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·To
Kulapati
HIS EXCELLENCY
Dr. K. M. Munshi
Governor, Uttar Pradesh
with
roverence and gratitudo

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·UNTENTS 1. Bibliog repolay 2. brevalecitiile, obwohn viii l'IRT 1 1. Sanskrit Text of the plans 2. Ippendix X: Verses attribuito Viwarkir :3. Alphabetical list of the first lines to lenses 7) PIRTI. INTRO (110 1, 2 1 TIR: Slony Minuscript Material and title of lle Drums Mis found in Mandaluar TIK Title lilie Drama Ils connection will the pled (handlased? and hus uentilic11011 3. .. 7. AUTOR Who was the nuclior Internal and external parleme Remarks of Darlin 5. 1:) Identification of Vijjahil Rajasekhara is (villain kviclence from Sarangadhraprakları Inscriptional evidence Nerur Copper-plate grani. Koclure grant. Identification will Queen Vijayabbiltarikil of Rurnal.ca KALYANIVARMAN Sundarasamni, Lord of Maggiudhat ('handasenit, lis adoptel Son Kalyanasree, son of Madliravit.., Queen of Magadha Chandasena and lirbeliaris Sundaravana's death Contemporary of Vijayalıhatlarika The Sirpur Inscription Caste of Chandasenit Gupta Inscriptions Adityasena of Chandisena Adityasena's alliance with Lietuebavis Nepal luscriptions Later Gupta period Rule of Varm:n and Goula dynasties at Magadha ·ri CONTENIS 10 6. OUTLINE OF THE PLAY Analysis of Act I Analysis of Act II Analysis of Act 111 Analysis of Act IV Analysis of Act V .. .. 7. DRAMATIC ART AND STYLE. Only drana by a woman Political intrigue Its unique features Resemblance to Kalidasa Plot Supernaturalismi Style .. .. .. 8. GEOGRAPHY OF THE DRAMA Pataliputra Vyadhakishkindha Surasena Saketa Kanchi Vidisha Vatsa .. 9. ITS PLACE IN SANSKRIT LITERATURE Bharata's Natyasastra Dhananjaya Five stages of development of action Purva Ranga and Nandi Specialities of the play 3.7 10). ITS DICTION Three Kinds of Diction Vaidarbhi diction The language coincides with it 30 11. TIME ALLUSIONS OF THE PLAY First datum in Act I Second datum in Act II Third datum in Act V . .. .. 36 12. DURATION OF THE PLAY Duration of Act I Duration of Act II Duration of Act III Duration of Act IV Duration of Act V ·CONTENTS vii 13. . 39 SOCI... PICTURE OF THE TIME lurocallions of Siva Saivism of the age Great Social reviviil Buddhism--busi stage constitution Democratic Spirit of the age Revival of Sanskrit learning Ilimu Renaisance Vabalahit inseriptions Other Serenul aspects I'm l'RWRIT ON KAUMUDIMSHOTSAVA Saunaseni in Maharashtri diileil Sauraseni used in cialogues Maharashtri in ('ouplets Some general features 1.1. 42 15. 43 IMPORTANCE OF THE PLAY IN TI NISTORY OF DRAM... Sthapak: Sotractharat Conversation in the air Ils ('onnicolion with the ancient method 16. KIUNUDIMAHOTSAVS ANI) KALIDAS 17. .. 46 Mention of Vijjaki in literature Manmalit, Dhanikir, Mukulabhatta 46 Other poets mentioned by Vijjaka Dandin's Story Blasha's Story Antiquity of the Drama 19). SCENE GROUPS 47 20. MKTRES IN ORDER OF TIIEIR FREQUENCY 48 21. PROVERBIAL EXPRESSIONS 49 SCANSION OF NIETRICS.. 59 2:3. METRES ON KAUMUDIMANOTSAVA 51 2.1. RUERINCES 52 25. Dramalls Personce 54 ENGLISI TRANSLATION OF KAUMUDI-MAJIOTSAVA 55-121 ·BIBLIOGRAPIY List of books and papers concerning Kaumudimahotsava. Dasaratha Sarma, Kilunud mahotsavi and the ca1oof lialdasie (From the Indian Historical Quarterly, Vol. .S, No. 1, 19:31). Jayaswal, K. P., Ilistorical Data in the Drum of limandmalolsatu. Dasaratha Sarma, Chandasena of kunishulsuz'i (From the Journal of the Bilder and Oriss: Research Society Vol. XXI. 1935, Part 1). Dasaratha Sarma, The So-called City Council of Patalpalma (From the Indian Ilistorical Quarterly. I'vl. XI. 19:35). Dasaratha Sarma MIX., Professor Wintornita on the Rumimalolsrizu. (From the Journal of the Bihar and Orissa Research Sixiely Vol. XXII, 1936, l'art III). 1929 Kaumuclimaholsava ediled text by Air. Ramakrish: kavi 1938 Journal of the Andhirat Historical Research Society, PP. 63 ff. Mudrarakshasa. Dramas of Kalidasa. Kathasaritsagara. Epigraphica Indcia Vols. VI, XVIII, XIX. Baudhayana Dharma Sastra. Sarang dharapaddhati. Journal of the Bihar and Orissa Research Society XXII & XIX. History of Inscriptions of Northern India. The Indian Antiquary Vol. IX. Arthasastra. Dandakaranya by Dr. D. R. Bhandarkar-Jha Memorial Volume. Imperial Gazetteer of India Vol. XVII. Devibhagavata VII. Sivapuranam. Sewels Arch. Survey of South India. Architecture of Dharwar and Mysore-Meadows Taylor. Secred Books of the East XLV. The Ancient Geography of India-Cunninghan. Raghuvamsam,

·ABBREVIATIONS
JAIRS
Journal of the indhra Historical Research
Society.
B. I.
Epigraphica Indica.
DR. S.
Dharma Sastra
J. B. (). R. S.
Journal of Bihar Oricntal Research Society
The Ind. Ant.
J.A.S. B.
The Indian Antiquary.
Journal of the RoyalAsiatic Society, Bengal.
Journal of the Royal Asiatic Society
J. R. A.S.

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·॥ श्रीः॥ कौमुदीमहोत्सवः। प्रथमोऽङ्कः। (1) (2) (नान्यन्ते ततः प्रविशनि सूत्रधारः) (B) सूत्र-श्रीमद्वयाघ्रचारतररचिततले स्थण्डिले संनिपएण: कृत्वा पर्यचन्ध फणमणिकिरणचारिणा नक्षकण । नानात्वग्रन्थिभेत्री धियमिव विकिरन् दन्तकान्तिच्छलेन ब्रह्मव्याख्याननिष्ठरत्व भवतु तमःकृत्तये कृत्तिवासाः॥१॥ (4) (परिक्रम्य) अय! अयं समुपस्थितः सर्वजनसामान्यमहोत्सव- भृतः शरत्समयसमवतारः । तथा हि-- (5) हंसः सैकतमुत्सुकेन मनसा प्रत्यागतः प्रेक्षते भृङ्गो मङ्गलपाठकः सरसिज प्राप्तोदयं सेवते । रिक्तोऽपि ध्वनिपरितत्रिभुवनं कृत्वा वदान्यप्रथा पश्चादेति शनैः शनैः परिणतो मेघः परामुन्नतिम् ॥२॥ (७) अपि च, (7) कृष्णशारां कटाक्षेण कृपीवलकिशोरिका ।

·- (२) करोत्येषा कराग्रेण कर्णे कलममञ्जरीम् ॥ ३॥ (8) तदानीं तत्रभवतः पाटलिपुत्राधिपतेः सुगृहीननाम्नो देवस्य कल्याणवर्मणः प्रतिनवराज्यलाभसंवद्धितदृष्टिवृद्धिपरसंकुलेऽपि राजकुले पुनग्यमपरः प्रत्यासीदति कौमुदीमहोत्सवारम्भः, तद- हमपि स्वकुलोचितेन सङ्गीतकसेवाधिकारण लब्धावसरो राजकुलं प्रविशामि । (प्रविश्य) प्रयुक्तपूर्वेषु पूर्वसूरिसूक्तिविशेषेषु का पुनर- भिनवरमणीया कृतिरभिनेतव्या । भवतु, यत्तदस्यैव राज्ञः समतीतं चरितमधिकृत्य (विजि) कया निबद्धं नाटकम् । तदिदानीमग्रतः कृत्वा मगधरोजान्तःपुरमवतरामि । तत्र मे सन्तः सहायाः- (9) विरसापि कृतिः प्रपत्स्यते मधुनिष्यन्दमयं दशान्तरम् । यदि नाम सतामनुग्रहः शिशिरः प्राप्य वेरिवातपम् ।।४।। (10) (विलोक्य ससम्भ्रमम्) (11) तपसेव विभक्तविग्रह किमिदं धाम गृहीतवल्कलम् । पुनरुक्तमिवोपलक्ष्यते वटुवेषगृहणं विभावसोः ॥५॥ (12) इन्त ! विज्ञातम्, अस्मत्पक्षपातात् स्वयमेव पारिपार्श्वको ·(३) मुनिशिष्यभूमिकामादाय इत एवाभिवर्तते । तदहमप्यनन्तरो- चितेषु करणीयेषु व्याप्रिये । (निष्क्रान्तः) (13) स्थापना। वना । A (14) (ततः प्रविशति मुनिशिष्यः) (15) मु-अहो तु खलु कुलपतेराश्रमपदस्य महती सम्भा- यतस्तदा विद्याविनीते गुरुजनानुज्ञाते समं सवयोभिः स्वकुलोचिते कर्मण्यधिक प्रस्थिते कुमारे- (16) पुष्पं बाष्पजलोपमं क्षितितले मुक्त मुहुः पादपै- विदृष्टिपथं तपोवनमृगेरुद्ग्रीवमुद्दीक्षितम् । चिन्ताशून्यधियो निमीलितदृशः साम्राः क्षणं तापसाः शङ्क शोककलङ्किताः कुलपतेः कण्ठे गिरः कुण्ठिताः ॥६॥ (17) अथ चा सर्वमिदं कुमारमुद्दिश्येति नात्र विस्मयनीयं पश्यामि। कुतः- (18) श्रीवृक्षाङ्कमुर:स्थलं हरवृषप्रस्थानखेलं गतं पादावङ्कशकेतुलाञ्छिततलावाजानुलम्बो भुजौ। प्राप्तं चारु मुखं ललामरचनामुन्मेषिणीमर्णया पर्याप्तं गुणसम्पदां नृपसुतः सङ्केतगोष्ठीगृहम् ॥७॥ (19) (परिक्रम्य) अये ! अयं काश्यपायनः । (आकाशे) किमाह

·(४)
भवान्-कोत्स, कुतो भवानागच्छति ?-इति । कुलपतिनिदेशा-
दभितश्चण्डिकायतनं पम्पासरः समीपवर्तिनि कुलन मागतस्य
सख्युः कुञ्जरकम्य परिग्रहभूते व्याधकिष्किन्धनानि दुर्गस्थाने
प्रतापोवसरप्रतीक्षया प्रच्छन्नोषितं कुभारं कल्याणवर्माणं सुखम-
हर्षिहारं पृष्ट्वा प्रतिनिवृत्तोऽरिम । किमाह' भवान्-कथमितः
प्रथिततरमेव वैरिवर्गाधिष्ठितराज्यप्रत्यानयनोपायचिन्तकः पाटलि-
पुत्रं गतो नाद्यापि प्रतोपावसरमापादितवान् मन्त्रगुप्त ?-इति ।
ननु प्रमाद भीरुत्वाद्विवेकिनां कालक्षेपवत्यः कार्यसिद्धयः ।
किमाह भवान्- कथं च कुलपतिरेव जावालिस्तपःप्रभावेन तां
सिद्धिं नाभ्यर्थितः कुमारेण ?-इति पराक्रमोपनतामेव
सिद्धिमभिकाङ्क्षते क्षात्रं तेजः । किं ब्रवीषि-एवमेतत ,
गच्छतु भवान्, अहमपि समित्कुशकुसुमान्युपहरामि ?-इनि
साघयतु भवान्, अहमपि कुलपतिं द्रक्ष्यामि ।
(20)
(इति निष्क्रान्तः)
(21)
विष्कम्भकः
(22) (ततः प्रविशति कुमारः)
(23)कुमा०-येषामाख्या सहायान् गणयति गणनां नैकयाप्यङ्गुलीन
तेषां तोयप्रदानं परिहरति रणस्वर्गिणां पूर्वजानाम् ।
तेषां सुप्तेव कीर्तिः प्रतिवसति यथा स्वेगृहे सालभजी
येषां शेषामिवाज्ञां शिरसि नृपतयः श्रदधाना वहन्ति ॥८॥

·(५) (2) तावदस्य तपनीयाशोकतरोरथश्च्छायायामुपविशामि यावत् कुञ्जरकसकाशात् प्रतिनिवर्तते वयस्यवैखानमः। (तथा कृत्वा) अहो प्रवालशीतलेयं नरुतलच्छाया । (25) सम्प्रत्यहं भृङ्गकुलानुयात- गृहीनगन्धद्विपदानगन्धैः । विन्ध्यानिलैः शैशवमुक्तमुक्त प्रबोधितः पाटलिपुत्रवासम् ॥६॥ (2() (निःश्वम्य) तामेव शैशवकथामनुस्मरामि । तदा हि- -- : (27) सन्नद्धः कवची शरामनधरस्तातो रुपा प्रोषितो जाता धौतकपोलपत्रलतिका बाप्पाम्बुभिर्मातरः । एकाकी चलकाकपक्षविभवो नीतोऽस्म्यहं तापस- मिथ्येव प्रतिभाति शैशवकथा स्वमो नु माया नु मे ॥१०॥ (28) अथ वा कृतमनया कातरजनोचितया निपातोदन्तचिन्तया । तेजस्विनो हि पुरुपस्य मम्पदुद्योतनप्रतिपक्षभूता विपदपि न च्छायेव परिहरति पार्श्वम्, न पुनरुदाराः परिहीयन्ते । कुतः- (29) ध्वस्तः सुन्दरपाटलो निपतितः कार्त्यायनः शक्तितः प्राप्त भैरवमन्धकारगहनं प्रद्योतकारागृहम् ।

·(31)
(६)
तेजोराशिरवासवानुदयनस्तस्तैरुपायक्रमः
कौशाम्बी च मुयामुनं च विजयी भूयोऽपि वत्सेश्वरः ॥११॥
(30) भोः पाटलिपुत्रगतमन्त्रगुप्तदूतप्रतिप्रेषणावधिकमपि कालले-
शमत्रैव तिष्ठनप्रतिप्रसरवन्ध्यममर्ष धारयितुं न शक्नोमि । (निमित्तं
सूचयित्वा) किं नु खलु स्फुरति दक्षिणो मे बाहुः
स्वजने शोकसन्तप्ते प्राप्तैश्वर्येष्वरातिषु ।
नाद्यापि धनुगदत्ते बाहुर्वामेतगे मम ॥१२॥
(32) शब्दं रूपयित्वा) को नु खल्वेष कमलमधुपानमत्तकलह-
सनिर्भगे निनादः श्रूयते ? अथवो नेदं कलहंसविरुतम् ।
कुतः
(33) काञ्चीकलरवोन्मिश्रं पादक्रमविलम्बितम् ।
मजुवाचामिदं मन्ये मञ्जु मञ्जीरशिञ्जितम् ॥१३॥
(34) भवतु, शब्दानुसारेण चक्षुर्विक्षिपामि । (नथा कृत्वा) अये !
पल्लवितमिव जीवलोकं पश्यामि । का नु खल्वेषा परिमितपरिवारा
तारागणपरिवृता शशाङ्कलेवेव लक्ष्यते कुमारी ?
(85) वामोरूमूरुजातां विदुरुरुजघनामुर्वशी विश्वयोनेः
सीतां सीताप्रसूतिं श्रियमपि मथितादम्बुराशेरुशन्ति ।
न त्वस्या जन्म जाने जननयनमधुस्यन्दिनी कान्तिलक्ष्मी-
मध्येवेदिप्रसूतां द्रुपददुहितरं वेदिमध्यां वदन्ति ॥१४॥

·•. (७) (१) ( ततः प्रविशति ससखीगणा कीर्तिमती काञ्चुकीयश्च) (37) का-इत इतो भवती (38) की---हला णिउणिए, किं णुखु पसरणं विअ मे हिप्रवे? ( हला निपुणिके, किं नु खलु प्रसन्नमिव मे हृदयम् ?) (31) नि-भट्टिदारिए, भअवदीएभत्तजणाणुकंपिणीए पाद- वंदणं करिअणिग्गदासि, कीस ण पसरणं होइ दे हिअअं? ( भ दारिक, भगवत्या भक्तजनानुकम्पिन्याः पादवन्दनं कृत्वा निर्गतासि, कथं न प्रसन्नं भवति ते हृदयम् ? ) (५))की-जुत्तं तुए भणिदं, सोढव्ववेदणं दाणिं मे तादस्स अंबाए अविनोअदुकवं भअबदीदंसणेण । ( युक्तं त्वया भणितम्, सोढव्यवेदनमिदानीं मे तातस्या- म्बायाश्च वियोगदुःवं भगवतीदर्शनेन ). (41) नि--अइगदो पसादं वि दंसहरसदि भअवदी। (अचिरात् प्रमादमपि दर्शयिष्यति भगवती ). (42) कु-सर्वथा मकरकेतुमन्तरेण नास्याः समुत्पत्तिं पश्यामि। तथा हि- (43) सर्गान्तराणि सकलान्यतिवर्तमान- ·(८) मस्या वपुर्न खलु शिल्पफलं विधातुः । शङ्के वृषाङ्कविजयाय मनोभवेन तप्तस्य सोऽयमनवस्तएसो विपाकः ॥ १५ ॥ (44) की-कोकिल कंठराअकोमलगीदिसद्दो घडुलदााणिवहो कंचणणिमिदो कि एस पासादो ? कोकिलकण्ठरागकोमलगीतिशब्दः चटुलपताकानिवहः काञ्चननिर्मितः किमेष प्रासादः ? (45) नि-भट्टिदारिए, णस्थि एत्थ पासादो, एसो खु कुसुममंजरी- पुंजपिंजरिअसाहासहरसो मंदपवणंदोलिअपल्लवपुडो महुअर- महुरुल्लावमणोहरो असोअरुक्खो । एदिणा पञ्चादिट्टा दाणिं पमश्रवणपावपाणं समिद्धी । (मत दारिके, नास्त्यत्र प्रासादः, एष खलु कुसुममञ्जरीपुजपिञ्जरितशाखासहस्रो मन्दपवना- न्दोलितपल्लवपुटो मधुकरमधुरोल्लापमनोहरोऽशोकवृक्षः । एतेन प्रत्यादिष्टो इदानीं प्रमदवनपादपानां समृद्धिः ). (46)की-हंजे, अत्थि किं इमस्स सुहसीदलं तलच्छात्रा- मण्डलं ? (हंजे, अस्ति किमेतस्य सुखशीतलं तलच्छा- यामण्डलम् ? (47) नि-को एत्थ संदेहो ? ( कोऽत्र सन्देहः ? ) (48) की----कहं तु दूरगदा जाणिस्ससि ? (कथं त्वं दूरगता जानासि?)

·(६) (49) नि---आकिदिप्पच्चएण भणामि । जइ अस्थि तदो कि? ( आकृतिप्रत्ययेन भणामि । यद्यस्ति ततः किम् ? ) (50) की-उंमत्तिए, परिस्संतो जणो विस्समं लभेदि । ( उन्मत्ते, परिश्रान्तो जनो विश्रमं लभते ), (51) नि--अंग्र, परिस्संता भट्टिदारिश्रा। (आर्य, परिश्रान्ता भदारिका). (52) का-भोः परिश्रान्ता सिद्धायतनेषु वाहनारोहणातिक्रमः परिहरणीय इति पादचारप्रवृत्ता भत दुहिता । देवि, मुहूर्तमस्य तपनीयाशोकतरोरधश्च्छोयायामुपविशाम, स्वय- मेवोपकल्पितमावासस्थानमन्तः पुराधिकृतः सिंहलको निवेदयिष्यति। (53) ( सर्वे परिक्रामन्ति ) (54) कु--संप्रनि चरितार्थं चक्षुः- (53) पादौ पल्लवकोमलौ करिकरश्रीचोरमूरुद्वयं विस्तीर्णं जघनस्थलं तनुतरो मध्यः स्तनाचुन्नतौ । बाहू चम्पकपुष्पदामरुचिरी पूर्णेन्दुकल्पं मुख केशाः कुञ्चितमेचकाः नववधूरेषा वधूलक्षणम् ॥१६॥ (56) ( सर्वे कुमारं दृष्ट्वा संभ्रान्ताः) ·- (१०) (57) का-महदिदमाकारबद्धं तेजः, यदस्य दर्शने बहुदिवसा- धिष्ठितराजान्तःपुरस्यापि तत्पूर्वोपनतराजदर्शनस्येव शिथि- लीभूतः सत्त्वावष्टम्भः । कोऽसाविति जिज्ञासमानोऽपि नैनमनुपोद्धातः प्रष्टुमुत्सहे । सर्वथा तावत्- (58) कर्णान्तविश्रान्तविलोचनश्री- याघातरेखारचितप्रकोष्टः । तेजोनिधि नमसौ कुमारः कुलस्य सारोद्धरणं नृपाणाम् ॥ १७ ॥ (59) कु-स्वागतमत्रभवतः, अत्र पूर्वोपविष्टा वयम् , तदिहा- स्यतां भवतीभिः । (60) विन्ध्याद्रिगन्धगजदानसुगन्धयोऽमी पम्पासरः सलिलवीचिविमर्दशीताः । श्रोणोपयोधरसमदहनप्रवृत्तं मार्गश्रमं व्यपनयन्तु वनान्तवाताः ॥ १८ ॥ (61) (सर्वे उपविष्टाः) (62) नि-(जनान्तिकम्) भट्टिदारिए, किं णु पुंणमासीचंद- मंडलादो विन इमस्य मुहादो अमुअरसनिस्संदो निस्सरइ ? (भदारिके, किं नु पौर्णमासीचन्द्रमण्डलादिव एतस्य मुखादमृतरसनिष्यन्दो निःसरति ?)

·(११) (68) की.-(आत्मगतम्) एंतरं पेक्खंखंतरस वि जणस्स चंदसिलामयं वित्र अमुअरसणिस्संदणिब्भरं होइ हिअयं । (प्रकाशम्) हला, अग्गदो होहि । एतदन्तरं प्रेक्षमाणस्यापि जनस्य चन्द्रशिलामयमिवामृतरसनिष्यन्दनिर्भरं भवति हृदयम् । (प्रकाशम्) हला, अग्रतो भव । (64) नि०--अपुरुवपुरुसदसणेण ण वड्ढाविदा भट्टिदारिश्रा । (तथा कृत्वा) (अपवारितकेन सस्मितम्) अइ, परिहरइ चंददसणं कमलिणि ति सच्चो दाणिं लोअप्पवादो। (अपूर्वपुरुषदर्शनेनन वर्धापिता भर्तृ दारिका । (तथा कृत्वा) (अपवारितकेन सस्मितम्) अयि, परिहरति चन्द्रदर्शनं कमलिनीति सत्य इदानी लोकप्रवादः।) (65) की०--(भृकुटीकुटिलनिरीक्षितकेण निपुणिकां पश्यति). (GG) कु०-आर्य, आश्चर्यदर्शनं हि कुतूहलस्थानं तदुच्यते । आकृति प्रत्ययादेवास्या राजवंशाभिजनत्वमनाख्यात- निश्चितम्। किंतु- - (67) सा राजपुत्री सुगृहीतनाम्नां किंनामधेयं कुलमीश्वराणाम् । अन्वग्रहोज्जन्ममहोत्सवेन श्रीरेव साक्षादिव सागराणाम् ॥ १६ ।।

·(१२) (68) का-श्रीतुमर्हति महाभागः । अस्ति शूरसेनो नाम जनपदः । तेषां स्वामी विख्यातकीर्तिः कीतिपेणो देवः, (69) अन्ये मन्युमहाभुजङ्गमितरे नीतिग्रहावग्रह प्राप्य प्रजलयोऽपरे बलरजोवतालरुद्धा दिशः । तन्त्रावापविदो नरेन्द्र पदवीं यातस्य यस्याधिक रक्षाभूतिमिवोद्वहन्ति शिरसा श्रीपादधूलीनृपाः॥२०॥ (70) कु--श्रूयते शूरसेनाधिपतिः कीर्तिपेणो देवः । स इदानीं मध्यमो मध्यमलोकपालानाम् । ततस्ततः। (71) का--ततस्तस्येयमेका दुहिता प्राणेभ्योऽपि गरीयसी कीर्तिमती नाम । (72) कु---हिमवतो ननु गङ्गा प्रभवति । किमर्थं पुनरिदानीम्- (73) हाग्रसञ्चरणदुर्ललितौ पुरे द्वौ मञ्जीरमञ्जरवशिञ्जितराजहंसौ। धत्तः पदं मुनिवने मनुजेन्द्रपुच्याः प्रौढप्ररूढकुशकण्टकसीम्नि पादौ ॥ २१ ॥ (74) का--एतदपि श्रूयताम् । सेयमपर्याप्तशैशवक्रीडारसैव- (15) यौवनारम्भयोगेन शोभामसदृशींगता । A ·(१३) शिक्षागुणविशेषेण सूरेरिव सरस्वती ॥ २२ ॥ (76) कु--ततस्ततः। (77) को--ततो यत् प्रतिपन्न्यौवनासु पितृभिः प्रतिपत्तव्यं तद्भगवत्यनुमतेनैव वर्त्मना--इति कृतनिश्चयः स्वयमेव दुहितरं 'चण्डिकायतनं गत्वा कानिचिदहान्याराधयतु भगवतीं विन्ध्यवासिनीम्' इति साभिसरामेनामितः प्रेपितवान् यदुनाथः । भद्रं तव । (78) कुमा--अशक्यारम्भप्रवृत्तं तत्रभवन्तं मथुरेश्वरं पश्यामि- (79) इदं किलाविष्कृतकान्तिविप्लवं तुषारवातातपदर्शनेष्वपि । शरीरमुद्यानशिरीपपेलवं तपोवनक्लेशसहं भविष्यति ॥२३॥ (80) कीर्ति--(आत्मगतम्) हद्धी धीलत्तणं हिअअरस! जणप्प- ढिसिद्धप्पसरा वि पुणोपुणो तहिं एव्य दिट्टी सज्जइ । (हा धिक् धीरत्वं हृदयस्य । जनप्रतिषिद्धप्रसरापि पुनःपुनस्तत्रैव दृष्टिः सज्जते। (81) चेटी-जेदु भट्टिदारिआ, सीसरइअअंजलिपुडो सिंहलो ·(१४) विण्णवेदि-कप्पिदं आवासट्टाणं, भअवदीए जोअसिद्धीए अभिप्येदं एदं एव्व पवेसमुहुत्तनं ति । (जयतुभदा- रिका, शीर्षरचितालिजपुटः सिंहलको विज्ञापयति कल्पितमावासस्थानम् , भगवत्या योगसिध्याभिप्रेतमेतदेव मुहूर्तकमिति) (82) कांचु-देवि, प्रापछयतां महाभागः; गच्छामो वयम् । (88) कुमा-गम्यतां पुनदर्शनाय । न विस्मरणीयोऽयमनुपङ्ग- दृष्टो जनः। कटाक्षणावलोकयन्ती सपरिवारा (84) कीर्ति-(कुमार निष्क्रान्ता)। (85) कुमा-गत्ता प्रिया प्रस्तुतचित्तराग- रारेचितभ्रूललितैरपाङ्गः । कर्षत्यसौ मानसमस्मदीयं मयि स्वमात्मानमुतापयन्ती॥२४॥ (86) कथमियमस्या मार्गलता गमनविघ्नमाचरति ? (87) परिवृत्तमुखी नरेन्द्रकन्या विटपोत्कम्पितमारोत्तरीया।

·(१५) स्तनयोरनयोताङ्गायष्टिः स्मरसर्वस्वसमुद्गयोर्भरेण ॥२॥ (88) कथमेषा वक्त्रामोदप्रसक्तं मधुकरयुवानं लीलारविन्देन निवार- यन्ती हन्त ! अन्तर्हिता तरुसङ्कटे । (89) याता नितम्बगुर्वी यावद्यवान्मृगेक्षणा दूरम् । बिंबितगात्रीवान्त- स्तावत्तावदवगाढा मे॥२६॥ (90) (पर्युत्सृकस्तिष्ठति) (प्रविश्य विदूषकः) (91) पुविदू-मअधप्पञ्चंतवासिणं सवरपुलिंदाणं कुञ्जरएण रुसो पेसिदो-जह भणइ अंअमंतगुत्तो तह होदव्वं ति । जाव चंडिआपदणजिएणुज्जाणगदं वअस्सं उबसप्पामि । (ममध- प्रत्यन्तवासीनां शबर पुलिन्दानां कुञ्जरकेण पुरुषः प्रेषितः-यथा भणति आर्यमन्त्रगुप्तः तथा भवितव्यमिति । योवत् चण्डिकायतनजीर्णोद्यानगतं वयस्यमुपसमि)। (92) (उपेत्य) जेदु वअस्सो। (जयतु वयस्यः) (93) कुमा-(विदूषकं हस्ते गृहीत्वा) सखे वैखानस, (94) स्वमोपनतो लक्ष्मीः ·(१६) प्राप्ता गन्धर्वनगररेखा या। प्रादुभूय नृपसुता भूयः सहसा तिरोभूता ॥२७॥ (95) विद्का सा राप्रदारिआ णाम ? (का सा राजदारिका नाम ?) (96) कुमा-एवमिव । (97) विद्-अविहा! अंधस्सकूपपतणं संवुत्तम्, पुव्वं रज्जणासो तते इत्थियातंतुणा (बंधणं)। (हा) ! अन्धस्य कूपपतनं संवृत्तम्, पूर्व राज्यनाशः ततः स्त्रीतन्तुना (बन्धनम्)। (98) कुमा-वैखानस, मा मैवम् इतस्तथा प्रस्थितायाः- (99) अस्याः सखे क्षणमदृश्यत रोमराजी सस्तेऽशुके स्तनभरान्मृगलोचनायाः । मालेव षट्पदमयी भुवनानि जेतुं मौर्वीकृता भगवता मकरध्वजेन ॥२८॥ (100) विदू-ही! ही ! पेक्ख पेक्ख, पुंफर्णिमलो अयं अोदण रासी दीसइ । ( ही ! ही ! पश्य पश्य, पुष्पनिर्मलोऽय- मोदनराशि श्यते). (101) कुमा-(दृष्ट्वा) अयं तस्या लतावसक्तपतितः प्रभावर्षी ·(१७) 1104) माक्तिकहारः । ग्रानीयतां तावत् । (102) विदू-साहू । ण मौत्तिारो बभुविदरस मे ओढ णरासी दीसइ । (गृहीत्वोपहरति) (साधु ! न मौक्तिकहारो भुक्षितस्यौदनराशिदृश्यते). (103) कुमा-(हारमादय) प्रस्थानक्षणसम्भ्रममुक्तं मुक्तास्वरूपेण । परिवृत्तं पश्य सखे किं नु नयाविरमृतं हृदयम् ॥२६॥ (105) विदु-भो वयस्म, अंमाणं कुम्भीलाणं आकिरणेण परफेरएण गहिदेण? (भो वयस्य, अम्माकं कुम्भीराणामाकीर्णेन परकीयेन गृहीतेन ?) (106) कुमा-वयस्य, मामैवम् । अस्ति तावइस्माकममुना प्रयोजनम् । पश्य- (107) मन्दारपुष्पस्तबकाभिरामैः सिन्दुरितो नायकरत्नमाभिः । श्रीविभ्रमाम्भोजमृणालकान्ति- माङ्गल्यहेतोरयमस्तु होरः ।। ३०॥ (108) (प्रविश्य चेट:) - ·1105) चेटः-जेदु भट्टा. गहिदसंभाराम बाआमभूमो वास- गणो पडिपालेदि। ( जयतु भर्ता, गृहीतसभागः म्म व्यायामभूमौ वयम्यगणः प्रतिपालयति।) (110) विदू-उठदु उठ्दु भवं, कालो वाश्रामभूमिगमणस्म । (उत्तिष्ठतूत्तिष्ठतु, कालो व्यायामभूमिगमनस्य ।। (111) (सर्वे परिक्रमन्नि) (112) कुमा-तामेवानुगतं चेतो मुक्त मूलमिदं मम । स्रोतोदेयवशात्तोयं हृदस्येवोवसीदति ॥३१॥ (113) अपि च--- (114) स्तनकलशधनोत्रणेव तप्त पृथुलनितम्बभरादिवावसनम् । मम हृदयमधिष्ठितं मृगाक्ष्याः म्फरइधरप्रभयेव रक्तमासीत् ॥३२॥ (115) (निष्क्रान्ताः सर्वे) (118) प्रथमोऽङ्कः - ·{117) द्वितीयोऽङ्क: (118) (ततः प्रविशति मधुमञ्जरिका) (119) मधु-अंमो ! पञ्चास एणो दाणि कुपुमसरसिबिरसणि- वेषणिको पहनासो । जह साहाग्गोलंबो सिडीमुहसणाहा महमिहिसंणिभा कुसुमगुच्छया ढीसंति असोअख्वाणं। हद्धि ! मइस रमिअहिअाए भट्टिदारिआए पडिऊल- दंम्मेणा महुमासो। {अंहो ! प्रत्यासन्न इदानी कुमुमशरशिविरसन्निवेशसन्निभो मधुमासः। यथाशाखाग्रावलाः शिलीमुखसनाथा मन्मथ- शिखिर निभाः कुसुमगुच्छकाः दृश्यन्तेऽशोकवृक्षाणाम् । हो धिक् ! मन्मथशरधूमितहृदयाया भत दारिकायाः तिकलदर्शनोमधुमासः। (120) (प्रविश्य भामिनिका) (121) भामि--असंणिहिदाए भए ण जाणिदं तपोवणवास- किलेस किलंतसरीराए केरिसो ख रत्तिगतो वुतंतो। (असंनिहितया मया न ज्ञातं तपोवनवासक्लेशक्लान्त- शरीरायाः कीदृशः खलु रात्रिगतो वृत्तान्तः।

·(२. ) (122) मधु-एसा भामिणिया हिवारत्तीए सह पुरोहिदहिं देब्बोपहार णिव्यत्तित्र चंडिआपणादो पडिणिवुत्ता । एसा वि रहस्सरविणोणं सहीणं मझे गिउणिआए गणिजइ । ता इमं वि विदितवृत्तंते करेमि । (उपन्य) अइ कुसलं सहीए ? (एषा भामिनिका । ह्यस्तनराम्याम् सह पुरोहितैर्देवोपहार निर्वत्य चण्डिकायतनतः प्रतिनिवृत्ता। एपापि रहस्य- रक्षिणीनां सखीनां मध्ये निपुणिकया गण्यते । तदिमामपि विदितवृत्तान्तां करोमि । (उपेत्य) अपि कुशलं सख्याः ?) (128) भामि-अइ, कुदो अह्माणं कुसलावसरो तादिसं भट्टि- दारिआए अणिणीदणिदाणं आतंकं चिंतअंतीणं ? (अयि, कुतोऽस्माकं कुशलावसरस्तादृशं भत्तदारिकाया अनिर्णीतनिदानमातङ्कं चिन्तयन्तीनाम् ?) (124) मधु-जइ एव्यं, णिव्वुद्दा होहि, गिणीदं से श्रादंकणि- दाणं। (यद्येवम् , निर्वृता भव, निर्णीतमस्या आतङ्क निदानम् । (125) भामि-दिट्टिा पसंणा भअवड़ी विझवासिणी । इमरस सहाररुख्वस्स पच्छाये णिसंणित्र संलवामो । (दिष्टया प्रसन्ना भगवती विन्ध्यवासिनी । एतस्य सहकार- वृक्षस्य प्रच्छाये निषध सल्लपावः), ·(२१ ) (126) मधु-एव्वं होदु । (एव्वं भवतु) (उभे उपविशतः) (127) भानि-कहेहि ! कहेहि ! (कथय ! कथय !). (128) मधु-मुणिअदु, हिओरत्तीए किवि उक्कंठिदा विन हिस्सेसणिवारिअपरिजणा णिउणियामेत्तसहीजणा सत्र- णिज्जं गदा भट्टिदारित्रा। (श्रृयताम्, ह्यरतनरान्याम् किमपि उत्कण्ठितेव निःशेषनि- वारितपरिजना निपुणिकामात्रसखीजना शयनीयं गता भत दारिका). (129) भामि-तदो तदो। ततस्ततः). (130) मधु-तदो जाव अणंतरसअणिज्जं गदा अोसुत्ता णिणिया दाव उत्कंठिदाए अणिदाए णिविणोदाए कहंविएकस्सं जोला सह पडते संणिहिलेही वणण- एहिं एको महजंमतराकिड़ी कुमारो आलिहिदो ताव पडिबुद्धाए णिउणिआए दिट्ठा कमलमुउलकोमल सीसे अंजलिं गैहि 'अइ हिअअवल्लभ, णिग्धि- णोसित्ति, भणंती भट्टिदारिश्रा । पञ्चा अह्माणं णिउणिआए मंतिदं। (ततो यावदनन्तरशयनीयं गतावसुप्ता निपुणिका ताव- दुत्कण्ठितया अनिद्रया निर्विनोदया कथमपि ज्यो- स्नाश्लक्ष्णे पटान्ते सन्निहर्वर्णकैरेको मन्मथजन्मा-

