Prthviraj Rarhaura Veli Ktisana Rukameni ri UNIVERSITY OF TORONTO LIBRARY WILLIAM H. DONNER COLLECTION purchased from a gift by THE DONNER CANADIAN FOUNDATION AL FoLLECTION OF PRIENTAL W ORKS PUBLISHED BY THE ASIATIC SOCIETY OF BENGAL. New Serizs, No. 1423. BARDIC AND HISTORICAL SURVEY OF RAJPUTANA. Veli Krisana Rukamani ri Rathora raja Prithi Raja ri kahi. SIRWILLAMJONES oe SS eee = qe See ea See SS —e ae: ae esa ee SS ~ [~~ ~ see —— = — यस्य जः 1 ern es ry ज) eae: ——— a omer nn 7 MDCCXLVI-MDCCXCIV EDITED BY Dr. L. P. TESSITORI. PART I: DINGALA TEXT with Notes and Glossary. CALCUTTA: PRINTED AT THE BAPTIST MISSION PRESS, AND PUBLISHED BY THE ~~ ^ SOCIETY, 1, PARK STREET. a 1919. Z- a TT EE eee “xX an | BIBLIOTHEGA INDIGA: 7 | A “a 4, LIST OF BOOKS FOR SALE AT THE LIBRARY OF THE ASIATIC POCIETY OF PENGAL, No. 1, PARK STREET, CALCUTTA, AND OBTAINABLE FROM The Society's Agent— Mr. BERNARD QUARITCH, 11, Grafton Street, New Bond Street, London, W. फ नि नि नि i i ie i 2 Complete copies of those works marked with an asterisk * cannot be supplied—some a = SS Se of the Fascicult being out of stock. BIBLIOTHECA INDICA. Sanskrit Serves. Acvavaidyaka, Fasc. 1-5 @ -/10/- each ne 3 Advaitachinté Kaustubha, Fasc. 1-3 @ -/10/- each wld + नि *Cranta Sutra of Cankhayana, Vol. I, Fasc. 1-7; Vol. II, Fasc. 1-4 Vol. III, Fase. 1-4; Vol. IV, Fasc. 1 @ -/10/- each . 10 Cri Bhashyam (Text), Fasc. 1-3 @ -/10/- each i ० 1 Cri Cantinatha Charita, Fase. 1-4 =. ष व Dana Kriyé Kaumudi, Fasc. 1-2 @ -/10/- each ue oo VE *Dasa Rupa (Text), Fasc. 2-3 @ -/10/- each ध Me न = BIBLIOTHECA INDICA: (COLLECTION OF PRIENTAL Works PUBLISHED BY THE ASIATIC SOCIETY OF BENGAL. New Series, No. 1423. BARDIC AND HISTORICAL SURVEY OF RAJPUTANA. Veli Krisana Rukamani ri Rathora raja Prithi Raja ri kahi. SIRWILLIAMJONES MDCCXLVI-MDCCXCN EDITED BY Dr. L. P. TESSITORI. PART I: DINGALA TEXT with Notes and Glossary. CALCUTTA : PRINTED AT HE BAPTIST MISSION PRESS, AND PUBLISHED BY THE ASIATIC SOCIETY, 1, PARK STREET. 1919. [Ns Vil (BR 9108 ~ ५ 1}/ [+ "| INTRODUCTION. This ^^ Vel of Krsna and Rukmini”’ by Rathora Prithi Raja of Bikaner, which I have the privilege to edit for the first time in the present volume, is one of the most fulgent gems in the rich mine of the Rajasthani literature. Composed in the lumi- nous days of Akbar, this masterpiece of the Rajput muse has been awarded the palm by the consensus of all the bards who have sat in the tribunal of critic from those times to this day. The contemporary bard who hailed the apparition of the new star in the Parnassian sky as “a fifth Veda or 2 ninetieth Purana ’’! was, in a grossly inappropriate but very expressive language, only giving vent to his unbounded admiration ; while the other bard who pictured the Veli as ‘‘a veritable ereeper of ambrosia spreading in luxuriant growth all over the earth,” " was at the same time proclaiming the immortality of the poem and foretelling the immense diifusion which it was destined to obtain in the land of Dingala. Jn a less pictur- esque, but more accurate language, one would say to-day that this little poem by Prithi Raja is one of the most perfect pro- ductions of the Dingala literature, a marvel of poetical ingenu- ity, in which like in the Taj of Agra, elaborateness of detail is combined with simplicity of conception, and exquisiteness of feeling is glorified in immaculateness of form. That a work of such refinement could be composed by a 1 Adho Duras6, a famous name, according to MS. 1 of Descr. Cat. of Bard. and Histl. MSS., i, ii (pp. 1026-!03a of the MS.), but Gadana Rama Singha according to MS. 21 of Op. cit. (p. 1396 of the MS.). The song in question is a gita and begins :-- aaa गुण लखण रूप गुण रचावण वेलि तास कुण करै वखाा | ataat वेद भाख्यौ पीथल एणियौ उगणीसमौ GET ॥ १॥...०४९. ? This is a chappaya kavitta, beginning :— afa बीज जल्‌ विमल सकति fafa रोपी सद्धर | पच दोद्धा गुण पदप वास लोभो लखमीवर्‌ |...etc. (Descr. Cat. of Bard. and Histl. MSS., i, ii, 38, pp. 302 a-b ; and ii, i, 28, p. 1255). The name of the author is not recorded'in the manu- scripts. : : 11 INTRODUCTION. Rajput, need not cause surprise. We are accustomed to think of the Rajput as of a man who delights only in bathing his scimitar in the blood of an enemy, or in pursuing with his spear the wild boar in the desert, but we are doing him a great wrong if we imagine that he is only a warrior, and 38 incapable of any gentle emotion. If he is a warrior in war, he is quite another man in peace. In the otium of his house he transforms himself into an epicurean of a very versatile taste. and if he is very often partial to the brutish pleasures of the cup and of the table, he is not on that account less exquisitely sensible to the high emotions of love, religion. and poetry. In love you will find him sensual, selfish, and inconstant, but at the same time refined and gentle; in religion blind and superstitious, but at the same time convinced ; love and religion are indeed the two principal chords in the psychical lyre of the Rajput and, if he is born to be an Arion, he need only play upon these two chords to find within himself his inspiration. Of poetical train- ing the Rajput has always received a full measure from his inseparable Mentor, the bard. What marvel, then, if a Rajput of genius rises to win with his verses an immortality, which he could have never conquered with his sword? Prithi Raja is not the only Rajput who has won the poetical laurels, and the Rathora dynasty of Bikaner alone can boast of one or two other distinguished names. IT need not introduce Prithi Raja to the readers of Tod, nor could I compose of him a better elogium than Tod did with two strokes of his masterly brush: ‘* Prithi Raja was one of the most gallant chieftains of the age, and like the Troubadour princes of the west, could grace a cause with the soul-inspiring effusions of the muse, as well as aid it with his sword; nay, in an assembly of the bards of Rajasthan the palm of merit was unanimously awarded to the Rathora cavalier.” '! Pritht Raja was a brother of raja Rai Singha of Bikaner, and like the latter had the fortune to see the splendour of the court of Akbar and to share the glory of some of Akbar’s campaigns. He was born, according to one chronicle”, in the year Samvat 1606 (about 1550 4.7.), and was therefore, if the date is correct, about eight years younger than his brother Rai Singha, who succeeded to the (वव of Bikaner at the death of his father Kalyana Mala about the year 1574 4.p. (Samvat 1630). When, shortly afterwards, Rai Singha was given an important com- mand in the Gujarat campaign, Prithi Raja was probably in- corporated in the Bikaneri contingent and must have remained 1 Annals of Mewar, chapter xi, p. 273 of Routledge’s edition. In the extract I have taken the liberty to alter Pirtht Raj into Pritht Raja, Rajasthan into Rajasthan, and Rahtore into Rathora. 2 प्रिथौराज कल्याणमलौत सं? १६३०६ रा मगखिर वदि १ HAA ..... (Deser. Cat. of Bard. and Histl. MSS., i, 1, 18, p. 455a). INTRODUCTION. 111 in active service at least प४] 1581 ~^ .7., when, as Abu-l-Fazl tells us,! he took part in the imperial expedition against Mirza Hakim of Kabul. His gallantry in the field won him a fief in Gagurana, the ancient stronghold of the Khicis in Eastern Raj- putana which the brave Acala Dasa had watered with his blood. But his poetical genius and his piety won for Prithi Raja a much greater distinction. His verses became famous in all the Rajput courts and, as often happens in India and not in India alone, his genius and his singular piety were associated with some supernatural power which he was believed to possess, and he was honoured as a clairvovant and a saint-even during his own lifetime. It is the same thing that has happened to the more famous Tulasi Dasa who, incidentally, was Prithi Raja’s contemporary. Both Tulasi Dasa and Prithi Raja, the one in the east and the other in the west, the one a brah- min and the other a Rajput, felt the impulse of the same stimulus: the wave of religious fervour which in the sixteenth century swept over the whole breadth of the country and deter- mined a revival of Visnuism on the basis not of knowledge (72124), but of devotion and faith (bhakti). Tulasi Dasa, the brahmin, preferred to adore the Lord under the form of Rama; Prithi Raja, the Rajput, under the form of Krsna, the former no doubt on account of his austere asceticism, the latter on account of his sensuality; Tulasi Dasa selected for the theme of his Ramacaritamanasa the noble career of the virtuous Rama, Prithi Raja sang in his Veli a love adventure of the libertine Krsna. But with Prithi Raja the spirit of devotion never grew so strong as to defeat that pride, that fighting spirit, and that thirst of enjovments which form the nature of a Rajput, and Prithi Raja, as far as we know, never laid down his sword to take up a rosary, nor renounced the pleasures of his zenana for a miserable life of mortification. The Rajput cannot suffer emasculation, nor diminution of dignity on any account. The stories which are current concerning Prithi Raja, and the poems which he has left, bear evidence of his strong character, high spiritedness, and energy. He was an admirer of courage and unbending dignitv, and a sworn enemy of degradation and cringing servilitv. With the same freeness with which he would compose a song in praise of an act of gallantry or of determination performed by a friend or by a foe, he would condemn in verses his own brother, the Raja of Bikaner, or even the all-powerful Akbar for any act of weakness or of injustice committed by them. The song which Prithi Raja composed in praise of rand Pratapa of Mewar for not yielding to the will of Akbar and whereof Tod gives a very free transla: 1 Akbarnama, transl. by H. Beveridge, vol. iii, p. 518. 1V INTRODUCTION. tion in his ^ Annals of Mewar’”’!, is still popular among the Bikaneri Caranas. Tod relates a story according to which Prithi Raja would have composed this song to prevent the Rano from submitting to Akbar, but the story is contradicted by the tone itself of the song, which is not of exhortation, but of praise and approval. Probably the song was composed after Pratapa refused to accept the terms which Akbar offered him through Shahbaz Khan in 1578 a.p.* It will not be out of place nor without interest to give here the original text of this famous composition, which Tod admired so much for its force that he regretted that he was unable to imitate it in his transla- tion :— ax जेयि निमाणा नीलज नारी अकवर TSH वट अवट | A Saf SN Seon अवे तिणि हाट त aq किम रजयपूतवट ॥१॥ रोजादताँ तर नरज Sf सुसीजे जगत जण | चोदटि तिणि यप atest पतौ न खरतर खचीपण | २॥ पडपँच fee वघधलाज न कायति खोटौ लाम कुलाभ खरौ | ~ EN ~\ रज्ज वेचिवा नायो राणो Elle SLM CHT हरो ॥२। fis आप रै दाखि एरसातण सोह्दिणियास ad बलि सराणि | af = oN wa वेचियौ जडे वडखविये a खच राखियौ जठे खुम्माणि ॥ 3 | जासी हाट वात रद्िसी जगि अकवर sf जासी कार | रद्ि राखियौ खची भ्रम रारे सगलौ ई वरते संसार ॥५॥ 1 Chapter xi, p. 273 (Routledge’s edition). _ 2 Akbarnama, transl. by H. Beveridge, vol. ili, pp. 380-1. 8 The text of the song as I have given it above, has been recon- structed by myself from two recent and inaccurate manuscripts (MS. 21 INTRODUCTION. Vv 1. [10 that shop] where the men are deprived of their dignity and the females of their modesty, and Akbar is the purchaser, and the way [whereunto is] impervious, to that shop how could the son of Udo go as a seller of [his] Rajput- hood ? 2. To the nauroz of the Rozaits,! where [all] the people of the world are being looted, to that market-place, [1 say, | Pato * of Citora goeth not as a spender of [his] ksatriyahood. 3. [Other] unworthy Chiefs have not seen the deceit and the mortal blow [dealt] to their dignity, [they have not seen that this gain is] a false gain, [nay, let us say,] a veritable loss. [But] the Rano, the descendant of Hamira, hath not gone to the shop of the Seraglio to sell [his] Rajputhood. 