·No text on this page.

·No text on this page.

·TIM
Itun
Fulusikamunamine
IN MImmmmmxiri
स्वर्गवासी साधुचरित श्रीमान् डालचन्दजी सिंघी
T
१
1
।
.
-
--
r
Pr
15
व
Jillmmitmluulmitill
बाबू श्री वहादुर सिंहजी सिंघीके पुण्यश्लोक पिता
जन्म-वि सं १९२१, मार्ग वदि ६ ॥ स्वर्गवास-वि स. १९८४, पोष सुदि ६
Imammillm
munmum
HA
Trarminum
Immun
न

·-
ItITITU
Hillimithun
M
दानशील - साहित्यरसिक-संस्कृतिप्रिय
स्व० बाबू श्री बहादुर सिंहजी सिंघी
+
*
-
है
है
१
-
1
अजीमगंज-कलकत्ता
[मृत्यु ता. ७-७~१९४४
जन्म ता. २८-६-१८८५]
imlilm.tumulman
mmun
III i Itffit HINILIT
inuTIMI II IIm
L

·No text on this page.

·है
4
सिं घी जैन ग्रन्थ मा ला
[ग्रन्थांक ३० ]kixxxk************
धाराधिपति - परमारनृपचूडामणि
राजाधिराज भोजदेव विरचिता
-
शृङ्गार मञ्जरी कथा
and
SRI DALCHAND JI SINGHI
卐 श्री डॉलचदजी सिंघा
卐
५
SINGHI JAIN SERIES
********xxxxxxxxxxxx[NUMBER 30]-xxxk x**************
SRNGARAMAÑJARI KATHA
OF
PARAMARA KING BHOJADEVA
Containing thirteen Tales pertaining to the life of the Courtesan in
Ancient India, narrated in the rich Kavya style.

·कलकत्ता निवासी
साधुचरित-श्रेष्ठिवर्य श्रीमद् डालचन्दजी सिंघी पुण्यस्मृतिनिमित्त
प्रतिष्ठापित एवं प्रकाशित
३
सिंधी जैन ग्रन्थ मा ला
[जैन आगमिक, दार्शनिक, साहित्यिक, ऐतिहासिक, वैज्ञानिक, कथात्मक-इत्यादि विविधविषयगुम्फित
प्राकृत, संस्कृत, अपभ्रंश, प्राचीनगूर्जर,- राजस्थानी आदि नाना भाषानिबद्ध सार्वजनीन पुरातन
वाङ्मय तथा नूतन संशोधनात्मक साहित्य प्रकाशिनी सर्वश्रेष्ठ जैन ग्रन्थावलि]
प्रतिष्ठाता
श्रीमद्-डालचन्दजी-सिंघीसत्पुत्र
स्व. दानशील - साहित्यरसिक - संस्कृतिप्रिय
F
श्रीमद् बहादुर सिंहजी सिंघी
PARALLERSIGERMA
प्रधान सम्पादक तथा संचालक
आचार्य जिन विजय मुनि
अधिष्ठाता, सिंघी जैन शास्त्र शिक्षापीठ
ऑनररी डायरेक्टर
राजस्थान ओरिएण्टल रिसर्च इन्स्टीट्यूट, जोधपुर (राजस्थान)
निवृत्त ऑनररि डायरेक्टर
भारतीय विद्या भवन, वम्बई
ऑनररी मेंवर जर्मन ओरिएण्टल सोसाईटी, जर्मनी, भाण्डारकर ओरिएण्टल रिसर्च इन्स्टीट्यूट, पूना
(दक्षिण); गुजरात साहित्यसभा, अहमदाबाद (गुजरात), विश्वेश्वरानन्द वैदिक
शोध प्रतिष्ठान, होसियारपुर (पञ्जाब)
संरक्षक
श्री राजेन्द्र सिंह सिंघी तथा श्री नरेन्द्र सिंह सिंघी
प्रकाशनकर्ता-
-
अधिष्ठाता, सिं घी जैन शास्त्र शिक्षा पीठ
भारतीय विटाभवन समाई

·मालवदेशाधिप- परमारनृपचूडामणि राजाधिराज भोजदेव विरचिता शृङ्गा र मञ्जरी कथा ङ्गा Tमानप्रदेशान्तर्गन जैसलमेन्युनल मानीन जनानभाण्डागारोपलब्ध- परमार - दुटित नापीरपुलकागरेण संशोध्य, आंग्लभाषामय- लिशित मियतग्निचन-भावान्तर -विविधपरिशिष्टादिभिः मुनित्य च संपादनमानी विदुषी कुमारी कल्पलता क. मा० सुन्शी (एम्. प., पीएच. डी.) aa -- प्रकाशनकर्ता अधिष्ठाता, सिं घी जैन शास्त्र शिक्षा पीठ भारतीय विद्याभवन, बम्बई विक्रमान्द २०१५] प्रथमावृत्ति [खिस्तान्द १९५९ - ग्रन्यांक ३०] सर्वाधिकार सुरक्षित [मूल्य रु० १२/५० ·SINGHI JAIN SERIES A COLLECTION OF CRITICAL EDITIONS OF IMPORTANT JAIN CANONICAL, PHILOSOPHICAL, HISTORICAL, LITERARY, NARRATIVE AND OTHER WORKS IN PRAKRIT, SANSKRIT, APABHRAMSHA AND OLD RAJASTHANI. GUJARATI LANGUAGES, AND OF NEW STUDIES BY COMPETENT RESEARCH SCHOLARS ESTABLISHED IN THE SACRED MEMORY OF THE SAINT LIKE LATE SEIE SRI DÀLCHANDJI SINGHỈ OF CALCUTTA BY TA HIS LATE DEVOTED SON DANASILA-SAHITYARASIKA-SANSKRITIPRIYA ŚRI BAHADUR SINGH SINGHI DIRECTOR AND GENERAL EDITOR ACHARYA JINA VIJAYA MUNI ADHISTHATÃ, SINGHI MAIN SASTRA SLKSHA PITHA Honorary Founder-Director, Rajasthan Oriental Research Institute, Jodhpur, General Editor, Rajasthan Puratan Granthamala ; eto (Honorary Member of the German Oriental Society, Germany; Bhandarkar Oriental Research Institute, Poona; Vishveshyranand Vaidic Research Institute, Hosigarpur, and Gujarat Sāhitya Sabhi, Ahmedabad.) PUBLISHED UNDER THE PATRONAGE OF ŚRI RAJENDRA SINGH SINGHI AND ŚRI NARENDRA SINGH SINGHI -BY THE ADHISTHĀTĀ SINGHI JAIN SHASTRA SHIKSHAPITH BHARATIYA VIDYA BHAVAN BOMBAY

·ŚRNGĀRAMAÑJARĪ KATHA
OF THE
PARAMĀRA KING BHOJADEVA OF DHĀRĀ
(Containing thirteen Tales pertaining to the life of the courtesan
in Ancient India, narrated in the rich Kāvya style)
H
A
Critically Edited from the only available, fragmentary palm-leaf Ms.
in the famous Jain Bhandar at Jesalmere, Rajasthan.
with an Introduction, Translation, Notes etc.
$
BY
Kumari KALPALATA K. MUNSHI, MI. A.,
Ph. D.
PUBLISHED BY
Adhisthātā, Singhi Jain Sastra Siksapitha
5
1
BHĀRATIYA VIDYA BHAVANA
BOMBAY
+
V. E. 2015)
First Edition. 500 Copies
[A. D. 1959
min
Vol. No. 30]
[Price Rs. 12/50

·॥सिंघीजैनग्रन्थमालासंस्थापकप्रशस्तिः॥ - १ २ ३ ५ ६ अस्ति बङ्गाभिधे देगे सुप्रसिद्धा मनोरमा । मुर्शिदाबाद इत्याच्या पुरी वैभवशालिनी ॥ वहवो निवसन्त्यत्र जैना ऊकेशवंशजाः । धनाढ्या नृपसम्मान्या धर्मकर्मपरायणाः ॥ श्रीडालचन्द इत्यासीत् तेप्वेको बहुभाग्यवान् । साधुवत् सच्चरित्रो यः सिंघीकुलप्रभाकरः ।। वाल्य एव गतो यश्च कतुं व्यापारविस्तृतिम् । कलिकातामहापुर्या तधर्मार्थनिश्चयः ।। कुशाग्रीयया सद्बुद्ध्या सद्वृत्त्या च सन्निष्टया । उपाज्य विपुलां लक्ष्मी कोव्यधिपोऽजनिष्ट सः॥ तस्य भन्नुकुमारीति सन्नारीकुलमण्डना । जाता पतिव्रता पत्नी शीलसौभाग्यभूपणा ॥ श्रीवहादुरसिंहाल्यो गुणवाँस्तनयस्तयोः । सजातः सुकृती दानी धर्मप्रियश्च धीनिधिः ॥ प्राप्ता पुण्यवता तेन पती तिलकसुन्दरी । यस्याः सौभाग्यचन्द्रेण भासितं तत्कुलाम्बरम् ॥ श्रीमान् राजेन्द्रसिंहोऽस्य ज्येष्टपुत्रः सुशिक्षितः । यः सर्वकार्यदक्षत्वात् दक्षिणबाहुवत् पितुः ॥ नरेन्द्रसिंह इत्याख्यस्तेजस्वी मध्यमः सुतः । सूनुवीरेन्द्रसिंहश्च कनिष्टः सौम्यदर्शनः ।। सन्ति त्रयोऽपि सत्पुना माप्तभक्तिपरायणाः । विनीताः सरला भव्याः पितुर्मार्गानुगामिनः ।। अन्येऽपि वहवस्तस्याभवन् स्वस्त्रादिवान्धवाः । धनजनैः समृद्धः सन् स राजेव व्यराजत ।। ८ ९ ૧૨ अन्यच्च- १३ १४ ६५ १७ २२ २३ २५ सरस्वत्यां सदासको भूत्वा लक्ष्मीप्रियोऽप्ययम् । तत्राप्यासीत् सदाचारी तचित्रं विदुषां खलु ॥ नाहंकारो न दुर्भावो न बिलासो न दुर्व्ययः । दृष्टः कदापि यद्गेहे सतां तद् विस्मयास्पदम् ॥ भको गुरुजनानां स विनीतः सज्जनान् प्रति । वन्धुजनेऽनुरक्तोऽभूत् प्रीतः पोण्यगणेष्वपि । देश-कालस्थितिज्ञोऽसौ विद्या-विज्ञानपूजकः । इतिहासादि-साहित्य-संस्कृति-सत्कलाप्रियः ॥ समुन्नत्यै समाजस्य धर्मस्योत्कर्षहेतवे । प्रचाराय च शिक्षाया दत्तं तेन धनं धनम् ॥ गत्वा सभा-समित्यादौ भूत्वाऽध्यक्षपदान्वितः । दुत्वा दानं यथायोग्यं प्रोत्साहिताश्च कर्मठाः ।। एवं धनेन देहेन ज्ञानेन शुभनिष्ठया । मकरोत् स यथाशक्ति सत्कर्माणि सदाशयः ॥ मथान्यदा प्रसङ्गेन स्वपितुः स्मृतिहेतवे । कर्तुं किञ्चिद् विशिष्टं स कार्य मनस्यचिन्तयत् ।। पूज्यः पिता सदैवासीत् सम्यग्-ज्ञानरुचिः स्वयम् । तस्मात् तज्ज्ञानवृद्ध्यर्थ यतनीयं मयाऽप्यरम् ॥ विचार्य स्वयं चित्ते पुनः प्राप्य सुसम्मतिम् । श्रद्धेयानां स्वमित्राणां विदुषां चापि तादृशाम् ।। जैनज्ञानप्रसारार्थ स्थाने गान्ति नि के तने । सिंघीपदाङ्कितं जैन ज्ञानपीठ मतिष्ठिपत् ॥ श्रीजिनविजयः प्राज्ञो मुनिनान्ना च विश्रुतः । स्वीकतुं प्रार्थितस्तेन तस्याधिष्ठायकं पदम् ॥ तस्य सौजन्य-सौहार्द-स्थैयौदार्यादिसद्गुणैः । कगीभूय मुदा येन स्वीकृतं तत्पदं वरम् ॥ कवीन्द्रेण रवीन्द्रेण स्त्रीयपावनपाणिना । रस-नागाइँ-चन्द्राढे तअतिष्ठा व्यधीयत ॥ प्रारब्धं मुनिना चापि कार्य तदुपयोगिकम् । पाठनं ज्ञानलिप्सूनां प्रन्यानां प्रथनं तथा ॥ तस्यैव प्रेरणां प्राप्य श्रीसिंघीकुलकेतुना । स्वपितृश्रेयसे चैया प्रारब्धा ग्रन्थमालिका ॥ उदारचेतसा तेन धर्मशीलेन दानिना । व्ययितं पुष्कलं द्रव्यं तत्तत्कार्यसुसिद्धये ॥ छात्राणां वृत्तिदानेन नैकेपां विदुषां तथा । ज्ञानाभ्यासाय लिष्कामसाहाय्यं स प्रदत्तवान् ।। जलवाय्चादिकानां तु प्रातिकूल्यादसौ मुनि. । कायं त्रिवार्षिकं तत्र समाप्यान्यनावासितः ॥ तत्रापि सततं सर्व साहाय्यं तेन यच्छता । अन्यमालाप्रकाशाय महोत्साहः प्रदर्शितः ।। नन्द-निध्य-चन्द्राव्दे कृता पुन, सुयोजना । ग्रन्थावल्याः स्थिरत्वाय विस्तराय च नूतना ॥ ततो मुनेः परामर्शात् सिंघीवंशनभस्वता । भावि द्याभ व ना येयं ग्रन्थमाला समर्पिता ॥ मासीत्तस्य मनोवान्छाऽपूर्वग्रन्थप्रकाशने । तदर्थ व्ययितं तेन लक्षावधि हि रूप्यकम् ॥ दुर्विलासाद् विधेर्हन्त ! दौर्भाग्याचात्मवन्धूनाम् । स्वल्पेनैवाथ कालेन स्वर्ग स सुकृती ययौ । विधु-शून्य-व-नेत्रा-ब्दे मासे झापाढसझके । कलिकातानगयाँ स प्राप्तवान् परमां गतिम् ॥ पितृभक्तश्च तत्पुनः प्रेयसे पिनुरात्मनः । तथैव प्रपितुः स्मृत्यै प्रकाश्यतेऽधुना त्वियम् ॥ सैषा ग्रन्यावलिः श्रेष्ठा प्रेष्ठा प्रज्ञावतां प्रथा । भूयाद् भूत्यै सतां सिंघीकुलकीर्तिप्रकाशिका ॥ विद्वजनकृताहादा सच्चिदानन्ददा सदा । चिरं नन्दत्वियं लोके श्रीसंघी ग्रन्थमालिका ॥ २७ ३१ ४० ·। सिंघीजैनग्रन्थमालासम्पादकप्रशस्तिः ॥ १ स्वस्ति श्रीमेदपाटाख्यो देशो भारतविश्रुतः । रूपाहेलीति सन्नानी पुरिका यत्र सुस्थिता ॥ सदाचार-विचाराभ्यां प्राचीननृपते. समः । श्रीमचतुरसिंहोऽत्र राठोडान्वयभूमिपः ॥ तत्र श्रीवृद्धिसिंहोऽभूद् राजपुत्रः प्रसिद्धिभाक् । क्षात्रधर्मधनो यश्च परमारकुलाग्रणीः ।। मुज-भोजमुखा भूपा जाता यस्मिन् महाकुले । किं वय॑ते कुलीनत्वं तत्कुलजातजन्मनः ।। पती राजकुमारीति तस्याभृद् गुणलंहिता । चातुर्य रूप-लावण्य-सुवाक् सौजन्यभूपिता ॥ क्षत्रियाणी प्रभापूर्णा शौर्योहीप्तमुखाकृतिम् । यां दृष्ट्वैव जनो मेने राजन्यकुलजा त्वियम् ॥ पुत्रः किसनसिंहाख्यो जातस्तयोरतिप्रिय. । रणमल्ल इति चान्यद् यन्नाम जननीकृतम् ॥ श्रीदेवीहंसनामाऽत्र राजपूज्यो यतीश्वरः । ज्योतिभैंपज्यविद्यानां पारगामी जनप्रियः ॥ भागतो मरुदेगाद् यो भ्रमन् जनपदान वहून् । जातः श्रीवृद्धिसिंहस्य प्रीति-श्रद्धास्पदं परम् ॥ तेनाथाप्रतिमप्रेरणा स तत्सूनुः स्वसन्निधौं । रक्षितः शिक्षितः सम्यक्, कृतो जैनमतानुगः ।। दौर्भाग्यात् तच्छिशोळल्ये गुरु-तातौ दिवंगतौ । विमूढः स्वगृहात सोऽथ यदृच्छया विनिर्गत ॥ ८ - १० तथाच- १२ १३ १४ १६ १७ १८ १९ २० २१ ૨૨ २५ भ्रान्त्वा नैकेषु देशेषु संसेव्य च बहून् नरान् । दीक्षितो मुण्डितो भूत्वा जातो जैनमुनिस्ततः ।। ज्ञातान्यनेकशास्त्राणि नानाधर्ममतानि च । मध्यस्थवृत्तिना तेन तत्त्वातत्त्वगवेपिणा ।। अधीता विविधा भाषा भारतीया युरोपजाः । भनेका लिपयोऽप्येवं प्रत्न-नूतनकालिकाः ॥ येन प्रकाशिता नैके ग्रन्था विद्वत्प्रशंसिता । लिखिता बहवो लेखा ऐतिह्यतथ्यगुम्फिताः ॥ बहुभिः सुविद्वद्भिस्तन्मण्डलैश्च स सस्कृतः । जिनविजयनाम्नाऽयं विख्यात सर्वत्राभवद् ॥ तस्य तां विश्रुतिं ज्ञात्वा श्रीमद्गान्धीमहात्मना । माहूतः सादरं पुण्यपत्तनात् स्वयमन्यदा ॥ पुरे,चाहम्मदाबादे राष्ट्रीयः शिक्षणालयः । विद्यापीठ इति ख्यात्या प्रतिष्ठितो यदाऽभवत् ।। आचार्यत्वेन तत्रोच्चैनियुक्तः स महात्मना । रस-मुंनि-निधीन्द्रब्दे पुरातत्वा ख्य मन्दिरे ॥ वर्षाणामष्टकं यावत् सम्भूप्य तत् पदं ततः । गत्वा जर्मनराष्ट्रे स तत्संस्कृतिमधीतवान् । तत मागत्य सल्लग्नो राष्ट्रकार्य च सक्रियम् । कारावासोऽपि सम्प्राप्तो येन स्वातन्त्र्यसगरे ।। क्रमात् ततो विनिर्मुक्तः स्थितः शान्ति नि के त ने । विश्ववन्द्यकवीन्द्रश्रीरवीन्द्रनाथभूपिते ॥ सिंघीपदयुतं जैन ज्ञानपीठं तदाश्रितम् । स्थापितं तत्र सिंघीश्रीडालचन्दस्य सूनुना ॥ श्रीवहादुरसिंहेन दानवीरेण धीमता । स्मृत्यर्थ निजतातस्य जैनज्ञानप्रसारकम् ॥ प्रतिष्टितश्च तस्यासौ पदेऽधिष्ठातृसज्ञके । अध्यापयन् वरान् शिष्यान् ग्रन्थयन् जैनवाड्मयम् ॥ तस्यैव प्रेरणां प्राप्य श्रीसिंघीकुलकेतुना । स्वपितृश्रेयसे ह्येषा प्रारब्धा ग्रन्थमालिका ॥ अथैवं विगतं तस्य वर्षाणामष्टकं पुनः । ग्रन्थमालाविकासादिप्रवृत्तिपु प्रयस्यतः ॥ वाणे-रत्न-नवेन्द्वन्दे मुंवाईनगरीस्थितः । मुंशीति विरुदख्यात. कन्हैयालाल-धीसखः ॥ प्रवृत्तो भारतीयानां विद्यानां पीठनिर्मितौ । कर्मनिष्टस्य तस्याभूत प्रयत्नः सफलोऽचिरात् ॥ विदुषां श्रीमतां योगात् पीठो जातः प्रतिष्ठित. । भारतीय पदोपेत विद्या भवन सङ्ख्या ॥ माहूतः सहकार्यार्थ स मुनिस्तेन सुहृदा । ततःप्रभृति तत्रापि तत्कार्ये सुप्रवृत्तवान् ।। तद्भवनेऽन्यदा तस्य सेवाऽधिका ह्यपेक्षिता । स्वीकृता च सद्भावेन साऽप्याचार्यपदाश्रिता ॥ नन्द-निध्य-चन्द्राब्दे वैक्रमे विहिता पुनः । एतद्ग्रन्थावलीस्थैर्यकृते नूतनयोजना ॥ परामर्शात् ततस्तस्य श्रीसिंघीकुलभास्वता । मा विद्याभव ना येयं ग्रन्थमाला समर्पिता ॥ प्रदत्ता दशसाहस्री पुनस्तस्योपदेशतः । स्वपितृस्मृतिमन्दिरकरणाय सुकीर्तिना ॥ देवादल्पे गते काले सिंधीवयों दिवंगतः । यस्तस्य ज्ञानसेवायां साहाय्यमकरोत् महत् ॥ पितृकार्यप्रगत्यर्थ यत्नशीलैस्तदात्मजै. । राजेन्द्रसिंहमुख्यैश्च सत्कृतं तद्वचस्ततः ॥ पुण्यश्लोकपितुर्नाम्ना ग्रन्थागारकृते पुनः । बन्धुज्येष्ठो गुणश्रेष्टो ह्य लक्षं धनं ददौ । ग्रन्थमालाप्रसिद्ध्यर्थं पितृवत् तस्य कांक्षितम् । श्रीसिंघीसत्पुत्रैः सर्व तट गिराऽनुविधीयते ॥ विद्वजनकृताहादा सच्चिदानन्ददा सदा । चिरं नन्दत्वियं लोके जिन विजय भारती ।। २९ ३६ है " ·SINGHI JAIN SERIES क Works in the Series already out. अद्यावधि मुद्रितग्रन्थनामावलि १ मेस्तुगाचार्यरचित प्रवन्धचिन्तामणि १९ भर्तृहरिकृत शतकत्रयादि सुभाषितसंग्रह. मूल सस्कृत ग्रन्थ. २० शान्त्याचार्यकृत न्यायावतारवार्तिक-वृत्ति, २ पुरातनप्रवन्धसंग्रह वहुविध ऐतिह्यतथ्यपरिपूर्ण २१ कवि धाहिलरचित पउमसिरीचरिउ. (अप०) अनेक निवन्ध सचय. २२ महेश्वरसूरिकृत नाणपंचमीकहा. (प्रा. ३ राजशेखरसृरिरचित प्रवन्धकोश. २३ श्रीभद्रवाहुआचार्यकृत भद्रबाहुसंहिता. ४ जिनप्रभसूरिकृत विविधतीर्थकल्प. २४ जिनेश्वरसूरिकृत कथाकोषप्रकरण. (प्रा.) ५ मेघविजयोपाध्यायकृत देवानन्दमहाकाव्य. २५ उदयप्रभसरिकृत धर्माभ्युदयमहाकाव्य. ६ यशोविजयोपाध्यायकृत जैनतर्कभाषा. २६ जयसिंहरिकृत धर्मोपदेशमाला. (प्रा.) ७ हेमचन्द्राचार्यकृत प्रमाणमीमांसा. २७ कोऊहलविरचित लीलावई कहा. (प्रा.) ८ भट्टाकलकदेवकृत अकलङ्कग्रन्थत्रयी. २८ जिनदत्ताख्यानद्वय. (प्रा.) ९ प्रबन्धचिन्तामणि - हिन्दी भाषांतर. २९ स्वयंभूविरचित पउमचरिउ. भाग १ (अप०) १० प्रभाचन्द्रसूरिरचित प्रभावकचरित. ११ सिद्धिचन्द्रोपाध्यायरचित भानुचन्द्रगणिचरित. ३१ सिद्धिचन्द्रकृत काव्यप्रकाशखण्डन. १२ यशोविजयोपाध्यायरिचित ज्ञानबिन्दुप्रकरण. ३२ दामोदरपण्डित कृत उक्तिव्यक्तिप्रकरण. १३ हरिपेणाचार्यकृत बृहत्कथाकोश. ३३ मिन्नभिन्न विद्वत्कृत कुमारपालचरित्रसंग्रह. १४ जैनपुस्तकप्रशस्तिसंग्रह, प्रथम भाग, ३४ जिनपालोपाध्यायरचित खरतरगच्छ बृहद्गुर्वावलि. १५ हरिभद्रसृरिविरचित धूर्ताख्यान. (प्राकृत) ३५ उड्योतनसूरिकृत कुवलयमाला कहा. (प्रा. १६ दुर्गदेवकृत रिष्टसमुच्चय. (प्राकृत) ३६ गुणपालमुनिरचित जंबुचरियं. (प्रा.) १७ मेघविजयोपाध्यायकृत दिग्विजयमहाकाव्य ३७ पूर्वाचार्यविरचित जयपायड-निमित्तशास्त्र. (प्रा.) १८ कवि अब्दुल रहमानकृत सन्देशरासक. (अपभ्रंग) | ३८ भोजनृपतिरचित शृङ्गारमञ्जरी. (संस्कृत कथा) २ . Shri Bahadur Singh Singhi Memoirs Dr. G. H. Buhler's Life of Hemachandrāchārya. Translated from German by Dr. Manilal Patel, Ph. D. स्व. बावू श्रीवहादुरसिंहजी सिंघी स्मृतिग्रन्थ [ भारतीयविद्या भाग ३ ] सन १९४५. 2 Late Babu Shri Bahadur Singhji Singhi Memorial volume. BHARATIYA VIDYA [Volume V] A. D. 1945. 3 Liteialy Cucle of Mahāmātya Vastupāla and its Contribution to Sanskrit Literature. By Dr. Bhogilal J. Sandesara, M. A', Ph. D. (SJ.S.33.) 4-5 Studies in Indian Literary History. Two Volumes. By Prof. P. K. Gode, M A. (S. J. S. No. 37-38.) Works in the Press. संप्रति मुद्यमाणग्रन्थनामावलि 8 ५ विविधगच्छीयपटावलिसंग्रह ९ गुणप्रभाचार्यकृत विनयसूत्र. (बौद्धशास्त्र) २ जैनपुस्तकप्रगस्तिसंग्रह, भाग २. १० धनसारगणीकृत-भर्तृहरशतकत्रयटीका. ३ विज्ञप्तिसंग्रह विज्ञप्ति नहालेख - विज्ञप्ति त्रिवेणी ११ रामचन्द्रकविरचित-मल्लिकामकरन्दादिनाटकसंग्रह. आदि अनेक विज्ञप्तिलेख समुन्वय. ४ कीर्तिकौमुदी आदि वस्तुपालनगस्तिसग्रह. १२ तरुणप्राभाचार्यकृत पडावश्यकवालावबोधवृत्ति. ५ गुणचन्द्रविरचित मत्रीकर्मचन्द्रवाप्रवन्ध. १३ प्रद्युम्नसूरिकृत मूलशुद्धिप्रकरण-सटीक. ६ नयचन्द्ररिचित हारमहाकाव्य. १४ हेमचन्द्राचार्यकृत छन्दोऽनुशासन. ७ महेन्द्रमरित नर्मदासुन्दरी पा. (प्रा.) १५ स्वयंभुकविरचित पउमचरिउ. भा० ३ ८ काटिरगहन अर्थशास्त्र - सटीक. (ऋतिपयअंश) १६ ठकर फेरूरचित ग्रन्थावलि. (प्रा.)

·CONTENTS प्रास्ताविक (मुनि जिनविजयजी) Page 2-8 Preface *** .. 2 Abbreviations .. 3 ܝܙ Bibliography ... 4-6 ܫܘ } - $ Introduction 1-90 Chapter I The place of Find and the Description of the MS. 1- 6 Chapter II The Author Bhojadeva 7-11 Chapter III A Summary of Contents 12-26 Chapter IV A. Critical Appreciation of the SMK. 27-54 Chapter V The Purpose of the work 55-73 .. 1 7 Chapter VI A Picture of the Times 74-90 ... ... .... १-८९ शृङ्गारमारी कथा विशेषनामानुक्रमणिका 1 ... Translation of the Text 1-91 th 1 Notes, 92-100 no . Appendix I Transcript from the Ms. of SP. 101 Appendix II General Observations in the SMK '... 102-103 + 1 1 $ ܫ ܢܙ *** 1 < 1 ! ) 14 3 2 $ J 3 5 ·PREFACE. Śrngāramañjarī Kathā of Bhojadeva, based on a single (and the only known) manuscript is being brought to light here for the first time. The present study has been divided into four sections. The first section-Introduction, describes the peculiarities of the inanuscript and analyses its contents The second section consists of the text itself The manuscript contained many scribal errors. These have been corrected and the original corrupt readings have been given in the footnotes The folio numbers of the manuscript have been given in square brackets and the sides are indicated by the letters A and B. The completed lines have been indicated by superscribed numerals in round brackets. At the end of the text has been given an index of proper names occurring in the text The third section contains the translation of the Sanskrit text. The small fragments have not been translated The twelth tale also in which the thread of narrative is lost has been left untranslated. The numbers in brackets in the translation correspond to the page number of the Sanskrit text The fourth section comprises of Notes, Appendices and Indices The Notes deal with only those words and expressions which are rare or remarkable in some way. Appendix I is a transcript from the Madras Manuscript of the Śrngāra-Prakāśa which was kindly sent to me by Dr. V. Raghavan. It bears important relationship with some technical points in the present text (Chapter Five) Appendix II is a grouping together of maxims found in the text During this study, I was often required to consult the Śrngāra- Prakasa of Bhoja, no part of which was available then in printed form. I take this opportunity to express my deep sense of gratitude to Dr. V. Raghavan of the Madras University, for helping me by sending references, time and again, from the Śrăgâraprakāśā manuscript. As to my indebtedness to Muni Śrī Jinavijayaji, what shall I say when I owe so much to him, from learning the a, b, c of deciphering the palm-leaf MS. down to the guidance in even the smallest details of preparation and presentation the text ? Suffice it to say that but for his manifold help, guidance and encouragement, I could not have undertaken and completed the present work And as if this were not enough, he has so kindly included my work for publication in the illustrious Singhi Jain Series and taken all the trouble to see it through the press, from start to finish Such a huge debt cannot be repaid in any amount of words. I can only register my deep sentiment of gratitude and respect towards him. KALPALATA MUNSHI, ·ABBREVIATIONS ASI Archaelogical Survey of India Bhoja's Srngäraprakaśa by V. Raghavan BSP EI Epigraphia Indica G. O.S. Gaekwad's Oriental Series IA Indian Antiquary > JRAS Journal of the Royal Asiatic Society KĀ Kāvyādaría of Dandin KAL Kāvyālamkāra of Bhāmaha KS Kāmasūtra of Vatsyāyana KSS Kathāsaritsāgara of Somadeva MW A Sanskrit-English Dictionary-Monier-Williams PSM Pāiasaddamhannayo SKĀ Sarasvatīkanthābharana of Bhojadeva 3 SMK SP Ms. of the Singāranañjarikathā of Bhojadeva 1. Srigāraprakāśa of Bhojadeva 2. Madras Ms. of Śrngāraprakāśa 4 SS Samarāngana-sūtradhāra of Bhojadeva w . 7 ·BIBLIOGRAPHY mo Printed Works-English and Sanskrit Agnipurāna. ( edited by H. N. Apte), Bombay, 1900 Akbarshah, Sungāramañjari. (edited by V. Raghavan Hyderabad, 1951 Aufrecht, Catalogus Catalogorum. Parts I & II Bānabhatta, Kadambari (edited by K. P. Parab), Bombay, 1940 Bhimaha, Kävyālamkāra, (=Appendix VIII in Prataparudrayacobhūsana, edited by K. P. Trivedi ), Bombay, 1905 Bhānudatta, Rasamañjarī Bharata, Natyaśāstra Bhojadeva, Samarānganasūtradhāra. (edited by Ganapati Sastri ), Vol I, Baroda, 1924 Sarasvatīkanthabharana. ( edited by Durgaprasad and Pansikar ), Bombay, 1925 Srågāraprakāśa ( published by Yatirājasvami), Madras, 1926 Budhaswāmin, Brhat-kathā-slokasamgraha. ( edited by F. Lacote ), Paris. 1908 Caturbhāņī (edited by M. R. Kavi & S. K. Ramanatha Sastri ), Madras 1922 Dāmodaragupta Kuttanımata. Bombay 1899 Dandin, Dasakumāracarita. ( edited by N B. Godbole ) Bombay, 1936 Kāryādarśa. ( edited by S. K. Belyalkar), Poona, 1924 Dasgupta, S N. and DE, S K A History of Sanskıit Literature Vol. I, Calcutta, 1947 Dey, Nandolal, The Geographical Dictionary of Ancient and Medieval India Calcutta, 1899 Dhanapāla, Tilakamañjarī (edited by Pt. B Shastri and K P Purab ), Bombay, 1938 Dhanañjaya, Dasarūpaka ( edited by Pansıkar), Bombay 1928 Dickinson, G, L, The Greek View of life. London, 1932 Dubois, Abbe, Hindu Manners, Customs and Ceremonies. ( Translated by H. K Beaucham), Oxford, 1906 Fergusson, W. S., Helenistic Athens London, 1911 Ganguly, D. C., History of the Paramāra Dynasty Dacca, 1933 Halāyudha, Abhidhānaratnamāla Handıqui, K K., Yaśastilaka and Indian Culture. Sholapur, 1949 Haribhadrasūrī, Dhurtākhyāna. (edited by Muni Jinavijaya and Upadhye, A N ), Bombay, 1944 >> ·+ ww 1 + 3 # AY t * $ Hemachandra. Abbidhānacintāmani, Bombay, 1946 Chandonuśāsana. Published by Sagaranandsuri Kūvyānusāsana ( edited by Parikh, R: C.). Vol. I, Bombay, 1938. Desinīmamalī, ( edited by P. V. Ramanujaswami). Sthavīrāvalicarita or Pariſisthaparvan, (Bibliotheca Indica, 96 ), 1932 Kane, P. V, History of Dharmaśāstra Literature, Vol. I, Poona, 1930 Kautilya, Arthaśāstra. (edited by Shamashastii ), Mysore, 1924 (edited by Jolly, & Schmidt), 1924 Keith, A., B., A History of Sanskrit Literature, London, 1941 Krsnakavi, Mandāramakaranda Campū, Bombay, 1924 Krishnamachariar, M A.., History of Classical Sanskrit Literature. Madras, 1937 Kşemendra Deśopadeśa and Narmamāla. ( Kashmir Series of Texts and Studies, 40 ), 1923 Kalāvilāsa Bombay, 1929 Samayamātrkā Bombay, 1888 Mādbavācārya, Sarvadarśanasamgraha, Bombay, 1906 Māgha, śiśupālavadha. ( edited by Bhandare, M. S.), Bombay, 1932 Mammata, Kavyaprakāśa. ( edited by Syamacharan), Calcutta, 1886 , Mehta, R. N., Pre-Budhhist India. Bombay, 1939 Merutunga, Prabandhacintamani. (edited by Jinavijaya Muni), Bombay, 1933 Monier-Williams, M, A Sanskrit-English Dictionary. Oxford, 1899 Munshi, K M, The Glory that was Gūrjaradeśa Pt III–Imperial Gurjaras, Bombay, 1944 Padmagupta, Navasābasānkacarta. (edited. by Islampurkar, V.), Bombay, 1895 Prabhācandrācārya, Prabhāvakacarita. Bombay, 1940., , Raghavan, V., Bhoja's Śrógāraprakāśa. (New Indian Antiquary), Bombay, 1942-43 Rajasekhara, Kavyamīmāṁsā. (edited by C D. Dalal & R. H. Shastri), Baroda, 1934. Ray, H. C., The Dynastic History of Northern India. Vol II, Calcutta, 1936 Rudrata, Kāvyālamkāra. Bombay, 1928 Śrngāratilaka Bombay, 1899 Sanghadāsagani vācaka, Vasudevahindi. (edited by Muni Caturvijayji and Muni Punyavijayji), Bhavnagar, 1930–31 Scott, G. R, A History of Prostitution. London, 1940 Sheth, H. T., Pāzasaddamahaņņavo, Calcutta, 1929 1 # ·1 $ -( 6 ) Somadevabhatta, Kathāsaritsāgara. (edited by Pt. Durgaprasad and Parab, K. P.) Bombay, 1930 Somadeyasūri,.Yaśastilakacampū (edited by Pt. Sivadatta), Bombay, 1916 Sabandhu, Vásavadattā. (edited by F. Hall), Calcutta, 1859 Śūdraka, Mrcchakatika. (edited by Parab, K. P.), Bombay, 1936 Upadhyaya, B. S., India in Kālidāsa. Allahabad, 1947 Vaidya, C. V., Downfall of Hindu India Poona, 1926 Vaidya, P. V., Hemacandra's Prākrit Grammar. Poona, 1928 Vāmana, Kāvgalamkārasüträni. (edited by Pt Durgaprasad and Parab, K. P.), Bombay, 1926 Vardbamānācārya, -Ganaratnamahodadhi Vātsyāyana, Kāmasūtra. (Chaukhamba Sanskrit Series.), Benaras Viśvanātha, Sāhityadarpana. (edited by Mm.P.V Kane), Bombay, 1923 Yādavaprakāśa, Vaijayanti. (edited by G Oppert), Madras, 1893 Studies. Buhler, G., The Udaipur Prasasti of the Kings of Mālwā. (E. I. Vol. I, pp. 233,238) Chakravarti, N. P., Epigraphy, Section III, (A. S. I. 1934–35, p 60) Crooke, W., Indian Prostitution. (Hasting's Encyclopedia of Religion and Ethics), Vol. X Dubkund Inscription, (E. I. II. p. 233, 237–238) Hogarth, D. G, Graeco-Roman Hierodouloi, (Hasting's Encyclopedia of Religion and Ethics), Vol. V. Krishnamachariar, M , Bhoja's Śrngāramañjarī (Journal of Venkatesvara Oriental Institute), Vol. II, pp. 459–460, 1941. Penzer, Sacred Prostitution (The Ocean of Story), Vol. I, Appendix IV, London, 1924 Svayambhūchhandas, (Journal of the University of Bombay, November, 1936, pp. 69-93) Velankar, H. D., Kavidarpana. (A. B. O R. I. Vol. XVI, 1-1i, 1935, note 51 ) Venkatasubiah, A. and Muller, E., The Kalās (J. R A. S 1914, pp. 355-367) Vogel, J., Inscription F. Second Apsidal Temple Inscription. (E I. Vol. XX, p 22, 1929-30) Wallace, Irving, The Geisha Guild. (Tricolour), Vol. III, September, 1945, pp. 28-35 Wodehouse, Greek Prostitution (Hasting's Encyclopaedia of Religion and Ethics, Vol. X) 7

·THE
INTRODUCTION
TO
THE ŚRNGĀRAMAÑJARĪ KATHA
OF
ŚRI BHOJADEVA

·علي ·SINGHI JAIN SERIES] [Singāramañjarī Katha . शितामृतमययन जयत्ययासको पक परा M A fragment of the first page. , १ 17 . - . स - कलिताबा सिगारमंजरियादिगणारवीसरसर कामयरमाण- गारमंजरियादिकापावीएमयोगीपासोरुम .. जसघडाम अरणकस विकसिंगारमेरिउम्रमणियासारुमा वडा करणादाणीपमा तरायविकिस्लावियेसाहाताला सराणाशकाधमछातयासाजराजनकधार सीताजादवविरवितायासंगारमेजरी कयास - 4 * m - Half piece of the last folio.

·[ Singāramañjari Kathā SINGHI JAIN SERIES ] MAHR र . ३ विविवामितवायवमतसमायपरिमतवमानस्या दारमअरीमालामनगरमणीकापाललावा दिखायासादारसससमिपंखुपाटलाश्यानडा सामाधिसितलावधिवद्धिरत्नदिवलसंसमि नाना श्यतिवएतलीयता मताशीरासुरवसाय पेशलिलविशारशनिशानापतिमाशादयति। कामस्तिमाताकलमातीमंडायलासिविलगावला सानियत पाखविगलितमायसमकवाकवानियतपरिवीलवादान मदिवाधिमेदतामाप्रया मलयानिालखानालामुनगपाकिमयविधि सुमलिकाचवलसादालोदिनरालासविन्ततामाश्यतिदिनासि विसकरतयामरमंदमरविदिशाणानारयतिमननानावतार शिनतरनतिमपितमाइलस्या . - NP A HA First side of the second page from which the text begins. ---- mare MT Pr वादिययनजानामित गनिर्यनिर्मडायनिक्षय मित्यशिक्षितसुवर्णपलयंदवा निःसारिताईसहि खात्मानावित्रपस्सियमयपरिमलगारवाया ततिमरिसरागातदिपवितरिवारागसशिवि मतापवतारारारारपिनमलादीनिधि मारामाधियाऊपररामसरशालादारवाददा Fathi पालिइसारंदवानिहरितगतेनवनिर्मठतामाटेम्पमलित संदलामानिनिधीयता सतिसयाविषयमनियमतिमाधिनमाविसम्यगावलमतदीपमाहानतमेगाव पिकातानंतरहरिशरामतामस्पसम्यगावगामियामसविनायनिःसामिया नारदादेविसरतारापावरसुविधावणामबाप्रयायपाकिसुचताणादितिरिक्ष रायसवंतीतितिदिनाकरिधारामा विशिसापापरासाशिवाणामतिर लामासगारमेजरकवायासूरमविवालिबासुERIES १ tantantries Folio 59b shouring the colophon of the th tale.

·SINGHI JAIN SERIES ] [ Singiramanjali Kathā Marwgrat रागमनका गगोकिदि विभिनय सामान पनिरल भलरागवासनातशितोसवतामनिधारागवानी मनिझारागाहवायगंगाराजलरागातिविधिरावधिमलागासना प्रकाशातालवतातरिशराममरिधारामा। चनारामतापित्यागाविसरिशरामप्रर्शनाचतातोलवनमान वागवानसामाधानासंगकापिलपरा तिविधिरादधिमरिशरामरोनाक्षातोमरतापवमयेयपपिहारापना, पारमा प्रकाशितधारीतारावशायनावार सन्याला वयानुहल्लासरश्नानालासागमनिसमा कारागाचातानवनालारागसवमपिक्षिय दासदाकाघननिधारागलयम्दया विधावायतविरयनापयतनायजाम Antarbuwand - on- Folio 32d showing the collection style. R परिणीतनामावलिमितिनरिणीयातरवातनिया पतिनालादावासादिवसियास्वतिहरासस शल्याणविरामिएवानावासविसतिसामना तिनसतायाधमातयामानासिरपावित्यमा वन्नेवासियासिनामहिवामकिसाधना सरदेकायतन कारणामधातामुरघरपवश्यसार रिवारमसियुधमांनाविक सोशयाबवलसूतावारीम (पश्यातायकिलाई.मिदंसीरस्यजागर सनपातासमकत दारयरियरएक्शनमतपरिष्यामियततापतिरखा सशासावस्यसतातश्चलस्तागाधातिनिरिक्लाश्रमजीवृस्तनदान यरियामाविमानवातिशोधनासक्तियमित्यादिवसतिघमात, - --- ---- Folio 145b showing the condition of the palm-leaf before being inscuibed upon.

·SINGHI JAIN SERIES ] [ Singāramañjari Katha Agromart . पातयानजियावास म नाबानासीदतिएकालियातराजवाणपतमाम उपचताधिकरे कास्नयामविवानितधकाम नादिस्वस्तारवाशप्रसत्यायकामामलिनस्तानवर त्यणिवासात्यांनी जितियार मिरवायसमवसातनसमतिना विनय 7 विसकुन्तवालोबज्ञानावीलालवानर सविश्मयससेवमलावण्यवती वीतिततासमतिविस्पागाला म्यतामिसियामानी सरोनिनजामालायम मावाविजमातावितीर्यसमा RE । AHM ammu PON 4 PM Hin समय स्वतीमाविबारमावासमाउताक्ननिता पसलनामा सादासाघर साताभक्त्रमतिका परापावायमिति बदनामनिकापसा पानामनेवितिनकालाकाना बारामास्वविधालयटविला सातरम्पधातावास एपतितावकिपरपतिसमिएवातमा निमित्तानाम्पावालपानिरिदलमत्यता मावावालामसनमा १२२ दियातगादरमखापर E सतम्यावश्यक्ष Folio 122 & 140 showing how fragments have been picced together. PA ·INTRODUCTION CHAPTER I THE PLACE OF FIND AND THE DESCRIPTION OF THE MS He says The palmleaf Ms of the śmgāramañjarikathā (hereafter mentioned as SMK) of King Bhojadeva was found in the Jesalmere Jñāna Bhandara It was first noticed by Dr. G Buhler when he went to examine the Bhandāras in 1874 'A poetical composition by Bhoja—the śrngāramañjarikathā. is partly presei ved in a fragment which I found in 1874 in the Brhadjñānakośa at Jesalmere A colophon on fol 149b runs as follows इति महाराजाधिराजपरमेश्वर श्रीभोजदेवविरचिताया शृगारमजरीकथाया 94279347491f7791 argoft 7HTET I The work is partly in prose and partly in verse 31 The same Ms has been listed in the 'Catalogue of Mss in the Jesalmere Bhandāras' compiled by CD Dalal after his visit to Jesalmere in 1916 The Catalogue observes, at one place 'No 32 (1) गृ गारमजरी by Bhoja, incomplete (2) in the introductory part of the same catalogue, Pandit Lalchandra Gandhi writes शृगारमजरी #157 (+374 ()) ESTA TEHTUT AT FT HET TOFT - TH910111gat Faperon HUAT FERTIGO farfaafa garaid $479 Jense gaiara- वगम्यते । (३) A few lines from fol 69a and 69 b are then quoted from the Ms Evidently Buhler had only seen stray leaves of the Ms for he incorrectly avers that the work is partly in prose and partly in verse Pandit Gandhi, however, has rightly observed that SMK is a Kathā, emboxed within which are a number of other tales Pandit Iśvarachandra Šāstrī, who has edited4 Bhoja's 'Yuktikalpataru' refers to SMK as a work on Kāvyaśāstra in the Introduction M Krishnamachariar, in his ‘A History of Classical Sanskrit Literature' has made a reference to Bhoja's SMK as a prose romance 6 Further, the same author has written a note on SMK in the Journal of Sri Venkateşvara Oriental Institute. which is interesting It reads Śrngāramanjarī is a romance by King Bhoja Deva Judging from the variety of his works in poetry, this work will be of great interest Being in prose, it is a valuable addition, to Gadya Kāvyas It has not been possible to get a copy of the manuscript and the last 1 EI Vol I, pp 222-238 2 G OS XXI, p 40 3 Ibid, p55 4 Calcutta, 1917 5 Madras, 1937, p 444 6 Vol II, 1941, pp 459-460 ·2 SRNGARAMANJARIKATHA the day effort elicited an answer from the Dewan, Jaisalmer State, Jaisalmer. The Dewan in his letter dated 20th July 1941 says that “the above manuscript in very old Devanagari characters is available in Basta No 325 of the Jain Bhandar but it is reported to be incomplete inasmuch as some of the first pages are missing, many of the pages are not numbered and some are mixed up with another hook 'It is hoped that other scholars and institutions will interest themselves in securing a copy and publishing it and save it from oblivion into which it has fallen for some centuries' It is interesting to trace how this Ms came to see the light of Muni Jinvijayjı had a keen desire to see this Ms himself ever since he read the description of it In 1942 Muniji stayed for five months at Jesalmere specially to examine the Bhandāras, and made a thorough search for the Ms At first he found about fifteen to twenty leaves of the work and got them copied under the impression that this was all that could be found of the Ms But while he was examining other Mss it struck his expert eyes that a number of leaves in the same scribe's hand lay scattered in other works He therefore collected all such leaves and had a fresh copy made From one of the texts he found a fragment of the last page of this Ms and hoping then that a great number of fragments may be found, he searched through the heaps of fragmentary pieces stored up in the dark and stinking underground cellars of the Bhandāra The search was successful, and he obtained a lot of material With the idea of publishing the work he brought it to Bombay and gave the leaves for printing But other preoccupations compelled him to leave the publication half done In 1945 when I registered as a student for the degree of PhD in the Bharatiya Vidya Bhavan under Muniji's guidance, he suggested that I should take up the work of editing this Ms The Ms along with the first copy of the leaves and the fragments were given to The present work is the result of a citical study of the same Ms me The Age of the Ms The date of the composition of the SMK is given in the last stanza, but unfortunately the folio is fragmentary and therefore it is lost The portion about the date of the composition reads वत्सराणा शकद्विप । कृतेय भोजराजेन कथा [ शृगारमजरी ] || But the Ms is not dated The condition of the palm leaf and the style of writing indicate that it could not have been written later than the 12th century In the Bhandāra there are other Mss copied by ine same scribe, but unfortunately none of them too are dated ·DESCRIPTION OF THE MS 3 External Peculiarities of the Ms Description The palmleaf Ms is written in beautiful Devanāgarī script, the style of writing is similar to the Mss of the 11th and the 12th centuries The leaves are smooth and of a superior quality A deep black ink is used in writing and the characters of the script indicate the use of a reed pen The writing is distinct The complete text is in 158 folios, of which sixteen leaves are missing and twenty-six are in fragments of various sizes A small fragment of folio 1 written on one side, and the left part of the last folio have also been found The leaves measure approximately 11 7" in length and 2" in breadth The leaves are divided into two parts by a centre column The left side is shorter than the right side, the left measuring 47" and the right 6 9" The centre columns have string holes which are uniform and not much enlarged The edges of some of the leaves are broken resulting in loss of letters in some The lines are regular and at the end are marked by vertical double lines running across the whole breadth of leaves There are generally six lines on a page In some cases where the leaves are narrow in breadth there are five lines The lines are written on both the sides with about 52-55 letters in each line It follows the usual method of writing words continuously without a break up to the end of the line In some cases, as in folio 68a, where the leaf is defective, lines are not completed and in folio 18b, the right hand corner is left blank cases Punctuation The simple vertical stroke, the danda is used for the separation of single words or groups of words But it is used very irregularly and many times without significance For example on folio 6a, lines 3-4 we have qarack सक्रान्तस्फटिकशालवलयप्रतिविम्बतया । नगरीविलोकनकुतू- हलाकुलितनिर्यच्छेपयेव । qft qffTCTTI A double vertical stroke is usually used at the end of a sentence where a particular description or a conversation is finished The sign 11 7 ll usually marks the change of topic or the end of a story Occasionally at the end of a story a double mark 11 3 11 11 3 11 is put which is rather unusual A sign like a horizontal comma is used when lines are not completed due to some defect in the palm leaf before inscription indicates continuation in the next line The sign Pagination The pagination is on the reverse of the leaves and both in the numerals of numbers and letters as is found in the palm leaf Mss of ·4 ŚRNGĂRAMAÑJARIKATHA Western India 7 The letter numerals are written on the left hand side and the number numerals on the right hand side Scrabal Errors and Connections The degree of accuracy of the Ms. depends upon the scribe's learning and carefulness Of the two kinds of scribes one was the scholar himself who prepared his own Ms and the other was a professional scribe The professional scribe was only a masicr of the technique of writing and had generally 10 idea about textual accuracy, grammatical or otherwise The scribe of this Ms seems to be only a professional one and therefore there are innumerable scribal errors Scribal Errois The subjoined list comprises of select examples of scribal errors The most frequent error consists in a mis-written syllable or a letter For example Alfet for fan, (fol 80a, line 4), oi again for सुवधु (fol 2b, line 3) Sometimes, a letter or syllable is misplaced Thus यश पातका for यश पताका (28a, line 1) Or a letter or a syllable is omitted For instance and for states (fol 38b, line 5). Or a superfluous letter or syllable is inserted Thus in the original we have दशामनुभवमनुत्कण्ठुल for दशामनुभवन्नुत्कण्ठुल (48b line 4) Again in the original Ms from which this Ms must have been copied, whereever there is halanta the scribe has understood and witten 3, thus मनाकु for मनाक्, तदीयानु for तदीयान् Occasionally there occur entilely wrong words such as न वमस्यकरोत् for च मनस्थकरोत् । Besides these, in some places the readings are so grossly wrong that it is difficult to understand the real meaning thereof Thus on folio 22a, line 4 we read नासिकावशाद् आकृति कमनीयता मोग्धाया ब्दुद्वपाटलाप्रसून which conveys Such instances can be multiplied galore and the scribe may be charged with careless and defective copying or perhaps the Ms before him might have been incorrect. 10 Sense Corrections In comparatively a small number of cases, the errors have been corrected by the scribe himself Certain signs are used in the Ms for the purpose of correcting an error in the text when a letter or a word had to be altered, cancelled or inserted Two minor strokes are attached to a letter or a word to indicate alteration Thus on folio 106, line 6 the word which originally was written as faanra is altered to face by attaching two minor strokes to the cancelled word Sımılar is the procedure adopted for cancelling a letter 7 Dr Buhler is not quite correct when he says (Indian Paleography, IA Vol XXX, III Appendix, 1904), that this is a peculiarity of the Jaina Mss of Western India, for the same is seen even in the Brāhmanical and Buddhist Mss of the time ·DESCRIPTION OF THE MS, 5 In order to cancel a full line two horizontal minor lines are placed above and below the first and the last letter Thus किंचिदस्थिरावपि [मजिप्टागगप्रकाबनात्प्रकागितो भवत । कु] नीलीगग etc (fol 31b, line 6) The sign of Kākapada is used to indicate the omission of a word or words The omission is indicated in the margin above or below Excepting the first and the last lines the insertion also gives the number of the line in which the insertion is made Thus on fol 32, a full line is omitted in line no 2 A Kākapada is put there and the whole line is inscribed in small hand in the margin above, with No 2 at the beginning and the Kākapada at the end . Another method used in correcting the wrong letters is to deface them As in folio 89a, line 4 and fol 89b. line 5 one or two letters are defaced and the correct letters written over them Orthographzcal Peculiarities The Ms has a few orthographical peculiarities The confusion between 7, T, C is so frequent that in the present edition corrections are made without noting them in footnotes Similar is the case with the Visarga, which is at some places retained when it should be dropped, and dropped when it should be retained. and are intermixed. Thus for example वख्या for वश्या, and पिद्यमान for खिद्यमान. is written for moi, for instance, starch for sitgouff and TETT5559 for ताम्रपर्णी At one place half conjuncts are confused, thus instead of FT we have न Another peculiarity is the use of ज for य-जुगल for aures which shows the scribe's familiarity with Prakritism Presentation of the Text The text of SMK presented here is based on the only available ms described above Liberty has been taken in removing and correcting some scribal errors with a desire to reach genuine readings without any pretension to improve upon the text. The text presented, therefore, is the corrected one and the original corrupt readings are given as footnotes The missing letters that are supplied are put within rectangular brackets, the emendations within circular Where there is some doubt about emendations, a mark of interrogation is put along with the word. Where, however, the ori. ginal readings convey no meaning and no suggestion could be made, a mark of interrogation has been put in the text It has been mentioned already that the text, reconstituted as it is, is not complete Besides the loss of complete leaves there are many leaves in fragments of various sizes The approximate number of letters missing in each case is given in the footnotes ones ·ŚRNGĀRAMAÑJARĪKATHA Punctuations, sandhis and paragraphs are added for clearer reading, and titles for stories are put in the beginning for reference facility Title The colophons give the title of the main work as well as the substories thus इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचिताया श्रृगारमजरीकथाया Tfa677997779T TETAT I The titles of the sub-stories are after the names of the nāyaka or the nāyikā generally, except in three stories where titles are suggestive of the theme, namely, 5347777(8th tale), JHUTTETT (9th tale) and 49 Fierit (10th tale) The title of the main work is interesting It is after the nāyıkā whose name is Śrngāramañjarī It seems that the choice of the name is not accidental It is suggestive First of all it brings to our mind Bhoja's other work, Śrngāraprakāśa, in which he has elaborately put forward his own theory of Śrngāra His fancy for 'Rasa-śrngāra' probably led him to name his nāyıkā Śrngāramañjarī Secondly, as will be shown below, this text has some connection with his treatment of the Śingāra, and, thirdly the sentiment of Srngāra predominates in this composition Considering all this, it seems that the name of the nāyıkā, and hence the name of the work, has been thoughtfully selected In the annals of Sanskrit Literature there are many works called 'Ś? ngāramañjarī but the 'Śrngār amañ arikatha', the present work, is different from them, ·CHAPTER II THE AUTHOR BHOJADEVA (1) The Ms of the SMK mentions Mahārājādhırāja Parameśvara Śli Bhojadeva as the author of the work, and there is sufficient internal evidence to confirm this Aufrecht in his 'Catalogus Catalogorum’t mentions a large number of works generally ascribed to this illustrious Paramāra king, but the SMK does not figure therein Aufrecht makes the categorical statement that not one of the list is an authentic work of Bhoja This assertion has been endorsed by modern scholars without however adducing cogent arguments in support of their view What is more, the authenticity of not one of these works ascribed to Bhoja has been doubted or impugned by any subsequent literary evidence On the contrary, the case of the Campū-Rāmāyana proves that no effort has been made to father upon Bnoja the authorship of any work other than his own In so far as the SMK is concerned the question presents, fortunately, little difficulty There is sufficient internal evidence to warrant the conclusion that it is Bhoja's composition This conclusion becomes better fortified when its kinship with the Sarasvati- 2 1 Part I, p 418, part II, p 95 Besides the two Prākrit Poems edited by Pischel (El, Vol VIII, pp 241-260) Dr N P Chakravarti records the find of two more Prākrit Poems of Bhoja on slabs in Dhar (ASI, 1934-35, section III, Epigraphy, p 60) In this the colophon is similar to that in our text sfa FETCTT- धिराजपरमेश्वरश्रीभोजदेवविरचित कोदण्ड The editor, of course, doubts the authorship 2 In the bulky volume of Campū-Rāmāyana which is also called 'Bhoja-campū' there are seven kändas The first five are written by Bhoja The 6th by Laksmanakavi and the 7th by Venkatādhyarın At the end of the 6th kända Laksmanakavi writes प्राग्भोजोदितपञ्चकाण्डविहितानन्दे प्रवन्धे पुन । FUST Gafcun farefga qodisfu pretra faza 11 And at the end of the 7th kānda, Venkatādhvalın says the same, mentioning his own contribution also य काण्डा निववन्ध चम्पुविधया पञ्चापि भोज कवि यो वा पष्ठमचष्ट लक्ष्मणकविस्ताभ्यामुभाभ्यामपि । कारुण्यादवगेपित किल मम क्षेमाय रामायणे काण्ड सप्तममुग्दृणातु रसना चम्पुप्रवन्धात्मना । 1 ·S SRNGARAMANJARÍKATIA kanthābharana (SKĀ) and singārupakūša (SP), acknowledged by common consent as Bhoja's works, is taken into account, Let us deal with the internal evidence first. The colophons of every Kathămkā uniformly icad इनि महाराजाधिराजार मेदवरामाजदेव विरचिताया etc Next is the concluding verse of the SMK Alter paying homage to the Goddess Sarasvati in four Prakrit găthās, in the fifth stanza, which is unfortunately not complete, Bhoja's authorship of the SMK is asserted It reads thus ..वलराणा शकद्विप , । FAQ HEITA EFETT (TTTTT76] !! The stanza definitely mentions Bhoja as the author of the present work If only the first pāda of the stanza had not been lost the question of the date also would have been settled once for all In the body of the text also there is a reference to the authorship of this king of the Paramāra famıly. In the description of a mountain it is said. एतत्कथाकारमिव विराजितपरमारावीपणम् (f. 135b, 5-6). Besides there is the introductory scene, where Bhoja is described as sitting in an informal assembly of friends, relatives and learned men They request him to narrate a Katha A short, but interesting discussion follows, from which we get information about certain technical aspects of the Kathā as a literary form of composition 3 There is little probability of any other story-teller giving expression to his own views in the name of Bhoja on this matter. On the other hand, the description of the literary assemblage here given is a faithful picture of such informal assemblages prevalent in those days The SMK begins with the descuiption of the city of Dhārā The Paramāras were well-known as excellent builders, and it is an accepted fact that it was Bhoja who rebuilt Dhārā in the early part of the eleventh century Is it any wonder then that Bhoja should call it the most distinguished city on earth and be tempted to praise his own creation and lay the scene of the story in it? At one place, while describing the various magnificent structures in the city of Dhārā, the author also says that 'they put to shame all the old residences of the town' ( या चोल्लसन्तीभिरमलस्फटिकप्राकारकान्तिपरम्पराभिरुपहस- तीव त्रिभुवनेऽपि Errafemaforetat perhaps a veiled reference to his having rebuilt the city It has been mentioned in the previous chapter that the title of the work is significant looking to the purpose of the text The SMK illustrates some technical aspects of rāga, which is an essential 5 3 See Chapter IV infra 4 Ganguly, DC, Hrstory of the Paramāra Dynasty (1933), pp 254-275, Munshi, K M, Impenal Gurjaras, p 146 f 5 Ganguly, op cit, p 27 سم ·THE AUTHOR BHOJADEVA 9 element in furthering the sentiment of Singāra Its relation to the SKĀ and the SP on this point will be discussed in Chapter Five below. There are no two opinions iegarding the common authorship of both the SKĀ and the SP In fact Dr Raghavan has definitely stated that 'considering the subjects dealt with in both works, we can safely say that, as far as Poetics goes, the Śr Pra adds substantially nothing new which is not contained in a brief manner in the SKĀ Itself In this respect, one can call the $i Pra an elaboration, Vistāla oi Vyasa, of the Samgrala, the SKĀ '6 Carrying this reasoning further on the basis of the statement in the 7 Fifaqiframhait fettferraren TTSFOTT Forata 39TTEHTHT) 17-1973 199, SMK, the present work, can be considered as the prabandha which Bhoja composed for the purpose It may be added that the relative dates of these two works, namely, the SP and the SMK, can also be determined from this evidence Thus the correlation of the three texts establishes beyond doubt that they all are the works of Bhoja. (11) साधित विहित दत्त ज्ञात तद्यन्न केनचित् । किमन्यत्कविराजस्य श्रीभोजस्य प्रगस्यते ॥ Bhojadeva, the illustrious king of the Paramāra dynasty, is the most versatile king in Indian history In c 1010 AC he came to the throne of Dhāra and died in 1054 AC Thus for about forty-four years, he ruled, and within that period, as the Udaipur Praśastı describes him, 'he accomplished, ordered, gave and knew what was not in the power of anybody else' A correct estimation of Bhoja's life-account is wanting not because the darkness of oblivion surrounds him but because he is too much in the limelight Even during his life-time he had attained the glory of a Sārvabhauma His major achievements as estimated by the historians and other literary records may be mentioned here He was first and foremost a man of great learning-a versatile literary man, a polymath The large number of books attributed to him show that he had mastery over almost all the branches of knowledge, and that there was a conscious effort on his part to systematize and popularize knowledge His literary courts also attest to his literary abilities and patronage of learning. These courts were so well-known that other states emulated his example Scholars from various parts of the 6 Bhoja's śrngäraprakása, p 70 7 Vide Appendıx I 8 Udaipur Praśastı of the Kings of Malwā, El Vol I, pp 233-238, vs 18 9 Vaidya, CV, Downfall of Hindu India, 1926, pp 157-168, Ganguly, op cit, 89-122, Munshi, op at, pp 129-154 ·10 ŚRNGARAMAÑJARIKATHA country flocked to his couit, and we read how Bilhana regretted his not having attended Bhoja's court 10 Bhoja with the help of his court poets and panditas brought the studies of Săstras up-to-date He systematized and standardized the study of all branches of knowledge The temple of Sarasvatī, known as 'Bhojaśālā', was verily a University, and it was a meeting place of great poets, scholars, critics and accomplished men 17 We are told that the court of Calukya Jayasimha of Gujarala was modelled on Bhoja's court The Pa abhävakacarita records an interesting episode that when Siddharāja Jayasımha triumphantly entered the city of Ujjayınī, he found all the students studying Bhoja's Grammar and other works day and night, and the libraries were full of Bhoja's works 12 In later days his courts passed into legends and were the objects of fancy for later writers like Ballāla who, for instance, in the exuberance of his admiration for Bhoja defied history and gathered Kālıdāsa, Bāna, Bhavabhūtı and Māgha at Bhoja's court Secondly he was a great builder Of his magnificent monuments---cities, temples and lakes, we have traces even today And his two bulky volumes of Samarānganasutradhāra, dealing with various aspects of town-planning and architecture, prove his interest in the subject Lastly, he was a great military leader, always busy conquering, making alliances, forming confederacies and building up a great Empire During one period of his life, when his political power was supreme he had under his sway a considerable part of India, for Indraratha of the Kesarı dynasty of Orissa, and the Western Cālukyas of Kalyāni were defeated by him In the South he had extended his hands of friendship to the Cola kings and had conquered Karnātaka and Konkana He had also helped the other Hindu kings in driving back Mahmud of Ghaznā 13 10 Vikramānkadevacarita, XVIII, 96 11 Munshi, op cit, p 146 12 Prabhācandrācārya, pp 156, 157, 185 तत्र व्याकरण श्रीमद्भोजराजविनिर्मितम् । तच्च विद्यामठे छात्रै पठयतेऽहर्निश भृशम् ।। सूराचार्यस्तत प्राह ग्रन्थ कोऽत्र प्रवाच्यते। कृति श्री भोजराजस्य शब्दशास्त्र स चावदत् ।। अन्यदाऽवन्तिकोशीयपुस्तकेपु नियुक्तकै । दृश्यमानेषु भूपेन प्रैक्षि लक्षणपुस्तकम् ।। किमेतदिति पप्रच्छ स्वामी तेऽपि व्यजिज्ञपन् । भोजव्याकरण येतच्छन्दशास्त्र प्रवर्तते ।। असौ हि मालवाधीशो विद्वच्चक्रशिरोमणि । शब्दालडकारदैवनतर्कशास्त्राणि निर्ममे ॥ चिकित्सा-राज-सिद्धान्त-रस-वास्तूदयानि च। अडक-शाकुनकाध्यात्म-स्वप्न- सामुद्रकान्यपि ॥ ग्रन्थान् निमित्तव्याख्यान-प्रश्नचूडामणीनिह । विवृत्ति चाथ सद्भावेऽर्घकाण्ड मेघमालया। 13 Munshi, op cit, pp 131-146.

·THE AUTHOR BHOJADEVA 11 And thus looking to his strong and extensive political power the claim of the Udaipur Prasasti that he possessed the earth from the Kailāsa to the Malaya lulls and from the setting to the rising sun is not an exaggeration The SMK supports what the historians record He is compared with the great literary men like Subandhu, Bhāsa, Gunādhya and Bāna. A glowing tribute is paid to his intellectual acumen and statesmanship in comparing him with great men like Brhaspati, Uśanas, Uddhava, Canakya and Dhaimakirti Of such a learned and mighty king, the footstool was reddened by the rubies studded in the crowns of the constantly bowing kings, the creeper of fame rose to the skies, Goddess Sarasvati sought refuge and the Glory of Victory sought asylum ·CHAPTER III A SUMMARY OF CONTENTS The SMK is a Katha The frame-tale is preceded by an Introduction which tells us how, when and hy whom the Kathā came to be narrated Once upon a time when spring was almost over and when the heat of the sun was increasing, King Bhojadeva, who was seated on the bejewelled seat of the dhārā-giha, was requested by his friends and admirers to narrate to them a new tale After a little hesitation, the king began. Here there is the beautiful city of Dhārā. King Bhojadeva is the ruler: His favourite courtesan is Śrngāramañjarī, who is accomplished in all the sciences and arts necessary for a courtesan of her standing Her beauty and wealth add to her good fortune but she lacks a sense of discrimination in attending to the people who come to her Her mother Vışamaśīlā is proud of her heritage, but fears that Śrngāramañjarī might some day be cheated by rogues and ruin the good reputation of her family So one day Visamāśilā frankly speaks out her fears to Śrngāramañjarī and instructs her that since men have different natures and leanings in the world, she should be more discriminating Vsāmāśilā also describes the different forms of attachments of men and expounds some principles to be followed by a courtesan This is the frame-tale. The teaching is imparted by illustrative stories which form the thirteen cathānıkās Each kathönikā has a moral which is enunciated at the outset and explained at the end The First Tale of Ravzdatta Visamašīlā Men are ruined because of their deep attachment -nilīrāga--for courtesans Thus In the town of Kundinapura dwelt a learned Brāhmana named Somadatta In old age he begot a son by favour of the Sun God and the child was therefore called Ravidatta By the time Ravidatta was sixteen, he had mastered the Vedas and all the Šāstras, and his father instructed him in all the arts, especially the art of harlotry Once, after the death of his parents, when it was Spring time, a group of Vitas urged him to attend the festive procession of the fish-bannered god Madana (1 e God of Love) He remembeied the advice of his elders, but goaded on by his friends, he proceeded to the mansion of the God of Love There he saw a lovely courtesan Vinayavatí On seeing her he stood dumb as if stricken by the ·A SUMMARY OF CONTENTS 13 . abundance of Madana's arrows Vinayavatı saw his youthful form and opulent appearance and glanced at him frequently as if enamoured of him Though till that day Ravidatta was insensible to the play of love he was charmed by the courtesan's amorous glances After duly performing the worship of Madana, he left the place with his mind fixed on her The courtesan also returned home thinking of him She had secured a good prey, and she did not wish to let it escape She sent her friend Sangamıkā to tell Ravıdatta of her love and bring him to her house When Sangamıkā met Ravidatta, she spoke to him about it and invited him, he was at first indecisive, but the fire of youth outweighed his judgment, wisdom, modesty and learning and he went to the courtesan's house Vinayavatī was quick to understand his deep attachmentnīlīrāga-and gradually divested him of all his wealth When Ravi datta became a pauper she sent a message to him through Sangamikā that a certain merchant named Vasudatta had arrived from Suvarnadvīpa with much wealth and was ready to give it all to Vinayavati if he could but spend one night with her And therefore Ravıdatta was asked not to come to her place for two or three days The dull-witted Ravidatta took her at her word and stayed home After a few days he went to her house, but was turned out He met Sangamıkā but she showed no signs of recognition He made repeated efforts to gain entrance to Vinayavati's house but was rebuked, laughed at by her servants and driven out every time But his attachment for her did not lessen He passed the remaining days of his life thinking of her and thought himself fortunate whenever he had the opportunity of seeing her Visamasila Thus O daughter, the secret teachings of harlotry yielded good results after the nature of nilīrāga was known cloth dyed in indigo does not fade even when washed by different things like soda, a person of nilīrāga does not give up his deep attachment even when ruined in a hundred ways As a The Second Tale of Vikramasimha Śrngāramañjarī Mother, you have spoken about the nīlīrāga My curiosity increases Please speak to me about the mañjisthārāga Visamaśīlā said In the city of Tāmaliptı, there dwelt a prince named Vikrama simha One day loitering in the locality of the courtesans he saw Mālatikā, the daughter of the bawd Ekadamstrā Mälatıkā was not independent for she depended for her livelihood on a merchant named Vasudatta ·14 SRNGARAMANJARĪKATHA As soon as Vikramasimha saw Mālatıkā he felt an irresistible attraction towards her He sent his servant Priyaṁyadaka to her to find out the means by which he could meet her In answer to his request Málatıkā told him of her dependency on Vasudatta due to a contract, and asked him to wait till she found an excuse to meet him He waited patiently throughout the rainy season Then Mālatıkä sent her messenger Madhukarıkā to fetch him He went, was gratified and returned after giving her a lot of wealth Some days passed and Vikramasimha was offended. (The text is lost here and we do not know the exact circumstances which gave offence to Vikramasimha) He stopped going to her and sending her gifts And his attachment for her gradually lessened Visamaśīlā Thus O daughter, as a cloth dyed in the Mañjisthā does not completely lose its colour but fades away as you wash it, persons of mañjisthārāga become gradually detached when offended. Therefore such persons should not be troubled The Third Tale of Mādhava Śingāramañjarī. Mother, I remain unsatiated in hearing these tales that you have narrated Therefore tell me a tale about a man of kusumbharāga And Visamašila said In the city of Vidiśā there dwelt a bawd called Bhujangavägurā Her daughter was Kuvalayāvali She was reputed for her youthful beauty and graces To that city one day came Mādhava, a student of the Vedas He had returned from Simhaladvipa after amassing considerable wealth He came to know of Kuvalayāvali and paying her liberally, he spent a night with her She was much pleased with him and sent for him now and then Many days passed, Mādhava's wealth slowly flowed into Kuvalayāvali's coffers When he had been reduced to the state of a pauper Madhava thought of going away before his name was completely ruined To encourage him as it were, the monsoon came to an end and autumn, the proper season for travel, set in Madhava now decided to start for the Malaya country in search of wealth and took leave of the bawd Kuvalayāvali wept and made all efforts to keep him back, but it was futile While leaving, Madhava left with her his rich upper garment Both the mother and daughter followed him for some distance and then the bawd suggested that he should give to her daughter some token of remembrance He replied he had no such thing, but the bawd insisted—"Please give this dress of yours as a token of remembrance, Pressing the garment to her heart, Kuvalayāvalī will pass her days hoping for your return."

