomena and human sentiment As regards the theme, the institution of a comparisou between Gauri aud Padmavatı nay be helpful to the reader for a proper appreciation of both the poetesses Unlıle Gauri, Padmavati begins right or with depictions of human beings and devotes a good many verses to this topic Her first verse is, as usual, on the King, but while in Gaun we find no less than five verses on the eulogy of the King, in Padmāyatı we find only one Turther, while Gaur depicts the King in a rerengeful mood, engaged in war, bis foremost 1. Venidatta was the son of Jagadjivana and grand sop of Nilakantha For bis date, see under Gauri For his work Vasudeva carita, see India office MS, no 3817 2 Verses 4 and 9 ·INTRODUCTIOY duty, l'admavatı depicts him in a playful mood, engaged in hunting, his favourite pastime He has done his duty, ie , brought all enemies to subjugation and has, thereby, become the foremost monarch of all, the cole resort of all otber hings Heuce no he relaxes and happily goes on buntag, dressed superbly in blue, with a beautiful bow in his hang His superb beauty makes the on loohers take him to be Cupid Incargate ( I) While Gauri stops at delineating the King only, Padrarat, goes on to give true pictures of other types of human beings such as a miser and a villain and makes very clever uses of puns in this connection Thus, shc paints out that between a miser or Lrpana and a sword or hrpana, there is only a difference of form (ahara), their qualities being the same, or interpreted otherwise, only a difference of the rorel "a" (2) In the same manner a comparison is instituted between a villain or bhala and a plough or hala (v 3) Like Gauri, Padmavatı too devotes as many as six Terses to describing the features of a beautiful Her black curly tresses are vividly describ ed by means of a series of metaphors such as serpents clinging to the fair sandal creeper, bees sitting on the lotus petal or the black demon Rahu surrounding the moon (v 4) Her face surpasses even the dioon itself in beauty and the calons find even the moun beams gour in com womin For details ace the translation ? See op eit ·TV SINIRIT POFTISSES parison trith the streetness of the nectar of benute of her face (5) II er anne 18 like the herh of the rupud lohn pot (s. G) The crate mark dron ben een her (selrotte 15 lihe the arrow.liond of Cupid ( 7) TIer throat is like the triumphant conch of (up: and the three lipes on the throat are the marhs of Cupid'. fingers as lie held the conch for blowing it ( 18) Iler arms are like the celestial creepers of the ocean of love, or like the lotus creepers or like the baudul-creepers, or like the noove of Cupid or lihe the coral creepers (9) While Gauri leaves the animals untouched Pad mūrnta as not forgetful of the topic In one verse ahe culoguses the liou, who, as a wights leing acts befitt ang lus majesty, attaching the mighty clephant and not the poor deer (v 10) In another, she shelfully employs the same set of words that are equails applicable as description of a horge as of a lotus' (s 11) Ia a third rerse which is didactic in its nute, she wisely unstructs the crow not to orerstep the limit in its audacity, ng it would be ridiculous at the end (v 12) She makes use of puu-hcr favorite defice--ia the verge on the lamp as well, employing the same set of words that aro applicable in their meaning to the lamp as well as to Abhiman vu' (F 13) 1 For details see translation For details, see translation ·INTRODUCTION XXVII Padmăvati's verses on Nature are lively and full of beautiful imagery The lovely dawn is personified as Cupid's daughter, who taking the beams of the just rising sun, is coming to adore Labsmi by variog lights (v 14) Then follows the description of a star-lit night When Madana, the god of love, is out to conquer the whole world at night, Lady Night holds up the auspicious light, the moon, and scatters the rice-grains that are the stars (v. 15) In her verse on summer, she describes the aun as the fiercely blazıng luminary who is out to conquer the whole world, taking the aid of suramer, his friend, and calling forth the lotus his lady-love, Ao long oppressed by the icy cold winter ( 16) Then she, in another verse, gives a vivid penpicture of the summer-vind, laden with dust and stones, robed in the burning rays of the terrible sun, drying up all the rivers, scorching all the trees, and emitting in volumes the burning leat like the renom of a serpent (v 17) The rainy season is described as a season specially congenial to the awakening of the sentiment of love The roaring of clouds 18 nothing but the deep sighs of Jadana, the clouds are nothing but hus mad elephonts, the lightning is nothing but a missile in his hand and the rain bow is notlung but a weapon for infatuating the world (s 18) Lastly, Padmavati drass a vivid but horrible picture of a lcper, causing loathsome feeling, in illugtration of the gentiment of disgust (vibhatsa rasa) The loper is undergoing the fruits of his past misdeeds He is covered all over with excreta and rus ·Trut NIIT I'UIT, Aris 'Inc and oppressed los animalcul* " thir ulerts Ilirs ATC Farming around him 13100 1 1. trichting on, amel 1114 linnale anil feil are indlok off Iepleate turning in their noset in ligust an inputting at the *ht of him (11 I be ser estalire in till and the reader cannot lirlp a sudder of dispust 14th lorthsome picture crash in it l'admiralls unable dls ont of the grantral of Sanskrit pocti950 Iversitis is an ititi fler profound acholarlap and fun artistic Rosenthed fortllig is or one of here The Piuli 11044 of rutiments cumbwe *oth kugli stomac and the abance of surfiuntcs und ostentatiousne ** runder her composition rett utrint and lucid l'un in her furourile device and she uses it with propriety and consummate hull in Bolts than four of her verses Surely it is not at all est to dei 150 words and to get them as to make them applicablo ty two tlungs that are other is not compirible 16 inieer and storil dishonest person and plough borse and lotus bhimanyu and lamp Chest double tenders in memng bs that suint out of words untis takably prove her great masters oser the Sanghrat lingunge l'admusati compares favourablı with Gaurt in the matter of skilled use of similes and metaphors Jersi rses on \ature are perhaps, the most strik- The serses on the darn, a star lit night, the rainy season and the like bear the impress of fine poetic touches, and expressed in 3 most charming ing of 211 1 Ieres! 3,11 and 13 ·IVTRODUCTIO XXIX Two very musical diction they speab eloquently of her superb gift as a delineator of Nature Her power of vivid realistic description 18 just another striking feature of her poetry good examples of this are furnished by her verses on the summer wind (v 17) and the sentiment of disgust (v 19) The first males one feel as at were the hot breath of the blazing summer vind while the second enables one to experience the loathsome feeling ac tually generated in a person at the sight of a leper in the street Of rhetoric she is a perfect master with lively examples of utprekca yatıreka? sandeba' and apahnuti Trom the metrical point of view she gives us examples of both jatı and matras metres Her em ployment of the mandakranta metre in the verse on the rainy season is to say the least very apt and at once reminds us of the long drava association of the same with the sentiment of pathos 21 PHALGU HASTINI A line of one of her verses is quoted in the Karya lambura sutra vitti of Vamavas the minister of King Jayapila of Kashmir who flourished about the 8th 1 1 1 is definer a This may also be an example of smarana which Sadra vastu darśane sadrsa Fastu suaranut 3 1 F9 suddha sandeba upag ti 6 KIS 8u 32 p 11 Ván Filusa ed ·SANSKRIT POETESSES Century AD Thus, Phalguhastınī must be earlier than that date Of the two verses of Phalguhastinī, reproduced in the present work from many Sanskrit anthologies 10 which they are found quoted and preserved, one is poetical and the other philosophical in thene and import The first is a beautiful description of moon nse. The crescent moon, which is just a spot of whiteness in the midst of surrounding darkness, 18 described as a flower on the dark matted locks of Siva, as the bow of Cupid, as a naul-marh on the hip of Lady Eve, as the smile on the face of Night and so on The second contains a serious reflection on the momentariness of human existence The Creator, the poetess points out, creates, no doubt, great and good things, but makes them all equally transitory But what is the purpose in creating them with so much care and thought, if they are meant to be destroyed? The very fact that so great a rhetorician Yamana quotes her is enough to prove that she was then regarded as a poetess of high fame of her verses reproduced here testify to her poetic gifts, such as richness and breadth of imagination, freshness and depth of thought, and elegance and cleatness of expression RIJ IKANYA I The rerses of Ruja-banyi, included in the present work, have been culled from the Sarugadhara- 1 Sasıbala or Candrakala, talented daughter of a King of Kashmir The romance between the princess and the as The two 23 ·INTRODUCTION XXXI paddhati and several rhetorical works. Both of them are in the form of a metrical courersation between the princess and her lover. The princess tries playfully to test the lover by pointing out this is the palace of the liou (ie her father) who would like to drink the blood of the elephant (1 e her lover) af he can catch him Quite equal to the occasion, Bilhana at once replies that it may be so, but trhat elephant would leave a beautiful green youog creeper (1 e the princess) eren at the risk of his life The second verse, which has been quoted in such thetorical worbs of great authority as the Sarasvatikantbabbarana, the Rasa gangadhara and the Sukutya darpada, consists of a similar acimated conversation between the princess and her lover The the birth of the lily 19 useless if it has not seen the moon-beam The princess aptly replies to that by saying that the birth of the moon too is in rain if it has not seen the face of the lily that passes sleepless nights lover says 23 PASAVATI PRIYAJIVADA Rasavatı Priyamrada who flourished at Faridpur, Beagal, at the beginning of the 16th century AD. tas a renowned lady who composed a religious work of I high merit called Spama rahasya incladed in this work, 19 a very fine stanza in the Sardula vikrulita netre It 192 Her single verse, stotra written in famous Bulbana, the chief Court-poet of the King, 15 well knowo ·Vi SIPIT LOITIES appears to be praise of hrena whose delotes the porless lierst 11 lier stilt is omple and eligant, and as a stotra, it is esquisite and touching i he under Isong idea lat n hole of sublimity in it II 1S1471 The present work contuna no more than two yes*** of Shrirati the first of which is reproduud from Bhojadera s Sarası att konthabharann' (10th Century ID) and other rhetoric il works and the second from auch autlıologies as tht Sungadhara paildhati and the Sad ukti kurninta le first is an culosi in anustubh of the hing hois described as the nether rigion, the source of all hopes fitlest person to bu funned by the chourie and the sole representative of tlie three worlds The second is a tine stanza in the 1747nta tlaka nietro which mias stand benutıful Apec men of short reflectire poems in Sanskrit gestireness is of a noble order A fragrance loring Lee orerlooks the frults its thorus, absence of honey, dusty gloom, etc, and is content with the single virtue the flower possesses riz, its fragrance 13y this our poetess means to suggest liom gooil and noble men overlool the faults of others, seebin: only the good points in them SARISIATIKUTU VB1DU LITI The personal identits of this poetess is not ex pressed by her own name but ook in terms of her Telation to her father who was evidentl 1 person 19 Its sur 2 1 SKB, p ??, Kurya mala ed ·INTRODUCI101 VIXIT faroured the use (literalls, a binsman of Sara. syatı) The verses of father and daughter are found quoted in the Sarngadhara paddhatı (14th Century AD) Her Terse in the apustubh netre presents a riddle, the solution of which depends apparently on the clearing of the pon on the word 'surata 26 SIT-A PHATTIRIKI Her poem "Yah Laomara barah sa era hi tarah' etc has been quoted by Rajusaha Ruyraka 10 his Alamlara sarvasva, composed in 1150 4.1 The verse is also found in the Karındra vacanasamaccava which is probably of an earlier date The Sarugadbara paddhati says that Sıla com posed the verge "Idam anucitam Bhramas ca pumsum" etc in course of her play with Bhojaraja * Again, Rajasekhara pars tribute to her in a verse * Kung ihirabhoja was an elder conteniporart of Rajasekhara Probably, it is this Bhojaraja with Thoi Sila as engaged in conversation and with whom she seems to be on a term of considerable intimacys in which case Sıla must bare fourished in the 9th Centurs & D of the sus verses of Sile Blatturik, also called Sil. Blatturiba, included in this volume, two portray 1 Fatbers vertes ar also found in the Bbos prabardha of Dallala (16th Centure ID) 2 Karta-bala series 1-33, PP 15-9,00 3 15C4 Soc Sols € Jalkapa's S! , 47 3 ·IISIT SANSKRIT POETESSES the plight of the separated lorers, tro are in the form of a conversation between a lady and a messenger. maiden, one depicts the character of an unchaste woman, and one is a passage at arms between the poetess herself and King Bhoja. In the first rerse, which is in the harini metre, we get the piteous picture of a lady left by her lover. She is being constantly tormented by the pangs of love, but neither her angry lover, nor the equally relentless Yama is coming forward to relieve her, Fet how can such agonies be borne by a tender damsel(v I) The second verse, in the anustubh metre, represents the other side of the picture The man, separated from his lady love, is undergoing similar agonies and spending sleepless nights, thinking of her alone Thought and sleep are like co wires, where one 13 present, the other is absent Now that he is given to thinking day and night, sleep has deserted him (2) In the third Terse, in the sardul 3-viridita metre, the deserted lady sends her maid to her lover with a 3 message of reconcilation At the same time, she is not undindful of Tarning her maid against the possibility of a scandal She, her maid, is a young Toman, he, her lover, too, is a sprightly and fickleminded young man, it is eren-tide and the rernal breeze is blowing, the place of their meeting, too, is a deserted one, so let her be careful (F 3) The fourth Terse, in the śardula sıkrıdıta metre, rereals that her fear about the roubg messengermaiden ras not unnarranted The maiden has her ·INTRODUOTIO SIST 12 excuses, no doubt, but they prore eventually all futile (4) The fifth rerce, also the burdula kulita metre, portrays tho unjustifiable trays of an upchaste troman She deler remains content with the same lover for long Her old lover is there, the amorous nights of sprog base arred once more, the fragraut breeze is blowing as before-set notr she fails to find any pleasure in these as she used to do before low she 19 longing for a new paramour (+ 5) The sixth verse, in the puçpitagre metre, 18 grossly modelicate (6) Sila is one of the greatest and most well known of Sanskrit poetesses Her versos are cited in almost all tho best known anthologies and copiously quoted on the standard rhetorical treatises She has been honoured by Dhana dadosa as gifted wat breat poetic genus and erudition What strahes us post in Silu is her wonderiully hoen psychological insight, displayed in every one of her serseg of separation are very realistically portrayed by her in the first two verses The lorers barc quarrelled yet are crer fining for cich other, their futual love leng enlaperd all the more through temporary sejaration To less realistic 19 the picturo of a jealous and suspicious lady in the third and fourth veraes, instrusting eren her trusted mard Lote be gets jealousy, jalousy suspicion Well knowing tho ficlleness of men, she thoks at letter not to take any clouces, even with her nearest friends 1all the Tho 850ls } 51. C 20 ·XXXVI SIVSKRIT POETFSST'S porrerted mentality of a coquetto 1$ well-reflected in the fifth Ferse She has an cass-floning and musical style. Nili. bellara praises her as commanding, along with the great poet Bina, tlie pāūcili style in which an equal attention is paid to the idea and its expression.' 27. SITA 1s her verse "Un bhail sasinka" etc has been quoted in the Karya-mimams, of Rajasekhara, she must have flourished before the 10th Centuay A, D. The above is a love-poem in luch the lady tries to encourago her frightenesl lorer, not in plain words but indirectly, with the help of a rhetorical embellishment that is known as aprastuta-prasam-i This verse has been quoted by many famous rhetoricians. SUBHADRA Only one verse of Subhadr, quoted in the Subhästtävali of Vallabhadeva, is reproduced here It seeks to bring home to us the puissant truth that attachment is the root cause of the whole series of men's mental agonies This it accomplishes by 1 शब्दार्थयो. सगो गुम्फ पाञ्चाली रीतिरिष्यते । शीला भट्टारिस वाचि वाणोक्तिषु च मा यदि । Jalhanas SDV, VS, no 370 of 1881-87, Bhandarkar's Reports, f 16 (b), p 47 of SM, GOS, vol 82, 1938 For a different fier about tho pāīcalı riti, see Sab Dar, P 467,1 13 F . Also called Sita ·INTRODUCTION XXXVII bringing in as an instance the successive phases of torture undergone by milk, such as boiling churning and so on-l due to its sneha (fat) The present verse is simple and thy dea benutiful The pun on the word sneha is rather clever 29 TRIBHUTANAS RASTATI The Karp tri mañarı of Run elhura records the name of one Tribhuvanasarası atı the elder sister of Vahitala sarngyatı IE Our poetess be identical with this Tribhuvan sarasvati she must have flourished before the 10th Century AD) In any case she cannot be later than the 13th Century AD as two of her fine verses are Preserved in the Sud uktt harnamrtı Che first describes the superb bezuty of the King who outshmes even the moon itschf and attracts all the ladies without any exception The second vividly portraye the ecstasy of Hari's joy at the sight of fakemi during the churning of the ocean The poetess gives us two fine examples of rhetorical embellishments--figures of 3 cech one of yatıreha and the other of combination of rusavat (from the point of view of the des otee) and bhi odia (froin the point of TIew of Hari) References to Irundhati in one verec and the churning of the Jeen in tbc other tend to show that the poctesg 7 19 fond of traditional lores 1 See Trinalation . \SP ed, Ict I! p 46 ·IL SANSKRIT POETESSCS corn-thresuing damsels, (7) Nature-poems on trees and the sun, (8) seasons three poems on the rius senson, and one on the spring (9) and lastly, a verso on the puzzling name of the ocean In the first serse, the king us eulogised, by means of puns, 19 the supreme lord and husband of the entire world (1) In the next verse, the King's sword 19 praised as bringing fame to the King in times of War (v 2) In one verse, slie boldly praises herself as the goddess of learning incarnate (v 3) In another, she has a word of praise for the poets in general whose ideas fill the readers with deep and Bilent admiration (4) Tula las no less than three verses on unchaste women In the first, a faithless wife and negligent mother goes to the solitary river bank-under the pretence of fetching drinking-frater for her husbandto meet her lover (5) In the second, we have the unusual picture of an unchaste mother taunting her chaste daughter for her fidelity to one husband only (v 6) In the third, an unchaste woman expresses her delight, to a personal friend, at the beauty of the cane groves on the sandy shores where she has in dulged in many stolen love affairs (v 7) The next verse portrays a rustic woman bamboo platform in a cucumber field, ostensibly engaged in her usual duty of driving away the jachals from the field at night, but really enjoying the company of her lover (8) on 2 ·I\TRODUCTION XLI The following two verses delineate tro lore-lord ladies, separated from their lovers One condemns Vadana as a coward who, uot being able to conquer Sıra, the Buddha and her lover, is not taking revenge on her, a poor helpless roman, and torturing her to Luis heart's content (s. 9) The other verse utilises the traditional idea of the awakening of the tormenting passion of love during the rains scason for a poem which stands as a fine example of tirodha The sky is covered with clouds, the earth 13 filled with water, the quarters are dazzled with lightning tashes, the sly is full of the torrential flor of rain, forests are full of kutaja florers, the rivers are filled to the brima with water. What is meant by the rainy sereon, the poetess asks, by all these demonstrations of pomp and strength in killing a were trader damsel, Thich it could have done easily without such displays (+ 10) In the verse on the face of a beautiful woman, the lotus is compared, by the use of puns, ta a warrior who, though strusog hardd, is not able to conquer his riral. In the same ray, the lotus, in spite of its full-blossomed beauly and glory, is not able to con. quer the face which is lovelier than it (r. 11) Tijji has only one verse on the bandsomeness of It describes the glance of the lotus blue eyes of the King which generates lore 311 the heart of 19dies and means good grace to bis subjects (s 12) In three verses, o lads, separated from lier lover, potheticalls describes her own proful state (FT. 13-15) men ·XLII SA\SKRIT POFTESSES but now 11 The two verses on lore-making are rather delicate. In one a lady describes to her friends how she forgets ererything in the world then her lorer stretches out his hands to her (s 16) In the other, the art of pleasing angry ladies is described (s 17) Vijahü has thrcc verses on fate The first des cribes the vicissitudes of all esistence, lunan or otherwise Once the tank ras so ride and deep that huge elephants sported there with ease course of time, it has come to be reduced to such a state that there is not even water enough for a heron to dive in ( 18) The second metaphorically depicts the inexorableness and inexplicability of human destiny Human beings are being hirled blindly round and round on the wheel of cure, like a lump of clay, by Providence-none Inows for certain what 16 going to happen to him (v 19) The third verse under the bead praises the courage and fortitude of great men in times of calamity Just as mountains and oceans survive even after universal dissolution, 60 those men remun unshaken even under the greatest misfortunes (v 20) After this comes the verse on the songs sung by damsels engaged in bushing the rice-song, which are mingled with the sounds of the jingling of bracelets and deep breathings (v 21) The verse on the campaha tree describes its mise rable state on being planted in the garden of a Tiched person who does not appreciate its real Torth and neglects it accordingly (y 23) ·INTRODUCTION YLIII The verse on an unnamed tree points out bor it attracts people with its cool slade and sweet fruits But if it really be not what it appears from a dis. tance, and be full of poisonous fire in spite of its gerene and beutiful external appearance then, of course, none will come near it (s 23) These two serses may be taken to be allegorical The first means that the potable sartues of good men are not generally appreciated by the world at large, the second merus that in this world, things are not always reliat they seem to be, that may appear attrac tive from a distance inny rery often turn out to be just the opposite when approached, that is, in other words, distance lends enchantment to the ver The pert verse describes the morning glort at sunrise, when the pollen.jiurpled bees gladden the carth with their hummings (r. 21) In the first of the three verses on the rainy season, n Indr separated from her lorer entreats lightning not to flash aud thereby increise her lianhering for her lover all the more It descriles the rainy season a4 a sezon for speciall: torturing the separated lorers with such accomplices as the cloud, the trind and the pencoch Thet all being males, do not understand the torments suffered by a lads But shie, ie the lightning, is a female lihe herself,-10 olie, at lengl, ouzht to suinpathise with her and pare her any further prina (23) In the second teree, the thin lot that ularno the 11. Heleerslr coruja 1 ls 2 qu$ of prune to the Gichl lieart ol a young lado () ·SLIV SANSKRIT POETESSES The last 19 a general description of the rainy. season—the season of love-making, then the earth 13 green with grass and the sky dark with clouds (v 27) The verse on the spring gives a vivid picture of the crimson palāsa-fower, the filaments of which loob like the the flowery bow of Cupid (v. 28). The last verse of Tujā in our list gives some sort of a problem for solution. Why should a sea be given all such grand opithets as pīthodli, jaladhi, payodhı, udadlı and vârıdlı, then it utterly disappoints all thirsty travellers who want to drink is water ( 29) Vajā was perhaps the greatest, the most wellknown and the most versatile of Sanskrit poetesses. Her verses are found quoted io numerous anthologies and rhetorical works She herself was concious of her powers and very self confident, and even went to the extent of styling herself as Sarasvati incarnate Dhanadadera pays her a great compliment for her erudition and poetic genius Vryjā's Terses possess all the qualities of high class Sanskrit poetry. They bear eloquent testimony to her natural power of expression, her graceful diction, her self-confident handling of long compounds Simplicity 15 not one of her virtnes On the contrary, she usually aims at high-sounding effects and reels iu displaying mastery over language. The results I ayat -FUTT, etc , $P, 180, P 29, SUY, MIS, 145, f 34, SUV, 47 2 SP, F. 163, pp 26-27 ·I\TRODUCTION XLT are not lowerer always happy and some of her verses have neither much elegance of style por unuch sweetness of expression However this remark 19 not applicable to all her verses some of which are full of rhythm harmony and musical grace Like Padmavatı she too often makes use of puns rather cleverly T 1]+ gives us fine specimens of such figures of speech as paryayohta » atısayohti tulya yogitus Sisesolti aksepa' samlara (combination of rupaha upam, dipaba)* and svabl.Telti' 2 SS VIKATANITA 31DJA Her verses "Laranya sındhur aparaırı Legam atra ete has been quoted by Anandavardhana in his Dhyany aloha 10 Inondarardhana was well known at the time of Aratuvarman, King of Kashmir (81) 883 AD)' tle mentious the ualne of Udbhata' lo in bus turn las been mentioned by Rajaseh bara (SS0 920 AD) I'rom thuis te mar reasonably assume that libatantub. flourished at least in the earlier half of the 9th Century ID if not carlier still 1 3 5 15 terses 8 and 10 2 Łtor cs 1 11 " 13 (103) 4 11 (111) 19 (11) 6 1 13 (113) lu (115) & 119 (110) (1"!) Ceo O hassa raul ed See halbanis R Tor 34 lp and 10 Krya mlo ed Ky Gaebrad s Or Series 3rd ei p 10 10 11 19 13 ·ILVI SLSKRIT POETESSES are According to Bhoja,' Tihatanıtamba was 1 widow who married again If the husband of Vabatantambı first or the second, were really so foolish as to pronounce masa (corn) instead of masa (month), sakas, 19 stead of subasa and to drop ra or sa of usţra, as alleged, then surely Vilatanıtambı, ? poetess of distinction, found herself in an utterly hopeless and helpless condition A good many verses of Vikatamtamba preserved in different anthologies and rhetorical works, of these, eleven are reproduced here Like Gauri, Padmarati and V1jja, Vikatanıtambu too deals with a sariety of subjects –(1) the King, n bride, a woman going to keep her tryst with her lorer, in indignant lady, (2) the beauty of a lady, the waist, (3) meeting between lovers, (4) the bee, the nimba tree, (5) the spring In her first verse in the druta vılambıtı metre, the Kings rival army is compared, by the use of 1 Srng Pr, VS, vol III of Vadras Govt Oriental MSS Library Catalogues p 37 Namisidhu on Rudrata s Karyalamhara, p 30, "यथा विकटनितम्बाया पतिमनुकुर्गणा सखी पाह-- काले माप मस्ये मास वदति शरास यश्च साशम् । उम्टे लुमति न वा र वा तस्मै दत्ता विकनितम्बा ॥" Bhoja s Srogira pralasa US Vadras Gort [SS Lib Gol T, p 26' also quotes the same rerse but the 1st linc is different - पृष्ठ शले वदति सराइ (माप) तद्विपरीत मस्य हिरण्ये। लुग्पति चोप्ट र वा प वा तस्मै दत्ता विनितम्बा ।।

