समक कयन WRAL PEED TI BTA I SELL EERIE BIBLIOTHECA INDICA 1 A COLLECTION OF ORIENTAL WORKS
DERE TAT ARR AEST,
THE CANDA-KAUSIKA OF ARYA KSEMISVARA
!
८1
Elited by Sipant Das Gupta
With Introduction, full Critical Apparatus of Manuscripts, English Translation and Indices.
Issue Number 1582
Work Number 286
THE ASIATIC SOCIETY
[ह ar ५ 1, PARK STREET, CALCUTTA 16 1962
NN Published by The Asiatic 5०८०४, Calcutta, May 1962
Grp p da +. t । ' (१, WS
८.९
9 ५५ \\ wae qu Price Rs. 15:00
35020
{7 Nov 1962.
Printed by Jogesh Chandra Sarkbel at the Calcutta Oriental Press Private Limited, 9, Panchanan Ghose Lane, Calcutta-9.
CONTENTS
Page Introduction The Critical Apparatus ag I Detailed Account of the Manuscripts and Printed Texts aut dig i Critical Survey of the Characteristics and Affinities of Individual Manuscripts xi The Nevari Group ee xii The Devanagari Group sae wee XXK Proposed Method of Text-reconstruction XXXVi Reconstruction of Prakrit Passages ai XXXIX Authorship and Date of the Work ine xliv The Theme and Sources of the Drama The Theme and Plot liv Sources of the theme: The Harigcandra Legend... Ivint Reference to other Legends Ixvii Treatment of Harigcandra Legend in other Sanskrit Plays Ixx Literary Estimate Ixxv The Plot Ixxvi Characterisation ae Ixxxv Style and Diction te ie vee [XXX Influence of other Dramatists „ Uxxxxiv Conclusion sas ie „ Uxxxxve The Text oe ५१ I English Translation 145 Indices Pada-Index of Verses ne 213 Index of Peakric Words = ,,, 222 Index of Metres is oe vee 234
PREFACE
In the Inttoduction I have indicated the interest and importance of the present work, as well as my object and method in undertaking a critical edition. Ic will be seen that the Canda-bausika of Ksemiévara, though less widely known, is certainly one of the outstanding speci- mens of the later Sanskrit dramas, But it appears cto have never received the attention which ic deserves. It was published twice, respectively at Bombay and at Calcutea, in the sixties of the last century; bit the publications, obviously based on insufficient manue sctipt-material, were by no means definitive, and they have now be- come scatce, My object, therefore, has been:
(1) To prepare a critical and, if possible, a final and definitive edition of the text, based on all available material and furnished with full apparatus criticus, in accordance with modern standards of scholar- ship. For this purpose I have collated no less than धपा manus- ctipts of the work, written in different characters and carefully selected from different sources, [ have made an intensive study of che individual characteristics of the manuscripts utilised and पला affinities, and discussed fully the question of their mutual relation and classi- fication, with a note on my proposed method of constituting the text and treatment of Prakrit passages.
(2) To place the work in its proper historical and literary perspective. This has involved a full discussion of the date and authorship of the work, its theme and sources, and its licerary value and position in the history of the Sanskrit drama.
(3) To prepare an English translation which would interpret the constituted cext, along with hermeneutic notes where necessary.
T have also added, for facility of reference, a Pada-index of verses, an index of Prakeie words and of metres, I hope that no point of importance has been overlooked in respect of the text and its inter pretation.
It will be seen that my object has been not the haphazard so-called editing, bue the stcict application of literary and text-critical principles
i.
to a classical text; and my work should be judged as such, In the matter of textual criticism it is needless to say that I have been mainly guided by the method elaborated and standardised for Indian texts in general by V. ऽ, Sukthankar and his collaborators in the critical Poona edition of the Mababbarate. The problems of the present text are indeed not so complicated, nor its manuscript-material so diversified and extensive; but I venture to say that chey are no less interesting, even if what is true of the manuscript-tradition of an epic text need not be applicable in their entirety to chat of a classical text. It should be recognised that very few Sanskrit texts in recent times have received this scientific treatment; and whether 1 have succeeded or not, my work should be taken as an original and earnest experiment 10 this desirable direction. [८ may be urged that I had better selected a much more importante work than the Canda-kausika; but like all classical Sanskrit texts, the present work has its own peculiar problems, which are not without their interest in che editing of classical works in general. A so-called minor work, cherefore, is not negligible for this purpose, provided that modern scholarly principles are properly applied.
A few words should be added on my English translation of the text, The rendering has been kept close to the original, consistently with English sense and idiom. Ie is not always easy to strike a happy mean between elegance and accuracy, but a translation loses much of its interest and trustworthiness if the reader is not sure whether it reflects the original faithfully or gives only che purport of the original, Apart from the well-known fact thac it is always difficult to render synthetic Sanskrit into analytic English, there are strange im- ageries, beautiful but ingenious conceits, exuberant metaphors, play upon words, delicate nuances of expression and subtle adjustment of sound and sense, which are in their proper place in Sanskric, but which read oddly when translated literally into English. In the face of these inherent difficulties I do not claim more than having produced, as far as possible within these limitations, a really readable and, at the same time, a fairly faithful translation.
To those scholars who have encouraged and helped mein my exacting task, spreading over nearly three years, itis my privilege as well as pleasure to express sincere gratitude. Professor V.
iii Raghavan of Madras University, editor of the New Catalogs Catalogorum, very kindly responded to, my appeal to furnish me with a list of manuscripts of the Canda-kansika, which are not only noticed but also unnoticed in the available catalogues of Sanskrit manuscripts. To the never-failing courtesy of the late P, K. Gede of the Bhandarkar Oriental Research Institute Iam indebted for loan or transcript of manuscripts of the text available in various oriental manuscript-libraries at Poona, Baroda, Darbhanga, Madras and Tanjore. Dr. Sadananda Bhaduri, the then Principal of Government Sanskrit College, Calcutta, took interest in my work and was kind enough to allow me to work asa research student in his College, To Dr. R. C. Hazta, who had been my teacher at Dacca University and who is now one of the Research Professors in the Sanskrit College, Tam grateful for his ready help and kind suggestions whenever | approached him, Ihave also proticed by the critical remarks of Professor J. Brough and Professor ऽ. M. Katre, who examined my work, originally prepared as a thesis for the doctorate degree of Calcutta University in 1954. I must also thank sincerely the autho- tities of the Asiatic Society for kindly accepting my work for publica- tion. But my greatest indebtedness is to my Professor, Dr. 5, K. De, at whose suggestion and under whose vigilant supervision this work was undertaken; but it is an indebtedness which cannot be measured by afew prefatory words, Not only did he take great pains in procuring for me the manuscripts | required and placing unreservedly at my disposal his library, but he also watched and guided, not nominally but really, the progress of this work with his unwearied and inspiring directions at every step. To his rich and kindly erudition and extensive experience 1 never appealed in vain; and though overloaded with multifarious work, he patiently read through and revised my text, critical notes and translation. My little work owes agteat deal to this Alemeister; but for its details and individual opinions, as well as for its errors and imperfections, I am alone responsible. Lady Brabourne College, Calcutta. Sisant Das Gupta (Mrs.) The 14th February, 1962
INTRODUCTION
INTRODUCTION
THE CRITICAL APPARATUS 1. Manuscripts The manuscripts utilised for this edition of Ksemisvara’s Canda- kausika are the following : North Indian Nevari
Ni = Calcutta, Asiatic Society of Bengal, No. 3824 (5315). Dated in the Nepali eta 370 (=1250 AD)? 1.
N2 = Calcutta, Asiatic Society of Bengal, No. 8०65 (5316). Dated in the Nepali era 507 (= 1387 A.D.).
Maithili Mi = _ Darbhanga, Raj Library, No. 70-383. Dated Saka 1704 (= 1782 A.D.).
Devanagari Dr = Calcutta, Asiatic Society of Bengal, No. 6508 (5317). 02 = Poona, Bombay Government Collection, deposited at the Bhandarkar Oriental Research Institute, No. 442 of
1895-1902. Dated Sirk 1699 (=1643 A.D.).
D3 = Poona, Bombay Government Collection, deposited at the BORI, No. 353 of 1884-87. Dated Samvat 1815 (=1759 A.D.).
04 = Poona, Bombay Government Collection, deposited at the BORI, No. 125 (ii) of 1866-68.
05 = Poona, Bombay Government Collection, deposited at the BORI, No. 299 of 1884-86. Dated Samvat 1674 (= 1618 A.D.).
D6 = Calcutta, Government Sanskrit College, No. 223. Dated Samvat 1857 (= 1801 A.D).
D7 = Baroda, Oriental Institute Library, Acc. No. 4292. Dated Samvat 1660 ot 1661 (= 1604 or 1605 A.D.),
( ir) South Indian $ = Tanjore, Sarasvati Mahal Library, No. 4355 (Burnell Catalogue No. 5207). In Devanagari characters. S2 = Madras, Adyar, Library, No. 21, C. 53. In Grantha
characters.
93 = Madras, Government Oriental Manuscript Library, No. १. 4270. In Grantha characters.
2. Printed Texts
The following printed editions of the text are also utilised: ‘Pe: =Text edited by Jaganmohana Tarkalamkara, Calcutta 1868. Pe 2 =Text printed by Krsna Sastri Gurjara, Bombay 1860.
( I ) Abbreviations
St. = Stanza.
fol. = folio.
ins, = insert.
om. = omit.
transp. = transpose ‘or transposition. subst. == substitute.
marg. = margin.
hapl. = haplographically.
corr, = Correction.
४५ = varia (र) lectio (nes). var, = cited with variation. ad. = to; teferring ८० the prose passage, following upon a
verse reference,
N.B, The transcript of Mi (see Introduction, p. ii) was received भ collation after the critical apparatus of our entire text had been mitten out. The text was, of course, reconsidered in the light of ais new material; but in inserting the variant readings of this 1S there has been some unavoidable upsetting of the regular order { enumeration of MSS in the critical notes.
{ vii ] ०7
Baroda, Oriental Institute Library, Acc. No. 4292. Indian Paper. Size 9“ x 43”. Folios 44; 7 lines to a page, excepting the last page which has 4 lines, Devanagari characters with frequent prsthamétra. Complete. Dated Sarnvat 1660 or 1661 (= 1604 or 1605 A. D.).
This is the oldest and most correct of our Devanagari MSS. The writing is neat, clear and uniform. Except Prakrit passages, it Is fairly correct and careful, although some corrections appear on the margins. The edges are frayed; the upper and lower margins are considerably worm-eaten, causing loss of some writing; otherwise the MS is well preserved. The names of dramatis personae and numbering ` of verses are distinguished by red pigment, while erasures or correc- tions in the texe are made by yellow pigment, The repetition of a word is regularly indicated by the numeral 2 after it. In Prakeit there is occasional y-éruti. Consonants are frequently doubled with repha; c.g. ८१०१५५८, artta, upasarppami, sammarddab, abarppatib, ec. The verses are numbered thus: I—2g; Il—34; III—35; IV—37; V—zg. Although sometimes showing striking agreements with exclusively Nu. 2 readings, ic generally follows che text-tradition of the Devanagari group of MSS, of which it is our oldest exemplar.
S1
Tanjore, Sarasvati Mahal Library, No. 4355 (=Burnell’s Classi- fied Index of Sanskrit MSS in the Palace at Tanjore, London 1879- 80, No. 5207, p. 168b).
The MS is noticed in ए. 0. 5. Sastei's Descriptive Catalogue of the Sanskrit Manuscripts in.the Tanjore Mabaraja Serfoji's Sarasvati Mabab Library, vol. viii (Nataka), Srirangam 1930, p- 3392. From the description it appeats that it is a Paper MS, written in Devani- gari characters; size 92” x 414”; folios 33; 9 lines to a page; com- plete, There is no date; but the MS is said ८० be in good condition. Burnell is of opinion that it is one of the three “recent” MSS of the work at Tanjore.
As the original MS could not be obtained on loan, and we had to depend entirely on a transcript supplied by the authorities of the Library, further details about the MS are unfortunately not available.
e
(vii ]
Written in Devanagari, the MS generally follows the text-tradition of the Devanagari group of MSS and shows litcle affinity with chat of the Nevati group, It shows, however, some peculiarities of South Indian MSS, such as the use of lingual / for dental ॥, of th for £ and db for d, and doubling of sibifants in Samdhi. Excepting the Prakrie passages, where most MSS go wrong, the MS is fairly correct.
S2
Madras, Adyar Library, No. 21. C. 53 (Catalogue, ii, p. 27b).
The original MS was not available, but a transcript in Devanagari was supplied by the authorities of the Library, There is a note on
* the copy by the Library copyist that the original is a very worn out palm-leaf MS, having unnumbered folios and written in Grantha characters (ati-jirnam patra-samkbya-vshinam granthaksarair likbitam tala-patra-kosam drstua likbyate) and that it is incomplete (asamapto’ yam granthab). This is confirmed by the information supplied later by the authorities of the Library (letter dated 24, 5. 52) to the effect that it is au incomplete palm-leaf MS in Grantha characters, badly damaged and worm-eaten. It is further stated that it consists of 66 folios (?), eight lines to a page; size 144" x4 140; conjectured to be “about 200 years old.”
The same characteristics of South Indian MSS as noted above with reference to S1 are also shown by this MS. There is very consi- derable lacuna due to damage to the MS; letters, words and even long passages almost on every page are lost. Ic is incomplete breaking off from V. 20 (see note co the relevant passage in the text) to che end. [॥ the Prakrie passages, which are frequently full of errors, it often employs y-seuti. In the Sanskcie passages, so fae as they are available, it is not always correct. On che whole it follows the text- tradition of the Devanagari group, although there are some striking individual readings and sporadic agceements with the Nevari group. Ic is unfortunate thar this MS could not be fully utilised because of the lacunae, large and small, occurring throughout and causing loss of much of the text. In our critical notes all these deficiencies could not be meticulously recorded, as they would have merely burdened our critical apparatus without bringing a corresponding advantage.
[ ix ] 93
Madras, Government Oriental Manuscript Library, No. R. 5270.
As a loan of the MS could not be arranged, a Devanagari trans- cript was obtained. From the information supplied by the Curator of the Library (letter dated 20. 5.52) we learn chat it is an undated palm-leaf MS of 17 folios only, much damaged; in Grantha characters, 11 to 13 lines to a page; purchased in 1922-23 from Ganapati Sastri Karattoluvu, Coimbatore District. Besides showing some of the general characteristics of South Indian MSS mentioned above, it is noteworthy that che MS regularly indicates the doubling of a cone sonant by a dot before it. On collation of the text this MS, like 92, is found full of very large and small lacunae, apparently due to damage to the original MS, on every page, causing loss of a large part of the text. Like Sz, it could not be thus fully utilised; and variants are noted in our critical apparatus only from the available portion of the text. Like S 1 ic follows generally the cext-tradition
of the Devanagari group.
So far as the various catalogues of South Indian MSS show, no other MS of the cext in Grantha characters is available, the other MSS of the text in these libraries being in Devanagari. It is unfortunate, in these circumstances, that the two available Grantha MSS, which we have collated, had not been of much use for reasons given above. As it appears, however, chat the text of the Grancha MSS does not depart very materially from that of the Devanagari MSS, it would not have
perhaps been helpful even if fuller and better MSS of this type could have been obtained.
Other Manuscripts Not Utilised
No MS of the fCanda-kansika appears noticed in the Manuscript- Catalogues of European Libraries, But in Indian Libraries the follow. ing MSS were available, but they were not utilised for reasons stated below:
1. Poona, BORI, No. 158 of 1902-07 (Catalogne, p. 80). [A modern copy, fragmentary, wanting in the beginning and containing only 12 folios}.
wf x]
2. Calcutta, Sanskrie College Library, No. 222 (Catalogue p- 134):
{Paper MS in Devanagari, incomplete, containing only 5 folios].
3-4. Tanjore, Sarasvati Mahal Library, No. 4354 (= Burnell No. 5206). Tanjore, Sarasvati Mahal Library, No. 4356 (= Burnell No. 5208). [Both these Tanjore Paper MSS are complete; but since they are written in Devanagari, of which we have a suffi- cient number, it was thought redundant to utilise them, Moreover, Burnell chinks they are all ‘recent S. Indian MSS”.
5. Tanjore, Sarasvati Mahal Library, No. 4357 (J.L. Collec- tion No. 223)
[Devanagari Paper MS, incomplete, containing only 13 folios}.
6, Madras, Gove. Oriental Manuscript Library, No. 12514 (Descriptive Catalogue by S. Kuppuswami Sastri, vol. xxi, Madras 1918, p. 8400).
{Incomplete, beginning of Act I missing; Devanagari Paper MS]. Travancore, University Oriental Manuscript Library, No. 4487. [Devanagari Paper MS} It should also be noted that of the Tanjore, Madras and Travancore MSS, the originals were not available
Printed Texts
The following printed editions of the text age also utilised and
collated :
Pe 1 =Canda-kausikam Arya-ksemisvara-pranitam, ed. with Sans- kit Chaya of Prakrie passages and occasional gloss, by Jaganmohana Tarkalamkara, Librarian, Calcutta Sanskrit College. Kavya-PrakaSa Press: Calcutta Samvat 1924 - (= 1868 A.D.) pp. 4101-10.
[ xi ]
Pe 2 = Canda-kausika-nitaka, printed by Krsna Sastei Gurjara ac his own Press, Bombay, Saka 1782 (=1860 A.D). In Puthi form. Folios 23.
[This printed text appears to have been available to Jaganmohana Tarkalamkata}.
There is another edition of the text published by Jivinanda Vid- yasagara, with his own commentary (Calcutta 1884, pp. 138); but as it merely reproduces (with its own occasional emendation) the ext of Jaganmohana Tarkalamkara, it was not utilised.
Translations
Unfortunately, neither the German metrical translation of Ludwig Fritze (entitled Kausika’s Zorn, Leipzig 1883), nor the Italian teans- lation of Francesco Cimmino (Studi sul theatro Indiano, in Rendiconto dell Academia di Archeologica, Lettre ¢ Belle Arts, 19 (Napoli 1 905), pp» 31-76, was available cto us. We have, however, seen a free Bengali translation by Jyotirindra Nath Tagore (Basumati ed. Pt iii, Calcutta, no date),
CRITICAL SURVEY OF THE CHARACTERISTICS AND AFFINITIES OF INDIVIDUAL MANUSCRIPTS
It will be seen from the account given above chat our MSS, written in a variety of characters and in different places and periods of time, have been carefully selected from vatious sources, su that they may not be useless reproductions of the same type of MSS. A close examination of their readings, however, would at once reveal the fact that their divergences ate not so material as to constitute different versions or recensions of the text. Although numerous and ubiquitous, the discrepancies are yet normal. In other words, they arc such as ate to be naturally expected in individual MSS or groups of MSS, and consist generally of inevitable variants of isolated words and phrases, of small insertions and omissions of only occasional
( xii]
transposition of passages. Barring a few instances, thete is 1, substantial expansion, omission or substitution, no considerable transposition, no large variation of continuous passages, which would in their totality clearly mark oue distinct versions or recensions. At the same time, even a cursory study of the large mass of variants would not fail to indicate that our MSS fall into two distinct groups, They can be distinguished as (1) the Nevati and its allied MSS and (2) che Devanagari and its allied MSS, For the sake of convenience we would call them respectively the Nevati
and the Devanagari groups,
The Nevari Group
The two MSS, Ni and Na, written in Nevari characters, form che standard or norm of this group. They are our oldest available MSS, but they representa textual tradition which is different from, and in some respects intrinsically inferior to, that of the Devanagari group. Ac least, their respective divergences indicate that their texts could not have been derived from idencical sources. With Ni. 2 should also be affiliated M1, D1 and D3, although Mi 15 written in Maithili and Dx, 3 in Devanagaii characters.
Ni and N2
The very close affinity of Nx and Nz is documented throughout by a mass of concordant readings, which belong exclusively to these MSS, and are found in no other, As our textual notes would show, they occur on almost every page. The following instances of such agreements selected ३८ random will serve as illustrations: *
(a) in respect of small words and plirases.
Nr, 2. Act I. 3a ananda-glathitah; ad 6 Bodhayanena; 7b -mlana-; 4d 9 katham, annana; 1a¢-sthitasu; ad 12 tummam adikantam; 13¢ yad agafkicena; ad 14 avanaehi, eddam, kittia, tu; 150 tad afijanam, 15d ca; ad 16 rajjini, dhide, na; 19a
1 Inthe reference, the Latin ad and the numeral after it refer to the prose passage or passages following upon the numbered verse. Thus, “Act ! ad 6” would mean the prose portion fo मि upon verse 6 of Act I.
Ace IL.
Act Ill
Act IV
Act V.
( xiii ]
balitatara vivartate; 206 samyak; ad 20 ajja, patiman- tharchim; ad 22 atipranatim; ad 24 -prajiyaranante, abhi- secaniya-; ad 25 svastyayanam; ad 26 niama-jiaro; ad 28 bhoanattha-kadhde, (the long Prakrit passage ) -dantan- tafa- parivijjanta-, -parivakkha-, -vicitta-, -sisirasaro, -karala-, -mamsa-, -kara- (for -kavala-), -velanubandha-, vihandida- bhalla-, mandalobhaaduttanta-, -kara- (for -kala-), etc.; agb srame.
2b -sankule; 7a tata-vanam; 11¢ niskramya dhvaja-pata- paronmesta-; 12a divam, 120 patitah, rac sa tu; 136 -vallinicayah; 150 viyogan snehan va; ad 15 anantarbha- vaniyam; 1¢¢ kveyam; 24¢ -bhiru-; ad 25 -cetasas १५ tvam; 31b vastriny amini; ad 33 pratipidya, mam anujhdeum, cirde.
1b -majjho, 1d dussaho ; a4 2 bheigaritih, dasa-vidhi- viparyayam; ad 3 pada-pajam; ad 8 bhavatu bhavatu; ad 14 avatarimi (for mirvartya agacchann); ad 18 savva-kam- manusarine, satyam eva panena; 4d 1g grha-vactiksama, tad upapadyatim no dhanam; ad ar rajanam haste grhitva, vistarena, upapadyataém, manyate bhavan tada; ad 22 dani (throughout); ad 25 Gacchadu, devi, s-kopam are kapila- makkada; ad 26 kim evam; ad 31 hayge; ad 33 suvarnani. Before 1 uttarottara-; 100 -malamayam, 13a pretdlayadhivasc; ad 16 catur-di8am; ad 17 hodavvam; ad 21 idanim; ad 29 archi-janah; ad 31 svamy artha-virodhena tu, ajhd-matra- sampadana-samihitam, punas cenaiva; ad 32 -teatlokya-, ity ukeva, tadanu svadhind vayam; ad 36 bhagirathim avatitya.
2a faja-Sriya; ad 7 ati-karunah, madira-; ad 12 drasgum ‘icchasi, patayitum icchasis 14a -vattatanisvavici-; ad 17 labdha-samjiia, vimesya; ad 1g baspa-stambham — kreva; before 20 paripakah (for vipakah); ad 20 kutah; 210 arjtah; ad 22 Svapakadi punal punah pathat; 3३6 drastum; ad 23 avalokyatdm, sacive, satya-jijfidsanena, abhiniya; ad 28 lokottara- caritam, punya-dana-samcayena; 31d ksirdmbu- sindboh,
| { xv.
(¢) in 1९९८८ of longer passages, Nu. 2. Ace Il. ad 27 aniicénam mim manyase yady evam diya Act Ill, ad 12 katham prapta evayam duratmd/achava (N2 om,
word) na samyag bravinni mahacmaiva Harixcandro nisat danae. ad 19 (2014554 sammaddo disadi/ta takkemi tahim प hodavvam. ad 25 java nam sudittham ajjauctam karatssam. ad 31 pranidhanato’ pi pasyan na rajarser Hariécandrasya tulyam pasyami. ad 34bc yad 2415451 cat sarvam karomy aham aharnigam, Acct IV. ad 3 samprati drdham pidayati mam devi (Nz om. devi) Act ४. 294 kim sydd anyad yad aparam aho yat priyam prarthaye’ ham.
(<) in respect of obvious mislections.
Ni. 2, Act I, 12b-sambhramah; before 1g ayam (for iyam); 200 bhiisanam adarah; ad 26 vailaksyam.
Act Il, 14¢ cakitaesvadrgo (contrary to metre),
Acc Ill. ad 3 preksyatiti; ad 24 dodha.
Act IV. 8d lasan-mastikaked (contrary to metre); gd svapada-ganah; ad 29 evam avasthapi.
Although such a mass of agreements, even in small details, cannot be taken as accidental, yet mere coincidence of readings need not always be decisive. A more decisive test would be the following concordant insertions, omissions and transpositions of words and phirases which distinguish N 1. 2 from all other MSS.
६ (a) Insertions.
N 1. 2. Act 1. ad 26 ayam,
Act ll, ad 14 25५. ~
Act HL, ad 1 hagye (after -Samcide); ad 12 sampraptah; ad 18 कण; before 21 fajinam; ad 22 Sighram, bhavatu gacchaai, mam, 4d 31 bho bhoh sadhavah.
Act IV. ad 5 bhoh.
Act V. ad 7 tti, imam (Saibya’s speech); ad 8 karnau pidhaya, Sautam papam; ad g ha vatsa Rohitaéva (before anudbhidya- पाम); च्व 14 manda-bhigyah; before 20 patati; «d 20
[{ xv ]
kathaya kathaya; ad 23 divya-vesam asthiya, priyam nah priyam; before 28 bhagavan; ad 28 adya (b) Omissions
N 1.2. Act I, ad 3 -danda- (in bhuja-danda-); ad 5 samgitam; ad 9 vayasya; ad 12 chi; ad 26 kulapaceh.
Act If. ad 4 guna-trayamayinam ; ad 16 pathyate; ad 17 ko’ yam; ad 25 idam upakrantam; ad 28 idinim,
Act HI. ad 15 Sirast trnam dateva savastambham; ad 20 tac katham imam dasam anuprapta; ad 21 savaiklavyam, idam; ad 27 aye, ami.
Act IV. before 22 tatha hi; ad 33 rajan
Act V. ad 5 papam; before 20 alam paridevitena
(c) Transpositions.
पि 1. 2. Ace II. ad 17 bhayarcena and divyariipina; ad 27 bhagavan and prasida.
Act Ill, ad 21 mam and padhamovagadam.,
Ace V, ad 18 maridum pi na labhiyadi and bhaavado 5255249.
All these instances refer to short words and phrases. But of more probative value are the following important cases of insertions, omis- sions and transpositions of longer passages. वि 1. 2. Act IIL. ad 35 insert (after mam pratt marsaniyah); punah
pranamyarpayati / Kausikah/sa = vailaksyam /atma = gatam/alo sthairyam asya (N 2 a$caryam aScaryam)/athava/calanti gitayah kamam yuganta-pavanahatah/kecchre’pi na calaty ekam dhiranam niscalam manah//atah param kim atinic- bandhena/bhavatu gacchami/iti niskrdntah//. Again a little later (ad 35) insert: athava Harigscandrad ree svaminn iti ko vadati
Act V, ad 22 insert; drstva/aye katham (N 2 om, this word) tato'py atraiva
Similarly, N 1. 2 omit two long passages;
N 1. 2. Ace Ill. ad 30 omit: Kausikah/sa-krodham/kream ardhena/ nanv asesam eva diyatam/ /Raja/bhoh sadhavah/kendpity adi pathati//; ad 35 omic: Kausikah/sa-vailaksyam/dasyasi// Raja/sanunayam/bhagavan gehyatam/ /
“-f xvi ]
There are two interesting examples of change of sequence of text. units by transposition in N 1, 2 as against all other MSS, They occur respectively in Acts III and V., In the first case, the passage commencing with III. 27 and ending with che prose sentence after III, 29, and containing the episode of KauSika’s curse on the ViSve- devas is transposed and placed after the episode of Dharma’s entrance as a Candala and offer to buy Hariscandea as a slave. There is hardly any poine in his arbitrary change of sequence, as it does not improve the logical course of incidents. In the other transposition in Act V, the reading of N 1, 2, however, is better. It consists of the placing of the repeated stanza marana nirurtim yanti (४, 15) after V. 18, and not before it. This change of sequence is more logical and gives a better sense from the context; it has, therefore, been adopted in our text even against the evidence of all other MSS. There isa third small transposition in Act III, where N 1, 2 transpose one line before stanza 2 instead of reiding after it. Though the transposition gives a somewhat better order, it does not appear to have much texcual importance.
With regard to substitution, there is only one passage in Ni. 2 (and in no other MSS) after II. 23, in which ewo lines are broken up and arranged into a dialogue between the king and Kausika. The substitution has hardly any textual importance, but it is evidence of the close kinship of Nx and Na.
The passages quoted above are examples of exclusive concordance between Nr and Na; bue there are also examples of exclusive dis- agreement, which would indicate chat Na is not a direct copy of Nr. We cite here only a few selected instances of divergent readings be- tween the two MSS, but they will be sufficiently illustrative :
Act [. sc Nr privenudhvam; Na ivenudhvam. 445 Nr cat; Nz tatah. ad 24 (before as) Nx transp. sa-kalatrasya and bhavatah; N2 does not.
Act Il. gd Ni tubhyam anapaveida-; N2 cu vyapanayakrida-. ad 14"Nu yathadisati devah; Na om. ३4५ Ni tavan na Sntim mama yati manyuh; N2 tivan na me marsam upaiti manyuh.
Acc HII, commencement. Ni prakrti-vikera-bibhatsa-malina-vesah; N2 peaketi-malina-vefah. ad 8 Na cad aham idanim; Na om.
[ xvii ]
toa Nx tiksnah; Na पर, 11 Ne nw lokan; Na ptadeSan. 4d 20 Nx vicintya sakulam; Na vicintya. ad 25 Nr mandam mandam; N2 mandam.
Act 1४ 20d Nr praticatad-urah-; N2 pratilasad-urah-.
Act V 244 Nr mayi visan samupaiti; N2 manasi Salyam_ upaiti. 26d Nr svair angaih; Na svair amfaih.
From such detailed consideration of agreements and differences, we can conclude that while Nr and Nz are of the same type of closely akin MSS, theie texts are not exactly identical; but ॥ the largest majority of cases Nz agrees with Nr, and for all practical purposes they can be grouped together. Nz, however, is a carelessly written and corrupt MS, and we had to use it more for supporting the readings of Nit chan for suggesting any really importance variance.
M1
The codex Mr, written in Maithili characters, isa comparatively modern MS which does not appear to possess much independent value for text-critical purposes. Because of its large accretion of individual readings, which in fact is the largest given by any of our MSS, ic would seem at first sight to have followed a separate text-tradition; but a closer examination would shew that ic belongs subscantially, but secondarily, to the Nevari group. Its independent agreements with exclusive Nr. 2 readings are indeed not many, but secondarily it appears to have derived, chiefly through such Devanagari MSS (see below) of the Nevari group as Dr and D3 (and even D7 where ic agrees with Nx. 2), a large number of peculiarly Nevari readings. Its greacest affinity is with D3, which fact is shewn also by very ex- tensive agreements with the individual readings of D3. Ie is possible to argue on the contrary that Dr. 3 might have derived these Ni, 2 teadings secondarily through Mz. But since Devanagari characters, rather than Maithili, could be read everywhere and could easily be- come (as Sukthankar has shewn in the case of Mahabharaca MSS) che source of contamination and conflation, the greater probability of such derivation of Nx. 2 readings would be through the Devanagari Dr. 3 rather than through the Maithili Mr. On the other hand, Mt has, like Dx. 3, very few agreements with the peculiar readings of our
3
[ xviii ]
Devanagari group (Dz. 4-6 S1-3). It is thus a comparatively recent eclectic MS of a highly conflated character, and its evidence is con- sequently of uncertain value, These points can be illustrated by the following instances.
Agreements with exclusive Nr. 2 or Ni readings:
Ni. 2 Mz Actladgom. bho and una; 10d tada; ad 12 om. gamanam; ad 14 Saivya (spelling); ad 28 om. tadha, (Prakrit passage) gabbha, kalappo.
Act [ ad 4 om. guna-trayamayinim; 7 kirnam; ad 22 om. ayam; ad 34 105, bhavatv evam (३५३६.
Act HI. ad 2 kadham (for kaham); ad 3 adya casaviha, sajjo bhavami; éd 14 om. tad yavat; ad 17 jindmi; ad 18 105. mhi and प्प; ad 1g om. punah and idanim; ad 26 ins. manda-bhagyah (after hato'smi); ad 33 om. prakasam; ad 35 om, bhoh.
Act IV before 1 ese; 8d lasan-mastikakea (unmetrical); ad 17 maha- masine; before 18 madike; ad 32 ins, srutva; ad 33 anukam- paniyam; ad 35 sidhayimah; 36a tamo-nirbhinna-gahana-.
Act V ad 6 om. tatha hi; ad 7 dani, kkhu; 136 tanayinanendurahita (hypermetric); ad 17 transp. na and mam, reads masina- vadave; ad 18 dasa-visamvido; ad 20 adranam; ad 22 sahasotthaya.
Nu Mz Act I ad 28 (Prakrit passage) -parrbbhamana-. Act II 2३९१1४७, Act Hl 3d -Sakala-pracalas ca; ad 19 agni-paricaryadhinataya. Act IV 219 nirvapya; 22b visamo.
Agreements with Ni.2 through D1 are not so numerous:
Ni.2 Mr 0 Act [ ad 12 ins. me; 15a lolupo’yam; ad 23 ins. kutah; before 25 sumahin; ad 28 (Prakrit passage) ppamia- nam, jjeva. Act [ 146 satila-. Act Il ad 12 -tigma-tejah (in the repeated verse); ad 22 patante; ad 25 niyadi; ad 35 grhyatam. Ace IV before 1 ajji osaladha; before 12 ins. bhagavatyah; ad 17 mahamasanam. Act V ad 7 ins. ti after balao,
But through D3 it derives a larger number of Nr. 2 readings:
Nr. 2 Mr D3 Act 1 ad 3 om. svayamvara- (after laksmi); qb hatva; ad 4 om. idam adistam; ad 7 ujjaara-; ad 13 om. saslagham; before 19 om. iti (with 04); ad 26 ins. cat; 280 vyagra-
[ xix ] rambho; ad 28 (the long Pkt. passage) -viddavida-. Act Il ac -hastair aSesaih; 56 yato va samharta; ad 14 abhi- vadayisye; ad 17 om. iti; 28b sarvasva-mitra-; ad 31 om. me; 34¢ -tigma-tejah. Acc Ill 8b siksicah; ad 22 om. java ajjautcam susamdittham karemi; ad 26 om. mandas bhainim; ad 26 ins. sakcodham, om. ah; ad 29 kligyate; ad 34 om. saparitosam; @d 35 om. karma and aholattam, reads citthidavvam and प्व chi, Act IV 26 ha vatsa kim tvam णप; ad 16 gambhicabhisinah; before 17 om. ati-. Act V ad 8 kadattho; ad r2 yukcam idinim; 180 vibhinna- matgah; before 19 om. mukham avrnoti; before 20 ins. ajjautta before kinn edam, and reads meta-kambalam (for etat); ad 23 vimanam atuhya; 26 tvam asi. There are also agreements of Mr with Nr. 2 through Dr. 3, or through D7, Di. 7 and D3.7 thus:
Nr. 2 Mr 0.3 Ace l before 7 -margah (for -vartma); before 14 sa-sligham (for sa-harsam); ad 24 om. iti, Act ॥ 2a ५७३०८९१५ anuseti-; ad ठ tasmin; ad £2 anyato; ववत -sam- Sakta-. Ace Hf 26d dayita; ad 26 ins. idam (after cavat); ad 31 Gtminam patayati, om. moham upagatas (1९८11361; ad 33 om. ahaha; ad 35 prati (for upagamya). Act 1V before 1 om. sdmino; 8b ghanadh; before 14 dasi- (for daiva-); 27¢ idam (for etat). Act V ad 7 om. tasya before vidher; 16a api.
41. 2 111 D7 4८८ [ ५4 47 kicei; ad 24 transp. kulapatinag and bhagavaca; ad 28 (Prakrit passage) -samyalida-. Act Il before 24 transp. bhavato and vidicah; 2gd kareum. Act IV 6c parijana-vacano-citini; ad 28 ins. dicunasv api; ad 35 om. vetalam prati. Act V ad 7 damsesi, ujjhia, vacchatthalo; 44 8 ins. tamam; ad 12 kim अगो) upasgtya; ad tg vtidim natayati; ad 20 dani, transp. me and hiaam.
Nu.z Mt Dis. 7 Ace Il 10c punah, Ace Hl ad 16 vijidoam; ad 17 om. klaivyam natayanti; 4d 21 degakalah; ad 22 dasitcanam; 26d priyatara, Act IV ad 8 sarvasva-pranayr- bhth; ga caranam; gb vilulicam; ad 35 गा, vetalam prati. Act V ad 7 om. na after jada; ad 14 paradhina-jivitam.
“Ex J
Ni.2 Mz 01. 3.7 Act ad 13 om. parikramya; 28a sapulakah. Act IV 15¢ -dhiima-paryanta-dhimram; 26b nituddha- paficendriya-; 27ab transp. tapodvaitam and kriya-dvaitam; 31a -khadga-, 31b -nidhi-.
Ni. 2 Mr D3.7 Act Il ad 4 enam (for amum); before 15 nird- vanda-; ad 18 upagamya; 28a yasya (for sarva-); ad 33 keta-krtya-nivettam, Act III before 2 transp. punovi and nikkamantanam; «ad 3 ins, tad-darganaya, Act IV 220 nisphalo drstipatah. Act V ad 19 ins. sa-vaiklavyam.
Leaving aside Nr.2, the MS Mr has many direct agreements with the exclusive readings of D1. Thus:
MiDs Act I ad 24 bhaavam; ad 28 -muttthaa-tthali-, om. pi. Act II roc ksanam. Act HIl ad 14 dvitiya-savanam; ad 16 nit- bandhena; ad 21 tvaya prarabdham iti; ad 22 muhuttam; ad 31 om. all words from puScidena to parikramati, reads ayam for asau; ad 33 mahatearaka. Act IV ad 6 tuliyam tuliyam, and tat ( for idam ); ad 9 ins. catha hi; ad 10 panamamha; ric gaa-camma-vastiye; ad 21 drstinirodham. Act V ad 7 om. bhadra and reads ti (for ha), -vicchinno; ad 14 smetva (for smrtim abhiniya).
But its agreements with exclusive D3 readings are much more numerous; and they shew its greater affinity to clus type of MSS, Thus:
M1 D3 Act 1 ad 3 transp. puravidah and prasastigatham; ad 4 vijayakostha-pranaptuh; 14d amali; ad 15 avissasaniinam; ad 16 alio-; ad 28 om. kisa na, (the long Pkt passage), om. vana, ins. visada before bhasura. Act II 2८ pasa-; ad 4 Aseama-padam; 74 taru-vanam; ad 8 sanandam avalokya; ad g bana-mokgisya; 12d kolo; 16b tapovanani, १6 svim yonim; ad 16 om. ajji; before 19 om. duratman; before 24 ksudra-ksatriyapasada; ad 25 om. bhagavan; before 28 transp, ptasida and bhagavan; before 30 ins, idanim; ad 32 ins, akase, Ace HI ad 1 ppaveso; ad 2 ins. Srutva; ad 16 anu- grhnancu; ad 17 om. iti and sakarunam; ad 19 gtha-raksak- sama; ad 21 upayujyatam (for pratigrhyatim); ad 22 cransp. addhavasida and dinim; ed 27 transp. dhik-Sabdena and
{ xxi ]
mam; ad 30 om. sakrodham; ad 31 agcatyam (for saécaryam), tata (for bhadra); ad 33 yad yad adigasi; ad 350m. sinunayam, transp. kim and atah param, om. gadua. Act IV ad oko; ad 22 Sriiyatasmatsvaminah SmaSanapater-vyaharah; 2९८ ngkapala-maulir; ad 25 -vesadharo; ad 29 vridam (for lajjim), vidita-vrttanta evaham; ad 31 yad 24145); ad 33 ins. eva after Kausikam, and ayam (after bhagavan); before 34 libhodayena. Act V ad 7 transp. Saibya (after yatha-nirdista), reads ettha (for edam), om. samantid avalokya and ha hadamhi_ manda- bhaini, om. sampadam, reads simuddaya-viakkhanchim, om. katham; ad 8 ins. tad avalokayami tavad endm; ad 11 om. vatsa; ad 12 dasa. (for svadasi-), om. nearly two lines; ad 15 om. manda-bhagyah; befere 19 om. idanim; ad 20 om. saslagham; 22d vardhayitum, 24d ceto'dhund; ad 24 [१८४ rijye; 26c -mandira-puspih; ad 27 -prabhivanim; 200 lab- dhaih prinair ayam api; ३०८ nije prabandhe; 31d ksirambu- 1256).
Similarly we have:
Mi Dr. 3 Ace Il ad 12 destva. Act IL ad 25 ypaccha dasa; ad 35 anena (for maya). Act IV 210 phutketi-sacath; ad 26 transp. tudra and bhagavan, reads idam vratam; ad 33 bhagavatyah (for bhavatyah).
Mi Di. 7 Act lad 7 ms. Baudbayana. Act Il ad 8 samdhinam., Act V ad 7 om. yyeva, reads papa-; gb kuntalah.
Mi D3. 7 Act HI aga anna-ksayapadi; ad 25 ins, ajja before muhut- taam. Act IV before 1 mahadalaa-; 17a -dari-dvaei. Act V 142 vaitaranisu vict-.
On the other hand, the direct agreements of Mr with the pecult- aly Devanagari (as opposed to Nevari) readings of Da. 4-6 are indeed vary few;
Mi Da. 4-6 (with or without $) Act | ad 12 attdnam (D2-6); ad 28 bhoana-kadhae (D1-7); -mubamandalo (D4-7, with Dr). Act Il ad 10 do not repeat Sita (D4-7). Acc Il id dukkale; ad 1 kalaissam (with Ni. 2); ad 2 pathati; 5a ayam (for idam) (D1-7); ad 25 nirgantum icchatt. Act V ad 7 ins. pathitva afcer iti, cilachetta- (D2-6); 23a yosyah (Na 14-7).
[ xxii ]
But, lastly, Ma is unique in showing the largest number individual readings which are not found in any other MSS. Thy are too numerous to be fully listed here, but the following instanc would perhaps be sufficient:
Mr Act I ad 4 fiend; ad 5 om. sasahkam, reads gahoparae, om cintém natayitva sabarsam; ad 6- sicitapadam, priya-vayas. yena Bodhayanenopadista-margah; ad 9 esa parihasah; ad 14 transp. garua and se; 16b bhanau yat; ad 16 sakrodham; ad 18 transp. maye and mantidam; ad 20 ujjagarana-; ad 22 ins, kkhu; ad 23 avicintyamanam; ad 24 om. pravisya, and reads grhyatam; 25a ksayita-; 266 manvadyaih; ad 26 ins. vasisthasya and reads piija-satkara ici, te (for bhavate), niama- ppajagara-; 27¢ hedi; ad 28 ins. kittina, (the long Pke passage) ins. deva, and reads viala- (for viada-), -dantantarida; dahaediha-bhio, ins. ghana (before nava-), and reads -juala- (for -puda-), viala-dadhdha, osobbhava, ins. ti after bhavissadi; 2ga adadhaci, 2gb Slathe,
Act [1 1b vanini; 2b Srakhalebhyah; ad 4 om. sabhayam and katham katham api, reads sihasikini and mahaduskaram; ad 5 95011 naisthike; 6c drsah; 4d 6 imam evavastham, siicah (for sarathih), om, anusaranam nacayan rathastho; ad 7 om. saharsam, reads arya pasyayam asau; ad 8 apatati; ga 52125, gc -viSirna-; ad g om. sagcaryam, reads ksana-paricitena; 1 ०८ pascad agres ad 10 preraya, om. satvatam, and dirato drstva sinandam; ad 12 om, sakhedam, ins. aye; before 13 aranyo- ddesam, om. sinandam; before 14 ascaryam pasya; ad 14 athaniyaat sabhajanaai;-ad 15 savismayam (for savinayam), eva (for iva); 16a dbaant, 16d asritya; ad 16 om. anaddhao, ins, Srutva, reads eva and iti, transp. atra (after avinitanam), om, bhaydrtinam, reads punar nepathye; 17d udgata-sikha-; ad 17 adhyagny upasino, tapasa-vesadharina; before 18 om. yathdniedistas ca and reads vidyaS ca; before 19 om. prac- channa-raksasasya; 20a krodha (for a-kroSa); 206 pavana-rayar, before 21 om. aye; 21d nayami; ad 22 tavatyo (for bhaga- vatyo) and atra(for apy asya), om. atea (after may’); before 24 om. duratman; 243 -daksam; ad 25 om. duritman; ad 26
1 xxiii ]
om. two lines, om. kathaya and reads kim nama (for kasmai); ad 27 teansp. duratman and yady evam; ad 28 om. one line, rad arhati daksinam ida danam te; before 30 parigrahah paramam; ad 33 sajjibhavami.
Act [आ ad 2 bhiliigi, avakkavimi, bhengi; ad 3 ca (for eva); 4c transp. na and asya; ad 4 om. dirgham; ad 9 om. aham satvaram) upagamya; ad 11 transp. tena and = munini; tab viruddhair; ad 12 aye prapta evacau duritma Harigcandra-hatakah; ad 12 om. me, feads savismayam aye katham ayam, sakrodham (for dlik), -nahi- (for -mithya-); ad 14 0m. Sipa-jalam upasambytya; before 15, savailaksyam; ad 165 transp. drstva and saharsam, om. katham iyam vanig-vithi; ad 16 samarabdham, इण) ad 17 susammatam, transp, mam jjeva and imassim kajje, reads avacchimo dani aam panao, ins. kinadha after aja; 18d sphuricam; ad 18 -pajjuvasam, savva-kicini, tummanam, om. vi anno, ins. chi (after gacchavah); 190 vindhyastha- nitonmadaih; ad 19 ins, idiso me samao tti; ad 20 transp. idam and avasthantaram, ins. iyam, om. kila; ad 21 om, sasram, reads dubkha- bhiginam, kim ity evam, ins, iti (after prirabdham) and ajja_ before narihadi; ad 22 nanv anumatah evaisa; ad 25 uajjhia, sudictham ajja- uttam karemi natayati, c4janam avalokya svairam svairam gacchati; before 26 om. ca; ad 26 avuka parittaahi parittdahi, iti niskrimatah; ad 31 reads sadrSam (for tulyam), salameaa, surde, ins. avalokya sakhedam, cransp. sasambhramam upagamya “and prakasam, ins. svagatam before and prakagam after vadham; 32b gumma-sthinadhiy- ira-, 32d mahatulake ; ad 32 om. bhagavan prasida prasida; ad 33 om. two lines; ad 35 ins. grhieva before gacchami and reads aparah (for prakasam).
Act 1४ icd ketyam khalu Santam; ad 3 reads pidayati mim; 4d dire; sc ca patitasi; ad 6 ins. agrato’ valokya (after siivastambham) and idam (after mahaSmasanam); before 12 om. tathd hi; ad 13 ins. 02120; 146 vidambita-caracara-vibhramah; 160 vajjha-sthanam; ad 17 vividha-bhiida-vedala-samkule, transp. appamattena and citthidavvam; ad 19 savismayam, transp. khalu and nu; 20c -samghattakulica-radas; 23¢ brahmendra-rudra-murajit-pratimo’ pi; ad 29 aho vrata carita; ad 3% ins, yatha, reads Sariram, svami-virodhah, sambhavaniyam, tenaiva, om. bhavatd and second protsarata; ad 33 saharsam (for drstva), tivea-
._ [ xxiv}
tapobhih, yatah, (for eatah), vardhasva, siddha-tasasya, mabérasen. deah; ad 34 svamy-anurodhe’pi, iti anumata evayam, tatah prapyacim nibbream eva nah svaminah samniveSam, idam mabadhanam, om. abo; ad 35 ratrih, sadhavah; ad 36 bhagirathi-tiram.
Act V before 1 malina-vesa-dharah, om, nihSvasya; 2a praharata, 2c vyasanottarena; ad 2 nitayati; 3¢ matsamgamam; 56 na (for tu); 44 5 om. two lines; ad sk vamaksi-spandam, ins. saSanka-harsam ; ad 7 apati-ksepena, om, ale and reads gamissamam, reads pituno vi de pariccattam, transp. mam and manda-bhainim, reads Srutva sakarunam avalokya, vihemi (for bhaami), om. aham kim, bhimam (for bhisanam), damsito'mhi, akhandidafi and tilakhkhetea sambhavaiii, om. all words from dabbhamkuraim up to saccakam jeva, duhkhavyaparah, transp. samjaim labdhvi and sopalambham, niskaruna, reads marma-sprk paridevitam, vinnina-vedino, ins. atma-gatam (after sagankam); 8d -diksdnkurah; ad 8 anya- (for para-); before 10 om, samjham labdhva; ad 10 tapana-kula-kamala-prabala, kusika-nandana-daksinanrnya-pra- dhana-punya, om. vatsa and -hrdaya-; ad 12 om. aparena; 13 places this stanza after 14; 14 two halves of the stanza transposed; 14d tanaya-vikeayajena tisu; ad 14 suta-Sokigni-nirdagdham; ad 16 -dagd- ham (for -dahyaminam); 17¢ yogo viyogaih samam; ad 17 aanam; 18d vihanyate; 4d 18 om. akarnya, transp. sasambhramam and pasam utsrjya, reads na parimukka imado dasa-bhivado, maranam, labbhadi, om, sahasotthdya; ad 19 savastambham (for sabaspa-stambham); before 20 ins. papita; 20a jfanam, 20c. Silam and satyam; 210 kaeyaih; ad 21 sasambhramam, unmilati; ad 22 om, asi, tata and tatha hi; ad 23 vimainaddhikarinam, rajan (for malaraja), om, yathedam sarvam iti, reads क्प vegam त्त, satya-jijhasiyai; ad 24 repeats only asanam; ad 25 transp. devatabhih and abhinandyate; 260 sand- ram snigdham; before 27 om. bhagavan; 27b transp. asman and api; 318 etasya (for idigya), 319 drstva.
It should also be noted that like Dr and D3 and like all our Devanagari MSS, Mi knows nothing of the substicutions and transpositions peculiar to Nu. a which we have mentioned _ above,
All these considerations would go to shew that in the main Mz, like Dr. 3 and perhaps secondarily chrough them, follows che Nevari
{ xxv }
text-tradition, but its large accretion of individual readings would also indicate an unknown source extensively drawn upon for these.
D1 and D3
Although written in Devanagari, these two MSS shew a close relationship with Nr. 2, and should, therefore, be classed in the Nevati group. The affinity is illustrated by a large mass of agreement with the exclusive readings of Nr. 2, including insertions and omissi- ons. Taking Dr first, we select at random the following instances ; Ni. 2 Di Act I. ad 3 varnayanti; 15¢ -lalaso’yam; 29d rajiio.
Act II. ad 4 -dantantarvartinam; ad 6 ins, asya; ad 7 sotsaham; 8b transp. lola and nila; 8d -dustham; ad 8 dlokya.
Act Ill. ad 10 Hariscandra-hatakasya; ad 12 alika-madhuryaih; ad 18 om. भृः before 20 alokya; ad 21 ins, kila (after pra- tisiddha), and transp. ajjo; ad 22 ins. me (after danim), gantum (for nirgantum); ad 25 avukka; ad 33 om. tat.
Act 1४. 100 .Sonitavasa- (mislection); 17a -guha-dvari; ad 18 alokya; ad 29 om. bhavatu; before 33 ins. cathd hi pasya; ad 33 manyante, om. rajan.
Act V. ad 7 ins. itma-gatam; before 8 ins. muhuttia-varehim; ad 18 susiisie, and ins, tadha (Saibya’s speech),
Similarly, with regard to D3, we have the following, among other, exclusive agreements with Ni. 2:
Ni, 2 D3 Act I. 21d -pavana-dhitagronnidra- (contrary to metre); ad 22 devo; before 27 citumadi.
Act Il. ad 22 esa; before 27 ins. duritman; ad 29 samihrtya; ३०८ eva.
Act III. before 1 sigopam; rd om, kkhu; ad 5 om. varanasi; ad 9 -adhva-parisranta; before 13 ins, sakrodham; ad 14 dvitiyam 3020200; before 18 om. kastam bhoh kastam; betore 20 anenaiva; ad 28 om, punah; ad 33 om. Srnvantu Srnvancu visve devah and read bhagavan vadham karomi, ksatriy’ vayam na punar abhidhatum janimah (for vadham karomi).
Act IV. ab kim maula-bhrtyan; qb tach’. 4
[ xxvi ]
Act V. 1a dvija-sattamasya; ad 7 vidheh (for hata-vidheh); before tg omit ca; ad 21 sa-vismayam; ad 23 natayitva (for natayan), before 29 om. tatha hi; 31b anudinam.
There is also a number of cases where we have exclusive Nz, 2
D1. 3 agreements. For instance:
Ni. 2 D1. 3 Act I. ad g ins. me (after punar adya) and sa-vismayam (afcer raja); ad 13 repeat kim pi; 27d kapolayos te.
Act Ill. ad 19 om. drstva saScaryam; ad 21 ins, idam (before no dhanam); before 23 ins. etat (after eva), and read hatavideh (for vidheh); before 29 om. aye; ad 35 ins. taye (after bhavia),
Acc IV. 8a ami; ad 13 kasya (for kasyacit). Act V. ad 18 ha (for धट).
These concordant readings, especially the concordant insertions and omissions, which cannot be easily set aside as accidental or intentional, are numerous and striking enough for postulating that Nr. 2 and D1. 3 must be ultimately traced back to a lost common ancestor 6, which must have been different from the lost common ancestor of the Devanagari group.
But Dx and D3 (as well as M1) have also a number of individual disagreements with Ni. 2 thus:
Act 1. 3a Ni. 2 dnanda-glathitah; D1 (weih Mi and other D MSS) eHachicah; D3 “grathitah. ad 4 Na. 2 Vijaya-kostha naptuh; D1 vijaya-kostha-kaver naptuh; M1D3__ vijayakostha- pranaptuh,
Ace Ill. ad 21 Nu. 2 tvaya dirunam karma prarabdham; Di (with Mx 53) tvaya prarabdham iti; D3 vyavasitam idam iti, Before 26 Ni. 2 sakopam are kapilaemakkada; D1 ale makala-valua; D3 ale vadua; Mz ale le va.***
Act IV. ad 3 Ni. a samprati dedham pidayati mim devi (N2 om. devi); D1 samprati pidayati mam; D3 drdham mam sam- pati pidayaci; Mz pidayati mam. 12a Nr. 2 -runda-lulicah; D1 -munda-lulitah; D3 -kantha-luchitdh; Mz -kantha-lulicah (as in text). Before 22 Nr. 2 desti-virodham; D1 *nirodham (with Mr); D3 *rodham. ad 33 Nu. 2 tad anu svidhina
Act V.
(| xxvii J
vayam; D1 tad anu éadhi nah; D3 atah sidhi nah; Mr atas tvam Sadhi nah (as in text). Before 34 Nr. 2 samsiddha- rasasya; Di asya samsiddhasya; D3. 7 asya siddha-rasasya; Mz siddharasasya. ad 35 Ni. 2 sadhayamah (with Mr); 01 sidhayami; D3 gacchimah. 36a, Ni. 2 tamo-nirbhinna- gahana- (with Mr); Dx tato nitbhidya gahanam; 03 tamo vicchidya gahanam.
Before 9 Ni. 2 ins. tad alam avalokayami tavad idanim; Dx ins. tad avalokayami पण्ड D3 ins, tad avalokayami tivad enim (with Mr). 14a Nu. 2 -vaitaranisvavici-; Di -vaitaranisu siici-; D3. 7 vaitaranisu vici- (with Mx). ad 16 Nz. 2 asahya-suta-Sokignina dagdham; Dr aSakyam Sokagnidahyamanam; D3 suta-Sokagni-dahyamanam; Mr asahya-Sokagni-dagdham.
Of all our MSS, again, both Di and D3 have a fairly large number of individual readings which are not traceable in other MSS, With reference to Di we may cite the following instances, which, however, are not exhaustive but illustrative:
D1 Acc I. ad 4 tvayabhinetavyam; ad ठ guru-vacanani; just before
Act IL, Acc III.
19 jedu jedu; ad 24 om. kulapatina; before 29 manovinoda- sthanam.
3५ hita-vyasanaya siddho.
ad 9 devi dirghadhvam anusranta; ad 11 cathd bhavatu; 18८ tac cetasa; ad 18 ins, sunadha (after प्प), om. kim bhanadha, om, ta gacchadha pasidadha, reads paoaena and om. sadha; 190 vyasta-payoda-; ad 21 ins. khalu (after mam), reads kim evam, and vistara-Sravanasya, ins. idgsam (after ptarabdham) and reads atra nirbandhayitum; ad 25 devo (for ajjo), bho devi daccha, muhuttam padivalehi java nam ajjauttam sudittham karomi, yamyataém gamyatim; before 26 om. tat, reads kim tumam; «sd 31 pranidhinato’pi nasya 279 Hiarigcandrasya tulyam pasyami; before 32 a long passage is substicuted for all words from bhoh sidho to bhadra bhavan arthi; transp. verse 35; 44 35 grhnami
Act IV.
Act V.
[ xxviii J
(for gacchami) after which ins. a long passage; om. sa. vailaksyam tatha karoti.
sd tviyam; 8b krosakrandaih; 17a jalpanty णठ; before 20 parihasa-pracaya-durvidagdhano; before 21 ins, yatah; 219 -pracala-; ad 21 esim (for amisém); 22b pada-nyasa- skhalita-visamo; ad 22 transp. $masanadhipateh and svaminah; ad 30 ins. api (after bhavan); before 34 grhyatam (for upayujyatam); ad 35 maharaja, cajani vartate (for vartate vibhavari),
ac yatha; 3a dina-vadand; god purana-citra-likhita; before 10 alokya; ins. ha vatsa and reads danta@ikurasya; ad 12 om. duraeman Harigcandra-hataka; ad 17 ins. ajja vi (after kadham) and reads edassa.
The individual readings of D3 (with or without M1) are perhaps mote numerous;
D3 Acti. 3c ghrna-ghimnitah; ad 3 lild-samutkhaedsesa-satru-
Act I.
Act Ill.
mandalena; ad 4 raesina, and om. kila (after sa) ; ad 5 om. tan-nimittam and saharsam; ad 6 ajjo (for piavaasso), om. -niyama-;ad 7 ins. vihasya, om. vayasya and idam; 4८ -madhurd; ad 14 om. yathi-nirdista and nipphala-; 15a -lolupas te; before 17 105. bho; ad 24 bhiiyah, satvaram, ins, a long passage jam devo anavedi etc.; ad 28 (after the long Prakrit passage) vinoda-vistara-schanam.
ad 6 -dalani, ins. bahih, teansp. darSayami and dtmanam, om. rathastho,; 8d dantagra-, katham ayam mamapi mukham; gd vyapagama-krida-; roc vrajati; ad 10 gamisyati; ad 14 dayusman (for svamin); ad 17 divya-riipena, -homa-sadhanagni-; ad 22 yisim siddhaye — prapto’ham antarayah; ad 28 maniginah sid-gunyartham tu tasyaiva daksinam datum athasi; before 30 om. kila bhagavatah; 31d cubhyam adya.
3d -Sakalah pracalas ca maulih; before 13 nachasi, alika-dina- madhurya-sambhavanakhyita-; ad 19 om. garuo; ad 21 mahjbhiga (for mahatman), and ayam (for idinim), mim
[ xxix J
nirbandhayitum narhasi; 256 balakas capi raksyo; ad 25 om. sinunayam, 105, ajjo (after mam), and gamyatam (for viramyatam); before 26 ah vadua kahim me ambi niadi; ad 26 upagacchasi; ad 29 mahanubhavah; before 31 sinu- ८435 candala-vesa-dharo dharma-rat.
Act IV. ad 13 om. akarnya, reads diganta-pitinam, vihaganim simravinam; ad 17 om. nisa-kalakale; before 18 om. tatha hi; 186 -kuhara-dari-karna-vivara; ad 21 ins. idanim; ad 24 ins, eva and om. ko’yam iti; 4d 29 vriditena; before 3३4 om. mahi-nidhanasya; 4d 3q splits up a sentence’as a dialogue.
Act V. before 5 nitvarnya (for vicintya); 7d Saranam mama; before 8 sa-karunam (for sasram); ad 8 om. bhagavantam; ad g ins. nrpa-kula-bala-prabala; ad 12 om. (hapl.) katham adyapi etc. (a long passage), but ins. it later; before 13 tat kim ataly param drastum icchasi 4017 markheti marchati Sanair utthaya; ad 19 ins. muhuttaam (after bhaddamuha); 4d 25 vimana- caribhir devaih; 27d muktatmambharth.
At the same time we have some exclusively concordant D 1, 3 readings, of which a few instances may be given here:
D. 1. 3 Act I. before 8 yatah (for kutah); 266 prabhavae.
Act I, 1b mustakitna-sthalani.
Act Il. 7d ksetram amalam.
Ace IV. ad 1 om. iti; 3a tacha; 132 camunde; 190 lala-ythvo; ०9८ jayati.
Act V. before 13 tyajasi (for parityajasi), etc.
It should also be noted that like M1 and like all our Devanagari MSS, D1 and D3 know nothing of the omissions and insertions of longer passages, as well as of the substitution and two notable trans- positions peculiar to Ni. 2 which we have mentioned above. This 1s an important point in which Ni. 2 stand apare from all other MSS of different types, and which presumably throws doubt on the superior reliability of the Nevari cradition.
It is clear, therefore, that while D1. 3 have a large number otf exclusively concordant readings with Nz. 2, there is also a large
~ [ xx |
number of divergences and individual readings. All this would not permit a direct affiliation of Dx. 3 with Nu. 2, एण would point toa lost intermediate source drawn upon by D1. 3 for these divergences and individual readings.
We may, therefore, represent the inter-telationship of the MSS of the Nevati group, that is to say, of Nr. 2, Mz and D1. 3 graphically thus:
The Archetype of the Work
The Devanagari Group.
We have considered the characteristics of the Nevati group in sonic details, because once the distinct textual tradition of this group is established, it would follow as a corollary that the Devanagari group, which is differentiated by divergent readings on the large number of points considered, should be regarded as representing a separate texcual tradition; and ic would not be necessary to go into minute details “again for establishing it.
This group consists of the following MSS: D2, D4, 05, D6, D7, 91, 92 and S3, as well as the two printed texts Per and Pez of which the last two may be taken as possessing the value of eclectic MSS. Since it has been found by experience that no two MSS, which are not direct copies of each other, are found to agree in all details, the MSS mentioned above of this group have their large and small differences with one another; but substantially chey present a more or less uniform text.
[ xxxi ] D2. 4—6 S1. 3
With the exception of S2 and D7, to which we shall revert presently, these MSS generally fall together. It is very rarely that they have, individually, the exclusive Nx. 2 readings. There are some instances of such agreement, but they are sporadic and textually unimportant. Such as:
Ni. 2 Da Act ४, ad 28 om. punya-sambharena,
Nr.2 04 Acc III. 15¢ param asti loke. Act V. ad 23 avalok- yacam.
Ni. 2 05 Act I. ad 16 om. ah; ad 20 krodham.
Ni. 2 D6 Act IV. ad 21 kutihalataya. (with M1 93).
Ni. 2 Sr. 2 Act I. before 9 mam apidanim.
Ni. 2 93 Act l. ad 6 -Bodhayanenopadisyamina-. Act II. ३०९
antarayam.
Sometimes these uncommon agreements with Nr. 2 appear to have percolated through Dr and D3 of the Nevari group, both of which are written in Devanagari characters, or presumably through some MSS of the same type not known to us. Thus, we have:
Nr. 2 D1, 2 Act I. ad 1 aranyani. (with M1)
Ni. 2 01. 4 Act I. before 10 kopasya karanam.
Ni, 2 07152 Act I. 449 om. iti. Act Il, before 7 do not repeat Arya. (with Mz 53).
Nr. 2 Di S3 Act I. ad 20 dlokya; before 27 repeat pasidadu.
Nr. 2 Da. 3 Act I. before 23 Santyudaka-bhajanahastah ( with Mr)
पिव, 2 D3 S2 Act Ill, 1d hagge; 29 vellad-dhvajamsuka-.
Nx. 2 D3 $3 Ace 1. ad 18 piasandidhama, which Nr, 2 transpose also.
Of the various MSS comprised in this group, individually consider- ed, the MS Sz, written in Devanagari, has little distinctive charac- teristics of its own; while 53, though written in Grantha characters, is too fragmentary to be seriously considered for text-critical purposes. Similarly, Ds, possesses little individuality which need be profitably noted here. The text of D6 is substantially che same as that of the ptinted edition एता, which appears to have utilised it. But 04 has
[ ऋण ]
some independent readings and ewo remarkable instances of individual insertions, which are not to be found in any other MSS. The Insertions are : Dg Act’ V. before 11 ins. bala etavatyo durvahya api, etc.—a fairly long passage. Act V. ad 24 ins. a whole verse: aksipya yens bhuvi patita esa 02130, etc.
S2
The MS S2, written in Grantha characters, is also unfortunately fragmentary. Ic is, however, the only South Indian MS which shows some direct ot indirect verbal agreements exclusively with Nr. 2. For instance :
Nr. 2 S2 Act I. ad 5 |
Nr. 2 D7 92 Act IV. ad 13 vihahgamanam.
Nx. 2 D1. 3 S2 Act V. ad 7 natayati,
Nr. 2 D3 Sa Acc Il. 14 hagge; 29¢ vellad-dhvajamsuka,
‘Ie has also a fair number of individual readings which are not traceable in any other MSS. Thus,
92 Act I. ad 5 om. kufilavaih saha. Act II. rb sthaputayati nitarim ghonaya camkhanayya; rcd jalany utkrtya balvad ghurughurita = maha - Sabda - ghoram dadhana / dharmaranye kuruca na kitih kany ayam yani tini//; ad 2 varaha-vesah (for raudrojjvala-vesah); before 24 transp. aham and_viditah; ३३१ durnayam enam amba. Acc III before ro ardham nabhah. Act IV. ad 31 bhagavin (for bhavan), Act V. 2b vislesam nayat@pi tena; 3d papam tu samvetti mim; 5a padam.
S2. 3 Act Il. ad 15 sa-vitarkam (for sa-vinayam); ad 17 nepathye himsim avalokya.
Act ४. ad 7 (Saibya's speech) kasanahi (for kanhahi).
These discrepancies are not extensive; but they are striking enough to prevent us from including Sa in a lump with Da. 4-6 Sr.
3» as well as with 17 (see below), alchough substantially S2 belongs to the Devanagari group.
[ xxxiii ] Per and Pe 2,
Ir is not necessary to take the two printed texts Pex and Pra in detail. Printed in the last cencury and based on admittedly insuffi- cient manuscript-material, they could not be critical or definitive; but so far as they go, they present a fairly smooth text of the type presented by the Devanagari group. The texe of the two editions, however, are not identical in all details, Per has nearly the same text 15 Da. 4-6, although it appears to have used Pt2 and notes some variant readings. Peta shows certain differences and some better read- ngs (occasionally adopting readings of Nr. 2 D7), but they are such is one would normally expect in two individual MSS of the same rroup. We would, therefore, take Ptr as having the value of two ८८८५५ MSS, ot rather as two eclectic codices impressi typis, of the Jevanagari group.
D7 The case of D7 is somewhat different. It is our oldest dated xemplar of the Devanagari group. Like S2, ic shows a number of idividual readings not found in other MSS; bue what is more zmarkable is that it shows some striking agreements with the exclu- vely Ni. 2 readings. For instance : Ir. 2 D7 Act I. ad 6 ins. ayam (after katham); see page xix.
sce I. rb utkramenaiva.
ice IIL. ad 1 duddha-.
welV, ad 17 3126; 216 nalam.
ct V.ad 7 गा, Se; 10a grathita-mangala-; 18c sarvatha (for bhir iyam); cakkavatti-lacchana-; ad 21 do not repeat Sanaih; ad 22 ins. ce (after ayam); ad 23 om. divyam (with S3); ad 29 bhavatu (for ascu).
Some of such agreements come apparently secondarily through ich Devanagari MSS as D1 and D3, which, as we have seen above, € more closely akin to Ni. 2. For instance:
व. 2.01. Act Lad ra ins. sa-khedam. Act III. 14d धक; ad 22 me (for mam); ad 33 om. me (after dasena). 5
{ xxxiv ]
Act IV. ad 1 sutaram Sokah (for 4 Sokah); ad 31 siddha-ras,. mahanidhanam; 4d 33 yato’naparadhyam. Act V. ad 7 (Saibya’s speech) ins, sa-vyamoham (after utthaya).
Ni. 2 D3. 7 Act Il. before 12 ins. aécaryam (after sa-vismayam); ad 2g ins. me (after parihrtya). Act Ill. before 3 ins, bhavinam; ad 25 ins. vatsa (before yatra).
Nu. 2 Dr. 3.7 Act I. 35a kgapica- (with S2). Act II ad 9 om. kgtah. Act IV, ad 31 ins, kacham (before yoga-balac).
The individual readings of D7, however, are not too numerous; for instance we have Dg Act 1. 14¢ nirasah; ad 24 0021775० } 25८ nrpate.
Act Il. before 15 tapovananim; before 17 tad eva; ad 26 om, bhagavan Sriiyatdm; ad 28 ins. manisinam.
Act Ill, ad 21 ins. tu; ad 22 om. iti; ad 25 muham ajjauttassa.
Act IV. 250 narasthi-; 25¢ kapala-maulih.
Act V. ad 5 Santam Santam; before 8 (Saibya’s speech) alakkhanam samdittham; ed 17 jivita-phalam; ad 19 om, ha; 210 brahmalokan; 27d sahasi; 29d kim syd etat param api matam.
These primary and secondary agreements of D7 with Nx. 2, as well as its individual readings, ०८८ interesting enough indications; but since they are neither so extensive nor textually important as those of Dx and D3, the codex D7 cannot be directly affiliated to the Nevari group. It belongs substantially to the Devanagari group, but since it agrees in some cases with the textual tradition of the Nevari group,
` ४ appears to draw also upon archetype ब, just as Nu. 2 draw upon the archetype 6. In other words, it is probable that the agreements of
D7 with Nz. a are not primary, but the result of conflation with 6,
From what we have said about the different MSS of this group, it would be clear that their common characteristics ace sufficient for postulating a lost common ancestor « of the Devanigari group, distinct from the lost common ancestor 6 of the Nevari group. The interrela- tionship of the Devanagari group of MSS may now be graphically represented thus:
[ xxxv ]
The Archetype of the Work | « न | | | D Da. 4-6 S1. 3 S2 Pra
Pear
We can now summarise and coordinate the results of our critical survey of the characteristics and affinities of the various MSS of the Canda-kausika, collated by us, by classing them finally according to the following stemma codicum :
The Archetype of the Canda-kausika |
| = ~
4 ॥ Fd eee | poy ~त i | | D2. 4-6 sh Pha £ N 1 Ne 4 . St, 3 Pes | | 01 # | | |
PROPOSED METHOD OF TEXT- RECONSTRUCTION
It is cleat from what is said above that che MSS of the Cande (८५६१९, as they have come down to us from different sources, are already dispersed into two groups, which appear to follow two distinct textual traditions. None of the groups asa whole can be taken as identical with the original archetype of the work from which they descended ; otherwise the discrepancies, such as they are, would not have occurred. As in the case of most Sanskrit works, the archetype itself is preserved in no autograph of che author, nor in any authentic copy contemporaneous with or even reasonably close to its period of composition, We can, therefore, reconstruct the original, only approximately, by recognised principles of textual criticism.
The first and most important textual problem which we have to consider is the respective authenticity of the evidence furnished by the two groups mentioned above, namely, the Nevati and the Devanagari, Ic is clear from the facts adduced above that we cannot give absolute preterence to the one or the other, because none of them go back directly to the original. And yet a comparative valuation is desirable. At first sight one would think that since the cwo Nevari MSS, Nz and Na, are the oldest of the two groups (Ni going back to 1250 A.D), they furnish the oldest available testimony, to which greater authenticity should be attached as such. But from che general trend of Indian text-tradition it should be recognised that the mere fact that a MS is the oldest does not necessarily imply that it embodies the best textual tradition. On the contrary, a comparatively late MS is often found to preserve the text in a much better form. No absolute criterion, therefore, can be laid down on this point; and each MS or group of MSS has to be judged on its own intrinsic value, In the present case it appears that the divergences of the Nevari group, as noted above, are peculiar co itself, and are not supported by che general tradition of the Devanagari group, which has also its own
{[ xxxvii 1
peculiar readings. Ie is obvious, therefore, that the original cannot be found exclusively in either group. As a matter of fact, proceeding on the assumption that Nr. 2 are our oldest available MSS, we attempted to reconstruct the texton this basis alone, but we soon found out that this method failed to give usa really consistent and satisfactory text, especially as the Devanagari group did not always support it and often gave better readings. We have already referred to one important point regarding transposition of passages (0. xxix) which would throw doubt on the absolute reliability of the Nevari tradition. On the other hand, the text could not, for the same reason, be recons- ५८६८६ on the basis of the Devanagari group alone. It is also impor- tant to note that our MSS divide themselves into distince groups mainly, if not entirely, on the basis of sctipts! As the work itself was presumably composed in the Devanagari area, it seems probable that the Nevari MSS, though the earliest, did not (like the South Indian Grantha MSS Sa, 3) preserve the best text-tradition, which can be confidently accepted as unquestionable in the face of the contrary testimony of the Devanagari group. By following, therefore, any pacticular MS or group of MSS which, however good or old, has tts own faults and deviations, we would be authenticating just chac arbitrary reconstruction which it is the express aim of the method of textual criticism co avoid.
In these circumstances, our reconstituting of text must necessarily be eclectic; but it muse be eclectic on recognised principles, From this point of view it appears that barring such vagaries and peculiar
1 This is the case, on a much larger scale, with regard to the Mahabharata text-tradition, as Sukthankar has already shewn in his Prolegomena to the Adi- parvan, Our apparent exception is that the Maithili and two Devanagari MSS are allied to, and are therefore grouped with the Nevari, while the two Grantha MSS go with the Devanagari group, But the case is similar to Sukthankar’s grouping of K with S and Belvalkar’s grouping of one ए MS (in Bhisma) with K.—It is hardly necessary to point out that the object of textual criticism is to find, not « priori the best, but « posteriori the most authentic readings; and for this purpose a careful grouping and evaluation of manuscript material is
necessary,
“£ ० ]
aberrations, as are noted above, of both the groups, they agree generally ` with regard to the rest of the text. We can postulate this as otiginal and independent agreement between the two groups, on which we should primarily base our reconstruction of the text. Such agreement is documentary evidence prima facie between 4 and 0 of our stemma codicum leading irresistibly to the original archetype. There can be hardly any doubt about this sound and simple rule; but difficulties arise where there is fluctuation, which is indeed not rare, In such cases, where the documentary evidence is uncertain, the comparative value and mutual relationship of different manuscripts or groups of manuscripts should be taken into account in estimating their evidence; and even where this fails to guide us, choice would fall upon that reading which has the greatest intrinsic probability, considered from the points of view of context, grammar, metre of sense. One such instance of importance is furnished by the transposi- tion, already noted above, of a passage before or after V.18 made respectively by the Nevati and the Devanagari MSS. Here the documentary evidence being conflicting, we have to prefer, for reasons of intrinsic probability, the reading of the Nevari MSS to the exclusion of others, On the other hand, in the case of the transposition of a longer passage on the episode of Kausika’s curse on the Visvedevas, we have for the same reason preferred the reading of the Devanagari MSS. There are also yet more difficule cases where the evidence pro et contra of documentary and intrinsic probability is equally balanced. In such cases there is no alternative but to accept that reading which would seem most probable, even if it is not the most factual.
At any rate, we have tried to keep strictly to documentary evidence in accordance with the prificiples enunciated above. The spelling has been standardised and obvious scribal blunders silently corrected; but all truly variant readings have been faithtully recorded. Except in the case of Prakrit passages, which we shall discuss separately below, there has been no emendation to the text; and in this respect we have strictly followed the accepted principle of text-criticism that, in general, interpretation should be given preference to hasty emenda- tion.
RECONSTRUCTION OF PRAKRIT PASSAGES
We have bestowed particular care on the Prakrit passages of the play. This was 3 task not without great difficulties, for no MS was found uniform or reliable from the standpoint of the rules laid down by Prakrit grammarians. The Cands-kausike appears to employ only two forms of Prakric, namely, Sauraseni and Magadhi. Barring common blunders and occasional intrusion of y- and v-Sruti, che Sauraseni, being the mote familiar Prakeit, is fairly normal, although very often forms of other dialects curiously creep in. Thus, we have aberrations like citthai (for citthadi), jubabio or judbadbivai (tor jadbadivo or judbadhivadi), vacchatthalo (for vakkbattbalo), vicchoho (for vikkbobbo), 14/0८, taba (for jadba, tedha) from Maharastri; odalide (for odérida), (०८१40 (for hkéranddo), ale malays-valua (for are makada-vadua) from Magadhi; and even kasanabi (for kanbabi) from ApabhramSa. These are, however, sporadic instances, such as are sometimes found even in the best MSS of Sanskrit plays, Bue the Magadhi Prakrit, as presented by our MSS, is a more difficult proposi- tion. [८ is spoken, both in prose and verse, chiefly by Candilas in the play. That the dialect is Magadhi is not only recognised by Pischel (Grammatik & 23), but it is also clear from such undoubted Magadhi characteristics as ६ for s,s and | for r; nominative singular of a-stems in ¢ ; and bage for abam. But even here the MSS are not uniform; for they show frequent confusion of § and s,s (e. g. ese for ८९, visame for visame, samae for Samae etc.), sometimes of r and 1 (९. ह. Da. 4 darwna for daluna); and the use of bagge (Nt. 2), hakke (D1), abakke ot bake (D7), abage (S2. 3),—and even abam pi (D1. 2. 4-6 Si Pc 1.2) for bage vil For Ske. mytaka we have variants like १9५104८, १०१८९६७, medale,“miade. All this is indeed confusing. At the same time, when we find that cacer forms of -Magadhi are sporadically, but correctly used, ९, g. 04 peshadba, D7 laskana, we ate led to suppose that the disappearance of similar correct forms is due to untrained scribes, who were always inclined to substi- tute more familiar forms for those of rare occurrence. Thus we find Sauraseni dwkhale substituted for Magadhi duskale; 5 jjeve for Mg yyeve; $ vajjhattbine foc Mg vayybastine; ऽ citthadi for Mg
~.[ xb J.
cisthadi; $ annae for Mg 27976, and so forth. Not only do the MSS confuse the two dialects Sauraseni and Magadhi, buc they present many forms which ate correct in neither, and which in some instances offend against the elementary rules of Praktit phonology. The contu- sion of dialects and incorrect forms occur throughout the text; but they are amply illustrated, mote especially, in the Magadhi verses III. 1, III. 32, IV. 11 and IV. 16, where the MSS are uncertain, and even reckless, not only about Magadhi Prakrit, but also with regard to metrical regularity in Matea-cchandas.
What then is to be done in these circumstances of the general unreliability of our manuscript evidence in respect of the use of the Prakrits in our play, especially of the Magadhi Prakeit? Ie is well known that most. MSS of Sanskrit plays reveal a similar state of affairs; and most critical editors have been put on the horns of a dilemma about the right procedure to be followed. It is not desirable, on the one hand, that one should, in accordance with the rules of the gtammarians, take liberties with the text, but on the other, one cannot allow an uneven and inconsistent text to stand with its wild admix- ture of dialects. Critics have found fault with editors of plays like Pischel, Hillebrande and Sten Konow who have not hesitated, in such circumstances, to’ depart from manuscript evidence and boldly restore the deteriorated texts in respect of the prakrits; but che question has been rightly posed by Hillebrande in his critical edition of the Mudra- raksasa. Maintaining that in such cases of uncertain linguistic evidence of MSS, one has no other alternative but follow the gram- marians, he lays down the guiding principle clearly by stating: “At -all events, by following the rules of the geammarians we gain firm ground, while by following the manuscripts and their varying practice we are constantly troubled by the feeling of inconsistency. It is of course impossible to write once gefca, and at another time in the same dialect gacche, and therefore we are forced to normalise the text even where no manuscript authorises us to do 0.........For this reason it will not be considered too bold to restore the Magadhi dialect through- out even where the manuscripts fail to guide us.” ;
Faced with similar difficulties, we have thought it advisable, there- fore, to normalise the Prakrit (especially the Magadhi Prakric) passages
[ ऋ ]
in general accordance with the cules of Prakrit grammatians like Varacucit and Hemacandra? and in the light of the readings of authoritative texts compiled and discussed by Pischel in his Grammatik der Prakrit-spracben (Strassburg 1900). Our MSS variants, however, have been fully noted in every case; and in other respects we have been strictly conservative. It must be admitted that in the absence of proper manuscript evidence the procedure and the resule cannot be regarded as wholly satisfactory; but this is all that could be done to approximate to what one would expect to find in a work of the classi- cal period.
We are aware, however, that it is possible to argue that the Prakrit in question employed in our play is really not Magadhi, but a modified form of Magadhi which is called Cindali by some Prakrit grammarians. As the dialect is spoken [लट chiefly by Candialas, the argument would at first sight appear plausible, According to Markandeya, the so- called Candali Prakrit is a union of Sauraseni and Magadhi,* It is described by Purugottama* more vaguely as magadhi-vikrtib or modi- fication of Magadhi. But the rather meagre cules they lay down about this Prakrit is neither very distinctive nor entirely applicable to the present case. In theie opinion, the characteristics of Candali Prakrit are: e- and o- nominative singular of a-stems; genitive singular in ~ ; locative singular in -mmi in a-stems; no change in -tthe group; va also for iva; gerundive suffix in-ia (eg. genhia); and frequent employment of gram yokti or vulgar expression (grémyok- tayo babulam). While the suffix -mmi is also found in Mahaedseri and Ardhamagadhi, and -iya or -ia -wna being more common in Magadhi) is found in Sauraseni and other dialects, it is noteworthy that the characteristics which can be regarded as peculiar to Candili
1 Ed, P. L. Vaidya, with Bhimaha’s commentary, Poona 1931.
2 Ed, Pischel, Halle 1877.
3 Prakrta-sarvasva of Markandeya, ed, 5. P. ४, Bhattanitha Swami, pt. i., Vizagapatam 1927, p, 107: candali magadbi-Sanrasenibbyam prayaso bhavet, The characteristics of the Candali given in this work agree generally with those given in Purugottama’s work.
4 Le Prakptanniasana de Purnsottame, pat Luigia Nitti-Dolci, Paris 1935, PP. 21, 95-6.
6
ws. [ ओ J
exclusively, are not found in the Magadhi of our play; and there i also no va for iva (except once in LV. 16d), nor any vulgar expression anywhere, Similar Magadhi Prakeie (mixed, as presented by the MS5) is also found in the Mudra-raksasa, spoken not only by the (भुरण in Act VII, but also by other types of character like the Ksapanaka, just as it is the speech of the Papa-purusa also in Act III of the Cande-kausike and of the Raksasa and his wife in the Veni-sambire, Purusottama deals with two other dialects called Sakari, and Sabati, which he describes respectively as viseso magadbyab and magadbi- visesas ca prakrtya; but the few characteristics mentioned by him, as well as by Markandeya, only show that they are as curious admixture of dialects as Candali, and do not throw much further light on the subject. The chatacteristics of Sakari, moreover, look suspiciously like academic generalisations of some characteristics of the dialect used by the Sakata in the Mrcchakatika, the name of che Prakrit itself being probably invented therefrom.
If Candali were really a dialect in actual usage,’ consisting of a somewhat loose and vaguely described admixture of Sauraseni and Migadhi, it would perhaps afford an easy escape from our diffi. culties. But in our opinion the solution is too facile to be true, especially as our knowledge of the history of these dialects, as of Prakrit dialects in general, is extremely limited. It seems probable that the living knowledge of the Prakrits must have considerably diminished in later times* with the emergence of Apabhraméa and modern vernaculars; and RajaSekhara informs us in his Bala-rémayana that people in his time read Prakrit with the help of the Sanskrit Chaya. It is no wonder, therefore, that MSS of much later times could not distinguish between the different dialects; and in the case प 1८६७ true chat Candali is mentioned in Bharata’s Natya-dastre (ed. Kishi Skt. series 1929, xviii. 36-37; ed, GOS, vol. 2, 1934, xvii, 49-50, 54) as one of the many so-called Vibhisés along with seven Bhasis (Magadhi, Sauraseni ete.); but the information is meagre. Its characteristics are not given, nor is its relation to Miagadhi indicated. Abhinavagupta in his commentary docs not help us, The evidence of the Natys-Séstra, therefore, is hardly of any use,
a It is possible that already in the time of Vatsyayana’s Kéme-sistra the use of Prakrit was artificial (Keith, Sanskrit Drama, p, 334),
{ xiii}
of the less familiar forms of Magadhi they were easily tempted to substitute the mote familiar forms of Sauraseni. In this way pte- sumably arose such confusion of dialects as we frequently find in the MSS of Sanskrit plays. The grammarian’s distinction of Sakari, Sabari and Candali, made in later times, is probably an academic afterthought, proceeding « posteriori on this later confusion of dialects found in the MSS; and che names Sakari and Candali in particular perhaps arose from the supposed attribution of such dialects respec: tively to characters like the Sakara in the Mrechakatika and the Candilas in the Mudra-raksase or Canda-kausika. All this is not solving the difficulty but really avoiding it. At any rate, we are not convinced that we can accept this asa genuine and authoritative standard to follow in respect of the Magadhi Prakrit of our play.
We have, therefore, no sound alternative to the method we have adopted in restoring the deteriorated text (especially in the case of Migadhi Prakric ) for the simple reason that the variant and often faulty readings of the manuscripts do not lend themselves to any sensible reconstruction of an archetype from which they may be ultimately derived. It looks as if we are going beyond the duty of an editor and giving not what che author did write but what the author ought to have written, But in the confusing state of our manuscript evidence it is almost impossible to say what the author actually did write, As long as the manuscript readings are fully noted in the critical apparatus, there should, therefore, be no objection to normalisa- tion, provided it is understood that the constituted text in this case may not represent actually what the author wrote, Ic is difficult, even by the application of higher textual criticism, to restore che Prakrit passages to their original form, because there is every chance that the authors themselves wrote in a stylized form which perhaps cended co depart considerably from the original spoken Prakrits, of which not cven an approximate description is now available.
AUTHORSHIP AND DATE OF THE WORK
Not much is known of the personal history of the author except what can be gathered from the work itself, We are informed in the Prologue that the drama was enacted at the command of Sti- Mahipal. deva, There is a laudatory verse (Pragasti-gatha), in which those who are conversant with old history (purdvid) are said to have declared that King Mahipala was an incarnation of Candragupta (Maurya) and the Karnatas whom Mahipala conquered were incarnations of the Nandas vanquished by Candragupta. The author’s name is given as Arya Ksemigvara, although some MSS make it Ksemesvaca (D1 S2), Ksemira (D4) and even Ksemendra (D7 S1)!, the last name being obviously a confusion with that of the more well known Kashwirian poet Ksemendra. He is described as a napte (which in classical Sanskrit means ‘prandson’, 1.6, son’s or daughter's son) of Vijaya- kostha, Some inferior MSS read this last name as Vijayaprakostha, and make our dramatist his pra-naptr or great-grandson. [८ is curious that the name of the author’s father, perhaps a less known person, is not mentioned. The concluding verse of the work speaks of one Karttikeya, son of a Ksatriya, who, having been delighted and thrilled, ditected the production of the play and used to bestow evety day unstinted heaps of clothes, ornaments and gold; may his fame travel beyond the Milk Ocean preceded by the fame of the poet ! Another drama, named Neisedbananda, by Ksemigvara, which appears to deal in seven Acts with the story of Nala, is noticed by Peterson.’ From the extracts given from the beginning and end of the MS noticed, there can be no doubt that it is a work of our Ksemisvara. There is no mention of Mahipila-deva in the Prologue, but afcer chree
1 As also in Burnell's [कणर MSS (p. 168b), of which our Sx is one. In the Nassadbananda the epithet given by the MS is Acarya for Arya,
a P. Peterson, Three Reports of « Search for Sanskrit Manuscripts, Bombay 1887 (Extra No. of the /RAS, Bombay Branch), pp, 340-42, This Paper MS
from Boondi is described as consisting of 59 folios, dated Samvat 1667 = 1611 A.D, No trace of the work car: now be found
0
[ xv ]
benedictory verses, the Siitradhira says: «lam ati-vistarena/adisto' smi parisada yatba kila Vijayaprahosthe-pranaptuh kaver acarye-K semiivara- sya hrtir abbinava- naisadbanandam nama nitakam natayitavyam iti |. Ir 1s also noteworthy that the same concluding verse (yenadifya prayogam, Canda-k. V. 31), which speaks of the dramatist’s indebted- ness to Karttikeya, is repeated at che end of this drama also.