·A SUMMARY OF CONTENTS 15 Madhava answered “I will do as you say But there are many travellers on the way and I feel shy On leaving this road I will give it to you" After going some more distance, he saw a lonely spot and he called the bawd Throwing her on the ground he quickly and forcibly cut off her nose and ears While she lay tossing and wailing Madhava said to her "Such is a token of remembrance I give you that you will never forget it”, and thinking his purpose had been served he went his way Visamaśīlā As a cloth dyed in kusumbha is not fit for heat and washing, persons of kusumbharāga soon become estranged and bring about evil The wealth of such people therefore should be taken away without giving offence to them Śrngāramañjarī Mother, my curiosity increases Therefore tell me about all the things you mentioned The Fourth Tale of Sur adhar man Visamaśīlā Well, listen about the means of getting hold of a person of haridrārāga On the bank of the Ganges is Hastigrāma, a village of the Brāhmanas There dwelt a poor man called Suradharman He knew of no means of acquiring wealth, so he decided to worship the sea, the store-house of jewels Every day he would go with flowers, offer them to the sea, spend the whole day there and return at eventide Many years thus passed One day the Lord of the sea took pity on him and gave him an invaluable jewel Suradharman was pleased and returned home Having obtained such an invaluable treasure he was afraid of losing it, so he tore open his thigh, hid it there, and assuming the role of a mad man roamed about muttering only "Mother knows" Wandering thus, he came to Ujjayınī after many days King Vikramaditya ruled there He had a famous courtesan named Devadatta Under the pretext of pilgrimage, Devadattā used to search for rich men fit to be fleeced Once she saw Suradharman Noticing the contrast between his form and his peculiar behaviour, she knew for certain that the person was a rogue and had assumed the pose of a mad man only to hide something very precious, therefore she spoke to him, but to her question he only answered, ‘Mother knows Desirous of knowing the truth, Devadattā brought him home She tried her utmost to worm out the secret from him She neglected even the king, but Suradharman would speak nothing else but "Mother knows" Thus passed six months One day it occurred to Suradharman that a long stay would infatuate him and he would be prompted to ·16 SRNGĀRAMANJARĪKATHA † But give away everything, it would be best therefore to go away he could not speak out his desire Therefore he folded his hands, pointed towards his own country and repeated 'Mother knows Devadattā persuaded him in many ways but he would not stay back Therefore she had to permit him to go It was a defeat for Devadattā, and she felt offended She resolyed that she would make a last effort to call him back and if she failed, she would immolate herself in fire Accordingly she called two other girls and instructed them as follows They should both follow Suradharman After covering two yojanas, one of them should go ahead and come from the opposite direction towards him The other should walk behind him On meeting each other they should converse about the happenings at Ujjayınī In the course of conversation it should be given out that the courtesan Devadattā, who had fallen in love with a mad man, had died because he left her, and her whole family was desirous of putting an end to their lives The rehearsed talk had the desired effect on Suradharman He stopped, told them that he was the wretch who killed Devadattā, and ran back to her house Arrangements in connection with the bogus death had been made meticulously Her dead body lay on one side and her people were weeping On seeing him, the bawd cried aloud and rebuked him for destroying the happiness of her household Suradharman was distressed He decided to follow Devadattā so he opened his thigh and gave the jewel to the bawd The same moment the bawd spoke into the ears of Devadatta ‘rise', and Devadattā slowly opened her eyes, started breathing and stretched her limbs All were in ecstasy and a rumour was spread that Devadattā had been carried away by death, but was recovered again Suradharman and Devadattä now happily passed two or three days together One night due to the force of habit the words 'Mother knows escaped Suradharman Devadattā asked "Do I know it or your mother?" Suradharman folded his hands and said, “Mother knows not You alone know everything” Hearing that, Devadattā kicked him out saying "If I know everything get out from here " While going he pitifully begged of her to give him some provision for the journey She gave him 2 palas and drove him out Visamašila Thus O daughter, even at the loss of her own wealth, Devadatta looked after him Knowing his haridrārāga she quickly took away everything and drove him out As haridrā fades in the heat of the sun and so on such men of haridrārāga become averse by threats and the like, therefore they should be drained of their wealth by resorting to extraordinary means ·A SUMMARY OF CONTENTS 17 The Fifth Tale of Devadattā Visamaśīlā. Moreover, daughter, I have told you that to win Orer a person you should understand him first King Vikramāditya of Ujjayini had a courtesan called Devadattā One night as they were enjoying the moonlit night, the king asked her how courtesans should be dealt with and how they successfully acquire other's wealth Devadatta showed her aversion to answering this question To avoid the query and yet to entertain him, she started relating to him a strange incident she had experienced only the day before Deradattā said that while she was going from there to the main gate, all of a sudden she saw a wonderful horse, and a handsome young man mounted on it He signalled to her and she mounted the horse The horse flew up into the sky. After a long journey the horse came down and they dismounted There was a mansion which they entered She saw there a beautiful lady weeping Another man came with a whip They both asked Devadattā to act as a love messenger to bring about a union between the man with the v hip and the lady She refused and the man with the whip started beating her Devadattā did not give in, but went on saying "The feet of the conqueror of the three worlds, King Vikramāditya, is my shelter Surprisingly enough, as she called out to him, the others felt as if the king had come They were scared to death and fied leaving her alone She did not see where the horse went away, but she found herself again on the palace ground On hearing this narrative Vikramăditya repeatedly asked Devadattā whether it was true And Devadattā swore by the king that it was entirely true The king was pleased with her and told his elephant-keeper to give his second best elephant to her as a gift together with four crores of gold pieces, rich ornaments and garments Devadattā smiled and said to the king that she would take another elephant from him after they retired and then revealed to him the secret, "Sıre, you asked me how my class of people acquire wealth well, this is how they get it” "Well done, Devadattā”, said Vikramāditya, “You have instructed me in a fascinating manner You have well raised the traditional reputation of your class” So saying, being gratified, he doubled the gifts Vışamašilă Thus oh daughter, acquisition of wealth is certain if you act according to the desire of other people The truth is that there is nothing that flattery does not attain ·18 SRNGARAMANJARIKATHA The sixth tale of Lāvanyasundari Visame śīlā Moreover oh daughter, I have already told you that for those who, after resorting to great and valoious persons, tiy to obtain their desired ends at the risk of self-sacrifice it is not difficult to gain their own ends I will tell you about it In the town of Ahicchatra dwelt a powerful king called Vajramukuta In the same town also dwelt a rich oilman called Gnuda with his wife Lāvanyasundari The couple were very happy One day, while the king was passing by Ghuda's house he saw Lāvanyasundarī Her loveliness intoxicated him and he desired to possess her Learning from his spies that she was the wife of Gnuda, the oilman, Vajramukuta arrested Ghuda under a false charge of adulteration in oil For his release the oilman offered to pay enormous sums, but the king did not release him Lāvanyasundarſ then realised the king's real intentions and told her husband that he should try to free himself from the king's clutches by offering him whatever he wanted Accordingly, the oilman asked the king and he was asked to get a hundred elephants within six months Considering her husband's freedom more important than her own reputation, she took along with her a large retinue and paraphernalia befitting a noble and rich courtesan, and having in mind the valorous King Sāhasānka, she started for Ujjayini After a few days she reached Ujjayınī She took up her lesidence on the banks of the Śiprā and had the rumour bruited about her that she was a courtesan The rumour, in due course, reached the ears of the king. As she anticipated, he sent his spies to verify the truth When they attested to its truth, the king passed by her house under the pietext of hunting and had a look at her His mind was immediately captivated by her beauty and charm And he sent his man Mukharaka to fetch her She gladly came to the king's palace and stayed there In the morning the king spoke to Bhattamātrgupta, his wise adviser, about the love of Lāvanyasundarī Bhattamātrgupta warned him not to trust her for she was after all a harlot Vikrama tested her in various ways but she always proved loyal to him, and he refused to believe Bhāttamatrgupta's words All this naturally came to the ears of Lāvanyasundarī She feared and respected Bhattamātrgupta but the prescribed time was coming to an end and she had to act soon So one day Lāvanyasundari took courage She came to where the king and his wise counsellor were sitting, and rebuked the king for regarding her true love as harlotry. In a huff she entered the bedroom and with a dagger cut off her head Full of misapprehensions Vikrama followed her after some time only to see her lying ·A SUMMARY OF CONTENTS 19 dead with her head severed He was stunned and called Bhattamātigupta, “Do you see the end of harlotıy?” he asked “Yes, Your Majesty”, replied Bhattamātrgupta, "but what shall I say? This too is harlotry" The king was enraged, disregarding the worthy Bhattamātrgupta he took her body to the temple of the Goddess Āśāpurā He prepared to cut off his head as an offering to the goddess who was pleased with his courage and love and granted him his desire, and revived Lāvanyasundarī All were pleased and the king returned with her to the city -Days passed happily One evening as they were seated on an ivory balcony, they saw a lordly elephant roaming at will The king was joyous at the sight of the elephant and asked Lāvanyasundarī to ask for a boon First she refused, but ultimately said "All that is your is mine What shall I ask for? But since childhood I have a great fascination for elephants Therefore give me one hundred elephants" She also requested him that this gift to her should be announced everywhere The king did as desired After two or three days Lāvanyasundarī stood before the king with folded hands and asked him to free her, for such, she said, was the convention of the courtesans The king was surprised He asked about it and Lāvanyasundarī told the entire story The king allowed her to go back and she spent the remaining years of her life in enjoyment with Ghuda The seventh tale of Cheating Bawd Vışamaśīlā One must protect oneself from rogues Thus A Brāhmana begot two sons in old age They were called Visnugupta and Somadatta When they grew up they desired to go to another country, and so, one summer they set out Journeying they came to the forest of Vindhya Their provisions were exhausted as they had to pass seven days crossing the forest They were tired, thirst and hunger afflicted them After some time with great difficulty they reached a lake with a banian tree on its bank They passed the day there and at night lighted a fire to keep off wild beasts and stood on guard for one watch alternatively During the third watch of the night, when Somadatta was on guard he heard a pair of pigeons talking The female pigeon suggested that they throw themselves into fire and help the poor starving Brāhmana boys The pigeon agreed and spoke of a prophecy made by a sage at their birth that he who would eat the male pigeon would become a king and he who would eat the female pigeon would get five-hundred gold pieces every day Then they threw themselves into fire The wonderstruck Somadatta drew them out of the fire, woke up his brother and told him about them He gave ·20 SRNGĀRAMANJARĪKATHA his brother the male pigeon and himself ate the she pigeon Somadatta then went to sleep In the morning he found five-hundred gold pieces by his side and they were convinced about the truth of the matter Joyously they proceeded on their journey the next day, but soon lost sight of each other and went different ways According to the story, the elder boy became the king of Magadha The young, Somadatta, came to Kāñcī In that city dwelt a bawd Makaradaństrā and her daughter Karpūrikā Somadatta spent many days in Karpūrıkā's company and gave her untold gold No supplicant was ever turned sway by him and yet his wealth never seemed to lessen The bawd was curious and asked Karpūlikā to find out the source of his wealth The secret about the she-pigeon came out The bawd gave her some emetic and he vomitted out the pigeon The bawd immediately ate it Thence she got gold every day and Somadatta s gain stopped He repented of his mistake and set out on his travels again On the way he heard about a new king of Magadha Convinced that this must be his own brother he went to him He stayed there for a few days, obtained considerable wealth and returned to Kāñci in order to take revenge on Karpūrıkā Karpūrıkā was attracted by his wealth and splendour When pressed by her to tell the source of his wealth he said that it was due to siddhi he had obtained by practising penance at Sriparvata Karpūrikā's greed increased She suggested a bargain She would give the pigeon back if he would transfer the siddhı to her Somadatta was not to be cheated this time He struck a successful bargain by taking the pigeon along with all her wealth and giving in return the said siddhı He sent away all the gold to his house, ate the pigeon and asking the royal retinue to wait upon the courtesan for five days went away For five days Karpūrıkā enjoyed the service of the king's mer., and was then disappointed Her household returned full of sorrow and repentance While Somadatta went to Magadha to his biother and lived happily ever after Visamaśīlā Therefore my child, rogues should never be troubled, for when irritated they act in such a way that they take away even the previously earned wealth The eighth tale of the woman' love Visamaśīlā I have said before that one's self should be protected from love as from a tiger I will illustrate that to you In the town of Pundravardhana there dwelt a rich merchant Vasudatta, whose only son Ratnadatta had in a short time mastered all the lores and sciences under the teacher Vasubhūti When ·Á SUMMARY OF CONTENTS 21 Ratnadatta grew up he did not like the business of his father and desired to earn his own living by serving a powerful king He set out with his servant Subandhu for Mānyakheta where king Pratāpamukuta ruled He took a thousand pieces of gold with him in case of emergency, but decided to live by his earnings on the way He averred that courtesans would invite him and will not abandon him, and if they did not call him or abandon him he would put an end to his life After some days they came to the city of Vidiśā In the temple of Bhāıllasvāmidevapura he was noticed by the courtesan Lāvaiyasundalī who had come to dance there She immediately fell in love with him and sent her friend Bakulıkā after him He was found sleeping in a lonely temple being attended upon by his servant Bakulikā brought him to Lāvanyasundari's house That very night Lāvanyasundarī was so charmed by him that abandoning thoughts of all other men, she became attached only to him But early morning Ratnadatta left her and went to a gaming house Lāvanyasundarī was perturbed on not seeing him and sent Bakulikā to bring him back to her He came back and that night Lāvanyasundarī asked him about his whereabouts and where he intended to go Ratnadatta spoke to her of his desire to join the services of the king Pratāpamukuta of Mānyakheta She knew she would not be able to stay without him So she consulted a bawd and both of them accompanied him After many days they reached the town of Punyapathaka Under a mango tree outside the town Ratnadatta went to sleep placing his head on Lāvanyasundari's lap It then occurred to the bawd that Lāvanyasundari had no intention of returning, and therefore she conceived a plot by which Ratnadatta would be killed and Lāvanyasundarī would return with her Accordingly she went to the king Suradharman of the town and told him that their daughter was being taken away by a thug The king first sent his police officer, then a few courtiers and then himself went to see whether the bawd was speaking a lie He found that the girl was willingly going away with the youth He was so pleased with Ratnadatta that he offered him half his kingdom But Ratnadatta only spoke of his desire to serve the king and went his way Then he came to Mänyakheta, and put up with a courtesan called Citralekha Next day Ratnadatta went in search of a job He told Lāvanyasundarī that she was free for four days Unfortunately the king saw Lāvanyasundarī, was enamoured of her and called her to the palace She had to obey, but she agreed to take gifts from him only on the condition that she would be allowed to go away whenever she wanted ·SRNGARAMAÑJARIKATHA The fourth day came It was the day of the return of Ratnadatta The king called her for dancing Reluctantly she obeyed the king after instructing her maid that she should be called back as soon as Ratnadatta was seen coming As she started dancing site saw her maid, so taking leave of the king she hurried back to her place The king was so curious to SCC the man with whom Lāvanyasundari was so madly in love. IIe came and hid behind a latticed window When Ratnadatta camc Lāvanyasundari came forward with water to wash his feet But from her dress Ratnadatta realised that she had become the King's courtesan And when she proceeded to wash his feet he said "Do not wash my feet You are my mother You are the kings wife". When the king came out of the hiding place Ratnadatta turned to him and said that he should not come there but go to luis palace He had come to join his services and would follow his instructions then, but not now The king was pleased with his boldness and returned, Ratnadatta was then invited to the court His services were much appreciated and he stayed with the king enjoying his favours and Lāvanyasundarī was soon forgotten Visamašilā Therefore oh daughter, those women who become too much attached to men destroy themselves and lose their uealth The ninth tale of love on both the sides Visamaśīlā I have nariated to you the nature of one-sided love I will now describe to you love on both the sides In Uragapura ruled king Samarasimha He had a courtesan named Aśokavatī, who had mastered swoid dancing All the King's feudatories lıked her but her heart was set upon samanta Chaddalaka Once during winter when all the feudatories had assembled, the king sent for Asokavati to give a performance of sword dancing Hoping that Chaddalaka would be present she put on her best apparel and went to the court On the way she vowed to God that if Chaddalaka would see her today she would offer him kumkum and flowers As she was coming she also saw the wish-fulfilling god Ganapati, and with her heart full of joy she came to the court She began dancing Her dancing was full of rhythm and grace, but her eyes sought none but Chaddalaka Chaddalaka was not to be seen anywhere and she was dismayed Her enthusiasm waned, her steps became unsteady and she lost all her grace The dancing teacher was quick to notice the change in her He feared she would lose her balance and throw her self on the sword, so he told the king to stop the show The king did so called Asokavatī and rebuked ·A SUMMARY OF CONTENTS 23 her But love had made her bold and she acknowledged her love for Chaddalaka and was ready to suffer any punishment The king however, freed her asking her not to be so bold again But to his surprise he saw her go to the house of Chaddalaka The king now desired to break this bond of love He therefore invited another handsome youth called Sundaraka to entice her And she fell a victim to his charms She invited him to her house and spent a night with him in dalliance Sundaraka had brought a 'pattanikā' with himself, in which all that passed between them was recoided Next morning Asokavati repented for giving way to a fleeting passion and thus being untrue to her true love. Sundaraka witnessed her repentance, and sad at heart returned to the king To end the game the king then called Chaddalaka when his minister Tikkapaika was present and showed him the 'pattanikū’ Chaddalaka understood that it was only a king s plot to break his love But he wanted to test Asokavati He therefore, made a plan with Tıkkapaika. According to the plan Tikkapaika put on the dress of a pāśupata mendicant and came near the house of Asokavatī She saw him and was surprised to see him in this attire When asked to explain Tıkkapaika said that as Chaddalaka had died in a battle against the king of Kaccha he was aggrieved and has become a mendicant On hearing of the death of Chaddalaka, Asokavati, like a sheelephant struck by lightning, fell down dead The news was conveyed to Chaddalaka In the meantime there came to the assembly of the king the news of Asokavatī's death on hearing the canard of Tikkapaika There was an uproar Sundaraka considered himself to be the cause of her death and repenting of his wickedness put an end to his life by throwing himself into fire Chaddalaka also on receiving the news became mad with grief He rushed to the cremation ground and lit a pyre for himself and threw himself into the fire The news of the death of three innocent people reached the king's ears He realized his mistake and remorse filled his heart He ran to the Goddess Aśāpurā and desired to offer his head as well She prevented him from the rash act, and at his request revived all the dead persons The king then gave Asokavati to Chaddalaka and made Sundaraka the master of four thousand villages Visamašīlā Thus, O daughter, there are cases where due to love, courtesans have lost their wealth and lives too Therefore as a rule one should keep away from love as from a tiger ·24 ŚRNGÀRAMANÍARIKATHA The tenth tale of a serpent Vışamaśīlā Child, there is nothing that a harassed man refrains from doing Listen to this Śrutadhara, a learned Brāhmana, lived in the city of Kauśámbi He had a son named Vinayadhara By the time Vinayadhaia was sixteen he had completed his education Once during the spring festival he had gone to the temple of Kālapriyadeva where he saw Anangavati, a courtesan He inade her acquaintence and started frequenting her place He passed many happy days in her company In course of time Vinayadhara was reduced to poverty, but to Anangavati he was dearer than life The bawd, however, did not like Anangavati's attachment to a pauper so, one day she drove him out Under some pretext or other Vinayadhara gained entrance to her house The bawd hated him. again and again drove him out and admonished Anangavatī also for allowing him to come One day it so happened that while Vinayadhara was coming from his house he saw a serpent recently dead Thinking that it would serve his purpose he picked it up Borrowing money from a friend he came to Anangavati's house At midnight when all were asleep he woke up, went up to the bawd, spread the snake on her body and pinched her nose and lips When the bawd shrieked he ran up to her and with a stick hit hard the snake lying on her body When the servants came running and put on the lights, he pointed to the snake, and said the stings should be rubbed off Fearing that poison would spread in her body the bawd cried out 'cut it off, cut it off' and he quickly cut off her nose as well as the lips In the morning felicitations were offered for saving the mother's life But to the poor bawd the congratulatory drum sounded indeed like the heralding of death and she writhed in pain night and day Visamašīlā Thus, oh daughter, it is difficult to describe how rogues act when harassed The eleventh tale of Malayasundari Visamaśīlā In my opinion on one should be insulted Theie is nothing that the insulted men refrain from doing To explain Pratāpasimha was a feudatory in the court of king Mahendrapāla of Kānyakubja He was ugly and passionate In the same town lived also a bawd by name Dhondā with her daughter Malayasundarī One day Pratāpasimha came to sleep with her The next morning when he rose to go, he saw a child sleeping with her It was Malayasundari's sister's child, but when Pratāpasimha enquired whose child it was, she teased him by assert- ·A SUMMARY OF CONTENTS 23 ing that it was hers This irritated him and he threw her on the ground and like a 'tiger scratched her whole body and pulled out a lot of her hair Then he went away When the bawd and the others came Malayasundari covered herself and lay on the bed Malayasundarī was a favourite of the king, so the bawd ran up to him and related the incident The king was furious and enquired as to who did it Pratāpasimha said he had done it and would explain why he did it if Malayasundari was brought there Malayasundarī came after much persuasion Pratāpasimha theri said that he bore all her teasing because he loved her very much But when she said the child was hers he could not tolerate it All this was done out of extreme attachment, and the king could judge for himself whether he was right or wrong The king was pleased with him and gave him presents, while Malayasundarı became an object of ridicule for others Visamaśilā Thus insulted men leave no means of ridiculing women The twelfth tale of Pamarāka Visamabilā Without a just cause enmity with dhārtas should not be created (The thread of the story is lost because only fragments of folios conlaining the story are preserved ) Visamaśīlā Therefore o daughter, try no deceit with a clever If you deceive him you must bear the results, otherwise you become an object of ridicule man The thirteenth tale of Müladeva Visamaśīlā Moreover daughter, rāga should always be protected It is threefold one born on hearing, one on seeing and one after union All the three should be abandoned For by these even women of good families become objects of ridicule Therefore srtirāga and drst2-1āga should be kept at a distance like the virulent poison of a snake Listen about it In Ujjayıní ruled kind Vikramāditya Müladeva, the dhürta stayed with him He was very dear to the king One day when the king insistently asked him why he had not married Müladeva replied that women are fickle in their love, and therefore he did The king persuaded him to believe that women are the chief source of happiness and the main support in a householder's life Müladeva was somehow convinced and got married After some time Mūladeva found out that his wife was carizing on with some other man Not only that, the king's chief queen, not marry ·26 ŚRNGARAMANJARĪKATHA Cella-Mahādevi also was deceiving the king by going out every night to her paramour, the king's elephant-driver One night the queen was late in going to the elephant driver and he lashed her with a rope, the queen however pacified him and spent the night with him The next day, the completely dısıllusioned Müladeva proved the guilt of his wife and the queen to the king The king punished them all and threw the queen into prison after cutting off her nose and ears Visamašīlā Therefore, O daughter, there are courtesans of noble character, and there are women of good families who fall in love at first sight, and regardless of life or wealth hare relacions with other Therefore the three kinds of love should be abandoned In our family which shines bright in the world like the sun there is not a single taint in the shape of being cheated by others Therefore you should act in such a way that no one would be able to deceive you men 3 ·CHAPTER IV A CRITICAL APPRECIATION OF THE SMK The Literary Genre to which the SMK Belongs A summary of the SMK has already been given It will enable us to examine the work, determine its nature and evaluate its merits The first important question to consider is the literary genie to which the SMK belongs Examined in the light of Bhoja's own statements, as will be shown later, the SMK can be described bioadly as a Kathā written in Sanskrit prose having some of the peculiariiles of the Ākhyāyzkā form of composition In the colophon the work is called a Kathā Katha is one of the two main divisions of the gadya-kāvyas or prose compositions, the other being Ākhyīyıkä 1 Rhetoricians have made general distinctions between the Katha and the Akhyāyıkā thus 1 The Akhyāyrkā gives the description of the poet's family in prose, while the Kathā gives the same in verse 2 The Ākhyāyzkā gives the description of topics like the abduction of girls, battles etc , while the Kathā is silent about it 3 The Ākhyāyıkā gives facts of actual happenings, the hero narrating about himself, while in the Kathā the subject-matter is imaginary and is narrated by a third person, and not the hero 4 The chapters of the Ākhyāyikă are called Ucchvāsas while the Kathā may be optionally divided into Lambakas and it may have emboxment of stories 5 In the Akhyāyrkā there are verses in the Valctia and the Apar avaktra metres, while they are absent in the Kathā 2 In this connection Dandın takes quite an independent standpoint He of course notices these two formal divisions, but does not consider them exclusive The distinctive characteristics, he says, cannot be fixed, and therefore the Kathā and the Ākhyāyrkā are 1 Dandin, KĀ, I, 23 अपाद पदसन्तानो गद्यमाख्यायिकाकथे। 2 Bhamaha K-AL I, 25-29 प्रकृतानाकुलश्रव्यशब्दार्थपदवृत्तिना। गद्यनयुक्तोदात्तार्था सोच्छ्वासाख्यायिका मता। वृत्तमाख्यायते तस्या नायकेन स्वचेष्टितम् । वक्र चापरवक्र च काले भाव्यर्थशासि च ॥ कवेरभिप्रायकृत कथा (थ? )नै कैश्चिदडिकता। कन्याहरणमडग्रामविप्रलम्भोदयान्विता॥ न वक्रापरवक्राभ्या युक्ता नोच्छ्वासवत्यपि। सस्कृत सस्कृता चेष्टा कथापन शभाक् तथा ।। अन्यै स्वचरित तस्या नायकेन तु नोच्यते । स्वगुणाविप्कृति कुर्यादभिजात कथ जन ।। Vide also Agni Pilāna, 337, 13-17 ·28 ŚRNGĀRAMAÑJARĪKATHÀ to be taken as two names given to the same thing 3 It is interesting to note the later development of the theoretical views about these two forms of compositions among the writers on poetics and the poets The former have chosen to ignore Dandın's lead in considering the two forms as non-distinct, while poets have followed him by amalgamating the characteristics of both the Katha and the Akhyā. yıkā in their compositions Bhoja, as a writer on poetics, accepts the formal division,4 buí justifies Dandin's view that rigidity in the forms cannot be kept up, by including some peculiarities of the Akhyāyrică in this Kathā of his In the SP where Bhoja defines and illustiates the various kinds of prabandhas he makes distinction between the Ākhyāyıkā and the Katha कन्यापहारसङगरसमागमाभ्युदयभूपित यस्याम् । नायकचरित ब्रूते नायक एवास्य वानुचर ।। वक्त्रापरवक्त्रवती सोच्छ्वासा सस्कृतेन गधेन। आख्यायिकेति कथिता माधविकाहर्पचरितादि ।। या अनियमितगतिभापादिव्यादिव्योभयेति वृत्तवती । कादम्बरीव लीलावतीव सा कथा कथिता ॥ In the definition of the Alchyāyrkā here, the topics like the abduction of girls, battles etc are common with the other works, there is, however, a small but important difference While according to the other authorities the nāyaka in an Akhyāyikā speaks about himself (वृत्तामाख्यायते तस्या नायकेन Fech) 7 Bhoja gives an alternative in the 'anucar a' or companion Here again, Bhoja follows Dandın, for his fanucara corresponds to Dandın’s ‘rtara' (aruoja वाच्यान्या नायकेतेतरेण वा ) This point has been stressed because the present composition which is a Katha has two characteristics of an Ākhyāyrkā, namely, the poet's life is narrated in prose and secondly the companion, in this case the yantra-putraka, describes the hero It appears that the narration of one's own life-story as was done in the Ākhyāyılcā did not meet with the approval of certain critics For it was not in consonance with the earlier tradition of poets whe observed strict reticence about themselves and did not even men- 3 KĀ, I, 28 तत् कथास्यायिकेत्येका जाति मज्ञा द्वयाडिकता। अत्रैवान्तर्भविप्यन्ति शेपाश्चाख्यानजातय ॥ 4 Raghavan, Bhoja's Śrrgāraprakása, (BSP), Chapter XI, p 26 5 SP, Vol II, p 427 7 Bhämaha, K-A, I, 26 6 ibid, p 428 8 KĀ, I, 24 ·A CRITICAL APPRECIATION OF THE SMK 29 tion their names in their works Bhāmaha's words may be quoted, अन्य स्वचरितं तम्या नायकेन तु नोच्यते। स्वगुणाविकृति कुर्यादभिजात कय जन ॥ Dandın, however, with his characteristic tendency to deviate from the prevalent views has an answer for these critics as well He avers that narration of facts-even about oneself-is not a fault स्वगुणाविनियादोपो नात्र भूतार्थगामिन ।" At the beginning of this Katha this point has been subtly brought out in a discussion between Bhoja and his friends before Bhoja's story as a nāyaka is narrated The discussion is introduced in a bappy manner, Bhoja is among his friends and he is asked to narrate a Kathă Bhoja agrees, but knowing the technique of beginning a kathā he points out the difficulty that he will have to start with the description of the city Dhārā, according to him, the most distinguished city, and consequently he will have to describe himself as the ruler of Dhārā, which would not be quite proper It would be against the rules of social grace Thus he accepts the standpoint of the critics of self-nai ration, and iefuses to nariate a Tathā His friends, however, convince him that narration of facts is above censure In support of their view they quote a two-fold authority, the writers on poetics on the one hand, and the masters of literature on the other A citation from the text will clarify the point इदमपिलरप्यलडकारकाग्भ्यधायि यथा 'स्वगुणाविकियादोपो नात्र भूतार्थशमि- न'। तथा हि मुनिभिरपि वात्मीकि-परागर-व्यामादिभि कविभिरपि गुणाढय-भाम-भवभूति- वाण-प्रभूतिभिरात्मगुणाविष्करणमक्रियत। असदगुण-ख्यापन हि दोपाय। aray TaTTUTTEYTT पुनरनवगीतमेव । Here Dandın's own words, as accepted by all other rhetoricians are quoted in answer to the critics Moreover a list of poets and sages of old who spoke about themselves has been given, and therefore It is concluded that narration of facts is above censure Bhoja is ultimately convinced and he starts describing Dhārā After that when it comes to describing himself, he again feels shy and the motif of yantra-putraka is utilized to persuade him to narrate his life Thus in the very beginning of this Kathā, the characteristics of Alchyāyıkā, mentioned above, have been incorporated As regards Kathā, Bhoja speaks of the absence of definite rules iegarding its external form (gatz) and language (bhāsī-ātry Gatz and Jāti are two new words in Alamkāra coined and explained by Bhoja himself Bhoja's conception of Alamkāra is wide Dandın gave a very general meaning to Alamkāra besides the restricted meaning of the figures of speech It is falas THTPTT AFT4172TH STETTI 11 that 9 K-A, I, 29 10 KĀ, I, 24 11 KA, II, 1 ·30 ŚRNGARAMAÑJARĪKATHA is, all features that go to adorn the kāvya like Gunas, Rasas, ale alamkāras of a kāvya Bhoja outdoes his predecessor, and includes all the features of a kārya as alamkāra for all of them which possess aucrtya add to the beauty of the kāvya Dr V Raghavan in his treatment of 'Bhoja's Conception of Alamkāra' makes the following pointed obsei vation, 'His conception of Alamkāra is indeed stiarge We are accustomed in early Literature to see guna considered as Alankāra and also Rasas, Vittis, Laksanas and Sandhyangas Dandın considers all baeutifying features as Alamkaas Bhoja followed Dandin and even 'out-Dandinned' Dandın Most of the topics in Alamkāja Šāstra are held to be Alamkāras by Bhoja '12 Alamkāras, according to Bhoja, are of three kinds, Sabdālonkāra, Arthālamkāra and Ubhayālamkāra Of the Sabdainmljia the first two are Jāti and Gatz Jāti is the language used by the poet नत्र सस्कृतमित्यादिर्भारती जातिरिप्यते। सा त्वौचित्यादिभिर्वाचामलकागय जायते॥ Language is the natural medium of expression, but what makes an alankāra is the aucitya of language For, न म्लेच्छितव्य यजादौ स्त्रीपु नाप्राकृत वदेत् । सकीर्ण नाभिजातेपु नाप्रबुद्धेपु संस्कृतम् ।। देवाद्या मस्कृत प्राहु प्राकृत किन्नरादय । पैगाचाद्य पिगाचाद्या मागध हीनजातय ।। Moreover, subjects differ and under given circumstances some subject would require expression in Sanskrit, another in Prākrit and yet another in Apabhramśa 15 The one governing consıderation everywhere is that of aucitya All these variations of the languages have to be considered by the poet and when the language is used according to propriety it becomes a sabdālamkāra called Jātr Gatz is defined as पद्य गद्य च मिश्र च काव्य यत्सा गति स्मृता। अर्थोचित्यादिभि मापि वागलकार इष्यते ॥ As Jāti is the medium of expression, Gatz is the external foim of expression, prose, verse or a mixture of both Auctya in gotı makes it an alamkāra of kāvya as prose would be suitable in describing forests etc, in Kathās and Akhyāyikās, while in Campū mixed style is suited and so on as the commentator on SKĀ says Bhoja says that in a kathā there should be no restriction on Jätı and Gati, that is, it can be in any language and it can be either in prose or vei se or in a mixed form This looseness is quite natural considering that a Kathā is not a dry discourse on any technical 12 BSP, p 362 15 Ibid, II, 10 13 SKA II, 6 16 Ibid, II, 18 14 Ibid, II, 8-9 ·A CRITICAL APPRECIATION OF THE SMK 31 subject Its aim is only to entertain and thereby convey a moral, if any SMK, therefore, in its formal makeup can be described as a Kathā in Sanskrit prose having some peculiarities of the Ākhyāyrkā form of composition Literary Parallels As a kathā SMK is an important addition to the Sanskrit piose literature For the number of prose compositions in Sanskrit literature, both extant and known by references, is very small The plan of the SMK conforms to the traditional method of story-telling in which, within a frame-tale are emboxed a number of stories having their own morals to convey Yet the present works has its own unique purpose to serve The works which most invite comparison with the SMK aie Dāmodaragupta's Kuttanīmata and Ksemendra's samayamātrkā All these three works have a similar basic form, though they differ in structure and treatment of the subjects The three works start with the bawd or the procuress giving counsel to the fair courtesan In the Kuttanīmata Mālati goes to Vikarālā and in the Samayamātrkā Kalāvati approaches Jaracchikhā The three bawds are described in identical terms as hideous in physical form, cruel in mind and unscrupulous in their dealings The instructions follow the same pattern of thought, that to win over men the courtesan should know the art of conquering their hearts 17 Illustrations naturally play an important part in these works, but while they lie, scattered few and far between in the other texts, SMK is nothing but a collection of illustrative stories Another difference is that the other two works are in verse while the SMK is in prose In the matter of treatment there is a vast difference between this work and the other two For even with its above mentioned purpose and some of the technicalities that it involves, SMK remains an interesting piece of pure literature The major interest lies in the narration of the 17 Cf the introductory words of the three works Kuttanamata, Vs 23 यौवनसौन्दर्यमद दूरेणापास्य वारवनिताभि । यत्नेन वेदितव्या कामुकहृदयार्जनोपाया ।। Samayamātikā, V 1, 3 अथ मन्मथमत्ताना करिणामिव कामिनाम् । बन्धाय वन्धकी शिक्षामाचचक्षे जरच्छिखा।। पूर्व भावपरीक्षैव कार्या यत्नेन कामिनाम् । ज्ञातरागविभागाना कर्तव्यौ त्यागमग्रहो। SMK तत्र रागोऽपि तावत् प्रथममाकलनीय । अनाकलितरागे हि प्रयुज्यमान वेंगिक- रहस्य विफलतामासादयति। आकलितरागे तु तदेव प्रयुज्यमान सुखेनैव फलाय भवति। (p 23) ·32 ŚRNGARAMANJARIKATHA tales while the instiuctions are only pegs on which the stories hang. But the Kuttanimata and the Samayamāts kā mainly follow the technique of the Kāmaśāsti a Their treatment of the subject comes within the science of erotics, and there is little of literary interest therein This remark applies to the SMK as a whole Coming to the individual tales it can be said that there is little originality in them Many stories about courtesans are found in the Sanskui, Jaina and Buddhist works Their plots and motifs, and the morals they convey are so limited that with a little change in names and situation the stories can be multiplied into any number. It is not possible, therefore, to find original plots in the stories It is difficult to point out which is the source of a particular story for there is also an intermixture of incidents One remarkable point about these tales of courtesans is that they offer very little scope for the fice play of fancy fancy The stories have their origin in the lives of Ganıkās, and the institution of Ganıkā was a necessary part of the social structure when these works were written, and therefore the illustrations are based mainly on actual experiences This may explain to a great extent the monotonous similarity of themes in these plays All these tales of courtesans generally reveal three motifs round which the pattern of the different stories are wrought The three motifs aie One, in which the courtesan cheats a rich man and then throws him out Second, in which the courtesan is herself punished, and third, where she is shown as noble in aspiiation and true in love Vinayavati (of the first tale) represents the first kind Devadattā's tale (No 5) has the same motif though the plot is more intricate The Kapatami tyu motif is tactfully utilised and is a conmon feature in courtesan tales It brings to inind Kāmalatā's story in Kumārapālapr atzbodha18 in which Asoka is caught in the snares of the courtesan Kāmalatā But being pieviously conversant with the wiles of the ganika he does not give away his wealth appointed like Devadattā, she then arranges a Kapatami tyu She niounts a pyre and through an underground passage reaches safely elsewhere The news of her death deceives Asoka and when she is revived by another bawd he prepares to live with her They stay together and when his wealth is exhausted he is kicked out A similar trick of feigned death is found in Sundari's story in the Kathasarztsāgara 19 Therein iśvaravarman leaves Sundari and goes away The clever mother lays a net on the way and follows īśvaravarman After some distance Sundarī jumps into the net and the bawd says she has tiied to put an end to her life due to his having forsaken her iśvaravai man believes her word and takes her out He returns and Dis- 18 Somesvarasūri, pp 82-92 19 Somadeva, X, 1 ·A CRITICAL APPRECIATION OF THE SMK 33 lives with her, and when all his money has been drained off she throws him out of the house Thus Kapatami tyu always helps the courtesan to bring the rich paramour back and then destroy him Except in the two cases of Vinayavati and Devadattā the courtesans are described as being ultimately punished in the SMK In Sundari's tale mentioned above there is further development how Iśvaravarman ultimately takes his revenge It reminds us of Somadatta taking revenge on Karpûrikā (Seventh tale) We have seen how Somadatta is successful in not only taking back his shepigeon, but also the wealth of the courtesans previously earned, and how he in exchange gives them a false siddhi and asks the royal entourage to return after five days īśvaravarman takes revenge in a somewhat similar manner A monkey is trained to store money in its mouth and gives out as much as was asked for īśvaravarman shows the monkey to Sundarī and she desires to have it In bargain all the wealth previously taken away by Sundarī was got back İśvaravarman then leaves her On the third day the monkey stops giving money, gets angry, and hits Sundarī The bawd gets angry and kills it Asokavatſ (tenth story) and Lāvanyasundari (eight story) in SMK have true love for their lovers Vasantasenā's devotion for the poor Cārudatta is a classical example of a courtesan's true love 20 The social conditions made it difficult for the courtesan to maintain constancy in her love, as in the case of Lāvanyasundarī Against her own wishes, she had to go to the sovereign king and consequently suffer indignity at the hands of Ratnadatta Like Aśokavatī being freed and married to Chaddalaka, Vasantasenā also was able to escape the limitations of her way of life and was legally married to Cārudatta Rāgamañjarī in Dasakumāracarita21 was won over by merits by Apahāravarman and against the wishes of her mother and sister married him as any ordinary girl would do Asokavatī's instantaneous death on hearing of Chaddalaka's death is reminiscent of the courtesan Vasantasena's death on hearing of Dhammila's death in Dhammılacarıya in Vasudevahındı 22 In the Kuttanimata we have a fine instance of a courtesan's love in Hāralata's story 23 She loves Sudarsana but cannot go with him for she understands her own limitations She ultimately dies when Sudarśana leaves her Besides these courtesan stories there are two exceptional cases in the SMK, namely, that of Lāvanyasundari (sixth tale) and Cellamahādevī (thirteenth tale) The former was the wife of an oilmen who took to the life of a courtesan to free her husband from the 20 Sūdraka, Mrcchakatika 21 Dandin, Book II 22 Sanghadāsaganivācaka, p 28 { 23 p 174 f $-3 ·34 SRNGARAMANJARIKATIIA clutches of a king The later was a queen who loved a low-boin elephant-driver and was punished in the end The motifs of both these stories seem to be popular for we have parallel versions In the Kathāsaritsagar azt we have the story of the courtesan Kumudikā, a friend of king Vikramasimha She helped him in times of distress, but the king's minister Anangatunga warned the king against her In order to test her the king ſeigned death and was carried to the burning ghat Fearlessly Kumudikā ascended the funeral pyie after him The king was now convinced of her loyalty and ieturned Anangatunga still would not trust her Once with her wealth the king conquered his enemies He was much pleased and asked her to choose a boon Then she told him that her true lover was a captive of the king of Ujjayınī and that Vikiama should wage war on that king and free her lover The king was shocked and surprised, but fulfilled her wish and united them The same story is reproduced in the Kalāvilāsa of Ksemendra 25 The only difference is that her lover is described as a captive in Vidarbha The changes in the version of the SMK make the story more realistic and better motivated Lāvanyasundari is the wife of an oilman and her attachment to her husband is only natural She resorts to the powerful king Vikrama to win him over and thereby gain a gift of one hundred elephants to bring about the release of her husband It does not sound probable that a king wars with another merely for the sake of an ordinary individual Another change is that after undergoing a number of tests to prove her loyalty Lāvanyasundarī finally kills herself only to be received by the grace of the Goddess Āsāpurā Of course, the supernatural element of Divine grace has to be introduced, but it is a common motif, and it looks more plausible than that of the king himself posing as dead and going right up to the burning ghat Lastly we come to the story of the unfaithful queen 'Adultery' is the motif of the story In the Kathāsarztsāgara we read of the love of the married woman for a low-born ugly wretch 26 The Dasakumāracarita 27 also has such an episode A similar story is found in the life of Yasodhara as described in Somadeva's Yasastilakacampīī 28 It runs as follows One night when the king Yaśodhara was in the apartments of queen Ami tagatı he saw her go out secretly to his crippled and ugly elephant-driver The king followed her He saw the elephant-driver getting angry at her delay and beating her in anger The king was surprised, disillusioned and sorrowful In the end, however, unlike our kathānikā the king is killed by the queen The closest parallel to Müladeva's 24 X, 2 26 X, 9 28 Book III 25 IV, 15-38 vss, pp 57-59 27 Book VI L ·A CRITICAL APPRECIATION OF THE SMK 35 Is it possistory is the one given in Hemachandra's Parzśıstapar van 29 The motif in both the stories is the same, that the hero overlooks the unfaithfulness of his wife (in one case) and his daughter-in-law (in another) on seeing that even ladies of noble birth, like the queens, were deeply degraded by their sensuality 30 Devadattă finding out the truth about the queen's nocturnal adventures, his informing the king, the marks of the chains on the queen's body and the king's punishment all closely resemble Mūladeva's story 31 We have in the former part of Devadattā's story the narration of the daughter-in-law's bad conduct ble that the lost part of the story of Mūladeva's wife might have been similar to it in certain respects? The analogous stories referred to here are not exhaustive, for the purpose in referring to them is only to show the similarity between the tales in SMK with those in other works And yet, as has already been noted, the SMK has its own distinctiveness The absence of originality in the plots or motifs does not lessen the liteiary merit of the work The poet's merit lies in the way he narrates and develops the story, and in his style, characterisation, desciiptions and other niceties of language which are the standards of critical appreciation Y Style and Diction SMK belongs to the decadent period of Sanskrit literature when the creative genius of the poet was cramped by the rigidities of forms and conventions, and the poet imitated the creations of his predecessors The works of this period therefore naturally came to be overladen with the artificialities of formal descriptions, poetic excellences and technicalities, exhibiting more the erudition of the poet than his creativeness The SMK follows the same pattern and resembles in style the earlier prose romances like the Kādanbarī, and the comtemporaneous ones like the Tilakamañ arī But on the whole the composition does not become artificial The style which is simple in narration is embellished with various kinds of alamkāras in the descriptive passages The most frequent figure of speech is the paranomastic simile (ślistopamā) The puns are interesting, and though novel, are not 29 Bibliotheca Indica, No 96, (1932) 30 Cf these words of SMK with those in the Parisistaparvan SMK (p &) कुलस्त्रियोऽपि दृष्टिमात्ररागिण्य परपुरुपेप्वेव जीवितवित्तादिनिरपेक्षा व्यवहरन्ति ffi ga 69877t à arafaat I and VS 561, p 96 अहो असूर्यपश्यानामपि यद्राजयोपिताम् । गीलभगो भवत्येवमन्यनारीपु का कया। Other Prakrit versions of the tale are noted by Handiqui in his Yasastılakacampie and Indian Culture, Chap III, p 42, 48 f ·36 ŚRNGĀRAMANJARĪKATHA - obscuie For example in the description of the bawd we read ग्रहपतिरिव बहुगो भुक्तमीनमेपा सिकतासन्ततिरिवस्नेहोज्झिता चाणक्यनीतिरिव यो येनोपायेन ग्राह्यस्त तेन गृह्णन्ती। (p १५) Another good example of it is सुरभि श्वमिते, शुचिमाचारे, धनागममोपविजयसम्पदाम्, अत्यूर्ज परावजये पु, परमहिम- स्थानमाकृतौ, शिशिर निखिलक्षान्तिपु। (p ३७) There are instances of 'Sabhanga ślesas' like कुरूपयुक्तापि न कृपान्विता। (p १८)2 The next figure of speech frequently used is Virodha which is indicated by ‘apr and sometimes based on ślesa as द्विजिह्वशतमश्रयमपि स्निग्धसरलम्, अतिगुरुमप्यगुरुप्रायम् (पर्वतम् ) (p ७९) Similes are very common An interesting simile compares this composition, the SMK, to the heroine called Śrngāramañjarī 75WITH557 गद्यप्रवृत्तिरिव सुललितपदा (p १३) Another interesting and important simile is the comparison of a mountain with the author of the work, Bhoja, himself एतत्कथाकारमिव विराजितपरमारावनीपवशम् । (p ७९) In the description of the king there is an astronomical simile which compares the King to the different planets Unfortunately the text is not complete here There are a few grammatical and metrical similes like - व्याकरणप्रक्रियेवोपसर्गवशात् परम्मैपदोत्पादनकुशला। (p १५) छन्द स्थितिरिवोज्ज्वलतनुमध्या। (p १३) A good example of rūpaka is तरलतरतडिल्लताप्रसरजिह्वस्य बलाकावलिविकटदशनपद्धतेर्दलिताञ्जनपुञ्जमेच- कस्य प्रवलझञ्झानिलसमुच्छलद्वहलचूलीवूसरगरीरस्य जलदसमयरजनिचरस्याद्भुत रटितमाकर्ण्य स्फुटितहृदयानामिव पथिकाना विगलितैरसृग्विन्दुभिरिवेन्द्रगोपकैरुपाचीयत निखिलमप्य- बानितलम् ॥ (p २७) The imagery in the following Utpreksā is novel and charming रविकिरणकुञ्चिकोद्धाट्यमानदलकवाटेषु प्रागन्तरुषितर्यामिकैरिव मधुकरैविमुच्यमानेष्वेकैरपर म्त्वापतद्धि प्रतिगृह्यमाणेषु प्रकटितद्वारेषु श्रियो विलासभवनेषु पङकजेषु ।। (p. ६०) And the following is a good example of Hetūtpi eksā मुकुलितकुमुदकोगकोटरान्तर्निलीनमधुकरतया दिवसकरभयात् प्रतनुता गतेनान्धकारेणेव ॥ मथितानि (सगसि) (p ४) The figure of speech called Svabhāvokti is abundantly used For example निजचापलभ्रमणखेदविधुरेप्ववनिम्हस्कन्धशाखान्तरनिलयननिभृतेपु यथायथमुपवि- 'टेप्वामीनप्रचलायितेन मध्यन्दिनतापतन्द्री गमयत्स्वपरेषु च निद्रालपविवशतया शिथिलाङोपु प्रपनत्सु पुनरूत्पत्यारोत्सु कपिकुलेपु।। (p ४९), or again क्रीडातडागिकानामनुकुलीर- लेखमच्छिनीदलान्तरालच्छायामाश्रित्य बन्धुरितकन्धरमन्योन्यकण्डूयनसुखान्यनुभूयानुभूय मध्य- न्दिनतापतन्द्रीमतिवायत्सु चक्रवाकमिथुनेपु। (८५) 32. Ci a verse in Ksemendras Desopadeša, p 11, vs 5 भगदनप्रभावाट्या कर्णगल्योत्कटम्बरा। सेनेव कुरुगजस्य कुट्टनी किन्तु निष्कृपा ॥ + ·A CRITICAL APPRECIATION OF THE SMK The Svabhāvokti sometimes blossoms into a lovely word-picture which impresses with its vividness and richness of details A few examples are given below One is of an old monkey left alone on a tree when the whole forest is burning due to the heat of the summer क्वचित् सर्वत प्रज्वलद्दवदहनज्वालावलीकवलितक्षितिहाखिलप्रान्तभागतया कुतोप्यात्मन शरणमनवेक्ष्यमाणेन भ्रमितकन्धर चकितचकितमुभयतोऽप्यवकृप्याडगमतिदीन दिक्षु चक्षुर्विक्षिपता पश्चादवनमितकर्णयुगलेनातिश्लथमुक्तपुच्छेन विपादात् क्षणमेकमतिनिश्चलेन मुहुर्मुहुनिमिपोन्मेपान् विदधता गुप्यत्तालुना विदीर्णवदननया प्रकटितदशनपडक्तिनाऽतिमात्रदीनाननेन प्रमृतधूम- व्याकुलावमीलल्लोचनेन क्षण एवात्मान दग्धमिव मन्यमानेन झगिति चक्षुरुन्मील्य प्रत्यडगमालो- कयता निपतनभयाद् गाढतरगृहीतगाखेन भोभवगविसस्थुलीभवत्करग्रहतया किमपि भ्रष्टेन पुनरुत्पतता भयातिगयात मद्योऽवमीदहपुपा मुहुर्मुहुरनभिव्यक्तचीत्कारेण उपर्युपरि प्रतिशाख- मितस्तत समारोहतकाकिना जरन्मर्कटेनाम्ह्यमाणजीर्णोत्तुटगतरुशिखराम्। (p ५०) Another is of a group of elephants passing urine The description Is natural and vivid अपरैश्च पीत्वा पयस्तट एव किञ्चिदघोनमितजधनभागैरुत्फुल्ल- कुक्षिभि स्तोकोत्तम्भितश्रवणपल्लवैरवनितलस्रस्तहस्तैरीपद्वितकन्धरै श्रवणाभिमुखत्र्यश्रितै- कनेत्रविभागै सावधानमाकर्णितमूत्रधाराध्वनिभिर्मूत्रीयमाणे (करिकुलै ) । (p ५१) There is another picture--a picture of a woman in the yantra-dhārāgina who has just come out of water and from whose hair water is dripping down क्वचिन्मज्जनोत्तीर्णस्वर्णपुत्रिकानिश्चोत्यमानकवरीवालकलापप्रान्तेभ्य ।(p ६) It is a complete picture in a few choice words Desciiptions of seasons, towns, etc are considered a necessary feature in Sanskrit literary compositions In the Epics, and the great works like those of Kālıdāsa and Bāna we come across such descriptions Bhoja has followed the conventions and as he himself says in the beginning कथा हि कीर्त्यमाना नगरादिवर्णनपुर सरा सौन्दर्यमावति(p १) This work is full of descriptions of towns, gardens, lakes, seasons and the lıke The descriptions of the town and its essential features such as the lakes, fountain houses and the like shed considerable light on the town-planning of those days, and have therefore been discussed in the sixth chapter The descriptions of Nature in all its aspects are vivid and picturesque The exactness with which the author has observed the changes in the seasons, the vividness with which he has described the glory of the day and the night, the noon and the eventide, the sunset and the moonrise, and the keen eye with which he has observ: ed the blooming and decaying of the flora' speak of his intimacy with Nature From the various descriptions of nature we read in Sanskrit literature we can infer that nature exercised great influence on man's life in those days It is because of this close relationship between man and nature that nature was regarded even by the writers on poetics as one of the Uddīpana-vibhāvas, excitant deter- * See Index C ·38 ŚRNGĀRAMAÑJARĪKATHẢ } minants, in producing and enhancing the effects oſ sentiment or hasa Bhoja himself says in the SKA. ऋतुरात्रिं दिवाकेन्दूदयास्तमयकीर्तनें । काल काव्येषु सपन्नो रसपुष्टि नियच्छति ॥ Thus besides admiring with the poet's eye the beauties of Naiuie the poet also acknowledges its effects on the emotions and affections of men Another thing to be noted is man's realization of the utility of nature's munificent gifts The trees with their leaves and the flowers with the component parts like the petals, juice, pollen etc are described as being put to daily use by the people Thus the poet's charming descriptions of nature, though cast generally in the conventional mould not only enhance the poetical merit of the composition, but bring home to our mind that they are the spontaneous expressions of feelings of the poet on coming in contact with nature It is shocking to read, therefore F Hall's criticism in his preface to the Vāsavadattā34 wherein he writes with affrontery and in utter lack of understanding that 'Natural scenery, though boundless in variety, is to the Hindu, an object of impassive incuriosity and unconcern and low indeed must be that type of humanity to which this imputation can fairly be brought home' In the Kādambarī we have a short description of the Vindhya forest running into twenty-eight lines In the SMK we have a longer description of the same forest which runs into about a hundred and eight lines Like Bāna, this author also describes the forest as extending from the eastern to the western ocean The wild beasts and the trees mentioned in the two texts are practically the same Two other long-drawn descriptions in the SMK are those of a horse and an elephant Every part of the body is described, and unusual words like the avaita meaning a lock of hau that curls backwards and which is considered lucky especially on a horse, and araksa the junction of the frontal sinuses of an elephant, lead us to infer that the author had a detailed knowledge of the Gagaśāstra and the Aśvavidyā Bhoja's love for animals is patent, and in this context it may not be out of place to mention that among the books ascribed to him there is one called śālihotr a which treats of the cale of horses and their diseases 35 There is great similarity between the description of the city of Dhārā with that of Ayodhyā given in the Tilakamaſjarīkathā of Bhoja's contemporary Dhanapāla 33 V, 131 34 Bibliotheca Indica, Calcutta, (1859), p 28 35 See Kerth, A History of Sanskrit Literature, p 465 Also Dubkund Inscription (EI, II, 233, 237, 238) where Bhoja is praised as being widely celebrated for still he showed a management of horses ·A CRITICAL APPRECIATION OF THE SMK 39 Diction In the SMK, while describing the heroine the authoi says मृगारमञ्जरीगद्यपवृनिरिब मुललितपदा। (p. १३) It describes his choice of words as being elegant And indeed, unlike the other prose Kāryas, which abound in harsh and jingling words, the choice of words in the SMK is simple and carries verbal assonance Conscious effort has been made at some places for alliteration For example उड्डीनगिखण्डिमण्डलीकलापकत्पितामण्डलकोदण्डाकाण्डमण्डितगगनमण्डलाम् (p lo) and even in short sentences like मा च अपम्पा वेपे, अव्यपदेश्या देगभापासु गन्मा प्रश्नोत्तरपलिकादिप्रभेदेष लव्यलध्या लास्ये, अक्षमा समस्यासु, प्रबुद्वा प्रबन्ध- निबन्धनेषु। (p. १२) Free use is made of compounds but they are not difficult of compiehension Diction is varied, but it is not obscure Synonymous and paranomastic words are often met with, raie words like samaja and pattanilā, philosophical terms like smi tz-pramosa and avidyā, and technical terms like bhätī and grahanaka are freely used The influence of contempoiary diction on the language is obvious Thus we have instances of Prākrit words like Kadavakica and Deśya words lıke akkā and avvă in the text Sometimes the base of a Prakrit or Deśya word is used to coin a Sanskut word For example we have the words thaka and thakayıtva, the base of which is the Deśya word 'thaga or again the word triitillitānı of which the base is the Piakrit word {rriţilla These words have been explained in the Notes Occasionally we come across general observations which can pass as sayings, like गार्हस्थ्य हि निग्विलाश्रमजीवभूतम् । In a work like this where the action of the tale is obstructed by lengthy descriptions there is hardly any scope for conversations Yet at a few places we have instances of conversations which are forceful and direct Thus the first conversation between the king and his friends is interesting The one between Lavangikā and Priyangikā (in the fourth tale) is the natural, while that between Lāvanyasundari and Vikrama (sixth tale) is short but tense 30 Characterization The delineation of characters in the SMK follows the purpose of the text, and therefore the characters represent 'types' rather than individuals A large number of characters have been depicted including kings, princes, courtiers, merchants and Brāhmanas But the interest lies not in the variety of their different stations in life but in the workings of their minds The author shows a thorough understanding of the human mind—its innermost workings—which make up the personality of the man and makes him react differently 3C See Appendix II ·40 SRNGĀRAMAÑJARIKATHA 1 to different situations The author also explains through his characters how the sudden changes in the attitudes and behaviours of inen are due to the subtle influences of attachments, prejudices and the like Thus in the very beginning it is said. यतो हि प्रति- utforfattenare i balfear uqorunFFRE EFTem gent Hafrati ufa कश्चिद्भीरुरपि गौर्य प्रकटयति। लुब्धोऽप्युदात्तायते। उदात्तोऽपि कदर्यवद् व्यवहरति । दुर्भगोऽपि सुभग इव चेप्टते । वणिपि विटायते। विटोऽपि वणिज्यते। दरिद्रोऽपीश्वरायते। कश्चिद्धर्मरुचि , कश्चिदर्थपर, कश्चित् कामप्रधान । तदेव चित्तवृत्तीना वैचित्र्ये सति प्रथममेव मम्यक् चित्तवृत्तिमाकलय्य यो यत्र चित्तवृत्तिस्त तया कमपि प्रोत्साह्य etc (p १८) Ravıdatta (of the first tale) is a wealthy and educated young man, inexperienced in the ways of life He fights shy of himself when he feels the first attractions of love But once he gathers courage and goes to the courtesan, all his reserve and shyness disappears, he loses control of himself and does not know where to stop The courtesan's insults do not awaken him to his senses and he ends his life as a mad man Vikiamasımha is a prince, rich, charitable, bold, noble and pleasure-loving He dares ask Mālatıkā to invite him even when she was at the house of Vasudatta He has patience too to wait for her till she is free When he is immensely pleased with her, he bestows gifts upon her, but when due to some reason he is offended he stops giving her presents and going to her place Madhava is even more high-strung When the bawd and the courtesan try to keep him back against his wishes he goes to the extreme of cutting off the bawd's nose and ears, and feels satisfied after doing that Vinayadhara punishes the bawd in a similar manner, but while Madhava does it in an outburst of righteous anger, Vinayadhara is a shameless person who plays a roguish tiick to gain his own end Suradharman (of the fourth tale) is a real dhūnta To conceal his treasure he acts like a mad man and the clever Devadattā has to go to the extent of feigning death to deceive him But when Suradharman is ultimately robbed off his jewel and thrown out of the house, he has no grievances and goes on his way Somadatta (of the seventh tale) is intelligent and calculative Infatuated by Karpūrıkā's charms he gives out the secret of the pigeon, but being once deceived he is stung to the quick and takes proper revenge Pratäpasımha (eleventh tale) is beastly Ugly and senuous he is housed to anger quickly at Malayasundari's teasing him He pounces upon her like a tiger and injures her He openly acknowledges the outiage and is glad when the king punishes the courtesan King Vikrama features in three stories (5th 6th and 13th) He is noble, straightforward and sincere He believes Davadatta's fantastic experience (fifth tale), and is pleased with her When he ·A CRITICAL APPRECIATION OF THE SMK comes to know that it was a fabricated tale narrated to please him he appreciates her ingenuity and is doubly gratified With Layanyasundari he is true and considerate He makes sincere efforts to test her love When Lāvanyasundari dies he prepares to put an end to his own life too He offers his all to her but when in the end, the truth is revealed, he generously offers to held Lávanyasundarī In the last story about Mūladeva also, Vikrama is deceived by his own queen When Müladeva impresses upon him the fact that the latter was wrong in holding that women were not fickle, he accepts it and justly punishes his queen Chaddalaka is a sincere and true lover He under stands that the king has made efforts to separate Aśokavatī from him He is anxious to test her not because he doubts her but because he wishes to prove her fidelity to the king When unfortunately Asokavatſ dies he cries like a child and puts an end to his life as well Sundaraka 19 a conscientious youth who undertakes the unpleasant task of coming between the two lovers only to please the king When Aśokavati repents of her mistake, Sundaraka is sorry about it, and when he hears of her death, he feels so guilty that he puts an end to his own life The best delineated character is that of Ratnadatta A Vaisya by birth, he hates to join his father's business knowing that it is censurable He wishes to join the services of the sovereign king When another king offers him half his kingdom, he refuses He is a gallant but he had decided not to be enslaved in the snares of any courtesan He understands Lāvanyasundari's love for him, but leaves her to pursue his own desires He goes to serve the sovereign, but is bold enough to ask him not to interfere in his personal matters He is an avadhānın being able to perform many acts simultaneously without forgetting any one of them He is well-versed in many subjects and can put them to good use unlıke Ravidatta He is an example of a proud and ambitious youth who is indifferent to the human frailties like love and attachment The women characters are not so interesting They represent 'types' more than the male characters Their stations in life do not give much scope for developing their personalities and their actions are always prompted by motives Therefore there is not much difference between one ganıkā and the other But the courtesans may generally be divided into two classes, ganılcās adept in the profession of harlotry and sticking fast to their conventions, and those remaining constant in their love Besides these main characters there are other important female characters like the 'mothers' of the courtesans Their very names like Visamaśīlā, Bhujangavāgurā Makaradamstiã and Ekadamstră are ·SRNGĀRAMANJARĪKATHÅ sufficient to show them in bad light In literature we have picturesque descriptions of beautiful heroines, but a description such as that of Visamaśīlā is rarely to be found. It may be an ugly picture, but, all the same, it is realistic and vivid She may be taken as a typical 'mother' or procuress In physical form she is hideous, old, hunchbacked and vorn out She is besides cunning, cruel, greedy and deceitful She is indeed an eye-sore to the young men who come to her house But she is an important person in the courtesan's housc singāramañjaii is instructed by Visamaśīlā, Lāvanyasundarī goes io the bawd Dhondhā for counsel, Davadatta's mother makes Suradharman give up the precious jewel, and Karpūrikā's mother lakes Somadatta reveal the secret of the pigeon and the pigeon as well For their cruelty, the 'mothers are sometimes justly punished Vinayadhara punishes Anangavatī's mother and Madhava, Kuralayāvali's mother Bhoja's skill in characterization is indeed displayed in the delineation of these bawds, for though they are minor characters, their poitiayal is complete A Sentiments The theme of the book is the courtesan's love, and thei efore the sentiment of śrngāra overshadows other sentiments But theie are sentiments like humour and pathos which help in diversifying and thereby developing the main erotic sentiment Häsya or humour is supplied by the instances in which the bawd or the courtesan is cheated Thus in the 'tale of the Serpent' Vinayadhara brings a dead serpent, places it on the body of the bawd and pinches her nose and lips When the bawd cries aloud, he comes and pretending to kill the serpent, cuts off her nose and lips quickly before the truth could be found out In one sentence the whole action is beautifully described ततो दामीभिगिति प्रबोधिते दीपे सर्पमवलोक्य च्छेद प्रयच्छामीति तेनाभिहिते 'प्रयच्छ प्रयच्छ' इत्युक्ते 'क्व प्रयच्छामि इत्युक्ते 'अत्रात्र' इत्यभिहितमात्रेऽपि सहौष्ठा नासिका चिच्छेद । (p Glo) The irony is that Vinayadhara is thanked for saving the life of the ‘mother and felicitations are offered while the bawd suffers in pain all her life In another instance, Somadatta takes revenge on Kaipūrikā He brings along with him his royal brother's wealth and men to serve his purpose, and tells her a fib that it is due to a siddnı he obtained at the Sriparvata In exchange for a pigeon and all the wealth previously earned by the courtesan he most solemnly gives her the siddha he had obtained by saying येय मया श्रीपर्वते मिद्विरामादिता TT farTo 1987 TETTI (p 44) ·À CRITICAL APPRECIATION OF THE SMK 43 Another instance is the way in which Madhava punishes the *mother' of Kuvalayāvalī Even after draining him completely of his wealth and receiving his rich upper garment as a last gift iney are not satisfied They follow him and request him to hand over the last lower garment and thus denude himself Madhava is then really irritated He says he would hand it over after leaving the main road, then at a quiet place calling the bawd he throws her down and forcibly cuts off her ears and nose and says this token of remembrance will never be forgotten by them These instances provide humour which is obviously gross and almost of a farcical character, but is sometimes rendered grim by the nature of circumstances The pathetic element is found in the different stories dealing with the suffering of persons due to separation or death For instance, Lāvanyasundarī falls in love with Ratnadatta at the first sight She follows him faithfully upto Mānyakheta She experiences the pain of separation when Ratnadatta leaves her for thiee days at the house of Cittralekha To add insult to injury the king invites her to his place and per force she has to go And on the fourth day, the day of the return of Ratnadatta, when the king calls her to dance, she goes against her wishes On hearing of the return of Ratnadatta she runs home, but is disappointed Ratnadalta is cold in attitude and taunts her and does not accept the scivices she desires to offer It is indeed pathetic to read "लावण्य- सुन्दरि पादौ मा प्राक्षी । त्व हि मम जननी भवमि" । सा तु साकूतमवादीत्-"रत्नदत्त किमेतत् ?" HETETT Catera - "HEIG? Fa fa ACHIEFT, CHI, gw, syfqzuara" (284) Sures Still more pathetic is Aśokavati's repentance after having given way to her fancy and spent a night with Sundaraka in amorous plea- She cries out कि मयैतेदकृत्यग्राम परया पापया विहितम् । अहो दुर्लध्या हतविधेविलसिताना गतिरनतिक्रमणीयान्यवश्यभाव्यान्यप्रतिविधेया नियतिर्यन्मदीय त्यनुगगस्यैवविधा परिणति , तन्नियतमनुत्लंध्या भवितव्यता। तयाऽर्थलुब्धया पापकारिण्या नास्मि प्रतिबोधिता। (p ७०) Her repentance was so sincere that Sundaraka was sorry for what he had done And when Asokavati died on hearing the false news about Chaddalaka's death Sundaraka felt he was responsible for it and put an end to his own life The sentiment of Wonder or Adbhuta nasa is best developed in the fifth tale of Devadatta In order to please the king Devadatta narrates a wondei ful experience of hers, of course imaginary, which the king however takes to be real She says she was passing through the parade ground when she saw a handsome youth on a fine horse He beckoned to her and she sat on the horse with him The horse ·** SRNGARAMANJARĪKATHA flew up in the sky and took them far away to an unknown destination A beautiful woman waiting there, a man with a whip, their request to Devadatlā, her crying out to Vikrama and her falling back to earth, all these provide elements of wonder Similarly in the last tale of Mūladeva we have a reference to some sort of magic by which a beautiful woman was cieated by a mahāvratika and he enjoyed her company Then the woman threw up from her heart a man of the size of a thumb Water from a gourd was sprnkled on him and he became a handsome young man and she enjoyed his company When it was time for the mahāvratila to come she made the youth small and swallowed him On his return, the mahāvratiku also made her small and devoured her Unfortunately the text before and after this description is lost and therefore the context cannot be properly understood, but what is given is sufficient to excite wonder The manifestations of the Goddess Āśāpură to King Vikrama and King Samarasimha and their talk with her and the reviving of the dead due to Her blessings are also instances of wonder Another common motif that produces wonder is the 'pigeon motif' (seventh tale) Allusions to other Authors and Works Bhoja alludes to the Vedas, the epics, the śāstias and the Darsanas He mentions the study of Śrti, Khila, Nigama, Putāna, Itīhāsa, Smrtı (p :), Vyākaiana (p 24, 30). Chandas (p 92) Views of the Smrtis are referred to on two points, namely, that the kıllıng of a woman is a sin (ppy) and that wife is considered the half of man (p <0) The Bhārata is mentioned once by name and the Rāmīyana twice (pp 83, 60) But the personages and incidents of the two epics often alluded to are quite a few Arjuna (p)), Subhadrā ip ), Draupadi (p 83), Nakula (p 83 )and Krpa (p ?C) are mentioned because of the paranomastic nature of the words Tha crushing of the demon Pralamba by Balarāma (p C) and the game of dice between the Pandavas and the Kauravas (p 83) are also referred to The destruction of the Ksatriyas and the revealing of the Dhanurveda by Bhārgava (pc) is mentioned Together with Vyāsa as a poet-sage, Vālmīkı and Parāśara (p 8) have been named The ten-headed Rāvana and Vibhīsana ( p3) are also mentioned Rāvana obstructing the path of the moon and the Vindhya obstructing the path of the sun are mentioned The battle between Rāma and Rāvana is referred to (p C) The names of Laksmana (p ), Sugrīva (pp Y 83), Nila and Nala (p bc), Virocana (p 88) Prahasta and Subāhu (p 8 83) are mentioned as they offer scope for puns t ·A CRITICAL APPRECIATION OF THE SMK 15 The Purānas are described as giving instructions through Kathas. Akhyānakas, Kadavakas.37 Manikūlyās Kadavakas.37 Manikūlyās 32 Distāntas, and Nidarśanas (p. 17) Among the avatāras Vāmana (p 15), Bhārgava (p. 8) and Naiasımha (p 17) are taken as standards of comparison The story of Urvaśī and Purūravas (p 20), the tale of Hariscandra (p 13) and the churning of the ocean (p 13) are referred to by way of comparison Authorities in the Field of Arthaśāstia There is a rather inteiesting reference in the book to some of the well-known ancient authorities on policy The sentence, corrupt in readings, has been reconstructed thus यस्य चातिप्रज्ञाप्रकर्पमालोचयता विपश्चिता गिरि न गरिमाणमारोहति गुरु , न प्रति (भासते प्रतिभा) वान् भार्गवो, नोद्ध वमतिवर्द्वरत्युद्धव , अ (यते) न प्रानगणना चाणक्य न कुगानीयवुद्धितामधिश्रयति धर्मकीर्ति । (p 9) Here Guru, Bhārgava, Uddhava, Cānakya and Dharmakirti are mentioned in the same strain Cānakya is Kautilya, the celebrated author of the Arthasistra At one place in the text he is called Kautilya of the wicked intellect कुटिलमतिकौटिल्यप्रभृतीन् बटूनिवापटून् गणयति । (p 17) and at another place in the text his policy of administration is beautifully described as चाणक्यनीतिरिव यो येनोपायेन ग्राह्यस्त न Bari (P 15) He is one among the wise Guru is Bihaspati, who is referred to by Kautilya as a teacher in the Arthaśāstra The Mahābhārata, the Kāmasūtra, the Kämandakiya and many other works quote Bihaspati as an authority on policy 40 The next reference is to Bhārgava We may take Bhargava as refeiring to Uśanas who is a son of Bhrgu The Arthaśāstra quotes the Aušanasas many times The Mahābhārata, Viśvarūpa (on Yājſavalkyasmytz I-307) and other works quote Uśanas's views on polity and it is held that Uśanas had written a work on politics 41 In the Sāntiparva we have a nītaśīsti a ascribed to Bhärgava Kane, giving a list of the authorities quoted by Kātyāyana in Karmapradīpa, mentions one Bhāigava who, he thinks, is probably Uśanas 42 Further, in Abdhutasagara of Ballālasena, there are a number of authorities given of which one is Bhārgavīya 43 This may be the work of Bhārgava or Ušanas At another place in the present text Uśanas is mentioned as being an authority in Upanisads bable that this reference is to Uśanas, the authority of polity Like the Arthaśāstra of Kautilya where the 14th book is called Aupairsadıkam, and which describes ways and means to obtain desired objects by mystic formulæ and the like, the work of Usanas might have had a chapter on this subject and this reference might be to it The reference is after a reference to Kautilya, and the whole 37 See Notes 38 See Noles 39 See Notes 40 Kane, History of Dharmaśāstra, Vol I, p 123 f 41 Ibid, p 110 ff 42 Ibid, p 219 43 Ibid, p 340 It is pro- ·46 ŚRNGARAMANJARIKATHA context deals with clever and deceitful actions and therefore Upanisad cannot be taken as referring to the Vedānta books. The next name is of Uddhava In the $rsupälavadha where Kısna takes advice from his sage-like uncle Uddhava on a matter of political importance, the poet calls him Pavanavyādhi it In the Arthaśāstra we read of the opinions of Vätavyādhi who is identified with Pavanavyādhi, who is none other than Uddhava Nayacan drikā, a commentary on Arthasāstra, confirms the identification of Vātavyādhi with Uddhava 45 These are all great intellectuals and therefore Dharmakirti, the Buddhist logician, is bracketed along with them Schools of Philosophy There are stray philosophical reflections in the SMK like समारवृनिरिव परमार्थतागून्या । (p 16) and मागेव नानाविधपाशपातिनपशु । (p 18) But it refers to most of the schools of philosophic thought by the names of their founders together with their principal postulates The difference between the two trends of Mimāmsă thought is referred to as the 'Prabhākaraprajñā' (the wisdom of Prabhākara) and the 'Kumārılamatı (the view or creed of Kumārıla) the school of Vaisesıkas is called the 'Kanādamati' (the School of Kanāda), the Nyāya system as 'Aksapādavidyā (the knowledge of Akşapāda) and the teachings of Buddha as 'śākyaśāsana' (the teachings of Bud. Besides these the systems of the Pāñcaiātra47 and the Lokāyatas48 are referred to At one place a character is described as being dressed like a mendicant of the Pāśupata sect who iefers to himself as 'Hīnasatva' (p 71), from which we may infer the existence of the followers of the Pāśupata sect Masters of Literature In the beginning of the SMK we have references to some of the literati of Sanskrit The names of the masters of prose ale strung together in the following sentence which is paranomastic in character देवोऽयखिलजनतया सुवन्यु श्रीभासो गुणाढय प्रशस्तगीर्वाण । ( 21) The references to Subandhu and Bāņa are obvious, for their works are outstanding in Sanskrit prose literature The reference to 44 II, 15 45 atufaffa 3 aree | Arthasāstra of Kautilya, Vol II, p 91 (edited by Jolly and Schmidt, 1924) 46 सांख्यस्थितिरिवापरमार्थोपपदा नि (त्य)पुरुपभोगा, शाक्यशासनोक्तविश्वस्थितिरिव क्षणिका, कणादमतिरिव द्रव्यतत्त्वैकप्रधाना, अक्षपादविद्येव सदैव बहुमतेश्वग प्रभाकरप्रजेव स्मृतिप्रमोषोत्पादननिपुणा, कुमारिलमतिरिवार्यवादप्रधाना। (p 17) 47 पचरात्रस्थितिरिव मायावैभवोपपादितभोगस्थिति । (p 15) 48 olyafafafia atf2T 1 (p 15) dha) 46 ·A CRITICAL APPRECIATION OF THE SMK TO 50 Gunādhya is interesting Only three verses of his Brhatkathā are known, but the contents have been fairly preserved in the Brhatkathā-ślokasamgi ala of Budhasvāmin the Bihatkathāmañjari of Kșemendra and the Kathāsarıtsāgara of Somadeva These threc works are in verse, and from them it can be inferred that the Bihatkatha must have been in verse But Dandin's Kävyādai sa refers to Bihatkathā as piose romance 49 This reference Gunādhya among the piose writers in this romance confirms Dandın's statement, which implies and supports the view of scholars that the Brhatkathā was in prose The inclusion of Bhāsa among the prose wiiters is as interesting as it is important The question which it raises is whether Bhāsa wrote any prose work at all Now, if Bhoja had in mind the dramas attributed to Bhāsa, this reference could only be to the prose passages in them But it would be rather unnatural to include a dramatist among prose wuiters Moreover, the issue is complicated by another subsequent seference where Bhāsa is mentioned among those poets who have indulged in autobiographical, if not self-adulatory writing As is well-known however, the dramas are totally silent about their author Therefore there are two possible explanations, either (1) the dramas are recasts of original Bhāsa plays in which the Prastāvanā might have contained personal information regarding the author or (2) SMK had some other prose (?) work of Bhāsa in mind It is likely that Bhāsa may have written in prose Bhavabhūtı has been mentioned as a poet who has written about himself Kāmaśāstra and the Alamkāraśāstra As regards the present work special reference should be made to Bhoja's indebtedness to the sciences of Erotics and Poetics For the theme of the courtesan's love offers a chance to the author to analyse the heroes, the heroines, their attachments and states of love, and the different characters that figured in their lives as accomplices or adversaries These topics form the stock-in-trade of both these sciences and hence the author draws upon them Speaking of the Kāmaśāstra first, Bhoja has mentioned only one authority in the field That IS Dattaka The reference is as follows विगेपतो दत्तकादिप्रणीतवैशिकग्हस्यानि च नापित । (p 19) In Vätsyāyana's Kāmasūtra we read that śvetaketu's treatise on this subject was condensed to seven chapters by Pāñcālabābhravya 49 1, 38 कया हि मर्वभापाभि सस्कृतेन च बध्यते । भूतभापामयी प्राहरभ्दतार्था बृहत्कयाम् ।। 50 Keith, A History of Sanskrit Literature, (1941), p 268 Also Dasgupta and De, A History of Sanskrit Literature, Vol I, pp 92-100, 694 51 I, 1-10 51 ·18 ŚRNGARAMANJARIKATHA by him 57 At the request of the helaiai of Palaliputra, Dattaka under look to write about courtesans and their lives, dealt with in the sixth chapter of the above mentioned treatise E2 Vätsyāyana himself refers to the 'Dattaka-śâsana' in the sixth chapter of lus work by The reſcience in SMK indicates that the works of Datiaka and others must have been current during Bhoja's times As this work deals with the life of courtesans the reference to Dailaka becomes particularly significant In the Caturbhāni, it is surprising that in the (vo Bhanas of Śūdiaka (Padmaprabhitaka) and isvardalia (Dhūr1(732[/isamtida) Dattaka54 and his sūtras arc ieferierl to while Vätsy iyani is not mentioned at all In the Kuttanimata of Damodaragupta the courtesan is described as adept in the science of erotics and considering authorties like Vātsyāyana, Dattaka and Rajaputia as ignorant in the matter 13 Bhoja has not mentioned Vätsyāyana by name but the heroine is described as an adept in the Kamasutra and the like works (Faaleat Tirugarfaftar 12). According to Vātsyayan, the Ganikās respectable status in socicty is due to her mastery in the sixty-four Vidyas, 56 the sixty-four Sâmpiayogika Vidyâs are also mentioned The heroine here is described as having mastery over both these kinds of sixty-four Vidyās (ne tatua p 12). The picture of the Nāgaraka given in the KS38 is brought out in the stories of the SMK Besides these the familiarity of the SMK with the KS is very clear No authority in Alainkāraśāsti a has been mentioned by name in the SMK But a line from Dandın's Kāvyādai śn (Fanufafrica 719 Tarefatfat p 10) has been quoted Bhoja is decply indebted to Dandin whom he follows in many respects It has been mentioned before how Bhoja's conception of Alomkīra is only an elaboration of Dandın's view 59 The same is the case with regard to his unique theory of Śrngāra for which he quotes Dandın's authority, this will be dealt with in the next chapter. We have also seen 52 Ibid, I, 1-11 53 Ibid, VI 2, 53 54. In the first Bhāna, Dattaka is ridiculed for using the saci ed wo.d Om for starting his Vaisikasutras वेश्याडगण प्रविष्टो मोहाद्भिर्यदृच्छया वापि। न भाजते प्रमुक्तो दत्तकसूत्रेप्विवोडकार ॥ (p 15) In the 2nd Bhāna, Dattaka is quoted thus दत्तकेनाप्युक्त 'कामोऽर्थनाश पुसा' इति । (221) 55 P 39, vs 77 वात्स्यायनमयमबुध वाह्यान्दुरेण दत्तकाचार्यान् । गणयति मन्मथतन्त्र पशुतुल्य राजपुत्र च ॥ 56 KS, I, 3, 20-21 58 Ibid I, 4 57 Ibid, II 2, 1 59 See Supia, p 50 ·A CRITICAL APPRECIATION OF THE SMK 49 above how in introducing the peculiarities of the Akhyāyrıcă form of composition into this Kathā, Bhoja has followed Dandin's view that it is not possible to stick to rigidity of forms in such compositions The theory of Räga which serves one of the important purpose of the text and which will be discussed in the next chapter, come within the scope of both poetics and erotics Besides the main characters, who have been described above in general terms, we find references to many other types of persons who have been described in the works on poetics and erotics There are stray references to some of the eight avasthā-näyıkās Of them one is the Abhisarıkā She is described in the SKA 60 as पुप्पेपुपीडिता कान्त याति या साभिसारिका। In the SMK also she is described as going to her lover Therefrom we understand that Bhoja derives the word only from abhisarana (going to) and not abhısāraņa (making him come) as Dhanikai and others take it Bhoja describes in words three kinds of Abhiga- 21kās One going out in the moonlight (p 44), another in the darkness of the night (p 74) and the third going out at mid-day (p 85) It is due to such distinctions made by poets that later rhetoricians have classified Abhisārıkā and designated them as Jyotsnābhisārzkā, Tamasvinyabhisārıkā and Divābhisőrikā 62 The Vāsakasagjās are described as decorating their houses and looking again and again at the path of their lovers At another place they are described as waiting in the Candraśālās with the walls decorated with garlands of vicikıla flowers and the smoke of the incense darkening the ceilings The Prosztabhartrkā is described in the SKA as प्रियो देशान्तरे यस्या सा तु प्रोपितभर्तृका। (V, 19) In such a condition the näyıkā becomes impatient in spring Her desire for union is not satisfied, therefore she cannot enjoy the beauty of Spring, nor can she tolerate the joy of others With this condition of hers in mind Bhoja beautı- 60 V, 119 61 Dasarūpaka, II, 27 b कामार्ताभिसरेत्कान्त सारयेद्वाभिसारिका। See also Visvanātha, Sahityadarpana, III, 76 अभिसारयते कान्त या मन्मथवशवदा। स्वयं वाभिसरत्येषो धीरैरुक्ताभिसारिका ।। 62 Vide Mandāra-maranda-campū, p 84 दिवाश्यामाविभेदेन द्विविधा साभिसारिका । दिवाभिसारिका सा स्याद्या दिवैव सरेत्प्रियम् ।। शुभ्रवस्त्रा सरेत्कान्त रात्री ज्योत्स्नाभिसारिका ॥ नीलपा सरेत्कान्त तमस्विन्यभिसारिका ।। ज्योत्स्नायानपरा त्वाद्या तमोयानपरापरा। यातमात्रविभागेन भेदा एव प्रकीर्तिता'। w ·50 ŚRNGĂRAMAÑJARIKATHA A fully describes her as impatiently complaining at the advent of Spring 'Ah, what is this new kind of Madhu (Spring, Wine) that even without smelling or tasting it, the minds of all the people become so intoxicated Besides these, Virahını-the separated and the Mārını-- the proud-are mentioned The Vzzahrnī is heart-broken in Spring, she becomes pale and her only ornaments are the lotuses The Mānınī loses her reserve in the moonlight and on rainy days. In Spring her pride is completely humbled by the sports of love Among the female aides mentioned are Vayasyā, Sakhi, Anucari, Piatrvesini and Dūti Vayasyā is the same as Sakhſ and Anucarī She is a close friend of the Nāyikā and sometimes works as her Duti also Bakulıkā (in the sixth tale) is a loyal and sympathetic friend of Lāvanyasundarī She protects Lāvanyasundarī by dancing in her turn and herself goes in search of Ratnadatta twice Sangamikā (first tale) goes to Ravıdatta, speaks about Vinayavatī's love and brings him to her The Prativesini is the neighbour, but she is also considered as an accomplice and used as a messenger by either the hero or the heroine 63 In SMK Nāyaka Somadatta (seventh tale) stays at the house of Karpūrıkā's Prativesini She is once again mentioned as Prātuvesinī (p 83). The Dūtī is the messenger She is an expert at creating yearning in the hearts of lovers by reminding them of each other's merits (परस्परगुणानुस्मारकतयात्यर्थमुक्ततामापादयन्ती दूतीव) and in patching up love quarrels (प्रणयकलहकुपितासु कामिनीपु प्रसादनोपायचतुरदूतीव्यापारबहुलतामुप- दिगन्ति). All the accomplices work more or less as messengers These are the female accomplices of the nāyikās but there is no hard and fast rule fixing them with either the hero or the heroine It often happens that an accomplice of one becomes the accomplice of the other as well Besides the female aides, some male characters who belong to the lower strata of society are mentioned At the end of the work where Visamaśīlā finishes her instructions to Śrngāramañjarī, she tells her that "you should behave in such a manner that you will not be looted by the vitas, danced about by the Dhārtas, laughed at by the Vayasyas, tortured by the Kadar yas, enjoyed by the Bhujangas, 63 Bharata, Nātyasästia, 23, 9 calls her Prativeśyā and enumerates her with the other female accomplices प्रतिवेश्या सखी दासी कुमारी कारशिल्पिनी। धात्री पापण्डिनी चैव दूत्य स्त्रीक्षणिकास्तथा । 64 Bhoja in the 29th chapter of the SP treats of forty-eight love conditions, generally called Dūtasampresanādi In it we read of sandesadāna, nayakanayana etc which correspond to the duties of the ditis referred to here 04 3 ·A CRITICAL APPRECIATION OF THE SMK 51 destroyed by the Pāsandas, bewitched by the Rāgins, cheated by the Vidagdhas" and so on Besides this reference we find the mention of Anucaia, Samvarıka, Khala and Dinçlika also The Vayasya and the Anucara are the male counterparts of the Vayasyā and the Anucarī The Anucara is not only a devoted friend of the rāyaka but is only slightly inferior to him in virtues 65 Dhiirta is a hypocrite, a perfect swindler He frequents the courte. sans* quarters and is a past-master in cheating the courtesans and their mothers' In this work, in order to indicate the glory of the unconquerable Visamasila it is said about her' मूलदेव मूलहार व्याहरति । Tora Tatra Tegriafatafa (p 17) Müladeva 66 is the classical Dhūrta. of the popular tales Saśın is an alternative name for Śaśa who is a Vita and a bosom companion of Mūladeva 67 A Vita is generally described as a sensualist or a rogue who is impoverished in the pursuit of a fast life He also frequents the courtesan's quarters and therefore is usually an aide to the hero in furthering his romantic 65 Mandara-maranda-rampi, p 79, नेतुश्चानुचरो भात किचिदूनश्च तद्गुणै । 66 Müladeva, who is also called Karnisuta, is referred to in the Micchahatilca of Sudraka as an author of aphorisms on theft (Act III) Bāna, in his Kādambari refers to him with his companions thus कर्णीकमुतकयेव मन्निहितविपुलाचला गगोपगता च। (p. 40) on which, the commentator writes (p 11) कर्णीसुत करटक स्तेयशास्त्रप्रवर्तक । ख्याती तस्य सखायौ टौ विपुलाचल सजको। गशो मन्त्रिवरस्तस्य" इति बृहत्कथाया कथा निबद्धा। In the Dhurtākhyāna of Haribhadrasuri (c 800 AC edited by Upadhye, AN, Bombay, 1944), which is a story of five rogues recounting their own fantastic experiences, there is the mention of Müladeva, also called Mülasıī, as the master of the rogues, and his friend Sasa Ksemendra, in his Kalāvilasa describes this Master of Dhurtas in the company of his friends instructing a merchant's son in the art of roguery and hypocrisy as practised by cheats, harlots, traders and others स्फटिकामनोपविष्ट मह शगिना निविभागमित्रेण । कन्दलीमुख्य गिप्य पग्विारितपादपीठान्त ।। The Kathāsaritsagara has stories about Müladeva and he is placed in the court of Vikramāditya Both these characters figure together in the present work (thirteenth tale) Further details regarding Müladeva can be gleaned from De's paper on Bhāna, JRAS 1926, and, M Bloomfields' The Character and Adventuress of Mūladeva' in the Proceedings of the American Philosoplucal Society, Vol 52 (1913), pp 616 ff See 'Dhūrtākhyāna', A Critical Study, p 23 67 The hero of Sūdraka's Bhāna (in the Catur bhāni) is ſasa He introduces himself as a friend of Müladeva स एवास्मि मूलदेवमन्व गगोऽहम् । In the above-quoted verse from Kalāvilāsa (Note 2, p 89) we see that Sasa is called Sasin and Ksemendra consistently uses this alternate name Therefore in the SMK where the corrupt reading is 7517 it has been corrected to it and not to TT kecping the name Śaśın in view ·SRNGARAVAGJARRATIA . - amam adventures The courtes are ad of hun lui lv kans their ways completely Bharatı doscribes him thus वेश्योपचागुगलो मार्ग दर ! ऊहापोहक्षमा वागणी जनुन दिनो भवे ।। But Ksemendra spciks. ' of him that he is Ey नौणाय गुणातीनाग मोगर माने! विटाय कुरणपक्षेटिलान नमो नमः ॥ Bhoja calls him ganarūn; some vilkenbe hui 14 w mniter of one artit, sone as a master of the silence of 10'016, UNI 11175 il the master of all arts. Another colourful porxunaliis referred to in the 1980s a dirudika (सिमिति परमाना। 15 a character of a lor order connyat with ulgir zzz like the Dhinta and the Vita The fourth Bhana in the fatisrblicisë Padatādutakam of Syömluhom-mplactically tuins um linn fourth introductory stanıza says that the solen vilicers of the king may go but let those who are clove! in understanding the 'muring sport of the dindilas (दिपिकाग्निनाविदः } star on The linçlikas aic described as ugly like the monkers in the afoi csaid Bhana (दिपिनो हि नागने नानिमिष्टा गाना p 21 and in actions aic the devils themselves themselves (लगानो नामने नानिमिय पिशाचेभ्य ) They are narcissistic profligates and even wore than the vitas in lewd ways. 68 Op cit, 21 101 19 Drtopatirray 11 ser.nl 70 मान्य कलयवान् भुवनविभवां गणवान् विट.। SKA V, 170 b rhich is verbally the same as Väisz ny utius নাম নৃ- वान्नकलत्रो वेशे गोप्टयां च बहुमतन्नदुपीवी न विट। 71 एकविद्या विट । Rurata, Srigāratilaka, p 116, vs 31 72 कामतन्त्रकलाकोविदविट । Bhanudatta, Rasamaijari, p 229 73 priser FET9T751791 fac i Akaharasäha Srugarriraſjari p 51. 74 Some very interesting references are made to them in the Caturbhani and the Brhathathā-slolca-samgrana v hich may be given here Pädatäditaha of Syāmilaka नग्न स्नाति महाजनेऽभनि मदा नेनेक्नि बाम स्वय केगानाकुलयत्यघीन चरण गय्या नमानामनि। यत्तदक्षयति वजन्नपि पथा पत्ते पट पाटित छिद्रे चापि मकृत्प्रहृत्य महमा लोलटिचर कत्यते ।। (Vs 39 p Again, डिण्डिनो हि नाम आलेस्यमात्मलिसिभिर्गमयन्ति नाग सांधेषु कूर्चनमपीमलमयन्नि। आदाय तीक्ष्णतग्धारमयोविकार प्रासाद-भूमि घुणनित्रया चरन्ति । Brhatkatha-Sloka-Samgraha (1', 56, p 22) ततो विचित्रगस्त्राणा हर्पण स्फुटिनामिव । शृणोमि प्रचण्डाना डिण्डिकाना विकत्थिताम् ।। तथा कथितवन्तस्ते तामालोक्येव डिण्डिक । अपाक्रमन् परित्यक्तशस्त्रलज्जा यगोधना । (Chapter 18 Vss 202, 208) । M ·A CRITICAL APPRECIATION OF THE SMK 53 The reference in this text compares the bawd Visamaśīlā to a group of dindikas who accumulate wealth by "draining the purses of others" (bufetaraut). Explaining the words we may conjecture that the dinidika was the fore-runner of the pickpocket of today Granthu may either refer to the knotted money bags or to the knot tied at the belt of the lower garment, and the clever dindika must have been adept in taking away the money by sleight of hand To the class of the dindika also belongs the Khala, the rogue In the Deśopadeśa75 he is described as a dishonest man without any principles The Kadar ya is the close-fisted miser A vivid and interesting picture is given of him in the Desopadeśa 76 The avaricious and miserly wretch does not even bear to spend his wealth after his own people He is afraid of taking nicely to the visitors lest they should stay with him His wealth is no blessing to him, but it worries him all the time The courtesan therefore is lightly advised to stay away from him There is a reference in the text to the Sāmvarikas (p 21) This may mean magicians For सावरिक and सवर in writing can be variants for गाम्बारिक and गम्बर, ग as well as and a being interchangeable 'sambara' means māyā and magic, so sāmvarikas are magicians or miracle-workers But as the magicians (Arafat) have already been referred to immediately above, an emendation has been suggested, namely, reftit meaning astrologers And with the drift of the passage the emendation would not be inconsistent as Visamaśīlā may be described as not only fearless with regard to human enemies like the magicians but she would be indifferent even to the influence of the stars and स The common meaning of Bhujanga is paramour Halāyudha77 defines the word as Veśyāpati The words Pāsaņda, Rāgin and Vidugdha convey the ordinary senses These are the different types of personalities mentioned in the SMK which have been defined and described in works on poetics, erotics and other literary works From the numerous references it can be inferred that these classes of people constituted a considerable element in society The words like Vita and Dhinta have been retained as such an translation and elsewhere for they convey particular meanings and are difficult to be rendered into English 76 p 3 75 p 1, 2 77 Abhidhānar atnamālā, II, 227 a

·ORYGARAY,AJANIKAZU.
Judging from all these pensis of top pequena sely to the power:
of Bhoja, tlir SNIK, is an important ristima: 10 per natura di
Sanskrit On count niit rich (ocent. CTILC': *14*18 Lun 311
its uniqueness of form, the STK Corcuit u thellu,176,11. ANNOT
to whom il is ascribed.
1
I

·CHAPTER V THE PURPOSE OF THE WORK 1 (1) Creative art is regarded as the spontaneous expression of a genius His talent may find expression through literary art, and it would, therefore, be unjust to his creativeness to always search for some purpose in his work The pleasure of the poet in creativeness, however, subsequently gives pleasure to the reader and, therefore, 'to delight came to be regarded as the aim of a poet After the poet attained Heaven, as Bhāmaha says, his body remained on earth, pure and pleasant in the shape of his poem It continued to delight the reader and it also won fame for the poet Acquisition of fame, therefore, appealed to the poet as an aim to be pursued Thus, writers on poetics recognize both pleasure (Prātı) and fame (Kī, tz) as the two purposes of a kavya But when natural expression became difficult, the poet attempted to exhibit his erudition Erudition Vyutpattzz came to be regarded as one of the requisities of a poet and it prompted the poet to impart instruction to the reader, though unobtrusively as a beloved would do The poet being always wedded to poverty could not achieve the above-mentioned aims easily, therefore, he sought patrons, mostly kings 'It was the duty of the king to bridge the gulf between wealth and poetic talent, and so the poet wrote also with a view to please the patron and thus to gain wealth (Artha) for himself Other objectives like warding off evil3 and obtaining fruition of the four ends in life, dharma, ai tha, kāma and moksa4, or at least the first threes though subsidiary as regards kāvya - came to be regarded as the poet's purposes Poets of the classical period wrote with one or more of the above-mentioned purposes in view This work does not in the beginning mention in so many words the purpose underlying it Yet, indirectly, the purpose of story-telling in general, and this work 1 Vāmana, Kavyalamhārasūts ānı, I, 1, 5 frage #GEGETGCetei afamilfegrarti Bhoja, SKĀ, I 2 ora afa e farafii 2 Rudrata defines it as छन्दोव्याकरणकला लोकस्थितिपदपदार्थविज्ञानात् । युक्तायुक्तविवेको व्युत्पत्तिरिय समासेन।। Kūvyālamkāra, I, 18 3 Mammata, Kävyaprakāśa, I काव्य यशसेऽर्थकृते व्यवहारविदे गिवेतरक्षतये । सद्य परनिर्वृत्तये कान्तासमिततयोपदेशयुजे ।। 4 Bhāmaha, op eat, I, 2 धर्मार्थकाममोक्षेपु वैचक्षण्य कलामु च। करोति कीति प्रीति च respirafaqur 11 Dandin, op cit, I, 15 चतुवर्गफलायत्तम् । 5 Agnipurana, 337, 7 त्रिवर्गसाधन नाटयम। 1 ·56 SRNGÂRAMANJARĪKATHA in particular, is found in the request of Bhoja's friends to him to narrate a tale तदतिनिविडकौतुकाचान्तचेतसामस्माक प्रीत्यै व्युत्पत्तये च कामप्यपूर्वा व्युत्पाद्य कथा कथयतु FOTO p 1) From this we gather that the present work serves two of the above-mentioned ends of the poet, namely, prīti and vyutpatti. The tales, obviously, give delight, and thus serve the first purpose, while the morals they convey expound some of the topics of Poetics and Erotics and thus serve the second purpose by advancing knowledge In this chapter we shall deal with the second purpose It attempts to teach the maxims or rules of conduct a courtesan has to follow regarding the shaping of her own way of living by a thorough understanding of the different kinds of attachments and the ways of men, and thus making a success of harlotry as a profession The first four stories explain the topic of rāga or attachment Rāga is a technical term which has been explained in detail in the SP by Bhoja Bhoja It will be discussed later The remaining nine tales expound the maxims a courtesan has to follow to make her life a success In the books on Erotics and Poetics these subjects have been discussed In the present work, however, though the topics iemain mainly identical, they are presented in a literary garb which rescues them from the otherwise inevitable unsavouriness noticeable in some works of a similar character On analysing the stories we find, as said above, that the varieties of rāga have been illustrated in the first four stories The topic is introduced in a simple manner Visamaśīlā tells Śrngāramañjarī that the world is full of persons of different natus es, every man has his own ideas and leanings, when he comes to a courtesan his mind is 'coloured' by some sort of attachment which varies in degree and kind from that of other persons, his attitude is also different and, therefore, to understand the attitude of a man it is essential for her to ascertain the exact shade of his "attachment' She can then deal with him to her advantage After this cautionary admonition Visamaśilā enumerates the different kinds of rāgas and classifies them into four divisions of Nilīrāga, Mañisthārāga, Kusumbhai aga and Kusumbhai aga and Harzdı ārāga The others, representing as they do only the shades of these four, are also included and, therefore, these four alone have been described in detail in the stories 1 r ·THE PURPOSE OF THE WORK At the outset it would be proper to understand the technical character of rāga as conceived by Bhoja and other writers (11) In the SKA Bhoja mentions by name the three rāgas Nilī Kusumbha and Mañzsthā 6 In the SP however, the same topic has been treated with exhaustiveness and completeness in enumeration, classification and illustration Rāga is considered as one of the essential elements in developing the Śrngār arasa,? which is the foremost of the nine rasas usually accepted by the writers on poetics The Śrngār arasa--the sentiment of love is quite different from Bhoja's other Rasa-śrngära the conception of which is an original contribution of his to the science of Poetics The later writers on poetics who quote Bhoja's authority on Śrngāra betray confusion in understanding his theory of Rasa-Śrngāra, probably because of the employment by him of one and the same word, Śrngāra, with two different connotations as well as by his insistence upon the importance of both the kinds of Śrngāra Bhoja's conception of Rasa-śrngāra is given here in essence in order to distinguish it from the śrgāra-rasa of which rāga is an important element 8 Bhoja's one and only Rasa-śrngāra is Abhimāna oi Ahaukāra which dwells in the soul of all persons and the difference in the degree of its intensity in a person is due to the experience of many past births It is responsible for the emergence of other qualities and its presence endows a poem with elegance 9 This fundamental state of 1 asa is called i asa of Parākoti In the second stage, the Madhyaināvasthā, the fortynine different bhāvas giow out of this rasa Stimulated by Vibhāvas, Anu 6 V, 124 b, नीलीकुसुम्भमजिठारागाद्या रागभक्तय । 7 Ibrd, V, 11-12 a नायिकानायकगुणा पाकाद्या प्रेमभक्तयः। नानालडकारससृप्टे प्रकाराश्च रसोक्तय ।। चतुर्विशतिरित्युक्ता रसान्वयविभूतय । 8 The following is based on chapters 18 and 19 in Dr V Raghavan's Bhoga's Śrngäraprakāsa (BSP) 9 SKA, V, 1, 2 THISHATTISEDITE IR इति गीयते। योऽर्थस्तस्यान्वयात्काव्य कमनीयत्वमश्नुते ।। विशिष्टादृप्टजन्माय जन्मिनामन्तरात्मसु । आत्मसम्यग्गुणोद्भूतेरेको हेतु प्रकाशते ।

·58 SRNGARAMANJARIKATHA . bhavas and so, on, the bhavas reach their prakar sa-climax-and are then called rasas 10 The basic Srngāra does not lose its character in this second stage, for consistently with his theory of शगार एक एव रस. Bhoja holds that underneath the fabric of all the rasas still runs the single thread of Rasa-śrngāra For शृगारी हि रमते (रति ), उत्सहते (उत्साह -वीर), हमति (हास -हास्य), विस्मयते (विस्मय - अद्भुत) इति 111 The passage from the second stage to the third and final stage pai amakāsthā or uttarakotz - is simple For after the full evolution of the bhāvas into rasas, they culminate in one rasa which is then technically called Pieman रसे त्विह प्रेमाणमेवामनन्ति सर्वेपामेव हि रत्यादिप्रकर्षाणा रतिप्रियो रगप्रियोऽमर्पप्रियो परिहासप्रिय इति प्रमण्येव पर्यवसानात् । 12 No Stage Nature Name 1 Pūrvakotz One & only Rasa, Abhimāna, Ahamkara 2 Madhyamāvasthā all the bhāvas ratz-prakarsa- 49 and more śrngāra etc 3 Par amakāsthā one & only Preman or Uttarakotz This, in short, is Bhoja's theory of Śrngāra which has been fully elaborated in the SP It has been already stated that this theory of Rasa-śrngāra in all its details is an original contribution of Bhoja to the science of Poetics In keeping with his habit of drawing from Dandın in support of his various statements or views, Bhoja attempts to support his theory of Rasa-śrngāra also by falling back on the authority of Dandın To this end he quotes the stanza प्रेय प्रियतराख्यान रसवद्रसपेशलम् । उर्जस्वि रूढाहकार युक्तोत्कर्प च तत् त्रयम् ॥ from the KA 13 and harnesses it to the services of his own theory by reinterpreting it 14 And probably his terminology“Ahamkāra, Abhimāna and Śrngāra (bhāva-prakarsa), rasa and Preman have been coined so as to correspond to Dandın's Rūdhāhamkāra, Rasavad 10 BSP, p_472 यद्यपि शृगार एवैको रसस्तथापि तत्प्रभवा ये रत्यादय तेऽप्युट्टीपनविभा- वरूद्दीप्यमाना तदनुप्रवेगादेव मचारिणामनुभावाना च निमित्तभावमुपयन्त रसव्यपदेश लभन्ते || cf conversely SKA V, 13 रसो रत्यादिरूपेण भाव इत्यभिधीयते ॥ also Ibid, V, 33 गुगाराद्या. रसा ये च ये च गान्तोद्धतादय । ये च रत्यादिभेदास्तान विगेषानस्य मन्यते॥ 11 BSP, p 485 12 Ibnd, p 516 13 II, 275 14 See SKA, p 172 ff, BSP, p 463 , ·THE PURPOSE OF THE WORK 59 1 and Preyas The common Śrngāra-rasa, which is called the natiprakar sa-śr ngāra in the scheme, is the sentiment which with its various aspects becomes the subject of delineation and analysis of the alamkārikas. We shall now see how Bhoja treats of this śrngära- Tasa, Śrngāra-i asa, asserts Bhoja, is the foremost of the rasas because 1 ati is the best amongst the bhāvas 15 Bhoja has emphasised its importance by devoting 19 chapters out of 36 in the SP to it Не calls thuis Singāra 'Kāmaśıngāra' also He states that Rasa-śrngāra is चतुर्वर्गककारणम् 1e it is ś? ngāra only that prompts men to different activities for the achievement of the four purusār thas Dharma, Artha, Kama and Molsa Corresponding to these are four syngāras, dhar masrngāra, arthasrngāra, kāmasrngāra and molcsasi ngāra 16 Bhoja identifies this Kāmaśộngāra with the nati-prakar sa-si ngāra 17 In the 22nd chapter of the SP which deals with Anurāgasthāpana Bhoja says that amongst these four Kāması ngāra is the most important because it is the cause of the other Śrngāras 18 The last 16 chapters in SP deal with the Kämaśrngāra according to the following scheme Kāmaśrngāra (Chapter XX) Vzpralambhaś?ngār a Sambhogaśmngāra (chapts XXIV-XXXII) (chapts XXXIII-XXXVI) The treatment of this Śrngāra, which Bhoja calls Kāmaśrngāra or Ratiprakarsaśrngära, with its two kinds, Vzpralambha and Sambhoga, developed under the four conditions of Pūrvūnurāga, Māna, Pravāsa and Karuna in Vipa alambha and the Pūrvānurāgānantara, Mänānantara, Pravāsānantara and Karunānantara in Sarnbhoga 15 BSP, p 488, ममस्तभावमूर्धाभिपिक्ता या रते । 16 It may be noted that Bhoja's division into dharmasıngāra etc is different from the ordinarily accepted dharmasrngära etc Cf Sarvānanda, Amarakosatikāsarvasva त्रिविध शृगारो धर्मार्थकामभिन्न । तत्राद्यो यथा नन्दयन्त्या ब्राह्मणभोजनम् । द्वितीय स्वदेशमात्मसात् कर्तुमुदयनस्य प्रभावतीपरिणयोऽर्थशृगार । तृतीय स्वप्नवासवदत्ते तस्यैव वासवदत्तापरिणय कामशृगार ।। 17 BSP, p 485 विभावानुभावव्यभिचारिसयोगात् (वि) प्रकर्पमापद्यमान प्रधान (भा) वो रतिर्नाम कामगाराख्या 18 SP, p 1- तत्रापि धर्मार्थशृगारयोर्हेतुभूतत्वात्प्रधानम् । Chapter XXII deals with Anurägasthapana, chaptei XXIII with the general enunciation of the Vipralambha and the Sambhoga srngāras, Vipralambhasambhogaprakāśanam लभते।

·60 SRNGARAMANJARIKATHA in common to all the works on Poetics that deal with 1 asas But Bhoja with his love for analysis goes further He takes the etymological meanings of the prepositions vi and sam and elaborates the types and stages of ś? ngāra r The Vzpralambha singāra is tieated in chapters 24-32 the Sambhoga in chapters 33-36 It is relevant to our purpose to consider only the Sambhoga-si ngāra which we shall now examine The preposition sam, according to Bhoja, conveys four senses सक्षिप्त, सकीर्ण, मपूर्ण and सम्यक् । Therefore, when Bhoga is developed under the four conditions of Pūrvānurāgānantaia, etc. it expresses itself in four types in Sambhogaśrngāra thus Pūrvānurnganantara-sambhoga is of sanksipta type, that is, short in point of time, Mānānantara is Samkīi na, that is, alloyed 19, Pravāsananlara is Sampīrna, that is complete, while Kar unānantara is Samyak, that is, perfect These four types of Sambhoga have four stages or avasthās which are treated in the 36th and the last chapter of the SP. The four stages corresponding to the four types of Sambhoga are Sattā, Abhiryaktı, Anubandha and Prakai sa Thus it is said मक्षिप्तो भोग मत्तावस्थायाम्, सकीर्णो भोग अभिव्यक्त्यवस्थायाम्, मपूर्णो भोग अनुव- धावस्थायाम्, सम्यक् भोग प्रकर्षावस्थायाम् ।20 The Sattā stage is the origin of rate on the meeting of the nayaka' and the nāyrkā, abhrvyaktı is the clear perceptibility developed under the stimulus of Vibhāvas and so on, Anubandha is the condition of continuation and Prakai sa is the climax in which i ati results, in the Śi ngāra-1 asa In the further analysis of the Sattā and other stages, Bhoja says there are subtle differences among them In each stage there are twelve different shades The twelve shades in the Sattā stage are those of rāgas, those in the Abhivyaktı stage are the twelve premans those in the Anubandha stage are also the twelve premans, and those in the prakarsa stage are the twelve Prema-pākas 21 Thus the elaborate Sambhoga-singāra under the 4 Conditions is of 4 Types in the 4 Stages with 12 Shades १ पूर्वरागानन्तर सक्षिप्त सत्ता राग २ मानानन्तर मकीर्ण 3177onfera प्रेमन् ३ प्रवासानन्तर सपूर्ण अनुबन्ध ४ करुणानन्तर सम्यक प्रकर्प प्रेमपाक 17 See SKA V, 86 मानस्यानन्तरे तेपा व्यलीकस्मरणादिभि । रोपशेपानुसधानात्मकर केन aria, wherein the sentiment of love is said to be coloured by lingering anger etc and therefore it loses its rative purity and becomes alloyed 20 BSP, p 68 21 BSP, p 68 1 प्रेमन् ·THE PURPOSE OF THE WORK 61 This is the position of Rāga in the scheme of Sambhoga-śrngāra, and as the present work is concerned only with the twelve shades of 1āgas, we shall confine our attention only to them (11) Sambhoga of the Samkşıpta type in the Sattā stage, it has been stated above, is the origin of natz on the meeting of the two But the nature and kind of ratı or love depends upon the quality of his fraga Rāga is called 'upādhi' or adjunct because it transmits to the mind its own colour वत्र मक्षेपपक्षे रागोपाधि प्रेमाणि हादगप्रकार भवति ।। The twelve rāgas enumerated in the SP are the following Handrā, Rocana, Kāmpilya, Rīti, Kusumbha, Lākşā, Alcsiba, Maſjișthā, Kurdama, Kāşaya, Sakala and Nilī, which are the same as those given in the SMK After the enumeration of the jāgas, the SP proceeds to classify them according to the Sättvika, Rājasa and Támasa nature of men अयप विगिप्टनायकविपयो विशेपस्प उच्यते । म च मात्त्विकादिनायकभेदात् स्थिरा- स्थिरत्वादितारतम्यात् प्रवन्धेन उपपाद्यमानो द्वादगप्रकार उत्पद्यते । In the 15th chapter where Bhoja deals with the nāyalcus, he lists their common classification into Dhii odātta, Dhii oddhata, Dhiralalita and Dhīraśānta He goes further and divides each of these four again into various kinds according to their four features, guna, prakrti, pravrtti and parigiaha 24 According to Pralcrtz or nature the nõyaka is described as of three kinds, sättvika, rājasa and tāmasa The distribution of the twelve rāgas between the three kinds of nāyakas according to their temperaments is thus made तत्र हन्द्रिागग रोचनराग कापिल्यराग रीतिराग इति मात्त्विकस्य । कुमुम्भराग लाक्षाराग अभीवराग मजिठागग इति गजमस्य । कर्दमराग कपायराग मकलराग नीलीगग इति ताममस्या So, explaining the term 'yāga' technically it can be said that rāga is attachment in twelve shades which colours the minds of the nāyakas experiencing the Satta. stage of love (पूर्वानुरागानन्तर-मक्षिप्त-सभोग TTT) according to their temperaments 22 SP, p 909 Explaining the term "räga' in SKA and the 22nd chapter of SP, the authoi gives the etymological meaning of the word thus गजते रजते वापि राग काग्णभावयो । (SKA V_68) and (रञ्जरागे इत्यस्मात् राजदीप्तौ इत्येतस्माद्वा भावकरणयोपनि राग इति रूप भवति। (SP Chapter 24 p 88) 23 SP, p 909 24 BSP, p 909 25 SP, p 909 ·ŚRNGARAMANJARĪKATHA (17) There is no other work which treats of the subject of riga in such detail But it is evident from stray references that the concept of rāga with its different names was current long before Bhoja's time as 18 Vätsyāyana takes lāga as a synonymn of love रनो रति प्रीतिर्भावो गगो वेग समाग्तिरिति रतिपर्याया।26 Jayumangala explains 11 अप्टगुणोऽपि राग 127 Vātsyāyana does not specifically mention the different kinds of rāgas, but in the sixth chapter we lead वालो दा नेकत्रदृष्टिगतिमधानप्रधानो वा हरिद्वारागो वा यत्किचनकारी वेत्यवेत्य मदिव्यन्न बा । on which Jayamangalā says हरिद्रारागो वेति। हन्द्रिाराग व गगो यग्य न चिरस्थायी। मयि विरक्तो यत्र गतस्तत्रापि विरक्त पुनरागन्तुकाम किं दास्यति । This shows that though Vätsyāyana does not define the varieties of rāgas yet he and the author of the Jayamangalā aie familiar with the different names and natures of the zāgas Following Bhoja the Agnipurāna in the Alamkāra section mentions three kinds of zāgas as an Ubhayagura of kāvya हारिद्रश्च कौसुम्भो नीलीरागञ्च स विधा । वंशेपिक परिजेयो य स्वलक्षणगोचर 123 This section is considered as borrowed by the compiler of the Purāna from Bhoja, so we cannot vouch for its originality 30 The only work prior to Bhoja which mentions the varieties of rāga, is Ksemendia's Samayamātrkā In it, as in our text, the bawd instructs the courtesan in the secrets of harlotry The knowledge of the rāga is described as the essential equipment for pursuing harlotry as a profession successfully अथ मन्मयमत्ताना करिणामिव कामिनाम् । वन्वाय बन्धकीशिक्षामाचचक्षे जरच्छिखा ।। पूर्व भावपरीव कार्या यत्नेन कामिनाम् । ज्ञातरागविभागाना कर्तव्यो त्यागसग्रहौ ॥1 He gives The rāgas that he enumerates and classifies are numerous eight classes having eight kinds or rāgas each, besides 16 other miscellaneous rāgas The eight classes are १ वर्णानुकारिन् २ धात्वनुकारिन् ३ गगनमगिन् ४ इन्द्रियसनक ५ प्राणिभेदज' ६ पक्षिजाति ७ अगविभागिन् ८ महाराग ९ प्रकीर्णक 26 KS, II, 1, 64 27 Can 'astaguna' iefer to the eight gunas of colour etc referied to by Kşemendia? 28 0p ent, VI, 4, 17 29 346 25 20 For the relation between SP and the Agnipurāna see BSP, pp 505-509 31. V, 1,3 ·THE PURPOSE OF THE WORK 63 The first group of Rāgas contains many names similar to rāgas menthoned above. Thus. कुमुम्भराग. सिन्दूरराग युकुमरागवान् । लाक्षारागोऽथ माञ्जिष्ठो राग कापायरागभृत्।। हान्द्रिो नीलरागश्चेत्यर्ट वर्णानुकारिण । सुवर्णरागस्ताम्रास्यो रीतिरागस्तथापर 132 One Täga of the second class --- the rītırāga - is mentioned in our text. All others are different from those enumerated in the SMK Among the post-Bhoja authorities Viśvanātha is the only one to notice some of the rāgas, and in this he does nothing more than follow Bhoja's SKA आदी वाच्य स्त्रिया राग पश्चात् पुसम्तदिद्विगतं । नीलीकुमुम्भ मजिठा पूर्वरागोऽपि च विधा ।।33 Among the lexicographers Yādavaprakāśa, 34 Halāyudha35 and Hemacandra3e mention and define the Nīlī and the Haridrā ragas He says (v) Now we can examine critically the basis of the classification, natures and illustrations of the rāgas as given by the various texts The basis of classification in the SMK is according to vargas or classes Four primary rāgas, namely the Nīlī, the Mañisthā, the Kusumbha and the Haridrā form the classes There are three in each of these vargas, but there is no specific reason given for the division The classification of the SP is more scientific It is according to the three natures of the nāyakas Thus there is a difference in the pattern of the division of rāgas in the SMK and the SP. Thus SMK (4 vargas) SP (3 natures) मजिप्ठा कुसुम्भ नीली हरिद्रा हरिद्रा कुसुम्भ कर्दम गति कपाय लाक्षा रोचन रोचन लाक्षा कपाय अभीव मकल कर्दम काम्पित्य काम्पिल्य अक्षीव सकल रीति मञ्जिप्ठा नीली Despite this difference in the basis of classification in the two texts, it is interesting, though not surprising, to note the very close verbal similarity in the description and divisions of rägas in them As both the works are from the pen of one author, they should 32 Ibrd, vss 4,5 53 Salutyadarpana, III, 195 The explanation and examples are similar to those in SKA 34 Varjayanti, I, V, 4, 26 35 Abhidhanaratnamālā, II, 219 b, 220 36 Abhidhānacintamani, III, 476, ·61 SRNGARAMANJARIKATHA - naturally be complementary to each other The conjectuie may, therefore, be hazarded that one SP is a theoretical work whose theories the other SMK demonstiales, in other words, the stories of the SMK have been wiitten to exemplify the technical differences mentioned in the SP This conjecturc derives strong support from the following iefei ences in the text शृगारमजरी शृगारप्रकाग अन्यमनस्का बहुप्रकारा पुष्पा भवन्ति व नत्र मक्षेपपक्षे गगोपाधि प्रेमापि हादगप्रकार तत्र रागोऽपि तावत् प्रथमाकलनीय । मच भवति। रागोहादगधा नीलीराग रीतिगग ,अक्षीवगग, मजिप्ठाराग , कपायराग , सकलराग कुमुम्भ- गग लाक्षाराग , कर्दमराग , हरिद्रागग , रोच- कर्दमराग , हरिद्रागग , रोच- तर हरिद्रागग, गेचनगग कापिल्यगग नाराग, कापिल्यराग । तत्र नीलीराग, रीति रीतिगग इति सात्विकम्य। कुमुम्भगग, राग , अक्षीवराग इत्येको वर्ग मजिप्ठाराग . लाक्षागग, अभीवराग, मजिष्ठागग :नि गज- कपायराग, मकलगग इत्यपर । कुमुग्भराग मस्य । कर्दमराग, कपायराग, सकलगगं नीली- लाक्षाराग , कर्दमराग इत्यपर । हरिद्राराग, राग इति नामसस्य, तत् प्रायेग पुरपाणा रोचनागग , कापिल्यगग इति चतुर्य । विशेप (पा) उपजायन्ने । प्रथमे नीलीरागवर्ग नीलीरागाद् रीतिगगा- अथेप विशिष्टनायकविपयो विपत्त उन्यते । श्रीवरागौ किचिदस्थिरावपि नीलीरागप्रकाश- स च माधिकादिनायकभेदात् स्थिगस्थिग- नाद् दगितौ भवत । मजिष्ठारागवर्गे मजिप्ठा- दिनारतम्यात् प्रबन्येन उपपाद्यमानो द्वादा- रागात् कपायरागसकलगगी किचिदस्थिरा- प्रकार उत्पद्यते । वपि मजिठारागप्रकाशनात् प्रकाशितौ भवत । कुसुम्भरागवगें कुसुम्भरागाल्लाक्षागगकर्दमरागी- किचिदस्थिरावपि कुसुम्भगगप्रदर्शनात् प्रति- कृती भवत । हरिद्रारागवर्ग, हरिद्रारागाद् रोचनारागका- पिल्यगगौ किचिदस्थिरावपि हरिद्रारागप्रदर्श- नात् प्रतिकृती भवत । एवमय यद्यपि द्वादश- प्रकारो राग प्रकाशितस्तथापीतरेपा चतुष्टयेऽ- न्तर्भावात् प्राधान्याच्चतुर्वैव भवत्या कुतूहलात् प्रदर्श्यते नीलीरागो मजिठारागो कुसुम्भरागो हरिद्रारागञ्चेति। The classification of the Samayamāta kā into eight classes is based on specific materials like colours, metals etc The division is too elaborate and mechanical and it has not the merit of being based upon the psychological working of men's minds The following table will show the different natures and the illustrations of the rāgas 37 M 37 As far as the SP is concerned, in the following table I have nelied upon the transcripts of the Ms of the SP which were very kindly supplied by Dr V Raghavan The incompleteness of details in some aspects is therefore due to the inaccessibility of the Ms See Appendix II ·ema RĀGA WORK CLASS AND NATURE CHARACTERISTICS ILLUSTRATION 1 Harrdra SP Sättyłka Vanishes at a slight cause, lcama Jimūtavāhana's love for Malayavati overshadowed by the süttvila in Nāgānanda element. SMK Haridra-varga Quickly dies out for Devadattā Somadatta's love (4th tale) Sanayamātrka Colour-class Though protected well, vanishes in a moment . Varjayanti Abhidhānaratnamála Abhidhanacntamani Jayamangalā Inconstant Momentary Contrast to the Nili-raga Transitory 2 Rocana SP Maha-sattva Not much attached, hence quickly Duşyanta's love for Sakuntalā in fades, dharma prompts to actions, Śālcuntala hāma does not bother SMK Haridrā-varga Less steady than Hardrā-raga 3 Kampilya SP Atz-sättvika Can be abandoned with efforts Hariscandra's love for his wife in Hariscandracarita SMK Haridrā-varga Less steady than Haridra-rāga 4 Ritz SP Ati-maha-sātturka Which cannot die out even when Rāma's love for Sitä in Ramayana there is a powerful cause SMK Samayamätrka Nili-varga Metal-class Less steady than Nili-? ãga Becomes Daught even when there is attachment :.

·CHARACTERISTICS ILLUSTRATION CLASS AND NATURE RAGA WORK Vanishes at a slight cause, dipped Väsudeta s love for the gopis in in kiima Harvansa 5 Kusumbha SP Rāzasa SMK Kusumbha-zarga Becomes detached and worhs cvil,! NIādhavas love for Kuvalayasalı cannot tolerate flattery (3rd tale) Remains safe when protected, vanishes on negligence Resplendent though vanishes coon Samayamātrka Colour-class SKĀ Sahityaclarpana 33 foi 6 Lāhsā SP Cnn vanch at 7 slight cause Rajasa Puiūraias's lors Voleranoriasiya # SMK Samayamātrka Kusumbha-varga Colour-class Less steadly thun Kusilmbhe. When stimulated, hccornc attachod when cold, detachech $ 7 Aksība SP Mājas Can fade only when there is a Virts tria's love for ladiriati u great cause Tapzatatkaraja Less Sihady than Vili-yiga. SMK Nili-zarea 8 Mañistha SP Rajasa SMK nlanjastha-varga 1 1 Difficult to lissolve even even when Kunalavassa's love fol Wulasi in there is a substantial cause Viadalarojxil hand 'Does not get detached but indes Vikramasinha's love for 13ntilä (2 talo) Can enjoy for a long time under favourable unfavourable conditions Does not vanish but hunng Sanayamátrka Colour-class SKA Sahitya-darpana the "M WP * ·--- WORK CLASS AND NATURE CHARACTERISTICS ILLUSTRATION RAGA 9 Kan dana SP Tämasa Can be removed by a small cause Agrimitia's love for Irāveti and Mahādevī in Malavikāgninitra Less steady than han Kusumbha SMK Kusumbha-vargat 10 Käsāya SP Tāmasa Dies out on a sound reason Sivagana's love in Vikrantasīrakat SMK Sanayamāt, kā Mañzsthā-vaiga Colour-class Less steady than Mañestha Rough, softness dissolves it ... 11 Sakata SP Tamasa vam sa Difficult to be removed even with Aja's love for Indumatī in Raghugreat efforts Less steady than Mangistha SMK Nangisthā-varga 12 Nili SP Atz-tamasa SMK Nili-vai ga Difficult to be iemoved at all costs Vaisampayana's love for Mahāsvetā in Kädambarī Though it leads a man to destruc-Ravidatta's love for Vinayarati tion it does not vanish (1st tale) Though rebuffed, it is steady, sticks on till the body perishes Which neither shines nor vanishes Rama's love for Sītā Samayamatrha Colour-class SKĀ Constant in love 17 Sahityadarpana Varjayanti Abhidhānaratnamälä Abhidhānacntāmanı " ·08 SRNGARAMANJATIKATILA Its The tabular analysis brings out two points clcaly. 1 Thcic is not much difference in the descriptions of the rūgas 2. The four nigas, Nilī, landrā Mañustha and Kusumbhu that the SMK considers to be principal, are accepted as important by all the writors They seem to be the most distinguished and oft quoted agas. Both the SMK and the SP take the fastness of the colours into consideration freefrTETETT is the key to the gradation In the SP Bhoja has a method in selecting the rāgas to he explained IIC has taken the trcatment of the Sättvika nature first, then the Rajasa and then the Tamasa Within his division also, he has taken the lightest in colour and the less constant first Thus for example 111 the tāmasa class he takes Kardama, Kāsāya, Salal and wilī in order of decpening of colours and the intensity of attachments Considering one rāga after another we follow SP s methort in treating the rāgas of the Sättvika nature first Due to the Due to the predominance of Sattva in these people their rāgas do not leave any permanent impressions on their minds and do not impede their normal work in any manner The lightest amongst this class of rāgas is the Haradiā-rāga Haridrā is turmeric, bright yellow in colour 2: colour is not fast and it fades in the sun So the Haridranaga of a man also vanishes at the sightest excuse सुरक्षितोऽपि हान्द्रि क्षणे व विरज्यते । SP says that in this case Kāma is ineffective ou ing to the excess of qualities like compassion which are characteristic of the sättvika temperament Before examining the illustrations supplied mostly by the SMK and the SP it is important to bear in mind that the examples in the SP and others are to be judged from a general or social or even philosophic point of view, while the examples of SMK are based on a narrower view, namely, the interests and approaches of cou te- Therefore, the interpretations, meanings and values attached to a rāga according to their benefits would be quite different For instance the unflinching steadfastness of the Nili- āga which would be considered admirable by all, is viewed with great aversion in the interest of the courtesan's profession and is therefore condemned The example in the SP of the Hardrānāga is Jimūtavāhana's love for Malayasundarī in Nāgānanda His love for her does not prevent him from following his heart's desire, viz , sacrificing his life for others In SMK Sūradharman's love for Devadattā (4th tale) does not prevent him from leaving her house for the safety of the jewel His return, however, is due to pity on seeing the miserable con- 39 At one place in the SP, it is described as Efes Pictu ataifafai (p 88 chapter XXIV) 39 Samayamātrkā, V, 22 a 39 sans ·THE PURPOSE OF THE WORK 69 dition of Devadattā's household Compassion is the motive here, as SP says म हि तथा न कामेन वाध्यते यथा सत्त्वोद्रेकात्करुणादिभि ।40 The Samayamátykā does not give any explanation for the rāga but only the colour of Hardıā is taken into consideration a The next rāga of this class is the Rocana-rāga. Rocana is bright yellow shining pigment A nāyaka of the locana-ruga is a sättvika type of man who possesses sattva-guna in a greater degree His attachment does not obstruct his other activities prompted by dharma, etc Therefore it is not difficult to forget it, but a great cause is necessary to give it up As for instance Dusyanta's love for Sakuntalā, which was forgotten due to the curse of Durvāsas SMK gives no illustration but includes it in the Haridrā class Kāmpilya is a tree which has bright red seeds As a colour it is deeper than Rocana Not only a great cause is necessary to remove it, but a great effort is to be made as well Therefore it is said to belong to a nāyaka of atz-sättvika nature The example in the SP is that of Hariscandra in the Hariscandra-carta where Hariscandra forced himself to forget his love for his wife to free himself from the clutches of Vaśvāmitra SMK has no example but places it in the Haridrārāga-varga The last of the Sättvika-rāgas, Rītı, is the fastest It belongs to the ati-mahāsāttvika nāyaka The example in the SP is from the Rāmāyana Rāma continued to love Sitā even after driving her out due to the people's criticism SMK offers no example, but places Riti-rāga in the Nīlīrāga varga Samayamātrkā says रीतिनाम्नस्तु मालिन्य स्नेहेनाप्युपजायते । Now we come to the rāgas of the Rājasa hero The characteristic of these rāgas is that when another rāga happens to influence them, the original rägas only deepen further but do not vanish altogether Of these the first is Kusumbha Kusumbha is saffron, biight red in colour The nāyaka possessing the Kusumbhar āga is smart He has no consideration for Dharma or Artha, but only Kama As soon as this person gets attached to another person of greater merit, his attachment for the first person vanishes SP gives Vāsudeva's love in Harivamsa as an instance, in which case Vasudeva's love for the gopis becomes less on meeting the ladies of Dvāraka In the SMK Mădhava possesses the Kusumbharaya After enjoying Kuvalayāvali's company he desires to go away When she and her mother follow him he forgets his attachment, 40 P 909 ·SHXATA,TAI:10.5THA punishes them and itely utisfied vitis ni lae hils, slont, at to Simuyamt: 1317 thus yriju Viskors, win it I sitt prullet 1. + Though not.pecifically mentioneel van cau tuks Sunarati wule) and Viny.dietet nih tali as here, 5 1114 T90-jalti poscenin kiehumbhis-tien dece or he 15 stung in the quick and it icllne. Stribily Vinayadhain romuns in banislı ihn bewd after hic hundi ber 18441) ott, Y The SKA and the Salustadarpang' aplin 17 i 1*** mogli: but liile lo fade avay (717117 7 -trol Lilsias lac which is bright red in colour. e colour it bestuur to a ricon who has too much yijQ4 in fum The empie int SP is of Pururuv.is losing tv ime for the qur 'n ayos 2000, Urvasi SHIK has no cxampic but puts it in tı. Kitaimtisha turun. Sanayamtrkī compares the charictcrisis of the lac vith 11134 Täga faf 772 Trovincia al Trim .18-iha is also a trec. This riga can be icmoved only with great difficulty. Tra instance in SP is Vatsarāja's love for Vás vadatti as described in the Tuna. sauaisartija There Vatsorja is made to forget l'assasadilla Milli great efforts by bus ministers for the purpose of turning isis huni towards the conquest of his lost kingdom SMK has an eV,mple but places it in the Nilitliga-varga. Mañisthā is Indian madder. As a rīga it is deepest among the 1ājasa raga, and it cannot he given up even with great citori quotes Kuvalayasva's love for Madalasa in the indilasopai }yunn as an instance. In the SNIK, Mañisth-riga forms a class by itsell. and it is described as bemg so fast that it fades but never vannes completely यन्नापत्यति न गोमते Vikramesımla 2.d tile) is or this nature He boldly approaches Málatika, but being once offcnded slops going to her though his attachment for her is never lost The Samayamátrkā describes it as many ass 5T OTTH मम । ie persistent under any circumstances, furourable oi ornetwise The peculiauty of the rāgas of the Tāmasa class of niyakas is that they neither vanish as in the case of the rāgas of the Sartikel nāyakas, nor do they deepen as in the case of the rājasa rāgas But when they are spurned they change into another rāga, tnat is, some Www 41 V, p 610 42 III, 197 43 V, 20 44 SKA V, p 610, Sahityador pana III 197 45 V, 21 ·THE PURPOSE OF THE WORK changes set into their natures of this class the least harmful is Kandama. Kardama is mud Its colour does not stick, therefore as a rāga it is not fast For example Agnimilia's love foi Mahādevī and Irāvati which disappears on seeing Mālavikā A minor point may be mentioned here In SP Puiüiavas s love for the queen is quoted as an instance of Lālisi-siya Here Agnimitia's love for the two former queens which fades on seeing Mālazikā, is placed in the Kardama class The question is what is the reason for this differentiation of calling one rāgasa and the other tāmasa in spite of the apparent similarity of situations in both the cases? Perhaps an explanation may be sought m Agnimitia s betraying his unsteadıness in love twice while in Puiuiaras s case it is not so The SJK offers no example for this rāgu, but places it in the Kusumbha-rāga-varga Kāsāya is dull brown red colour 40 The example given in the SP is Śivagana's love in Vikrāntasüra SMK gives no example, but places it in the Mangisthā-rāga-varga Piatāpasimha (11th tale) may be taken as an example of this type of hero He is ugly and sensuous When Malayasundari teases him he gets wild and like a ruthless "liger' injures her The Samayamātrkā describes it as fFTTT au filamu TTT Tufo I +7, that is, he is rough in his attachment but could be advei sely affected by affection Sakala is a fast colour and cannot be removed with great effort even when there is a cause for it SP gives the example of Aja's love for Indumatī in the Raghuvamsa SMK places it in the Mañisthā varga It is difficult to identify Sakala 48 We come lastly to the important and most common Nīlī-rūga. Nilī is indigo, dark blue in colour The attachment of the hero is fastest, most intense in this case, and it is impossible to remove it under any circumstances SP says it belongs to the atz-tāmasa hero The example given is Vaišampāyana's love for Mahāśvetā in the Kadambari 46 Cf कापायी गर्दभस्य कणीं। (SP, p 88 Chapter XXIV) 47 V, 21 b 48 In the śarvatantra the wo:d sakala is applied to soul which has not advanced beyond the lowest stage of progress, and which is bound by sin, ignorance and the bonds of action Cf Sarvadarsanasamgraha of Sāyanamadhava (p 70) पशुस्त्रिविध विज्ञानाकलप्रलयाकलमकलभेदात् । तृतीयस्तु मलमायाकत्मिकबन्धत्रयमहित मकल इति मलप्यते। The work further quotes from Bhoja's own work, Tattvaprakasa to the same effect Can the conception of Sakalarāga have any reference to this technical meaning of the word in śarvatantra?

·72 ŚRNGĀRAMANJARĪKATHA SKA says SMK puts it similarly that though the man is destroyed in a hundred ways he does not give up his rāga, just as a cloth dyed in indigo does not lose its colour even when washed by soda and the lıke in many ways The example is Ravidatta of the first tale He is versed in all the śāstras and arts but does not know how to make practical use of them He has no sense of discrimination Unwittingly he gets caught in the snares laid out by the courtesan Vinayavati and does not even understand her pretext in driving him out Foolishly he waits for her and his tāmaszka deep altachment does not leave him till he dies 47 यन्नापैति न चाति- ITT HTTI 49 and gives Rāma's love for Sitä, making a golden statue of hers after driving her out, as an example - Sāhityadarpana also foilows it and says यथा श्रीरामसीतयो । 50 Samayamātkā says नीलो देहक्षय- स्थायी वार्यमाणोऽपिनिश्चल । The lexicographers put it uniformly (to mean) that the hero is steady in love 52 Now a point may be noted It has already been pointed out above that instances in the SP and SMK may differ because in one it may be from a general point of view, while in SMK it is only from the point of view of the courtesan's gains and approaches Nīlīrāga therefore would be a plague to the courtesan's life, and therefore it is called Tāmasa SP also says agfagtaRTI In view of this it is surprising how SKA gives Rāma as a nāyaka of Tāmasa nature 15 In this context we may refer again to the Ritz-zāga In SP it is described as belonging to the Mahā-sättvika-nāyaka, and the example there given is similar to the one in the SKA, namely, Rāma's love for Sītä Therefore is would be more appropriate to take Rāma's love for Sītā as an example of Ritz-rāga This is how the different rāgas are explained and illustiated Generally speaking it can be said that the divisions are made according to colours, and their qualities of fastness etc are taken into consideration The Samayamāt? kā has also a colour division but the "erotic classification of different types of men after different kinds of birds and beasts" is not very happy Bhoja derives the word from ranj, to colour, and the sattva, rajas and tamas elements are usually associated with brightness, redness, and darkness and the materials associated with them have shades of these three 49 V, p 609 50 HII, 196 51 V, 22 52 Yadavaprakasa, Varayanti, 1, V, 4, 26 Halāyudha, II, 219 b Hemacandra III, 476 ·ISIC PURPOSE OF THE WORK 73 colours, therefore the colour başıs for the classification of the diffeient kinds of rāgas is significant and logical This is how Bhoja and others treat of the subject of zāga In so far as the present work deals with the rāgas we can say that one of its main purposes has been to illustrate the zõgas technically dealt with in the SP This points out incidentally its close relationship with the SKĀ and the SP, and strengthens Bhoja's claim to the authoisuip of this work The second purpose of the text, as has been mentioned in the beginning, is to describe ceilain dangers a courtesan has to guard against and 10 lay down certain rules of conduct she has to follow to make her liic a success This is done through illustrative stories which shed interesting side-light upon the institution of courtesan and also upon certain sispects of the social life of those days There are certain technical points regarding the ganzkā as a 'type' of näyıkā to be considered also This will be dealt with in the next chapter ·CHAPTER VI A PICTURE OF THE TIMES The SMK presents a graphic picture of the times in which it was written The main scene is laid in the city of Dhārā, but the stories take us throughout the length and breadth of India. The teritorial boundaries of the political states changed with the rise and fall of kingdoms one after another Social life with its timehonoured customs and traditions evolved differently in the different parts of the countıy, and yet, as we read of various happenings in the different cities we feel under neath it a deep and constant flow of cultural homogeneity which presents the picture not of this or that part of the country, but of the whole of India, one and undivided Geography SMK has a large geographical canvas From Udyāna in the north Peshāwar we come to the Simhaladvīpa in the South, and from Kachcha on the sea in the west to Prāgjyotisa in Assam in the east Among the countries Avantı, Kaccha, Nepāla. Pancala, Magadha and Malaya are mentioned Avanti, the ancient name for Malwā, with its capital Ujjayınī is well-known The present text also refers to it as 7 37F4afrag with your favit hr FTITETI The city of Ujjayınī is described as being presided over by Śii Mahākālanātha His heart was captivated by Ujjayıni's charm, so he left his abode on Kailāsa and took up his residence there In all the three stories where Ujjayıni has been mentioned, Vikramārka or Sāhasänka or Vikramāditya is referred to as the king Kaccha and Nepāla are what they are today The land of Nepāla is described as being fragrant with the musk of deer Alicchati a (modern Ramnagar in Bareilly District, UP), the capital of North Pañcāla, and Kanyakubja (modern Kanoj), the capital of the south Pañcāla, are mentioned 1 Magadha is an ancient name and is identified with South Bihar Malaya is Malabar, Cochin and Travancore Hasiznāgapura is the same as Hastināpuia, the capital of the Kurus, northeast of Delhi There is also a reference to a Hastigrāma, a town of the Brälimanas on the bank of the Ganges Kaušāmbi (modern Kosam on the Yamunā, neai Allahabad), the capital of Udayana (Vatsa country) and Vidzśī (modern Bhilsa) are well known Prāg- For the identification of the places Nundolal Dey's 'The Geographical Dictionary of Ancient and Mcdiæval India' has been followed ·A PICTURE OF THE TIMES 1 jyotişa is identified with Gauhati in Assam, and m the text is descubed as being adorned with lorsnäguiu The corrupt form of Tāmralıpu (modern Tamluk in Midnapore District, Bengal)--Tāmaliptım is given in the text Kundinapura (modern Kaundinyapur in Chandur taluk of Amraoti) is ancient capital of Vidarbha Valsaqulma (Basım mı Akola District, M.P) is another town of Vidarbha as Pijdsekhara states it to be ? But Vätsyāyana mentions Vatsagulma and Vidarbha as though in two different countries 3 IIowever, Vatsagulma situated in Vidaibha would suit the context of the story hele better on account of its being in the vicinity of Mānyakheta Nāsıkya (modern Nasik) is incidentally neferred to Līta (Southern Gujarat) Kerala (Malabar Coast), Konkana and Dravida (South India) have been mentioned kañci is Conjeevaram and its description as having conquered the three worlds by its wealth of beauty would be proper since it was the capital of the powerful Pallavas since the ninth century Ulagapura was the capital of the Colas and Pallavas, who after being forced into obscurity by Kalabhras, Pāndyas and Pallavas reached their zenith of power in the 11th century and ruled over the whole of the Tamil country It is ieferred to as having a powerful king The town has been variously identified with Uraiyui on the southern bank of Kaveri near Trichinopol14 (present name Tirucherapalli), Nagapattam5 and with Maduião Another great capital of a powerful contemporaneous kingdom mentioned is Mānyakheta (modern Malkhed in Hyderabad State) It is said in the 8th tale that the hero was in Pundravardhana and desired to join the services of the sovereign of Mānyakheta From Pundravardhana he went to Vidiśā, thence to Bhāıllasvāmidevapura, from there to the town of Pūrnapathaka, and then to Mānyakheta Pundi avardhana (modern Mahāsthân near Bogra) is in North Bengal. Vidišā is modern Bhılsā in Madhya Bharat Bharllasvāmı. devapura? is 12 miles from Bisnagara From there he entered Pirnapathaka in Berar The identification of this town is somewhat difficult But in the modern district of Parbhani (CP) we read of a town called Purna,a which is on the way to Mānyakheta We can 2 Kavyamimāmsā, (KM) p 10 STREET मनोजन्मनो देवस्य क्रीटावासो विदर्भपु वत्सगुल्म नाम नगरम् । 3 KS, V, 6, 35-36 4 Classical Age, p 244 5 Dey, op cit, p 211 6 Upadhyaya, BS, Indra in Kalidasa, p 67 7 In two stone inscriptions of the twelfth century this place is mentioned See Ray, HC, The Dynastic History of Northern India, Vol II, pp 706, 999 8 Vide, The Imperial Atlas of India, Map No 56, 70° -19° ·76 ŚRNGĀRAMANJARIKATHA take that as identical with our Pūrnapathaka 9 Mânyakheta was the capital of the Rāstrakūtas whose ſeudatory was Siyaka, Bhoja's grandfather He had, however, thrown off the suzerainty of Mânyakheta After the Rāstrakūtas, Taillapa, the Cālukya, who ultimately defeated Bhoja's uncle Muñja, was ruling from Mānyakheta, therefore the echo of Mānyakheta being the seat of a sovereign ruler is heard in the text Simhala-dvipa is the southernmost extremity of India that is mentioned, and Udyāna is the northern-most Udyāna is identified with Uddayāna situated on the Swat river The most important city mentioned is, of couise, Dhārā, the capital of the Paramāras It was during the rule oi vairasimha oi Siyaka II that Dhārā became the capital of the Paramāras o In the Navasāhasänka-carita of Padmagupta, a poet at the court of Bhoja's uncle Muñja and his father Sindhurāja, Dhārā is called the 'other Capital ( (aparā kularājadhāni) 11 And historians record that Bhoja rebuilt the city in the middle of the 11th century and transferred the capital there from Ujjayini 12 It is taken to be the most distinguished city during Bhoja's time, and the description of the city that we get, though conventional, speaks of the wealth and prosperity of the city. Two islands outside India are mentioned, namely, Suvarnadvīpa and Ratnadvīpa Suvai nadīpa is in South East Asia and can be roughly identified with Sumatra Ratnadvſpa is one of the islands near Java There is the usual reference about these places that merchants from India went to these places and returned laden with riches Among the mountains the well-known Himācala, Karlāsa, Meru, Añjanagua Mandara, Rolanācala, Amaragiri, Mekala, the Suktamantaparvata and the Śrīparvata are mentioned Mekala is the same as Amarakantaka from which the Narmada takes its rise Śni parvata is in the South 13 Rohanācala is the Adam's peak in Ceylon, also called Sumana-Kūta śuktımantaparvata is a portion of the Vindhya range 9 In the History of the Paramāras Ganguly gives a list of names of Mandalas of the Palamāras of Mālwā from available iecords Among them Pürnapathaka is mentioned (p 236) 10 Udaipur Piasastı of the Kings of Mälwâ, EI, I 233 ff जातस्तस्माद्वैरिसिहोन्यनाम्ना लोको ब्रूते वज्रटस्वामिन यम् । शत्रुवर्ग धारयासेनिहत्य श्रीमद्धारा सूचिता येन राजा ।। 11 I 90 जेतु पुरी साऽप्यपरास्ति यस्य । धारेति नाम्ना कुलराजधानी ॥ 12 Ganguly, op cit, p 27 13 In a Prakrit inscription from a Buddhist site at Nāgārzunikonda we read मिरिपर्वते विजयपुग्यिपूर्वदिसाभागे विहारे etc The editon of the inscription observes that the tradition in Tibet that Nāgārjuna spent the concluding part of his life ·A PICTURE OF THE TIMES 77 Among the rivers Kālindi is mentioned Nai madā is called Mekalakanyakā The Gangā is described as Tripathagā and Mandakini šiprā in Ujjayini and its tributary Gambhīrā are mentioned Tāpī is given a rare variant, Tapani The present Sābai matí is called Sambhramavatı 14 Tāmraparnī in the South is conventionally described as having pearls Kingship and Administration The head of an Imperial State was called Cakı avartin Не ruled over the neighbouring kings The description of the king of Uragapura (9th tale) is the conventional description of a sovereign म चतुरशीते सामन्ताना द्वादशाना च मण्डलेश्वराणा पट्विशतश्च राजकुलिकाना द्वासप्तते- राटविकपत्लीपतीना च चतुर्विशते कार्वाटानामेकविशते कोडकणाना पत्रिगतश्च बेलाकुलाना- माधिपत्यमकरोत् (p 66) The reference to the thirty-six 'Rājakulikās' is a reference to the ruling royal families 15 The Konkaņas are the people of Konkan, the Kārvātas are the people of the villages and the Velākulas refer to the people living in the thirty-two ports that might have existed then The Atavikas refer to the forest tribes of Śabaras, Bhillas, Barbaras and the like The whole of the kingdom was divided into a number of mandalas (provinces) and governors were appointed who were called mandalesvar as Mandalas were further divided into bhogas and visayas The sāmanta was in charge of the visaya Together with these the other two officials mentioned herein are the dandapāśrka and the mahattama The Bhoga was further divided into pathaka We have a reference to the Malayavisaya and the Pūrņpathaka In those days kingship was not nominal The king was the constitutional as well as the executive head of the State The life of a victorious king was a judicious mixture of duly and pleasure His burden of the care of his kingdom (rāgyapālana) and studies of the śāstras (Šāstravicāra) were lightened by his hobbies like fighting elephants (Gajendrānanuyodhayan) and riding horses (vājino vāhayan), practising archery (sāyakābhyāsa), witnessing the practice of warfare (yuddhāvalokana) and learning the use of arms (sasti ābhyāsa) Light amusements and sports like huntin a monastery in southern India associated with his name is presei ved upto the present day in the name 'Nāgārzunikonda' (EI, XX 1929-30, p 22, Inscription F Second Apsidal Temple Inscriptions (line 3) Edited by Prof J Ph Vogel) This would help us to locate the exact site of the Śrīparvata 14 KM calls it Švabhravati (chapter 17, p 94) 15 This reference to the thirty-six ruling families is important, as it is eailiei in point of time to Kalhana's (c 1159 AD) reference in the Rājatarangini Mr CV Vaidya, op cit, (p 388) gives a list of the thu ty-six Ruling families and holds the view that it was drawn up during the time of Candra Gähadavāla who ruled from 1080-1100 AD.