·INTRODUCTIOY XLVII puns, to a young bride,--gby, subdued and not daring to show off any valour (v 1) In the second verse, which is in the rathoddhata metre, the King is extolled as one whose fame has spread all over the world ( 2) Io the next verse, a lady who goes out to keep her tryst says to her confidante that she is not afraid to go out alone, oven at the dead of night, because the feather arrowed god of love 13 her commnion ( 3) Ag is only natural we find in the next verse, the friend of 1 bride speaks in a very jocular and intimate tone to the young husband She cheers up the husband and wants him not to fight shy or fall below the standard of an ideal husband (v 4) In the next verse, the friend of an indignant woman speaks The lover 13 ever innocent, simple, straight. forward and most devoted to his sweet heart Still, she exłubited her indignant nature-ignoring the advice of Inends-what 19, more,--Without taking jato considera. tion the consequences she was dragging herself to Now that the lov er has deserted her, what's the good of her crying in the wilderness? (8 5). In abother versc, the poetesg cleverly comparcs an young lady to the ocean of beauty ( 6) The other *C750 under this head is on the slender beauty of the watst (2) The next Torse melistically descnbes the intcosc joy of a lady when her lover comes to her (8) ·INTPODICII0\ VLIS IS 17 Vabatanujamba is an adept in thetorical embellı-h ments The first Terse presents itself as a good example of samlar3 as well 23 samsrsti The former 19 a combination of artha le a and purnopavle, aud the latter that of all lamhara (auupia a alliteration) and arthalamhara, UZ the above The purnopama in this verse is indeed grand, as there is similarity in all respects, eren in number and gender The second stanza ?) o mar be reckoned as a very good example of samhara and samrti, the rmer being a combination of rupaba and prevas End the latter that of the crtte anuprafa, preras, тараka and Wesa The fonrth excellent example of the figure of speech dr tanta The sisth as a rhetorical marvel in its presentation of the samhara arising out of the combination of the figures sandeha and atisavohir The seventh is a superb poetic creation presenting an wonderful instance of Taja stati In the eighth verse, we get the figure of speech bhavodaya, in the mall sambara i e combination of slesa and partyoltal and in the last versc the figure of speech si ama Tilatanıtamba is no less eleser in the emplorment oi metre She adds mach grace to one of her ver es (10 4), both in mcaning and diction, by the use of the word mandalranta rhich is the name of its metre as well The clerer employment of an almost uploon metre libc dobadibu? in a Terse (Do 7) Thich really praises the heroine, though apparentir 1 According to some this will be an esample of sama oltı et adtracciaotak se 981, p 2:5 4 ·L SANSKRII POETESSFS censuing her is really a very clever combination of the metre and the figure of speech GENERAL I'REVD Or 1 TOUGHT AND STYLE OF THE $1 VSKRIT POEIFSSES The subjects of the verses included in this work, may be broadly arranged under twelve heads--*17 deity human beings beauty of features etc love animals birds and insects Nature seasons trees and flowers inanimate things philosophy religion and miscellaneous Of these love is by far the most popular topic nearly forty verses being devoted to it Not a few poetesses have written on nothing else All the vices of love have been taken up-viz desertion separation and quarrel anger and indignation (mana) gradual softening and approaching the go between (dutı) with messages of reconciliation suspicion jealously and suspense first meeting and dircet plealing the lover a declara tion of the vow of eternal love and finally joyful In this connection a rather unusual verse 18 found on the mana? (indignation) of a man Usua ally in Sanskrit Literature mana is regarded as the special prerogative of the fair ses alone and pacı fication the bounder luty of men One of our poet esse, however has given a reverse picture ? stages modes re t1nion ind gnat on 1 The word mand canı ot be exactly translated into Englisi The English words like a per etc do not express the exact idea 2 Sla Bl aţtarıkay (70) P 30 ·IVTPODCCT101 LL Various other types of lose, too, hare been treated, such as, the refined lore of a shy bride, the crude lote of a forward rustic woman, the bold lore of a lads an fryst, and the stolen love of an anchaste roman This last topic seems to be very popular rith our poete sses, and no less than seren verses are found on this theme What stribes as here is that oorhere is a siagle word of condemnation uttered against this perverted species of humanity On the contrary, the poetesse» scem rather to rerel in the theme and their verres on this topic are all very fine productions, tinged with lyrical touches and musical grace Another feature that strikes us is that only the roser sensuous aspects of love have been dwelt vu by our poetesses Of cour e, this is not a speciality of these poete ses alone, but is the common tendence of many Sanskrit poets too There are ball a dozen verses on surata beli and though beautiful, they are ratler iadelicate for modern taste The verses on the playful conversations between lovers, too, are often guilty of gro s indelicacy I third noticeable feature is that in the verses no complaints have been made against men br the poetesses On the contrary, eren at the time of the greatest suffering, the whole blame is put on the vomed themselves and Rerer on men This, indeed is an inherent trait of women of all climes and times The best popular theme is the description of female beauty to thich familar and interesting topic nearly tents verses bare been devoted early erery feature has been considered from hair doru to toe nails dezbed by means of autis compari- ·LII SANSKRIT L'OI TISSFS sons There are only tiro verses on the benuts of uan.' The delineation of the different types of human beings, too, is a favourite subject of the poetesses Sis different types have been considered, viz King, poet, greedy rran, miser, crook and leper, illustrating different sentiments of wonder patlins, and disgust Among these, the verses on the King and his majesty re most numerous, more than a dozen being devoted to this topic out of the total nineteen under this head This way be due to the fact that many of these poetesses were court poetesses favoured by the King, and often on intimate terms with him What is inainly dwelt on in this connection is the sterner mood of the King as a conqueror of enepues, as a dispenser of justice, as an upholder of the priaciples of morality and religion,-there being only two verses that portray his beauty and softer mood as relaxing from his serious duties and indulging in his favourite pastime As natural, masculine qur lities always appeal more to the feminine heart thin mere effeminacy Nature-the eternal source of inspirations to poets of all ages_too 18 equally popular with our poetesses, there being ten Nature and the seasons The Terses on Nature include such phenomen? is the dawn, sun rise, sun set, morningverses On nine on 1 Taju, s 19 (112), P 17 and Trıbhuannsarasvati, 1.1 (86), p 39 2 Padmirati, r 1 (51) r ?? Tribuuvapasarasvati, s, 1 (86), p 39 ·INTRODUCTION LIII breeze, moon-rise, stars and rumbling cloud. The seasons. dwelt on are the summer (three yerses), the rainy season (four Terses) and the spring (three verses) The tendency to personify 19 a noticeable feature in these verses, such as carn personified as Capıd's daughter coming to adore Laksmi, morningbreeze as an ardent lover, might as a lady waving auspicious light and so on. Topics like auimals and burds, etc, trees and flowers, and inanimate objects have received but meagre attention, there being not more than four verses under each head Some of them are allegorical. So far as regards the mundane world As regards the supra-mundanc, philosophical and religious topics are openly neglected, most of the poetesses being utterly indifferent to the world beyond To them, the lord of a woman's heart--her lover--18 far more inportant than the Supra-mundane Lord; the ordinary human problems of love and separation, joys anil tears than the solemn problems relating to the other world. Under the head of philosophy, only one subject has been taken up, viz human destiny on which there are altogether five verses, two on the momentariness of all mundane objects, and the rest on the vicissitudes of human existence and blindness and helplessness of man under the inexorable tills of Prasilence the 1 e 6 Verse Sarasvati s on thc ketahı (76), p 33, sja's on the campaša tree (1:2), p 32 and dubbadia's on ·LIV ŞINSKRIT POTIESSCS Under the head religion, there is a single verse, a motherly advice to young people to turn their minds to the next world This is the only didactic poem in this volume Besides this, there are some customary eulogistic verses on Siva, Krsna, Hari, Sarasvatı, Sumīnāksī and Avalokitesvara Escept one verse on Siva's Mahū-bhairava aspect, all the rest dwell on the softer, serene and gracious moods of the deities On the whole, it may be said that these Sanskrit poetesses of India pose neither as philosophical teachers, nor as religious missionaries, and do not aim to impart to the readers any abstruse message of morality, knowledge or emancipation through their verses They write poetry for the sale of poetry-writing and do not make poetry a vehicle of sometlung else, - art for art's sale is their inotto They delight in and love this mundane world of ours, with its sun and moon and all the boundless wealth of Nature, trees and flowers, men and animals, love and strife, and it is this delight alone that they es. press spontaneously in their verses. Hence, their verses are lyrical rather than reflective, sentimental rather than serious, sensuous rather than intellectual, indicative rather than injunctive, lively rather than lofty As regards style, s.mplıcıts and steetness are the two pre-dominating features. Iscept Vujā, non ventures to play with lovg, high-sounding words and compounds, but contents herself with short and simple expressions Hence their verse all hare a ring i Cinnamnā, F. 1, (11), pp Go ·ITRODCCTIOX LY of sincerity, spontaneity and easy grace Charming musical effects have been secured in most of the verses by the barmonic arrangement of words, and by the clever use of onomatopoetic words and alliterations As regards metre and rhetoric, shill in versification has been shown by most of the poetesses, and verses have been written in good many metres 11- cluding some rarely used ones such as kūla-blarini and dohad ká. In some places metres have been specially chosen for expressing appropriately particular themes like separation, pathos and so on Rhetorical embellishments, though resorted to an many places, have not been used inordipately. Of these devices, purs, metaphors and similes, and alliterations are the most favourite ones SANSKRIT POETESSES KAOTA ONLT BT NAVE Besides the above, there are some poetesses, known to us, at present, only hy name Except sone tradıtional verses attributed to some of them, none of their Trorks 18 available Short accounts of a few of them are given below KIJALILL. 2 KANAKAVALLI 3 IALITISGI 4 VADHURAYGI 5 SU VANDA 6 TIVALA VGI 1 ·LYI SIShNIT POI TI SS1S These poutesses have been mentionell in the Rujasekları carita' R tarehliar i was a contemporary of Rajendra Cola (1001-1016 ID), as mentioned in the same work So they cannot be later than the date Of these, Lalit sig, Vulburmgi and limaling? harled from Vulnia 7 URBI DETI I ITI We know of her from a eulogistic verse of the great poet and rhetorician Rajasel hara (850 920 AD) It is stated in this that ohe belonged to the Lita country, 1 e modern Guzrnt Here a great tribute 19 paid to her poetic genius and all round versatility Thus, though not lung, she is said to live in the hearts of men by virtue oi her superb poeti menit 10 be an expert writer of love poems and an adept in all branches of arts ? 8 TAIJIH AVTI She was also called Jayanti Lile Priyamvad, she flourished in Faridpur in the 17th Century AD and was the daughter of one Vurabhatta She was expert Sanskrit scholar and specially proficient in the Mimun. philosophy She was married to Krsnanatha an 1 VS See a descriptive catalogue of Sanskrit VSS in the Government Orienta! MISS Library Madras Vol XXI 1918, p 8167, no 12206 ? "सूतीना स्मर केलीना फलाना च विलास भू । प्रभु देवी कविोटो गताऽपि हृदि तिष्ठति" SHT, MS, 31 y 132 SMV , GOS, P 47 ·INTRODUCTION LITI re who too vas a great scholar Vanjarantı vas a nowned poetess to whow a large number of verses are attributed i lang traditional storics are current in her name She was the joint author of the work called ananda latios campi as her husband Krna natha esplicitly mentioss in the work itself that he collaborated with his wife in its composition Horrerer in the present form of the work it is not possible to domarcate their respective contributions 2 १ JIJALATKA Another poete s of whom te enor from one of Rajasebhara s verses is Vijayantha who flour bed in Karnatanot Inter than the 10th Century AD She is eulogised as the goddess of learning incarnate I (१) अहिरय स्न धीत गिार भ्रमातू स्तनमगाकिल नाभि हदास्थत । इति निवागत नयन हि यन् श्रवण-मागना कि ममुपन्धित ॥ (1) वाद-कोण गता भानु शातात् मद्दचित दिनम् । वधानरा नरकार रानन् शातम्य का था । etc मानन्द-ततिका-चम्पुर्येनाकारि ब्रिया मह । मरखताव कार्याग विनयावा नयलसौ । या दम गिरा वाम गलिदामादन ठरम ।। SHT VIS # 33-34 s 131 Sut GOS P id strict that rougit s corresponds to the plateau of South Central Ind a 4 ·LIIII SI SKRIT IOI CESSES and as a peer to Kilusa in the 1 udarblu style Some verses are truditionally attributed to her! KITI 19 OI TI? SIISKRIT POF TFS CS. There ure some complete works bi Sanskrit poetesses We note belous 81such works of which one is a compu (prose poetry) and the rest poetical compositions 1 DFT ANU JIPIKI mother of king Sangruna sunha, of Rajputana Her Vaidynnatha pr 13 ida prasasti an historical poeni was composed for celebratıng the opening ceremony of the temple dedicated to Vaidyanatha 2 ( ACADETI, Queen of Tira Kampana also called Kamparuya, of Injayanagar She also composed an historical poem called I dhura vijna celebrating her husband s conquest of the city of Madhura, known now 19 Jadura LAKSUT RIJNI Queen of Valabar Her poem Santana Gopala kavya is based story contained the tenth chapter of the Bhigalata purina 3 On in 1 The following verse is attributed to her एकोऽभूनलिनात् परस्नु पुलिनाद्वल्माकनवापर । ते सर्वे क्वय स्त्री लोक गुरवस्तेभ्यो नमस्कुर्महे ।। अवीच यदि गद्य पथ रचनश्चेतश्चमत्कुर्वते तेषा मूधि ददामि वाम चरणमह कर्णाट राज प्रिया ॥ For fuller accounts of these and translations of selected passages see vol 4 of this series-Sanskrit Poetesses Part B In the press * ·IVTRODUCTIO LIV 4 5 6 DIADHTKATAVI court poetess of the langure King Raghunatha! She translated King Raghuvatha's Indbsa Ramayana into Sanskrit at his request PIJATHADI'IJI, of the court of Raghre natha Her worl Rugluu ithulhyudayd is an historical poem dealing with the conquest of Raghunatha, son of Actutaraya, of 'Tanjore TIP JAT LITA Oireen of Acuyluruya, of Lanjore She too deals with history to some extent, but gives us really the romance and wedding of Ring Acyutarıya, her husband and I arad imbibu Like the isolated rerses, these complete poems too. of the Sanskrit poetesses amply testify to the great poetic gearus and erudition of the women of ancient India JIODEPA POETESSES The traditional farge of the Sanskrit poetesses mar be shown to harc been emulated even bs several modern poetesses who bave produced works of great erat A brief notice of some of them is given here 1 AVASOLA KAJALABAI BILAT She is a Jir.thi lady who las composed the Srıdatta pañcamrta, a prayoga or a treatise on the ritualistic worship of Dattatrer? The first two chapters are original compositious of the poetess herself, while the rest are mere compilations from The work is primarily for the 1 See intro pYVIII various sources ·LX 8.XSARI) PORTFSSIS Vūrāt li people, as copious Jūrathi translations and explanatious abonad BILIMDIRA Sistei B Bilāmvül, daughter of late Dr IR Vaidyanatha Sastriyar, belongs to the Jadras prusidency. Her mother 18 a Sanskrit scholar and it is from her that she learnt Sanskrit ! She composed several Sanshrit sors, such as the (1) Subodha-Rima-carita, a condensell summary, in a very easy language, of the Rimasana in poetry, m which the uttara hände is not dealt with, (2) Irva- Rāmāyana, another suminary of the same epic. The style is very simple and lucid, (3) Gana hadalaba," a collection of beautiful, musical, alliterater and graceful watrical cowpostww.x, Wwe () Dexd-tr232- truntsan-mala, published recently. HANUMAVBA, 17.1"},h 1YTI Sho hails from Nellurupur, Vadras and 18 a disciple of Bralımānanda Sarasvati in those praise sle 1 See pretaco to Bulambika's Subodha Rama carsta, 1 1, for this and other informations regarding her 2 Tamil and Garanthue characters 3 e the opening verse कुञ्जर वदन कुवलय नयन कुरु पर मुखमनिश मे चचल श्रवोऽचल अञ्चित गति युत पञ्च क्राञ्चित alagfta (T) पुञ्जित करुण रञ्जित-धित-जन भजित-प्रत्यूह ET TU (T) etc ·INTRODUCTION LXI has composed a work called Brahmananda-Sarasratí. Svāmi-pādubi-pūjana It is interspersed with prose passages, as is natural prazogas and paddhats, Here the poetes, tenders her most sincere offeriags to her guru She has composed other works too, such as the Sanıkara-Bhagarat-pāda sahasra-námirali This, too, like the above is a hymn in praise of the famous Advartin Samkara. Here the poetess has coined a thousaud different names in reference to Sankara's Inultifarious activities and achievements These verses suale a pleasant reading third similar work of Hanum imbã as Datta-pu.... gıta-kadaraba, a paddhatı of worship of god Dattatreya in musical verses The poetess displays in this Loollet a sound Louwledge of the various rüyas and rūginig. JXARASEVD4RI * Jñanasundari, dancing girl of Kumbakonam, was a poetess of renown who passed away nearly thirty years ago She was honoured with the title Katıratna by the Mysore Court She was a pupil of Kuppussimin Sāstria, From her own statement te come to know that she composed several vorls One of her works, Hulässa-campu 10 sjI stayabas, celebrates the Saiya cult of Iaduri She displays a considerable mastery over the Sanskrit language, though her strle is not always rery lucid Her composition is marked with alliteration ·LX SAXSLR11 POLTI SSIS Vīrīthi people, as copious Márītlī translations and explanations abound BIL IUBIRA Sistei B Bilambal, daughter of late Dr R. Vaidyanatha Sastıyar, belongs to the Indras pre 91- dency. Her mother 18 Sanskrit scholar and it is from hei tlint she learnt Sanskrit! She composed several Sanshrit works, such as the (1) Subodha-Rāma-cariti, a condensed summary. in a very easy language, of the Ramāyana in poetry, in wbich the uttara-hānila is not dealt with, (2) Irya- Rāmāyana, another summary of the same epic The style is very simple and lucid, (3) Gana-hadamba,2 a collection of beautiful, musical alliterated and graceful metrical compositions,' and () Devi-traza. trimsan-mālā, published recently. 8 IIANUMA UBA, TAK [TI She hails from Nellūrupur, Jadras and 18 a dis. ciple of Brahmananda Sarasvati in whose praise she 1 See prence to Balambikas Subodha-Runa carita, 1 1, for this and other informations regarding her 2 Tamil and Grantha characters 3 Ug the opening verse कुञ्जर-वदन दुवलय नयन कुरु पर मुसमनिशं में चञ्चल श्रवोऽञ्चल पञ्च क्राञ्चित वञ्चित दुरित (कु) पुजित-करुण रजित श्रित जन भजित-प्रत्यूह मञ्जुल वरण (कु) etc अञ्चित गति युत ·I TRODUCTION LUI has composed a rorb called Brabmannada Sarasvati Srami-padni-pujana It is interspersed with pro e passages, as is natural in pravogas and paddhati- Here the poetess tenders her most sincere offerings to her guru She has composed other works too, such as the Samhara Bhagarat-pada-sahasra numaralı This, too, like the abore is a hymn in praise of the famous Adraitin Samhara Here the poetess has coibed a thousand different games in reference to Sambara's multifarious activities and achievements These verses make a pleasant reading A third similar woch of Hanumambu is Datta pujana kadamba, a paddhati of rorship of god Dattatreya 1a musical verse The poetess displays in this booklet a sound knowledge of the various rigas and raginis JSAVASU I DATI Ji pasundari, dancing girl of Kumbakonam, was a poetes of reponn Tho passed away pearls thirty years ago She was honoured with the title Karıratna by the lysore Court She was a pupil of Kuppussimin Sustrin From her on statement we come to koow that she composed sereral rorks One of her sorbs, Halasya campu in six starakas, celebrates the Saita cult of Iadura She displays a considerable masters oser the Sanskrit language, though her strle is not always very lucid Her composition is marked with alliterations ·LYII SAVSKRIT POETESSES 2 KAVAKSI Kamalsı, daughter of Panc ipages irya and wife of G A Vuthukrishna Iver, comes from Tanjore. She is a learned lady and specially rersed in the Kalidasian Literature She has composed a small poem called Rama carita, cleverly using the words and phrases of kalidasa VADIYA DHITI ALI VEL IUVA This Southern Indian poetess has composed a small work called Buddha cartimrta an epitome of the Buddha's life She has a simple style RIDHAPRO A She is the queen of svanatha Devar irman of Orissa, son of Raghunatha Devavarman 1 She is the joint author with her husband of a poetical composition called Radh -Govinda sarad rasa? or the autumnal sports of Radha and Krsna She has also composed a learned commentary called Radlı priy. ou her husband s Rulmını parinaya, a poem in. 11 cantos about Rulmmi > murriage with Kron 8 111IBITS The poetess Hamabu was born at Gang umula in Insur (Mysore) ller father snu was Inant Suri' and motller s Linba! 1 See Visranatha s Rukmini parmaya P 9.6 other informations about the royal family, see Kari rains irai by Vasnuratha, appeaded to the book pp 399 ff Oriji character 3 Reįroduced, in an abbreviated fort from J B Claudhuris article in the Indian Historical Qsarterly 1939 4 SP 33, 5 See p 53,2 tor ·I\TRODUCTION LVIII Her work, called Lalsmisrara campu kutya, mas published in 1801 of the Sala era, ie, 1879-10 A D. Hence it is probable that our poetess was born about tbe middle of the 19th Century AD When the bing of Jitlaala (Darbhanga) rent to Calcutta on some business, he invited our poetess to his court and honoured her higlily Pleased at this, she promised the king that she would compose a poetical work about the events and festivities o connection with bus accession to the throne It is this that led to the composition of the Laksmisvara campuharga This is her first work Te do pot as yet kuow of ans other work by her From the very fact that she was highly honoured by the King of Darbhanga, it is evident that she must have been verr well haown as a learned and cultured woman of her time specially so, when we find that though a native of South India ber fame spread as far as Calcutta and Darbhanga The Laksmisvara campu havya coutains five stara hay or cantos It begins with a description of the city of Darbhanga followed by a short account of the King, father of Laksmypara describe the birth of Laksmistara and the festiraties in connection with it, the boyhood of Laksmisvara, the death of the old King and the self immolation of the Queen on the funeral pyre The second canto records the education of Lalsmi Avara at Benares and his marriage, on return rith Ralpasti a girl of hugh birth and culture Then it goes on to Tue 1 See 2, Introduction ·LII SIISKRIT POTESIS manat celebrations are described at length Tht csato ends with the lapp picture of the King njoung the compinouship of kı9 lotiug wife and, at the 6?re tinie, discharging lurs ronal cuties with crupulous (1re anel great merit However, at the tuuest of the Queen, the king decides in leare of lus roral luttes for a short while was go for a holiday to n loreli garden house The third canto contains a rigid and charming description of the honet Moon of the royal couple,- a lovin Itzule groolu, i desoted bride and lovely sprigs-hat more is needed to male ? perfect pie ture" 11 ma lihe, our poetess lors her best to portras the picture math sinpathetic lıfe libe touches In the canto, specialis, the poetes displays a considerable poetic 100 rtistic genius Ifer super! ile scription of the spring and the suu set, the moon lit niglits, etc prort her to be a wonder poetess of attire Ibe fourth canto, too, contains some losel pep pic tures of sture It begins rith a beautiful descrip tron of morning, tith the gentle triad rustling and frolicking through the grees foliage, lotuses Bloomug forth in tonb>, and burds singidy sweetis as of chanting culogres of the King Then follows a realistic acount of the hunting espedition of the Kms lle goes to a deep forest where the thic lenses are constantly being joined together by the sind as if the low goddess 13 Tith joined palms rudering her bomage to the King The halth and last canto contains an account of the festirates 10 connection th the lips s corona ·I TRODUCTION tion Lalsmistara is depicted as engaged in heavy royal duties, sparing no paina to further the wellbeing of his subjects At an auspicious moment be was acclaimed King by all court officials and foreiga representatives Pomp and festivities continued for a good many days II ere the book ends The poetess has, in this book, told us about the closing period of the life of the hero's father, about the hero's birth, education, marriage, recreation, #kill in royal duties and great popularity But she could, surely, have enlightened us also on a good many historically important events in the life of Talsmuvara from his birth to accession, but unfortunately does not Of the five canios, the first two cantos alone contain accounts of some ordinary events of his life, but tbe last three cantos are practi. cally devoid of events It 13 for this reason, that in these three cantos, the poetess, in the absence of any lustorical events, bas to have recourse continually to descriptions of natural scenery and so on, and to introduce some distractions, leaving out the main theme Thus, the poetess fails to supply an tininterrupted chronology of the childhood and youth of Laksoniseara, and specially from the third canto ontard, tbe loquisitive seales very saturally longs to have at least some bits of historieal information, and not mere poetic imagination In the third canto, we find the spring in its full glory, the sun files and sets, so does the moon, the morning comes again, --but be slose presence we eagerls wait for, does not come to us as we would have libed him to do-nolight 13 throne on his life or feelings,- w ·IIVI SANSKRIT POLTESSES her, Nature 13 all, men nothing In the fourth. canto too, though we meet Laksmisvara once more, yet come to know nothing about him was the poetess at once sends him out hunting, which 19 a very common occurrence in the life of all kings-ancient or inodern The hero of these last three cantos, thus, 19 a model King of all ges-a King rejoicing with his dear bride in pleasure gardens a King going to hunt. a King acclaimed by his subjects—but the special events in the life of Laksmisvara his peculiar traits and habits, his individuality, in ahort, are left neglected Hence, we cannot but conclude that although the Laksmisvara cumpu kavya contains some excellent poetical passages and descriptions of Nature and is, on the whole, well written -wcet in thought and language-yet it is painfully lacking in descriptions of actual historical events, and therefore, disappoints the reader, who from the introduction, expects a true picture of the State of Darbhanga more than half a century ago Woman-like, our poetess prefers free thought to fixed truth, fancy to fact, imagination to information She is a poetess through and through but no historian But our poetess, though not a historian, proves herself very clever in rhetoric She adheres to the principles of the Pañcah rıtı-a vita in between the (Gaudi and Vaidarbhi So far as the qualities (gunas) go, her composition is marked with samata 1 Sahitya darpana chap IX, p. 467 68 of the Nirnayasagara ed ·INTRODUCTION LXVII and hunti'. She is quite free from vulgarity (gra. myatā) and seetness (unadharya) prevails in her both 10 sound and sense Only rarels she takes re. Course to samadhi 2 As regards embellishments, she furarshes us excellent examples of srabkárokts, upama', rupaka, utpreksa', arthantara uyasa, vibha. vana', rjatireha'' and assi! I'rom the point of riete of Ford embellishments, our poetess has a strong Irking for alliteration", which is, in fact, a peculiar feature of the book Her merit in this respect 19 superbly displayed then she employs at ease words: of similar or almost sular sounds but with different meanings The fifth canto of the book is adorned with various sorts of artificial verse-forms Viz. 1 For samata and kanti, *ee baryadarsa chap I, Y 471 . op cat, $5f 2 e IP%, 16'Dantura' 3 Arthalamkaras e & p 2-3, 68, p 16, 14 e 8 y 11, 46, p 15, y 10, 24 for prati vastupama, see p 9, v 10, paronomatic simile (slistopama), Seep 19 v 21 € & p 5, v 9 e & P 21, y 14, p 36 v 16 $ r 3', 44, P 38, 26 9 p 32 13.16 10 P46, 21 pl, if 12 Sabdalajakáras 13 Samarodbhaia vatru pratıbbata zikata #tam kat. Lataba kamtaka parisrta Sura para Lar puskara-sihat ta seks-drigunita Sadba-sita asa sba's curbi etc 14 © & P 1, Arta akala npa jasadera bhanga-Dar ulang, 11001 nagari, P prakrawalerau 154 aliki suaoh, 9, lira jamanan pararajamanam ·LVIII SANSKRIT POETI SSTS cabra-bancha' vising itaba-bandlia’, padma bandlia', muraja bandha, naga-bandlin', gomutrik t-handha', garākan-bandha', and so on It is undoubtedly true that all such artificial devices often lamper the spontaneous for of poesy, yet it must be admitteil at the same time that the motise which led her to adapt thein, vıy showing off her shillin and mastery over the language and versification, has been fulfilled successfully It is indeed no laughing matter to set forth her own name", her father's name and so forth through such devices Ramabı slows fierself expert in the employment of metres too Sometimes we find that she mentions the name of a particular metre,-such as rathoddhatā,'' puspitigrī," praharsını," etc nu some particular verse-without damaging the actual theme of the Ferse and actually uses that particular motre in that verse This must, indeed, be admitted to be an indication of great skill Her skill in composing various forms of poetry ** is manifest fruin the examples she furnislies in this work F p13 F 30, p 52 43 cp Magha s Sisupala vadba, Chap XIY for these devices For similar devices in later Roman poetry, cp Vartial 2 e 66 9f 2 p 49 31 3 p 48, 33 4 Pr 48 49 33 5 p 49 31 6 p 50, : 36 P 50, + 37 8 See Lppendis p if 9 See appendis p 8 10 P 46, verse 36 11 p 26, Verse 21 12 p 41, verse 39 13 For the meaning of tecbpical terms yugmaha, sanda nitaka (also called višesaka and tılaka), See Sahitya darpana, cbap VI, Nirnaya sigara ed 371 lugmala, e & pp 25 26, ·IVTRODUCTION LSIS One Unfortunatels, however, the printing of the book 13 Tery defective Joons, pronouns, rerbs, etc , bare been unaccountably joined together as Tord Again, words bare been separated just as unaccountably, no proper punetuation bas been given, ia short, the book is really woreadable Under these circums tances it is not fair tu criticise the poetess for all the defects traceable Still, tre notice here a fer for which the poetess secms responsible In verse Il of the 3rd capto,' the second quarter has been hrphenated with the third or the two padas form parts of the same compound But such a compound is not desirable In the second ser c of the same canto, the particle "tara" 13 the second line ras been used before the verb "tirejnh," but at ought to hare been used after the verb In the fourth canto (serse 6) in connection with the auspicious eulogy of the 610g br the bards the barab cawang of crow's has been inentioned, but such a description fits in nether with an invoking of auspiciousness, nor with the accepted codes Inspite, however, of all the e defects, we must say that our poetess has succeeded creditable in her first attempt at joetical composition Her thought and attle hare much to commenil themselves to the Jarers of poetry and her metre and versification to the expert in rhetorie Kulala PP Teres 19", P , rerses 33-31 Sandanstaka pp -?), rerses 13 2:21 Terses 5 10 Jagba gives us chapples of kulakaz contajding Bore than 10 rernas 1 P 24 2 P 3 1 31 ·LXY SANSKRIT POETESSES 10 2 9 SRIDEVI BILAPAJSI She wrote a trentise calle I the Campi Bhagavata a short summary of the Bhagavata purana in prose and poetry SUNIVANT DFII She has composed a rork called kamaksamrta religious treatise 11 SUDARAT ALTI Sundaravallı a Vysore poetess was the daughter of Narasimha A yengar and pupil of Kasturi Ranga carya She composed he Ramayana campu harya' in six cantos corresponding to the landas of the great epic 12 TRIVENI Trivent & Southern Indian poctcss flourished about a century ago She was the daughter of Ananta Acarya of Udayendrapura author of the Yadava Raghava-Pandaviya She was nuried Venkata Acnrya of Sriperumbudur Owing to the uutimely death of her husband and only son she led to the life of a recluse towards the end She was a prolific writer and composed a good many treaties Labsını sahasra l'ocms ot Rangan itha sahasra devotion ill Suka sandesa 11 Burnga sandesa Rangabhyudaya Poems Sampatkumara wijaya Rangarat samudaya Drama VIN Tattva mudr. blacrodaja 1 Telugu Character to 1 11 Lyrical poems V 911 ·PRAKRIT POETESSES. Ao account of the Sanskrit poetesse> certainly remains incomplete without a few words about their sisters who wrote in Prabrit So we are here adding a brief notice about 9 celebrated Prabrit poetesses, whose verses, numbering 16, are reproduced in this solume All of them, except Arantısundari,' have been quoted by King Satavahana, also called Hala Suta vabana, again, bas been referred to by Buna who flour ished in the first half of the ith Century AD Therefore, these Prakrit poetesses must be inuch prior to this date 1 AULAKSIZ Four of her verses are giren here, of which three are love poems In the first verse, we find the realis tuc picture of as aucbaste woman, making an artful advance to the young, innocent and devoted husband of another woman Vell hunting the psychiology of men and their tendency to succumb to flatters, thus eril minded roman tries to win him over by complementing om on his good looks and styling him as a great lads killer In the serond verse, we see that the inexperienced young man has fallen a prey to the suares of the vamp, but is still an a hesitatiog frame of mind and rather diffident, fearing his own inesperience, and so the roman tries to encourage him Want of ex perience, she points out rith pretended feriour, 14 For the date of Arantısuodari, see infra 1 ·LYXII SANSKRIT POETESSES the green not a handicap to the course of sincere lope—what counts is real affection and nothing else In the third verse we find that the coquette has, at last gained her nefarious object Glowing with pride at her own success she vividly describes to her friend their passionate love making The last verse of Anulnksmi 18 a fine description of a withered hanyan tree on which bevies of parrots were sitting Mistaking from a distance bodies of those parrots for leaves and their red beaks for fruits weary travellers hastened towards the tree for resting in the shade But as soon as they appro ached it tuo pairots all flew away revealing the bare trunk and every one laughed This verse may be taken to be allegorical reminding us of the sad fate of the jackdaw in a peacock s feathers? Anulakemi proves herself to be a wonderful painter of human passions and weaknesses The ways and subtle devices of unchaste and unscrupulous woman--hom she advances step by step, how she tales advantages of human weaknesse, and at last gains. her object--are very realistically sketched by her 2 ASU LADDTI Both the verses of this poetess included here, portray the miserable plight of women separated from their husbands or lovers the first illustrates the mood type callel prosita bhartrka or one whose husband 13 away to a foreign country Such a lady feels the paigs of separation, all the more intensely at the very sight of the Kadam ba flower—the flower For a second interpretation of the verse see Ganga dhara Bhatta a common it an 1 ·TRODUCTION LISILI which blooms during the rainy season, the season that produces an intense hankering for one's beloved one The second rerse gires the picture of a clerer messenger-maiden, tryiug to soften the heart of the man and bring about a reconciliation betycen the lorers. 1 VTISU DAPI She as the wife of the famous poet Raja-eh hara' and perhaps identical with the sister of Dhapapila? She was a fine gem of the Cahuran family Rajaselbara states in the Karpura mañarı that the draia was staged at her request Her opinions on sowe abstruse rhetorical questions have been quoted thrice by her husband in his Kavyamamsa She has also been quoted by Hemacandra in his De 1. Hama mala, hile citing instances where avantisundari had different opinions from him Thus, three of her Prakrit verses are preserved to us From the instances cited in the Kavya-mimamsa and from the importance attached to her opinions Sanskrit rhetoric by her husband, it seems that she must have been a Sanskrit rhetorician and poetess of outstand 10g nerit like hun on 1 See prastaraps to the Karllan r 11, p 10 See PaiLY, 277 Dhaba pala states that he composed the work for his younger sister Sundanı (of 'rantı), "जे करिण्टट-बहिणाव-मदरानाम धिजाव." 3 Probably she, a Ksatnya bs caste, bad a romantic marriage with the Brahmana poet Rajasekhara 4 GOS. pp 20, 46 and 57 See also ÁP, ed by JI dvaratna, 1919 p 8. Seef ni, p 65 Also called Des, labd3-cangraha or Rattaralı ·LUXIT SANSKRIT POETESSES a man The three verses of Avantışundari giren here, are all love poems The first portrays a viralini, a girl separated from her lover Thinking that he has quite forgotten her, she laments that once for his sake, she did not hesitate to face even the risk of being condemned as a forward and shameless woman and went so far as to go to him openly before her elders Rut cruel as he is, he has forgotten even that The second serse, portraying a virahın or separated from his sweetheart, gives the other side of the picture It shows that the girl is misjudging her lover, who is always pining for lier and thinking of her lovely lotus face, in a frame of profuse bec black curls The last verse gives the happy picture of 7 loring couple in which the husband sass jokingly, evidently as 1 retort to his wife's complaint that he has forgot ter ler, that he lives only for her babe, only by dribing the fresh beauty of her face The above verses bear ample testimony to the great poetic genius of Avantisundarı-her superl simplicity, sweetness and charm A happy use of sliori alliterated words has a rythmic, musical effect 4 MADHATI The single verse of this poetess, reproduced bere, 18 a lather humourous one, in wluch a pert rueseenger-maden tres to cırılıse a lourish lorer by enlight. ening him on the sort of women admire Women, she points out, never like aggresive loversthose lo lord it over their sweethearts, but onls those who are erer forbearing, docile and defoted meil ·PODCCIIO LYX slave, Of course, i remains an open question wbether this definition of the me enger maiden 13 universalls true or whether a case man sort of lover 15 sometimes more attractive to the fair ses 5 PRAHATA Only one of her verses is given here It allastrate the mood trpe called svadhina patika or wife of a docile hen pecked husband She can do, she borsts to her friends, whatever she likes with her husband, - slap him with one hand and embrace him with tbe other The way ward and high handed behaviour of a rather unusual trpe of women is beautifully depicted in the ver e E PETA The two verses vf Rere both delineate the offended mood of women The first illustrates the mood type called Thantlıtd or a troman whose lover or husband again and again strays off from the straight and narrow path and again and again comes back to her for forgiveness The ladr, her patience on the breaking point, asks her repentant lorer which of his sins she is to forgive-uis past stus or the present or the future ones The second illustrates the trpe called kalahanta rita, or one who has quarrelled with her lover Offended <he leaves hin, disregardiog his pleading, as he hastily follows ber Bat ber hack, conscious of his presence hehind, is horripilated with a thrill of ecstast, and this betrars her real feelings for bim under all her outward show of anger ·11111 S\ShRIT POETESSES Both these găthis are specimens of fipe love-poenis and testify to the keen insight and great power of expression of the poetess 7 RONI The one verse, given here, of this poetess portrays the mood type called halık intariti or offended Indy Her friend tries to pacify ber Jen, sle points out, may sin, but women cannot for that reason play the role of judges aux forsake them for ever Women cannot live without men, so they hare to forgive and forget the misdeeds of their lorers and tale them bach 8 SVSIPRABA Her verse gives just the opposite picture Here a friend remonstrates with an ever indulgent ind docile lad: who is never angry and perer averse to forgiring her guilts lover again and again In reply she points out, true that she is ever forbearing though she knows rell his fichleness, true that she 13 over submissive anıl dances to his tunes-get what hetter can a woman do? Atom in cannot live without a man, horrerer callous and dislocal le may be--a creeper cannot but cling to the tree, though the tree may stand immoreable and irresponsive Both this verse and the above beautifully portray the inherent magnanimity, tenderness and constancy of women their tendency to overlook the fruits and weaknesses of their loved ones and remain unshalable in their love and loyalty ·INTRODUCTION LIVII 9 VADDAJTATIT Her Terse describes the prosita-bhartrhā type, a woman separated from her husband, getting agitated at the sight of, what she tiunbs, the dark clouds of the rainy season, but which really, as her friend points out, are nothing but the cliffs of the Vindhva mountain GENFNAL TREND OF THOUGUT AND STUF OF THF PRAKRIT TOUTFSSES The Prakrit poetesses have left some very fine love lyrica for us to enjoy With true ferdinine intuitions, they have penetrated deep into the secrets of the lovers' hearts, and with true womanlv sympathy, again, they bave painted the joys and sorrows, successes and disappointments, magnanimity and jealousy of the lovers' world Their delineations are, thus, all very realistic, sincere, and unaffected Various inood types of women bave been taken մր –017 five out of eight', recognised in rhetorics, such as svadlaina patikd, prosita-bhartrk., hhandita, kalahantaritu apd virahotkantbıta? Besides these, other types, such as a forward unchaste woman and sweet-tempered forgiving lady-love, bave been beautifully described The poetesses are to be specialiy congratulated for their lucidity of style and simplicity and charm of expression 1 For these soe foJ, p 64 ! L'or the translation of these teras, see under the verses concerned ·IIIIIII SIXSARIT POFTESSES COUTIMISON OF TIH I\SKNIT LOFTISFY TITI TIF PIRIT I OFTESSES 10 bolli the Sanskrit and Prakrit poetegaes love is the most engrossing tbene, and lihe their sisters, the Prahrt poetesses too, are rather reluctant to waste their poetic genius in vain speculations about the unknown and the unknorable iu probing into a mystery that has remained a mystery eternally and must ever reinain bo The Prakrit poetesses hare illustrated two new types of love, not found in the verses of the Sanskrit poetesses, viz the amazopian tyre or the love of an orer-bearing woman who delights in domineering over her lover, and just the opposite type, or the love of an extremely docile roman who knows po hetter joy than submitting herself unreservedly to her lord a whims and trishes The definition of a ladies' darling, too as attempted by a Prahrt poetess, 19 not found in the Sanskrit verses The I'rakrit poetesses seem, on the whole, to be inore self-restrained than their sisters, and to have refrained more from dwelling on the grosser aspect of love Woman libe, the Prakrit poetesses, too, have cast no aspersions on the opposite ses On the contrary, they have gladly accepted, as we lave seen, the inesitable conclusion that, though meu are not perfect, tonen cannot be too critical, but must alaays be ready to shoulder the blame, and sacrifice their personal feelings for the sake of their beloved ones ·INTRODUCTION LXXIX The verses of both the Sinskrit and Prakrit poetesses are tinged with fine feminine touches, peculiar to the ses. Avoidance of bombastic words and phrases, grace and clearness of style, and depth and keenness of insight are common to both. CONARYSOV ON THE SANSKRIT POETFSSES TYITH THE FFJALE VEDIC SEERS It will be interesting to compare the Sanskrit poetesses with the female Rsis or geers, to whom are attributed several hymns in the Rg-reda' Like their sisters who live continued the rich tradition, landed down to them, of all-round erud)- tion, culture and poetic genius, those female Vedic seers, too, are in ed with passionate wafuauly desires and feelings, cager to drink to the full all the joys and beauty, fun and frolics that this I As many as 27 femalo Rsis arc enumerated in the Brhad devata of faunaka I 89 91 Some of these are merely natural phenomena etc personified, such as, Klatri, Stoging a hymn of poetic beauty to hersell (x 127), Sarya (v 8), Sraddha (v 151) Vac (1 125) Daksina (x 107) etc all singing hymns to themscives Some, again, are well known mythical figures-such as Indrani (* €6, 115) 4diti (IV, 18), lamı ( 10) Urrası (s 9») etc till, however traditional their authoresees may be, these lyons finely portray feminide ideas and ideals And further, there were, undoubtedly, some great female keys, celebrated both for thest poetic gening and religious attainments, otherwise, later authorities liko Sayanı Saunaka and others would ont have, all on a sudden, fised on them as the 'secre' of several hyrans It is voticeable, la tlus connection, that neither the Bible, uor the Koran attribute any hypuu to any female saint ·LII SA ShitIT POFTFSSFS world of oury can offer To them also love is the all important thing conjugal happiness the height of bliss And religion to them is but a hand maiden of mundane happiness and well being lente it as that we find thit the priyers uttered by these female beers are all for securing some or other earthly boonsuch as auitable bridegroom lore of husband, Trorldly enjoyment and so on--, and nerer for salra trou, religious uphft, or sapra mundane bliss Thus, 19Tarra a married woman prays Agni for marital happiness and secure life! Ghoud 1 pridcess, afflicted with leprosy and unable consequently to get a husband, petiously prays to Aérins, the divine physicians, to heal ber as they hare healed many gods and men before? She is 'groting old at home' so let them grant her bealth and youth ful beauty, and help her to get a rich chieftain husband * Let them, further enlighten her about the amorous art and rugs of love, of which she is by circumstance ignorants The intense pent up desires of an old maid who 18, perforce obliged to forego conjugal bliss and domestic life-her dis appointment and suffering--are very beautifully aod realistically portrayed in the hymn No less human is the hymo sung by Apala" whose plight resembles that of Ghosa Suffering from skin disease and disowned, for that reason, by her husband, she turns to Indra as her only resort, and 1 RT 129 3 Op cit 39 3 5 Op at I 40 11 ! Op cit X 39 4 Op cat 40 5 6 Op cit VIII 80 ·IXTPODTCTION LIISI prays to him to heal her and re unite her with her husband Her prayer is granted and she is cleansed and gets a 'sun like sbin' through the grace of Indra The lymn is a forceful representation of the longings of a de erted Fife for her husband There are other serses of equally sensuous character Roma 2,' being condemned of immaturit by her husband, assures him to the contrary and dwells on her sprouted routhful charm Similarly, Lopa modra, wife of Agastya, 1a a hymn to Ratı or pleasure, complains of her aged husband & coldne s and neglect, and iorites him to join ber in love We have toiled and laboured,' she says, 're are getting old, so let 13 now enjor life' Again in tro verses attributed to Indrun," she tries to attract her husband br recounting her owa beauty and allurements manner that 19 scarcele decent This last ‘seer' gires us a very fine picture of a Jealous wife in two hymns The first' is spell to nd the wife of a favoured co wife or risal her husband for herself alone, she plucks a herb and utters incantations 60 as to host the rival w2fe far away, and reign supreme herself alone Erert line of the hrmn breaths forth the deep rooted hatred and malice of a frustrated Toman s heart The second rere, too, is intenselt human Toi only can the jealons Tile not tolerate a 10 a To gain Woman 1 3 RI I 120 Opct 16 i Op at E6 Op cat 1 19 1,9 Op, ct 14 4 ·LYYSI SA SARIT POITT SIS rural, but she is cqually impatient of her husbands devotion to n man friend as well Very cunningly, she tries to poison ler liusband's mind, step by step, by various devices lirst, slic nppenis to Ins selfrespect and tries to persuade him that his friends usurprog his own lawful rights So let him gise up tolerance and apathy and arengu lumself 1 iling stult to rouse ber husband singer, she next tries a more potent inore by appealing to his chalry and Talour Quivering witlı rage et pleased with her own clars and attractions,' she recounts how she lias been insulted by luis false friend, as if she had no husband to protect her railing still to incite ber husband, she at last despairingis tries to allure bım bis her own beauty and charm, but yet fauls The psychology of a jealous wife,-ler intense hntreil even for a male rival to her husband s affection, her extreme cunningness and scheming mind, have been so well reflected here as to make one amare at the deep insiglt of the author of tlic liy mn Just the opposite picture 18 represented by the rerse of Saśyatı, an affectionate, devoted wife, an unselfish, heroic woman, who males penances for her husband's sins espiates and frces him, and when he is restored to perfect health and 11yhood sings out in jos One long hymn portrays i petly married bride and contains some famous marriage Enantras The consummation of her life lıes, the hymn points out, in 1 RY 186 47 3 Op uit 82 2 Op cit VIII 1 34 Attributed to Surya ·ITP.ODECTION LITYI reiguin: supreme over her husband's bome, corrounded by sons and grandsons, Votberliness is illustrated by the serse Agastsa's sister where she prays for her sons, and tbe hymns attributed to the mothers of Indra' in which the proudly recount their beloved too's glorious deeds and achievements. Besides bus illustrating the various stages in a woman's life, oiber lymas give some other types of momen. Thus, Godbā' in a hymn to Indra avots her suvinissiveness to and utter dependence on the deity. Joother verse' delineates a passionate roluptuous type of troman, trying to seduce erep her own brother. A third depicts as tochaste roman,-how she holds a mean opinion of her own sex and lowers it to the eyes of others too.' faithful enrog is portrayed by a fourth, Thus, like the verses of the Sanskrit poetesses, the Lymns of the female seers, 23 vell, deal with a varies of subjects, illustrating different stages in a Toman's life, such as (1) ad oli maid wishing to get married (Glosa), (2) a newly married bride (Sūryü), (3) an affectionate and loyal sile (EasTalī), () a jealous trife (Indrānī), () a roluptuos mife (Flomasi ·LXXXIV SANSKRIT POETCSSCS and Lopamudra), (C) a sick wife, deserted by her husband (Apālā), (7) i conlented matron (V19vavārā) and (8) a proud mother (Agasts a's sister, Aditi and Indramātarah), as well as, different types of women, such as (1) a humble religious woman (Godhā), (2) a ramp (Yamī), an unchaste woman (Urvašī) and () a faithful envoy (Saramā) Vhat strikes us in these verses is their extreme human interest,-full of animation and vigour, they are passionate outbursts from the very depth of a feminine heart. Nature is not touched as such. But incidentally 10 the hymns, we get some beautiful descriptions of might", fire etc If we compare the verses of the Sanskrit poetesses, with the lymus of the female seers, we find the same spirit, the same tinges of a woman's heart, although particular pictures like those of an unmarried mand, a proud mother etc, may be lacking in the former These latter hymns are, perhaps, more crude, more passionate, more vigorous, more forceful than the former verses, while the former are more artistic, refined and lyrical than the latter, COMPARISON OF THE SANSKRIT POETESSES TTITI TIE BUDDHIST TIERIS Lastly, a few words may be said by way of conthe Sanskrit poetesses and the Buddhist Theris or Sisters, 71% in number, to whom parison between 1. RV X 127 Omitting the two poems ascribed to the followers of Patacārā collectively ·ITLODICTIO are attributed more than on hundred stanzas in the Tberi gathu' It is evident at once that is opposite current, of thought run through the ver es of the San Erit poete es and the Buddhist Tberis re pectiselt The Sanskrit poetes e, as te hare seen, pa ionatels love this seasible sorld of oor3, and are intensels alıre to all its bezats, jor, and varieties, hile singularly Averse to looking beyond to the -upra-euble The Buddhist Theris are ju t the oppo ite Therare momen who have left the world to them bothing but an abode of perpetual sins and cortomto seel for come thias luzber, to secure relea.. from re birth to attain the períect calm of Tirana, and while thus trring to shut the door again t the mi eyes and uglinesses of the trorld ther bad to shut out its jov, and beauties, norelties and rrethue es as well Heace it is that while the ser es of the Sanskrit poete e are rich rith a great ranets of subjecte-lature, Yap, Love-tho e of the Buddhist Thers are cometimes almost monotonou«, to the son Buddhist reader, 10 their resterations of the same theme iz glonfea tion of the Buldhist ideals of renunciation and ex tinction-\runa Thu , while the Sap-tnt poetes 1 The ques208 as - tbere Tbens rert real Loncal pisosalities or mere tras tropal facce Eterd zo Le care lere It is epo", to Lod tlze the Terues *Apsess the seals and residents of cer si asatiy vous of the Batti order Ye 17 interrus His o Ed Lt To'11 21 101 S prxcial p 10 ad fu 3 there in ITs Dar2« Pea of the Ar Istod estar TV Yll ·LXXXVI SINSKRIT POCTCSSES ses-poetesses in the truest sense of the term,--dlısplay an intense love of Nature, the Buddhist Tberis, more nun than poetess, hare utterly neglected this most popular theme. So bare they neglected Jan, and although a personal note is frequently struck in these autobiographical verses, such as mother's sorron at the death of a child, a wife's suffering at the Urutalities of her husband aud so on, yet Jan as a subject, as an object of attention, has never been taken up in right earnest. In the same manner, while to the Sanskrit poetesses, full of womanly sentiments, love is the most important thing, to the Buddhist Therīs, at absolutely nothing The Sanskrit poetesses have not hesitated to give vent to their natural inclinations, and glorify human love, its beauty and delights The exactly opposite thing is done by the Buddhist Therīs. To them, passion is at the root of all sufferings and the very first thing to get rid of Again and again, the futility of sensuous love, its utter ugliness and impurity, are vividly dwelt on Thus, while the verecs of the Sanskrit poetesses are rich with the subtle fragrance of an intense femme heart and reflect its peculiar joys and sorrows, strifes and turmoils, the gāthās of the Theris, who have reached means 1 cp eg Khemā (52) 139ff, Gutti (26), 163, Uppalavannā (61), 221ff, Subhā Kammaradhita (70), 338€ Subhi Jivakambayanıkā (71), 366ff, Sumedha (73), 4.18ff etc The figures inside the round brachets indicate tbe serial numbers of the Thcris, and those following outside, tlo running numbers of the rerses ·INTRODUCTION LXIIIII their goal, voice the tranquil content, the utter detachments from the Torld of sense, the profound indifference to joys and sorrors ahhe, that are purther feminine, nor peculiar to any ses, but belong to the Seer alone-a Seer who belongs to noses a particular, to whom universal beperolence is the only thing individual attachments nothing Irom the very nature of their theme, the fathas of the Thers have an austere simplicity of expression although some of them can really boast of some really beautiful smiles Still they lach, paturally, the streetness, music and grace of the ornnte poetry of the Sauskrit poetesses while the verscs of the Sanskrit poetesses display multifarious interests, the gathus of tho Theris are one pointed the former are more ohjechase and concrete concerned more with ex terval tings, the latter more subjective and alstract, or speal more of the inner experience, the former bensuous and lyrical, the latter serious and didactic, the former enger and alıre, the latter carnest and calm, the former peculiarly feminine and individual, the latter beneralentis universal and indifferent the former simple yet street, the latter simple but austere Thus it 19, indecd, rers interesting to study side br Ajde these two groups of verses-one passionate, tho other profoundl, ont lively, the other lofts, oue reverentiallr silent about the world berond, the ſo sum up le I rere gocd esaurle is furnished by the poem of l'a facus (1") 1124 The poem of imbanih (CC) , too, is a Lentilul composition, full of rich artistic imageriecs ·LXXXVIII SANSKRIT POETESSCS other rigorously contemptuous of the world sensibleboth from the pens of women, set both so discordant. There is, however, i striking point of simi. larity, viz. that the Buddhist Theris, though with one voice condemping human love, yet bare never, in common with the Sanskrit poetesses, spolen degradingly of men, Even when ill-treated by men, they hure Lept silent or blamed their own lots, not men A good example of this is furnished by the poem of Isıdāsı, who though cruelly deserted by her three husbands, one after another, for lo fault of her own and suspite of her unselfish efforts to serre tbem loyally, blames her on past misdeeds, and never her bualands. Again, then they are unable to practise self-control they never point out to men as temptors, but frankly admit their own inherent weaknesses Thus, Sıhá, being unable to control her sensuous inclinations, decides to commit suicide, Vimala, a courtesan, franbly admits her otra past guilts and makes no one responsible, and so on even when they themselves, with no evil inten tions, are being tempted by Vara, or the Evil One in the form of some youthful gallants, or even in the form of sutors and so on, they heap no violent reproaches on the head of men, but only try to avert What is more, 1 (12), 4008 cf 6 g Sama (-9), 37 38, Uttarta (30), 30 11, Vaddbeşi (35) 676f, etc (10), 778 (39), 7-ft 5 Cp CG Khema (52), 139ff, Gutt? (56), 163, Upacala (60), 1994, Sisupacala (61), 1968f, etc 6 Acopama (34), 151ff etc ·INTRODUCTIO LYISI them from their unholy jotentions by portraying vividly the utter forthlessness and contemptibleness of all sensuous passions and lusts Thos, Subba Jasa- Tambayaniha, harassed by an evil minded young man, utters not a single rord of reproach, on the contrary, pluchs out her lovely eyes in order that they may pottempt inen any more Sumedha, when disturbed in hier meditation, by her suitor, bursts into no roulent temper, casts po aspersions on him, lut, on the contrary, tries to reason with him and mahe lim understand the situation with esemplary patience and sympathy and so oo The significant fact is that in direct contrast to this sort of romanly broad mindedness, forbearance and sympathy, the poems of the Theras, or the Brethrens or monks, abound in attachs ar vile teinptresses tho are always trying to seduce ana lead men astray, as the of all sufferings thoma should always aroid“, and so on and so forth This contrast between the tones of the two sets of gathus finely illustrate the fundamental difference betteen men and tomen, and strongly testifs to the lostinctire protectire tendence of women of all types and ages The Sanskrit anıl Prakrit poetesses cared for love, and lience it is understandable, in their cases, why they could not hu, as franhls admitted by one of them', too critical But these Buddlust Theris had nothing to on womeri cause inan of men (I) Buff 3 Cref poems GʻI ? 38 38 cte 73-1 5 Roht, also Saprabhu ·I\TRODUCCIO SCL thrice, is cach time deserted by her busbind, and at last leaves the morld through sheer disgust and disappointment Oiber examples are Valta, married to a cruel bunch back, Nand.? those buitor dies just before marriage, Sumaugala's mother, married to a brutal husland and harnessed to kitchen drudgery, Surs,' grief strichen at the death of her friend, Ubbiri mad at the death of her only daughter, Patucara, who loves two sons, husband, parents and brothers, Chandu, sidor, childless, poor and friend less, 1918, thi' who loses her son, Kisa Cotani ho loses her husband and son, Bhadda Kundalales 1,40 a rather unusual case, who has to hill her husband 10 self defence, Uppalaranna," also an unusual case, re-married urhnowiogly to the husband of her own daughter and so on There is nothing to show that of such women lad normally happy domestic lares, they would have renounced the world in quest of the peace of Arrann CONCLUSION It is clear from the above that immense, indeed, 13 the value of the contribution of women of ancient India--of the female Vedie seers Buddhist Theris l'rahnıt potesses and Sangbrit poetesses-to the field n 1 3 (11) 11, (21) (133) J1G (19) 1. ff (€3) 2138 (GI) 916 (29) 190 4 (9),3-> 6 () 112# € (51) 733ff 10 (11) 10-6 11 ·XCII SAVGURIT IOTTI SSHS of poctry But they were ot1r104 of not only Vuel, lut contributed their quotns, though generally not hoorn, to other splıcres no less,—such as drama, luustory, smştı, tantra, philosophy and cren medicine, astronomy and mathematics' Ind, an ercry spliere thes linne giren i sidence of their clearaces of insiglit, depth of critical accumon, ricliness of thought ani! Tower of espression In no other country has the Ancient literature been enriched so much lry romen as in India In no other country have so all round 1 culture, so great e height of intellectual attain ments been gained by ancient women as in India 'I his indeel, 19 an heritage which esers Indian woman mny justly le proud of this, indeed, 18 % tradition wlaclı every Indiau womau should try to emulate and preserie donndays, a great deal of controversy 19 being carried on, both in India and outside, as to the status of Indian women in those days of hoary anti quity What better evidence can there be to the eminence of their position both in home and in so ciety, than the fact that women of those days were not only hughly educated, but were themselves orer and above, creative geniuses and artists of no mean order? If women of ancient India could produce so many works of such outstanding merit, they could not by 1 See other vols of this series also Gargılacakuarı (Brb Up IIT 8) Maitreyi Gargi (op cat II 41-14 and IV 5 1-15) and Vaclava Prathitheçı (ASGS III 44) Lalla (Kashmirian philosopher and saint) Patai cala Kapya s #ife (BrhUp III" 1 ) ete etc ·INTRODUCTION XCI any meang be kept down as mere chattels in the seclu sion of the zenana But they were daughters that Tere equally cared for and educated like the sons sisters that claimed intellectual partnerships with their brothers wives that were real helpoites and companions of their husbands mothers that were foremost teachers and guides of their children public spirited women and educationists that shaped the morale of the society in no mean degrees This fact must be borne in mind when we $igh for our past glory and freedom for, to utter a traen tho uplift of a nation invariably depends on the uplift of women,-in the national resurrection women are destined to take an equally important part as men Attribution of some acroes of the Sand nt poetesecs to other poets and some remar) s alout the lates of Sanstret poetessce The scriptions of verses in sanskrit anthologies and similar works are often fluctuating and 1 sariety of attnbution is fonnd in miny Czses Out of 140 Sanskrit stanzas collected in this work only fourteen crcs (sce below) are found attributed to other poets in certain anthologies other than tho e in which they are found 1881gned to the name of the poet in question and to Versca (nas 72 73) are found in the Bilhan kuty in the form of a dialogue between the poet lover Bilbina and his lads lore Ruzhany S1 ikalı or Cindrikalı It may be doubted whether these stinzi were really com osed by the poetesses concerned Lahore er not 1 Vi 31 32 p 1,0, m 1.2 10 23 \SP 1916 ·XCIY SANSKRIT POETEBSES possible for us to decide the relative authenticity of the different attributions and as we have at present no other evidence at hand, we hrve to leave the question open Again, some verses are found anonymously in rhetorical and anthological literature and references to these have been given in this book in foot notes The following are the fourteen verses ascribed, in other anthologice to the pets pamed here The numbers in bold type refer to the serial numbers of the verses in our book 2 ACT, SUK, MS, V 2 379 , SUK, 2 76 4, pp 118-119 3 gR6, SUK, MS, 2 232, 995, S'P, 3558, SMV, 57, 4 p 198, A7, Padya racana, 814 4 TRZ, KVS, v 356, p 109 14 fan, SUK, P 15 71 This verse occurs in the Nati s ataka by Bhartrhari, 92, p 40, NSP ed, 1929 101 RUT, SSV, v 2515, P 429, Subhasitavalı of S'rtvara, Bhandarhar Oriental Research Institute, Poona, VS No 204 of 1875 1876, verse no 2503 109 श्रीराज्यपाल, KVS, v 414, P 128 110 1*, SSV, v 1777, P 301 , SRB, 108, P 359 113 ****, S'P, v 3545, p 523 126 Taís, SʻP, v 3:63 p 585, SRB, v 9, P 355, afs, SSV, v 1734 127 चीआक, Ssv v 1760, p 295, SRB, v, 54, P 354 132 Jointly attributed to Gosindasvamın and Vikatanitamba, SP, V 3010, P536 134, 76, PVL, PP 101 102 ·INTRODUCTION 21, P VIZ UI 137. 45, S'P, , v 8747, pp 562–583 , SSV, v 2147, P370, SRB, 343 (The verse of Sarasvatikutumbaduhit, F, etc has been attributed to Sità in tie Bhoja prabandha, p65, NSP ed , 1928) As the eridence of the anthologies regʻirling author hip is not always relible, the chronological conclusions based on it may not be absolotely certau in all cases One of the methods adopted by us for deciding dates has been to trace the stunzas concerned in some rhetorical work or other of known date We have adopted this method In geven cases, those of Cinnamā. Phnlgulinetini, Sarisvntı Sıla Bhatturikā, Sita, Vajjāand Vikatanıtımbă However in all these cases, fortunately, the stanzıs on which te lase based our chronological conclusions are not definitely attributed, except in the C150 of the first mentioned poeteas, to any other poets in other anthologies, though, at times some of them are found anonymously This silence of anthologies as to authorship does not however, prose anything contrary to our conclusions The following are the verses rcferred to aboro (1) Plinlgulistini's Girst serse (no 70) 9 found under her name in all the four anthologies in which alonc it hng been found" (-) Surigenti's first rerse (no 73) 13 7scribed to her in Bannhatli's edition of the Kurya. 1 Terecs Regarding further authenticity of the nttnbuted to Vol 4. See also foot pote, P XXXVII ? Ece f n 1. p 31 ·ICYI SANSKRIT TOETESSES prakasa? and anonymously IA three other rhetorical works? (3) Sila s fifth verse (110 89) is attributed to her in as many as four anthologies and anonymously in two others (4) Sita s verse (no 48) is found under her name in a particular NS of the Bhoja prabu dha and in one rhetorical works while anonymously in certain other rhetorical works (5) Vias sixteenth verse (no 116) which helps us in determining the lower limit of her date is ascribed to her in all the six anthologies in which it has been found' Ller third verse (10 103) relying on which we have ventured to fix the upper limit of her date is found under her name in three anthologies and anonymously only in one In this verse sho dis tinctly refers to the fourth pada of the fist Verse of Dandın s Kavyadarsa? The sixth Verse of Vikatanıtamba (v 13.) 18 assigned to her in the anthology in which it is found 1 See f n 2, p 33 RG 393 AK P 246 SEB p 920 3 SP p 567 SRB | 369 SNIV p 301 SHV MS f 25 (v 1853) 4 PVL p 118 KVS p 109 5 See f n 1 p 38 6 KS of Hemacandra p 14 KV p 86 KIS p 32 7 See f n 2 p 49 8 SHV i 31 $P p 29 SRB p 35 9 SIV P 47 10 मानसे रमते नित्य सर्वशुक्ला सरस्वती। As regards Candalavıdya the date we have assigned to her is correct if the ascription of the verse to the joint composers be right This verse is not quoted from any of Kalidasa s works ·PART II TEXT ·Sanskrit Poetesses ANONYMOUS -लग्व पत्र- ( 1 ) मुलीन स्वाधीन भ्रमण परिहीन प्रियतम धमा सिन्धो साध्वी शरण करणा भानन विभो। अयीदानीमस्या कुर करणमिन्दीर-दृशो दृटोय प्राणेश गणमपि लिन न सहते' रस्या । [शिखरिणी] 2 BHAVADEVI तरणी। ( 2 ) मनमानो तुन्यारभिजन भुगा जन्म व सह प्रवृद्धौ नाना व स्नन इति समानावुदयिनो। मिर सीमा मात्र यदिदमनयोर्मण्डल पती रपि म्पर्धा-युद्ध तदिह हि नमस्य रठिनिमा ॥९॥ भावारठया । [शिखरिणा] 140%a) 1 SHI 11 o called talader and Bharahader ATH1 Put ·SANSKRIT POFTESSES सुगतात्मज रूप सुरूप-घरं बहु लक्षण भूपित-देह धरम् । अमिताभ तथागत मौलि धर कनकाज विभूषित वाम करम् ॥२॥ ( 8 ) कुटिलामल-पिङ्गल धूम्र-जट शशि विन-समुज्ज्वल-पूर्ण मुखम् । कमलायत लोचन चार कर हिम खण्ड इल पुण्ड पुटम् ॥३॥ ( ) अधर जित-पङ्कज नाभि सम शुभ कुण्डल मण्डित लोल करम् । विमल कमलोदर नाभि तल मणि-मण्डित शेखर हेम-वरम् ॥४॥ ( 10 ) कटिवेटित चिन सुयस्त्र धर जिन' हान महोदधि-पार गतम् । As every 1 From ba to go the word hana is derived root meaning to go may also mean 'to knor to understand or to get (acc to the cretum सव गत्या वाधार्या प्राप्त्या वा ), bina here toeans jinna knowledge ·CINDRAKISTIBIHIRONI यह पुण्यमुपार्जिन-लावर ज्वर व्याधि हरं बहु-सौम्य-करम् ॥१॥ ( 11 ) शुम शान्ति-परं विभवास्तकर मवर खरं स्तुनि-देह धरम् । विविधाकुल-निर्जिन मारयल दा-पारमिता परमार्य रम् || ( 12 ) चिति वृक्ष-विहार-त्रिक-पर' तथवाझ्य-हान विरोध करम् । मणि-नूपुररखित पाद-युग' गज-मन रिलम्बित हस-गतिम् IIsh ( 13 ) परिपूर्ण महामृत-लघ धृनि सीरोट जगणर नित्य गनिम् । 1 Metre defective ► lletre defective, one krilable 1437 3 Cp Tibetan translations of the stotra by Bhilu Candra- En, Stangrur rot 3, Corder Catalogue, No. 23 and 4s There presuppose to slightly different reccpsons of the stora Tibetan Character The former Pota) bas पद-युग, while the latteroid) reads चाक्ष्यद। 4 retre detecture ose srllable Bengan दारों should be short ·HISKRIT POETFSSIS श्री पोतलकाभिनियास रति करणामय निर्मल-चार दशम् || इति श्रीमदार्यावलोकितेश्वर भट्टारकस्य चन्द्रकान्ता-भिक्षुणी स्तय स्तोत्र समाप्तम् ॥ 5 CINNAMMĀ शिव । कल्पान्ते शमित त्रिविक्रम महा-कङ्काल दण्डो स्फुरच छेप-स्यूत नृसिंह पाणि नखर प्रोतादि कोलामिपः । 1 Metre defective one syllable missing 2 Royal Asiatic Society of Bengal Hodgson Collection MSS B 39 aud B 69 The folios are not paginated Nepalese Character The reading of B 68 is very corrupt See also noto 3 p 5 For Avalokitesvara referring to the Bahı sattvas soe Mahi yut 22 10 for Asalokitesvara as a great Badhı sattva, see Seks p 216 Bodhiep 314 3 Bali king of lemons occupied the city of gods and banished them all from it For conquering him 119nu assumed the form of a dwarf and covered the heaven the earth and the ncther region by three strides (Trivikrama) Tamana was the fifth incarnation of Visnu 500 DhP 81494 Famr 4853 4 Tor details see AguiP chap 30 Har! chaps 30 39 DhP .110 VisuPI 1721 Almost every Puruna contains some account of Nrsimba This was the 4th incarnation of Visnu 5 BhP 31420 KalP 1999 This was the 3rd incarna tion tho I illed Hiranya sa