With regard to the place of origin and date of the work our information is meagre and uncertain. From external evidence we find that a verse of Canda-kausika (III. 30, grbyatam arjitam idam) is quoted anonymously in Visvanatha’s Sabitya-darpana (ad VI. 95a), which can be dated approximately between 1300 and 1350 A.D.! But a higher terminal date is given by the date of the Nevari MS (N1) of the Canda-kausika, which was transcribed, as we have seen above, in 1250 A.D. This date can be further pushed back by three citations found in the Sansktit anthology, Sedukti-karnamrta, compiled by Scidhara-dasa in 1205 A.D. Iu the first citation, stanza 1. 3 of the Canda-kausika is quoted (1.14. 3) anonymously (kasyacit) with justa slight variation (ananda-stimitah for dnanda-slatbitab). In the second citation, stanza II. 20 (Siro yad avagunthitam) is given (11. 11. 4) as Laksmidhara’s in the printed edition, but it is correctly assigned to Ksemisvara by both the Sanskrit College and Serampore College MSS of 44५६८४०, which we have consulted. But the third citation is much more definite. Of the three benedictory stanzas given by Peterson® from Ksemiévara’s unpublished Naisadbananda, the first stanza ;
1 S.K. De, Sanskrit Poetics, i, pp. 234-36.
2 Ed. Ramavatara Sarma and Haradatta Sarma, Lahore 1933.
3 Op. cit. p 341. Of the two other verses quoted the third is an culogy of the diversified glances of Siva; while the second, which is worth quoting here, ingenuously describes the playful raillery of Siva on Siva’s unwillingness to continue the game of dice after he had unsuccessfully staked his necklace of skulls and serpents and his clothing of ashes and hide, The stanza runs thus:
asthi by asthi pbati pbani him aparam bbasmapi bhasmaiva tac
carmaitat kbalu carma kim tava jitam yenaivam uttamyasi/
naitdm dbirte patiharogi satatam mirdbni sthitam jabnavim
ity evam Sivaya sanarma-gadito dyite Hara pat vab/ |,
Bo [ अश 1
akbyate basitam pitamaba iti trastam kapdliti ca
vydurttem gurur ity ayam dabana ity aviskrea bbiruta/ paulomi-patir ity asiyitam atha urida-vinamram Sriyab payad vab purusottamo' yam iti yo nyastab sa puspanijalib| |
is quoted (i. 67. 4) with trifling variations and attributed to Ksemesvara (Ksemesvarasya).
This would fix che lower cerminus of the dateof che Canda-kausika at 1205 A.D. But the upper terminus is not known, The negative evidence that it is not cited in the Dasaripake of Dhanafjaya and its commentary by Dhanika (c. last quarter of the roth century) does not prove much; but it indicates that probably our play could not have been such an early and well known production as Bhatta-narayana’s Veni-sambara, which is frequently cited for illustration in the Dasaripaka. Nor is Canda-kausika mentioned or cited in the Natyédarpana' of Ramacandra and Gunacandra (6, 1100-1175 AvD.), although Ramacandra himself wrote a curious play on the Hariscandra legend, called Satya-barigcandra (see below), and could have known KsemiSvara’s work. No reference or citation is also found in the Nataka-laksana-ratna-koja® (before 1431 A.D.) of Sagaranandin.
The only internal evidence for its date of production is to be found in the reference to king Mahipaladeva in the Prologue of the Cande- kausika. If this Mahipaladeva can be identified, we can atrive at an approximate dace on that basis, But of the two Mahipalas well known to history, ic cannot on available evidence be determined with certainty whether the Gurjara-Pratihara Mahipala I of Kanauj (c. 914-945 A.D.) . or the Mahipila I of the Pala dynasty of Bengal (c. 998-1026 A.D.)
was Ksemisvara’s royal patron. The verse and the prose passage
“A skull is but a skull, a serpent a serpent; what more? The ashes and skin also ace but ashes and skin, What of thine hast thou lost that thus thou act troubled? Ah, rogue, it is that thou wilt not stake Jahnu’s daughter that rests over thy crest. May Hara protect you, Hara to whom Siva thus spake playfully when they played at dice’.
अ ed. Gackwad’s Oriental Series, Baroda 1929.
2 ed, Myles Dillon, Oxford Univ. Press, 1937.
{ xvii 1
immediately preceding it in the Prologue may be freely translated here. The Sitradhara says:
Iam commanded by Sti-Mahipila-deva who, having gracefully uprooted all thorns (of his State) completely, was a suitor in the self-choice ceremony of Laksmi, who was drawn by his arm-staft revolving, like the Mandara, in the midst of the sea of battle. Of him those who are versed in old history recite a laudatory verse :
(The same) Candragupta who, having resorted to the naturally abstruse policy of Arya Canakya, conquered Kusumanagara by van- quishing the Nandas, appeared again as Sri-Mahipila-deva, rich in the pride of his arm, in order to slay just those (Nandas) who have today verily attained the form of the Karnacas.
Ic is clear that this verse makes Mahipala an incarnation of Candragupta (Maurya) and his enemies the Karnitas incarnations of the Nandas; but it is not clear as to who these Karnacas were and what the points of comparison are with regard to the mention of Arya Canakya’s policy and conquest of Kusumanagara. Do they, in the case of Mahipala, refer to some person who gave him diplomatic aid and the name of the place he conquered by defeating the Katnatas? On the interpretation of this passage and identification of Mahipala lies the solution of our problem; but chose historians who have considered the problem appear to be divided in their opinion.
This verse was long known from the editions of the texts published respectively by Krsna Sastri Gurjara in 1860 and by Jaganmohan Tarkalamkara in 1867, as well as from Jivananda Vidyasagara’s more accessible edition of 1884, But in 1893 Haraprasad Sastci claimed its discovery in an old Nevari MS (our Nr) of the Canda-kansike which was recovered from Nepal. In the notes he published on these, among other MSS, he was inclined’, as against the views of Pischel (1883), co identify the dramatist's patron with Mahipala I of Bengal, chiefly on the ground that the king is said in the verse in question to
t On a new find of old Nepalese Manuscripts in /ASB, Ixii, 1%93, PP. 250-52. Sastri here reads the date of the MS wrongly, ७५८ it was corrected in his Descriptive Catalogue mentioned below.
"` [ ओ ]
have driven away the Karnatas who, in 985 opinion, were the Colas who invaded Bengal under Rajendra Cola I between 1024 and 102 A.D... This opinion was vigorously supported by R. 9, Banerji’ who even went so far asto suggest, onthe strength of this very evidence, that “though Mahipala ( of Bengal) was defeated by Rajendra Cola when he crossed into Radha from East Bengal, he prevented him from crossing the Ganges into Varendra or Northern Bengal, and so the Cola conqueror had to turn back from the banks of the Ganges”. J.C. Ghosh, who generally agrees with this view, further argues* that Canakya and Kusumanagara should be taken as common to Candragupta and Mahipila, because Mahipala [ of Bengal was, in his opinion, the lord of Kusumanagara (= Pataliputra), which he lost and regained from intruders, and that he had a minister named Canaka or Canakya. If it is said chat there was no Karnata invasion of Bengal, Ghosh thinks that the Bengal inscriptions show that there was no dearth of Karnatas in Bengal at that time.
Unfortunately these views of Bengali historians, who would like to appropriate Ksemisvara and his royal patron Mahipala to Bengal, are not accepted by other scholars, who would rather identify him with the Pratihara ruler Mahipala I of Kanauj. It is not necessary for us to enter into the details of the controversy, but the main arguments of the contrary view may be briefly indicated.
$. K. Aiyangar, who has examined रि. D. Banerji’s contention at some length,‘ is of opinion that there is no evidence either in the Pala or the Cola inscriptions in favour of Banerji’s theory of a victory over the Cola forces by the Pala ruler of Bengal; and that the Karn3tas of the Canda-kansika could not have been the Cola forces of Rajendra Cola I,
t Or, in the alternative, “the Karnatas who came in the train of the Cedi Emperors later on" (Descriptive Catalogne of Skt. MSS. in ASB, vol. vii, Calcutta 1934, p. 252),
3 Palas of Bengal (Memoirs of ASB, vol, v, no. 3, Calcutta 1915). p. 73; Banglar Itibasa (in Bengali), znd. Ed,, pp. 251-52; also /BORS, xiv, 1928, pp. 5126.
3 Indian Calture, ii, Calcutta, 1935-36, pp. 354-56.
4-Gangaikonda Chola in Sir Aswtosh Mookerjee Silver Jubilee Volumes, Ul, Orientalie, ०५ 2, pp. 559६.
{ xlix ]
who were mostly Tamils, but they must refer ‘to the Rastrakiitas, the only reigning Karniatas of the time, with whom Pratihara Mahipala I of Kanauj came into serious conflicc, Influenced, however, by the comparison of Mahipala and his Karnata enemies to Cardragupta and the Nandas, Aiyangar further puts forward the theory that the over- throw of the Rastrakiita power by Pratihdra Mahipala [ must have occurred in Magadha. Accordingly he presumes that a branch of the Rastrakiitas, who for some time held a principality in Central India, were compelled by the rise of the Candella power in the 1 oth century to move into Magadha and carve out a kingdom for themselves.
K. A. Nilakantha Sastei, who gives an extensive account of Rajendra Cola’s northern expedition,’ agrees generally with Aiyangar's view? that the verse in the Canda-Kanséika refers to Pratihara Mahipala 1 of Kanauj and the Rastrakiita-Karnatas; but he points out chat chere 15 no tangible evidence for the theory of a Ristrakiita migration into Magadha. He is of opinion that this theory is not only untenable but 2150 unnecessary; for the dramatist never meane that the analogy between Mahipala and Candragupta should be carried so far as to indicate that Candragupta’s conquering of Kusumanagara should imply that Mahipala did the same over again. Nilakantha Sastri chinks that the poetic figure in the verse is Utpreksa, in which there १८८५ not be complete resemblance (Sadréya) ७४६ some resemblance in the midst of the difference between two objects of comparison®. With regard to Rajendra Cola’s expedition he shows at some length that the expedition, lasting for less than two years, was led not by Rajendra himselé bue by one of his generals. It was charged mainly with the task of bringing the sacred water of the Ganges for the purification of the Cola country, and that its commander was instructed to fight and
1 In his Colas, Vol. i, Univ, Madras 1935, pp. 247-54 and Note A, pp. 283-88; also in JOR, vii, Madeas, 1933, pp. 199-216.
a JOR. vi, Madras 1932, pp. 191-98.
3 In Urpreksé, of course, complete resemblance is not necessary; but there is no point in giving details about the Aprakrta, which have no application at all, direct or indicect, to the Prikrta. That would hardly be a merit in the construction as much of an Urpreksa as of any similar poetic figure,
ws
[५]
overcome opposition in the enterprise from the kings through whose territory the Cola army had to pass. Agreeing with Aiyangzr, Nilakantha Sastri rightly observes that ‘tit could hardly have been more than a hurried raid across a vast stretch of country’; but the motive behind the expedition was probably an exhibition of the power of the Colas to the rulers of Northern India, even though the fetching ‘of the water of the Ganges was its direct object. There is evidence to show that MahipilaI of Bengal was frightened and एषा ¢ flight by the Cola general, but there is nothing to show that the Cola army intended to cross the Ganges into Varendra or were defeated in that attempt by Mahipala. There is alsono support for R. D. Banerji’s hypothesis of a Karnata contingent in Rajendra Cola’s army and of its being lefe behind to hold the territory of Magadha on behalf of Rajendra Cola.
With regard to J. C. Ghosh’s suggestion that Mahipalal of Bengal had a minister named Canaka or Canakya, Nilakantha Sastri shews' that it need not be seriously considered, as it is based on a misteading of Taranath’s information on which Ghosh relies. Canaka (and not Canakya) is said to have been the regent, or rather the king, during the non-age of a distant descendant of Mahipala, named Bheyapala; he lived many years after Mahipala and could not have been his minister. Regarding the allegation that the Karnatas are mentioned in the Pala inscriptions, it is shewn that the reference to Karnatas occurs only in the Bangarh Copper-plate of MahipalaI in a compli- mentary jingle on the king’s servants: Gawda-Malava-K basa-Hane- Kulika-Lata-Cata-Bhata-sevakadin—‘“which is not history but court- poetry’. It should be added that Mahipala I of Bengal admittedly had dominion over Magadha, but nothing is known about its being lost and regained from the Karnitas,
It is, therefore, maintained that the Mahipala of the Canda-hawiiha was none other than the Gurjara-Pratihara Mahipala 1 of Kanauj,
.under whom Rajasekhara wrote his Balebbareta (i. 7) and whose con- flice with the Rastrakiiga-Karnata Indra III is well known from contem- porary records. The identification is not new, but was suggested by
४ Indian Culture, vii, 1935-36, pp. 798-99
[WJ
Pischel as carly as 1883." But there is some diffculey. While Ksemisvara asserts his patron’s victory over the (Rastrakita-) Karnatas, the inscriptions testify on the other hand, that Indra III put Mahipila to fight and devastated Kanauj, to which Mahipala was, however, later on restored by the Candella king Hargadeva, This inconsistency 1s explained by presuming that Ksemigvara's assertion is a court-poet's version of the actual fact of Mahipila’s defeat. Following Pischel, Sten Konow, therefore, writes:? ‘The Rastrakiita-king Indra III, of whom we possess inscriptions of the years g1q and 916, and who accordingly was a contemporary of Pratihara Mahipala of Kanyakubja, says at all events of himself that he conquered Mahodaya (Kanyakubja). Since, however, Mahipila’s successors continued their dominion over Kanyakubja, we cannot judge this statement in any other way than similar statements found in inscriptions, in which cach of the parties to a battle claims to be the victor. Mahipila’s victory over the Karnatas and Indra’s victory over Mahodaya probably relate to the same occurrence which was differently interpreted by the participants.”
Summing up the whole controversy, R. ©, Majumdar briefly states the case thus’: ‘‘In the absence of further particulars, ic is difficult to decide the question one way or the other. The probability is, however, undoubtedly in favour of the latter view. While there is no valid reason to regard Rajendra Cola as a Karnata, the Pratihica king Mahipala undoubtedly had a life-and-death struggle with the Karnatas under Indra III. It is teue that Mahipala was defeated, but the retreat of the Kanata forces and the re-occupation of Kanauj by Mahipila could easily be magnified by the court-poct asa glorious victory of Mahipala over the Karnatas; and such an assumption was well calculated to soothe the wounded vanity of the Pratihiras. In any case, it is not safe to derive any inference from Cands-kawtiha tegarding the victory of the Pala ruler over che Cola army.”
ee ---- ee ---~- ----- ~ ` ˆ
॥ Gottingiscbe ९७११८ Anzeigen, 1883, p. 1220f (reviewing Fritze’s German trs,, entitled Kaniika’s Zorn),
2 Das indische Drama, Berlin and Leipzig, 1920, p. 87 (Teanslaved here),
3 History of Bengal, Dacca University, Vol. 1, pp. 143-44.
{ li ]
In addition to the arguments given above against taking the Canda-kausike as a Bengal work, we may adduce another fact to which attention has not yet been drawn. Most of the known MSS of the work are written in Devanagari, and just a limited number in Nevis, Maithili and Grantha characters; but not‘a single MS in Bengali characters has yet been noticed anywhere.’ This is indeed not evidence but a strangely significant fact.
All these are forceful arguments; but, as रि. C. Majumdar points out, they cannot be regarded as conclusive. The case for Bengal is certainly weak; the case for Kanauj is yet not fully convincing. The presumption chat a contrary fact is glossed over by a court-poet’s flattering version cannot be taken as very satisfactory. Nor is there any reason for gratuitously assuming that the poet of the Canda-kansika did not know the proper construction of an Utpreksi and redundantly referred to the conquest of Kusumanagara and Arya Canakya’s policy. Nilakantha Sastri is aware of the weakness of this assumption ; but he suggests that a reference is perhaps implied to Mahipala’s restoration to the kingdom of Kanauj by the assistance partly of the Candellas obtained by the diplomacy of Arya Ksemisvara,—which is hinted by the poet himself by the mention of Arya Canakya’s similar policy All this is ingenious, but entirely fanciful. It does not still explar the pointed reference to Kusumanagara,
It is possible to assume, on the other hand, that none of the gw well-known Mahipalas are meant, but perhaps the dramatist celebrate some obscure local ruler with the resule that these points in the com patison remain equally obscure. One other fact, again, is overlookea by all historians’, namely, the reference, in the same concluding verse in both the Canda-kausika and Naisadbananda, to Kirttikeya, son of a Ksatriya, as one of the munificent patrons of the dramatist. Who this Karetikeya was is not known. Jaganmohana Tarkalamkara, in
1 Asa search through the catalogues of MSS in the libraries of Calcutta and Dacca, and the notices of Rajendralal Mitra and Haraprasad Sastri would show.
a Only Haraprasad Sastri quotes this verse in JASB cited above, but he thinks that this Karetikeya was a nobleman in Mahipala’s court.
[ tii ]
the preface to his edition of the Canda-kausika, believes from the terms of reference that he was a royal personage whose court Ksemié- vara adorned. But this would be inconsistent with the explicit reference and panegytic of Mahipala-deva in the Prologue of the Cands-kausika. As the verse in question refers only to the Prayoga ot production of the play, it is possible that Karttikeya’s appreciative patronage helped the production, and nothing more; but it is not clear in what relation he stood to Mahipila-deva,?
While admitting that the weight of opinion is in favour of identi- fying KsemiSvara’s Mahipala with the Pratihaca Mahipala I of Kanauj, it is not possible, in view of these difficulties and in the absence of further decisive evidence, to make any positive assettion, Provisionally we can take Ksemisvara as a contemporary of the more well-known Rajasekhara in the firse half of the roth century.
- -- ee ---- ~~~ -------~--- - ---ः Se ee
t Keith (Sanskrit Drama, Oxford 1924, p. 241) attempts to avoid the difficulty by ingeniously translating the phrase in question ksatra-prasiteb karttikeyasya hirtim by the words ‘the fame of that scion of heroism, that god of war’, who bade the drama to be performed, apparently meaning Mahipala himself, That this is not correct is shewn by the repetition of the verse at the end also of the poct’s Natsadbananda, where the interpretation Would be inapplicable, inasmuch as the Prologue there makes no mention of Mahipila-deva.
THE THEME AND SOURCES OF THE DRAMA THE THEME AND PLOT
The Canda-kansika deals, in five Acts, with the Purana legend of the sage Visvamitra Kausika and king Harigcandea of Ayodhya, and derives its title from the fierceness of the irascible sage, which brings about the strange crial and suffering of the king.
As it will be necessary to refer to some details of the plot later on, we give here its outline as follows:
Act 1, King Harigcandra appears with his companion, the Jester Baudhiyana. Because of some evil portents he has been directed bv his family priest to observe all-night vigil, He is not only worn out and weary but also apprehensive that Queen Saibya might misconstrue his keeping away at night. With his companion he approaches Saibya, waiting disconsolate with her companion Carumati, and attempts to appease with loving words her unjust resentment. In the meantime an ascetic disciple of the priest comes with holy water, meant for peace and averting of evil, and conveys a message to Saibya to make special offerings to Brahmans and the family gods. Saibya now realises her mistake, becomes reconciled to her husband, and hastens to carry out the priest's message, As the king wonders how to dispel his loneliness, ५ diversion is created by the entrance of a forester who announces with great Alourish the appearance of a wild boar fit for the king’s chase. As the Act closes the king declares his intention, as against the advice of his companion, to go out for a hunt.
Act 1. The Act opens with a description, from behind the scene, of the efforts of hunters to ensnare che wild boar. Then enters the allegorical figure of Vighna-taj, King of Obstacle, who in the deceptive form of a boar has enticed the king into the forest and is now leading him to the hermitage of ViSvamitra. The king encers in a chariot chasing the phantom boar, which vanishes in the vicinity of the her- mitage. Suddenly he hears the cries of some women in distress. Rushing forward to rescue, he offends without knowing the terrible sage Visvamitra, who is merely performing a ritual to being under
{ Ww }
control the sciences, the Vidyas, appearing before him in the form of three harassed ladies, but gladly disappearing as soon as they see Harigcandra. Recognising the irascible sage, the king seeks forgive- ness for the unwitting offence on the plea that he was merely perform- ing the duty of a Ksatriya. Trapped by his own words, he enunciates the duty as threefold, consisting of liberality to worthy Brahmans, protection of those who are overcome with fear and fight with those who are hostile. Visvamitra Kausika thereupon asks the king to bestow on him gifts worthy of his penance and learning. Afraid of incurring his displeasure, the king gladly makes a gift of the entire world under his dominion; but since a gift is not complete without the final fee cr Daksina, the sage further demands it. Having made a gifc of every- thing he possessed, the king is in perplexity, but he finally decides, with the sage’s permission, to earn it by going to Varanasi which, being the city of Siva, is considered above and beyond the rest of the world.
Act Ill. The scene, laid at Varanasi, opens with che entrance of embodied Sin (Papa-purusa) who is apprehensive of Hiarigcandra’s coming to the city, just as Bhrngirig, Siva’s follower, is glad that Siva and Siva are eagerly awaiting it. After chis introductory scene (Pravegaka) the king is discovered lamenting over his misforcune. It is midday. In order to realise his irrevocable promise to the sage, he is about to enter the marbet-place for selling himself as a slave and paying off the Daksina with the money obtained thereby The Kausika comes on the scene, reminds him that che time-limit for pay- ment has expired, and is abous to pronounce a curse on him for non fulfilment of his promise. The king falls at his feet in abject disttess and obtains permission to extend the time-limit till sunset. The action on the stage now shifts to the matket-place. As Haris candra offers himself for sale as a slave, Saibya, who had been follow- ing behind, rushes on the scene and offers herself for purchase to a willing buyer, A teacher and his disciple enter. As the teacher's wife is fully occupied with tending the holy fice and finds litle time for domestic work, he wants 2 woman servant for the purpose and finds Saibya quite suitable. Discovering her husband near at hand and impressed by his noble appearance, the teacher, full of pity, ques
{ Wi ]
tions him, and finds ouc that the money is wanted for redeeming promise to a Brahman. He gives the king half a lac of gold for the purchase of Saibya and leaves his disciple co take her away. After a pathetic scene of farewell, the harsh young disciple pushes the child RohitaSva and hurries him and his mother Saibya away. The Kausika, now appearing on the scene, is not satisfied with the payment of only half of his dues. At this point the Visve-devas, from behind the scenes, condemn, while travelling in their aerial chariot, the heartless. ness of the Kaugika in reducing Harigcandra to such a wretched plight. Thus provoked, the angry sage curses them to be born as men, and to be killed by Drona’s son while still young; and they fall at once from their high estate. They were born as the five sons of Draupadi and died young. The king, in great fear, declares that he will sell himself as a slave even to a Candala for the redemption of his pledge. As if hearing this, the allegorical figure of Dharma in the disguise of a Candala enters and offers to buy for half a lac of gold. In_ spite of great aversion, the mortified king agrees, and repays his debt to the sage who, wondering and embarrassed, departs; while Hariscandra follows his new Candala master to become a cemetery keeper.
Act IV. The scene is laid in a cremation ground at Varanasi where Hariscandra is now a servant of the Candala, who directs him to take che blankets from the dead bodies as his due. As he wanders about, he gives a long and harrowing description of the hedious horrors of the place. Dharma enters again in the guise of a Kipilika to test further the king's fortitude and uprightness. He seeks Harigcandra’s service for averting evil while he goes to discover, with the help of a Vetila, some hidden treasure of minerals, As the king is engaged in this occupation, the Vidyas or Sciences appear and offer their services to him. He does not want any service for himself, but bids them wait upon the Kaugika, who had been baffled before, so that upon the attainment of che sage's object, the king would himself feel freed from all guilt. On the discovery of the treasure the Kipj- lika returns and generously offers it to the king so that it would enable him 00 redeem himself and his wife from slavery, But Harifcandra declines, because his master is entitled to it and not himself as a slave. The Act closes as the dawn breaks.
[ lvii |
Act V. The cremation ground continues to be the scene of action, One of the Candalas brings news that a grief-stricken woman has brought a dead child for cremation, and bids him demand from her the blanket of the dead. The woman is Saibyi and the child Rohitasva who has been bitten by a deadly snake while he was plucking flowers for the teacher’s daily worship. lHiariscandea does not at first know them; bute when he listens to her lamentation that the boy was predicted by soothsayers for overlordship of the earth, and that mother and the child are brought to this plight by the implacable Kaugika, he recognises his own wife and son, He is overwhelmed with grief, but checks himself from self-destruction by the thoughe that as a slave he is entirely in the ownership of his master and has, therefore, no right even to kill himself. For fear of further upsetting the sorrowing Saibya he does not reveal himself. Buc when in distress she in her turn wants to immolate herself, he restrains her by reminding, by means of a verse recited from a distance, that as a slave she has no right todo so. As he comes nearer to collect his blanket, Saibya recognises him; and he explains chat in his last straits he has sold himself to a Candala keeper of the burning ground. As, in dischaege of his unpleasant duty, he snatches away the blanket, a shower of flowers fall from the sky, and the gods praise the libera- lity, character, patience, forbearance, truthfulness and wisdom of Hariscandra. Saibya is pleased, but what does it avail with the dead child lying before them ? Dharma enters and assures them that virtue is not superfluous in this world. He revives ९२०८६५५ to the joy of the despairing parents. He puts Harigcandra in a divine aerial car and gives him divine vision by which he is enabled to see that Kausika, having been pleased with the attendance and service of the Vidyas, has restored Harifcandra’s kingdom to his ministers. He also realises that all this had been really a trial of his character; for the buyer of Saibyi and his wife were no other than Siva and Siva themselves, while his own master the Candala is Dharma himself. Rohita$va is crowned king, and Dharma requests Hariscandra to ascend to heaven with his wife. As he refuses to do so without his faichful subjects, he is at last allowed to take them along with him. All ends happily, and the play is concluded with universal felicitation.
8
[ liii ]
This, in brief, is the plot and theme of the Cande-heuiip, While the course of action is shaped by che dramatist’s invention, th. theme is related to earlier literary tradition, from which the details of the legend are drawn, and with which the author shows an intimate acquaintance. We now turn, therefore, to the literary sources of the Hariscandra legend.
SOURCES OF THE THEME
#
The Hariscandra Legend
In Vedic literature Harigcandra Vaidhasa Aiksvaka (descendant of Vedhas and Iksvaku) is a mythical king whose rash vow to offer up his son Rohita to Varuna is the source of the interesting tale of SunahSepa in the Aitareya Brahmana (vil. 14.2)' and the Sankbyayana Srauta-sitra (xv. 17). In this legend Hariscandra, however, does not appear as a truthful and upright king, as he does in the Epic and the Purdnas; for out of affection for the son given to him by Varuna he keeps on breaking his promise to the god on some pretext or other. He is punished and afflicted with dropsy, but he recovers when Varuna accepts SunahSepa as a substituted victim. It is also noteworthy that there 15 no question here of the hostility of Visvamitea; for Visvamitra is the Hotr and Vasistha is the Brahman ptiest at the sacrifice of Sunalgepa which, however, was not completed through the grace of the gods. Sunalepa was actually bound to the stake, but on Visvamitra’s advice he made his supplications to the gods; and the bonds fell off as he recited verse after verse from the Rgveda.
Visvamitra ultimately adopts Sunahgepa and gives him the name of Devarata, much to the annoyance of some of Visvamitra’s sons, who
1 English translation will be found in Max Miller, History of Ancient Sanskrit Literature, Panini Office Reprint, pp, 215-18 (with the relevant text from Sankb. Sr. Satra in Appendix), and in A,B. Keith, Riguede-Brabmands, Harvard Orient. Series, Cambridge Mass., 1920, pp. 299-309, The Rgveda contains metely the statement of SunahSepa’s deliverance by divine help, while the Taittiriya Sambita simply says chat he was seized by Varuna but saved himself from Varuna's bonds,
{ lix ]
in consequence were cursed by their father. As we have no direct concern with this legend, of which variations are also found in the Puranas, we need not dwell upon it here.
In the Epics there is no trace of this legend; but in the Mababbarata,’ Harigcandra is mentioned as an ancient king, a Rajarsi, who attained Indra’s heaven by bringing the whole carth under his sway and performing the Rajasiiya sacrifice. The Rajasiya is, of course, an important item in the Aitareya legend; but in che Epic, Harigcandra’s Kratu is mentioned as exemplary, and Yudhisthira must perform the Rajasiiya in the same manner. There is, however, an allusion to Harigcandra’s truthfulness in a verse? which describes him as moving in heaven like the moon by his truthfulness. Of his connexion with Varuna, Vasistha or Visvamitea there is nothing.
Ic is not until we come to the Puranas that we find che Kausika- Hariscandra legend developed in all its details. The older tale of SunahSepa is found in modified forms;* but the story of Hariscandra’s suffering at the hands of Kausika-Vivamitra is narrated in detail only in the Devi-bbagavatat and the Markandeya-purana.*
The story in the Devi-bhagaveta, a fairly late production of the tith-r2th century,® is briefly as follows:
1 Sabha (Poona BORI ed), 7. 11; 12. 48-70; Santi (Bomb. Ed.), 24. 14; Anusasana (Bomb, Ed.), 65. 2.
2 AnuSasana (Bomb, Ed.), 115. 71, The verse runs thus: satyam vadata nasatyam satyam dbarmah sanatanah| Hariscandras carati vai divs satyena candravat//,
3 €, £. Brabma-purdna, ed. Anandasrama, ch. 104; Devi-bbagavata vii. 12-37,
Pargiter attempts to show (/RAS. 1913, p. 8856; 1917, p. 46£; Ancient Indian Historical Tradition, London, 1922, p. 10f) that the Vedic tradition is Brahmanical and fanciful, while the Epic tradition is of Ksatriya origin and contains reliable historical material. But we are not concerned with this question here,
4 Ed. Benares 1928, vii. 18-27.
5 Ed. £. M. Banerjea, Bibl. Ind,, 1862, Adhy. viieviii.
6 Since Skandha IX of the Devi-bh, is taken from the Prakrti-Khanda of the present Brabma-vaivarta, a Bengal work of the roth century (R, ©. Hazra, Puranic Records, Dacca 1940, pp. 166-67), it cannot be dated earlier.
{[ xk 1
Once in Indra’s heaven Vasigtha praised . Harigcandra for his munificence, uprightness and other qualities. This ptovoked Visvamitea, who remembered how HariScandra had deceived Varuna. He took a vow to test the king’s character, Once, while hunting, Harigcandra meta beautiful young woman weeping in the forest, and learnt from her that she was troubled by Visvamitra who sought her by his severe penance, Harigcandra approached Visvamitra and requested him to desist. The enraged sage kepe quiet, but afterwards lured the king into an unknown and trackless forest by letting loose a tettible boar-shaped demon, who broke into the king’s garden, but vanished when the king followed and attacked. When Hariscandra lost his way, Visvamitra appeared before him in the disguise of an old Brahman. The king requested him to show the way out and promised in return much wealth. Finding his opportunity, Visvamitra, on the pretext of marrying his son whom he created by his magic power, asked the king ८० rest and bathe, and be ready to give him his entire kingdom asa gift worthy of the occasion. Having given his word, the king agreed and returned to his capital Ayodhya. Visvamitra followed him there, accepted the whole kingdom as a gift, and turned him out of it so thac he might earn elsewhere the proper Daksina without which no gift is complete. At the heartlessness of the sage, the king’s loving subjects lamented upon his departure. With one month's time-limit, Harigcandra went to Varanasi and at last paid up half the amount of the Daksina by selling his wife Saibya' and his son Rohita to an old Brahman who wanted to buy them for waiting upon his delicate wife, but who was no other than WiSvamitra himself in disguise. After a pathetic scene of farewell, they departed after being pushed and whipped by the Brahman.
t She is generally mentioned by the epithets Bhirya, Patni, Rajai etc.: but she is called MSdhavi in vii, 19, 51 and Gaibys in vii. 26, 33, 53. The sale was made on her advice, as in Markandeya.
‘{ ki ]
At the insistent demand, again, of the pitiless sage, Harig- candra resolved to make full payment of his debt by selling himself as a slave to Visvamitea himself, who in his turn sold the king to a Candila, the cemetery keeper, Dharma having appeared before them in this disguise. The gods praised this brave act of Hariscandra and threw a shower of flowers on him from heaven, After a year Rohita, while playing near an ant-hill, was bitten to death by a snake sent by Visva- mitra. But Saibya was not allowed by her cruel master to see her son until she had finished all her domestic work. When at midnight she went to her son’s dead body, peeple took her to be a night-walking fiend that used to kill children (béla-ghasini) and handed her over to the Candala. The Candala ordered his slave Harigcandra to kill her. When, with great reluctance, Harigcandea got ready to carry out his master’s wish, Saibya narrated the sad story of her son’s death, and sought his permission to bring the dead body there for cremation. When the dead body was brought to the funeral ground, Hariscandra and Saibya recognised each other and decided to burn themselves along with their son. They prepared a funeral pyre and meditated on Devi Sataksi (ic. Sakambhari) before entering it. Ac this moment the gods, led by Dharma and followed by Visvamitra, appeared with a shower of flowers from heaven and revived Rohita. Indra requested Hariscandra to come to heaven, but he refused to go without his faithful people. Thereupon he was allowed to ascend to heaven in perfect bliss with his queen and his people,
Ie will be seen from this brief résumé that the account of the Devi-bbdgavate could not have been the direct source of Ksemisvara; and the date of the Upa-purana itself would preclude such a presump- tion. The discrepancies of this Purina story occur in some important details which are apparently not known to Ksemisvara. Some of these are: (i) The very motive underlying Visvamitra’s cruel treatment of Hatigcandra, which springs from his ancient fued with Vasistha. (ii) The meeting of the king and the sage is not accidental but
[ Iii J
deliberate, the weeping woman in the forest, apparently created ॥ the sage’s magic power, replacing the Vidyas. (iti) Throughout $ mitra himself directs the course of action by various means; namely, sending of the boar-shaped demon; offer in the disguise of a benevol- ent Brahman to get the king out of the forest; the gift sought on the pretext of an imaginary son’s marriage; himself purchasing Saibya and Rohita again in the disguise of an old Brahman, and his ill-treatment of them; accepting che king’s offer to become his slave and making him over to the Candala (Dharma); sending of the deadly snake for slaying Rohita; refusal of permission to Saibya to go to her dead son; his presence at the final dénouement, etc. (iv) The episode of Saibya being taken asa night-walking fiend and the Candiala’s order to his slave HariScandra to kill her. (४) The way in which the fallen king and queen finally meet and decide to immolate themselves; their meditation on Devi Sataksi, whose glorification is the general theme of the Upa-purina itself, (vi) Appearance of Indra and the gods, along with Dharma and the pacified Visvamitra, at the end. These, among other, details of the Purina legend are indeed not trivial, but they change the entire aspect of the story, which is obviously not known to Ksemigvara in this particular form.
The account given in the Markandeya Purana, which isa much older version of about the 3rd-4th century A.D.,2 is more in ageee- ment with the legend as it is known to Ksemiévara, although the
by F. E. Pargiter as below; free Eng. trs. in verse of these chapters only by 8. Hale Wortham in JRAS, 1881, PP. 355-79).
2 he Markandeya, which is one of the oldest and most important of the extant Puranas, probably belongs to the 3rd-4th century A.D, (See Pargiter, introd, to his Eng. trs., Bibl. Ind, Calcutta 1904, pp. xiv-xx; R. ©, Hazra, Pnranic Records, Dacca 1940, pp. 8-13). That it is known to the Devi-bba. is clear enough from the latter's account of Candi’s fight with the demons (४ 2135), which is based upon Mirkandeya’s better known narrative; and also from an unmistakable reference to it as the Saptasati Stotra (ix. 50, 86). If the
[ [ही ]
dramatist makes certain alterations apparently to suit his dramatic purpose. The Purana narrative’ in outline is as follows:
Once upon a time, chasing a deer in the forest, king Harigcandra heard the cries of some women in distress. He did not know that the sage Visvamitra in his hermitage was atcempt- ing to master the sciences (Vidyas) of Siva, which had never been perfected before, The terrible Vighna-raj, opponent of every undertaking, took the opportunity of frustrating it by entering into the king who, thus possessed, approached Visvamitra and angrily reprimanded him. The sage became enraged, and the sciences disappeared in a moment. Now recognising him, the king fell prostrate in reverence, and excused himself by saying thac he was merely discharging the duties of a king who must, according to the Dharma- ‘Sastras, offer gifts to worthy Brahmans, afford protection to those who are in fear and wage war with enemies, On hearing this Visvamitra demanded, as his unpaid fees for the Rajasiiya sacrifice, gift of the entire kingdom excepting the king’s wife, son and body, The king gladly apreed. Taking possession, the sage turned him out of the kingdom with his wife and son, clothed only with the bark of trees. The sage, however, was not satisfied and demanded further fees. With one month's time-limit for payment the king departed,
many important divergences are taken into account, it would seem that the Devi-bb. probably derived many details of the Kaugika-Hariscandra story from some other unknown source; but, at the same time, where the theme is common, the Devi-bh, directly approp-iates many passages from the Markandeya: e.g. Devi-bb. vii, 20, 16-17=Mark, vii. 4-5; 20. 18-20=6-8, 20. 24-250 12-13, 20, 27=15; 20, 28-32 == 16-20; 21. 6-8==40-42; 22. 464 => 500; 22, 5, 7 52. 51; 22. 8-953-54 22. 11641240 = 55; 23, 3-5 = 8०-82 etc.
1 In the Purina legend Visvamitra appears to be completely estranged from Harifcandra, to whom he is friendly in the Vedic story of Sunahfepa and Rajasiiya sacrifice. In the Purina, Vivimitea is represented as not having received his fee for the Rajastiya sacrifice and not having, therefore, forgotten the slight. This is given as the motive of his implacable treatment of Harif- candra, and his severity is the dominant feature of the story. Ksemisvara omits this demand of unpaid fee, and replaces it by a different motive.
{ Ixiv ]
while the queen, unused to walking afoot, followed with her son. As his loving subjects mourned over his humilia- tion and departure, the king was filled with compassion ; but the angry sage in impatience belaboured the queen with a wooden staff as the king was drawing her along. The five Visve-devas, full of pity, censured the sage for his bruta. lity. .In anger Visvamitea curses them to be born as men, but exempts them from marriage; they were born as the five sons of Draupadi and died young.
The king, followed by his queen Saibya and young son Rohita, reached the divine city of Varanasi, the choice (parigrabe) of Siva as a place not to be enjoyed by men, As one month's time-limit had expired, Visvamitra came and made his demand again, but at last permitted the king to defer pay- ment till sunset. On the advice of Saibya and in despera- tion, the indigent and harassed Harigcandra sold his wife to an aged Brahman who wanted her as a help for his young wife. As the Brahman dragged the queen by the hair, her litele boy wept. At her request the Brahman bought him also. HariScandea delivered the money he received to Visvamitra who, however, considered it to be insufficient. On the king’s supplication, the sage allowed him grace till the close of the day. In his last straits Haricandra reluctant- ly sold himself as a slave to a vile Candala’ who, however, was no other than the god Dharma, and gave Visvamitra all the price. Hlarigcandea, as the Candiala’s servane at a burn- ing ground, became a gatherer of garments of dead ‘bodies. Filehy, mvatted-haired, black in appearance and armed with aclub, he passed a year in the most abject state. He saw a vision of his future transmigrations with a promise of ulti mate happiness. His son was now bitten by a snake, and the bewailing Saibya, now a slave woman, ‘brought the corpse to the burning ground. The king hastened to gather
1 The name of the Candala is given as Pravira in both Deoi-bb. and Mark.-p. ४
[ Ixv }
the blanket of the dead. Both he and his wife were so changed in appearance that they did not know each other ; but from her lament he at once recognised his beloved wife and his dead son. They wailed in deep suffering, and resolved to immolate themselves on their son’s funeral pile ; but the gods, led by Dharma, interposed. Dharma declared that Vigvamitea was now pleased to proffer his friendship. Indra revived the king’s son by a shower of nectar and called Hariscandra to heaven with his wife. Bue as the king pointed out that unpermitted by his master he could not do so, Dharma explained that he had himself personated the Candala. But Harigcandra still refused co go without his faithful subjects. Indra agreed and brought ten million heavenly chariots to take his people. Visvamitra himself, along with the gods, enthroned Rohitasva in che city of Ayodhya. In perfect bliss Harigcandta with his queen and his people ascended to heaven; and all ends happily. KsemiSvara, of course, introduces certain variations, to suit his dramatic purpose ; bue in che main outline he follows the narrative of the Markandeya Purana more than that of the Devi-bhagavata. Even passages from the Markandeya seem to be substantially para- phrased; and the verbal resembjance is sometimes striking. A few examples will suffice: Mark. ©. vii, 18 श ditavyam raksitavyam ca dharmajnena mabiksita/ cépam udyamya yoddhavyam dharma-sastranusaratah | | Canda-k. 11. 26 datavyam raksitavyam ca yoddbavyam ksatriyair api| gitah puranair munibbir esa dharmab sanatanab| |.
Mark. ®, vii. 20 datavyam vipra-mukbyebhyo ye canye kyia-urttayah | raksya bbitah sada yuddham kartavyam paripanthibbih | | Cande-k. 1. 27 genavadbbyo duijatibhyo deyam raksya bhayarditah / 41200608; ca yoddbavyam iti me niscita matib/ ||
[ न्धं ]
Mirk. P. viit.4 sa gatua vasudba-palo divyam varanasi purim | naisa manusya-bhogyeti Salapaneh parigrabab | | Canda-k. ii. 30 bhagavatah Sivasya parigraba-paramam ksetram | varanasiti vasudba-tala-bboga-bhinnam etc.
[Devi-bb. vii. 20. 16 pravisya vasudba-palo divyam varanasi purim / naisa manusya-bbukteti salapaneb parigrabab| | closely paraphrasing Mark. P. |
Mark. ®, vii, 222 tiryaktve nasti tad dubkbam ndasipatra-vane tatha/ vaitaranyam kutas tadrg yadriam putra-viplave | / Canda-k. v. 14 andbamtamah-krakaca-bhairava-piya-vici’ candasipatravana-raurava-salmalisu | naitesu santi narakesv api yatanas ta
dubkhena yas tanaya-viplavajena tulyab] | [ Paraphrased in Devi-bb. vii. 26. 65
trailokye nasti tad dubkham nasipatra-vane’ tha va/ vaitaranyam kutas tavad yadriam putra-viplave] ||.
But there are also discrepancies and omissions which may or may not have been intentional. Some of these are: (i) There is no trace in the Markandeya of the motif of the boar-hunt; but since Ksemisvara employs it independently of Visvamitra’s deliberate erick, he could not have taken it from the Devi-bbagavata, but probably from some source now unknown to us. (ii) Visvamitra’s demand of the fee due to him for the Rajasiiya sacrifice is omitted in the drama. (iii) The Vighna-raj enters the king and leads him to Visvamitra’s hermitage, but not in the form of a phantom boar asin the drama. (iv) Ksemisvara omits, perhaps as unworthy, the incident of the bela- bouring of the queen by the sage; and the censure of the Visve-devas,
3 usd, vaitaranisu (or °sva) vici-.
[ वण ]
which occurs ac this point in the Purana, is transposed later co the scene of the slave market at Varanasi in the drama. (v) Hiarigcandra himself, on che advice of Saibya, offers her for sale in the Purana, but in the drama this is done by Saibya herself, (vi) Harigcandra’s vision of future transmigtation is omitted in the drama, probably as drama- ucally unsuitable. (vit) The most important invention of Ksemisvara 1s the episode of the second test of Hariscandra by the Kapalika, who is Dharma himself in another disguise. (viii) The resolution of both the king and the queen to immolate themselves together is modified by Ksemigvara. (ix) In the drama Indra and the gods do not appear, nor is Visvamitra present at the end; Dharma alone comes, revives Rohita, crowns him king, and after explanations takes Hariscandra and Saibya ९० heaven.
These modifications or omissions are indeed not very serious, and could have been made by KsemiSvara himself to suic bis dramatic purpose. Whether they are well judged or not is a different matter, buc such transforming of a legend or epic narrative into a drama by introducing even more daring modifications is not unknown in the history of the Sanskrit drama. The dramatist’s fidelity to his sources 15 not a sine qua non, and need not affect his freedom in borrowing. Ac the same time, since Ksemisvara does not depart much nor seriously from the Markandeya narrative, the presumption is not unlikely that the alterations or omissions, such as they are, are shaped by the dramatist’s own inventions. If that were not so, we have to explain the discrepancies by presuming that Ksemisvara is drawing in addition upon some other legendary source which is now lost to us.
References to Other Legends
That Ksemigvara, like most Sanskrit poets, was well versed in ancient legendary lore is clear from certain allusions inthe drama which go back to the Epic and the Puranic sources. Some of them may be conveniently discussed in this connexion. Although Vasigtha does not appear, there are references to Visvamiera’s bitter hostility to him. Traces of this ancient fued between Vasistha and Visvamicra, originat- ing probably from their rivalry over the priesthood of king Sudas,
[ Ixviti ]
are found in the Vedic literature.t The tradition is continued jn the Epics; but the motive is different and springs chiefly from the stealing of Vasistha’s cow Nandini or Sabala and the slaying of Sakti and the rest of Vasistha’s hundred sons through the contrivance of Visvamitea.? The Puranas further develop with great relish the story of this quarrel between the two mighty sages. Ksemisvara’s only reference to it occurs in \ 24, where Visvamitra himself boasts, not only of having destroyed Vasistha’s sons, but also of having attained Brahmanhood and of having elevated to heaven Triganku, who had become a Candala by the curse of Vasistha’s sons. In the next verse (II. 25) Harigcandra refers to the sage’s eating of dog’s flesh during a great famine and to the terrible fight of Vasistha and Visvamitra in the form of gigantic birds. These points require some elucidation. Like Vasistha, to whom the seventh Mandala of the Rgvede is attributed, Visvamitra is already a great sage, to whom also the third Mandala is assigned. ViSvamitra calls himself the son of Kusika and is designated by the family name of Kausika. In later Vedic literature he is a mythical sage who acts as Hotr priest in the SunahSepa sacri- fice of king Harigcandra. There is, however, hardly any trace of Visvamitra’s kingship or Ksatriya origin in the Rgveda. But che Aitareya Brabmana refers to his lordship of the Jahnus, although in a similar passage in the Sankbydyana Srauta-Sitra this reference is omitted. The Pafcavimsa Brabmana, however, mentions Visvamitra asaking, Thus, the tradition of kingship scems to have been of
1 The whole question is discussed, with relevant references, in Macdonell and Keith, Vedic Index, vol. ii, London 1912, pp. 274-76. Pargiter, however, thinks (JRAS, 1913, p. 901 fn; 1917, p. 43 fn) that all this refers to a different Vasistha and Visvamitra of the same families,
2 The account is given differently in the Mababbarate, BORI ed, 1, 164-66 (=Bomb. ed. 1, 174-76) and in the Ramayana, Bomb, ed., 1. 52-56. For other references see E,W. Hopkins, Epic Mythology, Strassburg 1915) pp- 182-83 and Sorensen’s Index to the Names in the Mababbarata, London 1904 (under Vasistha and Visvamitra), In the 2100 the name of the cow is Nandini; in the Ram, it is Sabala, Ihe Mark, Purana also states (ix. 5) that Visvamitra destroyed Vasistha’s hundred sons, For other Purina references (Vayu, Brab- minda, Brahma, Harivaméa, Siva and Liga). see Pargiter in JRAS, 1913, p. 8866, at p. 88¢
[ पड ]
slow growth. In both the Epics, as well as in the Puranas, he is represented as the son of KuSika’s son Gadhi and a Ksatriya king who had become a Brahman by severe penance. One of his motives for che attainment of Brahmanhood appears to have been his bitter rivalry with Vasistha.
The story of Visvamitra’s elevation of Triganku is narrated in some detail in the Rémayane (i. 57-60),' which gives a fairly full account of some of Visvamitra’s exploits. The Iksvaku king Trisahku of Ayodhya, father of Hariscandra, approached his family priest Vasistha and then his sons with a request to elevate him in bodily form into heaven. Vasistha refused, and his sons cursed the king to become a Candala. Visvamitra, to whom he next went, accepted priesthood from him, even though he was now a Candiala, and pro- ceeded to perform on his behalf a great sacrifice. None of the invited gods nor Vasistha came to the ceremony. The enraged Visvamitra thereupon elevated Triganku bodily towards heaven by the mighty power of penance; but the gods threw the king down, because he was cursed by his preceptor and as such had no place in heaven, Visvamitra then proceeded to create a new heaven and new gods for Triganku; bue at last pacified he agreed to place the king as a bright star in a constellation newly created by the sage for him.
The story of Visvamitra’s eating of dog’s flesh is narrated in the Mahabharata (Bomb. ed. xii. 141). Once during a great famine caused by drought, the hungry sage stealthily entered the hut of a Candila, stole a joint of dog’s flesh and began to cat it in spite of the Candila’s protest. On seeing this Indra sent torrents of rain and put an end to the drovght and famine. The story of the terrible hghe of the ewo enraged sages in the forms of a gigantic heron and a Sarali appears to have been known to Ksemiévara from the narrative of the Markandeya Purana (Adby. ix); but the allusion in the Canda- kausika is anachronistic, because the incidence occurred sfter Haris- candra had gone to heaven and could not have been, as it is, antici-
`~ ---~--~-~-------~ ------ - -------------- ----- -- - ~~ ~~ ~
1 Pargiter (JRAS, 1917, p. got) does not believe the Ramayana account to be reliable. He gives an interpretation of the Purana version of the legend, which he considers to be more ‘historical’,
[ [ऋ ]
pated and mentioned by him. Vasistha, enraged with Viévamitg for his brutality to Harigcandra, cursed him to become a Baka (heron), and Visvamitra in return cursed Vasistha to become an Adi (a kind of aquatic bird). Both the sages as gigantic birds had a terrible fight, and were at length pacified by Brahma.
There is a reference also in the Canda-kangika [न to the Skands purana legend (Kasi-khanda, Adhy. 31) of the beheading of Hiranys. gatbha Prajapati by Kalabhairava. Once Prajapati boasted that he was the greatest of all gods, but Kratu (personified Sacrifice), on whom his godhood depended, disputed the claim. They went for judgment to the four Vedas who, however, decided that Siva was the highest god. Thus angered Prajapati began to revile Siva, who appeared on the scene to chastise him. From Siva’s anger sprang Kalabhairava, whom Siva directed to cut off Prajapati’s head and go to Varanasi which was Siva’s own city. As Kalabhairava with his sharp finger- nails tore off Prajapati’s head, a maiden called Brahma-hatya (Brahma nicide) arose. Possessed by her Kalabhairava went about begging with Prajapati’s severed head as a bowl in hand, until he reached the holy city of Varanasi, where Brahina-hatya left him and the head fell from his hand.
Treatment of the Hariicandra legend in Other Sanskrit Plays.
Although the Kausika-Harigcandra story is of Puranic origin, we have seen chat it finds a place only in one major and another minor Purina. In spite of its high moral appeal, it could not have been a wide-spread popular legend, nor did it supply much inspiration to the authors of Sanskrit plays and poems, who were ever ready to draw upon the ancient fund of popular myths and legends. No doubr, the legend lacks the romantic or erotic element, which is so dear to Sanskrit authors, and which is found, for instance, in the gay story of Udayana or the pathetic tale of Naisadha, but 1८ could have been utilised for plays or poems of a serious purpose and appeal. As it is, Ksemisvara's Canda-hansika appears to be the only drama which deals fully and adequately wich the legend. There are indeed two other dramatic works which acceprthe theme, but che one gives a
[ प ]
strangely modified Jaina version of the story and the other employs its bare outline for the purpose of a lightly conceived dance-drama.
The Satya-bariscandra
The earlier of these two dramatic works is the Satya-bariscandra,! a regular drama in six Acts, composed by Ramacandra,* whose dace can be fixed at the first half of the rathcentury by his proclaiming himself as a pupil of the famous Jaina Acarya Hemacandra. The nucleus of the original story, which consists of Hariscandra’s deter- mination to fulfil a rash promise made to an ascetic in expiation of an accidental offence and his subsequent trial and suffering by being reduced to the utmost depth of human misery, is accepted as the background; while its moral purpose, namely, glorification of the virtue of truth by a severe test of the king’s character, supplies the motive-force of the plot. But keeping within this outline, che Jaina author does not hesitate to make strange alterations in the old Purina legend. As a matter of fact, he invents anew story in which neither Visvamitra nor Dharma figure at all, in which the queen is not Saibya but Sutara, and in which entirely new characters, twenty- four in number, and new incidents are introduced for giving effect to its bizarre and rather complicated plot. Ramacandra’s story is
1 Ed. 8. ९. Arte and ऽ. V. Puranik, 2nd. Ed., NSP, Bombay 1909, Translated into Italian by Mario Vallauri, Florence 1913 (reviewed by Keith in IRAS, 1914, pp. 11०4-5).
2 On Ramacandra, the one-eyed pupil of Hemacandra, see Buhler, Ueber das Leben des Jaina Monches Hemacandra, Wien 1 889, p. 44; intro. editions of Ramacandra’s Nalavilasa and Natye-darpana (Gackwad Orient. Series, Baroda 1926, 1929). An indefatigable polymath, he describes himself as the author of a hundred works (prabandha-Sata-kartr). No less than eleven of his plays are cited in his dramatur gic work Natya-darpana, His other published dramas arc: the Nirbbaya-bbima, a one-Act Vyayoga on the story of the slaying of the Baka-demon, ed. Haragovinda Das in Yasovijaya Grantha-miali No. 19, Benares 19113; Kawmudiemitrananda in seven Acts,ed. Muni Punyavijaya, in Jaina Atmananda Granthamila, Bhavnagar 1917. The drama Nala-vilsa mentioned above is also in seven Acts. For an account of these works sec Keith, Sanskrit Drama, Oxford 1924, pp. 266, 258-59; ऽ. पि. Dasgupta and 5. K. De, History of Sanskrit Literature, pp. 465, 475-75
[ कपी ]
briefly as follows. During a णद king Harigcandra unwittingly kills a pregnant deer belonging to a hermitage. The hermit (simply called Kulapati), at the instigation of his daughter, demands expiatyn of the sin by a gift of Harigcandra’s entire kingdom. The king agrees, and rashly promises in addition to pay one lac of gold to the daughter. But since he had already made a gift of his kingdom with all its appurtenance, he could not find the additional amount of money. During the altercation with the hermit one of his hot-headed ministers, Vasubhiiti, is cursed by the hermit to become a parrot, Harigcandra goes to Varanasi with his wife Sutard and son Rohitasva, and earns the amount by selling his wife and son to a cruel Brahmin called Vajeahrdaya and himself to a Nisada named Kaladanda, Cases of untimely death occur in the city. A magician, called in by king CandraSekhara of Varanasi brings down by means of his charms a female demon who, in his opinion, is at the root of the mischief. At this moment a man enters the king’s court with a parrot in hand. The parrot is no other than the transformed Vasubhiiti, who at once recognises the female demon to be Harigcandra’s wife Sutiri and loudly declares it to be so. But king .CandraSekhara, disbelieving the parrot, orders the Nisdda’s servant Harigcandra, who is now employed at the cremation ground, to kill her. The parrot again declares that the Nisada’s servant is king Hatiscandra himself reduced to this plight, and proves the eruth of his statements by means of a fire-ordeal arranged then and there. At last Sutard is released and turned out. Then follows a fantastic scene at the funeral ground at Varanasi, in which Hariscandea substitutes himself as a victim for Candraekhara’s young son Mahisena, and assists a Vidyadhari in performing a magic rite by cutting off and offering, piece by piece, flesh from his own body’, The rite is strangely interrupted at the last moment when Hariscandra is about to cut off his own head as an offering. After a while Sutara’s son Rohitaéva is bitten by a snake and brought to the cremation ground. Hariscandra recognises his wife and son; but compelled by his duty as a Candila, he proceeds to collect the covering garment from the
1 This is apparently ‘a variation of the old Sibi legend!
| [पतौ ]
: dead body. Showers of flowers fall from heaven in appreciation of the king’s noble character; and two followers of Indra, named Candraciida and Kundaprabha, appear. They explain that once Indra, who had gone to worship Nabhinandana Jina, was pleased with Harigcandra’s offer of his own head as a test of his fortitude. Indra, therefore, praised the king at an assembly in heaven, Impatient of this praise, Candracida and Kundaprabha devised by their magic power all the episodes of the hermit, the magician, the bizarre rite of the Vidyddhari and such other incidents, all of which were not real, but merely created for putting Harigcandra’s virtue to a severe test.
It will be seen that the industrious Jaina author weaves out strange details, and works variations of an old Hindu legend deliberately with the didactic purpose of religious propaganda, This is in conformity with the well known practice of some pious Jaina authors. Ramacandra even makes (Act II) Harigcandra a worshipper of Nabhinandana Jina! The work is interesting from this point of view; but its literary pretensions are not worth much.’ It isa laboured composition of a learned pedant who was well versed in dramaturgic rules, himself having been author of a treatise on dramaturgy; but the work is hardly dramatic. Keith? is undoubtedly right in remarking that the play 1s ‘devoid of originality of conception or any marked ‘beauty of diction.”
The Harigcandra-nrtya
The other semi-dramatic work is entitled Hariscandra-nrtya.? cis an anonymous Nepali production‘ of the popular Yacra type, a Tanzspiel as its editor describes it, the whole action being carried on disjointedly by means of songs interspersed with prose dialogues or monologues, as well as with Sanskrit verses. The Purana legend of Harigcandra is followed only in its general outline, rather naively, and
1 Whether Ramacandra knew Ksemi$vara’s work is not clear.
> JRAS, 1914, p. 1106,
3 Ed. August Conrady (Diss. Universitit Leipzig), Leipzig 1891, pp. 1-45 (with a short introd, on linguistic peculiarities).
4 The MS, from which the work is edited, bears the Nepali era 771 (=1651 A, D.) as its date of copying by one Ramabhadrafarman.
19
[ ४ |
without much embellishment; but the queen’s name here is Madani. vati and the prince is called Rohidasa. The work has hardly and literary value, but is chiefly interesting as a linguistic document, giving specimens of what is regarded as old Nepali, which, however, appears strangely similar to Bengali, and is presumably a form of old Maithili.
Oppere in his Lists’ mentions a Nataka entitled Hariscandra- yasas-candriké, but he gives us no further information about it, and the work is not otherwise known.
५ ७. Oppert, Lists of Sanskrit Manuscripts in Private Libraries of Sonthern India, vol, i, Madras 1880, No, 6704, p. 505.—-A Kavya called Harifcandra- carita, without the name of the author, is noticed in Rajendra Lal Mitra’s Notices of Sanskrit Manuscripts, vol, v, Calcutta 1880, p. 215-16, The Maithili Papert MS described consists of 40 folios, but it breaks off at the end of the 5th , canto without completing the work, It describes in these extant cantos king Harigcandra’s greatness, his marriage with Sagilckh’, bicth of a son, meeting with Vifvamiera, Narada’s visit and advice to him to perform a sacrifice,
LITERARY ESTIMATE
Whatever may have been the actual date of the Canda-hausika, there cannot be much doube that it was composed in the age of lesser achievement which began after che first Aush of creative energy had subsided with Bhatta-Narayana and Bhavabhiti.’ It is not surprising, therefore, that the recognised historians of Sanskric literature should dismiss it summarily as a decadent play with [पञ a few words of faint praise. M, Winternitz?, for instance, thinks chat the daring scene of the burning ground, with its horror of Kityayani’s bloody cule, ts reminiscent of a similar scene in Mélati-madbava (Act V); but Ksemisvara’s poor power of pathos and heavy kavya-style, with its love of long compounds (!), do noe enable him to attain the excellence of Bhavabhati, Sten Konow* gives a summary of the theme, but does not offer any critical remarks on the play. Schuyler* briefly expresses lus opinion that though less known the drama is “admirable”, A. B, Keith’, however, is vehement in his condemnation of what is called “a stupid story” and thinks that ‘the plot is as poor as the execution of the piece”. S.K. De® is moderate in his appraisement, but he is hardly more enthusiastic when he says: ‘There is some interest 10 the idea of erial of character by suffering, but the piling of disasters 4s an atonement of what appears to be an innocent offence prolongs the agony, and the divine intervention ac the end 15, as usual, too flac. The story itself, despite its pathos, lacks dramatic quality, and improves very little by the poor execution and mediocre poctry of Kscmigvara.”’ It will be thus seen char che general opinion of the critics is, on the whole, not favourable; but since the work 1s noc without sts impor-
t See 5, K, De, History of Kavya Literature in S, N, Dasgupta and ऽ. £, De’s History of Classical Sanskrit Literature, vol, i, Calcutta University 1947. pp. 44.
2 Geschichte d. ind, Lit., tii, Leipzig 1920, pp. 249-50.
३ 00. cit. p. 87.
4 Bibliography of the Sanskrit Drama, New York 1996, p. 12,
5 Op. cit., p. 240.
6 Op. cit. p. 479.
| [भश |].
tance as an outstanding specimen of later Sanskrit drama and therefore could not be ignored by its learned historians, its licerary worth cannot be sweepingly summed up in any such bricf or disparaging dictum, The defects of the work are patent, but there is also some real merit which has to be taken into account. Without a detailed consideration of both these, therefore, it would not be possible to appreciate its value and understand its position in the history of Sanskrit drama.
THE PLOT
Although Sanskrit dramaturgy lays down certain well-defined rules regarding plot-construction, to which most later dramatists conform, the question of the [०८ of a drama is much wider than that of mere carrying out of cut-and-dried formulas and devices. It would not be profitable, therefore, to consider the application of such more or less mechanical contrivances as can seldom fetter ateally creative genius. But, apart from these, there are also some essential characteristics of Sanskrit drama which must be taken into account because of their bearing on the question of plot and characterisation, Of these charac- teristics, one of the most fundamental is that in the opinion of Sanskrit theorists the chief object of a drama is not so much the direct mirroring of life by the portrayal of action and character as the delinea- tion of a particular sentiment (Rasa), to which end everything else should be subordinated. Although the drama is described in theory as an imitation or representation of situations (Avasthanukrti), in actual practice the plot as well as characterisation, becomes a secondary clement; its complications are avoided so that they may not divert the mind of the audience from the appreciation of the sentiment to other interests. A well known theme towards which the mind of the audience would of itself be inclined was normally preferred; che poet's skill is concerned chiefly with the development of its emotional possi- bilities. It is no wonder, therefore, that the Sanskrit dramatists, with just a few honourable exceptions', show litele fertility in the cons- truction of plot, invention of incident, contrivance of situation or the
1 The exceptions, of course, include Sidraka’s Mrcchakatika, Visakhadatta’s Muadra-raksasa and Bhavabhiti’s three plays.
[ Ixxvii J :
creation of striking dramatic effect through these means. In addition to this peculiarity, there is also the long established tradition of a lughly cultured literary drama, as well as the widespread influence and continual temptation of narrative and lyric matter, detrimental to acuon and characterisation. In considering the plot of a Sanskric play, especially of a later period, these limitations should be borne in mind,
In the choice of theme, however, there was no limitation; and the pradual unfolding of the theme by a chain of incidents, which torms the plot of a play, was Icft to che discretion of the deamause, who could accept, omit, or modify details of his sources, or even invent them to suit his dramatic purpose. The unlimited diversity of life was certainly open to the authors, but the traditional themes generally consisted of fictitious amourettes of court-life or the romantic legends so largely supplied by folktale, as well as by the Epics and the Puranas. Such themes naturally encouraged che traditional poetic predilection of Sanskrit drama and its more or less conscious inclination towards cxttavagances in sentiment and elegancies in expression, which was hardly conducive to terse and vivid dramatic presentation. Bur even where middle-class life forms the theme we find an excessive poetic or sentimental atmosphere. In course of time such common life was left to inferior calents; the heroic and the erotic drama alone survived with the thinnest surplus of other kinds.
In selecting an epic or narrative theme the task of a dramatist is not without its peculiar difficulties. What he receives from his source 15 usually a large number of actions and incidents which extend over considerable period of time, and which have no intrinsic unity except in so far as they concern one or more persons, He can divide the narrative into well-arranged episodes, but that would be a pano- ramic procession, and not areal drama. There must be an attempt to make the incidents appear inevitable and growing out of the main dramatic purpose. A mere dramatic form of dialogue and division of scenes will not do; there must be a dramatic unity given to che series of incidents; a definite sequence must be established, but che sequence must be evolved by the motive force of a central dramatic conflict, In other words, there should not only be unity of plot,
we [ Ixxviii |
but the plot should move irresistibly to a definite end. In attaining this object it will be necessary for the dramatists to add, omit, alter or invent a great deal, unless the theme itself is ready-made as dramdtic.- The main problem before him, therefore, is not the creation but the adequate motivation of an already accepted story.
In applying this test to Ksemisvara who deals with a narrative theme, we find that he is not unaware of his task as 2 dramatist. So far as we can fix upon the Markandeya-Purana as his chief source, we find that he does not take great liberties with the original narra- tive; but accepting its general outline he does not hesitate to make such changes as would systematise the devious range of a mere narta- tive into a unified drama. His changes are not so extensive as those of Bhavabhiti or Bhatta Narayana, but they are equally deliberate. They shew that he is not satisfied with a mete reproduction in drama- tic form what 1s given by che Purana as a narrative. He wants to establish, as far as possible, a necessary sequence of the various experi- ences through which his hero passes. To this end he selects incidents, omits a few, adds some and, where necessary, modifies them. His main purpose is to represent graphically by a series of well-ordered incidents and episodes the trial of character by suffering; and this becomes the motive force of the plot and characterisation of his play.
We have already given above a résumé of the theme and plot of the Canda-kansika, as well asa summary of the Markandeya-Purana narcative;' but references to some details will be necessary now to explain and justify what we have stated. The first Act introduces the king wearied after a lonely night-vigil and apprehensive of the misunderstanding and displeasure of the queen. Then follows an atdent love-scene of propitiation, interrupted for a while by che entrance of a hermit carrying holy water, sent by the king's spiricual preceptor, for averting portents which foreshadow impending calamt- ties. This, of course, gives a hint of the tragic course of incidents which happen in che following Acts, The queen is now aware of her unjust resentment, and reconciliation becomes easy. The Act ends by the announcement of the appearance of a wild boar, and the
e
1 For she summaries see above.
[ Ixxix ]
king’s resolve to go out on a hunting expedition. In this connexion 1 may be urged in criticism that the erotic scene is entirely out -of place at a time when disasters are being foreboded by terrible, portents and elaborate religious rites and night-vigils are being undertaken for averting them. There isa similar scene, censured even by Sanskrit theorists as frivolous and ineffective, in the Veni-sambara between Duryodhana and his queen Bhanumati at a time when the menace of war was hovering on the horizon and a storm symbolical of the coming turmoil was breaking. A little reflection will, however, show that the parallelism is misleading, and Ksemi$vara’s presentation is neither frivolous not out of place, This invented scene is made the occasion for the tender and deep affection of Harigcandra and Saibyit to show itself; and it heightens by contrast the suffering which immediately follows,—somewhat after the manner, in different set of cucumstances, of the great Citra-darsana scene of the Uttara-carita. It lends pathos to Saibya’s later outburst in Act Ill: ‘This your love 15 not yet in its last state’ (avacchimo de danim aam panao) as a fit- ting reminder of her husband’s love for her. Ksemisvara’s king and queen are not the conventional frail hero and fragile heroine who indulge in irrelevant amorousness, but are meant to be grown-up man and woman of much sterner staff, The description of love-making, therefore, is restrained enough, and not presented in the usually luxuriant style of Sanskeit poets.
The second Act begins with the incident of the boar-hune, which 15 already heralded at the close of Act I ; and its justification is thac 1 leads the king to Vigvamitra’s hermitage. We learn thac the boar 1s only an illusory form of Vighna-raj, the terrible opponent of all under- taking, who is introduced as an allegorical figure. [८ is not clear, however, why Vighna-raj here, and Papa-purusa later in Act Ill, should take so much gratuitious interest in the career of the king; for there is ho suggestion that his trial and suffering were deliberately planned beforehand for a particular purpose. In the details of the hermitage episode, however, Ksemigvara does not keep strictly to his original source. In the Markandeya-Purdna there is no boar-hunt, either real of imaginary, but the king in the course of an ordinary hunt pursues a deer in the forest; and possessed by Vighna-raj, who enters into him,
Ww
[ Ixxx |
he is brought to the vicinity of the hermitage. In the much later Dev. bhagavata, however, which could not have been Ksemiévara’s source, there is no Vighna-raj, but a boar-shaped demon is sent by Visvamitra himself to lure the king into the forest. The boar-motif perhaps occutred in some traditional form of the legend and is linked up here with Vighna-raj; but obviously Ksemisvara could not dramatically represent the boar-shaped Vighna-raj entering into and possessing the king, and the slight change was necessary.
The episode of the Vidyas and Visvamitea closely follows the Markandeya-Purana natrative. The only exception is that in the Purana the angry sage demands the gift of Hariscandra’s kingdom as due to him on account of unpaid fees at a former Rajasiiya sacrifice’; this being unsuitable in the present context, is naturally omitted and replaced by the different motive of a Daksina, which would make the king’s willing gift of his kingdom complete. The Purana describes at this poine the lamentation of the subjects on the humiliation and departure of the royal family; this incident is omitted in the drama, only to be more effectively alluded to later in another context. The undignified belabouring of the queen by the sage is also rightly omitted in the drama. The censure of the Vigve-devas, which occurs here in the Purana, is mere dramatically removed in the play ९० the scene of the slave-market at Varanasi. [६ will be seen, therefore, that most of Ksemisvara’s departures from his source are necessitated by his dramatic purpose of attaining a unified ploc. .
The scene at Varanasi, presented in the third Act, generally accepts
` the Purana nartative, except in one or two details, The entrance of Pipa-purusa, another allegorical figure, as well as that of Bhrigiriti, a mythological being, is invented; but, as we have said above, they serve no useful dramatic purpose’. The dramatist does not accept
ea This would refer to the SunahSepa sacrifice. But the sequence of incidents in the legend is uncertain. At the time of that sacrifice, according to the Aitareya Br, ९०१14४० is already grown up; but here he is a child. As he ascends the throne here and Harigcandra goes to heaven, when did the sacrifice occur?
> [८ may be said that Bhrngiriti is introduced to indicate that Siva and Siva are taking great interest in Harigcandra, but we are not told why they are taking so much interest, ।
[ Ixxxi ]
the Purama account that it is Saibya's advice which leads Harigcandra to the desperate act of selling his wife and son; _ more dramatically she herself rushes into the scene and takes the initiative. KsemiSvara rejects with considerable judgment the humiliating incident of the dragging of the queen by the hair by her purchaser, who in the drama is depicted asa kind and good Brahman. It should be rematked in this connexion that the episode of the slave-market is really a finely conceived and executed scene; and ic would not be an exaggeration to say that there is hardly any parallel to it in the whole range of Sanskrit licerature. It is almost entirely in terse and straight prose, There is no ovet-elaboration, the words are few and action rapid, which make the vivid picture truly and impressively pathetic.
The fourth Act, which brings us to the loathsome burning ground at Varanasi and gives a vivid picture of the suffering and humiliation of the king, logically follows. The action is projected ona weird background, with gruesome corpses lying about and mauled by nocturnal beasts, with ghost and goblins squeaking, with horrible fiends drinking human blood and devouring human flesh with relish, and with mystic Kapialikas wandering about with their skulls and skeletons. The influence of Bhavabhiiti’s Malati-madbava (Act V) is suggested, but a comparison would show that the suggestion is hardly justifiable. It is possible that Ksemivara knew Bhavabhiiti’s presentation of a similar scene; but his own theme suggested the situation, and his picture is not weakly imitative. The horror is uncouth, and there is much in.the description of ghosts, fiends and goblins which is quaint and artificial; bue making allowance for abvious conventionalities, we should admit that the dramatist tries his best to present a vivid and vigorous picture, and that the pathos is not unduly elaborate and tiresome. The metrical soliloquies of the king would appear lengthy, but they are employed not as mere emotional outbursts but chiefly for describing the horrors of the place. Ac the commencement of the next Act also we have a similar soliloquy in which the king bewails his lot; buc it is perhaps not more lengthy than, for instance, the soliloquy of Raksasa on the failure of his high hopes, than some of the impassioned soliloquies of Hamlet. Very wisely Ksemiivara rejects the Purina account of Harigcandra’s vision
ie
[ Ixxxii }
of future transmigration as dramatically unsuitable. There is some point, however, in the objection that since the king has been tried enough, a second trial of his magnanimity and truthfulness by the Kapalika, who is no other than the same Dharma himself, is hardly necessary. Nor is this device convincing as an occasion for making the Vidyas reappear, All this is KsemiSvara’s own invention, but it fails to impress us as dramatically inevitable or effective. The situa- tion is already poignant, and nothing is gained by piling disaster upon disaster. Omitting the episode the dramatist could have short- ened the fourth Act and made it a preliminary part of the fifth Act which continues the same scene.
The meeting, in the next Act, of the utterly humiliated and sorrowing king and queen, with the dead child before them on the cremation ground, and their mutual recognition under the most harrowing circumstances, is a delicately conceived scene, worked out with considerable skill and moderation. Written almost entirely in simple and vivid prose, it has no unnecessary elaboration, no senti- mental prolixity characteristic of Sanskrit poets, no string of effusive verses, no lack of form and measure in the lamentations, no declama- tion to work up the pathos. Asin the market-scenz so also here, Ksemifvara does not favour that enlarged form of pathos, that muddle of the lachrymose and the rhetorical which is affected by Bhavabhiti and RajaSekhara. Very properly the Purina account of che suicide- pact of the king and the queen to immolate themselves together is modified, not only because it would be contrary to the injunction of the Sastras, but also because it would be undignified for the royal characters themselves and incompatible with their acceptance of the conditions of slavery. The king’s stern sense of duty even in the Most trying circumstances is finely broughe out here, even as it is in the Kapalika-episode under a different situation.
The theme suggests a real tragedy but, as in the Naganende so also here, we have a somewhat lame dénouement of divine intervention which brings immediate and complete reward of virtue. Neither in the logic of the situations, nor in the characters, there is any intrinsic indication of such a happy ending, although’ outwardly the very appearance of Righteousness as an allegorical figure perhaps
[ 0 |
foreshadows it, It is also not, as it is in che Mrccbakatibe and Ustera-carita, logically developed by a skilful handling of the course of incidents. The didactic Purina narrative, of course, inculcates reward of virtue in the long cun. It was also in con. formity with the established tradition of the Sanskeit drama, and Ksemisvara’s audience believed in it. In spite of his dramatic sense, therefore, the dramatist felt no uneasiness in accepting the position chat the ultimate resule should be concord, and not discord, For this purpose the intervention of unseen forces in human affairs or the idea of incalculable destiny shaping human ends, to which many explicit references are made, could be accepted without incredu- lity or discomfort; and the marvellous and the supernatural, with their magic and mitacle, could be introduced freely. The attitude would think nothing of a curse or divine act as an artificial device for controll- ing the action of a play or bringing about a solution of its complica- tions, But it must be admitted that the dramatist thereby ignores the motives of human action, the inherent complexity or inconsistency of human character, as well as the inexorable logic of human citcums- tances, The certainty of pre-destined happiness in the end makes the pathos appear unreal, because we already know that however obstacles may hinder the course of life, they will finally fade away. The gtievous affliction never comes home, and the poignancy of a tragic climax is smoothly warded off.
This drawback Ksemigvara’s play shares with most other Sanskrit plays, as it was in accordance with the established theory and practice. But barring this common deficiency, it will be clear from our detailed review that Ksemisvara’s play as a play is impressive in other cespects. The plot is not clumsily contrived; the situations are not incongruous; the scenes are well conceived and not haphazardly put together; che incidents are well arranged and grow inevitably out of one another; the prose dialogue is not neglected in favour of the poetical stanza; the Acts are not too long, and the action comparatively rapid. All this will be obvious if we compare, for instance, his short, easy and well-knit drama with the huge, stilted and dramatically formless Bale- ramayana of RajaSekbara, who is presumed to have been his contem- porary. In sheer inventiveness Ksemigvaca does not excel like his
ष
| [ गर ]
predecessor Bhavabhiti, but what he invents is generally well judged, There can be hardly any doubt that, comparatively speaking, Ksemigvara gives us a unified play, and not a mere panoramic procession of disjointed narrative incidents’.
Even admitting all this, there is one defect which takes away a great deal from the dramatic interest of his plot-construction. This is the absence of a real dramatic conflict as the central motive-force of the plot. The plot-analysis of Sanskrit theorists in elaborating five elements of the Action (Avasthas) and five junctures of the Plot (Samdhis) recognises obstacles to be overcome and, in a certain measure, the need of dramatic conflict. This is necessary not only to give a real unity to a string of incidents but also to lead to a well- developed climax. In the Canda-kauSika the series of incidents and episodes are, no doubt, well arranged to depict the main theme of trial of character by suffering; but in reality the attempt works out the effect of an implacable persecution of an upright king by an irascible sage for what appears to be unwitting offence. There is no real conflict, no clash of opposing wills, no serious motive for the persecution except a rash promise on the one hand and an equally absurd anger on the other. We are told almost at the end chat Visvamitra did all this to test the king’s character, but of this there is no indication anywhere else in the word or conduct of the sage, who drops out of the play at the end of Act III. After his disappearance, Dharma steps in and carries on the test, but here again no motive is assigned for his attitude. Although Siva and Siva are said to take interest in HariScandra’s misfortune, and to have them- selves taken part in the guise of the benevolent Brahman-purchaser and his wife, there is no indication that the whole affair was delibera- tely planned by the high gods for a particular purpose. On the contrary, the ViSve-devas openly condemn what appears to be mean- ingless cruelty. The persecution of Hariscandra looks like gratuitous
ए That Ksemisvara was alive to the actual production and staging is clear not only by his reference to Karttikeya whom he thanks for directing the pro- duction, but also by his inserting profuse stage-directions at every step. Some- times there are no words’but the action is represented only by the gestures mentioned,
[ Ixxxv ]
playfulness of inscrutable fate or destiny, to which references are frequently made. Ac the same time, {८ cannot be said that there is any dramatic conflict in the real sense here of a man at odds with fate; for we have nothing but righteous submissivenss on the part of the helpless king and an equally unrighteous aggressiveness on the part of the relentless sage. This lack of a real dramatic motive ot conflict renders meaningless the piling up of disasters as an atonement of an innocent offence, and unnecessarily prolongs the agony; and the divine intervention at the end is also for this reason, 1f not for any other reason, a dramatically flat dénouement.
This criticism can be illustrated and justified not only by theory, but also by the practice of some of the great Sanskrit dramatists. We take, for instance, the plot of Bhavabhiiti’s Mabavira-carita where an epic natrative is turned into a drama by a centrally conceived dramatic motive or conflict. The series of epic incidents are unified by positing from the beginning a feud between Rama and Ravana by the latcer’s discomfiture as a suitor at Sitd’s Svayamvara and her betrothal to Rima. Rivana’s injured pride, desire for revenge and misdirected passion become the prime motive of the entire action of the drama. Ic is carried on throughout the play by the diplomacy of Mélyavac, Ravana’s minister, which leads to the crafty instigation of Manthaca who is no other than Siirpanakhi in disguise; to the winning over of Paragurama and Balin against Rima and their consequent defeat and death; to the abduction of Sita; and to the ultimate use of open force, on the failure of diplomacy; and the slaying of Ravana, rescue of Siti and triumph of Rama. This may not be Ramayana, but it is a drama, The epic incidents are greatly altered; but the daring changes ate justified by che dramatist’s necessity of a consistent and properly motivated plot, which is unified and developed on the basis of a running conflict between strategy and straightforwardness.
CHARACTERISATION It is laid down by Sanskrit theorists that the characters in a drama, especially its hero and heroine, must essentially be true to one or other of certain types, although there is nothing to show that within this limitation they did not permit expression of individuality. In general
Ww
[ Ixxxvi ]
ptactice this injunction led to the creation of more or less conventional characters like the king, queen, lover, and jester; but it did not always mean that the ideal characters were all devoid of real humanity, Nevertheless, the sentimental and romantic bias of Sanskrit dramatic tradition preferred typical characters to individual figures. The dramatist became more inclined to the ideal and emotional possibilities of the theme and correspondingly indifferent to realities of characterisa- tion.
In the epoch in which Ksemigvara flourished this appears to have been the established convention. The didactic Purana narrative, on which he drew, also presented ideal and typical characters. It was diffcule for him to ignore these tendencies. We have, therefore, to see how far he achieves success even within this limitation.
There cannot be much doubt that Ksemigvara takes great pains to make Hariscandra an ideal of heroic suffering. As a Dhirodatta Nayaka he is high-minded and generous even to a fault. His magna- nimity, truchfulness and supreme sense of duty, even in most difficult circumstances, are vividly depicted. Given the setting of the time and place, the representation, even if too high, is normal and human. Harigcandra is indeed made a paragon of virtue, but he is also a victim of his own virtue. As in the case of Raksasa of Visakhadatta’s play, but in different circumstances, the pathos of Harigcandra’s suffering lies not so much in an unequal fight as in the softer traits of his character. At the same time he is not a pallid and feeble hero of the conventional type. His submissiveness is due not to any weakness of character but is born of a high regard for uprightness and a rigid sense of duty. He flinches before the fury of the sage because he wants to be righteous, and he is restrained enough not to say anything derogatory. His shrinking from the loathsome slavery to the Candala is quite natural; but when he accepts it without much waste of words, his dutiful and complete acceptance is truly heroic. His suftering is made more pathetic by his deep and tender love for Saibya, as well as for Rohitasva; but he is not love-sick like che youthful Madhava or extravagantly emotional like the elderly Rima of Bhavabhiti. There is considerable restraint in Harigcandra’s love-making in Act 1; and the larer scenes at the market-place and the burning ground reveal the
[ ixxxvii ]
depth of his affection, as well as his fortitude and self-possession to a remarkable degree. There are bewailings, tears and faintings, but it cannot be said that they are overdone.
Saibya is a worthy consort of the king, and in the scenes mentioned above she is equally forbearing, dignified and heroic in the tetrible strain of sorrow through which she passes through no fault of her. own, The coy and loving girl of Act I is changed by strange circumstances into a coufageous woman tossed on the stormy sea of suffering. She not only undertakes to relieve the king of half the burden of his debr by willingly selling herself into slavery, but she also reminds him firmly in his distress: ‘My lord, why are you slackening in the task of the great sage by grieving over my wretched self?’ The climax comes with the sudden death of her little son by snake-bite and the equally sudden discovery of the miserable plight of her husband. Human endurance is put to the utmost test; and the utter helpless- ness of the situation is brought ouc by her last desperate outburst: ‘Righteousness is utterly in vain, Everything is crying in the wilder- ness. All knowledge is dancing in the dark.’ Both these characters, Hariscandra and Saibya, shine, as they are intended to do, in the white glory of a high ideal; but there is nothing in them that is not natural and human.
Vigvamitra, on the other hand, is the typical irascible sage, in- ordinately conscious of his own devastating power. Even if there is nothing striking in his character, he is not unconvincing in his own way. At the same time it must be admitted that he is neither impressive nor dramatically adequate. The only crait of his character which is made prominent is his perpetual bad temper and unforgiving disposition. He is crafty enough co trap Harigcandra into a rash promise; but while there is some meaning or motive behind the aggressive and implacable hatred of Shylock, there is hardly any behind the aggressive and implacable anger of Visvamitra, which is perhaps as mean. Nothing is suggested as an adequate explanation of the king's prolonged punishment, which is incommensurate with his unwitting offence, except this motiveless anger of the sage, or the still more motiveless cruelty of incalculable destiny. We are told 2८ the end of the play thac Visvamitra wanted to test the king’s upright
[ Ixxxviii ]
character; but nothing is said as to why he wanted to doit. If Vigvamitra is the villain of the piece, he is not a proper villain but a mere instrument of meaningless torture. His role in the play, there. fore, is dramatically ineffective.
More dramatically conceived by way of contrast is the Visvamitra of the Devi-bbagavata narrative,’ even if he is not more engaging, There the motive underlying Visvamitra’s heartless treatment springs from his ancient feud with Vasistha; and because of this original hostility Visvamitra himself acts as the cruel destiny of the king. Everything moves round this central pivot. Ic is Visvamicra’s strategy which directs the whole course of action; and all the incidents are planned deliberately by him to punish the king. The meeting of the king and the sage is not accidental but contrived by the magic creation of a weeping woman, who replaces the Vidyas. The sending of the boar-shaped demon; the offer, in the disguise of a benevolent Brahman, to get the king out of the forest; the gift sought on the pretext of an imaginary son’s marriage; himself purchasing Saibya and Rohita, again in the disguise of an old Brahman; accepting the king's offer to become his slave and making him over to a Candiala; sending of the deadly snake for slaying Rohita; refusal of permission to Saibyi to go to her dead son; his presence at the final dénouement, —all the episodes and incidents, brought about by Visvamitra himself, are not detached but converge towards the same end. From the dramatic point of view this narrative would have supplied better material to our dramatist; but the Devi-bbagavata, presumably a later compilation, was perhaps not known to him.
Among the minor characters, the Vidiisaka is typical but not tedious. He may be colourless, but he is not a mere clumsy court-jester. Even the little RohitaSva, who has a very small part to play, is not neglected but drawn vividly with just a few touches. The Candala or Kapalika may not be very impressive, but he is not a shadowy personage. But for hisown declaration, he makes us forget for the time being that he is a divine figure in disguise, The divine docs intcude itself in the drama, but pethaps not so prominently as to dull our sympathies.
ee
1 For a summary see above,
[ Uxxxix ]
In this connexion it is necessary to mention that the Canda-kansike 1s one of the few Sanskrit plays which not only invokes divine machi- nery but also makes use of allegorical (Dharma, the Vidyas, Vighna- प] and Papa-purusa) and mythological (Bhrfgiriti) figures as a subsidi- ary contrivance, The appearance of divine, semi-divine and human characters all cogether is not unusual in a Sanskrit play; but purely allegorical characters rarely occur. By the side of his concrete charac- ters KsemiSvara places abstract personifications of virtue or vice, some- what in the manner of the Moha-pardjaya of the Jaina Yagahpila of Gujarat (13th century) or the Caitanya-candrodaya of che Vaisnava Paramananda Kavi-karnapiira of Bengal (1572 A.D.); but of course his drama has no motive of religious propaganda for introducing allego- rical characters. Nor is it in any sense a purely allegorical play of the type of Krsnamisra’s more well known Prabodba-candrodaya (11th century), This mixed type, however, is not an altogether novel feature; for we have an early example in one of Agvaghosa’s dramatic tragments, which appears to contain some personifications of abstract virtues along with concrete dramatis personae. The only remark that can be made in this respect is that although allegorising is employed as a mere device with a definite moral purpose, our dramatise does not overtax our credulity, and is not unsuccessful in shaping abstract ideas (especially the idea of Dharma) into living persons.
Making allowance for the ideas and ideals of the time, ic should be said that Ksemigvara shows considerable power of sustained and consistent characterisation. This is no mean praise when we consider the general dramatic achievement of the epoch in which he flourished, Leaving aside the large number of inferior and imitative playwrights and taking only those who have enjoyed traditional reputation, we find that neither plot-construction nor characterisation, for which they cared little, was a strong point with them. In RajaSekhara’s chaotically Monstrous Rima-drama or sentimentally exuberant court-amourettes, the characterisation is slight and distinctly feeble; for Rajasekhara was Concerned more with stylistic exercise than with the writing of a real drama. The characters of Muriri’s solitary play are well known and fixed types who appear as mouthpieces chiefly of elegant and sonorous verses, The same lack of dramatic sense and propriety, as well as
[ Ixxxx ]
sentimental prolixity, is seen in Jayadeva’s single play which is more or Jess a conscious imitation of Murari’s similar production, In this galaxy Ksemigvara’s well-knit play stands out prominently for its dramatic sense and stylistic moderation.