·78 ŚRNGĀRAMANJARĪKATHA ing (mrgayā), roaming through woods (udyānavihar aña), watersports (jala-krīdī), the company of beloved (pranayınīsamāgama), meeting of friends (pranayagosthi) and witnessing dramatic performances (pieksī) were equally important for him These occupations speak of his accomplishments in the aforesaid arts and sciences also and bring to our mind the picture of a king, sound and healthy in mind, body and spirits A good ruler was also a good artist (kulagi ham kalānām) and a learned man (pramadodyānam vidyālatānām) Dharma and Nātr found equal place in his life (prabhavo dharmasya, nidhānam nīteh) The result was that kingship did not leave him either a ruler without learning, or an artist without character or a master without appreciation of the beauties of life His accomplishments helped him to build up and live fully a well-balanced life The gifted people sought the patronage of kings in all their endeavours There were held special courts where the works and achievements of the poets, artists and others were examined, and the king usually signified his appreciation of merit by awarding handsome gifts As a matter of fact following this normal practice of the kings of old like Sātavāhana, Sūdraka and Sāhasānka it was laid down in works like the Kāvyamīmāmsā that kings should hold literary courts to promote the advancement of cultural activities 16 When fortunately the king was gifted with poetic talent himself, he found it easy to collect the best talents of the day round him It is interesting-to observe that the SMK is set in the atmosphere of one of these literary assemblies of the times It was suminer and the king, surrounded by a few relatives, friends and learned people, was seated in the bejewelled and cool dhārāgrha on the central high pavilion The king is requested by those present to tell them a new story for their delectation There is an exchange of view's regarding the virtue in speaking about oneself Ultimately the king starts off with the tale which would please his friends as well as the literary connoisseurs This small introductory passage in SMK indicates the traditions of the actual literary courts of Bhoja 17 The king it may be supposed, ruled justly but there can be no doubt that his personal prejudices and predilections played an important part in the administration, on his favours or frowns depended even the lives of the people 18 16 18 Chapter X, pp 54, 55 See supra chapter two, pp 16, 17 For instance, gifts of crores of gold pieces, nich dresses and presents of elephants were given to Devadattă (5th tale) and Livanyasundarī (6th tale) Similarly king Samarasimha offered 4000 villages to Sundaraka (11th tale) and Ving of Pūrnapathaka ofiered 1000 villages to Rainadatta (8th tale) ·A PICTURE OF THE TIMES 779 Though the king was thus the most important limb of the state it is surprising to note that his political or military achievements had very little effect on the lives of the people. The wars against other kingdoms were taken to be the normal occupation of the warrior class and were not considcied worthy of literary record This would explain why a work like the SMK written by a king like Bhoja, ever engaged in miltary exploits and political alliances, rcmains completely silent on such activitics The City and its Social Set-up The city was the most important centre of all activities A picture of the cities of medieval India preserved in literature emphasises a highly rich and pompous way of living All the wealth of the State was concentrated there As stated above, the story of SMK is laid in the city of Dhārā, the capital of the Paramāra rulers The picturesque description of Dhārā with its wealth of details throw interesting light on some of the important features of the city and its planning which was as important in those days as it is today Bhoja in his Samarāngarasūtradhāra devotes a whole chapter to town-planning 19 The details of the layout of the city and life therein are dealt with here in order to bring into bolder relief the continuity of our cultural traditions, whose roots can be traced as far back as Kautilya's times The city (puri, nagarī) had an outer wall (prākāra) 20 It was whitewashed; for it is described as being white as snow It was circular in form and was studded with various precious stones On it were watch-towers (attālaka) 21 with high decorative indentation (uttunga kapuśirsalca) 22 The city wall had four gateways (pratoli)23 While on the other hand Ghuda was unnecessarily harassed, put in prison and fined by king Vajramukuta King Samarasimha first eagerly sent his men to punish Ratnadatta and in the last tale we read that the queen's nose and ears were cut off and she was put in prison and Müladeva's wife and the merchant were deported by the king 19 Book I, 10 gramap] GT4 The featuies of the city described in this work are mentioned in the SS, so it has been quoted often 20 पुरम्य विविधस्यापि प्रमाणमथ कय्यते । प्राकारपरिसाट्टालद्वाररथ्याध्वभि मह ।। (SS, I, 10, 1) The Watchtowers were in four directions प्राकारेऽट्टालकास्तस्मिन् दिक्षु दिक्ष चतुर्विधम् । (Ibid, vs 31) 22 The kapıšīrsaka is a very old architectural feature Together with the moat and towers it is mentioned in Kautilya's Arthasastra, Book II, chapter III In Prākrit it is called Kausīsaga SS gives its measure in height to be an hand हस्तोच्च कपिशीपंक म्यात् । (SS, I, 10, 30) 23 The modern word Pola is derived from the word pratolí, Prākrit paolr EUF Tait Faq ETERICE GT I दृटार्गलाश्चेन्द्रकीला Traffatraat 11 SS, vs 38 3 21 ·80 SRNGARAMANJARIKATHA with bioad and heavy doors (utataghanakapāļa) There was at moai (paricha) encircling the entire city wall In the city there were main roads and streets (rathyā) lined with shops (vipani) and palatial mansions (prāsāda), stuccoed (sandha) and lavishly decorated with various precious stones and gold The residential quaricos were variously called präsida, bhavana, grhalen, vcima and sonnveśa-sthāna Besides the extensive outskirts of the buildings (bhavanopasalyāni) the city had innumerable public parks (upuvana udrjānu, pramadavana), artificial hills (hiçlā-sarla), lakes (saras, tadāgu), wells and tanks (vāpī, dārgmikā, puskarini) and public baths (o nãiiigrha) artificially watered (yantra-dhārü-giha) Thesc ucre in such an abundance in the city that it appeared to be प्रागादमयमिव भवनतल केवल, मौवमय इव नूतन मर्गावतागे, विधेर्दाधिकामयमिव महिमण्डल उपवन पयमित्र दिया phargai (p2) Prāsādas were palatial mansions They were very high and were white-washed as the term 'saudha' signifies 2' But they are variously designed as 'kanaka-saudha', 'sphatzka-vesma'. 'marakata-mani-prāsāda' etc probably because of the predominance of the decorative materials Some of the architectural details are very well brought out in the descriptions The salient features are pinnacles of gold (harakaśikhara) or of precious stones 25 The candı aśālās were the special apartments on the terraces from which the moonrise was observed 26 These rooms were white-washed and the walls and ceiling were decorated with paintings, and were studded with sapphires The buildings had several storeys (tala) besides the terraces (utsanga) Utsanga is explained as any horizontal area oi level as of a roof of a house The floors were studded with crystals and were resorted to by the people in the summer The roof was sloping and the porjecting eaves (valabhikā) had water channels made of moonstones at the end of the ridges (valabhikā-candramani-pranalı) The valabhılcā was also a small projecting balcony, sometimes called vadabhi, and was studded with emeralds (garutmata-valabnikā) or made of ivory (danta-vadabhī) Nzrydhas are generally explained as dove-cotes Besides these there were particular projections 11 the houses at certain heights on which zows of swans or pigeons were carved These were called hamsa-pālis and kapota-pälzs The walls of the mansions were whitewashed on the outside, but decorated within with pictures and precious stones The floorings had सुधालिप्ततल हर्म्य सौध स्यात् कुट्टिम च तत् । (Ibid, p 87 vs 12) 25 सद्मशीर्पश्च दातव्यो यथाशोभ यथामचि। (Ibid, p 160, is 18) The Candrasālās were apartments in the terraces, white and decorated with paintings Because of the paintings these apartments were also called Citrasálās They were reserved for the newly weds Even now in Rajasthan there are similar apartments and they are called Cittasäris > 24 26 ·A PICTURE OF THE TIMES 81 chystals, sapphires, rubies, corals and the like studded in gold and other minerals On the grounds were built pavilions (vedikā) with raised seats (vztanka). These also were decorated with precious stones The courtyards (prängana) and arches (torana)27 were necessary features of the buildings. Stair-cases (sopāna) and windows (vātāyana) were made of crystals Slightly different from the windows were the 'gavāſcşas', windows with fretwork in stone In the royal palaces were special audience halls (ästhāna) and pleasure pavilion (krīdā-mandapa) both inside and outside 'sayanāgāra was the bedroom and 'Apavaraka' was another name for a room The parks (udyānas) had, of course, their natural beauty, but they were planned and well-provided with artificial lakes, tanks, lotus-ponds and hillocks The secanalcutīs were kept cool with water sprinkled from leather bags, and they were resorted to by the pleasure loving couples to escape the heat of the summer The most interesting feature was the yanti a-dhārā-gina which was an ideal resort during the summer season It is an old feature of the cities, for we find the mention and description of the same in the Kādamabarī,28 the Yaśastilaka-campū,2e the Tilakamañjai i30 and many other works. The construction of the yantı a-dhārā-gria was very elaborate, and therefore the kings alone could afford them 31 At the very outset of this work we read that the king was seated in the dhārā-grha But the description of the city includes another yantra-dhārā-grha, which was accessible to the people of the city The purpose of the dhārā-grha was to seek refuge from the heat of the summer days It was made of dark coloured stones to deflect the heat and keep the inside cool Various pavilions and balconies were provided within the house Pillars, pillartops and carved dolls on them (pattaśālabhangikā) adorned the chambers On the top of the pillars (stambhaśīrsaka) were small statues which looked as if they bore the burden of the whole roof They were called bhūraputrakas, and their reflections in the pillars multiplied their number The dhārā-grha was kept very cool as if it was made of camphor, snow oi bits of the moon The torana is beautifully described in SS (p 89, vs 36-38) पार्श्वयोरुभयोरेपा फलकट्टयमुच्छ्तिम् । उपर्युपरि सक्षिप्तमर्धचन्द्रद्वयाकृति ।। आनने द्वे यथा चास्मिन् रिलष्टरुयैर्महाधरै । तयोरुपरिसन्धौ च तारकाकृतिमण्डलम् ।। तत् तोरणमिति प्रोक्त यच्च तेन परिप्कृतम् । सुवर्णतोरण च स्यान्मणितोरणमेव च ।। मणितोरणमप्येतत् क्रियते पुप्पकादिभि । Pp 438-39 Book III, p 522-532 Pp 178-190 प्राकृतजनार्थमेतन्न विधेय योग्यमेतदवनिभुजाम् । HEIGAHAT TGN fecufae gegroetical SS, p 179, vs 118 27 28 29 30 31 ·82 ŚRNGARAMANJARÍKATHA In the courtyards of the dhārā-grha were tanks and lotus ponds in which at some places mechanical tortoises swam up and down, at another, mechanical families of cranes were cheated by the swimming mechanical fishes, and at other places the mechanical crocodiles frightened the dolls fashioned as mermaids Inside the dhārā-grha were many mechanical contrivances. Dolls of various sizes and shapes danced and played music. Mechanical cranes, bees and cakravākas moved up and down like living ones Water flowed from all possible slits and holes--the eyes of the winged crocodiles the mouth of the pea-hen, hair, palms, nails and breasts of dolls, mouths of monkeys climbing up an artificial tree, from the ground underneath, walls, ceiling, lotuses, pillars and pillartops On the whole it created the illusion of pleasant rainy days within when as a matter of fact the sun blazed fiercely without It was natural therefore that the whole populace was bewitched by the splendour of such a yantra-dhārā-grha इद नानाकार कुलभवनमाद्य रतिपते- निवासश्चित्राणामनुकरणमेक जलमुचाम् । पय पातीप्मे रविकरपरीतापगमन न केषामत्यर्थ भवति नयनानन्दजननम् ॥2 The picture of the city bespeaks the prosperity and grandeur of the times With the increase of material prosperity the lives of the people flowed easy and smooth There was ample time, oppor. tunity and means to indulge in every interest and temptation that life offered If this text were taken to portray a faithful picture of its times, it offers us a glimpse of the pattern of the social life in general The picture, it must be confessed, is hardly flattering or respectable The mosaic of the population was made up of Brāhmaṇas, Ksatriyas, Vaisyas, Kāyasthas and men of other professions But the way of life of the individuals described in the text indicates nothing high or noble about them It may be wrong to inier that the whole social fabric was corrupt, that the air was thick with fraud, greed and slickness, and that society was suffocated with the stench of lust; but it cannot be denied that at least partially it was so. and even the rich and the respectable descended to low and vulgar levels The social arrangement demanded that the populace should be distributed among different localities according to their varņas and professions The locality of the Brāhmanas made the entire city look as if it was a world of Brāhmanas, for at places rows of ši oti 2- yas moved up and down engaged continuously in various rituals At some places the recitations of the khilas and nigamas could be heard, SS, p 182 vs 148 See Notes 32 ·A PICTURE OF THE TIMES 83 and at others discourses were held on the soutis, smitis, vyākai anaśāstia, purānas and itināsas The Brāhmanas were rich and learned The mention of the liches of the Brāhmanas reminds us of the verse मुक्ता केलिविमूत्रहारगलिता समार्जनीभिर्हता प्रान प्राङगणमोम्नि मन्थरचलावालाडिघालाक्षारुणा । दूराहाडिमवीजगडिकतधिय कर्षन्ति केलीशुका यद्विद्वद्भवनेषु भोजनृपतेस्तत्त्यागलीलायितम् ॥3 The Brāhmanas followed the path laid down by the śrutz and the smrti. (Efteaza fata acHaT TECHITEY etc) Boys were invested with the sacred thread and initiated into studies at a young age By the time he was sixteen he completed his studies (क्रमेण चायमुपनीतो विधिवदधीतसकलवेदाडगो अधीतसकलशास्त्र ) and entered life with full zest The bulk of the Brāhmanas may have followed their ancestral occupation of study and rituals and received the titles of distinction, but all spheres of activity were open to them We hear of the Brāhmana Visnudatta, who became a king, and Madhava who returned from Simhaladvipa after doing good business The kings, princes feudatories and courtiers came from the Ksatriyas They were rich, charitable, pleasure-loving and valo- The position of the king has already been described above The third important class was that of the Vaisyas, the merchants The sons of merchants were well up in all arts and sciences, lıke gaja-śāstra, asva-vidyā, vanık-kalā, dyūta-rahasya, varsikopanisad, citra, pati acchedya and pusta-kalā For them it was not obligatory to join their father's business (Cf Ratnadatta's attitude) The city's wealth and splendour depended upon the wealth of the merchants, and therefoie they were an important class of people Besides these three classes, the Kāyasthas are mentioned According to the Varna-dharma they form an intermediate caste But prior to the epoch depicted in this work, the Kāyasthas were in the administrative services of the kings They formed a class of government officers In the Narmamālā Ksemendra devotes a whole chapter to the Kāyasthas, where the first verse eulogises them rather sarcastically, thus येनेद स्वेच्छया सर्व मायया मोहित जगत् । म जयत्यजित श्रीमान्कायस्य परमेश्वर ।। The references to Kāyasthas are generally full of scorn and deroga. rous 33 Mammata, Kavyaprakāsa, X, cf the following description न पक्षपातेन वदामि सत्य उपस्मु यस्या भवनाङगणेभ्य । ममार्जनीभि परत क्रियने fagfaldarafetfanfar Padmagupta, Navasāhasankacarita, I 27 ·SRNGĀRAMANJARIKATHA 84 tory, and they are described as dishonest, corupt and disreputable administrators It seems that aciresses personated female paiis on the stage, and they were experts in their art Theic arc rcicrences to fortune. tellers (salcunika) and persons proficient in magie (rudrajālika zeciyi i and mesmerism (mohana-vidyā). Of men following other professions we lic.ir of the olmalı (tarlıka) doing his hereditary work and prospering in it Thc nicol cine man (wardya), agricultuust (karsakajang), smith lohakäial}, weaver (tantuvāyal, keeper of the gambling house (sabhika) The slaughter house (sūnā) is mentioned along with the barbar (1ārta and the hunter (vyjādha). The picture of the countryside is roseatc and rich Agricultural prosperity is evident in the descriptions of the cmerald-like gice sice-fields protected by the kalamagopikās, thc barely fields and foi ests of sugarcane The return of the cattle in the evenings from the rich pasture lands was inferred from the tinkling oi the bells Wood for fuel was available in plenty from the forests Outside the cities in these simple surrounding dwelt the villagers (Kārvajas) and along the seacoasts the sea-faring men (Velikülas). The forests were full of the Sabaras An interesting ethnological description of the Śabaias is given thus at one place They were well-built and dark in colour They had snub noses, high cicekbones, pointed chins and small ears. Their cyes were red-shot and wide open and their eyebrows were knitted With curly han 2 with sparsely growing beards, with peacocks feathers tied to their hali with bows and arrows in hand blowing horns and marching in groups they frightened away not only the travellers but also the wild beasis The Kırātas the Barbaras and the Bhillas also had their restdences (pallis) in the forests, which could be inarked even from a distance during the mornings due to the sweet songs of the women. folk while pounding bailey and rice at their doors These are the divisions of classes and professions But the members of respectable classes referred to in the text are only the men about the town (nāgaraka) who led easy-going and sophisticated lives, basking in luxury Vätsyāyana has devoted a whole chapter to the description of the Nāgaraka's life and we have a contemporaneous literary record to the effect that it was a favourite pastime of such men to indulge in the science of Erotics day and night For company, they had hangers-on like the Vitas, 34 Dhūrtas, Dindikas and the Singas who were ever ready to help them in theu 34 Padmagupta, Navasāhasānkacanta, I, 30 ·A PICTURE OF THE TIMES 85 amorous adventures But the company most desired by them was that of the hetaira. In order to be worthy of their interests and accomplishments the hetaria also had to be educated And gradually, as the respectable members of society took more and more interests in them then position and status improved considerably and they came to be regarded as the most advanced, cultured and welcome members of society 35 The SMK is concerned mainly with this important section of society These women die to be distinguished on the one hand from the gay and beautiful ladies of the town, and on the other fiom the ordinary vesyās or prostitutes, the common women About the former we come to know, from stiay references, only this that they were dressed and adorned in the fashions of the day, their han was long and was braided or knotted and was always decorated with seasonal flowers Tādanku, danta-patra and kundala were their ear-ornaments, be-jewelled necklaces and flower garlands adorned their necks, valaya kankana and keyūra were then armlets, and their feet constantly resounded with the tinkling of the núpuras Fragrant sandal, camphor, kumkum and sodhi a pollen were applied to their bosoms and then palms and feet were painted with the alaktaka dye Besides the accomplishment of music (sangīta) or taur yatriku-the triple haimony of singing, dancing and instiumental music-we hear of no other accomplishment of theirs This is because the whole work is devoted to the lives of courtesans The ganika is enumerated along with the veśyā, but there is a vast difference between the two A few technical points may be noted here The Kāmasūti a mentions nine types of common women, namely, humbiadāsī parıcārzkā, kulațā svairınī, natī, śilpakārikā, piakäravinastā, rūpājīvā and the ganıkā 36 Bharata calls her bāhyā,37 dhanıkā, sādhāranī,se and Rudrata sümünya 39 Bhoja also calls the common woman samanyä, and further gives three divisions ganıkā, rūpāpīvā and valāsınī 40 The SMK uses the words vesyjā, 35 From this it is not proper to infer that other women in society were absolutely ignorant and unaccomplished as is done in the following lemark of Dubois The courtesans are the only women in India who enjoy the privilege of learning to read, to dance, to sing' (Hindi manners, customs and ceremonies, p 586) 36 कुम्भदासी-परिचारिका-कुलटा-स्वैरिगी-नटी-शिल्पकारिका-प्रकागविनष्ठा-रूपाजीव-गणिक चति वेश्याविरोपा (VI, 6, 54) 37 Nātyaśāstra, 22, 146 वाह्या वेगाटगनाकृते । 38 Dasarūpaka, II, 15 ff म्वान्या साधारणस्त्रीति तद्गुणा नायिका त्रिधा। 39 Singaiatılaka, I, 62, 65 सामान्यवनिता वेश्या सा वित्त परमिच्छति । 40 SKA, V, 113 a आजीवतस्तु गणिका रूपाजीवा विलामिनी ।

·$6 GANGARAM19JIRIKATILI 2 vešavanta. requilasını panja (171111*! 18* (prefrotein, JP]]}+34 tr, därikā, sadharani, ganilia, "p**{Yu1 at i-ill uf iht'in tekin us thre qanila $ The position of the country foly* 5x11! In this this common women because slie Wals like the ut?p1 Athunt and it hetera of Greece, the privileged soman inicy w due os companion of kings and weilthy axchant part of Il is difficult 10 trice the lusterilu 11;;; of the stribution of couitosans in India is is done with regar11 tu ili Erani Geisha Guild i But it cems in biva 1164n lidmully il Vega d. As far back as the time of Kautilya ile !!!Sztutsast (twerte'0151 y as ſauly established The Artist: « has it Whole ofwptat sicutis with the Superintendence of the park (ills that wer's stol kataly hereditary " which reminds us of the Gurih. quelca i laps of time present day. The Arthasistra tells us that the protes?on?! ask was not necessarily hercditary," and the gangs were trained entertainers holding highly paid posts in the hus's cout Tiny 450 ala em. ployed in the temples A couiicsan wil n01 a 11de vomon, but was under strict olicial control, eve: liable to sufler pilly ſur breach of regulations The registiation and regulation of the 409194 kās that we read about in the Hathanaista wis mon for thit Sufriy of the state thun for any other season And it was better than alle Roman tradition where registration and the minor tegulations such as the dyeing of hair and othei disabilities were inforord foi separat ing the ganīkās for public reprobation and penalizing them for their profession 10 Bhoja describes the ganika es' Hemacandia दिानत पनि re w Y 41 Vide Fergusson, W. S, Hellenistic Athens London 1911, p 71 falso Modehouse, Grech Prostitution in Hastings' Emrloporia of Religion and First Vol %, p 401 fr 42 Wallace, Irving. The Geisha Guld, in Trícolour, Vol III Septeinhor 1911, pp 30, 31 43 Book II, Chapter 27 44 गणिकाध्यक्षो गणिकान्वयामगणिकान्वया वा म्पयौवनशिल्पमाना सहरण गणिका भाग्यत । 45 CE Livanyasundari (Sth tale) Sh eu as callca arghy-rittihe conveying thic sense that her fortune was in ofſeung argha to gols and propatinting them by dancing Penzer in his note on Sacred Prostitution' (Appendix IV T) Ocean of Story, Vol I) has thoroughly treated thus subject by pointing out its oligin and comparing similar practices existent in Babviona, Syug, Phousicia, Canaan and West Africa 46 Hogarth, D G 'Graeco-Roman Hietodouloi, Histings' Encyclopedia of Religion and Ethics, Vol VI, p 671 f 47 SKA, P 498 ·A PICTURE OF THE TIMES 87 says. कालाप्रागल्भ्यवाम्यिा गणयति कालयति गणिका 48 Vātsyāyana mentions the sixty-four anga-vidyās and says आभिरभ्युछिता वेश्या गीलरूपगुणान्विता। लभते गणिकागद स्थान च जनमसदि ।। पूजिता मा सदा राजा गणवदभिश्च मस्तुता । प्रार्थनीयाभिगम्या च लक्ष्यभूता च जायत ।। So we know for certain that the garkā was respected for her knowledge of the different arts Not only that but girls of respectable families and young men were sent to her to be instiucted in some of the arts of the sixty four arts mentioned by Vātsyayana, music, painting, danemg, etc are purely aesthetic Vijesalacchedyam, puspāstar anam and the like foi the purpose of incieasing one's personal charms, Sayanār acanam, Bhisanayojanam are for knowing the part of sei vice, prahelikā, piatimālā, dui vâcakayoga are entertaining games, while pustakavācana and Icāvya-samasyd-pirana and the like are purely intellectual pursuits With all these personal chaims and accomplishments it is not surprising that the ganıkā came to be regarded as a respectable and important menber of the community The description of our nāyıkā, Śingāramañjarī, is that of a perfect ganzkā of the first order Her beauty was unparalled, hei graces were befitting, her dresses and adornments were choice and beſitting, and her language and behaviour weie polished and decorous In dancing and music she excelled others and her intelectual development made her a worthy companion of the most learned Vätsyāyana speaks of the mastery of the ganıkā in sixty-four arts, but Śrngāramañjari was adept in 3779 af Ara, उभयचतु पप्टिज्ञान, both kinds of sixty-four arts The first group we have already referied to, the other refers to the sixty-four sāmprayogika arts which Vātsyayana mentions in the second book of the Kāmasüti a It indicates that Śrngāramañjari was adept in the science of erotics She was bold in questions and answers, eloquent in speech, wellread in treatises on different subjects and expert at understanding and composing poetry. Possessing unparalled beauty, knowledge and good fortune, she was the favourite of the king and it was not surprising that the Brāhmanas, Ksatriyas, Vaiśyas and Kāyasthas all waited at her doors with gifts to offer. With all the wealth and power of the kingdom at her feet it was easy for lier to live in great pomp and splendour 50 48 Kavyānusāsana-Viveka, p 418 49 KS, I, 3, 16-20-21 50 Cf the description of Vasantasena's residence in Mrcchakatika, pp 99-106 ·88 ŚRNGĀRAMAÑJARIKATIJA Her description reminds us of the influential French and Eng. lish mistresses like Madame Du Barry, Nivon, Jane Shore and Nell Gwyn whose salons attracted powerful kings and statesmen of Europe of the day, and who practically ruled their countries 51 But Śrngāiamañjari specially reminds us of Aspasia who was loved by great men like Alcibiades and Socrates, and who finally married Pericles She was, according to Plato, an accomplished rhetorician and the real composer of the funeral oration of Pericles, and according to Plutarch, was courted by many statesmen and philosophers of Greece 52 In the SMK we do not iead of the Stale control of the houses of ganıkās But nevertheless every ganika's household was controlled by a strict officer in the form of the 'mother' or the Kuttani She was an eye-soie to the men who came to the courtesan and they swore रामेण ताटका मिथ्या हता कृष्णेन पूतना। विश्वकण्टकता याता निहता किं न कुट्टनी ।। It was but natural that the ganıkās were sometimes sincerely loved and that they came to cherish sincere love for one man or another But their social position was such that little scope was given to them to cherish true love Some of them understood then position all right and strictly followed the rules laid down for them They punctılıously kept watch over then own interests and lived successfully. Some of them practised fiaud, foi greed never left them They were punished by the king or the individuals who suficied at their hands While some of the ganıkās valued their respectable positions and did not stoop to cheating oi inviting punishment, 1101 did they value wealth more than vitue or fleeting fancy more than constant love But with regard to these last mentioned, the 'mothers' were always worried As guardians of the ganıkās it was their duty to see that the courtesans never deviated from their paths It was heart-breaking for them to see that the energy spent in training the courtesans was all lost by her resolute will to be faithful to one person In the Dāśakumāracarita we read how Kāmamañjali's mother complains to the sage in the following words “Sır, this daughter of mine would make it appear that I am to blame, but 51 Wallace, op cit, mentions a Geisha, Ohana San, who though living then had become a legendary person She was the mistress of the late Prince Saionji, last of the Elder Statesman and intimate advisor of Ihuohoto At the ume of the Versailles Peace Conference, Prince Saionji took her to Paris, and Woodiow Wilson, chaimed by her, presented her with a peail necklace There was considerable embar rassment latei when President Wilson learnt the young lady's status Till 1945 (when the article was wiitten) she was living and was then the abbess of a nuinely near Tokyo 52 Dickinson, GL, The Greek View of Life, pp 182-184 ·A PICTURE OF THE TIMES 89 1) indeed, I have done my duty, and have carefully prepared her for the profession for which from birth she was intended From the earliest childhood I have bestowed the greatest care upon her, doing everything in my power to promote her health and beauty As soon as she was old enough I had her carefully instructed in the aits of dancing etc I did many other things to promote her success and to secure for her liberal renumeration, yet after all the time trouble and money which I have spent upon her, just when I was beginning to reap the fruit of my labours, the ungrateful girl has fallen in love with a stranger This then was the one thing that the 'mother constantly dreaded --the rise of sincere love in a courtesan The fear was only natural, as faithfulness to one individual would spell iuin in her profession A wise ‘mother' had always to be on guard and instruct the courtesan about the dangers of the different temptations that her life offered It was her duty as a coui tesan not lo foiget hei liue profession It is with such a purpose in view that in the present work the wise and experienced Visamaśīlā gives instructions to the fair and fortunate Śrngāramañjari She enumerates the maxims that a courtesan has to follow to escape falling into the trap of a chcat or a rogue The purport of her entie teaching is that a courtesan should be wise and discriminating and not get entangled in the bonds of affection By doing so she fulfills her duties and obligations towards society in which she enjoys a high position This class of courtesans constituted an important section of society which influenced a considerable number of people Their 53 Desopadesa, p 11, vs 10 54 Later hetoiicians have raised contioversy whether the srngāra-loveinvolved in ganka's case is tue or not And when it is not true whether it should be called srngāra i srngärābhāsa Bharata (23, 18-26) inentions thiee types of cou tesans madanãturã (one craving company), naktă (attached) and vu akta (one who is averse) Heie raktà is the one of tiue love Vătsyāyana (in the sixth book, mentions two goals of hei hfe, namely, natural love and ai tificial love, (VI 1, 1, 2) and the former he calls ekacárini (VI, 2, 1-2) In the Singāratzlaka, Rudiata states (I, 64, 65) गुडगाराभास एव स्यादि ता रागवजिता । तस्मात्तासामपि क्वापि राग स्यात् ।। So he accepts hei ti ue love, without which hers will be a case of nasābhāsa only, Bhoja does not discuss the point in his works, but the SMK has stories of true love, and one of the lessons that Visamasilā teaches is that the courtesan should never be sincere in her love Visvanātha after mentioning that a common woman shows only outward love for the sake of the money says in the end स्वापि 479177TFITOTT (Sahityadar pana, III, 71) In the recently published Srngaramanjari of Akbar shah the author criticizing the definition given by Bhānudatta Rasamañari वित्तमात्रोपाधिकसकलपुरुपानुरागा सामान्या। carries the controversy thus तदमत् । वित्तोपाधिकत्वात् तस्यानुराग एव नास्ति । 37797 37"Thafal gagnia zÌ H75951 TSITT TT T Hafer feiret अनुरागाभास । सामान्याप्येकत्रैवानुरागिणी वहुपुरुपसङगमो वृत्त्यर्थ । (pp 12-13) a ·90 ŚRNGÁRAMANJARÍKATHA houses afforded endless pleasures and amusement to rich citizens. But we also hear of a complement of other institutions, which afford ed pleasure and entertainment like the glambing house (finļā), theatie (rangasalā), pleasure houses (kridägāra, hoidābhavana) and temples (devālaya devagha, derāyatana) The love for oyidom life took the citizens out to the parks (udyāna), swimming (jalamajjana), hunting (1721 gayā), playing balls (kanduka koristā), swinging (olāndolana) and dancing (nrtya, nätya) Religious festivals were also enjoyed with gusto We have 10- ference to the yâtiã-mahotsava of Madana, the worship of the Sun of Vijayasaptami. the worship of the Goddesses Āsāpurā and Vin dhyavāsınī, and the god Ganapati who helps to attin the desired objectives of life Mahākālanātha who was presiding deity of Ujjayin, and was therefore worshipped with great fervour There is an uncomplimentary reference to the pāśupata sect Thinasattispăśupata-pākhanda) which later on was followed by the Paramāras of Mālwā 55 Among beliefs, we read only of the pigeon being considered unfortunate when it stays in the house 36 The units of currency mentioned aie di amma and pala Gold coins are usually mentioned as pieces of gold From this short review of the times based on information contained in the SMK it can be said that during Bhoja's rule civilization in Málwā had risen to a magnificent pitch Our appieciation of Bhoja for having portiayed a faithful picture of one of the most glorious periods of medieval Indian History is heightened when we take into consideration that he woiked and stood for all that was glorious in Hindu Culture 55 An inscription of the reign of Kumārapāla, dated 1169 A.D throws light on the distinguished Pasupata teacher Bhāvabrhaspati He left Vārānası and came to Dhārā and the Paramāra kings became his disciples Vide, A collection of Prākrt and Sanskrit Inscriptions, published by the Bhavnagar Archaeological Department, p 186, See also Ganguly, op cit, p. 249 56 We come across a similar belief in Somadeva's Yasastılakaccampi, see Handiqui, op cit, p 407.

·- श्री भोज देव विरचिता शृङ्गा र मञ्जरी कथा Soon [कथापीठिका] [ मूलादर्श प्रथमं पत्रमनुपलभ्यम् ] [कदाचिद ?] वसितप्राये वसन्तसमये, परिणतप्रसूनतया कठोरितस्तवकेषु माधवी- मण्डपेपु, विरलविरलमावद्धलघुकफलशालिपु सहकारमंजरीजालकेपु, हूणरमणीकपोल- लावण्यलुण्टाकेषु विगलितप्रायेपु मधूकस्तवकेषु, प्रियतमनिपीतलाटीदशनच्छदच्छाया- सादरेपु समुन्मिपत्सु पाटलाप्रसूनेषु, मन्देष्वपि मन्दतामाश्रयत्सु मलयानिलेपु, वाल्य- मुत्सृजन्त्याः किमपि किमपि ग्रीष्मश्रियः स्मितलवेष्विव विरलविरलेषु समुन्मिपत्सु मल्लिकामुक्कुलेषु, दोलान्दोलनकुतूहले शिथिलतामाश्रयति विलासिनीनां श्रयति च स्पृहणीयतामम्भाक्रीडासुखरसे, आवद्धविन्दुप्रकरतया मन्दमन्दमरविन्देक्षणानां दन्तु- रयति स्तनतटान्यनुद्दन्तुरे धर्मसलिलविसरे, शनैः शनैः प्रौढिमासादयति दिनभर्तुर- नतिग्लपितशाद्वलश्या[F. 2. A ]मलिनि किरणजाले क्रमेण चोन्मिपति ग्रीष्मारम्भे, प्रमदवनमध्यवर्तिनो धारागृहस्पेन्दुमणिमयीं मध्यभूमिकामध्यासीनः कतिपयैर्विद्व- द्भिराप्तः प्रणयिभिर्नृपतिभिश्चोपास्यमानचरणकमलो म हा राजा धि राज परमेश्वर श्री भोज देवः सविनयं प्रार्थ्यतः यथा- 'देवोऽप्यखिलजनता(बन्धुः श्रीभासो गुणाढ्यः प्रशस्तगीर्वाणः । तदतिनिबिडकौतुकाचान्तचेतसामस्माकं प्रीत्यै व्युत्पत्तये च कामप्यपूर्वां व्युत्पाद्य कथां कथयतु स्वामी' इति विज्ञप्तः स्मितपूर्वमिदमभ्यधात् 'एवमेतद् किन्तु कथा हि कीय॑माना नगरादिवर्णनपुरःसराः सौन्दर्यमावहति । न चैतस्याः पुरीतोऽन्या विलक्षणा काचिदप्यस्तीति प्रथममेपैव वर्णनीया भवति । अस्याश्चाधिष्ठा- तृत्व"प्रसङ्गेनात्माऽपि भणनीयः। तच्चानुचितमिवास्मादृशाम् ।' इति श्रुतस्वामिवच- नैस्तैः पुनरपि व्यज्ञप्यत--'यथा एतद्देवो जानाति न तथा"[F. 2. B] स्मादृशाः । इदमखिलैरप्यलङ्कारकारैरभ्यधायि यथा- "स्वगुणाविष्क्रियादोपो नात्र भृतार्थशंसिनः"- इति । तथा हि-मुनिभिरपि वाल्मीक-परा"शर-व्यासादिभिः, कविभिरपि गुणाढ्य- भास- भवभूति-बाणप्रभृतिभिरात्मगुणाविष्करणमक्रियत । असद्गुणख्यापनं हि दोषाय । यथार्थ गुणाख्यानं पुनरनवगीतमेव' इत्यभिहिते तानवादीत् 'भवन्तोऽपि नाविज्ञास्तद्यदि भवतामनवगीतमेतत् प्रतिभासते तदाऽऽवेदयामः श्रूयताम् । । अस्याः कथाया आदर्शभूतायास्ताडपत्रीय प्रतिलिपेः प्रथमं पत्रं नोपलभ्यते । द्वितीयपत्रस्य प्रथमपंक्ता- विदमाद्यमक्षरं विद्यते । अतोऽर्थानुसन्धान विचिन्त्य कल्पनयाऽन्न कोष्टकगतान्यक्षराणि समुपन्यस्तानि । २ कण्ठोरितत्स्तबकेषु । ६ व्यज्ञप्यते। ३ अवद्ध। ४ सबन्धुः। ५ निबढ । १ पसूनतया। ७ विक्रिया। ८भवतम ·शृङ्गारमञ्जरीकथा Ind 1 [धारानगर्या वर्णनम् ] अस्त्यत्र निखिल वनैकललामभूताद्भुतनिजविभवापहस्तितत्रिदशनगरीविभूतिः प्रतिनिशमुत्तुङ्गसौधचन्द्रशालासञ्चारि "पौररमणीवदनेन्दुसहस्रैरेकेन्दुविम्वमुपहसन्तीव दि- वमुल्लसद्विमलस्फटिकोपलवेश्मरश्मिसन्तानः स्फुरन्मरकतमणिप्रासाद मयूखजालकैश्च निसर्गविरुद्धयोरपि तमश्चन्द्रिकयोः प्रतिविपणीमैत्रीमिव सम्पादयन्ती, विपुलवियद्विलङ्घ- नश्रमखिन्नवपुपां रवि[F. 3. A] रथतुरङ्गमाणां प्रतिसौधमनिलचटुलैर्ध्वजपटपल्लव- व्यजनैः खेदसलिलमिव व्यपनयन्ती, जीवितमिव वसुन्धरायाः, सारमिव संसारस्य, सई"स्वमिव विश्वस्य, विश्वासस्थानमिव सकलसम्पदाम् , आवासभूमिरिव विलासश्रियाम् , आभरणमिव भुवः, आश्रय [इव च त्रिवर्गस्य, सर्गशालेव निसर्ग"कमनीयकामिनी- जनस्य, प्रधानं निधानमिव रामणीयकस्य, निखिलजनलोचनानाममृतरसधारा धारा- भिधाना नगरी। यस्यां च पाडुः स्फटिकवेश्मनामुन्मुखसञ्चयो विशराभः सुभद्राभिराममर्जु- नमजनयदिशां चक्रवालम् । यस्यां च संवय॑ते मरकतमणिकुट्टिमैः, विच्छिद्य ते स्फटिक- प्रासादभूमिभिः, जर्जरीक्रियते कनकसौधोत्सङ्गैः, निपीयते पौरनारीवदनेन्दुचन्द्रिकाभिः, आप्याय्यते वातायनोगतागुरुधूप धूमजालैः, उपचीयत इवोपवनैः, छिद्यत इव जयकुञ्जर- दशनकिरणविसरैः, निधीयत इवेन्द्रनीलमणिभूमिगृहकेषु प्रतिरजनि तमः ।[F. 3. B] यस्यां च सौधोत्सङ्गेष्वरुणमणिकुट्टिमसङ्क्रान्ताः शशधरमरीचयः सौगन्धिकवन- भ्रान्ति प्रतिनिशमुत्पादयन्ति मुग्धव"निताजनस्य । या चोल्लसन्तीभिरमलस्फटिकासाद- परम्पराकान्तिभिरुपहसतीच त्रिभुवनेपि पुरातनान्यखिलनगरसंनिवेश स्थानानि । या च संस्पृहमालोक्यतः प्रासादमयमिव भुवनतलं केवलम् , सौधमय इव नूतनः सर्गाव- तारः, विधेर्दीपिकामयमिव महीमण्डलम् , उपवनमयमिव दिशां चक्रवालम्, पताका- मयमिव गगनाङ्गणं प्रतिभासते जनस्य । यस्यां च स्फटिककुट्टिमेष्वस्तमिता इव, मरकतमणिप्राङ्गणेषु निपीता इव, शोण- मणिवेश्मवेदिकाविटङ्कोदरेषु क्रान्तसन्ध्याजलधरा इव, कालागुरुधूपधूमश्यामलेषु स्फटिकवातायनेपु सहरिणच्छाया इव, वलभिकाचन्द्रमणिप्रणालीषु द्रुता इवाभिलक्ष्यन्ते प्रतिरजनि चन्द्रमसो रश्मयः । यस्यां [F. 4. A ] च जातप्ररोहा इव रुक्मनिर्गृहेषु, प्ररूढकाण्डा इव कार्तस्वरकेतु- दण्डेपु, पल्लविता इव स्फुरदरुणमणिवेश्मशिखरशिखाशयेषु, कुसुमिता इव निर्मितारुण- मणिगणासु काञ्चनहंसपालिपु, फलिता इव प्रोल्लसदष्टापदघटितप्रासादकनककाण्डपिण्ड- १ विम्बामुप। २ ज । ३ °सायाः । ४ भूधाराश्रयव च। ५ आप्याज्यते। ६ भ्रान्ति । ७ प्राकासादपरपराकान्तिमिरुप । ८ संस्पृ। ९ स्पटिक। १० दूता। ११ निमिता।

·श्रीभोजदेवविरचिता केषु, दिवापि ज्योत्स्नायन्ते स्फटिकोपलभित्तिभागेषु निपत्योच्छलन्तः, स्थलनलिना- यन्ते सङ्गयोद्भवन्तः कुरुविन्दमणिमेदिनीषु, कैरवा यन्ते विमलमुक्ताफलविटङ्कवेदिकासु निपत्य व्यावर्तमानाः, नीलोत्पलायन्ते शक्रनीलमणिचन्द्रशालासु संमूर्च्छन्ता, बालातपा- यन्ते विद्रुमरचितासु क्रीडाभवनभूमिपु, दीप्यन्त इव कनकसौधशिखरोत्सङ्गेषु सङ्क्राम्योल्लसन्तः, निर्वान्तीव गारुत्मतरत्नवलभिका"सु, आच्छाद्यन्त इव कालागुरुधूप- धूमपटलेषु, नगरीसंरक्षणार्थमभितः समुत्पादितसुरचापसहस्रा इवान्योन्य[F. 4 B] व्यतिकरितविचित्रभवनमणिमरीचिसञ्चयैः प्रतिदिवसमहिमकरगभस्तयः । यस्यां तुङ्गसौधोत्सङ्गसङ्गिनीनामङ्गनानां मणि"वलयझात्कारसंवलितं सङ्गीतध्वनि- तमाकर्ण्य च स्तिमिततां भजति हरिणे गमनपर्याकुलो भवति प्रतिरजनि रजनिकरः । ता"सामेव नृत्तवशविसंस्थुलोन्नमितभुजलतानां मणिकङ्कणकिरणरज्जुभिर्बन्धखेदमननुभूत- मनुभाव्यत इव लाञ्छनकुरङ्गः । या चान वरतहूयमानमखशतानलोच्छलदहलधूमपटलश्यामलितगगनतलतया समुल्लसन्महाधीर (महीधर ? ) ज्वालाजटिलितदिक्तट ... [स]देवावद्धप्रायडाडम्बरा । क्वचिदनवरतधर्मव्यापारसञ्चरच्छ्रोत्रियपरम्परापरिगततया पठ्यमानखिलनिगमध्वनिव- याप्याख्यायमानाखिलपुराणेतिहासश्रुतिस्मृतितया च ब्रह्मलोकायते, क्वचि- द्यौवनमदमत्त [F. 5. A ] कामिनीचरणालक्तकपाटलितस्फटिककुट्टिमतया स्थलेऽपि जलकमलशङ्कामुत्पादयन्ती, प्रतिगृहमनवरतप्रवृत्तसंगी[त] ......"[ग]भीरनिनादतया अतिवहलनीलकुसुमवाटिकाविटपिश्यामलितभवनोपशल्यतया च शिखण्डिनीनां ताण्डव- पाण्डित्यगु...... दयन्ती, प्रणयकलहकुपितासु कामिनीषु प्रसादनोपायचतुरदूती- व्यापारबहुलतामुपदिशन्ती, प्रियतमाभिसरणव्यग्राँ...."[हरिणीदृशामाभरणसम्पादनाय सखीजनमुत्सुकयन्ती मदनलोकायते । क्वचित् पातालायते भोगिभिर्भुजङ्गैः । क्वचिदमर- लोकायतेभानुगामिभिर्मरुद्भिः। यत्र च प्रभञ्जन इव विधृतक्षमः, जलधिरिख विधुततापः, पौलस्त्य इव विभीषण- त्यक्तवसतिः, दर्शनिशासमय इव विधुरविरहितः, वसन्त इव रुचिरकाञ्चनारचितशोभः, ग्रीष्म इव प्राप्तशुचिसङ्गमः, प्रावृट्समय” [F. 5 B] इवादृष्टोग्रकरः, शरत्समय इव निर्मलाम्बररुचिः, तुहिनओरिख सदा समहिमोपचितः, शिशिर इव सर्वदा तापरहितः, माकन्दोऽप्यशोकः, सरलोऽप्यरिष्टः, सुग्रीवोऽपि सुमित्रानन्दनः, विरोचनोऽप्यमृतमयः, परमेश्वरोऽप्यनुग्रः, भूतनयोऽप्यवक्रः, मुक्तामयोऽप्यखिलरत्नाल"कृतः, सकलव्यवहार- पेशल: पौरलोकः । " १ करिति । २लीच्छन। ३ विनष्टान्यन द्वित्राण्यक्षराणि । ४ विनष्टान्यन्न पञ्चपडक्षराणि ५ विनष्टान्यत्र पञ्चपडक्षराणि । ६ विनष्टान्यत्र चतु पञ्चाक्षराणि । ७ विनष्टे भत्र द्वे अक्षरे। ८ सर्वेदा।

·४ शृङ्गारमञ्जरीकथा " - या च तुहिनशैलेनेव प्रालेयधवलेन, दशकन्धरेणेव स्खलितर्थराजेन, विन्ध्या- चलेनेव निरु तपनमार्गेण, सर्वतो विचित्रमणिकान्तिसन्तानसंवलितनिजतटाभोगेन, पुरीरक्षार्थमिव सततमधिज्येन, आखण्डलकार्मुकेणेव परिमण्डलतामुपगतेन, विततधन- कपाटोपशोभिताभिरनेकजनसहस्रसङ्घलाभिः पुरीविलोकनकुतूहलादुपगताभिर्दिग्भिरिवा- '........"भिश्चतसृभिः प्रतोलिभिः सनाथीकृतेन त्रिभुवनेऽप्यसदृशाकारेण प्राकारेण वलयिता। या च कचिदुत्तुङ्ग [F. 6. A ] [कपि] शीर्पकप्रान्तोल्लसदहलपुष्परागकिरणविसरैः सम्पादितदिनच्छायतया सदैवावियुक्तचक्रवाकमिथुनया · सदैवोत्फुल्लकमलखण्डया, क्वचित प्राकारमरकतमणिप्रभाजालबहलान्धकारजनितरजनिभ्रमतया सदैव विकसितनी- लोत्पलवनया, क्वचिदरुणमणिविनिम्मित"शालाट्टालकमयूखच्छुरितसलिलतया मञ्जत्पुर- विलासिनीकुचकलशकुङ्कुमारुणितयेव, क्वचित् सङ्क्रान्तस्फटिकशालवलयप्रतिविम्ब "तया नगरीविलोकनकुतूहलाकुलितनिर्यच्छेषयेव परिखया परिक्षिप्ता । यस्यां च विकचकमलकुमुदकल्हारेन्दीवरपरांगपुञ्जपिञ्जरितपयांसि सजनमनां- सीवातिखच्छानि, दुर्जनमनांसीव दुरवगाहानि, उद्दण्डपुण्डरीकखण्डोडीनमधुकरमधुर- झङ्कारहारीणि, क्रीडामजत्पुरजनविलासिनीकुचकलशगलितमलयजरसामोदसुरभीणि, सौगन्धिकगन्धलुब्धमधुकरणि "[F. 6. B Jश्यामलितोपान्तभागानि, स्फटिकमणि- शिलासु स्नानागतपौरनारीजनप्रतिविम्बतया जलक्रीडार्थमुन्मजन्तीभिः पातालकन्यकाभि- रिवा"धिष्ठितानि, प्रतिरजनि मदनालसचक्रवाककामिनीभिः प्रियतमभ्रान्त्या सस्पृहमा- लोक्यमाननिजप्रतिविम्बकानि, मुकुलितकुमुद कोशकोटरान्तनिलीनमधुकरतया दिवस- करभयात् प्रतनुतां गतेनान्धकारेणेव संश्रितानि, रुहकमलिनीदलच्छायानिलीनाभिर्म- रालमालिकाभिर्दिनकरकरोपमईभीताभिर्विकचकुमुदकान्तिभिश्चन्द्रिकाभिरिख निषेव्यमा- णोपशल्यकानि, अगाधातिवच्छसलिला"न्तर्दृश्यमानसफरग्रासगृभुतया मुहर्मुहुर्दत्तविफल- फालैस्तदप्राप्त्या वञ्चमानैर्मुग्धबककुलैरुपसेव्यमानानि, सविषाण्यप्यमृत स्वादुनि, प्रवृद्धा- न्यपि समकरचिह्नानि, सकमलान्यप्यकमलानि, द्विधापि शतपत्राधिष्ठितानि, द्विधापि सवनानि, द्विधापि कुवलयम" [F. 7. A ]नोहारिणि, द्विधापि विततानि, क्वचिद्विक- सितो इण्डपुण्डरीकखण्डतया हसन्तीव, क्वचिदमन्दमारुतान्दोलितो"द्दण्डरक्तोत्पलतया नृत्यन्तीव, क्वचिद्वीचिवलयान्तर्गतविकचेन्दीवरतया सभ्रूक्षेपात् कटाक्षाक्षीपून विक्षिपन्तीव, क्वचिदनल्पलहरीसंघ"ट्टजर्जरितसलिलोन्मृष्टसीकरासारतया धूलिमुत्सृ- जन्तीव, क्वचिदुभयतो विवर्तमाननिविडमारुताभिघट्टिततरङ्गोद्भटध्वनितेनारटन्तीव -इत्थमुन्मत्तचेष्टितमिवानुकुर्वन्ति सरांसि । १ विनष्टे मन वे अक्षरे। २ वहकमलिनी। ३ °तोदण्ड । ४ कटाक्षाक्षिक्षु।

·(4) (2) " श्रीभोजदेवविरचिता यस्यां च क्रीडापुष्करिणीवीरविलासोद्यानप्रभृत्यनेकरमणीयसंनिवेशायां नन्द- "नवनमध्यवर्ति विमलमणिनिर्मितासु पर्यन्तभित्तिषु प्रतिफलितमूर्तितया दिवसकरताप- भियेवातिसुकुमाराने शरणागतानन्तःप्रवेश्यारक्षदिवोपवनपादपान्, अनेकधारासहस्र- सम्पातजन्मना परितः समुत्सर्पता शैत्येनावरभङ्गभयाद् दूरादेवं प्रवि [F. 7. B] [श]तो जनसाभ्युत्थानमिव प्रतिदिशं कुर्वाणम्, उपरितनविटङ्कवेदिकास्वभितः समुल्ल- सन्तीभिर्मरकतमणिकान्तिभिर्दूरत एव निखिलभुव"नसन्तापकारिणां तपनतेजसां विनि- वारणाय वियति वारिदवृन्दानीव निर्मापर्यंदसितमणिनिम्मितयोरुभयभागयोारस्य प्रतिविम्बितो(2) विपिनेपल्लवव्याजात् प्रविशतो जनस्य सन्तापज्वलनमाच्छिद्य बहिरिख स्थापयत्, सव्यापा]राभिरचिर्तमणियन्त्रपुत्रिका "भिः पुरातनस्य वेधसस्त्रिभुवनेऽपि सृष्टिप्रपञ्चमिवोपहसत् , आस्थानभवनमिव वरुणस्य, सङ्केतनिकेतनमिव शिशिरसमयस्य", मङ्गलगृहमिव हिमाचलस्थलीदेवतानाम् , अस्तमयस्थानमिव ग्रीष्मोष्मणः, विलासमन्दिर- मिव मकरकेतोः, क्रीडागारमिव शृङ्गार "सागरस्य, प्रवृत्तिस्थानमिव प्रावृषः, उत्पत्ति- पत्तनमिव व्युत्पत्तेः, सर्वस्खमिव रामणीयकस्य, विलासम [F. 8. A] णिदर्पणो विदग्धतायाः, वाहेयक(?)मन्दिरं विलासानाम् , अतिशिशिरतया कर्पूरक्षोदैरिव निम्मितम्, हिमानीभिरिव विरचितम्, हिमांशुश"कलैरिव निष्पादितम्, गन्धाम्बुभिर्जनितातिसुरभि- तया च बकुलकुसुमामोदैरिवोत्पादितम् , ककोलफलक्षोदैरिव निम्मितम् , लवङ्गकुसु- मैरिव जनितसंनिवेशम् , एलाफलरसैरिख विहितधारम् , सर्वतः प्रसृतवारिधारासहस्रतया विधातर्वारिमयीमिव सृष्टि प्रदर्शयत्, अगम्यं दिनकरकरीणाम् , अदत्तप्रवेशं सन्ता- पस्य, अनभिभवनीयं विरहिजनाकल्पकस्य, दुःप्रेक्ष्यं विरहिणीविरहदावद"हनस्य, शैत्यस्यापि शिशिरोपचारस्थानम् , सुखानामपि सुखायतनम् , रामणीयकस्यापि रामणीय- कम् , सर्वतः समुद्गतानां परस्परप्र"हतिविस्फटनविसृताणसां धारासहस्राणां परितः समुल्लसितसीकरासारतया कर्पूरक्षोदमिव दिक्षु विक्षिप, [F. 8. B] चन्द्रमणि- घटितजलयनपुत्रिकानिष्यन्दहेतोज्योत्स्नामिव विकिरत् मिहिकानिवहमिव, समुद्वमद्धवल- मणिमयूखसंवलितसलि"लतया मलयरजसमयीरिव धाराः समुगिरद्', विस्फुटितकमल- भरभग्नोपरितनकमलिनीमृणालभङ्गेभ्यो विनिर्गतानि विसतन्तु सूत्राणीव धाराशतानि विभ्राणम, स्तम्भस्तम्भशीर्पकपट्टसालभञ्जिकानां परस्परसुसंहततया सु[संस्थानतया निविडसन्धिवन्धतया च नानार ननिम्मितमप्येकरत्नोपलघटितमिव" भुवो निर्गतमिव कृत्रिममपि चाकृत्रिममिवोपलक्ष्यमाणम् , निधानं वृत्तेः, उमस्थलं सलिलधा[ रा ]th. लतानाम् , आवासभवनं भुवनश्रियः, अमदवनं प्रमोदस्य, विकचकाञ्चनकमलकोशकोटर- १ °कुमारान्तःगरणा । २ "देवे । ३ °पटाद। ४ निम्मिततयो । ५ विपन । ६ रचितो मणि। ७ पतन । ८ ग्धतया.। ९ अगम्य । १० °वाराणम् । ११ स्यैतस्यापि । १२ विकिरिन् । १३ भंजिकान्य। १४ तनिव । १५ भृत्रिम । १६ रूहुमस्थल । १७ प्रसद । . . , , ·६ शृङ्गारमञ्जरीकथा , विनिर्गताभिस्तदंशुसंवलितमूर्तित....."कारगौरीभिरम्भसो धाराभिः कुङ्कुमरसविसरमिवो- सृजद्, अरुणमणिपट्टप्रान्तप्रवृत्तमनवरतमसृणधारासन्तानतया मु.. [F.9. A] परितः प्रालम्बानिव प्रकटयद्, उत्पत्य' निपतन्तीनां सलिलधाराणां स्फुटिनस्थूला- नवरतनिपतज्जलमाणतया अपरमित्र मु....."ताकरमुत्पादयत् , मरकतमणिप्रभाश्याम- लितगगनतया यन्त्रपुत्रकाहतमुरजोन्मुक्तमन्द्रमधुरधानतया अनवरतनि [पतत् स] लिलधारान्धकारितदिगन्तरतया च जनितजलदभ्रमान् आवद्धमण्डलान् उपवनशिखण्डि- जस्ताण्डवयद् , असितमणिकान्तिजालकैरुल्लसद्धियतिकरितवपुपः सकालागुरुधूपधूमा इव सलिलधाराः समुत्सृजद् , यन्नपुत्रिकाकरतलोद्गताभिरम्भसो धाराभित्रिभुवनविजयो- 'यतस्य स्मरनरपतेावल्लीसहस्राणीव निर्मापयद्, राकाशशाङ्कमण्डलमखिलजनन- यननीलोत्पलानाम् , वारुणास्त्रसदनं मन्मथस्य, निवृत्तिक्षेत्रमिन्द्रियग्रामस्य, खनिः सुखानाम् , आस्पदमानन्दस्य, मन्दिरं सुन्दरतायाः, वचिद् विकचकृत्रिमाम्भोजिनी- मध्यमध्यासी [F. 9. B]नाभिर्धवलमणिमयीभिमुग्धमरालिका [भिः] विसकाण्ड- भ्रमादिव विदस्यमानधाराजलम् , कचिद् विकचकुमुदकाननच्छलेन हसदिव, क्वचित् क्रीडासारिकोल्लासित जलताभिर्मणियन्त्रपुत्रिकाभिर्नृत्यदिव, क्वचिद् विकचसौगन्धिक- कर्णिकाभ्यर्णवर्तिभिरसितमणिनिर्मितैर्गुञ्जद्भिर्यत्रमधुकरमिथुनैयदिव, कचिद् दिवापि चन्द्रातपर्धेमातर्पतरलितमनोभिर्विकृतचञ्चपुटैरुपवनचकोरकैराचम्यमानस्फटिक स्त- म्भकान्तिसन्तानम् , क्वचित् पत्रमकरिकानेत्रप्रान्तेभ्यः, क्वचिदधोमुखमयूरीमुखेभ्यः, क्वचिन्मणिमययत्रपुत्रिकापयोधरद्वन्द्वेभ्यः, [क्वचि] "न्मजनोत्तीर्णस्वर्णपुत्रिकानिश्चोत्य- मानकबरीवा[ लक लापमान्तेभ्यः, क्वचिन्मणिमयविलासिनीनखमुखेभ्यः, क्वचित् प्ररुदितवा" .", क्वचित् यत्रवृक्षकं प्रत्याबद्धफालस्य कपिकुटुम्बकस्य वदनविवरेभ्यः, क्षितितलाद् भितिभागेभ्यो भित्तिनलिनीवामल.........." [F. 10. A ] उपरितनकम- लिनीभ्यो मणिपुत्रिकाभ्यः स्तम्मेभ्यः स्तम्भशीर्षकेस्यश्च द्वित्रिविसिनीसूत्रतन्तुसंवलनमां- सलाः सर्वतो विनि"....... "राविभ्राणम् , अदरैर्विविधमणिकान्तिजालकैरिन्द्रचापसहस्र- निर्माणार्थमपरमिव परितो विचित्रवंशीवनमुत्पाद्यत्",..."[मरक]तमणिस्तम्भोद्गतैः किरणमञ्जरीजालकैरावद्धजलधराडम्बरमन्तरान्तरोल्लसितैर्विसारिभिः शोणमणिमयूख- दामभिः सम्पादि [ताचिरप्रभाविलसितमनवरतनिपतद्धारासहस्रोल्लसितध्वनितयाज्ध- कारितदिक्तटतया च वर्षासमयमिव विडम्बयत्, कचिदङ्गणवापि[ का ]"पुष्करिणी- नामन्तरुन्मजनिमजन्तीभिर्वालशफरिकाभिर्विप्रलस्यमानकृत्रिमवककुटुम्बकम् , कचिद् १ 'ताभिसूदंशु २ विनष्टान्यत्र ब्रीण्यक्षराणि । ३ विनष्टान्यत्र द्वित्राण्यक्षराणि । ४ न्यरित.। ५ पहृत्य । ६ विनष्टान्यत्र त्रीण्यक्षराणि। ७ दुलद। ८°महालान् । ९ ववपुषः। १० ममुत्सृ । ११ मदनं । १२ निवृत्ति। १३ °म्भोजनी । १४ °सारको । १५ वर्धिभि । १६°तपत्रमा १७ उपवम । १८ नोतीर्ण । १९ विनष्टान्यन चतु.पञ्चाक्षराणि । २० विनष्टान्यत्र चतुःपञ्चाक्षराणि । २१ विनष्टान्यत्र चतुःपञ्चाक्षराणि । २२ विनष्टे अन्न द्वे अक्षरे । " .... .

·श्रीभोजदेवविरचिता निमजनोन्मजनः दृश्यादृश्यवाल"यन्त्रकमठम्, क्वचिद् दिदृक्षारसकुतूहलाकुलिताभिरपि मत्स्यायनाभिरनिक्षिपन्तीभिश्चरणकमलमीपत्रासादिवावलोक्यमानोन्म [F. 10. B] अद् यत्रमकरम् , क्वचिदन्तःस्थितानां भित्तिकमलिनीकुमलानां विकासाथ वालातप- च्छेदानिव शोणमणिकिरणजालकान्युगृहत् , परस्प"रप्रतिफलितमूर्तितया सम्भूयेव भारसमुद्वहद्भिरन्योन्यकल्पितावष्टम्झमणिस्तम्भैरध्यासितमध्यभागम् , अतिमनोरमतया कौतुकाक्षिप्तहृदयैरिवानिपदृष्टिभिः परितो भारपुत्रकैरप्यवलोक्यमानम् , विचित्रं तौर्यत्रिकमारचयद्भिर्यत्रचारैरतिविदामपि (१) चित्तभ्रममुत्पादयद्', विचित्रयन्त्रदर्शनो- द्धान्तचेतसो भित्तिघटितविकसितरितसरोजव्याजादुपसदिवातिविचक्षणानपि प्रेक्षकान, सान्द्रमृगमदपकोपरुत्कला(१) कर्पूरक्षो द]सिकताबतीरनच्छमलयजद्रवसुरभिताम्भ:- शोणमणिमञ्जरीविसंचलितमरकतमयूखकमलिनी "वनाः परितः परिसरक्रीडानदीबिभ्राणं यत्रधारागृहकमुन्मदयति मनांसि पौरलोकस्य । यस्यां च सततातिनीलतया पहलच्छायत [F. 11. A ]या चागणितदिवाकर- करैस्तमोभिरिवाधिष्ठितानि, अनवरतमुद्भिद्यमानाभिनवपल्लयतया सदैव पौरपुरन्ध्रिजना वलोकनव्यक्तिभृतानुरागैरिव तरुभिरलङ्कतानि, मधुरमधुकरज्ञङ्कारकोलाहलच्छलेन मकरध्वजविजयराज्यघोपणमिव कुर्वाणानि, कुसुमावचयार्थमितस्ततः सञ्चरन्तीभिः सततसनिहितवनदेवतानीव पोररमणीभिरूपवनानि । - इत्यभिधाय रे यत्रपुत्रक ! यद्यप्यस्मत्परिषदः सम्मतं तथापि निजगुणा- विष्करणमवगीतमिव प्रतिमासते । तद् राजवर्णनं भवानेव भणतु'- इत्यभिहितस्तैर्चिस्म- यस्तिमितलोचनैरासन्न वर्तिभिः प्रणयि भिरालोक्यमानः स भणितुमारेभे । [ यन्त्रपुत्रकभणितं धाराधीशभोजदेववर्णनम् ] अस्ति तस्यां प्रणतसकलभूपालमौलिमालारुणमणिमरीचिनिचयपाटलितपाद पीठो निजभुजो दलितदुर्मदरिपुविलासिनीनयनवाष्पसलिलसेकैरनवरतप्रवय॑मानकीर्ति- लतावितानोऽसितनिस्त्रिंशप्रहार" [F. 11, B] विदलितरिपुकुम्भिकुम्भस्थलोच्छलितैर्दि- वापि मुक. B...... भिर्मुकुटकोटिसङ्घट्टविगलितमाणिक्यनिकर *... इव करवाला(१)गारक इव वसुधानन्दनः, बुध" इव राज *................ शुरप्रभवः राहु खि ग्रस्ततेजस्विमण्डलः, केतुरिवाद्भुतोदयः,नवग्रहम. -कृतनितम्बांभोगा १ मुत्सङ्गनाभि। २ चौरतिविदत् । नामयि चित्त। ३ सेतसो। ५ प्रणमिमि। ६ पातलित। ७ निजभुवनोह। ८ द्वादश (१२) अङ्कासितस्य पन्नस्य त्रुटितत्वादिमान्येव वाक्यानि- पध्यन्ते । यत्र एतादृश. ' फुलिकाकारोऽस्ति तन्नाग्रे समग्राऽपि पंक्तिर्विनप्टेति सर्वत्र ज्ञेयम् । ९ मकुट । १२ भौगा। (5) .(3) .. ४ जमाव । १० कला-वालंगारक। ११रुध।

·८ शृङ्गारमञ्जरीकया भिरामायाः भूमेरेकभर्ता,समरश तदुर्ललितदोर्दण्डचण्डि *.... कीर्तिमिषाने ............पवित्रितत्रिलोकीतलो यौवनमदरुद्धक *. [F. 12. A] ........लावण्यपीयूपसलिलो निस्त्रिंशसलिलनिर्मन ... षु प्रतिभटेपूटभ्रुकुटिभीषणललाटपट्टदुःप्रेक्षणी . ....हराट्टहासमि- व त्रिभुवनं कुर्वाणो गीर्वाणसुन्दरीमुक्तसुरकुसुम सं *..... -लः सहेलम- सकृदपि सकृदिवाकृष्टस्य कोदण्डमण्डलस्य मध्य *...... ....... सतताविष्कृत तसुदर्शनोऽपि दुर्दर्शनः, परेपामरविन्दविष्टर *........... .. ... ....... भिरपि विलासिनीभिनयननीलोत्पलदैलैर्म * [.F. 12. B] शङ्कुकीलनाकल्पकोन्मीथव्यथिताभिरुत्तुङ्गस्तनभराभोगभित्तिपु समुन्मिपद्घनसारसान्द्रेण चन्दनरसेनालिख्यालिख्य - 'निर्दय" स्त्रीवधपातकादपि न विभेषि'-इत्यायनेकविधमनु- गृहमङ्गनाभिरहरहैः समुपालभ्यमानः, मानिनीमानद्मोन्मूलनमकरध्वजैकविजय- कुञ्जरः, शौरिरिव मदनजनकः, कनककान्तिच्छरितमरकतप्रभाभिरामदेह , प्रतिदिवस- मनवरतमवनमतां नरपतीनां मुकुट "तटकोटिविटङ्कवेदिकोल्लासिभिर्मरकतमणिमयूख- जालकैरेतदीयकरकमलानां मुकुलतामापादयत्सु निजचरणनखच"न्द्रेषु सम्पादितहरि- णच्छायः सच्छायतः समदगजघटनापाटनपाटलितासिपल्लवभृतो भुजद्रुमात् प्रतिदिवस- मुल्लसत्सुरभियशः"कुसुमसञ्चयः समरनिहतावनिपतिविलासिनीनां बाष्पाम्बुकलुषिते- प्वलकावरुद्धेषु कपोलस्थले' [ F. 13. A ] प्रतिव्यक्तीकृताशिवक्रमः, क्रमवतामग्रेसरः, अग्रगण्यः संग्रामविजयिनाम् , त्रिभुवनाभिरामो राम इव पृथुबलप्रलम्बारातिविदलन"- स्तिमितक्षीरोदवीचीनिचयधवलधामभिर्यशःपूरपटलैर्धवलितत्रिभुवनैकभावनः, प्रसवभूमि- रत्यद्भुतानाम् , उन्मदकरिकुम्भकूट""कुट्टाकविकटकरवालनखरो नृसिंहा, चपलराजलक्ष्मी- करेणुकालानपृथुभुजस्तम्भः त्रिदशराज इव अहितापकारी, भार्ग[व] इव नि मूलिता- खिलक्षुद्रक्षत्रियः प्रकटितधनुर्वेदविद्यारहस्यश्च, भृगुरिवासिधेनुविद्यालतानामेकभवनम् , भुवनभारोद्धारक्षमः क्षमा"भृतां भर्ता म हा राजा धि रा ज प र मे श्व र श्री भोज दे वो ना म। यश्च प्रभवो धर्मस्य, आश्रयः सत्यस्य, कुलगृहं कलौनाम् , क्षेत्र क्षत्राचारस्य, प्रमदोवानं विद्यालतानाम् , निधानं नीतेः, जीवितं शौर्यस्य, वसतिविलासानाम् ,आकरः करुणायाः, बान्धवो वैदग्ध्यस्य [F. 18. B] २३ * रसस्य, धौरेयो धनुर्धराणाम् , अग्रणी गुणवताम् । यस्य वि" * यु कुम्भिकुम्भस्थलोच्छलित- १ 'रामाया भूमे। २ शित। तिनिषाने। ४ विनष्टान्यन्न ६ अक्षराणि । ५ विनष्टान्यत्र ४ अक्षराणि । ६ निमन्त । ७ हनम। ८°ल्पकान्माथ। ९°स्त। १० 'भिरनुरहः । ११ देवः। १२ मणिमयूख । १३ रेनदीय। १४ मापदयत्सु। १५ °हरण। १६ मिरित्य। १७ °कालनृपृथु । १८ यस्य । २० कालानाम् । २१ वसतिविला । २२ वैदख्यस्य । २३ चतुर्दशासाङ्कितस्य पत्रस्योत्तराई, एव प्राप्तः । तस्मिन्निन्नावतारिताः पंक्तयः परिपच्यन्ते । ३ १९ प्रभावो।

·सा। . , श्रीभोजदेवविरचिता मुक्ताफलमालांच्छलेन प्रति ................. रामापरपुरुषानिसर्गानुरागिणी नियत- मेकपली.... ............. कृशिमानमानीयन्त प्रतिपक्षलक्ष्मीविजृम्भितानि । यसै ............. वदनमुन्निद्रकुवलयदलदामदीर्घोऽकृत्रिमक्षाम' (?) वक्षस्य *कृतिमतिरूपवयोनिर्जितमकरध्वज [ F. 14 A ]........ तिजरगवीसुरभिरभू- क्षणेरथस्तनो ब्रह्माण्डभाग इव कालानलस्य, जलदमिव मोकः प्रतापहुतवहस । यश्च प्रवितरन् प्रजागरनुन्मूल ...... "कम्पयन् वपुर्नक्तंदिनमधिवसति हृदयानि वनजदसकल्पि (१) *... तेरत्यर्थोन्नतिभृतः समुन्नतवंशाद्विवुधजनसेव्यमान *................."द्रावधि भगवती सरस्वती। यश्च रोहणाचल इव मणिग ............"[F. 14. B].... न, क्षीरोद इव वीचिनिचयेन, गगनाभोग इव तारकनिकरण, त्रिदशतरुरिव कुसुमनि व"] हेन, फणि- पतिरिख फणाचक्रवालेन, अम्बुजाकर इव मृणालवलयेन, निखिलभुवनस्पृहणीयेनाहि[म]- धवलेन सत्यातिगें नामोदिना मेदिनी .... [रक्ष १]णक्षमेण, ह्लादिना गुणकलापेना- लङ्कृतः । यस्य' चातिप्रज्ञाप्रकर्पमालोचयतां विपश्चितां गिरिन (रिन) गरिमाणमारोहति गुरुः, न प्रति...."[भामते प्रतिभावान् भार्गवो, नोवमति वर्द्धयत्युः, अयते"(१) न प्राज्ञगणनां चाणक्यः, न कुशाग्रीयबुद्धितामधिश्रयति धर्मकीर्तिः । यस्य च कृपा"णं उज्ज्वलवेट्रयसोदरच्छायसलिलमुल्लसद्विपुलपुष्कराभिरामशोभमुद्भवत्कुमुदमधिकविकसत्कु- वलयश्रीकमलकमलिनीदल"श्यामलमगाधम् , सर इव परद्विपघटाभिरपि दुरवगाहम्, सतत माश्रयति शतशः सामसीनि विजयलक्ष्मीः । यस्य चानुपमखवैभवनि"[F. 15. A] मिते शोणमणिमरीचिसञ्चयोद्भासिनि भास्वताप्य नतिक्रमणीये रमणीयतायावम (1) दृश्यलाघवमुल्लनीये परैरकपुर इव पृथिव्याः" प्राकारतां कलयति प्रतापे, परिखाश्रियमा- श्रयन्त्यगाधाः परितश्चत्वारोऽपि रत्नाकराः । यस्य चन्द्रातपायितमप्रविष्टेन्दुकिरणविस" "लोदरेप, मलयजरसच्छटायित विरहिणीतनुलतासु, डिण्डीरपिण्डायितमम्बुरा- शिलहरीपु, सितदुकूलायितमासाब......... "सरित्पूरायितमाकाशवमनि, पुण्डरीकखण्डा- यितमखिलसलिलाशयेपु, स्फटिकोपलायितमचलमेखलासु, सितविता [नायितं ब्रह्मा- ण्डमण्डपाभ्यन्तरे, विततसितपटायितं प्रवहणतातेपु, समुन्मार्जितद्रविडीदन्तकान्तिसोदरै- रुन्निद्रकुन्दच्छदच्छायावन्धुभि"...."र्विवन्धप्रसर्यशोभिः । यश्च गिरिराज इव त्रिंदश- सरिता, शशधर इव ज्योत्स्नायाः, हरागृहास इव" [F. 15. B ] विशदकान्तिसम्पदः १ परमापुरुष । २ दीर्वोकृमक्षाम। ३ जलदनि । ४ जननसेव्य । ५ विनष्टान्यत्र विण्य- क्षराणि । '६ वलेन । ७ संख्यातियेन। ८ विनष्टान्यत्र द्वित्राण्यक्षराणि । ९ थे। निरिनगरि । ११ गुरु। १२ विनधान्यन चतुःपञ्चाक्षराणि । १३ नोद्धवमजि । १४ युद्धधः। १५ अयवि १६ माश्रय विशतपी ३७ °सन्नि । १८ ताव्यनति । १९ विनष्टान्यत्र पञ्चाक्षराणि । २० °छटापितं । ३१ विनष्टान्यत्र तुःपञ्चाक्षराणि। २२ विनशन्यत्र चत्वार्यक्षराणि । २३ विनान्यत्र त्रीण्यक्षराणि ।

·(20) . "रादै- (2) १० शृङ्गारमञ्जरीकथा क्षीरोद इवामृतकरकलायोः .. "अवदातरोचिपः कीर- भूत् प्रसवभूभिः । यस्य च चरण *.. दर्चनपतिमुकुटकोटिपत्रसङ्गेषु गारुन्मतर*......... ...... दयन्ति चामरग्राहिणो विलासिनीजनस्य क... .दजलास. "[F. 16. A ] ताश्चर्यमजनयदमीषां राजलक्ष्मीः। यस्य च *. रावतगण्डकण्डूयनोन्मथितो हरिचन्दन *. श्वखुरोत्खन्य- मानस्फटिकशिलासङ्गान्तोद्यद .... रायसञ्चलितप्रस्थसन्धि- बन्धाद्रजनिचरवलायलोक * "वेलासलिलसीकरासारैरनव- रतसंसिच्यमान है [ F.16. B] *. ..........'भिः समन्ततः सेव्यमानचन्दनलताभवनात्प" तोपलक्षमाणकनकशिखरग्राव्णः स्मरशरनिकर* ... ... रार्द्धतः समुत्पादैरंशुभिः स्पन्दमानचन्द्रमणिशि* दिवसकरकिरणजाल- च्छुरितदलतया सततमिव पल्ल. गमापीयमानोत्तुङ्गशिखरनि- राम्भसः रभसावतीकदि. ती चः (१) शीलोचयात्क्रीडाधन- विहरणोद्यतमृडानीचरणमुद्रा'[F. 17.A] *. रायमाणध्वन- दम्भीरजलदपटलामन्दमारुतान्दोलनप्रचल. खिन्नकिन्नरीगीय- मानत्रिपुरविजयावदातमुखरितनिकुं* भरितकुञ्जोदगल्लीलावन- विहारप्रवृत्तवित्तेश्वरविला. स्फटिककटकादावस्फुटिकाचलाद्विविध- मणिकान्ति खैरमाज्ञा विचरति । यं च सच्चक्रनन्दकं कुवलयामि कृतबलिराजं पुरुषोत्तमं सततमासेव" [F.'17.B] ते श्री इत्यभिधाय विरतवचसि यत्रपुत्रके स महीपतिः स्वयं कथयितुमारभंत । [कथानायिकावर्णनम् ] अस्ति च तस्य राज्ञः सकलजनमनोहारिरूपसम्पदधिदेवतेवायतनमेकं मकर- केतो[:], सौन्दर्यनिर्जितत्रिदशसुन्दरीसौन्दर्यसम्पत्तिः, सततमुल्लसतो वदनचन्द्रमसः परि- स्फुरत् कान्तिजा लेन प्रतिहतप्रसरमग्रतस्तिमिरनिकरमिव पश्चान्निभृतनिलीनं केशपाश- मुद्वहन्ती, अष्टमीचन्द्रशकलानुकारिणा ललाटफलकेन मल"यजरसनिम्मितमतनुवृत्ति विशेषकमायतनासावंशदण्डमाननश्रियस्त्रिभुवन विजयिना रामणीयकेनार्जितं." सितातपत्र- मिव च दधाना, स्निग्धाञ्जनश्यामले तरुणजनलोचनालिभिरनवरतमुपास्यमानकटाक्ष- ३ मन्त्र षोडश (१६) अंकांकितस्य पत्रस्योत्तरार्द्धस्य त्रुटितत्वादिमान्येव वाक्यानि परिपठ्यन्ते । ३ सोविपः। ३ शकीतिर। ४ भन सप्तदश (१७) अंकांकितस्य पत्रस्योत्तरभार्ग एव प्राप्तः। ५ तस्मिन्निमान्येव वाक्यानि परिपथ्यन्ते ६ स्पंदसान। ७ शीलोचया । ८ कथितुमरभत । ९ स्फुरत्य: विशेषणं । १५, केस्तर्जितं । ३ F । - m ।

·श्रीभोजदेवविरचिता ११ कुसुमस्तबके जनितगुरुमदनफलतवेव किञ्चिदान"तप्रान्ते भूलते विभ्राणा, अन्तःसञ्चरत् तरलमधुकरेण विकसितसरोजयुगलेनेव” [F. 18. A] नयनयुगलेन विराजमाना, कलङ्कमपाकर्तु द्विधाकृतेन शशिमण्डलेनेव कपोलफ"लकद्वयेन द्योतमाना, शिरीपकुसुम- सुकुमारेण तरुणजनहरिणग्रहणनिपुणेन मदनव्याधवागुरापाशेनेव श्रवणपाशद्वन्द्वे"न रोचमाना, ईपदुन्नताग्रेण मकरध्वजवीणाकोणानुकारिणा नासावंशेन भ्राजमाना, रतिवल्लिपल्लवेन रागसागरप्रवालग्रन्थिना पकविम्बी फलपाटलेन दशनच्छदेनोद्धा- समाना, रेखात्रयविराजिना कम्बुनेव कलखनेन, मदनदुमकन्दलेनेव कोमलेन कण्ठ- कन्दलेन, कमनीयतामाकलयन्ती, क्रमापचीयमानवृत्ततया स्निग्धमांसलतया चाति- मनोरमे मृणालभ्रान्त्या स्फुरितमसृणनखमयुखमञ्जरीके "शरश्रेणिभ्यां विकचरक्तोत्पला- भ्यामिव हस्ताभ्यामाश्रिते कोमलतया समुपहसितविसलते बाहुलते दधाना, ईपन्निमग्नचू- चुकेनो [F. 18. B] त्तुङ्गेन सुवृत्त पृथुलेन रतिसुखनिधानकलशयुगलेनेव स्तनयुगलेन शोभमाना, मीमांसाकुविचारेणेवातिदुरुहेणात्युत्तुङ्गस्तनभरान्तरिततया सकलजन स्पृह- णीयं दृष्टिविषयमप्राप्नुवतेव कृशतामागतेन कृशेनापि खीकृतवलिना तनुनाप्युत्तुङ्ग- पयोधरभरधारणक्षमेण मध्यगतेनाप्युपरि तिष्ठता सर्वरमणीयानां मध्यभागेनालङ्कृता, मकरध्वजगन्धसिन्धुरस क्रीडामजनहदेनेव गम्भीरेण नाभिमण्डलेन भूषितमध्यभागा, स्तनकुम्भ शालिनो यौवनमतङ्गजस्य विगलितया मदलेखयेव स्मरधनुर्लताजीवयेव परस्परौपम्यदानार्थमिव रोमराज्या विभक्ततनुमध्या, रतिक्रीडापर्वतरत्नशिलामिव विशाला मदनकरिणो विहरणस्थलीमिव नितम्बस्थली कलयन्ती, विपरीतोपहितकनक- कदली"काण्डानुकारिणा दुर्दममदनद्विपालानस्तम्भद्वयसोदरेणोरुयुगलेन प्राप्तपरभागा, घृत्तानुपूर्वाभ्यामनतिसरलाभ्यां कोमलतया विजितकदलीकाण्डलाव[ F. 19. A ] ण्याभ्यां जवाभ्यामुद्भास माना, बदनेन्दुकान्तिनिर्जितसरोजाकरैरुपायनीकृताभ्यां सरो- रुहास्यामिव चरणाभ्यामधिकजनितशोभा, सुवृत्तया"त्यर्थमुज्ज्वलया समस्तावयवालोक- नार्थ कन्दर्पस्य दर्पणमालयेव नखश्रेण्यालङ्कृतचरणयुगला, सर्वाङ्गानि परिपूर्य कान्तिच्छ- लाहिः "प्रसृतेन लावण्येन सेवकजनेनेव परितः सदैव परिवारिता, आयतस्य मन्मथर- यस्येव वदनचन्द्रमसो स्थचरणयुगलमिव मरकत "मणिकुण्डलद्वितयं धारयन्ती, कपोल- स्थलीजन्मनः पत्रलतायाः.. प्रचुरलावण्यसलिलसेकैर्मदनज्वरदवथुव्यथाकदर्थितानां कामि- जनह"शां विश्रमार्थमिव च्छायामनुदिवसमभिवर्द्धयन्ती, मदननरपतेः साम्राज्याभिषेकाय स्तनकलशपातिनीमत्यच्छवि[श]दा सुधासलिलधारामिव स्वसौभाग्ययशःपताकामिव रतिनिधानस्तनकलशरक्षिणो मदनभुजगस्य निर्मोकपट्टिकामिव हारलतामुरसि कलयन्ती, मकरल[F. 19. B] [ अत्रादर्श २० अङ्काङ्कितं पत्रं विनष्टम् ] १ किञ्चिदोनत । २ 'प्राते । ३ °सचस्त । ४ जुगले । ५ मैयाकर्तु । ६ मरकत । ७ बिम्बो ८ सुवृत' । ९ °जवस्पृह। १० वृत्तानुमाभ्या । ११ मुद्धाममाना । १२ °मालन्येव । ० ।

·१२ -ऋचारमञ्जरीकथा ...यति । रतिमपि परिभवत्यनिन्दितैः संसृज्यते । मधुरमपि उदात्तं च भाषते । प्रहास्येऽपि स्मेरमुखेव भवति । अश्लील परिहरत्यनतिनम "शिला । अरक्तापि रञ्जयति रिक्तं?] । असक्तापि सञ्जयति सक्ते । वीयरूपातिरेकापहस्तितरूपसम्पदात्मानमवमन्यमाना भगवती श्रीरपि कमलवनवासमङ्गीचकार । या च विकसितवदनारविन्दसुन्दरीनयन- नीलोत्पलाभिरामा, मृदुभुजलताभिमृणालोपशोभिनी, निविडोत्तुङ्गस्तनचक्रवाकमिथुना गम्भीरनाभिरन्ध्रावर्तशालिनी, विलसत्रिवलीतरङ्गा, मदनकरिणो विहरणार्थे मयारेव (१) लावण्यसरसी, शृङ्गाररसनिर्भरा' निम्मिता भगवता प्रजापतिना। या च हरविग्रहे विफलतामात्मनोऽस्त्राणामालोक्य त्रिभुवनविन"यार्थमपरमिव जैत्रमस्त्रमुत्पादितं भगवता मकरकेतुना। सा च अपरुपा वेपे, अव्यपदेश्या देशभाषासु, अग्राम्या गोष्ठीपु, प्रकृष्टो- [F. 21. A] भयचतुःपष्टिज्ञाने, विचक्षणा कामसूत्रादिविचारेषु, प्रगल्भा प्रश्नोत्तरग्रहे- लिकादिप्रभेदेषु, कौतुकिनी वाकोवाक्ये, लब्धलक्ष्या ला"स्ये, असमा समस्यासु, प्रबुद्धा प्रवन्धनिवन्धनेषु, भव्या काव्यकरणे, प्रथमा गाथाग्रथने, कुतूहलिनी क्रीडासु, अलोलुपा पाने, परामुखी व्यसनासङ्गेषु, अन्तर्मुखी काव्यार्थभावनासु, अवक्रा वक्रोक्तिषु, अनवगीता गीते, मुख्या मुरजवाद्येषु, अतुच्छा त्यागे, अविकत्थना लोभे, सप्रपञ्चा विपञ्चीनाट्येषु । यस्याश्चरणकमलाभ्यां सकाशादिव गतिविलसितानि राजहंसैः, ऊरुयुगादिव क्रमा- पचयमसृणतामृ दुस्पर्शतादयो रम्भास्तम्भैः, नितम्बंविम्बादिव पृथुलताधिवासः क्षिति- धरस्थलीभिः, नाभिमण्डलादिव गम्भीरता हृदैः, वलित्रयसनाथान्मध्य प्रदेशादिव तरङ्गा- भिरामता निम्नगाभिः, रोमराज्याः कमनीयता स्मरधनुर्गुणेन, स्तनयुगलादिवातिनिबिडा- सङ्गतिश्चक्रवाकमिथुनैः, [F. 21. B] बाहुलताभ्यां सुकुमारता मृणालीभिः, कर- कमलाभ्यां रामणीयकमशोकपल्लवैः, कण्ठकन्दलाद् राजित्रयसन्निवेशाभिरामता कम्बुभिः, अध"रपल्लवाद् निसर्गशोणिमोत्कर्षों विद्रुमग्रन्थिभिः, कपोलफलकाद् अमलकान्तिः कनककेतकीदलैः, नयनयुगलात् तरलता मृगीलोचनैः, धवलता पुण्डरीकखण्डैः, तीक्ष्णता केतकच्छदैः, सरलता सजनैः, कालिमा मधुकरीभिः, भूलतायुगलात् कुटिलिमा चन्द्रलेखया, श्रवणाभ्यां संस्थानचारुता स्मरधनुर्व्यापाशद्वयेन, नासिकाशाद् आकृति (ति?) कमनीयता मोग्धायाः (१) [उद्बुद्धपाटलाप्रसनैः, 'ललाटफलकादा- काररामणीय"कमा रूढगुणेन स्मरधनुपा, केशपाशाद् जनमनोमोहकत्वं वाहिकलापैः, वदनमण्डलादखण्डितकान्तिता जननयनहारित्वं च रा[F. 22. A ]काशशाङ्केन, वचसो माधुर्य पिकवधूभिः, सर्वाङ्गेभ्यो लवणिमा रुमाकरैरगृह्यन्त १ म्योरमुखेव । २ निर्मत्रा। ३ वाचोक्तियु। ४ कमरूढ । ५ चहिर्किलापैः। ६ रगृह्यन्ते ।। 2 ३ ·श्रीभोजदेवविरचिता १३ न , यस्याश्च रूपनिष्पादनार्थमिदमुपकरणकदम्बक मनाददानेनापरमिवोपकरणजातं' किमप्यासादितं भगवता प्रजापतिना। तथा हि - न गृहीतश्चमरीवालभारो, न वर्हिणां बहकला"पाः, न मधुकरकुलानि, न शशधरार्धम् , न कनकपट्टशकलानि, नानङ्गसारंटनि- (१)द्वयम् , न विकचेन्दीवराणि, न मधुकराक्रान्तैकदेशानि केतकीदलानि, न मृगी- लोचनविलासाः, न पाटलाप्रसूनानि, न मद(2)वीणाकोणरामणीयकम् , न विम्बी- फलानि, न बन्धुजीवकुसुमानि, न विद्रुमग्रन्थयः, न परिपक्कदाडिमीवीजत्विषः, कोकिलाध्वनयः, न- वीणानिक्कणाः, न बन्धूककुसुमलावण्यम् , न विकचकनकचम्प- कावदा"[ F. 22. B ] तता, न सरधनुर्व्यापाशयुगलम् , न कन्दलानि, न कम्बवः, न मृणाल्यः, न श्यामालताः, न पल्लवितानि(?), न रक्तोत्पलानि, न चक्रवाकमिथुना"नि, न करिकुम्भाः, न सरित्तरङ्गाः, न स्मरधनुालावण्यम्, न मदनरथचक्रनाभयः, न रत्नशिलातलानि, न कनकफलकानि, न रम्भास्तम्भाः, न द्विरदेन्द्रकराः, न कोकन- दानि, न मुक्तामणयः, न शरत्तारकाः, न द्विरदेन्द्रगतयः, न राजहंसप्रचलितानि । तथाप्याश्चर्यनिधानमद्भुतैकनिधिना विधिनेयमुत्पादिता । अहोऽत्यन्ताद्भुतरूपनिर्माण- कौशल विधातुः। या च लावण्यमय्यप्यक्षारा, साधारण्यप्यसाधारणी, स्फटिकमणिपुत्रिकेव सन्नि- हितोपाधिरागिणी, द्रौपदीय नकुलप्रिया, प्रावृडिव दर्शिताचिर रुचिः, यामिनीव सकलजनाभिलपणीयस्खापा, नियुद्धोद्यतकृष्णमूर्तिरिवानङ्गदा, नेपालभूमिरिव [F.23. A] मृगमदामोदिनी, उद्यानमेदिनीव रुचिरकलकण्ठोपशोभिता, प्राग्ज्योतिप- क्षितिरिव कृष्णागुरुपत्रभङ्गभूषणा, कदाचि[] भुजगीव बहु"प्रजागरक्षीवनयना । या च त्रिदशसेनेव कुटिलकेशपाशोपशोभिता, कैलासमेखलेव निरुह्यमा [ना]लकाभिरामा, प्रियजन कथेवाभिलपणीयनासिक्यप्रदेशा, वनलेखेव कमनीयतमालपनसारा, वसुधेव सरसशोणाधरोपशोभिता, नाटकाङ्गस्थितिरिव रम्भोद्भासिनी, हरिश्चन्द्रकथेव प्रथितचारु- लोचना, किष्किन्धगुहेव सुग्रीवोद्भासिता, रामायणकथेव प्रख्यातसुबाहुप्रह"स्ता, प्राव- डिव घनस्तननाभिरम्या, छन्दस्थितिरिवोज्वलतनुमध्या, प्रजावनिरिव सदा समजधना; क्रौञ्चगिरिरन्ध्रपद्धतिरिव परिचितराजहंसगतिः, कुरुपाण्डवद्यूतवेलेव प्रवृत्तोरुद्वन्द्वा शृङ्गारमञ्जरीगद्यप्रवृत्तिरिवं सुललितपदा । या सर्वतः प्रसृतस्य ख” [F. 28. B] देह- प्रभापटलस्यान्तःस्थिततया मन्दरगिरिमथ्यमानजलमध्यवर्तिनीं श्रियमिवोपहसति, सर्वाङ्ग- सौन्दर्यावलोकनस्तिमितपक्ष्मपुटतया" निर्निमेषमवलोकयतो मानमानिव विद- धाति, नयन अतिसंयोगाविषममवलोकयन्ती भोगिनामप्यद्वितीयां विषमविषमूर्छा- २ °देन्दुकराः। ३ देन्दुगतयः। ४ प्राविडिव । ५°चिररविः। ६ कठों। ७ प्रजागार। ८ निनुद्यमा। ९ द्वन्द्वो। १० रिववसुललित। १ जाते।

·शृङ्गारमजरीकथा -- भापादयति । अस्थिरेणाद्वारेणा(?)तिसरलेनापि लोचनयुगलेन कदाचिदप्यनासादित- भङ्गान्यपि कमलकाननानि पराजयते । यस्याः कोऽप्यपूर्वो मुखेन्दुर्यस्य सर्वदा परिपूर्णाकृतेर्दिवाऽप्युल्लसितमहसः कलङ्कोझिंतस्य पङ्कजैमैत्री, कुमुदा करेषु द्वेपः, निखिलरागकारिणी कान्तिः । या च केशपाशमन्तःसन्दानितविविधकुसुमनिकरमिपुधिमिव कुसुमसायकस्य सकलकामिजन- हृदयमे दनार्थमिव दधाति । यस्याश्च निसर्गसुरभिणि लोहिताधरदलाभिरामे दशन- कान्तिकेसरप्रकरोद्भासिनि वदनारविन्दे निपतिता [F.24. A ] सौन्दर्यरसमापिन्त्यः क्षीवा इवातिनिश्चलपझपक्षपालयः पदमपि न चलन्ति यूनी नयनमधुपालयः। या कामिजनहृदयवर्तिनः प्रज्वलन्मदनदहनस्य प्रशमनार्थ पृथुलमत्युन्नतं लावण्यरसनिर्भर कुचकलशयुगलमुद्वहति । मन्ये च यस्या रूपनिर्माणाभ्यासमिव' कतु प्रजापतिना लक्ष्मीरत्यप्सरप्रभृतयो युवतयः पूर्वमेव निम्मिताः । कथमन्यथा सविशेषकौशल- निष्पादनीया निखिलत्रैलोक्य स्त्रैणरामणीयकविजयिनी रूपसम्पत्तिस्तस्याः के नानुरक्ताः, के वा ये न वञ्चिताः, के वा न विप्रलब्धाः, कैर्वा सर्वस्वमस्या न दत्तम्', के वा न ब्राह्मणा" राजानो राजपुत्रा वणिजः कायस्थाः कुटुम्बिनो वा दासतामाश्रिताः। यस्तया सङ्गतः स एवं जानात्यहमेवास्याः प्रियः, मय्येवे यमनुरागिणीति । लभते च सा कदाचित् करिघटाः, कदाचित् तुरङ्गममन्दुराः, कदाचित् काञ्चननिचयाः, कदाचिदपरि- मितमहार्हाणि रत्नानि वा[F.24 B.] सांसि च । एवमस्याः प्रतिदिवसमुपचीयमानो विभवः परां कोटिमारुरोह । तथाप्येषा न वेश्यावृत्तमतिकामति । काञ्चनशतपञ्चकेन च बन्धकमादत्ते । तथाप्यनुपमसौभाग्यवैभवान्न कदाचिदप्येकाकिनी स्वपिति । - [ शृङ्गारमञ्जर्या मातुर्वर्णनम् ] तस्याश्च नृपतिपरिवारवारविलासिनीजनस्य निखिलस्यापि माननीयायाः, जरा- प्रसरजर्जरितमूर्तिः, काशकुशकुसुमसंकाशकेशा, द्विदिनविकसितशतपत्रजर्जरस्फारस्मारित- पुरातनकान्त्यागन्तु[क]विटग्रासंगृचतयेव प्रतिदिनं विवर्धमानमाननं दधाना, तनुतरव- लीकलितमापाण्डुगौरं विवर्णश्रीपणी"फलकसो"दरं ललाटपटमुद्वहन्ती, सरथवधौढ्यत (1) "जरन्महिपविषाणशकलप्रतिमं भ्रूयुगलं धारयन्ती, वय[:]परिणतिवशादीपनि मन रागान्धजननिपातान्धकूपयुगलमिव लोचनद्वयं विभ्राणा, अलावुवुनोपमातिस्थूल- पृथुलायतचिपटनासापुटा, उद्धृत्तमल्लिकापर्णानुकारमोष्ठयुगलं विभ्रती, अतिप्रलम्बतया सकलभुजङ्गबन्धन"[F. 25. A ]पाशाविव' श्रवणपाशौ कलयन्ती, वयःपरिणतिश्लथ- १ कलंकोद्भितस्य ।-२ कुसुदा। ३ पिर्वन्त्यः । ४ यूना। ६ जानात्यम्लये- ७ मयोवें। ८ कदाचिन्नाप्येकाकिनी। ९विस्वाण । '१० श्रीपल्ली। ११ सौदरं । १२ दीपनिमनं। में - T " ५ प्रज्वले । वास्याः। .