·GANDHADIPIKi
7
विकावना निनान्त-मुदिता नो मनन्या कृमाधुमार
कपन बोधरनां गतोऽन्यनु महा मोहं महाभग्यः ।
चिन्नम्मायाः। मार्दूल-विक्रीटिनम् ]
6
GANDH DIPIKĀ
था।
गशि नय-गिरि मद मामी जनु-भागो मन्द्रय टोयोमांगा।
मिलिनद-परिमृदिन गृहादीनि धूपयेचनुरः॥'
गन्धदीपिकायाः। [गीतिः]

·SI SI RIT POHTFSS GAURI शि (16) उनकाल परिपुल मुखारपिद सौगस्थ्य लुध मधुपापुल्या रता 'भुग्न पीन कुच चूचुकयाऽतिगाद्ध मालिङ्गितो गिरिजया गिरिश पुनातु ॥१॥ गौया । वसन्त तिलकम जा-अर्णन । प्रियच्छ तिमस्तक प्रषिगलत् सद्वण मित्र स्थिति श्यत् स्याङ्ग क्ल प्रनष्ट वचन प्रागमार पूर्ण स्मृति । दोऽत्यन्तमय स्त्रय फलि महा म्लेच्छेन निमलितो धर्म सम्प्रति चास्यते तब करालम्येन भूमीपत १२ गौर्या । [शाल विमीडितम् ] ३ ·GADRI 9 द्विपदकीर्ति। ( 18 ) कालिन्दीयति कजलोयति कलानाथाङ्कमालीयति व्यालोयत्यहि-मण्डलीयति मुहुः श्रीकण्ठ-कण्टीयति । शेवालीयति कोकिलीयति महा.नीलाभ्र जालीयति ब्रमाण्टे रिपु-दुर्यशस्तव नृपालकार चूटामणे ॥३॥ गौर्याः। [ शार्दूल-विक्रीडितम् ] मुशण्डौ । (19) महाचण्डीय मंभाति भुजण्डो' भवतः करे। प्रताप-ज्वर-संभ्रान्त-गोलिका जीव हारिणी ॥४॥ गौर्याः। [अनुष्टुप] (20) यदि वर्ण परिपूर्ण निजान्त- गोलिका गरल-वत्त विकासा । बाहु-भीषण भुजङ्ग-भृतेय भाति दुए मुजगीय मुशण्दी ॥५॥' गौयो। [ म्यागता] 1 P.,f 10la),4. 3 ...101, .. . भुगदी! Plf.14(1) 14.

·SANSKRIT POETISSES रण। ( 21 ) नो चापाकलनं न पत्रि-धरणं नो ज्या-समाकर्षणं नो वाहु-स्फुरणं न वाण-गमनं सन्दश्यते ते रणे। किन्तु प्रौढ करीन्द्र-कुम्भ विगलन्मुक्ता गण प्रस्फुरत्- प्रत्यर्थि-क्षितिपाल-मौलि मणिभिर्विद्योतते भरियम् ॥६॥ गौर्याः । [ शार्दूल-विकीडितम् | अरि-नारी। ( 22 ) चन्द्रानना चन्द्रक चारु-गायत्री सा कोप वित्रस्त-चकोर-नेवा। शेलेयभुगभिः स्मर-भावयद्दिः संसेव्यतेऽद्रावरि-भामिनी ते ॥७॥ गौर्या । [इन्द्रं यत्रा ललना-वर्णन। ( 23 ) विश्वेश्वरेणैव विनिर्मितेयम् अर्धानात्वं प्रतिपय यत्नान् । . I , 1012),r.lot ! Vantag an metre lefective 3 PT,f lb(b) : 165, गारा ·GAURI 11 यतत्रिलोकी महिलोपमाया मति भावेन विभाति गौरी 11८1 गोयाः। [उपजातिः जल-कलि। गिनि सरन्ती रति जित्वराही नोरात् सरागाम्बुज-लोचन श्री। आलोफि-लोः स्व म्चा स्फुरन्ती जलाधिदेनीव देवेश -चन्द्या गोर्याः । [उपजातिः भ्र। . वाचकोर-यवन-मीन-मृगाणाञ्च गवनात्तुरः। अर्पितवान् न मिपतो मारक्त एन-युग्मकं मुरगाः ॥१०॥ गीयां । [गीति] ·12 SANSKRIT POETESSES नेत्र। ( 26 ) मुग्वे शृङ्गार सरसि लापण्यामृत पूरिते। काम-श्रीडा हित भाति नयन शफरो युगम् ॥११॥ गौर्या । [अनुष्टुप] कटाक्ष। ( 27 ) अपाङ्गस्तव तन्यगि विचिनोऽय भुजगम । दृष्ट मात्र सुमनसामपि मूर्छा विधायक ॥१२॥ गोर्या । [अनुष्टुप अधर । ( 28 ) सुधा विद्रुम सत्सारांनाऽस्या चितोऽधर 3 यनोऽनङ्ग भुजङ्गेन दए जीवयति क्षणात् ॥१३॥ गौर्या । [अनुष्टुप] f Pla) 1931 1 PT f(a) 7230 3 defective रचितोऽपर ? Plf °0(a) 11 ·14 SANSKRIT POETESSES दिवस । उत्पात केतुरिव मन्मथ नायकस्य वन प्रहार इव केलि लता वनस्थ। सहार काल इव पान्थ वधू-जनस्य प्रीष्मस्य भाति दिवस. सखि दूरिताशः ॥१७॥ गौर्याः । [वसन्त तिलकम्] कल्प-तरु। ( 33 ) सन्त्येव नन्दन वने शतश सुवृक्षाः कालेन पुष्प फल तर्पित नाकि दक्षा।' तेवेक एव सुर राज मनोऽभिलाप तत् काल-दान पटुरस्ति स कल्प शाखी ॥१८॥ गौर्याः। वसन्त तिलकम् ] 8 INDULEKHA अस्तमय। ( 31 ) एके वारि निधी प्रवेशमपरे लोकान्तरालोकनं केचित् पात्रक योगिता निजगदु. क्षीणेऽह्नि चण्डार्चिप 1 153 (a) 3 P7b) 2 लक्षा 2 ·KERILI 15 मिथ्या च तदसाक्षिक प्रिय सखि प्रत्यक्ष-तीव्रातपं मन्येऽहं पुनरध्वनीन रमणी चेतोऽधिशेते रविः॥ इन्दुलेखायाः। [शार्दूल विक्रीडितम्] JAGHANACAPALĀ 9 असती। Io ( 35 ) दुर्दिन निशीथ पपने नि सञ्चारासु नगर वीथीषु । पत्यो विदेश याते पर सुपं जघन चपलायाः ॥2 जघनचपलायाः। [जयन-चपला KERALI सरस्वती। (31) यस्याः स्व रूपमपिल सातु ब्रह्मादयोऽपि न स्पधाः । काम गी सुकवीनां सा जयति सरस्वती देवी॥ केरल्याः। आर्या 1 SSS 1902 33 ANS : 518, ' 163, PR + 36, Pi, rr -दुर्दिवसे घन तिमिरे दुराचारामु नगर-बोधीपु ( 17, पत्युविदेश गमने परम- मुग जपा-चपलाया ! ) SHI IS a) 13. Plus f7(a) 309 1 1 -दुदियमे पन तिमिरे दुमगारागु रजनीपु (I), पयुनिदेश ममये परम मुझ जपन-चपलाया: (12) 3 f cc

·18
SA SARIT POI TI SSFS
15
MADHURAVARNI
कुलटोक्ति।
(12)
आकारेण शशी गिरा परभृतः पारावतश्चुम्बने
हंसा क्रमणे समं दयितया रत्यां विमर्दै गजः ।
इत्थं भर्तरि मे सस्ता-युवति श्लाध्यगुणैः किंचन
न्यून नास्ति परं विवाहित इति स्यान्नैक दोपो यदि ॥
मधुरवाः । [शार्दूल विक्रीटितम् ]
16
MADIREKSANĀ
वसन्त-सन्धि ।
अनुभूतचरेपुः दीर्घिकाणामुपकण्ठेषु गतागतैकतानाः ।
मधुपाः कथयन्ति पझिनीनां सलिलेरन्तरितानि कोरकाणि ॥
मदिरेक्षणायाः। का(मा)ल भारिणी]
+
1 I defective one syllable nissing
समस्त
2 SET, NS. f 20,77
3 For the sufir चरट, see Panna 53 23 “भूतपूर्व चरट",
Sidhan, 1999-NSP ed, P12
48SS,f 20,723

·SEIFELI
19
17. MARULA
विरहिणों प्रति सख्युक्तिः।
गोपायन्ती विरह जनित दुःखमने गुरुणां
फि त्वं मुग्धे नयन विधनं याप्प पूरनपदसि ।
नक्तं नक्तं नयन-मलिटरेप भारतन्ते
शव्योपान्तः कथयति दशामात शोप्यमाणः ||१||
मारलायाः । [ मन्दाकान्ता)
विरहिणां प्रलापः।
राशा येनासि स्त्र प्रतिरियाहस्थ मनु में
मलाधूम्रा कस्माद् गुरु-जन गृहे पाचपनया।
मरस्यस्मान् फचिनहि नहि नहीन्येवमगमन्
स्मरोत्फम्प याला मम हदि निपन्य प्रादिता
मालायाः। [शिपरिणी]]
I SIN.P10,SHI,L,.,SRD,r
..
" -नयन-गनतं (
17
..... 133,1, -', 13:31. Pr
मदन 1 3. मदर -कम 115)

·20 SIVSKRIT POETLSSLS 18 MORIKĀ वियोगिन्या अवस्था-वर्णनम् । { 46 ) लिखति न गणयति रेखां निझर-याप्पाम्यु-धौत-गण्ड तटा। अवधि-दिवसावसानं मा भूदिति शङ्किता वाला ॥१॥ मोरिकायाः। [आर्या ] दूत्युक्ति। प्रियतमस्त्वमिमामनधार्हसि प्रियतमा च भवन्तमिहार्हति। न हि विभाति निशा-रहितः शशी न च विभाति निशाऽपि विनेन्दुना ॥२॥ मोरिकायाः। द्रुत-विलम्बितम् ] ISSSMS f 37 (b), v 20, SP, 3403, P495, SST 1072, p 18, 1 + -लिसति.. रेखा निर्भर-वाघ्पाम्बु- धात गण्ड तला। PR r 13, P 48, v : -निर्भर-वाष्पाम्बु धात- 75 Cat (1 1), SM. P 134, Vrvesactly like SST., Pr, Ms. f 29 (a) / 330, 11 -निर्मार.. गण्ड-तला (01) 2 SST. 1396,p234 ·VORIKI 21 नायकं प्रति नायिकोक्तिः। । 48 ) मा गच्छ ममदा मिय प्रियानरम्यविनम्त्यं मया याला प्राङ्गणमागनेन भयता प्राप्नोत्ययस्यां पराम् । किं चाम्याः कुर-मार निःमहतररहेरनशाकुन्द्र म्युट्यत् कञ्चुफ-जालकैरमुदिनं नि मनममद्-गृहम् ॥३॥ मोरिकायाः। [ शार्दूल विक्रीडितम् ] शृङ्गार-पद्धति । दयिन-गमन-पद्धति । । 49 ) यामीत्यध्यमाय पर हृदय वनातु नामाम्प यर्नु प्राण ममानसमक्षमपणेनत्य कर्य पार्यने । उत्तं नाम तयापि निर्मर-गलट-यायं प्रियाया मुवं दृष्ट्राऽपि प्रामन्यही धन-लार प्राप्ति-स्पृहा माहगाम् ॥2॥ मोरिकायाः । [ शाईट विशोदितम् ] ·29 SINSKRIT POETLSSLS 19 NAGAMMAL रवि। शुक तुपडच्छनि मधितुश्चण्ड रुच पुण्डरीक वन बन्धो । मण्डलमुदित बन्दे कुण्डलमाखण्डलाशाया ॥ नागम्माया । [ आयां] PADMAVATI 20 ज-वर्णन। राज- ( 51 ) हरिण्यस्त्वरण्येऽन-गण्य शरण्य नृपाणा यमालोक्स लोलाक्षि गोला । करे चारु चाप गले मील-चोल मृगानुव्रजन्त स्मर' भारयन्ति ॥१॥ पद्मावत्या । [भुजङ्गप्रयातम् ] 1 Also called Nagama 2 SPy86p ! SRB v 2 p 28 नागमाया This verse is found under the name ot Vidya in SUK P 3 3 Vrite art in PT 4 Grammatically wrong compound 10 possible here 5 T would give a better meamng 6 PT 06 (Aufreclt corrects it as 9 a) PL f6 (a) v 53 Commentary on the above verse hy Jayarama as ron tained in PI p 44 [typed 46] लोली चञ्चलो अक्षि गोला यामा ता इति पहुव्रीहि । हरिण्य अरण्ये अन गएम धेछ नृपाणा राज्ञा शरण्य शरण रक्षणे साधुम् ।

·PADJIVATI 23 कृपण । ( 52 ) कोपे निपण्णस्य च बद्धमुष्टे. मंलिम्लुचाफार-विभीषणस्य । आकारतः केवलमस्ति भेदः कृपाणकस्यापि धनाणकस्य ॥२॥ पद्यावत्याः [उपजातिः] "तर साधुरि"ति पा. ४४४१६८] यत्-प्रतयः । “शररां गृह-रक्षियोः वध-रचणयोरपी"सभिधानात् । बरे हस्ते चारु-चापं गले नील-चोलं हरित- वा चालोक्य । स्मर-भावनाया रातो नील-वमन-धारित्वं हेतुः, स्मरस्य श्यामानत्वात् । तथा च भागवते दशमोत्तरार्धे पञ्च-पचाशत्तमेऽज्याये। "तं दृप्या जलद-श्यामं पीत-वाशेय-वासमम् । प्रलम्व-चाहु-ताम्राक्षं मुम्गितं रुचिराननमि"ति [ see p. 894, Bhagarata-purina, Satyanam press, Benares. 1983 (1926)]] मृगानुवजन्तं मृगया-पिहारि- सान्मृगानुचारिणं राजानं स्मरे [re] कामं भावयन्ति काम-स्वरूपेण चिन्तयन्ति । स्मरत्वेन भावनादुत्प्रेक्षा। [f. 22 tu) eud] 1 थाणक (प्रानक) means despicable (Sabs , p 10, cp. Ast, 2.1.54, SidK, 13, p 170), 60 धनानक means one who 19 despicable in respect of riches 1 e a miser. The word कृपएकस्य ought to have been ured, because between पाण: sna कृपण, there is only a difference of श्रा, as suggested by 1 3 But for the sale of metre adifferent ford has been used. ' Pr,f 64(5), 7.4 ·1 SASKRIT POETESSES खल। ( 53 ) स्वभाव सिद्ध चकत्वं खलस्य च हलस्य च। मुखाक्षेपं तयो सोदमलमेकैव सा क्षमा ॥३॥ पद्मावत्याः। [ अनुष्टुप] कच। ( 51 ) कि चार चन्दन-लता कलिता भुजगय किं पत्र-पम-मधु सवलिता नु भङ्गय । किंचाननेन्दु जित-राकंदु: रुचो विगल्य. कि भान्ति गुर्जर-घर प्रमदा कचाल्यः ॥en' पद्मावत्या । [यसन्त तिलकम् ] 1 For TT meaning carth see DJ, rup? 2 Pr,fG(b), १ 5 Vetre defective 6 विपान्य ? The line as it stunds consers no sense Perhaps the meaning is as follons --Just as tha moon is conquerel br black Rahu, so the face is conquered ie surround ed by blach tresses resembling rows of poisonous black bees उपमान उपमेय मानन पच ( विपाल्य )। P, (b), 21 ·PATVIATI वक्त। (55 नव रचिर-मुखेन्दो कान्ति-पीयूप-धारां चतुरतर-चोरी-चर चिक्रमास्वाद्य सद्या। अनुगत-बहु-माध्वी चञ्चजाड्यापनुत्त्यै कलयति शशि-विम्बे काजिक भ्रान्तिमेतत् ॥५॥ पद्मावत्याः । [ मालिनी] नासा। ( 56 ) दन्तालि दाडिमी योज भक्षणोत्कण्ठितात्मन.' । मन्ये मार-शुकस्येय नासा बञ्चर्यिजायते ॥६॥ पद्मावत्या. [ अनुष्टुप] तिलक। (57) कस्तुरी तिलकं तस्या जनयति शोभा भ्र बोरन्तः । कोदण्ड मध्य लग्नं फलमिर पञ्चेषु वाणस्य ॥१ पद्मावत्या । [ उपमीनिः] 1 f9a).r 2 1 भक्षणोत् गठ-चतम , PT (Poona) 3 विराजते। f20 (b), 23 FT (Poona), (b), 5 cp L63 PT 4 lefective तिलस्मस्या ? - Pr, 21 (6) 123 ·SANSKRIT POFTES-F- कण्ठा (8) न भानि कण्ठ. किमु काम भने । विभाति जंत्र किल कम्युरेव । अद्यापि मभाति यतम्तदीया रेगा-मिपादङ्गलि यन्त्रणेयम् ॥७॥ पद्मावत्याः। [ उपजाति. ] बाहू। ( 59 ) कि शृङ्गार समुद्र कल्प लतिके किंचा मृणाली-लते किं वक्षोज महीध्र चन्दन-लते किं मार पाशी-लते। कि लापण्य सुधाब्धि विद्रुम लते पत्रामुली सयुते भातः किं कल गुर्जरी सुललिते वाहू लते मन्मते ॥९॥ पद्मावत्या.। [ शार्दूलं विक्रीडितम् ] 4 1 M of this line Samsstha la 2 PV,f 19 (b)-20(a)r 122 BI upajati due to the combination of vamsa stharıla upendra vasra and indra rajra cee Chanda , II 43 p. 30 3 कुल 1 PIf 19 (6) lls

·PIDULIVATI
21
सिंह।
( 60 )
मान्योऽसि मान मञ्जुल सिह मृगेन्द्र प्रचण्ड-भुज-दण्ड ।
यः प्रौढ दिग्गजोइव परल रतो हसि नो हरिणान् ॥१०॥2
पद्मावत्याः। [भार्या ]
( 1 )
वारितः प्रस्फुरत्येन समुञ्चिन गर ।
अत्यन्तं भ्रमरी-काणों वाजी राजीर-सनिम ॥१।। 4
पद्मावत्याः । [ अनुष्टुप]
काका
मा काक कोक्लि शनानुगत प्रम5
दावमत्य मगराजमितो ब्रजेथा ।
मास्यन्ति चेत् क्रस्टक तु भरतमेत
हास्यन्ति पदुम्नर रत्त-महान् ।।१०||
पमानत्या । घिसन्त निलकम् ]
1 हरिएन् ।
translation
प्रपंद।
PL,In(a), -4
+ PE 12(b) TI
GP, 50(0) .