The only criticism that can be levelled against Ksemisvara’s char. aéterigation is that there is no development of character in the proper sense of the term. From start to finish, for instance, Harigcandra is the same dignified, magnanimous and upright hero. There is hardly any revelation of other phases of his character; what we find is that the same character is placed in different situations and in relation to different persons. Saiby’’s character perhaps reveals unexpected traits; but neither in her, nor in Harigcandra, much less in Visvamitra, we find a fine shading of character or blending of conflicting motives which would have been dramatically more effective and interesting. Life is presented as an affair in which white is white and black is black, with no suspicion that black and white may often merge into a dubious grey. [६ has been truly remarked: ‘These sentimentally idealised writings hardly show any sense of the stress and contradiction from which both tragedy and comedy arise. The attitude is ethically clear and regular; there is no situation of moral complexity, as well as no appreciation of the लला inconsistencies of human character.” But since this is a criticism which can be applied, with just a few notable exceptions, to most Sanskrit dramatic works, we need not stress it too much in the case of Ksemigvara.
STYLE AND DICTION
Since style and diction are the media through which the plot progresses and characters develop, it is necessary to take them into account in any literary estimate of a dramatic work. Without going into details it can be said at once that there is throughout in Ksemi$vara’s drama a noteworthy simplicity of style and diction which stands in vivid contrast to those generally found in the writings of the period.
One remarkable feature in this respect is chat prose is not neglected in favour of verse, vigorous dialogue in favour of effusive lyrical stanzas. Ksemigvara’s prose is unadorned and direct; and the
1 SN, ` ऽ. N, Dasgupta and S.K, De, History of Sanskrit literature, p. 446,
[ Ixxxxi ]
dialogue is not unnecessarily claborate but short and adequate for dramatic purpose. The Prakeit 02551665, which are written mostly in prose, are not loaded with abundant compound words (except in the speech of the forester in Act I), such as we find them very often in Bhavabhiti and Bhatta Narayana, but are comparatively simple in construction and sense. The metrical stanzas, which are the high lights of a Sanskrit play, are also not too numerous, and do not-undaly hamper ०८ disorganise the action of the play. They are mostly not inappropriate comments, reflective, emotional or descriptive, on particular dramatic situations and therefore a necessary part of them, Barring narrative monostiches, we have among them erotic verses in the first two Acts, and stanzas of grief and lamentation, as well as of gruesome description, in the remaining Acts. Mercifully Ksemisvara is neither prolix in description and declimation, nor effusively sentimental, nor given to extravagance of grandiose expression as Bhatea Narayana, Rajasekhara and Murari often are. to Ksemigvara's stanzas there is not much of far-fetched conceits and complexities of expression, hardly any straining after effect or णा necessary claboration regardless of proportion or propriety, little stylistic display of skill and learning, Even the lamentations, in verse as well as in prose, do not lack, as we have satd above, a sense of form and measure; and in chis respect Ksemisvara’s Hariscandea shows more moderation than Bhavabhdti’s Madhava or Rama.
The rapidity of action and clarity of characterisation are, therefore, ensured, inasmuch as KsemiSvara does not, as Rajasekhara and other dramatists do, mistake quantity for quality. The extraordinary prolixity of these dramatic writings, which probably began from the example of Bhavabhiti, will be clear if we cake into account the inordinate length of some of them, reckoning it only by the number of metrical stanzas in each of them. Ksemisvara’s Canda-kausika has a total of 163 stanzas (barring repetition) in five Acts, with an average of about 33 stanzas in each Act. But Bhavabbiici’s Malati- madbava (in ten Acts) and Ustere-carita (in seven Acts) have tespectively 238 and 257 stanzas, while Bhatta Narayana’s Veni- sambéra (in six Acts) contains 207 stanzas. This is moderate enough when we compare the numbers with 780 of Rajaickhara’s Béla-
` [ xxxxii |`
rimayana (in ten Acts), 540 of Murari's Anargha-raghava (in seven Acts) and 392 of Jayadeva’s Prasanna-raghava (also in seven Acts), Some of the Acts of these later so-called dramas have the dimension almost of a small play. Thus, the ten Acts of the Bals-rémayana have an average of about seventy-eight stanzas, and one runs up toa hundred. It has been calculated that 200 stanzas of this enormous work ate in the long Sardila-vikridita metre and about go in the still longer Sragdhard. One of the Acts of the Anargha-raghava contains well over 80 stanzas, while the largest and most actionless last Act is spread over mote than 150 stanzas; and the last Act of the Prasanna- raghava includes 94 stanzas. In the length of their boastful Prologues also these authors appear to vie with one another. Ksemisvara’s modest Prologue contains only 7 stanzas; but Rajasekhara (Bal.ram.) has 20, Murari 13 and Jayadeva 23. These extraordinary volleys of verse are, of course, meant not for any really dramatic purpose but for elaborate stylistic display in ornate composition. Ksemisvara_ wisely restrains himself; for he appears to be aware of the futility of a laboured and highly embellished poetic diction for the strain of pathos, rapid action and vivid characterisation which his drama wants to attain.
It is, cherefore, not necessary to consider in detail Ksemisvara’s employment of rhetorical devices which is hardly conspicuous. The various rhetorical figures are, no doubt, in Sanskrit theory, regarded as a vital part of all literary effort, and Sanskrit authors 35 rule are alive to them; Kgemisvara’s achievement in this direction is elegant but in no way obtrusive. Allliteration and sound-repetition, of which the extraordinary flexibility and richness of the Sanskrit language is so capable, are to be naturally found, very often with a pleasing effect; but there is no special fondness for them, nor for patonomasia or double entente involving stupid torturing of the language. The clever use of Slesa, however, in the words bhoga in II. 30a and daivabind in V. 5d is not ineffective as an artistic device. Of other rhetorical figures Upama, Ripaka and Uepreksa are, of course, to be expec- ted; there are also some pleasing instances of Vyatireka, Dipaka, Nidarfana and Archantara-nyasa; but on the whole KsemiSvara does not appear specially inclined to any rhetorical display.
{ [फा 1
Similarly, Ksemisvara’s metrical accomplishment is smooth and pleasing but in no way remarkable. Our metrical index would show that he employs altogether 19 different kinds of metres in a total number of 163 stanzas. Next to che largest use of Sloka, the number of which comes up to thirty-six, we have the Vasanta-tilaka employed in twenty-seven stanzas, Sacdiila-viktidita in twenty-five, Sikharini in twenty; but Sragdhard and Mandakranta are each found respectively in eight, Harint in four and Prthvi in one stanza only. Of uneven or moric metres the Arya and the Puspicagra occur seven and six times respectively, and Aupacchandasika once only, Of shorter syllabic metres, we have twelve instances of Indravajra-Upendravajea- Upajati_ metres, three of Salini, two of Druta-vilambita and one of Malini. Except one unusual metre (Aparantika) in a Prakeit stanza’, these are commonly employed and well known metres; and there is nothing in Kgemisvara’s use of them which shows any distinctive metrical skill or rhyrhmic beauty.
It would seem, therefore, that Ksemigvara does not claim high rank as a mete stylist; and it is no wonder that he is as rarcly quoted by rhetoricians and antholoyists as RajaSekhara and Murari are quoted copiously. Although a fair number of MSS, chiefly in Devanagari, Nevari, Maithili and Grantha characters, is available, no commentary on this work is so farknown. All this, however, need not prove that the play is devoid of really poetical or emotional content. Perhaps it lacked the poetry and sentiment which were normally preferred; but it certainly has its own easy and subdued elegance of poctry and sentiment. Some of Ksemiévara’s verses undoubtédly show that he was not incapable of truly emotional or poetical outbursts; but in general he uses his images, similes and embellishments with consider- able moderation, Perhaps he has paid the penalty of his moderation by being mediocre; but it cannot be said thac among the authors of the period he does not possess the much more rare gifts of a drama- tist to aremarkable degrec. If he does not indulge profusely in elaborate poetical and descriptive passages, it is perhaps not for any want of power bur because he had agreater sense of dramatic propriety.
1 This occurs in 1V. 11. See notes to this stanza in the text.
[ Ixxxxiv 1
He breaks away from the prevailing tradition of the erotic and Pseudo. heroic drama, but in choosing a lofty theme of self-sactifice he has perhaps also paid the penalty of originality in an unoriginal epoch,
At the same time it must be admitted that there is one deficiency which could not be made up even by his dramatic sufficiency, and which had a serious bearing on the excellence of his composition. He has a gift of serviceable rhetoric and pleasant prosody, but his diction has hardly any distinction and his stanzas lack impressive melody, Ic is true that his style is not diffuse nor prolix, but his poetry is facile and his expression conventional. There is ease but no brilliance; grace and some polish, but no real gift of phrasing, no subtle beauty of word and rhythm. No doubt, he is not elaborately artificial like Rajasekhara, nor has his fertile talent to produce an enormous mass of loosely strung verses. But compared with some of his predeces- sors, he had not the virtue even of their excesses. If he is not loosely sentimental like Bhavabhiti, he does not possess Bhavabhiti’s palpita- ting vigour, nor even the declamatory energy and picturesqueness of Bhatta Narayana. Ksemisvara’s accomplishment is smooth and even; he is admirable, as Schuyler puts ic, but not excellent. The Canda- kausika isa matkedly simple and well-knit work of its kind and period, and deals with a theme not utilised properly by any other Sanskrit dramatist; bute it lacks che finer touch of imagination and expression which would have lifted it from its unfortunate mediocrity to the level of a great and powerful drama.
INFLUENCE OF OTHER SANSKRIT DRAMATISTS
We have already made many comparative references to the works of other dramatists; and from what we have said it would be clear that Ksemisvara shows considerable independence in not accepting the stereotyped theme, method and model of the prevailing erotic and pseudo-heroic drama. Of earlier authors we may find some echoes and reminiscences of particular passages or incidents, some of which have been mentioned in our notes co che English Translation; but these isolated instances are almost negligible and do not seriously diminish the originality of his conception and execution. Ksemisvara is nowhere slavishly imitative, as RajaSekhara, Murari and Jayadeva
[ Ixxxxv ]
often are; and the footmarks of earlier dramatists are not so clearly visible in his composition. Even if he does not attain a great height as a dramatist, he is not chaotically poetical but sensibly dramatic; and in this respect he redeems the decadent and imitative drama from the reproach of fatal elaboration and stereotyped affectation. More than most dramatists of the time he can withstand the traditional fascination of sonorous sound and sentimental sense, and can create living figures and not dressed-up mationettes. He does not reduce the prose and the dialogue to the minimum, nor does he allow the action to take care of itself in the leisurely progress of strings of stanzas. He offers not only the variation of a new theme, but the theme is also developed, as we have seen, with enough sense of dramatic unity and propriety.
The theme naturally suggests a comparison with that of Jimiita- vahana’s lofty sacrifice in Stiharsa’s Nagananda; but there is nothing in KsemiSvara’s treatment which would indicate any conscious or unconscious imitation of his predecessor's somewhat loosely constructed play of a mixed erotic and heroic motif. The device of divine intervention is common to both; but since it is furnished by Ksemis- vara’s own Purdnic source the question of borrowing does not atise. Of Bhatta Narayana and Bhavabhati, in relation to Ksemisvara, we have spoken above; and there is nothing here to justify any direct influence. Ksemigvara avoids Bhatga Nirayana’s rant and rhetoric, but he loses thereby his predecessor’s declamatory forcefulness. In the same way, in avoiding Bhavabhiti’s prolix sentimentality, he sustains a greater loss of the rugged directness of his predecessor's gteat and poignant poetry. With Kalidasa or Sidraka Ksemisvara should not enter into a comparison. He cannot claim the wit and wisdom, the poetry and pathos, the kindliness and humanity of Siidraka; and the gift of beautiful phrasing and the grace and melody of Kalidasa’s full-orbed poetry are certainly beyond his reach. At the same time, if he cannot, like Siidraka or Kalidasa, condense a world of emotion in a few pregnant phrases of concentrated passion, Ksemifvara does not, like Bhavabhiiti, RajaSckhara and 2 host of other dramatists, dilute the strength of the poetic nucleus by diffusing it into graceful and sonorous periods. Although the themes were
[ Ixxxxvi ]
different, the only earlier dramatist with whom KsemiSvara my, toa limited extent, be compared is Visakhadatta, whose Mudri-rakcasg eschews the erotic motif more severely and entirely. Like Visakhs. datta, Ksemigvara does not make his work a convenient vehicle for the display of literary ingenuities, but aspires to a limpid and unaffected style and diction. In the mastery of dramatic technique, in the vigour and directness of action and characterisation, in the dramatic quality of prose dialogues and metrical stanzas, and in the subdued bue superior elegance of his poetry, Visakhadatta is certainly much surpassing; but KsemiSvara’s effort in these directions, especially in respect of dramatic adequacy, is of the same type and not negligible even by comparison.
CONCLUSION
It will be seen from our review that, possessed of considerable ability, Ksemisvara both gains and loses by ‘coming at ४ period when much of the best work in Sanskeie drama was already accompli- shed. He has a literary tradition, mode and diction prepared for him for easy employment, but he has not the genius to rise above them and strike out his own path. With inherited facility of execution he loses individuality and distinction. Here we have, not the older flame, ७५८ ५१८ Jase glow of the ashes. Nevertheless, with all his deficiencies, he could write a drama, and not produce a hybrid between a play and a poem. Evenif he is not one of the great dramatists or poets of Sanskrit literature, it would be unjust to deny to hima fair measure of dra- matic and poctic talent or consign his work to unmerited neglect. As an interesting specimen of the later drama, che Canda-kausika for its dramatic, if not for its poetic, qualities, is in no way inferior, but in some respects superior, to the so-called dramatic writings of Raja- Sckhara, Murari, and Jayadeva, not to speak of a host of other imita- tive playwrights. = [८ is for this reason that we have thought it fit to prepare a critical edition of this less known play, and place it in its proper literary and historical perspective. Some special pleading is necessary; but we have tried to approach the work from the objective standard of critical scholarship. We speak, therefore, not as mere apologists but as appraisers who are anxious that justice should be done
[ प्ण ] to Ksemisvara’s much neglected work; for the author himself has requested us (V. 30); kavibhir upabita nija-prabandhe guna-kanikapy anugthyatim gunajéaih,
“Let those who appreciate merit favour even the particle of merit which poets put into their own composition.”
THE TEXT
आार्यकषेमीश्वरबिरथितं चण्डकोरिकम् प्रथमोऽङ्कः
देवस्मीगुण्यभेदात्सजति वितनुते संहरत्येष लोका-
नस्वैव भ्यापिनीभिस्तनुभिरपि जगदयाप्तमष्टामिरेव |
वन्धो नास्येति पर्यशिव शरणगतः पातु पुष्पाजलिर्वः
शंमोरंखवाषलारे बलयफणिफणापूलते्िमकीणंः it अपिच
अरुणनयनं सभ्रूभङ्गं ब्रस्पुःरिताधरं
arg शरितः fut कान्तिं करोतु तवाननम् |
कृतमनुनयैः कोपोऽयं ते मनखिनि वर्ष॑ता-
मिति गदितियाश्धिष्टो Year शिवाय दिवोऽस्तु षः ।२॥
Nr begins: नमो नागयेश्वराय ; Na नमो लोकनाथाय ; Mi भजनम ferry; Dr, 4. 6 92 Pea भ्रीगदेशाय नमः ; Da श्रीचरडीपवे नमः; D3 ध्ीकृष्णाय नमः ; Ds खस्ति क्रीवज्ञवराजयतु (sic); D7, si नभो अमन्राव।व । धरीगेशाब नमः । । ।
The passage from the beginning up to the end of ma in St. 4.1. 3 is lost in D6 on a missing folio; but there is an additional folio at the beginning (marked fol. 1) in which Sanskrit Chaya of some portions of the text of Act [ appear,
St. ra) 03. 4 51, 3 Pea dgeeta.—b) 01 (before core.) भ्रन्वाभि- tac) 01. 7 निजजरशमतः. 52 नः (for #:).—d) D7 फुकति-.
St. a—b) Mi fest. Nr Di. 7 stft.—d) D4 om. छिदो. Mr tearfisst by transposition.
द् चरडकौशिक्म् [ Act ]
अपिच आनन्व्छयथिताः समाधिषु मुखे गौर्या विलासोद्रमाः संभनाम्ताः क्षणमद्भुताः क्षणमथ स्मेरा निजे वैशृते । क्रुराः कृष्टरारासने मनसिजे दग्धे घृणाकूणिता- 6 स्तत्कान्ताख्वितेऽश्रुपूरतरलाः शमो शः पान्तु षः ॥३॥ ( नान्न्ते ) सूज्रधारः। अभरमतिविस्तरेण । आदिष्टोऽसि लीलासमुचुवाशेषकष्टकेन TATA AT मदुजदण्डमन्दराषृ्लक्षमीखयंबरमणयिनो शीमहीपारदेषेन। यस्येमां पुराविदः भरशस्तिगाथा- 10 मुदाहरन्ति-
Li 03०). ्रपिच.
St. 3--“) Ni. > श्रानन्दग्लयिताः ; D3 "प्रथिताः, Mr Dg. 5 Sz. 3 Pc 2 विलासोक्ञषाः .-¢) Mi D4 Per स्णामुद्रताः. Ds (before corr.) स्मर्मय.-९) 53 serge-. 23 एृणाघूणिंताः.--4) Dz-qufecen:. 53-शदिते च पूरतरलाः. Cited anonymously in Sadukti-karnamrta (i. 14.3) ५, ॥ भ्ानन्दतिमिताः.
L6 D7 adds gloss on margin: द्वाद्शतू्यीणां नि्षोषो नान्दी । तस्या wed सूहषारो वदति. «
L7 4 -विलारेण. After भ्ादिषटोऽसि, D4. 5. 7 S2.3 Per. a ins, qermagfenquagafigicar भरूभक्गलोलासमुद्त-. D3 शीलासमुत्खातीशेष- शलुमरडकेन. D2 drops all words from शैषङृत्टङेन up to यस्येमां (1. 9). Sa drops from केन (in कर्ट्ेन) Up to सागरा.
L8 N 1.2 0m. -दरढ-. Ni. 3 Mr D3 ०.-खयंवर्-,
Lg Nx D3, 7 Sx भीमा (for wt). Mz D3 cransp. पुराविदः and suifernrat.
‘Lio Nia Di agdafq (for उदाहरन्ति). All words from हरन्ति to भ्र (in प्रकृति in verse 4) lost in Sa.
Act EJ चअरडकोशिकम् ड
यः fire प्रङृतिगहनामा्ैखाणक्यनीति जित्वा नन्दान्कुखुमनगरं चन्द्रगुसो जिगाय | कर्णाटत्वं भुषसुपगतानच तानेव हन्तु Staten स पुनरभवण्षटीमदहीपालदेवः ,४॥ ( afaea ) 6 पारिपाश्वकः। अञ्ज किं उण तेण राणा समाविद्ध । qai श्दमादिष्टं थथा किल विजजयकोष्ठनप्तुः कवेरायेक्षेमीभ्वरस्य इतिरमिनवं खण्डकौरिकं नाम नाटकं नारयितब्यम्। स किल कथिनीट्पवेदविशारदाभ्विध्याकलाविदो लोकहाम्सभासद्ः प्रत्येव सुक्वान्- 10
St. 4--2) 57 सश्र्.-¢) Nir. 2 Mi D3 हत्वा (for fireat).—c) Mz D7 waizea’; ४ 2 कणौतत्वं, The Ms D6 begins from ब इन्तु' (sec v. ॥. Ste 1). All words from तानेव to @ (in d) lost in Sa.—d) 91 at's; 53 दोदंरुडाव्यः,
Ls पिर. 2 ins. वतः before प्रविश्य.
1. 56 Pra om. प्रविश्य पारिपाकः.
L6 Nua Per पारिपाकः. पथिः. 2 किंपुण. Mr ugar; D3 राएसिणा ; 05. 6 ufagt. N2 M1 D3 सदि; 04 समादिष्ट; D7 समादिः; 92 समादिढं.
17 वि. 2 Mr D3 om. इदभादिष्ट All words from यथा to Bay: lost in 52, 0" विजयकोष्ठकवर्नप्ठुः ; M1 D3 बिजयङो्प्रणप्ठु; D4. 5-7 S3 Per. 2 fawanetg- (D4. 5. 7 ्रकोष्ट-) प्रणाप्तुः ; S1 विजयप्रकोष्रहुः. Ds S2 भयंदेमेरवरसख ; D4 °केमीरस ; D7 51. 3 गेमेन्दय,
1. 8 03 इतिम् ; 04 हतिनिः. Mr अभिनेतम्यं ; 07 त्वयाभिनेतभ्यनिति (for नारमितम्यं). 03 om. हिल after स,
Lg Ds om. कविः. D3 नायकम्यविशारदान्. All words from fa (in बिद्या) co लोक lost in 52. Na sfrenfwareerfea ; D5 विशाबिदो (for fraremfind). D3. 7 लोकान् ( for लो्ान्धमाघदः ). D4. 5. 751-3 Pra एकं (for एव).
४ waster [ Act} ee’ किमपि लोकेऽसिन्च निर्दोषं न गिरणम्।
भावृणुभ्वमतो दोषाण्विदृणुष्यं युणान्बुधाः ।५॥ तत्पारिपाश्वैक किमिति नारम्भयसि कुशीलवैः सह संगीतम् | , पारि। ( साशङ्कमधोमुखं स्थित्वा )। gory भञ्जो । तदा गोवर ४ अर्स विभवरस्स भज्जेण दक्खिणा पडिण्णादा सो दाणि afenfrt परिकृषिवो fe सभो ज्जेव कसीलवञ्णो THIS | qe ( भयममिनीय चिन्तां नाटयित्वा सखहषैम् )। afte ven पर्याकुलतया । अयमहमिदानीम् 10 ववामि पाटयन्स्य ब्राह्मणाय प्रतिश्चतम् | हरिन्त carta पुतरदारातमविक्रयास् ॥६॥
St. 5—ab) D3 (before corr.) [अर]सिभिर्दोषं ; D4 [्र]स्मिननिदोषं.-6) Dx ara (for न). D3 om, a.—c) Nx rage’.
L3 Naqar( ० तत्}. The text reading arfcarets in D1-6 Pra Sa om. कुशीलवः सह. Ni.2 om; Mz संगीतङ्नानि ; 03. 4. 7 51 संमीतकं ( for संगीतं ).
L4 Mr om.; 02.46 Per सशङ्कं; 52 arag. Nz.2 5 भरधोयुक्ः, Di तदो (for तदा). 52 गहोपाराये \ Mr agai.
Ls पिः. 23 D2 afegr; 24 53 Pra दहला; Ds दक्णा, Ni. 2 Di दाशि.
L6 D3 om.; Sr अन्निमित्त-({ण afegfir). D2. 4 Per. 2 पडिकुविरो ; Sa परिकृपिषै. D6 ति (for fr) 01.2.5 51. 2 अभ्व. 02.46 St Pex. 2 कुशीलब-. All words from ज्जेव to प ( in ganze ) lose in 53.
L8 Dr स्मयं ( for मयं ). Mz om. चिन्तां नाटयित्वा aed’. D3 om. wet’. Di अलमति (for भलमल)
Lg D4 vise. 24 om. wa. Di अवमिदनोमहं.
St 6—d) Ds.6 पुलदारारिषिकयात्, Some letters and words lost in $3.
^ 1] wees ere ५ ( नेपथ्ये )
दुर्मनाः नवत्मी शुदाम्तमभि- प्रस्थितः। य पष निद्राविधेथारुणमन्थराक्षः ra सद्योवियोगव्यथितो दिनान्ते 10 ओष्टः खयुथादुषसीव नागः 1191 तदेहि aaa गच्छावः। + ( इति निष्कान्त ) प्रस्तावना ॥
L2 Du (before corr.) इदो दो" D3 wait (for fawasien). Ni, 2 Ue Uy पिश्रवश्रस्सो एवु.
L 3 पवि. 3 07 ins. अयं after कथं.
L4 Mi -सूचितापदां 4-परिणाम-. Ni om. विभिष.
1. 4-5 Na आरस्धवीयविररेण. D4-fafraftenta.
1. 5 Dg -रिष्-(ग-दिष्ट-). D7 marg ins. विषय before नियम. D3 om. ; 04 51 ?८०-नियमो (for-faaa-). D2. 5. 6 St Per. >-जागरा-(ण -प्रजागरा-). 53 निगृतोपदिष्टनिशाजागरा-.
1.6 Mz प्रियवयस्येन. Na. 2 53-बोधायनेनोपिर्यमान- ; Mr बौधायने- नोपदिष्ट. Da -वोषायन- ! 52 -eteraa-(for -बोषायन-). Na. 2 Mi Dr. 3 -मागः (for-aeait).
L7 ०4. 6S1-3 Pea ins. एव after प्रस्थितः. 02 ०0. ब 4 D3 om.
य एष. Se.7—b)arat-lost in Sz. Ni.2 -म्लान-( for-qra- ).—¢) D7 (धपय -वियोगम्बभितान्वरात्मा, S2-safwa.—d) Nx M1 D3 aquigr- मोब ; Na खबूषानुगः (sub-metric).
॥ चरडकौरिकमू [^]
( ततः प्रविदाति जागरं नाटयनूाजा विदुषकग्च ) विदुषकः । भो वथस्ल पजाभरमन्थरेिं लोभे दरूमिण्णमुदहो विभ कुम्मो उम्मेसणिमेखाद' sted षि ममां भणवेकसम्तो सन्धमूसभो विभ इदो तदो परिष्ममसि । 5 राज्ञा। वयस्य निद्रा हि नाम प्राणिनां प्रथममिवं शरीरधारण- निमित्तम्। कुतः
As there are considerable lacunae in $3, due to damage to the Ms, they are not noted hereafter; only variant rcadings ate given
here.
Li Pez जागरलेदं, 52-लेदाभिनयं.
L2 Mz पिश्नवभ्रस्स, Ni. 2 Mr D3 उजाश्रर- ; Di. 6 Per पजागर- ; 124 प्रजाश्र-; D7 पजाभ्रर-. 53 om. लोश्रशेहिं. Mi दरभिन्न-; D4 दरोग्गिश- ; D7 दहद्भिरण- Ds faa. ,
L3 Drom. कुम्भो; 27 कमो. Na उम्मेसणवेलाह; 21 forte; 92 उम्मे्णिमेसादिं. 01. 4.5.751 करन्तो विश्च (24.5.75 वि); D6 करेतो fa; 52 sig पि. D3 om. all words from वि ८० अशकेकलन्तो. D7 dqantedd (for मर्गं auarad). Ni श्रवेकलन्तो ; 57 ateaat; 92 भरणोक्लंदो ; 53 sued.
L 3-4 Mr केरन्तो + + wiz परि + ++ इदो तदो,
14 D7 अद. Ni -सुणिसो; Na-qaa; Di -मूसो ; D3 -सुणुस्सो ; D7 -मूसभ्र ; Sa -मूसीयो. Na परिब्बमसि ; Dr. 2. 4 Si Per परिभ्भमसि ; Ds परिभ्रमसि ; 06 परिम्ममसि, D7 वदोपविभ्भमसि,
Ls D3 ins. विहस्य after राजा. पि. 2 Mr Dr. 7 ins, बोधायन (Mi Di. 7 बोधायन) after aga. D3 om. बयस्य and इदं. 4 देह-(ण शरीर-).
L6 Dx. 3 बतः (for कतः)
Act 1 ] अरड्मैशिकम् ४
fare प्रसादयति लाघवमाक्धाति प्रल्ज्गसुञ्जलयति प्रतिभाविक्षेषम् | दोषानुदस्यति करोति च धातुसाम्य भानन्दमपयति योगविह्ेषगम्यम् ॥८॥ तन्ममापीदानी' पश्य 5 निव्रालसं भङ्कमुपैति गानं खेवातिभारस्तिमितं मनश्च | सुहमइवैचःसुपैति gra बालातपालोकसहा न इष्टिः ॥९॥ ( विचिन्त्य सविस्मयम् )। कः पुनरथ निशाप्रजागरमादिशतो भगवतः 1८ कुलपतेरभिध्रायः। अथवा न धिचारमहन्ति गुरुदासनानि | विदू। भो वभस्स अं उण चिन्तभन्तो Taser देवीपए खण्डणा- णत्थादो भण्णं ण ङि पि पेक्लामि।
St. 8--0) 93 प्रतिभाविशेषः.--4) [24 om, the entire line. Sa. 3 योगविशेषयोग्यं.
Ls वि. 2571. 2 मामपोदानो".
St g—«) D3 निद्रावशं. S2 निद्रालमाभङ्गं.-4) All words from लोक to दृष्टिः lost in Sa.
Lio दि. 2 ed; Mr किं (नकः). Na. 2 Dr. 3 ins. & alter पुनरथ. Nu. 2 प्रजागरणं ( for निशाप्रजागर् ).
~ प Da. 4. 6 52. 3 Per. 2 ins. dae: after प्रमिप्रायः, 03 विवार महानि. 01 -वृचनानि ; D3 -वचांसि (०८शासनानि). The word शासनानि lost in Sa.
Liz N2om.3y; 01 वगा; D7 gy. 04 चिन्तयतो ; 52 विद्रवो 01 ins, विश्च; D3 ins. वि after चिन्तश्रन्तो. D6 Sr. 3 Pet बाड ; 02. 4 बाम-; 05 बाख. Dz-qat. 02 देवीश्र ; St देविए
1. 12-13 03 om. खद्डकाएत्वादो ; S2 पंवणाणात्वादो ; 53 कंढयाययारारो.
Liz ऽगडिवि); D3 f¥frq; Sage fe.
र अरडकास्िकम् [ Act I
राजा । वयस्य, BS THETA । विदू । भो तव उण पसो परिहासो, मम उण भणाधवडुभस्स अणत्थो ज्जेव | राजा। ( सोत्कण्ठमाराङ्कां नाटयित्वा )। वयस्य कथं पुनरवगच्छसि 5 कि रतिपत्स्यते देवीति। faz, परिकुषिदे सि तकं मि। राजा । "वमेतत्कः खन्देहः। areas कोपकारणं देष्याः। तथाहि किः रुडः सचिवैरथ प्रणयिनां गोष्ठीरसेनाहतः - किं वा कामपि वलमामभिखतो yatse नायात्यसौ | 0 qed कोपकषायलोचनगलद्वाष्पाम्बुधौताननं निःश्वस्य प्रियया शठे मयि तया किं कि न संभावितम् ॥१०॥
Li The line is lost in 52. Nr. 2 0. 3 ins. सविस्मयं as stage direction after राजा, Ni. 20m. वयल, Mr एष परिहासः, Dr marg. भो वयल.
L2 Nr.a Mz om. मो and aq (after aq). Dg ins. कन्नस्व after भो. $ तुए (foray). Dz om. ay. D2-6 S1-3 Pes. 2 शअरशाह-( for प्रणाष-). 02 ब्हुश्रस्स ; D3 -भणस् ; D4-6 -agmea ( for -agaea). D3 ins. एसो before अ्रश॒त्थो,
L3 चिम्स्वेव ; D1-7 ( except 04 as in text ) Sr. 2 Per. 2 Sea.
L 4 Sa भ्राशां (० अश्र), D3 fé ( for कथं }. The words from कथं ८० गच्छ lost in Sa.
Ls Nz. 2 Dr Sa om. इति
L6 Ni. 2 gfx; Da बिद ( omitting aft); D7 aftgfaq. Pea fa ( for fit ).
L7 24 5. 7 St Pea ins. कयस्य before एवमेतत्, Ni. a D1. 4 कोपस्य TTY.
St toma) किं qe: lost in Sa—b) Ni Da.7 squat; Na अपि खतो.-4) Ni. a Mz तद ; D3 पुनः ( for aa).
चरडकोशिकम् & aft @
लीखासंभृतमण्डनोत्सुकतया नीतः प्रतोषस्तया अन्मागौर्पितनेल्ञया च गमितो यामस्तथैवापरः। नायातः दाठ इत्युदभु विकलं व्याधूय भूषाविधि शाय्योपाम्तविवर्तनेरथ निरदादोषः कथं यापितः॥११॥ 5 ( चिन्तां नाटयित्वा ) 1 अहह नूनमसौ नत : अभिपतति अने मदागमाशा- विदितकृथोहमसं धमा तदानीम् | कृतनिभतपरस्परस्मितासु श्थगितमुखीषु सखीषु नध्रमासीत् ॥१२॥ 10 विदू। ( सहासम् ) । मो बथस्स कि तुमं अदिक्षन्तमणुखोभन्तो असाणभं आभासेखि। ला धि तहिं जेव गदुभ देवीं vara । राजा। (Sparel) | सम्धगाह अवाम् । athe ततैव गब्छावः | ( इति परिकराप्रतः )। ( सेवं fewer) इदानीं नष्टा
५८८ 1 ]
5५.11 ^) 52 लीलामरडनसंभमो्ुकतया-.--6) तन्मारगापित---0) 4 RYT. —d) 52.3 -विबर्तितेः ( for -विवतनैः ).
L6 वि. 3 0. 7 Pea ins. wae after नाटयित्वा.
St. 12—b) N2 04-विहितव्यादूम-. 125-विदित-({०-विहिव-) and -@aat (for -kiat). Nu. 2 -संन्रमासदानी"; 51 -सं्रमात्तदानीम्.- °) Ni. 2 -ferarg (lor -स्मिताद्), 52 ins arg afcer feaaig.—d) D4 faa’; S2 नन्नता (for नघ).
Lir D3 om. सहासं. Ni.2 gr afeerd. Mr D2.5.6 Pes -मनुसोचभमन्तो ; 51 -मनुसोचन्तो ; 53 wedawed. 41 D2-6 51-3 Pes. 2 aug.
Li2 Nz. 2 om. एहि, S2 we ( for तर्हि ). Dt St aq; Da-q. 6. 7 Per ज्जेव; Pea ज्जेन्व. Mr दे्; S1-3 fy. Mose Mss verte ; 92. 3 पदिमि.
13 पिठ ०). एव.
1. 14 Some Mss निश्रष्य.
१० शभरढकौरिकम् [ Act I
धसरस्य खेदकारणं गमनम्। तथा हि विच्छिक्लामनुबध्रती मम कथां मन्मार्गव सक्षणा मन्वाना GAS चलःत्यपि ठृणे मामागतं खा मया । arent यदलक्षितेन fred पश्चादुपेत्यावरा- 5 क्नास्या नवनीरनीरजनिमे GS कराभ्यां Tait ॥१३॥
faq) ( परिक्रम्य नेपथ्याभिघुलमवरोक्य सन्छाघम् )। मो वमसव पेक्ल tear पसा ख॒ देषी उवणीद्पसाहणोवभरणाए चार्मदीप सह किं पि मन्तभन्ती safagr चिद्दि |
राजा । ( दष्टा सहषैम् )। अये कथम्
10 तन्बङ्गया दारगौरयोः परिता प्लावखी गण्डयोः
कर्णाभ्तायतयोने वा मृगदशा TS इदोरञनम् | व्यालोखा कबरी frenigher बिम्बाधरो धुलर- fire सैव तथापि काम्तिरनघा dete या मण्डनम् ।१४॥
Lis दिय, 2 Mr Dr ins. मे १६ अ्ष्टावसरस्य. D7 लेदकारणं मे देवीदशंनं गमनं. D6 बागमनं. N1.2M1 om. गमनं.
St.13—b) D7 पश्यन्ती ( marg. as in text ) (for मन्वाना). ^) Ni. 2 यदशदितेन,--4) 4 51 7८2 aren.
L6 N1.2 Mr 01.37 om. परिकम्य, Ni.2 Mr D3 om. gare.
L7 Nr. 2 Mr 03.4.6 51 Pea eg. Nr -प्पञ्लाहणो-.
L8 Nr. 2 Dr. 3 repeat fe पि, 02.5.6 sagzsr; D3. 7 उश्रविट्ढा. Sa drops ; S3 frasy ( for चिट्ठदि )
Lg चि. 2 Mr Dr. 3 सष्ाष' ( for सहषै').
St. 14—a) Ni 01.4.6 तन्बङ्गयाः ; Na भवत्या. Dg परिगौरयोः. Nr. 2 न लिक्लिता ( for परिहृता ). Na रटयोः ( for गरडयोः ).—b) Nr, 2 qregi. Nr aed ; 04 पूतं ( for दत्तं ). The word waa lost in 52.-९) The words म्यालोला कवरी lose in 52. D3 -मधुरा ( for -gfter ). D7 aire: ( for qaz: ).—d) Mr D3 अमला ( for want). 52 विहृष्टि ( for Reda ). 04 Sect war aye.
Act 1] चरडकोरिकम् ११
(aa: प्रविशति यथानिरदि्टा विन्तां नारयन्ती हौभ्या चारुमती ख ) are, भिजि at पसाहणोवभरण" । शैष्या । ( सल्ेवं )। हञ्जे चारमदि अवणेहि पदं । णिण्फलप्पसाहणो- वथरणाससदिभथाप कित्ति दाणि मए अप्या परिभविदष्वो | faz I अहो से गर्मो अहिणिषेसो । 6 aati ang देवि arg. परिमवस्थानमेव ते प्रसाधनाभिनिषेदो निसगैमधुराणामङ्गानाम्। तथा हि ताम्बूलरागोऽधरलोलुपो थ- चद्अजनं रोचनञुम्बनोत्कम् | हारश्च कण्टब्रहलालसो य- स्खार्थः स तेषां न तु भूषणं ते ॥९५॥ Li D3 om. यथानिदिष्टा; Ds तथानिर्दिष्टा. Ni.2 Mi dear (spelling chroughouc). ,All words from चिन्तां to शम्या lost in ५२, L2 D7 एणं ( (गः एदं). Ni प्पसाहणं ; N2 caregai ; Mr पसषशोब-
ata; D3 पसाहणोपश्ररणं. L3 Mz Da सैव्या. D1.2,4-6 Sr. 2 Per चाङ्मदीए ; Mr $3 Pea
चरुमदिए, Ni. 2 श्रवएएहि ; D2 Si 0८1 wade. Ni. 2 एं; D4 ofa (ण एदं ). D3 om.; 05 शिप्फलो ( for रिष्फल- )
L 3-4 Nr Pea -qargqran-; N2 -पघादणासत्त-) Mr -पसाधणोवभरणा-.
L4 D1. 4 fefasr, D3 किति; D2. 5-7 Si Pes. 2 कित्ति ; 52 कति, Mi दाणि. SiPtr om. मए. D3 परिहरितिदम्बो ; D4 परिमाविद्म्बो.
{5 Naom. से. D3. 4 92 gest. Mz transp. से and aes.
1.6 D3 ang? eft arg. Nu. 2 om. second arg. D1-3.6 Si Pex परिमवस्थान ( for eaqt ). D2. 5.6 51 Per.2 एष (forga). पि. 3 हु (for). 06 om. all words from ar in साधु up to the end of firs in fava of I. 219 ( P. 16. 1. 3 ) on a missing folio.
St. 15—a) Ne.z Mr 01 -लोलुपोऽयं; D3 -लोष्टुपस्ते ( for -atga यत ) ¢) Ni,2 agua. All Mss except Na geastegs. The letters नोक lost in S2,—¢) 04 sqeine-. Ni.2 Di -लालसोऽयं ; M1 -सोजुपोऽबं ( for “maa यत् ).—d) Ni.2 @( for @). Dg om. a.
१९. चरडकैरिकम् [ Act]
fag) भो वभस्स उवसप्यम्ह | राजा । Tae, इतोऽन्तर्दितौ शुणुवस्तावदस्या विञ्म्भजर्पितानि।
( इति तथा ख्थिसौ ) gear) ( निवस्य साखम् )। हञ्जे चार्मदि तधा समासासिब 8 अल्उलौ मं विप्यलम्भगोभरं करेदि fe सव्वधा णमो करो अवीपस्तसणीमाणं अस्षणो भावगधेभाणः। राजा। अयि मनखिनि जरूधरपटलान्तरिते यदि भानौ खण्डनं गता नलिनी |
तस्या न विप्रलम्भो नोपालम्भोऽष्यथं भानोः ॥१६॥ 10 are) aft अलं सन्ताविदेण । बहुबह्वद्ा ख राभाणो ।
L1 Ny.2 D3-5 उप-( for उव- ). Some Mss -सप्पह्म; 92 उपसन STA.
L2 D3.q4 0m, qaqa. D3 transp. इतोऽन्तहितौ and रणवः.
L3 03.451 Per तथावस्थितौ.
L 4 Sa @ear throughout. Some Mss निश्वेय, D4 चाहमदिए. N12 D3 ins. तं before तथा. Sa om. ; Mr Dg तथा ( for तवा }). Mr समाससिभ्रः D3 समाणिभ्र ( for ameafes ).
Ls Drom. मं. S2 विष्वलम्भ-. Ni.2 52 at fe. 05 area. Na does not repeat शमो ; 52 नमो ममो.
L6 Ni.2 भविषसलीभ्राणं (१) } 14103 अविस्ससशीभाणः; 07 अविससणीभाण; Sa भ्रपिस्सयुशीभ्रारण. D2 repeats wag) भाभ्रधेभ्राश, D4 भभ्रषेयाण,
~ 7 D3 ins. खगततं ०६८८८ राजा,
St. 16--6) Mr मानौ यत् ( for यदि भानौ ).
Lio Ni.2 रजिनि (for भहिखि ). Na Mz 03.7 सन्तेष्पिदेश ; Nz ewatg, Dr aay. All Mss (except Da.3 as in cexe ) कुः Sauget. 111 D3 ins, होन्ति ; D7 इतति after cera.
Act 1] चरडद्ोशिकम् १३
faq (aera) | आः वासीष धोए, णं बहुकज सि मणेहि। fe अङिभोवारुम्भगोभर पिभवभस्सं करेखि |
राज्ञा । यस्य, अलमन क्रोघेन | मानप्रम्थौ षिधिक्षाभिः सखीभिरुपश हिते | धन्याः प्रयान्ति कान्तानां मिथ्योपाठम्भपाज्रलाम् ॥१अ। > deat (रोदिति )। चारु । afef खमस्सस समस्सस । णं अदिमेलमहाणुभावदाण तुप ज्जेव अदिभूमिं णीदो महाराभो। ता ax मं पुच्छसि. तवो पलोभन्तो वि ण पलोददष्वो, पिभं area fa चिरं उवालम्भे्ि ATCA | ”
Li Pr2om.; M1 सक्रोधं ( ण सरोषं). Ni.2Dsom.; Mr at ( for st: ) Ni.2 वीदे; S2 ge Ni.zg( ford). Ni.z बहुकञ्ञे ति; 04 हक्य fa. D1 ins. र before मणोहि. D7 भरे ; Mr ण भरेति.
L2 Na अलिभ्ोवालम्भणोश्रं रणिभ्रसे्स्स करोमि. Di भ्रलिठ- ; Mi D3 92 श्रलीश्रो- ; 04 siete.
1.3 03 ins. भो before वयस्य. 52 om. wa. Mr कोपेन (for क्रोधेन).
St. 17—c) Na प्रजायन्ते searat ( ० प्रयान्ति कान्तानां ).
1. 7 Na समास्सस twice ; D7 समस्ा ama. 1.2 D1.3.4.7 Pra श्रदिमेत्तं. Na महानुभाश्रदाए. Ni D3.7 ag; N2a; Mr Dg om. , S2 वु (for gu )
L8 Na व्येव; Da जुष्व } 05.7 0८ dea. D3 transp. fife and शौदो, Dr om.; 03 तहा (गिता). 1.5 जदि; Ds ae Ds om. ; 52 हमं ( for #).
1.9 D3 पलोभरभन्तो. 07 पि श, after which ic ins. Sanskric paraphrasing : प्रलोक्यन्नपि न लोक्यतीबं (sic) ब. Da gaifin fa ण पलोष्दम्बो-
1. 91० Ni.2 आशवन्तो fefer उपालम्भे ; 111 D3 भाशवन्तो बिश भालो वदम्बो चिर" उवशम्भिं दाम्नो ( Mr सेददन्नो )-
dear) किं ति दे वणं ण करिस्सं, we Ag wet पदस्स ah. अस्स पहविस्सं | राजा । ( सत्वरमुपख्त्य ) । प्रिये मयि यस्याः प्रभावस्ते हवये मस्परायणे | 5 व्वमात्मनो विशालाक्षि कथं न प्रभविष्यसि ॥१८॥
faq) सोत्थि arate । ( उभे खसंश्रममुसिष्ठतः ) शम्या | ( खगतम् )। कथं अज्उलो । भोदु पयं दाव । ( भरकाराम् ) । HAT WAT AAS | 10 are, ( साशङ्कमात्मगतम् )। कथं महाराभो। दहद्धी eat सुदं
Li Ni2 Mt D7 कित्ति; 01-3.5.6 Per ‘fe fer ( for किं ति). 04 किंते वर्णेण. 1.2 aed. Ni.z जदि; D4 जयि. Dz दि. 52 द्रे marae. Nu.z दष; 141 उह; Dr दद्ढ-; Dg Pra दुद्र ( for qze- )
L2 Da पहिविस्स.
L3 05 saa; 52 उपेख (for awa). D3.4 om. faa.
St. 18--4) N2 अये ( for मयि ).
Lé Na लोभ्रन्थ (2) Dz afer ( for सोत्थि). Nu ins, दाव after ate. Ds भोदीये ; S2 होदिए ( for भोदीए )
1.7 Di-q $1.3 Per.2 उपतिष्ठतः ( for उत्तिष्ठतः )
L8 D2.3.6 Per कथं. 52 (throughout) wsaatt. Na.2 D1.7 Sa एम \ D3 एदं ( for एवं).
Lg N: 02 अयु जयदु \ 23 जेदुजेवु; 27 अयदि यवि} S2.3 जेदु (once only). D3 52 महाराभ्रो ( for saath ).
L 1० Carumati’s speech is enticely om. in S2. Dg ins, ससंभ्रमं before साशं. D2.3.6 Pra कयं, 04 इदि ef; 51 Pero इहो इद. D3 om, ( hapl. ) all words from बाड up to बहु ( 0. 15. 1, 2 ).
Act 1 ] चदढष्मेरिकम् १५
महारापण ओं मण मम्तिवं। मोह पव॑ दाष। ( पकाशम् ) | जमु HA महाराभो ( भासनमुपनीय )। पदं आसणं, पर्थ SAAT महाराभो । ( इति स्वँ उपविशम्ति ) राजञा। ( चिरं निण्यं )। भिये नन्वियमिवानौ' ते € किमपाङ्गवछिततारा निवर्तते मयि वराङ्गि निपतन्ती | भ्रातः सरोजगमे अमरीव पिपासिता इष्टिः ॥९९॥ अपि च तन्वङ्गि यद्यपि भियमाधसे भूषणानाद्रस्तव | तथाप्यन्त्गतं मभ्युमथं कथयतीव मे ॥२०॥ 10 deat) ( सासूयमषलोक्य )। सखट्ड सोहि अखरलो af’ णिदालसेिं अङ्गदं उज्ञाअरमन्थरेहिं cratic अ । ( इति कोपं नारथति )
Li Mr erarisp. ag and मन्तिदं. 27 51 Per एव्वं ( ०८ एवं ). D4 प्र only ( for प्रकाशं ). 02 om. all words from प्रकारा" to उपविशन्ति (I. 4).
La 701 जेदुजेहु; D7 जश्रदि जश्रदि. D3 om. एदं ्रासणं. †41.2 एदं ( for एदं )
L3 Ni Mi उपविसदु ; 04 उपविशदु.
14 Nu.2 Mr D3.4 om. इति.
5 N1.2 नन्वयमिदानी.
St. 19——ab) Nu.2 बलिततरा विवर्तते. 52.3 चिराय ( for auf ).—c) Na सरोजखष्डे ( for ot )
St. 20—«) D3 प्रियं ( for धियं ).-0) Nr.2 भूषणामादरः.-९) The letters तथाप्य lost in 52. Nx.2 सम्यक् ( for मन्युं ).
व्य Nz.2 Dr 53 आलोक्य ; D3 भालोकते ( for अवलोकय ). 1.2 war ( for geg )
1 12 D3.4q Pea om. अङ्गेहि. Mr sarmca-; D: aan, D3 जाभरक- ; 24 पार for sam). Nu.2 -परिमन्धरेहि 02.4.52 51.3 Pera ins. सोक before लोभे. 1.2 Mr D3.4.7 Pea om. च. N12 Ds ww ( for शेपं ).
१६ कर्डकौशिकम् [ Act}
राजा। ( चिर' faded साजुनयम् )। भिये धसीद परसीद परिलुठति were ङ्कृरा wear कष मदनजयपताकाविश्नमं विश्रतीयम्। स्फुरति च किमकाण्डे चण्डि दिम्बाधरोऽयं
5 खुदुपवनविधूतोभिद्रवन्धूकवण्युः ॥२१॥ ( safes war ) चण्डि प्रसीद परिताम्यसि किं मुधैव नाहं तथा ननु थथा परिदाङ्कसे माम्। ave वराङ्गि मयि धारय यत्क्षमं ते 10 मभ्निण॑ये कुरुपतिमैगवान्परमाणम् ॥२२॥ ( प्रविष्य ) मतीदारी । ay Wy महारामो । पसो कुरषदिसथासावो तावसो पडो ।
Li 04०. प्रिये प्रसीद St. 2t—a) D3 S2.3 0215, ager and waar. Some letters damaged and lost in S2.—b) D6 resumes from मं firsata ( see v, 1. to line 6 ptr )—c) Na aye ( for चरिढ).--4) 53 य॒ लवचनविधूतोश्नि्-. 1.2 D3 मृषुपवनधताप्रोषिद्र-(८०ाध०} to metre), L6 पिः om. ssf बदा, St. 22—a) Na aye ( for वरि )» The letters wfte प्र lost in 52. Da परिषुप्यलि ¦ D3 परिताप्यसि ; 4 51.3 ८.2 परिकप्यसि ( for परि- ताम्यति ).—b) Na नायं ( for नाहं ). 05 ववा (for mar ).—c) 53 नेदं वराङ्गि, 52.3 न क्षमं ( for यत्तमं ).—d) Ni D3 agg, Na at aead 07 afaga , S3 afaga Lii-12 04 sfeeq प्रतिहारी. Da om. all words from परदिश्य up to इतिषेः ( 1, a3d ) Lia Na sag wag, S3 जेदु ag. Mr ins. wy, D7 ins. f& after - एसो. Dr.3 gaag. All Mss except Nr D1.3 ard. ~ 73 पि". reg, D3 समाध्रादो ( for पडलो ).
Act IJ अरडकोरिकम् १७
राजा । हेमघरभे सादरमबिलम्बं seer । प्रती । जं महाराभो भाणवेदि । ( इति निष्कान्ता ) | ( ततः प्रविाति शान्त्युदकस्तस्तापसः ) तापसः। ( सविसयम् )। अहो च॒ खलु भोः अपर्ण्येवेन्वोः किमयसुपरागः कथमयं 8 frat amet घोरः किमिति वसुधेयं प्रचलिता | छिनच्युकावण्डः किमिति सषितु्मण्डलमहो भदोत्पातोदर्कः क इव परिणामो हतविधेः ॥२३। अथवा गुरुभिरलचिन्स्यमानं सरवमेवेतत्कुशालपरिणामम् | शान्तेः खस्त्ययनादहानाद्विप्राणां खस्तिवाचनात्। 10 दुःखपरोत्पातशमनं सतां चेवालकीतनात ॥२७॥ अतपवास्मि कुलपतिना भगवता प्रारम्धखस्त्ययनकर्मणः शेषभूतं
Li Nua afenufe + Mr 01-3 अविलम्बितं (for शरवितम्ब ).
L2 पि. D3 देवो (0 महाराश्रो). D3 Sr Per भ्ारणवेदि. D6 ins. ति; Mr S2,3 175, fit श्ल श्राएवेदि. Nu.2 D6 S2.3 om. इति
{3 Nu.2 Mi 02.3 शान्त्युद्कमाजनहस्तस्तापसः; Dg शान्सयुदकहस्ततापतः,
1.4 03 ०. तापसः. Du ins. प्रतिहारी च after तापसः, Pea om. सविस्मयं ; Mz places it after मोः.
St. 23—a) D3 कयमहो.-९) D3 भिनत्युल्का-- Na -खण्डः (for -द्रढड,). Ds om. (hapl) महो.-4) Dz महोत्ववोवुप्र, Dr.g इह (for एव).
Lo Mi अविचिन्यमानं ,; Di भनिनिन्यमानं ; D3 भरमिविचिन्य मः Ds fifarae, Na sgfraarad’, Ds atgnenft. D4 qrepuasfcata. Mr aa (for gat). Ni.2 Mr Dr ins. कृतः ; D3 ins. qa: before the verse 24.
St. 24—«) Ni D7 शान्तिखस्ययात्,- ¢) D3 fasrat पुगयवायनात्-- ८) 93 wavidan.
Lira Mz safer; 02.4-5.7 52-3 Pera we ( for fea ). Nia Mi D7 transp. कुलपतिना and मगवदा, Ds om. कशपतिना, Ni.2 प्रार्थ विभिशस््यन-, D4 -क्मणा,
3
4a SI | ; [५५] , सरवौत्यादशमनं शान्ुदकसुपनेतु राहो इरि Seana सकाशं
परहितः। (प्रविष्य )
प्रतीहारी । पवु एदु भवं ( इत्युपसपेति ) । ४ तापरसः। ( उपदत्य )। राजम्स्ति भवते | राज्ञा। ( ससंभरमसुत्थाय )। भगवन्नभिवाये | gear) भभव पणमामि | तापसः। राअन्धिजयी मव । भवति बीरपसूभूयाः। wat) ( ससं्पम् )। भासनमासनम्। प्रती । ( भासनमुपनयति ) | TINT | शृदमासनमरतोपविरहातु भवान् |
( एति ad उपविरान्ति) `
रा्ञा। Rast दवाय॑बहिता भव ।
॥
<>
Lr 2451 Pes प्रशमनं ( for -शमनं }. No -शमनशान्तुदक, Sx Pus om, हरिन, D4 om. (hapl.) खद शैम्यायाश,
L3 Mr om. प्रविश्य.
L4 Dg et et (for gg ag). पिः .० एषु मवं एदु; 05 docs not repeat ug; 93 ag मवं एदु ay. Mr 01 used (ण भवं). Mr D4.5.7 Pera उपसप॑तः.
$ Dg 93 om. सच. 53 om. राजन्.
L7 चः Dg एमामि। 53 वन्दामि ( for प्रणमामि).
L8 D3 भूयाः( for भक}. D3 om, मवति.
Lo D3 arg ( for ada ).
Lio D3 अं देवो erate ति ( निष्कम्य mamma )। एदं भानं ( for दमाहुपनयति )
Lit D3 om. geared. 01 S3 भगवान् ( for भवान् )
Lia वात Mr 09143 om. gfe
Act 1] + wae rey १६
प्रती । अ महा भाणेदि । ( इति निष्काम्ता ) | ara: | राजजश््रतिगह्यतामिद' भगवतः कुखपतेराशीर्भिरपर् हित- प्रभाव निराप्रजागरान्ते सकलल्ञस्य भवतोऽभिकेजनाय STANT भगवता प्रहित शाम्प्युदकम् | । राजञा । ( सदषैमञ्लि' बा )। महान्धरसादः। 8 तापसः। भन्तः पूत क्षपितदुरिवैः व्रतेजोऽभिषृखैप प्रारब्धस्य परदामनविधेरापदायुम्भुखीनाम् | aaeged किमपि परमं ते करियाशेषपम्मो भूयाद्भत्यै धितरतु सुद ष्यापदो हतु सर्वाः ॥२५ ( श्यभिषिश्चति ) 1 10 राज्ञा। ( स्यशममिनीय )। अये श्वं तत्कषलबी नस्य प्रसवाह्ुरकारणम् | यस्य प्रसादाव्ादित्यैदपैखच्यै तं दिशः ॥२६
-
Li Da, 4-6 91, 3 Per.2 भवं; D7 महाराश्रो ; S2 देवो ( for भष), 02. 6 Pe2 अणवेदि $ Ds 5: Pes saat. S3 ति ( for इति ).
L2 Mr गृह्यतां ; D7 प्रगृष्यतां- Do भवतः ( for भगवतः ).
L3 No.2 -प्रजागरणान्ते. Nu transp. weezer and भवतः. 05 सकलस्य ( for aetaea). Na om. ; 01 भगवतो (for भवतो ). D3 अभिषेकार्थ ( for भ्भिषेचनाय ).
L 3-4 Nu.2 wfatadtaqemaa-.
L4 D3 om. खस्त्ययनशेष", D7 ins. marg. कुलपतिना after मगबता, Da. 4. 6.7 Si.2 Per.2 अनुप्रे षितं ; Ds प्र षितं ; 53 वु प्र fad ( for afte ). Ni. 2 शान्त्युदकमाअन".
Ls Nu.2 Mr Di सुमहान्,
St. 25—a) Mr दयित- ; D2. 4-6 51 Pei.2 शनित- ; S3 safaa- ( for खपित- ).—e) D7 aad ( for परमं ). 01 aftmar- ( for ते fisar- ).—d) Dg farag. D3 मुदो. D2 इन्त.
Lio Sa om. gafafoufa.
1. 1" पि. खत्ययनं ; 21 स्पशं कं ( for स्पर्श ' ). D3 om. eaetafarta.
St, 26-4) Sa से (for वत).-6) Nu Di. 7 प्रमाबाहुर-; Na D3 प्रमवा* Da om. -wrral.—-c) D1.3 mara ( for प्रादात् ). Mr मन्वाचैः , D3 sare: (submetric) (for भादित्वेः).- ¢) 04 इतं ( for vat ). Dz ins, fad ०८८ qf.
Qe चरडढौशिकम् । [ Act} ` शापसः। भवति de स्वयापि भगवतः FOIA Maen
भ्बतैयितब्यो गृददेवतानां ब्रह्मणानां च पूजासंभारः। शम्या । ( भलि war) | जं ममं भाणवेवि | तापसः। राजन्खस्ति भवते | अहमपि भरारम्धविविधविधिविस्तर' भगवं 5 कृलपतिमेव संमावयामि । ( एति निष्कान्तः ) । शेभ्या । ( सवैलक्षयमपवा्थ )। हश चारमदीए भभववा कुलषदिषा समादिद्रो अजरन्तस्स णिसापजाभरो। ता वु्णीकदम्डि
Li Mr ins, aferger after भगवतः. वि.2 om. कुलपतेः, Nr समादेशात् ( for sera). 52 fata’ ( for सविशेष ). Nua ins. सलः after sq.
2 D3 saat; D4 saftaea:. The leteers TEX lost in 52, Mz पूज।सतकार इति.
L3 03 ०, wefa wat. 1.2 हतवा ( for war). Da. 4-6 51.2 2८1. भवं ( for ama). D2.6 51 Per miwae; Ds शरणावेदि ; D4 भरएवेदि fa.
L4 Ds ण, खस्ि. M12 ( for भवते), Ni,2 Mr D3 ins. aa; D7 ततो before रह. =Ni.2 Mr Dr 3 om. -विविष-. D4.5 प्रारम्धविविष- बिरार" The letters विधिषि lose in 92.
Ls ०4००. ब.
८6 Ni.2 वेलदयं ; D4 सवेकम्यं ( for awed). 53 om, 3; Di जनान्तिकं ( for श्वाय ). [1.2 D3 बाङ्मवि १ Mr 0.4 53 Pra बाइमदिषए ; D1.3 कलवा.
L7 Na Si एप समादिश्च ; Mr भादि; D3 wifgest. D3 transp. warswed and flgaresraad. Nuva ins, aa after warsteg, N1.2 figery- जश्नरो } Mr soraratt, Dz (corrupt) fighgaawaradt. Da.s.6 512
Pera gueaifertty
Act 1 ] ` अददोरिकम् ९१
इमिणा दुष्पश्चयण efter) भोतु पष' दाव ¦ ( भकाश- मजर बदा )। पसोददु भजो । cart ( सानुरागम् ) । ara: पिये यदि मयाजुनयस्तबायं मिथ्यापराधकलुषीङूतखेतसापि | 8. आरोपयामि तव हारलवां eas qatates विरचयामि कपोले ॥२०॥ deat, (wat नाटयति )। car) (areca तथा कुषैन् )। प्रिये तव सपुलकः TAR गण्डे करे मम वेपथु- 10 स्तवुभयषिधिव्यप्रारम्मो सुधैव मम धमः। अपि विनिहतः कष्ठे हारः स्वनाग्रतरङ्गितो भम करपरिष्वज्गप्राप्त' न मुञ्चति वेपथुम् ॥२८॥
क
. 1 D3 एदिणा (for इमिणा ). Na दुकबएण Mr 3q-; 04 51 Per बुष ; Da दड- ; D3 द-, Dr दुटबश्रवेण ; 27 दुणसरणदिभरएणा ( for दुष्प्एण दुट्ठहिभरएण ). 2.4 51.2 Per एवं ¦ D3 एष, 07 52 om. प्रकाशं,
Li-a Ds भ.) 02.4.6 51 Per.2 transp. परकश and uefa war.
La Nu.2 01 53 repeat पतीदवु. 06 पसीश्रवु ; M1 पसीद्इ,
L3 Dr साजुनयं,
St.a7—a) Na तदायं.-) Mr इदि ( for aw). Ni D3 इदानी; Na Mi तदानी" 04 Sx 001.2 gees; S2.3 9 रटे ( for was ).—d) Nua 01.3.4.7 52 Pea पलाबली Nx.2 D1.3 च रचयामि (21 बिरबमामि) क्पोलयोस्ते.
Lg D3 करोति ( for क्व् ).
St. a8—a) Da.q-6 S1-3 ए01.2 aqeseaal गण्डः, Dr शमवेपधुः,-- ¢) 53 सदुमवमपि क्था रम्भो gta मम, 01.2,4-7 St.2 ?2८1.2 -विधिम्य्ारम्भो ( D4 -षिके- ; 52 -sagr-). Da.g-6 Se 2.2 श्वेव ( for षेव ).-0 Da विनिहतः; [24 निहवः (for विनिहतः ). Dz -aeira—d) D3 शरि wa. ; 07 erafesrwrg. Nz.a -ateit Avge. 07 र्ते ( for राप्तं ),
RR equtifcren [^]
| deat । भर्त भभवदा geaftor अधा आणत्तं तधा भगु गमिस्सं |
राज्ञा। वैषि, एवं क्रियताम् । ,. (Raw निष्कान्ते) राज्ञा। वयस्य कर्थं पुनरिदानीं सोकण्ठमात्मानं विनोदयामि | 5 fig) भो वभस्स तमं देवीसंबद्धाए कथाए कीस ण अत्ताणमं षिणो देसि। अदं पि भोभणकधापए sere’ विणोद्दस्सं | ( प्रविष्य ) ara: | HAY HAY TET! पसो क्खु विभड़-घोणगा-णिहलिद-मुत्य त्थली- काग- परिमलुग्गार- सुरदि-णीसास-मार्द्- परिषिशत्-
Li D1.3 ङलकका, N1.2 01.4 wary; Mr भ्रार्तं ; S23 जह भारत. Nr.2 Mr om. | D3 S2.3 ag (for तषा). 24 om. श्रगु
L3 D3 om. देवि, Nia इति fasmear,; Mr इति निष्डान्ताः Dr gfe निष्कोन्ता शैव्या वाकमती च ; D3 शैभ्या fasatear.
L4 Ds विनोदयषि,
Ls Nr -सबन्धाए} Mr संका, D5 om.; Sa.3 sare ( for sug). Mr D3 0m. tay. S2om.; 04 उण (गिण). Nua Di.7 transp. ए and sarge. M1 D3 S2.3 seg; D4 च्रत्ताशं. Mi ins. कित्ति after this word.
L6 Nui2 मोभणत्थकथाए ; S2 fritey इहाए ; 52 मोभणएकहा१, Mi D3 Sa.3 sara. 2: विशोदिस्सं,
L8 D7 जभ्रदि जभ्रदि; S2 जेदु जु. 4.5 do not repeat wary. D3 om, weg जग्मु महा Da om. ; Sa wat ( for wer). Mr ins. हेद् before एसो. 24 ०. | Pta चु (foray). Mr fasa-( for fase-). Nu.2 (Na somewhat corrupt }-पोणाुरिणददलिद-, D7 -शिद विलिद्-, In this passage, some words and letters are damaged and lost in Sa.
L8-9 Mi 01 -सृत्यभ्रत्यली- ! Da,6 -gqrawat- ; D4 -qoqueeat: ; D7 -agraneaet- ; 53 -रण्वम्यली-, ।
Lg ०4 -परिमनुग्णर- ; Ds -परिमक््बर- ; 53 -परिमदग्ार D7 ` -परिरिष्त- 5 Sa 0971 ; 53 -qfefiary- ।
Act J : weed fare 2 दन्त-अन्तम्तर-वर-वक्शिखन्त-पण्डर-कसेद-ककर-च्छल-पण्ण- पडिवक्ल-जध-विदश-णिभ- जसुक्षर-पूरिद्-दसदिसा - विभाभो, चरिसन्त-सिलासाये विथ णवञजलहरो, गश्भ-गव्व-गस्मीर- घुख्धुरा-सद--विहाधिद-वण--सीह-णिभर- रषाकण्णणामरि- सुण्णमिद्-कण्ण-सछुसि-पुडमु्वहन्तो, विष्फुरन्त-गरम-रोसाणल- ए
Li 51 Per.2 -वन्त-( for -दन्त- ). पि 1.2 -दन्तन्तरपरिविजन्त- ; Dy -दन्तन्तरच (१) जन्त-. Mi -दन्तन्तरिद-(०1. -अन्तन्तर-). 24 -जन्तरव्रचष्विजन्त- । 0] -जन्तन्तर' ब बर्वमाण-, 1.2 1.7 -पणड़र- ; 92 -वन्धर- ( for -परडर- ). Dg -segt-; D6 -ककर- ( for -are- ). D3 -epet- ; 24 Pea -कल- ; D7 -gt-. 04 -agaqa ; Peo -agqu-.
La Nr.2 -परिवकस-; D6 -tfeaea-. 1.2 -fafan-; Dr -fafeog-; Mt Da.3.7 51-3 Pea -fren-(for -विदत्त- ). [ frem=nfae ]. Ni Dr -जदुककेर- ; Na -जपक्ेट- ; D3 -aemr-; 124 -gar-; D6 -जयुह्रि- ; D7 -agure- ; 2८1.2 -जघुक्षर-. Dg -दशदिशा-. Mr -द्हदि प्रभाग्रो,
1.3 दवि.2 -fafacrara ( for -सिलासारो / Mz ins, चणा before शष, Diag, 24 gen-. Ni.2 Mr-aea-; 01 -mar. D2.4 -गभीर- ( for -गम्भीर- )
1.4 D3 गर; D4 -gegu-; 05 -guer( for -geatr- ). Nr.2 Mr D3 -विहुत्रिद-, Nu.2 D1.7 -fae- ; Mi -मिहि-; D3-6 S1.2 ०५५. -सिंह-. D3 om. -शिश्रर-. Dt -शिभ्रहरलवो-( for -कच्रररषा- ) Nu. रावा ; Ma -कशतवा- 5 Dz -rea-(for -रा- ). Ni.2 om. ; 01 -अगोरणा- ; Mi Da -शरणणा- ; D3 wera; D6 -mengi-s D5 Sta ?1.2 -अरकशा-( for -segat-).
L4-5 Nu1.2 04.551 एत.2 -मरिसिउएणनिद- 3 Mi -मरिषरम्भविव्- ; Dag -भरिखढशाबिद- ; D3 -nfefagea- 5 D6 -nfrazenfag-; 53 -reasu-.
Ls Saom.-seg-. Mr -gwa; 05 18 ( for -ge). D7 sara; 52 परुगबहन्तो ( for aenqedt ). Ds विषुरन्ड- ; 52 firafey-. 24 "धर
e
१४ seer 1५ सिहा-संदेहिजन्त-तररतर-जीहा-लक्षा-वित्थासे, णिरन्तर.पहि ` पफुरन्त-वण- STATI ATTA, विभड-तरिच्छटा- कड़ार-केसर- सडा- eT, णिसिद्- करवाल- विमलेन्दणीढ- कञ्जल-तमाल-सामलो, परिप्फुरन्त-पिङ्गष्छि-विच्छोदो, बहल.
5 मसीमंसलो, फुलिङ्गसेखो विभ दावाणरो, दन्तन्तर-खण्डण- भम-कण्डलिजन्त- षिसदण्ड- भाघुर-विभड- दाढा-कराल-मुह- कन्व्रो, चिराल -संघडिद्-बेराणुबन्ध- गद्भ-रेखुम्भड-कवल- गग-विखण्डिद्-चन्दमण्डलुशवरन्त-कलाज्ुभल -सोहा- Ane
Li Na om. -संदहिजन्ततरलतरजीह्ा- ; Mi संदेहिन्तजोजीहा-, N,
-रत-( for -तरलतर- ). S2 -जिहा-. 52 -वित्थरो.
Li-2 Nr M1 -परिम्ममण-; D3 -परिकषमण- ; 27 -परिभमन्त-( for
-परिष्फ्रन्त- ).
La Mr 23 om. -वण-, Mr D3 ins. frag before agit. 141 विभ्रल-( for बिभ्रड- ). । 3 77 ०, ; बि.) -कराल-( for -कडार- ). पवि .2 Mi -कलष्यो;
01 -कडव्वो ; D3.4 -इलावो ; 52 -कंडवो ( for -इडप्पो } 06 -क्डवाल-. D3
-विमलिन्द- ; 24 -विमलेन-.
4 Nu.2 परिफरन्त-. 24 -पिङ्गच्छ-. N12 -विच्दोहा ; Mr -विच्छिवो ;
Ds -विच्ाभो ; Ds विदेह,
5 N1.2 -मंस-( for -nat-). 52 -मरडलो ( for -मंसलो ). Nx Dr प्फुलिङ्गसेसो ; N2 gewitat.
L6 Sa -कुरडली किद्-( for -कुरडलिजन्त- ). Mr -विभ्रलददुा-,
L 6-7 दिः -सुहभन्दरो ; Na -qeqet; Mz Dr ( after corr. )4-7
St.2 Pera -घहमरडलो ; > -qenved ; D3 -gerat ( for -सुहकन्दते ).
L7 पविः .2 Mr Dg -संगलिद-; 01 -संकलिद्-( for -संषडिद- ). D3
०४, ६ 1.2 -वेलानुबन्ध-( for -बेराणुबन्ध- ). 24 -gan-. 03.4.47 Pts
नरोष्ुभ्भड- ; Mr -रोसोम्भव-, 1.2 -इर-(०८ -कवल-).
८४ Nuva -विहरिर्दमकञ- 5 Mr -विहणिदबन्द- ; Sa -विषदिभ्रषन्द- ( for
-विखरि्दबम्द- ). D3 -पएढ- for -बन्द- ). Nuva -मरडजोमभदुततन्ड- ; Mr
wera ; 02.5 -wereteatea- ; Sa -मदडशोषरिद-, Nuva wp for ˆ
_ wat: ), D7 -qne-( for -gug-).
Act 1] चरडदमैशिकम् ae विभ, पलभ-णिसा-तिमिर-संघामो भोदारिद्-घरा-बङभ-सलीका- समुस्थिदो विभ भभवं महावराहो उप्थिवो धराह-जूधाभिषदी मथव्वभूमि। ता पं after wer पमाणं । महं पि aft जेव गच्छामि। ( इति निष्काम्तः )।
राजा । ( सर्वम् )। हन्त लम्धमिवानीं विनोदस्थानम् । $
विदू । ( सरोषम् )। भो setae अरण्णयङ्कमण-कण्टभसभविमहण-
समविसमलङ्कण- बुमुक्ला-पिभासा- वोख-संकुलं वहुपष्डषाभं जर मभन्व विणोभणोषाभ। वाकिं उण दे arrerrergret भविस्सदि |
Li Disgaea; M1: 07 qea-; 52 पच्लिश्र-. Mr -सहाभरो; Dr. 3 -संश्ो ( for -संघाश्नो ). Nr D3 भोदाविद- ; Dr. 7 siaifca- ; other Mss sitaifag-. 22. 4 -बलय- (for -वलभ्र-).
Li-2 Nr. 2(Na somewhat corrupt ) -faafafeadt ; Mx -firata- ahaa; Dx -बीसामुत्थिदो ; D3 -वीसामोत्थिदो ( for -ateragferd ).
L2 Da. 4-6 Per.2 om. aad. Ni Dr. 3 उवत्थिदो ; Mi aaftaa ; 05 afeqet (for उत्थिदो ). Nx Mr ins. देव ; Du 05. दम्ब ; D3 ins, देव महा- before वराह. Mr वराहाधिपयि. Ni-qarfewt ; Dr. 7 -अूहाहिषा , D4 -यूथापिवदी ; D6 -जुधाविवह ; other Mss -quifuag.
L3 Ni श्र awyfa’; No corrupt; Mr angenfa’; D4 मिश्रव्वभूमि' ( for मभ्मष्व० ). Mr om. ता, Ni. 2 एव; Mr Ds. 3 एषं (for ug). Nt. 2 Mi Dr ang. Mz Dr om. ; D3 वि (for fa).
L4 Ni. 2Mr Dr ज्जेव; Da-7 Si Per. 2 जेष्व. Ni ceqita. Si Per. 2 om. इति निष्कान्तः ,
Ls Nu. 2 सादं ; Dr. 3 सोत्साहं (for aga’). Nx. 2 D7 repeat ; Dg om. इन्त. Di मनोजिनोद- ; D3 विनोद विस्तर (for विनोद-).
L6 Ni Mt Dr -षरटश्नपत्य-; प्वि2-किथप्ररश्र- (corrupt) ; D4 -श्रटभ्स्यश्र- ; D7- sqendg-. D2 - सविमदण- (for -aaftaga- )-
L7 Da-4 Sx Per. 2- frarat- (for -frsrrat-).
L7-8 D3 -qearafegfie’ awe’, omitting जह.
L8 Dg मिभव्व'. Ne. 2 (corrupt) ag wera} विणोको हि gu दे 01 जर awe uftatet fe उण दे. Da, 6 बिणोवाभ्र' ; D3 frgterrd ; 04 बिणोदशोवाभ्र" (for बिशोभ्रणोवाभ). Nu. 2 4 armaeny ; Ms ogre’.
Lg Mz ins, ति alter afacafe.
4
९६ भरहकौरिकम् [Act ¦
राजा। वयस्य दगया हि नाम भृशमुपकारिणी crea | पश्य fern’ विनोदयति मागसमातनोति wid’ चे वपुषि ठाधवमाद्धाति। उत्साहवुदिजननीं रणकर्मयोम्यां राशां मुधैव anat व्यसनं बद्न्ति ॥२९॥ तेहि ada गच्छावः | ( इति निष्कान्तौ )॥
इति प्रथमोऽङ्कः समाप्तः ॥
Li Dgom. कव्य and fg. D3 amifa नाम aad. Da. 5.6 91. 3 Per. 2 तथा हि; D4 ता हि (for पर्य).
5. 29-^) Mi श्रादधाति (for श्रातनोति }--¢) पिए. 2 श्रमे; Mi शपे; Di कने (णि बे ).-) पि, 2 Mr Dr.3.7 उत्साहदद्धिजननी (Mi 0.7 oma’). Ni. 2 D3 -कमेमोग्या.-4) कवि. 2 Di रशे Ni. 2 मृगया,
L7 Nu. 2 इति निष्कान्तः ; 02. 4-6 51, 3 Per. 2 इति निष्कान्ताः ad ।
Colophon. Ni.2 Mr 02. 5-7 51, 2 प्रथमः ; Ds gfe प्रजाये वाम प्रषमोऽ्ः; 23 सपाबिप्नागमो नाम प्रथमो ; Da eft otaweedifor भाद भवमोहः ; Per. 2 एति भकेमोषरृते weedifivenst sete: ! 53 इति प्रवमोऽ,
द्वितीयोऽङ्कः
(नेपथ्ये )
भो भो बराहाम्बेषिणः
पष श्ुभ्नाति Ts दलति कमलिनोमतति गु्राप्रोहा-
arcreqerrerants खपुटयति जलाम्युकसेरूणि याति।
प्राप्तः प्राप्तः प्रविष्टो घनगहनमयं याति यातीति स्यः 8
पञ्चादन्विष्यमाणः प्रविदाति विषमान्काननान्तान्बराहः ॥१॥ तवृचषटम्यन्तां समन्ताद्ृनानि। तथा हि
आस्तीयैन्तामुपान्ते बनघृतिनिपुणेजौलिकैजीरबन्धा
qearat शङ्कलाभ्यः श्वगणिभिरटवोगहरे सारमेयाः |
Some letters and words are lost through damage in S2 ; they are generally ignored in the critical notes here ; only variant readings are noted.
०८४ धीगणेशाय नमः.
L2 52 ०0. भो मो वराहान्वेषिणः, 91 Per.2 do not repeat भो. Dr ins. सैनिकाः after वराहान्वेषिणः.
St. 1—b) 01.3 [न्] मुलाकीणंश्लानि ; D6 [ भा ] राम्ुहाश्चलानि ; Pea [श्रा] सारान्मु्ला० Mr वनानि ( for जलानि). ववि. 07 उरकमेरोव ; St Pera उत्कतेतूनि ( for उतकतेकशि ). Mr 1.3 उपैति (for याहि). Sa स्थपुटयति नितरां बोणया चंखनय्य.-6) D4 om, all words from प्राप्तः up to हथा हि. Nz विशाति ( for sfast ). D6 sazgnd.—d) गहनान् ( foe विषमान् ). For ed) Sa subst, : आजान्ुकतटय बल्वाद्ुरषुरितमहाशम्दथोरं TAA धर्मारण्ये ee न fedt: great यानि तानि।
7 विा.2 Mr 02.46 51 0.2 वद्बम्यत। ; ( Textreading in 01.3.72 52). Na,a Mr 0.2 अयानि ( for नानि ). 02.4.5 St 2८1. om. ; D7 घमन्ताद्बशोक्य ( for वथा हि ).
St. a—«) Nz.a Mz D1,3 auretergafafigd:. निपुणः lose in S2.— ¢) Mr srgqaea. Dr.2.6 शरयुणिभिः, 5 Pea शरगकिः. Na.2 -agat (for -agt).
Pe चरढकौरिकम् | [ Acti"
आकीर्यन्तां खलानि धमरियिल्यैः सादिभिः पाशादस्तै- ई्याधूयन्तां कृतान्तैरिव मदिषचरवैण्डिभिः काननानि ॥२। ( वतः भविदाति शौद्रोऽञ्वलबेषः संभ्रान्तो विघ्नराट् ) । विघ्नराट् । ( सार्क् ) | 9 atin समाधिरपि येन इतान्वरायो दक्षस्य चाध्वरविधिः रिवयोश्व fer | aise जगलुयदितव्यवसायसिदि- विभ्वंसविच्रमपरः परमोऽसि विघ्नः ॥३॥ तवहमिदानीम् 10 विद्यात्र्यं हरिदरात्मयुवामसाभ्य- मुरस्तपोभिरिह साधयतो महर्षः | क्रीडावराहवपुर् TATA लोक्यं हरिरिवादिवराहरूपः ॥०॥ (पश्चादवलोकय सभयम्)। अको मे जगत्कर्याणपरिपन्धिनः परपौक्षान्तराय-
St. 2 (coned.).—c) D6 araftdzat (for श्राकर्न्तां ). 127 प्रवेशाः ( for स्थलानि ). Nx.2 Mr D3 sre ( Mr D3 पाश ) हस्तेरशेवैः (for सादिभिः पाशस्तैः )—d) 25 वैरि ( for कृतान्तः ). $2.3 -वरैः ( for -चरेः ). D3 इपिनः,
L3 पवि .2 om. रौ and dea. 52 वराहवेषः ( for रौदोञस्वल° )- D3 -वेषषरः ( for -वेषः )
14 Da.3.6 om, विघ्रराद्. Mr ins. भात्मगतं 8 23 ins. eve alter शाश
Ss. 3 The first two padas are lost in 52.-6) तवि .2 चान्दर.-%) Da om. हित. D1 -हितम्यसनाय तिदो.
Lg Ds तदहं तदानो".
St. 4—d) 04 इरिरिषाथ- ; Ds इरदरादि-. Much of this verse is lost in Sa.
Liq Mr om. समयं. D1 अमततयकक्याण- D3 om. seary. Nx परमः (for प्र" ), |
५
Act ] : वरडसेरिषम् Re
रसिकलयानपेक्षित्ारीराणि साइसानि। यतः ताम्तदन्तान्तरवतिनमात्मानं अन्थमानेत मया कथं कथमपि शरगोखरं परिस नीतस्ताबद्यमपि महा- राजहर ए्ममरण्योरेशम्। तचावद्विभ्वामितस्याधमममु प्रापयाभि। यतस्तेन किल तीघ्रतपसा क्षतरियग्राहमणेन सगौन्तरप्रथमपरजञापतिना तिप्रलयविधापिनीनां राण्रयमयोनां विचानां ¢
सिद्धये किमपि दुष्करमारभ्धं बतेते। तथा हि
यतो धाता विश्व" सजति न हरिनौपि च हरो
इरिगोता लोकानवति न विरिञ्चि च हरः |
यतः deatel इरति इर पकस्िभुवनं
वदेकस्िन्लिदधिं व्रजति कथमन्यत्र निखिलम् ॥५॥ 10
Lit Mi: साहसिकानि. 23 ins, भवन्ति after सादतानि, Ni.2 01 -दन्तान्वषिनं ; 24 कृतान्तरवतिनं ; D7 ins. श्रपि before stead.
La 53 भ्मन्यरमानिन, 01-3.7 51 Per.2 om. मया here and place it before महाराज-, Mr S2 om, मया, Mr om. कथं कथमपि. D3 om. श्रपि, । Na dara’ (for शरगोचर). N2 damaged from परिहूय to हरिषन्दः. D7 परिगृह्य (for परिय ). Ni Mr 01.3 aftgarita:, 01 sea ( for तावदयं ). 03 om. afi after az.
L 2-3 06 om. all words from मया ८० महाराज, Nx D3 राजा ( for aaa: ).
1.3 D3 ins, इतो after तथाकत्, Mr D3 श्र्रमपदं, S3 om.y Nuva Mi 057 एनं ( for wg’). D3 प्रवेशयामि ; D4 प्रयामि ( 9 प्राप्यानि ). L4 Ds aa: fee तेन ( for यतस्तेन fea). D3 यह ( for यहः }.
Ls Mr हिश्ूयाजिना. Ds -प्रलयप्रथविधायिनां ( sic). Ni.2 Mr om. auaradtat. 06 om. विदाना.
L6 D7 ins, wf after द्विषि, D3 दुष्कर seer. 141 merger’, S3 ins. विधिबिलरः before ada. Ds sada ( for eda) and om. तथा हि"
St. 5——«) Much of first two padas lost in 52. 05 att ( for बतो ). Dg ins. @ before च्वि and oma after it.—b) 04-6 fréfed, 53 विरि ब हरः.) Nu.2 Mr D3 aa at deet.—d) 21 wang.
‘3 wert ` {कन ( विचिन्तय )। भथवा परमनैषिकेऽलिन्विं न dared, $ ह
खमकोपतया पुनिस्वभावानां कामक्रोधयोश्च भेयःपरिपण्िौ बृत्तिमाधित्येदमुपकरम्तम्। aa जने fran फलिष्यतीति | (नेपथ्ये ) 5 गहनतरवनान्तधौनगर्धित तिष्ठ रे क्रोडाधम तिष्ठ |
दुर कुतृहटवशातकशषणदष्नष्ट
मायामिषाभितषताप्तस्वयाहम्। पर्थानमेषि यदि ase दइशोत्तदानी सृदासि दष्ट न पुननैलिनीवनानि ॥६।
10 शिघ्न। (yer सहर्षम् )। अये कथमासन्न दवायम्। तधावदितो file तमेव मायामाखाय वयाग्यात्मानम्। ( एति सल परिकम्य निष्कान्तः ) |
( वतः प्रषिदाति गृ्ीतहारासनोऽनुसरणं areal राज्ञा arching) |
Li Mr प्रसिनन्रकिः Na भरन्यमन् ; 121,3 तस्मिन् ( for safer ). 0.2 01. न fia ( 01,3 किंचित्) संभावयामि ( D3 संभावितं ) ( for 8 ने संमाभ्यते ).
La Mi दुलमक्ोपितया ; D3 सुलमकरोधतय।. 53 मुनिखभाषतया. Ds भेयःपथिनी; 124 प्रेयःपरिपम्थिनोः.
13 पिा.2 erage (for भ्राधिय)}. 53 श्रपक्रमं (for इृदुमुपक्ाम्तं). Di जानासि (for जाने). Dr पतिष्यति ; D5 मविष्यति ; 53 फल भविष्यति ( for फलिष्यति ), 1.2 D3 om. इति
1.5 Nt गहनतरवनान्तरान्तभन- ; Na ग्वनान्तरेऽप्यन्तषान-, Sa -गविन् ( for -गर्ित ). D4 transp. ( first ) fag and रे, D1 repeats ( first ) fa Na M: D3 शचेलाषम, Dg om. ( second ) fay
St. 6a) 25 qyautit.—c) Mi इशः,--थ) Ni 01 मध्नावि ; Na मलासि ( corrupt ) ; D3 मध्नाति ( for axife ). D3 -दलानि ( for -वनामि ).
11 03 ins, बहिः before निगल, 1१1. तमेव ; Mr इमामेव ( for arte). Mi sweat ( for arat ). D3 ८००७. दशंयामि and आत्मान, Nu.2 Dt ins. wa before sieatd
Lia Ds परिदिख ( for परिक्रम्ब ).
L13 Mr om. [भ] avg aerated. D3 om. रथस्थो, 24 a tree M1 a ( for श्ारषिः
Act IJ अरडद्मेरिक्म ३१ cat) (gate परित्वाप्रतोऽवलोक्य सदवेम् )। आये भायै नाति- दूरवर्तिना तेन भवितत्यम् । तथा हि पश्य खणालीभिः कीर्णः कवकगङितामिषैनयुबः सरस्तीरे धाराः धुभितजलनिस्यन्द्िपियसाम्। TAT फेनैः दाबरनवदाष्पाः WTA 1 घनास्तन्निः्वासैमरुत इह सुस्तासुरभयः 1191
( निपुणमवलोक्य सदषैम् )। आयं अयमसौ पक्ष्य पश्य हेलावक्रितकन्धरः सरभसप्रोत्खातकन्दाहर- ध्यासक्ताङुललोलनालनलिनं THATS षन् |
Li Dr दर" कुतूहलवश।दिति cis प्यं पटित्वा ; 03 गहनतरवनान्वरिति पटित्वा (for पूर्णं पठिरैवा ). 2८2 reads afe ( for सारधिः १) as stage direction after पटित्वा. 03 पुरोऽवलोक्य (for wate ). 02.7 maid ; 03 श्रये; पि, Ms Dr S23 wa only once. 05 ins. wa after second Ta.
L2 24 -दृरे वर्तिना. S3 0m. ; 4.5 repeat पर्य.
3. 7 Parts of first ८५० padas lose in S2.—a) Nu.2 Mi ad’. Ni2aead; Dr azya:; Ms D3 apa ( for saya: ).—b) पि 4.2 Di धारा. D3 gfireracfrafeg-.- Ni -निःखन्द्- ; Na -farax; Ds5.7 -निखनर्- ; Pea -faerq-.—c) Nu शबलवनशयाः ( शश्पाः १) ; Na corrupt; D1.4 शबलव्रनशष्याः ; D3 °नवपुष्याः ; 27 र्नवमस्या ; 53 °नवरना.- 4) 03 षनान्तर्निश्वासैः,
7 Mz om.; Nu.2 Ds deme ( for बहव). D2.4-7 Pes.2 tepeat भार्य, Nu.2 do not repeat tq. Mr ara परयावमसौ.
St. 8 Pare of the second pada lost in Sa.—a) St Per.2 Geuafera- er. Ds सरमसः पोत्लावङन्दाहुरो ; D7 aqaatearartq-.—b) N12 Dr transp, लोल and ara; Na corrupt. D2 om. -ata-. Nz M1 D3-7 Terai.