·(६)
न्तराकृतिः कुमार आलिखितः। तावत् प्रतिबुद्धया
निपुणिकया दृष्टां कमलमुकुलकोमलं शीर्षेऽञ्जलि
गृहीत्वा 'अयि हृदयवल्लभ, निघृणोऽसि' इति भणन्ती
भट्टिवारिका । पश्चाइस्माकं निपुणिकया मन्त्रितम्).
(131) भामि-दिशा एव्व पभादं ! पुढमं एव्य अह्माणं
हिाअतुलित्रो एसो अत्थो। को उण सो ? अहना को
एत्थ विधारो ? णं सो एव्व जो अंमेहिं चंडियाप्रय
दिहो।
( दिष्ट्य व प्रभातम् ! प्रथममेवास्माकं हृदयतुलित
एषोऽर्थः । कः पुनः सः ? अथवा क एष विचारः ? ननु
स एव योऽस्माभिश्चण्डिकायतने दृष्टः).
(182) अह ई । को अण्णो पुण्णमसचंदं मोत्तूण कुमुदिणीए
हिअअवल्लभो ? (अथ किम् । कोऽन्यः पौर्णमासचन्द्र
मुक्तवा कुमुदिन्या हृदयवल्लभः ?)
(133) भामि-होदु, अभंतरं एव्य पविसामो। (निष्प्रान्ते)
(भवतु अभ्यन्तरमेव प्रविशावः)
(134) प्रवेशक
(185) (ततः प्रविशति विदूषकः)
(136) विदू-(निःश्वस्य) दिदं झि णिविएणो इमस्स वयस्सस्य

·। । २३) अदेसकालुपुराणु मादब्बाहि उवअरंतो। जोच्चित्र पुढमें हुदसेसेहिं सकारुचेत्तहिं भिख्वाहारेहिं संघड्डिअसरीरो संधुत्तो सोच्चि अहं बि लहिअपरदुद्दिट्टी कडंगरी- असब्बमारी अलकजंतरप्पवेसो कडअप्पाहुणिो विम पंजिइसइदं विशिदव्यो इदो तदो आहिंडेमि । जइ णिमंतणकाले णिमंतिदेहि बह्मणेहिं सह अब्भंतरं पवि- सामि तदो कि मए पडिवत्तव्वं ? होदु, इमरस लदा- मंडपस्स बाहिरपच्छाए मुहुत्तं विस्समिस्स। (तथा करोति), (निःश्वस्य) (दृढमस्मि निर्विएणोऽस्य यस्य- स्यादेशकालोत्पन्नोन्मादव्याधिमुपचरन् । य एव प्रथम हुतशेषः सकारुचित्रकैः भिक्षाहारैः संवर्द्धितशरीरः संवृत्तः म एवाहमपि लघूकृतपरदुष्टिः कडङ्गरीयसब्रह्मचारी अलव्धकक्ष्यान्तरप्रवेशः कटकमाघुणिक इव वर्जितशपि- तव्यबृहितव्य इतस्ततः आहिण्डामि । यदि निमन्त्रण काले निमन्त्रितैाह्मणैः सहाभ्यन्तरं प्रविशामि ततः किं मया प्रतिपत्तव्यम् ? भवतु, अस्य लतामण्टपस्य बाह्यप्रच्छाये मुहूर्त विश्रमिष्यामि) (तथा करोति). (137) (ततः प्रविशति निपुणिका) (138) निपु-रत्तिप्पाअरकिलन्तसरीरा गहिदकुमुदिणिव्व दिवा णि गदा भट्टिदारिश्रा । जाव आवासगदां एव्व भअवदि

·जोप्रसिद्धि पेख्वामि। सा एव्य णो इमस्सि संकटप्पवाह
संकमो भविस्सिदि। (परिक्रामति)
(रात्रिप्रजागरक्लान्तशरीरा गर्मितकुमुदिनीव दिवानिद्रां गता
भर्तृ दारिका । ताव हावासगतामेव भगवीं योगसिद्धिं प्रेक्षे ।
सैव न एतस्मिन् सङ्कटप्रवाहे सङ्घ मो भविष्यन्ति) (परिक्रा-
मति ).
(139) (ततः प्रविशति परित्राजिका)
(140) परि-अप्याजवजवसुखान्यवधीरयन्ती
खद्योतवैद्युतरुचिक्षणभङ्गुराणि ।
ऋष्टाहमीश्वरसुतागुणपाशवन्धै-
बद्धं कलेबरभरं पुनरुद्वहामि ॥ १ ॥
(141) भोः ! तथाभूते स्वजनवृत्तान्ते निर्वेदप्रत्रजिताध्यायुपनी-
विनमात्मानं मन्यमाना देशादेशान्तरं परिसरन्ती यदृच्छया
शूरसेनमथुरां प्राप्य तत्र च कीर्तिपेणमहिष्या राजन्वत्या
साकमध्याससमावसनकृतसख्या प्रतिवसामि । तदुहितरि
मदङ्गसंवर्द्धितायामपत्यस्नेहवती तपोवनाभिमुखीमप्येनाम-
नुगतास्मि । यावदेनामनुरक्तपतिं कुलगामिनी पश्यामि
तावत् कुतो मे निःसङ्गता ? कुतः-
(142) आश्रयति माधवी चेदाश्रमसहकारपादपस्कन्धम् ।
स्वार्थक्रीतां लभते निर्वृतिमारण्यको वर्गः ॥ २ ॥

·( २५ )
(143) सा पुनरमीपु दिवसेषु किन्चाइकल्यरूपा लक्ष्यते। वक्ति
च लोकः-
-
(144) बनवासमिमं कथं सहेत सा मितुरुत्सङ्गसुखैषिता तथा ।
क्लममेष्यति यत्र नैष्ठिकस्तस्वल्कावरणोऽपि तापसः ॥३॥
(145) अपि च-
-
(146) क्षणक्षीणो वाह व्युतपतितकेयूरवलयो
परिम्लानावस्थः श्वसनपवनोष्ठरुचकः ।
निवृत्तस्नानीयः शिरसिजकलापो वपुरभू-
दसूर्यम्पश्यायाः (सरस) निभृां राजदुहितुः ॥४। इति ।
(147) मम पुनरयं प्रतर्कः । तस्या हि-
(148) जांत विभ्रमदृष्टिपातशकलं पाण्डु द्वयं गएडयो-
ढे यौवनसोमणी स्तनतटे गाढोऽपि चिन्ताज्वरः ।
अव्यक्तस्तनिमा स्वकान्त्युपचयादप्येवमालक्ष्यते
अभ्रष्टाभरणप्रदेशविषमेष्वङ्गेष्वनङ्गामयः ॥ ५ ॥
(149) को नु खल्वेष नमसः श्येनचरणभ्रष्टो निपतितश्चित्रपटः?
(150) दृष्ट्वा नभस्तः शिखिबहभारशारोदरं चित्रपट पतन्तम् ।
अनभ्रसंसर्गमभूतपूर्वमन्द्रं धनुःखण्डमनुस्मरामि ॥६॥

·६) (151) भवतु, अभूभिस्पृष्ट मेनं सम्भावयामि । (152) (गृहीत्वा शिलातले सनुपविश्य निर्णयति). (153) निपु-एत्थ भावहीए लदारंडपं । (प्रविष्टकनावलोक्य)एस भवदी एकं चित्तपडं पेरुती सिलाअले णिसाणा ! अंहो! एसो चित्तपडी जो एक्ते णिसएणाणं वहुएहिं आसाबंधेहिं सहीणं आमिसखंडलुद्धेण सेणेण आख्वित्तो। अत्र भगवत्या लतामण्डपम् । (--) एपा भगवती एक चित्रपट प्रेक्षमाणा शिलातले निषण्णा। अहो! एष चित्रपटो य एकान्ते निषण्णानां बहुभिराशाबन्धैः सखी- नामामिपरखण्डलुब्धेन श्येनेनाक्षिप्तः) (154) परि-महदिदलाकारबद्धं तेजः ! अस्य हि- (155) दर्पणगतमिव सवितुः पटान्तरचितं महानुभावस्य । प्रतिविम्नमिव प्रतिमुखपतितं प्रतिहन्ति मे दृष्टिम् ॥७॥ (156) (पुनः सावधानं दृष्ठवा) हा ! महादेवि, (मोहं गता). (157) निपु.-हद्धि ! चित्तपडं पेख्वंती हा ! महादेवि त्ति मोहं गदा भअवदी । महत्तेण उप्पादेण होदव्यं । (सहसोपसृत्य तामुत्सङ्गेनादाय) समस्ससिहि समरससिहि । (हा ! कधि, चित्रपट प्रेक्षमाणा हा! महादेवि इति मोहङ्गता ·- (२७ ) भगवती । महलोत्पातेन भवितव्यम् । (-) समाश्वसिहि समाश्वसिहि । 158) परि-(ईषइिव समाश्व य) हा ! महावि, ता तुए पदिलोअं पथिदार जो मम हत्थे णिकखत्तो, जो पडि- पकरखभयादो चलकाकपक्खो अवमहरेहिं अमञ्चकुमारहिं कल्लाणसिरी। (एनपि मूच्छिता) (हा ! महावि, तदा त्वया पतिजोकं प्रस्थितया यो मम हस्ते निक्षिप्तः यः प्रतिपक्षभयाचलकाकपक्षको अबमहरैः अमात्यकुमारः कल्याण श्रीः) (-) 159) विदृ-किं णु खु लापरब्भंतरे सदो वित्र ? होदु, विडपंतरेण पेकखालि । (तथा कृत्वा) वअरसाडिकिदि पेकखती एका परिव्याजिया मोहं गा; तं पुण एका इत्थिा उच्चंगे गेलिअ समस्सासं कुणद्द । तकमि सा एसा विणधरेति णिव्वेदपव्वाजिदा । : (किं नु खलु लतागृहाभ्यन्तरे शब्द इव ? भवतु, विटपान्तरेण प्रेक्षे । (-) वयस्यप्रतिकृति प्रेक्षमाणका परित्राजिका मोहं गता; तां पुनरेका स्त्री उत्सङ्गे गृहीत्वा समाश्वासं करोति । तर्कयामि सैषा विनयन्धरेति निद- प्रजिता) ·(160) निपु-सास्सप्तिहि समरससिहि । (समाश्वसिहि समाश्वसिहि). (181) परि--(समावस्य) जड़ सो अविख्वदसरीरो एत्ताह एतिरं परिभाविदोभवे । (--) (यदि सोऽविक्षनरारीरः एतावता एतावान् परिवद्धितो भवेत्). (182) निपु-(आत्मगतम्) अवि णाम भवदीए स जणो भट्टिदारिपार हिअअबल्लवो जणो भवे ? (प्रकाशम्) भअयदि, को एसो अमापारिश्रजणजोग्गो आवासो ? का एसा विएणाणविसेसविसरिसी असकया वाणी ? (--)अपि नाम भगवत्याः स्वजनो भत वारिकाया हृदय- वल्लभो जनो भवेत् ? (--) भगवति क एषोऽभ्यागारिक- जनयोग्य आयासः ? कैषा विज्ञानविशेषविसदृशी असंस्कृता वाणी ?) (163) परि--(प्रत्यवमृश्य) अये ! निपुणिका । (अयि निपुणिके,) (164) निपु-(प्रात्म) मोहं पडिबुद्धाए इमर सव्यं विएणवेमि । (मोहं प्रतिबुद्धाया अस्याः सर्व विज्ञापयामि । (प्रकाशम्) कहिंसो कुमारो कल्लाणसिरी ? ( कुत्र स कुमारः कल्याणश्रीः १)

·परि-
(165) वाष्पान्धापि यदादरं दश दिशो दृष्टिः समृद्धीक्षत
स्थाविऽपि परिश्नुतरतनमुखं वक्षो यदुत्कण्ठतं ।
चिन्तातृलिकया मनोरथमये कड्ये यदालिख्या
प्रभ्रष्टं तदपत्यकं निपुणिके दग्धो विधिः पृछयताम् ।।८।।
(166)
(पुनरपि चित्रपट निरीक्ष्य).
(167) यो द्वौ शैशवमुष्टि मेदविशदौं रेखातपत्राङ्कितो
क्षीणो बङ्कमणे मदङ्गलिमुखं याभ्यां समालिङ्गितम् ।
वन्य यावपि कारितौ गुरुजने मात्रा बलादञ्जलि
तो हस्तावुरगेन्द्रभोगसदृशप्रौढप्रमाणो कथम् ।।६।।
(168)
(बाष्पं विकिरति)
(169) निपु-(पत्रपुटन गोत्रवारि गृहीत्वा) भअवदि, इदं
मुहोदय।
(-)(भगवति, इदं मुखोदकम्)
(170) परि-ईषदिव प्राप्तानृण्या वुद्धिः ।
(171) निपु-भअबदि, एदसरिसवएणो कुमारो भट्टिदारिआए
दिहो। ता इयं आलिहिदा तस्स पडिकिदी। सहीजण
हत्थादो अमिसखंडलुद्धेण सेणेण आख्वित्तो पुणो वि
गाणा भअवदिहत्थं पत्तो जइच्छाए अयं चित्तपडो।
(भगवति, एतत्सदृशवर्णः कुमारो भदारिकयो दृष्टः ।

·तदियमालिखिता तस्य प्रतिकृतिः । सखीजनहस्तादानि-
पखएडलुब्धेन श्येनेनाक्षिप्तः पुनरपि गगनाद्भगवतीहस्तं
प्राप्तो यदृच्छयायं चित्रपट:).
(172) परि-एवं भोः ! कथय, कथमेवं वर्णकारम्तया कुमारी
(173) निपु-एव्वं वित्र । (एवमिव)
(174) परि-अपि नाम तयायमालिखितः स एव मगधकुलाङ्करः
कुमारो भवेत् । न नदाकारानुकारी कश्चिदेकः ।
(175) निपु-बच्चाहिदं एदं हि अयं अपरणं अणु भट्टिहारो
भवदीए । (अत्याहितमेनाद्धि । अयमन्यश्च ननु मतदार
को भगवत्याः?
(176) परि--निपुणिके, कथयामि ते भूनार्थम् । अामोव पुरा
सुन्दरवर्मा नाम मगधेवरः। तस्याग्रमहिपी मदिरावती नाम।
तस्या धात्रेयिका सरवी कुमारधात्री च भूता दैवाइन्तहिने तत्र
राजकुले निर्वेदप्रनजिताहं मथुरा प्रविश्य प्रतिवसामि ।
सम्प्रति पुनः कीर्तिमती मै सर्वस्वम् ।
(173) विदू-ही ! ही ! एस णातकोमि संवुतो; दुमेदो वैखा-
णसो ति मंतगुतो मंतेदि।
(ही ! ही ! एष स्नातकोऽस्मि संवृतः; दुर्भधो वैखानस
इति मन्त्रगुप्तो मन्त्रयति).

·{178) परि--(अात्मगतम् ) लब्ध इदानीमवसरः पृच्छामि तावनाम् । यत् कीर्तीमतीमन्नरेण तदश्विलं निपुणिका वेति । (179) (नेपथ्ये गीयता (180) न शशाक शशाङ्कमीवितुं न समाकर्णयितुं सुखोदितम् । न च पल्लवभङ्गकल्पिते शयनीये शयितुं नृपात्मजा ॥२०॥ (181) परि-अहो ! यावत् साधु गीतमेनयो तालिकयो तालि- कोयम् । निपुणिके, कीर्तिमतीमन्तरेण विञ्चिदिह भवती पृच्छामि । (182) निपु-- भवदि, प्राणवेटु । (भगवति, अाज्ञापयतु) (183) विदू-तकमि राबहारिवाए एसा पञ्चय गदा सही ! (तर्कयामि, राजदारिकाया एषा प्रत्ययं गता सखी). (184) परि--आकस्मिकीमरतिमुद्वहतीच तस्या बकत्र कुतो वसुमतीपतिनन्दनायाः। च्योतद्विलोचनजलाविलगएडरेखं नीहारनीरकणिकामिवारविन्दम् ॥ ११ ॥ (185) निपु-एसो भड्ढिारिआए चित्तगहो कुमारो पुच्छिदवो भअवदीए । सा दाणिं णीसासजिएणहिया कोमलकद- ·लिया विश्र इदी तो पलोली मारहमहीजणं वि मुंचड । जइ अंतरेण भावही ण माहु विश्वसदि, तदो सा अवम्म तवम्सिणी मोअधरणिधरसिंहगरू हिया भविरिसदि (एष भट्टारिकायाश्चितगतः कुमारः प्रष्टव्यो भगवत्या । सा इदानीं निःश्वास होणहया कोमलकदलिकेव इतस्ततः प्रलुठन्ती मनोरथसखोजनमपि मुश्चति । यदि तामन्तरेण स्गवती न साधु प्रेक्षिप्या, ततः भावश्यं तपखिना शोकवरणिधाशिवगरूमा भविष्मति ।) (186) परि- सा राजपुत्री नयति त्रियामां कान्त विना जागरणारुणाक्षी । मामेव मन्ये प्रतिपालयन्ती प्रत्यूषवेलामिव चक्रवाकी ॥ १२ ॥ (187) विदू-ही ! ही ! भिक्ख गद्दी णिमंतणिमंतणं पत्तो । (सहसोपसृत्य) एस वैखाणसो पणमदि । (ही! ही ! भिक्षां गतो निमन्त्रनिमन्त्रणं प्राप्तः । (-) एव वैखानसः प्रणमति). (188) परि-अये ! वैखानसः प्राप्तः का नामेयमनभ्रवृष्टिः ? (189) निपु-(आत्मगतम्) को एसो आकिदीए मक्कडओ वााए गद्दभो?

·( ३३ ) (क एप अकृत्या मर्कटको वाचा गर्दभः १) (190) विद्-एसो कल्लाणसिरिणो णमुक्कारो (अञ्जलिं गृह्णति). (एप कल्याणश्रियो (-) नमस्कारः । (191) निपु-( अत्मगतम् ) एस वअस्सो तस्स जणस्स । -) ( एप वयम्यस्तस्य जनस्य). परि- (102) सामन्ताग्रवधूकरव्यतिकरः सञ्चारितो दर्पणः सोधोत्सङ्गनिवेशितो नवशशी पौरैः समुद्वीक्षितः । बह्वीभिः स्तनदायिनीभिरुचितस्कन्धः पुनर्मातृभिः पुण्यः पुष्पपुरोत्सवः क्व नु गतो वैखानस ब्रूहि मे ॥१३॥ (193) विदू-पासणणं दे पुत्तदंसणम् । अणुवअस्सं रामदारिया संतप्पदि, रोअदारिश्रादंसणुप्पणणमदणु मादो बहुलपकख- चंदस्सइवणुदिणुसंशोभीरतसरीरो वस्य दीसइ । (आसन्नंते पुत्रदर्शनम् । अनुवयस्यं राजदारिका सन्तप्यति, राजदारिकादर्शनोत्पन्नमदनोन्मादो बहुलपक्ष चन्द्रस्य इव अनुदिनं समबभ्रियमाण शरीरो वयस्यो दृश्यते). (191) परि-साधु भोः- (195) कुवलयदलदीर्घदृष्टिपाशां कुसुमशरासनवागुरां कुमारः । नृपदुहितमयीं निरुध्द्रवा मृगपतिपोतसमः समाजिहीते॥१४॥ .

·(३४)
,
(196) निपु-उस्ससिदं विश्व मे हिअधे । किं णु हु सक् भवे ?
(उच्छ्वसितमिव मे हृदयम् । किं नु खलु सर्व भवेत् ?)
(197) परि-वत्स, यावदविदितमेतदस्माभिः । केयमतर्किता
दृष्टिवृद्धिः?
(198) विदू-एवं वित्र । (एवमिव).
(199) परि-एवमेतत् । प्रयोजनवदिव मे जीवितधारणम् ।
(200) विदु-भोदि, रामदारित्राए वअस्सपडिकिदी आलिहिदा,
तुए वि मज्झ पडिकिदी आलिहिदव्वा ।
(भवति, राजदारिकया वयस्यप्रतिकृतिरालिखिता, त्वयापि
मम प्रतिकृतिरालिखितव्या).
(201) परि-(सस्मितम्) भजमानमभिहितम् ।
(202) निपु-धंस ! वडरवडून । (धंस ! वडर बटुक).
(203) विदू-होदि, मा कुप्पहि एसो तुझे पसादेमि । (उत्तरी-
यादुन्मुच्य हारमर्पयति).
(भवति, मा कुप्य, एष युष्मान् प्रसादयामि) (--)
(204) निपु-हं ! एसो सो हारो जो भट्टिदारिआए पणटो ।
(हारमञ्जलिना गृह्णाति) हं ! एष स हारः, यो भर्तृ-
दारिकायाः प्रणष्टः) (--)

·(३५) (203) परि----(आत्मगतम्) उभावपि मदुत्सङ्गसंवर्द्धितौ परस्पर कामातुरौ कीतिमती कल्याणवर्मा च । तदनयो गर्थयोरिच समवायं करिष्यामि । (प्रकाशम्) ममायमभिसन्धिः । (धातुरागेण पटान्ते समालिख्य वाचयति). (206) शौनकमिव बन्धुमती कुमारमविमारकं कुरङ्गीव । अर्हति कीर्तिमतीयं कान्तं कल्याणवर्माणम् ॥१५॥ (207) गूढरक्षितमेनं कुमारोय समर्पय प्रदो । पुनरात्मा दर्श- यितव्यः । (चित्रपटमर्पयति). (208) विदू-जं भवदी आणवेदि (यद्भगवत्याज्ञापयति) (चित्रपट गृहीत्वा निष्क्रान्तः). (209) निपु-भअवदि, कहं भट्टिदारिआए पारणा रक्खिदव्या ? (भगवति, कथं भर्तृ दारिकायः प्राणा रक्षितव्याः ?) (210) परि-माभूत्ते विषादः । पश्य- (en) गूढप्रयोगनिभृतापि समर्पयन्ती (प्रियमर्पयन्ती ?) चिन्ताज्वरं व्यपनयानि नृपात्मजायाः पर्जन्यघोषविमुखीव दिवः पतन्ती भूमेरवग्रहविशोषमनभ्रवृष्टिः ॥१६॥ (212) ( इति निष्क्रान्ताः सर्वे ) (213) द्वितीयोऽङ्क: -

·(211)
तृतीयोऽङ्कः
AR
xx
-
(215) (ततः प्रविशति कामयमानावस्थः कुमारः)
कुमा--
(216) अचिन्तनीयं मनसापि लछुमज्ञातभावं जनमन्तरेण ।
मय्येवमाकस्मिकमत्सरोऽसौ मनोभवः किं नु फलं वहेत ॥१॥
(17) (मदनबाधां निरूष्य) भोः कष्टं ! यौवनमध्यंदिनप्रकटित
मिथ्यामनोरथमृगतष्णिकाविपमेषु विषयमरुप भ्राम्यतः
कामुकजनपथिकसार्थस्य सन्तापमुत्पादयत्यङ्गजन्मपतङ्गः ।
कुतः-
(218) यदप कालीभूतो हरकोपानलत्विषाम् ।
दाहात्मा दृश्यते तेन नूनं मकरकेतनः ॥२॥
(22119) धिग्भोः पराश्रयेण बलवत्तरमात्मानं मन्यते मदनः। कुतः-
(220) उनिद्राशोकचूतप्रसवपरिमलोद्गन्धयो गन्धवाहाः
प्राटालाकमालाशतशबलमुखः प्रावृषेण्योऽन्धकारः ।
सौधोत्सङ्गप्रसङ्गी नवशशिविशदः शारदो वा पदोपो
यद्यस्त्र न स्युरते स्वयमतनुरसौकातरः किं करोमि ॥३॥

·( ३७ ) (221) अपि नाम पुनरपि सा दृश्येत ? भोः कष्टं! सर्वः स्वका- यकृपणो जीवलोकः । कुतः- (222) उपकृतवतीमपि दृशं रूपामृतसंविभागेन । वश्चयति स्मरणसुग्वे तस्या हतहृदयमेतन्मे ॥४॥ (223) क्व नु खलु जीवितसर्वस्वभूस्तस्या मौक्तिकहारः । आः ! यदि नाम कदाचित्तस्या राजदुहितुः सखीजनो दृश्येत परिजनो वा-इत्यमुना मनोरथेन निर्गतो वयस्यो वेखा- नसः, तस्य हस्ते हारः। केनेदानीमुपष्टम्भेनावसीदन्त- मात्मानमवलम्बिष्ये ? भवतु, प्रियादर्शनमुहूर्तभाजनीभूतं तदेव जीर्णोद्यानं गत्वा पयुत्सुकमात्मानं विनोदयामि । (221) (ततः प्रविशति विदूपकः) (225) विदू--(परिक्रम्यावलोक्य) एसो सावमुत्तविण्णत्तिवि- एणाणो धरणिपडिअो वित्र विज्जाहरदारी सोअणी- अदस्सणीयाकिदी वअस्सो दीसइ । (उपेत्य) जेदु वअस्सो । अविहा ! ण त्थि मे पडिवअणं । केवलं चिंता- णिमीलिअलोअणो उमीलिनोविअ आलेख्वजोख्व लख्वि- अदि । एवं दाव भणिस्सं ! रामदार, किं राअसिरी चिंतीअदि ? (--) (एष शापमुक्तविज्ञप्तिविज्ञानो धरणि- ·(३८) पतित इव विद्याधरदारकः शोचनीयदर्शनीयाकृतिर्वयस्यो दृश्यते । (---) जयतु वयस्यः। अविहा ! नास्ति मे प्रतिवचनम्। केवलं चिंतानिमीलितलोचन उन्मीलित इवालेख्यजोदो लक्ष्यते । एवं ताद्भणामि ।राजदारक, कि राजश्रीश्चिन्त्यते ?) (226) कुमा-(उन्सील्यवलोक्य) अये ! वयस्यो वैखानसः । वयस्य, एवमेतत्, किंतु- (227) रत्नोद्भासितमस्तकै रणगतैस्तेजस्विभि गिमि- देवे प्रादुरभूत् प्रचेतसि विभौ या वाहिनीभर्तरि । या साक्षात् पुरुषोत्तमप्रणयिनी नान्यं वृणीते पति राजश्रीरिव मृग्यते हृदि सदा सा राजपुत्री च मे ॥५॥ (228) वयस्य, सावशेषतुषरत्वान्मधुमासदिवसमुखानां शैलेय- गन्धिनि शिलातलेऽस्मिन् मुहूर्तमासिष्यावहे । (229) विदू-जं भट्टिवअस्सो अणवेदि । (यद्भत वयस्य आज्ञा- पयति). (280) (उभावुपविशतः) (231) कुमा-कान्तापयोधरसंसर्गश्लाघनीयो मौक्तिकहारस्ताव- दानीयताम्।

·(३९) (232) विदू-अविहा ! कहिं हारो पणठो ? (अविहा ! कुत्र हारः प्रणष्टः ?) (233) कुमा-धिमूर्ख, (234) विदू-ही! ही ! होदु होदु मुख्वो वैवाणसो अपंडितो बैखोणसो त्ति मम दाव वप्रणं सुणाहि, पच्चा मं उवाल- भेहि । इदो अहं रामदारिभाकरअमोतिहारं अण्णसं- तीए वित्र रामदारिया हिअग्रणिव्विसेसाए णिवुणिआए विट्ठो मि । (ही ! ही ! भवतु भवतु मूर्यो वैखानसः, अपण्डितो वैखानस झते । मम तावद्वचनं शृणु, पश्चान्मा- मुपालभव । इतोऽहंराजदारकीयमौक्तिकहारमन्विष्यन्त्येव राजदारिकाहृदयनिर्विशेषया निपुणिकया दृष्टोऽस्मि ). (235) कुमा—(सकुतूहलम् ) किमसि निपुणिकया दृष्टः ? (236) विदू-किं तदो तदोत्ति ? रूपाभिगहिदरस कुभीलस्स का पडिपत्ती। (किं ततस्तत इतिः ? रूपाभिगृहीतस्य कुम्भीलस्य का प्रतिपत्तिः ). (237) कुमा-मुक्तः परिहासः, विस्पष्टमभिधीयताम् । (238) विद्-एव्वं वित्र । (चित्रपट दर्शयित्वा) पेख्वदु पेख्वदु तुह्म पडिकिदि विलिहियं (१) तत्तहोदीए चित्तं । (एव- ·(४०) मिव । (-) प्रेक्षतां प्रेक्षतां तव प्रतिकृतिं विलिखितं तत्र- मवत्या चित्रम् ), (239) कुमा-अपि सत्यमिवम् ? को नाम पुरुषः श्रद्दध्योदेवभू- तमभ्युदयविशेषम् ? तथा बलात् प्रह्लादते मे हृदयम् । पश्य- - (240) सम्प्रत्यहं प्रणयिनीवहुमानपात्रं प्रोद्भिनरोमपुलकोपहितं शरीरम् । सिन्दूरचूर्णरचनारमणीयकुम्भ- नीराजितं नृपकरीव समुहहामि ॥६॥ (241) अपि च- (242) वामो गन्धवहः पुरा पुनरसौ वासन्तिको दक्षिणः प्रारम्भे कुलिशं प्रसूनधनुषः पश्चात्तु बाष्पाः शगः । यामिन्यामपनीनवह्निकणिकाः पीयूपनिष्यन्दिन- श्च्योतचन्द्रमरीचयोऽपि नियतं निर्वापयिष्यन्ति नः ॥७॥ (243) (सावधानं चित्रपट निर्वर्णयति) (244) विदू-किं तुए तत्तहोदीए सिप्पविण्णाणं, आदु अत्तणो आकिदिसोहा णिव्वएणीअदि ? (किं त्वया तत्रभवत्याः शिल्पविज्ञानम्, उतात्मन आकृतिशोभा निर्वर्ण्यते ?) (245) कुमा-नन्विदमेव चित्रकर्म कान्तायाः शिल्पगतं विज्ञान- ·: विशेपमस्मद्गतं प्रेम च प्रकटयति । कुतः- (246) प्रेम्णि स्थितेऽपि तस्याः सम्मुखलज्जाहृते समाधाने । मत्प्रतिकृतिरचनायामासीदन्ते वि संवादः॥८॥ (2-47) विदृ-भो वअभ्स, तुह तत्तहोदीए अ दोरणं वि तुह्माण कदरस्स सविसेसं सिप्पविण्णाणं ति महंतो मे संदेहो। ता इमेहिं विझसिहरोज्झरसंणिहिदेहिं दाउरावणएहिं पडं विरएहि तत्तहोदीए पडिकिदि । (भो वयस्य तव तत्रभवत्याश्च द्वयोरपि युवयोः कतरस्य सविशेष शिल्प- विज्ञानमिति महान्मे सन्देहः । तदेभिर्विन्ध्याशिलोच्चय- संनिहितीतुरागवर्णकः पटान्ते विरचय तत्रभवत्याः प्रतिकृतिम्). (2-48) कुमा--सखे, ममाप्ययमेवाभिप्रायः, किं तु- (22-40) भवति निवृतये यदि लिख्यते कुसुमकेतुविकारवती प्रिया । स्मरकृशेत्यमुना तु समाधिना ग्लपयितुं दयितां वत नोन्सहे।। (250) विद्-(चित्रपट विस्तारयति). (251) कुमा-(दृष्टवा 'शौनकम्' इत्यादि वाचयित्वा) कस्येय- मक्षरपंक्तिः? (252) विद्--भअवदीए जोअसिद्धीए । (भगवत्या योगसिध्याः) (253) कुमा-अहो ! मां प्रति निष्कारणवत्सला भगवती।

·मे
प्रसूः ?)
(४२)
(254) विदू-(आत्मगतम् ) दाणिं परमत्थदो जोअसिद्धिं णिवे-
देसि । (प्रकाशम् ) ण खु सा णिवारणवच्चला । (-)
(इदानीं परमार्थनो योगसिद्धि निवेदयामि । (-) न खलु
सा निष्कारणवत्सला).
(255) कुमा-कथमिव ?
(256) विदू-एव्व विधा । (एवमिव).
(257) कुमा--(सकुतूहलम् ) कथं ममैव निर्वेदप्रव्रजिता धात्री !
(258) (मम भाग्यवशात्तु
पर लोकात्युनरागतेति मन्ये
अपि नाम विलोकयेयमाभ्यां
जनयित्रीमधुना विलोचनाभ्याम् ।।
(259) (वाष्पं विकिति).
(260) विदू-धारेदु धारेदु भवं । अदिक्कंदो सो जमंतरभूदो कालो।
(धारयतु धारयतु भवान् । अतिक्रान्तः स जन्मान्तरभूतः
कालः).
(261) कुमा-अत एव कथञ्चिदात्मा धार्यते ।
(262) विद्--(पुनरपि चित्रपटं विस्तार्य) आलिहदु ।(आलिखतु).
(263) कुमा-(कीर्तिमतीप्रतिकृतिमालिखति).

·(४३) (264) (प्रविश्य नन्दकः) (265) नन्द-जेदु भट्टा, हाणवेला संपत्ता । (जयतु भर्ता, स्नानवेला संप्राप्ता)। (266) विदु-अविहो ! सम सरीराडो णित्यनेण बुबुवासंदोहेण विअ अच्चासंणो मज्झहो । (उत्थाय) उठेदु उठेंदु भवं । (अविहा ! मम शरीरानिष्क्रान्तेन बुभुक्षासन्दोहेन- वात्यासन्नो मध्याह्नः । (-) उतिष्ठतु उत्तिष्ठतु भवान् ). (267) कुमा-(विदृषकहस्ते चित्रपटं दत्वा परिक्रम्य) अये ! दण्डकरुचिरिव नृपतिः परितपति परमशीतकिरण । कुतः- (268) प्रश्च्योतत्करशीकरण करिणा संस्पृश्यते वाशिका स्कन्धे चन्दनशाखिनः फणिपतिर्वेष्टान्तरं चेष्टते । ध्यानस्थानजुषो मुनेः परिचयादुत्सङ्गशय्यातलं प्रारब्धप्रचलाहतो मृगशिशुनिंद्रालुरालीयते॥१०॥ (269) (निष्क्रान्ताः सर्वे) (270) तृतीयोऽङ्कः -- ·(271) चतुर्थोऽङ्कः (272) (ततः प्रविशति कौम्भकूणविकवेषो वर्द्धमानक:) (273) वर्द्ध-(कुम्भकूणवं वादयित्वा गायति) (274) अलिअं रामसरवलं गुहकहाहिकुञ्चगिरिविवरम् । तुज्झ विणाअन मंणे पल्लवरिणए रदणवहो । (अलिकं रामशरबलं गुहकथापि क्रोश्चगिरिविवरा । तब विनायक मन्ये पल्लवाच्छादितः रदनपथः ॥ १।।) (275) (पुनरपि गायति) (276) वहमाणो रेवइमुहमहुमअणिव्वत्तिअं उदअराअं । सामलवसणकलंको सोहइ चंदव्य बलभहो । (वहन् रेवतीमुखमधु मदनिर्तितमुदयरागम् । श्यामलवसनकलङ्को शभोते चन्द्र इव बलभद्रः॥२॥ (277) (परिक्रम्य) आणत्तोमि अंप्रमंतगुत्तेण-गच्छ सोम, सूलापाणिसिद्धाअणं । तहिं गहिदपासुपइवेसं अंबर- ख्विदं भणाहि- "मम समोर आअच्छदु"त्ति। (परि- क्रम्यावलोक्य) एदं शूलपाणिसिद्धाअअणं । एदे खु घणेहिं अप्पिदाणं उवहाविसुद्धाणं गहिदवेसंतरं अणुढाण- गदाणं अलि सुभढाणं एक दीसंति । (याज्ञप्तोऽस्मि आर्यमन्त्रगुप्तेन-गच्छ सोम्य शूलपाणिसिद्धायतनम् । तत्र गृहीतपाशुपतवेषमार्यरक्षितं भण-'मम समीपमा- गच्छतु' इति । (-.) एतच्छूलपाणिसिद्धायतनम् । एते ,

·(४५)
खलु धनेरर्चितानामुपधाविशुद्धानां गृहीतवेपान्तरानुष्ठान-
गतानामस्माकं स्थानगतानां सुभटानामेके दृश्यन्ते।)
(278) (नेपथ्ये) नमोऽस्तु ते शशाङ्कशेखराय शम्भवे ।
(279) वर्द्ध-(कर्ण दत्वा)एसो खु सो भअवसिवभट्टारअपादवं-
दणव्यावुदस्स अंअस्स सरओ सुणीअदि। हो। से
संकेदलख्वणम्ससिरिरुत्वस्स पच्छोये पडिवालमि ।
(परिक्रामति) (एष खलु भगवच्छिवभट्टारकपादवन्दनव्या-
घृतस्यार्यस्य स्वरः श्रूयते । भवतु, अस्य सङ्कतलक्षणस्य
श्रीवृक्षस्य प्रच्छाये प्रतिपालयोमि ।)।
(280) (ततः प्रविशति पाशुपतवेष आर्यरक्षितः)
(281) आर्य-नमोऽस्तु ते शशाङ्कशेखराय शम्भवे ।
(282) कण्ठे विपं विकटवेप करें करोटि-
मंसे गंजाजिनमुरम्युरगं करोपि ।
कर्णे करोषि
वरुणालयमारगर्भ
लाटीललाटतटसुन्दरमिन्दुखण्डम् ॥३॥
(283) अपि चेयं जन्मनः प्रभृत्यनपायिनी में प्रार्थना-
(284) इच्छानुषङ्गकलुपाल्पधियां त्वदीय-
दिव्यस्वरूपसहजान्धविलोचनानाम् ।
त्वत्पादयोः स्फुरतु भक्तिरकृत्रिमेयं
जात्यन्तरेऽपि जननीस्तनपायिनां नः ॥४॥

·(४६) (285) (सप्रदक्षिणं नमस्कारं कृत्वा परिक्रम्य) (286) मुहूर्त तावहितः प्राकारमुत्तरेण श्रीवृक्षच्छायामुपसेविष्ट यत्र मां कार्यवन्तो मन्त्रगुप्तपुरुषाः प्रतिपालयन्ति । (तथ करोति). (287) (उपत्य) अंग्र, वंदामि । (आर्य, वन्दै). (288) आर्य-अये ! बर्द्धमानकः । बर्द्धमानक, अपि जानी कुञ्जरकानुवर्तिपु कुपितेषु प्रत्यन्तपालेषु तत्प्रतिचिकीर्षय ससैन्ये नगरानिर्गते चएडभेनहतके संप्रति स्वामिप्रत्या नयनार्थमात्ययिकदूतो हरिणाश्वः प्रषितो ननु मन्त्रगुप्तेन ' (280) वर्द्ध--पेत्रिदो ति एत्तरं मए जाणिदं, ण खु से अभि प्यायो । (प्रेषित इत्येतावन्मया ज्ञातम्, न खल्वस्याभि- प्रायः). (290) आर्य--अहो ! साधु मन्त्रगुप्त, साधु, यदयमुपधाविशुद्धो गर्भदासः परिपाश्ववर्त्यपि विक्रियामु न तेऽभिप्रायम- धिगच्छति । कुतः किल ते सन्त्रदोपावसरः ? अथवा तुल्यरूपसुभयोरपि धर्मार्थकामयोरनुशासनम् । कुतः-- (201) कुर्वन्ति भृत्या वचनं प्रभूणां प्रयोजनोद्देशमलक्षयन्तः। श्रुत्यर्थमाः फलमस्तु मा वा स्वधर्म इत्येव समाचरन्ति ॥ ५ ॥ -- ·: (४७) (2192) वर्द्ध-अंश, दाणिं (जइ) प्राअच्छदि साली णिव्विारो णं रजलामो । ( आर्य, इदानीं (यदि) आगच्छति स्वामो निर्विकारो ननु राज्यलाभः). (293) आर्य-कः मुन्देहः ? पश्य-पूर्वसंनिविष्टः सागरदत्त प्रभृतिभिः स्थविरामात्यैः संभूय मन्त्रगुप्तेन देवस्य सुन्दवर्मशम्नेषां सुकृतानामतुन्मारिता रहसि पोरजान- पदाः । यदि सांप्रतमेष्यति स्वामी शत्रोरेकलोष्टबधमप्या- हरिष्यन्ति; किमङ्गः पुनः स्वामिपादोपसङ्ग्रहणम् । (294) वर्द्ध-कण कारणेण विरत्ता पकिदिए चंडसेणहदअरस ? ( केन कारणेन विरक्ताः प्रकृतयश्चएडसेनहतकस्य ?) (295) आर्य-तेनैव शीलापराधेन । पश्य- (206) कारानिरोधपरियाण्डुकपोलरेखा- कारा निरोधविधुराः प्रकृतीश्चकार । कारक्षणेन ककुभो वशमानिनाय कारस्करः स खलु सम्प्रति पार्थिवेषु ॥६॥ (297) वर्द्ध-तदो तदो कहिं एरिसवंणस्स से राअसिरी ? (ततस्ततः कुत्रेदशवर्णस्याम्य राजश्री ?) (298) आर्य--विस्तृतेयं कथा। समासतस्तु कथयामि---पुरा किल सुन्दरवर्मणा स्वयमविदितस्वभावतया विषतरुरिव पुत्रीकृत- थएडसेनहतकः।

·(४८) (299) वर्द्ध-तदो तदो। (ततस्ततः). (300) आर्य-ततः स्वयं मगधकुलं व्यपदिशन्नपि मगधकुल- वैरिभिन्लेंच्छेलिच्छविभिः सह सम्बन्धं कृत्वा लब्धावसरः कुसुमपुरमुपरुद्धवोन्। (301) वर्द्ध-तदो तदो । (ततस्ततः). (802) आर्य-ततः संप्रवृत्ते संग्रामे वधपात्रमप्येनं पुत्रीकृतत्वाद- पहस्तयित्वा लिच्छविकुलमन्तः क्षपितवान् देवः । स हि- (303) स्वशक्तितः कृतसमरोत्सवो द्विपो भयादिव त्रिदिवमितः प्रयेदिरे । प्रमत्सरस्दनु च दीप्तविग्रहो दिवं गतः स्वयमपि तत्र मागधः ॥ ७ ॥ (304) वर्द्ध---हृद्धि ! असरिससंगामे उप्पण्णो मित्तू तारिसस्स वि देवरस ! (हा ! धिक् असदृशसंग्राम उत्पन्नो मृत्युस्ता- दृशस्यापि देवस्य !). (305) आर्य--एवमेतत्, जरया नाम किल व्याधेन भगवानपि पुण्डरीकाक्षो लोकान्तरमुपनीतः। (306) वर्द्ध---उप्पण्णावसरं दाणिं पुच्छामि--कहं सामिसहि- दाणं तुह्माणं तवोवणवासो ? [उत्पन्नावसरमिदानीं पृच्छामि--कथं स्वामिसहितानां युष्माकं तपोवनवासः ?]