4. Showing [before the world] the manliness in his body, with the force of his spear the Rano, the scion of Khumana, hath preserved [his] ksatriyahood where [other] great ksatrMjas have sold [theirs]. 5. The shop will go, [though] the story thereof shall remain in the world, and Akbar [himself] shall be cheated some day. The religion of a ksatriya which the Rano hath preserved [unimpaired] on earth, is made use of by [every Rajput in] the world. Nothing better than the above song could illustrate Prithi Raja’s character. To revolt openly against the despot of Delhi and sympathize with an enemy who was considered to be one of the most troublesome rebels in the empire and, what is still worse, to predict Akbar’s fall as a near possibility, was on the part of an imperial servant an act of audacity approaching madness, but Prithi Raja did it. Was it unloyalty? If the allegations which the Rajput chronicles make against Akbar with regard to the Fancy Bazar feast of the nauroz are true, nobody can blame Prithi Raja for condemning an institution in which the honour of the Rajput women was insulted. We can gain an idea of what the Fancy Bazar feast was from the accounts left us by Al-Badaoni® and Abu-l-Fazl.* On the of Descr. Cat, ii, 1, p. llla, and MS. P 40, p. 418, a recent acquisition): Ram Dan, the old blind Carana of Bikaner, recites it in a much modern- ised form with several later variants and alterations, most of which are reproduced by Thakur Bhur Singh in the copy of the song incorporated by him in his मदाराणायशपकाश (Bombay, 1909, pp. 94-5). Unfortunately , I have found it impossible to procure any old manuscript of the song, but I trust that my reconstruction is not very far from what must have been the original written by Prithi Raja himself. 1 A poetical synonym of Muhammadan, evidently from $39). 2 A diminutive form of the name Pratapa. 3 Muntakhabu-t-Tawarikh, transl. by एए, H. Lowe, vol. ii, pp. 331, 350. + Ain-i-Akbari, transl. by H. Blochmann, vol. i, pp. 276-7. Al- Baclaoni says that Akbar gave to the day of the feast the name of khushroz, or the joyful day, and that it was a source of much enjoyment. vi INTRODUCTION. occasion of the nauroz, that is of the anniversary of the Emperor’s accession and in later times on other occasions as well, the stalls in the Fancy Bazar were thrown open and each amir was assigned one in which to arrange some kind of show. The wives of the amirs were also invited to attend, and there were days for men and days for women, for the amusement of the Begams and of the people of the Seraglio. All sorts of goods were displayed and His Majesty was the buyer, just as in Prithi Raja’s song. And the Emperor took advantage of these meetings to inquire into the secrets of the empire and the character of his servants, and arrange betrothals and marriages, and the people invited would part with anything to purchase an official post and the imperial favour. Even if Akbar’s object in inviting the wives of the amirs to such feasts was not one of impurity, the mere fact that Rajput women left the privacy#of their zenanas to appear at Court, was enough to irritate the susceptibility of a Rajput like Prithi Raja. The story related by Tod! and popular throughout Raj- putana, according to which Prithi Raja was instrumental in inducing Akbar to part with the custom of inviting Rajput women to Court, is probably only a later invention built upon the mention of the nauroz in the song of rano Pratapa. In Bikaner the story is related thus. Prithi Raja had been sent by Akbar to purchase horses in Gujarat, and had succeeded in securing a number of very fine beasts, bunt had had to promise to the seller that the horses would be fed with milk every day. On his way back to Delhi, Prithi Raja happened to pass through a village where no milk was available and was ina great plight when a Carani girl came to him and from a single cow which she had, drew so much milk as to satiate all Prithi Raja’s horses. Prithi Raja was amazed and fell at the feet of the Carani asking her to impart on him some of her miraculous power. ‘‘Myname is Raja Bai,’’ said the girl, ‘‘ whenever thou shalt be in a plight, think of me and I will come to thy help.” Some time afterwards, Akbar, having heard of the beauty of Prithi Raja’s wife, sent her a summons to Court without in- forming Prithi Raja. The lady came, but before entering Delhi was met by her husband, who inquired the reason of her com- ing. She showed him the imperial letter. Prithi Raja was dismayed, and for a long while wavered between the dilemma of losing the imperial favour or the honour of his wife, when he remembered the promise made to him by Raja Bai. As soon as he thought of her, the good Carani fairy appeared, and after consoling him, went to Akbar under the form of a lioness and frightened him into promising never to interfere with the honour of a Rajput lady again.” 1 Op. ctt., p. 275. ९ I have given the story as it was told to me by Khiriyo Rama Dana, INTRODUCTION. vil No less wonderful are other stories which are current in Bikaner about Prithi Raja and which would hardly deserve to be mentioned but because they represent the interpretation which the modern tradition gives of the personality of our Author. He hada brother, Amara Singha, who in a.p. 1591— as we know from Abu-l-Fazl!—-rebelled and after the fashion of a malcontent Rajput began to cause trouble by raiding and plundering. Akbar appointed Hamajo?, alias Arab Khan, to go in search of him with orders to capture him alive. Prithi Raja, who was present, told the Emperor that Amara Singha would not be caught and that whoever was despatched against him would be killed, but the Emperor would not believe. Hamajo went off to his duty and with a strong force surprised Amara Singha unprepared. Amara Singha was asleep and none of his followers durst awaken him, because «he had a vicious habit of striking with his scimitar whomsoever disturbed him in his sleep. At last Padama 8, a Carani woman who was in the Rathora’s zenana, roused him with a song in which she told him that Akbar’s army was there. The hero sprung to his feet, grasped his kaiart, mounted his horse and went straight for Hamajo who was on the back of an elephant. The horse leaped over the elephant’s tusks and Amara Singha succeeded in reaching the howdah with one hand when a blow from behind cut him in two at the waist. The upper part of his body fell into the howdah, but before he died his kaiart had found its way into Hamajo’s heart. When Akbar received the report on the fight, he sent for Prithi Rija and congratulated him on the bravery displayed by his brother, whom he called ‘‘a fly- ing tiger,’ and on the fulfilment of his prediction.* > the blind Carana of Bikaner, but Sindhayaca Day4la Dasa in his Khyata of Bikaner (Descr. Cat., i, ii, 1, pp. 218a ff.) relates it in a somewhat different form. According to Day&éla Dasa, Prithi Raja went on pilgrim- age to Dvarik&é and on his way thereto stopped at the village of Cidarav6, where he met Raja Bai. Some time after his return to Delhi, Karama Canda—a former minister of raja Rai Singha—from, his hostility to Prithi Raja contrived to bring about “° some mischief,’’ whereupon Prithi Raja invoked Raja Bai with a song beginning: छार Waa = qq >» वादर BITS. “She came, and helped him so effectively that that very day the custom of the nauroz was abolished (pp. 219 a-b). According to Dayala Dasa this event happened in Samvat 1657, but there is no doubt that the date has’ been invented by him. Tod’s version of the story is quite different. 1 Akbarnama, transl. by H. Beveridge, vol. iii, p. 908. Dayala Dasa gives a fictitious date : Samvat 1654. 2 A marwarization of Hamza. 8 The tradition is that she was a sister of the famous Sadii M4l6, and the wife of Baratha Sankara, another illustrious name (Descr. Cat., i, ii, 1, p. 2188). _ * The account of Amara Singha’s rebellion and death in Abu-]-Fazl 18 very concise. ‘*‘ Hamza ‘Arab had ajagir in Bhimbhar. Umra, the vill INTRODUCTION. Prithi Raja’s power of clairvovance was so great that on one occasion, when he was in Agra, he detected that at a certain hour of the same day the image of Laksminatha in Bikaner had been taken out of the temple. Akbar one day asked him: ^^ Thou, who hast the Pars under thy control, canst thou foretell the place and circumstance of thy own death ?’’—‘' Certainly, was the reply, I shall die on the ViSranta Ghata at Mathura six months hence, when a white-feathered crow will appear.” That very day the Emperor sent Prithi Raja on military duty bevond the Attock in order that his prophecy might be falsified. Five and a half months expired, and Akbar, who had in the meanwhile forgotten all about Prithi Raja’s prophecy, sent him a summons to Court. Prithi Raja obeyed and started for Agra, but: on reaching Mathura fell ill and died on the ViSranta Ghata, when a white crow appeared exactly as he had foretold.” ! More human, though undoubtedly equally fantastical, is. an anecdote of Prithi Raja’s private life which is very popular in Bikaner. One day in the vears of his maturity, our Author was tying up his turban before a mirror in his zenana apart- ment, when he discovered a grey hair on his head and forth- with plucked it off. One of his wives who was watching him from behind, noticed the act and could not help smiling at the vanity of her husband. He saw her, and turning round, im- provised the verse : पीयल Heat आविया Tet AT खोड | कामण मत्त गयन्द्‌ sy ऊभी Fr AUS ॥९॥ “OQ Pithala!*® thy grey hairs are come, and many flaws have appeared [in thee. And lo! there] stands [thy young] sweetheart like a ruttish elephant [and laughs at thee] turning her face aside.”’ But the lady, who was a bit of a poetess herself, promptly rejoined : खल्‌ at wat बोरियां Gaya Wat पाव | नरां qat अर वनपफलां पक्तौ Vat साव ॥९॥ brother of Rai Rai Singh, became disobedient and practised violence. He received suitable punishment from the fief-holder.’’ (Akbarnama,. transl. by H. Beveridge, vol iii, p. 908). ॥ Descr. Cat., i, ii, 1, pp. 219h-220e. According to Dayala Dasa Prithi Raja died in the year Samvat 1657. 2 A diminutive poetical form of the name Prithi Raja. INTRODUCTION. ix “Tf For] the plough long-trained bullocks, [and for] the road the feet of [old] sturdy walkers. [And as for] men, horses, and fruits, [they]! are relished [only] when fully ripe.”’ A kiss ought to have concluded the scene, but the story is silent on this point as any similar allusion would be out of etiquette with the Rajputs, who are in such matters much more prudish than we are. To revert: now to more serious subjects. Prithi Raja has left, besides the Veli, quite a number of other small poems, mostly sakha ra gita, that is to say commemorative songs. Of the many anthologies of miscellaneous commemorative songs (phutakara gita) which are in the hands of the bards of Rajputana, there is probably none which does not contain at. least one or two examples by Prithi Raja. To give particulars about these smaller compositions would serve no purpose here, and would on the other hand require a careful study of them which I ९001688 I have hac no time to make. It will suffice to say that they mostly refer to contemporary Chiefs, among whom Prithi Raja’s brother Rama Singha, who was assassinated about 4.7. 