१९ seat foe [4५] -
अन्तगू हविरूढनाभिनलिनप्राप्तासनाम्भोरः aerate पवोदिधीर्षति पुनदै'ष्ट्राप्रलननां मुम् ॥८॥ ( सानन्दम् )। कथं ( मवलोक्य ) माममिभुलमापतितः। (एति शरसंधान' नारयति ) ५ ae) (सकौतुकमवलोकष्य)। आयुष्मन्पश्य पश्य malta पुनर्निवृत्य तरसा लक्षीकृतस्ततकषणं तासाङुञ्चितमायताग्रचरणः पश्चा्ध॑माकर्षयन् | भ्वसोदेकविदीणेसकषिवरभष्यनषणाकाङ्करो दष्टरामपयतीव ते व्यपगतव्रीडाबिलक्षाननः ॥९॥ 10 राजञा । ( बाणमोक्षं aegis समन्तादवलोक्य साश्व) | कथमनवसर पवैततक्षणतिरोहितेऽसिन्याणमोक्षः Bret: | तथा हि
$. 8 (contd)—c) Mr Di. 2 -नामिनलिनः; Da -नामिनलिनी- Nx -किपतासनाम्भोकहः ; Nz 03. 6.7--तिप्तासनाम्भोरहां (D3 ong); Mi + + सनाम्मोश्हा ; D4. 5 -पआप्रासनाम्भोशहां ; 52. ‡ -प्ाप्ताननाम्भोर्हः--४) Mr D7 क्रोडकोल, D3 दन्ताग्र- (for दषटाप्र-). पिव. 2 Dt “gut; Mi +at (for -ant )
L3 Mr D3 सानन्द्मवलोकषय aunt (Mr कथमसौ ) ममापि ( 141 oft) ga. D7 ins. भ्यं after कथ", Ni. 2 Da श्रालोकय ( for श्रवलोक्य ) Mz भ्रापतति ; Dx भ्रायाति (for श्रापतितः).
L4 Mr D1. 7 dara’ (for शरसंधान).
L5 01 ins, सोतसां after भ्रवलोकंय. D3 does not repeat पश्य.
5t.g—«) Mr निप ; Dg-6 fate. Mr सहसा ; 4-6 रमसान् (for तरसा). —b) Nr. 2 Ds तसात् (for तञासा-). Na भरायताक्तचरणः ; Dr gary: ;D7 "प्रचर. Di पाशा. —c) Mr -fagit- (० -बिदीर- }-५) Nu हभ्यमनपब्ीडा- ; Na तु व्यपनयक्ोडा- ; D3 ते ष्यपगमकरीडा- ; 53 व्यपगतभूम्या.
Lio Nt. 2 ins. राजा after वारामोच्तं, 02. 3 91 Per. 2 बाशमोष, Mr Da, 4. 6 1.2 Per. a ayaa (for उपसंहृ). पि. 2 D3.7 ins. 4 after उपसंहृय. Nx. 2 भ्ालोक्य ( for water). Ds. 6 ins. च after अवलोक्य. Mr om. ered’.
Lr 53 श्रये (for कथ). Ni. 2 एवमेतत् ; Di एवायं ; D3 एव; 53 एष तत् (for एवैतत् ). Mr कएपरिमितेन, Ne. 2 Mr Dr. 3 विन् ( for भिम् ) Mi D3 वारमोदत ; Dz बाफमोकनं, Ni. 2 01, 3, 7 om. हद, D3 बतः (for eet fy).
Acc tt] शरष्रिषम् ११
क्षणादृन्त्धे क्षणमथ इशोरेति fare मुह् र थातो भवति पुनरण्यम्तिक्रः | पुरः पाश्वं पशचाद्मति परितस्तस्कथममु स्फुरदविधुष्ोलं करयति यु लक्षयं मम मनः ॥१०॥ ` (निषुणमवलोक्य बूरो दष्टा सानन्दम् )। कूथमिमामरण्यानीमतिषस्य ४ प्रसन्नां भुषमधिरूढः। सूत सूत सत्वर प्रेषयाश्वान्। इ पुतरिदानीं याष्यति। सूतः। ( तथा कृत्वः रथकेगमभिनीय ) | भायुष्पन्पश्य पश्च अवाजजित्वा पश्चात्सततरजसः ene: पुरो लक्ष्यासततित्वरितमनुधावम्मम मनः | 10 at ते निष्कस्पभ्वजपरपरासृष्टजरवो रथरस्वास्तान्देशानमिपतति तुल्यं सदिषुभिः ॥११॥
St. ro—b) S3 पुनर्यन्तिकबरः.-८ ) 1. 2 Mr 01} पुनः ( for पुरः}. Mi प्द्प्र (for पाध gant). D3 व्रजति (for भ्रमति). 24 हु (for तत्). Mr Di दण ( for कव).-4) No द्फूरयालोक्षयति नु हना मम मनः, Mx वियुह्ोलः. Ni Mr 01. 3.6.7 न} 52. 3 ब (for g) Ds मे (submetric) (for aa).
L5 01 निपुणतर" Ni. भ्रालोकष्य (for भ्रवलोकय). D3 ax’ ( for दूरतो ). Mr om. दूरतो ष्टा सानन्द".
L6 D6 anya’ (for sant ya’). Mt D4-7 donot repeat qe. 52.3 वत् (for सूत qr). Mi om. ava’ and reads fea (for #qq). Sa 105, sigaaara after warq. Mr S2 om. ज्ञ.
L7 03 भमिष्यति; 05 याति (for यास्यति).
L8 03 om. रथवेगममिनीय, Na D3 do not repeat पव,
St. 11-4) Di विहत- ; D2.g.5.7 प्रतत- ; 06 cae ( for धतत. }. D6 ege- ( for एए. ).- 6) Ds पते ( for gat). Nu.a (Na corrupt ) ga woraf’; Dz °हदवासततिः. Ds om, aac) 1.2 निष्कम्य प्वगपदपो- mwa. Dy za, D6 -aq- ( 9 az: }. 5} -पटवरामृष्वहदः--%) 92 रषस्तै,
5
१४ बरदेकीरिकम् [Acc .
राजा । ( सविसखथम् )। तथाहि दिवि भ्यावलाद्निविजितपवमैः स्यन्द्नहयै- अंवादुतकामद्भिजलमिधिमिवाह्वाय Geer | अदो दुराहूरं वजति मम भिन्ना्जनखय- ध उठविष्यामः कोडो दिनकृत इव ध्वाम्तनिखयः ॥१२॥ ( अग्रतोऽवलोक्य सखेदम् )। कथमिमामरण्यानीमतिक्रम्य dren मितद्ीनस्य पतरपंक्तिरप्यन्तर्हिता। भवतु अग्रतस्तावदिमां afer. मरण्यलेखां विथिनोमि। ( ईति वथा क्वेष्तानन्द्म् )। हन्त हन्त तपोवनोपकण्डेनानेन भवितव्यम् । तथा हि 0 भामूलं कचिदुयुता चिदपि च्छिन्ना स्थली वर्हिषा- AAT SATIS सदयाङ्ष्टाप्रशाखा रता | पते पूवैविल्नवल्कलतया रूढवणाः शाखिनः सचदेदममी वदभ्ति समिधां प्रस्यन्दिनः पादपाः ॥१३॥
Lr: Ni.2 D3.7 ins, भराय" after सविस्मयं, 117 aftestared. Na Mr om. ; 01 wrt परय ( for तथा हि }.
St. 12--4) पि ,2 दिवं.-0) 1.2 पतितः.-०) पि.2 सतु ( for aa). M1 -चयः. -4) D7 -छविः. Nr -स्यामः ; 24.6 52.3 -sqra: ( for -श्यामः). 141 D3 कोलो ( for mat). Na दिनकर ; 06 दिनशृत ( for दिनकृत }.
L6 Nz.2 Mr 01.3 भन्यतो ( for amt). Mr 01.3 षष्ठा ( for प्रवलोक्य ). Mr श्रये ( for सखेदं ). Ms D3 om. संप्रति.
L7 Nz Ds ins. sq before qedfip:, Mr aaa: ( for sre: ).
L7-8 Nx इिग्धरमणोयाखररयलेकाञ् ; Na corrupt; M1 अररयो- td; 07 gat gferreratiaawaaet,; 0} emawadat gfare- रमणीया,
८8 Mr 034 52 om. इति, पि1.2 Dr ins. एष्टा before श्ानन्द M1 om. सानन्दं, Dr अये} M1 03.491 Pee इन्त ( for इन्त ara).
Lg 03 कपोषनोकटठ एव तेन.
St. t3-—«) Dg erga and उद्धता. D3 St Per बर्हि (for बर्हिषा)--6) 01 serawn ¦; 27 Sa Pea eae. Ni Mr 01.4.67 Sa Pea सताः) Nia पूीविशूलद्िनियाः,
Acc II] aqee ire, ३४
( खमम्तादषलोकषय शयुतिमभितीय सकोलुकम् ) । भय पश्य पश्य नीपस्कन्वे करिणि शुकाः सवागतं व्यादरम्ति prorat इरति ee इम्यगन्धः समीरः | एता qa: सदिलपुलिनोपान्तसंसक्तदमै पदयन्स्योऽस्मान्सलकितदद्ो निक crea: पिबन्ति ॥९४॥ 5 तदलमिदानीमाथमोपराष्यवा रिणानेनान्विष्टेन । सत॒ खत संप्रति गृहोतोदकान्विध्वामयाश्वान् । यावदहमपि धनुर्मात्रसदाय पएवाभमपवं प्रविष्य सुनीनभिवादये । अतिक्रान्तान्यद्णीयसभाजनानि किल शेयसां परिपन्थीनि भवम्ति। ( इति रथावतरणं नाययति ) | सूतः। यथादिदाति खामी । ( एति निष्कान्तः ) । 10
Li Nu आ्रालोकय ; 24 विलोक्य ( for अवलोक्य ). Dr श्रये (for ara). 07 does not repeat पर्य. Mr आर्यः परय ( for प्रायं परय पश्य ).
St. 14—4) D7 नीडस्छन्धे. Ni लोनाः स्कन्धे suafie शकाः ; Na corrupt. Dg व्यागतं ( for खागतं ).-¢) Nu.2 D2.4.6 हम्यगन्धिः ; S3 इव्यगन्धो.--6) Ni.2 Mr Dr सतिल- (for सलिल-). [1.2 Mr 01.3 -dates- ( D3 -सर्ग- ) दभः ( 01.3 -दर्म' ).-4) पि .2 चकितखहशो ( for पचकित °}.
L6 प" अनेनासिन् भविष्यम् ; N2 corrupt; Mr [01.4.6 तेनान्विष्टेन ( for श्रनेनान्िष्टेन ). 2.4 Sx Per.2 do not repeat सूत. S3 om. सूत सूल. Mi om. aafa.
L7 The portion of the text from aagra up co ततः प्रविशति ( before Act iti. 4 ) is lost on missing folios in D1. Na wasadteaa- षहायः.
L8 Nu.z ins. srg before gata. Ni.2 Mr D3 अ्रभिवादपिष्ये, Mr अरदणोयानि समाजनानि , Dz अहं फीयभनसमाजनानि-
L 8-9 D7 केयःपरिपन्थोनि,
Lg D3 ०. § Dg ins. किल after प्रिषन्थीनि, 05 om. इति. Nu.2 रथाद्वतरणं ; Ds रथावतरं,
Lio 06 यत् ( for gar). Na om. यथादिशति erat. Ni देवः; D3 भयुष्मन् ( for स्वामी ). 04 om. ईइति.
३९ चरडकौशिकषम् [५५]
राजा। ( बिन्तां नाटयित्वा सन्छाषम्,)। अदो निप्र म्थिरमणीयतया निरतिदायानि तपोवनवासिनां खानि । कुतः aa: संभोगेभ्यः create न संकत्यविरतं वियोगेषु स्नेहान्विदधति न वा निर्ममतया | 6 भहंकारस्यागान्निज्परविभागभ्युपरमे परां afta प्राप्ताः किमपि सुखिनः संथमधनाः ॥१५॥
( सविनयं परिक्रम्य साष्वसमभिनीय साशङ्कम् )। भ्ये a
स्षापराधस्येव साभष्यसमुपजनयन्सयप्रधयवुरारोकान्यशषटपूषैतया तपो-
वनानि। अथवा सर्वाभिभावि किमप्यनभिमवनीयं तेजसासुपरि तपोमयं 10 ब्राह्मतेजः | कुत
1 1 03 om. the stage direction. D7 om. चिन्तां नाटयित्वा, 1.2 Mi 03.7 निन. ( for निप्र न्थि- ). D4 रमणीयता ( for -रमणीयतया ).
1.2 24 निरतिशयितानि, 27 तपोवनानां (tor तपोवन्राधिनां )., 126 om, कुतः.
St. 15——a) 53 संभोगाय ( for संभोगेभ्यः ). Da संभोग- ( for संकह्य- }. 93 संकृहपरबितं,--¢) Ni.2 वियोगा नत्नेहान्वा ( for वियोगेषु स्नेहान् ). 93 सेहं ( for etary). 24 च; 06 चा (णवा). Nz निमैलतया. Mi feat rarer दधति पुनरनिरमेमतय ; D3 वियोगे लेहो नाभिभवति मनो निर्ममतया ( unmetri- cal); D7 वियोगे Sern दधति न gafidaaar.—c) D2 om. ager. Sa -विभागे स्युपरमे.- 4) 25 gfaa: \ Pea gfira:. D4 संयमिषनाः.
L7 Mz सविस्मयं ; S2.3 सवितकं' ( for सविनयं ). D3 सश
L8 Mr एव (ण इव). Nx Mz D3 ins. मे before साष्वसं, D2 अनयन्ते ( for जनयन्ति ). D4 -aza-( for -प्रघ्रय- ). Da om. all words from प्रभय ८० भवनीयं(। 9). 25 om.; 04 -qaifg ( for -qtear )
L8-9 03 भे साष्वसान्युपजनयन्त्या्द्राशोकतमा तपोवनानि,
Lo 53 सत्वाभिभावि. Ni.2 भनन्वर्मबनीयं (for अनभिभबनीयं ). D3 नौमिनाष् (for all words from सक्ौमि- to -भवनीयं ). 24 -भावनीयं ( for canitd ). D6 ada
Lio Ni mug a; Na meget: ; D3.5.7 52 mg’ de. Ds repeats इतः,
Act II J चरदकोरिकम् ३७ पदे पदे साभ्वसमाबहन्ति परशान्तरम्याण्यपि मे वनानि। सर्बाणि तेजांसि मृदूभवन्ति खयोनिमासा्च यथाश्भिरम्भः ॥१६॥ ( {ति सलाष्वसं परिक्रामति) | 5 ( नेपथ्ये ) afterrana अज्ञा ofcerrara | एदाभो अणवराधमाणाभो अणाधाभो असरणाभ हदवे परिक्खिषिभमो मन्दभारणीभो। ता afters अज्ञा ofterrare | राजा। ( धुतिमभिनीय सस॑श्नमम् )। अहह एतो नातिदूरे योषितामि- 10 घातैः प्रलापः भूयते। ( साश्चयैम् )। अये तपोवनमिवं
St, 16-—a) Mr श्राहरन्ति ( for श्नावहन्ति ) -0) Mr D3 प्रसाद ( Ms प्रशान्त ) रम्याणि तपोवनानि.) Mr D3 eat योनिं. Musufiza ( for श्राह}. Ds anfraea:.
{5 D3 om. the stage direction.
1. 7 Da परित्ताध ; S2 प्रितताश्रह ; 53 after all both times, Na शरन, D4.5 repeat wart. Ni अणवरदाभ्नो ; Mi corrupe (अरशवरञ्फमाणान्नो repeated on p. 38, vl. to line 3) ; D3.4.5.7 Pea श्रवरज (D4 Pra vam ; Ds.7 रञ्फ ) माणाश्रो ; 52 भरणवरद° ; 53 भ्ररकरध्य०, Mi om, ware.
L8 D3-5 om. satya. Mr हुभ्रवह. D3 हुदवहपरिच््िभ्रोमाणो. Ni2 परक्विग्रन्तो; 24 afeferasat; Ds परििभ्रामो; Mr D7 परिक्खितरिभमाणाभो ; 0८2 परिकिखिवियामो ; 52 परिक्खिपिभ्रामो. Mir ins. ag before मन्द्-, Ni.2 Dg -माश्रशाभ्रो. Ds परिता ; 93 परिताय both cimes ; 92 afcarsig once only,
Lg M1 D3 om. ; Na sq (for sat). Dg om. परिताभ्रष,
Lio Mz ins, year before wf. 1.2 ae ( for uff). D3 vary ( for ada). 24 ng ( for neg). Ni.2 wat; D3 wet ( for इतो }. Mr ins, ga after arfaqt. 02.4-6 $1.3 Pei.2 ins, भवानां before योषिता,
. 10-17 Nu.2 योषितामिवायमातंः प्रलापः | Mi D3 योषितमार्तप्रशापः, Dg योषितां प्रलापः ; 5> योषितामिवार्तप्रलापः ; 53 गशतिंप्रशापः.
Liz Mi 94 अववा ; Sa भ्रव (for भवे),
क पुनरकेदशानामविनीतानां संभवः। भवतु उपसर्पामि। ( तथा करोति ) |
( नेपथ्ये तथैव पठयते ) (त्वा सावष्म्मम् ) | अमयमभयं मयातौनाम्। ( सक्रोधम् )।
5 आः
कोऽयं तपोवनविरुचमनात्मनीनं
करो वृशंसमनुतिष्ठति कर्मं घोरम् । तस्यैष बाणपरिलूनरिरोधरस्य प्रल्ज्गमुखतरिखे TATA FEL ॥१७॥
10 ( इति परिक्रम्य नेपथ्यामिमुखमवयीकष्य सविसखयम् )। अये कोऽयं मष्येऽग््युपासीनेन frou भयेन दिष्यरूपिणा नारीबयेण सह संनि्ितद्टोमसाधनोऽच्निशाकामध्यास्ते। नूनं तापसाकल्यधारिणा पाखण्डेनानेन भवितन्यम् |
Li Nz.2D3 ज्ञ (D3 तः) gadearat (D3 geatat). Nr. विनीतानां लासः संभवः, Mu transp. wa after श्नविनीतानां- 53 प्रस्पामि ( for उपसपोमि ).
La Mz ins. इति before तथा,
L3 M1 ins. पुनः before नेपथ्ये, Mr om, ; D3.4 पुनलयेव ; D7 तदेव (for तयेव). Nu.z Mr om. gard. After Age Mr ins. the entire speech of the Vidyas with v. |. as noted before ( p. 37, ४, |. to line 7-9).
L 4 D3 om. भरता. Mr om. मयातोनो.
St, 17—b) D3 st. Ni acrsfa: समनुतिष्ठति , Na corrupe.—e) D2.3.6 ate ; 24 अ्स्येक- ; Ds तस्यैव ; S2.3 aede-—d) N2 aga- शिखि ; Mr उद्रतरशिख- ; 51 Per.2 उग्ञजुलशिक्े D2 जुहोति,
Lio Ns.2 Mi 039). इति, 92 इति परिकामति, 05 transp. परिङ्म्य and नेपभ्याभिभुखं, 52.3 नेपथ्ये हिंसामवलोकय सविस्मयं, Da ins. च after अवलोक्य. Ni.2 om, कोऽयं,
Lit Nr 03 aeasfngaredtt ; Mi अष्यग््युपासीनो ; 07 aasrg- पासीनो ; 53 श्रध्यपरसुपसोनेन. पपि. ६4052. aarda and दिम्यह्पिशा, D3 दिष्यस्पेण.
Lia 03 -होमसाधनापिशालां. Nx तापसाहृति- ; Na भअग्रभमक्लावारिशा (corrupt ) 3 Mr तापसकेषः ( for arvaters: ).
{~ 43 पवि. D3 राषरदेन } Sa.3 पषरिहना.
Act Il | चरढकोरिक्म् ye
( वतः प्रधिशति होमं नाटथन्विश्वामिनो यथानिर्दिष्टाश्च विधाः ) frat: | ( संभ्रमं नारयन्स्यः पूर्वोक्तं पटन्ति ) | विष्वामिबः। ( साश्र्यम् ) | अदो जु खलु मोः वहति इविर्पांशुमन्व पूतं भवति तथापि न दक्षिणार्चिरभ्निः। 6 किमिदमुपगताः क्रियाप्रमावा- छ मम वरित्वमिमाः प्रयान्ति विद्याः ॥९८॥ ( इति समाधि नाटयति ) । विद्याः। (पूर्वोक्तं पठन्ति ) । राजा। (arava)! अमयममयं aaa: तिष्ठ रे 10 दुरात्मन् पाखण्डाधम तिष्ठ । क पष ते प्रच्छन्नराक्षसस्य माया- प्रपञ्चः। तथाहि वासो वव्कलमक्षखत्रवलयो पाणिजैटालं हिरः कोऽयं वेषपरिग्रहो गुक्तपोदान्तस्य शान्तात्मनः | केयं ते शट Wadena बीभत्सनारीवध- 1 क्रीडापातकिनी मतिर्भज फं खस्याधुना कर्मणः ॥१९
Li 07 कोपं (णः होमं). D3 कौशिकः (ण बिश्वामिः), this is the reading of D3 of the name throughout. Mr om. यथानिर्दिष्टाश्च, Mr विद्याश्च; Dz नार्यः ( for fran: ).
L2 M1: 04.7 ads. D3 qaife.
St. 18—c ) Nu उपरताः $ N2 corrupt; 04.6.7 उपनताः. [24 तपः- ( for किया- ).—d ) M1 4.6 वशत्वं,
{8 Nz1.2 om. इति,
Log D3 qatfe.
Lio N:.2 Mr D3.7 उपगम्य ( for उपल )
Lit Mz D3 om. दुरात्मन्, पि. D3 53 पाषरडाबम, which N1.2 transp. after fag. 02.4.6 repeat fag. 52 पाषरड पाषयड ( for neers fag). D4 एव ( णः एष ). Mi om. sequargaa.
St. 1g—b) Nu gaat: ( for रतपः )—e ) Nu.2 क्वेयं - 4) D6 [ भा ] कोडा; M1 corr. to met. फलं 1०४८ in S2, Nz aengar; Pea weargar.
ae चरडकौशिकम् [4५]
विश्वामित्रः। ( संवरणं नाटयन्सक्रोघम् )। पष TTA TAM: अवणकटुतराक्रोरास TENET क्षोभादन्तःसमाधिष्यपगमपवनोहीष्यमानोख्दीिः। रीलामासाद्य सद्यः क्षयपवनसखमुद्र तकल्पान्तवह - 5 ख लोक्यप्रासदृष्णामपनयतु मम क्रोधजो जातवेदाः ॥ oy विद्याः। ( सहर्षम् )। भियं नः भ्रियम्। विजयतां विजयतां महाराज हरिश्चन्द्र । ( इति निष्करान्ताः ) । विभ्वा । ( र्ट सक्रोधम् )। अये कथमसौ दुरात्मा हरिशनद्रोऽसादं शेयसामन्तरायः संवृत्तः | तिष्ठ रे क्षलियापसद् तिष्ठ 10 कामं हरिमेव विमूढ भवाथ चन्द्र श्न्द्राधैमोलिरथ वा हर पव UT? | विद्याभ्रणादापरिवर्धितघोरदीप्तेः क्रोधानलस्य मम नेन्धनतां प्रयासि ॥२१॥
Li 02 om.; D3 कौशिकः ( for feanfira: ). Nu.2 aaa ( for संवरणं ). D4 transp. संवरणं and नारयन्. D3 areafa.
St. 20—a) 52 भ्रवणखरतरा-. Ma ata for [ श्रा ] ata.—b) Dz om. (hapl.) होप्यमानो. D3 दोप्तेः.- 0८4) 4 om. all words from समाधि up to लेलोक्य.--८ ) Mi पवनरय- ( for स्षयपवन- ). Mr D7 52.3 -समुद्धतकल्पन्त..
L6 Dg repeats नः. 02.5.6 transp. नः and second त्रियं, D7 S3 प्रियं नः परियं नः. 52 om. second प्रियं. Nu.2 D4 92 ५० not repeat विजयतां. S3 जयतां (for विजयतां ). D2.6 महाराजा.
L 6-7 Mz Sa महाराजो ( Mr महाराज- ) हरिषन्द्ः.
L8 13 कौशिकः ( for विश्वामितः ). D3 om. eset सक्रोधं, Ni सक्रोषः et’; Na ate सहर्ष, Mr ०71. ; D3 a: ( for wa). 53 ००, ; M! D4.5-7 S2 wa ( for wat )
Lg Mz om. Saat. D3 सलियाधम. D4.6 repeat qfearrag, and om. तिष्ठ after ८. 52 fag fag qfearrax, Mz S3 तिष्ठ तिष्ठ (for the second fag ).
St. ar—a) Nx भवाय (for भवाव ). M1 03.4 वेषा- ( for बन- ).
—c) 24 विश्व- ( for विथा- ).- 4) Nx बेन्नतां ; Na corrupt; $3 देम्बनतौ. Mx नयामि ( for प्रयामि ).
Aull] चरदोरिकम् <i
aft चरे मूढ कान्ताकेलिमयोऽपि भूतकरुणाशान्तोऽप्यसो संयमो करीडारुढसमाधिभङ्गव्रिकटभन भङ्गमीमाननः। ृष्टाहृषटरारासनं ATRIA: पिनाको खरं त्वामष्यच ENT तदेव कते क्रोधाद्यं कौशिकः ॥२२॥ 8 राज्ञा। ( ससंभ्रममात्मगतम्)। कथं स भगवान्कोरिकोऽयं ताश्च भगवत्यो fra) यासां सिद्धयेऽहमप्यश्य पापोऽन्तरायः age नूनमसमीक्ष्यकारिणा मयाब्ेन्धनेनेव रफुरच्छिला- कलापो ज्वलन पव पद्धयामाक्रान्तः। करोरिकः। ( सक्रोधम् ) | 10 प्रार्धसाधनविधातविवृद्धमन्योः शापाय धावति करो मम दक्षिणोऽयम् | ज्ञाति सर्पि चिराय समुज्छितां तां
सव्येतरसतुं मम चापमुपैति पाणिः ॥२३॥ ( इयुतिष्ठति ) | ¢
St. 22—-a) 02 मूका. D3 श्रयं (tor श्रस। }-॥) D3 mister anifa-. विव .2 Mr D3 -faaag ag (D3 ong ) भीमा- ( for "विट् मह- भाम )—d) Ni.2 D7 eqrarara ( for तवामप्य् ). Nu ata a4 कृते ( for दृशा तदेव HR ).
L6 020. all words from राजा to dga: (1.8). Dz om; Sz 98 ( for ad @), Dg om.; Ni.2 at; Mi श्रयं (णस). Nea Mi om, aa.
L7 Me तावल्यो (for anal), S2 ins, श्रपि before वथाः. D3 यामा fast प्राप्तोऽहमन्तरायः ( for all words from यामां to aga: ). D4 यामामहुमप्यल्, Pea fag ( for सिदयेऽहं ). Ni wena; N2 saa; Mi ध्रव ; D7 seq ( for भ्रप्बस् ).
L8 Daa¥a, D3.7 श्न्धेन ; 04-6 कोषेनेव ; 52 mica, Pea ardaig ( (ण: शरतेन्धोनेष). Mi om, श्वर
1. 8.9 Nx नूनमसमीदधितकारिणि मयानर्थन विङृतरिक्ाकलापो.
Lg Nu.2 D3 एष ( for एव). Na प्रयान्तः ( for पद्पामा्न्तः ).
Lio Ds om. कौशिकः, D3 सरोषं ( for amie )
St, 23—a) 97 आारम्ध--0) Na Ma छ; Na corrupt ( for aft ). 04 Pra eqafmat.
6
४२ चरडकौशिकम् [ ५५॥
राज्ञा। ( सभयमुपर्ल्य )। भगवन्नभिवादये | कौरिकः। ( क्रोधं नाटयति ) 1 राज्ञा। ( पादयोर्निपत्य )। भगवन् ata wea, स्ीज्ञनार्व्रलाप- मायावञ्चितस्याविजानतो मे क्षन्तुमहै सि | ॐ कौरिकः। दुरात्मन् किं नामाविजानतो मे क्षन्तुमहैसि। अरेरे aq न किल नाम मवतोऽहं बिदितः। जातिखरयग्रहणदुललितेकविपर" हप्यद्सिष्टसुतकषाननधूमकेतुम् | सर्गन्तराहरणमभीतजगत्कृतान्तं 10 चण्डालयाजिनमवेषि न कोरिकं माम्॥२७॥
Li 04 चत्वरं ( for सभयं ). Nr.2 D3 उपगम्य ( for उपचय ).
L2 वि2 णण, the whole line. 05 सक्रोधं ( for क्रोधं )
L 3 03 does not repeat मेय. S2.3 ज्ञीजनारतिंप्रलाप-.
L 3-5 Nu.2 arrange the dialogue (from राजा पादथोर्निपय tv
@egaeta on |, 5 ) thus :
राजा । alsa । मगवन्मर्ेय ata ।
कौशिकः । दुरात्मन् कि नाम ।
राजा) श्ञोप्रलापमायावधितस्य विजानता मे च्न्तुमहंसि। (Na for this line : राजा | भो मे चन्तुमहेति ).
~4 Sa -वश्ितस्यापि जानतोभे.
Ls Mr om. दुरात्मन्. D3 वश्चनतामजानतो मे. 124 सन्वुमर्हसीति भवना. वि Ds om. %.
{~ 5-6 D2 om. (hapl.) all words from मे to भवतो.
L6 Ni: gwefaa; M1 D3 जुदस्षतियापसद ; D7 qe ga. N12 M1 D7 ५५5. भवतो and विदितः, D3 om. भवतो. Sa transp. अहं and विदितः.
St. 24—a) Mu -दच्तं ( for -fas’).—b) 24 acag- ( for इ्यद्- ). Nu.2 D4.5 -वरिष्ट- ( for -afag- ). Mz -कुल- ( for -ga- ).—e) Nu.2 -afte- ( for -भीत- ). D7 -garat (for -हृतान्त).-4) D3 बारडाल-. Da-4 Si Pes etfs
Act ] चरढकौशिकम् |
रज्ञा भगवन् परसीद धरसी नैवमवगन्तुमसि | अन्नक्षयादिषु तथाविदितात्मषृत्तिं शराजप्रतिग्रहपराङ्मुखमानसं त्वाम् | आडीबकम्रधनकम्पितजीवलोकं कस्तेजसां च तपसां च निधि न षेति ॥२५॥ 5 कि तु भीर्जनार्तप्रलापमुपभुत्येदसुपकरान्तम् । खधर्माक्षिचेतसस्त्वा- मविजानतो मे क्षन्तुमदै सीति विज्ञापयामि | कोरिकः। दुरात्मन् कथय कथय कश्च ते धर्मं एति। राजा | भगवन् वातव्यं रक्षितव्यं च योदधभ्य क्षत्रियैरिति। 10 गीतः पुराणैमुनिभिरेष धर्मः सनातनः ॥२६॥ कौरिकः। कि नाम ( दातव्यमित्यादि पठति ) | राजा। अथ क्रिम्।
॥ 1
L1 Mr $3 do not repeat प्रसीद. 05 om. all words from नैवं to méfa. Nx Mr मातैव; Na corrupt ( for aa’). D2 मैव गन्तुं ; D3 aa मामवगन्तुं ; D7 नैव" मावगन्तु,
St. 25—a) Nx Mr D3.7 श्रत्रततयापदि ; N2 श्रमुष्ययापदि (corrupt). D4.7 -विदिता- (for -fafgar- ).—c) Ma भरालीवक- ; D7 waar. ; S2 नाडीवक-.
L6 D3 etward-. D7 om. ; 92 [भा ] ति- ( for [श्रातै- ). 2.6 उषसृस्येदं. Ni.2om. इदमुपकरान्तं. वि 1.2 -चेतस्तु at; Mi -तेजसलत्वं ¦ 3.7 -वेतससत्वं ; 24 -वेतसस्तवं ; Ds -चेतमा तव॑
1. 7 Ds भ्रप्यजानतो ( for श्रविजानतो ). Mx विज्ञापयति,
L8 111 om. दुरा्मन्. पिव 02 do not repeat कथय. Pra repeats aa. Now qa ead हति; D7 कथ ते खधर्म धति.
Lg Mt D3 om. aaa,
St. 26—b) D7 भ्रमि ( for इति }.
Lia Ni ins. सप्रबन्धं after कौशिकः, D3 om. नाम. N1.2 इति ( गलादि ). Ma om. both lines 12 and 13.
४४ चरढकौशिकम् [ Act Il
कौरिकः। ade कथय कस्मै दातव्यं कञ्च रक्षणीयः केन सह योद्धव्यम् | राजा। भगवन् ARTA कौरिकः। कथ्यताम् । राज्ञा, yagi fares देयं रक्ष्या भयार्दिताः | 5 अरातिमिश्च योदधव्यमिनि मे निश्चिता afr: 1290 कौिकः। दरान् wad मन्यसे तदा दीयतामस्मभ्यं धिद्यातपोऽनरूपं करिचित्। राजा। (aati)! नन्वनुगरहीतस्त्टिं भगवता वैवखतो वंशः । तत्प्रसीद भगवन्परसीद् 1 ना्ैन्ति सवैभुवनान्यपि दक्षिणायै स्वैसखदानविनिषेदनङुण्टदाक्तिः | पूणां धनैः कुरिकनन्दन तुभ्यम छत्लाभिमां वसुमतीं विनिवेदयामि cn
Li 03 ०0. ययेवं कथय. Mr किंनाम (for aa eet). Nr D3 ins. ते after कथ. Ni Mr Dy ins. इति after योद्धव्यं.
L2 D7 om. भगवन् ध्रयता.
L3 M1 07 52०. the whole line. Ni.2 D3 ins. दुरात्मन् before कथ्यतां.
St. 27—a) 25 द्विजादिभ्यो--¢) D3 भयातुराः ( for भयार्ताः ).—c ) 24 भ्ररातिभ्यश.
{~ 6 93 om. दुरात्मन्. Mz ५५. दुरात्मन् and यथेवं. Na.2 अनूचानं at मन्यसे। add दीयतां ; 03 यदि मामनूवानं मन्यते तदा दीयतां ( for ययेवं
मन्यसे तदा दीयतां ). Mr श्रनुष्टानं मन्यसे ( for मन्यसे ). D6 om. az.
L8 Ds om. भगवता,
Lo Mr D3 तात), first प्रमीद् and भगवन् , N12 transp. भगवन् and second gaz.
St. a8—«) वि 1.2 Mi D3.7 य्य ( for सर्व ).—b) Ni.2 Mr D3 धमेखमाल- ( for ग्दान- ). Nr -कर्मशङ्िः ( for -ङुरढशङ्किः ).
Acc It] चरडकोशिकम् ५
कोरिकः। ( खाश्चयैमात्मगतम् )। ast तावत् । ( प्रकादाम् ) । राजन् खस्ति। fe g नादक्षिणं दानमामनन्ति। तदसि वक्षिणां दातुभिदानीम् | nat, ( सव्रीडमात्मगनम् )। क्रमत प्रनिपरत्तभ्यम्। ( चिरं विचिन्त्य सहम् )। भवत्वं तावत्। ( प्रकाशम् )। भगवन् 5 agree दास्यामि tei लक्षं च दक्षिणाम् | अद्यप्रशति मे मासमवधिं क्षन्तुमं सि ॥२९॥ करौशिकः। अनुमतोऽयमवबधिः। fF qaftea वसुमतीमन्यनो समुषा- हत्य दातव्यम् | wat) ( साशङ्कमातमगतवम् )। कथमत्र प्रतिविधेयम् | ( विचिन्त्य 10
L1 02 om. कौशिकः. 593 om. श्रात्मगतं. S3 ins. श्ना किमत प्रतिपत्तध्यं । विरं॒विचिन्य agi’ before भवत्वेवं तावत्, repeating these words below, lines. 4-5. Dg om. मवत्वेवं तावत्, Mr om. all words from aria’ 0 प्रकाश.
{2 D6om. किं तु. D7 ins. मनीषिणां after श्रामनन्ति. De om. ; 15.6 श्रहंति (for wéfa )
1. 2-3 Mi agefa दद्धिणामिदं दानं ते; D3 मनीषिणः cement 4 ari afaqi दातुमर्ईति ( for azéfa दक्षिणां दातुभिदानी').
1.3 Ni.2 om, इदानी". 04 ins. fad after इदानी".
1.4 दि सभयं; विः सभीतं ; 52 aata (for ame). [23.4 and ( for ज्रात्मगतं ). :
{5 Mr D3 0m.; 53 agi ( ० प्रकाशं )
St. 29—b) D3 om. 4.—d) Nu.2 Mr D7 53 कतं" ( for aed )
L8 Ny.2 D3.7 ins. मे after परिय.
L 8-9 Nu.2 D3 anger ( for agqe ).
Lo D3 दास्यनि ( for दातव्यं ). Afcer दानस्य, 125 105. fat’ विनिन्य मद" wae तावत् but deletes the words by means of enclosed brackets ( see ४, |. co line ॥ )
Lio S2om. arg. 53 0m, arngarait. D3.4 and किमव ‘for श्रारमगतं sane). N2 Ms fata (for प्रतिविधेयं ). 42 om. fafara.
४६ चरढकौशिकम् [ Act I
सहर्षम् )। हन्त हन्त and प्रतिविधानम्। यतोऽस्ति किल भगवतः foam परिग्रहपरमं क्षेवम् । वाराणसीति षञ्ुधातलमोगभिन्नां यामन्तरिक्षनगरीं सुनयो वदन्ति | ८ शद्धेयमागमददो बिदुरन्तरालं बालात्रमागपरिपारिसहस्नस््मम् ॥३०॥ ares, दास्ये। (प्रकादाम्)। भगवन् यदादिक्षसि। (भा- भरणान्यवतायं )। भगवन् पताः धियो भगवती agar तथेयं 10 BATA FISSSANT मौलिः | तदरशनादनुगरहयाण मयोपनीत- Raega: कुशिकनन्वन पादयोस्ते ॥३१॥ ( इति पादयोर्निपत्योत्थाय स््षैमात्मगतम् )। frou फलितमिदानी- मायासभूयिष्टेनापि मे राज्यभारेण। ( सानन्दम् ) |
Li दि ०, agi. M1 02-4 S2.3 Pe2 do not repeat हन्त, Mi D3 105. इदानी" after लब्धं. D3 om. fam भगवतः.
L2 D3 शिवस्य परमं तेतं, Mr परिग्रहः परमं चतं ; D2.g.7 Si-3 7८1.2 परिग्रहः परं केतं ; Ds परिग्रहः Ga’, Dé परिप्रहपरः सेत".
St. 30—a) D3.q 53 -भागनिन्ना--0) Ni.2 अ्रन्तरीक्त-.-८) Ni श्ागमविदो. Nr.2 93 भ्रन्तरायं.--4) D6 -qent.
L7 D2.6S1 Per az; 24 S2.3 Pea aa: ( foray). Dy om. भगवन् and ins. इति after श्रादिशसि.
L8 Dg ama ( for want ). D3 om. भगवन्.
St. 31-4) Ds भवती ( submettic ) ( for भगवती ). 4.7 तवेयं--0) पपि 1.2 वज्ञाएयमूनि, 52 नव~ (for वृप- ).—c) Nu तवं दशनात् ; No ata —d) D3 तुभ्यम ( for पादयोप्ते ).
L13 Nur.aom. इति. 03 ins. च after उत्याय. 53 om. भ्रालगत,
1. 14 53 मया सुभूयिष्ठेनापि (for भ्आयासभूयिष्ठेनापि). N2 D3 om. aft. Na.a M1 D3 om. Dg om. नन्दं.
Act Il] चरडकौरिकम् te
मया सुनेरयं मभ्युथो aw इति afxa: |
स पष कुखुमापीडः पतितो मम मूर्धनि ॥३२॥ भगवति वसुंधरे तदियमापृष्टासि |
data पतिभिः किल लोकधाभरि
स्वं देवि बीरयदासा ae रक्षितासि |
व्यक्ता मया यदसि दुरंभपावलोभा-
वेकं क्षमख मम दुनैयमेनमेव ॥२३॥ तद्यावद्योध्यां गत्वा भगवतः पतिश्व॒तं संपाद्य वक्षिणोपाजैनाय वाराणसीमेव गच्छामि। ( प्रकारम् )। भगवन् दइतोऽथोध्यां गत्वा ganar faded दक्षिणोपाजैनाय ममान्ञापयितुम्ैसि | 10 काशिकः। ( साश्चवैमात्मगतम् )। अहो दुरात्मनः edd’ महानुभावता
St, 32—b) 125 om. यो.-र) पवि 1.2 D3 एव ( for एष )
1.3 Mr D3 ins. sat before भगवति. Na तदियं मया द्रि; Dg afgaargaifa ; $2.3 तदियमापृच्छथपे,
St. 33--८) Nz चादगाति ; 24 93 ateatat.—b) N2 ulag वौरयणना (५८) aftarfa.—e) Nx 03 53 -लामात् ( for -atra).—d) S2 ए (for g#). पवि. D3.5 gga, Ne Mr D3 waza; Na ata’, D7 एनद्म्ब ; 52 qaaea ( for एनमेव ).
L8 D3 ins. खगतं before तथावत्, Nz प्रतिपन्न" (for afeaa ). Ni.2 sfeara ( for dara ).
Lo Mr सज्ीभवामि ( for काराणासीमेव गच्छामि ).
Lio Da om.; Nu.2 Mi D3.7 sapafard (for papa निवतं). Nu.2 aragerg’ ; D3.5 मामाज्ञापयितु
Lit S3 om.; 03 aad (for wand ) 53 श्रा अहो. Mr भनुन।विता ( for महनुमावता ).
णत चरढकौशिकम् [ Act ॥
a) दुरात्मन् अचिरादृक्ष्यामि ते शौण्डीयैम्। तथा हि
wearin यावश्चङितं न सत्या- areata खादचिराद्भवन्तम् | स्वहुनेयोदीपिततीवतेजा- 5 स्तावन्न मे शान्तिमुपैति मन्युः ॥२४॥ ( प्रक्राराम् )। राजन् एवमस्तु को दोषः। ( इति निष्कान्तौ ) ।
इति द्वितीयोऽङ्कः समाप्तः ॥
ee
Li Ni.2 चिरात्; D6 नचिरात ( for श्रविरात ). Na aaa’; Dz शौदीय' ; D5.6 शौदीयै' ; D7 वैय, Mi शंरोर्य ते by transp,
St. 34- ८) Nr पतितं ; Nz विनतं (for चलितं ).—c) Ni.2 7: तवदुणेय-. Da -उही रित- ( for -उदौपित- ). Nu.2 Mi D3 -तिग्मतेजाः .—d ) Nu ताबन्न शान्तिं मम याति मन्युः ; Na तावन्न मे मर्षसुपेति मन्युः.
L6 Nu1.2 Mz ins, भवत्वेवं तावत् before sagt. Nu1.2 om. राजन्.
7 N1.2 निष्कान्तः ; 0352 निष्कान्तः से ( for निष्कान्तौ ).
Colophon. Nu.2 द्वितीयोङ्कः समाप्तः ; 01 missing ; D2 S3 इतिं famiatg: ; Mr D3.5.6 Si.2 द्वितीयो्कः ; 24 इति चरडद़ौ शिकनाटके द्वितीयः : D7 शररढकौरिके द्वितायोद्कः ; Per इति भआर्यसेमीश्वरङृते बरडकौरिकनाटके द्वितीयो ; Pea इति अरडकौरिङे द्विती योः ,
ठृतीयोऽङकः
( ततः प्रविशति बीमत्सवेषः पापपुरुषः ) qragen: | ( विकटं परिकरम्योच्चैरविहस्य ) | मुहमेत्तमहरमहले शोभविभोभदिवाहिकडमय््े | बहुणलकदुकलदालुणपलिणामे TERS FA हगे ॥१॥
Li Nu प्रृतिविकृतबौमत्समलिनवेशः ; No प्रकृतिमलिनवैशः ; [2.4 92. Pia कृतबोमत्सवेषः ; D3 विकृतमलिनवेषः ; [27 विकृतिबीभत्सवेष-. Nu.2 पुषः ( ण प्रापपुरुषः ).
L2 03.5०0 ; Nr.2 पुषः (णि पापपुष्षः). Ni.2 D3 साटोपं ( for विकर ). 93 ins. सभयमुपखचय after विहस्य.
St. 1 Magadhi appears to be the Prakrit of this verse and the following passage (Cf. Pischel, Grammatik §23 ), But Sauraseni having been the more familiar Praktit, its forms are confused with those of Magadhi. As far as possible, we have restored the recogni- sed Magadhi forms, but the Mss variants are also noted in each case. —This verse is lost in $3.4) Da महमेत्त- ; D4 gato; Ds age; D7 gefan-. D2-4.6 51 Per -qgaggat.—b) Parts of the verse are lost ॥ 52. All Mss ( 01 missing ) and ९८ ata. ( for शोश्र- ). 02.6 91 Pet -विग्रोश्रभ्राहि- ; 27 -विश्रश्राहि- ; 52 -वशरोश्राहि-' वाहि lose in M1. 04 om. ; Ds -श्राहिताहि- (for -ाहिवाहि-). D2.3.7 -डश्र- (for -5g-). Nu.2 -मग्फो ; other Mss ( 01 missing ) -ava@.—ce) D7 -एलक्ष-, 02.4 1.2 01. -द.ख- (for gaa). Mi agagaga’. 2.6 -दारूण-.-4) Nua दुस्सहो ; Mi 02.46 Sx Per.2 gma; D3 graa. 1.2 03 om. ; 04.7 श ;
05 बु (गक्डु). विा.2 03 S2 ga. D7 corrupt for this passage. For the Magadhi form in the text ( sk for sk ), Hemacandra 4, 2#0 ; Pischel, Grammatik § 302. The Sanskeie Chaya of the verse would 0८; मुलमालमधुरमध्रः शोकवियोगाधिम्याभिकटमध्यः। बहुनरकदुःखदाहणपरिशामो दुष्करः AY अहम् ॥
५ चरडकौशिक्म् [ Act Il
(qeitsatiea समयमपखत्य )। हा मादिप उच्छादिदे fiz वावादिदे fie ona दुग्गेय््दणामधेभाण दुंस्टणभलीपए । चिषठदु दाव aaa, Ae” पि ण पमि a ताकिणु क्खु पत्थ कणिषदं। ( संप्रधाये )। भोदु दाव पन्ते भविभ 5 चिष्ठिदां। येण पविशन्तेदिं यणे यम्मन्तलकीचिदे पिच्च
Ls D3 om.; Nu.2 Mr पुरः (for पुरतः). D6 उपय. Ni मादिके मादिके ; 23 Per मादीए ; D7 मादिके. =Nr.2 Mr उच्छादिदम्ि ; D3 उक्लादिदम्हि ; 0८2 उच्छोदिदम्हि.
L2 N2D5om.; Ni Mr D3.7 वावादिद म्हि ( for वावादिदे म्दि). D2.3 Si Ptr,2 दुग्गेज- ; D4 दुगोम.म- ; 125 gritsa- ; D7 दुगीज्छ- ; S2 दुग्गोच- ; other Mss (D1 missing) दुगगेज्फ. D3 S2 -णामहेश्राए- Nr.2 D7 दुडढ- ; Mi qg-; 02.3.6 512 Per.2 दुद्र- ; D4 ge-; 75 gat; for the Magadhi form in the text, Pischel § 303. All Mss ( Dr missing ) fagg ; for the Magadhi form in the text, Pischel § 185, 303, 323.
L3 D3 इद; S2 ga (for इध). Nr.2 0451 Pes. aaa, 111 D3 प्पवेसो ; 27 aaa. D3 पेक्खिदु" ; the remaining Mss ( Di missing ) Afeag’; for the Magadhi form, Pischel as above. D4 om. पि. Nu.2 एहंणावाज्ञेमि ( for ण पलेमि एदं ). Mr transp. श॒ पालेमि and एदं. 52 बलिम ( ग पलेमि). 23 om. एदं. S2 की a ( for f¥ q ).
L 3-4 विग .>्दाणि(णणुक्खु एत्य).
L4 All Mss (701 missing; lost in Mt ) चु; 04 52 ख्खु(णि wg). 02.4 एतच्छं ; S2.3 इह (for एत्य). Ni.z2 Mi D2,4-6 Se waged ; 51 Per.2 कलदस्सं ; 23.7 कलिस्घं, Mi भोदु भोदु ; S2 होदु होदु ; 93 होढु ( for wg). दाव lostin Mi. D7 इदो asia; 52.3 इदो wed: Per इदो एभ्न्ते ( for दाव cara ).
Ls D7 चिद्ठिस्सं ; S2 faesed ; the remaining Mss ( Dr missing ) and Pe faffed. Ni Da-6 S2.3 af ; Mr येहिं ; other Mss Ay. For Migadhi q for ज, Pischel § 236. All Mss ( D1 missing ) and Pr पविसन्ते्िं, जरोहिं ( Mr om. ) and -संबिदे ( with palatal ज and dental a ). Nr.2 Da.6.7 51.2 Per.2 अम्मकाल- ; 03.5 जम्मन्तर- \ 04 भअम्मन्तरे. N1.2 ins. @ after -शं चिदे. 02.6.7 St Per.2 पडते ; D3 पलिश्न्ते; 04 afefad ; Ds पडिचितते , S2.3 afewea.
Act HI ] areal fray ५१
ताणं पुणो वि णिक्कमन्ताणं पञ्चा aye finest | ( नेपथ्ये )
शंभोः पादाब्जमुद्रा शिरसि भगवतस्तस्य तादक्प्रसादः वुबपीतिर्मवान्याः धतमतनु तथा नैष्ठिकं aera मे। सायस्थित्रन्थिसारं तक्पि वपुरिव जजैरत्वङ्निषयं ई यत्सत्यं दुर्विलङ्गया भवति परिणतिः कर्मणां प्राङृतानाम् ॥२॥
gen) ( सावष्म्भम् )। आः अस्ति य्येव पदं यदि पदप
दुस्टणभलीष शे लाए gerd हकिदचन्दे ण होदि।
1.1 52 ताणिं ताणिं; 53 ताणं ताणं (foray). Ni.2 Mr 3.7 11८2 transp. पुणो वि and रिक्घमन्ताणं. ५2 गिक्रमिताणि. All Mss ( 01 missing ) and Pe qegt (92 पत्वा 93 पच्छ) श्रणुलग्मिस्सं, After ग्रणुनग्गिश्शं, Nu.2 read: विगृष्य । श्रा afar saa जदि (चिः aft) एमाणए qanadie शलाधिषणिवास दुनाग्रालहलिचन्दस्स ण होदि and omits the passage as found below from arazea at: fet to गा होदि (1 7-8 )
St. 2—a) D3 -मुद्रान् ; D7 -माला; S2 -qK:.—b) N12 transp. गष and amit.—e) 04 St (८1 aay eazfraa.—d) Nu.2 Mi D3.7 Sa पाक्नानां ( {ण प्राकृतानां ).
1.7 Mr 133 105. wear before सविषम्मं. D7 om.; 0८2 श्रा ( for ग्रः). All Mss and Pe ( 01 musing ) afer उतेव or जेन्न (for afer य्येव) and ag ( for यदि). For श्रस्ति tn Magadhi, see Pischel 9 498. M1 इदं ( tor एदं ) and wat ( for एदाए )
L 7-8 N12 om. all words from a: afer to फा होदि here and ins. them as above (|. 1 ) ; D3 corrupt for this passage.
L8 All Mss (except 05 + Mi om. ; Di missing ) and Pr 4- ( for दुष्ट- ) and से ( 07 एष ) ( for शे }. Mi शश्रलोण. Mr ललाहिवेगा ; 12351 एप ,म्लाच्रा; 07 एलाहिए ( for लाए). Mi qararag, In 92, passages from णश्रलीए up to नागच्छति (0. 55. 16) lost on missing tolos. [22 हरिश्न्दो ; 04 afew, Ds.6 हरिन्दे ( Pischel § 301 ) M1 ins. श्रत्ताणं before होदि.
५३ चरडकौरिकरम् [ Act [५५ Ir
( सविस्मयम् )। के पले मन्तेदि । ( नेपध्याभिमुलमवरोकषय )। Fe कहं भभवदो विकशमलोभणददा आहाण्णपलिचालके भिङ्गीष्टो द् य्येव आअश्चदि। ता तुलिदं अवक्कमामि । ( इति निष्कान्तः )। णु ( ततः प्रविशति भृङ्गिरिटिः) q 6 gfe, ( शंभोरित्याि परित्वा विचिन्तय )। कथमन्यथा राजपे- ईैरिथन््रस्यापि दशाधिपयैयमद्य देवो दैव्यै निषेदितवान् । Tega कथयतश्चरितं भवस्य रोमाश्चभिन्नकणमस्मघनाङ्गयष्टेः | म्यावस्गितश्र.नयनत्यमाविरासी- 10 हेहच्छराङ्शकलश्चपलश्च मोलि; ॥३॥
Li Nu. ins. शूला before पविसयं, चि 1.2 श्रले के उण ( N2 om. उश ) एसे (for एशे). All Mss ( Dr 92 missing ) एते ( for एशे ) 04 om. all words from तदि ( in मंतेदि ) ८ इ ( in’gfa, 1 3 }. Nu.2 ins. सभयं ; Da ins. च after श्रवलोकय.
L2 03०. ; Ni.2 Miad; D7 क्यं (ण क्हं). Na om. aaa. The dental स in विशम and श्राशरण is in all Mss ( 0192 missing ) and Pr, 02.47 S1 Per.2 -पडिवालके ; D3 -afearag. Mi D7 ins. मश्रवं before fit, Mx भिलिङ्गी ; D3 भिंगिरीडी , 04 a'affefe: ; 93 fest.
L3 Ni Mr saa; D3 ज्जेन्व ; 02.4-7 ५1 Periz एव्व for व्येव) All Mss ( D1 92 missing ) and Pc srsvegfq. पि D7 repeat ; other Mss ( 01 92 missing ) and Pe gfas’. Mr श्वक्षवामि ; D3 निक्घमामि.
4 Nu.2 aefefe:; Mi भृङ्गो ; Da.5.6 बेङ्गिरीरिः.
1. 5 D2.3 om. भृङ्गि. M1 02.4-7 Si Per.2 पठति ( for पठित्वा ).
L6 Ni1.2 D3.7 ins. भाविनं before दशा-, Nu.2 दशाविधिविप्ययं ; 93 दशाविपर्यासं. D3.7 ins. एव before wa. M1 om. देवो.
St. 3a) Ni D3 wa ( for यस्य ).—c) 4 प्यावलितभर् नयन- ; 93 व्यावह्गिताभूनयन-,-4) Nx Mi -शकलप्रलक्च ¦ N2 corrupt, D3 -राकलः प्रबल,
cr ll] चराडकरोशिकम् ५३
अचासाविह प्रवेक्ष्यतीति समं देव्या देवो शशाङ्कमोलिरपि पर्युत्सुक एव । नद्यावदहमपि भगवतः पूजां feted सज्ञीमवामि। ( इति निष्कान्तः ) | TAT ॥
( ततः भ्रविहाति सचिन्तो राजा) गजा । दृ््वैतां दिजसत्तमाय वसुधां प्रीत्या प्रसन्न" मनः स्मृत्वा ताम्यति दक्षिणां विधिवशाद्र वीमनिर्यातिताम्। कतैव्यो न धनागमोऽस्य विषये स्थानं भवानीपते- creda वसुधरेति तदहं वाराणसीं परस्थितः ।।४॥
( चिन्तां नाटयित्वा दीधे निःश्वस्य )। कष भोः BET दाराः gated शारीरकमिति व्यागावरिष्टं त्रयं संधराक्तोऽवधिरथ सत्यमपरिव्याज्यं मुनिः कोपनः | ब्रह्मखोपहतं च जीवितमिदं न लक्त मप्युत्सहे किंकतैम्यविचारमूढमनसः ata शुन्या दिशाः ॥५॥
11)
Li Ni.2 Mi wa चासाविह; D3 a4 चानाविह. Nu.2 प्र द्यतीति ( 1५1 प्रवेदय्रतीति ). Ma देवोऽपि. Mi D7 aang ( for शशाह- ). N2 Mr on. aft. Daom, all words from qazge ८० प्रवेशकः (13). Ms a ( tor wa ).
1. 2 Nu.2 पादपूजां fraed ( for qai fader). Ni.2 Mi D3.7 ms. तदर्शनाय after fagea. Ni.2 Mi सजो भवानि.
L4 Dr resumes trom स्तचिन्तो राजा (sec v. |. on p. 35,17)
L 5 D3.7 01, UST.
St.4—a) 05 दस्वेमां ( for zetat).—b) Mr विधिवशां. Nu ait qaifaat; Na gat मुनियौवितां ; 1.5 गुवीमनियापितां , D3.7 aafafanifaat. ~-¢) Mr transp. न and seq.—d) Ds sigan,
Lg Mrom. aq. D3 ins. च after दीर्घ" and om. the first #2". 9३ om. the second कष्ट,
St 5—a) Mi Dr-7 S1.3 Pes.2 श्रयं ( for इदं ) and इदं ( for हति ) 23 zerafre’—b) 01 संपू्णो- (for संप्राप्तो- ). 53 सप्राप्ताषधिरथ. D6 afirer (for [ भ्र ] वधिरथ ). Da दानं ( for aa’). Na Mi 01.3 क्रोधनः for कोपनः ).—<) D4.6 $3 meretafge.—d) S3 दशः ( for दिशः ).
५४ चरडकौशिकम् [ ५८]
( अग्रतोऽवलोक्य सहर्षम् )। कथमियं वाराणसी । भगवति वाराणमि नमस्ते। ( विचिन्तय साश्चर्यम् )। यद्वाञ्छन्ति क्षपिततमसो ब्रह्मचर्यस्तपोभिः भवज्यामिः शरुतशमदमानााकैतर ABT: | 5 तदेहान्ते कथयति हरस्तारकं क्षानमस्ि- न््राणत्यागाद्भवति न पुनजैन्मने येन जन्तुः ॥६॥
विमुच्यन्ते जम्तोरिह निविडसंसारनिगडाः रिरस्तद्वैरि्च न्यपतदिद हस्तात्पश्ुपतेः।
10 विमुक्तस्तस्पापादमवद्विमुक्तः स भगवा- श मुक्त तेनैतत्सह दयितया wana | ७॥
तत्केनोपायेन सुनेरानण्यसुपगच्छामि । ( सचिन्तम् ) ।
किं जित्वा धनमाहरामि धनदं ल्क्तधियः परि जयै- यौच्यावैन्यमपि दिजातिखुलमं न afer: कुवते |
15 वाणिज्यं धनमूलमस्ति न धनं निष्किश्चनस्याद् मे ay कालमपेक्षते विधिवदान्नेवास्ति कालक्षयः ॥८ ।
अपिच
Li 2 om, all words from कथमियं to स्वयै" (] 2). [257 1. at after हय, पि. D3 om. वाराणसि.
1.2 Nu.2 श्राधर्यमाश्वयंः; 03 eq’ (Lor ara).
St. 6—a) D7 wfua- ( for wfta- ).—b) Mi [23.7 श्रुतशमदमोषासने- ब्रह्मनिष्ठाः. 05 -नाशनेः ( for -नाशकैः )—c) Dr वितरति (for कथयति ).—d) D6 भगवति (hypermetric) ( for भवति )
St. 7a) 127 -निगकाः (for -निगडाः).-¢) D3 afvzd ; 05 वैरिचं---0) D7 ( corrupe ) तत्पापादपि च य faqe@:.—d) [22 om. न ( submetric ) Mi qm:. 121.3 qaaad.
Liz Ds ins. सनिर्वेदं निश्वस्य before तत्. Mi श्नवगच्छामि ; D6 gala ( for उपगच्छामि). N2 D1 om. ; Ni D3 विचिन्य ( for सचिन्तं ).
St, 8- 4) Dy amt: भ्रिया.--0) पि 1.2 Mi D3 शिद्धिताः ( for x4 ). —c) D6 धनमौल्यमसि,--4) D7 Pea नेषास्ि कालामः ; 53 नैवास्ति saga: ; Mz Pex नैवासि कालद्तमः. -
Act Hl] चरडकौरिकम् ४4
तत्किं करोमि मन्दभाग्यः। ( संप्रधायं सहम् )। हन्त हन्त age मिदानीम् आत्मानमेव विक्रीय सत्यं रक्षामि शाश्वतम् | तसिक्नरक्षिते नूनं लोकद्वयमरक्षितम् ॥९। ( सावष्म्भम् )। तद्यावदेव वत्सं रोदहिताश्वमनुपालयन्ती daha 5 विश्रान्ता दैवी नागच्छति तावदेवाहं सत्वरमुपगम्थात्मनः समीहितं संपादयामि । ( उध्वैमवलोकय )। कथं मध्यमहः समारूढो भाखान् । तथाहि तपनि तपनस्तीकष्णं चण्डः स्फुरक्चिव कौशिको हति परितस्तापं पन्था यथा मम मानसम् | wo इयमपि पुनदछाया दीनां दशां समुपाधिता हतविधिवशादेवीवाधो निषीदति भूरहाम्॥१०॥ तदिदानीं परत्यासन्नमवधेः पथैवसानम्। अथवा हरिश्चन्द्रस्यैव। हा
Li ५7 ०. agg. 1.2 भवतु भवतु (9 हन्त हन्त). $1.3 Pea do not repeat हन्त. N2 om. तदहं,
12 Na Dg om. इदानी.
St. g—c) D3 नृणां ( for नूनं )—d) D7 afcfaa ( for श्ररक्तितं ).
1.5 Ni.2 om. सावष्टम्भ D3 om. एव. Nz वत्सरोहिताशवं.
L 5-6 01 देवो दीषौध्वमनुश्रान्ता ( for दीाष्वविधान्ता देवी ).
L6 कवि. D3 -परिघ्रान्ता; Mr -परिप्रमा ( for -विधरान्ता}. 52 resumes from तावदेवाहं (see ४. 1, to line, 8 p. 51 ) Mi [3 om, ag. D3 उपक्रम्य; 04 उपागम्य (for उपगम्य), Mr om, सत्वरमुपगम्य, Di श्रात्मसमीदितं ( {० भ्रात्मनः समीहितं ).
1. 7 02 मध्या"; Ds मध्यादः ; 52 aa नभः (for मध्यमः ). 124 ins, भगवान् before भाखान्, Dz 93 भगवान् ( for भाखान् )
1.8 04.5 om. तथा हि
St, 1०-4) Nz ate: ; Na तीव्रः ( for तीचणं ). Pea transp, तीया and चरढः.--८) 02.4-6 51-3 Ptr.2 aguferat ( for agafaa ).—4) No न सीदति ( for निषीदति ).
1. 13 Ds तदिदं (for तत्}. 02.4-7 St.2 Pera afazaran’ ( for तदिदानी" seqran’ ). Nu.2 Di इरिषन्दरदतकस्येव,
५६ चरडकोशिकम् [ Act Ii}
हतोऽसि मन्वभाग्यः। ( श्व्यात्मानं पातयित्वा सहसोत्थाय स्निर्ेदम् ) दुरात्मन् दरिशन्द्हतक प्रतिधरुतां संप्रति दक्षिणां प्रा- गपूरथित्वा द्विजसत्तमाय | 5 ब्रह्मखदग्धश्चलितश्च सत्या- द्रमिष्यसि स्वं शाट कान्पदेशान् | ११॥ तद्ावद्वणिग्बीथौमवतीय परूतमनुतिष्ठामि । आगतप्रायेण तेन मुनिना भवितन्यम्। ( इति सत्वरं परिकरम्यैकान्ते सितः ) | ( ततः प्रविशति कोपं नाटथन्कौरशिकः ) 10 कौरिकः। प्रणाशाद्विचयानां करतलगतानामुपचितो feat दुबद्ेर्विनयमखणैस्तस्य afta: | शिखी बेगादन्तज्लितघनश्ुष्केन्धनगतो बिधौरासिक्तं विपिनमिव मन्युदेहति माम् ॥१२॥ ( सामर्षम् )। दुरात्मन् हरिशवन््रहतक
Lr D6 हतोऽस्मीति मन्दभाग्योऽदं. Ds मन्दभाग्यं ( for मन्दभाग्यः ). D6 om. इति, D3 ins. च after उत्थाय.
St. 11a) 25 drops सं्रति.--°) -दग्धं चलितं च.--4) S3 कमिष्यतसि ( for गमिष्यसि ). Nx 01.7 चु लोकान् ; D3 हि लोकान् ; 05 लोकान् (submetric) ( 01 प्रदेशान् ). Mr त्वं शठान् हि लोकान् (unmetrical).
L7 07 तथा भवतु (for तद्याकत् ). 27 श्रवलोकषय ; D3 गत्वा ( for श्रवतीरयं ). Di प्राकृतमनुसरामि ; 52 sed कार्यमनुतिष्ठामि. N2om. तेन, M1 transp. तेन and सुनिना.
1.४ Ni1.2 शोप्र' ( for सत्वर ).
Lg Nr.2 om. कोपं नाटयन्, 0८2 om. ; Mr D1.3.4 क्रोधं ( for कोपं ),
10 D3 om. ; Mx विश्वामितः ( for कौशिकः ). Nz.2 D3 ins, सक्रोधं after कौशिकः.
St.12 Some words and letters of this verse are lost in S2.—«) 24 विश्वानां ( for बियानां ).-¢) Mr fired: ( for faa: ).—c) D4 शिला. Mi D3 भअन्तज्वेतित इष शुष्के- ; D4 ०ज्वलन इव शुषडे-.-4) Mr Dz.3.6 हबिधौरासिह्ं ; 53 इरिषारासिक्नो.
Liq N1.a om. सामर्ष, Ds om. all words from सामः to after’ (1 2 p57 ).
Act lil] चरडकौशिकम् ty
पदयामि यावश्चलितं न (२३४) ( यादि पठति)। (eer सविसयम् )। अये कथमसौ प्राप्त पव दुरात्मा अथवा मरहातमैव | भगरतुपसरपामि । ( तथा Beat सक्रोधम् )। आः कथमद्यापि न संभूतानि a दक्चिणासुवर्णीनि । राज्ञा। ( ससंभ्रमम् )। कथं भगवान्कौरिकः। भगवन् भभिवादये । करिकः। धिगनाय किमचयाप्यटीकवा्याधुये' रसान्वश्चयितुमिच्छसि | गाजा। (कर्णो पिधाय )। भगवन् मैय मर्षय । कौरिक्षः। (क्रोधः नाटयित्वा) दुरात्मन् अलीकदानसंभावना-
प्रख्यापितमिथ्यापौस्यप्रपश्च तिष्ठ तिषठ
Li 02 afd न सलयादि पठति} 04 चलितं tafe पूर्ोक्मेव पति. Ni.2 Mt 01.5.47 read the entire verse and therefore omit the stage direction (v, 1. in Na,2 Mr Dr -तिमतेजाः ). 01 ins. राजानं; D7 ins. राजा (|) before ष्टा. ; All words from इष्टा ८ quran | ४ ) lost in 92.
1.2 Nui.zom. मविस्मयं श्रये, Mr श्रये प्राप्त एवासौ हरिशगरहनकः ; [01 aa am एवाय' दुरात्मा ; 04 श्रये कथमसौ दुरात्मा प्राप्त एव ; 16.7 श्रत ( D7 ai कथं ) प्राप्न एवासौ दुरात्मा. 1.9 कथं प्राप्त एवायं दुरात्मा श्रथव। (Nz on. this word ) न सम्यग् व्रवोमि महत्मैव हरिषन्धो निमर्गदानात्. D2 om. all words from gato ¥(1 4)
3 Ni2D3 ayaa; 01 am करोति ( for sar gear). D7 ms. fora: कौ । after तथा gat, 01 ins. कौशिकः before aaa’. D6 कथमसमूनानि wafa ( for कृथमथापि न समृतानि ).
L 3-4 D7 transp. संमतानि and मे.
L4 1 ग. मे, 01 agfagtgra’ ( for 2 afaurgratia ).
Ls Mx सविस्मयं श्रये कथमयं. Ni.2 105. dara: alter कथ.
L6 Mz gata’ ( for धिह). Naom.; D3 अवापि ( for wafer ) Nia 0 शअरलीकमाधुयै ; D3.7 श्रलीकदानमाधुयै ;, D3 नाहंसि ( for gaia )
L 7 Da does not repeat ada.
L8 Mz ins. शराः before दुरात्मन्. D3 -दानमाुवंसंमावना-,
Lg D3 -eure-; 53 -earfra- ( for -अ्यापित- ). Mz -महा- ( for -मिध्वा- ). Ds om, पौष" Dr does not repeat ; M1 D; fag & fan.
8
Xe चणड कौशिकम् [ Acc tt
पूणंऽवधावपि ददासि न afernt मे वाग्मिस्तु श्ुष्कमधुराभिरूपस्थितोऽसि | दत्ताप्रदानकुपितेन मया विमुक्तः शापानलस्त्वयि पतत्वयमद्य घोरः ॥६३॥ ९ ( इति शापजं गृह्णाति ) । राजा। ( ससंश्रमं पादयोर्निपत्य )। भगवन् cata मर्षय मर्षय , अस्तं रवावसंपराप्ते यदि नाप्नोषि दक्षिणाम् | शापाद वा वधां वा खाधीनो ऽयं जनस्तव ।१४॥ तदपसीद । वणिग्बीथीमवतरावः।
10 कौशिकः। ( शापजलमुपसंहत्य )। भवतु ada गत्वा प्रयच्छ । तद्याववृहमपि दितीयं aad निषै्त्यागच्छामि। (शति निष्क्रान्तः ) | ‘
राजा। ( सनिर्वेदमात्मगतम् ) |
St. 13—a) 6 पूणौवधावपि.--0) Ds च ( for तु ).—c) 24 दत्तावधान-. Na मया ga. Mi sta:.—d) 4.7 53 पतति ( for पततु ).
Ls Mz om. इति, Dr ins. तत् 2६८ इति, Nu शापजलि".
L6 Na पादौ गृहीत्वा (for पादयोनिपय). Di om.; Ni Mr D3 St Per repeat प्रसीद. Nz om. मर्षय मर्षय. Dr gives मैय chrice. S2 does not repeat aq.
St. 14—d) N12 D1.7 तका ( for तव).
Lg Szom. तत. Na श्रवतरामः; Di भअनुसरावः.
Lio Ni शापजलिं. Di sarge; D3 dea; Ds ( before corr. ) seqrq ( for उपर्य ). Mi om. शापजलमुपसं हय.
Lit Ds यत् (ण तत् ). Nr.2 Mr om. तथावत्, Nu.2 D3 द्वितीयं wma; Mi 07 द्ितीयस्वनं ( for द्वितीयं aad). Safrze. Nu.2 श्रवतरामि ( for faded भागच्छामि ).
L13 Mu ata ( for सनिर्वेदं ). Nur.2 om. श्रात्मगतं,
Act Ul ] चरडकोशिकम् “ue
लोकदयप्रतिभयेकनिदानमेत- दिक्प्राणिनासणमहो परिणामधोरम्। पकः स एव हि पुमान्परमसिलोके क्रुद्धस्य येन धनिकस्य सुखं न दष्म् ॥१५॥। ( परिक्रम्य दष्टा सहर्षम् )। कथमियं वणिग्वीथी ¦ ( शहिरसि तृणं 5
दृस्वा सावष्टम्भम् )। मो भोः साधवः
कैनापि ag कार्येण गत्यन्तरमपर्यता |
लक्षेणायं सुवणीनामात्मा विक्रीयते मया ॥१६॥ aE ad मामार्य गृह्णन्तु । (ara) 1 किं at किमर्थमिदं त्वया arent कम प्रारब्धमिति । किमनेनातिनि्ैन्धेन, विचित्रः खल्वथं जीव- 10
St. 15a) Ds लोकदरयेक्प्रतिभरेक- (hypermecric ) ; D6 लोकद्रय' प्रति wiz-.—b) 03 परि्पाक- (for परिणाम- ).-०) पि 1.2 4 परमस्ति लोके ; D3 चरमस्ि लोके ; Dz 93 परमोऽसि लोके.
L 5 Mz transp. ष्टा and सहै. N2om., Nui सोत्साहं ( for हषं }. Mi om. क्थमिय' वशिग्बौधी. पिव.2 Mr om. पाट stage direction शिरमि नृगं etc,
1.6 D4 gear ( for दत्वा }. D3 ins. हन्त हन्त before मो. Di $3 do not repeat भोः. D5 om, साधवः.
St. 16—a) Mi area ( for #17 ).
Lo Mr D3 श्रनुगरहन्तु ( for first गन्तु). Na S2.3 om. at. Mr 13.4 $2.3 om. second ggzg. [24 reads the passage from का wig: up to जःनमिति (p 60 1 2) after किं aa here, and repeats it in its proper place. Mi 05.6 fal’ त्वया ; 27 किमहो; 03 fet ; Dy किमिति; So किमिदं ( for किमर्थमिद्' त्वया ).
1. 9-10 2.4 S2 (८2 eeansp. त्वया and दर्ग करम.
Lio 05 places इदं after कर्म. Mr समारब्धं ( for प्रारम्धमिति ) N2 Mz om. इति. Du .3 ins, तत् before किमनेन. N2 om. fanaaifafad sta.
Mi Da fadzta ( for श्रविनिर्बन्पेन ).
६० चरढश्नौशिकम् [ Act lj
are: ( पुनरन्थतो गत्वा केनापील्यादि परित्वा आकषे )। fe aaj का af: किं च ते कम कीदशं च शानमिति। ( सित्वा )। यद्यद्ादिति खामी तत्करोभ्यविचारितम्।
5 शासनास्वलनं WaT लयस्य परमो गुणः ।॥१७॥ (आक्ण्यै )। कि aa) भूरितरं मूल्यमुक्तवानसि तत्पुनस्ताव्- मिधीयतामिति। ( खखेदम् )। भो भोः साधवः क्षतिया वयम्, न पुनः पुनरभिधातु जानीमः। तदम्यताम्। ( पुनरन्यतो गत्वा केनापील्यादि पठति ) ।
Li Nt.2 om. गत्वा. Mz 92 पठति; D1.3 पठति पुनः ( for पठित्वा ).
{2 2.4 91.2 Per.2 ins. ते before शङ्कि. Mu ins. समारब्धं बल कर्म. D3 om. second 4 Mz 1.7 92 Pra ins. ते after कौदृशं च, Nr.2 Mr 01.7 0८2 faa ( for ज्ञानं )
L3 Ni D3 णण. $ Mr wear, D7 राजा ( for सिला).
St. 17—b) 01 afzarfta:.—c) D3 शासनालंघनं , 92 शाभनत्स्वलनं.-4) N1.2 D3 बलेषु ; Mi gaa, $3 xarat—ab)=IIl 34 ०५.
L6 Ni.2 ins, तश्च before mae. D1.3 व्रवीषि ( for aa). 2.4 भूरितरमूल्यं ; D3 बहुतर" aed ; Ds भूरितर' मौल्यं.
L7 M: {3 om. इति, D7 ins. राजा (८०८ सखेदं. N1.2 om.; D1.7 भोः; D3 भोः साधो (for भोमोः साधवः). N2om.; Ni afaats¢ ( for कतिया ad }.
L7-8 D3 पुनरभिधानेन जानामि तद् गम्यते ( for तिया वयं न पुनः etc. up to तदटूम्यतां )
1. 8 Di पुनरभिधाठुः न जानीमः ( for न पुनः पुनरभिधातु" जानोमः ). $2.3 पुनः ( for पुनः पुनः ). Na.2 Mi जानामि ( for जानीमः). 53 विरम्यत ( for गम्यर्ता ). Da om. पुनः, Nu.2 om. गत्वा.
Lg The passage from केनापीलयादि up to राजा सवैल्यं ( 6. 61, 15) as partly lost in Sa.
Ace UL चणडकोरिक्म् ६१.
( नेपथ्ये}
gaza मा @ are अत्तंमतो दोहि। तधा सुदसंविभाणिं म मन्द- मणिं कदुभ संपदं का दे रूंविमाभपरम्मुदता। ता पसीद मं जेष इमस्सिं कञ्जे आरोहि । अवच्छिमो दे दाणि अअं पणो |
mat) ( सवैलक्ष्यम् )। कथमागतेव देवौ । तन्न संपन्नमभिलपितम्। 5
( ततः भविति बालकेनाुगम्यमाना ged नाटयन्ती हन्या ) दौव्था । ( सक्रस्णं तदेव परित्वा मन्वं परिक्रम्य )। किणध मं अज्ञा इदो अद्धमुल्छेण THAT |
L2 Nu.2ins. हा before saa. Na Mi D1.3.4.6 Si Per ag ( tor g both times ), D3 does not repeat arg. 03 वुम्हरो ; M1 D7 gave ( ०८ ग्रत्तमरो }. Pea तथा (णः तधा). Nu.2 Di gefaag ; Mi qdad ; D7 gafaumida(?) ; 0८2 सुहसंविभत्तं (for सहन विभां). 53 om. मं.
La-3 124 om. मं मन्दभाईणिं. Ni.2 Di मन्दभादणो
1. 3 Mr संभाश्रण-+; Di दुस्संविहाश्र-; D7 संविहाणश्र- ; Pea संविहाभ्- (tor afta). 06 -परमुहता. Dg प्पसीद. N2 ०८. ; Ni Mr ज्जेव; [0 खु; 02-7 S1.3 Pes.2 जेष्व ( for जेव).
L 3-4 Mu ००05. मं ज्जेव and gufed कज्ज.
1.4 निव 105. sagt; Na ins. saat afcer कञ्जे. [26 श्रवत्थिमो ; 9३ ग्रवासिदो. Ni श्रवच्िमो दाणि मे शश्र syst ; Di उवत्थिदो दाणिमे रद्ध; Da मेश्रधरं पण॒श्रो ( omitting अ्रवच्छिमो दे); 127 श्रपच्छिमो दागिं wana. Dg transp. दे and दाणिं. Mr om. दे, and reads दाशि for दाणिं, Pea ० Nz D6 571 Per ् ( for ww’). D6.7 saga ( for पणश्रो ).
L5 D3 105. wear before adage. D1 aaged ( for ataei ). 131 am. एव. 53 भा. न, 04 श्रमिलष्न्ति + 05 अभिलषति ( for भअ्रभिलपितं ).
16 Nu.2 Mi 017 om. ged नाटयन्ती, Dy 5 93 Pea aged ; Sa ined. 4 नाटयती.
17 Da.3 om. शैव्या Mr 03 om.; 1.5 Dr awa ( for क्ष्ण). Nuva मन्दं ( Nu मन्द् मन्द ) पक्किमति. Naz om. म. D7 fen apa sar Faye (for fea मं sat). Mu ins. a second किणध after wat.
L8 04 श्रष्यमूल्लेण. Ni.2 समश्रदामिश्र; D4.5 ममयदाना
बालकः अजा मं पि किणध। राजा + (-दधैमुष्णं च निंःश्वस्यात्मगतम् ), we! मोः कम् धारासिक्ततृणाग्रबिन्दुतरन्ाः क्षामं निरस्ताः भिय- स्त्यक्तास्ते सुहृदोऽश्रुदानवदना नाश्वासितास्ताः परजाः | 5 द्(राणां तनयस्य विक्रयमदो दष्टा पि यञ्चेतसा gin स्फुटितं न Asa हृदयं aw ण मन्ये छतम् ॥१५॥ feat) (arent mor दखा )। अज्ञा किं मणाध। कोदिसो ३ समभो त्ति। परपुरिसपञज्जुवासणं परच्छ्ुभोभणं परिदहरिभ सब्वकम्मकारिणी fa हैदिसो मे सम ( पुनः wot ze) 19 किं भणाध। को तुमं इमिणा aaa किणिस्सदित्ति। ता
Li D7 बालः ( for वालकः). 53 ser (for श्रना). Mr Da.3.6 Sa.3 om. पि. Nu.2 repeat fog.
La Ni.2 Mr 017 53०. उष्णं च; S2 उष्णं वि. 04 on, ; N1.2 S2.3 खगतं ( for श्रात्मगतं ). Nr.2 D3 om. कष्टं मोः कष
St. 18—a) D3 धारासक्क-.--0) D6 क्रिकममहो. 127 क्च्चेतमा.--0) Ms स्फरितं. Ni तद्रिदं ( for हृदयं ).
L 7 Mu (before corr.) देवी. Nu.2 om. श्राकाशे. Dr कृत्वा ( for ava). Nu.2 Dr om. श्रना. [31 -5 9३ भणध ; 52 भणथ ; Peo भणाद, 92 om. (hapl, ) all words from कीदिसो up co भणाध (10) ८ om. दे.
L8 Dr ins. सुगाधं after त्ति. Mu श्रतति ( for fer). N2 Mr परपुरुस- 104 age. ववि" -पज्जुपासनं ; N2-egarag; Mi -पञ्जूवासं ; D6 ~पजवामनं. Mr gefeaz- ; Dr aeafizz- ; Da-4 91 0८1 पर्चिह- ; D4 पच्चिष्ट- ; Pea परोिट्ढ-. Ne ins. श्र before ata. D3 श्रपरिहरिश्र.
Lg 1.2 सव्वकम्माणुसारिणे ; Mr सबव्वकारिणि; 01 घव्वकम्मश्रारिरी. N1.2 Mr ins. म्हि before त्ति and त्ति after समभ्मो. S3 एदिसो ( for हदिसो ) 01 कृत्वा ( for rear ).
Lio Dr om. f# मणाष. Ds.6 ७८ भरष ; 04 भण. Ds नु मं ( for हमं ). 4.5 Pea समयेन. Ds किणस्सदि. D1 om. ता,
गच्छथ TATA किं तुम्हाणं इमिणा पओभणं। दिवसे दीण- जणाणुकम्पी वा अण्णो वा ay वि साधू मं क्रिणिस्सदि |
( ततः भरविदात्युपाध्यायो बटुश्च ) उपाध्यायः । वत्स कौण्डिन्य सखल्यतेवा पणे दासी विक्रीयते ! agi क्रि अदिं sasatat विष्णवोअदि 1 é
aq) तेन fe तत्रैव गच्छावः | ag जं उवज्माभो amare | sari ( परिक्रम्य र्दा साश्चयैम् }। अहो रामणीयकं वणिग्बीथ्याः!
Li N2 41 D7 गच्च; S2.3 गच्छ ( for THT ). Di om, गच्छध पमादध. D7 ins. श्या before पसीदध. Nu पसौदद ; Na पसीद ; $2.3 पसीदह. ; Ma तुम्मानं. 01 पश्रोश्रएण. D3 ins. fa after पश्रोश्रणं. Mr ins. श्ररणं before दिश्रवरो. 53 यदि श्रवरो (for दिश्रवरो). Nr.2 D1.3.7 ins. वा after fanaa.
Li-z Dr दीशजणाणुकम्पि ,; D3 °्जनानुकंवी.
L2 Dr 93 0m. ‘icstc qt. Mur om. at gam. D1 om. ; N1i.2 53 ang, D3 साहु ( for ara). Pea कीिष्सदि.
1.4 Nu.2 सदयमेव wa दासी. ४
[5 N«.2 wfaqg. 111 उश्रज्माश्रस्स; D2 91 Pea उश्रज्माश्रो, D4 Pes sama ; D5.6 उश्रनाश्रो 5 93 aasqiat. Nu.a Mr फिवेदभ्रदि ; Da fanfanfe ; D6 विणवीश्रदि.
L6 Mz ins. एहि afeer गच्छावः
L7 03 तं (शजं). Mr D2 Si Per उश्रज्माश्रो ; D4 उवक्कायो ; Ds श्र्रावो ; D6 उवजाश्रो ; Sa उपज्फाभ्री; 53 Pea उव्फाश्नो, After mya, D2.5.6 Sx Per.2 ins. एदु एदु उश्रज्फाश्रो (05 उवफमाश्रो; D6 उवस्माभ्रो 5 Pea उवमाश्नो ) एदु एदु ( D6 does १०८ repeat i ८४ om. ); D7 ins. एदु एडु उवर्काश्नो. The passage is lost in 92.
1.8 Na परिकम्य mrrdared’. Ni रामशोया; Na रमणीया; D4 wanfias ; 05 carat. After रामणीयकं, 53 ins. aut fe; D7 ins. but strikes off the passage beginning with fat निर्ग (Act iit, before 21 ) and ending with श्रारन्धमिति ( Act ini ad a1). Nu वनिगवीयी ; Da 4.6 51.3 Pex बीभ्याः ( for afgzatear: ).
६४ चरडकी रिकम् { Act i
dar मेख्वसुधरेव जलधेवेलेव रल्नैरियं नागैर्वाटपयोद्विभ्रमधरर्विन््यस्थलीवोन्मदैः | इत्थं भरार्थितमथिनां विदधती दिव्यांशुक्रोत्पह्टवा सेयं कल्पलतेव कस्य ofits न धत्ते मनः ॥१९॥ 6 agi, samme जहिं पसो गर्भो जणसंमहो दीसदि तहिं तीष होदव्वं ति तक्केमि । ( उपखलत्य )। अज्ञा अन्तरं अन्तरं । उपा। अहो अतिबलवाञ्जनसंमदैः | दौभ्या । ( सरवैङ्व्यम् )। किणध मं अज्ञा किणध । (इत्यादि पुनः पठति! उपा। (दृष्टा साश्चर्यम् )। कथमियं सा । भवति कीदशस्ते समयः।
St. r9g—b) Dr व्यस्त- ( for बाल- ). Mt बिन्ध्यस्थनीरोन्मदेः.-4) Mi D2.6 91 Pex विधत्ते ( for न va), Parts of the verse are lost in S2.
1.5 02.631 Per sama; 4 aa; Ds sara ; 93 श्रज; Pra sama. 04 0. एसो. 3 णा. ; 04 52 gest ( for गर्गरो). After agai, 52 is fragmentary up to कथमियं सा (19). Mr संमहो (गि wydan), D2.4-6 91 Per दोसहई, Mr तए; Dy तिएु; D5 ma; D7 Pra aig ( for ate)
1. 5-6 ५.2 जणस्स dat दीसदि ता तक्केमि तरिं ताए होदव्वं.
L6 Mz होदव्वति; D3 होदव्वमिति ( for deed ति). Nu.2 repeat श्रजा. S3 does not repeat श्रन्तरं.
L7 Drom. अहो. Ni.2 D3.q we बलवान् Nz D6 Sr Pri dag: ( for जनसंमदंः ).
L8 Ni.2 om. सवेङ्कव्यं. Dr किरा fear ser मं इति पुनः पठतिः D3 कीणष मं ser ईयादि पठति. 93 ०. ; Ds ins. मं after second feqy. पि.2 इति ( for garfe }. क्वि .2 Mr 53 Pea om. पुनः. Dg transp. पुनः and पठति. After Saibya’s speech, Dg-7 51 Pex.2 ins. बालः। मं पि ( Pea मं परीति); S3 ins. बा। मं किणाध.
Lg Nt.2 D1.3 om. eset साधव Mr 04०. ered’. 071 ins. उपद्त्य as stage direction before भवति. D3 भवति कीदशः समय इति,
Act Ill J अरडकीरिकम् ६५
dear) ( परपुरिलपञ्शवासणं इयादि पठति ) । उपा। (ae)! Be wert ते समथः। aaa शेमदेना- wre विथम्यताम्। पल्ली ममाभ्निषरिवयौपरशाधीनतथा भ सम्यण्णुद षेश्षाक्तमा । arent सुवणेम् | feat) ( सहर्षम् )। अणुगदिवम्डि। जं गो भणषैदि | 5 an ( चिरमवलोक्य सविसख्मयमात्मगतम् )। रिरो यदवगुण्ठितं सदजरूढलजाननं गतं च परिमन्थर चैरणक्षोरिलक्षये दशौ | वचः परिमितं च यन्मधुरमन्दमन्दाक्षरं निजं तदिथमङ्गना वदति नुनमुच्चैः कुरुम् ।॥२०॥ 10
Li Na Mr -gea- ( for -gfta-). Dr 92.3 परपुरुतेदयादि पठति; D3 परपुरिसेयादि ; Dats Pea परपुरिसेयादि पठंति \ D6 51 Per qegfcarrg- aay परच्िष्टमोभ्रणं परिहरिश्र सव्वक्रम्मकारिणी fa. After Saibyi’s speech, D6 91 Per ins. ara) मपि; Ma ins. देदिसोमे aad fa.
L2 52.3 ins. facawetea before agt’. Mr Ds om. ; Nu.a परितोषं ( for ag’) and ins. भवति before gg. Dz ते कलु समयः ( for खल्वयं ते समयः ). Ni.z D3 श्रनेनेव ( for ayaa ).
L3 Mr Dg 52.3 विश्राम्यतां. Ni Mr अभिपरिवयाभीननया ; Na परभिच्यीधीनतया ; Dz °चर्यौपराधीनतया ; S2 रशरणपरिवगौ ०. 121.3 Pea om, न.
L 4 52.3 त्या ( for सम्यग् ). [1.2 गृहवातकषमा ; Mi D3 गृहरका-
कमा ; Ds getegar; 142.2 तदुपपशचतौ नो धनं ( for तव् मतां gaa” ).
