·RUDRADĀSA'S
CANDRALEKHA
(A Drama in Prākrit)
The Prākrit Text and Sanskrit Chāyā authentically edited with a
Critical Introduction, Notes, Appendix, Select Glossary, etc.
BY
Dr. A. N. UPADHYE, M. A., D. Litt.
(PROFESSOR OF ARDHANAGADHI, RAJARAN COLLEGE, KOLHAPUR)
HP ON
Rud US
Riedl
PUBLISHED BY
JAYANTAKRISHNA H. DAVE, M. A., LL. B.
HONORARY REGISTRAR
BHARATIYA VIDYA BHAVAN
BOMBAY
V. S, 2001 ]
[ A. D. 1945

·*.***.
CENTRAL ARCHAEOLOGIGAL
LIBRARY, NEW UNRHil.
8789
ato......
24. 4.
HP & N
Rus
Wapent
upa
Date..
INTRA

·CONTENTS VI VII 1-66 I General Editor's Preface Preface Introduction 1. Critical Apparatus 2. Constitution and Presentation of the Text and Chāyā 3. Candralekhā: A Critical Study i) Dramatis Personae ii) Story of the Play iii) Synoptic Analysis of the Play iv) Prākrit Drama : Sattaka a) Early Indian Drama 6) Rūpakas and Uparūpakas c) Näţikā and Sattaka d) Prākrits in the Drama e) Sattaka in the Evolution of Drama f) Sattakas known so far Rājasekhara and his Karpūramañjari Nayacandra and his Rambhāmañjari Mārkandeya and his Vilāsavati Viśveśvara and his Śrngāramaijari Ghanaśyāma and his Ānandasundari 9) Candralekha: A Sattaka v) Karpūramañjari and Candralekhā vi) Candralekhā, as a Literary Piece vii) Prākrit in the Candralekhā viii) Metres in the Candralekhā Rudradāsa: the Author Camdalehā: Text with Sanskrit Chāyā and Variants Siloa-sūſ Notes Appendix Saddasūſ Corrigenda 5 9-64 9 11 12 19-53 19 20 21 24 28 31.52 32 35 43 43 48 52 53 56 57 63 64 81 86 91 93 ·9 . Preface by the General Editor EXCEPTING the Karpūra-mañjari of Rājas'ekhara and the Rambhā. mañjarī of Nayacandra, no other plays of the Sattaka type were published so far. This edition of Camdalehā, which has been brought out, for the first time, with remarkable critical acumen and praiseworthy labours, is a valuable addition to the wealth of our Rūpaka literature. So far, very few Prākrit works of non-Jaina authors have seen the light of day; the result has been that most of the scholars are accustomed to look at Prākrit as a sectarian language cultivated only by Jainas and that there is a general neglect of Präkrit studies, as a branch of specialised and higher research, in our University circles. But now from the view-point of the history of linguistic evolution in India, it is abundantly clear that, without critical study of and researches in the Prākrit literature and languages, we cannot get a true picture of our entire medieval Indian culture. There is no doubt that Jaina authors have rendered yeoman service to the cause of Prākrit languages and literature; but now it is becoming more and more clear that others also have tried to contribute their mite in this direction. Through political vicissitudes and foreign attacks, much of the riches of Prakrit literature is lost in course of time. What little from this vast literature has come down to us lies seattered in various old MSS. libraries, and some of the works are almost on the verge of extinction. They could be immortalised by the efforts of learned researchers solely devoted to the cause of Prākrits like Dr. A. N. Upadhyo. It is mainly through Dr. Upadhye's efforts and researches that we have become lately acquainted with many Prākrit compositions which were being neglected in the MSS. libraries of the South where Dravidian languages are in vogue, and for this, I offer my sincere congratulations to this dear and modest friend of mine. His Introduction, it will be seen, is a piece of solid research. He has thoroughly reviewed the various problems connected with the Sattaka form of drama; and special attention may be drawn to his critical study of some new Sattakas discovered by him. He has collected and presented the material with remarkable industry; and his study is characterised by systematic thoroughness and sobriety of judgement. We believe, and we have great hopes that in the near future Dr. Upadhye will give us many valuable Prākrit works with learned Introductions which are usually the results of his extensive study and mature scholarship. It has been one of the chief aims of the Bharatiya Vidyā Bhavana, Bombay, to bring to light such valuable and important Prākrit works; and we hope, the learned and the wealthy of our nation will extend to us full cooperation in this direction.

·material was head PREFACE The present edition of the Camdalehā( Sk. Candralekhä) of Rudradāsa (C. 1660) is based on rare Mss. from the South, the transcripts of which I could procure with great efforts. Though the care and scrutiny in presenting the text and Chāyā in an authentic manner. Even as it is, it should be a welcome addition to the published Prākrit literature, especially when there has been such a deplorable dearth of Prākrit plays belonging to the Sattaka type which has been all along illustrated only by the Karpüramañjarī. In the Introduction, after describing the Ms. material and stating the procedure of text-constitution, the various aspects of Candralekhā are subjected to a critical scrutiny; and a biographical note on Rudradāsa, the author, is added at the end. The Sattaka, as a type of drama, is elaborately studied in the background of the evolution of Indian drama. Further, I have presented here a detailed study of half a dozen Sațţakas most of which were mere names to us so far. The entire art gallery of Sattaka in Indian literature is no more to be appropriated by a solitary play of Rājasekhara, because now there are half a dozen members to occupy it, and some of them quite worthy. It is by such studies, I hope, the bounds of our knoweldge of Prākrit literature would be widened and its land-marks seen in a clearer perspective. While working on this text, various scholar-friends helped me with suggestions etc.; and it gives ine pleasure to remember them with thanks : Mr. K. J. Dikshit, B. A., B. T., Sangli; Dr. A. M. Ghatage, Kolhapur; Dr. T. G. Mainkar, Sangli; Prof. M. V. Patwardhan, Sangli; and Dr. V. Raghavan, Madras. I am specially grateful to Prof. K. V. Krishna Ayyar, Calicut, for his valuable notes on Zamorins and Rudra. I record my regards to Professor B. H. Khardekar, Principal, Rajaram College, Kolhapur, whose silent sympathy for academic studies has given me the necessary peace and encouragement in my research pursuits. I cannot adequately express my sense of obligation to Achārya B

·CAMDALEHA
YIT
appears today in a stately form, much of the credit should go to him.
His willing co-operation and guidance, his kindly interest in my
studies, and, above all, his akārana-vätsalya towards me have made
even my heavy toils smooth and joyful.
My thanks are due to the Regency Council of the Government
of Kolhapur for the kind aid given to me in my work on the
Candralekhā. I also acknowledge my indebtedness to the University
of Bombay for the grant-in-aid given towards the cost of the
publication of this work.
karmanyevadhikāras te:
Kolhapur :
25th March, 1945
A, N. UPADHYE

·the Prākrit text and Sanskrit chāyā, VELULE above and below INTRODUCTION 1. CRITICAL APPARATUS The Prākrit text and the Sanskrit chāyā of the Caṁdalehā (Sk. Candralekhā), presented in this edition, are based on the material from the following mss. : -This stands for a Devanāgarī transcript of Ms. No. 597 of the University Mss. Library, Trivandrum; and it was so kindly made available to me by Dr. L. A. Ravivarma. I am informed that the Ms. is in charge of the Curator's Office, Trivandrum. It is a paper Ms. written in Devanāgarī characters, measuring 131 by 81 inches and having 152 pages with 18 lines on each page. It was prepared some twenty years back. The original source from which it was actually copied cannot be traced now, nor is the age of it recorded. It is, however, surmised that the original source might be out of the three under-mentioned palm-leaf mss.: 1) Candralekhā Sattakam, obtained from Govind Pisharody, Kailasapuram, Vaikom; 2) Ibid., obtained from Brahmadattan Namburippad, Kudallur Mana, Nagalasseri, Pittambi; 3) Ibid., obtained from Narayana nan Vasudevan Namburippad, Poonnurkottu Mana, Kunuattunad. I understand that all the three sources, and particularly Nos. 2 and 3, particularly Nos. 2 and 3, are homes of hereditary scholarship; and mss. from them are almost always trustworthy. I have had no direct access either to the Trivandrum Ms. or to any of these three palm-leaf mss.; but all my readings are taken from the transcript ka supplied to me. It contains both on a page. There are some minor lacunae in a few places: they are quite negligible, and could be easily filled with the aid of the Sanskrit shade. In some places the text treats a few verses as running prose. It opens thus : eft: ageertet (at the beginning of the Prākrit text) and ends with Il FESTET Thi Bà: THAT II (at the close of the chāyā). @_At the bottom of the pages of the transcript ka, described * ·2 CANDALEHĀ It belongs to the Palace Library, Trivandrum, and bears the No. 1497. It is a palm-leaf us., 81 by 2 inches in size and containing 42 leaves. It is written in Malayāļam script with 9 to 11 lines on a page. Nothing could be ascertained about the age of this us. which is noticed as No. 3207, D.C.S.M., Vol. 4, Part I A. I have neither used the palm-leaf Ms. kha, nor have I got a complete transcript of it; all my readings of kha stand for the entries (at the bottom of the pages of ka) which are about 135 in number and record variants of different length. They are usually connected with the Prākrit text and rarely with the chāyā. #-This is a transcript of a M., No. R 3207 (a), belonging to the Govt. Oriental Mss. Library, Madras (war-time camp, Tirupati); and I got it through the kind offices of the Curator, Dr. A. Shankaran. This Madras Ms. called Candralekhā, I am informed, is in Grantha characters, on paper and in good condition. The size is 105 by 91 inches, and the work covers 43 pages. The actual title of the Ms. is Mānaveda-caritam'. It was copied in 1920–21 from a Ms. of M. R. Ry. A. Karunakar Menon Avl., B. A., B. L., High Court Vakil, Chalapuram, Calicut, Malabar Dt. Following the Madras Ms., the transcript supplied to me contains only the Sanskrit chāyā and no Prākrit text at all. the Sanskrit rendering of the Prākrit speeches assigning them to different characters but omits the stage-directions obviously because they are in Sanskrit. The prose and verses are not in any way distinguishable. It is full of lacunae, small and big; some passages at the beginning are misplaced; the contents are not well preserved; by itself it is not of much value, but when read with ka it gives help in many places. It is full of scribal errors. It uses 7 for l here and there. The transcript opens with the title: मानवेदचरितम् , and ends thus : इति चतुर्थ यवनिकान्तरम् । समाप्तोऽयं ग्रन्थः ॥ C_My friend Dr. V. Raghavan, Madras, drew my attention to the fact that the text and chāyā of Candralekhā was being published in the Saṁskýta-sāhitya-parişat-patram, Calcutta, for 1932. I procured the numbers (Vol. XIV, Nos. 10 and 11, February and March 1932 ) and found that the text and chāyā of the first Yavanikāntara and a few lines of those of the second one (ending with pekkhadu dāva mahārão at II. 1. 5) are printed so far. Still it remains incomplete. These numbers reached my hands after the It gives ·INTRODUCTION 3 Chandra Chatterji himself, and that he gave it up as the Ms. material he had in hand was very bad. The description of the MSS. used by him is not given. But after comparing the actual corrupt readings, some of which are noted by him also, I find that his text appears to be based on a copy of the Ms. ka described above. He also records a few readings of kha. As our sources are nearly identical, I have not noted down the readings of this printed text, called c here; but some of them I have discussed in the Notes. With the help of c I could check some uncertain readings in the 2nd and 3rd formes. This is all the material that was accessible to me after good many efforts. For editing the Prākrit text, ka is the only Ms. available with a few readings of kha. The Curator's Office does not suggest any immediate relation between ka and kha, though they belong to one and the same locality. The Ms. kha does show independent readings; it contains some passages not found in ka; and here and there it shows different arrangement of speeches and stage-directions. They show some mutual independence: one is not the direct copy of the other. of the other. The full copy of kha is not before me; so the siglum kha just stands for 135 entries of various readings. The editor, therefore, had to constitute the Prākrit text mainly on the basis of ka. The readings supplied by kha are sensible and at times superior to those of ka; but, as their number was limited, their advantage could be taken only in a few places. In all the cases where the readings from both are available, they are clearly indicated in the foot-notes. Whenever a reading of ka is noted, it does not mean, unless specifically mentioned, that the text presented in the body agrees with that of kha: it only means that the editor, for reasons elaborated below, had to improve upon the actual readings of ka which, in important cases, are recorded in the foot-notes with all care and fidelity. If the reading of kha has been accepted in preference to that of ka, it is made quite explicit by giving the readings of both in those places. As the Prākrit text is primarily based on the Ms. ka, we have to scrutinize its nature more carefully and note some of its important traits. First, it contains many evident blunders which can be unquestionably attributed to indifferent copying ; some of them could not be called genuine readings. Secondly, the Ms. exhibits consis·www. QANDALEHĀ and long vowels are not rightly distinguished, for instance, niara for niara, päara for pāära, turiami for turiam; a short vowel with anusvāra and a long vowel are often mutually confused, for instance, dāni for dāni, ki for kií; a duplicate consonant is not properly distinguished from a consonant preceded by an anusvāra, as in, sammdha for samiddha, tassa for tamsa, vimkhambha for vikkhambha; conjunct groups are written, almost regularly, as khkh, thth, dhdh; very often aspirated and unaspirated consonants serve each other's purpose; more than once ţ and th stand for d and dh, l for i, ph for bh, k for t, d for dh, nn for nh, mm for mh; sometimes I is used for / (also in the chāyā, though rarely); some consonants are indiscriminately written, one for the other, p & v, 6 & v, and I & n. Such lapses are found scattered all over the Prākrit text in a bewildering quantity. Some of these, no doubt, have arisen out of the peculiarities of the Malayālam and Grantha characters and the mode of writing Prākrits adopted therein. Copyists, who were not quite well-versed with Prākrit phonology, have not been able to read correctly the adarśa from which they prepared the copies. Lastly, we have another set of scribal lapses in this text as written in our Mss.: what looks like ya-sruti is seen in words like sayıla, loya, samaya etc.: this may be partly due to the influence of Trivikrama's Prākrit grammar which has been quite popular in the South and partly to the preservation of Sanskrit medial y; more than once m is retained at the end of a metrical foot; nasal conjunct groups are often written as in bhingi, bhanjiā rather than as in bhimgi, bhaṁjiā; usually conjuncts are written like hm and hn, and not mh and nh; cch rather than ch is written at the initial of a word; in some words, here and there, we find ai, au, ș, pr and a visarga retained as in their Sanskrit counterparts; and we get declensional forms like meinīm, līlāṁ etc. It is true that in many respects the dramatic Prākrits, as contrasted with Ardhamāgadhĩ and even Jaina Māhārāștrī, are moulded after the model of classical Sanskrit from which later on even ready-made forms were subjected to phonetic corruption and imported into Prākrit. The above lapses are definitely due to Sanskrit influence which was working on our text too, for obvious reasons : the contiguous presence of the Sanskrit chāyā with the Prākrit text, the neglect of Prākrit passages in preference to the chāyā in studying the drama, constant checking and correcting of the Prākrit text with the aid of the chāyā, and lastly, the confirmed habit of copyists ·INTRODUCTION 5 them do not deserve to be noted, I can only add that I have erred on of Prākrits and form to the recognised help of the chāyā, in view of ' Orrections could be made with the which are preserved in the South or in southern scripts. The readings, noted in the foot-notes, are sufficiently exhaustive. Apparent scribal blunders are ignored; but the two other categories of misreadings are sufficiently illustrated. If it is felt that some of the safer side. 2. CONSTITUTION AND PRESENTATION OF THE TEXT AND CHAYA Though classified here according to a slightly different plan, similar scribal errors were found in the MSS. of Karsavaho and Usäņiruddham' which have been already edited by me. As in them, the Prākrit text has been presented here in a standardised form with regard to orthography and other external details; and the method of text-constitution is nearly the same. The Candalehā is a late work, to be assigned to the closing period of Prākrit literature; so the grammatical standards, elaborated in earlier Prākrit grammars, cannot be altogether ignored. On the whole, when correcting the threefold scribal lapses, it is expected that the language of This is a broad principle, though every detail has to be scrutinised on its own merits, at least in some cases. The tendencies of scribal light of illustrations noted by Pischel", and after comparing the forms with those in the text and variants presented by Konow in his edition of the Kappūramamjarīs which has served as a model for the Camdalehā. Utmost fidelity to the ms. is my guiding principle, 1 Kamsa vaho, Hindi Grantha Ratnākara Kārgālaya, Bombay 1940; Usāņiruddham: A Prākrit Kävya, Journal of the University of Bombay, X, 2, Bombay 1941. The latter is also edited by Sastri and Raja, Adyar Library, Madras 1943. 2 All the references to Pischel, unless otherwise stated, have in view his Grammatik der Prākrit-Sprachen, Strassburg 1900; a complete Index of the Prakrit words in it is prepared by Wickramasinghe and published in tha Indian Antianary.

·and my corrections do not go beyond the threefold lapses which are sufficienly evident even from the select readings. No genuine reading is consciously sacrificed in the interest of some editorial discipline, a stray rule of grammar, a certain dialectal theory, or some linguistic expectation. Whenever I entertained even a slight suspicion that it is not unlikely that others might have some other alternative correction to suggest, I have carefully noted the actual readings, exactly as they are in my transcript, in the foot-notes. Both Kappūramamjari and Camdalehā are Saţtakas. The former is edited in a superb style by Sten Konow; and it is quite natural that these two plays should be compared with regard to their Prākrit dialects. It is necessary to note Konow's method of text-constitution and also to indicate how I have proceeded. Pischel points out (§ 12) that Māhārāştrī, the phonetic structure of which was largely determined by the fact that it was above all used in musical stanzas, has been employed in the Gāthās and allied songs which lie scattered in the writings of authors on rhetorics and are grafted also in the dramas. According to Viśvanātha (14th century A. D.), women not of lowly origin should speak Sauraseni in drama, but in their songs (āsām eva tu gāthāsu) they should use Māhārāştri (Sāhityadarpaņa VI. 159). This application of Māhārāștrī', Pischel concludes, ‘in lyrical poems destined for musical purposes is doubtless the oldest, and the dropping of consonants in such large proportions is primarily to be attributed to this cause.' In another context he remarks ( $ 22): The Saurasení occupies the first place among the Prākrit dialects which are used in the prose of the dramas.' Piscbel and Konow were almost simultaneously working on the Grammatik and Karpūramañjarī; Pischel introduced a genuine order in the study of Prākrits by his monumental grammar; and, taking their mutual relation into consideration, it is no wonder that Konow wanted to carry with zeal the theory laid down by Pischel into practice. Konow distinguished the dialect of the prose from that of the verses in the Karpūramañjari (p. 202). This is put by Lanman in plain terms: The Saurasenī is used as the conversational dialect, that is, in the prose passages; while the Māhārāștri is regularly used in the stanzas' (p. 200). Acceptance of this rule with universal and retrospective applicability has led Konow beyond the limits of readings supplied to him by nearly a dozen mss.; and here is his frank confession: The chief aim of this edition then is a linguistic one. But besides, I have also ·an editor from a single Ms. after judiciously en vandalehā available to the been guided by another consideration. I often had to regret that no chrestomathy of the Prākrits of the plays exists, and it was my hope that the Karpūramañjarī might be used as such one. This consideration has also, to some extent, influenced my work. Thus I have, in some places, introduced the peculiar forms of the two dialects, even against the reading of all tiss.' (pp. xxi-xxii, Italics mine). Some of the subsequent editors of dramas have not been able to agree with Konow's practice. Hillebrandt remarks thus in his Preface (p. iii) to Mudrārākşasam (Breslau 1912): In plays Māhārāştrī is restricted to songs: this in an old rule the correction of which I see no reason of doubting; but the restriction of Sauraseni to the prose passages of dramatic works is assumption to which I cannot accede.' He further points out how the best mss. admit Sauraseni verses. The greatest reaction against Konow's procedure comes from Dr. M. Ghosh who has re-edited the Karpūramañjarī. A text-critic is not open to adverse criticism, if his grammatical standards are upheld by the readings of his genuine Mss. systematically collated by him; but when, in spite of a large number of mss., he has to emend his text against the best readings, simply because he has set before himself certain dialectal standards, one begins to suspect the universality of the standards and the soundness of his procedure. The zeal for scientific thoroughnesss, textual uniformity and strict editorial discipline is allright; but when it is satisfied at the cost of genuine readings, without a word of apologetic explanation, the text-critic is cutting the very sand under his feet. In editing the text of Camdalehā, the threefold scribal lapses only are corrected; and no genuine reading is silently tampered with to fulfil any dialectal convention. It is a modest and conscientious In discarding, discriminating and determining the readings I have tried to be as careful and cautious as possible. It is quite likely that critical judgment may vary on minor details. I have, however, given the actual readings in all crucial cases, so that others may be able to correct my errors and build a better text when some more Mss. are available. In presenting the Prākrit text I have followed nearly the same principles adopted in the Kaṁsavaho and Usāņiruddhan, 1 Published by the University of Calcutta, Calcutta 1939.

·QANDALEHA One point, however, I may touch upon here. This text uniformly reads kim vi; some variant readings are ki vi; and as far as I remember, only once the reading is kim pi. ki for kim is only misreading belonging to the category that a long vowel often compensates a short vowel with a anusvāra in this ms. It is true that the Ms. confuses p and v; but on the basis of this general tendency I have not corrected kim vi into kim pi, because the Ms. uniformly, with one stray exception, writes kim vi. According to Hemacandra's grammar (VIII. ii, 218) the Sanskrit particle api is to be replaced by pi and vi. Pischel (S$ 143, 171, 180) looks upon vi after an anusvāra as a mistake; and his view is backed by the authority of Mārkandeya (Prākṣta-sarvasva, VIII. 17). I do appreiate, in this context, the grammatical authority, linguistic justification and the general practice of earlier texts on which his view is founded. But all this is not enough to emend the uniform reading of a Ms. in view of another consideration, The Candalebā is a late work in which the author used the Prākrit dialect in a mechanical manner; and once vi got equated with the particle api, it would be used mechanically wherever api was to be put. This practice has been in vogue from a pretty long time. Some of the mss. of Mudrārākşasam, both from the South and North, collated by Hillebrandt do show vi after an anusvāra (see the readings on pp. 12, 17, 38, 66, 109, 132 etc.). In the mss. of the Mahāvīra-caritam (London 1928), as observed by Todar Mall (Intro., p. XXXIX), the word api always appears as vi, even after an anusvāra. He thought, following Pischel, that the correct form should be pi and emended accordingly. All this means that vi was, for our author, just a substitute for api without any reservations, and not behaving differently (i. e., becoming pi) after an anusvāra because of its enclitio nature. So I have retained the substitutes of api as they are given in the Ms. I have retained the Dandas almost as they are found in the Prākrit text, at times checking them with the help of the chāyā. For facility of reading and understanding I have added a comma in some places, after the vocatives (after the last, if there are many) and interjections and in separating small sentences that follow in quick succession. Minor lacunae of a syllable or two are silently supplied; but if the reading is not definite or the passage is long, then it is put in square brackets. The corresponding chāyā is shown by the referential Roman figures I, II etc. The prose lines of the Prākrit text between two verses ( which are separately numbered in each Yavanikāntara) are numbered by threes. The letters a. b. o and ·in both, but disagrees with the Prākrit text in any place, it is INTRODUCTION ntara, prose line 22 after the verse No. 17; and I. 20b means the second pāda of verse No. 20 of the First Yavanikāntara. This would help the reader to refer to any Prākrit portion conveniently, The actual variant readings of the Prākrit text are noted immediatly below the same. The chāyā is based on two mss. ka and ma, and only genuine and significant variants are noted just below it. If the chāyā agrees marked with an asterisk to indicate that it is not sanctioned by our text. Often the asterisk implies that the chāyā possibly presupposes a different reading in the Prākrit text. Good many lacunae are found in ma; the longer and the smaller but significant ones are duly noted in the variants. For the benefit of readers that they might easily equate Prākrit and Sanskrit words, the rules of Samdhi or phonetic combination are not strictly enforced on the readings, which are allowed to remain as they are in the MSS. If the two MSS. disagree, the reading that is looser in Samdhi is accepted without noting the other reading, The chāyā does not repeat the names of characters and stage-directions, the omission of the latter, when they come in the middle of a line, being indicated by three dots within brackets. It is presented in a running form with Roman serial numbers (corresponding to those put in the Prākrit text) put for successive speeches on a page. Though verse Nos, are given, the lines are continuously printed, because they are no more metrical in the chāyā. Commas are added corresponding to those the Prākrit text; they also separate some of the lines of In some cases, for instance kasmin for kahim when kutra would be better, one is tempted to correct the chāyā, but I have not Some such suggestions are made in the Notes. The readings of the chāyā, whether they are phonetic equivalents or sense equivalents, are allowed to remain as they are in the mss. a verse. done so. 3. CANDRALEKHA: A CRITICAL STUDY i) DRAMATIS PERSONAE Cakoraka, see Vidūşaka. Câmara-grāhiņī, a female Door-keeper who carries a chowrie in har hand ·Candrikā, a maid-servant, attending on Candralekhā. the king of Angas. Her mother and the mother of 10 CAMDALEEA Candralekhā, see Nāyikā. Cetī, a maid-servant, Candanikā by name. Cintāmaņi-devatā, the Deity presiding over the jewel Cintamani which was presented to Mānaveda by Sindhunātha through his minister Suśruta. Devī, the Queen, the first wife of the King, Mānaveda. Gosamjña, see Vidūşaka. Kalabhäşiņi, a female Door-keeper. Mānaveda, see Rājan. Mañjubhāṣiṇī, a female Door-keeper. Naktamālikā, a maid-servant. Nāyikā, Candralekhā, the Heroine. She is introduced on the stage first as Adbhuta-kanyakā, Cintāmaņi- or Ratna-sambhavā, because she was brought forth miraculously by the jewel Cintāmaņi. She is the daughter of Candravarman, the Queen are sisters; so she is a sister to the Queen. She has a brother Candraketu by name. prophesied that she would be the wife of a universal monarch. Cintāmaņi-devatā brought her to the palace of king Mānaveda to whom she was married at last with Queen's consent. Pāripārsvaka, the Assistant of the Director (sūtradhāra). Pratihārī, a female Door-keeper, Mañjubhāșinī. Rájan, the King, Mānaveda, the Hero, who marries Candralekhā and acquires universal sovereignty. Sumati, a Minister of king Mānaveda. Suśruta, the Minister of Sindhunātha. He brings the jewel Cintāmaņi as a present from his master to king Mānayeda. Sūtradhāra, the Director of the play. Tamālikā, a maid-servant, attending the Queen. Vaitālika (I and II), Bards, Mañjukaņķha and Madhurakantha by name. TT:1---le tha Toatar o Camnonian of the King also called Cakoraka. It was ·INTRODUCTION 11 ii) STORY OF THE PLAY The Queen of Mānaveda had her aunt married to Candravarman, the king of Angas. Candravarman has a lovely daughter, Candralekhā by name. She had auspicious marks on her body; and it was prophesied that she would make her husband a universal monarch. Naturally she was an object of attraction for various kings. During spring, one day, the king Sindhunātha sent to Mānaveda a pleasure-gift of the jewel Cintāmaņi, well-known for its miraculous potency to fulfil any desire. Mānaveda accepted the gift. It was one of his ambitions that he should become the monarch of the earth surrounded by seven seas. Knowing from the King that the jewel is presided over by a Deity, namely, Cintāmaņidevatā, who grants any object of desire, Vidūşaka entreated the jewel Cintamani to bring before them the most lovely girl on the earth. That day Candralekha was sporting in the park at Campā. She was, through the power of that jewel, straight-way brought to the palace of Mānaveda. Her identity, however, was not known to excepting the Deity. She was so beautiful that her presence was a matter of surprise to all. The Queen welcomed her as a noble-born girl. From the moment the King saw her, he fell in love with her. Candralekhã also felt attachment for him. Once he attended her singing entertainment, and a second time he met her in the Plantain Arbour. Their passion for each other reached almost a fatal point. The Queen suspected and came to know about their love; and hearing about their secret meeting, she kept that poor girl under guard: she was not aware of her personal relation with her. The sudden disappearance of Candralekhā from Campā was a matter of great concern to the family. Her brother Candraketu came to the court of Mānaveda for Vişuvotsava. He gave out the distressing news to the Queen (of Mānaveda) how her cousin sister Candralekhā, who was destined to be the wife of a Cakravartin and who was betrothed to king Mānaveda, had disappeared to their great sorrow. The Queen immediately appealed to Mānaveda to inquire from the kings gathered there as to who had kidnapped princess Candralekhā. They all solemnly pleaded innocence in the matter. King Manaveda seeing no other way out. praved to that any one ·12 CAMDALEHA girl as Candralekhā. It was a surprise and joy for all. The goddess told the Queen that Candralekhā was destined to be the wife of a Cakravartin and that, therefore, she should consent to her being married to Mänaveda. She assented to it. to it. Mānaveda and Candralekhā were duly wedded; and thus all the ambitions of the king are fulfilled. iii) SYNOPTIC ANALYSIS OF THE PLAY The scenic division, which has no special reference to the canons of Indian Dramaturgy, is primarily meant for the convenience of following the events of the play. The entrances and exits, the place of action and independent episodes, narrated or acted, have served as the guiding principle. The play is enacted possibly in the Nātyaśālā attached to the palace of king Mānaveda, the audience consisting of the learned people in the royal court at whose instance it was being performed. Manager's Prelude (sthāpanā) Scene 1 (I. 1). Recitation of the benediction (nändi). Scene 2 (I. 1. 1-). Enters the Director (sūtradhāra), salutes Pārvati and Siva, and hears the commencement of the play. Scene 3 (I. 4. 7-). Enters the Assistant (pāripārsvaka); both of them discuss the nature of Sattaka, its author Rudradāsa of the Pāraśava family (described), his teachers Rudra and Śrīkantha ( described), the flavour of Prākrit, enactment of the Sattaka at the instance of the learned assembly of king Mānaveda ( described elaborately) and the gist of the plot that in this play Mānaveda marries Candralekhā, the daughter of the king of Angas, who brings to him universal monarchy. Entrance of King and Queen announced. Exeunt. The seasonal back-ground of the play is Vasanta or Spring, i. e., the two months, Caitra and Vaišākha. There is a reference to breezes of Caitra at I. 24; and Visuvotsava, at the beginning of the year, is being celebrated (IV. 1. 1 etc.). ] Yavanikāntara I The action in this Yava, begins possibly late in the afternoon. The bard announces evening at I. 37. 9, and the King also refers to it, I. 40-41.] Scene 1 (1. 13. 5-). Metropolis. possibly a hall in the palace.

·INTRODUCTION by seven seas King, and announces the arrival of minister Sumati. 13 over his ambition to become the lord of the earth bounded of the town at the advent of spring. Both of them describe it. Vidūşaka also joins them with his florid description. Candanikā draws their attention to the hospitable invitation of Emerald Park (marakatárāma); she almost competes with Vidūşaka in offering a beautiful description; and both want to win royal approbation. Vidūşaka proposes a visit to the Emerald Park. King's right eye is throbbing, and Vidūşaka prophesies that the King would win the earth sealed with seven seas. The Queen amens it. Scene 2 (I. 18. 8-). Emerald Park: Emerald Park: All enter it. Behind the stage, two bards, Mañjukaņtha and Madhurakantha, glorify and greet the King drawing his attention to the charms of the Park.--At Vidūşaka's request to enjoy the wealth of its beauty, the King describes the Park. They all sit to enjoy its charms. The King and Queen congratulate each other on the beauty of the season with its refreshing breezes.-Vidūşaka says that he forgot his learning at home; and when he demands something on loan, Candanikā is ready to give it. He feels offended. She sings a fine verse fulfilling his conditions and to the approval of the King. Vidūşaka quietly transfers his own defeat to the Scene 3 (I. 27. 5–). Enters Sumati with Suśruta, the minister of Sindhunātha. After mutual welfare-inquiry, Suśruta requests the King to accept Sindhunātha's pleasure-gift, namely, the jewel Cintāmaņi, which was acquired by his master from the Ocean and which would fulfil all the desires. It was put in a gold tray under silk cover. Sumati is asked to look duly after Susruta. Exeunt. Scene 4 (I. 27. 27-). Vidūşaka removes the silk cover, and the King praises the lustre and power of that Cintāmaņi. Finding Vidūşaka cold about its potency, the King tells him that such jewels are presided over by invisible Deities who can bestow any gift. Thereupon, with King's consent, he entreats, with his eyes closed, the Jewel to bring on the stage the most lovely girl. Scene 5 (I. 29. 16–). Enters the Heroine (mentioned as Adbhuta- ·14 CAMDALEHA The Queen The Queen, Candralekhā). The King admires her beauty in rapturous stanzas. She also feels regard for him. recognises her as noble-born. Vidūşaka hints that she would be the queen of a Cakravartin. The King expresses his deep passion for her. The Heroine also is affected with love, and finds the situation anbearable. noting that she was new to the place, offers her a seat. The Heroine appreciates her as a matching Queen for the King.-Behind the stage, the Bard glorifies Mānaveda and announces the evening in a couple of descriptive stanzas. The Heroine recognises the King about whom she had heard from her father. The Queen loves her like a sister; and with King's ready consent, she conducts her to the harem while she (i. e., the Heroine ) looks at the King affectionately.-The King welcomes evening with slight dejection. He insists on the Jewel being respectfully preserved, when Vidūşaka tells him that it may by thrown away now because it has already served its purpose. Exeunt All. S Yavanikāntara IT [Some days appear to have elapsed after the King saw the Heroine (II. 15.3). The action here begins in the morning, after the King has come to the hall of audience. At the end there is a reference to snāna-velā, and midday is announced by the bard.] Scene 1 (II. 0. 1-). Asthāna-maņdapa or the hall of audience: Enter the King and the female Chowrie-bearer. He remembers the Heroine, her charming limbs, the cupid and his armoury etc., and sings enamoured stanzas. The Chowrie-bearer, however, is trying to divert his attention by describing the spring. Scene 2 (II. 8. 2-). Enters Viduşaka to find the King pining with passion for the Heroine. The King assures him that his partiality for the Queen continues. Vidūsaka narrates to him his mission thus: “Being appointed by you to get some news from the harem, I went thither early morning. On I met Tamālikā, with a statue in her hand, who avoided me. I too proceeded indifferently. The maidservants ( described) asked me severally about the episode of the Emerald Park. Somehow I managed to escude S ·INTRODUCTION 1 conveys to 7 vandanikā and Candrikā. Further Vidūşaka 15 with utmost hospitality. I was seen by the Heroine ( the King passionately broods on her). After spending some time happily, I took leave of the Queen. On my way back I met Candanikā who made a truce with me and gave me this letter in Heroine's hand-writing. Here it is." With thrill the King reads the love letter as well as the conveys to the King that Candanikā told him how the Queen has come to know Heroine's skill in singing, how she has fixed her musical entertainment in the Ruby Park (padmarāgárāma) nearby so that the King might not know it, and how the King (and Vidūşaka, of course at Candanikā's request) might witness the same secretly from a secluded spot. As they found the Queen and Heroine going to the Ruby Park, they also proceeded to the Park and took their seat on a sapphire slab under the Tamāla, not being visible to others. (II. 16.7-). Ruby Park : Enter the Queen and (love. stricken) Heroine with retinue. The King feels happy to have a glimpse of Heroine's beautiful face; while she, reminded of the Emerald Park, is feeling love-sick.- The Queen, Heroine etc. take their seat on a dias of lapis lazuli. The Heroine begins to play on the lute and sing. Vidūşaka appreciates her specialised skill, and the King is simply amazed at it. Vidūşaka describes her various limbs etc. in one line, and the King adds the other line of the stanza interpreting the description with some fanciful imagery. The musical entertainment is over, and the King feels sorry Exeunt Queen, Heroine and retinue. cene 4 (II. 33. 1-). On way back from the Ruby Park: The King and Vidūşaka stop for a while to hear what Naktamālikā and Tamālikā, the latter with a statue (sälabhangikā) in hand, are talking as they are going towards them. It is evident from their conversation that the Queen has suspected King's affection for the Heroine. She had received, as a present, a Sãrikā bird, Bandhumati by name, of retentive memory from queen Sāradā of Kāśmira. She placed the bird within the throat of a statue which was trickily put in the assembly hall where the King and ch ·16 CAMDALEHK spoke, and now Tamālikā is carrying back the statue finding the King absent from the hall. The maid-servants go, as it is the time for Queen's bath - Behind the curtain, a bard announces midday and greets the King. The king feels angious about the Sārikā episode which might enrage the Queen; but Vidūşaka assures him that his (i. e., King's) generosity would soon bring her round. Both go to the harem. Exeunt All. Yavanikāntara III [ Some days (III. 4. 19) have elapsed between the II and III Yava. The action here begins early in the evening (pradoşa ). There are clear references to the passing of evening (III. 5. the spread of darkness (III. 9) and the rise of moon which is elabora. tely described in different stanzas. ] Scene 1 (III. 0. 1-). Enter the King and Vidūşaka. The King feels dejected because the fate is not favourable. Vidūşaka tries to divert his attention, but the King feels quite helpless. Vidūşaka holds some hope for him, because he learnt from Candanikā the following details: The Heroine is suffering from acute pains of passion; she is physically weak; and for a change she has been taken to the Plantain Arbour near the lake. The various cooling remedies have no effect on her; she is almost nearing the end of her life; anyhow the day has passed; and somehow that orphan girl must be saved from death. This report moves the King; and as suggested by Vidūşaka, both of them start towards the Plantain Arbour: it is late in the evening and the Queen is away to salute Sthaliśvara. It is announced from behind the curtain, as the moon is rising, that the cooling measures are of no avail for the Heroine against the burning sensation of body; and no one knows who would save her. Scene 2 (III. 12. 1-). In order to save her, the King (with Vidūşaka ) approaches the Heroine, lying on bed of leaves and attended by Candanikā and Candrikā who are using refrigerants. The Heroine tries to get up to welcome the King, but he sits with her holding her hand: at his touch she feels a sudden change from conflagration to ·INTRODUCTION female Door-keepers, Mañjubhāșiņi and Kalabhāșiņi. The welcomes the rising moon.-Behind the stage, the two Bards, Mañjukaņtha and Madhurakantha, greet the King with elaborate description of moonlight. All of them vie with each other in giving poetic descriptions of the rising moon. As the Queen is returning to the Plantain Arbour after saluting Sthaliśvara, the noise of the retinue was heard; Candanikā requests the King to see that this meeting is not disclosed to the Queen; he consents. Exeunt All Yavanikāntara IV [The action here begins in the morning, and we have clear references to prabhāta or prabhăta-velă, IV. 1. 3, IV. 2. 1, IV.5.3.] Scene 1 (IV.0.1-). The hall of audience (ästhāna-mandapa): Enter the King (dressed for the occasion), retinue and two King is feeling sorry that his contact with the Heroine was shortlived and unfruitful. The Pratihārīs congratulate him on the occasion of the Vişuvotsava.-Behind the stage, the Bard wishes that morning might bring welfare to the King. Scene 2 (IV. 6.1-). The King gives audience to various feudatories who have come to pay respects to him. With suitable descriptions Kalabhāşiņi and Mañjubhāşiņi alternatively announce the kings of Vidarbha, Ujjayani, Maņalūra, Cola, Anga, Magadha and Karnāta, and the rulers of Nepāla, Kāmboja, Pāñcāla, Turuska, Cedi, Nişadha, Vārāṇasī, Pārasika, Mahārāştra, Vanga, Madra, Mathurā, Matsya, Kāśmīra, Kāñcī and Dravida. They were treated with due respects, and they were about to start back to their respective places. Scene 3 (IV. 25. 4-). The King is anxious to see the Heroine, and he is waiting for Vidūşaka from the harem, Enters Vidūşaka. He informs the King how, after receiving due hospitality, he happened to talk in dream about the meeting of the King and Heroine in the Plantain Arbour near the lake. This enraged the Queen very much. Consequently she has put the Heroine in chains and guarded her ·18 CANDALEHA Scene 4 (IV. 26. 31-). The King feels sorry that the Queen is very angry. But Vidūşaka tells him how her anger would disappear on account of her fresh sorrow. Vidūşaka discloses the following facts: After paying respects to the King, prince Candraketu, the son of her aunt's husband, Candravarman, the King of Angas, visited the Queen. He conveyed to her that his sister Candralekhā, her aunt's daughter, while she was playing in the park, has disappeared from Capıpā; and as yet she has not been traced. Candralekhā has been betrothed to the King (viz., Mānaveda) knowing from an interpreter of marks on the body that she uld make her husband a universal monarch. And all this, added Vidūşaka, has made the Queen sorrowful.-The King became enraged and passed orders to investigate from the kings, gathered there, as to who had kidnapped Candralekhā. Enters the Queen shedding tears, with Tamālikā, and requests the King to search out her sister Candralekhā, All the kings solemnly declare their innocence. The King appeals to the presiding Deity of the jewel Cintāmaņi to bring back Candralekhā. Get there Scene 5 (IV. 27. 23-). Enters Cintāmaņi-devatā. She presents the Heroine, hereafter called Candralekhā. All are surprised. The Queen meets her bashful sister with joy. Cintāmaņidevatā announces that Candralekhā's husband would be a universal monarch and that therefore the Queen should consent to her marriage with the King. The Queen expresses her consent. Candralekhā is decorated for the occasion. All the kings, who had assembled for the Vişuvotsava, are asked to stay for the wedding festival. The King and Candralekhā are wedded to the joy of all, especially of Vidūşaka who dances with glee.-The goddess wants to know what more can she do. The King felicitates himself; and the play closes with the usual benediction, in which he prays that kings should have stainless fame, that men should recognise mutual obligation, that the ·Mahāvrata ceremonial, too, possess elements from which the drama INTRODUCTION 19 iv) PRĀKRIT DRAMA: SAITAKA a) EARLY INDIAN DRAMA? Even in the hands of early play-wrights like Bhāsa, Śūdraka and Kālidāsa, the dramatic compositions exhibit such a perfect form and finish that one is forced to postulate a long period of evolution and extensive experimentation prior to these authors. Ašvaghoşa's plays, though found in fragments, are quite mature products. Turning to treatises on dramaturgy by Bharata and others, we are faced with a bewildering mass of theoretic details about the various aspects of drama: it is more an attempt at systematic collection and compilation of the then known materials. This plethora of details, howsoever useful for practical purposes and for understanding the dramatic technique, will not give us a historical sketch of the origin and gradual growth of the drama. The Indian tradition claims divine origin for the drama: Brahman drew elements like recitation, song, mimetic art and sentiment from the four Vedas; Śiva and others contributed dancing etc.; and it was Bharata who brought it down to the Earth. Such an explanation cannot satisfy modern scholarship. Consequently the scholars took the drama almost in its final form and tried to trace back its various constituent elements in the different strata of ancient Indian literature, arranged according to relative chronology. The conversation has its counterpart in the dialogue-hymns of the Rgveda which were repeated at a sacrifice perhaps by two parties with musical modulation, which, as an art, was fully developed as seen in the Sāmaveda. Ethnologically music, dance and drama have developed together among many peoples. The rituals of the might develop. The literary form and the themes of the drama are heavily indebted to the recitations and the contents of the epics like the Mahābhārata and Rāmāyaņa. Pāņini (c. 4th century B. o.) speaks of natas and nata-sūtras, i. e., dancers and their hand-books. The Mahābhāșya of Patañjali (c. 140 B. c.) refers to a dramatic performance of some kind connected with the legends of Krşņa, Kamsa and Bali. All these references presume and would indicate a religious origin of drama. The drama, in its finished form, has much of the palace-life in it and can amuse only an audience 1 Sylvain Lévi: Le Théatre Indien, Paris 1890; A. B. Keith: The Sanskrit ·20 CANDALEHÀ of intellectual aristocrats; but that need not preclude us from recognising its popular elements which are closely connected with the lives of common people. There are, then, other scholars who hold different theories of the secular origin for the drama, say, from a popular mime which was introduced into the religious ritual and which, later on, with the epic, forms the fore-runner of the early Indian drama. The Indian life was so much permeated with religious spirit that it is difficult to demarcate exclusively the religious from the secular. The presence of non-Sanskritic technical terms, the use of Präkrits, simplicity of the stage, the combination of music and dance, the mixture of prose and lyrics, introduction of a character like Vidūşaka, etc. are adduced as proofs for the popular origin. Bits of evidence are studiously sought in the drama trace back its source to puppet-play and shadow-play. Some scholars have tried to trace the origin of Indian drama to the influence of the Greeks; but sober scholars feel convinced that its development can be satisfactorily explained by indigenous antecedents. 6) RŪPAKAS AND UPARTPAKAS A critical study of the basic terms and of the types of dramas, unfolds altogether a complicated picture of the evolution of early Indian drama. Though etymologically they are quite akin, it appears that artta stands for mere dance, nrtya means dance with gesture or mimetic art, and nätya signifies dance, gesture and dialogue (in prose and verse). It is the natya that incorporated the essentials of a drama proper. The dramatic entertainments based on nätya have been designated by a general term Rūpaka which originally connoted representation, and those based on nrtya by Upa-rūpaka, When they are mentioned as Rūpaka, there is much unanimity ainong theorists about the number ten and about the types, namely, Nataka, Prakaraṇa, Bhāna, Vyāyoga, Samavakāra, Dima, Thāmſga, Anka, Vīthi and Prahasana. Hemacandra classifies pāțhya-kavya into twelve types3 which are the same as ten Rūpakas with the addition of Nātikā and Sattaka; and Rāmacandra recognises twelve, i. e., ten Rūpakas plus Nātikā and Prakaraṇī, as the famous 1 See Mankad's book noted above, p. 23.

·some Visvanātha calls Sattaka INTRODUCTION 21 varieties of abhineya-kavya. About the exact number and enumeration of the so-called Uparūpakas, there is no agreement among theorists. Perhaps different lists, as seen from the Bhāva-prakāśana, were current in different parts of India; and it is only the select ones that received recognition at the hands of different authorities. Putting all the known sub-types together, the number of Uparūpakas comes to about twentyfive. About these Keith remarks thus :: “The later theory as seen in Viśvanātha adds descriptions of eighteen minor forms of drama, Uparūpakas, which represent refinements on the original scheme. Needless to say, though omitted in the Nātyaśāstra, quotations are found ascribing to Bharata the doctrine, though he mentions in them but fifteen with several variations of name; the Agni Purāņa mentions eighteen with variants of name, while a verse cited by Dhanika names seven forms of mimetic dramas," which it classes in conjunction with the Bhāņa. The age of these divisions is, therefore, uncertain; the Dasarūpa condescends to mention only the Nātikā, but obviously knows of the existence of others, confining its scope to the main forms, as its title indicates." The four types Nātī or Nātikā, Prakaraņi or Prakaraņikā, Trotaka and Saţțaka are treated by some as derivatives from or as allied to Rūpaka types and by others as Uparūpakas. The names of the first two are closely akin to Nātaka and Prakaraņa, and the definition of Sattaka is made very much dependent on that of Nātikā. The Nātyaśāstra describes Nātikā as a mixture of Nātaka and Prakaraņa; Dasarūpaka includes it under Nāțaka; Hemacandra and Rāmacandra treat it on par with ten Rūpakas; Bhāvaprakāśana follows the Nāțyaśāstra; and the Sāhitya-darpaņa includes it under Uparūpakas. The Sattaka is not mentioned by the Nātyaśāstra and Dasarūpaka, which, however, mention Nātikā.; Hemacandra mentions Nātikā and Sattaka separately. Abhinavagupta, Śāradātanaya, Sāgaranandin etc. mention and define Sattaka. tendency is to define Sattaka in terms of the description of Nātikā. c) NĀTIKĀ AND SATTAKA In order to understand what Sattaka is, we must first note the salient traits of Nātikā. According to the Nātyaśāstra (XVIII. 77 The Sanabrit Drarna p. 349.

·22 CANDALEHA 58–61)," Nātikā is a variety of Nāțaka-Prakaraņa ; its subject-matter is invented; the hero is a king; the heroine is either a girl from the harem or the samgita-sālā, and an object of attainment; it has many females, four acts, graceful histrionics (lalitâbhinayatmikā), well-arranged angas, royal (or love) affairs, conciliation, anger and trickery (dambha). It has a hero (nāyaka), a queen (devi). a go-between (dūti) and attendants (parijana). The Dasarūpaka, however, adds that there is an endless variety of the forms of the Nātikā; and it may have one, two, three or four acts, with various combinations of characters and the like. Its subject matter is taken from the Prakaraṇa, and its hero, a self-controlled and light-hearted ( dhira-lalita) king, from the Nāțaka. Devi is the elder queen, of the type known as experienced, of royal lineage, serious; and it is through her consent, the hero is united with the heroine. The heroine also is of royal descent, of the type known as inexperienced and is charming and exceedingly fascinating. Being connected with the harem, she is in the vicinity of the hero whose passion for her develops step by step by seeing and hearing about her. The hero is apprehensive through fear of the queen. There are four elements of kaišikī or gay style, as if respectively joined to the four acts. The principal sentiment is the erotic with its various characteristics. The Sāhitya-darpaņa practically covers all that is said in the Nātyaśāstra and amplified by the Dasarūpaka. It is silent about the endless variety of Nātikā and varying number of acts, but plainly calls it catur ankikā. The additional points of Bhāvaprakāšana are that a Nātikā can have a Vidūşaka but not Vița and Pīthamarda. The Nātyaśāstra and Dasarūpaka do not mention Sattaka.? It is but accident that Rājasekhara's Karpūra-mañjarī is the earliest known Sattaka; and so far we know, he is the first to record its definition. According to him, Sattaka much resembles a Nātikā; but it does not possess Praveśakas, Viskambhakas and Ankas. It is a composition in Prākrit (pāüda-baħdha) and it is a representation to be danced (sattaaṁ naccidavvan). Let us see what the subsequent authors have to say in addition to and amplifying Rājasekhara's remarks. Abhinavagupta Sațțaka is like Nātikā; and possibly to explain Bharata's silence an says that The Sanskrit extracts are given in the Appendix.

·INTRODUCTION 23 about it, he adds that it is defined by Kohala and others. Hemacandra quotes perhaps an earlier verse which specifies that Satyaka is written in one language (eka-bhäşaya) which is c-Prākrta-Saṁskrtā. It is a knotty term to explain; but I think, it implies that in a Sattaka both Sanskrit and Prākrit are not used as in a Nātikā. Rāmacandra-Guņacandra quote the same; they spell it Sātaka, and attribute its definition to Kohala Kohala is an ancient celebrity connected with dramatic theory. Mārkandeya mentions him along with Śākalya, Bharata, Vararuci, Bhāmaha, Vasantarāja etc. in the opening verses of his Prākrit grammar: thus his name is associated with Prākrits as well. It is but natural, therefore, that he is credited to have recognised and defined Sattaka, which was entirely in Prākrit. According to the Bhāyaprakāśana, Sattaka is a variety of Nāțikā based on nitya. It possesses Kaiſiki and Bhārati Vrtti, i. e., Gay and Eloquent styles, and has no raudra, furious sentiment. There are no samdhis; and corresponding to the division of Ankas, there are Yavanikāntaras. There are no chádana, skhaland, bhrānti and nihnava. It uses Sauraseni and Māhārāştri languages: elsewhere he describes it as prakrsta-Prokrtamayı. Some opine that the king should not speak in Prākrit, while others hold that he might speak Māgadhi or Sauraseni. According to some authors, Sattaka is a variety of Rūpaka, similar to Nātikā, but its language is Prākrit. Sāgaranandin states that Sattaka avoids the vīra heroic, bhayānaka terrible, bibhatsa odious sentiments, besides the raudra furious. It has Saurasenī, Prācyā and Mahārāştrī. The king, like is to speak Prākrit. Though Badarāyaṇa and others prescribe for the king usually Sanskrit and occasionally Prākrit, still the king is to speak Prākrit. The Sāhitya-darpaņa states that the Sattaka is to be entirely in Prākrit (Prakrtačeşa-pathyam) and to possess plenty of adbhuta, marvellous sentiment. Rudradāsa makes it clear that it is in Prakrit and it is to be danced. Ghanaśyāma remarks that the whole of it is in Prākrit, and therefore it is called Sattaka. Whenever an illustration is noted in the above sources, it is that of Karpūra-mañjari. 1 It may be noted here that Vāsudeva notes samdhyangas like kārana, mintaan on the Karniiramañiari. pp. 27. 55. # 77 AV ·24 CANDALEHA d) PRĀKRITS IN THE DRAMA The extensive population of Indian sub-continent has been, especially in early days and all along, divided into linguistic units and sub-units according to the languages and dialects. The linguistic compartments are due partly to geographical area, religious grouping, social strata, race-clan distinctions, professional guilds etc.; and naturally there has been ample margin and definite scope for crosscurrent influences. The population presents a veritable museum of languages and dialects. When viewed historically, we see further a cleavage between popular speeches and literary languages; at times the same language may present these phases side by side. The literary languages under grammatical restrictions get fossilised and become stagnant as book-languages: they are now and then imitated in writing by men of letters who otherwise use popular languages for their day-to-day use, The popular dialects flow along their own currents; and now and then some of its stages are raised to a literary status which survives as a book-language. This process is going on for the last few thousand years over a vast area, as evidenced by literary records of different ages and places, beginning with Veda and upto modern times. The Indo-Aryan speech, to put in broad terms, has flowed in two beds, Samskrta and Prākṣta which have constantly influenced each other at different stages. The term Prākrta (spelt as Prākrit) meaning, natural common’ etc. primarily indicates uncultured popular dialects, existing side by side with Samskrta (spelt as Sanskrit), the accurately made, polished' and 'refined' speech. The Präkrits, to begin with, are the dialects of unlettered masses used by them for their secular communication in their every day life ; while Sanskrit is the language of the intellectual aristocrat, the priest, pundit or prince, who used it for religious and learned purposes. The language of every day conversation of even these must have been nearer the popular Prākrits than the literary Sanskrit. The former is a natural acquisition; and the latter, the principal literary form of speech, requires training in grammatical and phonetic niceties, Contemporary with the Vedic language, which is an artistic speech employed by the priest in his religious songs, there were 1 Here I am quoting a few remarks from my essay on Prakrit Literature, ·INTRODUCTION popular dialects probably due to tribal groups, social strata etc. and arising out of literary and home usage or the use of Aryan speech by indigenous groups. The book-language has often to be distinguished from the spoken dialects. The Vedic literature gives some glimpses of popular speeches, the primary Prākrits, but no literature in them has come down to us. The classical Sanskrit, as standardised by Pāṇini and his commentators, respectfully shelves all that was obsolate in the Vedic speech and studiously eschews all that belongs to the popular tongue : the use of such a rigorously standardised language was the job for selected intelligence; it is the language of the hieratic academy and not of the populace at large; and its fine specimens are seen in our Kāvyas, Nāļakas, Campüs and Nyāya treatises. The ancient Indian drama presents a striking picture of the mixed use of language, different characters speaking different languages and dialects in the same play. This is looked upon by some as something analogous to the use of Doric ond Aeolic in certain parts of Greek plays. If we look at the drama in the light of the above remarks, we find some explanation for the use of different Prākrit languages. It bears resemblance, so far as its beginning is concerned, to the natural use of local or vulgar forms of speech in the mouths of uncultured persons. Broadly speaking Sanskrit is spoken by men of high rank and by religious personages, while women, queens not excepted, speak one kind of Prākrit with ordinary characters, minor dialects being used by inferior or special classes. According to their advocacy of secular or religious origin for the Indian drama, scholars hold that it was entirely either in Prākrit or Sanskrit in the beginning. Neither the earliest treatise on dramaturgy nor the oldest specimens of drama bear out the exclusive claim of one or the other: they admit Sanskrit and Prākrit side by side. The details about the use of Sanskrit, Prākrit dialects and other languages by different characters look more like a compilation of stray practices and prescriptions than a systematic codification of rules: one feels all the more convinced about this, when the details Kaith. The Sanskrit Drama, on 72–75. 85-89. 120-22. 140-42. 166. 181.

