आगमे विश्वासटिप्पन्यः

Royal Life in Mānasốllāsa

Royal Life in Mānasöllāsa DR. (MS.) P. ARUNDHATI

Dedicated

to Sri P. V. Narasimha Rao Hon’ble Prime Minister of India

Grad PL 480-SA 6-21-95

PREFACE

In this venture of bringing out the gems from the mine of Mānasõllása, a treatise in Sanskrit composed in Anustubh meter by Western Chāļukyan king Sômēśvara III on 100 different topics in Saka 1052 (A.D. 1131), first I want to present before the readers the chapters dealing mostly with the life of the king in the court, in the palace and the harem. The topics dealing with the music, dance, literature, games, science, art and architecture etc. are taken up in the forthcoming volumes. I hope, the readers will appreciate this treatment of the subject.

An attempt is made in this volume to give the contents of the Mānasõllāsa in general since many words and passages of the text are not clear and vary in different editions. The readers may pardon the inadequacies in translation of the original text, if noticed during the study. Further the Sanskrit words of the text are profusely used instead of the equivalent in English as most of the Indian readers can understand these Sanskrit words. However a glossary is appended at the end. Small letters are used for all names of trees, plants, fruits, spices, days, nakshtras, tithi, etc. and the references are given in the order of vimśati, adhyāya and verses of the Sanskrit text. The present study is based on the work entitled Mänasõllăsa of king Bhūlôkamalla Sômēśvara published by Gaekwad’s Oriental Series, Baroda, (Vols. I, II and III).

No effort is made in this book either to make a comparative study or critical examination or interpretation of the verses, since my aim is only to present the essence of Mānasõllāsa in English for savouring of the readers.

P. ARUNDHATI

New Delhi July, 1993ACKNOWLEDGEMENT

The word Mānasõllása always touches deep chords of my heart. From the days of studenthood, I had a dormant desire to dive into the ocean of Mānasöllăsa. However, two decades passed, nourishing the seedling of the desire to read and write something about the great legacy left behind by king Bhūlākamalla Sôměśvara-III of the Western Chalukayan dynasty (A.D. 1126 - A.D. 1138), who ruled over Karnataka and Andhra deśa.

Six years back after joining the Archaeological Survey of India, I looked for the refresher of the mind (Mānasöllasa), otherwise called Abhilăşitărthachintamani and it took me more than three years to procure the three volumes of the original Sanskrit text, to read and to complete the work.

I beg the pardon of all great scholars for undertaking this bold venture; rendering this Sanskrit text into English which has not been done hitherto. My curiosity and deep rooted desire to know more and more provoked me to undertake this task. I do hope that the readers will excuse the flaws, if found any.

In this context, I wish to pay respect to my father Late Dr. Patibanda Madhava Sarma, who was a renowned poet in Telugu and Sanskrit and a literary critic, from whom I inherited love for Sanskrit literature. Special thanks are due to my mother Smt. Mangatai, my sister Prof. Dr. P. Jhansi Lakshmi of Osmania University, Hyderabad; my brothers Dr. P.V.L.N. Sarma, Dr. P.V. Ramasarma, U.S.A., and my mother-in-law Smt. Vijayalakshmi.

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Acknowledgement

My uncle Padmabhushan Dr. A.S.Rao, ex-Managing Director, ECIL, Hyderabad; Jnanapith awardee Padmabhushan Dr. C. Naryana Reddy; and Justice Y. Bhaskara Rao and his wife Smt. Aruna, Shri K.S. Sarma, LAS; Dr. Vaidyanath Ayyar, LAS; Sr. R.C. Tripathi IAS and Smt. Achala Honlik, IAS, are to be specially acknowledged for giving me a fresh breath of life by their moral support on many occasions.

I take this opportunity to thank Mr. S.K. Sharma for helping me in the preparation of the Index.

I owe thanks to Shri R.K. Sharma, Assistant Educational Advisor, Ministry of Human Resource Development who helped me in reading some Sanskrit passages of the original text of Mánasõllăsa and enabled me to realise my long cherished dream. The last but not the least thanks are due to my husband Shri C.V. Subba Rao, Government Advocate, Supreme Court, New Delhi, for standing by me in the venture.

On this occasion I remember Late Sri Ashish Singhal of Sundeep Prakashan who was very eager to bring out this publication.

My thanks are due to Shri Sundeep of the Sundeep Prakashan who brought out the book within a short time.

CONTENTS

Preface Acknowledgement

VIMŚATI-I – RAJYAPRAPTI KARAŅAVIMśATI 1. Asatyavarjanādhyāya 2. Paradrõhavarjanādhyāya 3. Agamyāvarjanādhyāya 4. Abhakshyavarjanādhyāya 5. Asāyāvarjanādhyāya 6. Patitasangavarjanādhyāya 7. Krôdhavarjanādhyāya 8. Svātmastutivarjanādhyāya 9. Dānādhyāya 10. Priyavachanādhyāya 11. Istāpūrtādhyāya 12. Aśēşadēvatābhaktyadhyāya 13. Gôvipratarpaņādhyāya 14. Pitftarpanādhyāya 15. Atithipūjanādhyāya 16. Guruśuśrūşņādhyāya 17. Tapôdhyāya

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Tirthasnānādhyāya 19. Dinānāthårtabandhubhrityapôsanādhyāya 20. Saraṇāgatarakshādhyāya

VIMŚATI-II - RAJYASYASTHAIRYA KARAŅAVIMśATI

Svāmyadhyāya

(i) Rājagunas (ii) Rasāyanam 2. Amātyādhyāya

(i) Mantrilakshanam (ii) Purohitalakshanam (iii) Jyotirvidganakalakshanam (iv) Sēnāpatilakshanam

(v) Dharmadhikarisabhadhykshalakshanam (vi) Kôśādhyakshaganakalakshanam (vii) Pratthāralakshanam (viii) Sandhivighrahikalakshanam

(ix) Lêkhakalakshanam (x) Sărathilakshanam (xi) Sūdalakshanam (xii) Vaidyalakshanam (xiii) Antahpurarakshakakumāraparichārakalakshanam 3. Rāstrādhyāya

(i) Rāstrapālanavivēka

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(ii) Karādānavivēka (iii) Dēśajanaraksha

(iv) Nidhi 4. Köśādhyāya

(i) Dhātuvādarasāyanam 5. Durgādhyāya

(i) Navavidhadurgalakshanam 6. Balādhyāya

(i) Padātilakshanam 7. Suhridadhyāya 8. Prabhuśaktyadhyāya 9. Mantraśaktyadhyāya 10. Utsähaśaktyadhyāya 11. Sandhyadhyāya 12. Vigrahādhyāya 13. Yātrādhyāya

i) Yātrābhēdas ii) Sarvadigrikshanas iii) Väraśülam iv) Rikshadôsvăranas v) Nakshatradohadam vi) Amangalāniśakunas vii) Mangalapradāniśakunas viii) Svasakunas

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ix) Pôtakisakunam

x) Pingalāśakunam

xi) Upaśrutisakunam 14. Asanādhyāya 15. Aśrayādhyāya 16. Dvaidhibhāvādhyāya 17. Sāmādhyāya 18. Bhedādhyāya 19. Dānādhyāya 20. Dandādhyāya

i) Yoginichakram ii) Sainyarachanālakshanam iii) Dandabhedas iv) Vyavahārapadas

VIMśATI-III – UPABHÔGASYAVIMśATI

Gțihôpabhôga 2. Snānabhôga 3. Pādukābhôga 4. Tāmbūlabhôga 5. Vilēpanabhôga 6. Vastropabhôga 7. Mālyöpabhôga 8. Bhūşôpabhôga

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101

106

113

Asanôpabhôga 10. Chámarabhôga 11. Asthānabhôga 12. Putrabhôga 13. Annabhôga 14. Paniyabhôga 15. Pādābhyangôpabhôga 16. Yānôpabhôga 17. Chhatrabhôga 18. Śayyābhôga 19. Dhūpabhôga 20. Yöşidbhôga

129

131

132 134 134

137

138

143

VIMśATI-IV – VINODAVIMśATI

Kathāvinoda 2. Chamatkaravinoda .

143

145

149 149

VIMŚATI-V - KRIDAVIMSATI

Bhūdharakrida 2. Vanakrida 3. Andôlanakrida 4. Séchanakridā 5. Tôyakrida

157

159

160

161

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163

165

167

169

171

174

Śădvalakridā 7. Välukākrida 8. Jyotsnākrldā 9. Sasyakrida 10. Madirāpānakrida 11. Phaņidākridā 12. Timirakrida 13. Virakridā 14. Prēmakridā 15. Suratakrida

Bibliography Glossary Index

175 176

180

181

183 185

203

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Vimśati - 1RĀJYAPRĀPTIKĀRANA VIMŚATI

King Sômēsvara opens the text of Månasõllāsa by paying obeisance to different deities like Gaņēśvara, Saraswati, Mahēśvara, Vişnu and Sūrya for success in his venture (1. 1. V. 1-8).

It is stated that for the welfare of the world and guidence to the kings, the Chālukyan king Sômēśvara composed the śāstra called Mānāsöllāsa which comprises of five parts (vimśatis). The first part Rājyaprātikāraṇavimśati deals with the means of obtaining the kingdom and the requisite qualification of the king, while the second the Rajyasyasthiarya kārana vimśati describes the ways and means of keeping the position of the king strong and stable. The other three topics namely Upabhôgasyavimśati, Vinodāvimśati and Kridāvi miśati describe the king who enjoys a happy and comfortable life in all aspects after procuring the kingdom and establishing himself firmly (1.1.v 9-13)

Accordingly, Sômāśvara depicts first the qualification which are to be cultivated by the king in order to get a kingdom; like asatyavarjanam, paradrõhavarjanam, agamyāvarjanam, abhakshya varjanam, asāyāvarjaman patitasangavarjanam, Krodhavarjanam, svātmastutivarjanam, dānam, manôharavākyamj, istāpārtādānam; aśēşdavatābhakti, gôvipratarpanam, Pittarpanamaithibhgjanam, guruśuśruaşama tapas, tirthayātra dinănāthārtabandhubhritya-pôşa nam and saranāgatarakshana (1. 1. V. 14-18).

Royallife in Manasốllasa

After obtaining the kingdom by the cultivation of above virtues, the king should establish the kingdom firmly by the fallowing the guidelines laid down in Rājyasyasthairya kārana vimśati which deals with different organs of kingdom like svāmya, amātya, suhțita, kośa, răstra, durga, bala, prajā, sēnā; sadgunas like sandhi, vigraha, yana, āsana, dwaidhibhāva, aśraya; sākti, astra, prabhava, utsäha mantra; sāma, dāna, bheda, danda and other sixty-four upāyas (1.1. V. 19. 22).

Having established a strong kingdom thus, the king must enjoy a comfortable life by means of upabhôgas. This is described in Upabhôgāsya vimśati which deals with griha, snāna, păduka, tāmbūla, vilēpana, vastra, mālya, bhūşana, āsana, chāmara, asthana, putra, bhôjana, jala, pādalepana, yāna, chhatra, śayana, dhūpa, and yôşita bhôgas (1.1. V. 23-25).

Besides, the king should amuse himself by the entertainments like śāstra, gaja, vāgina, anka, malla, tāmrachūda, tittira, lāvaka, mahișa, pārāvata, mesa sāraměya, syēna, mina, mriga, gita, vädya, nsitya, kathă, and chamatkāra vinodas. These are described in the vinodāvimśati of the Mānasollāsa (1.1. V. 26-29).

The king can indulge sometimes in various recreations too; like bhūdhara, udyāna, jala, sēchana, salila, vālukā, sasya, śādvala, andolana, jyotsanā, pāna, prahēlikā, chaturanga, pāśa, varātika, phamidā, phanjikā, timira, vira, prēma and ratikridas. All these aspects are described in brief in Mānasõllása which is like the kalpavsiksha with hundred branches. Thus, it is a rich source of contemporary cultural life (1.1. V. 30-34).

Vimsati - 1

ASATYAVARJANADHYAYA Under Rajyaprāptikarana Vimsati while describing the qualities that are to be inculcated by the king, Somēśvara emphasises first on the abandonment of not speaking the truth. In this connection it is stated that harbouring the thoughts on kāma, lõbha, bhaya, krôdha, sākshivada, mithya, and asatyavāda is considered as sin. The neglect of or ignoring a promise made by the king in the presence of God, is also called asatya. Further, it is stated that the mithyābhāşana (untruth), spoken on any occasion destroys the ‘yasa’ (fame) and leads to pāpa (sin); therefore, the king should always abandon it instantly (1. 1. V. 35-38).

PARADRÕHAVARJANĀDHYAYA Under the paradrôhavarjana, king Sômēśvara states that beating, cutting, hurting, causing difficulty to others and stealing of other’s property should be abandoned by the king. Backbiting, abusing, teasing, revealing out other’s secrets, and taking away by force another’s house, land, farm and food grains are some of the greedy acts included in paradrôha; so a good king at once should avoid such acts as these lead him to naraka (1. 1. V. 38-41).

AGAMYĂVARJANADHYAYA King Sômēśvara states that neither the king nor any man should ever develop relations with ladies like patita; unmarried, female ascetics, women born in high family; widow, sister, daughter, mother-in-law, lady orphan; and also with wives of teacher, brahmin, son, friend, another king, servant, and relative.

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Since an illegal relation (agamya) with above said women, causes anāyuşya and punishment even after life, it should be avoided instantly (1. 3. V. 42-44).

ABHAKSHYAVARJANĀDHYAYA Under abhakshayavarjana, King Sômēśvara enumerates a number of items like carrot, onion, garlic, meat of animals like wild pig, tiger, cat, crow, monkey, lion, elephant, horse, dove, parrot, hawk, swan, owl, crane, cuckoo, camel, wolf, hen, village crow, dog, sheep, eagle, goat, chameleon, frog, snake, mongoose, crocodile and all village animals and birds which should be avoided by the king in his diet since these cause harm to his physical, mental and moral health. The king should not take all variety of wines except gaudi, pausti and madhvi. Further, the milk of a cow whose calf is not living, which delivered a calf recently, which is pregnant; and the milk of a horse and camel should also be avoided (1. 4. V. 45-52).

ASOYAVARJANADHYAYA According to the king, intolerence to other’s prosperity, beauty, valour, liberality, skill in arts, character, luck and fortune is called asūya; and the one who cannot tolerate other’s prosperity faces abuse as long as he lives on the earth and suffers in hell after death (1. 5.

V. No. 53-54).

HIS

PATITASANGAVARJANĀDHYAYA People who move and have relations with ascetics, chandālas, and low caste people are called mahāpatitas, and they undergo

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Vimsati-

suffering in rauravanaraka; so the relationship with patitas should outrightly be avoided by a king (1. 6. V. 55-56).

KRÓDHAVARJANADHYAYA Since, krôdha (anger) destroys one’s intelligence, kula, wealth and dharma, it should be abandoned instantly by the king (1. 7. V. 57)

SVÅTMASTUTIVARJANĀDHYAYA Sômēśvara states that self praise is a great sin and the one who being overpowered by môha (attachment) indulges himself in self praise is equal to the dead even though he is alive, and suffers in other lôkās after death (1.8.V. 58).

DANADHYAYA King Sômēśvara in his Mānasõllāsa, under dānādhyāya first gives a list of donees or persons to whom dāna is to be given by the king. They are a śrôtriya, daridra, siláchāra, pūrmavēdavida and kuturnbini. It is stated that due to mahādāna even the mahāpātaka will be destroyed, mahāpunya will be obtained and God Mahādēva, will be satisfied. Then a list of objects that can be given in donation (dēya) are enumerted which include gold, gems, garments, elephants, horses, buffaloes, bulls, villages, houses, servants, girls, ornaments, food, drink and til etc. These objects are called mahādānas, as one can be free from fear by donating the same. Donation of money, beds, seats, medicine, water and protection for a refugee are called madhyama dānas.

Further, a man should donate to vidwāna (learned) whatever he has in plenty, as it results in akshayaphala (endless merit) (1. 9. V. 59-63).

Royallife in Manasollasa

PRIYAVACHANADHYAYA In Mānasôllāsa it is stated that the truth, friendly and soft words and speech acceptable to Sruti should only be spoken. However, a word if it is not liked by the listener (apriya) though it is well wished, should not be spoken ; similarly no untruth, though liked by the listener should be spoken as this is the sanātanadharma.

A wellwisher should always speak good and meaningful words and avoid harsh and unpleasant words because, one who talks with discretion (vichār) will be recognised and respected by the well versed in the world.

The one who speaks wellwishing (hitakāri) and sweet talk will be liked and worshipped by the wise and learned in this life and will Ce worshipped by gods in the swarga (heaven). So one should always speak good, soft and friendly words (1. 10. V. No. 64-66).

ISTĀPĀRTĀDHYAYA Besides, a king should do istāpūrta dāna too. The istadāna includes the performance of pañchamahāyajñas i.e., brahmayajña, dēvayajña, bhūtayajña, manusyayajña, pitryajñas; yajñas like jyotishtôma, vājapēya, which are to be performed in sarat and vasant seasons; and other yajñas performed according to vidhi.

It is stated that in a yajña, if anna and other upabhôgas are not offered liberally; if mantras are not uttered clearly and dănas are not given properly, harm may befall on rāştra, stvika and yājamāna respectively.’

Further, the performance of laksahoma, kôțihôma either by the king or by the brāhmins on his behalf is suggested for the welfare and peace of the country (1.11. V. 67-70).

Vimsati – 1

In regard to pûrtadana, Sômëśvara states that causing different types of water sources like kūpa (well), vāpi (water of one stream) and puskariņi (without any stream of water), dirghikā (long tank of water) and tatăka (tank full of water) according to vidhi will procure beneficial results and gives happiness in this life and after life.

The renovation of temple, matta, sattra, public halls is also considered as pūrtadana.

The Istapūrta is to be done on the days having the three stars of pūrva, visakha, kritika, bharani, magha, aśvini, and mūla. Further it is stated that digging of the well, nidhi (treasure) playing of dyutam (dice) should be done after calculating a suitable time (1. 11. V. 71 75)

AśEŞDEVATABHAKTYADHYAYA The Mānasollāsa states that the king should worship his personal god (Istadevatā) by offering arghya, padya, madhuparka, āchamana, snāna which is followed by dhyāna, japa, hôma, mudrā, astāganamaskåra and stuti. Finally the visarjana of the dēvată should be performed. Through the worship of his istdēvată with satisfaction and content, the king will be happy and obtains vast kingdom without any doubt.

Besides, the king should avoid to abuse the gods of other religions and sects; he should worship and visit temples of other gods too. The king who follows these instructions will be blessed by all gods (1.12. V. 102-100)

GÔVIPRATARPAŅADHYAYA King Sômesvara states that king should always perform the dāna-dharma by offering grass and other items of foods to the cows

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Royallife in Manasöllasa

owned by him as well by others, on account of this, god Vişou will be pleased.

Similirly the king should satisfy uttamabrhāmaņa with dāna, sweet talk and honours, so that he could obtain paramapada or moksha (1.13. V. 107-108).

LLL

PITRTARPANADHYAYA In Mānasõllăsa it is stated that offering of til (seasamon) mixed with water to pitr with śradhā is called pitstarpaņa. The tasty pāyasam prepared with cow milk and sugar; meat, ghee, curd, honey and variety of eatables and food are to be prepared and offered to Brahmin with devotion (sraddhā) and made them happy.

Thus, when worshipped, the pits to devatás will bless the offerer with increase of progeny (children), big kingdom (viśālrājya) and whatever is desired or thought in mind. In case one performs śrāddha without any desire, he will reach paramagati (moksha) (1.4.V. 109-113).

ATITHIPOJANĀDHYAYA According to Sôměśvara, the learned state that an atithi (unexpected visitor) is one whose kula and nāma are not known, who has come from another country; who is hungry, coated with dust and tired of travelling.

Worship (reception) of such an unknown person and making him comfortable is called atithipūjā. If the atithi is not received properly and given respect in any house, then the atithi will take away all the punya accumulated by that householder.

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Vimsati - 1

Therefore, an atithi is to be worshipped and honoured since it pleases God Vişnu (1.15. V. 114-116).

GURUSUŚROSAŅĀDHYAYA The Mānasõllās states that one should consider leader, teacher, patron, protector and father as guru or teacher.

Of all the five types, achārya is the most worshippable. Father is higher to achārya and mother is higher even to father. Thus mother deserves special regard.

One should worship and respect father by mind, word and deed; so also should always engage himself in the service to guru without disobeying his order.

Thus, one who offers guruśuśrūsa or serves guru with strong determination and gratitude could obtain the fruits of great merit (1.

V. 117-120).

TAPÔDHYAYA King Sômēsvēra describes tapas as the performance of vratas like ksichchara, chāndrayāna, etc., and subsiding on food comprising of roots, fruits; worship of god with puspa, dipa, and akshat; intake of limited food; observance of complete fast; sustanance on dhūm (smoke), air; toleration of heat and cold equally and the due respect to all creatures. It is stated that by the observance of brahmacharya, tapas (selfcontrol), japa, dhyāna, mauna, prānāyāma and samadhi, the body will be cleaned in the heat created by these observances and thus all the sins will be burnt. Such a person will undoubtedly get punya and get his desires fulfilled. Thus by tapas one can get any object which is far away and impossible (1. 17. V. 121-125).

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Royallife in Manasállasa

TIRTHASNANADHYAYA According to Manasõllāsa king should visit tirthas like river Gangă, Yamună, Narmada, Tapati, Gautami, Tungabhadra, Vanjara, Bhimavirdha, Krishna, Vēnya, Brihannadi, Puşkar, Shuklaprabhāsa, Kēdāra and other places like Prayāga, Varāņāsi, etc., as these places are considered to be sacred.

The Gangă is stated as the best of all rivers; Yamunā and Narmadā as auspicious; Tāpti waves as meritorious while those of Gautami as destroyers of the sins. The Tungabhadta which springs from the feet of God and flows through beautiful peaks and valley of Srisailam is considered as always bestower of good (sadābhadra) and destroyer of the sins even at the very sight of it.

The river Vanjara, Krişnă, Venya and Bhimaradhya are praised and believed as destroyers of sins and procurers of merit such as Indratva (head-ship of gods).

Besides these rivers, certain lakes, ponds, tanks, wells, water falls and sea are also important where, a sacred bath can be taken by the king. King Sômēśvara mentions Puskarini, Suklatirtha, Kēdāra, Prayāga as the places which bless the devotee with comfort, removes unhappiness, difficulties and bestows all desired objects. Prayāga is stated as the best of all and even worshipped by gods.

Further, it is stated that by taking bath three times in river Sarasvati, five times in Yumunā, one time in Ganga and by the very sight of Narmadā sins could be destroyed. By taking a dip in the above sacred places, man can be free from his sins, obtain his long cherished desires and be happy.

Varanasi is called as mahāpunya tirtha and Prabhās as destroyer of mahāpāpas (1.18.v.126 - 134).

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DINĀNĀTHARTABANDHUBHRITYAPOŞAŅADHYAYA

King Sômēśvara states that protection of dina, anātha, arta bandhu and bhritya is the main duty of the king.

One who on account of poverty and desire says pitiably “give” is called dina. A kind hearted king should give with mercy and good will whatever such dina desires as dharma without any selfishness.

Arta is one who is miserably unhappy suffering from diseases; and is low born. He should be helped by the king with yantra, tantra, kriya and provide pāna (water), anna (food), sayya (bed) and asana (seat).

In this connection Sômēśvara gives details on many types of medicines, food and upachāras.

The relatives from father’s side (paternal), mother’s side (maternal) and one’s own are called bāndhavās. The king should talk to them friendly, sweetly; help in case of need and honour with gold, cloth and ornaments. It is necessary for the king to make the relatives happy and contented (1.19. v. 135-138)

According to Mānasöllāsa, servants are of different types, (i) vaitanika (paid servants); (ii) kinkara (appointed for particular work and honoured for that work); (iii) and (iv) dāsa and dāsi (lower caste people meant for lower type of work); (v) karmakara (appointed for a particular work); (vi) bhuddhisahāyaka and khdgasahāyaka, who are to be paid with bharana and pôşaņa. The king should make all types of servants happy and satisfy with protection, honour, good words and gifts. On account of this the king will be happy in this world as well as in other world (1.9. V. 301. 304).

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Royallife in Manasollasa

SARANAGATARAKSHADHAYA śaranāgata is defined by king Sômēsvara as a person who approaches the king for protection from unbearble fear caused by lion, tiger, elephant, thief and enemy. Protection of life and money should be given to such a person by the king. Such a king will be worshipped by all and gets fame (1. 20. V. 305-307).

The Western Chālukyan king Sôměśvara thus describes the means of obtaining kingdom in the first prakerana of Mānasöllása.

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Vimsati – II

RAJYASYASTHAIRYAKARANAVIMŚATI

SVĀMYADHYAYA Once the king achieves the kingdom by following the guidelines described in the preceding pages, he should try to stabilise himself and also expand his kingdom by following the direction given by king Sômēśvara in the forthcoming pages.

Rajagunas

Sômēśvara once again describes the desirable qualities and conduct of a good king. The truthfulness, sättvika, good character, youth, beauty, kindness, respect for the elder, gratefulness; capacity to gather the strength of relatives, strong mind, capacity to control the samantas, as well as his own will and power; forbearence, patience, valour, boldness, good conduct, cleanliness, kindtalk, detachment, bent of mind to be engaged in religion and above all the grace of god are some of the primary qualities that are required for a strong king.