·28 SINSKRIT POETESSES दीप। ( 63 ) वनञ्जय-समद्भूतः सुभद्रोत्साह वर्धन । अभिमन्युवदाभाति दीपः कृष्ण-पुरःसरः ॥१३॥ पद्मावत्याः। [अनुष्टप] प्रभात-वेला-सन्ध्या। प्रभात वेला स्मर राज पुनी नीराजना भाजनमर्क विम्वम् । आयाति नीराजितुमब्धि पुत्री पाणौ गृहीत्वाऽङ्कुरिताशु-भालम् ॥१४॥* पद्मावत्याः। [उपजाति. ] नक्षत्र-गण। ( Go) भिलोको-जय प्रस्थितस्यात्मयोने र्लसत्-कुङ्कुमात्र य-पात्र' दधाना। 1 धनञ्जय 3 मालम् 5 श्रारालि [4] 2 PF 1 75 (a), 72 + Pv, 13 (a), V 43 ·PADI ATI स्फुरन् कान्ति नाराक्षतान् भारयन्ती पुरन्ध्री निशायाति तन्मगलाय ॥१० पद्मावत्या.। (भुजङ्गप्रयातम्] ग्रीम। ( 66 ) तुपाराफराह पितामुष्म-रोवि. समानाय जाया प्रियां पद्मिनींच। सपायं निज ग्रोप्म काल विधाय जलज्योतिरुयोतते जज्जयपी ॥१६॥ पमानत्याः। [भुजङ्गप्रयातम् ] ग्रीप्म-वात । (67) धुली कर्फरिण. प्रचण्ड-तपन ज्यालालि-माला-धराः म्पादन सरिजल तरु दल सशोषयन्तः क्षणात् । पातोन्मुक फणीश पति-पिज्वालालि युक्ता इच बच्छन्द परितो भ्रमन्ति यशो ग्रीप्मस्य वाता अमी ॥२७ पद्मावत्या । [शार्दूल-निकोटितम् ] M.ita) ' लया 3 If ()--3(a),14 धूनि-कारिणा in 10 PE f03 (a)..:.ch ! --(a) 11 ·.) SANKRIT P01 1ISSES दुर्दिनी। ( 68 ) नाय गर्जः फिमुन मदन प्रोट-निःम्माण- शब्दो नते मेघाः किमुत मदनम्योगः ग्मिन्राम्ने । नपा विद्युन् किमुन जयिनी तत् करे कापि शनि- नन्द्रश्चापः किमुत जगता मोहनाग्न रमरम्य ॥१८॥ पद्मावत्या'। [मन्दामान्ता] बीभत्स-रस । कुष्ठी विष्ठानुलिप्त कृमि फुल कलितः पूय पूराभियुक्तः संयुक्तो मक्षिकाभिः कर-धृत विमरग्निम्य शासान गन्धः । जानु प्रोयोष्ठ-नास:- सवदरुण गलन-पाणि पादः समन्तान् निष्ठीयलोक दृष्ट कलयति मनुजः कोऽपि दुष्कर्म भोजम् ॥१६॥ पद्मावत्या । [स्रग्धरा] PHALGUHASTINI चन्द्रोदय-वर्णन। ( 70 ) निनयन-जटा-वल्ली पुप्पं निशा बदन स्मित' ग्रह किसलयं सन्ध्या नारी-नितम्ब नख क्षतम् । 21 NS 1 22(a) - 117 1,11, 1 yr fT YT in SSS 2 PV ,f54 (b) 1 4 नेय गर्जा 3 Is व्यानुग्रोहोत्थनास । ६ भोगम् ? 5 Pl f 69 (2), ·PIJIKISIA 31 तिमिर-मिदुरं व्योन्नः गृह मनोभव-कामुक प्रतिपदि नयस्येन्दाविम्यं मुखोदयमस्तु नः ॥१॥ फल्गुहस्तिन्या. 1 [हरिणी ] (11) मृजति तावदशेष-गुणाकर पुरूप-रत्नमलद्दरण भुवः। नगनु तन्मण-भङ्गिकरोति - दहह कष्टमपण्डिनता विधेः॥२॥ फल्गुहस्तिन्याः। [द्रुत निलम्बिनम् ] 22. RAJAKANYA प्रश्नोत्तर। अद्गण तदिदमुन्मद हिप- श्रेणिशोणित विहारिणो हरैः। 15",373020, SEB, : Fi, p. 315, ST, 1.003, pal, rr. -बिनयन-...मनोनर-क (1.1), प्रह- ...नितम्ब नत-वतन् (. ), तिनिर ...निशा-वदन-म्मित 11.-, 34 The third lire तिमिर ... nuoted in Kts, n it, 15.37,ini ilaried 5.731-5,516, Pil.

·31 SUSKRIT POETESSES आमोद-मात्र रसिकेन मधुनतेन नालोकित्तानि तव केतकि दूपणानि ॥२॥ सरस्वत्याः1 [वसन्त-तिलकम् ] 25. SARASVATIKUTUMBADUHITĀ समस्याख्यान। सुरताय नमस्तस्मै जगदानन्द हेतवे। अनुपनि फलं यस्य भोज-राज भवादशाः ॥ सरस्वतीयुटुम्बदुहितुः । [ अनुष्टुप] 26 SILĀ BHATTĀRIKA नायकानुनय । (18) विरह-पिरमो पाम. फामः करोति तनुं तर्नु दिवस-गणनाऽदक्षधायं व्यर्पत घृणो यमः। 1-K.10 10:14.1,155,61Kारजगा:- भारम. 6P, 101,C... एण्टर शतं परिवरितानि :"..11iv. गुगणाय नमगाम जगदान देता हसि पारगमाया।

·SULI BHATTARIKA 35 त्वमपि वशगो मान व्याधेर्विचिन्तय नाथ है किसलय मृदु वेदेवं काथं प्रमदा-जन ॥१॥ शीला भट्टारिकायाः। [हरिणी ] वियोगिनोऽवस्थावर्णनम् । ( 79 ) प्रिया विरहितस्यास्य हदि चिन्ता समागता। इति मत्वा गता निद्रा के कृतघ्नमुपासते ॥२॥ शिला-भट्टारिफायाः। { अनुष्टुप् ] दूती-प्रेपण। (80) दूति त्वं तरणी युवा स चपल. श्यामास्तमोभिदिश. सन्देश स रहस्य एव विजने सङ्केतकावासका। SP 73002P 828, AST F 1633_P 277, Tr-दिवस- गणनाऽदवासी (12), SRB r ca, P 323,51 -विरह...काम काम तनु कुरुते तनु (1) दिवस गणनाऽदवश्वाय व्यपेत पुणोपम (12) जीवत्येव (1 4}, Sss is f 49 (a), VE -पृशो जन ( 13 SP, 347, p 001, SST r 1197, p 202,NT - प्रिया पिरहित्तवाच..), SRT, IPSISU p 156 ·36 SANSKRIT POETCSSES भूयो भूय इमे वसन्त-मस्तश्च तो नयन्त्यन्यतो गच्छ क्षिप्र-समागमाय निपुर्ण रक्षन्तु ते देवताः ॥३॥ शिला-भट्टारिकायाः । [शार्दूल-विक्रीडितम् ] दूत्युपहास-प्रश्न । ( 1 ) श्वासः किं त्वरितागता पुलकिता कस्मात् प्रसादः कृतः सस्ता वेण्यपि पादयोर्निपतनानीवी गमादागमात् । स्वेदादें मुखमातपेन गमित क्षामा किमत्युक्तिभि •ति म्लान-सरोरुहाकृति धरस्यौप्ठस्य किं वक्ष्यसि ॥४॥ शीला भट्टारिकायाः। [शार्दूल विक्रीडितम् ] असती। (82) यः कौमार-हरः स एव हि वरस्ता एव चैत्र-क्षपा स्ते चोन्मीलित मालती सुरभयः प्रौढा कदम्बानिलाः । 1 SIN . p 145, ssr, 1188,p 200, vr -एव विपिने... (1.2), मरुतधेतो हरन्यन्यतो (1 3), गच्छ क्षेम ममागमाय निपुणे... (14),BP ,13439, P502, . -एव विपिने...(12), गच्च क्षेम- (14), SRB , V. 2, p 301, 1 -एव विपिने (12) गच्छ क्षम- समागमाय निपुणे.. (14), SSS, IS, 40 ta), r. 04, reading lake SRB 2 BP , 3507, P615,SSY,r 1440, P 242,rr. -श्वासाः त्वरितागते.... 1),...पातपेन गलित... 3), SHY , P 1c6,r. r. -...त्वरितागतात्... 1), ...मुखमातालतया...(12), म्लान- सरोह-द्युति...1.4), SRB , r 10, P 306, SSS, Is , f. 45 (b). .

·SILIBEATT TRIXX 37 सा चयास्मि तथापि चौर्य सुरत व्यापार-लीला विधी वा रोधसि वेतसी-तरु-तले चैतः समुत्कण्ठते ॥५॥ शीला भट्टारिकायाः । [शार्दूल-विक्रीडितम् ] प्रश्नोत्तर। (83) इदमनुचितमनमश्च पुंसां यदिह जरास्वपि मान्मया विकाराः। इदमपि न कृत नितम्धिनीना स्तन पतनाधि जीवितं रत वा ॥६ पूर्वाध शारि-क्रीडां कुर्वत्याः शोला-भट्टारिकायाः, उत्तराधं च भोज-राजस्य। [पुष्पितामा ] 16P., RECR, P 507, SRD . T42.p 309,817,P301, rr -ताश्चन्द्र-गर्भा निशाः (1), स्ते प्रोन्मालनन मानती-मुरमय.... 2), चीर्य मुरत व्यापार . (13), PYL, 3, 118 , KTS, 509 p 1,9, SHT, ys, SUK.JS., 253 Fr -वरस्ताबन्द्र-गर्मा निशाः (1 1), उन मुरत-व्यापार-लाता-वता (13), रोमि वैदसावन-भुवा...) : SUR.2 123. pis, reading like SUK.IS , only! different प्रोन्मीतनव-मालता मुरमयस्ते ते च विन्यानिला and! तथापि चौर्य-गुरत-व्यापार-लीला भता । This Is quotel is the following rhetorical works - Kr, Payaratna's ed , तथापि तव सुरत-व्यापार... (13), SDP 15,r -like iP., ASK PP120. 200, Karyamálaed ,AK, p 336, 1$ pr 157, ?14,81 चार्य-मुरत... 3), R,P 13. FD , pp 12-14 2 BP, 101,PEO, SRD. r li, II, Sur, test

·38
SANSKRIT POETESSLS
27. SITĀ
चन्द्र।
( 8 )
मा भैः शशाङ्क मम सीधुनि नास्ति राहुः
खे रोहिणी वसति कातर कि विभेपि ?
मायो विदग्ध वनिता-नव-सहमेपु
पुंसां मनः प्रचलतीति किमत्र चित्रम् ।।
शीतायाः। [वसन्त-तिलकम् ]
28 SUBHADRA
तृष्णा-पद्धति।
(85)
दुग्धं च यत्तदनु यत् क्वथितं ततो नु
माधुर्यमस्य हुतमुन्मथितञ्च वेगात् ।
जातं पुनघृत कृते नवनीत-वृत्ति
स्नेहो निवन्धनमनर्थ परम्पराणाम् ॥'
सुभद्रायाः। [ यसन्त-तिलकम् ]
98(a),11
Quated in Ke, p 34, Banhatti's ed , vr -यदपि च न
कृतं..(1)
1 KS of Vagbhatta, p 20, Bhojal', MIS Of , 150(b)
[Not found in printed ed], KS of Hemacandra, p 14,5 I
मा......सीधुनि शास्ति राहुः ( 1) खे...दातर कि वभापे (12),
मन. प्रचलयन्ति...(1 4), KM , PS6, KAS,327,32
2 ssv,V 3259, P537

·IRIDIVIA. ASAR ASIATS
36
29. TRIBHUVANASARASVATI
(86)
श्रीमदम्पविटङ्कदेव साल दमापाल-चूडामणे
युनः सञ्चरण यदभवतश्चन्द्रेण राबायपि ।
मा भत्त्यवदनायलोरुन यशाद्वीडा-विलक्षः शमी
मा भच्चेपमधनी भगवती दुःशीलता-भाजनम् ।।१।।
त्रिभुवनसरस्वत्या । [भाई ल-बिगीडितम्।
समुद्र-मथने हरिः।
( 87 )
पातु मिलोकी हरिरम्वु-राशी
प्रमध्यमाने कमलां गिलोय।
अशात हस्त न्युन-भोगि-नेत्रः
पुर्यन् यथा याहु-गवागतानि :
त्रिभुवनसाम्यन्याः । उपजातिः]
1,ILLI
2 AUR..I.GARi.

·10
१-ARIT POLIFSIS
30
VIDYAVATI
म्तुति ।
( 6 )
या देवी जगतां की शङ्करस्यापि शकरो।
नमस्तस्यै सुमीनाक्ष्ये देव्यै मङ्गल मूर्तये ॥१॥
(90)
सरदाराध्य या समभीष्ट लभते जन ।
नमस्तस्यै सुमीनाक्ष्य देव्ये मङ्गल मूर्तये ॥२॥
(91)
यस्या प्रसाद लेशेन भोग मोक्षौ न दुर्लभौ।
नमस्तस्यै स्तुमीनाक्ष्ये देव्य मङ्गल मूर्तये ॥३॥
(92)
या देवी मुक्ति कामानां ब्रह्म विद्या प्रदायिनी।
नमस्तस्यै सुमीनाक्ष्यं देव्ये मङ्गल मूर्तये ॥४॥
(93)
यया शिनोऽपि युक्त सन् पञ्च कृत्य करोति सः।
नमस्तस्यै सुमीनाक्ष्ये देव्य मङ्गल मूर्तये ॥५॥

·VIDYAVATI (94) यस्याः प्रीत्यर्थमनिशं लास्य कुर्वन्छियो यो। नमस्तस्यै सुमीनाक्ष्य देव्य मङ्गल-मूर्तये ॥६॥ (5) लक्ष्मी सरस्वती मुख्या यस्यास्तेज.करोद्भवाः। नमस्तस्य सुमीनाक्ष्य देव्य मगल-मूतये ।।७।। (96) यस्याः प्रसाद मात्रेण वर्धन्ते सर्घ-संपदः । नमस्तस्यै सुमीनाक्ष्यं देव्ये मङ्गलमूर्तये ॥८॥ (97) या स्तुता सर्व पापप्ती सोपद्रय-नाशिनी। नमलस्य सुमीनाक्ष्य देव्यं मद्गल मूर्तये ॥६॥ (98) या ध्याता परमा शक्तिः सर्वसिद्धि-करी शिवा । नमस्तस्यै सुमीनाइयं देव्य मल-मूर्तये ॥३०॥1 (99) यया देव्या चिरहितः शिवोऽपि हि निरर्थकः । नमस्तस्ये मुमानाश्य देव्य महल-मूर्तये ।।२।। { 100 ) चराचरं जगत् सर्व यस्याः पाद-समुद्भयम् । नमम्नम्य मुमीनाक्ष्य देव्यं मल-मूर्तये ॥१२॥ 1 तेलगोट्रया ·SANSKRIT POETESSES इति स्तुत्वा महादेवीं प्रणम्य च पुनः पुन । अनुशया सुमीनाक्ष्याः प्रार्थयेऽहं सुकन्यका ॥ मातस्तव पद-ध्याने मनो निश्चलमस्तु मे ॥ विद्यावत्याः। [अनुष्टुप] शुभमस्तु। 32 VIJJA चाटु। ( 101 ) भूपालाः शशि भास्करान्वयभुवः के नाम नासादिता भर्तार पुनरेकमेव हि भुवस्त्वां देव मन्यामहे । येनाङ्ग परिमृष्य कुन्तलमथाऽऽकृप्य व्युदस्याऽऽयतं चोलं प्राप्य च मध्य देशमधुना काञ्चयां करः पातितः ॥१॥ विद्याया। [ शार्दूल विक्रीडितम् ] 1 MS., no 23 M 51, Adyar Labrary Script Grantha 2 fols , vide Cat of Sans MSS in the Adyar Library, part II, p 114 2 Also called Vijjakā, Vagjikă, Vijā, Vija, Bujjabā, Vidya, Vidyaka, ete 3 SUK , MS. 1.3 71, SUK , 3. 15.1, p 196,r ri, त्वामेव (12), परिमृद्य (1 3), अपाकुष्य (13), अचिरात् (14) विद्या becomes विज्जा in Prakrta, rnde Var's 3 37 "त्य-थ्य- द्यानां च-छ-जा", PTO ·VIJJA ( 102. या-पुन देव त्वदसिलनिकाऽमून समर समीरलङ्काली पटल-पर-राशि विकिरति । शिया गायन्युञ्चनरनि च करन्यालिरमू- दराताना मोश. सपदि मर-यन्य-व्यतिकरात् ॥२॥ विद्याया: [मिरिणी विशिष्ट कवि-प्रशंसा। ( 10% ) नीलोत्पल-दल-श्यामा विजयां मामजानता। वृधव दण्डिना मोक्तं मयं शुका सरबती ॥' वित्रकायाः। [अनुष्टुप सामान्य-कवि-प्रशंसा। (10) फवरभिप्रायमगढ़-गोवरं पुरन्तमार्टषु पदेषु यलम् । Iss...3 13. CK,3211290... -परन- पटन....... रटनिय... 37 2 SHY.. Is . f. II. 45.6R..1 17.70 [निन्जाया; srx..rrr - नानजान्दा.1),...दिनाउन्युः ...: []; CEB,TTP35 ·44 SINSKRIT POETESSES वदद्भिरङ्ग :कृत रोम गिक्रिय जनस्य तूपणी भवतोऽयमञ्जलिः ॥४॥ विजाकायाः। [वंशस्थ-चिलम् ] असती-चरित। (105) गृष्टि हे प्रतिवेशिनि क्षणमिहाप्यस्मद् गृहे दास्यसि प्रायेणास्य शिशोः पिता न विरसाः कौपीरपः पास्यति । एकाकिन्यपि यामि सत्वरमितः स्रोतस्तमालाकुलं नोरन्ध्रास्तनुमालिखन्तु जरठच्छेदा नल ग्रन्थयः ॥५॥ पिजाकायाः। [ शार्दूल-विक्रीडितम् ] 1 Ssv , v 158, p 25, SSV , MS, P58 [ भिज्जाकाया.], SRB , v. 36, P 34 - SP, v 3769. p b67 , SUK, : 14 1, pm [विद्याया ] Suv , P 301, vr -तद्वनगित ...(1 3) [रिज्जाकायाः) , SRD , V 43, p 369 vr तद्वरमित .. (13) Quoted in thofollowing rhetorical works -SD, 143, P 215, 16, SEB, p 72,vr like SRB , KS. P 35,r -प्रायो नास्य शिशो पिताऽद्य विरसा... (12),...तद्वरमित (). नीरन्धा. पुन- रालिखन्तु...(1 4), KAS , P 23r like SKB 121, rr -...तद्वनमित (1), KVs, p156, vr नीरन्ध्रा. म्तनमालिसन्तु.. (14), ATNI , P 12,rr (1 1) like KVS, प्रायो नैव शिशो. पिताऽद्य पिरमाः.. (12), ..तदरमित....(13),...वपु- रालिखन्तु...(14), STV, p 5, r r –प्रायो नैव etc like above KVS , (02)....तद् तमितः...! 3) r KD , P ·SANSKRIT POETISSES . ग्राम्या। ( 108) मञ्चे रोमाञ्चिताही रति मृदित-तनोः कर्कटी वाटिकायां कान्तस्याङ्गे प्रमोदादुभय भुज परिप्वक्त कण्ठे निलीना। पादेन प्रड्यन्तो मुसरयति महुः पामरी फैरवाणा रानावुनास-हेतोप॑ति शिखर लता लम्पिनी कम्बु मालाम् ॥८॥ विद्यायाः। [स्रग्धरा ] विरहिणी। (109) देवेन प्रथम जितोऽसि शशभृल्लेखाभृताऽनन्तरं बुद्धेनोद्धत-बुद्धिना स्मर ततः कान्तेन पान्थेन मे। त्यक्ता तान् यत हसि मामतिराशा यालामनाथा स्त्रिय धि त्या धिक तय पौरप धिगुयं धिकार्मुकं धिक शरान् ||६॥ विद्यायाः। [ शार्दूल विक्रीडितम् ] पथिक-कामिनी। ( 110) मेव्योम नवाम्युभिर्वसुमती विद्युल्लुताभिर्दिशो धाराभिर्गगनं वनानि कुटजेः पूर्पता निम्नगाः । 1 रति मृदिरा तनु A SUK,221 428° 3 SUK, IS 2 512, SUK,2 1038,P 195 ·IIJI एका घातयितुं पियोग विधुरा दीना वराव खिय प्रावृट फाल हताश वर्णय त मिथ्या स्मिाडम्वरम् ॥१०॥ रिजकाया. [ शार्दूल विक्रीडितम् ] मुख। कोप स्कीततर. स्थितानि परित पनाणि दुर्ग जल मैत्र मण्डलमुज्ज्वल चिरमधो नीतास्तथा कण्टया । इत्यार शिलीमुप्रेन रचना हत्वा तदप्यद्भुत यत् पदेन जिगीषुणापि न जिन मुग्धे पदीय मुपम् ।।११।। रिजायाया । [शाहूर पिमीटितम् ] दृष्टि। { 1121 जनयति जननाय पिरषा तय नव नील सरोग्हामिरामा। प्रणयिपु सुममाश्रितेपु लक्ष्मी मरिष च भनमनगमगनानु ॥१२॥ विधाया. [ पुणिनामा ·48 SANSKRIT POETESSES दूतों प्रति.स्वावस्था-कथनम् । ( 113) गते प्रेमायन्धे हृदय-बहु-मानेऽपि गलिते निवृत्ते सद्भावे जन इब जने गच्छति पुरः। तथा चैयोत्प्रेक्ष्य प्रिय-सयि गतांस्तांश्च दिवसान् न जाने को हेतुर्दलति शतधा यन्न हृदयम् ॥१३॥ विज्जाकायाः [शिखरिणी] सखी-वाच्यता। ( 114 ) नार्याः सा रति-शूग्यता नयनयोयंदुदृष्टि-पात स्थितः कामी प्राप्त-रतार्थ एव न भवत्यालिङ्गितुं वाञ्छति । आश्लेपादपि यापरं मृगयते धिक तामयोग्यां त्रिय श्रोणी-गोचरमागतो रति फलं प्रामोति तिर्यन किम् ॥१४॥ विज्जिकायाः। [शार्दूल-विक्रीडितम् ] प्रोपित-भर्तृका-प्रिय-संवाद । ( 115 ) विज्ञप्तिरेषा मम जीवन्बन्धो तत्रय नेया दिवसाः कियन्तः । ISSV ,r 1141, p 191, SRB , 17, p 300, 11 ...प्रणय-बहु-माने विगलिते (1), ..प्रणयिनि जने...(12), तदुर- प्रेक्ष्योत्प्रेक्ष्य.... 3) DSST. Y 1170, p 10s ·ED SHAKRIT POETESSLS सुरत-केलि । ( 117) उन्नमय्य स कच ग्रहमास्थ चम्यति प्रियतमे हठ-वृत्त्या । हुँ ममेति वदनान्तर-लीन जल्पितं जयति मानवतीनाम् ॥१७॥1 मिज्जाकायाः। स्विागता] तडागान्योक्ति। (115) माद्यद्-दिग्गज-दान लिप्त करट-प्रक्षालन क्षोभिता व्योम्नः सीम्नि विचारप्रातहता यस्योर्मयो निर्मलाः। T । - शपामि (14), SD, Pp 111 112, . -19 and 4 hle KM , AR,P 166, vr -विश्रब्ध चाटुक-शतानि...(12), सख्यः... (14), KP, p 136, Banhattased, rr -11 like AK, RD. pp 228229, reading like KP , BTV, Pt, rr -विसब्ध- चाटुक शतानि...( 12) 1 SSV, v 2090, P 359, SP 509, p 75,1 हुँ हुँ etc (ll times) (1 3), कूजितं भवति मान-धनाया. (14) विजकायाः), SRB , v 37, p_189, 11 -कृजित जयति मान- धनाया हू हु हूँ हु हु हु हूँ हु हु हू हूं। Quoted in the following rhetorical yorks -SKB , pp 74, 517,17 -हुँ हुँ मुच्च मम मेति च मन्द-जल्लितं... (974), मन्दं जल्पित (p bir), RAS , PG,-हु हु हु न न मभेति यवत्या जल्पितं जयति मान-धनाया।

·IJJA हैl कष्ट भाग्य विपर्ययेण सरमः कल्पान्तर-स्थायिन- स्तस्याप्येक वक प्रचार-कलुपं कालेन जातं जलम् ॥१८॥ विजकायाः । [शार्दूल विक्रीडितम् । देवाख्यान। ( 119) प्रिय ससि विपद् दण्ट प्रान्त प्रपात परम्परा. परिचय-चले चिन्ता चंक निधाय निधिः सला। मृदमिव बलात् पिण्डीस्त्य मगरम-कुलालबद् भ्रमयति मनो नो जानीमः किमन करिष्यति ॥१६॥ विज्ञकाया । [हरिणी] . ( 120) विरम विफलायासादस्माद् दुरध्यवसायतो विपदि महतां घेर्य-भ्रशं यदीक्षितुमीदसे। दान दिग्ध 16." 1131,211,SL,2101,NT ..मचालनात्...(d), SRB... 11,200 Qotel in is, 17.1 .: ... -मादिगगन गगह- मित स्वर्णभम प्रवचन्दन ... 1} - ipornhi.p ..." - रिमस विधास्पति (1), AMERIT -..चिन्ता पर...

·52 SANSKRIT POETESSES अयि जड-विधे कल्पापाय-व्यपेत-निज-क्रमा: कुल शिखरिणः क्षुद्रा नैते न वा जल-राशयः ॥२०॥ विजाकायाः। हरिणी] कलम-कण्डनी-गीति। ( 121) विलास मसूणोलसन्मुसल-लोल दो कन्दली- परस्पर परिस्खलद् वलय-निःस्वनोद्वन्धुराः। लसन्ति कल हुकृति प्रसभ कम्पितोरः-स्थल- त्रुटद्-गमक-सङ्गुलाः कलम-कण्डनी-गीतयः ॥२१॥ विजकाया.। [पृथ्वी चम्पका ( 122) केनापि चम्पक-तरो यत रोपितोऽसि कु ग्राम पामर-जनान्तिक वाटिकायाम् । P1,. T 1SSI,13238,p18,8ST,MS... 3195, SRD, 14, विरमायासाद् (1 1), धैर्य-ध्वसं (12) - SAIV , P 231, 8P, 1, 582, p_94 [विजकायाः], SRB , , 41, p 218 Quoted in the following rhetorical Forks -SKI, p. 517, वलय नि.खनोदन्तुराः (12), हरन्ति...(13)

·IJJF
53
यत्र प्रह-नर शाम निमुद्ध-लोभाट
मी भन्न-या घटनोनित पहनोऽसिर
विजायाया। [मन्त तिल्यम्]
तरु।
( 123 1
मुन्हाय फल भार-नन शिर मांति शान्ति मद
स्यामालोक्य मु-भूम्ह पल ययं मार्ग निहायाऽऽगना ।
बन्तस्ने पटि पोटरोदर-चलटल्यासनली पिम्पुरद
वनोदान्त निवानलातिभयद धन्यस्तद्रानी मान् ॥२३॥2
विधाया । शार्दूल चित्रीद्धिनम्]
न्योदय-वर्णन।
उमिट्टयोपनटरेणु पियाट्रिनाला
गायन्ति मनु मधुपा गृह-दीशिन।
नाम्निय ग्र्नर यन्धुजार
पुणन्छदाभमुदयावर चुमि विरम् ॥
वि.जायाया । वसन्त निरपम्]
P, 10T10 NILARIT
-पान व ! } प्रार-बन-गाविद (13}
th-t.in uk.0JNE -
air -23IP.33 2071 -

·SANSKRIT POFILSSIS वर्षा ( 10 ) सोत्साहा नय वारि भार-गुरखो मुञ्चन्तु नाद घना याता वान्तु कदरवरेण शवला नत्यन्त्वमी यहिण । मना कात पियोग दु ख-जरधौ दीना विलोक्याङ्गना विद्यत् प्रस्फुरसि त्वमप्यररुणा स्त्रीत्वेऽपि तुल्ये सति ॥२५।' निजाकाया । [शादूर विभीडितम् ] अस्थिरमनेक राग गुण रहित नित्य वा दुप्पापम् । प्रावृषि सुरेन्द्र चाप विभाव्यते युवति चित्तमिव ।।६।" विज्ञाकाया । [आया] मग्नि हुत-भुग धूम श्यामंदिशो मलिना घने रविरर-तृणै श्यामा भूमिर्नयोदगत फन्दर । मुरत मुभगो नून कार स एष समागतो मरण शरणा यस्मिनेते भवन्ति थियोगिन ।२७। पिकाया । [हरिणी] मस-मधुपा Quotel. t! Collon ni el tor al works -11 | 10 Banlattı 01 KD - पुषगभम् (14) J पिशहिता (1 1) गुगति मनासरेपु (1 पुष्प दरामम (14) 1 SMS J 23 JI114 100 (1) १61 11 6 "

·VIKTIVITIMBI
वसन्त-वर्णन।
( 125)
किंशुक फलिकान्तर्गतमिन्दु पला स्पर्धि येसर भाति ।
रक्त निचोलक पिहित धनुरिव जतु मुद्रित तिनो ॥न्दा
रिजाकाया । [नायां]
समस्या।
। 129)
थूथत्य यमदिरजग-जनैरप्राप्त-यण्ठं पयः
शुध्यत्तालु गलरिज्य रणोदन्यानुपारभ्यते ।
येन क्षार पले वृपैर मरतो नामामृत निर्मित
पाथोधिजलधिः पयोधिपदधिरा निधिर्धारिधिः ।।२६
विद्याया । शाईल पिनोटितम् ]
33
VIKATANITAMBĀ
चाद।
अभिहिता:प्यभियोग पराइ मुगी
प्रफ्टमा-विलासमार्वती।
. पवार..!.

·56 SLSKRIT POLTESSES उपरि ते पुरुयायितुमक्षमा नव वधूरिव शत्रु पताकिनी ॥२॥ विकटनितम्गायाः । द्रुत विलम्बितम् ] ( 131 ) दिग् वधू बन चुमि चेय॑या वीक्ष्य सद्युति दिवा भरदयश । दर्शितः पृथु पयोधरोद्गम स्तेन सापि परिरभ्यतेऽखिला ॥२॥ विकटनितम्याया। [रथोद्धता] अभिसारिका-सञ्चार। ( 132) कस्थिताऽसि करभोरु घने निशीथे प्राणाधिपो वसति यत्र मन प्रियो मे। एकाकिनी वद कथन विभेपि वाले नन्यस्ति पुट्टित-शरो मदनः सहाय ॥शा चिकटनितम्याया । [वसन्त तिलकम्] 1 SST ,P 2409, p 421 १ सय॑या? 3 SST.12180,2424 GP, 3010,Cs us,r -प्राऐश्वरो ( ) sss , us 113(2), " -प्राणाधिरो. जन प्रिय ( 12) Quoted in SAB ,Pi,r - 4 ..

·VIKITINITINDA 57 नव-वधू-सङ्गमे सखी-वाक्यम्। ( 133 ) चाला तन्वी मृदु-तनुरियं त्यज्यतामत्र शङ्का दृष्टा काचिद भ्रमर-भरतो मञ्जरी भन्यमाना। तस्मादेपा रहसि भवता निर्दयं पीडनीया मन्दाक्रान्ता विसृजति रस नेशु-यष्टिः समग्रम् ॥४॥' विकटनितम्बायाः। [मन्दाकान्ता] मानिनी। { 131 ) अनालोच्य मेम्ण. परिणतिमनारत्य मुहद- स्त्वयाऽकाण्डे मानः किमिति सरले प्रयसि कृतः। समायटा होते विरह-दहनोद्भापुर शिसाः म्म हस्तेनाहारास्तदलमधुनाऽरण्य-दितः ॥५॥ विकटनितम्यायाः। [शिरपरिणी] 16.... 301,p,ssr., . 1801, 2351 ...दुरियमिति... 1) रटा छापि...मपरी भाग-पुष्पा 11 :)....मनु- यरिः सदाचित् (1.), SIN., ? " -श-तनुरिति...! 1), ....यसरी भन्यमाना। 2). SRB, ' ... " -या शनि PRI, p. 15sal., :, 11.0, P. Pr, r -गरले गम्प्रतिशतः (भाप्रलय-दहन (13), ARU, , , mes-1.

·18 SISKIRI1 P'OLTLYSIS नायिकाद्भुत । ( 135 ) लावण्य सिन्धुरपरैव हि केयमत्र यत्रोत्पलानि शशिना सह संयन्ते । उन्मजति द्विरद-कुम्भ तटी च यन यत्रापरे फदल काण्ड मृणाल-दण्डाहर बिकटनितम्याया. । [यसन्त-तिलकम् ] मध्य-भाग। ( 136 ) अभ्यपि साहसकारिणि किं तच चड क्रमा। टसदिति भङ्गमवापस्यसि कुच-युग भार-भरेण ॥७॥ विकटनितम्बायाः । दोहडिका) 3 सम्भोग। ( 137 ) कान्ते तल्पमुपागते विगलिता नीवी स्वयं बन्धनाद चासश्च लय मेखला-गुण धृत किञ्चिनितम्वे स्थितम् । VF 1 SỦA, 2 4 3, p ft) Quuted in the following rhetorical Torks -TV, p. 13, बदलि-काण्ड ). SKI, p 396, The TV,, DI. p:0, vr like TY, KAS, P 47,Cappeller's ed , RA , KYS , P 36,1 4 read as l 2 here, 1 % asl 3, and 1 3 asl 4 • SS 1549,7261 3 Fus Dohdila, see ChadM , « 201, p 172 ·VIKATANITANDI एतारत् ससि वेनि केनर महो तस्याङ्ग सने पुन फोऽसौ काऽस्मि रत वकिसतिशपे स्वत्पापि मेन स्मृतिः ॥८॥ निकटनितम्याया । [शादल निकोडिनम्] मधुकरान्योक्ति। ( 135 ) भन्यासु तारदुपमई सहानु भृङ्ग लोले रिनोदय मन सुमनोलतास्तु । मुग्धामजात रजस फलिरामफाले व्यर्थ नरमालिकायाः || विक्टनितम्पाया । वसन्त निलाम्] Dohalik is the same as the Prikrta metre dob. A matt: metre, PrabPain,. 1-7, pp +10-131. Narsana Bhattain bis Comm on the IrtRat, p 129 ! Ass,rryp3,415 us, 5S (b) Quoted in the following rhetorical Forks ---AJ, p 6, -तद्वाम भय ... रत नु दि कथमपि पापि (I), shM, PEET -जोऽमि रत| 1) 6 वैचि गाम्प्रतमह (1) रत तु रि नमिनि म्यापि T . 1- 11', -1.0 p3 --याना सदगि () I',r .. alore Quotri in the followins thet rical work, -1 UP.D.0.-.. नामदिया 11, ITI .