·grammatical description of Prākrits. Bharata's details (XVII gestur rules: Actions are to be characterized by the language, 26 CANDALEHÃ are judged in the light of subsequent practices in dramas and 26-64) may be interesting for their own sake, but later writers on dramaturgy have become more concise. The Daśarūpaka? gives the and costume of a [special] region; [ the dramatist] is to employ these suitably, taking them from common life. Sanskrit is to be spoken by men that are not of low rank, by devotees (krtātmanām), and in some cases by female ascetics, by the chief queen, by daughters of ministers and by courtezans. Prākrit is generally [to be the language) of women, and Saurasenī in the case of male characters of low rank. In like manner Piśācas, very low person, and the like are to speak Paiśācī and Māgadhi. Of whatever region an inferior character may be, of that region is his language to be. For a special purpose the language of the highest and subsequent characters may be changed.” Some of the prescriptions of Bharata that Bhikşu and Sramaņa are to speak Prākrit, that a Śrotriya is to use Sanskrit and that Cāņdāli is resorted to by Pulkasa etc. are certainly significant; and they may by looked upon as reflections of social facts, existing perhaps long before the age of Bharata. What were simple facts once became stereotyped conventions, growing obscure as time passed on. The theory and practice put together clearly show that these conventions are often analogical extensions, right or wrong, and were not quite strict and rigorously applied. The prescriptions from different sources and practices of different places and ages have intricately commingled to create highly complicated situation; and no single hypothesis, howsoever, ingenious, can easily explain all the details in a satisfactory manner. The Indian drama, there are reasons to believe, had its preliminary aspect in a popular pantomime; and this would easily explain such dialectal practices that all women, including a queen, are to speak in Prākrit, and so also Vidūşaka, a Brāhmaṇa, of high social rank. The actresses who played the female rôle perhaps came from the lower strata of society, and naturally it is befitting for them that they spoke in Prākrit, or ſaurasenī, the normal 1 Dasarūpakam, Gujarātī Printing Press, Bombay 1927, II. 63–66; The Dasarūpa, Translated into English by G. O. O. Haas, Columbia Univorsity Press, New York 1912, 2. 96-99, pp. 74-75. New Yor Los PP ·INTRODUCTION 27 prose dialect of the plays. The case of Vidūşaka stands on a slightly different footing. He is essentially a creation of the popular theatre, whence, just for mirth and joke, he was received and retained, even in court plays, as a conventional figure crystallised into a permanent type. Whatever may be his other traits, Vidūşaka is a king's companion and guide through thick and thin. I think, he represents a caricature of the learned Purohita who was the sole adviser of the king in almost all home-affairs. The king depends on this confidant in all his affairs of the heart; and Vidūsaka claims that he is a learned Brāhmaṇa. This claim is confirmed by his name also. The name Vidūşakaḥ is just a hyper-Sanskritic back-formation of Prākrit viuso or viusao (with k-suffix) which is to be connected with vidvas. There could be no better proof for his being a popular creation than the Prākritic basis of his name; and it is in the fitness of things that he speaks in Prākrit. We need not hesitate to believe that the origin of the mixed usage of Sanskrit and Prākrit in the drama might have started as a reflection of the actual practice in real life. Conversations in simple Sanskrit and Prākrits could be easily understood by all: this points out to a period long before the rise of the form of court-poetry which assumed an artistic, dignified and elaborate style in the hands of authors like Kālidāsa, Bāņa and Bhavabhūti. This style was first evolved in epics, lyrics, Kāvyas and prose romances; and side by side with them it cannot but affect the drama too. Even by the time of Bharata's Natyaśāstra the use of Prākrits had become just a matter of conventional fixing; and it was mechanically followed by most of the authors. In view of the characters introduced therein and the society for which they were meant, plays might have been composed by certain authors solely in Sanskrit or Prākrit. The Sanskrit plays like the Dutavākya of Bhāsa and some of the early Bhānas have come down to us. It is but natural that the early specimens of entirely Prākrit plays have not survived: they were popular creations of unlettered masses; Prākrit compositions have been uniformly neglected all along, and even some of the best Prākrit poems, only the names of which are known to us, are lost beyond recovery; and the orthodox theorists perhaps never liked to give a status to them among the recognised types of drama. 1 Wawie 1:1-a niinka dagsrikin bhattidãrikā, mārsa or márisa eto. definitely ·INTRODUCTION 29 Hallīsaka, Kāvya, Gosthi, Kalpavalli, Śrīgadita, Durbhallikā, Mallikā, Vihāsikā>Rūpaka types: Bhāņa>Vīthi>Prahasana, Anka; and both these currents once more conflow to produce the finished types, Nāțaka and Prakaraņa. In his opinion (p. 164) Bhāņa seems to be the first dramatic type to evolve; and he states four characteristics of the first drama: 1) It was entirely in Sanskrit, 2) it was descriptive in nature, 3) it was monologous in form, and lastly 4) it was secular in matter. In the light of the gradual evolution of nitta, nrtya and natya types outlined by him, Prof. D. R. Mankad distinguishes between certain stages of growth or periods in the nätya types themselves (p. 165): 1) The natya, in its earliest phase, had a form which required only one actor and one act; 2) then it required many actors but had still only one act; 3) thereafter it came to be represented by less complicated types with many acts; and lastly, 4) the fourth phase is represented by the full-fledged Nataka and Prakaraņa types, which, when fully developed, gradually sent the other lesser types into oblivion. The problem of ascertaining the position of Saţtaka in the evolution of drama is faced with many a difficulty; still an attempt is worth making. The term sattaka itself is a riddle; variants of spelling like sāțaka, śātaka, sadika are known, but they do not improve the situation. The word is undoubtedly un-Sanskritic in etymology like some other names of Uparūpakas such as Dombī, Halliśaka, Şidgaka. Perhaps it is to be traced back to a Desī word possibly of Dravidian origin. Stripped of its k-suffix, it shows elements like sa+atta or āta; and perhaps it stood originally as an adjective of a surpressed term. There is a Dravidian word ātta or āttam, dance, play, from the root ātu or ādu meaning to dance, gesticulate, to act a part or play. If the basic meaning was 'dance', the suppressed term may be rūpaka: : one can postulate phrase sattaań rūvaam a dramatic representation accompanied by dance. Or if the basic meaning was 'play', the suppressed term may be nartana: one can postulate a phrase sattaaṁ pattanam (or şaccanaṁ or şaccidavvan )= a dance accompanied by dramatic representation. Perhaps for brevity only the term sattaam has come That Sattaka is closely associated with 'dance' is an accepted fact. In the Barhut Inscription' the term sādika occurs in the record below a bas-relief of the dancing scene; and the theorist Śāradātanaya describes Sattaka as nrtya-bhedātmaka. Turning a w in vogue.

·INTRODUCTION 31 nowhere does he claim that his is the first creation'. His definition only indicates that it was not quite familiar to his court circle. Bharata's treatise has left a great influence on subsequent authors. He recognises Nātikā, and later theorists define Sattaka in the back-ground of Nātikā. This does not mean that Saţtaka is & popular and subsequent remodelling of Nātikā. But it is the reverse that appears to be true and historically justified. As a dramatic representation with dance, depicting love intrigue, enacted by a troop of girls, replete with marvellous sentiment and composed in popular Prākrit, the Sattaka has something graceful and attractive about it. The theorist may not have liked to admit it as it is, but it was bound to attract his attention. The cultured classes and court circles would certainly enjoy it; it is to satisfy their craving the Sattaka was made to conform to the orthodox canons of Nātaka; and the result of such an effort is the Nātikā which is duly described by Bharata and others. Thus Nātikā is an orthodox edition of the popular Sattaka. The variety of the forms of Nātikā”, as suggested by the Dasarūpaka, perhaps indicates different attempts to raise the popular Sattaka to a status acceptable to a court audience. Once Nātikā was evolved and defined by an authority like Bharata, subsequent authors simply followed him; and Sattaka was, for a while, say during the period between Kohala and Rājasekhara, superseded by Nātikā. Under such circumstances Bădarāyaṇa and others wanted a bit of Sanskrit also to be introduced, through the royal mouth, in the popular Sattaka which was, in the biginning, entirely in Prakrit. f) SÄTTAKAS KNOWN SO FAR Ancient specimens of Sattaka have not come down to us. Prior to Rājasekhara, the Saţtaka, though recognised as a type of drama by Kohala etc., never received a literary status among the accepted forms; it is only his Karpūra-mañjarī that became a classical example of Sattaka. The Prākrit had assumed a static form by Rājasekhara's time; and a play entirely in Prākrit was bound to be a rigorous task for average poets in subsequent centuries : it is only some poets of rare or erratic genius that were tempted 1 Prof. Chakravarty holds somewhat different view; see his paper 'Characteristic Features of the Sattaka form of Drama', Indian Historical Quarterly. VII, pp. 169-73.

·32 CANDALEHA to compose Sattakas. That would explain, to a certain extent, why we have a small number of Sattakas of a late period. There are possibilities of discovering more by exploring Mss. libraries. So far I have been able to list half a dozen Sattakas: 1) Karpūramañjarī of Rājasekhara; 2) Rambhā-mañjarī of Nayacandra; 3) Candralekhā of Rudradāsa; 4) Vilāsavatī of Mārkandeya; 5) Srngāramañjarī of Viśveśvara; and 6) Ananda-sundarī of Ghanaśyāma?. The analysis etc. of Candralekhā have been already presented; so some important details about the rest of them may be given here. These details, I believe, would be useful not only for a comparative study of different Saţtakas but also to a student of Indian literature, especially in Prākrit. Rājas'ekhara and his Karpūra-mañjari Rajasekhara belonged to the Yāyāvara family. Akālajalada of great virtues was his grandfather, styled as mahārāştra-cūļāmani; his father was Darduka or Duhika, a great minister; and his mother was ſilavatī. He had married Avanti-sundarī of the Cāhuāņa family. He reached eminence as a spiritual teacher or upādhyāya of Mahendrapāla or Nirbhara-rāja, through the stages of bala-kavi and kavi-rāja: he was thus connected with the court of Kanauj at the time of both Mahendrapāla and his son Mahīpāla. The dates available for these kings from epigraphic sources range from 903 to 917 A. D.; so it is evident that Rājasekhara lived about A. D. 900. It is probable that he wrote some poems like the Haravilāsa. At present only five of his works have come down to us; four plays and the fifth, an incomplete encyclopedic treatise on different aspects of poetry: 1) Bāla-rāmāyaṇa, 2) Bāla-bhārata, 3) Karpūra-mañjari, 4) Viddha-śālabhañjikā, and 5) Kāvy a-mīmāṁsā. The Karpūramañjari' is a Sațțaka, entirely in Prākrit and in four Javanikāntaras; and it was brought on the stage at the desire of the author's wife, Avanti-sundari. I. In this excellent Sattaka, which is a stream of poetic flavours, king Caņdapāla, which name reminds one of Mahendrapāla, takes to wife the Kuntala princess, Karpūra-mañjarī, really a cousin of queen Vibhramalekhā, in order to achieve the rank of an emperor. After the Nāndi and the Prastāvanā in which the author is introduced and 1 Two more Sattakas, as noted below, are attributed to him; but without inspecting their mss, nothing can be definitely said about them. 2 See the eds. of Karpūramaſjarī referred to above, pp. 5, 7.

·INTRODUCTION 33 the theme is suggested, the king and the queen describe the advent of spring. The bards also greet the king by elaborately depicting the scenes of spring. Vidūşaka and the maid-servant Vicakşaņā dwell on the same theme; they fall out in their poetic competition and begin abusing each other; her superiority being recognised by the king, Vidūşaka is about to quit the royal company. But he gets a pretext to come back with a magician, Bhairavānanda, who praises the Kaula religion and parades his miraculous ability to achieve any feat. At the king's suggestion and Vidūşaka's request, the magician brings on the stage the lovely Vidarbha princess in her bathing dress. The king falls in love with her and grows eloquent about her physical charms; and she also glances him affectionately. She discloses to the queen that she is the daughter of Vallabharāja and Śaśiprabhā of Kuntala country; the queen finds that she was her cousin sister Karpūramañjarī, and takes her into the palace for dressing and toilet. II. The door-keeper tries, by describing nature, to divert the king who is passionately brooding over the charms of that heroine. Vidūşaka enters with Vicakşaņā with whom he has a truce and who has brought from Karpūramañjarī a love-letter describing her passion for the king: therein a stanza depicting heroine's pangs has been added by her friend. Vicakşaņā describes how the heroine was dressed and decorated; and the king frames the details with his own fancy. Both the king and heroine are suffering equally. At Vicakşaņā's hint, the king accompanied by Vidūşaka sees the heroine gracefully playing on the swing. Vidūşaka offers a poetic description, and the king continues his amorous plaints. It is learnt how she is suffering love-fever. Later the king sees her in the garden while she is embracing the Kurabaka, glancing the Tilaka and kicking the Asoka tree: all this only heightens king's passion for her. III. The queen has grown suspicious and has kept the heroine in a guarded room, but the king has got prepared an underground passage from it to the palace garden. The king broods over her charms and narrates to Vidūşaka a dream in which he met the heroine; Vidūşaka mocks him by narrating a fantastic counterdream. Both of them have a discussion about the philosophy of love. Karpūramañjarī is suffering excessively, and she discloses her pangs to her companion Kurangikā. The king, with Vidūşaka, hears it, approaches her to her pleasant surprise, and leads her to the pleasure- 5 चं.ले. Saat ·34 CAÚDALEHÁ garden happily holding her by the hand. Two bards describe in long stanzas the moon-rise; the lovers under shining moon-light are in a mood of supreme felicity. The queen's arrival is announced. All disperse in haste, and the heroine retires to her room through the under-ground passage. IV. The king and Vidūşaka describe the summer and its effect on love-stricken persons. Vidūşaka tells him how the queen discovered the under-ground passage, closed it, and appointed an army of maid-servants to guard the heroine. The king is requested by the queen to attend the vata-sūvitri festival. After Gauri is worshipped, the magician demands from the queen by way of daksiņā that Ghanasāra-mañjarī, a daughter of Caņdasena of Lāța, should be married to the king who thereby becomes a universal monarch. The queen consents to this and announces her intention to the king. By playing the trick of hide-and-seek, to the great confusion of the queen, the magician produced Ghanasāramañjarī on the scene. The marriage function goes on merrily; but soon the queen, to her regret, is made to realize that Ghanasāramañjarī was only another name of Karpūramañjarī. The king thanks Bhairavānanda for fulfilling all his desires. We do not possess today earlier definitions and specimens of Saţtaka in the light of which Rājasekhara's performance could be judged. Rājasekhara defines Sattaka as analogous to Nātikā with certain reservations, and there is nothing in this play which is contradictory to Bharata's definition of Nātikā which perhaps he had in view. He has not specified the number of Javanikāntaras, but he has four; there are no Pravesaka and Viskambhaka; and excepting the stage-directions and names of characters, everything is in Prākrit. The abuses in an involved style, the series of names of female guards and the hide-and-seek scene may be interesting, but they lack effect in a play to be enacted; one wonders how that scene can be managed at all on a simple stage excepting through make-belief. Rājasekhara is more a poet than a playwright; and like those of some of his predecessors his play Karpūra-mañjarī is more worthy of being read and studied than staged. He is a consummate master of language and expression, rich in vocabulay, idiomatic usages and metrical forms. His descriptions of the spring, moon-rise, swingscene, the carcari dance, etc. are admirable pieces of poetry testifying to his rigorous training in the niceties and conventions of poetics. Some of his pictures are vivid, and his love-lorn songs full of ·Samvat 1535 ) of Rambhā-mañjarī, Text and Sanskrit Gloss, No. 335 of INTRODUCTION 35 sentiment. He introduces, possibly as an element of popular Sattaka, a carcari which indicates a group-dance accompanied by songs and poses, described by him (IV. 10–19). Nayacandra and his Rambhā-manjari Looking at the common verses of biographical interest in the Hammīra Mahākāvga' (XIV. 46, 46* 1, 46* 3, 46* 4) and the Rambhā-mañjari (I. 15–18), it is plain that it is the same Nayacandra that composed these two works. He gives some details about his spiritual predecessors. In the famous Krşņagaccha, there was one Jayasinhasūri who defeated in dispute Sāranga, an outstanding poet among those who composed in six languages and a great logician (prāmāņika), and who wrote three works: Nyāyasāra-tīkā, a new grammar, and a kāvya of Kumāranạpati. Sāranga's identity is uncertain. Of the three works, the first is a commentary on Bhāsarvajña's Nyāyasāra (c. 900); and the third is the Kumārapāla-carita, in ten cantos, finished in Samvat 1422 (A. D. 1364–65). Jayasimha's pupil was Prasannacandra, respected by kings. Our author, Nayacandra, though a pupil of Prasannacandra, calls himself a veritable successor of Jayasimha in poetic merits. He mentions his labours in the field of poetry and refers to the blessings that the goddess of speech bestowed on him. He makes reference to earlier poets like Kukkoka, Śrīharşa (the author of Naişadhīya), Vātsāyana, (Veņikrpāņa-) Amara i. e., Amaracandra. He styles himself a second Amaracandra in poetry. This Amaracandrat is the author of Padmānanda Mahākāvya (following which the Hammīra-kāvya also is vīrānka) and flourished about the middle of the 13th century A. D. The Hammira-kāvya is a poem of great historical interest, and 1 Ed. Kirtane, Bombay 1879. 2 Ed. Rāmacandra Dīnānātha, Bombay 1889. There is a fine ms. (dated 1884-86, in the Bhandarkar 0. R. I., Poona. For some details about it, see Descriptive Catalogue etc. by P. K. Gode., Vol. XIV: Nāțaka, Poona 1937, p. 246–47. The above ed. is possibly based on this Ms. For some observations on this play, see Chakravarty's paper Characteristic Features of the Sattaka form of Drama' Indian H. Quarterly, Vol. VII, pp. 169-173. 3 Jinaratnakośa by H. D. Velankar, Poona 1944. 4 M. D. Desai: Jaina Sāhityano Samkşipta Itihäsa, Bombay 1933, pp. 378-81; M. B, Jhavery: Comparative and Critical Study of Mantraśāstra, Intro. p. 222-23, Ahmedabad 1944.

·Akbar.'; but no evidence is given. In the list of the Tomara we get about 14001. Deducting 36 CAMDALEHA it celebrates the heroic career of Hammīra (incidentally that of his predecessors) who bravely fought fought against 'Alāu'ddîn and died on the battle field in 1301 A. D. Nayacandra is aware of the standard of poetry laid down in Kāvyaprakāśa etc.; and he tells how he has tried to make his poem full of matter with flavour: the critics should not mind his faults of expression (for which, if any, he wants to be forgiven) which have not been altogether avoided even by authors like Kālidāsa. He composed this poem full of amorous, heroic and marvellous sentiments to silence the court circle of Tomara Vīrama which asserted that no one at present could compose a Kāvya like earlier poets. He claims that his poetry possesses both the lalityc of Amaracandra and vakrima of Śrīharşa. As to Nayacandra's age, he must have flourished between A. D. 1365, the date of Kumārapālacarita of his grand teacher Jayasimhasūri, and A. D. 1478, the date of the Poona Ms. of Rambhā-mañjarī. The exact identification of king Tomara Vīrama would help us to bring these limits nearer. The editor of the Hammira Kāvya has added a remark like this: King Tomara Virama, whoever he was, appears to have lived seventy years before princes of Gwalior, there is a king Virama; and the dates available Virama. So we might assign Nayacandra to the beginning of the 15th century A. D. Nayacandra, as indicated by his spiritual genealogy, is a Jaina monk; but his mangala verses in the Hammīra kāvya are applicable to both Jaina and Hindu deities, and the nandi of Rambhā-mañjarī invokes Vişņu as Varāha. The Rambhā-mañjarī of Nayacandra is a Sattaka; so we might analyse its contents and study some of its aspects critically. I. After the nândi in which Varāha is saluted and Madana is greeted by referring to the amorous glances of grown-up girls, Sūtradhāra invokes god of love and glorifies īśvara and Pārvati. He introduces in elaborate expressions the king Jaitracandra or Jayacamda, alias Pangu, who is the son of Malladeva and Candralekhā, who usurped the kingdom of Madanavarman, who defeated Yavanas and who was ruling over Benares; and announces his intention to Nața that they should enact a prabandha in order to entertain the 1 C. M. Duff: The Chronology of India, p. 306, Westminister 1899; D, R. Bhandarkar: A List of Inscriptions of Northern India, P. 404.

·INTRODUCTION 37 gathering of good people assembled at Benares for the yātrā (or annual festivity) of Visvanātha at the time of summer solstice. The subject-matter, full of amorous flavour and with the great king Jaitracandra as the hero, would prove to be of quite absorbing interest. The prabandha to be staged is a Sattaka, Rambhā-mañjarī by name, which is in a way superior to the Karpūra-mañjarī of Rājasekhara; its author is Nayacandra who, being blessed by the goddess of learning, is a skilled poet in six languages, and who has described himself by comparing his poetic gifts with those of Amaracandra and Śrīharşa. In this Satta king Jaitracandra, who has already seven wives, marries Rambhā as the eighth with a view to become the lord of earth. The king Jaitracandra, praised by bards in Sanskrit, Prākrit and Marāthī, enters with his queens; and he is greeted by a cuckoo from a mango tree with blossoms. The king and queen greet each other and are greeted by the bard on the advent of spring. There ensues an abusive quarrel between Vidūşaka and Karpūrikā; she laughs at his inheritance of scholarship from his wife's side and slights his poetic skill; both of them present their composition before royalty. Karpūrikā proves superior; Vidūşaka feels insulted and bids good bye to the palace. The queen describes moon-rise etc., and the king is anxious about Nārāyaṇadāsa who was to bring some news about Rambhā. Nārāyaṇadāsa accompanied by Rambhā in her wedding dress is brought in by Vidūşaka. The king received the name Jaitracandra, because, on the day of his birth, his grandfather defeated the Kharpara army which came to the Daśārņa country Nārāyaṇadāsa has some happy news to convey: it is announced to the king from behind the curtain that Rambhā, born in the Kimmīra varsa, the grand-daughter of Devarāja and the daughter of king Madanavarman of Lāța, who is as beautiful as Pārvatī, was betrothed to (?) Hamsa, but is carried off by her maternal uncle Siva and has been brought here with the wedding kankana on her hand. The king receives her who comes in a palanquin; he begins to describe her limbs with an amorous eye; Vidūşaka and Nārāyaṇadāsa only switch on his appreciation for her; and his passion reaches a higher degree. The bard announces that it is an auspicious moment; the priests mutter the holy mantras; Vidūşaka declares that the king Jaitra and Rambhā are duly 1 The relevant lines stand thus : पत्तं तम्मि दसण्णगेस पवलं जै खप्पराणं बलं, जित्तं झत्ति पियामहेण पहुणा si a TH STT I I. 43.

·38 CAMDALEHA married; and there are jubilations for the occasion. Morning is announced by the bard; along with other queens Rambhā is sent to the harem by the king who retires for his morning duties. II. Being separated from Rambhā, the king is pining for her by remembering her physical charms; and the door-keeper is trying to divert him by describing garden scenes. He is anxious to hear about her. The maid-servant Karpūrikā informs him that Rambhā is quite happy in the sisterly company of the harem where she is personally taken care of by the queen Rājímatī; and by assuring him of Rambhā's deep attachment, she reads to the king her love-letter, despatched secretly, which only heightens his passion. Vidūşaka narrates to him his dream in which he was a bee; later on he was changed into sandal wood the paste of which was applied to Rambhā's breast, and pressed by king's embrace he woke up. He interprets it that the king would soon meet Rambhā. The king is nervously anxious to meet her immediately. Karpūrikā, taking support of an Asoka branch, manages to bring down Rambhā through the window. Both king and Rambhā enjoy amorous pleasures. The queen arrives, and they have to disperse. III. The love-lorn queen welcomes the king; and after hearty amorous pleasures, the king asks her permission to meet Rambhā like this to which she consents and happily retires to bed. Rambhā comes to the king who receives her affectionately. Singing passionate lines alternatively, both of them go on happily enjoying araorous sports through different conventional stages. The night is easily spent and the dawn is announced by bards. Rambhā is sent to the harem, and the king attends to his duties after morning formalities. More than once Nayacandra hints that the prabandha of Jaitra-, Jaya- or Jayanta-candra is being enacted; and therefore, it is quite likely that he draws his story from some Prabandhas. There is an old, anonymous Prabandha', some important facts from which are: The Rāştrakūta Jaitracandra, son of Vijayacandra, ruled at Benares in the country of Kānyakubja. He had a queen Karpūradevī; and he married also Subāgadevī, the daughter of a Sālāpati. He overpowered Lakşmaņasena of Bengal and Paramarddi of Kalyāṇakataka. He was highly praised by the poet Canda. He refused to give his kingdom to Suhāgadevi's son; 1 Purātana-prabandha-sangraha, ed. by Jinavijayaji, Singhi Jaina Granthamāla 2, Calcutta 1936, pp. 88-90.

·INTRODUCTION 39 so she invoked the aid of Suratrāņa Sahābadina who was faced by Pịthvīrāja and halted at Yoginīpura. Jaitra-candra felt happy when his adversary, viz. Pșthvīrāja, was defeated, but his minister realized the danger to his kingdom. In his second campaign, the Suratrāņa entered Benares in Samvat 1248, Caitra su. 10, and was victorious against Jaitracandra who died in the river Yamunā and whose eldest son, in the battle. That Suratrāņa treated Suhāgadevī with disrespect for her treachery against her husband and her son was converted into a Turuşka. According to the Prabandha-cintāmaņi of Merutunga', the great monarch (prājya-sämrājya-lakṣmāṁ palayan) Jayacandra of Kāśī had a title Pangu; he married Sūhavā, the wife of a śālāpati; he refused to recognise her son as the heir-apparent; she invited the Mlecchas or Turuşkas to attack Vārāṇasī; when it was beseiged, the king put her son on his elephant and plunged himself in the stream of Yamunā. In the prabandha about Sriharşa, the author of Naişadhiya, the Prabandha-kośa of Rājasekhara' gives some facts about Jayantacandra, the son of Govindacandra and the king of Benares, who was famous as Pangula. He married a young, beautiful widow, Suhavadevī, the wife of a śālāpati from Anahilla-pattana on which Kumārapāla was ruling. To the displeasure of Sūhavadevī, he decided to give the kingdom to prince Meghacandra and not to her son. She managed to invite the Suratrāņa of Takşaśilā to attack Benares. The king was ruined in the battle, and the town was taken by the enemy. About the name of the father of Jayacandra, the Prabandhas do not agree among themselves, nor does any one agrees with Nayacandra's version. Modern historians give this genealogy: Govindacandra (c. 1114-1155), Vijayacandra (c. 1155–1170) and Jayacandra (c. 1170–1193 ); that means Prabandhakośa has either confused Jaya- and Vijaya-candra or more probably the name of the latter is skipped over in the text; and according to Rambhāmañjarī we will have to admit that Malladeva was another name of Vijayacandra. The Prabandhas have no reference to his seven 1 Edited by Jinavijayaji, Singhi Jaina Granthamälā 1, śāntiniketan 1933, pp. 113-14. 2 Edited by Jinavijayaji, Singhi Jaina Granthamālā 6, śāntiniketan 1935, Pp. 54-58. 3 H. C. Ray: The Dynastic History of Northern India vol. I, Calcutta 1931, p. 548.

·of spring that is being described by the king, queen and bards, the quarrel between Jester and maid-servant in which the former claims th 40 CANDALEHA wives and to the eighth wife Rambhā noted by Nayacandra. In one Prabandha, Karpūradevi figures as a queen, but in our play there is a maid-servant Karpūrikā by name. The hero Jaitracandra is a brave king of Benares, and he had a title Pangu: these two facts are unanimously accepted by two Prabandhas. The first Prabandha is silent about this title, though some other details are common. The two Prabandhas and our play explain the title Pangu almost similarly. So it is plain that Nayacandra's hero is the same as Jaitracandra of Prabandhas; but our author appears to have added certain details to make the plot suited for a Saţtaka the model for which was the Karpūra-mañjari. Our hero, then, as already hinted above, is the same as Rājā Jaichand, almost the last king of the Gahadavāla dynasty, who had made Benares his principal residence and who was overthrown by Muhammad of Ghor (Shihābu-ddīn). It is not clear who this Madanavarman of Lāta? is; but it is not unlikely that Nayacandra had in view a Chandel ruler of that name. Nayacandra's statement that Jaitracandra brought under control the kingdom of Madanavarman is based possibly on the account of the Prabandha according to which he overpowered Paramarddi who had inherited the kingdom of Madanavarman. Nayacandra' refers to the Karpūra-mañjarī (Km.) of Rājasekhara, and he claims that his Rambhā-mañjarī (Rm.) is in a way superior to it. Rm. imitates Km. in many respects. The scene hereditary scholarship, and the diversion of the love-lorn king with similar situations in Km. Some ideas, too, are common, at times with slight variations: in both the Jester has a fantastic dream; the trees like Asoka, Bakula and Kurabaka introduced to heighten king's passion; and the contents of the love letter are almost identical. We come across even some common expressions in both the texts ( Km. II. 11 & Rm. I. 40; Km. I. 32-34 & I. 49). If the plot is scanty in Km., there is not even the semblance of it in Rm. Nayacandra's Prākrit verses are not as fluent as those of Rājasekhara. Nayacandra has, however, a pedantic mastery over Sanskrit expression; and a couple of his Sanskrit verses (III. 3–4) are really beautiful and testify to his potential poetic ability. are 1 This name reminds me of the name Candravarman of Lāča in the Viddhaśalabhanjika.

·INTRODUCTION As & play, Rm. does not leave a favourable impression. One wonders how a cultured audience would receive the love dalliance of a king with his two queens, one after the other, on the stage. The tone of the amorous sentiment is devoid of depth and dignity: the depiction of it is more an exhibition than suggestion. In some places, strangely indeed, without making the characters speak and act, the author begins to describe their behaviour outside the stagedirections (II. 18-20; III. 7,21). Though the Poona ms. and, perhaps following it, the printed text of the Rambhā-mañjari call it a Nātikā: samāptā Rambhämuñjari ruma rīţikā, Nayacandra has plainly called Rm. a Satta or Sattaka (1. 19). The play comes to a close within only three Javanikāntaras, so far as the present documentary evidence is concerned; but the ambition of the king to become the lord of earth is not explicitly fulfilled, though the King marries Rambhā in the very first Yavanikāntara and sports with her in the second and third Either the play is incomplete, or the author has overlooked what he has put in Sūtradhāra's mouth': the abrupt ending of the play just in three Javanikāntaras and the absence of Bharata-vākya go to strengthen the former alternative. Nayacandra employs both Sanskrit and Präkrit in this play, and the use of them by different characters is interesting. The Nața, the queens Vasantasenā and Rambhā, Pratihārī, Vidūşaka and Cetī speak Prākrit, and their verses also are in Prākrit excepting one (II. 14) in the mouth of Ceti (with the phrase sanskrtami asritya) which is in Sanskrit. The Sūtradhāra, king, Nārāyaṇadāsa and Mangala-pathaka have their speeches in Sanskrit, but their verses are in Sanskrit as well as Prākrit. One bard has a glorificatory prose passage in Prākrit, while others have their songs both in Sanskrit and Prākrit. The Nándi verses are in both the languages. The Dasarūpaka, as seen above, admits a varying number of acts in a Nātikā which has been a model for later Sattaka; but whenever the number of Javanikāntaras is specified, it is necessarily four; and in this respect, the Rambhā-mañjarī, as a Sattaka, does not conform to its description. Further in the use of languages too, it does not satisfy the accepted condition of Sattaka: it is not 1 इक्खागूण नरेसवंसतिलओ सो जेत(२.८. जयत)चंदप्पहू, जुत्तीए परिणीय सन्त घरिणी रूवेण जा अच्छरा। एयाणि भवितुं जहुत्तविहिणा भूमंडलाखंडलो, रंभं तं परिणेदि अट्ठमतियं एयम्मि सट्टे वरे 6 ..

·42 CANDALEHĀ entirely in Prākrit. The Bhāva-prakāśana and Nāțaka-lakṣaṇa-kośa record an opinion that Sanskrit was allowed for the king in a Saţtaka; but this play allows not only the king but also some other characters to speak in Sanskrit. It is really a note-worthy convention that Nayacandra is making even his Sanskrit-speaking characters utter some of their verses in Prakrit. When a Prākritspeaking character, the Cetī, utters a Sanskrit verse, the apologetic sarskrtam āśritya is there. Unless some more Saţtakas of the type of Rm. come to light, the promiscuous use of Sanskrit and Prākrit cannot be satisfactorily explained, nor is it confirmed by the views of any theorists so far known. Nayacandra makes the bards sing the glory of Jaitracandra in three languages, Sanskrit, Prākrit and Marāthī; the Marāthi passage deserves our special attention. I am reproducing it below from the Poona Ms. (folio No. 3a) without any corrections: जरि पेखिला मस्तकावरी केशकलापु। तरि परिस्खलिला मयूरांचे पिच्छप्रतापु ॥ जरि नयन विषयु केला वेणीदंडु । तरि साक्षाजाला भ्रमरश्रेणीदंडु ॥ जरि दृगोचरी आला विसाल भालु। तरि अर्द्धचंद्रमंडलु भइला उर्णायुजालु ॥ भ्रूजुगल जाणु । द्वैधीकृतकंदर्पचापु । नयननिर्जितु जाला पंजनु निःप्रतापु॥ मुखमंडलु जाण शशांकदेवताचे मंडलु ॥ सर्वांगसुंदरतामूर्तिमंतु कामु। कल्पद्रुम जैसे सर्वलोकआशाविश्रामु ॥ This is a specimen of literary Marāthī of the age of Nayacandra or, to be more definite, of the period of the Ms., Samvat 1535 (A. D. 1477-78). Perhaps a line rhyming with the ninth is missing. The passage is certainly in Marāthī of an archaic type but not very old. It shows the full development of the characteristic features which belong to the language in its New Indo- Āryan stage and which cannot be traced to the Middle Indo-Aryan, for instance, the formation of the past tense in-1: pekhilā, pariskhalilā, kelā, jālā, ālā and bhailā, with its agreement with the subject; secondly, the formation of the Genetive in mayūrāṁce and devatāce, both sing. and pl.; and lastly, the form jālā, twice used without the present-day aspirate which came into use some time in the beginning of the 19th century.

·INTRODUCTION 43 Mārkandeya and his Vilāsavati Mārkandeya is the author of the Prākrta-sarvasvat which occupies an important position among Prākrit grammars. Very little is known about his personal history. He composed his grammar in the reign of Mukundadeva who ruled over Utkala or Orissa. There was a king of Orissa of this name during the second half of the 17th century A. D. to which period Mārkandeya may be tentatively assigned. Prohibiting the use of Genetive for purposive Dative, he remarks thus in his grammar (V. 131): कचिन्न तादर्थे । तादर्से विहितायाः चतुर्थ्याः षष्ठी न स्यात् । 'पाणाअ गओ भमरो लब्भइ दुक्खं गइंदेसु ॥' 'सुहाअ रजं किर होइ रण्णो।' इति मम विलासवतीसट्टके ॥ The remark is quite plain, and we learn that Márkaņdeya composed a Sattaka, Vilāsavati by name, Visvanātha (c. 14th century A. D.) mentions in his Sāhityadarpaņa (VI. 277–79, prose remark) one Vilāsavati, a Nātya-rāsaka, which obviously must be an earlier and different work. The name of Vilasavatī as a heroine is pretty old and figures in the stories composed by Haribhadra (8th century A. D.), Sādhāraṇa (11th century A. D.) etc. If discover a Ms. of the Vilāsavatī Sattaka, composed as it is by an eminent Prākrit grammarian like Mārkandeya, it would be of great value to assess the nature of Prākrit in a Sattaka. we can Vis'ves'vara and his S'rngāra-manjarī Viſvešvara, the son of Lakşmīdhara, belonged to Almodha or Almora, and flourished during the first quarter of the 18th century A. D. The editors of Kāvyamālā have recorded that his eighth descendent, Deveśvara (Cunilāla) by name, lived some time earlier than 1910 at Anūpasahara on the Ganges. It is said that Visvesvara began his literary enterprises at the age of ten and died prematurely at about forty. He is a voluminous writer, and there stand against his name more than twenty works of which Navamālikā is a Nātikā and Śrgāra-mañjari is 1 Edited by S. P. V. Bhattanatha Swami, Vizaga patam 1927; L. Nitti- Dolci: Les Grammairiens Prākrits, Paris 1938, pp. 89 etc. 2 Jinaratnakośa by H. D. Velankar, Poona 1944, p. 358. 3 Kävyamālā VIII, pp. 51-52; M. Krishnamachariar: History of Classical Sanskrit Literature, p. 355.

·I conversation with her; and therein it is CAMDALEFA a Sattaka." I could get two miss." of the latter; and its contents are analysed below. I. After the raindi verses, in which are invoked Pārvati and Madana, the Sūtradhāra, who is out to please the audience, hears the Nați describing the spring behind the curtain. As she compares spring with Saţtaka, he takes a hint and decides, in consultation with her, to enact the same, depicting amorous sentiment, especially in separation. He explains to her that the Sattaka to be staged is the Simgāra-mamjari (Sk. Srngāra-mañjari) which gives rise to great wonder, which has well-shaped characters, and the limbs of which are set at various places (vihaa-samthavia-saalangā, p. 2). Its author is Visvesvara, the son and disciple of Lakşmīdhara of great learning; and it is being staged at the behest of the learned assembly which has rightly judged its merits. Sūtradhāra feels highly pleased that his beloved well suggested what he had in mind. In a park, then enters the king, Rājasekhara, praising sleep which acquaints one with abnormal experiences (in dream). He is yearning for an unknown person. Inquired by Vidūşaka and with intervening remarks from him, the king narrates to him his latest dream. Hes He saw therein a girl of exquisite beauty, and felt very happy almost like Indra; the girl appeared to be in a mood of disappointment; Vasantatilakā, maid-servant of the queen, led her in saying that it was time for royal assembly; and she went out with heavy steps, looking at him. The king, who is suffering from pangs of separation, expresses his fear that the queen might come to know about this. He is assured by Vidūşaka that he might soon meet that girl; but he is pessimistic, for he knows neither her name nor place. He has now come to the park where he had seen her. Vasantatilakā comes there; the king suspects whether she overheard his talk; Vidūşaka holds disclosed that she did overhear the passionate expressions of 1 The colophon of the Ms, reads sūtaka. 2 Both of them belong to the Government collection in the Bhandarkar Oriental Research Institute, Poona 4; their Nos, are: 810 of 1886-92 and 435 of 1892-95. The latter is a good ms. containing the Prākrit text which has interlinear Sanskrit chāyā in red ink on some three pages at the beginning and some six pages in the middle. It is dated Saka 1639, i. e. 4. D. 1716-17, and thus almost contemporary with the author.

·INTRODUCTION 45 was the king. The king admires her sharp grasp, takes her into confidence, and tells her his vision in the dream. She realizes that he might have seen her friend śrngāra-mañjari; she requests him to paint her portrait; and from that she discloses that it that of her friend S.-mañjari. She writes on it a verse from her friend who, she conveys to the king, is also in love and pining for him helplessly. She takes king's permission to convey all this to her. Evening is announced. II. With that painting-board in his hand, the king is brooding over S.-mañjari's beauty and poetic skill. Now and then Vidūşaka is adding his comments. Both of them discuss how queen Rūpalekhā is jealously guarding the heroine, S.-mañjarī, whom, consequently, they are not able to see. The king tells Vidūşaka that a woman is always unhappy at the presence of a co-wife. While the king is conveying his plan to Vidūşaka, he receives an invitation from the queen, through Madhavikā, to attend the worship of Madana in the park; he goes thither immediately, being led by Vidāşaka; he is reminded of the heroine seen in that park; both of them wax eloquent on the scenes of spring, visible in the park. They halt under a Mādhavi bower awaiting the queen who arrives with her retinue and begins describing spring. They all proceed to the spot of worship, and the king takes seat with the queen, Vasantatilakā taunts Vidūşaka on the throbbing of his left eye: he feels offended and talks of his learning. He has a quarrel with her. He feels defeated and wants to quit the royal company caring a fig for the prospect of dakşiņā, because his merits are not recognised. At queen’s request, he stays there; and with great reluctance, she had to call Ś.-mañjarī to act as a judge, expert in sentiments, to settle the dispute between the Jester and maid-servant. Madhavikā brings S.-mañjarī who is quite happy at the opportunity of seeing the king. The queen does not want King and S.-mañjarī to see each other for long; she requests the king to begin with her Madana's worship, so that the dispute might be decided in the mean time. Vasantatilakā and Vidūşaka begin their dispute about srngāra in the presence of the judge; Vidūşaka feels that the real purpose, namely, that the king might see the heroine, is served; he gives no replies, and thus loses in dispute. As the business of arbitration is over, the queen asks the heroine to go back; and she, along with the love-lorn king, continues her worship. The blessings of all-powerful Madana are invoked from ·opportunity, goes ahead, and leads the heroine to the bower; 46 CAMDALERA behind the curtain. At queen's suggestion, king retires to the terrace. III. After a little discussion with the king on some aspects of love, Vidūşaka informs him how the queen is strictly guarding the heroine, and how even Vasantatilakā's movements are restrained, lest she might bring about a meeting between king and heroine. Still Vidūşaka managed to see Vasantatilakā. He learnt from her that the heroine is terribly suffering from separation; and every cooling measure is having an adverse effect on her. She is almost ready to end her life in order to get rid of this anguish of passion by hanging herself with a creeper-rope. To save her, she has been assured of a meeting with the king under the Mādhavi bower. She is living on that hope; and the king, if he is sincere, should kindly save her. Seeing that pradosa is announ unced, Vidūşaka requests the king to go to that spot and save her. Both of them proceed thither, describing various scenes. It is getting late at night, and they are wending their uneven way in thick darkness. They reach the rendezvous. There enters Śrngāramañjarī with a blue veil and accompanied by Vasantatilakā: they are chatting about darkness in which the heroine's face is a moon indeed. The king is happy to hear their sound. With auspicious omens they reach the appointed spot. The king catches the and they are left to themselves. The bashful heroine is patronisingly consoled by him; and he solemnly assures his whole-hearted love to her, and further confirms it by falling at her feet. As she is ready to go, the king requests her to continue her love: Vasantatilakā expects the same from him. The king assures that for him, as for a bee, she is a lotus in preference to all other flowers. IV. The king remembers his meeting with the heroine and thinks about her beautiful limbs. He feels sorry at the cruel behaviour of the queen who has, by this time, imprisoned Vidūşaka and Vasantatilakā and kept Ś.-mañjarī in a guarded dark room, under solitary confinement. Vidūşaka enters lamenting over his lot especially in the prison. He approaches the anxious king and tells him how he has been luckily free. Inquired about the heroine, he narrates the following details: “To-day the queen went to worship Pārvatī; immediately after the jubilations, a divine voice discoursed to the queen about the duties of a devoted wife; taking the hint, she decided to bring together ś.-mañjari and the king; and she ·INTRODUCTION ; attendanto 47 released all.' The king felt happy and surprised at this sudden development. The penitent queen comes along with heroine and mañjarī to him, and bestows on her the status of equality, that of a co-queen. He accepts her according to Gandharva marriage; he gives a gift of jewelled wristlet to Vidūşaka. Vidūşaka is going home but returns with minister Cārubhūti who greets the king as a Cakravartin and discloses the following details: Sțăgāra-mañjarī is the daughter of Jaţāketu, the king of Avanti; her husband would become a Cakravartin; she was being carried away by Manimālin who had become a demon according to some curse which came to an end on the way, and she was dropped down in a hermitage; thence she was brought to the palace and kept with the queen. The queen regretfully realized that S.-mañjarī was the daughter of her brother-in-law (āvutta), and she apologised to her for the treatment so far given. The heroine thanks her in return. The king prays for an all-round welfare. As Sattakas, shaped according to the definition of Nātikā with certain reservations, both Karpūra-mañjarī and Śrågāra-mañjarī have much in common; and they inherit good many motifs, with or without minor changes, from the earlier plays? of Bhāsa, Kālidāsa, Harşa etc. In certain details Km. and Sm, have close resemblance: their titles, the names of queens, the quarrel between Jester and maid-servant, a philosophical discussion between king and Jester about love, etc. But everywhere Visveśvara handles the situations and contrivances more skilfully; as constrasted with parallel situations in Km., the quarrel in this play is devoid of bald abuses; and the author is not tempted to give a dry list of names of female guards. Viśveśvara does not slavishly follow Rājasekhara's special ideas and expressions, though in a few places we are reminded of certain verses and idioms in Km. The king sees the heroine in a dream; he paints her in a picture; then her identity is ascertained : all this reminds us of the plot of Viddha-śālabhañjikā of Rājasekhara and the development of love-relation between Uşā and Aniruddha, and between Kandarpaketu and Vāsavadattā. The idea of bringing the heroine as an arbitrator is well conceived and managed with dignity: thus she is proved to be a veritable srngāra-mañjarī, as her name connotes. Viſveśvara shows a good deal of poetic 1 Especially Svapnavāsayadattā, Mālavikāgnimitra, Ratnāvalī, Priyadarsikā, ·48 OANDALEHA talent, smooth and flavoury presentation of details, and lucidity of expression. Some of his discussions are stiff. All his characters speak Prākrit, and there are four Yavanikäntaras. One of his remarks indicates that samdhyangas may be admitted in a Sattaka; and it is already noted above that Väsudeva detects some of them in the Karpūra-mañjarī, though some theorists explicitly prohibit them. Ghanas'yāma and his Ananda-sundarī The poet Ghanaśyāma', who calls himself mahārāstra-cūdāmani and who possessed epithets like Kanthirava, was the son of Mahādeva and Kāśī, and a grandson of Caundāji Bālāji. Īsa was his elder brother; Śākambari, his sister; Sundarī and Kamalā, his wives; and Candrasekhara and Govardhana, his two sons. He was born in 1700 A. D., and lived as far as 1750. At the age of 29 he became the minister of Tukkoji I (1729-1735) of Tanjore. He was a voluminous writer, starting his literary career at the age of 18. As he himself reports, he composed 64 works in Sanskrit, 20 in Prākrit and 25 in vernacular; a detailed list of his compositions is already prepared by Prof. Chaudhuri in his paper; and he covers various branches of literature : plays, poems, anthologies, Campūs, commentaries and treatises on technical subjects like grammar, rhetoric, philosophy, etc. Ghanaśyāma was offensively self-conceited, and he paraded his learning in various quarters. He looked down upon earlier authors, even of established eminence; and he held poor opinion about their literary achievements. He styles himself sarva-bhāṣā-kavi, with a mastery over seven or eight languages and scripts. He feels himself quite competent, almost equal, if not superior, to Rājasekhara, in composing a Sattaka which is entirely in Prakrit. His attitude towards Prākrit is well expressed in the conversation between Vidūşaka and Sūtradhāra. In his opinion, an eminent poet need not be ashamed of composing works in Prākrit. A heretic shuns a sacrifice; a voluptuory, virtues; a block-head, learning: one vainly condemns whatever is impossible for oneself. Those who are skilled in only one language are part-poets, while he who can compose in many languages is a full-blown poet of renown. According to Prof. Chaudhuri's list, Ghanaśyāma appears to 1 For the life and works of this poet, see Prof. J. B. Chaudhuri's paper ‘Sanskrit Poet Ghanaśyāma', Indian H. Quarterly, vol. XIX, 3, Pp. 237-51.

·INTRODUCTION 49 2 have composed three Sattakas: 1) Vaikuntha-carita, 2) Anandasundarī, and 3) an anonymous one. Two MSS. of Ā..-sundarī have been accessible to me; and its contents are summarised below. I. After benedictory verses invoking Vişņu-Lakşmi etc., Sthāpaka or Sūtradhāra and Vidūşaka discuss a letter from an Association (sāmājika-lekhaḥ) for staging an interesting play; and it is decided to enact a Sattaka, the Ananda-sundari, composed, at the age of 22, by Ghanaśyāma (described) who is as competent as Rājasekhara, who has won a title Kaņķhīrava, and who can compose works in various languages. Sūtradhāra, who is wishing for a son, suggests the plot by a simile: Sikhandacandra marries the daughter of Caņdavega; he has a son from her; and he becomes a universal monarch. The king reflects on his fortune and discloses certain details : The minister Dindiraka has been sent out to subdue Vibhāņdaka of Sindhudurga who refused to pay the tribute; and he is expected to come back victorious. The king hopes that his anxiety for a son would soon disappear: the king of Angas has sent his daughter Anandasundarī to win his affection ; fearing that the queen might know this, A.-sundarī has been dressed as a man, with a name Pingalaka, and given in charge of the chamberlain Mandāraka; and as foretold by an astrologer, she might have a son. Bards greet the king with morning prayers by describing the advancing day. Vidūşaka has offended unwittingly another Brāhmaṇa Maņdūraka; and the king settles the quarrel by a present to the latter. The king wishes to see a nataka staging how Anandasundarī was brought etc. composed by Pārijāta-kavi. Pingalaka and Mandāraka are also invited, and a garbha-nātaka is introduced. It depicts how 1 It has to be seen whether this anonymous play can be the Navagrahacarita which, though put by Keith under Nātaka (The Sanskrit Drama, p. 345), is described by M. Krishnamachariar (History of Classical Sanskrit Literature, p. 248) as Sattaka in Prākrit. It is necessary that Mss. of Vaikunthacarita and Navagrahacarita should be inspected and seen whether they are Sattakas. 2 One complete ms. containing Prākrit text and Bhattanatha's Sanskrit commentary belongs to the Government collection at the Bhandarkar Oriental R. Institute, Poona, No. 432 of 1899-1915; and another & transcript of a Ms. No. 683/4681 from The Tanjore Sarasvati Mahal Library, Tanjore. The latter is wanting in some portion at the beginning. 7 7.3.

·50 CAMDALEHA A.-sundarī was dressed as a man and brought to the harem. As the characters of the spectators are there in the garbhanātaka, a good deal of fun is created by Vidūşaka who often misunderstands the situation. The king broods over A.-sundari's beauty while the play is going on. The time for midday meals is announced, and all get up for bath. II. The king tells Vidūşaka that Hemavati divulged their secret to the queen with the result that Mandāraka has been chained and Anandasundarī is confined in the ornament box by her. He reflects over the miserable lot which has befallen that beautiful girl on account of queen's jealousy. Vidūşaka blesses him with good luck. Then to divert king's mind, there enters the poet Pārijāta, alias Kanthirava, vaunting his poetic abilities. In a high-flown style, full of long compounds, subtle allusions and mythological references, he praises the metropolis Śrňkhalāvati and its specialities, the palace Damaruka, and the king Sikhandacandra of great glory and his virtues. The king is highly pleased and is ready to give any present, even his kingdom, to the poet who declines the offer by saying that he already possesses the kavitāmaha-sāmrājya. To divert himself the king proposes to Vidūşaka that they should describe the various limbs of the heroine A.-sundarī; and they do so by singing the lines of a verse alternatively. The king is suffering acute pangs of separation which are heightened by midday announcements of bards : he realizes that the real remedy is to win queen's favour. III. The king feels happy now, because he has been able to win queen's favour. With sly interpellations Vidūşaka wants to know how this could be achieved. The king narrates the details how he met her in the bed-room, how she was angry with him, how he lay prostrate at her feet like a servant, and how thus finally her heart was won over and she promised to celebrate his marriage with the heroine Anandasundarī, The queen enters with the heroine and attendants, the former in wedding dress: the king must have an issue, so the marriage is approved by all. The queen bestows the heroine on the king, and the wedding ceremony is celebrated. The couple is blessed and greeted by all; and Vidūşaka exchanges a few bitter jokes with maid-servants. The king, heroine, Vidūşaka, etc. come to the Śrngāra-vana where the heroine is made acquainted with various trees etc. The evening and rising moon are announced by bards; the king and heroine retire to the bed-chamber. $ ·INTRODUCTION IV. Vidūşaka finds the king anxious about heroine's worries whether king's love for her would remain firm, whether she would have a meritorious son, and whether she would deliver happily. The king has assured her duly. Vidūşaka cuts a few jokes with him, and getting the necessary d details he assures him that the period of pregnancy is full and that she would certainly deliver a son. The victorious minister Dindīraka arrives. A garbha-nātaká composed by Pārijāta-kavi is staged. It is shown how Dindīraka leads à fleet, how the demon Vibhāņdaka is overpowered and made to run away by a sudden terrific uproar, and thus the victory was won. The king is highly pleased with this triumph, and is almost ready to give his kingdom to the brave minister. Just at that moment the report of the birth of the prince is conveyed to the king. By eating a miraculous herb sent by her father Candavega, Ānandasundari is quite hale and hearty. The queen enters accompanied by heroine with the child and attendants, and congratulates the king on the birth of a prince. The queen names the prince Ananda-candra and puts him on king's lap. Bards greet the king; and the play ends with a significant Bharata-vākya. Ghanaśyāma almost vies with Rājasekhara in composing a Sattaka; it must be said to his credit that he has a sufficiently independent plot; and excepting a few echoes of expression, he borrows very little from the Karpūramañjarī. The introduction of two garbha-nāšakas is a peculiarity of the Ā.-sundarī, especially because they represent episodes which are a part and parcel of the theme of the play itself. It appears from a casual remark of Vidūşaka that Ghanaśyāma believed that a Saţtaka without a garbhanāțaka is positively faulty (apahāsa-bhājana). Ghanaśyāma is more a Sanskrit poet; and some of his forms and expressions are so artificial in Prākrit that at times his verses become intelligible only after they are rendered into Sanskrit. That only shows that later authors lacked close touch with the genuine style of early Prākrit works and still finished their compositions mainly by studying Prākrit grammars. In this respect Viśveśvara's expressions are more natural in Präkrit than those of Ghanaśyāma. Rājasekhara and other authors do use certain Desī words. In a way the same tendency is carried to its logical extreme when Ghanaśyāma freely and studiously uses a number of Marāthī nouns and roots : some of his usages are current even in present-day Marāthī. To a great extent the interest of the reader or spectator of this play is sustained by the ·We have a Sthāpanā at the 2nd and bibhatso are absent. 52 CAMDALEHA light humour with which many of the conversations and remarks, especially of Vidūşaka, are replete. The author creates humour by words of double meaning, stray pricky remarks, caricature of holy things, exaggeration, innocent tricks and slips, sly jokes, somewhat vulgar references, outspoken frankness and by light remarks on serious occasions. Ghanaśyāma is well-known for his pride and show of learning; and it is not surprising that the poet Pārijāta, alias Kaņțhīrava, is only his own replica. The entire play in four Javanikāntaras is in Prakrit: Sūtradhāra, however, once quotes a Sanskrit verse which brought to Ghanaśyāma the title Kanthīrava, and a second time repeats the request of the Association in Sanskrit. The king also speaks in Prākrit; only once in the fourth Yavanikāntara, he sings à verse in Sanskrit ( Samskrtam āśritya). This sporadic use, I think, has nothing to do with the view of some theorists that the king is to speak in Sanskrit, 9) CANDRALEKHĀ: A SATTAKA. It is but inevitable that a late author like Rudradāsa has in view the earlier definitions of Nātikā and Sattaka, and that his Candralekha is influenced by the existing models of the same. The characters of Mānaveda, Devi and Candralekhā are of the time-honoured mould and quite suited for a Sattaka. The principal sentiment in the Candralekhā is erotic or srngāra presented in its various aspects and through suitable styles or vrtti. The marvellous sentiment, as stated in the Sāhityadarpaņa, is supplied in this play by introducing the jewel Cintāmaņi. Other rśvaka. There are no Praveśaka and Viskambhaka, and instead of Anka we have Yavanikāntara. All the characters have their speeches and verses in Prākrit. It is only the names of characters and stage-directions that are in Sanskrit. It is natural that they should be in the same language in which the characters speak: this rule was observed by Aśvaghoșa; but after him the practice appears to have fallen into disuse and replaced by the convention of using Sanskrit for them. None of the Sattakas has reverted to the practice seen in Asvaghoşa's plays. The adjective baṁdhurango perhaps indicates that Rudradāsa has no objection for introducing Saṁdhyangas which are prohibited by Śāradātanaya. Thus the 1 See pp. 21-3 above. 2 Keith: The Sanskrit Drama, p. 86.