The king should have love for his people, luck, and skill in controlling the army and in the use of śāstras, sastras and astras; discrimination, strong will, determination; skill in arts, and in collecting riches. He should punish the person according to crime and rule, care for well wishers and be kind to the servants. The king should be pleasant, plain, philosophical, knowledgeable, enthusiastic

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for doing good and auspicious acts. Basically the king should possess the five qualities; satya, śaurya, kshmă, dāna, gunagnata, and also he should have in plenty vaibhava, kirti, dharma, vijaya, sukha and yasas (2. 1. V. 1-9).

Rasayanam

Under the chapter dealing with rasāyanam Mānasöllāsa gives a detailed account of certain methods through which the king should keep himself healthy and attractive for a long period. The king should always take suitable, healthy and hygenic food (pathyam) everyday, so that he could be free from all the diseases and will be able to carry out his responsibilities efficiently and effectively. If the king gets symptoms of old age like wrinkles and folds on the face and on the body, the ladies of the harem and other kings will not give him due respect. Therefore, the king should take the rasāyanam (medical tonics) and do the yôga in order to keep the body strong and healthy and to live for a longer period without disease. Sômēśvara refers to two process of preparation of rasāyanams which were in vogue in those days, (1) kutipravēśakā and (2) vātātapasah. It is stated that the second method only should be used by the king to protect the kingdom, ignoring the first method. The methods of preparation of some rasāyanams are described as follows:

On the day of trayodasi of dark fortnight, at the time of sun set, the tree of śālmali is to be worshipped and offered with bali (sacrifice) and tied with red threads (clothes). The japa “om hum amritsyandini amritamsravasvāņa" “is to be performed seven times and cut down the tree with an axe. The essence or the juice obtained from the pith of the tree is mixed with the fruit juices of dhātri, bhținga and satāvarti. This mixture is steamed seven times (bhāvana)

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and made into fine powder (chūrņa) which again is pounded in a stone-pistal. Then the whole mass is made into small tablet in the shape of berry fruits. If one tablet on each day is taken for two weeks, new teeth, nails and flesh form in the body of the king; the hair becomes jet black like wings of the bees and he looks like the youth of 16 years; becomes strong and vigorous; and lives for 100 years without any doubt. If the roots, bark, leaves, flowers and fruits of śālmali tree (angapanchakas) are made into soft powder and mixed with ghee and honey and taken everyday in the quantity of ‘cat’s foot’ and for one month along with nutritious food, the folds or wrinkles on the body disappear. If used, thus the same medicine for 2 months, the king gets the strength of an elephant and lives for two thousand years in youth with vigour and grace, without reaching the old age (2.1.V. 10-25) In another type of rasāyanam the hastikarna tree is pulled out along with the roots when the sun is in pusya nakshatra, dried in the shade, powdered and sew through a thin cloth to get fine and soft powder. Honey and ghee in equal ratio are mixed with this powder and the paste is kept in a pot which is deposited in the heap of grain for 21 days. If this medicine is taken everyday without negligence for 100 days, along with anupāna consisting of yava, greengram and sweet light-food, avoiding acidic food; the king becomes a youth of 16 years, gets the voice of a cuckoo, becomes intelligent, capable of walking 100 yôjana in a day and live strong like elephant for 2000 years (2.1 V. 26-30). The five angas (roots, bark, leaves, fruits and flowers) of hastikarna plant are dried in the shade on the night of purnimā in the constellations with rôhini, śravana, puşyami and rēvati stars or on panchami day of bright fortnight and made into powder. The powder is mixed with ghee and honey and the lēhya measuring the foot of cat’ is taken

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everyday along with anupāna of the pudding of sali rice with milk. The person who eats this medicine for 21 days thus, will get a bright bcly (divyadēha); if taken for three months he will get the capacity

to disappear; if taken for six months he can fly; and after five months he becomes beautiful like a God (2.1.V. 31-36).

The leaves, flowers, fruits of śvētabrahma tree are dried, made into powder and swallowed along with ghee and honey for seven nights, so that the folds and wrinkles on the body of a person disappear and he appears like a youth of 16 years and thus will live for three hundred years. On the day of pusyami star the creeper of amari is pulled out along with the roots and leaves, dried, made into powder and mixed with ghee and honey. If everyday one karşaka of the lēhya is taken along with little sali rice and cow milk for one week, one can have a good and healthy body and be free from pai.is, fever, jalagraha and other digestive diseases like bhayandara; gulma mēha; diseases connected with mouth, ear, eye, lungs (T.B.) as well as the scratching sensation, and other skin diseases. If the medicine is taken continuously, in the second week the king gets a shining body; in the third week, he could see the hidden treasures; in the fourth week, he gets black and curly hair and could live as youth for 300 years; in the fifth week, he eminates sweet smell; in the sixth week he becomes brilliant like Vachaspati; in the seventh week, he looks pleasent like moon; in the eighth week he can give anything to all beings in the world; in the ninth week he could become head of seven dvipas; in the tenth week he can understand the past, present and future; in the eleventh week he gets knowledge of all śāstras and unknown subjects; in twelfth week he becomes god of love and all men and women come under his control. He can live happily and comfortably and attractively without getting old age or his organs

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getting weak and diseased. Thus for the welfare and good of men, Sômēśvara explains the rasāyanam (2.1.V. 37-57).

AMATYADHYAYA Mantrilaksnam

After describing in detail the qualities required to be possessed by the king, Mānasölläsa describes the character and qualities of ministers and other royal officers under amātyadhyaya.

According to Sômeśvara the minister should possess the follow ing qualifications.

He should be born in good and high family, in the same country, knowledgeable, well learned, well versed in nitisāstra (politics); he should be clean, heroic, truthful, healthy, strong minded, noble souled, free from attachments, elequent, skillful in managing the income and expenditure of the kingdom; capable of increasing the wealth of a king and acceptable and loved by the people. When the king goes on a wrong path, the minister with his sweet talk, should teach him the correct way. The minister should be capable of visualising the future and determine with discrimination any action. He should have knowledge of a problem in depth; time and place; be capable of understanding other’s feelings, movements and protect the royal seat and plan the work. He should keep his plans secret till their execution. Such a person should be selected as a minister only after testing thoroughly by the king (2.2. V. 52-59).

Purohitalakshanam

According to Sômēśvara the one who is well versed in three vidhyās, dandaniti; perfect in performing the rites for sānti, and

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poustika, skillful in adharvana vidya should be appointed as the rajapurohita by a king (2.2.V. 60)

Jyotirvidganakalakshanam

On the occasion of coronation, marriage, birth, house-warming, construction of a house, yātra and such occasions the tithi, vāra along with nakshatra, yôgā and karana are to be calculated from different angles by the royal priest. On the bright fortnight, the chandrabala and on the dark fortnight the tārābala are to be calculated. The budhgraha is believed to be very good as it could destroy all ten dosas, while the sukragraha which destroys five hundred dôşas is supposed to be the best. The strength of a subhagraha and the weakness of a pāpigraha in the lagna of the king should be observed carefully for fixing a suitable time for winning the war or any work. A person who could calculate thus, should be appointed by a king as jyôtirganaka (2. 2.V. 85-89).

Sēnāpatilakshanam

According to Somēśvara, sénapati, the Chief of the army should be from a good family, having good character and boldness; well versed; capable of understanding the enemy’s intentions; expert in knowing the nature and behaviour of horses and elephants, riding of the same, and other vehicles; wars, arraying of army, in the use of sastra and sakunas, skillful in the use of śāstras; and the nature and the use of required medicines. He should have strong determination, sweet talk; skillful in discussion and in various languages; intelligent and capable of distinguishing and understanding the nature of warriors and servants. Such a person should only be appointed as sēnāpati by the king. (2.2. V. 90-92).

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Dharmādhikărisabhādhyakshalakshanam

The Mānasöllăsa states that for the maintenance of dharma (order) in the country, the king should appoint as dharmadhikäri, such a person who is a brāhmin, well versed, expert in expounding the meaning of smriti and śāstra; is beyond rāgadvēsas, devoid of greed; fearless; speaks the truth; able to examine the crime; mistakes and the sins committed by people with equanimity and able to give suitable punishment. He should be capable of using discretion always and in everyway (2. 2. V. 93-94).

Kośádhyakshaganakalakshanam

The Mānasõllāsa states that the one who knows well the multiples, divisions and the principle methods of calculation (Trairāśika); the one who is alert, without rāgadveşas and miserliness, should be appointed as ganaka, the accountant of the State treasury (2. 2. V. 124-125).

Prathāralakshanam

According to Sômēśvara, the king should appoint as pratihāri such a person who is noble, dignified, handsome, capable of talking sweetly, winning over the hearts of all and the one who is devoid of pride and arrogance (darpa) (2.2. V. 126).

Sandhivigrahikalakshanam

The sandhi-vigrahādhikari is an officer who stands near the king and advises him in the matters of political importance with the neighbouring kings. He should be skillful in the work, loyal to the king; posses discretion to do or not to do any act depending upon the

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situation. The sandhivigrahaka should be well versed in all languages, know all scripts and should be able to read and utter the letters and words clearly and well versed in the science of sandhivigraha (war and peace). He should also understand the psychology of the mandaladhisas and sāmantas of the king and decide to invite or discard their relations; well versed in sadguņās (The six limbs of polity); can understand the conditions of desa, kāl, and bhaga; the knowledge of the production, income and expenditure of his own country as well as other countries; be capable of taking decision to do or not to do and skilful in the use of sandhivigraha (War and Peace) (2. 2. V. 127-130).

Lekhakalakshanam

The one who can read and write the scripts of all the countries, could write and convey the meaning of passages or messages clearly: who is intelligent, smart in talking; and who is good should be appointed as lēkhaka (royal scriber) by the king (2.2. V. 131).

Sărathilakshanam

The Mānasốllāsa refers to the head of the horses as sārathi and states that he should know the diseases and treatment of horses; know well the sakunas; posses the knowledge of giving training to the horses, knowledge of different types of lands and that which is suitable to the horses. He should be capable of driving different types of chariots; should be a sweet talker, handsome, bold, learned and full of valour (2.2.V. 132-133).

Sūdalakshanam

The sūdādyaksha (royal chief cook) should be clean, pious, having the nail and hair cut, born in high caste, good family and

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skillful in testing the food. He should not be easily won cver by the enemies and he should be a contended person. He should know how to increase the appetite and hunger of the king and know his tastes. He should be specially skillful in the preparation of different types of food and drinks; cooking of various types of non-vegetarian dishes; the art of cooking of vegetables vyanjanās, syrups, khandapāka; different types of rice and milk dishes; eatables, and snacks (2. 2. V. 134-137).

Vaidyalakshanam

King Sômesvara states that the one who is an expert in the treatment of men, horses, elephants, cows and other animals as well as birds; well versed in the eightfold treatment; skillful in conducting operations; in mantra and tantraras; skillful in the science of anatomy and biology; chemistry, astronomy and neurology only should be appointed as a royal physician. The doctor should know the names of all the diseases, symptoms, ways and nature of the diseases and be able to detect; and know all type of poisons, also the medicines, their forms, identity, names and application. The doctor also should know about the vomitings and nausea, motions, phlegm, blood; their nature and testing (the panchkarmas) and what type of medicine is suitable and helpful for the body (patient); should be able to make impossible into possible; and know well the nature of land, time, ecology, season, age and the constitution of the patient. He should always look after the welfare of the king and devoted to Dharma (2. 2. V. 138-145).

Over

Senses.

Antahpurarakshakakumăraparichårakalakshanam

A person who is alert and has control over his senses; handsome, pure, bold, determined, devoid of greed, observes

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niyāmas, skillful and has discrimination should be appointed as a protector or guard of the harem. The one who is dedicated to the king, righteous, clean, calm and conquered the senses should be appointed as a governor to the prince. He should be very bold, skillful in the use of weapons, well versed in śāstras and kalās; know well to look after the welfare, comforts and entertainments of the prince (2. 2. V. 146-150).

LUL

RASTRADHYAYA Rāştrapălanaviveka

King Sômēśvara, in his Mānasõllása, after directing the qualities and habits which are to be cultivated by the king himself and different important officers of the court, describes various aspects of the rāştra the kingdom under rāştrādhyāya.

According to Somēśvara, a land full of grains, eatables and other required material; of healthy cattle; pure water; inhabited by good people; and that which is beautiful with gardens and rivers should be ruled by a king.

The King should select a river drāined land (nadimātrka bhūmi) for his kingdom; and the kingdom should consist of grāmas, purās and mahāpattaņās. The capital should be spacious and beautiful, since the king stays there and rules the kingdom. A king who troubles his people immediately declines from power along with his relatives. Therefore, the king should protect the people from the dacoits, thieves and the government officers (kāyasthās) who trouble them. It is stated that the country is the life of the king; like a disease which troubles the body finally leads to death, a trouble caused to the people of the kingdom leads to the destruction of the kingdom and fall of the king.

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For the sake of the unity of the country the king should appoint one head for each village and one head for each group 10, 20, 100, 1000, villages. The villages should be taken care of well by the king because any mistake done while ruling a village will spread to the whole country. In case any problem arises in the village, the village head should complain the matter immediately to daśagrāmādhipati (the head of 10 villages). He should contact in his turn the sahasragrāmādhipati (the head of 100 villages); and so on. In case they can not rectify the mistakes and solve the problems, the heads of all the villages should meet in a particular place, discuss about the issue and take necessary steps to remove the difficulty and solve the problems (2.3. V. 151-162).

Karădănavivēka

Regarding the taxations and king’s share in the property and income of the country (people), King Sômēśvara states that the 50th part of the income on cattle and gold; the sixth or eighth or twelfth part of crop or produce should be taken as tax. He should tax on a garden depending upon the area of the garden. Thus the king procures the wealth by taking gold, cattle in the form of tax for the growth of the kingdom; developing the trees; enriching the soil, to get sweet fruits and beautiful flowers. The king should tax according to his will on any specific objects he likes; he could tax on field, land and trees suitably, keeping in view the time, people and conditions. The best types of taxation is sadbhagapanya (taxation of the sixth part). The potters, stone cutter, artisans, guilds, leather workers and items like ghee, fruits, flowers, vegetables, honey, roots, salt, minerals, chemicals and medicines also can be taxed. The king should not tax unnecessarily a person who is in trouble and never tax a śrotiya. (2.3.V. 163-166).

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Daśajanaraksha

In a country, the king should allot some uncultivable and for the grazing of the cows and some for the growth of temple gardens which will be inhabited by the sages who are devoted to the tapas. The king for himself should develop near the capital, beautiful gardens full of varieties of animals but devoid of cruel animals. The country should be full of hill forests; hills with caves to be enjoyed and land for the use of all. A king can levy ten percent on the products like fruits, roots, grass, cooking fuel, vegetable and any other products which form the livelihood. Further, he should protect and maintain forest, the source of the elephants, and the area where the elephants move freely and live. All these categories of land should be protected by king properly (2.3 V. 167-171).

Nidhi

King Sômesvara states that it is the primary duty of the king to protect well the sources (mines) of gems, diamonds, precious stones, gold and silver and that the king has right over whatever is received (dug) from the mines. He should take over all the treasures and keep in the royal treasury of the capital; increase the wealth of his kingdom without any hesitation or fear. Because, lord Brahamā created the king as lord over all the objects of the earth (2. 3.V. 332

333).

Different places where nidhi can be searched are given in the Mānasõllása. The sites where the snakes and the scorpions move constantly in rainy and winter seasons, goudha (lizard) lives and khanjari birds (wagtail) unite; where without any burning material, flames appear; where river water makes a whirlpool without any obstruction, there under the earth treasure could be available.

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TIL

Besides, where two headed lotus arises; the banana tree produces thorns; a dried up tree produces sprouts or tender leaves or young shoot; the palm tree produces two heads; and where flower over flower is produced, there the treasure could be found. The other places to be searched are, where the bull smells the earth, looks at the sun again and again and bellows, happily and where without any reason vapours arise to the height of two pādas from the earth, there also the king should try for the treasure. In case a place is expected of having the treasure, the king should verify it by means of kajjala applied to the eyes of the divers. (2.3. V. 334-342)

Then, Sômēśvara gives different methods of preparation of the kajjalas. The fat of the owl, the oil of ankola and lotus fibre are burnt and made into kajjala, applied to the eyes; then the hidden treasure could be seen as if it is in one’s own hand. The svētärka twigs tied with lotus fibre are mixed or soaked in the fat of a pig seven times and burnt with the ghee of kapiladhenu; if this black powder is applied to the eyes, the hidden treasure could be seen. The heart and tongue of the black crow are made into a paste and mixed with honey; if this paste is applied to the eyes, the hidden treasure could be seen. In the night of chaturdāśi of dark fortnight, the fibre of lotus is made into a wick and burnt in the fat of owl; if that black powder (residue) is applied to the eyes, one can see in the night, the hidden treasure like an owl and the sight of the person becomes sharp like that of an eagle. In another method, the kunati, sulphur, palm and parts of rabbit along with lotus fibre and fibre of arka are lit in the ghee of kapiladhēnu, to detect nidhi. If the fibre of ripe arka, sālmali, karkasa and padmapankajasūtra, bound with the crest of peacock is to be burnt; where mahānidhi is suspected; a great fire will arise with triśikhas and the triśikhas will fall down exactly where, the nidhi exists (2.3. V. 343-353).

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Thus, after locating places of nidhi, the king should worship it by offering puspa (flower), phala (fruit), dhūpa (incence stick) and bali (sacrifice); and worship Vishnu, Lakshmi, Mahēsvara, Brahmā, Saraswati, Ganesa, Bhūdevi, bhūtala, vaitala, kshētrapāla, yaksha, who preside over the wealth along with servants and varuņa, the god of water. Then the sādhakās who are fearless and clean, on fast; and protected their organs properly should be engaged in digging the wealth as per the săśtras. Then the nidhi can be moved by the king and kept in his kośa to be used for the welfare of the country (2. 3.

V. 354-361).

The king should take care of the pearl producing areas namely the sea as it is the rich source of valuable materials and the port towns which exist on the sea-shore since these form the main sources of income for the kingdom. In this context the sea is described at a great length as a source of gems, minerals, submarine fire, shining creepers, mountains; conches; sea elephants and other animals; as the source of amrita, vishnu, pārijāta, airāvata, váruni and the moon. The sea is described as big and endless like the sky; with forceful waves rising high one after another causes fear. Therefore, the sea which is the source of such riches should be protected by the king who wants to enrich his kingdom. All the towns located on the seashore (ports) should be protected and when the merchants return from the business, the marine trade, the king should take from them ten percent as tax; in case any business men come back due to bad weather, whatever they give should be taken (2. 3.V. 362-376).

KOŚADHYAYA Dhātuvādarasāyanam

King Sômēśvara states that a king can increase his treasury by purifying copper metal into gold and vanga metal into silver. The

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change of the metal depends upon the chemicals used, the ratio of the materials, and the chemical reaction. He gives certain methods by which gold and silver can be produced. The flowers of palasa are dried, powdered and kept in the milk of goat for three weeks and mixed with the sixth part of it with vanga (lead) and this lump is burnt in the method of puta. Then, a silver like bright substance will be produced. In another method the flower of śwētbrahma is kept in its own juice and coated on the sheats of vanga, made like palm leaves thirty two times and burnt by the method of puta; then the vanga looses its black colour and a semi fluid substance is produced: it can be used. The seeds of svētabrahama are kept in the oil seven times (parivāhana) and mixed with sulphur; this mixture (paste) is applied to the pieces of copper and burnt in the method of puta; then a gold like substance which can be beaten, cut and scraped will be produced. In the above said oil, the material like dradam, gandhakam (sulphur), pārdam (mercury) are blended and mixed with little pāşanam; ar:d beaten into a kalkyam (smooth paste). This is applied on the wraper of vanga and heated 32 times till its colour, nature, and smell disappear, then gold which can be used for all purposes will be produced. In another method the sap of salka tree is filtered through a delicate cloth and this is mixed with the ashes of sighru tree which is plucked along with roots, dried, powdered and then burnt. The substance obtained thus is applied on the copper plates and burnt five times to get the gold (2.4.V. 377-388).

In another method, tree of śāka along with ripen fruits is dipped with the juice of mãnjista creeper and made into a paste; this is applied or coated on the leaves of śuklarajani and burnt in the method of putapāka, till it becomes gold. The bark of sāka tree is made into powder and mixed in the juice of the same and kept for

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some time and then mixed with juice of karavira; this paste is coated on the copper plate and heated in the process of puta; the liquid form thus obtained can be used in place of gold. The king should produce gold by using the above mentioned methods, and increase his riches. Because, the king’s treasury should always be filled with gold, gems, dress, clothes and jewellery in order to meet all types of expenditure of the kingdom (2.4 V.389-394).

Just like a big tank of water is made by small drops of water and ant-hill is made of small particles of earth, so also the king should fill his treasure by collecting one by one and make efforts to increase the treasures. The wealth thus obtained should be divided into four divisions, three parts should be used for the purposes of dharmāradhakāmas; and the fourth part is to be kept in reserve. The king whose treasure is full of riches, will be happy and enjoy the life; while whose treasure is empty suffers and is equivalent to dead (2.4. V. 537-540).

DURGADHYAYA

Navavidhadurgalakshanam

According to Somesvara, durga (fort) is one of the important limbs of the kingdom; he mentions nine types: jaladurga, giridurga, pāşınadurga, istika durga, msithikadurga, vanadurga, dārudurga, marudurga and naradurga.

Jaladurga:—The fort which is surrounded by deep water like a lotus and is inaccessible to the enemy.

Giridurga:-The fort located on high mountain ranges which can be climbed with great difficulty and surrounded by water is called giridurga.

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Pāşānadurga—The fort built of stone is called paşanadurga, and such type of durga is to be built by expert in Mayaśāstra.

Istika durga—The fort built beautifully with bricks; which is clean, white washed, has deep wells and four gates is called Istikadurga.

Mrittikadurga:-Durga built with well mingled mud is called mrithikadurga.

Vanadurga:—The fort surrounded by thick forests and thorny bushes is called vanadurga.

Marudurga:—The fort where hidden water is available in plenty but very difficult to be seen from outwards; and the fort located in the desert area (marusthala) is the marudurga.

Dārudurga:—The fort made of wood of big trees and bamboos and where the same are planted in plenty, is called dārudurga.

Naradurga:-Durga which is full of large number of astra and sastras and great warriors, is called naradurga.

Out of these nine types, giri and jala durgas are considered as uttama; while vana durga as madhyama. Dāru and naradurgas are stated as adhama type, due to their easy accesibility to the enemy (1.5. V. 541-549).

Then, king Sômēśvara gives the list of items that are to be kept in reserve the forts.

First of all the king should take care of the main doors by providing with machines and proper protection. Then all types of weapons, medicines are to be stored in plenty in secret places. Besides, horses, elephants, weapons like kunta, ropes, sand, stones, drinks, vehicles, firewood, jaggery, different types of oils, curd,

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honey, all types of grains, cattle, cowdung, pots, lion, tigers kept in cages, war instruments and all other types of articles required should be kept abundantly in the fort by the king (1.5. V. 550-555).

BALADHYAYA Under the chapter balādhyāya, king Sôměśvara describes in detail, the nature and classification of the army.

Padatilakshanam

According to Sômesvara, the army comprises six types of fighters; maulam, bhrityam, maitram, śrēnam, atavikam and amitram. There is no seventh variety of army known to be used by any king.

Maulam:-The army which is hereditary. Bhrityam:- The paid soldiers. Maitram:-Army collected from or given by a friend.

Śrēni:—The soldiers, who are fighters by birth or by profession and help the king on fixed occasions

Atāvika sena:—The Army of the mountain dwelling people like nişada, or mlechha is called atvika sēnā.

Amitra sēna:—It is formed by the captured or surrendered enemies or the slaves (dāsas) who are purchased.

Of these, the first three are supposed to be of uttamagati, while the fourth one is of madyamajati, the fifth one is the adhama type Jati.

An intelligent and skillful king should never post the amitra sena nearer to him and should never trust it; such an army should be kept in front of all types.

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It is stated that a very strong curtain made of metal, skin or cotton bounded by nails and ropes should always cover the camp and protect the army. A specially made armlet, helmet and armour should protect the arms, head and chest of the soldier respectively. The camp should be decorated with flags, pillars; a fencing made of bamboos, wood or skin should be around the army in order to hide it from the danger and from the sudden attack of the enemy. The camp should always be ready with the skin of tiger, different shields and kalasas.

The salary of the army could be paid in various ways. In case of maulika, the gems, ornaments, clothes and affectionate words are to be given. According to the merits villages, pearls, gold etc. are paid as per the agreement monthly, quarterly, half yearly or yearly in case of bhritym.

Care should be taken by the king to see that the wages is paid to the army in time; since the non payment leads to unhappiness among soldiers. The king should himself supervise fortnightly whether the payment is made properly or not there. The king should keep the army always in enthusiasm, equipped with weapons and ready for war, forgetting their tiresomeness (2.6. V. 556-572).

According to Sômėśvara, the elephant strength is the most important aspect of the army for success in the war. Therefore, an intelligent king should strengthen his army with a number of elephants collected from various sources. The king should keep in his fourfold army a good number of chariots drawn by four horses; driven by strong minded charioteers; filled with different weapons; decorated with flags and other signs. Such chariot strength will bring victory to the king in the war.

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Among the soldiers, some hold spears, some swords, some sticks, some wheel (chakra), some mudgara, some parasu (axe), some bāna and some, sakti, sula or chūrika; some soldiers use yantra-muktāyudha, amuktāyudha, muktā-muktāyudha or hasta muktāyudha.