1.5 Nua सपरितोषं ( for ad’). Naom.; Ni Me D1.3.5.6 Per अणुगिषिदम्डि ; D4 अणुगीषहटीदम्ि ; Dz syietafeg ; Sa भ्रगुगहोदद्नि. D2.6 Sz Pex अरव ( for samt) and ins. त्ति alter आविष"
L6 Ni1.2 D1 जालोकष्य ( for अवलोक्य ). Sa.3 wert ( for भ्राल्मगतं ).
St. ao—a) 53 wagfasd. Ni.2 Mr Ds.5.7 -wanad.—b) M: Ds.6 -ननेरिशके.--0) 04 agerreret-d) Mi Dg adam.
9
६४ चरढकौशिकम् { Ace tt
( सचिन्तम् )। न युक्तमस्याृतिषिशेषस्येवमवस्थान्तरम् । तत्कथमिमा दशामदुपरातता । भवत्वेवं तावत्। ( भकाशम् )। अथि जीवति ते मता । deat) ( शिरसि cat दवाति )। राजा । ( निश्वस्यात्मगतम् )। कथं जीवति । जीवतः किल say. 5 स्येदमवस्थान्तरम् | उपा। अपि संनिहितः area gear । ( are राज्ञानमवलोकयति ) | उपा। ( ष्टा सविसयम् }। अये कथमयमस्या मर्ता । ( चिरं निव सखेदम् )। 10 qrened म्द्विरद्करपीनायतमुजञं बयुष्यढोरस्कं ननु भुवनरक्षाक्षममिदम् | हणं मौलौ चूडामणिसमुचिते कष त्विदमहो
नर वामारम्भः कमिव न विधाता प्रहरति ॥२१।
Li Nx विचिन्य सालं; Nz विचिन्य ( for सचिन्तं ) Nia am (for). Sa geven: siefa-. Na भराङकृति विशेषे, 92.3 fem( for इदं ). Mi transp. इदं and saeazat’. Mz ins. इयं after कथं,
Li-2 Nia गा, तत्कथमिमां दशामनुप्राप्ताः 53 eerie समनुप्राप्ता
La Mr Pra om. प्रकाशं. Ni.2 sft ( for श्यि ) Na जीवितो wat ( for जवति ते wat).
L3 93 शिरसा. Ds नाटयति ( for ददाति ).
L4 Some Mss frre. D3 ead ( for भ्रात्मगतं ). Mx om. fea.
L6 Dg om. afr. 04 संनिहतः.
L7 0.3 भवलोकते ; D6 sryetey.
18 N1.a ins, राजानं before ष्टा, Mr Pta कथमस्या,
Lo 04 om. aaq.
St. ats) Ds मतपोनाययुजं ( submetric ),—c) S3 fe चिरमहो,-4) Dr.a.6 S3 Per बामारम्भं, Nu.a wafg; D1 93 किमिव, This pada appears worm-eaten on upper margin in D7,
Act ] चराडकौरिकम् ६५
( उपदत्य साखम् )) मो महात्मन् खदुःखसंबिभागिन at करुम सि । तत्कथ्यतां किमर्थमेवं त्वयारण्धमिति |
राज्ञा । ( विचिन्त्य सवैङ्कभ्यमात्मगतम् )। न युक्तमस्य साधोषैचनमन्यथा कर्तम् । ( प्रकाशाम् ) । मोः साधो न विस्तरस्येदानी देशकालौ | ततः समासतः कथथामि धृयताम्। बरह्मसपीडितेनेदं मया ८ परारण्धम्। अतः परं न मामतिनिबन्धयितुमहेसि |
उपा । तेन हि प्रतिगृह्यतां नो धनम् ।
Ly Nu.2 उपल राजानं हस्ते गृहीत्वा ( for उपघल्य aie’). Mr om. ara’. The passage from aya@t up to म ( in महात्मन् ) lost in D7. D3 महाभाग (for महात्मन् ). Mi दुःखमागिनं ; D3 निजजन्भड्खदुःखभागिनं ; D5 खदुःखसंभागिनं ; D6 खदुःलसंभाविविभाभिनं ; St एप खदुःखसंभागविभागिनं. Dx at ag ( for at )
L2 Ds om. eemaqat. Mr किमित्येवं ; Di किमेवं; 4 feat ( for किमर्थमेवं ). पग .2 त्वया दारणं कमं प्रारन्धं ; Mi Dr 93 त्वया रम्भ मिति; D3 व्यवसितमिदमिति (for त्वयारन्धमिति ). A pare of ५५४४ line 15 lost in D7. |
1.3 N1.2 om. waged. [24 खगतं ( for sera )
1.4 Nia विस्तरेण; Di विश्तरघ्रवणम्य ; ८2 विस्तारस्य. 03 wa ( for इदानी"). Nua.2 Mr 01.7 देशकालः,
15 D3 वत् ( for ततः) "Nr om. श्रयतां. Niu.z Mt om. इद.
L 5-6 D3 भारन्धं ( for मया प्रारब्धं ).
L6 Mz ins. इति ; 01 ins. geet after gwd. Miom.; D7 ns, q before a. D6 Ss Pex मम (for at). D3 at fadowfag’ नार्हसि (for न मामतिनिर्॑न्धयितुमखि ). Di भ्र faweufag’; 05 अतिनिरबन्े afag’, 53 अतिनि्बौभयितु' ( for भविनिब न्यितु' ).
L7 एवज. हि. 02.46 57 Per ins. तत् before प्रतिगृह्यतां. [५1.2 उपपद्यतां ; Di gaat; Mr D3 उपयुज्यत ( for प्रतिगतं ). Na.2 01.23 ins. इद् before नो. Ds om. नो.
६१ ति aaa TERT, {Act It]
राजा । (aren पिधाय )। ओः ene semmrafirtte प्रतिषिद्धा. सदिभानाम्। safe मामलुकम्वनोयं मन्यसे aera; qraanta | err) ( सलं्रसुपगम्य सवित्रयमञ्जलिं war) 1 णारिहदि प ९ प्दनोचतं भजो अदिश्चमिदु । ला अणुशेङ्कख मं । पसम्हिदे सरणाणवा | उपा । ( सासनम् )। भवति wand यदिवं tat युवयोरेव तद्धनम् । परस्परादुरोधेन यदुक्तं तद्विधीयताम् ॥२२॥ 0 (इति धनमधैयति ) ।
Li D3 om, भोः anit. 2.36 Si Pea repeat मोः. 07 9 gaaafe:. 1.2 Dr ins. किल after प्रतिषिद्धा.
L2 Nu.2 मन्यते भवान् तदा ( for मन्यते तत् ). Nz ins. ga before मूहयसंबन्पेन.
L 3 Mz मामनुगन्तुं ( for दादु ॥
L4 05 उपदद्य (for उपगम्य }. Mr ins. am before शारिहदि. Ni.2 शारिहदि urftefe ; D2.5-7 5 Per qrefe, 03 aneefe; D4 oreefe ; S2 णारूहदि.
L 45 Ni1.a transp. मं and पडमोवगदं-
1. 5 Daqeatt;, Ds vedere, D6 पडमोवबवादं (sic). Nr.2 Di om. wait here and place it after शारिहदि(। 4). Nz Dr ufgafag Di om. ता, Ni अगुगेरहदु; 12 wyagg; Mr syitg; D3 अशुमस्सञ्च ( भणुभरर्च १ ) ; 53 अणुगडादु. Ni ins. wait अथि. Nz curfy fig च ( for एषम दे ), Some Mss. एषि.
L6 0" शरणाभ्रदा ; D4.5 Pea सरणगदा.
L7 07 53 wag ( for भवति )
St, 22--4) Na लक्तपेनापि tat यद्.
Lio D7 om. इति,
Act 11 ] चरककौशिकम् ga deat) ( गृहीरवा लदषम् )। विद्धिभा अञ्चावसिवपदिण्माभारो वाणि
अज्जउत्तो । ता कदृत्थर्डि |
उपा। ( खगतम् ) । न युक्तमिदानीमनयोव'हव्यमवरोकयितुम् । ( इति
निर्गन्तुमिच्छति ) | ।
feat) सुहृत्तम पडिवल्ेदु अज्ञो जाव arse सुसंदिद्रः करेमि। 5
उपा । भवति पष कौण्डिन्यस्तिष्ठति। ( इति निष्कान्तः ) |
feat) (ce पटे धनं बदु )। अणुमण्णदु मं एदस्स दिभवरस्स दासिसणे अखञसो |
cat) ( सवेङ्कभ्यम् ) । नन्वयुमतमेब प्रभवतो विधेः। ( सोपालम्भ- मात्मगतम् )। नयु भो gated ।
{1 Nr.2 ins. शीघ्रः before गोत्रा, (25 om. गृहीत्वा. 104 .3.4 2 दिङ्ना; [2.7 fafa. Mr D3 transp. अ्द्धावमिद- and दाणिं ( Mr गि) Ni.2 अद्धावत्तितभारो ; Da Po अद्धावनिटृढपडिरणाभारो; D3 afar भारो; D4 भअप्थावक््रिपडिरणाभारो ; 05 श्रद्धावसिठर; $2.3 aarrfar पटिर्णा० ; Pca अष्धावसिदुपडिरणाभारो. [1.2 दाणि; 124 दाणी. Ni.2 Di ins. after दाशि.
L2 2.6 91-3 Per.2 fageafg ; Do faerfierfar.
L3 04 खगतः; 05 खागतं. Ni.2 Mi om. gq’. Di male fq. N12 ins, भवतु गच्छामि alter अवलोकयतु.
L4 Nu.2 Dr गन्तं \ 05 निरच्छतु ( for निर्गन्तु').
Ls Mr Dr age. D3 ins. a before पड़वालेहु ; 1.2 मं before wat. Ni.z M1 03 om. mq भअरखउत्तं gafay करेमि. 92 om. जाव. ‘2.6 Si सुसं दिह" ¦ 4 Pea सदिद" ; S2 सुदिय्रं . S2 शरे.
{6 02.46 51 Pex om. ; Na भवतु ( for भवति )
1.7 Nie कर् परान्ते ; D3 era. Noa transp. धनं and बदु. 1)1 ins. पादयोर्निपत्य after क Mz om. ; Ni.2 017 Pea 4 ( मं)
8 Nyu.2 Mi Diz P& afand ; 124 दासीत ; 25 cana. N1.2 om. sayaeit here and place it before एदस्स (17 ).
LQ Da weed ( for qwamed ). Mi अनुमतः. Nui.2 Dr,3 ins. एतत् ; Mr ins. एष तत् after ga. D3 प्रहरतो ( for saat). 1.2 D1.3 tafa®: ( for विचः}
1. 9-1० D7 Sa सोपालम्भमाष्ाशे.
॥ 19 03.46 5.3 Pes.a ins. श्राकारौ afcer श्रात्मगतं . Ms sey (for at).
10
७० । चरडकौशिकूम् [ Act i देवीभावं नीत्वा परणग्रहपरिखारिका war यदियम्। तदिव चुडारत्नं चरणाभरणत्वसुपनीतम् ॥२३॥ ( सविहोषकरणम् )। se भोः कष्टम् । मम विधिनिहतस्य मन्द्वुखे- 0 wang छुतद्ारविक्रयेण | निजङुरुपरिवादन्नमूते- रपि सवितुर्मलिनीछृता gett: ॥२०॥ ( आत्मानं संस्तभ्य भ्रकाशम् )। प्रिये आराध्योऽयं ब्राह्मणस्ते सशिष्यः 0 पल्ली चास्य भरीतिदायोपचर्या | VEIT: प्राणा बालकः पालनीयो यथैवं शास्ति तत्तद्विधेयम् ॥२५॥ , शम्या । जं भजो भाणवेदि । ( इति निग॑न्तुमिष्छन्ती राज्ञानमवलोक्य aged नादयति ) |
St. 23—b) Mx drops gar.
~ 3 Da.4-7 S1.3 Per.2 om, first कष्ट S2 om, second कष्ट,
St. ag——a) N1.2 01 ( before core. ). 5 -fafgra.—c) Mr 24.547 Sa.3 0८1.2 -प्रिवादनन्नमूतः .
{8 विग.2 दोष (2) ( for fad ).
St. a5—a) Na महातराहमशस्ते शिष्यः ( for amar’ सशिष्यः ) —b) Ni भोरिद्ानोपचयौ ; N2 corrupe ; Dg stfergr सेवितव्या.) D3 बालकचापि रश्यो. —d) Fragmentary in S2.
"3 Dr देषो ( for wat). Na om. इति निर्गन्तुमिष्डन्ती, D1 गन्तुमिष्डन्ती ; Mr Da.g-6 51. Per निरगन्तुमिष्डति \ 03 निर्गच्छन्ती. N1.2 D3 सवेकृम्यं ( D3 om. this word ) राजानमवलोकयन्ती.
1 "4 Nua मन्दं ( Nu aed मन्दं ) परिकामति ( for dyed नाटयति ).
Act Ill ] अरढकोशिकम् ७१
ail ( सक्रोधम् ) । भभच्छ भोदि भाशच्छ | द्रं गदो TATA
deat) ( सायम् ) | मुहुसथं पडिवलेखु मं जाव अहं erase afeg करेमि ।
cat) (aged नाटयित्वा )। भिये विरम्यताम्। दुःखमास्ते ब्राह्मणः। 6
Ger ( राजानमवरोकयम्ती शनैः परिकामति ) |
arom: | aes, AY अम्बा THREE |
राजा । ( सखेदम् )। यश्रते पितुः कलर भूत्वा गम्यते |
Li Mr om.; 04.5 Pea सकोपं ( for सक्रोधं). Ni.2 भराग्नच्छवु both times ( for श्राग्च्छ }. Dr मो देवि sreeg. Nr.2 D1 12.4.6 91. भोदी ; 93 होदि ( for भोदि ) Mr om. second arazgq. N2 दूरगदो ; 03 श्रतिषूरं गदो. Mr samara ; D4 S; seam; 05 उवजावो ; Pra उश्रफफाभ्रो. ।
L2 03 om.; 04 ara सानुनयं, Mi D3.7 ins. sm before gga. 121 ggd. Di afearafe ; 53 पडिवलेदु, 03 ins. want alter मं. Mr D7 om. wg. D7 ge अजरत्तत्स. Pea भरखउत्तस मुहं
1. 2-3 पा. जाव णं जदि भ्रजउत्तं steed ; Di आव शं भजउततं प्दि करोमि ; Mr जाव gfas’ wnat करेमि.
1. 3 Ds afrefs ; S3 इसंदिद्र ( for दिद ).
L4 D3 om; वि gaged (for aged). Mi नाटयति ; 01 नाय्यन्. Nu.2 देवि (for प्रिये). Dr गम्यतां गम्यतां; 03 गम्यतां ( for विरम्यतां )
1. 6 Nui मन्दं मन्दं ; Na मन्दं ( ण शनेः ), [4 repeats शनैः, M1 राजानमवलोक्य स्वरं स्वैरं गच्छति.
Lz Nz.2 Ds भाद; Ds श्रवु; D6 ws; 53 अदु. ०4 et; Pea aff ( for किं ). 24 माता (for strat). Naa Mr Di शौभदि ( for sremfe ). D3 भाः age कहिं ने भम्बा शीभ्रदि for the whole line.
L8 04 ०. wax. 111.2 D3.7 ins. वत्व before qa. 06 Pes ins, graft before भूत्वा. 53 गच्छति ( for गम्बते ).
७२ चरहकौशिक्म् [ Ace ti
mem) at ava aft qt ond णेदुमिच्छलि। (एति ang: gered धारयति )। agi) ( सकोपम् )। अवेहि गम्भवास । ( इति क्षिपा पातयति )। वालकः। ( साधरभङ्गं पितरौ पश्यति ) । 6 उभौ । ( साख्रमवलोकयतः ) 1 राजा। मो महाघ्राह्मण, अनपरा्ं किल शौशवम्। तन्नास्य कर्तुम् । ( बालकमुत्थाय शिरस्याघ्राथालिङ्गय च सवैहव्यम् || किं वत्स मन्युमरविस्फुरिताधरोष्ठः पापस्य पद्यसि सुखं मम निधं णस्य | 0 येषा परिया न fara: पिरितादानानां तेषामपि प्रियतमा वनिता तिरश्चाम् २६॥
Li पि।.> कोपं । शरे कपिलमक्षडा ; Mi श्रलेक्तेव+?; Di wa मकलवनुश्र ; D2.q-6 571 Per श्रे aga; D3 श्रते वड्श्र ; D7 naga; Pea शरदे awa. Ni.20m. ga. Ni.2Ds5 seat; 06 aa. Da.5.6 JF ( for tz )
{~ 1-2 Nu.2 arg: पटन्तमाकषैति ( omitting इति ).
La Ds gerar’.
L3 D6om. aad. [2.6 श्रये एहि ; 03 52 at; 04 प्रवेद; D7 गच्छेह ; 93 भ्रये ( {97 श्रवेहि }. Mr 01.3 गच्छ ara; D2 aaa; D6 2८ गम्भदापत ; 52 faewata ; 53 हिम्भरदाष,
L4 निः om. all words from ara: up co कतुं” (1 7 }. No ins ara’ before पिवरौ.
1 5 01 Pea भालोकयतः ( for श्रवलोकयतः )
८6 Na Sz एण. ब्रह्मण ¦! 4 महान््राह्मण ( for aging). Ni ware. Mr 24 ag ( for fea). Da om. तत्.
L7 Mrom.@. N1.2 om. qaqed.
St, 26—e) Di S3 -fregfcarets ; D7 ewae:; 52 oaty.—c) Da.6 एषां ( for केषां ).-4) Na.a Mr Ds.7 प्रिक्तरा. . 4.2 Mr 01.3 दयिता ( for बनिता ).
were fare ७३
तत्किं मां चाण्डालमनुगच्छसि । मातरमेवातगच्छ । ( दति aged नाथति ) | dor अज्जउत्त कि मं मन्दमादणिं agent महेसिणो क चिदिेसि । ( इति बालकं गहीत्वा परिक्रामति ) । बालकः। ofterrfe परित्ताहि। ( इति निष्काम्तः ) 1 > राज्ञा। ( चिरमाङोकष्य ) । हा हतोऽसि । ( cement पातयति ) 1 ( aa: प्रविदाति कौरिकः ) atfirn: | यः कथमथयापि न dyaria मे दक्षिणाद्ुवणीनि |
Act 1 1
Li Ds 93 waste’. D3 उपगच्छसि ( for age )
L2 दिग. सवैक्कभ्यं (2).
L3 Nua किमेवं; De कि तुमं (for). Mrom. मं. Ni.z Mr D3 om.; Dr arqarggt’ ( for मन्दभादशिं ). Dy ins. ged before agian, Di भ्रणुस।चयन्तो. Na महितिणे.
L4 06 faefeafa. Na om. इति. S2.3 परिकम्य निष्कामति ( for पररिकामति ).
Ls Nu.2 हा sam परित्ताश्राहि; Mr sige परिताभ्राहि परिताभ्राहि; Di आबुक परित्ताहि परितताहि ; 02 परिततादि ; D3 ar aew परिताग्राहि ; D4.5 was परितताहि; 27 5> श्रावक परित्ताश्रहि; Pea भावुक परित्ाहि परित्ताहि. For the stage direction, Nu.2 शम्या सवालवटका निष्कान्ता! Mr इति निष्कामतः. D6 S1.3 Pes ont. chis whole line, buc Per gives it as pathaneara.
L6 02-5 53 Pea श्वजोकय ( for mates ) Ni.2 M1 ins. मन्द्- भाग्यः after हतोऽसि. D1 चिरमास्मानं ( (9 श्रात्मानं }. 0०८2 (८५०१. भ्ात्मानं and प्रावयति. D6 5 Per om. this whole line, buc Pes gives it as pathancara.
7 52 fparfira: ( for hfs: ).
L8 D3.7 om. कौशिकः. Ni.2 Mr D3 ins. amd; 017 ins. wed before wn, which Mr om. Da St [८1.2 ins. श्रषुना after कर्थ. Da-4.6 St 06ा.2 ceansp. संमतानि and मे. Mr om, मे.
10
र चयटकीरिकम् [ Act ti
ura ( भुत्वा सस॑श्रमसुरथाय ) । भगवन्, गृणतां तावदधैम् | कौरिकः। आः gardai यदि प्रतिश्चुतमवह्यं देयं मन्यते मवासलपनिः Reta प्रयच्छ। ( नेपथ्ये ) 8 पिक्तपो धिग्बतमिवं धिग््ानं धिग्बहुथुतम् । नीतवानसि ag हयन्रिशिन्द्रमिमां दशाम् ।'२७॥ कौरिकः। (श्रुत्वा सक्रोधम्)! आः के पुनरमी धिक्छाब्देन मा गर्हयन्ति । (ऊभ्वैमवलोक्य)। अये कथममी विमानचारिणो विश्वेदेवाः । ( क्रोधं नाटयित्वा कमण्डलुवारिणोपसपृष्य १ शापजं गृहीर्वा)। धिगनात्मश्ञा भनेन क्षुद्रक्षक्ञियपक्षपातेन। पञ्चानामपि बो जन्म क्षत्रयोनौ भविष्यति | तथापि ब्राह्मणो द्रौणिः कुमारान्वो हनिष्यति ॥२८५॥ Lr Nr.2 सोत्थाय; 01 ससंप्रममुपगम्य ( 01 श्रुत्वा सरुश्रममुत्थाय ). 0.3 om. मेगवन्, = Nr.2 Mr 01.3 ins. इदं after तावत्. L2 Nr,2 Mi: D3 om. शराः. 01 मन्यसे. D1 om. भवान्. La-3 Ni 01.34 तदशेषमेव ; Mi तदाशेषमेव. L3 03 प्रयच्छतु. मिपि ins. तावत् after sazq ; Na corrupt.
L4 Nzr.2 transp. all words from नेपथ्ये up to स्थाने खलु finzafe हरिषन्दरः (p. 75, । 6-7) and place them after का गतिरिदानी" on p. 80, | 6. St. 27 This verse is lost in S2.—b) पि 1.2 तव a ; Da aged.
L7 N1.2 Di om. wet. D3 92 om. at. 02 om. के, Mi D3 transp. भिकशब्देन and at.
L8 03.5 agfea ( for गर्हयन्ति ). D3.5 om. ; Ni.2 विलोकय (for ऊष्वेमबलोक्य ). [प2.2 om. प्रये and waft.
Lg D3 93 नाटयति ( for नाटयित्वा ). D3 समुपस्पश्य ( for avezea ). N1.2 सक्रोध" शप्रजलमादाय for all words from क्रोधं नाटयित्वा ८० गृहीत्वा (1 19).
Lio 03०. } दि, 01.54 भिगनात्मह्ञान्, 51 Per.2 wt रे gt कलियपद्पातिनः.
Ss. 28 Parts of this verse lost in Sa—c) दिा.2 Mz 01.6.17 anf ( for वषापि ).
Act HI ] चरडकोशिक्म् ६
( पुनरूष्वैमवलोक्य सहर्षम् )। अये कथममी महुष्टिपातभयकसम्पितरोलघण्टा- टंकारपूरितवियरस्खरुतो विमानात् | वेदधनांश्चकबिदष्टकिरीरकोरि परभष्कुण्डलमवाड् खमापतन्ति ॥२९॥ 5 राजा। (saree सभयम् )। अदो प्रभावस्तपसां। स्थाने ag द्विद्यति हरिशन्द्रः । भगवन्, अलमन्यथा शङ्कितेन | गृहयतामर्जितमिवं भार्यातनयविक्रयात्। शेषस्यार्थे करिष्यामि चाण्डालेऽप्यात्मविक्रयम् ॥३०॥ afin ( सक्कोधम् ) । garda, नन्वशोषमेव दीयताम् । 10 राजा। भोः साधवः ( कैनापीत्यादि (३।१६) पठति ) ।
Li N1i.2 D3 om. पुनः. Ni.2 0.3 om.; 07 faa (|) ( for श्रये).
St, 29—b) Dg -स्छलितो.--९) N1.2 D3 52 वेक्ञदु जांशुकविद््ट- ; Mi वना + + ध्वजाशुक० ; Di aera जंशुकविध्ट- १ D7 Pro Tae जशुकविक्ट-. After the verse, Nu.2 continue Kausgika’s specch by inserting सर्वथा प्रियं a: प्रिर.
L6 03 सहर्षः (for awd). 03 महाजुमावस्तपस। ; 05 प्रमावस्तपसो. 1.2 ins. तत्सर्वथा before स्थने.
1.7 Nu.2 Mi 093 करयते, Mu ins. ईइति after हरिथन्ः, Na ins. राजा । सविनयं ; Na ins. राजा before भगवन्, M1 04.5 Pea संभाविततेन ( for शद्ितेन )
St. 30—b) 4.5 -विकरियात्.-4) 5.6 53 चण्डाले. [4.5 -विष्किय. Much of this verse is lost in 52. Quoted anonymously in Sabitye- darpane ( ad vi 95 )
Lio Mr D3 om. सक्रोध". Di fa ( : ) शेषं ( for नन्वदष' ). Nu.2 om. all words from कौशिकः up to पठति (1 11).
Lit Da.q.5 repeat मोः.
vf चशडकोरिकम् [ Act Il ( ततः भविशति areereta: साजचरो धमः ) धर्मः। ( खगतम् ) | मया भियन्ते भुवनान्यमूनि सत्यं च at तत्सहितं बिमर्ति। 5 परीक्षितं सत्यमतोऽस्य राः way मया जातिपरिग्रहोऽयम् ॥३१॥ (fat erent साश्चयैम् ), प्रणिधानतोऽप्यष्टं पदय॑स्तस्य
राजप्रिशन्द्रस्य aet न पद्थामि। भवतु तत्सकामेव गच्छामि । ( परिक्रम्य प्रकाशम् )। भले शालमेभका गिदे तप
10 अस्तचेद्टारके |
Li 03 ततः प्रविशति सानुचरश्वारुडालवेषधरो vite. 53 चर्डालवेषः. Ds om. सानुचरो. ।
L2 03 om. धर्मः
$. 31 The passage from Se. 31८ to परिक्रामति (p. 77,12) are fragmentary in S2. This verse is repeated later in IV. 28 ( with a variant )
L7 Mi D3 sera’ (for साश्चयै' ). Mr श्रख ( for a पश्यंलख ).
1. 7-8 Nia प्रशिधानतोऽपि aan राजहं रिषन््रख ged परयामि ; Dr प्रणिधानतोऽपि ate राज्ञो हरिषन्स्य gee पश्यामि.
L8 Mz सदशं ( for gea ).
Lg Na गच्छामः ( for गच्छामि}. 21 ins. इति before परिक्रम्य. N2 om. परिकिम्य. The Prakrit appears to be Magadhi, M1 wa @; Pea अरे (for wa). 1.2 Ds.6.7 Pea सालमेश्चका ; Mr शालमेभधा ; 1 सालमेश्रश्र. Da ठय} 24 53 ९८2 वुए ; D7 एष ( for aq).
Lio Ni भत्थपतेश्के; Di सोणपेद्यलए ; 141 02.5.6 St ?८1.2 अत्थपेहालके ; D3 neater; 04 भरवपेदालके ; D7 cat पिहलके. Na om. all words from stattera® up to पठति च ( p. 77, | 3). For rchaeMg sta, see Pischel $290.
Act Ill} waedlferer Re
अनुरः। AUCH किं BT शवण्नागाले Hr आदु TS TTA |
ce) अहे किं तव पदिणा heron पभोभणं। ( इति परिकामति ) |
राज्ञा। ( केनापीत्यादि पठति । लश्षा्धेनेत्यादि पठति च ( ३।१६)। सर्वतोऽवलोक्य सखेदम् )। कथं मया मन्वभाग्येन न कथ्चिद्था । हा हतोऽसि । ( इति मूछितः पतति ) । 8
Li पिष 01.3.56 53 महदलश्र; [047 हदला. Mr कि दे (for किं ge). 04 ins. वा after किं. 4.5 Pea am ( for qq ) D4 $3 Pea gawur- ; D5 एणा. D3 -गोले ; D5 -गले ( for -miet ). Ni fe लाश्रउलाए परणागलि ; 21 किं राउले छष्णागले ; 7 कि लाउहेमु सुवणगाहका fag. 04 ge. Ni अधः; M1 az; D3 wear; Pez as (for sig). Ni S3 Pra ae; Mi सुराए; Di ga, D3 छुना (for ga). Mr पादव्वा. 07 ane पददि (for कादष्वे श्राह ga पादम्वे ).
1.23 १८2 श्रडे (0 श्रते). 71 ga; D2.3 तुए; Mi तष् ( for तब ). Peo aa किं इमिणा सुणिदेण. All Mss ( Mi Di om, ; $2 missing ) and Pr पुच्चिदेण. D7 ८2 om. पश्रोश्रणं. Mi Di om. all words from पुषिदेण ९० परिकामति, Nu परिकामतः `
1.3 Nava ins, भोभोः साधवः; Mi ins. श्रवलोकंय मेदं (repeating the words in their proper place ) before केनापीत्यादि. For all words from ङेनापोयादि ४५ पठति च, Nu.2 repeat the entire verse Il. 16 ( with v. 1. agiifa (for लदेणायं ), and continue avg मामायं weg. Ds-7 पटित्वा ( for the first पठति ) and om, @ (alter the second पठति ) Mi D3.5 Pea om. लद्वाधेनेदयादि पठति च.
L 4 Dg भ्ात्मगतं ( for aaa ) and om. 4.
15 02.36 St Pes कविदर्यो. Nu.2 ins, प्राप्यते after wal and मन्दमाग्यः after हतोऽसि. D7 om, इति. Ni. Mi D1.3 arena create, Ds afea: पवितः ( for मू्िवः पतति ).
we ^ चरढकौरिक्म् [ Act Ill
धर्मैः। ( आकण्वं eer खगतम् )। कथमसौ mere मोमुपगत स्िषठति। भवत्वेवं तावत्। ( सलंभ्ममुपगम्य rere) | अले vfs, at ge भस्ति। ता गेण्ड एदं यधाप्यसितवं
BAM | $ राज्ञा। (wetgeara) | भोः साधो उपनीयताम् | (cer सविषादम्)! भद्र भवानर्थी। ar) वाढं हगे तुह अस्ति। THT | तत्को भवान्।
Ls Nr2 D3 om, अकरवं. D3.4 om. इष्टा, Nz ०0. and. Mr om. कथं, Nu कथमयमसौ. Mi 11 श्रयं ( for wat ). D3 महासयः.
Li-2 N12 Mr D1.3 om. मोहसुपगतसिषएठति.
L2 Na sqaq( for ससंप्रममुपगम्य प्रकाशं ). Mr transp. ससंभरममुप- गम्य and प्रकाशं,
L3 73 om.; 002 श्रडे ( for a). All Mss and Pe उत्येहि (चि 1.2 aafe safe ; Di afi उद्टिहि ; D7 af fe af fe , 93 at fe). Ni a; Di हक्के ; Da-4.6.7 Si Per.2 we; 05 ae; 93 met ( for हमे ) वदे; D3 S3 Pe2 gy; the remaining Mss and Per aq. All Mss and Pe wet (Skt. sat), Mr om. ता, S3 गह. 24 षदं. पि, जधापत्युद ; other Mss and Pe जधापत्थिदं ( Ske. aarsifite )
L4 Mr D1.4.5.7 $2.3 0८2 grad.
{5 Dg मामुपनीयतासुपनीयतां ; 52 उपानीयतां ( for उपनीयतां ). Nu.2
सविस्मयं ( for सविषादं ) 156 For all words from भोः to भवानर्थी, 01 reads भोः साधो भवानीं । उपनीयताम् ॥ उपसर्पति ॥ चारडालः। अले दुलं पसल पल ॥ राजा । ष्टा सखेदम् । भेद भवान्या.
L6 Na ०, ; Mr D3 तत्र (णभ)
L7 Mr ins. खगतं before and प्रकाशं after वाढं, Di वहे, Ni et ; Na गहे ; 0 हक्के ; D7 भहुकके ; S2.3 wat; Pea age. 24 S2.3 Pea gy भभ्ी (S2 wfty ) ; remaining Mss aq भत्थी,
L8 Dx om. a
Acc [|| | चरडकौ शिकम् we
ध्मः। शब्वमदाणाधिवदी गुम्मस्ताणाधिभालपश्चरे | वय्च्डस्ताणणिउक्ते चण्डालमहदले कल हणे ।-३२॥ राजा । ( सावेगमुपखस्य कोिकस्य पादयोर्निपत्य ) ) भगवन् प्रसीव् प्रसीद | तवैष दासतां गत्वा वरमानृण्यमस्तु मे । ॥ न दृष्टा न धता चेयं बरह्म राण्डालदासता ।३३॥ Aare: Preqd खयंदासास्तपखिनः। तत्कि त्यया दासेन मे क्रियते ।
St. 32—a) Ne 07 सव्वमसाणाधिवदौ ; N2 णाधिपदि ; Mr शष्वम- साणाधिवदी ; D2 51-3 Per गणाहिकड ; D3 °णाहिवदी ; [4.5.7 Pea स्वमसाशणाहिवड ( 25 °णाहिवर ; Pe2 omfaag ).—b) 1.2 गुम्मद्ढाणापि- श्राल- ; Mr गगुम्मश्थाणाधियार- ; 01 ग्ट्ढाणापिभ्रानः ; 02.5.0 Sa Per ग्ट्ढाणाधिश्राणं ; D3 गट्डादिश्राल- ¦ D4 गधाणापिश्राल- ; D7 Pea °रटाधिभ्राउ-. S2.3 °ट्ाणादिएण. 97 corrupt for -पन्चहदे.- ९) Ni वर्फाणडोणिउण- ; Na ज्काणदीरले ; 111 avaenfgat ; Di-3 51-3 Per वञ्मट्ढाणणिउते ; 04 वमाफगणणिवुत्ते; D5 वजट्ठाणणिञ्ते ; D6 वर्फटूढाणपिर्ते; D7 वरुमत्साणक्तीणिउणो (2); 7८2 बहुट्ढाणणिउच्-.-4) Ni [21.4 नगडालमहदले ; Na ° महिदज्ते ; Mi ०महतुलके ; D7 °मदडके ; Pez ongmaa. Na Pea om. ; D2.3.6.7S1@; 024 ee ( for rq), Naz हणे; Dr हक्के; D7 Peo हके ; 53 weit ( for gt). The Sanskric chaya of this verse would be—= स्वैश्मशानानिपतिगुरमस्थानाधिपालप्रययितः |
वध्यस्थाननियुक्कशरडालमहत्तरः खल्वहम् ॥
L3 Naom, ; Di सवेगमुपखय ; D3 ataqiaa. D3 om. aifired. S2 gafa (for fra). Mi om. भगवन् N1.2 Mi om. sata.
{4 Su Pes 105. भगवन् before प्रषोद. Nx.2 Mr om. sat.
St, 33-6) Di ते (for मे ).—e) 53 न्यूनता ( for a Hat ).—d) Na agayeta-. 52 Pra चरढाल- ( for arqete- ).
L7 02 om. efere:. Dr ins. सकोषं after @fyrs:. N1.2 Di om. तत्, Da मया ( for त्वया}. Nu.2 01.707. मे. $2.3 om. all words from तत्किं to कियते,
go चरडकषौ शिकम् [ Act Ul
राजा। —( सायनयम् )} भगवन् थवादिशसि ततरि |
कोरिकः। शृण्वन्तु शृण्वन्तु विष्वे देवाः । यदादिशामि तत्करिष्यसि |
राज्ञा। वाढं करोमि।
Aire | यथेवमसिन्नेवार्थिनि विक्रीयारमानं प्रयच्छ मे दक्षिणा
6 सुवणीनि |
राज्ञा। (aageaarenra)) महद का गतिरिदानोम् । (भरकाशम्)। भगवन् यद्ादिदसि। (चाण्डालमुपगम्य)। मोः खजातिमहनत्तर समयेन मां केतुमदैसि ।
वाण्डालः। भध कीदिहि दे शमय |
Li 52 om. सानुनयं, 04 om. भगवन्. Mr aaa (ण यत्). Na श्रादिशति ; D4 श्रादिशसे, Dx aaa’ ( for तत् ).
1. 2 4.5 ५2 do not repeat श्रवन्तु. [1.2 03 om. श्रएवन्तु शरषन्तु विश्वे देवाः. 6.7 यथदादिशामि. Dz तत्तत् ( for तत् }. N1.2 04.5.17 Pea करोषि ( for करिष्यति ). Mr om. lines 2-3.
L3 Ni2D3 ust भगवन् ae करोमि। कतिया वयं न पुनरभिधादु जानीमः ( for the whole line )
L4 24०. एवं. ए om. श्र्थिनि, Ni.2 cransp. विक्रीय and श्रात्मानं, 01 om. मे.
1. 4-5 Nu.2 सुवशंनि ; Mr 1.3 सुवणं" ( for ददिणाडुव णानि ).
1. 6 Nom. सवैक्ृव्यमात्मगतं. D3 52 खगतं ( for श्रात्मगतं )}. 1.2 Mx 01.3 om. weg. Ds om. का. N1.2 Mr om. प्रकाशं, After this line, Nt.2 ins. passage transposed fcom नेपष्ये धिङ्कपो ( 0. 74, 14 ) ० इरिषन्द्ः ( ?. 75" 17 ).
17 Na om. (hapl.) all words from यदादिशसि up ४० रभ्याम्बर- परिच्छदः ( 0. 81,12) Mi D3 यददादिशसि ; D6 यदादिशति. Na Mr D3 aa; D7 चरडालं ( for चारडालं ). 1.3 प्रति ( for उपगम्य ).
L8 Mz 07 -महत्तरक ; D6 -पहत्तर (for -महततर). M1 क्तु ( for कतु )
Lg Nu was प्रते ( for चारुडालः ww). Na Peo दिति; Mr D6 कीदिशो. Dz om. ; D4 a ( for®). Nr Mi 24.5 aaa.
Act Ill J चरडकौशिकम् ८१
car) भूयताम् ।
भैश्याशी वुरतस्तिष्ठन्थ्याम्बरपरिष्छब्ः |
यद्यव्ादिशति खामी तत्करोभ्यविचारितम् ॥३७॥ उभौ । ( सपरितोषम् )। शे oe परो दे cae शेण्ड पतं
श्ुवण्णं । ( इति दराद्पैयति ) | $
राजा । ( गृहीत्वा सहम् ) |
अनणस्य TATA TTT दिजन्मना ।
अपरि्रष्टसत्यस्य ATCA चाण्डालदासता ।।३५॥
( कौशिकं परति सायुनयम् )। भगवन् प्रतिगृह्यतामिवमदोषधमम् ।
Li Nx Dr om. ध्रूयतां.
St. 34--4) Ni मैकाशी ; D3.4 firgteit.—b) D7 -afteget; 53 -परिप्रह.:--८) प. यदादिशसि तत्सव".-4) Ni.2 करोम्यहं ; 27 त्क्व ( for तर्करोमि ). Ni.2 D7 अहर्निशं ; Di.3 अविवारितः ; Mr D4 S3 afrara: ; Ds Pea अविचारयन् ( for अविचारितं ).—ed) = 179.
L4 Dr बरडाल उभौ; D3 wa: ( for उभौ). Ni.2 Mr D3 om. सपरितोषं. 71 ins. wa: before अज्ञे. Pea श्रडे. 1.2 Mr D1.5.6.7 51 Pea geg; 24 इष्ठ ; S2.3 gag. D3om.; Nu.2 Mr D1.4-7 51 Pea एते ( for qt). Mr दे एसे by transp. Nr.2 om. ; Pea a (दे). Ni.2 Mr D1.4.5.7 Pe2 समये. 01.37 ins. a before गेरह, 93 ag. 1.2 ins. जधापत्ुदं afer qe.
15 Mr Da.q.7 Pea gaqafy remaining Mss and Pe gag as in text. Nu,2 saa.
L6 01 ins. भात्मगतं after सहर्ष".
St. 35 Dri om. this verse here but transposes it afcer गृह्यतां on p. 82, । 2.—b) D2.4.5 Pea द्विजातिना (for fawenar).—c) 02.4-6 S2 -w4- देहस्य (for -weqam).—d) D3.5.6 5 Per erat. 04.7 93 Pea चरडाल-.
Lg Mr 03 ०. सानुनयं. D3 भगवन् centre. N1i.2 Mi Di गृह्यतां (for प्रतिगरष्यतां }. = 121.4.5-7 Pea wit’ भन ; Mi grag’ ase. After चनं, D7 ins. कालकतेपहृतस्वपराधो मां प्रति मर्वणोयः ( repeating it in its ptoper place, p. 82 , | 5-6) 1 शति प्रणम्य धनमपंयति.
१,
ie चरडकौ रिकम् [धना
कौरिकः। ( सवैकक्ष्यम् )। दास्यसि । राज्ञा। ( सायुनयम् )। भगवन् गृ्यताम् । कोरिकः। ( परिगृह्य खगतम् ) | किमतः परं निर्बन्धेन । भवतु गच्छामि | ( सवैरक्ष्यं तथा करोति )। 5 राज्ञा। ( सविनयमञ्जटि बद्धा )। भगवन् कालक्षेपडृतस्त्वपराधो मां भ्रति मर्षणीयः। कौरिकः। क्षान्तम्। ( इति निष्कान्तः ) |
L1 Nz.2 0m. the whole line. D1 om, सवैलच्यं. D7 repeats दास्यसि.
L2 Nr.2 om. the whole line, D3 om. arava y Dr सातिशयानु- नयं, 04 repeats gaat; 25 S3 प्रतिगृह्यतां. After गृह्यतां, D1 ins. इति पठति राजा खगतं followed by St. 35. [ ५, ८. ( before corr. ) राजन् ( for छाप्या ) j.
L 3 D3 om. परिगृह्य, D1 सवैलच्यं (for परिग्रहम खगतं }. D7 om. amd. Mr D1.3 transp. किं and wa: परं, 121 श्रतिनि्ब॑न्धेन. 41 ins. atien before गच्छामि. 727 यामि ( for गच्छामि )
L 3-4 Nu.2 om. lines 3 and 4 ( see below )
| 4 Drom; Mr D3.4 इति निष्कान्तः ( for सवेलच्यं तथा करोति ).
` After | 4, 07 105. प्रकाशं । देहि । इति गृहीत्वा कििदवस्थितशेषसंबन्धे भलंकार- सुत्तरीयं च गृहीत्वा सहषमात्मगतं । न दष्ट" न श्रतं पूरव । waar हरिषन्दरसमो राजा न भूतो न भविष्यति |
॥ 5 1.9 ०0. ; 01 पादयोनिंपदय ( for सविनयमललिं war ). D3.4 om. Il. 5-7. Nx.2 om, भगवन्.
L6 41.215. पुनः प्रणम्यापयति after मर्षणोयः, and continue कौशिकः । सवेलक्यमात्मगतं । अहो स्वेय॑मस्य (No भ्राथयंमाशय' )। अथवा । चलन्ति गिरयः कामं युग न्तपवनाहताः। wey ऽपि न wets पराणां fare मनः ॥ (IV. 35 )* अतः्पर' किमतिनिषेन्धेन । भवतु गच्क्ामि । इति निष्कान्तः.
L7 Naom. this 10९, 01 afta: ( for कान्तं )
Act IH J Tee fre चे
राज्जा। ( वाण्डालमुपगम्य )। भोः खजातिमहसर। ( rents भुखमावृणोति )। मोः खामिन्, aera fe मया दासेन कर्तव्यम् |
धर्मैः । ( सपरितोषमात्मगतम् )। यन्न दृष्टपूर्वः न षा धुलपूषै' कम | (प्कादाम्) | अले वस्किणमशाणं गदुअ मलभवीलष्टालकेण भविभ्र ¢ sated after । att वि ददाभवणं स्येव गश्चामि |
L1 Some Mss चरडालं, Ni.2 Mr 01.3 प्रति ( for उपगम्य ) N2 D3 om. all words from भोः ८० sayfa (12). D6 इयधेक्िन,
L2 Nui eat नाटयित्वा (for मुखमाृणोति). Ni.2 Mr om. भोः. Dr om. ; D3 श्राहप्यतां ( 0: श्राहापय). Mr 01.3 waa ( for मया).
L3 0" sdeafirfa.
L4 2 ००. सपरितोष. Ni.2D3.q खगतं ( ण wart). D6 om. यत्र. Dies’ पूवे" 23 00. न. Dr omar D1.6 श्रतं पूवं. Nie 41 030. करम, After कर्मं which is omitted, Nu.2 ins, waa हरिशन्द्ाहते खामिभिति को वदति.
Ls5 दि .2 Di द्वितीयः। प्रकाशं; Mr श्रपरः ( for प्रकाशं ), 02 om. all words from श्रले to गदुश्र. ८2 श्रे (for ma), 1.2 Peo ददिण- ; Mr 01-3.5.6.7 ( D2 om. ) $ Per दक्लिण- ; D4 S3 xfeagq- ; for the Mg form a >fay ( dahkina ) or दक्किणा, see Hemacandra 4. 296 ; Pischel § 324. Nu.2 Dq.5.7 Pe2 -ममाणं; Mi Di -nard, D3 -मशाणके. Mr 23 om. aga. Na aera; D4.7 51 Per ava, 26 मडल ; "2 मिडश्र-. Ni -चोनहालको ; Na -चीलको ; Di -बीलहालषएण ; D3 -चीलहालके ; [7 -चीबहालके ; Sr 1.2 -बीडहाढकेण ; 52 किविणाहाल- केण. कव1.2 1.3 ins. ag after भविश्र,
L6 Nui.2 Mr D3 om. ; Ds श्रहोलच्वं ( for श्रहोकततं ). [1.2 Mr D3 faefsqed ; D1.2.4-7 Si 0८1.2 अगिगिद्भ्वं ; 92.3 जागव, Nu.2 Mr D3 वारि; D1.2.4-6 Sa Per.2 we fr (for at fe). Ni.z Mr D3 aft ; Da.4-6 ead ; 07 सं मवं ; 53 सो wag; Peo स्समवरणा. Ni Mi ज्जेव ; 01-6 51 Per.2 जेव्व ; S3 एष्व. Ni.2 D3 गच्छम्ह् ; the remaining Mss गच्छामि $ 04 मच्छामीति.
av चरढकौ शिकम् । [भा
राज्ञा। यथा्नापयति खामी। ( इति निष्कान्तः a ) ॥
इति वतीयोऽङ्कः समाप्तः ॥
Li N1.2 D3 om. this line.
L2 Daom. इति.
Colopbon: N1.2 D2.3.5 St.a Pea qetaitg: ; Mr हरिषन्विकयो नान तृतीयोऽङ्कः ; Di विक्रयो नाम तृतीयोहः ; 24 इति बगडकौशिक्नाटके तृतीयोहकः ; D6 S3 इति तृतीयः समाप्त; ; D7 बयडकोरिके तृतीयः । at नमः शिवाय ॥ ; Sx Pera इति भायेेमीश्वरहते बरडकमैशिकनारके तृतीयो .
चतुर्थोऽङ्कः
( ततः प्रिदाति वाण्डालाभ्यामनुगम्यमानः सचिन्तो राज्ञा ) चाण्डालो । बओशलध भय्या ओशलध । ण होर पे eee) ता किं पत्थ वेस्कध । ( आकण्य arene )। अय्या कि मणाध। के पो कटि वा णीमदि सि। पशे किट तवदशौ शामिणो HERS शभाहावो segs श्युवण्ण afte greet ? पडिवण्णे। ता लस्कणणिमित्ं द्स्किणमदशाणभं णीभदि |
Before this Act, 92 ins. some Namasktiyd in prose and verse to Sri-Ramacandra—obviously 3 scribal addition. As Sz is extremely fragmentary and contains numerous lacuna, large and small, they are ignored, and the Ms is sparingly used.
Li 04 ततः प्रविशति चरड़ालानुगतो राजा, D2.3.6 91 Per सचिन्यो. Ds ४2115, सचिन्तो and राजा.
L2 Some Mss चैरडालाभ्यां and चरडालौ ; 01 चारडालः. 1.2 Mr Dr श्ोषलध (both times), All Mss and Pe sm. 52 भोशलध भ्रोशलष wat. Nu.2 होवि (for ae). Ni.2 Mr 05.7 एषे; S23 uM 02.3.5.6 ava ; 24 Pea वफ मे ; 52 प्रमो ; other Mss वर्मे. Ds om, ङि,
L3 01 एव्वं; D3 एशे (णि पएत्य). Ni eer, remaining Mss (except 04 as in text) and Pe वेक्लध ( 53 पेस्तध ), Nz D7 wa; remaining Mss and Pe war. 01,5 Pea भएष ; $2.3 aT.
1.4 Nu.2 M1 04.7 एते. M1 02.46 Si Per om.; Pea ति ( for fer). 071 ins. gana before एषे, N12 Mi एते ; D7 एस. Nua M1 D1.7 तवस्सी, Ni 12 Mr Dy.3 om. ; Dg मामिको ( for शामिफो )
Ls Nui महदलग्रस्य ; Nz corrupt, Di महदलम्र- ¦ D2.5.6 Pee महदलश्श ; Mi D3.7 agran- ; 4 महदलस्स. Ni.2 Di.5.7 सभ्राता, M1 बहुतरं ; 05 बहुबलं ( for बहुदलं ). D6 St Per बहुदलशुषएणा. 1.2 D1.3.4 इवरणं ; Mi Dz.6.7 इवं ; ?८ 2 gig. D4 tadra ; D7 गिरिहश्र ; S2.3 गहिश्र. Nu.2 Mi 04.5 दास्तां ; Di दाघकतलं.
L6 Nr.2 पहरण ; Di पणिवगणो ; D3 feat ; D6.7 पडिषये. All Mss ( except Dz as in text ) and Pe लकडण-. Da -निमितं ; D2.6 St Pex -पिमित्त. Nu ins. 1; Na a after -गिमितत, Nu.2 05 दिए; Mr 01.2.3 Pea दकि ; 04 दका ; D6.7 51 Per दरिखण- ( for afewg-). Naa Mr 01.47 Pea -मसाणं, 01 ins. ति after atet.
८६ | चरढकौरिकम् [ Act IV राज्ञा। ( नि्स्यातगतम् )। कष्टमनवधिश्यंयथो्तरदारणो पे व्यस्तनपरंपरापातः। वथा हि इदमद्य मम भवपाकद्।स्थं वसतिधोरतरं महादमशानम्। मूतकम्बलहारिता च क्म परिशान्तं ष्यसनेष्वहो न दैवम् ॥१॥ ५ (amet) सुष्टु सस्विवमुच्यते ge दुःसैस्तिरोधीयत इति। यतो दक्षिणानरण्यनिवृत्तं मामिदानीम् आ शोको षाघते। ged नाटयित्वा किं शोचामि मदेकबान्धवतया संप्र्यनाथाः प्रजाः किं बन्धूनतिवत्सरानशरणानेर्ताश्च श्वत्यानहम्। 10 किं वासौ" द्विजसश्ननि प्रियतमां षत्सं च किं वा दिषु किं चाण्डालभुजिष्यताभुपगतः पापो निजं जीधितम् ॥२॥
1 N1.2 D3.5.7 निशश्य 25 incexe; Dy निखस्य; remaining Mss निश्वस्य. Nu1,2 उत्तरोत्तर- ( for यथोत्तर- ). Dr ins. sq after मे.
St. r—a) Na यदन्यन्मम ; Peo इदमस्य मम.-¢) 07 वासो ( for वसतिः ) 24 mat घोरतरे. D4 महाश्मशने--0) 141 कृत्यं ( for क्म ).—d) Nu.2 (Na corrupt) Di श्रान्तं मे; Mr खलु शन्तं; D3 विगतं मे; Dz शान्तं मे ( for परिशान्तं )
1.5 07 aa; Dz Peo सीन्युकं (ग सशोकं ). पपि gta; D3 बुःवैःखं ( by transp. ) ( for ga ga: )
L6 2.3 om. इति. 27 दङ्िणामू्य-. Ni 24 -fagat ; Nz -निवृतं ; Pea -निक्र्. D4.5 93 Pea ins, पुनः after इदानी, Nu.2 21. gat wet; Mr D3 शोको ; D4 Pea qreqatat ; 53 भरात्मजादिशोको नव ( for भ्रा शोको). 24 erfiaraa.
1.7 Na S2.3 नाटयति,
St. a—b) पि 1.2 03 किं मोलभयान् ; Mr किं मौलि० ; Pea दि ater भयान् (for gate भयान् ).—c) Ni.2 Mr 03 प्रियतमां हा क्त्व fe at
fed ; Di प्रियतमां gro me § firy.—d) 02.4.6 51 Per ब्ररडाल-, D7 उपगतं,
Act IV ] चरढषोरिकम् ay
( स्मुतिमभिनीय सखेदम्) |
बुरारा्ये तसिन्परमतपसां धामनि तवा
मुनौ fara कथमपि यदा्ण्यमभवत् |
warfare’ wer प्रददितमुखं बालतनयं
agreed मां वमिव विरूढं ग्छपयति van # चाण्डालौ । ( पुनस्तदेव पठतः ) | राजा । ( fafa सखेवमात्मगतम् )। भह दं पीडयति मां संप्रति
तव् यत्तदा
त्वरयति गुरोभक्तग तसिन्दिजन्मनि रोषणे
खदति च तदाक्षिप्ते बारे पटान्तनिरोधिनि। 10
विधृतविधूतेर्ष्योत्पीडेजडीरततारका
कथमपि तया करे इष्टिधिरान्मयि See ४॥
( सर्दङ्कष्यम् )। हा देषि
यदि तपैनकुलोचिता aged
यदि विमले शिनः कले प्रसूता । 1४
मयि विनिपतितासि मस्मराशौ
सुतनु धृता्ुतिषलदा कथं त्वम् ॥५॥
St. 3—«) 01.3 तथा ( for तदा ).—c) Dz प्रमुदितमुखं .-4) S3 fired.
L6 Na aera: ; Some Mss चरडालौ. Ni.2 ins. भरोमलष (Na maa ) शादि before पुनस्तदेव.
L7 पविः भ. सखेदं. 124 we} ( for ्रहह ). 1.2 संप्रहि इडं पौडयति at देवी (N2 om. देवी ) ; र पोडयतिमां; Di भ्रति dteefa at; D3 ae मां संप्रति पीडयति ; D7 ea’ at पीडपति ( for ष्ठं पीडति at संप्रति ).
L8 Nz,2 07. om. तत्. D3 यदा ( for यत्तदा).
St. 4—a) Ni gd मषा ; 142 genpa. D6 द्विजन्मनि रोषाय (hypermetric) ; Sa शपि fed च हषाष्णे.-0) Ni.2 03 तथा ( for तदा}. Ni Da पटान्तविरोधिनि; 01 रतिरोधिनि; Ds verencfantfafa (hypermetric) ; 93 पद्न्तविरोधिनि.-4) Mr at ( for at). D3 ता; 92 daen ( for संहृता )
St. g—<) 4" अ परतिताधि.-५) Ma तदाहुतिबतदा. Di feet ( for वदा). Nx Mr D1.7 Pea oy Nz a: ( for a ).
ae चरढदौरिक्म् [ Act IV
अपि च राजपुत्रि उपवननवमालिकाप्रसनैः सखजमपि या परिखिद्यसे सृजन्ती | परिजनवनितोचितानि क्म- 5 ण्यपरिचितानि ei विधास्यसि त्वम् ॥६॥
चाण्डालौ । ( अग्रतोऽवलोक्य )। अले णादि दर्किणमद्ाणे। वा
तुखिदं भामश्च |
राजा। ( दष्टा सावषटम्भम् )। भये कथमिदं महाद्मशानम्।
तथाहि
10 विद्रादभ्यस्तर्वियति बहुशो मण्डलषाते- व्दश्चदपुच्छाग्रस्तिमितविततैः पक्षतिपुटैः। पतन्त्येते ar: श्वपिशितलोकलाननगुषा- गल्कालाक्लेवस्थगितनिजचश्चुभयपुटाः ॥७॥
Li Nru.2 ins. भोः before राजपुति
St, 6—a) Pe2 उपनत- (for उपवन- }. N2 04 S3 -म्षिका- ( for -aifaat- ).—b) Di परिबिद्ते-०) धि. Mr D7 परिजञनवचनोवितानि ; Ds परजनवनितोवितानि.
L6 Na areere:; 02.4.6 51 Per.2 चरडालौ, D7 om. भ्रप्रतोऽबलोक्य. D2.6 Pea we; D4 श्ररे (for wa). Na णादीूले ; D2.6.7 णातिद्रे ; D3-5 Sx Pex णातिवृले ; Peo orfeqt. Nu.2 ins, एसे ; Dr ins. qa after grea. N12 Ds afgy- ; Mi Di-3.6 51 Per.2 दक्लिएा- ; 24 इस्विण- ; (D7 as in text), Ns.2 Mr Dr.g-7 Pea -मसाणे } D3 -मशाशके,
L7 Nuz.2 repeat; Mr Dr gfast gfasi; other Mss and Pr afers! ( for वुलिदं ). All Mss and Pe sareveq ( for भ्राश )
L8 Mz ins, भग्रतोऽवलोक्य after area? Mr 71 तत् ( for इदं ) D7 Pra ins. aa after इदं, Mr places इद् after महारमशानं,.
Lg 02.47 91 Per om. aan fe.
St. 7—«) D3 भअर्ष्ठैः (for अभ्यस्तैः). Na मयडलगतैः.-¢) 53 -सिमितविनतेः.-८) 03 -ateraege-. —d) D3 -गलपानाक्तेद-, Na Mr’. Dr.7 -wfra- ; Na मूषित" (contrary to metre) ( for -pafira- ). Da रे,
Act IV ] चणडकौशिकम् ष६ ( नेपथ्ये कलकलः ) राजा। ( कणै' दृर्वावलोक्य च )। oat header महा- दमदानस्य । तथाहि दमा भू्न््न्तःप्रतिरवभृतः कणंकटवः शिवाः कूराक्रन्दैरशिवपटहाडम्बररवाः | 8 ज्वलन्त्येते तापस्फुरितजकरोरीपुरदरी- लखन्मस्तिष्काक्ता स्तिमितजरिलाप्रा ETH: ॥८॥ ( अग्रतोऽषलोक्य सन्छाधम् ) । अहो बीभत्समपि स्पृहणीयमिदं वतैते। भद्र कुणप स्वैखग्राहिभिः प्रणयिभिश्च श्वापदृगणै- यंथेष्मुपमुज्यमानो धन्यस्त्वमसि । तथा हि ५
1. 1 93 कलः ( for कलकलः )
1. 2 N2 53 om. श्रवलोक्य. N2 01.4.5 om, च. Na बीभत्सभीषणं ; 5} रौदबीभत्सता.
{~ 2-3 Mr [04-6 51.2 Per इमशानन्य ; D7 च eamae.
L3 Naom.,; Nr marg. aa fe.
St. 8—a) Ni,2 01.3 श्रमी ( for इमाः ).—b) Nr.2 Mi 01.3 घनाः (for शिवाः ). Nz 07 ्राकन्देष्वशिव- ; Di कोशाकन्दैरशिव- ; Mi su: कन्दे ०.-८) D3 कूणान्त्येते (rj (for ज्वलन्तयेते ). Ds arresfta-. D2.6 51 Pur -पुर- ( for -पुट- ).—d) Nia Mi लमन्मस्तिकाङ्ना (contrary to metre) ; Di रसन्मलिष्काङ्ा ; 2.3.6.7 St.2 Per लमन्मल्िस्काक्ञा. D4-6 ferfafa- + Pca शमित- ( for स्िमित- }. Dg -करिलाग्रा.
L8 Da ins. च before agate. D3 S3 रमणीयं ( for दहशीयं ), M1 01.3.5 om. इदं
Lg Ni.2 Mt 01.7 सर्ववप्रणयिभिः; D5 aanifef: ; D7 ade प्रणयिभिरपि ( ०: सर्व॑खपाहिभिः प्रएयिमिथ ). D3; om. च. Nr.2 व्वापद्गौः.
S3 ins. च after भरापद्गशेः, 12
१० चरडकौशिकम् . [Act lv भिनत्यक्ष्णोमुदरां शिरसि aon न्यस्य करटः शिवा खृक्षोपान्ते ग्रसति रसनाप्रं विलुरितम्। छिनत्ति श्वा मेदू" प्रथयति च गृधोऽन्त्रविवरं यथेष्टव्यापारास्त्वयि कुणप यच्छापद्गणाः ॥९॥ 5 अहो निःखारता शरीराणाम्। तन्मध्यं तुरस्तदेव वदनं ते लोचने ते च वो जातं सर्वैममेभ्यदोणितवसामांसाखिलालामयम् | भीरूणां wad श्रपास्पदमिवं बिद्याविनोद्ात्मनां तन्मूदैः कियते चथा विषयिभिः शुद्रोऽभिमानग्रदः ॥१०॥ 0 चाण्डालः | ( अग्रतोऽवलोक्य )। अले पणवेम्द पदं तुङ्गतलकुहल- वारिणि भभवदिं चण्डकश्चारणि |
अपरः। पवं कलेम्ह । ( इति तथा कुरुतः ) |
St. g—a) Ni.2 Mr 01.7 चरणं -- ¢) पि 1.2 Mr 1.7 fagfad.—c) 02-6 S1.3 Per [श्र] विवरं (for [अर]न्तविवरं).-4) 1.2 यत्खापदगणाः.
5 01.3.57 शरीरिणां. Mr Dr ins. तथा हि after शरीराणां.
St r1o—b) Ni.2 01 -शोशितवशा-. Ni.2 -मांसास्थिमालामयं.--) Mz D7 Sa Per विद्याविनीतत्मनां.--4) D2 qarftara- ; 27 व्यर्थोऽभिमान-.
Lio Da.s.6 Si Per ausrat ; D3 (before corr, चारुडालौ ) बारडालयोरेकं ; Dg Pea चडालयोरेकः, Ni.2 Pea egy ( for अवलोक्य ). Pea अड़े ( for wa). 111 Di परणमम्ह ; Dz aga, Peo पडवेह्म. Mz 93 om, एदं. 01 ins. g after एद्,
Lro-r1 Ni तुज्गतलुग्गतलङृदलवासिणिं ; Na कर गतलकुहलवापिणिं ; 01 agreuferfafy ; Mr 2.4.5 वुङ्गतलुकुदलवासिणि' ; 03 तुज्गतकगहण- बासिणि; D7 Peo तुङ्गतज्तुसिहडवासिणि".
Lit Miom. waft. Dr चरडकबदणि; 24 चरिडकचायिणी" ; D7 eae’; S3 चरडकरवाभ्मणि
Lia 01 ins, w& before एव. Na करेम्ह ; D3.7S3 कलेद्म ; 04 Req. Nava Pea तथा इत्वा ; 01 उभौ तथा gear ( for इति तया get: ).
Act IV ] चरडकौरिक्म् ५१ णिम्महिमलुलि [भ] खण्डमस्तिप महिरामहाहुरभिण्णगस्तिप | कश्चारणि गजवम्मवस्तिप रस्कश्यु म चलयूलहस्तिप ॥११॥
St. 11 The Mss are uncertain with regard to Mg Prakrit and metre of the verse. Our text is frankly eclectic and conjectural.—«) Ni शिमत्थिदलुलुचर्डहत्थीए ; No एमत्थिदं लुलुचण्डहत्थीए ; Mi णिम्महिद- चरडमुरडभरिड९ ; 1.4 णिम्महिश्रचरडमत्थिए D2.5.6 51 Per.2 forafen- चर्डमस्िए ; D3 णिम्मस्थियचणडहत्थिए ; D7 गिम्मत्थिदमततहत्थि षरडमुरडभसिए ; 52 रिम्महिश्रवर्डमत्थए.--¢) Ni 1.7 महिममहासुलभिरणगततिए ; Na महिसमहाडुरभिरणमस्तोए ; Mr °भिरणगगिडए ; D2.3.6 Sr Pera महिश- महाशुल ( ०९ ge) भिरुणगत्तिए ; D4 (corrupt) महिरमहाशुलविभिरण- लिश्राए ; 52 महाशूलमभिरणमहिशगत्तिए.--°) Na कटणि ; Di कच्छाएणि ; D4 क्शचयिणि; D7 क्हदणि. Ni वम्मवत्तीए्; N2 चम्मवस्तीए; Mr 01 गश्रचम्भवस्तिए ; D4 गजचम्मवर्थिए ; 127 गश्रचम्मवत्थिए. - 4) Nr Di Pra arag; N2 waa; Mi D2.3.5 51 Per wrag,; 05.6 weg ¦ D7 wag. पसं ( (गमं), Na गलसूनहत्थोए ; Na वरमूनहत्ीए ; 71 चलसूलहत्थिए. 2.5 Si Per चशडशूलदत्थिए ; Mr D3 वलशूनहत्थिए ; D4.6 चरडतूलहत्थिए ; D7 azqaefar ; ८2 चर्डसूहहत्थिए.
The Sanskrit chaya of the verse would be:
निर्मथितलुलितचरड मस्तके महिषमहादुरमिप्रगावके । कायायिनि गजवर्मवस्तके रद मां चलश्नहस्तके ॥
The metre is Aparantika of the Vaitiliya class. The Vaitaliya scheme has: 6 Mateas+qry+aa in uneven 0५433, and 8 Matras+qry+ लग in even Padas. All the four even Padas of Aparantika ( like the even Padas of Vaitaliya ) have 8 Maceas + गश + लग. Sce Jayadaman, ed. H. D. Velankar, p. 157 (१०, 7) and references cited
therein.
४२ awe fara, [ Act IV राज्ञा। ( सर्वतोऽवलोक्य सविसयम् )। अहो बीमत्सोपचारप्रियत्वं
कालयायन्याः) तथा हि जरन्निर्मास्याढ्या मृतमहिषगोकण्टलुकिताः प्रलम्बन्ते घण्टाः ्रवणक्षटुटंकारपटवः। ¢ तरस्तम्मे देव्याः कृतसुधिरपश्चाङ्ुलितले wae यसिन्प्रृतिवटिलोला बलिभुजः ॥१२॥ ( सप्रणाममञजलिं बदा ) | भगवति चण्डि प्रेते प्रेतविमानग्रिये wane प्रेतास्थिरौद्ररूपे प्रेतारिनि भैरवि नमस्त ॥१३॥ 10 ( नेपथ्ये कलकलः )
राज्ञा । (arnt) अहो नानादिगन्तपातिनां खनीउपर्यत्सुकानां
Li 3 ०. राजा. 77 om. सव॑तोऽवलोकंय, ।
La Nia Mr Dr ins, amen: before कालयायन्याःः 3.5 कालयायिन्याः, M1 om. तथा हि.
St. 12—a) Na उवलन्-({० जरन्-). 53 -निमौस्या््या. }प1.2 -ररुउलुलिताः ; Di -सुरडलुलिताः ; D3 -करढलुटिताः ; Ds Pra -करर्लुठिताः.-९) Dr तर्स्कन्धे.--थ) 4 रटन्तयेतसििन्. Mr तस्मिन् (for यसिन् ). Dr प्रकृत- (for प्रकृति).
Lz पिः प्रणामाजलिं, 4 ins. afy after wal.
$ 13a) Mr चरडे ; D1.3 arya (for चरिड). D4 $3 om. ; 1.2 Mi प तालयाधिवलि ; D3 प्रताधिवासे ; D6 प्रेतप्रिये (for प्रे ते).-¢) 141 रतविभाने ; 26 विमानग्रिमे (०, प्रे तविमानप्रिये ). Ni ललते ते. Nz लतितपरेते ; ` Mr इललालसतर ते ; Di रसस ते.-८०) 03 लसत तास्थिरौदर्पे ( for लघे ते ्ेतास्थिरोदह्पे).--4) Sa repeats नमस्ते ,
Lio Mz ins. महान् before कलकलः, 53 कलः (for कलकलः)
ग्य 03०. ; Dr aq’ gem (for werd). D2 दिगन्तपतितानां ; D3 विगन्तपातिनां ; 4 नानादिगन्तपतितानां (for नानादिगन्तपातिनां ). 24 खनीडपमनपयुतयु्ाना
Act IV ] चरढक शिक्षम् ४
पिवसाबसानशंसिनां सांराषिणं विहङ्गानाम्। ( प्रतीचीं श््टा)। न कस्यचिन्नाम न दुरतिक्रमा वैषपरिपाटिः। तथाहि अयमसौ गगनाङ्गणदीपक- स्तरलकालभुजंगरिखामणिः। 5 क्षणविडम्बितषाडषविग्रहः पतति वारिनिधो विधुरो रविः ॥१४॥ ( समन्तादवलोक्य सविस्मयम् ) | रूध्यावध्यास्नदोणं तनुदहनचिताङ्गारमन्दाकंमिम्बं तारानारास्थिकोणै' विशद्नरकरङकायमाणोज्ञवकेन्दु | 10 हष्यश्नक्तंचरोधं घनतिमिरमहाधूमधूघ्रानुकरार ज्ञातं रीलाश्मरानं जगद्सिलमहो कालकापाणिक्षण ॥१५॥ चाण्डालो। (TST) कथम्
Li Dr -शह्िनां (for -शंसिनां). Ma सारिणां (corrupt); D2.6 St Per.2 संरावणं ; D4 रावि. Ni.2 D7 Sa fagwmat ; Ds विगाना. 03 विहगानां सांराविणं. D4 ins. कलकलोयं प्ल fagyrat.
1.2 Dx श्रालोक्य (for षटू}. Nu.2 Dr.3 कथ (for क्नित् }. चि ins, भवति क्रमादेव ; [26 St Per. 2 ins, न alter नाम् (as in text). Nz om. ; D3 gfeamar (for दुरतिक्रमा). 41.2 Mi [1.3 दशा- ( for देव). Dr Pea -परिपाटी, ।
L3 Nr 02.451 Per om. तथाहि.
St. 14—a) D7 wat (for mat). $3 amargy-. Ne -दौपनः। Na -प्रहोपनः (contrary to metre ) (for -¢i94: ).—c) Nix 01.13 -विडम्बित- neafraa: ; N2 °बाडवविक्रमः; Mi -विढभ्बितचराचरतिभ्रमः,
St. 15--4) D6 संध्यावदा- ; D7 गवध्वा-. Ns.2 01.5 [श्र] प्रोशं- ८) पिव वाराकारास्थि---) Nu.2 Mr 01.3.7 -महापूमपयंनतधूत्र.-4) D7 ins. समन्तात् before जातं (hypermetric).
{13 Dr चारडलः; D6 ayer; a few other Mss aaerat. Dg om. tet. Di om.; 02.57 St Per et; Dg ve (णश).
ev Senet | [ Act ly
रस्तं गश्चदि शूले TERT गदे यधा aes) ae तमरधाडे चण्डालकुलं व्व आओदरदि ॥१६॥
राजा। ( सर्वतोऽवलोक्य )। अदो अतिगम्भीरभीषणाः संप्रति वर्ने इमरानशाखिनः। तथाहि
5 आ स्कन्धादुत्पतन्तः पृथुकुदरगरहद्वारि FATSHT धुन्वन्तः पक्षपालीः प्रबलकिलकिखा मूर्धं गृध्राः पतन्ति। शाखाग्रालम्विशीर्यत्कुणपघनवसागन्धमाघ्राय रौद्र क्रन्दन्तः स्फारयन्ति स्फुरदनलमुखाः फेरवः फेत्छतानि ॥१७॥
St. 16——a) Ni Mi 01.3.44 53 श्रत्थं ( for wet). Di गदवदि ; 93 गच्छंति ; other Mss गच्छदि ( for गक्वदि }. Nr.2 [24 Pea सूले , 53 सूलो--¢) Mr वञ्कश्याण॒ं ; Ds amas ; 93 2८2 वक मट्ढाण॒ं ; other Mss वज्कट्ठाणं. D3 transp. गदे “and यधा. 52 जहा ; other Mss जधा, 24 Pea amma; [25.6 ast, 52 arm; other Mss त्ज्फ .-0) Ni D7 Pta एसे ; 04 एते. Ni 07 तमसंचादे ; Di रशंहादे ; 045 Peo oa’; Sz °शंश्राडे.--4) D4 चगडालकुले. 4 ०५० व (शण व्व }. Di श्रोत्थरदि ; Da.4- 6 Si Per state; D3 श्रोशलदि; D7 श्रोरुत्थदि ; Peo शओओचयरेदि. 1.2 ( ००४९६ ) चरडालश्र cag सलदि ; Mr average व्व श्रासण॒दि, The Sanskrit chaya of the verse would be:
aed गच्छति सूरे वध्यस्थानं गते यथा वध्ये । एष तमःसंघातश्वरडालकृलमिव श्रवतरति ॥
L3 Drom.; Nt.2 चतुर्दिशं ( for सर्वतः). 03105. च; 045 Pea ins. सवष्टम्भं after श्रवलोक्य. Ni.2 Mi 03 गम्मीरभोषणाः ( for भ्रति- TRI. ).
4 04 महारमशानशाखिनः.
St. 17-4) Nu.2 Dr गृहद्वारि; Mr 03.7 -दरोद्रारि (27 -दरि°) ( for -gearfe }. Da2-6 Sx Per कूजन््यूलुक्षा ( contrary co metre); Di merger. —b) $3 auf. De -किलिक्िला.--०) Mr -बस- ( for -षन- ). 01.5 -बशा- ( for -वसा- ).—d) S3 कन्दन्ति. Da.q-7 S1.3 Per.2 -भनल- शिखाः, D3 er.
Act IV ] चरदशोशिक्म् १५
एकः। ( जनाग्तिकम् )। अले विविधवेदालशङले पले दस्किणमशाणे | ता रिध fired mare | अन्यः। Ta कलेम्द | gh ( प्रकारम् )। अले महहलअदशा भ्भाए पवं माणं आदिण्डन्तेण aged तप अप्पमस्तेण चिष्ठिव्ञ्वम् | 6 राज्ञा। { सहर्षम् )। प्वम्। यदादिशति खामी । ( नेपथ्ये कलकलः )
Li Pea श्रडे (for wa), Nu विविहमूदवेश्रालन्धभ्रानमङुते ६ Nacorrupe; Mi विविधभूदवेदालभंकुले ; Di विविहवेश्रालमकृले; D3 विविधभूदतालशंकले ; D7 गवेलालसंकुले ; Pro egaisdge. Ni.2 M1 4.7 Pe2 एषे ( for ए}. Nu.2 Mi महामायो ; 1.3 महामशाणे ; D2.5.6 S1-3 Per दक्िलिशमशणे ; D4.7 दद्िलणमसाशो ; Pro दकिलिममाणो.
1. 2 Nuva fara’ fare’; Peo Perea’ सिष्य" ( for शिग्ध" शिग्ध ) ¡ Mr D7 S3 do not repeat favd. Mr samarg, D3 wang; 05 Pea गच्छह्म | other Mss गच्छम्ह.
1. 3 Dt ins. श्रते before एवं. 03 52 एव्वं ( for oa’) Ds Pea कलेह्य ; D7 करेम्ह् ; 93 कलक.
L4 05 भ. प्रकार D7 Pea we (for wa). Naz Mr 01.57 महदलभरस्व ; D3 महदलश्श , D4 महनभ्रस्स ; Pea महष्ग्रष्म, 1.2 D7 श्राणाए ; 01.3.4 53 amg ; lost in M1; 02.56 Sr 0८1. भ्रारणाए्, Nia Mr De महामसाशं ; 04 ममागां ( for aera प
Ls Ni श्रहिरडन्तेश\ Di हिणडन्तेण (for श्राहिगडन्तेण ). †11,2 होदम्बं ; D2-6 Si Per.2 श्रहोरतं (for watered). Nz om. ; M1 D3.4.7 $1.3 ए. gy (for aq). S2 seq. D1.7 53 Pea बिद ; the other Mss विट्ठिदम्बं. Mx transp. acqaty and faeferet.
L6 M1 24.5०, एवं. M1 aifenfa.
1.7 53 कलः ( for seven: )
६६ चरडकौ रिकम् [ Act IV
चाण्डालो | ( सभयम् )। हा मादिप, शमुत्थिदे णिश्ाकलकले। ता
शिग्धं पलाअम्ड। ( इति निष्काम्तौ ) |
राजा। ( सावद्म्भं परिक्रम्य षष्ट )। अदो बीभत्सदशौनाः कोणप-
निकायाः। तथा हि 5 जरत्कूपाकारेरनयनपरिषेौस्तयुशिरा- RSS घोणाः करिलरद्नाः HTATAT: | अमी नाडीजङ्घाहुमकुदरनिम्नोदरभुषो घनखायुच्छन्नस्थपुटपटलं बिभ्रति aq: ॥१८॥ ( सकोतुकमवलोक्य )। अहो कीडाकलदकौशलं पिशाचानाम् | 10 fretaisrerarcrense चषकं saofaret वकत्1द्गलितमपरो Ste frac: | ततस्त्यानान्कश्चिद्धुवि निपतिताञशोणितकणा- नक्षणादुश्च ग्रीवो रसयति लसही्रसनः।।१९॥
Li Na चरुडाल ; 04-6 51 Per चरडालौ. 03०. Nu.2 Mi Pea मादिकि (for मादिए ). Nu.2 Mr D4.5.7 St Per.2 समुत्थिदे ; Di समुपत्थिदे ; D2 समुपच्छिदे. Di ins. एशे before शिशाकलक्ले. D3 om.; Nia शिसाश्रलश्रले; Mr शश्रलकले ; Dii2 5.6 St Per निशाकलकले ; D4 णिसाकलग्रले ; D7 णिशाश्रलक्रलश्रले ; Peo निशाकडे.
L2 93०. ; Nui.2 सिग्धं ; Dg frre शिग्धं ; Pro fad feed (for fara), Mr श्रवक्षमम्ह ; D3 पलाएम्ह ; Ds gare, D7 पलश्रम्ह ; 2८2 gers.
L 3 D3 ins. 4 after ष्टा. Di बीभस्दशंनीयाः ; 03 गद्शनाः. ऽ; कणप- ( for फौणप- ) :
L4 D3 om. aur fe.
St. 18—a) Some Mss -परिवेषैः, Ni Mz तनुशिरः- ; Dz खरशिला- ; S3 तनुशिराः. —b) D7 घोराः ; 53 बाणः (for dg). 1.2 कृटिलरदन- कूरवदनाः ; D4.5 93 कटिलवदनाः कृररदनाः.- ०) N2 D7 -कृदरदरीक्रोटरभुवः ; Mi -कृहरकोरिरभुषो ; D3 -कृरदरोकणं विवरा (for -कुहरनिम्नोदरयुवो ).--4) D7
' ज्युच्छु. [27 22 -argewed.
Lo 05 om. सकौतुकमवलोक्य, 1.2 Di श्रालोकंय (for अवलोक्य ). Ni कलेहकोडाकौतुकं ; Na क्रोडाक्ोतुकं ; 27 कोडा कौशलं (for क़ीडाकलह० ).
$. 19—b) 1.3 ललजिहो---0) Ni ततस्त्यानाः ; Na तस्या \ D6 लस्स्यानात्, }प1.2 निपतिताः शोणितकणाः.--4) D1.6 रघदोष॑रसनः.
Act IV ] चरको शिकम् ty
( सकौतुकमवलोक्य सस्मितम् )। अदो नु ag भोः। oftera श्व वुर्विदग्धानां कलिरपि रसाम्तरमालम्बते थातुघानानाम्। am ft क़ रम्यः संभोगो AACA: कटाक्षाः क्ान्योन्यं प्रलयविततोरकाचुतिभूतः | क au 1संघहज्यकितद्इनश्चम्बनविधि- Sareea: कायं प्रतिरसदुरःपञ्जररवः ॥२०। ( सघृणमवलोक्य )। धिगतिबोभर्समेतत् | चिताग्नेराङृष्ट नटकरशिखरपोतमसह- रस्पुरदधिर्निवोरयम्रलयपवनेः Freee | 10 शिरो नारं परेतः कषटयति दृष्णावशलल-
SHUTS: प्लुभ्यद्वदनकुहरस्वुदूगिरति च ॥२१॥
Li Nz.2 ins. sega: alter wage. 121 प्रालोकष्य ( for अवलोकय ). M1 सविस्मयं ( for सस्मितं ). Mu transp. वु and खलु.
1. 1-23 Ds परिहासप्रचयदुविंदग्धानो.
St. 2o—«) ववि 010८9 -बेशज्गललितः ; Na corrupt-—b) Nt ezi@: ; Naz corrupt. 01 क्का न्योन्यप्रबतविततोतका- ; 22 कान्योन्य॑ aea- पतितोल्का-. 52.3 -युतिपूतः.--८) Mr स्षहाकृलितरदश, Da. 5.6 Per चुम्बित विधिः. 53 -उ्वलितदहना बुम्दनविधिं---4) Ni afataqe ; Na प्रतिलपुरः- ; M1 प्रतिषवदुरः- ; D3 परिलमवुरः-.
{8 Nr ins, अन्यतः afcer agg. Ma 4.5 53 नि ( for wfa- ) 01 ins. यतः after एतत्.
St. 21--€) Ne अनलरिखरपोत.- ८) Ne Mi epifgfaica ; [५८ exifretgrea ; [6.7 53 त्फ्रद्धिनिरवाप्य, Di -परवल- ; Mr D6.7 $2.3 -अरषल-( for-sag-). Ma 01.3 कू्ततिशतैः 5 D2.5-6 52.3 पुकतरषैः.- 0) Nu.2 07 मालं ; 24 ard: ( for नार ). Ne दृष्णावरागतः ; Na oaand ; Mi नशतगतः; Di ०वशचलत्- ; D3 °रसशलव्- ; D7 न्वरवलात्.--4) Di शुष्यद्रदन- ; 53 geagaa-. Ni D4 afxefa ; Di afxafa.
13
क्व asa era 1 Act IV
(स्मृतिमभिनीय)। अलममीषां ददौनकुतूदलितया | तावत्खाम्यादेश- मन॒तिष्ठन्परितः दमशानमेव पय॑टामि। (परिकम्य दष्टिमभिनीय) | अहो गम्भीरता निश्ीथिन्याः। तथा हि मुटिमरा्यं तिमिरमभितो fg at दिग्विभागः 5 पादन्यासः स्खलति विषमे निष्फला दृष्टिपाताः | धाराभिन्नाञ्जनगिरिसुहल्लुप्वर्णीन्तरत्वा- erage a: स्फुरति परितो नीलिमेवैकतानः ॥२२॥ भवतु । उच्चैस्तावद्वयाहरामि। कः कोऽत्र भोः। श्रयतां मम हमद्ानाधिपतेः खामिनो व्याहारः |
10 अकृत्वा मत्परिक्चानमदस्वा TARAS | प्रवतैनीयाः केनापि न इमशानोचिताः क्रियाः ॥२३॥ तद्ग्रभृति सवै रेव ^
Li Di एषां (णः श्रमीषां ). 1.2 M1 D6 93 -कृतृहलतया ; D3 कुतूहलेन. 1.2 इदानीं ( for यावत् }.
L2 Mz श्रनुतिष्ठामि पुनः (for श्रनुतिष्टन्परितः). D3 श्मशानमेवेदानी". Nr.z ष्टिविरोधं ; Ma Di ननिरोधं ; D3 ररोषं ; D7 °विबोधं ( for दि" ).
L3 N12 om. तथाहि.
St. 22-4) Da-4 Si-3 ?८1,2 निह ते fefaari.—b) Di पादन्यास- स्खलितविषमो ; 52 गविषे. Ni Mi विषमो ( for विषमे). Nx.2 Mi D3.7 निष्फलो efevra: ; 53 निष्फलं दृ्टिपातं.-८) Nz धारा्भिश्नो निजगिरि-. —d) Nr 53 लब्धाैतं, D3 परतो. Nua नोतिमेवैकतानं ; 01.3-5.7 Pea नीलिमेवेकतानः ; 52 निलीमा चैकतानः } 53 निलीमैवैकतान,
1. 8-9 Mr D3 भूयतासत्छामिनः श्मशानपते्पाहाराः,
Lg Dt transp. शमशानाधिपतेः and खाभिनः, 53 om. खामिनः,
St. 23=V. 19.4) Na अकृत्वोदि पठति for the whole verse,—cd) Nu 111 D3 श्मशानं न प्रवे्भ्यमिवयाहञा खामिनो मम.
Lia M1 om. safe. 03.4-7 Si 0८1.2 om. स्वैरेव,
Act IV ] चगहद्ेरिकम् ae
पतसथेति करणीयमिहाप्रमसै- राहाव्यतिक्रमसहः किल नास्ति भरतः | ब्रह्म न्द्रवायुवरणपतिमोऽपि यः स्या- सस्याप्ययं प्रतिभटोऽस्तु भुजो मदीयः ॥२४॥ कथं न कथिद्धगाहरति | भवतु, अन्यतो व्याहरामि | (परिक्रम्य) । = कः कोऽत्र भोः। ( नेपथ्ये ) अयमहं मोः। राजा । ( सावष्रम्भम् ) । कथं प्रतिग्याहारः। भवतु | शग्नानुसारेणो- पगम्य निपुणमवधारयामि कोऽयमिति। ( परिकम्य नेपध्यामि- मुखमवलोक्य सधिसयम् )। अये कोऽयम् । खटाङ्गधुग्भस्मकृताङ्गरागो नरास्थिभूपोरज्वररम्यकान्ति \ कपाढपाणिैकरङमोलि- रामाति साक्षादिव भूतनाथः ॥९५। St. 2g—a) 01 इह प्रमततैः.--¢) Da -म्यातकएसदः ( contrary to metre). M1 Dz S2.3 नक्षि ( for नालि ).—c) Mi-erqefnt: ( for-arqasag-). पिः यस्य (for यः सात् ).—d) Ni Mi 07 प्रतिनयो ; N2 afayat- ; Ds प्रतिभुजो-. 15 D4.5.7 52.3 Pea transp. म and कित्.
16
1. 5-6 [2 om. these two lines.
L8 Dg श्रयमयं भोः.
Lg Ms 05 om. सव्म्भं D5 कः कथं (for a). 93 om. कथं ्रतिष्याहारः. 142 M1 7; sarge: ; D6 प्रतिहारः ( for प्रनिम्बाहृ।एः ).
Lio D3 ins. एव before उपगम्य, [24 उपागम्य. M1 D3 om. asafafa. Nui marg.; पिठ om. qfcprt.
Liz Da St [९1.2 ins. च after watea. D3 om. afeard. Mi Pea कथं ( for wa). Mr ins. भोः after @s4.
St. 25—w) D6 esarmera.—b) 27 arafer- (for aufar-). Ds नानास्थिभूषोर्वलरनकान्तिः. Mr -कान्विरभ्यः by transp.—ec) D7 कपानमीनिः (for न्पाणिः ). Mz 03 वृषपालमोलिर्.
१० area शिक्षम् [ Ace IV ( ततः प्रविशाति कापालिक्तेषो धर्म ) wre: | अयमहं मोः । अयाचितोपखिितभैश्षयवृत्ति- निवृत्तपश्च न्द्रियनिस्तरङ्गः | 5 व्यतील्य संसारमहादमदानं चरामि बीभत्समिव एमहानम् ॥२६॥ ( षधिचिन्तय )। स्थाने सख खलु ett भगवान्महावतं चचार । परः किलायं sah कामचारिणाम्। कितु मैश््याद्वतं ange fiend च तत्परम् । 10 Ged सर्वमेवेतदात्मादवैतं तु THAT ॥२७॥ ( समन्तादवलोक्य साहाङ्कमात्मगतम् ) |
Li 024 कपाल- (for कापाल्तिक-). वि. Dr -वेशो १ 110; वेषधरो.
L2 3.4 ग. धमैः, 704 saat; Ds Pea sea.
St. 26—«) Da श्रायादितापश्िति-. S3-g-.—b) Nu.2 Mr D1.3.7 निहदपने नवि) 93 seta (for व्यतीत्य}. 03 व्यतीतसंसारमहा- रमशानश्.-4) पि 1.2 01.4.5 93 Pea चराम्यबीभत्सं. M1 52 बीभत्समहा- ( for बीभत्समिदं ). ।
L7 पि2 था 03 गार स्. 02.4.5 S2 Pea transp. स and खलु. M1 01.3 transp. eat and मगत्रान्, 07 स्थाने खल् भगवान्स amt. N12 श्दं महाव्रतं ; Mr 1.3 gad; Ds महात्रजं ( for महाव्रतं ).
1.8 Na अपरः शिलापकषं अआकाशचारिां; 1.7 किलायं seh (D7 प्रकर्षः ) कामायाराणाम्. 53 प्रकृष्टः कामचारिणा.
St. 27—«) Di tanga ; 03 fitgrda.—ab) Na.2 Mr D1.3.7
„ ५४५१. तपोदतं and करियादेतं--#) Nu.2 1.3 यलरं.-९) 41.23 Mi 01.3 ataag ; 24 सर्वमेततु--4) Na भ्रात्मगतं ( for ्रातम्ैवं ). Na Di च (णतु).