·SANSKRIT POETFSSES 8 भ्रमर। ( 139 अपसर मधुकर दूर परिमल वहलेऽपि केतकी-कुसुमे इह नहि मधु लव लाभो भयति पर धूलि-धसर यदनम् ॥१०॥ विकटनितम्यायाः। [आया ] वसन्त । ( 140) कि द्वारि देव हतके सहकारकेण सवर्धितेन विध वृक्षक एप पापः । यस्मिन् मनागपि विकास विकार भाजि घोरा भवन्ति मदन-ज्वर-सन्निपाताः ॥१२॥ विकटनितम्वायाः। [वसन्त तिलकम् ] . 1 11, 5, 1, 58(b) मधु-लव लेशो SRB , p 272, 150 " ssv, 1682,p285, SIT, p.201 Quoted in SKB thrice, PP 139, 617, 625,1r - देव हतके.. (11).. विष पादप. (12), भीमा भवन्ति , (14) ·*SUPPLEMENT PRAKRIT POETESSES ANULAKSMI [असती] ज तुझा सई जाना असईयो जंच मुहब अम्हें नि। ता किं फुटउ वी तुझ समाणो जुआ स्थि ॥१॥ थणुलच्छीए 1 CP Prasar P09 Pral, 84 17,123 and 84231, p 19 PrakPain, P 2,14 PraPra, 8 532 239 फुड, cp Pr-Pra, op cut 2 Gstbse 32. "न्य भतरि विराग मचान्ता कमप्यमन' सती निन भाया बहु-मन्यमान युवान म-दग्भ्यानुरागमाह" इनि ut forms Suggsha dogib.. The metre of this and the following verses is either atya or some its suparusion. The Prakrta names are as follars -- Samskrta Prakrta patbrart. Baba upagıtr fabu udgit Siti Arragite Ahandha Cp Praklamu F 521 It as of interest to note that the entrs metres guluni, uihin, aldaccha, rold, saadhu, etc recorded in the Prak l'ain are not found in Sanskrit at all The Dietre doba 19 the same as dohadili recorded bs ladya Gangadas 10 his Chandomanjar! and I'ajballa samo as Pajbatiks, noticed by 1 audya Cangad.54 1a Cbsoil, and Varorana Bhatta in bus ·PIRHAHII POf11St- यत्तव सती जाया असत्यो यच सुभग ययमपि। तत् कि स्फुटनु रोजं तर समानो युवा नास्ति ॥१॥ [अनुत्सहमान-नायकं प्रति धूर्ता-वचनम् ] ! ण चि तह छेअरआई वि हरन्ति पुनरत्त राम रसिभाइ । जह जत्थ व तत्य वजह य तह व सयभाव णेह रमिआई ॥२॥ अनुलच्छीए। नापि नथा छेक रतान्यपि हरन्ति पुनरुत राग रसिकानि । यथा यत्र चाताचा यथा या तथा चा सद्भाव स्नेह रमितानि ॥२॥ II tih. on the Trttaratnakara There is indeed a large no of matra metres in Prakrta the equivalents of which are never found in Sanskrit 1 "छेरानामपूवापूर्व शिल्प कुशलानाम्" इति गङ्गाधर भट्ट । For , meaning domesticatesh, Bee k sırasvamınamar AU on Imark 44_p 1-'छायन्ते छेरा पजरादी स्थाप्यन्ते । 21he use of ustead of anush tra in these verses 18 Eignificant Isyilable followed by an anusvara becomes long and comprises ot tro mtr s whereas R eyllabie followed by candr bluda 13 sbor and has one natra oaly 3 PaiLNI, 120p 33 Prav 8277 "60p 84 406, p 16388 4 312 p 140, etc PraPra, "उपरि लोप गड-सद पप गाम्",3 1 p 57 alt form मणेहो, according to the rule "स्नेहे या", PraPra 3 61,291 +Gathss,37!

·INULALSSII [सखी प्रति नायिकोक्तिः (3) दिढ मूल पन्ध गाठी व मोइआ कह वि तेण में वाहू। अम्हे िह वि तसस उर युत्त म समुसमा थणा ॥३॥' [अनुलच्छोए] दृद्ध मूल उन्ध ग्रन्थी इव मोचितौ कथमपि तेन मे वाह । अस्माभिरपि तस्योरसि निखाताविर समुत्पातौ स्तनौ ॥१॥ [वट] हसिभ स हत्थ ताल सुरुख 'बड उगएहि पटिएहि । पत्ता फलाण सरिसे उड्डोण सूक्ष विन्दस्मि ॥४॥ अणुलच्छोए हसित स हस्त ताल शुष्क बटमुपगते पथिकै पत्र-फलाना सहशे उडीने शुक वृन्दे ॥४॥ 4 Tho anush ra in गटि 18 insortod in accordance with the sutra "वनादिपु," PriPra, 4 0p 100 cp I'rat, 8130p8and84 120 pil Further use. NaDES.11 Pls130p 10 Further uses humarPC , I7p:379p 10 3 Gituss,3,0 Ist farm 8 2 41, शुपसन्दे या। Further uses DKS OG Silec 390 PraDY 150 Tso interpretations giren See lotro luction मुघ, PEN 1 ·C. I'Rih 11 I'OUTLSSES 2 ASULADDHI [सखी प्रति प्रोपित-भर्तृ काया' उक्तिः ] सहि दुम्मेन्ति' कलम्याइ जह मं तह ण सेस-युसुमाइ। पूर्ण इमेसु दिअहेसु वहइ गुडिआ धणु कामो ॥१॥ अनुलद्धोए। सखि व्यथयन्ति कदम्बानि यथा मा तथा न शेष कुसुमानि । नूनमेषु दिवसेषु वहति गुटिका धनुः कामः ॥ e 1 One of the mood types of heroines -"ख पर स्त्रीणामवस्थाम् [as distinguished from those of सामान्य। गणिका] पाह- खाधीन पतिका, प्रोपित भर्तृका, सण्डिता, क्लहान्तरिता, वासर-सजा, विरहोत्कण्ठिता, विप्रलब्धा, अभिसारिका चेति ख स्त्रीणामष्टावस्था" cp DR,2 236p481 SD , 3 72, P 120 2 From दूम, as a substitute for the root दू. Pras , 8 4 29, p_107 "दूटो दुम" PraPra,88,P 221 दावयन्ति 1s preferable to व्यथयन्ति (Luven in the Printed ed) reading grren दुर्मनायन्ते and दूनयन्ति । For tbe participial forms of see Set B , 10 63 Supas -96 ४ Catliss, 27, “गुटिकासारेण कदम्ब-कुमुमेन कुसुमास्त्रो मा तापयतीति भाव । एतेन वमन्तापेक्षयाऽपि वर्षा कालो विरहिणा दुसह इति ध्वनितम्" इति गद्गाधर भट्ट । Alt ·AXTIST', DARI CH [नायकं प्रति दूत्युक्तिः पाहं दूई ण तुमं पियो ति को अम्ह एस्थ यावारो। सा मरद तुझ थअसो तेण अ धम्मक्खरं भणिमो - अमुलद्धीए नाहं दूतो न त्वं प्रिय इति कोऽस्माकमत्र व्यापारः । सा म्रियते तवायशस्तेन च धमाक्षरं भणामः ॥२॥ 3 AVANTISUNDARI [विरहिण्युक्ति] कितं पिटु वीसरि गिरिव ऊं गुम् अणस्स मम्मम्मि । अहियापिऊण गहिओन मोहुर-उत्तरीभाप || ऑदिमदरीप फि तदपि हा विस्मृत निरप यदु गुरु-जनम्य मन्येऽपि। अभिधान्य गृहीतस्त्य उम्तोत्तरीयया ॥ 1 Further Us Vil, p 17, PrasRI , gathas andll. Catass:- It, farm दएर । For the word meanIDE अादमुन, Cau), tersen, G-, etc 3ve urder पिहनम्मि श्रोहु बोहुरं, ete, Deli. 1. Ii, Quotet in connet'in is the mains or gigi ru lound ted by यान्तिमुन्दरी। "श्रोरं करनट सम् सन्टिगुन्दरी। दुकाइरदिन-" . 5 ·66 PRIKRIT L'OLTESSES [विरघुक्ति] ( 8 ) सण-मित्त-कलुसिआए लुलिआलय-वल्लरी-समात्थरि । भमर भरोहुरय पदय व भरिमो मुहं तीए ॥२॥ ऑदिसुंदरीए क्षण-मान-कलुपिताया ललितालक-वल्लरी-समवस्तृतम् । भ्रमर भरावनतं पङ्कजमिव स्मरामि मुखं तस्या ॥२॥ [पत्युपहास] उवहसए पराणि इन्दो इन्दीवरच्छि एत्ताहे । इंदमह पेच्छिए तुह मुहस्स सोहणिअच्छन्तो ॥३॥ ऑदिसुंदरीए. उपहसतीन्द्राणीमिन्द्र इन्दीवराक्षीदानीम् । कौमार-प्रोक्षिते तव मुखस्य शोभां पश्यन् ॥३॥ मेओ , Prav, ! 81, PriSRM , gatha 1 Alt. forna 115 2 Cr Pautar ,318 3 Sue under faca s', etc, op cit 4 Cp DeKINAM,1147 5 Prar, 82 134 6 Prā V.84 181, er Catss 238 7 DeSINDI, 1 81 This verse has been quoted by Lemacandra in connection with the meaning of the word इदमहो, as is found in the use of Arantisundari-"हदमह कौमारमित्यवन्तिसुन्दरी। यदुदाहरति स्म-"IRajasekhara quotes three times his wife Arantisundari za kus KOL .

·MIDHANI 37 4 MADHAVI [दुर्विदग्ध-नायकं प्रति दूत्युक्तिः ( 10 ) मन्ति' जे पहुत कुपित्र दासा व्य जे पसामन्ति । ते विमहिलाणं पिता सेसा सामि विनमरामा ॥ मानीए य P46 P5 P 20 GOS ed “इसमशतिर्न पुन पार." इसन्तिमुन्दरा। "विदग्य भरिगति निमद्य वस्तुनो रूप न नियत-स्वभावम् इत्यवन्तियुन्दरा। तदाह- "वम्नु-सभावोऽव करवन्या गुणागुणायुक्ति-वशेन काव्ये । म्भुतिरमारामृताशुमिन्द्र निन्दस्तु दापारमाह पूर्त ।। 'अयमप्रसिद्ध प्रमिद्धिमानहम्, श्रयमप्रविष्ट प्रतिया वानहम् , अप्रान्तमिदमस्य मविधानर प्रशन्त मम, गुइचा-बचनोऽय महाका-यचनोऽहम् , अनाहत भारा विरोषोऽयम् अहमादृत भाषा विशेप , प्रशान्त भातृकमिदम् , देशान्तरित कर्त कमिदम् , दन निवन्धन-मूल मिदम् , प्लेसिताप नियन्धनमिदमिपमादिभि कारण. शब्द-हरणे अय-हरर चाभिरमेत" इलवन्तियुदरा । IMt toms रामन्ति an नन्दि , P..111 "यराका । प्रेम मद्धायामपया शात्र्या त्य'नि गगाधर- 3Gath4,101 ·68 PRAKRIT POLTLSSLS गोपायन्ति ये प्रभुत्वं कुपितां दासा इर ये प्रसादयन्ति । त एव महिलानां प्रियाः शेषाः स्वामिन एव घराकाः ।। 5. PRAHATA [स्वाधीन-भर्तृ कायाः स्त्र-सौभाग्य-कथनम् ] ( 11 ) एक पहरूविण्ण हत्थं मह-मारएण वीअन्तो। सो वि हसन्तीए मर गहिरो पीएण! कण्टम्मि॥ [पहईए] एक प्रहारोद्विग्न हस्तं मुख मारुतेन वीजयन् । सोऽपि हसन्त्या मया गृहीतो द्वितीयेन कण्ठे ॥ 6 REVĀ [खण्डिता-वचनम् ] ( 12 ) किं दाव कआ अहवा फरेसि फारिस्सि सुहअ एत्ताहे । अवराहाणं अलजिर साहसु कअए खमिजन्तु ॥१॥3 रेवाप। किं तावत् कृता अथवा करोषि करिप्यसि सुभगेदानीम् । अपराधानामलजाशील कथय कतमे क्षम्यन्ताम् ॥१॥ I Alt forms विइस aud विइज , See Prat , 8 1 5 and 279 2 Gathss,186 3 Gathss,190 बातेऽन्यासग विकृते सण्डितेा-पायिता, DR , II, 23, 2 49 ·ROHL १७ किलहान्तरितां प्रति सख्युक्तिः ( 18 ) अवलम्बित्र-माण-परन्मुहीए एन्तस्ल माणिणि पिझम्स । पुट-पुलउगगमो तुह कटेर संमुद टिदिनभम् ॥२॥ रिवाए] अवलम्बित-मान परागुरया आगच्छनो मानिनि प्रियन्य । पृष्ट पुलकोद्गमस्तय कथयति संमए-स्थितं दृदयम् ॥२|| 7. ROHA [कलहान्तरितां प्रति दूती-वचनम् ] [ 14 ) जेण पिणा ण जिविजय अगुणिजद सो काबराहो नि । पत्ते विसरदाद भण कस्स प बटहो अगी। रोहाए] येन बिना न जीव्यतेऽनुनीयते न कृनापराधोऽपि । मानेऽपि नगर-दाहे भण करय न वल्लमोऽतिः ॥ | Pr.Pra.120, 100 "Cithss,1. 11t form पिटर। 3 Gathss.263

·70
TRSKRIT TOLTH SLS
8 SASIPRABHÃ
[दूतों प्रति नायिकोक्तिः]
( 15 )
जाह जह वाएइ पिओ तह तह णयामि चञ्चले पेम्मे।
चल्ली वलेइ अङ्ग सहार थद्धे वि रुम्मि' ।'
ससिप्पहाए।
यथा यथा वादयति प्रियस्तथा तथा नृत्यामि चञ्चले प्रगि।
वल्ली वलयत्या स्वभाव स्तव्धेऽपि वृक्षे ।।
9
VADDHAVAH
नायिका प्रति सख्युक्तिः
( 16 )
गिम्हे दवग्गि मसि-मइलिाह दीसन्ति विजझ सिहराई।
आससु पउत्थ -चइए ण होन्ति णव पाउस भाई॥
घद्धावहीए
ग्रीमे दवाग्नि मघो-मलिनानि दृश्यन्ते विन्ध्य शिखराणि ।
आश्वसिहि प्रोषित पतिके न भवन्ति नव प्रावृडभ्राणि ।।
1 Prav, 2 127, PraPra,331, p 72
Further usca KumarPC,168,p 31,364, p 102
2 GatiSS,44
3 PraPra, 4, 31, p 116 "मलिने लिनोरिली वा",
मइल, मलिए ।
4 Further uses DesINAM, 666, Gathss,117 and
667, PauCar, 176, etc
Prav,119 PraPra,411,p 103 8 Gathss,170

·PART III

·Sanskrit Poetesses
AVOVIJIOUS (vile rrites to lier husban 1)
Om dearest! born in a noble famil, indepeu
dent, not travelling', ucean of forgivenes, the resort
of our faithful fe O merciful Lord show mercy to
me not uy the glance of sour lotus eses
O Lord of
iny Life' treu the delay of a moment is intolerable
art
2
BULVADETI [The bust of a lounroman}
IIer two breasts were born at the same time
similar in Inring a poble descent hare gronn to
gether from their birth are similar in bauny the
(sain) uame, viz "breast and are prosperous That
thuc is such mutual competitore fight between the o
ttro, though possed ed of their onu cironlar forma (te
full grown),--so firmuess is andeel worthy of bowe:
3
(3 n in ligaunt tre sans to lier luland]
It first at happened so, the body was not different
(fron jour bod.) after that, vou lecame degrer (to
1
10 bes pot coming to Ece ber but 15 romaning #boro
he 13
TIe two breasts are compared to two rival deigl Lour
hings of mual might and glors #bo thoicb possessed of
1her
own respective kingdoms [ght fitb each other for
Litenduathe boundaries

·72 SANSKRIT POETESSES mr) and I a lady-love in despair, Nox, you are the lord and I, too, your (neglected) consort What else, my iron-hcart has led me to this plight! 4 Why are you falling at my feet? Stop Insbands. are certainly independent For a while you were engaged elsewhere What blame can attach to you for that? It is the husbands who are the very life. breaths of their wives Hence, (as) I am still alive inspite of my separation from you, it 19 I who have committed sins, it 19 ho should plead with you 5. CANDALATIDYA [A moon lit night) It seems as if the world, worn out with its daily routine, is bathing in the water of the ocean of milk, through that stirring, the reddish stars are looking like Tater-bubbles, as if the moon is incessantly pouring down mill in thousand rays The milk of moon-light is being drunb to night, as it were, by the eager and thirsty Kumuda (or Tater-lıly) c CANDRAKANTA KAIKSUNI (Hymn to Avalokitesvara). I bow down to that one whose name is Avalokita. 1. Te sron hearted as I am, I am not dead inspite of all these sufferings 2. Caused by plunging the world into the sea 3 In many places of this hymn the exact sense is not clear

·TPANSLATION
the teacher of men renerated by the three Torlds,
the greatest of those who are versed sacred know
ledge, praised by the King of gods' the highest of
the best sages, who easures the success of unions.
7
The bearer of handsomeness of the type of the
son of Sugata, having a bodi adorned with many
auspicious sigos, having a head like that of Amitabha
Tathagata, having beautıful haniis adorned with
golden lotuses
8
The one who has curly, clean, brown and grex
matted lochs, whose full face is bright libe the moon
disc wlo hay wide lotus eges, beautıful hands, and
caste marks bbc a bal stone and the orbit of the
moon
Whose lips are like the centre of a lotus,? Those
moring hands are decorated with auspicious bracelets,
who is pure whose Duvel region is like the interior
of a lotus, on those gem studded bead (there shines)
the purest gold
1
Tootence oí this line is not clear
Stuti Stuta 1
This line is not clear
?

·74 SANSKRIT POETESSL'S 10 Who wears beautiful and coloured loin-olothes, who has crossed the great oceau of the huowledge of the Victor, who 18 of great merit, who bas earned and gained boons, wlio removes fever and is the cause of much happiness 11 Who brings about welfare and peace, the destroyer of three worlds, liy mn incarnate, who overpowered Māra by means of various confusions, the giver of ten perfections and salvation, 12 Who roams in the heart of man (°), who imparts onlightenment about the one Truth, whose feet are adorned with jewelled anklets, whose gait is as low as that of an elephant in rut and as graceful as that of a swan. 13 --0 Who has attained contentment through the druking of the nectar in full, who has constant access to the ocean of milk, who takes delight in living in Potalaha, those eyes are full of kindness, pure and beautiful Thus ends the hymn to Ivalokitesvara Bhattārala by Candrahānta Bliksynī. 1 Vız , dana, 611a, ksanti, sirga, dhyana, prajñā, satsa, adhisthina, maltri and upel sa

·TRAXSLATIUS
14 CIVAJIT (Sira]
Let the great Siva remove the great delusivo-ht
whose stick is tue luge skeleton of Trısıkrama',
slain (bg lum) at the end of the Kalpa, trbo ticil up
the land of Xrsimha' with the shining Sea, wko
dus his nails in the flesh of the primeral boar,
nho, laring dragged out both the fish and the
tortoises that became supremels lappt when the
universe was reduced to a vast ocean, assumed be
form of a fisherman
13. GIDUADIPIKI [The incense
Ilning mixed une portion cach of camphor od
sereral other perfumes like nahlia, etc with two
portions each of sanlal and copper and basins
ground these together with molasses, a clever man
should perfume clothes, rooms and to on
16
GIURI. Invoking the bleesings of Susal
Lut Siva purilt u^,- lie who is closely emuracest
i l'urtati furried by the bees, freeds of the
8nt smell of her full bloro lotus-face mrithi blooming
cheeks
1
The fith incarnation of nu
Sian lion the
fourth locarnation of linu 3 The third incarnation of
The frst incarnation of snu u The second
Incarnation of Int
שחין\

·70 SANSKRIT POETESSES 17 - [Eulogy of the king) Religion, whose head consisting in the scriptures 13 falling off, whose prop consistitg in the nobly-born Brahmanas is disappearing the prowess of whose own body is decaying, whose Surtis full of multitudes of tests have been destroyed who is very old and who has been uprooted by the great barbarian Kalı (the age of rice), --such religion is now, O Lord of the earth, being led on by the support of your arms" 18 -{The ill fame of the enemies of the Ling). O crest-jewel among the best of linga! the all fame of your enemies in the universe resembles, at all times, the Yamuna, the collyrium, the numerous spots of the moon the snake, the disc of Ruku, the neck of Siva, the mosy, the cuckoo, and the mass of deep blach clouds 19. [The ling's weapon Bhusandi] O hing' the bluzadi,-haring balls that are revolving with the feser (i e Leat) of proness, the destroyer of beings shrning in your hand like Jabācandi 1 Or full of textual excellence, if we accept the read ng prug bhara ! Religion 13 bere compared with an old man whose bead as drooping down, wbose prop of life is dwindling might decaying and memory lost ·TRISLATIO 20 [Thc bhuśandı This bhusandı, having balis the interiors of which are filled with fiery powders, and with its poisonous mouth yawning, 18 shining like a malignant soake held by one mlio has dreadful snales on his arm.' 21 [The bing's war). (O ling') the taling hold of the bow the seizing of the arrow, the pulling of the string (by sou), the quivering of your arms and the motion of the arrows are not visible in your war But the earth glitters with the multitude of pearls dropped oft from the temples of the best of full grown elephants and with the shining gems on the heads of riral lingg?! 22 The wife of the king s enem] (0 hing') The vife of your enemy, her face labe the moon, her body lovely lıhe the eve on a peacoch taul, her cahora es es trembling with anger, is being courted on tlil kull by its lustful local residents : [The description of a woman She was createl rith care by the Lord of the 1 1 fira Or this may b an adjectiro of bbusanal held is the king ic thoriral kings and their clephants are all butcher la thot inkling of an eye 3 Saleya bhullah failega muans the things that Kron on hills and once tbe compo ind means ls i bose bo cat lill grown things to be those *l oltre lo hills ·78 SIVSKRIT POLTESSES Universe (1 e Sipa) himself who became half female Ilence this fair damsel shines unrivalled among 21) women of the three sorlds 24 (Description of a woman coming out of the rirer nfter bnth) While coming out of the water Ble, cxcelling Rati (in beauty) having beautıful ez es libe red lotuses and shuning with her on splendour was tahen by people a4 the presiding goddess of Waters to be worshipped by oceans (or Taruna) 25 The eye brows of a beautiful woman) Delighted at the insult of the Calora the Khnnja na the fish and deer, the creator presented to the beautiful eyes 7 pair of emerald umbrellas under the guise of eye brows 11 he eyes) On the face a pond of love full of the nectar of beauty there shine the eyes a pair of Saphari fish conducive to amorous sports 27 [The side glance] O slender one' your side glace this wonderful 1 The implied sense is that Sya took the trouble of assuming his Ardha narı form before creating this damsel which he did not in the case of other damsels Hence she 13 endoned with womanly perfections more than other women ·TRA YSLASION 70 suake, puts to swoon even gods (or vise men) the momept it is seen The lips] Her lips were fashioned by the creator out of the essences of ambrosia and coral since it enlivens in a moment those who have been bitten by the serpent of love 29 The feet) As the coral us (but) a coral again the lotus 15 (but) a lotus -thinking this the creator reddened the two feet with saffron 30 [The nails on the fingers of the damsel s feet] The nails on the fingers of the damsel s feet with their beauty mingled with crimson paint are shining lule a spotless rots of buds of the celestial tree of love (peeprog) out of leaves 31 [The morning brecze] The breeze Tell bathed in the pond (1 e, very cool) is blowing gently embracing like a libertine 1 The coral 13 red no doubt but it 13 bord the lotits is soft no doubt but it is surrounded by thorns Combining their qualities such as redness and softness and rejecting their defects the creator created her feet that is by they are so attractive ·80 SANSKRIT POETESSLS the highly fragrant golden creeper with beautiful leaves and flowers 32. [The summer day] O ny friend''Ike summer-day, bereft of all hopes, appears like a sign of calamity to Cupid the hero, like the hurling of the thunder-bolt on the creepergrove of amorous sports, like the doomsday of the young wives whose husbands are away. 33 [The celestial tree granting all desires) In the garden of Eden, there are indeed hundreds of beautiful trees by whom, at proper times lakhs of gods are served with fruits and flowers Of these, one ouly 2s capable of fulfilling immediately the heart's desires of the king of gods,--that one is the tree of all desires 34 INDULEKHA [The sun-set). Some say that at the close of the day the sun enters the ocean, others that it goes on a visit to another world, others again, that it comes to be united with fire But all these (views) are falsethere is no cvidence for them O my dear friend da alternatife ipterpretation is also possible As the coral 1s 10significant (ridrumah druna-Fabırbhutah agrahja ats arthah) and the lotus (too) is (insigoificant being nothing but) the filth (mala) of water (ka), the creator reddened both the feet (of the damsel) with saffron ·TRANSLATION 81 inethinks, the sun lles dora, on the other hanrl, upon a love-lora damsel's heart in Fluch visible there is intense heat. JACIIAVACAPALI (uuchaste woman). Then the wind blows during the raint night, when the city-streets are deserted and when her hurband 1, away to a foreign countri, Jaglanacapala (a lıbılınous woman, moting the bips) feels immense- Is happs KER ALL 30 (Eulogy of the goddess of Learning) Victory to the goddess Sarasvatı who is the cow of plenty to good poets and who e real nature in it entirely eren Brahma and others fail to know eactls 37 KUTALE (an unchaste toman sat, 1 (Enjoring) the betel on a comfortable bed, and the close embraces, kisses and the like are not comparable, even in a millionth part, to the hash, transient aud claudestine lore-making 39 LAKSUI [Human destiny). The bee, while roaming through fresh blown blossoms in the wood, did not smell the Gandhaphalı' Was it? not enjorable, did it not delight' It is the will of Providence that alone ls omnipotent 1 3 Campala ie the Lee e Gandhaphals See Introductios, P 3521 ·82 SANSKRIT POLTESSES LIKSMI THAKURANI (A greedy person is being rebuked). Your wealth-you who make your spirited horse prance and trample on the town-folk on the roadis really not due to your own) labour and luck, (but) to (the sale) of the beruty and fortune of your sister 10 MADALASA [Religious discourse) Having risen in the morning, my child think about your welfare in the next worldl In this world only the consequences of vour works in the previous life) will decide (z our fate) 41 ----[Rumhling clouds] This world has been conquered by Cupid by means of dense, glittering and noisy arrows that are denounced (br lovers)—this the clouds extended all over the quarters, are intimating as it were, by (their) rumblings 42 MADHURAVARNI [An unchaste woman snya ] My husband is like the moon in appearance like a cuckoo in speech, like a pigeon in his kisses, like a swan in gait, like an elephant in his ardent lovemaking with his wife. Thus, in my husband there is not the slightest rant of the good qualities commendable to young women,-but if only (he had) not this one fault, viz, (that he) is married to me) ·TRUI LITIO 23 JA DIREKSAVA (Adrent of spring] In the neighbourhood of the ponds frequented bs them, the bees, intent on coming and going, are Speaking to the lutus bud, biddeu under waters 1 MAPULA 1 ladv, separated from her lorer, 13 addre, ed bi an intimate friend] Concealing, before your elders, (suur) grief due to your separation (from your beloved one) who are vou, O my lovely girl' checking the flood of tears, prerflowing your ever? The edge of our bed, wetted might after mght by tears and dred in the sun (the next morning), indicates (vour sad) plight mv 19 -- [Dıscourse Letween lovers) (Ques) Why are vou thin' (A) Such 13 plıysique (Q) Who are you filtur with dirt” (A) Because of cooling in the house of the elder, (Q) Do you ever remember us? (A) To no, no maring 90, the girl began to tremble mth yn ecstası of love and falling on my chest, rept 1 ie they are urging these buds to bloom as the spring 15 coming Or, line 6 may mean that the bees show that the latasbuds are (stull) bidden under rater ie although these lotusbuds cannot be seen from the bank of the tank set people on seeing these beer Look at oice that the bods must be there ·82 SANSKRIT POETESSES 39 LAKSMI THAKURINI [A greedy person is being rebuked]. Your wealth-you who make your spirited horse prance and trample on the town-tolk on the road- In really not due to your (ou n) labour and luck, (but) to (the sale) of the beauty and fortune of your sister 10 MADILAST [Religious discourse ) Having risen in the morning, my child think about your welfare in the nest world In this world only the consequences of your works in the previous life) will decide (your fate) [Rumbling clouds] This world has been conquered by Cupid by nieans of dense, glittering and noisy arrows that are denounced (by losers)--this the clouds, extended all over the quarters, are intimating, as it were, by (their) rumblings 2 12 VIDIIURATARNI [.Ju uncluuste womun says ] Aly husband is like the moon in appearance like a cuckoo in speech, like a pigeon in his kisses, habe swan in gait like an elephant in lae ardent lovemaling with his wife. Thus, in my husbanrl there 19 not the slightest want of the good qualities Comunclable to young romen,-but if onls (he load) not th13 ont fault, sız, (that lie) is married to me)!

·sceing tlicso bees know at onco that the buds oust be there TRANSLATION 83 13 MADIREKSAN {advent of spring] In the neiglıbourhood of the ponds frequented by them the bees intent on Coming and going, are speaking to the lotus buds hidden under waters 1 Or, 11n10 may mean that the bees show that the lotus buds aro (still) buiden umer water le although thesc lotus buds cannot be seen from the bank of the tank set people on 2 19 CODIES 14 BIRULI (A lady, scparated from her lorer, 18 addressed by an intimate friend] Concealing before your elders (your) grief due to your separation (from your beloved one) why are you my lovely girl! checking the flood of tears overflowing your eyes? The edge of vour bed wetted night after night by tcars and dried in the sun (the next morning) indicates (your sad) plight 19 Hy 45 [Discourse between loveral (Ques) Why are you thin? (A) Sucli physique (Q) Why are you filthy with dırt(A) Decause of cooling in the house of the elders (Q) Do you ever remember us? (A) No no, no sayıng so the ful began to tremble with an ecstasy of love and falling on my chest wept se they are urging these bude to bloom as the spring 1 ·84 SANSKRIT POETESSES 40 MORIEI I l'he plight of a woman separated from her lover] The (lore-lorn) girl, with her cheeks bathed with tears flowing in torrents, males marks (on the floor, representing the days which she spent without her lover), (but) apprehensive lest there be not the termination of the period (of separation), does not count them 47. --- [The messenger-maiden says) O sınloss onc' You, (her) dearest, are worthy of her, as she, (your) dearest, 18 of you Indeed, the moon does not shine without the night and the night, too, does not shine without the moon me 18 [Addressed to the lover]. Do not go, O beloved one of (this) lady! You have been welcomed by with thousands of loving (trords and deeds) As you step out into the court-yard, the girl comes to be on the point of death Moreover, our house is without a thread on account of her body that is incapable of bearing the reight of the breasts, is tormented by Cupid and the net of the bodice of which is being torn every day 49 [The lover says] Let my endeavour to go array be confined with- 1 1e the net is to be mended by thread crery day. This suggests the full vigour of her youth ·TRAVSL 1110 in the heart only, How can it be uttered by a cruel person before a ladr Tho is as dear as lite- Suppo-e it is said, still eren on seeing the faces of their beloved ones with gushing out tears, men go away to foreign countries, Astonishing indeed is the desire for the attalument of a little wealth in meu like me! AGAMA [The sun) I box down to the ri en disc of the estremely lustrous sun,--the friend of the lotus-bed, which has the colour of a parrot's heak and is the ear ring las it were) of the eastern horizon. 51 PADSLIT ATT (Culogy of the bing) On seeing the king in the forest,---the ling who 1, the foremost (monarch) and the resort of biogs, who has a beautıful bor in his hand and blue garment on his neck, and who is pursuing the deer,-the fichle-eyed female deer are tabing him to be Cupid. 52. [A miser). There is only a difference of form between a 1 The word "akaratah” bas a double meaning, FIZ (1) form, (2) the core ! That is, (1) between a muser and a sword, there is only a diferecce of form, their qualities being the same, or (2) between the words 'kryans,' meaning a miser, and 'Erpana,' meaniog a sword, there is the diffe rence of the sorel'a' only ·88 SANSKRIT POŁTUSSES ing the staleness of their beaks, besmeared with a large quantity of sweet liquor 56 [The nose) Methinks this nose is the beak of the Cupid liko parrot, eager to eat the grains of pomegranate, in the form of the rows of teeth. 57. [The caste-marb) The ornamental mark, drawn with musk between her eyebrows, like arrot-head attached to the middle of the bow of the five-arrowed one (ie Cupid) loobs beautiful 58 [The throat]. This is not the throat, but nothing but the triumphant conch of the Lord of love himself, since even 1 When one takes too much sweet, his taste becomes stale and ho resorts to something sour for restoring his relish for the sweet Here, too, baring drunk the sweet nectar of the face the cakoris have lost taste for the sweet and so they are drinking the moon beans which are sour 18 comparison with the kreetness of the face The sense is that oven the moon beams are pala in comparison with the lovely face and are 2001, co to speak, in comparison with its sweetness ·TRANSLATION E9 now the marks of (Ins) fingers are s-able as lines oa it (1 e on the throat)' 59 ----[The arms] Are these the creepers, granting all desires, of the ocean of love? Or, else, are the-e lotus stalks Are these the sandal-creepers of the breast like hills' Are the-e the creeper-like nooses of Cupid' Are the-e the coral-creepers of the ocean of the nectar of beauty Are these, as I think, the tender arm of a noble dam«el of Guzrat, (re-embling) creepers with fingerlıke leares? fil The lion) You are worthy of honour, Olion, the king of beasts, with formidable staff like arms and radiaut with pride, vho, being intent on the flesh of the mighty elephant, does not kill the deer 61 [The horse] The restrained horse with its mades perfectis erect, and profo-elr corered with bees, is quirering, like a lotus 1 The throat 19 conceired bere as C'oped s coach, and the three lines on the throat as the impreccions of Cupid s fingers as be held the conch for blowing at . The words here bear double neatinge Thus 'Yaritab'

·90
SANSKRIT POETESSES
62
The crow]
O cror' followed by hundreds of cuckoos and more
and more puffed up with pride, tlo zot go Qu'll from
here disregarding the king of birds If they know
you to be a cow, ther will forsale you, just as
(people throw away) a pebble from a heap of bright
genis
63
-{The lamp)
Produced froin fire
conducive to the good of the
means restrained in the case of the horse while in the case
of the lotus, it means from the water Prasphurati milaas
quivering, 10 the first case, while in the second case it
means shining "Samudancita helara
means Tith the
manes erect in the first case hile in the second case it
means with upright pollens Bhramarı lirna means
corered with bees, in both cases the borse is corored with
bees perhaps because it 15 sweating profusels Prohalls in
the case of the borse, the word Bramari really implies
'bhramı' or 'afarta 1e cupls in the hair on the body which
are signs of pscellence in a horse Vide up ala radha, 51
and Blalliputla's commentary on it

·TRAVSLATIOS
31
noble, and placed in front of the image of) Krsna,
the lamp is sbining like Abhipantu'
[The damn).
Taking in (her) band the dise of the sun with
sprouted garland-lile beams (as) the plate containing
lights to be waved before a deity, Dawn, daughter vi
the king of love, is coming for adoring the daughter
of ocean (1 e Labsmı) by waving lights
[The Stars).
Holding the moon3 as a shining saffron filled
plate for Cupid, out on conquering the three morlds.
1 The adjective: bere bear double meanings
Tous
Dhananjaya sawudbhuta' ineris horn from Arupa, in the
case of Abhimanyu, while in the case of the lapp, it means
lighted from fire "Subhadroteaba-vardbana' means сад
ducive to the happiness of Subbadra, mother of Abhimanou,
in the first case while in the second case it means conducive
to the good of the poble Krsna purahuarah means in front
of Ersna in person, the maternal uncle of Abhimanyu, in the
borst case, while in the second case, it means in front of the
image of Kana
Here the adjective "Inbunta' suggests that the son
19 just rising
3 tresa', e one born of Atri- the moon, or if the
accept the reading 'aratriſka) in place of artrosa', the
henning would be 'holding the toon hake) plate containing
lights Bayed before a diety'

·92
SANSKRIT POETESSES
and making the stars with shining beauty appear like
uncooked grains of rice, Lady Night is coming for his
good?
66
- [The summer]
On seeing the lotus, (his) dear wife afflicted by
the winter, the fiercely blazing sun, making summer
his own ally, is shining with the desire to conquer
it (v12 the winter)
The summer winds)
Wandering freely and frequently all around are
these summer wiods, full of dust aad stones, wearing
garlands of the flames of the fierce sun completely
drying up the water of rivers and leaves of trees
immediately by a mere touch, as if, sucked in and
emitted out (by the king of serpents) and so possessed
of the flames of poison coming out along with the
hissing of the ling of serpents
1 We accept the reading ayatı here
2 When a king goes out on a victory expedition ladies
hold vessels containing auspicious things like saffron and so on
(or wave the auspicious light before him) and scatter rice
grains for his victory Similarly, night is here conceived as
a lady holding the red piate hike moon like the saffron filled
plate and scattering the stars like the nice-grains for the
well being of Cupid who is going out on a rictory expedition
Night 13 the time beautiful for love
3 Or, having brought about the summer its own friend

·94 SANSKRIT POETESSES 71 [Human destinyl (God) creates the gem of a man as an abode of infinite good qualities and ornamental to the world, then, again, makes him perishable in an instant. Alas! (this) foolish behaviour of Providence is indeed a matter of regret RAJAKAVIA (Passage-at arms between the princess and her poet-lover ). [The prices4 Bays - This is the court-yard of the lion revelling in the blood of a multitude of mad elephants. [The poet retorts - ] Does the elephant forsale the Sallakıhaving shining and tender shoots with new leaves with which it plays? 0-W The poet says - The hfe of water-lily that has not seeu the moon-beans is in vain [The princess retorts - The life of the moon that has not seen the sleepless (ie full-blown) water-lily, tou, IS IT TU!! 1 A kind of tree elephants are particularly fond of ·TRAVLTION 74 RSCITATI TPISAJITUDI [Arona) I Forship Govinda, the hand-ome one of Traja the remover of births, holding lute, dark bo sporton the banks of the Yamudd, the enemy of demons lile Kamsa and others, praised bt corherdesses and adored by the lotuseres of the women of Traja, with his head adorned frath peacock feathers and bent in a graefal triple curve SARASTATI (Fulogs of the Ling). My lord rou alone are the supreme protector.* you are the cause of hopes, you are the fit person to be fanned by Chowties; though one, you are the soul of the three worldes 76 [Addressed to a Ketaki.fiomer} (Tour) leaves are unappoachable on account of thousands of thorns, there is not even the slighet trace of honey (in you), con are dusly with dust. Your faults, O Ketakı, hare been over looked by the bee, fond of (vour) fragrance only 2 Or, mundane maseries. . Or, gopa+ali-gopalı ie groups of comberda. 3 Pata+alam The words bear double meanin Tons, the stanza may mean alco" you alone are the nether region (patalam), cou are the bond of the (ten) quarters (te the earth) rou, again, are the region of the Amaras (gods) and Naruts (wind Gode) (ca-amara+marad+bhumib) (1 e the bearen), though ode, vou are the three worlds See Introd, PIXX1, or, this rerse mar bare an inplied Amorous sentiment, rız, that a lorer iterlook, the faults of box beloved 4 U

·96
SANSKRIT POETESSES
77. SARASVATI KUTUMBADUHITA (Love)
Obeisance to love, the cause of the delight of the
world, the coucowlanı results of which are, O ling
Bhoja, men like you
7S SILA BHATTARIKA
(A lady pleads with her
indignant lover]
Love that has become adverse and is painful
through separation is wearing away my body Yama
tou, incapable of counting days, has lost all mercy
(for me) You too have fallen 4 prey to indignation,
Think, O my lord, how can women, tender libe clus
tors of new leaves, live under these circumstances
[Plight of a maa separated from his
lady love
Thought bas risen in the beart of one separated
from his beloved,-seeing this, sleep 18 gone (1 e
has deserted lum) W lo would adore a faithless
one:
1 1 e. the lover is thinking of his lady love and cannot
sleep Thought and sleep are like co wives -when one 13
presunt, the other is absent
Or, when sleep finds that the mass beart 19 occupied
by thought (Ciata, a rival lady love as it were) instead of
his first lady love (priya), she takes bim to be a fathless
lorer and deserts him

·TPA SLATION 9/ SO (A lads sends the messenger maiden to her lorer) O messenger maiden' You are a roung woman he (too) 19 a fichle voung man The quarters are black with darkness The me sage (Fou are carrying) 15 indeed (full of) mysters The place appointed for meeting is a deserted one The spring breeze, are again and again turning (one s) mind to other directions Go derterouslt for arranging a speed meeting (between us) Var the gods protect you 81 ----(Discourse between the moching messen ger maidea and her mistress! (Ques) Thy are you breathing deeply (Ads) I have come burriedly (Ques) Ihs are you pleased (ans) I hare been façoured (Ques) Who have your locks too become loose? (Ans ) Because of fall ing down on (h13) feet (Ques) That about your tast garment 3 (Ans ) (It has got loose) because of my going and coming bach (Ques) Your face 19 bedewed with perspiration (ans ) (It has become so) on account of the Sun (Ques) Why are you weak” (Ans ) Because of escessive talking That will you sav, 0 messonger maiden (about) your lips, that have assumed the form of a withered lotus -o- 82 [An unchaste woman sars] He who sas my first lore' is my husband, (i re 1 Literally stealer of Fuginito!