·(४९) (307) आर्य--एतदपि श्रूयताम्-ततोऽस्माकं जनयितार: म्वामिना सह स्वलोकमारूढाः । मातरोऽपि महादेवीभिः सह भगवन्तमाशुशुक्षणिमाश्रिताः । वयमप्यधर्मधरेण स्वामिना समानवयस्कया विनयन्धरया नाम धान्या प्रच्छन्नमेव रजन्यामटवीकान्तारमुपनीय वनगजवृहित- वस्तया सद्यो विप्रणाशिताः । पुनरपि यदृच्छयागतैग्ना- पसैनीतास्तपोवनमिति पर्यवसिता कथा । (308) वर्द्ध----एव्वं एव्व अय्य पेख्विदुकामो अंय्यमंतगुनो। (एवमेव आर्य प्रेक्षितुकाम आर्यमन्त्रगुप्तः) (301) आर्य-गच्छतु भवान्, अहमप्यपराले भिक्षाटनच्छद्मना गत्वा स्थकारवेश्मगतं तत्रभवन्तं द्रक्ष्यामि । (310) (निष्क्रान्ती) (311) मिश्रविष्कम्भकः (312) (ततः प्रविशति मखङ्गः सोष्णीषो मन्त्रगुप्तः) (313) मन्त्र---साधु भोः, मम खलु तावत् स्वामिकार्यपर्याकुल- हृदयत्वादविदितनक्तन्दिनविशषो गतः कालः। सम्प्रति पुनः- -

·(५०)
(514) गुणविप्लवशङ्किधिया नीतिः समुपनतसाहसावसरा ।
भृशतरमाकुलयनि मारिपमित्र रजोन्मुखी वाक्छीः ।।८।।
(315) (विलोक्य) अये ! पर्यवसितो दिवसः। अहो तु खलु !
नित्यप्रमुदितनरनारीसहस्रसंकुलस्य कुसुमपुरम्य सायन्वनी
श्रीः । इह हि---
(816)त्यक्तो मानस्तरुण्या प्रणयकुपितया किं फलं शम्फलीभिः
सैरन्ध्रीप्राप्तवेपा स्मितरुचिरमुखी स्वरमास्ते पुरन्ध्रो ।
स्नाताः स्नानीयचूर्णग्रहणसुरमयः सुभ्रवो बभ्रुवर्णाः
शारीकुर्वन्ति सन्ध्यां प्रचलकुवलयाक्षेपनीले कटाक्षः ।।६।।
(317) अपि च----
(318)आशाकेशान्तधूपैरिव गगनतलं व्याप्तमासीत्तमोभि-
धूमव्याजेन दीपास्तिमिरमिव मुहुः पीतमेते वमन्ति ।
किश्चान्यत् प्रस्थितानां प्रियतमवसतिं नक्तमेकाकिनीनां
श्रूयन्ते राजमार्गे कलकलमुखरा मेखलाः सुन्दरीणाम् ॥१०॥
(319) अस्यां किल रजन्यामेष्यति स्वामी । साधु भो:----
(320)भूत्वा प्रच्छन्नमन्तबहिरपि च मया मण्डलं साधयित्वा
निःशेषं नीतिमार्गप्रणिहितमनसा वञ्चितश्चण्डसेनः ।
स्वामी कुर्यात् प्रतापं निकृतिमति रिपौ विप्रलम्भोः न दोषो
मायामोहेन दैत्येष्वपथमुपगतेष्वाददे वज्रमिन्द्रः ॥११॥

·(21) (ततः प्रविशति सान्नाहिकवेषः सखङ्गो वीरसेनः) (322) वीर---प्राप्तोऽस्मि चिरादहमिदानी कुसुमपुरम् । (निःश्वस्य) (323) कालापकर्षे सति भङ्गुरत्वात् प्रक्षीणसंस्कारभुवां स्मृतीनाम् । स्फुरन्ति मे शैशवचेष्ठितानि जातिस्मरस्येव भवान्तराणि ॥१२॥ (324) (परिक्रम्य) अहो तु खलु टङ्कच्छेधैरन्धकारपटलेनिरन्तर- निचितानीव दिगन्तराणि । तथा हि---- (325) विभर्ति रथ्या रणधूलिधूभ्रं वान्तं विघट्टाभिरिवान्धकारम् । तिर्यक्प्रवृत्तं नगनिम्नगाभ्यः कलिन्दकन्येव पयःप्रवाहम् ॥१३॥ (328) भवतु, बाल्याभ्यस्तेन वर्मना रथकारवेश्मगतं तत्रभवन्तं मन्त्रगुप्तं पश्यामि । (परिक्रम्य) इदं तद्रथकारभवनम् । हन्त ! अड्गुलिस्फोटेन संज्ञामवघाट्य । निष्क्रान्तः । (327) वीर--(उपेत्य) वर्द्धतां वर्द्धतां भवोन् । (328) मन्त्र--(सकुतूहलम्) अये ! वीरसेनः । (करं करेणाव- लम्बते) उपविशतु भवान् । (शयनाद्ध दर्शयति) ·(५२) (329) वीर-(भूमावुपविशति) (380) मन्त्र-क्वेदानी वर्तते स्वामी ? (331) वीर-मार्गे। (332) मन्त्र-अप्यस्यामेवरजन्यां कुसुमपुरमेष्यति स्वामी ? (338) वीर-आर्य, प्रभाते । (334) मन्त्र--एवं भोः । अथ कियानिय परिपार्श्ववर्ती सेना- वयवः ? (335) वीर--शतमात्रन्दाशेरकवलम् । नन्दकप्रभृतयो दोवारिकाः। येऽपि त्वया सह कुसमपुरमप्राप्तास्तेऽपि । समवयसोऽपि । सकलवलसन्दोहसनाथः कुञ्जरकसेनापतिः । (386) मन्त्र-साधु कुञ्जरक साधु, (337) सुहृदामनपायि सौहृदं विजयत्वेऽपि कुलक्रमागतम् । ननु दाशरथिप्रयोजन प्रियमायुः क्षपितं जटायुषा ॥१४॥ (338) अथ प्रतिनिवृत्तायां (राजदुहितरि) विरहातुरः स्वामी कथमिव सन्नाहं प्रतिपद्येत ?

·( ५३ ) (339) वीर-यदहरेव प्रतिनिवृत्ता सा राजदारिका तदहरेव त्वत्सकाशादात्ययिकदूतो हरिणाश्वः प्रादृश्यत । (340) मन्त्र-ततस्ततः। (341) वीर --- चिरप्रधारितलब्धावसरविजृम्भमाणरोषामर्षवशव- र्तितः क्षणप्रणष्टकान्तावियोगस्वरः प्रतिपक्षमुपेक्षमाणः सन्नाहमेव प्रत्यपद्यत स्वामी । (342) मन्त्र--सदृशमिदं क्षात्रस्य तेजसः। पश्य- (343) त्यक्तं तया कुपितवह्निपरीतमन्त- र्हाम स्वमेव हृदयं नरदेवसूनोः । मध्यन्दिनार्ककिरणोष्णमपाकरोति किं वारि पद्मसरसोऽपि न राजहंसी॥१५॥ (344) अथ न कदाचिदपि सा नः स्वामिनः स्मृतिपथमागता ? (345) वीर-अथ कदाचित् पथि परिणमित पश्चिमाशावलम्बिनि सूर्यबिम्ब परिवृत्तासु तरुच्छायासु मन्दमन्दसञ्चारिणि सायन्तने नभस्वति वैखानसोत्सङ्गनिवेशितोत्तमाङ्गो मद- ऋविन्यस्तपदारविन्दः पल्लवशयनगतः स्वामी तां देवी- मनुस्मृत्य बहुप्रलपितवान सः- - ·(348) इति कृतमिति चोक्तं चेष्टितान्येवमास- निति नियतमवाप्ता मामनुस्मृत्य शोकम् । विरहमसहमाना चक्रवाकीव बाला नयनसलिलधारादुर्दिनासु क्षपामु ॥१६॥ (347) इत्येवमादि। (348) मन्त्र--राजशासनात् प्रतिनिवृत्तायां राजदारिकायां की- दशेन सन्देशेन स्वामिनमाप्याय्य प्रस्थिता योगसिद्धिः? (349) वीर- 'पूर्वमपि मदायत्तोऽयमर्थः, पश्चादप्येवमेव' इत्येतावनैव । अतः परमिह भवानेव प्रमाणम् । (350) मन्त्र--मयापि पुरोहितसूनुरार्यरक्षितो मथुरां ग्रेषित:--- यदाह भगवती योगसिद्धिस्तत् प्रतिवक्तव्यम्---इनि । (351) वीर--अपि सुखेन पच्यते प्रयोजनसिद्धिः ? (352) मन्त्र---तथैव प्रयतिष्यते भगवती यथा स्वयमेव स्वां दुहितरमस्मत्स्वामिने प्रतिपादयिष्यति मथुरेश्वरः । तदहम- प्यतर्कितोपनतेन प्रियासमागमोत्सवेन प्रतिपन्नराज्याभि- पेकमस्मत्स्वामिनमाराधयामि । पश्य-- ·(353) (५५) सङ्गतिश्चिरमचिन्तितपूर्वा निवृतिप्रणयिनी मिथुनानाम् । आधिराज्यमधिरोहति तस्याः पोडशीमपि कलां न मघोनः ॥१७॥ (354) (नेपथ्ये महान् कलकल:) (3:55) उभी-अये ! शब्द इव । (356) (पुनरपि नेपथ्य) (857) भो भोः पाटलिपुत्रवासिनः पौराः, श्रृण्वन्तु भवन्तः- (358) श्रीमद्भिः सचिवसतः समन्वितोऽसौ लक्ष्मीवानुनिव हैखिोडराजः । प्रह्वानां नयनमहोत्सवः प्रजानां सम्प्राप्तो मगधकुलांकुरः कुमारः ॥१८॥ (359) मन्त्र--(महसोत्थाय) (380) जयति प्रथम विजया जयन्ति देवाः स्वयं महादेवः । श्रीमन्तौ भगवन्तावनन्तनारायणौ जयतः ॥१६॥ (361) कोऽत्र भोः। (प्रविशति चेट:)

·( ५६ ) (862) चेटः-अंग्र, अअं मि संगदओ । (आर्य, अयमस्मि सगन्तकः) (363) मन्त्र-सौम्य, त्वरिततरमितो गत्वा शूलपाणिसिद्धायतन- संज्ञापटहमाहत्याघोषय-सम्प्रति कतराजकार्या वयम् । अतः परं महाहवेन भवितव्यम् । तदायुध- जीविनां कालः कर्मकराणाम्-इति । (364) चेट--जं अंत्रो प्राणवेदि । (निष्क्रान्तः ) ( यदार्य आज्ञापयति) (865) (उमो परिक्रामतः) (366) वीर--अये! परिवृत्ता रजनी। (367) तरुणारुणरश्मिताडितं निचितं पश्चिमसागरोपरि । तिमिरं परिदृश्यते यथा स्थितमौर्वानलधूममण्डलम् ॥२०॥ (368) मन्त्र-अये ! समुत्थितो दिवसः। पश्य- (369) दी(दिगन्तविटपेषु करेरसंख्य- नक्षत्रपुष्पतरलेषु नभोमस्य । स्नातोत्थितो जलनिधेरयमंशुमाली सन्ध्यार्चनाय कुसुमापचयं करोति ॥२१॥ (370) (निष्क्रान्ताः सर्वे) (31) चतुर्थोऽङ्कः ·(372) पञ्चमोऽङ्कः (373) (ततः प्रविशति लोकातिः) (374) लोका-दिष्ट्यदानी प्रतिलब्धराज्याभिषेको देवः कल्याणवर्मा ! दिष्ट्या वत्सानुबन्धो निहतश्चण्ड- मेनहतकः ! कुतः (13) प्रकटितवर्णाश्रमपथमुन्मूलितचएडसेनराजकुलम् । कल्पन(?)मिव नमति जनः (सकलः) कल्याणवर्माणम् ॥११॥ (376) (परिक्रम्य) अहो तु खलु विटजनाभ्यर्चितकर्णीपुत्र- कीर्निस्तम्भालङ्कतराजमार्गस्य कुसुमपुरवेशस्य परा श्रीः । इह हि-- (377) वारस्त्रीव्यतिकरपेशलं समाज व्याकोशीकृतलटहं विटोत्तमानाम् । गोष्ठीषु प्रमुदितवेषतो महोक्षा हुङ्कारध्वनिमुखरान्विडम्बयन्ति ।।२।। (376) अये ! अयं पुराणविटो वेशरक्षितः। शान्तनवमिव शर- तल्पगतं वेशवाटमकरकेतुमन्दिरावसन्नमेनं पश्यामि ।

·(५८) कुतः (379) साकेतेऽकृतकोतुको विकलितः काञ्चीपुरे काञ्चिभिः पम्पायामभिसारितः परिजनैर्विज्ञापितो वैदिश । गोत्रेपु स्खलितः कटाहनगरे यः कुण्डिने म (मु) रिडतो वेशस्त्रीनिकषोपलचिरतरं भृत्वैव निष्ठां गतः ॥ ३ ॥ (380) ततः प्रविशति वेशरचितः) (381) वेश-(निश्वस्यः) अहो ! कृतान्नहतक, धिक् त्वाम- सदृशसंयोगकारिणम् । पश्य- (882) पौरस्त्यर्यमिनां धातः पाश्चात्यैश्च विलासिनाम् । व्यत्ययो न त्वया दृष्टो वयोभिरितरेतरम् ॥ ४॥ (383) लोका-(उपेत्य) भाव, किमेकाग्रेण चेतसा चिन्तयसि ? (384) वेश-अये ! लोकाक्षिरक्षदासः । (385) यत्प्राभृतं रहसि वेशविलासिनीनां गोष्टीषु यानि फणितानि सुहृज्जनानाम् । सान्द्रे निशातमसि यानि च साहसानि तान्येव यौवनसुखानि विचिन्तयामि ॥५॥ (886) लोका---पर्यन्तपरिहरणीयानाहुर्विषयान्, विशेषतस्तु वेशवासः । पश्य--- ·(५६) (387) दातारं करणश्योगनिपुणं मन्दस्मिताभाषिणं मम्पन्नं नवयौवनं प्रणयिनं रूपेण शीलाधिकम् । बन्धक्या पुरुषप्रकाण्डमुचितं त्यक्त्वा परम्प्राकृतः कुछग्रन्थिरवन्तिमापविभवोऽप्युत्तालमुद्गीयते ॥६॥ (388) वेश-धिक ! भवन्तं श्रोत्रियमार्गानुसारिणम् । पर्यन्य- परितापनाकिल ते विरक्ता विषयेषु । तत्र पुनस्तत्रमवतां प्रज्ञापराधः। पश्य- ? (359) वेशे दत्तकसूत्रपाठनपरस्त्रीसूत्रमानास्पदे स्वैरविनयानुकूलगतिभिर्नीत्वा वयो मध्यमम् । स्थाविर्ये तदनुस्मृतिप्रतिनिधिन्यायेन किं नेष्यते तत्त्वं न प्रतिपद्यते किमु विटस्त्रविद्यवृद्धो जनः ॥७॥ (30)) छिद्यतामियं कथा । सौम्य, चिरादृश्यसे । कुतः ? कथय । (301) लोका-कुतश्चित् कारणादितः शूरसेनमथुरां गत्वा प्रति- निवृत्तोऽम्मि। (392) वेश--अम्त्यपूर्वा शौरसेनी कथा ? (393) लोका--अस्ति; यदुनाथः स्वां दुहितरं कीर्तिमतीमस्म- स्वामिने देवाय कल्याणवर्मणे प्रतिपादयितुं व्यवसितः । (394) वेश-द्वे अप्येते राजकुले परस्परेण समवायमर्हतः । कः ·(६०) पुनरिदानीमुपोद्धातः ? (395) लोका--भगवत्येव विन्ध्यवासिनी। (396) वेश---कुलदैवतं हि यदूनामेकानङ्गा । ततस्ततः । (3ST) लोका--अस्ति कीर्तिषेणराजकुले परमसम्मता योगसिद्धि- र्नाम परिब्राजिका । सा कदाचिद्रहसि देव्या सह जामात- विशेषमन्तरेण चिन्तयन्तं राजानमेकेन चित्रपटेनोपस्थित- वती । तत्र किल चित्रपट कीर्तिमतीकल्याणवर्मणोः प्रति- कृतिद्वयमालिखितमासीत् । ततः किमेतदिति पृष्ठा सती भगवती चित्रगतेयं मिथुनकल्पना प्रतिपत्तव्येत्येकानङ्गा- नुशासनमाख्यातवती। (398) वेश-कथमेतत् ? कथं कथितो भवान्या ? (399) लोका-श्रूयताम्----सम्प्राप्तायां तस्यां किल रजन्यां-- (100) भसितधवलमूर्तिराविरासीत् कमलविलोचनविभ्रमा भवानी। कलमकणिशकान्तमुद्वहन्ती शशिशकलाभरणं कपर्दभारम् ।। ८ ॥ (401) ततः सा---

·(६१)
(402) शौनकमिव बन्धुमती कुमारमविमारकं कुरङ्गीव ।
अर्हति कीर्तिमतीयं कान्तं कल्याणवर्माणम् ।।६।।
(4403) इत्येनामार्यां पठित्वा चित्रपटं दत्वा झटिति तिरोभूता ।
यः स चित्रपटः स्वहस्ते गृहीतः स परिव्राजिकायाः प्रति-
बोधेऽपि हस्ते दृष्टः।
(404) वेश-प्रसन्ना भगवती । बह्वाश्चर्याणि देवतानि! ततस्ततः।
(405) लोका- ततस्तस्यामवस्थायामस्मत्स्वामिपुरोहितसूनुरार्य-
रक्षितः कन्यावरणार्थ राजकुलं प्राप्तवान् । ततो मन्त्रिभिः
सह सम्भूय देवनिर्मितमेतदिति कृतबुद्धिरासीद्यदुनाथः ।
(406) वेश--अहो ! सङ्घचारिण्यभ्युदयपरम्परा देवस्य कल्याण-
वर्मणः।
(107)
( नेपथ्ये)
(408) भोः कुसुमपुरवासिनः पौराः, शृण्वन्तु शृण्वन्तु भवन्तो
मन्त्रिमहत्तरस्य मन्त्रगुप्तस्य वचनम्--नित्योत्सवेऽपि
कुसुमपुरे महोत्सवः समादिश्यते । कुतः-
(409) प्रासादशृङ्गमधिरुह्य दिदृक्षतेऽसौ
होत्सवप्रमुदितं नगरं नरेन्द्रः।
उज्जृम्भमाणमुदधिं समुदीयमानः
पूर्वाचलेन्द्रशिखरादिव पूर्णचन्द्रः ॥१०॥

·(६२) (410) लोका-राज्यलाभसभाजनव्यपदेशेन शूरसेनसचिवेषु राजदुहितरमादाय प्राप्तेषु शङ्के समादिष्टोऽयमुत्सवः । तदहमषि महोत्सवं द्रच्यामि । (411) वेश-माधयतु भवान् । (निष्क्रान्तो) (412) विष्कम्भकः (413) (ततः प्रविशति परिव्राजिका) (414) परि--साधु भोः साहं मन्त्रगुप्तमार्गानुसारिणी प्रकृतिरिव पुरुषाधिष्ठिता कल्याणवर्माभ्युदयमेवं निरवर्तयम् । कुत:- (415) यदयं नृपसूनवे नृपः स्वयमेव स्वसुतां प्रयच्छिति । (416) (विमृश्य) (417) अथ वैष भवेदनुग्रहो भगवत्या मम सा प्रसीदतु ॥११॥ (418) कृतकल्यम्य राज्ञो विप्रलम्भः कृत इनि किंचिदिव मे हृदयस्यापरितोषः। (419) अथवानुगुणेन तत्सुतां घटयन्त्या मगधेन्द्रमनुना । यदुवंशविवृद्धये मया छलयन्त्यापि नृपो न वञ्चितः ॥१२॥ (420) निपुणिकया सह विविक्तरूपे प्रमदवने वत्सा कीतिमती ।

·(६३ ) प्रथमं तावन्महाराजवचनात् सभाजनीयो भगधेश्वरः, पश्चात कुमारी पुरोधमा । यावदहमपि मन्त्रगुप्तं पश्यामि । (निष्क्रान्ता) (4:21) (ततः प्रविशति राजा विदूषकश्च (-122) राजा-(निःश्वम्य) (423) प्राप्तं पाटलिपुत्रमेव नगरं नम्रा मुहुः पाथिवाः सेना सिन्धुविडम्बिनी परिणता सिद्धं च सिंहासनम् । श्लाध्यं मध्यमलोकपालककुदच्छत्रं च मे धार्यते तामप्राप्य नृपात्मजां परिकरःसर्वोऽयमाडम्बरः ॥१३॥ (4:24) विदू--भो वअस्स, मा संतप्पाहि; अत्थि आसावसरो; बहुएहि उवाअणेहिं सूरसेणणाहपुरोहिदो भवंतं उवतिदि। (भो वयस्य, मा सन्तप्य; अस्त्याशावसरः; बहुभिरुपायनः शूरमेननाथपुरोहितो भवन्तमुपतिष्ठते) (425) राजा---इदं किलशास्पदम् ! अस्मत्पितुः पुरा परं मित्रं शूरसेननाथः । स इदानि प्रतिलब्धराज्यं मां निशम्य सभाजयितु पुरोधसं प्रेषितवानिति यावत् । (126) (प्रविश्य दौवारिकः) (427) दौवा--जेदु महाराअो। एसो सूरसेणणाहपुरोहिदो पडि- ·(६४) हारे चिट्ठादि । (जयतु महाराजः । शूरसेननाथपुरोहितः प्रतीहारे तिष्ठति) (428) राजा-अविलम्बितं प्रवेशयैनम् । (429) दौवा-जं भट्टा आणवेदि । (यद्भर्ता प्राज्ञापयति) (निष्क्रान्तः). (430) (ततः प्रविशति पुरोहितो दोवारिकश्च) (431) पुरो-(स्वगतम्) राजानं समाजयित्वा पश्चान्मन्त्रगुप्त न योगसिद्धया च सह कुमारीमन्तरेण सर्व समर्थयि- प्यामि । साधु भो :- (432) प्राप्त इव साधुवादं समगुणघटनानिबन्धनं धाता । तामपि तेन नृपसुतां सृचमिव साम्ना समानयति ॥१४॥ (433) दौवा-इदो इदो अंशो (इत इत आर्यः) (उभौ परिक्रामतः) (434) विदू-अञ्चाहिदं एदं तत्तहोदीए विरहविहुरं चित्तं; ण कजेण किंचि किलंमदि दे हिअअं । (अत्याहितमेतत् तत्रभवत्या विरहविधुरं चित्तम् । न कार्येण किञ्चित् क्लाम्यति ते हृदयम्) (435) राजा-अतिमुग्धमभिहितम् । पश्य ·(६५) (435) गिरिमिव दुर्वहरूपं वियोगदुःखं वहामि कान्तायाः । मम किल तस्यापि सखे कन्दुकलघु राज्यमतिभारम् ॥१५॥ (437) पुरो--(उपेत्य) वर्द्धतां देवः । (138) मोलीन्दुखण्डगलितैरमृतप्रवाहै- रा रेवतीयकुसुमासवसेकसिक्त । गौरीरतिश्रमविनोदविधानशेपैः शम्भुश्चिरं तव करोतु महाभिषेकम् ॥१६॥ (39) राजा--आसनमत्रभवतः । (440) दौवा–एदं आसणं, उवविसदु अंत्रो । (एतदासनम्, उपविशत्वार्यः।) (441) पुरो--उपविशतु देवः । (उभावुपविशतः) (442) राजा--अपि कुशली शूरसेनेश्वरः ? (.1.43) पुरो---कुशली कीर्तिषेण इह भवन्तमनामयं पृच्छति । मय्यस्य सन्देशो वर्तते। (-4-4-4) राजा--यदाज्ञापयति प्रभुः ? (445) पुरो-त्वामाह कीर्तिपेण--वत्स कल्याणवर्मन्, ·(६३) (446) राज्ञी सुपुत्रा मगधेन्द्रपत्नी श्वःश्रेय तेऽस्तु चिसय जीव । दिप्ठ्या पुनः पुष्पपुरे सुगाङ्ग प्रासादमध्यासितवान् कुमारः ||१७|| (447) पुनरप्याह- (443) अलङ्कर्तुमलं मन्ये द्वयोर्वक्षःस्थलद्वयम् । शाङ्गिणः कौस्तुभं-रत्नं-हारः -कल्याणवर्मणः ॥१८॥ (449) इति हारमिमं प्रेषितवानिह भवते । (विदूपकस्य हस्ते हार- मर्पयति) (450) विदू-(अपवार्य) एसो हारो, पेख्वदु पेख्वदु भवं । (---) (एष-हारः, प्रेक्षतां भवान्). (451) राजा-(सकुतूहलं हारं पश्यति (452) पुरो--देवस्य सकुतूहला दृष्टिः शूरसेनराजकुलसर्वस्वमिदं हाररत्नम् । अस्ति वा हारावतरणश्रवणे कुतूहलम् ? (458) राजा--कुतूहलिनो वयम् । (454) पुरो'-श्रोतुमर्हति देवः । तदा खलु महाभारतसाम्पराये वर्तमाने- ·(६७) (455) सव्यं दक्षिणमस्यतः प्रशषितो यः सुप्रतीकः शरै- श्चक्रव्यूहपृथक्प्रभेदघटनाशौण्डस्य गाण्डीविनः । हारः कुम्भसमुद्भयविरचितस्तारागणस्पर्द्धिभिः प्रत्यादिष्टहराट्टहासशकलस्तस्वैष मुक्ताफलैः ।।१६।। (15(i) राजा--अहो ! तु खलु वीरजनस्पृहणीयोऽयमपूवा (137) पुरो----ततः----वाष्र्णेयीकुचतटकुकमाभिताः प्रत्यग्रक्षतिभिरिवोपलक्ष्यमाणः । संघृष्टः कयटकिरातशस्त्रमार्ग- बीभत्सोरपि भुजमध्यमध्यवासीत् ॥२०॥ (158) राजा उत्पत्यानुरूपो विनियोगः । ततस्ततः। (159) पुरो--ततस्तथाभूतेषु वृष्णिषु सागरग्रस्तायां द्वारवत्यां प्रतिष्ठापितपरीक्षितः प्रबजितुकामस्य राजर्षेयुधिष्ठिरस्यादे- शाद्धनञ्जयेन शूरसेनेषु [पञ्चा] भिधानंवृष्णिकुमारं प्रतिष्ठा- पयता हारालङ्कारो दत्तः । तत्परम्परया कीर्तिपेणं प्राप्तः । भद्रं तव । (460) राजा--(पर्यश्रुनयनो हारं निरीक्षते) (461) पुरो-कथं हारदर्शनात् पर्यश्रुनयनो देवः संवृत्तः ?

·(६८) (432) विदू--पुणणसुलोप्राणं आअमीढाणं संकित्तणे कस्स ण होइ अस्सुणिवायो ? का कहा तेहिं धारिअअपुव्वाभरणदं- सणेण ? (पुण्यश्लोकानामाजमीढानां सङ्कीतने कस्य न भवति अश्रुपातः ? का कथा तैर्दारितापूर्वाभरणदर्शनेन ?) (463) पुरो--भजमानमभिहितम् । (464) राजा--आचार्य, विश्राम्यताम् । नन्दक, मद्वचनादुच्यतां मन्त्रगुप्तः-विश्रान्तसुखिनमार्य द्रष्टास्मि (465) नन्द--जं महालाओ आणवेदि । (यन्महाराज आज्ञा- पयति] (466) पुरो--यदभिलषितं देवस्य । [नन्दकेन सह निष्क्रान्तः] (467) विदू-किंदाणी मुख्विगं ? [किमीदानीं मोहितम् ?] (468) राजा--हारमुरसि निधाय] सखे, हारदर्शनात् पुनर्नवी- भूतो मे मदनः । पश्य-- (469) स कालः सकलो नूनं गतोऽपि पुनरागतः । मया मायेव सम्प्राप्ता सा यदा यादवी सुता ॥२१॥ (470) क्व नु खलु पर्युत्सुकमात्मानं विनोदयामि ? -- ·(६६) (471) विदू--भोअणसालं गछामो, आदु महाणसम् ? (भोजनशालां गच्छावः, उत महानसम् ?) (472) राजा--मुक्तः परिहासः। (473) नाभीवापीप्रविष्टः स्तनशिखरगतो रोमरेखापदेन प्रत्युत्पन्नप्रतापः स्फुरदधरमणिव्याजनीराजनेन। लब्धो लीलाकटाक्षैर्मनसिजकलभो वर्तते दुर्निवारो देव्या लब्धप्रसादः कलमणिरशनाडिण्डिमारोहणेन ॥२२॥ फ (474) अपि च-- (475) कान्तावियोगज्वलनाभितप्ते चित्ते मदीये हरबद्धवरः। दाहक्षम कर्तुमिवात्मदेहं दाहाभियोगं मदनो विधत्ते ॥२३॥ (476) विदू--होदु, पमदवणं एव्व पविसामो। (भवतु, प्रमदवन- मेव प्रविशावः) (477) राजा--अग्रतो भव । (उभौ परिक्रामतः) (478) विदू--पत्ता ह्य पमदवणं, विणोदेहि अत्ताणं । (प्राप्तौ स्वः प्रमदवनम्, विनोदयात्मानम्) ·(७०) (479) राजा--सखे, अतिक्रान्तचिकित्सः परोक्षो मदनातङ्कः । पश्यः 1481) पावस्थव पुरः स्थितेव दिवसे रात्रौ च सर्वात्मना । सङ्कल्पेन यथा पुरः प्रियतमा सैवेयमालच्यते । रम्यद्वेपनिवन्धनो मनसि में कष्टं वियोगोचितः सन्तापोऽप्युपचीयते भगवतो धातुर्विचित्रा गतिः ॥२४॥ (481) विदू-एदं गिमकालमुभअपुल्लमल्लिाकुसुमट्टहासं लगा- धरं पविसामो । (एतद्ग्रीष्मकालसुभगफुल्लमल्लिका कुसुमाट्टहासं लतागृहं प्रविशावः) (482) राजा--तथास्तु । (उभो प्रविशतः) (483) भोः कृतान्तहतक, धिक् त्वामसदृशसंयोगकारिणम् । कुत:--- (484) या रात्रिविरहाभिपङ्गविषमा द्राधीपसी वर्तते । या वा सङ्गमहोत्सवप्रणयिनी क्षिप्रं क्षपा दीयते । व्यत्यासेन यदि त्वयेदमुभयं धातः कृतं तावता लव्धाश्वासमुपप्लवेऽपि मिथुनं न त्वामुपक्रोशति ॥२५॥ (485) (चिन्तापरः शिलातले समुपविष्टः) (नतः प्रविशति कीर्ति- मती निपुणिका च) ·( ७१) (436) निपु--भट्टिदारिए, एसो भट्टा, पेख्वदु पेख्वदु भडिदारित्रा। (भत दारिक, एष भर्ता, प्रेक्षतां प्रेक्षतां भ दारिका) (487) कोर्ति--अंअउत्तो ! (आर्यपुत्रः) ! (488) निपु--(चित्रपटं दर्शयति) (43:)) कीर्ति--(निरोच्य साम्यम्परावर्तते) (+9)) निपु---किं एदं ? (किमिदम् ?) (191) कीर्ति-हला, दुजणो एसो जणो । एत्तिनं कालं विरह- विहुरं इमं जणं विसुमरित्र अण्णाए सह रममाणो दीसइ । हला, दुर्जन एष जनः । एतावन्तं कालं विरहविधुरमिम जनं विस्मत्यान्यया सह रममाणो दृश्यते) (192) निपु--(अत्मगतम्) हुँ ! सुमरणावढिअहिअदाएचित्त गदं भट्टारं परमत्थं जाणिव अत्तपडिकिदिदंसणजणि- अएणवहूविंव्भमा भट्टिदारिया । (प्रकाशम्) अत्तणो पडि- किदीए वंचिदासि। (--) (स्मरणावर्तितहृदयतया चित्रगतं भर्तारं परमार्थ ज्ञात्वा आत्मप्रतिकृतिदर्शनजनितान्यवधू- विभ्रमा भत दारिका। (--)आत्मनःप्रतिकृत्या वञ्चितासि) , (493) कीर्ति-हद्धि ! अवरद्धा लि । (सब्रीडा तिष्ठति) (हा धिक् ! अपराद्धास्मि ।) (--)

·(७२)
(494) निपु-पेख्वदु पेख्वदु भट्टिदारिश्रा भट्टारं । (प्रेक्षतां प्रेक्षतां
भत दारिका भर्तारम्)
(495) कीर्ति-हला, कहिं उपविसित्र विस्सद्धा अंग्रउत्तसारि-
ख्वदंसणेण दिहिं तोसेमि ? (हला, कुत्रोपविश्य विस्रब्धा
आर्यपुत्रसादृश्यदर्शनेन दृष्टिं तोषयामि ?)
(496) निपु-एदं अग्गदो लाधरं, तहिं पविसामो। (परिक्रामतः)
(इदमग्रतो लतागृहम्, तत्र पबिशावः) (--)
(497) विदू-किं तत्तहोदा चिंतीअदि ?) (किमत्रभवता चिन्त्यते
(498) निपु-भट्टिदारिए, लापरब्भन्तरे अंअवैखाणसस्स वित्र
सरो मुणीअदि । लसाविडपंतरेण पेख्वामो। (भत दाग्कि,
लतागृहाभ्यन्तरे आर्यवैखानसस्येव स्वरः श्रूयते । लता-
विटपान्तरेण प्रेक्षावहि)
(499) कीर्ति-एव्वं होदु । (तथा कुरुतः) एवं भवतु (--)
(500) निपु-अंहो भट्टा ! (अहो भर्ता !)
(501) कीर्ति-ण हू अंअउत्तो, णाहं अस्स समीवे चिट्ठामि।
(न खलु भर्ता, नाहमस्य समीपं तिष्ठामि (पराविर्तितु-
मारभते।)
(502) निपु–णं राप्रणेपच्छदंसणेशा विप्पलद्धासि ।
(ननु राजनेपथ्यदर्शनन विप्रलब्धासि)