Thus the king who desires victory in the war should maintain the chaturāngabala (Infantary, cavalary, chariots and elephants) and destroy the strength of the enemy (2. 6. V. 678-684).

The Mānasöllāsa gives the highest place to the gajabala of an army; the elephants which are born in the forests of Kalinga are of bhadrajāti, so they are to be trained and managed by the king.

A heroic, strong, bold and huge bodied elephant possessing all auspicious qualities, good signs and with intoxicated eyes can bring victory even at its sight.

King Sôměśvara states that the well trained horses of Sindhu, Kāmbhôja and Yavana countries make a good and strong army, the enemy can be won over even from a distance on account of very good horses in army. The kingdom can be strong and steady and the king can get fame through a good cavalry.

The details about different types of elephants, horses their habitation, quality, diet, training, diseases, medicines and other aspects are also discussed by Sômēśvara (2. 6. V. 573-677).

TER

SUHRIDADHYAYA Suhțidaya (the good hearted) is one who is born in high family, bears good character and conduct; strong mind; possess equanimity to happiness and unhappiness; possesses the five paradharmas; observes cleanliness and is free from temptations (bad habits); such

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people (suhridaya) should be selected by the king as his friends and as a means to obtain happiness, as well as dharma and artha (2.7. V. 685-686).

PRABHUSAKTYADHYAYA Under prabhusakti (the capacity or power of the king) Sômēśvara describes three types of prabhusakti (1) ātmayatta, (2) sachivāyatta and (3) dvayāyatta. Atmayatta is considered as the best, while dvayayatta as madhyama and sachivayatta as the lowest according to nitiśāstras.

The kingdom in which the minister is powerful, arrogant and thinks “The kingdom and the king is under my control; whatever I do, I want or order, can anybody disobey?” such a rule is called sachivāyatta śāsanam.

The kingdom or rule where the minister feels “Whatever appeal made by or through me will certainly be accepted by the king” and always king and minister both agree to a thing and rule the kingdom, that is called ulehayāyatta sāsanām; such kingdom will be full of happiness.

In case of the ātmāyattam, which is the best, the minister thinks “Without the order/permission of the king I cannot do any work”. Wherever such a fear or respect for the king prevails, such kingdom always provides happiness and prosperity and will last long. In a rule, where anugraha, nigraha, dāna, adāna, pravritti, nivritti, grahana and môkasha are done by the king himself; his order is respected and he shines by his own will-power, is called prabhusakti and the king is called prabhu of the dēśa and prajā (2.8. V. 687-696).

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MANTRASAKTYADHYAYA King Sômēśvara, after giving the different types or nature of kings and kingships, advices a king how to think, review different developing plans for the welfare of the kingdom and people.

The power or capacity of the king to do any work or action which is not overpowered by kāma, krôdha, bhaya, lobha and other desires is called mantraśakti. King Sômēśvara described the 5 limbs of mantraśakti which were taught by the writers on Nitiśātras, Chānakya and others. (1) the means of achieving the aim, (2) patience or capacity to do or execute a work, (3) discretion of area and time, (4) not to leave any work even when the obstacles come in the way and (5) fulfilment of the aim.

It is stated that a discussion taken among many people will be known and spread very quickly; while a talk between two people will be materialised but leaks out easily; but the decision taken by own self will not be known even to god Brahma. Thus a decision or work which is kept secret by three means -thought, word and deed till matured will be successful. While planning a thing, the king should not discuss about it (mantra) with the people of lower status. The deaf, dumb, insane, diseased, very old, children, women, should not be consulted. The proper place for making a discussion or planning is also described by Sômēśvara. When the king wants to make a plan or mantra he should sit on a higher seat in a place, which is caim and quiet, either in a forest or in a deserted place, where no body moves/goes. The mantra (strategy) should be done at the noon time after taking the meals, being free from fatigue or in the mid-nights after having good sleep seated on the top portion of the palace. (2. 9. V. 697-705).

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The king should council with minister or should take a decision himself on all the matters relating to dharma, artha and kāma; steps to be taken for the protection of the kingdom, of his own strength and that of others matters like the suppression of enemy, about the friend and foe; the means of a getting more money, to decide the funds for payments to the servants, honouring of the friends, training of the prince, protection of women, for gaja and aśva śikshā; finances of the kingdom (treasury), punishment to the wicked minister, expenditure and income of the kingdom, for a good rule; for the worship of gods, honouring of brāhmins and guru; maintanence of dharma according to Varnāśramadharma; protection of the fort and self; the critical study of acts of the other kings, punishment of the wicked, weather conditions, floods, draught, growth of the crops and cattle; religious ceremonies to be performed as nitya, naimittika, śānti, and paustika rites.

Then, the king should hold seat counciling with each minister separately, talk with each on the specific issues, take his advise, think about good and bad effects of that idea or practice; finally should decide himself and execute a plan. It will be successful. The king should always think personally and take up such an act which is more profitable, easy and will increase his famc and Dharma as well as gives comfort and happiness.

When the income and expenditure are the same, then more expenditure on an extraordinary matter should not be planned by the king. A planning should not be done in the time of crisis and in the area of difficulty or discomfort. Plan which is done for kāma, krôdha, lobha; is against Dharma and is harmful to others is a durmantra. Further, Sômesvara describes that when a king decides a plan (mantra) himself, he should consult the people also in a suitable time and condition and finally execute it (2. 9. V. 706-721).

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UTSAHAŚAKTYADHYAYA While describing the utśāhasakti, King Sômēśvara mentiones the vikrama (power or valour) of the king as the eagerness or activity to get land, money, elephants, horses and gems and to conquer over enemy (king); such king is called Vikramśāli. In case a task undertaken is not completed, the king should resume the work again and again and should not be tired till he completes the work, such a king is called Utşāhi.

A king who is always eager with the intention of getting good results, always contemplates the work till it is completed, will be always full of utsah and vikrama. Such spirit is called Utsahśakti (2.10 V. 722-724).

SANDHYADHYAYA Sômēśvara states that in order to have peaceful and happy kingdom and rule, a king should follow the six political expedients (sadgunās) namely, sandhi, vigraha, yāna, aśana, aśraya, dvaidhi bhāva. (Pact or Peace or treaty; war or punishment; expedition; halt; alliance or seeking shelter, duplicacy or succession).

When a king thinks that the enemy king cannot be conquered, he should seek friendship; such a policy is called sandhi (truce). Then, Sômēśvara gives the circumstances under which sandhi is to be made. When a king observes that the enemy is stronger than him, and chances of victory are more on other’s side; or when one is unable to trouble and tease the enemy; when one’s own strength is not sufficient, on such an occasion and at the such a moment of time, the weak king should make friendship with an enemy.

Sandhi is of four types: maitra, sambandhita, parasparôpakāra and upahara.

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Maitrasandhi:- A king goes for asking the friendship of the enemy for sake of his best qualities.

Sambandhitasandhi:-A friendship made by a king who is defeated, by offering his daughter to the victor.

Parasparópakārasandhi:-A pact made for the mutual benefit.

Upahārasandhi:-A treaty made by offering gold, gems, horses, elephant and etc. (2.11. V. 725-732).

VIGRAHADHAYA Vigraha is causing harm to any king. A king should enter or observe vigraha when the other king is inferior to him in all aspects and other methods fail. Sômesvara describes eight types of vigraha: kämaja, lõbhaja, bhūbhava, mānasabhava, abhayāravya, istaja, madöthita, ēkadrayābhilāşuka and states that the ninth type does not exist.

Kamaja:-Vigraha (threat/revenge/punishment/war) made on account of a woman.

Lôbhaja:-Vigraha caused for money. Bhūbhava:Vigraha done for the sake of land.

Mānasambhava:—The vigraha made for the sake of self pro tection.

Abhayāravya:-Vigraha done for the protection of a refugee. It is supposed to be the best vigraha by the nitiśāstras.

Istaja—The vigraha done for the sake of a friends, relatives, and servants.

Madóthita:—The vigraha done on being intoxicated by wine or education, money, wealth, and with arrogance.

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Ekdravyābilāsuka-The vigraha done for any one of the above mentioned reasons (2. 12. V. 733-742).

YĂTRADHYAYA After narrating the incidents and occassions when a king should undertake war or fight, king, Sômeśvara describes in detail different types of wars/military marches.

Yatrabheda

According to Sômēśvara a king whose kôśa, (treasury) is emptied by the curse of god, who is diseased; who has bad habits; who is troubled by the enemy; whose treasury is empty and who is deserted by the friendly countries should be attacked in order to get victory. The king should undertake the military expedition (yātrā) to occupy enemy’s land either in sarata or vasanta seasons after observing the signs of loss or profit; and favourable time (sakunas) to his own army, self and the country as well as loss and defeat to the enemy (2. 13. V. 743-745).

Sômesvara gives seven types of yatras : sandhanaja, parnirôdha, mitravigrahaņı, dvandaja, kulya, sighraga and nirvyärjā. When a king makes friendship with the enemy king and then occupies his land, it is called sandhānjā yātra. In order to stop a marriage when a king gathers his army and the army of his friend and occupies tre land where the marriage is taking place, it is called pārņirodha yātra. Mitravigrahani is that when a king with the help of friendly kings punishes the enemy and occupies his land. Dvandajavigraha is stated to be in use when an enemy is invited to fight the war, to ruin him. When the war is done due to a family rivalry and it is dangerous to the enemy, the yāna is called kulya. When the war takes place with

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the intention of destroying the enemy without caring any danger, it is called sighragă. When a strong king destroys the enemy, and occupies his land from all sides and makes him helpless, the yāna is called nirvyårjāyāna (2. 13. V. 746-753).

Sarvadigrikshanas

After giving various types of yātras, Sômeśvara mentions guide lines to be followed by the king in regard to the day, tithi, nakshtra and the time for undertaking a successful yāna; the direction to which the yāna should proceed; the food to be taken and various ways of observing the sakunas (omens) which augurs the results of

the action/yāna undertaken.

King Somesvara states that the yatrā should be undertaken after deciding and observing several factors like country, time, suitability, purpose and one’s strength. Regarding the suitable time for undertaking yatra, some directions are given. When the sun is with mūla and śravana stars or in the mangala and aharbudha; krittika is on wednesday; punrvasu is with brihspati; saturn is in sväti; śukra on bhagyastithi the time is called sidhayôga. Therefore, the king should undertake yātră on such a time only for getting success. Similarly when the sun is in hastha star, chandra is in mrigsira; mangala is with aśvini; budha is with mitra star; guru in pusyami; śukra is in rēvati; rõhiņi on saturday are called subhayôgas. Therefore, the king should do any work on these days. The yātrā undertaken when the surya is on riktatithi and śukra is on nandātithi; mangala on jayatithi, budha and chandra on bhadratithi; guru on pūrmatithi will cause/give success to the king. So also a work undertaken on the first day of a fortnight result in good; while the second one causes kalyāna; the third one gives the money profit.

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while saptami gives profit; daśmi bestows land profit; ekadasi gives success; trayôdasi gives all fulfilment. The later part of purnima is considered as good for undertaking an yātrā while sasti, aştami, navami, dvādasi, chaturdasi and amāvasya should be always avoided (2.13.V. 754-763).

The yatra undertaken on uttrātriya stars; pusyami on sunday; rôhini or chitra on monday are good and cause comfort. The mangala graha with ahirbudha or pusyami is the best. The punarvasu on thursday gives wealth and śravana, gives steadfastness. The days with the hasta, punarvasu, puşyami, revati, mrigsira, anuradha, asvini stars are the best suitable time for the king to undertake the yātrā. The king should set out in charalagna and characharalagna but never in the sthiralagna. The king should avoid a lagna which is 8th or 12th from his janmalagna. Besides his own strength, the king should try to get the strength of grahas also for getting victory in the war, then the yātrā will be successful. The king will go and come back safely if guru is in the lagna; budha is in the 4th house; śukra is in the 5th house; kuja or sani in the 6th house; sürya is in the 3rd house; and the moon is in the 10th house. If the aharbudha or chandra is in kendratrikôņas of king’s horoscope or if both are it is called atiyoga; such a period is very good for the yatra. If three grahas are in trikona, it is called yogadhiyôga and all the objectives or king’s desires will be fulfilled if yātrā is undertaken at that time. If a sthiragraha is in këndratrikôņa, and is saumya; or if it is satkõnagraha and is bad, then also victory is sure. The king who wants wealth, should undertake yātra after calculating proper yoga. While a brāhmin calculates the suitable stars (tāragana) others should observe good śakunas for getting success in his work.

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The king should begin a yātrā/journey on north direction in a time of viśākha and uttra nakshtras, after the third part of the day; and should avoid the jyestha nakshtra and the middle of the day; on the day of svāti, aśvini, pusyami, hastha, afternoon is avoidable while on the day of mytra, pauşyami, yatra in first part of the night is good. On the day of three purva stars, yātrā on south side should not be undertaken. If śravana and next two other stars are with the rākshsagana, the early part of the day should be avoided for yātrā. The stars of śrāvana, hastha, mrigasira and all its group are auspicious for undertaking the yātra. The maitra, Pusya and hastha stars are always auspicious for undertaking yātrā in all directions. The yātră undertaken in the kisttika to the east side; magha to south west side; maitra saptami to west are not good. In case one does not follow the above rules and undertakes yātrā, the bad planet will destroy the purpose of the yātrā. The seven stars from krittika are good for going on yātrā to āgnēya corner but the journey to vāyuvyā on the same day is not good, so it should be avoided. The krittika on saptami day on ägnēya direction and west is good but in magha nakshtra, yātrā in āgnēya and east is not very favourable, while the maitra star for våyuvyā, uttra and ägnēya directions is good, Similarly on the day of dhanistha, yātra is to be taken to vāyuvya and west directions, yatra in the jyestha nakshtra to the east; in rohini and pūrvābhādra to south; in rôhini to west; uttra phalguna to north give troubles. Therefore, such time should always be avoided (2.13. V. 766-795).

Váraśālam

On friday and sunday, the king should not go to the west side while on wednesday and monday he should avoid north direction.

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On monday and saturday, east side; on thursday, south direction should be avoided. One should fallow these guidelines and avoid to go in a direction on the day when the vārasula exists. (2.13. V. 796 798).

Rilcshadosavåranas

An intelligant fellow should not undertake a journey on sunday, with the stars of dhanistha, krittika, magha, anuradha, aslēsa, and bharani. The two āşada stars and viśākha on monday; dhaniştha, ārudra and Satabhisa on tuesday should be avoided. Similarly krittika, rëvati, mūla, anuradha, aśvini, śatabhişa on wednesday; mrigaśira, Satabhisa, pusya stars on thursday: puşya, asltēşa, magha on friday; two ăsădas, hasta chitra and uttra on saturday are avoidable. Therefore on these days one should not undertake the expedition (2.13. V. 799-803).

Nakshatradőhadam

On the days of bahula (dark forenight) more curd; on brahmiya days ghee and payasam (rice pudding) and on aindve, māşavadaka should be eaten; while in roudra time, sweet curd and in punarvasu star cucumber should be eaten. In pusya star, payasam or ghee; in sarpdrispi, til and in magha nakshtra, rice should be eaten; so also in pūrvaphalguna star pāyasam; in yavaka, vegetable; in paninakshtra yava and in chitranakshtra, chitra bhojam should be taken. Similarly on svāti nakshtra, dhātriphala; on asvani jaggery and boiled rice; in maitra nakshtra, kulatta and in indra nakshtra yava should be eaten. Further, it is stated that in the mūla nakshtra muli (radish); in pūrvāşāda thick curd; in uttra nakshtra cool water and in śravana sattu should be eaten. In dhanistha rice dish; in varuna satkali (puri);

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in purvabhadra honey and bijapura; on rêvati cooked green gram; on aśvini tasty food; in bharani til water should be consumed by one who is in trouble and for a comfortable journey (2. 13. V. 804-810).

Amangalåniśakunas

A lady on periods, unseasonal clouds, the domestic trifle, bull or any animal in unhappy mood, weeping, and the uncleanly people; burning of a house, earthquake, strong winds, blows of hot air sounds from the earth are some of the bad signs when one should not undertake a yātra. Therefore, the king who wants the victory should not undertake yātra on such occasions. Similarly a person with shaven head, a naked person, a word saying ‘dont go’; fire without smoke; heap of dried fuel/wood; oil burning on the fire; dry cowdung, rabbit, snake should not be seen before undertaking a journey. A person sitting on an ass, camel, buffalo; a sanyasi, śrávaka and lowcaste persons and a person having broken ear, nose, twisted organs or with spread hair, a person in black dress, a pregnant woman, widow, dumb, deaf and one with oiled body if come forward or seen before undertaking a journey, the king should not undertake that yātra. Because when one’s own mind is not happy or is in depression, the purpose of the yātrā will not be fulfilled. So one should not undertake yātra on bad or inauspicious movements (2.13. V. 811-817).

Mangalapradăniśakunas

The sight of a pitcher, mirror, curd, wine, fish, counch, flag, umberella, flywhisk, prostitute, bharadwajabird eating flowers and fruits; deer, bull, intoxicated elephant, two brāhmins, a white vehicle, gold, gems, veena, pataha and a tied animal before

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commencing an yatra augers that the purpose will be fulfilled. Similarly a king, friend, virgin (kanyā) in cream colour dress; a person seated on bull or elephant are good signs. The words ‘go’ from behind ‘come’ from front side, words in praise, blessing and auspicious words which give enthusiasm and satisfaction to one’s heart are very good; words like cut, beat, bind, leave, tear, though are alarming; always auspicious and ensure victory to the king (2.13. V. 818-823).

Svasakunas

when one begins the yatra, if somebody calls from left side or the right side of the body splasams, the journey will be successful. If a dog stretches the body and crosses from left side of the vehicle to right side; the dog follows the people on journey upto two kośas and passes urine from left side on a gômūtra (cow’s urine), it is a good sign. The pasture, stable of the horses and elephants; resting place for men; a wooden rice pounding pestal, dhwaja, chhatra, chámara and tree with fruits are seen, the journey will be successful. Similarly a heap of bricks, pots, saddle, heap of mud, fruits and flowers, dog passing urine and following a traveller on left indicate the fulfilment of the aim of the journey. If dog passes urine on a fresh cow dung, the traveller will get uncooked food; if the dog is holding any new item or fresh wet bones, clothes, shoe and sits and leaves the object on the ground, it also augurs good in the yātrā. Thus these are some of the sakunās associated with dog given in the Mānasõllāsa (2.13 V. 824-832).

Pótaktsakunam

A törana having two pakshas at a distance of eight dhanus with a kalaśa in between is to be erected when one wants to invite pôtaki

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(black sparrow) for the prediction of the future (śakuna). The house should be cleaned and the potaki couple made of pista are established and worshipped with flowers and fruits; and a virgin is offered with food. A pôtaki pair then comes and stay/live on the tôrana. The sādhaka should go to sleep cleanly, remembering Pandavas. Getting up at sunrise, with eagerness to know the favourable sakuna, he should go to the tôraņa along with his friends. Turning to the peaceful/beautiful direction, he should pray the pôtaki (goddess) and remember the ten names of Arjuna; pray Devi as “Pāndavi, pôtakl, durgā, śyāma, umā, chataka, vārāhi, sakuni, krisha, śwētapaksha” and flowers and akshatas are thrown (offered). The names of Arjuna as “Kiriti, arjuna, vijay, krisha, bhibhaşth, phalguņa, pārtha, dhanunjaya, savyasachi, śwēta” and the following mantra is to be uttered “Om! Sive, jwalamukhi bali grihaņa swaha” ‘Om Sive sivdūti, bhagwati, chande idamargahym maya lilya samarpitam grihna grihana āgachchha vāyuvēgēna subham kuru kura swāha”. After uttering thus for several times, bali is to be offered to a jackal at the junction of three or four roads. At the törana, again devi who saved Panduvaputras is to be praised. If the birds sitting on tôrana pass (fly) without making any sounds to the direction of dakshiņa of the torana it is a good sign; if potaki comes out of torana and goes to left direction it is also good; if the krishộapakshi (male bird) goes straight and rises right side it is also good. If on the south side of tộrana one, two or three tāras appear it is also profitable, but if the pôtaki goes from left to right side or goes from behind or on opposite direction, it is not a favourable sign. Similarly the mixed movement of the birds gives mixed effects for the proposed work

(2.13. V. 847-863).

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Pingalāśakunam

A milky tree having flowers and fruits is brought and kept in a clean place and a pair of pingala is invoked there at the evening time with full attention and devotion. The place should be coated with cow dung and covered with cow skin or deer skin. A figure of padma having eight petels is made/drawn with wheat flour (pista); and with the same lump, the figures of pingalas and weapons are made and kept there. Then, goddess chandi and eight dikpālakās in eight petels; Brahmă in the middle of padma; and Vişnu at the bottom are invoked. God Vişnu with ômkāra and Brhamā with his names are worshipped; dhūp, deep, puspa and naivedya are offered (2.13. V. 864-869). Chandi is invoked on the tree offering seat as “Vrikshsthānāya namah”. Om Harim Sri Chāmunde hūm namasmin, vrikshe avtār swaha". Then a pinglāyugala is established at the root and invoked with mantra “Om pingle mekhle rêvati rātrichāriņi Brahmputri satyametad brūhi mē swāha” “Om Srim hrim hurr chali vaişat” is uttered as mūlamantra. “Om sidha chămı,de krishanpingle swah” “Om namo bhagvati kālaratri mantramūrti mahēśwari chămunde prajāpālani yôgeswari āgachchha āgachchha eh yèye tişth, tisth, or hrim chili, chili sabdāya swāha”: offering this adhivasa mantra one should worship with pūjā, japa, hôma, 108 times or 1000 times. The hôma, should be offered with wood of aśvadha, udumbara, āmra, brahama and dūrva grass along with ghee and honey. Dēvi is praised again as “Prētāsanagatām suskam bhasmaliptām kapālinim dhūmradhwajam, śūlahastām, raktāpām, mundamālinim, vāsasrgrchitām bhimām, krishnām, gajsinghajinām barām akshavrikshasthitām bhimā samréchandi”. Worshipping thus, seven layers of red thread is bound around the tree and the whole worship is dedicated to the guru. Then offering the naivedhyam to

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the devi, and feast to the virgins, the sādhaka should take food in the company of friends. Next day, early in the morning after completing the daily routine the sadhaka should go to the tree and kneeling down with anjali should proclaim in high pitch “Tell me (indicate) Brahma putri, the right path (good or bad results) (2.13. V. 870-879).

Then, he should turn back on bright direction and listen with concentration to the sounds which indicate the sakuna, while observing the image with single mindedness. Then five different notes representing the five elements (1) pārthiva (earth) (2) vāyu (wind) (3) āpya (water) (4) kaulaka (ether) (5) tējas (fire) will be heard; each note has five mātras. For each note in success the following matras will be produced: chil, chili, chilily, chilichili, chilichili, (Pärthiva); kich, kichi, kichichi, kichikichi, kichikichi kichikichichi (apya); kug, kuku, kukuku, kukukuku, kukukukuku (taijas); cheech, cheechu, cheechuchu, cheechucheechu, cheechucheechchu (vayu); srak, cheech, kusru, kih, kisru, churuchuruchuru (akasa). Thus listening to the these sounds carefully one should understand the meaning of the sounds. When the sounds are produced in low tone, the result will be less effective; if it is loud (guru), the result will be madhyama; and if the same are shrill (guhala), the efforts will be fully successful. If the sounds are healthy they indicate párthava swara; when are moderate or uttēj (excited) indicates taijas; and when are pleasant, indicate jalaja or apah; these types are called sāntswaras (2.13. V. 883-888).

When the pôtaki is in angry mood, it will make sounds like strong wind and when is unhappy, creates wild noise like sky. After giving the quality and nature of the sounds, the cardinal directions in association with the nature of the swara and its effects are given. On the east and the south directions, parthiva swara; on the west-north

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jalaswara; on vāyuvya and agnēya tējaswara; Iśāna and nriti corner nābhaswara will be effective. In case both āpya and pārthiva sounds are heard, āpya will be effective. If the combination of āpya and tejaswara is in harmony, apya will be effective; āpya and marut are mixed the result will be mixed. If apya, tējas and nabhas are heard, nābhas will dominate; nabhas and apya are neither in harmony nor different, then also nabhas will dominate, its effect will rule; if pārdhiva and tajas are mixed, parthiva will dominate; vāyu and agni are in harmony, vãyu will be effective. Of all the five notations, nabhas is supposed to give bad effects. Thus the combination of 5 swaras indicate the good and bad results of a proposed mission. When a sound is heard from/in the same direction of the same nature i.e. tējas in agneya corner, badiva in vayuvya corner, the result will be total success. If the sounds are produced from the maitra direction i.e. tējas from vyuvya direction, then the effect will only 50% and if the sounds are produced from enemy’s place i.e. tējas from varuņa direction, the result will be nil or adverse (2.13. V. 889-897).

