BIBLIOTHECA INDICA; A COLLECTION OF ORIENTAL WORKS PUBLISHED UNDER THE PATRONAGE OF THE Won. Court of Pirectors of the Hast knvia Company, AND THE SUPERINTENDENCE OF THE ASIATIC SOCIETY OF BENGAL. Nos. 39, 40, 42, 45, 46 & 52. THE UTTARA NAISHADHA CHARITA, By ऽ" Harsua, WITH THB COMMENTARY OF NARAYANA. Epitrep By Dr. E. Roer. Vou. XI. Parr I. Cantos 12 ro 17. CALCUTTA: PRINTED BY J. THOMAS, AT THE BAPTIST MISSION PRESS. 1855. उत्तरनेषधचरितं ओशर्षमदाकविविरचितं ओओोनारायणपण्डितकृतरीकासदहित | ओमङ्वारतवषाधिपतोनामथंसचायेन रखषियाटिक्‌ ससायिद्छध्यच्चमदोद यामामनुमव्या ओडाक्तर्‌ TTS TILT साहवेन HA कल्िकताष्छराजधान्यां बार्ति्टमिष्णमद्रायन्त्रे मुद्रितं Fae THETA ॥ WRT ९७ ७७ । To १८५५ Ve! 4 { 1 PREFACE. 8/1 Harsha’s Naishadha, a poem on the life of Nala, King of Nishadha, is divided into two parts, the Purva and Uttara Naishadha, or the first and second Naishadha, each of them containing eleven cantos, a division, for which there is no ap- parent reason, as the second is a mere continuation of the first part, nor are the two separated by any remarkable turn in the narrative. The Purva Naishadha was published in 1836, under the auspices of the General Committee of Public In- struction, by Premchander Pandit of the Calcutta Sanscrit College, and accompanied with a Commentary of his own. The present edition of the Uttara Naishadha was undertaken at the suggestion of Professor Lassen, and concludes the last: of the six Mahakavyas* of the Hindus which remained un- published A Mahakavya, or great poem, although belonging to the narrative kind, is not an epic poem, which treats of heroic characters and deeds: the Mahdbharata and Ramayana best correspond with our idea of an heroic poem, and they are classed under the head of Itihfsa. The eminence denoted by the prefix “ great” refers rather to the length and general excellence of a poem, and in one instance, K4lidésa’s Megha- duta, to its excellence alone. Tradition, resting on general consent, declares the six poems above enumerated, alone worthy of that distinguishing title ` The treatises on poetical composition give a more tangible account of this class of poetry. A MahdkA&vya, according to ` # They are the following, the Raghuvans’a, the Kuméra Sambhava and. the Meghaduta, all three ascribed to Kalidésa, the Kiratarjuniya by Bharavi, the S'is'upalabadha by Magha, and the Naishadha by S’ri Harsha अ Preface. the definition of the S4hitya Darpana, one of those treatises, is a poem of many cantos; the hero is either a god, or a khsatriya of good family, and of firm and elevated character ; or the subject of the poem may be, asin Kalidésa’s Raghu Vans’a, several princes of the same race: the principal qualities illus- trated are, love, heroism and meekness: the narrative itself should be taken from an Itih4sa, 88 the Mah4bhérata, or from some other approved authority ; it should exceed eight cantos, each of moderate length, and be interwoven with descriptions of morning, of the sun, moon, night, the heavens, the city, sacrifice, war, travelling to another country, marriage, ete, . According to this definition, the form and mode of treatment | are the test for deciding, whether or not a poem be a Mahé- kavya ; consequently, the author of the Séhitya excludes [धा 08888 Meghaduta, and not only assigns the name of Mabdkavya to others than those above mentioned, but gives it to some of his own composition, Notwithstanding the difference in the popular and the more learned definition of a Mahék4vya, there is this common to both, that they are narratives of lofty or ele- vated style and aspire to the rank of the highest order of poe. try in the language. The Naishadha is one of those poems to which the name of Great is given par excellence; and certainly, as respects the subject matter of the poem, it is one of the most romantic and pathetic to be found in the literature of any language. It is the well known story of the love between Nala, king of Ni- shadha, and Damayanti, the daughter of Bhima, the king of Vidarbha, which is briefly this: Nala was the most beauteous and high-minded of men, Damayanti, the loveliest of women— hearing everywhere of each other’s virtues and accomplish, ments, they were reciprocally inspired with ‘an ardent love, which they communicated to each other by the mediation of swans—the father, not aware of their mutual attachment, seeing the beauty of his daughter fading, resolved that she should marry, and, with this view invited the neighbour- Preface, iii ing kings to Damayanti’s