·INTRODUCTION 53 Candralekha fulfils the essentials of a Sattaka; and most of the motifs on which its plot is built are found in the Karpūra-mañjarī as well as in some Nātikās. v) KARPTRAMAÑJARĪ AND CANDRALEKHA Reading side by side the two Saţțakas, Karpūra-mañjari and Candralekhä, one is struck by the remarkable similarity between them. Some of the scenes and their sequence in Cl. closely resemble, if not imitate, the parallel scenes in corresponding places in Km; and a few instances may be added here. I. The Prastāvanā of Km. and Sthāpanā of Cl.; the king, queen and Vidūşaka offer descriptions with the seasonal back-ground of spring; the heralds greet the king; Jester quarrels with a maid-servant; a beautiful heroine is described; Bards announce evening; and the characters retire from the stage. II. The attendant tries to divert king's mind; the king broods over heroine's beauty; in Km. the king sees the heroine on the swing and in Cl. at the singing entertainment; both king and Vidūşaka sing alternative lines of a verse and describe the maiden with fanciful imagery.' III. The king and heroine meet in a park; the rising moon is described; and the meeting is dispersed by the queen's arrival. IV. The heroine is put into a prison by the queen and guarded by a battalion of maid-servants. Then there are many ideas and expressions common to both; and the prologue at the opening is a good illustration: therein īśvara and Pārvati, quarrelling in love, are referred to; Sattaka is defined; the author introduces himself, informs the audience at whose instance the play is staged, and gives the gist of the plot; and in all this even some sentences are identically worded. A few common ideas may be noted here. The Caitra breezes touch the Cola girls, and they are enjoyed by cobras on their way (Km. I. 15, 20 & Cl. I. 23–4); Viļūşaka claims hereditary learning (Km. I. 18. 1 & Cl. I. 26. the entrance of a heroine with moon-face (Km. I. 25. 6 etc. & Cl. I. 30, 31); musk cannot be sold in a village (Km. I. 18. 18 & Cl. II. 9. 26); Jester has a truce with the maid-servant (Km. II. 6. 14-15 & CI. II. 10. 15); the king requests the heroine not to stand up lest there might be physical pain to her (Km. III. 21 & Cl. III. 12. 11-12); the king with horripilations resembles a Kadamba plant 1 Konow puts both the lines of a verse in the mouth of Vidūşaka. He has recorded some mss. which put one line in the mouth of the king and the other in that of Vidūşaka. Rudradāsa appears to have had before him auch Mss. of Km. 2 ·54 CAMDALEEA Km. III. 24 & Cl. III. 13); the appearance of earth at moon-rise Km. III. 25 & Cl. III. 15); the achievement of the king in this play (Km. IV. 23 & Cl. IV. 29); etc. There are also a few common or nearly common expressions, besides those in the Prologue, between the two works : see for instance, Km. I. 19. 7 & Cl. I. 26. 13; Km. I. 36.1 & Cl. I. 47.7; Km. II. 1.3 (note the variants) & CI. II. 1.4; Km. III. 24.2 & CI. III. 14.2; Km. III. 26. 1-2 & CI. III. 16. 2-5; Km. IV. 9. 2 & CI. IV, 26.1; etc. Some verses have a similar ring, at times with certain common words; and some of them have the same metre in corresponding contexts: for instance, Km. II. 10-11 & Cl. II, 14-15; Km. II. 32 & CI. II. 23; Km. III. 29 & CI. III. 21; etc. and Km. I. 1-2 & Cl. I. 1-2; Km. I. 17 & Cl. 24; etc. Even some of the stage-directions are nearly the same at similar contexts: see for instance, Km. I. 25. 10-12 (see the variants ) & Cl. I. 27. 16-17; Km. III. 20. 24-25& Cl. III. 12. 9-10; etc. In giving the list of maid-servants (Km. IV. 9. 8 etc. & Cl. IV. 26. 7 etc.) Rudradāsa, somehow setting aside his sense of moderation, mechanically follows the model of Rājasekhara. The opening words bhaddam hou or deu, with some symbolic auspiciousness, are common to both; and it is not unlikely that the title Candralekhā, which in the case of Nātikā and Sattaka should be the same as the name of the heroine, has suggested itself to Rudradāsa from the title of the Mrgānkalekhā Kathā of Aparājita to which Rājasekhara has made reference in his prologue. Some of the motifs and situations are common; in a way they are found, with or without minor changes, in most of the Nātikās and Sattakas. The king becomes a Cakravartin after marrying a princess who is brought to his palace through some miraculous means; he falls in love with her, and she also loves him; the fever of love increases on both the sides; she sends a love letter to him; he sees her and also meets her; the suspicious queen watches her movements and finally imprisons her; at last the queen becomes favourable; and the wedding ceremony is celebrated. There are certain aspects of Km. which have not got their counterparts in Cl.: the round-about abuses exchanged by the Jester and Cetā; King's dream and Vidūşaka's counter-dream; and the discussion about the philosophy of love between the king and Jester. Whatever is ostentatious, excessive and extreme in Km. is often toned down and presented in a sober form in Cl. The vaunting Bhairavānanda with his licentious creed is replaced by the jewel ·INTRODUCTION 55 Cintāmaņi presided over by à patronising and benevolent deity; the swing and Asoka scenes have their purpose served by a singing entertainment. Rājasekhara, as a young court-poet and having his play staged at the instance of his cultured wife Avantisundarī, shows a youthful buoyancy in depicting the amorous sentiment; his descriptions of womanly beauty are frank, and pining plaints of separated lovers are outspoken. Rudradāsa, however, shows a great deal of self-restraint without sacrificing the flow of sentiment: he fully describes his heroine, but she is not half-naked, brought before the king in her bathing dress; he gives fewer opportunities for the king to see and describe the heroine. In fine his amorous sentiment is characterised by a subdued spirit and presented with moderation. Rudradāsa has his innovations and improvements. The episode of the Sārikā bird, which is placed in the throat of a statue put in the drawing-room of the king and which overhears king's talk to divulge it to the jealous queen, is not found in Km.; but it is well used in Cl. to heighten queen's anger. A similar motif is employed by Rājasekhara in his Bālarāmāyaṇa (V.6). The scene of various feudatories paying respects to the king, introduced in Cl., has nothing dramatic about it; but possibly it is intended to tickle the vanity of Mānaveda who is not an imaginary hero but a ruler contemporary with the author. In Km., the heroine gives all her personal details to the queen, and their relation is clear almost from the beginning: this has forced Rājasekhara, through the mouth of Bhairavānanda, to give non-factual or imaginary names of the parents of Ghanasāramañjarī which is only another name of Karpūramañjarī whose parents are already once mentioned, and also to introduce that hide-and-seek scene so hard to manage on a simple stage. Rudradāsa has successfully improved on this. The heroine, when she comes first, is recognised only as noble-born; and her real identity and relation with the queen are disclosed almost at the end. In a way all this can be managed better on the stage. Rudradāsa makes no reference whatsoever either to Rājasekhara or to his Karpūra-mañjarī as for instance Nayacandra has done. The above observations make it abundantly clear that Cl. is primarily based on Km. and inherits many of its details. But the Candralekhā, it has to be admitted, distinguishes itself mainly on account of its author's individuality which is that of a rigorously trained poet who is endowed with a sober mind, pious temperament amateur skill, uncreative but orderly genius and subdued zeal.

·extraordinary about them that they might get individualised and 56 CAMDALEHA vi) CANDRALEKHĀ, AS A LITERARY PIECE When the spring season is bathing the earth with beauty, the miraculous jewel Cintāmaņi brings to the palace of king Mānaveda a lovely girl, of noble descent and winning appearance. The king falls in love with her, and she also feels attraction for him. The queen is suspicious and guards her movements. The king suffers pangs of separation, and his mind is being diverted by Vidūşaka and attendants. Once he gets an opportunity to see and hear the heroine singing in the Ruby park. Along with the passion of lovers, the jealousy of the queen increases. The lovers meet each other in the Plantain arbour. The queen now keeps the heroine in chains. The lovely heroine, it is disclosed, is Candralekhā, the cousin sister of the queen; and she was already betrothed to Mānaveda whom she would make a universal monarch. The queen consents to the marriage, and Mānaveda is wedded to Candralekhā. This is the outline of all that we get in the Candralekhā by way of plot. The story is neither engrossing, nor are the threads of the plot complicated. This is all quite in keeping with the spirit of most of our dramas; and the subject-matter is just of the pattern dictated by theory for a Nātikā, and consequently for a Sattaka. In working out the development of the intrigue and some of the details of the plot (for instance, the Sārikā episode, Vidūşaka talking in dream, keeping the heroine unrecognised almost upto the end, etc.) Rudradāsa shows some cleverness. The characters are of timehonoured mould; their words, movements and acts have nothing capture the attention of readers or spectators: in short there is no attempt at characterisation. Due to want of action, the Candralekhā is more a dramatic poem with a set of florid and poetic extracts than a play; it deserves to be read, nay studied, rather than witnessed; and its author stands before our eyes more prominently as a poet, Rudradāsa has created many an opportunity for descriptions in which he could exhibit his poetic ability: the king Mānaveda, his metropolis, the spring scenes in the park etc., physical charms of a maiden, the condition of separated lovers, the singing entertainment, the evening, moon-rise, the feudatory kings etc. He takes peculiar pleasure in presenting long metres and prose passages loaded with lengthy compounds. These long speeches rumbling with compound expressions would certainly torture an audience.

·What could have been mastery over Prākrit versification. Some of his a varieties are inclination for sound INTRODUCTION 57 described there at length. Racy conversation with pithy sentences pushing on the plot in a brisk manner is a thing perhaps unknown to our author. Even the Jester's quarrel with the maid servant has nothing particularly light and huroorous about it. The pining plaints and the passionate outbursts of the king in the presence of Jester etc. afford nice occasions for the poet to introduce lyrical stanzas describing beauties of nature, graces of women and caprices of cupid. Rudradāsa's depiction of love or amorous sentiment lacks buoyancy and is presented under much restraint. Apart from the artificiality of his Prākrit dialect, Rudradāsa's style is forceful but heavy. His descriptions present a flurry of high sounding words; and there is little of originality and subtle touch in the imagery projected by him. Some of his ideas in the description of moon-light and heroine's graces have an air of novelty, but it is often obscured by heavy and elaborate expression. His rushing composition often reminds us of the style of Bhavabhūti and Rājasekhara; the latter, of course, is his immediate model. Though he does not possess much case of Prākrit expression, he can nearly rank with Rājasekhara in his love for long metres and his quite happy in their sound and sense; and here and there, though to a less extent when compared with Rājasekhara, he shows some This play, as the author tells us, was composed for the pandita-nandala, the Learned Circle, in the court of Mānaveda. Rudradāsa thus sought the approval of men of learning who were intent on discerning poetic merits and beauties in his play. He has strained every nerve to give elaborate descriptions, highly decked prose passages and high sounding verses; it is a fine exercise in cultivated style through literary Prākrit; but the result has fallen short of what a drama should really be. vii) PRĀKRIT IN THE CANDRALEKHA In estimating the cultivation of and the composition in a literary language, three factors are to be mainly considered: the grammatical mould, the literary nourishment and incidental influences, To be more explicit, in judging the composition of an author in a classical language we must try to ascertain what grammatical system he had studied, what tract of literature in that language 8 चं, ले.

·58 CAMDALEHÀ he was acquainted with, and what incidental influences on his language have been there from contemporary regional languages, from the author's mother-tongue and from his specialised knowledge etc. A. post-medieval Jaina author from Gujarāt and round about writing in Prākrit shows sufficient mastery over Hemacandra's Prākrit grammar. His language shows that he is acquainted with Ardhamāgadhi canon, post-canonical treatises and Prākrit (or, as we call it to-day, Jaina Māhārāștri) works of authors like Haribhadra. The Sanskrit language in which he is normally adept, the popular Apabhrmśa poetry with its various peculiarities, the vernacular idioms and words, and the Jaina technical terms-all these, in some degree or the other, leave their stamp on his language and style. Many postmedieval Prākrit authors from the North not only show, like earlier authors, traces of popular Apabhraṁśa in their language but also add, without any hesitation, their songs and specific descriptions in Apabhramsa almost in continuation of their Prākrit composition. For us, from a distance, this is rather strange; but for them, and really speaking, composition in Prākrit and Apābhramśa, side by side, was but natural and inevitable in the North in post-medieval times. The South Indian authors like Līlāśuka, Śrīkantha, Rudradāsa and Rāma Pāņivāda, who come from the extreme South, have contributed their mite to Prākrit literature under great handicaps which we may try to appreciate. They belong to the decadent period of Prākrit literature; Prākrit had no attraction for them as the language of their religious scriptures; they lived in a part of the country where the current languages were of Dravidian stock and unconnected with any stage of Prākrit; and their acquaintance with the Indo-Aryan languages was mainly through the study of classical Sanskrit grammar. In the light of the above remarks, a study of Candralekhā shows certain facts. Rudradāsa is following the Prākrit grammar of Vararuci, the first nine chapters, as available in southern Mss. About the Prākrit literature which he had studied there is very little direct evidence in his style and language. He does not appear to have studied any Prākrit and Apabhramśa works of Jaina authors from the North: their influence is not seen at all. The Karpūramañjarī of Rājasekhara, as preserved in South Indian mss., was there before him; and he has closely followed it, even reproduced some sentences from it. It is quite likely that he studied Prākrit ·INTRODUCTION loss of one of the 59 portions of plays, gāthās from Hāla's Kośa and poems like Rāvanavaho. His strength as a Prākrit poet is mainly based on his thorough grounding in Sanskrit language and literature, his ability to corrupt Sanskrit words into Prākrit, directly or analogically, by applying the rules of Vararuci's grammar, and lastly, on his facility of handling various metrical forms including the varietes of gāthī. It is but natural that the Präkrit of Candralekhā sounds artificial, much different from the lively expression in genuine Prakrit literature. Minor dialectal differences apart, the classical Prākrit stage, as distinguished from Sanskrit, characterises itself by certain phonetic peculiarities: the loss of vowel sounds ?, ?, ai and au; the reduction of three sibilants to one; the final syllable to be necessarily a vowel, at times with anusvāra or nasalisation; simplification of conjunct groups through processes like assimilation; and the law of quantity which brings about shortening of long vowels before double consonants, reduction of several consonants to two and sometimes after a vowel which was originally short and has only been lengthened at the same time. Speaking about its phonetic aspect, with Sanskrit at one end and the rise of Modern Indian languages at the other, the intervening stage of Prākrit in its wide sense or Middle Indo-Aryan can be split into various consecutive sub-stages: Old or Early Middle Indo-Aryan (Early Prākrit Stage), Transitional Middle Indo-Aryan, Second Middle Indo-Aryan (Prākrit Proper), and Third or Late Middle Indo-Aryan (Apabhraṁsa). The first stage keeps the intervocal single stops intact; during the transitional period they get voiced or spirantised; and in the Prākrit Proper they drop off from the speech. Apabhramśa presupposes almost entirely the Prākritic vocabulary; and then it is an attempt at the grammatical approximation to the language of the people. These sub-stages can be roughly illustrated by various Prākrit dialects: Inscriptional Prākrit, Pāli, Paiśācī; Saurasenī, Māgadhī; Māhārāștrī; and Apabhramśa. This marking of sub-stages is true so far as theoretical evolution in concerned; but once these stages are given a 1 E. Jacobi: Ansgewählte Erzälungen in Mābārāştrī, Intro., P. XII, Leipzig 1886. 2 S. K. Chatterji: Indo-Aryan and Hindi, p. 84, Ahmedabad 1942.

·27 during a century or two both before and after Christ-roughly, from and under the Andhrabhrtyas, that a 60 CAMDALEHA literary status and used in literature, they may be cultivated as literary languages side by side and even with cross influences and regional colouring. The chronological sequence can no more be maintained. According to Dr. Chatterji: “This spirant pronunciation appears to have been in force for the entire Aryan speech-area 200 B. C. to 200 A. D. Orthography in inscriptions, and hesitancy about intervocal stops are an indication of this spirant pronunciation: also some evidence is obtained from the employment of the Indian alphabet for an extra-Indian language like Old Khotanese, which possessed these spirants. The Indians did not care to invent new signs for these new sounds. Turning to the evidence supplied by literature, that phase of Prākrit or Middle Indo-Aryan, which shows the general tendency of dropping intervocalic stops, appears to have come into a literary prominence and was used in an artistic style sometime in the first two centuries of the Christian era. It had its blooming expression through its favourite gathā metre; and the collection of seven centuries of gāthās attributed to Hāla does presuppose a large body of lyrical songs. In general these gāthās are elastic in sound, natural in expression and fresh in outlook. A continued literary cultivation was bound to give such a language an artificial appearance. Perhaps it was Mahārāştra, with its area round about Pratişthāna dialect; but soon it gained ground and popularity, as a literary language, elsewhere too. The phonology of Ardhamāgadhi of the Jaina canon, which was rearranged at the Valabhí council in 453 A. D., came under its influence. The literary Prākrit cultivated by Jaina authors does possess elements of earlier stage as seen in the Vasudevahiņdī; but even that (which we call Jaina Māhārāștrī), in the works of Haribhadra etc., began to approach very near the dialect of lyrical gāthās. Even learned Sanskrit writers felt attraction for it. A highly trained poet like Pravarasena, who possessed a remarkable mastery over Sanskrit vocabulary and metres, chose this Prākrit dialect for a learned kõvya, and we have his Setubandha today. Daņdin (earlier than 700 A. D.) compliments it as being written in the best Prākrit current in Mahārāştra. This Prākrit has been called by the name Māhārāştri. The artistic poems like the Gaudavaho, Lilāvati etc. in gāthā metre, are also written in the same. Its popularity can be guaged by ·INTRODUCTION 61 some were 2 3rd century D.) who more facts.: Prākrit grammarians give it an elaborate treatment, and accepting it as a standard, note the deviations from it in the case of other dialects; rhetoricians quote plenty of verses in this dialect; and many more Kāvyas, than those available today, written in it. Delineating its back-ground, Jacobi? has suggested its influence even on Sanskrit poetry: "It was probably through its contact with a popular poetical art, the one in Māhārāștrī, that the Sanskrit poetry of the Renaissance also gained those qualities of freshness and naturalness which are praised in the case of Vaidarbhí." The Prākrit metre Gathā appears as Āryā in Sanskrit; and Somadeva in his Yaśastilaka and Jayadeva in his Gitagovinda imitated some popular Apabhraṁsa metres, According to early dramatic theory, to a very great extent confirmed by the Prākrit speeches in plays, Saurasenī was put The dramatic tradition of Bharata gives a place of recognition to Saurasení. Phonetically it belongs to the transitional stage in the evolution of Middle Indo-Aryan; but with the gradual popularity of Māhārāștrī, it was sure to be affected by it as a literary language. Jacobi has already detected a Pre-classical Prākrit, which was used in place of Māhārāştri in early days, in the Dhruvas of the Nātyaśāstra. In some respects it is akin to Saurasenī,' a name already given to it by Bharata himself. It possesses many a trait of transitional character. The dialect of the sūtras of Dhavalā etc., the Prākrit prose commentaries therein, and of the Pro-canonical texts of Digambarast is more akin to Sauraseni than to classical Māhārāştrī. Any way Saurasenī, possibly a literary language based on the popular speech of Śūrasena country, has to be accepted as an eminent Prākrit of the plays, The Indian dramas, almost from the beginning, contain both 1 Ausgewählte Erzälungen in Māhārāştri, Intro. p. XVII. 2 See Jacobi's discussion in his Essay on the Younger Literary Prakrit, Bhavisattakahā (München 1918), Intro. pp. 81-89. 3 M. Ghosh: Prākrta Verses of the Bharata-Nātya-śāstra, section 4, Indian H. Q., vol. VIII, 1932; The Date of the Bharata-Nātyaśāstra, p. 29, Journal of the Department of Letters, vol XXV, Calcutta 1934. 4 A. N. Upadhye: Pravacanasāra (Bombay 1935) Intro. Po 124 f.

·62 CAMDALEHA Sanskrit and Prākrit, and are written in prose and verse. The dialect of the Prākrit prose can be Saurasenſ, or Māgadhī or something approximating to it according to conventions which had at their basis actual facts in the society in earlier times, In early days the songs too must have been in Saurasenī like the Dhruvas of the Nātyaśāstra. But with the rise of lyrical gāthās in Mābārāştrī, the preeminent Prākrit of poesy, the plays were sure to admit some of them for the entertainment of the audience. Though they are absent in the plays of Bhāsa, their traces appear in the Mrcchakațikam and Sākuntalam. The Prākrit language of the plays in general and of the verses in particular was bound to be influenced by Māhārāștrī tendencies. It is in this back-ground that we have to understand the remark of Viśvanātha in his Sāhityadarpaņa (VI. 159): “that women not of lowly origin should speak Sauraseni in drama, but in their songs they should use Mābārāştri. The verses used in plays could not escape the influence of that elastic dialect so happily perpetuated in the gāthās of Hāla etc. Sauraseni and Māhāraştrī might have had their basis in popular speeches in two different regions; but it is almost beyond detection Once they became literary languages and were imitated in literature, all the while evolving side by side, mutual contamination, especially in the plays, was inevitable. When grammarians use these terms, we must try to grasp their limitations. The grammatical tradition they themselves followed and the literature which they had in view give a specific significance to all that they add about them. Though it is true, to a certain degree, that they have a basic common tradition about Prākrit grammar, almost all our Prākrit grammars are partial attempts: their sphere of influence is often limited and the literature which they have taken into account is meagre. Naturally we face a complicated situation today in distinguishing Sauraseni and Māhārāştri as described by different Prākrit grammarians. In the plays some influence is weilded by Sanskrit also on the Prākrit passages, because the passages in both of them are preserved side by side. Pischel, it is true, has attempted a comprehensive Prākrit grammar which is admirable; but by rigorously applying his standards to earlier texts we are faced with grave difficulties. A good illustration to the point now. 1 See the discussion above pp. 24-27. 2 Grammatik der Prākrit Sprachen, Strassburg 1900, ·INTRODUCTION need not be applied to it; it should be called Prakrta as the author 63 is seen in Pischel's 2nd edition of Sakuntala brought out by Cappaller. Without important new Ms. material, dialectal changes in Prākrit passages were effected in view of grammatical demands. With a zeal for thoroughness and uniformity Konow had to correct many forms, even against the readings of all mss., in order to make the prose thoroughly Śauraseni and verses thoroughly Māhārāşțrī in the Karpūra-mañjari. If the best mss. do not sanction a form, the editor, I think, has no right to restore it, simply because he holds a certain grammatical discipline as his standard. In his edition of Karpūra-mañjarī Konow has put all the verses in Māhārāștrī and prose in Saurasenī, following the definitions of these dialects mainly as given by Pischel. But in this edition of Candralekhā, as explained above (p. 5 f.), I have been faithful to the ms. I believe, neither the standard of Hemacandra nor that of Pischel can be rigorously applied to the Candralekhā. It is true, in a general way, that the verses here show some tendency to use the verbal terminations -3, -4 rather than -di, -du; but not that they do not at all use the latter in verses and the former in prose. Rudradāsa writes both his and prose in the same language; the terms Saurasenī and Māhārāștrī as defined by Hemacandra, Mārkaņdeya or Pischel calls it; it is nearly the same as the one described in the grammar of Vararuci, current in the south; and it is much influenced by the expressions of the Karpūra-mañjarī. viii) METRES IN THE CANDRALEKHĀ The Candralekhā contains (41+34+24+30=) 129 verses, in different metres, distributed over four Yavanikāntaras. They are arranged below according to Devanāgarī alphabets, with necessary references to Yava. and verse-number. Aryā (2): II. 32, III. 22. Udgīti (1): II. 26. Upagīti (1): I. 11. Gīti (27): I. 7, 8, 9, 10, 12, 25, 26, 31, 32, 33 and 37, II. 6, 11, 12, 17, 18, 22, 24, 25, 27, 28, 29, 30, 31 and 33, III. 1 and 7. Dodhaka (1): III. 21. Puşpitāgrā (3): I. 2, III. 2 and 13. verses 1 Kalidāsa's Šakuntala, Harvard Oriental Series, 16, Harvard University Press 1922, Preface p. 15 f., and also p. 250 etc.

·3 9 His the 64 CAMDALEHT Pșthvi (10): I. 17, 21 and 30, II. 23, III. 17 and 18, IV. 7, 25, 26 and 30. Mandākrāntā (2): II. 8 and 13. Mālinī (4): II. 5 and 9, III, 4 and 5. Rathoddhatā (2): I. 18, III, 23. Vasantatilaka (16): 1. 5, 13, 16, 35, 36 and 40, II. 16, III. 3 and 6, IV. 10, 12, 14, 16, 18, 20 and 22. Śārdūlavikrīļita (26): I. 1, 3, 6, 14, 20, 22, 23, 24, 28, 34 and 38, II. 1, 7, 10 and 21, III. 8, 11, 12, 14, 15, 16 and 20, IV. 1, 2, 5 and 17. śikhariņi (3): I. 4 and 41, II. 15. Sragdharā (27): I. 15, 19, 27 and 39, II. 2, 3, 4, 14 and 34, III. 9, 10, 19 and 24, IV.4, 6, 8, 9, 11, 13, 15, 19, 21, 23, 24, 27, 28 and 29. Hariņi (2): II. 19, 20. It is in the fitness of things that our author has included many Gītis etc. which are the verieties of Āryā, the same as Gāthā, the preeminent Prākrit metre. One Gīti is short by two mātrās in the 3rd pāda (II. 12). There are some cases of the violation of yati, for instance, I. 19 ( 4th line), I. 38 (3rd line), II. 5 (4th line), II. 8 ( 4th line), III. 4 (1st line), III. 19 (2nd line), III. 20 (4th line), IV. 1 (1st line), IV. 9 (first three lines), 11 ( 4th line) and 13 (3rd line). 4. RUDRADĀSA: THE AUTHOR The information which the author of Candralekhā gives about himself in the Sthāpanā (I. 5. 4 etc.) of the play is quite meagre. (varsa) the members of which took pride in their devotion to the feet of Brābmaņas, were far famed, and diverted themselves by literary compositions; and he was a disciple (sisya) of Rudra and Srikantha who were eminent in giving instructions. We may try to shed some light on the above points from other sources. According to the Manusmrti (IX. 178), Pāraśava is an issue of a Brāhmaṇa from a Śūdra lady. Yājňavalkya says that she is a wife by marriage. Such a son, though living, is as good as dead, i. e. he does not possess all the rights and privileges of a son; and hence his name pārasava (pārayann eva savaḥ). Kullūka allows frāddha etc. for him. The Pāraśavas have a pretty ·INTRODUCTION 65 high antiquity.” “An inscription from Bengal, belonging to the seventh century, describes a certain individual as “pāraśaya' and makes him the issue of a Brahmin father and a Sūdra mother, which is in conformity with rules of the sacred laws. Bāņa, in his Harshacharita, also tells us that his father, a Brahmin, had a Śūdra wife besides a Brahmin one, and describes her issue as his pāraśava brothers'.” In the Kerala province Pāraśapas are known as Vāriyaras ( also spelt, Warrier) who form a subsection of the group of Ampalavāsis (literally, temple-residents) whose hereditary occupation is temple service. The duties of the Vāriyaras are to sweep the temple premises, cleanse the templeutensils, collect flowers and make garlands. They hold a rank below the Kșatriyas in the social hierarchy of Kerala. They are believed to have had their origin in the union of Nampūtiri (Kerala) Brāhmaṇas with Nāyar women; and like the Nāyars they follow the matrimonial system of inheritance. The text of Candralekhā (1. 5. 4 etc.) makes a reference to their menial service in the temple, and perhaps hints that they were not duly respected in the society. Our author, however, would not like them to be condemned, because they render service to Brāhmaṇas, they are devoted to literary pursuit, and among them has been born Rudra, of pure character (suddha-vutta-suhao). Pāraśavas are renowned for Sanskrit scholarship in Kerala from very early times. There is no doubt that Rudradāsa had worthy teachers in Rudra and Srikantha, the former definitely and the latter probably of the Pāraśava community. Considering their association with Zamorins of Calicut, it appears that this Rudra is the same as the author of the commentary Bhaktapriyā on the Nārāyaṇīyam (A. D. 1585) of Nārāyaṇa Bhattatiri (1560-1646 A. D.). Further this Srikantha, it is likely, is the same as the author of the Prākrit Kāvya, the Soricaritta, in which he mentions Rudra as his fellowstudent. 3 Rudradāsa, like his teachers, enjoyed the patronage of the Zamorins of Calicut; and Mānaveda, whose marriage is celebrated in the Candralekhā, was his contemporary Zamorin. The Zamorins of Calicut were not only great warriors, but they were also great I G. S. Ghurye: Caste and Race in India, London 1932, p. 91. 2 M. Krishnamachariar: History of Classical Sanskrit Literature, p. 254. 3 See my paper "The Soricaritta: A Prākrit Kāyya', Journal of the University of Bombay, XII, ii, pp. 47-62. 9 चं. ले.

·CAMDALEHA
on
poets and philosophers. Every member of the royal
ince and princess alike, took keen interest in Sanskrit
and some of them hold a high place in the history of
iterature in Kerala. Every year they convened a grand
of the learned, and extended patronage to scholars
ding talent and ability. Their generosity bestowed gifts
on Brāhmaṇas but also on Vāriyars or Päraśavas. In
hereditary tutor of the family was the Vāriyar of
alam. It is account of his commentary on the
am that Rudra became a special favourite of the Zamorin
(A. D. 1655–58), the author of Krşņa-nāțaka. Mānaveda
great regard for Rudra by putting in his charge the
of his nephew and successor, Mānaveda II, known
Tirunā! from the asterism under which he was born.
II came to the throne in a. D. 1658 and ruled for
He was a man of learning and a lover of the learned.
purt flourished the east coast poet generally called
ikavi who extolled the glories of his patron in his
mi-Mānavedam. In all probability it is Mānaveda II
the patron of our author Rudradāsa and who figures
:0 in the Candralekhā. Thus possibly Rudradāsa wrote
alekhā some time about 1660 A. D. No other work of his
io light so far,

·रुद्ददास - विरइआ चंद ले हा

·No text on this page.

·[I] भई देउ गआणणो भगवई भासा मुहे भाउ सा भूदेवा कुसलं कुणंतु कइणो सन्चे पसीदंतु णो। आणंदाउल-माणसा सहिअआ सज्जंतु जिम्मच्छर अच्छेसुं परिकीलिङ रस-सुहा-सोतेसु सुतेसु णो॥१॥ (नान्धन्ते, ततः प्रविशति सूत्रधारः।) सूत्रधारः- पणमह सुइ-राअ-हंसएसु हर-णअणेसु मुहंबुजसुएसुं। पअ-कमल-पहाविअं उमाए पढम-णइम्मि अवंग-भिंग-मालं ॥२॥ अवि अ। देवे चंद-सिहामणिम्मि पणए सल्लोअ-कल्लोलिणि चूडा-मंडण-लालिअंणिअ-पहा-रतंसुअग्गेण जे । सिग्छ छादिअ होति पेम्म-कलह-च्छेदे दुवे दक्षिणा पाआ पञ्चअ-कण्णआएँ पउरं लच्छि पैअच्छंतु वो॥३॥ अवि अ। 1 r opens thus : श्रीः चन्द्रलेखासट्टकम् ॥. 2 rh भअवई. 3 - कुलणो. 4 सुत्तंसु. 5 x सुल- 65 पठमणइद्दिअपाङ्गभिङ्गिमालम्. 7 सिखाम. 8 rh मण्डल. 9 Kh गिरिकण्णआअ. 10r पअच्छेदु, but rh पअच्छन्तु. [ संस्कृतच्छाया] T) भद्रं ददातु गजाननो भगवती भाषा मुखे भातु सा, भूदेवाः कुशलं कुर्वन्तु कवयः सर्वे प्रसीदन्तु ते*। आनन्दाकुलमानसाः सहृदयाः सज्जन्तु निर्मत्सरं, अच्छेषु परि- क्रीडितुं रससुधास्रोतस्सु सूक्तेषु नः॥१॥ II) प्रणमत शुचिराजहंसकेषु, हरनयनेषु मुखाम्बुजोत्सुकेषु । पदकमलप्रधावितामुमायाः, प्रथमनतावपाङ्गभृङ्गमालाम् ॥ २॥ अपि च। देवे चन्द्रशिखामणौ प्रणते खर्लोककल्लोलिनी, चूडामण्डनलालितां निजप्रभारक्तां- शुकानेण यौ। शीघ्रं छादयित्वा भवतःप्रेमकलहच्छेदे द्वौ दक्षिणी, पादौ पर्वतकन्यकायाः १ M has the opening title मानवेदचरितम्. २ M *भूदेव कुशलं करोतु*. RM #, but corrected as ते. ४ ॥ निर्मत्सरा. ५ M सूक्ष्मेषु. ६ ॥ सुचिराय इंस'. ७ . हरवंदनेषु. ८ KM मण्डलला. ९ शयेन. १० भगवतः. ११ पादौ तौ गिरिकन्यकाया'.

·चंदलेहाए [I. 40/- दर-म्हरे थेरे गहिअ-बहुमाणे महुमहे सुणासीरे धीरे सुर-अण-मुहे पत्त-वडणे। घणाणंदे खंदे पणइ-समए भूद-पइणा खणं दिण्णे पुण्णे पणमह कंडक्खे बहुविहे ॥ ४ ॥ (नेपथ्ये कर्णं दत्त्वाँ) कहं आढतो एच सण्णहिजत-सुरव-रवम्मंसलो कंसताल- • सज्जण-जणिअ-झणझणाराव-पिञ्चरो ओअरण-प्पअट्ट-गई-करामु. चंत-मणि-कंकण-झंकरण-संकुलो पत्त-विसेस-विणिउज्जत-सज्जंत- कुसल-कुसीलव-कलकल-बहलो पट्टण-कोलाहलो। ता पुच्छिस्सं दाव किंणट्टिदच्वंति। (परिक्रम्य नेपथ्याभिमुखमवलोक्य) मारिस, इदो दाव। (प्रविश्य पारिपार्श्वकः) पारिपार्श्वकः-"आणवेदु भावो। सूत्रधार:-"कस्स णट्टणं आढप्पड तुम्हहिं । पारिपार्श्वकः-"सट्टओ णट्टिदव्वो। सूत्रधारः-(सहर्षम् )"अअं अवसरो अम्हाणं पओअ-विण्णाणं दं. ॥ सिदं । णिहसो खु सडओ णट्टआणं कईणं च विअड्डदाएं। (विचिन्त्य) 16 दरन्येरे न्यरे. 2K कन्दे पणद, but rh खन्दे पणइ. 3 K कटक्खे. 4 Instead of this stage direction, which is found in Kh, we have परिक्रम्य नेपथ्याभिमुखमवलोक्य in K. 5_K gives this direction above, but xh adds it at this place. 6K अयं. 7णिअओ. 8 K विअदाए. प्रचुरां लक्ष्मी प्रयच्छतां वः ॥३॥ अपि च । ईषत्-स्मेरान् ब्रह्मणि गृहीतबहुमानान् मधु- मथे, शुनासीरे धीरान सुरगणमुखे प्राप्तपतनान् । घनानन्दान् स्कन्दे प्रणतिसमये भूत- पतिना, क्षणं दत्तान् पूर्णान् प्रणमत कटाक्षान् बहुविधान् ॥४॥ ("") कथमारब्ध एव सन्नह्यमानमुरजरवमांसलः कांस्यतालसजनजनितझणझणारावपीवरः अपकरणप्रवृत्त- नर्तकीकरामुच्यमानमणिकङ्कणझङ्करणसंकुलः पात्रविशेषविनियुज्यमानसजत्कुशलकुशी- लवकलकलबहुला नर्तनकोलाहलः। तत् प्रक्ष्यामि तावत् किं नर्तितव्यम् इति । (...) मारिष, इतस्तावत् । I) आज्ञापयतु भार्वः। II) कस्य नर्तनमारभ्यते युष्माभिः । III) सट्टका नर्तितव्यः। IV) अयं अवसरः अस्माकं प्रयोगविज्ञानं दर्शयितुम् । निकषः १४ ईषद् ब्रह्मणि सेरान, ५ दरं स्थद्वरे स्वरान्मागृहीत. २ र मुरवरव, मुरपरव. ३ . खणखणाराव; hereafter m has a long gap upto the last pada of verse No. 9; a major portion is misplaced further rather irregularly; so only some readings could be noted. ४ भवान्, 4 भावः, ५Komits this sentence, ·-1.6d] पढम जवणिअंतरं सो सडओ सहजरो किल णाडिआए ताए धउज्जवणिअंतर-बंधुरंगो। चित्तत्थ-सुत्तिज-रसो परमेक-भासो विक्खंभादि-रहिओ कहिओ बुहेहिं ॥ ५॥ मारिस, कस्स उण सरस्सई-णीसंदो सट्टओ णट्टिदव्वो। पारिपार्श्वकः-"किं वि अच्छरिअं सुणादु भावो । वाअस-वअणादो पंचम-राओ उदंचइ, णिब-विडवादों मोअं उप्पजइ, कारक्खर- फलादो पीऊस-रसो पसरइ, जं देव-मंदिर-बाहिरालिंद-समजणा- दि-वावार-मन्त-पराअणाहिंतो पारसव-पसूहितो संझा-समअ-संफुल्ल- मल्लिआ-महुर-मअरंद-णीसंद-गम्भो संदभो पहवदि। सूत्रधार:-"मारिस, मा एव्वं । ण खुणिदणिज्जा तत्थ-भवंतो पारसवा । जदो जाणं बम्हण-लोअ-पाद-जुअली-सुस्सूसणं भूसणं जाणं णिम्मल-कव्व-चव्वण-कहा-संसीलणं कीलणं । वंसे जाण अ सुद्ध-वुत्त-सुहओ सो रुद्द-मुता-मणी जाओ ताण थुईसु कस्स भुवणे जीहा गिरीहा भवे ॥ ६॥ . 105थाण. 1 ताणिं चरजवणि', but rh ताए. 2 5 सुत्तितः, but rh सुत्तिम. 3 K omits मारिस, but xh gives it. 4 K विटपादो. 5 K पापरिणाहितो. 6 पवहदि. 7 romits मारिस, bat xh has it. 8 तत्तभवन्तो.95 पादु. खलु सट्टकोनर्तकानां कवीनां च विदग्धतायाः।(..")स सट्टका सहचरः किल नाटिकायाः, तस्याश्चतुर्यवनिकान्तरबन्धुराङ्गः। चित्रार्थसूत्रितरसः परमेकभाषः, विष्कम्भकादिरहितः कथितो बुधैः ॥५॥ मारिष, कस्य पुनः सरस्वतीनिष्यन्दः सट्टको नर्तितव्यः। I) किमपि आश्चर्य शृणोतु भावः। वायसवदनात् पञ्चमराग उदञ्चति, निम्बविपान्मोचमुत्पद्यते, कारस्करफलात् पीयूषरसः प्रसरति, यद्देवमन्दिरबाह्यालिन्दादिसंमार्जनादिव्यापार- मात्रपरायणात् पारशवपशोः संध्यासमयसंफुल्लमल्लिकामधुरमकरन्दनिष्यन्दगर्भः संदर्भ: प्रभवति । Ii) मारिष, मैवं । न खलु निन्दनीयास्तत्रभवन्तः [पारशवाः] । यतः, येषां ब्राह्मणलोकपादयुगलीशुश्रूषणं भूषणं, येषां निर्मलकाव्यचर्वणकथासंशीलनं क्रीडनम् । वंशे येषां च शुद्धवृत्तसुभगः स रुद्रमुक्तामणिर्जातस्तेषां स्तुतिषु कस्य भुवने जिह्वा निरीहा १ . बन्धुराझं. २ M सूक्तिकरसः. ३ K omits मारिष given by u. ४ विटपान्मौक्तिकमु. ५६ संमार्ज(मान)नादि. ६ र गर्भाः सन्दर्भाः प्रभवन्ति. ७r omits मारिष. ८ शुद्धवृत्ते सुभग ·चंदलेहाए [I.6.1- पारिपार्श्वकः -- तस्स रुदस्स सिरिजंठस्स असिस्सो रुद्ददास-णाम. हेओ किल तस्स कई। सूत्रधारः-"तं उववज्जई । तरणि-किरण-जाल-णिरत्थ-तंदादो एव्व अरविंदादो महुअराणंद-कंदो पसरइ मरंद-णीसंदो। पारिपार्श्वकः - ITI किं तारिसो ताणं रुद्द-सिरिअंठाणं सिक्खा-विसेसो सूत्रधारः-किं भण्णई। वड-दल-गओ वि रुद्दो वक्खाणं जाण सुणिअ सिर-अंपं मंदंदोलिअ-चंदं फंदंत-फणिंद-कुंडलं देइ ॥७॥ पारिपार्श्वकः-'णमो महप्पाणं । तेणं आवज्जिआ सज्जणा। सूत्रधारः-कहं । पारिपार्श्वक:- VIपचुव्वज्जइ पुलओ हिअ उवणेइ आसणं सुहअं। उवहरइ अग्घमच्छी सज्जण-कण्णादिहीण सुतीणं ॥७॥ किं च। कब्व-णिबंधे कइणो घम्म-अलं ओहरंति मुह-लग्गं । आणंद-बाह-सिसिरा सिर-अंप-समीरणा खु सूरीणं ॥ ९॥ 15 ता उपपजई. 2 : किं फणइ. 3 rh वडअलगओ. Kh भाव तेण. 5 F कलणो. 65 विबुहाणम्, but rh has सूरीणम्. भवेत् ॥ ६ ॥ I) तस्य रुद्रस्य श्रीकण्ठस्य च शिष्यो रुद्रदासनामधेयः किल तस्य कविः । ) तदुपपद्यते । तरणि किरणजालनिरस्ततन्द्रादेवारविन्दान्मधुकरानन्दकन्दः प्रसरति मकरन्दनिष्यन्दः। III) किं तादृशस्तयोः रुद्रश्रीकण्ठयोः शिक्षाविशेषः । IV) किं भण्यते । वटतलगतोऽपि रुद्रो व्याख्यानं ययोः श्रुत्वा शिरकम्पम् । मन्दान्दो- लितचन्द्रं स्पन्दमानफणीन्द्रकुण्डलं ददाति ॥ ७॥ ५) नमो महद्भ्याम् । तेन आव- र्जिताः सज्जनाः। VI) कथम् । VII) प्रत्युद्बजति पुलकः हृदयमुपनयत्यासनं सुभगम् । उपहरत्यय॑मक्षि सजनकर्णातिथीनां सूक्तीनाम् ॥ ८ ॥ किं च । काव्यनिबन्धे कवेः धर्मजलमपहरन्ति मुखलग्नम् । आनन्दवाष्पशिशिराः शिरस्कम्पसमीरणाः खलु संरी- १ . पूरिणाम् for सूरीणाम् ·सज्जण:- but xh has माणवेअचरिअ-. 6 K सजपीदीणं, but rh has विअमउडन्त. 9 णिपडल्त. 10 पण्डरमहामहन्त. 13 x जयलच्छी. --1.12.6] इटम जाणअंतर अब्भत्थिअंच णेण । जह अगणिअ णवं ति दोसं अणिरूविक्षणिअडदा- कणिदं । पम्हुसिअ तं असूअं रसिआ ओदंसनु किदिमेकं ॥१०॥ सूत्रधारः-"किं अण्णं । पाअड-बंधो एव्व रसिआणं आणंद कंद- लेड। जदो जह होई अवर-माला मालइ-माला अ भहुआणं तह होइ अण्ण-भासा पाअड-भासा अ रसिआणं ॥११॥ पारिपार्श्वक:-) तेण चिअ भणिअं। भासा खु पाअडमई विसओ सिरिमाणवेअ-चरिअ-सिरी। रस-गब्भो संदभो संज्जण-पीदीण जोवणं एअं॥१२॥ सूत्रधारः-"केण णिजुता पुण पअट्टह सट्टअ-गट्टणे । पारिपार्श्वक:- तस्स एव्वणिरंतरोणमंत-सिरिमंत-सामंत-विअड- मउडत-णिवडत-माणिक-मणि-समूह-मोह-लेहा-पल्लविअ-पाअपीढस्स। खंड-परसु-सिहंड-ससि-खंड-पंडुर-महमहंत-महिअ-जस-पूर-कप्पूर-णि- अर-पव्वआअंत-भुवणंतरालस्स अदि-धवल-हिअअ-फलिह-पडिफ- लंत-परमेसर-पअ-पल्लवस्स समर-मुह-बलामोडि-गहिअ-जअलच्छी- 15 दिंदम्. 25 पम्मुसिअ. 3 - येसूअं. 4 F होल, but rh होइ. 5K माणचरिअसिरी, 7 जोख्खणं. 8 K सामन्त. 11 Komits पूर. 12 धीअर- णाम् ॥९॥ अभ्यर्थितं चानेन । यथा, अगणयित्वा नवमिति दोषमनिरूप्य निकटता- कृतां निन्दाम् । प्रेस्मृत्य तामसूयां रसिका अवतंसयन्तु कृतिमेताम् ॥ १०॥ I) किम- न्यत् । प्राकृतबन्ध एव रसिकानामानन्दं कन्दि]लयति । यतः, यथा भवति अवरमाला मालतीमाला च मधुपानाम् । तथा भवति अन्यभाषा प्राकृतभाषा च रसिकानाम् ॥११॥ II) ननु तेनैव भणितम् । भाषा खलु प्राकृतमयी विषयः श्रीमानवेदचरितश्रीः। रसगर्भ: संदर्भः सजनप्रीतीनां यौवनमेतत् ॥ १२॥ III) केन नियुक्ताः पुनः प्रवर्तध्वे सट्टक- नर्तने । IV) तस्यैव निरन्तरावनमच्छ्रीमत्सामन्तविकटमकुटान्तनिपतन्माणिक्यमणि- समूहमयूखलेखापल्लवितपादपीठस्य खण्डपरशुशिखण्डशशिखण्डपाण्डुरसर्वतःप्रसरन्- महितयशःपूरकर्पूरनिकरपर्वतायमानभुवनान्तरालस्य अतिधवलहृदयस्फटिकप्रतिफलित- परमेश्वरपदपल्लवस्य समरमुखबलात्कारगृहीतजयलक्ष्मीमाल्यधम्मिल्लपर्यस्तमल्लिकामाल्य- १ M प्रमुष्य; it has minor gaps in this speech. २ 'मानवेतचरित'. ३ ॥ प्रवर्तध्वं सभिकनतेने. ४ ॥ निरन्तरोपन. ५ K omits विकट.

·ne Ma AN MARATHere image d wasnaDRA जो उत्थ-मल्लिआ-मल्लु-बहल-परिमलासंग-संग-भिंग- सोहिणी समुव्वहइ तं किल चंदलेहं बंदलेहाए [I. 12.7- -लोलुइंड-मंडलग्ग-मंडिअ-पअंड-भुअदंडस्स रिउ- चडुल-जाला-जाल-जज्जलंतअ-पआव-पावअ-पाआ- अल-भुवणअलस्स अच्छिण्ण-दिण्ण-सुवण्ण-रअण- मणि-मंदिर-वलही-जाल-कीलंत-सअल-दरिद-लोअ- कंपिणो संपअंकअ-करणिज्जदाए जोव्वण-सुहं अणु- राअ-परमेसरस्स सिरिमाणवेअस्स अस्थाण-मंडव- मंडलेण । किं च। । खु सट्टअ-वरे णिों-भतुअस्स रतण-कराण गुणाण ठाणं । रस्स तण सिरिमाणवेओ॥१३॥ हो, आअदा एव्व जवणिअंतरे महाराअ-देवीणं का- प्यो अस्यवल्लहा अ। ता अम्हहि अवसेस-करणिज्ज ति परिक्रम्य निष्क्रान्तौ ।) PointHANI विदूष पोलिस लिअ- संचरंत BK दुम 8 Kफंदा omits बहल. 3K रुच्छोलिसंसलअ. 37 रुच्छोलिसंसलअ .4 पआवपाअपाअर. 5 दअण, अकरणिजदाए. 7 K होंतस्स राणनकृत्वा राआहि. 85 मण्टप. 95 कीच. र', but xh णिअभत्तुअस्स चक्केसर, 11 र सिरिमाणमेओ, 12 T अविसेस. गेअसीग- सअल. किंवा रमणी राजते रम् II) सिनी- The गतभृङ्गश्रेणीसंश्रितलोलोद्दण्डमण्डलाममण्डितप्रचण्डभुजदण्डस्य टुलज्वालाजालजाज्वल्यमानप्रतापपावकप्राकारपरिरक्षितसकलभुव. तसुवर्णरत्नसमृद्धिसमृद्धमणिमन्दिरवलभीजालाक्रीडत्सकलदरिद्रलो- म्पिनः सांप्रतं कृतकरणीयतया यौवनसुखमनुभवतो राजाधिराज- नवेदस्य आस्थानमण्डपमण्डनेन पण्डितमण्डलेन । किं च । अस्मिन् जभर्तुश्चक्रेश्वरत्वकराणां गुणानां स्थानम् । चारं समुद्वहति तां किल 1 तनयां श्रीमानवेदः ॥ १३॥ I) अहो आगता एव यवनिकान्तरे वा भूमिकामार्यः आर्यवल्लभा च । तदस्माभिः अवशेषकरणीयं सज्य- हलमुन agana here upto the beginning of verse No. 17. R KU for Rg. ५K omits खलु. ६ र मानवेतः ७ र अविशेष, M_lacunar ·-I.15.2] पढम जवणिअंतरं (स्थापना) (ततः प्रविशति राजा देवी विदूषको विभवतश्च परिवारः।) राजा-(स्वगतम्) अहो किअ-करणिज्जाणं पि आसाए अणवसा-6 णदा। जदो सब्वे साहु पवहिदा खु पंउरा संतोसिआ बम्हणा वितेहिं कैउ-संचएहि विहिआ देवा पसादुम्मुहा । पत्ता चेअ चउस्समुद्द-रसणालंकारिणी मेदिणी दाणिं सत्त-समुह-मुद्दिअमिमं पत्थेइ मे माणसं ॥१४॥ (प्रकाशं समन्तावलोक्य सहर्षम् ) देवि, इमस्सिं सुरहि-समए समारंभ- संभरिज्जंत-सिरि-मणहर-धरणि-कमलिणी-कमलाअंतम्मि अम्हाणं महाणअरम्मि मअरंद-गंडूसणं संपादेहि जहिच्छमुच्चलंत-छप्पअ-रि- छोलि-लंभिणं अच्छीणं । एवं खु लोलंताणंग-तुंग-अ-वड-पवणंदोलिआआस-गंगं खेलंतुद्दाम-रामा चलैण-हअ-सुहाअंत-कंकेलि-जालं। कीलंतासेस-लोअ-प्पअडिअ-मुरवाडंबरं तंब-चूड- कोड-ग्घोलंत-कोलाहल-मुहल-दिसा-अंकमेकं विभाइ ॥१५॥ देवी-(सर्वतो विलोक्य सहर्षम् )"अय्यउत्त, किं वण्णीअदि इमाए ण- अरीए सुरहि-समअ-समारंभ-जणि सोहग्गं । एसा खु 1 Komits स्थापना, but xh gives it. 2K किंअरणिजाणं. 3K पतुरा. 45 कमिसञ्चएहि. 55 पेत्थेइ. 6 rh समअसमारम्भ.. 7 F अ अम्हाणं for अम्हाणं. 8 5 दहिच्छमुच्चलतंतच्चन्वअ- रित्तच्छालिलंभिणं अंहच्छीणं. 9 5 तुग्गडुंएवधववणंलोलिआआस.. 10 5 गेलंदुद्दाम. 11 K चलणअं. सुहाअतं. 12 K लोअपडिअ. 13 तंमचूडकोडंबोलंत. 14 - अंकमेकं. ताम् ॥ I) अहो कृतकरणीयानामपि आशाया अनवसानता । यतः, सर्वे साधु प्रवर्तिताः खलु पौराः संतोषिताः ब्राह्मणाः, वित्तैः ऋतुसंचयैः विहिताः देवाः प्रसादो- न्मुखाः। प्राप्ता चैव चतुस्समुद्ररशनालंकारिणी मेदिनी, इदानीं सप्तसमुद्रमुद्रितामिमां प्रार्थयते मे मानसम् ॥१४॥(...) देवि, अमुष्मिन् सुरभिसमये समारम्भसंभ्रियमाणधीम- नोहरधरणिकमलिनीकमलायमाने अस्माकं महानगरे मकरन्दगण्डूषणं संपादय यथेच्छमु. श्वलच्छट्पदश्चेणिलक्ष्यैः अक्ष्णोः । एतत् खलु, लोलदनङ्गतुङ्गध्वजपटपवनान्दोलिताका- शगङ्गं, खेलदुहामरामाचरणहतसुखायमानकङ्केलिजालम् । क्रीडदशेषलोकप्रकटितमुरजा- डम्बरं ताम्रचूडक्रोडघूर्णमानकोलाहलमुखरदिक्चक्रमेकं विभाति ॥१५॥ II) आर्यपुत्र, १६ सृष्टिसमयसमारम्भ for सुरभि ete, slacuna २ लोकं for लोक. ३६ मुरवाडम्बर ४ कोडं पूर्णमान.

·पवाल-पुण्णा चंहलेहाए [L.16- तारुण्णएण रमणि व्व सुरूव-रम्मा जोण्हा-रसेण रजणि व्व फुरंत-चंदा । रहेइ हत णअरी महु-संगमेणं ॥१६॥ राजा-अहो सव्वदो रमणीअक्षणं णअरीए । तह अ। भमंत-भमर-च्छडा-कल-विराविआ वाविआ फुरंत-मअणचणा-विहव-शंदिरं मंदिरं। लसंत-णव-णट्टई-ललिअ-णणं पट्टणं वलंत-मलआणिलाअम-सिलाहिणो साहिणो॥१७॥ विदूषकः - भो वअस्स, पेक्ख । मंद-मंद-फदंत-मलआणिल-केलि- घोलिरुप्पडिअ-विसरंत-बिसिणी-धूलि-पाली-विउल-कंचण-विआण- • सोहिणी भुअंग-लोअ-कर-कमल-संगअ-गंगेअ-सिंग-मुह-संगलंत-सं- तद-कुंकुम-वारि-धारा-सिचंत-सअल-पहिअ-लोआ वैम्मह-करप्फा- लिअ-धणुहअ-कोलाहल-मुहल-कउहा-मुहा दिस-विराअ-वेग-मुझंत- संचरंत-मुद्धाहिसारिआ-चलण-झणझणाअंत-णेउर-विराव-मुहुराविअ- 1 सुरूप 2 पुरन्त. 3 Kगमेण इदि एव्व, but rh अव्व for एच. 4 रमणीयत्तण. BK डुमंतभमर for भमंत etc. 65 फरन्तमअणच्छणा. 75 इलअ for ललिअ given by ch. 85 फंदमलआणिल. 9 विसंत, but rh विसरत. 10 K विउल्ल. 11 लोलकरकमळसङ्गअंग- गेअसीग-, but Kh लोय for लोल, 12 xh चिरिचिरिआसिंचंत for धारासिंचंत. 13 Komits सअल, but xh has सयललोया. 15 5 दिवविराअ. 165 झणझणायन्त. 14 K परमह. कि वर्ण्यते अमुच्या नगर्याः सुरभिसमयसमारम्भजनितं सौभाग्यम् । एषा खलु,तारुण्येन रमणीव सुरूपरम्या, ज्योत्स्नारसेन रजनीव स्फुरञ्चन्द्रा। फुल्लोद्गमेन लतिकेव प्रवालपूर्णा, राजते हन्त नगरी मधुसंगमेन ॥ १६॥ I) अहो सर्वतो रमणीयत्वं नगर्याः। तथा च । भ्रमझमरच्छटाकलविराविताः वापिकाः, स्फुरन्मदनार्चनाविभवनन्दनशीलं मन्दि- रम् । लसन्नवनर्तकीललितनतनं पत्तनं, क्लन्मलयानिलागमनलाधिनः शाखिनः ॥ १७ ॥ II) भो क्यस्य, पैश्य । मन्दमन्दस्पन्दमानमलयानिलकेलिघूर्णनशीलोत्पतितविसरद्वि- सिनीधूलिपालीविपुलकाञ्चनवितानशोभिनी भुजङ्गलोककरकमलसंगतगाङ्गेयशृङ्गमुखसं- गलसंततकुङ्कुमवारिधारासिच्यमानसकलपथिकलोका मन्मथकरास्फालितधनु कोला- हलमुखरककुन्मुखा दिशाविराव वेग]मुह्यत्संचरन्मुग्धाभिसारिकाचरणझणझणायमान- १K. omits मधु. २ M भ्रमत्प्रवर च्छटा. ३ ॥ पश्य पश्य. N ककुन्मुखादिसविरागवेगभज्यमानसं . ५ ॥ चरणन्थणन्थणायमान. ४ र मुखरकुङ्कु.खादिलाविरागमु', ·पढम जवणिअंतरं -I.17.211 मार-वीर-विजअ-भेरी-मणहरा मई विमएदि रई वि रमेएदि आ- णंदं वि आणंदेइ दप्पं वि दप्पेइ इजनहाणअरी। चेटी-"इदं वि क्खदु महाराओ। एसो खु मंद-मरुअंदोलिअ-पं.' लत्थ-पलव-हत्थ-संण्णा-मिस्सेहि महुर-महु-रस-महमहंत-परिमलंध- मधुअर-माला-मंजु-सिंजिआरावेहिं भरगआरामो महाराअस्स महु- मासोदार-वड्डिअं अक्षणो समिईि ओदंसेदुं विअ आआरं करेइ । राजा-(विलोक्य) साहु भणिों चंदणिआए। विदूषकः - भो वअस्स, जह दासीए धीदाए वअणं तुझ सिलाह- णिज तह मह वि चओरस बम्हणस्त जइ सिलाहीअदि वअणं ता कहेमि। राजा-वअस्सै, को संदेहो । कोहि । विदूषकः-"सुणादु वअस्सो । एसो जहामिह-मुंजत-बम्हण-लोअ-3 कोलाहलो विअ कोइल-कोलाहलो पमोदं उम्पादे। महागस-धूम- प्पसरो व्व कुसुमुप्पडंत-महुअर-गणो अण-पीदि करेइ । बहलज्ज- भजंत-सरिसव-गंधो विअ घुप्फ-गंधो धागं आणंदे । 1K विरमएदि for रमएदि. 2K आणन्त वि. Kलई for इe, but xh इयं. 4 पेक्ख, but xh पेक्खदु. 5 पदल्लाथ for पल्लथ. 65 सणोमिस्सेहि. 7 परिमलंधमधूधमधुअर. 86 मञ्जरी for मंजु. 95 समिन्ध for समिद्धि. 10 : ओसेदुविअ. 11 x omits तुज्झ. 12 5 चओरस्स, but rh चोरअस्स. 13 कहेहि।. 14 x भो अस्स. 15 कुसुमप्पडंत. 16 Kणयण. 17 : पुष्पगन्धो. नूपुरविरावमुखरीकृतमारवीरविजयभेरीमनोहरा मदमपि मदयति रतिमपि रमयति आनन्दमप्यानन्दयति दर्पमपि दर्पयति इयं महानगरी॥ I) इदमपि पश्यतु महाराजः । एष खलु मन्दमारुतान्दोलितपर्यस्तपल्लवहस्तसंज्ञामित्रैः मधुरमधुरससर्वतःप्रसरत्परि- मलान्धमधुकरमालामअशिक्षितारावैः मरकतारामो महाराजस्य मधुमासोदारवर्धिता- मात्मनः समृद्धि दर्शयितुमिव आकारं करोति । II) साधु भणितं चन्दनिकया। III) भो वयस्य, यथा दास्याः पुत्र्याः वचनं तव श्लाघनीयं तथा [ममापि] चकोरेय ब्राह्मणस्य यदि श्लाघ्यते वचनं तत् कथयामि । IV) वयस्य, का सन्देहः । कथय । V) शृणोतु वयस्यः । एष यथामृष्टभुजानब्राह्मणलोककोलाहल इव कोकिलकोलाहलः प्रमोदमुत्पा- यति । महानसधूमप्रसर इव कुसुमोत्पतन्मधुकरगणो नयनप्रीति करोति । बहलाज्य- THAN १ KM omit पर्यस्त. २ र मरतकारामो. ३ "मासोदारवत्तिता, मासोदारमवर्धिता. ४ आकारणं करोति. ५ चन्द्रिकया. ६ एष खलु यथा. ७ प्रमोदमुपपादयति. ८ ६ महुलाय. २चंद.