1578 (Samvat 1634), and for whom our Author seems to have had a special predilection, and that they are not all of equal merit, nor of equal interest. Evidently, they were composed at different periods, hence the differences. To the last years of Prithi Raja’s life may be safely ascribed three stotras in duhas: one in honour of the Thakuraji (Krsna), one in honour of Rama Candra, and one jn honour of the Ganga. They are full of devotional spirit and must be senile productions. ! Prithi Raja’s greatest poem, the Velt Krisana Rukamant 11, was composed as we know from the last stanza thereof, about a.p. 1581 (Samvat 1637). As the title tells, the poem deals with the rape of Rukmini by Krsna—a mere innocent epis- ode in the scandalous life of the Shepherd God—.,their marriage, their amours and enjoyments, and lastly the birth of their son Pradyumna. Prithi Raja himself informs us (st. 291) that he has drawn his inspiration from the Bhagavata Purana, but a comparison of the legend of Rukmini in the tenth skandha of the last-mentioned text with our Velz soon convinces one that the two works coincide with one another only in the main thread of the narrative, and differ considerably in the treat- ment and in the minor details. Indeed, going through the Sanskrit of the Bhagavata with the hope to detect analogies of figure or of expression to passages in the Veli, I could mark only four cases in which the coincidence with the Vels 1 The séotra in honour of the Ganga was probably composed by Prithi Raja in atonement for the blasphemous verse 290 in the Veli, where the sacred river is disparaged because it is addicted to both Hari and Hara, drowns whomever cannot swim, and runs only through one strip of the country and no more. x INTRODUCTION. was striking enough to indicate a direct borrowing on the part of Prithi Raja. The poem, which is in 305 stanzas, opens with an introduction (st. 1-7) in which the Author modestly acknowledges that he is incompetent to sing of Krsna, the Lord of the world, but cannot refrain, he says, from using his tongue in praising Him by whom he has been created and nourished. With st. 10 begins the narrative, at the court of Bhima. the father of Rukmini, the reasons for not beginning from Krsna being explained in st. 8-9. One of these reasons is that in a work inspired with the érvgararasa precedence should be given to the woman, and another that the woman in that she carries the man in her womb for ten months? and after delivering him, looks after him for ten years, is superior to the man and has a claim to more consideration. St. 11-24 describe with delicate touches the childhood of Rukmini, the first ap- pearance of puberty in her lovely body. and the charms of all her limbs in the spring of her youth It is time to think of a husband for her, and her brothers, contrary to her wish and to the wish of her parents, affiance her to SiSupala, who comes with great pomp to marry her (st. 29-42). But the girl is in love with Krsna, to whom she contrives to forward a letter, asking him to come and rescue her from the impending marriage which is being forced upon her against her will (st. 43-66). 1 These are the following :— मा वीरभागमभिम्ैतु ta aery| मूभं faore fag बलि । गोमायुवन्मुगपतेबलिमम्बजाच्त (8१2. प्रासे जौ बीजौ wea | (श. Pur., X, 52, v. 39). fuk. Velt, ए. 59). aay रव्यसग्रीवमेषपष्यबला- sales ने मेषणदप सम- करैः | युत्त रथमुपानीय तस्थौ oe वेग बलाहक इसे वदन्ति । लिग्मत॥ (ऋ 63.09), , न Yr तमागतं समाज्ञाय aay we बम्भण fafa वन्दे हेतु सु मानसा | न पश्यन्ती ब्राद्धणाय fier नीजौ । (Kei. Ruk. Veli, v. 73). मन्यत्रनाम AT ॥ (Bhag. Pur., >, 53). | v. 31). परिघं पट्टिशं शूलं चर्मासी शक्ति- अ अखियात जु आधि तोमरौ | यद्यदायुधमादत्त तत्सवं सो आध । सज रकम हरि Be ऽच्च्छिनद्धरिः | (5124. Pur., X, 54, v. | सोजि | (Kri. Ruk. Velt, v. 29). | 133). | 1 | 1 2 It is notorious that the Indians consider the period of gestation to be ten months. INTRODUCTION. XI Krsna comes and meeting her in the temple of Ambika, where she goes under the pretext of the क, carries her off in his chariot (st. 67-112). Follows a series of verses in the charac- teristic sonorous style of warlike Dingala: the disappointed Sisupala rallies his friends and gallops after the fugitive couple, _ but. Krsna turns round and with the help of Balibhadra defeats. him after a sharp fight A brother of Rukmini attacks next, but is similarly defeated (st. 113-137). Krsna takes the maid to Dvarika and is married to her according to the brahmanical rite with great festivity (st. 138-158). We now come to the most exquisite picture in the poem: the falling of the night, the impatient expectation of Krsna, and the coming of Rukmini to his thalamus. The shyness of the maid and the unbounded joy of Krsna at her arrival, are described with all the master- ship which we should expect from a Rajput of refinement who has had many love experiences of that kind in his life (st. 159- 79). Then with great ability Prithi Raja draws a discreet eurtain before the thalamus of the two lovers, and leading us outside into the dark night (st. 180), makes us watch the break- ing of the day (st. 181-6), and then in succession the passing of the six seasons of the Indian year: the summer (st. 187-192), the rainy season (st. 193-205), the autumn (st. 206-216), the winter (st. 217-225), the 5४570 season (st. 226-8), and lastly the spring (st. 229-268). It is like a succession of magic-lantern pictures on a wall, each stanza is a quadretto in itself worked to perfection with that elegance in which Indian poets of the seasons succced so well. A passing mention of Krsna or of Rukmini here and there makes us remember that they are always present behind the screen and that all these different attractions of the different seasons are meant only for their enjovment. With st. 269-270 the screen is pulled aside and we are allowed to have a glimpse of the fruit of their loves: Pradyumna. After seven more stanzas mentioning among other things Pradyumna’s son Aniruddha (st. 271-7), comes the conclusion which consists of twenty-eight stanzas (278-305), and is very noteworthy as the boldest possible self-eulogy which an author could compose. The presumptuous tone of this con- clusion is in striking contrast with the modest tone of the introduction; evidently, the Poet is so pleased with the work he- has done that he must say bravo to himself. The Veli is declared equal to a kamadhenu on earth, for there is no blessing which it could not grant to its readers ; superior to the Ganges, to pilgrimages, to penance, to meditation ; a veritable staircase leading to heaven. And as for the verses of which the poem is composed, they are all one more beautiful of the other like. pearls in a row, and to sift them no one is competent but Prithi Raja; let the other poets hold their tongues, for the Veli is like a virtuous woman who suffers no censure. Seeing that Prithi Raja’s production is really incensurable, we may well xii INTRODUCTION. forgive him this outburst of self-confidence; it is, on a small scale and in a different form, the same proud feeling which made Michelangelo strike the knee of his Moses and say to the marble: Speak ! The great merit of the poem is in the combination of a delightful genuineness and naturalness of expression with the most rigorous elaborateness of style. Apart from the contents, it is, as regards form, like Horace in Dingala. All the pro- crustean rules of Dingala poetry are observed to the largest possible extent, and yet the language 1s not distorted but runs as natural and easy as it would probably have been if the Poet had refused to walk with the shackles of the internal rhymes and of the vénasagat; only more elegant, more exquisite, more musical. Indeed, the musicality of the verses is such that nothing could more conspicuously prove the error of them who hold that Dingala is too harsh for erotical or idyllic snbjects, and is fit only for heroic themes. It is certain that had Prithi Raja chosen to compose his [९४ in emasculated Pingala, he would have given us a very different composition, not superior in musicality, and considerably inferior in naiveté. But, fortunately for us, he preferred to compose in the literary bhasa of his native land, the Dingala of the bards. The metre, in which the Veli is put, belongs to the (10 variety and is called by Dingala prosodists the veliyd (714. It consists of four lines, whereof two, the second and the fourth, identical with one another in formation, and the other two, the first and the third, different. The two identical lines are rhymed together. The metre is regulated by a determined number of matras or prosodical instants, which is fixed and invariable in the first and third line, 18 and 16 respectively, but in the second and fourth line varies from 13 to 15 accord- ing to the prosodical value of the last two syllables. When the line ends with a periambus (^ ~), the number of 2161778 is 13, when with a iambus (“ —) 14, and when with a trochee (—“) 15. Beyond this restriction regarding the last two syllables in the second and fourth line, there does not seem to be any other rule regulating the grouping of the prosodical instants in the four lines, and nearly all sorts of combinations are practi- cally allowed. | ` In editing the Vels: Krisana Rukamani ri I have been able to avail myself of an advantage which very rarely, if ever, falls in sort to editors of Rajasthani bardic poetry, the existence of old commentaries. The principal:of these are three and they were all written within fifty years from the composition of the Veli (Samvat 1637), one or two probably during Prithi Raja’s lifetime. They are: (a) a commentary in Old Eastern Rajas- thani or Old Dhidhari, (6) a commentary in Old Western Rajasthani, and (c) a commentary in Sanskrit. The two first are independent from one another and might well be contem- INTRODUCTION. xill porary and date, as | have just said, from the time of Prithi Raja himself. Both are adespotic and undated, but (a) is certainly anterior to Samvat 1673, and (6) is certainly anterior to the Sanskrit commentary, which is dated onlv five years later. As for their probable authors, it looks as if (a) was the work of a Carana, and (b) the work of a Jain, but it is just possible that the latter is also the work of a Carana recast into its present form by a Jain scholar. The Sanskrit commentary (c) which, incidentally, is the most valuable of all, was com- posed by a Jain, vacaka Saranga, in Samvat 1678, from a balavabodha in Bhas& by a Carana Lakho. Seeing that the commentary by Saranga generally agrees with (b), one would naturally feel tempted to identify the balavabodha by Lakho with the Old Western Rajasthani commentary, but in that case it must be assumed that the latter has not been handed down to us in its original form. A fourth commentary (d) also in Old Western Rajasthani and by a Jain, appears to have been compiled during, or before, Samvat 1727 from (8) and (€) but though sometimes useful on account of greater diffuseness it hardly contains anything that is not already found in the two commentaries just mentioned The manuscripts which I have collated for the edition of the Veli are the eight following :— B: MS. No. 28 of Deser. Cat. of Bard. and Histl. MSS. Sect. i, pt. i, preserved in the Darbar Library in the - Fort of Bikaner. Written in Samvat 1673 at Bikaner during the rule of raja Sura Singha. Containing the text with a tika in Eastern Rajasthani or Dhuidhari The MS. has undergone many modernisations and other alterations by a later hand, in the case of all of which I have always taken into account only the original read- ing, when still readable. J: A Jain MS. preserved in the Mahimabhakti Bhandara of Bikaner, consisting of 16 loose leaves, 44” x 93” in size. The page contains 13 lines of 35-45 aksaras. Devanagari script. Copied by a Hiraji in Samvat 1692 at Jalana- pura. The MS. contains the mere text, without any commentary, and the readings generally agree with K, but in places deviate from K and concord with U. The writing is very inaccurate: 2 and a are often confused with one another and so ८ and ४, and ई is very frequently written for s. | K: Another Jain MS. preserved in the Mahimabhakti Bhandara, consisting of 31 loose leaves, 44” x 102” in size. The page contains 15 lines of about 50 aksaras each. Devanagari script. Written by a Manikvamuni, pupil of pandit Nemaharsamuni, disciple of vacanacarya Samayamiurtigani, at Khandapagrama in the year Sam- vat 1722. Colophon :— ~ X1V INTRODUCTION. इति वेल संवतयुगलकरमुनिचंनवत्सरे vleate aa दातपच्तरजनीश्वारे वाचनाचाय्धेधुभ्येसमस्तविद्याकलिंदकवा० HAM (oe समयमू्तिगणिवराणां अंतेवासिनः पंपःखरीमन्रे