Besides, the sequence of the five notations and its results are also given. If after the pārdhiva sound, the apya sound is produced, it will give full success (sarvasiddhi). If the sounds are heard in opposite way it will result in destruction; If the pārdhiva is followed by tējas, the desire will be fulfilled, while the opposite causes obstruction; if the pardhiva is followed by the marut sound, the results will be beneficial first and loss afterwards; If the sounds are in opposite way, first loss occurs then benefit will befall. The pārdhiva sounds followed by the nabhas will cause happiness while unhappiness will result if the sounds are produced vice-versa. The āpya note followed by the tejas will give good results which will be obstructed afterwards, while the opposite way gives the opposite

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results. The apya sound followed by vāyu will result in fear and loss of wealth, while in opposite direction, the result will be without fear and beneficial. When the apya is followed by the nabhas, death will result in the fight with a friend; If the nabhas is followed by āpya, the enemy becomes a friend. If the tējas is followed by vāyu sounds, it will cause loss of wealth and the vãyu followed by tejas indicates death. The tējas and nabhas sounds in any sequence indicate seriousness, danger, fight and fear. The väyu and nabhas in any order generally cause loss of wealth and death in the war definitely. The pārdhiva combined with any other voice will cause obstacles for a good work, while the pārdhiva being dominated by others will result in good. If 3, 4 or 5 sounds are produced at a time, the effect of the last sound is to be considered; and if it is pārdhiva, the best results can be enjoyed (2.13. V. 898-910).

In case, the pārdhiva and āpya sounds are given by the pingalā bird from a tree, it indicates profit, comfort, fame and victory. If the pingala bird gives sound coming down from the tree and standing on the ground the result will be less. If the pārdhiva, āpya sound are made on the top of a tree, the result will be plenty; if the sounds are made from the middle of the tree the result will be average and if the sounds are heard from the lower part or the tree, the result will be less. If the pingala bird keeps any eatable or food in its beak, swallows and makes melodious sounds sitting on beautiful tree, it indicates all good and auspiciousness. If the food is dropped and wild noises are made, the wealth will be destroyed. If the bird flies from its native tree to another tree and makes pleasant sound, the sādhaka will go to a new country and be happy there. If the bird makes sound from the sky or from dried tree, broken twig, hallow of a tree, it results in a terrific fear. If the pingalā makes śānta swaras in

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a good place, but rotates or goes in south direction making pleasant noises it will give good effects after long time. If the pingalā is in a good place, makes āpya, tējas or păradhiva sounds, it indicates fame, comfort, happiness and everything. The pinglāśāstra taught by Pingalācharya was described by Sômēśvara, thus, for the guidance of the kings (2.1. V. 911-919).

Upaśrutisakunam

In the night time, when every one is asleep, a virgin and two women should worship Ganesa; keep a pitcher filled with rice and invoke thereon goddess Chandikā; do the japa ‘Chandikaye namah seven times. Then holding the kalaśa and the Ganesa (cleaning that place) go to a washerman’s house and sprinkle the akshatas from the kalaśa in the front portion of the house and meditate upon the desired object with attention and concentration. Then, some sounds would be heard as spoken by a man, woman or a child. The method, mood and notation of the sounds indicate the results of the desired work. Similarly, this rite can be done in a chandāla’s house also.

The Sakuna sāstra is told by Sômēśvara thus, for the sake of the guidence of men before undertaking any yātra (2.13. V. 920-26).

ASANADHYAYA Thus, after calculating a good, auspicious time, observing the sakunas, auspicious signs and movements of birds and animals, the war is to be declared by the king. In this connection; King Sômēśvara states that a king never should wage a war against a kingdom which is without water, very poor or suffering from drought and starvation.

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When there is rivalry between the two kings, the wise king should wait until the enemy falls down himself. In this connection, Sôměśvara gives ten types of asanās (halts or attitude of difference) svasthāsanam, upēksāsanam, mārgarôdhāsanam, durgasādhyāsana, rāştrasvikāraṇāsanam, ramaniyāsanam, nikațāsanam, dūramārgā sanam, pralôbhāsanam, parachinasanam; depending upon exigencies of a battle or the purpose of yātra. Besides these, there is no other type known to the learned. (2.14. V. 928-932)

Svasthāsanam:—When the king stands or is safe in his own place observing a peaceful country (niskantakarājya) of the enemy; it is called svasthāsanam.

Upekshasanam:—When a king standing in his own place feels that what he desires should happen on the enemy by fate or otherwise, that is the enemy should be destroyed due to harsh punishment, or bad habits or draught.

Margaródhasanam:-When a king stops due to a powerful flow of a water/river and remains there, then that condition is called margarôdhasanam.

Durgasādhyāsanam:-When proceeded to occupy a fort or a place which is filled with grass, herbs and thorny shurbs and is obstructed from making way further and rests on a higher place, it is stated that the king is in durgasādhyāsanam.

Rastrasvikaranasanam-When a king halts in a răstra which is obtained by the willingness or force in order to control it, that state is called rastrasvíkāraṇāsanam.

Ramanıyasanam:—When a king who had killed the enemy in the battle, and obtained victory wants to stay or rest at his own will in a beautiful place of the conqured area, which is full of grain, fire wood, water etc. then the king is called as having ramaniyāsanam.

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Nikatāsanam:—When one proceeds on a war against an enemy who is located at a distant land and rests after reaching nearer to the place of duty, then the king is stated as in nikatāsānam.

Dūramárgasanam:-After going to a very distant country, and completing the job, if one is still far from his country, spends the varsa or sarata season there, where no relatives or friends or known persons live, then it is called dūramārgāsanam.

Pralóbhāsanam:-When the other king says “I give you elephant, horses, riches, service, fort, and răstra”; on this request if a king stays either for a month, 15 days, 10 days, 6 days, 5 days or 2 days, with desire of getting the gifts, then it is called pralôbhāsanam.

Parādhināsanam:—When a king could not go to his kingdom from another place due to friendship or enemity, he is stated as in parādināsanam (2.14. V. 933-948).

ASRAYADHYAYA After proceeding on war thus, a king should take the decision to continue or to withdraw or to surrender or to have truce with the enemy depending upon his own strength and enemy’s strength. According to Someśvara, when a king becomes weak, troubled by the strong king, observes/understands that no hope is left for victory, if he takes refuge for the sake of safety, the condition is called aśraya.

Three different types of āśryas namely satsamsraya, anya samsraya and, durgasamsraya are mentioned in the Mānasöllăsa.

In the first method, a weak king being troubled by a very strong king takes refuge under the enemy on account of his good qualities and might. In the second method, a king who is troubled by a strong

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and bad enemy takes refuge under another king who is very strong, knowledgeable, truthful and good, but never goes to a bad enemy. In the third method the king who is defeated by strong enemy takes refuge in his own fort (2.15. V. 949-955).

DVAIDHIBHAVADHYAYA Besides waging a war against the weak king or an enemy or in a mission to protect himself and his kingdom or to expand his kingdom, a king should follow other methods or strategies too. A king should make an attempt to make or break the friendship between two strong enemies for the sake of his own benefit and welfare, like the crow which rolls the eyball on all sides; this strategy is called dvaidhibhāva (duplicacy).

King Sômēśvara gives five methods of application of dvaidhibhāva, which are known to the makers of nitiśāstra; (1) mithyāchitta (2) mithyāvachana (3) mithyākarana (4) ubhayavētana and (5) yugmaprābhritakam (216. V. 956-959).

Mithyāchitta:—When, one has enemity in the heart but does not express; and only speaks sweet words.

Mithyavachana:—When one speaks sweet words but acts just the opposite

Mithyakarana:—When one begins to create trust slowly, develops confidence in a king, but causes destruction and damage finally.

Ubhayavētana:—When one takes secret payment from one king and open payment from another king, without revealing his identity, but informs his king the secrets of the enemy kings.

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Yugmaprābhritakam:- One king requests another “Stop my enemy”; thus speaking encourages him by giving horses, elephants and satisfies; while saying “I will stop your enemy in case of need, I will send my army” pleases other king. Thus the exploitation of two enemy kings for his own benefit is called yugmaprabhritakam. A wise king should follow such methods as per the proper plan and discretion and exploit the strength of the enemies (2.16. V. 960-969).

SAMADHYAYA Besides sandhi, vigraha, yāna, asana, astya, dvaidhibhāva, the king should use on the enemics the other 4 methods namely sama, dāna, bheda and danda upāyas also in order to have control over them or to expand his own kingdom; however, depending upon the situation and his own strength. !

Sáma:-The samopaya is considered as the best, because, it gives results without the use of money, causes no harm to any body and is dangerless.

Bheda:-On account of causing or creating doubts, bheda is given the middle place (madhyma).

Dāna:Though money is spent, the result depends on the luck in dānôpāya; so it is stated as adhama type.

Danda:- This method is the toughest method because for the sake of benefit; war is to be fought ; the victory, the life of the king and of all will be at risk and the final result or victory is not definite.

Therefore, a king of high birth; who is grateful, kind hearted, generous and pious ; skillful in actions and intelligent will always follow the first method (sāma) only (2.17. V. 970-979).

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Further, the Mānasõllása refers to the five ways of application of samôpāya.

Karnasubhagam:—The sāmôpāya made through sweet words, and comfortable conversation for winning the heart.

Daivikam:—The upāya practised or used by winning the confidence; and which is helped by God also.

Smārakam:—The old relationship is recalled and renewed through smārakam.

Lôbhajam:-“I will give villages, towns, state, horses, elephants, houses and money” through these temptations the sāma is applied as a method of winning the enemy, this is called lõbhaja. .

Nijārpanam:—The use of samopāya by stating a promise “In your work I will offer even my own self” is called nijārpana.

The above five types of sāma are harmless and can be used safely by a king (2.17. V. 980-985).

BHEDADHYAYA According to Sômēśvara, when the enemy could not be won over or controlled by the means of sama, or an enemy is full of haughtiness (mada) and arrogance he should be controlled by the bhedôpāya. Just like a swan which is capable of separating/splitting milk from water, the king should create differences among his enemies. Bheda can be used against such enemies who are disappointed and scared; whose riches or parts of body lost; who are punished or are angry and who are desirous of women. It is applied in six methods or ways.

Praņāpaha:-“The king has decided to kill you if not today, tomorrow”-thus causing fear in a king, increases the enemity between kings.

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Manabhanga:—“When the king is troubled, he will insult you (mānabhanga)"-stating thus, the difference is created.

Dhanahāni:-The king is stated “He is very rich but is not liking to give you ; by any method his riches should be stolen” at the same time, the rich is told “The king is greedy for your riches, he may rob it at any movement”; the creation of differences between the king and rich men thus for one’s own benefit is called dhanahāni.

Bandhaka:-“Your lord is not trusting you due to which, at any time he may keep you in prison”- thus telling, a faithful servant is spoiled from the services of his master in the bandhaka way of bhēdôpāya.

Dārabhilāsaka—“Your wife who is beautiful and youthful is desired by the king; he is planning to cause harm to you” stating thus to a king, in this method difference is created between two

kings.

Angabhanga:Creation of difference between the kings stating to one king that for the sake of kingdom any organ or part of the body like ears, eyes, hands, will be destroyed or cut off by another king is called angabhanga bhedôpāya.

Thus understanding the nature of the enemies, differences are to be created for his own benefit by a king (2.18. V. 986-1104).

DANĀDHYAYA

King Sômesvara proceeds to explain the method in which gifts are made to win over the enemy.

According to him, the donation of ardhabhāga of one’s own dāna; disowning of one’s own caste; non payment of the salaries to the servants and theft of the riches are the four causes of enemity.

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The minister, amātyas, sachiva, samantas, elders, servants, relatives and confidential staff of the enemy and those who are the chief advisers of the enemy king in the war are to be won over by a king and turn them to his side by donating good gifts.

When the enemy is greedy and sensual, he also can be won by a king by satisfying through gift. Beside a good king should make the mir.ister and others happy with gifts. Thus, reception and donation also are mentioned as means for the welfare of the country.

Sómēsvara gives sixteen types of gifts (sodaşadānas)-abhiştam, hāyanam, dēsyam, karajm, dantijam, saptijam, grāmajam, śāsanjam, bhūşņam, vasanam, pratipattakam, akaram, rukmajam, kanyādānam, vaiśyam, vēlakaram (2.29, V. 1005-1011).

Abhistamt-Donation of a specific object desired by a person and getting the work done by satisfying him.

Hāyanam:—When money is donated to support one’s family for one full year it is called hayana dāna.

Deśyam:-A răstra or dēśa is donated to a person, to get a work done.

Karajam:—The gift of kara(tax) on a rāştra or dēśa. Dantijm:-Dāna in which the elephants are gifted. Saptijam:–Donation of horses. Grāmajam:-Donation of villages without taxes.

Bhūşpart—Donation of beautiful ornaments studded with gems. to control the enemy.

Vasanam:—The cloth of different types, of threads, colours and weaving collected from different countries as well as thin, strong,

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beautiful and pleasant rugs are donated in plenty in this method of dāna.

Pratipattikar:-The donation in which asana, chamara, chhatra, and yāna are gifted.

Akaram:—The mines, where rubies, gold, gems are available are donated.

Rukmajam:- The dana in which plenty of nişkas are gifted.

Kanyādānam:-A girl with auspicious qualities fully decorated with ornaments is gifted according to the prescribed rites in this method.

Vaisyam:Gift of vesya who is beautiful and skillful in music - and dance,

Valakaram:-Donation of a pattana alongwith villages which are very sacred and peaceful, where income is very high; gems are available, people are very happy; and which one devoid of all dangers.

Śāsanam:—The dāna in which sons, grandsons, and great grandsons also enjoy the gift.

It is stated that the aim of a king, which could not be achieved by the methods of sama and bheda can be achieved by the means of dāna. The donation made properly.is beneficial for the donor in both lokās, here in life and in after life.

In this world, there is no person, who cannot be controlled or pleased by the dāna, because even gods will be pleased and come under control of man through dāna.

Dana is the best means of getting an objects/aim fulfilled. A generous king who makes donations will be worshipped like god on the earth (2.19. V. 1012-1030).

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DANDADHYAYA Yoginichakram

When an enemy could not be controlled by the upāyas of sāma, bheda, and dāna, the king should control him by the use of dandópāya provided he himself is stronger than the enemy.

When the enemy is strong, then the danda is used in twelve ways while when the enemy is weak, the danda is used in fifteen methods (2.20. V. 1031-1037).

The danda used against a strong enemy are as follows:

Deśanāśaka:–The gardens of enemy are cut, and destroyed; bunds of watertanks are broken and the houses in the villages are burnt.
Janăngăchedana:—The noses, ears, and other organs of the people of enemy country are cut and punished.
Gógraha:-All the cattle and horses of the enemy are taken away by force.
Dhanyaharanam:— The grain kept in the stores, market places, collected in the field of the enemy’s country are stolen and plundered causing famine.
Bandigrāha:—The family heads, rich householders and ministers are imprisoned.
Dēśahāraka:-The people staying in enemy’s country are protected and ruled with the co-operation of the ministers of that country.
Dhanādāna:—The king’s army occupies the enemy’s villages and takes away the food, grains, gold and other valuables by force.

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8 Sarvasvaharapam:-A big and powerful army of the king occupies the rich town of the enemy king and loots money, grains, cows, workshops, clothes, houses and decorations in this method of danda (2.20. V. 1035-1047).

Durgabhanga:—The fort of an enemy is surrounded from all sides; deep ditches are cut across; fire is set and made ablaze by pouring great quantity of oil; and people inside the fort are troubled. Before explaining the durgabhanga in detail, king Sômēśvara gives certain astrological observations to be followed, to know the strength of the grahas of a king for getting success in the venture/work.

A square is to be drawn within which a kotachakram is also drawn. The king should invoke in the iśāna corner of the kôtchakra the kifttika and the succeeding three nakshatras, before entering the fort. While coming out, on the east side, two nakshatras from punrvasu are to be invoked; for going to the east or agnēya corner and on returning from these two directions magha and the succeeding three nakshatras are to be invoked. Similarly while entering south or nairuti corner, the chitra and the two succeeding stars should be invoked. The maitra and other four stars are to be invoked while going to the west; while going to vāyu corner, the uttara and the three succeeding stars are to be established. So also while coming out from north side, the dhanista and next three stars should be invoked (2.20. V. 1048-1054).

It is further stated that, the expert in the jyotişasastra directs that the stars that fall in the inner line of chatuska are to be called starbha taras and the others are called bāhya and antara tārās; and the prakára taras are also referred to in this connection. A graha which falls inside the square is a papagraha, and if it occurs, the fort

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can be destroyed and if an auspicious one falls outside, the victory will be on enemy’s side and fort will be saved. (2.20. V. 1055-1057).

It is stated that the attack on the fort should be started from a place called khandi which is decided by the directions and positions of chandra graha. First the moat should be attacked by digging an outlet to drain the water or by constructing a bridge or by filling up; so that the army could cross it. If the moat is too deep, army should swim and take over the fort. If the fort is on a hill which is unaccessable, then the food items could be stopped from entering the fort or anybody coming out of the fort. Thus, when the food is not available, the people in the fort will be detained; then the fort should be broken. Thus a girdurga is to be attacked. (2.20. V. 1058-1061).

The fort, where the houses are made of wood, bricks, stones and mud, the use of machines is made for digging out the mud so that the fort and buildings collapse. Then the machines wheels, skin bags and other instruments are used by some soldiers, while some other make roaring noises; many other spread or rush forward; while some creep over the fort wall; some use the ladder to climb the fort. Yet some soldier use arrows having the tips of fire (Agnimukhas), oil, and wind. Some soldiers throw arrows on the enemies sitting on elephants; thus fort is occupied from one’s own camp which is very strong. (2.20. V. 1062-1066).

In case of attacking vanadurga, the trees should be cut down by using thousands of axes and by burning down. Then the king’s army should bring water from a distant place in big vessels carried on camels, buffalows and oxen; and use the same to cool down the burning of the wood of the forest. Then, at a suitable place a well is made to dug for water supply for one’s own army. The actual war

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begins with the use of fire or stone throwing yantras as per the connevience and wind directions. If the wind blows well and suitably, then only the fire should be used. The fire is lit on all side alongwith oil and no water is made available to enemy, who on account of lack of water suffers; and finally the people in the fort die (2.20. V. 1067-1071).

In case of attacking a strong enemy who has a marudurga, the king should satisfy his own army with sufficient supply of water arrangements; then the marudurga should be occupied following the general methods.

The fort made of wood should be destroyed by hitting it either by strong elephants or by the use of stone throwing machines or by burning down. The marudurga can be occupied with the elp of strong horses and elephants. Thus the durgabhangă danda is described in Mānasõllāsa (2.20.V. 1072-1074).

Sthānadāhaka:—The palace of the king, prākara, tôrana, harem, beautiful buildings, the palace of princes, ministers, chief ministers and other higher officers of the enemy; the temples, streets with shops; stables of elephants and horses in the capital; and important towns are burnt. Thus the enemy is punished (2.20. V. 1075-1078).

विश्वास-प्रस्तुतिः

This is a mistranslation. The original has no reference to a temple. The author seems to have confused by “मनुष्याणां मन्दिराणि” or “मन्दुरा”.:

यस्मिन् परे वसेच्छत्रुः सपुत्रबलवाहना।
तत् परं राजनिलयं साट्टप्राकारतोरणम् ॥ १०७५ ॥

अन्तःपुरे पुरन्ध्रीणां रमयाणि भवनानि च।
निकेतनानि पुत्राणाम् अमात्यानां गृहाणि च ॥ १०७६ ।।

सचिवानां निवासाश्च मन्त्रिणां सदनानि च।
अन्येषां च मनुष्याणां मन्दिराणि बहूनि च ॥ १०७७ ॥

मन्दुरा गजशालाश् च विविधानापणानपि ।
भस्मसात् कुरुते यत् तु स दण्डः स्थानदाहकः ॥१०७८ ।।

Dēśanirvāsaka:—When the enemy king is made to leave his country being lost his kingship and all upabhôgas; takes refuge in the caves, forest, and hills, left alone without wife, children, relatives, and ministers; devoid of yāna, āsana, gaja and aśva; to suffer from hunger and thirst; and to be misearable and grief-stricken, such punishment is called dēśanirvāsakadanda (2.20. V. 1079-1081).
Yuddham, the mahāndanda:-After describing various types of durgabhangadanda, Sômēsvara proceeds to give in detail the

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preparations for waging a war. Several astrological observations connected with sounds and letters are also given in this regard. The king should know different strengths/stages of swara and the strength of bhūmi before proceeding on a war.

The swarabala is explained as ten types; mātrā, varna, graha, jiva, rāsi, bāla, kumāra, taruna, vridha and astangatha.

The vowels A, I, U, E, OU are called mātrās. The consonants starting from k to h excluding the five anunāsikas are arranged in five rows, each row having five; total inaking 35 in number. Thirty five square are made by drawing six horizontal and eight vertical lines for these 35 letters (2.20. V. 1082-1088):

If mēsa, vrischika and simgha rāśis fall in Akāraswara, these are called grahasvaras. All the varanas (k, kha and etc.) with full swara are also called jivaswara. If all the rāśis are counted and divided by five, then the remaining number too is known as jivaswara (2.20. V. 1086-96).

The rēvati and seven following nakshatras with ‘akāra’ are called ‘akārarāśiswara’ similarly when ’ekara’ and other vowels are ; they are called rāśiśwards of that swara.

In case the ‘A’ ‘E’ ‘U’ and other swaras fall in nandātithi, jayatithi or raktatithi; ‘A’‘U’ ‘OU’ fall in bhadra and nanda tithi and ’e’ and ’e, ou’ in pūrmatithi they are called rasiśwaras and will cause good and victory (2.20. V. 1097-99).

On the first day, the swara will be in a stage of udita (origin or birth); on the second day in that of kumāra (childhood); on the third day in taruna (youthful); on the fourth day it becomes vriddha (old age) and on the fifth day dies, asthangata. It is also stated that the five vowels indicate the five natural elements (panchmahābhūtas) in

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the same sequence. Even the other swaras are considered as auspiceous since ‘A’kara’ is hidden in their sounds (2.20. V. 1100 1120).

By knowing the name of enemy king or from the first letter of it, the future of that person and the results of the war should be studied and understood; therefore, the king should know the strength of the grahas lagnas like, mesa and their yôga by the study of grahaswara before the commencement of the war. The surya rules over the semha rasi; moon over karkāta lagna; the mangala rules meşa and vrischika; budha rules kanya and mithuna; guru’ rules dhanūs and meena; sukra rules tula and vrisabha; sani rules kumba and makara

lagnas (2.20. V. 1103-1106).

Further, it is stated that sūryagraha is good for numbers 6,3, and 10; chandragraha for nos 2, 3, 6, 12 and 10; rangalagraha for 3,6 and 12; guru and śukara for 1,2,3,+,5,8,9,12; sani for 5,6 and 12. Thus, the king should know the strength of graha in his horoscope and weak graha of the enemy before going to the war.

The letters in the jivahaswara should be counted carefully and if found equal to the number of the letters of the name of the king, then the war should be fought; preferably the number of jivahaswara should be more than the number of the varnās of the name of the king (2.20. V. 1107-1112).

In case of révati and other stars, the suitable graha and the rāsiswara of the king should be calculated carefully; if it is not favourable, he should not go far a war. If the same number (one) is found, the result will be good, if it is two, it results in honour; Three fulfilment of work. If the number in four, the effect will be natural and if it is five, the victory will be destroyed. Thus the maitri of the

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svara should be observed by the king before going to war (2.20 V. 1113-115.).

In this context, the general characteristics effect of the swaras and their suitablity for undertaking auspicious works are also mentioned. If the matraswara is in the stage of udita, all auspicious works, collection of grains, sowing of the seeds, entering a house or town, making use of rasāyanam or treatment of any disease can be undertaken. If matraswara is at the stage of kumāra, the performance of marriage, employment of servant, going to an officer or a master, bribing an enemy, entering a grama or house, undertaking an yātra and destruction of enemy can be done. When the mātaraswara becomes youth, (taruna) the coronation, gajrôhana, love making, gambling with an enemy can be done. When the matraswara becomes old one should make friendship with his enemy and perform śánti and pouspika karmas or any rites for the sake of môkhsa. When the mātraswara reaches death, one should not take food and observe rekhāmăvaratana from east to vāyu; then south to iśăn; thence to west and proceed to agnēya, uttra and naisuti. Then one can become chakravarty of the eight directions. In the chaitra and half of vaisakha month, the king should go to east; half of vaiśākha and jyestha to vãyu corner; full aşadha and half of the śrāvana, he should go to dakshina; half of śrāvana and full bhadrapada to iśāna comer; full aśyuja and half of kārttika to varuņa diśă and half of kārttika and full mārgsira to āgnēya corner; full pausiya and half of măgha, the king should go to north side; and half of măgha and full phālguņa to nairuti corner. After completing a full month and a paksha and sixty four nadis in one direction, he should start for another direction during the course of this journey (2.20. V. 1116-31).

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It is stated that the earth moves round in a circle from sunrise to sunsetting, covering the eight diśās in four yāmās; thus each direction possesses the strength for a period of half of the yāma in a day. Therefore the bhūmi bala also is to be counted as an important factor for the victory of the king; however, it stands next to yôgabala. The yôginichakra, the best of all chakaras should be written, begining with ‘A’kāra’ up to 8 varanas from east side in a clockwise direction. The ‘A’varga is covered by eagle; ‘K’varga by bull or mosquito; ‘C’varga by lion; ‘T’varga by dog; ‘T’varga by snake; ‘P’varga by rat; ‘Y’varga by deer; ‘S’varga by goat; the final letters concludes at nairuti corner. The above character should be kept in respective places and the food eaten by these animals is kept at five places; the king should observe thus before undertaking a war (2.20. V. 1132-1139).

In another method, in east, on first and ninth days goddess Brāhmi is invoked; in soumyadineda on the second and tenth days Maheswari; on third and eleventh days Kaubēri in north; on twelveth and fourteenth days Vāishanavi in nairuti corner; on the fifth and thirteenth day Vārāhi in south; on fourteenth and sixth days Indrāni in west; on seventh and paurnami, Chandikā in vāyuvya and on amāvsya and eighth day Mahālakshmi in dakshina are worshipped. The king who wants victory should obtain the blessings of yoginies and backed by divine power (2.20. V. 2240-45).