·VIRAL चंदलैहाए [L.17.22-- १० राजा-(सस्मितम् ) "सच्चं एदं । विदूषकः-"दासीए धीदे, उचिट्ठ-भक्खिणि, ण तुज्झ एव्व अणं "अहिणंदणिज्ज मह वि वअणं अहिणंदीअदिवअस्सेण । चेटी -(सावझं हसति ।) विदूषकः-भो अस्स, गच्छम्ह मरगउजाणं । (इति सवै परि- कामन्ति ।) राजा-(दक्षिणाक्षिस्पन्दन सूचयन् ) देवि, फंदए पअल-पह-मालिअं दाहिणं महमिदं विलोअणं । किं फलं अह वितकिएहि कि केण देव-सरणी मुणीअदि ॥ १४ ॥ देवी-(सहर्षम् ) अज्जउत्त, देव्वेण चिअ जाणीअदि। अय्य चओरअ, किं जाणीअदि विदूषकः -V"होदि, पुष्वं एव्व वअस्सस्स चउँस्सिधु-बंध-बंधुरं वसुंधरं देऊण वि अपरितुडेण विहिणा पुणो सत-समुद्द-मुद्दि एअं वअस्सस्स भुमअंचले बंधिउं असं आरंभो कीरइ नि । उच्छिट्ट. 2 वलअणं, but xh वअणं. 3 xh चन्दनिका for चैटी. 4 K पद्म for पम्ह.5K महामितं. 6K पढ़ for फलं. 7x विचिन्तिएहि की, Kh वितङ्किएहि किं. 8 देवसरणिम्मुणीअदि. 9 x चउरस्सिन्धु. 10 K दाऊण, but xh देऊण वि. 11 Kh अकि- दत्थेण for अपरितुष्टेण. 12 The following speech, which is put in the mouth of देवी by देवी-VII) । 1Kh उच्छुरण for Kh, is just added here by K. भय॑मानसर्षपगन्ध इव पुष्पगन्धः घ्राणमानन्दयति । I) सत्यमेतत् । II) दास्याः पुत्रि, उच्छिष्टभक्षिणि, न तवैव वचनमभिनन्दनीयं ममापि वचनमभिनन्द्यते वयस्येन। III) भो वयस्य, गच्छामो मरकतोद्यानम् । IV) देवि, स्पन्दते प्रचलपद्ममालिक, दक्षिणं मम इदं विलोचनम् । किं फैलं अथ वितर्कितैः किं, केन दैवसरणियिते ॥ १८ ॥ V) आर्यपुत्र, देवेनैव ज्ञायते । VI) किं च मयाप्येकेन ब्राह्मणेन | VII) आर्य चको- रक, किं त्वया ज्ञायते । VIII) भवति, पूर्व एवं वयस्थस्य चतुस्सिन्धुबन्धबन्धुरा वसुंधरां दत्त्वापि अकृतार्थेन विधिना पुनः सप्तसमुद्रमुद्रितामेनां वयस्यख्य ध्रुवांचले १ . वचनमभिनन्दयति । ममापि etc. २ र मरतकोद्यानम्. ३ ॥ छलं. ४ र अथवा वितर्कितैः, M अथवा तकीयते. ५ . मयाप्येतेन. ६ KM omit एव. ७ . After writing पूर्व व there is a long lacuna in x upto भआदो (1.26.3); and this is indicated by the transcript with a remark: (अत्र पनत्रयपरिमितो अन्धपात:). ८ Eu omit बन्ध.

·-1. 2001 पढम जवणिअंतरं देवी-"भो' भअवं विहे, पुणो वि एव्वं एव होही । चेटी -"एसो मरगआरामो। पविसदु महाराओ। (सर्वे उद्यान- प्रवेशं नाटयन्ति ।) (नेपथ्ये वैतालिकयोरेका वैतालिका -Tजअ जअ महाराअ, राआहिराअ परमेसर, पाअ- पारिजाअ-पल्लव-च्छाआ-णिच्च-विहार-णिरत्थ-संदाव, पंअंड-पआव, ॥ पंडिअ-जण-कप्प-पादव, वम्मह-मणहरंग-लावण्ण-गुण-णिगलिअ- सअल-महिला-माणस, सिरिमाणवेअ, सुह-दाइणी होउ महारा- अस्स आराम-लच्छी। तह पेक्खदु दाव महाराओ। अन्नाणं वित्थरंतो महु-णरवइणो पाण-गोट्ठी-णिएओ लोलंबाणं विडाणं सअल-पिअ-महेलाण संगीअ-साला । कीला-ठाणं पडीराअल-पवण-किसोराण सेणा-णिवेसो एसो तेल्लोक-वीरस्स हुँ रइ-वइणो भाइ आराम-देसो ॥१९॥ द्वितीय:- किं च । एत्थ सण्णिहिदे महाराए पञ्चुत्वज्जइ चंचलीअ-णिवहो फुल्लुप्पडतो जवा कूअंता अ कुणंति कोइल-उला सोतामिअंसाअदं। 15 भे, but Kh omits it. 25 होहि. 3 xh चन्दनिका for चेटी. 4th रूपयन्ति. 5 x नेपथ्ये. 6 K पाअपारिजअ.7 x वअंडपआव. 8 K वादप, 9K अथ्थाणं विथ्थरन्तं. 10 x महुरवअणो, but rh महुणरवइणो. 11 xh लोलंबालीविडाणं. 12 x अ for हु. 13 x omits द्वितीयः, but it is added by Kh. 14 F फुल्लुकडन्तो. बद्धुमयमारम्भः क्रियते इति । I) भो भगवन् विधे, पुनरपि एवमेव भवति । II) एष मेरकतारामः । प्रविशतु महाराजः। III) जय जय महाराज, राजाधिराजपरमेश्वर, पादपारिजातपल्लवच्छायानित्यविहारनिरस्तसंताप, प्रचण्डप्रताप, पण्डितजनकल्पपादप, मन्मथमनोहराङ्गलावण्यगुणनिगडितसकलमहिलामानस,श्रीमानवेद, सुखदायिनी भवतु महाराजस्य आरामलक्ष्मीः। तथा पश्यतु तावन्महाराजः। आत्मानं विस्तृणन् मधुनर- पतेः पानगोष्टीनिकेतः, लोलम्बानां विटानां सकलपिकमहिलानां संगीतशाला । क्रीडा- स्थानं पटीराचलपवनकिशोराणां सेनानिवेशः, एष त्रैलोक्यवीरस्य खलु रतिपतेर्भाति आरामदेशः ॥ १९ ॥ IV) किं च । अत्र संनिहिते महाराजे, प्रत्युद्वजति चञ्चरीक- निवहः फुल्लोत्पतञ्जवात्, कूजन्तश्च कुर्वन्ति कोकिलाः श्रोत्रामृतं खागतम् । शीघ्र Kh वाअप for पादव. १६ उत for इति. २ x omits मो. ३K मरतकाराम, ४ र श्रीश्रीमानवेत. ५ x omits तथा. ६ romits सङ्गीत...किशोराणां, but this is supplied by rh. ७ चबलीक'.

·... १२ चंदलेहाए [I.20c- सिग्धं अग्धमुवाहरंति मअरंदुग्गारिणो पाअवा दाणि पल्लव-बानलेहि लदिआ वीअंति वाआहआ॥२०॥ विदूषकः- साहु गीअं अंजुअंठ-महुरकंठहिं बंदीहि । पेक्खदु दाव वअस्सो महु-समज-वित्यारिअंमरगआराम-समिडिं। राजा - (समन्तादवलोक्य) व अस्स, साहु तुए भणिदं । इह हि विभाइ महिलंगुली-किसल-पाडलं पाडलं समुल्लसइ फलिआ पवण-गोलिआ मलिआ। दिसाओं मरहेइ णं दर-विासरं केसरं समुन्वहइ संप पहिअ-कंप चंप ॥ २१॥ अवि अ। पक्खंदोलण-मारुएण भसलो आणंदअंतो महुँ पल्लथा कुसुमाउ पास-गमि पाएइ पाणेसरिं। उग्गाउं महुरं च माहव-महा-बंदी जैसं कोइलो माअंदाण मरंद-सार-लहरी-सारस्सअं सेवएँ ॥ २२ ॥ विदूषकः-भो वअस्स, आमूल-पुस्फिअस्त बाल-रत्तासोअस्स मरगअ-वेदिआ उवविसिअ मर्लअ-महीहरादो उवागअस्स महु- 15 अग्धं उपाहरन्ति. 2 वाअवा. 3 5 दाणी. 4K वन्देहि. 5 समय. 6 Kh महुरसो. ल्लिआ for पवणणोल्लिआ. 75 वहिअकंपअं. 8 5 वासगमिअं. 95 वाएइ वाणेसरी. 10 5 उग्गलं. 115 वसंकोललो, kh जसंकोइलो. 12 5 सेवहि, but Kh सेवए. 13 F मअरगवेदिआअं. 14 K मलय. अर्ध्यमुपाहरन्ति मकरन्दोद्भारिणः पादपाः, इदानीं पल्लवचामरैर्लतिका वीजयन्ति वाता- हताः ॥ २०॥ I) साधु गीतं मञ्जकण्ठमधुरकण्ठाभ्यां बन्दिभ्याम् । पश्यतु तावद्वयस्यः मधुसमयविस्तारितां मरकतारामसमृद्धिम् । II) वयस्य, साधु त्वया भणितम् । इह हि, विभाति महिलाङ्गुलीकिसलयपाटलं पाटलं, समुल्लसति फुल्लिता पवननुन्ना मल्लिका । दिशः सुरभयति एतत् दरविकखरं के सरं, समुदहति संपदं पथिककम्पदं चम्पकम् ॥ २१॥ अपि च । पक्षान्दोलनमारुतेन भ्रमरः आनन्दयन् मधु, पर्यस्तात् कुसुमात् पार्श्वगमितां पाययति प्राणेश्वरीम् । उद्गातुं मधुरं च माधवमहाबन्दी यशः कोकिल: माकन्दानां मरन्दसारलहरीसारस्वतं सेवते ॥ २२ ॥ III) मो वयस्य, आमूलपुष्पितस्य बालरक्ताशोकस्य मरकतवेदिकायां उपविश्य मलयमहीधरादुपागतस्य मधुसमयस्फुटaren १४ करकेन्दार्गाभिणः for मकरन्दोदारिणः. २ र वीजन्ति. ३ - मरतकाराम. ४ र फुल्लता. ५ बलः tor अमरः ६ पर्यस्तान् कुसुमान् पार्श्वगतान् पाय'. ७ ५ मरतकवे'. ८ 5 महीधरमुपा:

·-I,2561 पढम जवणिक्षतरं समअ-फुडत-णव-कुसुम-परिमल-पाहुड घेषण परिसरे ठिअस्स: मलआणिलस्स दे परिसरं पतस्स सेवावसरं देहि । पेक्खम्ह मर- गआराम-लच्छि। राजा-तह । ( इति सर्वे यथोचितमुपविशन्ति देवी-दाणि अहं वड्डावइस्सं अय्यउतं । एदे चूसिज-चोल-बाल-महिला-मालिंदु-सेआअना पिज्जता जण-णासिआहि गलिणी-णालीअ-केली-अरा। लीला-लालिअ-केरली-चिहुरआ-आणंद-णीसंदिगो रोमंचुग्गमणाणुमेअ-चलणा कीलंति वाअंकुरा ॥२३॥ राजा-अहं वि तुर्म वड्डावइस्स। अताणं वि बुभुक्खिदाण पुढमं दाऊण गाआण तो तुंगा मंगल-चंदणद्दि-भिउणो कादूण पाअं खणा। एहि गण्हिअ सोरहेक्क-णिलअं कंदप्प-मितंतरं तं आलिंगिउमूसुआ परिसरं पता अ चेताणिला ॥२४॥ देवी-IV पेक्खदु दाव अजउत्तो सोहग्गं कालस्स । जओ किसलइदासोअ-लदा कीर-मुहाभोअ-कीसुअ-च्छाआ। कीलंति के विदिअहा केसर-खलमाण-बाल-पवमाणा ॥२५॥ 1 K बाहुलs for पाहुडअं. 2 kh देसु. 3 r omits दाणिं which is given by rh. 4 5 फालिन्दु. 5 चंदणन्दि. 65 एण्णी पिणअ.7 r omits this word, but rh has जतो. 8 K केऽपि दिवसा, but xh has दियाहा for दिवसा of K. नवकुसुमपरिमलप्राभृतं गृहीत्वा परिसरे स्थितस्य मलयानिलस्य तव परिसरं प्राप्तस्य सेवावसरं देहि । पश्यामः मैरकतारामलक्ष्मीम् । I) तथा। II) इदानीमहं वर्धयि- ष्यामि आर्यपुत्रम् । एते चूषितचोलबालमहिलामालेन्दुखेदागमा, पीयमाना जनना- सिकाभिः नलिनीनालीककेलीकराः। लीलालालितकेरलीचिकुराः आनन्दनिष्यन्दिनः, रोमाञ्चोगमनानुमेयगमनाः क्रीडन्ति वाताकुराः॥ २३॥ III) अहमपि त्वां वर्धयि- च्यामि । आत्मानमपि बुभुक्षितानां प्रथमं दत्त्वा नागानां ततः, तुङ्गान्मङ्गलचन्दनाद्रि- भृगोः कृत्वा पातं क्षणात् । इदानीं गृहीत्वा सौरभैकनिलयं कन्दर्पमित्रान्तरं, त्वामालि- ङ्गितुमुत्सुकाः परिसरं प्राप्ताश्च चैत्रानिलाः ॥ २४ ॥ IV) पश्यतु तावदार्यपुत्रः सौभाग्यं कालस्य । यतः, किसलयिताशोकलताः कीरमुखाभोगकिंशुकच्छायाः। क्रीडन्ति केऽपि १K omits तव परिसरं प्राप्तस्य. for भूगो. २ मरतकाराम. ३ केलीकरम्. ४ x तुझामङ्गल. ५ र भृङ्गा ·- चंदलेहाए [I. 25.1- राजा-देवि, किं भण्णइ । महुअर-कलकल-मुहले मलआणिल-भंगि-संगअ-तरंगे। महुमास-णई-सोते मअरंदमए णिमजए भुवणं ॥ २६ ॥ विदूषकः -"वअस्स, किं वंचिदो म्हि। जदो पुरुवं एव्व अम्हाणं घरए परंपराए सनाग पंडिअतणं करतणं च पहिसु पडिरोहअ- भआदो अम्ह-बम्हणी-सअणिज्जेक-पास-संठविआ मंजसिआ णिहाविअ लोह-सालाए गाढं बंधिअ मुदं वि दाऊण साडम्मि समुद्दे संगहिअ आअदो । ता अज तुवं तुज्झ कइतणस्स अद्धं मे देहि जेण अहं वि तुम्हाणं कण्ण-पुडस्स पीजस-गंडूसणं करिस्सं । (हस्तौ प्रसारयति ।) चेटी -III)अय्य, पडिगण्ह । अहं दे देमि । विदूषकः- आ दासीए धीदे, को उण पंडिओ पारिआ उज्झिम एरंडादो अहिलसिदं कामेई। अहव तुमं तुज्झ कइत्तणं दंसेहि। तदो पडिगहिस्सं। देवी-'चंदणिए, दंसेहि अतणो छइल्लणं । किं च । सा पडिहा जा ठाणे पसरइ। सा णीदी जा काले उज्जलइ । सा इत्थिआ जा भट्ट- मणोरहे वट्टइ । सा मेती जा अणत्थे ओलंबइ। । 1 Komits देवि. 2 5 फणइ. 3K मलयाणिल'. 4 K णिमजहि, but xh णिमजए. 5 खरए. 65 कलन्तणं. 7 K पाअस?विआअं. 8 x साडं वि. 9 rh चन्दनिका for चेटी. 10 5 कामिज्जदि, but xh कामेइ. 11K कलत्तणं. 12 K चन्दिणिए. 13 K च्छउत्तणं. 14 K की च पडिहा. दिवसाः केसरस्खलद्वालपवमानाः ॥ २५॥ I) देवि, किं भेण्यते । मधुकरकल कलमु- खरे मलयानिलभङ्गिसंगततरङ्गे। मधुमासनदीस्रोतसि मकरन्दमये निमजति भुवनम् ॥ २६॥ II) वयस्य, किंचिद्वैञ्चितोऽस्मि । यतः पूर्वमेव अस्माकं गृहे परम्परया समागतं पण्डितत्वं कवित्वं च पथिषु प्रतिरोधकभैयादमब्राह्मणीशयनीयैकपार्श्वसंस्थापितायां मषिकायां निधाय लोहसालया गाढं बद्ध्वा मुद्रामपि दत्त्वा शाटके समुद्रे संगृ- ह्यागतः। तदा त्वं तव कवित्वस्याधं मे देहि येनाहमपि युष्माकं कर्णपुटस्य पीयूष गण्डूषणं करिष्यामि । III) आर्य, प्रतिगृहाण । अहं ते ददामि। IV) आः दास्याः पुत्रि, कः पुनः पण्डितः पारिजातमुज्झित्वा एरण्डादभिलषितं कामयते । अथवा त्वं तव कवित्वं दर्शय । ततः प्रतिग्रहीष्यामि । V) चन्दैनिके, दर्शयात्मनो वैदग्ध्यम् । किं च । सा प्रतिभा या स्थाने प्रसरति । सा नीतिः या काले उज्वलति । सा स्त्री या भर्तृमनोरथे १ र मन्यते for भण्यते. २ मधुरकल'. ३ : सङ्गतरङ्गे. ४ र भयादन्यस्मिन् ब्रह्मणि शय, M भयाद- सब्राह्मण्यारशय. ५ ६ वाटामपि, M साटामपि, ६ र सजल्यागतः ७ ॥ तदन्यत्वं. ८ . करिष्ये. ९ . कामयति. १० 4 प्रतिगृह्णामि. ११ र हले चन्दिनिके.

·पढम जवणिअंतरं 15 -I. 27.9] चेटी -"जं भट्टिणी आणवेदि । विदूषकः-"जइ अक्षणो छइल्लुणं दसेतुं ववसिदा सि ता जमश्र कादब्वं, मलआणिलो वण्णिदब्बो, सद्धरा अ वुत्तं । चेटी I"तह । सुणाहि तुवं । बाला वालालि-तण्हा-पसमण-कुसला चंदणदिस्स तुंगा सिंगा सिंगार-विदा-विअरण-गुरुणो मंघरं वि फुरंतो। लोलं लोलंबआलं परिमल-अरलं भामअंता हरंता माणं माणंसिणीणं णव-सुरहि-सिरी-बंधवा गंधवाहा ॥२७॥ राजा-साहु चंदणिए साहु । जदो जमए वि सुहओ सदो सुअमो आत्यो। विदूषकः-जइ एव्वं जिअं देवीए पराजिनं वअस्सेण । (पुरो विलोक्य ) अहो अमच्चो सुमई दुवारे । राजा - "किं सुमई । पवेसेहि णं । विदूषकः-(परिक्रम्य, सुमतिना सह प्रविश्य) एसो सुमई। [सुमतिः] - जेदु देवो। राजा-सुमदे किं। सुमतिः- देव, सिंधुणाहामच्चो सुस्सुदो दडुकामो चिट्टइ। 1 Kh चन्दनिका for चेटी. 2K च्छइत्तणं। 3 xh चन्दनिका- तह पठति।, but K has जह for तह. 4 K सीगा सीगारविन्दा. 5 लोलम्बओलं. 6 x adds विदूषकः- again before this sentence.7 K puts this speech in the mouth of Vidūşaka. - । वर्तते । सा मैत्री या अनर्थे अवलम्ब्यते। I) यद् भट्टिनी आज्ञापयति । II) यदि आत्मनो वैदग्ध्यं दर्शयितुं व्यवसितासि तद् यमकं कर्तव्यं, मलयानिलो वर्णयितव्यः, स्रग्धरा च वृत्तम् । III) तथा। शृणु त्वम् । बाला व्यालालितृष्णाप्रशमनकुशलाः चन्दनाद्रेस्तुङ्गात्, शृङ्गात् शृङ्गारविद्या वितरणगुरवः मन्थरं विस्तृणन्ति । लोलं लोलम्बजालं परिमलतरलं भ्रामयन्तो हरन्तः, मानं मनखिनीनां नवसुरभिश्रीबान्धवाः गन्धवाहाः ॥२७॥ IV) साधु चन्दनिके साधु । यतः यमकेऽपि सुभगः शब्दः सुगमः अर्थः। 7) यद्येवं जितं देव्या पराजितं वयस्येन । (...) अहो अमात्यः सुमतिरे। VI) किं सुमतिः । प्रवेशय ऍनम् । VII) एष सुमतिः। VIII) जयतु देवः। IX) सुमते किम् । X) देव, १ . भी for भट्टिनी. २ र व्यालालितृष्णा, M व्यागळिकृष्ण". ३ चन्दनाद्रेस्सतुङ्गाः शृङ्गा, मल- यादेस्तुङ्गात्. ४ . विस्तरन्ति. ५ वमन्तो for हरन्तः. ६ श्रीवन्धवो ग. ७ x omits एनम्.

·12 चंहलेहाए [I.27.10- राजा-ता अविलंबिअं आणेहि थे। सुमतिः-"ज देवो आणवेदि । (इति निष्क्रम्य सुश्रुतेन सह प्रविश्य) [सुश्रुतः] - IT'जेदु देवो। राजा-सुस्सुद, अवि कुसल सिंधुणाहस्स। सुश्रुतः-"संपदं देवस्स कुसलाणुजोएण । किं च महाराअ, देवस्स सिंधुणाहस्स चिर-सेवा-पसादिएण समुद्देण दिण्णो चिंतामणि-जाई- ओ को वि महामशी । तं च सअल-जण-चिंतिअत्य-दाण-कुसलं महा-रअणं महाराअ-रपसाद-तितएण सिंधुणाहेण महाराअस्स ति- रिमाणवेअस्स पाहुदीकरेहि ति दाऊण पेसिओ अहं । ता जिणउ वंसो चिंतामणीणं महाराअ-सण्णिहि-लाहेण । होउ अ महाराअ- प्पसाद-गहणेण सिंधुणाहो सअल-महिवाल-मंडल-सिलाहणिजो। 21 ( इति चीनांशुकनिचुलितचिन्तामणि काञ्चनभाजने निक्षिपति।) राजा- "सुमदे, तुवं एव्व नुज्झ सहि सुस्सुदं जहोइदं संभाविदूण पेसेहि सिंधुणाह-सआसं। सुमति:- VIजं देवो आणवेदि। "सुस्सुद, एवं करेहि। 1 x puts this speech in the mouth of Sumati. 2 Kh महामणि for चिंतामणि. 3x जातीओ. 4 K वित्त एण. 55 एसो for वंसो. 6 rh महामणि for चिन्तामणीणं. 7 महाराअस्स णिहि. 8 : मंसल for मंडल. 9 सही. 10 K सहाअं for सआसं. 11 r adds (इति निष्क्रान्तौ) here. 12 This and the next speech are found only in Kh which does not put this sentence in the mouth of the king but adds it in continuation of Sumati's speech जं देवो etc., and puts the next speech in Susrata's mouth. सिन्धुनाथामात्यः सुश्रुतो द्रष्टुकामस्तिष्ठति । I) तदविलम्बितमानयैनम् । II) यद्देव आशापयति । III) जयतु देवः । IV) सुश्रुत, अपि कुशलं सिन्धुनाथस्य । V) सांप्रतं देवस्य कुशलानुयोगेन । किं च महाराज, देवस्य सिन्धुनाथस्य चिर- सेवाप्रसादितेन समुद्रेण दत्तः चिन्तामणिजातीयः कोऽपि महामणिः । तं च सकल- जनचिन्तितार्थदानकुशलं महारत्नं महाराजप्रसादतृप्तेन सिन्धुनाथेन महाराजस्य श्रीमानवेदस्य प्राभृतीकुरु इति दत्ता प्रेषितोऽहम् । तजयतु वंशः चिन्तामणीनां महाराजसन्निधिलाभेन । भवतु च महाराजप्रसादग्रहणेन सिन्धुनाथः सकलमही- पालमण्डललाघनीयः । VI) सुमते, त्वमेव तव सखायं सुश्रुतं यथोचितं संभाव्य प्रेषय सिन्धुनाथसकाशम् । VII) यदेव आज्ञापयति । VIII) सुश्रुत, एवं कुरु । १ र कुशलानुवादेन. २ . महाराजस्य देवस्य, किञ्च देवमहादेवस्य. ३ M lacuna, K प्रसादवित्तेन. ४ र मानवेतस्य, मानवेदस्य. ५. एष चिन्तामणिः for वंशः चिन्तामणीनां found in M. Massigns this sentence to the king and the next to Susruta; but they are not found in K. 24 VIII). MEERNA ·-I. 296] पढम जवणिअंतर सुश्रुतः-जं देवो आणवेदि । (इति निष्क्रान्तौ ।) विदूषकः-भो वअस्स, आणवेहि अस्स महामणिणो णिउलं अवणेहूँ। राजा-वअस्स, जं दे रोएइ। ( विदूषको मुद्रामवमुच्य निचुलमपनयति ।) राजा-(सकौतुकम् )अहो पहा-पसरो। अज हि अच्छेरै अमुअस्स अच्छ-मणिणो दीहेहिं मोहेहि णं तेल्लोकं णव-पोमराअ -रअणुक्किण्णं व लक्खिज्जए। एसो वासर-दीव-धूसर-छई सूरो वि दूरोसिओ संझाए कवली-किदो व्व सहसा णट्ठो अअं आदवो ॥२६॥ विदूषकः-भो वअस्स, अगणिएहिं अणग्धेहि उम्मीलंत-बहल- दीह-मोह-लेहुजोअ-खज्जोआविअ-सहस्सरस्सीहिं महा-रअण-सह- स्सेहिं पूरिअं खु दे कोस-धरअं। किं ताणं पि अहिओ से पहाओ' जेण अच्छरीअं करेसि राजा-"वअस्स, एसो खु चिंतामणि ति पसिद्धो असाहारणो एव्व । जदो पत्थेइ जं जं सअलो जणो वि हत्थे अ तस्स खु देइ तं तं । मंदार-कप्पटुम-कामहेणू-संताणआणं गणिओ अ मझे ॥२९॥ 1 E reads façcq- and puts the stage-direction (in round brackets) in his mouth. 2 Kg. 3 Kh interchanges the places of the last two lines. 4 E . 5 x अहिदेवहाओ, but rh अहिओ से पहाओ. 6 दुमआमहेण. I) यद्देव आज्ञापयति । II) भो वयस्य, आज्ञापय अस्य महामणेर्निचुलमपनेतुम् । III) वयस्य, यत्ते रोचते । IV) अहो प्रभाप्रसरः। अद्य खलुं, आश्चर्य अमुष्याच्छमणे- दीर्धेर्मयूखैरेतत्, त्रैलोक्यं नवपद्मरागरत्नोत्कीर्णमिव लक्ष्यते । एष वासरदीपधूसर- च्छविः सूर्योऽपि दूरापसृतः, संध्यया कवलीकृत इव सहसा नष्टः अयमातपः ॥ २८ ॥ v) भो वयस्य, अगणितैरनध्यॆरुन्मीलदहलदीर्घमयूखरेखोद्यतखद्योतीकृतसहस्रर- रिमभिः महारत्नसहनैः पूरितं खलु ते कोशगृहम् । किं तेषामप्यधिकः अस्य प्रभावः येनाश्चर्य करोषि । VI) वयस्य, एष खलु चिन्तामणिरिति प्रसिद्धः असाधारण एव । यतः, प्रार्थयति यद्यत् सकलो जनोऽपि हस्ते अयं तस्य खलु ददाति तत् तत् । मन्दार- १ . अद्य खलु, M अस्य हि. २ M 'प्याच्छिमादीप्तैर्मयू. ३ र सूर्यो विदूरापसृतः, . सूर्यों वि lacuna. ४ 5 अगणणीयैर-, M अगुणितैरोबैर'.. ५K 'धिका अर्घ्यप्रभावः, 'धिकोऽस्य प्रभावः. ६ ४ येन त्वमप्याश्चर्य. ७ ४ प्रार्थयते; and some laouna in this passage. ३ चंद- ·.... १८ चंदलेहाए [I.29.1- विदूषकः- अहो पंडिआणं वि बुद्धी अंध-परंपरं अणुवट्टइ, जदो तुए एदाए सिलाए दाण-विअड्डआ वण्णीअदि। परमत्यदो उण • ससस्स विसाणुब्भवो, आआसस्स पसूणुग्गमो, मिअतिहिआए सलिल-रूवतणं, एदस्स सिला-विसेसस्स अभिमद-दाण-पंडिच्चं च अणत्यंतरं। राजा-I"मा मा एव्वं भण। अचिंतणिज्जो खु मणि-मंतोसहीणं पहावो। विदूषकः - भो वअस्स, जइ एव्वं इदं में कहेहि । कहं पुण एदस्स अचेदणस्स उवल-विसेसस्स दाणं संभवइ राजा-वअस्स, एआरिसाणं अप्पचक्ख-चारिणीओ अहिदेव- आओ विजंति। विदूषकः-"जुज्जइ । ता अहं किं वि पत्थेमि णं महारअणं । (विचिन्त्य, अपधार्य) भो वअस्स, एण्हि इह महिअले जा कण्णआणं रअण-भूआ कण्णा ते पुरदो दंसेहि ति पत्थेमि । राजा- अहिरुइदं वअस्सस्स । (विदूषकः प्रार्थनामीलितलोचनस्तिष्ठति । ततः प्रविशत्यपटीक्षेपेण नायिका । सर्वे सकौतुकमवलोकयन्ति ।) राजा-(सविस्मयम् )अहह । 1 x omits अहो. 2 बुद्धीए अंध. 3 : एदाहि. 4K विअट्ठभा. 5 पसूणुब्भवोगमो. 6 Komits one मा. 7 x omits #. 8K अचेदणं उवल. stage-directions as if they form a speech of Viduşaka. कल्पद्रुमकामधेनुसन्तानकानां गणितश्च मध्ये ॥ २९ ॥ I) अहो पण्डितानामपि बुद्धि- रन्धपरंपरामनुवर्तते, यतः त्वया एतस्याः शिलायाः दानविदग्धता वर्ण्यते । पर- मार्थतः पुनः शशस्य विषाणोद्भवः, आकाशस्य प्रसूनोगमः, मृगतृष्णिकायाः सलि- लरूपत्वम्, एतस्य शिलाविशेषस्य अभिमतदानपाण्डित्यं च अनर्थान्तरम् । II) मा मा एवं भण । अचिन्तनीयः खलु मणिमन्त्रौषधीनां प्रभावः। III) भो वयस्य, यद्येव- मिदं मे कथय । कथं पुनरेतस्याचेतनस्योपलविशेषस्य दानं संभवति। IV) वयस्य, एतादृशानामप्रत्यक्षचारिण्यः अधिदेवता विद्यन्ते । V) युज्यते । तदहं किमपि प्रार्थ- यामि एतन्महारत्नम् । (...) भो वयस्य, इदानीमिह महीतले या कन्यकानां रत्नभूता कन्यका तां पुरो दर्शयेति प्रार्थयामि। VI) यदभिरुचितं वयस्यस्य । VII) अहह । १ x laouna here. २ ॥ *संभव for 'रूपत्वम् . ३ M हि for खलु. ४ ( भो वयस्य, ५ अपि देवता for अधि', 'चारिभ्योऽधिदेवता. । 9 भूता. 10K writes these ·-I. 336] पढमं जवणिअंतरं अहो महिअले कहं अविरलुज्जला विजुला तहिं फुरद पुण्णिमा कहमहो वहंती कहुं । अहो कणअ-कुंभए अवि कहं दरिदत्तणं घणे पुलिण-मंडले कह गई ण संदीसइ ॥ ३०॥ अवि अ॥ सुह-गंधो तम-बंधो सविलासा णील-जीरअ-वलासा। अअलंको हरिणको अदिह-पुव्वं खु दीसए सव्वं ॥३१॥ कुह वि अहो पल्लविओ कोरइओ कुह वि कुह वि मंजरिओ को एस संपदाओ कुसुमाउह-विअअ-सिद्ध-विज्जाए ॥ ३२ ॥ नायिका-(स्वगतम्) अहो, वम्मह-लोअं आरोविद म्हि काए वि देवआए। एसो खु भअवं वम्महो। एसा अ देवी रई। एसो अ परिअणो। देवी-"अभिजाअ-कुल-संभवा का वि कण्णआ। विदूषकः-(सावधानं निरूप्य )"भो वअस्स, पेक्ख पेक्ख चक्रवट्टि- महिसी-पद-लाह-इंध-बंधुराइ इमाए अब्भुद-कण्णआए अंगाइ। राजा-(अपवार्य)"वअस्स, णं एव्वं भण । अहमहमिआ-गएहिं पेम्माउँलिएहि लक्खणेहिं वि। जह-ठाण-संठिएहिं आलिंगिअमंगअं किसंगीए ॥३३॥ 1 E अविरलजुला. 2 णीरणीलअविलासा. 3 मुजविओ. 4 लोहं for लोअं. 5 मम्महो. 6 x कापि for का वि. 7 लभ for इंध. 8 पेम्मउलाएहि. 9 संदठिएहि. अहो महीतले कथमविरलोज्जवला विद्युत्, तस्यां स्फुरति पूर्णिमा कथमहो वहन्ती कुहूम् । अहो कनककुम्भयोरपि कथं दरिद्रत्वं, घने पुलिनमण्डले कथं नदी न संदृश्यते ॥३०॥ अपि च । सुखगन्धस्तमोबन्धः सविलासा नीलनीरजपलाशाः, अकलङ्को हरिणाङ्कः अह- ष्टपूर्व खलु दृश्यते सर्वम् ॥ ३१॥ क्वाप्यहो पल्लवितः कोरकितः क्वापि क्वापि मञ्जरितः, क एष संप्रदायः कुसुमायुधविजयसिद्धविद्यायाः॥३२॥ I) अहो मन्मथलोकमारोपितास्मि कयापि देवतया। एष खलु भगवान् मन्मथः । एषा च देवी रतिः । एष च परिजनः । II) अभिजातकुलसंभवा कापि कन्यका । III) भो वयस्य, पश्य पैश्य चक्रवर्तिमहिषी- पदलाभचिह्नबन्धुराणि अमुष्या अद्भुतकन्याया अङ्गानि । IV) वयस्य, नन्वेवं भण । अह- महमिकागतैः प्रेमाकुलितैलक्षणैरपि । यथास्थानसंस्थितैरालिङ्गितमङ्गं कृशाझ्याः ॥ ३३ ॥ १ . कुम्भम् for कुहूम्. २ M कुत्रापि for क्वापि in this line. ३ ॥ अहो अभिजते कुल', ४ ॥ पश्य is not repeated. ५ . एनदेव for नन्वेवं; some lacuna in the following verse, ।

·............! MANTRA -kanaindia. २० चंदलेहाए [I. 33.1- नायिका-(राजानमवलोक्य स्वगतम् ) किं णु खु एदं पेक्खिअ अदिह- पुरुवस्स अवत्यंतरस्स पत्तं होइ मे चित्तं । राजा-"वअस्स, णेतंदोलण-घोलिदो व्व गलिओ ईसीसि कण्णेउरो लावण्ण-दुम-मंजरि व लसिओ सेओ र्णिडालंतरे। सोहा-संगहणोसुआइ व करे लगाइ पुप्फाइ से तं मण्णे कुसुम-ग्गहम्मि मणिणा णीदा इंअं एदिणा ॥३४॥ (स्वगतम् ) अहो इह द्विदाए वि से आढत-णिव्वहणे अहिणिवेसो। जदो पुण्णे पसूण-णिअरेहि तहिं लुएहि खिण्णे सिरीसअ-सिरी-हसिरे करम्मि । णेत्तेण किंचि परिकुंचिअ-चंचलेणं आदेइ मज्झ मण-फुल्लमिअं रसोल्लं ॥ ३५॥ (इति सस्पृहमवलोकयति ।) नायिका-(अधोमुखी)कीस उण अअंडे अरू मे वेवति । राजा-(स्वगतम्) 'पतेसु मज्झ णअणेसु मुहंबुअं से पाअंबुअं परिगआ खु अवंग-माला। IV), but 15 घोलिद व्व. 2 5 मञ्जरिव्व. 35 ललाइंतरे. 4 K संगहआसु. 5E বাকি Kh लग्गाइ. 65 पुप्फाल. 7 इयं. 8 5 ट्ठिदए. 9 F अढत्त. 10 : वेपन्ति. I) किं नु खल्वेतं प्रेक्ष्य अदृष्टपूर्वस्यावस्थान्तरस्य पात्रं भवति मे चित्तम् । II) वैयस्य, नेत्रान्दोलनचालित इव गलित ईषदीषत् कर्णपूरः, लावण्यद्रुममैजरीव लसितः खेदो ललाटान्तरे शोभासंग्रहणोत्सुकानीव करे लग्नानि पुष्पाण्यस्याः, तन्मन्ये कुसुमग्रहे मणिना नीता इयमेतेन ॥ ३४॥ (...) अहो इह स्थिताया अपि अस्या आरब्धव्यापारे अभिनिवेशः । यतः, पूणे प्रसूननिकरैः तस्मिन् लूनैः, खिन्ने शिरीषकश्रीहसनशीले करे। नेत्रेण किंचित्परिकुश्चितचञ्चलेन, आददाति मम मनःफुल्लमियं रसाईम् ॥ ३५ ॥ III) कस्मात् पुनरकाण्डे ऊरू मे वेपेते । IV) प्राप्तयोर्मम नयनयोर्मुखाम्बुजमस्याः, पादाम्बुजं प्रतिगता खलु कटाक्षमाला । हंसाकुलात् कमलात् कमलान्तरे, भृङ्गच्छटेव १ र अननुभूत for अदृष्ट given by M; M some lacuna, २ वयस्य पश्य, M a short laeuna, ३ x मञ्जरीविलसितः, मञ्जरीव लळितस्स्वदो निटालान्तरे. ४ इहागताया. ५ पूर्णैः, M पूर्णे. ६. निकरैरसिन , . प्रसूनकरैः तसिन्. ७ शिरीषत्री', 4 शिरीषकनीभाइरे करे, ८ . रसाभम् ९ । वेपते, ·-1.37. 10] पढसं जवणिअंतरं हंसाउलाउ कमला कमलंतरम्मि भिंग-च्छडा व परिरेहइ धावमाणा ॥ ३६॥ विदूषकः-(राजानं निरीक्ष्य, निर्वर्ण्य, अपवार्य)"भो वअस्स, ण केवलं लक्खणाइ तुज्झ अणाई वि किं वि पेम्म-परवसाइ से अंगं आलिंगंति। राजा-(अपवार्य) वअस्स, केवलं इमाए जोवणुन्भेद-तरंगिणं पुलोएमि । पेक्खदु दाव। उइंसिअ-यण-कुंभं उम्मज्जतेण जोव्वण-गएणं । कूलंकस-रस-भरिआ सरसि व्व तरंगिआ पवालंगी॥३७॥ नायिका-(सविषादम् ,स्वगतम्)"किं करोमि । ण सक्कुणोमि एन्थ ठाउं। देवी-(निर्वर्ण्य, स्वगतम् )"अदिड-पुरुव-जण-दंसणेण इमाए विसादो विअ लक्खीअदि । ता एव्वं दाव । (प्रकाशम् ) भद्दे एहि, एत्थ उव- विस (इति नायिका हस्ते गृहीत्वा स्वासनार्धे उपवेशयति ।) नायिका-(उपविश्य )"अणुग्गहीद म्हि देवीए रईए। (स्वगतम्) अहो, सुहओ एदाणं समवाओ। (नेपथ्ये) वैतालिकः-"जअ जअ तिभुवणेक-णाह, लोअ-लोअण-चंद, सुंदेरै- मंदाविअ-कंदप्प-माण, माणवेअ, सुहाअ सायंतण-संझा होउ। देवस्स । अज्ज खु 1K भिंगझडा. 2 णअणालुं वि. जोवणंभेदतरङ्गणं पुणेएमि. 4 x गईणम्. 5 The stage-direction (स्वगतम्), which I have put at the beginning of the next sentence, is put by r immediately after (उपविश्य). 6 x सुन्दर. 7 Komits माण. 8K सञ्छा होइ. परिराजते धावमाना॥ ३६॥ I) भो वयस्य, न केवलं लक्षणानि तव नयने अपि किमपि प्रेमवशे अस्या अङ्गमालिङ्गतः। II) वयस्य, केवलममुष्याः यौवनोद्भेदतरङ्गिणं प्रैलोक- यामि । पश्य तावत्, अॅदर्शितस्तनकुम्भमुन्मजता यौवनगजेन । कूलंकषरसभरिता सरसीव तरङ्गिता प्रवालाङ्गी ॥ ३७॥ III) किं करोमि । न शक्नोमि अत्र स्थातुम् । IV) अदृष्टपूर्वजनदर्शनेनास्या विषाद इव लक्ष्यते । तदेवं तावत् । (..) भद्रे एहि, अत्र उपविश | V) अनुगृहीतास्मि देव्या रत्या । (...) अहो सुभग एतेषां समवायः। VI) जय जय त्रिभुवनैकनाथ, लोकलोचनचन्द्र, सौन्दर्यमन्दीकृतकन्दर्पमान, मानवेद, १ . परिराजति.. २ र मालिङ्गितः, . "मालिङ्गति. ३ ॥ "तरङ्गणं. ४४ अवलोकयामि. ५ आस्तां for तदेवं found in M. ६ ॥ भद्रमुखि for भद्रे: ७ मानवेत, मानवेद. 2 ·. SEARCH २२ चंदलेहाए [I. 38a- एसा बंधुर-बंधुजीअ-कलिआ-सोहा णिदाहंसुणो रिडोली पडिबिंबआण लहरी-वंदेस संदीसए। सिग्धं ओदरिलं जहाउ दिण-लच्छीए समुद्दोदए माणिकेहि मणोहरेहि रइआ सोआण-वीहि व्व से ॥३॥ किंच। । सेरं सेरंधि-सत्यो विलिहंइ सिहिणे चित्तलं पत-लेह रामाणं णेत-लच्छी-कसणिअ-रमणाआण-मग्गंतराणं। आलक्खिज्जंत-कालाअरु-बहलअरुद्दाम-धूमंधआरो गेहेसुं देइ मेतिं रअणि-मुह-महंतुग्गमाणं तमाण ॥ ३९ ॥ नायिका-(सानन्दं स्वगतम् )"अहो, सो एव्व एसो जस्स जसं सव्वदा तादो वण्णेदि । (सस्पृहमवलोक्य) सरिसं खु तादस्स वण्णणं । देवी-"अय्यउत्त, इमा अब्भुद-कण्णा बहिणिआ मिव मे हिअ सिणिज्झइ । किं च, अभिजाआ खु एसा, ता अंतेउरे एव्य ठाउं उइदा । अणुजाणादु अय्यउत्तो अंतेउरं णेहूँ । राजा-"देवि, एत्थ किं अहं पुच्छिदव्यो । जं अहिरुइदं देवीए । 1 ओदरउं. 2 विलहल for विलिहइ. 3. दमाण for तमाणं. 45 तदो. 55 सरिढुं for सरिसं. 65 अहिरुहिदं. सुखाय सायंतनसंध्या भवतु देवस्य । अद्य खलु, ऐषा बन्धुरबन्धुजीवकलिकाशोभा निदाघांशोः, श्रेणी प्रतिबिम्बानां लहरीवृन्देषु संदृश्यते । शीघ्रमवतरितुं नमसः दिन- लक्ष्म्याः समुद्रोदके, माणिक्यैर्मनोहरैः रचिता सोपानवीथी वास्याः॥ ३८॥ किं च । खैरं सैरन्ध्रीसार्थः विलिखति स्तने चित्रवत्पत्रलेखां, रामाणां नेत्रलक्ष्मीकृष्णीकृतरम- णायानमार्गान्तराणाम् । आलक्ष्यमानकालागरुबहलतरोहामधूमान्धकारः, गेहेषु ददाति मैत्री रजनीमुखमहदुद्गमानां तमसाम् ॥३९॥ I) अंहो स एव एष यस्य यशः सर्वदा तातः वर्णयति । (...) सदृशं खलु तातस्य वर्णनम् । II) आर्यपुत्र, अमुष्यामद्भुतकन्यकायां भगिन्यामिव मे हृदयं नियति । किं च, अभिजाता खलु एषा, तदन्तःपुर एव स्थातु- मुचिता। अनुजानातु आर्यपुत्रः अन्तःपुरं नेतुम् । III) देवि, क्षेत्र किमहं प्रष्टव्यः। १ एपो. २. रिन्छोली for श्रेणी. ३Kधन for दिन. ४ र रुचिरा for रचिता. ५ वीथीव यस्याः. ६ x °साथै. ७ : दह्य for आलक्ष्य. ८ र तमोद्दाम. ९ र मुखे महदुमानन्दमासाम्, १० ( अथवा for अहो.. ११ ॥ अस्या" for अमुष्या', १२ कन्यायां. १३ ४ अनुशापयतु. १४ F omits अत्र, ४ किमहमत्र for अत्र किमहं.

·सेए उडुगणो। -I.41.3] पढमं जवणिअंतरं २३ देवी-(उत्थाय) एहि भद्दमुहि, अंतेउरं पविसम्ह । नायिका-आम । ( इत्युत्थाय आत्मगतं नायकं सानुराग तिर्यक् पश्यन्ती सप- रिवारया देव्या सह निष्कान्ता।) राजा-(सनिर्वेदम् ) मज्झम्मि हत पडिजण पमोअ-वंझा संझा कराल-मुह-भीसण-सण्णिवाआ। देवाण दाणव-घड व्व दिसाण मज्झं पीऊस-पाण-विहदि सहसा करेदि ॥ ४० ॥ (समन्तावलोक्य) अहवा। मुहे राउन्भेओ णअण-सुहओ दीसइ फुडं णिडालग्गे लग्गे अणुसरह सरोआणं दाणिं अणुकुणइ कोसे सिहिण पिआ-सारिच्छेणं मह फुरइ संझा सुहअरी ॥४१॥ विदूषकः-(निरूप्य )"भो वअस्स, एतो खु अम्हाणं तिभुवण-लोह- णिज्जा रूविणी अब्भुद-कण्णआ समासादिआ। पुणो किं णिस्सा- रेण इमिणा मणिणा कज्जं । गहिएसु तंडुलेसु किं तुसेहि करणिज्ज।। 1 x omits आम and adds (उत्थाय) etc., while kh reads आं (इत्युत्थाय etc.) 2 Kघटं पदिसाण मंश. 3 Komits अहवा. 4 x सरोआणि. 5K माणिं, but xh दाणिं. 65 सिहिणिों. 7 K विआ. 8 K पुठइ. 9 x सुहहरी. 10 K एत्ता. 11 K पुणो की णिस्सारण, Kh पुणो वि कि. 12 x तंसुलेसु. यदभिरुचितं देव्याः। I) एहि भद्रमुखि, अन्तःपुरं प्रविशावः। II) आम | III) मध्ये हन्त पतित्वा प्रमोदवन्ध्या, संध्या करालमुखभीषणसंनिपाता। देवानां दानवघटेव दृशोर्मम, पीयूषपानविहति सहसा करोति ॥४०॥ (...) अथवा । मुखे रागोद्भेदः नयन- सुभगः दृश्यते स्फुटं, ललाटाने लग्नाननुसरति खेदानुडुगणः। सरोजानामिदानीमनु- करोति कोशान स्तनं, प्रियासादृश्येन मम स्फुरति संध्या सुखकरी ॥४१॥ IV) भो वयस्य, एतस्मात् खलु अस्माकं त्रिभुवनलोभनीया रूपिणी अद्भुतकन्यका समासादिता पुनः किं निस्सारणामुना मणिना कार्यम् । गृहीतेषु तण्डुलेषु किं तुषैः करणीयम् । - १ प्रविशामः. २ K omits आम. ३ x श्रीमोद for प्रमोद. ४ ॥ निटाला for ललाटाये. ५ कोश स्तनम् , ४ कोशसूनं. ६ र भिया for प्रिया. ७ र सुखहरी. ८ K इत: for एतस्मात्. ९ ॥ श्लाघनीया for लोभनीया. १० ॥णानेन for णामुना.

·.......EPALtiiian.in ............ चंदलेहाए [I. 41.4- राजा-"गोसण्ण, मा मा एव्वं । किं इंदिरा गहिआ मुउंदेण णाहिणंदीअदि दुद्ध-वारिही। ता उद्धरेहि थे। मणिराअं पुणो वि अम्हाणं अणगहिउं देवाराहण-मंदिरे अञ्चणत्थं ठाविजण गच्छम्ह संझं वंदिर। (निष्क्रान्ताः सर्वे ।) ॥ इअं चंदलेहाअं पढमं जवणिअंतरं॥ 1xणन्दिअदि. 2K इ. 3 पठमं. I) गोसंश, मा मा एवं । किमिन्दिरायां गृहीतायां मुकुन्देन नाभिनन्द्यते दुग्धवारिधिः। तदुद्धर एनम् । मणिराज पुनरपि अस्माकमनुग्रहीतुं देवाराधनमन्दिरे अर्चनार्थ स्थाप- यित्वा गच्छावः संध्यां वन्दितुम् ॥ ॥ इति चन्द्रलेखायां प्रथम यवनिकान्तरम् ॥ EM put the Danda after मणिराज.

·सिणिद्धा अ EMA [II] (ततः प्रविशति राजा चामरग्राहिणी च ।) राजा-(निश्वस्य साशंसम्) लज्जा-जंतण-लंछिंआ वि सहसा तंसावलोजसुआ तं देसं णव-पुंडरीअ-णिअर-च्छण्णं कुर्णता खणं । संचारा चउरं भमंत-भुमंआ मुद्धा आणंदंतु पुणो वि केअअ-सिहा-लच्छीणमच्छीण से ॥१॥ चामरग्राहिणी-(स्वगतम्) अहो, अज्ज वि महाराओ तं मरगअ- उज्जाण-वुत्तंतं एव्व चव्वंतो पव्वायंत-वअण-पंकओ रुअ-रुइअ- च्छितेण चित्तेण किं विकिं वि जपतो उलिहिओ विज चिट्ठइ ।। ता वसंत-वण्णणेण अण्णरिस गेमि से माणसं । (प्रकाशं) पेक्खदु दाव महाराओ। सूणाहिंतो पिबंतो भमइ महुअरो मंदमदं मरंद चूआहितो पडतो महमहइ स-भंगाणुबंधो सुअंधो। मूलाहिंतो हसंतो विलसइ पहिउक्केर-सोओ असोओ सिंगाहिंतो वलंतो मलअ-सिहरिणो वाइ सीओ अवाओ॥२॥ 1K begins this Scene with this sentence: अथ चन्द्रलेखायां द्वितीयं यवनिकान्तरम् । 2 र लच्छिआ. 3 तस्साव 4K भमआ for भुमआ. 5 K सिणिद्धाअमामण्डंदन्तु. 65 वकुओ for पंकओ. T F जप्पंतो उल्लिखितो. 8 F डुमइ महुररो. 9 चूडाहितो, 10 x सोगा हिंतो, but xh सिंगाहिंतो. [संस्कृतच्छाया] I) लज्जायन्त्रणलाञ्छिता अपि सहसा व्यस्रावलोकोत्सुकाः, तं देशं नवपुण्डरीक- निकरच्छन्नं कुर्वन्तः क्षणम् । संचाराश्चतुरं भ्रमझुवः मुग्धाः स्निग्धाश्च माम्, आन- न्दयन्तु पुनरपि केतकशिखालक्ष्मिणोः अक्ष्णोः अस्याः॥१॥ II) अहो, अद्यापि महा- राजः तं मरकतोद्यानवृत्तान्तमेव चर्चयन् शुष्यद्वनपङ्कजो रणरणिकाक्षिप्तेन चित्तेन किमपि किमपि जल्पन उल्लिखित इव तिष्ठति । तद्वसन्तवर्णनेन अन्यस्मिन् नयाम्यस्य मानसम् । (...) पश्यतु तावन्महाराजः। सूनेभ्यः पिबन् भ्रमति मधुकरो मन्दमन्दं मकरन्द, चूतेभ्यः पतन् सर्वतः प्रसरति संभृङ्गानुबन्धः सुगन्धः । मूलात् हसन् विलसति पैथिकोत्करशोकः अशोकः, शृङ्गेभ्यः वलमानः मलयशिखरिणः वाति शीतश्च १ M लक्षिता for लान्छिता. २K स्निग्धागमा" for निग्धाश्च मा. ३ 'शिखालक्ष्म्या . ४ Komits अस्याः. ५ Komits शुण्यद. ६ र किमपि only once. ७K प्रसङ्गानुबन्धान् गन्धमूलाद, M भूङ्गानुवन्धैस्सुग- न्धैर्मूलाइसन् for सभृङ्गा' etc. ८ K पथिकोरकशोकः शृङ्गाद. ९ मातरिश्ववातः for वाति etc. ४ चंद ·२६ चंदलैहाए [II.2.1- राजा-(अनाकर्ण्य) अहो रूव-सिरी। तह अ। णेतं कंदोट्ट-मितं अहर-मणि-सिरी बंधुजीएक-बंधू वाणी पीऊस-वेणी णव-पुलिण-अल-त्योर-बिंबो णिअंबो। गतं लाअण्ण-सोत्तं घण-सिहिण-भरच्चंत-मुझंत-मज्झं उत्तेहिं किं बहूहिं जिणंइ मह चिरा जम्म-फुलं फलिलं ॥३॥ एहि च । सामंतो सो वसंतो लसइ पिअ-वहू-काहलेहिं कलेहि आसण्णो एव्व पुण्णा उण सइअ-वरो णह-तंदो अ चंदो। णासीरो सो समीरो चलइ मलअदो णेत-कोणो अ बाणो सण्णद्धो सो सिणिद्धो जिणउ तिहुवर्ण ता असंगो अणंगो॥४॥ (विचिन्त्य ) अहव जिअं एव्व अणेण अम्हारिस-मम्म-हणणुम्मु- हेण वम्महेण तिहुवर्ण । जदो महुर-महुरमेदे हंत गाअंति किर्ति दिसि दिसि कलअंठा "बंदिणो णंदिणो से। अवि अ गहिअ-गब्वं सव्व-तेल्लोक-हेला- विअअ-धअ-वडाअंदोलिआ बालिआ सा ॥ ५॥ 15 अहरसिरी. पाणी. 3 भरचन्त. 4 5 जणइ for जिणइ. 5 x हलीलम् for फलिलं. 6 x omits कलेहि. 7 5 सइअणट्ठदन्तो अ. 85 सो जअउ तिहुवर्ण, but rh सो सिणिन्धो जिणउ तिहुवणं. 9 व but kh एव्व. 10 5 मम्महेणणं मुहेणं मम्महेण. 11 गायन्ति. 12 5 वन्दिणे से. 13 x असिअ. 14 F केल्लोक. 15 डअ for धअ. वातः॥२॥ I) अहो रूपश्रीः। तथा च । नेत्रं नीलोत्पल मित्रम् अधरमणिश्रीबन्धुजीवै- कबन्धुः, वाणी पीयूषवेणी नवपुलिनतलस्थूलबिम्बो नितम्बः। गात्रं लावण्यस्रोतः घनस्तनभरात्यन्तमुह्यन्मध्यम् , उक्तैः किं बढुभिः जयति मम चिरात् जन्मफुलं फलवत् ॥ ३॥ इदानीं च । सामन्तः स वसन्तो लसति पिकवेधूकाहलैः कलैः, आसन्न एव पुण्यात् पुनः सचिवपरो नष्टतन्द्रश्च चन्द्रः। नासीरः स समीरश्चलति मलयतो नेत्रकोणश्च बाणः, सन्नद्धः स स्निग्धो जयतु त्रिभुवनं तदसंगो अनङ्गः॥४॥ (...) अथवा जित- मेवानेन अस्मादृशां मर्महननोन्मुखेन मन्मथेन त्रिभुवनम् । यतः, मधुरमधुरमेते हन्त गायन्ति कीर्ति, दिशि दिशि कलकण्ठाः बन्दिनो नन्दिनोऽस्य । अपि च गृहीतगर्व सर्व- १ . वायुः for वातः, २ K पुलिनस्थूल'. ३ . 'भारात्यन्तो मु. ४ ॥ बहुना. ५ K वधूहाहाकलैः कालैः. ६K आसन्ने and lacuna upto पुनः, "सन and lacuna upto नासचिव'. ७ तदङ्गसङ्गम् , ४ देशमे- कोऽनङ्गः for तदसंगो etc. ८ . "मधुरमेके.. ९ च निगृहीत.