·98 SIVSKRIT POLTESSES sent here), those rery same mights in tho month of Caitra (have arrived), the same strong breezes fragrant with the smell of the full bloto Jalatı flower, are (hlosing through) the Kadamba tree, I am also the same old self Still my heart is longing for stolen amorous sports under the cave creepers on the banks of the river Res 83 81 SITA [The moon) Do not be afraid moon" Hału is not in my liquor Rohin is in the sky O timid one! Why 2 1 The verse is addressed by soliciting lady to a person whom she wants to cheer up 2 10 Rahu is not here Rubu here stands for the husband or the guardian of the lads addressing 3 Rohini stands for the wife of the person addressed to

·TRIYL TIOS
are Tot afraid 1 What is there to be wurp'ı ed at
this that the Learts of men become agitated), olten
times, during their first union, Fith esperienced
ladies
87 SCBHADP [The milli
What was toilched, after that, bouled and then
had its cream taken out and cburned rapidls was
again, transformed into butter for making clarified
butter The fat (of this mill) is the cau e of the
succesion of erils
SC TPIBHUSIASUT AST 4TI Eulogy of the Lingi
O all auspicious Lord Ruparitanha' the cre +
Jetrel of all kings! Is the roaming of Your Honour
with the moon eren during the sught proper? Lat
not the moon be embarrassed with shame at the eight
of our face, also let not the renerable Arundhatı be
led to any scandalous bcbariour
1 The soliciting lady means to say neither ms bus
hand por ur guardian, aor my wife of sbon rou nas be
afraid is here So why do you fear
2 The word "incha means both fat and atíection The
Sense that it is the good, a fiectionate ai tender
hearted people that saffer moet in the world
3 or O Lord the mo t beautiful af all "Titanka" means
13

·100 SANSKRIT POETESSES 87. {Hari. May Barı, with the rope of snake unknowingly glided off his hands at the sight of Laksmi during the churning of the ocean, (but still) expanding and contracting his arms for nothing, protect the three worlds. 88. 89 VIDYAVATI [A hymn]. The Goddess who is the creator of the world, bo brings auspiciousness even to the all-auspicious Lord obeisance to that Goddess Suminaksi of an auspicious form. 90 Baving worskspped vlon once, people get all desired for objects, obeisance to her, etc the loftiest point and go kuparitanka may be simpls a des cruptive adjective of "Deva' 1 Netra' here means rope cp Srdhara Svamp on Bhag” 8 7 22 p 452 Vanthanam Mandaram krtva netram krty.. tu Vasukim' where be explains Netram razjum Hart was so much charmed at the sight of Laksmı tbat he did not know when Yaşuki went off his hands He was so engrossed at that time that he did not realise that bis bands were moving forward and backward as though he were actual. Jy churning eren tben. 2

·IPA LITIO
102
91
Throngh a particle of who e grace enjorment and
emancipation are ea ilt obtained--obeisance to her etc.
The godde, who imparts the knowledge oi
Brahman to tho e who b for calcation-bei acce
to her, etc
93
Unted with whom Sira perform
duties-obei ance to her, etc
the fire-fald
ince santis
For who e plea ure Sita danced
obes ance to her, etc
93
From a particle of who e lu tre, deilies beaded by
Laksm and Sarasvati have sprang forthwobei ance
to her etc
Through a particle of tho e grace all sorts of
pro perities increa obei ance to her, etc
97
Tho, Then adored, destross all sid, and wards
off all calamities-obei ance to her, etc
The fire-fold du ies are Creation, Harteracce,
destruction, emarcipation and grace

·102 SISKAIT POETESSES 98 That great power the quspicious one who when worshipped becomes the bestower of all successes — obeisance to her, etc 0 99 Forsalen by which goddess even Siri bimself is unsuccessful-obeisance to her etc 100 From whose feet bas risen the whole Universe of the mobile and the immobile -obeisance to her etc Having thus eulogised the great goddess and having botred dotrn to her again, and again I Four devoted daughter, pray through your commund that my mind may be engrossed unflinchingly to the meditation of your feet, Vother' 101 VIJJT (Eulogs of the King) Who among the lings of Lunar und Solar dunge ties has not obtained' (certain parts of this world)? But O my Lord' te consider you alone to be the lori of the world,- ho having seized Inga? haring then annesed Kuntala' having completely overthrown the 1 As ditah-aşadıtarantah Or, the line may mean hom bare we not met ? Bhagalpur and its neighbourhood 3 The country of luch lidarbha was the capital also famous as the source of the tirer lerbuda Llere Palac It is

·TRITIUS
1 3
extended Cola', and Larios talen pa E-105 of 1.t
midland conatry, las nor treirled ont la lani
toward kunci
102 {The Cruz'. -rord.
Om Lord' the blade of your mord gate birth to
on, rız, fame in the rar. (To celebrate 1t,) the wind
is scattering heaps of duts, like clothes, Jackals are
singing lu tils. Lead'le bodies are dazciny. and
(tlere tales plane) sa-taatsa-ou-ls the calvatios of
en from the tramol, of mundone ex teece.

·104
SIVSKRIT POLTESSES
( 103 (In praise of a poetess]
Not knowing me, Vijaku, dark like the petals ott
blue lotus, lu Tain indeed has Dandin said that
Sarasvati is all white
104 [In praise of poets in general]
This is a homage to a person who is silent (but)
who by his horripilated body is indicating that the
ideas of poets are inespressible by words (but) only
flash forth through words fraught with tender
feelings
105 [An unchaste woman says]
O neighbour woman' do please keep an eye on my
house, be it even for a short while Often times,
the father of this child will not drink the tasteless
water of the well (So) thongh alone I am going
quickly hitberforth to the river, covered with tamalas
Let the dense joints of reeds with hard sections scratch
my body
106,
We long for boys during (our) childhood, for
youngmen during (our) youth and for oldmen even
during (our) old age, for such as the proper customs
See bayyadarśa I I
2 Or, this may be a silent tribute of the poetess herself
janasya ayam anjalih) to poets in general

·TPIVSLATION 103 once in v of our family You bare began to spend your life with this one husband only Herer family, my daughter, such a token of chastity was found 107. An unchaste woman cass) Say, 0 Juralu, by whom were made the e canecreepers,' with sandy bottoms and thick shadows, clinging up to the end of the shore, the permanent home of cool breeze, resounding with the cachlinge of water fowls and conducire to the incessant lore mahiogs of muodest women? 103 (A rustic woman! Liing on a platform (of bamboos) in a cucumber held, rith the hairs on her body erect with you, with her body pressed during love-making and clingiog to ber lover, with his nech embraced by hier two hands out of joy, a lor-caste roman, trititah Tiem to friglateping avar the jackals at night, 15 repeatedly walin; noi e by striking truth her feet 1 Vicula alco means H11333la .ee taldrakarsalda andbu, por, Caraka-ambata, sutra sthaca, 1. 10, Raja Digbantu rarga Sadr ch 1 yeun te sadracchurch statantata tulanbante atat atarılambirah, undraceus ca at ota vila nuina, ea Or candracchuses, tatuotas miniss the sace ·106 SANSKRIT POET ESSES the garland of conches which is hanging from the creeper on the top of the hedge 109 [A froman separated from her lover sars O Cupiu' you were first conquered by the God with the crescent moon (OD hus bros)', after that, hy the Buddha (the enlightened one) of lofty knowledge, after that, by my dear lover ho 18 away Leaving them side, you are indeed killing me, a very thin lass, a helpless woman I je to you, shame upon your manliness, shame upon your splendour, shame upon your bow, shanie upon your arrows 110 -[A woman, separated from her lover, Bays) The shy (15 covered) with clouds, the earth (19 drenched) Frith fresh water, the quarters (are illuminated) by lightning, the sky (18 alounding) in showers, the woods (are fully of Kutaja flowers, and the rivers are full (to the brim) with the flows of water? Say, O cruel rainy season why are you 10 vain mabing such a great display of poter for billing me alone, a mere poor miserablc bereared woman, separated from Ler lover 1 je kjen See the story of the reduction of Jadana to ashes by Siva Kumara cambbasa, canto 3 Here the gender of the ord "adambara' has been confused 3 See Introduction, P <li ·TRANSLATION 107 111, [Description of the lovely lady's face). The bud' Las become larger; the leaves are on every ade; unsurpassablc 25 the water*; bright the disc of the suns, similarly, the thorns have for lous gone underneath, set, o lovely damsel: Your face has not been conquered by the lotus by which the bees have been attracted thus? who has made every pre- 1. Here the lotus is being campared to a warrior, and all the words used have double meanings, applicable to both the lotus and the warrior Thus, the word "Losa 'means bod 20 the casc of tho lotus, treasury (dhana-ko-a) in case of the warrior, --at implies one puffed up with pride of wealth 9. Thonord "patra' means tbo Icaves in care of the lotus, and chariot in caso of the warrior J 'The words "Jurga" means unsurpassable in caso of the lotus, a fort 10 caso of warrior 4. The word "pala sigarfies the water surrounding the lotos, and the water that serves the purpose of a fort 5 The word "mitra manilala" mesas the disc of the sun in tue case of the lotus, and the circle of friends in that of the arrior The word "ujrala means bright in the first case and prosperous' in the second. v The word "kantaba means thorns that are uoder the Hoxer in the cast of the lotus and prits enemies that 3354 Icn crushed in that of the warrior. 1. The nordiskati rimukta" means the lotus br which the tees hare been attracted, and the warrior by obota the bas bas been trung ·108 SANSKRIT POETESSES paration' and who is desirous of victory that is wonder 3 112 The eye) O Lord of men' this glance of yours, as lovely as a fresh blue lotus, enhances the good fortune of your friends wholly dependent on you and 18 the cause of the defeat of the enemies and the love of ladies 113 VIJJI ( A lady describes her miserable plight to the messenger maiden ] When the tie of love has come to be rent assunder, when the heart's high esteem has disappeared," when a friendly relation (between us) has ceased, when he passes before me like an ordinary) individual I do not know the reason why, my dear friend' my heart is not being rent to a hundred pieces thinking about those very same past days, spent in that way 114 1 In the case of the warrior the words racanam krtva means 'by arranging his troops 2 Applies to both the lotus who wants to conquer the face, and the warrior who wants to conquer his enemies 3 The sum and substance is that though the lotus 15 like the warrior ready in all ways to conquer its enemy, viz the face yet does not the face is more beautiful 1e when ther hare ceased to respect each other 5 ie the lovers have become supremels indifferent to each other 6 ie happily before this estrangement

·IN ISSLATIO
199
113.
- Jesage of a lads seperated from her
lorer.
O friend of my heart' this is my petit102 to rou,
you should spend come dass 10 that very place.' (For)
at present this place is unfit to live 19, the Emains of
efen the moon are scorching 14
116
117.
lorernaling).
Iben raising her face by pulling her Lair, a lorer
hones (slads-lore) bs force, may the «carcelr audı.
ble angs mutterings of the But lails triutur 4.
119
{Fate).

·110 SIKRIT POLT.GES cegeant fall of the end of the rod of adversity',--tliv crooled 'rovidence 19 Thirling it on and on We do not nor that it will do here?. 120 ( l'ate). O dull-titted Proridence! desist from thu19 vain attempt and arduous persererance for fulfilling your desire for seeing great mea lose patience in time of allversity The chief mountain-ranges, or the oceans, that bare not deviated from their positious even at the time of the dissolution of the world, are pot means 121. | The songs of rice-uushing damsels ). Splenelud are the songs of rice-kusking, which are mixed with the jingling of bangles striking against one another in the sprout-lıhe arms, beautıful on account of graceful movements, shining and moving because of the movement of) pestley, and which are 1 Literally, 'revolving by the contact of the succession of the falls of the end 2 Here Providence is compared to à potter the human heart to lurap of clar, the cares Thich it has to bear to the potter 5 wheel and tbe misfortunes which it has to undergo to the potter s rod which makes tbe wheel revoke 3 The construction as follows --Kula sikharipah jalarasayo га na Kalpapaya ryapeta na kramah carte Kudrah Kalama = a bind of rice Kandanı -- pestle so the compound kalama kandanı gitarah literally means 'songs about rice and pestles 1 ·TRILATION 111 accompanied by deep uotes, faltering in the breasts, heating violentk from the emi9100 of juarticulate exclamations 122 | 1ddressed to a Campaka tree ] O Campaba tree' you hare been planted be come one in a garden near (the houses) of triched wretches of a bad village, where, through their greed, enhanced by the fall grown fresh greens' (you bare been now reduced to such a state) that sour twigs are fit for the repair of broken fences (only) 123 - A tree ) Having found you giving a good shade, bowios down trith the weight of fruits, and imparting pro. found peace to all, tre have come here leaving off the tract But if your inside be extremely terrible by Teason of the burning poison emitted from the shining mouths of the roots of snakes, moving 10 sule (your) hollow, then sou are indeed) blested' 124 ( The sun rise! The bees, with their bodies died reddiebe ellow bis the pollens of blossomed red lotu ce», are humming statls in the tanky adjoining the houses The son der suo disc, kissing the Udut a mountrın, apillaring i te these are plarted under the Campaka trec ari inonier that they may Lare more air and sunsbino the fol: ape of tho Campata tree has tres parpoecir cut of ·112 SI SARIT POETESSES the splendour of the petals of the newly blossomed bandhujira flower', 13 shining brightly. 120 -{ lhe rainy season ] Haring seen (2e), a poor damsel, plunged in tbe ocean of grief for separation from the lorer, let the energetic clouds, hcary trith the reight of fresh water, rumble on, let the minds variegate by (ic mised with the pollens of Kodamba flowers, blow on, let the peacocks dance (But) O lizhtoing' though are women, you, too, heartless are, are flashing! we both as you 126 ( The ruiny season] Dwus tbe tons Anand the rainbow ly clearly perceired as the heart of a young woman, not lasting, variegated in colour, stringless, erer curred and rare? 127 [The rainy season) The quarters are dusly with dark clouds, black like Young woman 1 A kind of reu tower which opens at mid day and Withers away the next day at sun rise These adjectives appls both to the rainbow and the heart of a young woman Thus Rainbou Asthira Not lasting fickle Aneka raga- baying many colours havipg passion for many Guna rahita- having no string having no laulable qualities Nitya yakra- ever cursed ever crooked Duspr pre rare difficult to be won ·TRASLITION 113 the smole of doll fire. The earth 13 green with densa grass Tith neris sprung-ap sprouts Surely, the tune beautiful for lore making has arrived, the time when those separated from their beloved ones have no other refuge but death. 123 | The spring ) The filament in the palisa-bud-the filament Thich ties (eren) the crescent of the moon (10 beauty, - looks libe the love god's bos, encased in a red case, Bealed trith was 129 [ A puzzle ). The salty ocean is being rebuled thus by annored travellers, tho, rith their throats and palates des with thirst, are spitting and somitting out the water wallout swallowing it O receptacle of salt' br whom pectar-sweet names lilc "pathodli Juladh." etc (all meaning receptacle of rater) been 52 Tenu vain? base your 180 VIKATIVITIJIBI ( Lulogs of the king). (O king') your rival army is like 3 Devriy-martie Irude,-though challenged, does not male preparations for fight dots Botoneols displaşthe various dicions, and is not capable of allowing off its valour to rou'. 1 Ilere the words bure double cers applicable to both the rival army and a newls married bride Thai- Ineny la line tough challenged dates pot toaga rebbero dos Labt CD: cosplair ·114 SANSKRIT POETLSSLS 131. Seeing your Fame k153 the face of Dame Horizon, the jealous sky, full of lustre, amassed dense clouds'; (consequently ) she herself (1.e, sky), too, was embraced by him (1 e. by lame) warmly ? 132. [A lady in tr3 st is being accosted] "Where are you going, O lorely-thighed one! in (this) dark night"? "There, where the lord of my life, my heart's darling, resides" "Vy young lady, you are unaccompanied, say, hy are you not afraid?" "Surely, Cupid with feathered arrows 18 my copanion 133. [The bride-groom 18 accosted by personal friend of the bride ]. Young, jender and tender 29 sle 19, do not have 2nd line does not dare to display does not dress and openly the various diri- adorn herself in public sions of the army, such or practise coquetry, as toot soldiers, horse soldiers, etc 3ru. line 1s not able to show off its 19 not ablo to lord at valuur over ber husband 1. In order to hide the face of her ural Lady Horizon and draw the attention of Fame to herself 2 Note the pun here The compoundprthu-payo. dharodgama" mar also mean that Lady Sky, jealous of her riral Horizon, is trying to attract her Lorer, Fame, by exhibiting the beauty of her bust and 13 thereby successful in getting the warm embiace of Fame

·TRA\SLATION
115
any fear, for does it ever happea tbat a bud breaba
down under the treight of a bee? Therefore, she
should be pre ned relentle-Is be sou 11. secret The
sugar-canc does not yield up its entire juice
preseed slightly
134.
[ Addressed to an indignant woman!
Without considering the consequence of love,
aguoring your frieuds mly have you, without any
cause. become angry with your sincere lorer You
have brought (upon yourself), rith your own hands,
thcce charcoals, the fames of thich are burning
glowingly in the fire of separation Sn, now stop
crting in the tilderness
135
- Description of tbe heroine ).
Who is here like another river of beauty, here
blue lotuses are Aoating together with the moon'.
thepce the brand temples of an elephant are comies
out, where there are other trunks of plantain trees
and stalls of lotusest
1 re the blue lotages are lostiog together with the
reflection of the moon The lotuses represent the eyes aod
the moon repreeents the face
2 e the breasts are boge lile the temples of an
elephant
3 le the trooks of plantain trees represent the thighs
the lotus stalls the army The rirer represents the FouD%

·120 PRAKRIT POETESSES 14 ROHA [The messenger-maiden tries to pacify the offended lady who has quirrelled with her lover] He, without whom you cannot live, should be conciliated, even though the fault be on his side Even when the fire burns a city, say, to whom is it not dear 15 SASIPRABHA (A lady, blamed of excessive forbearance towards her guilty lover, replies to the messenger-maiden! I dance to the tunes my lover plays, fichle though his love may be Though the tree is immovable by nature, the creeper twipes around 11 16 DDHIVAHI [A friend consoles the lady. Beparated from her lover] O you, whose husband is away, take heart These are not the clouds of the newly arrived rainy seasons, but only the cliffs of the Vindhya mountain blackened by the soot of the forest fires during the summer ·APPENDICES ·APPENDIXI TEJECTS IPEATED ES TIF SYSKPIT HOFIE ? 1 Derty Sira Erna Hart Sarasvati Sumicak 1 Avalokite vara 1 2 1 Iluman beings Eulogy of the King Koos enemies King's weapon hing Bhusands Sssord King'a far Wife of the enems of the King Poet Poete.3 Greeds man Nii et Crook L-per 1 1 I 1 1 1 1 19 (Val). 1 (Femala) 10 Beauty of features General General Ifter hat Hair Hrel rose Fres Side zlan 1 ·121 SANSKRIT POETESSES (Jale) 1 1 1 1 1 Glance Caste-mark Nose Lips Throat Face Arms Bust Waist Ieet Nails on Toes ... 1 1 1 1 1 20 7V Lozo Modes + A lady separated from her lover 3 A man separated from his sectheart 1 Message sent to the lover by the lady (Letter) through duti Q The lady describes hier miserable plight to the duti 1 Discourse between lady and duti 1 Discourse between two lovers An indignant woman's remoustration with her lover 3 personal friend's remonstration with an indigant woman 2 A lady pleads with her indignant lover (Jale) 1 The lads pleads with ler lover 1 The loser declares love for lue lado Surata keli Bride Rustic Woman 1 I nds in tryst 1 Unchaste woman 1 Trpes * 17 ·APPENDIX 192 animals birds and insects Lion Horse Cros Bee 1 1 1 1 + VI lature 1 1 1 1 Dawi Sun Sua rise Sunset Mornia, breeze Moon rise Voon lit light Stars Cloud 1 1 1 9 171 1 Seasons Summer Sunmer-das Sumber wiode Rainy sea on Sprio + 10 Trees and flowers Ketal Cam313 Tree Vimba 1 1 1 1

·120
61 SLRIT POFTESSES
11. Things
Incense
lunip
Vilh
Ocean
1
1
1
1
*****
Philosophical
Ilumin destiny
Rcligious
Religious discourse
Miscellaneous
Kalpi taru
Songs of rice bushing
1
ܚܙܝ...

·APPENDIX 11 SU PIEOTS TPESTED BY THE PP 3 EPIT POETESSES 1 me. Lore One whose husband is docile (sridhipapatika) 1 One trbose husband 15 atrar (pro-ita Voodbhatrka) 1 types One who e husband 19 guilty (Lhandita) i One trlo has quarrelled with her hasband (bulabantarita) 2 One who is separated from her husband (irahotl anthita) 2 1 Unchaste roman Forward woman (Docile trife 1 1 Messenger muiden remonstratug frith the cruel loser 1 Veggenger inden debnes a ladies' man i Lover, separated from his affretbeart (Happy reunion 2 1 15 frees The barvan tree 1 ·130 SANSKRIT POFTFSSFs Verse Page 36 13 परिपूर्ण महामृत. परिमन बहना 31 67 40 64 43 17 47 40 119 41 79 पातु निलोग प्रभात रेला प्रनश्यति. प्रियतमत्वमिमाम् नियमसि प्रिया विरहितस्याद्य बाला तन्वी भुवन-त्रय वन्दित. भूपाला शशि. भ्रमन् बनान्ते म रोमाञ्चितानी 15 133 40 6 40 101 Page / lerse 5 82 य कौमार-हर 13199 यया देच्या 39 93 यया शिमोऽपि 28 102 गश पुय देव 8 96 यस्या प्रमाद मात्रेण 20 91 यस्या प्रमाद-लेशन 51 94 यस्या प्रालयम् 35 36 यस्या स्वरूपम् 57 89 या देवी जगता 3 92 या दवा मुक्ति 42 98 या ध्याता 16 49 यामीलध्यवसाय एव 46 97 या स्तुता 54 95 लक्ष्मी सरस्वता. १ 135 लावण्य मिन्धु० 27 46 लिसति न गणयति 21 63 वनजय समुद्भत 50 106 वय वाल्ये वालान् 27 20 वद्धि चूर्ण परिपूर्ण 38 61 वारित प्रस्फुरत्येव 12 115 विज्ञप्तिरेपा 46 29 विद्ग विदु म 41 38 21 108 127 मलिन हुतभुग. 41 19 58 62 20 . 48 28 118 45 महाचराडीव मा नोक्लिक मा गच्छ प्रमदा प्रिय माद्यद्दिग गन. मान्योऽसि मा में शशाङ्क मुखे रहार गेषैन्याम 60 9 84 27 26 48 110 13 ·APPENDIX 131 Verse Terse Pige 24 5 30 सहि दुम्मन्ति फ्लम्वाइ 64 17 41 सान्द्र चन्द्र विरते 120 107 सिकतिल-तला 45 78 37 16 121 7 23 123 53 सुख शग्या सुगतात्मज. सुग्छाय फल भार० सुधा विद्रुम सुरताय नमस्तस्मे Page विनिःसरन्ता 11 विभाति वाला. 13 विरम विफ्तायासात् 51 विरह पिमो 34 विलास-मस.पो. 52 विश्वेश्वरेणन 10 वैधाश्वोर० राशि-नस गिरि मद 7 शुक्नुण्डच्छवि 22 शुभ शान्ति 5 श्रीमद् स्प विटङ्ग 39 भाय मि 36 40 . 25 28 12 15 34 77 50 139 60 71 सुरभित सरल. एजति तावदशेप सोत्साहा नव० 31 86 81 125 90 53 खभाव सिद्ध 24 2 51 22 हरिण्यस्त्वरण्ये 33 मनमानी अन्त्येव नन्दन 4 हसिस हत्थ ताल 63 ·114hIT POITIN- Verer 17 . 17 40 11 17 12 15 । 2 मुग राया ताम्दल गि 1.31 भ्रमन यनारो नरामपापु " 1.htm TIRLIM गार्ग परिन पर । पा-ला-हिसार माद-चन्द विपत घिरात 13 1mIIIN मागरण शरा! गिग परमन Ir MmmI अनुभूत परेषु दापिका MITIR रशा नामित गोपायन्ता बिरह जनित MORIAL प्रियतमस्पमिमा मा गच्छ प्रमदा-प्रिय यामालध्यमाय एर 19. JIGANTE शुरु तुगढच्छवि गवितुथराट रुच PADUAT.171 रस्तुरी-तिलर तस्या कि चारु-चन्दन-लता-पलिता 19 21 49 49 10 HT ·APPENDLX 135 Terse Page 52 55 66 26 30 23 25 29 28 25 65 56 03 67 58 किं द्वार-समुद्र-कप-लतिके कुष्टी विष्ठानुलिप्तः कृमि कुल-कलितः कोषे निपएणम्य च पद-मुप्टे० तर रुचिर-मुखेन्दोः कान्ति-पीयूप-धारा तुपारापराक्लेशितामुप्म रोचिः तिलोकी-जय-प्रस्थितस्यात्मयोनेः दन्तालि-दाडिमी-बीज० धनजय-समुद्भूतः मुभद्रोत्साह धूली-वर्करिणः प्रचण्ड-तपन० म भाति कण्ठः क्मुि काम-भूपते. मायं गर्जः विमुत प्रभात-बेला स्मर-राजपुती मा काक कोफिल-शतानुगत मान्योऽसि मान-मजुल सिह वारितः प्रस्फुरत्येव स्वभाव-सिद्ध वक्रत्वं खलस्य च हरिण्यस्त्वरण्येऽप्र-गरयं शरण्य CS 61 . 28 29 26 30 28 27 27 27 24 22 62 60 61 58 51 70 TI 30 31 21. PILALGUHASTINI तिनयन-जटा-बली-पुष्प राजति तावदशेष-गुणारं 22 RAJAKANTI अद्गनं तदिदमुन्मद-द्विप० निरर्थक जन्म गतं नलिन्या 73 31 32 PS. R:13LVATI PRIYAJIVADI शालिन्दी-पुलिनेषु केलि-क्लन 74 33 ·136 SA\SKRIT POETESSES Verse Page 33 to 76 33 77 34 24 SARASTATI देव त्वमेव पातालमाशाना पत्राणि क्रएटर सहस्र दुरासदानि SIRASI ITI KT TU UBADT NIITA मुरताय नमस्तस्म जगदानन्द हतवे SILA BATTARIKA इदमनुचितमक्रमश्च पुसा दूति त्व तरुणी युवा म चपल प्रिया विरहितम्याद्य हृदि चिन्ता य कौमार हर म एव हि वर० विरह विपमो वाम काम श्वास कि त्वरितागता 37 83 80 35 35 79 82 36 78 81 34 36 . 84 38 8) 35 67 80 SITA मा भै शशाङ्क मम सोधुनि 28 SUBHADRI दुग्ध च यत्तदनु यन् कधित TRILHI 141151PASTATI पातु तिलोरी हरिरम्बु राशी श्रामद् रूपविश्वदेव SU IFVIDITTI क्षोणा-पाल विशाल भाल भवत S1 TID I 171 चराचर जगत् मत्र लदमा मरखती-मुरया यया देय्या विरहित 99 39 68 30 100 41 41 99 ·APPEXDIE 137 Verse 93 Page 40 96 91 41 40 J4 89 92 यया शिवोऽपि युक्तः सन् यस्याः प्रमाद-मात्रेण वर्धन्ते यस्याः प्रमाद लेशन भोग-मोक्षा यस्मानीखर्यमनियं या देवी जगताती या देवा मुक्ति-यामाना या ध्याता परमा शक्तिः या स्नुता मर-पापी मकदाराध्य या समभीष्टं 40 98 79 41 90 32 TIUJA 31 126 117 124 104 128 122 50 53 55 52 अस्थिरमनेर राग गुण रहितं उनमय्य म-क्च प्रहमास्यं उनिद-कोक्नद रेणु स्वरभिप्रायमगन्द गोचरं किंशुकलिकान्तर्गतमिन्दुक केनापि चम्पर तरो वत गोष. साततरः स्थितानि गते प्रेमावन्धे हृदय यहुमाने जनयति जन-नाय इप्टिरेषा यूषस वमद्भिरध्वग-जनक दृष्टि है प्रतिवेशिनि देन प्रथम जितोऽमि धन्याऽमि या स्ययमि नाया मारसि-शून्यता नीलोत्पन-दल-रयामा प्रिय-मनि पिरगड प्रान्त 18 113 112 129 105 103 110 114 47 55 49 18 103 118 51 ·138 SANSKRIT POETESSES Page 42 51 50 48 43 Verse 101 108 127 118 110 102 106 115 120 121 107 123 120 भूपाला शशि भास्करान्वयभुव म रोमाञ्चिताझी रति मृदित तनो मलिन हुतभुग धूम श्याम माद्यद् दिगगन दान लिप्त० मेव्याम नवाम्बुभिवसुमती यश पुत्र देव त्वदसि लतिका वय वाल्ये चालान्तरुणिमनि विज्ञप्तिरेपा मम जीव वन्धो विरम विफ्लायासादस्माद् विलास मसृणोल्लसन्मुसल० सितिल तला सान्द्रच्छाया. मुहाय फल भार नम्न शिखर सोत्माहा नव वारि भार गुरवो 45 48 bl 52 45 53 51 57 59 55 58 134 188 180 136 137 140 132 131 133 130 139 LIKATARITAIBA अनालोच्य प्रेमण परिणतिमनाहत्य अन्यामु तावदुपमर्द सहासु अभिहिताऽप्यभियोग परा मुखी अययि साहस कारिणि कान्ते तल्पगुपागते कि द्वारि देव हतके छ प्रस्थिताऽसि परभोर दिग वधू बदन चुम्बि चार्यया वाला तन्वी मृदु तनुरिय लावण्य-सिन्धुरपरंव हि मुरभित सरल-यनान्ते 58 60 36 57 59 59 ·PRAKRIT POETESSES Verse Page 1 61 2 مل 4 6 5 9 7 8 1 ATU LAKSVI ज तुझ सइ जात्रा असइओ ए वि तह छेअरपाइ वि दिढ मूल बन्ध गणठी हमिअ स हत्थ ताल ASU LADDHI गाह दुई ग तुम पियो ति सहि दुम्मेन्ति स्तम्याइ जह 3 AVANTISUND.INI उवटमर एराणा इन्दो वित पिंहु वीगरिय रारा गित्त क्लुमिनाए VIDILATI रामन्ति जे पहुत उमिश्र 5 PPAHATI एस पहविगग हार्य PLVA अवलम्यि माण-परम्मत विदास क्या यहा RONX जगा विग्गा गा जियिता 8. 61SIPRARIA जह नह याne free १ गिह दरिंग मागमा 10 11 6 13 12 . . LADDITIAHIT 1)

·APPENDIX V
IDC." or TIF KI1 15 11111D UIDF
TIC ATLI DI FI 11 IOLTFSS
1
DFT AKI VIPIKI
l'ard janutla pris i pra asta (Historical poem)
CAIGIDETI
Madhura +114ya or l ri pai eja carita (Histori
cal poem)
3
LAISVI RISI
Santuna Gopala lulja (Paur inic poem)
4
114DHURAL JAI
Ramuyana / al ju (pic poem)
5
RAJABZADRAVBA
Raghunathabhyudaya (Historical 1 oem)
6
TIRUVALAMPA
Laradambil a parinaya (Campu)

·APPENDIX VI ALPHABETICAL IDEI or TIIE TONS OF BIODERN POETESSES, ARRANGED ALPHA BETICALII UMDFP EACH POFTESS 1 BIPAT ANASOYA KAJALAB 11 Srdatta pañcúmrta 1 11 111 BILA UBIKA 2 Subodha-Ruma carta 11 Arya Ramayana 111 Guna Yadamba 11 Deuz traya trumfan-mala S LANUJAJBA, VENELAKAJTI Brahmunanda Saranatı paduhu-pujana Samlara Bhagarat-pada-sahasra numaralı Datta-puju-gita ladamba IRAN A SUA DARI 71 alusyn campu lui ya 5 KAJAKSI Ruma carita 6 ASAVALA11 DHATI TAVI LAJIJA Buddha critumurta 7 NIDIPRII A, Joint Author Rudhu Gorinda Sarad rusa 8 111IBII Lalemzfrara carn picurya 9 SI ZDFU BITIPAJAT Campu Blagarata

·IShNIT TOTS
11 SIMIY DI'II
hondata
11'111LIT
Humanın amprehet ne
IRTEIT
1.
Bhangat dan
11 Laikomi saharra
m. Rangabhyutlayıt
Rongamuthu sabuni
Rangarut-samudaya
hompatlu musra-tayıt
fu. Sulla sandesa
1111, Tarte-mudra-bhadroilaya

·APPENDIX VIII
LIST OF ABBREVIATIONS
Amark. Amara-kosa
AmarKU. Amara-kośodghātana
AISPBMS Alphabetical Index to the Sanskrit
Printed Books and Manuscripts.
AK. Alamkāra-haustubha
AL. Ananda-lahari
Alternative,
AM. Alamkāra-muhtavali
Agnip Agni-purāna.
AS. Alamlara.sutra
ASR. Alamlāra-sarvasva
Ast Astidhyāyī of Pānını
svGS. Asyalāyana-grhya-sutra
AVM. Abhidhā-vrttı-mātrku.
B
Bbagi Bhagavata-purāna.
BbP. Bhavisya-purāna
BhojaP Bhoja prabandha.
Bodhic. Bodbicaryavatāra
Brh Upan. Brhad-aranyaha Upanışad.
C
Chandu. Chandomañjari
cp. Compare
CS. Cāļu-bloha.
D
DebĪNU Desi-nima-malā.
DL Dlvany-aloka.