Sainyarachanālakshanam

On the day earlier to the war, the king should enter the court with enthusiasm and meet the princes, mandalādhiśas, sāmantas, elders and others important warriors; and honour them with gold, clothes, ornaments and women; and praise them stating their heroic

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and valourous deeds. Thus encouraging all, the king should take pledge from them to support him and win the war. Then the king offers all warriors horses of great speed and intoxicated elephants according to their rank. Thus, satisfying all, awakens in them the desire to fight and disperse to get ready for the war (2.20. V. 1146

49).

In the mid-night, the war instruments like mahātürya, kāhala, sankha are blown in the sky creating thunder like sounds expanding in air, and the army makes war-whoops causing terror in the enemy’s camp. Then, the king should worship the kuldēvatas, weapons and sleep on the ground spread with kuśagrass. In the early morning he should look at ghee, mirror and take bath in sacred water; wear silk clothes and beautiful omaments; worship kuldēvatās and the supreme God with full concentration and devotion; and donate cows, land and gold to various brahmians in various methods (2.20. V. 1150-1154).

Then, the elephants are offered with nirājana and mantra is uttered in the right ear of the horses, the horses which dig the earth with a right leg should specially be offered with nirājana. The animal which digs the earth with right horn and right leg; the mangala dravyas; the peacock and the bhārdwajas bird passing from left side to right side which are considered as auspiceous signs are to be seen by the king before going to war. Besides, the spasm of the right eye and right shoulder should be felt by the king. Then, some dry stalks of the crop are thrown into the air, at that time the breeze should be pleasent. Above all, the mind of the king should be in a pleasant mood; the grahas and stars should be in a favourable position; the swaras should be in udita stage and strength of the bhūmi (earth/soil) should be in jaya stage. Being encouraged by all such signs, the king

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should come out of his palace and order to beat bhēri the war-drum (2.20. V. 1155-1161).

Then, the king proceeds to a distance of two hundred dhanus and stops there and reviews the whole army collected there and declares prizes of different amount for killing different grades of heroes in the war. Those who kill the enemy king would be awarded with some amount while the one who slays the princes will get thrice the amount of the killer of the king. While the one who kill the samanta, mandalādhisa and sachiva will get an award of five thousand; the killer of one elephant will get two thousand. While thousand will be given for destroying a chariot; five hundred will be given for killing a horse. If a well noted hero is killed, the killer will get five hundred, while for killing a ordinary soldier one will get one hundred (2.20. V. 1162-1169).

Thus, when every body gets ready, some experts in the science of horses; skilled in riding the elephants; experts in the science of testing the earth and some strong warriors, proceed first for the selection of a suitable land for the battle field. The land which is equal and good, is selected and artificial hills, herbs, ditches are arranged for arraying the army in different vyūhas. A land which is without holes, trees, boulders, any obstructions or mud, is suitable for arraying the horses. The land which is wihout sand, slum, mud, desert plants, anthills, boulders, farms, fences, trees, shurbs and which is equal and even; strong enough to bear the speed of the moving wheels of the chariot and running feet of the horses is suitable for arraying the chariots. A spacious area, with small hillocks, tree and plants; suft, uneven and slightly marshy land is suitable for arraying the elephants. Thus by observing all types of land/features mentioned above, an area which is spacious, wide and

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with the sources of water is selected for arranging the four types of army. The king then should arrange his army in the best formation, unbreakable by the enemy; however, depending upon the vyūha of the opponent (2.20. V. 1169-73).

The first part of the army is called face (mukha) while the middle part is called chest (uras) and the hind part is called pauras.

The part behind pauras is called rear (partigraha) part; the sides/ wings are called kakşhkā, praksha, paksha, prapksha and the back or

tip portion is called prista (2.20. V. 1179-1181).

In the mukha of the army, the strongest and most intoxicated elephants and the best horses each having two well trained strong bodyguards, who are protected by kavachas and hold swords should be stationed. The army on the back side is divided into 300, 600, 900 soldiers in groups and the whole army is divided into three main divisions and kept ready in their respective places. The army posted in prista part and kakshā should be protected by swordmen. In praksha, one hundred or two hundred bhatas with strong body holding bow and arrow should be kept. While in paksha 2000 heros holding sākti, tômara, khētaka stand ready, in the prapakshas well trained horsemen, the energetic army having quick movements and full protection, and all types of weapons in carriers are posted. Then 500 infantary is kept ready in two prapakshas. Of all the vyūhas, the elephant array is supposed to be the best one. Therefore, the king should keep the elephant strength in front. As per the convenience the king should arrange his array with one mukha, two mukhas or tri mukhas and break the vyūha of the enemy (2.20. V. 1182-90).

A king should keep the army of tribes, amitra and weak army in the uras and the stores of weapons, other items and the water brought

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on the back of camels in the pauras. The king should himself stand in the pratigraha on an elephant. The elephant brought from the forest of Kalinga which is very strong, big, intoxicated, well trained, walks slowly and equally; decorated with golden ornaments; protected with frontal shield, well tied with covering clothes and puspaka should be used by the king. It should be well protected by the infantry on all sides and decorated with peacock feathers, dhvaja, and patākā of different colours. Strong warriors bearing kunta, sakti, tômara also sit on the elephant for the protection of the king. A person who knows well all the names of army leaders also should stand near the king, having a body cover made of skin (2.20. V. 1192-1200).

In the kaksha 10000 or 500 well protected soldiers; in praksha the minister, amātyas, sachivas and princess; in paksha the army made of mitra and brichya soldiers bearing bow and arrow, śakti, tômara, sita, mudgara stand ready to pounce at once on the enemy and roar as to break the strength and boldness of the hostile army. Such a army should be arranged in any vyūha as per the discretion of the commander. In prakshas, heros trained well in the use of different weapon stand ready. The king sitting on puspaka observes all. In the prista, the harem, well protected by the army and keeping ready the palaques, daggers, treasure, horses and infantry stands. Thus, the army is kept ready in a battle field for fighting a war (2.20. V. 1221-1207).

Dandabhedas

The army arranged thus, should proceed on after the announcement of the war by beating the ghosa, kahala, blowing sankha, and türya, resounding the four direction; the heros make roaring sounds; the horses neigh and the elephants trumpet in a

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mood to run fast even at a slight touch. When the opponent is weak, the king should break the array easily and when the enemy is strong he should use the double force by collecting all the elephants at a time. When the array is of infantry the king should use the force of aśvayvūha; when the enemy arranges horses, the king should use elephant force. If the elephants are used in arraying by the enemy, then the elephants should be troubled by the use of sharp arrows, spears, noose and javelines; fire and oil. First the protectors of the elephants and horses should be attacked (2.20. V. 1208-1214).

Then, the king should search for the opponent in the army by observing his royal symbol and reach that place with full enthusiasm with his army which is desire success. By piercing with the arrows, sharp spears, the enemy king should be approached; the limbs of the enemy should be cut down with the chakara; mashed with tômaras; and he must be pulled down, by throwing a rope on him; the protecters of the opponent should be cut down with the axes. Then the enemy should be made weaponless (niradhera); and his head should be cut off alongwith crown and kundalas. The enemy’s elephant which is without any rider should be hit with the tusks of the king’s elephant. Thus the arrogant enemy, should be killed. The army should proclaim the victory by beating türyas. Then the rewards are offered by the king as decided earlier to kumāras, amāytas, sachivas, mandalādhiếas and all warriors. Finally the king should offer tarpana to the goddess of the earth with blood of the enemy, the flesh to piśāchas and the chains of intestine to bētālas. Then the enemy’s elephant which is flying away without rider in panic should be taken care of. Then the bulls, chariots, camels and kośa of the enemy should observed carefully and taken over. When a strong enemy is destroyed thus in a war, it is called yudhadanda (2.20. V. 1214-1224)..

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Further, Sômèśvara describes three methods of punishing a weak enemy: (1) vişadanda, (2) ghutadanda and (3) abhichāradanda.

In connection with the application of visadanda it is stated that there are three types of poison, viz., sthāvaram, jangama, and kritrimam, which could be administered to a weak enemy. The hālāhalar, spingi, kālakūta, are the most powerful and come under sthāvara poison; while the poison of the snake is called jangama type. The poison made by mixing various substances and chemical is called kritrimam. The enemy who is more frustated, is the best fitted to be punished through visadanda (2.20. V. 1225-1228).

Besides, the water tanks, ponds, wells and lakes, which are used for bathing purpose and where the games are played; and oil which is used for massaging are mixed with poison. The visadanda is used to wipe off the enemy completely along with his children, grandchildren, ministers, commanders, chiefs, heads of horses and elephants (2.20. V. 1229-1231).

When the enemy king enjoys music, dance, gambling, hunting, mallvinôda, angavinôda; on piligrimes; in a festivity; engaged in worship, heroic deeds, games, vyāghravinoda; when seated for taking food, resting in his palace or busy in any activity should be killed. For this purpose the king should appoint a person who is strong, fearless, tactful, skillful; who knows well the methods of killing; who is highly paid; has no wife, children or relatives and who is very confidential in the use of the māyā and yantra. This is called ghutadanda (2.20. V. 1232-1236).

The killing of an enemy by means of mantra and tantra; abhichāra homas; sakaramas; writing letters in yantra; by upārsujapa; uttering mantras and with the use of kāhala, patāka,

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dipa, dhūpa, peacock feather and arrows which are invoked with mantras is also described. This however should be done by a brāhmiņ who is well versed in the mantras and tantras; and conquered the senses. The enemy can be destroyed from a distance itself in this method. Besides, the abhichāradanda can be used for the application of môhana, vasikarana starbhana, uchhātana, vidvesana, and mārana; for controling the friends and enemies and even to kill the enemy (2.20. V. 1237-1242).

Vyavahårapadas

In the matter relating to law and justice, the king should consult the brāhmins who are well versed in smpiti and śāstra; aged and devoid of all the attachments. If the king punishes the people who did not commit a crime or does not punish the people who are guilty he will have to go to hell. Whether it is ritvik, purðhita, sons, brothers, relatives, good people or royal officials, no body is out of the punishment. The king could punish every guilty whoever it maybe (2.20. V. 1243-1245).

While deciding a crime, the king should consult the members of the sabhā (sabhya), the court of justice; they should be brāhmiņs of high class, dhira, well versed in the worldly affairs, truthful, well versed in vēdas and śāstras; observe dharma, well behaved, skillful in their work; and who arc not greedy. There may be three, five or seven well versed people in the sabhā (council) or selected body for discussing a matter. In such a sabhā whosoever knows the dharma and smriti even if is not requested, can speak and he should be listened to by others. The member who leaves the right path and follows the worldly ways, should be instructed and warned by the good people. Even unasked, the truth (samanjasa) should be spoken;

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the one, who does not speak the truth even after knowing it is called mithyāvādi and is he considered a pāpi (2.20. V. 1240-1251).

The sabhya of the sabha should be such a person who b born in higher family, rich, intellegent, capable, sweet spoken, truthful, observer of dharma, amatsara (without prejudice); skilful in the interpretation of the dharmaśāstra; possess discretion, bears good character; elderly, and understands the inner feelings of the king or any body from the facial expressions; who can think, argue well; knows well the logic and capable to convince any member or sabhya (2.20. V. 1250-1254).

The head of the councillors (Sabhāpati) should be an unique person (visista), brāhmin, well versed in śruti and smriti; friendly natured; understands the real personality of the king and loves the king. He should understand the essence of a case and the matter of dispute and decide the judgement in the begining itself even before the aggrieved completes the arguments. He should be such a person who is fully engaged in the royal works, even in the absence of the king, even if tired or suffering. The brāhmin who is devoid of matsara, pralóbha; possess dāma and śānti; kulina sūra, is not afraid of others should be appointed as sabhāpati. (2.20. V. 1256-1258).

At times, a kshatriya who is not emotional, looks after the welfare of the public and capable also can be appointed. A vaisya can also be a sabhāpati, provided he has good qualities; is neutral, and is acceptable to all the people. The vipra, kshatryia and vaisya sabhāpati are considered as śrēsta, madhyama and adhama types successively. Under no cirucmstances, a sūdra should be made a sabhāpati. The sabhya who destroys the meaning of the śāstra on account of fear, attachment or lóbha should be punished after discussion, with a capital punishment (2.20. V. 1259-1262).

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The matter which is out of the right path or any wrong word if brought to the notice of the king under any circumstances, it is called vivādapadam. The allegations are in two ways (i) doubt and (ii) assertion. The argument which cannot be established is called doubt which can be proved becomes assertion (2.20. V. 1263-1264).

The general classification or topics of litigation are given as twenty two in number: loan, pledge, sale of other properties, collecting and taking away some body’s property, donation, theft of the donated object, taking away the salary, breaking of the promise made, sale dispute, purchase dispute, dispute between the master and servant, svāmipālaka, border disputes, abuse, beating by stick. These sixteen are considered as crimes, besides stealing, adament (sāhas), abduction of a woman, adultery, dispute of ancestral property, gambling and unnessary fight (triffle) (2.20. V. 1265-1273).

A competent king should not create problems and should not take bribe from a person who approaches him for help. In the matters of dispute he should allow to express views freely by the petitioner (plaintiff). First, the petitioner should be asked to tell his problem; after listening his talk he should once again be asked, “who did, and why it was done’? Then the sabhyas discuss the matter and the pratyarthi should be called to the sabha by sending a letter or a messenger (2.20. V. 1274-1276).

In case the opposite party could not come to the sabhā on account of illness or unhappiness; is withheld due to some work, or is in dangerous situation with fever, engaged in a work given by master or by the king; is intoxicated or is mad; he can be excused. A woman from high family, house wife, young women, a lonely woman, a woman who delivered a child or is on periods, should not be called to sabhā (2.20. V. 1277-1280).

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The statements made by the arthi and pratyarthi in the court/ sabhā should always be in writing as per the conditions of the country, time and situations. So also the different evidences, statements, should be written and attested by the wittnesses (śāstri) (2.20. V. 1281-1282).

Then, the matter should be judged as per the three pramānas given in smriti and śāstras. In case the three fail (are not cognizable) the king should judge the matter with Divya Pramānam (divine ordeal) which is given as per the land (dēśa), time (kāla) and conditions. When the crime is decided by the three pramánas the punishment should be given as per crime with discretion (2.20. V. 1282-1286).

A culprit can be killed by giving a poisonous substance for chewing or by snake biting; crushing by elephant; and by throwing into water or fire; with a weapon. This is called vadhadanda. The cutting of hair, nose, ear, tongue or fingers, hands, feet, nails, pierceing of eyes or any organ of the body as per crime committed; binding, beating, and hurting with harsh words is called klēśadanda (2.20. V. 1287-1290).

The arthadanda which involves fine is three types : pradhama, which invloves the payment of 150 panas; madhyama, which involves five hundred panas and uttama which demand 10,000 paņas. Depending upon the nature of crime, judgement and circumstances, the king may increase the amount to double, triple, many times. Sometime the whole property/wealth of the guilty may also be taken away by the king (2.20. V. 1291-1293).

The danda protects maryada (proper conduct), invokes dharma (rightiousness) and stops adharma; therefore, danda should be used

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by a king. In a country where danda is not used, the matsya nyaya prevails. Therefore, to punish the wicked, danda should be used by a king who is a dhármika. Due to the fear of danda only people could be binded to dharma, just like an elephant is controlled by an ankuśa. At the same time, since generally people are terrified of the danda, while ruling them danda should be used in a mild way. If a king gives punishment or danda as per the directions of the scriptures, his yaśas, dharma, artha and răstra will prosper. Sômēśvara thus describes the methods of getting the rājya and the means like sadgunas, chaturô pāyās and other methods for establishing his rule firmly in the rajyasya sthairya vimsati (2.20. V. 1294-1300).

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UPABHÔGASYAVIMŚATI

GRIHÓPABHOGA The third vimśati of Mānasöllăsa deals with twenty kinds of upabhôgas (enjoyments) begining with grihôpabhôga. Under grihôpabhôga the details about the palace of the king, various buildings with different types of towers have been described. In this context the information given under the rājanivāsgriha varnanādhyāya is also mentioned here.

It is stated that the palace of the king may comprise of one to nine bhūmis (storeys), since all types are auspicious and worth living. The palace should be constructed as per the rules of vāstuśāstra; provided with net-like windows for bright light; decorated and lit with manidipas; and with elephant heads and tusks. The pillars of the palace should be of pure gold, sweet scented sandal-wood, decorated with gems, corals, and crystals, and the floor should be shining like mirror (3.1. V. 123-129).

The palaces may be in different styles like prthvijaya, mukta kôņa, sarvatóbhadra, śrivatsa and other types. The palace should be provided with chatuskas, to allow good ventilation. The palace is called after the number of chatuskas provided to it. So also, a palace should have one or more śālas; as per the number of śālas sixteen types of palaces are constructed.

Thus, jālaya, śāla, chatuska, alinda are some of the important parts of the palace to be taken care of.

The top portion of the palace is to be decorated with pinnacle made of gold and with different coloured cloth flying over it. The walls are to be decorated with curcios and colourful paintings. The pillars of the palace should be of mango wood and bamboo covered with beautiful clothes. In the middle of the five coloured pillars; the ceiling (vitāna) is covered with lotus creeper and flowers. The walls are coated with cowdung and white-washed beautifully. The Mukhasala is located to the north east corner (1śānya) of this type of pillar hall (vitānśāla); south to it the picture of god is decorated; near this snānagriha and the hômaśāla with agnikunda are built from which the smoke always comes out beautifully through the window

(3.1. V. 906-913).

Somēśvara gives description of different śālas meant for the king, suitable for different seasons; times and occasions.

During the summer, at mid day, in order to have a cooling effect, a beautiful mandapa is built where the whole ground is covered with sand; and sprinkled with water mixed with variety of perfumes and scented material. In such śāla (mandapa) the king spends his time alongwith the queens. On the upper parts of palace, in a large area, the king spends his summer nights happily by discussing in the company of those who are witty, humourous, talented, intelligent, well versed and educated; those who know pun, music, and singing; who have command over literature, rasa, bhāva, and story-telling; and other nobles, till the midnight, either on the full moon nights or dark nights. From this palace the king goes to his sukhaśāla where he enjoys the night with his beloveds. In the spring season, a house suitable to that season is built and in the rainy season the king lives in a house called chatuska, which prevents chilly winds and enjoys comforts with his beloveds. For the hemanta and

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śiśira seasons other type of houses are built which have windows on all sides and on account of which the house is full of beautiful light, but free from cold winds (3.1. V. 913-926).

Thus, king Sôměśvara describes the grihộpabhôga, to be enjoyed by a king depending upon the season.

SNANABHOGA In the interior of the palace, the bathroom should be located in Iśānya corner. It should be arranged with golden pillars and crystal vēdikā; decorated with silk clothes and painting of idols of god Varuna (God of water). There, the king sits and enjoys snāna bhôga.

The oil ground with the flowers of jāti, punnāga, charnpaka, këtaki is anointed on the body of the king and massaged by specially trained ladies with their delicate hands. In this oil, medical herbs are also mixed. The oil is deeply massaged by the mallas and again the ladies massage by applying the paste made from a mixture of powders. The roots of kôsta, takkola, mustha, grandhiparna, palaka, nişārvasa, tagara, mansi, vagigandha and puskarika are dried in the shade and powdered; the leaves of răjavriksa, arjaka, tulasi, etc. and the seeds of jāti, ilāchi, musturd, til, cloves, kusumbara, padaka, lodhra; stems of śrikhanda, lodhra, ajaru, sarala, sarakakośta; flowers of nāgakeśara, punnāga, kakali, kuntara; juices of pichumandāra flowers; guggala, saindhava, bela, sajina are all mixed with kajjaka (thick water of cooked rice). Then in order to remove the excess oil from the body, the powder made from the roots of madan mixed with the flour of wheat and aranala which is called khali is also smeared on the body of the king (3.2. V. 927-943).

Then, various types of water mixed with different scents and water collected from various sources mixed with prefumes to destroy

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the dirt are kept ready in the pitchers made of gold in the bathroom. The beautiful women, who look like jaladēvatas move here and there to attract the king and sprinkle water on him. The scented oil of āmlaka is applied to the hair of the king; sometimes scented turmeric is also applied. The oil and turmeric are then removed by pouring warm water. Then the body of king is rubbed vigorously with a dry towel. Finally the wet clothes are removed; clean, white and good clothes are put on. Thus snānabhôga is enjoyed by the king. .

In this connection, it is stated that the water used for bath is collected from Vanga, Chôla, Kalinga, Andhra and Malaya lands.

While describing snănabhôga, king Sômēśvara suggests that the abhyangana should be performed on certain days and thithis only, since taking bath on dvitiya destroys comfort; on daśami destroys son, on ekādasi destroys ones own beauty; on trayodasi destroys wealth and on chaturdasi destroys health. Abhyangana on wednes day and saturday is the best, since it procures longevity and wealth (3.2. V. 944-953).

PADUKABHOGA After snānabhôga, king Sômēśvara describes the pădukābhôga, the enjoyment of sandals by the king. The king should wear sandals made of wood of sriparani, dēvadar, harichandana decorated either with peacock feathers or studded with beads, looking beautiful.

Besides these, the king should put on the sandals made of skin, dyed in different colours and decorated with ivory and gold work.

The sandals used by the king should look very beautiful and novel; well fitted and comfortablo. The sandals may cover the front portion of the feet only at times(3.3. V. 954-958).

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TAMBULABHOGA Coming out of the bathroom, the king should enter the sukha mandir (pleasure hall) and summon the officer incharge of tāmbūla and take one from him.

According to Sômēśvara tāmbūla (betel) is the best upabhôga and is a very important item used by the king frequently. Therefore, the tāmbūlādhikāri sits in the royal court near the king in order to give tārbūla on different occasions (3.4. V. 959-960).

In this context it is stated that the nuts grown in Naulāvartapura, Kandithapura, and Iśvarapura are of good variety. The nuts ripened well on the trees are plucked from the tree and turned pātala in colour by keeping in a pot containing bhanga; then rubbed well and washed in hot water, and applied with muskpaste and dried in the shade. They taste slightly sweet and slightly bitter. In other method, the nuts grown in a place called Vanavāsa are plucked or removed from the tree before ripening, dried in shade and cooked in a specific way.

While in some cases the nuts along with outer shell (skin) are boiled in water, then the outer shell is removed and dried under shade; and broken into four pieces. One fourth of a nut is used in preparing the tāmbūla which consists of fifty-two yellowish betel leaves with their ends removed. The ingredients used for the tāmbūla include powdered pearlosyter, camphor .called Isavāsa, kastūri (musk), ghanaśāra, jātiphala, ankôla, amala, seeds of jambra and other materials of sweet fragrance which emits the smell of sahakāra and give different medical effects. The tāmbūla destroys dosas of different parts of the body such as throat, teeth and the digestive system (3.4. V. 961-979).

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VILEPANABHOGA Sômēśvara describes various scented oils, pastes, and creams which are to be used as unguents for the application over the body of the king for comfort; and for soft, fair and clean skin. Sôměśvara gives the methods of preparation of the unugents too. In this content the aromatics like sandalwood, camphor, musk, saffron, surabhi, jāti, grandhiparna; powders of jaiphalam etc. dried in sunshine are mixed and burnt on fire and the smoke is applied to the body. This is called yakshadhara vilēpana. This is used during spring and in summer. The vilēpana called sandhya is applied on the body in grishma to remove the smell of perspiration. In this context, Sômēśvara deals with the tests for a good chandana (sandalwood) which is used in summer. The chandana which is pure and best, possesses the following qualities; the roots will be red in colour, cool to touch, full of fragrance, if rubbed gives a white or yellow colour paste; if dried looks very clean and tastes tikta. In spring the lèpana is applied on chest, navel and behind the ears. In the grisma the lēpana which is white like swan, made from punnāga, keśar, camphor, këtaki, patala and jasmine and kept in moon light for moisturing is used to give cooling effect to the body. In the rainy season the vilēpana prepared from harichandana and kumkuma (produced in Kashmir) blended with the juice of laksha and pure musturd oil is used, on account of its red colour, it is called kumkuma lēpana (3.5. V.980-992).

In connection with a lēpana called purlinga which is used exclusively in hēmanta and sisira, Sômēśvara gives tests for the best kastūri since it forms an important ingredient in the preparation. The best kastūri removed from a young and energetic musk deer should be fresh, wet, stricky, round in shape; and does not become ash, if burnt; tastes tikta and kafu and is light in weight. Such a best

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variety should be used by the king, as it gives excellent fragrance. It is mixed with water and applied on the body of the king. The method of preparation of pumlimga is given as follows: The seeds of gandhamărja are kept in the musk and then put in hot oil; musturd oil is added to it, made into a paste; mixed with nisachūrņa and dried well in the shade. This dried paste is added to srikhanda, āmala, jarbu, tulasi, bijapura leaves; kept well in water along with the soaked seeds of the same; so also with the bark of the tree or the fruit, made into paste and mixed with oil and grounded with camphor and a little gold. This precious lēpana is used by the king in winter. In śarat, the king uses the lepana prepared from the paste of pistil, and stamen of lotus mixed with chandana. Besides, the fresh pollen from stamen of saffron mixed with scented oil is also applied as a lēpana (3.5. V. 992-1005).