मदषेमुनिय (sic) श्िष्यमुनिमा {्एिक्वसुनिना जेषि सखीषंट्पग्रामे (इ)ति | The MS. contains the text with the same commen- tary in Dhidhari as MS.B. The readings are generally the same as in B, as corrected by the later hand, only occasionally different readings of N and U are adopted. In the writing चट, चै, खे, and अड, व्यौ, Wt are generally employed indiscriminately. M: A MS. obtained from Mathena Jiva Raja of Phalodhi, in the form of a book, originally consisting of at least 1,350 leaves, about 93” x 6}”—7” in size, but now frag- mentary, especially in the former half where the leaves have been in great part eaten away by white ants. Written by different hands in different places, partly during the rule of raja Sura Singha of Jodhpur, and partly during the rule of his successor Gaja Singha and the beginning of the rule of Gaja Singha’s successor Jasavanta Singha. The volume contains an extraordinarily rich mine of disparate works, from mystic-devotional poetry to a chronicle of Jodhpur and genealogical lists of the Rathoras, and it would be impossible to try to give here an idea of all the different subjects. Our Veli is found at pp. 535a-5706 of the MS., and is unfortunately frag- mentary owing to the lower margin of the leaves having been eaten bv white ants. It is written in Marwari script on 15 lines per page and 12-15 aksaras per line. From the colophon at the end it appears that the Veli was copied at Méhakara (near Buranpur, in the Dekhan), in the year Samvat 1676. The text is fairly accurate and closely agrees with B, so much so that it would seem that both M and B are copies from a unique original. A peculiarity of the writing is that ओं is generally represented by 4, and अख, WX are generally written खो, gq. N: MS. No. 34 of Descr. Cat. of Bard. and Histl. MSS., Sect. ii, pt. i. Written at Nagapura in Samvat 1727. The text generally agrees with P, and so does the commentary except that the latter is more diffuse than the commentary in_P, and is also enlarged by quotations mostly marginal, from the Sanskrit commentary of U. P: MS. P. 18 (see ‘“‘ Progress Report”’ in Journ. As. Soc. of Beng., Vol. xiii, 1917, p. 199), a Jain MS. consisting INTRODUCTION. XV of 30 loose leaves, 4“ x 10” in size. The page contains six lines of text of about 55 aksaras each, and about 12 lines of interlinear commentary, written in very minute characters comprising about 65 aksaras per Jine. Both the text and the commentary are accurately written, but the last leaves of the MS. are lacunous owing to the bad ink which has caused them to stick to one another. The commentary is in Old Western Rajasthani. From the colophon at the end, which -is legible only in part, it appears that the MS. was written by pandit Tirtharatnamuni in Samvat 16--(?...... क BATT HA वधं). S: MS. No. 29 (a) of Descr. Cat. of Bard. and Histl. MSS., Sect. 11, pt. 1. Written at Solapura in Samvat 1757 (see p. 163a). Generally agreeing with B as corrected by the later hand, and so also with K. This MS. being of no particular importance, I have collated it only as far as st. 100. U: MS. No. 33 of Descr. Cat. of Bard. and Histl. MSS , Sect. ii, pt.i. Written at Udasara by Rajasagaragani for the use of pandit Sukharatna in the vear Samvat 1781 (see p. 39a). Containing the text accompanied by a Sanskrit tka, styled ‘‘Subodhamafijari,’’ composed by a vacaka Saranga, pupil of Padmasundara, at Palhanapura under the rule of Peroja (Firoz), in the year Samvat 1678. From the introduction to the (ka it appears that this was composed after the guide of a balavabodha, or vernacular paraphrase, previously written by a Carana Lakho : areata भाषायां चतुरेण विपख्िता चाश्णन छतो बालावबोधो [ऽ]सुलब्बये ॥ ४॥ परं न तादृ गों क्तिपटुत्वं वितनोत्ययम्‌ | तेन सं सव तवा गुह्या टीकामेनां करोम्यद्दम्‌ ॥ ५॥ The cost of printing this volume has heen generously contributed by His Highness General Sir Ganga Singh, Maharaja of Bikaner. L TESSITORI ed , अथ वेलि faaa wana रौ राढोड राज fama री कही । परमेसर vata cafe सरसति पणि सदगुरु vats fae ततसार | मङ्लरूप ATER मादव र चार सु A हौ मङ्गलचार ॥९॥ आरम्भ मै कियौ जेणि उपायौ गावण गुणनिधि इ निगुण | किरि कटचीच yaat निज करि ची चार लागी fram ॥ २ | कमलापति तणी केवा कीरति आद्र करे जु आदर | जागो वाद atfeat जीपण वागद्ीणि वागेसरी ॥ ३॥ १९। MS परमेश्षुर, MP प्रणमि, BKN पुण, JM पणि, S पण, U fafa, (M)S सतगुङ, J wax, K गाई वे, S ane, P माधव, JU चारि, K ax, Naw, BMS स, KS@sta, J ae, P Sei, M अवो. 21 KS जेण, NPU जपा, J(M) कपरायां, BKS करि, M कर, N fax, BKNS कठच्िच, P aadta, BEN चीनारद्‌ (CR), P Pare, J चौचार, ?3 चिचणि, M चौचण . द३। Pazar (for agar), JS drat (Sty), S aravtw, BK MNPU araeta, MS वाघसुरो . 2 afa किसन रूकमणी रीं सरसती न सखे ate तूं सोभ वाडरा want कि वाडलौ | मन सरिस घावतौ मूढ मन पदि किम पूजे wget ॥ ४। जिणि Fa सदस फण फणि फणि वि fa जीँ जी ह जीद नवनवौ जस | तिणि ही पार न पायौ चीकम वयण डेडराँ किसौ वस ॥ ५ ॥ खीपति कुण सु मति gen qu जु तवति तारू कवण जु समुद्र तरै | ust कवा गय लगि पडते कवग रङ्कः करि मेरु कर ॥ € ॥ fata fu जनम जगि मुखि 2 sitet करसन जु पोखशण भरण करै | कद्ग aut तिणि amt कीरतन खम कीधा विणा केम सरै ॥ ७ | ४। Sars, JS @we (for aia) » < args, N वाज, BM arsar, BMS छवौ क, Bafa, NP सर, BJK मनि, 'M da ध्यावंतौ ge सरिश्य मंन, NS ge, JKU पागल ५। KMN fara, MS फण, PU off जदि, M नविनवौ, BKMNS तिण, J(M)PU लाड (for पायो), M aa, U eeu, J fae N fat. ₹। ALL ओ्रौपति, PU खमथ (for सु मति), S संमति (ditto), J कवि (ditto), BJ तुउ, B विज्रवति (for तवति), PS aaa, J समद्र, S समंद, KMS fat, K गदण, BS wa, J wax, IN पु्चे 8 qiea, S tia, P किरि, KMS मेर © | BKNS जिण, S जग, BKS मुष, BKS क्सन, JPU fava, JK ज पोषण, BNP(S)U संपोषण (for ज पोषण), B aw (for Ist aah), cats राज पिथीराज री कौ | 3 सुकदेव are जेदेव सारिखा सुकवि अनेक ते मेक सम्य | fran पद्िलौ कीजे तिणि गृ धिये जेणि लिंगार ग्रन्थ ॥ < ॥ दस मास उद्रि धरि वले वर्स दस जे इदां परिपाल जिवदी | धूत हेतु teat पिता प्रति वली faa मात वडी ॥ € ॥ दक्छिणदिसि देस विद्रभति दीपति एर दीपति अति कुदणपुर | गाजति अक भीखमक राजा सिरर अदि नरे TAT TE I Ve | पञ्च एच ताद्‌ wet सुएची कुवर्‌ waa ate विमल्‌कथ | ग वणा (ditto), BIN वे (for तिणि), KS ते (ditto), U az (ditto), BS तणा (for 2nd तणौ , BJKMNPU अम, S daw, K कौधां, JK faq, B faa, S वणि. =| BS gquea, N वयास, MNPU जयदेव, JN fa, KS a, Bg (for ते), M सरौक (for ते Ga), J पिल, U afd, Bufee, M पला र, BKMNS faw, J dfx, M गुचीजे, BS dfn, NPSU au, K वेण (for जेषि), KU war, S सिगार. ९। K vafe, IN उरि, P sax, MSU उद्र, B gi, M इड, K das, BJ qa, K ga, BJ हेति, KMNSU दत ,P aiaai, S ava, M पि (for प्रति), JMS वलै, BS विसेषत. १०। KPU efeu’, BN eam’, S feuufeer, BS विदुरभति, K Siva, J राजति (for 2nd दौपति), K राजत, MN Sa, M wWeaey, S Wags, PU fafcex, M & 2 सेवे (for facet), S Vax. g वेलि fea waaat री » रूकम वाङ अनं CHATS CHART ने रुकमरय ॥ १९ ॥ रामा अवतार नाम ate रुकमगि मानसशोवरि मेरूगिरि | नालकति किरि हंस चौ बालका कनकवेलि fas पान किरि ॥१२॥ अनि वरसि वधे ताद्‌ मासि वधै a ay मासि ताद्‌ weft वधन्ति | लखग Tata बाललीलामै राजकुमरि टूलडी रमन्ति ॥ AR ॥ संगि सखी सीलि कुलि वेसि समाणी Ufa कली पदमणी परि | राजति सराजकुयरि रायङ्गणि sfsam बौरज खम्बद्धरि ॥ १४ ॥ ११ । Bata पूत, BNPS est, M agat, BKN gee, P Gat, 5 कुंबर, M कवर . १९९ । JP तद्‌ (for ate), PSU इषमणि, KMN ° सरोवर, M कि मेरगिर, U बालगति, P किर, BMU करि, KS कर, S fanate, एव? इङ (for fas). J पंत, KSU करि, M किर. १२। JKPS अन, BM इनि, B वरिस, JKSU वरस, ALL are, 8 खड (for @, M खव मासि (for तार मासि वपे खे), KU [ख] ALL मास, BNU पदर, J gefe K पुर, MS पोडर, N way, S af [स], N शलौलामय. IKP gafe, NU कुखरि MS कुवरि . १४ । KS संग, B(S) सौल सखौ, BIMN Se, IKMNU कुल, IKNPU वेष, S कुशी, B पदिमणी K qeaum, N पदमिनौ, S राजत, BNU "कुश्वरि, S (कुंवर, K रायकुयर, BK wadau, J राद्गिण, M wr वयसि (for वेस), JKNPU gear, J a, J agas, S yom, J ज, KS tm, N fea, PU जु, K daz, N wih, PsA, Sse, U दोदूसे, BKMNSU प्रथम, J पिथम. १९। M Geet इ, BJKMNSU सुष, BKMS थयो, JPU fas, N यिय, MS क, BJKMNU qauiea, S Sue, P daft, N wax, J पेषि, N करि, SU fax, JK प्रात (for किरि), S प्योवर, U पयोधर, KU संध्या, ? वंदन, > रिषौसर, (M)S frrge. १७। BJNSU श्चावंतञउ (Cate, K जोश, MS जोवन, J जांणद्दार, 8 sage, | वौद्ड़ती, :3 esa, J ese, BM gma, Svar gH. १८। 1 पितु, BK wtafa, M faarsfu, B arf, KP wa, K fea. M wre (for लाज विधि), BK P करता, JNU कर॑तां. ¢ वेलि क्रिसन रूकमगी रौ सैसवसुजु सिसिर fata थयौ aS गुण गति मति अति अद्ध गिणि | arg तगौ परिग्रह ले आयौ तरूणापौ रितरा तिणि ॥ १९ | दल ute विमल्‌ वन नयग कमल्‌ दल्‌ कोकिल कर Tels सर | पाँपणि पङ्क सवारि नवी परि गहं रे भ्चमिया भ्रमर || Ro | मलयाचल सुतनु मले मन मोरे कली कि कामञङ्कर कुच | तगौ दखिगदिसि दखिण चिगुगते PLY सास समीर उच ॥ २९ ॥ aig go जु Vel उदास हास अति राजति रद रिखपंन्ति रुख | . नयग कमोदणि दीप नासिका मेन केस ` राकेस मुख ॥ २२.॥ ee -- ---- -- <--=---- ~ १९ | (B)M सद्सव, U waa, K सौ, JKNS ज, BK सुसिद, JIN ससिर P aaa, N यिय, JM सद, N ate, KNS गण, KNU परिगद, P परिगद्दि, Sacre, P लेख, S arfa, JU तङ्णापण, P तरङ्णपणद्‌, “BKNU रतिराउ, P रितुराय, 3 रतिराय, NS तण, K aa. २. | JKNPSU we, NP वनि, M aa, KS नयन, J tu, NP वरण aya (for नयण कमल), Mafs, BS getfa, J पंपिण, U पांपिणि J पंषि, JPU warft, KN समार, S gait, KMNU मुंडा, BKMNS भमिया, BKMNPS भमर. ev) J fawar, S afear’, BKMNSU gaa, J श्एवण, NP मलय, 9 faa, PS waz, U कलीष्य, K क, S@ (for fa), J तण, P fauz. NU aug, (KP)U दक्षिण, N चिगृणमय . re | JKMNS ज, B जि, P उदय, 8 we, JN रिषिपंति, K नयन, S aca, BS कमोदनि, JU कुमोदिनि, K कमोदिनौ. 9 मोन. cats राज fata सै कदी । © वधिया तनि सरवरि वेसि वधन्ती जोवण तणौ तणौ जल्‌ जोर | कामणि करगमसु बाण कामरा ate सु वरूण तणा किरि डोर ॥ २२ | कामणि कुच कठिन कपोले करी किरि वेस नवी विधि वाणि वखाणि | अति स्यामता विराजति ऊपरि Safa दाण दिखालिया जाणि ॥ २४ ॥ धरधर fan wax सुपीन पयोधर चग aja कटि अति सुघट | पद्मणि नाभि पियाग aay परि चिवलि चिवेणी atfa तट ॥ २५ ॥ नितम्बगी जङ्क्‌ सु करभ निरूपम रम्भ खम्भ विपरीत रुख | २६ । KMNS तन, BKMS सरवर, ALL वेस. BPS जोवन, U तण BJ(K) aug (नले), M aw 01. 2nd aut), INU arfafu, K रा, 11९८8 छोर (for दोर), U होरि (ditto), 8 स, BJKMNPS वरण, BENPS किर, P दोर (for डोर) . २४ | NPU atfafa, JM कामि, J कठिण, K किर, JS करि, N वदसि (for वेस), K ara, KU वषाण, BU saraart, P सामता, BS विराजत, K विराजित, JMNPU जौवण, K योवन, S जोबन, JKU दिषाद्या, N faar@, P दिषालि, KU ara. eu} NPU धराधर M ucyft, BJIKMNPU wa, P atta, BS षणौ, M घण, 8 ष्यति कटि, N gafe, JMNPU पदमिणि, BMS नाभ. JKNSU प्रयाम, JKMN ओोणि, BS aia, P खोणि. c वेलि किसन रूकमगी री gata नालि तसु गरभ seat वये वाखाणे faze ॥ २९ | ऊपरि पद पलव पुनरभव आपति fara कमल्‌ दल्‌ ऊपरि नीर | तेज कि रतन कि तार कि तारा इरि दंस सावक ससिदहर हीर ॥ २७ ॥ व्याकरण पुराण afata सासच विधि वेद चारि weay विचार | जाग चतुरदस चौसटि जागी waa Bia तसु ate अधिकार ॥ २८ | atta अनुराग थयौ मनि स्यामा वर. पापति वज्छती वर | हरि गुण भणि ऊपनी जिका हरि हरि तिणि वन्दे गवरि हर ॥ २९ | ei | NP नितंबिणि ४. °afu, 8 fafa, JKU बनि, 9 (बन, S गरभ (for क), P निरूपित, M निशूपति, BK sefe, J कवल, M saw, U saw, NP जुवल, 9 siaa, NPS are, BJKMS तस. २७। BP चोपरि, BKMNPS °yaa, BKPU पुनभेव, J जपित, B faa, S निरमल्त, K wae, Sa, JK सावकिं, JP geez, S सिस्र . ९८। BINPU owfa, K wea, BKM are, J सासिच, K श्चार, MS sifu, JK चतुदेण, KS जारे, M जंसे, 1371118 तस, J dfw. २९ । MPSU संभलि, M uy, N fas, BP सामा, NU शामा, K वदित, K भणौ, JU gfe (for भणि), (B)M जिका +, KMNPU इर (for Ist इरि), BJIKMNPU इर (for 2nd इरि), KM faa. JU गौरि. राठौड़ राज परियीराज रौ wet | 3 रेखे पित मात रिसा अवयव विमल विचार ae Fare | सुन्दर खर सीलि कुलि करि ge ave किसन सिरि खग नाद ॥ २० | प्रभणन्ति पुच इम मात पिता परति अन्हां वासना वसी इसी | vata किसी सराजवियां ग्वालां किसी जाति कुलधांलि किसी ॥ ३९ ॥ स॒जु करै weet सरिस सगा MAS CARA इता | fraua मति ats वेसासौ पांतरिया माता इ frat ॥ 82 I पिता मात quai पूत म पांतरि सुर नर्‌ नाग करै जसु सेव | लिखमी समी रुकमणी लाड वासुदेव समौ वासुदेव ॥ ३३ ॥ ao; M गाति नीसाणं WSs | ऊजलियाँ धासँ ऊवड्यौ । ban EN परनाले जल्‌ रूर WS ॥ १२० ॥ चेटियालौ कूदे चौसटि चाचरि लिये EN घ्र ठकलिय GRA AS | अनंत अनि सिसुपाल apeas भड़ मातौ मांँडियौ भड ॥ Re ॥ fia अङ्कणि afa afex रलतलिया घणा हाथ BUS घणा | Sat पच qeqe जल्‌ अकरिति तरि चाले जोगगो तणा ॥ १२२ ॥ ११९९ । N कुति, BM किरणि, JU safe कलि, K कलिया (for vafe), B aqea, JK(M)U वरजित, N वरषित, BEN fads, J we ve ygal, BK कलकि (for ywefa), J weft, KN feet, M @ex, BKM संबरवि, J संमरवि, U संमर, BJKM vets. yee | एन कांपिया, BIMNU कायरां, K कायर, BKU asia, J गाजते, N जागते, P गाजिते, J(K) गड्गड़द्‌, N गुडड्द्‌, PU धारा, B aaa, J vasa, K ऊपड्यो १९९। † Mestre, P `चोटोयालोडं, U quad, J gfe, N डि (for श्रू), BP ewe, J लीद, N Wax, ए wWraz (for ढलिय), BM खसिपाल, K fae’, BU sagt, J ऊभड़ां, M ows, BM लागौ (for सातौ), N माते, P araz, J détay . ९२९ | BK रण, U fefa, KN dau aq, रलतलौयो, N ceafea, P श्लतसीया तेण ख्ड्िर sau रण, B घरे, JMNU घरे, BK दायि, JNU पड़े, J vu, U जल बृद्‌बुदा, KM जल बुद्बुद, (N)PU wrata, BM खाक्रति, MN तिरि, JU चाकले, (N)P are, M चालीया, BINP(U) sitfaw . 3 38 ate क्रिसन रुकमणी री बेली तदि बलिभद् aye aa साबतौ अजे लगि साथ | वे avefaa आ वेला हल जोपिसये जु वादिसि हाय ॥ १२३ विसरियाँं विसर जस बीज Hs ४ खारी हालाहलं खलँ | चटे कन्ध मूल्‌ जड़ चट a iN STITT काँ वाताँ Wats ॥ १२४ ॥ चटि घटि घण घाड चाड घा रत चण Su fess pet अति | fufs नीपनौ कि खेच पवालौ सिरा हंस tae सति ॥ १२१ । बलदेव महाबल तासु सुजाबलि पिडि ween नवी परि | ९२२ । M बलभद्र तदि बेली, KP बलभद्र, B(J) बलिभङ्गि, BIKU बापूकारे, P °रौया, PU सच्च, NP साबता, BJU जी, BM लग, J वादयीद्‌ (षा), U त्यां वेलां, J va (for दल), NP fear, J ज, K सो (for ज), N wy, ए ated, J(N) areas, KM arrest, PU वादिस्यद्‌ . १९४ । (ग) frefen कोज जस As बौजिस्ये, P fret वार जस बीज बोजिजे, Nowe बोजे बोलियां, M Aree (for बौजिने), ए wa, N were, P खालादल, BJK(M)U wet, N ge (for ae), K जल We, J af, M age (!), 77 रां (for at), BIKPU वदतां, JK(M)U इलां १९५ | J reads the first line as follows: नौर्‌ रगत षलडलोया नीसंक, are (for ay), BJU अंच, N ऊंची, BM we, JU aq, K चंच, ए खच पडि, BN पिंड, M नौपनु, U wa, KM सज (for सति) ११९1 Ot axel १९९ । रादौड राज प्रिथीराज री कलो | ३५ विजडा मुहे वेडते afte feat पञ्च कोधा समरि ॥ १२६ ॥ fom गाहटते सामि [खलि*] wat रिण fax निज चरण सु af faa | fate चडिये सङ्कार फेरतां केकां पाड सुग किया ॥ १२७ | कगा अक लिया किया ओक कणकण भर wg भद्धियौ भिड | बलिभन्र खले wat सिरि बेदी चारौ पल्‌ ग्रीघणो चड़ ॥ १२८ | सरिखां & बलिभि लोह ates वडफरि pane विरुधि | भलाभलौ सति तजि भ्या जरासेन सिसुपाल्‌ जुधि ॥ १२९ ॥ JU ara, NU भुजां वलि, B पिंड, N fag, KNP qecaz, JP बिजड़ां, N वडतद्‌, P Ged, JU बैडोया, BJU aw’, ALL ous, BJKN fac, J सवरि, M omits this stanza. JKNU रम, ALL [ष्लि], K ~ -- २८० | BK dix, N सचे, P सुद्‌, U wa, J प्राणन (! for प्रात), JKMNPU जल, N daz, NP स्पश, B [दद], M =< (for इर), M पठंति, NP stat (for get) fag, JU अपर ace जितेद्रो (ग्र) qa वेलि पडत (set) faa (नित्य) प्रति Tea died (fed at) TAT नो विचि, K om सुवर faa qax< सनी. zoe । BK wigate (for समे), B रुषमणि, JP cfafa, N दकमिणि, ए fau, KU हसन, M छष्ण, N fava, U सरोस, J aga, JU कुमारो, a मूच, M ga, BKP gieta, N सभाग. ree BP पूत, IM ga, KNU qa, BJKM अर, 3 सांडिषि, J(M)PU सादण, K afeu, N सादण वादण, JKMNPU भंडार, BK जन, BPU «asfafa, BKU qéat (for agat), BK जगि पुड्‌. २८३! K थोक (for iz), 8 करति, JM कदत, K ava, B Ga Ga, J ofa wa, N Ga ave Gai प्रति, Paec Ga Sai प्रति, BK ate, wats राज पियोराज a कदी | [~ | चतुरविघ् वेद परणीत विकितसा ससच Vay मंच तंच सुवि। काया कलि उपचार Heat a वेलि wos वे सु ata ayat चि ॥ २८४ ॥ अधिभूतिक आधिदेव अध्यातम पिंड प्रभवति कफं वात पित | विविध ताप ag खग विविधमे न भवति बेलि saat नित ॥ २८५ ॥ मन सुद्धि जपन्तं रकम शि मङ्ल्‌ निधि सम्पति ats कुसल नित | दुरदिन दुरुग्रह caw दुरदिसा नासे दुसुपन दुरनिमित ॥ २८६ ॥ JPU we, M fae, N स्टडि, KU ण, N दणि, पि प्रमाण (for aaq), KPU qu, BEN करम arate, अचरोति, J जाणोद्‌, ए जांणोच ज्‌, K जपत. ९८४ | 3 fafa, JKNU चतुटिष, ALL प्रणोत, B(M)N चिकिका, तर्षा चिकित्छा, JKU शल्रोषध, J waz, K सुद्‌, N waz (for ofa), J कलि (for कजि), U उपकार. J इवि, K सो, BJKM जपंति, प जपंत, Jsaz, [र ऊय, Msa. rou | BPU Cuan, K ya, B Sata, 8 पडि, JKMNPU fue, JK fafafu, M faafa, Bo तस, N fafafe रोगमय, J fafafaac, M faafua, भवंत, BM जपंत, JKN जपंति, BK place this stanza between st. ९८९ and st. 2&8 . vce Bate, Jay, K सुद, MU सुध, BJPU दषमिशि, M fara. NP aa निधि, K gra, U was. NP [याद], KU कुशल, M निति, 8 दुरदसा, J दशना (sic), KP दुरद्श्टण, M दुरिदसा, U दुदेशा न्हासर्‌, ? दुसुपुश, JU दुसमन (for gaya), गधा दुरतिमति . oc वेलि faa रुकमणि री मणि aq तन्त्र बल जन्त अमङ्ल्‌ यलि जलि नभसि न कोड्‌ wate | =N stata साकणि za va डर्‌ भाजे उपद्रव बेलि भणन्ति ॥ २८७ | सन्धासिखे जो गि तपसि तापसि ate इवड़ा हट निग्रह किया | प्ाणिया भवसागर वेलि पि feat पारि Hat धिया | २८८ ॥ fa जोग जाग जप तप तीरथ कि व्रत fa दानाखम वरणा | मुखि afte किसन रुकमगी मङ्गल ate रे मन कल्पसि किषणा ॥ २८६ । बे रि र भजे अतारू बोले ते WT भागीस्थीमतू। च ६९ अक Sa areal न आशां सुरसरि समसरि af दं ॥ Reo ॥ २८७ ¦ 8 भिरि, KM afe (for मरि). U afe aa, JKN यल जल, *BMNPU डाकिणि, J डाकिण साकिण, M साकिणि, PU wifate . rec | BM faanfaa, N येता (for इवड़ा), JMPU orm, N siete, K sacs, N (सायर, JKMNP पार, B तरि पारि (for ऊतरे), K तर पार (ditto), M fat पार (ditto), J ware. २८९ । N च्याग जोग, 3 च्याग, era arqa, JKNPU °9H, BJKN वरक्‌, ल्भा सुष, JMU करि (for कडि), KPU aga, M कष्य, N किसन, BJU wfam, BM कलये, JKU कलपिस, Bfwqe, KMN कपण, JPU aqua. veo| N fa इरि दरि, BM We, J बोडद्‌, K बोडे, B(K) गरबि, JU wa (for यव), NP जलं (ditto) , BK न (for म), feat (for देस), M वाहनौ, NPU वाहिनी, B(K) wit, M खांणो gcgfe. oats राज परिथीराज री wet अ वल्लो तसु बोज भागवत वायौ महि mat पिधदास मुख | मूल ताल AS अर्थ मण्डहे सुथिर करणि चटि ate सुख ॥ REV I पचर अक्र दल्‌ दाला जस परिमल नव रस तंतु fate अद्धो fafa | मधुकर रसिक सु मगति मञ्जरी मुगति फूल फल्‌ सुगति fate ॥ २९२ ॥ कलि कलपवेलि वलि कामघेनुका चिन्तामणि सौोमवल्ि चच | पकटित पिथमी पिथ मुख पङ्कज aerate fafa ate कच ॥ २९३ | पिथवेलि कि पचविध प्रसिध प्रनाली अगम नगम कनि अखिल | कमम - -- ~ = १९९ | BK(M)N वेलो, BKM तस, JK श्यः, NU श्यो, P se”, KNPU ay, BM मांडडो, B gue, K सोथ, M que, J wef, B ककि, KM aca, BJ चडि, 8 सुषि. ९९२ , B प्रति, JKMPU wax, B va (for . uf ate ममाग्रं निवेदय रुतत्तव करस्थं Ws केन जनेन कंस्मं पथितभिति देवभाषा संस्वुतमेव प्रम्‌ (ए). 57. वाचत ... न aa, वाचयितुं न awe इति न wae संभ- वति (7), FATT AST (7). काग is rendered by the Sanskrit commentator with कङ्कलस्‌, a neologism not without interest. 58. असरणसरण is understood as a compound by the com- mentaries of BU (wacugty तुम्हारो face & B; = अशरणशरण 17), but P more ingeniously reads the two words as separate and understands: बोज उ सरण कोई Hy, १.९. to translate the text liter- ally, ‘every other protection is without protection.’’ Notice that P also reads तू जि instead of तुभ. 60. सालिगराम ax ग्रहि agte, सालिग्राम yaaa नीं मूति aR ने घरे कोड उत्तम जनम TE (P); शालिग्राम ग्लकोनद्युतयन्च ्रग्रहे (5८) संग्राहयन्ति ददते इव (UV). 62. It will be noticed that the first line in this stanza does not conform to the general rule of the vénasagat, which requires that the first and the last word in the line should begin with the same letter. But the Poet is not to be found at fault here. By studying all the lines in the Veli, which apparently do not conform to the rule of the vénasagaz, I have discovered that these, far from having no-vénasaazat at all, have two véna- sagais. In other words, the line is split in two, and each of the two parts has a vénasagat of its own. Thus in the present case राठोड राज पिथीराज रौ wet ९३ अण forms vénasagat with शखधसुर, and नाग with af. The other examples of double vénasagat which I have found in the Veli are : खीपति कुण सु मति Gen गुण जु तवति (6), सेसव तनि सुखपति जोवण न जाग्रति (15), कोकिल HIS सुद्धाद्र AX (20), ufaretfe पटल्‌ दल्‌ वरुण चषक दल्‌ (49), quae Aa करि घौत वसत धरि (81), इभ कुंभ अन्धासे कुच सु कञ्चुक (90), गजरा TAS पोंचिया पचि (93), चोर चकव विप्र तीरथ वेल्‌ (186). म्‌ wty. Strictly grammatically speaking, the reading इ a@ty of BJKASU would be more regular, as a is not a direct, but an oblique form. But the reading मू is supported by the rule of the alliteration, which carries much weight in bardic poetry, and also by the large use which both Old Western Rajasthani and Maravari, especially colloquial, make of the im- personal passive construction of the past participle (bhavi prayo- ga, see Notes ... etc., § 127). Thus in modern Maravari one would not say to-day = WwW, but म ने लोधी . P renders accord- ingly: मुक नद्‌ waateg (P). 63. इ, अदं सोतारूपा (U); हं सीतारूप (P). वेलाहरग Heat समुद्र (5). 64. बादरि करि “Rescue me!”, an imperative. The Sans- krit commentator renders: 84... बादरि गद्यमाणवस्ुनः पञ्चादालनो- पायं कुर्‌. . खान्नोज for ati, the (च being probably changed into °s only for the sake of the rhyme. 65. Apparently, the second and third line in this stanza do not conform to the rule of the vénasagat, because the first and the last word in each of the two lines do not begin with the same letter. It is however to be observed that the bards are often satisfied with making the initial syllable of the first € 8 वेलि क्रिसन रुकमणी रो word in the line correspond to the second, third, or even fourth syllable of the last word, instead than to the initial syllable of it, as the general rule requires. Thus, in the present case, the 4 of faat has its correspondence in the त्‌ of खातुरो, and the < of राजि has its correspondence in the र of विराजौ. This is not considered to be a breach of the rule of the vénasagaz. For other examples of this case see stanzas 39, 40, 67, 107, 108 109, 118, 119, 144, 161, 171, 174, 176, 178, 179, 188, 192, 194 198, 208, 209, 216, 222, 247, 252, 264, 265, 288, 305 दरौ दति दुःखोत्पादकः (7); दुखदाई (P) ; दुसमन (B) 66. त is understood by 72 in the sense of a causal conjunc- tion (तै १द्‌ कारणद्‌ ) and connected with afeet, but it is evidently connected with waa Fear. U renders : तस्य ayy वेलाया खनम्तरे चौणि दिनानि sam दूत्यवधिदशने (£). चारात्‌, a Sanskritism which is hardly justified in bardic poetry. U renders it with निकटम्‌, B with बादरि, and P with ` समोप. 68. दूस, an instrumental used adverbially ‘‘in such (a way), with such (speed).”” The position of the qualitative demon- strative adjective tet in this construction is similar to that of the correlative adverb ‘‘so”’ in English, in phrases like: ^“ 1 likeitsomuch! They gosofast!” etc. 7. वदन्ती दसो (Vacanika Ratana Singhaji ri, 21), and qeawmr Tat (Ditio., 23). In the present case, N renders the word with wag परकारद्‌, and P with ww परद्‌ . The reading tg of NPU is not clear to me, unless it is an incorrect reading for दसं , the neuter form of इषौ used adverbially. 4 The commentary of U to this stanza is of particular in- terest inasmuch as it represents an attempt by its author, Saranga, to throw aside the authority of his guide, OCarana Lakho, and give an interpretation of hisown. But in this he fails, and his new interpretation is grossly absurd and alto- gether unacceptable : चारणेनेवमुक्तमस्ति सुग्रीवसेनो श मेचपुष्पो २ वेगवान्‌ इ बलाहक रखते छष्णस्य रथे चत्वारो sar पर मम मनसि नेवं स्फरति यतो ज्ञायते सर्वमप्येतद्गथस्य चपलगतिवशणनं तेन रथः कीदृश्यो वदति यादृ शं वानरसंन्धं समुल्धकमथ च नड मेघ पदप इति नदीजलपुर- urate राज परथीराज री कदी । ey समये यादृग्‌ वहत्यथवां बलाहकानां वर्षाभराणां यादृशं यादृशं Anata ~ ° fa | a fata रथगतेराधिक्यं aq सारथिं st छत्वा खेच्छया feaaanfa: खयं रथं खेटयितुं wat ऽतो जायते धरा west गिरयः पवेताः पुराणि मागनगराणि ओीकष्णसंमुखं समागच्छन्तोव मदति जन अभ्यागतवति संसुखमागमनं महत्वप्रदानमनयोक्तया वेगवत्तया रथस्य निगमो ऽवगन्तव्यः {U). 69. fsa “So that, in order to.’ For the employment of जिम as a final conjunction in Old Western Rajasthani, see Notes. ..ete., $ 11. 71. मुख धारणा, मुख नी धारणा नूर (P); मुखस्य धारणां कान्तिं anata सविशेषं पश्यति दूतस्य सुखे निमलता कार्यं सिदधिलच्तगां प्रतीतम्‌ (£). 72. बन्ति is evidently a feminine substantive, the object of कद्ध, and I identify it with Gujarati afem@, f. “Information, particular knowledge.” The commentators, however, prefer to connect the word with aqsrq and to explain it as Wewe: fay: “respectable women” (U), or मतर लोक “ respectable people”? (P). One need only look at the place मन्ति occupies in the sentence, to understand that the commentators’ inter- pretation is a grammatical impossibility. But the lack of common sense is often one of the most conspicuous qualities of Indian commentators, especially of those who wish to make a display of their undigested erudition. 