·(७३) (503) कीर्ति-उंमत्तिए, कहं सो पुण्णमसीचंदं लजावअंत महाराओ ? (उन्मत्तिके, कथं स पोर्णमासीचन्द्रं लजा- पयन्महाराजः ?) (504) निपु-तु ह विरहोव्वग्गसरीरम्स भट्टिको पच्चूपचंदसरिसी मुहसिरो तस्स; पुण अस्सं समोवे अंअवस्वाणसो मंतेदि । (तव विरहोद्विग्नशरीरस्य भतु : प्रत्यूपचन्द्रसदृशी मुख- श्रीस्तस्य, पुनरस्य समीपे आर्यवैखानसो मन्त्रयते) (505) विदू-एको जंबुको विश्र कोसुतो सोहइ, ता पडिवअरणं देहि। (एको जम्बुक इव क्रोशन्न शोभते, तत् प्रतिवचनंदहि) (506) गजा-सखे, वैखानस, (507) कीर्ति-हुँ ! अंअउत्तो, हला, अग्गदो होहि । (हु ! आर्यपुत्रः, हला, अग्रतो भव) (508) निपु---भट्टिदारिए, कीस मए वारणं अंग्रेसअदि? णं तुए एव्व सव्वंगीणो आमुत्तो रोमंचकंचुओ। (भत दारिके, कीङमया वारणमन्विष्यते ? ननु त्वयैवसर्वाङ्गीण आमुक्तो रोमाञ्चकञ्चकः) (503) कीर्ति-हला कि मं लज्जावेसि? (हला किं मां लज्जापयसि?) (510) राजा--प्रियायाः प्रथमसमागममेव चिन्तयामि-- ·(७४) (511) पातुं पद्मसुगन्धि लोलनयनं रोमाञ्चितं गण्डयो- विद्विद्रुमपाटलाधरपुटं चक्रं मयोन्नामितम् । वेलच्यप्रतिषेधविक्लवगिरा तन्व्या त्या मुग्धया पश्चात्ताम्ररुचा करेण मम तु प्रच्छादित लोचने ॥२६॥ (512) अपि च नदानीमेव कदाचित्-- (513) दृष्ट्वासन्ने मयि तु सहसा स्वां वधू वञ्चयित्वा लोल्यात् पीत्वा कमलमधुपं कामपि प्रार्थयन्तम् । ध्यात्वा ये सजलनयनं भङ्गुरभ्रूपताकं प्रेमाई यत्प्रणयकुपितं कोफ्नायाः प्रियायाः ॥२७॥ (514) वास्स, एक राकजं मंतमि । (वयस्य, एकं राजकार्य मन्त्रयामि) (515) राजा--छन्दतः। (516) विदू--दाणि पत्तरजाणं-अलअपिच्छिअचिट्ठताणं किं तेण अदिक्कतेण इन्थिबावुत्तंतेण ? (इदानीं प्राप्तराज्यानां अशित्वा-पीत्वा-तिष्ठतां। किं तेनातिकान्तेन स्त्रीवृत्तान्तन ?) (517) राजा--धिबधेयम् । (518) निपु--अवेहि दुट्ठवडुअ, जदा तुवं रामा तदा एवं ·( ७५) राप्रजम् । (अपेहि दुष्टवटुक, यदा वं गजा नदेदं राजकार्यम्) (513) कीर्ति--(स्मितं करोति) (320) गजा--अयि प्रिय--- (5:21) चेतस्त्वया महितमेव तथापि नंदं चक्षुः कृतार्थमिनि केवलमातुर में। आवल्गिते वरतनु स्वजने जनानां प्राप्ते मनोरथशलेऽपि कुतः प्रमोदः॥२८॥ (522) निपु--भट्टिदारिए, अदिकरुण भट्टा मन्तेदि । (भत दारिक, अतिकरुणं भर्ता मन्त्रयते) (523) कीर्ति—णत्थि मे वअणावरो। (नास्ति मे वचनावसरः) (524) निपु--इमं दाव चित्तपडं भट्टिणो अग्गदो णिख्विवामि। (नथा करोति) (इमं तापच्चित्रपटं भर्तुरग्रतो निक्षिपामि) (--) (525) विदू--अविहा ! अविहा ! एसो पिण्डिअमोअमण्डलो बाअधिवहुकोढविसमो महाणाओ महाणाश्रो । (अविहा ! अविहा ! एष पिण्डितभोगमण्डलोवालथि- बहुक्रोडविषमो महानागो महानागः ) ·(७६ ) (526) राजा--(निरूप्य) अयं स चित्रपटः; सखे गृह्यताम । (527) विद्--ही! ही ! ण खु अझं महाणाओ, चित्तपडा, गेहमि । (ही! ही! न खल्वयं महानागाः, चित्रपटः, गृह्णामि ) (528) राजा-कुतोऽस्य चित्रपटस्यावतारः ? लतागृहान्निर्गत्य जानीमः। (529) ( उभौ निर्गमं नाटयतः) (530) निपु--जेदु भट्टा । (जयतु भर्ता) (581) कीर्ति--जेदु अंअउत्तो । (जयत्वार्यपुत्रः) (582) (उभौ प्रणमतः) (राजा कीर्तमतीमुत्थाप्य परिवंजते) (533) राजा--को नामावामभ्युदयविशेषः । अथ वा सरखे वैखानस-- (534) पश्पतोऽपि न विश्वासः सखेदस्य सखे मम । सङ्कल्पदृष्ट्या देव्या बहुशो वञ्चिता वयम् ॥२६॥ (535) विदू--किं एदं सच्चअं ण वेत्ति एसो संवंगीणी रोमंचो पुच्छिदव्यो। (किमेतत्सत्यं न वेति एष सर्वाङ्गीणो रोमाञ्चः प्रष्टव्यः) ·(७७ ) - (586) निपु-दिट्टिा पडिवण्णराअसई भट्टिदारिया भट्टार प्रख्वदि । (दिष्ट्या प्रतिपन्नराजशब्द भत् दारिका भार्तारं प्रेक्षते). (537) राजा(सहर्पम्) अयि निघुणिके- (538) प्रायशः पृथिवीशानां भागेश्वर्यविडम्बना । कीर्तिमत्येव मे लक्ष्मीरिति गम्मिता वयम् ॥३०॥ (539) (अपवार्य) सखे वैखानस, किमेतावद्यावदविदितमस्माभिः। (540) विद-एदं मतंगुतो जाणादि । (एतन्मन्त्रगुप्तो जानाति). (541) राजा-साधु मन्त्रगुप्त, साधु; सम्यगाराधितोऽस्मि । सखे वैखानस । (542) कविखि नृषपर्वणो विभूति वलमिव शूर्पकशासिनो वसन्तः । गरुरिव शतयज्वनः प्रबोधं किमु न करोति चिरन्तनः सखा मे ॥३१॥ (543) विद–ही ही सामाप्रमाणदिअसपच्चिमजामो ओघट्टि- अदिसामुहो मेहारोबो सगन्धवहो संतासइस्सिदि, ता पविसम अब्मतरं। (ही ही श्यामायमानदिवसपश्चिम- यामोऽवघट्टितदिशामुखो मेहारोपः सगन्धवहः सन्त्रास- यिष्यति । तत्प्रविशामोऽभ्यन्तरम् ।

·(७८) (544) की-(मेघस्तनितं निशम्य) अंअउत्त, परित्ताबाहि । (कम्पोत्तरं परिरभते) (-) (आर्यपुत्र परित्राहि (-) (545) गजा---साधु भो भ्रमपरितोषिताः स्मः। प्रिये, दृश्यता मधु (गज) धनसमयावतार:--- (55) कक्षेषा करभोरु काञ्चनमयी मिथ्या तु विद्युल्लता श्रामच्छक्रशरासनच्छलवहः श्रृङ्गाररेखाविधिः । वर्षात्माकरशीकरव्यतिकरो गर्वोजितं गर्जितं तैस्तैरम्बुदगोचरैः सुरगजो लिङ्गैः समुल्लिङ्गितः ॥३२॥ (547) अपि च-- (548) नृत्तारम्भप्रविततशिखश्चष्टतां नीलकण्ठो भृङ्गाघ्रातं सुरभिककुभः पुष्पमाविष्करोतु । प्रत्यावृत्ताः पुनरभिमताः सांधु सीमन्तिनीनां गण्डाभोगव्यतिकरवतीं वेणिमुद्वेष्टयन्तु ॥३३॥ (549) ( निष्क्रान्ताः सर्वे ) (550) पञ्चमोऽङ्कः (551) कौमुदीमहोत्सवः समाप्तः ।

·Appendix अरे ! चन्पकतरो, त्वं केनाऽम्मिन्कुग्रामें ग्राम निवासिनो मध्ये प्रारोपित इति अन्योक्तिः केनोऽत्र चम्पकतरो ! वत रोपितोऽसि कुग्राम-पामर-जनान्तिक-वाटिकायाम् ? यत्र प्रवृद्ध-वन-शाक-विवृद्धि-लोभाद्, भो भग्नवाट-घटनोचित-पल्लवोऽसि ? . " "विहारी' कवेः “फूल्यो अनफूल्यो भयो गंबई गांव गुलाब' इयमुक्तिः उपरिलिखित—कवितामनुकरोति । मुखवर्णन- कोषः स्फीततरः स्थितानि परितः पत्राणि दुर्ग जलम्, मैत्रं मण्डलमुज्वलं चिरमधो नीतास्तथा कण्टकाः । इत्याकृष्टशिलीमुखेन रचनां कृत्वा तदात्यद्भुतम, यत्पमन जिगीषुणाऽपि न जितं मुग्धे ! त्वदीयं मुखम् ॥ न जाने केन हेतुना मम हृदयं खण्डशो नैव भवति--- गते प्रेमाबन्धे प्रणयबहुमान विगलिते, निवृत्ते सद्भावे प्रणयिनि जने गच्छति पुरः। तदुत्प्रेक्ष्योत्प्रेक्ष्य प्रियसखि ! गतांस्तांश्च दिवसान्, न जाने को हेतुर्दलति शतधा यन्न हृदयम् ॥ काचिद्विदग्धा कथयति-प्रियस्य संगमेऽपि प्रियस्य नर्म, ·(८०) स्मितं, वचनं रसादिकं च यत्कथयसि, अतो धन्यासि इति व्यङ्गोक्तिः धन्यासि या कथयसि प्रियसंगमेऽपि, विश्रब्ध-चाटुक-शतानि स्तान्तरेषु । नीवी प्रति प्रणिहिते तु करे प्रियेण, सख्यःशपामि यदि किञ्चिदपि स्मरामि । , - असती-वर्णने- दृष्टि हे प्रतिवेशिनि ! क्षणमिहाप्यस्मद्गृहे दापय- प्रायेणाऽस्य शिशोः पिता न विरसाः कौपीरपः पास्यति एकाकिन्यपि यामि तद्गृहमितः सन्त्रस्तमालाकुलं- नीरन्ध्रोस्तनुमालिखन्तु जरठच्छेदा नलग्रन्थयः ।। श्रृङ्गारवर्णन- नार्याः सा रतिशून्यता नयनयोर्या दृष्टिपाते रिथतः, कामी प्राप्तरतार्थ एव न भवत्यालिङ्गितु वाञ्छति । आश्लषादपि या परं मृगयते धिक्तामयोग्यां स्त्रियं, श्रोणीगोचरमागतो रतिफलं प्राप्नोति तिर्यङ् न किम् ॥ सूर्योदयवर्णन--- उन्निद्रकीकनदरेणुपिशङ्गिताङ्गाः गायन्ति मञ्जु मधुपा गृहदीर्घिकासु ।

·(८१) एतच्चकास्ति च रखेर्नवबन्धुनीव- पुष्पच्छदाभमुदयाचलचुम्बि विम्बम् ॥ वसन्तम्वभाववर्णने- किंशुकालिकान्तर्गतमिन्दुकलास्पर्थि केषां भाति । रक्तनिचोलकपिहितं धनुरिव जतुमुद्रितं वितनोः ।। सुरतवर्णन---- उन्नमय्य सकचग्रहमास्यं चुम्बति प्रियतमे हठवृत्या, हुँ ममेति वदनान्तरलीनं जल्पितं जयति मानवतीनाम् ॥ समस्यापूतौं---- कवेरभिप्रायमशब्दगोचरं स्फुरत्तमापु पदेषु केवलम् । वद्भिरंगः कृतरोमविक्रियैर्जनस्य तूष्णीं भवतोऽयमजलिः॥ विज्जकायाः गर्वोक्तिरपि पठनीयेव अहमस्मि सरस्वती ! तद् दण्डिना न जाने "सर्व- शुक्ला सरस्वती" इति कथं लिखितम् । नीलोत्पल-दल-श्यामां विज्जका मामजानता। वृथैव दण्डिना प्रोक्त 'सर्व-शुक्लो सरस्वती ॥" वस्तुतो गर्वोक्तिः समुचितैव प्रतिभाति--- AR- ---

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·Appendix II Alphabetical List of Verses Act No. of verse -- 20 28 1 II III 1 1 12 V 18 II 2 II 11 IV 10 अन्थे मन्युमहाभुजङ्गमितरे अस्या सखे क्षणमदृश्यत अप्याजवञ्जबसुखान्यवधीरयन्ती अचिन्तनीयं मनसापि अलिकं रामशवलं अथवानुगुणान तत्सुतां अलं कर्तुमलं मन्ये आश्रयति माधवी चद। आकस्मिकीमरतिमुद्भहनीव आशाकेशान्त धूपैरिव इदं किलाविकृतकान्ति विप्लवं इति कृतमिति चोक्तं इच्छानुषङ्गकलुषाल्पधियां डुन्निद्राशोकचूतप्रसव उपकृतवतीमपि दशां कर्णान्त विश्रान्त विलोचनश्री कविरिव वृषपवणां विभूति करदे विषं विकढवेष कषा करभोरु कृष्णाशारा कटाक्षण 28 IV 16 IV 1 III 3 III + 17 I I 31 I 3 I 32 I 8 ·(८४) Act No. of vers IV 11 I 18 IV 6 II 14 IV 5 I 21 V 15 IV 8 II 16 V कालापकर्षे सतिभङ्ग रत्वात काञ्ची कलखोन्मिथ कारा निरोधपरिपाणडु कपोलरेखा कान्ता वियोगज्वलनाभितप्ते कुवलयदलदीर्घदृष्ढिपाशां कुर्वन्ति भृन्या वचनं प्रभूणां गताप्रिया प्रस्तुत चित्तरागै गिरिमिव दूर्वहरूपं गुणविसव शङ्कधिया नीतिः गूढ प्रयगो निभृतापि चेतस्त्वया सहितमेव जयति प्रथमं विजया जातं विभ्रमहष्टि पातशबलं तपसेव विभक्त विग्रह तरुणारुण रश्मिय ताडितं तामेवानुगतं चेतो त्यक्तोमानस्तरुण्या कक्तं तया कुपितवहिपरीनमन्त दर्पणंगमिव सवितुः पढान्नरचितं दातारं करण प्रयोग निपुणां दी(दिगन्त विटपेषु दृष्टासन्ने मयि तु सहसा IV 19 II 5 I 5 IV 20 I IV 9 15. IV. II 17 V .6. IV 21 V 27 ·(८५) Act No. of verse I 11 II 10 22 V ४४ III 10 T 29 V 25 ba 16 I 6 I 2 v I ध्वस्तः सुन्दरपाटलो न शशक शशङ्कमीक्षितु नाभीवापी प्रविष्टः नृत्तारम्भप्रविन परलोकात पुनरागत पश्यताऽपि न विश्वासः परिवृत्तमुग्वी नरेन्द्रकन्या पादोपल्लवकोमलो पुष्यं बाप्पजलापमं प्रस्थानक्षण सम्भ्रममुक्तं प्रकटिन वर्णाश्रमपथ पातुंपद्मसुगन्धि लोलनयनं पार्श्वस्थेव पुरः स्तितेव प्रासाद शृगमधिरुह्य पौरस्त्यैयमिनां धातः प्रश्च्योतत्करशीकरण प्राप्तं पाटलिपुत्रमेव नगरं प्राप्त इव साधुवादं प्रेम्नि स्थितऽपि तस्याः भवति निवृतये यदि भासितधवलमूर्ति भूत्वा प्रच्छन्नमन्तवहिरपि V 26 V 24 V 10 V 4 III 11 ,18 V 14. III 8 III 9. V 8 IV 11 ·(८६) Act. No. of verse I 36 V 16 11 III 2 V I :26 II :25 I C. II ) I V 17 मन्दार पुष्द स्तवक मौलीन्दुखण्डगलित यदयं नृपसूनवे नपः यदेष कक्लीभूतो यन्प्राभृत रहसि याता नितेभ्वगुर्वी या रान्तिविरहाभिषङ्क. येषामाखया सहायान् यौ द्वौ शैशवमुट्ठिभेदविशदौ यौवनराम्भयोगेन राज्ञी सुपुत्रा मगधेन्द्रपत्नी वहन रेवतीमुख वनवास मिमं वामोगन्धवह वामोरु मूरुजानां वाष्पान्धापि यदादरं वारस्त्री व्यनिकर वार्णयी कुचतढ विन्ध्यदिगन्ध गजदान विभर्ति रथ्या रणधूलि विरसापि कृतिः प्रपन्यते वेशे दत्तकसूत्र IV II III I 114 II 8 V V 20 18 I IV 13 I 1 V r ·(८७) Act No. of verse II + IV 18 I 7 I 1 II 15 ए 21 V 19 17 IV II G I 10 क्षण क्षीणो वाहूः श्रीमद्भिः सचिवसतैः श्री वृक्षाङ्कमुरःस्थलं श्री मद्वैयाघ्रचर्मास्तर शौनकमिव बन्धुमनी स कालः सकलोनून सव्यं दक्षिणमस्यन संगति रिचरमचिन्तित सम्प्रन्यहं प्रणयिनी सन्नद्धः कवची सर्गान्तराणि सकलानि सामन्ताग्रवधूकर स्वजने शोकसन्तप्ने सा राजपुत्री सा रजपुत्री नयति स्तनकलश घनोद्मणेव स्वप्नोपनता लक्ष्मीः स्वशक्तितः कृन सुदामनपायि हाग्रसञ्चरणदुर्ललितौ हंसः सैकतमुत्सुकेन मनसा I 15 II 13 I 12 I 19 II 12 I 32 I 27 IV 14 IV I 21 I 2

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·KAUMUDI-MAHOTSAVA
PART II
INTRODUCTION
AND
ENGLISH TRANSLATION

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·KAUMUDI-MAHOTSAVA INTRODUCTION THE STORY 102n. “Kaumudi-mahotsava" is the drama stäged in the palace of the King of Magadha to celebrate the timehonoured autumnal Full Moon Festival of Magadha as well as the accession to the throne of King Kalyānavarman to the throne of Magadha. It is composed of the past history of the life of Kalyānavarman. Kalyāņavarman was the only son of Sundaravarman, who was a popular sovereign of Magadha. Though he had more than one wife, he was not blessed with son and heir to the throne. He therefore dopted a boy called Chandasana from Kshatriva clan of Magadha. His intention was to inake him his successor. But after some time, a son was born to Queen Madirāvati, the consort of Sundaravar- The boy was named Kalyāņaśree. Chandasena, seeing his future hope of becoming the King of Magadha destroyed, made an alliance with the Lichchavi kings, who were at this time enemies of Magadha and tried to usurp the throne by conquering Suncaravarman. The palace of Magadha was beseiged suddenly. Sundaravarman died fighting bravely in self-defence. The queens entered the fire and died with the King. The little Prince Kalyāņaśree was carried away secretly in the darkness of night by the faithful ministers of Sundaravarman. Vinayandharā, the nurse of the Prince, followed thein. But in the pitched darkness of the night, they lost each other in the forest. The Prince was picked up by the hermits of the ashram of Jäbāli where he was brought up by the rishi with paternal care. Vinayandhară was broken-hearted; she took orders as a mendicant and assuming the name of Yogasiddhi, wandered from place to place. She reached Mathurā, where king Kīrtisena reigned. He had an only daughter named Kirtimati. Rājanvati, consort of Kirtisena, was pleased to place the little Princess under the guardianship of Vinayandharā or Yogasiddhi. K. M.SI ·2 KAUMUDI-MAHOTSAVA Years rolled on; Prince Kalyānaśree, under the fostering care of the rishi Jābāli, learnt all the arts befitting a king. In course of time he attained his majority. The faithful ministers of Sundaravarman were not idle. Chandasena proved a tyrant. He imprisoned all the principal citizens of Magadha. Popular opinion went against him. The ministers took advantage of this opportunity; they worked silently in the capital in disguise among the citizens and created a popular opinion to dethrone the king and recall the rightful heir. In those days people had the power of electing their own kings. This is known as the City Council of Pāțaliputra. To accomplish this, by the stratagem of Mantragupta, the frontier tribes were set in rebellion. Chandasena, as he had none to help him, had himself to leave the capital and go there to quell the rebellion. Finding the capital unguarded, the citizens welcomed Kalyānavarman into their midst and crowned him as king. Chandasena was killed in his clash with the Savaras and his line thus came to an end. As soon as Kalyāņavarman attained majority, the trusted friends of Mantragupta were sent to the hermitage to fetch him. On their way they halted in the forest adjoining the temple of Chandikā near lake Pampā. In Mathurā, Princess Kirtimati attained marriageable age and King Kirtisena was anxious for her marriage. He sent her with her retinue and nurse Yogasiddhi to the temple of Chandikā so that she could offer her oblations and obtained the blessings of the goddess. Kirtimati came there walking all the way and after tendering her offerings was returning to her camp. She was tired by the heat of the sun and, searching for a shadowy place, came to the trec under which the Prince was sitting. She was attracted by the strikingly handsome appearance of this unknown youth. The two thus met and they fell in love at the first sight and departed after a short talk. The Princess in her bewilderment dropped her string of pearls.

·INTRODUCTION 3 The love-sick Princess was fading away. She could not express it to her companions, who became quite worried on account of her unknown malady. The Princess avoided her friends. One night when all were asleep, she got up and painted the portrait of the Prince with coloured chalks on a piece of canvas and with foided hands said "O beloved of my heart? Thou art ctuel". Nipuņika, her confidante, was awake at this time and saw this In the morning the picture was snatched away by an eagle who thought it to be a peace of meat and dropped it in another part of the woodland where Yogasiddhi was sitting in a meditative mood. Seeing something falling from the sky she picked it up and on close observation identified it with the picture of Prince Kalyānaśree and fainted. The maids of the Princess rushed for relief and on her regaining her consciousness asked how this picture came. Nipuņikă related the story. the story. Yogasiddhi said that the picture was of the Prince of Magadha. The Jester who was seeing all this from behind identified her as Vinayandharā and came forward and gave the greetings of Prince Kalyāṇašree. He was in fact sent thither by the Prince to return the string of pearls. Vaikhānasa, the Jester of the Prince, gives it to Nipuņikā and receives the portrait of the Prince under which Yogasiddhi writes a couplet wishing for the union of Kirtimati with Kalyāņaśree. Kalyānašree was happy to see the portrait and paints the picture of the Princess by the side of his picture. This was returned to Yogasiddhi. Kirtimati returns to Mathura. Yogasiddhi sees Kirtisena and gives this picture telling the king that it was so ordained by Ekānangā, the family goddess of the house of Mathura. Kirtisena was pleased and by this time Kalyānaśree was crowned as the King of Magadha. Kirtisena now sends their family priest with his daughter and gifts. With the celebration of the marriage at Magadha, the drama comes to a close.

·MANUSCRIPT TITLE MATERIAL AND THE DRAMA The manuscript of this drama originally belonged to British Malabar from where it was taken on loan by G. O. Mss Library of Madras. A copy of it was taken and the original was returned to the owner. All efforts to find a second copy of the work proved fruitless. The original copy is on the palm-leaf of Śrītāla kind and the copying may not be older than 150 years. It is found along with another drama- Abhirāma-Chitralekham-probably a work of the 13th century. The superscript on the covering leaf mentions only the later work. A copy of Abhirama-Chitralekham is found in G. O. Mss Library of Madras but without the present drama. Our drama does not bear any heading. Neither the prologue nor the colophone at the end indicates the name of the drama or its author. The scribe at the close of the play wrota Kaunudī-Mahotsava Samāptah without any apparent connection with the rest of the work. Fron tiis it was conjectured that the drama might have been known by that name and was publislied in 1929 under the joint editorship of Mr. Rāmakrishna Kavi and Pandit S. K. Ramnath Shāstri giving it the present name. It was perhaps customary in Malabar not to give any name to a work. All the dramas describing Udayana's heroism including Ratnāvalī, Priyadarsikā etc., are found under one heading viz. Vatsarāja charitam. Bhāsa's dramas are found in different nanes: Karnābhara is known as Kavacha-tana and Kundalāharana, Urūbhanga as Gadayudha, Abhishekha as Ramābhishekha, Pratimā as Pratimārāma and Pratimādaśaratha. Hence we can imagine that the present drama was placed along with Abhirāmachitralekham' without any seperate name. The question naturally arises in one's mind, why this drama is called Kaumudimahotsavia, when the title, as it is, is not suggestive of the plot or of the life-history of its hero Kalyānavarman. The only ·INTRODUCTION 5 iavourable factor available from the body of the drama is that it was staged at the time oi the annual Full-moon Festival at Patalīputra in the palace of Sugānga which synchronises with the accession of Prince Kalyanavarman to the throne of Magadha, when his marriage with the Princess of Suraśena took place. But as has been observed above, the palm- Leaf manuscripë of the drama does not give us any indication as to the title of the piece, nor have we a colophone at the end, as is usual in many works of this type, mentioning the name of the work. The singular factor that supports this title of the drama is the last lin., which, was probably added by the scribe without any consideration to the text of the drama. The words of the Stage-manager "now again is approaching the Kaumudimahotsava" points only to che annual festival of Autumnal Full-moon that used io take place at Magadha. This was a time-lionoured Festival held every year at Magadha. We find it mentioned in Mudrārākshasa Act 11 where king Chandra Gupta says "I wish to enjoy a sight of Kusumapura, now the more delightful on account of the commencement of Kaumudi-Mahotsava." If the drama is to be called by the name of the iestival of Full-moon, then it seems as though the celebration of the festival alone is of supreme importance. The author does not give us any clue as to suppose that the festival, which formed only an occasion to stage the work, was top-most in the writer's mind. Was there anything else that was uppermost in the mind of the author ? A close study of the work reveals that either the life-history of the hero or the machanism by which Mantragupta succeeded in establishing Kalyāṇavarman on the throne of Magadha, without any bloodshed, forms the centre and was top-most in the mind of the author. In the prologue, the stage-manager, while discussing what drama should be staged, speaks of the present drama written as embodying the past life-history of this king (Asyarājñyah Samatītam Charitamadhikrtya nibaddhan nātakam). So the life- ·KAUMUDİ-MAHOTSAVA History of the king forms the centre of interest, though such a name was not given to it. It was this past history of the king that was staged to celebrate his accession to the throne on the Full-moon Festival day, which was a time-honoured festival of Magadha. So the scribe should have ended by saying 'Iti Kalyānacharitam samāptam' instead of 'Iti Kaumudimahotsavah.' Though Kalyana-charitam or Kalyāņa- Kirtimatiyarl would nave been more consistent with the subject matter of the drama, yet as it has already come to be known in the literary world under its present name, we have to be contented with the present designation given to the drama. The publication of this work ushered in the criticism of many scholars in the East and the West. The late Dr. K. P, Jayaswal went so far as to modify the pages of his history based on the historical evidenice available in this work. His view however, was refuted by Dr. Winternitz, and later a third scholari £ame forward to show, with all the vehemence of argument, that there is no historical data in Kaumudimahotsava. The entire question hinges on the identification of Chandasena of this drama with Chandragupta I of the Mauryan dynasty. The late Dr. Jayaswal, based on the assumption that Chandra is the Prakrit form of Chanda tried to identify him with the historical figure Chandragupta, the founder of Gupta dynasty and asserts with confidence that "this Chandasena was no other than the king who assumed the name of Chandragupta after his grandfather's name Gupta and adds that Chandragupta was his regnal name and chanda-sena was the original name and that it seemed that Chandra dropped Sena and adopted "Gupta' to give himself a dynastic title.2 In support of this change in the name he refers to the case of Vasanta-sena and Vasantadeva which were the names the same king and that of Dahrasena, who, on his. coins adopts the style of Dahragana.3 In support of this another scholar4 refers to the inscriptions of Chandasāti, the śātavāhana king, 4a coins of Sri.

·INTRODUCTION t. Chandrasāti and to Khemendra's Byhatkathāmañjari. In the first place, among these, the Inscription of Candasāti does not support Prof. Sharma, because the careful scholar H. Krishna Sastri gives the Sanskrit form of Camdasāti as candasväti and remarks that 'on a second coin figured in G. P. I. in pl. VI of the coins of the Andhra Dynasty by Rapson the reading is Chamdasāt(a)si with an anusvāra marked to the left of c as in the Kodavali rock inscription". As a matter of fact we have coins not only of cadasāti but also of cadasāti. Caclasati is obviously chandasvati and cadasvati is chandrasväti. It is not therefore, intelligible how chamda can become chanda in Prakrit as the late Dr. Jayaswal and Prof. Sharma seem to think. However that may be, the above evidence does not help us in solving the problem, as in the text of Kaumudimahotsava the name appears in the Sanskrit text as 'Chanda' and not as 'Chandra'. The opening verse of Act IV of this drama which refers to the hero both in the Prakrit and Sanskrit texts has chandabba transliterated into sanskrit as 'Chandra=iva'. And later on wherever the hero is mentioned, his name appears as 'Chandasena' in Sanskrit. So it is difficult to show that 'Chanda' of this drama is equivalent to 'Chandra'. The Gupta Inscriptions describe Samudra Gupta as the son of the Mahārājadhirāja, the glorious Chandra Gupta I and the daughter's son of Lichchavi, begotten on the Mahadevi Kumāradevi from which it was presumed that Chandra Gupta I made an alliance with the Lichchavis through marriage. But But our present drama describes Chandasena as being adopted by Sundaravarman as a poisonous tree owing to his inability to know his nature and is described as coming from a low caste-viz Kāraskaras. He is also described as being treacherous to his father and of having formed an alliance (Sambandharn) with the Lichchavis who were termed as Mlechchas by the dramatist. But it is not known whether the alliance was through marriage or through some other source. It is clear from the words of Vardhamanaka 'Whence ·KAUMUDI-ATIOTSAV'S. 2: is royalty to one of such a caste?' that Karaskaras were regarded as a very low custe pcople: unfit to be kings and the Dhazmusüstras describe thoni as low community to whom the Brāhmanas should not go and on return from whom they should performa ceremony of purification. Il such wils the social status of the Kāraskaras, it is difficult to see how Sundaravarman could adopt him according to the laws of Dhurmsäsiras as hus som witli view 10 install him as his heir apparteni. Neithey" tiie Gupt:: Inscriptions not the pages of Indian llistury have anything to show that Chandra Gupta ! adopted son and also came froni i low family. The inscriptions describe him as the Son of Mahārājā Ghatotkacha. The namc of Sundaravarman does not come in this context. If the above line of reasoning has any force, it is not possible to identify Chandra Gupta I, the founder of the Gupta dynasty, with Chanda-sena of the present drama. LVUS AUTHOR Who was the author of this work ? It is here that conjecture has its full play. In the prologue the letters containing the name of the plºt are worneaten and the space can be filled in by two letters only. The letters following this gapire Kayanibaddhani which indicate that the author was not a man, and that the nanie consisted of three letters only. Mr. Ramakrishna Kavi endorses that a close examination of the worn-eaten portion of the leaf revealed that the letter was ja. Hence the namc suggested was, Vijjaka, or Vijjika. His mind was, however, shadowed with some doubt because in the following verse occurs:fix Jayati Prathamām Vijaya Jayanti Devāh Svayani Mahādeva, Srimantau bhagavantam-Ananta-Nārāyanau Jayatah. He argues that Vijja is the Prakrit form of Vidya and has no philological relation with Vijayā. The word ·INTRODUCTION 3 Anantanārāyanau, in the above, the chief deity of Trivandruni may either indicate the name of the poet or it may be that some princess named Vijayā was the devotee of the god Anantanārāyana of Trivandrum. This need not cast at all any reasonable doubt upon the name of the author. Amongst the deities mentioned in this verșe the last two are Ananta-Nārāyanau, which is in the dual, and not Ananta-Nārāyanaḥ, the name of the chief deity of Trivandrum. This verse agait begins with Vijaya, which is very significant. Immediately after Sutradhāra sings his song in praise of Kșittivāsas (Vāhādeva), we are toia when the drama was to be acted, the autumit season had approached--the autumnal season which is a great festival common to all people. Vijaza fits excellently with this great festivity of autumn (sarat- Samaya). As a matter of fact, in north India. especially in the eastern parts of it, the festivities of Vijayādaśami are too well-known to require any mention. This shows that the mind of the author was far removed from the site of Anantanārāyana, god of Trivandi'um. We may thus take it that the author of the drama is Vijjakā and slie flourished in the eastern part of India, if she was not actually a native of Bengal. The name Vijjakā at once reminds us of the verse which is attributed to her at least in the Sárangadhara- Paddhatic which runs as follows:- Nil-otpala-dala-śyāmām-Vijjakām mām=ajānata Vrth=aiva Dandiná proktam sarva-suklā Sarasvati. Evidently in this stanza Vijjakā describes herself as 'dark like the petals of a blue lotus'. Nevertheless she is bold enough to style herself as Sarasvati and find fault with the poet Dandin because he has described the goddess Sarasvatî 'Sarvaśuklā!. This gives rise to two inferences: the first is that she was contemporary of Dandin and was possibly known to him through her writings. The second inference is that she must have composed a number of works ·lo KAUMUDİ-MAHOTSAVA which attracted the attention and admiration of her contemporaries. Now Dandin begins his Kāvyādarśa with the following verse:- Chaturmukha - mukh = āhbhoja - vana hamsa vadhúrsmama. Mānase ramatām dirgham sarva-sukla Sarasvati This poem of Daņdin must, therefore, have been known to vijjakā. On the other hand, as she chides the poet for describing Sarasvati as Sarva-súklā, there can be no doubt that she was his contemporary. How else could she scold Dandin that he knew about her rather dark complexion and yet styled Sarasvati as ‘all-fair. That she was a Sarasvati is proved by the number of verses which are ascribed to her in the various anthologies and which are as many as 29. Unfortunately not one of them is traceable in the Kaumudimahotsava. This need not run counter to the view propounded above. The case is not unlike Bhāsa. Multifarious verses have been attributed to this poet in the anthologies, but hardly any one has been found in his works so far published. IDENTIFICATION OF VIJJAKĀ Assuming Vijjakā to be the author of the drama, we have now to find out to what part of the country and to which class she belonged. Both the internal and external evidence found on these points is meagre. We have seen above, how a poetess called Vijjakā assumed the sobriquet Sarasvati and rebuked Dandin for ignoring her. She has been called a Karnāti in the following verse of Rājasekhara, which is also found in Sūkti-muktavali, Subhashita-harāvali and Sārangadhara-paddhati. It runs as follows: Sarasvati-va Karnāti Vijayanka jayaty=asāu | yā Vaidarbha-girāṁ vāsah Kälīdāsąd = taram || In these lines the learned woman who was like Sarasvati is said to belong to Karnāta and is describanan- ·INTRODUCTION 11 a ed as the abode of the Vaidarbhi diction since the time of Kalīdāsa. The following lines may be taken as giving a further indication of her identity. Eko bhūn = nalināt = tatas – cha pulinad valmikatas = ca āparas = te sarve kāvayo bhavanti guravas tebyho namas = kurmahel Arvāñco yadi gadyapadya-racanais = cetas = camatkurvate ieshāṁ mūrdhni dadāmi vāmacaranam Karnāta-rājapriyā. Here the composer of this poem is replete with self-praise, and she describes herself as the beloved of the king of Karnāța. In one Nerur copper-plate grant we have the name of a queen called Vijayabhattārikā, the wife of Chandrāditya, eldest son of Pulakesin II, the conqueror of Harshavardhana and brother of Vikramāditya I. It runs thus: 'Parameśvaratām == a-nivărita-Vikramādityaḥ|| -Tasya jye-stha-bhrātuh śri-Candrāditya-prthivivallabhamahārājasya priyamahishi Vijayabhattarikā.' In Kocre grant again--this queen consort of the Maharājādhirāja Candrāditya is described as Boddi-podhi which has probably to be corrected into Bodhi-podhi and taken to mean ‘Alligator of intelligence or wisdom'. So this learned Queen of Karnāța seems to be in all possibility the Vijjakā of our drama who indulged in that light pleasantry in referring to the description of Sarasvati by Dandin. It is therefore no wonder if she has skilfully given herself the first and foremost place in the verse: Jayati prathamam Vijayā jayanti devāh svayam Mahadevaḥ Śrīmantaū bhagavantāv Ananta-Nārāyaṇau jayataḥ.7 Of course, Vijayā must here primarily mean the goddess Vijayā who ushers in the festivity of the Sarat or Autumnal season. This point we have dwelt upon previously. It cannot, however, be doubted that this verse is impregnated with double entandre.