The vilēpana should be used according to the season, dress, ornaments and other decorations used by the king. The paste is applied on the arms, chest, sides, behind the ears, stomach and navel; according to the mood of the king and occasion, so that the beauty of the body is enhanced. A paste or lépana should be applied to the king by a beautiful lady with her pretty hands (3.5. V. 1005-1008).

Vastropabhôga

• The author next deals with an interesting topic on vastrÔpabhôga, the enjoyment of garments by the king. The chapter opens with some astrological observations regarding the auspicious and inauspicious movements for putting on a new dress and gives the results arising thereof. Wearing of the new-clothes on aśvini gives more clothes; rôhiņi increases wealth; punarvasu-riches; hastha-fulfilment of the work; and chitra-luck; svāti-money and

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happiness; viśākha-fulfulment of the desire; utrāsāda and dhanista happiness and increase of grain; uttara-auspicious; rêvati-good health and purity of blood. Wearing of new clothes on wednesday gives wealth; thursday increases population; friday gives longevity. Besides, the days and nakshatras which are noted above, one can wear new clothes on occasions like marriage, entering a new house and meeting a king; on all festive days; while enjoying music, dance, vinodas; while making donation, performing war sacrifice and celebrating the victory without referring to the tithi or vara; and auspicious moments. After applying the lēpana on the body, the king should call the vastrabhandāraka, the officer-incharge of royal wardrobe and wear the dress suitable to the occasion (3.6. V.1009

1016).

The king’s wardrobe comprises of various types of garments produced in different countries like Pottilapura, Chirapalli, Nāgapattana, Chôladeśa, Allikadeśa, Sinhaladweipa Anilavāda, Mūlasthana, Tondidēsa; Panchalapattana and other countries; a variety of excellent, beautiful and good silk and cloth from Kalingadeśa and Vangadēsa. Varieties of silk, and cotton cloth in different colours like white, red, yellow, green, and blue woven with gold or silver thread; and woollen are to be kept ready for the king. The cloth having white stripes; different colours and five colours, with beautiful circle; three types of stripes at different distances, stripes on the upper part of the cloth (pallu); small stripes in the middle of the cloth; stripes at a distance of an inch; small stripes in the middle; stripes at distance of two inches; round circles here and there; four stripes, and dots; strong and pleasent as well as light and thin cloth; in dark colours rare colours; very costly cloth, very thick cloth, the cloth cleansed in the machines; cloth with red thread, multi

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coloured thread; dyed red, in the juices mānjitsha, lāksha, kusumbha, sindhūra, abhaya and cloth of orange, black, blue, parrotgreen colours; black cloth which looks like kukoo, white cloth which looks like swan and in many other colours and hues tailored in different styles and fashions are kept ready for the king.

The king should wear the dress according to the season and weather, in vasant he should put on silk or charming thin cotton cloth called kurpăsa. Soft, thin and beautiful white, woollen also can be used. In the summer, the king should wear white clothes and in the rainy season, he should wear the dress dyed with manjiştha, pājala which are pink or dark red in colour. In the sarat season the king should use the dress in smoky colour, while in winter he should use dark coloured dress dyed in saffron or kusumbha or laksharasa. In winter he should wear a dress comprising of angika and patijāta specially meant for that season.

Thus, according to season, weather and occasion like travel, watersports, courtlife, various types of dresses are worn by the king for the purpose of which beautiful, excellent, costly, cloth in many types and fashion is obtained from different countries. This is called vastrÔpabhôga (3.6. V. 1016-1040).

MĀLYÖPABHOGA

After putting on fine clothes, the king should wear garlands made of various kinds of flowers on head, hair, neck and hands. Various combinations of flowers for making garlands like champaka, mallika and utpala; mālika and pātala; mallika and vakula; mālati and mallika; karavira and padma; mālati and surabhi and other varieties of flowers are given in Mānasöllāsa (3.7. V. 1041-1047).

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BHOŞÖPABHOGA After decorating himself with flower garlands, the king should decorate/adorn himself with ornaments made of gems and gold. In this context, Sômeśvara deals with various kinds of pearls and precious stones cut by expert craftsmen with good implements; gold, silver, diamond, pearls, emeralds, rubies, and other stones used in making the jewellery of the king. The origin and quality of various gems are given as follows:

Pearls.—The Pearl originted from new water dropped in sukti, (oyster), elephant head, bamboo shoots, cloud water, sea water, and the pearls from Ceylon country are stated to be the best.

Ruby.—The ruby which shines like the seed of pomegrante fruit, or red lotus and is bright as early rising sun is the best one.

Blue Sapphire:—The blue stone which shines like the body of Visnu and neck of Siva; available in Rohita mountains and the black mountain is the best one.

Emerald: The green stone which shines like green grass, parrot wings, lotus leaves and born from the bow of Indra; beautiful to look at; the most difficult to get, and is available in the mountains of Garudādri only is the best ones.

Diamond:—The bright, poisonous, white, hard, with satkõnas, which looks like a block produced in vairakar mines, very costly and rarely available is called brāhamana type of diamond. The king should use such a stone only. The khsatriyatype of diamond will be reddish ia shade while that of vaisya type is yellowish in colour. The sūdra variety of diamond is black in colour.

Garnet-The stone which is reddish like the urine of cow is the best one.

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Cat’s eye. The stone which is slightly blue, black and yellow is the best one.

Topaz.—The diamond with slight yellowish colour which looks like the ripen fruit of bimba and like the tail of the parrot is the best one.

Coral: The stone which is red like kākatundi (parrot beak) and cannot be burnt on fire easily or be broken with hand is the best one.

Crystal: Crystal which is clear and bright is called suryakanta; It is the best of all gems and gives the effect of the Amritam, the life elixir.

Chandrakānta:- This gem shines like the peak of the Himalaya; is the best of all gems and its availability is most difficult and very rare. Always the crystal gem should be clear and lustrous (3.8. V. 1048-1065).

After describing different types of gems, Sômēśvara refers first to various types of jewellery and ornaments used both by men and women.

Ekāvali:-An ornament having big pearls in single string, decorated close to the neck.

Hāra:—Medium sized pearls arranged in 3, 5, 7 or 9 golden strings having at the joints beautiful blue stones, set well in sequence and hanging well over the chest is called hāra.

Varnasara:—Pearls and blue gems are mixed and made a beautiful string and decorated around the neck.

Brahmasūtra:—The brahmasūtra is made of rows of best gold thread which are thin like lotus stalk; and hang upto navel.

Padakam: A golden plate studded with red, blue and green gems, and hanged upto the chest or in the middle of the body by a chain.

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Keyūra:—This ornament adorned on the arm and shines like simharatna. It is studded with different gems, hanging pearls; and is provided with threads for tieing to the arm.

Kataka:-This ornament decorated on arms is made of gold studded on four sides with gems and mani in the centre; and is with hanging chains, pearls and the feather of panchaka (pechaka) (3.8. V.

1066-1078).

After describing different ornaments used both by men and women Sômēśvara describes different types of rings worn around fingers.

Dvihiraka:—Two diamonds are placed on either side of blue stone or cat’s eye.

Vajra:Ruby is studded in between diamonds.

Ravimandala:—This ring is round in shape, having mani in the centre.

Nandyāvarta:—This ring is square in shape with mani (gems) in the centre surrounded by diamonds.

Navagraha:- This ring is made of nine gems namely, the pearl, coral, emerald, topaz, diamond, blue stone, garnet, cat’s eye and ruby (mukta; pravāda; Pachch; pusyarāga; vajra; nili; gômēdha; vaidhūrya and mānikyam).

VestikaIf a diamond or any other gem alone is used in a ring, it is called vēștika.

Trihārika:—When between the two diamonds any best gem is placed then the ring is called triharika.

Nagaphani:—This, in the shape of a snake-hood is studded with precious stones.

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Śaktimudrika:—When not only the top portion but the whole ring is studded with diamonds, it is called saktimudrika and when the ring is studded with different gems then it is called śubhamudrika.

Muktatataka:-Ring of pearls.

Dvirājika:—The ring of pearl studded with blue stone on the top is called dvirājaka.

Purnamadhya:—The ring studded with pearls only on the cen tral top is known as pūrnamadhya.

Vajragarbha:- The diamond is studded in between the pearls in the ring called vajragarbha.

Kundalam:—When the diamonds are arranged in the manner of a row of steps, the ring is called kundalam.

Mandana:—When the ring of pearl is studded with different big gems on the top, it is called mandana (3.8. V. 1079-1098).

Sômēśvara then gives the ornaments for ladies as follows:

Hansatilakam:-It is a head ornament in the shape of aśvatha leaf made of gold, studded with diamonds and gems; and with drop ping pearls. This ornament is hanged with the help of a chain made of pearls and gems and adomed in the simanth (parting of the hair).

Dadakam:—This ornament is round in shape, having hanging pearls all around and tied with gold thread.

Chudāmandanam: This ornament of gold in the shape of Ketaki flower is bigger than tatāka and is decorated over it; it is supposed to be the best head ornament.

Padma:—This golden ornament, in the shape of lotus studded with gems also is adorned on the head.

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UUEL

Chūdika:-A golden ornament looking like beautiful flower studded with big ruby, or blue stones and having hanging pearls is called chūdika.

Mukulam:—This is an ornament in the shape of pichumanda fruit; made with pearls, blue stones, ruby, cat’s eyes and emerald. It is used to decorate the corner of the ear by women with great fancy and liking.

Sárika:—This is a neck ornament for ladies consisting of chains of nine or ten layers of big pearls with a big blue stone in the front.

Bāhuvalaya:- This ornament made of gold in the shape of lion face studded with gems, blue stones, pearls and cat’s eye is deco rated on the arms by the women.

Chūdakam:- This ornament worn by women on wrist, is made of small gold pearls and full of valuable gems and pearls.

Ardhachūdaka:-The chūdaka made in the shape of crescent.

Kanchidāma:- This ornament made of gold studded with gems, golden bells placed at a distance of four inches is decorated by women on the girdle; it makes sweet sounds while walking.

Padachūdaka:—The ornament made of diamonds in the size of a janghakānda and set with different gems; it is adorned by women on the feet.

Kataka:-A golden chain joined at three places with screws, having four to eight golden bells all around, studded with bright gems making sweet sound, is called kafaka. It is worn by the queen on the ankle.

Pädaghargharika:-Three, five or more layer of chains studded with gems, joined with screw; making sweet sound of twinkling of bells is called pādagharagharika.

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TUL

Rāthaka.—This ornament is like the above ornament only, but is devoid of sound.

Andhuka:–The kataka made in a curved style is called andhūka.

Yamalā:—This big golden ornament is worn by women round the middle finger of the feet and makes loud sound (3.8. V. 1099 1126).

Next, Sômeswara describes ornaments for men.

Sekharam: This ornament made of gems is adorned by the king on the head.

Mukulam:- This head ornament covers half of the head/hair only.

Siróvēstnam-An ornament which covers the whole of the head is called siroveştnam.

Dalakam:-An omament made of gold fixed with tail of lion, pearls and gems.

The king who thus decorates himself with different types of precious gems with respect and honour, will get the blessing of the gods and goddesses presiding over the gems; and obtains fame and wealth. Further, he enjoys the beautiful ornament as per his desire and taste, makes his queens happy. This is called bhuşôpabhôga (3.8.

V. 1127-1131).

ASANOPABHOGA King Sômēśvara describes in detail, different types of seats which are to be used by the king. It is stated that the wood of champaka, ámra, madhūka, pansas, udumbara should be used for making the seat of a king.

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Margalāsanam: A big seat, square in shape, having four legs and decorated with gold beautifully.

Pavitrāsanam:–A seat made of wood of sriparna, measuring one hastha only without any decoration of gems and is auspicious.

Majjanāsanam:-The seat made of daru wood with four legs and is used for taking bath.

Sukhasanam:—This seat made of bricks with supporting back, provided with cotton-cushions and covered with the feathers of swan looks beautiful and gives comfort.

Pattagahvikam:—A spacious seat having cushions made of fur of sheep and covered with different coloured cloth.

Bhūsayyāsanam:- The pattāgahvikāsana covered with feathers of swan and white cloth is called bhūsayyāsana. This is used for enjoying music, instrumental music and pleasant discussion.

Lôhāsanam: The seat, including the legs is made of five, seven or nine metals and the cushions also are covered with nets of the same metal and stuffed with cotton.

Dhārāsanam:–The seat made of wood with four legs decorated with elephant’s tusks and with a back support made in different colours and shapes.

Simhasanam:-A seat made of the best gold, the top/upper part of which is decorated with eight roaring lions and lower part with three gems is called simhāsana. It is used by the king for sitting in the court only; it is the most espected and loved seat by the king.

Pūtāsanam:—This spacious, auspicious and comfortable seat is used by the king while offering worship or for religious purposes.

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Thus, enjoyment of different seats and cushions by the king as per the occasion and mood is called sanôpabhôga (3.9. V. 1132

1150).

CHAMARABHOGA King Sômēśvara describes the chāmarbhoga as follows: While the king is sitting on a beautiful, comfortable, spacious and cool seat shining with gems, in the hall decorated with golden pillars, beautiful wall paintings and covered with many coloured carpets and in the courts halls, he should be fanned with chamara which looks pure like the moon of sarat season: The tail of chámara animal or the feather of peacock which shines like gems, fitted with silver handle is used for increasing the beauty and glory of the king and that of the court besides giving comfort to the king by drying the sweat. The chămara should be waved by specific women only. The black lady of Kuntala dēsa should fly the wisk made of kūrchaka while beautiful women of Sourdēśa are to be engaged to fan the chāmara made of different coloured silk cloth. While some other one waves the fan of copper plate, a lady with thin waist should fan the palm leaf. Thus being fanned by women of different countries, the king enjoys the cool air/breeze produced from fans made of (1) chámara, (2) peacock feather, (3) different coloured cloth bended to round shape (4) copper plate and (5) leaves of palm tree (3.10.V. 1151-1160).

ASTHANABHOGA King Sômēśvara under ästhānabhôga describes the enjoyment of the asthāna-audience in the court by the king.

The king should sit on the throne placed in the assembly hall (ästhāna), being served by the chamara and vyāli and ask his

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pratthāra to send a sarvāhvăna (general invitation) to all to attend the court.

First of all, the daivārika goes to the harem of the king and brings the royal ladies in the palanquin covered with beautiful curtains; under the shade of colourful swinging royal umbrellas and flywisks. While the beautiful royal women arrive in the court, other royal employees/servants also enter the court. The sanvādika (staff bearers) who attend on women’s apartments carrying stick made of teak wood or cane follow them, the chief duty of the staff bearer being to warn people “Go away, Go away” showing his index finger in order to make the way for the palanquin to pass through the crowd. Some times the palanquin is taken on a route where there is no crowd. The ladies of the harem, according to their position arrive at the assembly on horses, on mares or on foot and occupy their respective seats on all sides of the throne except the front portion. The ladies wear ornaments like simanta, hansatilaka studded with pearls, emerald, bluesapphire and cat’s eye; mukula in the corner of ear; the kundalas of gems on the ears; flowers on the hairdo; ornaments made of gold, best pearls, gems, chains shining with precious gems around the neck; ornaments of gems on the wrist; rings like mudrika and chudika studded with different ratnas on fingers; nūpura, pādakatāka, kinkinijāla with small bells and gold pearls on the feet. Thus, decorating different parts of the body wearing the best clothes and kanchuki of thick cotton; applying lēpanas like srikhandā, kumkama, on the body; kastūri on the face and flower garlands on hair and auspicious marks in different shades on the forehead; full of beauty, the ladies arrive. Their eyes generally turn towards the king or they cast occasional glances in order to keep him in a pleasant mood (3.11. V. 1161-1178).

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At this stage Somēśvara describes the striking characteristic of women of different territories of his country. Women from Kuntaladēśa have curly hair, Dravida women have big breasts; ladies from Lātadeśa have red lips; ladies of Maharastra have long faces; the Andhra women wear the upper garment in apmarga style and the ladies from Gujarat wear the blouse (kanchuka) in a falseway. Some women attract the king by the sounds of their feet ornaments; some with their gold ornaments, yet some other with their gem ornaments, some other with their pearl haras on chest. Some attract with the movements of their body; some with good looks; while some with

their beautiful dress make the king happy. Some wear green or blue coloured dress, some thrill the king with the fragrance of the flower combinations put on by them like mālika, mallika, champaka, mālati, utpala, surabhi, kunda, (3.11. V. 1177 to 1185).

In this connection the women are described in detail by the king. Some ladies are with red lips, delicate hands, round shoulders, nails like ketaki flowers; some are with thin waist; broad breast; wide hips, beautiful neck or beautiful thighs; yet some have delicate feet. Some have golden complexion while some are black beauties; some have the complexion of champka flower while some look like lotus flower; some have white complexion yet - some have bright complexion. Some ladies have black hair like bees; some have beautiful cheeks; some have beautiful nose; some have beautiful teeth like seeds of pomegranate. While some walk like swan; some have eyes like that of deer; yet some have the voice like that of cuckoo. Ladies gathered in the court are of different ages; bālā, abalā, yoşită, mugdhā, vara and madhya; and all try to attract and win the heart of the king. But just like the bee which though attracted by këtaki flowers does not go nearer to them, the king should also smile at the ladies from a distance only (3.11. V. 1186-1200).

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After the entry of the ladies of the harem and other invited women, the princes modestly bowing to the king enter the court to take their respective seats in front of the king. The purðhita dressed in white, wearing gems studded kundalas takes his seat near the princes. Then the amātya, mantri, and sachiva who form part of seven angās of the kingdom enter and sit in their proper places on being ordered by the king. Then the mandalādhisvaras, governors of the districts, provinces and sāmantākamātyakās (the feudatory princes or their ministers) are made to enter, who on being requested, sit in front of the king, on his right and left sides in their respective seats. Then the officers of the state enter and sit in their respective seats. They are 1. Deśādhikāri 2. Grāmādhikāri 3. Dharmādhikari 4. Arthādhikari 5. Kāmādhikari 6. Kośādhikari 7. Balādhikāri 8. Durgadhikari 9. Vastrādhikari 10. Bhūsanādhikari 11. Nişkādhikari 12. Varnadhikari 13. Tulādhikari 14. Mudrādhikari 15. Mūlyādhikāri 16. Ardhādhikāri 17. Dūtādhikäri 18. Dusţădhikari 19. Tirthādhikari 20. Nāvādhikari 21. Märgādhikāri 22. Dvärādhikāri 23. Bharadhikāri 24. Dipādhikāri 25. Aśvādhikāri 26. Dūsthādhikāri 27. Malladhikari 28. Angādhikari 29. Yodhādhikāri 30. Devādhikari 31. Chhatradhikari 32. Sastrādhikäri 33. Dānādhikari 34. Gajadhikari 35. Asvadhikāri 36. Rathādhikāri 37. Prāņādhikāri 38. Chāpādhikâri 39. Mrigadhikari 40. Paksyadhikari 41. Snānādhikāri 42. Töyādhikāri 43. Sudadhikari 44. Mudradhikari 45. Chhatrādhikāri 46.Dipādhikari 47. Tailadhikari 48. Gavadhikari 49. Vasadhikari 50. Kşirādhikari 51. Karmādhikāri 52. Sayyādhikari 53. Kántādhikari 54. Putradhikari 55. Vidyadhikari 56. Vadyadhikāri 57. Yögādhikiāri 58. Nrityadhikari 59. Chitrādhikari 60. Parņādhikari; Sarmyādhikāri 61. Sainyadikari 62. Sulkādhikāri 63. Dhānyādhikāri 64. Sudhādhikäri 65. Vastrādhikari and Aśmādhikāri (3.11. V. 1207

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All officers wear fine coats of long sleeves embroidered with gold, turban and golden ornaments. The Betel-nut-bearer and trust worthy swordsmen who have conquered their passions should stand attentively near the king (3.11. V. 1224-1226).

The professional people like bhatta, chārana, vandi, māgadha, vaitālika, chājukāra, vadis, vāgis who utter the auspicious words “victory to the king”. kathakās, kavi pātakas, vāggēyakāras, gāyakas, prahasakas; players of instruments like flute, viņa, drum, as well as the dancers, actors, astrologers, yodhās, sūras, sūtas, mallas, and ankas praise the king and make him happy. The king should feel happy and content with the dedication and obedience of the servants. The whole assembly in the court hall eagerly looks at the king as they would look at the moon that rises on the first day of the month. Then the king orders the door keeper to summon the smaller kings who have come to seek his protection, to appear before him. Immediately on entering the hall, the newcomer should prostrate himself before the throne, whereupon the king sympathetically asks him to get up and take his seat. When he seeks protection, a seat befitting his position should be given to him with due respect; comfort him with kind words and present him fine clothes, gold omaments, jewels, horses, elephants, villages, cities or even small countries and make him to stay in the best house. In the same way, the king should please the princes, ministers, warriors, officers, scholars, favourites, good people, servants and those who can amuse and excite mirth with sweet and pleasant talk and plenty of gifts. He makes some happy in heart only. Then leaving the court hall, the king goes to the pleasure house in the company of women (3.11. V. 1226-1240).

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PUTRABHOGA King Sômēśvara while describing the putrabhôga, narrates all samskäras like garbhādhana, pumsavana, simanta, jätakarma, nāmakarana, annaprāsana, karnabēdha, chūlakarma, mounjibandha, vidyārambha, gôdāna, samavartana, and vivāha. He begins the narration with ritusangamana, which means enjoyment of the queen by the king after third day of her periods, upto sixteen days, on even days and avoiding second and fourth tithi, for begetting a son; and on odd days for a girl child. It is further stated that due to excess of raktadhātu girl child and due to excess of sukladhātu male child is born (3.12. V. 1245-1247).

When the conception takes place, the cheeks of the lady become pale and stomach grows in size. Since it is believed that a son will relieve the father from suffering of punnāma naraka, the king should perform the purhsavana ceremony to the queen in the middle of 3rd month of pregnancy in order to give birth to a son. On the day of śravana, mrigasira, hastha, pūsya, punarvasu and mūlanakshtras, specially when it falls on sunday, tuesday and thursday, the pursavana should be performed by the king in the midst of vedic mantras by applying mixture of ghee, māsa and yava to the queen, as the life will arise in the embryo at this time. It is believed that a son who can relieve the king from punnamanaraka will be born only after the performance of this rite (3.12. V. 1248-1253).

In the seventh and eighth months of the pregnancy, another rite, simanta is to be performed which has eight auscipious (mangala) qualities/features.

In the seventh and eighth months of the pregnancy on the day of punarvasunakshatra, simanta is to be performed. In this ceremony a

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garland made of udurbara fruits is decorated around the neck of the pregnant women; the sharp-end of a thorn removed from a tail of salali is held on the top of the (head) women. Then the Vaiņika plays viņā and sing harmoniously the samarāga while the brāhmiņs utter the auspicious letters and words of sāmamantra. Instruments like patah, tūrya and other mahāśbdas are blown; astamanglas are played and festivity is observed. Then important brahamins are given horses, cows, gold, dress and land. The rite is performed for begetting healthy and beautiful child (son) after the completion of the ninth month (3.11. V. 1254-1258).

Soon after the child is born, the king is to perform jātakarma ceremony in his house giving honey and ghee by his index finger as well as holding a gold needle, to the mouth of the child for sucking. Then the mother should give her milk. On this occasion, the king offers āyurvsadhakaśrādha, an auspicious rite performed on all happy occasions. The jātakarma could be done at any time either early morning, evening or night time on the day of three uttaras or mriga stars. Then the brāhmins are to be offered gifts. This will give beneficial results to the child (3.11. V. 1259-1261).

After the twelfth day of the birth of the child, on a good day, thithi, and lagna, chosen as per the rāśi of the child nāmakarana ceremony is to be performed. Generally, the nāmakarana ceremony should be performed on the day of mpigasira, chitra, anuradha, hastha, aświni, rôhiņi, rēvati, śwāti, mūla, pusyami and other auspicious stars. The name of the baby should have the suffix of simha, mallā, bāhu, pāla, varma, perākrama, sēna, chandra, kēśari and other good and auspicious names as per the family background and liking of the parents/king (3.11. V. 1262-64).

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In the sixth month of the baby, the annaprāśana ceremony is to be done to the baby on the day of monday, thursday and wednesday when the stars like rēvati, rôhiņi, hastha, puşyami, śrāvana, uttarātriya are on auspicious tithi and lagna. The unclear words of the baby should be heard on that day. This ceremony is associated with the intelligence of the child (3.11. V. 1265-67).

At that stage, the king enjoys the half spoken words and the embrace of the baby around his neck. He enjoys the delicate steps of the prince while walking, holding the hand of mother; he attracts the child by offering fruits; and takes the child from the lap of the mother, some time makes the child sit on his lap or puts on his heart (bosom); at times carries on his shoulders, at times even takes the child for a ride on the horse back. The child is decorated with rakṣāmantrapatra covered by lac, ornaments of coral, nails of the tiger, and small counches around the neck; bangles made of five metals on hands; with golden bells on legs and wrist; with karnapāli and kundalas on ears; and with asvasthapätra like decorations on the head. The child with delicate feet runs here and there, from father to mother; then the king embraces the child and kisses on the face and enjoys the comfort of putrabhôga. King Sômēśvara describes such baby as Balakrishna and as Bālashiva, who saves the father from naraka. The child who always laughs, having a body clad with mud and dirt is like Shiva Gangādhara and the father who enjoys the touch of such is a very lucky man (3.11. V. 1268-77).

In the second year of the child karnabēdha ceremony should be performed on the day with stars of punarvasu, dhanista, rēvati, śrāvana, mrigasira, uttara, hasta, puşya, aświni, or any auspicious day, tithi and lagna, according to kuladharma (3.11. V. 1278-79).