·श्रीभोजदेवविरचिता १५ न तया स्वभावपृथुलयोरपि कपोलयोरतिपृथुलतामिवापादयन्ती, विगलितदशनतया" मुहुर्मुहुर्जगद्ग्रासगृभुमिव प्रलम्बमोष्ठं संवृण्वती, विषमविषधराशीप्रायोपलक्ष्यमाणद्वित्र- दशना, किंचिन्निमग्नमतिपृथुलस्थूलतरुणवनमहिषकन्धरानुकारं "कण्ठं दधाना, अति- पृथुलस्थूलकण्डरासन्तानसन्दानितकन्धरावन्धतया परार्थागमप्रवेशवर्तनीरिव सर्वतः समु- द्भास"माना, क्षुत्पीडाऽवसीदञ्जरदजगरदेहसकलप्रतिमवाहुकाण्डा कूर्परादधस्तात् सर्वतः समुपलक्ष्यमाणशिराजालकतया तीव्रतपनतापो"क्वथितात्यायतस्थपुटचिपिटकोशातकी- फलप्रायभुजयुगा, अनवरतदृढप्रहारसञ्जातकठिनकिणग्रन्थिता[व]यवान्तरापि कठिन- तरहद या, अतिपृथुलकाष्ठपात्रीप्रतिमतुण्डोत्तानितस्थूलश्लथारधट्टघटीप्रतिमपयोधरा, अतिवलात् पृष्ठपार्श्वयोः प [F. 25. B] तितान् सन्धीन् स्वचरित्रगोपनस्थानानीव दधती, अतिस्थूल'तुण्डान्तरिततया दुर्विभाव्यमतिसम्भोगभयात् पलायितमिव नितम्ब- विम्बं दर्शयन्ती, विवर्द्ध"मानपृथुलस्फिक्तया प्रतिदिवसमापिबन्तीव व्योम्नोऽवकाशम् । तैलिकयत्रयष्टिप्रतिमेनोरुयुगलेन, दीर्घपक्वत्रपुसीफलानुकारिणा जङ्घाद्वितयेन स्थूलदर्दुर- स्थवीयसा चरणद्वन्द्वेन च विराजमाना । विनतोकायतयो परिस्थौष्ठपुटविदीर्णसंक- तया च त्रिभुवनमिव ग्रसितुमाकासन्ती, आविर्भूतातनुजरापरिचयाचिरोपचितभुजल- तामांसश्लथतया जरादोलनदोलामिव प्रकटयन्ती, मदनद्यूतकटिन "मिव खटिका- रेखासपत्नीभिरनेककितवोत्पादिताभिर्जीर्णापाण्डुभिर्नखरेखाराजिभिरलङ्कतसर्वावयवतया खचरित्रचित्रमिव प्रकाशयन्ती, अंतिचलवहलमांसतया च निजमस्थिरत्वं सकलेवप्य- वयवेषु प्रतिपादयन्ती, बलिष्ठतया स्थपुटितेषु केपुचिदङ्गेषु [F 26. A वार्धक्येऽपि वाल्य- मिवाश्रयन्ती, अधोनिहितदृष्टिः, शुकचञ्चुकुटिलनासिकाग्रा, राशिकर्तुमिव पातालगतानपि स्फुरन्मणिगणान् भुजङ्गानाक्रष्टुमभिलपन्ती, जगद्वञ्चनचातुर्यमहार्थतयोदु(न्दु १)र- कन्दरा, त्रिभुवनमपि तृणाय मन्यमाना, कलिकालवृत्तिरिव पतितद्विजा", शुनीव सुरत- परामुखी, खगराजचञ्चुरिव कवलिताशेषभुजङ्गा, उद्यानभूमिरिख मधुमत्तालिसङ्गता, याचकद्विजवृत्तिरिवामिनन्दित"ग्रहणा, ग्रहपतिरिख बहुशो भुक्तमीनमेषा, ताम्रपर्णीव शंतमुक्ताफला, बैडालिकवृत्तिरिव दम्भप्रधाना, महापुरुषचित्तवृत्तिरिख परार्थ"वद्धकक्षा, वामनमूर्तिरिव 'निजविक्रमाक्रान्तत्रिभुवना, पञ्चरात्रस्थितिरिव मायावैभवोपपादितभोग- स्थितिः, सिकतासन्ततिरिव स्नेहो"ज्झिता, गङ्गेव क्रोडीकृताखिलवसुः, विश्वरूपमूर्ति- रिव दुर्लक्ष्यस्वरूपा, व्याकरणप्रक्रियेवोपसर्गवंशात् परस्मैपदोत्पादनकुशला' [F. 26. B] छात्रमण्डलीव रूपसिद्धिनिपुणा, यतिजनचित्तवृत्तिरिव मोक्षकतत्परा, लोकायतस्थितिरिव- नाशितपरलोका, चाणक्यनीतिरिवः यो" येनोपायेन ग्राह्यस्तं तेन गृह्णन्ती"। कुशला कलाकलापे, चतुरा परचित्तज्ञाने, निपुणा पण्याङ्गनाव्यवहारे, प्रवीणा परवञ्चनायाम्, , - । .जगद्वास २ लक्षमाण । ३. कर्पूराद। ४. स्थल । ५ कायतयापरि । ६ सुक्षतया । बाधिकेपि । ८ ताम्रपल्लीव । ९ व्याकरणमिवप्रकृयेवोप। १० प्रतिजन । ११ गृहति । - ·१६ शृङ्गारमञ्जरीकथा दक्षा दुर्दमभुजगदमने, विदग्धा विप्रलम्भे, पेशला वैशिकालापे, प्रगल्भा सगर्भोक्तिपु, अशीणबुद्धिर्विशीर्णप्रतिसन्धाने । सर्वस्वमपि दर्शयति न च प्रयच्छति । क्वचित् किञ्चित् प्रदाय बालपानीयेनेव कर्णपानीयमन्तर्गतमप्यर्थमाकर्पति । वैशिकरहस्य- पण्डिता न खण्डिता वितैः । धूतैः प्रतारणार्थमभ्यर्थिता न कर्थिता । वञ्चयति न वन्यते । स्तोभयति न स्तुश्यते । कदर्थयति न क' [F. 27. A ] दर्थ्यते । मोहयति न मुह्यते । मृगतृष्णिकेवाशावासं प्रयच्छति न च पूरयति । वसतिरसत्यस्य, मन्दिरं दम्भस्य, आलयो मायायाः, धाम धूर्तता"याः, सरणं कुसृतीनाम् , स्थानं मिथ्या- विनयस्य, आश्रयः प्रश्रयस्य, एकप्रयोक्त्री कपटनाटकस्य, गतिरिव विधिविलसितानाम् , घटयित्री दुर्घटानाम् , विघटयित्री सुघटितानाम् , भवितव्यतेवाज्ञातादिमध्यान्ता, अविद्येवाविचारितरमणीया, किम्पाकफलाभ्यवहति रिव विरुद्धपरिणामा, प्रतिपादिता- जवाप्यहितनुरिव प्रचारकुटिला, संसारवृत्तिरिय परमार्थता शून्या, निधानमधर्मस्य, आकरः कृतकचाटूनाम् , जीवितं वञ्चकतायाः, सदनं साहसिकतायाः, प्रभवः पातकस्य, स्थानमस्थितेः, गृहं मसृणतायाः, निकेतनं कैतवस्य, समच्छद्म [F. 27. B] ना, यशः- पताका कलिकालस्य, सब्रह्मचारिणी विषलतायाः, सनाभिः सूनायाः, आली विडालि- कायाः, वयस्था वृकीवर्गस्य, पितृवसा" पिशाचीनाम् , सहोदरी सर्पयुवतेः, सृष्टि- निकृष्टतायाः, भयस्यापि भीतिः, मार्या अपि मारी, बासस्यापि त्रासहेतुः, भवनं लोभस्य, वडवामुखज्वाला कीलालसागरस्य । यस्याः सकाशादिव शिक्षितं दृष्टिवञ्चनं बिडाल्या, क्रमादानं व्याघ्रण, क्षिप्रकारिता श्येनीभिः,"अर्थप्रियत्वमाखुयुवतिमिः, रन्ध्रान्वेषि- त्वमहिवधूभिः । या चन्द्रलेखेव सदा कुटिला दोपाश्रया च । यस्याश्चोपदेशप्रभावादः प्राप्तरूप "सम्पत्तयोऽप्यसुभगा अपि दासमिव कामिजनमभिमतेषु व्यापारेषु व्यापारयन्ति वेशविलासिन्यः। या च शुकचञ्चकोटिकुटिला म"तिशालिनमपि शालि मिव निस्तु- षीकृत्य भक्षयति । अतिविदग्धमपि दम्भयति । स्थिरम' [F.28. A] प्यस्थिरी- करोति । प्राज्ञमयज्ञयति । पण्डितमपि खण्डयति । धूर्तमपि नर्तयति । पटुमप्यपटूकरोति । चतुरमपि वश्चयति । विपश्चितमपि पश्चात्क"रोति । धृष्टमपि धर्षयति । दक्षमपि क्षपयति । नापितजनेनेवातिरिक्तमलकतूलमिव गृहीतसारं परिहरति । शुक्राङ्गिरसयोरपि मतिम तिसन्धत्ते । श्रोत्रियजनं भक्ष्यमिवाकाङ्क्षति । पिशाचीव शुष्कपिशितैकप्रिया अस्थीन्यपि न मुञ्चति । मधुकरीव मधुपानलम्पटा । मधुरा" मुखे, कुटिला मनसि, प्रसन्ना दृशि, दारुणा चेष्टिते, सरला सम्भाषणे, तरला भुजङ्गान् प्रति प्रतिपन्नपालने । गुरुराकारे, लघुश्चेष्टिते", उच्चा प्रमाणे, नीचा स्वभावे, स्थूला वपुषि, सूक्ष्मा कार्यदर्शने । " " , १ मोह्यते । २ °वासावासा । ३ °भ्यवकृति । ४ मार्थतशून्य । ५ °पातका । ६ स्थनायाः। °न्वेष्टित्वम। ८ वा। ८वा। ९शालसिव । १० भवति । । ।

·श्रीभोजदेवविरचिता १७ 4 ] " - नटीव सभाजनप्रतापनाय हृदयशून्यं रोदिति । कदाचिदनिमित्तं हसति । कदाचित वसुतां तर्जयति । कदाचिदावर्जयति । कदाचिद् योधयति । कदाचिद् वोधयति । कदा- [7.28.B] चिद् गृहादपि निर्वासयति । कदाचिदपयान्तीं वारयति । निःसारं निःसार- यति । निःस्वं निर्जीवमिव परिहरति । मुक्त्यपेक्षिणी संसारमिव विदित” सारमवगणयति । लोहकारभस्वाध्मातमूर्तिः। अर्थाशयाऽनर्थकं स्वसुतां प्रति पूत्करोति । संस्थाने बकेन, बिलुम्पने वृकेण, दृशि द्वीपिना, उत्पादकत्वे शरमेण, वृथारटिते करमेण सदैवात्यक्ता । अव्यक्तान्तस्तत्वगोपनार्थमकर्तव्यकाण्डपटिकयेव पटिकया सदैव प्रावृतमूर्तिः । ज्ञात- परतत्त्वापि पापैकरुचिः । समुपचितमासत्वात् कोमलत्वगप्यतिकठिना, स्थूलाप्यतिलघुः, अतिस्निग्धापि परुपा, शान्तमूर्तिरपि कृतान्तरिता । दान्ता'पि दमयति । घृष्टापि पर्पयति । नष्टापि नाशयति । आवर्जितापि वर्जयति । स्वीकृतापि-निःस्वीकरोति । पारद- मूर्तिरिख सुवर्णमादाय” पाण्डू करोति । नरसिंहमूर्तिरिय हिरण्यकशिपुक्रुद्धा, योगिन्यपि वियोगैकदत्तहृदया", [F.29. A] सौनिकवनितेव सततं परमांसविक्रयिणी, अतिस्थूलो- दरस्फिपिण्डोरुयुगलतया चलितु"मक्षमाप्यतिचला, अर्थमय्यप्यनर्थदायिनी, नर्मदापि तार्पनी, गम्भीरापि सम्भ्रमवती, जातरूपक्षयाप्यासादितरूपा । सततं परपिशित भक्षण- परतामाकलय्य भीतेनेव परमासेन संश्रिता, सुरतैरिव सुरापानैः प्रीणयितुमशक्या, परार्थैरिव मांसः सदैवानवाप्त तृप्तिः, विप्रपर्णदिवं सदैव भोज्यप्रिया । साह्वयस्थिति- रिवापरमार्थोपपदा नित्य]पुरुपभोगा, शाक्यशासनोक्तविश्वस्थितिरिव "क्षणिका, कणाद- मतिरिव द्रव्यतत्त्वैकप्रधाना, अक्षपादविद्येव सदैव बहुमतेश्वरा, प्रभाकरप्रज्ञेव स्मृति- प्रमोपोत्पादननिपुणा", कुमारिलमतिरिवार्थवादप्रधाना । ऐन्द्रजालिकान् बालकानिवो- पहसति । मायाविनो मयादीनप्युन्मत्तानिव न बहुमन्यते । कुटिल [F. 28. B] मति- कौटिल्यप्रभृतीन बटूनिवापटून गणयति । उपनिषद्विद्यासूशन[स]प्रभृतीन् वार्द्धका- द्विकलानिवाकलयति । मूलदेवं मूलहारं व्याहरति । शशिनं शशमिव भक्ष्यार्थमन्विष्यति । सांव[स]रिकान् वराकानिव कारुण्येन पश्यति । सीमादित्यं सोममिव धर्पणीयं गणयति । ग्रीष्मलक्ष्मीरिव सकलजनतापकारिणी, शिशिरसम्पदिव सकलजनोत्कम्पहेतुः, पक्षिमा- लेव दर्शितानेकविकारा, विश्वास्थितिरिव विचारविर "सा, जलधिमथनवेलेच पर्यन्तोत्थार.. पितकालकूटा, पुराणस्थितिरिव कमपि कथामिः, कमप्याख्यानकैः, कमपि कङ[व] ककैः, कमपि मणि "कुल्याभिः, कर्मपि दृष्टान्तः, कमपि निदर्शनः प्रतिबोधयन्ती, शाकु- निक्रस्थितिरिख पक्षिरुतज्ञानप्रधाना, वध्यशिला भुजङ्गानाम् , सूनास्थानं विटपशूनाम् , ५ °चिदनमित्रं। २ पटिकयें। ३ कोमलत्वाग ४ दाता।' ६ नापनी ८ बटूनिवावपटूत्वागणयति । ११ पर्यन्तोस्थापित। १२ वाणिकुल्याभिः। १३ निर्देशन , ५पाण्डा १० सालेव। ७ विप्रकर्षदिव। ९ शर्शि। # ·. -- १८ शृङ्गारमञ्जरीकथा वागुरा पिमृगाणाम् , योग्यावनिः कपटनाटकस्य । मायेव नानाविधपाश पातितपशुः, जलूकेव सततमापीतशोणितोप"[F. 30.A] चिता, डिण्डिकपर्पदिव परग्रन्थिस्रावण- जातनिवहा, वैद्यवृत्तिरिव प्रकामातुरोपजीविनी, धूतैरपि व्याप्यमाना, विटैरप्युपास्यमाना, "कुरूपयुक्तापि न कृपान्विता, मुनिजनसंवर्धिततरुपंक्तिरिख घटपानाप्तप्रीतिः, विश्वम्भरेव वक्रोक्तिहतहृदया माता विपस शीला नाम । [ शृङ्गारमञ्जरी प्रति मातृदत्तशिक्षावर्णनम् ] अथैकदा भुक्तोत्थितामसौ यौमावशेपे वासरे मन्दीभावमासादयति भगवतो भास्वतः प्रभाविताने मणिवितानकस्याधस्तान्महार्हपर्यङ्कासीनामनतिदूरवर्तिनं पर्यङ्कमभिरूढा विषम शीला शृङ्गार मञ्जरी मित्यवोचत्- "वत्से ! निजलावण्यसारूप्यसौभाग्य- मदमत्ता"मा कृथाः क्वचिदपि प्रमादम् । प्रमादिन्यो हि वेशप्रमदाः प्रायो धुर्तविटः कियन्त्यो नाम न वञ्चिताः, कियन्त्यो वा न विप्रलब्धाः, कियन्तीनां वा न सर्व "स्खमा- च्छिन्नम् । तत् पुत्रि ! सर्वथैवाप्रमादिनी भव निजचित्तरक्षणे वित्तरक्षणे च । सावधाना भव वैशिककलाकलापे परचित्तावर्जने च । यसादावर्जितचि" [F. 30. B]त्त एव रञ्जयितुं शक्यः । रञ्जितचित्तवृत्तिहि सर्वस्वं जीवितं च प्रयच्छति । न खल्वद्यापि च सौभाग्य-, गविता जानाति भवती कथमपि न ज्ञातचित्तवृत्तिरात्त "सर्वस्वो निर्वास्यते, कथं वा स एव भूयोऽपि वर्धितविभवः प्रतिसन्धीयते, कथं वा प्रथममावय॑ते, कथं वा सङ्गतो विघटमानः स्थिरीक्रियते, कथं वा विरज्यन्नसमरागेण पुनरपि रज्यते, कथमन्यचित्तः पुनरनन्यचित्तः क्रियते । यतो हि प्रतिप्राणि दुर्विज्ञेयाश्चित्तवृत्तयः । रुद्रादिवार णवद- न्याकारादन्यमनस्काश्च बहुप्रकाराः पुरुपा भवन्ति । यदि कश्चिद्भीरपि शौर्य प्रकटयति । लुब्धोऽप्युदात्तायते । उदात्तोऽपि कदर्य"वद् व्यवहरति । दुर्भगोऽपि सुभग इव चेष्टते । वणिगपि विटायते । विटोऽपि वणिज्यते । दरिद्रोऽपीश्वरायते । कश्चिद्धर्म- रुचिः, कश्चिदर्थपरः", कश्चित् कामप्रधानः । तदेवं चित्तवृत्तीनां वैचित्र्ये सति प्रथममेव सम्यचित्तवृत्तिमाकलय्य योयत्र चित्तवृत्तिस्तं तया क"[F. 31. A ]मपि प्रोत्साह्य, कम- प्यनुप्रविश्य, कमपि निराकृत्य, कमपि भीषयित्वा, कमपि रञ्जयित्वा, स्वयमरज्यन्त्या सर्वखमपहृत्य निर्वासनीयः । तत्र रागो"ऽपि तावत् प्रथममाकलनीयः । अनाकलितरागे हि प्रयुज्यमानं वैशिकरहस्यं विफलतामासादयति । आकलितरागे तु तदेव प्रयुज्यमानं सुखेनैव फलाय भवति । स च रागो द्वादशंधा । नीलीरागः । रीतिरागः । अक्षीवरागः । मञ्जिष्ठारागः । कपायरागः । सकलरागः । कुसुम्भरागः । लाक्षारागः। कर्दमरागः । हरिद्रारागः । रोचनारागः । काम्पिल्यराग इति । . पिन। २ वाश। ३ जामा । ४ 'राभूसर्व। ५ तदेव । 2 है ·श्रीभोजदेवविरचिता '१९ " " तत्र नीलीरागः, रीतिरागः, अक्षीवराग इत्येको वर्गः" । मञ्जिष्ठारागः, कषाय- रागः, सकलराग इत्यपरः । कुसुम्भ रागः, लाक्षारागः, कर्दमरागः इत्यपरः । हरिद्रा- रागः, रोचनारागः, काम्पिल्यराग इति चतुर्थः । प्रथमे नीलीरागवगें नीलीरागाद् रीतिरागाक्षीवरागौ किश्चिदस्थिरावपि [F. 31. B] नीलरागप्रकाशनाद् दार्शितौ भवतः। मञ्जिष्ठारागवर्गे मञ्जिष्ठारागात् कपायरागसकलरागौ किञ्चिदस्थिरावपि मञ्जिष्टाराग- प्रकाशना"त् प्रकाशितौ भवतः । कुसुम्भरागवर्गे कुसुम्भरागालाक्षारागकर्दमरागौ किश्चिदस्थिरावपि कुसुम्भ रागप्रदर्शनात् प्रतिकृती भवतः । हरिद्रारागवर्गे हरिद्रारागाद् रोचनारागकाम्पिल्यरागौ किञ्चिद] स्थिरावपि हरिद्रारागप्रदर्शनात् प्रतिकृती भवतः । एवमयं यद्यपि द्वादशप्रकारो रागः प्रकाशितस्तथापीतरेषां चतुष्टयेन्तर्भावात प्राधान्या- चतुधैव भवत्याः कुतूहलात् प्रदश्यते-नीलीरागो, मञ्जिष्ठारागः, कुसुम्भ रागो, हरिद्धा- रागश्चेति । तत्र नीलीराग सर्वस्वमपि विश्राव्य वासवद् (?) वाहयेत् । मञ्जिष्ठारागं तु यदृच्छया विश्रावयेत्, न तु विच्छायतापर्यन्तं नयेत् । कुसु[F. 32. A]म्भ रागस्तु नातिचंटुता विसहते । तस्मात् तं चटुतां विनैवानुकूल्यानुकूल्य विश्रावयेत् । हरिद्रा- रागः क्षिप्रमेव विरज्यते । अतोऽसौ झगिति" विश्रावणीयः । यस्यां च वैशिकोपनिपदि रहस्यमेतद् - यद् व्याघ्रादिव प्रेम्णः सावधानतया सर्वदेवात्मा रक्षणीयः । तत्र रागव- शाजगति बहवो भुजङ्गा वेश्यामिविप्रलब्धाः । तथा हि ते कथयामि, श्रूयताम् । इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शृङ्गारमञ्जरीकथायां शृङ्गार"मञ्जरीशिक्षा समाप्ता । [प्रथमा रविदत्तकथानिका ] अस्त्यत्र कुण्डि[न]पुरं नाम नगरम् । तत्र च महाधनः श्रोत्रियो महान् ब्राह्मण सोमदत्तो नाम । तेन च विजयसप्तमीप्रतिविधानेनाभीष्टार्थस्य प्रसवितारं सविता- रमाराध्य पश्चिमे वयसि सूनुरवाप्यत । तस्य च रविणा दत्तत्वात्" [F. 32. B] रविदत्त इति पिता नाम चक्रे । क्रमेण चायमुपनीतो विधिवदधीतसकलवेदवेदाङ्गोऽधि- गतसकलशास्त्रः षोडशवर्षदेशीयः संवृत्तः । अथा"त्मनो महाधनत्वमाकलयताऽस्य च भाविनं विनिपातमाशङ्कमानेन तत्प्रतीकाराशया पित्रा शिक्षितः सकलमपि कलाकला- पम् । विशेष"तो दत्तकादिप्रणीतवैशिकरहस्यानि च ज्ञापितः । एकदा तु रहस्साहूय शिक्षयितुमारब्धः-"वत्स यौवनं नामातिगहनमन्धतमः, दुःपरिहरं सर्वप्राणिभिः । दुःशीलश्च मदनः, सर्वोन्मादैकायतनं च विभवः । नलिनीदलनिपतितजललवतरलं प्रकृत्यैव मनः । दुन्तिद्विरददुर्धराणि चेन्द्रियाणि । निसर्गतयैवाभि लपणीया विषयाः। १ कुसुम्भा । २ कुसुम्भा । ४ कुसुम्भा । ५ कुसुम्भा । ६ °चटुनां। ८ निसर्गतपेचामि। २ . -- A ३ प्रधान्या । ७ सवृत्तः।

·शृङ्गारमारीकथा ma तत्रापि विशेषतो युवतयः मधुवर्षारम्भशरत्समयप्रभृतयोऽत्यर्थमुद्दीपका" ऋतयः । तत्सहायश्च विजृम्भमाणो मकरकेतुः केन नाम निवारयितुं शक्यते । अतस्त्वया प्रथम अरिपड्डुग्गों जेयः । तत इन्द्रियाणि । ततः [F. 38. A] सन्निहितदुष्टजनप्रेरणाः । ततो विलासिनीसंमग्गः । विलासिन्यो हि दृष्टिविर्षबराङ्गनामनाभयो दूरत एव मनोमोह- मुत्पादयन्ति" । मृढचित्तस्य च विसरन्ति गुरूपदेशाः । दूरतोऽपसरति शास्त्राभ्यासः । शीयंत शिक्षा । भिद्यतेऽभिमानग्रन्थिः । बिलीयते जात्यायभिमानः । द्रवीभवति शीलसेतुः । वंसत धैर्यम् । विलीयते विवेकः । दलति दायम् । पलायते प्रौढिः । प्रसाधन्तो हि वहयो विनाशमुपगताः । प्रकृत्येव त्य"क्तस्नेहा खलसङ्गतिरत एव परिहरणीया । दुःखमानामिव धूर्तानां दर्शनमनिष्टकारि । पिङ्गवर्गसंवर्गणमनर्गलं द्वारमनानाम् । तोत्रिकध्वनितं प्रवासनपटहोऽर्थस्य । मनोमृगापहरणव्याधगीतयो गीतयः। विभवस्य- मर्म ग्रहागः क्रीडोद्यानविहाराः । अर्थनिम जनानि क्रीडाजलम- अनानि । लक्ष्मीमहापथयात्रा देव (कामदेव ?)यात्रा । विष्टिरिवानिष्टकारिणी योपितां सविकारा दृष्टिः। विवेकारयः सारयः । निग[F. 33. B] डवन्धाः पिङ्गगोष्ठीवन्धाः । विभवाकूतानि छूतानि । सूनासनाभयः पण्यरमणीप्राङ्गणभूमयः । अपथ्या वेश्यागृहो- पान्तरथ्याः। तस्मादव"हितेन खजात्यनुरूपयैव चेष्टया व्यवहर्तव्यम् । स्वजातिप[रि] हारेण व्यवहरन्तः के नाम नोपहासपदवीमुपगताः । श्रूयन्ते च पुरुरवःप्रभृतयो महा- प्रभावा अपि राजानं उर्वश्यादिवेश्यामिवंशीकृता इति । अथैकदा यात्सु दिवसेपु, पञ्चत्वमुपगते" पितरि, तमनुसृतायां च मातरि, काल- परिणतिवशादहेतुऋशिमानमागच्छति शोकेऽकस्माच्छृङ्गारशैलू पनर्तनोपाध्यायः सम- जृम्भत मकरध्वजबान्धवो मधुसमयः। क्रमेण च कोरकनिकुरुम्बकरम्बितेषु सहकारवनेषु, पञ्चमकला"[F. 34. A] क्रपायलाञ्छितेषु कलकण्ठीकण्ठेपु, प्रसववेदनानेडपीडितासु च माधवीलतासु, विरहिजनविसंस्थुलचेष्टावलोकनादिव जात"स्तोकहासेषु कमलवनेषु, किञ्चिदङ्गारकिततनुतया प्रथमाभिलक्ष्यधूमादनन्तरमुद्यदल्पाल्पमदनदहनज्बालेष्विव किंशुक बनेषु, विक्रसितातनुस्तवकोपचितेषु मकरध्वजप्रतापानलेप्टिव सर्वतः प्रज्वलत्सु विरहिणां सन्तापजनकेच शोकपादपेष्वखिलजनमनोहारिषु विविधमणिनिम्मितेषु क्रीडा- भूपणेष्विव रतेर्नीलारुणकपिशकान्तिपु प्रस्फुटत्कुइमले"षु, कुरवकानोकहेष्वामोदपरम्परा- सम्पर्कलोभाद् विरहिजनसंसर्गादिवारतिगृहीतेषु क्वचिदपि स्थितिमकुर्वाणेषु षट्पद [F.34 B]कदम्बकेपु, तरुणतरपल्लवपटावगुण्ठितासु नववधूटीष्विव कमनीयतामुपगतासु निखिलवनराजिपु, त्रिभुवनविजयाय सायका"भ्यासमाचरतः कुसुमकार्मुकस्य प्रतिक्षण- गुणास्फालनध्वनितेष्विव परितः श्रूयमाणेपु कोकिलकुलक्वणितेषु, बसन्तसमये "न सजी- १ टिविपत्रिपम् । २ विस्मरन्ति । ४ दरयाना। ५ राजानदुर्वव्यादि। ६ योधयों। करंघियतेपु। - ३ शर्म।

·श्रीभोजदेवविरचिता कृतासु त्रिभुवनैकधानुष्कस्य मकरकेतोरसितकुन्दलतादामनिम्मितासु ज्यविश्लीष्विव प्रति- कुसुमपादपमुल्लसन्तीपु" भ्रमरमालासु, मधुसमयसमागतानामुपवनश्रियामुत्तंसेष्विव समु- सत्सु क्षितिरुहां पल्लवेपु, पथिकहृदयस्थितस्य मदनाशु"शुक्षणेः सन्धुक्षणाय दक्षिणामु- खात् स्वैरं खैरै समुत्सपेत्यभिनवोद्गतबकुलकुसुमामोदवाहिनि मलयानिले मिथुनानुरागे- नष्चि व मूर्तेष्वनवरतमापतता मलयानिलेन प्रतितरु परित स्तरङ्गमाणेषु महाराजनु(नौ) ची- नांशुकविरचि[F. 35. A] तेपु मन्मथध्वजेषु, क्रीडान्दोलनप्रसक्तानामतिनिर्दयप्रियत- मभुजाश्लेपनिर्भयानामङ्गना नां कामिजनकुरङ्गव्याधगीतिषु सर"नृपतेविजयराज्यघोषणा- विव प्रतिदिशमुल्लसन्तीपु विलासगीतिपु, को हि नाम प्रियजनवियुक्तेषु कामिष्वस्माक- मायतिसहत इति अतिकरुणयेव ऋशिमानमागच्छन्तीषु रजनीपु, आः कथमनगवान्धवे निखिलसुखधामन्यपि मधुसमये असदाग मनारम्भेऽप्यतितरां दूयन्ते वियोगिन इत्यनु- शयादिवोपजायमानतापप्रसरेषु वासरेणु, विकचकमलिनीकाननेभ्यः पवनोद्भूतैः समुत्सर्प- डिहलरजःपटलैविरहिचिनिपातसूचकैरुत्पातदाहैरिवाश्लिष्टेपु दिक्तटेष्वतिघनस्फुटितको- कनदकानना "भिरुपवनदीर्घिकाभिर्निरन्तरोद्भिन्नकिसलयैः प्रमदवनपादपैरुद्गच्छदनच्छ'- स्तवकला [F. 35. B]ञ्छितैरशोकतरुभिः प्रतिदिशमुनिद्रकुसुमनिकरहारिभिः किंशु- कवनविरहिणां सर्वतः समुत्थितमदनदावानल इव प्रतिभासमाने भुवन"तले, एकदा तु विटवटुकपेटकेन मत्तद्विरद इव रविदत्तः स्मरन्नपि गुरूपदेशान्-'अद्य भगवतो मकर- ध्वजस्य यात्रामहोत्सवः, स यदि न दृश्यते तदा कि जीवितेन, किं वा विफलेनामुना लोचनयुगलेन? यद्यपि न ते कौतुकमस्ति तथाप्यस्मदनुरोधाद् भद्र ! भवता तद्दर्शनाय" गन्तव्यमेव, भव्यो भवान् यदि न गच्छसि तदा किमस्माकमियत्यपि न वशिता विद्यते येन भवन्तमात्मनोऽभीष्टं कारयामः । तदागच्छ गच्छाम:-इत्यभिधीयमानो बला- देवानिच्छन्नपि तदनुयायिनेव यौवनेन प्रेर्यमाणस्तद्वयस्यैरिवेन्द्रियैः पुरस्तादाकृष्यमाणो निरन्तरोद्भिद्य माननानावनराजिकोरकतया समुल्लसदेनककुसुमतया वा आयुधागारमिव भोग्यास्थानमिव विलासभवनमिव भगवतो मकरध्वजस्य" [F. 36. A] यौवनमदमत्तका- मिनीवदनमंदिरासेकसंक्रान्तमिव सौरभं कुसुमपरिमलच्छलादुद्वमद्भिर्वकुलपादपैसेंद्रासमा- नम् , क्वचित् तरुणिमोन्मदविलासिनीकुचकलशसंश्लेपादुन्मिपदहलकुमलैः कामिभिरि- वोद्भुतपुलकजालकै कुरवकतरुभिरध्यासितक्रीडाशैलोपश"ल्यम्, क्वचिन्मदतरङ्गितोपान्त- या कुवलयदलदामदीर्घया मृगदृशांदृशा पात्रीकृतैरुल्लसन्निविडमञ्जरीनिकरचारुमिः कुसुमा- युधस्था "युधागारैरिव तिलकपादपैरुपशोभितक्रीडातडागपरिसरम् , क्वचिदलक्तकरसर- जितेनेवोल्लसनिसर्गशोणिम्ना चरणकमलेन कामिनी"मिस्ताडितानामुन्मीलदतनुपल्लवी- ल्लासिनामुद्गच्छदस्तोकस्तबकलाञ्छितानां मदनदहनास्थानसदनामिवाशोकपादपानांशालि- काभिरल"कृतानङ्गभवनप्राङ्गणोपान्तभूमिभागम् , क्वचिन्मन्दमन्दमुन्मदविलासिनीकण्ठ- १ सालासु। ३ मङ्गतानां । ४ °दनस्य। ६ पादपैदास । है २ परितस्तर। ५ योग्या। म ·'२२ शृङ्गारमञ्जरीकथा १७ कुहरोद्गताभिर्मसृणमधुराभिः पञ्चमकाकलीभिरुद्भिद्य [F. 36, B]मानातिनिबिडक- पिशकुसुमश्रेणितया कार्तस्वर'वेयकैरिव रतेत्रिरहकविटपऊरुद्भासि'......[दीर्घो] कानीरलेखम् । पाक'...... द्विस्फुटतामेलाफलानामामोदेन सञ्चरतो बसन्तगन्धद्विप- सामदसुरासौरभेणेव प्रस...... दिगन्तम्, कचिदुन्मिपल्ल'. मोदलोभादभि- धावतामितस्ततः सञ्चरद्वनदेवताकाञ्चीकलाकलापकिङ्किणीक्वणि त]....... भिर्मधु- कराणां झङ्कातिमि... ८० मन्मथोन्माथम् , क्वचिन्मुखरशुककुलै रर्धजग्धानां कक्कोली- फलानां विसरता परिमलेनामन्त्र......१० रणचक्रवालमुन्मिपन्निविडम"ञ्जरीजालक- स्थगितनिखिलाभोगमण्डलतया वसन्तश्रियोल्लासितैर्मदननरपतेः कनका"...... धन- च्छायैः [F. 37. A] सहकारतरुमिरुपशोभमानम् , दूरादेव विरहिणामाकम्पितहृद- यामिर्मधुसमयसमारोपित ...... सततसन्निहितशिलीमुखा मिः स्मरधनुर्लताभिरिख कुसुमवीरुद्भिरुद्भासमानं कुसुमाकराभिधानं क्रीडोद्यानमगच्छ[२]"......स्फटिकमणि- शिलासंचातनिमितं मूर्तयशःपुञ्जमिव त्रिभुवनविजयाजित]मकरकेतोरायतनमपश्यत् । तस्मिंश्च शोण[मणि]"......रणोपविष्टां रागाधिदेवता"मिव] त्रिभुवन विजयवैजयन्ती- मिव स्मरस्योन्मादविद्यामिव भुवनत्रयस्मामृतशलाका [मिव]६.. तलोचनानामन्या [कां]चिदेकामङ्गनामपश्यत् । तां चावलोक्य समुपजातविस्मयेन विस्मृता- न्यकरणीयो मनस्य......रूपनिर्माणकौशलं..." [F. 37. B] येनेयमपहसिताखिलत्रि- दशसुन्दरीसौन्दर्यविभवा परिहतापरसृष्टिव्या पारेण निजनिर्माणकौशलप्रतिपादनार्थ- मिव महता प्रयत्नेनोत्पादिता । यतोऽस्याः सुन्दरा अध्यवयवोपादानपदार्थाः प्रत्यवयवमेकैकशोऽपि नानुकुर्वन्ति कमलकुवलयाशोककिसलयेन्दुप्रभृतयः । दृष्ट्वा चाचिन्तयत् - अहो सोऽयमसदृश उल्लेखः प्रजापतिसर्गस्य, निरुपमः प्रकारः स्त्रीजातेः, नूतनो रुमाकरो" लावण्यस्य, सञ्जीवनौषधिर्मकरकेतोः, नवीन आकार आकारस्य, तारुण्यस्यापि तारुण्यावतारः, लवणिमा लावण्यस्य, रूपस्यापि विरूपावेशः, अमृतरसपूरः प्रेक्षकदृशाम् , कर्पूरशलाका तरुणिजनलोचनानाम् , अन्यः प्रजापतिरनवपुषो निष्पादने, अजय्यनूननास्त्र[F 38. A] लाभः कुसुमसायकस्य, निखिलजनहृदयभ्रम- कारकहेतुरन्यो भ्रामकः, मूर्तिमती सफलता सकलजननयनसृष्टेः, अपरा विलासानां" विलसनभूमिः, भ्रमैकहेतुर्निजविभ्रमैलॊकानाम् , एकमायतनं शृङ्गारस्य, जीवितं व्युत्पत्तेः, १ स्वरयैवेयकै। २ विनष्टान्यत्र चतुःपञ्चाक्षराणि । ३ विनष्टान्यत्र पञ्चषडक्षराणि । ४ विनष्टान्यन पञ्चपडक्षराणि । ५ विनष्टान्यत्र निचत्वार्यक्षराणि । ६ विनष्टान्यत्र त्रीण्यक्षराणि । ७ दंभूति । ८ विनष्टान्यत्र त्रीण्यक्षराणि । ९ °कुलैवध। १० विनष्टान्यत्रं चत्वार्यक्षराणि । ११ मंडलतयां। १. विनष्टान्यन त्रिचत्वार्यक्षराणि । १३ विनष्टान्यत्र चतु पञ्चाक्षराणि । १४ विनष्टान्यत्र चतुःपञ्चाक्षराणि । १५ विनष्टान्यत्र निचत्वार्यक्षराणि । १६ विनष्टे अत्र द्वे अक्षरे। १७ विनष्टान्यन त्रिचत्वार्यक्षराणि । १८ चावलोकय । १९ °विस्मयेत् । २० विनष्टान्यत्र द्वित्राण्यक्षराणि । २१ विनष्टान्यत्र हिवाण्यक्षराणि । २२ °ापारेण । २३ प्रयलोनोत्पादितः । २४ तोस्या । २५ रूमाकुशे ।

·-- " श्रीभोजदेवविरचिता २३ रङ्गशाला वैदग्ध्यलासकस्य, परा 'प्रकृष्टता प्रकर्षस्य, असदृशमायतनमनौपम्यस्य, उच्छु- सितं सौभाग्यस्य, प्राणितमाकारप्रकर्पस्य, नृत्याधिदेवता शृङ्गारविल सिता"नाम्, सृष्टिमुद्रा प्रजापतिसृष्टेः, निरुपमस्वामिनी मनोभवस्य, द्राविकपुत्रिका निखिलजनहृदयानाम् , आकृ- प्टिविद्या सकलजनमानसाना"म्, शृङ्गारस्थापि शृङ्गारः, विभ्रमाणामपि विभ्रमः, मधु- रिमा माधुर्यस्य, औदा]मुदारतायाः, उच्छुसितं हरनयनानलकवलीकृतस्यापि मकर- केतोः, विदग्धता वैदग्ध्यस्य, भाग्यभूमिः सौभाग्यस्य, उत्पत्तिक्षेत्रं प्रेक्षकसुखानाम् , मोह- नपिच्छिका भुवन "[F. 38. B] लोकस्य, इन्द्रजालिकविद्या मृर्तिमती विदग्धजनमन:- खीकरणे, अरुचित्रीजमेकमितरकमनीयपदार्थानाम्", सौभाग्यस्यापि सुभगंकरणम् , स्मर- विहसितमपरप्रजापतिसृष्टेः, मूर्तिमती गर्वलक्ष्मीर्मनोभव............,कमनीयताया अपि कान्तिः, रमणीयताया अपि रामणीयकम् , परिणतिविधिशिल्पस्य, एकं घुणाक्षरं प्रजा- पतिसृष्टेः,......महेनौपधेर्मकरध्वजठकस्यापरः शशलक्ष्म्याः," जनवदनकमलविकासत्वे लडहलहरी शृङ्गारसागरस्य, चतुरिमा चातुर्यस्य, नवत्वं नूतनतायाः, नूतन उद्वेगः प्राक्त- नायाः प्रजापति "सृष्टेः, सौन्दर्य सुन्दरतायाः, मनोभवरङ्गशाला निखिलजनरञ्जकत्वे, कान्तिसर्वस्वं निखिलरमणीयतायाः, उत्पत्तिवीजं विस्मयस्य, स्मृतिप्रमोपः सादृशस्थ, अवशिक (?) कमनीयनिर्माणस्यैक आश्रयो निखिलरमणीयवैलक्षण्यस्य, लवणिम्नोऽपिलव- णिमा, बिला"[F. 39. A] सो विलसितानाम्, असदृशरागतारागस्य, मोहन विद्या त. चारिणी, तरुणिमा तारुण्यस्य, मोहस्यापि मोहः, चमत्कृतेरपि चमत्कारः, लावण्यस्यापि बहुमानहेतुः, एकमवस्थानमौपम्य॑स्य, अद्वितीयं वैरूप्यकरणं शशिकमलकुवलयेन्दीवर- प्रभृतीनाम् , अनवस्था रूपातिशया "नवस्थायाः, ज्यावल्ली कामकार्मुकस्य, मूर्तस्थानं मनोभ- वस्य, रतिरपि रतेः, दौर्भाग्यदानकदेवता निखिलस्त्रीजातेः, उच्छेदैकहेतुः सा"मान्यबुद्धेः, उत्पत्तिनन्दनं शृङ्गारकल्पद्रुमस्य, गृहीतमूर्तिः सारिमा संसारस्य,......देवतासुखानाम् , अनौपम्यस्याऽप्यनौपम्यम् । नूतनो लासकः सकलजननयनपुत्रिकानर्तकीनाम् , नूतन- प्रतिपक्षो मदनजन्मनि पिनाकपाणः,......ता नयनामृतरसस्य, विजयपताका राम- णीयकस्य, अत्यन्ताभावः साम्यस्य, छिन्नतों निखिललोकलोचनानाम् , अजरामरताहेतुः कुसुम [F. 39. B] सायकस्येति विचिन्तयन्नेव स्तम्भित इव मूर्छित इव लिखित इव मोहित. इव स्मरशरनिकरनिर्मथितमूर्तिः सुचिरमतिष्ठत् । सापि तमनि"नवे वयसि वर्तमानमतिमनोहराकृतिमतनुविभवश्रिया स्वीकृत त्वादतिस्निग्धच्छायमवलोक्य सञ्जातरागेव क्षणमभूत् । अतिस्निग्धया" च दृशा सविभ्रम- मुत्पादितानुरागं मुहुर्मुहुरपश्यत् । सच्छार्यंतयैव विज्ञाततद्विभवोत्कर्षेवमचिन्तयच्च-अहो; बहोः कालादासादि, निधानम् , चिरात् पल्लवितमाशाद्रुमेण, कुसुमितं कामनया, फलितं १ परोपकृष्टता । २ विलासितानाम् । ३ विनष्टान्यन्न कानिचिदक्षराणि । एवं अन्यत्रापि ज्ञेयम् ।। मोपमस्य। ५ नोपमस्या, ६ सच्छातैत्यैव । - . -- ·. (2) २ शृंगारमतरीकों मनोरथैः, तदतः परमुल्लसन्तु कृतकविभ्रमाः, प्रकाशीभवतु वै"शिकरहस्यमिति विचिन्त्य सन्निहितया खसख्या सह सविभ्रमं ससितमन्तरान्तरा मुहुर्मुहुस्तमालोकयन्ती गोष्ठी- व्याजेन किमपि"[F. 40. A] किमध्यभापत । रविदत्तोऽपि यद्यप्यननुभूतमदनचेष्टस्तथापि तत्कालमेव , मकरध्वजोपदिष्टानात्मगतानेतदीयविभ्रमान् विनिर्माय मय्यनुरागिणीय- मित्याकलितवान् । अभूच्च द्विगुणतरमन्मथोन्माथव्यथितमानसो यथाहमेतैराकलितचेष्टो न भवामीति मन्यमानः शनैः शनैरन्तः प्रविश्यापहस्तितत्रिभुवनदर्पस्य भगवतः कन्द- प्पस पूजां विधाय विरचितप्रणामो निर्जगाम । ततः स इतस्ततः क्रीडोद्यानावलोकन- व्याजेन परिभ्राग्यन्ननन्यचित्तस्तामेव चिन्तयन् स्वगृहान् प्रति गन्तुमारेभे । सापि तद् दृष्टिपातमपरिहरन्ती सखीभिः सह विविधाः विलासचेष्टाः प्रकटयन्ती तदनुगामिन्येव खगृहानयासीत् । अथ द्वित्रिनाडिकावशेषे वासरे विनयवती [F. 40. B] सङ्गमिकाभिधानामात्म- निर्विशेषां सखीं तद् गृहान् प्रति प्राहिणोत् । गत्वा च सा तद् द्वारि क्षणमिव स्थित्वा तदनुचरैर्बटुभिनिवेदिता प्राविशत् । उपविश्य च 'अस्ति विज्ञाप्यम् , रहो दीयताम्' इत्यभिधाय विरराम । रविदत्तोऽपि तदनुचरी तामवगम्य जातपरितोपस्तां बटुपरिषद मन्यतो गमनाय भ्रूसञ्ज्ञया न्ययुक्त। अथ सा लब्धावसरा वक्तुमारेमे- “भद्र यद्यपि भवजातिविरुद्धमिदं तथापि स्वस्वामिन्याः पीडयात हृदया विज्ञापयामि, श्रूयताम् - यतः प्रभृति मदनयात्रायामस्स- स्वामिन्या दृष्टिपथमागतो भवान् ततः प्रभृति स्मरशरसहस्रच्छिद्रिते "हृदि झगिति प्रविष्टः । तत एव प्रभृति सशल्यं हृदयम् , सोन्मादं चित्तम् , सोन्माथं वपुः, दीर्घोष्णं श्वसितम्, त्वदालोकनकुतूहलि चक्षुः, त्वद्गुणश्रवणादाह्लादिनी श्रुतिः, त्वदभिधान- गर्भा भारती, भवत्सङ्गममया मनोरथाः। भवन्तश्च धर्मप्रधानाः, तद् दीयता"[ F. 41. A] मस्माकं सखीजीवितभिक्षा । सकृदपि स्वगमनानुग्रहेणानुकम्प्यतां वराकी। भवदीयेष्वपि स्मृत्यादिशास्त्रेषु स्त्रीवधपातकमतिगरीयः प"व्यते । यदि त्वमद्यैव गमनेन नानुगृह्णासि तदा तामुपरतामवधारय"-इत्यभिधाय व्यरंसीत् । रविदत्तोऽप्येतदाकण्यकतो लज्जयाऽन्यतो मदनेन, एकतो विवेकेनान्यत उन्मा- थेन, एकतो शुरूपदेशस्मरणेनान्यतो यौवनकदनेनान्तःपरिक्लिश्यमानः, किं करोमि इत्यनव स्थितचित्तवृत्तिः क्षणमतिष्ठत् । स्थित्वा च भवत्विदमत्र साम्प्रतमिति विचिन्त्य सङ्गमिकां प्रणयपेशलमावभापे- "किमन्यदपि अभिधेयम् न खल्वधन्येषु त्वत्वामिन्याः प्रमादादपि दृष्टिनिपतति, किं पुनरननुरागनिर्भरं हृदयम् । सर्वोऽपि जनस्तामर्थयते, सैवार्थयत इति ‘मनोरथानामप्यपथमेतत् । अतो यद् भणति भवती तत् सईमेवाङ्गीकृतं मया.। किन्वस्मजातिविरुद्धमिदम् । अतो यथा नासत्स्वजनगुरुपरं [F. 41 B] वितिीय। २°दिताऽप्रविशत् । ३ भ्रूसज्ञायां ।। ४ तत्त्वामिन्या। " -- है ·श्रीभोजदेवविरचिता २५ - [ अत्रादर्श ४२-४३ अङ्काङ्कितं पत्रयुग्मं विनष्टम् ] ........सै यद् दीयते तद् अल्पतरं प्रतिभातीति निश्चित्य गुरुजनेन विदितवृत्तान्तोऽप्य- पहाय ब्रीडामपहस्त्य गुरुजनोपदेशान् महाहाण्याभरणानि सुवर्णसहस्राणि वस्त्राणि च विचित्राणि प्रतिदिवसमदात् । तया च तस्य नीलीरागतां सम्यगाकलय्योद्यानिका- तृतीयोत्सवदेवयात्रो"पयाचितकादिभिः प्रकाम याचनैश्च निःशेषमप्यर्थजातमाच्छिद्य निस्तुपीकृत्य सङ्गमिकामुखेने दमभ्यधायि यत्- 'अद्य परिचितो वणि कम नुर्वसुदत्तनामा ‘महतीमर्थोपार्जनां विधाय सुवर्ण- द्वीपादायातः । स च विनयवत्यामत्यन्तानुरक्त इतस्ततो लटक्षुट्रकश्चास्ते । भणति" चैवं यद्यकामपि निशां मामाकारयति भवती तदा सर्वस्वमपि प्रयच्छामि । तद् भवता दिनद्वयं त्रयं वा स्वगृह एव स्थातव्यं .......[ F. 44. A ]पि भवतैव दत्तं भवति, इद- मपि भवत एवोपयोग यासति' इत्यभिधाय निःसारितः। अथ गृहे स्थितो रविदत्तः, किं सा चिन्तयति, किं .... ....." कथं तेन सह सम्प्रयुज्यते, किं तस्याः सोऽपि न वल्लभो भविष्यतीति चिन्तयन् न भुते, न शेते, न किञ्चिजल्पति, न शृणोति, कण्ट- कवि"द्ध इव मर्मणि, वृश्चिकदष्ट इव विचेष्टमानः, क्वचिदपि न शर्म लेमे। गतेष्वथ द्वित्रेप्वहासु चपलकसहायो विनयवत्याः प्राङ्गणे टिरिटिल्लितानि कुर्वाणः, पुनः पुनरित- स्ततो गतागतान्यकरोत् । न चैनं कश्चिदालपति, न पश्यति, दृष्ट्वाऽप्यवधीरयति । तथापि द्विगुणतरोपजायमानानुरागसन्तापो व्यलीकाशयोद्रीवस्तां दिशमवलोकयं- स्तदिनमत्यवाहयत् । अपरेयुस्तथैव भ्रम माणस्तदीयेन' [F.44. B] केनाप्यनालप्यमानः सङ्गमिकायाः सदनमगात् । तत्र तयापि नाभाष्यमाणस्तामभापत- 'सङ्गमिके! कृतं मया त्वदीयं वचो, गतानि तानि द्वित्राण्य"हानि तदद्यापि कोऽयं विलम्बः' इत्युक्तेऽवधीरितोऽपि स सङ्गमिकया, तत्पृष्ठानुसारी पुनः पुनस्तदेव त्रुवाणोऽपरिचित इव सङ्गमिकया सक्रोध"मिदमाभापि-'को भवान् ? कानि च तानि द्वित्राण्यहानि ? को विलम्बः? इत्युन्मत्त इव किमिति रे प्रलपसि?' इत्य[ति]निर्भ- य॑माणोऽपि तया सह गतागतानि कुर्वन् तामेवावलगन द्वित्रीणि दिनान्य"त्यवाहयत् । दूरस्थितश्च विनयवतीं पश्यन्नुन्मत्तक इव हस[न् विविधा[:] शृङ्गारचेष्टा[:] करोति । तदीयपरिजनेनोपहस्यमानोऽपि न किमप्य ज्ञासीत् । अथ दुराशयेव सङ्गमिकया दत्त" .. . . [पु]नः पुनरिदमचिन्तयत्-'भवत्व"नेनैतावतैव कृतकृत्योऽहं १ प्रकासयाचनश्च २ °मयर्थजात। ३सुखेन । ४ °मर्थोपार्यना। ५ विनष्टान्यत्र चतुःपञ्चान्य- ७ विनष्टान्यत्र द्वित्राण्यक्षराणि । ११ दिनानीत्यवाहयत् । १२ पश्यंतुन्मत्तक । १३ किमप्याज्ञासीद् । १४ विनष्टायन्त्र १२-१३ अक्षराणि । क्षराणि । ६ नि सरित.। ८ भ्रम्यमाण। ९न । १० °मावभापे। शृगा.

·२६ शृङ्गारमञ्जरीकथा यह्रे स्थितोऽपि शरत्समयजलदपटलनिर्मुक्तमिन्दु' इयतैव निवृत- [F. 45 A] हृदयः कियत्यपि दिनान्यनैपीत् । ततश्च सङ्गमिकया प्रेरितो विनयवती- विटानाम प्यश्रुतमपहस्त्य गुरू"पदेशमवगणय्य लजां तदीयपरिजनेनो- पहस्यमानस्तिरस्क्रियमाणों'..... नैकतत्परस्तदीयदर्शने नैवात्मनो जन्म सफलं मन्यमानो जीवितान्तावधि क्षपितवान् । तदित्थं पुत्रि ! प्रथममेवाकलितहढानुरा [ग] ........क्रियमाणं सकलमपि सफ- लतामवगाहते वैशिकरहस्यम् । यथा हि नीलरक्तं वासो नानाप्रकारैः क्षारादिभिः क्षाल्यमानमपि न निजरागमुज्झत्येवं नीलीरागः पुरुपो"ऽपि शतशः शकलीक्रिय- माणोऽपि न निविडरागितां परित्यजति । इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शृङ्गारमञ्जरी"कथायां रविदत्तकथानिका प्रथमा । (३) 200-- A [द्वितीया विक्रमसिंहकथानिका ] इत्यभिधाय विरतवचसि विषमशीलायामुपजातकुतूहला शृङ्गारमञ्जरी पुनरि- दमयो-" [F. 45. B]चत्- 'अम्ब ! कथितो नीलीरागः । वर्द्धते मम कौतुकम् । तत् कथ्यतामिदानी मञ्जिष्ठारागः' इति श्रुत्वा सा कथ"यितुमारेमे- अस्त्यत्र तामलिप्ति म नगरी। तस्यां प्रतापमुकुटनृपतिपरिपालितायां विक्रमसिंहो नाम राजपुत्रः प्रतिवसति । स च महाधन"स्त्यागवानुदात्तो विलासैकरसिका शरः । तेन चैकदा वेश्यापाटकं प्रति वम्भ्रम्यमाणेनैकदंष्ट्राभिधानायाः कुट्टन्यास्तनया मालतिकाभिधाना व्यलोकि । सा च जीवितं यौवनस्य, प्राणितं लावण्यस्य, उच्छसितं सौभाग्यस्य, आत्मा रूपस्य । यस्याश्च परिपूर्ण शशधरस्यार्चया रात्रिन्दिवमखिल लोकलोचनाप्यायनार्थमिव वदनेन्दुरपर इवेन्दुरसृज्यत भगवता प्रजापतिना। सा च वसुदत्तनानो वणिक्पुत्रस्य गृहवाबंया अवतस्थे । स च तामालोक्य राजपुत्रः कन्दर्पशरप्रहारजर्जरितहृदयः कष्टं दशान्तरमवाप । प्रियंवदकनामानं निजमनुचरं तां प्रति प्राहिणोत् । ततः स गत्वा तद्व-"[F 46. A] चनात् तामवादीत्- 'भद्रे ! अयं राजपुत्रो विक्रमसिंहस्त्वामवलोक्य मन्मथव्यथितचेतास्त्वय्येवानु- कथमियं प्राप्यते इति मया सहालोच्य मामेव प्रे"पितवान् । तदुच्यतां यदत्र १ विनष्टान्यत्र १२-१३ अक्षराणि । २ विनष्टान्यत्र १२-१३ अक्षराणि। ३ स्तिरस्कृयमाणो। ४ विनष्टा- न्यत्र १२-१३ अक्षराणि । ५ विनष्टान्यत्र द्विनाण्यक्षराणि । ६ °गाहने। ७°मुह्यत्येवं । ८ परिमार्ण । रक्ता, ·- श्रीभोजदेवविरचिता W साम्प्रतम्' इत्यभिधाय तूष्णीमभूत् । ततो मालतिकाऽपि तदाकण्येंदमवोचत्-'मामपि तदवलोकनात प्रभृति तथा कथञ्चिन्मन्मथः पीडयति यथा कथयितुमपि न शक्यते । किन्तु वसुदत्तगृहवार्ताङ्गीकरणपारवश्येन किमपि कर्तुं न बुध्यते । यतोऽयमीश एवा- स्मदीये समयः । समयोल्लङ्घनं हि क्रियमाणं त्रपाकरमनुचितं च भवति । अतः किमहं करोमि । कतिपयैः पुनरहोभिरतिक्रान्तैरेकमपि व्यतिकर"मुत्पाद्य तथा प्रयतिष्ये' यथा तेन सह सङ्गमो भवति । नायमर्थस्तथाभीष्टस्तस्य यथा मम, अवसितप्रायश्च तदवधिर्वर्तते' इत्यभिधाय प्रियंवदकं व्यसृजत् । प्रियंवदकस्तु गत्वा तदनुरागपुरःसरां प्राप्त्याशा विक्रमसिंहस्याचचक्षे । [F.46. B] [ अत्रादर्श ४७ अङ्काङ्कितं पत्रं विनष्टम्] कहृदयानि । कुटजोऽपि रागसागरमवर्धयं[स]तरलतरतडिल्लताप्रसरजिह्वस्य बलाकावलिविकटदशनपद्धतेर्दलिताञ्जनपुञ्जमेचकस्य प्रबल"झञ्झानिलसमुच्छलदहलधूली- धृसरशरीरस्य जलदसमयरजनिचरस्याद्भुतं रटितमाकर्ण्य स्फुटितहृदयानामिव पथिकानां विगलितैरसृग्विन्दुभिरिवेन्द्रगोपकैरुपाचीयत' निखिलमप्यवनितलम् । सजलजल- धरावलोकनप्रहांदुत्कण्टकितमिव कदम्बकुसुमैः, पथिक"हृदयोद्यन्मदनदहनसम्प- कात् समुत्थितज्यालमिव स्फुटितकन्दलसमूहैः, जलधरप्रमुक्तसलिलासारलब्धाभिषेक- तया सच्छत्रमिव शि"लीन्धैः, आग्रहगृहीतमपि मानाडम्वरमुत्सृज्य प्रियतमेषु प्रणता मानिनीवलोक्य जातहास्यमिव स्फटिककुटजैः, प्रबलजलधरपट-"[F.48. A] हध्वनित- श्रवणप्रमोदात् प्रवृत्तवृत्त मिव प्रचलाकिताण्डवैः, समुन्नतपयोधरां दिवमवलोक्य प्रवृद्ध- रागमिव पल्लवितवनराजिभिः, विरहवेदनाकुलितपथिकप्रणयिनीकरुणया साश्रुप्रवाहमिव स्रवद्भिनिझरः, सेन्द्रकार्मुकमलिकुलश्यामलमनवरतोन्मुक्तसलि"लासारमुन्नदजलधरपटल- मवलोक्योत्कलिकाकलितामिव व्याकुलितकल्लोलिनीसहस्रैरखिलमपि क्षितिवलयमभूत् । ततः स एकतो मदनेनान्यतोऽनुरागेणापरतः पयोदसमयेनान्यतस्तद्विभ्रमस्मर- णेन मुहुर्मुहुः कदर्यमानः कष्टां दशामनुर्भवन् उत्कण्ठुलः कथं कथमपि प्रावृषमनैपीत् । सातु बहिःस्थितमप्येनमसजन्त्यप्यात्मीयवेशदर्शनादिभिस्तु वरयित्वरञ्जनयोग्यमाकल- [F. 48. B] . ..'यितुमिच्छन्ती याचितान सुवसुदत्तमप्रतिपद्यमानमप्यमोचयद् । अथ सा स्वदृती मधुकरिकाभिधानां विक्रमसि.... नेदमवादीत-राजपुत्र! म [या] वा विहितं स्वामि ... चितं यं वणिक्पुत्रो वसुदत्तस्तत्क्रियतामागमनेन .....स तु तथैव प्रतिपद्य तयैव सह तद्भवनं जगाम ......तगौरवः कृतशयनीयोपचारस्तत्रैव मालतिकया निशामनैपीद् । एवं यथैकां तथा बह्वीरपि रजन्यः चयित्वा १ प्रतयिप्ये। २ कैरपचीयत। ३ हृदयोदात्। ४ प्रवृत्तवृत्तमिव । ५ सरणेनु। ६ भवमनुत्कण्ठलः। + ४९ तमस्य पत्रस्य कियदंशस्य त्रुटितत्वादिमान्येव वाक्यानि पठितुं शक्यानि । - (2) ... .

·२८ शृङ्गारमलरीकथा .... ततः सा www प्रचुरमर्थजातं वितीर्य स्खगृह एव सु. ..पि वासरेषु मालतिका पुनरप्यात्मनस्त- द्वश्य. हानानिनाय । ततः स तथा रञ्जितो" श्लोकमेवामन्यत । [F. 49. A] ......कारयत्यन्यै विविधैः प्रकारैरर्थमर्ज"... ......पु कियत्स्वपि वासरेवात्मनोऽनुचरं प्रियंवद [कं]......प्राहिणोत् । ततस्तया स्वयमागत्य शृण्वता बहू".........यि–'त्वया मम प्रदत्तमिदमङ्गुलीयकं प्रियंव- ..इत्यभिहिते मालतिकया विक्रमसिंहोऽभ्यधत्त । ना...............यात इति । ततः प्रभृति तामवश्यां मन्यमान.........नापि न गच्छति न च किमपि प्रयच्छति । नाप्यनुरागमु ..मानो मञ्जिष्ठारागः अथ [ते वि] च्छायतां न चा .........त्यजति । किन्तु मञ्जिष्ठारागवत् यथा यथा क्षाल्यते तथा तथा"...... एवंविधेषु पुत्रि! सर्वस्वा[ हरणादि पीडनं. ..यो विहितेऽप्यस्मिन् यद्यप्यसौ न विरज्यते तथापि विच्छायतां भ- [F. 49. B] जति, अतो नातिपीडनीयः। इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शृङ्गारमञ्जरीकथायां विक्रमसिंहकथानिका द्विती"या। (4) [ तृतीया माधवकथानिका ] अथ शृङ्गारमञ्जर्या-'अम्ब ! न खलु त्यत्कथितामिः कथाभि, तृप्यति श्रोत्रे- न्द्रियम् । अतः कथ्यतां कुसुम्भरागग्रहणोपायवृत्तान्त' इत्यभिहिते विपमशीला कथयितुंमारेभे- अस्त्यत्र विदिसा नाम नगरी। तत्र भुजङ्गवागुरा नाम कुट्टनी। तस्या दुहिता कुवल यावली नाम । सा च रूपयौवनलावण्यविभ्रमैकभूमिरतिशयलब्धिप्रधाना ख्याताऽस्ति । तस्याश्च वेश्यावृत्तेनार्थमर्जयन्त्याः कालवशादे"कदा खाध्यायी नायक- माधवाभिधानः सिंहलद्वीपादुपार्जितानन्तवित्तस्ता नगरीमाजगाम । स च तस्याः ख्याति- माकर्ण्य ग्रहणक दा- [F. 50. A ]पयित्वा तया सह रात्रिमेकामवसत् । तस्यामेव रात्रायत्यन्तमावर्जितेन तेन प्रातः प्रभूतमर्थ दत्वा तस्मिन्नेवाति साऽत्यर्थं रुचिताप्यौ- चि"त्यान्मोचिता । दिनद्वयं त्रयं प्रतिपाल्य भूयोऽपि तया स आहूतः । पुनरपि तथैव स्नानभोजनादिभिरुपचारैरुपचरितः पुनस्तथैवोषितः । एवमाकारकमोचनकैस्तया सह सुखमुपभुञ्जानस्य बहूनि दिवसान्यगच्छन् । अथ तयैकााकं विधाय नायकमाधवो विश्रावयितुमारब्धः। बहुभिश्च दिवसैः सर्वमप्यर्थ विश्रावितः। विश्रावितार्थश्च स एवमचिन्तयत् यथा-'इयमेव मां निर्धनं ज्ञात्वा निर्धा"टयिष्यति, तद् यथा छाया- १ कुसुम्भा। २ कथितुमा । ३ रुचिताख्योचित्यान्मोचिता । ४ क्षणक ! ५ निर्धारयिप्यति ।

·श्रीभोजदेवविरचिता २९ - (2) नाशो न भवति तथा क्रियते' इति चिन्तयत एवास्स प्रोत्साहनाय स्फुटत्कुटजहारि- विरलपरिस्फुरचित्र- [F. 50. B] शिखण्डिमण्डलाडम्वरमुद्वहन्त्युन्मिपदसमच्छन्न- काननावनिनिर्मुक्तध्वनिजलधराश्लि"दिक्तटतया जनितमन्मथोन्माथा निर्जगाम प्रावृट् । त्रिभुवनेऽप्येकातपत्रमिव राज्यमापादयन्ती रतिपतेनिखिलविजिगीषुव्यव सायैकवीजं शरत् पुनरवततार । प्रियतमेनेव जलदसमयेन विरहितानां दिग्विलासिनीनां मलयरसे नेव पाण्डिमानमानिताः किमपि म्लानिमाजग्मुः पयोधराः। निर्मुक्तघन- तया ऋशिमानमागतानां च तासामगलद्विविधमणिमययुगलवलयमिव शातक तवं धनुः। सततमभिराममार्गणमार्गप्रवृत्ताः कीर्तय इव कुसुमकार्मुकस्य निर्जितशरचन्द्ररुचयो विचेरुः ककुभामुत्सङ्गेष्टम्बुजव"नोत्सुका राजहंसपतयः । अनवरतवर्पणोत्सृष्टजलभर- प्रलघून्युत्सृज्य जलदपटलानि कलमगोपिकालोचनसम्पन्नत्विपां कुव-[F 51 A] लयानामविकलविकासकलितगौरवाण्यनुससार श्यामाभिरामता काननानि । प्रतिदिवस- माज्ञेव मकरध्वजक्षितिपतेरस्खलितं जगति विसरन्ती बमार तीव्रतां पतङ्गप्रभा । यौवनमदोपचितकेरलीकपोलस्थलशमाभिरामनभसमपहस्तिताखिलरजाप्रसरतयाऽतिप्र- सन्नदशदिशमुल्लसत्कुवलयकुटिलालकानि उनमयासुराननानी मधुसुरभीणि अम्बुजानि। इपुधीनिव मधुप्रसाधितान् विकचकुवलयतया मनोहारिणीं मदकलहंसकामिनी- निरैतिरमणीयां शरदमिवावलोकयितुमम्बुजिन्यः । प्रतिज"लाशयमलिबलयखण्डान् प्रवणयन्ती रतिरिवोच्छसितमात्मजन्मनः प्रतिरजनि व्यजृम्भत दलितकुमुदवनलावण्य- लक्ष्मीश्चन्द्रिका । जलधरोन्मुक्तशशधरानना विकासिकाशकुसुमहासिन्युन्मदकलहंसनि- स्वनी [F. 51. B] प्रबुद्धवन्धूकप्रसूनच्छदा विकसितेन्दीवरनयनशालिन्याश्यान- चन्दनधवलपयोधरा नव्यमृणालकोमलभुजलतोद्भासिनी प्रतनुसरित्तरङ्गत्रिव"लिवलया मञ्जुशिञ्जानसारसाचलिरसनालङ्कृतशुचिसैकतविपुलाज]घनस्थली विकचवीजकप्रसव- सुकुमारकान्तिकामिनीव कमनीया शरत् कस्य न मनो जहार । अथ स यात्राक्षम समयमालोक्य माधवो धनार्जनाय मलयविषयं प्रति प्रयातु- मियेप, अवोचच कुट्टन्याः पुरतः यद्- 'अयमेवास्मदी ये धर्मों यदर्थोऽतिमहानय॑ते भक्ष्यते च । तदहमिदानी मह- तोऽर्थयार्जनाय मलयविपयं प्रति व्रजामि' इति श्रुत्वा कुवलयावली रोदितुमारेभे । जगाद"चैनं यथा- 'त्वया विनाऽहं न शक्नोमि क्षणमपि स्थातुम्' इत्युक्तवती माधवस्तामभ्य- 'कथं भवती सिंहव्याघ्रव्याकुलास्वटवीपु नेतुमुत्सहे ? तत् कियद्भिरपि "वासरै- M- - - धात् ५°लालकारि। १ रसेमेव। २वान्यनुससार। ६ उत्तमया । ७ नामीच। ८ कुट्लय। ३ भिरमता। ९ निरूति। ४ काननानि । ११ निस्वसा।

·शृङ्गारमञ्जरीकथा रहमागच्छामि लग्नः, मा कृथाः खेदम्' इत्युक्ता पुनर्मुक्तमुक्ताफलस्थूलबाप्पजलकणश्रेणि- निभृतैवाधिकमरोदीत् । अवादीच'- 'त्वां विना द्वित्रा-[F. 52. A. Jण्यपि दिनानि न जीवितं धतुमुत्सहिष्ये किं पुनरियन्तं कालम् ? तत् क्रियतां कृपा, स्थीयताम् ।' इत्यावय॑मानोऽग्येवंविधाभिर्बह्वीभिरपि वैशिकोक्तिभिर्न"स्थितः । गच्छता चातिमहार्हमुत्तरीयमप्यर्पितम् । अथानुव्रजन्त्यौ ते कियन्तमप्यध्वानं जग्मतुः । ततः कियत्यपि दुरे गत्वा कुट्टन्याभिहितम्- 'भवता विना कथमियं स्थास्यति ? तत् किञ्चित् स्मारणीयमर्प्यताम् ।' तत- स्तेनाभिहितम्-'किमपि मत्पार्थे तथाभृतं स्मारणीयकं नास्ति' इत्यभिहिते कुट्टन्यो- क्तम्-'स्मारणीय"कार्थमिदं परिधानवासः समर्प्यताम् । यतस्त्वया परिहितमिति हृदये निधाय त्यामेवानुचिन्तयन्ती भवदागमनप्रत्याशया दिनान्यतिबाहयति ।' 'एवं करोमि' इत्यभ्यधात्; 'किन्त्वत्र बहवः पथिकाः समागच्छन्ति तद् लज्यते, तदितो मार्गमुत्सृज्य समर्पयामि ।' ततः कियति दूरे निर्जनां भूमि गत्वा कुट्टनीमाहूय' पातयित्वा तस्या इतस्ततः समुद्वेल्लन्त्या- 'मातर् ! मातर् ! धावत धावत' इति पूत्कुर्वन्त्याच क्षिप्रमेव हठात् कर्ण- नाशिकमलनात् । उक्तवांश्च 'यदेत-" [F. 52. B] त्स्मारणीयार्थ वस्त्रं त्वया याचित तदशाश्वतमतस्तत् स्मारणीयं दीयते यथा यन्म[नोन स्मृतिपथमुत्सृजति' इत्यभिधाया- त्मनः कृतार्थतां मन्यमानोऽर्थक्ष"तिमप्यगणयन् यथागतं जगाम । 'तत्पुत्रि! रक्ता अपि खिद्यमाना विरज्यन्ते । तदेवंविधाः कुसुम्भरागा विरज्यन्ते अनर्थाय च भवन्ति । तस्मात् कुसुम्भरागो नियतमपीडयद्भिर्विराग कारणानि रक्षय- द्भिरविरज्यन्नेव विश्रावणीयः । यथा कुसुम्भरक्तं वासस्तापप्रक्षालनादिसहं न भवति एवं कुसुम्भरागोऽपि ।' इत्यभिधाय [ ? विरतवचसि विषमशीलायां ] शृङ्गारमञ्जरी पुनरप्यवोचत्-'अम्ब ! वर्धते मम कुतूहलम् , तदखिलमप्युपक्षिप्तमावेदयतु भवती इत्यभिहिता सा"पुनरप्यत्रवीत् । इति महाराजाधिराजपरमेश्वरश्रीगोजदेवविरचितायां शृङ्गामञ्जरीकथायां स्वाध्यायीमाधवकथानिका तृतीया । Www , [ चतुर्थी सूरधर्मकथानिका ] पुत्रि ! श्रूयतां स्वप्रतिभया वित्तविज्ञानं हरिद्रारागग्रहणोपायः- अस्त्यत्र गङ्गातटे हस्तिग्रामो नाम ब्राह्मणाग्रहारः। तत्र सूरधर्मा नाम ब्राह्मणः । स [F. 53 A] च पितृपितामहक्रमेणैवातिदरिद्रः कण ....महता क्लेशेन भोजनमप्यनवाप्नुवन्नुपरते पितरि १ अवादी च। १ वेदायितुं । ५ विनष्टे अन वे भक्षरे। २ क्रयतां । अथान् ब्रज'।

·श्रीभोजदेवविरचिता ३१ (6) यौवनमाससाद । ततोऽसौ नि"जनगरवासिनामन्येषां विभूतीं पश्यन्नत्यन्तखिन्नश्चिन्तित- चान्-'केनोपायेन ममाप्येवंविधो विभवः सम्पद्यते' इति चिन्तिय]निर्दमवधारयाञ्च के। अर्थैरा विव[ईन्ते । ते च मम न सन्ति । अथ राजसेवां करोमि । तदुपायं न जानामि । अतः किं करोमि ? भवतु भगवन्तं रत्नाकरमाराधयामीति निश्चित्य भिक्षामेव भ्राम्यन्न- म्भोनिधेस्तटमायासीद् । अपश्यच्च-अभ्रकपकूटकोटिभिर्विजितशैलराजायतिभिर्विविध- मणिवलयकान्तिभूपणैः प्रसूतिडिण्डीरपिण्डपाण्डुरितमूर्तिभिः श्रीखण्डधवलै..... कल्लोलदण्डैरिव निवहरुनतपयोधरां नियतमामिवाश्लिष्यन्तमन्तरिक्षलक्ष्मी स्थाने स्थाने समुल्लसद्वहलविद्रुमलताजालच्छलादेका 'नापातुसमर्थेनोपरचितबहुशरीरेणेव वाडवेन निपीयमानसलिलम् , तीरतरु [F. 58 B]मदकुकुभकुलकणितमणितरमणीयानि मन्दर- मारुतान्दोलनतरलतरला....."मधुकरश्यामाभिः पत्रवल्लिभिः परिगतोपान्तानि सरसान्या- पिवन्तमानन्या व डिण्डीरपिण्डखण्डमुद्वहन्तं कनकनिकपस्निग्धविद्याधरमिथु- नाधिष्ठितानामि... " ननाप्रतिविम्बकैः सविद्युद्दामभिर्जलधरैरिव प्रविश्यान्तरेऽपि निपी[यमान] सलिलं पल्लवितमिव [ज]लधरमध्यवर्तिभिर्विद्युच्छटासहजैः कुसुमितमिव स्थूलमुक्ताफलजालकैः "शशितपनमण्डलपरम्पराभिः । यत्र च तिमिङ्गिलप्रभृतिजल[चरै]. [F. 54 A] पादयन्तो न विरमन्ति भवन्तः सकलकटकञ्चलितौषधिज्वालासटालमूर्तयः सव "रालङ्कृतसपक्षाः क्षितिभृतः। यत्र च प्रातःपातररुणकिरण) घण्टिकावन्धाः सम्भूय पातुमभ्यु'धताः सप्तापि बाडवावव 'तिमनुकरोति भगवान् गभस्तिमाली । यस्य चान्तःस्थलसिकतस्थूल ("त्रिदशवारणः । शुक्ति- शकलं शशधरः। सलिलतुरग उच्चैश्रवास्तोयविद "णामप्यमृतत्वहेतुरम्भः पीयुपम् । त्रिभुवनस्पृहणीयसम्भोगा जलमानुष्यो... [F 54 B] प्सरसोऽद्वितीया विश्वोपकारिणो याचकाः पयोमुचः। सुरासुरादिभिरपि प्रार्थनीयप्रसादलवा अपत्यं लक्ष्मीः । सकलदनुकुलध्वंसना"त् परित्रातलोकत्रयो जामाता पुरुषोत्तमः । तस्यैवंविधस्याम्भोनिधेस्ततः प्रभृति स प्रारब्धसेवो वद्धचर्मचण्डातको गृहीतल- कुटः प्रातः प्रातरुत्थाय कुसुमाञ्जलिं भगवतः पाथोनिधेरभिमुखं प्रक्षिप्य कृतदण्डप्रणामो वेलया सहापसरति वेलया सह गच्छति । इत्थं सकलमपि दिन क्षपयित्वा सन्ध्याया- मम्मोनिधेः कृतप्रणामो भिक्षयैवात्मानं निर्वाहयन् वहुनि वर्पाण्यनयत् । अथैकदा कृतानुकम्पः पाथोनिधिविधाय बटुवेषं तमवोचत्- 'भो भट्ट ! किमर्थमहर्निशं खिद्यमानस्त्वं गतागतानि करोपि?' इत्युक्तः प्रत्यभापत- (20, () (6) १ विनष्टमत्रेकमक्षरं तच्च कोष्ठकान्त. स्थापित 'ई'इति सभाव्यते । २ विनष्टान्यत्र त्रिचत्वार्यक्षराणि । ३ विनष्टे अन्न द्वे अक्षरे। ५४ अङ्काङ्कितस्य पत्रस्य पूर्वार्द्धभाग एव प्राप्तः । ४ °मम्युद्यताः।

·३२ शृङ्गारमतरीकथा . Pos ww 'बटो! किं तवानया चिन्तया? व्रज यथाभिमतम्' इत्युक्तेनापि बहुना पुनः पुनः अनुव-"[1. 55. A ] 'ध्यमानोऽयाविदमत्रोचत- 'निजकुलाचारेणेव पुरुपक्रमागतेन दारिद्रेणातिखिन्नः समुद्रसेवां करोमि ।' ततस्तस्य निश्चयदायमा"कलय्य बटनेदंमभ्यधायि- 'अहमेव स पाथोनिधिस्त्वत्सेवानुरोधादायातः। तद् गृह्यतामिदमनध्य महारत्नम् इत्यभिधाय तदस्मै प्रायच्छत् । तदवाप्य कृतकृत्यतामात्मनो मन्यमानः सूरधर्मा स्वगृहान प्रति प्रतस्थे । अचिन्तयच्च-'कथमेतन्मया मार्ग रक्षितव्यम्?' अथ परिकल्पिताभ्यु'पायः खजङ्घा विपाट्य, तन्मध्ये प्रक्षिप्य, विधाय च व्रणरोपणम् , अङ्गीकृत्योन्मत्तकवेपम् , रथ्याकपटानि परिदधन् ,निमल्यिस्रजो मूर्ति बनन ऊर्च ए"वभुजानो, यत्र तत्र खपन . मलकलङ्किततनुः केवलमिदमेव व्याजहार-'अवा जाणइ !' लोकगलपितोऽपि पृष्टोऽपि ताडितोऽपि 'अवा"जानाति' इत्येवाभ्यधत्त । एवममा पथि व्रजन कियद्भिरहोभि- रुज्जयनीमवापत् । तस्याश्च किं वर्ण्यते" [F 55. B ] यत्र त्रिभुवनपतिरपि विलास (?) लोभेन रामणीयकहतहृदयः कैलासवासमुत्सृज्य श्रीमहाकालनाथः प्रतिवमति । तां निज[ भुज] युगलविदलिता"रिविक्रमस्त्रिविक्रम इव विहितवलिबन्धनो विक्रमार्कनृपतिः पालयति स्म । तस्य च नृपतेः सकलजनमनो दारिका देवदत्ता नाम दारिका'सीत् । सा चातिमहाविभवाऽतिग्रख्याता च । रूपलावण्ययौवनवैदग्ध्यविभ्रमाणामेकभवनम् । सर्वदैव कोऽभिगम्यः को महाधन इत्यन्विष्यन्ती देवयात्राच्छलेन परिभ्रमति । एकदा तु पञ्चपैः पदातिशतैः परिवृताऽतिविज्ञप्रभृतदासीपरिवाराऽश्वतरीमारूढा तमु- न्मत्तकमपश्यत् । दृष्ट्वा च तस्य च्छायां विमृश्य चेति निश्चितवती यदस्य पार्थे वस्तु तिष्ठति तस्य त्रिभुवनमपि स्वल्पं मूल्यम् । न च स्वभावादुन्मत्तः, किन्तु धूर्तोऽयं केनापि हेतु नोन्मत्तकवेपमादाय विचरति' इति विचिन्त्य तमावभापे-'भद्र ! कुत आगम्यते, क्क गन्तव्यम् ?' इत्यादि बहुपृष्टः अव्वा जाणइ' एतदेव सर्व-[F 56. A ] त्रैवोत्तरं व्यतरत् । ततस्तथा निजप्रज्ञावलात् तदीयतत्वं सम्यग् निश्चित्यात्मनः पृष्ठतो अश्वतरी- मारोप्य स निजभवनमानिन्ये । तत्र च खोपभोग्यपु"रुपोपचारैः स्वपितो भोजितो वस्त्रालङ्काराङ्गरागादिभिरलङ्कृतः । तेन च सह रतिसुखमनुबभूव । एवं यथैकमहस्तथा परिहृतवेश्या वृत्त्या शिथिलितराजसेवाव्यापारया मासपट्कमनीयत । स पुन विस्मृ- त्यापि नान्यदुत्तरं ददाति । अपि तु प्रागुक्तमेवोत्तरं वितरति । अन्यदा चिन्तितमनेन 'ज्ञात्वेवाहमनया प्रारब्धः । तद् अत्युपरुद्धेन मा कदाचिदतिमोहात् सर्वस्वमपि दातव्यं १ बटुमेद। २ नूर्व । ५ मनो। ६ परिहृतय। ८ पुनविस्मृ। . ३ प्यद्वा। विनाश ७ मानीयत।

·३४ शृङ्गारमञ्जरीकथा W - तस्मिन्नेव क्षणे तदीयानुरागेण सा स्फुटितहृदया सद्य एवा"सुभिर्व्ययुज्यत । तस्याश्च वेलावित्तिकाः प्रसादवित्तिकाः परिजनश्च कृतमरणोधमो वर्तते' इत्याकर्ण्य सूरधर्मा व्रज- नकस्सादवतस्थे; 'किं किं भवत्यौ भणतः ?" इत्यपृच्छच । तया तु सर्वस्मिन् वृत्तान्ते 'कापि गतः' इति कथिते, 'अहं स पापः' इत्यभिधाय कृतमरणाध्यवसायो वेगेन व्या वृत्य देवदत्ताया गृहमगच्छत् । यावत् तत्र याति तावदेकतः श्रीखण्डखण्डान्यन्यतो विचित्रवासांसि,अन्यतो घृतघटान् पश्यन् , परिजनाक्रन्दमाकर्ण" यन् दूरादेव मकरदंष्ट्रया दृष्ट्वाऽभ्यधीयत-'रे रे महापातकिन् ! व पुनरप्यागतोऽसि ? तां सर्वखभूतां जीवितभूतां विश्व-[F. 58 A] सापि निखिलस्य रत्नभूतां मम दुहितरं व्यापाद्य पुनरन्यत् किञ्चित् कर्तु मागतोऽसि ? इदानी कस्य प्रसादादियत् कुटुम्बं जीविष्यति ? अहं च कथं भवि"- ध्यामि? सर्वस्यापि कुटुम्बस्य भवता मुखं प्रोञ्छितम्' इत्यभिहितः स यावद् पश्यति तावद् देवदत्तां विहितप्रेतासनां मृतामपश्यत् । ततस्तेन सा क्षेपमभिहितम्-'मातः! किमिति पूत्करोपि? दुर्धरो विधिविपाकः । वृत्तेः किं पूत्कृतेन ? भवतु, त्वद्धाग्यैरीदृग् व्यतिकरः सञ्जातः । नाहमस्याः परोक्ष- जीवितु मुत्सहे' इति कृतमरणाध्यवसायः स्वजां विपाट्य निजप्रभापटलपाटलित- दिगन्तमनुपमं समय च रत्नमसै प्रायच्छत् । उक्तबांच-'एतत्प्राप्त्या भवत्या त्वत्कु- टुम्बेन दारिद्रस्य जलाञ्जलिर्दत्तः।' ततः कुट्टन्या खभाषयेदमभ्यधायि 'उत्व विअले । एतस्मिन् मातुर्वचस्यमृत- प्राये'[P. 58. B] कर्णविवर प्रविष्टे देवदत्ताऽपि किञ्चिदुच्छुस्याङ्गमोटिका द्वित्राः प्रदा- यावलोकितुमारेमे । ततः प्रहर्षनिर्भरः प्रववृते तुमुला कोलाहलः । वर्धापन "कानि च प्रवृत्तानि । देवदत्ता प्रमारकेण नीतोत्थितश्च प्रवादः । ततस्तामुत्थाप्य कण्ठे लगित्वा मकरदंष्ट्रा निर्भर्त्सयाम्बभूव । ततः काश्चिदपि रभसा "त् पादयोर्लगन्ति, काश्चित् पुरतो लुठन्ति । ततः क्रमेण निवृत्ते महोत्सवे जामातरमपि मकरदंष्ट्रा निर्भर्त्य स्पयित्वा परिधाप्य च तस्य द्विगुण गौरवमकरोत् । देवदत्ता च स्नातानुलिप्ता गृहीतभूषणाऽनन्तरं तेन सह द्वित्रीणि दिनानि तथैवात्यवाहयत् । अथैकदाऽर्धरात्रसमये तस्य बहुविधाः प्रेमनिर्भरगोष्ठीविदधानस्य पूर्वोषित- संस्कारवशात् पुनरपि 'अवा जानाति' इति बचः समाजगाम । ततो देवदत्तयाऽभिहितम् - 'अरे किं तव 'अबा जानाति' उताहम् ? M ३ कोपि गतः । १ युन्यता। २ स्मितु। ६ लुंठति । ७ निर्मत्स्य । ४ कतुमा। ५ जीवितुंत्सहे। है ·श्रीभोजदेवविरचिता ३५ - ततस्तेन कृताञ्जलिनाऽभ्यधायि-'न किञ्चिद् अवाजानाति । भवत्येव सर्व जानाति।' ततो देवदत्तया प्रत्य[F.59. A ]वादि- 'यद्यहं जानामि तदा निर्गच्छ ! निर्गच्छ!' इत्यभिधाय पाणिप्रहारं दवा निर्धाटितः। तेन च निर्गच्छता सदैन्यमभिहितम् - 'शम्बलं मे किञ्चिद्दीयताम्' इत्यभि- हिते सुवर्णापलद्वयं दत्त्वा निःसारितः । इत्थं पुत्रि! स्वप्रतिभयाऽविश्लिष्टमस्तित्वमतिगोपितमपि सम्यगाकलय्य तदीय- दायने तमङ्गीकृ"त्यात्मनो वित्तपरिक्षयमप्यपरिगणय्य देवदत्तियोपक्रान्तः । अनन्तरं हरिद्रारागतामस्य सम्यगधिगम्य क्षिप्रमेव सर्वस्वं विश्राव्य निःसारित इति हरिद्रा- रागः। तदित्यं पुत्रि! हरिद्रारागे पुंसि विना खेदैविशिष्टतरोपायैरा विश्रावणमेव श्रेयः । यथा हि सूर्यतापादिभिहरिद्रा"रागोऽपक्षीयते एवं हरिद्रारागे पुंसि तर्जनादीनि विरागाय भवन्तीति तैविना हरिद्रारागो विशिष्टोपायैराशु विश्रावणीय इति । इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शृङ्गारमञ्जरीकथायां सूरधर्मकथानिका चतुर्थी। . [ पञ्चमी देवदत्ताकथानिका ] अन्यच्च पुत्रि ! [F. 59. B] यदेतदभिहितं पराशयं परिज्ञाय[य अनुप्रविश्य परो रञ्जनीयः, तत् श्रूयताम्-" '.. अस्त्यत्र सकलत्रिभुवनललामभूता भृताधिनाथेन भगवता श्रीमहाकालाभिधा- नेनाधिष्ठिता श्रीमदुञ्जयनी नाम नगरी । तस्यां निजभुजार्जितचक्रवर्तिपदः पदमद्वितीया- यात्रिभुवनविजयश्रियः श्री विक्रमार्को नाम नरपतिरासीत् । तस्य दारिका देवदत्ता नाम सकलक्षितिवलयरत्नभूता जीवितमिव उच्छुसितमिव चैतन्यमिव प्राणा इव सर्वस्वमिव मकरध्वजस्य, भूमिः सौभाग्यस्य, आयतनं लावण्यस्य, आश्रयो यौवनस्य, स्थानं कलानाम्, वासोवेश्म विलासानाम्, निलयो" लीलायाः, सकलभुवनतलवर्तिरम- णीयोपादानपरम्परामादाय भगवता प्रजापतिना निम्मिता । सा च नृपतिभिर्महासामन्तै- व्यवहार[क] . चातककुलैरिव तृष्णातरलैरुद्रीवैरहमहमिकया सदैव सर्वस्खदाने- नापि वीक्ष्यमाण"[F. 60. A] ...... मुखमाशाञ्चके । ३ विसृष्टतरो। ४ यैरसुवि। ५ विनष्टान्यत्राष्टावक्षराणि । 7 ३ निर्धारित। २दाव्येन । ६ विनष्टान्यन ८-९ अक्षराणि ।

·शृङ्गारमञ्जरीकथा - " ... (14 अथ स नृपतिर्वशीकृतसकलारिमण्डलतयैकनगरमिव निखिलमपि क्षितितलं पालयन् कदा चिन्मदजलासारनपितमेदिनीतलानाखण्डलद्विरदस्पर्धिनोऽपहसिताजन- गिरिगरिम्पो गजेन्द्रा[न]नुयोधयन् , कदाचिद् विजितपवन"जवानाजानेयवाजिनो वाह- यन्, कदाचिदनवरतधनुष्टङ्कारयधिरितदिगन्तरः खुरुल्लिकायां सायकाभ्यासमातन्वानः, कदाचिन्निज युद्धावलोकनेन, कदाचिच्छास्त्रविचारेण, कदाचिच्छवाभ्यासेन, कदाचि- जलक्रीडैया, कदाचिदुद्यानविहरणैः, कदाचित्प्रणयिगोष्ठीभिः, कदाचित्प्रणयिनीसमा- गमैः, कदाचित्प्रेक्षाभिः, कदाचिन्मृगयाविनोदेन निष्कण्टकं राज्यसुखमनुभवन्नासाश्चके। अथैकदा याममात्रायां रजन्यास् , उदयभाजि विदलितकुमुदवने कुमुदिनीवान्धवे, तिमिरव्यपगमात् पुनरपि प्राप्तावलोकासु दिक्षु[F.60. B], ....................पित इव निवृत्तिमासादयति जीवलोके, बहलज्योत्स्नापूरनिर्भरा" निर्भरानन्दाश्रु- विसराखिव किमपि किमपि श्योतन्तीषु शशिम भवनस्य दिग्भित्तिभागेष्व- भ्रङ्कपकूटकोटः प्रासादस्योपरि दन्तवडमि................रिवारः सन्निहितया देवदत्तया संवाघमाणचरणकमलस्त... परिदा" छदकारि मामप्यश्लील[F. 61. A]............... ......झटिता सा प्रत्यवोचत्- ...दिशतु देवः' इत्याकर्ण्य साहसाङ्को नृपति[: सुस्मितसुधाधीतधरं वक्र मविज्ञाताभिजनं रूपलावण्ययौवनादिभिर्दरनिर्मुक्तमपरिज्ञा ..............दीयजातिः कथं संपरिष्वज्यते, कथमालप्यते, कथमेनं प्रत्यनुरागो अपकर्पणं न क्रियते । तदेतदतिदुःकरमपि कथं कर्तुं शक्नोति" [ F. 61. B] भवदीयवर्गः। तं च तथा कथमप्यावर्जयति यथासावेकयैव निश" "प्रयच्छति । अथ देवदत्ता विधाय भ्रमनिमरुचिमिव प्रतिपादयन्ती...................."तासामाचारो विचारगो- चरतामासादयति । दुर्भर हि जठरमस्य. "च्छन् देवः कथं न लज्जते । जीविकेयमेतासां तत्र वश्यं यथाकथश्विदा.. "द विनोदनाथं तु य- देवातिक्रान्तदिने वृत्तं तदेवातिमहदाश्चर्य विज्ञा....... "तो गच्छामि। तावत् सिंह- द्वारान्नातिदूरे ह्रखमणिबन्धासनश्रवणमपि... [F. 62. A] लकेशकेस- रत्वक्तनूरुहमतिकठिनपृथुलोरू खुरपुटमनतिमा "व श्रीवृक्षदेवमणिसनार्थ शशधरमिव मनोहरकलालङ्कतं कौञ्ज. कटकान्तं जलधिमिव दक्षिणावर्तरमणीयशवं नर्मदाप्रवाहमिव 'लक्षणं ककुद- मुद्वहन्तमतिसुखश्रुतिभिरुपहितकनककञ्चिके. 'निनिमेषमा- त्रापकान्तत्रिभुवनमतिजवनतयाऽऽह्वयमानमिवेत. "यां भगवती १°तांजनागिरि । २ गजैन्द्रान। ३ क्रीडाया। ४ ६१तमस्य पत्रस्य त्रुटितत्वादिमान्येव वाक्यानि परिपच्यन्ते। ५ विनष्टमत्रैकमक्षरम् । ६ दुःकर। ७ ६२तमत्य पत्रस्य पूर्वभाग एव प्राप्तः । पृथुलो-सुर। (4) (3) (5), (2) (3) (5), , ·श्रीभोजदेवविरचिता ३७ भुवमस्पृशन्तमिव खुरपटैरस्पृष्टभूतलतया च ग........ .[F.82. B] मनसेव निम्मितसमीरेणेवोपरचितेनाश्रितमनाश्रितापरतुरङ्गमेण रंहसा भुवि स्थितमप्यु- ज्वलेन्द्रनीलश्यामलखलीनम् , विरोचमानम"पि रोचमानाश्रितशरीरम् , उचैःश्रवः- सुन्दरमप्यमनुचैःश्रवस्तद....रम् , तार्क्ष्यमपि महाभोगम् , हिमांशुधवलमपि प्रवालकमनी- यम्, शुक्तिमन्तमपि” श्रीपर्वतम् , शरीरवन्धमिव गन्धवाहम्, अवाप्तविग्रहमिव- मानसम् , मृर्तिमन्तं यशःपुञ्जमिव तुरगजातेः प्रणयकलहकुपितलक्ष्मीकस्य लक्ष्मीपते (जशिखरमिव निर्मीसमाननेन खगराजलोकमिव विशङ्कटमुरसि,आरूढं पिण्डैन जडिग्नि, लघु श्रवणयोन प्रमाणे, निष्ठुरं खुरेपु” न मुखे, गभीरमाशये न तेजसि, मसृणं रोमसु न कशाभिवातविसहने । कृपाणमिव धारासु शुद्धं तीक्ष्णं च । प्रज्वालिनं छायायां नयनयोश्च । कुटिलं शिरोधरायां पदप्रचारे च । लघु रहसि वेदिते च । सुरभि श्वसिते, शुचिमाचारे, धनागममशेपविजयसम्प"[F. 63. A] दाम् , अत्यूर्ज परावजयेषु परमहिस्थानमाकृती, शिशिरं निखिलक्षान्तिपु । इत्थमखिलर्तुमयममृतांशुधवलमपि काल समरसीमन्यरातिचक्रस्य"विकटं वीरयु च । विपुलं पुलायने, अतिचतुरं चतुष्के, उत्कृष्टमुपजवे, ज्येष्ठं प्रजवितायाम् , प्रथमं वीथीष्वखण्डितप्रसरं मण्डलेषु, अन्तरिक्षचारि- तया अतिशान्तिकत"याचसततमुभयथाप्यस्पृष्टं रक्ते, विलासितेनोनिद्रतगरप्रसवपाण्डुना देहप्रभापटलेन बलितां दिव्यतयाऽवनिस्पर्शभ याद् बलपटप्रावृत्तामिव विधाय क्षमा- मध्यासमानम् , पर्याणपर्युप्तानां च विविधमणिगतानापर्युपर्युल्लसन्तीभिः कान्तिभिरात्मनो विहितप्र"चलचित्तवितानकमिव विभाव्यमानम् , पल्ययनप्रान्तप्रोतस्थूलमुक्तामणिशरान् दिदृक्षणां दृष्टितर्पणार्थममृतकणानिव धर्षन्तम् , मरकतमणि मयप्रैवैयकपरिक्षिप्ततया स्फटिकशैलशिखरमिव जलदमालया बलयितुं कन्धरावन्धमुद्वहन्तम् , निसर्गप्रचलाग्रिम [F. 63.B] पदतयोरःस्थलस्थायि झणझणायमानकनककिङ्किणीमालिकाभिरुपगीयमा- नाद्भुतचरित्रमिव विभाव्यमानम् , उभयतः स्तोकस्तोकलम्बितगजे"न्द्रकान्ततया तार्क्ष्य- स्पर्धया विवृत्तपक्षमियोपलक्ष्यमाणम् , अतिश्रुतिसुखध्वनिततया गन्धर्वराजमिव समग्रस्यापि गन्धर्वचक्रस्योपरि वर्तमानम् , जात्य"जाम्बूनदोपहितविविधमणिगणश्रेणिख'............ लिकया परिक्षिप्तम् , क्षीरोदैकदेशमिव विचित्ररत्न कान्तिलेखया परिगतम्, पश्चिम भा” गमाकलयन्तम् , अवजिताहूतानेवेतरतुर".. [पार्श्वयोः पिण्डीकृत्य परिक्षिप्तेन कनकशृङ्खलादामनियमितेन पुष्परागमणिजन्मना पा"दकटकयुगलेनोद्भासमानं मुहुर्मुहुः प्रच"......निहितायाः कनकलालिकाया निर्यदनच्छकान्तिच्छलादन्तरमात(?) मात्मन- स्तेनः-[F. 64. A] प्रसरमिव बहिरनवरतमुद्वमन्तमसितमणि३ विकग्रन्थि- १ सुन्दर अप्यनुचैः । २ °मन्त । ३ पिण्डन्न । ४ विसहणे । ५ वीखायु । ६ वीथीष्टखण्डित। ७ गतोनामुपयु। ८ उभयत । ९ विनष्टान्यत्र ६-७ अन्यक्षराणि । १० विनष्टान्यत्र ६-७ अन्यक्षराणि । ११ विनष्टान्यत्र ६-७ अन्यक्षराणि । १२°ताया। १३ विनष्टान्यत्र ६-७ अन्यक्षराणि । .00 ·३८ शृङ्गारमञ्जरीकथा निम्मितारुणमणिस्तबकालङ्कृतवदनतया प्रजापतिना मुद्रितमिवोच्छृङ्खलं" तेजः सर्व- खमिव विधायन्तम् , पुरुषोत्तम वा'......हिता स्ववेपमिव वैनतेयमेकमास्पदम् , रूपश्रियो निवासभवनम् , सौन्दर्यस्य कुलगृहम्, शीलस्यायतनम् , तेजखितायाः जीवितम् , जव'......भापटलबहलितज्योत्स्नापूरम् , आजानेयम् , अतिमहाप्रमाणम् , आत्मरूपोपह- सितोचैःश्र"वसमेकमश्चमपश्य म्] | दृष्टमात्रेऽपि तस्मिन्निदमहमचिन्तयम्-'सर्वरत्नानामा- यतनमिदं राजकुलमेतस्मिन्नपि सर्वाद्भुतभाजि राजकुले मयेगश्वरत्नमवलोकितम् ।' यावच्च सकौतुकमवलोकयामि तावत्तत्पृष्ठमारूढमतिरूपयौवनशालिनमेकं [F.64. B]पुरु- पमद्राक्षम् । स'.......... ते पाश्चात्यासने स समुपाविशत् । ततोऽहमचिन्तयम्-'नून- मयं मामेवाकारयितुमायातः । ततोऽहमखि"लमपि निजप'.........प्य झगिति तुरङ्गममारूढवती। ततः स तेन प्रेरितस्तुरङ्गमो ज्योत्स्नाप्रसरविसरे विहायसि गन्तुं प्रववृते । अर्थ..... नजवतया न जाने तेन कियहूरमहमपवाहिता । यावत् कियन्तमप्यध्वानं गच्छामि तावदप्रभाता"यामपि रजन्यां]".........त्यभापत । उदित इव भास्करो व्यभाव्यत । यथा यथा तदभिमुखं नीयमानाया अपि मे न ताप- प्रतिपत्तिरासीत ..........तः तथा तथा सुतरां ममावर्धत कुतूहुलमुल्ललास च विस्मया- तिशयः। यावत्सन्निहिता भवामि तावजात्यका'. दृष्टपूर्वमश्रुतचरमनेकमणि- किरणनिकुरम्बकरम्बितं वरतया अभित्तिचित्रकर्मैव निर्मापयन्"[F. 65. A] एक सुर- धनुः"...धरस्पर्धयेव धरापीठेऽप्यनेकान्याखण्डलधनुर्दण्डाडम्बराण्यारचेयन् , स्फटिको- पलघटिताण्डक"तयैकचन्द्रमण्डलं".........नेकचन्द्रसहस्राभरणामिव भुवं विदधानम् , उत्तुङ्गतया निखिलकाञ्चनमयतया च मेरुमिव प्रत्यक्षीकुर्वाणां वि... .......न्वितं परितः समुत्सृतानेकधवलध्वजपटतया हसदिव चन्द्रातपम् , कृष्णागुरुधूपधूमनालैर्विय- त्याव"जलजलधर"......कर्पूरक्षोदपूरैरुपचितंशरदभ्रममिव स्फुटत्पारिजातमञ्जरी- परिमललोभादुपरिभ्रम"द्धमरतथा चन्द्रा"........ रमिवोपलक्ष्यमाणम् , बिसारिवि- विधमणिकिरणराजिरज्जुभिः समन्तादाबध्येव स्थिरीकृतम् , भूमिनिहितं विम" दीयद्वारदेशपर्यन्तमासाद्य स तुरगः क्षिताववततार । अवतीर्णे च तस्मिन् स पुरुषस्तुरङ्गं समय॑ दारपा [F. 65. B] कक्रोशपरिमाणे स्फटिकशिलासोपानवीथि- कयाऽऽरुह्य, क्वचित् क्वचिदरुणमणिशि"............... हरिचन्दनरसविरंचितखस्तिकम् , क्वचित् काञ्चनभूमिकासु विहितमुक्ताफलचतुष्कम् , क्व"... तम्, सर्वत्र सर्वतः विनष्टान्यत्र ६-७ अन्यक्षराणि। २ विनष्टान्यत्र ६-७ अन्यक्षराणि । ३ विनष्टान्यत्र ९-१० अक्षराणि । ४ विनष्टान्यत्र ९-१० अक्षराणि । ५ °दिसरै। ६ विनष्टान्यत्र ९-१० अक्षराणि । ७ विनष्टान्यत्र ९-१० अक्षराणि । ८ विनष्टान्यत्र ९-१० अक्षराणि । अक्षराणि । ९ विनष्टान्यन ९-१०अक्षराणि । १० विनष्टान्यत्र९-१० अक्षराणि । ११ विनष्टान्यत्र ९-१० अक्षराणि । १२ विनष्टान्यत्र ९-१० अक्षराणि । ९-१० अक्षराणि १४ विनष्टान्यत्र ९-१० अक्षराणि । १५ विनष्टान्यत्र ९-१० अक्षराणि । १६ ६६तमस्य पत्रस्योत्तरभाग एव प्राप्तः । १३ विनष्टान्यत्र ·श्रीभोजदेवविरचिता (3) प्रविकीर्णविकचकातखराम्बुरुहरमणीयं तन्मध्यभागमालोकयन्ती महाँ... तावत्तदेकदेशे नेत्रनिर्मितविस्तारिकाशी(सी ?) नां दीपोष्णनि श्वासग्लपितधूसराधरद.... कपोलाप्पित- करतलतयोत्सपिभिर्नखमयूखैरेकश्रवणनिहितमणिभूषणामिव अ" ...रिणो मुहुर्मुहुः करतलपरामृष्टाश्रुतया विगतशोणिम्नो नयनयुगलस्य प्रभया विरचित [F. 66. A]............ विसरदमलदन्तकान्तिच्छलादुरसि न्यस्तैकमुक्तालतामिवातिखेद- वशात्पर्यायतः करतलकलित धरदलपान्तस्य विस्तारिणीभिः प्रभाभिः कलितशोणमणिकङ्कणामिव कमलभ्रमा"... ........ लया' विरचितेन्द्रनीलनूपुरामिव निराभरणमपि साभरणतयेवातिरमणीयां ... .. च्छावदातवसनावृतशरीरां चन्द्रमण्डलाधिदेवतामिव ज्योत्स्नान्तरितावयवां किञ्चिदुच्छूना............ अन्य- तश्चास्या नातिदूरवर्तिन त्रिभुवनललामभूतमदृष्टपूर्वमनाख्यातचरमासना र्युप्तगारुत्मतरतकान्तिविसरैर्विसरोरुभिः संवलितविपुलोरःस्थलमन्तद्दीप्यमा[F. 66. B] यं च यथाऽस्माकं तदापृच्छामः किमपि कथ्यताम् , निर्णयस्तुभव ............ ... वेत्रलतिकं पुरुषविशेपमवश्य. मद्देवपादानामपि रहस्यं तेनातिरहस्येन भवितव्यम् । तदा.. संग्रधार्य प्रचलिता, स तावदत्र न सनिवेश..... द्भुतमिदं यदज्ञातयाति(?)मपरिचिताविदितशि....... ममाधिकं मनसि कोपः पदम- ... . "मपरमपरं पुरुपं कथमावर्जयति........मिदमभ्यधायि-'भद्रे देवदत्ते ! त्वमतिविदग्धा प्र........." मस्य समय॑ते । कथं वा ग्राम्यवृत्ति.......प्रणय- कलहकुपितयोर्विघटितयोर्घटना"[F 67 A] ..... ....कादन्धतमसान्मोहादिव निःसृते ....यतभागावलम्बिभिस्तुहिनधवलैरमलमुक्ताफलदाम ........"ताखिव प्रासादपतिषु । व ...... मुपलक्ष्यमाणम्, स्फटिककुट्टिमतलप्रतिविम्बितैरुप........"अमृतकरकिरण- कूर्चफैरिव धवलितेषु भुवन....... लिभङ्गिकाभिर्विरच्यमानकमलशयनीयम् रूढो भट्टमातृगुप्तप्रभृतिः कतिपयातिविदग्धप्रणयि.... . .तः सविमानपर्यन्तममलमुक्ता- फला........ सलगोष्ठीः कुर्वाणस्तामावभापे-'देवदत्ते! जन्मनः प्रभृति मद........... युक्तं विरहमिव मूर्तिमन्त........[F. 67. B] यथा भवति तथा त्वया विधातव्यमित्य- भिधाय विरतवचसि तस्थामासादितावसरः सोऽप्यवादीत्-‘भद्रे देवदत्ते ! त्वमेवामुमर्थ घटयितुं समर्था"सीति । अतो महत्याशयाऽस्माभिरा[ ना]यिता ।' ततः स मया समुत्पन्नद्विगुणतरकोपयाऽभ्यधायि-'किमहं स्त्री न भवाम्युत त्वदीया दासी येन त्वदीयं दृढं करोमि ?' इत्यभिहिते, तेन साधिक्षेपमहं पुरः प्रक्षिप्तां वेत्रलतामादाय- ताडिताऽस्मि । तत्प्रहारवेदनाकुलितया च मया "त्रिभुवनविजयिनोविक्रमादित्य- देवस्य चरणौ मम शरणम्" इति मुँहुर्मुहुरभ्यधायि । ततो नूनमनया स्मृतमात्रोऽपि २ ६७तमस्य पत्रस्य त्रुटितत्वादिमान्येव वाक्यानि पठितुं शक्यानि । ३ निर्नय। ५ मुहुर्मरभ्य। दात् । अथ तयोर (B) -- १° रारूतिः । ४ स्पटिक।

·४० शृङ्गारमञ्जरीकथा -- - M परागत इति मन्यमानानां तेपां महाक्षोभः समभवत् । अहं पुनस्तस्तत्रैव क्षिप्ता तान् पलायमानानत्याकुलान् व्यलोकम् । ततो वाह्यालीप्रदेशे पतितमात्मानमद्राक्षम् । इत्थ- अयमद्यैव रात्रौ वृत्तान्तः संवृत्तः' इत्युक्ते तया तां नृपतिरवोचत्- 'किं देवदत्ते! सत्यमेतत् ?' इत्यभि[ F. 68. A] हितया देवदत्तया पुनरप्य- वादि-'यद्यसत्यं तदाज्ञा मे देवकीया ।' पुनरपि तां नृपतिरवोचत्-'किं सत्यमे- तत् ? 'यद्यसत्यं तदा देवकीयाज्ञया शप्ताऽस्मि । यदेव देवस्य मया नाम गृहीतं तदैव तेषां पलायमानानां यः संभ्रमोऽभूत् कथं वचसा प्रतिपादयितुं शक्यते ? "परागतो विक्रमादित्यः, परागतो विक्रमादित्य" इति तेषां वाच एव मया श्रुताः, विमानं तु सम्भ्र- मात् प्रपलाय्य क गतमिति नाज्ञायि'।' अथ पुनरपि विस्मयान्नृपतिस्तामवोचत्- 'किं देवदत्ते! सत्यमेतत् ?' देवदत्ता तत्कालोत्पन्नसम्भ्रमविस्मयेवानवीत्-'देव! सत्य- मेतत् , "देवस्य पुरतः क्रिमसत्यं विज्ञाप्यते ततः साहसाङ्कनृपतिना परितुष्टेनाभ्यधायि- 'रे रे सहामात्राः! पट्टहस्तिनं परित्यज्य यो ऽयं मम द्वितीयो द्विरदराजः स देवदत्तायाः समर्प्यताम् , काञ्चनकोटीश्वेतस्रो दीयताम् , क्षिप्रमेव महार्हाण्याभरणानि चासांसि च वितीर्यताम् ।' ततः सविनयं [F. 68. B] देवदत्तवेदमभ्यधायि-'देव! विज्ञा- पयामि मञ्चकस्य बहिरयमेकः । मञ्चकस्थे पुनतियमपि गृह्णामि । प्रागेवं देवेन पृष्टं यत् 'कथं भवदीया जाँति"गृह्णाति ?' 'अस्मदीयाजोतिर्गृह्णाति' इति ससितमभिधाय व्यरंसीत् । विक्रमार्कोऽप्येतदाकर्ण्य समुपजाताधिकप्रसादोऽभ्यधात् - 'साधु देवदत्ते ! साध्विति । मनोहरथा भङ्गया वयं प्रतियोधिताः । परां प्रतिष्ठामारोपितश्च स्वजात्याचारः इत्यभिधाय द्विगुणतरेण पारितोपिकेण तामयोजयत् ।” तत् पुत्रि ! यो हि यदाशयस्तत् तेनानुप्रविश्य विश्रावयतां निश्चितैवार्थसिद्धिः। स हि महानुभावः प्रभावस्थापनया तन्नास्ति यन्न वितरतीति । इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शृङ्गारमञ्जरीकथायां देवदत्ताकथानिका पञ्चमी । - [ षष्ठी लावण्यसुन्दरीकथानिका ] अन्यच्च पुत्रि! म"[F. 69.A हासत्वं महासाहसिकं सम्यगुपलभ्य आत्मत्यागेना- प्यर्थ साधयतां न दुरापाः स्वार्थसिद्धय इति यत् पूर्वमुक्तं तदपि ते कथयामि- १, याज्ञा या। २ न ज्ञायि । ३ निस्मृयान्नृ। ४ योय। ५ कोटिश्चत। ६ मंएकस्थे। ७ जाति गृ। ८ जाति गृ। ९ विचरतीति । १० महसत्वं ।

·श्रीभोजदेवविरचिता अस्त्यत्र भुवनन"लप्रसिद्धमतिविभववाणिग्व्यवहरकवच(१)प्रभृतिभिर्महाजनैरधिष्ठि- तम् अहिच्छत्रं नाम नगरम् । तत्र च वज्रमुकुटो नाम राजा पितृक्रमागतामात्य "भुजावष्टम्भे- नापहन्तितसमीपसामन्तचक्रः क्रमेणैवाकान्नसकलहप्तारातिबला प्रबलपरिवारपरिवृतो राज्यमनुपालयस्तदीयसुखान्यनुभवंश्च सुचिरमासाञ्चके । तत्र च पितृक्रमेणैव सश्चित- विशिष्टार्थतयाऽतिमहाधनस्तैलिको घुडाभिधानः प्रतिवमति स । तस्य चाति"रूपयौ- वनसम्पन्ना मदनम्य क्रीडापुत्रिकेव यौवनस्याभरणं लावण्यस्यापि लावण्यं भार्या लावण्य- सुन्दरी नामासीत् । तथास्तु न केवलं ""[F. 69. B]स्वजातिविलक्षणमेव रूपमितरसम- स्तनारी निकुरुम्बविडम्बि सकलजनविरमयकायतनं च । अथ तस्य तया सह"रतिसुखमनु- भवतः सुखेनातिकामन्ति वासराः। अथैकदा भ्रमणिकया निर्गतस्य तस्य नरपतेः सा निज- भवनवर्तिनी दृक्पथमवतनार। तां या विस्मित इव स्तम्भित इव मूढ इव गाढमन्मथशर- प्रहारविवंशः कथं कथमपि स्वगृहमयासीत् । अभूचास्य मनसि-'कथमियं प्राप्यते ? यदि न'नां प्रामोमि तदा नियतमहं जीवितुमपि नोत्सहे ।' ततः साचारपुरुषेभ्यस्तैलिकघुडाक भार्ययमित्यज्ञासीत् । ज्ञात्वा चाचिन्तयत् यद्-'एनकेनोपायेनात्मसात् करोमि । ततस्तं कमपि रससङ्करकरणादिदूपणव्याजमुत्पाद्य विधारितवान् । प्रतिपाद्यमानदण्डेन तेन द्रव्यलक्षाण्यपिदीयमानानि न प्रत्यपद्यत प्रत्युत विविधाभिः पीडाभिः कदर्थितवा- नेवैनम् । ततो लावण्यसुन्दर्या तदीयाशयं सम्यगुपलभ्य स निजपतिरिद-"[F. 70. A ] मभ्यधायि-'यं कमपि दण्डमेप नरपतिर्याचते तमपि प्रतिपद्य त्वया यथा कथञ्चिदात्मा मोचयितव्यः। ततस्तेन नरपतिरभ्यधायि-'यदि द्रम्मसु"वर्णादिकं देवो दीयमानमपि न गृह्णाति तदाऽऽदिशतु किमन्यद् दीयताम् , यदादिशति देवस्तमवश्यं प्रयच्छाम्येव ।' ततो राज्ञा ‘क किलास्यैतद् भविष्यति' इति मन्यमानेन विवक्षितद्विरदशतमसाव- याच्यत । तत् श्रुत्वा तैलिकस महाक्षोभः समजनि-'अहो कासदीया जातिः, क्व करिणः? त"त् सर्वथा हतोऽहं नष्टोऽहम् । का मे गतिः । किं शरणम् १" इति चिन्ताशतसन्ता- नव्याकुलितचित्तो यावदास्ते तावद् लावण्यसुन्दा 'किं राज्ञा दण्डे याचितस्त्व"म् ?' इत्यपृच्छयत । ततोऽत्यन्तक्षुभितेनानेन कथितम्-' यदहं करिशतमनेन याचितस्तत् सर्वथा विनाश एवोपस्थितो ममायम् , कुतो मे वन्धमोक्षः। ततस्तयाभिहितम्-- 'प्रतिपद्यस्व करिशतमहं ते दास्यामि ।' ततस्तैलिकेन तथेति प्रतिपन्ने राज्ञा चिन्तितम् - "ममेय[F. 70. B ]सर्वथा पर्यवशिता कुतोऽस्य करिशतम्' इति विचिन्त्याभि- हितम् -'कियता कालेन करिशतं प्रदास्यसि?' ततस्तया शिक्षितेन तैलिकेन मासपर्ट या"चितः । राज्ञा तथेति प्रतिपन्नम् । ततस्तैलिकेन साऽभिहिता- 'किमिति भवत्या- + - १ महानगरवि । २ गतमातृभुजा। ३ पहस्तिनसमीप। ४ चक। ५ प्रतिपद्यत ।

·शृङ्गारमञ्जरीकथा , हमश्रद्धयमेवंरूपं दण्डमङ्गीकारितः १ ततोऽनयाऽभ्यधायि-'अयं"राजा मामनुरक्तो व्याजेन खीकर्तुमिच्छति तदस्येयं दुराशा । ममैप पिता भवति । तद् यदहं भणामि तद् भवता कर्तव्यम् । अहं निर्दिष्टे काले करि"शतमवश्यं प्रापयाम्येव' इत्यभिहितस्तथेति प्रतिपन्नवान् । तया त्वभिहितम् - 'न मदीयं चरितं भवता पुरतो विचारणीयम्' इत्य- भिधाय विशि"एतरान् पञ्चाशदश्वानश्वतरीविविधालङ्कारभृपितं च परिजनमात्मनश्च". विविधानलङ्कारान् वासांसि च.............[ F. 71. A ]'. साहसस्यैकसदनं साहसाङ्कनृपतिमङ्गीकृत्योजयनी प्रति प्रतस्थे । ततः सा कियद्भिर्वासरै- रवापद् उज्जयनीम् । आकल्पयच्चावासमात्मनः पल्लवितविविधवीरुधि कुसुमितानोकहनिवा- रितातपप्रसरे शिप्राप"रिसरे। अथैषा काऽपि कुतोऽप्यतिशयितत्रिदशसुन्दरीसम्पत्ति- वेशयुवतिरायाता इत्यात्मनः प्रवादमकारयत् । तर्कुकजनस्य च यथोचितं दानमदात् । दिनमप्यशेपं विलासैरत्यवाहयत् । अहमहमिकया आगतानामपि सामन्तप्रभृतीनां 'भवतु, यद्भविष्यति तत् करिष्यामि' इत्याशामा"मेवादर्शयत् । न तु कदाचित् कस्यापि ग्रहणकादानमकरोत् । प्रयातेष्वथ कतिपयेष्वहःसु स प्रवादः साहसाङ्कनृपतेः कर्ण- गोचरमगा[F. 71. B]त् । ततः स कुतूहलाकलितहृदयो नरपतिस्तं प्रवादमस्याः सत्यापयितुं चारपुरुपान् प्राहिणोत् । तैश्च 'सत्योऽयं प्रवाद' इत्यावेदिते स नृपतिर्वि- धाय मृगयाव्यानं तदावाससविधेन प्रतस्थे । सा तु विरचिताऽपूर्ववेपा गच्छतो नरपतेः सविलासमात्मानमदर्शयत् । स तु तां दृष्ट्वैव जातानुरागः कथं कथमपि निर्वृत्य मृगयां तेनैव पथा स्वभवनमयासीत् । गत्वा च स्मरशरनिकरनिर्मथितमानसो मुखरक- नामानमतिविदग्धस्निग्धमवार्जकद्रूतं प्रहितवान् । स विहितदर्शनः क्षणमिव स्थित्वा विधाय विविधगोष्ठीस्तां सप्रश्रयमवोचत्-'इतो मृगया निवृत्तेन "त: कस्येयं केयमिति विज्ञातुमादिष्टोऽस्मि । तत्कथयतु भवती न्याम- समसाहसो युवा विक्रमैकरसिककमनीयाकृतिर्विक्रमादित्य ]. [F. 72. A ] यं च मे निश्चयो यदि मामयं नाङ्गीकरोति तदाऽस्मिन् जन्मनि ममा- 'कृतकृत्यमात्मनो मन्यमानोभुक्तवन्तः स्वैरमास्थितस्य क्षिति तिरचिन्तयत्-'अहो तदिदमवीरुत्कुसुममनभ्रावृष्टिरिति । अथ मन्दायमानातपतया शनैः शनैः सि" शल्यभूमिभागेषु, प्रतीचीमनुसरत्यवनीजीवितेश्वरे तापमसहमानाविव विवृत्य पराङ्मुखीभवन्तीपु पादपच्छायासु, सरिनिकुञ्ज १५........ तिवाह्य मध्यन्दिनतापतन्द्रिमविस्तरकराग्रेसरेपु, शनैः शनैः पच्यमानसस्यशालिनीः १ विनष्टान्यत्र १२-१३ अक्षराणि। २ प्रथमा पंक्तिविनष्टा । ३ श्रीग्धं । न्यत्र १५-१६ अक्षराणि । ६ विनष्टान्यत्र ३७-३८ अक्षराणि । ७ विनष्टान्यत्र ३७-३८ अक्षराणि । ८ विनष्टान्यत्र ३५-३६ अक्षराणि । ९ विनष्टान्यत्र ३५-३६ अक्षराणि । १० विनष्टान्यत्र १६-१७ अक्षराणि । ११ विनष्टान्यत्र ७-८ अक्षराणि । १२ तंद्रीमनिस्तरस्तकराग्रे । सनसनः 1 .६ (67 ९ (22 ४ उत। ५ विनष्टा- ·- श्रीभोजदेवविरचिता ४३ क्षेत्रभुवोऽनुकर्तुमितस्ततः प्रचलितेषु कोलकुलेषु, अति सौहित्यान्मन्थरप्रचलितेषु रोम- न्यायमानेषु गतिवशप्रचलकन्धरावद्धशब्दायमानक्षुद्रघण्टकध्वनितदत्तकणेषु श्रमवशात् किमपि, निःसहF. 72. B]लोचनेषु वैनेभ्यो वसतिमनुव्यावर्तमानेषु गोधनेषु, अविरलायातपथिकेषु स्थितप्रायेषु पथिषु, विमुच्य प्रचारभूमीरुपवनकुलायपादायां" (पादपच्छायायां?)सिसर्पिपमाणे समापतति सत्वरे पतङ्गकुले, अतिकठोरतपनतापग्लपि- तेष्वपराहपवनसम्पर्कसुखितेष्विव शैत्यमुद्दाह]त्सु दिअखेषु, "मादस्ताचलशिखर- शेखरतामाजगाम तरुणताम्रचूडारुणिमसोदरं शोणिमानमुद्वहन्नरुणसारथिः । लाक्षारस- लोहितैस्त्रिसरत"न्तुविसरैरिव किरणनिकरैररुणमन्तरमकरोत् तन्तुवाय इव दिवसपरिणा- मसमयः। अन्तरान्तरोपलक्ष्यमाणवहलसन्ध्यातपच्छेदाभिर "नच्छाभिः पादपच्छाया- भिरश्लिष्टाः सञ्चरद्वनदेवताचरणसान्तालक्तकारसाङ्किता इव व्यराजन्तोपवनभूमयः । अस्त-" [F 73 A Jगिरिशिखरवर्तिनो विकर्तनस्य प्रभाजालेन विच्छुरितानि तत्क्ष- गोपसीदविरहवेदनास्फुटितचक्रवाकमिथुनहृदयसैतेनासृजेब शो"णिमानमानीतानि विरेजुः सलिलाशयानां सलिलानि । दलितदाडिमीकुसुमसोदरेण तरणेरंशुजालेन संर्व- लितानि कुडुमरसमा "र्जितानीव प्रत्यभासन्त प्रतिसौधममलस्फटिकमणिकुट्टिमानि । तत्क्षणमुत्क्षुभ्यतो मिथुनरागसागरस्य भुवनमाकामन्ती वेलेव समुल्ल लास सन्ध्या । अवर्धयच्च परस्परगुणानुम्मारकतया अत्यर्थमुत्कतामापादयन्ती दूतीव मिथुनमानसेषु द्विगुणतरमनुरागं निद्रावशविसंस्थुलनिमीलन्नयनपुटैः स्थित्वा क्षणमुत्क्षिप्तपक्षतिभिरु- दीवमालोक्यालोक्य निर्वाग्भिरध्यास्यन्त मणिवाष्पला-[F, 73. B] [ अत्रादर्श ७४ अङ्काङ्कितं पत्रं विनष्टम् ] ....'यायातिमिरमरनिरुद्धमप्युच्छ्रसितमिव क्षणमलञ्जत । गगनतलमनु च कुङ्कुम- रसमार्जनोपजनितपिञ्जरविपोऽन्तर्विरचि" ... "दविशेषकस्य हूणहरिणीदृशो ललाट- फलकस्य श्रियमुहद्विनिद्रकर्णिकारप्रकरगौरच्छविस्तोकोपलक्ष्यमाणलाञ्छनमु.. य शशधरौर्द्धम् । अथ क्रमेणैवैकः कनकताडङ्क इव शतमहदिगङ्गनायाः, कुङ्कुमरसतिल- कविन्दुखि यामिनीमुखस्य, भाखरकात खरदर्पण इव दिग्वधूनाम् , विकचमेकं कनकपङ्क- जमिव गगनसरसः, सस्ततिमिरांशुकैकदेशायाः कुङ्कुमोन्मृष्टः प्रकट एकः कुचकलश इव दिवः, करतलरागरञ्जितः क्रीडाकन्दुक इव रतः, जात्यशातकुम्भसम्भवो भाविसाम्राज्या- भिषेककलश इव मनोभवस्य, उल्ललास चित्तजन्मनो जीवातुर्जीवितकुमुदकाननः कुमु- दिनीनाथः । ततश्च प्रसादितरामः (१) समुत्तीर्य सलिलराशिमृक्षपरिवृतसमुल्लासितकुमुदो , 1 १ कोलकुलो। २वतेभ्यो। ३ प्रचिरलायतत्पथि। ४ सारथि। ५ °रुणमंघरम्। ६ मकान्ता। ७ सुतेना। ८ सवलितानि । ९ विनष्टान्यत्र ३-४ अक्षराणि । १० विनष्टान्यत्र ३-४ अक्षराणि । ११ विनष्टान्यत्र ३-४ अक्षराणि । १२ धरार्थम् । १३ कुकोकान्मृष्टः। १४ जीवितुजी। है ·४४ शृङ्गारमञ्जरीकथा (2) . (37 [F. 75 - A] दलितवाजलश्यामलानां रजनिचारिणां तम प्रकाराणां निधनमादधन समुल्ललास तारापतिः। अथ जनितमदनतापानि दलयन्ती कुमुदकाननानि" चक्रवाकमिथु- नहृदयानि च, विघटयन्त्युत्पथप्रवर्तकमन्धकार मानिनीमानग्रहग्रन्थिं च, क्षोभयन्त्युत्क- लिकाकुलमम्बुराशिं कामिजनहृदयं च, व्यथयन्ती करिदशनमुशलानि विरहिणां चेतांसि च, सर्वतो विवृतचञ्चभिश्वकोरकुटुम्बकैरखिलजनलोचनपुटैश्च निपीयमाना अप्य- वर्धन्त ज्योत्स्ना?) ...'विकसितां कुमुदकाननानां रजोभिरवचूविचूर्य कामिनामुद्दी- पंयन् मदनदहनभवान्मन्दमन्दमान्दोलितविकासोन्मुखशेफालिका .. ... प्रदोषपवनः। ततश्च 'सखि ! दुर्घरो मदनः, प्रौढिमागच्छन्तो दुःसहा शशधरमरीचयः, गत्वरं यौवनम् , अनवस्थितः प्रेमानुवन्ध' इत्येवमाद" वर्तन्त रतिसन्धिविग्रहव्यापारचतुराणां वय- स्थानां मानिनीषु सङ्घाटनपटवो वचःप्रपञ्चाः। विरहिणीनां वपुषि प्रतिविम्बितमूर्त- [F. 75. B]यो विरहदहनाङ्कुरा इव व्यभाव्यन्त प्रथमप्रतिबोधिता भवनप्रदीपाः । अति- रागभृतहृदयाभिविलासिनीभिः प्रियतमेषु सन्दिष्टानि विस्मृ"त्य विस्मृत्य पुनरुपदिश्यो- पदिश्य प्रेपिता मदनदूत्यः। शशधरप्रदीपेनाङ्गनाभिः कनककेतकीपत्रेषु मृगमदरसेना- लिख्यन्त मदनलेखाः । पुनः पुनरालोकितप्रियतमा ग]मनमाग्र्गाभिः सजान्यक्रियन्त वासभवनान्यङ्गनाभिः । वासकसजावेश्मवातायनेभ्यो व्यजृम्भन्त ज्वलद्विरहदहना- नुमापकाः कालागुरुधूपधूमाः। सितदुकूलच्छन्नवपुपो घनतरधनसाररेणुच्छरितगण्डभित्तयः प्रत्यङ्गमामुक्तमुक्तामणिविभूपणाः सरसमलयरजसोपसिक्तनिखिलाङ्गलतिकाः प्रविक- सितमालतीकुसुमदामश्लिष्टकेशपाशश्रियो ज्योत्स्नाधिदेवता इव सर्वतोऽभि-[ F. 76. A] ससुरभिसारिकाः । अमृतरससेकाप्यायितमिव, क्षीरोदपूरप्लावितमिव, स्फटिकमणिघटित- मिव, सद्योमार्जितद्रमिडकामिनीदन्तका"न्तिनिम्मितमिव, गर्भताडीदलविरचित्तमिव, रजतरससिक्तमिव, द्विरददशनोत्कीर्णमिव, मिथुनमानसेषु निक्षिप्येव निजरागमम्बरत- लमारोहति नैर्मल्यमागते शनैः शनैर्धवलितहरिति हरिणलाञ्छने चन्द्रलोकश्रियमुवाह निखिलमपि भुवनतलम् । अथ महीपतिर्मुखरकं तामानेतुं प्राहिणोत् । सापि कर्षकजनतेवोद्रीवा तस्याभ्युन- तस्य जलमुच इव मार्गमन्वीक्ष्यमाणा तमायान्तमपश्यत्"। आगत्य च कथितपार्थि- वाङ्गीकारा निर्मरं प्रमोदमभजत् । त्वरिततरमाजगाम च महीपतेर्भवनम् । अथागतया लावण्यसुन्दर्या"[F. 78. B]सह नृपतिरनुरागनिर्भरस्तस्यां रजन्यां सुरतसुखमनुबभूव । प्रातश्च विहिताहिको निर्वर्तितभोजनादिक्रियः सुखमासीनः प्रहृष्टः सकलमपि तद्वृत्तान्तं भट्टमातृगुप्ताथाचचक्षे। . १ विनष्टानि ३-४ अक्षराणि । २ मुदीपयन् । ३-४ अक्षराणि । ५ विनष्टान्यत्र ३-४ अक्षराणि । कनक । ९ लिख्यन्मदन। १० सर्वतो। ३ मन्दमन्दमन्दोलित ४ विनष्टान्यत्र ६ प्रेक्षत। ७ प्रदीपिना। ११ तमायान्मप। ८ नाभि - ·श्रीभोजदेवविरचिता ४५ तदाकर्ण्य भट्टमातृगुप्तस्तमयोचत्-'देव ! एवंविधा नानाप्रकाराः क्षितितले विचरन्ति खार्थतत्पराः स्त्रियः। तद् एवंविधासु न” विश्वसितव्यं देवेन । इदं त्वेतदीयं सर्वमपि वैशिकमिति मया ज्ञातमेव' इति भट्टमातृगुप्तेनोक्ते स चिन्तितवान्-'किमहं निसर्गानुरागमुत वै"शिकमित्यपि न वेनि ? भवतु, किमनेन ? भट्टमातृगुप्तो गौरवित इति न किमप्युच्यते । ईदृशमेवास खरूपम्' इति तमवगणय्य तया सहानु"दिवसं परं विश्रम्भेण बहूनि दिवसान्यासाश्चक्रे । भट्टमातृगुप्तस्तु प्रागुक्तमेव खवचः पुनः पुनस्तं स्मारयति स्म । ततः स कदाचित् स्मारयन्नभिहितो राज्ञा-'कथं पुननिसर्गानुरागी ज्ञायते? यथा यथाहमेतामतिनैपुण्येन परीक्षे तथा तथैपा क्वचिद-[F. 77 A] पि नाङ्गं रक्षति । अनुरागचिह्नानि च सकलान्यायस्या दृश्यन्ते । स्वाम(प्र?)मदान्यचित्ततादिष्वपि नास्याः किमपि वै"कृतं लक्ष्यते' इत्युक्ते भट्टमातृगुप्तः पुनरप्यवनीपतिमवादीत- 'देव! तर्हि देवेनेयं ग्राम्याभिर्विडम्बनामिः परीक्ष्यताम् ।' यथा यथैप परीक्षा") तास्ता ग्राम्या अपि नसदशनदानकेशच्छेदादिका विडम्बनाः करोति तथा तथैपा विशे- पतो हृष्यत्यनुरागिणी च भवति । तदखिलमपि भट्टमातृगुप्तायाकथयत् । 'भवान् मुहुर्मुहुर्वेशिकं वैशिकमिति पूत्करोति न च वैशिकानुकारि चेष्टितमस्याः किमप्यभिल- क्ष्यते । इत्युक्ते भट्टमातृगुप्तः पुनरप्येवमाह- 'अतिधूत्रीय [अन]या देवस्याप्येवं- विधश्चित्तभ्रमो जनितः । साम्प्रतं मया निर्णीतमेतत् सर्वमस्या वैशिकमिति ।' सा तु सकलमपि भट्टमातृगुप्तेनोक्तं जनपरम्परया शृण्वती सदैवाशङ्कमाना तमप्यतिगौरवेण पश्यति । अथैकदा सा व्यचिन्तयत् [F. P7. B]- 'बहूनि दिनानि वर्तन्ते, अतिक्रमि- प्यति च समयः' इति विचिन्त्य, यत्र भट्टमातृगुप्त-विक्रमाकौं गोष्ठ्या तिष्ठतः, तत्रा- गेस क्षणमुपविग्वेदमभिहित"वती- 'अयं भवदीयप्रसाद वित्तको यदहमतिदूराद् भव- गुणानुरागेणागता तदयं वैशिकं वैशिकमिति ब्रूते, तद्भवतु मदीयानुरागसायमेव" विचार उचितः । साधुर्भवान् राजा, प्रसादवित्तकश्चायमिति मिलितं पेटकम् ।' ततोऽभ्य- धायि राज्ञा- 'केनेयं भवत्या व्यलीका वार्ता कथिता? किं भट्टमातृ"गुप्त एवंविध उताहम् ।' इत्युक्ते सा विहस्य क्षणमेकं स्थित्वा शयनागारस्यान्तः प्रविश्य शयनीयस्यो- परि निहितां राजशस्त्रिकामादाय स्वशिर छै" दमकापीत् । ततो यावत् शङ्कितचित्तो विक्रमार्कोऽन्तःप्रविशति तावत्तां छिन्नशिरसमपश्यत् । ततस्तामालोक्य कुलिशेनैवाहतः, ज्वलनेनेवालीढः, दृष्टिविषविषधरेणेवेक्षितः क्षणमभूत् । अनन्तरं हृदि विचिन्त्य भट्टमातृगुप्तमाहूयेदमभिहितवान्- 'भट्टमातृगुप्त ! दृष्टं भवता वैशिकस्या-"[F.78. A.] वसानम् ?' इत्युक्ते सोचवीत्-'देव दृष्टं, किमन्यथाऽहं ब्रवीमि ? इदमपि वैशिकमेव ।' W " 1 , १कारा क्षिति। २ लक्षत।

·४६ शृङ्गारमारीकथा - an - M ततोऽतिकुपितः स भट्टमातृगुप्तमवज्ञाय तां तथाभूतामनुचरैरुत्क्षेप्य" भगवत्या आशापुराया आयतनमगात् । तत्र च निखिलमपि परिजनं पहिनिस्सार्य विक्रमादित्योऽपि खशिर छेत्तुमुपचक्रमे । ततो भगवत्या शापुरा-'पुत्र! पुत्र! मा कृथाः साहसमेवंविधम्, न भवान् सामान्यः, किमिति प्राणिमात्रानुकम्पयेतरमाणिवदात्मानं विनाशयति' इत्यभिदधाना तं करे "जग्राह । स प्रत्यवादीत्- 'देवि! क्षम्यताम् । मुच्यतामयं करो यथाभिलपितमुपहारं भवत्यै प्रयच्छामि ।' ततो भगवत्योक्तम् 'तुष्टाऽस्मि तवानेन सर्वाति शामिना साहसेन तदुच्यतां यदभिरुचितं भवतः' इत्युक्तो विक्रमार्कस्तामाह- 'देवि! पुनरप्येपा लावण्यसुन्दरी जीवितेन संयोज्यताम्' इत्युक्ते "तां देवी प्रत्युदजीव- यत् । ततो हृष्टमनास्तामादाय विक्रमार्कः स्वभवनमगच्छत् । सर्वतः प्रावर्तन्त वर्धाप- नकानि, आनन्दमाससाद च निखिलः पौर-[F. 78. B] लोकः । इत्थमतिहृष्टयो- स्तुष्टयोः [ मदन ? ]वशङ्गतयोगतानि कतिचिदिनानि । अथैकदा भोजनानन्तरमवसितप्राये वासरे शनैः शनैः पश्चिमाशामनुसरति कमलिनीबान्धवे तया सह दन्तवडमिकामधिरूढो विक्रमार्कनृपतिः स्वैरविहारागतमसित- मणिशिलासमुद्कश्रीविडम्विना चरणचतुष्टयेन"ग्रसमानमिव धरणिमण्डलम् , अत्युत्सा- हितया चरणतलगतानाभोगिनोऽष्टादशद्वीपानिव नखमणीनुद्वहन्तम् , निसर्गत एव रूपश्रियो विलासभ"वनेन सुप्रतिष्ठितोपचितस्थिरस्निग्धत्विषा गात्रापरेणोद्भासमा- नम्, शौर्यलक्ष्मीनिवासैकवेश्मनो हृदयस्य कवाटाभ्यामिव दृढसुघटिताभ्या "मंस- कलकाभ्यासुपशोभमानम्, मीनविक्षोभिनाऽतिपृथुलेनाप्रधृष्यकमनीयेनाम्बुराशिनेव" [F. 79. A] श्रीमतोरसा विराजमानम् , अनवरतमदसुरासौरभानुपातिभिर्मधुकरकुलैरति- घनस्थगिततया निखिलकरिकुलोपमर्दकरुणया वेधसेवाय त्नविरचितासितावघाटमिव वदनमुद्वहन्तम् , मधुपृपत्पिङ्गलत्विषो नयनयुगलस्य प्रसृतकान्तिजालतया निर्यद- नच्छकोपानलज्वालमिवोप"लक्ष्यमाणम् , आयतस्निग्धमसृणेनाभिनवमालतीमुकुलसो- दरविपा समदकरिकुलोन्माथजन्मनो निखिलभुवनव्यापिनः समुजिगमिषो"यशसः प्रथमनिर्गताकुरद्वयेनेत्र दशनमुशलद्वन्द्वेनोद्भासमानम् , अतिपृथुलाभ्यामच्छिन्नमदनदी- प्रवाहोद्मकुलाचलाभ्यामिव कपोल"स्थलाभ्यामुपशोभमानम् , समेष्यन्त्या विजय- श्रियो जनितवर्णकपल्लवेन पर्णकुम्भेनेव कुम्भेन शोभमानम् , अत्या"[F. 79.B]यति- भृतो वदनस्य विस्तृतिमिवापादयताऽतिपृथुलेन प्रतनुशोणविन्दुचित्रितत्वक्तयाऽनेकसम- रसम्मर्दक्षपितविपक्षगजरुधिरकणकवुरितेनेव" प्रचलाग्रपल्लवतयोदाममदसन्तापतप्ताविव कपोलौ वीजयता श्रवणद्वयेन भ्राजमानम् , अतिपृथुना क्रमापवृत्तेनातिदीर्घेण च भूतलस्थितानि"निखिलान्यपि नागकुलान्यन्वेष्टुमिवातिप्रचलेन लोलता करदण्डेन चण्डि- १ °मिलखितुमुपहार । .