·APPENDIX DXJ. Dhananjaya-nāma-mālā DR Daba-rupa T f. Folio f. u. Fout-note. Gathss. Gatha.sapta-sati. Gaudy. Gauda-vaha, GOS. Gaekrad's Oriental Series H Harl. Hari-tamsa. Ilist, of Ind. Lit. History of Indian literature. I Introd. Introduction к KA Kävyälainbāra. KAS. Kávyālamkára-sekhara KAS. Kūryālambära-sūtra. Kall. Kalkı-purūna. Kámas, Kama-sutra Karlañ. Karpūra-manjarī. ED. Kávya-darpana. K. Kāvya-mimūnsā. KP. Kavya-prahūśa. KS. of Hema. candra Kāryānuśāsana of Hemacandra. KS. or KVS. of Vägbhata Kārzunuśásana of Vigbhata.

·140 SANSKRIT POETESSES 1 KumārPC. Kumărapăla-carita. Kūrp. Kurma-purāna. KVS. Seeks kys. Tavīndra-vacanu-samuccaya. I. IOLC. India Office Library Catalogue L Line Lal Vis Lalita-vistaia. M 1. Jetre. MS Manuscript MalBh. Jabablārata Jah Vyut. Naha-vyutpattı MatP Vatsya-purāna MegD Megha-duta. Herut Aleru-tantra N XaDk. Naya-dhamma bahā-sutta no Number, NST Nirnaya sigara press P. P. Page PraD.I. Prührta-hits.idesa PILYJ, Pārsa-lacchi-nama-mila. PR. Padya-racani. Pral l'an. Prābrta-pamugala. PriPrak. I'robrta-prabuša. 1'ruSah. Prapta sahasra. PriSRJ, Prührta-suhta-ratna-malu.

·III MIT HOITI
Sulhy
ull, la unutarn11
+1 -110 l a ratin
Splavuodati cari!
alta *****a rituta
Sur
1
11.1 mith
1
Vih
Tarinalarb
Tartu
Hin jurura
Vibrull finira
uuring
Talvelun jista
Irita ratni shara
sahti sincha
Trenul
kant

·150 SANSKRIT POETESSES clamhara-sarrasia-z yükhyā by Samudrabandha Sce Alamhara-sútra by Rājānaba Ruy gala. Alamhura-sarıasta by Manklıuha 'z yahlıya by S. Alamlara-sutra by Rajūnaha Ruyy aka Alamhurasarıasla by Haukhuha | also called Janhhaha and Vaullal. ryākly, by Samudrababdla. Alamkāra-sutra by Rajānala Sri Ruysala with the Yrtti Alambara-sarvasva by Mankhula aul commentary by Samudrabandha, on the latter. Id by T Ganapati Sāstrī Triandrum Sanskrit Series, no. SL Trivandrum, Govt. press, 1915 Alamhara-tilaha by Vugbhata. See Kenyûnusasana by Vāgbhata: A by Alphabetical Index to the Sanskrit Printed Books and Vanuscripts Compiled by the office of the Asiatic Society of Bengal Calcutta, 193 Amara-hosodghātana by Ksirastāmın See Namalinganuśasana (also called Amara-bosa) by Amarasimha: A hy K. Amarasimha. Nama lingunusāsana (also called Amara. bosa] Ambrha-parinaya-campu (also called Varadāmbikaparınaya-campu) by Tırurnalamba Ambiká-parinaya-campūh. Tirumalam bayā pranītā Laksmanastarūpa...ity etaih sampadita. Lahore, Bombay machine press, 193? Ananda-lahari, attributed to Samhara Ācārya Stava-kavaca-balpa-drumah, compiled by Guru- Dātha Vidyanıdlı Bhattācārya Ānanda lahari 1917-18 See Stara-1 araca-l alpadruma, attributed to Samlara Icārya Anandarardhana. Dhany-aloka 1 ·Iligarnta-Ulurartha-lamki hy Stilhars Spinnin. Blandar11, 17. G. Sre Münalreno (10 ala bilardira. BIBLIOGRAPHY 151 Authology Sce Rosahávya Aroliala Blagadatta Jalhana, comp:- Sultz-multūrali Sultz-muhtūrali-samgraha. dstadhyāyı by Paniai. Mahâ•blusya by Patañjalı. prodına by Kaiyata suddyola by Nágesa 'Bhatta. Mahābhāgga pradipoddzota by Nágeša Bhatta. D. by Panilit Balurallabha Cistri. Bibliothicca Indica, CXLII. Ner series Vols 1-3 Calcutta, Asiatic Society of Bengal, 1899, 1901-1903. Sec also Siddhanta-haumdı. visialdyana-grlıya sutra Isralūsana.grlıya-sūtra .. LII. by T. Ganapati Sastri. Trivandrum Sanskrit Suries, no.73 Trırandrum, Gorernment pre 9, 1923. Balfinuliha, Subodha-Rama-carita. Bilimmil, 1. Sec Dilimbika, Ballila. Bloga-prabandha Bhagadatta Jalhaya. See Irohala Bhagadatta Talhana. Bhanuala háryutankura. Dhigaratr.purina Playaratuvarúrthia.dipili by Sridbara Svāmin, Srinadl-Blügavati. Dadasaskanelliūtmalam .. Sridhora-Stūmokrta-Bharartha dipaka nama ithi-sa metam ... Paucanaua-Tarha. rata ua sampidataja siai el., 192. Sre Blajaratn-print. B. loss Illámolin. Vanonir ; Voraruri 11.11 5th ed. Culcutta, innga. Srr P'rilgtsspiralala by lara, ·10 GIMIT POHTI. DI srata blauthals Silakantha Scr llarrutar 11 -Sec alia bharata Dly! Inita Kediri Irtia ratnoma Bhattoji Dikta Yeddle intulaumudi Bharı yo purlin Atha Sri linata mahu juragan prarabhvate Idly Govind, l'ara uruma Bhatta of Rurora Bombas lenhaft stara pre44, 1897 Bhimn«ena Dihusta Sud 1 si jara Sec harga prahusals Mommnta Sb 13 D Bhojadern, hing of Dhara Sarasat lanthabara 7103 Bhoja prabandha by Ballala The Bhojaprabaudha of Ballala Bombas Virnava sugara press, 1929 -LYS Sec Catalog, codicum Manuscriptoom is T Iufrecht Oxford 1807 Bodhi caryıratara paniek by Proudharauuatı Scc Dodhı cary.ratara by Santidera Suri "pangilu bs Prajualarımuti Bodh.carynat ira by Suntzdera Suri pa) lub Projnabaramati (also called I'raju ibara Bhibau) Prajuabaramati 8 commentary to the Bodlucary - ratura of Suntidera Ld Tith indices by Louis de la Vallee l'oussin Bibliotheca indica CL Calcutta Baptist Mission Press, 1901-14 Brahmunanda Saralatı Szamz 7 dulu pe jana by Hanımambo Bralu nauda Sarasvati Sriguru- Srami paduks pujanam Tennelabamţi Hanu mambi viracitam Bombay, Jonoranjan press 1919 Brlad iranyaha Upanisad bhusya by Samlara Icarya The Bahad aranyabz upanishad, with ·BIBLIOGRAPHY 153 tbt cominentary of Sawhara charya Ld by Dr LRver Bibliothcca Indica, 11. Calcutta, Baptist ission press, 1819.56 Bplad aranyathopanzsad bhaiya by Sambara Icārya. See Brhal uranya) a Upani«nd bhasya by 6 A Catalogu Codicum Vanuscriptoom by T aufrecht Oxford, 1861 Catalogue du louds Tibetain de la Bibliotheque Nationale par P. Cordier, Paris MDCCCCIX. l'art II UDCCCCXV. Part III Catalogue of the Library of the India Office Vol II, part I. Revised edition Sanskrit (and Prakrit] hools us I'rana Yatha and Jitendra (latindra) Bunala Chaudhuri Section I (1G) London, Iudia Office (published by order of the Secretary of State for India), 1939 Catalogue of Sunshrit US at the Adjar Library Part II. Compiled by the landets of the Library dyr, l'acunt press, 1926 1 merc index of names Cataloguc of Sanshrit Vanuscripts at the Asiatic Societs of Bengal, compiled by Jm llaraprasad Slenstre Kirya Vot VIL Calcutta, gratic Society of Bengal, 1934 Catalogue of Jianuscripls and l'rinted Books in Sanskrit belonging to the Oriental Library, isatio Society of Bungal Compiled bu l'agilita huūja. li hirintirtlin uuder the supervision of Minlūmabop alleiva Intapravidla Siitri Calcutta, .*ntic Weitts of Bengal, 1901 Cutali puc of Sanskrit and lrahal Nanuscripts at do lusta Orice Saltarı Is Splsur Berraedale Keisti ·151 SANSKRIT POETESSES with an appendis on Buddhist Vanuscripts by I. W Thomas 2 rol: London, Oxford Unirersity press, 1937 . Catalogue of Sanskrit Januscripts at the India Office Library hy Julius Eggeling. Vols I-VII. Catalogues Manuscripts Catalogi Codicum Januscriptoom. Catalague of Sanskrit Vanuscripts at the Adgar Library Catalogue of Sanskrit Januscripts at the India Office Library Catalogue of Sanskrit Januscripts at the India Office Library (Aufrecht Collection) See Journal of the Royal Asiatic Society, 1903, pp. 1029-63 Catalogue of Sanskrit Vanuscripts and Printed Boobs at the Asiatic Society of Bengal Cordier Catalogue Descriptırc Catalogue of Sanskrit Januscripts at the Bombay Branch of the Royal Asiatic Society. Descriptırc Catalogue of Sanskrit Januscripts at the Government Oriental Januscripts Library, Jadras Descripture Catalogue of Sanskrit Januscripts at the Royal Asiatic Society, compiled by Mm Haraprasādı Sastrın Descriptrie Catalogue of Sanskrit Januscripts at the Sarasvati Jabal Januscripts Library, Tanjore. Xotices of Sanskrit Januscripts Reports on search of Sanskrit Januscripts.

·BIBLIOGRAPHI 155 Catalogues. Printed Books. Ilphabetical Iudea to the Sanskrit Printed Boobs auu Manuscripts at the Asiatic Society of Bengal Catalogue of JSs. and PBs. at the R I.S.B. Catalogue of Sauskrit Books. Seo Catalogue of the Libray of the India Office. Chandomaiijuri ly Gaugādāsa. Chaudowanjari. Vaidya-labi-mahopūdhyāya-Srimad - Gangadása. viracita, Srimad-Gurunātha-Vidgānidhi-Bhattacirsa-hrta-tikinuvāda-prabhrtıbbıh samalamkrtā. Calcutta, Ghosh press, 1925 Chandonaſijari-tiku by Gurunātha Vidrūnidhi Bha. ficărga. See Chandomañjari by Gaugādāsa : thi hy G. 1.B Data-rupala bs Dlananjaya: 'auulola by Dhauila Sri-Dharamjayo-viracıtain Dasa-rupakan. Dani ka-hrtagiralokūbhyazi yükhyaya samnetam... Vasudeva-Sarmani samskrtan. 2ud ed. Bombay, Xornayasāgara press, 1917. 4th ed.. 1928. Dafarupakūralola by Dhaniha. See Daša-rupala by Dhananjaya:' aralola bg 1). Datta.parcimta by Kamalúbdi Bapat, Sri.Dattapaicīmrta. Sau. Kamalübài Böpet sämnis tagūra barūņa. L'oona, Irfa-samshrt: press, 1930-31. Datta-půjūgita.hadaba ls Lazumimbi. Vennelahainfi-Lanumămbayú Artan Sri-Datta-puji- Alta-kadau bam, Bombay, lodu.jirahisa gress, 1920-21, Descripture Catalogue of Sansint viss, at the lombas Branch of the Royal Asiatic Society.

·156 SANSKRIT POETESSES Descriptize Catalogue of Sanskrit MSs at the Bombay Branch of the Royal Asiatic Society Bluu Dun s Collection Descripture Catalogue of the Sansbrit Januscripts in the Government Oriental Manuscripts Library Madras by 8 Kuppuswami Sastri and PP Subrahmanya Sastrı Madras Government press Descriptize Catalogue of Sanskrit Manuscripts in the Tanjore Maharaj Serfoji s Sarasvatı Mahal Library, Tanjore by P P I Sastrı Srirangam 193 ? Desi numa mila by Iemacandra The Desi Ruma mala of lemachandra second edition with in troduction critical notes and glossary by Para rastu Venkata Ramanujaswami The Department of Public Instruction Bombay Arya bhusana press 1938 Dhanamjaya Dase rupala Dhanamjaya Lexicographer Dhanumyaya nama mula Di anamja ja losa by Dhanamjaya see Dhanamaya nama malu (also called D ] Dhunu mjaya nighantu (also called Dhanamjaya Losa) See Dhanamiaya nama mula (also called Dhanam- Jarz hosa) A ama mula See Dhanamaya numa mula (also called by NI Dhanamjaya numa mulu (also called Dhanumjara kośa Dhananijara nighantu and Mama malı] by Dhanamjaya Srimad Dhanujayı Karı viracita Mama mala Bombay raibhava press 1929 Dhanamaya nighantu by Dhananjay? See Dhanan jaya numa mul (also called D ·BIBLIOGRAPHY 157 Dhanapala Purya lacchi nama mula Dhanerara surasundari caria Dhanba Dasa-rupolaralol a See Dasa rupaha by Dhanamjaya 'araloha by D Dhrany ulol a br Anandarardhana locuna (also called Incanal by Abhinavagupta The Dhraar aloha of Xpandarardhanacharya with the commen tars of Abhinavaguptacharya Ed by Paudit Durgaprasad and La inath Pandurang Parab Karya-mula, 22 Bombay, Mirnava sagara press, 1891 Dhrany alola locana br Abhinaragupta See Dhrany-ulola by Xpandarardhana 'locana (also called Locana] by a Dictionaries Pral rit Dest nama mala Puiya lacchi numa mula Sansirit Aama lingunususana (also called Amara Losa] Dlanamaya numa-mala Sabda sura Drama Kurpuramonjari Vikramortasiya Durgaprasada Driveda Sahitya darpanacchuyu See Sahitya darpana by Pistanıtha Kariraja 'chayu Uv D D Drivedadesa Sato-patha brulimana blatya See Sata patlua-brahmana 'Chusya by D Diy asraya latya by Ieuacandra See Kumura pula carita (also called Dir aírava karyal by u Guna lodambala by Bslaniku Gana badambala Kumbakonam, 1971 ·158 SANSKRIT POETESSES Gangadāsa. Chandomañari. Gangadhara Blaatta Gathū-saptu-sati-tikā. See Gathā-sapta-sati by Hāla tihu by G.B Gåthi-sapta.sati by Hila (also called Sātavāhana] : 'tika by Gangadhara Bhatta The Gatha-sapta-sati of Satavāhana with the Commentary of Gangin dhara Bhatta Edited by Pandit Durgāprasáda and Kasınāth Pandurang Parab Kūvya-mālā, 21 Bombay, Nirnaya-sågara press, 1889. Gathā-sapta-sati-tihů by Gangadhara Bhatta. See Gāthu-sapta-sati by Hala 'trha by GB G Gauda-vaha by Valpati The Gaudavaho [Gaudavadha), a historical poem in Pral by Vikpat. I'd by Shankar Pandurang Pandat. Bombay, Education Societies' press, 1837 Girisacandra Vidyāratpa, comp. Sabda-sära. Grammar Prakrit. Monorama. Prahrta-Dhatv-udesa Prālrta manjarī Prührta-prahusa Pruhrta-sarrasva. Prührta-vyakarana Sanskrit Astüdhyayi. Siddhanta-haumudi. Gurunatha Vidyanidhi Blaftūcirya Chando-mai- Jarl-tihu See Chandomalijari liy Gangādāsa: 'filu by G. VB. - comp Stara.haraca-halpa-druma.

·BIBLIOGRAPHY 139 H Häla Gathu-sapta-sati, Hälusya campú kuz ya by Tianasundanı Halustacampu-prabandha bambalonau, Srırıdci prens, 1906 Honucimbi, Tennelalomti. Brahmananda-Sarastatr-Sumi-pudula pujana Datta-půjā-gila-ladamba samlara-Bhagatat páducarya-sahasra - numurs zali Haribhāskara, SORL of Apuze Bhatta, grandion of Har and great-grandson of Pururoitama, author of Vila-rat nal tra l'alyânırla-tarangin. (JIS) ları Kari, comp Subhūnita-hurural (VS) Jlaristamin. Sala-patha brühmana-bhünya See Sata. patha brukmana 'bhurya bs I Ilari-rama Dhurata-blura-dupa by Vilakantha Khila-Iar-vam am La.br Pancānana Tarkara. tra Calcutta, Vanga-1651 prees, 1905 llemacandra Deta-nama-mala Doy-asraya-latya, See below Kuryunusasana huryūnu sisana-tila Sce Karyanusuana by llemacandra labs the me. Kumarapula-carta (also called Dry asraya-kirsaj Pralla-ryakarana 113tory Ilistors of Indian Literature by Vaurice Tinternitz Vol II Calcutta, voirersity ol Calcutta, 1933 ·160 SANSKRIT POETESSES J Jagaddhara Sarası atı lanthablarang tila See Sarasiat-1 anthubharana by Bhojrder'ı tala by J Jagannatha Panditarija Rasa Gangadhara Jhina Literature angas doya dhamma lahu sutta Jalhana See also Arohaka Bhagadatta Jalhana Javalrsna Suvodlu.nz See Siddhanta-l aumudi by Bhattoji Diksıta Shy J Jay arama son of Haribhuslara Padyamrta-sopuna Sec Padyumrta tarangin b: Ilaribhaskara P Wy J Jñanasundarı Halasya campuluu ya Jñanendra Sarasvati Tattia bodhini See Siddhanta 1 aumud: by Bhattoji Dilsita r by J S Kaiyata Mala bhasya prudepa See Astudhyayi by Panini dlaha bhas ya bi l'atañjali prad,pa bv K Kalidasa Megha duta 1'21 ramoruasiya Kumara sambhara Kalkı puruna Kalı-purana Samskrta mula Ld by Pancanana Tarkaratna Calcutta, Tangarasi press, 1903 Kamalabui Bapat Datta pancumrta Kama sustra hama sutra Kuma sutra by laissutana tika by Iasodhara Kamn-sutra [Ed hy Jalesacandra Pala ) Calcutta, Jahabalı press, (1906 7) Kūma sutra-tela by Yusodhara See kuma sutra by Tatsı yada thu bs Yaśodhara ·BIBLIOGRAPHI IC1 karpuramarjari by Rajasellara tiba by I usudera Karpuramalijari Ed by lal smalopadljuga Pandit Durgaprasada and Vasudes Lasman Shastri Pansibar Bombay Jurnaja-sugara Press, 1927 Karpuramanjar, tıka by usudera Sce Karpura manjari by Rajaſekhara tilu by I fasinatha Pandurang Parab Subhasita ratna blia ndug ira Kutyayana Vanjar (alsu called Probrta manjara] See Prakrta pralusa by Turaruci Il by K harindra zacana-samuccaya 1 Sanskrit anthology of verses, ed with introduction and notes by T 1 Thomas Bibliotheca Indica Tew series lo 130) Calcutta Asiatic Societs of Bengal 1912 ката Campu Ilulusya campu larya Laxmib are carpe hulya Rumuyana campul n ja һлга Pral rit Dry fraya lur ya Scc lclor Guurta zaha humiraj ili canta (also called Dry drava hursal Pauma-caria Supean the curia Surasundari caria Sanskrit harindra racana samucca ja Ridh, Gorinda surad 1181 Rulmni jarun JA Want ina Gopala lira ·164 SANSKRIT POETESSES Subhasita-muhtarali. Subhasita-ratna-bhandagura. Subhāsıta-sūra-samuccaya Subhâsıtavalı Sulte-multavale Sūkti-muhtuvali-samgraha. Suhtu-sagara Krsna Prahrtu-paingala-tıkū See Prührta-paingala tihů by K. Kairosvain jmaral.osonghatana See Namalingunusäsuno (also called Amara-kosa] by Amarasimha. 4 by K. Kumarapala-carta (also called Dvy-āsraya-kūvya] hy Heruacandra 'tiha by Purnakalasa Sri-Kumārapāla-carita-Prākrta-Dvy-asraya-Lāvyam Panditābhidhāna-Pānduranga-sunnná Sanıkarena samsodhitam Bombay, Nirnaya-sāgara pross, 1900 Kumarapala-carita-tīka by Purnakalasa. See Kumarapala-carta (also called Dvy-asraya-kävya] by Hemacandra tila by P. Kumara-sambhava by Kalıdāsa, Kumāra-sambhavam ...Ed. by Gurunath Vidyānidhi Bhattācārya. Calcutta, 1921-22 Kuntala, Rūjanaha Vahrohli-)rvita. Kurma-purana. Kurma-purānam. Paaicīnana- Tarlaratna-sampaditam Calcutta, Vaugavāsi Press, 1904. L Labunana Bhatt Ankollār. Padya-racana Laksmana Ganin. Supasanūha.caria. -R- ·BIBLIOGRAPY 165 Lalimisrara-campu-lurya by Ramabai, daughter of Inanta Surt and dobu Lal-misrara-campu- Laryam Calcutta,1579-80 Lalita Listara Lalita-Tistara Ed, by Rajendralila Jitra. Bibliotheca Indica, IT. Calcutta, Asiatic Society of Bengal, (1853-] 1877. Vadhuratini Rúmuyana-larya Vadhurd-rijaya by Gangūderi For bublographucal references, ice Sansl rut Poctess, Part 1. rol. III of this series. Jlahu-bharata. See also Hari-ramsa. -.Blurata-blura-dipa by Yulabantha Haba-bharatam. Sriman-Silabantha-krta-tibari wametam l'ancigana - Tarkaratoa - sampūdıtam. Calcutta, Tanga-Täsi press, 1901. Vahi-bhu yal Patanjalı. Scc Iglūdhyayi br Pinai. , by I'. Vaki-lhuya-pradı pa by Kaisata. Sce defullyiyı bs l'úniai: Valu-bhasya by Patañjalı: 'pradipa br K. Vale7-blweya-pradipoddyota bs Nige-a Blatta. Seo losükyayi br Panai. Vaha-lhi ya by Pataijalı 'pradıpa by Kairata : 'uddyota ly.. B Jah, hirsa. Pruhrta. Setu- inella Vah-rupalte Jabirsutpattı izdal I P. Jlioaer. Vtoroc izdadır, · ubazatel. m. Pripatorill pecati 1 Jironor, Bellwil oca Bullhea, XIII 1911. Jabinalbatta. Iyallrossrela. Varilni ton1!iji Japba-oliga, ed. br 1. Tirelor- aaj 1! (lalnes *** I-I Loodot, l'al Test ·166 SYSKRIT POETESSES Wallın atla Sanijilani Sec Vegha-duta by Kalı. daşa S by M Jammata Icirri, Ruunaha Sabda-z ya pura-vicára. Mammata Bhatta haya pral asa Vaulluha llumura sarıasia SEC dlamhurasutra hy Ruibala Ruysaha d by J Janorami by Bu maha See Pruhrta-prahusa by Tararuci 1 by B Januscripts (tralolitesuara-stotra! Yce Stotrus (Stan-gyur). Bluza-prabandha Padyumrta-tarangıní (33 JIS) Palyutali Padlya-zen Rumayana-lurya Sail-ulti-larnimşta Singura prahara Stotra (Iloilgeon) See Motras (dyar] Subhasta-hurázali Subhasta-sūrn-samuccaya Sallustår ali Sulti-muktirali (JIS) Súlti-nultural-samgrah Sullt-sigara. Su 11 sundara Malaya-puruma Jlat-sa-putunam L x l'anciara Tarharatna Calcutta, Saugi-sisi press. 1909 Jlcgha-lata lis Kilidis ramirani bs Jallın itha. Jeglia-cutar (surunitha lidsduidhi-1}}tfliciri enn sarapirlit.mn Chlcutta, Golordhan Jincline press, 1916-17 ·BIBLIOGRAPHY 167 Veri tantra Heru tantra (a trentice on mistic Sairn rituals, in 37 prahuas] Lucbuor, 1907 Vetrical works Sansirit Chandomanjari Yrtta ratnalara Pral rit Pruhrta l'aigala Juhulz Bhatt A bhrul a tſitz matria Tagesa Bhatta Vahebhisya pradepodd yota Sce studhyayı bı Panın Vah, bhurya bt Patanja li "prailipa bt Kaivata *dyota bi mama longinus sarna (also called finira kosa) Di Imarasimhin imura lo origh stana Ksira ST in The ma lugunusisz na I'd Krishnaji Gorinda Oha l'oo Lar Printing press 1913 Tanmail Dlinnamjain Sce Dhannmjay 1-147 - rise niso onlled a tu ell l l D Tam S. thu hotelurlara sila cc Kirolamhara bi Rudrnia 117. bis 1.5 Tarix: 1haft Irlla ratni thara . Sec leta ratnlara | Bhatti hedunt .bs B Lidl ma hili sutt Tga: 20 laya saniti grain 1 dll are Bomla 1919 Vikings hlwilala niya Tin git Vulkantha Bluratu ul rasar See Ilari rani: ir val. 11 ruta Dil Vatices of Santo llacurripts 1: Najeg drilal Jitra alleled unler onler of tle Gorisn. rut o len ! 1 I Calcutta 1.trru The Tee Saag ·16B SANSKRIT POETESSES Padma carita Sce Pauma cara Palyumrta sopann by jayarama See Padyamrta taranginby Haribhaskara son of Apun Blatta P by J Pad ju mrta tara ugini (US) by Haribhashara son of Ipat grandson of Har end great grandson of Purusottama author of Vrtta ratnahara tohu Padyanrta tarangiai Foll 10 32 x 12 cm 11 12 13 See Reports of search for Sanskrit US& in the years 1884 37 no 376 -See Reports of the search for Sanskrit Januscripts, no 250 of 1080 -Paljumrta sop ina by Jayarıma, oon of the author Haribhushara farangas 111 144 (f 35) 1 64 (f 83) lufrecht collection 64 See Cata logue of Sans VS, at the India Office Library by A B Keith Palya racana by Laksmana Bhatta Ankollar The Padya racana of Lahemana Bhatta Anlollar (in 19 chaps ] Ed by Kedarntha and TVasudeva Laama la Shastri Panashilar hulya mali no 89 Bombay Nirnaya sagara press 1808 P'adjutal by Rupa Gosvamia Pady avalı Sri Atulakrana Gosvamina sampadita 2nd ed Cal cutta 1916 17 -(VS) Aufrecht Collection, no 03 Indın Office JS n0 823 a For details şee Esgeling s Catalogue, vy no 4034 Pralja Leni (35) by leadatta l'adya ren Toll 1 76 27 x 12 cm 11 10 See Reports of search for Sanskrit US: 1o the year 1581 87, no 370 Pulja lacchi numa mulu by Dhadapala The Pulsa ·BIBLIOGRAPHY 169 Bodlu car jaia laccli dama malı, a Prabrit Kosha by Dhanapala bd by George Buhler Gottingen University press 1879 Panini Astadhyayı Patanjalı Vaha błusya See 1studl yuyr by Pamu 1 by P Pauma carun by Vimala Suri l'auma caria (Padma carita] Bhavnagar Prajuakara Bhilsu See Prajnalaramati Prajnakaramati (also callel l'rajnahara Bhilsu) Bodhr caryar atara par zila Sec tara by Santideva Suri ºparna by P Pral usilu by Ranganatha See Til ramoriaſi ja by Kalidasa P by R Prahrta dhatu udesa Prakrta dhaty adesa Royal Asiatic Society of Bengal 1924 Pral rta paingala. tuli by Krena Pralrta j ainga lam Krona See Prul rta paingala Visvanatha Pancapana Pr urta paingala trhu by Vamsidhara paingalam rith the Commentaries of lainsidhara Sec Prakrta-paingala 'tila by 15vauutha Pan Canana Prul rta painyalu Lulu by 1svanathu Pancanana Prabrta Pangalan with tle commentaries of 1 isvanatha Paucanana Taasidhara Iudasendra Ed by Chandra Johana Ghosha Biblioteca Indica calviti Vision press 1902 hal hy Ya lavendra Tidavendra Sec Prul rta par gala 1517patha Paucanana tcha by Irabrta Krana and Calcutta Baptist Pr.hrta paisgalen tha by ·170 SANSKRIT POETESSES Prálrta-paingala lila by Iryna See Průkrta-paingala trhá by K. ---by Vamsidbara See Puhrta-paingala ºtrhu by V. --by Visvanatha Paīcānana See Prührta-paingala trhu by TP - by Yadavendra See Průl rta parn gala til a by Y Prikrta-prahúsa by Tararuci Vanorama by Bhāmaha Prákrta prabusa of Vararuchi with (1) the prose commentars of Bhāmaba entitled Vano- Tam), (?) the verse commentary of Katvāyana entitled Janjari, ed by Busantakumarn Chattopādhraya Calcutta, Cotton Press, 1914 Vaſjari by Katyāyanı Prābrtapralāśa with the verse commentary of Kātrāyana entitled Manjari See Pralita-prahusa br Vararıcı Uanorama by Blāmahu Pruhrta-sariasla by Varhandeya Vijhagapatam, Pruhrta-suhta-ratna mala, compiled by Pūrnacandra Mahar. Prālrta-sūlta ratna-mālā by Puran Chand Yahar Jarna-wudha-sahitya sustia. mulu, no XI Calcutta, 1919 Průleta u yiharana by Femacandra Sri-Hemacrodri. cārya-Tiracitam Prakrta-fgabaranam Poona, Hanuman press, 1928 Pravarasena Setu-bandha (also called Dasamukha. Fadha and Rirana-radhal Psalms of the early Buddhists I Psalms of the sisters See Theri.guthu. Purnacandra Schär, comp. Prul rta-suhta-ratna-mila. Puranas .1gni-puruna Bhugaiata.purura ·BIBLIOGRAPHY 171 Blansya parana halkı parand hurma purana Vatsya puruna I amana purana 174111 puruna Purnabala a lumurapula carita tiha See kumara puln carita (also called Dry usrara Larral be IIemacandra trhu by P Rudla Gounda-s irad rusa by Vistanatha Derasar man and Radhapriya Sri Radh. Gorinda sarad rasa 11th ed Athgurh (Orissa) Uthala salutya Press, 1917 Radhapriya Rudlu przyu Sce Rukmini parinaya by l'1svanatba Derasarman RW R Nadhapriya See Visvanstha Deravarman and R Raghunathubhyudaya by Ramabhadramba Raghu Nathabhyudaya of Rumabhadramba Ed hy T R Chintananı Bulletins of the Sanskrit department, To 2 (Unrersity of Jadrus) Jadras, Inanda press 1934 Rajaculamanı Diksita Karya darpana Rujanaba Rarvala dla mhara sutru i Jahti rureka tuu See T yal tunela by Kajunala Mahimabhatta "tolu by RR Rajasebhara barpura manjarz kur ja mim in su Ruja larangint by Kalbana Kalbania ed br Durgaprasada, con of rajalela The Rajatarngin of ·172 SANSKRIT POETESSCS Vols II-III, Bombay, Nirnaya-sā garu press, 1992 Ramābāi, daughter of Inanta Sur and 1mbú. Lal smīśvara-campu-haiya Rimabhadrambi. Raghunathubhyudaya Ramakrsna Gopāla Bhåndıralar, comp Reports of search for Sanskrit Manuscripts Riimayana-campu-kunya by Sundaravallı, daughter of Mrsimha yengar Rāmāyana-campu-kavyam Bangalore. Nyasa-vidvā press, 1916 Rimayang-lar ya by Madhuravarnı For bibliographi. cal references, see Sol III of this series Sanskrit Poetesses Part B Rimasimha. Sarasati-hanthabharana-trhu. See Sarasiati-hanthabharana by Bhojadeva tha by R Rāmacarana Tarkavāgisa Bbattăcārya Sahitya.darpana urti. See Salutya-darpana by Visvanitha Kariraja Tirtz by R T B Ranganatha Prahasiku See T'ahramoriasiya by Kālıdasa P by R Rasa Gangudhara by Jagannatha Panditarāja. Jabi-lavı-Sri-Jagannatha-Pauditarāja-krta-Rasa- Gangadharah Kutya-mala. 3rd. ed Bombay, Nirnaya-sāgara press, 1916 Rasûrnara-sudhahara by Singa Bhūpala, Sarajia, Rua of Jenlatagiri The Raşarnasa Sudhakara ( a treatise on dramaturgs } bs T Ganapati Sastri. Triandrum Sanskrit Series. Xo 30. Trivandrum, Gost press, 1916 Religious poetry Datta-paſcamota Report on the search for Sanskrit Danuscripts in the ca ·BIBLIOGRAPEI 1 3 Bombay Presidency, during the year 1982 Bombay, Government Central press 1837 Rg leda bhusya by Sayana Cd by F las muller, 6 vols London 1990 92 Rg zeda blusya bs Sarana See Rg ieda blusyu by s Rudrata Kalyulanlara Rul mini carita by Visvanatha Devararman Radha priya bs Radhaprisa Sri Rukaini parinaram Sri Radhapriya patta mabaderga viracitata Sri Radhapriya samabhra vrabhrata samudblası tam Calcutta Uthala press, 1913 Rupa Gosramın Padyaralı Rhetorical trorks Dasa rupala Data rupal uralole Dhuny ulola Kavya darpana Karyalam! ura of Bhumaha Kuryalamlaru of Rudrata Har yulamlara sel hara fur yulamhara-sutra huvyalamlura sutta irtti harya mu mumsu hai yanuśasana of Hemacandra Karyanubusana of Vagbhata hou junu usana dlamlara tilala Karya prolisa Rasa gangadi ara Rasurnara sudhalara Sauda ryupáru izcura Sahityit darpana ·174 SANSKRIT POETESSES Saraszati-hanthubharana l'alrohti-jitita l' yahtı-rizela Sabda sāra, compiled by Gırısacandra Vidyāratna Sabda sāra Girisacandra Tidyaratna samlalıta 9th ed Calcutta, lanıbā press 1918 Sabrda-l yapura-zicura by Mammata Acārya, Ruzunal a Sabda-vyāpīru-vicūrali Sri-Rūjāuala-lammatacirya-viracıtal [Ed by Jangesa Rūmakrsna Telangal Bombay, Nirnaya-sagara press, 1916 Şail-bhusa-candril å by Labsmidhara The Sad bhāshächandrilt with Introduction, Notes etc by Rao Bahndar Kala sankar Pranasankar Trivedī. Bombay, 1916 Sad-ul to harnumrta by Sridharadāsa Vahālayı Sri- Sridharadasa pranıtam Sad-uktı barnámrtam Sri- Pandıta-Rāmăvatara-Sarma mabodarenu $210 pāditacaram Lahore, Bombay Samskrta press, 1933 -US Aufrecht Collection, nos 57, 58 See The Aufrecht Collection , Journal of the Royal Asiatic Society, 1908, pp 1029-63 Sahitya-darpana by Visvanātha Kavırāja: 'chaya by Durgaprasāda Dviveda Salutya-darpanah Sri- Durgaprasada- Dvivedena sambalıtajā chāyākhyavivrti-purtyā pariskrtah. Sce Sahitya-darpana by Visvanatha Kavirāja umurti by Ramacarana Tarlavāgiša Bhattācirya -Dirt by Rimacaraja Tarlarāgisa Bhattācārya Sāhitya-darpanah Sri-Ramacarana-Tarhavagisa- Bhattācārya-brtayı yiyrtyā gametah Sri-Durgā. prasāda-Dviredena sambalıtaya Chāyābhya-viitti- ·BIBLIOGRAPHT jurtá parlskrtah, Borabas, Sunaya-sagara press, 1922, Sahitya-darpanacchusyu by Durgapra-ada Drireda See Suhitya-darpana by Cissagatha Kaviraja "chuyű by D. D. Sūlatya-darpana-nuertu bs Ramcarana Tartarazla Bhattācărça. See Sahitya-darpana bs Cissanaiba Kasırája. Turto by R. T. B. Samjirani by Jſallınàtha. See legha-duta br Kalıdıza: S. by II, Samhara Icárga. Inarda-lahari [attributed ] Samkara-Bhagalat-pudacurya-salusra-númuialı Hanumămbā. Srimat-Samhara-pădacarra--abasra Dūmiralih Vennelabaiuti-Hanumambati racita Bepares, Hutchintah press, 1933. Samudrabandha. Jlamhura-sariasia-2 yulya llami üra-siltra by Rujánaha Rosyala dlari urasarrasra br Vanhhuha ryallya by S. Kumyuttra-nelaya Samyutta-nabiya Ed bs Leon Feer, Pali Tert Society, London, 1831-1838 Santuna-topüla larya by Lal-mi Mājīi, for biblio graphical references, see rol. III of this series, Sunsi rit l'octesses. Part B Sitideva Suri. Bohr-caryuuntura. Sarasrati-lanthabharana by Bhojadtra, king of Dhára. tua bs Tagaddhara. The Sara,satı kanthabharang br Dharestar. Bhojndera silla the commentaries of Rinsingha (I-III) and Jagaddharı (IV) Fa br Pandit Keilimàth Sarmi and Waxuder Lasman Sistri Pansikar, 1931 Sec parastati-lanthabharana bs Bhojadera; ' bs Kinnita.