·-II.8. 1] दुदिअं जवणिअंतर चामरग्राहिणी-(स्वगतम्) अहो, णिअ-सासणेक-वसंवदाविअ-सअ- ल-महिअलो हविअ अप्पणा कुसुमसरासणस्स सासणं अणुंवट्ट- माणो ण किं वि जाणादि महाराओ । सव्वहा हरि-हर-सरसिरुहासण-हरिहय-पमुहा मुहा कहिज्जति । णाहो खु णवर एक्को मअणो भुवणाण चोदहाणं वि॥६॥ राजा-अच्छे। जं जेहिं णअणंचलेहि तइआ मंदाणिलंदोलिए पिऊसण्णव-सीअलंबु-लहरी-मज्झम्मि णिम्मज्जि। ते तेहिं महमेण्हिमुण्ह-विसमे कप्पंत-वादाहए घोर-क्खेडअ-पूर-पूरिअ-णई-सोतम्मि चितं मणं ॥ ७॥ किंच। etc. जाला हेला-विहसिअ-रई लोअणागोअरे सा बाला ताला-पहुदि परुसा चंदिआ-मंद-वाआ। जाला-माला पलअ-सिहिणो पल्लवाली-मुणाली- माला हालाहलमवि अ कोलाहलो कोईलाणं॥।॥ (विचिन्त्य ) किं णु खु वअस्सो में चिराअदि। 1 F महिअले, but xh 'लो. 2 "वमाणेण कीवि जाणादि. 3 सुरवण एक्को for 4 K तइआआ मन्दा'. 5 तन्तेहीमहमेहि. 6 5 वादाहते. 7 Fच्छत्तं. 8 5 बहुदिवरुचा for पहुदि परुसा. 9 K वलय. 10 F कोइदाणम्. 11 r omits मे which is given byKh. त्रैलोक्यहेला, विजयध्वजपताकान्दोलिता बालिका सा ॥ ५॥ I) अहो, निजशासनक- वैशंवदीकृतसकलमहीतलो भूत्वात्मना कुसुमशरासनस्य शासनमनुवर्तमानो न किमपि जानाति महाराजः। सर्वथा, हरिहरसरसीरुहासनहरिहयप्रमुखा मुधा कथ्यन्ते । नाथ: खलु परमेको मदनो भुवनानां चतुर्दशानामपि ॥ ६॥ II) आश्चर्यम् । यद्यैः नयनाञ्चलैः तदा मन्दानिलान्दोलिते, पीयूषार्णवशीतलाम्बुलहरीमध्ये निमजितम् । तत् इदानीमुष्णविषमे कल्पान्तवाताहते, घोरक्ष्वेडकपूरपूरितनदीस्रोतसि क्षिप्तं मनः ॥ ७ ॥ किं च । यदा हेलाविहसितरतिर्लोचनागोचरे सा, बाला तदाप्रभृति परुषाश्चन्द्रिकाम- न्दवाताः। ज्वालामालाःप्रलयशिखिनः पल्लवालीमृणाली, माला हालाहलमपि च कोला- मम १. विजृमि for विजय. २ ( लोलितालालिका सा for 'दोलिता etc. ३ ४ बालका. ४ E'वशंवन्दीकृत', Mक्शपदीकृत , ५ . किमपि विजानाति. ६ M वरमेको. ७ र यद्याभ्यां नयनाचलाभ्यां मन्दा', x_lacuna for तदा. ८ र पीयूषं नव. ९ र विषमेकान्तवान्तवाता. १० K घेरक्ष्येलपूरित, A घोरक्ष्वेड lacuna तार्णव- जळे झटित्येव क्षिप्तं मनः। ११ M "विलसिता रति Lacunar, ·। चंदलेहाए [II, 8,2- (ततः प्रविशति विदूषकः ।) विदूषकः-(सहर्षम् )"हंत साहिअं कजं । तं वअस्सस्स णिवेदेमि (परिक्रम्य, पुरोऽवलोक्य) एसो वअस्सो अहिणव-पिअंगु-सामलंगो वि पच्चूस-ससि-मंडल-पंडुर-महुरेहिं अवअवेहिं णिदाह-गंगा-पवाहो विअ कमेण विमुक्क-गभीरतणो बहुल-पक्ख-चंदो विअ दिणे दिणे विमुच्चंत-कला-समुदओ तुहिणाअलो व्व विजंभंत-मअणोतं एव्व अब्भुद-कण्णअं झाअंतो थिमिओ चिट्ठइ । (विचिन्त्य) अहो एआरि- 9 साणं वि महापुरुसाणं माणसं मअणेण कीलामिओ कीरइ । सव्वहा मअण-मारुअ-विलोलिअस्स माणसस्स ण को वि पंडिआरं करे। ता कुसुम-सरासण-सरासार-झरंत-हिअअं वअस्सं सूर-इरण-विसू- रंत-कुमुअं व कुमुआअरं सरदिंदु-सुंदर-मुहीए वुत्तंत-चंदिआ-णीसं- देण आणंदेमि । (उपसृत्य) जिणउँ भवं । राजा-वअस्स, किं दिहा देवी। . विदूषकः - किं दमिलमंडआए पवट्टो सि। उज्जु एव्व पुच्छ । किं दिहा तत्थंहोदी मणिसंभवेत्ति । किमिणं मूल मुणंतस्स मम पत्तं 1 x ता for तं. 2 णिवाह, but xh णिदाह. 3 K°लोव्वभंतमअणो. 4 K अब्भुदंण, but xh अब्भुदकण्णअं. 5 g omits अहो. 6 K किलामिओ. 7 परिआरं. 8 Kजणउ भव्वं. 9. उजणीएव्व. 10 तत्तहोदी. 11 मूणं मूलत्तस्स. हलः कोकिलानाम् ॥ ८॥ (...) किं नु खलु वयस्यो मे चिरायति । I) हन्त साधितं कार्यम् । तद् वयस्याय निवेदयामि । (...) एष वयस्यः अभिनवप्रियङ्गुश्यामलाङ्गोऽपि प्रत्यूषशशिमण्डलपाण्डुरमधुरैः अवयवैः निदाघगङ्गाप्रवाह इव क्रमेण विमुक्तगम्भीरत्वो बहुलपक्षचन्द्र इव दिने दिने विमुच्यमानकलासमुद्यः तुहिनाचल इव विजृम्भमाण- मदनः तामेवाद्भुतकन्यकां ध्यायन स्तिमितस्तिष्ठति । (...) अहो एतादृशानामपि महा- पुरुषाणां मानसं मदनेन क्रीडामृगः क्रियते। सर्वथा मदनमारुतविलोलितस्य मानसस्य न कोऽपि प्रतीकारं करोति । तत् कुसुमशरासनशरासारसंतप्यमानहृदयं वयस्यं सूर्य- किरणविशुष्यत्कुमुदमिव कुमुदाकरं शरदिन्दुसुन्दरमुख्याः वृत्तान्तचन्द्रिकानिष्यन्देन आनन्दयामि । (...) जयतु भवान् । II) वयस्य, किं दृष्टा देवी। III) किं मिलम- ण्डकया प्रवृत्तोऽसि । ऋजुकमेव पृच्छ। किं दृष्टा तत्रभवती मणिसंभवेति। किमिदं मूलं । मदन, ५K omits १ ४ वयस्यस्य. २ K"यामि इति. ३ Komits प्रियजु, प्रिये तु. ४ वदनः for वयस्य, M laouna, ६ K किं चन्द्रमिलमण्डकया, A lacuna जया प्रवृत्तोऽसि. ७ : व्रज्ये पप्रच्छ for अजुकमेव oto. ८. अत्र भवती.

·-II.9. .9] दुदिअं जवणिअंतरं दंसीअदि, रअण-वेदिणो मंदिरे माणिक-मणि त्ति का विकिणी- अदि, अणुभूद-बम्हाणंदस्स पुरदो इंदआल-परमात्थदा समन्थी-18 अदि। किं मए ण मुणि मरगआरामादो एव्व नुए देवी-पक्ख- वादस्स सतिला सलिलंजली दिण्ण ति। राजा-'मा मा एव्वं । जइ वि मणमिमस्सि कण्णआणिबद्ध तह वि गलइ देवी-पक्खवादो कहं मे। स-रइ कमलिणीअं दिण्ण-केली-पआरो विसुमरइ खु णो सो माणसं राअहंसो ॥ ९ ॥ ता आदिदो पहुदि कहेहि। विदूषकः-"सुणादु वअस्सो। एसो अहं अंतेउर-वुतंतं जाण ति तुए पेसिदो गोसम्मि एव्व पत्थिदो फलिहंकणेणं गंतुं पवुत्तो। राजा-तदो तदो। विदूषकः-तदो दूरादो एव्व दिहा मए के वि कीला-सालभंजि गण्हिों आअच्छंती तमालिआ राजा-तदो तदो। विदूषकः-Vतदो सा मं अपेक्खंती विअ अण्णेण मग्गेण गआ। राजा-(स्वगतम्) किंणिमितं । (प्रकाशं) तदो तदो। 1 F वित्तीणिअदि. 2 घुरदो. 3 x सतिलो. 4 K पख्खपादो. B F कहेदि. 6 x फलिहङ्करेण. 75 कि वि. 8 भञ्जिआं गृह्निअ आअच्छिती. जानतः मम पत्रं देयते, रत्नवेदिनो मन्दिरे माणिक्यमणिरिति काचो विक्रीयते, अनुभू- तब्रह्मानन्दस्य पुरतः इन्द्रजालपरमार्थता समर्थ्यते। किं मया न ज्ञातं मरकतारामादेव त्वया देवीपक्षपातस्य सतिलः सलिलाञ्जलिर्दत्त इति। I) मा मा एवम् । यद्यपि मन अमुष्यां कन्यकायां निबद्धं, तथापि गलति देवीपक्षपातः कथं मे। सरति कमलिन्यां दैत्तकेलीप्रचारः, विस्मरति खलु नो स मानसं राजहंसः॥९॥ तदादितःप्रभृति कथय । II) शृणोतु वयस्यः । एषोऽहं अन्तःपुरवृत्तान्तं जानीहीति त्वया प्रेषितः प्रभाते एव प्रस्थितः स्फटिकाङ्गणेन गन्तुं प्रवृत्तः। III) ततस्ततः। IV) ततो दूरादेव दृष्टा मया कामपि क्रीडाशालभञ्जिकां गृहीत्वा आगच्छन्ती तमालिका । V) ततस्ततः। VI) ततः सा मामर्पश्यन्तीव अन्येन मार्गेण गता । VII) किनिमित्तम् । (") ततस्ततः। । १ x omits मम, & perhaps lacuna. २ K दृश्यते. ३ KM मरतकारा'. ४ x नृत्त for दत्त. ५ : मनो बन्धो for नोस.६ romits प्रभाते. ७ ॥ स्फटिकाकणेण. ८ र "पश्यन्तीव अन्येनैव मार्गेण, पश्यन्ती चान्येन मा.

·३० 12 चंदलेहाए [II. 9. 10- विदूषकः- मज्झ अदंसणं अहिलसंतीए किं दसणेणं ति अहं वि तुम्हि एब्व गंतुमाढतो। राजा-तदो नदो। विदूषकः-तदो तहिं संमज्जणादि-वावार-केलि-लग्गेण दासेरई- वग्गेण णव-णिहुवण-केलि-सिढिल-बंध-विगलिअंस-घोलंत-पज्जुसि- अ-मालई-माला-महमहत-बहल-परिमल-भर-भमंत-मसल-मंडलेहि धम्मिल्लेहिं सुरअ-भर-किलम्मंत-चंचलेहिं णअणंचलेहिं थोआवसि- ह-पुराण-कत्यूरी-पत्न-भंग-लेहाहिं गंड-लेहाहिं रमण-दिढ-दिण्ण-विं- "दु-मणहरेहिं अहरेहिं मंडल-किअ-माणिक्क-मणि-सअल-विण्णास- संका-अर-तंबराअाण-मणि-माला-दिण्ण-उकंठेहिं कंठेहिं वल्लह- णव-णह-दल-विलिहिअ-चंदलेहा-मणोहरेहिं पओहरेहिं मोहण-वेअ. खंडिअ-कंची-गुण-सिढिल-णिअसणेहिं जहणेहिं तुरिज-विण्णास- महुर-झणझणाअंत-णेउर-कलकल-सुहअ-संचलणेहिं चलणेहिं आअ- च्छिों पाडिकं एव्व मरगउज्जाण-वुतंतं अहं पुच्छिदो। राजा-तदो किं तुए पडिवण्णं । विदूषकः- इमिणा अत्याण-रअण-खंभेण किं पडिवणं । किं 5 राअमण्णमणि. 1K सिडिल. 2K भमल. 3 x धम्मल्लेहिं. 4 5 तोयावसिट्ट 6 : ऊकण्ठेहिं. 7 तुरिय. 8 F आयच्छिअ. 95 अत्ताणरअणभेण. I) ममादर्शनमभिलषन्त्याः किं दर्शनेनेति अहमपि तूष्णीमेव गन्तुमारब्धः। II) तत- स्ततः। III) ततस्तत्र संमार्जनादिव्यापारकेलीलग्नेन दासेरैकीवर्गेण नवनिधुवन केली- शिथिलबन्धविगलितांसघूर्णमानपर्युषितमालतीमालासर्वतःप्रसरहलपरिमलभरभ्रमर्दै भ्रमरमण्डलैर्मल्लैस्मिल्लैः सुरतभरथमक्लाम्यञ्चञ्चलैनयनाञ्चलैः स्तोकावशिष्टपुराणकस्तू- रीपत्रभङ्गलेखाभिर्गण्डरेखाभिः रमणदृढदत्तबिन्दुमनोहरैः अधरैः मण्डलीकृतमाणिक्य. मणिशकलविन्यासशङ्काकरतानायमाणमणिमालादत्तोत्कण्ठैः कण्ठैः वल्लभनवनखदलवि- लिखितचन्द्रलेखामनोहरैः पयोधरैः मोहनवेगखण्डितकाचीगुणशिथिलनिवसनैः जघनैः त्वरितविन्यासमधुरझणझणायमाननूपुरकलकलसुभगसंचरणैश्चरणैरागत्य प्रत्येकमेव मरकतोद्यानवृत्तान्तमहं पृष्टः। IV) ततः किं त्वया प्रतिपन्नम्। V) अनेन आस्थानरत्न- स्तम्भेन किं प्रतिपन्नम् । किं कस्तूरी पंकणे विक्रीयते । किं पुरोडाशं शबरीणां दीयते । किं - omits पुराण- १ र मम दर्शन. २ KM ततस्तसिन्. ३ K दासीवर्गेण. ४ x भ्रमद्भसळम. ५ ( "यनानिलै. ६ ॥ ७ लेखाभिः for रेखाभिः ८Komits दल. ९ . ततस्त्वया किं प्र. १० x वकणे, ४ पट्टणे for प्रकणे. ११ र समराणां for शबराणां, laounar ·BaramwwwRICanSAPAIMIRISRAINMENHAN । -II.9. 42] दुदि जवणिअंतरं कत्थरी पक्कणे विक्विणीअदि। किं पुरोलासं समराणं दिज्जइ। किं पंचगव्वं वाअसाणं पडिवज्जीअदि। राजा-(सस्मितम् ) अहो विअड्डदाए विलासो। विदूषकः -Tकिं एन्थ अच्छरीअं को उण वासस्स लिवि-विण्णासे चित्तीअदि । को वम्मीइणो पद-बंधे कोदुभं करेदि। को बुहप्पइणो। छग्गुण्ण-दंसणे विम्हअंगण्हइ । राजा-सच्चं । तदो तदो। विदूषकः-तदो ताणं ईसा-रज्जु-भमाडिज्जत-भुमआ-कंवणुच्छि- तेहिं चडुल-चडुलेहिं कर्डक्ख-मरगअ-पासाणेहिं तालिओ। कह कह वि नदो संकडादो णिकमिअ पदुमराअ-सज्ज-वण-परिअंतेण गदुअ पलिन-फलिअ-मणि-सिलालिंद-बहल-जोण्हा-जाल-धवलाअंत-दस-* दिसा-मुहं माणिक-मणि-मंदिरोलसिअ-मंसल-मऊंह-माला-बालौदव- पल्लविअ-णहंतरं विविह-वावार-नुवरंत-विलासिणी-महुरालाव-को- लाहल-मणहरं अंतेउरं पविट्टो म्हि । राजा-तदो तदो। विदूषकः-दो विदुम-मणि-मंडिअ-मंडव-मज्झे पोमराआसण- णिसण्णा देवी, अणंतर-णिहिते फलिह-मणि-सिलासणे चंदादेवम्मि. 1 K पङ्कणे. 25 देअहृदाए for विअदाए. 3 व्वासस्स. 5 x ककवणु 6 F खडस्ख.7K संकटादो.8 K परतंतेण. 9 5 omits मणि. 10 मऊलह. 11 पालादव. 12_K omits मंडिअ. 135 चन्दादिपम्मि. पञ्चगव्यं वायसानां प्रतिपाद्यते । I) अहो विदग्धतायाः विलासः। II) किमत्राश्चर्यम् । का पुनर्व्यासस्य लिपिविन्यासे चित्रीयते । को वाल्मीकेः पदबन्धे कौतुकं करोति । को बृहस्पतेः षाड्गुण्यदर्शने विस्मयं गृह्णाति । IIT) सत्यम् । ततस्ततः। IV) ततस्ता- सामीारज्जूभ्राम्यमाणभ्रूकवणोत्क्षिप्तैः चटुलचटुलैः कटाक्षमरकतपाषाणैस्ताडितः । कथंकथमपि ततः सङ्कटानिष्क्रम्य पद्मरागसर्जवनपर्यन्तेन गत्वा प्रदीप्तस्फटिकमपिग- शिलालिन्दबहलज्योत्स्नाजालघवलायमानदशदिङ्मुखं माणिक्यमणिमन्दिरोल्लासिमांस- लमयूखमालाबालातपपल्लवितनभोऽन्तरं विविधव्यापारत्वरमाणविलासिनीमधुरालाप. कोलाहलमनोहरमन्तःपुरं प्रविष्टोऽस्मि । V) ततस्ततः। VI) ततो विद्रुमैमाणमण्डि- तमण्डपमध्ये पझरागासननिषण्णा देवी, अनन्तरनिहिते स्फटिकमणिशिलासने चन्द्रा- १४ lacuna हे ते विदग्धताया. २ लिपिज्ञाने चि, कि lacuna विज्ञानेन चि'. ३ ( करोति for गृनाति. ४ u has a long lacuna after ततस्तासां upto हारीतपक्ष etc. (P, 32, 1.49). ५ K रवा for रज्जू ६ Komits जाल. ७k omits मणि'. 4 K थरगुण.

·३२ 45 चंदलेहाए [II. 9. 43- बालादव-लच्छि व्व समासीणा सा अब्भुद-कण्णआ, ताणं तंबोल- दाणं कुणंतीओ चंदणिआ-चंदिआओ भए दिहाओ। राजा-तदो तदो। विदूषकः -"तदो दूरादो एव्व मं दहूण चओरओ आअच्छदि ति देवीए कंचणासणं उवणाइअं। तहिं च सुहं णिसण्णो अहं देवीए *विभंत-चारु-तारुण्ण-सण्णाह-सुहअ-णव-भूसण-बहू-कवोल-पाली- कोमलेहिं तंबोलेहिं हारीद-पक्ख-ह -हरिअ-णिम्मलेहिं पोरफलेहि मणहर-वाएहिं पसुवइ-जडा-चंद-खंड-धवलेहिं कप्पूर-सअलेहिं च संभाविओ। राजा-"किं भण्णइ संभावणा-णिवुणतणं देवीए । विदूषकः-(सेय॑म् ) किं एव्वं भणसि । किं णारदे संपते महोण- महिसी ण बहु मण्णइ । किं वसिढे पविढे महुमह-महिला ण सिला- हेइ । किं अरविंद-मंदिरे अब्भागए चंद-सेहर-सुंदरी णाहिणंदेइ । राजा-"जुतं एव्व। तदो विदूषकः-"तदो ताए अब्भुद-कण्णआए चंदिआ-धवलं मंद-हसि- अ-चंदण-चच्चिअं दाऊण णीसंदंत-बहुमाण-मअरंद-सोतेहिं णेत्तेहि कंदोह-मालिआ-मंडणं लंभिओ। - तदो। 57 1 मआ दिहा, but rh मए दिट्ठाओ. 25 हूसा 3 K फोफलेही. 4K वाएही, but rh 'वाएहि उवाएहि पसु. 5 F डवलेहिं. 65 मिहिसी. 7 णीसन्तबहु. तपे वालातपलक्ष्मीरिव समासीना सा अद्भुतकन्यका, तयोस्ताम्बूलदानं कुर्वन्त्यौ चन्दनि काचन्द्रिके मया दृष्टाः। I) ततस्ततः। II) ततो दूरादेव मां दृष्ट्वा चकोरक आगच्छ- तीति देव्या काञ्चनासनमुपानीतम् । तस्मिंश्च सुखं निषण्णः अहं देव्या विजृम्भमाणचारुता- रुण्यसंनाहसुभगनवभूषणवधूकपोलपालिकोमलैः ताम्बूलै हारीतपक्षहरितनिर्मलैः पूग- फैलैः मनोहरपाकैः पशुपतिजटाचन्द्रखण्डधवलैः कर्पूरशकलैश्च संभावितः। III) किं भण्यते संभावनानिपुणत्वं देव्याः। IV) किमेवं भणसि । किं नारदे संप्राप्ते मघवन्म- हिषी न बहु मन्यते । किं वसिष्ठे प्रविष्टे मधुमैथमहिला न श्लाघते। किमरविन्दमन्दिरे अभ्यागते चन्द्रशेखरसुन्दरी नाभिनन्दति। V) युक्तमेव । ततस्ततः। VI) ततस्तया अद्भुतकन्यकया चन्द्रिकाधवलां मन्दहसितचन्दनचर्चिकां दत्त्वा निष्यन्दमानबहुमान- १ x omits पूगफलैः and 'चन्द्रखण्ड' which are given by . २ ॥ मघोनो महिषी. ३ माधव for मधुमथ'. ४ र चाहत for अडत'.

·-II. 10.18] दुदिअं जवणिअंतरं राजा-(तामनुसंधाय) तं तं तह दीहरं जह भवे अण्णो ण कण्णेउरो बिंबोहाण पहा तहा जह थणा ढिल्लाअरा कुंकुमे । वच्छोए तह पंडिमा जह पुरो सुग्णप्पणो दप्पणो लाअण्णं तह अंगअम्भि जह णो गझं णिओलंसुअं ॥ १० ॥ अयि, पुणो वि दिहि-गोअरे भवे । विदूषकः-भो वअस्स, जावं ण पम्हुसिमि ताव सव्वं वुत्तंत-सेसं सुणिअ पच्छा जहिच्छं चव्वेहि। राजा-तदो तदो। विदूषकः-IVतदो तक्यालोइदेहि [आलावेहिं] के पि कालं विणोदि- जर्णं देवीए अणुमदो पत्थिदो म्हि । राजा-(स्वगतम्)'ण लद्धो को वि सणोवाओ। विदूषकः-"किं तदो तदो ति ण पुच्छीअदि । राजा-वअस्स, चिंतेमि णत्थि दंसणोवाओ ति। विदूषकः-VII"पुणो वि किंचि सुणिअ णिरासो होहि । राजा-कहेहि। विदूषकः- "तदो मम णिग्गमादो पुरुवं एव्व चंदणिआ जं किंचिं। भणि णिग्गमिअ मग्गे फलिह-पडोहरुप्पर-अग्गे लग्गा आसि । 1 F अण्णेण कण्णे. 2 5 डिल्लाअरा. 3 x सुञ्चप्पणो, rh सुंनप्पणो. 4 K गझण्णिओलोसुणम्. 5 F पंमुसिमि. 6x विणोदऊण. 7 दस्सणोवाओ. 8K किं च. 9 र पलिहपडोहरप्पर. मकरन्दस्रोतोभ्यां नेत्राभ्यां नीलोत्पलमालिकामण्डनं लम्भितः। I) तन्नेत्रं तथा दीर्घ यथा भवेत् अन्यन्न कर्णपूर, बिम्बोष्ठयोः प्रभा तथा यथा स्तनौ शिथिलादरौ कुङ्कुमे । वक्षोजे तथा पाण्डुता यथा पुरः शून्यार्पणो दर्पणः, लावण्यं तथा अङ्गके यथा नो ग्राह्य निचो- लांशुकम् ॥ १०॥ अयि, पुनरपि दृष्टिगोचरे भवेत् । II) भो वयस्य, यावन्न प्रस्मरामि तावत् सर्व वृत्तान्तशेष श्रुत्वा पश्चात् यथेच्छं चर्वय | III) ततस्ततः। IV) तत- स्तत्कालोचितैः आलापैः कमपि कालं विनोधैं देव्यानुमतः प्रस्थितोऽस्मि । V) न लब्धः कोऽपि दर्शनोपायः | VI) किं ततस्तत इति न पृच्छयते । VII) वयस्य, चिन्तयामि नास्ति दर्शनोपाय इति । VIII) पुनरपि किंचित् श्रुत्वा निराशो भव | Ix) कथय । X) ततो मम निर्गमात् पूर्वमेव चन्दनिका यत्किचित् १ लीलादरौ for शिथिलादरौ. २ : तथा रेणुके यथारेण ग्राह्यं. ३ लोचितैर्देव्या आलापैः. ४ ६ विनो- दविला. ५ . किमपि for किंचित. ६ चन्दनिकया य.

·३४ चंदलेहाए [II.10.14- राजा -(सप्रत्याशम्)"तदो तदो। विदूषकः-"तदो मए सह किद-संधी गआ सा। राजा-(ससितम् )करितो स संधी। विदूषकः-IV एरिसो। (इति पत्रिका दर्शयित्वा) एसो तत्थहोदीए अ. "भुद-कण्णआए सरस्सई-विलासो अक्खर-विण्णासो अ। राजा-(सहर्षमादाय वाचयति।) को उण कुणइ णिरोहं अवगाहिअ झति पक्खवाद-धु। इह को वि राअहंसो उक्कलि माणसम्मि वड्ढेई ॥११॥ (सरोमाञ्चम्) सवण-उड-गोअरो वि अ फास-सुहाइ व्व झति मह दंतो। उप्पुलइअमंगं उप्पल-णअणाअ कुणइ संदेसो ॥ १२ ॥ (पुनरपि द्विस्त्रिर्वाचयति।) विदूषकः - भो वअस्स, किं चव्विअ-चव्वणेण । पुणो वि पेक्ख । चंदणिआए वि एत्थ एव्व दुवे सिलोआ कदुअ लिहिआ। राजा-(वाचयति ।) VIDरतासो वहइ सुरहिं सा वि तं दक्खिऊणं चंदो मोहं वहइ भुवणे सा वि तेणं णअंगी। 1 x तत्तहोदीए. 25 वढेइ. 3 5 विअषससुहाइ. 4 4. उप्पुलअमंगं. 55 चन्दिणिआए. 65 सोयं. 7 सुरही. 8K विथोण for वि तेणं. भणित्वा निर्गम्य मार्गे स्फटिकपश्चाद्भागगृहाने लग्ना आसीत् । I) ततस्ततः । II) ततो मया सह कृतसंधिगता सा । III) कीदृशः स संधिः। IV) ईदृशः। (...) एष तत्रभवत्या अद्भुतकन्यकायाः सरखतीविलासो अक्षरविन्यासश्च। V) कः पुनः करोति निरोधं अवगाह्य झटिति पक्षपातधुतम् , इह कोऽपि राजहंसः उत्कालकां मानसे वर्धयति ॥ ११॥ (...) श्रवणपुटगोचरोऽपि च स्पर्शसुखानीव झटिति मम ददत् । उत्पु- लकितमनमुत्पलनयनायाः करोति संदेशः ॥१२॥ VI) भो वयस्य, किं चर्वितचर्वणेन । पुनरपि पश्य । चन्दनिकयापि अत्रैव द्वौ श्लोको कृत्वा लिखितौ। VII) रक्ताशोक बिभर्ति सुरमिं सापि तं दृष्ट्वा, चन्द्रो मयूखं वहति भुवने सापि तेन नताकी । १K कन्याया- २ पक्षवाते धुते, M पक्षपात lucuna. ३ वर्धयति ।। इति. ४ . दम्भम् for ददत. ५ र रक्ताचोकं विभक्त. ६ सुरमितं, . सुरभिः. ७ र मयूख मोहमिति च बहति. ८६ सामिानताजी.

·II), -II. 15.2] दुदिनं जवाणिअंतरं सो जीआदो णिवडइ सआ पंचवाणस्स बाणो पच्छा तेणं दलिअ-तणुआ सा वि बाला खणेणं ॥ १३ ॥ अवि अ। चंडा ते सास-दंडा तह जह सुहआ गिम्ह-वादाण वादा बाहा तिव्व-प्पवाहा तह जह सअला दिण्ण-मुद्दा समुद्दा । देहो वडंत-दाहो तह जह पलउइंड-सूरो उ मारो कामो किं कादुकामो ण अ उण मुणिमो दूमिआए इमाए॥१४॥ को उण अप्फंदइ चंदणि संदब्भ-सरणीए। विदूषकः-"चंदिऔ अफंदइ। तिस्से वि सिलोअं पेक्ख । राजा-(वाचयति।) "ण चंदो आणंदं कुणइ ण अ कंदोह-कलिआ ण माअंद-स्संद-प्पअलिअ-मरंदो वि पवणो। ण संदो णीसंदो" मलअअ-रसाणं वि विसमं वसंतीए तीए किमिह मुणिमो किं च भणिमो ॥ १५ ॥ अहो सुहओ संदब्भो चंदिआए। (विचिन्त्य) वअस्स, कहं पुण अदिड-पुरुषासुं चंदणिआ-चंदिआसुं से चंदमुहीए विस्संभो IF पञ्चौ. 25 गीषवादा, but rh गिलं. 3 K पादा for बाहा. 4 वलउ', 5 th सूरो तुसारो. 6K 7 चन्दणिआ. 8 किस्से. 9 माअंदंषद. 10 णीसंदे. 1lk मलअसरसाणं. 12 चन्दणिआए. 13 K चन्दिणिआ. स जीवातः निपतति सदा पञ्चबाणस्य बाणः, पश्चात् तेन दलिततनुः सापि बाला क्षणेन ॥ १३॥ अपि च । चण्डास्ते श्वासदण्डास्तथा यथा सुभगा ग्रीष्मवातानां व्राता, बाष्पाः तीव्रप्रवाहास्तथा यथा सकला दत्तमुद्राः समुद्राः। देहो वर्धमान- दाहः तथा यथा प्रलयोहण्डसूर्यस्तु मारः, कामः किं कर्तुकामः न च पुनर्जानीमः दूनायाः अमुष्याः ॥ १४॥ कः पुनराकामति चन्दनिकां संदर्भसरण्याम् । I) चन्द्रिका आकामति । तस्या अपि श्लोकं पश्य। II) न चन्द्र आनन्दं करोति न च नीलोत्प- लकलिका, न माकन्दस्पन्दप्रगलितमरन्दोऽपि पवनः। न सान्द्रो निष्यन्दो मलयजर- सानामपि विषमं, वसन्त्यास्तस्याः किमिह जानीमः किं च भणामः ॥ १५॥ अहो सुभगः संदर्भश्चन्द्रिकायाः । (...) वयस्य, कथं पुनरदृष्टपूर्वयोः चन्दनिकाचन्द्रिक- १४ सापि जीवातः जीवादिति च नियतति, M सभ्यातः for स जीवातः. २K पश्चात् ती दलित'. ३ र 'वाता न वाता. ४ M 'सूर्यस्तुषार. ५ . दूनयानया. ६ र निकासन्दर्भसरण्या. ७ 5 चन्दनिकामाका. ८g "स्पन्दः प्रगर्भश्चन्दनिकाया. ॥ अप्फुन्दइ.

·३६ 6 9 12 चंदलेहाए [II. 15. 3- विदूषकः-"चंदणिआ भणादि। भट्टिणीए तस्सि एव्व दिअहे मह बहिणिआ चंदिआ ताए रअणसंभवाए सहितणे णिउता। तदो ते एव्व सव्वदा अणुवढती चंदिआ ताए अप्पणो हिअ विअ विस्सं- भदहाणं आसी । अहं च तिस्से भइणि ति सिणेह-पत्तं जाअ ति। राजा-"जुज्जइ। विदूषकः-"पुणो वि ताए किं वि पत्थिअं च । अज्ज खु चंदिआ- मुहादो अदिसइद-सुर-सुंदरी-गीअं रअणसंभवाए गीअं ति सुर्णिअ कोदुएण वट्टमाणाए भट्टिणीए महाराअं संकिअ णादिदूरं पोमरा- आरामं गमिजण गीअंसोदव्वं ति समओ किदो। राजा-तदो तदो। विदूषकः-तदो दाणिं भट्टिणी रअणसंभवा अ पदुमराआराम गमिस्संति । तहिं च तुम्हेहिं पेरंत-ठिअस्स बाल-तमालस्स पसरंत- " हरिणील-सिला-वेदिआ-मजह-मालंधआर-मझे ठाअव्वं ति। राजा-(सप्रमोदम्) अम्हाणं ईंअं अब्भत्थणा। विदूषकः- (कर्ण दत्त्वा) जेण णूउर-णिणादो सुणीअदि तेण पत्थिा देवी रअणसंभवा अ पोमराआरामं । ता गच्छम्ह । 1 णिवुत्ता. 2K संवदा. 3 F°दठाणं. 4 K किस्से. 5 r omits च. 6 5 सुणुअ.75 कओ, but xh किदो. 8 5 वाम for बाल. 9 मऊहवालंडआर. 10 5 इयं. 11 र सुणीहदि. योरस्याश्चन्द्रमुख्याः विश्रम्भः। I) चन्दनिका भणति । भट्टिन्या तस्मिन्नेव दिवसे मम भगिनी चन्द्रिका तस्या रत्नसंभवायाः सखित्वे नियुक्ता । ततस्तामेव सर्वदा अनु- वर्तमाना चन्द्रिका तस्या आत्मनो हृदयमिव विस्त्रम्भस्थानमासीत् । अहं च तस्या भगिनीति स्नेहपात्रं जाता इति । II) युज्यते । III) पुनरपि तया किमपि प्रार्थित च । अद्य खलु चन्द्रिकामुखात् अतिशयितसुरसुन्दरीगीतं रत्नसंभवाया गीतमिति श्रुत्वा कौतुकेन वर्तमानया भट्टिन्या महाराज शङ्कित्वा नातिदूरं पद्मरागारामं गत्वा गेयं श्रोतव्यमिति समयः कृतः। IV) ततस्ततः। V) तत इदानीं भैट्टिनी रत्नसंभवा च पद्मरागारामं गमिष्यतः । तस्मिंश्च युवाभ्यां पर्यन्तस्थितस्य बालतमालस्य प्रसरद्धरि- नीलशिलावेदिकामयूखमालान्धकारमध्ये स्थातव्यमिति । VI) अस्माकमियमभ्यर्थना । VII) येन नूपुरनिनादः श्रूयते तेन प्रस्थिता देवी रत्नसंभवा च पद्मरागारामम् । १ भगिनिका च. २ हृदयमिवात्मनो for आत्मनो हृदयमिव. ३ र वर्तमानायाः. ४ Komits भट्टिनी. ५ . गमभति. ६ साल for बाल. ७ र लेखालेख for वेदिकामयूख.

·WHERONAURATRAIMARIWANHAIRSANSARAMMEDIAS II). -II. 17.1] दुदिलं जबणिअंतर राजा-"तहा। (उभावुत्थाय परिक्रामतः।) राजा-(नूपुरश्रवणमभिनीय सहर्षम् ) "सोदूण णेउर-रवं दइआअ पाणा उज्जीविआ मह मणोभव-बाण-खिण्णा। आरावमंबुअ-कुलाण णिदाह-दाह- जूराविआ विज मऊर-गणा कुणंति ॥ १६ ॥ विदूषकः-"भो वअस्स, इमाए विलुलिअ-मुउल-कुल-परिमल-भर- तरलअर-भसल-पडल-कलकल-सुहआए बाल-बउल-वाडिआए ग- च्छम्ह पोमराआराम-पेरंतं । (उभौ परिक्रामतः ।) विदूषकः- पत म्ह पदुमराअ-उजाणं । एसो तमालो, एसा इंद- णील-वेदिआ, मजह-मालंधआरे ता एत्थ उर्वविसिअ ठामो राजा-तहा । (तथा कुरुतः ।) (ततः प्रविशति देवी नायिका विभवतश्च परिवारः।) देवी-भद्दमुहि, पविसम्ह पउमराअ-उज्जाणं । नायिका-(सनिःश्वासं स्वगतम्) "विसमो माहव-मासो विलक्खणो एव्व विसमबाणो सो। अदि-दुल्लहे अ पेम्मं अहह परं मज्झ ईरिसं कम्मं ॥१७॥ (प्रकाशम्) तह । (सर्वा उद्यानप्रवेशं नाटयन्ति ।) 15 सेदूण. 25 उग्गीविरं मह. 3 5 पाण for बाण. 4 झराविआ. 5 पधल. 6 5 मालं- धआरो. 7 उपवि'.8 Kadds no consent of the king, but puts the stage direction तथा कुरुतः at the close of Vidusaka's speech.9 K विलक्षणे. 10 F ईसिसं. 11 कम्म. 12 xh रूपयन्ति for नाटयन्ति. तद् गच्छावः। I) तथा । II) श्रुत्वा नूपुररवं दयितायाः प्राणाः, उज्जीविता मम मनो- भववाणखिन्नाः । आरावमम्बुदकुलानां निदाघदाह-, संतप्तीकृता इव मयूरगणाः कुर्वन्ति ॥ १६॥ III) भो वयस्य, अमुंया विलुलितमुकुलकुलपरिमलभरतरलतरभ्रमरपटलक- लकलसुभगया बालबकुलवाटिकया गच्छावः पद्मरागारामपर्यन्तम् । IV) प्राप्तौ स्वः पझरागोद्यानम् । एष तमाला, एषा इन्द्रनीलवेदिका, मयूखमालान्धकारे तदनोपविश्य तिष्ठावः । V) तथा । VI) भद्रमुखि, प्रविशावः पद्मरागोद्यानम् । VII) विषमो माधव- मासः विलक्षण एवं विषमवाणः सः । अतिदुर्लभे च प्रेम अहह परं मम ईदृशं कर्म ॥१७॥ VII), । १ M दयितयोः. २ र उज्जीवितं, M उद्रीवतां. ३ M चूर्णी for संतप्ती'. ४ ॥ अनया. ५ र भरण or भर. ६ KM मसल for भ्रमर. ७ M एष. ८ Ex वेदिकामयूखमालान्धकार:- ९ र तत्रोपविश्य, तदत्र प्रविश्य. १० Komits तथा. ११ । इव for ·३८ चंदलेहाए [II.17.2-- राजा-(आलोक्य सहर्षम् ) हंत । पुण्ण-हरिणक-वअणा फुडत-णव-पुंडरीअ-दल-णअणा। फुरइ मह एत्थ पुरदो पुप्फाउह-पुरुसआर-सामग्गी ॥१॥ नायिका-(अपवार्य)हला चंदिए, मरगआरामो मणोजो। अअं दुक्खअरो। तहिं खु भसल-माला लोअण-रसाअणं उवणेइ, कोइल- 3 जालं कण्णामिअंणीसंदेइ, मलआणिल-परिप्फंदणं चंदण-चच्चं करेइ । एथ उण भसल-पडलं उप्पादगि पअच्छइ लोअणे गरल-कवलं कण्णाणं मे कुणंति अ कोइला । दिसइ विसमं देहे दाहं चलो मलआणिलो पिअसहि ण त एकं जं मे ण भिंदइ जीविअं॥ १९॥ चन्दनिका-(अपवार्य )"विहिणो अणुकूलतणे सव्वं ममाणुजलं, वि- वरीअतणे सव्वं विवरीअं। राजा-(सावधानं निरूप्य )"वअस्स, पेक्ख । दलिअ-गलिणी-कंदाभोआ कवोलअ-वालिआ थिमिअ-भुमआ-लेहं णेतं पसुत्त-कणीणिअं। किमिह बहुणा तिस्से लोलं मिलाण-मुणालिआ- लुलिअ-लुलिअं गतं णेतूसवं पंसवेइ मे ॥२०॥ हरिणपङ्कअवअणा. 25 मणजो. 3 x अरोखु तहिं खु. 4 K रसायणं. 5 नायिका- एत्थ उण. 6K for असल. 7K उप्पादङ्गी. 85 लेत्तं for णेतं. 9K लुलुअलुलुअंगेतं. 10 K वसवेइ. (...) तथा। I) हन्त । पूर्णहरिणाङ्कवदना स्फुटन्नवपुण्डरीकदलनयना। स्फुरति ममात्र पुरतः पुष्पायुधपुरुषकारसामग्री ॥१८॥ II) हला चन्द्रिके, मरकतारामो मनोज्ञः। अयं दुःखकरः । तत्र खलु भ्रमरमाला लोचनरसायनमुपनयति, कोकिलजालं कर्णामृतं निष्य- न्दयति, मलयानिलपरिस्पन्दनं चन्दनचर्चा करोति । अत्र पुनः, भ्रमरपटलमुत्पाताग्निं प्रयच्छति लोचने, गरलकवलं कर्णयोः मे कुर्वन्ति च कोकिलाः। दिशति विषमं देहे दाहं चलो मलयानिलः, प्रियसखि न तदेकं यन्मे न भिनत्ति जीवितम् ॥ १९॥ III) विधे- नुकूलत्वे सर्व ममानुकूलं, विपरीतत्वे सर्व विपरीतम् । IV) वयस्य, पैश्य । दलितन- लिनीकन्दाभोगा कपोलकपालिका, स्तिमितभ्रूलेख नेत्रं प्रसुप्तकनी निकम् । किमिह बहुना तस्याः 'लोलं म्लानमृणालिका-, लुलितलुलितं गानं नेत्रोत्सवं प्रसूते मे ॥ २० ॥ १K दुःखतर. २K omits तत्र, M कस्मिन् for it. ३ ( भसल, M भसळ for भ्रमर. ४K "निलस्पर्शपरि'. ५KM भसल for भ्रमर. ६ र कल्याणं for कर्णयोः.७४ puts this sentence in the mouth of Candrika. ८M पश्य पश्य for वयस्य पश्य. ९ तस्यापि for तस्याः. १० M मुग्ध for लोलं. ११ वर्धते for प्रसूते. 1 ।

·-IL.22.27 दुदिरं जवणिअंतरं देवी-भद्दमुहि, अस्स बाल-बउलस्स बेलुरिअ-मणि-वेदिआनं उपविसम्ह । (सर्वा उपविशन्ति ।) देवी-"हंजे चंदणिए, विवंचिं उवणेहि । चन्दनिका-जं भट्टिणी आणवेदि। (विपञ्चीमुफ्नयति ।) नायिका-(आददाति ।) विदूषकः - भो वअस्स, पेक्ख । विवंचि-ग्गहणं एव्व कहेइ गीए । परिअअ-णिवुणतणं । पोत्यों-कवलिआ-परिग्गहो एव्व पिसुणेइ गुरुकुल-वासं। असि-लेहुद्धरणं एव्व सूएइ खुरली-सिक्खा-बिसेसं। (नायिका विपञ्ची यथास्थानं विन्यस्य तन्त्री ताडयति ।) नायकः-(अवलोक्य) "तंतीणं हणणेण पाणि-कमलं लोलंगुली-पल्लवं हेलुण्णामिअ-कोमलेक-भुमआ-लेहं मुहंभोरुहं । थोरो वाम-यणो विपंचि-तइआलावुतणं पाविओ मण्णे पंचसरस्स पंचम-सरो एदं खु से आसिअं॥२१॥ नायिका-(गायति ।) "कुसल-वसंत-सहाओ कुंडलिउदंड-कुसुम-कोदंडो। कुणइ णिअ-विकमेणं एक्क-सासणं भुवणं ॥२२॥ नायकः-(सविस्मयम् )"अहो गामाणं विवित्तदा । अहो सराणं विसुद्धआ। अहो सुदीणं विणिओअं-कमो। किं च । कदिवअ-गुण- 15 णिपुण. 2 Fयोत्त. 3 x खुरुली'. 4 K दोलंगुली . 5 x कोमलक. 6 5 वामथणे. 7K विसुद्धता. 8 K 'ओजक्कमो. 9K कदिपअ. I) भद्रमुखि, अस्य बालबकुलस्य वैदूर्यमणिवेदिकायां उपविशामः । II) हँले चन्दनिके, विपञ्चीमुपनय । III) यद् भट्टिनी आज्ञापयति । IV) भो वयस्य, पश्य । विपश्चीग्रहण- मेव कथयति गीते परिचयनिपुणत्वम् । पुस्तककवलिकापरिग्रह एव पिशुनयति गुरुकुल. वासम् । असिलेखोद्धरणमेव सूचयति खुरलीशिक्षाविशेषम् । V) तन्त्रीणां हननेन पाणिकमलं लोलाङ्गुलीपल्लवं, हेलोनामितकोमलैकधूरेखं मुखाम्भोरुहम् । स्थूलो वाम- स्तनो विपञ्चीतृतीयालाबुत्वं प्रापितः, मन्ये पञ्चशरस्य पञ्चमशरः एतत् खल्वस्या आसि- तम् ॥ २१॥ VI) कुशलवसन्तसहायः कुण्डलितोद्दण्डकुसुमकोदण्डः। करोति निज- विक्रमेण कुसुमशरः एकशासनं भुवनम् ॥ २२ ॥ VII) अहो आमाणां विविकता। अहो १ 5 साल for बाल . २ ॥ वैडूर्य.. ३ . हण्डे for हजे. ४ भर्तृणी. ५ खलूरी for खुरली. M भूलेख. ७ स्तनं...प्रापितं. ८ सनाथ: for सहायः. ९ विक्रमैः for विक्रमेण. VI) कुसुमसरो । , ६ ·चंदलेहाए [II. 22.3 रगहण-गव्व-वंचिदे विपंचिए, अगणिज-गुणं अमिअ-गुणाअं इमाए अणुराअंती कहं म लज्जति । अहव परिवादिणीणं अवआसो णतिय संकाए । (निर्वर्ण्य) अहह इमार कंचण-कमणीअंगीए चलंत-कर-पल्लवं कल-रणत-तंती-गुणं वलंत-णअणंचलं मुह-गलंत-दंत-प्पहं । ललंत-मणि-कुंडलं परिलुलत-लंबालअं मणं हरई माम महुर-गीअ-लीलाइदं ॥२३॥ विदूषकः-(निर्वर्ण्य )"भो वअस्त, अच्छरीअं इमाए चंपअ-दल-को- मलंगीए एकमेकं वि अंग लोअण-पीजस-पूरणं । तह अ । परिलसिअ-चिउर-माला तिस्से णव-फुल्ल-मल्लिआ-सअला। aveta लावण्ण-दिण-सिरीए रेहइ पच्छा स-तारआ रअणी ॥२४॥ विदूषकः- "कुडिला अ कुरल-माला परिलोलइ सललिअंणअंगीए। III), Musta IV), - मअणेण तरुण-माणस-बंधण-हरिणील-सिंखला चलिआ॥२५॥ 1 Kगणिज for अगणिज. 2 Komits & given by Kh. 3 5 परिलुठन्त. 4 पारणम् for पूरणं. 5 किस्से. 6 x सिल for दिण. 75 कुटिला. 8 R बण्डण. 9 5 सीखला. खराणां विशुद्धता । अहो श्रुतीनां विनियोगक्रमः । किं च । कतिपयगुणग्रहणगर्वव. श्चिते विपश्चिके, अंगणनीयगुणामेनामनुगायन्ती कथं न लज्जसे त्वम् । अथवा परिवा- दिनीनामवकाशो नास्ति शङ्कायाः। (...) अहह अमुष्याः काञ्चनकमनीयाझ्याः, चल- स्करपल्लवं कलरणतन्त्रीगुणं, वज़माननयनाञ्चलं मुखगलद्दन्तप्रभम् । लन्मणिकुण्डलं परिलुलल्लम्बालकं, मनो हरति मामकं मधुरगीतलीलायितम् ॥ २३ ॥ I) भो वयस्य, आश्चर्य अस्याश्चम्पकदलकोमलाझ्याः एकैकमप्यङ्गं लोचनपीयूषपूरणम् । तथा च । परिलसितचिकुरमाला तस्या नवफुल्लमल्लिकाशवंला । II) लावण्यदिनश्रियो राजते पश्चात् सतारका रजनी ॥२४॥ III) कुटिली च कुरुलमाला परिलोलति सल- लितं नताझ्याः । IV) मदनेन तरुणमानसबन्धनहरिनीलशृङ्खला चलिता ॥२५॥ १. किं च अयि कति . २ . अगणितगुणामेतां अनुगुणा अन्मनयन्ती कथं, for अगणनीय etc. given by M. ३ ॥ वादीनां for वादिनीनाम्. ४ . लसन्नयना for वलमाननयना'. ५ उप्तलन् for ललन्. ६ र परि- स्फुट" for परिलुल'. ७ . पश्य for आश्चर्य. ८ एकमेक. .९ शकला. १० . कुटिला वकुलमाला. ११ । परिमलति, M परिलोलकिसलयितं.

·-II. 30b] दुदिों जवणिअंतरं विदूषकः सिरसिअ-दल-णअणाए सललिअमुण्णामिआ भुमआ। HEATOR II). RAININER III). कालिंदी-लहरीणं कंदलिओ एव्व परिभवंकूरो॥२६॥ विदूषकः- ओदंस-कुवलों से अवगलिअं किं वि गंड-फलअम्मि । I'तरल-णअणंचलेणं तजिअमेअं खु होइ हेह-मुहं ॥ २७॥ विदूषकः- किसलअ-मिदुलंगीए गीएण वि लोअणं किलम्मदि से राजा HARISM MSRARY V"कण्णंत-दीह-अतं खणेण कादूण दूमिअं एअं॥ २४ ॥ विदूषकः- VI)उप्पल-विलोअणाए उम्मिसि सम-अलं कवोलेसुं राजा- VIII). IT) उज्जल-पीजस-कणा उदंचिआ किंचि पंचमी-चंदे ॥ २९ ॥ विदूषकः- 'परिमलअंति दिसाओ पल्लव-गतीअ सुरहि-णीसासा IHAR IX) HD X) तारुण्ण-सुरहि-समए ता पता मलअ-सेल-पवमाणा ॥३०॥ 1K तझि. 2K भूमि for दूमिअं. 3 K उम्मिसभं. 4 सअलं for समजलं. BK कश्चि. 65 'मलयन्ति. 7 मलय. 1) सरसिजदलनयनायाः सललितमुन्नामिता भ्रूः। II) कालिन्दीलहरीणां कन्दलित एव परिभवाङ्कुरः ॥ २६ ॥ III) अवतंसकुवलयमस्या अवगलितं किमपि गण्डफलके । IV) तरलनयनाञ्चलेन तर्जितमेतत् खलु भवति अधोमुखम् ॥ २७॥ V) किसलयमृदु- लाझ्याः गीतेनापि लोचनं क्लाम्यति अस्याः । VI) कर्णान्तदीर्घयात्रां क्षणेन कृत्वा दून- मेतत् ॥ २८ ॥ VII) उत्पलविलोचनायाः उन्मिषितं श्रमजलं कपोलयोः। VIII) उज्ज्व- लपीयूषकणाः उदञ्चिताः किंचित् पञ्चमीचन्द्रे ॥ २९ ॥ IX) परिमलयन्ति दिशः पल्लव- गाच्या सुरभिनिश्वासाः। x) तारुण्यसुरभिसमये तत्प्राप्ताः मलयशैलपवमानाः ॥३०॥ १ र मुन्नावमितभूः २ परिमलाङ्क: for परिभवाङ्करof M, ३ 'नयनां चालन, नयनाचलैस्त- ज्जित. ४Komits अस्याः ५K कृत्वा एतत् ६Komits श्रमजलं. ७ ॥ विपरिमल'. ८ तस्मात्प्राप्ता. ६ चंद ·चंदलेहाए [II. 31-- HD विदूषकः "तरलाहर-विवरादो गलंति देताण चंदिआ-लेसा। BAHAD - III). CIGIT IV) 1गीअ-सुहंबुहि-लहरी-सीअर-णिअरा स-हेलमुल्लसिआ॥३१॥ विदूषकः 'मह ण णिवट्टइ दिडी मणहर-वअणंबुआ किसंगीए। Vको उण हरेइ णेतं सचेअणो पुण्णिमा-चंदा ॥ ३२ ॥ देवी-भद्दमुहि, किलम्मए दे वदणं, ता विरमेहि । नायिका-तहाँ। (विरमति ।) राजा-(सविषादम् )हत, अवग्गहो सवण-पीजस-वरिसाणं किदो। "भद्दमुहि, उद्वेहि गच्छम्ह । देवी-VIII) IX). (उत्थाय निष्क्रान्ता देवी परिजनश्च ।) राजा - हत, किदो णेत-पीजस-वरिसाणं च । वअस्स पेक्ख । पदुम-वदणाअ दाणिं परिरहिओ पदुमराअ-आरामो। अथमिअ-चंदलेहो गअणाभोओ व्व होइ पट्ट-पहो ॥३३॥ विदूषकः-Tभो वअस्स, उद्धरिअ-णिहाणं महिं व इमं उज्झिम 1 K हरविचराओ for तरला etc., but rh तरलाहरविवरादो. 2K सुहम्बुलहरी. 3 K दिट्टी. 4 F विदूषकः- for देवी. 5 K omits तहा given by Kh. 65 परिसाणं. 7 परिसाणं. 88 has no च. 9 5 उद्धारि. 10 K मही इस उझिअ. I) तरलाधरविवरागलन्ति दन्तानां चन्द्रिकालेशाः। II) गीतसुधाम्बुधिलहरीशीकर- निकराः सहेलमुल्लसिताः ॥ ३१ ॥ III) मम न निवर्तते दृष्टिः मनोहरवदनाम्बुजात् कृशाझ्याः। IV) कः पुनर्हरति नेत्रं सचेतनः पूर्णिमाचन्द्रात् ॥ ३२॥ V) भद्रमुखि, क्लाम्यति ते वदनं, तस्माद् विरम। VI) तथा। VII) हन्त, अवग्रहः श्रवणपीयूष- वर्षाणां कृतः। VIII) भद्रमुखि, उत्तिष्ठ गच्छावः। IX) तथा। x) हन्त, तथा नेत्र- पीयूषवर्षाणां च । वयस्य, पश्य । पद्मवदनया इदानी परिरहितः पद्मरागारामः । अस्तमि- तचन्द्रलेखः गगनाभोगो भवति नष्टप्रभः ॥ ३३ ॥ XI) भो वयस्य, उद्धृतनिधानां मही- १ x keeps blank space for this line. २ x सुधाम्बुलही. ३ चन्द्रः for चन्द्रात. ४ ॥ नं तद्विरम.. ५K omits तथा. ६ ४ अन्तरपग्रह for हन्त अवग्रहः. ७ प जात. for कृतः ८ गच्छाम ९ Nomits तथा. १० र महीमिव उज्झित्वा, M निधानमिममुज्झित्वा. ।

·12 -II. 33.18] दुदिअं जवणिअंतरं गमिस्सामो। (विलोक्य ) वअस्स, एदाओ णतमालिआ सालभंजि- आ-हत्था तमालिआ अ किं वि सल्लवंतीओ इदो एव्व आअच्छति। ता एत्थ वि मुहुतं णिलुका ठाजग सुगम्ह इमाणं आलावं। राजा-तह। (ततः प्रविशतश्चेट्यौ ।) एका-तमालिए, किमत्था एसा सालभंजिआ। द्वितीया-सहि णतमालिए, सुणाहि आदिदो एव्व । नक्तमालिका-IVतमालिए, अवहिद म्हि । तमालिका-'णतमालिए, पुरुवं मरगआरामे चिंतामणि-संभवाअं कण्णआअंकिं वि सिणिद्धं पेक्खिअ महाराअस्स दिहिं जं किं वि आसंकमाणाए भट्टिणीए अज पहादे पेसिद म्हि । विदूषकः- "वअस्स, पहादे दिहस्स सुत्तस्स विवरणं होइ। राजा-VIअवहिदा सुणम्ह। नक्तमालिका-VIIकहं । तमालिका-हंजे णतमालिए, इमं कस्सीर-णाह-वल्लहाए मह पाहुडीकिदं तत्थभवंदीए सारआए पसादेण समासादिअ-धारणा- ववहार-पंडिच्चं बुद्धिमदि गाम अम्हारं कीला-सारिअं इमाए साल- 1 K तमालिआ हरिणन्तमालिआ अ. 2K सल्लपंतीओ. 3 5 आअच्छदि. 4K किं एसा, but rh किमत्था एसा. 5र णत्तमालिए सहि for सहि etc. 6 5 संभवाकण्णआअं.7 सुणसुणह्म. 8 पालडी', but rh पाहुडी. 9 5 तत्तभवदीए. 10 x समासादिआ धा. 11 K पाण्डिच्चं. 12 K बुद्धिमदीणाम. मिव इममुज्झित्वा गमिष्यावः। (...) वयस्य, एते नक्तमालिका शालभलिकाहस्ता तमा- लिका चे किमपि संलपन्त्यौ इत एवागच्छतः। तस्मादत्र अपि मुहूर्त निर्लक्ष्यं स्थित्वा शृणुवः अनयोरालापम् । I) तथा। II) तमालिके, किमर्था एषा शालभलिका। III) सखि नकमालिके, शृणु आदित एघ । IV) तमालिके, अवहितास्मि । V) नक्तमालिके, पूर्व मरकतारामे चिन्तामणिसंभवायां कन्यकायां किमपि स्निग्धां [प्रेक्ष्य] महाराजस्य दृष्टिं यत्किमपि आशङ्कमानया भट्टिन्याद्य प्रभाते प्रेषितास्मि । VI) वयस्य, प्रभाते दृष्टस्य सूत्रस्य विवरणं भविष्यति । VII) अवहितौ शृणुवः। VIII) कथम् । IX) हसे नक्त- मालिके, इमां काश्मीरनाथवल्लभया मे प्राभृतीकृतां कथमैत्रभवत्याः शारदायाः प्रसादेन समासादितधारणाव्यवहारपाण्डित्यां बुद्धिमतीं नाम अस्माकंक्रीडाशारिकां अस्याः शाल- १ मो मयस्य. २ Komits च. ३ तदत्र. ४ K एव मूका स्थित्वा for मुहूर्त etc, ५ र शृणुमः, ६४ किमेषा for किमर्था एषा found in M. ७ x omits कन्यका- ८॥ भो वयस्य. ९ र वदिष्यति for भविष्यति found in M. १० x शृणुमः. ११ वल्लभाया. १२ 5 बुद्धिमतीनामसाकं.