·श्रीभोजदेवविरचिता , मानमाक[लयन्तम् , सततमतिमसृणघुसृणारुयोन विजयलक्ष्मी पयोधरद्वन्द्वेनेव निहितसिन्दूरशोणरोचिपातिविकटेन कुम्भकूटद्वयेनोद्भासमानम् , मार्गत्रयप्रवृत्तैरविच्छे- दिभिर्दानसलिलपूरैरेकपथवाहिनी कालिन्दीमपि त्रिपथगामिव प्रदर्शयन्तम् , अनवर- तमदजलासारसौरभाश्लिष्टमूर्तितयासन्नवर्तिभिर्मधुकरैश्चारणगणैरियोप"गीयमानम्, अनेक- समयविजयार्जितं यश इव श्रवणावतंसतामागतमतिविमलशङ्खप्रभापूरचारधवलचा- मरयुगलमुद्वहन्तम् , गाढसन्धि-[F 80. A ]बन्धेन श्लक्ष्णमुस्निग्धत्वचातिविस्तृतेन स्कन्धेन कामपि रामणीयकश्रीकमुद्दहन्तम् , अतिविपुलासनम् , उदग्रं धनुःकुटिलपृष्ठवं- शम् , अतिसुसंहतपेच "कमृज्वायतस्निग्धवालधिमतिरमणीयमपि भीपणमखिलजननयन- हारिणा हरिणेव लक्ष्मीभृतोभयतः पुष्करद्वितयेन विराजमानम् , आधाटाल- मनुपदिग्धं सुपममारक्षेषु त्वचः प्रकर्षमापादयन्त्या प्रतापश्रियेवाग्नेय्या छायया परि- गतम् , त्वक्तनूरहाण्डकोशगात्रापरभागेषु ह्रखमाननांसफलकहस्तवालधिष्वायतमुरो- भागासनकटकपोलसूक्समदास्खतिविशालम्, पश्चिमासनवंशपेचकपक्षकुक्षिजघन"कला- भागेष्वतिविभक्तम्, अतिमसृणं त्वचि विलोमे च, अतिगम्भीरमाशये ध्वनिते च, अतिचतुरं गमने प्रयोगे च, अतिरमणीय आकृतावनूके च, अतिसुरभि श्वसिते मदजलामोदे च, अतिमहान्तं वपुषि सत्त्वे च, अतिरक्तं तालुनि नेत्रान्तयोश्च । जात्याकृतिशीलसत्त्वा- स्मकादिभिः[F, 80. B] [ अत्राद” ८१ अङ्काङ्कितं पत्रं विनष्टम् ] .....दग्रहणोत्तम्भितायतकरतयानेकसमरनिर्जयाप्तां विजयपताकामिवात्मनः समुरिक्ष- पन्तम् , शरत्समयमि"वोल्लसदिपीकम् , हेमन्तमिव परमहिमोपचितम् , शिशिरमिव जनितातिप्रकम्पम् , वसन्तमिव विलसदसमपुष्करम् , ग्रीष्ममिव क्षपिताशेषवाहिनीकम् , जलदसमयमिव गम्भीरतरधनध्यानम् , एवमखिलर्तुमयमिवोपलक्ष्यमाणम् , अवधीरि- तैरावतध्वनिप्रसरम् , अनुदिवसमम्भाक्रीडासु खण्डितपुण्डरीकविभवम् , उद्दलितकुमुद- शोभम् , अनेकशः समराङ्गणेष्ववजितसार्वभौमम् , अपहस्तिताञ्जनच्छविम् , अवगणितसु- प्रतीकम् , अतिकम "नीयेनातिदुःसहेन च तेजसा न्यकृतपुष्पदन्तम् , असकृत् त्रिपदिका- विलसितेन दूरीकृतवामनोत्साहव्यतिकरम् , एंवमाजिताखिलत्रिदशगजरा "जचक्रमिव विभाव्यमानम् , सकलजननयनहारिणी मदावस्थामिव चतुर्थीशोभा दशां च विभ्राणम् , अतिमनोहारिणा रूपलावण्यातिशयेन त-[F 82 A पंयन्तमिवापूरयन्तमिवाप्याययन्त- मिवानन्दयन्तमिव रमयन्तमिव चक्षुरिन्द्रियम् , रिपुदलनाभिधानं द्विरदराजमद्राक्षीत् । . . . ३ सुखममार। ४ वालवि। ५ आकृत्वा । १ सोचिषा। ६ °लक्षमाणम् । २ यतन्निम्ववालधि। ७ एवमजिता।

·- शृङ्गारमखरीकथा ४८ तं चावलोक्य प्रहटमनाः क्षणं स्थि"ला लावण्यगुन्दरीमंवोचत्-'प्रिये लावण्य- सुन्दरि ! याचख किमपि' इति । पुनः पुनः सादरमभ्ययमानाऽन्येतदेवायोचन्-'यत त्वदीयं तत् सर्वमपि"मदीयमेव च, तत् किमहमन्यद् याचे? अथ मञ्चित्तमार्जनीयं भवतः, तद् पाल्यादारभ्य मम हस्तिनामुपरि महत् कौतुकम् । अनो दीयतां ममैवंविधानां शतमेकं मतङ्गजानाम्' । राज्ञाऽभिहितम्- 'कियन्मात्रमिदम् ? अन्यदपि याच्यता यदभिरुचितम्' इत्यभिधीय हरितशतं प्रायच्छन् । उक्तं च तया- 'सर्वधेयं प्रसिद्धिविधीयतां यथा हस्तिशतमेकं लावण्यसुन्दर्य वितीर्णमिति । राज्ञा च तथैवा- नुष्ठितम् । ततो गतेषु द्विनेष्वहस्सु लावण्यसुन्दरीविहिनाञ्जलिपुटा राजानं व्यजिनपद- 'देव ! भवतो मोचनकमस्तु, वेश्याऽहम् । अस्मदीय ईदृश एव व्यवहारः। [ 1. 82. B] "[विक्रमा ]दित्यनृपतिर[बोच] त्-'किमेतत् ? भवत्व".......... ....... मेतत् । ततो लावण्यसुन्दर्या] आदितः स्ववृत्तान्तं मनुभवन् सुचिरमासाञ्चके । ...ति। इति महाराजाधिराजपरमेश्वरश्रीभोजदेव" [विरचिताचां शृङ्गारमञ्जरीकथायां लावण्यसुन्दरी(?) कथानिका यष्ठी ] ... ततस्तेन सह मुख- (31 (3) . . [सप्तमी कुट्टनीवञ्चनकथानिका ] अन्यच धूर्तेभ्योऽपि प्रयत्नादात्मा रक्षणीयः तथा" . . ...[ F. 83 A] ... . . चिदपि राजहंसानां जलदसमयशङ्कामपनयन्ति".. .यत्र च निरन्त- रोच्छ्रितयूपतया वृत्तिनिरुद्ध इव". अनुरक्तमनसः पश्चिमे वयसि दारकद्वितयमभूत् ..व्यापितसकलक्रमेण यौवन". ... ... .. देशान्तरगमनं प्रत्यभिलापः । ततस्तौ धन"............[F. 83. B] दीनि लद्ययन्ती जग्मतुः । ब्रजतोश्चानयोः कुसुममासजनितां समृद्धिमवनेरुन्मनन् व्यजृम्भत दारुणो धर्मसमयः । क्रमेण च कठोरीभव"द्भासि भगवति गभस्तिमालिनि, जीर्णतरुकोटरकुटी[र ]कुलायनिलीनेष्वतिकठोरधर्मभिया मसृणमसृणं कणत्सु कुकुभंकुलेषु, कठिनतरघ"मग्लपितवन्धनश्लथतया निपतितातिजीर्णनिखिलच्छदचयेपु, अधिकदुःसहातपनिपातातिदूयमानक्षुद्रकीटश्रितस्कन्धत्वक्सन्धिषु मदलो हितसरटसन्दं- श्यमानोल्लसितद्विवपल्लवेषु, रुक्षतामुहहत्सु क्षितिरुहेपु, दिनकरकरालातपोत्तप्तपांसुतया चहलतरकुकूलान"लरजापुञ्जकवचितेष्विन नखम्पचेषु वर्त्मसु, सर्वतः प्रसरतया तरुणतर- - १ °सुन्दरी अटो। २ बाल्यदारभ्य। ३ °भिज्ञाय। ४ ८३तमस्य पत्रस्य त्रुटितत्वादि- मान्येव वाक्यानि पठितुं गक्यानि । ५ रन्मथन् । ६ कुकुम। ७ तरु। r ·श्रीभोजदेवविरचिता ४९ तपनतेजसां विसरेण प्लुष्यमानानां वनस्थलीनां पूत्कृतेष्विव बधिरितदिगन्तयुगच्छन्तीषु तारतरासु चीरिटीकाविरुतिषु, जरदजगरश्वाससन्धुक्षमाणज्वालावलीजटिलितेषु प्लुष्य- माणक्षुद्रकीट-[F. 84 A ]कुटुम्बकठिनत्वक्तडत्कारवाचालेषु भयचकितोड्डीयमानशकु- निकुलपक्षपालीपवनप्रेवितशिखेषु, ज्वलत्सु सर्वतो दावज्वलनेषु, दीर्घत "रदिवसजनितग- मनमार्गखेदात् समुत्पन्नतातिशय इव प्रौढतात्य[य]धर्मरश्मावापिबति सकलानपि सलिलाशयान् प्रतिदिवसमपचीय"मानसलिलतया तरङ्गितसैकतासु, अविरलजलोपशल्य- सञ्चरद्वककुलाबलोकनाकुलितशफरिकासु, जठरशेवालमञ्जरीपुञ्जतल"विश्रान्तधर्मग्ल- पितबालकमठासु, स्तोकस्तोकनीलायमानवेतसलतासु, रविकरोच्छिद्यमानतीरतरुसौन्दर्य- सन्तापादिव तनिमान मागच्छन्तीपु क्षितिधरनिकुञ्जस्रोतस्विनीसु, मुहुर्मुहुरीपदुत्फुल्लना- सिकाविचरनिःसृतश्वासपवनैरनवरतमेकतः प्रेहोलितविषाणकोटिकण्डूयितदंशोपसृष्ट- कुक्षिभिर्मुहुर्मुहुर्मशककुलवासनार्थमुल्लसितलाललतिकाच्छोटितपृष्ठभाग -[ F. 84. B] घनमहिपकुलैः कदीमानक्षुद्रजलचरेषु, पङ्कशोषवशादन्तरन्तःप्रविशत्कीटककुटुम्बिनी- संश्रियमाणसन्धिरन्ध्रपु, पङ्कोपदिग्धान्तः प्रतनुसलि"लेषु कासारोदरेषु, तरुणतपनताप- क्लमोपजनिततन्द्रीसुखान्तरालविहितरोमन्थेषु प्रच्छायमाश्रयत्सु मृगकदम्बकेषु, दृष- नियूहच्छायानिलयनेनिभृतहुङ्कणकाहुङ्कृतैर्घर्मक्लमकान्तिनिःसहतया निर्खनत्स्विव क्षितिधरनिकुञ्जपु, मनाग विनतेष्ववनिभागेष्वतिब"हलरविकिरणनिपतनोद्गताभिः प्रस- रन्तीभिः परितो मृगतृष्णिकाभिः प्रलोभ्यमानेपूर्द्धकर्णकन्धरेपु क्लमवशादी- पन्मुकुलितलोचने"पु तर्पतरलेष्वितस्ततो धावत्सु बालहरिणकेषु, निजचापलभ्रमण- खेदविधुरेष्ववनिरुहस्कन्धशाखान्तरनिलयननिभृतेषु यथायथमुपविष्टेष्वासीनप्रचला- यितेन मध्यन्दिनतापतन्द्रीं गमयत्स्वपरेषु च निद्रा ल]सविवशतया शिथिलाङ्गेषु प्रपतत्सु पुनरुत्पत्यारोहत्सु क-[F 85. A ]पिकुलपु, दलितकजलश्यामलेष्वतिवह- लपङ्कावलेपद्विगुणितवपुःश्यामिकेषु मुहुर्मुहुर्पूर्णमानकपिलारुणलोचनेष्वर्कभया"त् तमः- सञ्चयेष्विवान्तरान्तरोल्लसितखद्योतद्युतिच्छिद्रितेषु पल्वलप्रान्तमुस्तास्तम्बगहनान्याश्रयत्सु वनवराहयूथेषु, तीव्रतरतरणिकरनिकरव्यतिकरादलननिर्मितेष्विव स्पर्शतोऽपि दत्तपथिकन्यथेपु, पक्षघुटसन्धिसञ्चारितोत्तप्तधरणिरजःकणप्लोपमीतैर्जी "तरुकोटरेपु निलीय निलीय पतत्रिभिर्विमुच्यमानागमनमाग्र्गेपु, सहजप्रेमानुरक्तप्रेयसीपरिहरण- जनितैः पथिकानामयः शुलैरिर्वं दवदहनदग्धतृणस्तम्वशकलैः किर्मीरितदिझुखेषु धर्ममर्मरितोन्मूलितक्षितिरुहच्छदनिकरकरम्विताम्बरेपु, नि विडतरताडनप्रचलझण- झणायमानोत्पाकश्यामीकृततमालवीजबीजकोशीशतसततसंवगितचीरीचित्कारमुखरितेपु, प्रतिविपिन -[F. 85. B]मुत्सङ्गिताभिझिल्लीकोडिझताभिः सलिलकणिकाभिरात्मनोऽपि . १ चीरिका। २'तोडीयमान। ३डित । ४ दिग्धातः । ५ निलयना। ६ निष्टनत्स्विव। ७ पट। ८"कानामयशोलवैरिव । ९ मर्मरतितो। १० झ्यासकृतमालवीज।

·. - शृङ्गारमञ्जरीकथा दिवसकरकिरणसन्तप्तस्य शिशिरतामिवापादयत्सु, मधुसमयविरहदहनस"न्ता- म्यद्वपुषां दिशा निःश्वासेण्विबोष्णदीर्धेषु, प्रेढोलितार्जुनप्रसवमञ्जरीरजापुञ्जसुरभि- तेष्वभितः' करीपंकपेषु प्रवात्सु पवनेषु,” एकस्मिन्नहनि प्रयान्तौ तौ पूर्वापरपयोरा- शिपर्यन्तव्यापिनीमुन्सदकरिगण्डकण्डूयमानसक्रान्तदानजलसौरभभ्राम्यदलीविलासिनी- वलयितस्कन्धैर्वनदेवताविरचितलतान्दोलनस्रस्तशाखाकुसुमप्रकरसंवलिततलैर्मदनोन्म- दशबरराजरमणीभिः कर्णपूरार्थमनवरतमुल्लूयमानपल्लवैश्चटुलकपिकुलान्दोलितप्रतनुशा- खाग्रश्रश्यदस्तोकपाकफलरसामोदसुरभितैरदयन्निधुवनक्लान्ताभिः किरातकामिनीभिः [ F. 88. A ] सततमासेव्यमानप्रच्छायैयौवनमदरुद्धसिद्धसुन्दरीतारतरमधुरगीतिवाचालि- तलतावेश्मभिः कुसुमरसाखादमाद्यन्मधुकरवधू"झङ्कारहतपथिकहृदयैः करावचेयफल- कुसुमजालकैरकठोरशिखिकण्ठकाण्डद्युतिसोदरं हरितिमानमुद्वहद्भिस्तरुमिरुद्भासिताम् , अचकितचकोरकामिनीचञ्चचूर्ण्यमानमरिचवल्लिपल्लयाम् , उल्लसल्लवङ्गसंवर्यमाणतरुणपूर्ग- दुसखण्डाम् , उड्डीनशिखण्डिमण्डलीकला), 'पकल्पिताखण्डलकोदण्डाकाण्डमण्डितगगन- मण्डलाम् , अतिचटुलचातकचञ्चपुटाचम्यमानगिरिकुहरनिर्झराम्बुविनुषम् , उद्दामदात्यू हव्यूहकुहकुहा रावोद्दीप्यमाननिधुवनविराममन्दीकृतशबरसुन्दरीसुरतकेलिव्यतिकराम् , अतिमनोहारिहारीतविरुतहारिणीम् ,"[F. 88. B]कुकलेकुलकेलिकीर्यमाणप्रियङ्गुमञ्जरी- रजापुञ्ज पांसुलितेष्ववनितलेष्वभिलक्ष्यमाणसञ्चरद्वनदेवताचरणमुद्राम् , अतिगहनतया कापि प्रचण्डपुण्डरीकध्वनितचकितैरितस्ततः पलायमानैलतागहनगुप्यद्विषाणपरम्परोद्गो- पनपरैस्त्रासतरललोचनैः शबरकुलै राकुलितप्रदेशा[म्], क्वचिद्वनवराहयूथोत्खन्यमानद- लितमुस्तामोदवाहिनीम्, क्वचित करिकलभकोल्ट्रयमानपल्लबत्रासादिव दूरोच्छ्रितशाखैः शाखिभिरधिष्ठिताम् , क्वचिन्निविडतरतरुगहनतिरोहितप्रान्तैर्दूरादपि टिट्टिभारटितसूच्य- मानैनिकुञ्जस्रोतस्विनीमहाहदैरधि"ष्ठितशैलोपशल्याम् , क्वचित् सर्वतः प्रज्वलद्दाबदहन- ज्वालावलीकवलितक्षितिहाखिलप्रान्तभागतया कुतोऽप्यात्मनः शरणमनवेक्ष्यमाणेन भ्रमितकन्धरं चकितचकितमुभयतोऽप्यवकृष्यावकृष्याङ्गमतिदीनं दिक्षु चक्षुर्विक्षिपता पश्चावनमितकर्णयुगलेनातिश्लथमुक्त-[F. 87. A. ]पुच्छेन विषादात् क्षणमेकमति- निश्चलेन मुहुर्मुहुर्निमेपोन्मेषानू विदधता शुष्यत्तालुना विदीर्णवदनतया प्रकटितदशन- पतिनातिमात्र"दीनाननेन प्रसृतधूमव्याकुलावमीलल्लोच[ ने ]न क्षण एवात्मानं दग्धमिव मन्यमानेन झगिति चक्षुरुन्मील्य प्रत्यङ्गमालोकयता निपतन भयाद् गाढतर- गृहीतशाखेन क्षोभवशविसंस्थुलीभवत्करग्रहतया किमपि भ्रष्टेन पुनरुत्पतता भयाति- शयात् सद्योऽवसीदद्वपुपा मुहुर्मुहुरनभिव्यक्तविहितचीत्कारेण उपर्युपरि प्रतिशाखा मितस्ततः समारोहकाकिना जरन्मकंटेनारुह्यमाण जीर्णोत्तुङ्गतरु"शिखराम् , क्वचिदुल्ल- २ 'भितैस्तैरदय। ३ पूर्वाद्रुम। ४ कुहकुहरोवोहीप्य । ५ कल। ६ पुंज. पं। ७ संवरकुलै । १ मित। ८ष्टगिति। ९ खीत्कारेण । १० साणं।

·श्रीभोजदेवविरचिता ५१ , सद्दावदहनज्वालावलीवलयितस्थलीभागतया शनैः शनैः पुञ्जीभवत्पोतेन प्रतिदिशमतिच- कितचकितमालोकय "ता स्फुटत्कठोरकण्टकग्रन्थित्वचा वंशगहनानां तडिलारिभिर्ध्वनि- तैर्विहितकलभकरेणुकापीत्कारेण कुण्डलितसुण्डारेखातिगम्भीर-[F.87. B]कण्ठगर्जि- तानि कुर्खता मुहुर्मुहुश्चक्रीभवता मुहुर्मुहुर्निर्गममार्गमुद्रीवमालोक्यतोत्तम्भितकर्णयुगलेन स्तोकप्रविष्टपाश्चात्यभागेन"स्तब्धोल्लासितवालधिना त्रासोद्धानितविलोचनेन शनैः शनै- रायान्तमुद्दामदवदहनमसहमानेन निर्गमनेच्छया प्रतिदिशं किमपि किमप्यायतिभृता पुनः पुजीभवता स्थित्वा क्षणं विभाव्य च दवदहनज्वालानामेकतो मान्यमतिविहित- वेगेन कराग्रताडितमुवा रचित "पीनपीत्कारेण वीरोग्रेसरद्विरददर्शितवर्मना झगिति निःसरता ईपदह्यमानपार्थद्विरदपार्वतया विहितविविधारटितवधिरितदिगन्तेन मन्द- जवतया पश्चात्पति त]स्तनन्धयावेक्षणप्रतिक्षणव्यग्रधेनुकेन द्विरदयुथेन इंगित्याश्रिय- माणातिहरिततरुच(व.)लयितोपान्तापरकच्छाम्", [F.88. A] अच्छभल्लोत्खातवल्मीक- शिखरमृत्किम्मारितैकदेशाम् , . क्वचिन्मध्यन्दिनतरणिकिरणसन्तप्यमानतनुतयोत्पन्न- खेदैरपि शनैः शनैः" सलिलमुपसृत्य तट एव कैश्चिन्निखातचरणैरुत्तध्ववालधिभिः प्रसारितकरदण्डैः सलिलमादातुं प्रवृत्तैः, कैश्चित् तथैवोपादायाम्भःकुण्डलितशुण्डार- मुत्तानितौष्ठमीपदुन्नमितकन्धरमानननिक्षिप्तपुष्करैः पिवद्भिः, कैश्चिदपि निमजोन्मजद्भिः, अपरस्तलावाप्तिकुतूहलिमिलितयात्मनो निगाधतया च पयसामनवाप्तपर्यन्तैर्विश्रुत- श्रुतिशिरःशुण्डारैः साकुलमुन्मजद्भिः, अपरैः सलिलमादाय प्रथममासि"क्तकुक्षिभिरुपरि सीकरासार मुत्सृजद्भिर्धर्मक्लमप्रशमनार्थमात्मनो जलमयमातपत्रमिव वितन्वानः, अपरैः सपत्रमूलमुन्मूलि-"[F.88. B]तया शिरसि निक्षिप्तया कमलिन्या सन्दिह्यमानश्रवण- दशनाङ्कुरैः, इतरैासीक्रियमाणैर्विसटसत्कारोपजनितश्रुतिसुखैः, अन्यैश्चो" क्षिप्तपुष्कर- मम्भसि स्तोकस्तोकमितस्ततः प्लवमानैः, अपरैश्च पीत्वा पयस्तट एव किञ्चिदैवनमितज- धनभागेरुत्फुल्लकुक्षिभिः स्तोकोत्तम्भितश्रवणपल्लवैरवनितलस्रस्तहस्तैरीपद्विधुतकन्धरैः श्रवणाभिमुखयश्रितैकनेत्रत्रिभागैः सावधानमाकणितमूत्रधाराध्वनिभिर्भूत्रीय माणैः, अन्यतश्च यूथपतिभिर्मदमलिनकपोलस्थलैर्मजद्भिः, सलिलसङ्गभयात् सहेलमुन्मुक्तगण्ड- भित्तीनां पुनर्दानपानाभिलापादमुक्तो परितनप्रदेशानां मधुकराणां मण्डलेनाधिपत्यसं- सूचकमात्मनो नीलातपत्रमिव दर्शयद्भिः, अपरैरपि स्तनन्धयैः प्लवनप्रवृत्तैरंगाधतया व्यावृत्य निजनिजधेनुकानां गात्रान्तरालमाश्रयद्भिः, पिवद्भिरुत्सृजद्भिस्ताडयद्भिर्मलिन- यद्भिश्च करिकुलैः प्रक्षोभ्यमाणगहनसलिलाशयाम् , क्व-" [F.89. A] चित् क्वचिट्टङ्क- च्छिन्नगिरितटनिपातिभिरुभयतो गण्डशिलासन्ध्युद्गतस्नुहीविपिनान्तरालोद्गतरुत्तरोत्तरा- (50 १ ध्वनित। ६ °सानमुत्सृज्य। १२शया। २°मुदामदव। ३ विरा। ४ झिगित्या। ५°वोपादाभ्याम्भः। ७°माण। ८ ध। ९°मूत्रयमाणैः । १० मीलन। ११ सित्तीनां। - ·शृङ्गारमजरीकथा धवलस्फारीभवत्प्रवाहैरतिप्रसृत "तयाऽतिखच्छतयाऽतिदूरतया चान्तराऽनभिलक्ष्य मूर्ति- भिरधाशेवालपिच्छिलशिलातले निपत्य स्खलनभयादिव निर्भरं पदमननुवन द्भिरुत्पत्य गिरिनिकुञ्जान्तरालवर्ल्सना भूयोऽपि सम्भूय प्रवर्तमानैनिझरैगंगनतलगलन्मन्दाकिनी- स्रोतःसहस्राणीव दर्शयन्तीम्, कचित् सद्यःप्राभिन्नकरिकरटकण्ड्यनोत्कर्षणदलित- त्वचा सल्लकीनामामोदेन प्रसरता वासितनिकुञ्जोदराम् , पल्लवितामिव दवदहन "ज्वाला- सहसैः, कुसुमितामिव पुण्ड्रकोपचितचित्रलकैः, कलितामिवातिपीवरवर्मभिः करिकुलैः, चित्रितामिव ताण्डवितशिखण्डै: शिखण्डिमण्डलैः, मण्डितामित्र निकुन्जसञ्चारिभिः पुण्डरीकैः, सहासामिव गिरिगुहामुखान्तरालपर्तिभिः केसरिकिशोरकैः, उत्कण्टकि [F. 89. B]तामिव कण्टकिभिर्वेणुगहनैः, ऊर्ध्वकेशामिवोर्ध्वखर्जूरीवनैः, प्रारब्धकाकली- गीतिमिव मृदुपवनापूर्यमाणकीचकरन्ध्रध्वनितैः, प्रवृ"त्तनृत्तामिव समीरणोल्लासिभिः किसलयसहस्रैः, सखेदामिव तपनतापोत्तप्तशिलाजतुरसनिष्यन्दैः, वीज्यमानामिव पवन- प्रेडोलि"तोत्तालताडीदलैः, वाचालामिव सर्वतः प्रसृतशकुनिकुलकोलाहलैः, क्वचिदुद्वाप्य- मानकरिमांसवल्लूराः, क्वचिच्छोष्यमाणशार्दूल"दीपित्वचः, क्वचिदानीयमाननिहतारण्यक- द्विरददन्तमुशलाः, कचिद्विशसिताध्वन्यरुधिरलिप्तप्रक्षाल्यमानाम्बरारुणिमनिर्झराम्भसः" क्वचिदौछन्नपान्थसार्थार्थविभागोपजातविसंवादकलकलाकुलितप्रान्ततरुपच्छायभुवः,कचि- निहितानेकमयूरपिच्छचित्रिततृणकु-[F. 90 A ]टीरकनीध्रप्रान्ताः, क्वचित् स्वीक्रि- यमाणसार्थपदार्थाः, क्वचिद्विशोध्यमानसघोनि "हतकरिरक्ताक्तकुम्भमुक्ताफलाः, क्वचि- चैत्यद्रुमोपशल्यनिहतश्वापदकरङ्कपिशितगर्द्धप्रवृद्धक्रुधां कौलेयकानामन्योऽन्यसम्मर्द- कोलाहलैः वाचालितदिशः, विशसितानेकश्वापदपिशितग्रामगृनुभिध्रपेटकैराबद्धमण्ड- लमुपरिभ्राम्यद्भिर्विशसनस्थानकराज्यच्छत्रमिव दर्शयद्भिर्निवारितातपाः, सततमभितः पच्यमा"नपिशितातियहलधूमध्यामलितगगनानुमीयमानवसँतीभिल्लपल्लीः परिहरद्भिः सद्यो निहतानालोकयद्भिः पथि पथिकांश्चकितैः शुष्यतालुभिश्चटुलविसंस्थुलपदन्यास- स्तदभिमुखं मुहुर्मुहुर्वलितग्रीवमालोकयद्भिः, समेऽपि च वर्त्मनि प्रस्खलद्भिरत्याकु-" [F. 90. B]लतया स्तोकमुत्पथप्रवृत्तेश्चिरनिपतितजीर्णपर्णप्रकरसङ्कुलतया निजचरणपातो- पजनितमर्मरध्वनिताकर्णनादापतञ्चण्डश्वापद"भियेव मुहुर्मुहुनस्सद्भिस्तोकमप्यध्वानम- तिवहं मन्यमानैः पथिकैर्लञ्चयमानमार्गाम् , क्वचिदतिकालकायकान्तिभिश्चिपिटनासा- पुर्वृत्तारुणविलोचनैर्गाढतरदेहबन्धसन्धिभित्रिकचरचितकूर्चकैः सदैवावद्ध कुटिभिः प्रविष्टहनुभिरुन्नतगण्डास्थिभिरविद्ध"प्रतनुश्रवणैर्ववरशिरोरुहैः परिधानीकृतमयूरपिच्छ- प्राग्भारैर्गृहीतधान्वनधनुभिरातद्वित्रकाष्ठमयमार्गणैर्मृगयाप्रवृत्तः शवरसेनापतिभिरधि- ष्ठितया परितो दत्तशृङ्गकध्वनिभरितककुभा शबरसेनया दूरतोऽपि वित्रास्यमानोचण्ड- १ दर्शयन्ती। २ पल्लवितनामिव । ३ पुन्द्र। ४ चित्रतामिव । ५ क्वचिदाच्छिन्न । ६ गृहभि। ८ मार्गम्। ९ रातद्वित्र । १० पतिसिरमि। - ७°वसत्ती। ११ शयर।

·श्रीभोजदेवविरचिता ५३ श्वापदाम् , अतिविकटोत्तुङ्गगि रिकुहरभीपणान्तरालप्रवृत्तनिखिनी(?)शेवालपिच्छिलशि- लातलेपु वर्मखदृश्यमानहिंस्रश्वापदामप्यश्रूयमाणविविधविहगध्वनिता-[ F. 91. A ] मप्यनुलपभ्यमानाखिलापरभीतिहेतुमप्यतिमूकतयाऽपि द्विगुणतरभीतिदायिनीम् , दूरादेव सद्यो भृज्यमानाभ्यूपसुरभिगन्धानुमीय"मानकृष्यक्षेत्रसीमाभिः श्रूयमाणातिविकटकु- कुटरटितैयौवनो तवधूटिकाकृष्यमाणयन्त्रकमसृणचीत्कारानुमितनि:पिष्य"माणकोद्रवैः पच्यमानयवपिटवट्टिकासुरभितकुटीरप्राङ्गणैः कण्डमानशालिक्षिप्तमुशलक्षोदनिनदा- नुयातकलमकण्डनीगीति हारिभिर्विकटकटनि देशोपलक्ष्यमाणकतिपयतृणकुटीरकैर्निवा- सानतिदूरवर्तिवंशीवनगम्भीरैरम्भोहदासन्नस्थानाहतस्थितिभिः पथिकाश्वासहेतुभूतैरन्त- रान्तरागिरिग्रामकैरधिष्ठिताम् , कचिदतिरुक्षद्राधीयश्शाखाशतश्लिष्टगगनतलैर्मुहुर्मुहुरुत्कू- जजरत्कपो"तात्तशाखाशिखान्तरालैः क्षुद्रकीटकादित्सुकाष्टकुट्टकोत्कुट्यमानस्कन्धकोटर- ग्रन्थिभिर्विरलदलतया विरलशा-"[F. 91, B] खतया च द्विधाऽप्यल्पच्छायनिसर्गरु- क्षतयाऽतिकठिनमूर्तिभिः शुष्कशुष्यमाणजीर्णतरुसहस्रैराकुलाम् , क्वचिदकालनीलजलद- भ्रमादुन्म"दनिनदं मयूरारावरमणीयसन्निवेशैः सदैव प्रस्रवन्निर्झरसलिलखीकृततया ग्रीष्मेऽप्यन्यवृक्षेभ्यः समाकृष्येव सततमधिकं नीलिमानमुद्बहद्भिर्मार्गस्यान्तरान्तरो- भयपार्श्ववर्तिभिर्निविडतरुखण्डैरध्यासिताम् , स्थानमनर्थानाम् , सदनं त्रासस्य, सनाभि भीतेः, आस्पदं"विपदाम् , उद्भवक्षोणी क्षोभयं, कारणमुत्कम्पस्य, निदानं दवथूनाम् , आस्थानी दौष्ट्यस्य, भूमि मनोभ्रमस्स, खानि खेदस्य, निपद्यां विपा"दस्य, निधानं निर्वेदस्य, सीमां संतापस्य, आकरभुवं दुष्कृतविपाकानाम् , पोपहेतुं शोपस्य, आलीमा- कुलतायाः, सखी दुःखानाम् , मा तर मोहस्य, अतिरमणीयमीपणां विन्ध्याटवीं प्रापतुः। तन्मध्येन च गच्छतोस्तयोरवमितपाथेययोः सप्तरात्रमतिचक्राम । अथ ताव-[F. 92. A ]त्यर्थ क्षुधातृष्णया च पीडि"तौ कथं कथमपि खादुस्वच्छ- सलिलं न्यग्रोधसनार्थ तडागमेकं ददृशतुः।"... "साधस्तादिवसमत्यवाहयताम् । अनु च प्राप्तायां रजन्यां दुष्टचापदभयाद् यामिकक्रमेण विहितोदीप्तको रात्रिमतिवाह- यितुं प्रवृत्तो। अथ तृतीययामे सोमदत्तोऽतिपरिश्रान्तिवशादासीनप्रचलायितानि कुर्वन् श्रुता- श्रुतन्यायेन कपोतमिथुनस्य परस्परं जल्पतः संवादमशृणोत् । तत्र कपोतिकयाऽभिहि- तम्- 'नाथ ! जातस्य जन्तोनियतमेव निर्याणेन भवितव्यम् । तद् यदि परोपकारित्वेन भव्यभझ्या भवति तदतीव श्रेयस्कारि । अतो वराकाविमौ ब्राह्मणकुमारको क्षुत्पीडि- तावस्मदाश्रयमागतौ यदि विपद्यते तदा किमावयोर्जीवितेन ? तद् अनयोः प्राणया- ७ श्रयमाणा। २ °नो रवधू। ४ निप्रदेशो। ५ रत्नरालरागिरि। ६ क्वचिहन्तिरूक्ष। ८ क्षोभस्या। ९ दौपप्यस्य । १० आकार। १५ दुःकृत' । १२ पीडितः। १३ विनष्टान्यत्र १७-१८ अक्षराणि । १४ श्रुताश्रुता । ३ कन्दमान। ७ निवड।

·- शृङ्गारमञ्जरीकथा T त्रानिमित्तमात्मानमावां निवेदयावः।' त[दिदमाकर्ण्य कपोतेनाभ्यधायि- 'प्रिये ! साधूक्तं भवति मत्प्रिया भवती क्रियतां चैतत् । यो ह्यनयोर्माण[F. 92 B] भक्षयि- प्यति स राजा भविष्यति । यश्च त्वां स प्रतिदिनं सुवर्णशतपञ्चकमाप्स्यति । इदमा- वयोर्जन्मसमये मुनिनोत्तङ्कन सूचितमासीत्' इत्यभिधाय" तावुभावेवात्मानं तत्रोद्दीप्तके चिक्षिपतुः । तद् वृत्तान्तमाकर्ण्य दृष्ट्वा च विस्मितेन सोमदत्तेन तावुद्दीप्तकादाकृष्य गृहीतौ । ततो ज्येष्ठं भ्रातरमुत्थाप्य निवेद्य चास्मै वृत्तान्तं कपोतं तस्य भक्षणाय सम- र्पितवान् । स्वयं च कपोतिकां चखाद । अथाचम्य सुष्वपत् । यावत् स प्रातः प्रबुध्यते तावत् सोमदत्तस्य सविधे सुवर्णशतपञ्चकमाविरभूत् । ततः सञ्जातप्रत्ययौ तौ तत्सुवर्ण- मादाय प्रहृष्टौ पुनरपि यथाभिमतं गन्तुं प्रवृत्तौ । अथ मार्गे वहतोस्तयोरेकस्तृषाकरालितः पानीयमन्विष्यन्नन्यतः प्रववृते । अपरस्तु तथैव ब्रजन् दूरं गतवान् । पूर्वस्तु जलमन्विष्य" व्यावृतो मार्गात् परिभ्रष्टः । एवमुभावपि परस्परवियुक्तो "[F. 93. A ]मार्गवैषम्यादन्यतोऽन्यतो जग्मतुः । अथ कथावशाद् ज्येष्ठो मगधेषु राजा संवृत्तः । अपरस्तु परिभ्रमन काञ्चीना- मनगरीमवापत् । तस्यां च विजितत्रिभुवनरामणीयकसम्पदि मकरदंष्ट्राभिधाना कुट्टनी प्रतिवसति । तस्याश्च दुहिता कपूरिकानामाऽस्ति । यस्या नयनवागुरानिपतिताः पिङ्ग- मृगाः पदमपि गन्तुं न शक्नुवन्ति । तया च सह तत्र तस्य रतिसुखान्यनुभवतो बहूनि दिनान्यगच्छन् । प्रायच्छत् तस्याः स प्रतिदिनमपरिमितं सुवर्णम् । न चास्य कश्चि- दप्यर्थी वैमुख्यमाजगाम | न चानवरतं प्रयच्छतोऽप्यस्यार्थः परिक्षीयते । एवमक्षीणवि- भवतां तस्य दृष्ट्वा एकदा मकरदंष्ट्रा" स्वदुहितरं कर्पूरिकामिदमभापत-'वत्से कर्पूरिके प्रतिदिवसमयमेवमविलसति । नचास्यार्थागमोऽभिलक्ष्यः प्रतिभासते।' इति तयोक्ते कर्पूरिकयाभ्यधायि-'अम्ब ! अहमप्यस्यार्थागमं प्रति किमपि न जानामि ।' इत्याकर्ण्य मकरदंष्ट्रा पुनरपि तामवो-[F. 93. B]चत्-'आः पापे कर्पूरिके ! न खलु त्वं मया जाताऽसि । या मत्तः प्रसूता स्यात् सा किमेवंविधा बहिर्मुखी भवति ? तदिदानी तथा त्वयाऽयमभियोक्तव्यो"रञ्जनीयश्च यथा स्वकीयमर्थागमं यथावद् भवत्याः कथयति ।' ततः स तया नानाविधैरुपचारैः प्रियालापैश्च तथाऽऽवर्जितो यथा तस्यै कपोति"कावृत्ता- न्तमखिलमप्यकथयत् । तच्च कर्पूरिका कुट्टन्यै न्यवेदयत् । अथ विदितवृत्तान्ता कुट्टनी प्रत्युञ्जीवितमिव लब्धनिधानमिव प्राप्तराज्यमि"वात्मानममन्यत । ततस्तया भोजनमध्ये वामनीयद्रव्याणि प्रक्षिप्य स भोजितः । ततः स भुक्तमात्र एवान्नमुद्वाम । उद्वमंश्वासौ कपोतिका "मप्युवमत् । तां च तेनोद्गीणमात्रामतिलोभात् सलालामेव विजगाल । ततः- ३ भ्रमत् । १ सुपुपत् । २ प्यन्नत्यतः। ४ पतितः।

·श्रीभोजदेवविरचिता ५५ प्रभृति चास्स सुवर्णागमः प्रणनाश, कुट्टन्याश्च प्रववृते । अथ कुट्टनी[ F. 94. A ] तं निस्तुपमवगम्य कमपि व्याजमुत्पाद्य निर्धाटयामास । ततः प्रणटसर्वस्त्रो जीवितशेषः किमिति मया स्ववृत्तान्तस्तस्याः कथित इत्यनुतप्यमानस्त"स्या नगरीतो निर्जगाम | निर्गस्य च परिभ्राभ्यन् कियति दूरे पथिकेभ्य इदमश्रोपीत् यद्-'मगधेषु कश्चिद् वैदेशिको विष्णुदत्तो नाम राजा"सजातः । स चातिधाम्मिकस्त्यागी च । इदमाकर्ण्य कपोतिका- वृत्तान्तं स स्मृत्वा नूनं मद्भात्रा भवितव्यमित्यवधार्य मगधान् स जगाम । गत्वा च तत्रा- त्मानमस्मै ज्ञापयित्वा कतिपयान्यहानि च स्थित्वा ततोऽवाप्तविशिष्टतरार्थसम्भारः स्वपरा- भवप्रतिचिकीर्षया पुनरपि काञ्चीमाजगा"म । आगत्य च कर्पूरिकाप्रतिवेशिन्या ग्रहण- कमदात् । तया च सह तथैवार्थजातैर्विलसितुमारेभे। तेन च प्रथमदिनादप्यारभ्यत दातुः प-[F.94. B] [ अनादर्श ९५ अङ्काङ्कितं पत्रं विनष्टम् ] .......प्रत्यवादयत् । साऽपि विश्रम्भमुत्पाद्य-'कुतोऽद्भुतार्थागतिनिमित्तमेतदासादितम्' इत्यपृच्छत् । सोऽभ्यधात्-'किमनया चिन्तया? आस्ताम् , सुमह त्येषा कथा" । प्रति- दिनं पुनः पुनरनुवध्यमानेन चानेनैतावत्कथितम् यद्-'मया श्रीपर्वतं गत्वा प्राणा'त्यय पर्यन्तानुष्ठानेन सिद्धिरियमासादिता ।' अथैक दातेन सह स्वयमपि गत्वा कर्पूरिका तस्यैवाश्वत्थगुमस्य तले तं विभवातिशयमपश्यत् । ततो द्विगुणतरजाताभिलापा नानाविधै- रुपायैरावयं तमभिहितवती- 'ममास्य विभवस्योपरि सुमहत् कौतुकम् , तद् यद्यहं भवतो वल्लभा प्रसादलेशो वा मयि विद्यते तत् सट्टिः क्रियतां कपोतिकास्वीकारेण ।' ततः सोमदत्तेनाभ्यधायि-'सुतनु ! परिगणितार्थकपोतिकाव्यतिकरः, अपरिगणितेयं सिद्धिः । तत् कथमतुल्ययोविभवयोर्भवति सट्टि? ।' कर्पूरिकयाऽभिहितम्- 'तहिं सप्त- वेण्यर्जितमपि मदीयं धनमादाय सट्टिः क्रियताम् ।' सोमदत्तेनाभ्यधायि- 'भवत्स्नेहात् किं न क्रियते ? एवमस्तु ।' अपिता कपोति-[F. 96. A ]का । ततो बहिः कृतामपि कुट्टनीमाहूय वामनीयद्रव्यैर्वामयित्वा कर्पूरिकया सप्तवेण्यर्जितेन धनेन ससाक्षिकं कपो- तिका प्रत्य"पिता' । सोमदत्तेनापि तस्याः करे विरुदकं प्रपात्योक्तं यथा- 'येयं मया श्रीपर्वते सिद्धिरासादिता सा त्रिसत्येन भवत्याः पर्यवस्यतु ।' कपोतिकां" चासौ प्रक्षाल्य गिलितवान् । धनं च खगृहान् प्रति प्राहिणोत् । राजपरिजनं च पञ्चरात्रपर्यन्तं तथैवाग- मनाय सङ्केत ग्राहयित्वा आत्मना खभ्रातुः समीपमगात् । .WWW प्राणत्वय । ५ अथैकग। १ निर्धारथा । ६ मेन । ७ सष्टि। २ सुमहा। ३ मानेन वाचनेनैतावत् । ८ बहि। ९ प्रत्यर्पत।

·M ५६ शृङ्गारमञ्जरीकथा अथान्येयुः कर्पूरिका कुट्टन्या सहाश्वत्थस्य तले गत्वा कुकुटरटिनमकरोत् । ततः स निखिलोऽपि राजपरिवारः पूर्ववत् सेवां चक्रे | ततः पूर्णे पञ्चरात्रेऽवसिते च मूल्ये कृतकुक्कुटरटिताया अपि कर्पूरिकायाः समीपे न कश्चिदप्यागच्छत् । ततस्तदागमना- शयाऽवत्थस्येत स्ततो भ्रान्त्वा पुनः पुनः कुकुटरटितान्यकरोत् । न च कश्चिदपि तां दिशमालोकयाञ्चके । ततः कर्पूरिकायां कुकुटरटितानि कुर्वत्यां कुट्टन्याऽमि"[F. 96 B] हितम्-'किमिति पुत्रि ! पूत्करोपि ? यतः कपोतिकायां गृहे प्रविष्टायामेतदेव भवति ।' ततस्तद्दासीभिरभिहितम्-'बाई ए कुक्कुडु वासइ, एकु लियंतह दुइजउ नासइ ।' इन्युक्त्वा ताः सर्वा अपि हताशा आत्मनः सदृशेन मुखेन यथास्थानमगमन । सोमदत्तोऽपि मगधेपु राज्यं कुर्वतः स्वभ्रातुः समीपं गत्वा यथासुखमतिष्ठत् । तत्पुत्रि ! धूर्ता नातिपीडनीया, यतः पीडिताः सन्तः तत् किमपि कुर्वन्ति येन पूर्वसञ्चितमप्यर्थमादाय प्रयान्ति । इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शुद्धारमञ्जरीकथायां कुट्टनीवञ्चनकथानिका सप्तमी समाप्ता । 1 १ - . [ अष्टमी स्यनुरागकथानिका ] यच्चोक्तं 'व्याघ्रादिव प्रेम्णः सततमात्मा रक्षणीय' इति तदपि ते प्रतिपादयामि; श्रूयताम्- अस्त्यत्र पुण्ड्वर्द्धनं नाम नगरम् । अनेकसुरसदनोद्यानदीर्घिकासरित्तडागादिभिर- लङ्कृतमनेकमहाधनजननिवासितया स्पर्द्धमान[r. 97. A. ]मिवालकया । तत्र चाऽतिमहा- धनो वणिग् वसुदत्तो नाम प्रतिवसति । तस्य चातिमहता कालेनोपयाचितशतैः पुत्रो रत्नदत्तनामा समजनि । स चैकपुत्रत्वादतिदुर्ललितः पित्रा विद्याग्रहणार्थमुपाध्यायवसुभूतेः समर्पितः । स च निसर्गेण श्रुतग्राहित्वात् सकृदध्याप्यमानः सकलमपि विद्यासमुदय- मचिरेणैव जग्राह । सकलाः कलाश्च स्वीचकार । गजशिक्षायामारूढे गजायुर्वेदे, अश्व- वाहनविधौ तुरगचिकित्सिते, वणिकलासु द्यूतरहस्ये, वैशिकोपनिपदि चित्रपत्रच्छेद'पुस्त- प्रभृतिकलाकदम्बके परं प्रावीण्यमगमत् । एकदा तु समुपारूढयौवनः पितरमभ्यधात्--- 'तात ! युष्मत्प्रसादात् अधीताः सकला अपि मया विद्याः, अधिगतः कलाकलापः, विदितानि सर्वविज्ञानानि, तन्मयापि त्वद्धनोपभोगेन दिनान्योतिबाह्यन्त इत्यात्मनोऽप्यतित्रपा- २°स्वधनो। ३ दिनानतिवा। 1.९७तमस्य पत्रस्य प्रतिलिपिरनन्तरं प्राप्ता । तस्यां लिपिकारेण पतिसङ्ख्या नाङ्किता, अतोऽत्र तत्सू- चका अङ्का नोल्लिखिताः। १°छेद्य। १ ·श्रीभोजदेवविरचिता है M WwwM -- करमिव [F. 97 B] प्रतिभाति, तद् दीयतामादेशः, येनाहं स्वभुजाभ्यामेवार्थमर्जयामि' इत्युक्ते पित्रा बहुविधं प्रबोधितोऽपि रत्नदत्तः कथमपि न तस्थौ । धनार्ज"नाय दीयमानं प्रभूतमपि धनं न जग्राह । केवलं सुवर्णसहस्रमेकमादाय सुवन्धुनाम्नाऽनुचरेणानुगम्य- मानः प्रतस्थे । अचिन्तयचैवम्-अतिनिन्दितोऽयमस्मत्कुलक्रमागतोऽर्थोपार्जनोपायः। तन्मया चक्रवर्तिसेवया धनमर्जनीयमिति निश्चित्य मान्य खेटाधिपतिबद्रामुकुटमवनि- पतिमवलगितुमुच्चचाल । स च तस्यानुचरः सुवन्धुर्गृहीततदीयखगवसुनन्दकस्तमेवानु- जगाम । अनुगच्छता च तेन रत्नदत्तो ऽभ्यधायि- 'इदं भवता पितुः प्रभूतं प्रयच्छ- तोऽपि मुतरामल्पीयं पाथेयं गृहीतम् , तत् कथमेतावता राजसेवाक्षमावावां भविष्यावः ? पथि[F. 98. A] च कथं निर्वाहो भविष्यति ?' एवमभिहिते रत्नदत्तेनाभ्यधायि- 'आपातोपयोगार्थमेव मयेदमग्राहि । न पुनः पाथेयवुद्ध्या । या कला" याश्च विद्या यानि च विज्ञानानि मया शिक्षितानि तान्येव मे पाथेयम् । द्यूते यत् किमपि कितवानां वित्तं तन्मदीयम् । पत्रानेषु च यद् वेश्यानां धनं तदपि मदीयमेव । अतस्तेनैव मे निर्वाहो भविष्यति । इयं च मे प्रतिज्ञा यद्यहं दृष्टस्तदवश्यं वेश्या मामाह्वयन्ति न च मोचयन्ति । यदि मां नाह्वयन्ति मोचयन्ति तदा तत्कालमेवाहं प्राणानुत्सृजामि।' इत्येवमभिधाय सुबन्धुना सह प्रतस्थे। अथ गच्छता तेन कियद्भिरप्य"होभिरासादि विदिशा नाम नगरी । तत्र च भाइलस्वामिदेवपुरे सौन्दर्यक्रवसतिर्लोमैक्रपात्रमुद्भिद्यमानतरुणिम्नि स्मरविलासै- [F.98. B] कास्पदे वयसि वर्तमाना मुहुर्मुहुःप्रयत्नोपचितमुग्धालकललाटफलकतया मृदुल- मारुतोपनीयमानालिवलयकलितकमलैकदे"शेव तामरसिनी, स्तोकस्तोकोद्भवविलासभङ्गु- रितभ्रूयुगलतया समारोप्यमाणगुणविनमद्दृढनिवद्धेव स्मरधनुर्लता, असक"लोन्मीलन्मनो- भवाभिनवविलासचतुरावलोकनतया मुहुर्मुहुः प्रतनुपवनकम्पमानोबुद्धकुड्मलैवोत्पलिनी, अभिनवाविर्भवलावण्यसंवर्गितकपोलतयो दरपरिपाकालिङ्गितफलेव लवलीलता, प्रति- दिनोन्मीलदसमलावण्यकमनीयकण्ठकाण्डतया समुझियमानानतिपृथुलचन्दनकन्दलेव मलयोपत्यका, प्रतिदिवसोपचीयमानाभिनवसौन्दर्यचारुभुजलतायुगलतया उल्लसन्मुग्धवि- (लसितेव मदनविलासदीर्घिका, मुग्धोद्धतकुचकुड्मलतयोद्भिन्नबालमुकुलेव मकरध्वज- क्रीडाकमलसरसी, किञ्चिदुद्भिद्यमानप्रतनु-[F. 99. A ]रोमावलीकलितत्रिवलीतरङ्गतया दरदृश्यवालशेवालवल्लरीपरिष्वज्यमानवीचिरिव स्मरतरङ्गिणी, क्रमोपनीयमानरसनागुण- स्थान "तया विस्तार्यमाणकनकफलकेव मदनदोला, स्तोकस्तोकोल्लसल्लावण्यक्रमोपचित- वृत्तोरुयुगलजद्धाकाण्डतया प्रतिदिशोपजाय"मानरामणीयकमुग्धकदलीकाण्डयुगलेव सर- थोपार्यनोपाय.। २ मानाखेटा। ४ नमदठनिद्धयेव । ५ मानाहोवुन्द्ध । ६ जुगल। १ ३ मुद्वचाल । ।

·५८ शृङ्गारमञ्जरीकथा , प्रमदोद्यानवसुधा, प्रतिक्षणमुपचीयमाननिसर्गारुणचरणकान्तिमत्तया विकासोल्लास- संवर्यमाणकमलेब स्थलनलिनी, तथाप्यालिङ्गितेव खजातिसहभुवा वैदग्ध्येन विदग्धज- नमनोहारिणी निरुपम लावण्या लावण्यसुन्दरीनामा "वित्तिका प्रख्याता वेश्या प्रतिवसति । सा च देवस्य पुरतो नर्तनपाल्यां नर्तितुमाजगाम । अथ सोऽपि तस्मिन्नेव क्षणे देवदिदृश्या तत्रैवागमत् । तं च मत्तवारणकनि- विष्टमवधूततयाऽपि निजसौन्दर्यापहस्तितकन्दर्पदप्पं लावण्यसुन्दरी ददर्श । स च दृष्टमात्र एव मन्मथास्त्रैः सह प्रविF. 99. B] वेश तस्या हृदयम् । अथ सा तदर्शनसम- कालमेव मदनपरवशा मृीविकलाङ्गी भुवि पपात । क्षणाच कथं कथमपि लब्धसज्ञा 'शिरो मे व्यथते' इति नर्तनोपाध्यायस्य पुरतो व्याजमकरोत् । अथ विदिततदभि- प्रायया तदीयसख्या बकुलिकया तदाकारगोपनं कुर्वत्या नर्तनोपाध्यायोऽभ्यधायि- 'प्रागेवानया ममाग्रतः कथितं शिरोव्यथा मेऽस्तीति । तत् प्रयात्वेपा खगृहम् । अहमेवास्था वारनृत्तं निर्वर्तयिष्यामि' इत्यभिधाय तां सम्प्रेष्य स्वयं च देवकुलवेलां निवर्त्य तस्याः समीपं जगाम । तत्रोपविश्य शरीरवार्तामापृच्छय विहस्य चेदमभ्यधान- 'सखि लावण्य"सुन्दरि? त्वं सदैवास्मानुपहसितवती, इदं च पुनः पुनरभ्यधा[त् ] यत किल भवत्यो सचितधृष्टिकास्तदिदानी कीदृशं प्रतिभाति । भद्रिकास्तावद् वयमा स्महे । याः प्रथममवलोक्य रूपमवगम्य शीलमवगत्य स्थानमासाथ सम्भोगमङ्गीकुर्मः पुरुपम् । त्वं पुन- [F. 100. A] रत्रातिपुण्यवती याऽनवगतनिवासस्थानशीलसम्पत्तावपि पुरुपे दर्शनमात्रेणैवानुरज्यसे । इदानीं [इमां] चावस्थां प्राप्तासि', इत्याकर्ण्य लाय"ण्य- सुन्दर्येदमभ्यधायि-'साधु कृतं भवत्या यत् प्रत्युच्चारिताऽस्मि । यन्मदीयाहङ्कृतस्य सौभाग्यगर्वस्य यौवनमदस्य चेदमेवोचितम् । किन्तु नाभिज्ञाऽसि, वक्तुं परमीशं नर्म च मर्मस्पर्शि नोचितम् । तदित्थं मर्मव्यथितायां मयि न युज्यते वक्तुमिदं भवत्या । साम्प्रतमिदमेव त्वदीय"स्य सखीत्वस्य मे फलं यदस्मिन् समये यद् वुध्यते तद् विधीयते ।' इत्यभिहितया तयेदमभ्यधायि-'किं मदीयेन सखीत्वेन यद्येतावदपिका त्वत्समीहितमहं न साधयामि ।' इत्युक्ते लावण्यसुन्दर्यवादीव-त्वमिदमत्यल्प मन्यसे । इदं तु सखि ! दुष्करमेव । यतस्तमालोक्य स्वप्रयोजन एवं प्रव_ति भवती । मत्प्रयोजनानि तु विस्मरिष्यति ।' इत्याकर्ण्य बकुलिकयाँऽभ्यधायि-'सखि ! यस्तु सौ-15. 100. B] न्दर्याद् यद्यप्येवं तथाप्येवं न भवतीति मयि सम्भाव्यताम् , अवश्य- मानीय भवत्या संयोजयाम्येनम् ।' इत्यभिधाय प्रतस्थे । चिन्तितं चानया यदपूर्वः" पुमान् स्थानद्वय एवावाप्यते, यदि खाध्यायी तदा मठिकादौ, अथ राजपुत्रादिस्तदा शून्यदेवालयादौ । तद् देवगृहादौ प्रथममेवान्वेषयामि । इति विचिन्त्यान्विष्यन्ती १ स्थलगलिनी। २ मास्वाद्य। ३ वकुलिकायाभ्य।

·श्रीभोजदेवविरचिता ५९ . शून्यदेवायतने तमनुचरेणोपास्यमानं शयानमपश्यत् । ततः सा तं तदीयमनुचरमवोचत्- 'भो ! सन्ध्यायां शयनं भाग्यवतां नोचितम् । अयं त्वत्सखा भाग्यवानिवालोक्यते अतः प्रबोधनयैनम् ।' इत्युक्तेन तेनासौ प्रबोधितः। ततस्तयोक्तम्-'भो प्राह"णिक ! कुत आगम्यते ?' रत्नदत्तेनाभ्यधायि-'देशान्तराद् वयमायाताः, चक्रवर्तिनमवलगयितुं गमिष्यामः [F.101.A] इति श्रुत्वा बकुलिका क्षणमिव स्थित्वा रोदितुमारेभे । अथ तां रत्नदत्तोऽभ्यधात्-'भद्रे! किमिति रुद्यसे ?' साब्रवीत्-' भवतां सदृशा- कारो मम भ्रातासी"त् तमनुस्मृत्य ममाथु प्रवृत्तम् । तद् भवन्तोऽपि मम भ्रातरो भवन्ति ।' इत्याकर्ण्य तेनोक्तम्-'सत्यमेतत् , किन्तु त्वद्भाता त्वदर्थक्षतावेव निमित्त- मासीत् , अहं तु यत्र यत्र क्वचिदार्तिर्भवत्यास्तत्र तत्र भ्राता ।' इति श्रुत्वा बकुलिक- योक्तं-'तद् गम्यतामस्मद्गृहं तत्र प्राणिकैर्भूयताम्' इत्यभिधाय तमादाय वकुलिका लावण्यसुन्दर्या गृहमगात् । लावण्यसुन्दरी तु खगृहस्योपरि स्थिता गृहीतविपग्रन्थिरिदम- चिन्तयत्-ममाद्य किमर्थद्वयक्षतिर्भविष्यति उतार्थसिद्धिरिति न जाने । यदि तावद् वकुलिका तं स्वगृहान् नयति" [F.101. B] तदा सखी मम हस्तादुत्तीर्णा, सोऽप्यभि- लपितोगतः। तदेवमहं विपत्स्ये-इति चिन्तयन्त्येव यावदास्ते तावद् वकुलिका तदाशयमा- शङ्कमाना तदीयगृ"हमेव तमनयत् । दृष्ट्वा तु लावण्यसुन्दरी मनाक् परितुष्टेच प्राह- 'बकुलिके! कोऽयं प्राह्वणिकः ?' तयाभिहितम्-'अस्मद्भाता' इति बकुलिकयाऽभिहिते अपगतशङ्का कृतकृत्यमात्मानं मन्यमाना तस्योपवेशनकमदापयत् । अथ बकुलिकयाऽभ्य- धायि-'प्राणिमकस्यास्मद्धातुः क्रियताम्।' इत्य"भिहिता सा खविभवानुरूपमनुरागा- नुरूपं च तस्य स्नानभोजनादिकं प्राह्वणिकमकरोत् । क्रमाच प्रदोषेऽतिक्रान्ते बकुलिकायां च स्वगृहं ग"तायां सा रत्नदत्तं शयनीयमनयत् । तत्र यावत् तेन सह सङ्गच्छते तावद् रूपाच्छतगुणं तदीयं वैदग्ध्यमावर्जकत्वं गुणांश्चापश्यत् । तेन तस्यामेव रात्रौ सा तथा कथञ्चिदावर्जिता यथा तत्क्षण एव परित्यक्तापरपुरुपाभिलाषा तदेकवारिण्येवाभवत् । अथ परिणतिमागच्छत्यां रजन्यां तथैव ल[F.102.A]क्ष्यमाणेषु निखिलेष्वपि तम- स्तारकाप्रभृतिषु भावेप्वपरिकलितस्वरूपस्य भगवतः कालस्य वशादवसितायामिव प्रतिभा- समानायाम् , क्रमेण" च विजितातिस्थूलमुक्ताफलत्विषि करकोपलनिकर इव विलीयमाने तारागणे, अस्ताचलशिखरवर्तिनः शशधरस्य प्रभापटलेनानुविद्ध"मारुणं तेजो दधति, अमलमुक्तामणिमयूखचुम्बितस्योल्लसदहलविद्रुमलताकिरणशोणिम्नो जलधिपुलिनस्य लक्ष्मीमुद्दहति गगनतले", व्यपसरतिमिरप्रसरसंवलितेषु उदेष्यतः कमलिनीपतेरंशुभिः कपिशितेष्वनच्छरजनीरसोन्मार्जितेभ्यः करटीकपोलस्थलेभ्यः कान्ति "माहृत्य घटितेष्विव १ कारको। २ प्रसंरसवलितपु। ३ करलि। , ·६० शृङ्गारमञ्जरीकथा प्रतिभासमानेषु दिक्तटेषु, एकतः पारापतपक्षपत्रधूसरैरतमोभिराकलिते, अन्यतः स्तोक- पाकोषगूढकुबल[य]फलको"मलेनारुणकरनिकरशोणिना शवलिते, अन्यत्र नाडीदल- पाकपाण्डुभिः प्रतनिमानमागतैः शशधरमहोभिराच्छुरिते, अपरत्रोपलक्ष्यमा"-[F. 102.B] णावसीदद्विरलतारके, अन्यतस्तमोलेशावशेपश्यामलतयाऽनुपहतकतिपयस्थलोडुनिस्कारे चित्रपट इव हरति चेतास्यम्बरतले, सततस"चरणश्रमादिव मन्दमन्दसञ्चारिणि विनिद्रो- दण्डपुण्डरीकेषु कमलिनीखण्डेपु मुहुर्मुहुः स्खलिते, कथमप्यासादितसौधवानायनान्तरेण प्रविश्य सुरतकेलिल्लमग्लपितयोर्दम्पत्योः श्रमसलिलबिन्दूनतितर्पादिवाचामत्युपवन- कुसुमरजःप्रकरधूसरविपि प्राभातिके मातरिश्वनि, तत्क्षणपरित्यक्तनिद्रालसकण्ठकुहर- स्खलनजर्जरे रजनीविरामशंसिनि दिनलक्ष्मीप्रवेशमङ्गलपटहे मानिनीमानग्रहोच्छादन- मन्त्र इव श्रोत्र"विवरमाविशति मुहुर्मुहुः कुक्कुटध्वनिते, आविर्भवनिर्भरानुरागतया निर्दय- निधुवनोपमर्दजनितजडिमतया च मुहुर्मुहुर्विघटितसङ्घटितनिद्रालसेप्याश्लेपदत्तहृदयेषु विश्लिष्यद्भुजलतेषु च शिशयिपमाणेषु कासिजनमिथुनेपु, रविकिरणकुञ्चिकोद्घाट्यमान- दलकवाटेषु प्राग-[F, 103 A]न्तरुपितर्यामिकैरिव मधुकरैर्विमुच्यमानेष्वेकैरपरस्त्वाप- तद्भिः प्रतिगृह्यमाणेषु प्रकटितद्वारेषु श्रियो विलासभवनेषु पङ्कजेपु सद्यो"विगतनिद्रतया- मन्दमन्दमुन्मुक्तगुङ्क्तीनां कुसुमकोशेभ्यः समुत्पित्सतां मधुकरद्वन्द्वानां परागभरमन्थराः पक्षपाली डिमानमानयत्य लक्ष्यमाणक्रमसङ्गलनविगलिते तुहिनकणनिकरशीतले शनै- रवश्यायसलिले, प्रथममुल्लासितस्तोकस्तोकहुङ्कृतीनां निद्रावशे पोन्मिपदलसपक्ष्मपुटतया किञ्चिदुन्मीलितदृशां वापसङ्कुचितगात्रप्रसरोत्सुकतया च मुहुर्मुहुर्विधुतजडितपक्षतीनामु- द्वोधमागच्छ"तां खगकुलानां वाचालयति तरुशिखरान्तराणि, क्रमोपचीयमानबहलिम्नि कोलाहले शनैः शनैः प्रौढिक्रमविघटमानसन्धिवन्धनत या परस्परोन्मुच्यमानपृष्ठश्लथ- दलेषु मनाग दलितवदनतया च दरदृश्यमानावश्यायजलजडितमकरन्दकणिकेषु निर्भर- विकाशोद्वेल्ल[F.103. B]दलतया मधुकराणां मधुसत्रप्रवर्तनार्थमिव प्रकाशितकोशेषु कुसुमवीरुधां विकासमायत्सु मुकुलोत्करेषु, ध्वान्तध्वंसनैकदक्षस्य भगवत"त्रिलोकैक- चक्षुपो मित्रस्याप्युदयमसहमानेष्विव विच्छायतामाश्रयत्सु जडाशयोत्पत्तेरगुणतायाः खनाम्नश्च सदृशमाचेष्टमानेषु कुमुदाकरेषु, चिरप्रवासिनमायान्तमवगत्य दिवसकरमरुण- रोचिषा लोहि[ते]षु कवलितकुङ्कुमाङ्गरागाविव कामपि श्रियमाश्रयन्तीषु प्रसन्नवदनासु दिग्वधूसु, पवनाहतैरिवाच्छाच्छसिन्दूररजःपटलपाटलेनारुणज्योतिषा गलहत्यमानैस्ति- मिरपरिषैरतिजवाद्विमुच्यमानेषु गगनभागेषु, विवृतचञ्चपुटाखखिलामपि रात्रिमापीय ज्योत्स्नारसमतिसौहित्यान्मन्दमन्दगमनासु विलासमणिवेदिकामाश्रयन्तीपु[F.104.A ] निद्रालसस्तिमितलोचनासु चकोरकुटुम्बिनीषु, प्रकटिताशेषवस्तुसार्थैरालोकैरपि तमःपटलै- रिवाच्छाद्यमानासु दोषैकदृष्टेजे"नस्येव कौशिककुटुम्बकस्य दृष्टिषु, दूरादपि समेत्य ३ प्रभातिके। ४ पक्षा। -- १ हरिति। २ चेतांसाम्बर। ", ·श्रीभोजदेवविरचिता ६१ विधिविलसितेष्विव क्रीडाकमलदीर्घिकानामन्तरुज्झितपक्षपातेपु झंटिति ध"टमानेषु चक्रवाकमिथुनेपु, आश्रितवैराग्येषु योगिष्विव गृहावस्थितिविमुखेषु निर्वाणमाश्रयत्सु प्रदीपेपु, स्फुटदकठोरकमलकिजल्कजर्जरीवर्जितमकरन्दकणकपायिते सङ्गमोत्सुकप्रचल- चक्रवाककामिनीपक्षविक्षोभिताम्भःप्रसरशीकरासारसम्पर्क शिशिरिते मन्दमन्दान्दो- लितोपवनकुसुमवीरुधि प्रबुद्धमधुकर ध्वनितमधुरिमानन्दितोदामनिधुवनक्लान्तकामिनी- जनश्रवणविवरे[P. 104. B]वाति प्राभातिके मरुति, अनास्त्यानजतुरसत्विषा वालातप- च्छायाप्रसरेण विच्छुरितच्छदतया रक्ताम्बुजवनभ्रममावहत्सु पुण्डरीकखण्डेपु, त"मो- लेशावशेपलिसवलतया गहनोदरवर्तिनां जलाशयानां क्षणमिन्दीवरभ्रान्तिमुत्पादयत्सु कुमुदकाननेपु, उदयशैलशिखरचूडामणितामाश्रयतो दलितदाडिमप्रसूनपाटलस्य पाटि- ततमसः प्रकाशिताशेषभुवनाभोगस्य भगवतो भाखतः प्रभाजालेन जीवित इव उच्छ- सित इव प्रबोधित इव निखिलेऽपि भुवनतले, सुबन्धुना सुवर्णशतानि पञ्च प्रच्छदपटे बन्धयित्वा तपार्थात् तदीयामनुचरीम्-'त्वया प्र"च्छदपटोऽन्वेषणीय' इत्याभाष्य द्यूतक्रीडार्थ टिटां जगाम । ततो लावण्यसुन्दरी यावदुत्थायावलोकयति तावत् तम- पश्यन्ती व गतोऽसाविति निजामनुचरीमपृच्छत् । साऽभ्यधात्-'गतः सः, परं व गत इति न ज्ञायते । किन्तु गच्छता तेनेदमभिहितं यत् अच्छदपटोऽन्वेपणीयः' इति । ततस्तदभिहितयानुचर्या[P. 105 A]तथाकृते सुवर्णशतपञ्चकं प्रच्छदपटप्रान्तनिवद्धमव- लोक्याभ्यधायि लावण्यसुन्दर्या-'न केवलमसौ रूपवान् विदग्धो युवा, दाताऽपि । अहो सुवर्ण मन्यत् सुरभि क्व प्राप्यते ?' ततो बकुलिकायामागतायाम्-'भद्रे ! गतोऽसौ क्वापि तदन्विष्यताम्' इत्यवदत् । अथ बकुलिकाश्वतरीमारुह्य सपरिच्छदा" नूनमनेन टिण्टायां भवितव्यमिति टिण्टां जगाम । तत्र महाधनानां मध्ये प्रागल्भ्येन तं क्रीडन्त- मवलोकयन्ती यतो घृतकाराणां वह्वयो वश्या(?)भवन्तीति तूष्णीमेव तस्थौ। अनन्तरम- साव[व]लोक्य-'अक्क ! कियत्कालमिहागतायाः' इत्यपृच्छत् । सानवीत-'अतिचिरं वर्तत' इति तयाभिहिते-'अनुचितस्थाने भवादृशीनामागन्तुं न युज्यते' इत्यभि- धाय प्रतिकतर प्रक्षिप्य-'लेख्यकं क्रियताम्' इति सभिकमभ्यधात् । अथ-'द्रम्माणां सहस्राणि पञ्चाशद् भवता"जितानि' इति सभिकेनाभिहतम् । सोववीत्-'अकायास्तावद् द्रम्मसहस्राणि चत्वारि ताम्बूलार्थ प्रदीयताम् , तथा पोडशसहस्राणि लावण्यसुन्दर्याः [F.105. B] प्रेष्यताम्' इत्यभिधाय द्रम्मसहस्रैर्दशभिस्त्यागं कृत्वा वकुलिकया साध लावण्यसुन्दर्या गृहमगात् । ततः स्व"विभवानुरूपैः स्नानभोजनादिभिरुपकारैस्तद्दिनमत्य- वाहयत् । रजन्यां तु लावण्यसुन्दरी सुरतोपभोगमनुभूय जातप्रणया तमवोचत्-'कुत २ जर्जराणावर्जित। ३ कषायेते। ८गतोसावति। १० क्याभिधायि। १२ प्रतिकता। , - ४ प्रभातिके। ५ अनास्थान। ६ तत्पार- १ झटति। स्वात् । ७ टेटां। ९प्रीत। वख्या।

·६२ शृङ्गारमञ्जरीकथा -~ आगम्यते व वा गन्तव्यम् ?' इति पृष्टः स आगमनस्थानमावेद्य प्रतापमुकुटनामानं चक्रवर्तिनमवलगितुं प्रातरेवास्माभिर्गन्तव्यम्' इत्यवदत् । तथोक्तम्-'यद्यर्थोपार्जनार्थमेव गन्तव्यं तदा भूयानर्थसञ्चयो ममाप्यस्ति स तावदुपयुज्यताम् । तस्मिन् परिक्षीणे यथा तुभ्यं रोचिष्यते तथा कुर्य्याः ।' ततस्तेनाभिहितम्- 'भवतीनामङ्गमेवोपयुज्यते न पुनरर्थः । स हि दीयत एव । तदवश्यं मया प्रातर्गन्तव्यम् ।' अन्येयुः सा ढोण्डाभि- धानायाः कुट्टन्याः सकाशं गत्वेदमभ्ययात्-'मातस्तदीयवचनौतिक्रमं न करोमि । न चास्मिन् गते जीवितुं शक्नोमि । तदादिश[F.106. A] यदत्र कर्तव्यम् ।' इति श्रुत्वा कुट्टन्या बहुशस्तन्निवारणाय सा प्रबोधयितुमारेमे । प्रबोध्यमानापि यदा नाबुध्यत तदा कुट्टन्यचिन्तयत्-'भव"त्वनुमतिं करोमि । इयं हि सुकुमारा कियन्तमप्यध्वानं गत्वा क्लेशायासाननुभूय स्वयमेव प्रबोधमेष्यति ।' इति विचिन्त्य- भवत्वहमपि भवत्या सहैव गमिष्यामि' इत्यनुमतिमदात् । ततो रत्नदत्तेन सह लावण्यसुन्दरी कुट्टनी च गन्तुं प्रववृते । अथ ते शनैः शनैर्गच्छन्तः कियद्भिरप्यहोभिः पूर्णपथकाभिधानं पत्तनमा- सेदुः। ततो बहिरेव पत्तनस्योपवनमुवि महतथूतद्रुमस्याधस्ताद् लावण्यसुन्दर्युत्सङ्गे शिरो निधाय रत्नदत्तः सुष्वाप । तत्परिचारकेषु च भोजनाद्युपकरणमाहर्तु पत्तनस्यान्तर्गतेषु कुट्टन्यचिन्तयत्-'सर्वथैव गमने प्रवृत्तेयम् । तत्प्रपञ्चकमपि विधाय राक्षे निवेद्य घात- यित्वैनमेतां गृहीत्वा खनगरं गच्छामि ।' इत्यालोच्य कुसुमानि गृहीत्वा [F.106. B] राज्ञा सूरधर्मणः सकाशं गत्वा व्यजिज्ञपत्-'देव! मम यौवने चतुर्थेऽति स्नातायाः समागमो देवेन सार्धमभवत् । तत्र च दुहिता मे समज"नि । देवेन या समुत्पन्ना साँ कलसुन्दर्येव भवति । सा च ठकेनैकेन ठकयित्वा नीयमाना तिष्ठति । तेनाहं देवं विज्ञप्तुमागता । तदत्र देवः” प्रमाणम्' इत्याकर्ण्य राजा दाण्डपाशिकमादिदेश- 'येनास्मदुहिता ठकिता स शीघ्रमेव निगृह्यताम्' इत्यादिष्टो दाण्डपाशिकः स्वपत्तिभिः सह तत्सविधमगात् । तत्र यावदालोकयति तावल्लावण्यसुन्दः प्रहृष्टायाः स्नेहेनोत्सङ्गे निहितमूर्धानं युवानमतिसुन्दरं पु"रुपं शयानमपश्यत् । ततो दाण्डपाशिकस्तमवलोक्या- चिन्तयत्-'नूनमनुरागादनेन सह गन्तुं प्रवृत्ता । तन्न ठकितेयमेतेन । असत्येयं कुट्ट [F.107.A]नी, तद् भवतु यावदयं स्वपिति तावदत्रैव तिष्ठामि, प्रबुद्धे तु वृत्तान्तं प्रक्ष्यामि ।' ततो यावद्विलम्बो दाण्डपाशिकस्य समजनि"तावद् राज्ञाभ्यधायि-'किमिति दण्डिपाशिकस्य विलम्बः?' ततः कुट्टन्याभिहितम्-'देव ! विज्ञप्तमेव मया स ह्यति- महांष्ठकोऽतस्तेन दाण्डपाशिकोऽपि ठकितः। ततो राज्ञा बहवः सामन्तास्तत्र प्रैष्यन्त । ३ वचमाति। ४ सुन्दर्युच्छङ्गे। ५ समयनि । १० °सुन्दर्या। ११ दण्ड। १२ दण्ड । - . १ व्यः। २स। ८ठकइत्वा ९दण्ड। ६ या १३ दण्ड। १४ प्रेष्यन्त।

·श्रीभोजदेवविरचिता ६३ तैरपि तद्वृत्तान्तं दाण्डपाशिकादवगम्य तथैवावधार्य तत्रैव व्यलम्व्यत । ततो राज्ञाभिहितम्- 'तेऽप्यतिचिरयन्ति तत् किमेतत् ?' ततः कुट्टन्याभिहितम्-'देव! तेऽपि तेन ठकिताः तत् स्वयं गम्यताम् । किन्तु सावधानतया गन्तव्यम् । यतः स यावतः पश्यति तावतः सर्वान् ठकयति ।' ततः स नृपतिरारचनां कृत्वा तत्सविधमगमत् । ततो लावण्यसुन्दा राजानमागच्छन्तमालोक्य प्रबो-[F.107. B]धितो रत्नदत्तः। प्रबुद्धस्त्विदमभाष्यत- रत्नदत्त! भवता ममाग्रत इदमभिहितं यदहमूर्ध्वस्थितश्चतुःपष्टेः पुरुषाणां कडितल्लां जानामि, उपविष्टस्तु द्वात्रिं"[शताम्], [स]प्तस्तु पोडशानाम् , तदर्थ स समयो यत्तु मया त्वमियतीं वेलां न प्रबोधितस्तदल्पका एते इत्थमवगम्य, इदानीं तु यद् वुध्यते तद्विधीयता"म्' इत्याकर्ण्य-'साधु कृतम्' अभिधाय संयतो भूत्वा खड्गवसुनन्दकपाणिस्तदखिलमपि वलं तृणायमन्यमानस्तदभिमुखं प्रतस्थे । राजा तु तस्य शौर्य"मवलोक्य लावण्यसुन्दर्याश्च प्रसन्नतामवगम्याचिन्तयत-'न भवत्येपा ठकिता । ठकितानां ह्यन्यान्येव रूपाणि भवन्ति । प्रपञ्चेन कुट्टन्येनं व्यापा"दयितुमिच्छति । तदसत्येयं पापा, अनुरागादेतदुहितेयमनेन सह गन्तुमुद्यता' इत्यवधार्य 'यद्यहमत्रैव तिष्ठामि तदयं विनाश"मुपगच्छति' इति निश्चित्य स्वगृहान् गत्वा तदाकारणाय प्रतीहारं प्राहिणोत् । इदं च चिन्तितवान्-'धन्यः स पुमान् यस्यायं पदातित्वमेष्यति ।' ततः प्रतीहारो ग-"[F. 108 A]त्वा रतदत्तमवदत्- 'राजा सूरधर्मा त्वामाह्वयति ।' ततः स गत्वा पादयोरपतन्नेव राजानमपश्यत् । राज्ञा तूपवेशनकताम्बूलदानादिगौरवपुरः"सरं पृष्टः- 'भद्र ! क गन्तव्यम् ? को देश उद्वासितः ? को वा सनाथः कर्तव्यः' इत्यभिहिते 'चक्रवर्तिनमवलगितुं यास्यामि इत्यवदत् । ततो राज्ञाऽभ्यधायि- 'यदि नातिक्लेशका[रित दा अत्रैव गोष्ठ्या कियत्कालं स्थीयताम् । मदीयान्यष्टचत्वारिंशत् सहस्राणि प्रामाणां तदर्थ भवान् गृह्णातु, अर्धे तु मम प्रय[च्छतु' इत्यादि सगौरवमभिहितोऽप्यप्रतिपद्यमानो दान- सन्मानादिना संवर्य विसर्जितः । ततो लावण्यसुन्दर्याः सन्निधिमगात् । अत्रान्त"[प्रवि]- श्य कुट्टन्याभिहितम्- 'पुत्र ! प्रविश्यताम् , सुरूप आलापयतामालापपेशलोअर्थिनां सर्वस्खदातेति गुणत्रयं भवदीयं मया त्रैलोक्यवि [ लक्षणं सम्यगवगतम् , इदानीं तत् घटितस्य पौरुषमितरगुणानुसारि विद्यते न वेति मया परीक्षितुं यत्नः कृतः । तदितरगुणेभ्योऽपि[F.108.B] पौरुषे विलक्षणोऽसि । धन्याऽहं यस्यास्त्वमेवंविधो जामाता' इत्य[भिधाय].. ..........." देवातिष्ठत् । तेनैव सहिता मान्यखेटाभिमुखं गन्तुमारेभे । तुं प्रववृते । रत्नदत्तः क्रमेण गतश्च मान्यखेटा- भिधानं नगरं " दीय प्रासादवित्तिकायाचित्रलेखाभिधानाया ५ राज्ञ। ७ १०९ अकाङ्कितस्य पन्नस्य त्रुटितत्वादिमान्येव वाक्मानि पव्यन्ते । Mmmm . can . ६ m M (3) . ... . १ दण्ड । २ प्रायोधित.। ३ कृत्य। ४ तदकारणाय। ६ माया।

·(2) . ६४ शृङ्गारमञ्जरीकथा गणिकायाः ...."मयाऽवलगितव्यस्तत्वकीये निवास स्थानं मम दीय- तामित्यभिधाय त . [F. 109. A] अथापरेद्युस्तसमक्षं लावण्यसुन्दरी- मवोचत्-'स्वनिर्वाहार्थ सन्निहितग्रामे लगिष्यामि । यस्य च राज्ञः सेवामहं अग त्या दिनचतुष्टयं मोचनकमस्ति ।' सा तु तच्छुत्वा वज्राहतेव क्षणं ( त्येनास्य गच्छत इदमेव वक्तुं युज्यत इत्यवधार्य सा मोचनक या निर्गतेन नरपतिना चित्रलेखया सह साँधस्योपरि को "[F. 109. B] सम्गिकेणैव रूपेणालङ्कृता व्यलोकि । तेन च चिरं निर्वर्ण्य संयोग..... ... 'नुचरः-'अपूर्वेयमत्रत्या न भवति । रूपयौवनलावण्यादि सम्पन्ना च । तदद्यानेतव्या भवता' इत्यभिधाय प्रहितः स तु चित्र लेखा] ......... .'तत्र च तत्सन्निधावेव तामपश्यत् । तत्रोपविश्य चित्रलेखया सह क्षणमिव गोष्टी विधाय तस्यै कर्पूरादिसहितं तां स्या दातुमारेभे । लावण्यसुन्दा च–'आस्ते ताम्बूलमित्यभिधाय न गृहीतम् । ततः स चित्रलेखामभ्य- धात्-'भद्रे! केयं प्राधूणिका..... . 'बलगितुमागतस्यापरस्य बान्धवस्य[ ? ] इति ।' स तु श्रुत्वा रो"दितुमारेभे । ततश्चित्रलेखयाऽभ्यधायि-'भद्र ! किमिति रुद्यते ?' तेनाभिहितम्-'वस्तुद्वयं नश्यति लग्नम् ।' पुनस्तया-'किं तत् ?' इति पृष्टोऽसाव"- [F.110. A] भ्यधात्-राज्ञा इयमद्य दृष्टा, दृष्ट्वा च स मामभ्यधात् 'यदियमानीयताम् , य[ दि नाया ]ति तदाऽस्याः कर्णनासिकं छत्तव्यम् । त्वमपि व्यापादयित"व्यः । तच्छुत्वा लावण्यसुन्दरी भयचकिता समभवत् । ततश्चित्रलेखा चकि........'याताम- वोचत्-'भद्रे ! को दोपः, भवद्भर्ताऽपि त्वां मोच"यित्वा गतः । रक्षतां माला(१) इत्यभिधाय कथङ्कथमपि प्रबोधिता प्रत्यप ..... ."केन च गत्वा राक्षे निवेदितं यत्-'सा उत्कण्ठितैव स्थिता,यदैव मयोक्तं तदैव प्रतिपन्नं ।' तयोक्तं चैतदर्थमेव मया आत्माद ....... ..."न्यामेवं महाराजः सम्भावयति । राजा अनुगतवति "प्रदोपे विसर्जित- राजलोको वासभवनमगात् । सङ्गमकश्च तामा "स राजा तया सह स्मरकेलिसुख- मन्वभवत् । अर्थ[F.110 B] प्रभातप्रायायां रजन्यां सा निजभवनं जगाम । राजा तु द्रम्मलक्षमेकं वासांस्याभरणानि च प्रदाय तस्या गृहे सङ्गमकं प्राहिणोत् । सा तु द्रम्म- पोडशकमेकं गृहीत्वा तत्सर्वं विससर्ज । ततः सङ्गमकेनाभिहितम्-'अहो चित्रं किम- तत् ?' तयाऽभ्यधायि-'यावती भाटिस्तावतीमेवाहं गृह्णामि । यदि तु मदीयमेवा- १ निवासस्थान। २ घुस्तमक्षं । ३ विनष्टान्यत्र ८-९ लक्षराणि । ४ विनष्टान्यत्र ७-८ अक्षराणि। विनष्टान्यत्र ५-६ अक्षराणि । ६ विनष्टान्यत्र द्विवाण्यक्षराणि । ८ दृष्ट्वा। ९ विनष्टान्यत्र हिवाण्यक्षराणि । १० विनष्टान्यत्र ५-६ अक्षराणि । ११ विनष्टान्यन ७-८ अक्षराणि । १२ विनष्टान्यत्र नवाक्षराणि । १३ संगमिकं । १४ सगमिकेन । ७ बन्धस्य।

·" .(2) श्रीभोजदेवविरचिता कारणकं मदीयमेव मोचनकमिति राजा प्रतिपद्यते, तदैतत् गृह्णामि ।' ततः सङ्गमकेन तस्मिन् कौतुके राजे निवेदिते तेन च तथैव प्रतिपन्ने, तत्रागत्य सङ्गमक:-'प्रतिपन्न राज्ञा, तद् गृह्यताम्' इत्यवादीत् । सा च तगृहीत्वा याचकादीनां त्यागे प्रायच्छत् । यथैकमहस्तथा दिन"वयं राज्ञा सह तस्या जगाम । अन्यस्मिन्नहनि देशीप्रेक्षणकाभिनेति राजा तामाकारितवान् । सातु 'आगमनदिन- मद्य तस्य; तबदाऽसावागच्छति तदा त्वयैतस्य हस्तिस्तम्भकस्य सन्निधीभूत्वा मम [मा- ला दर्शयितव्या' इति निजानुचरीमभिधाय विहितशृङ्गारा राजकुलमयासीत् । [F. 111. A] आगतां च नरपतिः- 'देशीप्रेक्षणकमस्माकं त्वया दर्शयितव्यम्' इत्य- भापत । सा तु 'तथा' इति प्रतिपद्य नर्तितुमारेमे । अथ प्रवृत्ते प्रेक्षणके यावत्तालं भं"त्वा पृष्ठतोऽवलोकयति तावद्गजस्तम्भसमीपस्था निजामनुचरीमपश्यत् । ततो राज्ञो मुख[ म]वलोकयाञ्चकार । राजा तु- 'विदितोऽभिप्रायः, मोचनक मस्ति' इति तामवादीत् । सा तु विमुक्तधम्मिल्ला धावन्ती खगृहमगमत् । राजा तु तस्यास्तदाकूतमालोक्य जातकौतुकः सङ्गमकेन सहालोच्य–' कीदृशः स पुरुषो यस्मिन्नैवमियमनुरक्ता, असलजामपि परित्यज्यात्मानं विमुच्यापि प्रधाविता' इत्युक्त्वा तद्वृत्तान्तं द्रष्टुं जगाम । ततस्तत्पृष्ठतो गत्वा यावजा"लगवाक्षनिरीक्षते तावदायान्तं रत्नदत्तमालोक्य सा गृहीतोदकपात्रा पादप्रक्षालनायोपससर्प । रत्नदत्तस्तु तामन्यथारूपामालोक्य सुबन्धुना सहेदमभ्यधात्-'भद्र सुवन्धो ! गृहवार्तायां पानीयं प्रविष्टम्' इत्यभिधाय पादप्रक्षालनप्रवृत्तां तामवोचत्-[F. 111. B] 'लावण्यसुन्दरि ! पादौ मा प्राक्षीः । त्वं हि मम जननी भवसि ।' सा तु साकूतमवादीत्-'रत्नदत्त ! किम- तत् ?' रत्नदत्तस्तां पुनरवादीत-'किमन्यत् ? त्वं हि मत्प्रमोराः, तद्भवतु, पूर्यते, उपविश्यताम् ।' राजा तु सङ्गमकेन सहालोच्य ‘भद्र! श्रुतान्यस्य वांसि। तन्निजाकाराद- प्यतिरिक्तः कोऽप्यस्य विवेकः । तद्भवतु दीयते दर्शनमस्य' इत्यभिधाय गवाक्ष- मुत्सृज्य द्वारेण प्रवेष्टुमैच्छत् । स तु राजानं प्रविशन्तं स्वप्रतिभया परिज्ञाय-'देव ! सावधानैरग्रतः प्रवे"च्यम्' इत्यभिधाय दलकशस्त्रिकायां हरतं दत्त्वा तमतर्जयत् । राजा तु तमवोचत्-'अनया सह तत्र समये तान्यक्षराणीदानीं त्वमूनि, तत् किमेतत् ?' सोऽभ्यधात्- 'भवान् मम शूरवण्ठो जातस्तदत्रेदमेवोचितम् । आत्मा हि प्रभुः प्रतिपाद्यते वल्लभायास्त्रियश्च । तदत्र देवस्य नोचितं स्थातुम् । स्वराजकुलं प्रति विजयः क्रियतां देवेन । देवमेवावलगितुमहमायातस्तत्रागत्य यत् किमया [F. 112. A]देष्यति देवस्तदहमनुष्ठास्यामि ।' राजा तु तस्य पौरुपेणाचारेण च परि- १ सगमिकेन । ३ धमेल्ला। M २ व्य। ४ पानीयां। ५ प्रभोः । ६. स्यामः। हा.९ ·" ६६ शृगारमञ्जरीकथा तुष्टः 'साधु साधु, यद्भवान् भणति तदेव क्रियते' इत्यभिधाय राजकुलम"यासीत् । तत्र गत्वा तदाकारणाय करेणुकां प्रतीहारं च प्राहिणोत् । ततस्तेन महता गौरवेणानीतः, आरूढ एव प्रवेशितः, सन्निधावुष"वेशनकस्वहस्तताम्बूलदानादिना सन्मानितः । पृष्टश्च- 'हिं जानासि ?' सोऽभ्यभापत- 'सर्वाणि शास्त्राणि, निखिलाः कलाः, सर्वाणि विज्ञानानि च जानामि । सकृछ्रुतं च गृह्णामि । इदानीमेव किञ्चित् कौतुकं दृश्यताम् । चत्वारः कथकाः कथाः कथयन्तु, अहं सारीभिः क्रीडामि । यदि दायं वि" स्मरामि, यदि च ताम्बूलं न भवति, यदि कथानिकासु विस्मृतिर्भवति तदा मया किमपि न ज्ञातं भवति ।' राज्ञा तु कौतुकात्तथा कारिते स यथा प्रतिज्ञातं तत्सर्वं कर्तुमा- रेगे। अनान्तरे लावण्यसुन्दा चिन्तितम्-'किमत्र साम्प्रतं यत्ताव"[P. 112. B] [ अनादशै ११३ अङ्काङ्कितं पत्रं विनष्टम् ] न समरभुवि संसाध्य मुहुर्मुहुरनृणो भवन् नृपतिप्रसादसुखान्यनुभवंश्च तेनैव नृपतिना सह सुखेन सुचिरमासाञ्चके । तत् पुत्रि! पु"रुपेष्वित्थमत्यन्तानुरक्ताः स्त्रिय आत्मानमर्थांश्च समूलकाप कषन्ति ।। इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शृङ्गारम" [अरी] कथायां रुयनुरागकथानिका अष्टमी समाप्ता । . AM [ नवमी उभयानुरागकथानिका ] इत्थमेकतरानुरागस्य स्वरूपमावेदितम् । इदानीमुभयानुरागस्य स्वरूपमावेदयामि । अस्त्यत्र भुवनतलविख्यातमपहसितामरावतीसौन्दर्यदर्पमपहस्तितालकाविभवं उरगपुरं नाम नगरम् । तत्र च समरसिंहो नाम राजा । स चतुरेशीतेः सामन्तानां द्वादशानां च मण्डलेश्वराणां ट्त्रिंशतश्च राजकुलिकानां द्वासप्ततेराटविकपल्लीपतीनां च चतु- विशतेः काभ्रटाना-[F.114. A ]मेकविंशतः कोकणानां पत्रिंशतश्च वेलाकुलानामाधि- पत्यमकरोत् । तस्य प्रतापावनतसकलराजमण्डलस्य वशीकृतसकलसामन्तस्य" [अ]शोकवती नामाऽतिप्रख्याताऽतिलब्धिप्रधाना दारिका रूपयौवनलावण्यैकायतनमस्ति । तस्याः सर्व सामन्ताः सर्वस्वमपि प्रयच्छन्त्यक्षणि(2) तासुन्मुखाः प्रतीक्षन्ते । सा तु सर्वेभ्यः सर्वमपि तदुपादाय सामन्तच्छड्डकस्य प्रायच्छत् । सं हि तस्याः प्राणेभ्योऽपि प्रियतमो राज्ञोऽपि स"भाप्रसादपात्रम् । सा तु क्षुरिकानाट्यं जगद्विलक्षणं नर्तितुं जानाति । अथैकदा शरत्समयदुःसहानामहिमरोचिषस्तेजसां किमपि कि[मपि स्पर्श- १, दानादिना। २ चतुराशीतेः। - ३ साभा।

·श्रीभोजदेवविरचिता ६७ सुखतामारोपयत्यवरोपयति च कलमपालिकागण्डफलकेभ्यः खेदसलिलजालकान्यनति- वहलतुहिनानिलोपहितमहिम"-[F. 114. B]नि हिमर्तुसमये, तुहिनकणकलितदलतथा तुलितकान्तीन्युत्सृज्य कुवलयवनानि मुकुरितासु दलितद्वित्रमुकुलासु श्यामलतासु रति- माद"धाने मधुकरकुले, प्रियतमेनेव शरत्समयेन दूरमुज्झितासु म्लानमुखकमलकान्तिपु मृणालवलयमात्रमेवाभरणमाकलयन्तीपु तुहिनकणकलितजलतया पाण्डिमानमुद्वहन्तीपु क्रीडोपभोगशून्यासु वियोगिनीष्विव प्रतिमासमानासु कमलदीर्घिकासु, विरहिनन- हृदयभेदनाधिगतसारं विशीर्णतामागतमवलोक्य वाणासनमभिनवकेरलीकपोलस्थलश्या- माभिरामास्वधिकमुल्लसन्तीष्वसितेक्षुयष्टिपु, भुवनविजयाय कार्मुकधियमावनाति मकर- केतो, बहलपरिमलानुमितगन्धतैलानुपिक्तद्विगुणितासितस्निग्धकान्तिषु सर विलासभव- नेपु, निखिलकामिनीजनमनांस्यपहरत्सु हरिणीदृशामभिनवमरुनकाधिवाससुरभिषु विहु- रहारेषु, शरत्समयसु-[F.115.A ]भगसम्पर्कमुत्सृज्य मलयजरसानुलेपनमीपदुपदर्शितो- प्मणे कुङ्कुमाङ्गरागाय स्पृहयत्सु मिथुनमानसेपु, मुहुर्मुहुरुपहितदरदग्ध"घनसारसुरभिषु कालागुरुपरिचयोपचितपरिमलेषु प्रणयिनीकुचोष्मखादुस्पर्शतामासादयत्सु कामिनां सत- तसेव्यतामागतेषु विलासवह्निपु, गलितमकरन्दसम्पदां प्रियकसुमनसामासक्तिमुत्सृज्य कुसुमिताः प्रियङ्गुवीरुधः सरमसमाश्रयतः षट्पदानवलोक्य विस्मयस्मितलवेष्विव कुन्द- लतिकान्तमुल्लसत्सु स्तोकस्तोकदलितकुालेपु स्तबकोपान्तभागेषु अतनुतुहिनशीकरासार- वाहिवधिकतरोपहितजाव्येषु प्रवात्सु पवनेषु, अधि[कत] रजनितनिबिडागसङ्गैरन्योन्य- निमन्नार्थतनुतयार्धनारीश्वरव्रतमिवात्रि"तेषु निखिलेऽपि भुवनतले कामिजनमिथुनेषु, त्रिभुवनविजिगीपया सञ्चरमाणस्य मदननरपतेः सेनारजाप्रसर इनानवरतमाप-[F. 115. B] तता समीरणेनोल्लासिते भूपयत्यखिलककुभामाननान्युपहृतदरदलितसरसक—रमधुरिमन्यु- दुद्धरो कुसुमजे रजःप्रकरे मधुकरसंवर्गितोनिद्रकुसुमस्तवकशालिभिः कुन्दविटपकै- रुद्घाटितयौवनतयोच्छृङ्खलायाः शिशिरश्रियः कटाक्षरिवाच्छुप्तेषूपवन "भूभागेषु, अधिकमुल्लसत्यतनुतुहिने तुहिनगिरिमारुतोपजनितजडिमनि शिशिरसमये शीतिभियेवा- श्रयति दक्षिणां ककुभमतिजरठरश्मावंशुमालिनि प्रत्यूपसमवनितलतल्पोत्थायमाश्रयत्सु कुकूलीनलैरपहृतजडिम्नां प्रियतमाकुचोष्मणां" स्मार्यमाणेषु पथि पथिकसार्थेपु, दक्षिणा- शापथिकतां गतमात्मनः प्रमोदैकनिमित्तं मित्रमवगम्य परिम्लानाम्बुजमुखेष्वति शुचेव शीर्यमाणेपु नलिनीवनेषु, अभिनवशुकपिच्छकोमलाभिरुद्गच्छतां सस्यानामतिघनतराभिः शु [F. 118. A]चिभिनिरन्तरस्थगिततयोल्लसदुन्मुखमयूखलेखाभिर्मरकतमणिशिलाभि- निचिताखिव विराजमानासु क्षेत्रवसुधासु, विरलगन्धतैलाविलविरचितातिरमणीय- वेणिकासु बहलतरुमधूच्छिष्टस्थगितविम्वाधरासु मसृणमहणेन कश्मीर"जन्मना पिञ्जरि- ४ पियङ्गु । ५°लवेष्टिच। पलिका। ६ रिमत्युदुद्ध। २°भिरामस्व। ३ सामामक्ति। ७ रोद्र। ८ कुकला।