Swayamvara, a festival, where, in accordance with the ancient Hindu rite, she was to choose her own husband—along with the princes came Indra, Agni, Yama and Varuna, the four Lokapalas, or divine guar- dians of the world, in the likeness of Nala to deceive Da- mayanti—having invoked those deities to aid her in recog- nising her lover, she selected the true Nala. The story pro- ceeds to describe their marriage and happiness, the vengeance vowed ‘to Nala by Kali (the personified deity of the pre- sent or fourth age), his getting hold of Nala, through an omission of a ceremony by the king, Nala’s addiction to gambling under the evil influence of Kali, thereby his loss of the kingdom and banishment, his separation from the faithful Damayanti (who had borne him company through his reverses of fortune, when all had abandoned him), Nala’s mad- hess, their mutual sufferings and varied miseries, the final re- eovery of Nala from his mental malady, and his happy reunion with Damayanti. The love of Nala and Damayanti had been first related in the Mahabhfrata,-containing in the third part, the Vanaparva, the episode of Nala.* Since then, it has re- mained a favourite theme with Hindu poets, who have adorned it, as a triumphal arch, with their poetical festoons and gar- lands. The most celebrated of these productions-are the Nalo- dayat generally ascribed to K4lidfsa, which, owing to its con- tinuous play upon words, is one of the most difficult of Sanscrit: poems, the Nala Champi by Vikrama Bhatta, a narrative partly prose and partly verse, and 8/7 Harsha’s Naishadha. ` क Bopp published a separate edition of the text with a Latin version under the title ^“ Nalus Mahabbérati Episodium. Altera emendata editio. Berolini, 1832. Milman translated it into English ^^ Nala and Damayanti, and other poems trans- fated from the Sansctit into English verse, by H. H. Milman.’’ There are German versions af the poem by Kosegarten, Riickert and Bopp. | - + Nalodaya, with the commentary of Prajnékaramisra, 1813, (Calcutta?), Nalo- daya, una cum Pradschnakari Mithilensis scholiis ed., lat. interpretatione atque annotationibus criticis instruxit F. Benary, Berol., 1836, Nalodaya, accompanied with # metrical translation by W. Yates, Calcutta, 1844. ^ 1 : Preface. , The treatment of this subject in the Mahaébhdrata and Nai- shadha is wholly different. The Mahabharata tells the whole story in simple, but vigorous and noble language. It is full of powerful descriptions of passion; the poet nowhere pays any undue attention tothe mere form of language; his chief exertion is devoted to attract our sympathy to the qualities and passions which he represents. Refer, for example, to the deep pathos in the description of the grief of Damayanti, when abandoned by her husband in the solitude of the forest. . 8 Harsha gives only a part of Nala’s adventures and carries the story no further than the return of Nala to his capital with his bride Damayanti, and the description of their first unalloyed affection and happiness. It is poor in incident, the greater part of the long poem being occupied with descriptions of the kind mentioned before as indispensable in a Mahakavya. It does not exhibit, as the Mahabharata does, a comparatively: simple state of manners and society, but a highly artificial one, and mirrors the terrible social corruption existing at the time when the poet flourished. Instead of ennobling the affec- tions, or appealing to the tenderest and most sacred feelings of man, the love which the poet describes is earth-born and sen- sual in a degree far exceeding the lasciviousness of some of the Roman poets. Scenes such as described in the feast of Dama (Canto 16, pp. 853—401) are degrading and revolting; nor. are similar extravagancies confined to an episode like that just alluded to—the absence of decent shame pervades throughout, and pollutes even the hearts of the females, as is evident, for instance, from the speech of Damayanti’s companions. (Canto 16, pp. 352—59). Even the love of Nala and Damayantt, although generally tender and delicate and adorned with all the graces of the poet’s exuberant fancy, approaches often to unveiled sensuality, and may, in truth, in several places, be de- signated a practical illustration of the Kamas’‘astra. And very well has the author himself described the basis upon which rest- ed the fabric ofa large portion of Hindu society in his day, in Preface. 