·21 चंदलेहाए [II. 33.19- भंजिआए कंठ-विवरम्मि ठाविजण चओरएण सह सल्लवंतस्स अय्य- उत्तस्स अत्थाण-मंडवे सण्णिहिम्मि जह कुह वि छलेण ठावेहि ति नक्तमालिका-"तदो तदो। तमालिका -"तदो मए जाव भट्टा देवाराहण-मंदिरादो ण णिग्गओ ताव चिअ एसा सालभंजिआ तहिं एव्व अस्थाण-मंडवे सण्णि- हाविआ। राजा-वअस्स, वंचिद म्ह । विदूषकः-IV किं एतिएण। नक्तमालिका-'तदो तदो। तमालिका-तदो दाणिं महाराअं तत्थ असण्णिहिदं जाणिअ सालभंजिअं घेतूण आअद म्हि । . नक्तमालिका-Vi"किं सुदं अवहारिअं वा महाराअस्स वअणं बुद्धि- मदीए सालभंजिआए। तमालिका-VI"सव्वं सुदमवहारिअंच। (उभौ हसतः।) विदूषकः-1x'आ दासीए धीदे बुद्धिमदि, तुह कंठं भिंद । तमालिका - णतमालिए, तुमं पुण कहिं पवुत्ता । नक्तमालिका-भट्टिणीए ण्हाण-वेला आअद ति पत्थिद म्हि । तमालिका-ता गच्छम्ह । (इति निष्क्रान्ते ।) 1K सपिणहम्मि. 2K च्छलेण. 3 मन्दिराहो. 4 K तावच्छिअ. 5 K मण्टपे. 6 5 सालभ. feruit. 7 K does not present this as the speech of Tamälikā, but adds it to that of Naktamalika above. 8 Kh छीद for भिंद. 9 संवुत्ता for पवुत्ता. भञ्जिकायाः कण्ठविवरे स्थापयित्वा चकोरकेण सह संलपतः आर्यपुत्रस्य आस्थानमण्डपे संनिधौ यत्र कुत्रापि च्छलेन स्थापय इति । I) ततस्ततः। II) ततो मया यावत् भर्ता देवाराधनमन्दिरात् न निर्गतः तावदेव शालभजिका तस्मिन्नेवास्थानमण्डपे संनिधा- पिता। III) वयस्य, वञ्चिताः स्मः। IV) किमेतावता। V) ततस्ततः। VI) तत इदानीं महाराजं तत्रासंनिहितं ज्ञात्वा शालभलिकां गृहीत्वा आगतास्मि । VII) किं श्रुत- मवधारितं वा महाराजस्य वचनं बुद्धिमत्या शालभञ्जिकया। VIII) सर्व श्रुतमवधारितं च। IX) आः दास्याः पुत्रि बुद्धिमति, तव कण्ठं भिन्दै । X) नक्तमालिके, त्वं पुनः कस्मिन् प्रवृत्ता। XI) भट्टिन्याः स्नानवेला आगता इति प्रस्थितास्मि । XII) तद् १ . कण्ठसिख lacuna ; some lacuna in this passage. २K तावत्, & lacuna. ३ ४ ताव- देवेषा साल. ४ M वचितोऽस्मि. ५ M अहमेतावता for किमेता. ६K च for वा. ७ M puts this speech in the mouth of शारिका. ८ बिन्धि for भिन्द. ९Mashort lacuna.

·39 -II. 34.9] दुदिरं जवणिअंतरं (नेपथ्ये) वैतालिक:-"सुहा मज्झम-संझा होइ देवस्स । अज हि लोलेहिं उप्पलेहिं हिम-जल-मिलिअं चंदणं मंदमंगे पावंतीओ सुर्वते मणिवर-रइए मंदिरे सुंदरीओ। तिब्वेहिं आदवेहि विहुरिअ-हिअओ संसराअहंसो उदंडाणं फुडाणं पविसइ सणि पुंडरीआण मूलं ॥ ३४॥ विदूषकः -भो वअस्स, किं चिंति मज्झण्हे वट्टइ। राजा -"वअस्स, णं इमं एव्व सारिआ-वुतंतं चिंतेमि । विदूषकः -IV एत्थ का चिंता। णिसग्गदो एव्व दुम्मइणी हु देवी।। अज उण सारिआ-वअणं सुणिअ अहिअअरं किं वि पणअ-कलहं करेइ । सा अह दक्खिण्णदाए मिहिर-पहीए तिमिर-पडल-पणास पाविहिइ। राजा-सव्वहा अंतेउरं एव्व गच्छम्ह । (इति निष्क्रान्तौ ।) ॥ इअ चंदलेहाअं ऐंदिअं जवणिअंतरं ॥ 1 F सुहाय. 2 5 लोलोहिं. 35 पावन्तीए, but rh संदतीओ. 45 संसि सोअहंसो. x चिन्तीअ. 6 K omits f given by Kh, 7 K दुम्मइणि उ देवी. 8 K तुट. 9 : दहिखणदाए. 10 K वहाए for पहाए. 11 K भणासं for पणासं. 125 जुदिअं, xh द्विदीयं. गच्छावः। I) सुखाय मध्यमसंध्या भवतु, देवस्य । अद्य हि, लोलैरुत्पलैहिमजलमिलितं चन्दनं मन्दमङ्गे, प्रापयन्त्यैः स्वपन्ति मणिवररचिते मन्दिरे सुन्दर्यः । तीवैरातर्विधुरित- हृदयः संश्रयं राजहंसः, उद्दण्डानां स्फुटानां प्रविशति शनैः पुण्डरीकाणां मूलम् ॥ ३४ ॥ II) भो वयस्य, किं चिन्तयित्वा मध्याह्ने वर्तसे। III) वयस्य, ईममेव शारिकावृत्तान्तं चिन्तयामि । IV) अत्र का चिन्ता । निसर्गत एव दुर्मतिः खलु देवी । अद्य पुनः शारि- कावचनं श्रुत्वा अधिकतरं किमपि प्रणयकलहं करोति । सा च तव दाक्षिण्यतया मिहिर- प्रभया तिमिरपंटलप्रणाशं प्रापयिष्यते । V) सर्वथा अन्तःपुरमेव गच्छावः । ॥ इति चन्द्रलेखायां द्वितीयं यवनिकान्तरम् ॥ 2 M has good many gaps upto the close of this scene. for हि. ३ . पात- ल्ययन्त्यः, M lacuna. ४ KM सुन्दर्याः, ५ र पुटानां. ६ चिन्त्यते म. ७ x omits अधिकतरं किमपि, A lacuna 'तरां कलहकोटिं करोति. ८ ॥ पटैलीव नाशं. । २ Mखलु ·[IT] (ततः प्रविशति राजा विदूषकश्च ।) राजा-(स्वगतम्) मह खण-संठविओ सो देवी-दिढ-कोव-सेउ-बंधेणं । उकंठा-णइ-सोतो भिण्णे तस्सि सुदूसहो वहा ॥१॥ (निश्वस्थ ) हंत पडिऊलक्षणं भअवदो देवस्स । जदो उभअमिणमहो समं खु जाअं मह विरहो अ जणेण वल्लहेणं । मदकल-कलकंठ-कामिणीणं कलकल-हालहलाउलो अ कालो ॥२॥ विदूषकः-"भो वअस्स, किं वि जससि होउ दे हिअअं। अइ. वाहिओ खु सो कहं कहं वि पडिदिस-पलिश-रत-कमल-पलआ- •णल-जाला-जाल-दुरालोओ जुअ-सहस्स-दीहअरो वासरो, पत्तो अ पप्फुल्ल-विमल-मल्लिआ-फुल्ल-धवलो विअंभणारंभ-णीसरंत-सरस- सीअलामोद-सुहअ-कुमुअ-कोसो पओसो। भो पेक्ख सच्छ-महुरो दरमुल्लसंतो फुल्लुगमो अणह-पल्लव-मलिआणं । 1 x begins the Scene with this sentence : अथ तृतीयं यवनिकान्तरम् ।. 2 Kघणसट्टविओ. 3 Kends the first line thus: कोपसेउबन्धउक्कण्ठा।. 4K तस्सी. 5 अवहमिण 65 वल्लहेण. Trसारसि, but xh ऊससि.8 x अतिवाहितो. 9 x पलआणिल. 10 वलो. 11 सरसी. 12 K फुल्लङ्गमोअणपअल्लमल्लिआणं. [संस्कृतच्छाया] I) मम क्षणसंस्थापितं तत् देवीदृढकोसेतुबन्धेन । उत्कण्ठानदीस्रोतः भिन्ने तस्मिन् सुदुस्सहो वहति ॥१॥ (...) हन्त, प्रतिकूलत्वं भगवतो देवस्य । यतः, उभयमि- दमहो समं खलु जातं, मम निरहश्व जनेन वल्लभेन । मदकलकलकण्ठकामिनीनां, कल- कलहालहलाकुलश्च कालः ॥२॥ II) भो वयस्य, किमपि उच्छसितं भवतु ते हृदयम् । अतिवाहितः खलु स कथं कथमपि प्रतिदिशाप्रदीतरक्तकमलप्रलयानलज्वालाजालदुरा- लोकः युगसहस्रदीर्घतरो वासरः, प्राप्तश्च प्रफुल्लविमलमल्लिकाफुल्लधवलः विजृम्भमाणा- रम्भनिस्सरत्सरसशीतलामोसुभगकुमुदकोशः प्रदोषः । भोः पश्य स्वच्छमधुरो दरोल्ल- । १ रक्षणं for क्षण. २ र कोपबन्धनोत्कण्ठा नदीलोतसः विभियेच तसिन्. ३ KM देवस्य. ४ . उदय" for उभय'. ५ हल for हाल'. ६ x आश्वासितं for उच्छसितं. ७ र प्रलयानिल. ८ M दीर्थो वासरः. ९ K प्रोत्फुल्छ. २० - कुमुदाशोकः. ११ पश्य सकलास, so it has a laouna; M 'फुल्लोत्करळप्रचलति मल्लिकानाम्, ·४७ -III. 4.81 तइ जवणिअंतर दिण्णो दिसासु सअलासु भविस्स-जोण्हा- सण्णाह-बीअ-णिअरो व्व पआसएणं ॥३॥ राजा-(सोद्धेग) किं एवं भणासि । पंअटुंत-मअ-रोस-दूसह-दुह- दुग्धुट्ट-विसाण-कोणादो कहं वि मोइदस्स कराल-दिढ-दाढा-वेढ- संकंड-विसंकड-सीह-मुह-कुहर-विवर-प्पवेसो किं पाण-रक्खणोवा- ओ। पेक्ख दाव। कुमुअ-णिअर-घोलंतालि-रिंछोलि-पासो दलिअ-धवल-मल्ली-फुल्ल-सोहट्टहासो। अहिसरइ पुरिल्लो मं पओसाहिधाणो घणतम-तम-कालो हंत कालो करालो॥४॥ किं मे सरणं। विदूषकः-"वअस्स, चंदणिआए वअणं सरणं । राजा-(सप्रत्याशम् )वअस्स, किं तं चंदणिआए वअणं । विदूषकः-सुणादु वअस्सो। अहं खु एहि तुए पसादिआए देवीए सेवणं कादूण णिवट्टमाणो मग्गे तत्थहोदीए रअणसंभवाए मअण-वेअणा-विणोअणत्थं चंदणारविंद-कंदोट्ट-चंदोजअ-चंदमणि- मोत्तिों-मुणाल-बलअ-कअली-कप्पूर-पुरस्सरं सिसिरोवआर-साम- गि संपादअंतीए चंदणिआए घडिदो म्हि । 1 Kजोलसलाह. 2 पिअ«त. 3 x दुब्बट्ट. 4 5 संकढविसंकढ. 5 फुरिलो. 6 r often reads चन्दिणिआ for चन्दणिआ. 7 पसादिआहि. 8 तत्तहोदीए.9x विणोअणवर्थ. 105 चन्दजोअचन्दमोणिमोख्खिअ. 11 K रोपसारसामग्गी. सन् ,फुल्लोइमो अनघपल्लवमल्लिकानाम् । दत्तः दिशासु सकलासु दिशासु भविष्यज्योत्स्ना, सन्नाहबीजनिकर इव प्रदोषकेनं ॥ ३॥ I) किमेवं भणसि । प्रवर्धमानमदरोषदुस्सह- दुष्टवारणविषाणकोणात्कथमपि मोचितस्य करालदृढदंष्ट्रावेष्टसंकटविशंकटसिंहमुखकुहर- विवरप्रवेशः किं प्राणरक्षणोपायः । पश्य तावत् । कुमुदनिकरघूर्णमानालिश्रेणिपाशा, दलितधवलमल्लीफुल्लशोभाट्टहासः। अभिसरति पुरतो मां प्रदोषाभिधानो, घनतमतम:- कालः हन्त कालः करालः ॥४॥ किं मे शरणम् । II) वयस्य, चन्दनिकायाः वचनं शरं- णम् । III) वयस्य, किं तत् चन्दनिकाया वचनम् । IV) शृणोतु वयस्यः। अहं खल्वि- दानीं त्वया प्रसादितायाः देव्याः सेवनं कृत्वा निवर्तमानो मार्ग तत्रभवत्या रत्नसंभ- वाया मदनवेदनाविनोदनार्थ चन्दनारविन्दनीलोत्पलकुमुदचन्द्रमणिमौक्तिकमृणालवल- यकदलीकर्पूरपुरस्सरां शिशिरोपचारसामग्री संपादयन्त्या चन्दनिकया घटितोऽसि । १ प्रदोष एनम्. २ ( वयस्य किमेवं. ३ ४ गज for वारण. ४M कथं कथमपि for कथमपि. ५४ वज्र for वेष्ट. ६ ॥ पुरस्तान्मां. ७ KM भो वयस्य, ८६ चन्दिनिका . ९ omits शरणम्. १०६ वदनम्, २१ : विनोदार्थ, ·21 चंदलेहाए [III.4.9- राजा-"तदो तदो। विदूषकः-"तदो सा में दळूण दीह-दीह-णीसास-धूसराविआहर- उडा पल-पह-जालग्ग-लग्ग-णिवडत-बाह-बिंदु-संदोह-संदाणिआ- "पुव्व-हार-लहि-मंडिअ-सिहिण-मंडला तत्थ एव्व ठिआ। राजा-तदो तदो विदूषकः-'तदो चंदणिए, कीस परुण्णा सि ति मए पुच्छिदाए ताए भणि राजा- किं वि। विदूषकः - अय्यं चओरअ, ण-आणामि किं भणामि तस्सि अदि- "ट्ट-पुरुवाअं दिढ-बर्द्ध-सिणेहा। पुरुवं एव्व मुणि खु नुए पिअस- हीए रअणसंभवाए दिणे दिणे विअंभंत-मअणाएस-दूसहत्तणं । अज्ज उण सा दूसंहाआस-दूमिआ णिसग्ग-दुब्बला बाला अणणुभूअ- पुरुवं अवत्यंतरं अणुहोंती मअण-संताव-विणोदणत्थं अम्होहिं अवि- रल-मोतिअ-जाल-वालुओं-सीअल-सुहअ-तीराए तुहिण-जल-दीहि- आए पच्छिम-तीर-परिसर-बालुज्जाण-कदली-वणं पाविदा । तहिं च * पलअ-समुदिअ-चंड-मतंड-किरण-दूसह-संदाव-बाहिआए तिस्से णव- 1 Kधूना for धूस'. 2 g omits some portion here, पअल etc. to किं भणामि (line 17); but it is given by ch rather in such a corrupt form that only important variants are noted. 3 Kh पंम for पम्ह. 4 Kh किं स वरुण्णा. 5 th फणिअम्. 6 kh अअ चओर ण. 7 तसि, but xh तस्सि.8K बंध. 9 E reads thus: दूसहामञ्जुएसमच्छो कलएदे कास्सिरं कचीदमिलपइमुहा भूमिपआसदूमिआ. 10 r omits वालु in वालुआ. 11 K तुदिणजतुदी. 12 5 च किस्से पलभ. 13K किस्से. I) ततस्ततः। II) ततः सा मां दृष्ट्वा दीर्घदीर्घनिःश्वासधूसरीकृताधरपुटा प्रचलपक्ष्मजा- लासलग्ननिपतद्वाष्पविन्दुसंदोहसंदानितापूर्वहारयष्टिमण्डितस्तनमण्डला तत्रैव स्थिता। III) ततस्ततः। IV) ततश्चन्दनिके, कस्मात् प्ररुदितासीति मया पृष्टया तया भणितम् । v) किमिव । VI) आर्य चकोरक, न जानामि किं भणामि तस्यामदृष्टपूर्वायां दृढबद्ध- स्नेहात् । पूर्वमेव ज्ञातं खलु त्वया प्रियसख्या रत्नसंभवाया दिने दिने विजृम्भमाणमदै- नायासंदुस्सहत्वम् । अद्य पुनः सा दुस्सहायासदूना निसर्गदुर्बला बाला अननुभूतपूर्व- मवस्थान्तरमनुभवन्ती मदनसंतापविनोदनार्थमस्माभिरविरलमौक्तिकजालवालुकाशीतल- सुभगतीरायाः तुहिनजलदीर्घिकायाः पश्चिमतीरपरिसरबालोद्यानकदलीवन प्रापिता । तस्मिंश्चं प्रलयसमुदितचण्डमार्तण्डकिरणदुस्सहसंतापबाधितायाः तस्याः नवनवपल्लव- १ . धूसरामिताधर'. २ र 'लेहा for सेहात्. ३ मदनयादुस्सहं. ४ ४ निस्सहत्वम् for दुस्सहत्वम् । ५५ अन्य laauna पुन', ६ Momits पूर्व. ७ सन्तापिनो विनो'. ८ ( तसिंश्च तस्याः प्रख्य. ९ r omits तस्या- ·-III. 4. 39] तइ जवणिअंतर णव-पल्लव-पल्लंक-णिम्माणेहिं [पालेअ-सलिल-णीसंदणहिं चंदण- चच्चा-दाणेहिं] चंदमणि-चुण्णुच्छरणेहिं कप्पूर-रेणु-पाडणेहिं कदली- दल-वीअणेहिं च दूमिआओ संतद-परुण्ण-मुहीओ सहीओ किल- म्मति । दंड-सेस-बिसिणी-संड-गट्ठ-ब्भमर-संचार-णिलुक्काइ दुक्खा- उलाइ व सअल-सरसि-जलाइ, लूण-सअल-किसलअ-गलिअ-सोहा- णि संदाव-जणिअ-विवण्णतणाई व पमद-वणाई, उच्छिण्ण-पवाल- दैल-मुंडाइ कदली-काणण-संडाइ होति । वह वि गिरणुकोसो एव्व महुमासो, णिकरुणो एव्व णिसाणाहो, णिग्धिणो एब्व मलआणिलो, णिरणुकंपो एव्व वम्भहो, जं एदाए बालिआए बंधव-विरहिदाए । विदेस-हिदाए तवस्सिणीए कण्णआए दीह-वरं कुणंतो जीविअ-हरणे पवट्ठति। तहाँ दूसहेहि तेहिं वम्मह-विसिहहिं बाहिआणं सहस्सइतं आढत-णिग्गमाणं तिस्से पाणाणं आसासण-कारणेण तेण वअणो-36 वण्णासेण कह कह वि णिवारणं [कुणंतीहिं अम्हहिं अइवाहिओ दिवसो। अओ परंण सकं अम्हाणं । ता सा] बाला जह ण मरि- हिंई तह उवाओ चिंतीअदु ति। 39 13 चुपणच्छु. 2 r omits च. 3 दूमिआएओ. 4 K omits सहीओ.5संचारि. 6. दुःखाउताएव. जलाल for जलाइ. 8K for 9 K दलमण्डालदलकदली. 10 K पालिआए. 11 K वैर. 125 धरणे. 13 5 तत for तहा. 14 वाहिआणं. 15K णिवारणं कुणति बाला. 16 : मरीहिइ. पर्यङ्कनिर्माणैः प्रालेयसलिलनिष्यन्दनैः चन्दनचर्चादानैः चन्द्रमणिचूर्णोच्छुरणैः कर्पूर- रेणुपातनैः कदलीदलवीजनैः च दूनाः संततमरुदितमुख्यः सख्यः क्लाम्यन्ति । दण्ड- शेषबिसिनीषण्डनष्टभ्रमरसंचारमूकानि दुःखाकुलानि इव सकलसरसीजलानि, लूनस- कलकिसलयगलितशोमानि संतापजनितविवर्णत्वानीव प्रमदवनानि, उच्छिन्नप्रवालदल- मुण्डानि कदलीकाननषण्डानि भवन्ति । तथापि निरनुकोश एव मधुमासः, निष्करुण एव निशानाथः, निघृण एव मलयानिलः, निरनुकम्प एव मन्मथः, यदेतस्याः बालि- कायाः बान्धवविरहितायाः विदेशस्थितायाः तपस्विन्याः कन्यकायाः दीर्घवैरं कुर्वन्तो जीवितहरणे प्रवर्तन्ते । तथा दुस्सहैश्च तैर्मन्मथविशिखैर्वाधितीनां सहस्रकृत्वः आरब्ध- निर्गमानां तस्याः प्राणानामाश्वासनकारणेन तेन तेन वचनोपन्यासेन कथं कथमपि निवारणं कुर्वन्तीभिरस्माभिरतिवाहितो दिवसः। अतः परं न शक्यमस्माकम् । तस्मात् १ चलमणिचूर्णच्छुरणैः for चन्द्र etc. २ बर्बाधितायाःस. ३ यासका. ४ ॥ तत् for तस्मात. ७चंद ·चंदलेहाए [III. 4.40- राजा-(सकरुणम्) भअवंतिभुवण-महणिज्ज-सासण कुसुम-सरासण, गहिअ-चलणमेअं के वि पत्थेमि आत्थं परुसअर-मुहहिं मन्गणेहिं इमोहि। किसल-मिउलमंगं बिंद मा संदरीएं णवर मह पहारं एव्व तेहिं पदेहि ॥ ५॥ विदूषकः -"भो अस्स, उवहिदे पाअस-भोअणम्मि किं ते इदं पलविअ कालं खिंवसि । गच्छम्ह तुरिअं तुहिण-जल-दीहिआ-परि- सरं । अदिक्कामिआ अ संझा। राजा-(समन्तादवलोक्य )साहु दिड वअस्सेण । तह अ। रत्तीअ णाह-विरहेण सुदूसहेणं उत्तम्मिरी अ उडु-मोनिअ-चुण्ण-पुण्णा । बाल-प्पवाल-सअणिज्ज-णिहा खु संझा देहुम्हएण विअ सा मिउला मिलाइ ॥६॥ किंच। । राई-वासरएहि आढसाअं दिढंकपाली। कुंकुम-रसो व्व गलिओ संझा-राओ पओहरालग्गा ॥ ७ ॥ 15 किसलअमि. 2 : छिंदमाणा सु. 35 °एणपरमअपहार• 4 K भो वअस्स एव्वं गए कजे पुणो वि किं पलवसि गच्छम्ह, but the reading of rh is adopted. 5_xh विवसि. 65 संज्ञा. TK देहुम्मएण. सा बाला यथा न मरिष्यति तथा उपायश्चिन्त्यतामिति । I) भगवन् त्रिभुवनमहनीय- शासन कुसुमशरासन, गृहीतचरणभेतं किमपि प्रार्थयाम्यर्थ, परुषतरमुखैर्गिणैरेभिः। किसलयमृदुलमङ्गं छिन्धि मा सुन्दाः, नवरं मम प्रहारमेव तैरपि देहि ॥ ५॥ II) भो वयस्य, उपस्थिते पायसभोजने किं त्वमिदं प्रलप्य कालं क्षिपसि । गच्छावस्त्वरितं तुहिन- जलदीर्घिकापरिसरम् । अतिक्रान्ता च संध्या। III) साधु दृष्टं वयस्येन । तथा च । रात्रौ नाथविरहेण सुदुस्सहेन उत्तमनशीला च उडुमौक्तिकचूर्णपूर्णा । बालप्रवालशय- नीयनिभा खलु संध्या देहोष्मणा इव सा मृदुला म्लायति ॥ ६॥ किं च । रात्रिवासरा- भ्यामारब्धायां दृढाङ्कपाल्याम् । कुडमरस इच गलितः संध्यारागः पयोधरालयः ॥ ७॥ १ र चरणमेकमपि. २ M"मुस्तादृशैः शरैः. ३ (च्छिन्दमाना सुन्दाः ४ परि' for अति'. ५ र ६ र मनःशिलाचा, उत्तमनशीलायाः मौक्तिक ७ र मणालसा मृ. ८K omits किंच, ·S -III. 9.7] तइ जवणिअंतर विदूषकः-'भो वअस्स, पेक्ख । तेल्लोकस्स कराल-काल-फणिणा ददृस्स णटुम्हणो मुच्छंतस्स मुहुहरण अ पुणो मीलंग-सूरच्छियो। संझा-सोणिम-सोणि पसरिअं अंगम्मि कालप्पह काओलं व तमिस्त-मंडणमिणं णिफंदमकुंदएं ॥४॥ राजा-"वअस्स, सञ्चं एव्व । कत्यूरी-पंक-दिग्णो णह-सिरि-वअणे भंगुरो पत्त-भंगो वित्यारिल्लं वरिलं जलहर-पडली-मेढुंरं मेईणीए । ओलंबतो पुरतो पिअ-विरह-दसा-दुक्ख-हेटागआणं आसाणं वेणि-बंधो पसरइ णिबिडो एस कालंधआरो॥९॥ विदूषकः-ता गच्छम्ह इमिणा फलिह-मणि-सउह-दाहिण-भाअ- बाल-बउलाराम-परंतेण तुहिण-जल-दीहिओ-परिसरं । एहि च गआ देवी भअवंतं थलीसरं दटुं । राजा-IVवअस्स, आदेसेहि तुहिण-जल-दीहिआ-परिसरस्स मग्गं। विदूषकः-भो वअस्स, इदो इदो एदु भवं । (उभौ परिक्रामतः ।) राजा-(स्वगतम्)"अच्छेरं, अपुव्व-वल्लहा-दंसणत्थं पत्थिदस्स मे अपु-वो परिवारो अपुव्वं वाहणं च । तह अ। 1 Kणब्रह्मणो. 2K मुझन्तस्स. 3 F सूरस्भिणो. 4 K पसरअं. 5 णिप्पन्दमफुन्दए. मेहुरं. 7 मेभुणीए. 8 K लम्बन्तो पुरतो विआवि. 9 5 हेटाणसाणं वेणीबन्धो पसरइ. 105 कालन्धराओ. 11 x दीसिआ. 12 r थलीसरओट्टम् , but rh सरं दट्ठम्। 13 F आदेहि. 1) भो वयस्य, पश्यं । त्रैलोक्यस्य करालकालफणिना दष्टस्य नष्टोष्मणः, मूर्च्छतो मुहूर्तेन पुनर्मीलत्सूर्याक्षस्य । संध्याशोणिमशोणितं प्रसृतमझे कालप्रभं, कापोलमिव तमिस्रम- ण्डलमिदं निष्पन्दभाकामति ॥ ८॥ II) वयस्य, सत्यमेतत् । कस्तूरीपैङ्कदत्तो नभ श्रीव- दने चित्रकः पत्रभङ्गः, विस्तारवन्निचोल: जलधरपंटलीमेदुरो मेदिन्याः। अवलम्बमान: पुरतः प्रियविरहदशादुःखाधोगतानां, आशानां वेणीवन्धः प्रसरति निबिडः एष काला- न्धकारः॥९॥ III) तद् गच्छावः अनेन स्फटिकमणिसौधदक्षिणभागबालबकुलाराम- पर्यन्तेन तुहिनजलदीर्घिकापरिसरम् । इदानीं च गता देवी भगवन्तं स्थलीश्वरं द्रष्टुम् । IV) वयस्य, आदेशय तुहिनजलदीर्घिकापरिसरस्य मार्गम् । V) भो वयस्यै, इत इत एतु भवान् । VI) आश्चर्यम् , अपूर्ववल्लभादर्शनार्थ प्रस्थितस्य मे अपूर्वः परिवारः अपूर्व २ K कोकोकलमिव, M काकोलमिव. ३ । सत्यमेतत्. ४ र पङ्को दत्तो, पकदत्तनम . ५ ( चित्रभङ्गुर: for चित्रकः of M. ६ Kधरपटलं मेदुरं. ७ 4 पुरस्तात् प्रिय. ८ K दुःखाधोग- ताननां वेणीबन्धः, M दुःखाय आननानामाशानां. ९r omits अनेन. १० ॥ तदादेशय for वयस्य आदेशय. ११ x omits भो वयस्य. । 6K । । १ ॥ पश्य पश्य for पश्य.

·बंदलेहाए [ III. 10- सव्वेहिं इंदिएहिं सह चलइ मणं अग्गदो मग्ग-देसे बद्धासंगो अणंगो अणुसरइ करासंज-कोदंड-दंडो। वाहिज्जतीअ तीए गहिअ-रअमणप्पेहि संकप्परहि उकंठंदोलिआए पिअ-जण-सविहे एस गच्छामि दाणिं ॥१०॥ विदूषकः-"अस्स, अदूरे दाणिं तुहिण-जल-दीहिआ। (नेपथ्ये) कप्पूरेहिमलं तुसार-सलिलासारेहि सिंचेहि मा दूरे कीरउ दूसह सरसिज घोरेण हारेण किं। दाणि होहिंई देह-दाह-चउरो चंदो खु मज्झे णहं ता घेपतु णिरंतराइ भिसिणी-पत्तादवताइ मे ॥११॥ विदूषकः-(आकर्ण्य )"भो वअस्स, किं गंडूसि सवणेहिं पीऊस, ता दाणिं णअणाणं वि कुणउ सुहा-काल-उगहें । राजा-मा जब, जं पुणो वि किंचि सुणीअदि। विदूषकः -Vएसो तुण्हीओ म्हि । (नेपथ्ये) किं करम्ह । फेणाअंत-मुहा मुणाल-लदिओं पता मिलाणतणं सज्जा-पल्लव-संचओ वि सहसा संकोईदो दीसइ । 1 K बन्धासङ्गो. 2K करासंज्ञको. 3 5 वाहिजकीअ. 4K सविए एस. 5 दोहिइ. 6 5 घप्पंतु. 7x कबल. 8 5 जप्प. 9 किं पि अ सुगी. 10 x इदिआ for लदिआ. 115 सेजो. 12 K सङ्कोइदं. वाहनं च । तथा च । सर्वैरिन्द्रियैः सह चलति मनः अग्रतो मार्गदेशे, बद्धासंगः अनङ्गः अनुसरति करासक्तकोदण्डदण्डः। उह्यमानया तया गृहीतरयमनल्पैः संकल्पैः, उत्क- ण्ठान्दोलिंकया प्रियजनसविधमेष गच्छामीदानीम् ॥ १०॥ I) वयस्य, अदूरे इदानीं तुहिनजलदीर्घिका । (...) कर्पूरैरलं तुषारसलिलासारैः सिञ्चै मां, दूरे क्रियतां दुःसहं सरसिजं घोरेण हारेण किम् । इदानीं भविष्यति देहदाहचतुरश्चन्द्रः खलु मध्ये नमः, तस्माद् गृह्यन्तां निरन्तराणि बिसिनीपत्रातपत्राणि मे ॥ ११॥ II) भो वयस्य, किं गण्डू- षितं श्रवणाभ्यां पीयूषं, तस्माद् इदानीं नयनयोरपि कुरु सुधाकवलग्रहम् । III) मा जल्प, यत् पुनरपि किंचित् श्रूयते । IV) एष तूष्णीकोऽस्मि । (...) किं कुर्मः। फेनाय- मानमुख्यः मृणाललतिकाः प्राप्ता म्लानत्वं, शय्यापल्लवसंचयोऽपि सहला संकोचितो १r'न्दोलिकायां प्रिय'. २ ॥ भो वयस्य. ३ र सिञ्चेथ मां. ४ K इदानीं तु भवि. ५ ॥ तद् for तस्माद्. ६ M laouns, 9 5 किमपि for किंचित् of M.

·--III. 12.15] तइ जवणिअंतरं लाजाइ व्व फुडंति मोतिअ-गणा देहस्स दाहग्गिणा। एत्याणस्थ-भरो इमाअ सरणं किं वाण जाणिजए ॥१२॥ राजा-अअं अवसरो उवसप्पिदुं । ( उभावुपसर्पतः।) विदूषकः -"किं सजल-भुवणेकणाहे महाराआहिराए धरणिअलं परिरक्खमाणे माणवेए कि सरणं ति चिंतीअदि। (ततः प्रविशति पल्लवशयनशायिनी नायिका शिशिरोपचारव्यापृते चन्दनिकाचन्द्रिके च ।) नायिका-कप्पूरहिमलं [III. 11] इत्यादि पठति । चन्दनिकाचन्द्रिके-कि करम्ह [III. 12 ] इत्यादि पठतः । विदूषकः-""पिअसहि, अन्भुट्ठाणेण संभावेहि भट्टार। नायिका-तह । (अवलोक्य स्वगतम्) हिअआदो णिग्गओ लोअण- पहे ठिओ। (उत्थातुमिच्छति ।) राजा-(हस्ते गृहीत्वा सहोपविश्य)"पिए चंदमुहि, मा करेहि नुह मार- दूमिअंतणुमिमं पुणो वि तं, तुज्य एरिस-दसावलोअणं मज्झ जुत- मुवआरार्डबरं। नायिका-(स्वगतम् ) अच्छरीअं, कहं एसो एको एव्व हिअआव- हारणे पलआणिल-जालंतरे मं भर्जिअ संप सरीर-फंसे उण अ- मिअ-समुद्द-मज्झम्मि मज्जावेइ । 1 x दाहग्गिणो. 2 K puts this in the mouth of the king atter (उभावुपसर्पतः), but Kh assigns it to Vidūsaka. 3. K puts at after the stage-direction. 4 K STUitt font. 5 F उपविश्य for सहोप. 6 F दसोवलोअणं. 7 F"मुपहारंडंबरम्. 8 भझिअ.9 K मझावेइ. दृश्यते । लाजानीव स्फुटन्ति मौक्तिकगणाः देहस्य दाहाग्निना, अत्रानर्थपरोऽस्याः शरणं किं वा न ज्ञायते ॥ १२॥ I) अयमवसर उपसर्पितम् । II) किं सकलभुवनैकनाथे महा- राजाधिराजे धरणीतलं परिरक्षति मानवेदे किं शरणमिति चिन्त्यते । III) प्रियसखि, अभ्युत्थानेन संभावय भर्तारम् । IV) तथा। (...) हृदयानिर्गत्य लोचनपथे स्थितः । V) प्रिये चन्द्रमुखि, मा कुरुत तवं मारदूनां तनुमिमां पुनरपि त्वम् , तव ईदृशदशावलो- कनं मम युक्तमुपचरावैडम्बरम् । VI) आश्चर्य, कथमेष एक एव हृदयावस्थाने प्रलया- नलज्वालान्तरे मां भर्जयित्वा सांप्रतं शरीरस्पर्श पुनर् अमृतसमुद्रमध्ये मजयति । 12 १ . मौक्ति a long lacuna upto "शोकानन्दकारिणा etc. on the next page. २K मानवेते, x laduna. ३ x omits तव. ४ र प्रलयान्तरज्वाला.

·चंदलेहाए [III.12.16- राजा-(स्पर्शसुखमभिनीय स्वगतम्) मम वहइ विलोल-लोअणाए करअल-फंस-सुहा-रसेणमंगं । णव-जलहर-तोअ-जिंदु-विंद- पसरण-तुह-कअंब-लहि-सोहं ॥१३॥ नायिका-सहि चंदणिए, किं वसंतं अइक्कमिअ पत्तो गिम्हो जेण सिज्जति गताई। चन्दनिका -(सपरिहासम् )पिअसहि, णं कालोवगएण समीवे वसं- तेण राअहंस-तिलएण असोआणंद-कारिणा कंदप-मिशेण णेणं चिअ दे अंगाइ सिज्जति । (नायिका लजां नाटयति ।) राजा-(सस्पृहम् )"हंहो हरिण-लंछण, मा पुवद्दि-सिरे तिरोहिअ-तणू चिद्वेहि उद्वेहि तं अम्हाणं अणुगहिउं कुण खणं जोण्हा-पआसुग्गर्म । दौणि जेण पिआअ से पिअ-सहि-च्छेउति-संसूअणे संलक्खिज्जउ णं विलक्ख-हसिअ-च्छाआ-वलक्खं मुहं १४ (नेपथ्ये) वैतालिक:-"सह-दाइणी होउँ देवस्स चंदुज्जोअ-लच्छी । अज्ज खु एअं अंजण-पुंज-पंजर-देरी-लीणं व लक्खिज्जए तेल्लोकं ण खु जाव दाव किरणंकूरोत्सारंसुणो। 1. बिन्दुबिन्दु. 2K यढि for लटि. 3 K अतिक्कमिअ. 4 - समीपे. 5 F राजस. 65 कदम्बमित्तेण.7 K सिझन्ति. 8 x लंझण. 9 : 'तआ for तणू. 10 F दाणी. 11 K सल्लखि', 12 : होइ. 13 : दरीणीलं व. 14 भुसारंसुणो. I) मम वहति विलोललोचनायाः, करतलस्पर्शसुधारसेन अङ्गम् । नवजलधरतोयबिन्दु- वृन्द-, प्रसरणतुष्टकदम्बयष्टिशोभाम् ॥ १३॥ II) सखि चन्दनिके, किं वसन्तमतिक्रम्य प्राप्तो ग्रीष्मः येन विद्यन्ति गात्राणि | III) प्रियसखि, ननु कालोपगतेन समीपे वसता राजहंसतिलकेन अशोकानन्दकारिणा कन्दर्पमित्रेणानेनैव ते अङ्गानि विद्यन्ति । IV) हंहो हरिणलाञ्छन, मा पूर्वाद्विशिरसि तिरोहिततनुस्तिष्ठ उत्तिष्ठ त्वं, अस्माननुग्र- हीतुं कुरु क्षणं ज्योत्स्नाप्रकाशोगमम् । इदानीं येन प्रियायाः अस्याः प्रियसखीच्छेको- क्तिसंसूचने, संलक्ष्यतामिदं विलक्षहसितच्छायावलक्षं मुखम् ॥ १४ ॥ V) सुखदायिनी भवतु देवस्य चन्द्रोद्योतलक्ष्मीः। अद्य खलु, एतदञ्जनपुअपारदरीलीनमिव लक्ष्यते, १ र गात्राणि for अङ्गानि. २ ॥ उत्तिष्ठत for उत्तिष्ठ त्वं. ३ x अस्माकमनु. ४ x शोधमम्. ५ : प्रियायां. ६॥ कस्याः for अस्मा. ७ x संलक्ष्यते इदं. ८ पक्षरशालीन, ·-III. 18b] तइ जवणिअंतर मुच्छं उज्झि उहिआहि कुमुअ-च्छाआहि पञ्चुग्गओ सिंगारग्गिम-पल्लवो उवगओ सिंगम्मि पुवहिणो॥१५॥ अवि अ॥ कंदप्पोजल-किलि-कंदल-दला चंदोज-जीआदुणो राई-हास-लवा पुरंदर-दिसा-मल्ली-पसूणुग्गमा । उव्वेलंत-तमस्समुद्द-लहरी-लीणच्छ-फेण-डा पुव्वहिम्मि कमेण मुद्ध-धवला वड्डेति जोण्हंकुरा ॥ १६ ॥ राजा-"सअल-जण-कण्ण-उड-मअरंद-णीसंद-वाहिणा सुभासिअ- कीला-सुअ-पंजरेण मंजुकंठेण बंदिणा उवसिलोइदा चंदुज्जोअ- लच्छी । संप पुण सरस्सई-चलण-सरसिअ-महु-सलिल-पूरिअ.. हिअआलवाल-वड्ढत-बाल-पडिहा-वल्ली-पल्लवाअंत-सुति-रत-कंठस्स महुरकंठस्साघसरो। (नेपथ्ये) विपंडुर-मुह-छछई गहिअ-गब्भ-पुण्णोअरी पुरंदर-दिसा खणं भविअ लोअणाणंदिणी । तदो पुण जणेइ णं हरिण-लंबणं गंदणं अअं कुणइ तक्खणं अहिणहंकणं रिंखणं ॥१७॥ अवि अ। 2 दिसा-चिउर-चूलिआ धवल-मालई-मालिआ णिरंतर-विलंबिआ णह-विआण-मुता-लआ। 1 x उद्विआइ. पसूणगामा. 3. उब्वेलन्त. 4K मुड्डध. 5 r सिलोलदा. 6r प्रतिहा for पडिहा. 7 F कण्ठससावसारो. 8 K विपण्डर. 9 K विलंखिआ. 10K मुत्तालिआ. त्रैलोक्यं न खलु यावत् तावत् किरणाङ्करस्तुषारांशोः। मू मुज्झित्वा उत्थिताभिः कुमुदच्छायाभिः प्रत्युद्गतः, शृङ्गारानिमपल्लवः उपगतः शृङ्गे पूर्वाद्रेः ॥ १५ ॥ अपि च । कन्दर्पोज्वलकीर्तिकन्दलदलाः कुमुदजीवातवः, रात्रीहासलवाः पुरन्दरदिशामल्लीप्रसू- नोद्गमाः। उद्धेलत्तमस्लमुगलहरीलीनाच्छफेनच्छटाः, पूर्वाद्रौ क्रमेण मुग्धधवलाः वर्धन्ते ज्योत्स्नाङ्कुराः॥ १६॥ I) सकलजनकर्णपुटमकरन्दनिष्यन्दवाहिना सुभाषितक्रीडाशुक- पारेण मझुकण्ठेन बन्दिना उपग्लोकिता चन्द्रोद्योतलक्ष्मीः । सांप्रतं पुनः सरखती- चरणसरसिजमधुसलिलपूरितहृदयालवालवर्धमानवाले प्रतिभावल्लीपल्लवायमानसूक्तिरक्त- कण्ठस्य मधुरकण्ठस्यावसरः। (...) विपाण्डुरमुखच्छविः गृहीतगर्भपूर्णोदरी, पुरन्दर- दिशा क्षणं भूत्वा लोचनानन्दिनी। ततो पुनर्जनयति इमं हरिणलाञ्छनं नन्दन, अयं १. दिल्ली. २ K omits वर्धमानवाल, ३ . गरुक for गृहीत. ४ र पुनर्जयति.

·चंदलेहाए [III. 180- বিলকি-শ্রজি---ঘাৰ ৰ गलंति रअणी-वहू-तिलअ-बिंदुणो इंदुणो॥ १४ ॥ चन्दनिका-तह पट्टा एन चंद-इरमा। तह । जा पुव्वहिस्स सिंगे कह वि यसरिआ तिण्ह-तिण्हाउलाणं चंचूणं पूरणेसुं पिण चवल-चओराण पारेदि पुन्वं । হভি অঙ্খচি না ঘটি খাতলতন্থি দ্বা हज्जा हत्यंजलीहिं भरिअ-विहुवमा साखु जोण्हा सु-सहा१९ नायिका --"पिअसहि चंदिए, जुन विषण्णेहि चंदिमा-उज्जो। चन्द्रिका -II)जह आणवेदिपिअसही। चंदादो किरणंकुरा पअलिआ चंडं चोर-छडा- चंचू-संचअ-वेअ-खंडिअ-मुहा मुंडतणं पाविआ। दीसंते धवलाअमाण-कुमुअच्छाआहि संवडिआ एहि उल्लसिअह-पल्लव-सहस्सुब्वेल्लिअंग्गा इव ॥ २० ॥ राजा-'अहो अहमहमिआए पवुत्तो कइतण-कलहो। 1 x विपासिभ. 2 बन्धूणं for चंचूणं. 3 F चन्दिमदुजाअम्. 4 K दीसन्दे. 5 ओयुल्ल. सिअहबल्लव. 6K'अङ्गा for अग्गा. करोति तत्क्षणमभिनभोऽङ्गणं रिक्षणम् ॥ १७॥ अपि च । दिशाचिकुरचूलिका धवल- मालतीमालिकाः, निरन्तरविलम्बिता नभोवितानमुक्तालता। पिपासितचकोरिकावदन दुग्धधाराः कराः, गलन्ति रजनीवधूतिलकबिन्दोः इन्दोः ॥ १८॥ I) तथा प्रवृत्ता एव चन्द्रकिरणाः । तथा च । या पूर्वाद्रेः शृङ्गे कथमपि प्रसृता तीक्ष्णतृष्णाकुलानां, चञ्चूनां पूरणेषु अपि न चपलचकोराणां पारयति पूर्वम् । इदानीं प्रस्थैर्मेया परिलसति मृणाला- न्तरालैः पेया, हार्या हस्ताक्षलिभिः भरितत्रिभुवना ला खलु ज्योत्स्ना सुलक्षणा ॥ १९ ॥ II) प्रियसखि चन्द्रिके, त्वमपि वर्णय चन्द्रिकोद्योतम् । III) यथा आज्ञापयति प्रिय- सखी। चन्द्रात् किरणाकुराः प्रगलिताश्चण्डं चकोरच्छटा-, चञ्चूसंचयवेगखण्डितमुखाः खैवत्वं प्रापिताः। दृश्यन्ते धवलायमानकुमुदच्छायाभिः संवर्धिताः, इदानीमुल्लसिताई. पलवसहस्रोद्वेल्लिताना इव ॥ २० ॥ IV) अहो अहमहमिकया प्रवृत्तः कवित्वकलेहः । १ र मधिनमोऽङ्गणं. २ ॥ विलुलिता for विलम्बिता. ३ र मुग्ध for दुग्ध. ४ ( लसन्ति for गलन्ति of r. ५ KM तिलकविन्दोरिन्दोः. ६ प्रस्मृता. ७ x तीक्ष्णतीक्ष्णाकु. ८ र बन्धूनां for चशूनां. ९ भृत for भरित. १० x प्रगलिताधरयं, M प्रचलिता. ११ M संमेलिता. १२ M प्रवृत्ता. १३ ॥ निपुणता for कलहः.

·-III. 23.2] तइ जवणिअंतर विदूषकः-"अहं वि मह कइतणं पअडीकरिस्सं। सुणह मज्झ सुति- सोहग्गं। चंदण-चच्चिअ-सव्व-दिसंतो चारु-चओर-सुहाइ कुणंतो। दीह-पसारिअ-दीहिंइ-बुंदो दीसइ दिण्ण-रसो णव-चंदो ॥२१॥ चन्द्रिका-"महाराअ, चंदुजोए पिअसहीए किदो सिलोओ। राजा-चंदिए, बरिसेहि सवण-पीजसं। चन्द्रिका-पिअसहि, किं पढिस्स। (नायिका लजते ।) चन्द्रिका-(पठति ।) Vवहइ कलंक-मिसेणं काल-भुअंगं ससी णिउच्छंगे। किरणाली-णालेहिं किरइ कहं अण्णहा गरलं ॥ २२ ॥ राजा -'अहो संदब्भ-चाउरी रस-णीसंदो अ। पिए, आणणेण तुह णिजिओ ससी लोअणेण पुण तजिओ मिओ। ताण जुज्जइ दुवाण संगमो अग्गदो वि चरणं अलज्जदा ॥२३॥ (चन्द्रं प्रति) हंहो हरिण-लंकण, तुम खु इमाए णिअ-रूव-णिज्जिअ- लच्छीए कोमलच्छीए 15 सुहण मझ. 25 दीहिवुन्दो. 3 5 महाराअ (हिजो) चंदु. 4 K पठिस्सम्. 55 अण. 6 x निजओ. । I) अहमपि मम कवित्वं प्रकटीकरिष्ये । शृणुत मम सूक्तिसौभाग्यम् । चन्दनचर्चितसर्व- दिगन्तः, चारुचकोरसुखानि कुर्वन् । दीर्घप्रसारितदीधितिवृन्दः, दृश्यते दत्तरसो नव- चन्द्रः॥ २१ ॥ II) महाराज, चन्द्रोद्योते प्रियसख्या कृतः श्लोकः। III) चन्द्रिके, वर्षय श्रवणपीयूषम् । IV) प्रियसखि, किं पेठिष्यामि। V) वहति कलङ्कमिषेण काल- भुजङ्गं शशी निजोत्सङ्गे। किरणालीनालैः किरति कथमन्यथा गरलम् ॥२२॥ VI) अहो संदर्भचातुरी रसनिष्यन्दश्च । प्रिये, आननेन तव निर्जितः शशी, लोचनेन पुनस्तर्जितो मृगः। तयोः युज्यते द्वयोः संगमः, अग्रतोऽपि चरणमलज्जता ॥२३॥ (...) हहो हरिण- १M वर्ष श्रव. २ ॥ वक्ष्यामि for पठिष्यामि. ३ र निजकरोत्सङ्गे. ४ र अनेन for आननेन. ५ र लोच- नेन मृगोऽपि तर्जितः, M लोचनेन च मृदो विनिर्जितः. ६ : तसात् न for तयोः. ७ र लज्जताम् । ८ चंद० ·चंदलेहाए [III. 2406- चुंबतो बिंबएणं रमसि बिस-लआ-पंडुरं गंड-रेहं दिण्णाणंदो कुणंतो विहरसि सिहिणे तक्खणं अंकपालि। आलोलेहिं करोहिं कुणसि अ रसणा-फसणं संस णं मे किं णं पुव्वं खु पुण्णं किदमहह तुए जेणमेमेज होमि ॥२४॥ (नेपथ्ये कलकलः, सर्व ससंभ्रममाकर्णयन्ति ।) विदूषकः-"होदि चन्दणिए, जाण को एसो कलकलो ति। चन्दनिका-(उत्थायावलोक्य ससंभ्रमम् )"एसा खु देवी थलीसरं दद्दूण इदो एव्व आअच्छदि ति से अंतेउर-चारिणो कुज्ज-किराअ-वरिस- वर-वामण-पुरस्सरस्स परिवार-जणस्स एसो कलकलो । ता जह देवीए ण जाणिज्जइ एसो वुत्तंतो तह करेउ महाराओ। अम्हे वि अंतेउरं एव्व तुरिअं गमिस्सामो। राजा-तह । (इति सर्वे निष्कान्ताः।) ॥ इअ चंदलेहाअं तइ जवणिअंतरं॥ 1 F बिम्बणेणं. 2 5 दिण्णाणतो. 3 अंकपालीम्. 4 K रअणासणं. 55 पुण्णं पुर्व खु for किंणं etc. 65 परिसवर. 7 जाहिजए. , लाञ्छन, त्वं खल्वस्याः निजरूपनिर्जितलक्ष्म्याः कोमलाक्ष्याः, चुम्बन बिम्बेन रमसे बिसलतापाण्डुरां गण्डरेखां, दत्तानन्दः कुर्वन् विहरसि स्तने तत्क्षणमङ्कपालीम् । आ- लोलैः करैः करोषि च रशनास्पर्शनं शंस ननु मे, किं पूर्व भूरि पुण्यं कृतमहह खलु त्वया येन एवमेव भवामि ॥ २४॥ I) भवति चन्दनिके, जानीहि क एष कलकल इति । II) एषा खलु देवी स्थलीश्वरं दृष्ट्वा इत एवागच्छति । तस्यान्तःपुरचारिणः कुजकिरा- तवर्षवरवामनपुरस्सरस्य परिवारजनस्यैष कलकलः। तस्मात् यथा देव्या न ज्ञायते एष वृत्तान्तः तथा करोतु महाराजः । वयमप्यन्तःपुरमेव त्वरितं गमिष्यामः। III) तथा । ॥ इति चन्द्रलेखायां तृतीयं यवनिकान्तरम् ॥ १r omits कोमलाक्ष्याः. २ M चुम्ब बि. ३ ॥ गन्धरेखां. ४ . विसरसि. ५ ॥ स्तनेन for स्तने. ६ स्पर्श for स्पर्शनं. ७ ॥ शंसैनन्मे.. ८ ( किं पूर्वं पुण्यं कृत. ९ ॥ परिवारस्यैष. १० ॥ तद् for तस्मात. ११ : गमिष्याव:- ·[IV] (ततः प्रविशत्यलंकृतो राजा विभवतश्च परिवारः प्रतीहायौँ च ।) राजा-(सानुशयं स्वगतम्)"हंत, कहं वि संपादिए मुहुतं दआलुणा देब्वेण चिराभिलसिए चंपअ-दल-कोमलंगीए खण-संणिहाणे इमिणा अविस्संभ-भअ-कारिणा दक्खिण्ण-हदएण वंचिदो म्हि । जदो तुंगाणं सिहिणाण ताण खु अमाअंताण वच्छ-त्यले दूरे चिढउ अंकपालि-कहणं फंसो वि णासादिओ। छेओत्तीसु सहीए किं वि णमि मुद्धं मुहंभोरुह तं उण्णामिअ दक्खिअंविण मए का वा कहा चुंबणे ॥१॥ प्रतीहारी-(अन्यां प्रति)"मंजुभासिणि, एण्हि विसुवोसवे सअल- लोअ-लोअणाणंद-पुण्णिमा-चंदं मही-महिंदं माणवेदं पेक्खिअ संव- च्छरं सुप्पभादं करेहि। एसो खु महाराओ पदीव-मणि-दप्पण-सा- अकुंभ-पुण्णकुंभ-प्पहुदीहिं मंगलहिं अलंकिदे महत्थाण-मंडवे छतेणं णव-पुंडरीअ-रुइणा डिंडीरिआ-पंडुरे पलंकम्मि पलित-भूसण-पहा-पिंगेहि अंगेहि अ। 1 F संपादए वि मुहुत्तद्दआ. 2K कोमलंगाए. 3 K अयमाअंताण. 4 K च्छेओत्तोसु. 5x often मञ्जुभाषिणि. 6 महीन्दं. 7 K करेदि. [संस्कृतच्छाया] I) हन्त, कथमपि संपादिते मुहूर्त दयालुना देवेन चिराभिलषिते चम्पकदलकोम- लायाः क्षणसंनिधाने अनेनावित्रम्भभयकारिणा दाक्षिण्यहतकेन वञ्चितोऽस्मि । यतः, तुङ्गयोः स्तनयोस्तयोः खलु अमातोः वक्षःस्थले, दूरे तिष्ठत्वङ्कपालीकथनं स्पर्शोऽपि नासादितः। छेकोक्तिषु सख्याः किमपि नमितं मुग्धं मुखाम्भोरुहं, तदुन्नमय्य दृष्टमपि न मया का वा कथा चुम्बने ॥ १॥ IT) मजुभाषिणि, इदानी विषुवोत्सवे सकललोक- लोचनानन्दपूर्णिमाचन्द्रं महीमहेन्द्रं मानवेदं प्रेक्ष्य संवत्सरं सुप्रभातं कुरु । एष खलु महाराजः प्रदीपमणिदर्पणशातकुम्भपूर्णकुम्भप्रभृतिभिः मङ्गलैरलंकृते महास्थानमण्टपे, छत्रेण नवपुण्डरीकरुचिना डिण्डीरिकॉपाण्डुरे, पर्य) प्रदीप्तभूषणप्रभापिझैः अङ्गैश्च । १६ संभावितेऽपि मु. २ KM मुहूर्तदयालुना. ३ लागयास्तस्या-क्ष. ४६ अमुना for अनेना. ५ र अयमात्मनि for अमातोः of M. ६ . तदुन्नाम्य. ७ मानवेतं, मानवेदं. ८ कुरुते. १ ईच्छत्रे, ॥ चित्रेण, १० डिण्डीरापाण्डुरे.