73. aeafca को are wry. Here wy is my emendation. BKMNS read लावै which is untenable and has probably origi- nated from a misreading of @ry, whereas JPU read लाश Also, most of the MSS. read कड्‌ in the place of को. Ido not think there can be any doubt that the construction of the phrase here is identical with the को wefea wqerf< aut in st. 78, and therefore ary qxyisagenitive. But it might be understood as ॐ locative as well, the terminal 2४ of खर थि being dropped to form arhyme with कथ. If the phrase wry खरथ is understood as € वेलि fear रूकमणी रो a genitive, the reading खाधा of JPU would be equally correct, the oblique in °é and the oblique in °a being equally permis- sible in the form of Dingala in which the Veli is written. U renders the phrase with: waway faarwaq (U). 74. aa उजाथर कलि अंवाहा, जिके उजाथर संग्रामधीर ते ares वली जे कलहे वाद्वा अग्रेसरी अगद utes खामिभक्त ते ~ SN [ त © [| oF साथङ्‌ लीधा (P); BH अदितीय उजाघध[र ]इ्‌ (sic) क° ओज संग्रामं घीर ते age लोधा वलौ जिके ave संग्रामदं यवादा अग्रेसरी HX अधवा दुबाहा HR कलृष्धद्र बली (NV); TH ये ओजाथरद् (sic) ° ~ x इति संग्रामेधीराः एनर्‌ अवाद्धा इग्यग्रेसरणयोग्याः खामिभक्ताः (ट). अखाटसिध neat faa बि तीन वार संग्राम कधा ड्‌ किं "~न हार द्‌ नदो अवा [सु |भट (P). 15. Notice the reading ara रिख of BM. It is obviously to be explained as a misreading of नागरिक, unless it is, indeed, an alteration introduced by some presumptuous copyist. 76. केवी दुजेनाः (£). 77. आपपर दति परस्परम्‌ (£). 78. राजा रे, a colloquial phrase which is to be completed with a substantive in the locative like चरै ‘‘in the house.” It is, ultimately, the same idiom whichis used in English and other European languages. ॐ 79. . सीखावि सखी राखी are सुजि, ओ्ररुष्णजी अया जागी रुकमणियङ्‌ afeat सोखावि राखी EE ते सखी राणी प्रति इम AEE Be .. eee The last line in this stanza does not violate the rule otf the vénasagat, because the-bards in particular, and Marwari writers in general, always consider postpositions as forming one word with the substantive to which they are appended, cats राज four री ae र] and therefore, according to their theory, the last word in the line with which we are concerned, is not तणौो but ख ग्निकातणो. Cfr. the similar case of मदन चो in st. 82, दाथा fa in st. 108, farga चो in st. 148, इरि @ in st. 166, and नवो परि in st. 192. 80. wrar aixfwar सिणगार. Here erat (‘the dark-com- plexioned one’’) is used by the Poet as a mere synonym or epithet of Rukmini, obviously without any particular intention, much as it is used throughout the poem, but the Sanskrit com- mentator apparently thinks that the word is here used inten- tionally and takes the opportunity to explain the meaning of it, by quoting two slokas which enumerate the characteristics of a syama woman :— यदुक्तं श्यामालच्तणम्‌ : WAT च श्यामवर्णां स्यात्‌ श्यामा मधुरभाषिणी | अपरता भवेत्‌ श्यामा श्यामा षोडश्वाधिको ॥ ९॥ या श्रते चोष्णशरीरा उष्णे शोतश्ररीरिणी । मध्यकाले भवेन्मध्या सा श्यामा इव्यदष्हता ॥ २॥ 81. The commentators do not seem to be sure aban the exact meaning of इद्ोदा, a word which some render with ऊतावला ‘“quick’’ and fifers with ढोला ‘“loose.’’” The commentary of N gives both the meanings. I quote below the different com- ments to the last two lines in the stanza: सु किसी देखिनें = aa मखतूल को डोरौ Gel B अर गुण मोती Setar कतां Basar facta facta us & इसी सोभा देखिजे FB); जाणे करि कोना wea निवल मकतूल पाट TE गुण दोर छष्टोहा टीला पोत start ते हाथ wat Het Get पड्वा लागा (2); weed जाने गुणसुक्ताः च्तीणिनिरबलेमंकतूलगुणेः श्यामपटरदवरके fester इति शिथिलं परोताज्छटिता इव पतितुं wat इव सादृश्य Waa (ट) ; जाणे करि eat क? निबला च्तीण मखतूल ना गुण दोरा wat गुणरूप मोती LAE क” ढीला VAT यका अथवा PRLS Baraat Hel पड़ता जिसा दीसड्‌ तिसा जलकण दसद GE (7). 7 <स ate क्सन रूकमणी रौ 84. कशह Weal Tae पोत कतां वीड़यड वांध्यड जागो कपोत पारेवड अथवा नीलकण्ठ aurea नौ गलौ feat अथवा जास करि हिमाचल पवेत पाखड यमुना TSE BE अथवा जागो निश्च खीप्ड्धधर same ans भागि fran कड आंगली ars WE होड (2) 85. जमुण फण पावन्न जग, उत्पतते जगत्पावन्धा गङ्गायाः फेन- यक्ता यमुना इव (77). कुमारमग fiers आख कातो री रात्‌ श्वेतदण्ड सरीख (7); FATA खगदण्डक calles कार्तिके मासि नीरजस्के गगने तद ण्डक दृश्यते (£). 86. अणियाला der (BNP), literally “ pointed.” सिली चिल वरि, literally “on the hone of the collyrium- pencil,’ the former fe@t being used in the meaning of शलाक < {16 pencil used for applying collyrium to the eyelids,”’ and the latter in the meaning of fawet ‘“‘a hone.” WN reads faa feet वरि and explains: waaeg fae ऊपरि घसो सिरो a Mast qerar (1). am वालियो पाणी दीघड (?) ; जलं दत्तम्‌ (UV). 87. वली रूकमणियडइ आंपणडइ निलाडरूप wears सोली नड तिलक कोघधड वली कलङ्क शम TY काट कतां रातपणङ्धं करी AST टेव नड चीज ata अभि सरौखड तेह नेड घम aS वीज लोचन faa ATS BUM मुखड्‌ ललाटरूप अधचन्द्र AS नु श्यामता- रूप कलङ् RQ चन्द्रमा fanny की धड अ भावार्थं saws तिलक भल वखाणयड (2). oN काट, काटश्ब्देन दोषम्‌ (£). 89. वांँकिया . Iam not sure about the exact meaning of this word. The commentators simply say that it is a term for a part of a ratha, and P adds that the vahkiyas are found at the two sides of the vehicle. राठौड़ राज frit स की | €< ase ताडङ्कयुगलं कणकुणडले चक्राविव पेटकाविवेति (UV). Notice here the use of the word @ea@- asa Sanskritisation of the verna- cular word Wey “a wheel.” The latter word is, of course, not derived from tea- but from Apabhramia yee (Cfr. Prakrit पदं explained as रथचक्रम्‌ in Hemacandra’s Destnamamala). 90. कवच सम्भ काम fH कलद्ध, जागो महादेवजी कवच पिर ढे काम at जुध करिवा के até (2); War हरेण कामेन ae कलिं कतुमानसा कवचः संनाह wa इव पाछलतकविसमये कुचस्य एम्भपमा प्रसिद्धा (UV) Notice the reading मन हरि अग मण्डप AW of B, which is explained: ओीक्घष्णजी का मन R ate मण्डप ern द जु मन आय बेसिसी (5). attire, बारिगद सन्द तम्ब वस्त्र ना दीघा छट fret ae यड्‌ रजुव्रादि बन्धण द्र Bae Tet कसादि va जाणिवड qe Fata बारस्गिद्शब्देन चारुणभाषयां तम्बनाम (WN); वारुगदशब्देन पटकुटीयगलं रचितमिव (£). 91. कल्‌ क° मनोर (भ). The other commentators omit to explain the word. 93. qa वलै विधि fate वलित, बलौ aaa श्यामपाटकड विध्‌ faux आँपापणा स्थानक aha (2); तथा च वलयः श्यामपट खचग्रथितो विधि विधि यथाख्यानं निवेशिताः (sic) (८). 95. किमच, a Sanskritism bolder than जच and तच which are used by the Poet in other places. U renders: केषां भूषणानां कविरच ग्रन्ये किं याष्ानं कुर्यात्‌ (U). 96. मापित करल इति सुद्यग्रिषया (U). भावीखचक... The Sanskrit commentator gives two different interpretations of the last two lines in this stanza, of which the latter interpretation rests on a reading भावौसोचक, which is not १०० वेलि feat रुकमणो रौ evidenced by any MS. : waa भावौखूचका अनागतभाग्ाविभांव- कथकाः सिंहराशौ ग्रहगणः सकल इति स्वे ग्रहा अवस्थिता दव कव्याः सिंहकटोसाम्ये सिंहराशित्वमेवोक्तं यतो रुविण्यास्त॒लाराशि स्तस्याः सिंहस्थाः wa ग्रहा रकादशा ज्योतिःशास्त्रे फलदायिनो मनोवाञ्कितं ददत अतः Mamas faut भावीति मद्भाग्योदयत्व दर्ितमयमेकोर्थो दितीये ot रखकस्यां राशौ स्थिताः सर्वे ग्रहा जन्मसंज्ञका भावीशोचका इतिपाटे cements राशेः च्तीणत्वपतिषादको ऽतः कटी च्तौण जातेतीदमपि वितकंणं न्यायं ग्रह्ाणामपि विविधवगेत्व- मवगन्तव्यम्‌ (7).. 98. वली रूकमगोयद्‌ AHR लटकतड मोती दीधड ते वखा- ड्‌ दधि वीण wax मादि थी वरत wey जाणे Tey साख्यात गुणमय मोती नड दाणड ससत Bray Wey हालत नाक नड्‌ was मुक्ताफल मोती निहसत लटकतड WIE जाणे सुकदेव व्ास- Ga de नद मुखि भागवत पराण whys सुक सरीखी नासा मोती सखौ भागवत (7). The Dhidhari commentary 16848 सु सत (for ससत) in the second line, and explains: WF सोधि अर जु मोती लियौ थौ जु वगतौ देख्यौ साख्यात गुणमे सु सव्य या वात ast (2). 99. करि इक बीड ४ The Sanskrit commentator gives two different interpretations of the sense of the last two lines, but the second interpretation could hardly be taken seriously : उमम च्तते Peweu: कीरः खुकस्तस्य मुखकमलस्य मध्ये खजाव्या नाशा- रूपया AM सद Bist कतुसुद्यतो सि करकमलस्थः शुको मुखेस्थितना- ° इवेति ° PANG Wa Ser रन्तु yeu इवेति चिन्त्यं तथा दितीये sa वामाया करे वीटकं श्ुकरूपं तस्य मुखकमलस्य जात्या करकमलरूपया ated इत्यपि (£). 102. भनि तम्बोल (2) ; बीड़ा रा Sat (NV); पचभाजनम्‌, (£). 108. चकडोल्‌ सुखासन (®) ; प्रसिद्ध सुखासणादि (४); नरवा- Saray (८). राठौड़ राज frist री कलो । १०१ a, the oblique singular form of the correlative pronoun (< तदू, cfr. st. 66), used in the same construction as in st. 95, above. The form is peculiar of the Vikdneri; standard Mara- vari uses fay, तिणि instead. 104. तुरी लाग ले ताकि तिम, atu ate जोग्य at घोडा ताकौ नड्‌ लीधा (2); खखयोग्धान्‌ तुरगान्‌ वेगवतो ऽन्‌ पथमं वित्य तती Weta (~). Apparently, ata is here used in the sense of “fit, suitable.” (Cfr. Gujarati लागु, “near to, close to; applic- able; suitable, agreeable,”’ Belsare’s Kiym. Dict., p. 1002). 105. डिल्वलिया कतां घणा ऊतावला ढे (®); गुणविसतरा (2) ; Teed विस्तताः (U); हिल्वलिया क° रुकमिणोजी रा चकडोल्‌. arate utes इतस्तत परिभ्रमणग्रील थया wa विस्तरा BE (7). मद tsa मद भरता (P).: Notice the reading afwa of BKMN. The reading गुड्ता is of course preferable, not only because more difficult, but also because of the alliteration it makes with the first two syllables of ag=. 106. ate is here used in the function of a postposition of the accusative-dative to give the meaning of ^^ towards, in the direction of.”’ The form is, of course, a conjunctive participle from चादडणोौ in origin, and carries the meaning of “ desiring.” The Sanskrit commentator literally enough renders with “qeerag, but the commentaries of NP mistake the real mean- ing of the word and explain it as चङ *‘four,” namely ‘‘ the four directions of the compass 7" (!). The third line in this verse does not conform to the rule of the vénasagai, and it would seem that the correct reading must be age किरि खजोध्यावासी, but as the reading is evidenced by the consensus of all the MSS., I have not ventured to alter it. Cfr. the similar case of किरि नौपायौ तदि faqete in st. 110, तिश छाप दो करायौ wee in st. 168, जिम feuafe wate di AS > = N ~ € VACA न्वते प्रेरयन्ति स्मेति खसखवेगाधिक्यद्रनम्‌ (U). 115. The third line in this stanza apparently does not conform to the rule of the vénasagai, but probably the Poet is not at fault, as he considered न सुणिजे as a single word. = 116. नेडी .. It is strange that here and in all other [088 - sages where the adjective नेडो occurs, almost all the MSS. should read #° instead of a, नड्‌. The word is from Sanskrit +्नकटकः, through Apabhramisa fawey > weey, and its correct form in Rajasthani is नदूड्उ > नेडो. 117. कालाङ्ृशि कष्णवग (४) ; छष्वगेमेघाभ्यदय- (77). ८, =a अड़ग AW अन्धकार जाणी (7) ; लोदी वरिसवड जाणी (P)- अडङ्गमिति ववेणसमयं रुधिरमयमभिव faa (Uv). बेषडो बद्धे . Here बेपुङधी evidently is only a feminine singular adjective, identical with the modern बेवड्ो “° double,’ and some substantive must be understood with it to complete the mean- ing. The commentaries of NP understand नरो, namely “a double river is flowing, the one of water and the other of.blood,’” but such a meaning can hardly be considered as satisfactory: The Sanskrit commentary is not very clear, but apparently understands वर्षा, namely ‘‘a double shower is pouring”, but this explanation is also far from satisfactory. The correct ex- planation is probably that given by the Dhiudhari commentary, which understands the word फौज and explains: @Ust aeat वादल्‌ की बेएडी RS Al Sl वडा वादल्‌ अन्हो सा्हां Six तब Te जु मेघ वरससी तेस फौज पिण Fast gS सो जाणिज रगत वरससी (8). १०४ वेलि क्सन रुकमणो री 118. कुदकनबाग दारू नी ऊखलीं ate ate (1). गगण, गय हस्ती at की Weta र wea कतां भीड़ ई (7). The Sanskrit commentary thus renders the meaning of the peculiar Dingala terms occurring in the first two verses: हथनालिद्धवादकुद्कवाणाः सर्वाखप्यातसबाजीलच्तणानि तेषां ङविरि- त्यच्छलन जात वीराणां सुभटानां eA खखबलवत्ताया वाटख्खरेगा पकाणनमभूदुग्रहणमिति cafe: ख्रैपहीता 120. असुभकारियो, कायर्‌ इम कह्िवा लागा जे असुभकारियो क° अकाल असुभकारी उतपात ऊपनड (7) ; वै्वातमयं समयो ऽका- लिकसमेतमेघवदसुभकारयुत्पातिकः (77). चोटियाली is evidently a feminine adjective connected with @tefs “the sixty-four (yoginis),”’ but the Dhadhari com- mentator ignores the real meaning of the word and most fan- tastically ascribes to it the meaning of “‘ drops of blood”: Bf4& खेत at? कटौ sat क अर ऊपरा जु रुधिर की बृंद पंडे @ ate at जु Sat gz Set ze चोटीयालीं कलाव (8). The correct explanation of the word is that given by UP: कटितवेणौका विरलकेष्राः (U); Se केसे (7). चाचरि [रण pRaga (ए) ; रणभूमिकायड्‌ (7). Shae शस्रमोच्तविवादे (UV); माद्योमाहे हथियार aves (7) ; सर्त्र रा अउभाडड़्‌ (1). 