4 the speech which he puts into the mouth of the दात (Canto 17, pp. 435—74), the founder of an atheistical system, who admirably demonstrates the hollowness, absurdity, and moral turpitude of the Hindu pantheon—a speech, which, indeed, the gods attempt to refute, but their rejoinder is rather a confir- mation. | | | , With the structure or frame of the poem our delight is nearly: unqualified. The language is highly elaborate, bearing the mirror’s polish. It never becomes common-place; and bears throughout a sustained tone of sprighthness and eleva- tion. ‘Although we find a continual play upon words for many verses together, yet, not only is the sense not lost ina mere jingle of syllables, but the general effect is often much enhanced by the harmonious contrast of open and concealed meanings. The variety of metres are handled by the poet with admirable art and propriety; and the subject sparkles under his tread as gleams the ocean-track in a ship’s wake, rich in imagery showered unceasingly from the cornucopia of the poet’s mind. He draws upon the countless stores of Hindu mytho- logy, weaves quaint and monstrous shapes, furnished by Hea- ven, Earth and Hell, into a rich string of arabesques, blending together their strange variety so that they harmonise. Yet may the whole be likened to dissolving views. Perfection of form and general effect are the poet’s aim, not what we moderns consi- der real intrinsic excellence, that is, elevation of idea, power of invention and insight into human character, rather than skill in the mere structure of language and in the stringing together of imagery, truly a high but not the highest gift. The effort of the Sanscrit poet is brilliant—so brilliant as to blind the reader with its blaze, until he loses, or becomes unconscious of, any defined creation of the poet’s fancy. Saraswati’s description of the five Nalas is 8 ` ready instance of the characteristic pe- culiarities we have attempted to describe. The poet tells of the five Nalas: each verse has what we may term an overt and a sub-meaning or meanings, the former applying to Nala, Vi Preface. the latter to the god who had assumed Nala’s form ; and, in conclusion, the same collocation of words has a reference to the character and manifold attributes of the five Nallas. (Canto 18; pp. 146—148.) Among the best parts of the poem, I would name the whole 17th Canto, especially the powerful description of the personified deities of the chief vices, and the twenty-second, in which the description of the moon by Damayanti and Nala is in éxquisite taste and sometimes pathetic, each verse containing a eomplete picture in itself, in which the rich and melodious flow of the language is in perfect harmony with the subject. ` To sum up; in structure, force and elegance of diction, in: pro- priety and graceful ease of vythou metre, in power of description and felicitous use of imagery —the Naishadha ranks high, and may enter the lists with any work of Sanscrit literature ; but, to fit it for a place among the poems of the first order, it wants incident, action and dignity. The hero does not rouse our higher sympathies; he revels constantly in the gardens of Armida—not as a Rinaldo who lays by his armour for a while, but as one native to the place, whose soul never.soars beyond its delusive pleasures : The MSS. of the text and commentary which I have col- lated for the present edition, are the following, : Of the Text ` A. No. 655, complete, belonging to the Caleutta Sanscrif College. It bears the date of 1711, and the name of the writer is Ananda Parivrajaka. It is very correct ए. Complete, it is the property of my Pandit, S’ri Sakha- rama S/Astri, who, about 50 years ago, received it from his father. It is also a good copy, as may be expected, having been so long in the possession of Pandits, । Of the Commentary C. No. 655, belonging to the Asiatic Society, procured from Benares. It 18 a commentary both on the Purva and the Ut- tara Naishadha.. It is, however, not complete, containing only. Preface. vii Cantos 12, 14 to 17 and 21, more or less complete. It has the ०२६6 of Samvat 1815, and is tolerably correct D. No. 181, belonging to the Calcutta Sanscrit College. It contains parts of the 14 to 17 Cantos; the 18 to 20 Cantos are complete. Text and Commentary . E. This belongs to the Asiatic Society, and is copied froma MS. in the Library of the Sanscrit College at Benares. It is incomplete, containing Cantos 13 to 17 and 20 to 22. It is dated 1807, and is not very correct. F. Nos. 128-130, belonging to the Calcutta Sanscrit College. It is without