·179 SANSKRIT POETESSES ma ihsas, Available only in fragments See Journal of the Royal Asiatic Society, 1913 Singa Bhūpala Sarrapjūa. Rájā of Temhatagırı Basarnara-sudhahara Sridharadasa Jabākayı Sad-uhti-karnámrta. Sridhara Svāmin Bhugaiata bhulartha-dip kū Sco Bhagaiata-purana B by S. S. Srngra-prahusa (US) by Bhojadova Srngāro-prabasah. See Catalogue of Sanskrit Manuscripts at the Government Onental Januscripts Library. Jadras, vol IV', p. 562 Stara havaca-hal pa-druma, compiled by Gurunātha Vidrand} Bhattācārya Stara-lavaca-lalpa dru- (Inanda-laharī ] Ed by Gurunātha Vidyanidha Bhattācārya Caloutta, Lalita press, 1917-18 1ccording to somne editors, inunda-lahar. comprises only the first 41 verses of the Saundarya-laharı dccording to others, the Ānada-laharı and the Saundaryn lahari are identical. Stotras (IIS) Stotra-samgrabah, MSS B 39 and and B 68. Nepalese character. Royal Asiatic Society of Bengal, Hodgson Collection See Alphabetical indes to the Sanskrit Printed Books and Manuscripts of the Asiatic Society of Bengal Stotras (JIS) Tibetan translation of the Avalokitesrara-stotra of Candralanta Bhahsuni, hy Bho. hsu Candrasri Tibetan character Sec Catalogue du Fonds Tibetain, l'art 3, MS 43 and 46 Stotros [Stotra-sangraha] (NS.) Vidyavati stutıh MS. No 28 1151, Part II Granthe character See Catalogue of Sanskrit Manuscripts in the Adyar Library ·BIBLIOGHAPI 199 00 Sublusta luruzalı [MS } compiled bs IIarı Lavi Subusita Lurayalı US 92 of 1833 Bhandarbar's Reports loll 1 1 [10] 1 BI, (12], C 142 Other sistems of numbering alco found 28 x 12 cm 11 9 11 Tritten in more than one hand aunbering of ur irregular la perfect Subhitta ratna bhanligira compiled br Knutha Pandurang Parab Sri Suth.eta mtoalhan 1 garam 4th ed rer Boinbas Virnarnegara press, 190) 120 Subhasta sura samuccaja (JS) Subbasta sura saniu. craval 15 10661)--c i, Noval 1siatic Societs of Bengal ce Catalogue of Sanskrit Januscripts at the Sciatic Societt of Bengal, compılel by Min Hariprasa i Shastri Subhreitoral. br Tallabhadera 'I be Subb til all of Vallabhadera 1dls Peter Peter ou nud puu dit Durgiprsudi, son of l'andat Trialula Dom bas Lducation Sociuti pre - 139, VS lufrecht Collection, no 59 For description src Acil's Catalogue Tol II, p. 111, Subodha Romi carital. Bulumtiha Sulodla R 1991- Carit Janire l as Priatrog House, 1910 Sulo llami Jasahr-1 I» Blattoj Dih-ita sigura by Bhirinsen Dilanti Yr Aaron iraljal. Mammat1 SIB I) de rullariul, Blasa latt? Tallana (1) Sep l'eport of RG Blian Iarlar 146792, pp III in VS on 90 of 1 Sulto muilurile I 11.9. falta Jolla a The Silta ·180 SANSKRIT POETESSES Frith 20 multāvali of Bhagadatta Jalhana, Ld introduction in Sanskrit by Embar Krispamācārya. Baroda, Oriental Institute, 1938 Suhtumultuvali-samgraha (LS.),compiled by Irohala Bhagadatta Jalhana MS no 370 of 1881-55 Foll. 2-42, 44.61, 63-148, 150, 63, imperfect, 21%2 10 cm, 11 8 See Report (7 hird) of R G Bhandarbar Suhti-sågara (compiled] Foll 100, 28 x 12 02. H. 3--11 Jagaccandra Smrtitirtha Collection, Calcutta, MS no. 3 Suhti-sundara (VS). Bhau Dāji's Collection, no 1237. Bombay Brauch of the Royal Asiatic Society Sundaravallı, daughter uf Nrsimha yengur. Ramayana.campu-kávya Supusanuha-caria by Lahşmana Ganın Surāsanähacaria [Supāsau àha-carita)...Ed. by Pandita Hara. govindu Dása Setha. Benares, 1918-19. Surasundari caria by Dhanesvara, disciple of Jancsvara Suri and Buddhisagara Suri Suraundaricaria (Surasuodari-carta ) ..ed with notes by Munris Sri Ray Jarg Jaipa-risidha-silityasustra-Qali, no, 1. Beqares, 1916 Surasundara-carita. See Sarasundara-caria Tantra. Jeru-tantra. Tnttia-vodluniby Joinendra Sarasvati SceSiddhanta. haumudi by Bhattoji Dilşıta 7 by J.S. Theri-gátha, Psalms of the Larly Buddhists l'salms of the Sisters hy Vrs. Rhys Davids. London, Osford Unirersity press (Publ for the l'ali Text Society) ·nätbn. Vibramortistjani 1...... Vásudesa Sarma l'il arrorraliyn by Kilidis: Pribli lng kauna- BIBLIOGRAPHY 191 - Theri-gātbū or Pouring3 10 verse of the Buddhist Bbiblunis ..Ed. by Y. K. Bhagwat. Bombay Uni. rersity Publications (Devanāgarī-l'ālı Texts Series, no. 4). Bombay, Karnatab printing press, 1937. Tirumalamba, Varadambihu-parınaya-campū. Tügblata, dlamkūra-tilaha. See Kavyan ususana by Vågbhafa : d. by the same. l'au yanātha-prüsüdla-prasasti ly Devakumarihi. For bibliographical reference, see Sanskrit l'oetesses, Part B, vol. III of this series. Välpati. Gauda-raha. l'ahrohtrojila by Funtala, Rūjunala. The Vabroktı. jirita ..chaps. I and II. Ed. by Sushil Kumar De. Calcutta Oriental Series, no. 8 Calcutta, Calcutta Oriental press, 1923 Vallabhadeva. Subhuntárali. 1*iimana-purinn. Vārnana-purūnam...Sriyukta l'an. chuana Tarharntoa sampadit... Calcutta, Vaugavivi press, 1314 (1907-8) Vamsidhara. Prilita.pamgala-tiki. pannyala : Jika tis 1'. l'aradimbild-parinaya-campi (also calleil Imbabue parinasa-campú) by Tirumalimbi. See ei mbilia parinaya.cuimpi by T. Vararuci. Prilrta.pruildsa. Vasworn. karpuraruasjari-jihat. See karmiraman. gari lip Nijalekhara : 'ļila br 1. lütsrisana. Kima-sútra. Ventilatia, son of Jugalrann, grundson of Nila. lanthut. Padya-roni (315). Sec Prūkſta ·Pralrta Paigala tla See Sriy ulta Pancadas? The Irtta Ratnakara Ly Bhatta Kedara With a commentary of Bhatta Varayana Bhatta By Vaidynatha Sastri Varahale Lası Sans krit series (Haridas Sanskrit Grantha malz) no ) Jahim abhatta and its commentary of Rajmuala 1 yahtı zrel a tila by Rajpala Ruyraha Scel yakt 182 SANSKRIT POETCSSCS samshrtam 6th ed Bombay Nirnaya sagara press 192) Vimala Suri Pauma caria Visvanutha Pancanana Pruhrta paingala "tula by IP Isnu puruna Yeru puranam Tarl aratna sampadita 2nd ed Calcutta Tanga Vasi press 1331 (1921 25) Tisvanatha Devavarman Rul mini parina ja Visvanatha Desavarman and Radhapriya Radł a Gorinda sarad rusu Visranatha Kaviraja Sahitya darpana Visvesvara Alamhura haustubha 2 yahh ja Sce Alam I ara haustubl a by Visvesvara Visvesvara Pandeya Parvatiya -dlamhura mul tur alı l'rtta ratnahara by Bhatta Kedara 'ula by Varavana Bhatta Ed Benares Vidya Tilas press 1927 I rtta ratnul ara til u bg Narayana Blatta ratnal ara by Bhatta Kedara Tjal ta vizcha by Rajanala Mahimabhatta Rrjanaka. Ruysala Ruyyala Ed by T drum 1909 vyakhya by the Saille Alamhara laustubla Sec 1 rtta trha by N B ° lubs Tyaltıyırel a of Rajamaha Triran Ganapati Sastrın liela by Rajannka Vabımalbatta trhu by RP

·BIBLIOGRAPHY
153
Tidarendra. Prūlīta-paingala-lila. See Praljic.
paingala: tili by I.
Tasodhara. Kuna-sūtra-tila. See Kuma-sútra by
Tátszásana: 'filů by I.

·APPENDIX X. GENERAL INDEX Ablidhu zrtha natin Ablumanyu, viv, SVP Acyutaraya lis Aditi, lxxix, lrxsiy Agastya, lası lxxxiii, la stir Agni, Itx Agni purana 6 Aksapa (Vidby abhasa) vi, slv Alamkaras See Figures of Speech Alamhura laustull of Visres varu Pangita 33 37 50 69 Alamhura muitazali 9 Alamlara saraila of Ruy yaka (Kavya mala ed ) XXX111 32 37 Alamhura su tra 32 37 Allteration Amara / osa, 62, Amara Losod ghatano G2 Amba lx Ambapalı lexin Ananda laları 25 Anandha-latıla campu Anandavardhana sly Ananta Acarya lxs Ananta Suri lxu Anasuya Kamalaba) Bapat las Andhra Numayana suu lis Anga, 103 Anonymous Poetess til Anopama, lxxxv1), xc Inthology, 1, 351 Anulaksmi, lxxi, 9, 117 Inumina, Sv Anoprasa See Alliteration Inustubb 1, 2*111 xxxiv, VINI, 9 12, 13, 17, 21, 21, 28, 33, 34, 35, 42, 43 Apabnuti sv, X) 4p yxili Apala, Ists, Issvis Ardba sana metre, v. Art of poetry, 11 Arts, un 64 Arthalamharas See Figures of speech levis Arthantara pasa 71, Ixvu Artba slesa, slix Arundhati, sXXV) Arya, is, svi, 15, 16, 20, 22, 27 Arya giti, 61 Irya Tumu yana, Is Als lavi di studhaye of Pamn 23 Astala Ful astuladdhi, lsxn, 64 118 ślalayana gthuyo sutra, cui Aſins, Isus As you sow, so you reap,' 911 Atilayokti vi, sly Aufrecht, 22 A valokitesvara, vil 3, liv ly), ·INDEX 18.5 Aralolatešrard stotra, Tibetan Collection, 5, 6 Avanti, Isxili Arontisundar, Isx1, 113111, 118 Avanturarman, King of Kashmir, I\SIA, ste 13 Unlimbika, ls X2 Ballala, XIX11 Bang Srivi Ivi Binabattı, 33 Denares 13 thadd. Kundalakcs , vei Illojeriti pemana, lxs, Ivan, 23 Bhandarhor, 111, FTITI 13h ishara, IKUL Bhatta hallata, XXXIS That Da Collection Bombay Dranch of it ISIS Bhlsakndert also called Bhi kader and Bhirshades 11 TL 1.71 Bhirakasle ri, is Bithir haderi IC 12 runsurinn oi Bhronlara XIXT1 1k-u (andrasi 1180), let **XIT, 1lbnaileta Sortiel onth, Irro Thermlin IA YITI 2 Hrajatilo 110 Bhusandi 5, 11 Biblo lxsin Bulhana, LSS Budktraryurataru, 6 Bodhisattia, 111, 6 Bodhisattva Gralokitesvara, 100- nic form of, 111 Brabms, x1 Brahminanda Sarasvati, ls Bralmusda-Sanustada urlula nujaan 11 Brad-urut jela i paniel 1, 12 Brhad devat, IXTIS Buddba, sto also Siddhartha 11, սև o Churana, 138111 Cakorn, 2111 Cakoris, *** Cuma Mhegarata, lix Camp of Bladburarunt, SII Canlalaridsa si T111,3,72 Candra litsa, XXXIX (andrskola, IXXI. Candrakant Bhikuni, tu!, 2,73 Candriku, FILL Cu cola 10, 66 (hapd., CI ilan lome 1977 characters - depalen, Onyo lan Tasil, is T.1 29 1zr ·186 SANSKRIT POETESSES Figurce of speech - Claurie, sssil Chitrama, 7 Cinnamma, vit, liv, 6,70 Concubines, 111 Courtesans, learned, 11, 111 P Daivana Damodara Maudgılı, s Daksına, las Dandın ILS Darbhanga si Dasa-rup 59 61 Datta puju gita-hadar va 15 Dattatreya bis Daughter Ritual for getting a learned 1 Daughters of ministers Il III Dest-nama-nula, lxx]]] 65 66, 70 Desi sil.da san grlo lxxiit Devakumarika, Ivui Deu truya-trım san mula lt Dhamma IT Dhanadadeya, XY \il, VXXV . Aksepa 11, xlv Annmana, y Arabnuti sv, SS18 Irthantara nyasa, vi, Ixvi Irtha slesa, slas Ass Iwi Atisayokti vi, Ylv, Flix Bha vodaya V1 Iux Dipaha, le Drstanta is Malopam , xv Paryayolta xlv, vis Prativastupama, Isvui Preyas, has Purnopama, a Rasavat, XXVII Rupaka, xly, slis, lava Samasoktı, vi Sainsreti, las Sandeha, xalx, xlis Slesa, six Slistopama, Ixvi! Smara na SIS Svabharoltı, xlv, lut Tulya yogita lv Upama, xlv, lsvai Utprek 28 lxin Vibh ivana, wv, lyon Ileana alis Viscsokti sly Yrity an12 prasa 2x jaja stuli Vlix Tyatıreka, tv Vis, XXXVII, kull Fisli, incarnate, 1 واد Dhananjay namn n ala 24 Dhanapala lesina Dhvany-uloka, xlv, 58 D. peka Doba, 59 Dohadıka, lv, 58 59 61, Drstanta slis Druta vilambrta, slv 20, 81 Dwarf, incarnate, 6 F Faridpur, 551, Ivi Female R$19, 1 ·189 SANSKRIT POLTESSES Jnanasundari, Jayanti, 1v1 Jayapids, 15 Jayarāina, v2 Kailasa, 76 Kala-bharını, x, lv, ls Kalahantaritz, los, kassi halhana, l'uja tuonon, Kalı, 111 Kalıda-2 vi, 511 vil, 3 Kull puronu, 6 Kalpa-vrksa, description of, \, XIV Kamal sumrta, lxx Kāmaksi, lv Kāmalıla, Ir Kavya mimams of Rāja Sekhara, 11, 111 Kamparāya, Ivan Kanalavalli, lv Karnāta, lai Kronira monari of Rāja sekhara, XIVA INTI Kashmir, XXIS Kası, 111 Kasturi Rangacarya, Isı Lavrelamśū voli, Isil Aanindu-cacang-sa muccay, 1v, X71, sisiu, 15, 49 Kavya darpana, 37, 41, 50, 54 Kalyādara, Il 101 Kavrilamlar, xlvi, 58 Kávvalamlara deklara of Kecavamısra, 41 50 Kuoyulanlan-sútm-stts of Vimana, xxix, 31, 38, 59 Luty tilu scrics, 155, xl, 33 Kui yu mama su of Rajale. Skara III, *****, Ixvill, Ja, 45, 49, 50, 59 hoyunusu tamo of Hemaca - dra, 38 Kavyanusu rannt of Vâgbhinta, sus 1, 37, 38, 44, 45, 51, 57, 58, 59 Kuvcpiral asta, (Binbatti's ed ) 39, 54 Karya palus (Nrararatnn's ed ), Istu, 33, 37, 50 Kerala, vi Kerala, 181, 15, 81 Khandhā, 61 Khandita, Isxy, krvi Khañana, sill Khema, 1rxivi, Irxivu King, description of, Kısa Gautami, vc Koran, luxx Krena, isti, 24, luv krsnanitha, lvi Ksırastāmin, 62 Kulatoktı, xvi, 18 Kumārapula-carta, 63, 69 Kumarasambhavn of Kali dasa, xit, 105 kumbakonama, ist Kuppusrymin Sāstrin, Isi Kúrma, 7. Kūrma purāna, 7. Kutala, 111, 16, 81 ·INDEX 169 L Lads Ere, IST Lady Mught, istu Laksmi, Denty, srT11, 1111 Laksmi, poetess, sri, 16, E9 Laksmideri Thakurani, stil, 17, 42 Lal-mi Ilajui, lruit Laksmi sahasra, Iss Laksmisrara,!1111 IST Lalsmusearu-camga hurmt, Lalitang!, Is Lalita ruslara 11 1 all., Cli Lokanatha, 3 Lopamudra, 113, Isesit 31 Madalas., ITII, XT11, 17, 89 Mladana ixtil, sl Jaharı, laxir lauluring, Is Madhuravaul, Tin, lix Madhurararsı x71, 1983 Madhura tijara, lut Mladirel-anx mix, le 83 Vulrus Cotemment Onental sirs Badur., la Bagba irri Malablarars 1x, IT Vahabharata, Vaba tsutpatti 315b4 in3 ) 31 shilalararasrsti srits Sinitrost in then indlys 21 Jalabar, Isuu Vala bbarını, xs, 18 Jalara la Malopama xy Vana F, 14, ini Vandakranta, SII, II xlix, 2 19 Handara, 7 Handayan Dhati Alamelamma, Isu Vanuscripts India Office JIS, Στι For a detailed account, see Bill 103 raphy under Manuscripts Vara las 11 Jasula, II, 19, 84 Vatra, IV, XIIX Matsya Purana, 7 Sieru tantra, 7 Vetapbory, BIT, XIT Betres Prulit Trva gita, 61 Doha, u9 Dolia luke, alu, I, 0, 50, Gabs, 0 Gabini, CZ Gabu, 61 Gandba, 61 Sbaadb4, 61 Poba C1 Sibint, CI laba, €1 Ikkasebe, ci Visz €1 Sanit 1cfccth, 111, 1381, IILIT, IXITI 3, 12, 13 17,4 27. 5,31 3, 4, ·190 SLASKRIT POLTESSES Metres Sanskrit, conta Ardha-sama, 5 Arva, 1%, sri, 15, 16, 20, 99, 27. 61. Bhujanga-pravata, 22 Druta-vilambila, xlv, 20, 31 Gıtı, 7, 11, 61 Harini, ult, 31, 31, 45 Indra vajra, 10 Jaghanacapala, 17, 15 Jatt, xv, VX1X Kilo-bharını, also called Mála bhārın, xix, 15, 18 Dlala bhārını, also called Kāla bhārini, 21x, 18 Mali, 3 Mandkrantā, X5, XXIX, slis Matra, sv, taix, vlas Octad, Ti. Pathyarya, 61, Prabarsını, lavili Puspatāgri, sxxv, lavin, 23, 37. Rathoddbata, Ixvun, 32 Sama, sv Sardula-viktıdıta, vn, TII, TULIV, 220, 22&uri, 3, 7, 8, 10, 15, 18, 92, 26, 33, 36, 37, 39, 40, 42, 44, 46 Subharını, 1, 10, 43, 45 Sragdbara, 30, 46 Srāgatā, 9, 17 Totaka, Ti, 3, 17 Udgiti, 61. Unagiti, 25, 61. Upajatı, 11, 13, 16, 23, 26, 28, 32, 39. Vamsa sthavila, 20, 44 Metres Sanskrit, contd. - 1 asanta tilala, irr1, 8, 14, 21, 6, 31, 39 Bletrical conversation, rrit Balurabloga, xuzu, Mimamsā, lvi. Blinisters, daughters of, 11 Mithila (Darbhanga), solt. Moril 7, x51, 90, 84 Mukulabhatta, xris. Murabhatta, Isi Muse, 1r. Mutta, sci. N Nāgammā, xxu, 42, ec. Darserdha of Sriharsa, si Nami Sadhu, alur Mandi sci. Narasimhn Ayengar, 1** Narayana Bhatta, 59, 61 Nature, description of, *, X10 Näyn-dhamma laka sutta, 03 Nājaka King, tin Nellürupur, Is. Nepal, Du Nepalese character, lx Nilalantha, di, XLIV Nikāyas dahima Samyutta, IL Notices of R L Matra, s Nrsumba, Oriya character, Itu P Padm ívati, 27m, , zly, alvi, lu, 22, 86 Her subjects human beings, phpercal ·SANSKRIT POETESSES 1911 fcatures, animals and birds, things, Nature and human sentiments, ssir, f , comparison between Gauri and Padmăvati, svi Padyanarte-tarangani of that Iba-kara, xv, 29, 25 Pndyn-rcana, 15, 2007 Padyarali, 2.37. Padyo-tone of Venidatti, S, III XXIV, TUI, 8, 9, 10, 11, 12, 13, 14, 15, 20, 5., 23 24, 25, 26, 27, 28, 29, 30, 40, 60 ParyalarchTerma- mali, Istui C2 l'aghalia, samo as Pagbatihl, Pabatıla, de l'alihalia, Gl. Pincāli vitri Palcali riti, 11. Taſcăpa gedirsa, lut l'unca tattere prel Jadi, l'anini, 18. l'anblid an-bhunii, 6111 1111 l'Arvati, x1,76 Baryayohta, xir. l'atacara, Ixtir, forsvil, sc1 Patanicala Kapsa's wife, su l'athyarya, 61 Prajāpati, 7 Prai rtu-thäte-ulrsu, 03 l'rul rta-pengalu, 55, 61 Prál rta pral àśrt, 61, 62 63, 64, 62, 69, 70 Prirta-santuen, C1 P", il rta-sūktet ntna mila, 63, 66 balerkittyi uram, 61, 62, 63, 64, 65, 66, 67, 69, 70 Pratithesi, 11 Pratsastupama, Ixvi I'reгas tlix Princess, learned, II, III. Priyamgu stil, Troyamadi, ***, Is. Prosita-bhartrhā, lxxio, 118911, l'alue of the sostre, 1xxx Pun, 1), IT l'urūnay, tx l'urnopami, xlık Purusottama, xxii, Puspitiyri, xxxi, larba 12 min Nadhafinitat (NI-SÅ, Ixii Ilahir 14 It igh what abi yuslum, le linghunatha testui 11 Magbunitha, Vinot $ ·192 INDES 1 Ru?) re 1 151 Ruprha sissa 62b? limhara Irun Sabda 451 23 Sal la JUairri Salu til ornamrta 11 SYXU XU21 23 34 37 39 42 43 44 416 1° 49 53 52 58 Sifarı fish em Sahityn-larsono TIT xxxri Ixy lwy 32. 3. 41, 49, 64 Suma IT Sama Isis II XCI Samasokti lista VI band initaka (also called Tila ha) Iru 1x1x Sargrima simba visa Samhara deity TEX Samhard figure of speech Ilv sa n/ ara Bingarut n dn saha nu maialı, Isi San pat/ umu a-zura Isa San Jutta-nihu re, it Sandeha XIX Sanskrit poems! Sanskrit poetesses Santina Gorx la larger loui Sarama Lxxxili Sarasvati goddess of learning, ot Sng? Putwa ini by halhina, XXXI xlv Rajendra Cola k R vjendra Lal Vitra tert Rajputana Lvm Ramabi Lu L\ili Ramabbauranbhx Rnun ls Ramayana campu six ls C Ramni in camt u Kant lux Mangal, da /, lxx. Ras ganathurt sal (257ư xx Rar garit sasiulayn, lx Rasavat TXXVII Rasa ga gudlara, xxi 32 33 Ras (11 -Uh In Bhupala 37 Rrsaratz Przams adx 13 9 Raca Bibhat Rathoddhata lxvill 32 Rati 31 lxxxl Ratpavali lxxi Ratri lxxx Reports of Bhandarkar TX222 Reva lIxy Ro vedu XXIX Ixxx Istili Ixxxiv Rhetoric treatise on Rhy: Dauids Vrs Isus Rituals for getting learned laughters 1 Koha lssvi lxxsiy 61 Rohiny XC Romasz Jexil sxsiy Roval Aclatie Society of Bengal Vlll 6 Rsts fernale Rudrata xlvi X1 Juv Sarasatz kanth tharana of Bhoja leva 1911 37 33 44 50 2 56, 59 60 Salasıntı kutumlya luht TETI 31 96 Sarasati poetes TWN YETI 131 33 92 T ·SANSKRIT POETESSES 193 Sirdula rikrulita, il, Tert, IIXIT, XXXT, X1, 3, 7, 8, 10, 18, 21, 26, 33, 36, 37, 39, 40, 42, 44, 46 Sárnyalara gwildhult, ril, 15, I, XXI, 771 ssil, ***11), ***, STII, Xcili, IXX, xlır, sıvı, 7, 16, 17, 19, 20, 21, 22, 31, 32, 53, 56, 57, 59 Sasikala, XXI Sašiprabua, lxxvi, Iseux Kisvati, Issy, I** fata-patha bralimana 7 Sātavābana, lxxi Satyanam press, 23 Sannaha, lxxis Sivana, lxxix hesa, lxu Setu-bardha, 61 Shah Jehin, Siddkcīnk-Taumudi, 1B 23 Sudharthn, ceo alo Buddha, 11 khi lxxxT1, Sihini, 61, Aibbarını, 1, 2, 43 43 Siksis, 6 Guld Blattīrība XIII, 1, 31, DO Gimilo, xir freupacali. Instru &isul-rude, Siti, XXIV. Bira 1, xit, lir, 16, 17 fura, description of s, Strasimh, a thuila Sraddha, 1xxx Sragdhară, 30, 4G Sridatti-kufichurlu, lis Srideri Balaraja, kes Sribar a sus Sriperumbudur, kx Sragūra-pralūsrt of Bhoja, tivi, xlruni Stan kur, 5 Stotra, FII Stotras, collections of, 1 Subhadrā, xxxii, lun, 32, 09. Subhi jisakambaniba, Ixxxvi, lxsxis Subhā Lammāradhita, Luxuri Suthusita kūrūzal, of Hari Karı, VI, XVII, XII, 111, xlır, Ir, Iru, 1, 15, 16, 17, 18, 19, 37, 43 Subhāsta-vultūralt, x1111, Sutharta ratna-thandūgūru, 19, 2, 31, 32, 35, 36, 37, 43 44, 45, 47, 47, 49, 50, 51, 52, 53, 55, 57, 59 Suulauta-ciri-A UCU, JIS, 2, 11, 17, 18, 20, 20, 30, 31, 33, , 44, 45, 56, 51 Subkūsıtarait of ar, III, 5, 17, 19, 20, 21, JI, 32, 33, 30, 33, 41, 41, 42, 43, 50, 51, 5A, 56 57, ve, 1.6 Auf who l'alcanta, Is fuddha-andeba, 4318 Fula-tandesa, lix Vallar deva, xxx Glistopama limu Smrtu, 1x, 37 silts ulturali of Jalhana, X11, ISX110 11111, ·SANSKRIT POETESSES 195 Tämana purana, 6 Tama-bayzla 26, 14 Tada parran, I am vila-a, 31 Varadambita box Tariant reading, I, 24, 2) 29, 30 Tasanta tilaba 87,1,27, 34, 33 Turudeca-rurita o Vemdalta, -1, xh, xliv, ali, alma, un, 10 Tubatantamba, ls, luz, su, slis, 5, 113 Hibratoaditya , 3 Vikramortasiya, 67 Vanala, Issui 1102laur, Is 1 indbya mountain, lv Turabotkantbita, Irv Tira bampana, Ivi Tuesolti, sfs unu, incarnations of, w, C, TX1V Tatsyayaua, Rutra sutra, II, I, Veday, M7 Vedie Hymne, 1 Tenudatta Sre also l'alto-Ernu of Tendatta, I XTI, ΣΙΣ11 lenudatta 1 100 Tenkat: Ätarya, 133 Ierse forns Calra bandha Isy11 Galass handha ST) Gomutrska bundha, lurte Nuraja bandha lipiul mudha Istui Padmua bandha Is 313 1 1950 gafala bandha Wifiharapa It, Ixtis 1900 purana, 6 anuratha, lau 114anatla IX Tarabatha Deravarman, X Tarara, Irus, ISTII Irtta Ntnakaru of Kevlara Bhatta, x 53, 62 1 yalti pirela, Iratirela, IT, tix, TII, rinܢܐ Water pudden Wue, traditigual virtue af, Winternitz Ist! Wo Aas competitor of men, 1 Nomea heitet half of mea, cu luich contributions of 1 stronoms, 111 Drazeti Ilsstorr SC harta rumplete frut 1 ds ratı xitut 10 10 112, 6 yasathaarka XXIS 11anagara Irun jalank Irur tyje also called 1:15 wali I 1.4 B Jaka 311 YUIIIII fathemat 1611 I JIOR YOU Hodem enten, Text *31 ·196 INDEX Poems - Kashmiri, xcii f 11 Pall, of the Buddhist Theris, luir ff Tomen, contributions poems, conta Trakrit Saaskrt, classical Ancient and Mediaest Sodern Vedic, of the Female Reis, sit Philosophy on, fni Smrti cu Tantrn 01 Women description of a Tomcn different fcatures of, Women extensive knowledge of Sāstras, 1 Women, genius of, I, scul llomen, learned courtesans, princesses and danghters of mifuisters II Women mana women, nature of, y Tomen superior to men II Indara Raghara Panduva lxx Tama XXXIS limi xxx lxxvii, Iris Yamuna Tugtala (also called isesaka), ܕܙܕܫܐ ·Corrections Line For read 11 Page ILV LVI1 XLVI LVIII 20 26 25 क 26 27 29 . n LIX 11 } LXX 21 23 33 32 मोमनो सोमनि व वा पवा कवय स्त्री कवयस्त्रि अर्वाच अर्वाची भरणामह Vol 4 Vol 6 Queen of of the court of Tanjore Vijayanagara to delete treaties treatises दहिणील यहिणीए धिनास धिचाए Petiously piteously Voilent violent Accumen acumen वही यहोम •साम दुलाम. 89,90,91,etc 83,89,90,ete 32 31 33 32 LXXI 21 " n 13 LXXX LXXXIX XCI 10 8 13 10 46 6 40 6f 42 6 55 13 ·Bee... 1 Bee 2 125 6 5 7 Nimba delete 30 31 16 11 2223 4 3 126 अहिरयं कलधौत गिरि delete 128 189 सरभित सकल. delete 131 Lines 22-23 delete 136 139 सरभित सकल बनान्ते 59 139 अपसर मधुकर 59 138 attributed to Samhara Acarya delete 150 Venidatta, etc delete 195 last line 32 20 Additions Page Line 16 Add after छठ (74) Rasavati Priyamvada 33 (candra-bindu) The use of 62 पर 64 139 अपमर मधुकर 60 138 प्रन्यास तायद-9 128 46 लिखति न.20 यामोत्या 134 12 11 - ·WORKS OF Prof. Dr. J, B, CHAUDHURI, Ph.D. (Lond.), OF CITY COLLEGE AND LYTVERSITY OF CALCUTTA Series No I The Contribution of Women to Sanskrit Literature Vol 1 (Drama) The Camatl ura tarangine of Sundari and Kamala, a commentary on Rsjasehbara's Fiddla blablaſpha with the original Test and the cotinentary Prana pratigt. of their husband Glaga nyama (In the Press) Vol 2 (Kurya) Sans) rit Poctesses, with Taglia Translation Second ed Part A Rs 5 innals of the Bhandarlar Onental Rescarch Institute, Yol Y l'arts 111-IV, pp 331-339 - ...We congratulate Dr Claudhuri and lry emocnt partner in life Is Wrs Romin Chaudhuri un the production of th19 scholarly volume ediled una scientific manner which should atiract not only las readers tot also Sapskritists to the enchanting field of their study Vols modi (l'aranin Ritual and smrt) The Denak a pattal 1 by Binal si and Gang Likyaralı i undert R4 10/- Vol 6 (Tantra) The Slurfing of l'una manjuri. A cumcolarr on the first gufall of the Tantra fala Tantra with tl surgical Trut R Tirin lain laufirical Cuarterly, lol II St. Deceniks, 13 - Kelare a scl alarly sal ·(२) Bee: 1 Bee 2 125 6 4 5 7 " Nimba delete 30 . 4 3 31 16 11 22 23 126 अहिरय कलधौत-गिरि delete 128 139 सुरभित सकल. delete 131 Lines 22-23 delete 136 139 सुरभित सकल वनान्ते 59 139 अपसर मधुकर 59 138 attributed to Samkara Acarya delete 150 Venidatta, etc delete 195 last line 32 20 Additions Line 18 Add after Page कृष्ण (74) Rasayatı Priyamvada 33 (candra-bindu) The use of 62 पर 64 139 अपसर मधुकर 60 138 अन्यासु तावद् -9 128 46 लिखति न. 20 यामौत्या 134 12 11 .

·Vol. 6 (Tantra) Tle Surlarla na ot l'rinamaanis, 1 commentary on the first jotain of the Tantra raja The Indian Hutorical (urferly, Vol.II, lo 4, WORKS OF Prof. Dr. J. B, CHAUDHURI, Ph.D. (Lond.), OF CITY COLI.IGE AND UNVEISTRY OF CALCUTTA Series No 1. The Contribution of Women to Sanskrit Literatuyo:- Vol 1 (Drama) The Camathura tarangini of Sundari and Kamali, a comraentary on Rijasekhar's Piddla-kilabuaūziki with the original Test and the commentary Prūna-pralıq¢hã of their husband Glonaksäma. (In the l'ress) Yol. 2 (Kivya) Sanskrit Poctestes, with English Translation. Second ed. Part A, Rs 5. Annals of the Bhandlarlar Oriental Research Institute, Vol XX, Parts III–IV, pp 331 333 ...Wo congratulato Dr Chaucluri and his onuncut partner in lalo Dr. Urs Roma Claulura ou the production of this scholarly volume edited in a scientific muner vacu should attract not only lay readers but also Sanskratisls to the enchanting field of their study, Vols 3 and 1 (Parrane Ritual nail Smrts) The Dessaliqattala bs Boabiji noul Gangi-tikudeale Ly Yasrusadert. R4 10/- R4,3 Taplrı Both the original Trut Decetuba-t, 1910 ... in front, melnie rol a *slolarls and ·11 scientific edition I cannot help stressing a particular point which has greatly impressed me The editor hacl access only to a single MS and that again not free from imperfections The readings I found to be embarrassing have not cscaped the editor'e vigilant eye and the emendations he has suggested in the appendix are giogularly happy and apt I congratu Inte Dr Chaudhur on lus success and the sound and er tensive scholarship he has brought to bear on las tagl Vol 6 (Kovya) Sanshrit Poctcsscs Part B Rs 5 Vol 7 (Smrti) The Tala Madhara Lalsmz of Labsmiderı Payngunda a commentary on the Kila Madhara of Madhuva Acuryr with the original Text and two other commentaries the Knla nirnayı sloha vivarana and Kala Madhaviya vyakhyana Part 1 Rs 718 (Parts II-V In progress) The Modern Review 1941, July *** So far as the editing 19 concerned, we must gry that it leaves nothing undone Dr Claudhuri has already edited so many unpublished manuscripts that he may well be looked upod as an expert in this line of work He has thoroughly mastered the technique of dealing with manuscript materials Mistakes made by others have been corrected e: no legs a person than Dr Laraprasad Shastri made a mistake and this has been corrected by Dr Clau dhuri an ealier opinion held by Kane Dr Chau dhurs controverts this yiev rith an array of afgunicnti which leave little doubt in the mind that he is in the right, ·Vol. 3. Tho Candra-dla-Kavya of Jambi Kari. Series Yo.3:-The contribution of Bengal Pol. , The Sambandha-rizel a ky flapání. Dr. Chaudhuri's edition is so helpful to the rearler that even if one does not care to read the original Sapstrit, oge can easily be acquainted with the sul ject-matter of the book by glancing at a full summary of it giveu in the beginning of the book. ...Dr. Chau. dhuri...a place in the world of research and scholar ship and we congratulate him on his rapid risc. Series No. 2:-The Sanskrta-Dūta-Kavya-samgraha Series: Vol. I, The Bhoomara-dūta of Rudrn Nyaya. pañcãuana, Re. 1. The Indian IIistorical Quarterly, Vol, XVI, No. 4, December, 1940:-- Prof, Chaudhuri is to be congratulated......This excellent edition of the Bhramara-djūtu 19 sure to commend itself to all the lovers of Sanskrit poetry and particularly, to those who are interested in the contria bution of Medieval Bengal to Saushrit Literature, We cagerly look forvard the volumes of the Series, Vol. 2 The Vág-maņdong-guna.düta-karya lyg Virejvara, Re, I. The Introiluction contains detailed accounts of other Candra-lata-Karya: as well. Anans 8. Smrti Literature : to forthcoming