·६४ शृङ्गारमसरीकथा वतनुलतासु गृहीतनिविडकूप्पासकासु शिशिरसमयत्रतमिव प्रतिपन्नासु विलासिनीपु, दरविदलितप्रियजुमुकुलमालिकालङ्कृतोन्नतस्तनभराणामभिनवरोधरेणुच्छरितमण्डलाना- मन्तरान्तरार्पितमश्वकाभिः कुन्दकुसुमसग्भिरविरहित "केशपाशश्रियामानानां दृग्वि- क्षेपमात्रजनितसञ्चारे क्षोभयत्यखिलमपि सुवनं मृत्यतामागच्छत्यारोपितकुसुमकार्मुके मकरलक्ष्मणि अनुतुहिनजडतयोत्कम्पकारिषु वहत्स्वपि समीरणेष्वहर्निशं प्रज्वलिते सुखलेशमप्यनादधाने विरहिणीनां वि[F.116. B]रहदहने अतिग्रौढपाकतया विजितकिंशुकच्छदच्छविनि अतिघनतया निपीतशाखादलप्रकराणि निरन्तरमुबहद्भिः फलानि कर्कन्धूवनैरामोदिषु कुङ्कुमरसरञ्जितेष्विव मनांसि मदयत्सु भूविभागेषु, अभिनवतमालकिसलयानीलकन्दलैः कनकरसगौरप्रसवसम्भृतस्तवकहारिभिः सिद्धार्थ- कैनीलीरतव्यतिकरितहरितालद्रव्यन्यस्तपत्रभङ्गेष्विव मरकतहरितकान्तिभिरतुच्छ- प्रतनुकुसुमगुच्छकोपरुद्धशिखरकैरन्तरान्तर "वद्धलघुफलस्तबकशालिभिः फेनलवला- ञ्छितस्य क्रालिन्दीह्रदस श्रियमुबहद्धिः कुस्तुम्बुरुस्तम्बबाटैरुपचितेपु तरुणशुक्रपिच्छ- सोदरच्छविभिरतिस्निग्धैस्तुहिनजडितकरतया दिनकरणोच्छादितावशेपैरतमाःपटलैरिख वस्तुकाकेदारैः क्वचित्तेपून्मदयत्सु चेतांसि ग्रामधानकच्छस्थल विभागेपु, नानानृप- देशादिवर्णनानुबन्धजनितमिथ्याभ्यसूयैः परस्परं कलहायमानैरतिशिशिरमरुत्सम्पर्क- जनित[F.117.A]जडिनामङ्गानामतिसुखरूपतया च तापस्याहमहमिकया ज्वलनमिव प्रविशद्धिरावद्धमण्डलैः पथिकजनैः प्रतिसन्ध्यमासेव्यमानेषु प्रपाग्निपु, पुण्याग्निधूमैः स्थगितगगनतया बलयितप्रान्ततया च शीताल् प्रावृतकम्बलेप्निवोपलक्ष्यमाणेषु ग्राम- धानेषु, अनायततया वासराणामतिदीर्घ तया यामिनीनां बहुमतस्तनोष्मतया च प्रणयिनी- नामतिवहुमानमासादयति कामिजनस्य शिशिरसमयेऽत्यायत्सु रजनीषु निर्विनोदै- रासितुमशक्यत्वात् तत्प्रेक्षादिक्षुः सौधमध्यवर्तिनः क्रीडामण्डपस्य मध्यवर्ती समरसिंहोनृपतिरन्तरमास्थानं दत्त्या अशोकवतीमाकारितवान् । सा तु प्रेक्षणकानुरूप- मतिविलक्षणं शृङ्गारं विधाय राजकुलं प्रति प्रतस्थे । चिन्तितं चानया 'यदि जीवितेश्वरोन पश्यति तद् वृथाऽयं शृङ्गारो नृत्तं च । ततो यदि मदीयमेनं शृङ्गारं नृपं च च्छड्डले पश्यति तदाहं द्रम्मशतप-"[F. 117. B]ञ्चकमूल्यानि पुष्पाणि तावन्मूल्यं च भ[ग]वते प्रयच्छामि' इति तया प्रयान्त्या वर्त्मन्येकदेशस्थितस्याभ्यर्थितपूराभिधानास्य गणपतेः प्रत्यश्रावि" । अवश्यं च तेन तत्र भवितव्यमिति पूर्णहृदया गत्वा नर्तितुमारेमे । ततस्तालं भक्त्वा भक्त्या करणानि दत्त्वा चतसृष्वपि दिक्षु चक्षुर्विक्षिप्य नृत्यन्ती च्छंडुलं "तत्र नापश्यत् । ततो झगित्योजसः पतिताऽन्यमनस्का विच्छायवदना जीवितेनेव परि- त्यक्ता बभूव । ततो नर्तनोपाध्यायस्तामज्ञासीत् । सौष्ठवात् "च्युतेयम् , राजलजया १ मतुनु । २ काकदारैः। ३ निर्विनोदै। ४ लौध्य । ६ वत्म्यैक। ७ ०थितसूराभिधान। ८ छदलंः। ९ सौधवात् । ५ छहलः।

·? श्रीभोजदेवविरचिता ६९ सामान्तादिमनुष्यलझया च नृत्यति लना, इदं तु वृत्तमतिविपमं सौष्ठंवैकसाध्यम्, इयं तु लञ्जया सौष्ठवमन्तरेण नृत्य"न्त्यात्मानं शत्रिकाया उपरि प्रक्षेप्स्यति, अतो लोकोत्तरं पात्रं विनश्यति लग्नमिति विचिन्त्य राज्ञे न्यवेदयत्-'महल्लभः प्रेक्षिष्यत इत्याशयेय- मियदवधि सौष्ठवेनैव प्रवृत्ता, इदानीं तु स इह नारतीत्यवगम्यान्यमनस्का सौष्ठवच्युता लजया नृत्यन्त्यात्मानं शनिभाया उपरि प्रक्षेप्स्यति । त्व-[F 118.A]या जानताऽपि न कथितमिति देवो समोपरि क्रोध करिष्यतीति मया विज्ञप्तमिदम् । अतः परं देवः प्रमाणम् ।' राजा तु तदाकर्ण्य प्रकाशमस्य- 'भो नत"कोपाध्याय ! महती रात्रि- वर्तते तत् संनियंता प्रेक्षणकम्' इत्यवादीत् । ततः क्षणं स्थित्वा शयनीयगृहमगात् । तत्राशोकवतीमाहूयास्यधात्-'पापे ! त्वया नास्मदीया लजा कृता, न चैतेषां परि- चितानां सामन्तादिमनुष्याणाम् । अतिप्रकटा जाताऽसि, वेश्यावृत्तमपीदं न भवति । तत् किमेतत् ११९० ततः साऽस्यधाद-'देव ! ज्ञाताऽस्मि । किमिदानी गोप्यते । रागवशात्त- नास्ति यन्न क्रियते । विरूपकं तु यन्मया तृत्तं तत्र देवो मामङ्कयतु मण्डयतु वा, सर्व- स्यैव प्रभवति देवः' इत्यमिहिते नृपतिः-'पापे ! स्थानवित्तिका भवती, तद् इयति दूरेऽन्यदा नात्मा मोक्तव्यः' इत्यभिधाय प्राहिणोत् । किमियं विधास्यतीति ज्ञातुं चरांश्च प्रेषयामास । सा तु राजार्येव तस्या अविदिते च्छेड्डलस्य चेटकैः प्रतीप्सिता खगृहमगत्यैव तदीयमन्दिरमगमत् । "[F. 118 B] [ अनादशै ११९ अङ्काङ्कितं पत्रं विनष्टम् ] प्रसादमाकारकं च प्राहिणोत् । सोऽपि खानुचरेग्यो राजप्रसादमाकारकं चागतमा- कर्ण्य 'क्व राजा क वयं किं च प्रसादस्याकारकस्य वाँ का"रणम्' इति स्ववयस्यैः सार्थ गोष्ठ्याऽभ्यभाषत । तद्वयस्यानां मध्ये केनाप्यवादि-'कौतुकिनो हि राजानो भवन्ति । सुभगेन किञ्चित् प्रयोजन सस्ति, केनापि च कथिता भवदीयवार्ता भविष्यति, तद् गृह्यतां प्रसादः सन्मान्यतामाकारकः' एवमुक्तेन तेन-'एवं क्रियते' इत्यभिधाय शिरसा प्रतीष्य राजप्रसादं ‘कीगादेशः' इत्याकारकानवोचत् । तैर्रवादि-'श्रुता देवेन भवदीया प्रसिद्धिरतः कौतुकाद् वयमाकारणाय प्रहिताः, तद् गम्यताम्' इत्युक्ते तैरेव सार्ध शनैः शनैर्यथासुखं गन्तुं प्रववृते । गच्छंच क्र-"[F. 120. A] मेण कतिपयैरहोभिस्ताभित्रिंशता च वेश्याभिः सुरूपाभिर्वित्तयौ- वनशालिनीभिभत्रिंशता च वेलावित्तकैरनुगम्यमान उरगपुरं प्रापत् । अथान्येधुर्द- रादेव 'साधु साधु, स्थाने सुभगप्रवाद' इति राज्ञा निर्वर्ण्यमानरूपयौवनसौन्दर्यो [स] गत्वा आस्थानगतं नृपतिमपश्यत् । कृतप्रणामश्च राज्ञा सम्भापितः स्वसन्निधौ दापि- तासनः खहस्तदत्तताम्बूलः सविनयमुपवेशितः । क्षणमिव स्थित्वा व्यजिज्ञपत्”-'देव! १सौष्टवैक। २ संवृयतां। ३ वयातनास्ति । ४ राजद्वाययेव । ५ स्थद्वलस्य । ६ सानु । ८ तैरेवादि। ९ मानो रूप १० °मुपवेस। " - ·७० शृङ्गारमञ्जरीकथा येन प्रयोजनेन वयमाहूताः स समयो वर्तते तदादिश्यतां यदनुष्ठेयम् ।' राजा तु विहस्य तमवादीत्- 'विदितवृत्तान्तोऽसि तद"नुष्ठीयतां यत् तत्रोचितम् ।' सोन- वीत-'अनुष्ठीयत इति कात्र भ्रान्तिः यदादिशति देवः [F.120. B] परं तत्र चैतन्य- शून्यं वपुरेवास्ते इति खचैतन्यमपि तत्र निवेश्य यथादृष्टमनुष्ठास्यामि' इत्यभिधाय पादयों- निपत्य निर्जगाम । ततो राज्ञा प्रदत्तमावासस्थानं सम्प्रेष्य निजपरिवारं चतुर्भिस्तुडि- तालैरनुगतो विहिततत्कालोचितवेपोऽहमहमिकया सर्वखदानेनापि पण्याङ्गनाभिरा- हूयमानः सर्वा आवर्जयन् सर्वासामाशाः प्रयच्छन् वेश्यापाटकस्यान्तर्वम्भ्रम्यमाणोड- शोकवस्या भवनद्वारं जगाम । तत्र स्थित्वा खकीयैः सह पेशलालापान कुर्वाणो मत्तवा- रणकस्थितया मकरदंष्ट्राभिधानया कुट्टन्याऽनुगतथाऽशोकवत्या दूरादेव व्यलोकि । सा तु तं पोडप वर्षदेशीयं निजरूपलावण्योपहसितमन्मथं दृष्ट्वा मातरमवादीत्-'मातर् ! नायमत्रत्यो युवा अदृष्टपूर्वश्च सर्वातिशायिरूपयौवनलावण्यादिभिरुपेतः ।' माता तु झगिति तस्यास्तद् दृष्टिशगमाकलय्य चिरादवाप्तावकाशा तामवोचत्-'पुत्रि! भग- वती पृथिवीयम् , सन्ति सुरूपाणा" [F.121. A] मप्यत्र सुरूपाः सुभगानामपि सुभगाः पुरुषानुवन्धाश्च पुरुषैरेव व्यावय॑न्ते; तदाकार्यतामयम्' इत्यभिहिते दर्शनमात्रेणैव जातात्यन्तानुरा"गा तमाह्वयत्-'भो प्राघूर्णकाः! किमिति नागम्यते?" स तच्छ्रुत्वा 'बाढमागम्यत' इत्यभिधाय सलीलं विकटं च तत्समीपमगात् । सा तु तदर्शने". नैव क्षुभितेव मूढेवोन्मत्तेव सानुरागा तत्क्षणमभवत् । परित्यक्ताशेषक्षणा स्नाता तं नापयित्वा तेनैव सह निजविभवानुरूपमेकत्र भुक्त्वा शयनीयमगात् । स तु सुन्दर- स्तदा राज्ञः सकाशात् पत्तनिकामेकां निजानुचरेण याचयित्वा स्वसन्निधावानाययत् । तथा सा तेंन निजवैदग्ध्यानुरूपं रमयितुमुपचक्रमे यथा किं स्वमोऽयं किमुत मायेन्द्र- जालं वा किमेतदिति किमपि नाज्ञासीत् । सुन्दरकस्तु प्रवर्त्य रतिव्यतिकरं तैदीयेष्व' ङ्गेषु कचिद्धन्धान क्वचित् पत्रच्छेदान् क्वचिद्भारतं क्वापि रामायणं करैर्निर्मापयामास । निर्माप्य चासृक्युतिमतां तेषां नखपदानां त-[F. 121. B]या पत्तनिकया तत्प्रतिविम्बकानि जग्राह । सा तु विनिवृतरतिव्यतिकरा सुप्तोत्थितेव मृ मूञ्छितोत्थितेवोन्मुक्तदिग्भ्रमेव भ्रमत्यक्ते"व ठकमूलिकामोहोत्सृष्टेव झगित्यभवत् । अचिन्तयच्च-'किं मयैतदकृत्यग्रास ....परया पापया विहितम् । अहो दुलध्या हतविधेबिल सितानां गतिरनतिक्रमणीयान्यवश्यं भाव्यान्यप्रतिविधेया नियतिर्यन्म- दीय'........त्यनुरागस्यैवंविधा परिणतिः, तन्नियतमनुल्लंघ्या भवितव्यता। तयाऽर्थ- लुब्धया पापकारिण्या नास्मि प्रतिबोधिता।' इति चिन्तयं.... .रजनीवापससार १ "मनुस्वास्यामी। २ न ज्ञासीत् । ३ तदेयें। ६ विनष्टान्यत्र पडक्षराणि । ७ विनष्टान्यत्र दिवाण्यक्षराणि । ८ विधेविल। ९ विनष्टान्यन ४-५ अक्षराणि । १० विनष्टान्यत्र ९-१० अक्षराणि । ४ कर। ५ मासी।

·२ ... 1 .. -- -- श्रीभोजदेवविरचिता ७१ ...प्रकटीब"भूव भावान् । सुन्दरकस्तु तस्याः पश्चात्तापकलुपितं हृदयमाकलय्य ...समय राजानं व्यजिज्ञपत्-'देव ! अनुष्ठितो देवादेशः' इत्याकर्ण्य राज्ञा परितुष्टेन'.. ..[F 122. A] ग्रामसहस्रचतुष्टयस्याधिपत्यमस्य प्रसादीकृतम् । सा तु तथैव ततः प्रभृति' ....तव जानि ला"(2) गयंती सविपादमासांचक्रे । राजा तु तां पत्तनिकामा'.... ..पल्युन्मूलनाय'. तां गृहीत्वा गतस्तेनासावभ्यधायि-'यदयं प्रसादः प्रसार्य गृह्यताम् ।' ततो महत्तमतिका पैक]".... [अस्य]धायि-'किमेतदिति ?' ततश्च च्छड्केनो- क्तम्-'अशोक वतीं प्रति मदनुरागविघटनाय राज्ञः प्रपञ्चोऽयम्' इति । अथ तां पत्तनिकां प्रसार्य......पश्यति तावकि पश्यति सर्वमन्यथा तत्संवृतमिति-'तथापि नहि मदीयानुरागस्यैवंविधः कपटविलसितैरन्यथाभावो भवति' इति निजसौभाग्या- वलेपात् निखिलमप्येतयली कमिति मन्यमानस्तिक्कपैकमावभावे-'भो महत्तम ! त्वया तत्र गत्वेदमनुष्टेय'. ......तस्थाकथयत् । [F. 122. B]प्रति योजनमानं च तोरणके- ध्वश्ववारान्निरूप्य तं प्राहिणोत् । स तु गत्वा गृहीतपाशुपतव्रतस्तद्भव"नस्याग्रत इतस्ततो व्रजन्नशोकवत्या आत्मानमदर्शयत् । सा तु तं दृष्ट्वा-'मातः किमेतत् तिकपैकसदृशोऽयम्' इति मातरमभ्यधात् , दास्या च" तमाह्वयत् । आहूतायातं च तिक्कपैकोऽयमिति प्रत्यभिज्ञाय-'तिकपैक ! किमेतत् ?' इत्यवादीत् । तिकपैकस्तु तदाकर्ण्य प्रतिवचनम- प्रयच्छ नेव रोदितुमारेमे । निर्बन्धेन पृष्टस्तु-'पापीयानहं किं मया दुरात्मना पृष्टेन' इत्यभिधाय तूष्णीं बभूव । ततः सा साकूतमवादी-'तथापि कथ्यताम्' इत्युक्तः स कथयितुमारेभे । इतो गते दण्डे कच्छाधिपेन सह महान् समरसम्मर्दः समजनि । तत्र सर्वेष्वपि सामन्तेषु पलायितेपु मन्दरगिरि"रिव तं समरसागरं मिम- थिषु प्रतिपन्थिनः प्रत्यभ्यपतत् । तत्र च तेषां प्रहारसहस्रविक्षतोऽपि तानुन्मृगन् सुर- सुन्दरी"[F. 123, A]स्वयंवरसुखस्य भाजनं बभूव । अहं तु पापस्तत्र प्राणत्यागाक्षमतथा हीनसत्त्वः पापण्डमेतदङ्गीकृतवानस्मि । अथाशोकवती तद्विनिपातवच"सि श्रवणपथमना- पतत्येव वनकरिणीव विद्युदाहता झगिति प्राणानुत्ससर्ज । तिक्कपैकस्तु तं वृत्तान्तं तोरण- कस्थानस्थापितैरश्ववारैः च्छ"ड्डलस्य व्यज्ञापयत् । अत्रान्तरे नृपतिरास्थानगतः कोला- हलमशृणोत् । अपृच्छच 'किमेतत्' इति । ततो द्वाःस्थपुरुपैय॑लीकेपि तिक्कपैकात् , , १ विनष्टान्यत्र ३-४ अक्षराणि । २ विनष्टान्यत्र २१-२२ अक्षराणि । ३ विनष्टान्यत्र कानिचिद- क्षराणि । ४ विनष्टान्यत्र २१-२२ अक्षराणि । ५ विनष्टान्यत्र २-३ अक्षराणि । ६ विनष्टान्यत्र २०-२१ अक्षराणि । ७ विनष्टान्यत्र ३-४ अक्षराणि । ८ विनष्टान्यत्र ३-४ अक्षराणि । ९ विनष्टान्यन ३-४ अक्षराणि । १० तूष्णीबभूव । ११ विक्षितोऽपि । १२ विज्ञापयत् । १३ पैकादि।

·७२ शृङ्गारमञ्जरीकथा - छ डलवृत्तान्ते श्रुते हृदयं स्फुटित्वा अशोमवती मृता, इत्यागत्य कथिते, तदा यानगतः सुन्दरको राजानं व्यजिज्ञपत्-'देव ! मया स्त्रीरतमीदग्विधं विनाशितमिति नम स्थातुं न युज्यते । तदादिशतु मां देवस्तयो श्व प्रेम्णि क्षीरनीरयोरिव नान्तरमस्ति । किन्तु मया तस्याः खकौटिल्येन मनोमोहमुत्पाद्य ईदृक्पर्यवसानमुत्पादितम् । तदि- दालीमिदमेव ममोचितं यत् प्राणाः परित्यज्यन्त' इति । अथ"[F. 123. B] स राज्ञा पहुप्रकार प्रतियोधितोऽपि स्वदारैर्वेलावित्तकैश्च सह वह्नौ विविधभङ्गिमिरात्मानं जुहाव । अत्रान्तरे च्छड्डलोऽप्यश्ववारावेदितं वृत्तान्त "माकर्ण्य तोरणस्थापितैरश्ववारैरेके- वाहा समेत्य तदीयवासभवनभित्तावशोकवतीमालिखितामालोक्योन्मत्त इवा- भाप्याश्लिष्य च तचितासमीपमागत्य सुन्दरकचितास्थानं चापृच्छय-'अस्मद्भातुः स्थानमिदम् , तत् साधुकृतमनेन' इत्यभिधायाशोकवतीचितास्थान एवात्मनश्चिता विर- 'वय्यात्मानं च वायुपससर्ज । राजा तु तेषां तदत्यद्भुतं वृत्तान्तमाकर्ण्य-'अहमेवैकः सईपामेतेषां विनाशहेतुरभवम्' इति विचिन्त्य भगवत्या आशापुरायाः पुरतः शिर- छेत्तुमुपचक्रमे । भगवती तु तस्य सर्वातिशायि साहसमहेतुं त्रैलोक्यविलक्षणं चावलोक्य- 'पुत्र ! "मा मैवं साहसं कृथाः, याच्यतां यदभिरुचितम् ।' ततः स देवीमभ्यधात्- 'देवि! यदि प्रीतासि तदशोकवती-सुन्दर-च्छड्डलाः सपरिग्रहाः पुन"-[F.124. A ]र्नवी- 'भवन्तु ।' ततो देव्यैवमस्तु इत्यभिहिते सुप्तप्रतिबुद्धा इव त्रयोऽप्युत्तस्थुः । राजा तु- 'युवयोरनुरागभेदः कर्तुं न बुध्यत' इत्यभिधाय परितुष्टः च्छ"डुलस्य तामेवाशोकवतीं प्रसादेन प्रायच्छत् । सुन्दरकस्तु तां यथाविधामौचित्यकारितां पौरुषं चालोच्य विधाय द्विगुणं प्रसादं राजानमन्वक रोत् । राजा तु प्राप्तदेवीप्रसादपरितोषनिर्भरः खभवनमागत्य सपरिग्रहः सुखेन सुचिरमासांचक्रे । तदेवं पुत्रि! बह्वयः पुरुषानुरागिण्यो वेशवनिता वपुषा वित्तेन च विनेषुः । तदस्मत्समये रागो व्याघ्र इव दूरतः परिहरणीयः ॥ इति महाराजाधिराजपरमेश्वर"श्रीभोजदेवविरचितायां शृङ्गारमञ्जरीकथायां उभयानुरागकथानिका नवमी । M --000500- -- १ तरा। २ परित्यजत। ३ दिव्य 1. ४ राजानमकरोत् ।

·- श्रीभोजदेवविरचिता ७३ [ दशमी सर्पकथानिका] अन्यच्च-वत्से ! अतिपीडिताः पुरुषाः को परशान्न तदस्ति यन्न कुर्वते । तथा श्रूयताम्- अस्ति वत्से कौशाम्बी नाम नगरी। तस्यामवनिवनितासीमन्तर-[F.124 B]ला- यमानायां श्रोत्रियो महाधनः समधिगतसकलविद्यः श्रुतधरो नाम ब्राह्मणः । तस्य श्रुति- स्मृत्युदितेन वर्मना संचरमाणस्य मध्य"मे वयसि विनयधरो नाम सूनुः समुदपादि । स च वाल्यात् प्रभृति यथावदधीतवेदोऽधिगतसकलशास्त्रार्थः पोडशवर्षदेशीयं वयः स"माससाद अथ कदाचिन्निविडतरशिशिरसम्पातसम्भ्रमादधिकपर्याकुलं निखिलमपि भुवनमा- लोक्य समुपजातकरुण इव तुहिनतुमपहस्त्य मूर्तिमन्तमिव निजप्रतापमहिमकिरणमुद्दी- पयति सकलर्तुचक्रवर्तिनि विजृम्भमाणे वसन्तसमये, रजनिच्छत्रधारिकयोत्क्षिप्यमाणे समुल्लसत्किरणशतशलाकाभृत्यमितः प्रसर्पज्योत्स्नायसरपटलप्रावृते धवलातपत्रश्रिय- मुहति च [F.125. A]न्द्रमण्डले, इतस्ततो मन्दमारुतान्दोल्यमानप्रवरकेसरदलेषु धव- लचामरलक्ष्मीमाश्रयत्सु विकसितसरोरुहेपु, निर्जितनिखिलभुवनस्य मकरकेतोर्लाक्षि- कासरस्वैजयन्तीष्विव प्रतिविपिनं वनराजिभिः समुल्लसिताखशोककिसलयावलीपु, उत्कलि- कानाकुलचम्पकतरावप्यनुद्भिन्नभूताङ्करगर्भग्रन्थावप्यनुल्लसितकेसरामोदेऽप्यनपगतत- रुलतारूक्षभावेऽप्यविशददि खेऽप्यन तिमन्दमारुतेऽप्यनमिलक्ष्यमाणमधुकरकुलक्काणे- ऽप्याकुलयत्यहेतु' भुवनतलं मधुप्रथमावतारे प्रथममुत्कलिकाकुलं भुवन"मुपजनयति अनन्तरं सहकारकाननानि । आदावेव सततमनस्थोल्लसितरागं कामिनीनां हृदयमुपदर्शयति, परस्तादशोकतरु[F.125.B]वीथिकाः । प्रागेवानुरागवशाद् दयितं प्रति कामिनीनां नयनानि मुकुलयति, तदनु कमलिनीवनानि । प्रारम्भ एव विरहिणीहृदया"नां भेदमात- न्वाने, परतः स्ववीरुद्दर्भग्रन्थीनाम् । प्रमुख एवान्धकारीकुर्वन्ति कामिजनहृदयानि, पश्चा- मधुकरकुलैः कुसुमकाननानि । प्रौढिमागच्छति महिमनि मधुप्रभवे शनैः शनैरलक्ष्यम- पचीयमानासु यामिनीपु क्रीडाकमलदीपिकासु च, तुहिनजडिमोपहितं रूक्षभावमव- लक्ष्यमुत्सृजत्सु शशधरकरेषु क्षितिरुहेपु च, धूम्रतामपास्यन्तीष्वलक्ष्यं दिक्षु मानिनीमनो- वृत्ति बालक्ष्यं प्रौढि"मुदहति दिनकरमयूखजाले स्मरशरनिकरे च, प्रियतमेनेव मधुसम- येन प्रसाधितायाः काननश्रियः स्वमवलोकितुमभिलपन्त्या इवातिविमलपुष्परागरो- चिषि सहकारतरुराजिप्रियवयस्यया परितः सञ्जीकृतायां"[F.126 A] मुकुरसम्पदि, प्रति- दिवसोपचीयमानां मित्रस्य समृद्धिमवलोक्य स्मितश्रियाऽलङ्कृतेषु कमलवनेपु, कुङ्कुमरसो- न्मृष्टललनाकपो"लस्थलीच्छायानुकारितया कामिना मनसिजज्वलनमुद्दीपयत्युत्तप्तकात- १ रक्तायमानायां। २ विपनं । - जा. १० ·७४ श्रृंगारमञ्जरीकथा स्वरकान्तिकमनीये शनैः शनैः समुन्सिपति राजचम्पकप्रसवनिवहे, मधुसमयसमा- गमोत्सुकाया बनराजिलक्ष्म्याः काकलीगीतिभिरिव मदनधानुष्कस्य मौध्विनितैरिव मधुसमयोपकरणसम्पादनव्या पृतायाः काननश्रियः प्रबलमणिवलयझकतैरिव मानिनी- मानग्रहोन्माथपटुभिर्वसन्तसिद्धस्य हुङ्क्तैरिव मधुकरकुलक्वणितैरुपहितक्षोभमुत्कण्ठामय- मिवारतिगृहीतमिव रणरणकस्वीकृतमिव रहककाक्रान्तमिवाकल्पकाकलितमिव सकल- मपि भुवनमाकुलयति मकरकेतो, "[F.126. B] मन्देष्वपि मदनदहनसन्धुक्षणं प्रत्यमन्देपु चन्दनतरुगहनसम्पर्कादतिशिशिरेषु मानिनी नां] मूलतो मानमुन्मूलयत्सु समुल्लसयत्सु च सन्निहितप्रियतमानामपि मदनविलसितानि दक्षिणेष्वदक्षिणेषु विरहिणां मलयमारु- तेषु, चूर्णालकवलयमिव सरल"यत्सु मानकुटिलं मनः केरलवधूनां हृदयेष्वधिकसक्त- मप्यवधूनयत्नुत्तरीयाञ्चलमिव चोलमृगदृशां मन्तव्यतिकरमवकिरत्सु धम्मि"ल्लमाल्य- बलयमिवकुन्तलीनां प्रियतमापराधरजकलुषितं चेतो मन्देष्वप्यमन्दमुद्दीपयत्सु विरहिणां मदनदहनं मलयमारुतेषु, विरहिणीकपोलस्पर्धयेवापाण्डुपीततामुद्वहति मधूकतरुकुसुम- स्तबकनिवहे, कुसुममासक्षितिपतेर्विविधमणिमुकुट इच विराजमाने नीलपीतारुणरुची कुर बकस्तबके, प्रथमोद्गमगद्देष्वप्यभिनवसहकारकोरकास्वाद[F. 127.A] विशदेष्यति चिरकालकुण्ठकण्ठतथा स्खलितेष्वपि स्पष्टसुद्धाध्यमानेषु पथिकजनमनांस्यधिकमुत्कण्ठुला- न्य प्युत्कण्ठयत्सु सुबनविजयिनः स्मरनरपतेराज्ञाक्षरेष्विव दुरतिक्रमणीयेषु समुल्लसत्सु समदकोकिलकुलकाणेषु, रमणीचरणतलता उनसुखानुभवप्रमुदितेषु विकासमायात्सु निर्भरमशोकपादपेपु, कामिनीवदनमदिरासेकगण्डूपरसमवाप्य कोरकनिकरस्थलादुत्फुल्लकेषु केसरतरु"पु, कुवलयदृशामतिचिराभिलपिताः समासाद्य कटाक्षच्छटास्तदपाङ्गसङ्गिन्या लोचनप्रभयेव धवलितेष्वतिप्रमोदात् परं विकास"मायात्सु तिलकद्रुमेषु, चिरप्रार्थितानि मदिरेक्षणानामासाद्य स्तनतटताडनानि विचित्रस्तबक्रपरम्पराभिरामतामाश्रयत्सु अति- प्रभूततयान्तर्वोढुमसमर्थेष्विव मुकुलस्थलादहिः प्रसृतं प्रमोदसुबहत्सु कुरबकानोकहेषु, इत्थं वसन्तसमये कामुकेष्विव दोहद "[F. 127 B.]माकांक्षत्सु प्रमदोद्यानगुमेपु,कस्तूरिका- विरचितामिरिवातिश्यामलाभिः पत्रावलीभिर्जनित शोभास्वधिकोन्मदपिककुलध्वनिते"न जनितमन्मथास्वसितचीनांशुकेनेव मधुकरकुलेन विहितावगुण्ठनास्वभिसारिकास्थिव कामिनां रतिमुपजनयन्तीपु मायवीलता"सु, प्रतिप्रमदवनमनङ्गधनुपो निष्पतद्भिः शिलीमुखैस्ता- डितेष्वधिकाधिक्रमन्त"रुन्मिपल्लोहितच्छविषु निसर्गकटुना प्रतिभयेने व मलयपवनेनों- स्कम्प्यमानेषु विरहिणीनां हृदयेष्विव शनैः शनैर्भिद्यमानेषु स्थलकमलकुडालेषु, त्रिभु- वनमप्याक्रमितुमीहमान "स्य रागसागरस्य कल्लोलैरिवारोपितकामकार्मुककोटिकुटिलैरु- १ चप्तपक । ३ मत्यवधूनयनुत्तरीया । ४ घम्मेल्लमा । ५ मन्देवत्यमन्द। ६ कुडबक । ७ लान्युप्यु। ८ ताडण। ९ °न्तर्वादुम- लये। १० स्वधिका कोन्मद। ११ काधिकर्मतरन्मिप। २ व्यावृतायाः।

·श्रीभोजदेवविरचिता ] लमद्भिः किंशुकप्रसवैः सर्वतः सततमापूर्यमाणे[F. 128 A..] विपिनोदरेपु, दलित- द्विरदमदजलासारसौरभेण प्रसरता केसरामोदेन सन्निहितप्रियतमानामपि वासितानां केसरिणीव प्रति"भयमुपजनयति मलयमातरिश्वनि त्रिभुवनमप्यभिद्रवयितुमिर्तस्ततो निष्पतन्तीष्वतिविलक्षणासु मदनधानुष्कस्य हरितमणिनिम्मितासु गुलिकाखिव प्रसभ- मलगन्तीष्वपि विरहिणां हृदि लगन्तीष्वतिमधुरध्वनिपु मधुकराङ्गनासु, अपरिचिताखपि मृदुमधुरभाषिणीध्वन्योक्त्यैव मानग्रहग्रन्थिमुद्गश्नन्तीषु दूतीष्विवानियुक्तावपि संचर- न्तीषु परभृतवधूषु, प्रियतमस्येव समीपवर्तिनः सहकारपाद"पस्य स्कन्धमालम्बमाना- स्वतिगभरालसतया कामपि कमनीयामाकृतिमुद्वहन्तीषु वसन्तलतासु, स्वयं विदलिते- ध्वपि विदलयत्सु"[F.128 B] विरहिजनहृदयानि अभिनवोद्गतेषु कामन्दमुकुरोत्करेषु, मधुप्राप्तिदुर्ललिताया अक्रममारोहन्त्या काननश्रियः सालक्तकचरणमुद्रास्त्रि व समुल्ल- सन्तीप्वयथायथमशोकपादपानामितस्ततः स्तवकपरम्परासु, शनैः शनैः प्रसर्पता मलय- पवनोनेद्दीप्यमाने व्यपगतकोशयोपलक्ष्यमाणव्यक्तदलशिखिविधूमतया केवलविभा- व्यमानमिततानवच्छिन्नज्वाले भुवनवतिनो निखिलानपि विप्रयोगिनो दग्धुमुद्य ते मदन- दहन इव सर्वतो विकासमागच्छति किंशुकवने, साङ्गार इव परितो विकचविक्षिप्तकुसुम- स्तवकैः सज्वाल इवातिस्निग्धारुणविततपल्लवप्रकरण सधूमोद्गार इवोपरिभ्राम्यता मधु- पपटलेन मूर्ते मदनहुतभुजीव विरहिणां सन्तापमुपजनयत्यशोकदुमगहने, अच्छाच्छ" कुङ्कुमरसोन्मृष्टलाटललनानाभीसनाभिषु स्तोकस्तोकविततप्रतनुपत्रारपंक्तिपरिकरितेषु स्मरनरपतेश्चक्रेष्विव कुसुममासेन "[F 129. A] प्रगुणीक्रियमाणेषु केसरप्रसूनेषु, दलितो- द्वाढहेमनिगडस्य भीषणरमणीयाकृतेः संचरन्तो वसन्तगन्धसिन्धुरस्योल्लसद्धहलमदज लामोदमिव परितः समुत्सृजत्सु जठरफलपाकोढि रसतः प्रस्फुटत्सु सततमेलाफलेपु, अतिजरठचन्दनद्रुमस्कन्धसङ्गिनां खैरमित"स्ततो विसरता विषधराणामुद्भटविपश्वसन- संवलिते विषपवन इव निखिलमपि भुवनमार्णयति मलयमारुते, मधुसमय"समागमो- त्सुकायाः प्रतिदिनमतिप्रचुरतयान्तर्वोढुमक्षमाया वनथियोऽतिजरठे रागइव शनैः शनै- र्व्यक्तीभवति पाटलाप्रसूनस्तबके, विजितत्रिभुवन[स्य] भगवतो मकरकेतनस्य मूर्तिमति यशःपुज इव धवलयत्यखिलमपि दिग्वलयमिन्दुद्युतिसोदरे सिन्दुवारमञ्जरी"जालके, मानिनीमानग्रहग्रन्थिविदलनाय प्रत्युप्तगारुत्मतरत्नशकलासे कनकयष्टिकाखिव मधुसमयेन प्रगुणीक्रियमाणासु"[F. 129. B] कुङ्कुमरसोन्मृष्टहूणतरुणीकपोलच्छविषु मधुकरावलीव- लयितासु शनैः शनैरुद्भिद्यमानासु कनककेतकीसुचिपु, प्रियवियोगताप"तप्तानां जलकेलि- निवारणायेव शनैः शनैविकचरक्तोत्पलबनव्याजात् प्रतिजलाशयं प्रसरत्सु मदनवडवानलेषु, सान्द्रकुङ्कुमोन्मृष्टहूणतरुणी कुचाभोगसुभगेऽन्तर्दत्तसान्द्रमदने गुञ्जाकन्दुक इव वालस १ मातरिस्विनि। २ न्योक्तैव । ३ मुद्रमतीपु। ४°लनमाण । ५माच्छा'। ६ परिकिरतेषु । ७°सोल- सद्ध। ८ प्रोठिवसत. । ९ विचलतां । १० चनतिश्रियो । ११ मारुन्मत। १२ सकलान्सु । १३ तल्ग । -- ·७६ शृङ्गारसञ्जरीकथा मधोः खेलनाय बनश्रिया विरचिते हरति चेतांस्यशो कतरुस्तवके, श्रमवशादनिभृतप्रवृत्त- श्वासोत्कल्पितरतनतटाभोगासु मरकतमणिदण्डिकाञ्चनोदश्चितसुजतयान्तरान्तरोपलक्ष्य- माण"बहुमूलास्थितस्ततः प्रसृतदोलारयमयतया तरलतारकास्वतिप्रवलचेलाञ्चलमारुता- गम्यमानकपोलस्थलस्खेदसलिलासु"प्रियतमभुजाश्लेपमुत्थिताखपि पतनभयकातरतया विषमजर्जरोल्लसितकाकलीगीतिपु दोलाके लिविलसितैः कामपि कम-[F.130. A] नीय- तामाकलयन्तीपु मदिरेक्षणासु, अन्यः कोऽप्येष नवो मधुव्यतिकरोऽनाघ्रातपीतेऽप्यखिल- जनमनांस्युन्मदयत्यभिनवे मधुव्यतिकरे"प्रौढिमागच्छति चास्मिन्ने विधोपालम्भगर्भाः सर्वतः प्रावर्तन्त प्रो पितभर्तृकाणामालापाः । निखिलमपि भुवनतलं जेतुमुद्यतस्य कुसु- मसा"यकस्य कुसुममासेन सज्जीक्रियमाणेषु निरन्तरमिषुधिष्विबोद्भिद्यमानकुसुमनिकरेषु कुसुमपादपेषु, ज्योत्स्नया प्रसाद्यमानमा लोक्य शशधरमीर्ण्ययेव प्रतिवासरं तनिमागच्छ- न्तीषु रजनीषु, अतिनिविडतरतुहिनार्तिव्यपगमादिव संकोचमुत्सृजत्सु वासरेषु, अन- वरतनिपतद्विशिखसम्पातमीताभिरिख कामिनीभिः प्रतिभवनमभ्यय॑माने विषमविशिखे, विरहिणीष्विवान्तःसन्तापग्लपितोत्पलविलोचनासु वृतमृणालवलयासु कमलिनीदलाव- रुद्धरुचिष्वापाण्डुपुण्डरीकवदनासु तरलितकल्हा-[F.130.B] रनिकरकुँरलवल्लरीषु तनि- मानमागच्छन्तीष्वपि कामपि कमनीयतामाकलयन्तीषु कमलदीर्घिकासु, परितः पथिक- हृदयानि निर्भिद्य प्रतिविपिनं निर्यात्सु मदनभल्लेष्विव पल्लवनिकरेषु, तुहिनतुना सहैवा- पसरति रूक्षभावे शनैः शनैरमलगनतलसंक्रान्तमिव मरक"तप्रभाश्यामलं नीलिमान- मुद्वहत्सु प्रमदवनेषु, इतो मधुकरध्वनितरितो कोकिलविरुतिभिरितः सहकारमुकुरैरितो मृगदृशा दोलाविलासगीतिभिरितो मलयपवनप्रेहितैरितः कुसुमवीरुधां कुसुमोद्गतिभि- झुंबनतलस्याप्यहेतुरणरणकमुत्पादयति वसन्तसमये, अतिचिरणार्थितसङ्गमेन मधुना समागतासु तद्वियोगजनितमधिकं ध्यामलत्वमुत्सृज्य प्रसादमागच्छन्तीषु दिग्वधू - [F.131. A ]पु विचित्रकुसुमवण्णांशुक्रधारिणीषु प्रचलकिसलयासु लासकेनेव मलयमारु- तेन शनैः शनैरतिललितं प्रनय॑मानासु वनराजिषु, सुरू"पसम्पदा विजितमकरकेतुः सुभगः कलाकलापकुशलः समानशीलवयोभिराप्तैरनुगम्यमानो भगवतः कालप्रियदेवस्य मधुसमय"यष्ठीयात्रायामात्तकमनीयवेपस्तमेव भगवन्तं प्रेक्षितुमयासीत् । स यावत् तस्यामायतनभुवि कौतुकात् परिभ्राम्यन्नितस्ततः क्षणमेक मास्ते तावदकस्मात् त्रिभुवन- विजयैकमल्लिरिव भगवतः कुसुमायुधस्स, इन्दुलेखा जननयनकुवलयानाम् , कमलसरसी- न्द्रियमधु"कराणाम् , विहरणस्थली स्मरविजयवारणस्य, मुखज्योत्स्नया दिवापि बद्धचन्द्रा- तपमिव गगनतल-[F. 131. B]मापादयन्ती काचिदेका विलासिनी तं प्रदेशमाजगाम । ततः स तामालोक्य च मनस्यकरोत्-न खल्वस्यास्त्रिभुवनसनकारी प्रजापतिर्निमाण- ३ मुस्थिता। ५ नेवविधों। ८ गमनतल ९ नवमस्यकरोत् । १० तिमिर्माण। २ चेलाञ्चल १ सरल। ६ प्रेपित। ४ कलि।

·श्रीसोजदेवविरचिता " हेतुः यतस्तद्विनिम्मितयोपिद्विलक्षणमेव रूपमस्याः- इति विचिन्तयन्नेव तस्याः स दृष्टि- पर्थमवततार। सातु तमवलोकयन्ती मृगीव"शरव्यतामगमन् मकरध्वजव्याधस्य । अजायत चानुरागसरसि कृतपदकाम]लिनी वोत्कण्टकिताङ्गयष्टिः। ततस्तयोः परस्परदर्शनोल्लसित- मद"नयोः पल्लवग्रसर इवावर्धत खैरमनुरागः । ततः स तां विज्ञातुमात्मनो व्यस्यमति- विदग्धं विदग्धनामानं नियुज्य स्वगृहान् प्रति प्रतस्थे । विदग्धकस्तु तद्वयस्थायास्तर- लिकायास्तत्वरूपमवगम्य गत्वा च विनयधरस्य सविधमादितः सकलमाचचक्षे । विनय- धरोऽपि तस्यां बन्धक दानाय तमेव प्राहिणोतु । अथ तयाऽनङ्गवत्या संगतस्य तस्य रतिसुखान्युपभुञ्जानस्य क्षणमिवाक्षीयत क्षपा । एवसस्य तया सह [F. 132 A] रति- सुखमनुभवतो बहूनि व्यतीयुर्दिवसानि । क्षीणविभवः परं प्राणेभ्योऽप्यधिकमरोचौथ सोऽस्यै । कुट्टनी तु तां परिहतसविभवापरभुज"गां तदनुरक्तहृदयामाकलथ्य तं विनय- धरं निरधारयत् । स तु पुनर्व्याजमारचय्य प्राविशत् । सा च तिरस्कृत्य तिरस्कृत्य पुनः पुनरेनं निरधारयत्" । अनङ्गवती च भाटकिनीगृहे वयस्यासद्मनि च तेन समगच्छत् । तां च तेन संगच्छमानामन्वीक्ष्य यदि पुनरप्येनेन सह संगत्स्यसे तदा मा भणिष्यसि नाख्यातमिति अनङ्गवतीमतर्जयत् । अथैकदा विनयधरः स्वनिवासादागच्छन् महान्तमतिमीपण सद्योव्यापादितं सर्प- मपश्यत् । नूनमहमे "तेन स्वकार्य साधयिष्यामिति कक्षायों निक्षिप्य तदीयभवनस्य नातिदूरे स्थित्वा कस्यापि सुमित्रस्य पार्थादनङ्गवत्या ग्रहणकं दापितवान् । आगाच्च शयितुम् । अथार्धरात्रे सन्निहितापवरके मत्तसुप्तायां कुट्टन्यां प्रविश्य तदीयशरीरस्योपरि मृतभुजङ्ग शनैः शनैः प्रसार्य तीक्ष्णनख"[F.132 B]च्छेदेन नासिकायां दंशमकरोत् । ततश्चीत्कृत्य प्रबुद्धायां कुट्टन्यां 'भक्षिता भक्षिताऽस्मि' इति ब्रुवाणायां झगिति प्रविष्य पंचपैलकुटप्रहारै"स्तं भुजङ्गमताडयत् । ततो दासीमिर्झगिति प्रबोधिते दीपे सर्पमवलोक्य 'च्छेदं प्रयच्छामी'ति तेनाभिहिते-'प्रयच्छ प्रयच्छ' इत्युक्ते 'क्व प्रय"च्छामि' इत्युक्ते 'अत्रात्र' इत्यभिहिते मात्रेऽपि सहोष्ठां नासिका चिच्छेद । ततो निवृत्तायां मरणभीती प्रभातायां च रजन्याम् 'उजीविताम्बा' इति वर्धापन "कानि प्रवृत्तानि । तथाप्येपा वध्यपटहध्वनिमिव वर्धापनकध्वनिमाकर्णयन्ती रात्रि न्दिवमनुतप्यमाना अतिष्ठत् । तत् पुत्रि! पीज्यमाना धूर्तास्त था किंचिदपकुर्वन्ति यथा वक्तुमपि न पार्यत इति ॥ इति महाराजाधिराजपरमेश्वरश्रीभोजदेवविरचितायां शृङ्गारमञ्जरीकथायां (5) पकथानिका दशमी समाप्ता । स १ । ६ कक्षाय। १ प्रथ। ७ अरण। ૨ यो ८ मगित्य। ३ राग। ४ रोचत थ सो। ९ रात्रीन्दिव। .

·७८ शृङ्गारमञ्जरीकथा M w [एकादशी मलयसुन्दरीकथानिका] अस्मन्मते च न कश्चिदवमाननीयः । अवमता हि पुरुषाः' तन्नास्ति यन कुर्वन्ति । [F.135. A] अस्ति पंचालेषु कन्यकुजं नाम नगरम् । तत्र निजदोर्दण्डमण्डलीखण्डितप्रचण्डा- रातिमण्डलवण्डांशुरिव दुर्निरीक्ष्यसूर्तिः महेन्द्रपालो नाम राजा" । तस्य च राज्ञो विदग्धः स्निग्धो वित्तवानुदात्तस्त्यागी व्युत्पन्नः प्रणयी प्रतापसिंहो नाम महासामन्तः । स च प्रकृत्यैव नर्मशीलः कुरूपोऽतिरो"मश्च । स तु राज्ञा खदेशान् प्रति प्रहितस्तेषु कति- पयदिनानि स्थित्वा भूयोऽपि राजसेवार्थमागच्छत् । अभ्रंकपकूटकोटिजटिलितां वमग (१), साभ्यर्थनया परिहता (?) केशतनूकरणोधमम् , आतपनिवारणायेवातिवहलनील- कान्तिभिर्दूरतरमुच्छ्रितैस्तरुभिर्विधृतनीलातपत्रमिव विभाव्यमानम्, आः कथं मयि जीवत्यप्ययमस्मद्वर्ग्यपक्षच्छेदकारी कार्मुकं विमर्तीति विचिन्त्यातिविचित्ररत्नप्रभाव्यति- करमिषेण स तत...... च्छिद्य चापमुद्वहन्तमिवोपलक्ष्यमाणम् , उन्मदकरिगण्डकण्डूयनो- स्कषणविदलितजरठसल्लकीभुवा स्वैरमितस्ततः प्रसरता प[F.133. B]रिमलेन सुरभित- दिगन्तम्, समदक्रकरकामिनीदस्यमानकठकफलत्यक्तडवारवाचालितगभीरकुञ्जकुहरम् , अत्युनतशिखरकोटिसंसक्तशशधरविम्बतया रजनिच्छत्रधारिकयोक्षिप्यमाणधवलातपत्र- मिवोपलक्ष्यमाणम् , अतिबहलनीलयोलुङ्गया क्रमुकतरुखण्डपरंपरया पुर प्रधावमानसि- किरीसहस्त्रमिव संभाव्यमानम् , अभिनवप्रियङ्गुश्यामयोन्नतपयोधरया अधिकमुल्लसदिनम- णिमेख लया शशधराभिरामवदनया प्रियतम एवान्तरिक्षलक्ष्म्या सर्वाङ्गमालिङ्गयमानम् , अतिकठोरमरिचमञ्जरीजालकोपभोगपटुकण्ठकुह"राणां दात्यूहव्यूहानां कुहुकुहारवेण निधुवनल्लान्तशवरसीमन्तिनीनां मन्दमपि मदनमधिकतरमुद्दीपयन्तमधिकमधुरास्वान्दो- लन क्रीडा'........काकलीगीतिपु, श्लथवितीर्णकर्णतया सावहि-[F. 134. A] तोप- लक्ष्यमाणमृगकदम्बकम्, शब्दशास्वमिव विविधधातुभिरुप ... ...रबहुवनोपचितम् , सीतो निपतदतिधवलनिर्झरसहस्रतयैकतः प्रवृत्तमन्दाकिनीस्रोतसमम[]गिरिमिवोपह- सितावातिकेन्द्रमिव (१) नागरगोपहितश्रियम् , रघुपतिसैन्यमिव नीलनलाभिरामम् , सन्ध्यासमयमिव प्रवृत्तनीलकण्ठम्, व्रतिनमिव समुञ्जमेखलम् , सुकृतिनमिव विधुरविर- हितोच्छ्यम् , विधिमिव विविधविलसितोपहितविस्मयम्, रविकरस्पर्शादुल्लसन्तीभिः स्फटिकमणिशिलाकान्तिभिर्दिवाप्युपजनितज्योत्स्नाशङ्कम्, कनकमयविकटकटककोटि- संसक्तमरुणमणिविभ्रमं विभ्राणमहिमरोचिपो मण्डलमुद्वहन्तम् , गृहीताकल्पकमिव ३ पुरुषा। २ मुच्छ्तै'। २°मुच्छतै'। ३ विनष्टान्यत्र द्विवाण्यक्षराणि । ४ रास्वन्दोलन । १२ अक्षराणि । ६ विनष्टान्यत्र ११-१२ अक्षराणि । ८ महिमा । . - ५ विनष्टान्यत्र ७ प्रतिनमिव । 4 ·" श्रीभोजदेवविरचिता ७९ मदनवाणासनातिमुक्तशेरनिकरप्रचितसवियवम् , स्निग्धाभिरतिनिविडरागपल्ल- विताभिः कमनीयवयोभिर्विकचचम्पकच्छायाभिरामाभिः समदनाभिः प्रियतमा-१० [F.134. B]भिरिव वनराजिभिरुपगूढम् , आसमुद्रमनिवारितप्रसाराभिरच्छस्फटिकविशद- । कान्तिभिरनेकमुखम् , निर्गच्छन्तीभिः कीर्तिभिरिव सरिद्भिरभिव्याप्तसकल"भुवनतलम् , अतिदूरोच्छुितशिखरशेखरेभ्यो निपततां निर्झराणामेकदेशलग्नमतिशुभ्रं फेनपुञ्जमिव शश- धरमुद्वहन्तम् , प्रतिनिशमत्युचशिखरप्रान्तसंसक्तनक्षत्रतया पवनप्रेखोलनवशादन्योन्य- संघटस्फुटितवेणुनिर्गच्छदतुच्छमौक्तिकाकरमिवोपलक्ष्यमाणम् , निजविस्तारवैभवेन निखिलामपि विश्वम्भरामवरुध्यतस्याममान्तसम्बरतलमपि व्याप्नुमिव शिखरसहौः कृत- प्रयत्नं विमानमिव चाम्बरशिखरबाहुदण्डैः हरि मिव वनमालयोपगूढम् , कमलयोनिमि- वाधाकृतराजहंसम् , राम-रावणप्रधनमिव कपिशतोपरुध्यमानपलाशम् , मातङ्गसहस्त्रसंकु- लमपि द्विजोप सेवितम् , द्विजितशतसंश्रयमपि खिग्धसरलम् , अतिगुरुमप्यगुरुप्रायम् । सक्षमप्यसक्षम् , कान्तारागमयमपि प्रभूतनीरागम् , म्लेच्छजनव्याप्तमपि सदाचा- [F. 135. A] रोपसेवितम् , असितसितशोणमणिकिरणप्रसरच्छलादुदयास्तशैलस्पर्धयैव तिमिरचन्द्रिकासान्ध्यरागान विविधमणिनिम्मितान् वर्णशरानिव सर्वतः" सततमाकल- यन्तम् , परितः प्रसृताभिरमलेन्द्रनीलमणिकान्तिभिर्वनविहरणक्लान्तानां मुग्धशबरसुन्द- रीणां विश्रामार्थिनीनामस्थानेऽपि जनितवह लवंशीवनंभ्रमम् , उच्चावचमुत्सप्पिणीभिः कनकशिखरेद्युतिपरम्पराभिरखिलशैलाधिपत्यपट्टवन्धमिवात्मनो दर्शयन्तम् , दिवसकर- शशधरप्रभृतीनामपि तेजखिनां पादोपसर्पणवितीणोदयतयात्यन्तविलक्षणं क्षितिधर- त्वमात्मनः प्रकटयन्तम् , उल्लसन्मकरलाञ्छनासमलकण्ठवलयोपशोभिनीमुच्चैःस्तनना- भिरम्यां प्रणयिनीमिव मेकलकन्यकामुत्संगेन विभ्राणम् , सायंसमयमिवात्यन्तवर्धिष्णु- च्छायम् , एतत्कथाकारमिव विराजितपरमारावनीपवंशम् , रत्नद्विपमिव प्रकाशित- सकलभुवनम् ,' प्रबलपवनतरलितपयोभिरुभयतो निपतद्भिर्निर्झरशतैः प्रचलद्भिः पक्ष- च्छेदै -[F. 135. B] रिव त्रिदशपतितर्जनाय दिवमिवोत्पतन्तम् , विकचनिझुलमञ्जरी- विरचितावतं .... लितकेशपाशा- भिरतिमुक्तककलिकाकल्पितमुक्ताफलाभिर्वन * सुन्दरीभि- रध्यायमानसहकारतरुगहनकुञ्जम् ,, सद्यः समुदत 2 . निपत- निर्झरशीकरासारशिशिरितेषु विकचकेशरपरागपांसु *........ सेवकै- रिव सततसनिहितैः करिकुलैरु .... (9)[F. 136 A] वाशेपसुख- सम्पदां मन्दिरमुपभोगानामखिलकुलाचलैकबन्धुं * गरे प्रख्याता ढोण्डाभिधाना कुट्टनी प्रतिवसति । तया च मामयै ......" मभूमिरतिविदग्धा १ 'दूरोच्छृत। २ 'तलवपि। ३ प्रवन । ४ पस्ता। ६ कण्ठ। ७ सेतैः। ८ तिवुल'। *९ १३६ अंकाकितस्य पत्रस्य पूर्वार्ध एव प्राप्तः । 4 , . ... (2) .... (3) : ५ क्लन्तानां।

·शृङ्गारमञ्जरीकथा (30 www + सुभगा लब्धिप्रधाना मलयसुन्दरीनामा दुहिता . मागच्छत् । मलय- सुन्दर्यास्तु राजकुलं गताया राजसेवया महत् * मवलोक्य कथमेन- भतिवाहयिष्यामीत्यचिन्तयत् । ततो *. [F 136. B] यद्यप्यतीव मुभगा भवन्तस्तथा किमहं भवता परिहासस्थानम् ? । किमहमियदूरे जाता येन भवादृशा- मप्युपहासभूमिर्यदात्मानं खवल्लभया करजै "र्विपार्टयितुमिवायाता इत्यभिधाय खोंगलगं कृत्वा शयितुमारेले । स च मन्मथेनोन्मथ्यमानः कथंकथमपि तां क्षपां क्षपितवान् । नातिप्रभातायां रजन्याभुत्थाय किंचिद्विलक्षः परिधाय वाससी गन्तुकामो यावदालोक- यति तावत् तया प्रथमोत्थितया निजभगिनीतनयं ला ल्यमानमपश्यत् । ततस्तामभ्य- धात्-'कस्यायं दारकः ?' इति । ततस्तया खोरायमाणया 'मदीयोऽयम्' इत्यभ्य- धायि । यदैव मदीयोऽयमित्येतद्वचस्तस्य श्रुतिपथमगात् तदैव तां पातयित्वा व्याघ्र इव ललाटे नाशिकायामुरसि कपोलयो ह्वोर्जघयोः पृष्ठे करजैरपाटयत् केशांश्च वहून् लुन्य गतवान् । दासीभिस्तं वृत्तान्तमाकर्ण्य प्रधाविता ढोण्डा । तां चातिप्रसिद्धार्यवित्तिकां राजप्रसादवित्तिकां च तथा"-[F.137. A] विडम्बितामालोक्योन्मुक्तकेशी कुट्टनी पूरकर्तुमारेले । मलयसुन्दर्यपि प्रावरणेनात्मानं प्रावृत्य परिहतवालका खट्वायां निपल्यावतस्थे । कुट्टनी" तु तदीयान लुञ्चितान केशानादाय रुदती पूत्कुर्वाणा चास्था- नगतस्य राज्ञो निवेदयितुसयासीत् । ततोऽतिकुपितेन राज्ञा अभ्यधायि-'ढोण्ढे ! "त्वं प्रत्यभिजानासि कोऽसौ छत्य इति ?' ततो ढोण्डयाऽभ्यधायि-'देव रात्रावागच्छन्तो गच्छन्तश्च कियन्तः प्रत्यभिज्ञायन्त' इति । इत्यभिहितेऽभ्यधायि राज्ञा-'उच्यतां दाण्डपाशिकः, कस्तत्र रजन्यामुषित ?' इति । तत आस्थानगतेन प्रतापसिंहेनोत्थाय विज्ञप्तम्-'देव ! अहं तत्र सुप्तः, परं मलयसुन्दर्यैवा बाहूयताम् , तत्सक्षमभिधीयमानं यतो नासत्यतामवगाहते।' ततो द्विस्त्रिराहूता . मलयसुन्दरी प्रावरणावृतशरीरा लज्जा- वनतमुखी तामास्थानभूमिमाजगाम । आगतायां च तस्यां प्रतापसिंहेनाभ्यधायि-- 'यदैवाहमेतदीये [गृहे ?] गतस्तदैव प्रथमदर्शनानन्तरमेव सा काचिदावयोश्चक्षुः [F. 137. B] प्रीतिरुत्पन्ना या वक्तुमपि न शक्यते । प्रेम्णो हि ..पार्यते। परामृश्य बल्लभया करजैविपाटितमङ्ग किमिति.. ..... ...त इत्यहमनेकप्रकारमुपालन्धोऽयुक्तसे. "पि दत्तानि । नख- दशनपदान्यन्यदत्तानीति श यमपि न गणयन्ति । इदृशी प्रेम्णो गति............ तोऽहं गन्तुमिच्छामि तावदेनां दारकं लालयन्तीमपश्यम् । ............तदा मदीयो- १ विपाद्यमिवयितुमायाता। २ लायमान। ३ इत्यमिधायि। ४ वालपख। ५ तदीयानु । लुशीतां । ७ 'मायामीत् । १०.१३८ अङ्कासितस्य पत्रस्य त्रुटित- स्वादिमान्येव वाक्यानि परिपच्यन्ते । - तथा च प्रथ (2) ८ कियत । ९ यत।

·श्रीभोजदेवविरचिता ८१ ऽयमित्यनयाभ्यधायि......मया सोढुं न" पारितम् । अतिप्रेमवशाद्रोमाण्यप्यनया नख .........मया प्रेमवशा"त्सवमेतत्कृतमिदानीं यदुध्यते तदेवः करोतु ।' .... राज्ञा विशिष्टं पारि"-[F. 138. A ] तोपिकमस्य प्रादायि । सा तु निखिलस्सा...... मताः कथं "कथं न विडम्वयन्ति । इति महाराजाधि [राजपरमेश्वरश्रीभोज देवविरचितायां शृङ्गारमञ्जरीकथायां मलयसुन्दरी (?) कथा] निका एकादशी समाप्ता । .(3) [ द्वादशी पमराककथानिका] न च धूतैः सह वृथा वैर...... अस्त्यत्र” भुवनतले हस्तिनागपुरं नाम नगरम् । तत्र चा.........उदाचः शूरो धीरः समधिगतकला.........रुचिर्नर्म"शीलः पमराको नाम राजा । स कदाचिदा- .दा सपने बुद्धिकरण्डकाभिधाने बुद्धि . ....ल वृत्तान्ता"नि कौतुहलादा- लोमयितुं बभ्राम । अथैकदा.... .....प्राहिणोत् । स गुल्माभिधानपत्तनमपश्यत्' । [F. 138. B] र्जतः को वा न रंजितः को वा न निस्तुपी". वास्ता रात्रि तत्रैवातिवाह्यानभातायां। अथ प्रवुध्य मकरंदिका यावत्पार्श्वमवलो ....तः कां दिशं वा गतः स इति । बकुलिकयाभ्य" मित्यभिहिते यावत्प्रच्छदपटमालोक" [F.139. A] ........दधत् । मकरंदिका तु तदवलोक्य वि".........किमत्र बुध्यते.........किं क्रियते । ततो लडवकाभिधाना... मान्यखेटनगरं गत्वा लावण्यवत्यभि".........नि वासांसि च सहात्तस्मै प्रायच्छत् ” [F. 139. B] यदा च कश्चिन्नायाति तदा तेनैव सह स्वपिति......३ तिष्ठतो गतानि बहूनि दिवसानि..... सौ वातूलो राजा गतः। कियन्तं काल- मस्माभिरेवैद वहियितुं याति । ततस्तैरालो ..य प्रहितः । स च काप्या वधूतेनापि रूपेण तिष्ठति तत्र त्वया सावधानेनान्विष्य चानेतव्यः । ततः स तम- विष्य.... ...म् । अशृणोच यन्मक रंदिकानाम वेश्या पमराकसत्तया तिष्ठतीति । तत्र च स यावत्तमुदन्तं प्रष्टमुपक्रमते तावत्त.........मकरन्दिकया च महता गौर"वेण स्नपितो भोजितः परिधापितश्च । पञ्चपाणि दिनानि तत्रैव विश्राम कारितः । ततः स विदि. [मान्यखेटं गत्वा लावण्यवत्याः पश्चा"दश्वतरीमारूढं तदनुचरतामाश्रितं खं स्वामिनमपश्यत् । ततः खो.........प्रणम्य व्यजिज्ञपत् किमिद [F 140. A] २ १३९ अङ्काक्षितस्य पत्रस्य त्रुटितत्वात्तसिन्निमान्येव वाक्यानि पख्यन्ते। ३ १४० पत्रस्य त्रुटितत्वादिमान्येव वाक्यानि पध्यन्ते । शङ्का १३ . . -- १ भिवायि।

·८२ शृङ्गारमञ्जरीकथा 'अये . मङ्गीकृतं देवेन । सीदन्ति प्रजा मिचन्ते राजकार्यसेतवः उत्कण्ठाविसंस्थुलथावरोधजनो वर्तते भवदर्शन..... श् प्रकृतयः । तन्क्रियतां प्रसा"दः । अनुगृह्यतां घुद्धिकरण्डक- प्रभृतयः सचिवाः । ततस्तदाकये सविस्मयं ससंभ्रम लावण्यवती पृष्ठ किमेतदित्यमिहि तम्' । विहस्य सोऽब्रवीत्-'असत्योऽयं वटुर्मामप्रत्यभिजानने ब्रवीति ।' ततः सुमतिविहस्साबोचत् क्रि........ णात्मानं गोपयति । ततो" लावण्य- वत्यपि वेगसर्याः समुत्तीर्याञ्जलिं बध्वा देव..... .. . [आग]न्यतामित्यभिधाय स्वगृहान- नेपी पोपचारैरुपचर्यातिगौरवेण तद्दिनमत्यवाहयत् । अथ स तेन सुमतिना ....स्वदेशं प्रति नेतुमारेमे । पम राक] [ लावण्यवत्या सादरं सस्नेह च विहितपरि............बहु रता[दि वित्तजातं वितीर्य सुमति .....संग्रस्थितः सुमतिना- [F. 140. B] स्यधायि-'देव वत्सगुल्मे' मकरन्दिका नाम वेश्या सा मया आगच्छता दृष्टा । तथा च देवकीयोऽयमिति ज्ञात्वा मम गौरवातिशयो व्यधायि। सा च यतः प्रभृति" देवेन सह संगता ततः प्रभृति परिहतापरपुरुषा मदनदहनेन्धनता- मुपगता सरसापि क्लिश्यन्ती धनस्येवोन्नतस्य देवस्य. मार्गमुद्वीक्ष्यमाणा मयूरीवोद्रीवा गमयति दिनानि क्षपयति क्षपास्तन्ममोपरि प्रसादं विधाय तन्मध्येनावश्यं देवेन गन्त- व्यम् । सया च सह तया कर्पूरिका नाम निजा"नुचरी प्रहिता । सा च देवस्य तदीयां विज्ञप्ति विधास्यति । तां च पश्यतु देवः' इत्युक्ते तदनुतस्तामाहूयादर्शयत् । सा तु सविनयमागत्य राजानमिति व्यजिज्ञपत्-'देवो यतः प्रभृति तां परित्यज्य न ज्ञायते व गतस्तत्प्रभृति तस्या विजृम्भितं जृम्भिकाभिः, विहसितं सितेन, उत्कण्ठितमु- स्कण्ठया, रह"कायित रहक्ककेण, रणरणकायितं रणरणकेन, उद्वेल्लितं तल्लूद्वेल्लितैः, निश्व:- सितं निःश्वसितैः, उन्माथायितमुन्माथेन, रोमाञ्चितं रोमाञ्चन"[F 141. A ]अरैतीयितम- रत्या, हुंकृतमलीपहुंकृतैः, प्रलपितं प्रलापैः, उत्कम्पितमुत्कम्पितेन, अलसायितमालस्पेन, जडितं जडतया, उद्धान्तं विभ्रमैः, संभ्रान्तं सम्भ्र"मेण, चिन्ताकुलितायितं चिन्तया, विकृतं विकारैः, आकूतायितमाकूतेन, रेभितं रेभकेण, लजितं लजितैः, अपत्रपित[म]- पत्रपितेन, अहिकायितं ग्रहिकतया, ग्रहगृहीतायितं ग्रहेण, उन्मत्तायितसुन्मत्ततया, उन्मादायितमुन्मादेन, उच्छृङ्खलायितमुच्छृङ्खलतया, अनुरक्तायितम"नुरागेण, खेदा- यितं खेदैः, असुखायितमसुखितयां, आतीयितमाा, दुःखायितं दुखैः, सन्तपयितं सन्तापेन, तथापि रमणीयायितं रमणीयतया, कमनीयायितं कमनीयतया, शोभा- यितं शोमया, उल्लिखितमुल्लेखेन, उल्लसितं लावण्येन, रूपातिशयायितं रूपातिश" येन, मनोहरायितं मनोहरतया, चमत्कारायितं चमत्कृतैः । तथापि चन्द्रलेखेव कृशापि कमनीया, लवलीलतेव पाण्डुताकलिताप्य -[F.141, B]नुपमच्छायावाहिनी, शून्यहृद- १ गुल्म। २ मुदीक्ष्यमाणा। ३ अरिती। " , . " ·श्रीभोजदेवविरचिता ८३ " " याप्यशून्या मन्मथेन, म्लानिमागताऽप्यनुपमकान्तिमती, वियोगिन्यपि हृदयममुञ्चतापि तेन (ल्वया ?) योगिनी," ग्लानिमागताऽप्युञ्जीवनी मन्मथस्य, कृशापि लावण्यपरि- पोषिणी, अलंकारोज्झिताऽप्यलंकरणं मनोभवस्य, सन्तापकलिवाऽपि दृक्तापहारिणी, मनोभवोद्धान्ताऽपि विभ्रमैकायतनम् , लासिका विलासानाम् , आयतनं विभ्रमाणाम् , रतिः शृङ्गारस, संकेतस्थानं हृदयहारितायाः, निवासो” रूपश्रियः, सदनमसादृश्यस्य, संप्रति च तस्या निर्दय किं ब्रवीमि ? दुःखमपि दुःखगृहीतम् , आतिरप्यार्तिमुद्वहति, खेदोऽपि खिद्यते, उन्माथोऽप्युन्मथ्यते, असुखमयसुखस्य विषयतामापनम् , खेदोऽपि विद्यते, मूर्छापि मूर्च्छति, आतङ्कोऽप्यातमुवहति, सन्तापोऽपि सन्तप्यते", श्वसितमपि निःश्वसिति, उत्कम्पोऽप्युत्कमप्यते, उत्कण्ठाप्युत्कण्ठयते, रणरणकोऽपि रणरणकमाकल- यति, तद्वे -[F.142. A ]ल्लिरप्युद्वेल्लति, रहककोऽपि रहकितः, रेभकोऽपि रेभकाक्रान्तः, विरहोऽपि विरहितः । तथाप्यहं किमपि न ब्रवीमि । इदं तु जाने त्वद्रूपनिरूपणैकरसिकं चक्षुः, त्वद्गुणाकर्णनदोहदिनी श्रुतिः, त्वन्नामगर्भाः सर्वेऽप्यालापाः, त्वत्प्राप्तिप्रत्या- शेकबन्धनं चेतः, त्वत्संगमोत्कण्ठितोत्कण्ठुलता, त्वत्प्रतिविम्बचुम्बिता दिशः, त्वन्मयं भुवनम् , त्वदङ्गसङ्गमोत्कण्ठितान्यङ्गकानि । अन्यच्च नलिनीदलेपु सन्तापः, बन्धुवरांगें निरपनपता, सखीजने कार्यम् , परिजने चिन्ता, यद्यत्पुरास्वीकृतं तत् तन्निखिल- मपि विभज्य केवलं श्वसितमेव स्वीकृतम् , तथाप्यतिप्रणयो मां मुखरयति । त्वमेवास्याः प्रियोऽसीति वैशिकोक्तिः। साप्यतिशयकमनीयेति प्रलापनम् । त्वमतिसुभग इति प्रत्यक्षस्तुतिः, त्वमेवैको रूपवानिति पुनरुक्तम् , त्वं विदग्ध इति खरूपाधिग- मनासंघः, सापि तवैवोचितेति खवामिनीप्रशंसा, अद्या" [F. 142. B] [ अत्रादर्श १४३ अङ्काङ्कित पत्रं विनष्टम् ] भवान् दूरत एव पूत्कुर्वन्नायातः, तत् कथं प्रतिभेदभयाद् गृह्णाति । यद्येवं निभृतं ददासि तत् किमिति नागृह्णाति तदर्प्यताम्' इत्युक्ते कलहंसको निभृ"तमेव ग्रहणकं समर्घ्य राज्ञो न्यवेदयत् । राजा तु रजनीमुखे व्यतीते सुमतिसहायो गृहीतविशिष्टतरताम्बूला- ग्रुपचारेण कलहंसकेनानु गम्यमानो मकरन्दिकाया गृहमगात् । ततः शय्यायामुपविश्य क्षणं स्थित्वा सुमतिमाह-माधव ! गन्तव्यमस्माभिः' इत्यभिहिते माधवः प्राह 'श्रीधर ! यद् भवते रोचते तत् क्रियताम् ।' तत उत्तिष्ठन्तं बलात् तं मकरन्दिका व्यधा- रयत् । 'किमिति भवन्तः सांप्रतमेवायाताः प्रस्थिताश्च' इति मकर "न्दिकयोक्ते माधवेनाभ्यधायि-'साधु मकरन्दिका भणति, किमिति यूयमिदानीमेव प्रस्थिताः ।' श्रीधरेणोक्तम्-'न यात्यस्याः पार्श्वेऽस्माभिः शयितुम् । ततोऽस्माभिरिदानीमेवा- गच्छद्भिरेतत्प्रातिवेशिनीगृहे एतदाकणितं यदस्याः कश्चित् पमराकाभिधानोऽत्यन्त- 'त्कण्ठि तो कुण्ठुलता। ३ सेयमो। ४ प्रलोपनम् । - (3) १ पोषणी। २ ५ कया।

·शृगारमञ्जरीकथा ८४ - मभिरचितः [F. 144 A] तदनया रुचितघृष्टिकया सह न याति शयितुम् । भवता तु ग्रहणकमस्या एव समय समागन्तव्यम्' इत्यभिहिते मकरन्दिकयाऽभ्यधायि-'यथा पम"शाकस्य मातरमहं म्लेच्छानां गर्दभानां च प्रयच्छामि प्रतिवेशिन्यश्च एवंविधा एव भवन्ति, एतद्वचसः प्रत्येतुं भवतां किं बुध्यते' इत्यभिहिते विहस्य पमराकणो- तस् यत्-'सुमतेर्मातरं स्लेच्छानां गर्दभानां प्रयच्छ । अहं तु भवदीयचेष्टितानां विदितस्वरूप एव । किमत्र मन्मात्रा विहितम् । यत् किंचित् कर्तव्यं तत् सुमतिमातुरेव क्रियताम्' इत्यभिधाय अधिगतक्षितितलचेष्टितः स्वदेशं प्रति जगाम । तत् पुत्रि !, विदग्धे पाखण्डमेव न कर्तव्यम् , क्रियते चेद् निर्वाहणीयमेव । अन्यथा क्रियमाणेऽस्मिन्नुपहासास्पदैर्भूयत इति ॥ इति महाराजाधिराजपरमेश्वरश्रीभोजदेव"विरचितायां शृङ्गारमजरीकथायां पसराककथानिका द्वादशी समाप्ता । [त्रयोदशी मूलदेवकथानिका ] अन्यच्च-पुत्रि ! रागः सर्वथा रक्षणीयः। स च त्रिधा श्रु -[r 144. B] तिरागः, दृष्टिरागः संभोगजन्मा च । त्रयोऽप्येते दूरतः परिहरणीयाः । यस्मादेतैः कुलस्त्रियोऽपि विडम्ब्यमाना दृष्टाः । तथा हि दूरे दृ"टिरार्गः: श्रुतिरागः विषमाशीविषमिव तदिति- वृत्तं कौतुकात् कथ्यमानमाकर्ण्यतु भवती । अस्त्यवन्तिषु श्रीमत्युजयनी नाम"नगरी । तस्यामत्यद्भुतप्रख्यातचरितो निज- भुजविक्रमावाप्तचक्रवर्तिपदः क्षितिपतिर्विक्रमादित्यो नाम । अस्ति च तत्र मूलदेवो नाम धूर्तः। स च प्रेमैकपात्रमतिविदग्धः समधिगतनिखिलपापण्डः सकलकलाकुशलः। दमयन् दक्षान् , बञ्चयन् विदग्धान् , प्रतारयंश्चतुरान् , नर्तयन् कितवान् , आत्मनः श्रियमनन्यसाधारणामवर्धयत् । स्त्रीचेष्टितेष्वतिशङ्कमानो न च कथमप्यात्मा [F 145 A] परिणीतवान् । अथैकदा-'किमिति न परिणीयते भवता?' इति वारंवार- मभियुज्यमानो विक्रमा"नृपतिना मूलदेवोऽभ्यधायि-'देव . स्त्रियो हतिदुराराधा दुष्टाशयाः चलखमावा रक्षितुम"शक्याः क्षणविरागिन्यो नीचानुरागिण्यश्च । स्मृति- शास्त्रेष्वपि श्रूयते यत् किलार्थमिदं शरीरस्य जायेति तदुष्टतायां खयमपकृतपाप्मनो- ऽपि पुंसः पापित्वमामनन्ति । अतोऽहमकृतदारपरिग्रह एव जन्म क्षपयिष्यामि ।' ततो नृपतिरवो"चत्-'नैवम् , स्त्रियो हि नाम त्रिवगैकसाधनं सुखैकायतनं यशसोऽर्थस्य सन्ततेश्च मूलभूताः। गार्हस्थ्यं हि निखिलाश्रमजीवभूतम् , न चानुत्पादितापत्यः ३ पुंश। (6) - १ राग। २ 'मिति। ४ पापित्यमामनन्ति ।

·श्रीभोजदेवविरचिता ८५ पैतृकाणान्मुन्यते पुरुष इत्यवश्यं दारपरिग्रहो विधेयः, न चातिसङ्किना भवितव्यम्' इत्यादि बहुधाभिधीयमानः [F.145 B] [ अबादशै १४६-१४७ अड्डाङ्कित पत्रयुग्मं विनष्टम् ] दयत्यविजितधर्मक्लमप्ररारे मलयरजसे मदनकेलिलामग्लपितवपुपा विलासिनामतिश्लक्ष्ण- तया लघुतया च सततमनवरुद्धव्यजनपव"नासरेपु भोग्यतामायात्सु सितदुकूलेपु, क्रीडातडागिकानामनुकुलीरलेखमच्छिनीदलान्तरालच्छायामाश्रित्य बन्धुरितकन्धरस- न्योन्यकण्डयन"सुखान्यनुभृयानुभूय मध्यन्दिनतापतन्द्रीमतिबाहयत्सु चक्राववामिथु- नेपु, तीव्रतस्तरणितापमयादुपरितनसुमनसामुत्सृज्यापि मकरन्दयानमन्तलताभवनान्या- श्रयत्सु मधुकरद्वन्द्वेषु, प्रमदवनदीर्घिकासलिलविहृतिभिः शिशिरतनुलतासु निम्नॊकशु- चिना तनुतरेण मृगमद "सचित्रितेन च बाससा परिक्षिप्तजघनस्तनभरासु, दलित- पाटलप्रसवसंबलिताभिर्विचकिलसग्मिराकलितकेशपाशासु, मसृणधनसाररे"णुसंवर्गण- द्विगुणसुरभिणाऽच्छाच्छन मलयरजसेनाश्लिटकुचतटासु, प्रियतमानभिसरन्तीषु मध्यन्दि- नाभिसारिकासु, [F. 148. A] निविडोन्मिपदूष्मसन्तप्तककुभा ग्रीप्मेण समन्ततो निरुद्ध- प्रसारभयान्निलीन इव धारागृहेषु, आश्रित इव सुभ्रुवां स्तनभरेषु, प्रविष्ट इव क्रीडाक" मलिनीनां दलपच्छायेषु, पुजीभ्य स्थित इवोपवनक्षितिरुहामधःपरिसरेपु, कृतावास इव कदलीखण्डमण्डपाभ्यन्तरेपु, प्राप्तस्थितिरिव सद्यःस्नातोत्यितनितम्बिनीचिहुरभारेषु, निलीन इवातिवहलपत्रश्यामलेपु तालीवनेषु, निर्मथितदवथावनिम्ने शीतलिम्नि दरदलि- तमल्लिकामुकुलमालिकार्चितचिकुरनिकराभिरामे, तुहिनकरकान्तदन्तपत्रालङ्कृतकश्रवण- पाशोपशोभिन्युन्मार्जितदशनद्युतिस्तबकि "ताधरे, अतिविमलस्थूलमुक्ताफलमालिकावल- यितमलयरजसाश्लिष्टस्तनमरभुवि, स्वच्छसितदुकूलच्छन्नवपुपि, मुपितहरिणलाञ्छनच्छ- वावतिकमनीय कामपि श्रियमाश्रयति श्यामलानामश्यामले नेपथ्यविभवे, समन्ताद् दृतिमुखोद्दीपर्णाभिरम्भसो" [F.148. B] धारामिरासिच्यमानमरुचकव्यतिकरितदमनका- मोदसुरभितदिगन्तासु सहकारतरुगहनभुवि मध्यन्दिनतापक्लान्तिमपनेतुं विलासिमि" थुनरध्यास्यमानासु सेचनकुटीपु, दिवसकरसन्तापोपजायमानोष्मणां भवनानामन्तर्नि- वासमुत्सृज्य मलयरजसोन्मार्जितस्फटिक कुट्टिमानि सौधोत्सङ्गातलानि प्रतिनिशमध्या- समानेषु विलासिमिथुनेपु, विकचविचकिलस्रम्भिरारचितभित्तीनि कालागुरुधूपधूमण्या- मलीक्रियमाणोपरितनवितानकानि विधाय सञ्जान्यात्मनो वासभवनानि, कालातिक्रमात किमपि किमपि जायमानविरहपाण्डिमच्छायाहारिणीष्वधिष्ठितचन्द्रशालासु, चन्द्रिका- धिदेवतास्त्रिय प्रतिभवनमिबोपलक्ष्यमाणासु वासकसजासु, उत्तप्तकातखर "कान्तिसर्च- खतस्करीपु कालायसश्यामलान्यलिवलयनिगडानि दुःसहप्रतापेन ग्रीष्मनृपतिना लम्भि- तासु नवतृणश्यामले"-[F.149.A]भ्यो दीर्घदलकोशकोटरेभ्यः शनैः शनैर्निंगच्छन्तीपु १ पवन । २ दूगूलेषु। ३ छायामश्रि।

·शृङ्गारमारीकथा (2) (3) . ... जनककेतकीचीपु, मधुसमय एव त्रिभुवनविजयव्ययितनिखिलकुसुमसाय"कस्य मकर- केतीविरहिजनहृदयनिर्दलनपटुपु चक्रेष्विव सुरासुरभितशशिमुखीमुखश्वसनस्यानुस्मारके यून्मिपत्सु केतर प्रसरेणु, अवजिताशेषकुसुमसौरभतया चटुलमधुकरकुलैकनिगडेषु जात्य- जाम्बूनदच्छविसोदरच्छदवलयितेषु निखिल जनहृदयैकहरणमोहनमन्त्रेषु मन्मथप्रताप- ज्वलनेप्विव विरहिणामालोकदुःसहेपु प्रतिवनमुद्भिद्यमानेषु राजचम्पकप्रसूने "पु, शनै- शनैरुपवनानि गाहमानस्य मकरध्वजगन्धसिन्धुरस्य मदजलासारसौरभभ्रान्तिमुद्वहत्सु सुरभिशीतलामोदेषु स्फुटत्सु निर्भरमतिकठोरेग्बेलाफलेपु, पथिकजनहृदयविदलनोद्यतस्य भदलनरपतेगीष्मलक्ष्या [F. 149. B] [ अत्रादर्श १५० अङ्काङ्कितं पत्रं विनष्टम् । ..राजपथे राजकुलं व्रजन्नस्मन्मुखादाकाणितस्तदेव सा मन्मथव्यथोन्माथ- निर्म" ..........* तत्र गमनेन सा वराकी इत्याकर्ण्य विमृश्य दत्तकोऽभ्यधात्- 'किमहं भवत्यै दृष्टो * सा मन्मुखादाकर्ण्य त्वय्यनुरागवत्यासीत्' हत्याकये दत्तकः-'आ पापे! क गता * निर्वासितवान् । अथ स तस्याः सकाशं गत्वेदमाचचक्षे-'भदारिके ! मन्मुखात् त्वां जात्यं".... इत्याकये जातोद्वेगया जात्यंधया खट्वायां सन्निपत्य तस्थे । अथागतो मूलदेवस्तां तथा"............* इत्यभिहिता सा प्रत्यवादीत्-'आर्यपुत्र ! यावद्भालिकाऽहमास ताबत्किमपि हर्षवि[F.151. A]... ..तद्यदि भवन्मुखारविन्दावलोकनसुखं नोपलभ्यते तकि मम जीवितेन, सर्वथा मया मर्त्तव्यमि".... .......* मरिष्यामीति संबोध्य- "सूलदेवः साधु भणत्यसाविति चेतसि संप्रधार्य भगवती विन्ध्यवासिनी आराधयि" * तस्थौ । अथ भगवती तां तदीयां भक्ति निश्चयं चावगम्य तुष्टाऽभ्य- थत-वत्स मूलदेव ! गच्छ 57 ..* दरक्रीडा प्रस्तावनीया । तस्यां च प्रवृ- त्तायां पतितयोः पाशकयोर्यदा दायं प्रक्ष्यसि • ते कथयिष्यति, विकच- कमलदीर्घा दृष्टिश्च भविष्यति' इत्याकर्ण्य प्रीतो मूलदेवः स्व".............. * स प्रीतहृदयस्तया सह रममाणः सुखमासांचके । पूर्ववच राजकुलं व्रजन्ना -[F. 151 B] गतश्च तस्या इङ्गिताकारैः स्वरूपं पय॑क्षत । अथैकदा सा * . अवादीत्-'भद्र दत्तक ! सा त्वया विना वलवतानुरागेण वा * अथ दत्तकस्तामवोचत्-'आः पापे ! जात्यंधया मां प्रतार *.... ... .... खां खसौन्दर्यनिर्जितमदनं या न पश्यति सा कमलदलदी ................. निर्जित- रतिमवलोकयतु कमलदलदीर्घलोचनाम् । ततः सा * त् । सच १ प्रसवेषु। २ १५१ अद्भावितस्य पत्रस्य उत्तरार्ध एव प्राप्तः । तस्मिन्निमानि वाक्यानि परिपठ्यन्ते । ३ १५२ असाहितस्य पत्रस्य पूर्वार्ध एव प्राप्तस्तस्मिन्निमानि वाक्यानि परिपठ्यन्ते । (40 ३ (2) (3) (51 ·श्रीभोजदेवविरचितो .. (8) (6) ... ..... तत्र गत्वा तदीयरूपातिशय ................ .F.152. A]मुद्वीक्षमाणः कथंकथमणि वासरमनैपीत् । अथ दुष्टस्त्रीचेष्टितं ... "येव तमःपटलपटिकाकृतावगुण्ठनासु दशस्खपि दिग्वधू " वेलायां च गतवति मूलदेवे प्रदोपे एवासित- कम्बल ६....... " वा दत्तकस्तां जात्यंधां वेष्टकसंकेतावस्थितामकाम कयति तावचिन्तयदहो संप्रत्येव विनष्टेयमिति . . ० तासां दुश्चेष्टितानि अत एव मया परिणयनपरामुख * . [F. 162. B] सकलधूतचूड... व्यतिकरः संपद्यते.... तेन शतेन रमते. प्रतिदिनं शर..... पनशोषमागतो .. किमयमेव वि... न्य भवदुतान्य. विचिन्त्य प्रतिविपणि प्रतिचत्वरं प्रतिराजपथं प्रतिगृहं चान्विष्यन्नेव धूर्त...... 17 चरंश्च यावदालोकयति तावद्राजहस्तिनो हस्तिपको गाढप्रौढदृढ .......वन्धो भोगप्रधानोऽनायव्यय ....मवलोक्य चिन्तितवाना 'अवश्यमनेन सह कस्य चेदीश्वरस्य स्त्रिया जातव्यभिचारया भवितव्यम्' इति विचिन्त्य प्रावृतकम्बल: स्वापच्छलान्निपत्यावतस्थे । अथार्द्धरानसमये यावत्पश्यति तावद्विक्रमार्कनृपतेर्दयिता चेल्लमहादेवी अनुचर्या विविधभोज्यपरिपूर्णभाजनव्यग्रकरया गृही-[F.153. A]त- शीतलसलिलकरकया स्त्रीकृतताम्बूलस्थगिकयानुगम्यमाना तमभिसस[4] गत- मात्रा च तां द्विगुणीकृतया करिवरत्रया सरोपमाच्छे"द्याच्छेयेदमभ्यधात-'आः पापे ! दासिपुत्रि, किमित्येतावत्कालविलम्बः कृतः' इत्यभिहिता सा तमनुनयन्त्यावभापे- 'छलं विना कथं ममागम"नावकाशः? तन्मयि मा पृथैव कोपं कृथाः। उपविश, भुज्यताम्' इत्यभिधाय तस्याग्रतो भोजनं निधाय तं सादरमभोजयत् । हस्तिपकस्तु भुक्त्वा गृहीतताम्बूल... मनुवभूव । मूलदेवस्तु तं व्यतिकरमालोक्याचिन्तयत्- 'भवतु मनाग्मन्दीकृत . . .. दो यदेवंविधष्वपि राज"गृहेष्वेवंवि नि। भवत्वन्यदप्यन्वेपयामि । ततः प्रातरवधूतरूपतया निखिलमपि ... ....पुनर्दमयन्त्यवाप्ता प्रभवेण यश [F. 153. B] [ अत्रादर्शे १५४ अङ्काङ्कित पत्रं विनष्टम् ] यौवनंतरोः.... ... रक्षार्थमारचिताभिस्तिसृभिः परिखाभिरिव राजिभि लताभ्यामिव निसर्गकोमलाभ्यां उद्भासमानाम् मरकतमणिमालिकावृतेन स्मरनिधान- कुम्भेनेवोरगराजरक्षितेनातिपृथुलेन स्तनयुगलेन भ्राजमानाम् , सरोमालिकालङ्कारेण क्षिति, मिव मध्यदेशेनाङ्कृताम् , मदनकितवस्य दूरोदरक्रीडाफलकेनेव निपतिताखिलाक्षेण नितम्ब- फलकेनोल्लासमानाम् , मदनकामुककरमकवयस्योरुयुगलेन श्रियमाकलयन्तीम् , लावण्य- सरसीरक्तोत्पलास्यामिव चरणाभ्यां शोभमानाम् , त्रिभुवन विजयार्जितां वैजयन्तीमिव १ १५३ तमस्य पत्रस्य त्रुटितत्वान्निमान्येव वाक्यानि परिपच्यन्ते । २ चितत्वत्। तमस्य पत्रस्य प्रतिकृतिरनन्तरं प्राप्ता । तस्यां पंक्तिसंख्या नांकिता भवति । (नमिव कु . (60 ·८८ शृङ्गारमञ्जरीकथा मनरकतोर्वशीकरणविद्याधिदेवतामिव मृतिमतीस् , अनन्यसाधारणस[F,155. A] कलाव- यवौन्दर्यामनुपमरूपलावण्यां पोडशवर्षदेशीयामकरोत् । यच्च तन्मद्यमांसादिकमानीतं तनया सहोपसुज्य प्रेमानुरूपं रतिसुखमनुबभूव । 'अथ खट्वाङ्गं मम कुम्भकारगृह विस्मृतम्'इत्यभिधाय शिवतडागे महां च सन्ध्यां विधिसुर्निर्जगाम । तां चाबोचन्- 'यावदहमागच्छामि तावत् त्ययाऽत्रैव स्थातव्यम् ।' अथ तस्मिन् गते साऽपि विश्रम्भ- नुत्पाद्य पूर्वमेव तत्सकाशाद्धहीतविद्यामण्डलमावर्त्य तथैव सहृदयादङ्गष्टप्रमाणं दिव्यपुरुष- भेशमुजगाल । तं च कमण्डलुबारिणाऽभिपिच्यानुपमरूपलावण्ययौवनापेतं विधायोत्पन्न- शतगुणप्रीतिः प्रीत्यनुरूपं तेन सह रतिसुखमनुवभूव । अनुभूय च तदागमन [ समयमा-] कलय्यानागतमेव तं पुरुपं लघूकृत्य निजगाल । महाव्रतिकस्त्वागत्य तां लघुकृत्य न्यगिलत् । मूलदेव एवालोक्य विस्मितमनाः स्वगृहमग [F. 155, B], [ अबाद १५६ अाशित पत्रं विनष्टम् ] राजा तु तदवलोक्यातिविस्मितो मूलदेवमावभापे-'मूलदेव ! किमेतदिति ?, महदद्भुत- भेतदावेदनेनापनय नः कुतूहलम् ।' मूलदेवस्तु बद्धाञ्जलिर्व्य[जि]"ज्ञपत्-'देव! यद्यमयं तदा विज्ञाप्यते । देवेन पुन पराद्धव्यम्' इत्यभिधाय महादेवीमभ्यधात्- 'देवि ! हृदयवल्लभेन विना भोजनं न स्वदते । तदा[हू]"यतां वठरकनामा राजहस्तिनो हस्तिपकः ।' राजा तु विस्मितस्तमुवाच-'मूलदेव ! किमेतत् ?' मूलदेवः प्राह- 'उद्घाट्याङ्गं विलोकयतु देव्या]' अस्याः ।' राजा तथा कृत्वा यावदालोकयति ताबद् द्विगुणतरनाटिकाघातास्फुटितानपश्यत् । आत्मनश्च द्वितीयासने समुपवेश्य जात्यान्धा[म]"वोचत्-'त्वमपि हृदयवल्लभं वणिग्दत्तकमाकारय' इत्यभिधाय पुनर्व्य- जिज्ञपत्-'देव! देवकीयः प्रसादोऽयं यदहं परिणायितो देवेन । तदेवं विधा] न्यास चेष्टितानि विज्ञाय कथमपि परिणयनं नाङ्गीकृतवान् । अङ्गीकृता देवकीयादेशादियं जात्यन्धा । तत्राप्येवंविधा परिणति -[F. 157. A] रेताः पापीयस्सो दुराचाराः, व आसां विश्वासमायाति । न हि देवस्य सदृशो नृपतिर्नापि मच्छदृशो धृर्तचूडामणि पि कपालशिखेन सह[शो मं]"त्रवादी च । एतानप्येता वञ्चयन्ति, इतरेषु तु वराकेषु प्राणिमात्रेषु का गणना ?' ततो राजा हस्तिपकं निजग्राह, दत्तकं सईखमदण्डयत् । जात्यन्धा निरवासयत् । चिल्लमहादेवीं छिन्नकर्णनासिका विधाय पिण्डोपजीविनी कारागारे न्यधापयत् । तत् पुत्रि! आसतां वेश्याः कुचारित्रधनाः, कुलस्त्रियोऽपि दृष्टिमात्ररागिण्यः परपुरुपेष्वेवं जीवितवित्तादिनिरपेक्षा व्यवहरन्ति, किं पुनः स्वतन्त्रा वेशवनिताः ? तत् पुत्रि! त्रिविधोऽपि रागः सर्वथा परिहरणीयः। . ] ·, २ . .... ..... (6) ... .. श्रीभोजदेवविरचिता ८९ इत्थं पुत्रि!; न कदाचिदप्यभूद् भुवनैकतापने तपन इवास्मत्कुले परवञ्चनाकलङ्कः । तद् भवत्या तथा प्रयतितव्यं" यथा न लुण्ठ्यसे विटा, न नय॑से धूतैः, नोपहस्यसे वयस्याभिः, न कदीसे कदयः, नोपभुज्यसे भुज[ गैः][F.157. B]न खण्ड्यसे पाषण्डिभिः, न रज्यसे रागिभिः, न विक्क्रियसे कि * विताय॑न्ते 'विदग्धाः, भुज्यन्ते महार्थाः, खण्ड्यन्ते पापण्डिनः * कुलकुमुदकौमुदीव भवति । मधुरमसृणमुग्धस्निग्ध प्रतिकलमतिहर्षाद्भारती नृत्यतीव ॥ इमां पश्य क्षोणी वह... गानामीशो पर इव स एनामरचयत् । कथामुर्चीनाथः प्रणत ..... नवा स्फीता या च प्रकृतिसुभगालङ्कृतिरपि । स उक्तेरुल्लेखो [F.158. AJ कलितः ॥ सिंगारमंजार पाविऊण देवी सरस्सई अज्ज । मयरंदपाणभ सिंगारमंजरि पाविऊण देवीए उअह वाणीए । सोहग्ग-जस-पडाया "ऊणं जस कहविहु सिंगारमंजरि उअह । णियसोह[ग्गवडाया....... [सिंगारमंजरि पावि ]"ऊण वाणीए मणहारा ये वि । कण्णावयंससोहाभो........ [व] त्सराणां शकद्विषः । कृतेयं भोजराजेन कथा [शृङ्गारमञ्जरी] || ॥ ॥ [इति महाराजाधिराजपरमेश्व] र श्रीभोजदेवविरचिता शृङ्गारमञ्जरीकथा समाप्ता][F. 158. B] || Ama १ त्पर । अन्तिमस्य १५८ अङ्काक्षितस्य पत्रस्य पूर्वार्ध एव प्राप्तस्तसिनिमानि वाक्यानि परिपव्यन्त । शृङ्गा १२

·No text on this page.

·शृङ्गारमञ्जरीकथान्तर्गतविशेषनामानुक्रमणिका । ত ८४ - अक्षपाद अङ्गिरस अनङ्गवती अवन्ति अलका अशोकवती अहिच्छत्र आशापुरा उज्जयनी उत्तङ्क उद्यान उरगपुर उर्वशी एकदंष्ट्रा कणाद कच्छ कन्यकुब्ज कपालशिख कर्पूरिका १३ ६६,६८,६९,७०,७१,७२ ४१ ४६,७२ ३२,३३,३५,४२,८४ ५४ १३ - + [ऋपि] [मुनि ] [पण्याङ्गना] [ देश] [ देवपुरी] [गणिका ] [ नगर ] [विक्रमनृपकुलदेवी] [विक्रमनृपराजधानी ] [मुनि ] [प्रदेश] [नगर] [ देवनर्तकी ] [ कुट्टनी] [ऋपि] [ देश] [ नगर ] [ मत्रवादी ] [पण्याङ्गना ] [पण्याङ्गनानुचरी] [राजानुचर] [शिव ]] [ नगरी] [प्रदेश ] [नगर ] [ कुन्तलप्रदेशनारी] [ आचार्य] [कुरुराजपुत्र] [पण्याङ्गना] २० २६ १७ ५४,५५,५६ ८२ ८३ कलहंसक कालप्रियदेव काञ्ची' ५४,५५ : किष्किन्ध १९ ७४ कुण्डि[नपुर कुन्तली कुमारिल कुरु कुवलयावली १३ २८,२९ 4 ·९२ शृङ्गारमञ्जरीकथा M ७४ १३ १७ [प्रदेश'] [ हिमाचलशृङ्ग] [अर्थशास्त्रप्रणेता] [ नगरी] [ नग] [प्रदेश ] [ नदी ] [ कवि ] [ पत्तन] १३ ३० १७ केरल कैलास कौटिल्य कौशाम्बी क्रौञ्चगिरि गङ्गातट गम्भीरा गुणात्य गुल्म घुड घुडाक चपलक चाणाक्य चाणाक्यनीति चित्रलेखा - १ ८१ ४१ ४१ २५ [ तैलिक ] [ कथानायकमित्रम् ] [ महामात्य] [ नीतिविशेष ] [गणिका ] ९ १५ ६३,६४ चिल्लमहादेवी } [विक्रमनपराज्ञी } ८५ [प्रदेश ] [ सामन्त ] चोल च्छडक च्छड्डल ढोण्ढा तापनी तामलिप्ति तिकपैक ७४ . ६६,७१ ६८,६९,७१,७२ ६२,७९,८० . २६ ७१ दत्तक [ कुट्टनी] [ नदी] [नगरी] [ राजसभामहत्तम ] [ वैशिकशास्त्रप्रणेता] [ वणिक् ] [पण्यखी। [प्रदेश ] [आचार्य ] [ भोजदेवराजधानी [नदी] [प्रदेश] ८६,८७,८८ ३२,३३,३४,३५,३६,३९,४० ४४ देवदत्ता द्रमिड धर्मकीर्ति धारा नर्मदा नासिक्य । ૨ १७,३६ ·विशेषनामानुक्रमणिका ९३ . - नेपाल पञ्चाल पमराक परमार पराशर पाण्डव पुण्डूवर्धन पुरूरव पूर्णपथक प्रतापमुकुट प्रतापसिंह प्राग्ज्योतिष प्रियङ्गिका प्रियंवदक वकुलिका [ देश ] १३ [ देश] ७८ [ राजा] ८१,८२,८३,८४ [ राजवंश] [ऋपि] १ । [ पाण्डुराजपुत्र] [नगर ] ५६ [राजा] २० [नगर] ૨૨ [चक्रवर्तिनृप] २६,६२ [ महासामन्त ] ७८,८० [प्रदेश] [पण्याङ्गनानुचरी] ३३ [राजपुत्रानुचर] २६,२७,२८ [पण्यस्वीसहचरी] ५८,५९,६१ [पण्याङ्गनानुचरी] ८१ [राजा ] [कवि ] [ सचिव ] ८१,८२ [विक्रमनृपसचिव ] ३९,४४,४५ [कवि] [नगर] [पुराण ] [ कवि] [ कुट्टनी [ धाराधिपति ] १,८,१९,२६,२८,३५, ४७,५६,६६,७२,७७,८१,८४,८९ ८९ [ अक्का] ३४,५४,७० [पण्याङ्गना] ८१,८२,८३,८४ [ देश] ५४,५५ [पण्याङ्गनानुचरी] २७ ५७ or वद्रामुकुट वाण बुद्धिकरण्डक भट्टमातृगुप्त भवभूति भाइलस्वामिदेवपुर भारत १ भास १ भुजङ्गवागुरा भोजदेव । -- भोजराज मकरदंष्ट्रा मकरन्दिका मगध मधुकरिका ·९४ शृङ्गारमञ्जरीकथा ५ .. m t मन्दरगिरि मलयविषय मलयसुन्दरी महाकाल महाकालनाथ महेन्द्रपाल माधव } - मान्यखेट मालतिका मुखरक मूलदेव मेकलकन्यका रघुपति रत्तदत्त रविदत्त [ पर्वत ] [ देश] २९ [पण्याङ्गना] ३५ [ उज्जयनी स्थितशिवनाम] ३२ [ राजा] ७८ [धनपति] २६,२९ [ सचिव ] ८३ [ नगर ] ५७,६३,८१ [पण्यवधू] २६,२७,२८ [विक्रमनृपदूत ] ४२,४४ [धूर्त ] १७,८४,८६,८७,८८ [ नर्मदानदी] [राम] [ वणिक्पुत्र ] ५६,५७,५९,६२,६३,६५ [ ब्राह्मण ] १९,२१,२४,२५ [ अयोध्याधिपति] ८,७९ [ पुराण ] १३ ४७ ९ रामायण रामायणकथा रावण रिपुदलन रोहणाचल लडवका लवङ्गिका लाट लाटी लावण्यवती लावण्यसुंदरी ३३ [लकेश] [ तन्नामा गज] [गिरि ] [ नारी विशेष ] [पण्याङ्गनानुचरी] [ देश] [ लाटदेशीय नारी] [पण्यवधू] [तैलिकभार्या ] [पण्याङ्गना] ७५ । १ ८१,८२ ४१,४४,४७,४८ ५८,५९,६१,६२,६३, ६४,६५,६६ वनमुकुट [ नृपति] [ देश ] ७३ .

·विशेपनामानुक्रमणिका ९.५ वत्सगुल्म वसुदत्त २५,२६,२७ ५६ [ पत्तन ] [ वणिक्पुत्र] [ वणिक् ] [ उपाध्याय ] [ऋपि] [ राजपुत्र ] ५६ or - वसुभूति वाल्मीक विक्रमसिंह विक्रमादित्य विक्रमादित्यदेव विक्रमार्क [ उज्जयनीनृपति ] २६,२७,२८ ४०,४२,४६,४८,८४ ३९ ३२,३५,४०,४५,४६, ८४,८७ 9 [ ब्राह्मणपुत्रमित्र ] ওও - " . विदग्ध । विदग्धक) विदिसा । विदिशा विनयधर विनयवती विन्ध्यवासिनी विन्ध्याटवी विषमशीला विष्णुदत्त व्यास शशिन् शाक्यशासन शिप्रा शुक्र शृङ्गारमञ्जरी ૨૮ [नगरी] ब्राह्मणसूनु] ७३,७७ [ पण्यस्त्री ] २४,२५, [ देवी] ८६ [ अरण्य] ५३ [अक्का - शृङ्गारमञ्जरीमाता] १८,२६,२८,३० [ व्यक्तिविशेप] [ऋपि] [धूर्त ] [चौद्धदर्शन] [नदी] [दैत्यगुरु] १६ [धारानगरीप्रधानपण्याङ्गना] १८,२६,२८,३० १ . 3 १३ शृङ्गारमञ्जरीकथा} [भोजदेवविरचिता प्रस्तुतकथा] शोण श्रीधर श्रीपर्वत [प्रदेश] [ राजा ] [ नग] १९,२६,२८,३५,४०, ४७,५६,६६,७२,७७,८१,८४,८९ १३ ८३ ३७,५५ ।

·९६ शृङ्गारमञ्जरीकथा । श्रुतधर, सङ्गमक सङ्गमिका समरसिंह सम्भ्रमवती साङ्ख्य साहसाङ्कनृपति सिंगारमंजरी सिंहलद्वीप सुग्रीव सुन्दर सुन्दरक सुबन्धु [ब्राह्मण ] [ राजानुचर] ६४,६५ [पण्याङ्गनानुचरी] २४,२५ [नृप] ६६,६८ [ नदी ] [ दर्शन] १७ [विक्रमादित्य ] ४०,४२,४७ भोजदेव विरचिता प्रस्तुतकथा] ८९ [ द्वीप] १८ [ वानरराजा ] १३ ७०,७२ [ पुरुषविशेष ] ७०,७१,७२ [ कवि] [ वणिक्पुत्रानुचर] ५७,६१,६५ [ सचिव ] ८२,८३,८४ [द्वीप] [ ब्राह्मण ] ३०,३२,३४,६२ [ राजा] [ब्राह्मण ] १९ [ पुरुषविशेप] ५३,५४,५५,५६ [धूर्त ] [कथा] [ग्राम ] [ नगर] ८१ [ जातिविशेप] १,४३,७५ . १ सुमति सुवर्णद्वीप सूरधर्मा सोमदत्त सोमादित्य हरिश्चन्द्रकथा हस्तिग्राम हस्तिनागपुर . hd

·The
Árngaramanjarikatha
of
SRI BHOJADEVA
TRANSLATION

·No text on this page.