·13 KAUMUDI-MAHOTSAVA It is, therefore, natural that she should push her nama îorward in the list of the gods comprised in the verse. But there is, perhaps, a second trace of her autobiography contained in the third stanza of the drama which reads as follows:- Krshnaśārām katākshena kršivala-kisorikā Karoty = esha kar-agreņa karne kalama-manjarirn. This verse also has two senses. According to the first, a peasant raid is referred to with glances resembling those of black antelope decorating lier ears with corn sprouts with her fingers. This meaning is clear enough. But perhaps we shall not be wrong if we think that this stanza is susceptible of another sense also. The words kare kalamamañjarīın are important in this connection, because they refer by implication to some writer who was in the habit of resting his or her pen behind the car with the finger as many of the modern writers cio. surmise is not a far-fetched one, probably lęšīvalakiśõrikā must be interpreted to give a second sense also. This is not impossible if 'Krśivala' is taken as the name of her father. As a matter of fact the name is found in Mahābhārata. Nothing is known of the native place of Vijayabhaltārikā, queen-consort of Chandraditya. It may be that she belonged to Easiern India and was married to a prince of a Chalukya family somewhere in the Deccan. May we further conjecture that she composed this drama in North India at Patalīputra before her marriage, when Kalyāņavarman was reinstated on the throne. Vijayabhattārikā belongs to about the middle of the seventh century A.D. and to me it appears that the political scene portrayed in the drama pertains to that epoch. The Licchavis were still in existence about that time and even later as the Nepal Inscriptions published by Bhagavânlal Indraji clearly show. If our ·INTRODUCTION 13 KALYANAVARMAN name Tile text of the drama reveals that the author Vijjakā or Vijayabhattārikā of Karnāța had in view mainly a portrayal of the life-hisiory of its hero Kalyanavarman. It was staged to celebrate che cccasion of the acquisition or the kingdom airesh of king Kalyāņavarman'. Now the question is who was this Kalyānavarman and in what line of kings ruling at Pațalīputra can we place him? The text reveals that he was the son of Sundaravarman, Lord of Magadha. His original was Kalyānaśree. Sundaravarman adopted Chançasena as his son, but later Kalyanaśree was born to his first wife Madirāvati. When Kalyānaśree was a boy, Cançasena secretly formed an alliance with the Lichchavis who were enemies of Magadha rulers, and treacherously laid siege to the capital. In the battle that ensued Sundaravarman died fighting bravely in defence of his capital, queen Madirāvati with other queens entered the funeral pyre of her husband leaving Kalyānaśree in charge of his nurse Vinayandharā who carried him away from the capital to the Vindhya forest followed by some of the faithful ministers of the king, and the throne of Magadha was usurped by Chandasena. The ministers waited until Kalvānaśree came to age and finding the subjects dissatisfied with Candasena to asked them to rise up against their ruler17 when the latter was away from the capital in quelling the rebellion of frontier tribes where he is said to have been killed. The people of Magadha crowned Kalyānasree as Kalyānavarman as their king when Kirtisena, the ruler of the country of Saurasena gave his daughter in marriage whom the prince met and fell in love during his exile. With the accession of Kalyāņavarman and the death of Candasena, the dynasty of Caņdasena is said to have been uprooted. If according to the facts of the drama, Kalyānavarman was a contemporary of Vijayabhattarikā, then our hero must have flourished about the middle of the ·KAUMUDI-MAHOTSAVA A.D. 7th century A.D. But the records of the list of kings reigning at Magadha at this period do not furnish us with the name of either Sundaravarinan or Kalyānavarman but one inscription shows that a Varman dynasty was ruling at Magadha about this time. The Sirpur (Raipur) inscription of the time of Mahāśivagupta, which records the erection of a temple of Hari by Vāsatā, mother of the king runs thus:-- "In the lunar family, Chandragupta, his son Harshagupta married Vasatā (Daughter of Suryavarman of the Varman dynasty of Magadha) their son Mahāśivagupta--Bālārjuna."1?' The date of Mahāśivagupta is given as 8th century Though the name of Sundaravarman is not given anywhere as a ruler of Magadha, it will not be out of place if he is connected with Sūryavarman. As Vāsatā belongs to the 8th century, Süryavarman, father of Vāsatā can be placed about the middle of the 7th century, in which case we can suppose Süryavarman to be the immediate successor of Kalyānavarman, whose date synchroniscs with that of queen Vijayabhattārikā of Karnāta. Again, Candasena is said to have been uprooted by Kalyanavarman. Who was this Candasena and of what dynasty? The text of the drama describes him as Kāraskara, and the late Dr. K. P. Jayaswal has pointed out that the Kāraskaras were a subdivision of Madras or Jārtikas. So Candasena was a Jārtika or Jāt. That these Jats were Guptas is shown in the article 'On the caste of the Guptas as recorded in Nepal chronicles. 13 This may be correct or incorrect, but this much is certain that the later Guptas were connected with the Lichchavis. In the List of Inscriptions of Northern India 14 inscription No. 1402 gives the names of Gupta kings ruling at Magadha about this time, among whom the name of Adityasena is mentioned. His date is given in inscription No. 1393 as Saṁvat 60 i.e. 666 A.D. His daughter's daughter is said to have been married to a Lichchavi king. It runs thus:- ·INTRODUCTION 15 "That prince respectfully took illustrious Väsata- Devi to be his queen, as if she were fortune, her the daughter of Bhogavarman, who was the crest jewel of the illustrious Varmans of the various Maukhari races and who by his glory put to shame hostile kings, and the grand-daughter of the great Adityasena, the illustrious lord of Magadha." From this it seems as though the name Candasena which is synonymous with Adityasena may be identified with this prince of the Gupta Dynasty ruling at Magadha who made an alliance with the Lichchavis. The next question is, were the Lichchavis in power in India at this time, and if so, where? The Nepal Inscriptions collected and published in the Indian Antiquary by Pandit Bhagavānlal Indraji and Dr. G. Bhülar, C. I. E. under the title 'Inscriptions from Nepal”16 show that they held their sway in Nepal and had matrimonial alliances with the ruling families of Magadha. The following is one of the Inscriptions whose date is given as Samvat 143 i.e. 749 A.D. “The illustrious lord and great king sivadeva, the banner of the Lichchavi race, being in good health addresses greetings to all the cultivators according to their rank etc." The Katamandu Inscription of Jayadeva Parāchakrakāma dated Sarvat 100 i.e. 703 A.D.) is as follows: "In the Solar race there was Lichchavi; in his family was Supushpa, born at Pushpapura etc."16 Inscription 15 ascribed to Jayadeva dated Samvat 153 (759) runs thus: "After eight other kings together with their sons and grandsons had passed, illustrious Lichchavi was born. “A new race famous in the world*****which is to be honoured even by the gods that are great in majesty and which bears the pure name Lichchayi*****exists even now". These facts show that in that transitional period which followed the great Gupta kings, when several ·KUMUDI-MATIOTSAVA dynasties were trying to usurp Central Power, two families, the Varmans and the Later Guptas, sucuceded in acquiring supremacy. It is quite probable that the Capital was an arena of contest of these two families, in the course of which cach iriuri tít oust the other. Sundaravarman seems to have tried to bring about a reconciliation between the tivo rivit families by adopting Canclasena from the Gupla Dynasty, but things changed when Kalyānaśrec was born to Madiravati, Queen Consort of Sundaravaila1. the close relation of the Guptas to the lichchavis (Candasena) Adityasena formed an alliance with them and invited their help to conquer Surravarman. With the death of Sundaravaria), the Gupta Dynasty came to power. But as Candasena grew unpopular, the citizens of Magadha rose against him and joining the followers of Sundaravarman, reinstated Kalyanavarman on the throne of Magadha and thus revived the Varman Dynasty. Due to OUTLINE OF THE PLAY Act I. The Stage-director enters the stage after the usual benediction and offers his prayers to Siva. In the prologue that follows, he, after describing the autumnal season, relates to us that this play, embodying the life-history of King Kalyanavarman, will be staged in the palace of Sugūriga on the occasion of the celebration of King Kalyānavarman's accession to the throne on the Full-Moon-Festival day. The next scene takes us to the hermitage of Jābāli, where Prince Kalyanavarman was staying during his exile. When he came to age, he took farewell of the hermits and went along with his companions to take possession of his kingdom. In the dialogue that follows, we are told that Prince Kalyānavarman was hiding along with Kunjaraka in an inaccessable place called Vyādha-kishkindhā near the temple of Vindhya-Vásini, near which lake Pampā was situated while minister Mantra-gupta was working for him at Pāļālīputra.

·INTRODUCTION 17 The scene next changes to the Vindhya Hills, where Kalyāņavarman, sitting under a Tapaniyāśoka tree tells us in a soliloquay the glory of his father, how he died fighting bravely, how his mother followed him in deaths and how he, as a child, was carried away from the palace by the hermits. His reverie was disturbed by the sound of anklets, and turning in the direction of the sound sees a group of maidens, one of whom surpassed in beauty all others. It was princess Kirtimati and her retinue that were coming in that direction. As the princess was tired of the heat of the sun, searching for the cool shade of a tree, their attention was drawn to the refreshing shade of Tapanīyāsoka tree. The princess felt an unknown happiness at the sight of this shade and at the suggestion of the Chamberlain they decide to rest there for a while and Simhalaka was sent to make arrangements for her camping. On coming to the spot, they perceive the prince and were struck by his handsome appearence. The Princess falls in love with the Prince, who inquires of the Chamberlain about the name and family of the Princess. The Chamberlain replies that it is Princess Kirtimati, the only daughter of King Kirtisena, lord of the Yadus, belonging to the country of Surasena, whose capital was Mathurā. The Lord of the Yadus, sent his daughter on a pilgrimage to the shrine of Vindhyavāsini along with her retinue where she has coine on foot as a mark of reverence. While they were conversing, Sinhalaka comes back and informs that a proper resting place has been prepared for the Princess and that her nurse Yogasiddhi, was waiting for her. So taking leave of the Prince, the party proceeds, in the course of which, the princess lags behind on the pretext that her garment has been caught by weeds, just to have another glance at the prince. The jester who was searching for the Prince enters a withered garden adjoining the temple of Chandika and finds his friend. The prince confesses his love for the Princess at which the jester remarks wittily 'First loss of Kingdom next capture by a maiden'.

·18 KAUMUDI-MATIOTSIVA Looking around he finds the pearl necklace dropped by the princess and presents it to his master saying 'here is food for the hungry'. At this stage, the page comes and informs the prince that it is time for his recreation. Act II, opens with the descriptiou of spring, when two attendants of the Princess were anxiously discussing about the unknown malady vi the Princess. It was morning. One of them relates ibi incident that happened in the previous night. The Princess, as usual, went to sleep after dismissing ull her attendants except her confidante Nipunikā. When niglit advanced, thinking that Nipunikä was asleep, the distressed princess gets up and paints in the dim light of the moon, on a piece of fabric left by, the picture of a youth with the coloured chalks that were sewn about her; meanwhile Nipunika woke up and found the princess saluting the picture with folled hands with These words 'Beloved! thou art cruel!'. Who can this youth be? This must be the one seen at the temple of Chandika. In the morning, while the princess was still asleep, and the confidantes of the Princess were looking at the picture taking it into their hands, un cagle, mistaking it to be a piece of meat, snaiched it away and dropped it in front of Yogasiddhi, who, sitting on a piece of rock, was relating how she, dejected of life and travelling at random, came to Mathurā where queen Rājanvati received her with allection and placed her in charge of Princess Kirtimali, and how now she is anxious to see her ward to be worthily settled in life. Seeing a picture dropping from the sky, she picked it up and, on close observation, recognising him to be the little Prince Kalyānaśree left to her charge by queen Madirāvati of Magadha grown now to manhood, faints with grief. The distressed Nipuņikā, who was coming in that direction, seeing this, rushes to her side and by administering, restores her to her senses. She asks her how this picture has come, to which Nipuņikā replies that one of this form was seen by the Princess, who painted him and that ·INTRODUCTION 19 it has been carried away and dropped here by an eagle. Yogasiddhi replies that if he is still alive, it is none but prince Kalyanaśree of Magadha. The jester of the Prince, who wandering about with an anxious mind, was sitting in a grove behind this place, sees and listens to all that was happening, and recognising the lady mendicant to be Vinayandharā, the nurse of Kalyānaśree, comes out of the grove and introduces himself as Vaikhānasa and presents the greetings of Prince Kalyānaśree. Yogasiddhi planning the union of both the prince and the princess writes à couplet io that effect at the foot of the picture and hands it over to Vaikhānasa, who gives back the pearl necklace left behind by the princess. Act. III. opens with the appearance of the Prince as a lover. He has sent the jester with the string of pearls to be returned to any of the attendants of the Princess, with the hope that he may thus get some news about the Princess. The jester returns after his successful trip. He sees the prince in a meditative mood and asks him if the thought of his kingdom was the subject of his meditation. The prince asks him about the necklace, and the jester, by degrees reveals to him how he met Nipunikā and the result of his interview. He then gives the portrait. He asks him to paint the picture of the princess besides his. The Prince, on seeing the couplet, asks who has written it. The jester reveals that it was written by Yogasiddhi who is no other than his nurse Vinayandharā. The prince then paints the picture of the princess on the canvass as requested. Nandaka comes and announces to the Prince that it is noon and high time for bathing. Act IV. opens with the songs of Vardhamanaka, who disguised as a minstrel comes to the temple of Siva singing a song and playing on an instrument. The scene opens in Pāțaliputra, where Āryarakshita, a follower of Mantragupta was staying in the temple of Siva as a priest. Vardhamānaka discloses himself and salutes to Aryarakshita and inquires of him if Kuñjaraka has been sent by Mantragupta to rouse in rebellion the frontier tribes and if Chandasena ·20 KAUMUDI-MAHOTSAVA SO son, an went out of his capital to quell the mutiny and if the special messinger Hariņāśva has been sent to fetch the Prince to occupy the unguarded throne of Magadha. This was brought about by the strategem of Mantragupta, who slowly worked among the people of Magadha reminding them of the good deeds or Sundaravarman and thus turned their minds in favour of the Prince. Vardhamanaka again asks why people are vexed with Chandsena to which Aryarakshita replies that Sundaravarman adopted Chandasena as his but the latter was treacherous and, though staying in the Magadha dynasty, made alliance with the Lichchhavis who were the enemies of Magadha and finding an opportunity attacked the capital. Sundaravarma and his followers died fighting bravely in self-defence and the queens died on the funeral pyre. Some of the old ministers took Kalyanaśree with his nurse Vinayandharā and stole away at night from the city and entered a dense forest filled with wild beasis and elephants. They lost their way in the forest but were picked up by hermits. At the suggestion of Vardhamanaka Āryarakshita agrees to go to the house of the Charioteer disguised as a begger to meet Mantragupta in the evening; night was advancing and in the pitched darkness Virasena another messenger went through the familiar paths of Pațalīputra, groping in the dark to the house of the charioteer and knocked at the door. Mantragupta, who was waiting for him, opens the door and inquires how far off is Kalyānavarman from the city. Vīrasena replies that the prince will reach by the morning. He further informs him that he is accompanied by a strong army commanded by Kuñjaraka. Mantragupta, who was informed of the love affair of the Prince, inquired how he is facing it. Vīrasena said that the special messenger Hariņāśva arrived on the very day that the princess left that place and the prince like a warrior, flung aside his thoughts of love and proceeded manfully. Mantragupta relates that he has sent Āryarakshita to Mathurā asking for the hand of the princess as sug- ·INTRODUCTION 21 gested by Yogasiddhi and that the Lord of Mathura agreed to the proposal. By this time it was near day-break and Prince Kalyānavarman enters the city. By the order of Mantragupta, this was announced to the people by beating of the drum. The act closes with the description of sunrise. Act V. announces Kalyānavarman's accession to the throne and the annihilation of Chandasena and his family. It is followed by a vivid description of Kusumapura, where courtezans played a prominent part. Lokākshi next relates how Yogasiddhi presented before king Kirtisena, who was anxious about the marriage of his daughter, the portrait of the prince and the princess. On being asked to explain, she said that one night Ekānangā, the family goddess, appeared to her, and giving her this picture and ordaining their union, vanished. Just then Aryarkshita arrived with the proposal of Mantragupta; so king Kirtisena, was convinced that this is brought about by gods. Mantragupta announces that a great festival is approaching. Yogasiddhi arrives at the capital with Kirtinati and the family priest. King Kalyanavarman welcoines him, and the priest, after conveying the greetings of the king of Mathurā, presents to him his precious gift--the historic string of pearls, which was handed over to him from no less a person than Yudhisthira, and the Vrishnis. At the end of the interview the king enters the buwer with the jester to ainuse himself. In the vicinity of that grove Princess Kirtimati was wandering with her companion Nipuņikā, who shows her the portrait. As they were searching for a place where they can sit and see the portrait undisturbed, they hear the voice of the jester coming from the adjoining bower. Nipunikā throws the portrait before the prince, who comes out of the grove to find out whence it has come. They meet the Princess and Nipunikā who fall at his feet. Prince Kalyāṇavarman rises Kirtinati, and as it was going to rain, the jester proposes to retire to the palace. The sky was spread with dark clouds and the loud peel of thunder frightened the princess. She seeks, ·22 KAUMUDİ-MAHOTSAVA in fear, the protection of the Prince who gave it readily to her DRAMATIC ART AND STYLE Among the Sanskrit dramas, this is one of the few, perhaps the only one, written by a woman, specially by one belonging to a Royal family, nrawing materials for her plot from contemporary history. The characters are neither based on imagination nor represent types, but are living men and woinen, toiling and moiling in the daily routine of their life. It is a drama of political intrigue centred in the person of Prince Kalyānavarinan, who was exiled from his kingdom but was brought back by the strategem of his loyal minister Mantragupta and replaced on the thone of Magadlia after killing and uprooting the dynasty of Chandasena who usurped the throne by unfair means. The action, as such, covers a period of at least two decades of a Century from the death oi Sundaravarman, the father of Kalyanavarman to the accession of the latter to the throne of Magadha. Onc thing is remarkable--the object is accomplished without any bloodshed. This political intrigue is interwoven with the amors of Prince Kalyāņavarinan of Magadha and Princess Kirtinati. This makes the drama uniquc ili itself. Nowhere in the history of Sanskrit drama cau we find one parallel to this one. In Mudnārākshasa we find a similar intriglie portrayed, but the dry structure of political stratagem has not any human interest. In Mrchchakatikan we have a picture where characters are drawn from life, but we are deprived of the atmosphere of high Royal families. The action is not without the din of battle-it begins with a battle when Sundaravarman dies fighting bravely in the battle-field and ends with another battle when in Act. V. we are told of the death of Chandasena in a battle with the frontier tribes, though these are not shown on the stage, as rules governing the texture of Sanskrit drama forbid it. We meet here all varieties ·INTRODUCTION 23 of people--the hermits, the princes, the officers of a royal court and harem, military officers, statesmen, Buddhist nuns, the usual and familiar picture of the citizens of Magadha, the beggars, priests and the spies. The author has given scope to display an ideal of romantic love by inaking the hero and heroine free and independent masters of their own destiny. The combination of romance with history makes it as interesting as Shakespere's Henry IV, where the din of battle and conquest is sweetened by the wed-lock of the Prince of England with the princess of France. The end is happy, as it must be, according to the rules of Indian draina but strewn with tragic and pathetic Secues. The soliloquay of the Prince describing his brave father's death, the lamentation of Vinayandharā for the lost prince arc full of deep pathos. At places, the audience inust become breathless with suspencewhen secrel preparations are being made in the darkness of night to remove the usurper Chandasena and bring back the rightful heir to the throne. The drawing of characters from every-day life, the love of the youth for the maiclen, whose status was disclosed through the device of a picture, which serves here as a niark, the mixture of contemporary political intrigue with the romance of love, has much in common with the new Attic Comedy of Greece. The prologue serves the purpose of announcing the author's name, title of the play and the desire of the dramatist, for sympathetic reception. The scene begins with a bright and cheerful Weather---a blue bright sky, lakes full of lotuses, a sight so common to Autumn in India. After the dull rainy season, Nature seems to be awakened to new life. It is much different from the autumn of the Western World. In Northern India, specially, where our scene begins, days begin to become cooler just before the beginning of Winter, the sun too, loses its heat in spite of its brightness. The action of the drama begins at such a time of the year, when Kalyāņayarman ascended the throne, and the night was one of full moon.

·24 KAUMUDI-MAHOTSAVA The next scene lakts us back to at least some months, if not years--when Kalyānasree took leave of the Hermitage of Jābäli. Kalyāņasree attains majority under the care of sage Jābāli and he had to go to acquire his kingdom for which his faithful ministers were working hard. The iníiuence of Kālīdāsa is visible here which inay be a manifest cffort to rival Act IV of Abhijñānaśákuntalam, though it is inferior to it in grace and charm. I'he farcwell scene of the hermitage, the chocked voice of Kulapatithe weeping of flowers, the sad pct. deer of the Ashram, the parting scene of princess Kirtimati froin the prince, the entanglement of her upper garment in the shrubs, the chase of a drone--all seem to re-ccho. Kälīdāsa. The author sceins to be one possessed of 3 masterly intellect, for she brcathed life into the dry bones of political history and inade it a living thing. The blending of fiction with facts, the device of picturepainting for bringing about the union of the hero and heroine, the political stratagem of Mantragupta, who plays here the role of Chanakya-all require a master-mind to build this beautiful edifice. Thc author was one gifted with such, but slic betrays her want of experience, like an architect who has just begun to use his tools. The plot, however interesting. is badly knil the authoress tries to give unit.y to the plot, though it is not very successful. The narration of cvents in long speeches in lieu of action is a drawback. The soliloquays of the Prince, Vinayanchara and Mantragupta are wholly undramatic. The drama is not without a touch of supernaturalism where in Act V we are told of the appearance of goddess Ekānangā to Vinayandhară and the handing over the picture. In bringing this device, the poetess defies tradition to bring about decorum. Kārtimati and and Kalyāṇavarman are splendidly characterised—the one in her sweetness, the other in his manliness and power. The character of Mantragupt-a picture of loyality and devotion is touching.

·INIRODUCTION 25 The sell-sacrifice of the minister and his unsparing devotion to his cause are adinirable. The style is clear and rapid-images, metaphors and similes are used with taste and moderation. The diction is adinirably forcible and direct. At places the marital character reflects itself in the clearness and rapidity of style. She realises thal she is writing a drama ali Dol composing scis of elegant extracts. As a drama it belongs to that class of dramas ralled Natakas--the plot of which is drawn from history or mythology. GEOGRITY OF TIE IRAMA The work brings to lighi a shrounded part of Ancient History of India, and it is necessary to identify the scenes of action with corresponding places in inodern geography. Some of these are directly connected with the plot of the drana and others are mentioned by way of allusions. The drama is said to have been stager in the palace of Sugingo at Pāțaliputra, the capital of Magadha. The hero is said to have lived in disguise in an inaccessible place called Vyādha-kishkindha, in the vicinity of Lake Pumpā, situated in front of the temple of Chandikā. Princess Kīrtimatī, the heroine of the play came there on a pilgrimage walking all the way from Mathurā, the capital of Suraschia country. These are the places directly connected with the plot. Places mentioned by way of allusions are Säketa, Kāñchi, Vaidisha, Vatsa, Pampā, Town) and Kațăhanagar, Kausāmbi and Suyamună. Of the places directly connected with the plot, Patliputra comes first the play staged there. It was the celebrated capital of Magadha rulers. And our drama was staged on the Full-moon festival day. That the name of the palace was Sugāriga is mentioned in the body of the book. This one of the most flourishing cities in Ancient India. At the time of hero Kalyāṇavaras was was our ·KAUMUDI MAHOTSAVA mian, according to the description given by the author, the city was still in a good condition and was the scat of Royality of Magadhan rulers. A part of the towni was called Kusumapura-. This is confirmed by the account given in Mudrārākshasa.'. So Busuna pura was the central part of Pataliputra. A reference to it is made in the body of our drama.' The name of this celebrated capital of Magadla rulers has becii obliterated in later times. But what was its exact location in Ancient India? Its location has been fixed by scholars to be the vicinity of modern Patna. Megasthenes gives its cxact location. It was at the confluence of the rivers Ganges and Eranoboa (Sone). In modern Geography, the junction of Sone and Ganges is 60 or 70 iniles to the north of modern Patna. It was then surrounded by a ditch of 600 cubits wide and 30 cubits deep i.c. as wide as river Hoogly in Calcutta or Thames at London. There were 64 gates and 570 towers. It is not known if the palace of Suganga was on the banks of the Ganges itself, for according to the rules luid down by Arthasastra!! the palace of king should be the heart of the town, and not on the extremity. Our draina does not give any indication of the existence of a river ncar about the palace. It is striking wlay the name of so sacred a rivor, associated with the name of the palace of the king has been left out altogether. The only external source from which we can get an account of the condition of this town during this period is the account of the Chinese pilgrim Hiuen Tsiang. His description shows that it was only a small hamlet, the greater part of the town being in a ruinous condition. He, however, gives the legend connected with the origin of the town of Pāšaliputra. But the description given in the body of our drama shows that it was in a flourishing condition, the seat of contest of two rival dynasties. The chinese pilgrim was interested not in the Hindu capital of Magadha but with centres of Buddhist cultures. And his account does not bear the stamp of an eye-witness. He might have written it from what he heard in course in ·INTRODUCTION 27 or of his extensive travels in India. The town takes its name from Påtaleswari or Pāțala Devi, one of the Pithas mentioned in the Brhat- Nila-Tantra. It was built during the life-time of Buddha in 480 B.C. hy king Ajātaśatru who tried to revive Hinduism at Magadha. It is quite probable that the structure of the palace of Sugīnga was very refined. The Maurvau Hall, recently cxcavated. bears testimony to the refined aschitectural taste displayed by ancient architects at that remote period. It is said to have 3 rows of monolithic polished columns with at least 10 columns in each row adorned with heavy stone sculptures of soinething over lifcsize and Dr. Spooner has the credit of proving that it has been constructed on the model of the Hall of Hundrer! columns the throne-room of Darius Hystaspus at Persepolis. This might have been the Hall where the Gupta Kings gave their audience and perhaps, it was here that our drama was staged. The general scene of the drama is in the forests adjoining the Vindhya range, where the hero was hiding in disguise at the inaccessible place called Vyödhakishkindha. Where was this place ? It was quite usual in Ancient India to have two places or sometimes more than two of the same name. This is one such case.20 One of these was to the north of river Narmadā and the other in the Deccan peninsula. The Vindhya range mentioned in this drama has the temple of the celebrated Chandikā. It was the abode of Goddess Vindhya-visini a wcll-known place of pilgrimage in Ancient India. So celebrated was the place that princess Kirtimati came from Mathurā walking on foot all the vay to pay her bomage. So it cannot be very far off from Mathurā. This will enable us to spot out the exact location of the Vindhya range and Vyādhakishkindhā of our play. The Imperial Gazetteer of India 21 has the following about Vindhyavāsini, the celebrated diety of ancient India. A few miles to the west of the city of Mirzapur there was a small town called Bindhachal, In this ·KAUMUDI-MAHOTSAVA 1 hamlet was the shrine of Vindhavāsini or Vindheśvarī, which was then so celebrated that large crowd of pilgrims from central and southern India used to visit this shrine annually. The Goddess was specially adored by the Thugs." Devi-Bhagavatare too states that the celebrated temple of Vindhyavāsini was situated on a part of a hill near Mirzapur. The temple of the cight-armed Yogamāyā which is one of the 52 Pithas where the toe of Sati's left foot is said to have fallen, is at a short distance from the temple of Vindhya-vāsini.23 The Skanda Purānaal asserts that Yogamāyā, after warning Kanisa of the birth of his destrayer, came back to the hills, and took her abode at the site of Vinduvāsini. In Kathösaritaságarci' it is mentioned as a celebrated place of pilgriinage. The town of Bindhachal was included within the circuit of the ancient city of Pampāpura (Firher's M.A.T). So this place was known as Vindhya Vāsini as well as Vinduvasini. In the 7th century, the Goddess Vinduvāsini was widely worshipped and her shrine was considered as one of the most secred places of pilgrimage. Another Bindhachalaa, has been identified by Mr. Pargter with the hills and plateau of South Mysore. This Bindhachala docs not fulfill the other conditions, for its great distance from Mathurā and Magadha could not make cither the heroine to come on foot or the hero to lay in ambush waiting for an opportunity to occupy the capital. Morcover there is the absence of the shrinc of Chançliká. So thc Vindhya range with which we are concerned lies to the north of Narmada. We canot, however, trace any lake bearing the name of Painpä in modern geography, but the Iinperial Gazetier mentions the extensive ruins of a city called Pampapura, the ancient capital of the Bhárs, near this Bindhāchalā. It will not be out of place to assume that a lake bearing the name of the ruined capital existed then which dried up later due to natural The place where Kalyāṇavarman was hiding was called Vyādha-kishkindhā, in the vicinity of the causes.

·INTRODUCTION 29 Temple of Chandikā. So this must have been the part of Vindhya extending towards Mirzapur. There are two other places called Kishkindhā: one was a small hamlet in Dharwar situated on the southern bank of Tungabhadra near Anāgandi three miles from Bijayanagar, 2, and close to Bellary.28 About 2 miles to the S.W. of this spot is the Pampāsarovara and to N. W. of this is the Añjana Hill where Hanuman was born; 60 miles to the West of this hill is the hermitage of Savarī.2. It comprises of the hills on the opposite side of the valley that separate it from Humpi which are mild congeries of fantastic naked granite rock with narrow valleys between. The other Kishkindhā lies to the east of Nimbāpuri in South India. 30 About a mile to the east of Nimbāpuri, a small hamlet in the suburb of Bijayanagar, there is an oval-shaped heap of calcareous scoria, partially covered by green shrubs. The Brahmins of the spot say that according to tradition it is the heap of the ashes of the bones of giant Bali, slain by Rama on his expedition to Lankā. This is known as Kishkindha. These two, though the former is connected with Pampāsarovara, yet the shrine of Vindhyavāsini is wanting and through the hermitage of śavarī is nearly, the hermitage with which Prince Kalyānavarman was associated was that of jābālā as told by the stage-director. Hence either of these do not fit in with the other descriptions. So the Kishkindhā where Kalyānavarman was hiding was a part of the Vindhya Hills to the north of Narmadā. We next come to the country of Surasena. Kirtimati was the Princess of Surasena. Some have identified this place with Saurashtra. But in Ancient India Saurashtra and Surasena were different places. The former covered the territory now known as Gujrat, Cutch and Kathiawar and its capital was Valabhī; whereas the latter was in Central India, in the vicinity of present Delhi and its capital was Mathurā. Tradition assigns to it a legendary name, Sauripura or Suryapura.01 But according to the version of Dhalasāgara, Saurīpura and Mathurā ·30) KAUMUDI-MAHOTSAVA were two different towns. Saurī, who succeeded his father Surā, king of Mathurā, removed his capital to a new place and named it Sauripura while his younger brother remained at Mathurā. It was one of the towns visited by Hiuen Tsang. From the inscription found by Cunningham in Madura, Vásudeva seems to have been the first ruler of the Kanva dynasty of the Purüravas, who ruled over N.W. India and the Punjab just before and after the Christian Era, or he was the predecessor of Kānishka. Another town of the same name existed in South India. It was the second Capital of the Pāņdyas and was situated on river Vaigai. Its founder was Kulaśckhara. We have completed our survey of places directly connected with the plot of the drama. We have now to survey the geographical names occurring by way of reference. Saketa was one such place. It was the old name for Ayodhyā or Oudh. Its capital was Seyanakot or Sanchanakot, situated on the banks of the river Sai, 34 miles north-west of Unao in Oudh. Mahavagga (VII-I. i) describes Säketa as being six leagues from Sravasti. McCrindle identifies it with Ayodhyā, the Sägeda of PTolemy. Csoma de Körös in mentioning the place says "Sāketana or Ayodhyä". H. H. Wilson in his Sanskrit Dictionary calls Sāketa "the City of Ayodhyä". Rāmāyana33 describes Säketanagara as the Capital of Raja Dasaratha and his sons. Raghu Varsari also identifies Sāketa with Ayodhyā. 34 Rāmāyaṇa describes it as being situated on the banks of river Sarajūma city having a circumference of 100 miles. At the present day Rām Ghát and Guptar Ghät are taken as the eastern and western boundaries of the old city. These limits include all the places of pilgrimage and perhaps these were formerly inside the city. The Ayin Akbaris describes it to be of 148 kos in length and 36 kos in breadth which means that it covered the whole province of Oudh. The present city of Ayodhyā is to the north-east ·INTRODUCTION 31 5 Corner of the old site and is just two miles in length and three-quarters of a mile in breadth, but not one hall of this site is occupied by buildings. There are neither high mounds of ruins covered with broken stalues and sculptured pillars, but only a low irregular mass of rubbish heaps. The Muhammadan City of Faizabad is near this site. The two taken together right have been the ancient capital of Rāma. Fä-Hien mentions Sāketa as Sha-chi and Hiuen. Tsyang as Viśālela. They both describe the celebrated tooth-brush tree of Buddha. Fa-hien speaking of Sha-chi says "on leaving the town by the southern gate, you find to the east of the ruad the place where Buddha bit a branch of the Nettle tree, where it grew to the height of 7 ft." Hieun Tsyang speaking of Viſakhā says "to the south of the capital to the left of the road i.e. to the east, there was an extraordinary tree of 6 or 7 ft. high-one of the holy objects of the spot. Thus both refer to the same tree and locate it in the same spot.se The Ceylonese annals describe Buddha as spending 9 years in the Jetavana monastery at śrāvasti and 16 years in the Pubhāräino monastery at Säketapura37 Burniese annalsce give the number of years as 19 and 6 which coincides with the account of Hiuen Tsyang. As Hieun Tsyang states that Buddha lived at Visakha for six years and that this place is at the same distance to the south of Srāvasti as Säketa, it follows that Viśākhā and Sāketa were one and the same. In the seventh century the City of Visakh or Săketa was only 16 li or 2-2/3 miles in circuit or not more than one half of its present size. Hieun Tsyang assigns to it a circuit of 4000 li or 667 miles which must be very much exaggerated. But as Cunningham asserts that the estimated dimensions of some of the districts of this part of the pilgrim's route are so great that it is quite impossible that all of them can be correct"39 we can assign to it a more reasonable limited area as 400 li or 67 miles and restrict the territory of Viśākhā to the tract lying round Ayodhyā between Ghågra ghat and Gomati rivers, It is interesting to ·3 KAUMUDI- MHOTSAVA note how Sāketa came to be known as Visakhā. This name was given io ii in the Buidhist period and was associated with the name of i celebrated Buddhist lady Vishākhä who lived al Söketa before her marriage with Purnna Vardhana, son of Mrigira, rivh merchant of Sravasti. She is suic lo lave eteeted i Puryvā. rāma at śravasti and the Purvvärāma ai Sākela might have been also built by her. Her father Dhananja, a rich merchant of Rājagriha, migrated to Sriketa. Amongst the oldest inscribed coins discovered at Ayodhyā, soine bear the name of Dhana Deva and Visākha-Datta. It may be that owing to the celeberity which the family of Visakha and Dhanja hold at that time, these coins might have been ilssociated with them and the city of Sákaia came to be associated with the name of this eminent Buddhist lady. The next town of importance is Kanchi. This was known as Konjiveram, situated on the banks of river Polar 43 miles to the S. W. of Midras. The place round Kanchi was known as Tonda-Manlala; the celebrated Tirtha of Siva-Ganga was in Kanchi. It was a seat of learning. During the Buddhist Period, there were six universities, viz., in Nalanda, Vikramasīla, Takshasilā "Taxila), Balabhai Wala), Dhanakatāka (Amaravati) and Kanchipura (Canjiverum). During the period from 5th 1e) Ith century of the Christian Era, Kāñchi was the seat of the Pallava rulers, when they were overthrown by the Chola kings of Tanjore. It is said to have been founded by Kulottunga Chola on the site of a forest called Kurumbasībhumi know as Tonda-Mandala. The next allusion is to Vidisha, known as Bhilsā. It was on the river Bitwa, about 26 miles to the N. E. of Bhopal. Agniniitra, the first king of the Sunga dynasty of Magadha was at Bhilsa as the Viceroy of his father. There are ſive distinct groups of Bhilsa Topes situated on low Sandy hills viz. (1) Sanch Topes, 5.4 miles S. W. of Bhilsa, (2) Sonari Topes, 6 miles to the S. W. of Sanchi. (3) Satadhara Topes, three miles from Sonari (4) Bhojpur Topes 6 miles to the S. E. of Bhilsa, and Andher, 9 miles to the ·INTRODUCTION E. S. E. of Bhilsa. They belong to 250 B.C. to 78 A.D. Bidisa river has been identified with Bes or Besali which joins Betwa at Besnagar or Bhilsa. Vatsa. The whole country to the west of Allahabad on the Southern bank of the Ganges was know in Ancient India as Vatsa. Kausāmbi or Kausami was its capital. It was on the left bank of Jamuna, about 30 miles to the W. of Allahabad. Vatsadeva or Vamsadeva, also called Udayana, was its ruler. Udayana was the son of king Parantapa. He maried Vasavadattā, Princess of Ujjayini. Later he is said to have upheld Buddhism and was converted by Bhikshu Pindola. Buddha was his contemporary and the first image of Buddha was made by him. This image was of sandalwood 5 ft. in height. Vararuchi, called also Kātyayana, the author of Vrttikās, is said to have been born at Kausāmbi, who became later the minister of Nanda king of Patalīputra. ITS PLACE IN SANSKRIT DRAMA Rules governing the dramas have first been connonised by Bharata in his Nātyaśastra. These were further systematised by Dhanañjaya, a protege of king Muñja of Dhārā (974-95) A.D. in his Dasarūpa. The general name for any kind of drama is Rūpaka, which takes its name from the artificial assumption of forms by the actors. They are of ten varieties- Nāțaka, Prakarana, the Bhāna, Vijayoga, Samavakāra, the Dima, the Ihāmriga, the Anka the Vīthſ and the Prahasana. Of these the Nātaka is the most perfect form of drama. Kaumudī-Mahotsava comes under the first category i.e. Nāțaka. As such it has a celebrated story for its plot viz. the life-history of king Kalyāņavarman. It is of five acts and the hero Kalyanavarman is high-spirited but temperate and firm, powerful and virtuous, being the descendant of the famous family of Magadha. The principal flavour in this drama is Heroic and the Erotic is subordinated to the Heroic. Four important persons, Mantra-gupta, Jābāli, Kuñjaraka and Arya- K. M.-3 ·KAUMUDI-MAHOTSAVA rakhita are engaged in the business of Kalyāna-śree and the end is a happy one. There are also five stages of the development of action-the beginning viz, the desire to attain an end is charactised by prince's endeavours to attain the throne of Magadha—which led him to the second stage (Prayatna)--his determined effort to gain his object by his stay in ambush in the dense forest and working through his ministers. The third stage prāptisanbhava-is reached when his success is fell to be possible by the arrangements made by Mantragupta, the faithful minister who worked secretly and roused the feelings of the people of Magadha against the usurper, the fourth stage Niyatapti is ensured by the rebellion of Savaras and the the frontier tribes and the Usurper had to leave his capital to quell them. Then the fifth stage Phalāgama is finally reached when Kalyāņaśree enters the unguarded capital and is welcomed by the people as their rightful king. The Bīja or the germ of the plot is Mantragupta's schemes and plans to secure the throne of Magadha without bloodshed. The subject matter is two-fold: the Principal or Adhikārika action is the attainment of the lost kingdom, which was the chief purpose of Kalyānaśree. The Incidental or Prāsangika action is the meeting and Marriage of the prince with princess Kirtimatī which was not aimed at by the hero but served as a means towards the fruition of his aims. A drama proper commences with Pūrva Ranga or what the actors perform before the commencement which consists of Nandi or Benediction uttered invoking generally a deity with a view to ward off any obstacles that might happen to the performance. This is done by the Manager, sometimes on the stage after which the establisher or Sthāpaka introduced the drama stating the nature of the theme whether divine or human, the Vīja and the name of the hero. Difference of opinion exists here, for the earlier writers named Nandi as Ranga-Dvara (Door or open- ·INTRODUCTION 35 ing of the theatre) and Bharata does not mention it at all. So Sāhitya-Darpaņa quotes "Now the Benediction (or Nandi properly so called) such as is described in the present text, being performed before the Ranga-Dwāra by the mere actors is not mentioned by the great sage Bharata". Hence Kālidāsa in some dramas and Bhāsa who, followed more the teachnique of Bharata omitted the Nandi, which is supposed to be done behind the screen and we have 'Enter Manager (Sūtradhāra) at the end of Benediction'. Our drama too is of the same type and the play begins with 'Nândyante Sūtradhāra (Enter Manager after Benediction.) We have here again Vishkambhaka, Sthāpanā, and Induction heard to be spoken in the air. Vishkambhaka occures twice: at the beginning of the play it is pure, where two actors of middle rank speak in Sanskrit, whereas the next one is mixed. Though Vishkambhaka is found in other dramas, Sthapana and the Induction are rarely to be found. Perhaps the author has adhered to the older rules of Bharata. The work consists of five acts which are not divided into scenes-here too it is different in technique from the rest of the known dramas. Hence the drama as .a whole seems to adhere to the earlier technique laid down by Bharata than its further developments manifested in Kälīdāsa. ITS DICTION We have already observed above how Rājasekhara remarks of Vijayabhattārikā's style as the abode of Vaidarthi diction since the time of Kälīdāsa. Diction is classified under three heads-Vaidarbhī, Gaudiya and. Pāñchāli. Vāmana, in his Kāvyālankāra-sutra Vșitti defines Vaidarbhi as replete with all the qualities of style viz, flority, lucidity and sweetness. In pure Vaidarbhī there should be no compound words. Fullness of excellence of subject-matter becomes clearly appreciable.