Lit 04 om, भ्रातमगतं,
Act IV ] अरडदोरिकम् १०१
मया भयन्ते भुषनान्यमूनि सत्थं च at तत्सद्ितं बिभति । परीक्षितं सस्यमतोऽस्य राः कृतो मया वेषपरिप्रोऽयम् ॥२८॥ ( विचिन्तय साश्चयेमात्मगतम् )। भाश्चयं बुःलपर पराखदोच्यमस्य 5 राजर्षे रिशग्दस्य अरितम्। अथवा प्रकृतिरियं aera) इलः ge घा get घा किमिव हि जगत्यस्ति नियतं विवेकप्रभ्ट साद्भवति सुखदुःखष्यतिकरः । मनोवृत्तिः gat जगति जयिनी कापि महतां यथा ge वुःख' सुलमपि सुख' वा न मवति ॥२९॥ 10 भवतु, तत्सकारमेव गच्छामि । ( परिक्रम्य cat सग्छाधम् ) | अथे अयमसौ मारमा । ATTA | ( तथा रत्या ) | भो राजन् सिद्धिमाजनं भूयाः | राजा । खागतं महाव्रैतचारिणो नैकस्य | कापालिक्रः। भो राजञन् , अर्थिनो षयं भवन्तमुपागताः। 19
St. a8—Instead of this stanza, which is repeated with a variant from Ill. 31, 0.3 मया ध्रियन्ते भुवनान्यमूनौति पटित्वा (D3 cafe पठति); S2.3 मया धरियन्त ( 53 भियन्त ) इति पठित्वा.
1.5 ि1.2 01.392 om. श्रा्मगतं and read may ( except 92 ) ( for mag’). 1.2 Mt D7 ins. qreqrafi ; 21 ins. श्नामलापि ( sic ) before दुःखपरंपरा ह. Sa Pex अशोध्यमानश्य , Pea शोचमानघ्य ( for भअशोश्यमस्य ).
L6 Na eftaeeey. Naom.; 01 यतः ( for कृतः ).
St. 2g—a) Mi च (0 हि). Na किमिति जगतामल्ि,--0) Ni D2.6 S2.3 -प्रभ्रशाद् ; Na -विध्र'साद् ; 07 -विघ्रशाद्.-^) [2.3 जयति ( for अगति). [5.6 Pes अयनी ( for जयिनो ).—d) Mi [24.5.7 Sa Pea यया ( for aar). Ni D3 नेव ( for ma)
Lit Nu.a Di om. मवतु, 07 ins. इति before परिकभ्व.
[. 13 D2.6om. all words from तथा कृत्वा up to algem ( । 14 ). D3 area ( for तथा कृत्वा ). Na महाराजन् ( for राजन् ). ।
1. १4 03 खग (5८); 04.5 खगं ( for स्वागतं ). Ma अहो व्रतबारिता नैष्टिस्व for the whole speech.
Lig 52 ०2). मो राजन्. Nu.2 भर्थिंजनाः ( for afda: ). M1 Dg at ( for भवन्तं ). D7 Sa उपगताः.
१०९ चरडकौशिकम् [ Act IV
राजा। ( wat नाटयति ) कापालिकः। अलं वीडया । atrengyy हि ad विदितवृत्तान्ता एव भवतः। तथाप्येवमवस्थस्यापि ते न नः समीहितदाने दारि्रिम्। तथा हि पश्य 5 परेषामुपकाराय न afte area: | करमपि समासाद्य धिनोतीन्दुषैनस्पतीन् ॥३०॥ तद्षधर्तां भवान् | राजा। अवदहितोऽखि | कापालिकः। वेतालवज्नगुटिकाञ्जनपादलेप- 10 दैदयाङ्गनाषिधिरसायनधातुषादाः | तच्चिन्त्यतां करतलोपगता ममैते विष्नैः परैरिव थथा न तिरस्कियन्ते ॥३१॥ तदादिष्यतां विग्नमत्यूह इति |
Li Mr D3 व्रीडां ( for ast )
L2 D3 त्रीडितेन ( ० व्रीडया ). D3.6 योगचल्ुषा. Mr om. हि. 1.2 transp. वयं after एव. Mz D3 विदितव्रृततान्त एवाहं ( tor हि बयं विदितद्रृतान्ता एव ). D4 हि ( for एव )
1.3 Dr transp. भवतः before विदितवृतान्ता (12). Nu.2 एवम- बश्थापि ; 01 एवमवस्थस्य ; D4 canaeaafi ( for canaerenfe ). Nia नापित्वयान; N2 corrupt; Di ¥a( for §a at). Mr om. नः.
L 3-4 Nu समीदितव्यं दाखििथ' ; Na D3 समीदितदाखििष' ; 1/1 मीहितं दार्थ ; 1.7 समीहितं दारिदथ' ( for समीहितदाने दारिदध' ).
L4 ८2 om. परय.
St. 30—b) Nx न किंचिन्न च बान्धवाः,
1.7 6 5८ Per पुनः ( for मवान् ). 01 ins, safe : fter भवान्.
St. 31—a) पि 1.2 Mr 01.3.7 -लद्ग- ( for -ay-). 52 -गुलिका- ( for ~gfest- ).—b) Ni Mi D1.3.7 -निधि- ( for -विषि- ).—c) 53 ममेतैः ( for ममेते )—d) 05 तथा; 52 यदा (for यषा). Ni.2D 1-4 St Per तिरष्कियन्ते ; 53 निराक्रियन्ते,
~ 13 53 तदा दिशां ( for तदादिश्यतां ).
५५५1५] अरढको रिकम् १०३ cat) भोः साधक योगवलाज्ञानात्येव भवान्, भखाधीनमिदं शरीरकम्। तत्खाम्यथौविरोधतः प्रयतिष्ये । कापालिकः । भो राजन् हतोऽ स्वाम्यर्थविरोधः। नन्वाक्ामात्र- संपाचं नः समीहितं भवतः। तदितो नातिदूरे सिखरसानां महानिधानमस्ति। तवर्थमस्ाभिरारम्भणीयम्। भवता 5
पुनरिस्थेनैव विग्मपतयूं परति सावधानेन भवितभ्यम् । ( इति निष्कान्तः ) 1
1.1 Mr 04 repeat :. Ni.2 01.37 ins. कथं before योगबलात्, 111 योगवशात्. Nr ins. न before जानात्येव. 2.5 92 ins. एतत् before ; Mz ins. यथा alter भवान्. S2 भगवान् ( [0 भवान् }. Dia खाधीनकं ( for श्रस्वाधीनं ).
L2 दवि1.2 Mt Dr Ptz ins. नः $ D7 वा before wae. Mr शरीर. Ni.2 D3 ततः; Dt a: ( for तत्) 141.2 euraifadia वु; D4 स्वाम्यविरोधतः. 1.3 प्रयतपिष्ये,
{3 93 ०). भो राजन् Dg repeats मोः, 01 ata ( for राजन् ) Nz 04 om. श्रत, Mr eafafaaa:.
L 3-4 Mz 02 श्रहामात्रकरणौयं ; D3-7 52.3 samara करणीयं ( for श्राहमा्नसपाय' ). Nu.2 ाह्ामा्सपादनसमी हितं (for °म॑पाथं नः समीहित ).
L 4 D3-5.7 0m. नः. D2-6 52.3 समीहितं नो भवतादिति ( for a: समोहितं मवतः ).
L 4-5 Nu.2 047 सिद्धरममहानिधानं ; Ms स्वसिद्धरमनिधानं ; ८2 faacad fad.
L5 D2om. { 1201. ) all words from afer to भाबातेन ( 6). Nu.2 agarenfa: ; 01 तदस्माभिः; Peo ठथदास्मामिः. Ma संभावनीयं ( for आरम्मशोयं ). D4-6 S1-3 Per.2 ins. safer after श्रारम्मशीरय. Mr om. भवता,
{. 6 1.4 पुनस्तेनैव ; Mi देनैव; D3 matty ; D6 पुनरिह घ्यनिनेष ; D7 पुमरिह वेनैव ( for पुनरिद्येनेव ).
L7 चिः D6 om. श्वि.
१०४ भरटकौरिकम् [ Ace IV राज्ञा। (arawed सर्वतः परिक्रम्य )। भोत्सरत विघ्नाः प्रोत्सरत। सर्वथा प्रतिहतो षः प्रसर ¶ति। ( नेपथ्ये ) राजन् यथाष्टापयसि | 5 . Ratfe विबृतद्वाराण्यय fran स्व्वराः। । सिद्धयः कामचारिण्यस्त्वदाक्षां कोऽतिवत॑ते ॥३२॥ राजा। ( सदरषम्)। दिष्ट्या तथेति (wav) प्रतिपश्रमसदचनं विष्नैः। Bred नः प्रियं नः। ( ततः परविदान्ति विमानचारिण्यो विद्याः) 0 fen: | ( सहसोपस्त्य )। राजन् हरिशन्द्र दिष्टा Td | त्वयि तिष्ठति राजन्ये करयो यहारुणो मुनिः। विदयास्त्वद्विपदां मूर ता वय॑ समुपथिताः naan
Li 03.697 Per.2 ४०05, विघ्राः and second skate Mz om. second प्रोरसरत,
L2 Nu.2 Mr Ds.7 Pea om. इति,
L 3 Ds 2 only for नेष्ये,
L4 Da यथाह्ञापयति ; Mi D3 agifeafa ; 04 aqrarvafa.
St. 32—d) S3 त्वदाक्ठाः. D6 को निवर्तते,
L7 Nua Mr ins. wen, Da Pea ins. सला before सहव, Na ada ( for तथेति )
Lg Na षिथाभयेः ( for freq: ) Nu ins. Fare: afver विधाः,
1. 19 D7 om. fran ayitvaa. 52.3 agi’ (for agar). Ds -अहाराज (for राजन् ). Nuva 01 Pra ins. हवा हि प्रय after बधे,
St. 33-9 Nua Mr Daz तमि चेधितराजन्ये | 5 ४1. ल्य gmat, Sa mart (for राजन्ये ).-6) Dr arn; Da-7 Sa बरदोऽयं ( for sat यत् )—d) Nx aga (for an ad ) Na Mr D3 लाहुपस्विताः ( for धमुपस्थिताः ).
Act IV 1 चरडकषोशिकम् १०५
राजा । ( दृष्टा साश्चयैमात्मगतम् )। कथमिमास्ता भगवत्यो frre arg भगवतो विभ्वामितरस्यापि तीवौस्तपोभिरषसन्षम् | ( भकादामञ्जलि वदा )। नमखिलोकविजयिनीभ्यो विद्ाभ्यः।
विद्याः। tra , त्वदायसा वयम् । मतस्त्वं शाधि a ।
राज्ञा। यदि मामनुग्राष्य' भवत्योऽनुमन्यम्ते तनो भगवन्तं कौदिक- ८ मुपतिष्ठष्वम्। ततोऽनपराखं मुनेरार्मानं समर्थयामि |
feo: | ( सविस्मयं परस्परमवलोक्षय )। राजन् पवमस्तु। ( इति निष्क्रान्ताः ) । ( वतः प्रविदाति स्कन्धारोपितनिधामेन बेताङेनायुगम्यमामः कापटिकः) 10
1.1 Na 03 om. ; Mr सहै ( for ear ). D3 tate ( for meant ). M1 om, ताः.
L2 D3 ins, gavbefore तीव्रः. Mu तीव्रतपोभिः,
1. 3 Nu.2 नमस्तेलोकयविजयिनीभ्यो.
L4 N12 om, राजन्, $3 यदायत्ता. D3 om. ववं, D7 om. ; Nive तदनु स्वाधौना वयं ; Dr तदनुशाधिनः( for aed ify नः).
L5 07 105. arg before magni. Nu.2 Mi अनुकम्बनायं ; D3 अनुक्म्पं मन्यन्ते ( {णः श्रनुप्राद्ं ). Ma D1.3 53 भगवयः ( for भव्यः). D3 Ni.2 Dr मन्यन्ते ( for अनुमन्यन्ते ). 1.3 नदा ( for तमः }). Mz D3 ins. एव after कौशिक.
L6 Mr यतः (णि वतः). Na.2D1.7 यतोऽनपराध्यं ( for ततोऽनप- राद्धं). वव. 05.6 aaqarfa ; Di उपदशंयामि ; 3 ममुत्रयामि (for समर्थयामि ).
17 थग 02 53 transp. सविस्मयं and परस्परमव्रनोक्य. 3-6 पष्श्षर- मवलोश्यन्ते सविस्मयं. Dr आलोक्य ( {५८ श्रवनीकय ) Ni.2 Dr om. राजन्, Nia eq! ( for इति ).
L 7-8 Mz om. इति निष्कान्तः.
Lo D1.7 स्कर्धाधिरोपिन- Mr -विपरानेन ( for -fawiaa ). Di- निषान- aman-. 7 वेताडेन. 4 वेतालानुगम्यमानः
14
om. ;
१०६ चरडकौरिकम् [ Act IV armen: | ( स्सोपखतय )। राजन् fea ade संसिद्धरसस्याण महानिधानस्य काभाभ्बुदधेन | तदुष्युज्यतां भगवारसेन्दर.। यस्योपयोगादवधूय मृ्यु- मासाच सद्योऽमरलोकमागम् | 6 विरुढकर्दरममञ्जरीणि रिर्रासि मेरोर्विहरम्ति सिद्धा; ॥२४॥ राजा। ननु दासमावविरुदधमेतत्। पर्वं किल वञ्चितः स्वामी स्यात्। कापालिकः । (साश्चयैमात्मगतम् ) | अदो आश्यम् | भवतु, एवं तावत्। (FETT) येवं Taat सकलश्रस्यातनो निष्कयायै. 10 तन्महानिधानम् | ty
Li Mr वर्धेत, Nu.2 संतिद्धरसस्य ; Mr सिद्धरसस्य ; Di we dfaaea; D3.7 wer सिद्धरसस्य ; 24 संपिदस्य रसस्यास्य ; S2 संिदधिरसस्य ( for संसिद्धरल्यास्व }.
La D3 om. महानिधानघ्य. Mr ins. मम after महानिधानस्य, Mi D3 लाभोदयेन., Di agarat ( for तदुपयुज्यरता }. Nu.2 ins. श्रयं before; Mr D3 after भगवान्, Mr महारतेन्दः. Nx ins. पश्य after रसेन्रः.
St. 34—a) D3 यस्योपभोगात्.-0) Pea sreaaer-.
L7 Mr Dg qafasd, S2.3 दासभावे विषदं. D3 transp, afta: and स्वामी.
L8 S2.30m.; D3.5 आध्यं" (for aay’). D3 ane (for श्ात्मगतं ). Na 01, Pez om. wat sera’. Mr da" ( for wad’). Na om. (hapl,) all words from sgt seay’ to wet हानं ( p. 107, 1 4. )
Lg Nr ins. तहिं after; Di before गृह्यतां. Mr D3 ग्ृ्यतामिदं सकलस्य (Mr कलतस्य ). 125 सकलप्य ( for सकलतस्य ). 03 निष्कयार्थ' ; 03.46 St Pes निष्कियाय.
Lio Mrom.; Ni Dr दद् (ण एतत्).
Act IV ] चरडकीशिकम् १०५ राजा । कथमेवं भविष्यति | यतोऽघनं दासमावं मन्यन्ते। खाम्य्थतस्तु नेवं प्रत्याख्यानमदेतील्यनुमत एवायं भवतः संकल्पः । तथाप्य कामिनः निश्रेतमिदं महानिधानम् । कापालिकः । ( साश्वयैमात्मगतम् )। अदो धैवैम् अहो ज्ञानम् अदो महानुभावता च । अथवा ¢ चलन्ति गिरयः कामं युगान्तपवनाहताः। Bes SH न चलत्येव धीराणां निश्चलं मनः ॥ ३५॥ तन्ममापि किमतिनिवेन्धेन । (प्रकाशं वेतालं परति) । भ्र गम्यतां क्रियतामस्य रक्षः समीहितम् |
Li D3 एतत् ( 0८ एवं ). Dr भवति (for भविष्यति ). Ni Mi D3.7 ins, किल after aud. Ni D7 मन्यते. D7 ins. कापा before areqdaey, apparently assigning this speech to the Kipilika! Na 01 खाम्यथानुरोधतस्तु ; Ds खाम्यरथस्ु.
1.2 Nr त्वमिदं प्रन्याख्यातुमर्हमि. D4 श्रनुमतं (for श्रनुमनतः). Mr D3 आप up the sentence and read: कावा । म्वाम्यनुरापष्तु ( Mi म्वाम्यनुरोधेऽपि ) ad aamagaef (Mi प्र्याल्यानमर्दतीनि) | राजा। श्रनुमतश्वायं (Mi gaqaa एवायं } भवतः deer. Ds om. संकल्पः.
L3 D3 निभूतमेेद ; Pea निभृतं सर्वैमिद् For the whole line, Ni ततः प्राप्यता निनिलमेव तत्संनिवेशमिदानीमिद् महानिधानं ; Mi ततः great निगरतमेव नः शवामिनः सन्निवेशमिद् महाधनं; 121 तस््राप्यतां निनूतमेलन्मर्वै' निर्््रिमदं . महानिधानं ; Dz aencaat निगरतमेव खामिनिवेशमिदं महानिधानं,
L4 Ds aaa ( for साध्य"). Na Di.7 om, may ad. Mi om. श्रहो alter ma.
Ls5 07 om. च. Nz ins. agraeaa alter च.
L8 Nt.2 aera (for aa). Nu,2 D4 किमिति (for feafa- ) N1.2 Mi 01.7 om. वेतालं प्रति. Mr ins. तत् afcer ax.
Lg D6om.;, D3 महाराजस्य (for um: ).
१० चरडकौ रिकम् [ Act IV Rare: | जं साधभो arena) ( एति निष्कान्तः ) 1 कापालिकः। ( समन्तादवलोक्ष्य )। भो राजन् प्रभावप्राया adh विभावरी । तस्खाधयिष्यामस्तावत् | राज्ञा। भोः साधक स्मर्तव्या वयं दुःखितकथासु | 5 कापालिकः। राजन् देवतास्त्वां स्मरिष्यन्ति, ८( इति निष्कान्तः ) | राज्ञा। ( प्राचीमवलोकष्य सप्रसादम् )। अये कथम् तमो विभिद्य गहनं संभ्यारुणपुरःसरः। अनुग्रहाय लोकानाभुदेत्ययमद्पेतिः ॥३६॥
Li Ni Mi 0 St एषा .2 ins. सप्रणामं before जं, Na साधक; D1.3 wea; D2 साधव; M1 D7 साधवो ( for साधश्नो). D7 om; Mr D3 त्ति ( for इति ),
L2 D3 om. समन्तादवलोक्य. 21 महाराज ( tae राजन् ). धि". sare: प्रायो $ 03.4 विभातप्राया.
1. 2-3 07 प्रमातप्रायं ada, omitting विभावरी. Mr रात्रिः; Dz रजनी aaa ( for वतते विभावरी ).
L3 विर ततः (for तत्). Nia Mi साधयामः; Dr साधयामि; 02.4.06 93 साधयिष्यामि ; 23 गच्छामः ( for साधयिष्यामः). D3 वयं ( for तावत् ).
L 4-5 93३ om. lines 4-5.
L4 Mr साधवः (for साधक). Ni.2 124 दुःखितदुःखक्थासु; 01 ` दुःखितजनकथाडु ; D3 इस्थितकथासु ; 24 दुःखितकथामु.
{5 124०. ; Mr ins. भो एर्धण< राजन्, N2 तं सरिष्यसि ( for त्वां सरिष्यन्ति ).
16 03.7 प्रतीची" ( for srt" ).
St. 36—a) पि 1.2 Mr तमोनिर्मिननगहन- ; Di ठतो नि्िथ गहनं ; D7 तमोनिरविप्रगहनं, D3 विषह्य ; Pea fafia ( for विभिद्य ).—b) Sa dearag- पुरःसरः.-4) Mi D3 समुदेष्यलहःपतिः ( Mr गद्यहप॑तिः ).
Act IV J चरडको शिकम् १०६
तदथ्यावदहमपि भगवतीमागीरथीतीरमुपगम्य खाम्यादेशमनु- विष्ठामि। ( इति निष्कान्तः ) ॥
इति चतुर्थोऽङ्कः समाप्तः ॥
Li Dr श्रय ( for aft). 03 om. अहमपि amet. S3 om. भगवती, Niv2 भागीरथीमवतीयं ; Mr भागौरथीतीर० ; 24 भगवत्या भागीरप्यासीर्- सुपगम्य ; 27 भगवती मागीरषीमवतोये ( for भगवनीमागीरपौलीर्- ).
1. 3 09.3.47 Sa Pea निष्ठान्ताः सरवे ( for निष्कान्तः ).
Colopbon. Ni Mr D3 92 चनु N2 D5 इति wqety:; 01 श्मशानो नाम sgdtg: ; 2.6 शमशानबरितं नाम agate: ( D6 adds समाप्तः ) ; 24 इसि भीचरढद्ौशिषनाटके वदुः ; D7 रमशानं नाम aqitguaedifat समाः). 51 1.2 gfe arden वगडकौशिङ्नारङे रमशानचरितं नाम
agatg:.
पञ्चमोऽङ्कः ( ततः प्रविष्ाति षिङृतमलिनवेषो राजा ) राजा। ( सनिर्वेदं निःश्वस्य )। कष्ट भोः कष्टम् । यद्वैरं मुनिसत्तमस्य सुहृदां त्यागस्तथा विक्रयो दाराणां तनयस्य चेदमपरं चाण्डालदास्यं च यत् | 5 दुर्बाराणि मया कटोरहृदयेनाप्तानि मूढात्मना यस्यैतानि फलानि दुष्छृतमहो किं नाम तदारुणम् ।१॥ ( सवैङ्कव्यम् )। अदो बलवती भवितभ्यता । कुतः मामानघ्ररिरोधरं प्रभवता क्रुद्धेन राज्यधिया यदिष्लेषयतापि तेन मुनिना निःहोषितं नस्यम् | 10 तत्रापि व्यसनग्रियेण विधिना वृत्तं तथा निष्ठुरं येनात्मा तनयः कलब्रमपि मे ad’ faga क्षणात् ॥२॥ ( चिन्तां नाटयित्वा दौ" निःश्वस्य सवेङ्कुव्यम् )। अद
Li Nia मलिनवेशो; Mr ण्वेषधरः; 01.792 म्िनवेषो ; Dy S3 कृतमलिनवेषो ( for विकृत ).
1.2 02. om. राजा, Ma om. faq.
St.1—a) Nu.2 D3 द्विजसत्तमसख. 4.5 विक्रियो--८ ) D2.4-6 S3 चगडाल-, 25-दासं ( for-ared ).—e ) 5.7 गूढात्मना,
L7 M: Dgom.; Dr यतः ( tor कृतः)
St.a—a) Mr saear. Nia राजश्रिया ; 52.3 राज्यश्नियो---¢) S2 विश्लेषं नयतापि तेन. [22 aferd.—e ) Mi व्यघनोत्तरेण. Ds यथा ( for तथा ): The portion from squat to निष्ठुरं, added on the upper margin, is partially worm-eaten and lost in D7,.—d ) D3 विनष्ट" ( for विलुप्तं )
Lia Mr नाटयति. Ds om. att’. Da.q Sr Per.2 ins. च after दीष 05 om, निश्वस्य. D3 om. ; Dag aged ( for सवेकृष्यं )
Act V J चरडकौशिकम् १११
शोचन्ती रजनीषु वैन्यविधुरा नूनं कृशाङ्गी मया weed किल चिभ्तयत्यनुदिनं सा निष्कयं चेतसा । प्राणानामबलम्बनं च कुरुते भूयोऽपि मत्संगमे हा कष्ट यदिमां दश्शामुपगतं पापं न सा षेति माम् ।३॥
( निःश्वस्य )। हा वत्स रोहिताभ्व 5 धा्रीजनाङ्कातवुलेलितः कथं नु am fat gaa वत्स विरूढनिद्रः | त्वामथ पारथिवदातैरमिनम्दिताहच- ,* माक्ञापयन्ति वटवः शरुतवुदंरूदाः ५४॥
( चिरं विचिन्त्य सकरुणम् ) | 10 ast मोलिर्यं पनन्तु विपवृस्तासां at खागतं यत्सत्यं ृतृत्यसुस्थमनसां तुस्या षिपत्संपद्ा | घत्स त्वं तु वनोषि ase हदयं येनाङ्दाय्योचितः ररेणाृतैरुत्य पव सहसा वषटोऽसि वैवाहिना ॥५॥
( साहाङ्कम् )। शान्तं पापम् । 16 रेणातङत्य पव गमितो aa कष्टं दशाम् ॥
St.3—a) Dr दीनवदना ; Ds देवविधुरा ( [07 दैन्यिधुरा ).—b ) Dy 212 चिन्तयन्न. [2 52 निष्कियं.--८ ) Ni D3 मे म॑गम॑\ Na St Pera मे संगमे ; Mr मत्म॑गमं ; D7 मे संगमो.--4) Di हा fae azifaat Sx [८1 तदिमां ( for यदिमां ). 52 पाप तु aafe at. Ds transp. मा and at.
St. g—a) 06-शतदुतंलितं.-¢) D4 aia. D6 fayafa:.—c ) Mr श्रमिनन्दितारति".--4 ) Dg afazzaat: ; D6 waren: ; D7 race fant: ; Sx 0८1.2 wager: ; Mr (before corr. as in text) S2 uaefage:.
Lio D1.7 oi चिरं. D3 faana ( for fafarar }. S2 om. मगा.
St. 5-५ ) S2 पदं ( for कृतं ).—b) D3 HABATS- ; M1 Ds कव- कुयवस्य. Ni.2 Dr.3 $2.3 संपदःः-र) N24, M1 a( for हु ).—4) 01.4 कालाहिना ( for देवा° ).
Lis ववि1.2 ins. इति before भाश, 01 om. शान्तं पापं ; Niwa
om. पापं. Dz शान्तं शान्तं, Alter td, 51 061.2 ins. परतिहनममङ्गलं AE (cf. ad V.8). Mt om. lines 15-1 6.
११२ : चरडकौरिकम् { Act V
( वामाक्षिस्पन्दं सूखयित्वा दक्षिणभुजस्फुरणं च ) | स्यन्दते वामनयनं बाहुः स्फुरति दक्षिणः | व्यसनाभ्युवयौ पराप्ताबिवं कथयतीव मे ॥६॥ ( बिचिन्त्य )। भथवा किमद्यापि ग्यसनाभ्युक्यचिन्तया | 5 gate: खलु दुरात्मा हरिश्व्हतकः। तथा हि अतःपरं sated नूनमभ्युदथो हि सः। पापस्याभ्युदयद्वारमिदानीं मरणं हि मे ॥७॥ ( प्रविद्यापटाक्षेषेण ) ANTS | AS शुदद्श । 10 राज्ञा। ( साराङ्कम् )। भद्र किं सुतस्य ।
Li Mr बामाधिस्पन्द. 2.3 बामाक्तिदक्तिणभुजस्पन्दनं सूचयित्वा ( ण वामाक्ति- to -स्फरणं च ). वि ०४. दक्िणयुजस्फुरणं च. Na -युजस्सन्दनं ( for ग्स्फरणं ). Mi 127 transp. सूचयित्वा and द्धिणयुजस्फरणं च, Nu.2 Di ins. साशङ्कं age’ च श्रये (Nr.2 om. this word ); Mr tns साशङ्कषै Ds ins. वहै च; Dz 9 शि1.2 ins agy after -स्फरणं च 14 D3 ae ममापि (for भ्रयता मयापि), Dg किंकिं (9 53 श्रधुना ( 9: श्रथ }. Ni Di व्यकषनोदयचिन्ता ; Na म्यसनोदयं चिन्तयामि D3 म्यसनभ्युदयचिन्ता ; D4 व्यसनाभ्युदयविन्तायाः ; Dz व्यसनोदयचिन्तया,
L5 03 पत्तिः 2 03 दुरात्मनो (Na दुरात्मा ) हरिषन््रहतक्स्य, Ni.2 Mr om. तथाहि.
St. gc) Na श्र्युदये द्वारं ; Dr अभ्युद्यस्थानं.--4) D3 शरणं मम ( for arg हिमे).
L8 Mz sfagaradtatg ; 01.3-6 53 प्रविश्य पटद्ेपेण ( 53 पटाद्ेपेए ). Some Mss ins, चारडालः or चरडालः alter WITTY.
Lg 22.6 om. ayeta: here, but ins. as above. Di om.; D3 wt; Pca श्रे (for श्रते). Mur repeats; Nu.2 01,2.4-7 53 Pea gzeq; 91 0८1 शुदस्स.
Lio Ds.6 om. साशङ्क, Nu.2 Dr ins. श्रह्मगतं ; D3 ins. खग after साशङ्क. Mr Di om. am. D5 om. कि. Du ins. नाम alter fe. 06 transp. f& and gaa.
Act ४ 1 अरतिम् ११४
चाण्डालः । अके पव भणामि यथा शयुदहदा उषखद्दशा पाशपदिवर्िणी इस्तिभा eget कलुणं Great चिष्ठदि। ता तुखिदं aft age Tog हो सुदकम्बरम् । गे वि शामिणो Test ete ग्चामि । ( एति निष्काभ्तः ) | शजा। ( परिक्रामति ) | ४ » Le Some Mss बडालः, Mr om. w&. 03 St.a Prr.a एषं, Ds सवामि. Na Mr D3 ०१. 93 अहं} other Mss जा ( for बधा) Nia 141 Dr.4-7 53 grea; Pea जुषस्व, Neva Mr 01.3 averqen ; Da Sr Pes ame; 24 बलभस्व \ 05.6 वलदस्स ; 27 53 उवशदस्स Pra बह्णमस्व. पि 1.2 पासपलिवत्तिणी ; Mi दावलिदतणीए ; Dr पा रपलिवतिष्ठौ ; Da Pes पाशपडिवत्तिणी ; D3 पावत्तिणी ; D4.5 Pea राशपडिवतिणो ; D6 qartfes ; D7 पासपडिवतिणो ; S3 -afeaféaf. Na.a ins. कापि after -eftaft.
La All Mss and Pt gftqwt. Dg om, , Ni 21 squeay ; Mi wast gu ; D2.6.7 do not repeat 5 D3 wou; 53 sara. Nr. शोषम्ती । 141 Daeg Sr Pee रोच्म्ती ; 52.3 रोति Pea @viet. 07 चिवि ; Sa.3 बिदटढह ; other Mss and Pe fesfy. वि 1.2 ins fr after fpf. Nua frre; Mz 01.2.4 51 Pex gferst दिध ; D3.5.7 afer ; 52.3 वलिं } Pea हभ gfe ( एशि gfe }
L3 पि D7om.; Mz D1.4-6 Pea &( for @) Nx बिद. Na Mr ge; Da Per ga-; D3 शव ; D4.6 52 ge; 25 S3 gu- D7 ge- (asin ८८४८) ; Pea ga-( for ge-). All Mss ( except D3 as in text) and Mr Pe we पि (53 बि). Nu.2 Mr 04.5 afta.
- Nu.2 transp. gure (given as aura) and ote ( given as ज्जेव ) D3 शामिशभ्राशं- Ms Ds.6 S3 awd, Pra gwd. Da.3.5.6 S3 Per जेव्व; Mi 017 Peaom., 04 sien; other Mss ae ( for म्बेव )
L4 Nu कच्डम्मि; Mi ममिस्समं ; Ds यमिस्षामि। S3 गदि; other Mss and Pc aearftz.
Ls Niins. मह एवं हति; 01 ins. qurercafe क्ञामी before परिक्ामति, Dx परिकम्य ( for परिकामति ).
5
११४ wander [ ^५४ (नेपथ्ये ) हा जाद् किं सि। देहि मे परिवधरण | राजा । ( धुत्वा सकरणम् )। अहह दारणः प्रलापः | ( ततः प्रविशति थथानिरदिषटा aged नारयन्ती क्ष्या ) 5 शभ्या। हा जाद किं सि । दि मे पडिवयणं । (इति स्तम्भं नाययित्वा संशारुष्धुा)। हा जाद् ण get दार्णिं पिदुणा पि दे जधा
परिष्चला तधा तुमं पि > मन्दमारणि परिष्चयसि। (शति मोहं नाट्यति ) |
L2 Dr ins. दाशी" after कि,
1.3 Dz2.4 णा. (hapl.) all words from राजा ( 04 from ser ) up to परिरं (15). Ni 1.3 अहो; Nast; Mr wa; Dia ( for भ्रहह ). Ni.2 wftee: ; D7 भतिदारणः ( for दाङ्णः ).
L4 Drom.; Niaz place aurfafger atcer नाटयन्ती. Mr D3 place tear after qurfifger. S2.3 om. aged नाटयन्ती.
1.5 52.3 हा जाद इति पित्वा, omitting the remaining words. गि om. इति, Mr D2.4-6 ins. पणित्वा after इति. Nr.2 D1.3 Sa नाटयति ( for नाटयिस्वा ).
L6 Dr -2,5-7 91 Per.2 ins, far’ ; 04 ins, faty ; 52 ins. चिरात् before wet. 02 marg. 5-7 St.2 Per.a ins. are’ after ay. D1 om. हा, Nu.2 Mr Dr.7 om. श, वि. D3 92 Pea ins. जं after दारि Nu.2 M1 दाणि; D3%afy; 04 जं ( foray ).
L 6-7 Nuva पिदुरो दे affect; Mz पितो विदे परिकतं ; Dita पिदृरणा जधा पलिश्रतं तथा ; D3 पिदुशा परिषततं ; 246 पिदुणा वि जधा परिशता तथा; D7 दे जधा पिषुणा। वि परिषतं तथा ¦ 52 पिदुणा पि जह often ag ( for पिडुणा वि दे जधा परिषा eer ).
L7 Dx पमा, तुमं परि and मं मन्वमाहणिं. 04 52 Per वि ( for पि }. Na 056 om. मं, का ५305, मं and मन्दमादइणिं, 1.2 D1.2.6 Per अभ्दनाईशी, Dz Sa Pra oftwafe. D3 om. इति,
L8 Da.4 नादयित्वा ( for नाटयति ).
Act Vj weedtieren we
राजा । ( शरुत्वावलोकय अ aageay) | कथमिथमपि तपलिनी wat परिस्यकता । सर्वथा ate मिष्करणता इतविधेः |
gear | (सल॑श्रममुश्थाय)। कि खु पठं षहूदि। कदि गदो मे geet) ( दष्टा परिष्वज्य )। gern किं ति मं णारषसि । पभारणी भाभामि कलु हं । किं ण पेक्खसि । पठं भीसणं neat ^ ( सोम्मादम् ) । रि भणासि | उक्ञ्काभस्स कारणादो कुसुमाद
Li 52 om. धरुस्वावलोकय च ; 53 om. अवलोक्य ड. Mi wen सकडशा- मवलोक्य ; D3 धत्वा सकरुणं ( for भरस्वावलोक्य च wageqy ). Dz om. क्ष, Da.4.6 Sa om. भपि.
La Na Mz Dg निष्का. Ni.2 D3 विधेः ( for इतविषेः ).
L3 0 ad ( for ससं भ्रमं }. D3 अवलोक्य ( for उत्थाय }. Nua 01.7 Pea ins. घभ्यामोहं after उत्थाय. Mr repeats fe. Nx 92.303. णु after ङि, [1.3 Mr कुष णिव). पवि. एं; Mr D3 एत्य ( for एद). Nu.a ane ; 24 षद्दि ; Ds पठदि ; Pea weg ( for बरदि ). Nu.a Mi ins. शु before गदो. 03 ins. हा ; 04 war before पुत्त्रो, Nua Mr 03.57 gue.
L4 Nragast, Meerga; 05 gn; D7 Pea gee. 1.2 D3.7 fegd; Mrfegad; 04651 Per fad. Ni शाशपसि ; Na शाबेलसि ; Mr भाणवेति ; 01.7 णाक्षवेमि. Da एाम्बसि.
Ls Mz बिहेमि (for माराम). 92०, ; 017 द ( for कहु). Mi om. अहं fe’. D3 म॑वमादणिं मं of ए trate एवं मोप्णमसाणं (for डि ण deaf एदं भीषणं महामवाणं ). Mr 04 ag (for ए) Ni gt (forge). Mz मीम ( for भीषणं ). N2 Mi Dq aard ;
Sa महामशाणं. L6 Naom. ateag. Na (corrupt) उबर्फाववशरणाई' ; Mi
Da.6.7 $1.3 Per.2 उभरज्फाभ्स्व ( 07 ठवर्काभ्रत्स ; $3 Pea उषम फाग्न्ध ) कारणादो (D7 S1.3 Pera कशणादो ) ; 03 aararwercarg ; D4 उवस्त्राभसभासादो ; 05 serasrercartt ; Sa severaerrgre. Ms sunfa. : # °
११६ weet frag { Act V
भवचिणन्तो कोडरावो finnfie erarfter azafie fe, (acta) 1 किं सो sort: किति do dah, ( समम्तादवडोक्य )। अलिभं अलिभं । get पत्थ avert, ( उपविष्य सकरुणम् )। हा आव् उटृटेि। उवणेहि वाव उवज्ाथस्स भखण्डिदादः «secre तिखब्छेतसंमवाई aedgen अ । भदिक्षामदि से grater पडिणिञता दाणिं
Li Mi अरवचिरएवन्ता; Ds भअरवचिणन्तो; D3 भोविणन्तो, D7 कोडशादो, Mi इन्हाहिणा ; Di इपिणाहिणा ; D3 Ss Pes इडाहिशा ; 53 कपणाहिशा. Na axes म्हि ; 1/1 दंसितोम्ि ; 21. Pea apie ; D2 दनि D3-6 Sr Per दुहम्हि ! 52 दद्ोम्ि ; 53 दोधि, Da-6 S1.3 Pts ०१, } Pra fa ( for fer )
L2 07 ins. उत्थाय after adi. Nz 01 51 Pes.a repeat इहि. Na qet( for घो ). Mz कन्हाही ; D2.6 Pea इदहाहि ; D3.5 sagt; Dg कदशाहि ! 92.3 eaarfe. Ni.2 Da कितिमं ; Ms Hat; D3-6 51 Pera fé fat; Dz कित्िमे. Nu.2 Mz Dz दपि; Ds परददेदि; D3 दति.
L3 M1 D3 om. घमम्ताद्वलोकय, Mr 5 do not repeat wafers’ ; Pra wetter’ erate’, 25 कुविदो ( for इशे ). Mz नाही ; D3 51 Pes काहि; 04 कएणाहि ; 52 इरहाहि ; 53 करादि.
4 Nia एय Pea om. उपविश्य सकरा. 92 urd ( for सकण ) Mi: D1 ता (9 हा). D3 Sa.3 repeat उटृठेदि, Nx Pea उत्वेहि उत्वेहि ; M: Ss Pes उत्वि ; D7 उच्छेहि उण्डेहि. Mi उद्रङेहि. M1 Dg om. दाब.
{~ $ 02.6 91 Per suvarnea; 4 53 Pea arama, Ds उवन्राभस्स. D3 transp, भ्र्ञिडद।ह' and मालेरवतार. Mi अञ्ञरिडदानि ; Pea भसंटिदाई. Nu.a माहूर- ; 53 भाष्र-( for माल्र-). Mu -पतानि ; Di owerg’ ( for were’). M1 Da-6 5.2 Per तिहद्धेतसंभवाई' (Mi °पंमवानि) ; Dr तिल्ले्तसंभदाह ` ; 27 तिलक्खितसंमवाई".
L6 D1.4.5 Pea qeaf- ; Da.3.6 Ss Per इम्भ॑- ( for ब्म. ), The text-reading in D1.q S3, the remaining Mss om. gq. Nu D1 $3 अदिष्षमदि ; Na uftefc,; 04.5 Pea भअदिकामदि. Ni.2 Dg-6 Pra afefyern ; D3 S3 पडिशिबुत्ता ; D7 परिशिग्ता. Ni.2 06 दाशि ; 0.4 दाशी. Mr om. all words from दष्मंङुराह' up to awe जेव ( p. 117 12 ),
Ac VV] ` wueeferen, ११५ axa बर्दभारिणो इषिस्सम्ति। ( उत्थापयितुभि्छति ) । ( खाबेयम् )। ad awe जेव मं apis aqme बुर गदोखि। हा ददण्डि मन्दमारणी । ( इति मूषी भारयति )।
राजा। ( खवैक्यम् )। कषटमकर्णस्यापि तस्य॒ षिधेरमी वुगभवा ष्याहाराः।
dear, (det war सोपाछम्भम्)। हा अज्जउत्त twa दाणि
Lr Nu.2 Dr qequegenftat; D7 बयारिशो (sic), Nr Dr भविस्सन्ति ; Na corrupe, D3 केन्ति; D7 afeedfx ; 53 एविस्सन्ति ( for gfreafea ). Dr ins, शति before aeqrefay. 53 उत्थाय ofirgftremtt ; Da.7 St Per.2 इच्छन्ती,
La 04523 दं , D6 wa (for कवं }. D3 S2.3 aw ( for awe). Ni.2 04 sau; 52.3 एव्व ; other Mss and 0८ जेष्व, 02.46 51 Per मन्दमाहणी Na.a M1 D7 afraw; Di उमूकिप्र ; D3 sfterw; Dq Pra aga few; Ds agfrn.
L3 D3 awitfe. Mz D3 om. हा que भन्दभादशी- 02.3.5.6 St Per.2 gaftt; 52 ea. 2: मन्दमाभषेभरा ; 52 मम्दनाईदणि ( for भन्दमाहणौ ). D7 om. ईति get नादयति,
La Nr.a M1 D1.3 om. तष्य, = Ni.2 विषेरप्यमी ; Dr fated.
Les Mi geome: ; Da got sme, D7 दुःसहा SET: 5
Sa Pes ggzera व्वबहाराः ; 52.3 दुः्राम्बा ष्याहाराः,
L6 Mz cransp. eat aeqr and तोपाजम्भ, 03 aft ( for qr). D1.4 Pra tee, Mr om. ; Ni.2 D2 दि; D4 दारी,
{7 Sa om. we. 21.4-7 Pea -qmeea; D2 -कलिदस् ( for -इन्नलिदस्स ). Mr Da.g.6 51 Per om. games. M1 D3 om. dq’. N1.2 ins. ga before अवन्त. 04 भ्रवर्थान्तर' ; Pea saqear’. 52 out. Mi निष्क ; D3 fiance; 04 चिकिण ( for fafies ).
918 qweeire ` , [५५४
कटिं दाणिं षीसत्थहिभभो fg) अण्णं च, It भं समाद जं प्ण्णेण पाठणीभो एसो बालभो। तं च मप पावसीलाप तधा ण पडिवण्णः।
राजा । ( सवि्ोषकरणम् )। अहो मर्मस्पृहि परिदेवितानि | + der) (gee प्रलङ्गमाटोक्य )। हा gee णद gi
मुद्मिङ्कमाखुरं णिडालवह, इमे सुसखण्णद्धपम्डले पञ्न्तपाडके
Lr Ns.2 D7 दाणि; Dg दाणी Na कौमत्सहिश्रभ्रो ; Dr feet ; D6 faaeqe ; 52 aed ०. Ds चेदसि \ 06 fafefa ; D7 93 चिट्टसि. 53 9 ( धिच). Nu.2 01.57 ag ( for gq). 07 om. ag. 52 ins, fy after ste.
La Nu.2 पमादिद्ढो; Ds.4 समाद्र; D3.6 Per समाद्िहि, Nz.2 marae ; Dr gust; 22 पमरोण ; 07 Pea met ( for garady ). Di qi. Nr Mr D7 St Pera ins. दे after एतो. 03 om.; Ds arated ( for बालश्रो ). Nu,2 Mr Dr ins, fey after atest. Mz om. ; D3 u( fora). D7 aay ( for ar ).
L3 Mr 01. Pea पाप} 93 वाव- ( for पाब- ), 03०१. 01 तथा ; 93 वह ( for war). D7 om. श॒. Sa पडिपरणां ; Pra परिषण॒ण,
८4 02.4-6 51 Per.2 ममैसृशि ; D3 2 ममष्टृशानि ; 53 मर्मषटशीनि, 141 ममर् परिदेवितं, Nu ins. भ्ालापानि ; Na ins. पालयामि after प्ररि. दैषितानि.
1.5 0251 Per ins. eat’; 06 ins. geqet’ before gra. D3 gre ( for gre). Mr D3 52 Pea अवलोक्य ( for भालोकय ). D7 Pea om. हा, Nz.2 geet; Mz Da.s-7 Pea ges. 52 ०0. ; Ni.2 at (एदं). Nu.2 Mr ag, D7 om. ; D6 qe ( for & )
L6 Mr अद- ; 24 सुष्व- (for सुद-). Da.5.7 -मभह- ( for -fasig-). 0204-6 St एध 2 -atgz-. Nr.2 रिदाशवाभं ; Mz रिलालवयट, 07 लिलालम्रलं ; D3 faetwas’ ; Ds Sa िडालपह ; Pca frereae’. Dt ins. wat w after इमे. 03.5.6 om. इमे, Na बुसरणद (om. पमल्ञे }. D1.3.7 Pera gfa- किदपदयते (D7 wet); 2.5 पिणिदपषञे ; Mi 24 इदरादपम्महे, 04.6 Si Pex -पाग्जे ; D7 -aea ( for -qrw@ ).
Act ४ ] अरडशषोशिकम् ११३ सिणिदधधव्े छोभणे, अथं च सुदिदद्धिवन्धो कटिणवित्थिष्ण- यक्सत्थरो, वा कि पत्थ सरीरे अलक्खणं diy कदभ्तद्पण। तधा सश्चसंधस्स अज्ञउखलस्स मम॒ मन्दभाईणीपए afte Waal) सव्वधा अथारणो धम्मो, अष्पमाण खं खकलणं, अङिथवादिणो विण्णाणद्तभा 1 अवो बहुसो ¢
Li Pta हिपि्भषवले. 2:.3.7 भ्रण ( for af’). 53 अ ( for च ). Di gefegfzsertt ; D2 इहटठिभभ्रय्यिबन्धो ; 24 53 इहद्ठिभ्रद्वबन्धो ; 25 gefrard) ; D6 शरहद्ठिवरठिबन्धो ; D7 इरिग्िदच्छ्वद्धो, 2.7 कडिण.- ; D2.6 sfrur- ( for कटिण- }. Ma 27 -faftawat ; Da -afeqat; D6 -afeeat ( for -वित्थिरण- ).
L2 Nu.2 Mz D7 कच्त्यलो ; 7.3 उरत्यलो ! 124 wear ; Pea aware. Mrom.; D6 fara ( for किं एत्थ }. Nr Di wat, D5 at (for ad? ). Dr om.; Ni wag; Na corrupt; Mr पाह (^) ( for waray'). D7 om. warag’ सं दिट्ठे. 1.4 Pra संदिद्र ¦ Na Da.3 31 Pex संदिष्ट; Ds fag’, D6 सदिद. 04 किन्त; D7 wae 53 wera ( for कदन्त- ). D2 -इदयेण ( for -हदएण )
1.3 Ni.20m.; 05 तथा ; 93 तह ( for तथा ). Ma सम्बधुषन्धरस्स (corrupe ) (for awdwea). D3 मं ( for मम) 24 मन्दमाश्रणीए; Ds मन्दभाई्शी.
L 3-4 पपिः .2 बरिदे ण पमादो; 21 चरितिण व्पमादो ; 141 D3.7 Pea aft (Mz Dz aft) पमादो } 53 afte बमादो"
L4 After पमादो, Nx ins. आदो इदस्स ; N2 ins. यस्स, 53 सष्बहा (for gerat ). Nu.2 भअश्नारणषम्मो. D3 om. च.
Ls Da wren’; D4 Peo wery, 25 vey’. Mr अलीश्रवादिणो ; 01.3 Pea श्रलिभ्रवादइणो. 1.2 -बिन्तिन्ना ; 141 -बेदिणो; 01 -चिन्तया; Da -श्त ; D3 -stert ; Dg -इतिभ्रा ; 27 Peo -इतष ( for gas). Da.6 अथो; 24 aa ( for ag). Di बहुशो
१९. ` सरश । [^८५ दिट्ठपक्चयदहि' समादिद्ठग्डि सामुदविभक्शणेहिं अघा वंसवडढणो ers चक्तव्ती पसो geet दे भविस्सदि fe | ता मम मन्द्भारणीए भाभधेपदि' सव्वं अलि्ं संबुततं |
शाजा। (ara) | कथं संवादिनी कथा वतते । ( निपुणमवलोक्य
5 घासम्) भ्ये क्यम्
Li: Dig दिद (for fees). Ni Mr Dr transp. घमादिट्ठम्हि (0४ श्रादिद्ढम्हि ) before aw. Na ०. { Da.3.6 Per समाद ; D4.5.7 aarfeesteg ; 53 Pea aarfeft. D1.7 ergitufewradht ; Da प्रादयो ; Mr D3 पामुहभविश्रक्डये हिं ; 4.6 51 Per erquarettt ; Pra कंहुविभ्रश्वेहि ( for सायबिभरकंशयोहिं ). 1.2 Da ins. भुहुत्तिभवरहिं after सपुदिविभरक्डयेहि- 53 अह ( for wer).
La Ni D3.5.6.7 बंसवदशो । Na न्ववदशो{ Mr नवगो; 01 ग्बदणो ; 02 51 Pex ग्वर््णो ; 94 ग्वट्ढशो ; Pea गुणो. Pca om. Na tere; Mz दीहाक ; 0 विषिहबिहभो ( for दीहाड }. }42.2 षमादिदृढ- जहती ; 2.6 वक्कवतीए ; 124 श्ठवती ¦ 53 emai. Mr एषो दे ; D3 &, Dz & एषो; Pea घो (ण एसो). Mig, 026; D7 gee ( for gust). S2.3 transp. gust 30 दै. Mr D3.7 ०7. दै. D3 हषिस्सदि ( for भविस्सदि ). 02.4-6 om. fat.
L3 ०3०१; D4.6a( for मम). 24 मन्दमाभरणीए ; Pea मन्द माएणोए, Mi भाप्रषेभएहि- D3 मन्दभाभषे एहिं ( for मन्वभाहणीए माभेएषिं ), Dr सब्वषा (for सव्वं). 1.2 ins. तं before wfasi. 23.4 भली ; Pea भर्मं, 141.2 संउततं ; 24 वतं ( for सुत्तं )
L4 Mr ins. seme after arg. M1 D3 om. कयं. Nr सर्व- संवादिनी. D3 षाक्यं (for wer). 1 वर्तन्ते; Mi dseda; Ds प्रव॑ते (for वर्त॑ते }. 01 भालोक्य ( for धवलोक्य ).
L5 1 ०. ; D3 सक्दश' ( for ara’). 03 0m. 9%. Dr ins. हत् after we. 04 om. अये कवं, Nz.2 om. of,
Act V ] i १९१ छलाकारमिवं शिरः पृथुललाटान्तं fare’ चक्राङ्ौ चरणो करौ सकमलावाजातुलम्बौ भुजो | क्षामं मभ्यसुरो विद्ालमुदर ged कटिः पीवरा नूनं qagerge शिद्युरयं साघ्राज्यचिहाङ्कितः ॥८ ( स्मरुतिमभिनीय adgeay) । कष्टमियता कालेन घत्सो 5 सोहिताभ्वो चूनमस्यामेव षयोऽवस्थायां aati aah शङ्कते मे हवयम्। अथवा प्रतिदतममङ्गल" वत्सस्य | deat, ( सोपाकम्भमाकाशे )। भभवं कोसिभ ‘Peet दाणि' सि। राज्ञा। (aman) कथ भगवन्तं कौरिक्षमुपालमते। सर्वेथा न किंचिन्न संवदति। तदल परपरिग्रहराङ्या शोभ्यैषेयम्। "0
St. 8—2) D7 ( before corr.) चन््राकार' ; Sa चिताकार. 53 ्रष्- ललादीकं.-- ¢) Dg om, aargt चरणौ करौ स-.-4) Dr शिशुरसौ" Mr सान्नाज्य- APT.
Lg 06 51 Per om. कष्टमियता कालेन वत्सो 4-6 Sr ८.2 ins. मे after बत्सो.
L6 Dacorrupt; 06 नूनमस्य ( for नूनमल्यानेव ). Dr तद्ति- ; $3
यदभि- ( for तदभि- ) Lz Nr.2 ins. aut पिधाय before saat and शन्तं ad
after ic,
L8 Nzu.2 Mi Da कौसिश्र; 23.6 करिभः Nz.2 ins. dag before feqen. Ni.2 Mr D3 कदत्यो ; Dr S2.3 कश्रत्यो ( for किदत्थो ). Nua Mi दाणि; D4 दाणो". ववि. Mr D7 ins. gd; D3 ins. gai इति मेति after fa.
Lg 04 ०. sd. D3 om, मगवन्त.
L10 24 S2.3 om. न before चित्. D5 ffm. 22 Sa 0८1.9 om. न after fafa, D2.3.6 5.2 Pera विसंवदति ; D5 बदसि corrected co बदति ( for संबदति ). Mr भन्य- (for az-). D7 om. ; N1.a aa ; Di da शैव्या ; D4.5 Pea ateta ( for atetite ).
16
१२९ चरकीरिकम् [ Act V
( चिरमवलोक्ष्य सकक्णम् )। रतमद्यापि संदेहेन । कतः सा वाणी कर्णातैनादविकङाप्यामन्द्रतन्त्रीखना ते चामी श्रमरौघनीलकुरिला, पर्याकुला aia: | तान्यङ्गानि छृशान्यमूनि सहसा दुष्पत्यभिक्चानि मे 6 कान्तिः सैव पुराणचितमलिना रेखाभिरन्नीयते 11% हा aca रोहिताश्व क्रासि। tf मे प्रतिवचनम्। (शति मूर्छितः पतति। det रन्ध्रा रोहिताभ्वस्य सुखमवलोकय ) | मलुद्धिधप्नानददानाङ्करस्य सरामि शशव" मन्दभागवः | afrtarget 10 भ्रतजुरोलजटावलिमण्डितम् | मधुपलङ्कितसुग्धसरोख्द- द्युति मुखं तदिदं न पिराजते ॥१०
Lr Nu,2 ins, तदलम् अवलोकयामि तावदिदानी" ; M1 D3 ins, तदवलोक्यामि तावदेनां ; Dr ins. तदवलोकयामि तावत् ;' D7 105. aged before चिरमवलोक्य, D1 93 श्रालोक्य ( for श्ववलोक्य ). S2.3 सकौतुकं ( for सकदयां ). Ds चिर" ( for कृतं ) D7 शष्यापि ( for safe). Nz om. कृतमथापि संदेहेन कुतः. S3 0m. कृतं, Ni Mr D1.7 om, कुतः,
St. 9—b) Mi 1.7 कुन्तलाः ( {०४ मूर्धजाः ).—c) 24 g:seafitexx ; most Mss g:nafugfa.—d) Di पुराणचित्रलिखिता. Da.6 51 Per लेखाभिः ( for रेलाभिः ).
L6 Mr D3 ins. gage (Mz °कुलनन्द ) बालप्रबाल 2६८५ रोहिता. N1.2 Dx प्रयच्छ ( for देहि ). 2.6 ऽव Pex transp. देहि and मे.
L7 D3 Sa qgfa (for मूर्चितः पतति }. Ds परतितः ; 52.3 पतित्वा नः ( for पतति ). Mar om. dat लन्धा. Nz.2 रोहिताश्वमुखं, 0: भालोकष्य ( for भवलोक्य )
L8 Nua ins. हा वृत्य रोहिताश्व; Dr ins. gr वत्स before wafga- art. Dr -दन्ताहुरस्य (for -दशना०). D3 ins. ते before ; Ni 410) ins, ते after सरामि. Mx इचितं (for dara” मन्दभाग्यः).
St. 10a) Nr.a D7 sfagawa-. M1 5.7 -arga-—«b) D1.a St Per.a -कल्पितप्रतवु-.-6) Mz -weraferraeer’.
Act V] चरडकौशिकम् १९३
er aa रोहिताश्व हा तपनङ्कुकबालधवाल हा हरि्वनदरहृदयानन्दन हा कुपितकोरिकदक्षिणाच्ण्य- प्रधानपण्य | नेष्टं न दत्तं न करुलोचितानि सखुखान्यवाप्तानि यदो न कोणैम् | 5 नयप्रोधवीजङ्कुरमूषरस्थं विडम्बयन्वत्स विव' गतोऽसि ute अपि च वत्स “ मूघौभिषेकपयसा न पवितितस्ते ara: करौ न चरणावरिमोलिपातेः। 10 जातौ धलुरुणकिणाङ्कधरौ न बाह
रभ्धोव्यः प्रतिपदिम्बुरिवासि नष्टः ॥१२
Li दि ins. ara’ before हा वत्व. Mr om. वत्स. Mz 01.3 om. हा before पनङुल-, Di तपनकुलबालक ; D7 तपनकुलप्रगाल ; Mr °कुलकमल- प्रवाल.
~ 3 Nu.2 01.6.47 -हृदयनन्द्न, Mr om, हृदया Dg महाकुपित- ( for हा कुपित- ).
L2-3 Mier रिकनन्दनदद्धिणादृएयप्रधानपुरय ; D3 हा कौशिक्दङ्िणा- प्रथानपरय
L3 53 ण्ण. } D1 यम- ( for -प्रधान- )
St. 11 Before this verse, D3 ins. परय ; Dg ins. बाल एताक्रयो qatar aft हृदयसमुत्थदुःलप्र्बलनस्वालाः पीयूषकरङुलसय भवतोऽनुस्मरणएधनस।रशीतत्तितसलिल- धाराभिरनया तपखिन्या मया च निवोप्यत इति पोरस्ताडनं aff: पतति det ae. -५ ) 0 बुलोचितानि.--८ ) 1.6.7 -मूखरस्थ' ( for -मूषरस्थं, 1.८. @ for ¶ ). —d) Mr विलम्बयन् ; D7 विलुम्बयन्,
L8 93 ०४, this line. Mt D3 om. वत्व
St. 12 Da om. this verse.—b) 94 शरणावरमौलि-, Na -मौलि-
ननन; ) 04 -gufefieytwerd ( sic ) gel.
१२४ चरडकौशिकम् [ Act V
(Afra), तक्किमिदोपखत्य fewer देव्याः कथयाम्या- खानम्। अथवा न युक्तमिमां तनयदोकदष्यमानां तपखिनी' खदश्ाविपयैयेणापरेणोद्धदयितुम्। ( आत्मानमवलोक्य ) | दुरात्मन् दरिश्वन््रहतक कथमद्यापि न fara: किमतः 5 at द्रक्ष्यसि । (धति ast नाटयति । शानैरन्मील्य) । दुरात्मन् हरिथिन्द्रहतक यदेतानिदानीमपि हतप्राणान्न परित्यजसि तक्किमात्मधातिनो रोकादात्मानं परिवातुमिच्छसि | frerd
Lr एणा Pea om.; Nua fargsa ( for विचिन्त्य). पि1.2 Mr D7 किमहमुपणय ; D1 किमदमुपध्रिय ; D6 Pea कथमिहोप्चय.
1. 2 Ni1.2 M1 D3 gafaarit ( 0: युक्तमिमां ).
L3 Mr D3 दशा- ( for खदशा- }. Ni 01.4-5 59 -विप्॑येणापरेणोद्धा- zfad ; Na corrupt; Mr -fadigigaetad ; 03 -विषयेयेणात्मानमुदघाट- यितुं \ D6 -विप्थयारोपेणेदयिदु' ; D7 -विपयंयेणापरेणोद्धेदयितु' ; 53 -विपर्यये- णापरेणोद्धययितुं, D3 स्वं ( for श्रातमानं ).
L4 Mr D3 om. (hapl.) all words from कथमद्यापि up to हरिषन््रहतक (16) ७५८ 105. che passage later after परियजति (1 6 ) N1.2 D1.7 ध्रियते ( for far7a ).
1. 5 Nu.2 परषटुमिच्छसि ( for यसि ) ; for the reading of D3 see below (17). 1.2 नारथित्वा ( for नाटयति }. Dx ins. ततः before शन. 04 उन्मीलयति ( for उन्मील्य ).
L 5-6 Di om. दुरात्मन् हरिषन््हतक,
L6 N1u.2 तत् (for यत्). 53 यदेतावता (for यदैतान् ). D3 हत. ्रायान् ( for “प्राणान् ). D1.3 warfa ( for परिदजसि )
L7 D3 वत्छिमतः परं xvghiegfa भिद्मूरेति मूर्ति शनेरत्याय ( for all words from तत्किमात्मषातिनो up to firey ). Nx Mx अत्मषषातिनां ; Na न्धातिना ; D1 53 बाति. Dr लोकादास्मनः, Nu.a पातयिदुभिच्छि ; Mr ्रहुमिष्छसि ; Di परिताशमि्सि. 77 ००. ; Di feege (ण पिस).
Act ४ ] चरडषौशिकम् १६४
बरमथैव निर्मश्नमन्धे तमसि qe | पु्राननेन्दुरहिता न पुनर्वीक्षिता पिदा ॥१३
अपिच अन्धंतमः-क्रकच-वैतरणीष्ववीचि- चण्डासिपन्षवन-रौरव-शाव्मलीषु | 5 नैतेषु सन्ति नरकेष्वपि यातनास्ता दुःखेन यास्तनयविश्रुवजेन तुल्याः ॥१४
तदलं विलम्बेन । भधतु भागीरधीतीरपपातेन सुत-
शोकाञ्चिवष्टामानमात्मानं नि्वापयामि। (इति मन्द्
St. 13—a) D2-6 faa’ (contrary to metre ) ; Si Per.2 निर्मलन्.-~ c) Ni.2 Mr तनयाननेन्दुरहिता (hypermetric).—d) Dr 53 पुनव कितु" 53 Pea हशः ( for दिशः ). Mur transp. St. 13 and Se. 14.
St. 14—a) Ni.2 -वैतरणोस्ववीचो- ; Dr -वेतरणीषु afa-; Mr D3.7 -वैतरणीषु वौचि- ; D2.4-6 51-3 Per.2 -मैरपूयवीचि-, [ Vaiearani and Avici occur as names of Naraka inthe Devi-purana].—b) D3 दरडातिपत्र- } D4 चरडातिपत्त-.--4) Mi तनयव्रिक्रयजेन ; D3 93 तनय वि्रवजेन as in cexe } other Mss ° विङ्कवजेन. | Among Narakas mentioned in the Puranas ( Visna, Padma, Devi) we have the names of Andhatamisra, Krakacchada, Piyavaha or Payoda, Vici, Asipatravana, Raurava, Salmali, Vaitarani and Avici ]. Mux arg (for qeat). Mu transp. the first and second halves of this St,
L8 D3 विलम्बितेन (for विलम्बेन). Ni.2 भागीरथीतीरवटप्रपातेन , Mr मागीरथीप्रपातेन ; 2.4.6 51-3 0८1.2 भागीरथोतरोपान्तेषु ; 257 न्तटोपान्ते,
1. 8-9 Nu.2 भअसष्ाडुतशोश्चभिना निर्दग्ध' (Na दुद॑ग्' ) ; Mr इत- शोकापिनिदंग्ध"; Di इवशोकापिना दग्ध" ; D3 एतशोकदष्यमानं,
Lg Mx D3 om. sfa.
१२६ asa ray f Act V
परिक्रम्य स्सृतिमभिनीय ससंश्नमम् )। अहह मनाक्पराधीन- मात्मानं विस्मुतोऽस्मि। ( धिचिन्त्य सवै्कव्यम्)। कष्ट भोः कष्टम् |
मरणान्निवति यान्ति धन्याः खाधीनवृत्तयः।
6 आत्मविक्रयिणः पापाः प्राणत्यागेऽप्यनीश्वराः ॥१५॥ (aged नाटयित्वा )। तदस्मादपि मनोरथाद्धूष्ठोऽस्मि मन्द् भाग्यः। कुतः
दाचणस्यास्य दुःखस्य धेयेमस्त्येव मेषजम् | दुर्वीरविनिपातोऽयं मतु राक्ञाभ्यतिक्रमः ॥१६॥
10 ( सावष्रम्भम् )। तचावदिदानीमसष्यरोकाभ्निवष्यमानमात्मान
विषेकवारिणा संस्तभ्य भवुराक्षां प्रमाणीकरोमि।
Li 1410 ear; D3 ष्टा ( for स्मृतिमभिनीय ). Ni. न मनागपि.
{~ 1-2 Nu.2 Mr D1.7 पराधोनजीवितमात्मानं.
L2 D2.6 faezatfa (sic) ( for विष्यृतोऽसि ). Nu.2 ins. मन्दभाग्यः after विस्सृतोऽसि,
L3 93 om. कष्ट
St. 15—a) Ni.2 Dg निदत्त ; D6 faafe
L6 Na Ds aamed ( for dmeq ). 125 om. ; D3 S3 नाटयति ( for नाटयिल्वा ). D3 तस्मात् (for तदस्मात् }. 5 om. रपि. S3 परिभ्रशोऽसि ( for अर्ोऽस्ि ).
L 6-7 M1 D3 om. मन्दभाग्यः,
L7 Dr aa: ( for कृतः}.
St. 16—a) वि 1.2 Mi D1.3 [अपि ( for (w}a).—b) D3 भवति; D6 अह्वे ( for भस्स्येव ).
Lio Ds om. सावम्नं, Mr D3.7 ०, aa. D1 om. यावत् , Ni.2 अबह्यद्ृतरोकापिना दग्ध" ; Mai असष्यशोखमिदग्धं ; 01 भरक्यं शोकाभि- quart; D3 इतरोकाभिदष्यमानं, 53 om, भात्मानं.
Act V ] चगडकोरिक्स १९७
यतः मध्ये व्यक्तमनादिविश्चमवशाद्व्यक्तमाचन्तयोः पञ्चत्व प्रङृतिः किलास्य जगतस्तत्पञ्चधा संभृतम् | संसाराणैववीचिभङ्गवलने्योगा वियोगैः समा- स्तन्मोददाद्परं न Af विदुषां शोकस्य यत्कारणम् ॥१७॥ 5 दोव्या। (Set wear) | कथं of हदजीविदं ण मं परि्चभदि। ता f& gy rq पत्थ करणिज'। ( अध्रूणि परिमृज्य )। भोदु पदस्सिं मसाणपादषे अत्ताणअं उव्वन्धिभ वावादष्स्सं | ( इति पां रचयति ) | राजञा । (दष्टा ससंश्नमम् )। मह इदमपरमापतितं जीवितव्यसनफलम् । 10 तक्किं करोमि मन्दमाग्यः। ( विचिन्तय )। भवतु, धव ताषत्। ( wate’ धित्वा ) ।
Lx N12 tus. eq as stage direction before यतः.
St. 17—b) D3 dad ; D7 मस्तं ( for daa ).--c) Nx D7 -वलयैः ; 121 -चलनैः \ Pea -बलैः ( for -वलनैः ). Ma योगो faanat: ad.—d) N2 a मोहात् ; 52 संमोहात् ( for तन्मोहात् ).
1.6 Nu1.2 लन्धसंहा ( ग संका लब्ध्वा). 0393 कहं; [24 कथं ( for कधं). 0 5. sar वि after कथं; Mr ins. after हदजीविदं, Ni at (forge), D6q( forq). Nui.2 Mr transp. ay and a.
L7 D250m.y. Nz.2 01.2.56 93 Pe2zq; Daeg, Ni D1.7 करदस्सं ; N2 Mi afeged ; 4 करणिलो ; [25 sftgw’. Nu.2 विश्ष्य ; Pea प्रमृज्य ( ०: श्रश्रणि परिमृज्य ).
L8 Ds एदस्स (ण एदस्सिं ). [1.2 Mi मसाएवादवे ; Dr aaroea पाद्वे ; 53 मसाणपाश्रवे. 22 ०0. १ Mi ama; 04 93 भप्यमाणं ( for श्त्ताणाश्र' ). Ni.2 उद्धिन्धिश्; D3 बन्धिश्र ; 52 aedfen ( for उम्बन्धिश्र )
Lio D3 om. eet. 07 om. wav. D7 जीवितफल"; Mi जीवितव्यफल्ल",
Liz Mz 0.3 severed स्थित्वा (D3 स्थितः) पुनरन्यनो गत्वा se” (Ma D3 om. this word); Da.4-7 $1.3 (S2 missing) 0८12 इयन्यतो गत्वा, Mt Di-7 S1.3 ( Sa missing ) Pe1.2 continue acuta विं यान्ति शयादि पठति, which Nr: insert later below after St. 18, [ Variants: D1.5.6 निषत्त; D3 निति; 24 fata’. Mr Dr यान्तीति { D3 53 श्लाहि (for बान्तीद्यादि }. Ds पटित्वा (for पठति }. Mr D3.4 53 Pra ins. उच्चैः after पठति }.
॥।
१२८ चरडकौशिकम् [4०५ खकर्मवेचित्यविपाकविशनमै- fecal: परटोक्षभूमयः। विहाय मायामवश्चस्य भूरियं विहस्यते सा किल पारलौकिकैः ॥१८॥ 5 deat) ( सविस्मयमाकणैयति ) । राज्ञा । ( पुनरन्यतो गत्वा मरणाश्निश्ैतिः यान्ति (५१५) यादि पठति ) | ष्या । ( आक्यं ससंथमं पारमुत्यज्य )। हद्धी wat मरणमहसवा- सत्तदिअभाप पराधीणजीषिदाए दासत्तणं पि मप विसुमरिवं।
St. 18—Dr.2.5.6 om. this verse.—a) M1 aq ( for ख- ).-0) N1.2 Mr D3 विभिन्न ( for fage-).—c) Ni जीव; Nz Mx D3.4 S2 Pea जायां ; D7 वेषां ( for मायां ). Na न परस्य ; ‘Na D7 sever; Mr श्ररर्य++ ( for श्वशस्य ). Nu.2 D7 पर्वेथा ; Mr 03.4 Pea भूमयो ( for भूरियं ).—d) Nu.2 विषशष्यते सा ( Na विदध्य सा ) किल ( Ni om. this word ) पारलीलिकः ; 1/1 विहन्यते+करिलि पारलोकिकः ; D7 विरुष्यतेऽध्वा किल पारलीकिकः ,
Ls Mr 047 ऽ (92 missing ) Pet.2 om. this line.
L6 पिव. om, गत्वा and cites the entire verse here. Mr D1-7 S (Sa missing ) Per.2 ins, this line above (see above p. 127, 112. ४.1}.
L8 Mz गा. SETA and transp. ससंभ्रमं and qrerqeava ). Nu,2 सम्यगाकपय (for भाकएये ससंभ्रमं). Mr हष्दी कथं ; D2 ere हष्द ; D3-5 51 Per हण्ड हष्डि; D7 ददि eft; 52.3 हत्थि हत्थि" वि 01.705, कं before मरण- .
Lg Mz पराधीणजीविदुशं ; D3 प्रहीणा जीविदत्तं ; 93 पराहीशजो विभ्ाए ( for पराषीणजोविदाए ). 141. -जीविददासित्तणं ( for -जीविदाए दासत्तणं ). Mz D3 ०. ; Dr afta ; 2.6 crane; Ds reg ( tor दसत्तणं ). D2 $1.3 Pes fir ( for fi ).
Act V ] चरडकोशिकम् १९२६ अण्णस्सिं पि जम्मन्तरे श्मादो दासभावादो ण eget भविस्सं। ( उर्वैमवलोक्य दीषै' निःश्वस्य ) । wet a मखदुपि ण wate भवदो सभाखादो। ता दण्डि मन्दभाइणी | ( इत्यात्मानं पातयित्वा सहसोत्थाय अधूणि परसूज्य )। केततिभं दाणिं अप्यदीभारदाख्णे दसाविसंवादे परिदिषिदब्वं । ता ८ कालोचिदं aga दासिसषणससुचिदा सुस्पखाप विभवरं
rd
Li Dr safed ; 02 श्रणसं ; D4 syed ; D6 भग्णसं ; D7 acuta (for sreufed ). D4 93 वि ( tor fa)» Nx Mr णम्हि ( Mr om. this word ) परिसुक्षा इमादो दासमावादो ; 42 agreeing but corrupt ; D1.7 मणं परि परिमुत्ता ( 07 ण परिमुक्षा for these words ) इमादो दासभावादो भवि्सं ( for इमादो दासभावादो ण Paget मविस्सं ).
L2 D3 adgry ( for aid’). Some Mss निश्वख. D1 ins. भो before awa. D2 ama ( for amt). D1 देव ; D3 देव ( for देष्ब ) Nua transp. afte fF U लभीश्रदि and मश्रवदो amar (13) S3 fa ( for fa ) M1 मरणं ( for मदिदु' )
L3 Mrasafe;, Dr wax; D2.5.6 Pra arate ; D3 लम्भीभ्रदि ; 04 लभदि ; D7 axe; S2.3 लंभदि ( for लभीश्रदि ). Nr.2 21.3 ह ददम ; Mr 056 91.3 2५८1.2 ता हद्धि.
1.4 Dx पातयति ( for पातयिता ). M1 om. सहसोत्थाय. Na M Nx wafy परिय्र्य ; D3 eres परिय ( for arafiy ava ). Dr किति; D2-6 Si Pera सिद ; 27 52 कितिभ्र ¦ 93 कत्तिश्र
Ls Nra Mr 050 दणि; D3 a ( for दिं). D3 S23 srqstaiz-. Ni.2 Mr -दा्णो $ D2-6 -ared; 591 0८1.2 -aregt. Nisa Mr दताविसंवादो १ D3 जादुविभंवादे ( for दसावि्वादे ). Nua परि" देविदव्वो ; Pea परिदेवीदव्वं
L6 Pta किदुञ्न ( for gw ). M:z D3 दासत्तण-, Mi gegarg ; 22 aeqarg.
1 om. ;
N1r.2 Ds gqarg 3
चरडकोशिकम् [ Act ५
१३० आराधअन्ती वदोववासणिभमेषिं अत्ताणं परिसोधशस्सं sat ण मस्ति मणुस्सलोप पुणो षि संमविस्सं मन्दभाषणी |
( इति चितां रचयति ) | राजा । ( दृष्टा सकरणम् ) | अये आर्धमनया कालोचितम्। ( ae 5 Ta) | साधु देवि साधु । नास्यामण्यवस्थायामतिक्रान्तमाभि-
wre! तदहमिदानीमुपखतय भत॑राष्ठां प्रमाणीकरोमि। ( वथा त्वा Gadget सवैकक्षयं च ) । देषि। ( श्य्धक्त मुखमाबृष्णोति ) | महाभागे
Li Nr 0.3 93.3 अआराहश्न्ती ; Na भाराहयन्तीए. Ni Mr Sa बरदोपवास- ; Na किदोपवास- ; 24 51 ?"1.2 व्वदोषवास- ; 53 बदोवपाष-, 41.23 -निश्रमेहि. 7प1.2 Dr ins. तधा before sera. 24.5 ery. M1 01.2.47 Sx ?८ .2 प्रिसोसशस्सं ; D3 ataged ; 93 परिशोसिष्सं.
La 03393 यह (णि जधा). विग.) 71.3 om. श. Mr om. इमस्सिं, Ni.2 Dz.3.7 मागुसलोए. 9 Nu.2 ण afaed श्दिसी ( N2 om. this word); Mi पुणो संभविस्सं; Di ण पुणो वि भविस्सं; D3 पुणो वि ण॒ जम्मिस्सं ( for gat वि dafred ). The passage from मं ( in मन्द्भादणी ) up to the end of the work are lost on missing folios in D1,
L3 Mr ( before corr, ) नाटयति ( for रचयति ).
L4 D3 om. ष्टु भाते श्रमैः Nx Mr प्रारब्धं ; Na corrupt ( for ured). Ni.2 लोकोचितं कमै ; Mr कालो चितं कमं ( for कालोचितं ).
1 4-5 Ni.2om.; D3 Pe2 खगतं ( for भ्रास्मगतं )
1. 5 92 ०7. second साघु, Da.5.6 om. रपि. 24 श्रवश्यापातमप्य- तिक्रान्तं ( for भवस्थायामतिकान्तं ).
L 5-6 Mx भ्ाभिजनं ( for भ्राभिजालय" ).
1.6 Mr D3 om. इदानी. 7 उपभत्य (for उपदल्य). D3 प्रमोः (for भरुः.)
L7 Nia 02.3 om. ated adage. Ni.2 03 ०1, ब, D7 write.
L8 N1.2 Mr D3 om. सुदखमादृणोति, Da.5-7 ins. इति बदति afcer महामे,
Act V ] Tees freq १३१
अहत्वा मत्परिहानमदस्वा भूतकम्बलम् | sedate: केनापि न दमशानोविताः क्रियाः ॥१९॥ तदुपनीयतां मे gene: ( एति सवाष्पस्तम्भं करं प्रसारयति ) | deat) ( भयं नाययन्ती ) 1 भदमुह दूरदो fg) भं हे same) 5 राजा। ( वीडां नारयित्वा स्थितः) । ष्या । ( रोहिताश्वस्य शरीरात्पटमाङृष्यार्षयन्ती हस्त समालोकय सविस्मयमात्मगतम् )। कधं चक्षवत्तिलकषखणसणाहो षि अयं पाणी CARA बावारस्स उवणीदो । (शनैः प्रलयङ्गमबलोक्य St. 19 = 1४. 23.- 4 ) Ni.2 sadatar केनापि न श्मशानोचिता किया. Instead of the entire verse, 92 reads peat मत्परिजञानम् इति पठित्वा ; 53
श्रद्वा मत्यरिहानभिलयादि पटित्वा. L3 ९८५ om. मे. पि1.2 Mr D3.6 मृतकम्बलं- }41.2 बाष्यसतम्भं gem;
Mi araged ( for सबाध्यतम्मं ).
Ls Na 06 नाटयति; Ds नाटयित्वा (for नादयन्तौ). Dy ins. gga after भदमुह. Mur ay geet (for agg). 27 om. qa. 1.3 ins. ज्जेव 2८८८ वरदो. Nr.2 ते ( (० दे ). Mr 03.4 उश्रणदृस्मं ; Pea aaaged.
L6 N1.2 Mr D7 Pea व्रीडां नाटयति, omitting स्थितः, $2.3 नाटयन्
( for नाटयित्वा ) L7 Nu1.2 Mr D3.7 ins. aged before रोहिताय. Nu.2 dfeary-
शरीरात्पटं ; D3 रोहिताश्व परीधानां ( for रोहिताश्व्य शरीरात्रं ). 04 ins. तं ४०६०८ श्रप॑यन्ती. Nz om. भर्पयन्ती. Nu.2 ins, राज्ञः before ga’. Nu.2 विलोक्य ; D3.7 भ्रवलोक्य ( for समालोक्य ).
1.8 वपिः ०0. सविसयमालमगतं. Sz खगतं (for aang). Ni.2 हृदी wat; D6 कथं (for ed), 53 xx व्िलश्लण- ; Pca ageafaaray. Nu.2 D7 Pea -aeqy-; Mr -लाज्छण- ( for -etaq-). Ni.2 Mi । D3.7 om. fa.
Lg D3 ins. ता before इमस्य. N12 ins. देष्वैा after उवणीदो, D2.3 Si Per.a 103. yaar before शनैः, M1 03.7 repeat शनैः. Dz Pea भालोक्य ( for waters ) .
चर्क्रीशिकम् [ Act ५
सप्रलमिन्वानम् )। कधं saat! ( ससं्मम् )। हा ase परित्ताहि परित्तादि। ( इत्यात्मानं पातयति )। राज्ञा, (अपसृत्य )। देषि न मां श्वपाकदाखयदूषितं erent तत्समाश्वसिहि समाश्वसिषठि। 5 ear) ( समाश्वस्य )। cat eal किण्णेदं । राज्ञा। कर्मणां विपाकः। तदलं परिदेषितेन | उपनीयतामेतत्। gear) ( सवैङ्कव्यमर्ैयति ) । ( माकाशात्यष्वृष्टिः। उभौ सविसयमवलोकयतः ) |
Li Nia safe भरषलोक्य च ( {01 प्रज्गमवलोक्य [ p 131, 191] सप्रयभिङ्ञानं ). Mi 001. सप्रयमिहानं. 53 s¢ (for कं }. 03 om. all words from कधं भ्रलरत्तो up to पमाश्वसिहि (14). 2 ०. ads.
१३२
D7 om. हा, + La Nu.2 प्ररिताग्राहि परिताभ्राहि; Mz D7 परितताभरहि परिताभ्रहि; Dg does not repeat प्रि्ाहि,
L3 Mrom.; पषा. -eqgl- ( for -दाय- ).
L4 Mz Da.s do not repeat समाश्वसिहि.
{5 D3 णा. ; Mr leaves space for qarqeq. Na ins. उत्थाय after समाश्वस्य. N2 Mr om.; D7 does not repeat ; D2.3 Sx Per eat हही $ Dg Pea हद्धि हद्धि 5 S2.3 हत्थि हत्थि. पि 1.2 Mr D3 ins. sreraey before किरणेदं. Ni.2D6 RAE; D7 Hy Rye; S23 क्षिं एदं ( for किरणोदं ).
L6 Ni Mr D3 ins. देवि before sgt Ni.2 परीपाकः ( for विपाकः ). 1.2 om. wet परिदेवितेन and ins. मे after उपनीयतां. M1 D7 Pra परिदषितेः. 141.2 Mr D3 मृतकम्बलं ( for एतत् }.
Lz ववि. सवेक्व्यं नाययित्वा श्रपयति; M1 D3 तथा कृते ( for सुवैक्कव्यम्पयति ).
L8 िा.2 ins. पतति before प्राङाशात्. Mz ins, प्रपात after पुष्पवृष्टिः, 05 परस्परं ( for afrard )» Nx 04 Pea sreteaa: ( for भ्रबलोकयत : ).
Act ४ 1 चरड़कौशिकप १३३
राजा। कथमाकाशात्पुष्पवृष्टिः। ( yey ) अहये दानमहो शीलमहो धेयैमहो क्षमा । अशो Tame ere हरि्न्द्रस्य धीमतः ॥२०॥ भ्या । (शरुत्वा GATT) | अम्मो को वाणिं भज्ञरउक्तस्स गुणसलाहापए 5 मे feet mend । भधषा aware, aa बि णाम शमं अवत्थन्तरं अणुभोदि। «=o aan अभारण धम्मो । भरण्णरदिदं सव्वं । अन्धभारणश्चिदं area’ विण्णाणं |
Li Mz om, liaes 1-2, ‘
L2 From बेपभ्ये co the end of the work, the passages are lost on missing folios in S2.
St. 20—0) Mi ara ( for शीरं ).—b) Na ata’ ( for aa’ ).—c) Mr शीलं ( for aa’) and aa’ ( for हानं ).
1.5 N2D7 om war. M1 D3 om. axed. Nu.2 Mr D7 दाणि ; 04 qt. Ni.2 D7 Pra ins. एसो before sane. D4 भरते, 111 गुणसमयेहिं ; D3 यणसलाहे ; S3 गुणतिलाहाए.
1.6 कषि.2 Mz 07 Pea transp. मे and fers. 04 श्राषाषरसिि ; Ds श्मासदेदि ; D7 समल्सासेदि ; Pea समास्सासेदि ; 53 पमासेदि ( for wraréfe ). 127 सव्वधा \ other Mss ( 01 S2 missing ) and Pe ( excepe N1.2 as in ८८४८ ) agar ( for wwar). Nu.2 गुणमलाहाए ; D3 guamtg; $3 गकहाए ( for गुणक्षाए )-
17 Sx Per.2 जदि (for fa). Dg ins. दाशी after वि, D3 om. णाम. Mr इदं श्रवत्थान्तर, Ni.z Mi Da.s.7 श्रणुमवदि ; D3 श्रणुहवदि ; 04 श्रसुभवेदिति ; D6 अणुभवदिति ; 53 भगुभवदित्ति ( ० श्रगुभोवि ). 25.7 ins. त्ति; 0८2 ins. ति after भरणुभोदि. 93 azar ( for erat). Nu.2
„ 114 sg; D6 श्रभ्राणो ; Dz श्रकारणो (9 श्रश्रारणो ).
L8 Mz श्ररणयददिश्रं; 3 aed sie; D4 भ्ररगगदषितं. Nr aga’; D6 ad’ ( for सव्व" ). Ni weaaietea gfey ; D2.6 seamcier ; D3 wreaity च्छरादिदं ( (०८ अन्धग्रारणनिद् ). D3 om. second aed. Mit ins. च before विरणाश ^
११५ चरडकौरिकम् [ Act ¥
( ततः भविति धर्मः ) ea महापतिवरते, महाराज afters, कथमहमक्ारण' an, तथा हि पष्य अन्येषां ये दुरभाः पार्थि्वार्ना 6 सत्यैरदवानैरुजजितैः कर्मभिश्च t तानेवाहं ब्रह्मसारोक्षयपूता- ATAY दातु शाश्वतानद्य लोकान् ॥२१॥ age’ विषादेन । वत्स रोहिताश्व समाभ्वसिहि समाश्वसिहि | राजा। (दष्टा सदेष॑म् )। कथमयं मणवान्धर्मैः। भगवन् अभि- 10 वादये ॥ ष्या । भभव पणमामि । रौहिताभ्वः। ( शनैः शमैश्न्मीलयति ) | wat | समाश्वसिहि चत्स त्य' पित्रा धर्मेण पालितः | गतप्रस्यागतैः प्राणैथिर' पालवितु' प्रजाः ॥२२॥
La Nt.2 ins. कथय कवय before कयं, 141 D3 St Pes.2 sare ( for श्रकारण' ).
L3 Nr.2 कृतः; 53 प्श्य aut हि by transp. ( for तथा हि पस्य ).
St, a1—b) Mx कायैः ( for दानैः ). 1.2 श्र्जिताः ¦ Mi 07 निर्जिताः ( for ऊजितैः ), Nu.2 कमेमिस्ते.--९) Pea ब्रह्मलोकस्य पूतान्.-4) Ni.2 Mr D2.3.7 53 Pea प्राप्नो ( for श्रापतो ). Dz ब्रह्मलोकान् ( for sr लोकान् ).
L8 Mz विवादेन ( for विषादेन }. D2 93 do not repeat समाश्वसिहि.
Lg Nu.2 D3 सविस्मयं ! Mr ads ( for aed). Nua ins. श्रये before कयं, D3-5. 7 Pea om. ; 02.657 Per बः (गश्रयं). D5.6 भवान् ( for भगवान् ).
{~ 9-10 Nr.a D7 Pea प्रणमामि ( for भ्रभिवादये ).
Lia रा.2 0 do not repeat शनैः, Da ins. नयने; Dg नेते श्व उन्मीलयति, Mr उन्मीलति,
St. 22- ^) Nx लवं पिता ; Na लत्िता ( for त पितरा ).-4) Mz D3 वर्पयिहु' ( for पालयतु" )s
Act VJ चरडकौशिकम् १३९
रोहिताश्वः। (समुत्थाय) । कथमम्बा | तत्केन पुनरिमं प्रवेहामानीतासि । ह्या । जाद् अत्तणो भाअधेपदि'। धर्मः। वत्स भयं ब्रह्मलोकातिधिः पिता पुरत पव । रोहिताभ्वः। तात परित्रायख परित्रायख । ( त्यात्मानं पातयति ) । राज्ञा । वत्स न मां भ्वपाकदास्यदूषितं स्पष्टुमहसि | eh | राजन् अलमिदानी' कृपमेराखापैः। वथा हि क्रेताण्यस्या ब्राह्मणो यः ATA TATE यत्र राज्यं च TH) CIMA वस्तो शातुमेत- Feed eng: सपरत ते ददामि ॥२६॥ 16 La Ni.2 M1 Pe सहसोर्थाय (for समुत्थाय). 1.2 ins. afrera after ageata. 04 sia ( for weat). 4-6 S3 om. aa. Nx कथं ( for तत्केन ). 03 केन उण ईमं देशमाशोदासि ( for ada पुनरिमं प्रदेशमनीताबि ). Nu प्रदेशमानीतोऽसि दयवैलोकयति ; Dz प्रदेशमानीता ; Pea देशमानीताधि ( for प्देशमानीवाषि). Mi om. भ्रति. N2 om. all words from कथमम्बा to वस्स {1 3). L2 पि गा, all words from tsar to माश्नषेएहि, 07 om. arg.
02.6 wnat’.
L3 नि .2 D7 ins. ते ञ्ल श्रयं. D7 om. ब्रह्मलोकाति्िः, 93 om. frat. Nx.2 ger: ( for gta: ),
L4 N1.2 ins. हा । श्रये कथं (N2 000). this word ) ततोऽप्यतरव before तात, क ०0. ata. D3 ara; Mr D7 53 परित्ायख ( for
परितायख परितायख ). 5 पातयित्वा.