·THE SRNGĀRAMANJARĪKATHA OF ŚRI BHOJADEVA (TRANSLATION) PREFACE (1) Once upon a time, when springtime was nearly at an end, when the bowers of the Mādhavi creeper had its clusters fully developed with the blooming flowers, when on the bunches of mango blossoms small fruits had thinly sprouted, when the clusters of Madhūka flowers, which steal the beauty of the cheeks of the Hūra ladies, had almost fallen down, when the Pătala flowers, which resemble the colour of the lips of the women of Lāța which are kissed (lit drunk in) by their lovers, had fully bloomed, when the Malaya breeze brought about inactivity in the dull, when the buds of the Mallıkā manifested sparsely like the smiles of the Glory of Summer outgrowing her childhood, when the anxiousness of the wanton women for swinging had lessened (lit had resorted to languor) and their desire for the pleasure of water-sport had increased (lit had taken resort to desirableness), when the spread of perspiration which is non-prickly bristled on the breasts of the lotus-eyed ladies due to the collection of formed drops, when the rays the Sun, which had not bleached the greenness of fresh grass, were slowly attaining maturity, when the beginning of Summer was gradually setting in, MAHĀRĀJĀDHIRAJA PARAMESVARA ŚRÍ- BHOJADEVA, who, in the pleasure garden, was seated on the central seat of the dhārāgrha which was studded with moonstones, and whose lotus-feet were worshipped by some learned men, a few relations, friends and kings, courteously requested thus "Though you are our ruler yet because of the people you are a good kinsman (SUBANDHU), you are the splendour of Śri (ŚRI- BHĀSA), you are rich in virtues" (GUNĀDHYA) and you the glory of Gods (PRAŠASTAGIRVANA) Therefore, as minds are deeply desirous, for our delight and knowledge, please tell us a new story Being thus told, (he) smilingly said, “Let it be so, but a story that is narrated bears beauty only when it commences with the description of the town and the like And there is no city more distinguished than this one, therefore, this (city) alone will have to be described first And because of the circumstance of my being its ruler I will have to speak about myself which is indeed improper was have sung our 3 ·SRNGĀRAMANJARIKATHA Then, by them who had thus heard their king's words, he was again spoken to~"Sıre knows that we are not like that. It has been said by all writers on poetics that, there is no blame in speaking of one's own merits if (one) records only facts', thus sages like VĀLMĪKI, PARĀŚARA, and VYASA and poets like GUNADHYA, BHĀSA, BHAVABHŪTI and BĀNA have made known their merits. The narration of virtues one does not possess is a fault but not the narration of one's true merits Thus being addressed (by them), (he) spoke to them -"You are not ignorant, therefore if this (narration) seems uncensurable to you then I shall tell you Listen (2) —" DESCRIPTION OF DHĀRĀ Here is a city named Dhārā, the one ornament of the whole world, which has by its own wondrous splendour put aside the glory of the city of the gods, which as it were laughs at the single disc of the moon by thousands of moons in the form of the faces of the city dames moving every night in the candraśālās of the high mansions, which, by the mass of the rays arising from the pure crystal mansions brightening the sky and the network of flashing rays issuing forth from the emerald palaces, brings about a friendship of sale and exchange between the naturally opposite darkness and moonlight, which, on every mansion removes as it were the perspiration of the horses of the sun whose bodies are tired due to the fatigue caused by traversing the vast expanse of the sky, by fanning with the fringes of the banners waving in the wind, which is, as it were, the life of the earth, the essence as it were of the world, the summum bonum as it were of the Universe, the place of trust as it were of all wealth, the residence as it were of Grace, the ornament as it were of the world, the resort as it were of the three goals of life (viz dharma, artha and kāma), the house of creation of the naturally charming women, the chief resort as it were of loveliness, and the stream of nectar to the eyes of all the people Wherein, the spreading mass of white lustre of the crystal mansions makes the circle of directions white and blissfully pleasant; wherein, every night, darkness is multiplied by the emerald floors is split up by the floorings of the crystal palaces, is reduced to pieces by the golden roofs of the mansions, is drunk in by the moonlight of the moons in the form of the faces of the ladies of the town, is augmented by columns of smoke of the Aguru incense issuing from the windows, is collected as it were by the gardens is destroyed as it were by the spread of the rays from the tusks of the elephant in the form of victory and is stored up, as it were, in the underground chambers made of sapphire Wherein, every night, on the top of the houses, the lays ·TRANSLATION of the moon reflected in the floorings made of red precious stones gives rise to the illusion of a grove of water-lilies to the fascinated womenfolk, (The city) which derides as it were even in the three worlds all the old residences of the town by its continuously flashing lustre of pure crystalline turrets, which (city) to a man who looks longingly at it seems to be a world of palaces only, the Creator's new creation of mansions only, an earth possessed of tanks only, a circle of directions made of gardens only and the vault of the sky made of banners only Wherein it seemed that every night the rays of the moon merged in the crystal floorings, were drunk in by the courtyards studded with emeralds, surpassed the evening clouds (as they were reflected) in the middle of the raised seats of the pavılions of the houses made of red jewels, possessed the lustre of the deer in the crystal windows darkened by the smoke of the Kālāguru incense, and melted in the moonstone channel on the eaves Wherein, everyday, the rays of the sun appeared, like offshoots on the golden pinnacles, like stems on the golden staffs of the banners, like leaves on the flashy ruby mansions, like flowers on the rows of the golden swans inlaid with precious red stones, and like fruits on the balls on the golden tops of the palaces made of shining gold, (3) which (rays) falling on the crystal walls and flashing back become as it were moonlight (rays) even during the day, which being deflected from the ruby floors after coming in contact with it, become, as it were land-lotuses, which falling on the raised seats of the pavılıon made of pure pearls and reflecting back become as it were white lotuses, which falling on the candraśālās made of sapphires become as it were blue lotuses, which possess, as it were, the red lustre of the early sun on the floors of the pleasure houses made of corals, which shine refulgently, after reflecting on the golden tops of the mansions, which cool down as it were on the turrets made of emeralds, which become covered as it were by the columns of smoke of Kālāguru, and which, due to the intermingling of the mass of rays of the other colourful jewels on the mansions give rise to thousands of rain-bows on all sides for the protection of the city Where, every night, the moon is disturbed in his movement when the deer stops moving on hearing the notes of music together with the jingling of the jewelled bangles of the women resorting to the terraces of the high buildings Where the deer in the form of the spot suffers the never-experienced pain of being tied by the ropes in the form of the rays issuing forth from the jewelled armlets on the unsteady hands which are raised in dancing, of these Very women Where the grandeur of the monsoon is always present, because the sky is darkened by the mass of dense smoke issuing from the fire of hundreds of sacrifices in which oblations are ·6 ŚRNGĀRAMAÑJARIKATHA 2 > 1 offered and Which (city) at some place becomes Brahmaloka being surrounded by rows of learned brāhmanas engaged constantly in religious rites and with the sound of the Khila and Nigamas being read, and all the Puranas, Itihāsas, śrutis and Smrtis being related, which (city) at some places gives rise to the illusion of water-lotuses even on ground due to the crystal floors reddened by the alaktaka-dye on the feet of the women'intoxicated with youth, where due to the deep sounds , due to music continuously going on in every house, and the border regions of the houses darkened by the thick growth of green flowering trees and the mastery of the peacocks in dancing which (city) guides the movements of the female love-messengers clever in knowing the ways of pleasing the women piqued in love, which ät some places becomes a world of Madana, enthusing friends in getting ornaments for the doe-eyed ones. anxious to go to their lovers, which at places becomes the nether regions with the lovers chooded serpentsa enjoying pleasures, and which at places becomes heaven with the winds following light sthe Maruts following the Suns Where (in the city) the body of the towns-folk, skillful in all transactions, is compassionate like the storm «which holds dust in it», which is free from miseries like the ocean «which dispels the heat of the suns, which is free from all horrors like Rāvana «whose residence was abandoned by Vibhīsana', which had not widowers like the newmoon day «which is without the moon or the sun, which has decked itself with resplendent gold like spring «which is adorned with the pleasing Kāñcana trees”, which has obtained with pure ones like summer which has heat», which has not seen heavy taxation like the monsoon «when the hot-rayed one, the sun, is not seen>, which has a longing for clean clothes like the autumn «when the sky is free from clouds", which is full of greatness like the old season «when snow is equally spreads, which is always free from anxiety like the winter «when there is no heat of the sun», which though Mākanda «the root of prosperity, is Asoka <free from sorrow», which though Sarala «straight-forward» is Arista «secures, which though Sumitrānandana «giving joy to good friends> is Sugriva «of well built neckss, which though Virocana ebrillianta is the immortal God enjoying pleasures, which though Parameśvara «very richo is without anger «without anxiety», which though Bhūtanaya «mars* «laying down judicious principles for the peopler is not moving crooked snot wicked", and which though full of pearls «free from diseasesis adorned with all the ornaments (4) Which (city) is encircled by a city wall, unique in-form in the three worlds, which is white as snow like the Himālayas «which is white with snowy, which hampers the moon (lit lord of the union ·TRANSLATION 7 constellations) like Rāvaņa (lit the ten-headed one) <who defeated - the moony, which obstructs the path of the sun like the Vindhya mountain which obstructed the sun», whose sides are encircled by the mass of lustic issuing from the variegated jewels, which is ever ready with bows as if for the protection of the city, which has an incurvature like the rainbow, which has four gateways decorated with massive gates which are always crowded with thousands of peoples as if the directions had come there out of curiosity to see the city Which is surrounded by a moat, in which at places the lotuses were ever kept open by the pairs of Cakravākas constantly together on account of the continuous brightness of the day created by the spreading of the rays of the refulgent topaz embedded on the sides of the high copings, in which, at some places, the night lotuses were forever blooming because of the illusion of night created by the dense darkness of the collection of rays of the emeralds set in the turrets, whose water appeared at some places to be reddened by the kumkum applied to the pot-like breasts of the ladies of the town, on account of its waters being tinged with the rays issuing from the watch towers made of rubies, and which at some places, because of the reflection of the white circular crystal wall within it, looked as if it was Sesa who had come out to see the city out of curiosity In which (city) there are lakes, with then waters tinged with the pollen of the open Kamala, Kumuda, Kalhāra and Indīvara, which are very pure like the minds of the good people, which are difficult to be measured like the minds of the wicked, which aie attractive with the sweet humming of the bees hovering over upright white lotuses, which are fragrant with the sandal-paste washed away from the pot-like breasts of the wanton women of the city sporting in them, whose border regions are darkened by the rows of bees attracted by the fragrance of the Saugandhika flowers, which seemed to be presided over by the maidens of the netherland come out for water sport, on account of the reflection in the ciystal slabs of the women of the city who have come for their bath, where every night, the mates of the Cakravākas, languid due to love, look with great longing at their own reflections thinking them to be their lovers, in which, it seemed, due to the fear of the sun, darkness, becoming very small, had taken resort, in the form of bees hidden in the inmost cups of the closed night lotuses, on whose banks resorted moonlight as it were, in the form of rows of geese, possessing the lustre of white lotuses, seating in the shades of the leaves of the land lotuses fearing the oppression of the rays of the sun, which are resorted to by the flocks of the foolish cranes, who being greedy to devour the Šaphaza fish seen in the very clear deep waters, frequent- ·8 ŚRNGARAMANJARIKATHA ly and unsuccessfully swoop down and are cheated by (the fish) which are not caught, which (lakes) taste like nectar every sweets though possessed of poison «possessed of waters; which are full of passions «fish» though old sextensives, which are without lotuses though possessed of lotuses <water>, they are twice presided over by Satapatras <by lotuses and hundreds of birds», doubly sayanāni «possessed of water and in which savana baths are takens; twice charming by Kuvalaya «night lotuses and the orb of the earth”, twice vitatāni «having rows of bids and extensives, and which (lakes) thus imitate the movements of the mad at some places laughing as it were by the erect and fully bloomed white lotuses, at some places throwing arrows of side glances with the knitting of eyebrows in the form of blue lotuses seen in between the waves, at some places throwing up dust in the form of drops of water split up by coming into contact with big waves, and at some places jab. bering as it were by the great noise produced by the waves striking against the wind on both the sides (5) In the (city) where there are many enchanting abodes like the pleasure tanks and the Víravilāsodyāna and others there is a mechanical fountain house which fascinates the minds of the citizens, which (fountain house) because of the reflection of the trees in its walls made of pure precious stones (standing) in the middle of Nandanavana looks as if it has allowed in, and thus protected the very delicate garden trees which have sought refuge due to the fear of the sun, which, out of fear of insulting the great, welcomes the people entering with coolness produced by the fall of thousands of streams spreading all round, (6) which as it were forms masses of clouds by the radiant lustre of the emeralds (set) in the base of the pinnacle, for warding off, even from a distance, the heat of the sun which torments the whole world, which having cut asunder keeps outside under the guise of the leaves of the foiest as it were, the fire of agony of the people entering, who are reflected in both the sides of the doors made of dark coloured precious stones, which in the three worlds mocks as it were the creation of the Ancient Creator by the production of the moving mechanical dolls; which is like the palace of Varuna, like the place of assignation of winter, like the home of auspiciousness of the gods of the regions of the Himàlayas, like the place of defeat for the summer's heat, like the pleasure-home of the fish-bannered God, like the store-house of sport of the ocean of love, like the place of origin of the rains, like the mansion of creation of the inventions, like the summum bonum of loveliness, like the Jewelled mirror of skilfulness, and like the outhouse of pleasures Which (fountain house), due to its extreme coolness -Is as if made of camphor powder, constructed with mass of snow, and built ·TRANSLATION 9 with the digits of the moon, which due to the extreme fragrance of its scented waters (seems) as if created by the perfume of the Bakula flowers, made with powder of the Kakkola fruits, whose surrounding area is as if made by the clove-flowers, and whose streams are as of the juice of Elāphala, which exhibits, as it were, the watery creation of the Creator by thousands of streams flowing everywhere, which is unattainable by the rays of the sun, which admits not misery, which cannot be overpowered by the antidotes of the separated, which cannot be looked at by the fire of separation of the separated lady-lovers, which is the place for cooling cven cold; the habitation of happiness even of happiness, and charm even of charm, which seems to sprinkle in the directions, 'camphor powder due to the spraying of the drops of thousands of streams with its waves rising, striking and breaking in all directions, which seems to strew flakes of snow like moonlight, because of the oozing of the mechanical water dolls made of moonstone, which pours forth streams of sandal paste as it were, as the water mixed with the rays of the white jewels, which has hundreds of flowing streams looking like the fibres of the lotus-stalks broken due to the weight of the full bloomed lotuses, which though made of various precious stones looks as if made of one jewel because the pillars, the tops of the pillars and the human figures carved on the tops of the pillars were mutually well-laid and their joints were firmly fixed, which looks as if it has come out of the earth, and which is artificial yet looks natural Which (fountain-house) is the abode of good conduct, the root of the creepers in the form of the streams of water, the dwelling of the prosperity of the earth, the pleasure ground of excessive joy, which spreads the Kunkumarasa as it were, by the streams of water and flowing out from the inner cup of the open golden lotuses, (6) which manifests allround pendants continuous and slow flow of streams from the ends of the ruby slabs, producing another by the clear, big and continuously falling drops of the rising and falling streams of water, making the garden peacocks dance due to the illusion of clouds produced by the darkening directions by the uninterrupted flowing of the streams of water, by the deep and pleasant rumblings produced by the drums beaten by the mechanical dolls, and, the sky being darkened by the lustre of the emeralds, giving rise to streams of water looking like the smoke of the Kālāguru-incense due to their being mixed with the flashing lustre of the dark precious stones, creating, as it were, from the lotuses on the ceiling, from jewelled dolls thousands of bow-strings of Smara ready to conquer the three worlds by the streams of water flowing out from the palms of the mechanical dolls, which is like the disc of the full-moon to the blue by the ·ŚRNGĀRAMANJARIKATHA lotuses in the form of the eyes of all the peoples; the sheath for the water missile of Manmatha, the resting place of the group of senses, the mine of pleasures, the abode of delight, and the temple of beauty In which (fountain-house) the water of the streams is sometimes eaten by the foolish ducks made of white jewels and seated in the midst of the open artificial lotuses under the impression that they are lotus fibres, sometimes it appears to laugh under the guise of the grove of blooming kumudas, sometimes seems to dance with the jewelled mechanical dolls playing the lutes in hands, sometimes it appears to sing by the mechanical pairs of bees made of black precious stones humming inside the buds of open lilies, where at some places, the radiance of the crystal pillars is being sipped by the thirsty garden cakorakas even during day-time due to the illusion of its being moonlight, with their beaks open and their minds anxious, having (streams of water) as thick as the intertwining of two or three lotus fibres oozing out from the corners of the eyes of the winged crocodiles, from the mouth of the peahen looking down, from the pairs of breasts of the jewelled dolls, from the end of the braid of hair of a golden doll just come out after a bath, from the tip of the nails of the Jewelled wanton women; from the hollow of the mouths of a family of monkeys climbing a mechanical tree, from the floorings, from the walls, from the lotuses on the ceiling, from jewelled dolls, from pillars and from the pillar tops, which produces all round as it were (by the rays of the lustre of various jewels) another variegated grove of bamboos for the production of thousands of rainbows, which imitates as it were the monsoon by the darkening of the directions, by the sound produced by the continuous falling of thousands of streams of water, with the splendour of clouds formed by the network of rays uprising from the emerald pillars, and with the beauty of lightening produced by the intermittently flashing rays of rubies, where in the courtyard-tanks and ponds at some places a family of artificial cranes is cheated by the little śapharıkā fish coming in and out, at other (7) the mechanical young ones of tortoise are visible now and then, where at other places, the mermaids do not place their-lotus feet seeing with fear the mechanical crocodıles coming out though they are anxious to see, where the mass of rays of the rubies are like the rays of the sun for the blooming of the buds of the day-lotuses on the inner walls; the middle portion of which has jewelled pillars, which supported one another, and which being reflected into each other appeared as if they had collected to carry the burden (of the whole construction), which, because of its charm is seen with unflinching eyes and anxious minds "even by the bhāraputrakas; which produces wonder even in the minds of the ·TRANSLATION 11 experts by the triple symphony of song, dance and instrumental music displayed by the mechanical dolls, which laughs under the guise of the blooming white lotuses carved on the walls at the clever onlookers whose minds are dazzled on seeing the curious mechanical contrivances, and, which has on all sides the rivers for pleasuresports, with their banks muddy with the musk of deer, with the sand in the form of camphor powder, with waters fragrant with pure sandal, and with lotus groves in the form of the rays of rubies mixed with those of emeralds In the (city) were forests, which due to the constant presence of dense darkness and excessive light were as if presided over by innumerable rays of the sun and darkness, which (forests) were decorated with trees which because of the continuous sprouting of leaves looked as if it was their love that had manifested on seeing the womenfolk of the town, which announced as it were the royal proclamation of victory of the fish-bannered god under the pretext of the sweet humming of the bees, and where, because, the citywomen were moving here and there for collecting flowers, it appeared that the sylvan deities were always in vicinity Having said this, when the mechanical doll was addressed thus "O Yantraputraka though it is the approved opinion of our assembly still the narration of one's own virtues seems censurable, therefore you may discribe the king now”, he (the Yantraputraka), being looked upon with wonderstruck eyes by the friends sitting near by began to speak DESCRIPTION OF BHOJA, THE RULER OF DHĀRĀ In that city lives MAHĀRĀJĀDHIRĀJA PARAMESVARA ŚRĪ BHOJADEVA, the king of kings, capable of carrying the burden of the world, his footstool is reddened by the mass of rays of the rubies in the rows of crowns of all the bowing kings, the growth of whose creeper in the form of fame is constantly nourished by the sprinkling of water in the form of tears from the eyes of the women of the haughty enemies who are uprooted by his arms, (8) Who is everyday tortured by women having written with sandal-paste as thick as camphor, on the walls, in the form of high breasts 'O heartless onel are you not afraid of the sin of killing women?', who is the one victorious elephant of Madana uprooting the tree of pride of the proud women, who is the producer of love like Śaurı «Visnu, who is the father of Madana», whose body is as beautiful as the refulgence of gold mixed with glow of emeralds, he, whose moonlike nails of the feet reduces the lotuslike hands of the kings, daily and constantly bowing down, to the condition of buds, and which has in them reflected the deer by the ·12 ŚRNGĀRAMAÑJARIKATHẢ rays of emei alds shining in their crests and having similar complexion; whose sprays of flowers of fame daily shone on the trees in the form of his hands with the leaves in the form of the sword rendered ied by the destruction of herds of intoxicated elephants, who clearly manifests the inauspicious beginning (of widow-hood) on the teai. stained cheeks, which are covered with hair, of the wives of the kings killed in battle, he is the leader amongst the valorous, foremost amongst the victorious in battle. he is the one creator who has whitened the three worlds by the tide of fame possessing lustre as white as the waves of the Milky ocean motionless because of the destruction of a great host of enemies come prostrate before him like Rāma, «e Balaiāma who is handsome and who whitened the three worlds by fame as white as the waves of the Milky ocean be-- came motionless because of the ci ushing of the powerful enemy Pralamba», he is the birthplace of wondrous deeds, among men, he is a lion with dreadful and sharp nails tearing open the temples of the haughty elephants in the form of enemies, he had pillaı-like huge hands looking like tying posts for the she-elephant in the form of the inconstant royal prosperity, who punishes the wrong doer like Indra «who destroyed the demon Ahıs, who uprooted all the insignificant Ksatriyas and exhibited his knowledge of archery like Bhārgava «who uprooted all the Ksatriyas and manifested the secrets of Dhanurveday, and who is the one house for the creepers of knowledge lıke Bhigu He is the source of Dharma, the resort of truth, the familyhouse of arts, the field of the night conduct of Ksatriyas, the pleasure garden of the creepers of knowledge, the store house of right conduct, the very life of valour, the residence of pleasures, the mine of compassion, the kinsman of learning, the chief among archers, and foremost among the virtuous; (9) as the milky ocean is adoi ned with waves, as the vault of the sky with clusters of stars, as the divine tree with sprays of flowers, as Sesa with a circle of hoods and the lake with the lotus stalks, so is he adorned with countless, joy giving, charming virtues, which are white as Sesa and which are desired by all the people In the speech of the wise who judge his great intellectual acumen, GURU does not gain such veneration in comparision with him, BHARGAVA does not possess such brilliancy, UDDHAVA does not contribute to our joy, CĀNAKYA does not come within the enumeration of the learned, and DHARMAKĪRTI does not find ground among those of keen intellect In hundredfold ways on the battle field, the Glory of Victory continuously seeks asylum in his sword that possesses the lustre similar to that of a cat's eye-gem, which (sword) is decorated with 3 ·TRANSLATION 13 a broad blade, gives joy to the earth, increases the wealth of the earth is as dark as the leaves of the white lotus plant, is unapproachable and is difficult to be plunged into by herds of enemies' elephants like a lake w'hose wateis possess the colour of a cat's eye-gem, which is adorned with big lotuses, in which night lotuses grow, which possess the splendour of blooming blue lotuses, which is dark with the leaves of the loius plants which is very deep and into which even herds of best elephants cannot bathe When his valour, born of his unique splendour which glitters like the mass of the rays of rubies, which is unsurpassable even by the sun and which cannot be conquered by others, became a city wall of the earth as of a single town, the four deep oceans assumed the beauty of a moat His fame, resembling the glitiei of the polished teeth of the Dravida women, having the complexion of the petals of open jasmine, became paste of sandal on the cieeper-like bodies of the separated-women, balls of foam on the sea, the celestial Ganges in the expanse of the sky the stalks of white-lotus in the lakes, crystal slabs on the slopes of the mountains, and white cloth in He, who is the source of bulliant fame as the Himālaya is of the Ganges, the moon is of the moonlight, the laughter of siva is of pure whiteness, and as the ocean of milk is of the moon 2 (10) Having said thus, when the Yantraputraka stopped, the Lord of the Earth himself commenced narrating- DESCRIPTION OF THE HEROINE OF THE KATHA And of that king there is (a courtesan called ŚRNGĀRA- MANJARI). She is the presiding deity of the wealth of beauty that bewitches all people, the one abode of Love, who vanquishes the treasure of beauty of the heavenly damsels by her own beauty, who has a braid of hair quietly hidden behind her like a mass of darkness whose advance in the front has been checked by the refulgence of the ever-shining moon in the form of her face, who holds as it were the white umbrella of facial beauty won by the loveliness of its broad forehead which looks like the digit of the moon on its eighth day, and which conquers the three worlds with its staff in the form on the forehead, who bears two creepers in the form of eyebrows as dark as oily collyrium, slightly bent at the corners due to the (weight of the fruits in the form of deep love, with the bunch of flowers in the form of glances, and which are continuously resorted to by bees in the form of the eyes of youngmen, (11) who is adorned ·1 ŚRNGARAMANJARIKATHA with eyes looking like a part of lotuses will unsteady bLLS Hatiun it; who looks bright with two checks resembling the dise of the ingon cut into two in order to iemove the dark spot; who de carming with a pair of shapely cais as delicate as the Sirisa fluvcı" and looking like the ropes of the snaic of the hunter Madana skilllil in Chteln, the deer in the form of the young men, who is beauteous y th the bridge of the nose, with its tip a little raised, resembling the swi of the lute of the fish-bannercd God, who Jouks splendid vith lips as red as the ipe bimba fruit oi coral of the sea of love up a lear of the creeper of Love; who is charming with the spout-like ricck with three lines, as delicate as the spring of the tices of Lt, 84 sweet in sound as a conch, who has ciceper-like arms which by ils tenderness mock the lotus plant, on which duc to the illusion of its being a lotus-stalk rests (two) hands like (tuo) open ron lolu-e: with filaments in the form of the rays of the glowing tenrier Balls and which (arms) are attractive because of their well-formod curves and fleshiness, who has a pair of bicasts, plump and well lomeri with the tips a little lowered looking as looking as though they weie couple of pots to store sensual pleasuics, who is adorned with a waist which is as difficult to be reached as the knotty thoughts oi Mimāṁsā «which are difficult to understand which waist) was 1101 visible though desired to be seen by all being concealed by the plump breasts, which though thin had accepted the three folds, which though delicate had the capacity to bear the weight oi une stout breasts, and which though in the middle yet stood foreniosi among all the charming things, whose waist was decorated by i navel as deep as a lake fit enough for the scented elephants of Madana 10 enter for merriment, whose abdomen was divided into two by a line of hair affoi ding comparison with the string of the bou of Snara and the line of rut oozing from the elephant of youth, possessing the temples in the form of breasts, who had hips as wide as the jewei slabs of the pleasure mountain looking like a moving place for the elephant in the form of Madana, whose lower poition (of the body) had two thighs resembling two tying posts of the intoxicated elephants of Madana and which resembled the trunks of the golden planlain placed opposite each other, who looked shapely with highs which were wellformed and symmetrical, not very straight, graceful and which surpassed the plantain stump in its softness; whose loveliness was augmented by the feet which were like two lotuses offered as gifts by the lake of lotuses, being itself vanquished by the splendour of the moon in the form of her face, whose pair of feet weic adorned with a row of well-grown glowing nails as if they were a row of mirriors of Kandarpa to see all the limbs, who was enveioped in lovliness which over-flowed after completely filling in all the limbs, just as she was always surrounded with servants, who was wearing ·TRANSLATION 15 a pair of emerald earings looking like a pair of wheels of the chariot, of Love in the form of her moon-like face, who every day increased the shade of the patra-latā painted on the cheeks as if for affording rest to the eyes of the lovers pained by the anguish of the fever of love caused by the flow of excessive beauty, wearing on her bosom a-necklace looking like a clear stream of nectar flowing from the pot-like breasts for the coronation of king Madana, looking like the banner of victory of her own good fortune and bearing resemblance to a slough of the snake in the form of Madana, protecting the pots of the treasure of love in the form of the breasts, (12) She vanquishes Rati, even the uncensured meet her, she speaks sweetly and nobly, smiles even when laughed at, gives up vulgarity, and is not given to too much sexual pleasures, she pleases others though not in love herself, and comes in contact with the lovelorn, though not attached herself, (on seeing her) even Goddess Śrī, who considered herself to have surpassed the Glory of Beauty by her own beauty, betook to the lotus grove, she seemed to be created by the Lord Creator, a lake of loveliness, full of the sentiment of love, for the elephants of Love to wander about, pleasing due to the blue-lotuses in the form of eyes and blooming day-lotuses in the form of the face, adorned with the lotus plant in the form of the delicate creeper of hands, with a pair of Cakravāka birds in the form of high and plump breasts, possessing a whirl pool in the form of a deep navel and glittering waves in the form of the three folds (on her stomach), she was as if another conquering weapon created by Madana for gaining victory over the three worlds after seeing the uselessness of his own weapons in the strife with Śiva She is unrepulsive in dress, faultless in local dialects, civilized in talks, distinguished in both kinds of sixtyfour arts, clever in grasping the ideas of KĀMASŪTRA and the like, bold in questioning and answering different kinds of puzzling riddles; alert in eloquence, in lāsya dance, she has attained her mark, she is unrivalled in completing stanzas, well-enlightened in essays and treatises, excellent in composing poetry, foremost in composing gāthās, extremely interested in sports, moderate in drinking, turned away from vices, introspective while considering the purport of poetry, undeceived by clever speech, beyond censure in music, foremost in playing instruments like the drum, great in sacrifice, not very greedy and knowing different ways of playing lute and dancing It seemed the royal swans adopted graceful movements from her lotus feet, the plantains drew shapeliness, softness and delicacy ete from her thighs, the mountains drew the expanse from her buttocks, the lakes acquired depth from her navel, the rivers took the beauty of the waves from her abdomen with three folds, Smaia ·16 ŚRNGĀRAMANJARIKATHA fashioned his bow-string from her beautiful line of hair; the Cakravāka bırds learnt keeping close company from her pair of breasts; the lotus plants drew out tenderness from her creeper-like hands, the Aśoka sprouts took loveliness from her lotus-like hands, the conchshells adopted the beauty of three lines from her neck; the clusters of corals drew from her lips the natural excellence of redness, the Kanakaketaki acquired pure brilliance from her cheeks, the doe took unsteadiness from her eyes, the Pundarīka took whiteness from her, the Ketaka leaves took sharpness, the good adopted straight-forwardness, the bees blackness; the moon its curvature from her pair of creeper-like eyebrows, the knots of the string of Smara's bow the beauty of form, the strung bow of Love acquired the beauty of form from her forehead, the plumages of peacocks got the charm to allure mens' mind from her braid of hair; the fullmoon drew constant splendour and the charm of bewitching mens' eyes from her face, the cuckoo drew sweetness from her speech, and the beds of salt took salinity «loveliness from all her limbs, (13) In not using the following bevy of helps the Lord Creator must have procured some other implements for the creation of her beauty Thus he did not take the mass of hair of the camari, not the plumages of peacocks, not swarms of bees, not the crescent moon, not slabs of gold, not blooming Indivaras, not Ketaki leaves covered by bees at a corner, not the graces of doe's eyes, not Pātala flowers, not the beauty of the staff of Madana's lute, not the Bīmbi fruits, not the Bandhujīva flowers, not the clusters of corals, not the sparkle of the seeds of the ripe promegranates, not the cooing of the cuckoos, not the notes of the lute, not the beauty of Bandhuka flowers, not the white splendour of blooming Kanakacampakas, not the knots of the bow-strings of Smara, not sprouts, not conchshells, not lotus plants, not the Syāmā creeper, not fresh leaves, not red lotuses not pairs of Cakravāka birds, not the temples of elephants, not the waves of the river, not the loveliness of Smara's bow-string, not naves of the wheels of Madana's chariot, not slabs of precious stones, not slabs of gold, not trunks of plaintain, not the teeth of the Lord of elephants, not Kokanadas, not pearls, not the stars in autumn not the gait of the Lord of elephants and not the movements of the royal swans And yet the wonderful Creator created her, a storehouse of wonder Oh! the skill of the Creator in fashioning this supernatural beauty' She possesses 'lāvanya' «loveliness yet is not saline «caustic, though common «harlot» is uncommon «unique», she becomes attached to any one near at hand like a crystal doll «which takes the colour of any adjunct placed near itr, she loves no family like Draupadi «who loved Nakulay, she exhibits fleeting fancy like the rainy season in which lightning is seen with whom all desire to sleep ·TRANSLATION like night when all wish to sleep, she produces love like the nonfighting Krsna -uho generates love', she smells sweet by the musk of deer like the land of Nepāla “which is fragiant with the musk of deer», she has a pleasing and sweet voice like the grounds of Udyāna which have sweet-voiced cuckoosa she is adorned with patrabhanga of Kālāguru like Prāgjyotisa «which has leaves of Kālāguru«, and her eyes are intoxicated due to much sleeplessness like a female snake <whose eyes are intoxicated with poison and many young ones» She looks beautiful with knots of curly hair like the army of Gods which has rounded snares of Varuna, she has beautiful hair like the slopes of Kailāsa which has the city of Alakā, she has beautiful nose like the favourite folk lore of people which has descriptions of the iegions of Nāsık, she speaks charmingly like the forest regions which abound in lovely Tamāla, Panasa and Āra trees, she has a charming lower-lıp like the earth which has a fine Sonā mountain; slie who shows hei cotton string round the loins like the stage where trunks of plaintain are used as decorations, she has long beautiful eyes like the story of Hariscandra in which the one with beautiful eyes was sent away, she has a well shaped neck like the Kiskindhā cave where Sugrīva lived, her well-formed and long hands are well-known like the story of Rāmāyana in which the denons Subāhu and Prahasta are famous, she is fascinating with a navel and plump breasts like the rainy season which is pleasant due to the rumbling of clouds, she has a slender and beautiful waist like the metre Uljavalā where the middle syllable is short, she has uniform thighs like the country which has multitudes of beasts, she is familiar with the gait of the royal swans like the cavities of Krauñca mountain where the footsteps of royal swans are common, she has well-formed pair of thighs like the dice-playing of the Kurus and the Pāndavas in which the fight of thighs had started, and who utters amorous words like the prose composition "ŚRNGARA- MANJARĪ which has elegant words She, being in the midst of the iefulgence of her body spreading everywhere, seems to laugh at Lakshmi standing in the middle of the waters churned by the Mandara mountain, she turns the steady looking mortals into immortals with unblinking eyelids while gazıng at the beauty of her limbs, ; who causes the paramours to experience a terrible, strange and poignant feat of unconsciousness, (14) and who vanquishes the unbent groves of lotuses by her pair of eyes, straight and constantly moving Her moon-face is singular for it is always fully formed, its lustre shines forth even during the day, it has abandoned the spot, it has friendship with day-lotuses and enmity with night lotuses, and it possesses a lustre which produces passion in all, she decks her hair with sprays of flowers as if they were the arrows of the flower-arrowed-one for piercing the hearts ·18 SRNGĀRAMANJARIKATHA of lovers, from her naturally fragrant lotus-lıke face, beautiful with the leaves in the form of the red lips, and shining bright with the pollen in the form of the lustre of the teeth, the rows of bees in the form of the eyes of the young men with steady lotus-like eyelashes did not move even a step as if intoxicated with drinking the honey of her beauty, she has two bowls in the form of breasts, big and plump, and filled with the water of loveliness for extinguishing the fire of passion burning in the hearts of the lovers It seems, for a study in creating her beauty, the Creator first created young-damsels like Laksmī, Rati and other apsarases, otherwise, how would it have been possible to create such loveliness which needs distinguished skill in production, and which conquers by its feminine beauty all the three worlds? Who are the persons who love her not? What are they? Who are not deceived? Who aie not cheated? Who have not given their all to her? Where are the brāhmanas, kings, princes, merchants, kāyasthas and famılymen who have not become her slaves? He who knows her thinks that he alone is dear to her, and that she loves him only She sometimes receives herds of elephants, sometimes teams of horses, sometimes heaps of gold, and sometimes curious and gorgeous jewels and clothes Thus her riches which daily augment become plenteous Even then she does not give up harlotry She gives a promise only for five-hundred gold pieces, and because of the splendour of her unrivalled beauty, she never sleeps alone DESCRIPTION OF ŚRNGĀRAMANJARI'S MOTHER Her mother's name is VISAMASĪLĀ who is respected by all the wanton women of the king's retinue, whose figure is worn out due to old age, whose hair look like the flowers of Kāśa and Kuśa grass, who has a face broad as a dry, three-days old, hundredpetalled lotus, which (face) lengthens everyday with the desire to devour the Vitas who come there remembering her bygone glory who has a pale wrinkled forehead closely resembling the fruit of Śrīparnī, who has a pair of eyebrows resembling the horns of an old buffalo who has two eyes, slightly sunk in due to old age looking like two dark pits for the men blinded with love to fall in, who has a flat, thick and big nose which can be compared to the root of an Alābu, whose lips have the shape of the upturned Mallıkā leaves, whose ear-lobes are like cords for tying the paramours, whose naturally broad cheeks have become all the more broad due to the looseness (of skin) in old age, (15) who, because her teeth had fallen, contracted frequently her long lower lip as if to devour the world, whose two-three teeth were visible like those of a dangerous poisonous snake; whose limp, thickset and broad neck resembles the neck of a young wild buffalo; whose joint of the neck is chained by ·TRANSLATION 19 a series of arteries which look like footpaths for the coming of other's wealth, whose arms are like the body of an aging python, suffering in hunger, whose hands look like the fruit of the Kośātaki, flattened, rough and dried up in the heat of the sun due to the network of arteries seen everywhere from the elbow downwards, who has a heart harder than the joints of the limbs which have corns, who has breasts resembling the big and flat wooden jugs tied to the pagotta, who has joints falling on the sides and the back as if she were with effort holding hiding places for her conduct, who is exhibiting a waist scarcely visible being concealed by a very prominent navel as if it had run away due to the fear of excessive sensuality, she drinks space as it were by her enlarging and broad buttocks; she is adorned with a pair of thighs resembling the staff of an oilmachine, she has two shanks resembling long and ripe cucumbers, and she has two worn out, flat, frog-like feet It seems she desires to swallow the three worlds as her upper part of the body is slightly bent down and the corners of the mouth are open, she seems to provide a swing for Old Age because of her acquaintance with her since a long time, in the form of the loose hanging flesh of the arms, she brings to light a picture of her ownı conduct by all her limbs adorned with white and wasted scratches of the nails made by the vagabonds and rivalling the lines of the chalk like Madana's gambling leather board, who establishes her unsteadiness in all her limbs by the loose flesh, who resorts to childhood even though old, as some of her limbs were hunched, sho with her nose curved like a parrot's beak and with her eyes fixed down is as if desirous of dragging out the serpents possessing flashing jewels even though they had entered the netherland, who is a cave for hiding the great treasure in the form of cheating the world She valued the three worlds at the price of grass, her teeth has fallen like the course of Kaliyuga «when the brāhmanas have fallen in rank», she has turned away from amorous sport like a bitch «who in coition turns her face another way», she has destroyed all the amorous persons like the beak of garuda «who devours all the serpents, she is in the company of friends intoxicated with wine like gardens 'where swarms of bees are intoxicated with honey», she enjoys seizures like the conduct of the begging brāhmanas "who welcome alms»; she eats lots of fish and goats like the moon who passes from the zodiac of Mina (Pisces) and Mesa (Aries)», she has hundreds of pearls like the Tāmraparni river «which has hundreds of pearls> she is full of hypocrisy like the behaviour of a cat in which deception is prominents, she aims at another's wealth like the minds of a great men «which are intent on doing good to others, she has conquered the three worlds by her adventuies like Vāmana «who covered the three worlds with his footsteps, she has ·20 SRNGĀRAMANJARIKATHA effected a state of enjoyment of wealth procured by deceit like the tenet of Pancarātia according to which the state of enjoyment (similar to gods) is achieved by the power of Māyā», she is void of love like the grains of sand which have no oil“, she has devoured all the wealth like the Ganges «hich has covered the whole world», she is hard to be understood like the form of Viśvarūpa „which is difficult to look at», she is clever in making room for another by means of rules like the rule of Grammar «in which the preposition turns the (verb) into parasmaipada», she is skilful in cieating beauty like a group of students «clever in knowing the declension of forms», she is intent on shaking off (people) like the mind of a sage «eager to obtain salvation», she has destroyed other people like the tenet of the Lokāyatas who do not accept the existence of another world», and she captures a person by the means by which he can be taken in to the best of advantage like the policy of CĀNAKYA <by which a person can be captured by any means» She is proficient in arts, quick in reading the minds of others, conversant in the profession of courtesans, smart in cheating others, (16) an expert in subduing the arrogant paramours, clever in deception, conversant in talks piactised by harlots bold in speaking purposeful words, and has the sharpness to get together those separated She shows everything but does not give anything, sometimes, however she gives a little and then takes away even the hidden treasure as water gone into the ears is drawn out by the juice of vāla she has mastery over the secrets of harlotry, she is never cheated by vitas, she is requested by dhūrtas for deceiving others but is never troubled, she deceives others but is never deceived herself, she stupefies others but does not become stupefied herself she troubles others but is never troubled herself, she bewilders others but is not bewildered herself she gives hopes but like a mirage never fulfills them She is the abode of falsehood, the house of hypociisy, the mansion of delusion, the residence of roguery, the path of bad conduct the place of false modesty, the resort of courtesy, and sole actor of the drama of deception It appears that she is the movement of Fate's designs, the doen of evils and the destioyer of good things, her beginning, middle and end is not known like that of destiny, she is nice but cannot be thought of like Avidyā, she brings about bad after-effects like the eating of the Kimpāka fruit she shows straightforwardness, but is wicked in actions like the body of a ser pent «which is straight but moves zigzag“, she does nothing good to others like worldly life in which there is absence of the ultimate reality» She is the stoie-house of adharma, the mine of flattery, the life of deceit, the residence of adventure, the origin of sin, the place of fickleness, the house of conciliation the mansion of fraud, the house of pretence ·TRANSLATION 21 the banner of the victory of the Kalı Age, the co-student of the poisonous creeper, the uterine sister of the slaughter house, the friend of cat the companion of wolves, the paternal aunt of witches, the sister of female serpents, the creation of vileness, the fear even of Fear, the (Goddess) Mārī even of Death, the cause of trouble even to Trouble, the home of greed and the fiame of the sub-marine fire of the blood-ocean It seems the cat learnt deceitful glancing from her, the tiger attacking, vultuic quickness the she-mice the love for desired objects and the snakes finding of holes She is always crooked and erring like the crescent moon «which is curved and resoi ts to night», due to the influence of her instructions even the unfortunate harlots who have no beauty and wealth are able to make their paramours act like servants by making them do what they desire, who, being as crooked as the point of the parrot's beak, impoverishes even the thoughtful by draining off his resources like eating of corn after removing the husk She deceives even the clever unsettles even the steady, makes a fool even of the wise destroys even the learned, dances about even the dhūrta, makes the clever foolish, cheats even the talented, surpasses even the wise, renders weak even the daiing, and wastes even the skilful She abandons (a man) after taking away the quintessence like the barber who after taking away the dye and throus away the dry alaktaka-biush, she falsifies even the teachings of Sukra and Angirasa, she desires to swallow even learned brāhmanas, she is fond of dry meat like a demonness and she does not leave out even the bones, she is an addict to drinking wine like a bee -which is greedy of drinking honey', she is sweet in speech, wicked in mind, pleasant outwardly cruel in actions, straightforward in talking, and not firm in keeping the promises given to the paramours She is huge in size, petty in actions, long in stature, mean in nature, gross in body, subtle in actions (17) She cries heartbreakingly to provoke those present like an actress «who cries to impress the audicnce Sometimes she laughs without a cause At times she scolds her daughter, at times she propitiates her, sometimes she quarrels with her, sometimes instructs her, sometimes drives her out of the home and sometimes even prevents her going out She drives away the poor, and abandons the pauperised like the dead She disiegards people after knowing their worth as one desirous of liberation becomes indifferent towards the world after knowing its essence, her body is filled with air like the bellows of the blacksmith, being herself desirous of wealth she scorns her own daughter for being (favourable) towards a poor person The crane does not leave her form, the wolf does not leave her deceitful actions, the panther does not ·22 SRNGĀRAMANJARIKATHA leave her sight, the śarabha never leaves her while leaning others to peices, and the young one of an elephant does not leave her in creating hullabaloo Her body is always covered with a thick cloth like a veil concealing acts that should not be done, and for hiding her invisible inner self Her sole pleasure is in committing sin though she knows the highest truth «essence of others. her skui is soft being fleshy, yet she is hard, she is big yet she is mean, she is charming yet she is harsh, and she is quiet in action yet she is like the God of Death Herself iestrained, she oppresses others, herself bold, she weakens others, herself wasted, she destroys others. herself pleased, she abandons others, herself becoming a possessor of a lover, she makes him devoid of possessions, she whitens a man le makes him anaemics (even) she weakens la person) after resorting to good colour sie gold» like a lump of mercury which whitens gold», she gets irutated with a golden pillow like Ni simha «who was angry with the demon Hiranyakaśīpu» though bı inging about a union her heart is bent on separating others, she constantly sells others' flesh like the wife of the meatseller, she is constantly moving though due to her heavy belly, hips and thighs she cannot walk much, though full of artha (wealth) she bestows anaitha (evil) on others; though Narmadā «giving pleasure to others she is Tāpanī «gives pain», though Gambhīlā «deep, (ie difficult to grasp) she is Sambhramavati (full of fickleness, though deprived of her beautiful form (by age) she has acquired (artificial) beauty It seems the flesh of others has taken resort to her (body) out of feaı knowing of her intentness in eating meat, she is difficult to be pleased with drinking wine as also by sexual sports, she is ever unsatiated with meat as also with others' wealth, she is fond of eating like an assembly of Brāhmaṇas, she enjoys men and has the characteristic of not doing good to others like the Sámkhya philosophy «in which the eternal Purusa is the enjoyer and it has no Ultimate Reality, she is as unsteady as the transitory nature of the world as taught by the Buddha; to her wealth is the only important thing like the teachings of Kanāda «according to which diavya is the most important category», she accepts many masters like the love of Aksapāda «which gives importance to īśvaras, she is clever in making others foi get like the wisdom of Prabhākara «which believes in the annihilation of remembrancer, hei talks are chiefly about wealth like the thoughts of Kumārīla «in which laudatory texts are importants She laughs at magicians as at childien, she looks upon Naya and other demons as mad people, she ieckons the crafty-minded Kautilya and others as dull boys, she recounts Ušanas and others in the matter of Upanisadas as bei eft of power due to old age, she talks about Müladeva as a biinger of roots only she looks out for ·TRANSLATION 23 Saśın like a hare to be eaten, she takes pity on astrologers as on wretched beings and she regards Somāditya as fit to be crushed like the Soma plant She causes anguish to all like the summer, she makes all people tremble like the winter, she exhibits many changes like a nest of birds in which many activities of the birds are seeny, she is unpleasant in her thoughts like the world «which is not interesting”, she spreads poison like the occasion of the churning of the ocean "when on all sides kālakuta poison was thrown out, like the Puiāņa she instructs some by Kathās, some by Akhyānakas, some by Kadavakkas, some by Manikulyās, some by Distāntas and some by Nidarśanas She knows the language of the birds like fowler She is a scaffold for the paramours, the slaughter-house of the beasts in the form of vitas (18) and the snare for the animals in the form of Singas She is the proper stage for the drama of frauds, she has brought the fall of many beast-like men into her various snaies like Māyā “in which the Jíva becomes entangled in various bonds like anger etc » She is fed on the blood (of others) continuously like a leach «that fattens on sucking blood», she has increased her wealth by loosening the knots of others' (money-bags) like an assembly of dindikas «who store wealth by deftly drawing out others' moneybagsr, she lives on the anxious and the extremely passionate lıke the means of livelihood of a physician «which depends on very ill persons», she is surrounded by dhūrtas and served even by vitas, she is ugly yet she is not compassionate, she loves to drink from the decanter like the rows of trees tended by the sages «which are nourished by water sprinkled from pots, and she is given to indirect inode of expression like Viśvambharā(?) «who lives on the Vakrotı mode of speech A LESSON FOR ŚRNGĀRAMAÑJARI Now, once, during the last quarter of the day when the sun had mellowed, VIŞAMAŚĪLĀ seated on a nearby bed, spoke to ŚRNGĀRAMANJARĪ who had just finished her meals and was reclining on a rich bed under a canopy bright with many jewels "Child, being intoxicated with your good for tune that is on par with your beauty, do not err Generally speaking, how many unguarded courtesans have not been deceived by dhūrtas? ot been deceived by dhūrtas? How many have not been cheated? How many have not lost their all? Therefore, daughter' always be cautious in guarding your mind and your wealth Always be careful to (practising) the art of harlotıy and in propitiating the minds of others For, it is possible to please a person only when his mind has been attracted, and he only whose mind has been propitiated dedicates his wealth and his life You who are proud of your fortune, have not known till now how once ·24 ŚRNGĀRAMAÑJARĪKATHĀ a person's mind is known, how he should be pauperised and then driven out How the same person should be contacted again in affluence, how a person should first be attracted, how he should be made constant when after once uniting he wishes to be separate, how he should be won over again by unequivocal love once he is displeased, and how his mind should be drawn towards you once he is attached to another The dispositions of the mind of all beings are difficult to understand Men have different minds and If there is a timid person he exhibits valour, if he is greedy he becomes charitable, if he is generous he becomes a miser, if he is unfortunate he acts like a fortunate man A merchant acts like a Vita and a Vita like a merchant A poor man even acts like a richman One man is inclined towards Dharma, another is intent on wealth, and a third is predominantly sensuous Thus when minds are of such diverse dispositions you must properly understand the working of the mind first First, without becoming attached to a person, he should be dispossessed of all his wealth by either encouraging, flattering, spurning, frightening or pleasing him according to his bent of mind, then he should be driven out Under the circumstances, the rāga of a person should first be considered When harlotry is practised without knowing the natue of rāga it is fruitless But when it is used after the rāga is known it happily yields fruit Rāga is of 12 kinds. Nili rāga, Rīti lāga, Aksıba rāga, Mañjisthā rāga, Kāsāya rāga, Sakala lāga, Kusumbha rāga Lāksā rāga, Kardama rāga, Haridrā lāga, Rocanā rāga and Kāmpilya rāga (19) The Nīlī rāga, the Rītı rāga and Aksıba rāga form one group The Mañjisthā rāga, the Kāsāya rāga and Sakala rāga another The Kusumbha rāga, the Lāksā rāga and the Kardama rāga yet another, and the Haridrā rāga, the Rocanā rāga and the Kāmpılya rāga a fourth class In the first group of Nilī rāga, the Riti and the Akşıba rāgas are less steady than the Nilī rāga, still on the manifestation of the Nilī rāga they are seen In the Mañjisthā class the Kāsāya and the Sakala rāgas are less steady than the Mañ- Jışthā rāga yet they come to light on the appearance of the Mañjistha rāga In the Kusumbha lāga class, the Lāksā rāga and the Kaidama rägas are less steady than the Kusumbha rāga, yet due to the manifestation of the Kusumbha rāga they reflected In the Haridrā rāga class though the Rocanā rāga and Kāmpilya rāga are less steady than the Haridrā rāga still due to the shining of the Haridrā rāga they ieflected Thus though lāga described to be of twelve shades, other become merged in these four, to satisfy your curiosity, shall explain it to you only in its four kinds' Nili rāga, Mañjisthā rāga, Kusumbha lāga and Haridrā rāga are are 1S as the I ·TRANSLATION 25 The (man of) Nili rāga should be abandoned after taking away his essence like a cloth, the Mañjisthā rāga should be dispossessed (of his resources) at your pleasure, but should not be led to be disinterested The Kusumbha rāga cannot tolerate much flattery, therefore without any flattery, his resources should be drained out whether the circumstances be favourable or or not The Haridrā rāga soon becomes estranged, therefore, he should be quickly drained (of his wealth) Therefore, the secret of the profession of harlotry is this that one's own self should always be protected from love as from a tiger In the world, many sensuous persons have been deceived by harlots due to their rāgas I shall tell you how Listen - THUS ENDS THE 'LESSON FOR ŚRNGĀRAMAÑJARI IN THE SRNGĀRAMANJARIKATHA COMPOSED BY MAHĀRĀJĀDHI- RAJA-PARAMEŚVARA-ŚRIBHOJADEVA THE FIRST TALE OF RAVIDATTA Here in the town of Kundinapura dwelt a rich learned brāh mana called SOMADATTA In his old age he begot a son by propitiating the Sun, the giver of desired objects, by observing the Vijayāsaptami As the child was given by the Sun, the father named him RAVIDATTA By the time he was sixteen years old, he was given the sacred thread and he studied the whole literature of the Vedas and the Vedāngas according to rites and mastered all the sāstras His father then, being aware of his being rich, taught him all the arts as a remedy against the danger of his being ruined in future, the secrets of harlotry as laid down by DATTAKA and others was specially made known to him One day, calling him in private he (the father) instructed him "Son, youth is dense darkness and it cannot be avoided by living beings, Madana is wicked and wealth is the one abode of intoxication The mind by nature is as inconstant as a drop of water on the lotus leaf, senses are as unrestrainable as untamed elephants, the objects of pleasure are naturally fascinating (20) and amongst these especially young damsels The beginning of the monsoon and the autumn and the other seasons are great excitants And who can possibly resist Love, their friend? Theiefore, you should conquer the group of six enemies, then the senses, then the inspiration of the wicked people in proximity, then the contact of wanton women For wanton women the sisters of the female drstivisa serpents produce infatuation of the mind even from a distance The teachings of the elders slip away from the infatuated mind, the study of Šāstras glide away from a distance, teaching is brought to a naught the sense of self-i espect is lost, the pride of class, etc disappears, ·26 ŚRNGĀRAMAÑJARĪKATHA the bridge of character melts; courage fails, discrimination disappears, strength is crushed and maturity flies away Many who have erred have been destroyed The company of the wicked which is void of affection by nature, should be avoided even from a distance, the sight of dhūrtas is as undesirable as bad dreams and the company of singas is the unbolted door to evils The sound of the triple harmony of instrumental music, singing and dancing is the drum announcing the banishment of wealth, songs are the hunter s songs to capture the deer in the form of mind, the merriments of pleasure-gardens are vital blows to wealth, the dips in waters for sport are the drowning of wealth religious pilgrimages are the funeral processions of prosperity, the impassioned glances of young women bring about evil like drudgery, dice are the enemies of discrimination, the ties of friendship with singas are tightenings of fetters, gambling is the secret intention of acquiring wealth, the courtyards of prostitutes are sisters of slaughter houses, the streets in vicinity of brothels are unwholesome, therefore, being cautious, you should act in consideration of your own position Who have not been reduced to the state of derision by acting contrary to their rank and position? We hear that even powerful kings like Purūravas and others were brought under subjection by courtesans like Urvasi and others" Now as days passed by, when his father had died and his mother followed him, and when with the passage of time his sorrow had lessened Spring, the fiend of the fish-bannered God and the dancing teacher of the actor, sentiment of love set in (It was the season) when gradually the mango groves were inlaid with clusters of buds, when the throats of the cuckoos became red with singing in the fifth note when the Mädhavi creepers were pained by the repeated blossoming (of flowers), when the thick clusters of lotuses smiled a little on seeing the perplexities of the separated people, when the forests of Kimśuka trees, because they were full of burning charcoals (in the form of flowers), appealed as if enveloped in the flames of love uprising after the smoke was seen first, when the Aśoka trees causing anguish to the separated ones by the abundance of blooming clusters were flashing in all the directions like the fire of love, when buds of blue red and tawny colours, looking like Rati s bejewelled sporting ornaments, cropped up, fascinating the minds of all when swarms of bees desirous of the fine fragrance of the Kurabaka trees did not steadily remain anywhere because they had no attachment like the group of the separated, when the rows of trees attained loveliness like a new bride, being covered with a veil in the form of the fresh leaves; when the cooing of flocks of cuckoos was heard everywhere like the sound of the twanging of the strings (of the bow) of the flower- ·TRANSLATION 27 arrowed-one practising with arrows for conquering the three worlds, (21) when the rows of bees on every flowering tree looked beautiful like the string of the bow prepared by Spring with a garland of black Kunda flowers for the fish-bannered God, the best archer in the three worlds, when the leaves of trees gleamed as if they were the chaplet of the Glory of the garden come during Spring, when the Malaya wind, carrying the perfume of the newly blossomed Bakula flowers, blew gently from the southern direction for enkındling the fire of love in the heart of travellers when the banner of Manmatha made of silk was waved on every tree by the continuously blowing Malaya breeze like the love of couples, when the love songs which were like the songs of the hunter for captivating the deer in the form of love, of the women busy swinging and not afraid of the embraces of their pitiless lovers spread in all directions as if they were the proclamations of the victorious iule of Smara, when the nights became short as if out of compassion (thinking) 'who amongst the separated lovers would bear long duration”, when during the days, heat increased as if due to repentance (thus) 'Ah! how much more will the separated lovers suffer at our coming during the Spring, which is a friend of Ananga and the abode of all pleasures", when the directions were enveloped by the thick mass of pollen from the clusters of open lotuses spreading with the winds, looking like the fire of calamity indicative of the destruction of the separated ones And when it seemed that from everyside from the earth uprose the fire of love of the separated ones in the form of garden ponds full of thickly growing Kokanada clusters, the trees in the pleasure ponds continuously putting forth new sprouts, the Asoka trees marked by numerous clusters of flowers and the forests of Kimśukas flowering in all directions Once, (in spring) RAVIDATTA was thus spoken to by a company of Vitas, "Today is the festive procession of the fish-bannered God If it is not seen what is the use of life? What is the use then of this fruitless pair of eyes? Ah, gentle one' even if you have no curiosity, still complying with our wishes you should definitely come to see it If you do not come, have we no authority over you to make you fulfil over desire? Therefore, come along, we will go He remembered his elders' instructions and did not wish to go, yet, as if forcibly instigated to go forward by youth that followed him, and as if pulled in front by the senses as by friends, like an intoxicated elephant, he went to the pleasure park called KUSUMĀKARA The (garden) was like a storehouse of weapons or a place of enjoyment or the house of pleasure of the fish-bannered God he. cause of the buds on various lows of trees or because of the abundant blooming flowers, which (garden) looked splendid with the ·23 SRNGĀRAMANJARĪKATHA Bakula trees emitting under the pretext of the fragrance of the flowers the scent transferred to it by mouthfuls of wine by the women intoxicated with youth, where at some places at the base of pleasure hillocks, the Kurabaka trees stood like lovers with hair standing on end due to the opening of innumerable buds at the touch of the pol-like breasts of the women inebriate with youth, where at some places the sides of the pleasure lakes were adorned with Tilaka trees looking like the storehouse of the flower y-arrowedone's weapons, with the thickly grown sprays of blossoms opening as they were made the object of the eyes of the doe-eyed ones, as long as a garland of Kuvalaya petals, with their corners inconstant due to drinking, where the border regions of Ananga's mansion was decorated with branches of Asoka trees which were like the abode of the fire of Love, which (trees) were marked by an abun. dance of bunches of flowers and leaves on being kicked by the lotus feet of the women which (feet), had natural redness as if they were, coloured with the Alaktaka dye, where at some places the sides of the the tanks looked beautiful with the trees looking like the golden necklace of Ratı because the lows of thickly growing yellow flowers were opening out at (22) the sweet and soft notes issuing from the throats of the slightly intoxicated women (The · description of the the pleasure paik KUSUMĀKARA, ends, here There RAVIDATTA sees the mansion of Madana which is made of white ciystalline stones In the mansion he sees lovely woman looking like the presiding deity of Love Seeing her RAVIDATTA wonders about the skill of production of the creator, that --) "This one, who by her loveliness has put aside the beauty of the divine damsels has been created by the creator) with great efforts after giving up his other creations in order to prove his skill in production Since the beautiful things that are used to make her limbs do not resemble even singly the Kamala, the Kuvalaya the Asoka, the moon and other things On seeing her he thought-'Oh in creation this is an unparalleled achievement of Prajāpatı, a matchless type among the class of women, a new sea of loveliness, an elıxır of the life of love, a new form in forms, an incarnation of youth even of youth, the loveliness of loveliness, an excess of beauty even of beauty, a flood of ambrosia for the eyes of the onlooker, a chip of camphoi to the eyes of young women, another creator for the creation of Ananga's body, gain of an unconquerable and a novel weapon to Madana, another magnet for attracting the hearts of all people, an embodied fruitfulness of the eyes of all men, another pleasure-ground for pleasures, the one cause of perplexing people by her own coquetry, the one abode of love, the life of learning, (23) the stage for the teacher of cleverness the highest glory of greatness, an unparalleled home ·TRANSLATION 20 of matchlessness the breath of good fortune, the life of good form, the presiding deity of the graces of love, the seal of creation of the world of Prajāpati, the unrvalled mistress of the mind-born-one, a magnet-doll for drawing the hearts of people, the charm of attraction of thc minds of all the people love even of Love, coquetry even of coquetishness: sweetness even of sweetness, generosity even of generosity the life of even the Fish-bannered God who was consumed by the fire of Hara's eyes the cleverness of cleverness, the field of for tune even of good fortune, the source of happiness of the onlookers, the wand of delusion for the people of the world, the embodied knowledge of magicians in subjecting the minds of the clever people the main cause for producing disgust for other lovely things, shc bungs good fortune even to good fortune, she is Nadana s laughter at the creation of the other Creator, the pride incarnate of the mind-born-one the radiance even of refulgence the bcauty even of beauty the perfection of the creator - sculptor the one happy and chance production of the Creator for the blooming of the lotus-faces of men, a lossing Have in the ocean of love, the cleverness of cleverness, a new thing for novelty, a new gush for the original crcation of Prajāpati, the beauty of beauty the theatre of mind-born-one for the entertainment of all people, the perfect splendour of splendour, the seed of wonder; the annihilation of iemembrance of a similar thing, the one iesort of distinctive elegance, the beauty of beauty, the grace even of grace, the unique love of love, , the youth of youth, the infatuation of infatuation, the wonder even of wonder, the cause of respect even of loveliness, tho one abode of distinctness, the one cause of making ugly the moon, the Kamala the Kuvalaya, the Indivara and so on, the limitless beauty of endlessness, the bow string of Kāma, the embodied residence of the mind-born-one attachment even of Rati, the goddess of all luck to the entue class of women, the cause of uprooting men of ordinary intelligence, the Nandana garden for the production of the wishfulfilling tree of the sentiment of love, the embodied essence of the world, matchlessness of matchlessness, the new dancing teacher for the dancers in the form of the iris of all men, the new enemy of Śiva for giving rise to Madana, the banner of the victory of beauty, the complete absence of similarity, the cause of satisfying the thirst of the eyes of all the people and the cause of the eternity of the flowerarrowed-one Thinking thus (about her) he stood there a long time as if stupefied as if fainted, as if painted, as if infatuated and as if his body was stricken by the abundance of Smara's arrows She also on seeing the youth of charming form and opulent appearance became enamoured of him for a moment She frequent- ·30 ŚRNGĀRAMANJARĪKATHA ly glanced at him with affectionate eyes and exhibited her love by amorous gestures Inferring his affluence from his form, she thought-'Ah' after a long time a treasure had been obtained, after a long time the tree of hope has bloomed, desire has flowered, and ambitions have borne fruit (24) Therefore, hence forth, let artful graces ievive and let the secrets of harlotry become manifest Thinking thus, she started talking smilingly to a friend nearby and looked at him now and then making graceful movements RAVIDATTA, who till now had not experienced the charms of love knew that very moment that she was enamoured of him, and as if coached by the Fish-bannered-one himself, understood that the gestures were directed to him only. He became doubly excited in mind with love, and thinking that his reactions should not be known to the others, he slowly entered (the mansion) and after performing the worship of Kandarpa, the destroyer of the pride of the three worlds, and offering salutations duly, he went away Then under the excuse of seeing the pleasure park, with the mind not fixed elsewhere, thinking of her only, he proceeded towards his house She also, following him with her friends, not avoiding his glances and exhibiting various loye gestures, went to her house or When two three rādzkās of the day remained, she, VINAYAVATI, sent her dear friend SANGAMIKĀ to his house Going there she stood at his doors for a moment, then announced by his young friends, she entered Taking her seat she said 'I have something to say, give me a private audience', and stopped RAVIDATTA, recognizing her as her (VINAYAVATI'S) companion, was pleased He indicated with his eye-brows the company of friends to go elsewhere Getting an opportunity she said "Good one! though this is against your rank and position yet as I am inflicted by anguish because of my mistress, I tell you this, please listen Since your loidship came within the sight of my mistress during the festive procession of Madana, you have entered her heart cleft by hundreds of arrows of Smara Since then her heart is pierced by a shaft, her mind is intoxicated, her body trembles and her breathing is heavy, her eyes are anxious to see you, her ears are delighted to hear your virtues, her speech is pregnant with your name and her desires are to be united with you You are a righteous man, therefore give my friend the boon of life Take compassion on the wretched one by coming there yourself In your smrtıs and other śāstas it is said that the killing of a woman is a gieat sin If you do not oblige her by coming now then know her indeed to be dead" ·TRANSLATION 31 Saying so she stopped On hearing this, RAVIDATTA for a momenti remained perplexed as to what should be done He was tortured on the one hand by bashfulness, on the other by love, on the one hand by discrimination, on the other by agitation, on the one hand by the instructions of the elders, on the other by the intoxication of youth After sometime he thought-let it be so at present and spoke tenderly, with affection, to SANGAMIKĀ "Is there anything that remains for me to be said? The eyes of your mistress even by chance do not fall on the unfortunate, what to say of a heart full of love? All people desire her company, and the fact that she desires (anyone) is not possible even for Desire to desire Therefore, I accept what you say But this is contrary to my rank and position, so as my relations and elders (But RAVIDATTA after going there once, habitually went to her and gave her riches Though his elders came to know about it) (25) thinking that what he gives is very little, he every day gave her costly ornaments, hundreds of gold pieces and various clothes giving up the sense of shame and disregarding his elders' instruction She perfectly understood his Nili rāga and arranging picnics, festival of the third, religious pilgrimages and receiving presents from him she divested him of all his wealth and made him a pauper Then through SANGAMIKĀ she sent him a word "Today an old acquaintance, a merchant prince called VASU. DATTA, has come from Suvarnadvipa alter amassing a lot of wealth Being attached to VINAYAVATÍ he moves about here and there saying that if she calls him even for a night he will give away all his wealth to her Therefore you should stay at your place for two or three days (All this wealth has been) given by you and this also will be of use to you" Having told him thus, he was driven out RAVIDATTA sat in his home considering what she would be thinking would she be united with him? Would he not become her lover also thus he neither ate, nor slept, nor spoke, nor heard He did not find peace anywhere as if he was pierced by a thorn in the vitals, and as if bit by a scorpion When two-thiee days passed thus he went to VINAYA- VATI'S house in the company of Capalaka He moved about to and fro No one talked to him, no one noticed him On seeing him they insulted him Even then with his passion redoubled, he ·32 SRNGĀRAMANJARIKATHA spent that day in false hope looking towards her with a raised neck Next day, wandering the same way talking to one of her servants he went to SANGAMIKĀ'S house There, when she did not speak to him, he said to her "SANGAMIKĀ, I have done as you bid me do Two-three days have passed Now why this delay? After he said this, being disregarded by SANGAMIKĀ he followed her repeating the same thing Then SANGAMIKĀ spoke to him as if he was not known to her --"Who -"Who are you sir? What is this talk about two-three days? and what delay? Why do Why do you thus speak like a madman” Thus rebuked by her he passed two-three days moving about here and there, sticking on to her On seeing VINAYAVATI from a distance he used to smile and make amorous actions like one insane He did not know anything even when her men derided him (26) Being thus disregarded by VINAYAVATI and laughed at by hei servants, giving up shame of his elders he spent the remaining days of his life considerig himself to be fortunate that he could see her at times Thus oh Daughter' knowing his unfinching rāga, hailotry was brought to a successful end (by VINAYAVATI) As a cloth dyed in indigo though washed by soda and the like by different methods does not leave its colour, similarly a man possessing Nilī rāga, even when ruined in a hundied ways does not give up his deep attachment THUS ENDS THE FIRST TALE OF RAVIDATTA IN THE SRNGĀRAMANJARĪKATHA COMPOSED BY MAHĀRĀJĀDHI- RĀJA-PARAMEŚVARA-ŚRĪBHOJADEVA I (THE SECOND TALE OF VIKRAMASIMHA) Having said this, when VIŞAMAŠĪLĀ stopped in her speech, ŚRNGĀRAMAÑJARI, whose curiosity had been roused, said again "Mother you have described the Nili rāga My curiosity increases, therefore now tell me about the Mañjisthā Rāga" Hearing this she began In the city of Tāmalıptı iuled a king PRATĀPAMUKUTA and duelt a prince named VIKRAMASIMHA He was rich charitable, noble pleasure loving and valorous One day loitering in the locality of the courtesans he saw MĀLA- TIKĀ the daughter of the bawd EKADAMSTRĀ She was the life of youth, the breath of loveliness, the life of good fortune and the soul of beauty Of her, possessing a face like the fullmoon, the ·TRANSLATION 33 moonface was as if created by the Creator for gladdening the eyes of all the people day and night She was staying in the house of a merchant by name VASU- DATTA on whom she depended for her livelihood After having seen her the Prince became very miserable, his heart being pierced by Kandarpa's arrows He sent his companion PRIYAMVADAKA to her Going to her according to his (Prince's) instructions he said "Good lady, on seeing you prince VIKRAMASIMHA has fallen, in love with you and is tortured by passion In consultation with me as to how you could be approached he sent me here Therefore tell me, (27) what should be done now”? Sayıng this he became silent Hearing these words MALATIKĀ said, “Since I saw him, I have been tormented with love But being helpless due to my accepting ineans of livelihood from VASUDATTA I do not know what to do Such is our contract, and it is shameful and improper to break a contract What can I do? But, after some days I will make an effort to bring an occasion which will enable me to contact him This matter is not so much dear to him as to me, and the time of contract is also nearing end" Saying this she sent away PRIYAMVADAKA Having gone, PRIYAMVADAKA spoke to VIKRAMASIMHA about her love for him and the hope of meeting her When the Kutaja tree augmented the ocean of love, the surface of the earth was covered with Indragopas as if with the flowing drops of blood of the travellers whose hearts were rent on hearing the roarings of the demon in the form of the rainy season, whose tongue was spreading out in the form of lightning, whose fierce rows of teeth were in the form of lines of cranes, and whose collyrium-like dark body was soiled with heaps of dust rising due to strong wind When (during the rainy days) at the sight of the watery clouds, out of joy the whole orb of the earth had as it were her hair standing on end in the form of the Kadamba flowers, had as it were flames rising in the form of shooting sprouts due to the contact with the fire of love burning in the hearts of travellers, was as if covered with an um brella in the form of mushrooms having obtained the water for consecration showered from the clouds, was as if smiling under the guise of the white Kutajas on seeing the proud women bowing down to their lovers abandoning the show of haughtiness which was (previously) assumed with obstinacy, which had started dancing out of joy in the form of the dancing of the peacocks on hearing the rumbling of the drum in the form of terrific clouds, whose love had as it were increased on seeing the sky with clouds on high in the form of the rows of trees bearing foliage, which was as if in tears in the form of the flowing streams out of compassion for the sweethearts of the travellers tortured by the anguish of passion, and which ·344 ŚRNGĀRAMANJARIKATHA was full of longing on seeing the rumbling masses of clouds as dark as the swarms of bees, possessing a rainbow and continuously pouring down water in the form of thousands of rippling rivers Then he (VIKRAMASIMHA) experiencing a miserable plight passed his rainy days somehow anxiously, afflicted on the one hand by Madana, on the other by his own love, on the one hand by the rainy season and on the other by remembering her loving gestures (After sometime MALATIKĀ sent for VIKRAMASIMHA VIKRAMA He gave her lots of presents But some thing gave offence to VIKRAMASIMHA and he stopped going to her His attachment for her lessened day by day And VIŞAMAŠĪLĀ tells her daughter that the people of Mañjisthā Rāga become detached soon, therefore they should not be pressed much). ATIK (28) THUS ENDS THE SECOND TALE OF VIKRAMASIMHA IN THE ŚRNGĀRAMANJARĪKATHA COMPOSED BY MAHĀ- RĀJĀDHIRĀJA-PARAMESVARA-SRĪBHOJADEVA (THE THIRD TALE OF MADHAVA) Now, when ŚRNGĂRAMANJARI said "Mother. I remain unsatiated (by hearing) these stories narrated by you Please tell me therefore the means of winning over a person of Kusumbha rāga" VISAMAŠĪLĀ began In the city of Vidiśā there lived a bawd by name BHUJANGA- She was VĂGURĀ Her daughter's name was KUVALAYAVALI the one abode of beauty, youth, charm, and grace, and her chief aim was to earn money In that city where she was earning wealth by harlotry turned up by chance a learned brāhmana named MADHAVA, after amassing inexhaustible wealth from Sunhaladvīpa Hearing of her fame, he sent her the fees and spent with her one night Being gratified that same night, in the morning he gave her a lot of wealth, thus satisfied her and left her alone as was befitting After two or three days he was again called by her He was again served with a bath, food and so on the same way and slept there the same way Thus being sometimes invited and sometimes sent away, he spent many happy days in her company One day she arranged a gambling party and began draining the resources of MADHAVA After many days she divested him of all his wealth When he was pauperised he knew that now she would drive him out, therefore (29) he should act in such a manner that his reputation would not be completely ruined While he was thus thinking monsoon, which produced torments of love, by the direc- - ·TRANSLATION tions being covered with clouds whose rumbling resound in the forest unevenly spread out and possessing groups of colourful peacocks who look like the blooming Kutaja flowers, came to an end And descended again the Autumn, as if to encourage him, which procured for the Lord of Rati a sovereign rule (lit having one umbrella) in the three worlds and which was the seed of activity of those desirous of conquering, when (in autumn) (in autumn) the clouds became white as if brought to bear palor by the sandalpaste of the women in the form of directions separated from the rainy days as from their lover, when like an armlet made of various jewels, the rainbow was lost to the women in the form of directions who had be come lean, being free from fat (clouds), when rows of royal swans, who by their lustre surpass the rays of the autumnal moon and who were eager for the lotus lakes flew in the directions like the fame of the flowered-arrowed-one which is continuously seeking desirous paths, when the forests imitated the dark beauty of the eyes of the protectress of the rice-field by the fully blooming Kuvalayas, after giving up the mass of clouds which were insignificant because the weight of the water had flowed out due to constant raining; when the lustre of the sun, continuously spreading in the world as if at the order of the Fish-bannered-God, bore more heat, when the lakes of the lotuses raised their heads in the form of lotuses with their curly hair in the form of the blooming Kuvalayas to see the Autumn which is enchanting due to the blooming Kuvalayas and the sweet cackling of the female swans, when the moonlight which destroyed the beauty of clusters of Kumudas, every night and in every lake produced swarms of bees, the life breath of the self-born one lıke Rati who got back his life, and, like a fair lady, whose mund does the air Autumn not captivate, with her face in the form of the moon free from clouds, smiling under the guise of the open Kāśa flowers, with a sweet voice in the form of the intoxicated and cackling swans, with teeth in the form of the open Bandhūka flowers, with eyes in the form of the blooming Indīvaras, with breasts in the form of the clouds as white as dried sandal, with delicate hands in the form of the fresh lotus-plants, possessing three folds in the form of the small streams, with broad thighs in the form of the clear sandy banks, decorated with a tinkling girdle in the form of the row of the cranes sweetly clucking, and with a lustre in the form of fresh open Bijaka flowers? MADHAVA, knowing this to be the proper time for journeying desired to go to the Malaya country in search of wealth He said to the bawd "It is our duty to secure wealth and spend it proceeding therefore towards the Malaya country to earn wealth Hearing this KUVALAYAVALI started weeping and said to him I am ·36 ŚRNGĀRAMANJARIKATILA "I cannot live even for a moment without you”. MADHAVA said to her, "How can I dare to take you to the forest full of lions and tigers? I will return after sometime. (30) Do not unnecessarily feel miserable". When thus addressed she cried more, shedding tears as big as pearls, and said "I do not desire to sustain my life even for two ou three days without you, what to say of so many days? Therefore take mercy on me and stay here for sometime" In this manner, uttering words befitting a harlot, she tried to dissuade him but he did not stay back. While leaving he gifted to her his gorgeous up. per garment Both of them followed him for some distance when the bawd said "Sır, how will she live without you? Therefore please give her something as a token of remembrance" He replied, "I have no such token with me" >> To that the bawd made a rejoinder “As a token of remembrance give this garment of yours. Remembering that it had been worn by you, thinking of you only, and waiting hopefully for your return only, she will pass her days" "I will do that” he said, "but many travellers come this way, and I feel shy On leaving this path I shall give it to you" After going some more distance, he saw a lonely spot and he called the bawd He threw her on the ground, and while she lay tossing about, shrieking 'Mother! Run, run,' he quickly and forcıbly cut off her ears and nose And said to her, "the garment that you asked for as a token of remembrance is not everlasting For remembrance this token I give you" Saying this, thinking that his purpose had been served, not worrying about his loss of wealth, he went away. Therefore, child' even the passionate become indifferent when troubled The men of Kusumbha rāga become averse and bring about evil Therefore without giving offence to them and guarding the causes that lead to estrangement, the people of Kusumbha rāga should be drained of their resources As a cloth dyed in Kusumbha cannot bear heat, washing and the like, so also the man possessing the Kusumbha rāga" Then ŚRNGĀRAMAÑJARĪ said, "Mother, my curiosity increases, therefore tell me all that has been alluded to by you" - ·TRANSLATION 37 When addressed thus, she (VIŞAMAŠĪLĀ) said, “Child, now hear how by discernment, hidden treasure can be found out and how a man of Haridrā rāga can be won over" THUS ENDS THE THIRD TALE OF MADHAVA IN THE ŚRN- GARAMANJARĪKATHA COMPOSED BY MAHĀRĀJÁDHIRĀJA- PARAMESVARA-SRĪBHOJADEVA (THE FOURTH TALE OF SURADHARMAN) Here on the banks of the Ganges, is a town of the brāhmanas called Hastigrāma There lived a brāhmana called SŪRA- DHARMAN He was extremely poor as were also his father and grandfather He did not obtain sufficient food (31) and he became a young man by the time his father died He saw the wealth of the other persons of the town and felt miserable, and wondered by what means he would obtain such wealth 'Riches help to gain more riches, but I have nothing I would serve a king, but I do not know how Now what should I do? Be it so, I shall worship the Lord of the Sea' sea Resolving thus, wandering he came to the shores and saw the (The sea) which was embracing as it were his beloved, the Glory of the sky with plump breasts, by waves scraping the sky, surpassing the mountains by their heights, adorned with various precious jewels and whitened by balls of foam as white as sandalpaste, whose water was drunk by the submarine-fire which assumed many bodies, being unable to drink it all with one, under the guise of the flashing creepers of corals To such a god of the sea he started paying homage Every morning wearing a short leather petticoat and taking a staff in his hands he would go and offer a handful of flowers to the sea, and bowing down he would move forward and backward with the tide and the ebb Spending the whole day thus, in the evening after paying his salutations to the sea he would return He spent many years thus, sustaining himself on alms Now once, taking pity on him, the sea, assuming the form of a small boy said to him "Oh! Brāhmana, why do you trouble yourself day and night by coming and going?” Being thus spoken to, he said (32) "Young man, why do you worry about it? Go your own way” But when the boy persistently asked him he said "I am much afflicted by poverty which has come down to me from generations together with my family traditions Therefore I am worshipping the sea" Seeing his firm resolve, the boy said "I am the ·mm 38 SRNCARAMANJATIKATI Lord of the Sca come behuug of your SUVILI Therefore acceps this invaluable jewel" having said in, hin give it in austi at SŪRADIIARMAN considered his (llort': frutlul al liapply Wilson bomnc He wondered how it could lne prolcetert 1!ieking at it out, he toie open lus thigh, pul the joy . n it and that healr it up lie then dressed like it madman, woring the trunk & drukorg garland on the head, cating on the way, ilepini unyu 1}•!r*, his body stained with dnt, and muttering only Slut)t'i blanwi' Teople heart fascinated by its glory ivari taken up nit za{* alius h{1791); gien uy lus stay at Kulasa) Wandering thus on the indlor relied gjaviin alter vnc anys llou could that Icity be riescribed wiIC1€ Osun the Ird at the thice u orlds, Sri Mahikülanitha prompted by plosures and file heart fascinated by its glory had taken up his abocin afte: livinr given up his stay at Kailisa? The city was protected by King VIKRAJIRKA. Kim by the valour of his arms destioved all his enemies and who imposed 10x45 like Trivikrama (Vişnu, who captured Bali. Bali. lin hud courtesun named DEVADATTA who attracted the minds of all prople Ste 1.75 lich and famous She was the one abode of beauty, charm, youth. clevcı ness and grace She used to liavel aluars searching for somC one wealthy and it to be fecced Once when she arounted on a cart diawn by horses and was accompanied by arc or six hundred foot soldiers and a retinue of clever minds she say the mud man Noticing his form she knew fur certain that the man was in possossion of some ticasure for whuch even the three worlds were Horihless, that the ioguc was not mad by naturc but only posing like a nadman for some reason Thinking thus, she said to him Good one, whence do you come" Where do you wish to go?" Though asked thus many times he only replied 'mother knows'Then by hei intuition knowing of his real self, she made him sit on the rear of the cart and brought him home There he was bathed fed and adorned with clothes, ornaments and unguents worthy of men of her company and she enjoyed with him sensual pleasures She spent six months with him in a similar manner, giving up her harlotry and neglecting her services to the king Even by mistake he never gave another reply, but spoke as he had spoken before Once it occurred to him that she had brought him because she had judged him correctly so it may be that by staving there more he might give her everything out of infatuation (33) The best thing to do therefore was to go away from there But wondering how to go away, he folded his hands and pointing towards his own country, indicating his desire to go, he frequently said 'mother knows ·TRANSLATION 39 "I shall not be able to live even for a moment without you Sir, why do you go away? If you wish to go for obtaining riches then all my wealth is yours" Saying this, she gave him her necklaces, jewelled armlets and wealth in gold and started weeping "If", (she continued) "you wish to go to your country to meet your people, then I have got friends who will bring them here" Thus was he addressed, but he iepeatedly said 'mother knows' and pointed towards his own country When Devadattā thought that she had been deceived and it was not possible to hold him back any moie, he was permitted to go, and he quickly started for his own country After that she reflected thus "My life is lost, this beauty of youth is fruitless the pride of good fortune is worthless, the secrets of cheating rogues studied since birth bears no frut and the secrets of harlotry as taught by groups of bawds and handed down through generations have vanished Now if he thus escapes deceiving me, then I shall cut off my breasts and throw them into fire" Resolving thus, she called two girls and instructed them to go after him She said, "Avoiding his sight you two should go two yojanas by the by-path After you have covered two yojanas, one of you should come from the opposite village towards him The other should walk slowly behind him Then the one coming from the front should ask the one near him, as if recognizing who she is, and then act as has been taught” Both of them followed him, and met each other the way it has been described And one said "Priyangikāl whence do you come?" Priyangıkā "From Ujjayini But Lavangikā! from where do you Lavangikā "From this village Many days have passed since I left Ujjayınī, therefore tell me how is the king? what is condition of the state? and what is the news?" Conversing thus, picking up pieces of dungs, they walked some distance with him come?! Priyangikā "Sıster Lavangikā! How shall I express? In Uj- Jayıní I heard of a great wonder The courtesan by name Devadattā fell in love with some mad man Though she tried to hold him back by offering him all her wealth he did not stay back Disregarding her he went away somewhere (34) That very moment, with her heart broken out of love for him she died And now the women of her retinue and her dependents are preparing to die" On hearing this Sūradharman, who was walking, abruptly came to a stop He asked “What are you talking about?” When he was told everything upto 'he went away somewhere he muttered "I ·40 ŚRNGĀRAMAÑJARIKATHA am that sinner' and determined to put an end to his own life returned to Devadatta's house When he reached there he saw on one side pieces of sandalwood, on the other curious garments and pots of ghee, and also heard the wailings of her routine On seeing him from a distance MAKARADAMȘTRĀ shouted "Oh! sinner, have you returned? Having killed my daughter who was my life and the ornament of the whole world, what else have you come to do? By whose favour will this family live now? How will I live? You have destroyed the head of the family" fallen you While she was saying thus, he saw the lifeless DEVADATTĀ placed on bier Then he said sharply "Mother, why do you reproach me? Inevitable is the course of Destiny What purpose is served by scorning me? It is your Fate that this calamity has be- Be it so I do not desire to live without her" Saying this, resolving to put an end to his life, he tore open his thigh and gave her the invaluable jewel which by its lustre reddened the directions He further said, “By obtaining this jewel your family has bid farewell to poverty" The bawd then said to DEVADATTĀ in her own language "Rise, O perturbed one!" As soon as the anbrosial words entered her ears, DEVADATTĀ breathed a little, stretched her body twice or thrice and started looking around Immediately joyous shouts burst forth Felicitations were offered, and rumour spread that DEVADATTĀ had been taken by death but has recovered again Clasping her to neck MAKARADAMSTRĀ chided her. Some one quickly fell at her feet and some others rolled in front of her Gradually when festivity ended, MAKARA- DAMSTRĀ reproached even the son-in-law then bathed him, clothed him, and welcomed him again DEVADATTĀ also bathed, put unguents and ornaments and spent three-four days with him Now once at midnight, while he was talkıng lovingly to her about different things, due to force of habit the words 'mother knows' escaped him DEVADATTĀ asked "Ah, does your mother know or do I know?" (35) Folding his hands he said "Mother does not know anything, you know everything" "If I know everything, then out with you" was DEVADATTĀ'S reply and she kicked him out While leaving he woefully said "Give me some provision for the journey" He was given two gold palas and was driven out $ ·TRANSLATION 41 "Thus, oh daughter, he was attended to by DEVADATTA even at the loss of her own wealth, though obstinate he was taken in after having known that which was secretly hidden, then understanding his Haridrā rāga, draining him of all his resources he was driven out That is about Haridrā rāga Therefore my daughter, in the case of a person of Haridrā rāga, without any compunction, even by extraordinary means it is best to dispossess a man completely As by the heat of the sun and so on Haridrā rāga fades, so in the case of man of Haridrā rāga threatening and the like make him averse, so without that, by extraordinary means, he should be immediately divested of his wealth THUS ENDS THE FOURTH TALE OF SURADHARMAN IN THE ŚRNGĀRAMAÑJARIKATHA COMPOSED BY MAHĀRĀJĀ- DHIRAJA-PARAMEŚVARA-ŚRĪBHOJADEVA THE FIFTH TALE OF DEVADATTĀ "Moreover daughter I have already said that to please a person you should know his mind Listen about it the kings Here in the city of Ujjayini, presided over by the Lord of the Beings, Sri Mahākāla, there ruled King VIKRAMARKA By the valor of his own hands he secured the title of the three worlds He had a courtesan called DEVADATTĀ, a jewel in the armlet of all She was as it were the life, the breath, the consciousness, the vitals and all of the Fish-bannered God She was the field of good fortune, the abode of charm, the refuge of youth, the place of arts, the residence of the pleasures of the mansions, and the house She was as if created by the creator by putting together all the lovely things of the world. of graces (36) The king having brought under subjection all the enemies experienced the joy of an unrivalled kingship and protected the whole earth like one town He sometimes fought the lords of elephants which laved the earth by the flow of rut, which competed with the elephants of Indra and which in their hugeness mocked the Añjanagiri He sometimes rode horses of high breed, which in speed surpassed wind, he sometimes practised archery on the parade ground deafening the directions with the constant twanging of the bows, he spent his time sometimes by witnessing practice of warfares, sometimes by thoughts on Šāstras, sometimes by studying the use of different weapons, sometimes by watersports, sometimes by wanderings in the pleasure gardens, sometimes by talking with friends, sometimes in the company of his beloveds, sometimes by seeing shows and sometimes by the sport of hunting ·42 ŚRNGĀRAMANJARIKATHA Once, when only a quarter of the night had passed, when the friend of Kumudini (the Moon) rose, when clusters of Kumuda bloomed, when the directions were again lighted by the vanishing of darkness, when the living beings had all rested 1 * (The king and DEVADATTĀ were conversing on the top of the palace The king asked her how her class of persons can win over by talking, loving etc She knitted her eyebrows and exhibited her aversion to the king's enquiries But to entertain him, she said that she will only tell him of a wonderful thing she experienced the other day While going some distance from the main palacegate she saw a gem horse which by its beauty mocked Ucchaiśravas He (horse) had beautiful parts (kalā) like the moon «which possesses digits», he had a lovely frontal bone with a lock of curls falling backwards like the sea «which has lovely conchshells opening on the right», he quickly stood on the ground (37) His hoofs were as dark as the indranila jewels, whose body was rocamāna «possessed of a tuft of hair on the neck> though virocamāna «very resplendent», he was handsome as Uccainsravas yet was anuccaihśravas «his neigh was not loudy, he was a tärksya «garuda, horse» yet was a hooded serpent «had a wide girth», he was white as the moon yet as beautiful as coral «possessed of beautiful long hair», he was suktımān «possessed a curl on the breast» though Śrīparvata «the residential mountain of Laksmi», he was, it seemed wind incarnate, the mind embodied, fame incarnate of the class of horses He had not much flesh on the face lıke the emaciated shoulder of Visnu with whom Lakśmi had a love quarrel, he was broad in chest like garuda, prominent in shoulders, not in stupidity, small in ears, not in form, hard in hoofs, not in face, deep in mind, not dull in spirit, soft in hair on the body, not in bearing lashes of whips, precise in its pace like the blade of the sword, shining in its complexion and eyes, bent in the neck and the pacings, quick in speed and understanding, he was made of all the seasons being fragrant in breath (Vasanta), pure in conduct (Summer), a fortunate acquisition of all the riches gained in conquests (Monsoon), very powerful in conquering others (month of Kārtika), huge in form (Hemanta) and cold in all excuses (Siśıra), he was white as the moon yet was Kāla «black, the God of death> He was the terrible to the circle of enemies on the borders of battle fields, his greatness was wide-spread, he was skılful in Catuska, superior in speed, first amongst the fastest; foremost on pathways, his movements were unobstructed in making rounds, ·TRANSLATION 43 due to his peace and due to his moving in the skies he was not attached both ways (?), he sat in patience as if covered by a mass of lustre as white as tagaia flowers and as if covered with a cover of strength out of fear of touching the earth being divine himself, he looked handsome having created for himself a moving canopy by the lustre uprising from the saddle studded with various jewels, having pearls sown in the borders of the saddles like drops of ambrosia for the propitiation of the eyes of the onlookers, having a neck looking hke the top of the crystal mountain encircled by rows of clouds on account of it (neck) being girded with a collar of emeralds, he looked as if his wonderful good conduct was sung by rows of golden bells on his chest tinkling due to his naturally moving fore-feet, it appeared that he had spread out his wing as if for competing with garuda, on account of the slightly handing gajendrakas on both the sides, he was foremost among the circle of horses due to his sweet sound like the lord of the Gāndhaivas (48) his rear part was covered by the refulgence of various gems Like a portion of the Milky Ocean, (38) the residence of the Goddess of beauty; the family house of elegance, the abode of good conduct, and the life of brilliance, he was of a good breed and was very big > On seeing him I thought 'well, this royal family has various gems, and in this family which is a refuge of all wonders I have seen today a jewel of a horse' But as I was curiously looking at I saw a very handsome young man astride it Then I thought 'indeed this man has come to call me' and I quickly mounted the horse Then the horse was goaded by him and it flew in the sky that was flooded with moonlight When I Due to its speed I did not now how far I was carried went some distance then in the night Then she was led to a mansion and the horse came down on the earth They entered and there DEVADATTA saw a beautiful woman weeping Another man with a cane entered She was asked by them to work as a messenger of love One of them was saying that since birth he had been suffering the anguish of separation and therefore) (39) "DEVADATTĀ! you should bring about an union as you wish to have it" When he stopped in his speech, the other getting an opportunity said Noble DEVADATTĀ, you alone are capable of doing it, and therefore with great hopes you have been ·44 ŚRNGĀRAMAÑJARĪKATHA brought here" With my anger redoubled I said to him, "Am I not a lady? Am I your slave that I will act as a messenger for you?" "When I said this he took up the cane in anger and started beating me Being tortured thus I frequently said "The feet of king VIKRAMADITYA, who has conquered the three worlds, are my refuge' They were perplexed thinking that by my remembering you, (40) you would indeed come So they threw me there, and I saw them running away in confusion Then I saw myself fallen on the parade ground This incident took place this very night". On hearing the narrative, the king said to her "DEVADATTĀ, is this true?" DEVADATTĀ said "If it be untrue then the king may punish me" 1 Again the king asked “Is it true?" "If it is untrue then by the order of the king I am cursed indeed As soon as I took the name of your lordship then the confusion of those running away was such that I cannot even express it in words. I only heard their words 'VIKRAMADITYA has come, VIKRAMADITYA has come In that confusion I did not know where the airplane flew away Wonderstruck, the king again said "DEVADATTĀ, Is this true?" DEVADATTĀ said just then as if confused, "Sır, it is entirely true Why should I speak untruth in the presence of the king?". 2 *** King SĀHASĀMKA was pleased, he said. "Oh! Superintendents of elephants! leaving aside the best of elephants, immediately give to DEVADATTĀ the second Lord of elephants together with four crores of gold pieces, rich ornaments and dresses" "My Lord," then courteously added DEVADATTĀ, "this I shall inform you Outside the couch this is the one I get On the couch I shall take another also Your lordship asked me before how my class of persons acquire (wealth) Well, this is how they do it" Smilingly she spoke thus and stopped Hearing this VIKRAMĀRKA was twice pleased and he said "Well done, DEVADATTĀ, well done I have been enlightened in a charming manner. The tradition of your class has thus been elevated to a high state” sayıng this he doubled his gifts Therefore, oh daughter' for those who drain the resources of men by knowing their minds the gain of wealth is certain For it is a great truth that there is nothing a person would not give when his greatness is glorified.

·TRANSLATION 45 THUS ENDS THE FIFTH TALE OF DEVADATTĀ IN THE ŚRNGARAMAÑJARIKATHA COMPOSED BY MAHĀRĀJĀDHI- RAJA-PARAMESVARA-ŚRĪBHOJADEVA THE SIXTH TALE OF LAVANYASUNDARI "Moreover, o daughter! for those who try to secure their object even at the risk of self-sacrifice after taking refuge with a man of great valour and adventure, the fulfilment of their self-interests is not difficult This I told you before, I shall illustrate it to you now". (41) "Here there is a town called Ahicchatra, famous in the world, and presided over by great men like the rich merchants and others There ruled for a long time king VAJRAMUKUTA enjoying the pleasures of kingship He had defeated the circle of neighbouring princes with the support of his ministers in their service since his father's times, had gradually conquered all the arrogant enemies and was surrounded by a powerful retinue In the same town dwelt also an oilman by name GHUDA who was in affluent conditions because of his rich patrimony He had a wife named LAVANYASUNDARI, young and beautiful, looking like a play-doll of Madana, the ornament of youth and loveliness even of loveliness Her beauty was not unparalleled in her own class of people, but as it surpassed (the beauty of) all the other women it was an object of wonder to all the people Enjoying amorous pleasures in her company his days passed happily Once while she was in her own house she came within the sight of the king who was roaming about Seeing her, as if wonderstruck, stupefied, infatuated, and helpless due to the striking of the arıows of Love, he somehow reached his house He wondered how she could be obtained, for he would surely not desire to live without getting her When he came to know from the spies that she was the wife of GHUDA, the oilman, he considered how he could bring him under his subjection He arrested him under the pretext of adulteration in oil Though, he (the oilman) offered to pay fine in lakhs, he did not free him On the other hand he tortured him by inflicting many punishments LAVANYASUNDARI then understood the king's intentions, and said to her husband "You must free yourself by giving whatever fine the king asks of you" Accordingly he said to the king "Your majesty does not accept even gold drammas, please tell me then what else should I give you? Whatever you command I shall definitely give" The king asked för a hundred elephants knowing that it would be impossible for him to obtain them Hearing this the oilman was very much ·46 SRNGĀRAMANJARĪKATHA perturbed in his mind with a series of worries such as 'Where on one hand is my caste and where on the other the elephants? Therefor I am totally lost What is the way out? And what resort”, LAVANYASUNDARI came and asked him what the king had asked from him Nervously he said "As I am asked by him to get a hun dred elephants my end is near at hand. How will I be ever released?" She said "You accept it, I will get you a hundred elephants". When the oilman accepted the king's command, the king thought that he would never be able to obtain a hundred elephants, therefore she would be in his possession now Thinking thus he said "When could you get me a hundred elephants?" Instructed by her, the oilman asked for six months The king agreed The oilman then said to his wife "Why did you (42) make me accept such a fine without the faith (to pay it to him)?” She said to him "This king is in love with me and under this pretext wishes to possess me But it is an undesirable hope He is (like) my father. Therefore you must do what I say, and I shall get a hundred elephants in due time." He agreed to what she said "My conduct need not be considered when it is a question of your (ufe)", she added Then taking with her five-hundred best horses and carts, a retinue adorned with clothes and ornaments of various kinds . keep ing in mind King SĀHASĀNKA, the abode of all adventures she started for Ujjayini After a few days she reached Ujjayınī She took up her residence on the bank of the Siprā, where the heat of the sun was warded off by trees and creepers bearing various kinds of leaves and flowers She had a rumour bruited about herseif that a courtesan, who in beauty surpassed the damsels of heaven, had arrived from some place She distributed gifts adequately to the suppliant and spent her days in pleasures She gave hope to the feudatories and others who came there asserting their superiority by saying 'I shall do what I can' But she never accepted anything from anyone As days went by news reached the ears of king SĀHASĀNKA Out of curiosity he sent his spies to verify the rumour When they reported that it was true, then under the pretext of going on a hunt. ing he passed by her house She draped herself in gorgeous robes and showed herself gracefully to the king On seeing her he fell in love with her, and returning from hunting somehow, he passed by the same path and came to his residence Reaching home, with his mind striken by Smara's arrows, he sent his clever and affectionate entertainer MUKHARAKA immediately to her place Going there, meeting her and talking about various things he said after some time ·TRANSLATION 47 courteously "(While the king) was returning home from hunting (he saw you) and has sent me to find out to whom you belong and who you are Therefore you may say (She says that she had heard of the king and had come to him and if he does not accept her then in this life MUKHARAKA considered himself as having done his job and thought) Ah! this is indeed a shower of flowers without a creeper and a shower of water without clouds' When heat lessened and the Lord of the lotuses went to the west, when the shade of the trees turned the other way as if unable to hear the heat (43) when herds of hogs moved about here and there, when herds of cows moving slowly due to satiation, ruminating and hearing the tinkling of the small bells resounding due to the movement of the neck as they were walking, and with their eyes a little tued due to fatigue, were returning slowly to the 1own from the forests; when on the roads only a few travellers were seen, when focks of birds, leaving the pastures quickly flew towards the garden trees, when the directions exhausted by the fierce heat became cool as if pleased at the touch of the evening breeze, when gradually the sun (lit whose chaiioteer is Aruna) red as the young, ied-ci ested cock came to the top of the western mountain, and when the eventide made the intermediate space ied with its 1ays red as if dipped in lac like a weaver who weaves the middle part by spreading the threads through the shuttle, when the garden grounds looked beautıful as if marked with the alaktaka-dye transferred from the feet of the moving forest deities, due to the mixing of the thick shade of the trees with the evening glow seen between the interstices, when the waters of the lakes looked splendid being covered by a network of the rays of the sun atop the setting mountain and therefore turned red as if by the blood from the hearts of the pairs of cakravāka birds anguished by the forthcoming separation, when the clear crystalline floors in every house looked as if swept by the kunkumarasa because of being mixed with the rays of the sun resembling the open pomegranate flowers; when the eventide was resplendent as if it were with the tide of the tossing ocean of love overcoming the world Gradually rose the Lord of the night-lotuses giving life to the clusters of kumudas and Love Which was like a golden ear-ornament of the eastern direction, the mark of kunkumarasa on the forehead of the night, the shining golden mirror of the directions, the only blooming-golden lotus in the lake of the sky, the one pot-like breast of the heaven anointed with kunkuma with its garment in ·48 ŚRNGĀRAMAÑJARIKATHA . the form of darkness having slipped off on one side, like the playing ball of Rati turned red due to the red-dye on her palm, and which was like a golden pot for the consecration of the future sovereign, the mind-born one Then giving pleasure to women, rising from the ocean, being surrounded by constellations, and giving joy to the kumudas, (44) the Lord of the Stars, shone brightly, destroying the demons in the form of darkness as black as powdered collyrium When the moonlight produced the fire of love, which tore open the clusters of kumudas and the hearts of the cakravākas, which destroyed the darkness pervading the by-paths and the pride of the haughty women, which agitated the sea full of waves and the hearts of the lovers, which pained the elephants' tusks and the minds of the separated ones, and which was being drunk in on all sides by the families of the cakorakas with their beaks open and by the eyes of the people and yet was on the increase when such words of the friends clever in bringing about love quarrels and unions were heard spoken to the proud women 'Friend, Madana is irresistible, the mature rays of the moon are unbearable, youth, is shortlived, and the bond of love is unsteady', when the lights of the mansions first enkındled were clearly perceived in the bodies of the separated women like the reflection of the sparks of the fire of love, when the wanton women whose hearts were filled with passions sent to their lovers the messengers forgetting and instructing the messages again and again, when the ladies wrote the messages of love with the juice of the musk on the leaves of the ketakī in the lamp of the moon, when the women looking again and again at the paths of the lovers decorated their houses, when smoke of the kālāguru incense issued from the windows of the vāsakasajjās like the measures of the inflamed fire of love, when the abhısārıkās went in all the directions like the presiding deities of the moonlight, with their bodies covered with white garments, with the powder of thick ghanasāra sprinkled over the cheeks, with the pearl ornaments on every limb, with the whole body anointed with sandalpaste and with their braids of hair tied with the blooming mālatī flowers Then the whole earth was as if expanded with nectar, flooded by the milk of ocean, made of crystalline stone, made of the lustre of the Dramida women's teeth recently polished, made from the inner part of the leaves of the palmtree, be-sprinkled with molten silver and as if carved out of the tusks of elephants, when it (the earth) possessed the beauty of the Candraloka, when - the moon slowly whitened the directions and became pure and rose up in the sky, transferring its own redness to the minds of couples ܔܢ 4 At that time the king sent MUKHARAKA to fetch her · Sho also, looking at the road with her neck raised like the agriculturists ·TRANSLATION 49 looking anxiously at the watery clouds, saw him coming When he told her of the king's acceptance of her, she was mighty pleased She quickly came to the king's palace When LAVAŅYASUNDARI came, the king, full of love, enjoyed amorous pleasures in her company that night And in the morning having performed his morning worship and having finished his meals etc, seated comfortably and happily, he told the whole affair to BHATTAMĀTRGUPTA (45) Hearing about it BHATTAMĀTRGUPTA said to him "Sıre different kinds of selfish women move about the earth Therefore, your Lordship should not trust them I know this is harlotry” When BHATTAMĀTRGUPTA told him thus, he thought 'Do I not know what is natural love and what is harlotry? Let it be What have I to do with it BHATTAMĀTRGUPTA is venerable, therefore I shall not say anything He is always like that Thus disregarding him he confidentially spent many days in her company But BHATTAMĀTRGUPTA again and again reminded him of his words One day while he was thus reminding, the king said "Then how can true love be known? When I test her, she does not even protect herself On the other hand all signs of love are visible in her And I do not notice any aversion in her such as thinking of some one else even in dreams" Whe he said this to BHATTAMĀTR- GUPTA, he again said to the king But in “Then your Lordship should test her by rustic methods" order to test her, as he derided her more and more by such vulgar methods as cutting of her nails, teeth, and hair, she became more and more pleased and affectionate He told BHATTAMĀTRGUPTA everything When he said "You always scoff her by saying this is all harlotry, nothing but harlotry, but not a single act of her's is like that of a harlot," to him BHATTAMĀTRGUPTA again said, "She is a clever rogue that she has produced this illusion in your Lordship's mind Now I am convinced that all this is harlotry" Through others she knew what BHATTAMĀTRGUPTA said (about her) and being always apprehensive looked upon him with great awe But once it occurred to her that many days had passed and the time (of six months) would soon be over Thus thinking she came where the king and BHATTAMĀTRGUPTA were talking and sitting for a moment, said “This is indeed the fruit of your favour that having come from a distance out of love for your merits, this person says it is all harlotry Let it be so This consideration indeed is a proper return for my love It is well that you, a king, and this one, towards whom you are favourably disposed, are in unison" The king exclaimed “Who told you this falsehood? Is ·50 SRNGĀRAMAÑJARIKATHA BHATTAMĀTRGUPTA like that or myself?" On hearing that, she smiled a little, stood there for a second and then entering the bedroom, taking the king's dagger lying on it, severed her head. Then with his mind full of misgivings VIKRAMĀRKA entered within and saw her with the head cut off As if struck by lightening, as if enveloped in flames, as if gazed at by a poisonous snake, he stood there a moment Afterwards, with due consideration he called BHATTAMATRGUPTA inside and said “BHATTAMĀTRGUPTA' do you see the end of harlotry?" He said "Sire, I have seen it What else shall I say but this, that this is harlotry too (46) The king was wrathful Disregarding BHATTAMĀTRGUPTA, making his servants lift her up as she was, he came to the temple of the Goddess Āsāpurā VIKRAMADITYA sent his whole retinue outside and himself prepared to cut off his head That moment the Goddess Āśāpurā caught hold of his hand and said "Son, O son! do not be rash You are not an ordinary person Why do you put an end to your life out of sheer compassion for otheis?" He answered “Forgive me, Oh Divine One! Please leave off my hand I shall present you a desirable offering today The Goddess said "I am pleased with your extraordinary valour Therefore speak, what do you desire?" VIKRAMARKA said to her “Goddess' Let LAVANYASUNDARI come back to life" And the Goddess made her alıve again Happy in mind VIKRAMĀRKA returned with her to the palace Everywhere felicitations were offered and the townsmen were all very happy Thus the days of those two, satisfied, happy and deeply attached to one another, were spent And now one day, after meals, when the day was piactically at end, when the friend of the lotuses was gradually going to the westein direction, VIKRAMĀRKA, seated in the ivory balcony with her, saw a lord of the elephants named RIPUDALANA who was roaming about at pleasure The (elephant) was as it were devouring the orb of the earth by his four feet which bore striking resemblance to caskets made of black jewels, possessing jewels in the form of nails as if they were the eighteen extensive islands come under his feet, looking handsome with his well formed hind-quarter and shining skin looking like the mansion of pleasures of the Goddess of Beauty, adorned by strong and well built shoulders as if ·TRANSLATION 51 they were the doors of the heart, the residence of the Goddess of Valour, possessing a splendid wide chest looking like an extensive sea of inviolable beauty adorned with the tossing of fish, due to his face being thickly covered with swarms of bees falling on account of the continuously oozing rut it appeared that the Creator made a dark pit without effort out of mercy for the injury that may have been done to all the other elephants, which appeared as if possessed of flames of the fire of anger on account of the spreading lustre of his pair of eyes as yellow as drops of honey, which looked splendid with a pair of long, glossy and smooth tusks possessing the complexion of fresh mālatī flowers, appearing to be the first two sprouts of the universally pervaded fame born out of destruction of herds of intoxicated elephants, decorated with two cheeks as if with two kula-parvatas which are the source of the wide and continuously flowing river of rut, adorned with a kumbha (frontal prominence on the forehead) with something marked on it looking like an auspicious pot adorned with leaves for greeting the Goddess of Victory, having broad ears imparting broadness to the naturally broad face, which, because of the skin painted with small red dots (appeared) as if variegated with the particles of the blood of the enemy's elephants destroyed in many fights, and having waving lobes as if fanning the cheeks heated by the thick rut, looking fierce with a thick, gradually thinning, and very long trunk swinging fast, as if searching for all the herds of elephants on earth, (47) possessing a pair of temples locking terrific by the ruddy brightness of sındúra applied to them and looking like the breasts of the Goddess of Victory red due to the continuous rubbing of kunkuma, making the single-streamed Yamunā look like the Ganges flowing in three streams by the constant flow of rut at three places, whose (praise) is sung by the host of bards in the form of the bees being attracted by the fragrance of the lake of the ever-flowing rut, having a pair of beautiful white chowrie-like ear-ornaments, possessing the lustre of pure white conches looking like embodied fame earned in the victories obtained in many battles, possessing some indescribable charm by the broad shoulders with the joints firm, and with smooth and shining skin, having broad withers, an elevated and curved bow-like backbone, a well arranged tip of the tail and a very straight, long and glossy tail He was pleasant yet terrific, possessing two tips (of the trunk) fascinating the minds of all people, small in skin, hair on the body, scrotum and the hind quarter, big in shoulders, trunk and tail, very broad in thighs, withers, hips cheeks, corners of the mouth and temples, very symmetrical in the hind-withers, tip of the tail, sides, belly and thighs, smooth in skin and hair, deep in mind and roaring, clever in movements and in rerforming feats, shapely in form and backbone, fragrant in breath ·52 ŚRNGĀRAMAÑJARĪKATHA and rut, great in body and valour, and red in the palate and the corners of the eyes By his class, form, behaviour, valour and so on . 1 . ) He looks as if made of all the seasons with his eye-ball looking beautiful like the autumn when sugarcane grows, his might terrific like the winter which is full of snow, his action violent like the cold season which produces tremor, and his tip of the trunk moving gracefully like the spring when lotuses bloom; his using all the rivers like summer when all the rivers get dried up, and his roaring deep like the rainy days when deep rumbling is heard He conquered as it were the whole group of heavenly elephants by disregarding the roar of Airāvata, (the elephant of the eastern quarter), destroying everyday the glory of Pundarīka «elephant of south eastern quarter, day lotuses» by water sports, uprooting the splendour of Kumuda «elephant of south western quarter, night lotuses», conquering Sārvabhauma «elephant of the northern quarter, all conquering ones» in many battles, surpassing the lustre of Añjana «elephant of the western quarter, collyrium», defeating Puspadanta «elephant of north-western quarter, sun and moon» by his lovely and refulgent brilliance, and who put aside the enthusiasm of Vāmana «elephant of the southern quarter, Vāmana» by the constant grace of taking three steps Who bore the beauty of the fourth day(?), who was charming to the eyes of all people like the state of inebriation, and who by his excessively fascinating beauty and charm as if satisfies fills, expands, pleases and gladdens the eyes (48) On seeing it, the king joyfully said to LĀVANYA- SUNDARĪ after a moment—"My beloved LAVANYASUNDARI ask for anything' When she was again and again requested respectfully she said "Whatever is yours is mine, what else shall I ask for? want to please me, then (know) that since childhood I have great fascination for elephants, therefore give me a hundred such elephants The King said—“This is nothing, ask for anything else But if you you desire" Saying this he gave her a hundred elephants She said "Let it be announced that a hundred elephants have been given to LĀVANYASUNDARI'' The king did as he was told When two-three days passed by, LĀVANYASUNDARĪ, folding her hands said to the king—"Sıre, let me take leave of you I am a courtesan Such is our practice” ·TRANSLATION 53 (The king was naturally surprised and asked what all this was about LĀVANYASUNDARĪ gave an account of the whole affair The king gave her leave to go She went back to GHUDA with the elephants and they lived happily ever after) THUS ENDS THE SIXTH TALE OF LAVANYASUNDARI IN THE SRNGĀRAMANJARIKATHA COMPOSED BY MAHĀRĀJĀ- DHIRĀJA-PARAMEŚVARA-ŚRĪBHOJADEVA (THE SEVENTH TALE OF CHEATING THE BAWD) "Moreover, one should always protect oneself from dhûrtas > There was a brāhmana who in old age begot two sons When they grew up they aspired to visit another country When they started on the journey the terrible summer set in, with the hot sun destroying the wealth of beauty of the earth produced by the spring When (in summer) the wild cocks hidden in the hollows of old trees fearing the heat, were slowly crowing, when the decayed barks of the trees were dropping down as their joints had loosened by the excessive heat, when small insects in the joints of the barks were tortured by the intolerable heat, when two or three leaves were seen when trees went dry, when the roads were nailscalding as if chaff-fire had been spread on it as the dust had become hot due to the bioılıng sun, (49) when the shrill screeching of the cīrıtıkas deafened the directions as if despising the forest region filled with the blaze of the hot sun, when the tops of tiees were enveloped in flames enkındled by the breath of aged pythons, which (trees) were noisy with the tearing of the tough barks as the small worms tried to enter them, and whose tops were shaken by the wind raised by the wings of the birds taking flights out of fear, when the forest-conflagration was blazing everywhere, when the sandy banks became wavy because the waters were ebbing every day as if the mature, hot-rayed thirsty sun drunk all the reservoirs after the fatigue caused by traversing the very long days, when the sapharikā fish were agitated on seeing the cranes moving near the puddles, when the young tortoise, exhausted by heat rested under thick moss, when the reeds were slightly turning dark, when the streams flowing from the thickets of the mountains thinned down, as if pained on seeing the beauty of the trees on its sides being destroyed by the rays of the sun, when the small acquatic animals were tortured by herds of huge buffaloes exhalıng breath now and then through the slightly blowing nostrils, continuously scratching then bellies afflicted with gadflies by the tips of the swaying hoins and ·J. RINGATASIASJARIKITHA frequently snapping their bucks with the dark because of the fair of flies, when the bog had dried and torms resorted to thin rracks; where the middle of the lakes having little water 111 shembusi b. come swampy; whicie herds of deer, resting in thi, sondern diminata ed at intervals due to sloth brought about by the heit of litra morning sun, when on account of the huinning beci uniceluri under stones it seemed the tices were grunting out of ficluleszness being exhausted by the heat; when the thirsty fwn ili their , closed a little due to tiredness were sunting lite and there wiin their necks and ears raised up being attracted by the nuragu prod. ing all round in the lower grounds due to live heart of tisu roys of the sun, when some families of mankope vlerily sitt1 ON the branches of the trees, distiessed by the fatigue produced by their own fickle movements, were dragging on the midday drowsiness by falling down (fiom the trees), their bodics languid due to the help. lessness on account of the languor of sleep weic geitin up gairi and climbing (the ticos); when herds of wild boars, as bloch 25 pounded collyrium, with their darkness, doubled by mud, who duo to the fear of the sun frcqucntly rolled their lwns red eyes which looked like glow-worms in the mass of darkness, were tuling resort in the thickets of mustā on the sides of the ponds; when the birds, afraid of being drowned in the liot particies of dust entering the joints of the wings abandoned the paths and hid in the holloss of aged trees, when he dnections were coloured variously iy parl:- cles of grass burnt in the foresi confiagration resembling iron spikes (in the hearts) of the travellers produced on account of sepiulioni from their truly loved sweet-hearts, when the sky was laden with the rustling uprooted particles of the banks of trees; when the wind was blowing hard and was resonant with the screeching of crickets constantly mixing with. which (wind) brought coolness to it. self when tormented by the rays of the sun, with the particle, of water emitted by crickets in every wood. 150) which was hot and long like the sighing of the directions who were tormented by the pain of separation from the Spring; which was fragrant with the pollen of the swinging arjuna flowers and which swept away picces of dung (During such a summer) one day, the two travelling thus reached the Vindhya forest of terrifying splendour Which (forest) was stretched from the eastern to the western mountain; which was rendered beautiful by the trees that bore the greenness iesembling the brilliancy of the peacock, which (trees) had their trunks surrounded by bees due to the fragrance of the rut transferred to them by the scratching of the temples of the intoxicated elephants, whose roots intermingled with flowers as the branches were broken because of the swings of creepers made by the sylvan deities, whose ·TRANSLATION 55 leaves were constantly plucked by the women of the Sabara king tipsy with drinking wine, for covering their ears, which were fragrant with the sweet scent of the ripe fruits hanging on the small swayıng-branches slightly crushed by the frolicking monkeys, whose shades were continuously resorted to by the Kırāta women exhausted in pitiless sensual sport, whose bowers of creepers resounded with the shrill singing -of the Sidhha women intoxicated by the honey of the flowers and which (trees) have clusters of fruits and flowers that could be gathered by hands (The forests) where creepers of black pepper were powdered by the unalarmed female cakoras, where parts of the pūga tiees intermingled with the glossy lavanga creepers, where the sky was in part decorated by a rainbow made up of the plumages of the flying peacocks, where the amorous sport of the Sabara women which had slackened in the interval of sexual intercourse was enkindled by the cackling of the gallinules intoxicated by drops of water of the streams flowing from mountain caves and which were drunk by the clever cātakas with their beaks, where on the earth covered with the pollen of the priyangu flowers spread by the frisks of the patridges, the footprints of the sylvan deities were seen, where due to its denseness some regions were occupied by groups of Sabaras running helter-skelter intent on hiding and their eyes tremulous being startled by fierce tigers, which at places was scented with the fragrance of crushed mustā plants uprooted by the wild boars, somewhere monkeys were seated on the high branches as if due to the fear of the leaves being cut off by the young ones of the elephants, where the foot of the mountains lakes were formed by rivers flowing from the thickets, which (lakes) were indicated even from a distance by the twitterings of the tittıbhas and whose embankments were concealed behind giant trees, where at a place a solitary aged monkey seeing a portion of the tree being consumed by the flames of the forestconflagration, and finding no other shelter, glancing in the directions piteously, swaying his neck, contracting his body in wonder, with his pair of ears drooping backwards, with his tail let loose, blinking frequently after momentarıly fixing his eyes out of distress, with his palate dry, his mouth open, his rows of teeth visible, his face pitiful, with his eyes irritated and closed due to smoke, for a moment thinking himself to be burnt, quickly opening his eyes and looking sideways, holding fast to a branch out of fear of falling down, losing grip and falling down being perturbed, and getting up again, his body fainting due to fear, and screeching inaudibly, was climbing atop an old tree, branch after branch, (31) where the banks full of green trees were resorted to swiftly by herds of elephants, among (the herds) here the young ones slowly grouped together because a portion of the land was encircled by flames of the forest ·56 ŚRNGĀRAMANJARIKATHA conflagration, and there the young-ones and she-elephants cried out alarmingly on seeing the splintering of the thorns, knuts and barks of the bamboo forests, where (in the herds) some elephants were loudly roaring, with their trunks rolled up they were frequently circling, with raised ears and necks they were looking for roads of escape, with their hind quarters slightly drawn in, tails straightened and then flung up, eyes wide open due to fear, with the desire to escape the fierce forest-fire that was slowly spreading, they spread themselves, then came together, then after seeing the confiagration lessening in one direction they waited for moment then roaring wildly, dashing the trunks on the ground, deafening the directions with roars as their sides were burning, they swiftly rushed out with the leader amongst them showing the way, and where (in the herds) every moment the she-elephants were anxious about the young ones lagging behind due to their slow speed; (the forest) with one side variegated with the mud of the ant-hills dug up by the bears, where the deep lakes were disturbed by herds of elephants, some of whom, though fatigued by the heat of rays of the midday sun, slowly dragging themselves near the water were engaged in digging water on the banks by their feet, their tails raised up and tiunks spread out, some (elephants) were drinking water by curling up their trunks, opening their lips, slightly raising their necks and placing the tips of the trunks in the mouths, where elephants were drinking, emitting, beating and dirtying the waters by coming in and out of them), spreading at it were a watery umbrella over themselves by first taking water, then sprinkling it on their sides, and then spraying drops higher up, rendering undistinguishable their ears and tusks by the leafy lotus plants and roots thrown on their heads, taking dips and throwing up water from the tips of the trunks, passing urine on the bank after drinking water, hearing carefully the sound of the passing urine, with the buttocks lowered, the sides expanded, the ears a little raised, the front feet spread out, the heads a little shaking and the eyes drawn towards their ears some leaders of the herds with their temples full of rut entering the waters and exhibiting a blue umbrella indicative of their sovereignty by the swarms of bees who had left the temples out of fear of water, but had fallen (on the temples) again out of desire of drinking (the rut), and the young ones eager to enter the waters turning away being afraid of their depth and taking resort behind the limbs of the she-elephants; which (forest) appeared to be flooded with thousands of streams of the Ganges oozing down from the sky by the springs gushing out from the base of the mountain broken by iron rods or flowing out through the woods or from cracks of the huge boulders, (52) some (streams) became broader and whiter as they flowed along, and being extensive and clean were not seen long distance off, ·TRANSLATION 57 some (streams) fowed on the moss-covered stones lightly as if out of fear of slipping, and collected in the woods on the mountain sides, where the jungles were scented by the fragrance of the sallaki trees as their barks were recently ripped off by the scratching of the trunks of the elephants, which seemed to be full of foliage due to the flames of the forest-conflagration, which appeared to be flowery by the citralaka mixed with pundraka(?), which seemed to be laden with fruits due to the huge-bodied elephants, which was colourful with the groups of peacocks with their plumages raised in dancing, which was adorned by tigers moving in the bushes, which seemed to be laughing by the young ones of the lions at the mouths of the mountain caves, which seemed to have horripilation on account of the thorny bamboos, which appeared to have the hair standing on ends due to the erect kharjúra trees, which was as if engaged in dancing on account of the thousands of sprouts tossed about by the wind, which seemed to be perspiring in the form of the paturasa oozing out from the rocks heated by the sun, which was as if fanned by the leaves of the high palm trees swayed by the wind, which seemed to be possessed of speech due to the chirpings of the birds everywhere, where at various places it was throwing out pieces of elephants' dry flesh, drying the hides of the lions and tigers, and keeping tusks of dead elephants, where in some regions the waters of the streams surpassed the redness of the sun being mixed with the blood of the travellers put to death, where places under the shades of the trees were noisy with the quarrels of the travellers with the caravaneers, where the eaves of the roofs of huts of hay were made colourful by the peacocks' feathers, where at some places commodıties were purchased from caravans, where at some places search was made for the blood-stained pearls from the temples of the recently killed elephants, where the directions resounded with the fight of the dogs greedily snatching pieces of dry meat of a beast killed near the caitya tree, where at places heat was dispelled by the flocks of vultures circling above the flesh of the dead beasts, exhibiting thus it seemed the sovereign rule of the place of destruction, where the travellers avoided the settlements of the Bhıllas which were inferred by the sky darkened by the smoke of the continuously cooked meat, where looking with alarm at the recently killed travellers on the paths, the palates of other travellers were parched, their footfalls became quick and light, and as they looked frequently at them with necks turned, they tottered even on the level paths, walked a little on one side due to anxiousness, were frequently terrorized by the fear of wild beasts on hearing the rustling produced by their own feet falling on dry leaves and considered even the short roads long, where at places the fierce wild beasts were also terrified by the army of Sabaras filling the directions, blowing horns and engaged in hunt.