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In the same year as per the tradition of the family, on an auspicious day chūdakarma is also to be performed (3.11. V. 1280 1282).

In Mānasölläsa, upanayana is referred to as mounjibandha or vratabandha, This ceremony is to be performed in the eighth or twelfth year of the boy as per the family tradition on any sunday, monday or friday in the constellations aświni, rēvati, mūla, jyesta, śrāvana, hastha, puşya, stars; so that intelligence will be bestowed on the prince.

On Wednesday, thursday or friday when either of ardra, śrāvana, svāti, chitta, hasta, mūla, rēvati, aślēs, punarvasu, dhanista, aświni, puşyami shines, the prince should be initiated into education. The prince should learn all the branches of knowledge from great teachers who come to the palace and teach the vědas, śāstra; and riding of horse, elephant and chariots. The king feels happy when the son is successful step by step in all the fields. Besides, subjects like tarka, kāvya, vyākarana, dharmśāstra, kalas (fine arts), dhanurvidya, svaraśāstra, bhūmibala, ‘dhridāpāta, dūrāpāth, laghusandhāna, vichitravyaghna, lakşya, chāpavidya, and allied sciences are also taught.

On the day of budha, guru and sukra, when the grihas are strong, vidyārambha is to be performed by the king to his son for imparting training in Vědavidya, Sastravidya; perfect training in the riding of elephant, horses, and chariot; in the science of weapons as well as in the use of the same. The king, should supervise and examine the skill of his son in controlling and using of the horses and elephants; his strength, capability, skill and efficiency in śruti. Further the king should test the aiming at the target, holding the

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bow; leaving an arrow, hitting the target at a distance, at short distance, different types of hits, pulling back the bow thread, besides the concentration in the use of bow and arrow in the hand; hitting the target from sound; boldness and bravery in the use of various methods of khadga, kunta, gadā, chakra, śūla, krupāņa, danda so also escaping from the blows of the opponents. The king should also examine the clear voice, movement of foot, shoulder, hand, and jumping in mallayudha by his son. The prince should be more skillful in riding and controlling the horses and elephants. The king feels thrilled and contented at the touch of such son who is able, handsome, intelligent and well versed in all śāstra; and who is dharmgna, śuci, dhira, devoted to father and hard working. Since such a boy will be his successor to the kingdom.

The king being happy with the learning, success and skill obtained by his son in different fields of knowledge, donates elephants, horses, land, villages, money, clothes and gold lavishly to the teachers who taught the prince all the above branches (3.11. V. 1286-1304).

After completion of the education, when the prince attains the youth, auspicious rite like gôdāna and when he is ready to get married and enjoy the life, samāvartana are to be performed.

According to Sômesvara, the king should choose for his son, as bride such a girl who is beautiful, delicate; born in good family, of the same caste as well as having best and noble qualities. On the day of bright fortnight, the prince is decorated with ornaments studded with gems, alongwith mangalakstas as bridegroom (vara) in his house.

To participate in the marriage ceremony, the king goes along with his party to the house of the bride, which is decorated with

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gateways, paintings, having covered pillars, cowdung coated ground; and a mandapa and vēdi decorated with flowers.

The bride and bridegroom after entering the vivāha mandapa first offer nāndi-mukham srāddham (worship of the kuladēvatas). The punyāhvāchanam is uttered. The bride is honoured by offering madhuparka, is dressed in white clothes, decorated with mudrikā and is brought to the vēdi. A mixture of jira and rice is placed in the hands of the bride and the bridegroom; the bridegroom faces the east direction, while the bride faces the west. When both enter the mandapa thus, a white cloth is placed in between the two as a curtain. The mixture of jira and rice held in their hands is dropped while both look at each other. Then the curtain is also dropped. Then the bride holds the dakshina hastha of the bridegroom and the father of the bride offers kanya with water to the groom. Both bride and groom are tied together with five layers of thread; they circum ambulate (pradhaksana) five times to each other, then the thread is removed/dropped carefully downward and removed from beneath the feet of both.

Then, bangles smeared with kumkuma (sindur) are placed on the hands of the bride by the groom and homa is performed; around the homa the groom circumambulates three times holding the little finger of the bride while the bride follows the groom behind. After wards, both walk seven steps, on small heaps of rice and come back to their seats. The bride now sits left side (vamabhaga) to the groom. Thus, the ritual part of the marriage is over as they become pati and patni (3.12. V. 1305-1323).

Then, all the servants are satisfied by giving clothes, gems, golden ornaments, elephants, horses, cows and buffaloes etc., on this

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auspicious occasion, the brāhamins are offered clothes, ornaments, gold and made happy.

All that time, instruments are played hormoniously; mahānāda and sweet sounds are blown with sankha; auspicious songs are sung, vedic mantras are chanted. The vandi and māgadha utter auspicious words, blessings and sing jayamāla. At that time, the bride and groom garland each other with jayamāla. Thus the whole atmosphere is full of joy and with auspicious signs. The invitees are made happy by offering good/tasty food, drink and betel.

While the menial class is made happy by giving drinks (madya) and intoxicants, the cattle-keepers are made happy by giving plenty of grass and other items.

The marriage ceremony comes to an end after four days (3.12. V. 1324-1330).

On the night of the fourth day the bride and the groom are adorned with the dress and ornaments and seen off to the place of bridegroom. The procession consists of elephants which are decorated with sindūr, golden bells creating sound, flowers and chămaras. The female elephants decorated with puspaka are used for carrying the ladies and other court dancers. The whole procession is followed by large number of servants. Amidst the panchamahāśabdas in a happy atmosphere, the prince brings his bride to his capital while the women of the capital perform varapūja. The prince brings his bride to his palace on the royal elephant and helps her to come down from female elephant, then both bow to the feet of his parents (king and queen) and take blessings.

The king thus enjoys his son’s marriage ceremony happy married life with a beautiful and the best woman. The enjoyment of

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the child hood, training, education in different fields and marriage ceremony of his son by the king is called putrabhôga (3.12. V. 1230 41).

ANNABHOGA According to Mānaśõllása, the king should take his food alongwith relatives, inandalādhisas, commanders, servants, dependents, good people (friends), as well as with those who are well versed in dance, music, instruments; invited guests; and in the company of his sons, grand sons, great grandsons. The king should take healthy food which consists of five basic varieties and tastes: bhojyam, bhaksyam, pēyam, lēhyam and chosyam (3.13. V. 1341 1345).

The main (staple) food consists of rice, which is of eight varieties: (1) raktaśāli (2) mahāśāli (3) gandhaśāli (4) Kālingaka (5) mundaśāli (6) sthūlaśāli (7) sūkshmaśāli and (8) sāştika.

Raktavarna śāli—the rice red in colour. 2. Mahāśali—the rice big in size. 3. Gandhasali—the rice with fragrance. 4. Kalingaka-the rice produced in Kalinga dēśa. 5. Mandasali, 6. Sūkshmaśāli-the rice which is small in size. 7. Sastika-the rice grown in sixty days.

Sôměśvara gives the methods of cooking of many dishes for the royal meal (3.13. V. 1346-1348).

After giving the variety of rice, Sômēśvara states that dhānya is to be pounded again and again to get refined; dust, grass and

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particles are to be removed carefully out of rice; husk is also to be removed; then the rice should be washed again and again with plenty of water and kept for some time till it becomes white like kunda flowers; then it should be cooked either in a copper vessel or in a earthen vessel, on slow fire with 3 times more water and covering with lid or cloth. When the water boils, bubbles and steam come out, the rice is to be stirred with laddle again and again to examine whether it is cooked tender and soft. When the rice is a bit hard in the middle, milk or ghee is added to it and removed from the fire. At times the remaining water, mandam (gravey) is removed from the pot by tieing a cloth to neck of the cooking vessel. In case a little mandam is still there, the cooking vessel should be kept on the fire place till it evaporates. The food thus cooked is fit to be eaten by the king (3.13. V. 1349-1357).

Sômēsvara gives the method of preparation of sūpa (soup) or the essence by cooking all types of pulses-the red gram, chana, black gram, green gram, masoore, rājamadgara, răjma, full or broken as per choice. An expert cook grinds the pulse into pieces, removes the husk with the help of winnowing fan, puts it in water to remove the dust and then cooks on slow fire; finally hingu (asafoetida) water is poured on it. In order to give it (dal) colour rajani powder (turmeric) is added to. While cooking the pulses, water should be poured again and again stirring it; salt is to be added as per taste at the end. Plesent smell, smoothness, good taste and lightness are added to the food on account of pulses cooked thus (3.13. V. 1358

1364).

Pulses as a whole are cooked without adding haridra powder but only by adding hingu water. A good cook prepares other pulses as described earlier washing again and again and cooks with equal

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amount of water on slow fire and adds hingu water and spreads the pieces of ginger on the top (3.13. V. 1365-1369).

The big egg plant (vārtikam) is to be fried in oil till becomes soft, then the seeds of bisachakarika and priyālasa are added and stirred well with laddle again and again while adding water little by little according to requirement (3.13. V. 1369-71)

King Sômēśvara further gives the cooking of pulses with meat also. Bits of flesh or fat or liver of sheep are added to the pulse when it is about to be cooked; then, pepper powder is also added. After putting down the vessel from the fire, the powder of nagaram, is added by stirring with laddle. The syāmaka, kanganivara grain and gandhaśāli rice or any other quality of rice is mixed with the above prepared pulse (3.13. V. 1372-74)

It is directed that pāyasam should be prepared from the milk of the she buffalo who has delivered’ a calf long back, such pāyasam is pleasent to look at and tastes and smells good.

Wheat is to be washed weil, dried in sun light and ground into soft flour ; the husk is removed by sewing; and a little ghee, salt and milk is added; then the whole mixture is blended well in a wooden plate by adding little milk and by using both palms; beating well and made into dough (3.13. V. 1376-1378). Small balls are made out of this wheat lump by applying oil to the palm; each is spread by beating between two palms till it becomes thin like white cloth and fried on hot pan; when it is cooked immediately should be removed before it is charred. At times, four balls are made at a time and fired on red hot charcoal as above; these are called angārapôlikas, these are liked and relished, when carried slightly (3.13. V. 1375-82)

The wheat balls without spreading are fried slightly in well heated oil and turned over; this item is called pôlika. But when the

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balls are cooked in well heated, deep oil till these become golden yellow and hard, are called sôhalá. Another item pāhalika is prepared as above but cooked soft till it is yellow in colour, the patrika also is cooked by spreading the above ball a little on the pan and by adding oil. For the preparation of another item, flour is cleaned with a winnowing fan and grains are removed; then milk, ghee, sugar, powders of ilachi, maricha are added. Then, the mixture is mashed well, made into small balls and cooked in ghee. This item is called gôlamu. Yet another item udumbara is also cooked thus (3.13. V. 1383-1387)

The gram is broken and grinded to a soft paste by adding water; hingu, salt, sugar, marichi and ilachi powder are added to it and made into balls; these balls are slightly spread and cooked; it is called pūrikā. Other types of pūrikā are also cooked thus. The gram of harimanyam is made into pieces and mixed with hingu, jeera, salt, ginger and haricha; mended well and made into a lump. The small balls made out of it are cooked on pan, it is called věştika (eatable). The broken gram also is mixed with the above items and the mixture is spread on hot pan along with oil; this is called dhôsaka. The dhộsaka can be made with the pulses of black gram, rājamāsa and battana. Thus an expert cook prepares in different styles, with the pulses of battana, grams and etc. The pulse is broken into two, powdered and mixed with water and salt, mended well with ghee and powder of nişpava, the mixture is fried in deep oil till golden yellow in colour, this item is called katakarņā (3.13. V. 1388-1396). The black gram is broken into two pieces and soaked in water and washed with plenty of water till the skin is removed; then the gram is removed from water and grinded with grinding stone using full strength and force; stirred well by hand after removing the paste into

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a vessel kept for a while or a full day till the batter ferments. Then the batter is kept in a cloth and tied; a hole is made in this cloth, thus causing/letting the paste fall into the oil; thus the watikas are prepared. When the item is cooked, removed from oil, it is seasoned with mixture of marichi powder, jira, hingu which is fried in ghee. Tender, white, cool and good looking idarikas are made by spreading thick and round lumps of paste of black gram. The same made into round cakes (blocks) with five or seven holes and cooked in hot oil till became red; this item called ghārikās is the best of all eatables. The ghārikas made without holes are soaked in sugar syrup. In another method vadikas are dipped in water mixed with marichi, ilăchi powder or in rice cooked water. In another method vatakas are soaked in the mixture of fermented āranala powder and curds, sprinkled with black pepper, salt, ginger, jeera, dhānyakam, dried ginger and slit green-mirch; then the whole mixture is stirred well and cooked till thick. Then it is removed from fire and dressed by sprinkling the marichi powder and seasoned with hingu; these vatakas taste well. In this connection it is stated that any eatable or item soaked in water or any liquid is called vataka (3.13. V. 1397 1408)

For preparing another eatable sour butter milk is added to a slightly hot milk, then the whole mixture is poured in a cloth and hanged; so that the water drips down and the residue remains in the cloth; to this rice flour is added in order to make it a dough; small balls are made out of it in different shapes and cooked in ghee and placed in sugar syrup. Finally the powder of ilāchi is added to it. This item made of milk is easily digestible and tasty to eat. It is further stated that the sugar syrup should always be made in copper vessel only. When the syrup is half done, butter milk is to be added

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so as to remove the dirt in the form of black scum which floats over. The syrup is filtered through a cloth again and again. When such a syrup is slowly cooked it is called pēya; it looks like honey, tastes good to drink (pēya). The person well versed in the preparation of khandapāka can make it in different styles and shapes. The purified sugar is, added to the milk and stirred again and again till it becomes kharpāka; then the well boiled liquid is removed from the fire; nagaram, tiksamôla, karpura, kësar and ilāchi are added to it and the dough is made into small pieces in different shapes. This item is called varshālaka (köya) (3.13. V. 1409-1417).

Sômēśvara while dealing with non-vegetarian food, states that only a specific part of each animal’s body is suitable for eating. It is stated that meat of a pig is soft and sticky; that of sāranga is healthy; of the black-buck is sweet, tasty and paletable; that of the deer is good for health (padhyam); while that of rabbit is dry; the meat of sheep is heavy but tasty and that of a goat is light. Further, fish meat gives heat and energy. The meat of sakuna bird is very light while that of rury and sarbra is very nutritious, healthy and increases appetite. Besides, there are variety of meats which are nutritious and tasty.

However, the meat of an animal which is weak, diseased, old, tired; died of drowning, exhaustion and poison; the meat which is rotten and eminates bad smell should be avoided (3.13. V. 1417 1422)

The different parts of the body of animals which are useful for cooking are also given by Sômēśvara. Meat from the back side, lateral sides, inner and outer sides of body of the animal; meat from hind parts, soft part of root of tail, thighs, stomach, intestine, lower abdomen; heart, lungs, eyes, tounge, ears, brain; feet, horns, claw,

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fat, and skin are the best parts to be cooked and eaten (3.13. V. 1421 1426)

Next, King Sômēśvara gives recipies for the prepartion of various meat dishes. For the preparation of any dish of meat of pig, it’s body is to be covered with white cloth and boiled in water till the hair is weakened and could be removed easily; or could be cut with a pair of scissors. In another method sticky mud is smeared over the body of the pig and burnt with fire of the grass spread over the body. Similarly, a goat is covered with dry grass and burnt, then cooked well. When the meat becomes stiff, should be washed with good water till it becomes yellowish white like lotus stalk, cut into pieces and put in a vessel filled upto the brim; sāriphala and söthi are added to it and then pierced through iron spites and roasted on plenty of red coal from distance till oil drops slowly from the flesh of the animal (suntakas). Afterwards, marichi powder is spread; if required, sour substance also can be added for taste. In another method, sôthi powder is added after frying on fire without burning the skin; it tastes like amista. In the preparation of another dish, the fatty portion of the pig, still wet is mixed with sôthi powder and made like palm leaves (chakkalika); sugar, curd, ilāchi and karpur are added to this fatty portion; and fried. Sometimes to the fat or the meat, rajaka, matulunga, kēsar, an added; seasoned with hirg; and mad i..o small balls which are to be spread with a rolling pii; these are kept in curd or fred in ghee; sugar and Machi are also added. In another method, matulunga kēśar, rājakam, saindhvam, matichi and ginger cut into pieces similar to keśar, are added and seasoned with hingu. Even sour substance is added at times. In another method, chakkalika is added to curd, or sour item like juices of anār, āmalakā paste or juices of mātulunga, bijapura or udur bara fruits, according to one’s taste (3.13. V. 1427-1443).

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In the preparation of meat dishes, for getting good smell, dry coriander seeds, jeera, and hingu; for giving colour haridra; for good taste the powder of saindhvam, visvamarichim are sprinkled over the food and covered with clean cloth and mixed slightly with oil. These items are put in a mud pot and stirred with laddle and cooked for a while on slow fire by a skilled cook, till the meat pieces become tender. After adding sôthi, the above mixture is stirred well and removed from fire when it is ready. Then, it is seasoned with jeera, hingu and sisidhūp and nakadhūp: pieces of chanaka (gram) made in equal size; niśājiraka, sôthi, hingu, and dry dhānyakam seeds. For the preparation of another dish, pieces of meat made equal to ginger pieces are fried in hot oil, and green gram is mixed with it. The soft meat and tender nispava, slices of onion and garlic are mixed and cooked; as per individual’s taste sour juice is added to; when the juice evaporates, the meat is removed from the fire and seasoned. In another method the meat is made into pieces similar to that of badarifruits, and mixed with spices mentioned earlier and fried in hot oil. In another style, the pieces of vārtika (brinjal), muli, (radish) onion are cooked on low fire, ginger, the spices of vataka, mēsaka, kasmārdana are added to it and cooked; different types of juices are added as per the taste; this item is called kavchandi (3.13. V. 1444 1456)

Yet in another style the meat is cut into pieces like amla fruit and placed in water of ajika along with adraka and boiled; then sothi, sour substances, salt, powder of methi and dhānyaka, and green dhanyaka are added and cooked well. Then, removed from fire mended well by adding ghee, garlic and hingu and closed with lid for sometime then served. This item is called puryālākhya (3.13. V. 1457-1461)

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The pure meat removed from the back side of the animal is considered to be the best one; it is cut into pieces similar to those of ghansāra fruit and holes are made all over, according to taste hingu, haridra, adraka are added and pieces are pierced though iron rods, and fired on live coal, turned around again and again; when it is ready salt and mārichi powder are spread over the fired meat pieces. This item is called bhaditrakam, it is tasty, light, wholesome and is an appetizer. The pieces made in the begining of the preparation of the above item are prepared into lump or gravy and placed in a vessel with sour material and hingu; to that mixture juices of ginger, dhănkaya and powders of jeera and methi are added; the whole mixture is cooked with ghee till the liquid dries up; oil is spread over and marichi is added. This item is called handbhaditrakam. The shoulder of sheep is cut and its blood is poured into a vessel; small quantity of salt is added to it and stirred with hand spreading the palm. When the net of vains are separated, pure water is poured into blood and closed with a lid. The meat from the thigh is cut with knife, vains and glands are removed and meat is made into small pieces like betel-nuts; cleaned and cooked with any sour substance. Before it is fully cooked the blood removed earlier is poured on this meat and when is completely done it is removed from the fire and seasoned with hingu and jeera; then comphor, ilachi and marichi powder are also spread over it. This meat item is called krisnapākam (3.13. V. 1462-1475)

The meat fried on five coal is kept on clean cloth and minced into small pieces like seeds of til; mātulunga kēsar, adraka, kēsarāmla, ghrinjan (carrot), jeera, marichi, hingu powder and saidhavam are mixed with it and finally seasoned with hingu (3.13.

V. 1476-1478)

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Raw meat is washed with hingu water and salt; ground well and small balls are rolled out of it and stuffed with already prepared dry meat and fried on red hot fire. This item called māmsavataka is tasty, looks beautiful and is an appetizer. When the same balls are fried in deep oil it is called bhūşikavataka; if this meat is rolled with wheat dough and fried on a pan but not a deep fry, it is called kôśali (3.13. V. 1479-1482)

The top part i.e. stalk of a brinjal is cut off and seeds are removed by scooping and the space inside is stuffed with the above minced meat and cooked in oil on light fire. This item is called pūranabhattaka. In the same way the fruits of kośatika, kanda, mülaka are also stuffed and cooked. In another method, the raw meat is made into good paste and mixed with saffron, made into small balls and fried in deep hot oil. The meat is put inside the red hot coal and cooked intelligently till it is properly done; this item is called batrimakam. The entrails of an animal are cut into pieces and cleaned thoroughly with water. The pieces of fat and meat, are put in water mixed with rājika and kalkadi; small pieces of ginger, any sour item, salt as per taste and hingu water are also added. Then the whole mixture is cooked till a little gravy is left and the vessel is removed from fire. This item is called pañchavami. It is beautiful to look at with different coloured juices. Yet in another method, the intestine is washed with water and kept on metal rods (grill) and fired on red hot coal till it becomes hard and crisp, then marichi powder and salt are sprinkled over it. This item is called antrrsunthaka; it makes (causes) cracking sounds due to its crispness (3.13. V. 1483-1493).

As done earlier, the blood is thinked and mixed with juice of lemon, ginger, jeera, hingu, marichi, dhãnyaka and salt; then fat also is added and whole mixture is stirred. The intestine of an animal is

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washed; filled with this mixture, and tied at different distances, thus giving it an appearence of a rope; and fried on slow fire which looks like kusumbha flower till it becomes hard. This item which looks like rājavśksha phalam is called mandali (3.13. V. 1494-1498). Sômeśvra states that while cooking the vapa, it is folded into many layers, made into pieces and fried on metal rods or fried in oil, sprinkled with salt, marichi and smoked with hingudhūpa. This item is called varņaśunthaka. In another type of preparation, the fried kālakhanda is further divided into pieces like nuts and spread with marichi, salt, hingdhūpa, rajaka and mixed with curd. Yet in another method the kālakhanda is pressed with rolling pin; the flower of mātulunga and salt are added to it, cut into pieces and cooked by adding oil (3.13. V. 1499-1506)

The flesh from the chest of an animal is to be cooked for a long time in an earthen pot with plenty of water till the meat becomes soft, then salt adraka and a hing are added; this pēyam (soup) is called utkathitam by an expert cook.

The inner parts of the body of an animal are removed and hanged by the hind leg, so that the body faces downwards. The whole body is burnt on fire till the hair is burnt and the body becomes black; then the body is washed with water and cooked like chicken; the four legs also are cooked in the same method.

The fats and the flesh are cut into big pieces, mixed with salt and hing water, dried in shade for one to three days and then fired on red hot coal; when the meat pieces become hard, they taste excellent, and increase the appetite. This item is called upkhandas and best of all meat dishes (3.13. V. 1507-1515).

The meat of the deer is cut into round or square pieces, heated and dried on fire without using oil; salt and other spices are sprinkled

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according to taste or liking; made into pieces and consumed. While the meat of ruru, sambara, sāranga, and goat is fried on fire and pounded in between two stones. The fat is removed; salt, sour, marichi, hingu, and other powders are added and cooked till properly done. The head of a goat is fried on fire, and broken; brain is removed and cooked with kanjika (sour gruel) with or without oil according to taste, then mixed with spice powder and seasoned with hingudhūpa (3.13. V. 1516-1521).

It is stated that all birds should be cooked after removing the feathers from all parts of the body and cutting off the beak, feet and nails. Usually, the stomach is stuffed with some spices or other substances and cooked as desired, like the meat of pig, sheep and other animals. (3.13. V. 1522-23).

After describing various dishes of animals and birds, Sômēśvara gives the recipies for the preparation of dishes of acquatic animals. The big fishes like salka and other types are cut into pieces while small fishes are cooked as a whole. In case of a big fish, the head, tail, wings are cut; the stomach is slit and intestines are removed; then the body of the fish is rubbed against a stone till the scales are dropped and smeared with salt and oil so as to remove bad odour. The fish again is washed with turmeric water and tied in cloth till it is free from water, and then cooked in a vessel. When the fish is cooked, the vessel is removed from fire and seasoned. The washed fish pieces are cooked with little sour item also and while cooking so, a little wheat powder is sprinkled on all sides. Then the pieces are fried in hot oil, to golden yellow and the salt mårich and ilãchi powder are sprinkled over these pieces.

The anaka fish is cut into pieces of four angulas length, mixed with salt and filled in an earthen pot. It is called knārkhandas of fish

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and it can be preserved and used for long time, when the food is about to be served, the pieces are fried on fire or in oil or smoked. The ovary of fish is separated and fried on fire when it becomes hard is cut into pieces and cooked in deep oil. Then spread with salt, marichi and hingudhūpa (3.13. V. 1524-1536).

The tortoise is fried on the fire after removing the shell, head and feet and eaten. The meat of tortoise tastes like ripe plantain fruit. At times, the sour and spicy powders also can be added and fried in oil. The tortoise can also be cooked on fire without smoke; this item called nandyāvartā, is tender, good to look at and appetising.

The legs of strong and big crab are removed and fried on a very red hot copper pan without oil and ghee. The shell of the crab is well fried, placed in a vessel containing salt and sour substances and cooked in ghee spread with jeera, tikşnaka and other spice powders. The crab meat stimulates, strengthens and tastes good. This item is called ghritakarkatā.