·६० चंदलेहाए [IV. 26- णिते णव-भम्म-पंकअ-महाराओ अणंतासणे छत्ताअंत-विसल्ल-मज्झम-फणे णाराअणो व डिओ॥२॥ मञ्जुभाषिणी-(सानन्दम्) अव्वो सुप्पहाअं इदं । अज्ज सुप्पहादं संव- च्छरं। (विलोक्य) अहो विसुवोसव-विसेसालंकिदस्स अस्थाणस्स सिरी। एन्थ हि णीलंसु-उल्लोअ-विलंविआणं मुता-लदाणं णिबिडतराणं । रेहति माला णव-पावुसम्मि जीमूअ-लंबा इव वारि-धारा ॥३॥ कलभाषिणी-मंजुभासिणि पेक्ख । पत्तेसुं कंचणेसुं इह कुह वि इमे पोमराआण पुजा एदे मुताफलाणं पुण तह अ इमे इंदणीलोप्पलाणं । संके बालादवाणं अवि गहिज-रसं चंदिआणं तमाणं संघा सेवेदुमेदं तिहुवण-सुहअं आअंदा णिव्विरोहं ॥ ४॥ मञ्जुभाषिणी-कलभासिणि, इमं वि पेक्ख । वीअंतीण वहूण कंकण-झणकारिल-दो-वल्लरी- मंदंदोलिअ-चामलाणिल-कला-विच्छोइअगंगा इमे । 1 Kणवसम्बुपक. 2 K fa for 2. 35 अंबो. 4. K इह. 5K संबहर. 6 उल्ले. 7 K पावुसंमी. 8 K लम्पालअवारि. 9 K आअदाणं विरोहम्. 10 x विच्छोलिअंगा. निद्रान्ते नववर्णपङ्कजमुखारागः अनन्तासने, च्छनायमाणविशालमध्यमफणे नारायण इव स्थितः॥२॥ I) अवो सुप्रभातमिदम् । अद्य सुप्रभातं संवत्सरम् । (..) अहो विषुवोत्सवविशेषालंकृतस्यास्थानस्य श्रीः । अत्र हि, नीलांशुकोल्लोचविलम्बितानां, मुक्ता- लतानां निविडान्तराणाम् । राजन्ति माला नवप्रावृषि, जीमूतलम्बा इव वारिधाराः॥३॥ II) मजुभाषिणि प्रेक्षं । पात्रेषु काञ्चनेषु इह वापि इमे पद्मरागाणां पुजाः, एते मुक्ता- फलानां पुनः तथा चेमे इन्द्रनीलोपलानाम् । शङ्के बालातपानां अपि गृहीतरसं चन्द्रि- काणां तमसां, सङ्घाः सेवितुमेतत् त्रिभुवनशरणं आगता निर्विरोधम् ॥४॥ III) कलभा- षिणि, इदमपि पश्य । वीजन्तीनां वधूनां कङ्कणझंणत्कारवद्दोर्वल्लरी, मन्दान्दोलितचामरा- १ M निद्रान्तेन प्रसन्नचारुवदनाम्भोजः अनन्तासने. २ र अम्बो, M अहो. ३ र नीलांशुकालोल वि.' ४ । लम्बालकवारिधारा ५M omits प्रेक्ष. ६ कासि इमे च पद्म, M कचित् for कापि.. ७ नीलोत्पलानाम् ८K आहनानितिनिरोधः, ९ ॥ त्वमपि for इदमपि. १० र 'झणत्कारहदावल्लरी, 4 कङ्कणकणत्कार'.

·-IV. 76] चउत्थं जवणिअंतर दीवा दीह-सिहा महिंद-पइणो अन्याण-रित्थाण से सामग्गीऍ सिलाहणं खु परिदो रेहति देता विज॥५॥ (नेपथ्ये) सोत्थि, जअ जज महाराज परम-माहेसर सिरि-माणवेअ, सुहं देउ पहाद-वेला महाराअस्स । अज्जहि आआसे पंचसाई परिणमिअ-पलंडु-च्छडा-पंडुराई ताराई चंचलीआ कुमुअ-महु-सुहा-पाण-मता पसुता। जाओ णीसास-कण्हाविज-मुउर-समो मंदिमो चंदिआए । पुव्वासा-सोअ-साहा लहइ] कुसुमिआ पाअ-संगं उसाए॥६॥ कलभाषिणी-"महाराअ, संणिवडिआ अ सअला चउस्सिधु-रस- णा-बंध-बंधुराअं वसुंधरा राआणो, उवहिदा अ दुवारुदेसं, महा- राअस्स पसादं पडिपालता चिट्ठति । राजा-"कलभासिणि, तेण च॒ पवेसिजउ । मजुभाषिणी-एसो पुढमं उवागओ बच्छोम-शाहो। जहिं किल सरस्सई लसइ साहु-रीदिं गआ जहि कुणइ अप्पणो भुवणमेक-रज्जं सरो 1 x रेहतिदंता. 2 नेपथ्ये. 3 K आएलेप्पञ्च. 4 K छापाण्डुराई. 5K काणाविअमुउरतमो. 6K चिट्ठदि.7 हि for खु given by Kh. 8 5 उपागओ. 9रीदी for रीदि. निलकलाविक्षोभिताना इमे। दीपाः दीर्वशिखा महीन्द्रपतेः आस्थानदीनामस्याः, सामन्याः श्लाघनं खलु परितो राजन्ति ददत इव ॥ ५॥ (".) स्वस्ति, जय जय महाराज परम- माहेश्वर श्रीमानवेदै, सुखं ददातु प्रभातवेला महाराजस्य । अद्य खलु, आकाशे पञ्चषाणि परिणतपलाण्डुच्छटापाण्डुराणि, ताराणि चञ्चलीकाः कुमुदमधुसुधापानमत्ताः प्रसुप्ताः। जातः निश्वासकृष्णितमुकुरसमः मन्दिमा चन्द्रिकायाः, पूर्वाशाशोकशाखा लेंभते कुसु- मिता पादसंग उषायाः ॥ ६॥ I) महाराज, संनिपतिताश्च सकलाश्चतुस्सिन्धुरशना. बन्धबन्धुरायां वसुंधरायां राजानः, उपस्थिताश्च द्वारोद्देश, महाराजस्य प्रसादं प्रतिपाल- यन्तस्तिष्ठन्ति । II) कलभाषिणि, तेन खलु प्रवेश्यन्ताम् । III) एष प्रथममुपागतो वैदर्भनाथः । यस्मिन् किल सरस्वती लसति साधुरीतिं गता, यस्मिन् करोति आत्मनो १ र क्षोभिताङ्गा इमे. २ ॥ आस्थानन्धीनाम'. ३ मानवेत. ४ . परिणमन्ति for परिणतः ५६ omits लभते, ४ शाखालुब्धा lacuna पाद'. ६ M द्वारोद्देशे.

·चंदलेहाए [IV. 70- जहिं च पुढमो रसो जअइ दे पसादेण णं अअं अबइ मेइणी-जुवइ-मंडणं कुंडिणं ॥७॥ एसो अ गंभीर-महुरेहिं चरण-संचरणेहिं उवगमिअ, अच्छोलंबत-चूडा-मउडअ-घडमाणेक-माणिक-छाआ- रिंछोलीहिं घणाहिं तुह उर्वरि गुरुं उब्वमंतो व राअं विच्छोहिज्जत-हार-च्छइ-कुल-धवलाअंत-सच्छोह-वच्छो वेदव्भाणं अहीसो पणमइ णिहुअं तुझ पावीढ-मूले ॥७॥ कलभाषिणी-"एसो खु उज्जअणी-वल्लहो । अअं खु हेहिलाअंत-सग्गाण खु सइ वि महा-काल-चूलेंदु-लेहा- जोण्हाहिं अत-कितीहि वि तह धवलाअंत-रच्छा-मुहाणं । सिप्पा-वादंकुराचुंबिअ-सुरअ-किलम्मंत-रामाणणाणं एदाणं सासणेणं तुह णवर अवंतीण रक्खं करेदि ॥९॥ एसो अ आरद्ध-पाअ-णमणो सवणोव्वलंत- कण्णेउरं तुह पुरो णह-दप्पणम्मि । ओलोइऊण गलिअं जह-ठाणमेअं ठावेइ संपइ करेदि अ दे पणामं ॥१०॥ 1K मेइणिजुवई. 2K घटमाणेक. 3 रिच्छोलीहिं. 4 K उपरि. 5K विच्छोलिज्जन्त. 6 Kh वच्छोभाणं for वेदब्भाणं. 7 पावीड. 8 Kउझअणी'. 9 हेट्ठीणाअंत, but rh हेट्टील्ला. 10 K सुधापादंकुरा. 11 : आरण्डपाअ. 12 Kणोवलन्त. भुवनमेकराज्यं स्मरैः। यस्मिंश्च प्रथमो रसो जयति ते प्रसादेन ननु, अयमवति मेदिनी- युवतिमण्डनं कुण्डिनम् ॥७॥ एष च गम्भीरमधुरैश्चरणसंचरणैरुपगम्य, अच्छावलम्ब- मानचूडामकुटकघटमानैकमाणिक्यच्छाया-, श्रेणिभिः धनाभिः तव उपरि गुरुमुद्रमन्निव रागम् । विक्षोभ्यमाणहारच्छविबहुधवलायमानसच्छोभवक्षाः, वैदर्भाणामधीशःप्रणमति निभृतं तव पादपीठमूले ॥ ८॥ I) एर्षे खलूजयिनीवल्लभः । अयं खलु, अधोभवत्वर्गाणां खलु सदापि महाकालचूडेन्दुलेखा-, ज्योत्स्नाभिरात्मकीर्तिभिरपि तथा धवलायमान- रथ्योमुखानाम् । सिनावाताङ्कराचुम्बितसुरतक्लाम्यद्रामाननानां, एतेषां शासनेन तव नवरमवन्तीनां रक्षा करोति ॥९॥ एष च, आरब्धपादनमनः श्रवणोपरिभवत्, कर्णपूर तव पुरो नखंदर्पणे । अवलोक्य गलितं यथास्थानमेतं, स्थापयति संप्रति करोति च ते १ सुरश्च for स्मरः. २ K प्रसादेन ननु (तद्), . प्रसादेन तदपतिमेदिनी. ३ रिन्छोलीभिः for श्रेणिभिः. ४ उज्जयिनीवल्लभोऽयं खलु for एष etc. खलु. ५ रथ्यामुखां. ६K सुप्रा. ७६ नपरम lacvia रमवन्तीनां. ८ 'दर्पणेषु.

·६३ -IV. 130] चउत्थं जवणिअंतरं मञ्जुभाषिणी-"एसो रिओ-मंडल-खंडण-प्पअंडो पंडो, कहमस्स सुह- अतणं वण्णिव्वं। लोवामुद्दा-सहाओ स हि मुणि-पवरो अस्थि से सोस्थिवाई मंदहिं मारुएहिं कुणइ अ मलओ चामल-ग्गाहि-लीलें। कोसो सा तंवपण्णी मणि-गण-जणणी किंवै एहिं बहूहिं णूणं अंसंस-मतेण वि ण खु सरिसा अस्स भूवाल-लोआ ॥११॥ तारिसो वि एसो। चूलंत-सत्त-णव-मोतिअ-सार-जाल- घोलंत-दीहिंइ-मिसेण पलित-रूवं । किति णि सवदि पाहुडिऊण तुज्झ पाअंबुझं पणमए मणलर-णाहो ॥१२॥ कलभाषिणी-एसो महिला-बाल-णह-लेहा-फालिज्जत-बहल-कप्पू- र-खंड-पंडुर-जस-मंडल-दिण्ण-तेल्लोक-सअलंगिअ-धवल-दुऊल-णि- ओलो चोलो। जो आलोलिजंत-णिच्च-कदु-दहण-सिहुद्दाम-धूम-च्छडाहिं घोलंतीहिं कुणंते मिअ-मअ-मअअं पत्त-भंगं दिसाणं । । 1 K सो for से. 2 'लीलाम्. 3K सोत्तम्ब for सा तंब. 4 किं वयेहि, 5 विसेसो for वि एसो. 6 K दीहिहि. 7K सपदि. 8 पालिजन्त. 95 च्छटाहि. प्रणामम् ॥ १० ॥ I) एष रिपुमण्डलखण्डनप्रचण्डः पाण्ड्यः, कथमस्य तु सुभगत्वं वर्ण- यितव्यम् । लोपामुद्रासहायः स हि मुनिवरः अस्ति अस्य स्वस्तिवादी, मन्दैः मारुतैः करोति च मलयः चामरग्राहिलीलाम् । कोशः सा ताम्रपर्णी मणिगणजननी किंवा एभिः बहुर्भिः, नूनमंशांशमात्रेणापि न खलु सदृशा अस्य भूपाललोकाः ॥ ११ ॥ तादृशोऽप्येषः, चूडान्तसक्तनवमौक्तिकसारजाल-, घूर्णमानदीधितिमिषेण प्रदीप्तरूपाम् । कीर्ति निजां स- पदि प्राभृतीकृत्य तव, पादाम्बुजं प्रणमति मणलूरनाथः ॥ १२॥ II) एष महिलाबालनख- लेखापाव्यमानबहलकर्पूरखण्डपाण्डुरयशोमण्डलदत्तत्रैलोक्यसकैलाङ्गिकधवलदुकूलनि- चोलेश्चोलः । यः, औलोल्यमाननित्यक्रतुदहनशिखोदामधूमच्छटाभिः, घूर्णमानाभिः १ प्रमाणम्, २ र प्रवरः अगस्त्योऽस्य. ३ र वातैः for मारुतैः. ४ । किं बहुभिरेमिः. ५ ॥ सदृशः लोकः, ६ र मणलूरुनाथः. ७ M साल for बाल. ८K पात्यमान. SK a short lacuna after बहल, १० ॥ सर्वाङ्गीण for सकलाशिक. ११ . दुकूलं. १२ निचुलश्लोलः, १३ र आलोक्यमानं. .

·चंदलेहाए, [IV. 136-- ओलंबतग्ग-तंवोलअ-दल-कसणाअंत- दिवाले चोले पालेइ हेला-विहुणिअ-णिवई तुज्झ कारुण्णएणं ॥१३॥ सो एसो माणिक-मोलि-मणि-मोह-परोह-लेहा- पुंज-च्छलेण जलिअंणिअपआवं। दंतो व्व तुज्झ चलणं सरणं जणाणं णं ओणमेइणरवाल-मणे खणणं -मणे खणणं ॥१४॥ म भाषिणी-"एसो पलित-पआव-पावज-ज्जाला-दिण्ण-दिसंगणा- कुंकुमंगराओ। जो खु जपतो बंधवाणं अभअमहिम मग्गणाणं कुणतो कंपतो दुइ-लोअं अवि सअल-छइल्लाण पीदि दिसंतो लुपंतो सन्तु-रामा-सिहिण-मलअ पत्त-तुम्हाणुकंप चंप संपण्ण-रिहिं शिअ-भुज-सिहरे रक्खए चुक-हीणं ॥१५॥ पावीढअस्स सविहे पडिअस्स तस्स सोहंत-सार-मणि-पप्फुरिओ किरीडो। लंबेहि पलव-णिहेहि करंचलेहि संवाहणं कुणइ दे पअ-पंकआणं ॥ १६ ॥ 2 x दिक्चयाले. 3 रिवई for णिवई. 4 x मौलि. 5 जाणा- 7 K अपि. 8 K च्छललाण. 9K लम्पन्तो. 10 K चुंखहीणम्. 11 पावीडअस्स. 12 K फंफुरिओ. 13 5 वण्णव but xh पल्लव. करोति मृगमदमयं पत्रभङ्गं दिशाम् । अवलम्बमानाग्रताम्बूलकदलकैष्णायमानदिक्चक्र- पालान्, चोलान् पालयति हेलाविधूतनृपतिः तव कारुण्येन ॥ १३॥ स एषः, माणि- क्यमौलिमणिमयूखप्ररोहरेखा, पुअच्छलेन ज्वलितं निजकं प्रतापम् । ददादिव तव चरणं शरणं जनानां, नन्ववनमति नरपालमणे क्षणेन ॥१४॥ I) एष प्रदीप्तप्रतापपावकज्वा- लादत्तदिगङ्गनाकुङ्कुमाङ्गरागोऽङ्गराजः । यः खलु, जल्पन् बान्धवानामभयमभिमतं मार्गणानां कुर्वन्, कम्पयन् दुष्टलोकमपि सकलविदग्धानां प्रीतिं दर्शयन् । लुम्पन् शत्रुरामास्तनमलयजं प्राशयुष्मद्नुकम्पा, चम्पां संपन्न निजभुजशिखरे रक्षति प्रमाद- हीनम् ॥ १५॥ पादपीठस्य सविधे पतितस्य तस्य, शोभमानसारमणिप्रस्फुरितः किरीटः । लोलैः पल्लवनिभैः कराञ्चलैः, संवाहनं करोति ते पदपङ्कजयोः ॥ १६॥ १ . आलम्बमानाय. २ ॥ हरितायमान for कृष्णायमान. ३ Komits चोलान्. ४ र हेलाविधृतं. ५ ॥ लेखा for रेखा. ६ र विदण्डानां. ७ M प्रीतिं दिश lacunar८M संपन्नधिः, ९॥ किरीटलम्बेः पल्लन 1K for दिण्ण. 6 जपतो. ।

·६५ -IV. 19d] चउत्थं जवणिअंतर कलभाषिणी-"एसो सअल-जण-वल्लहो मअह-वल्लहो । जो खु लाहिल्लो रिवुणो सिरी-करघरी-केस-गहेसुं बला छाँइल्लो पुर-सुंदरीणमुदिओ घेत्तूर्ण मुत्तिं सरो। एकल्लो सअलम्मि भूमि-वलए वीराण धीराण वा तकिलो तुइ एस पुप्फणअरं रक्खेइ सोक्खाअरं ॥ १७ ॥ पुलोअदु महाराओ। एसो पडत-मउडंत-समप्पिएहि मुताहलेहि धवलेहि णिरंतरोहिं । तारावरोहण-वहू-णिबिडंकपालि कारेदि पांद-णह-बिंब-णिसेसरं ते ॥१६॥ मञ्जभाषिणी-"एसो समर-मुह-मुहुस-दिण्ण-पुण्णमंत-वल्लहंकपाली- तसिअच्छरा-चंचलच्छि-कोण-लच्छी-रिंछोलि-विच्छुरण-सामलंगो कलिंगो। एहि एदस्स वीरुकर-सिरमणिणो कित्ति-जोण्हाहि ताहि थोराआरा चओरा ससहर-मणिणो णिच्च-णीसंदमंती । उब्वेल्ला सिंधु-वेला सइ कुमुअ-गणा होति जिंदा-दलिद्दा थेरादो णह-लज्जा विहरइ हरिणा चंचलच्छी अ लच्छी ॥१९॥ 15 सकल. 25 करमरी. 3 K च्छालल्लो. 4 K पत्तण मुत्ती. 5 F फुफ्फ. Kh रख्खेइ. 7 K समंपिओहिं. 8 K णिबिडन्तपाली. 9 पादणबीब, but Kh णहबिह. 10 x दिण्णमन्तवल्लहंक'. 11 : सिञ्चिअच्छरा. 12 r omits कोणलच्छी. 13 : वीलंकरसिरमहिणो. 14 x णीसन्तमन्ता. 15 K हान्ति, but Kh होति. 16 K णिन्तादलिन्दा for णिहा etc. I) एष सकलजनवल्लभो मगधवल्लभः। यः खलु, लाभवान् रिपोः श्रीबन्दिकचग्रहेषु बलात्, छायावान् मृगलोचनानामुदितः गृहीत्वा मूर्ति स्मरः। एकाकी सकले भूमिवलये वीराणां धीराणां वा, तात्पर्यवान् त्वयि एष पुष्पनगरं रक्षति सौख्याकरम् ॥ १७ ॥ प्रलोकयतु महाराजः । एष पतन्मकुटान्तसमर्पितैः, मुक्ताफलैर्धवलैर्निरन्तरैः। तारावरो- धनवधूनिबिडाङ्कपाली, कारयति पादनखबिम्बनिशेश्वरं ते ॥ १८॥ II) एष समरमुखमु. हूर्तदत्तपुण्यवद्वल्लभाङ्कपालीतोषिताप्सरश्चञ्चलाक्षिकोणलक्ष्मीश्रेणिविच्छुरणश्यामलाङ्ग: कलिङ्गः । इदानीमेतस्य वीरोत्करशिरोमणेः कीर्तिज्योत्स्नाभिस्ताभिः, स्थूलाकाराश्च- कोराः शशधरमणयः नित्यनिष्यन्दवन्तः । उद्धेलाः सिन्धुवेलाः सदा कुमुद्गणाः भवन्ति निद्रादरिद्राः, स्थविरात् नष्टलज्जा विहरति हरिणां चञ्चलाक्षी च लक्ष्मीः ॥१९॥ २ M श्रीकेशग्रहणेपु. ३ Komits बलात्. ४ र एक for एकाकी. ५ र त्व lacuna हृष्टनगरं. ६ ॥ विलोकयतु. ७ र 'मुकुलान्त-समुत्थितैः. ७ "मुकुलान्त समुत्थितैः. ८ ॥ रिन्छोळी for श्रेणि. for स्थविरात्. १० हरिणा, 6K र रख्खाइ, but १ भवो for रिपो. ९रब्रह्मणः ९ चंद० ·चंदलेहाए [IV. 200/- एसो अतुज्झ करुणा-रस-लालसेण चितण चित्त-रअणं णव-पार्द-वीढं । ओल्लीकरेइ णइ-घोलिर-मोलि-माला- णीसंदमाण-मअरंदअ-सारणीहिं ॥२०॥ कलभाषिणी-"अअं सअल-रिवु-कुल-विलासिणी-लोअ-कालमेघ-ज- ल-वरिस-पाउस-सण्णाहो कण्णाड-णाहो। उच्छण्णे सत्त-सेण्णे सवदि णिअ-घरे जस्स सोऊण णाम चंडासि-च्छिण्ण-वीर-तिस-पअ-करं संगरं अंतरेणं । जुत्ताणं संभमेणं पर-वरण-समारंभ-जंभालएणं अंगालंकार-लच्छी किल सलिल-लिवी होइ सग्गंगणाणं ॥२१॥ (सकौतुकं निर्वर्ण्य ) णक्खेसु तुज्झ सअलेसु फुड इमस्स चूडामणीसु वि अ छोलण-णिम्मलेसुं। बिंबा दुवाण वि तुहाण बहुतणेण सोहंति जोम्गदर-ठाण-पडिडिअंगा ॥२२॥ मजुभाषिणी- "एसो पाल-पालो पणमइ चलणे तुज्झ कारुण्ण-लोलो कलभाषिणी- कंबोएसो वि एसो पणिवडइ सिहा-लीढ-पौवीढ-पासो। 11 एसो तुझ. 2K पादपीठम्. 3 यूरइ for घोलिर. 4K णिस्सन्द but rh णीसन्द. 5 x घोरणीहि, but xh सारणीहि. 65 परिस'. 7 उझणे. 8 x तिसअप. 9 K वरवरण. 10K सलदलिवि होइ संगंगणाणम्. 11 "मणिस्सुडिअच्छों. 12 जोग्गदठाण, but rh जोग्गदर', 13 x omits कंबो. 14 K पाविद्ध. एष च तव करुणारंसलालसेन, चित्तेन चित्ररत्नं नवपादपीठम् । आीकरोति नतिघूर्ण- नशीलमौलिमाला-, निष्यन्दमानमकरन्दसारणीभिः ॥ २०॥ I) अयं सकलरिपुकुलविला- सिनीलोककालमेघजलवर्षप्रावृट्सन्नाहः कर्णाटनाथः। उत्सन्ने शत्रुसैन्ये सपदि निजगृहे यस्य श्रुत्वा नाम, चण्डासिच्छिन्नवीरत्रिदशपदकरं सगरमन्तरेण । युक्तानां संभ्रमेण पर- वरणसमारम्भजृम्भितेन, अङ्गालङ्कारलक्ष्मीः किल सलिललिपिः भवति स्वर्गाशनानाम् ॥ २१ ॥ (...) नखेषु तव सकलेषु स्फुटमस्य, चूडामणिष्वपि च शोधननिर्मलेषु । बिम्बो द्वयोरपि युवयोर्बहुत्वेन, शोभेते योग्यतरस्थानतिष्ठिताङ्गौ ॥ २२ ॥ II) एष नेपालपाल: प्रणमति चरणौ तव कारुण्यलोल:, III) काम्बोजेशोऽपि एष प्रणिपतति शिखालीढ- १ . कण for रस. २ लोचन for लोक. ३ ४ सलिललविर्भवति. ४ x ममुष्य for °मस्य. ५ x omits च. ६. गोपन for शोधन. ७ M प्रतिष्ठिताङ्गेन. ८ एष विशेषः प्रणिपतति शिखा एष: for काम्बोज eter BAHINE । aan ·६७ II) -IV.24d] चउत्थं जवणिअंतरं मजुभाषिणी- "एसो अच्चेदि चूडामणि-किरण-पसूणेहि पंचाल-णाहो कलभाषिणी- "एसो भूमिं पवण्णो विलसइ विहिआमित्त-दुक्खो तुरुक्खो॥ मञ्जुभाषिणी- II"एसो चेदि-प्पवीरो कलभाषिणी- IV अअमिह णिसढो मञ्जभाषिणी "एस वाराणसीसो कलभाषिणी- VIएसो सो पारसीओ मजुभाषिणी- VII)अअमेवि महरहेसरो कलभाषिणी- NOMISERIES MANDARD VIII) एस वंगो MO मजुभाषिणी- IX एसो मदाहिराओ कलभाषिणी- अअमिह महुरा-वल्लहो मञ्जुभाषिणी- x"एस मच्छो कलभाषिणी- Xएदे कस्सीर-कंची-दमिल-पइ-मुहा भूमिपाला णमंति ॥२४॥ PARAN 1K अअमपि. पादपीठपार्श्वः। I) एषोऽर्चयति चूडामणिकिरणप्रसूनः पाञ्चालनाथः, II) एष भूमि प्रपन्नो विलसति विहितामित्रदुःखस्तुरुष्कः ॥ २३॥ III) एष चेदिप्रवीरः, IV) अय- मिह निषधः, V) एष वाराणसीशः, VI) एष स पारसीकः, VII) अयमपि महा- राष्ट्रेश्वरः, VIII) एष वङ्गः, IX) एष मद्राधिराजः, X) अयमिह मथुरावल्लभः, xi) एष मत्स्यः, XII) एते काश्मीरकाञ्चीद्र मिलपतिमुखा भूमिपाला नमन्ति ॥ २४ ॥ १६मधुरा.

·3 चंदलेहाए [IV. 24.1- मजुभाषिणी-कलभासिणि, पेक्ख । गलंत-कणअंगदो गल-दलंत-हार-च्छडो चलंत-मणि-कंकणो चलण-गुंजि-मंजीरओ। वलंत-मउडतरोणरवईण दाणिं अअं अहं-पुढमिआ-कओ णमण-संभमो जिंभए ॥२५॥ कलभाषिणी-अहो णमणाणंतरं एव्व महाराएण जहोइदं संभा- विआ जंभाअंत-णिब्भर-हरिस-वल्लरी-पल्लवाअंत-धवल-हास-पंडु- रिअ-गंड-रेहा-रेहंत-मुह-पुंडरीआ महाराअ-पसाद-लाह-किदत्था णिव-सत्था पत्थाएं एव्व आढता। राजा-(स्वगतम्)"अवि णाम पुणो वि भवे तिस्से हरिणंक-वअ- " णाए दसणं । (विचिन्त्य) किं णु हु हिजो एव्व देवीए अंतेउरं गाइदो वअस्सो विलंबइ। (ततः प्रविशति विदूषकः।) विदूषकः-(सरभसमुपसृत्य)"भो वअस्स, दिहिआ वड्डसि इमिणा विसुवूसवेण। राजा-(दीर्घ निःश्वस्य) दहंति मलआणिला परितवंति मं कोइला अअं हरइ जीविअं पहरणुम्मुहो वम्महो । 1 K पुठमिआ. 2 F डवल. 3 x इज्जो. 4 Kणालदो. 55'तपन्ति. 6 बहरणंमुहो. I) कलभाषिणि, पश्य । गलत्कनकाङ्गदः गलदलद्धारच्छटः, चलन्मणिकङ्कणः चरणगुञ्जि- मजीरकः । वलन्मकुटान्तरः नरपतीनामिदानीमयं, अहं-प्रथमिकाकृतः नमनसंभ्रमो जृम्भते ॥ २५ ॥ II) अहो नमनानन्तरमेव महाराजेन यथोचितं संभाविताः जृम्भमाण- निर्भरहर्षवल्लरीपल्लवायमानधवलहासपाण्डुरितगण्डरेखाराजन्मुखपुण्डरीकाः महाराज- प्रसादलाभकृतार्थाः नृपसार्थाः प्रस्थातुमेवारब्धाः। III) अपि नाम पुनरपि भवेत् तस्या हरिणाङ्कवदनाया दर्शनम् । (...) किं नु खलु ह्यः एव देव्या अन्तःपुरमानायितो वयस्यो विलम्बते । IV) भो वयस्य, दिष्ट्या वर्धसे अनेन विषुवोत्सवेन । V) दहन्ति मल- यानिलाः परितपन्ति मां कोकिलाः, अयं हरति जीवितं प्रहरणोन्मुखो मन्मथः । १. गलगलहार. २romits इदानीं. ३K omits अहं. ४ . रेखा राज . ५ Komits महाराज. ६ निवासार्थ for नृपसार्थाः, ७ K omits पुनरपि. ८ Kखलु अन्तःपुर. ९ ॥ वर्धख for वर्धसे. १० . aga for at of 1, V ·६९ । -IV. 26. 15.1 चउत्थं जवणिअंतरं हहा कह वि सा खणं हिअअ-वल्लहा दुल्लहा कहं णु पुण दिहिआ भण वअस्स वड्ढामि हा ॥ २६ ॥ कहेहि दाव तग्गअं कं वि वुत्तंतं । विदूषकः-'भो वअस्स, सा किल देवीए अंतेउर-गम्भ-घरअम्मि कणअ-सिंखलहिं बंधिअठाविआ। राजा-अहो णिकरुणतणं देवीए । विदूषकः-"पुणो वि सुण देवीए णिक्करुणतणं । राजा-IV कहेहि। विदूषकः-विहंगिआ कुरंगिआ तरंगिआ सारंगिआ पदंगिआ अ पंच चामल-ग्गाहिणीओ पुव्व-दुवारम्मि तिस्से रक्खं काहुँ ठावि- आओ। मंदारिआ माअंदिआ मदअंतिआ अरविंदिआ सिंदूरिआ' अ पंच संवाहण-कारिणीओ दाहिण-दुवारम्मि णिओइदाओ। तमा- लिआणतमालिआ णोमालिआ तरलिआ कदलिआ अपंच पहाणो- वअरण-संपादिणीओ पच्छिम-दुवारम्मि पेरिदाओ। कलहंसिआ। कदलिआ कमलिआ कदंविआ कलपिगिआ अ पंच सेरंधीओ उत्तर- दुवारम्मि पेसिदाओ। पतलेहा चित्तलेहा मअणलेहा विलासलेहा मअलेहा अ पंच तंबोल-दाइणीओ सरीर-रक्खाअं संठाविआओ। 1r omits दाव given by xh. 2K विहिजिआ. 35 दुबारमितिस्सो. 4 K खाद्. । दाहिणि for दाहिण. 6 Kणत्ततमालिआ दन्तमालिआ णोमालिआ. 75 पच्चिम. कदलिआ and adds कादम्बिआ after कदम्बिआ. 9 कलपित्तिआ. 10 सट्ठाविआओ. हहा कथमपि सा क्षणं हृदयवल्लभा दुर्लभा, कथं नु पुनर्दिष्ट्या मण वयस्य वर्धे तत् ॥ २६ ॥ कथय तावत्तद्गतं कमपि वृत्तान्तम् । I) भो वयस्य, सा किल देव्याः अन्तःपुर- गर्भगृहे कनकशृङ्खलाभिः बद्धा स्थापिता। II) अहो निष्करुणत्वं देव्याः। III) पुनरपि शृणु देव्या निष्करुणत्वम् । IV) कथय । V) विहङ्गिका कुरङ्गिका तरङ्गिका सारङ्गिका पतङ्गिका च पञ्च चामरग्राहिण्यः पूर्वद्वारे तस्याः रक्षा कर्तुं स्थापिताः। मन्दारिकामाक- न्दिका मदयन्तिका अरविन्दिका सिन्दूरिका च पञ्च संवाहनकारिण्यः दक्षिणद्वारे नियो- जिताः। मालिका नक्तमालिका नवमालिका तरलिका कदलिका च पञ्च स्नानोपकरण- संपादिन्यः पश्चिमद्वारे प्रेरिताः। कलहंसिका कदालिका कर्मलिका कदम्बिका कलपिङ्गिका च पञ्च सैरन्ध्यः उत्तरद्वारे प्रेषिताः । पत्रलेखा चित्रलेखा मदनलेखा विलासलेखा मद- १ हाहा. २ : वर्धामि तव. ३ x omits this remark. ४ मकरनिका. ५ x तमालिका नक्त- नमालिका नव', M तमालिका नव'. ६ कदलिका नक्तमालिका च. कमलिका कलविङ्गिका कादम्बिका च. 8 Komits ७ कलहंसिका कमलिनीका कद,८M ·चंदलेहाए [IV. 26. 16- राजा -'कीस उण देवीए अअंसंरंभो। विदूषकः - भो वअस्स, जइ ण को करेसि ता कहेमि । राजा-IIको एत्थ कोवावसरो। विदूषकः -"सुणादु वअस्सो। एअंखु जाणिों एव्व वअस्सस्स हिजो एव्व णिसीहिणीअं देवीए आणाइदो म्हि ति। राजा-तं जाणि। पुणो कहेहि। विदूषकः-पुणो अंतेउरंगओ अहं अहिअं कंचणासण-दाणादिणा जीए संभाविओ। तहिं आढत्ते सव्वाहिं पुर-सुंदरीहिं महंते अंते- (-संगीअ-कोलाहले विरमिए तत्थ एव्व तमालिआए पत्थरिए :-पल्लंक-अले गब्भ-घरए अ पन्भारे वल्लही-मुहम्मि जहिच्छं सुतो म्हि। राजा-VI"तदो तदो। विदूषकः-VIतदो मए सिविणए पलविअंकिल राजा-I)किं पलवि। विदूषकः-"तुहिण-दीहिआ-परिसर-वुत्तो। राजा-'अहो पमादो। (विचिन्त्य) पुणो वि गहिओ एव्व रोस- हुणा देवीए हिअअ-चंदो। तदो एव्व एसो संरंभो । 15 कोपं for कोवं. 2 x पट्टवल्लंकसले. 3 पसुत्तो, but xh पासुत्तो. । च पञ्च ताम्बूलदायिन्यः शरीररक्षायां संस्थापिताः। I) कस्मात् पुनर्देव्या अयं म्भः। II) भो वयस्य, यदि न कोपं करोषि तत्कथयामि। III) कोऽत्र कोपावसरः। ) शृणोतु वयस्यः। एतत् खलु ज्ञातमेव वयस्यस्य यत् ह्यः एव निशीथिन्यां देव्या यितोऽसीति । V) तत् ज्ञातम् । पुनः कथय । VI) पुनरन्तःपुरं गतोऽहमधिकं बनासनदानादिना देव्या संभावितः। तस्मिन् आरब्धे सर्वाभिः पुरसुन्दरीभिः मह- पुरसंगीतकोलाहले विरमिते तत्रैव तमालिकया प्रस्तुते पट्टपर्यङ्कतले गर्भगृहे च पारे वलभीमुखे यथेच्छं प्रसुप्तोऽस्मि । VII) ततस्ततः। VIII) ततो मया खने पेतं किल । IX) किं प्रलपितम् । ४) तुहिनदीर्घिकापरिसरवृत्तान्तः। XI) अहो दः । (...) पुनरपि गृहीत एव रोषराहुणा देव्याः हृद्यचन्द्रः। तत एवैष संरम्भः । २ ॥ वयस्य कस्मात्. २ ( आज्ञापितो for आनायितो. ३ M adds सबहुमानं before प्रस्तुते. ४ प्रस्तुते पट्टपर्यङ्कतले. ५ प्रारद्वारे, 4 प्रारभारवलभीमुखे. ६ यथेष्टं प्र. ७ M तुहिनजलदी', ।

·-IV. 26. 491 चउत्थं जवणिअंतरं विदूषकः-"भो वअस्स, मा उत्तम्म। संपअं अम्हाणं अणुजल-देव- तणेण देवीए ण कोवावसरो। राजा-"वअस्स, कीस उण तं । विदूषकः-""दूसहेण दुक्खावेएण पराअत-चित्ता खु देवी। राजा-(ससंभ्रमम् ) कहं कह देवीए दुक्खोवणिवाओ। विदूषकः-"अज्ज खु विसुवूसवे तुमं पर्णमिऊण देवीए माउसिआ- वइणो अंगेसरस्स चंदवम्मणो पुत्तो कुमार-चंदकेदू अंतेउरं पविट्ठो।" राजा-सिग्घं कहेहि। विदूषकः-Vतदो देवीए जहोइदं संभाविओ पुच्छिदो अतणो परिअणस्स अ कुसलं। राजा-VIT'तदो तदो। विदूषकः-तदो देण चंदकेर्दुणा देवीए अप्प-माउसीआ-पूआए चंदलेहा-णामहेआए कुसलं पुच्छिदेण भणिअं। जह । सा खु चंदलेहा चंद-लेहा-मणहरंगी सअल-कण्णआ-कुल-तिलअ-भूदा मे वच्छा तत्थ चंपा-णअरीअं कदाइ कीला-रसिआ अण्णाहिं अणुरूवाहि कुमारीहिं सह बालुजाणं गआ ण दिहा, ण जाणामो कस्सि गआ केण वा णीद ति। सा अम्हहिं एसा खु कुमारी णिअ-पाणिग्गाहिणो 1 F कोपावसरो. 2 K has only one कहं. 3 x दुःखावणिवाओ. 4 विसुसूसवे. 55 पणिमिऊण. 6 K omits aat given by kh. 7_K केतुणा. 8 मालसीआ. 9 5 जण for कुल. 10K कदाणि. 11 : दिण्णे, but rh दिट्ठा. I) भो वयस्य, मा उत्ताम्य । सांप्रतमस्माकमनुकूलदैवत्वेन देव्याः न कोपावसरः । II) वयस्य कस्मात् पुनः तत् । III) दुःसहेन दुःखावेगेन परायत्तचित्ता खलु देवी। IV) कथं कथं देव्या दुःखोपनिपातः। V) अद्य खलु विषुवोत्सवे त्वां प्रणम्य देव्याः मातृष्वसृपतेः अङ्गेश्वरस्य चन्द्रवर्मणः पुत्रः कुमारचन्द्रकेतुः अन्तःपुरं प्रविष्टः । VI) शीत्रं कथय । VII) ततो देव्या यथोचितं संभावितः पृष्टश्चात्मनः परिजनस्य च कुशलम् । VIII) ततस्ततः। IX) ततस्तेन चन्द्रकेतुना देव्याः आत्ममातृष्वसृसुतायाः चन्द्रलेखानामधेयायाः कुशलं पृष्टेन भणितम् । यथा । सा खलु चन्द्रलेखा चन्द्रलेखा- मनोहराङ्गी सकलकन्यकाकुलतिलकभूता मे वत्सा तत्र चम्पानगर्यो कदाचित् क्रीडा- रसिका अन्याभिरनुरूपाभिः कुमारीभिः सह बालोद्यानं गता न दृष्टा, न जानीमश्च कस्मिन् गता केन वा नीता इति । सो चास्माभिः एषा खलु कुमारी निजपाणिग्राहिणः १ . omits तत्. २ ४ सुदुःसहेन. ३ ॥ भवति for खलु. ५ र दुखाव- निपातः.. ६ कुमारश्चन्द. ७r omits ततो. ८ Komits सा. ९Kreads कुल. १० THIGH: for Et etc. ४x omits one कथ. जन for ·७२ 51 I चंदलेहाए [ IV. 26 50- सत-समुद्द-मुद्दिअ-महिअलेक्च-णाहत्तणं करिस्सिदि ति लक्षण- वेदिणो जणादो जाणिअ महाराअस्स वअणेण दिण्ण ति। राजा-(ससंभ्रमं खड्गमादाय) मोतूणं जो खु संकं हरिअ कुमरिअं मझ दिण्णं णिवालो बालो भू-लोअ-गोले णिवसइ णिभिअंतस्स वेएणमेसो। सतूणं णिछरहि-क्खुडण-चडचडाराव-वाआल-हारो खग्गो रावेइ णणं रण-सिरि-चलणं सोणिआलतएहिं ॥२७॥ कलभासिणि, गच्छ । णिवारिजंतु णिवाला सव्वे, पुच्छिज्जंतु अ केण चोरिआ सा कण्ण ति। कलभाषिणी-जं देवो आणवेदि। (इति निष्क्रान्ता ।) विदूषकः - देवी अतं अवत्थं सोऊण हा बहिणिए चंदलेहे कहिं गआ सि देहि पडिवअणं ति पलवंती अविरल-पडतेहिं बाह-प्पवाहहिं अंतेउरे महण्णवं विरईऊण वअस्सस्स णिवेदइउं आअमिस्सिदि। (ततः प्रविशति मुदिता देवी तमालिका च ।) देवी-(सवाष्पम् )" हा तवस्सिणि चंदलेहे, कहिं गआसि । पुब्वं वि सा बाला मंदभाइणीए मए ण दिहा। 1 मुद्दि. 2 X मेक्कातूणं for मोत्तूणं. 3 K सकुअरिअ. 4 K अझ. 55 भूअन्तस्स वेओण. 6 K नूणं. 7 पुलिंजन्तुए केणं, but Kh पुच्छि. 8 5 अन्तअपथ्थ सो'. 9 x भहिणिए. 10 F विरलऊण. 115 णिवेदअउं. 12K omits बाला. सप्तसमुद्रमुद्रितमहीतलैकनाथत्वं करिष्यतीति लक्षणवेदिनो जनात् ज्ञात्वा महाराजस्य वचनेन दत्ता इति । I) मुक्त्वा यः खलु शङ्कां हृत्वा कुमारिकां मम दत्तां नृपालः, बालो भूलोकगोले निवसति निभृतं तस्य वेगेन एषः। शत्रूणां निष्ठुरास्थित्रुटनचटचटाराववा- चौटधारः, खड्गा ऑयति नूनं रणश्रीचरणं शोणितालक्तकैः॥२७॥ कलभाषिणि, गच्छ । निवार्यन्तां नृपालाः सर्वे, पृच्छयन्तां च केन चोरिता कन्यका इति । II) यद् देव आज्ञापयति । III) देवी च तामवस्थां श्रुत्वा हा भगिनिके चन्द्रलेखे कुत्र गतासि देहि प्रतिवचनम् इति प्रलपन्ती अविरलपतद्भिः बाष्पप्रवाहैः अन्तःपुरे महार्णवं विरचय्य वयस्यस्य निवेदयितुमागमिष्यति । IV) हा तपस्विनि चन्द्रलेखे, कुत्र गतासि । १६च्छित्वा (मम) for हृत्वा. २ K भूगोल° for भूलोक. ३ ४ वाचालधारः. ४ र रगयति, . राजयति. ५ र रणशिरः श्री. ६ M लोहिताfor शोणिता, ७ ॥ निवार्यताम्. ८M भगिनि. ९ . विलपन्ती. १० M अन्तःपुरं.

·७३ 12 -IV. 27.25.] चउत्थं जवणिअंतरं तमालिका-भट्टिणि, जाव एदे विसूसव-संगमिआ णरवइ-लोआ ण गच्छंति ताव गदुअ भट्टिणो णिवेःम्ह । देवी-तह । (उभे परिक्रामतः।) तमालिका-भट्टिणि, एसो भट्टा । ता उवसप्पम्ह । देवी-(उपसृत्य) जेदु अज्जउत्तो । अजउत्त, मज्झ बहिणिआ चंद- लेहा णाम कीला-णिमितं सह सहीहिं लीलुजाणं गआ ण जाणी- अदि केण णीद ति। (प्रविश्य कलभाषिणी) कलभाषिणी- जेदु महाराओ। महाराअ, सव्वे वि णिवा महा-15 राअ-पाआणं संवंति अम्हहिं ण जाणिज्जइ ति। राजा-(विचिन्त्य)"भअवदी चिंतामणि-देवदा एव्व एल्थ सरणं । (अञ्जलिं बद्धा) भअवदि चिंतामणि-देवदे, एसो अंजली । संणिहिं । देहि । उद्धर इमादो अणत्थादो"। (ततः प्रविशत्यपटीक्षेपेण चिन्तामणिदेवता ।) चिन्तामणिदेवता-VII)अलं संभमेण । मए णीदा एल्थ एंव्वाणीदा । एसा असा । (इति नायिकां दर्शयति 16 णरपइ. 2Kणाअच्छंति. 3 5 णिवेदमि. 4 K भहिणीआ. 56 इलजाणं. 65 सव्वन्ति. 7 K जाहिजइ. 8x puts this speech in the mouth of Kalabhāsini in continuation, but xh assigns it to the king. 9 K देवता. 10 उड्डुर, but xh omits it. 11 _x has a stage direction : (इति निमीलितलोचना तिष्ठति), but it is not given by rh. 12 K एव्वणीदा. पूर्वमपि सा बाला मन्दागिन्या मया न दृष्टा । I) भट्टिनि, यावदेते विषुवोत्सवसंगता नरपतिलोका न गच्छन्ति तावद् गत्वा भनिवेदयावहे । II) तथा। III) भट्टिन , एष भर्ता । तदुपसावः। IV) जयत्वार्यपुत्रः। आर्यपुत्र, मम भगिनी चन्द्रलेखा नाम क्रीडानिमित्तं सह सखीभिः लीलोद्यानं गतान ज्ञायते केन नीतेति। V) जयतु महा- राजः। महाराज, सर्वेऽपि नृपा महाराजपादान् शपन्ति अस्माभिर्न ज्ञायते इति । VI) भगवती चिन्तामणिदेवता एवात्र शरणम् । (...) भगवति चिन्तामणिदेवते, एषो- ऽञ्जलिः। संनिधिं देहि । उद्धर असाद् अनर्थात् । VII) अलं संभ्रमेण । मया नीता १ र मन्दभाग्यया मया. २ . 'निवेदयाम, ३ र भर्तृदारिके for भट्टिनि. ४E पादाव शान्तिरमा ५ ॥ भगवति चिन्तामणिदेवदत्ते पातरजम् । ६ माममुष्मादू for असाद् १० चंद० ·७४ 27 चंदलेहाए [IV. 27. 26- (सवै ससंभ्रममवलोकयन्ति ।) देवी-(सविस्मयमञ्जलिं वद्धवा) अय्यउत्त, किं एअं। राजा-देवि, धम्मिलो इंदणीलं फलिह-मरगअंलोअणं लोल-तारं माणिक ओह-बिं णव-डसण-गणे संपओ मोतिआणं । सोआई पोमराअं कर-चरण-अलं सव्वमंगं पवालं ता मण्णे हंत चिंतामणि-समहिर्किदा देवदा णूणमेसा ॥२६॥ ता पणमम्ह । (सर्वे प्रणमन्ति ।) चिन्तामणिदेवता-III)उचिह। (सर्वे उत्तिष्ठन्ति ।) देवी-(वद्धाञ्जलिः नायिकामवलोक्य सहर्षम् )भअवदि, णं एसा सा मह बहिणिआ चंदलेहा। चिन्तामणिदेवता- एसा सा। देवी-विच्छे चंदलेहे, आअंच्छ आलिंगेहि में। (चन्द्रलेखा राजानं तिर्यक्पश्यन्ती लजानतमुखी तिष्ठति ।) चिन्तामणिदेवता-VIIवच्छे, गच्छ । तुह जेह-भइणी दुक्खं वइ । देवी-(वाहू प्रसार्य)ITअदि-णिग्घिणे, एहि आलिंगेहि । (कण्ठे गृहीत्वा सहर्षम् ) हत, जीवंत-वच्छा मे माउसिआ। वच्छे चंदलेहे, सहसु "मह अवराह-सव्वस्सं। 1 K omits देवि, but xh has it. 2 धम्मल्लो. 3 x पुलिह for फलिह. 4K सडण for डसण. 5 rh सञ्चओ. 6 x सोमाई. 7 K समकिदा. 8 K आगमेसा for णूण. 9 K आयच्छ, 10 K लज्जानामित अत्रैवानीता। एषाच सा। I) आर्यपुत्र, किमेतत् । II) देवि, धम्मिल्ल इन्द्रनीलं स्फटिक- मरकतं लोचनं लोलतारं, माणिक्य ओष्ठबिम्ब नवदशनगणः संचयो मौक्तिकानाम् । सौम्यं वा पद्मरागं करचरणतलं सर्वमङ्गं प्रवालं, तन्मन्ये हन्त चिन्तामणिसमधिकृता देवता नूनमेषा ॥ २८॥ तत् प्रणमामः। III) उत्तिष्ठ । IV) भगवति, नन्वेषा सा मम भगिनी चन्द्रलेखा। V) एषा सा| VI) वत्से चन्द्रलेखे, आगच्छ आलिङ्ग माम् । VII) वत्ले, गच्छं । तव ज्येष्ठभगिनी दुःखं वर्तते। VIII) अतिनिघृणे, एह्यालिङ्ग । ("") हन्त, जीवद्वत्सा मे मातृष्वसा । वत्से चन्द्रलेखे, सहख ममापराधसर्वस्वम् । । १M नीता च. २k omits च. ३ M धम्मल्ल. ४ M omits वा. (भगवती) चन्द्रलेखा. ७ 5 पश्य for गच्छ, ८ र आलिङ्ग मां for एह्यालिङ्ग- ५ प्रणमावत ६सा ·15 -IV. 28.27 ] चउत्थं जवणिअंतरं नायिका-(स्वगतम् ) कहं अहं एव्वं सिणिद्धाए जे?-भइणीए वि एति कालं रोस-पत्तं किद म्हि मंद-भाइणी देब्वेण । चिन्तामणिदेवता-"महाराअ-महिसि, सुणेसु दाणि । एसा खु चंद- लेहा णिअ-पाणि-गाहिणो सत्त-साअरालंकरणं मेइणि करे सम- प्पेइ । ता अणुमण्ण भट्टारं से पाणि-ग्गहणत्थं । देवी-II भअवदी आणवेदि । तमालिए गच्छ, अंतेउरादो। चंदलेहोइदाइ अहिणवाहरणाइ उवणेहि । तमालिका-IV'जं भट्टिणी आणवेदि । ( इति निष्क्रान्ता ।) विदूषकः-(सहर्षम् )"सुहु संजाअं । देवी-कलभासिणि गच्छ, विसूसव-समागआ अंगेसर-पमुहा राआणो कहिज्जंतु विवाह-मंगल-दिअहे अदिवाहिअ गंतव्वं ति कलभाषिणी--VII) भट्टिणी आणवेदि । (इति निष्क्रान्ता ।) चिन्तामणिदेवता-VIIकेवलं इमे ण गच्छंति किंतु सत-दीव- वासिणो वि सव्वे संपएत्य संणिवडिहिंति । राजा - किं किंण फलइ भअवदीए पसादो। 21 15 जट्ट for जेट्ठः 25 दब्वेण. 3 महिसी. 4 Kh सुणादु. 5_K मेइणी. 6 K समाग- आएओ अङ्गे. 7 कहिजतु. 8 सणिपहन्ति. 9 किं किं ण भणइ भ, rh किं ण भलइ भा. I) कथमहमेवं स्निग्धाया ज्येष्टभगिन्याः अप्येतावन्तं कालं रोषपात्रं कृतास्मि मन्दागिनी देवेन । II) महाराजमहिषि, शृणु इदानीम् । एषा खलु चन्द्रलेखा निजपाणिग्राहिणः सप्तसागरालंकारिणी मेदिनी करे समर्पयति । तस्मादनुमन्यख भरिमस्याः पाणिग्रह- णार्थम् । III) यद् भगवत्याज्ञापयति । तमालिके गच्छ, अन्तःपुरात् चन्द्रलेखोचितानि अभिनवाभरणानि उपाय । IV) यद् भट्टिन्याशापयति । V) सुष्टुं संजातम् । VI) कल- भाषिणि गच्छ, विषुवोत्सवसमागताः अङ्गेश्वरप्रमुखा राजानः कथयन्तां विवाहमङ्गल- दिवसानतिवाह्य गन्तव्यमिति । VII) यद् भट्टिन्याज्ञापयति । VIII) न केवलं इमे नै गच्छन्ति किंतु सप्तद्वीपवासिनोऽपि सर्वे सांप्रतमत्र संनिपतिष्यन्ति । IX) किं किं ने १ र भाग्या दैवेन. २ ( महाराजमहिषी, M महाराज! महिषि ! F३ र शणोत्विदानीं. ४ x omits करे. ५ आभरणानि for अभिनवाभरणानि. ६ उपनय. ७ M सुष्टु जातं. ८ FM onmit न. ९ FM omit किंतु. १० सर्वेऽत्र सां. ११ र भणति for न फलति.

·चंदलेहाए [IV.28. 28- (प्रविश्य तमालिका) तमालिका-'इमाइ आभरणाइ। देवी-(आभरणान्यादाय चन्द्रलेखामलंकृत्य)अय्यउत्त, परिघेप्पउ एसा ह बहिणिआ चंदलेहा। राजा-कस्स वा देवीए पसादो णाहिणंदणिज्जो। देवी-अय्यउत्त, जह एसा बंधवाणं ण सोअणिज्जा तह करेहि । राजा-"जं देवी भणादि। देवी-( उपसृत्य चन्द्रलेखां समर्पयति ।) राजा-(सादरं प्रतिगृह्णाति ।) विदूषकः-(सहर्षमुत्थाय)"हंत सफलो मे मरगअ-उज्जाण-पत्थणा- रिसमो। ता सोत्थि होउ वअस्सस्स, सिवं होउ देवीए, सुहं होउ वीए चंदलेहाए। किं च। मह विभवं होउ, कल्लाणं होउ वम्म- स्स, भदं होउ महुमासस्स, कुसलं होउ मलआणिलस्स, मंगलं [उ हरिणलंछणो, जअउ पुढमो रसो, वड्डउ वम्मह-परकम- द्धी। (इति नृत्यति।) चिन्तामणिदेवता-VI"चिंतामणि-संभवाअं किमण्णं पुण देवीअं संपा- णिज्जं। 1 K परिष्वउ, Kh परिधव्वउ. 2K भहिणीआ. 3_kh आणवेदि. 4 K परिम्मोत्तो सोथि, • Rh परिसमो ता. 55 होइ. 65 लञ्छणो मङ्गलं जअउ. 7 5 मम्महपरिक्कम. कृति भगवत्याः प्रसादः। I) इमान्याभरणानि । II) आर्यपुत्र, परिगृह्यतामेषा मम गेनी चन्द्रलेखा। III) कस्य वा देव्याः प्रसादो नाभिनन्दनीयः। IV) आर्यपुत्र, षा बान्धवानां न शोचनीया तथा कुरु। V) यद् देवी भणति । VI) हन्त, सफलो मरकतोद्यानप्रार्थनापरिश्रमः। तत् स्वस्ति भवतु वयस्यस्य, शिवं भवतु देव्याः, सुखं तु देव्याश्चन्द्रलेखायाः। किं च । मम विभवं भवतु, कल्याणं भवतु मन्मथस्य, भैद्र तु मधुमासस्य, कुशलं भवतु मलयानिलस्य, मङ्गलं भवतु हरिणलक्ष्मणो, जयतु मो रसः, वर्धतां मन्मथपराक्रमसिद्धिः। VII) चिन्तामणिसंभवायाः किमन्यत् १ M भट्टिणि इमा. २ ॥ अस्या for कस्य वा. ३ र बन्धूनां for बान्धवानां. ४ र मरतकोद्यान, परतकोद्याने. ५ तस्मात् for तत्. ६ र ममापि भवतु कल्याणं, . ममापि भाव्य भवतु. ७ कुशलं भद्रं. ८ भद्रं for कुशलं. ९ र लक्ष्मणो मङ्गलं जयतु. १० र देव्याः किमन्यत् for किम to "देव्याः, imits चिन्तामणिसंभवायाः and reads this remark thus: *किमन्यत्पुनस्ते प्रियं संपादनीयं ।

·७७ -IV. 30.21 चउत्थं जवणिअंतरं राजा-(अभिनन्द्य )"अदोवरं किं मे पिअं। आणंदं चंदवम्मा कह वि अ गमिओ णंदणा-दसणेणं पत्ता चित्ते पसादं णिअअ-बहिणिआ-संगमेणं च देवी। लद्धा मुद्धा अ सत्तण्णव-लसिअ-मही-पत्ति-संपत्ति-मूलं हत्थे मे चंदलेहा भअवदि तुमए तं ण जंसि च्छुहा मे ॥२९॥ तह एति होउ। कुणंतु कुमुअ-प्पहं तिहुवणम्मि किति णिवा मुणंतु इअरेअरं उवकिदिं घणा माणुसा। सुणंतु गअ-मच्छरं सहिअआ कईणं किदि जिणंतु कइणो चिरं वहउ भारई-मंगलं॥३०॥ निष्क्रान्ताः सर्वे ।) [॥ इअ चंदलेहाअं चउत्थं जवणिअंतरं॥] 1 Kणंदणं दसणेणं. 2 हिअअबहिणिआ. 3 अथ for एत्तिअं. 4 K पुणन्तु गअमझरं. 5 K omits this stage-direction given by Kh. 6r has a Sanskrit colophon: इति चन्द्र- लेखायां चतुर्थ यवनिकान्तरम् ।। पुनर्देव्याः संपादनीयम्। I) अतः परं किं मे प्रियम् । आनन्दं चन्द्रवर्मा कथमपि च गतो नन्दनादर्शनेन, प्राप्ता चित्तप्रसादं निजभगिनिकासंगमेन च देवी । लब्धा मुग्धा च सप्तार्णवलसितमहीप्राप्तिसंपत्तिमूलं, हस्ते मे चन्द्रलेखा भगवति त्वया तन्न यस्मिन् स्पृहा मे ॥ २९ ॥ तथाप्येतावद् भवतु । कुर्वन्तु कुमुदप्रभां त्रिभुवने कीर्तिं नृपाः, जानन्तु इतरेतरमुपकृति घना मानुषाः । शृण्वन्तु गतमत्सरं सहृदयाः कवीनां कृर्ति, जयन्तु कवयश्चिरं भवतु भारतीमङ्गलम् ॥ ३० ॥ ॥ इति चन्द्रलेखायां चतुर्थ यवनिकान्तरम् ॥ ॥ चन्द्रलेखा नामेयं कृतिः समाप्ता ॥ २ र संप्राप्ति, 4 संपत्ति. ३॥ इति चतुर्थ 9 M many gaps in this and the next verse. यवनिकान्तरम् । ४ M concludes thus : समाप्तोऽयं ग्रन्थः.