·in!' Witt begrijpt f***?la! s. 10) .1111 bitsRyibt villetter 352 - معهم 5 $ 7 TI joints of ini bules, 13 ft d ?48-!!ra's hype birapper, fulletines, han dit all, repli 4. titul, 1T 13 juir', and whirament blum tlouh 1€!" (litet til deutly 1135187 Mithunt. ***** fear suci , kita boli trb} !!*** mL ll!, 34 gram gulis Onung from the lunill ab'sense the folpito tatant? sound, or viduet blir 10*** nast 111171,;, ir Vs wer by muutin villigt at statt, wh** t!" ("77.3 54.01.w3*** pinuhuri lieli watt 13f« 18 fast? Itutii . udoi ofin ſi 111 of 117 11 ultra Tr011{"!«TL tas bort of the conteks was fugas pei, w liver the kesti u Vat Boy!** It by the no 1967 (ul ariant 2011 inkisid loy !! clinc uhete titt tartal's *t toe hul wir ft 2r«?! *11111775.1111 ing of cooked iniry; 4** *0 anse*ti1723 cuid SMS som stars hut pleaders with !!! Kaydesigns or the 160917t $****** de rhythm of ihc ports while peundin rict, Te ftre costlemist; which were locateri non ise di ep lathes, l. fic 5*10*15* the travellmıs veic diflicuit in 5. apr 3chedi due la liar till b. boos which foiesti was full of thout nice if yomo v tx' cd and orne tuining diy, which ai porn pics" *****41<<I dessa hundreds of luad apui Ierige brities titr intr r pictor 2 wherger utveckt cs were occupied by agar peon, frequently (127*** wlu fur!!!", Mere porked by the woori-pocken sous vi satin? -z to, which because of ſuy loves and its branches ofle reci 11:11: :11, and which had heidened truuks beritusL **014 at Bolir in In which formi liere other dens (Ps vri bath the window or tlaka roads beneath which it vns ple.sant in live bec.15" of the cold of the pcacocks intoxicated at the sight of the intimely inak elakaris which were always groen oven in cuinmer as if ihny had constantly and in gieater measures drawn greenness firm othr: trees avoti hich drew rater from the springs, which wiest) wild a place of 3) mis haps; the house of terror, the sister of fear, ihe abode od uliculties, the origin of agitation, the cause of trcmour the primary Use of pain, the residence of wickedness, the land of illusions the ninet fatigue, the market of or rous, the abode of despondency, the clinis of anguish, the mine of the fruits of all bad actions, 1ic Cause for nourishing consumption, the friend of confusion, the birem conpanion of miseries and the mother of dolusion. 1 Those two, going through that (ſoiest) with their provisions for the journey exhausted, spent there seven nights Amcted with hun. ger and thust they somehow came upon a sweet and pure paleted lake with a banian irce on its bank Under the tree ther" spent the day When it was might they enkindled a fire out of fear of ·TRANSLATION 59 wild beasts and were passing the night keeping awake for a quarter by turns Now, during the third quarter of the night, SOMADATTA, walking and sitting at intervals, heard a conversation of a pair of pigeons (by the śrutāśrutanyāya?) The she-pigeon said “My lord, for the one that is born, death is certain Therefore if death comes about in a glorious way by helping others it is indeed blissful If these two miserable brāhmana boys, afflicted by hunger and thirst, and who have sought our refuge, would die here then what would be the purpose of our life? There. fore, to preserve their life (54) we should sacrifice ourselves" Hearing this, the pigeon answered "Well said, beloved You are indeed dear to me Let us do that of these two, the one who eats me will be a king and he who eats you will get five-hundred gold pieces everyday This had been predicted by sage Uttanka at the time of oui birth" Saying this, both of them threw themselves into the blazing fire Having heard this and witnessing the scene with wonder SOMA- DATTA pulled them out of the fire Then arousing his elder brother he told him about the incident of the pigeons, gave him the pigeon to eat and himself ate the female-pigeon After eating, he went to sleep When he awoke in the morning five-hundred gold pieces were by his side Both of them were convinced now, and taking the gold they proceeded as desired Now, as they were going, one of them felt thirsty, and in search of water he went in a different direction The other continued the same way and went a long distance The former returned after finding water but lost his way Thus because of different paths both of them were separated and went different ways Now, according to the story, the elder became a king of Magadha The other wandering about reached the city of Kāñcí In that city, which by its splendour surpassed the three worlds, dwelt a bawd called MAKARADAMSTRĀ She had a daughter named KAR- PÜRIKA The beasts in the form of the sensuous men who got caught in the snares of her eyes were not able to move even a step In amorous sport he spent many days with her Everyday he gave her unlimited gold No supplicant even turned away from him, nor did his wealth ever decrease though he gave constantly Seeing his undiminishing affluence MAKARADAMȘTRĀ said to her daughter "Child KARPŪRIKĀ! This man basks in wealth yet the source of his wealth is not known" KARPŪRIKĀ said "Mother, I also do not know the source of his wealth" On hearing this MAKARADANT- ·00 ŚRNGANAVASJARIKATHA STRĀ Sud "Oh wictched KARPURIKA' you are not born oi me in. deed! How can one born of me be just outward-looking" Thercrre. henceforth, you must so engage him and pleuse inm that he will toll you the source of hus income" Ile was then propitiated by scrvices and sweet talks, and he nauated the whole incident of the sho pigeon to her KARPORIKA narated it to the bawd Coming to hnop of it the hauri irit she had gained a new life, on a treasure or a kingdom He was then fcd with cmetics, so he soon vomitted, and while vomitting threw cul the she-pigeon. Out of covetousness (the bawdi devoured it togetirer with saliva as soon as he vomitted it 1531 His gam oſ gold piec3 hence-forward stopped and the bawd's began Knowing him to be worthless now the bawd diove him out under sume pretext everything lost but his life, regretting why he cver revealed to her the affair, he left that city While wandering about he heard from some travellers that a foreigner named VIŞNUDATTA had become the king of Magadha; and that he was very pious and charitable On hearing this he remembered the account of the she-pigeon and thinking that this man must be his brother he went to Magadha. Ilaving gone there he gave him his own acquaintance and stayed there a few days Then taking along with him much wealth he returned to Kāñcí to avenge his defeat He came and gave fees to KARPURIKA'S neighbour woman and began enjoying in her company as before From the very first day Believing him, she asked him. "How did you obtain all this wealth?" He answered "Why do you worry about it? It is a long story But being requested every day he said "I had gone to the Sriparvata There I performed austerities endangering even my life and then obtained this siddhı" Once KARPŰRIKĀ went herself with him to the banian tiee and witnessed his affluence Her desire was then redoubled and gratifying him in various ways said. "I am very eager to possess this wealth Therefore if I am dear to you and you have the slightest regard for me, then negotiate a bargain by accepting the she-pigeon ·TRANSLATION 61 in her SOMADATTA said "Oh beautiful-bodied one, the attainment of wealth from the she-pigeon is limited only, while this attainment is unlimited, how can a bargain be struck between unequal things?” KARPÜRIKĀ said "Then take along with it all the wealth earned by me till now and make an exchange" SOMADATTA said. "What is it that I will not do out of love for you? Let it be so Give me the she-pigeon" Then the bawd who was kept out was called in and making her emit out (the she-pigeon) by emetics, KARPÚRIKĀ returned the she-pigeon together with all her wealth in the presence of witnesses SOMADATTA ATTA also thrice sprinkled water hands and said "I swear by the three truths, let the siddhi I attained at the Śrīparvata reside in you”, and washing the she-pigeon he swallowed it, sent the wealth to his house and ordering the retinue to remain there as before for five nights, he himself went away to his brother (56) Now the next day, KARPŪRIKÃ went with the bawd beneath the banian tree and crowed like a cock Then the retinue of the king served them as before When five days were thus over, and price was paid for it, no one came to KARPURIKĀ even when she crowed like a cock Hoping that they would come she moyed at various places frequently crowing like a cock, but no one turned up an that direction Then the bawd said to KARPŪRIKĀ who was crowing “Daughter, why do you rail thus? When a she-pigeon enters a house this is always the result" And her maid servants said to her “Madam, when you give one thing and take another, then both perish" All of them were disappointed, and with their faces downcast like themselves they returned home SOMADATTA returned to his brother who was ruling at Magadha and lived happily Therefore, o daughter, dhūrtas should never be troubled For when they are troubled they, act in such a way that they vanish after taking even the previously earned wealth THUS ENDS THE SEVENTH TALE OF DECEIVING THE BAWD IN THE SRŃGĂRAMAÑJARĪKATHA COMPOSED BY MAHĀRĀJĀDHIRĀJA-PARAMEŚVARA-SRĪBHOJADEVA ·THE EIGHTH TALE OF THE LOVE OF A WOMAN I shall now illustrate to you what I told you before that one should always protect oneself from love as from a tiger Listen. In the town of Pundravardhana that outshines Alakā by its heavenly mansions, gardens, tanks, lakes, and its rich and great men, there lived a wealthy merchant called VASUDATTA After observ. ing vows and offering prayers a son was born to him who was named RATNADATTA Being the only son he was a spoilt child, The father sent him to a teacher called VASUBHŪTI for studies Being naturally gifted with the power to retain what was once read in short time he learnt all the lores, and mastered all the arts He obtained great distinction in the training and care of elephants, the methods of handling horse-vchicles and the cale of horses, the art of business, the secrets of gambling, the science of harlotry and the art of painting, cutting leaves, binding books and so on. Once when he had grown up into a young man he said to his father "Father, by your favour I have learnt all the lores, I have mastered all the arts, and have known all the sciences But it is indeed shameful for me now to pass my days expending your wealth (57) Therefore give assent that I may earn wealth by my own hands When he spoke thus his father tried to persuade him in many ways but he did not stay back He did not even accept the money offcrer to make a start He took only one thousand gold pieces with him and followed by his servant SUBANDHU, set out to work He considered his family's means of earning wealth censurable, and therefore decided to earn wealth by serving a Sovereign king With that determination he set out to join the services of king PRATĀPA- MUKUTA, the ruler of Mänyakheta His servant SUBANDHU taking along with him his sword 'Vasunandaka', followed hun On the way he said to RATNADATTA “Though your father offered you a large sum of money, you accepted only this meagre amount for provisions on the way How will we be able to join the king's services? And how will we maintain ourselves on the way? To hini RATNADATTA replied "I have taken this amount in case of an emergency, not for provisions on the way The provisions during the journey will be the arts, the lores, and the sciences that I have learnt, the wealth of the gamblers in gambling is mine, the wealth in the mansions of the prostitutes is mine, I shall maintain myself on that This I swear that if I am seen by the courtesans they will surely call me, and will not send me away If they do not call me or if they send me away then I will give up my life" So saying he proceeded further with SUBANDHU ·TRANSLATION 63 Travelling thus they reached the city of Vidiśā There, in Bhāillasvāmidevapura, lived a famous courtesan named LAVANYASUN- DARŁof unparalleled charm, whose for tune was in offering arghya (10 Gods) She was the resort of Beauty, the one fruitful objective of a youthful age which is the place of Smara's pleasure, she looked like a lotus-pond with a lotus on one side over which hovered rows of bees brought by soft wind, on account of her forehead on which rested the carefully arranged fascinating curls, she looked like the bow of Smara bent due to the tightly tied string, due to her creepeilike eyebrows slightly curved in grace, she was like a lotus plant with the buds frequently opened by soft wind on account of the meaningful glancing of the immature grace of love, she looked like a lavali-creeper with lightly ripe fruits on account of her cheeks possessing fresh charm, she was like a foot of the Malaya mountain with delicate sandal sprouts cropping up due to her lovely neck, she looked like Madana's sporting tank due to her beautiful hands that gathered loveliness every day, she was like the pleasure lotus-pond of Madana with the small buds opening due to her captivating erect breasts who was like the river of Smara with moss floating over the small waves due to the three folds (on the abdomen) on which the line of hair had slightly grown, she was like the swing of Madana with it's plank spread out due to her hips expanding gradually, she was like the soil of Smara's pleasure-garden with two lovely plantain trees whose beauty spread in all the directions due to her pair of well-shaped thighs whose beauty was slowly appearing, (58) she seemed to be a land-lotus with a blooming lotus on it due to the continuously increasing natural redness of her feet, she seemed to be possessed by a genius that is found in people of her class and she captivated even the minds of the shrewd people She had come there to dance in her turn before the God The same moment he also came there with a desire to behold the God LAVANYASUNDARI saw him who entered like an intoxicated elephant and who destroyed the pride of Kandarpa by his own handsomeness At the first sight he entered her heart together with the arrow of Manmatha She was immediately caught in the spell of love and fell down on the ground, in a feat of unconsciousness But in a moment, she somehow regained consciousness and gave a false excuse to the dancing teacher that her head was aching Her friend BAKULIKĀ understood her pretense and shielding her said to the dancing teacher "She had already told me that her head was aching, therefore allow her to go home, I will dance in her turn" Saying so she (BAKULIKĀ) sent her (home) After dancing in her turn BAKULIKĀ came and sat down besides her She enquired after her "health and said smilingly "Friend LAVANYASUNDARĪ! You always laughed at us and said that we were like hogs What is this ·64 ŚRNGĀRAMAÑJARIKATHA now? We are more refined, for we accept a man's company only after knowing his charms and conduct You are meritorious indeed that without knowing the man's place of residence, conduct and wealth you have fallen in love with him at first sight, and have been reduced to this condition” Hearing this LĀVANYASUNDARI said "You have done well to retort thus It accords with my pride, good fortune and intoxication of youth But you do not realise that it is not proper to speak such jocose and cutting words to me whose vitals are stung now. Is this the fruit of your friendship? Yet, you may do what you think fit" When thus spoken to, she (BAKULIKĀ) said “What would be the use of my friendship if I do not act as you desire?" LAVANYASUNDARI said “You consider this to be an easy matter But, friend, it is difficult indeed Because, on seeing him you will satisfy your own desires and will forget mine." Hearing this BAKULIKĀ said "Friend, his handsomeness might lead me to do so, still have faith in me, I shall definitely bring him and unite him with you 3 So saying she embarked upon her mission She thought that a stranger could be found only at two places, if a student in a monas tery, if a prince in deserted temples, so she first looked for him in a lonely temple (59) There she saw him sleeping being waited upon by his servant She said to his servant "It is not proper for the fortunate to sleep during the evening Your friend looks to be a fortunate man, therefore wake him up The servant woke him up She said "O visitor' whence do you come?” RATNADATTA replied "I have come from another country and shall go to join the services of the sovereign king" After a moment BAKULIKĀ started weeping RATNADATTA enquired “Good one, why do you weep?” She said "I had a brother who looked exactly like you His memory brought tears to mine eyes You too are my brother" “It is true, but your brother was instrumental in expending your wealth, I will stand by you as a brother in difficulties”, he said "Then come to my house Be my guest," BAKULIKĀ said and brought him to LĀVANYASUNDARI'S house LAVANYASUNDARI was standing on the terrace of her house with a poisonous bulb in her hand, and while she stood there thinking 'I do not know whether today I will lose two things at a time or gain my end? If BAKULIKĀ takes him to her house then my friend is out of my hands and he also goes his desired way, I will die ·TRANSLATION 65 then 'BAKULIKĀ, understood hei design and brought him to her house When LAVAŅYASUNDARI saw them coming, she was a little pleased and queried. “BAKULIKĀ, who is this guest?” When BAKULIKĀ answered. "My brother', her doubts fled and while offering hum a seat she thought she had gained her end When BAKULIKA said “Welcome my brother', she gave him a warm reception by giving him a bath, meals etc according to her wealth and love Evening passed and BAKULIKĀ went to her house She led RATNADATTA to bed, and perceived then that his talents, charms and vutues were a hundred times more than his handsomeness In that single night she was so pleased that abandoning all thoughts of another man she became attached only to him When the night came to an end, when the gloom (of the night) and the stars seemed to vanish at the command of the incompre hensible Lord of Time, when the clusters of stars which outshone big pearls disappeared like hall-stones, when the red-glow of the moon on the setting mountain illuminated the sky, when the sky possessed the beauty of the sandy bank of the sea glowing with the rays of the pearls and then reddened by the flashing rays of the cieepers of coral, when the directions which were dipped in the darkness of the night like the temples of the she-elephants, were rendered tawny by the lays of the sun piercing through the dense darkness now moving away, (60) when the sky in one quarter possessed darkness as grey as the wings of a pigeon, on the other side was variegated with the rays as ied as the slightly iipe kuvalaya fruit elsewhere was spread over by the thin lays of the moon which was as pale as the ripe leaves of the palmtree, on one side were the vanishing stars, and at some places were a few constellations shining, not concealed behind the lingering darkness, when the morning breeze blew softly, as if due to the fatigue of constant motion, occasionally faltering on the open Pundarikas, turning grey with the pollen of the garden flowers, and drinking, due to thirst, the drops of the perspiration of exhaustion of the couples tired in love sport by gaining entrance through the windows of the mansions, when the crowing of the cocks which issued falteringly from the throats due to drowsiness which was the drum of auspiciousness fell frequently on the ears, announcing the end of night and the entrance of the Glory of the Day, and which was a chant for breaking the knot of pride of the proud women when the loving couples with their hearts still attached to each other but their hands separated from embraces still desire to sleep due to the stupor produced by the pain of pitiless sexual intercourse, when the lotus- ·66 ŚRNGĀRADIANJARIKATHA es, the pleasure-mansions of Laksmī, had their doors opened by the doorkeepers in the guise of the bees who were first within then, by the keys in the form of the rays of the sun, when the drops os dew as cool as the flakes of snow, settling unnoticed, produced dullness in the bees whose wings were hcavy due to the pollen of flowers, who were desirous of flying out from the inner parts of the flowers and who were slowly humming as their sleep had jusi been broken, when the tops of the trees were resonant with the twitterings of the flocks of birds just arisen, with their eyes partially open as the eyelids were heavy with sleep, who frequently fluttered their wings yearning to stretch theu limbs cramped in sleep when gradually opened out fully but slowly according to the regulai order of maturity, fist the loose outer petals falling out as their Joints gave way then the top opening making visible the drops of honey frozen by the dew and then becoming manifest the inner cups as the petals opened out, as if for setting into motion the sessions of honey-drinking for the bees, when the clusters of kumudas became dark as if unable to bear the rise even of Mitra (sun), the one eye of the three worlds, and the only one capable of destroying darkness, thus acting according to the virtues of their names and place of origin born of water, dullnesse. when the pleasantfaced wives in the form of directions flashed by a red glow, as if anointed with kunkuma, on coming to know of the arrival of the sun after a long journey; when the she-cakoras with their eyes closed due to the langour of sleep and beaks open resorted to the bejewelled pleasure-balconies moving slowly due to the satiation of drinking of the moonlight throughout the night after quickly leaving the sky where the gates of darkness were closed by a light as red as heaps of sindūra powder and pushed forward by the wind, when the vision of the family of owls who can see only at night was as if screened by darkness even though there was light, useful in manifesting all things, like that of the wicked people who see only faults, (61) when the pairs of cakravāka-birds quickly came together even from a distance, abandoning their liking for the tanks of lotuses as if it were a play of destiny, when the lustreless lamps were extinguished and removed from the houses, like the yogis who due to detachment turn away from their houses and resort to liberation, when the morning breeze reddened by the drops of honey mixed with the fallen filaments of the soft opening lotuses, cooled by the contact of the drops of water thrown up by the flutterings of the wings of the female cakravākas' eagerness to be united and pleased by the humming of the bees awakened by the slow swinging of the flowercreepers of the garden, entered the cavities of the ears of the annorous women tired due to excessive sexual inter-course when the pundarīkas gave the illusion of a cluster of the red lotuses as ·TRANSLATION 67 their petals were tinged with the lac-like lustie of the morning sun, when for a moment the clustres of kumudas in the depths of the lakes created the illusion of indivaras due to the lingering darkness, and when the whole world was as if brought to life, made to bieathe and awakened by the sun which brightened the whole earth, which destroyed darkness, which was red like the open pomegranate flower and which had attained the position of a crest jewel on the rising mountain, (he made) SUBANDHU tie five hundred pieces of gold to a corner of a coverlet and said to her maid that she may search for the same Fiom there he went to the gambling house to play dice When LAVANYASUNDARI woke up in the morning and en quued of the maid about him, the maid replied: "I do not know where he has gone While leaving he asked me to search for the coverlet" And when the maid found it, LAVANYASUNDARI saw five hundred pieces tied to its corner and she said "The talented one is not only handsome, but is generous too Where can gold, and that too fragrant, be found?” When BAKULIKĀ came she said. "Dear friend, he has gone away somewhere, please search for him? BAKULIKĀ mounted a she-mule and with her retinue went to the gambling house She saw him there playing boldly amongst the rich men She knew that many women are under the power of gamblers and so stood theie silent After some time when he saw her he said "Sister, how long have you been here?” "Since a long time" she said "It is not proper for people like you to come to such places” he said and defeating the opponent, he asked the keeper to make an account When the keeper said he had won fifty thousand drammas, he said “Give to my sister four hundied drammas for tāmbūla and send sixteen thousand to LAVANYASUNDARI" Then distributing ten thousand in charity he came to LAVANYASUNDARI'S place with BAKULIKĀ According to her standards he spent the whole day taking his bath, food and so At night after enjoying his company LAVANYASUNDARI said affectionately "Where (62) do you come from? and where do you wish to go?” He told her from where he had come and said "In the morning I shall go and recruit in the services of the sovereign king PRATAPAMUKUTA" "If you are going to earn wealth, know that I am rolling in riches, you may spend them You may do whatever you wish to do after they are all expended ” “In case of a person like you, the body alone is serviceable, not wealth, that is indeed given Therefore I will certainly go tomorrow on ·68 ŚRNGARANANJARIKATHA Next day, she went to a bad called DHONDĀ and said "Mother, I will not disobey your words, but I will not be ablc to live once he is gone, therefore tell me what should I do?! The bawd made many efforts to dissuade her from going, but when she did not comply, the bawd thought 'Well, be it so The delicate one will herself get tired after going some distance and will return'. and permitted her to go, adding "All right I will also come with you" LĀVANYASUNDARĪ and the bawd accompanied RATNA. DATTA Travelling slowly, after many days they came to the town of Pūrnapathaka Outside the town, under a mango tree, RATNA DATTA slept placing his head on the lap of LĀVANYASUNDARI When the servants went to the town to bring food, it occured to the bawd that LAVANYASUNDARI seemed determined to go with him therefore she must make a plot to file a complaint with the king, get him killed, and take her back to town Accordingly collecting flowers she went to the king SŪRADHARMAN and informed him "Sire in my youth, after my bath on the fourth day you had sexual union with me Of that a daughter was born to me As she was born of you, she is lovely indeed At present, she is being lurea away by a thug Therefore I have come to inform Your Majesty. You can do what you think fit" "Immediately arrest him who has cheated my daughter," the king ordered the police-officer When the officer went there with his soldiers he saw a very handsome youth sleeping, his head placed tenderly on the lap of the happy-looking LĀVANYASUNDARĪ Seeing him the police-officer thought, 'It seems love prompts her to go with him She has not been deceived The bawd seems to be a liar Let me wait till his sleep lasts I will enquire when he gets up' But as the police-officer delayed the king said “Why does the officer delay?” "Sire, I have told you that he is a great cheat He has cheated even the police-officer,' the bawd replied The king then sent his vassals (63) They heard the account from the police officer, thought him to be right and stayed on “What is this, that they also delay"? the king queried “Sire, they are also deceived by him, therefore please go yourself But be careful, for he cheats all whom he sees" The king made due preparations and went himself When LĀVANYASUNDARI saw the king, she awakened RAT- NADATTA and said "RATNADATTA you told me that you can fight sixty-four men with a 'kadıtalla' standing thu ty-two men sleting and sixteen men lying down Now is the time I did not wake ·TRANSLATION 69 you up till now thinking that these men are few Now you may do what you think fit" "Well done,” he said and taking his swoid 'Vasunandaka' in hand, he rushed towards them regarding them as worthless as grass When the king beheld his valour and LĀVANYASUNDARIS love, he understood that she was not cheated, for those who are cheated look quite different, that the wretched bawd was a liar and by this plot wished to destroy him and that the girl was willing to go with him out of love He thought his presence would lead to RATNADATTA'S death, therefore he went home and sent his doorkeeper to fetch him and thought—"fortunate indeed will be that man whose footman he will become" The doorkecper went to RATNADATTA and told him that king SŪRADHARMAN wanted him He went and without saluting the King's feet he met him The king offered him a seat, tāmbūla etc and respectfully asked "Good one, where have you to go? Which country have you left? Which would you adorn?" "I go to recruit in the services of the sovereign" he said "If it is not inexpedient then stay here for some time I have forty-eight thousand villages You may take half of them" Though thus addressed respectfully, he did not agree The king therefore entertained him with due honour and allowed him to go He came to LAVANYASUNDARI Meantime the bawd came and said "Son, I welcome you You are a handsome man, a clever conversationalist and a generous donor to the supplicants This was only an effort of mine to find out whether your valour was on pai with your other virtues And you are more distinguished in valour than in the other virtues I am indeed fortunate in having such a son-in-law (With LĀVANYASUNDARI RATNADATTA proceeded towards Mānyakheta, and took up residence with a courtesan named CITRA- LEKHĀ (64) Next he took leave of LĀVANYASUNDARI for four days and went in search of a job It was difficult for her to bear the separation The same day while she was seated in the terrace with CITRALEKHĀ the king saw her He looked at her a long time and knew that she did not belong to this place He sent his men to LĀVANYASUNDARI but she refused Observing that she was devoted to another person the king's messenger) started weeping CITRAKEKHĀ asked "Good one why do you weep? • "It seems to me that two things will perish ·70 SRNGARAMANJARIKATHA Again she queried "What is that?' He said "This lady has been seen by the king, and he has told me that I should take her to the king If she comes not, her ears and nose would be cut off and I would be killed " Hearing these words LĀVAŅYASUNDARI was alarmed CITRALEKHA asked her to go to the king for RATNA- DATTA was away for four days And she could keep her necklace there In the evening she reluctantly went to the king's palace The king enjoyed her (company) In the early morning when she returned to her place, the king sent with SANGAMAKA one lakh drammas along with rich garments as a gift, of which she took only seventeen gold pieces "What is this? It is wonderful”-SANGAMAKA exclaimed She said "I will only take my wages (65) I will accept all this only on the condition that the king would allow me to go away at my When SANGAMAKA narrated it to the king and the king accepted her condition, she accepted the gifts and disbursed them among the supplicants She thus passed three days in the company of the king will ” The following day the king called her to show her folk dancing She knew it was the day of his (RATNADATTA'S) ietuin She dressed up, instructed her maid to stand near the elephant's post and show her the necklace as soon as RATNADATTA was seen coming She went to the palace, and the king said "Show us some folk dancing She said "all right and started dancing Now while the dance was going on, she took a step backwards and saw her maid standing near the elephant's post She looked at the king The king understood her intention and as he said "you are free” With her hair dishevelled she hurried back to her house Her behaviour made the kmg curious He said to SANGA- “What sort of man is he whom she loves madly, that giving up our shame she lets herself go like this?” With a desire to see what was happening he followed her and as he was looking through the latticed window he saw RATNADATTA coming LĀVANYA- SUNNDARI approached him with a water-vessel to wash his feet Seeing her differently attired RATNADATTA said to SUBANDHU “Good SUBANDHU while we are talking about the news of the house, water has entered," and he said to her, “LĀVANYASUNDARI, do not wash my feet You are my mother” She asked pointedly, “RATNADATTA what is this?" "What else? You are the wiie of Enough of this, please sit down" my master The king said to SANGAMAKA "Friend did you hear his words" His modesty outweighs his grace Well, we will reveal ourselves So saying, leaving the latticed window, he desired to ·> "What do you know? TRANSLATION 71 enter by the door But RATNADATTA was aware that the king was coming. so saying "Sire proceed carefully,' he threatened him with the sword in hand The king said “You spoke differently with her, and now these words, what does it mean? "You are my brave attendant(?) Therefore this only is proper I am the master of my beloved and wife It is not proper for you to wait here Your majesty may go to his royal palace I have come to attach myself to your Majesty I will do whatever you order me to do after I come there" Pleased with his valour and his conduct the king (66) said "Good, very good I will do whatever you say And he went to his palace After going he sent his doorkeeper with a she-elephant to fetch hum He was brought with great honour and was allowed to enter even as mounted, and was welcomed with the offer of a seat tāmbūla etc by the king himself He answered "All the śāstras, all the arts, all the sciences I remember what I hear once Please see a wonder now Let four narrators tell stories I shall play with dice If I forget my turn, if there is no tāmbūla or if I forget the stories then say I do not know anything" The king was curious to see and he started doing what was swoin Meantime LĀVANYASUNDARI thought Never defeated in battles, frequently freeing himself from debts, enjoying the pleasure of the king's favour he lived happily with the king for a long time Therefore oh daughter' women thus deeply attached to men destroy themselves and then wealth too THUS ENDS THE EIGHTH TALE OF LOVE OF A WOMAN in THE ŚRNGĀRAMAÑJARIKATHA COMPOSED BY MAHĀ- RAJADHIRĀJA-PARAMEŚVAPA-ŚRĪBHOJADEVA THE NINTH TALE OF MUTUAL LOVE Now I shall Thus I have described the nature of one-sided love tell you about the nature of mutual love In the famous town of Uragapura, which vanquished the pride of beauty of Amarāvati and which surpassed the splendour of Alakā there ruled king SAMARASIMHA He ruled over eighty four ·SRNGARAMANJARIKATHA feudatories, twelve mandalesvaras, thuty-six royal houses suventytwo foi est lords, twenty-four Kārvatas, twenty-one Konkanas and people of thirty-six ports or that king, who by his valour had subjected the circles of kings and had conquered all the feudatories, there was a famous courtesan named ASOKAVATI. who was very rich and was the one abode of bcauty, youth and graces All the feudatories gave everything to her and looked up to her expectantly She accepted everything from them and gave it to a feudatory called CHADDALAKA He was dearer to ei than her life and was also a favourite in the king's court She had mastered the world-famous swoid-dancing Once in winter when nights were very cold and it was impossible to sit outside 167) king SAMARASIMHA seated in the middle of the pleasue pavilion giving seats to those desirous of see ing the dance-performance sent for ASOKAVATI In the winter) when intolerablc autumnal sun became a little beaiable, when the net-work of the beads of perspiration from the cheeks of the protectress of rice-fields is removed, when the wind is laden with particles of snow, when swarms of bees are attracted towards the buds of the syāmā-creepers after giving up the ponds of kuvalayas whose beuty were destroyed by snow flakes, when the lotus-ponds without the Autumn looked like the women separated by then lovers with the lustre of the lotus-faces faded, with bare stalks as ornaments, bear ing paleness in the form of the flakes of snow on the water and being free from the sports of love, when the Fish-bannered one, un seeing his quivei of arrows exhausted after breaking the hearts of the separated lovers, tied the fresh sugar canes as bows to conquer the world, which (sugarcanes) were as chainig as the cheeks of the young Kerala women, when in the pleasure-mansions the hair of the doe-eyed women which were fragrant with the fresh maruvaka flowers and whose shine was doubled with the fragrant oil inferred from its perfume, enchanted the minds of all the love loin persons, when the couples desired the warmth of kunkuma having given up the anointing of the sandal paste which was cherished 11 autumn, which brought about the delicious touch of the bieasts of the beloveds which were scented with the constant application of the slightly buint ghanasāra, and which were fully perfumed with the kālāguiu, when the lovers constantly icsoited to the fire of pleasures, when the wind was heavy with particles of thick frost fallen on the borders of the clusters of partially open kunda-buds appearing to be their smiles of wonder on seeing the bees leaving the priyaka flowers whose honey-juice had been exhausted, and quickly alighting on the flowers of the priyangu creepers, when in the whole world loving couples had taken to the of Ardhanārīśvara as their limbs were in close embraces VOW ·TRANSLATION 73 and their bodies united, when the gardens were covered as if with the glances of the Glory of Winter who was unrestrained due to youth due to the kunda flowers opened by the bees, mixing with the pollen of the jodhia flowers spread about by the wind as if it pere the dust raised by the army of king Madana moving about to conquer the three worlds, which adorned the faces of all the directions when (in the winter) the winds of the Himalayas weic laden with heavy flakes of snow, when the hot-rayed sun resorted to the southern direction fealing the cold, when the travellers who arise from their earth-mattress every morning and whose stiffening of the limbs) was iemoved by the chaff-fire remembered the warmth of the breasts of their beloveds, when the perishing lotus-tanks turned white as the lotuses faded on knowing that Mitra, their sole joy-giver, had become a traveller of the southern direction, when the fields were as if oveispiead with emeralds due to their being continuously covered with a parrot-like splendour of the blades of the rich corn, when the wanton women put on warm petticoats and appeared to have taken a vow of winter with their charming braids of hair dressed with lare perfumed oil, with their lips daubed with too much wine and with their bodies turned tawny with the extremely soft Kaśmira saffron, (68) when (in winter) the Fishbannered one took up his bow the agitated world became its seitant at the meie glancing of the women whose plump breasts were adorned with garlands of the parlially open priyangu buds, whose fleshiness were covered with fresh jodhra powdei and whose han was never without the gailands of kunda flowers intertwined with the maruvaka flowers, when the frost-laden wind produced trembling and yet the fire of separation of the women-in-separation did not gave any comfort, when the land which appeared to be colouied by kunkuma enchanted the minds of the people, being fragiant with the karkandhū trees which continuously put forth fruits which sui passed the brightness of the kimśukas by being profuse and over-ripe, when the sloppy soil in the small villages intoxicated the minds with the dark fresh sprouts of the tamāla, with the white mustaid whose sprays were full of flowers as bright as molten gold, with the stems of kustumburu possessing the beauty of Kālindi's stream marked with balls of foam due to then having small fiuits in between tops and covered with clusters of flowers possessing emerald-like green lustre, looking like leaves marked with haritāla mixed with dark juice, and which (land) was covered with the pleasant fields of vastuka as brilliant as the feathers of young pariots, as if by the mass of darkness left over by the sun, when the fire in the watershed is every evening resorted to by the travelleis becoming mutually jealous of each other as a Iesult of hearing the descriptions of various kings and countries, ·74 SRNGARAMANJARIKATHA quarelling with each other, vying with each other in coming near the flames of the fire as its touch gave pleasure to the limbs which had become rigid due to the contact of the very cold wind; when the small villages looked as if covered with blankets on account of the torment of cold due to its regions being encompassed and the sky being covered with the smoke of the sacred fire and when (in winter) the warmth of the breasts of the beloveds were much welcomed due to the shortness of the days and the great length of the nights and grace in She put on excellent apparel and adornments adequate for the performance and proceeded towards the royal palace She thought to herself "If the lord of my life does not see this then my dressing and dancing would be futile And if these would be seen by CHADDALAKA then I would offer to God flowers and kunkuma both worth five-hundred On the way she vowed this to God Ganapati the fulfiller of desires Then thinking that he is bound to be there with her heart full of joy she went to the palace) and began dancing Dancing with rhythm as she glanced all the directions she did not see CHADDALAKA Instantaneously strength left her, enthusiasm waned, her face paled and she became lifeless The dancing teacher was quick to perceive that she was continuing dancing without grace because of the shame of the king, (69) the feudatories and other persons But this dance was very dangerous, and needed good balance Because she was continuing dancing without balance, he was afraid she might therefore throw herself on the sword and that would be an end of the excellent person So he informed the king "She was gracefully dancing uptil now thinking that her lord will see it But being aware that he is not here, she has become indifferent and graceless, and is dancing only out of shame, thus she will throw herself on the sword You may have got angry with me that though knowing I did not tell you about it, now Your Majesty can do what he thinks fit” Hearing this the king loudlv said "Oh Dancing Master, it is late in the night, please stop the performance" Then waiting a moment he went to his bed room and called ASOKAVATI there, and said "You wretched one you were not ashamed of me, nor of those acquaintances of ours, the feudatories and others You have become very shameless The conduct of courtesans even is not like this what is this?” She said "Sire, I am known, what shall I hide? There is nothing that is not done for the sake of love For my graceless dancing Your Majesty may punish me or decorate me, you have all powers" To her the king said "The desire to sin does not secure riches Do not be so bold again Saying thus he sent her away He sent spies to find out what she would be doing now From the royal ·TRANSLATION seats not going to her place she went to the house of CHADDALAKA The king sent for another handsome youth called SUNDARAKA to break this bond of love) He sent him a gift On hearing from his sei vants about the king's giſt and the person who called on him SUNDARAKA talked to his friends thus •Where on one hand is the king and where on the other are we? And what can be the reason of sending this gift and the caller" Fiom amongst his friends one said "Kings are full of curiosity There must be some purpose in calling you Some one must have told him about you Therefore accept the gift and welcome the man who has come to summon you" He said "I will do so" and accepting the same, (bowing) his head, he said to the callers "What is the order of the king?" They said **The king has heard of your fame He is curious, so we have been sent to summon you, therefore please come" When they said thus, he started with them at leisure Thus travelling, followed by thirty-two beautiful, rich and young harlots and thirty-two woman who announced time, after some days he reached the town of Uragapura Now, the following day from afar the good news were spread And be, whose handsomeness and youth were intently observed by the king saw the king seated in the hall He bowed to the king, and the king talked with him He was given tāmbūla and a seat near him by the king with his own hands, and was seated with great respect After a while he said (70) "The time has come for the pose for which you have called me Therefore tell me what is to be done" pur- Smilingly the king said “You know the affair, now do what you think is proper "There is no doubt about it If your majesty orders, it shall be done But there it is only a body without life even I shall place even my life in it and see what can be done” Saying this he bowed to his feet and went out Then he sent his retinue to the residence given by the king, and followed by four "Tuditālas', putting on an attire fit for the occasion he roamed in the locality of the courtesan The harlots vied with each other in calling him by offering him everything, but giving hopes to all and pleasing them, he came to the doors of ASOKAVATI There he stood talking sweetly with his men and from afar by the bawd MAKARADAMSTRĀ and ASOKAVATI behind her, sitting the mattavāranaka On was seen on ·76 ŚRNGĀRAMAÑJARIKATHA seeing the sixteen years old youth who svipassed Manmatha in beauty and charm, she remarked to her mother. mother. "Mother this youth does not belong to this place He seems to be a stranger, and is possessed of all surpassing handsomeness, vouth and charm The mother recognized her love at first sight, and having obtained such a chance after a long time, quickly said “Daughter, this earth is indeed praiseworthy Here are found men nore handsome than the handsome, more fortunate even than the fortunate and attachment to one man is made to withdraw by other men, therefore call him” When this was said she who felt great attraction for him on merely seeing him called him “O, Guest why don t you come in? Hearing it he said "Surely I will come' and gracefully and handsomely he came to her On seeing him she was agitated dumb and intoxicated Giving up all else taking hei bath making him take a bath diring with him at one place according to her standard, she went to bed SUNDARA then sent his servant to bring a pattinika from the king and kept it with him Then he started entertaining her according to his skill so much so that she did not know whether it was a dream or magic SUNDARA exciting her sensuousness drew on her body with his nails some modes of sexual union, at some place designs of leaves at some place Bhāiata and another Rāmāyana, while so doing he recorded the images of the nail-scratches into the pattanıkā When she retired from dalliance, she quickly felt as if arisen from sleep as if awakened from a fainting spell, as if freed from stupefaction, delusion and infatuation caused by some stupefying herb And she thought "What have I done? Ah: the sport of wretched Destiny is unsurpassable, the things fated cannot this is be over-stepped Destiny cannot be violated, that the end of my love Therefore definitely Destiny cannot be tiespassed I was not even brought to my senses by that sinner whose mind is intent on wealth" Thus thinking the night passed (71) and the sun rose SUNDARAKA knowing her heart that was full of repentance giving (the pattanikā?) to the king said "Sıre I have followed your command Hearing this the king was pleased gave him as a gift the lordship of four-thousand villages But since then in the same manner she lived in despair The king taking the pattanıkā came and said to CHADDALAKA "Spread this and accept it as a gift" Then the Mahattama TIKKAPAIKA said "What CHADDALAKA replied "This is a plan of the king to break oui bond of love" And when he saw the pattanika after spreading it is this?

·TRANSLATION 77 then what did he see? He saw that all was different Even then (he said), “my love will not be changed by these treacherous actions" Saying this, due to the pride of his good fortune he thought that all this was untrue and said to TIKKA- PAIKA "Oh great one, you must go there and act thus This he told him (He) placed a horseman at an arch at every yogana and sent him (TIKKAPAIKA) there He (TIKKAPAIKA) doned the attire of a pāśupata mendicant, moved here and there in front of her house and showed himself to ASOKAVATI On secing him she said to her mother "Mother is this man not similar to TIKKA- PAIKA?" and sent her servant to fetch him When he was sent for and he came, recognizing him to be TIKKAPAIKA, she said "TIKKAPAIKA what is this?" Without giving a reply TIKKA- PAIKA star ted crying When repeatedly asked he said "I am a sinner! What is the use of asking this wretched one?" and remained silent With great concern she requested him to tell her He said “When the army went from here, there ensued a great battle with the king of Kaccha When all the feudatories ian away, he, like the Mandara mountain, fell upon those who were desirous of churning the ocean of war Though he received thousand wounds, he destroyed them and became the object of a happy occasion of svayamvara for the heavenly damsels Unable to abandon my life there, wretched that I am I took up this heresy that is fit for men without guts" a Before the news of his death reached ASOKAVATI'S ears she fell down dead like a wild she-elephant struck by lightening TIKKAPAIKA sent the news to CHADDALAKA through the housemen standing at the arches Meantime, the king in the assembly-hall, heard an uproar, and he enquired what it was about The doorkeepers came and informed him that on hearing the canard about CHADDALAKA from TIKKAPAIKA (72) ASOKAVATI died due to heart failure SUNDARAKA, who was in the hall said to the king "Sire I have thus destroyed a jewel among women Therefore it is not fit that I should live Therefore command me Like water and milk there is no parting of those two By my own wickedness, producing an infatuation in her mind I brought about this end Therefore it is only proper that I give up my life" Though the king enlightened him in many ways he threw himself into the fire together with his wives and retinue Meantime the horsemen CHADDALAKA also heard the news through Accompanied by one horseman he came to ASOKA- ·78 SRNGĂRAMANJARIKATHA VATI'S home and seeing her portrait on the walls, talking with it like a mad man and embracing it, he came to the spot where her pyre had been lit He enquired about the funeral pyre of SUNDA- RAKA and said "This is the place of my brother, he has done well" He then arranged a funeral pyie for himself on the same spot as AŚOKAVATI'S pyre and threw himself into the file On hearing of their wonderful account the king thought that he alone was the cause of the destruction of all of them and therefore prepared to cut of his hcad in the presence of Goddess Āśāpürā The Goddess beheld his valou which was all surpassing and distinguished in the three worlds, and said "Son, do not be rash Ask what you desire". He then said to her "On Divine onel if thou art pleased then let ASOKAVATĪ, SUNDARAKA and CHADDALAKA together with their ietinue come to life again" When the Goddess said 'Let it be so' the thiee of them got up as if fiom sleep "I cannot separate you in love'. said the king and being pleased gave ASOKAVATI to CHADDALAKA SUNDARAKA saw his worthiness and valour and doubled the king's favour of gifts The king was full of joy on receiving the grace of the Goddess He returned to the palace and with his people ruled for a long time happily Thus, oh daughter many courtesans falling in love with inen lose their wealth and lives too Therefore this is our rule that like a tiger love should be avoided from a distance THUS ENDS THE NINTH TALE OF LOVE ON BOTH THE SIDES IN THE SRNGĂRAMAÑJARĪKATHA COMPOSED BY MAHĀRĀJĀDHIRĀJA-PARAMEŠVARA-ŚRĪBHOJADEVA ·THE TENTH TALE OF THE SNAKE (73) Moreover child, when men are harassed very much liere is nothing they would desist from doing out of anger Listen, my child In the city of Kaušāmbī, which was like a jewel on the paiting of the hair of the Lady Earth, there lived a rich śı otriya named ŚRUTA- DHARA who had mastered all the lores He who followed the pati laid down by the śrutis and the smrtés, begot a son in the middle age who was named VINAYADHARA Since boyhood the boy was initiated into the study of Vedas and by the time he was sixteen he had learnt all the sõstras Now once upon a time, when spring, the sovereign of seasons set in, enkındling the sun which was like its greatness incarnate, afler pushing aside out of compassion the winter season which afflicted the whole world by extreme cold, when the orb of the moon posssessed the beauty of a white umbrella with the cloth in the form of the moonlight, with the ribs in the form of the bright rays and which was held high by the umbrella bearer in the form of the night, where here and there leaves of excellent saffron were swayed by the softly blowing wind, when the white lotuses bore the beauty of white chowries, when the rows of asoka trees flashed forth sprouts in every forest like banners (woven) by the shuttle dyed in lac of the Fish-bannered One who conquered the whole world, when the campaka trees had not even put forth buds, when sprouts had not cropped up, when the fragrance of the kesala had not spread when the trees and the creepers had not become even mature, when the directions were not even clear, when the wind was not even slow and when the humming of the swarms of the bees was not even heard, then, at the first appearance of spring, even without cause, the world was agitated, when gradually the spring matured, it first agitated the world and then the forests of lotuses, it first revcaled the rapturous hearts of lovers and then the rows of aśoka trees flashing redness, it first made the lovers close their eyes towards their sweet-hearts and then the clusters of lotuses at first cleaved the hearts of the separated ladies and then the buds of creepers, it foremost darkened the hearts of the passionate and then the forests of flowers with swarms of bees, when unnoticed the nights became shorter, the tanks of lotuses gave up their dryness brought about by frost, and the rays of the moon and the trees gave up smokiness When the rays of the sun and the arrows of Smara increased then the spring, dear friend of the Splendou of the Forest, kept ready for her as it were on all sides а.

·SO RC-ANAVANJ PRIX ATLA so ied mukulis buds 1201015 in the furiist 116 The Bodtblogasspisning 101 her to see houself when the 15 of lolms "milari internig the glory of its ſtrand, the Sun, incre,say by any trien slowly the ſoucis of rāde ( 17pski, post yong inderle ! - ten gold hurst forth, unkindling the film of troppo non ha luati sembling in complexion the launbuma sulla ri Intrend! Les in hcaits 174) when Dinkaraketu :11puldt work is ! 18 ** i. ;lial ed, unsteady, cager and drunk by si magni 11 brc. hilt: secmed to be the sweet wings of the supp(letty nit 7 then vent of sping. as if they wer iht. twang tak be of the dichei Madune, as iſ the pripre Zinginn ef tile je, ciledi ni mk k + the Forest Glory engaged pemains the implemen(h vinulta when the madhavi (cmpers rerkedi vitli eiuri, ky tovaror fyy the Malaya wind enkındled the fire Di 4201 cven in this full which wind) Wols very inol du in Ils clase plurimity to the in dai trecs which gave us to the spoil of Aladiana rte'n CFB THL lovers were nearby uprooiing the pride of this haughty Homon xoc which though southerly is uncnatatablr in the Srpantau oleh when the Malaya wind straightened the pulieci up minds of the Kerala women as also their curls of hon, when it innned tha inger in the hearts of the Cold women s also the bander of their vai ments, when it ruffled the mud of the Kuntalr pomen «flected by the faults of the loveis as also their weaths in the braids of hait. when the bunches of madhūku tloucis increases in palor as it com peting with the chiceks of the sep.lated laries, when cluster, vil kurabakas, blue, yellow and icd shone like colourful gems in the Clown of the king of spring, when the intoxicated notes of the cuckoos, sharper due to cating the fresh blossoms of mango reached fai though issuing falteringly as the iluoals were choked and which seemed to be the commands of Smaia Causing anguish to the minds of the tiavelles, when thic jsoka tices joyously bloomed on experiencing the pleasure of the striking of the feet of the women, when the buds of kesara bloomed into fouers on receive ing mouthfuls of the wine from the women wlien the tilaka trees flowered out of joy on coming into on coming into contact with the much-desnied glances of the lotus-eyed ones and which turned white due to the lustre of the eyes. when the kurabaka frecs possessed the splendour of variegated bunches of flowers having obtained the long-desired embraces of the women with drowsy eyes, and which (tiees) could not contain within themselves their excessive joy and therefore emitted it out through the buds, thus in the spring the tiees yearned to fulfil then desiies like the lovers, when the madhavi creepers decked with dark leares, covered by swarms of bees and with the cooing of the intoxicated cuckoos incited passion in the paramours like the abhisārıkās anointed with ·TRANSLATION 81 musk, and veiled in black sılk, when in every forest gradually the ground lotuses opened, whose red lustre increased internally as if pierced by the arrows of love and which swayed by the terrible Malaya wind like the hearts of the separated, when the depths of thc forests were overspread on all sides by the kimśuka flowers which look like the waves of the sea of Lore desirous of flooding the three worlds and which were round like the tips of Madana's bow, (75) when the Malaya wind fragrant with the scent of saffron generates fear in the people even when their dear ones are near about, like a lion possessing the smell of the rut of the killed elephants, when the bees, sweetly humming, hit the hearts of the separated women like stiange emerald-marbles of Madana thrown to overpower the three worlds, when though unacquainted, the sweetly cooing cuckoos acted as female-messengers, though unappointed, for cutting the knots of pride (of the arrogant women), when the fullgrown vasanta creepei possessed some indescribable beauty as it rested on the tiunk of the mango-tree as on a lover, when the fresh kamanda buds burst open, tearing the hearts of the separated persons, when evcryw here aśoka clusters shone bright like the alaktaka-dyed foot-prints of the Sylvan Beauty manifesting herself all of a sudden out of greed for honey, when the foiests of kimśuka suddenly burst forth on all sides like the fire of Love with smokefree flames inflamed by the soft Malaya breeze ready to consume all separated ones on earth, when the forests of aśoka trees agonized the separated ones with the embodied fire of Love with the in the forrn of bunches of flowers, with the flames in the form of the flaming red leaves and with smoke in the form of swarms of bees hovering over them, when the kesara flowers were multiplied by the spring, which looked like the navels of the Lāta women rubbed with saffron and with the rows of leaves appeared like the wheels of Smara, when continuously elā-fruit burst forth spreading its fragrance of the ripe fruits on all sides like the scent of the rut of the fierce scented elephant of Spring moving about in chains of gold; when the Malaya breeze infatuates the whole world as if by a poisonous breeze mixed with the poisonous breathing of the terrifying snakes moving at leisure here and there on every sandal-tree, when gradually bunches of the patala flowers became manifest like the mature love of the Forest Beauty anxious for a union with Spring, which (love) being excessive could not be contained within, when the clusters of sinduvara flowers resembling the lustre of the moon and looking like the embodied fame of the Fish-bannered God who conquered the three worlds, whitened the orb of the world, when by slow degrees needles of the kanakaketakī, possessing the lustre of the cheeks of the Hüņa ladies rubbed with kunkuma, and being surrounded by swarms of bees, were ·82 ŚRNGARAMAÑJARĪKATHA being multiplied by spring, looking as they were like the emerald studded golden needles to pierce the knots of pride of the haughty women, when in every reservoir the fire of Love spread under the guise of blooming red lotuses for disturbing the water-sports of those agonized by a separation from their beloveds, then the clusters of aśoka flowers, as charming as the breasts of the Hūna ladies rubbed with kunkuma, filled with love, looked like berry-balls (76) made by the Sylvan-deity for the play of the child Madhu fascinated the minds, when the women with drowsy eyes attained some indescribable beauty while swinging, with their breasts tremulous with heavy breathing on account of exhaustion, with their seen inbetween the hands moving up and down with the emerald-inade ropes, with their iris constantly moving due to the fear of the quick movements of the swing, whose perspiration on the cheeks was dried by the wafting of the dress-borders and who though freed from the embraces of their lovers shrieked at intevals out of the fear of falling down, when spring matured, from every where the taunts of the prosita-bhartrkās were heard thus Novel indeed is the Madhu «Spring, wine that without being drunk or smelt intoxicates the mind of all the people', when heaps of flowers bloomed on the flowering trees appearing like the quivers constantly prepared by Spring for the Flower-arrowed One ready to conquer the whole world, when the nights became shorter out of jealously of the moon adorned with the moonlight, when the days abandoned contraction after the affliction of extreme cold was over, when in every house women worshipped Love as if fearing the continuous discharging of arrows, when the lotus-tanks bore some indescribable charm even when they thinned down like the separated ladies with their eyes in the form of the blue lotuses drooping due to the internal heat, with their armlets in the form of the lotus stalks bent down, with their brilliance screened by the lotus leaves, with their faces in the form of the pundarīkas losing colour and with their curls in the form of the kalhāras fluttering, when on all sides in every forest leaves shot up like the arıows of Madana after piercing the hearts of the travellers, when aridity sleeped away together with the winter season, gradually the pleasure gardens bore a greenery, dark as the lustre of the emeralds, as if reflecting the clear sky, when the spring without cause exhilarates the world by the humming of bees here and the cooing of cuckoos there, with the mango-blossoms on one side and the swingsongs of the doe-eyed ones on the other, with the Malaya wind blowing on one hand and the blossoming of the flowery creepers on the other hand, when the wives in the form of directions became pleasant after giving up the gloominess of separation when they had their long-desired union with Spring, when the trees wearing ·TRANSLATION 83 silken dresses of variegated flowers and swaying sprouts were slow ly made to dance by the Malaya wind like a dancing teacher During (such a spring) on the vernal pilgrimage of the God Kālapriya Deva, the fortunate (VINAYADHARA) who by his beauty and wealth conquered the Fish-bannered God, who was skilful in all the arts came to see the God attired in a charming dress along with his friends of the same age and conduct While out of curiosity he was moving on the temple grounds, by chance a courtesan came there She was, it seemed, a conquering missile of the Flower-armoured God, a ray of the moon to the night lotuses in the form of the eyes of the people, a lotus-tank for the bees in the form of the senses, the moving ground for the elephant in the form of Smara, who transformed the sky by the lustre of her moonface even during the day due to the moonlight of her face On seeing her he thought that Prajāpatı, the creator of the world cannot be her Creator, (77) for her beauty was quite distinct from that of the other women created by him Thinking thus he came within her sight On beholding him she was pierced like a deer by an arrow of the hunter Love, and her body had horripilation like a lotus-stalk in the lake of love At the sight of each other the tender shoot of love of these two shot up He assigned the work of making her acquaintance to his clever friend VIDAGDHA and went home Through her friend TARALIKĀ, VIDAGHA made her acquaintance and then related the whole thing to VINAYADHARA VINAYA- DHARA sent him again to take her promise In dalliance with that ANANGAVATĪ he spent that night as in a moment Thus enjoying amorous pleasures in her company many days passed In course of time all his wealth was expended, still to her he was dearer than life When the bawd came to know that she had turned away all other rich men and was attached to him alone she herself drove him out But under some pretext he gained entrance again Scorning him she again and again drove him out ANANGAVATĪ, however, continued to meet him either at a rented house or at a friend's place When the bawd saw that ANANGA- VATI was still meeting him she admonished her thus "You meet him again, well do not blame me (afterwards) that I did not warn you" Now once while VINAYADHARA was coming from his house he saw a iecently killed frightful snake Thinking that it will serve his purpose he hid it in his belt Going near her house he sent to ANANGAVATÍ his fees through a good friend and came to sleep At the middle of the night he entered the next bedroom where the intoxicated bawd was sleeping He slowly spiead the dead serpent ·84 ŚRNGĀRAMAÑJARIKATHA on her body and with his sharp nails pinched her nose and lips. The bawd got up shrieking 'I am stung, I am stung He entered the room quickly and hit the serpent five-six times with a stick When the maid-servants quickly came and put on the lights, he looked at the serpent and said "I shall make an incision", while (she) said "make it, make it” he asked "Where?' and as soon as she said 'here here' he cut off per lips and nose The fear of death was gone and at the break of dawn felicitations were offered that the 'mother' was alive But to her (the bawd) the congratulatory drum sounded indeed like the heralding of death and she repented night and day Thus, o daughter, when rogues are harassed they take revenge in such a way that it is difficult to describe it THUS ENDS THE TENTH TALE OF THE SNAKE IN THE ŚRNGĀRAMANJARĪKATHA COMPOSED BY MAHĀRĀJĀDHI- RĀJA-PARMESVARA-ŚRĪBHOJADEVA > THE ELEVENTH TALE OF MALAYASUNDARI (78) In my opinion no one should ever be insulted When men are insulted there is nothing that they desist from doing In Pañcāla there is a town called Kānyakubja There ruled king MAHENDRAPĀLA who was difficult to be looked at like the sun, and who conquered by his hands the circle of powerful enemies He had a great feudatory named PRATĀPASIMHA who was clever, pleasing, rich, noble, charitable, sacrificing, learned and affectionate He was ugly and hairy, and by nature given to sport He was sent to his country by the king, so staying there for some days he returned again to serve the king (Near the city was the mountain) which seemed to be holding a dark umbrella, for warding off heat on account of the very tall green trees, it appeared as if holding a bow under the guise of the lustre of variegated gems wondering why while it is present Indra (he who had destroyed their wings) should hold a bow, where the directions were scented by the fragrance spreading here and there as the barks of the old sallaki tiees were crushed by the intoxicated elephants rubbing their temples against them, where the depths of the thickets were resounding with the splitting of the skin of the kathaka fruits being pecked by the intoxicated female-partridges; which seemed to hold a white umbrella being upheld by the umbrellabearer in the form the night due to the disc of the moon touching its high top; it seemed that thousands of (?)-ran before it be. + .

·TRANSLATION 85 cause of the rows of tall dark betel-nut trees; which was embraced by the Glory of the Sky like a beloved with her plump breasts in the form of the clouds as dark as the fresh priyangu, with her girdle in the form of the flashung sun and with her beautiful face in the foim of the moon, where the dying passions of the ſabara-women were enkındled by the cries of the flocks of gallinules who fondly relished the very brittle black pepper, where groups of deer were seen listening with raised ears to the soft and low tones (of women engaged in) th singing, which was full of various metals like the science of words which has many roots», which was like the Amaragırı with the streams of the Mandākini on account of thousands of white flowing springs, which possessed the beauty of the orange-trees which was adorned by the dark nala ieeds like the army of Räma -which had Nila and Nala», where peacocks were dancing like the evenings (when Śiva moves out), which had muñja growing on its belt like one engaged in religious observances «who wears a girdle of muñja>, whose highest peak was unattainable by the moon or the sun like a meritorious person «whose greatness is not obtained by sinners», who generated wonder with various amusing spots like Destiny «whose plays are manifolds, who produced the illusion of moonlight even during day-time due to the brilliance of the crystal slabs flashing forth at the touch of the rays of the sun, which seemed to bear the orb of the hot-rayed one (the sun) on account of the red precious stones on the top of the golden high ridges, (79) whose regions were covered with many madana, bāna and asana trces, atimukta shrubs and śara reeds as if it were adorned in all the limbs with heaps of arrows shot from the quiver of Madana, which was closely encompassed by rows of trees which were glossy, having full foliage and beautiful birds and possessed the lustre of campaka and madana trees, as if by beloveds who are loving, amorous, yearning, youthful and possessing the bright complexion of campaka, when its grounds were flooded with rivers whose flow upto the sea was not obstructed, which possessed the lustre of pure crystals and took rise from many places like fame <which spreads upto the sea, which is white like pure crystals and which spreads in many ways, which bore the moon looking like a very white heap of foam of the streams falling from the heights of mountains and concentrated at one place; which because of the constellations touching the tops of the mountain every night appeared as if it had a heapful of big pearls issued forth from the bamboos which were split up as they dashed against one another on account of the winds, due to its hugeness it seemed that after spreading on the earth, in order to pervade the sky which could not be contained in at, it tried to measure the sky with its hands in the form of its peaks, which was covered by rows of forests like Hari «who puts on a ·86 SRNGĀRAMANJARIKATHA garland of flowers», at whose foot were royal swans like Biahman who sits on a royal swans, where the palasa trees were shaken hy hundreds of monkeys like the battle between Rāma and Rāvana <where the demons were obstructed by hundieds of elephants', which though full of thousands of matangas <elephants, cändālas. was resorted to by dvijas «birds, brähmaņas" which had hundreds of two-tongued-snakes yet had thick saiala trees, though very big it was full of aguru, it had bears though it was uneven, though possessed of forests and mountains the love of the beloved it has many mountains with water it was extremely detached, though it was pervaded with Mlechhas it had always spies in it, which was as if rivalling with the rising and setting mountains tinged with the colours of darkness, moonlight and evenings on account of the rays of white, dark and red jewels looking like the colour-sticks of different jewels, which produced the illusion of a thick forest of bamboos at wrong places in the minds of the simple Śabara women who were tired of roaming about on account of the spreading lustre of the puie sapphires, which exhibited his own tiara of lordship of the mountains by the lustre of its golden tops spieading high and low, who manifested its distinguished mountain-niess as being the place of the rise and setting of the rays of even the luminous bodies like the sun and the moon, who bore in his lap the river Narmadá (lit the daughter of the mountain Mekala) like a beloved in whom shone the fish (the fish bannered one, Love), who had a clear necklace «bank» and who possessed of plump breasts aroarings, and a deep navel «whirls”, which was very shady like the evenings «when the shadows are long>, which was decked with the āra, the nīpa and the bamboo trees like this story-teller who belongs to the family of the Paramāra king, which lighted up the whole world like the Ratnadvīpa; which as it were flew up to the heavens for threatening Indra with its wings in the form of the waters of the hundreds of stieams rising high by the strong wind, In that city dwelt a famous procui ess by name DHONDHĀ (80) She had a daughter called MALAYASUNDARĪ who was clever, goodlooking and intent on earning wealth PRATĀPASIMHA came to her place for a night Being over-powered with passion he somehow spent the night When the day had not yet dawned, when he got up a little perturbed, put on his clothes and desired to leave he saw her, who had got up before him, playing with her sister's son Then he said to her "Whose son is this?" Teasing him she said. "It is mine" As soon as the word 'mine' reached his ears then he jumped upon her like a tiger and thiowing her down on the ground scratched with his nails her forehead, nose, breasts, cheeks, ·TRANSLATION 87 hands ard thighs, and teuing away a ciop of her hair he went away When rough the inaids the bawd came to know that the famous icour(esan who was in the favour of the king and was a worshipper in the temple as thus mutilated, with her han dishevelled she starieu abusing MALAYASUNDARI gave up the child and cover- Ing herself ih u covelet she lay on the bed Taking her lock of 1.air, crying and abu“ing the bawd came to inform the king who was in the court The king da voy angry and said "DIIONDHĀ, do you know who is the man and wheiche us now" And DHONDHÃ replied "Sire co many come and go duing the night that they cannot be recognized'. To let the kung kaid "Tell the police officer to find out who had <iept there ciuimg the nighi Then PRATĀPASIMHA who *V.5 11 the couit got up and said "Snc, I had slept there But be kind to call VALAYASUNDARI heie I shall speak in front of her so that unlıuth may not be spoken' When the king summoned NIALAYASCNDARI Ivice or thrice, then covering her body and with her face hung in shame she came to the assembly hall When she caine PRATIPASINIHA said: "When I went to her, at the very first sight I fell in love with her I cannot descube it the event of the mght (81) When she answered that the child was her he could not tolciate it and he injured her It was all done out of his deep attachment for her and the king could do what was The king was pleased with him and gave him gifts She became an object of ridicule When men arc insulted they punish thus THUS ENDS THE ELEVENTH TALE OF MALAYASUNDARI IN TIIE ŚRNGĀRANANJARIKATAHA COMPOSED BY MAHĀRĀJA- DIIIRAJA-PARAMEŠVARA-ŚRĪBHOJADEVA THE TWELFTH TALE OF PAMARĀKA "Enmity with rogues should never be unnecessarily created”, (The thiead of the entire story is lost in the fragments) (82-83) (84) "Therefoie daughter, one should not practice heresy with the clever When practised it should be completely accomplished, otherwise one becomes an object of ridicule " THUS ENDS THE TWELFTH TALE OF PAMARĀKA IN THE ŚRNGĀRAMANJARIKATHA COMPOSED BY MAHĀRĀJĀDHI- RĀJA-PARAMCSVARA-SRIBHOJADEVA THE THIRTEENTH TALE OF MÜLADEVA It is Moreover, my child, love should always be protected threefold, one born on hearing, one on sight and the third on union ·88 SRNGARAMAN.TARIKATIA All the thee should be abandoned from a distuner For by these even family women wie made objects of contcnpi Thriciore like thic poison of the poisonous snake lovcit sight and on dearmg should be kept at a distance, I shall nairate a story about it tussly pour Curiosity Listen In Avanti is the city of Ujjaymi Theic ruled King VIKNANIA. DITYA who obtained the title of a sovereigu by the valvur or his hands and whose dceds were famous and wonderful There also lived the dhīria MŪLADEVA. He was clever, master of soguer. skillful in all the arts and an object of the hing's affecluns brought under subjection the smart, cicated the clever, deceived the intelligent, made the chcats to dance about, and úugmented his wealth He always doubted the actions of women and never muried. Now when once aftei king VIKRAMARKA time and again ask ed him why he did not maiiy. MÜLADEVA said: "Sue wonen üre difficult to be pleased, they have bad intentions are fickle by nature, difficult to be protected, they become detached very soon and cheri love for the low-born It is said in the status and the reas that a woman is the half of this body Therefore even when ** man is 101 himself a sinner he becomes to be regarded as such due to her wickedness Therefore I shall end my life without taking a wife. The king said "It is not so Woman is an instrument to the attartment of the three goals of life She is the sole abode of happiness and the root of fame, wealth and ofispring The householder's life is the mainstay of all the other stages of life Without begetting a son a man (85) never flees himself from the debt of his ancestors Therefore you must take a wife, and do not be so suspicious [When thus spoken to MÜLADEVA is somehow convinced and gets married ] . (During the Summer season) when wanton-women whose bodies were exhausted by amorous sports continuously fanned themselves, when silken dresses were put on, when pairs of the Cakravāka birds taking resort under the leaves of the lotus plants on the banks of the ponds, with their necks resting on each other and enjoying the pleasant sensation of scratching each other passed their drowsiness of the mid-day sun, when pairs of bees due to the heat of the fierce sun abandoned drinking honey from the flowers and took refuge into the bowers of creepers, when the mid-day abhisärıkās with their bodies cooled by water-sports, with their breasts and thighs covered with pure, slough-like clothes besmeared with musk, with their hair ·TRANSLATION 89 weathed with vicikıla flowers intermixed with the open pātala flowers, with their breasts anointed with sandalpaste made doubly fragrant with the powder of the soft ghanasāra were proceeding towards their lovers, when the duections, oppressed by excessive heat and fearing the spread of heat hid as it were in the dhārā-grha, took resort as it were in the breasts of the women with beautiful eyebrows, entered as it were in the shades of the leaves of the sport lotuses, stood as it were gathering in an heap under the shades of the garden trees, took up residence in the bower of plantains, took up their position in the braids of hair of the ladies who have just taken their bath, sought refuge under the groves of palm trees with very dark leaves, when the heat was fierce then the cool white adornments of the dark (ladies) with the braids of hair wreathed with the partially open mallıkā buds, with the ear adorned with earings as bright as the moon, with the lips tinged with the brilliance of the polished teeth, with the sandalpaste-anointed breasts encircled by necklaces of pure big pearls, with the body covered with clean white cloth and with the spotless lustre of the moon attained some indescribable beauty, when in the dense groves, the secana-kutis which were fragrant with the scent of the damanaka trees mixing with that of the maruvaka trees and which were besprinkled with streams of water from leather bags on all sides, were resorted to by the pleasure loving couples to dispel the mid-day heat, when every night the terraces of the mansions, whose crystal floorings were rubbed with sandal paste, were resorted to by the pleasure loving couples after giving up the inner apartments of the mansions which had become hot due to the heat of the sun, when on every house were seen the vāsakasayjās pale due to the separation caused by delay and seated in the candraśālās like the presiding deities of the moonlight arranged their quarters, where the walls were decorated with garlands of open vicikılas and the ceilings were darkened by the smoke of the black aguru incense, when the needles of the kanakaketaki which stole the lustre of molten gold and therefore were put in chains in the form of the rows of bees as dark as iron by the Summer-king were slowly shooting up from the long leaves as dark as the fresh green grass, (86) when the kesara flowers looking like the wheels of the Fish-bannered God whose armours are the flowers and who is busy in spring conquering the three worlds to torture the hearts of the separated ones, reminded of the mouths of the moonfaced ones fragrant with wine, when in every forest the rāja-campakas which were enveloped in golden lustre, which were like the captivating charms for the minds of all the people and which were difficult to be gazed at by the separated ones like the flames of the fire of Manmatha were put in chains by the clever bees for having destroyed the scent of all other trees, when the ripe elā fruits ·90 ŚRNGĀRAMAÑJARĪKATHA possessing a cool delicious fragrance grew piofusely producing the illusion of the rutting elephant of the Fish-bannered One, entering slowly the depths of the garden; (Afterwards MŪLADEVA found out that his wife was carrying on with a merchant by name DATTAKA, and the king's chief queen Loo was unfaithful to the king by going every night to her paramour, the king's elephant driver One night he followed her and saw that the elephant-driver lashed her with a chain for being late The next day the dısıllusioned MŪLADEVA told the king about it) (87) see it " (88) The king was surprised and asked MŪLADEVA "MŪLADEVA, what is this? This is indeed wonderful Please satisfy my curiosity by saying what it is Folding his hands MŪLA- DEVA said "Sire, if you give me the promise of fearlessness then I shall tell you Your Majesty should not punish me then” Saying this he said to the queen "Madam, without the paramour the food cannot be relished Therefore call the king's elephant-driver, BATHARAKA" Being wonderstruck the King said "MŪLADEVA, what is this?" MÜLADEVA said "Bare the body of this queen and When the king did that and looked at it then he saw the swollen marks of the chains MŪLADEVA made his foolish wife sit on the second seat and said “You also call your paramour, the merchant by name DATTAKA", and then said "Sire, it was indeed your favour that I was married I knew the conduct of women, therefore I never married But by your lordship's order I accepted and married this foolish person The result is the same They (women) are sinful and of wicked conduct, who can trust them? There is no king like yourself, nor is there a master of rogues like myself, not a wise man like KAPALASIKHA When they can deceive even us what can happen to the other poor people ?" The king arrested the elephantdriver, confiscated DATTAKA'S wealth, and outcasted him, and cut off the nose and ears of CILLAMAHADEVI and giving only morsels of food put her into prison. Therefore, my child, there are harlots of good characters and there are family-women who fall in love at the first sight and carry ·TRANSLATION 91 on with men without considering their lives or wealth Then what to speak of harlots? Therefore, my child, the three kinds of rāgas should be avoided altogether (89) Thus, daughter, let not this family of ours which shines bright as the sun in the whole world be stained by being cheated Therefore you should act in such a way that vitas will not rob you, dhūrtas will not make you dance, friends wilı not laugh at you, miseis will not trouble you, paramouis will not iavish you rogues will not destroy you, lovers will not propitiate you the clever will not cheat you Bhārati dances out of joy (on acquiring this kathā which is) sweet, soft, enchanting, pleasing the Lord of the Earth, another supporter of the earth as is the king of the serpents, wrote this kathā. which is new, rich, a charming ornament, and the coming forth of speech On acquiring the 'Srngāramañjari' today Goddess Sarasvati relishes the drink of honey O you (people), see, having obtained the 'Śrngäramañjarī the banner of good fortune of Goddess Sarasvati She, having obtained the 'śrngāramañjari' somehow, a banner of her own good fortune having acquired the 'Srngaiamañjarī as her ear-ornament the captivating Vāni (Sarasvati) . IN THE YEAR OF THE ENEMY OF THE SAKAS WAS CREATED THIS KATHĀ 'SRNGĀRAMANJARĪ' BY BHOJARĀJA THUS ENDS THE ŚRNGĀRAMAÑJARIKATHA COMPOSED BY MAHĀRĀJĀDHIRĀJA-PARAMEŚVARA-ŚRĪBHOJADEVA ·NOTES (Here are included words of rare usage or remarkable in some way ) Yantradhārāgn ha ( यन्त्रधारागृह) p ७. -Is a fountain-house to dispel the heat of the summer days The complex mechanical contrivances speak of the progress of science in those days In the SS, Bhoja devotes the entire 31st chapter to 'Yantravidhānam-the descriptions of the mechanical contrivances, their usages and benefits The word Yantra' is derived from the root Yam' to control or to restrain God evolves the universe and also controls its movements: ? भ्राम्यहिनेगगशिमण्डलचक्रग (त्स? )स्त मेतज्जगत्रितययन्त्रमलक्ष्यमध्यम् । भूतानि बीजमखिलान्यपि सम्प्रकल्प्य य मन्तत भ्रमयति स्मरजित् म वोऽव्यात् ॥ (verse 1) There are two kinds of controls The first is the self-control of human beings, the second is the control of the five elements of nature तस्य वीज चतुर्धा स्यात् क्षितिरापोऽनलोऽनिल । आश्रयत्वेन चैतेपा वियदप्युपयुज्यते ।। So the control of the four primary elements namely earth, water, fire and wind (and ākāśa as their substratum) leads to the production of the mechanical contrivances Different materials like metals, leather and cloth are then put to use and with the help of wheels, rods and the like, syringes (vs 28), musical instruments (56), dramatic representations and scenes (59-72), moving animals (73), dancing and singing dolls (74) and various kinds of water machines (109 ff) can be made The details of the mechanical contrivances in the Yantradhārā. gyha given in SMK are dolls beating drums, dancing, playing instru. ments and singing, ducks seated on blooming lotuses drinking the streams of water which looked like lotus fibres, bees humming in lotuses, cakorakas drinking water, cranes plunging in the pond after the sapharikā, tortoises swimming up and down in the tanks and mermaids afraid of ciocodiles Streams of water flowed out from the eyes of winged crocodiles, mouths of peahens, hair, breasts, palms and nails of women, mouths of a family of monkeys climbing atop a tree, lotuses, walls, grounds, pillars and pillartops The whole ·NOTES 93 picture gives an impiession of the rainy days and that was the very purpose as is said in SS उद नानाकार कुलभवनमाद्य रतिपते- निवामश्चित्राणामनुकरणमेक जलमुचाम् । पय पातीप्मे रविकरपरीतापशमन न केपामत्यर्थ भवति नयनानन्दजननम् ।। In the Kadambari we read of a somewhat similar description of a cool fountain-house called himagrha Besides various mechanical contrivances we read of gioups of peacocks, cranes, buds, bees etc (pp 436-441). The Yasastilaka-Campū (Book III pp 522-533) also has description of a Yantradhārāgrha where śukasārıkās, bees, peacocks, ele. phants, crocodiles monkeys and dolls and so on are mentioned In the Tilalamañarī we have no description of the mechanical contrivances as given in the above mentioned texts but the author seems to be quite familiar with the Yantradhārāgrha for we find a few references to it 6 The SMK describes only the dhārāgrha, but SS mentions three kinds of fountain-houses (vs 117) धारागृहमेक स्यात् प्रवर्पणाख्य ततो द्वितीय च । प्राणाल जलमग्न नन्द्यावर्त तथान्यदपि ।। The Yantradhārāgrha was an elaborate construction and therefore only kings could afford to build it प्राकृतजनार्यमेतन्न विधेय योग्यमेतदवनिभुजाम् । In the very beginning of SMK we read that Bhoja was seated on the central moonstone seat of the dhārāgrha surrounded by his friends and kinsmen And it seems that the people had access to it, for the text says (यस्या) यन्त्रधारागृहकमुन्मादयति मनासि पौरलोकस्य । Ubhaya-catuh-sastikalā (zwaag afreket) p {R १२ --Two kinds of 64 Arts Vātsyāyana in his KS refers to both these kinds of 64 arts The first group is of the 64 Anga-vidyās (I 3 16) Mastery over these Kalās was necessary for the courtesans to develop their personality and to fulfil their duties as entertainers Of these Kalās some are purely aesthetic arts, some for the intelect, some for increasing personal charms, while some are merely for It is interesting to note that a paper on 'Yantras or Mechanical Conti ivances in Ancient India' was recently read by Dr V Raghvan It thoroughly treats of the subject It is a useful and interesting contribution throwing light on this interesting topic I am thankful to Dr Raghvan for sending me a copy of the paper st ·94 SRNGARAMANJARIKATHA entertainment The following arts may be taken as the aesthetic arts Tian (vocal music), ata (instrumental music), नृत्यम् (dancing), आलेख्यम् (painting), and वीणाडमरुक-वाद्यानि (playing of stringed instruments) Jogofuafefafirot (making designs on the flooring with coloured iice and making various kinds of flower garlands), gourFTRUTĘ (spreading of flowers and flower-garlands in a room etc), #fruf $1977 (setting jewels like emeralds in the floors) are decorative arts fa519952TH (cleverness in making different tilaka marks on the forehead), 79TFTOTT (anointing the body with kunkuma etc and colouring of teeth, clothes etc ), 574FTTHTH (preparing the bed), Hartefacticar (preparing garlands for different purposes), TETTOIETTETĘ (decorating the crest with different kinds of flowers etc), नेपथ्यप्रयोगा (dressing and adorning according to time, place and occasion), कर्णपत्रभगा (ear-ornaments of ivory, conchshells, etc for adornment), Taufera (anointing perfumes etc) UPTATE (preparing ornaments), उत्सादने मवाहने केगमर्दने च कौगलम् (massaging of body and hair) and TEFTATTF (changing the appearance of fabrics such as making cotton appear like silk) are for enhancing personal grace and charms Accomplishments such as काव्यसमस्यापूरणम् (completing the verse from a given single line) प्रतिमाला (capping verses), प्रहेलिका (rnddles), gafaTÌNTT (expressing that which is difficult in word or sense), gelap (knowledge of reading books) ATTESTETTFERTE- र्शनम् (seeing representations from dramas and ākhyāyıkās), Iris forgetficut (using synonymous words of the Mlechha-bhāsā) THtafa-rata (using deśya words to make known that which is unknown), OTTOTT&FT (remembering heard books), HTETET (knowing what passes in others' minds), काव्यक्रिया (composing poems), faramarita (knowing dictionaries), EGTETITE (knowing the metrical works), and 7969 (knowing poetics) are for developing the mind and sharpening the intellect as Skill ( हरतलाघवम् ) in various useful arts such sewing ( सूचीवानकर्माणि ), carpentry ( 75T ), embroidering (1954ffor) cane work ( पट्टिका, वेत्रवानविकल्पा), obtaining desired ends and cheating others ( कौचुमाराञ्चयोगा , चित्राश्च योगा , छलितकयोगा), household work ( 775EFET) experiments in magic ( JFGTST ), cooking and preparing drinks ( विचित्रगाकयूपभक्ष्यविकारक्रिया, पानकरसरागासवयोजन ) were considered as necessary as the above-mentioned accomplishments Moreover the following arts seem to be for specialization in different professional activities Among them can be included EUROT परीक्षा (the knowledge of different coins and diamonds etc) धातुवाद (finding and treasuring stones, metals, etc ), मणिरागाकरज्ञानम् (knowledge of gems for value etc), FH179 (the knowledge of good and bad omens, etc), Tract (the making of instruments for ·NOTES 95 travels etc ) 191777 (lapidary art) and qetyagUIT (the knowledge of planting, nourishing and diagnosing trees) etc Finally there are games in which skill was deemed necessary for the entertaining as well as enjoying उदकवाद्यम् (playing drums in water), ESTTTTT (sprinkling water), मेपकुक्कुटलावकयुद्धविधि (gamble on live things), शुकमारिकालापनम् (teaching birds like pallots to speak and carry messages), अक्षरमुष्टिकाकयनम् (making syllabic language for private talks), पुप्पगकटिका (making carts of flowers), gafasiat and 379741ST (gambling) and 16 57911FT (knowing playing balls, dolls etc to help children) There are three more aits for self-development, self-defence and life They are वैनयिकीना विमाना ज्ञानम् (code of etiquette and modesty), asforanir fauna STATE (science of obtaining victory) and व्यायामिकीना विद्याना जानम् (knowledge of the science connected with physical exercises like hunting) This list of Kalās has been explained along with many other lists by Dr A Veukatasubbiah and E Muller in an article named "The Kalās (J RAS 1914 pp 351-367) But reference may be made here to two more lists given by Ksemendra in Kalāvilāsa and by Dandın in Daſakumāracarita dre Ksemendra mentions 64 arts of the harlots नद्य इव जलधिमध्ये TOUTEFT First पष्टि । (p 56) Of these except nrtyakalā, gītakalū pānakalā none similar to those quoted above These are simply the characteristics of harlots like weeping, cheating and But they are interesting from our point of view because the heroines in the SMK show mastery in some of the arts mentioned herein For instance Devadattā (5th tale) practises mrtopamakaiā, and also tin tha-viharana-kala SO on In the Daśakumār acarita (Book II) also we get a list of arts and sciences in which a ganıkā is trained to bring her profession to a successful end The second group of Kaläs which is referred to in the SMK by the term 'Ubhaya' is the group of 64 Pāñcāliki Vidyās described in the Sãmprayogika-Adhikarana by Vátsyāyana in the Kāmasiitra These are intimately connected with sexual relations Ujjvalā (gefeufafetovao THCT) P23 18 a classical metre with the scheme TTT ( U U U U UU-UU-U- (Hemcandra, Chandonušāsana, IJ 166) ·96 ŚRNGARAMANJARĪKATHA Kadavakka (775997) P215 --Is a Sanskrit rendering of the Prakrit word 594 (See Svayambhūcchandas, VIII, 30 Journal of the University of Bombay November 1936, 4594 here is by mistake printed as कउवय ) Hemacandra and others give its Sanskrit form as 4594, that is with a single 5 (See the first sūtra of the Chandonuśāsana) It is also written as 59 (Cf Kavidarpana, edited by Prof H D Velankar, A BOR I XVI 1-11 1935, note 51) Old Gujaratı narrative poems were also composed in units called f57 But here are does not appear to be an unit of composition, but a variety of composition It may be noted that this form of composition is peculiar to the Apabhramśa literature while here the use of the word is with reſerence to the Puānas Can we infer that the author had in view some Apabhramsa Purāna or some Purānas in the local language of the times? .... Manalculya ( मणिकुल्या) P १७ - is a kind of composition described by Bhoja in the SP thus (Vol II, p 428) मणिकुल्याया जलमिव न लक्ष्यते यत्र पूर्वतो वस्तु। पञ्चात्प्रकाशते सा मणिकुल्या मत्स्यहस्तादि। Nadan sana. (निदर्शनम् ) P १७ is a kind of composition Bhoja describes it thus निश्चीयते तिरश्चामतिरश्चा वा यत्र चेष्टाभि । कार्यमकार्य वा तन्तिदर्शन पञ्चतन्त्रादि ।। धूर्तविटकुट्टनीमतमयरमार्जारिकादि यल्लोके । कार्याकार्यनिरूपणपरमिह निदर्शन तदपि ॥ (SP, Vol II, p 428) The second type of Nidarsana described by Bhoja shows that it em. braced the works which describe the proper and improper actions as is done in the works like the Kuttanīmata. Technically speaking this description appears to be applicable to the SMK, though in the text as shown at length in chapter IV it is always referred to and recognized as a kathā and nowhere it is called Nidarśana But a detailed consideration of the question awaits the publication of the full text of SP, so that we may have all the data relevant for judging whether the distinctions made by Bhoja between different kinds of Prabandhas are well defined and mutually exclusive ·NOTES 97 Latalesutkah. (लटक्षुट्क ) P २५ taking rounds, faltering The word is of onomatopoetic origin and is represented in Hindi as ECSTT in the same sense. Udyānikā ( GEFFIT ) P 74 -This word is obviously a back-formation from the Prakrit उज्जणिआ etc and preserved in the current Gujarati as Gorroft 'picnic' PSM gives three forms witfort, JPCTFOTOTT and TUTTOTT meaning 'picnic The word is derived from SOUTOT (FEET) PSM quotes the following from the Naśīthacirņi JPITOT 37727 ITT SITTFUTBTT quasi Tiritillatāni (feffermatfit) P 34 This word is a Sanskritization of Prakrit Fefofefrist --base fertfaransa It is an instance of the influence of the contemporary Jaina diction on Bhoja The root feffer is recorded by Hemcandra in his list of cats in the sense of 7 (Prakrit Grammar 4. 161). PSM records the form fefeferon from Kumārapālacarta Ganaratnamahodadhr of Vardhamánācārya notes the word feffaft (II 103) and in the commentary he says feffazt arrefrattatoua टिरिटिरीति गत्यनुकरणम् । He also calls it अनुकरणशब्द-टिरिटिरिचुरुचुवित्यनुकरणशब्दो तदाकारिणि व्यवह्रियते। Lagna ( ) Po to feel The usage and the sense of the word is of the Prakrit root FAT3, feels Cf. Gujarati are in the same sense. Avvā ( Taal ) P32,33 The word 3891 which at two other places is mistakenly written as 3ta and un by the scribe is of Kannada origin, meaning 'mother' or any 'venerable woman' Hemacandra (Desinama. māla 1,5) notes it in the sense of TFT, AT Cf. the suffix ar applied to proper names like Kundavvā, Amiyavvā, etc. occurring in some 9th-10th century Apabhramśa works from Kannada area Cf also the Kannada word avvă meaning 'mother' The scribe probably did not understand the word and wrote the forms corruptly as अशा and अद्धा। Uttha viale | Free facra) P38 can be rendered into Sanskrit as fait fatais if we take Jag as corrupt for the Prakrit ECO, Sk Face Viale is Voc Sing of विमला, Sanskrit विकला 'a perturbed woman' ·1 98 SRNGARAMANJARİKATHA Velavattaka. ( वेलावित्तिका ) P ३४ -a maid-servant who earns by announcing time (Cf Velāvittaka). The words prasādavrttikā (p 38) and aiſhya-vittika (p 4c) are similarly formed. The former meaning 'one whose fortune is in his master's favour and the second referring to 'one whose fortune is in offering arghya (to God)' The courtesan in the temple is described as arghya-vittikā (Cf Lāvanyasundari, 8th'tale). 7 $ 1 Tai kuka-yana ( ponto 577, ) P 82 This is a rare Sanskrit word It means a beggar, a suppliant The other forms noted by MW (p 440) in the same sense being pointi (Mbh) and तर्काट (lex) MW further- (p 58 ) gives two words 97 and quals which also convey the same meaning of 'beggar'. Though the other form of mini, namely, तर्कक is given in the Mahābhārata it seems to be a late form and may be occurring in the interpolated portion of the Mbh. .... } 2 वाई ए कुक्कुडु वासइ ए क्कु लियतह दुइजउ नासइ। (p ५६) 'Mistress, this cock crows As we take one, we lose the other' This is some Apabhraíśa metrical line quoted as a proverb, as the rhyme of apps and ti shows, and the portion beginning with q fort upto 15 is in the well-known Prakrit metre called Vadanaka having the structure 4+4+4+-UU UU This means that the first line is metrically defective 1 Putrarosa ( पूत्करोपि ) P. ५६ into cry aloud It is same as the Prakrit ✓-999 Cf Gujarati पोकान्वं, ‘पोकार. It is commonly used in the Prakrit and Apabhramsa literature that .... ū 1 Akka (1775) P 88 the word is used in the sense of 'a mother' or 'an elder sister'.' The bawd or the procuress of a courtesan is usually addressed as al:lex The word Akkā is of non-Sanskritic origin. Ils vocative is irregularly Akka and hence it is recorded by Panini (MW p 2) ·NOTES 99 16 The word occurs in Hemacandra notes it in Deśināmamālā Tamil, Telugu, Kannada, etc three 3 Kadıtallā (Ffsso) P. 3 -PSM records fast in the sense of a kind of an iron weapon which has one edge sharp and is a little curved It refers to Deśīnāmamālā 2 19 In Harisena's Brhatkathakośa alsó (edited by Dr A N. Upadhye) the word कडितल्ल occurs ( कडितल्लकरा धीरास्तदनु ge4T 1 56 298) The editor in the Introduction (p 102) explains it as 'some armour or weapon associated with the belt and compares the word with Sanskrit Katztra and Prakrit Kadilla This meaning is obviously suggested by him on the assumption that the part fifs in the word siffles is connected with Sanskrit gift $ Vantha (वण्ठ) P. ६५ -Is a deśya word MW (p 915) records it as a lexical word occurring in the sense of a maimed person, an unmarried person, a servant or a dwarf Over and above these senses PSM gives the word in the sense of dhūrta or thug Cf Gujarati वठवु, to go astray This is another instance of Bhoja's diction being influenced by the Prakrit, Apabhramsa and the other spoken languages of the times The Prabhandha-Cintamani has a वण्ठकर्मप्राधान्यप्रवन्धा which describes the vanthas to be dwarf in body and attending on the King by massaging his feet (P. 75). Pattanaka. (पत्तनिका ) P. ७०, ७१ -The word pattanikā (fem ) is not found in the lexicons The reference to it is as follows Sundaraka was commissioned by the king (10th tale) to spend a night in dalliance with Aśokavatî and record the events, so that the king could show it to Chaddalaka and break their bond of love and faith For that purpose Sundaraka brings along with him the Pattanikā which records what passes between them (राज सकाशात् पत्तनिकामेका निजानुचरेण याचयित्वा स्वमन्निधावा- नाययत् तेषा नखपदाना तया पत्तनिकया तत्प्रतिविम्बानि जग्राह) The next day he gives it back to the king and the king presents it to Chaqdalaka saying यदय प्रसाद प्रसार्य गृह्यताम् । Therefore it seems to be an instrument, Yantra, to take impressions of happenings which could be reviewed the next day by spreading it out + ·i00 SRNGARAMANJARIKATHA Last Folio, 158. (p. ८९) The fragment of folio 158 is the most important page in the SMK, though its loss is irreparable, It contains a prasasti of the work and its author in three Sanskrit verscs and four Prakrit Gathas. M - mpus- U Mmmm- The metrical Sanskrit verses help us to inter the number of missing letters The first yrisc is in Mälıní metro Thus: मधुरममृणमुग्धस्निग्ध U U U U U U U Ư Ư Ư Ư Ử U U- प्रतिकलमति हर्षाद् भारती नृत्यतीय ।। The next two verses are in the Sikharıņī metro इमा पथ्य क्षोणी वह vyU UUU [भज] गानामीगोसर इव म एनामरचयत् । कथामऊनाथ प्रगत U U U U U U U U I'm 0 0 0 नवा स्फीता या च प्रकृतिमुभगालस्कृतिरपि म उक्तेल्लेखो UP UttU U 1 ( U 0 U U U L L L / U कलित.॥ The Prākrit Gāthās are metrically correct. सिंगारमरिं पाविऊण देवी मरम्मई अज्ज । मयरवपा णम सिंगारमरि पाविऊण देवीएं उअह वाणीए । मोहग्गजसपडाया •||२ ऊण जस, कहविहु सिंगारमरि उअह । णियसोह [ग्ग]वडाया [सिंगारमजरि पावि]ऊण वाणीए मणहरा ये वि। कण्णावयममोहा भो ॥४ They described Goddess Sarasvati as being joyous on acquiring the valuable 'Śrngäramañjari' which is like her banner of good fortune and her ear-ornament -- . Com Mamta . . The last verse is in the Anuştubh metre in Sanskrit: [व]त्सराणा शकद्विप । कृतेय भोजराजेन कथा [शृङगारमञ्जरी] || It avers that Bhojarāja produced this Kathā in Vikrama (lit the enemy of the Sakas) Samvat The missing letters in the verse are the greatest loss to the work, for they would have solved the problem of the date of the work ·APPENDIX 1 (A transcript from Bhoja's SP, Madras Ms ) (Chapter 36, Vol 4, # 902-911) (पत्र ९०२) तत्र नायकयो प्रागसगतयो सगतवियुक्तयोर्वा मिथस्समागमे प्रागुत्पन्न तदानी- तनो रत्याख्यस्थायीभाव इति रते. सत्तासना प्रथमावस्था। अभि व्यक्तिसज्ञका तद्वितीयावस्था । अनुबन्धसनका रते तृतीयावस्था। प्रकर्षमज्ञका रते तुरीयावस्था । तासु च यथाक्रम मक्षेपादय समुपसर्गार्था भोगशब्दार्थन सबध्यन्ते । सक्षिप्तो भोग सत्तावस्था- याम्, संकीर्णो भोग अभिव्यक्त्यवस्थायाम, मपूर्णो भोग अनुबन्धावस्थायाम्, सम्यग् भोग प्रकर्षाव- स्थायामिति । स सर्वोऽपि द्विधा मामान्यरूपो विशेषरूपश्च । सामान्यरूप पशुमृगादीनाम्, विणेपरूपो नागरक- (पत्र ९०३) नायकादीनाम् . (पत्र ९०९) अर्थप विशिष्टनायकठिपयो विशेषरूप उच्यते । स च सात्त्विकादिनायकमेदात् स्थिरास्थिरत्वादितारतम्यात् प्रवन्धन उपपाद्यमानो हादशप्रकार उत्पद्यते प्रथमसदर्शनक्षण एव संक्षेपेण उत्पन्न मक्षिप्त इत्युच्यते । मकीर्ण द्वादशप्रकार सपूर्ण सम्यक तत्र संक्षेपपक्षे रागोपाधि प्रेमाणि द्वादशप्रकार भवेति । तंत्र हरिद्राराग, रोचनरागं, कापिल्य- रागं, रीतिराग इति सात्त्विकस्य (नायकस्य), कुमुभराग, लाक्षाराग, अक्षीवराग, मजिठाराग इति राजसस्य,कर्दमराग, कषायराग, सकलराग, नीलीराग इति तामसस्य, तत्प्रायेण पुरषाणा विशेष (षा) उपजायन्ते। तत्र अल्पकारणापनेय हरिद्वारागः तदति .. रस्य स हि तथा न कामेन बाध्यते यथा मत्त्वोकात्करुणादिभिः, तेनासी, नातितरामतिचिर वा रज्यते, अतो हरिद्रारा नागानन्दे जीमूतवाहन न तथा सुखयति मन्ये मलयवती। इ (पत्र ९१०) अनल्पकारणापनेय रोचनाराग तन्महासत्त्वस्य । म हि कामनावाध्यमान धर्मादिप्रवृत्तिरेव स्वकारणसामन्यतो जायते । तेनास्य नातिदुरपनेया नातिरक्ता वा रोचनाया इव रागलेखा भवति । यथा शाकुतले दुर्वासम शापेनापनीतस्मृतेर्दुष्यन्तस्य-सुतनु हृदयात्प्रत्यादेश व्यलीकमपैतु ते। इ अनल्पकारणोपनिपातेऽपि प्रयत्नापनेय (य) कापिल्यराग (ग) तदतिसात्त्विकस्य यथा- हरिश्चद्रचरिते विश्वामित्रमोचनाय दारविक्रयिणो हरिश्चद्रस्य-हे धन्या श्रृणुतावधत्त घनिनस्तेय मया प्रेयसी। इ.. .

·102 SRNGÅRAMARJARIKATHÅ . कारणोपनिपाते महत्य पनेतु शक्यते तद्रीतिराग, तदतिमहानत्यम्य यथा जनापवाद- भीमतया निर्वासितायामपि नीताया गमायणे गमस्य--- तत कैरप्युक्ते परिणयविधी काष्ठमुनिभिः। 3 (पत्र ९११) तेषु च सत्त्वच्छायाधिक्यान तयाविवा रागच्छायानतिरित्यापीन एक गगवणों भवति। एवमल्पकारणापनेय कुसुभराग नजोबहुलस्य। महि तया न धर्मार्थचोन्नपजाने यथा काम (मे), तेनातितरा रज्यते, गुणेषु च ययोत्तरेच्छत्वात् नामिनामनुर... पि' गीघ्रमेव विरज्यते। यथा हरिवगे वासुदेव - पान्थ द्वारवती प्रयासि यदि हे तद्देवकीनन्दनो वस्तव्य स्मरमन्त्रमोहविवगा गोप्यो न नामोज्झिता । अनल्पकारणापनेयं लाक्षाराग तदपि रजोबहुलस्यैव जायने, नया (यथा) विक्रमोर्वन्या मुर्व- शीविलोकनापहृतमहादेवीप्रेमसपद पुरूरवस-देव्या दत्त इति । 3 .. महाप्रयत्नापनेयमक्षीम (ब) राग यथायोगन्धरायणादिप्रयत्नतो गज्यलाभाय तापमव- त्सराजे वासवदत्ताया वत्सराजस्य- चक्षुर्यस्य तवाननादु (द) पगतं नाभूत्क्वचिन्निवत । 3 . महाप्रयत्नेन अपनेतुमप्यशक्य मजिष्ठाराग यथा मदालमोपाख्याने मदालमायामेव कुवलयाश्वस्य- श्रेणीभूता मिवाशामु निखातामिव चेतमि । प्रोतामिव विकल्पेषु राजसूनुरमस्त ताम् ।। इद चाह-यदि सा ममतन्वगी। इ एतेषु च रजोवहुलत्वाद रागभूयिष्ठेपु रागान्तरोपनिपाताद् रक्तायामेव वर्णोत्कर्पो भवति । अथाल्पकारणापनेयमेव तामसस्य कर्दमराग मालविकाग्निमित्र मालविकाविलोकनापहृतचेतसो महादेव्या धारिण्यामिरावत्या च (अनल्पका) रणापनेय तामसस्यैव कषायराग यथा विक्रान्तशूद्रके शिवगणस्य- सा व परिवर्तनकललिता विश्वासभूमि प्रिया। इ कारणोपनिपाते महाप्रयत्नतोऽपि सर्वथा दुरपनेय सकलराग तदपि तामसस्यैव यथा रघुवशे इन्दुमत्या प्रमादमृतायामपि वर्षकतिपय- जीविनो अजस्य-तेनाष्टौ परिगणिता समा (कथचित्) । इ. सर्वथैव अपनेतुमशक्यं नीलीराग तदतिामसस्य यथा कादम्बरीकथायां महाश्वेताविपये वैशपायनस्य- दूर युक्तालतया। इ एपा च तामसाना तमोऽतिरेकाद् रागयो स्वै 'ण तिरस्कारे वर्णान्तरमुत्पद्यते सोयमुप (सक्षेपार्थ । अथ सकरार्थपक्षे यथा . .

·APPENDIX II General Maxims in the SMK अतिपीडिता पुरुषा कोपवशान्नतदस्ति यन्न कुर्वते । (Folio 124 A) अनतिक्रमणीयान्यवश्यभाव्यानि। (122 A) अपूर्व पुमान् स्थानद्वय एपावाप्यते, यदि स्वाध्यायी तदा मठिकादी, अथ राजपुत्रादिस्तदा शून्यदेवालयादौ (101 A) अप्रतिविधेया नियति । (122 A) अवमता हि पुरुपास्तन्नास्ति यन्न कुर्वन्ति (133 A) अमद्गुणख्यापन हि दोपाय, यथार्थगुणाख्यान पुनरनवगीतमेव । (3 A) आवजितचित्त एव रचयित शक्य , रञ्जितचित्तवृत्तिहि सर्वस्व जीवित च प्रयच्छति । (30 B, 31 A) एक्कु लीयतह दुइजउ नामड। (97 A) गार्हस्थ्य हि निखिलाश्रमजीवभूतम् । (145 B) जातस्य जन्तोनियतमेव निर्याणेन भवितव्यम् । (92 B) दुन्तिद्विरददुर्धराणि चेन्द्रियाणि । (33 A) दुर्लडघ्या हतविवेविलसिताना गति । (122 A) धूर्तेभ्योऽपि प्रयत्नादात्मा रक्षणीय । (83 A) न चानुत्पादितापत्य पैतृकादृणान्मुच्यते पुरुष । (145 B) नलिनीदलनिपतितजललवतरल प्रकृत्यैव मन । (33 A) पराशय परिज्ञाय अनुप्रविश्य' परो रञ्जनीय । (60 A) प्रकृत्यैव त्यक्तस्नेहा खलसङ्गतिर्दूरत एव परिहरणीया। (33 B) प्रतिप्राणीदुविजेयाश्चित्तवृत्तय । (31 A) महासत्व महासाहसिक च सम्यगुपलभ्य आत्मत्यागेनाप्यर्थ साधयता न दुरापा स्वार्थसिद्धय (70 A) यो हि यदागयस्तत् तेनानुप्रविश्य विश्रावयता निश्चितैवार्थसिद्धि । (69 A) यौवन नामातिगहनमन्ध तम , दु परिहर सर्वप्राणिभि । (33 A) रागो व्याघ्र इव दूरत परिहरणीय । (124 B) विलासिन्यो हि दृष्टिविपवराङ्गनासनाभयो दूरत एव मनोमोहमुत्पादयन्ति । (33 B). विष्टिरिवानिप्टकारिणी योपिता सविकारा दृष्टि । (33 B) व्याघ्रादिव प्रेम्ण सततमात्मा रक्षणीय । (32 B) स हि महान् भाव , प्रभावख्यापनया तन्नास्ति यन्न वितरतीति । (89 A). सन्ध्याया शयन भाग्यवता नोचितम् । (101 A) समयोल्लडघन हि क्रियमाण त्रपाकरमनुचित च भवति । (46 B) सर्वोन्मादैकायतन च विभव । (33 A) सुवर्णमन्यत् सुरभि क्व प्राप्यते। (105 B) स्त्रियो ह्यतिदुराराधा दुप्टाशया चलस्वभावा रक्षितुमशक्या क्षणविरागिन्यो नीचानुरा- गिण्यश्च । (145 B). । स्त्रियो हि नाम त्रिवर्गकसाधन, सुखायतन यशसोऽर्थस्य सन्ततेश्च मलभूता । (145 B)

·No text on this page.

·No text on this page.