122. ततः पडद्धे संग्रामे रणाङ्गणे रुधिराणि रलतलिया इति qsat चलितान्धतो योगिनीनां हस्तभ्यो asa: पतितानि प्राणि पानभाजनानि प्रवाहे वेगवत्तयाधोसुखानि जातान्यतस्तरीत्वा तरौीत्वा Ro aaa ~ ~ गच्छन्ति कीदृशानि दृश्यन्ते aad जलपवाहे बुद्बुदाकाराः पम्योट- ~ ats. quay ~ =N करूपा इव ते ऽपि सम्भूता aes quata वणतो ऽपि शताः पचा- रयपि नकषलानीवेति साम्यम्‌ (£). The commentaries of NP, and so also the commentary of U which I have quoted above, understand the second चणा in the second line in the sense of “ vessel,” apparently identifying राठौड़ साज प्रथीराज रौ के | १०५ the word with wet. Though the interchange of इ with ए 13 not unprecedented in Maravari (cfr. for instance the double form रिणमल and fesaw), 1 १० not think the above interpretation is acceptable. In my opinion, the second चणा cannot be anything but a direct plural masculine from the adjective wat, connec- ted with some word to be understood like “ blows” or “men.” The latter interpretation is the one preferred by the Dhidhari commentator who paraphrases : घणा €Tat ये AU sty पडा दे (8). 123. इल in the fourth line is explained by NP (and apparently also by U, though this substitutes for it व in the commentary) as an adverb meaning “quickly, immediately.” I wonder if the meaning of “‘ plough’’ would not be preferable, especially in view of the fact that atefagq in the third line has no object, and the only object which can be understood with it is ल “ plough.” 124. faafcat विसर is a puzzle to me, and that it was also a puzzle to the commentators is clearly indicated by the differ- ent interpretations they have given of the phrase and by their attempts to obviate the difficulty by altering the original reading. From the commentaries, as well as from the general sense of the stanza, it would seem that the meaning of the phrase must be something like: “‘after doing the ploughing,” but what the exact meaning of the two words विसरिर्या विर is, I am unable to guess. Another difficulty is in the खारौ in the second line, an adjective which, if it refers to बज as it seems, ought to be in the masculine, and not in the feminine gender. 125. लिशा va fae सति, fret खेती पाके ast aa नीसरै at @ stn at fax Sa नीसरै सो$ arg सरा नीसरै (7). ततो ear जीवा निःसरुन्ति किमिति aa सिशोनामानि फलानीव तचापि धान्धाविभवि शिरा निःसरन्ति कथं सत्त्वेन सारवत्तया (7). 127. In all the MSS., the first line in this stanza falls short of two matras, but from the commentaries of VP as well as from a comparison with st. 128, where the phrase खल खसा occurs, we may conclude almost with absolute certainty that १०६ ate क्सन रूकमणी री the word which has been omitted is खल. I quote below the commentary of U to the entire stanza : रामे सुजाभ्यां रणं डोदमाने खलानां स्थाने रणे सपरिवार चरणाः स्थिराः Hara Ta मेटीभूता यतः च्तेचगाहटनस्थाने मर्यादाथं स्तम्भो रोपितस्य (sic!) नाम मेखोति प्रसिद्धं एनः Yeas चटनेन संहारं पश्यति सति ठबषस्थानीयवाजिपादैः सुद्ुगा- we छतम्‌ (£). | खेती न <, A 128. खेती नीपजे fast कण आवे सो वडा वडा जोधा Aa सो afta कण लिया भाजि गया सो जागे aon किया पौज का समूह भागा सो ACA नाज का गाडा खाँचा भार wie set <, DA EN खलौ होड ast ufwat ae fast are बैठे बलभन्न रै खलै खल्‌ कतां दुरजनाँ ऊपरि wendit आद्र केटी मांस चरे went Fast Sr wa मांस दी नाज यै (5). 129. वडफरि SEAS विरूधि . Here all the commentators understand faefy in the sense of जमराण ड “the god Yama.” U, for instance, renders: द याग्रन्यस्तखेटके Walaa परमुक्तलोहेष सत्सु विरुद्धो यमो भूत्वा लमः | भलाभली सति. From the commentaries it appears that there is here an allusion to a proverb (okhano), whereof the entire form is भलाभली त्रियवौ. The meaning 18 clearly explained by U: रकस्मादेको sar ऽधिको भवति, namely “there is no good thing on earth than which there is not another still better.” सति is, of course, सत्य “true.” The proverb is still used in Gujarati under the form भलाभललो भिथवो ङे, but in a somewhat different sense. (See Belsare’s Hiym. Dict., p. 872). 130. Basan अकस्मात्‌ (PU). 131. विलकुलियौ रक्तत्वमाखितवान्‌ (U); cass ड (P); रात BAT (7). छ बेलखि बलकं पद्स्थानम्‌ (7) ; fret शर धापी खाचीयङ््‌ ते Fae (1). = अगो WTA ufé 4 (U). राठौड़ राज पििथौराज री कटो । १०७ 133. सनसि लज्जया (£). अखियातः argent वात (VP); ख्यातिराछयं ... स्तुतियोग्धा वार्ता चेति (£). 134. सोनानामी रुक्मिः (£), literally : ‘‘ he whose name is gold (खक). ` fetus जीवि, an absolute locative. च्तणिके जीविते arts तच्जीविते (U); Muar writs जीवतव्य जाणी नड्‌ (N); Brest वेला जीवतव्य जाणी (P). 135. All the commentaries, except the Dhudhari com- mentary, which has altered the original reading, agree in saying that the meaning of this stanza is ironical (aaitFa). 137. The word हालिया in the third line seems to have puzzled the commentators, for they all give different and absurd interpretations of it. PU read et feat. N seems to understand हालिया in the sense of weat Stat दता, and [<]@arat in the sense of qrar fact लगाया. If हालिया could be understood in the sense of “were restored,”’ the difficulty would be eliminated, but a verb हालौ “to restore” is unknown tome. I quote below the comment of U, which contains two different interpretations of the passage: ऋ इति खेदमाकलय ये केशा अलगाया Bat दूरौीकछता असन्‌ ते तु श्यालकशिरसि हस्तं पोरयित्वा खड्स्तेन शिरः पस्य (sic) आलया दति धर्चोभाषया पञादत्ताः पुननेवीक्षता इतिभावार्थो ऽथवा छाधी लोया इति देशभाषया प्रकटिता इत्यपि (£). 139. चाहे वाट जौद्धवा लागा (7) ; विलोकितुं wat: (£). ate Gera (77); नगर बाहिर ऊँचे स्थानके (१); Bee ऊंचे ठामे (P). The second and the fourth line in this stanza are irregular, in that they number thirteen syllabic instants, instead of four- teen. In the veliyo gita as used by Prithi Raja, the second and the fourth line always contain thirteen syllabic instants when ending in a periambus (“ ~ ), fourteen when ending in a iambus ९०८ वेलि fat रूकमणी री (“—), and fifteen when ending in a trochee (“~—). In the present case, we have a iambus, and therefore the second and the fourth line ought to have fourteen syllabic instants each. 140. नील Sta करि देखि, « seeing green twigs in the hands (of the messengers).”” In this connection, the Dhtdhari com- mentator remarks that it is a custom for the messengers to carry a green twig in their hands when bringing good news, so that people who see them approaching from a distance, may prepare themselves for joy, before the messengers are near enough to speak. The Sanskrit commentator gives an absurd interpretation of the fourth line, to wit: कुशषयलो द्वारिकापुरो qgeatioar कमलोत्करैः सुगन्धता, namely: “they perfumed KuSasthali with lotus- flowers (!),”’ a blunder which is all the more extraordinary as the sense of the stanza is quite clear. 141. wets लहरी अनन्द्लीलाः (£) ; सुखतरङ्ग कल्लोलरूप लद्छरि (र). ल्छरौरव समुद्र (All). 143. तिकरि . This same word occurs again in st. 279, where it is explained by U as @mz? “in thy hand,” and by P as करि tae “in the hand.’ I doubt if “hand” is the real meaning of the word, though it cannot be said that such a meaning is altogether inconsistent with the sense of the two passages in which तिकरि occurs. I cannot avoid the suspicion that तिकरि is in both cases a pronominal or an adverbial form. Could it not be a curtailment from अतिकरि (< अति करि) “exceed- ingly, very much ` ? 147. Watt. Here F is probably the contracted form of पररि < ऊपरि “over, above,” but the commentary of V under- stands it as पय “water”: पयवारि arwat घूपषाणी उवार तथा ¦ कोरक लू गपाणी vaca इम पिग wee कड्‌ (2). As the mean- ing of “‘ water” is given by बारि, which immediately follows, it would seem that here चे must have another meaning, i.e. the meaning suggested above. राठौड़ राज प्रिथीराज री wet १०९६ 151. सादौ aaa (८) ; लगनदिन (7). 152. सेस संसकार, सेस याकता बीजा संसकार सवं anf कारिमादि (P). 158. अरुजुनमे Fe, वेीति मङ्लकलश्रा अर्जुनं खगं तन्मयाः (77). 155. चाड जोवद् (2) ; पश्यन्ति (ए). £. st. 139. मङ्गल करि. Cir. करि AFA in st. 42. EN ७, 156. अगले चिया पी चौये atte, चीन्‌ वारान्‌ चवरिकापार्छं aN e ry e स्तरीमग्रेसरी' छत्वा Si wart पदच्िणीकत्य चतुथे रम्भे so पतिः =\ we स्त्रीति पिधिवदिधाय विवाहः प्रारब्धः (£). 159. करेण, a Sanskrit instrumental, which is of course quite an anomaly in Dingala. Cfr. the similar case of वानरेण in st. 234. 160. खघ मणि is explained by the Sanskrit commentary in the sense of चयुडमानस। सुभक्त्या and connected with खदसफणि. Obviously the explanation is wrong, for मणि here is not an in- strumental from मन “ thought,’ but from मणि “gem.” 161. मंदिरुन्तरि, खिणन्तरि . From the point of view of Sanskrit grammar, the correct spelling of these two words would be मंदिरान्तरि, खिणान्तरि, but in Dingala an द resulting from the contraction of two as in the middle of a word, is commonly shortened into a when followed by a double or compound con- sonant. The explanation of this fact is that the @ in such circumstances, even if changed into a, remains always proso- dically long, thanks to the lengthening effect of the consonants following. विचिचे चतुर्‌ (NP). 162. facta, a feminine form for ordinary किरण “a ray of light.” The Dhidhari commentator in rendering the pass- Ao ata frat रुकमणी री age uses किरण, but as a feminine gender: aca रौ किरण yaa थो दु oH! (5). 163. वड. All the commentaries, except the Dhidhari commentary which does not explain the word, understand द्रवड्ति in the sense of Rfag ‘‘a thief, robber.” To make the text better suit such an interpretation, some commentators have even altered the original reading: thus U has changed xafea into द्विविङ्‌ fa. I have no doubt that gafea has nothing to do with zfag “a robber,” but is a verbal form, ४.९. a past participle perfect from क्वड्णौ, a secondary form of RtSut, FiSTt “to run, go forth.”” My interpretation is supported by the analogy of st. 162, where there is a past participle perfect aqiga corresponding to our xafga, and where there are also four sub- jects exactly as in our stanza, whereas if gafea were understood as a substantive, our stanza would have five subjects as against four in st. 162. It is evident that the two'stanzas were formed one after the analogy of the other, and hence the above argu- ment carries great weight. 164. अन्येषां ufgut पच्तौ बदावड़ोतुमश्रा्यौ चकवाकयगलम- संे इयमिलितं ct वियोगित्वादह्ोनिश्रमपि परदोषे दम्मतीव मिलिन कालद्यसंधित्वात्‌ कामिकामिनीनां मनसा कामास्नयो saat बहिः प्रकटिता इव केन दीपकोद्योतमिषेणायं न दीपषोद्योतः परं दम्तीमनोधिः (U). 166. We, a past participial perfect form equivalent to afzat. The existence of past participial perfects in °e in Din- gala, had been ignored by me till I came across the present passage which is so explicit that the nature of az could not possibly be mistaken. In all the other cases of perfects in “e which I had come across before, I had felt inclined to consider them as incorrect readings for °é, and interpret them as his- torical presents. I regret that I have made two or three such mistakes in my edition of the Vacanika Ratana Singhajt rt. For instance in kavitta 243 in the last-mentioned work, I have re- peatedly read पड, whereas I ought to have read पड़, through- out. राठौड़ राज पिथीराज री कचो । UR 168. stets इति चरणाभरणवि गेषम्‌ (77). Cir. Hindi नेर /. For the third line in this stanza, which apparently does not conform to the rule of the vénasagat, see note to st. 106 ‘NX 169. विहि, a feminine singular form of the remote de- monstrative वौ (Hindi वद). The modern Maravari form, for the feminine, would be at. 171. AyFeverat Hetaaqt दूत्यायाति च पुनर्याति गतागतं कुवती मनसोरमिलितयोमलनार्थमेकौभूतकरणाथैमथवा दयोमनसि सूचिते ताणवाणकरूपे कटाच्तमोच्तो नलिकाक्तपणमिति वस््गुग्यनविधिः (८). 174. पति पवनि प्रारयित, वायरु करी नड कीधड कटर सुख नड उपाय HM (sic) HET Rt तल Blast वाय करिवा लागा (7) ; Wal पवनेन वातकरणेन प्राधिंता दत्तसुखोपाया (ट) In the last line in this stanza the vénasagai is obtained by making the initial letter of the first word correspond to the last letter of the last word, but the irregularity is explainable in that the नौ 18 a suffix. Cfr. the similar case of argwat in st. 176 घष्डिका in st. 178, ङ्करित in st. 198, Rt in st. 199, गुडलुपण in st 208, and खकतिव त in st. 221 176. BE, a poetical license for इद्‌, introduced only to effect a rhyme with the कुद of the fourth line. धरि चखु लाज ...... TANI छता अतो घद्कटादिकरण- fafa चरुणयोनेपुरष्वनि निवारणं करे Feta frefafefa निःसरत्व सर्वाणखपि लच्तणानि समुत्पन्नानि (U); ...... RS Te अहव कूजित aqe सुरत Hite तड ते निवारण करे कˆ निवाराड (४). 