date, contains Cantos 12 to 16, 18 and 21, and is tolerably correct. An edition of the text was urgently required ; for even in S’ri Nérdyana’s commentary, which according to a traditional account was written about 500 years ago, a great number of various readings are enumerated. The commentary itself is very good. ऽप Naérdfyana has a thorough appreciation of the beauties of his author, and is fully able to follow him into the labyrinthine windings whether of fancy or expression. He ex- plains with accuracy and nicety all those passages which, from the double meanings of words or their rare use, from the elaborate structure of the sentence or the obscurity of allu- sion or circumstance, would otherwise remain unintelligible. Nor is he prolix, as is frequently the case with such comment- ators. The MSS. of the commentary would seem to have be- come very rare. I have not seen one that was complete; and those which have been at my disposal are very incorrect, evi- dently owing to the carelessness and misapprehension of the copyists, so that I have, in many instances, found it very dif- ficult to restore the text of the commentary. I considered it, however, unnecessary to notice all the discrepancies among the MSS. ; the greater part of them are palpable mistakes, and to enumerate or give an account of them would be to furnish, not various readings, but a list of mere clerical errata, viii Preface. The text has been given in accordance with the reading approved of by the commentary; and although I have been frequently disposed to adopt a reading not favourably consider- ed by the commentary, I have foreborne to do.so, that I might maintain the uniformity of relation between the text and commentary. | | CONTENTS. Twelfth Canto. Other Kings arrive at the Swayamvara; they are joined by those who came before, pp. 1-2. Damayanti, accompanied by Saraswati, the goddess of speech, enters the assembly, pp. 2-3. Saraswati de- scribes the Kings to Damayanti. Her account of Rituparna, King of Ayodhy4, pp. 3-11; of the King of Pandya, pp. 12-17; of the King of Kalinga, pp. 18-24; of the King of K4nchi, pp. 25-31 ; of the King of Nepdla, pp. 32-39; of the King of the Malaya mountain, pp. 40-47; of the King of Mithil4é, pp. 48-53; of the King of Kamaripa, pp. 54-60; of the King of Utkala, pp. 61-67 ; of Jayanta, King of Kikata, pp. 68-87. The loves of Nala and Damayanti, pp. 88-93. निवस Thirteenth Canto. Saraswati’s description of the four Lokapélas in the form of Nala, and _of Nala in the likeness of the four Lokapélas, p. 94; of Indra in the form of Nala, pp. 95-102 ; of Agni in the form of Nala, pp. 103-109 ; of Yama in the form of Nala, pp. 110-116; of Varuna in the form of Nala, pp. 117-124. Description of Nala in the likeness of the four Lokapdlas; in the likeness of Indra, pp. 115-126; in the likeness of Agni, p. 127; in the likeness of Yama, -pp- 128-129; in the likeness of Varupa, pp. 130-131. Descrip- tion of the five Nalas, pp. 146-148. Damayanti’s doubt as to the real Nala, pp. 149-161. 11 Contents. Fourteenth Canto. Damayanti adores the four gods and asks for power to recognise Nala, pp. 163-166. They grant her prayer; she recognises Nala by those characteristics which distinguish divine from human bodies, also by signs indicated in Saraswati’s description of Nala, pp. 177-181. She choses Nala as her husband by placing the bridal wreath on his neck, pp. 182-197. Nala and Damayanti’s feelings on this occasion, pp. 198-205. The five deities re-assume their own forms, viz. Indra; pp. 206-208. Agni; pp. 208-209. Yama; pp. 209-211. Varuna; pp. 211-212. Saraswati; pp. 213-214. They bless Nala; pp. 214-233; also Damayanti; pp. 234-235. The deities prepare to return to heaven, and the kings to their camps; pp. 286-237. At the request of Damayanti, her father, Bhima, gives her friends in marriage to the kings; pp. 237-238. Flowers are showered down from heaven upon Nala, while returning to his camp, p. 288. The deities part from Nala and Damayanti, p. 239. Bhima closes the Swayamvara by a flourish of musical instruments, p. 240. Fifteenth Canto. Nala distributes presents among the bards, pp. 242-245. Bhima enters with his daughter the apartments of the queen to inform her, that Damayanti has chosen Nala as her husband, p. 246. He makes preparations for the ceremony of marriage, pp. 247-250. Joy of the citizens on seeing Nala, pp. 250-255. The women of the royal palace adorn Damayanti for the ceremony, pp. 256-283. Nala is adorned for the ceremony, pp. 283-295. Nala’s marriage procession, pp. 295-303. Nala proceeds to the royal palace. Conversation of the town-women on the arrival of Nala, pp. 304-316. Sixteenth Canto. Nala arrives at the gate of the palace and is received by Bhima, pp. — 318-325, Bhima gives his daughter to Nala, pp. 325-326. De- scription of the marriage-ceremony, pp. 326-328. Bhima’s bridal Contents. 