·30 KAUMUDI-MAHOTSAVA Judged from the characteristics laid down by poetics, the drama does not fall short of the ideal. The language is lucid, style simple and devoid of difficult compounds. The effect produced on the reader is sweet like the notes of the lute. TIME-ALLUSIONS OF THE PLAY The action of the drama covers a period of at least two decades—from the time when Kalyānaśree was exiled as a child to the attainment of his majority i.e. upto the 21st year of his life. One datum for determining the time of action is the Full-moon festival of Kārtika which falls in the first week of October—but this synchronises with the last scene. The second datum is in Act II, which ushers in Spring-time evidently there was an interval of five months. The third datum is in the closing scene, where a description of the rainy clouds is given. It was evidently the end of Bhadra or the beginning of September-the end of rainy season. As marriage cannot be performed in the month of Bhadra, it has to be delayed for a month. Soon after in commemoration of the Coronation and Marriage of the new king-this play was staged on the Full Moon Festival day. DURATION OF THE ACTION Act I. The motif of the play is the Autumnal Full-Moon Festival-Time is Sārat-the month of Kārtika—the scene begins with a bright autumnal sky with lakes full of lotuses haunted by bees where swans are moving about sportively. It was Forenoon but nearing midday for Princess Kirtimati was tired of the sun and was looking for a shady place to rest. The scene ends in the evening for the Jester says to the Prince 'Get up, it is time to go to the exer- ·INTRODUCTION cise-ground'. The duration of the Act is from forenoon to evening. Act. II. Ushers in early Spring-interval is five months--the atmosphere is bracing--Asoka trees are in full bloom--Madhumañjarikā says "Now has come near the month of Spring". During these months, the love-sick Princess has withered away and one night she was seen painting the picture of the man of her heart about whose rank she did not know, in the dim light of the moon, which was carried away by an eagle who dropped it in front of Yogasiddhi in the garden. The scene commences in the early hours of the morning, two of the confedantes of the Princess Converse about the malady of Kirtimati and the picture painted by her at night. The Lady Mendicant Yogasiddhi enters another part of the forest and seeing the picture dropped by the eagle, faints—the attendant of the Princess Nipumikā seeing this from behind rushes forth to give her relief-She recovers consciousness and laments for the lost Prince of Magadha and through her sobs narrates the past history of Kalyānaśree—Vaikhānasa, the jester, who was near the place recognises her as Vinayandharā and conveys the regards of Prince Kalyānaśree_Vaikhānasa returns the string of pearls dropped by the Princess and takes back the picture painted by her. The scene that began in the morning ends near about the noon. Act III-opens in the Camp of the Prince in the forest- Spring Continues—the interval between Acts II and III is not long-probably a day to enable Vaikhānasa to walk from the Camp of the Princess to this place. The duration of this Act is a few hours-Vaikhānasa gives the picture-speaks of Yogasiddhi: the Prince laments for his lost nurse. Nandaka, the attendant of the Prince informs the Prince that it is time for His Lordship to get ready for his bath and food and so it was nearing mid-day, as indicated also by the last verse of the act.

·38 KAUMUDI-MAHOTSAVA Act IV brings us to the vicinity of Pataliputra -vigorous preperations are going on secretly to reoccupy the city-Kalyāņaśree was slowly moving with his army from the forest of Vyadha-Kishkindhā to Magadha---Now he is near about the outskirts of the capital. We should allow a few months between the last scene and this the whole of summer and a part of the rainy season-next we see him entering the capital where he was reinstated as king and coronation took place soon after the rains-beginning of Saratso the interval covers Summer to Autumun. The Scene commences in the early hours of the morning: Āryarakshita was worshipping Śiva, when Vardhamanaka comes as a ministral to give his message—the former says 'I, too, at noon, am going on the pretext of begging to see His Honour'. The Scene continues throughout the day-Mantra-Gupta (315) says—the day has come to an end, this is the evening beauty of Kusumapura! The Scene continues throughout the night-Virasena gropes in the dark towards the house of the chriot-maker-it was midnight by the time he reached. He announces that Prince Kalyānaśree will reach Kusumapura in the morning (333) At the end of the scene Mantra-Gupta says. "The night has passed away.” So the duration of the scene is 24 hours—one day and whole night. Act V opens in Patalīputra. An interval of a month can be allowed during which Chandasena was killed in a battle with the frontier tribes—Kalyāņaśree enters and occupies it and is welcomed by his subjects--He then ascends the throne of Magadha as Kalyāņavarman-coronation takes place. The Scene starts at dawn when Lokākshi describes the condition of prostitute houses--next we see the king welcoming the priest of Surasenait is forenoon--next scene is in the pleasure-garden--the king with the jester-hence it should be evening--then the description of the rain-bearing clouds_duration of the Act is one day.

·INTRODUCTION 39 SOCIAL PICTURE OF THE TIME Through the pages of Kaumudīmahotsava we get a glimpse of the society of the time. The drama begins with an invocation to Śiva and in the body of the play we see again Aryarakshita worshipping Śiva as a Pasūpata priest saying "Salutations to thee, O ſambhava, thou who bearest the moon on thy Crest." These two are important as they indicate that Śaivism was in full swing in the country. The State-religion was Hinduism and the worship of Śiva must have been supreme. The early part of the Christian Era is noted for its great Hindu revival under Bhāra-Śivas, Vakātakas, Nagas who held imperial sway over Aryavarta. The Bhāra-Śivas were Nagas as one of the inscriptions identifies them, “Of the Bhāra-śivas, Mahậrāja śree Bhava Nāga." The Nāga dynasty merged into the Vakāțakas by a marriage and they assumed the title of 'Bhāra-Siva' as an official title. 41 The national cult and Faith of the country then was ſaivism-ſiva ruled over the actions of the kings and the people; He presided over the country and national service of every type was dedicated to Him. The Shastras which were discarded during the Buddhistic revival, were brought back to their right place. Even the architecture of this period had the stamp of Saivism-The Chaturmukha Śiva temple at Nachna is a vivid example. This spirit of the Hindu renaissance continued to the time of our drama and the worship of Siva was still supreme. The Siva of the Vakātaka period was that of the God of Destruction. In Kaumudi-mahotsava that aspect has changed; we find siva as a Yogi-as a teacher who was trying to dispel the darkness of ignorance. Hence Siva of Kaumudi-mahotsava has more of the peaceful aspect of Lord Buddha than the Lord of Destruction. Then again the Pāsūpata cult has come into existence. Buddhism was declining; women still admitted into Buddhist order and were held in reswere ·+0) KAUMUDI-MAHOTSAVA pect. Vinayandharā becomes a Buddhist nun and takes the name of Yogasiddhi and she was placed in charge of Princess Kirtimati. Kings could marry more than once. Queen Madirāvaii was the eldest of Sundaravarmā's harem. Seclusion of women cannot be traced here. The marriage of Princess Kirtimati recalls the Swayamvara of Sāvitri. She was sent by her father to the temple of Chandika to give her offerings so that she can obtain a good husband. She meets there the Prince and her self-choice was confirmed by her nurse Yogasiddhi and conveyed to the king as ordained by goddess Ekānanga—their family deity. This is a Swayamvara engulfed with certain restrictions. The king was the head of the State. He was the protector of the State and of religion. The fourth act begins: "The whole world salutes Kalyāṇavarman who has proclaimed the path for the four castes and the different stages of life." One of the factors that went against Chandlasena was his failure to adopt himself to the traditional Hindu way of government. For matters of administration the king had absolute power as the head of the State. He was assisted by his ministers. The army was controlled both by the king and the Commander-in-Chief. The democratic spirit which prevailed in the time of Vakātakas still continued to this period. Chandasena showed a hostile repressive attitude to the people of Magadha. He imprisoned the leading citizens of Magadha. These actions together with his killing of his adoptive father Sundaravarman roused the feeling of the public against him. He was looked upon as a tyrant and a parricide. A cry was raised that he was not a Kshatriya and that he had called in the aid of Lichchavis, the hereditary enemies of Magadha. So the real cause of the opposition from the public was their dislike to the social system of ·INTRODUCTION 1 Kāraskaras, who were not subject to the four-fold Varnāśrama-dharma of Hinduism. The Kāraskaras were a subdivision of Madras who came from Punjab. The Shastras give them a low place in Sociely and describe them as one to whom the Brahmins should not go and on return from whom they should perform a purification ceremony.+2 But by the time of Kaumadi-mahotsava they must have improved their social status, for if their position had been very low, Sundaravarman could not have thought of making Chanda-Sena his adopted son. The Mahābhārata, too, expresses dislike to the Kāraskaras as they were not subject to the Orthodox Hindu social system. They had one caste amongst them with social equality and freedom which did not agree with the settled rules of Gangetic valley. Mantragupta thus worked on the democratic spirit of the people and when Chandasena was away from the Capital, they called in the rightful heir and placed him on the throne. According to the Hindu Constitutional Law, the City Council of the Capital had the power to choose their kings and crown them. The place where Prince Kalyānavarman was hiding was in the Vindhya Hills. This part of the country was under the Bhāra-Śivas and Vakātakas and Vindhya Hill appears on one of the coins of Rudrasena. 43 It was a part of the Hindu State. One of the characteristic features of the time is the revival of Sanskrit learning: After the death of Buddha, Pali was in full swing. But with the revival of Hinduism, Sanskrit again became the Court language. This can be surmised from the fact that this drama was written at the Court of a Magadha ruler, practically at one sitting. Classical Sanskrit must have become the vernacular of the time. Expressions and forms were fixed and everyone in the official circle spoke and wrote in Sanskrit. This is further corroborated by the fact that the Vakataka inscriptions ·42 KAUMUDI-MAHOTSAVA found near or at the capital near about this period are in Sanskrit.++ In the South too, royal documents were written in Sanskrit. Sanskrit drafting must have come into vogue in the time of Pravarasena I as is seen in the set geneological form of Vakātaka documents. Ganapati Nāga a ruler of the South converted the vernacular literary tradition into Sanskrit classical poetry. Hence the revival of Sanskrit which began in the early centuries of the Christian Era has come down to the times of our drama and was still in vogue. That there was a great social revival is evident from the declaration quoted above. The cry of the time was to establish Varnāśramadharma. It was a Hindu Puritan Movement which was greatly fostered by the emperors who tried to purge the abuses that crept into society through the Mlechcha rulers. The city of Pătalīputra had a net-work of roads. The Royal roads were frequented by courtezans. From this it seems that courtezans still held a very high place in Society. "On the royal roads are heard the girdles of the beauties noisy with jingling sound-beauties setting themselves out alone at night for the residence of their beloveds." Special quarters were allotted to prostitutes. Veśarakshita one in charge of these. He is generally an old man. Gambling was resorted to by low-class people. It is highly censured. Lokāshi is described as a slave of gambling." THE PRAKRIT OF KAUMUDI-MAHOTSAVA As required by the rules of poetics, women and inferior characters in a drama have to speak in Prākrit. According to this dictum, women of this drama also speak in Prākrit. The only exception to this is Parivrājikā who speaks in Sanskrit and Prākrit. Prakrit is used mainly in the dialogues and only once in poetry where the minstrel, an inferior character of the drama, sings in Prakrit. was ·INTRODUCTION 43 or Some of the men also speak in Prākrit as they are inferior characters--as Vidūshaka and Vardhamanaka. Prākrit is of two kinds: Sauraseni and Maharăshtri. In conversation and in prose Sauraseni is used and Mahārāshtri in poetry. In the present drama the same process is adopted. Some of the distinguishing features between Sauraseni and Mahārāshtrī are: (1) Changing of 'ta of Sanskrit, when it is between two vowels into 'da' in Sauraseni. (2) The terminal 'ti' of third person singular become di į in Sauraseni and i in Mahārāshtri as Vijñāpayati=Viņnavedi. But there are a few words of Mahārāshtrī Prākrit also as in (225) 'driśyate' is rendered into 'disai' and (208) Katham is rendered as Kaham both of which are of Maharashtri Prakrit. IMPORTANCE OF THE PLAY FOR THE HISTORY OF SANSKRIT DRAMA Judging from the indications given in rhetorical literature, it seems that Sthāpaka and the Sūtradhāra had something to do with the arrangement of the play. In most of the known plays Sthāpaka has disappeared which Levi and Pischel attributed to the reformation of Bhāsa.48 In the Kaumudi-mahotsava we find though not Sthāpaka, but Sthāpanā. The Benediction or Nandi is done behind the screen and the Stage-Manager enters the stage and invokes the diety which is followed by a number of verses and at the end it is written as Sthāpanā. Hence it is the Sūtradhāra who comes to the stage and does the work though it is given as Sthāpaka. It is not unlikely that the author of this drama resorted to the more ancient than the reformed rules of dramatic action. We find this in Karpuramañjari as well. Ths is followed by a conversation in the air ·KAUMUDI-MAHOTSAVA . which is also rarely to be found in the more modern dramas. Hence this work is important for the history of Sanskrit drama in general. It is interesting to note what the authorities on the dramatic literature have to say on the point. According to Sāhityadarpana a Sthāpaka has qualities and appearance like those of Sūtradhāra and his duty was to fix and establish the action of the play. (Sthapakah Sutradhāra-sadriśagunākārah | Sūtradhārapadenātra sthāpako = bhinnatah sūtradhārasamānālāratvat (1) Bharata's aphorism runs thus: "ranga pajām vidhāya adau sutradhāre vinirgate sthāpakah pravishet, paschāt stītradhāraguņākritih." So according to Bharata after the utterance of benediction, first the Sūtradhāra enters followed by Sthāpaka, who is suposed to have the same qualities. Sāhitya-Darpana again asserts: 'Idānii pärvarargasya samyak prayogābhāvad --eka eva sutradhārah sarvam prayojayati iti vyavahärah sa sthāpako." Here the author of Sāhitya-Darpana emphatically declares that 'now-a-days for want of a complete performance of the Purva-ranga, the custom is that the Sūtradhāra alone does all and he is Sthāpaka.' Hence between the time of Bharata and the time of Sāhitya-Darpana a change was gradually taking place—the word Sthăpaka is dropped and he is named as Sūtradhāra. In Kaumudi-mahotsava we find a mixture of the two. The word Sutradhāra is given to Sthăpaka--- denoting a transitional stage. Another noteworthy feature is that no actress, as in the case of several dramas, nor another man, as in the case of Karpūramañjarī enters the stage. The sage-desciple is the only actor who was conversing in the air. These factors give to Kaumudī-mahotsava a distinct place in the development of Sanskrit drama.

·INTRODUCTION tin KAUMADI-MAHOTSAVA AND KALIDASA Number of passages of Kaumudī-mahotsava are similar in thought and diction to those of Kälīdāsa. It is probable that the author of Kaumudi-mahotsava. who followed the Vaidarbhi style of dictation, was so much influenced by Kālīdāsa, that the same thought has reflected in some of her poems, perhaps quite unconsciously. Or it may be that both Kalidasa and the present author got their ideas from a common source. As Sanskrit literature is vast and most of the works of Kālidāsa have their origin either in the Purāņas or the Mahābhārata, the existence of an earlier and common source is not improbable. Similarity of thought may be found in the following: Kaumudi-mahotsava I. 23 Abhijñānaśākuntalam इदं किलाविकृत कान्ति विल्पवं । इदं किलाण्यनमनोहरं वपु Here I am inclined to think that the similarity is a far-fetched one. The author has not imitated Kālidāsa as the wording of the stanzas is so different! Kaumudi-mahotsava Mālavikāgnimitra Act I. 1. Act I. 1. Both these are invocations to Krittiväsa. The salutation to Siva is a time-honoured custom and the epithets used for the god are almost the same. Hence I am inclined to think that both these come from an older source. Kaumudi-mahotsava 4.10. Meghadūta 1.37. Here, too, some similarity of thought is evident: but the diction and language are so different that I am inclined to trace them to some other common source. Kaumudī-mahotsava Vikramorvasi V. 25 Act III. P. 79 Here too. the similarity of thought seen may as well be found in many other places-Hence it is difficult to say that it is a copy of Vikramorvasi.

·-16 KAUMUDI-MAHOTSAVA IV. Kaumudi-mahotsava Mālavikāgnimitra II. 7 I. 12 12 Abhijñānaśākuntalai Act V. In the above two places, the similarity of thought is evident; but that is not enough proof to show that one has borrowed from the other. Such ideas are strewn throughout the entire literature and can be used by anyone with advantage. In the case of Kālīdāsa, the facts on which he has built his edifice are already given either in the Mahābhārata or the Purānas. He has shown his originality in the presentation of the subject matter in a more refined and attractive way. In the case of Kaumudī-mahotsava, the author has to be entirely original, drawing her facts from contemporary history and life for building her edifice. Hence she can claim a higher place than that of Kālidāsa as regards the originality of subject matter and its presentation in a refined and attractive way. The ability required for this is far greater than for presenting a story already current in the earlier books. MENTION OF VIJJAKA IN LITERATURE A number of poems are attributed to Vijjakā, She is quoted by Manmata in Sabdavyāpāra vichāra and Kāvyaprakāśa by Dhanika in Dasarūpāvaloka and Mukulabhatta in Abhidhāvřtti Mātrikā. Some of her poems one given in Appendix A. OTHER POETS MENTIONED BY VIJJAKA She mentions Dandin and though she does not mention Bhāsa by name, she was acquainted with his works as she refers to the story of Avimāraka. In her verse 'Saunaka bandhumatim' she refers to the story as given by Dandin. Saunaka was Brahmin hero who fell in love with Bandhumati, the daughter of a King of Ayodhya. Owing to the request of Saunaka, the latter leaves her paternal home. the way they miss each other, but reunite after some ·INTRODUCTION 47 a interval. The Lord of Trigarta, to whom the princess was betrothed hears of the mishap and attacks the kingdom of Bandhumati's father. Saunaka hears of it and gathering a large army comes to the help of Bandhumati's father and relieves him from danger. Saunaka was born in his next birth as Śūdraka. Dandin gives this story in Avantīsundarī. Avimāraka is the hero of a drama bearing the same name ascribed to Bhāsa. He marries princess Kurangi. Vātsyāyana refers to this story. A reference to Sālankāyana's capture of Udayana may be guessed in the eleventh Verse of Act I. Udayana had horse named Sundarapātāla and Kätyāyana was his military attendant. His defeat and fall is referred to in Viņā-Vasavadatta. The antiquity of the drama is further proved by the use of such technical terms as Ātyāhikaduta etc. Sugānga and Sūyāmuna were the Royal palaces of Pāțalīputra and Kausāmbi. These are mentioned in Mudrārākshasa and Brihatkathā-śloka-Sangraha. Avantimasha seems to be a gold coin used in Malwa but the character who uses it here is of Pāțalīputra. This shows the acquaintance of the author with the other parts of India. SCENE GROUPS There are a few considerable passages in the play in which metres of the same kind are used: unity of thought is reflected in the unity of its metrical form: The passages are: Act I. 6, 7; Act I. 10, 11; Act II. 8, 9. Act IV. 9, 10, 11; Act V. 6, 7; Act V. 24, 25, 26. Act I. 6, 7: Two Śārdülavikridita stanzas describing the pathos of the parting scene of Prince Kalyāṇavarman from the hermitage of Jābāli. Act I. 8, 9, 10, 11: Two Sārdulavikrīdita stanzas one Sragdhară one Indravajrā describing the past history of the hero in a soliloquy. Act II. 8, 9: Two Sārdūlankridita stanzas describe the grief of Yogasiddhi at the sight of the pic- ·KAULiUni-lillila ISAVA ture of the Prince, whom she thought to have been lost for ever. Act IV. 9, 10, 11: Three Sragdhară stanzas used in a mixed Interlude to describe the city of Pātaliputra. Act V. 6, 7: Two Sārdūlavikridita stanzas used to describe effectively the life of the courtezans of Patalīputra. Act V. 24, 25, 26: Three Sārdulavikrīdita stanzas describe the montal disorder of Prince Kalyāṇavarman. It is worth noting that Sragdharā serves the initial stanza of the Prologue of Act I proper, of the beginning of the Prince's soliloquy in the first Act, II. 8) and at the first sight of the Princess by Kalyānavarman (I. 14), first expression of Kalyānavarman's mental anguish (III. 3) first description of Patalīputra (IV. 9, 10, 11) by Mantragupta and the concluding stanza is also in this metre. The same inctrical form is employed for the more clevated passages of description. It is also used at the climax of some gravely emotional passages as (V. 27 and 11. 8 and 9). METRES IN ORDER OF THEIR FRIQUENCY The adjoined table gives the inetres of Kaumudimahotsava, listed in the order of frequency and each with the number of occurrences in each Act. Act I Sārdūlavikridita Anushtup Vasantatilaka Sragdhara Indravajra Upendravajrā Virahiņi Arya Gīti Malini -Rathoddhatā Act II 7 Sārdülavikrideta 5 Indravajra 4. Arya 3 Sundari 3. śikharini 3 Vasantatilika 2 Pushpitāgrā 2 Gīti 1 'Virahiņi 1 1 4 2 1 1 3 1 1 1 ·INTRODUCTION +9 Act III Särdülavikridita Upendravajrā Anushtup Sragdharā Giti Vasantatilaka Āryā Drutavilambita Sundarī 3 1 1 1 1 1 1 1 1 Act IV Virahiņi Indravajrā Sragdhara Giti Vasantatilaka Upendravajră Ketunati Mālini Āryā در نے پا نی کا ثنا لسا ما نسل Act V Sardūlavikridita Virahini Anushtup Vasantatilaka Indravajrā Sragdhara Āryā Gīti 9 6 5 3 3 2 2 From the above list it is evident that Sārdūlavikrīdita was the favourite metre of the author. The variety of metres used in the drama shows her skill and knowledge in poetics. She has also used some rare metres as Pushpitagrā, Giti, Sundari, Ketumatī, Kathoddhatā. She specially excelled in the highly artificial Sārdülavikridita. They number 23. Though rime does not form an essential element of versification in Sanskrit, we find it in some places as in I. 9, II. 16, Alliteration as in I. 13, IV. 13; V. 3 is not infrequent. PROVERBIAL EXPRESSION Though the author does not show her fondness to use proverbial expressions, yet we find them in one or two places: as in IV. 5; IV. 12, IV. 8. The scansion of one line of each metre used in Kaumudi-mahotsava is given below, denotes guru syllable and u indicates a laghu syllable. 2 K. M.

·50 K UMUDI-MAHOTSAVA Śärdülavilerīdita 119 words 1 Sragdharā (21 words, UUTTU lil Vasantatilaka (14 words) U ti U IT UU Virahini 110 words) UU UU Indravajrā (11 words) U U Upendravajrā (11 words) 17 Mālini (15 words) Մ Մ Մ Մ Մ Մ U Sundari (21 words) UU U U - - Ừ U U Pushpitāgrä (25 words) UUUUUU - UU ITU - Drutavilambita (12 words) UUU VU TT U UT Ketumati (21 words UU U ( . IT T ti tij Rathoddhatā (11 words) – T U Á U ·*CLIOS VILKUILVuin IV Suvu. 11. Giti > Y. > 9 1. 12 Act I Act II Act III Act IV Act V 1 Sragdhara ii. 1 Indravajra iii. 1 Upendravajra iv. 11 Git Arya Sardulavikridita ii. 2 Arya iii. 2 Anushtup iv. 21 Virahini Anushtup 11. Sundari : Sragdlar: iv. Vasantatilaka 3 Sardulavikridit 4 Virahini +Sikharini iv. Upendravajra v. Anushtup ii. 5 Sardulavikridita Sardulavikridita iv. j Indra vajra v. 5 Vasantatilak.. Sardulavikridita ii, G Indravajra iii. Vasantatilaka iv. O Vasantatilakil 6 Sardulavikridit ii, Arya iii. Sardulavikriilit iv. Virahini i. 8 Sragdhara ii. 8 Sardulavikridit a 8 Arya iv. Ketunuti v. 8 Virahini i. 9 Incravajra ii. 9 Sardulavikridita Drutavilambila iv. 9 Sragelaran 9 Giti 1. 10Sardulavikriclita ii. 10 Virahini 10 Sundari iv. 10 V. 10 Indravajra i. 11 ii. 11 Indravajra 11 Sardulavikridit iv. 11 v. 11 Virahini i, 12 Anushtup ii. 12 Vasantatilak: iv. 12 Ludravajra i. 13 ii. 13 Sardulavikridita iv. 13 Upendravajr 1. 13 Sordulavikrislit: i. 14 Sragdhara ii. 14 Pushpitagra iv. 11 Vir:hini V. 1.1 Giti i. 15 Vasantatilaka ii. 15 Giti iv. 15 Vasantatilaka V. 1.5 | Arya i. 16 Sardulavikridit. ii. 16 Indravajr iv. 16 Malini V. 10 Vasantafilak: i. 17 | Upendravajra iv. 17 Arya V. 17 | Indravajr:1 i. 18 Vasantatilaka iv. 18 Virabini v. 18 Anushtup i. 19 Indravajra iv. 19 Giti v. 1) Sardulaviiri lit: i. 20 Sardulavikridita iv. 20Virahini V. 0 | Virahini i. ''1/Vasantatilaka liv. 211 Indravajra v. 21 Anushtup i. 22 Anushtup V. 22 Sragdhari 'i. 28 Upendravajr.1 Total No. of Verses v. 23 Indravajr: 24 Act I 32 V. 21 Sardulavikridit: 25 Rathodhit: Act II 20 Arya V. 20 Act III V. 27 Sragdhara i, 28 Indravajra Act IV 21 1. 28 Vasantatilakal i. 29 Giti Act V 33 v. 29 | Anushtup i. 30 Vasaulatilakat 1.30 i. 31 Anuslituj v. 31 Virahini Total 113 i. 32 Malini v. 32 Sardulavikridity v. 33! Sragdhara 16 11 ·KAUMUDI-MAHOTSAVA (1) A.H.R.S. Vol. XI. Pts. 1 and 2 p. 63. (2) Annals of Bhandarkar Research Institute Vol. XII. P. 50 ft. (3) C. AD. P. CLXIV. (4) Winternitz on kaumudi-mahotsava-J.B.O.R.S. Vol. XXII p. 275. (41) E.I. Vol. XVIII. p. 317. (4b) P. 321. (5) Baudhāyana Dh. S. I. i. 32. (5a) Kaumudii-mahotsava Act IV, verse 19. (6) Sārangadharapaddhati No. 180. (7) Kaumudī-mahotsava Act IV. verse 19. (8) Ibid Act II. (9) Ibid AC II. (10) Ibid Act IV. (11) Ibid Act IV. (12) EI. Vol. VI. p. 190 ff. (13) J.B.O.R.S. XXII. p. 109 also Vol. XIX p 115. (14) List. of Inscriptions of Northern India (Vol XIX to XXIII). (15) The Ind. Ant. Vol. IX. p. 163. (16) E.I. Vol. XIX. p. 192. (17) Mudrārākshasa Acts I and IV. (18) Kaumudī-mahotsava Acts IV and V. (19) Arthaśāstra-Bk. I. Ch. 20. (20) Cf. Dandakāranya by Dr. D. R. Bhandarkar, Jhā Memorial Volume. (21) Imperial Gazetteer of India Vol. XVII. p. 377. (22) Devībhāgavata VII. 30. (23) Sivapurānam IV. pt. I. Ch. 21. (24) Reva Kh. Ch. 55. (25) I. Ch. ii. (26) J.R.A.S. p. 261. (27) Sewels' Arch. Survey of South India I. p. 322. (28) J.R.A.S. 1894, p. 257. (29) Architecture in Dharwar and Mysore-Meaclows Taylor. p. 10. (30) J.A.S.B. Vol. XIV. p. 519. (31) Uttaradhyāya in S.B.E. XLV p. 112. (32) Asiatic Researches XX 442. (33) Säketanagaram rājā namnā Daśaratho bali. (34) Raghuvamsam Sarg XIII. sl. 79; XIV. 13. (35) Gladwin's Translation ii. 32.

·INTRODUCTION
(36) Julien's Houen Thsang" II. 292.
(37) Tournour, J.A.S.B. VII. 790.
(38) Bigandet "Legend of Burmese Buddha" p. 142.
(39) Cunningham-The Ancient Geography of India. p. 466.
(40) Mackenzie's MSS in J.A S.B. VII. pt. I. p. 397.
(41) History of India Jayaswal.
(42) Baudh. Dh. S. I. 1. 32.
(43) History of India--Jayaswal p. 228.
(44) Ibid-p. 95.
(45) Le Theatre Indien-Levi p. 361.

·54 KAUMUDI-MAHOTSAVA DRAMATIS PERSONAE Kalyānavarman son of Sundaravarman, King of Magadha. Kīrtimati-the Princess of Mathurā, the only daughter of King Sūrasena. Mantra-gupta-the faithful minister of King Sundaravarman. Parivrājikā—the nurse of Kīrtimati and Kalyānavarman. Aryarakshita--a faithful officer of Sundaravarman. Virasena-a faithful minister dressed as a soldier. Lokāshi-a gambler. Vidūshaka-The Jester of the king. Veśarakshita-The Keeper of the Prostitute Quarters. Dauvārika-The Door-keeper. Rājā--King Kalyāņavarman. Kumāra-Prince Kalyānaśree, before Coronation. Purohita-The family priest of the King of Mathurā. Nandaka-Officer-in-charge of the Prince's Camp. Vardhamanaka-minstrel. Nipuņikāma confidante of the Princess. Madhumañjarikā-a confidante of the Princess. Bhāminikā-a confidante of the Princess, Chețah-An attendant (male). Cheti- A female attendant. Kañchuki-Chamberlain of Princess Kiirtimati. Munishishya-the personal attendant to the Stagemanager. Sūtradhāra-The Stage-manager.

·KAUMUDI-MAHOTSAVA (1) Act I Prologue) 12) (Stage-manager enters at the end of the invocation). 13) Stage-Manager With garment of an antelope-skin Squatted and fastened by Takshakas' folds Shedding lustre from its jewelled crest And from his seat of sacred altar In the guise of the effulgence of teeth Spreading intelligence that cuts asunder Knot of Diversity, and expounds the All-soul May He, the Sīva, so engaged Dispel the darkness of Ignorance? (4) (Walking about) Ah! This is the advent of the Autumnal Season which has become a great festival common to all people:- For (5) The Swan with an eager mind Spies the sandy bank on return The Chanting Bee on a full-blown lotus The empty cloud with echoing sound Attains eminence step by step And plays the role of a philanthrophist2 (1) Lit. translation: May śiva cloathed in antilope skin be for the destruction of your darkness (ignorance)-Siva, seated near the alter, the surface of which is covered with the sacred skin of the tiger, and taking an ascetic posture by means of (the figure of) Takshaka shedding lustre from its hood-jewel, and who in the guise of the effulgence of his teeth, is, as it were, spreading knowledge that cuts asunder the knots of Diversity, being thus devoted to the exposition of Brahman. (2) Lit, translation: The swan having returned is gazing at the sandy bank with ·KAUMUDI-MAHOTSAVA (6) Also, (7) The peasant-maid, with glances like that of a black antelope, is putting corn-sprouts on her ears with her fingers. (Second meaning) [This Kishorika, the daughler of Krshibala, with eyes like those of a black antelope, (who is writing this) is placing behind her ear her pen with her fingers] (8) Now is approaching again another advent of Kaumudi-Mahotsava, as the Royal household is absorbed in the expansion caused by the cheerful expression heightened through the acquisition of the Kingdom afresh of His Highness3 King Kalyāna-Varman the Lord an attached mind, the bee becoming an auspicious pancgeric is on a full-blown lotus. The cloud though now emptied (of water) having filled the thrce worlds with his sound, attains thereafter liberal celebrity gradually developing (itself) to the highest eminence. (3) The origin of the word Sugrhīlanaman occuring in the above text is interesting. Like 'Swamī' and 'Bhadramukha' this word, too, belongs to the formulary of the theatre and things relating to it, but its exact meaning is not given anywhere. Il is rendered differently by different scholars. The earliest reference to it is in Girnar inscriptions, where the word has been rendered by Bühler 'the utterance of whose name brings salvation' and Böthlink as 'the simple utterance of whose brings salvation' and Kiclhorn the taking of whose name is auspicious' (1905) but the St. Petersburg Dictionary has explained it as 'a person whom one rccalled in the morning with a kindly intention'. This was based on the wrong interpretation of the text of Trikanda-Sesha (II, 7. 27). Prof. Sylvian Levi in his learned article 'on some terms employed in the Inscriptions of the Kshatrapas 'has also discussed about the meaning of the term (Ind. Ant. June 1904, P. 163) Aptes dictionary (1890) gives its meaning thus: 'One whose name is auspiciously invoked'. From a close study of the various references of the word, it seems that it is a title which came into vogue with the advent of the Kshatrapa (Saka) kings who ruled in India about the 2nd or 4th century A.D. For the word is not mentioned in the earlier Sanskrit Texts. The actual text of Bharata nor that of Bhasa contains the word. Nor was it used by Kälīdása or Bhavabhūti in their dramas. It is found in the dramas Mrchchas name as

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·KAUMUDI-MAHOTSAVA ing here assuming the part of i disciple of Then, I, too, will occupy myself with operations which are fit to follow forthwith. the sage. (13) [Exit] (14) [End of the Prologue) 115) [Then enters a disciple of the Sage] (16) Disciple--Ah! Great, indeed, is the reception at the hermitage of the Kulapati. For when the prince, humble through education permitted by the elders, was setting out with companions of equal age to administer duty befitting his own family- (17) The trees repeatedly cast down flowers on the surface of the earth like tears. The antelopes of the hermitage looked (at him) with their necks upraised so far as the range of their vision (extended) the ascctics with eyes closed and with tears (in their eyes) were, for a moment, with a vacant mind devoid of (all) thought. I fear that the words of Kulapati, being tainted with grief, were choked in his throat. (18) I see nothing strange here as all this is with reference to the prince. For (19) His breast bore the mark of a sacred fig tree, (his) gait is sportive like the movement of Siva's bull; (his) feet have their palms marked with the mark of goad, (his) arms hung down to the knees; his lovely face has, by the hair of the eyebrows, attained a beauti- (4) The word 'Kulapati had to be left as it is in as much as there is no single English word that can convey its exact It designates the head or chief of a family-a sage who feeds and teaches 10,000 pupils. sense.