1५. चणा घाति वल्‌, प्रचुरारथङ्कलीवलकानि निविड करट faa (7); अङ्गलीड्‌ चणा वलका ओँवुड़ा घाति Higet मांह व्यंगुली भराई निवड काटी सखी नइ TAR लागी (P) १९१२ ata करसन रकम री 178. सा, साड इति aguas खादुना संयक्ता ... पीति- खादना (7). कस कञ्चुकबन्धनानि (77) ; कुच नी कस (2). 179. मनरकि मनोर च्तकामिश्छन्दोवतिनीभिः (८); मनमानी (7) ; मन कौ राखगद्हार ($). az is understood by the commentaries of NPU in the sense of “‘spying or observing secretly,’’ but I am unable to see how the word wae could be capable of such a meaning. More reasonable is the explanation of the Dhtdhari com- mentator: TTS कौ (1.८. सखियां कौ) चरौ SS Tet दे (B), but probably the right explanation is “‘crowd”’ or “crowded”’ according to the Sanskrit meaning of the word. | 180. fas गण, बे सरीखा जाणवा (¢) ; fas गिण a aE ay न यथायोग्य वसति गवी (ऋ); इयमपि गणयित्वा यथायोग्य विचायेम्‌ (U). From the above renderings of the commentaries it is clear that they consider गण्‌ as an imperative form second singular, the correct form of which would be af or निषि. Cir. fafa in st. 202. जामी यामिका यमनियमव्रतादिकतत्यसा योगीखराः (£). 181. wate fared, अत्यन्त हषं भरि करी (NP); आणन्द का समूह aife मगन (5); हषेनिभरेण (ट). 182. से इति स्याः fers: (£). नासफरिम अदाटत्वेन (ए); अदाटत्वपग Jus करी (7); सफरिम WIG (B). 183. तस्मिन्‌ समये विरु हावध्यन्ते कौकस्य मनसि साभि इति वाञ्छा मिलिता प्रादुभरूता कामिकानां मनसि रममाणानां चित्ते कोकेन Tae शास्त्रेण कीडया इच्छा feat दूरोभ्रूता यतो दिवसोदयो ऽश्ुना भावीति कथं frag oq शक्यत अथ Ge कुखमे- राटौड़ राज प्रिथीराज रौ कदो १९द्‌ वासा सुगन्धत्वं त्यक्तं ग्लानित्वार्‌ ग्रहगेराभग्गेमुक्तामयादिकेः प्रीतलता Ta wetata (Uv). 184. प्राणायामे, an agentive-instrumental plural, प्राणायामैः श्ासपरश्चासरोधनेः (U). 187. With this stanza begins the description of the differ- ent seasons of the year. In some MSS. the new argument is introduced by the remark: खथ ऋतु वणनम्‌. me धरा, wat कठिना जाता (८) ; प्रिथी गाढ agit कठोर BE (7). खर राड किय जगत सिरि. Here some commentaries read राद्ध कत्त 0 *‘road, track,’’ and some maintain tre ‘‘ the demon Rahu, calamity.” The Sanskrit commentator gives both the explanations: जगतो लोकानां शिरसि सूर्यो राड्धरिवोत्पात इव छतो मदादुःखावद्धो लगत्यन्याये सूयेण जगतशिरसि राहो मागः कतः सर्वाङ्गान्‌ मस्तके तपनं बलं भववीत्यवगन्तव्यम्‌ (VU). iss. केवि wa safes, Han लोकाँ TE आसचयं थयड FT हा कुण अकरड ane KE अथ[वा] अजं किसो इक तपद्‌ TE (भ). faw, in the fourth line, is used in the double meaning of zetia “the zodiacal sign Taurus,” and ee “a tree.”’ 189. दलि मुगता areca दुति, ga: कान्त्या अरग अआनय- नायं पीटिकामध्ये मौक्तिकानि दलयित्वा संचूे पिण्डीक्लतानि तत्पीठिका- मदनेनाङ्गस्य तेज खिता शरोत्यमपि (८); शरीरदुतइ Wear कशिवा पटी ऊताश्विा भणी मुगता मोती दल्‌ करि आट करी ofa कान्ति अरण अगवा (7). 190. माद aut areex mie fears इड तेह खं मिलि करि अआकाग्र मिसवगै इड वरिसवा निमित्त काला वादल्‌ Fal मे वरसत्‌ ह... [अ]न्धासो wa छोड जिम sare नड GT Ba तपौ करौ जे are Here ते लोके मध्या मध्यसावि करी जाली जाखं § CB वेलि करसन रुकमणो री ह्िवणंँ मध्यराचि कड्‌ किण कारणद््‌ नीजनपणि कतां निव्यञ्जन (sic!) TART (2). माघमासे यन्माडटि हिमिगर्भो जातः षर्मासावधिस्तस्य संभूते- स्तन गगनं मघषीवयं wa भाषि qafaaa भिलितमाषास्स्य wat बङछतरं परितप्य ways क्तं तज्जनेनिरुन्तर मध्यराचिरधनिश्रैव वतते इति ज्ञातं कस्मान्‌ नीजनपण इति निजनत्वात्तस्यां वेलायां सवे लोका र्हं प्रविष्य स्थिता अतः कोपि बह्हिनायाति asafad परति wee Wet निणशालोप्यधिकं जातमिति भावः (ह). 191. acta vate निरयण गिरि नीभार, तच मासि निधेना गिरिनिभर प्रसरे वद्धति पानीये नैरन्तीति सुखमनुभवन्ति (£ कि, in the fourth line, apparently stays for fas or किय (feat), the past participle perfect of करणौ, and is connected with ददन .. Cir. ददनं छतम्‌ (U). 193. Notice the readings ययौ वैरो (BI), and छख वद्री (NP), for किया किङ्कर in the third line. Seeing that the last is the most difficult of the three readings, it is very probable that it is also the original one. The Sanskrit commentator accepts it and explains: Rafat खयसुक्तानच्तवेण वायुं Aa ग्टगाः किङ्कराः छता cacao fewacat इतस्ततो श्रमणग्रीलाः (ए). 194. हरि क“ इद्र तथा इरि मेघ इन्द्रधनुखादिकड करी तथा भिन्नभिन्नवणेडं करी अम्बर क° अआकास नदं सिशगारडइ (१). 195. चरुरिया इति भूमिसिञ्चनकरो ऽभूत्‌ (7); चरती सी ची (NP). 196, वर सतै दड़ड़ नड was वाजिया, प्रचुरधाराभिवेषेति मेषे अनडानां नडा पवैतानां निभरपवाद्वण्ब्दा ITS प्ादुभूताः (UV). 197. विण नोलाणौ, a curious construction of the preposi- tion faq, in. which it is doing function for a negative prefix or particle, the phrase having somehow the value of an adjective राठौड़ राज पिथोराज री कदी | १९५ or past participle passive compounded with a negative prefix, as if it were खखनीलाणौ. 200. wart feet घराधररूपे खामिने मिलिते सति नदीनां तटा उत्पटिताः पानीेबद्िरमि्गतं तत्केशा पिरलीभ्रता इतिखरूपं दरयति aur लटिप्ाया यसुनेव कुखमे भिं खत्व' asa वेणीसमुदाय yaaa चिवेणीसंगम इव प्रतिभासते (77). atq aet at नदी Safe वद्ी ई सो जारे चोटी faa डे विथसी कतां एधवी जो स्री fam नुं धाराधर मेद जब भर्तार मिलियो तब चोटी विर जाद यसुना a जल्‌ स्यामसो तो केस या गङ्ाजी सौ जल सो फ़ल या wet चिवेणी ste तिहा जागे चोटी Tat दी एथिवी at चोटी BE (5) 201. aa चे + Notice that some MSS. read aa@ . The word being not used elsewhere, so far as I know, it is difficult to determine which of the two readings is preferable. aad is at any rate confirmed by the Sanskrit commentary which renders : धेघश्चितौ carat (U 203. Wea, in the second line, seems to be used in the sense of “other,” or “‘that.’’ I am uncertain as to whether the word could possibly be accepted as a modification of पदूल (पद्‌ उ, see Notes on the Grammar of the Old Western Rajasthani, etc., § 144), introduced just to make a rhyme with aye. The commentaries do not help to understand the nature of the word. N renders it with waz, and P with warts quate ज॒नया - मदाराज परमेखरस्य (UV). For another instance of the employ- ment of the honorific term मडाराज्ञ to designate the Supreme Lord, ४.९. Visnu, see Vacanika Ratana Singhaii rt, 244. 204. पाचि पाचिरनमय (NU) ; पञ्चरतनमय (7). The MSS. BK read लिखरि in the place of बिखर and under- stand “peacock”: धर ऊपरि मोर इत्य करै हे (2). The reading is evidently wrong and so is the interpretation. are वेलि किसन रुकमणी री 205. प्रखोलित . . Ihave adopted the reading of NP, but the fact that almost every MS. has a different reading of its own, leaves some doubt as to whether the reading I have adopted is the original one. NV renders the term with: gare धवला कौधा . 206. वया वयणि नवा नवा वचने करी (2) ; THT भूयो ऽदं व्याख्यास्यामि (£) ; वार वार वचनडं करी वखाणीसि (४). 207. सुरति, in the last line, is not from सुरत, but from सु- का + LOL! क OO GLOSSARY |! afeara, f., “A wonderful feat”, पटयातिराख्य म्‌, अाखयेकारो वात, 133. agate (< Skt. अङ्कपालि, cfr. Hindi qwarc<), f., “An embrace’’, च्यालिङ्गन, 143, 169. अज्‌, a poetical amplification of जनु (१ see Notes), 233. aafca (< Skt. खन्तरोच्च), ind., “Behind, at a distance’’, 106 ; “Upon ”’, 297. ward, f., “A blinder for elephants”, woteeafaraacua, aifeetaqs, 90. अम्ब हर, for अम्नर, m., “The sky’’, 14, 194. म्ह, Ist pers. pron., oblique plur., 60. रमा, ditto., genitive-oblique plur., 31. अम्दौणो, poss. adj., ‘‘Our’”’, 69, 301. ; अलल, adj., “Much, many’’, 113. अवसर, m., “A theatrical performance ’’, alerca:, 243. gua (< असम्भव), adj., ‘Marvellous, incomparable’’, 39. अ, dem. pron., fem. sing., 51, 66, 123. अाखाड़ सिदध, adj., “A veteran, a warrior who has fought in many battles’, fare fe तौन वार संग्राम कोधा इट्‌ किद्दां wire नदी Gwar, 74. खाडो डि, ind., “ˆ (11088186, transversely’, तियेक , तिर क्ख, 130. श्धाडु ङ, m., “Cloudiness and darkness foreboding rain (?)”’, अन्ध- कार, वषणसमयं इधिरमयम्‌, 117. अापपर, ind., “One another, reciprocally’, परस्पर, 77. अारात (Skt. खारात्‌), ind., ^^ Near, in the neighbourhood ’’, 66. चारि, £. (१), ““N. of some kind of small 1714 7, atfaafeatsarfafaia: कोदकं जाति Et, 244. अालदो, adj., “Ready, armed ˆ, सब्नोभूत, सनङबड, 113. satseut, v., “To turn back, shrink (from fear)’’, 165. <, ind., emphatic, 39, 182; pleonastic, 32, 183. 1 This Glossary is only a small selection of words occurring in the Veli, compiled on about the same principle as the Glossary to my edition of the Vacantka Ratana Stighajiri. Like the latter, it contains a selection of the most difficult, peculiar, and interesting Dingala terms, with their meanings, and a complete register of all the pronominal, postpositional, adverbial, and conjunctional forms occurring in the poem. Dingala terms already explained in the Glossary to the Vacanika, have been omitted in the present Glossary, and so also proper names, which, as they all belong to mythology, are of no interest in the present case. १३२ चलि faa रुकमणी री । ॐ +> ^~ ए £ ९8 ~ ॐ & 2 @> = < ए ~~ = < = ॥^> "~~ PN ~ ~~ DWN Wo कि १. £ < © ~ ~~ ~ #~ < —~ |, गै bo ~ ~> ~ > < ~~ WOK > ~~ ~~ © mat "~= === | 2 +न + CN ९,9 => @ = wid = == ~~ — Rs. Ag. = oS — #+ > ॥ 2 #> ॐ @ & ॐ ^> > 0 #॥#> ।> ॐ € ॐ € (ॐ GS _— — [ग — —= ॥ ॥#> @> £ @ © < -> SOON NO we WG iv = गै mJ Sr Orn 6 Taittiriya Aranyakea of Black Yajur Veda (Text), Fasc. 5-11 @ ~, 10 each ri Taittiriya Brahmana (Text), Fasc. 3-23 @ -/10/- each Taittiriya Pratisakhya (Text), Fasc. 1-3 @ -/10/- each Tandya Brahmana (Text), Fase. 13-18 @ -/10/- each Tantra Vartika (English), Fasc. 1-15 @ -/1/4 .. Tattva Cintamani, Vol. I, Fasc. 2-9; Vol. II, Fase. 4-10; Vol. III Fasc. 1-2; Vol. IV, Fase. 1; Vol. V, Fasc. 1-5; Part IV, Vol. [1 Fasc. 1-12 @ -/10/- each Tattva Cintamani Didhiti Prakas, Fasc. 1-6 @ -/10/- each Tattva Cintamani Didhiti Vivriti, Vol. I, Fase. 1-8; Vol. II, Fasc. 1-3 Vol. IIT, Fase. 1 @-)10'- each .. a ; Tattvarthadhigama Sutram, Fasc. 2-3 @ -/10/- each : Tirthacintamoni, Fasc. 1-4 @ -/10/- each Trikfnda-Mandanam, Fasc. 1-3 @ -/10/ Tul’si Satsai, Fasc. 1-5 @ -/10/ Upamita-bhava-prapafica-katha, Fase. 1-14 @ -/10/- each *Uttara Naishadha (Text), Fasc. 6-12 @ -/10/- each : Uvasagadasao (Text and English), Fase. 1-6 @ 1/ va Vajjalaggam, Fasc. 1 ५ ‘A Vallala Carita, Fasc. 1 @ - 10/ *Varaha Purana (Text), Fase. 2-14 @ -,10/- each Varsa Kriya Kaumudi, Fasc. 1-6 @ -/10/- Vayu Purana (Text), Vol I, Fase. 1-6; Vol. II, Fase. 1-7 @ -/10/- each *Vedanta Sutras (Text), Fasc. 7-13 @ -/10/- each Vidhana Parijata, Fase. 1-8; Vol. II, Fase. 2 @ -/10/- Ditto Vol. II, Fase. 2-5 @ 1, 4/- .. Ditto Vol. III, Fase. 1 Vishahitam, Fasc. | Vivadaratnakara, Fasc. 1-7 @ -/10/- each Vrhat Svayambhi Purana, Fasc. 1-6 @-/10/- . *Vrhannaradiya Purana (Text), Fasc. 3-6 @ -/10/- each li (Text and English), Fasc 3-5 @ 1/- each a) Rajasthani Serves. A Descriptive Catalogue of Bardic and Historical Manuscripts Sect. i: Proso Chronicles. Parti: Jodhpur State. Fasc. 1 Sect. i: Prose Chronicles. Part ii: Bikaner State. Fasc. ॥ Sect. ii: Bardic Poetry. Parti: Bikaner State. Fase. 1 : Vacaniké 1२811678. Ratana Singhaji ri Mahesadasota ri Khiriyé Jaga rikahi. Parti: Dingala Text with Notes and Glossary : Tibetan Series. Amarakosah, Fasc. 1-2 Amartika Kamdhenuh Bauddhastotrasangraha, Vol. I A Lower Ladakhi version of Kesarsaga, Fase. 1-4 @ 1/- each Nyayabindu (A Bilinguel Index) oe Nyayabindu of Dharmakirti, Fasc. 1-2 Pag-Sam Shi Tin, Fasc. 1-4 @ 1/- eache Prajna Pradipah Rtogs brjod dpag hkhri Sia (Tib. & Sans. Avadafia Kalpalata) Vol. I Fase. I-11; Vol. II, Fasc. 1-11 @ 1/- each Sher-Phyin, Vol. I, Fase. 1-5; Vol. 11, Fase. 1-3; Vol. III, Fase. 1-6 1/- each Time d-Kun-Din se es oe Notice of Sanskrit Manuscripts, Fasc. 1-34 @ 1/- each .. Ditto ditto (Palm-leaf and selected paper MSS.) @ 3’- each Nepalese Buddhist Sanskrit Literature, by Dr. R. L. Mitra Report on the Search of Sanskrit MSS., 1895-1900, 1901-1905, and 1906-1911 @ -/8/- each N.B.—All Chequee, Money Orders, &c., must be made pavable ‘** Treasurer, Asiatic Society,’ only. 24-9-18. Books are supplied by V.P.P. Rs As. 4 13 1 3 18 ho > ¢ ६७ € #> @ @ @ए = ^> OW ॐ > ॐ @> "~ ॐ < ~~ ॥2 ^~ ~ om mm ॥>, 12 mm "~ be +> to bho न= "~ the 34 1 ॐ @ ॐ ॐ oo € =© 0 0 0 8 to the Prthviraja Rathaura Veli Krisana Rukamani ri PLEASE DO NOT REMOVE CARDS OR SLIPS FROM THIS POCKET UNIVERSITY OF TORONTO LIBRARY