Ls 02.7 Sx Per.2 ins. say; 53 ins. पमुत्याय before wee. Pea om. वत्व, Nusa श्वपाकादि पुनः पुनः पठति ( for धपाक्दाश्दूषितं छष्टरमहंषि). M1 D6 श्वपाकदृषितं.
L6 24 qonly for राजन्. 04 हृपालापैः ; Ds Pea कृपणालापेः, Mr
‘om. तथा हि, St. agz—«) Na Mx 04-7 51 Per.2 ase: , 03 atsd ; 93 वालयः
(for [श्र] प्या). D2-6 $1.3 Per.2 ते ; 07 corcupt (for बः). N2 drops बः, —b) Ns.2 Ds 53 Pea बरडालो. Nu.2 यश्च ; D3 यथ ( foray). Nua WH (for at ).—c) 03 cransp, राजन् and गुह्यं, Nu.2 neq’ ( for gry ),
Cd
११६ चरढकौरिकप् [4५४
कः कोऽ विमानानाम् । ( प्रविष्य ) gent आन्ञापयतु भगवान् । धर्मः। इतो भव। 5 gan, पएषोऽसि । wa) महाराज विमानमधिच्छया feta agen विलोक्यतां aad सर्वमिति |
शाजा। यथादिशति, area ( ति दिष्य॑विमानमार्हा ध्यानं नाटयन् ) । धिक्पमादः धिकपमादः। विथोपस्थानपरितोषितेन 10 भगवतां कौशिकेन सचिषेषु नो राज्यं प्रतिसुक्तम् ।
धर्मः। राजन् भवत्खत्यजिक्षासयैवासौ मुनिस्तथा sare त॒
Li Dq.5 ins. भोः after कोऽत. M1 षिमानाधिकारिणा ; D2.4.6 51.3 Per परिवाराणां or परोवाराणां ; D3 परिचारकानां } [5 परिचाराणां ; D7 विमानं विमानं ; Pea परिचारकानां विमानं विभानं ( for विमानानां ).
~ 3 Pca ins. धर्मो before ; Mr ins. after भगवान्. 2.4 भवान् (for भगवान् ).
L6 Mr राजन् ( {० महारज ). Nr.2 M1 D3 faaraarem, which D3 transp. after agar. Nx.2 अवलोक्यतां ( for विलोक्ष्यतां )
L7 53 यथे" ( for यथेदं ). Mrom.;, D3 af यथेष्टमिति } D6 यथेदं सर्वैभिदमिति ( for यथेदं स्वमिति ).
L8 Mr Ds भवान् ( for भगवान् ). N1.2 D7 S3 0m. दिव्यं, 04 S3 विमानमधिषहय. 1.2 ins. दिव्यवेशमास्थाय ; D7 Pea ins. रच्यवेशमाश्थाय before ध्यानं, 111 आद्य वेगमास्थाय ( for gfe feed faaramen ).
Lo Nu1.2 D3 नाटयित्वा ; Mz नाटयति ( for नाटयन् ). Mr D3.5.7 do not repeat धिक् प्रमादः. Nux.2 om. second fig. D4 repsats both धिक् 14 प्रमादः, Na विद्ापस्थान-. 4 -परितेन ( for -परितोषितेन ).
Lio पपि .2 सचिवे ( for सचिवेषु ). Nx S3 om. नो. Nu प्रतिनियुक्ं ; Na ga; Mr प्रसं ( for प्रतिमुक्नं ),
1. ग 5.6 om. राजन्. Ni.2 सल्यजिह्ञाघनेन; Mr सलभिहाधरायै; D3 aa- जिहासारभितेव ; D4 fagraty. D7 om. wet. Mz D3 transp. असौ and पुनिः,
Act V ] चरडकोरिकम् १३५ शास्यार्धितया । तदल' संश्रमेण। विखण्धमालोक्यतां सदिं
सवम् | can) ( पुनध्यौनं नाटयित्वा सानन्दम् ) | देवि दिष्ट्या qua) क्रेता सते प्ररूतिकारुणिको हिजन्मा जायाससरो ननु रिवो किल दम्पती तौ । $ क्रेता ममापि ay यो भगवान्स TA
स्तेनाघुना मनसि शास्यमुपैति शान्तिम् ॥२४॥ wa) तेन हि अभिषिच्यतां पृथिवीराज्ये वत्सो रोहिताश्वः । राजञा । भगवन् यद्ादिहसि ।
La Mz तत्र ससंभ्रमेन ( for तदलं data). D2 Si Per fagaz ; D3 frag. No.2 D4 श्रवलोक्यतां ( for श्रालोकयतां }. Nr.2 Dg यदिदं ; Mr तावदिदं ( for तदिदं )
L2 Ni.2 53 ios. इति after aa’.
L 3 Nu.2 ्रमिनीयः; 53 नाटयन् ( for नाटयित्वा ). Ni.2 सविस्मयं ; Dz Pr2 सस्मितं ( for सानन्द् ). N1.2 ins. fa नः प्रियं before afa. D4 zczqt ( for दिष्ट्या ).
St. 24-0) 93 Pea aq ( for ag ).— After ¢) Dg ins.
sufaca येन भुवि पातित एष बालः
सोऽयं गणो भगवतः करणाद चेताः |
चणडा लवेष भवति भैरवमादधानः
श्माशानिकं वरहतिव्रकटात्मतृत्तिः ॥ —cd) Ni 04 धर्मोऽवर्मोऽधुना ; Mr D3 घर्मधेतोऽधुना ; Da wal ममाधुना; Ds wat ममीघुना ; D7 sat gatgat (sic) ( for waedargat ).—d) Nu मयि विशन् ; Mu D2.3.5-7 मम विशल्यं ( for मनसि शस्यं }. Ni कमुवैति (ण "उपैति ). $3 शान्तिः.
L8 Ds om. परमैः. Nu ins. तावत् after अभिषिच्यतां. M1 gediciza mat dean: ; 03 पृथ्वीराजे रोहिताश्रोऽयं ( for एथिवीराज्ये वसो रोहिताश्रः ). 53 एथित्रीरज्येऽभिनिवेश्यतां. D4 om. वत्सः.
1. 9 This line is missing in $3.
18
१३८ । चरडकौ शिकम् [ Act V
धर्मः। आसनमाखन' oa’ oa चामर चामर' शृङ्गारो ae, पुषः। पतत्सिंहासनमुपनतं दीप्तमाणिकयचित्र' ga’ र तत्परिणतदशरशन्द्रविम्बानुकारि | पते ज्योत््ञाप्रसरधवले चामरे हेमदण्डे 5 भृङ्गाराम्भस्तदिवमभितः dad सागरेभ्यः ॥२५॥ ( धर्महरिधन्द्रौ तोदिताश्वस्यामिषेकं नारयतः ) धर्मैः | ( उर्वैमवलोक्य )। दिष्ट्या विमानचारिणीभिदेवताभिरमि- aaa बत्सरोहिताश्वस्याभिषेकमहोत्सवः। तथा fz पता ae दधति कटद्रान्संभृतांस्तीर्थतोयः 1 सान्द्रः लिग्धः स्थगयति fer: दुन्दुमीनां fara: | गरलन््येताः सुरयुवतयो BHATT: स्वैः स्वैरंहौम॑रपतिममी लोकपाला भजन्ते Wl aed करणीयम्। वानी ब्रह्मलोकमभि प्रतिष्ठख |
Li Mr repeats saa only. D2 does not repeat श्रासनं, धतं, चामरं and qmit:. D5 does not repeat चननं and भृङ्गारः. Ni D3 om. चामरं चामरं. 93 AIT. This speech is given to राजा in S3.
St. 25—a) Mx D3 S3 उपगतं (for उपनतं ). D4 93 दिव्य ( for दीप्त ). —4) 53 fad ( for छतं }. D3 चन्तराजुक्ारि ( for °बिम्बानुकारि ).—c) Da एतत् ( for एते ). D3 -प्रकर- ; Ds (before corr.) -प्रवर- ( for -प्रसर- ) Pra हैमद्रडे.
1.7 0493 om. all che words from wa: ऊध्वैमवलोक्य to नन्त वत्स ( 8) and read only हरिषन्द दृश्यतां. Nx ins. ag after भ्वलोक्य. D3 बिमानचारिभिदेषैः. Mu ५305. देवताभिः and श्रभिनन्धते,
1. 8 02.6.7 Pra वत्सस्य रोहिताभरस्य- 03 ins. लक्षयते alter -महोत्सवः. । $, 26.4) 23 नो ( नो ).—b) पि" arent; Mr सान
fard , Ds ५3 areafara: ; Dz सान्द्रः निग्ध.-०) Ni D6 FRAT: ; Mz D3 *मन्दारपुष्ाः.-4) Nu etait: ( for स्वैरः ). Mu भजन्ति.
L13 Niom.; Da-4.6 तक्कृतमिदानी" यत्करणोयं- D3 om, इदानी".
Ni उपतिष्ठ ; 04 भभितिष्टल , 07 wfafe (sic) ( 97 श्रनि afaga ).
Act VJ ` चरडकोशिकम् १३६
राजा। भगवन् द्धे तजनतरपरे खलु गतान्दष्ठाधरे कोरिके नाथैतान्क विद्दाय गच्छसि नयास्मानप्यनाथानिति । ्रलभ्रागतबाष्पदीनवद्नैरुक्तोऽसि यैस्तान्कथं ल्यक्त्वात्मभरिरभ्युपैमि भवता लोक्ान्यदिष्टानहम्॥२७॥ =" wh राजन् खक्मेव चि्रोश्चावचखभावानां प्रजानां क पुनरेतावन्ति भागधेयानि | राजा। क्षणं क्षणा" सह ताभिरेव लोकान्प्रजाभिर्विदरामि तांस्तान् | ममेव वा पुण्यवलेन तासां ९ भवन्तु लोक्रा भवता प्रदिष्टाः ॥२८॥ धर्मः । ( सविसखयम् )। अदो लोकोत्तरं चरितमस्य cat) राजन् अनेन पुण्यव्ानसंमावितेनापरेण पुण्यसंभारेण प्रजानामात्मन-
Li M1 om. भगवन्.
St. 27—a) Na Mi D7 [श्र] व्यजुगत। ( for खलु गतान् ). D4 aan ( for गतान् ).—b) 7 प्रविहाय (for क्क विहाय). Mt ५205]. wana and afq.—d) D3 सुक्कात्मभरिः. 07 agai ( for भवता ). 4 प्रतिष्ठान् ( for प्दिषटन् ).
L6 द्वि" ०0. राजन्. 123 खधरम- ( {०८ खक्मै- ). Mr D3 प्रभावानां ( for -खमावानां ). Nx om.; D3 ८०05. प्रजानां and भागचेयानि (17).
L8 N«z.2 ins. भगवन् before the verse.
St. 28—b) D4-6 S3 विचरामि ( for विहरामि ).—c) D2.3 $1.3 Per पुरयलवेन.
Li2 1.2 aaecafia. Mr 02 om. राञन्.
{13 Ni Mi D3 0८2 ins. a; Na ins. तेन after waa. Ni.g quagiadaaa ; D2 पुयप्रदानभभावितेन ; 04 पृगयदानेन ; D7 पुरयसं चयेन (for पुरुयदानमंभावितेन ). 1.2 om; Mi [4 परेण ( for श्मपरेशा ). Mi पुग्यमंचयेन ( for oF Hey ) Ni.2 Dz om.; 04 ins. © after quadaity.
१४० चरडकौशिक्म् | [ Act ४
श्ोपार्जिताः शाश्वता ater) तदुच्यतां किं ते भूयः fragrance |
राज्ञा) भगवन् अतः परमपि परियमस्ति। तथा हि
षिद्याखामान्मुनिरपि मयि व्यक्तमिश्याभ्यसुयो
5 लब्ध्वा प्राणानयमपि fargarnata canta: | दृष्टः साक्षाच्वमपि भगवन्त्रह्मसालोक्यमाप्तं किं वा तत्स्याचद्परमतो afer प्रार्थयिष्ये ॥२९॥
तथापीदमस्तु
भरमुदितसुजनै समृदसस्या
Ip भवतु मही विजयी च भूमिपालः । ` कविभिर्पहिता निजपरबन्धे शुणकणिक्ाप्यनुगृह्यतां गुणक्ञः ॥२०॥
Li प्विाश्रपि (श्च); Na corrupt for the phrase. ववि1.2 ins. ma after उपाजिंताः, Nz लोकान् ; D6 शाश्रतलोरः ( for शाश्रता लोकाः ). D3 om. तदुच्यतां. D3 transp. किं ते and भूयः. Ds om. ते,
Li-2 Mr तदुच्यतां भूयस्ते किमुपकरोमि.
L3 53 om. wf. Mr 75. न; D3 ins, fai before प्रियं, ववा.2 D3 om. amt हि. Cf. Uceara-carita before vii. 20 wa: परमपि प्रियमस्ति,
St. 29 -4) 02.4-6 मुनिरयमपि ( for मुनिरपि मयि ).—b) Ds Pea क्षन्धः ( for ast ). Mr D3 लब्धैः srateaafa.—e) पि1.2 Mr D3 त्वमसि ( for त्वमपि ). D6 भगवान्. Na arate; Ms -लोक्लं ( for सालोक्यं ).—d) D3 0m. वा. पि.2 किं स्यादन्यद्दपरमहो यस्पियं पराथयेऽ्दं; Mi D7 fa स्यादेतत्परमपि मतं ( Mx परतरमतो ) यतय प्रार्थविष्य,
1.8 Dg ins. भरतवाक्यं before तथापीदं. दि. D7 भवतु ( for weg ).
St. 3०-4) 124 प्रतुदित- (for भ्रमुदित-). Nu.2 -षुजनाः. 03 विष्डशघ्या. All Mss and Pe ( except 04-6 Pr2 35 intext; 01 52 missing ) -शस्या (for -aeat)—<c) Na कनिविनिहितयभ्निजप्रबन्धे. Mi D3 निजे परभन्धे.-4) Na qosragzeat (corrupt); 06 गुणकखकियनु° ; 51 Pes quefyer age. Ds ins. at before ymg:, Na गुशहा' ; 24 Tae: ( for gue: ).
Act V ] . चरडकोरिकम् १४१
अपिच येनादिश्य प्रयोगं घनयुलकशता नाटकस्यास्य ह्षौ- दस्त्रारंकारहेम्नां प्रतिदिनमरूदा राशयः संप्रदसाः। तस्य क्ष्रप्रसतेभ्रेमतु जगदिवं कासि केयस्य कीर्तिः पारे क्षीरःख्यसिन्धोरपि कवियदासा साधमप्रेसरेण ॥३१॥ ( इति निष्कान्ताः स्वे ) 1
इति पञ्चमोऽङः समाप्तः ॥ इ्यायेक्षेमीभ्वरङृतं चण्डकोरिकं नाटकं समाम् ॥ `
St. 31—a) Mr येनैतस्य ( for येनादिश्य ).—b) Mr दृष्टा ( for व्ला- ) Ni.2 03 श्रनुदिनं (for प्रतिदिनं ). D7 maga ( [ण aga ).—c) D4 कवसूतेश्र॑मतु (submettic). Mi जगति (for wag). Pea जगदियं.-4) 1.2 gtergfaedt: ; Mr D3 कीराम्बुराशेः ( for दीराश्यसिन्धोः ).
Colophon. Nr.2 qwaitg: समाप्तः ; Mr qeatsy: ॥ इति कविचृडालङार- श्रीमदाचाय्मीरवरकृतौ चरडकौरिकं नाम नाटकं समाप्त" ॥ ; Dr 92 missing ; D2.5.6 Si qaatg: ॥ इति श्री (D2 om. श्री) आर्यततेमोरवरकृतं (51 °ग्रायतेमेन-) चरडकौशिकं नाम नाटकं समापिमगमत् ( 05 Sit समाप्तं); D3 विमानारोहणं नाम quate: ॥ इति श्रीमहाकविरा जचोमीश्वरविरचितं बगढकौशिकं नाम नाटकं संपूरणं" । Dg cate: | ft tag देमीरवरकृतवरडकौरिकं नाटक equ, 127 away: | समाप्त' चेदं चरडकौशिकं नाम नाटकं ॥ कृतिरियं महाकवेः चेमेनस्य ॥ ५३......... कृते चरढकौ शिक पश्चमोऽदकः ॥ ?८1.2 इति ard (Pea tena) सेमोरषरकृते चराढशौ शिकनाटके walsy: सम पतिमगमत्.
Post-Colophon. Nx ins. खान्धिलोके (Nevari संबत् ३७०125० A. D)
गते vt वैते पदशो fel) wh च श्रीमतो राज्येऽभेमन्नस्यास्य तेकनम् ॥ शुभमस्तु ॥
Then in a later and smaller hand:
aeigarnt (N.S. 75121631 A.D) बय नेपाले शनिवारे! पौवेमु- शृद्धिषप्तम्यां ga श्रीरामदासतः ॥
१४२ । चर्कोरिशरम् [ Act ४
N2 ins. ्रेयोऽ्तु । संवत् ६०७ ( =1487 A. 0. ; Sastri reads ४०७ ) माग्म- शिरणुक्रदितीयार्यां तिथौ शनिक्वरवासरे । विजयराज्यश्रीयय ( जय ? } स्थिति राजमह्ञदेव्य ॥ कीर्तिप्रतापाजिंतसिंहमूतिः संमार्जितं पादनसेष्पि wens सेयं विभाति विदुद्धाजनानां श्रीपाकवत्सरणः सिंहमन्नः ॥
लिखितमिद वजा(ज्रा) area(a) अमरेतु दतेन । शुभमस्तु सर्वजगतां ।
Mx ins. श्रो" नमो भगवते वाहुदेवाय ॥ श्रीरामाय नमः ॥ शाके १७०४ ( = ' 182 A.D. ta ag ( वैशे वदि चतुध्यी' मुरौ).
Dx missing.
Da ins. : निधिगृहरसचनद्रो वत्सरे विक्रमाख्ये ( सं १६६६643 A. D.) गुकवरदिनशुदधा मासि मधे a set । शशधरपुरमध्ये war) व्यलेखद् विबुधहृदयसार नारकं कौरिकाल्यं ॥ कछ ॥ छ ॥ शुभमस्तु ्रीमद् भरनी शलं दिशतु ॥
D3 ins. gi मवतु । संवत् १८१५ ( =1759 AD.) समये मागंशीषै seg १२ सोमे fafad व्रजनाथेन पंचनद्ान्वयेन श्रीहरिः ॥ चं ॥ श्रीः ng
Dg ins, प्रोशंकराप॑णामस्तु ॥ सं ७५४० (2) ॥ छ ॥ छ ॥
Ds ins, शुभं भूयात् ॥ शुगमुनिरसचन्द्रः afaasst (सं १६७४618 A.D.) च भाति पौषे परते सिते बे हरनयनमितौ भव्यदायां तिथौ च । गोलानन्दनबासरे शुभदिने ताघ्नाकरा aa हि aad पुरि नारकं च लिल्ित नागावललीनांमनि ॥
भूयाद् श्रीदमिदं मनोहर लिषि पाठाय संतुप्यत् ॥ शुभं ॥
D6 ins, सं १६५७ पौष कृष्णा ( =1801 A D.).
D7 ins. संवत् १६६१ (the lase figure ¶ indistince )( =1605 A.D. ) वषे माष सुदि." [6८४ worm-eaten and lost) gy’ भवत् । लेखश्पाठकूयो[ : ] fewer) wade सप्तशतानि u......... (lost) , भो विष्णुसूनोर्गोपाष्येदं gee धातृणां अभ्ययनाय' ॥
St ins. weTTG Tafa नमः ॥ धीरस्तु No date.
Sa missing.
S3 शुममस्तु । भोगो" “ये नमः. No date,
ENGLISH TRANSLATION
CANDA-KAUSIKA (THE FIERCE KAUSIKA OF ARYA KSEMISVARA)
ACT I Prologue (Invocation)
‘This deity, because of the diversity of ehree qualities’, creates, sustains and destroys the worlds; it is by his eight pervading forms* indeed that this very universe is covered; for him there is none to adore’,—as if perceiving this, on the onset of Siva’s dance, the flower: offering, scattered by the hisses of the hoods of serpents encircling {his hand], fell at [his own] feet®,—may it protect you! (1)
i}
Moreover :
“O fair-limbed lady, let thy face with its ruddy eyes, frowning brows and slightly trembling lips, put to shame the beauty of the moon, No need of appeasement; O proud woman, lec this wrath of thine increase!,"—May Siva, embraced by the goddess thus
addressed‘, be auspicious to you | (2)
And again:
Blissfully relaxed in meditation; amorously thrilled at che sight of Gauti’s face; naw startled [and] marvellous, and now smiling at his own agitation; cruel to the mind-born [Cupid] who drew the bow;
1 Namely, the three well-known Gunas, Sattva, Rajas and Tamas. Literally traigunya=threefold qualitative condition,
2 The eight forms or manifestations of Siva constitute the theme of the first verse of Kalidasa’s Abbijiana-sakuntela,
3 The conceit is that Siva’s flower-offcring falls at his own fect because it finds no god superior to Siva. Some MSS make this clear by reading nija- carana-gatah; but this reading omits the iva of the Utpreksa.
4 And propitiated by the subtle flattery.
146 CANDA-KAUSIKA
contracted with pity when (Cupid was] burnt; and trembling with ३ flow of tears ac the weeping of his [Cupid’s] wife, may the [aver looks of Siva protect you!" (3)
(At the end of the invocation)
THE STAGE-DIRECTOR. Enough of prolixity! I have been commanded by Sri-Mahipala-deva who, having gracefully uprooted all thorns [to the State], was a suitor in the self-choice ceremony of Laksmi, who was drawn by his arm-staff, revolving like Mandara in the midst of the sea of battle’. Of him those who are versed in old history recite a laudatory verse:
[The same] Candragupta who, having the support of the naturally abstruse policy of Canakya, conquered Kusumapura by vanquishing the Nandas, made his appearance again as Sti-Mahipiladeva, rich in the pride of his arm, in order to slay just those [Nandas}] who have today verily attained the form of the Karnatas. (4)
(Entering)
_ ASSISTANT TO THE STAGE-DIRECTOR. Sir, what further has been commanded by that king ?
STAGE-DIRECTOR. It has been commanded that a new drama named Canda-kausika [ and ] composed by the poet Arya Ksemiévara, gtandson of Vijayakostha, should be staged. The poet has indeed
thus addressed the courtiers, who are proficient in the sacred text of
1 This verse describes the changing aspects of Siva’s eyes at the time wher Madana, the god of love, was annihilated by fiery wrath of Siva, the god of destruction.
2 This alludes to the churning of the ocean by means of the revolving Mount Mandara; from which Laksmi arose, with an implied comparison of king Mahipila to Visnu,
CANDA-KAUSIKA 147
dramaturgy,* who ate conversant with the arts and sciences, and who are familiar with the ways of the world:
O learned men, nothing is seen in this world which is fauleless or meritless, Ignore, therefore, the faults and accept the merits. (5)
Therefore, O Assistant, why do you not begin the music along with the actors 09
ASSISTANT. (Doubtfully, with face downcast), Listen, noble sit, The Brahman, to whom a fee was promised by your good self at the time of the eclipse, is now angry on that account ; so all the actors are frightened.
STAGE-DIRECTOR. (Acting as if afraid ; after reflection,
with joy). Friend,® there is no need of fear in this. Now then I
Shall, keep my word and give to the Brahman today what was promised, just as Harigcandra did by selling his son, wife and himself.S (6)
(Behind the stage)
Come, come, dear friend.
STAGE-DIRECTOR. (Looking towards the tiring room). Ab why,—this is king Harigcandra, directed in lus way to the inner apartment by his dear friend Baudhayana. [ He looks | tired after the vow and vigil, quietly advised by the family priest, who [himself] has elaborately begun various rites for the auspicious termination of calamities foreshadowed by great portents, This is he
1 Dramaturgy, is said to be the fifth Veda, the Natya-veda, in Bharata's ध Nitya-sastra,
2 Cf. Veni-s, Prastavana; tat kim sti pariparivika narambhayas Kusilavath saha samgita-melakam,
3 The term marisa (=Sir, or friend) is the regular word, prescribed by Dramaturgy, by which the Assistant addresses the Stage-director.
4 This is meant to hint at the plot of the play about to be staged.
148 CANDA-KAUSIKA
Whose eyes, inclined to sleepiness, are red and dull ; whose handsome lotus-like face is wasted through sleepless. ness; and who looks like an elephant which, having strayed from its herd at the close of the day, finds itself distressed at dawn by recent separation. (7)
So come, let us go there | (Exit). End of the Prologue.
(Then enter the KING, showing weariness for want of sleep, and the JESTER).
THE JESTER. O friend, chou dost walk hither and thither with eyes drowsy for want of sleep, like a tortoise with its head a little thrust out, like a blind mouse opening and shutting the eyelids without seeing the way. ‘
THE KING. My friend, it is sleep which causes chief support of the body of all beings. For:
It soothes the mind, brings lightness to every limb, kindles excellent understanding, removes deficiencies, keeps the balance of body-humours, and 01175 happiness attainable by a pecultar concentration of the
mind, (8)
Whereas see now my Body is languid with drowsiness, mind is benumbed with an excess of tiredness, mouth is yawning every now and then, and eyes cannot stand the light of the morning
sun. (9)
(Reflecting, with wonder), What again could have been the object of the revered sage and teacher’ in ordaining this night-vigil?” Or perhaps it is not proper to deliberate upon the commands of a preceptor.
t He is called a Kulapati, which means that he was a venerable old sage who feeds and teaches ten thousand pupils,
CANDA-KAUSIKA 149
THE JESTER. Well, friend, on thinking I find nothing in it other than the harm of frustrating the Queen who was dressed up and ready to receive her lover.*
THE KING. Friend, away with jesting |
THE JESTER. O this may be a jest to thee, but to me, a poor ‘ellow, this is a misforcune.
THE KING, (Expressing apprehension, with anxiety). How now do you think what steps the Queen will take?
THE JESTER. I suspect she is angry. +
THE KING, That ts so; what doubt is there? This is no small cause for anger for the Queen. Thus:
Whether he is held up by the ministers, of he is cattied away by the deliheful company of friends; or perhaps the rogue, gone to meet some other beloved woman, does not come today. Thus, what things are not imagined of me as a rogue by my beloved, with her sighs and with a face drenched with tears dropping from eyes
reddish with anger? (19)
Moreover :
In eager desire for gracefully accomplished adorn- ment, the evening was spent by her. The next watch? was passed with cyes set upon my path.’ ‘The rogue has not come’—thus with welling tears and with languid wiping off of the decoration, how again the rest of the night was passed by tossing on the sides of the bed!* (11)
1 That is, as a Vasakaesajja heroine of Sanskit Poetics.
2 The Yama is a watch, one-cighth part of a day, a period of about three hours,
3 CE. Tapasa-vatsaraja-carsta: tam sampratyapi margaedatta-nayanam drastum pravyttasya me.
4 CE. 7 (vi. 4); Sayya-pranta-vivartanar vigamayaty unnidra
eva ksapab; Malavika. vii. 5.
150 ` CANDA-KAUSIKA (Acting as if anxious). Ah alas, this lady with arched brows
Ac that time if some one approached, she was in
fruitless flurry to rise up, moved by the expectation of my
arrival, Towards her companions, who quietly smiled x
each other but hid their faces, she became downcast [in face]. (12)
THE JESTER. (Smiling). Well, friend, why dost thou trouble
thyself by bewailing over what is gone by? So come, let us go there and appease the Queen.
THE KING, (Wéth approval). You speak rightly, So come, let us go there. (They walk about). (Sighing, in dejection). The act of going now is depressing to one whose fit time is lost. For instance:
While linking up [in her mind] my interrupted talk, she cast her eyes upon my path even if a blade of grass trembled, with the thought that [ was coming. [Why] was [then] the lovely woman not embraced with loving regard by me, approaching quietly and unobserved from behind; [why] were not her eyes, resembling fresh bluc lotuses, covered [playfully] by my hands? (13)
THE JESTER, (Walking about and looking towards the tiring room; with approval). Look, look, O friend. The Queen is just seated talking something to Carumati, who has brought the parapharnelia of toilet.
THE KING, (Looking, with delight), Ah indeed!
Removed is the painted decoration on the reedlike white cheeks of her who is slim-limbed; collyrium is not applied by the fawn-eyed lady on the eyes which extend up to the ear-tips; che braid of the hair, curly by nature, is hanging down loosely; and the lips which are like- the [red] Bimba-fruit’, are pale. And yet how strange! The loveliness, which dislikes all decoration, is ऽता just as fauleless. (14)
1 See below note on i, a1,
CANDA-KAUSIKA 151
(Then enter SAIBYA as described, acting as if in anxiety, and 1९114411).
CARUMATI. Queen, here is material for decoration.
SAIBYA. (In dejection). O Cicumati, remove this. How much should [ humiliate myself by setting my heare upon means of fruitless decoration 0,
THE JESTER. Ah, how weighty is her resolve !
THE KING. Well spoken, Queen, well spoken! To thy
naturally lovely limbs devotion to decoration is a matter of humiliation. For : | The ardently red' dye of the betel is greedy of the lips; the collyrium is eager to kiss the eyes; the necklace is desirous of embracing the neck. All this ts thei self-interest, but no embellishment to thee. (15)
THE JESTER. Well, friend, let us approach.
e THE KING. Friend, concealed here let us firse listen to their ieimate talk. (They stay in that manner).
SAIBYA., (Sighing, with tears), O Carumati, if my husband,” after inspiring confidence in that manner, subjects me to deception’, then repeated salutation by all means to my own treacherous fate!
THE KING, Ah, proud lady,
If the sun is impeded by a mass of cloud and the lotus suffers frustration, this 1s no deception for her, nor is it a censure for the sun. (16)
CARUMATI. Queen, what is use of grieving? Kings are indeed
those who have many mistresses.
t The word raga here means, with a pun, both red colouring as well as passion.
2 The regular word arya-putra for the husband is rendered freely in our translation,
3 The word vipralambha, according to Rasa-Sastra, means deception as well as separation, Although separation is implied, deception is meant here from the context (Khandana below).
152 ` CANDA-KAUSIKA
THE JESTER. (In anger). Ha, you slave-girl’s daughter, rather say that [kings have] many duties, Why do you make my dear friend an object of false reproach?
THE KING. Friend, no use of anger here !
When injury to honour’ is magnified by companions, who know the method, fortunate people become objects of false censure of their beloved. (17)
SAIBYA. (Weeps).
CARUMATI. O Queen, compose, compose yourself. The king has gone too far because of your excessive magnanimity. So, if you ask me, then you should not look at him even when he looks at you, you should torment him with reproaches even when he speaks pleasantly to you.
SAIBYA. Why will I not do as you say, if at the sight of my
husband [ am able to prevail over my wayward heart ?
THE KING. (Approaching swiftly). O Beloved, 0 large-eyed lady,” thou who hast power over me even when thy heart is solely surrendered to me,—why shouldse thou not have power over thyself ? (18)
THE JESTER. Your ladyship, may all be well with thee |
(Both arise in confusion).
SAIBYA. (To herself). What—my husband! Well then, let it be [said] like this. (Aloud). May my lord be victorious,
victorious |
CARUMATI. (To berself, with fear). What—the king | Alas, alas, the king has heard what I advised. Well chen, let ic be [said] like his. (Aloud). Victory, victory to the king | (Bringing a seat). Here isa seat, Let the king be seated here.
(All sit down).
1 Literally, mana-granthi is ‘knot’ of pride or resentment, but the metaphor is not of tightening but magnifying.
a These quaint phrases (such as visalaksi here and tanvangi below) are common enough in Sanskrit literature for describing feminine beauty, but they sound rather quaint in English translation,
CANDA-KAUSIKA 153
THE KING. (Looking long and intently). O Beloved, now indeed 0 fair-limbed lady, why does this thy thirsty look falling on me turn away, with the pupil moving at the corner, like a bee inside a lotus in the morning? (19)
Moreover, O slim-limbed lady,
Though neglect of adornment enhances thy beauty, yet it seems to speak of thy hidden anger towards me. (20)
SAIBYA. (Gazing, with jealousy), My logd looks beautiful with these drowsy limbs, and with red eyes which are dull for want of sleep. (Shows anger).
THE KING. (Looking long and intently, with supplication). O Beloved, be pleased, be pleased!
Why is nhis fragile creeper-like eye-brow, which assumes the Alurry of Madana’s banner of victory, moving to and fro on thy forehead? 0 wrathful woman, why is this Bimba- like? lip, which looks akin to the full-blown Bandhiika-flower* shaken by a gentle breeze, quivering all of a sudden? (21)
(With folded bands),
0 wrathful woman, be pleased; why art thou angry without reason? [am not what thou dost apprehend of me. O beautiful lady, give me such punishment as suits thee} [but] to decide about me the revered preceptor is the authority. (22)
(Entering)
* THE WOMAN-DOORKEEPER. Victory, victory to the kingl A hermit has arrived from the preceptor.
1 Momordica Monadelpba, a plant which beers beightored fruit, a Bandhujiva, Pentepetes Phoenices, which bears a red flower.
2
154 ` CANDA-KAUSIKA
THE KING. Hemaprabha, do usher him respectfully Withou delay.
THE DOOR-KEEPER. As the king commands. (Exit). (Then enters the HERMIT, with holy water in bis band fo
averting evil)
THE HERMIT. (With amazement). Alas, alas indeed!
Why is this eclipse of the moon happening out of its proper time? Why is this scorching heat on all sides? Why . is this earth grembling? Oh, why does a staff-shaped meteor pierce the orb of the sunp, Of evil fate what is this indes. cribable (ka iva) transformation resulting in great portents? (23) Or perhaps, all this, being cared for by the preceptor, would come to a happy end.
Allaying of evil dreams and portents [comes]! from propitiatory and expiatory rites, from charity, from benedic- tion of Brahmans and from proclaiming the [praise of] virtuous men. (24)
Hence, I have been sent by the revered sage and teacher to carry to king Harigcandra and Saibya the propitiatory water, which averts all portents, [the water] left over from the expiatory rite undertaken [for
the purpose]. „^
(Entering) THE DOOR-KEEPER. Come, sir, come. (Approaches).
THE HERMIT. (Approsching). O king, may all be well with thee!
THE KING. (Rising, with respect). Revered sir, I salute thee! SAIBYA. Revered sir, I bow to thee.
THE HERMIT. King, mayst thou be victorious! Lady, mayst thou be the mother of heroes!
CANDA-KAUSIKA 155 THE KING. (ins a bustle). A seat, a seat | THE DOOR-KEEPER. (Brings + seat), THE KING. Here is a seat, please be seated here, (All sit down)
THE KING, Hemaprabha, attend at the door, THE DOOR-KEEPER. As you command, sir. [Exit].
THE HERMIT. King, let this Propitiatory water, sent by the revered sage for consecrating thee with thy wifs after che night-vigil, % received by thee; [it is] left over from the expiatory rite, and nagnified in efficacy by the benediction of the sage and teacher.
THE KING. (With folded bands, sn delight). A great favour!
THE HERMIT.
May this holy and auspicious water, purified by evil- averting incantations, meant for augmenting heroic valour, and lefe over from the rite begun for allaying imminent mis- fortune, lead thee to prosperity, bestow happiness and remove all calamities. (25)
(Sprinkles it). THE KING. (doting as if feeling the touch). Ali,
This [water] is thae cause of the sprouting of the seed of valour into a blossom, through the favour of which kings of the solar dynasty held their heads high. (26)
THE HERMIT. Madam Saibya, by the command of the revered pteceptor special provision is to be made by you today for the worship of household deities and Brahmans.
SAIBYA. (With folded bands). As you command, sit.
THE HERMIT. King, may all be well with you! I now go to gteet chat revered sage and teacher, who has undertaken various
elaborate rites. (Exit).
156 CANDA-KAUSIKA
SAIBYA, (Aside, with embarrassment). Hallo Carumati, the night-vigil of my husband was directed by the revered preceptor. Sp I was tuned into a wicked person by my wayward heart, which had been hard to convince. Well, let it be thus [said], (Folding bands, aloud). Be gracious, my lord.
THE KING. (Lovingly), Beloved,
If chis request of thine be acceptable to me, whose mind was made turbid by false apprehension of wrong, I would put the necklace on thine own neck and paint decoration on thy
" cheek, (27) © SAIBYA, (Showing modesty).
THE KING. (Acting as if doing what be said). Beloved,
On thy cheek there is perspiration with a thrill; on my hand there is tremor. So my effort, begun with eagerness, is indeed useless in both ways. Even placed on the neck, the necklace, heaving on the nipple of the breast, does not leave the tremor received from the close contact of my hand. (28).
SAIBYA. My lord, | will go to perform what has been directed
by che revered preceptor.
THE KING, Queen, let it be so performed.
(Both exit) THE KING. Friend, how then do I now amuse my ardent self? THE JESTER. 0 friend, why dost thou not amuse thyself with
topic concerning the queen, while I amuse myself with topic concern- ing food?
(Entering) $
A FORESTER, May the master be victorious, be victorious!
Here has indeed sprung up the chief of che herd of boars in the
` hunting ground. He has filled the ten quarters of the earth with
piles of his own glory, acquired by victory over his enemies, by
CANDA-KAUSIKA 187
scattering it in the guise of whitish Kaseru fragments’ somewhat ground inside his machine-like teeth, [These fragments are] thrown about by the breeze of his breath, which is scented by the emission of fragrance adhering to the ground of Musta grass crushed by the tip of his formidable nose. He [thus] looks like a fresh rain-cloud throwing showers of hail, He carries ears resembling shells of pearl-oyster, [ears] which are erect in anger on hearing the roar of flocks of forest-lions put to flight by his heavy and arrogantly deep sound of grunting, He has an expanse of tongue, waving and creeper-like, which creates the illusion of a flame of great and glittering fire of wrath, He is res plendent like the eruption of an ever gleaming’ conflagration adhering co a forest. He has a bunch of bristling manes, tawny like the glare of dreadful lightning. He is dark-bluc like a sharpened sword, like a spotless sapphire, like collyrium and like the Tamiala tree. He shows the agitation of throbbing, tawny eyes. He ts massive [८ abundance ink. He is like a forest-fire with a residue of sparks, The hollow of his mouth is frightful with its formidable tusks, which shine like [white] lotus-stalks coiling up for fear of beimy crushed between lus teeth. He is like a soltd mass of darkness on the night of universal destruction, [but darkness] decorated by two crescents issuing forth from the orb of che moon, [while the moon 13] crushed by che mouth ful seizure [of Rahul, which is made imposing by fierce wrath coming from long-standing enmity. He is like the divine Great Boar grace- fully arisen, with the globe of the earth [१०४] laid down, Having heard this, it is for the master to decide. I myself am also going there.
(Exit).
THE KING. (With delight). An object {०८ diversion 1s now found!
THE JESTER. (With anger). O friend, it a hunting expedition, which abounds in such evil as moving about in the forest, trampling upon hundreds of thorns jumping over ups and downs, hunger and
1 In Sanskrit poetic convention fame is represented as whitc. It is here likened to bits of whitish Kaseru geass scattered about, The Kaseru is a kind of grass with a bulbous root (Scripws Kysoor).
158 CANDA-KAUSIKA
thirst, be chy way of relaxation, what chen again can be 9 matter of exertion for thee? THE KING. Friend, hunting is indeed greatly beneficial ७ kings. Thus: It brings diversion co the wearied, causes concentration of the mind on a moving target, and imparts lightness to the
body. Hunting, which generates energy and intelligence and suits warlike activity, is wrongly said to be a vice of the
kings.’ (29)
So come, let us go there.
(Exeunt omnis)
End of Act 1.
1 CE, Abbsjfidna-Jek. ii, 39: mithysiva vyasanam vadenti migayim idrg
ACT Il (Bebind the stage) O chasers of the boar |
‘He stirs up the mud, tramples upon the lotus-bed, eats up sprouts of Gundra' grass, makes uneven the Musta® grounds nearby, goes to the waters of which the Kaseru weeds are thrown up; he is found, found ; he enters the thick of the forest ; he vanishes, vanishes’—in this way, chased by troops from behind, the boar enters the rugged forest regions, (1) .
So blockade the woods on all sides! Thus:
Let che trappers, expert in hedging the forest, spread the capturing nets along the boundaries. Let the hunters set the dogs free from chains into che depth of the forest. Let the grounds be spread over by riders, who bear nooses in पौल hands, and whose horses are slack with fatigue [of the chase]. Let the woods be shaken by men bearing clubs and riding on buffaloes like the king of death [Yama]. (2)
(Then enters the finrried King of Obstacle personified, in a fierce blezing dress) ।
THE KING OF OBSTACLE. (In fear).
He who created hindrance even in che profound medita- tion of Sambhu, in the sacrificial rites of Daksa and in the amorous sport of Siva and Sivi,—1 am [the same] great Obstacle, who is devoted to the capricious pastime of thwarting the fulfilment of all endeavour {meant} for che good of the three worlds. (3)
1 Variously identified as Cyperus rotwndus of Typhe angustifolis. 3 A species of grass, Cyperns rotundus.
160 CANDA-KAUSIKA Now then I,
Taking the sportive form of a boar, will today rescue the three Sciences (Vidyas), who could not be mastered by Hari, Hara and the Selfborn [Brahma], from the great sage who would here secure them by means of powerful penance, just as the three worlds [were rescued] by Hari in the form of the primeval Boar. (4)
(Looking bebind, with fear), Of me, who stand in the way of the world’s welfare and who delight in obstructing the manliness of others, oh, the daring exertions are regardless of physical safety. For, feeling myself placed, as it were, between the teeth of death, | avoided with difficulty che reach of the arrows, and just brought this great king Harigcandra in this forest-region. Now then I lead him to the hermitage of Visvamitra, Since this severe ascetic, this Ksatriya- Brahman and priest of Trifanku, this first creator of a second world, has indeed begun the indescribably difficule qask of securing the Sciences who, consisting of the three Gunas, bring about creation, protection and destruction [of the world].
For:
It is the Creator [Brahma] who creates the universe, and neither Hari nor Hara; ic is Hari, the protector, who protects the worlds, and neither Brahma nor Hara; while Hara, that destroyer, alone destroys the three worlds. How can all this in another sphere attain fulfilment in one person
alone? (5)
(After reflection). Or, whatever is not possible for this |sage] of highly steadfast resolve? But since the nature of a sage is of easy irascibility, and since this has been undertaken by resorting to the operation of desire and anger, which hinder righteous deed, 1 know not what is going to happen here. ।
ए The word seisshihe may also mean ‘one who strictly observes religious vows’, Perhaps both the senses are here meant,
act 1] CANDA-KAUSIKA 161 (Bebind the stage)
O you arrogant of your disappearance in the deeper forest [ Stay, O vile boar, stay!
Ah rogue, seen for a while and lost again, I have been, under the influence of curiosity, carried far away by you, as if by the help of magic, If you now come within the orbit of my vision, you will then never again trample upon the
lotus-beds, (6)
THE KING OF OBSTACLE. (Listening, with delight). Ah indeed, he is near at hand. Now I go out of Itere and show ‘myself by means of the same trick of illusion. (Exit after hastily walking about).
(Then enter the KING in ८ chariot, carrying 4 bow, as if in pursuit, and the CHARIOTEER).
THE KING. (Repeating what is said before, looking in front, with delight). O worthy sir, sit, he cannot be very far away. For, look, The forest ground is littered with lotus-stalks dropped from the bitten morsel. On the bank of the lake there are dripping streams of disturbed water. The dry lands have their fresh grass spotted by foam [of his mouth] given out in fatigue. By his breath the breeze here is dense and fragrant
with [the scene of chewn] Musta grass. (7)
(Looking carefully, with delight). Sir, here he is. Look, look,
With his neck curving with ease, he carries within his mouth a lotus, the dangling stalk of which is adhering to the forcibly upturned sprout of its foot. Like the sportive [primeval] Boar, with the lotus-seated [Brahma] on his lotus-navel, which is concealed inside but germinating,’ he
1 As Jaganmohana Tarkalamkira remarked long ago, the line (antar- gidba-viridba-nabbi-nalina-praptasanambborwbah) is difficult both ia construce tion and purport, He attcmpted various ingenious explanations, but himuelf admitted that none of them was convincing or suitable ९० the context. He was driven to the belicf that there was some शाण in the reading; but the
21
162 CANDA-KAUSIKA [ग ॥
desires again to uphold the world clinging to the tip of his tusks. (8)
(With delight). Why, (having a look) he is falling towards me, (Acting as if taking aim with an arrow).
THE CHARIOTEER. (Looking with curiosity). O king, may
you live long,—just look, look!
Approaching in arrogance, he turns back again quickly; being aimed at for the moment, he has his front foot ल. tended, butewithdraws the rear of his body which shrinks from fear. The sprout of lotus-fibre is dropping from the corner of his mouth, the hollow of which is expanded through excessive breathing. With his bewildered faze, from which all shyness is gone, he presents, as it were, his tusk to you [in the shape of the lotus-fibre].! (9)
THE KING, (Acting as if discharging an arrow, withdrawing, and looking on all sides, with wonder). Oh, it is ill-timed that the arrow was discharged just at the moment he disappeared. For:
Now he disappeats, now he comes within the range of vision; in a moment he goes to a distance, he comes near
few variants that we have recorded after collating thirteen MSS do not make any better sense. To make some sense, we construe the phrase—nabbi nalina- praptisanambhorubab as follows: asyate asminn iti asanam ambborubam yasya $a asanambborubah Brabma, nabbi nalinam prapta asandmbboruho yasya 54 (krida-krodab), This is frankly clumsy, But the whole point is that even if this descriptive phrase applies to the primeval Boar, it does not apply to the ‘boar under description ; and the whole line becomes redundant for the com- parison, Jivananda Vidyasgara reads nabbi-nalina praptdsya pankerubab. This is obviously an editorial emendation, but it is not authenticated by any of our MSS, and does not also give a much better sense. Ie should be remarked that the entire simile in the verse is not well conceived, For, while the earth clings to the tusk of the Great Boar, here the lotus (to which the earth may be' compared) is swallowed up (vekirantarale vaban) by the boar, only its stalk is dangling out with its root!
1 The conceit is that of a defeated king making presents to the conqueror.
act 17] CANDA-KAUSIKA 163
again. He moves in evety direction, in front, at the back and on the side. Then how can my mind fix an aim at him, who is unsteady like a streak of lightning? (10)
(Looking carefully, viewing from a distance, with delight). What,— it has, after craversing the vast forest, mounted to a clearet ground, O Charioteer, urge the horses quickly. Where now will he go?
THE CHARIOTEER. (Doing so, and acting as if speeding the chariot). O king, who will live long, look, look !
Having by its speed overcome the constantly dusty wind at the back, and following my* mind which is‘urgent from intentness on the target in front, this chariot of yours, equal [in speed] to your arrows, touches the clouds with its motionless banner-cloth and rushes through various regions, (11)
THE KING. (W,th amazement). Moreover:
Like a mass of darkness [receding] from the sun, the boar, dark like the radiance of a heap of pounded collyrium, is moving from distance to distance away from me, [even though I am] rushing [carried] instantly by chariot-horses, which spring in the air, and which by their speed overcome the wind and step, as it were, across the ocean, (12)
(Looking in front, dejected). Why, even the foot-print of the boar, whose sight is now lost after he passed over the vast forest, has also disappeared | Well, I will search this charming streak of forest in front. (Doing so, with delight). Ab, this must be the neighbour- hood of a hermitage. For:
The field of Kua grass? is in some places uprooted, in some places cut asunder. The creeper, ५ ith its bough-end tenderly drawn for plucking Aowers, is slightly bent. 8८ cause of prior severance of barks, these branching trees have
1 The word dyasman is the conventional word in Dramaturgy for «
charioteer to address a king. 2 Kula. Pos Cynoswroides,
164 CANDA-KAUSIKA [act ॥
developed scats, while these oozing trees show that they are chopped recently for fuel. (13)
(Looking around, as if listening, with curiosity), O noble sit, look, look | The parrots, on the hollowed trunk of the Kadamba tree, are uttering [sounds of] welcome. The breeze, attrac. tive to the smell with the fragrance of clarified butter, is carrying away the heart. Looking at us with startled eyes, these female fawns are drinking the spring-water, to which adheres the Kuga grass of the sandy water-bank. (14)
But enough of this searching by roaming now in the vicinity of a hermitage | Charioteer, now give rest to these horses after a drink of water ; while | myself, with only the bow as my companion, enter the hermitage and greet the sages. If those who are worthy of honour are passed over, they stand in the way of all good. (Acting as if alighting from the chariot). *
THE CHARIOTEER. As you command, my master. (Exit),
THE KING. (deting «as if reflecting, with commendation). Ah, the joys of the dwellers of a hermitage are unsurpassed because of cheir unfettered charm. For:
The mind, desisting from desire, 4055 not want [worldly] objects of enjoyment. For want of attachment the happy, who are rich in restraint place no tender feelings on moments of separation. As the difference of menm et tuum ceases by giving up the sense of self, they attain indescribably supreme tranquillity. (15)
(Walking about with bumility, and acting as if frightened and apprebensive). Ah, how ? Not having been seen before, cht hermitages, painful to the sight of those who are nor respectful, rouse fear in me, asif I am guilty. Or, the Brahmanic energy, consisting of religious austerity, excels all energies, because it over- powers all but cannot by any means be overpowered, For,
act ए] CANDA-KAUSIKA 165
Though pleasant and tranquil, the woods bring fear to me at every step. As fire [finding] water, all energies become feeble on finding their own source.’ (16)
(Walks about with fear), (Bebind the stage)
O noble sits, help, help! These guiltless, poor, helpless, unfortunate women are being thrown into the fire, So help, O noble sirs, help |
THE KING, (As if listening, with agitation). Oh oh, not far from here the distressed wailing, apparently of women, | is heard, (With amazement), O but this is a hermitage. How can such acts of insolence be possible here ? Well, 1 will approach. (Acts accordingly).
(Bebind the stage the words are repeated) ( [THE KING], Listening, with haughtiness ). No fear, no fear
for those who are afflicted with fear | (With anger). Oh,
Who is this wicked person performing a deed which is cruel, horrible, incongruous in a hermitage, and unbecom- ing of one's own self? I will offer as an oblation to the brightly flaming fire every limb of his after the neck is completely cut off by the arrows, (17)
(Thus walking about, and looking with surprise towards the tiring room). Along with three women of divine appearance, seated in the midst of the fire, and lamenting and overcome with fear, who is this occupying the fire-sanctuaty, with materials of a sacrifice placed nearby? Surely this must be a heretic in the garb of a hermit.
(Then enter VISVAMITRA, as if offering an oblation, and the VIDY AS or SCIENCES as indicated)
THE SCIENCES. (Acting as if perturbed, repeat what they said before).
1 The idea is that Brahmanic energy is the source of all energy which is therefore inferior to it.
166 CANDA-KAUSIKA [40 7
VISVAMITRA. (With wonder). Ah, alas, indeed | Though it carries the oblation, purified by lowly uttered incantations, the fire does not yet show a favourable flame. Why is it that the Sciences, who have appeared here by the power of religious rites, do not yet come under my control? (18) (Acting as if in meditation).
THE SCIENCES, (Repeat what is said before).
THE KING. (Approaching swiftly). No fear, no fear for those who are afflicted with fear | Stay, you vile heretic, stay | What is‘this display of trickery of a disguised demon ? For,
The garment is the bark of a tree; the hand is encircled by the string of a rosary ; the head has matted locks ; what is this assuming of the dress of one whose soul is composed and controlled by severe austerities? O you cheat, what is this pitiless design of yours asa wickedly inclined person, this sinful pastime of gruesome killing of women ? OF this act of yours now reap the fruit. (19)
VISVAMITRA. (Acting as if controlling himself, with anger).
Acquiring a wealth of fuel ; produced by the friction of most pungent abuse in the ears ; its abundane lustre made blazing by the breath arising from the disturbed cessation of internal meditation,—let this fire, born of my wrath, which assumes forthwith the playful activity of the doomsday fire generated by the wind of universal destruction, quench: its thirst for swallowing up the three worlds, (20)
THE SCIENCES. (With joy). This is pleasing to us, pleasing | Victory, victory to thee, great king Harifcandra | (Exit).
VISVAMITRA. (Looking, with anger), Ah, indeed! Is this the wicked Harigcandra who has become an impediment to my desired object? Stay, vile Ksatriya, stay !
O fool, whosoever you may be, whether Hari or the Moon-god, or again Hara with the crescent moon on the
al CANDA-KAUSIKA 16?
head, do you not become fuel to the fire of my wrath, the terrible blaze of which is magnified by the disappearance of the Sciences? (21)
Moreover, O fool,
This son of Kusika will also do to you now in wrath the same 25 did weathful Siva by his glance on seeing Smara with a drawn bow ; Siva whose face became dreadful with fierce frown appearing on the playful break of mature meditation, even though he could be full of love-play with his beloved, even though he was dispassionate and tranquil from compassion to all beings. (22)
THE KING. (To himself, with agitation’. Ab, is this the revered son of KuSika? And those the revered Sciences, to whose attainment my wretched self has become an obstacle? Acting inconsiderately, I, like fuel, have indeed struck with my foot, the brightly flaming fire.’
KAUSIKA, (With anger). Of me, whose wrath is increased by interruption of the already commenced rites, the right hand rushes ८० curse, Remembering that [Ksatriya] caste [of mine] which has indeed been long discarded, my left hand approaches
the bow, (23) (Arises).
THE KING. (Approaching, with fear). Revered sage, I 5५५५८
thee,
KAUSIKA. (Acts as if angry). THE KING, (Falling at the feet). Forbear, revered sage,
. forbear | [८ becomes thee to forgive me, who did not know, and who was deceived by the illusion of women’s distressed wailing.
KAUSIKA. Ah villain, whae do you say?—‘ic becomes thee to forgive me who did not know’, O wretch, am I indeed not known to you?
168 CANDA-KAUSIKA [act 1
Do you not know me, the son of Kusika, the unique Brahman undaunted in assuming himself the (Brahman) caste [by his austerities], the priest of che Candala [Triganku}, the [wild] forest-fire in consuming the sons of the proud Vasistha, the death-like terror to the world which was afraid of [his] bringing about a second creation.’ (24)
THE KING. Be gracious, revered sage, be gracious. Thou
shouldse not understand me in this way.
Who does not know thee, the treasute-house of austeri- ties and energies, thee who during a famine arranged self- subsistence in a peculiar manner, whose mind was averse to accepting royal gilts, and who shook the world by the battle of Adi and the Baka.? (25)
But on hearing the afflicted wailing of frightened persons, this was done by me, who was unaware of thee, and whose mind was distract- ed by the sense of my own duty. So I beseech ९166 to forgive me.
KAUSIKA. Villain, speak, speak, what is your duty ? THE KING. Revered sage, That Ksatriyas should give, protect and fight,—this is
declared by ancient sages to be their constant duty. (26) KAUSIKA, What indeed? (Recites the words ‘should give’ etc.), THE KING. = Yes, it is so. KAUSIKA. IE it is so, then say, to whom should be given, who should be protected, and who should be fought with ?
THE KING. Revered sage, listen. KAUSIKA. Speak.
1 For the allusions in this verse see our Introduction,
2 The Adi or Aci is an aquatic bird, Tardus Gingianws, while the Baka is the Indian crane or heron, Ardea Nives, For the combat described in the Markandeya-Purina, 23 well as for other allusions in the verse, see our Totroduction.
act 7] CANDA-KAUSIKA 169 THE KING. To che meritorious Brahmans [gifts] should be given, those afflicted with fear should be protected, and enemies are to be fought with,—I am sure of this in my mind. (27)
KAUSIKA. 0 villain, if you think so, then give unto us somes thing worthy of [our] learning and religious austerity.
THE KING, (With delight). If that is so, the solue dynasty 15 favoured by thy revered self. So be gracious, revered sage, be gracious, Even the whole world is not’ gift enough for thee. With my ability not sufficing [ even ] by a gift of all _posses- stons, [ offer to thee now, O son of Kugika, this entire earth with all ics wealth. (28)
KAUSIKA. (With astonishment, to bimself). Well, Ict it be [said] chus. (Aloud). ,O king, may all be well with you! But they do not traditionally approve of a gift withouc a fee (Daksina), So it is now proper for you ८० pay the fee.
THE KING. (To bimself, abasbed). What should be done now? (After long reflection, with joy). Well, let it be in this way. (Aloud). O revered sage,
I will give thy fee after collecting a lac of gold. Thou shouldst excuse me for one month's time from this
day. (29) KAUSIKA, This limit [of time] ॥ allowed. But leaving aside this earth, you should pay by getting it from elsewhere.
THE KING. (To himself, with fear). What is the remedy now? (After reflection, with joy), Ob, oh, the remedy ts found; for there is indeed the place which is supreme as the possession of the god Siva.
It is called Varanasi. The sages speak of it as a city in mid-air detached from the hood {of Visuki which lies]*
४ The word bboge means the hood of a serpent, ०४८ by » pun it also means earthly enjoyment, which is also implied here.
22
170 CANDA-KAUSIKA [act 1
underneath this earth. Those who are seers of the traditional scripture know this convincing difference [between Varanasi and the earth] to be as fine as the disposition of one-thous.
andth part of the point of a hair. (30)
I will pay by earning it there. (Aloud). Revered sage, as thou dost command. (Taking off ornaments). Revered sage,
All this wealth, also this goddess Earth, these weapons, this crown as the royal insignia,—dost thou, O son of Kusika, favour with thy look, all this offered by me at thy feet. (31)
(So falling at bis feat, then rising, to bimself, with joy). Now fortunately my burden of kingdom, abounding in trouble, hus received fruition, (With delight).
The very wrath of-the sage, which was apprehended as a thunderbolt by me, has fallen on my head asa chaplet of flowers. (32)
O goddess Earth, [ bid farewell to thee | :
O resplendent (Devi) mother of men, you have indeed been protected by kings of the solar dynasty along with theit heroic renown, Forgive this unique misbehaviour of mine that you are discarded by me out of [my] greed for [getting] a rare person [worthy of receiving you as a gift]. (33)
Now then, after going to Ayodhya and fulfilling what is promised to the sage, I go to Varanasi for earning the fee. (Aloud). Revered sage, thou shouldst permit me for earning the fee to go from here to Ayodhya and complete all that is to be done KAUSIKA. (To himself, with amazement). O the fortitude and magnanimity of the wicked person! In a short while, villain, I will see your valour. For, So long as 1 do not soon find you strayed from truth, as from your own kingdom, my wrath, intensely inflamed by your misconduct, will not be pacified, (34) (Alowd). O king, what harm ?—let it be so.
(Exeant omnis)
End of Act Il,
ACT Ill (Then enters SIN personified, in a bedions dress)
EMBODIED SIN, (Fiercely walking about and laughing loudly).
Extremely sweet only at the beginning ; pungent in the middle because of sorrow and separation, mental and bodily pain; in the end ruthless because of abundant agonies ot hell,—I am indeed hard to be borne. (1)
(Looking in front, fearfully retreating). O mother, 1 am destroyed, Lam killed by this wicked city, whose name cannot be uttered ! Leave alone entering it, I cannot even look at it. Then what indeed shall I do here? (After deliberation). Well, 1 will stay apace [for this purpose]. Although accumolated in a former birch, [ am discarded by those people who enter; I will pursue them from behind when they come out again. 4 (Bebind the stage) The seal of the yod Sambhu’s lotus-feer ison [my] head, such is his kindness ; there is Bhavani’s affection [for me] as for 9 son ; [my] knowledge of scriptures is vast and religious austerity steadfast. Even [then] this skin-covered body, whose essence consists of sinews, bones and joints, is worn out. This shows how true it is that the culmination of natural acts' is hard to avoid. (2)
SIN. (With haughtiness). Ha, this would be so indeed if the depraved king Harigcandra were not of this wicked city. (With surprise). Who is that speaking ? (Looking towards the tiring room). What | Here comes Bhragi, the personal atcendant of the three-eyed
god [Siva]. 5० I will go off quickly. (Ext).
1 Instead of karmanim prakrtanam, itis possible to read (with Nevati group of MSS) karmanam praktananam, But this reading does not scem justi- fiable, The story of Parvati’s curse on Bhragi, and subsequently of the sage Kapota, which lead to repeated births, and of his ultimate attainment of the state of a Gani by worshipping Siva and Parvati, is tuld only in the much later Kalika-purana (ch. 46-53) and is not found in any carly Purana, In the present context there is also 00 point in any such allusion.
172 CANDA-KAUSIKA (Then enters BARNGIRITI)
BHRNGI. (Repeats ‘The seal of Sambbu's' etc.; after reflection), Otherwise how can the god [Siva] relate today to the goddess [Siva] the adverse fate even of the royal sage Harigcandra?
॥ [act my
While speaking of his marvellous deed, Siva’s slender body was dense with thrill-dispersed particles of ashes ; his three eyes appeared with agitated brows, and his shaking head with the trembling fragment of the moon. (3)
As today he will enter here, even che tmoon-crested god, along with the goddess, is filled with eagerness, Therefore, I will also be ready after completing the worship of the god. (Exit).
(End of the Interlude) (Then enters the KING thoughtfully)
THE KING.
Having made a gift of this earth to the most venerable Brahman, my mind is tranquil with satisfaction, But re- membering the heavy fee which, through the power of fate, remains unpaid, it is distressed. The money should not be earned within his province. As the place of Siva is said to be not [within the range of] che earth, I set out for Varanasi. (4) \
(Acting as if pondering, with deep sighs). Alas, oh, alas |
The wife, the son and chis body are the three left over after the gift. The time-limit is reached today ; truth cannot be abandoned ; the sage is wrachful ; and I ama not able to give up this life affected by a Brahman’s dues. To me, whose mind is perplexed to decide that to do, all directions are void everywhere. (5)
(Looking forward, with delight). What, is this Véarinasi ? My homage to thee, revered Varanasi | (Reflecting, with wonder).
What is desired by those intent on the contemplation of the Supreme Spitic, after their ignorance is dispelled by
act गा] CANDA-KAUSIKA 173
continence, austerity and renunciation, [as well 38] by sacred learning, tranquillity, restraint and religious fasting,"—that liberating knowledge Hara imparts here at the time of death,
By this [knowledge] a creature, after giving up his breath, ceases for ce-birch. (6)
Again,
The firm fetters of worldly existence of living beings are unfastened here. The head of Brahma fell down here from the hand of Siva. That god [Siva] who was bound by that sin became free? Therefore, this peerless place is never lefe by him along with his beloved,? (7)
Now then by what means do I attain freedom from the debe tothe sage? (With reflection).
Do [collect wealth by conquering the god of wealth [Kuvera] + but what are conquests to one who has forsaken royal wealth ? The Ksatriyas do not assume the humiliation of begging "which is feasible for the Brahmans, Trade is tooted in wealth, but today pauper that J am, [ have no wealth. Everyehing requires time, bue by the power of fate delay of time is not possible. (3)
So what can Ido, ill-fated chat lam? (After deliberation, with joy). Well, well, so do [ now Uphold the eternal [vircue of] cruchfulness by a sale even of myself. If tha [virtue] is not guarded, then surely [this and the other] both the worlds are unguarded. (9)
t The term anaiaka= fasting or abstaining from food even to death, Cf. Wianena danena tapasindsakenaitam eva vidituad munir bbavati (प, Aranyaka Up,).
2 For the Skands-purina legend of Kalabhairava’s beheading of Brahms
+ and expiation of the consequent sin, see our Introduction.
3 In chis verse there is a play upon the word mukta (free) and avimukta (not free), which itis difficult to preserve in English translation, As the unfreed Siva was freed from sin there, he never left it free from his presence, The city itself is called avimmwkta because it is never free from the divine presence: avimukiam fivibbydm yad avimunktam tato vidub,
174 CANDA-KAUSIKA . Tact in
(With resoluteness). So long as the queen, who is taking care of the child रिग and is wearied through long journey, does not attive, 1 go quickly and fulfil my own object, (Looking upward), Whate=the sun has risen to midday! For,
The hoe sun is blazing like the fierce Kaugika flashing [with wrath]. Like my mind, the road bears heat all round. This shadow again, like the queen, reaching a miserable plight by the power of accursed fate, sinks under- neath the trees, (10)
Now the expiry of the [time-] limit is imminent, ot that of Haris- candra himself. Alas, Iam undone, unfortunate that [ am | (Throw ing himself, rising up hastily, with despondency). O wicked, miserable Hariscandra, Without fulfilling now the fee promised to the venerable sage, to what regions will you go, O cheat, by departing from truth and being consumed by a Brahman’s dues. (11)
So now I go down to the market-street and accomplish the matter in hand, The sage would be nearly arriving. (Hastily walking, stays on one side).
(Then enters KAUSIKA acting as sf angry).
KAUSIKA.
My wrath, increased by the loss of the Sciences who were held in hand, but obstructed by the courteously refined conduct of that wicked person, is consuming me, just as a fire, rapidly blazing inside on dense and dry fuel, burns the forest drenched outside by showers of rain. (12) (With impatience). O wicked, miserable Harigcandra | (Recites ‘So long as 1 do not find you’ etc.). (Looking, with wonder), Ah, here arrives the low-minded, or indeed the high-minded, person.’ Well, « 1 approach. (Doing so, with anger), Oh what,—my fees in pold have not yet been collected 7
BCE Madraer.: ayam duratma athava mabatma Kantilyab. vii,
aa CANDA-KAUSIKA 175 THE KING. (In agitation). Why,—the revercd Kausika rl
saluce thee, cevered sage, ६
KAUSIKA, Shame on you, you ignoble person | Do you still
intend to deceive us by the charm of false words 7
THE KING, (Covering the ears). तमिला, revered sage, forbear.
KAUSIKA, (Acting as if in anger), 0 you rascal, who would make a display of false manliness by declaring the possibility of a pretended gift, stay, stay |
Though the time-limit bas expited, you do not give me my fee. And yet you stand near with empty but sweet words, Let the terrible fire of a curse now fall upon you, discharged by me who am provoked by your not giving what is promised, (13)
(Then touches water for the curse). THE KING, (Falling at bis feet, with agitation). Be practous, revered अभू Forbzar, forbear | If thou dost not receive thy fee before the sun sets, then this person is under chy control for deserved curse or
death. (14)
Su be pleased, We go down to the murket-strect.
KAUSIKA. (Wsthdrawing the water for the curse), Well, just go there and pay me. In the meantime I will also come back after completing second Suma-libation. (Exit).
THE KING. (To himself, despondently),
Alas, shame upon this indebtedness of living beings, this singular cause of danger in both the worlds and terrible in its consequences! In the three worlds supreme alone is verily the person who has nor seen the face of an angry creditor, (15)
116 । CANDA-KAUSIKA tact ॥
(Walking about and looking, with delight), Why, this is che marker- street. (Putting a blade of grass ‘on the bead,’ with resoluteness), O kind people,
For some special reason [and] finding no other way,
1 offer myself for sale for a lac of gold. (16)
So take me, noble sirs, take me. (Speaking in the air, to one outside the stage). What do you say? ‘For what reason is this desperate? act undertaken by your’ Why is this excessive importunity [to know]? Strange indeed is this world of the living | (Going to another side and'reciting ‘For some’, etc). (In the air), What do you say? ‘How much is your ability? What is your business? And what is your experience?’ (Smiling). I will do unhesitatingly whatever the master commands.
A setvant’s supreme attribute consists of not faltering from
the master’s command. (17) (Listening). What do you say? ‘You have’ demanded a much higher price ; so let it be said again.’ (Wsth dejection). O noble people, we are Ksatriyas; we do not know how to say it again. So please go. (Going to another place and reciting ‘For some’ etc.).
(Behind the stage)
0 my lord, don’t don’t be so selfish indeed. Having made my wretched sclé a sharer of your happiness, now what is this aversion of yours to a division [of your misery]? So be gracious, engage me also in this task. This affection of yours is not yet in its last stage.
THE KING. (Wsth distress). What—the queen has indeed
atrived! [ता my object is not realised.
(Then enters SAIBYA, showing timidity and followed by ber little BOY).
SAIBYA. (Uttering pathetically the same words, and walking gently). 0 noble sirs, buy me, with half of the price, as a maid- servant by stipulation.
1 Asasign of humility,
3 Literally, ‘severe’, ‘cruel’, ” ष
acr 11 CANDA-KAUSIKA 17) THE BOY. Noble sirs, buy me also.
THE KING. (To himself, heaving a long and deep sigh). Alas, oh alas !
Wealth, which is unsteady like a drop on a blade of
grass drenched with showers, has been willingly discarded.
Those friends have been abandoned. Those subjects, with
their faces sad with cears, have not been consoled. Alas,
after seeing the sale of wife and son chat this cruel mind
is now not rent asunder, methinks my heart is made of adamant, (18)
SAIBYA. (Listening in the air). Ovnoble sirs, what do you say? ‘What is your stipulation?” [ can do all work except intimate- ly waiting upon a man [other than the husband] and partaking of the leavings of other’s meals. Such is my stipulation, (Again listening). What do you say? ‘Who is going to buy you with this stipulation ?° What ds that to you? Be pleased to go. Some great Brahman who is kind to poor people, or some noble person, will
purchase me. (Then enters ८ TEACHER with bis young PUPIL)
THE TEACHER. Kaundinya, my boy, is it true that a 11४4.
servant is sold in the market? THE PUPIL. Is the teacher falsely informed? THE TEACHER, § Then we will go there. THE FUPIL. As the teacher commands,
THE TEACHER, (Walking and looking with amazement). How wonderful the charm of the market-street!
For its gold, it is like the land of [the golden] Mount Meru ; for its gems, it is like the beach of the ocean ; for igs ructing elephants, which bear resemblance to young rain- clouds, it is like the Vindhya-region ; like che wishing tree, with the divine blaze (emiuks) of its bursting blossoms, this mart, with the flowery display of its wonderful gar-
108 : CANDA-KAUSIKA = ` [act in
ments, fulfils in this way the wishes of those who desire ; anything. Whose mind does it not fill with desire? (19)
, THE PUPIL, O teacher, I suppose she must be there where is seen a great crowd of people. (Approaching). Make way, sits, make way |
THE TEACHER. O how very mighty is this crowd!
SAIBYA, (With distress). Purchase me, noble sirs, purchase (Says this repeatedly).
THE TEACHER. (Looking, with astonishment). Why, is this she? Lady, what is yoyr stipulation?
94182, (Repeats the words ‘I can do all work’ etc.). THE TEACHER. (With delight), This stipulation of yours
is reasonable, Then have rest in our house on this very stipulation. As my wife is occupied entirely in tending the sacrificial fire, she is not capable of looking after the household properly. So receive this gold, ।
94189४2. (With joy). Lam obliged to you. As the noble sir cominands.
THE TEACHER. (Looking fora long time, with wonder, to bimself).
Since the head is veiled, the face is diffused with innate bashfulness, the gait is extremely slow, the eyes are fixed on the edge of the toe, and the speech is measured with sweet and very gentle words, this lady speaks indeed of her own high birth, (20)
(With reflection). This altered condition of this noble appearance
is not befitting. Then how did she come to this state? Well,
let it be [said] in this way. (Aloud). Ab, is your husband
living? ध SAIBYA, (Signifies with ८ shake of ber bead),
‡ There is ४ pun on the woed divyaminhotpallava, applying both to the 1६११५१५५ and the Vipani.
act पा] CANDA-KAUSIKA 179 THE KING. (Sighing, to himself). Does he live? Indeed,
while he lives this is the changed condition of his wife. THE TEACHER. 15 he nearby?, SAIBYA. (Looks at the king with tears).
THE TEACHER. (Looking, with amazement), Ah, is this her husband? (Looking long and intently, with regret).
With shoulders like those of a bull, with broad chest,? and with arms long and muscular like those of rutting elephants, this body is surely capable of protecting the world, But how is it that a blade of grass is held on the head which is worthy of a crest-jewel? Alas, who is there whom the adversely acting fate does not strike? (21)
(Approaching, with tears). O high-souled man, you should make me a shares of your own sorrow. Now say, why is it hac you have commenced this? 1
THE KING. (Reflecting, with = 41०, to (1005), Ic is not proper to violate the words of this good man. (Aloud). O thou noble-hearted, this isnot the time nor the place for details. So I speak briefly, listen. Ihave commenced this, being distressed by the dues of a Brahman. More than this it is not proper for thee to
press me. THE TEACHER. Then surely cake chis our money.
THE KING. (Covering the ears). O good man, people like ourselves are not entitled to subsistence proper to the highest caste.’ If thou dost think me worthy of compassion, then thou shouldst give
me what is proper for the price. SAIBYA. (Approaching with agitation and folding the palms
with bumility). cis not propee for the noble gentleman to pass over me who approached first. So please favour me, I seek your
protection.
॥ CE, Regbe i. 13: ०0०९१४० vrse-skandbeb. > That is, a Brahman can accept a gift, but noc « Kgatriya,
«
190 CANDAKAUSIKA [act m
THE TEACHER. (With tears). Lady,
This half lac of gold is surely money belonging to both of you. Out of regard for each other do what is proper. (22)
(Gives the money).
SAIBYA. (Taking it, with joy). 1am satisfied that through good fortune my husband has now only half the burden of the promise.
THE TEACHER. (To himself). Ic isnot right to look upon the distress of these two. (Wants to go out).
SAIBYA. Waita minute, noble sir, while [ make my husband well beheld.
THE TEACHER. Lady, this Kaundinya will stay. (Exit). SAIBYA, (Fastening the money to the clothes of the king). Permit
me, my lord, to become a maid-servant of chis great Brahman.
THE KING. (With distress). Why, indeed it is permitted by powerful fate, (To himself, reproachfully). Well, O cursed fate,
If chis [Saibya], who was brought to the state of a
queen, is made a maid-servant at a stranger's house, then the crest-jewel is reduced to be an ornament for the feet. (23)
(With great pathos). Alas, oh, alas!
Even the beautiful face of the Sun, whose appearance is exposed to’ the disgrace of his dynasty, is indeed soiled by this sale of son and wife by me, who is a fool destroyed by destiny. (24)
(Restraining bimself. Aloud), O Beloved, This Brahman, with his pupil, should be revered
by you, and his wife served with a share of affection,
इ The reading here is nagna authenticated by most MSS; the varian' namra(=humbled by) is obviously an ingenious emendation, Could the original reading have been lagna (=touched by), the letters | and 9 being indistinguishable sometimes in Devanagari The sense would then be thai touched by the stain of disgrace the sun's face has become soiled,
act गा] CANDA-KAUSIKA 181
[Your own] life should be guarded, and the little boy protected. Whatever destiny directs should be done. (25)
SAIBYA. As the noble sir commands. (Wants to go ont, and looking at the king, shows distress).
THE PUPIL. (With anger). Come along, lady, come along. The teacher has gone far.
SAIBYA. (With entreaty). Wait a moment for me while 1 make my husband’s face well beheld.
THE KING. (Showing distress). Beloved, desist. The Brahman is uneasy. , ,
SAIBYA. (Slowly walks, looking at the king).
THE BOY. Daddy, where is mother going?
THE KING. (With dejection). She goes where your father’s wife goes [as a slave].
THE BOY. O'you boy, where do you want to take my mother? (Takes hold of the edge of the mother’s clothes).
THE PUPIL. (With anger). Away you, a born slave! (So throws him down with a push).
THE BOY. (Looks at bis parents with curving lips).
BOTH. (Look with tears).
THE KING. © great Brahman, childhood is surely guiltless, So you should not act in this way. (Raising the boy, kissing on the bead, and embracing. With sorrow).
O child, your lips are quivering with the weight of resentment. Why do you look at my face,—the face of a hard-hearted sinner ? To the flesh-eating animals their cubs! are not dear, but even to them their mates’ are the : dearest, (26) So why do you follow me, a Cindil? Follow your mother. (Shows distress).
t The words fifs and venitéeerespectively ‘cubs’ and ‘female kind’ of animals (in the lexicons).
182 CANDA-KAUSIKA — {क्लि प
SAIBYA, My lord, why are you slackening in the task of the great sage by grieving over my wretched self? (Taking the boy walks
away). THE BOY. Save me, save me, (Exit).
THE KING. (Looking long). Oh, I am undone! (Throws himself on the ground). (Then enters KAUSIK A) KAUSIKA. Ah what,—my fees in gold have not yet been collected ?
THE KING. (Hearing and rising up in agitation). Revered sage, take now a half.
KAUSIKA, Ah, away with a half! If you chink chat what is promised must be given, give me in full. (Bebind the stage) Shame on austerity, shame on, this vow, shame on knowledge, shame on great learning, O Brahman, that Harié- candta is brought by you to this state | (27)
KAUSIKA. (Having listened, with anger). Ha, who are these again censuring me with the word ‘shame’ ? (Looking wpward). Ah, ate these the All-gods' moving in their aerial cars? (Acting as if angry, touching the water of the ascetics bowl, and taking water for 4 curse). Shame on you, fools’, for this partisanship of mean Ksatriyas !
You all five will have your birth in a Ksatriya family ; but the son of Drona’, a Brahman, will slay you while you are young, (28)
1 The all-inclusive Vedic pantheon of Visve-devas,
2 The word anatmajiia need not imply the higher sense of ‘one devoid of self-knowledge’, but simply means ‘a fool’, as in Abbi, Sak. vi.-ad 3, ma tavad * andtmajiie ; Malavikd i, ad 7: katbam karya-vinimayena vysvabarati mayi andsmajiiab
3 This refers to the treacherous killing of the five young sons of Draupadi by Advatchdmen, described in the Mababbarate, The allusion is made clear in the Markendeya-Purina narcagive of Hariécandsa
act 1] CANDA-KAUSIKA 183
(Again looking upward, wish joy). Ah, how they—
From their aerial chariots, tottering in the sky, which is filled with the twang of dangling bells that tremble, as it were, with fear at my glance,—how they fall, with faces downwards, with their ear-ornaments dropped and the edges of their crowns tearing the flapping screen of clouds. (29)
THE KING. (Looking upward, with fear). O the power of religious austerity! —Justly docs Hariscandra suffer, Revered sage, there is no need to think otherwise.
Take this, earned by the sale of wife and sou. For the remainder I will sell myself, even to ‘a Candila. (30)
KAUSIKA, (In wrath). Away with the half! Well, give me in full.
THE KING. O good people,—(Recites ‘For some reason’ ete.).
(Then enters RIGHTEOUSNESS in the garb of ५ Candila, with an ATTENDANT)
RIGHTEOUSNESS. (To himself). By me are upheld these worlds, and Truth upholds me along with these. To test the truthfulness of this king, ¢his caste [of a Candala] is caken up by me. (31) (After long meditation, with amazement). Perceiving even with profound meditation [ do.not find any one comparable to the royal sage Harigcandra, Well, [ draw near to him. (Walking, aloud). O you Sarameyaka,! have you taken the cash-box ?
THE ATTENDANT. O chicf, will st be placed by you in the yold-apartment, or wine be drunk [wich it] ? ;
RIGHTEOUSNESS, 0, what is the need of your asking this ? (!Valks about),
THE KING. (Recites ‘For some reason’ etc., and ‘For balf « lec’ etc. Looks around, with dejection). No one is desirous of my ill-fated self | Alas, { am undone | (Falls down fainting).
1 Literally ‘a dog’; this may be the name of the Attendant.
184 CANDA-KAUSIKA "ACT nt RIGHTEOUSNESS. (Listening and looking, to bimself), What,
—is this great soul gone into a swoon? Well, let it be [said] thus, (Approaching burriedly, aloud). Ab you, arise! 1 want to purchase you. Take this gold as desired.
THE KING. (Rising, with delight). O good man, let it be brought, (Looking at him, with sadness). Sir, do you want to purchase me?
RIGHTEOUSNESS. Yes, [ want to putchase you.
THE KING. ‘Then who are you?
RIGHTEOUSNESS.
Lord of all the cremation ground, I have the confidence of the officer in charge of the police station ; 1 am the chiet Candala appointed at the place of execution. (32)
THE KING. (Approaching with emotion and falling at the feet of Kausika). Be gracious, revered sage, be gracious | Let there be my freedom from debe rather by being a servant to thee. O Brahman, servitude [of a Ksatrtya] under a Candala is never heard of nor seen. (33)
KAUSIKA. Shame on you, you fool | = Hermits are their own servants. What shall I do with you as a servant 2,
THE KING. (With entreaty). Revered sage, I will do whatever thou dost command. 2
KAUSIKA. Hearken, all ye gods, hearken! You will do whatever I command ?
THE KING. Certainly, 1 will do.
KAUSIKA. IE that is so, then sell yourself to this man who wants you, and give my fees in gold.
THE KING. (With distress, to bimself). Oh, oh, what way is there now? (Alowd). As the revered sage commands. (A pproach-, ing the (54०८९), O chief of your own class, you should purchase me by stipulation.
THE CANDALA. Now, what is your stipulation?
THE KING, Listen,
act प] । ^त५-८५पक्षा६^ 185
Taking food obtained by begging, staying at a distance, and covering myself with rags from the street, I do unhesita- tingly what the master commands. (34)
BOTH. (With satisfaction). Ah, this stipulation of yours is reasonable. Take this gold, (Gives from « distance). THE KING. (Accepting, with joy). Freed from debt, not cursed by the Brahman, and not faltering trom पणत, my servitude under a Candala is a
matter of pride. (35) (To Kausika, with entreaty). Revered sage, accept this entire money. KAUSIKA. (With embarrassment). Will you give? THE KING, (With entreaty). Revered sage, may ic be received.
^^. (Receiving, to himself). Alter this what is the need of importunity? ‘Well, I will now go. (Does so with ém- barrassment).
THE KING, (With folded palms, in humility). Revered sage, my offence for the delay of time may be pardoned.
KAUSIKA. It is pardoned. (Exit).
THE KING. (Approaching the Candala). O chief of your own class—. (With these broken words, covers bis face). O master, comm- and what should be done by me, your slave.
RIGHTEOUSNESS. (With satisfaction, to bimself). This is an act never seen nor heard of before. (Aloud). Ah, go to the southern burning ground, become a plunderer of tattered clothes of the dead, and keep awake day and night. I now goto my own house.
THE KING. As the master commands.
(Exeunt omnis)
End of Acs Ill
ACT IV
(Then enters the KING, thoughtfully, followed by tu CANDALAS)
THE CANDALAS. Move away, sirs, move away. This is not a man to be executed, so what do you look at here? (Listening, in the air), What do you say, noble sirs?_ ‘Who is he, and where is he being taken?’ This poor man has accepted slavery by taking a great deal of gold from the master. So he is being taken to the southern burning ground for the purpose of guarding it.
THE KING, (Sighing, to himself). Alas, never-ending is this fall on me of a successively severe series of misfortune | For:
This slavery of me today to a Candala, residence in the more horrible big cremation ground, and the work of plunder- ing blankets from dead bodies,—alas,’fate is not allayed by these calamities}, (1)
(With sorrow). Indeed, it is well said that suffering is veiled by sufferings; because now affliction from all sides torments me who have attained freedom from the debt of the fees. (Showing distress).
Do I mourn for the subjects who, after having me for their friend, are now left friendless? Or, for those very affectionate kinsmen and forlorn servants? Or, for the most beloved [wife, now] a slave in the Bralman’s house, or for the dear child? Or, for the life of my own wretched self now gone into the slavery of the Candala? (2)
(Acting as if remembering, with dejection).
When that sage Visvamitra, who is the abode of great austerity, was hard to appease, then freedom from [his] debe came about with difficuley. At that time the sight of thie young son, with his weeping face, thrown down,—that inward dart hurts me like a full-grown boil [on the heart]*! (3)
ए brnemarma-vranam, as Bhavabbiiti puts it.
act IV J CANDA-KAUSIKA 187 THE CANDALAS. (Recite as before).
THE KING. (Recollecting, with depression, to bimself). Oh oh, what is now paining me intensely is that at chat time,
When that Brahman [student], flushed with anger, urged forward because of devotion to [his] teacher, when the child, thrown down but clinging to the end of [the mother’s] clothes, wept,—her glance at me, cruel that I was, was at last withdrawn with difficulty, the pupils becoming benumbed by greatly restrained overflow of tears. (4)
(With distress). O queen,
If you are a worthy daughter-in-law of the dynasty of the Sun, if you are born in the unsullied family of the Moon, then why, O beautiful woman, are you thrown on me like the oblation vf butter on a heap of ashes? (5)
Moreover, © princess,
You feel fatigued even when you make a garland of navamalika flowers of the garden. How will you do all the work which is fit for a maid-scrvant, and with which you are not acquainted? (6)
THE CANDALAS.. (Looking forward). Ab, the southern burning ground is not very far. So come quickly.
THE KING, (Looking, with steadiness). Oh, is this the preat burning ground? For:
£ With the folded roots of their pinions, motionless and extended on the thrown-up tips of their tails, che vultures swoop down many times from a distance in hundreds of (€ peated circles in the sky, लः pair of folded beaks being covered with the discharge of flowing saliva from hollowed mouths which are greedy for corpse-flesh. (7)
(Confused noise bebind the stage)
188 CANDA-KAUSIKA [Act 1
THE KING. (Listening and looking). O the fierceness, made loathsome, of the great cremation ground! For:
With cruel howls these jackals, whose cries ate like the beating of inauspicious drums, spread. all over, harsh to the ear and carrying echoes inside. With steady and twisted tips these fires are burning, smeared with the brains which appear from the inner cavity of human skulls burst asunder by the heat. (8)
(Looking in front, with approval). This place appears desirable even if it ts loathsome. O gpod corpse, you are fortunate that you are enjoyed at will by the wild beasts who, as your lovers, seize all you possess, For,
The crow, placing its feet on the head, is splitting open the seal of the eyes. The jackal is devouring the end of the tongue rolling out of the corner of the mouth, The dog is tearing the penis; and che vulture isenlarging the hollow of the entrails. So, O corpse, the wild beasts are doing what they like with you. (9)
Alas, the worthlessness of human bodies !
That waist, that bosom, chat face, those eyes and those cye-brows,—all of them now consist of filthy blood, marrow, flesh, bones and saliva. Ic is frightening to the cowards, an object of shame to those whose mind is interested in [true] knowledge. What poor pride is caken vainly by the foolish worldly people | (10)
ONE OF THE CANDALAS. (Looking in front). Ah, we pay homage to the goddess Canda-Kityayini who lives in the hollow of the lofty tree.
THE OTHER. We do this. (They do the same).
O Kityayini, protect me, you who crushed completely’ the rolling heads of demons; you whose body was rent by the great demon Mahisa; you who are clad in the skin of elephants; you who have che trembling pike in your hand! (11)
act VJ CANDA-KAUSIKA 189
THE KING. (Looking all round, with amazement). Oh, the love of Katyayani for loathsome requisites of worship | For,
Hanging down are the bells, which dangled on the neck of dead buffaloes and cows, [but which are now] decked with withered garlands; [these are] smart in making twanging sounds unpleasant to the ear. The crows, who are naturally greedy for portions of food-offering, are croaking on the trunk of the yoddess’s tree, the surface of which bears the mark of five bloody fingers. (12)
(Folding the palms, with obeisance).
O goddess Candi, you through Whom an eminent goal [after death] is obtained', you who love the palace of departed spirits, you who make the corpses frolic’, you whose terrible appearance consists of the bones of the dead, and you who make a meal of dead bodies, O Bhairavi, obeisance to you! (13)
(Confused noise behind the stage)
THE KING. (Listening). O the loud noise! of birds, coming from various directions, eager for their own nests, and indicating the end of the day! (Looking westward). To none it is not difficule to Overstep the course of destiny. Thus,
Even this sun, the lamp of the heavenly courtyard, the crest-jewel of the quickly moving time-serpent, the moment- aty imitator of the form of submarine fire, falls afflicted into the ocean. (14)
(Looking all round, with amazement).
Ah, the whole universe has become a funeral ground
for the display of the Kapalika® Destiny. [८ is red with the
t Some of the phrases of this verse are difficult. We construe prete as: Arakrstam itam gatir yaya, tat-sambodbane.