·ACT I 59 fying forehead make-up. The prince is a perfect trysting-place of wealth of good qualities. an 20) (Walking around) Oh! This is Kásyapāyana! (in the air) What does your honour say? 'Kautsa, whence does your honour come?'- like this? *I have returned after inquiring of Prince Kalyanavarman about his felicitous daily routine under instructions from Kulapati- Kalyāņavarman) living in disguise, through expectation of an opportunity to show) valour, in inaccessible place called Vyadhakishkindhā in the the possession of (his) hereditary friend Kuñjaraka in the vicinity of Pampā lake (and) in front of the temple of Chandika' What does your honour say?' 'How is it that) Mantragupta has not yet obtained an opportunity for showing valour (Mantragupta) deliberating about the means of securing back the kingdom, occupied by the group of enemies far more extensive than here (and) gone to Pätaliputra?-like this? 'Indeed the achievement of an object (in the case of) deliberating men depends upon (sufficient) lapse of time owing to fear of error 'What does your honour say?' 'And why the very Kulapati Jābāli was not requested by the Prince for that achievement through the might of his austerities?'- Like this? "No, the ardour of a Kshatriya aspires to an achievement attained through (his) valour alone "What does your honour say?' 'It is so-May your honour go. shall gather the sacrificial grass and the flowers like this? I, too, ·KAUMUDİ-MAHOTSAVA 'Let your honour proceed-I, loo, shall see the Kulapati. (21) [Exit.] (22) [End of the Interlude]" (23) [Then enters the Prince] 124) Prince The publicity of my predecessors, who have gone to heaven from the battle-field, which cannot count equals even with one single finger (itself), makes the offering of libation water, The fame (of my fore-fathers), whose orders the princes carried out faithfully on their heads, resides as if dormant, like a doll in its own house. (25) So, until my friend Vaikhānasa returns from Kuñjaraka, I sit below, in the shade of Tapanīyāśoka tree. (So doing) Ah! this shade underneath the tree is as cool as the sprouts. (26) This breeze from the Vindhya range Fragrant with smell of elephant rut Followed by a swarm of lovely bees Reminds me of my childhood home The Palace of Pātali enjoyed and left!! a (5) Vishkambhaka--An Interlude between the Acts of drama and performed by one or more characters, middling or inferior, who connect the story of the drama and sub-division of the plot by briefly explaining to the audience what has occured in the intervals of the Acts or what is likely to happen later on. (6) C/o Tapanīyāsāka in Kālīdāsa: Bom. Ed. 1889–P. 66. I. I. It is a species of Asoka tree. (7) Lit. translation: In consequence of the breeze of the Vindhya range, surcharged with the fragrance of the rut of (scented) elephants (and) followed by a swarm of bees, I am now reminded of my residence at Patălīputra which was enjoyed and abandoned in my childhood.

·ACT I 61 1271 [Sighing] That same story of childhood am I remembering. Because then, 28) Accoutered, armoured and weilding bow Rushed out my father full of ire Tears washed the cheeks of mothers And wiped the decoration of their face I. all all alone, with moving locks Was shunted away by the ascetics Is it a dream? Or an illusion? False seems to me the story of my childhood. 129) Or enough of this thought and narration of destiny which befits the cowardly people. Because even misfortune which is adverse to the brightening up of prosperity does not like shadow, leave the side of a man endowed with arduousness. But the high-minded are not cowed down. (30) Kātyāyana,9 ruddy and beautiful, though he was an abode of magic, was overthrown from his magical power and became dejected and attained the terrefic dungeon of Pradyota, which was impervious on account of dark- Udayana, the store-house of lustre obtained Kauśambi and Suyāmuna by various uninterrupted (series of) means. Thus the ruler of the Vatsas became triumphant again. (31) Oh! Residing just here even for a modicum of time fixed for the despatch of a messenger ness. (8) Literally: Accountered, armoured and weilding a bow, my father went into exile in rage, and the mothers had the painting of leaves washed off their cheeks with the fluids of tears. Alone, and with exhuberence of moving locks of hair (on the head) I was carried away by ascetics. The story of my childhood appears as if unsubstantial. Is it a dream or an illusion? (9) The same word occurs in Bhasha's works as 'Devi Kātyayani' which has been translated 'Goddess of Magic'. In Subandhu's book Udyana is described as having possessed magical powers. Perhaps Kätyāyana is another epithet of Udyana. as ·62 KAUMUDI-MAHOTSAVA by Mantragupta, who has gone to Pātatiputra, I am unable to control my impetuosit arrested in (its) onrush. (Indicating an omen) Why, indeed, is my right arm throbbing: (32) Though my own people are scorched with grief, and enemies have taken possession of my dominion, even now my right arm has not seized the bow. (33) (Expressing the hearing of a sound through gesture) What indeed is this sound, surcharged with the jingling of the swans intoxicated : drinking the lotus-honey. Or it may not be the sound of the jingling swans. (34) Mingled with the tinkling of girdle-bells Measured with foot-steps regular; Methinks this is the lovely sound; The music of lady's anklets! 10 (35) Well, I shall turn my eyes in persuance of the sound.(Having done so) Oh! I see the worldly existence sprouting out as it were. Who, indeed, is this maiden with restricted attendants, seen like a digit of the moon surrounded by groups of stars ? (36) Urvasí, with lovely thighs and hips massive Sprung of the thighs of the Creator Sītā from the ploughshare, Śrī from the Churned Ocean The Daughter of Drupada, the altar-born From the midst of the sacrificial Fire (10) Literally: Methinks this is the sweet jingling of the anklets of sweet-voiced damsels, timing with the slow order of their foot-steps and mixed with the tinkling sound of the waist --girdles.

·ACT I 63 But unknown is her birth, and with matchless beauty Showering nectar in the eyes of men This maid is verily the Beauty of Complexion.'1 937) (Enters Kirtimati with a group of Confidantes and a Chamberlain). (38) Chamberlain-Let your Honour (come) this way. (39) Kirtimatī-Dear Nipuņikā, why is my heart pleased as it were. 140) Nipuņikā—My Lady! Thou hast come out after doing Obeisance to the feet of the goddess who is compassionate to her devotees; then why will your heart not be pleased? 1411 Kirtimatī—Well hast thou spoken. Bearable has now become the pangs (of the pain) of separation from my father and mother by the sight the goddess. (42; Nipunikā - Ere long will the Divinity manifest her favour also. (43) Prince-In no way can I explain 12 her origin except from cupid. Because, (11) Literally: They know Urvasi to be born of the thighs of (Brahma) the cause of the Universe, (ūrvaśī) whose thighs were beautiful and 'hips massive; they describe Sītā as being sprung from Sītā (plough-share) and even the goddess of wealth from the Churned Ocean; they say Vedī-Madhyām daughter of Drupada was born from the midst of sacrificial alter Madhye-Vedi. But I do not know her birth because she showers nector on the eyes of people and is the beauty of complexion. (12) Lit.: See ·tit KAUMUDI-MATIOTSAVA () Surpassing in beauty all created things Her form indeed vie's the creator's skill. The acute austerity oi the God of Love. 1 fear Assumes this form for the conquest of Śiva. 12 145) Kirtimali--Is this a golden palace before me (studded) with a number of moving flags, with musical notes tendered in consequence of the cctasy of the throat of a cuckoo (46) Nipuniká-Princess, there is no palace here. This is indeed the Asoka tree with thousand branches turned tawny, with clusters of blossoms, pods of young shoots, moved by the soft breeze and (made) plcasant with the sweet humining of the hees.'! Dy ihis it has thrown into shade the thriving of the trees of a pleasure garden (of the Harem.) (47) Kirtimatī-Dear, is the circular circular Shadow beneath that (tree) cool and pleasant ? (48) Nipunikā- Where is the doubt? (49) Kirtimatī--How do you know that though you are far away ? (50) Nipunikā-I say this judging froin the appearance. If so what then ? (51) Kirtimati-Oh insolent one, a tired personi obtains rest. (52) Nipunikā- venerable one! the princess is tired. (13) Lit.: Her body which surpasses other creations, cannot indeed be the outcome of the skill of the creator. That same, I suspect, is the flawless culmination of the austeritics practised by the God of Love for the conquest of (Śiva) whose badge is the bull. (14) Should be 'Pratyadishtah'.

·ACT I (53) Chamberlain-Tired is the Princes, havino set out walking on foot, because of the breach of decorum, the riding on a vehicle towards the shrines of the Holy, should be shunned. Princes, let us sit for a moment in the shade beneath this Tapanīya Aśoka tree. Simhalaka. who is in charge of the harem will indicate the sight of halt which he hinself has fixed upon. 151) (All move about) (55) Prince-Now my eye has attained its object. 1581 With feet tender as the sprouts And thighs that vie an elephant trunk With expanded hips and slender waist Arms charming as the Champaka-garlands, Face lovely as the moon and breasts plump. Hair dark and curly, this contour of a maiden Bears the signs of a newly-married bride. 15 157) (All become bewildered on seeing the prince) 158) Chamberlain-Great indeed is this brilliance that has assumed a form, because on seeing it has become slackened the sustenance of self-possession of myself) if I have obtained the sight of the king as before, though I have been in charge of the Royal harem for a long time. I am eager to know who he is, but I have not the courage to ask him not being introduced. In every respect indeed; (15) Lit. translation: (Her) feet are as tender as the sprouts; and thighs pilfer the beauty of an elephant trunk; the place of the hips is extensive; the waist is slender and breasts plump; the arms charming as the garlands of Champaka flowers; the face resembles the full moon; the hair curly and black; (there is) the contour of a young woman (are) the characteristics of a damsel. K. N.- ·66 KAUMUDI-MAHOTSAVA (59) With lovely eyes stretched to the ears, With wrist lined with the marks of the bowstring This prince, the receptacle of prowess, Is born to extract the essence of kings. (60) Prince--Welcome to Your Honour. We are seated here already, may Your Honours sit down here. 16 (61) This breeze fragrant with the smell of Vindhya mountains, Perfumed with the rut of elephants wild Cooled with the spray of the Pampa lake, Blowing from the edge of the forests green, Wipe out the weariness of the way The bearing up of hips and breasts. 17 (62) (All sit down.) (63) Nipunikā-(Aside) My Lady, is not, indeed, fluid of nectar trickling out from the mouth of this (prince) as if from the disc of the moon on a full-moon day ? (64) Kirtimatı-(Apart: to herself) the heart of a person perceiving his (prince's) innner mind become surcharged with the flowing of the fluid of nectar,-heart, as if composed of moon-stone. (Aloud) friend, move forward. (65) Nipuņikā- The Princess is not elated by seeing a man not seen before. (So doing) (16) This prince, the beauty of whose eyes rests at the end of the ear, whose wrist is marked with lines of the hits of the how-string, who is the receptacle of lustro, is indeed, the extraction of the essence of a family of kings. (17) May these breezes from the outskirts of the forest remove the weariness of the road caused in bearing up of the hips and the breasts-(breezes) fragrant with the rut of the scented elephants of the Vindhya mountains and cooled by the contact with the ripples of the water of Pampa lake.

·ACT I 67 (Smiling aside) Is the popular adage viz that the lotus plant avoids seeing the moon' now true.? 166) Kirtimatī—(Sees Nipunikā with looks crooked with a frown). (67) Prince--Venerable one, "The sight of an extraordinary object is indeed a place of curiosity so it is said. By the apprehension of (her) form, her high birth in a royal family is determined without being told. But (68) What royal dynasty, what renowned name, Which Royal family has this princess blessed, By the great festivity of her birth, As Sree has blessed the oceans wild ?13 (69) Chamberlain--The illustrions one deserves to listen. There is a country named Surasena. Its lord is king Kirtisena, whose celebritry is well-known. (70) Some fold their hands (before him) because they have approached the great Serpent of Rage; some again, because (they have approached) a counter-agent to the clutches of politics; others because all region is obstructed by (Vetāla) the gobblin viz the dust (raised) by (his) army; the dust of the revered feet of whom, who has attained to the rank of the rulers of men and who is conversant with the feeding basin of Tantra, the princes bear by the head, as if it is preservative ash. (71) Prince We have heard about king Kirtisena the ruler of Surasena. He, indeed, is cen- (18) Lit. Translation: What named race of Rulers whose name it is auspicious to pronounce has this princess blessed by the great festivity of her birth as Sree has visibly (blessed) that of the oceans.

·os KAUMUDI-MAHOTSAVA trally situated among the rulers of ihe middle region. (i.e. the earth). What then? (72) Chamberlain-This is his only daughter named Kirtimati dearer (to him) even than his life. (73) Prince-Verily does the Ganges flow from the Himalayas. Why, again this now: (74) With feet delicate for reading the palace grounds And gait that prompt the royal swans to dance The daughter of the king steps into the hermitage Edged with the frickling Kuśa grass growing wild.') (75) Chamberlail - Listen to this as well. Tiiis same princess even when her craving for the sports of childhood is not gratified- (76) With the ushering of youth, She attains beauty matchless As a wise man his learning, By virtue of his training.20 (77) Prince What further ? (78) Chamberlain--Having made up his mind that whatever course of action fathers should take in regard to (daughters) who have altained youth, should be in accordance with (19) Lit: The two feet of the daughter of the rulor of men sler into the grove of the hermits the outskirts of which are fullgrown with the prickles of Kuśa (grass) the feet) which are too delicate for treading in front of the palace and which make the royal swans tinkle with the sweet sounds of (her) anklets. (20) Lit.: Has reached to unequalled beauty by virtue of commencement of youth like the speech of a young man by the special virtue of training.

·ACT I 69 bent upon the path approved by the goddess alone, the Lord of the Yadus, has, of his own accord sent (his) daughter (saying) 'worship Goddess Vindhyavāsini for some days having repaired to the shrine of Chandika' and has sent her hither with her retinue. Luck to you. (79) Prince I look upon his Honour, the ruler of Mathura, as an impossible undertaking- (80) This body, as tender as the Sirisha (flower) of the garden, which has indeed manifested the spoiling of complexion even by experiencing cold wind and heat, how will it become capable of bearing the hardships of a penance grove? (81) Kirtimati—(Aside)-Oh! Fie upon the fortitude of (my) heart. The eye-sight is again and again becoming fixed upon that (him) alone, though (its) extention is forbidden by the world. (82) Attendant-May my lady triumph, Simhalaka, with hands folded, announces that the place of residence has been fixed up and this is the auspicious moment approved by the venerable Yogasiddhi. (83) Chamberlain-Princess, take leave of the Exhalted one. We will go. (84) PrinceWe part to meet again. This person looked up with tenderness should not be forgotten. (85) Kirtimati-(Exits along with her attendants viewing the prince with glances). (86) Prince-(My) beloved has departed with the corners of her eyes lovely with a clear brow ·KAUMUDI-MAHOTSAVA and with the affection of the heart oozing out. She draws away my mind bestowing her heart upon me. 187) How is this creeper on the way putting an obstruction in her going ? (88) The princess has turned her face back with her upper garment inhealed, being shaken by a branch of a tree and with a bodily frame bent with the weight of (her) breasts which are casket of essence of love. (89) Oh ! How has she vanished, warding off, with (her) sportive lotus (viz her hand) the young bee attracted by the fragrance of her face, into the thicket: 190) The more and more the deer-eyed one with her massive hips goes away, the more and more she, with her imaged body has immersed into my. (interior) heart. (91) (Remains perturbed). (Enters the Jester.) (92) Jester-A man has been sent by (Kuñjaraka) the foremost chief of the Savaras and Pulindas, inhabiting the frontiers of Magadha country (with the message) "As revered Mantra-gupta says, so will it be" I now approach my friend who has repaired to the withered garden of the shrine of Chandikā. (93) (Approaching) May my friend triumph. (94) Prince(Holding the Jester with the hand) (95) Friend Vaikhānasa, (95) She of my dreams the goddess of wealth Attains the limit of the City of Gandharvas ·ACT I 71 2 Coming to sight, this daughter of the king, Has vanished again all at once.21 (96) Jester-Who, indeed, is this princess ? (97) Prince-It is so. 198) Jester-Alas! There has happened the falling of a blind man into a well. First the loss of the kingdom, thereafter (binding with a chord viz a woman. (99) Prince-Vaikhānasa, No, it is not so. This is of her who has gone. (100) Th Line of hair above the naval, o friend, Came to my ken when she of lovely eyes, Dropped her garment for weight of her breasts, Methinks I spied a wreath of bees. Placed by the God of love as his bow-string, For vanquishing the three worlds. 22 (101) Jester-Hi! Hi. There is seen this heap of rice spotless as flowers. (102) Prince(Looking) this is that (her) string of pearls showering brilliance which was at first hanging on a creeper but now fallen down. Just bring it. (103) Jester--(Picks it up and brings it.) Well! not a string of pearls but a heap of rice is seen by the hunger-stricken. (21) Lit.: The daughter of the king, (who is) the goddess of beauty came into contact in a dream (and who is) a digit of the Gandharva City has come down (to earth), and after mani. festing himself, has again disappeared all of a sudden. (22) Lit.: The line of hair (about the naval) of that deer-eyed one was seen for a moment, o friend, when the garment slipped in consequence of the massiveness of her breasts, as if it was a garland consisting of bees which was turned into a bow-string by God of Love (whose banner is a crocodile) for conquering the worlds.

·72 KAUMUDI-MAITOTSAVA (104) Prince--- Taking the necklace) 1.105) In the haste of the moment while rushiny out This string of pearls loll. behind Turn back and see, my friend, Has she, indeed, left her heart as well?... (106) Jester-Friend, Why should a thing spread out for thieves be taken away by us? It will be of (107) Prince--Comrade, no, not so. some use to us. Look as of (108) This necklace lovely wreath Mandara flowers, Turned crimson with the lustre of the best gems Brilliant as the stock of the play-lotus of Srce May it be the cause of benignance to us!? (109) (Enter Attendant) (110) Attendant-Victory to my Lord. We have taken the requisites. A body of associates are waiting at the exercise ground. (111) Jester-Get up, Get up. It is time to go to the Exercise ground. (112) (All walk about) (23) Behold friend, Has she indeer forgotten her heart which being left (behind) in consequence of hurry at the moment of departure and has been changed into the form of pearls? (24) Lit.: May this necklace bc for the produclion of auspi. ciousness, brilliant as the stock of the play-lotus of Srec, redtinted by the lustre of pre-eminent gems-lustre which is as lovely as the lustre of Mandāra flowers.

·ACT II 73 1113) This heart of mine, following her Freed from its roots is drooping down As water of the lake retards When its current is deep and strong 25 1114) Moreover 1115) My heart, over-powered by the deer-eyed one is heated as if by the intense heat of her pitcher-like breasts pressed down as it were through the burden of her massive hips and was ruddy as if by the brilliance of (her) throbbing lower lip. 1116) [Exeunt omnes.] +117) (End of the First Act) Act II. (118) (Then enters Madhumañjarikā) (119) Madhu-Now has come near the month of Spring which resembles the establishment of the Camp of (Love) whose arrows are flowers. As flower-bunches are seen on the Asoka trees hanging down from the surface of the branches, Occupied with bees and resembling the arrows of Love (Manmatha). Oh, fie, the month of Spring is making (its) appearance adversely to the princess, whose heart is darkened with the smoke (the fire) of the shafts of Love. (120) (Bhāminikā entering) (121) Bhāmi–I do not know, being at a distance, of what nature indeed was the happening that came off overnight to (Kīrtimati), whose (25) Prince--This heart of mine, indeed, following her is parted from its roots just as the water of a tank in virtue of the length of the current.

·KAUMUDI-MATIOTSAVA body was languid due to the hardship of residence in a hermitage. (122) Madhu- There is Bhaminikā. Shc has rreiurned from the shrine of Chandikā having "mished (the work of giving, uiterings to Gods in the company of the priests in the late part of the night. She, too, is counted by Nipunikā among the companions who keep up confidences. So I shall nake her, too, acquainted with the happenings (Approaching) Is all well with my friend ? (123) Bhāmi-Dear, where is the occasion for the health of us (who are) thinking about the kind of malady of the Princess, the diagnosis of which is not (yet) ascertained. ? (124) Madhu-If so, be happy; the diagnosis of her malady has been ascertained. (125) Bhāmi-The goddess Vindhyavāsini luckily is gracious (to lier). Let us converse sitting in the dense shade of this inango trec. (126) Madhu-Let it be so (Both sit down) (127) Bhāmi-Tell ine, tell ine. (128) Madhu-Listen. In the carlier part of the night, the princess as it were, somewhat uneasy, keeping off attendants altogether, and with Nipunikā as her only companion went to bed. (129) Bhāmi-What next ? Soon (130) Madhu-Thereafter, as as Nipuưikā went to bed close beside her and was asleep, then one prince, who had the form of the God of Love regenerated, was painted somehow on the border of a piece of cloth, charming through moonlight, with paints nearby, by ·ACT II her, being uneasy, sleepless and void of any diversion. Meanwhile, by Nipuņikā, when awakened, was seen the princess holding on her head her folded hands, tender like lotusbuds, and saying 'Oh beloved of my heart, thou art ruthless.' We were informed later by Nipuņikā (about this). (131) Bhāmi-Luckily it is indeed the dawn! This thing was considered in our mind even at the very beginning. But who is he? or why this thought? He is certainly the one seen by us in the shrine of Chandikā. (132) Madhu-Yes. Who else can be the beloved of the heart of Kumudini (lotus plant) except the moon of the full-moon day? (133) Bhāmi-Well. Let us enter straight into the inner apartments (Exit) (134) (End of the Interlude) (135) (Then enters the Jester.) (136) Jester--(Sighing) Thoroughly disgusted am I attending to the malady (or Mania) of this friend that has arisen at the wrong place and time. I, whose body whose body was, indeed, first nourished with remnants of oblations brought by artisans and painters who brought the alms, that same self, with frowns on others disregarded, being a celebate fed on straw, who does not (now) obtain entrance into the interior of a palace, am roaming hither and thither like a camp-guest, bereft of all, cursing and roaring. If at the time of invitation, I enter the interior with the invited Brahmins, then how should I behave myself? However, I shall take rest for a while in the outer shade of this bower (Does like-wise) ·KAUMUDI-MANOTSAVA (137) (Then enters Nipunikā) (138) Nipu—With body languid through sleeplessness at night, the princess has fallen asleep by day like a withered lotus. Meanwhile I see the revered Yogasiddhi who has certainly gone to the place of residence. She alone will be a causeway in this stream of our difficulties (moves about) (139) (Then enters Parivrājikā) [Female recluse (140) Lady Mendicant- Despising all comforts of the world Transient as the light of the fire-fly Drawn by the qualities of the daughter of the king I bear again this chained-down mass. 21 (141) Alas! When such were the happenings to my relatives, turning a female ascetic through indifference to worldly life and thinking myself to live on what transcends life, moving about from one country to another, having by chance reached Mathurā of the Surasena country, and (then) am living having through wrong mentality developed friendship by staying together with Rājanvati, the Crowned Queen of Kirtisena. Possessed of filial affection for her daughter, who was brought up on my iny own lap, I have followed her with her face now turned towards the hermitage. Where is my freedom from attachment to the world so long as I have not seen her with a devoted husband and treading in the footsteps of the family? (26) Lit: Despising all comforts of worldly life, which are transient like the light of the fire-fly or lightening and drawn by the noose of the (good) qualities of the daughter of the king, I am bearing again the mass of my body chained down, ·АСТ II (142) If the Madhavi (creeper) resorts to the irunk of the Mango tree of the hermitage, whence can the community recluses attain to happiness which they have exchanged for their own interest? (143) She, again, is seen in these days slightly indisposed. And it is said by people: (144) How can she endure this residence in forest, who has certainly grown up in luxury on the lap of her father where even a perpetually devoted ascetic who wears the bark of trees becomes tired out ? (115) Also, are (146) The arms emaciated every momeni, armlets and bangles are slipping and falling down, the pigment of the lips is in a fading state through the expiration of sighs, the knot of hair is devoid of toiletting: the frame of the princess, not even seen by the sun, has become motionless and charming. (147) This, again, is my surmise. For: 1148) Both her cheeks have become pale and spotted through casting of flurried looks: the slopes of her breasts being closely pressed are heated through the bloom of youth, (and) the fever of anxiety is also intens3. There is indeterminate thinness in conscquence of the increase of the brightness (of her Complexion). Her love-sickness is thus perceptible in her limbs that look) offensive due to the falling down of ornaments from their parts. (149) What, indeed, is this picture that has fallen from the sky, slipped down from the claws of the eagle?

·78 KAUMUDI-MAJUTSIVA (150) Having seen the picture falling from the sky, the interior of which is variegated like the mass of peacock feathers, I recall to mind part of Indra's bow (but in contact with a cloudless sky which never happened before. (151) However, I shall show regard to this (picture) that has not yet touched the ground. (152) (Taking it and sitting on the surface of the rock, looks at it carefully) (153) Nipuņikä-Here is the Creeper-Bower of the revered one (looking through the entrance). The revered lady is scated on the surface of the rock looking over one picture, Oh! This indeed is that picture, which was snatched away by vulture, greedy of a piece of meat, from the female companions of the princess, seated in solitude with much cherishing of expectations. (154) Lady Mendicant-Great indeed is this brilliance bound down unto this for, (155) The image of this magnanimous one, set up in a picture, coming, as it were in front of me, repels my sight like the reflection of the sun contained in a mirror, (156) (Looking at it again) Alas! Oh Great Queen (Falls into a swoon). 7 (157) Nipunika-Oh fie! The revered one, while viewing the picture, has fainted (saying) 'Alas! Oh great queen'. Great calamity is imminent (Approaching all at once and taking her in her lap) Compose yourself, Compose yourself. ..(158) Lady Mendicant---(Being a little composed) 'Alas! Oh Great queen'!....

·АСТ II 79 his moving side-locks of boyhood, Kalyānaśrī, who has been deposited into my hands as a trust by thee who hast set out to thy husband's world. He, who,.. through fear of enemies, with officers-incharge, sons of ministers. (Swoons) (159) Jester-What indeed is this! like a sound from the interior of that creeper-bower? However, let me behold through the branches. (So doing)--One lady-mendicant viewing the picture of my companion has fallen into a Swoon, Another woman again is composing her taking her on her lap. I surmise that this is Vinayandharā who became a female ascetic through indifference to worldly life. (160) Nipunikā-Be composed, be composed. (161) Lady Mendicant-(Having composed herself) He would have grown up so big27 by this time (if) his body had not been cut to pieces. (162) Nipunikā—(To herself) May the person dear to the heart of the princess, be indeed a relative of the revered (Aloud) Oh revered one, what is this worry which would befit a householder? What is this unpolished speech inconsistent with wisdom and discrimination? one. (163) Lady mendicant-(Having reflected) Oh, Nipuņikā, O Nipunikā,! (164) Nipunikā—(To herself) I shall communicate all to her who has recovered from her swoon (Aloud) Where is that prince Kalyanaśri ? (165) Lady mendicant- (27) Literally 'great.

·30 KAUMUDI-MAHOTSAVA For what the eyes, tho' blind with tears fondly looked. For whom the breasts overflowing year; even in old age, Whose face is diawn on the inward wall of mind With brushes of thought, where is that boy? Ask of the accursed destiny, Oh Nipunikā!2": (166) (Again looking at the picture) (167) Thosc hands, skilled and sportive, marked with lines Which clasped my pains while leaping on the ground, Which the fond mother forced to join before her elders, How have they grown strong and eininent? SO 1168) (Sheds tears) (169) Nipunikā-Taking water from the woods with a cup made of leaves) Oh revered one! Here is water for (your) face. 1170) Lady mendicant--1 My) perseverence has been repaid just a little. (171) Nipunikā-Revered madam, a prince of this form (appearance) was seen by the princess. This is his image painted by her). This portrait has been snatched away by a vulture, (28) Lot.: Lost is that child, wliom the eyes, though hinu with tears, perceive fondly at the ten directions, for whom the breasts with nipples overflowing yearn even in old age, who is painted on the wall consisting of dreams with the brush of reflection; O Nipunikä, let the accursed destiny be interrogated. (29) Lit: How have those hands become possessed of this size, and developed like the hood of the Lord of Serpents? (Hands), that were skilled in varieties of fists in childhood and marked with lines, which clasped my finger-tips while leaping on the ground and which were folded with force by the mother before the elderly people.

·ACT II SI 4 greedy of a piece of meat, from the hands of the (female) companions which again reached, by chance, the hands of the revered one from the sky. (172) Lady mendicant-Is that so? Tell me how a prince of such complexion was seen by her. (173) Nipuņikā-In this manner. (174) Lady Mendicant--This prince painted by her, may indeed, be a scion of Magadha Dynasty. There is no other one resembling this form. (175) Nipunikā-This is evil news indeed. And is the prince of the revered one another? (176) Lady mendicant-I shall narrate to thee the real facts. Formerly there was a ruler of Magadha called Sundaravarman. His chief queen was Madirāvati by name. I, her foster-sister and companion, became the nurse of the Prince and turning a recluse through disgust to the world, when the Royal Family disappeared there through misfortune, entering Mathurā, am living. Now, again, Kirtimati is my all in all. (177) Jester--Hi! Hi! (this) I, have become a religious beggar. Mantragupta says that Vaikhānasa is an idiot. (178) Lady mendicant-(To herself) Now have I obtained an opportunity, so I ask her. That which concerns Kirtimati, Nipunikā is aware of all that. (Music from behind) (180) The Princess neither spies the moon Nor listens to music sweet Nor lies on a fleecy bed Cool and soft with tender leaves. 30 (30) Lit: The princess is not able to look at the moon, nor to Listen to anything sweetly sung, nor to lie down on a bed composed of fragments of tender leaves. K.M.-6 ·KAUMUDI-MAHOTSAVA (181) Lady mendicant-Oh! The (minstrel) song of these two minstrels is indeed well-sung. Nipunikā, I ask you something concerning Kirtimati. (182) Nipu-Let the revered one order me. (183) Jester-I suppose that she is the confidante companion of the Princess. (184) Lady mendicant- Whence the face of the daughter of the king Is shrouded with displeasure ? Tears trickle from her eyes Like hoar-frost from the lotuscs And soil the colour of her checks.1 (185) Nipunikā~The Prince who has entered the mind of the Princess is the subject-naiter of the question (asked) by the revered one. She, now, inoves about hither and thither like a tender plantain-trcc, with heart shattered through (deep) sighs and forsakes even the female companions of her desire. If the revered one will not see any good about her, then certainly the poor girl will ascend the summit of the mountain of sorrow. (186) Lady mendicant- The Princess passes sleepless nights Bereft of Love, eyes red with wakening She awaits the dawn restlessly As Chakravāka looks for the morn.32 (31) Lit.: Whence does the face of the daughter of the king bar, as it were, sudden negation of pleasure? (Face) the cheecks of which arc soiled by the trickling of water from the eyes like a Lotus with watr-drops of the hoar-frost. (32) That princess passes the night without (her) beloved, with eyes red with sleepness. Mythinks, she awaits the time of the daybreak as the Chakravāka (bird).

·ACT II 83 (187) Jester-Hi!Hi! Gone to alms, obtained invitation after invitation. (appearing suddenly) (This) Vaikhānasa salutes. (188) Lady mendicant-Ah! Vaikhanasa has come.! What! this is indeed a shower without clouds. (189) Nipuņikā-(Aside) Who is this? A monkey in shape, a donkey in speech? (190) Jester-This is a salutation from Kalyāņaśri (Joins palms of his hands) (191) Nipuņikā—(Aside) He is a friend of that person. (192) Lady mendicant- The new moon on the summit of the palace Viewed by the feudatory mothers through many mirrors That festival auspicious of Pushpapura Where has it gone, O Vaikhānasa 233 (193) Jester-The meeting of your son is near at hand. The princess pines away after my friend, and my friend, whose madness is produced by the sight of the Princess, looks emaciated in body like the moon of the dark fortnight. (194-5) Lady mendicant-Well indeed oh! The prince, whose path is obstructed, like the cub of a lion, avoids the net of cupid consisting of the Princess with cords of glances long as the petals of lotus. (33) Lit.: The new moon placed on the top of the palace was viewed (eagerly) by the town-folk, the mirrors being moved about by the manipulation of hands of the queens of feudatories (and) being of agreeable form (was viewed) again by many mothers giving suck to their childern)_Where has that auspicious festival of Pushpapura gone? Tell me, O Vaikhānasa.

·8 KAUMUDI-MAHOTSAVA (196) Nīpuņikā My heart is consoled as it were What, indeed, may all this be? (197) Lady mendicant-Child, since it is not known to us. Is it an unexpected improvement in the knowledge of things ? (198) Jester-It is thus. (199) Lady mendicant-So it be. The upholding of my life seems to have some purpose. (200) Jester-Revered one, the image of iny friend has been painted by the princess; you, too, should paint my image. (201) Lady mendicant-Smiling) Your words shall be attended to. (202) Nipuņikā--Oh! Fie upon thee, O wicked one. (203) Jester-Revered one, don't be angry. This (Self) shall please you. (Takes out the necklace from the upper garment and gives it.) (204) Nipuņikā-Ha! This is that necklace, which was lost by the princess (Holds the necklace in her joined palms) (205) Lady Mendicant-(Aside) Both Kirtimati and Kalyanavarman have grown up on my lap and are afflicted with love towards cach other. Therefore, I shall unite them as intimately as a Word and its Sense. (Reads after writing on the border of the scroll with a metallic ore ) (206) As Saunaka did Bandhumati And Kurangi prince Avimāraka Kirtimati deserves Kalyānavarman To obtain as her Lord.34 (34) Lit: This Kirtimati deserves Kalyāṇavarman as her husband, as Bandhumati and Saunaka and Kurangī Prince Avimāraka.

·ACT LII 85 (207) In the evening give this, that has been preserved secretly, to the Prince. Show thyself again. (Hands over the portrait) (208) Jester--As the revered one orders. (Exit taking the picture) (209) Nipuņikā-Revered one! How to save the life of the Princess? (210) Lady Mendicant --May depression be not thine. (211) Look-Being hidden, in consequence of the secret application (of means), I remove the princess's fever of anxiety by giving her beloved, like a shower without clouds falling from the sky removes the desiccation of the earth through draught (Shower) divoid of the thunder of rain. (212) (Exeunt omnes) (213) (End of the Second Act) (214) ACT III (215) (Enters the Prince in an amorous state) (216) Prince-Inconceivable, even to the mind to posses the person whose affection at heart is unknown. What fruit, indeed, does this Love bear who is suddenly jealous of me in this manner, (217) (Gesticulating affliction of love) Hard indeed! The Sun of Love generates heat to the Company of travellers_viz. the lovesick persons, roaming in the desert of worldly objects which are impassable through mirages of false expectations manifested at midday of youth. Whence?

·86 KAUMUDI-MAHOTSAVA (218) As He of the crocodile-banner, (the God of Love) has been made mouthpiece to the blaze (of the fire) of Siva's wrath, he is seen, (now) on that account, in a blazing form. (219) Fie, Oh! Cupid makes himself more powerful by depending upon others. (220) The fragrance of the Mango and Asoka blossoms Fill the evening breezes; the moving cranes Colour the dark evening of a rainy day, The Bright Moon shines on an autumn sky, If these serve not as shafts, how can I Distressed in Spirit, help the formless God?3! (221) Is it likely that she might be seen again? Miserable indeed! The whole of worldly life is helpless for lack of its own activity. For, (222) The accursed heart of mine belies my eyes in' the pleasure of remembrance though benifitted by participating in the nector of her beauty. (223) Where, indeed, is her string of pearls, which has become the very essence of my life. Ah! if I can see sometime or other a confidante or attendant of that princess--so friend Vaikhānasa has come out with this intention: the string of pearls is in his hands. Now, by what support shall I sustain my drooping self? Let it go, I divert my distracted self by going to that same withered garden which an (35) Lit.: The breezes are scented with the fragrance of the full-blown Asoka and mango blossom, the darkness produced by the rainly reason has its surface variegated in colour by hundreds of cranes moving to and fro, and the evening of the Autumn days is bright with the new moon body-If these are not the weapons he himself being devoid of body-What can I, who am so distressed, do?

·ACT III 87 is the receptacle of the moment of sight of the beloved one. (224) (Then enters the jester) (225) Jester-(Walking round and looking) Here is seen my friend with a handsome yet mournful form like a Vidyadhara boy fallen to earth with the knowledge of the announcement of his freedom from curse. (Approaching) may my friend be victorious. Oh dear! no reply to my words!. He is seen only like a bull painted on a picture with his eyes closed through anxiety and opened again. So, I speak to him. Prince, are you thinking of the prosperity of your kingdom? (226) Prince --(Opening his eyes and looking) Oh! Friend Vaikhānasa? Friend, so it is; but- (227) As Śree, emanated from the master of rivers The all-pervading and divine Prachetasah With lustrous and fighting serpents Whose heads are decked with shining gems, She who will espouse Purushottama alone, Like her, the Princess, as if rising from the best of men, Along with the lustrous, the Brave and the Opulent, Seeking none but the best of men as her Lord.. She alone is sought for in my heart!36 (36) Lit.: That Princess is always sought for in my heart, who has emanated from the supreme king prachetasah, the master of the Oceans, along with lustrous fighting and opulent (princes) with heads shining with gems, and is evidently a suitor of Purushottama (the best of men) and shall not choose any other Lord, like Royal Sovereignty who has emanated from the all-pervading and divine Prachetasah (Ocean), master of rivers, along with lustrious and fighting serpents with heads shining with gems and who is evidently a suitor of Purushottama (Vishnu) and shall select no other master.