·चंदलेहाए
'अणुदिअहं विफुरंतो मणीसि-जण-सअल-गुण-विणासअरो।
रिततण-दावग्गी विरमउ कमला-कडक्ख-वरिसेण ॥'
कप्पूरमंजरी, IV. 24.
May the forest-fire of Poverty, which day after day gleams
far and wide, which brings to naught all the excellences of men of
learning, be quenched by the rain of the side-long glances of Fortune !"

·सिलोअसूई को उण कुणा गलंतकणअंगदो गहिअचलणमे चलंतकरपल्लवं चंडा ते सासदंडा चंदणचच्चिअसव्व चंदादो किरणंकुरा चुंबतो बिंबएणं चूलंतसत्तणव छत्तेणं णवपुंडरी जह वि मणमिमस्सि जइ होइ अवरमाला जहिं किल सरस्सई जं जेहिं णअणंचलेहि जंपतो बंधवाणं जाणं वम्हणलोअ जा पुवदिस्ल सिंगे जाला हेलाविहसि अगणिअणवंति अच्छेरं अमुअस्स अच्छोलंबंतचूडा अत्ताणं वित्थरंतो अत्ताणं वि बुभुक्खिदाण अस्सि खु सट्ट अहमहमिआगएहिं अहो महिअले कह आआसे पंचसाई आणणेण तुह णिजिओ आणंदं चंदवम्मा आरद्धपाअणमणो आलोलिजंतणिच उच्छण्णे सत्तुसेण्णे उहंसिअथणकुंभ उप्पलविलोअणाए उभयमिणमहो समं एअं अंजणपुंजपंजर एहि एदस्त वीरकर एदे चूसिअचोल एसो अ तुज्झ एसो चेदिप्पवीरो एसोणेपालपालो एसो पडतमउडत एसा बंधुरबंधुजी ओदंसकुवलों से कत्थूरीपंकदिण्णो कप्पूरेहिमलं तुसार कव्वणिबंधे कइणो कंदप्पोजलकित्ति किसलअमिदुलंगीए किसलइदासोअलदा कुडिला अ कुरलमाला कुणंतु कुमुअप्पर कुमुअणिअरघोलंतालि कुसलवसंतसहाओ कुह वि अहो पल्लविओ I. 10 I. 28 IV. 8 I. 19 I. 24 I. 13 I.33 I. 30 IV. 6 III. 23 IV. 29 IV. 10 IV. 13 IV. 21 I.37 II. 29 III. 2 III. 15 IV. 19 I. 23 IV. 20 IV. 24 IV.23 IV. 18 I. 38 II. 27 III. 9 III. 11 I.9 III. 16 II. 28 I. 25 II. 25 IV. 30 III. 4 II. 22 I.32 णक्खेसु तुज्झ II. 11 IV.25 III.5 II. 23 II. 14 III. 21 III. 20 III. 24 IV. 12 IV. 2 II. 9 I. 11 IV. 7 II. 7 IV. 15 6 III. 19 II. 8 IV.22 II. 15 IV.3 II. 3 I.34 II.31 IL. 10 II. 21 I. 16 IV. 1 III. 8 I. 4 II.20 IV. 26 III. 18 I. 3 IV. 28 I. 22 ण चंदो आणंद णीलंसुउल्लो णेत्तं कंदोमित्तं णेत्तंदोलणघोलिदो तरलाहरविवरादो तंणेत्तं तह दीहरं तंतीणं हणणेण तारुण्णएण रमणि तुंगाणं लिहिणाण तेल्लोकस्स करालकाल दरम्हेरे थेरे दलिअणलिणीकंदा दहति मलणाणिला दिसाचिउरचूलिआ देवे चंदसिहामणिम्मि धम्मिल्लो इंदणीलं पक्खंदोलणमारुपण पञ्चवजा चंचली I.30 ·चंदलेहाए पञ्चुव्वजइ पुलओ पणमह सुइरा पत्तेसु मज्झ णअणेलु पत्तेसु कंचणेसु पत्थेइ जज पदुमवदणाअ दाणि परिमलअंति दिसाओ परिलसिअचिउरमाला पावीढअस्स सविहे पुण्णहरिणंकवअणा पुण्णे पसूणणिअरेहि फंदए पअलपम्ह फेणाअंतमुहा मुणाल बाला वालालितण्हा भई देउ गआणणो भमंतभमरच्छडा भसलपडलं उप्पाद भासा खु पाअडमई भो पेक्ख सच्छमहुरो मज्झम्मि हंत मम वहइ विलोल मह खणसंठविओ मह ण णिवट्टा दिही महुअरकलकलमुहले महुरमहुरमेदे हंत माणिकमोलि मा पुवद्दिसिरे मुहे राउन्भेओ I. 8 I. 2 I. 36 IV. 4 I. 29 II.33 II. 30 II. 24 IV. 16 II. 18 I. 35 I. 18 III. 12 I. 27 I. I. 17 II. 19 I. 12 III. 3 I. 40 III. 13 III. 1 II.32 I. 26 II. 5 IV. 14 III. 14 I. 41 IV.27 II. 13 III.6 III. 7 II. 1 IV. 17 I. 15 II. 34 IV. 11 I. 7 III. 22 III.17 I. 21 II.17 मोत्तूणं जो खुसंके रत्तासोअं वहइ सुरहि रत्तीअ णाहविरहेण राईवासरएहिं কালজি लाहिल्लो रिखुणो लोलंताणंगतुंग लोलेहिं उप्पलेहि लोवामुद्दासहाओ वडदलगओ विरुद्दो वहइ कलंकमिसेणं विपंडुरमुहच्छई विभाइ महिलंगुली विसमो माहवमासो वीअंतीण वहूण सरसिअदलणअणाए सवणउडगोअरो सव्वे साहु पवहिदा सव्वेहि इंदिएहिं सामंतो सो वसंतो सुहगंधो तमबंधो सूणाहिंतो पिबंतो से सेधिसत्थो सोदूण णेउररवं सो सट्टओ सहअरो हरिहरसरसि हेडिल्लाअंतसग्गाण 1 IV. 5 II. 26 II. 12 I. 14 III. 10 II. 4 I.31 II. 2 I.39 II. 16 I.5 II. 6 IV. 9 ·NOTES Yavanikāntara I 4) 6 Looking now at the reading of oli. e., the Calcutta ed. of a portion of Candralekha. published in the संस्कृतसाहित्यपरिषत् पत्रम् , February and March 1932 ) and in the light of the chāyā of K, we can even read दरत्रे म्हेरे = दरं स्थविरे स्मेरान् ; see the corrupt chāya of u. दरं or दर = ईषत् is not unknown to Sanskrit, दर being usually used in a compound : दरस्मितसमुल्लसद्वनकान्तिपूरामृतैः etc. in the गङ्गालहरी 49. In d पुण्णे may be better rendered as पुण्यान् holy.-1. 2 रवम्मंसलो, कंसत्ताल show spontaneous doubling of म and त.-1. 3 ओअरण = अवतरण, waving of light?-1. 4 बहलो = बहलः, copious, thick.-0. 6 नृत् and नट are treated as synonyms by the छायाकार. 5). 3 Here the figure of speech is निदर्शना.-1.6 The मनुस्मृति explains the term पारशव thus : यं ब्राह्मणस्तु शूद्रायां कामादुत्पादयेत्सुतम् । स पारयन्नेव शवस्तस्मात् पारशवः स्मृतः ॥ ९-१७८. Kullika's commentary on it runs thus : 'विपन्नस्त्वेष विधिः स्मृतः' इति याज्ञवल्क्यदर्शनात्परिणीतायामेव शूद्रायां ब्राह्मणः कामार्थं पुत्रं जनयेत् स जीवन्नेव शवतुल्य इति पारशवः स्मृतः । यद्यप्ययं पित्रुपकारार्थं श्राद्धादि करोत्येव तथाप्यसंपूर्णोपकारत्वाच्छव- व्यपदेशः ॥. 6) A pun on the word वंश is implied ; cf. तुहिनकिरणवंशस्थूलमुक्ताफलानां etca चम्पूभारत I. 2; and thereon the commentary remarks: ager मौक्तिकोत्पत्तिलोकप्रसिद्धा 1.1.2 Can we have a danda after किल, and take तस्स कई = तस्य कृतिः? 7) 1. 1 महप्पाणं = महात्मभ्याम्. 8) सुहअंसुभगम्, even सुखदम्. 10) a Better read णव त्ति = नवा (कृतिः) इति.-6 पम्हुसिअ = विस्मृत्य, cf. Hema. VIII. iv. 75 : विस्मुः पम्हुस-विम्हर-वीसराः ।. 11) a Or even अपरमाला, a garland made of any other flower. 12) ८. 4 खंडपरसु = °परशु, an epithet of Siva. -महमहंत, cf. Hema. VIII. iv. '77-8 : प्रसरेः पयल्लोवेल्लो महमहो गन्धे ।.-1.8 Rather संसइअ = संशयित; the idea is that the sword (FUETT) in his hand created the illusion of a row of bees. 13) l. 1 जवनिकान्तर is quite usual in Sanskrit: यवनिकान्तर looks like hyper- Sanskritisation.-. 6 Here is perhaps the only पि after an अनुसार, otherwise we have वि. 14) 6 Can it be that वित्तेहिं = वृत्तः = वर्तितैः, performed?-1. 1. Looking at 15. 2, here also we may read सुरहि- समअ-समारंभ etc.-1.3 Rather read छप्पअ-रिंछोलि-लच्छीणं अच्छीणं = षट्पदश्रेणिलक्ष्मीकयोः अक्ष्णोः; and thus we have alliteration too. 15) : तंबचूड-कोड, bosom or the chest of the cock from which starts its shrill note; o reads TFEES etc. 16) c = 99, see verse I. 35 also. 17) 1. 6 0 reads मुहराविअ.---10. 7-8 The text uses both the terminations, इ and दि, quite indiscriminately.-l. 11 The chāyā is not quite 11 चं. ले.

·82 CANDALEEN satisfactory; it may be read thus : भरकतारामः महाराजस्य मधुमासावतारवर्धिताम् आत्मनः समृद्धिम् अवतंसयितुमिव आचारं करोति ।, i. e., the मरकताराम is observing hospitality (Fr) towards your Majesty as if in order to crown (अवतंसयितुमिव) its glory which is enhanced by the advent (अवतार) of spring.--. 13 After this remark of the king, according c, there follows the passage I. 17. 23 to I. 18 (included) and thereafter comes I. 17. 15 to I. 17. 22.-1. 16 जहामिट्ठ == जहा+इ = यथेष्ट may be an illustration of Samdhi-consonant, see Pischels 353. 18) a पम्ह-मालिअं= पक्ष्ममालिकम्, पक्ष्मन् an eyelash; it also पक्ष्मन् an eyelash; it also means a filament of flower.--. 6 भुमअंचले =भ्रुकुव्यञ्चले or Qवञ्चले. 19) There is यतिभङ्ग in the last line. 21) b गोल is connected with नुद् by Vararuci VIII. 7, but with क्षिप् by Hemacandra. VIII. iv. 143. 22) d Perhaps there is a pun on the word सारखत meaning a stream, or the सारखत grammar, or even the worship of सरखती. 23)b Should we read नालीअ केलीअरा? 24) c सोरहेक्कणिलअं= सौहृदैकनिलयम् ? 26) . 4 णिहावि etc. = निधाप्य लोहशलाकया etc.-. 12 ओलंबइ = अवलम्बते, supports. 27) ८. 16 तं = तत् ?-1. 2 The figure of speech is निदर्शना.-29) l. 6 This appears to be a well-known saying; compare Dasakumāra-carita, p. 76, 1. 9 (Agashe's ed., B. S. S.): अचिन्त्यो हि मणिमन्त्रौषधीनां प्रभावः, इति प्रसृतेषु लोकप्रवादेषु etc.; also समराइच्चकहा, p. 413 (Jacobi's ed., B. I.): सच्चो खु एस लोयवाओ, जं अचिंतो हि मणिमंतोसहीण पभावो ति।.-1. 12 = पत्येमि = प्रार्थये. 30) The figure of speech seems to be farlithi. 35) d आदेइ = आदत्ते. 36). 4 For तरंगिणं are we to read तरंगे णं = तरङ्गान् ननु. 39)d महंतुग्गमाणं महोगमानां.-८. 6 देवीए = देव्यै. 41) Rather कोसो for कोसे, and then construe: सरोजानां कोशः स्तनम् अनुकरोति ।.-.. 6 अम्हाणं = अस्मान् ; गच्छम्ह, पविसम्ह etc. appear to be used with the sense of Imperative. Yavanikāntara II 1) तंसावलोअ = व्यत्रावलोक means looking horizontally, with side-glances'; of. Km. II. 1 d: तंसं पुलंतीअ में।. c reads तस्सावलोऊसआ तस्यावलोकोत्सुकाः.-.2 चव्वंतो= चर्वन् ; पव्वायंत= म्लान, cf. Hema. VIII. iv. 18: 'म्लेर्वा-पव्वायौ'।. 3)d Also जणइ = जनयति, 'makes the flower of my life fruitful'. 4) d असंगो = अशङ्कः, fearless? 8) 1.7 विजंभंत-मअणो has a double meaning ; ea is a kind of plant when construed with Himālaya.-l. 9 कीलामिअ = क्रीडामृग is an animal kept for pleasure.-1. 15 SHSÄEHT apparently means 'roundabout way', though the etymology is not clear. It indicates the way of putting things in the fashion of a द्रविड ; ef. द्राविडीप्राणायाम in मराठी. 9) स-रइ = सरति, रत्या सह यथा स्यात् तथा, सरति सहर्षम्, सानन्दम्.-l. 14 विगलिअंस = अंसविगलिअ?-1. 25 Perhaps he wants to suggest that he remained silent like a jewelled pillar in the palace-hall.--1. 26 पक्कण, a house of a low-born person, a village minar -- ·NOTES given to a low-caste man. qo= qaraj, the five products of the (क्षार दधि तथा चाज्यं मूत्रं गोमयमेव च ।).---.30 somewhat obscure: some words are used with a double meaning 83 inhabited by savages. goTH=ytetar, any oblation, the leaving of an offering, Soma juice, a sacrificial oblation made of ground rice and offered in Kapālas or vessels. Of Course it cannot be cow taken collectively: viz., milk, curds, clarified butter or ghee, vyuo = 97c, this refers to the six expedients to be used by a king in his foreign policy, namely, i sifa, peace or alliance; 2 विग्रह, war; 3 यान, march or expedition; 4 स्थान or आसन, halt; 5 संश्रय, seeking shelter; 6 द्वैध or द्वैधीभाव duplicity; see मनुस्मृति VII. 160: च विग्रहं चैव यानमासनमेव च द्वैधीभावं संश्रयं च षड्गुणांश्चिन्तयेत् सदा ॥-1. 36 सिलालिंद = सिलालिद्ध, आलिद्ध standing for आश्लिष्ट ?.-. 47 उवणाइ = उपनायितम् was ordered to be offered'. 10) l. 39, perhaps you also, is an ager for F1, see Hema. VIII. iv. 2.--. 13 EET is explained as गृहपश्चिमाङ्गणम् , देशीना० ६-२२; उप्पर-अग्गे, however, is not quite clear. The chāyā gives just a suitable rendering. 11) The sense is 6 12) Two Hats are lacking in the third pāda; perhaps a word like मे or मह is required between अंग and उप्पल. 13) « Rather read great; and the first line may be explained thus: The got (i. e., 5497) bears the red strita (i. e., turns red through shame) at the sight of the king (who is superior to as in point of benevolence); and the lovelorn (PET) damsel too bears (suffers) sorrow (118) at the sight of the king (whose love she has not yet won).- मोह = मयूख as well as मोह.-c can there be a pun here also ?: farct=i oftara: from the bow-string', ii fara ‘from life'; sigra Agala falls from life' or 'dies', i. e., suffers death pangs' 14) 1. 1 *C*H-ercuft, the path of literary composition. 15) c what is the wrong (fa) with her that we should know and speak out? 1. 6 Obviously mannen = fathar is doubly abstract; or it may be rendered as विश्रम्भदस्थानम्. 20) 1.7 कवलिआ = कवलिका, a piece of cloth over a sore or wound, a bandage; here it appears to signify something like a cloth-bag for books. 22)7. 1 TH=$# means “a number of notes, gamut'.—. 2 yo = virtue, as well as string. ). 3 Are we to read mortuüt, Voc., qualifying dag? ThayUIAT BRITIE BERT- (=ffcrri gadt), attaching yourself to this lady possessed of innumerable Jus (also singing after this lady.).—.. 4 yftarlent = lute, as well as slanderer. 23) 11. 1-2 have a metrical ring here and there. 32). 7 अवग्गहो is to be understood with -वरिसाणं च. 33) 1.4 गिलुका = निलीना, Bee Hema. VIII. iv. 55,-). 18 What event anys has in view for ·over some particu). would do; fragt at JTUETET , i. e., kissing her beautiful cheek by 84 CAMDALEHA the term is not quite explicit: perhaps he thinks that he would get an explanation why aallaser carried a statue this morning (II. 9.5), or why the Queen arranged the singing entertainment without inviting the King (II. 15. 10).-. 31 müstang = 15412179 .. 35 = 77.--. 39 ts or he would be the normal reading. 34) 1. I Either the subject spa (=1917) is understood, or read all.. 5 दक्खिण्णदाए = दक्षिणतया, दाक्षिण्यता is doubly abstract; पाविहिइ = प्राप्स्यति. Yavanikāntara III 4) 1. 35 Rather WEFTER. 5). 3 Rather अदिकामिआ = अतिक्रमिता. 6) The verse may be construed thus: 3G:a Erer (i. e., moon)- विरहेण उत्तमनशीलायाः रावयाः देहोष्मणा इव उडुमौक्तिकचूर्णपूर्णा बालप्रवालशयनीयनिभा मृदुला FT ÝRT FATA FE I. 8) dres: ga dark as the raven??; rather तमिस्स-मंडलमिणं णिप्फंदमप्फंदए.9) 1. 3 थलीसर = स्थलेश्वर, a tutelary god presiding compound. 12) 55 is Mas., so FT 539.--. 10 Frauere eto. has a metrical ring:-. 13 Can it be ECETTETU?; as it stands, it can be equated with हृदयावधारणे, while I was trying to know his mind'. 196 पारेदि = शक्नोति, see हेम VIII. iv. 86.-d भरिअ = भृत. 20) पअलिआ = प्रगलिताः or safet:. 23) d Read faatu = ÅFIT:; and the two lines may be rendered thus: "That the two (i. e., the moon and the deer) should unite in friendship is in the fitness of things (because both of them are your enemies, being defeated by you); but that they (your vanquished foes) should move at large in your presence is a shameless affair on their part.' 24) « The reading feautur getting yourself reflected in it'. Para or for also means reflection: बिम्बं फले बिम्बिकायाः प्रतिबिम्बे च मण्डले। विश्वः.--d Better होसि = भवसि for होमि; the line then may be rendered thus: 'Pray tell me what righteous deeds have you performed in your former birth, so that you should be so (i. e., should have the pleasure of doing the aforesaid acts)?'; this reminds us of a line of Bhartrhari: तन्मे ब्रूहि कुरङ्ग कुत्र भवता किं नाम तप्तं तपः।. Yavanikāntara IV 1) O tag=.-. i faga is the equinoctial point. This play has the back-ground of the 27 season, and the author has specifically mentioned the चैत्रानिल (I. 24). So विषुवोत्सव is a festivity connected with a day when sun enters the vernal equinox, say about the 20th of March. Apparently the sample is al. During this festivity, it is suggested in the play, the imperial king holds ·. www email .. १ .उप भारती-मङ्गलम्, 1. e, Let or may the blessings of Sarasvati flow for NOTES 85 something like a Durbar and the feudatories pay respects to him. 2) मुहाराओ= मुखरागः, and the lengthening of the vowel is metris causa? 4)d एदं तिहुवण-सुहअं = एतं त्रिभुवनसुखदं? 6) e ef. निःश्वासान्ध इवादर्शश्चन्द्रमा न विराजते । Ramayana.-d Read [लहिअ] for [लहइ]; the line means: The branch of re in the form of the East has put forth convention : पादाघातात् स्त्रीणाम् अशोकः विकसति ।. 8) अच्छावलम्बमाना चूडा यस्य तादृशः मुकुटकः ।. 9) There is यतिभङ्ग in the first three lines.- हेहिल्लाअंत अधस्तनीभवत्स्वर्गाणां.-b_Should we read a for वि?-bc Compare बाह्योद्यान- स्थितहरशिरश्चन्द्रिकाधौतहा, and यत्र स्त्रीणां हरति सुरतग्लानिमशानुकूलः सिप्रावातः प्रियतम इव प्रार्थनाचाटुकारः । मेघ. 7, 31; also रघु. VI. 32-34. 10) The chāya श्रवणोपरिभवत् presumes a reading like सवणोवरिलं ; सवणोव्वलंत = श्रवणोद्वलत् ; OP it is a wrong reading for सवणोजलंत = श्रवणोज्ज्वलत्. 11) a Compare सौनातिको यस्य भवत्यगस्त्यः । रघु. VI. 61.-d Note the usual यति is violated. 12)d. मणलूरनाथ is apparently the पाण्ज्य king, cf. चम्पूभारत III. 38-9 and the remarks of the commentary of रामचन्द्र. 13) a आलोइज्जंत-?–d Should we read विवई for णिवई?-1.2 We want कुंकुमंगराओ अंगराओ. 17)d Read better तत्तिल्लो for तकिल्लो, and it stands for तत्परः. 20) 6 चित्ररत्नं Or चित्ररचनम्, 21) 6 वरवरण = choosing of husband'? Construe : निजगृहे यस्य नाम श्रुत्वा चण्डासि......करं संगरं विना एव शत्रुसैन्ये उत्सने (सति) वरवरणसमारम्भजृम्भितेन संभ्रमेण युक्तानां स्वर्गाङ्गनानां सलिललिपिः (खेदकणमाला एव) अझालंकारलक्ष्मीः भवति किल ।. 25) 1.6 अंतेउरं णाइदो = अन्तःपुरं नायितः. 27) 1.7 Context requires रुदिता for मुदिता. 1. 10 संगमिआ = संगमिता; rather भर्ने for भर्तुः in the chāya.-1. 19 Rather पादैः शपन्ति is the chaya. 28) b गणो संचओ, that would correspond to other Nominatives in that verse. - सोआई = श्रोत्रे-. 16 °सागरालङ्करणां in the chaya?-1. 43 Read the chāya °संभवायां किमन्यत् पुनर्देव्यां. 29) L. 1. The chayā presupposes तह वि एत्ति होउ ।. 29) d स्पृहा of the chaya presupposes च्छिहा in Prakrit. 30)d Either चिरं वहउ भारई-मंगलं = चिरं वहतु mameer ever.'; or चिरं हवउ भारई मंगलं = चिरं भवतु भारती मङ्गलम् , i. e., 'Let or may the Speech fare well for long'.

·p. 407,G. O.S., LXVIII, Baroda. 1934); and अत एव न दशसंख्याविभागार्थों पाठ्य नाटकप्रकरणनाटिकासमवकारेहामृगडिमव्यायोगोत्सृष्टिकाङ्कप्रहसनभाणवीथीसहकादि। (८-३). APPENDIX REMARKS AND EXTRACTS ON SATTAKA AND NATIKA The नाट्यशास्त्र of Bharata (XVIII. 2-3) does not mention सट्टक, nor is it specified in describing the Natika (XVIII. 58-60). -The अग्निपुराण, of uncertain date, mentions सडक (338. 2) as one of the various types of drama.-Neither the दशरूपक of धनंजय (10th century A. D.) nor its commentary by his contemporary unit makes any reference to सट्टक. Saya (close of the 10th century A. D.) refers, in his commentary on the नाट्यशास्त्र of भरत, to सट्टक more than once : उक्तव्याख्याने तु कोहलादिलक्षिततोटकसट्टकरासकादिसंग्रहः फलं नाटिकायाः उदाहरणत्वादिति । (नाट्यशास्त्र Vol. II, येन सट्टकादीनां त्यागः स्यात् । (Tbid. p. 408). The description of anfaat is given by him on p. 435, and is quoted below. RATTE (1089–1172 A. D.) refers to af in his F031FMFH thus: च नाटकादीनि वीथ्यन्तानि वाक्यार्थाभिनयखभावानि भरतमुनिनोपदर्शितानि, सट्टकश्च कैश्चित् (p. 432, ed. R. C. Parikh, Bombay 1938); further on p. 444 we have a quotation : विष्कम्भकप्रवेशकरहितो यस्त्वेकभाषया भवति । अप्राकृतसंस्कृतया स सट्टको नाटिका- प्रतिमः ॥ इति, and the विवेक commentary runs thus : सट्टके च नाटिकायामिव रतिफलं वृत्तं व्युत्पाद्यते । एवं नाटकादीनां खरूपं तत्फलं च दर्शितम् । तच्छरीरभूतसंधिसंध्यङ्गादिलक्षणविस्तरस्तु भरतादेवाक्सेयः । रामचन्द्र and गुणचन्द्र (middle of the 12th century A. D.), the pupils of Hemacandra, do not include it in the 12 types of dramas described by them; but there is a casual remark in their commentary कियतोऽपि लक्षण विधावभिप्रेतस्य, तेन कोहलप्रणीतलक्ष्माणः साटकादयो न लक्ष्यन्ते । लक्षणीयबाहुल्येऽपि हि यावत्येव भागे लक्षयितुः श्रद्धा तावानेव लक्ष्यते।. Specifying other रूपकs, there is quotation like this on p. 213: विष्कम्भकप्रवेशकरहितो यस्त्वेकभाषया भवति । अप्राकृतसंस्कृतया स सट्टको नाटिकाप्रतिमः ॥ (नाट्यदर्पणम् I, pp. 25-26,G.O.S.XLVIII, Baroda 1929). The भावप्रकाशनम् (G. 0. S., XLV, Baroda 1930) of Saradatanaya (c. 1175-1250 A, D.) refers to सट्टक which is considered to be one of the so-called उपरूपकs. It is interesting to note that in some ·APPENDIX brentment discussion 87 places the reading सहक shows variant readings तोटक and नाटक (p. 180, 1. 12, p. 181, 1. 1). In this context some extracts from the Introof all the twenty kinds of Uparūpakas, however, is found only in the Bhāvaprakāśana. The list of seventeen Uparūpakas, as supplied by the Agnipurāņa, cannot be considered as very early as the Purāņa itself contains quotations from the Dhvanyāloka and displays remarkable similarity with the Bhoja's theory of Śrngārarasa. Considering all these facts we can conclude for the present that these Uparūpakas were unknown when the Nātyaśāstra was composed, but originated before the time of Dhanika, and probably Kohala was responsible for inventing these Uparūpakas. Among the lists of Uparūpakas supplied by several writers beginning from Dhanika to Visvanātha the heaviest is perhaps that of Sāradātanaya who mentions two lists each having twenty names (pp. 221, 8; 255, 1). But in the first list Sattaka has an independent place while Bhāņa is omitted and in the second list which seems to be more accurate Bhāņa is mentioned instead of Sattaka as the latter is included in the Nātikā." "Sattaka also is mentioned here as a different form of Natika (p. 244, 15), but once again this subject is brought for at the end of the section dealing with the Uparūpakas (p. 269, 1). Here following Bhoja Sāradātanaya gives the Sattaka an independent place thereby increasing the number of Uparūpakas.” The relevant passages may be given here. After the description of the नाटिका, we have the following lines on p. 244 : सैव प्रवेशकेनापि विष्कम्मेन विना कृता । अङ्कस्थानीयविन्यस्तचतुर्यवनिकान्तरा। प्रकृष्ट-प्राकृतमयी सट्टकं नामतो भवेत् ।. In another context, after a remark ते नृत्यभेदाः प्रायेण संख्यया विंशतिर्मता (p. 255), the सट्टक is thus described on p. 269 : सट्टकं नाटिकाभेदो नृत्यभेदात्मकं भवेत् । कैशिकीमारतीयुक्तहीनरौद्ररसादिकम् ॥ सर्वसंधिविहीनं च नाटिकाप्रतिरूपकम् । शूरसेनमहाराष्ट्रवाच्य- भाषादिकल्पितम् ॥ अङ्कस्थानीयविच्छेदचतुर्यवनिकान्तरम् । छादनस्खलनभ्रान्तिनिहवादेरसंभवात् ॥ न वदेत्याकृती भाषां राजेति कतिचिजगुः । मागध्या शौरसेन्या वा वदेद्राजेति केचन ॥ नाटिकाप्रतिरूपं यद्विशेषो रूपकस्य तत् । सट्टकं तेन तस्याहु षां तां प्राकृती परे ॥ राजशेखरकृतं तद्यथा कर्पूरमञ्जरी ।. The नाटकलक्षणरत्नकोश (ed. Dillon, London 1937) of Sagaranandin (. 13th centerry A. D.) describes सट्टक thus on p. 133: अथ सट्टकम् । तच्च नाटिका-[ pp. 113-4] प्रतिरूपकम् । कैशिकी-भारतीप्रधानम् । रौद्रवीरभयानक- बीभत्समवमर्शसंधिशून्यम् । यथा कर्पूरमञ्जरी । अन्तर्यमनिकान्तम् । यथाके यमनिकयावच्छेदा भवन्ति तथात्रापि । शौरसेनीप्राच्यामहाराष्ट्रीयुक्तम् । स्त्रीवद्राज्ञोऽपि प्राकृतपाठः । यद्यपि बादरायणप्रमृतिभिरुक्तं राज्ञः संस्कृतपाठः कार्यात् प्राकृतपाठः । तत्र रूपकमेवेदं कार्यमिति राज्ञापि प्राकृतपाठः कर्तव्यः ।. In another context (p. 90.), about the language of the सट्टक, there is a remark : सट्टके स्त्रीप्रधानत्वाद्रूपकस्यानुरोधतः । नृपः स्त्रीवत्पठेदेष पाठस्य नियतो विधिः ॥. - ।

·88 CAMDALEEX -- The प्रतापरुद्रयशोभूषण (ed. K. P. Trivedi, Bombay 1909) of विद्यानाथ (1st quarter of the 14th century A. D.) mentions ten रूपकs in which 98% is not given any place; so the commentary targu remarks thus on p. 101 : दश रूपकाणीति । नाटिकासट्टकादीनामत्रैवान्तर्भावादिति भावः । तत्प्रकारस्तु दशरूपके द्रष्टव्यः ।। The साहित्यदर्पण (ed. P. V. Kane, Bombay 1923) of Visvanātha (between 1300-1384 A. D.) includes सट्टक in the list of 18 उपरूपक (VI. 4-6); and it is described | thus (VI. 276-7): अथ सट्टकम् । सट्टकं प्राकृताशेषपाठ्यं स्यादप्रवेशकम् । न च विष्कम्भकोऽत्र प्रचुरश्चाद्भुतो रसः ॥ अंका जवनिकाख्याः स्युः स्यादन्यन्नाटिकासमम् । यथा कर्पूरमजरी ॥. The definition of fear is thus given by the ATEITIET (XVIII. 58-61): प्रकरणनाटकभेदादुत्पाद्यं वस्तु नायकं नृपतिम् । अन्तःपुरसंगीतककन्यामधिकृत्य कर्तव्या ॥ स्त्रीप्राया चतुरङ्का ललिताभिनयात्मिका सुविहिताजी । बहुनृत्तगीतपाठ्या रतिसंभोगात्मिका चैव ॥ राजोपचार- (७. ८. कामोपचार-) युक्ता । प्रसादनक्रोधदम्भ-(७. ८. शृङ्गाराभिनयभाव-) संयुक्ता । नायकदेवीदूती- सपरिजना नाटिका ज्ञेया ॥[अन्तर्भावगता ह्येषा भावयोरुभयोर्यतः। अत एव दशैतानि रूपाणीत्युदितानि वै॥]. The commentary of Abhinavagupta is interesting and deserves to be noted ; it runs thus : प्रकरणनाटकाभ्यां भेदात् लक्षणान्यत्वान्नाटिका ज्ञेयेति दूरेण संबन्धः । उत्पाद्यं वस्तु चरितं च नायकं च नृपतिम् अन्तःपुरकन्यां संगीतशालाकन्यां वाधिकृत्य प्राप्यत्वेन अभिसंधाय कर्तव्या। स्त्रियः प्रायेण बाहुल्येन यत्र । चत्वारोऽङ्काः । यस्याः कस्याश्चिदवस्थायाः सरसोऽवस्थासमावापः कार्य इति यावत् । ललिताभिनयात्मिकेति कैशिकीयं बद्धत्यर्थः । सुष्टु पूर्णतया विहितानि चत्वार्यपि कैशिक्यङ्गानि यत्र । 'अङ्गगात्रकण्ठेभ्य' इत्यत्र स्वाङ्गविशेषणाभावात् ङीषू प्रयोगः । एतदपि न मुनित्रयमतमित्यनादृत्यमिति त्वन्ये । रतिपुरस्सरः संभोगो राज्यप्राप्त्यादिलक्षण आत्मा प्रधानभूतं फलं यस्याम् । अत एवाह राजगतैरुपचौरैः व्यव- हारैर्युक्ता, अन्यां चेदुद्दिश्य तत्र व्यवहारः, तत्पूर्वनायिकागतैः क्रोधप्रसादवञ्चनैरवश्यं भाव्यमिति दर्शयति प्रसा- दनेति, आर्यानुरोधात्कोधस्य पश्चात्पाठः ॥ ननु यस्याः क्रोधो भवति सा न काचिदुक्तेल्याशंक्याह नायकेति नायकस्य येयं देव्याद्या नायिका तथाभिलषितनायिकान्तरविषये दूतीकृतं सपरिजनं परिजनसमृद्धिर्यस्याम् । एतदुभयप्रधानं सर्वं तत्रेत्यर्थः । अन्यत्संध्यङ्गादि सर्व तत्रेत्यर्थः । अन्यत्संध्यङ्गादि सर्वं पूर्ववदेव । तत्रैका- नायिका तावद् व्याख्याता भवति । षट्पदेयं नाटिकेति संग्रहाणुसारिणो भट्टलोल्लटाद्याः। श्रीशङ्ककस्तु अयुक्त- मेतदित्याभिधायाष्टधेति व्याचष्टे । तथा हि देवी कन्या च ख्याताख्याताभेदेन द्विधेति । घण्टकादयस्त्वाहुः नायको नृपतिरित्येतावन्मानं नाटकादावुपजीवितः न तु प्रख्यातत्वमपि तद्भेदद्वयादन्येऽष्टाविति षोडशभेदा इति । नायको नृपतिरिति ये प्रथमां पठन्ति तैर्यत्रेत्याध्याहृत्यैकवाक्यतायां तूभयस्य कार्यम् । अन्ये प्रथममार्याध पृथ- गेव च वाक्यं योजयन्ति प्रकरणभेदात्प्रकरणलक्षणांशात् उत्पाद्य वस्तु नाटकलक्षणांशाच्य नृपतिर्नायकः स्थिते यत्रेसभिप्राये नाटिकैवंभूतेति ॥ अन्ये तु प्रकरणनाटकभेदात् नाटिका भिद्यते नाटकशब्देनाभिनेयं रूपकमानं तस्यां सौकुमार्यप्रदर्शनाय स्त्रीत्वेन निर्देश इति प्रकरणिकापि सार्थवाहादिनायकयोगेन कैशिकीप्रधाना लभ्यत इत्याहुः ।। The दशरूपक (III. 43-48) defines Natikā thus : लक्ष्यते नाटिकाप्यत्र संकीर्णान्यनिवृत्तये । तत्र वस्तु प्रकरणान्नाटकानायको नृपः ॥ प्रख्यातो धीरललितः शृङ्गारोऽङ्गी सल- क्षणः । स्त्रीप्रायचतुरङ्कादिभेदकं यदि चेष्यते ॥ एकद्विव्यङ्कपात्रादिभेदेनानन्तरूपता । देवी तत्र भवेज्येष्ठा प्रगल्भा नृपवंशजा ॥ गम्भीरा मानिनी कृच्छ्रात्तद्वशान्नेतृसंगमः । नायिका तादृशी मुग्धा दिव्या चातिमनोहरा ॥ अन्तःपुरादिसंबन्धादासन्ना श्रुतिदर्शनैः । अनुरागो नवावस्थो नेतुस्तस्यां यथोत्तरम् ॥ नेता तत्र प्रवर्तेत देवी- ·APPENDIX .. : Ghatage expects the reading एकद्विव्यङ्गपात्रादि etc .. त्रासेन शङ्कितः । कैशिक्यश्चितुर्भिश्च युक्ताङ्करिव नाटिका ॥. My friend Dr. A. M. remove the possibility of variation in the number of the acts of a Nātikā. The साहित्यदर्पण describes नाटिका thus (VI. 269-72): नाटिका कृप्तवृत्ता स्यात्त्रीप्राया चतुरकिका । प्रख्यातो धीरललितस्तत्र स्यानायको नृपः ॥ स्यादन्तःपुरसंवद्धा संगीत- व्यापृताथवा । नवानुरागा कन्यात्र नायिका नृपवंशजा ॥ संप्रवर्तत नेतास्यां देव्यास्त्रासेन शंकितः । देवी पुनर्भवेज्येष्ठा प्रगल्भा नृपवंशजा ॥ पदे पदे मानवती तद्वशः संगमो द्वयोः । वृत्तिः स्यात्कैशिकी खल्पविमर्शाः संधयः पुनः ॥. Turning to Sattakas themselves, Rajasekhara (c. 900 A. D.) uses the term more than once in his कर्पूरमञ्जरी (ed. Konow, Cambridge, Mass. 1901): सट्टों णच्चिदव्वं । (p. 4); कधिदं जेव छइल्लेहि । सो सट्टओ त्ति भण्णइ दूरं जो णाडिआइ अणुहरइ । किं उण पवेसविक्खभंकाई केवलं ण दीसंति ॥ (विचिन्त्य) ता किं ति सक्दं परिहरिअ पाउदबंधे पउत्तो कई । (p. p.4-5); चंडवालधरणीहरिणको चकवट्टिपअलाहणिमित्तं । एत्थ सट्टअवरे रससोत्ते contreagai grūts ll. The chāyā gives me as its Sanskrit equivalent and even शाटक is used by the Ms. of शृङ्गारमजरी. The commentators quote a definition of Sudhakara : सैव प्रवेशकेनापि विष्कम्भेण विना कृता । अङ्कस्थानीय- विन्यस्तचतुर्जवनिकान्तरा ॥ प्रकृष्टप्राकृतमयी सट्टकं नामतो भवेत् ।. The following casual references to सट्टक in the रम्भामञ्जरी (Bombay 1889), besides the verse quoted in the Intro., may be noted here : तदर्थ सट्टकमाश्रित्य (p. 8); नटः-ता किं पयोजणविसेस पडिवज्जिय एस सट्टयप्पबंधबंधप्पारंभो । (p. 10); the word is used in two more places where the passages require slight emendation as shown in square brackets: शार्दूलविक्रीडित [विक्रीडितं] सट्टक (०. ८. शाटा)-बन्धमधिकृत्य । (p. 7), and संदेशसट्टयं [ संदेस-पट्टयं] दाइय etc. (p. 33). What Rudradasa has to say about Sattaka, we get at चंदलेहा I. 4.10-5.1. Further I could spot some remarks about Sattaka in the Bytätaggrest of (middle of the 18th century A. D.): Efer you आणंदसुंदरीणामहेअं तारिक्खं सट्टअं तं जेव्व इमस्सि महासमाए जोग । वि०-पाउडं खु तं सव्वं । सू०- अदो जेव्व सट्टअंति भणिजइ । वि०-को णु खु तस्स कई । सू०-को अण्णो पुराअणकईणं वि दुक्करम्मि सरस्सईभासाणिबंधणम्मि राअसेहरकइणो परं णिउणो । वि० अवि सो महरद्वचूडामणी घणस्सामकई । (B. O. R. I., Ms. p. 2). On this passage the commentator Bhattanātha remarks thus : अनेन सर्वप्राकृतं सट्टकमिति स्पष्टमुक्तं भवति । तथा चाहुराचार्याः । सैव प्रवेशेन विना विष्कम्भेण विना कृता । अङ्कस्थानीयविन्यस्तचतुर्यवनिकान्तरा ॥ प्रकृष्टप्राकृतमयी सट्टकं भामनामतः । सैव नाटिकेवेत्यर्थः इति । Turning to epigraphic records, the Barhut Inscriptions (c. 200 B. C.) have a line like this : साडिक-संमदं तुरं देवानं । and it accompanies bas-relief which represents a dancing scene, Some read it sādika, 12 चं. ले. । - ·90 CAMDALEHA sädikasa. It is translated thus: The jovial ravishing music of the gods, joyous with dancing?. Barua and Sinha have a note on it thus: “Hoernle No. 14-translates Music of the gods, gay with dancing.' Sadika may be taken to be a somewhat irregularly formed equivalent of Sk. Sātika, a kind of dramatic performance, applicable to the dancing of apsarasas. Sk. Sārika means gambling with dice (Tawney). Sammada is both an adjective 'gay' and a substantive (gaity'. Here it forms a compound with sādikce. Turam=türyam, musical instrument, music. It is also likely that the three words sādika, sammada and turc refer respectively to three groups of dancers, singers, and players on instruments as seen in the amusement-scene below which the label stands. Hultzsch [refs. omitted] translates: the music of the gods, which gladdens by (i. e., accompanied with) acting.' Sätaka, a nataka-bheda (Bharata-Nătya-Šāstra)”. (See Barhut Inscriptions, p. 48, Calcutta 1926).

·सहसूई This Glossary gives a few important words which deserve the attention of the students of Prākrit vocabulary. Some difficult words with their meaning are also included. अच्छरीअंI.28.4 गझं (ग्राह्यम्) II. 10d अच्छे II. 6.1 गहिअ I. 240 अजउत्त (आर्यपुत्र) I. 24. 1 गदुअ II. 9.35 अदिहि (अतिथि) I. 8d. गंगेअ (गाङ्गेय), gold, I. 17 3. अदोपरं (अतः परम्) IV. 28. 45 चंचली IV.66 अपुव्व III.4.12 चंदिमा (चन्द्रिका) III. 19. 1 अय्य (आर्य) I. 13. 2 चंदिआ (चन्द्रिका) IV. 4c अश्यउत्त (आर्यपुत्र)I. 22.6 चंदोजअ, a kind of lotus that blooms अवग्गह, draught, II. 32. 3 at moon-rise, III. 4, 6, III. अहव II. 4.1 16ch अंकण II.9.3 चामल (चामर), I. 20d, IV.56 अंकपाली, embrace, III. 76 चुक्क (for प्रमाद) IV. 15d आढत्त (आरब्ध)I. 34.1, IV. 25.4 चोदह II. 6d आर IV. 10 छइल्लणं I. 26. 12, 16 srce m, a raised place or terrace fa (fa) II. 70 for sleeping upon, I. 5. 4 छुहा IV.29d इत्ति II. 8.16 छोल्लण (तक्षण), trimming, IV. 220 इथिमा I. 26. 13 जाला II.8a उजुअंII. 8. 15 जीहा (जिह्वा)I. 6d ओदार (अवतार) I. 17. 12 णिडालI. 416 कपणेउर (कर्णपूर) II. 10 णिहित II. 9. 42 कदुअ II. 12.3 तस्सि (for तस्याम्) III. 4. 17 कवण, sling, II. 9. 33 तंबोल (ताम्बूल) IV. 26. 15 कंसत्ताल (कांस्यताल), a cymbal, I. 4. 2 ताला II. 80 कारक्खर (कारस्कर १m), name of a poiso- तुम्हि IT. 9. 11 nous medical plant, I. 5. 3. थेर (स्थविर), Brahman, I. 4a; IV. किसल (किसलय) I. 21, III. 5c 19d. कीस III. 4. 14 थोर (स्थूल) IV. 196 कीसुअ (किंशुक) I. 250 दक्खिऊणं II.13a कुज III. 24.4 दमिल IV. 24 कुणते IV. 136 दलिद्द (दरिद्र) IV. 190 कुह (कुत्र) II. 33. 20 दंता (= ददतः) IV. 5d, also IV. 14c कुहू, the new moon, I. 305 दंतो (ददत्) II. 120 gest, military exercise, practising ana I. 250 archery, II. 22.8 दीहर (दीर्घ) II, 10 ·92 CAÚDALEHA G दुग्घुट, an elephant, III. 3. 2 मरंद (मकरन्द). 6.4, 1.22d, II. 2a देव (दैव), fate, I. 18d. मिव I.39.3 धीढ़ा (दुहित) I. 17. 14 मुरव (मुरज), a drum, I. 4.2 पडीर (पटीर), sandal, I. 19c मुहल (मुखर), noisy, I. 15d. पदुमराअ II.9.35 मोआ (मोच ), a plantain, banana पल्लत्थ (पर्यस्त) I. 17. 10 fruit, I. 5.3 पंचमराअ, one of the Ragas or musi- मोह (मयूख) I. 28ca cal modes, I. 5. 3 पाअड (प्राकृत) I. 11d, also 126 वच्छोम (वैदर्भ) IV. 6. 5 पाडिक्वंII.9.24 वलक्ख, white, III. 14d. पादवीढं IV. 206 वल्लही (वलभी) IV. 26. 25 पारसव (पारशव) I. 5. 5f., see विआसर (विकस्वर), blooming, I. 210 Notes पावीढ (पादपीठ) IV. 8d, IV. 16cs विद्दा [विजा] (विद्या) I. 27b, I. 32d चिसंकड, dreadful, III. 3. 3 पाहुड II. 33. 17 विसुवोसव IV. 1. 1 पाहुद (प्राभूत)I. 27. 18 पिचर (पीवर), abounding with, I. 4.3 बिसूसव IV. 27. 10, IV. 28. 22 वेलुरिभ II. 20.1 पुढम (प्रथम) I. 24cs पुरत्तो III. 90 सइ (सदा) IV. 190 पुरिल्लो (for पुरतो) III. 4c सइअ (सचिव) II 4b सट्टअ I. 5, see Appendix and Intro. पुरुव II.15.2. पुरुवं (पूर्वम्) I. 26. 1, I. 33, 2, समर (शबर) II.9.26 I. 37.2 सर (सर) IV. 7b, 176 पुरुस II.8.9 सरविंदु II. 8. 12 पुवं I. 31d. सहस्सइत्तं (सहस्त्रकृत्वः) III. 4. 35 पूआ (पुत्री) IV. 26. 44 संके (शङ्के) IV. 40 पेक्खंती II. 9.8 संदभ (संदर्भ m), a literary or mu- पेरंत II.15.13 sical composition, I. 5. 6, पोमराम I. 28b, II. 9. 41. I.120 फंस III. 12. 14, III. 136 संदाणिअ, bound together, tied, III. फास II. 126 4.12 बलामोडि D, force, I. 12. 6. संदाव (संताप) III. 4. 30 30 सारिच्छI. 41d. भट्टा (भर्ता) IV. 27. 13 साला (शलाका) I. 26. 4 भसल (भ्रमर)I. 22c सिहिणों I. 418, II. 30 भिड (भृगु), the level summit of a सिंखल (शृङ्खला) IV. 26. 3 of a mountain, I. 246 सुप्पहाअं (also °हादं)IV.2.1 सेवे, IV. 4d. मऊह II.9.37 सोत्त (स्रोतस्) I. 260. मणोज II. 18.1 हज्ज (हार्य) III. 19d. मत्त (मात्र) I. 5.5 हिजो (यः) IV. 25. 6, IV. 26. 20 बुहप्प II. 9. भुमआ II.le ·.... .. an .. . Corrigenda Readers are requested to make some corrections from the correct readings that are given below. According to the Yavanikāntaras they are divided into four paragraphs; and references are to verses and successive lines. The correct readings from the Prākrit text are printed in black and those from the chāyā in ordinary types. I. 4.2 संणहिं. 5. 4 बाह्यालिन्दादि ; 12. 4 खंडपरसु, 12.9 जालक्रीड; 13. 3 सज्यताम्। 15c तंवचूड- Page 8, head line चंदलेहाए; 17. 5 ककुब्मुखा; 18. 6 बन्दुम; 230 चिहुरआ आणंद; 27. 19 संणिहि ; Page 16 head line चंदलेहाए; 36. 2 प्रेम[पर]वशे; 38d वीथीवास्याः; 39c आलक्ष्यमाणका; 40 संणिवाआ; 410 अणुसरइ; 41. 6 अणुगहिउं. II. 40 सचिववरो; 4d संणद्धो; 4d संनद्धः; 9. 33 रज; 9. 48 संणाह; 116 पक्षपातधुताम् ; 156 माकन्दस्यन्द'; 15. 4 सखीत्वे; 33d भोगो [इव] भवति; 33. 20 संणिहिम्मि; 33. 23 संणिहाविआ; 33. 28 असंणिहिद; 33. 34 भिन्दि ; Page 44, foot-note 8 chāya, 8 M बिन्धि, K भिन्द. III. 30 सकलासु भविष्य'; 3d संणाह...पओसएणं; 3d प्रदोषकेण ; 4. 35 दुस्सहैः तै'; 5a °चरणमेकं कमपि ; 6b उत्तम्मिरी4%38d काकोलमिव (and omit the ... of M); 9b विस्तारवान्नि; 9. 5 ऐतु; 10 अग्गदो; 11 मज्झेणहं; 110 मध्येनभः ; 12. 8 हृदयान्निर्गत्य; 12. 12. युक्तमुपचारा; 12. 14. पलआणल; 130 विलोल; 14. 2 चन्द्रोद्दयोत° ; 160 ; उद्वेलत्त'; 16. 2 चन्द्रोद्दयोत; 19. 1 चन्द्रिकोइयोतम् ; 21. 1 चन्द्रोद्दयोते ; 23d विचरणं, IV. 5 वीजयन्तीनां; 56 विच्छोलिअग्गा; 6d पुवासासोअ; 9a महाकाल 10. 1 तु; 11. 1 Remove Danda after एसो; 130 दिक्चक्रवालान् ; 20. 2 संणाहो; 25.6 °मानायितो; 27, 10 संगता. %3 , an an . .

·Cosmography, Dogmatics etc.,, Authentically edited for the first BY Dr. A. N. UPADHYE 1. Pancasuttam of an Unknown Ancient Writer: Prākrit Text edited h Introduction, Translation, Notes with copious Extracts from Haribhadra's nmentary, and a Glossary. Second Ed., Revised and Enlarged, Crown pp. 96, hapur 1934. 2. Pravacanasära of Kundakunda. An authoritative work on Jaina ology, epistemology etc.: Prākrit text, the Sanskrit commentaries of rtacandra and Jayasena, Hindí exposition by Pande Hemarāja: Edited 1 an English Translation and a critical elaborate Introduction etc. New ion, Published in the Rāyachandra Jaina S'āstramālā vol. 9, Royal 8vo 16+ 132+376 +64, Bombay 1935. 3. Paramātma-pralās'c of Yogindudeva. An Apabhranis'a work on à Mysticism: Apabhranis a text with Various Readings, Sanskrit ļīkā Brahmadeva and Hindi exposition of Daulatarāma, also the critical Text Pogasāra with Hindi para phrase: Edited with a critical Introduction in lish. New Ed., Publisbed in the Rāyachandra Jaina S'astramālā vol. Royal Svo pp. 12+124+396, Bombay 1937. 4. Varängacarita of Jatāsimhanandi. A Sanskrit Purānic kāvya D. 7th century: Edited for the first time from two palm-leaf Mss. with ous Readings, a critical Introduction, Notes, etc. Published in the ikachandra D. Jaina Granthamālā No. 40, Crown Pp. 16+88 +396, bay 1938. 5. Kamsavaho of Rāma Pānivāda. A Prākrit Poem in Classical Style: and Chāyā critically edited for the first time with Various Readings, duction, Translation, Notes, etc. Published by Hindī Grantha Ratnākara rālaya, Hirabag, Bombay 4, 1940, Crown pp. 50+214. 6. Usäniruddhan A Prākrit Kāvya (attributed to Rāma Pāṇivāda ), with Critical Introduction, Variant Readings and Select Glossary, Published 10 Journal of the University of Bombay, Vol. X, part 2, September 1941, 1 8vo PP. 156-194. 7. Tiloyapannatti of Jadivasaha. An Ancient Prākrit Text dealing (in collaboration with Prof. Hiralal Jain) with Various Readings etc. Part iblished by Jaina Sanskrti Samrakşaka Samgha, Sholapur 1943, Double O pp. 8+38+532. 8. Brhat Kathakośa of Harişena. A Thesaurus of 157 Tales in rit, connected with the Bhagavatı Arādhanā of S'ivārya: The Sanskrit Text atically edited for the first time, with Various Readings, with a Critical luction (covering 122 pages), Notes, Index of Proper Names etc. hed in the Singhi Jaina Series, No, 17, Bhāratīya Vidyā Bhavana, Bombay Super Royal pp. 8+20+128+406.

·95 9. The Dhurtākhyāna: A Critical Study. This is a critical essay on the Dhūrtākhyāna (of Haribhadra) which is a unique satire in Indian literature. Included in Achārya Jinavijayaji's edition, Bhāratīya Vidyā Bhavana, Bombay 1944, Super Royal pp. 1-54. 10 Candralelchā of Rudradāsa: A Drama in Prakrit. The Prākrit Text and Sanskrit chāyā authentically edited with a critical Introduction, Notes etc. It is an important Sattaka resembling Karpūramañjari in various respects. The Introduction presents a study of Sattaka in the back-ground of Indian theory of dramas and also a critical survey of some half a dozen Sattakas, most of them brought to light for the first time. Printed in graceful types at the Nirnayasagara Press, Bombay, Bhāratīya Vidyā Bhavana, Bombay 1945, Royal 8vo pp. 8+66 +96. Brhat Kathākos'a of Harişena, Brhat Kathākośa of Harişeņa (1. D. 931-32): A Thesaurus of 157 Tales in Sanskrit connected with the Bhagavati Ārādhanā of Śivārya. The Sanskrit Text authentically edited for the first time, with Various Readings, with a Critical Introduction (covering 122 pages), Notes, Index of Proper Names etc. Published in the Singhi Jaina Series, No. 17, Bharatiya Vidya Bhavana, Bombay, 1943, Super Royal pp. 8+20+128 + 406. Select Opinions and Reviews Dr. S. K. CHATTERJI, The University of Calcutta, Calcutta : "It is really inagnum opus for which any scholar may feel proud. The learned introduction is a model of what such an introduction should be. Your extensive learning and your prodigious industry both elicit unstinted admiration;...the subsection... on the language of the text is a very valuable addition to our positive knowledge of Sanskrit, Prakrit (and Bhasha) philology, The Adyar Library Bulletin: 'as a source of information on social conditions, religious history, cultural elements, linguistic data, historical and geographical side-lights etc., the work is indeed valuable and would pay amply a detailed study; and for such a study, Dr. Upadhye has already contributed much in his eritical apparatus in this volume. (V. RAGHAVAN) Journal of the University of Bombay: ‘His [i. e. Dr. Upadhye's ] erudition and his knowledge of the editorial technique coupled with the speed with which he works are the things, very rare and most covetable....... The Editor has adorned the work with a brilliant and an exhaustive Introduction in which he has discussed with a scholarly grasp all possible aspects relating to the work'. (A, S. GOPANI) Indian Historical Quarterly: In a long Introduction the learned editor besides drawing attention to the critical apparatus and the method followed in the presentation of the text, gives a comprehensive account of the narrative tale in old Indian literature with special reference to the literature of the Jains which can boast of a rich store of this material'. (C. CHAKRAVARTI).