111 gift to Nala, pp. 329-344. Description of the marriage-ceremony, continued, pp. 344-351. Converse of the town-women, 352-359. Damayanti’s brother, Dama, gives a feast to the assembled Kings, pp. 360-401. Nala departs with Damayanti to his own country, pp. 402-407. Arrival at his capital, pp. 408-415. Seventeenth Canto. The five gods return to heaven, pp. 416-421. They meet the hosts of the gods, p. 421. Description of Kama, the god of love, pp. 421-424; of Krodha, the god of anger, pp. 425- 427 ; of Lobha, the god of covetousness, pp. 428-430; of Moha, the god of folly, pp. 431-434. Among the crowd of their worshippers the gods see several, previously unknown to them. A follower of Chérvaka expounds to them his atheistical system, pp. 435-474. Indra replies, pp. 475-482. Agni replies, pp. 482- 484, Yama replies, pp. 485-489. Varuna replies, pp. 489-493. The Charvéka’s apology, p. 494. The gods observe among the crowd the personified deities of the Kali and Dw¶ Yugas. Kali asks about Damayanti’s Swayamvara. Indra tells him that she has chosen Nala as her husband, pp. 494-501. Kali’s scornful reply. He vows vengeance to Nala, pp. 501-508. Saraswati’s answer, pp. 508-509. Kali vows that he will compel Nala to desert his country and his wife, pp. 510-511. Indra prophesies Kali’s ultimate defeat, pp. 512-521, The gods and Kali mock at each other, pp. 522-528. The gods go to heaven, p. 529. . Kali together with Dwé4para re- pairs to Nala’s capital, pp. 529-531. On account of the holiness of the town they cannot find a place of abode, pp. 531-555. At last Kali discovers in the garden of Nala a Vibhitaka tree which he selects for his dwelling. Here he remains a long time, vainly seek- ing for a fault in Nala’s conduct which would give him an oppor- tunity of compassing his ruin, pp. 555-562. Eighteenth Canto. Nala delivers the administration of his kingdom into the hands of his ministers, and retires to a splendid palace, pp. 563-565. De- scription of the palace, pp. 565-585; of Nala and Damayanti’s love, pp. 586-675. iV Contents. ° Nineteenth Canto. Morning-Song of the bards to awake Nala, pp. 676-750. Twentieth Canto. Nala performs the morning rites and re-enters the palace, where he meets Damayanti, pp. 751-762. Their playful conversation and love, pp. 763-832. Noon-song of the bards, pp. 833-836. Twenty-first Canto. Nala performs the mid-day rites, pp. 837-942. Sportive songs of Damayanti’s companions in the presence of Nala, pp. 943-964. - Conversation between Nala and Damayanti, pp. 965-984. Twenty-second Canto. After the performance of the evening rites Nala joins Damayanti, p. 985. His description of the evening, pp. 586-1006; of the night, pp. 1007-1018; of the rise of the moon, pp. 1018-1032. Damayanti’s description of the moon, pp. 1033-1094. Nala’s de- scription of the moon, pp. 1094-1102. Conclusion, 1103-1108. उन्तरनेषधचरिते। दादशः सर्गः । ॐ गणेशाय ममः | प्रियाद्ियालम्ब्य विलम्बभाविला विलासिनः कुण्डिनिमण्ड़नायितं | समाजमाजग्मुरथे रथेोन्तमा- समासमुद्रादपरऽपर नृपाः ॥ ९॥ SETH गूतनसमागतराजव्ंनाथे दादश सग॑मारभते ॥ प्रियेति ॥ श्रयो अ्रगन्तरं अपरो अन्ये नुपा भ्राषमुद्रात्‌ wax- मवधीरृत्य दि गन्तेभ्यः varies: । तं कुण्डिनद्य मण्ड- नायितं भूषणवदाचरितमलद्ारकं समाजं खंयम्बरसभामा- org: | feat: frana: खनायचिकाभ्यः सकाशा ड़ीः तासामनुरागजनितम्‌खदाकिण्छेन छला विलम्बे स्यैय्॑मा लम्ब्य आविला: व्याङुलान्तःकरणाः | प्रियामुखद्‌ाक्तिणयानु रोघेना- स्माकं विलम्बे जाते भेमीखयम्बरो जाता माऽभूदिति ger नातिसात्छाहाः | aut विलासिनः श्टङ्गरभश्गेसहिताः। तथा Tara: ओेष्टरथा cata विशब्बे जातेऽपि Waray खचितं । विलासिनः वै कषलसेति विनुए (पा* ६।२।९४९॥) रथेरुन्नमा दति समासः । -अपरोऽपर । वीष्या्ां दिरकिः॥९॥ श्‌ उत्षरभेवधचरिते। ततः स भैम्या ववृते वृते नुपे- विनिः खसद्धिः सदसि खयम्नरः | चिरागतेस्तककिततद्िरागितैः HURT TAA Te: ॥ २॥ WAU THUS यन्त्रणेङ्गित- स्णाटाशयामासयति स राजके | अमं गता यानगतावपोयमि- TOA YA कपटाब्ननोख्जनः ॥ 8 aa इति। aa: सदसि समाज स मैम्याः खयम्बरोा वदते । किम्भूते खद्सि। dar: afar धैराग्येण विनिःखसद्धिरविंशेषेण सुक्र्ासे्िरागतैः पूर्व्वमायातेग्‌पेठंते। तथा तकता ate तास्ेषु पुम्यौ गतेषु राजसु विरागिता श्रथीद्धम्या SS: ach: WHIT प्रकाशमाभैः | तथा एतेन तान्‌ खयम्नर शेषं भराप्नानस्माभिर्यं प्राये वरिव्यतोति बुद्धा आनन्दस्य महाण- वैरगाधकमुद्रः प्रमृदिततरीनंषस्तत्कालमागतेनंपेरते ॥ २॥ चलदिति। श्लन्ति पदानि यख्य पुरस्तात्‌ गच्छन्‌ धुरं वहति yah शिविकाद ष्डवादी जमः जनीं भैमीं राजके राज- सद्मध्ये आसयति ख श्रस्ापयत्‌ fa wart यानगतावपि शििविकारोारणेनापि wat सत्यपि इयं भेमी yaya निः- सदा जातेति कपटाद्माजात्‌ उदीग्यं GAT | farayat भविक पटाम्रितेन तत्पदेन भेमोचरणेन यद्यन्तणं यन्त्रणा वा पोडनं धू्॑जनस्य तदेव यदिङ्गिः श्रवम्ापनद्धचिका चेष्टा SIEM: GT: | x नुपानुपजम्ब विभूषितासनान्‌ सनातम सा सुषुवे TAA | विद्ारमारग्य सरस्वतीः FAI- सरःखतीवाद्रतनुरनृल्विताः ॥ ४ ॥ gas वसन सुवष्ैकेतकी- प्रनपष्या*दतुपसमाडतं | तेन Qe श्राया मवनृपदिदृखामाचविषयाऽभिप्राया यस्वा- Gti जनीं । नायतेऽस्यां गभं दति जनिघसिभ्यां केति Grav दिक x प्रत्यये जमिवध्यारिति (पा०७। ९ ९५)) द्धिनिषेषे इदिकारादिति (ate ०।९\।०६। a वातिकेन ङीष्‌ ॥ ३॥ नृपाजिति। खा सनातनी नित्या रखती देवता विभूषितं खीयसेोन्दर्थणालष्धुतमासनं येलाशुपागुपक्रम्योदि ष्व सरख- तीना खः सुषुवे खवाचेत्यथेः | faa वाः | खुधासरसख्य अक- तसमुद्रेषु विहारं अलक्रीडामारभ्य हलातीवातितरामाद्र- तनूः । तथाऽनु पञ्चाद्‌ विखम्‌ग्येव उत्थितारूस्माजिर्गताः। अति मधुरा इत्ययः । खनाभवा | श्रव्ययला्युस्हर्‌ च ॥ ४ ॥ eweafa i नारललखणोम वेम सुवसंकेतकोप्रसनस् जारत्खखण्ादष्यादादूतं VaTadiad तस्मारधिकं वा जति जरं सुकुमारशरीरं तु पलंमामानं ad लं टलोव्व । अय- मवनीपतिः भवक्मयस्लरेकचिक्ः शम्‌ निजामाक्रीयां पर- ग्पराया्तां पावनां पविचीकरणश्रोलां अयोध्यां म॒क्रिपुरोमपि ` » बरुदिति टीकासग्बतःपाढः। ` उग्तरनेघधचरि ~ 9 त | निजामयेध्यामपि पावनोमयं भवन्मयो ध्यायति नावनौपतिः॥ ५॥ न पौयतां नाम चकोारजिहया RUSSIAS AT | न ध्यायति न स्मरति । परमानन्दरूपलान्भक्तसकाशादपि तव प्रा्िरेतस्वाधिकेत्यथैः। अन्याऽपि विलासी गुणएवतीमपि fast भ्रियामचिन्तयननन्यामेव ध्यायतील्युक्रिः । लय्यतितरा- मनुर क्ाऽयमेतं दणीव्वेति भावः । बलात्‌ । पञ्चमो विभक्ते इति (QT? २।६।४२।) पञ्चमी । waa: सव्वेनाक्ा टन्तिमातं स्तिया: पुवत्‌ (aT ६।९। ee a वार्तिकेन पुंवद्भावः ॥५॥ मेति । द भमि चकोारजिक्कया एतस्य wards म॒खमेव- UNITS चन्द्रिका प्रसलतारूपा Brag कथञित्कनापि प्रका- रेण म पीयतां नाम। चकोारजिङ्या सत्यं चण्द्र चद्दिका पीयते, } ~ o Sucaaqyuufed | रतनोन्छन्कण्टप्रतिसुभरनरारन्धनाय्ाहुतानां RE TOI AME समरसमालाकिलाकाखयदेऽपि | PALA: छनखुरखुरलोमंकषुविचयमान- च्माष््ठोत्िष्ठदन्धङ्करणरणधुरारणुधारान्धकारात्‌ ॥ ee II ग स्पुश्रति चेव्यथः। धानिका जवनाश्चश्चावमेवेत्यर्थः। अन्ध- यन्निव्यादो तत्करोातोति णिजन्ताज्द ॥ << ॥ एतेनेति | समरसमालाकिना ये लाकारेषामासदरे खान- भूतायामपि भृवि। अथवा समरसमालेाकिलाकानां देवाना- मासपदे away वियति । एतेन राज्ञा उक्छ कण्ठाः दिन्नयोवा; कबन्धरूपाः प्रतिसुभटाः HITS एव नटा नन्तकास्तेरार- मानां नाखाह्ुतानां नुन्ताखचग्ाणां द्रष्टा नाभूरेव कष्टमेतत्‌ दुःखमेतत्‌। तजर रेतः । WaTam: श्रेत्रजवेरभरैः कता खुरैः छता खुरली भ्रभ्यासभूमिः पुरः पुरः न्यासा वा तया ag wars whe वा विषेण guard चुभवत्‌ as भूतलं तस्मादुन्तिष्ठन्‌ उत्पतन्‌ TAA करोति ्रन्धङ्करण एवंभूतः रणधुरारेणः रणम्रारम्भ एव सम्पन्ना रेणस्तस्य धाराः war- हास्तव्ननितादन्धकारात्‌। रणविलाकनाथेमागतेरपि मानै- देवैरपि अ्वखुरोत्यितरजःपूरितने तैः कवन्धमुव्यं नालाकी- त्यथः । मन्द खच्छन्दयाः खेर इति मेदिनो | एतत्छन्तात्तमा- करेति पाठः साघोयान्‌ । TIT) दच्‌। रणधुरा। खछगादिना Sai (पा० YI ४1 ७४) ॥९००॥ दादशः सर्ग॑ः। स्र उकीलक्लीलनीलोत्यलदलदलनामेादमेदखिपुर- क्राडक्रीडददिजालोगरूददितमर्‌ ATTA AIAN: | एतेनाखानि शाखानिवदनवदरित्पशपर्छद्रमालो AAS TAN AAEM! दत्तरागस्तडागः ॥ १०९॥ वृद्धा Alara तरङ्गवलिभं faze: पाण्डरं ₹ंसालीपलितेन यश्टिकलितसावद्येब॑दिमा | उन्मीखदिति। एतेन राश्चा एतादूशस्डागः अखानि। किंग्डतः। Satter विकसन्ती खीला विलासे येषां तामि नीलोत्पलानि तेषां cafe पाणि तेषां दखनं विकासं तदुङ्खवेनामेादेग परिमलेन मेदसो पृष्टः बलपरिमलः पूरः WATTS RAS उत्सङ्गे क्रीडन्तो दिजालो दंषादिपद्िसस्या Way: Tey उदित उत्पन्नो Aleta: तस्य स्फालः सवेग- गमनं सहनडा वा तेन वाचालाः चब्दायमानाः dwar यस्य । तथा ज्राखानिवदेः नवषर प्र्ेरनुतनश्वामपरेख पला Rare: टक्पङ्कयः ताभिवयालीढः व्याप्तः उपाम्तस्तीर प्ररेभ- स्तेन wat यथा भीभ्माश्मपीडा यासां तासां wfuarwt गभ्नाश्रपोडा येषां पथिकानांवा gw: तासां दन्तः रागः सन्ताषोा येन । BA तड़ागस्यातिरमणोयलवं सुखजमकल्वं wey ख धाथ्मिंकत्वं खचितं ॥ ९०९ ॥ : wg दइति। war sta निर्मितसडागः दद्धो महान्‌ arty: wax: | wagraearty aurfrard: | saan set वारि वेरसेनिना ॥ १४८ ॥ पराभवितुमश्रक्यः | RIVA: कतस्तदाधम्भंवश्रादेव TS ता- भरो दशा भविश्यति त्या किं क्रियते दत्युभयथापि दोषात्‌; aaa कियते, करिव्यते, छतनमित्थादिवल्लाना न कारयति ara: | दृत्युकतयेति पाठे way aw at करिये दृयुह्याऽकारप्रहञेषेण- क्ररिग्यक्नपि cafe) वाद्माचेणापि पापषिद्भेः कि पनः करि- afafa अन्यत्‌ wa । कार्यी धाः । त्येद मित्य: । तै feafaard इति वा ॥९४७॥ दरोहमिति । यः पुरूषो मेदेनाश्चानेनापि तस्मिन्‌ gees ऽनपकारिणिद्राहमपकारमा चरेत्‌ स पुरषस्ततखस्मा त्‌ अननया- इन्यायाद्धेतारचिरेण तस्नान्तादशापकरणजातात्‌ पायात्‌ स- WaT Va तं पापं दुःखं. आश्रुत्‌, बुद्धिपुव्वेकारौ लभत cia किं वाच्यमित्यथेः। नखद्र दस्तस्मात्‌ लया weer त्याज्य दति भावः। war अापाऽपि दन्त दति Gaal मोारेनेत्यचाथो- दपिशब्दा arog; | ree खामिन्‌ अ्रञ्चानाश्रच मृखंतर fa ar सम्बाधनं॥९४८॥ aafa रे युगानां सल्यादीनां ie कले aferqe तवेष देषा न साग्मतमयक्तः यस्मादधैरमेनिना नलेन सह एतत QR: AM | ४२१ तच MMA UAT सदि दाश्यताम्‌ | ईति तच गतो मा गाः राजसंसदि दास्यताम्‌ ॥ Wye Ut गत्वान्तरा नलं भेमों नाकस्मा प्रवेच्यसि । TA BRHATAT पयमानं उकारवत्‌ ॥ १५९ ॥ gital av a aw feara न भविता Rates न भविव्यति। गेषु ae इति निद्धारणे सप्तमीसमासः | साम्यतमव्ययम्‌ । हितयोगे तुभ्यमिति wait i ige i तेति । दे कले aa नलसमीपे पराभवाथं यामि गच्छा- मीति waa राजसं नानं रजेगृणसददितं विचाराखद्ं श्रत एवासदगाभनं AMAA दूहास्मिन्‌ काले देशे वास्यतां व्यज्य- तां इति, सद्धद्रमिति वा, fa विचाययंति यावत्‌ दति किं।तच राजसंसदि तस्यां नलसभार्यां गतः सन्‌ हास्यतां परिदासास्प- AR । निकरं 9 स॒ तं नषधसेधस्य निकरं निष्वरध्वजं | बद्ध मेने निजं afer कलिरालम्बने वने ॥ ९१९ ॥ दलेति। स कलिः तचोद्याने वने दलैः पतैः पुष्पैः फले war देवानां श्रतिथोनाश्च पजा तदिषयेणाभिसन्धिनाऽऽ शयेन Sar दे वदधिजपुजेवाभिखन्पिरा शयो यस्येवंविधेन वा, दलादि- fagaqat कन्तुकामेन नलेनाजिंतानारोपितानाघादिद्रुमान्‌ आक्रमितुं श्रारोदुमाख्रयितुञ्च न प्राप। तेषां wares fray स्वस्य च पापद्पतात्‌ तानाश्रयितं ना्रकदित्यथैः॥२९०॥ ्रयेति। श्रय स कलिः wal धर्मकार्ये विषयेऽक्मटमकर्ब- wate पित्रादीनां देवाद्यन्‌पयोागाद्धग्मकाय्यानदंमपि सर्गे Vaart ठक्षाणामासन्तेःसान्निध्यस्य पुरणाय टक्तलतागुल्मा- दिजातिमाचास्तोति कीत्निंपुत्तिमात्राय तच्ाद्याने नलेन भ्रा रापितमेकं स्व॑टलासत्तिप॒रणल्येकेनेव waaay विभी- तकं BS TS ददशं। WAHT: कुटः शाल इत्यमरः BAUS: | कर्मणि घटत दति Hale घटेऽठटच्‌। (पा०५।२।२५)। कर्बु CTS HWS: | उद्भिद स्तरुगस्माद्या इत्यमरः ॥ २९९ ॥ acai तस्िन्‌ वने नेषधक्षाधस्य निकटं समोपवत्तिंनं 3५ ५५१ उत्तरनेषध्चरिमे। निष्यदस्य HATA खानद्‌ानादिमोतकः। कलिद्रमः परं नासीदासीत्‌ RATATAT सः। Bw ददो पदेन WHS स्थातुमेकेन यत्‌ Ae | एकः सोऽपि तदा सस पदं मग्धेऽभिश्ततः ॥ २१४ ॥ निष्कुरस्य एदारामस्य ध्वजं लाञ्छमभृतं श्रय चोचाश्चतरलात्‌ ध्वजमिव तद स्थित्या मखदश्नवश्नान्तदीयदाषपिचारोापाय- भूतं तं विभीतकं निजं सौचमालब्बममाधारं बङ्‌ मेने। wer- TIATSY जिष्कुटा इत्यमरः ॥ २९२॥ fawrafa । तच पुरे वभे च निष्यदस्याश्चयरद्ितख कलेः खागद्‌ामात्‌ VAs तदाधारभूतल्ात स विभीतकः केवलं निबासभूतलात्‌ कलिद्रुमः कलिषम्बन्धी xa: परं केबलमा- डीदितिग किन्तु कलिं प्र्यभिलाषपृरणएात्‌ कलर्पदरुमेाऽप्यासोत्‌। अन्योऽपि निराश्रयच्छाअयदानात्‌ कल्पद्रुमतेन व्यपदिश्ते | भूतावासः कलिद्रुम CHAT: ॥ २९२ ॥ पापिना कलिना विभीतकं स्यानं प्राप्रमित्य् Wane ददाविति 1 यद्‌ यस्नाद्धेताः कलिः प्रवारानादितयाऽतीते कलियुगसमये धश्म्येकम पटेन चतुथीरेन पदं खानंददोा AMAA तदा नलराञ्यसमये कृतयुगे ख विभीतकोाऽपि एक एव ae कलेः पदं चरणोऽय च स्थानममिलत्‌ Tara दृत्यं मन्ये । wd ae युज्यते दति न्यायेन कालान्तरे यावत्‌ दन्तं सप्तदशः Ba: | ४५५७ उद्धिदिरच्लिावासः कपोतादिव तच सः। TTR: AAS AUT सन्त्रास प्राप दोकितात्‌॥ २९५॥ तावदेव तदानीं तेन WAAAY मन्य CAAT! WHT सम्ब- न्धमा चविबच्षया षष्टो ॥ २९४॥ उद्धिदिति। aarart उद्भिदि टके विभोतकं विरचित आवासः खितिर्येन स कलिः aracfaeraaat दिजात्‌ चजि- यात्‌ तथा दोकितात्‌ खोृताभ्चिरचादियागदोकादस्माद्रान्ञः अभिषेकादिगुणश्यक्रात्‌ मलात्‌ सकाशात्‌ TARAS महाशा- ufawe प्राप। राज्ञा दिजादिव्येताभ्यां खाभाविकं निग्र सामथ्यै सुचितं। साग्रर्दीकितादित्येताग्याच्च तपाजनितं शापे सामे खचितं एवंविधाऽयं समीपस्थितं at निखयेन ज्ञास्यति WY रास्यतोत्यन्तम॑दद्धयं wie: | श्रभ्निराजरिणा zag खम्बन्धिनः रतयन्नदील्ात्‌ तस्मादतिप्रसिद्धाद्‌ festa ब्राह्म णाद्‌ गातमाख्थात्‌ पृरोधसः सकाशात्‌ भयं प्राप। नलाब्रि- हाखादिपरिचय्याथें aa वत्तमानात्‌ खयमग्निदाचादिदीक्ता- यक्षाश्च गेतमात्‌ पुरोधसः warargia wae दति वा । watfea क्पातादिव। यचाऽग्रिसहितादकारभच्िणः तया tfoarq atraarar दिजात्‌ पकिफः सकाथ्रात्‌ ae विरचि- MATS: काकारिः TH पुरुषा वा ठसारूढा Sow Tray वा मं मरापत्‌ Te कदाचिन्तथेष्युपमा । स चथा प्राप्नोति तथेत्यथ; । afa: क्पातजटरमन्तःप्रविष्टाऽतएव agfaar yyc उत्तरनवधचरिते। विभोतकमधिष्ठाय तथाश्रतेन विष्ठला | तेन मोमभुवाऽभोकः स राज्िरधर्षिं न ॥ २९६ ॥ पाषाणकण्िकापि ज्यत दत्येतिद्यं। साग्रेरक्ारभक्िणः | कपेातविशेषोा ङ्गारान्‌ weafa i उद्धिदा दणकाष्टादिना निभ्वित गरदः परुषेऽम्बुद्गारिनेजात्‌ सखापवेशनमाकेण ग्टहदा- हाद्यनिषटधचकात्‌ weraft विलाकनात्‌ कपोता दयुलुकप- faw: सकाभाद्यथा भयं प्राभ्राति क्थाऽसावपि प्राप्रकपातेा डि षं प्विष्टाऽनिष्टद्धककः। एवमद्ुतक्चणाऽपि स्यलाखटठक्तादि- THAT दृष्टात्‌ क्पातात्तह्वासी पल्लो नरो at खस्यापि भक्षणशद्भ्या शाखापतनश्रद्भ्या वा यथया बिभेति तयेत्यर्थः | एवं यथामति व्याख्यातव्यं ॥ २९१५ ॥ विभीतकमिति। विभीतकमधिष्टायाभित्य तथाभूतेन ति- ता तस्य ध्मापयोगाभावात्‌ watifeas खितवता अथय च agua पृथ्वीक्प्रकारेण बिभ्यता अ्रत्यन्ताख्िरेण कलिना भोमभुवोऽभीकः dea: कामुकः स राजा चासाटषिच्च Tasha धष्मप्रानलान्मनितुल्यो war नाधषिं ग परा- भृतः । अ्रपराभवे राजपिवमेव हेतुः । अय च विभीतकतुख तरुमाभित्य तिष्ठता तथाऽतिमहता भूतेन भूतलं प्राप्तेन केन- चित्‌ प्रेतेन पिशाचेन भौमाया भयानकाया भूमेः रणभमेर॑द्र- भूमेव रेतारभोकोा warfear राजषिधाभ्विंकान पराभूयत इत्युचितं । भीमां भूमिमनादृत्य निभ॑य इत्यथः । wrt षष्टी ॥ ९९६॥ SHSM: AA! | ५५९ तमालम्बनमासाद्य वेदर्मोनिषधेशयोः। कलुषं कलिरन्विष्यन्नवादीदत्सरान्‌ IRA ॥ २१७ ॥ यथासीत्‌ कानने तच विनिद्रकलिका लता। तथा नलकछलासक्तिविनिद्रकलिकालता ॥ SLE ॥ दोषं नलस्य जिन्ञास्वभाम द्वापरः क्ते | नदाषः कोऽपि VHA मुखेऽस्तोति दुराशया ॥ २१८ ॥ तमिति) कलिः तं विभीतकं ्रालम्बनमाश्रयमासाद्य प्राप्य वरदर्भीनिषधेश्याः कलुषं पापाचरणमन्विव्यन्‌ गवेषयितुमित्य- शेः, Tee वत्सरानवात्सीत्‌ रोषसंस्पशनेन विना तयोः पराभवे SUMATS THITISTS TEATS ततैव स्थित वानित्यर्थः। अ्रज्वि- व्यन्‌ । इता शता | श्रवा त्सीत्‌ | वसे ङ, सिचि, वद व्रजेति (पा ० ७।२।२) ठद्धौ,सख्याद्धंधातुक इति (कौ ° AT THY द्‌ ०। पंकिः ९।वा ०) ततम्‌ । वत्सरान्‌ । अत्यन्तसंयोगे दितीया ॥२९७॥ ययेति । तच कानने तस्िन्नद्याने यथा येन प्रकारेण विनिद्रकणिका विकसितिकारका लता व्ली श्रासोत्‌ तथा तेनं प्रकारेण नलस्य इले श्रासक्रिरभिनिवेशस्तदशादिगतनिद्रो MASH: सावचधामः कलिलच्चणः कालः समया यच agra- सन्ता सापि तचवने श्रासीत्‌। सदा विकसितकारकवल्लोसम्नन्ध- सलस्याद्यानस्य यथाभृत्‌ तथा षदा कलिसम्बन्धाऽप्यभूदित्येताव- TAT सेषमाजेण Vos | नलद्लमाथं नलदोषान्वेषणार्थश्च MAR: स कलिस्तज्ावात्घीदिव्यथेः। Rvs ti एवं कलेर वख्थानं freq दापरस्यावस्थानमा इ । दोाषमिति, ५९० उश्तरमेघधचरि क | अमुश्िन्नारामे सततनिपतदाददतया परखनेशन्नदरेरनिशमग्छतां प्रतिभट । असो aera: कलिरजनि कादम्बविश्ग- छद्‌ AVANT लाञ्छ नग्टगः ॥ Pe ॥ लोाकापवादरूपं श्रभिश्ङ्िरूपंवा मलस्य fred जिन्नासुटापर दत्यघटमागया दुराशया किती बभ्राम । इ्तिकिं। Grae मुखे जनवान्लायामदेषे दोषरहितः काऽपि नरो नासि ar wat यं fatraare ATER: VET एव नास्तीति गलस्थापि किञिदषं काऽपि वदिव्यतीति। न दाष दति पाटे लाकोाक्षा- वस्याऽपि erat मास्ति श्रपितु प्रायेण भविष्यतीति दुराश- येति काक्षा सम्भावनापरलेन व्याख्येयम्‌ । दषं । न लोकेति (पा ०२।२।६९ ) षष्टीमिषेधः ॥ २९९ ॥ अमृश्िनिति। wat कलिः श्यामपरदंसजातीयाः काद- म्बविहगाः कलद्ं सा स्यपङिविगेषाः तेषां eer war: तेषां कायायाः कान्तेरभ्यङ्गं उचिता योग्या तलाभ्यक्ञेनेव खमस्य aray शैग्यातिश्चयकारिणी श्यामतरा रुचिः कान्तिर्य aw भावस्तत्ता तया ङष्णवंतया वन चन्द्रे खाञ्चछनम्डगाऽजनि क- लद्धग्टगेऽभृत्‌ । किम्भतः । सततं सद्‌ा निपतन्‌ निचि्यभाणा धूमारिदादरोा यच तस्र भावता तथा अरनिभ्रं षदा उलि- दरविकसित. प्रद्धन मालत्यादिश्ितिप॒ष्येः ला डञ्वललादानन्द्‌- दायिलाच्याग्डरततांभाखग्रस्य प्रतिभरे प्रतिस्पद्धिनि चन्दरतुष्येऽम- | SHC सगः ५९९ स्फारे ताहि वैरसेनिनगरे पण्यः प्रजानां घनं विघ्नं लन्धवतश्विराद्पनतिस्तिन्‌ किलासीत्‌ कलेः | far CATR आरामे नलाद्याने बद्धः छत खन्ना वासा येम खः । चन्द्रे fe awga भवितव्यं तद्छ्याने कजिरेवाभ- fefa एतेन free गलाद्याने कलिरेव दूषकोाऽभदिद्यक्षम्‌। ` तचं न्यवाद्ीदिव्य्थः। पष्यफलानामाकालिकखन्टद्धये Tay टचायुर्वैदोाक्रो धृपादिदा ददः क्रियते, तथा wars पिष्ाका- fenaey:, age सुन्द रोगण्डषजखमदिरासेकः, रक्षाजाके च तर्ण्णेदरणप्रताखनमित्याटिः॥२२०॥ स्फार इति स्फारे विश्नाखतरे argfa waranty धर््मबज्ले स्फारलेऽपि wa uae वेरसेनिनंलखशस्य मगरे अजानां पुष्यं तभिषनं भूया सं विन्नं लब्धवतः भराप्नवतेा निरा- अथस्य wafer नलोाद्याने चिराद्‌ TwaTS मणदाषग- वेषणाथे उपगतिरवखितिः किलाभूत्‌ । किलेति पुराणा अयत इत्यथः । अजानां WE: स्फारे व्याप्त TAY दति वा देतु गर्भविश्चेषणम्‌। एतस्िलन्तरऽवसरे युन रन्धान्ययाग्यमेखनाद- न्तर्मनगसि अमितानन्दः भआतप्तनिःसोमदषंः ख प्रसिद्धप्रभावः खरो भेमीगले Weg सेवितं खतरा पोडयितुं वा धुः शरुतिभरिखा atrgewat ware: ult चूडा अ्रभागे यस्य एवंविधमाकशंपूे यधित चकार । मैमीगखै गरं मातन सुरेषु खगंतेषु wear च वनाशम्निमि सति दतरोतरानुरागा- 32 | ade ङत्रभेवध्चचरिते। रतस्िन्‌ युनरमरोऽन्तरमिनानन्दः स भेमोनलय- वारां धित समरः श्ुतिशिखावन्दारष्डं धनुः ॥ २९९॥ ओद कविराजराजिमुक्टालङार्टोरः सुतं Hee aya जितेन्दरियचयं मामल्देवी च यम्‌। . यातः सप्तदशः VHT सुसदटशि कर्द प्रशस्तेमशा- काल्ये तहवि नेषधोयचरिते सगा निसगोज्वलः ॥ ९९९॥ समाप्तः GATT सगः । तिश्रयेन चिरविररातिसस्यदा सराराधनं चक्रतरिति भावः) अनेनाष्लरसमं सद्ागारक्भवलंनात्‌ शङ्गतिः खचिता । afe- कटंकपराभवदख्य मविग्यत्वाश्ञायकापकषंस्यावषंनोयलाश्च स ATH: NRRL `. ओषषंमिति। पवीङ्धः पवत्‌ । एककद्रंकलात्‌ ख सु्भंगिन्या eae राजविद्धेषस्य प्रशस्ठेवेषंमात्‌ wee सुसद्भि 7a तद्भुवि ओहरचिते सप्तदन्ना्नां पूरणो निसगेाव्वलः खभावः- श्युन्दरः सगेः Ware: | कम्दप्रशस्तिरपि qa मया छत इति खचितं।सादग्याखच ger wafer डन्दः aware ia पाठे छन्दा अन्धक्रमखरूपनिरूपणापरसख् ग्न्धस्येत्यर्थः। sary इति तख परण दति (पा ०५।२।४८) डट्‌ । aR ha भाषितपुश्कम्‌ ॥२.९२) दति बेदरकरोापनामकनरसिंहपण्छितात्मजनारायणविर- किते मेषधीयगप्रकाओे सप्तदशः qa: ९७ ॥ . J