·88 KAUMUDI-MAHOTSAVA (228) Friend, owing to the cessation of winter, the days having turned towards spring, let us rest for a while on the surface of this rock filled with the fragrance of the mountain. (229) Jester-As my master orders. (230) (Both sit down) (231) Prince-Just bring the string of pearls, proud of being in contact with the breasts of my beloved. (232) Jester-How has the string disappeared? (233) Prince-Fie, Fool. (234) Jeşter-Hi! Hi! Let Vaikhānasa be a fool, that is Vaikhānasa is illiterate. Now listen to my words, blame me after that. I was seen from here by Nipuņikā, inseperable from the heart of the Princess, searching for the string of pearls belonging to her (235) Prince-(With curiosity) What! Were you seen by Nipunikā? Then, then? (236) erWhat 'then, then?' What wouldst thou do to a thief caught red-handed? (237) Prince-Give up jokes. State clearly. (238) Jester Yes, Yes (showing the portrait) Look, look at your portrait the picture (painted) by Her Honour. (239) PrinceIs this indeed true? What man, indeed, will believe in the pre-eminence of good luck of this kind? In like manner my heart exhilerates violently. (240) Şee Now am I bearing (this) body which is a receptacle of the extreme adoration of my ·АСТ III 89 beloved and which is covered with horripulation of hair bursting forth, like a female Royal elephant with her body, illuminated by the Nirajana Ceremony, and temples lovely on account of decorations of Red lead powder. (241) Also (242) This vernal breeze that was Southern (favourable) before has, on the contrary, become averse. The arrows of (Love) whose bow consists of flowers, were, at the outset thunderbolts and thereafter (become) happy showers (in tears); even the rays of the moon, oozing out, at night, which are devoid of the particles of heat and tricle out nector, are, doubtless, compelling us to offer libations to the manes. (243) (Examines the picture carefully) (244) Jester-Is it the knowledge of art of Her Honour or the beauty of your form that is being examined by you? (245) Prince-Indeed this Portrait-work of (my) beloved certainly evinces special skill pertaining to Art as well as her love for me. Whence (246) In the development of my likeness incongruities disappear between her steady love and composure disturbed by bashfulness being face to face (with me) (247) Jester -Oh friend! I have a great doubt as to who has superior artistic sense between you both, yourself and Her Honour. So produce the likeness of Her Honour at the end of the scroll with these mineral paints imbedded in the huge rocks of the Vindhyas, ·90 KAUMUDI-MAHOTSAVA (248) Prince-Friend, this, too, is my intention, but:- (249) It may cause contentment if my beloved, possessed of emotions (delicate) like best flowers, is painted, with this haunting thought that she is thin with love, I am, alas! Unable to wither up my beloved. (250) Jester Unfolds the painting-scroll. (251) Prince-(Seeing and reading "Saunaka etc.") Whose writing is this? (252) Jester-Of the revered Yogasiddhi. (253) Prince-Oh! the revered one is disinterestedly affectionate to me. (254) Jester(to himself) now shall I inforın who Yogasiddhi is in reality (Aloud) Indeed She is not disinterestedly affectionate. (255) Prince How? (256) Jester-In this way. (257) Prince-(With curiosity) How? (258) Methinks my nurse, (turned a recluse) through worldly indifference, has come back again from the other World. Now shall I see her with these two eyes of mine? (259) (Sheds tears) (260) Jester-Be consoled, be thou be consoled! The time of that other world is now over. (261) Prince-So, indeed, (my) vital spirits are being preserved somehow. (262) Jester-(Again spreading out the picture) Let Your Honour paint.

·ACT IV 91 (263) Prince_(portrays the image of Kirtimati) (264) (Nandaka enters) (265) Nanda-Victory to my Lord, the time for bath has approached. (266) Jester-Fie! the mid-day has, as it were, drawn to a close with the cumulation of hunger issuing out of my body. (Rising) Let Your Honour get up. (267) Prince (Giving the picture to the hands of the Jester and taking a round) Oh! The sun is bursting like a King fond of the Chastising Rod. For, (268) The female elephant is touched by the male elephant with sprays of water oozing out through the trunk. The Lord of the Serpents is attempting another coiling round the trunk of the Sandal tree. The young one of the deer, stirred up and impelled by circumstances to the coach-like lap through its intimacy with the ascetic, delighted in the posture of contemplation, is settling down sleepily. (269) (270) (Exeunt omnes.) End of Third Act. (271) ACT IV (272) Enters Vardhamānaka in the garb of a ministrel (Kaumbhahonavika) (273) Vardha-Sings playing on Kumbha Küņavaṁ (musical instrument) (274) Of no avail is the strength of the arrows of Rāma, even the story of Guha (Kārtikeya) ·92 KAUMUDI-MAHOTSAVA is burried in the hill of Krouncha, Oh Vinayaka (Ganesha) I regard your tusk as the hollow of a hill covered with shrubs and leaves. (Again sings.) (275) (276) Balabhadra shines as does the moon One with the dark spot other with his garment His glow rises as does the moon's By drink and taste of Revati's lips.37 (277) (Taking a round) I have thus been ordered by the revered Mantragupta--"Amiablc one! go to the shrine of Sūlapāņi and there toll Ăryarakshita, who has put on the garb of Pāśupata 'come' (lit. come close to me) (Taking a round and looking) This is the shrine of Śūlapāņi endowed with supernatural powers. Here, indecd, are seen some of the soldiers attached to our camp, who have offered themselves with their riches and have been found pure by test, who have assumeri another garb and are practicing religious rites. (278) (From behind the curtain) my obeisance to Thee, Sambhu, (thou) who (bear) the ino. on (thy) crest. (279) Vardha-(Placing his ear in an attentive manner) Indeed, this is the voice (heard) of the Venerable one, engaged in salutation to the feet of the divine Siva Bhattāraka. However, I shall wait in the dark shade of this tree (Vilva) marked as a trysting place. (37) Lit.: Balabhadra shines like the moon spotted with his darle garment bearing the rising glow caused by drink and sweetness (lit honey) from the mouth of Revati (In the case of the moon the redness of rie due to the approach of the constellation Revati in the Vernal Season).

·ACT IV 93 (280) (Aryarakshita then enters bearing the garb of Pāśupata). (281) Arya--Salutations to thee, Oh; Sambhava, thou who bearest the moon on thy crest. (282) Oh thou of dreadful garb, thou dost bear poison in the throat, the skull in the hand, an elephant-hide on the shoulder, serpent on the breast. Thou dost bear on (thy) forehead the digit of the moon, which is the inner essence of the sea, and is as beautiful as the forehead of a damsel of Lāta Country. (283) This indeed has been my incessant prayer since my birth. (284) May the genuine devotion of us, sucking the breasts of mothers even in the other birth manifest itself itself towards their feet-(us) whose tiny understanding has become turbid through attachment to desires and whose eyes have become naturally blind to thy divine manifestation. (285) (Saluting, circumambulating and walking round). (286) For a moment I shall here enjoy the shade of the Vilva tree to the north of the rampart where the active agents of Mantra-gupta are awaiting me (Does it accordingly). (287) Vardha-(Approaching) Revered one, I salute thee. (288) Arya-Ah! Vardhamanaka! 0 Vardhamanaka, when the wardens of the march following Kuñjaraka were enraged (and) the wretched Chandasena has sallied out of the town with his army, do you know if the emergent messenger Hariņāśva has now ·94 KAUMUDI-MAHOTSAVA been sent by Mantragupta to bring back our master? (289) Vardha-I know that he has been sent, but not his intention. (290) Ārya-Ah! Well done Mantra-gupta, Welldone! when this slave by birth, who has been found pure by test, though a close attendant, does not understand your intention in the change (of mind), whence, indeed, is there scope for a flaw in your counsel, or the injunctions both of Religion and desires are the same; for, (291) Subordinates without considering the investigation of the motive of their mastery execute the orders. Whether there is any fruition or not, the Āryas carry out the import of the scriptures as their own duty. (292) Vardha--Revered Sir, if the Lord comes now, then the kingdom is regained without agitation. (293) Arya—What doubt? Behold the people of the city and the Provinces were reminded secretly of the well-known good acts of King Sundaravarman by Mantragupta, the aged ministers such as Sagara Dutta etc., who have been employed before, having gathered. If the Lord comes now they will perpetuate the slaughter of the enemy with one clod of earth; what, indeed, if they touch the feet of the Lord. (294) Vardha-By what reason have the people become detached from the wretched Chanda- Sena? (295) Arya-By that very fault of (his) nature. Behold, ·ACT IV 95 (296) His subjects grew palid in the jail, Their cheeks were fringed with lines, Grief overwhelmed their noble hearts, The quarters came under his wicked rule He proved a Karaskara among kings.38 (297) Vardha-What then? Whence is Royalty to one of such caste? (298) Ārya—It is a long story, but I narrate in brief. Long ago this wretched Chandasena was adopted by Sundaravarman as his son like a poison tree owing to its nature unknown to him. (299) Vardha-- What then? (300) Arya—Then although professing to be of the Magadha family, making an alliance with Lichchavis who were (Mlechhas) barbarians, and were the enemies of Magadha dynasty, beseiged Kusumapura, finding an opportunity. (301) Vardha—Then, then? (302) Ārya-Then, when the battle had menced, the King threw him into the midst of Lichchavi Clan, having pushed him aside with his hand, though worthy of slaughter, as having adopted (him) as a son. (303) He, the king of Magadha, who performed the festivity of battle with his own might as the enemies went to heaven from here as if through fear. Thereafter with a radiant form intensified by jealousy, he himself went there to heaven. (38) Lit.: He made his subjects figured with lines on cheeks palid with incarceration in the jail and overwhelmed with grief in consequence of imprisonment. He brought the quarters under his control with wicked rule. He is, indeed, a Kāraskara among kings just at present.

·96 KAUMUDI-MAHOTSAVA (304) Vardha-Ha! Fie! In an unequal battle has arisen the death of even a King as this. (305) Arya-So it is; even the God Vishnu was sent to the other world by a certain fowler named Jara. (306) Vardha-Occasion having arisen, I now ask, whence is your residence in a penance grove in association with your master? (307) Ārya-This may now be listened to—When our fathers ascended Heaven with our masters, mothers, too, consigned themselves to the God of Fire along with the Chief Queen. We, too, along with our master, espousing another social order, having been brought to the Atavi forest surreptitiously, indeed, at night by a nurse named Vinayandharā, who was of the sanc age (with us), were forthwith made to disperse (by her) being frightened by the roaring of the wild elephants. We were, again, carried to the hermitage by mendicants who came accidentally thus ends the account. (308) Vardha-So it is; Venerable Mantragupta is desirous of seeing your Honour. (309) Arya-May Your Honour go; I, too, at noon, going on the pretext of a begging round, shall see His Honour going to the residence of the Chariot-maker. (310) (311) (Both exeunt) (Mixed Interlude) (312) (Then enters Mantragupta wearing a turban and holding a sword). (313) Mantragupta-Excellent my time, indeed, with mind occupied with the busi.

·ACTIV ness of Master, has been passing away with night and day unperceived. Now again (314) Statesmanship, owing to the terror caused by the perplexity of qualities, has adequately attained its valour. The beauty of words directed to the stage is very much agitated (confounded) like that of an actor. (315) (Looking) The day has come to an end. Oh! indeed! this is the evening beauty of Kusumapura thronged with thousands of men and women in perpetual glee. Here, indeed, (316) Pet was relinquished by the young woman though angry through love. What is the good of confidante. Elderly woman accoutred like a Sainrandhra Woman is seated at her sweet will with a face beaming with smile. The fair-browed and brown-complexioned (damsels) having bathed, and becoming fragrant with the application of toilette powder, are making the evening variegated with their glances rendered blue through their movement of the tremulous blue (eye) lotuses. (317) Also (318) The expanse of the sky has become covered with darkness as if with the aromatic vapours arising from the hair tufts (of ladies) from all regions. The lights are vomiting darkness drunk in, as it were, every moment in the shape of smoke. On the Royal road are heard the girdles of the beauties noisy with jingling sound.-(beauties) setting (themselves) out alone at night for the residence of their beloveds.

·IS KAUMUDI-MAHOTSAVA (319) Shall our master come at night? Yes true. (320) With frame disguised in and out, With a circle of neighbouring kings, With mind bent upon the aim, Deccived have I Chandasena. But when the enemy is base, Is deceit to be blamed? Indra hurled his thunder bolt, When the demons went astray, So shall master show his valour.39 accoutred with (321) (Then Virasena enters arms and with a sword). (322) Vira-After a long time have I now reached Kusumapura. (sighing). (323) Owing to the transitoriness of remembrances the impressions of which are decadent with the lapse of time, the activities of childhood flash on me just as previous existences (flash upon) one who remembers his former birth. (324) (Moving round) The space intervening the directions), is densely filled up, as it were, with layers of darkness cut, indeed, by the chisel. (325) The road bears darkness, as grey as the dust of the battle-field (and vomited) as it were by layers of clouds. Just as the daughter of Kālinda (bears) her torrent of waters flowing obliquely from the mountain rivers. (39) Lit.: Chandasena has been entirely deceived by me, having become disguised inside and outside and having formed a circle of neighbouring kings and with mind bent upon the course of action (laid down) by polity. When the enemy is possessed oi baseness, deceit is not to be blamed, for Indra dealt with his thunderbolt being infatuated with jugglery, when the demons were lead astray; so our master will manifest his heroism.

·ACT TV 99 (326) However, going by the path known in childhood, I shall see the revered Mantragupta who has gone to the house of the Chariot- Maker. (Going round) Oh! this is that house of the chariot-maker. Alas! (announcing his signal by clapping the fingers) (exit). (327) Vīrasena-(Approaching) may your honour prosper. (328) Mantra-(With curiosity) Ah! Virasena! (holding his palm in his) may Your Honour be seated. (Points to the other half of the bed). (329) Vira-(Sits on the ground). (330) Mantra-Where is the master now? (331) Vira-On he way. (332) Mantra-Will our master come to Kusumapura this very night? (333) Vira—Oh Revered Sir, in the morning. (334) Mantra.Is that so? What indeed is the division of the army near him? (335) Vīra-Just one hundred fishermen strong: The door-keepers including Nandaka etc. who have not accompanied you to Kusumapura, those, too, of the same age as well, and Kuñjaraka as the Supreme Commander at the head of this assemblage. (336) Mantra_Good, Kuñjaraka, good. (337) Firm is the friendship, Descending from generation, Even in defeat, Lo! the sacrifice of Jatayu, ·100 KAUMUDI-MAHOTSAVA For the cause of Dasaratha The life so dear to him!0 (338) Then, when the princess had returned how could our master, afflicted with separation, put on his armour? (339) Vira-From the day on which the princess returned, from that very day was seen Hariņāsva the special emergent messenger from you. (340) Mantra-Then, then? (341) Vira-Being subject to the impetuosity of wrath that was augmenting, because it had been borne for long and had now found a scope in the voice of separation from his beloved destroyed in a moment, and disregarding the enemy, our master verily put on the armour. (342) Master--It befits the prowess of a Kshatriya, for, behold (343) She left the heart of the Lord of Men, There dwells now fire of wrath, As the royal goose quits the lotus lake. Rendered hot by the rays of mid-day sun..!! (344) Then has she never come within the range of remembrance of our lord? (345) Vira-Then, once on the way, when the disc of the sun inclined towards the western horizon (direction) and was setting and the (40) Lit: The friendliness of friends, which comes down from generation to generation in the course of succession is imperishable (constant) even in defeat; for indeed, for the cause of the son of Dasaratha, the life that was dear to him was sacrificed by Jatayu. (41) She herself left off the heart of the son of the Kingthe heart, the innermost receses of which was possessed by the fire of wrath, for does not the royal goose quit the waters of the lotus lake rendered hot by the rays of the mid-day sun?

·ACT IV 101 shades of the trees had been reversed and the evening breeze was blowing gently, that master, lying down on a bed of leaves, with head placed on the lap of Vaikhānasa and with lotus-like feet stretched in my lap, wept profusely remembering the princess saying as follows: (346) Thus did she and so said she, such were her actions and remembering me she positively attained to grief. The girl, unable to bear separation, was (thus) like a Chakravāka female bird on nights made rainy through streams of tears from the eyes. (347) Thus, and in this manner. (348) Mantra—When the princess returned through the order of the King, by what kind of message has Yogasiddhi pleased our master and set out? (349) Vīra-Even before this thing rested upon me, thereafter, too, so and so by such (messages). Hereafter your honour shall be the authority. (350) Mantra-Aryarakshita, the son of the priest, has been sent by me to Mathura sayingwhat revered Yogasiddhi has said that should be repeated again. our work (351) Vira--Shall easily? be accomplished (352) Mantra-The revered one will endeavour in such a manner that the king of Mathurā will himself bestow his daughter upon our master. Then, I too, will propitiate our master whose coronation is approaching along with the festivity of meeting his beloved coming on in an unforeseen manner. Look:

·10% KAUMUDİ-MAHOTSAVA (353) The Union of Couples Long unthought of Ends in bliss. Ya! Indra's Sovereignty Comes to nothing Compared to it.12 (354) (Great hun of a crowd behind the Screen). (355) Both-Oh! It seems like (men) speaking. (356) [Again (noise) behind the Screen]. (357) Oh! Oh! citizens residing in Patalīputra. Let your (Honours) listen:- (358) This Prince, the scion of the Magadha family, who is a great festivity to the eyes of his loyal subjects, has arrived, followed by hundreds of illustrious ministers (and) charming like the moon (followed) by crowds of stars. (359) Mantra (Rising all of a sudden). (360) Triumphant is Vijaya first; triumphant are gods, Mahādeva himself; triumphant are the illustrious gods Ananta and Nārāyana. (361) Who is here, Oh! (Enters the attendant). (362) Attendant-Oh Venerable one, I am that Saņkataka. (363) Mantra-Gentle one, going thence quickly and beating the signal-tabor of the Shrine of Sūlapāņi who is Siddha43 proclaim thus: "Now have we our work on behalf of the king. Hereafter a big battle may take place. (42) Lit.: The Union of couples, for long unthought of is anxious for bliss. The Sovereignty of Indra does not come up to even the sixteenth part of (the overlordship) of that (Union). (43) Endowed with supernational power.

·ACT V 108 Consequently it is the time for workers who earn their livelihood through arms. (364) Attendant-As the venerable one commands, (Exit). (365) (Both move about). (366) Vira--Oh, The night has passed away. (367) The darkness beaten off by the rays of the newly raising sun and stacked over the western ocean, looks, as it were, like a circle of smoke settled on the submarine fire. (368) Mantra--Oh! day has dawned. Behold: (369) He with his garland of rays Rising from the deep as if from a bath Plucks flowers for evening worship From the tree of the sky Flower smade of stars Extending his thousand hands To the end of directions. 44 (370) (Exeunt omnes.) (371) (End of the Fourth Act). (372) ACT V. (373) (Enters Lokakshi). (374) Loka-Luckily king Kalyanavarman has acquired coronation of sovereignty. Luckily wretched Chandasena has been killed while engaged in persuing the Vatsas. Whence now (44) Lit.: This sun, having bathed and risen up from the ocean is plucking flowers for twilight worship with innumerable extended hands (rays) from among the branches viz. the ends of the Directions exhuberent with flowers viz. the stars, of the tree viz. the sky. (45) N. of Kausambi.

·104 KAUMUDI-MAHOTSAVA (375) The whole world salutes Kalyāṇavarinan, like the wish-giving tree, who has uprooted the royal family of Chandsena and has mani. fested the path for the (four) castes and stages of life. (376) (Taking a round) But, Oh, exquisito indeed is the beauty of the entrance to Kusumapura, the Royal road of which is adorned with artistic columns viz. burglers honourcd by paramours of prostitudes. (377) Here indeed, the big bull with gladdened mind in the cow-pens and noisy with the humming sound, immitate the rendezvous of the cleverest of profligates, charming with a concourse of harlots (and) where young women are boistorous. (378) Oh, This is Veśarakshita, the aged profligate. I find him drooping in the templo of Cupid in the prostitude's ward as if consigned to the bed of arrows of Bhisma, Son of Santanu. (379) How? He who was baulked of marital festivity in Saketa, exhausted by waiste girdles (of women) in Kāñchipura, ousted by attendance (of ladies) in Pampā, given notice (to quit) in Vaidiśa, slipped into cow-pens in the town Kațāha, (and) was shaved (to shame) in Kundina, has attained to a fixed life, having indeed been a long time the touch-stone of harlots. (380) (Then enters Veśarakshita) (381) Veśa (sighing)-Oh, the wretch of Death, fie, fie upon thee that unites the unequal ones. Look- ·ACT V 105 (382) Oh Creator, has thou not seen the mutual incompatibility in the age of the Easterners in regard to the Celibates, and in the years of the Westerners in regard to the Liberti. nes? (383) Loka--(Approaching) Friend, What are you thinking with a closely intent mind? (384) Vesa--Oh, You, Lokakshi, a slave of gamblling! (385) Whatever was present in secrecy to wanton women in prostitude quarters, whatever were the movements of friends in the rena devouz, whatever were the adventures in the dense darkness of the night, these pleasures of youth alone am I contemplating. (386) Loka-They speak of sensual objects as worthy of abandonment at the end, especially residence at prostitude quarters. Behold, (387) Leaving aside a donor proficient in organs and action, and conversing with a gentle smile a loving young youth endowed with a beautiful form and preponderant in behaviour--in fact a fit and pre-eminent man, a low man is sung vociferously by an unchaste womana man who is knotted with difficulties but possessed with Avanti Mashas of gold. man with prime (388) Veśa-Fie upon thee who followest the footsteps of those Brahmins, well-versed in sacred learning. This hatred for sensual objects is indeed due to your being scorched till the end (of your life). It is a mental dereliction of your honour. Behold;

·106 KAUMUDI-MAHOTSAVA (389) In the prostitute quarters, honoured by young damsels engaged in the study of Dattaka Sūtras (some treatise relating to Kāmasutras)-there having spent the middle age with sense organs tuned to decorum, at old age why is it not desirable to reflect (those) following the maxim viz. the memory of things done in middle age is the substitute in old age. Will not a Vita who is wellversed in all three Vedas realise this truth? (390) Let this talk break off. Gentle one, Thou art seen after a long time. Whence, tell me. (391) Loka--Owing to some reason I am returning after going to Mathura of Surasena. (392) Veśa—Is there any special talk about Surasena country? (393) Loka-Yes, there is; the Lord of the Yadus is determined to give away his daughter Kirtimati to our master Kalyāṇavarman. (394) Veśa-These two royal families deserve mutual alliance. Who is now to introduce them to each other? (395) Loka-The Goddess Vindhyavāsini (alone). (396) Vesa-The Guardian Goddess of the Yadus is Ekānanga. What then? (397) Loka-In the royal household of Kirtisena, there is a lady mendicant revered by all and named Yogasiddhi. Once she, secretly, along with the queen approached the king with a picture, while he was thinking of son-in-law.-par-excellence. In that picture both the figures of Kīrtimati and Kalyāṇavarman had been painted. (Then) When asked what it was the revered.

·ACT V 107 one said that this idea of (the union of) the couple portrayed in the picture should be carried out. (398) Vesa-how is it? Goddess? How was it said by the (399) Loka-Listen: When that night had indeed approached (400) The Goddess Bhavani, with the beauty of her eyes like that of the lotus, with a form whitened with ashes, bearing locks of hair with ends resembling ears of corn and adorned by the digit of the moon, appeared. (401) Then She (402) As Bhanumati Saunaka, and Kurangi Prince Avimāraka, this Kīrtimati deserves Kalyānavarman as her husband. (403) After reciting this Āryā verse and giving the picture, she vanished instantaneously. (404) That picture which had been held in her own hand was indeed seen in the hands of the Parivrājika after (her) awakening. (405) Veśa—The goddess is propitious. Divinities abound with miracles, what then? (406) Loka-Then, in that condition, Aryarakshita, the son of the priest of our master, went to the palace for the betrothal of the girl. (407) Then, thereafter, consulting the ministers, the lord of the Yadus came to the conclusion that this has been brought about by the gods. (408) Veśa-Oh, Good-luck is coming in a crowd to King Kalyānavarman uninterrupted.

·108 KAUMUDI-MAHOTSAVA (409) (Behind the Screen). (410) Oh, Citizens residing in Kuśumapura. May your honours listen, listen to the words of Mantragupta, the chief of the ministers. Though Kusumapura is always in festivity, yet a great festival has been ordercd. For, (411) This lord of men wishes to sce the city buoyant with glee and festivity and having ascended the top of the palace as the full moon rising up (overlooks) the surging up ocean from the summit of the highest peak of the Eastern Mountain. (412) Loka-The ministers of Surasena having arrived along with the princess, this festival has been ordered, I fear, on the pretext of congratulations in consequence of regaining his kingdom. (413) Veśa-Let your honour depart. both). (Exeunt (414) Interlude (415) (Enters lady-mendicant) (416) Mendicant-Well oh! Like Prakriti, presided over by Purusha, I following the path of Mantragupta, have brought about the uprise of Kalyānavarman. (417) When is it that this king, of his own accord, is giving away his daughter to the Son of a king? (418) (Reflecting). (419) Or it might be the grace of the goddess. May she be propitious to me.

·ACT V 109 (420) My mind is a little uneasy in as much as this is a deception upon the king's cleverest plan. (421) The king was not deceived by me while uniting his daughter with the son of the Lord of Magadha who is of equal merit-even when I outwitted him for the elevation of the Yadu lineage. (422) Child Kirtimati is with Nipuņika in the pleasure garden resembling a solitary place, now. First according to the instructions of the king the Lord of Magadha should be honoured first, thereafter, the princess along with their family priest. In the meanwhile, I too, will look up Mantragupta. (Exit) (423) (Enter the king and the Jester). (424) The King (Sighing). (425) I have come to the very city of Pāțalīputra and the chiefs are bowing down repeatedly; the army resembling the ocean is stooping down, and the throne, too, has been acquired. The praiseworthy umbrella, the ensign of royality of the rulers of the middle world, is also held over me, (still) not having obtained that daughter of the king, all this conglomeration is a show. (426) Jester--Oh Friend, don't be distressed; there is scope for hope. The priest of the Lord of Surasenas, with various gifts, is worshipfully approaching you with many presents. (427) King-Is it indeed a resort of hope that the Lord of Surasena, who was formally an intimate friend of my father, has sent his priest to honour me, now that I have regained my kingdom?

·110 KAUMUDİ-MAHOTSAVA (428) (Enter Door-Kecper). (429) Warder-May the King be victorious. The priest of the King of Surasena is at the entrance. (430) King-Bring him here without delay. (431) Warder-As the Master commands (Exit) (432) (Enter priest and the Warder). (433) Priest-(To himself) Rendering homage to the King, I shall thereafter justify anything with regard to the Princess along with (the help of) Mantragupta and Yogasiddhi. Excellent Oh! (434) The Creator has, as it were, obtained praise for bringing together people of like natures (in as much as) he unites with him that daughter of the king as the Rik with Saman. (435) Warder—This way, this way, Sire. (Both move about). (436) Jester-It is a misfortune that (thy) mind is afflicted with separation from her Honour. Thy heart does not get tired even a bit through work. (437) King-Very charming indeed is thy utter- Behold: ence. (438) I am bearing the grief of separation from (my) beloved which is difficult to bear like a mountain. To me indeed the administration (of a kingdom) though of a heavy burden is, oh friend, as light as a ball in comparison with it. (439) Priest-(Approaching) May the king prosper.

·ACT V 111 (440) May śambhu at last pour coronation water with streams of nectar trickling down from the digit of the moon on (his) head sprinkled with the spray (sprinkle) of the juice of the Arevata flowers ending in (the act of) removing the fatigue of the conjugal enjoyment of Gauri. (441) King-A seat for your Honour. (442) Door-Keeper-Here is seat, May your Honour be seated. a (443) Priest-May the King sit down. (Both sit down). (444) King—Is the Lord of the Surasenas in good health? (445) Priest-Kirtisena, being in good health, is inquiring about the health of your Honour. There is a message of his entrusted to me. (446) King-What does the Lord command? (447) Priest-Kirtisena has said to you-Child Kalyanavarman, the Queen, the wife of King of Magadha is possessed of a good son. Let well-being in future be thine. Mayst thou live long. Luckily again, the prince has taken possession of the Sugānga Palace in Pushpapura. (447) Again, he also says: (448) I believe the Kaustubha gem (of Vishnu) weilder of Sārnga, and the necklace of Kalyanavarman, are enough to decorate the two breasts of the two (individuals). (449) So he has sent to your Honour this necklace (Places the necklace in the hands of the Jester).

·11. KAUMUDI-MAHOTSAVA (450) Jester--Aside) This is the Necklace! Let your Honour behold it. (151) King—(Beholds the necklace with curiosity). (452) Pricst-The king's gaze is full of curiosity; this gem of a necklace is all-in-all to the Royal Family of this Surasena dynasty. But is there any curiosity to hear of the advent of this necklace? (453) King-We are full of curiosity. (454) Priest--Then the king deserves to listen. At that time when the battle of Mahābhārata was going on (455) This necklace composed of the fruit-like pearls issuing out of the temples of that elephant Supratíka, who was laid low by the arrows of Gāndivin (Arjuna), an expert in executing a complete cleavage of the circular array of troops darting arrows to the right and left, vies in beauty the conglomeration of stars and scorns the bits (spray) of horselaughter of Śiva. (456) King-Oh, indeed, this is a wonderful necklace of gems, to be longed for by brave men. (457) Priest-Then- It (the necklace) occupied the space intervening the arms of Bibhatsu (Arjuna) having come into friction with the course of the arrows on (Śiva) in the garb of Kirāta, (arrows) which were marked as it were with fresh wounds, red with the redlet of the sloping brests of Vrishni damsels. (458) King—So there was disposal (of it) according to its origin, ·ACT V 113 (459) Priest- Thereafter when Dwāravati was begirt with ocean and Vrishnis were in that plight, then the ornament, viz. the necklace was given by Dhananjaya while installing a Vrishni Prince called Pancha in the Surasena country, through the order of the royal sage Yudhishthira who was desirous of retiring from the world and with which Parikshit had been installed. It came down to Kirtisena, the lineal successor. Luck to thee and thine. (460) King-(Looks at the necklace with tears in his eyes.) (461) Priest-Why is the Lord shedding tears at the sight of the necklace? (462) Jester-Who does not shed tears on the glorification of the descendants of Ajmidhās? How much more on seeing the wonderful ornament worn by them? (463) Priest- What is right and proper has been uttered. (464) King-Preceptor, rest thyself. Nandaka, let Mantragupta be addressed with my instruc. tions. I should like to see the venerable one rested and happy. (465) Nandaka- As His Majesty Commands. (466) Priest-As the Lord wishes. (Exeunt with Nandaka). (467) Jester-Why are you infatuated now? (468) King-(Placing the necklace on his breast). Friend, on seeing the necklace my love has revived profusely. Behold:

·114 KAUMUDI-MATIUTSAVA (+69) That old time, though it has expired, has indeed come back, ever since that Princess of Yadu lineage came in contact with me like illusion. (470) Where, indeed, shall I enliven (my) Self which is (so) perturbed? (171) Jester-Shall we go to the Dining Room or to the Kitchen? (472) King-Give up jocoseness. (473) The young clephant, viz.. Love, after entering the well of the navel and reaching to the top of the breasts by the line of the abdomen hair, having regained vigour by the (waving) of lights (Nirajana) in the guise of the gems, viz. the throbbing lips, and caught liold of by the sportive side-glances, is irresistible and has reccived favour of the queen by mounting upon the drum-like girdle with jingling gems. (474) Again, (475) In my mind which is ignated by the flames caused by the separation of my beloved, Manmatha scems to be practising to inflame himself, so as to make his body fit for being burnt by Siva, towards whom his enmity was fixed. (476) Jester--Let it go, Let us enter the pleasure garden, (477) King-Go ahead. (Both move on). (478) Jester-We have reached the pleasure garden, enliven thyself. (479) King-Friend, the malady of love, being imperceptible to the eye, is beyond all treatment. Behold:

·ACT V 115 With imagination that pervades the whole soul, that very same beloved is seen as before by the side and in front day and night. The torment due to the separation, alas, increases in my mind, which is bound) with associated abhorrence for lovely things. The ways of the Divine Creator are curious! (480) Jester-Let us enter this Bower, Lulighing as it were, boisterously with blooming Mallika llowers, and, charming in consequence of this Summer season. i +82) Kiny-So le it. (Both enter) :483) King-Oh, Wretch of Death! fie, tie upon thee, who bringest union between unequals, Whence: (18+) The Night which is bad to union in conse. quence of separation becomes longer, and the Night familiar to the union, wears off quickly. If these two have been placed in inverse order by Thee, O Creator, (the pair of) Lovers possessed of this assurance cannot censure thee even in their distress. (485) Sits on the surface of a rock full of anxiety) (486) (Enter Kirtimati and Nipunikā). (486) Nipunika—Princess, This is the Lord, Let the Princess see him. (487) Kirti-Oh, The Lord? (488) Nipu-(Shows the picture). (489) Kirti-(Turns back with jealousy on obsering it). (490) Nipu-What is this?

·116 KAUMUDI-MATIOTSAVA (491) Kirti- Ilallow, this man is bac-charactered. Forgetting this person i.e. myself), distressed with separation all this while, he is seen amusing himself with another girl). 1492) Nipli- (to herself). On recognising the Prince in the painting in reality, in consequence of her love over reaching the memory, the Princess is posa sessed by the confusion of another girl caused by the perception of her own likeness. (Alouc) You are deceived by your own likeness. 1493) Kirti-Oh, Fie, I have done him wrong (Remains struck with shame). (494) Nipu-Look, look at the Prince, Oh, Princess. (Look, May the Princess look at the Prince). (495) Kirti-Sitting where and becoming tranquil, shall I gratify my eyes on looking at the likeness of Aryaputra? (496) Nipu-This, in front is the Lower, let us enter. (Moves forward). (497) Jester-What is being thought over by Your Honour? (498) Nipu-Princess, from inside the Bower is heard a voice like that of revered Vaikhanasa. Let us look through the cluster of the Creepers. (499) Kirti.So be it. (They do accordingly). (500) Nipu--Oh! The Lord! (501) Kirtim (He) Indeed is not the Lord. I shall not stay near him. (Begins to turn back).

·ACT V 1502) Nipu-Thou art indeed deceived by seeing the Royal costume. - 1503) Kirti-Mad one, how can he be the great king who puts to shame the moon on the full-moon night? (504) Nipu-The beauty of the countenance of thy Lord, with body emaciated through separation is like that of the moon at Dawn. Again, Venerable Vaikhanasa, is talking sitting by him. (505) Jester-Anybody croaking like jakal cannot look nice, so give me a reply. (506) King-Friend Vaikhanasa,- (507) Kirti-Yes, the Lord indeed, Friend, go ahead. a (508) Nipu-Princess, What kind of obstruction is sought by me? Horripilation, like bodice, is spread by thec alone on thy whole body. (509) Kirti-Friend, Are you putting ine into shame? (510) King-I am thinking of the very first ineeting with my beloved. (511) When for kissing, I up-raised (her) face scented like lotus, with eyes tremulous, and horripilation on cheeks, and with lips like coral; my eyes were covered by the hands of that enchanting slender girl, (hands) reddish in colour at the back and with embarrassment and refusal. (512) And moreover, just at that time indeed:- (513) While I was seeing a bee on a lotus entreating some mate of his and suddenly evading ·lis KAUMUDI-MATIOTSAVA and kissing her lustfully, I feel sad contemplating the prej anger of my enraged beloved 111.54:with affection, with tearful cyes illud with flag-like arched brows. 15111) Jan liriend, I mention one administrative natier. 1151 King As it pleases you. 1510) C: Now that you have regained your kingcom, remain increly eating and drinking. Wilt is the good of that incident about that All which hati; lung since passecl away? 1!1!7) Bing Hic on thee, idiot. (518) Nipu Drgone, thou wicked chap, when thou alla hing, is this thy ministrative work? 1619) Kirti ismiles). (530) Ning - Al, Beloved, (521) My Thirt is with the illone, consequently tliis eye-sight of nine is not lucky but is completely distressecl, oh slender one When pics OWI (mpanion has shaken away (from him) violently, whence is delight to a I though his object has been attained a hundredi tolal (522) Nipu--Frincess, 'l'he Lord is muttering very pathetically. (523) Kirti.There is no opportunity for me to reply. (524) Nipi... I just throw up this picture scroll in front of the Lord. Does so).

·ACT V (525) Jester--Alas! Alas! a huge serpent! a huge serpent which is inapproachablc on account of its rounded hood and ficrcc-looking tail. (526) King--Oh! (Observing carefully) This is that Picture seroll. Friend, take it up. (527) Jester .-Ilan, Ila! This indeed is not a big cobra, but ir pieliescroll. I take it up. (523) King. llow has this picture descended here? Let us get out of this Bower and find it. (529) I Both ict as iſ coming out). (530) Nipu--May the Lorl be victorious, (531) Kirti... Mary Aryaputra be victorious. (532) (Both salute) i'l'he king lilling up Kirtimiati embraces her). (533) King-- What special luck to us both! Or, Oh, friend Vaiklianasa.-- (534) I, being overwhelmed with sadness, don't trust, On Frieni, though I perceive. Many a tiinc have we been deceived by the dess witli wishing as her vision. (535) Jester This horripulation spread all over your body should be asked if this is truc or not. (536) Nipu-Lukily the Princess is beholding the Lord who has obtained the title of the King. (537) King. With joy) Oh Nipunika, frcquently there is nockory of Royalty, and enjoyment for the rulers of the earth. (538) But, we are blooming up with pride, because, Kirtimati alonc is my Goddess of Fortune.

·120) KAUMUDI-MAHOTSAVA (539) (Aside) Friend Vuikhanasi, Vhat is this which is up to now unknown to us. (540) Jester--This Mantraguplit know's. (541) Kinga. Bravo, Mantraguptin, Bravo. I aun propitiated excellently. friend Väikhanasa, (542) Just as Kavi brought prosperity to Vrishaparva and as Spring strength to Surpakasasin, and (iuru enlightenment to Indiil, so what will not iny oteral freind color me? (543) Jester-..The gathering of clouds accompanied by wind with the last part of the clay darkened and with quarters burst issunder, will worry us. So let us get in. (544) Kirti.-- Listening to the thundering of clouds)--Aryaputra, Save me (Kubraces liin trcinulously). (545) King--Well, indeerd, alle we pleasserl (will this) misapprehension. Beloved, behold the advent of the Season Tvilli) olophant like clouds. (546) This is the golden arm pit, o mail, with thighs resembling the back of the fore-arın. Untrue indeed is the streak of lightening. His more of elegant (lessings Lesembles the rainbows of Indra who is getting tired. The increasing thunder is the conglomeration of sprays of the rainy season. The celestial elephant has been manifested by various signs accessible in the clouds. (547) Also (548) Let the peacock hover about with his crest elongated with the commencement of dancing.