2 We take the word vimana to mean ‘a towering palace’,
3 We construe lasat-prete as lasantah preta yaya, tat-sambodbane,
4 The word sémravina occurs in Malati-madbava v. 11d.
5 A follower of certain Saiva sect of the left-hand order, who practises grucsome rites on the funeral ground,
190 CANDA-KAUSIKA {act 1५
blood of the ewilight as a victim. The dim disc of its sun is like the slightly burning charcoal of a funeral pile, Ic is strewn with stars which are like bones of the dead. Its bright moon acts as if it is a piece of white human skull. It has a multitude of happy nocturnal creatures. It looks grey with dense darkness which has the appearance of abundant
smoke, (15) THE CANDALAS. (Looking). Oh indeed |
When the sun goes to setting as the victim goes to the . place of executjon, this mass of darkness descends like a tribe
of [dark] Candalas, (16) THE KING. (Looking all round). Ob, the branching trees
of the burning ground now appear deeply terrifying. For: The owls, flying as far as che trunk fof the trees], are screeching ०८ the entrance of the large hollow of their abode. The vulcures fall on the top, beating their row of wings and making mighty sounds of pleasure. The crying jackals, . whose mouths are like sparkling fire, multiply their howls as they smell the terrible odour of the chick marrow of withering corpses which hang from the end of the branches. (17)
ONE OF THE CANDALAS. (Aside). Oh, the southern burning ground abounds in various kinds of goblins. So we will go ever so quickly.
THE OTHER. We will do so. BOTH. (Alowd). O you, by the command of the master you
are to remain viyilant in this burning gtound, wandering about day and night. THE KING. (With joy). Very well, as che master commands. (Confused noise bebind the stage).
. THE CANDALAS. (Wisb fear). 0 Mother, the confused noise of the night is rising. So we take to our heels quickly. (Both exis).
act 1४] ` @९^प्र)^-८८५एक्षा८^ , 191
THE KING. (With resoluteness, walking about and looking). Oh, the heaps of dead bodies* are a disgusting sight, For:
These bear a body, the abundant unevenness of which is covered by thick sinews. They have fierce teeth, fierce faces, and high noses jagged with thin veins. The surround- ings of the eyes have the appearance of decayed wells, The veined thighs’ are like trees, of which the hollow is compar- able to the deep region of the belly. (18)
(Looking, with amusement). O the cleverness of the fiends in playful quarrels | Thus:
One, snatching away the drinking bowl from another, drinks thick blood. Another, with glowing tongue, licks dripping [blood] from the mouth of one who is drinking. Then some, with the neck uplifted for a moment, and with a long and playful congue, tastes che drops of thickly collected blogd fallen on the ground. (19)
(Looking with cwriosity, with 4 smile). Oh, ho, indeed the amorous play of the stupid fiends appear like a joke and create a cone trary sentiment. For:
What:a difference chere is, on the one hand, between the pleasant enjoyment [ot human beings], amiable because of soft and sweet movement of the limbs, and on the other, the side-long glances ateach other [of the fiends], which bear the blaze of meteors widespread at the time of universal destruction, the mode of kissing in which fire is inflamed by the friction of large fangs, the close embrace which echoes with the sound of the ribs of the chest®. (20)
1 The phrase kaunapa-nikaya occuts in Milatiemadbava ५, ad 10: sho samprati pragalbbamana-haunape-nikayasye 10400417 imasana-vatasya raudrata,
2 The reading could not have been nadi-jangha-druma-(nddijanghama crow): since for the comparison there is no point im bringing in the crow, unless the phrase means ‘crow-infested trec’,
3 Ct, Malati-m. v. 18,
192 ` CANDA-KAUSIKA’ ` [त
(Looking, with disgust). Fie, this is very loathsome |
Drawing it out of the funeral fire as it is fastened on the point of a long bone, and repeatedly with hundreds of hisses flashing like the uncheckable wind of universal destruc- tion, the ghost, with a terrible face wagging out of greed, devours the human head, but vomits it out as the cavity of the mouth gets burnt.’ (21)
(Acting as if recollecting). Enough of the curiosity of looking at ४९७८ [ Now, abiding by the command of my master, I wander all round the funeral ground. (Wandering and acting as if observing). O the profundity of the night | Thus:
The darkness can be held within the fist? ; the division of the four directions is concealed on all sides. The footstep stumbles on uneven grounds [and] throwing of glances is fruitless. Bacause of the disappearance of other tints, the concentrated dark-blue colour alone, which bears resemblance ०३ hill of collyrium drenched by rai, appears uniform all round. (22)
Well, I now proclaim loudly. O who, who is there? Listen to the utterance of my master who is the lord of the cremation ground.
No one should perform rites fic for, cremation without my knowledge and without giving up the blanket of che dead. (23)
So from today by all indeed
With the words ‘just so’, this must be done here without negligence. There is none who can endure breach of the master’s command. Even for him who may be like [the gods] Brahma, Indra, Vayu and Varuna—let this arm of mine be a rival combatant. (24)
What,—-no one is answering ? Well, I speak from another place. (After walking about). Who, who is there ¢ (Behind the stage). O this is I!
1 CE Malati-m. v, 17. 2 Because it is so dense,
act Iv] CANDA-KAUSIKA 193 `
THE KING. (With resoluteness). What,—an answer! Well, I follow the sound and find out skilfully who is there, (Walking about and looking towards the tiring room, with amazement). Ah, who is this?
Holding a staff with a skull at the top,’ annointed with ashes, possessed of charming loveliness made bright by the adornment of human bones, and bearing a skull in the hand and a human skeleton on the head, he appears as if he is Siva himself in person. (25)
(Then enters RIGHTEOUSNESS in the garb of ८ Kapalika) RIGHTEOUSNESS. Othisist} =’
Living on such alms as come without asking, unruffled by the restraint of the five senses, and passing beyond the great cremation ground of worldly life, | wander about in this hedious cremation ground. (26)
(With reflection). It is befitting indeed that the god Rudra practised a great vow. Surely this is supreme excellence for those who move unrestrained, But
Living on alms, celigious austerity and performance of an act,—entire ,devotion, without a second [objective], is easily attainable in respect of all these ; ७५८ the realisation of self, without a second, is care. (27)
(Looking in all directions, with anxiety, to himself).
By me are upheld these worlds, and Truth upholds me along with these. To test the truthfulness of chis king, this garb is taken up by me. (28)
(Reflecting, with amazement, to bimself). Ic is wonderful that the career of the royal sage Hariscandra [even] ina series of misfortune is not to be deplored. Or, this is the nature of the high-minded. For ;
Whether happiness or sorrow—what indeed is constant in this world 2 From che utter loss of discernment’ comes
1: This is supposed to be a weapon of Siva and is carried by Saiva
ascetics. 2 Viveka-pradbvamsad npacita-mabi-moba-gahanah, Malati-m. i. 30,
25
ie THE क sity sat ies ध CANDA-KAUSIKA faer ए
the alternation between happiness and sorrow. OB great men in this world there is some conquering faculty of the mind by which sorrow does not become sorrow, not happiness happiness. (29) Well, now 1 go to him. (Walking and looking, with commends. tion). Ah, this is that high-souled person. Him then I approach. (Doing so). O king, may you obtain complete fulfilment |
THE KING. Welcome to one who is rigidly religious and observes great vows |
THE KAPALIKA.. O king, we approach you as supplicants. THE KING. (Shows embarrassment).
THE KAPALIKA. No need of modesty! We possess the in- sight of meditation, and have knowledge of your history. Still, even in this condition you are not [too] indigent co give us what we desire, For, look : ;
In no manner are good men not [ready] for the good of others. Even overtaking the new-moon night, the moon delights the big forest trees. (30)
So listen.
THE KING. 1 am listening.
THE KAPALIKA. The goblin, the thunderbole, the globular collyrium,
the foot-unguent, the mode of female demons, alchemy and metallurgy,—think out how all these,! held [controlled] in my hand, ate not screened off by obstacles, as if by a piece of cloth. (31)
So let removal of obstacle be directed.
THE KING. O thou possessed of supernatural powers, thou art aware, through the power of meditation, that this poor body [of myself] is not under my own control, So I would exert myself without opposition to che interest of my master.
t That is, supernatural knowledge and control of these chings.
ew) CANDA-KAUSIKA - 195° THE KAPALIKA. O king, how is chere opposition to the
interest of your master ? Surely, what is desiced by us can be accomplished by you by mere command. Not very far from here there is a great treasure of minerals. For this an effort is to be made by us. You are only to stay hete, vigilant against removal of obstacles. (Exit).
THE KING. (With resoluteness, wandering all round). Keep
off, obstacles, keep off ; for your scope is obstructed in every way. (Behind the stage)
O king, as you command.
The Felicities have opened their doors. The Sciences have come today to choose their mates themselves. The Fulfilments are moving unrestrained. Who can transgress your command? (32)
THE KING. (With delight). Ic is fortunate that with the words ‘just so,’ the obstacles have accepted our word. This is pleasing to us, pleasing !
(Then enter the SCIENCES in aerial chariots) THE SCIENCES. (Approaching all of 4 sudden). King
Harigcandra, we congratulate you. We are the Sciences, who were at the root of those
calamities which the harsh sage in his anger perpetrated on you, a royal personage,—we have come to you. (33)
THE KING. (Looking with astonishment, to bimself). Well, are these the Science-goddesses on whom the severe religious austerity of the revered Vigvamitra himself was powerless ? (Aloud, folding the palms). Obeisance to the Sciences, the conquerors of the three worlds!
THE SCIENCES. King, we are under your control, so instruct us.
THE KING. If you consider me worthy of favour, then wait upon the revered Kausika, so thar Ican justify myself as free from fault to the sage. ।
` 196 CANDA-KAUSIKA [acr 1४
THE SCIENCES. (Looking at cach other, with amazement), 0 king, let it be so. (Exit).
(Then enters the KAPALIKA followed by a GOBLIN! on whose shoulders is placed the treasure)
THE KAPALIKA, (Approaching quickly). O king, I con. geatulate you on the good fortune of recovering this great treasure of which enjoyment is assured. May the presiding deity of mineral wealth make you enjoy ic!
By its employment those who have attained supernatural powers overcome death, and reaching instantly the way to the world of gods, amuse themselves on the summit of Mount Meru, where the blossoms of the wishing tree are in full bloom. (34)
THE KING, But this is against the state of slavery; in this way the master will indeed become deprived. ,
THE KAPALIKA. (To himself, with astonishment). O this is amazing | Well, let it be [said] thus. (Aloud). If it be so, then take this great treasure for the redemption of yourself with your wife,
THE KING. How will it be so? For, slavery is considered destitute of wealth, But, as this is not worthy of a refusal, [ admit thy proposal in che interest of my master. Let this great hidden treasure be taken to the master,
THE KAPALIKA. (To bimself, with amazement), O the fortitude, O the conscience, and O the magnanimity! Or:
Even the mountains forsooth move when struck by the wind of universal destruction, but the steady mind of the self-possessed does not indeed move even in hardship. (35)
So what is the need of my excessive persistence?, (Aloud, to the goblin). Sir, go and accomplish the wish of this king.
1 The Vetila is a kind of spirit, particularly a ghost who occupies a dead body,
fact IV CANDA-KAUSIKA 197
THE GOBLIN. As thou of supernatural powers dost command, (Exit)
THE KAPALIKA. (Looking all around). O king, the night is nearly dawning. So we will go now.
THE KING. O man of supernatural powers, we should be remembered when thou speakest of che miserable.
THE KAPALIKA. King, the gods will remember you. (Exit).
THE KING. (Looking towards the east, with serenity), Ah,
indeed ;
The lord of the day [ Sun ], dispersing dense darkness
and preceded by morning ewilight, is rising to favour the world, (36)
So ] go now to the bank of the sacred Bhagirachi and carry out the direction of the master.
: (Exit)
End of Act IV.
ACT V.
(Then enters the KING in soiled and tattered clothes)
THE KING. (Sighing, with despondency). Alas, oh, alas | The hostility of the great sage, the forsaking of friends, the sale of wife and son, and moreover this slavery to the Cindala,—alas, of what terrible misdeed indeed are these the ittesistible fruits obtained by me, a hard-hearted foolish " person ? (1) * (With distress). Oh, powerful is destiny | For:
With my neck humbled down, the angry and mighty sage, having severed me from royal glory, completely des- troyed three things? Even in respect of these destiny who loves disaster became so cruel that my wife, son and myself, all indeed is lost in a moment! (2)
(With reflection, heaving a long sigh, with distress), Oh, oh |
Grieving at night, distressed by affliction and emaciated in body, she thinks every day in her mind of the redemption which should surely be effected by me, and supports her life towards reunion with me. Oh, alas, she does not know me, a wretch, who has now arrived at this state | (3)
(Sighing), O my child Rohitaéva,
O child, how do you, inclined to hundreds of wayward tricks on the lap of the nurses, [now] roll at last on che ground, having grown sleepy ? The urchins, who are
1 It would be better to read na trayam instead of nas trayam in the text, although this latter reading is authenticated by all MSS. The emendation, would give better sense, It would mean that the sage, having severed the king from royal glory, did not completely destroy three things ; but destiny completed the destruction, The translation would then read: ‘the angry and mighty sage, having severed me from royal glory, did not completely destroy three things. In respect of these, however, destiny etc,
act VJ ` CANDA-KAUSIKA 19”
harshly abusive to the ear, now order you about,—-you whose order was greeted by hundreds of kings. (4) (Patbetically, after long reflection). This head is ready; let dangers fall, 1 welcome them. Ie is true to say that adversity is same as prosperity to those whose mind is contented after doing what is to be done. But, 0 child, you are distressing my heart today ; for you, who should have been reared on the lap, have been bitcen unexpectedly by the cruel serpent of destiny without having fulfilled your duty. (5) ति । (With apprebension). May evil be averted | [I should have said] By cruel fate you have been brought to a grievous state without fulfilling your duty. (5a) (Indicating quivering of the left eye and throbbing of the right arm). The left eye quivers and the right arm throbs. This appears to Speak that both adversity and prosperity are imminent to me. (6) (With reflection). Or, what is the need of thinking even now of adversity and prosperity ? The wicked and wretched Hariscandra is finished indeed | For, After this, what is adversity is prosperity indeed. To me, evil chat I am, verily the door of prosperity is death. (7)
(Enters without toss of the curtain 4 Candala)
THE CANDALAS. Ab, of the son.’
1 This is unconsciously anticipating the incident of serpent-bite befalling Rohitasva, 7
a Ch, Veni-s. iad 6: Santam papam pratibatarm amangalam , on which |agaddhara comments: Santem pepam andkankge (i.e. syntactically isolated) #64
Bharatah. Obviously it was conventional phrase. 3 From the immediate context of the king's speech, ‘death’ of the son
is indicated; hence the king's apprehension, In Sansksi¢ dramaturgy such a device of cleverly indicating an imminent future event of an unpleasant nature is called Pataka-Sthinake, CE. Uttarerama-carita i. 38, where as Rima
0)
" 200 ` CANDA-KAUSIKA 1
` THE KING. (With apprebension). Sir, what of the son ?
THE CANDALAS. Oh, I am saying that a woman, weeping most piteously, is staying by the side of her dead son. So, go ever so quickly and take the blanket of the dead. 1am now going to the master. (Exit).
THE KING. (Walks about). (Bebind the stage) O my child, where ate you ? Give me a reply. THE KING, (Listening, pathetically). Alas, dreadful lamentation! (Then enters SAIBYA as indicated, acting as if in distress)
SAIBYA. O my child, where are you ? Give me a reply. (Acting as if stupefied and recovering consciousness). O my child, it is not proper for you now to abandon my miserable self as [ have been abandoned by your father. (Becomes unconscious).
THE KING. (Listening and looking, with distress). What—is this unfortunate woman also abandoned by her husband ? The cruelty of cursed fate everywhere and in every way !
SAIBYA. (Rising up, in agitation). How is it indeed! Where is my little son gone ? (Looking, and embracing). O son, why don’t you talk to me? Do you not see, this isa great and terri- ble burning ground ; alone, 1 am afraid. (As if insane). What do you say ? That you were bitten by a black serpent coming out of the hollow of the tree, while you had been gathering Aowers for the sake
bursts into a sublime apostrophe to his wife: kim asya na preyab param asabyas tw virabah (‘what of hers is not dear, save only unendurable separation’) the Attendant enters and startles him by saying spastbitab (‘is come’), thereby indicating the immediately following separation from अप्व, which Rima dreads somnch, A similar situation occurs in Veni-s. ii. ad 23, on the occasion of the breaking of the flag-staff of Duryodhana’s chariot. It is a kind of dramatic irony, which produces an effect not unlike that made by lago's Aside after an outburst of Othello (ii, 1, 185).
act ४] CANDA-KAUSIKA 201
of the teacher ? (In agitation). Where is the black 3८०८? ~=Why does it not bite me ? (Looking around). False, false | Whence could this black serpent be here ? (Sitting down, pathetically). O my child, rise up, fetch for the preceptor untorn leaves of the Malira® and the sprouts of Kuga grass gtowing on sesamum® field, The time for his offering of oblation is passing, All the students of the Veda, having returned, will now offer oblations. (Wants to raise up, with emotion). What | Have you truly gone far away, abandoning my ill-fated self ? Alas, I am undone, unfortunate that Lam | (Becomes
unconscious),
THE KING. (With distress). Alas, these utterances would be
very unpleasant even to cruel destiny,
SAIBYA. (Recovering consciousness, with reproach), O my husband, look now at the changed condition of the son who was once wayward on your lap. Always pitiless, where are you now, free with your unsuspecting heart ? But then, [ was asked by you that this boy should be guarded with care ; that my wicked self has not been
able to carry out,
THE KING. (With great pathos), Oh, the heart-touching
lamentations !
SAIBYA. (Looking at every limb of her son). O my child, this strip of forehead of yours is indeed bright like the beautiful moon. These eyes, tender and white but reddish in che corner, have very well-knie eyelashes. And chis broad chese is steong wich well-set frame of bones. What inauspicious sign then was seen on this body by accursed Death ? Or, what faule was there of my truthful husband because of my unfortunate self ? Righteousness is fruitless in every way [ The indications are not itustworthy, and men versed in the science [of signs] speak false; for | was told many
इ The word krsnahi would also mean, by Nitya-samisa, a deadly poisonous
serpent. 2 Either Bilva (Aegle marmelos) or Kapittha (Feronia elephantum).
3 Tila of Sesamum indicum, 26
202 CANDA-KAUSIKA Lacr y
times by those, who are expert in interpreting signs on the body and who have proved their trustworthiness,—'this son of yours would become an upholder of the dynasty and a long-lived universal so. vereign’. But everything has been falsified by the bad luck of my wretched self,
THE KING. (With apprebension), Why, this utterance appears to agree | (Looking searchingly, with tears), Oh indeed This head is shaped like a parasol; the long eyes extend up to the end of the broad forehead. The feet have marks of circles, the hands of lotuses ; the arms extend up to the knee. The waist is narrow ; the chest is broad ; the belly is small; and the hips are plump. Surely this child, marked by signs [indicative] of universal dominion, is the offspring of a royal family. (8) (Acting as if remembering, with despondency), Alas, by this time the child Rohitasva muse be at this stage of life ; so my heart is ap- ptehensive. Or, may all evil of my child be averted |
SAIBYA. (With reproach, in the air). O revered Kaugika, your wish is now fulfilled !
THE KING. (With emotion). What? She reproaches the revered Kausika. There is nothing that does not agree in every way. So there is no need of suspecting her for another’s wife; this is Saibya indeed. (Looking long, pathetically), Enough of doubt now, for:
This is that voice, languid as it is with piteous bewail- ings, which sounds like a deep-toned string-insteument. And these are those hairs, though disordered, which are curled and black like a swatm of bees. These are those emaciated limbs which cannot be recognised by me all at once. This is thgt loveliness which, soiled like an old picture, can be inferred from the lines of features. (9)
O my child Rohitaiva, where are you? Give me a reply. (Falls insensible. Recovering consciousness and looking at the face of Robi-
act VJ CANDA-KAUSIKA 203
2६५८}. Mlefated | am, I recollect [his] infancy, when the sprouts of reeth have not appeared.
No longer shining forth is that face, decorated mani- festly with auspicious and fragrant resin and adorned with slender and dangling locks, and [therefore] bearing the beauty of a lovely lotus crossed by bees. (10)
Alas, my child Rohitasva | Alas, the young ewig of the solar dynasty! Alas, the gladdener of the heart of Hariscandea! Alas, the chief price for the redemption of angry Kausgika’s fee|
No worship with sacrifice has beén made, no gifts have been bestowed, no happiness worthy of the family has been enjoyed, no renown has been widespread——O my child, you have gone to heaven, imitating the sprouting seed of the Indian fig tree fallen on a barren soil, (11)
Moreover, 0 child, *
Your head is not sanctified by the water of royal con- secration, your hands by gifts and your feet by the bowing down of the heads of enemies. Your arms are not marked by the scar of the bow-string. You are lost like the first moon of the lunar fortnighe just making its appearance. (12)
(With reflection). Should [ here approach and reveal myself to the bewailing queen ? Or, it is not proper to agitate the poor woman already consumed by grief for her son by [revealing to her] क other changed condition of myself. (Looking at himself). You wicked and cursed Hariscandra, why are you not dead yet? After this, what more would you sec? (Becoming unconscious, and slowly awakening). You wicked and cursed Hariécandra, that you do not yet discard your wretched life,—is it because you want to save yout- self from the after-life of a suicide? Fie on you, you fool ! It is better even today ८० plunge into terrible and utter darkness; the horizon should not again be seen bereft of the moonelike face of the son. (13)
204 CANDA-KAUSIKA [act y
Moreover :
Andham-tamas, Krakaca, Bhaitava, Piya, Vici, the tertible Asipatra-vana, Raurava and Salmali—in these forms of hell, there is no suffering which is equal to the sorrow born of the loss of a son. (14)
No need of delay then! Well, consumed by fiery sorrow for my son, I will extinguish myself by a fall from the bank of the Bhagirathi. (Slowly walking, and as if remembering, with emotion). Oh, oh, indeed, in degrees I forget myself as a slave, (Reflecting, with despondency). Alas, indeed, alas | Those whose course of conduct is under their own control are fortunate; they can attain bliss by death. But the wretched persons who sell themselves are not their own masters even for discarding thir lives. (15) (Acting as if distressed). Then my unfortunate self is deprived even of this desire. For: OF this cercible suffering there is surely remedy in fortitude. [Buc] this violation of the master’s authority is a great calamity which cannot be averted. (16)
(With resoluteness). 1 will now accept the authority of my master
by controlling myself, consumed asI am by fiery and unbearable sorrow, by the pouring of the emollient of true judgment. For:
Manifested in the middle and unmanifested at che
beginning and at the end, by some caprice existing from
eternity, the nature of this world, brought together in five
parts,” is to attain that state of the fivefold [dissolution]. By
the revolving of the breaking waves of oceanlike existence’
the incidents of union become the same as those of separation.
Iam in perplexity to understand what reason there can be,
other than illusion of attachment, for the sorrow of wise
men. (17)
1 Sclf-descriptive names of various kinds of Hell. See notes to this passage in कटि text,
3 That is, the five clements, namely, air, water, earth, light and space,
3 That is, successive births,
act ५] CANDA-KAUSIKA 205
SAIBYA, (Regaining consciowsness). What! this wretched life does yet forsake me. What then should indeed be done now? (\Wipsng tears). Well, I will kill myself by hanging on this tree of the burning ground. (Prepares a noose).
“THE KING. (Looking, in a flurry). Alas, this is another fruit of the misfortune of living now befallen | So what should my unfor- tunate self do? (Reflecting). Well, let this be [done]. (Retiring apart).
The worlds of future existence have their paths well determined by the diversions of the maturity of one’s diverse acts, By discarding the illusion of the unsubmissive, those who know the true nature of the future world, laugh indeed at this world. (18)
SAIBYA. (Listens with surprise). THE KING. (Again moving on another side, utters the words
‘I bose whose course of conduct’ etc.).
SAIBYA, (Listening, and throwing away the noose, in agitation). Fie, 9 | With my heart bent upon the festivity of death, even this state of slavery is forgotten by me, whose life is under the control of another. [ will noc be freed from this slavery even in another life [1६ commit suicide ]. (Looking upward, with a long sigh). O divine destiny, | cannot even receive death from your divine presence. Therefore, [ am undone, ill-fated chat | am! (Making berself fall, rising up bastily and wiping tears). How long should [ bewail now in this adverse state, terrible and irreparable ? Afcer doing what the occa- sion demands, I should now purify myself by means of vows, fasting and religious observances and by pleasing the great Brahman by my service, proper to my state of slavery, so that my wretched self would _ not be reborn in this buman world. (Arranges the funeral pyre).
THE KING. (Looking, pathetically). Ab, she has begun what is proper for the occasion. (To himself). Well done, O queen, well done | Nobility of birch has not been transgressed even under the circumstances. 5० | will now approach and carry out the com-
206 CANDA-KAUSIKA [Act ५
mand of my master. (Doing the same, with distress and despon. dency). 0 queen—-(With the speech unfinished covers bis face). 0 noble lady, No one should perform the rites fit for the cremation ground without my knowledge and without making over the blanket of the dead. (19) So bring me the blanket of the dead. (Restraining tears, stretches his band).
SAIBYA, (Acting as if frightened). Good sit, stay at a distance, Iam bringing you. =,
THE KING. (Stays, as if ashamed).
SAIBYA, (Drawing the cloth from the body of Robitatva and giving it ; looking at the band, with surprise, to herself), What,— this hand, marked as it is by the signs betokening a sovereign king, has been employed in this work | (Looking by degrees at every limb, with recognition). Why,—this is my husband. (ln agitation), Alas, my lord, help, help! (Making berself fall).
THE KING. (Moving away). O queen, it is noe proper for you to touch me who am defiled by servitude to a Candala, Recover yourself, recover yourself.
SAIBYA, (Recovering). Alas, alas, what is this 2
THE KING. This is maturity of one’s acts. So enough of lamentation | Bring me this [ blanket ]
SAIBYA. (Makes over, with distress).
(Shower of flowers falls from the sky ; both look at each other, with amazement). THE KING. What,—shower of flowers from the sky ?
(Bebind the stage)
0 the liberality, O che character, 0 the fortitude, 0 the forbearance, O the truthfulness, O the wisdom of the wise Harigcandra | (20)
act ४] CANDA-KAUSIKA 207
SAIBYA. (Listening with pride). Ah, whois this now com- forting my heart by praising the qualities of my husband ) But enough of words of praise! Even my husband feels this change of fortune. Righteousness is utterly in vain, Everything is crying in the wilderness. All knowledge is dancing in che dark.
(Then enters RIGHTEOUSNESS) RIGHTEOUSNESS. © thou great devoted wife, thou great king Harigcandra, what | am I really in vain? Look then,
] have come now to make a gift of those worlds, sancti- fied by the presence of the Supreme Spirit, which aré difficult of access to other kings by means of truthfulness, charity and energetic action. (21)
So there is no need of despondency. Child Rohitaéva, breathe [again], breathe.
THE KING. (Looking, with delight), What,—is he the god Righteousness? 0 god, I salute thee. SAIBYA. god, I bow to thee. ROHITASVA. (Awakens by slow degrees). RIGHTEOUSNESS. O child, protected righteously by your father, breathe
again, in order to rule over the subjects for a long ume by
your life revived from death. (22) ROHITASVA. (Rising wp). Why.—is it mother? But by whom have you been brought to this place 7 SAIBYA. Dear son, by my own fate.
RIGHTEOUSNESS. 0 child, this your facher, who is a guest -of the world of the Supreme Spitit, is in front of you.
ROHITASVA. Father, save me, save me | (Throws bimself).
THE KING. O my child, defiled by slavery co a Cindais, I am not fit © be touched by you.
208 CANDA-KAUSIKA [act v RIGHTEOUSNESS. O king, enough of such piteous words
now | For: That Brahman, with his wife, who purchased her [Saibya], that Candala, and where that kingdom of yours is, —O king, to understand all this secret in their reality, 1 give you now divine eye-sight. (23) Who, who is there of the aerial chariots?
(Entering) AN ATTENDANT. Let your divine self command.
RIGHTEOUSNESS, Be at this place. THE ATTENDANT. Here I am. RIGHTEOUSNESS. 0 great king, mounting the aerial chariot
look at all chis, as ic is, with divine vision.
THE KING. As your divine self commands. (Mounting the divine chariot, as if in meditation). What an egror, what an error! The revered KauSika, satisfied by the service of the Sciences, has released our kingdom to the ministers.
RIGHTEOUSNESS. O king, the sage acted like that only for testing your truthfulness and not for the greed of kingdom. So you need not be agitated. Look at all chis with a cranquil mind.
THE KING. (Again as if in meditation, with delight), O queen, 1 congratulate you.
That naturally kind-hearted Brahman, accompanied by his wife, who purchased you, was indeed no other than the two Sivas, husband and wife. That person, who was my purchaser, was verily the god Righteousness himself. There- fore, the dart [of sorrow] in my mind is now appeased. (24)
RIGHTEOUSNESS. Then annoine the child Rohiedsva in the kingdom of the earth .
THE KING. 0 १८५८५ god, as thou dost command.
RIGHTEOUSNESS. A throne, a throne; an umbrella, an umbrella; a chowrie, a chowrie; a pitcher, a pitcher!
act ५] CANDA-KAUSIKA 209 THE ATTENDANT.
Here is brouglit this throne, studded with bright gems,
‘and this [royal] umbrella resembling the full orb of the
autumnal moon; this pair of chowries, white as the sptead
of moonlight, with their gold handles; this water in pitchers, broughe together from seas on all sides. (25)
(Righteousness and Hariscandra act as if annointing Robitasve)
RIGHTEOUSNESS. (Looking supwards) The coronation festivity of the child RohitaSva is being greeted happily by deities passing in aerial chariots. Thus: * i
These rivers bear pitchers filled with waters from places of pilgrimage. The sweet and deep sound of drums [ल vades all directions. These young divine maidens dance, throwing showers of Mandara flowers. These guardians [of the four quarters] of the world are serving the king by their individual manifestations. (26) All duty is finished. Now ascend the world of Brahman.
THE KING. O revered god,
When the angry Kausika, biting his lips, was engaged in scolding, those of my subjects, who said to me with their faces afflicted with freshly Rowing teirs—-O lord, where are you going leaving us, utterly undone (khalu getan), without a protector, take us with you’—how can I, leaving them, go in selfishness, to the world to which I am ordained by you? (27)
RIGHTEOUSNESS. O king, how can such be the destiny of the subjects whose nature is high or low according to the diversity of their own acts?
THE KING.
With those subjects alone, | want to enjoy those worlds for a moment, for [even] half a moment. Or let those worlds ordained by you be theirs by the force of just my own merit alone. (28)
27
20 ` CANDA-KAUSIKA [४५५ `
RIGHTEOUSNESS. (With wonder), Oh, the extraordinary character of this royal sage! 0 king, the eternal worlds have been earned for yourselves and your subjects by this other store of merit brought about by this gift of your own merit. Then tell me, how can I again benefit you with what is desirable,
THE KING, 0 revered god, there is something desirable even after this? For,
By the acquisition of the Sciences, even the sage has discatded his false indignation on me. Even this child
~ regaining his, life, has attained universal sovereignty. O revered god, even you have been directly seen by me. | have attained also the same world with Brahman. Whatever desirable again would there be other than this which [ shall pray for? (29)
Still, let this be
Let the earth be prosperous in harvest and bear good and contented people, Let the king be victorious, Let those who appreciate merit favour even the particle of merit, which poets put into their own composition. (30)
Moreover,
He, who having directed the staging of this play, himself intensely thrilled with joy, bestowed every day unstinted heaps of clothes, ornaments and gold,—let the fame of that Karttikeya, son of a Ksacriya, extend over this world, even beyond the milk-ocean, along with the fame of the poet preceding it. (31)
(Exeunt omnis)
End of Act V.
Here eds the drama THE FIERCE KAUSIKA composed by
Arya Ksemisvare.
INDICES
PADA-INDEX OF VERSES
akrtva mat- IV. 23a.; V. 19a. atahparam yat’V. 7a, adattvé mytae IV. 23b.; V. 19b. adyaprabhrti IT. 296.
adya vidyah IV, 32b. anugrahiya IV. 366, anrnasya mama III. 35a. antargidha-virudha II. 8c. andhamtamah V. 14a, andhe tamasi V. 13b. anna-ksayiidisu 11. 25a. anyesim ye V. 213. aparicitini katham TV. 6d. aparibhrasta- IIT. 35c. aparvany evendoh I. 23a. api vinihitah J. 28c.
api savitur malini- IT]. 24d. apiirayitva dvija- IT. 11b. abhipatati jane 1. 12a. ami nadijangha- IV. 186. ayam kathayativa I. 20d. ayam te niskampa- IT. 11९, ayam asau gagani- TV. 14a. ayicitopasthita- TV. 26a. aratibhig ca IT. 27c. aruna-nayanam J. 2a. avadhim ksantum IT. 29d. agaptasya ITT. 35b.
astam gascadi TV. 16a. astam ravau IIT. 148. astriny amiini Tf. 31b. ‘asyaiva vyapinibhih 1. 1b. ahamkira-tyagit 7. 156. aho dinam V. 20a.
aho क्त ता IT. 12c. aho dhatryam V. 20b. aho satyam V. 206,
akiryantim sthalini II. 2c, djfapeyanti vatavah V. 4d, ijfid-vyatikrama-sahab 1४, 24b. dibaka- II. 246, dtma-vikrayipah V. 156. itmadvaitam tu IV. 27d, ditmanam eva IIT, 9a,
वा; viksiyate NI. 104. dnandam arpayati I. 8d. finanda-slathitth 1. 3a, वेणा kusumoccayiic II. 13b. ipto datum V. 210.
abhiti sikead iva IV. 25d. वाभा kvacid पवता If. 13a. Gridhyo'yam IIT. 25a.
firfin musti- II. Ib. iiropayimi 1. 27c. avrnudhvam ato I. Sc iisidya sadyo IV. 34b.
a skandhid- IV. 17a. astiryantim 1. 28. ` ahivihi- TIT. 1b
पीपा yan na TIT. 4d.
iti gaditayadlisto T. 2d. iti me nifciti II. 27d, ittham kopakaniya-locana- I, 10c. ittham prirthitam TIT. 19६. idam kathayati ९. 6d.
idam tat keatra- 1. 26a,
idam adya IV. fa.
idintm maranm V. 7d.
imi mOrchanty antah TV. Re. iyam apt puneé chava IIT. 10c
ugrais tapobhir TI. 4b. utstha-buddhi- 1 29c. udaficat-pucchigra- JV. 7b.
५ |
216 CANDA-KAUSIKA ` '
tamo vibhidya IV. 36a. darah sinur idam Hl. Sa. tarala-kala- IV. 14b. daranam tanayasya ITI. 18c.; V. tb, taru-stambhe devyah IV. 12c. “ darunasyasya V. 168.
tava sapulakah I. 28a. - divi vyavalgadbhih II. 12a. tavaiva dasatim III. 33a. divyam caksuh V. 23d.
tasya keatra-prasiteh V. 3lc. digém 0210 I. 239,
{9898 na I. 16c. duhkhena iis tanaya- V. tdd. tasyipy ayam IV. 24d. duhsvapnotpata- I. 24c tasyaisa bana- II. 17c. duraradhye tasmin IV. 3a. tasminn araksite HI. 9c. durvara-vini- V. 16¢.
tan evaham V. 216. durvirini maya V. Ic.
tiny anggni V. 9c. ध duskale kkhu III. 1d. tambilla-rago’dhara- 1. 15a. diram kutiihala-vasit Il. 6a. tdra-narasthi-kirpam 1४. 15b. drpyad-vasigtha- II. 24b. tavan na me II. 34d. drstam kim api I. Sa.
ti vayam samu- IV. 33d. drstah अटा V. 296.
trnam maulau HI. 21, 0191५ akrgta- IL. 226. tenadhund manasi V. 24d. deyam raksya II. 27b.
निमा) api priyatama III. 26d. devas traigunya-bhedat 1. 1a. te cimi V. 9b. devi-bhavam nitva III. 23a. tyakté maya 1. 33c. daityaigani-vidhi- IV. 31b. tyakt@s te suhrdah Ill. 18b. dordarpadhyah I. 4d. tyaktvatmambharih V. 27d. dosanudasyati I. 8c. trisikuficitam II. 9b. -dyuti mukham V. 10d. trailokya-grasa- 1. 20d, dhanyih prayanti I. 17c. tvam devi IT. 33b. dhanyah svadhina- V. 15b. tvad क IV. 32d. dhitri-jandikaéata- ५, 4a, tvad durnayoddipita- 11. 34c. dhitd-bhinnafijana- IV. 226 tvam 2170900 1. 186. dhara-sikta-tpndgra- UI. 18a. tvayi tisthati IV. 33a. dhik tapo dhik 1. 27a. tvarayati guror bhaktyi IV. 4a. तात peininam IL. 15b. tvim adya parthiva- V. 4c. dhig jfiinam 1. 27b.
tviim apy adya 11. 220. dhinotinduh IV. 30d. damytrim arpayative IF 9d. dhiranam nigcalam IV. 35d. dakeasya cidhvara- TI. 3b. dhunvantah paksapalih IV. 17b. dandam varings 1. 226. ` dhairyam asty eva V. 169, ४
[ | 1५ 1 4) HI. 13, ‘ dhruvam adhuna Ill. 24d. dattvaitien dvija- Til. 40.
dadamii' palayen 1. 6a. ` ०8 _kathamein na IV. ॐ. ditavyayi कष 1 260. ` ०४ 02 na Hl. 33. diasih भ्व V. {2 , ` , , ०9 nirdogaga na 7. ॐ.
PADA-INDEX OF VERSES 27
na punat viksita V. 13d.
na mama vasitvam II. 18d.
na muktam tenaitat 11. 7d, naram vamarambhah III. 21d. naristhi-bhisojjvala- IV. 259. na Smagaino- IV. 23d.; V. 19d. nagair bitlapayoda- II. 197. nathaitan kva V. 279.
niyatah gatha 1. Lc.
narhanti sarva- II. 28a. naslis(a@ yad alaksitena I. 13c. niham tatha 1. 22b.
nilsvasya priyaya 1. 10d.
nijam tad iyam II}. 20d. nija-kula-pari- ILI. 24c. nidrilasam bhangam 1. 9a. nidra-vidheyaruna- I. 7a. niruddho durbuddheh [1]. 12b. nivartate mayi 1. 19b. nivptta-paficendriya- IV. 26b. nitavian asi Il. 276. nipa-skandhe kuharini 11. 14४. ninam bhupa-kuldrkurah V. 8d. ninam abhyudayo V. 7b. nrtyanty etah V. 26c
nrpair uccaih 1. 26d.
nes{am na dattam V. 118. naitegu santi V. 14c nopalambhah 1. 16d. nyagrodha-biji- V. 116.
paiicatvam prakrtih V. 17b. paficinam api HI. 28a. patati varinidhau 1V. 14d. patanty ete grdhrah IV. 7c. -patito mama II. 32d. patni ०६७१9 Ill. 25b patravalim I. 27d. pade pade Il. 16a. peothinam esi yadi 11. 6c. para-gtha-paricarikd IL. 23b. 28
parasparanu- 1. 226.
param इदप I]. 15d. parijana-vanito- IV. 6c. pariluthati lalite 1. 219. parisintam vyasanesu IV. Id. pariksitum satyam HI. 31५. ; 286, paresdm upa- IV. 30a.
pasgciid anvisyamanah 11. id. pasyantyo’smin H. 14d. pasyimi yavat 11. 34a, pida-nyasah skhalati IV. 22b. papasya pasyasi 111. 26b. papasyabhyudaya- V. 7५. ' pare ksirikhya-sindhor V, 31५. pitra dharmena V. 22b.
pibaty eko’nyasmat IV. 19a. putradiratma- 1 6d. putrapritir bhavinyah 111. 2b. putrananendu-V. [3c.
purah parsve 11. 10c.
puro laksyasatti- 11. 119. purnam dhanaih 11. 28c. pirne’vadhavapi 111. 13a. prajagara-ksama- 1. 7b. pranasad vidyanam 111. 12a. pratanu-lola-jaja- V. 100. pratisrutim samprati 111. 11४. pratyagrigata-bi-pa- V. 27c. pratyangam ujjvalayati 1. 8b. pratyangam uddhata-sikhe 11. 17d. prathita-mangala- V. 10a. prabhrasta-kundalam 111. 29d. pramudita-sujana V. 30a. pralambante ghan{ah IV. 12b. pravartaniyih FV. 236. ; V. 19c. pravrajyabhih III. 6b. prasanta-ramyini UH. 16b. prasavinikura- 1. 26b. pfana-tyagad bhavati 111. 6d. prana-tyage’pi V. 15d. prapanim avalambanam V. 3.
218 ` CANDA-KAUSIKA
pritah saroja- 1. 196. praptah praptah 11. Ic. prirabdha-sidhana- 11. 23a.
prirabdhasya pragamana- |, 25b.
preta-vimana-priye IV. 13b. pretisini bhairavi IV. 13d. pretisthi-raudra- LV. 13¢.
bahirdhara-siktam JI. 12d. bahu-nalaka- III. Ic. baligra-bhiga-paripaji- 11, 30d. balatapaloka-sabha 1. 9d. bahuh splfurati V. 6b. . brahmams cindila- 111. 33d. brahmasva-dagdhah 111. 11५. brahmasvopahatam 111. 5c. brihmaniya prati- 1. 6b. brahmendra-vayu- 1V. 24c.
bhagavati candi 1V. 13a. bhartur ayfia- V. 16d. bhavati tathipi 11. 18b. bhavatu mahi V. 30b. bhavantu lokah V. 28d. bhirya-tanaya- 111. 30b,
bhinatty aksnor mudram IV. 9a.
bhirtnam bhayadam 1V. 106. bhiimau ciram V. 4b.
bhayad bhityai J, 25d. bhiiyandinidarah 1. 20b.
bhpigarambhas tad idam V. 25d.
bhrtyasya paramo IJ]. 17d. bhaiksyadvaitam tapo- 1V. 27a, bhaiksyasi diratah 11. 34a. bhramariva pipasita 1. 19d. bhrastah sva-yiithat 1. 7d.
madana-jaya-pataka I. 21b. maddrsti-pata-bhaya- I'l. 29a. madhupa-langhita- V. 10c. madhye vyaktam ¥. 17a. tmanah sambhogebliyah 11. 15a.
manovittih pumsim IV. 296, mantraih piitam I. 25a. man-nirnaye kulapatih J. 22d. man-margarpita-netraya 1, 119. पक्षीश sumukhi 1. 139. mama kara-pariyvaiga- 1, 28d. mama vidhi- HI. 24a. mamaiva va V. 286, maya dhriyante HI. 31४. ; IV. 2६9, mays mune II. 32a, mayi yasyih 1. 18a, mayi vinipatitisi IV. 5c. maranan nirvetim V. 15a. mahiga-mahasgula- IV, 119, mahotpatodarkah [. 23d. mana-granthau [. 17a. mam anamra-sirodharam V. 2a. mayam ivasritavata 11. 6b. mithyiipariidha- 1. 27b. mithyopalamha- 1. 17d. mucyantam srikhalabhyah If. 2b. munau vigvimitre 1V, 3b. musti-grahyam timiram abhito IV. 22a. muha-metta-mahula- II. La. muhur diram yato 11. 10b. muhur muhur vaktram I. 9c. mirdhabhiseka-payasa V. 12a. mynilibhih kiryih 11. 7a. mrta-kambala-harita 1V. 16. mrdu-pavana-vidhiito- I, 21d. mydnisi dusta II.. 6d.
yah samsritya f. 4a.
yatah samhartisau 11, Sc.
yato dhata II. Sa.
yat satyam krtakrtya- V. 5b.
yat satyam durvilaighya Ill. 2d. yatha duhkham duhkham IV, 29d. yathesta-vyaparas tvayi IV. 94.'° yad afijanam 1. 15b. ‘ yadi tapana-kulocita IV. 3a.
PADA-INDEX OF VERSES
yadi napnosi ITE. 149,
yadi bhanau I. 16b.
yadi vimale §asinah IV. 5b.
yad yad adigati IH. 178. ; II. ३46. yad yad daivam ईद! 11. 25d. yady api sriyam J. 20a.
yady uktam tat IH. 22d.
yad vaiichanti TI. 6a.
yad vislesayatipi V. 2b.
yad vairam muni-sattamasya V. la. yan nasyfi nava-nita- 1. 13d.
ya$ cindalo V. 23b.
yasya prasadaét I. 266. yasyaidbhutam kathayatah III 3a yasyaitani phalani V. Id. yasyopayogat IV. 34a. yicfid-dainyam 1. 8b.
yim antariksa-nagarim 1. 30b. yuganta-pavani- IV 36b. yuvayor eva JIT. 22b.
yenatmi tanayah V. 2d. yenadigya prayogam V. 319. yesim priya na III. 26c. yoddhavyam IT. 26b.
yo vajra iti Tl. 32b.
rakayih prand IIIf. 256. ratanty ete yasmin IV. 12d. rathas timstin 11. 11d. rathyambara- 111. 34b. rajan guhyam V. 236. riija-pratigraha- IT. 259. ददि) mudhaiva 1. 29d. rijyid iva svad HI. 34b. rudali ca 1905 IV. 4b. romaiica-bhinna- IW. 3b.
laksirdham yad idan 1. 22a laksenfiyam III. 166. labdhadvaitah 1V. 22d. labdhodayah V. 12d.
219
labdhva pranin V. 29b. laskasu mam IV. 116. lasan-mastiskakté 1V. 8d. lilim asddya H. We. hild-sambhrta-mandano- |, 113. loka-trayam harih ||. 4d. loka-dvayam 11]. 9d. loka-dvaya-prati- Il. 158, lokin prajibhih V. 28b,
vacah parimitam 111. 20c. vatsa tvam tu V. Sc.
vandyo niasyeti I. Ic.
vapur vyddhoraskam 111. 219. vayyha-stinam gade IV. 16b, vayyha-stana- 111. 32c.
varam adyaiva V. 13a
varam jinrnyam 111. 33b. vasatir ghorataram IV. Ib. vastralamkara-hemnim V. 31b. vahati paritas tipam 111. 10). vahati havih 11. 18a
vigbhis tu suska- 11. 13b vanijyam dhana-milam 111. ४6. viranasiti vasudhi- 11. 30a. ४7९० valkalam IT. 19a. vighnaih patair iva IV. 31d vicchinnim anubadhnati 1. 13a. vidambayan vatsa V 110 vidirad abhyastaih IV 7a. vidya-trayam hariharitma- 11. 4a. vidyd-pranaga- 1. 216. vidyai-libhan munir V. 29a. vidyas tvad vipadam IV. 33c. vidhrta-vidhrtaih. TV. 4c. vidhvamsa-vibhrama- Tf. 3d. vipriindm svasti- 1. 24b. vimuktas tat-papat HT. 76, vimucyante jantor 111. 7a. viyogesu snehiin 1. 15b. viridha-kalpa- TV, 34c.
220 CANDA-KAUSIKA
viridha-margah V. 18b.
, vivpnudhvam guyan I. Sd. viveka-pradhvamsat IV. 29b. vihasyate sé V. 18d. vihjya mayim V. 186. vihita-vpthodgama- 1. 12b vrsa-skandham III, 213. vetala-vajra-gutika- IV. 3la. vellad-ghanamsuka- IIT. 29c. vellacchagainka- JI]. 3d vaivasvatair nypa- II. 33a. vyatitya’ samsara- IV. 2&. vyasanabhyudayau V. 6c.
vyadhiyantém krtantail 11. 2d.
vyalola kavari I. 14c. vyavalgita-bhrij- IIT. 3c. vyisaktakula- II. 8b.
fambhoh padabja- IIT. 2a. sambhoh samidhir II. 3a. Sambhor nrtyavatire 1. Id. sayyopinta-vivartanaih 1. 11d. §avva-magani- TIT. 32a. Sikhagrilambi- TV. 176. Sinteh svastyayanat 1 24a. Sapiinalas tvayi TIT. 13d. Sipiiya dhivati IT. 23b. Sipirho vii ITI. 14. sasanaskhalanam IIT. 17c. ईषि vegid antah TIT. 12c. ६195 tad vairificam IIT. 7b. Sirimsi meroh TV. 34d.
firo naram TV. 216.
Siro yad avagunthitam IIT. 20a. Sivah kriirikrandaih IV. 8b. Siva stkkopinte IV. 9b. Sesasyairthe TI. 30c. §oa-vioihi- HT. 1b.
Socanti rajanisu V. 3a. fraddheyam igama- I]. 30c. Sramodgirnaih phenaik 1, 7c,
Sreyamsi vivgta- IV. 32a. $liaghya candila- Il]. 35d. Svasodreka- 11, 9c.
samdhya-vadhydsra-Sonam 1४. 158. samdhyaruna-purah- IV. 36b. samprapto’vadhir III. 5b. sambhrantah ksanam 1. 3b, samsirarnava-vici- V. 176.
sa esa IT. 326.
sakhibhir upa- I. 17b.
sajjo maulir ayam V. Sa. satim caivinu- J. 24d.
satyam ca mam III. 31b.; IV. 28b satyam raksami III. 9b.
satyair danaih V. 21b.
sadya§ chedam ami II, 13d. sadyoviyoga- I. 7c. samagvasihieV, 22a, samupahrtya II. 29a.
sarastire dhirih II. 7b. sargintariharana- 11. 24c. sarvam kilam apeksate III. 8d. sarvasva-dina- IT. 289.
sarviini teyimsi 11. 16c. savyetaras tu I]. 23d.
sindrah snigdhah V. 26b.
Si vant V. 9a.
siddhayah kama- IV. 32c. sukham va duhkham IV. 29a. sukhany aviptani V. 11b. sutanu ghytaéhutivat TV. 5d. sutanu Saginah I. 2b.
sulabham sarvam IV. 276,
“seyam kalpa-lateva III. 19d.
so’ham jagat-traya- II. 3c. sthagita-mukhisu I. 12d. sthairyam cale 1. 29b. snayv-asthi-granthi-siram III. 2c. spandate vima- V. 6a. ~ sphurati ca kim akdnde J, 21५.
PADA-INDEX OF VERSES 221
sphurad vidyul-lolam II. 10d. sphuradbhir nirvarya- IV. 21b. smytva timyati I. 4b. srajam api ya IV. 6b. svakarma-vaicitrya- V. 18a. svayonim asadya II. 16d. svadhino’yam IIT. 14d. svarthah sa tesim I. 15d. svaih svair amsaih. V. 26d.
hata-vidhi-vasat TI. 10d,
harir gopta 11. 5b.
hariscandra iva I. 6c. harigcandram imim IIT. 27d. harigcandrasya V. 20d.
ha kastam yad imam V. 3d. 1872६ ca kantha-graha- J. 1Sc. hydaye mat- 1. 18b. hrsyan-naktamcaraugham IV. 156, hemnam laksam 1. 29b.
hemna meru-vasunhareva 111. 19a. helii-vakrita- 1. 8a.
INDEX OF PRAKRIT WORDS
1. Sauraseni a(=ca) 1 ad 20. ; ,V.ad 7. aam III ad 17; V ad 7; V. ad 19. afrana—aiirano V ad 7; V ad 20. ambam 111 ad 25. akhandida—akhandidaim V ad 7. anga—angehim I ad 20. acchi 1 ad°28. . ujja—I ad 4. ajjo 1 ad 5; IIT ad 19; IIL be- fore 22, वा ad 22; IN ad 25. ajiena I ad 5. ajja व ad 16; वा ad 17; IIT ad 18; 1 ad 19.
ajjautta--I ad 28: व ad 17; TIT ad 25: WM ad 26: Vad 7: ४ ad 19, १ ajjautto | ad 15; I ad 18; I ad 20; Tad 96: IN ad 22; V ad 19; V ad 20. ajjautte I ad 17. ajjauttam 1 ad 22. ajjauttassa [ ad 26; Vad 7: V ad 20. atthi V ad 7. anattha—anattho I ad 9. anatthido I ad 9. anavaridhamina — anavaradhami- nao Il ad 16. anavekkhanta—anavekkhanto I ad 7. anidha I ad 9. anidhio II ad 16. anugahida—anugahidi III ad 19. anucitthidum 1 ad 28. anusoanta—anusoanto J ad 12; TH ad 26,
anna—anno ITI ad 18. annam I ad 9; V ad 7. annassim V ad 18. 211 —attano I ad 15; V ad 22, attinaam I ad 12: I ad 28 ; V ad 17, 18. attambhara—attambharo III त 17. adikkantatn I ad 12. adikkamidum III before 22. adikkimadi V ad 7. see Vkram. adibhimim I ad 17. adimetta I ad 17. addha III, ad 17; I ad 22. adhavé V ad 20. andha I ad 7. andhaadra V ad 20. appadiara V ad 18. appamina—appaminam V ad 7. appa I ad 14. ammo V ad 20. aranna I ad 28: V ad 20. Varh—arihadi HI before 22. alakkhana—alakkhanam V ad 7. alia I ad 16. aliam III before 19; V ad 7. aliavidina—aliavidino V ad 7. avacinanta-—avacinanto V ad 7. avacchima—avacchimo III ad 17. avatthantara—avatthantaram V ad 7: V ad 20. avasida IIT ad 22. ध avisasaniina—avisasanidnam I ad 15. Yas—mhi III ad 19.; IN before 22. : IT ad 22; V ad 7; V ad 18. si V ad 7,
INDEX OF PRAKRIT WORDS
usarana—asaranao IL ud 16. aham—I ad 9; I ad 28. mama I ad 9. mac I ad 14; 1 ad 18; V ad 7; V ad 18. mam Lad 15; Lad 17; 111 तव 17; Hl ad 18; 11 ad 19; 1 be- fore 22; Ul ad 22; ॥ ad 25; WI ad 26; V ad 7; V ad 17. ahinivesa—ahiniveso 1 ad 14.
२६९४ I ad 28.
jikannana | ad 28. annattam J ad 28. tradhaanti V ad 18. alavanta—alavanto | ad 17. २५४७ IT ad 25. isana—asanam 1 ad 18. iisatta I ad 14; V ad 18.
vi—edu 1 ad 6; 1 ad 24. ehi I ad 12. Vitapa--avehi 111 ad 25. idap—imam V ad 20. imina व ad 26; 11 ad 18. imassa V ad 19. ध {7355110 WE ad 17; V. ad 18. imchim 1 ad 20. imado V ad 18. see aam. ido 1 ad 7; व ad 17. indanila 1 ad 28.
Viks+pra—pekkhami 1 ad 9.
* pekkha I ad 13; V ad 7. pekkhasi V ad 7.
idiso Il ad 18.
uggara I ad 28. uccaranta [ ad 28.
223
ujjiara 1 ad 20. una lad 4; Lad 9; 1 ad 28, unnamida | ad 28. utthida—utthido 1 ad 28. ummesa 1 ad 7. uvagada—uvagadam II] before 22. uvajjhia I ad 19. ४५६1१६० 111 before 19; LL ad 25. uvajjhiassa V ad 7. uvanida | ad 13. uvanido V ad 19. uvalambha—uvalambhelwm 1 ad 17. uvavi{tha’—uvavi((ha । ५५ 13. uvaa-- uviam | ad 28. uvvandhia V ad 17. uvvahanta-—-uvvahanto | ad 28.
caini # ad 7.
edam—I ad 14: । ५4 18 ; | ५५ 28, Vi ad 7 ; # ad 17. cso | ad 9: 1 ५५ 22 ; Lad 28;
I ad 19; V ad 7.
esa | ad 13; [|| before 22. edassa 1 ad 17; WL ad 22. ९५१० ॥| ad 16. edassim V ad 17.
ettha | ad 18 ; V ad 7; V ad 17.
odirida I ad 28.
kakkara | ad 28.
kaya kajjam ।|| ad 26. kajje 11 ad 17.
kathina V ad 7.
kadappa--kadappo 1 ad 28.
kadara | ad 28.
kantaa I ad 28.
kanna I ad 28. kanhahina V ad 7. kanhahina V ad 7.
kadattha— 11 ad 22. kidattho V ad 7.
224
kadanta V ad 7. kadua I] ad 17; V ad 18. kadham I ad 18; V ad 7; V ad 17; V ad 19. kadhi—kadhae 1 ad 28; V ad 20. kammakarini Ill ad 18. karanijja—karanijjam V ad 17. karento 1 ad 7 kavalaggaha I ad 28. karana—-kiranido V ad 7. kilocidas-kalocidam V ad 18. kim I ad 4; Lad 12; 1 ad 16; 1 ५५ 17; 1 ad 28; वा ad 18; HI be- fore 19; 11 ad 26. ka HI ad 17. ko I ad 18; V ad 20. kahim IIL ad 25; V ad 7. kisa I ad 28. kim pi 1 ad 9; 1 ad 13. kinn edam V ad 19. kittia 1 ad 14; kettiam V ad 18. kidisa—kidiso 11 ad 18. kundalijjanta 1 ad 28. kudo V ad 7. kumma—kummo I ad 7. kulavadi I ad 22. kulavadini I ad 26; 1 ad 28. kustlava—| ad 5. kusuma—kusumaim V ad 7. Vkr— karedi | ad 15. karesi 1 ad 16. karissam I ad 17. karemi IL] ad 22; HI ad 25. kesara I ud 28. kodara—kodariido V ad 7. kosia V ad 8. , kkhu I ad 28; V ad 7; Vad 17. “kram+ati—adikkiimadi Y ad 7.
CANDA-KAUSIKA
kri—kinadha If ad 17; 11 ad 19. Kinissadi HUI ad 18
khandana I ad 9; 1 ad 2.
khu, I ad 13; 1 ad 16; MI ad 17, See also kkhu. khedaidavva—khedaidavvo I ad 17.
gadua I ad 12. gada—gado Ill ud 25; V ad 7. Vvgam—gamissam I ad 28. gacchadha Ill ad 18. gacchadi IN ad 25. ¥gam+i—iaaccha [[] ad 25. gabbhadisa—Ill ad 25, garua I ad 28. garuo | ad 14; Ill ad 19, gavva 1 ad 28. gahovariéa—gahovaraec | ad 5. vgrah+anu—anugehnasu III before 22. goaram I ad 15; 1 ad 16.
ghurughura I ad 28. 21101989 I ad 28.
cakkavattl Vad 7; V ad 18. cakkhijjanta I ad 28. cankamana I ad 28. canda I ad 28. carida—caride V ad 7. cirumadi--cirumadi 1 ad 14; | ad 15. carumadie 1 ad 13; I ad 26. cintaanta--cintaanto I ad 9. cira-ala 1 ad 28.
jaa I ad 28. jai 1 ad 17: 1 ad 28. jana Ill ad 19.
jano I ad $,
INDEX OF PRAKRIT WORDS
jananukampi III ad 18 jado V ad 7. jadha 1 ad 28; V ad 7; V ad 18, jammantara-—jammantare V ad 18. jalahara—jalaharo I ad 28. jasukkara I ad 28. jada V ad 7; V ad 22. java HI ad 22; Il ad 25. /ji—jaadu [ ad 18; I ad 22; I ad 28. jivida—jividam V ad 17. jividie V ad 18. ha I ad 28. juala 1 ad 28. jutta—juttam V ad 7. jidhadhivai—jiidhadhivat I ad 28. jeva, jjeva—jeva I ad 12; I ad 28; If ad 17; V ad 7. jjeva I ad 5; 1 ad 9;,1 ad 17. V}ii+4 (caus.}—dnavedi I ad 22; 1 ad 24; I ad 26; III before 19; il ad 19; Il ad 25; IV ad 35. + 172 + prati—padinnada 1 ad 5. Vjiitvi (caus}—vinnaviadi {I before 19.
tthanam I ad 28.
na I ad 9; 1 ad 17; I ad 28; Il before 22; V ad 7; V ad 17; V ad 18.
nam I ad 16; I ad 17.
naccida— naccidam V ad 20.
namo I ad 15.
nava I ad 28.
02708 V ad 20.
nia I ad 28,
niama—niamehim V ad 18.
niara I ad 28.
nikkamia V ad 7.
` 29
nikkiva V ad 7.
nidila V ad 7.
niddalida I ad 28. niddalasa—niddalasehim 1 ad 20. nipphala I ad 14, nimesa— nimesdim 1 ad 7. nirantara I ad 28.
nisa I ad 26; 1 ad 28. nisida 1 ad 28. nida—nido I ad 17 nisasa I ad 28.
nu V ad 17,
nedum II ad 25.
tadic-chada I ad 28. tannimittam I ad 5. tad—so I ad 5; V ad 7. se | ad 14; V ad 7. tam V ad 7. tena 1 ad 4. tahim Toad 12; Lad 28; 1 ad 19. ta (= tena; Pischel== tat) 1 ad 12; bad 17; Lad 26; Lad 28; IL ad 16; 1 ad 17; IM ad 18; HIE before 22; 11 ad 22; V ad 7; V ad 17; V ad 18. tie 11 ad 19. {2५६ I ad 5. tado I ad 7; 1 ad 17. tadha | ad 15; 1 ad 28; Ill ad 17; V ad 7. Vtark—takkemm [ ad 9; 11 ad 19. ti, titi I ad 17; I ad 19; V ad 7. tti |] ad 5; Tad 9; Lad 15,1 ad 16; Il ad 18; V ad 7. tilacchetta V ad 7. ¥tyaj + pati-—pariccaadi V ad 17. pariccaasi V ad 7.
226
¥trait+pari— parittéadha II ad 16. parittahi II ad 26; V ad 19. tvat—tumam [व्व 12; I ad 28; Ill
ad 18; Ill ad 25; V ad 7. tava I ad 19.
tue 1 ad 17; V ad 7.
de I ad 17; I ad 28; [11 ad 17; आ ad 18; Wil before 22; V ad 7; V ad 19,
tumhanam III ad 18,
dakkhina 1 ad 5. ४ dattha—V ad 7. dantantara I ad 28. dabbhamkura—dabbhamkuriim V ad 1. darugginna I ad 7. ¥dams—damsedi V ad 7. dasa I ad 28. dasi V ad 18. dadha I ad 28. danim I ad 5; 1 ad 14; Ill ad 17; Ill ad 22; V ad 7; V ad 18; V ad 20. diva I ad 18; I ad 26; V ad 7. davanala I ad 28. dasattanam V ad 18. ` dasabhiva—dasabhavado V ad 18. daruna—darune V ad 18. disi—dasim II ad 17. dasie I ad 16. dasittana V ad 18. dasittane III ad 22. diavara—diavaro III ad 18. diavaram V ad 18. diavarassa I ad 5; Ii ad 22. dittha-paccaa—dittha-paccaehim V ad 7. ditthia III ad 22. ditthe 1 ad 17.
CANDA-KAUSIKA
disi—I ad 28. dina IIIf ad 18, dihiu—V ad 7. dujjanikadamhi I ad 26. duttha I ad 17; I ad 26. duppaccaa—duppaccaena I ad 26, dullalida—dullalidassa V ad 7, dira—diram III ad 25; V ad 7, dirado V ad 19. ¥dré—disadi III ad 19. devi—I ad 13. devim I ad 12. devie I ad 9. devva V ad 18. dosa I ad 28,
dhamma—dhammo V ad 7: V ad 20. dhie I ad 46.
¥nam+-pra—panamami 1 ad 24; V ad 21. ¥ni-+ava—avanehi I ad 14. ¥ni+upa—uvanchi V ad 7. uvanaissam V ad 19. ¥nud+vi (caus.}—vinodesi 1 ud 28. vinodaissam I ad 28.
paannena V ad 7. painna 1 ad 28, pautta—pautto I ad 22. paoana—paoanam III ad 18. paccavéa-—paccavaam I ad 28. 0891888 I ad 7; 1 ad 26. pajjanta V ad 7. pajjdula—pajjaulo I ad 5, pajjuvasana—pajjuvasanam III ad 18; परा ad 19. padiniutta—padiniutta V ad 7. padinna III ad 22,
INDEX OF PRAKRIT WORDS
padivaana—padivaanam V ad 7. padivakkha I ad 28. padivanna—padivannam V ad 7. padhama IIT before 22. panaa—panao ता ad 17. pandara I ad 28. ५ 080 + श + 2 (caus)}—vavidaissam V ad 17. pamana—paminam I ad 28. pamida— pamido V ad 7. pamhala—pamhale V ad 7. parammuhata III ad 17. paridhina V ad 18. parikkhiviama—parikkhiviamo IT ad 16, parikuvida—parikuvido I ad 5. parikuvida I ad 9. parikkhitta I ad 28. pariccatta-—pariccatté V yd 7. paridevidavva— paridevidavvam V ad 18. paripphuranta I ad 28. paribhavidavva—paribhavidavvo 1 ad 14, pariharia III ad 18. parucchittha [I] ad 18. palaa I ad 28. paloanta—paloanto, paloidavvo I ad 17. pasahanovaarana—pasahanovaaranac I ad 13. pasahanovaaranam I ad 14. padala—padale V ad 7. pani V ad 19. padava—padave V ad 17. V pal+prati—padivaledu WI ad 22. padivalesu III ad 25. pilania—palanio V ad 7. pavasila—pavasilie V ad 7. pi I ad 28; पा ad 17; Vad 7; ४ ad 18.
227
pia—piam I ad 17, piavaassa I ad 6; | ad 16, pidsi I ad 28. pitga I ad 28. pidi—piduana V ad 7 puda 1 ad 28. puno V ad 18. puttaa V ad 7. puttao V ad 7. puttaassa V ad 7. purisa TNT ad 18; WI ad 19, pirida 1 ad ,28. ¥pracch—pucchasi I ad 17.
phulingasesa—-phuliigaseso | ad 28.
bamhairi--bamhairino V ad 7. bahukaija | ad 16. bahuvallaha—bahuvallaha 1 ud 16. bahusa— bahuso V ad 7. balaa—bilao V ad 7.
bubhukkha I ad 28.
bhaa I ad 28. bhaava—bhaavam I ad 24; 1 ad 26; 1 ad 28; V ad 7; V ad 18; V ad 20. bhaavadi { ad 26. bhaavado V ad 18. Vbhan—bhanchi | ad 16. bhanadha 11 ad 18. bhanisi V ad 7. bhat(a—-bhat{ini | ad 14; | ad 16; 1 ad 17. bhatta I ad 24; I ad 28. bhaddamuha V ad 19. bhava—bhavam I ad 24. bhaadhea—bhiadheinam [ ad 15. bhiadheehim V ud 7; V ad 22. Vbhi—bhaimi V ad 7. bhisana—bhisayam V ad 7.
228
vbhi—bhodu I ad 18; I ad 26; V ad 17. hohi IIf ad 17. bhavissadi I ad 28; V ad 7. bhavissam V ad 18. 7bhi+anu—anubhodi V ad 20. vbhi+pra—pahavissam I ad 17. ¥bhi+sam—sambhavissam V ad 18. bhoana I ad 28. bhoanam III ad 18. bhodi ना ad 25. ८ bhodie I ad 18. “bhram + pari--paribbhamasi 1 ad 7.
mamsala—-mamsalo 1 ud 28.
maavva I ad 28.
magga—maggam | ad 7.
manussa V ad 18.
mantaanti I ad 13.
mantidam I ad 18.
manthara—mantharehim I ad 7; I ad 20.
mandabhaini V ad 7; V ad 18. mandabhiinio II ad 16. mandabhainim WWI ad 17; Wl
ad 26; V ad 7.
mandabhiainie V ad 7.
¥man-+anu—anumannadu III ad 22.
maridum V ad 18.
marisa I ad 28.
masina V ad 17. masinam V ad 7.
mahanubhavadé — mahanubhiva- 086 I ad 17.
maharaa-—mahario I ad 17; I ad 18; I ad 22. mahiriena I ad 18.
mahisava V ad 18.
CANDA-KAUSIKA
mahesi—mahesino III ad 26. maruda I ad 28. malira V ad 7. mianka V ad 7. muttha-tthali I ad 28. muddha V ad 7. mulla—mullena TI ad 17. muha I ad 28. muham IIT ad 25. muho I ad 7. muhuttaa—muhuttaam IIT ad 22; Ill ad 25. miisaa—miisao I ad 7.
yad-—jassa I ad 5. jam I ad 18; I ad 22; I ad 24; T ad 26; III before 19; WT ad 19; IIT ad 25; IV ad 35; V ad 7. jahim III ad 19. Vyas+i—aasesi I ad 12.
raa—rainii T ad 4.
raano IT ad 16. rudidam V ad 20. ¥ruh+4(caus.)}—arovehi IIT ad 17. rosinala I ad 28. rosubbhada I ad 28.
lakkhana--V ad 19. lakkhanam V ad 7. lagga 1 ad 28. langhana 1 ad 28. ladai I ad 28. Vlap+a—ilavasi V ad 7. Vlabh—labhiadi V ad 18. loa (=loka)—loe V ad 18. loana—loanehim I ad 7; I ad 20. loane V ad 7.
vamsa V ad 7. vaana—vaanam [ ad 17.
INDEX OF PRAKRIT WORDS
vaassa (see pia) I ad 7; I ad 9; I ad 12; I ad 13; I ad 15; I ad 28.
vakkha-tthala—vakkha-tthalo Vad 1.
vatta—vattam V ad 7.
vadua III ad 25. vaduassa I ad 9.
vaddhana— vaddhano V ad 7.
vana I ad 28.
vatta—vattaim V ad 7.
vadovavasa V ad 18.
varisanta I ad 28.
valaa I ad 28.
va IIT ad 18.
vavira—vavirassa V ad 19
viisaa-saija-—viisaa-sajjiie T ad 9.
vi Il ad 7: Yad 17: TW ad 18: V ad 7; V ad 18; V ad 19: V ad 20.
via T ad 7; I ad 28.
viada 1 ad 28.
viakkhana—viakkhanehim V ad 7.
vikhandida T ad 28
vicchoha—-vicchoho I ad 28.
vidhatta (= 919) T ad 28.
vinoana—vinoano ¶ ad 28.
vinnana—vinninam V ad 20.
vinndnaittaa V ad 7.
vitthira—vittharo T ad 28.
vitthinna V ad 7.
viddavida I ad 28.
vippalambha I ad 15.
vipphuranta T ad 28.
vibhia—vibhiio T ad 28.
vimaddana I ad 28.
vimukka V ad 18
/vig-+upa—uvavisadu 1 ad 18.
visama I ad 28.
visumarida—visumaridam V ad 18.
visamvada—visamvade V ad 18.
229
visattha V ad 7. Vvrt—vattadi V ad 7. verinubandha I ad 28.
VSithilay--sidhilesi HI ad 26.
¥Vgudh-+pari (caus.) = parisodhais- sam V ad 18.
¥gubh—sohadi I ad 20.
“$ru—sunidu I ad 5.
Vévas+4 (caus)}—isiisedi V ad 20.
«८६५85 +sam+i—samassasa I ad 17.
samghadida I ad 28.° . samghia—samghiio ¶ ad 28. samdi{tha—samdittham V ad 7. samdehijjanta 1 ad 28. sampadam WH] ad 17, V ad 7. sambhava—sambhavaim V ५4 7. sammadda—sammaddo व ad 19. sambaddhi—sambaddhiie I ad 28. samvibhia—II ad 17. samvibhaini—Samvibhiinim II ad 17. samvutta- -samvuttam Vad 7. saa (=$ata) I ad 28. saala—saalo 1 ad 5. saisa—saasido 1 ad 22; V ad 18. saccaka- -saccakam V ad 7 saccasamdha—saccasamdhassa V ad 7. sada 1 ad 28 sandha—sanaho 1 ad 28, ४ ad 19. Vsad+pra—pasidadu I ad 26. pasida वा ad 17 pasidadha TH ad 18. vsad + pra (caus)—-pasidemha | ad 12. sadda I ad 28. santavida-- santavidena 1 ad 16. samaa ¶ ad 17; samao III ad 18. samacna II ad 18.
230
samadittha V ad 7. samadittho 1 ad 26. samadittha V ad 7. samadittham I ad 4. samisasia I ad 15. samucida—samucidiie V ad 18. samujjhia V ad 7. samutthida—samutthido I ad 28. sarana-gadi JII beforz 22. sarira—sarire V ad 7. salahi (=Slagha)—salahie V ad 20. savva Ill gd 18. savve V ad 7. savvam V ad 7; V ad 20. savvadhi I ad 15; V ad 7; V ad 20. sidhaa—sddhao IV ad 35. तापे UL ad 18. simala—sdmalo | ad 28. simudda V ad 7. siniddha V ud 7. silisdra—silisiro 1 ad 28. siha I ad 28. siha 1 ad 28. suithu I ad 20. sunia I ad 28. sutti ] ad 28. suditiham TI ad 25. surahi I ad 28. susamdittha—susamdittham II ad 22. susannaddha V ad 7. susstisi—sussiisie V ad 18. suha 111 ad 17. suhadida V ad 7. ¥srp+upa—upasappamha I ad 15. sotthi I ad 18. sohi I ad 28. vsthi—citthadi I ad 13. citthasi V ad 7. cittha V ad 18.
CANDA-KAUSIKA
¥sthi+ ut—utthehi V ad 7.
hafije 1 ad 14; I ad 15; I ad 26. hada V ad 7; V ad 18. hadaa—hadaena V ad 7. haddhi V ad 18; V ad 19. hiaa—hiaassa [ ad 17.
hiaena 1 ad 26.
hiao V ad 7.
—hiaae I ad 14; V ad 18.
hiaam V ad 20. Vhu—huvissanti V ad 7. hudavaha—hudavahe II ad 16. hodavvam III ad 19.
2. Magadhi.
adha (=atha)—III before 34. adhidla 1 32b. adhivadi—adhivadi II 32a. appamatta—appamattena IV ad 17. ayya-—ayya IV before I. ale Hl ad 31; Wl ad 34; IN ad 35; IV ad 6; IV ad 10; IV ad 17; V ad 7. Vas—asti II] ad 2. mhi III ad 1. asta III ad 31. asti (=arthi) IIT ad 31; वा before 32. aham—hage III 1d; III ad 31; IL before 32; III 32d; [आ ad 35; V ad 7. mam IV 110. aholatta—aholattam JI] ad 35; IV ad 17.
igala—agale LI ad 31. afifia—afifiae IV ad 17. adu—Ill ad 31. agappa Il ad 2.
INDEX OF PRAKRIT WORDS
ahi II 1b. ahindantena IV ad 17.
¥i+para—palaamha IV ad 17. idam—imie Ul ad 1.
ido Ill ad 2.
idha [If ad 1.
istia V ad 7.
Viks+pra—peskadha IV before 1.
ucchadida-ucchadide II] ad 1. uvaladagsa V ad 7.
eante IIT ad I. etad-ege III ad 2; UI ad 34; IV before I; IV 16c; IV ad 17. edam HI ad 1; Wd ad 2: वा ad 31; { ad 34: 1V ad 10; 1V ad 17. edina UL ad 31, edie III ad 2. ettha III ad 1; IV before I.
kacciini--kaccainim IV ad 10. kaccaini IV Ile. kadu HI 19४. kadham [४ ad 15. kaham III ad 2. kalunam V ad 7. 12५०५४८ IIL ad 31. kim—ke IIL ad 2; IV before I. kahim IV before I. _ kidifa—kidige III before 34. kuhala-vaéini—kuhala-vaginim 1४ ad 10, Vkr—kalemha IV before 11; IV ad 17. जाई U1] ad 1.
231 Vkram+ava—avakkamami III ad 2.
khu—kkhu Hi id; वा ad 1; Ul 32d.
gadua Il ad 35; V ad 7.
gade IV 16b.
Vgam—gasciimi Il ad 35: V ad 7, gascadi IV 16४. gascamha 1४ ad 17.
Vgam+i—dagea IV ad 6.
aagcadi [1 ad 2.
gastie(=gitrake)—IV_11b,
gahide IT ad 31.
Vgrah—genha 111 ad 31: 1 ad 34; V ad 7.
gumma 11 32),
genhia IV before |
camma IV Ile. cig{hidavvam IV ad 17, cila HI ad 35
na ||| ad 1 ; Wl ad 2, 1V before 1.
naali— naalie [|| ed 1 ; AIL ad 2.
nalaka [|| 1५.
nadidvla—nadiddle [४ ad 6.
namadhed —pdmadheie HI ad 1. 7
niutla—niutte HL ३२५. :
wikkamantana— - | 9) Uh ad
nimmahia IV Ifa.
nimittam IV before 1.
uiga [४ ad 17. a.
uu 11 ad 1. +.
tad—ta (=tena; Pischel - tat) If ad |; Wl ad 2; 1 ad 31; IV before 1: 1V ad 6; IV ad 17; V ad 7. & 111 ad 2; V ad 7. tanam 111 ad 1.
232 CANDA-KAUSIKA
talu IV ad 10, peskidum III ad 1.
tavassi IV before 1. ppavesa—ppavese III ad 1.
ti, tti—tti IV before 1.
tulidam III ad 2; IV ad 6; V ad bahudala—bahudalam 1V before I. 7.
¥tr-+ava—odaladi IV 16d. bhaava—bhaavado [| ad 2.
tvat—tae III ad 31; IV ad 17. bhaavadim IV ad 10. tue III ad 31. “bhan—bhanadha IV before 1. tuha IIT ad 31; II before 32. bhanami V ad 7. tava III ad 31. bhavia III ad 1; III ad 35,
de III before 34; Ill ad 34, bhingi III ad 2. „ ^ + bhinna IV 119. daskina II ad 35; IV before 1; ¥bhi—bhodu III ad 1. IV ad 6; IV ad 17. hodi III ad 2. daluna IIE 1c. hoi IV before 1. dava III ad 1. digattana—dagattanam IV before 1, “™antr—mantedi IIT ad 2.
dukkha II] Ic. mayyha-mayyhe II] 1b.
duggeyyha [आ ad 1. malaa III ad 35.
duliala—duladle I ad 2. masina—III 32a.
duskala—duskale JI 1d. maginam III ad 35; 1४ ad 17. dusta Hl ad 1; HI ad 2. magine IV ad 6; IV ad 17.
masinaa—masanaam IV before | Ynam+pra—panavemha 1V ad 10. mastia—mastie IV 119.
“ni—piadi LV before 1. mahaddalaa—mahaddalaa II ad 31. mahaddale III 32d. paoayam HI ad 31. mahaddalaééa IV before 1.
neo ,ida--paccaide [1 32b, mahaddalaaséa IV ad 17. ००१५४७६ “lini V ad 7. mahagula IV 11b. padivanit" a—padivanne 1V before 1. mahiga IV 11D. paliccatta\ —paliccatte III ad 1. mahula—IlI 1४. palicilakd? —palicdlake II ad 2. mahule या la. एणा ५ पा Id. madie III ad 1; IV ad 17. pavisa —pavisantehim ता ad 1. muda (=mrta) V ad 7. a ४ Ul ad 1. muha III 18. + adavva—padawve III ad 31. metta IIT la. “pr (caus)—palemi III ad 1. pi Ill ad 1. yaggidavvam Ill ad 35. puno III ad 1. yana—yanehim III ad 1. puscida—puscidena III ad 31. yad—yena III ad 1.
nettilaka—pettilake TIT ad 31. yadhi—IV 16b.
INDEX OF PRAKRIT WORDS
त 1 (=yathd-pris- thitam) IIT ad 31.
yammantala IIT ad 1.
yyeva III ad 2; Ill ad 35; V ad 7.
Vrakg—laskagu IV 11d.
V¥lag+anu—anulaggisgam III ad 1. laskana IV before 1.
laa—lie II ad 2.
lulia—IV 11४.
loana—loanassa [1 ad 2.
loanti V ad 7.
vayyha—III_ 326.
vayyhe IV before 1; IV 160. vastia—vastie IV 116. vavadida—vivadide III ad 1. vahi III 1b. vi IY ad 1; Wl ad 85; V ad 7. vioa III 1b. vigama II] ad 2. vedaila IV ad 17. vva IV 16d.
Samkula—samkule 1V ad 17. Samghada—samghide IV 166. famcida—sameide MIT ad 1. éaaga—faidam V ad 7. 8825200 1४ before 1.
233
samaa—éamae III before 34; गा ad 34. Samutthida—gamutthide IV ad 17. Savva III 328. imino IV before 1; V ad 7. Salameaka—Salameaki HI ad 31. Siggha—siggham IV ad 17. suda—fsudassa V ad 7. gula--gule III ad 31. guvanna 1 ad 31. Suvannam Il ad 31; Hl ad 34; IV before 1. Sustu Head 34, §ala—éile IV 169. ६०09-7 la. SSabhavana—éabhavanam HI ad 35.
stiina व 320; III 32c.
stinam IV 169, ¥st+apa—ofaladha IV before 1. vsthi—cig{hadi V ad 7.
cisthadu THI ad 1.
cigthisgam 1 ad 1. Vsthd+ut-—uccistha IL ad 31.
hage—see aham.
haliccanda —haliccande HI ad 2. hastie IV 11५.
halakena II ad 35.
INDEX OF METRES
Names of Metre
1, Aparantika (8 Maras + ra-gana + la-ga) IV. 11 nimmahia-lulia-canda-. 1
a. Arya (12 + 18-12-15); I. 16 jaladhaca-patalantarite; 19 kim apahga-valita-tara. UIE x muha-metta-mahula-mahule; 23 devi-bhavam काण; 32 Savva-masanadhivadi. IV. 13 bhagavati candi; 16 astam gaScadi Sile. 7
३ Indravajra
Il. 34 pasyami yavac calitam. I
4. Upajati (mixed Indravajra and Upendravajea) I. 7 nidta-vidheyaruna-; 9 nidralasam = bhangam; 15 timbila-rago’dhara-. Il. 16 pade pade sdhvasam. 1, 11 pratigrutém samprati; 31 maya dhriyante (=var.
IV, 28). IV. 25 khatvaiiga-dhtg; 34 yasyopa-yogad. V. 11 nestam na dattam; 28 ksanam ksanardham. 10
5. Upendravajra IV. 26 ayacitopasthita-. 1
6, Aupacchandasika IV. 1 idam adya mama Svapaka-. I
7. Drutavilambita IV. 14 ayam asau gaganahgana-, V. 10 prathita-mafgals-guggulu-, a
INDEX OF METRES 235
8. Puspitagea I. 12 abhipatati jane. IL, 18 vahati havir upimsu. II], 24 mama vidhi-nihatasya. IV. 5 yadi tapana-kulocita; 6 upavana-nava-miliki-. V. 30 pramudita-sujana. 6
9. Prehvi IU. 20 Sico yad avagunthitam. 1
10. Mandakranta ४
I. 4 yah samSeitya; 25 mantraih piitam. 1. 14 nipa-skandhe kuharini. 1. 6 yad vafichanti. IV. 22 musti-grahyam timiram, V. 25 etat simhasanam; 26 et madyo dadhati; 29 vidya- labharf muni api. . 8
11. Malini
I. 21 patiluchaci lalace. 1
12. Vamfasthavila
V. 18 sva-karma-vaicitrya-. 1
13. Vasantatilaka
I. 8 cittam prasidayati; 22 candi prasida; 27 grahyah priye yadi;_ 29 kbinnam vinodayati.
Il. 3 Sambhoh samadhir api; 4 vidyd-trayam; 6 diram kutdhala-vasit; 17 ko'yam capovana-; 21 kimam ष्णा bhava; 23 prarabdha-sidhana-; 24 jati-svayam- gtahana-; 25 anna-ksayadisu; 28 niarhanti sarva- bhuvaniny api; 30 varinasiti; 31 etah Sriyo bhaga- vati; 33 vaivasvatair nepacibhib,
Ill, 3 yasyadbhuram kathayatah; 13 pirne’vadhavapi; 15 loka-dvaya-pratibhayaika-; 26 kim vatsa manyw-bhara-; 29 mad-drstipata-bhaya-.
236 CANDA-KAUSIKA
IV. 24 etat catheti; 31 vetala-vajra-, V. 4 dhatri-jananka-; 12 mirdhabhiseka-payasa; 14 andhan -tamah-; 24 kretd sa te prakrti-. 2°
14. Salini Ill, 25 acadhyo’yam. V. 21 anyesam ye; 23 kretapy asya.
15. ` ` Sardiila-vikridica I. 3 ananda-Slathitah; 10 kim ruddhah sacivaih; व 1} sambhrta-; 13 vicchinnam anubadhnati; 14 tanvaigy Sata-gaurayoh. I], 8 hela-vakrita-; 9 garvad etya; 13 amilam ४३८ uddhrta; 19 vaso valkalam; 22 kantd-kelimayo’pi. III. 4 dattvaitam dvija-; 5 daeah siinur idam; 8 kim [५ dhanam; 18 dhara-sikea-trnagra-; 19 hemna meru vasumdhareva. IV. 2 kim Socimi madeka-; 10 tan-madhyam tad-ura tad-eva. V. 1 yad vairam muni-sattamasya; 2 mam anamra-Siro-; : Socanti rajanisu; 5 sajjo maulir ayam; 8 chacrikaran idam; 9 5 vani karunarta-; 17 madhye vyaktam; 2;
kruddhe tarjana-. 2
16. Sikharini
I. 23 aparvany evendoh.
Il. 5 yato dhaed visvam; 7 menalibhih पप्पी; 10 ksana& antar-dhatre; 11 javaj jitva pascit; 1a divi vyaval gadbhir; 15 manah sambhogebhyah.
III. 7 vimucyante jantor iha; 12 pranasid vidyanam; 21 vesa-skandham matta-,
IV. 3 duraradhye casmin; 7 vidirad abhyastair; 8 imi miirchanty antah; 9 bhinatty aksnor mudrim; 1: jaran-niemalyadhya; 18 jarat-kipakaraih; 19 pibatyeko’ nyasmad; 20 kva ramyah sambhogah; a1 citigne akrstam; 29 sukham va duhkham va. 2८
INDEX OF METRES 237
17. Sloka (Anustubh)
1 5 destam kim api; 6 dadami palayan; 17 mana-granthau; 18 mayi yasyah prabhavas te; 20 yady api Sriyam; 24 Sinteh svastyayanad; 26 idam tat ksatra-bijasya,
I], 26 datavyam raksitavyam; 27 gunavadbhyo dvijatibhyo; 29 samupabrtya dasyami; 32 maya munet ayam,
III. 9 atmanam eva viktiya; 14 astam ravau asamprapte; 16 kenapi khalu karyena; 17 yad yad adééati; 22 laksardham yad idam; 27 dhik tapo dhig; 28 paficinam apt vo; 30 grhyatim arjicam idam; 33 tavaiva dasacim; 34 bhaiksyasi diracas tisthan; 35 antnasya mamedanim,
IV, 23 akgeva mat-parijiianam (=V. 1g); 27 bhaiksyadvaicom; 30 paresim upakaraya; 32 Sreyamsi viveta-; 33, tvayi tisthati; 35 calanti girayah; 36 tamo vibhidya.
V. 6 spandate vama-nayanam; 7 atah param yad vyasanam; 13 varam adyaiva; 15 matanan_ nicvetim; 16 diruna- syasy2; 20 aho danam aho; 22 samasvasihi, 36
18. Sragdhara 1 1 devas traigunya-bhedat. “TE. प esa [प्प pahkam; 2 astiryantam upante; 20 esa praptendhana-stih, Ill, 2 sambhoh padabja-mudra, IV. 15, samdhya-vadhyasra-Sonam; 17 4 skandhdd urpatantah.
V. 31 yenadisya prayogam. 8 19. Harini I, 2 aruna-nayanam; 28 tava sapulakah. Ill, 10 tapati tapanas tiksnam. ४. tvarayati guror bhaktya, 4
Total No. of Metres—19 Total No, of Verses—163
ERRATA
P ॥ L 7 १९३५ Saibya for Saibya व „+ व्ल for dei
» XxXill ,, 34 4, 24८ for 23८
16 ins. om. before alakkhanam ५ 2 , 8 ८८०५ प्रणयिना for -प्रणयिनो
नौ 14. ,, $ + नवनील- for नवनोल-
४. 9. +) 10 , @fr@
ae ee इ ,, fe for f&
oa ^ 4 ˆ, तवायं for aaré
2 9: 1 + श्रारणत्तं for श्राणत्त
me. (tae <5, 2 ,, तडिच्छंडा for तडिच्छटा re: ee 2 ,, जूधाधिवह for जूधाधिवदी ” 27 9) 3 9) wus for wus RS 6 , शिवयोश्च for शिवयोश्व
» 32 4 3 4 कथमवलोक्य for कथं ( श्वल) » 32 4 10 ,, उपसंहृत्य for उपपसंहय » 28 , 10 ,, -मुखम् for -मुखम्
a 47 ” ir ” कौशिकः for काशिकः
” 5 2 ” 9 ” -भ.- for “AS » 62 ,, 4 ,, WRIA. for BL ATA- ” 75 os 6 ” तपसाम् for तपसां
” 85 9) 5 ” gry for gra
a ee 11 ,, खनीड for खनोड
२ 96 ” 13 ॐ डच्चै- for उच्चे-
U1 16 ins पृक at the end of the verse ~ 8: 5; 1 1८५ -भदट्ठि- for -भद्रि-
Foot-note
९ 149 omit Malavika vii. 5.
158 read ii. 5. for ii. 39
174 Mudra-r read vii ad 6
+» 200 fead preyo yadi param for preyah param