The rats which are strong, black, born in fields and river banks are called maiga; these are fried in hot oil holding with the tail till the hair is removed; after washing with hot water; the stomach is cut and the inner parts are cooked with āmla and salt; or the rat is kept on iron rods and fired on red hot coal, till outer skin is burnt or shrinks. When the rat is cooked well, salt, jeera and sôthi are sprinkled and relished (3.13. V. 1537-1547).

After describing in detail, various types of non-vegetarian items, King Sômēśvara describes various types of salads, drinks and puddings. It is stated that the fruits, leaves, stems, roots, flowers and tender leaves are eaten, cooked or uncooked; and with or without meat.

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The leaves of amra, āmrātaka, jarnbu, bijapūra, agnimăndya, bhallātaka, agastyaka, karpāsa, drāksa, bhringaka, sallaka, punervava, mari, tikşņa, atasi, surasa, marukam, tālaparna, bhindka, mundaka, brāhmi, āmlapatri, kokulakshi, kusurhbhakar, anjanar, padmakośa, sodaka, etc. are cut and mixed with any sour material like juice of bíjapūra fruits or curd; salt is added and served.

The fruits of Sriphala, këtaki, chinjya, mesaspingă, sungan dhijam, kutajar maricham, visamuşti, sinchijam, yêla, ramata, nivāra, netika, parpata, agastya, nandanar, rājamātulinga, patalika, katam, matam, karkatam, karirarn, dendukar, vetrakāri are kept in salt water and eaten.

The chūtāmratakam, rataranh, dhātri, kuhari, karkati, kūsmān darn, trapusan, karkāta, drāksa, brihati, kośataki, bijapūrarh, nispáva, karamardakam, jārnbira, nimba, vārtikam, karmadakarh are also placed in salt water (alkalised) and eaten.

The above items could be mixed with rajikachūrma, til and slat also. In another type of salad, the raw mango alongwith stalk and other fruits like banāna, kāravelas, panasa is washed and seasoned in oil with rājakachūrna powder.

The tender leaves of bamboo, chakri, śatávali, pātala, tonduka and the tender seedlings are washed and kept in salt water or mixed, with rajika salt and oil

Similarly the roots of nāgini, adrāka, pastur kachorarn, vanamāgiņi, karpura, màgini; sabalakanda, amlaharidrakan, sūranam madhuśighrum are washed and seasoned in oil and served (3.13. V.

548-1564).

King Sômēśvara gives the following milk dishes: The pure milk of cow or buffalo is boiled on light fire in a pot stirring with the

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laddle, till the quanity is reduced to one half it is called peya; when it is reduced to one third it is called lehya; when reduced to one sixth it is called pindaka, and when reduced to one eighth part, sugar like powder is prepared.

The milk is heated and reduced to half of the quantity; a little butter milk is added to it and kept in an airless place, a little sugar or pieces of fruits also can be added to it. When the mixture is kept for six yamas, the milk becomes sour and curdles, this is called dadhi (curd). It tastes well, look beautiful and is good for health. If the milk is kept for more than six yāmas it becomes too sour. By churning the curd with water, butter is produced, but more water is to be added slowly afterwards, for taking out the butter. The fresh butter is washed, the water is removed and heated on light fire in a pot; when it melts a few wheat grains and betel leaves are added and removed after some time. Thus, the clarified butter (ghee) is prepared.

After removing the butter, the remaining liquid is called takram; jira, hing, ilāchi, adraka, saindhavarn are added to it and sipped in between during the meal.

In another method, dadhi is kept in a cloth and hanged till the whole water is strained or removed, sugar and ilachi are added to this condensed mass; this preparation is called sikhariņi. Futher, it is stated that hing and adrak are added to the water removed from curd and fumigated with comphor; this drink is called mastakam (mastu).

The rice washed water is mixed with chinchaliamla, with little takram (butter milk) and sugar as per taste; then the powder of ilachi, juice of ginger are also added and seasoned with hing. This drink called vynjanam, is the best of all drinks.

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The juice of sour souviram fruit is seasoned with jira, hingudhūpa after adding salt. In another method, good milk is added to sour juice and the split milk is tied in a white cloth; when the water is strained, ilāchi and sugar are added to the condensed mass, mashed and blended into a smooth lump. Small balls in the size of ripen bimba fruits are made out of it, fried and eaten. Any fruit juice could be added to the above water and the new mixture is called the pānakam of that particular fruit. The pănakam is kept either in silver or gold goblets as per tradition and offered to the Mandalādipatis according to their status, during the meals (3.13. V. 1565-1585).

Sômēsvara then proceeds to tell, the style of dining. The king should sit on a cushioned seat, spreading white cloth on the lap upto the navel. The food should be served in a big plate of gold, gold coated, enamelled with colour or studded with artificial pearls, having many small bowls which are cleaned by water and then wiped with white cloth. The king should take the food facing the east, so that he could get longevity. If he faces the west he will get wealth; if faces south, enjoys comfort and if north, bestowed with good health and truthful talk (3.13. V. 1586-91).

The king should commence eating the food with hot cooked rice (Anna) and green gram mixed with ghee (clarified butter); then, the tender meat cooked with broken pulses should be taken; which is followed by savouring of a lēhya (sauce). As per the taste, any item is smeared with rice and eaten; then the meat mixed with leaves of sour taste and different seasoned vegetables (curries), fruits and leaves are taken. The non-vegetarian dishes like vataka, perpataka, kharkanda, upkhanda are taken as per taste, liking and capacity to digest easily and comfortably. In the middle of the meal, the king should take well cooked pāyasam made of rice, milk, sugar; sweet

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and sour tasted fruits. In between, he should drink the pānakams, lick the sikhariņi, and sip majjika. Finally thick curd with rice and salt should be taken otherwise, either milk or kanjika can be taken (3.13. V. 1592-97)

It is stated that always the meat should be taken with sour items; milk with sugar, salt with acidic substance; acid with salty items; and kasāya with acidic or salty items. Further, the king should take in vasant, the pungent food; in summer, cold and sweet; in winter, sweet food; in varsa, salty food; in sarat, sweets; in hēmanta, hot and greasy items, and in śiśir, hot and acidic food. The enjoyment of various items of food in different tastes, in different seasons is called annabhôga (3.13. V. 1598-1600).

PANTYABHOGA After the annabhôga, Sômēśvara describes the pāniyabhôga. According to him, during the meal, pure and cool water should be sipped slowly to give taste to the food and also to help digestion of the food. Besides, whenever thirst is felt, one can drink water freely without hesitation either of time or circumstances i.e. morning or night; with empty stomach or full stomach. Sômēśvara emphasises the significance of water as “Prānajala”, since for all living creatures water is the root cause of life and even the unconscious person becomes conscious by sprinlking water (3.14. V. 1601-1604).

Somēśvara gives nine types of water:

Divyam, āntariksham, nādyam, nairjharam, sārasm, bhaumam, tādākam, oudhbidarn, caundiyam.

Divyam:-The rain water dropped in the duration of svätinakshtra, and passed through the sunshine is devoid of all defects, so is excellent (divyam) and most tasty.

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TIL

Antariksam:—The crystal clear water collected from the clouds of rainy season.

Nadyam:—The water that flows down from the mountains and stays on the earth and shines like blue sapphire.

Nairjharam:—The water which falls from the peaks of the mountains; which is light, clear, cool and tasty, filtered by sand beds or obtained by digging the sand. This water should be taken after settling for some time.

Sarasam:—The water collected in lake which is full of lotuses and lilies.

Bhaumam:—The water collected from well and pond, which are with blue lilies and that which is clear and sweet.

CaundiyamA clear water which is sweet, looks like atasi flowers and is available in the middle of a big tank.

Tādākam:-The water, which is collected every year in a tank.

The coconut water a natural formation, which is tasty, clear and life giving is also considered as the tenth type of water (3.14. V. 1605-1615).

Besides, Sômēśvara gives other types of water like hamsôdaka, pindāvāsa, puşpāvāsa and chūrņāvāsa prepared by adding certain fragrant material and flowers to make it more tasty and smell soothing.

The hamsôdaka water is not explained in detail by the king. The other three types are as follows: the water which is without mud, dirt, rotten leaves and algae; exposed to sun in the day time and to moon in the night time; crystal clear, tastes kasāya and madhura; and looks like tender aśoka leaves and blue lotus petal is brought, to it a

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little kasturi, kana, ilāchi (ēla), chandan, uşira and other scented items made into a lump (pinda) in a mud grinder, is added and boiled in a vessel made of udumbara (or boiled on the fire of udumbara wood). When the water settles down, the clear sweet water which is devoid of all defects is used by the king (3.14. V. 1616-1620)

Similarly, the juice of sahakāra type of mango, the flowers of pătala, utpala, charnpaka, are kept in water for some time till the water gets the sweet smell of the flowers; this water is called puspavāsa water. In another method, the cloves, camphor, kankula and usir in equal part are made into powders and added to water. This is called chūrņāvāsa. Thus the king enjoys different types of water (3.14. V. 1621-23).

The method of drinking of water is also described in Mānasõllāsa. The king should take the water kept in an earthen pot or coral red pot or in a vessel made of skin, cleaned with the use of triphala (cleaned by passing through three pots), and covered with white and clean cloth. The water should be taken from these vessels with the help of tubes or straw made of gold, silver and crystal. Such a cool and good water should be enjoyed by means of golden goblet or that of pearls oyster or lotus stalk. It is stated that in sarat, divyam; in hēmant, saras water, in sisir, water from big lake; in vasant, water from saras, nirjhararn and bhoumym; in summer, from springs and always the harnsôdakam should be taken by the king. Thus, the enjoyment of the natural water and scented water as per taste by the king is called paniyabhôga (3.14. V. 1624-1629).

PADABHYANGÔPABHOGA After panlyabhôga, Sômēśvara gives the details about padā bhyangôpabhôga, the enjoyment of the pleasure of smearing the feet

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with unguents, a feature of the daily routine of the king. After completion of the meal, the king should lie down on the left side while enjoying pādābhyangana, the application of ghee, satadhouta, butter, curds, oils, milk, butter milk, sandalwood water and foam to the feet and massaging by beautiful women whose hands are soft and tender like aśôka leaves. In the vasant season, ghee and curds should be used. While in winter, milk or nirgharsha is to be used; in summer, kanjika or foam or navanita is to be used. In rainy season, fat or takram; in sarata, sataghruta or ghee or sandal water, and in hēmanta and śiśir, oil should be used as pādalēpana.

When shampooing is over, the feet should be washed with water (comfortable to touch according to season). First the powder of masura pulse mixed with turmeric is applied to the feet (to remove the grease) and then washed with clear water and dried (3.15. V.

1630-38).

YANÓPABHOGA Under yānopabhôga, king Sômēśvara describes nine types of yānas (vehicles) (1) dôlayāna (2) sukhayāna, (3) hasti, (4) karani, (5) asvatari, (6) hayana, (7) ratha, (8) nowya and (9) plabaka, which should be used by the king (3.16. V. 1639-1640).

Dôlayana:–This vehicle is set with ropes shining with golden chains, arranged with pillows and bed; could accommodate two people and is carried with the help of single rod. . .

Sukhayāna:- This vehicle made of ivory; studded with gold and gems; covered with tiger skin; is carried by means of two rods. It is meant for four persons and is comfortable like bed of swans.

Hastiyana:—This vehicle moves slow and steady but fast; is spacious and comfortable, giving a delicate movement to the body.

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Kariņiyāna:—The female elephant decorated with a seat, having golden pilaster, pearl hangings, chains and golden kalasa on the top; covered with peacock feathers, decorated with beautiful chamir and flower garlands is called kariņiyāna. It moves slowly but fast and steadily without shaking; it can be used for crossing the water also.

Aśvatariyāna:-A horse having a strong active body; steady and fearless mind and light walk; and runs most beautifully; free from defective foot steps and decorated with saddle, reins and flowers is the best yāna for the king (3.16. V. 1641-49).

Hayayāna:—The ride on a horse which moves like peacock, swan, tittri, and chatuska, is called hayayāna.

In this context, the gaits and runs of horses with different styles and speeds are described by king Sômēśvara. While a horse is going on high speed, if the neck is stretched and the tail is spread, it is called mayūrigati; even when moving with great speed if the tail is not moving it is called taitrigati; while the horse is running swinging on the lateral sides, the movement is called hamsagati; when the head only is moving, the movement is called marāļigati; when the horse is running on all four legs equally but delicately, the movement is called catuṣkagati. This is the best and most beautiful and comfortable gati of the yāna.

Ratha:—The vehicle that moves on two wheels, drawn by two or four horses; decorated with figures of elephants and different types of flags is called rathayāna; it is the best suited for the king.

Nauyāna:-The conveyance made of sākawood and covered with bark/cloth; floates over the water is called nauyāna.

Plavaka:—A boat in the round shape, made of cane and leaves of different trees; covered by leather; and used as a pleasure boat is called plavaka.

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The enjoyment of different vehicles on different occasions and needs by the king is called yanộpabhôga (3.16. V. 1651-59).

CHHATRABHOGA In this chapter entitled chhatrabhôga, king Sôměśvara describes different types of royal umbrellas.

Pundarlka: A chhatra of which the basic framework is made of different coloured threads, covered with white cloth, decorated with garland of pearl around the edge and surmounted by a golden kalasa studded with blue stones and pearls; and fitted on a rod covered with golden belts/ribbons is called pundarika chhatra. It is the best suited for a king.

Méghadambara:—When different coloured ribbons are hanged on the basic frame of a chhatra and instead of golden rod different coloured rods are used for holding, it is called meghādambara.

Chámara:—This chhatra is white in colour, looks like a moon; having a kalaśa studded with different gems at the top and a rod made of gold or elephant tusk or that of sandalwood.

Pinchachatra:—This chhatra made of peacock feather looks very beautiful, excellent and is used in hot sun for cool shelter by the king.

Atapatrachhatra:—This umbrella is used for protecting the king from sun and rain.

Thus, the king enjoys cool shade by the use of different types of chhatras. (3.17. V. 1660-1669)

SAYYABHOGA Under Sayyābhôga, King Sômēśvara describes seven kinds of beds and eight kinds of bed-steads. The seven types of beds are

Vimsati - III

hamsapichamayi, śalmalitālika, kārpāsaja, kësaraja, pallavaja, kusumaja and toyaja. The eight kinds of bed-steads (mancha) are: dantaghrimancha lohamancha, chatusapada, varamancha, valamancha, vetramancha, pattikamancha and dólamancha (3.18. V.

1670-76)

The seven types of beds are as follows:

Hamsapichamayi:—A bed having the quilt made of feathers that grown on the stomach and tail of the swan.
Salmalitülika—A bed stuffed with tul and pith or secretion from salmali tree and fruits.
Kārpāsaja:—A bed stuffed well with cotton, stitched in strong cloth; and which is soft and spacious.
Kësaraja:—The bed on which, the stamen of the flowers of kësara, nāgapūsta, surabhi, are spread layer over layers and over which the lotus stamen (kësar) are also spread.
Pallavaja: -The leaves of lotus and lily and over these delicate and tender leaves of banana are spread for the preparation of pallavaja. It gives very cool and soothing effect.
Kusumaja: A bed made of jasmines, champaka and other flowers, emiting sweet smell is called kusumaja.
Tôyaja: A big bag of leather filled with cool water and spread as a bed.

Then, king Sômēśvara states that items 1. and 5. of the above mentioned beds are to be used in spring season by the king in the company of his wife; item no. 2 and 6 are used in hot days and item no. 3 is used in rainy and winter seasons to avoid cold. In the sarata season the king should use the dôlamancha i.e. swinging bed with the filaments of lotuses (3.18. V. 1674-83).

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The eight kinds of bed-steads are as follows:

Dantanghrimañcha:—The couch made of ivory including the four legs and fitted with copper nails.
Lohamañcha:—The cot made of metal, the legs of which are also made of metal.
Chatusapada-A cot made of chamikar with beautiful carvings and eight legs.
Varamaricha or Svaramañcha:—This cot looks beautiful and moves upward and downward soon after entering it; itself expands on account of the instruments arranged under it and also produces beautiful music.
Valamañcha:–The couch which moves upward and downward soon after entering it is also called valamancha.
Vetramañcha:- A cot made of cane frame, with four carved legs.
Pattikamañcha:—The cotton ribbons (patika) of various colours are used for weaving this type of couch.
Dólamaricha:-A cot made of sandalwood or devadar wood, decorated with golden plates; studded with precious stones; hanged between two big elephant tusks with golden chain swinging to and fro, and arranged with tender leaves and flowers is called dólamancha. The king should use it during sarata season while enjoying the company of his queen.

Thus, the king should enjoy the happiness and the comfort of different beds, during different seasons, on different occasions. This is called sayyābhôga (3.18. V. 1684-96)

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DHÜPABHOGA King Sômēśvara describes three types of dhūpabhôga (enjoyment of smoke of sweat unguent or fugimentation) namely chūrņadhūpa, Pindadhūpa and vartidhūpa.

Chūrpadhūpa:—Items like läksh, guggula, lakhundi, kasturi, silhaka, srikhanda, daru, sarala, laghukôsta, saffron, payya, seeds of putaka, sankhanabh, nakhāchūrņa are made into powder, mixed in water and boiled, till the water evaporates. The residue is burnt with lot of camphor. The dhūpa/smoke cbtained thus, is considered as the best (1.19. V. 1696-1700).

Pindadhūpa:–The above mixture is mixed with silhaka alongwith honey, ghee, curd, jaggery and made into a lump (pinda) and burnt; the smoke thus obtained is called pindadhūpa.

Vartidhūpa:-All the items mentioned above are grinded with milk, ghee, and honey, and are burnt through suskavartika, (dried wick); it is called vartidhūpa.

The vessel of gold and silver made in the shape of bird or an animal like cow, deer with many holes all over the body to release out the smoke are to be used for burning the auguments (3.19. V. 1701-1702).

The pindadhūpa is kept in such a incense burner that when the pinda is lit, the smoke comes out through the nostrils or eyes of the animal/bird figure; then it is kept just before the face of the king for the enjoyment of the aroma of the dhūpa.

In another method, smoking through chakra danda is mentioned, for the use of chūmnadhūpa. In this method the fire is placed in the vessel of chakradanda and the chūrmadhūpa is sprinkled again and again; when the smoke comes out of the holes of the vessel, it is

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rotated or waved by hand; so that, due to the breeze of the air the smoke spreads out of the vessel. It is kept or waved before his own face or the faces of the lovers, by the king. Similarly, the vartikadhūpa is placed in the chakradanda and applied to the hair, face, dress and beds. Thus, a amorous and adroit king enjoys dhūpabhôga in the company of his queens and lovers (3.19. V. 1702 1712).

YOSIDBHOGA Under Yos. .bhôga or the enjoyment of women, Sômēśvara first gives the qualifications of women to whom a king should marry. In this context he says that among the women, the beautiful is the best, among the beautiful, one in full youth is the best; among the young, the music knowing is the best; and among the music-knowing, the dancer is the best. But at the same time he says that it is difficult to get a lady possessing all the qualities mentioned. The king describes six types of women: mrgi, vadavā, padmini, chitrini, sankḥni and hastini and states that only mrgl is worthy of enjoyment by a king.

Besides, Sômēśvara gives three types of women depending upon their psychology, four types of women depending upon their physiognomy and eleven types depending upon their behaviour pattern.

Since the king is above all ordinary persons, he should marry always a lady of dēvāmśa; who possesses all the best qualities. In case the king desires, he can marry a beautiful and youthful lady endowed with talent of dancing and singing, even if she belongs to vaisya or sūdra kulas. However, the king can enjoy such women but should not give her the status of the chief queen.

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A women of youth, beauty and romance should be made happy by the king by giving gem studded ornaments, beautiful clothes, aromatic flowers, augments, comfortable vehicles, and by jovial talk, playing games, touching delicately, speaking sweetly and giving tambūla and enjoying her. Besides, the king can also enjoy the company of women while having bath, massaging the feet, applying the body with lepana, and enjoying music, dance, games and picnics. He should make them also happy by giving ornaments and clothes.

Thus, the enjoyment of the best woman as wife and beautiful women in different services by the king is called yosidbhôga (3.20.

V. 1713-1818).

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Vimśati – IV.VINÔDAVIMŚATI

KATHĀVINODA King Sômeśvara states that the king after completing the daily duties of law and administration; enjoying his favourite items of food, in a pleasent mood should enjoy the kathāvinodă by inviting people who are experts in sixtyfour arts, four languages, psychology; who are smart, alert, eloquent, matured, intelligent, youthful, capable; who are worldly wise, know well the truth (judgements); who have descretion of time and place; who are free from attachments (rāgadvēsās); devoted to religion and righteousness; who are like knife to the tree of misery; who are highly detached from worldly affairs and experts in narration of different kathās in all sentiments and ask them to sing the kathās for him (4.19.V. 1406 1411).

On such occasion, the stories from Māhābhārata, Rāmāyana, Purānas and the Brihatkathās, which are full of history and heroic nature, (virarasa) and reflect worldly affairs; as well as dramas and mahākāvyas which are full of beautiful descriptions, hyperboles and auspicious nature should be enjoyed by the king. The Manasõllása defines kathā as a poem sung to the accompaniment of the musical instrument. The kathās are of four types (1) Ekavatraka (ii) Dvivatraka (iii) Chaturmukhā (iv) Bahūpūruşā, depending upon the number of singers engaged in each kathā, whether one, two, four or many (4.19.V. 1412-1418).

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In this connection the characteristic features of different types of singers and kathās are mentioned : The one whose voice is full of life, well versed in all rāgas, is eloquent, capable of reading the passages clearly; possess knowledge of tāla (beat) gita (lyric) and the kathā which he sings in the form of gita full of rasa (sentiment) and bhāva (feeling) is called as the best Ekavatrika. The one who knows the sabhsāśtra, well experienced in the worldly affairs, eloquent, reserved, who can tell the meaning of a sloka well, skillfull in telling the nature of the vedas, who worked hard in literary field and who has control over his breath is called paurānika. The person who knows different scripts, the nature of the lyrics, possesses good and melodious voice, can read a verse according to pada (word) and chandas (meter) with good tune is considered as the best vāchikā. When two people narrate the story of purāna, imaginatively, it is called dvivatrika. A katha sung by sūta in prākrit language tuned to proper rāga and tāla to the accompaniment of instruments of dandaka and pataha and by three female singers at interval in melodious tunes it is called chaturmukhi. When six singers sing or tell a kathā in Karnātaka language in a florid style, to the accompaniment of kinnari and two mridangas; loudly and freely in the form of varma, it is called bahupurūsa kathā (4.19.V. 1419-28).

The above said kathās should be full of eight rasas namely śpingāra, (erotic) hasya (humour), karuna (pathos), raudra (impetious anger), vira (heroic), bhāyānaka (terrific), bibhasta (the odious) and adbhuta (mysterious) and invoke the feelings (sthāyibhāvas) of rati (love), hasa (merriment), sôka (sorrow), raudra (fury), utsäha (enthusiasm), bhaya (terror), jugupsa (disgust), vismaya (astonishment) in the listeners again and again. Besides, the heroic deeds, the sacred acts, sacrifices and noble history of the old king are to be heard by the king through these kathas. At times, the king

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himself sings love songs and poems on his lovers. Thus, the king should enjoy his leisure time listening to and singing different types of kathās. The king’s court is supposed to be full of such singers who can sing various kathās melodiously (4.19.V. 1428-32).

CHAMATKĀRA VINODA Sômēśvara under chamatkāra vinoda describes the entertainments which arise enthusiasm, thrill and wonder and also distort the vision of the viewers, cause delusion and fear to the enemy and increase love among the lovers (4.20.V. 1433-1434 & 1494).

In one method it is stated that the skull of a dead person is filled with mud and the seeds of kufuka are sown; when the seedling arise, the roots are plucked and made into small bundles; these are grinded with pannobapill, made into paste applied as a tilaka on the forehead. The person who wears such a tilaka even if he eats any pungent or bitter item, feels the taste of sweet. In another method, the skull of dog is filled with mud and the seeds with kufuka are sown, when the seedling arise, the slought of the snake is to be kept over the seedlings. Then the seedlings are plucked along with the roots and blended with lac and cotton; made into a wick and burnt; the person who looks at that light, feels the appearance of snakes on all the sides. But if the same person applies honey to the eyes and looks at that lamp then the snakes will not be seen. Thus the indārjāla will disappear. In another method the stick of nityāvatra wood is applied with oil of ankôla and kept in oil for one month and again kept in kanjaral, if after that the stick is lit as a lamp, it looks like a snake (4.20.7. 1435-1440).

In another method, small seeds of berry are powdered, mixed and made into small pills with scorpion and oil of sidhva; if one

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applies the paste to the hands (palm) and holds the leaf of haritika, it looks like betel nut; any leaf looks like betel leaves; red grams on such a palm looks like Haramandha; haramandha looks like black gram, green gram looks like black gram; gram looks like red gram; by the use of this, one can hold flames directly; and can walk on water (4.20. V. 1447-49).

Further, it is stated that by applying the serum of a frog to hands one can hold the fire because heat cannot burn the hand. In another method tambula patra, marichi mixed with arnala and amalgamated with oil; if this paste is applied to the hair, and fire kept on the head, hair will not be burnt. The roots of harimanya mixed with alkali and burnt; if the ashes are smeared on the body and enter the water, the water will not affect the body. Similarly if fadurgandha fish’s meat is mixed in oil and butter and applied on the body one can stay in water for a long time or move on the ice mountains. Cotton grown from earth is kept as wick in laksha rasa for some time and burnt with the ghee of kapila cow, the person on whom this light falls, looks like the king. If the bitter jambira juice is mixed with vajralepa or the powder of jamiphala and is applied on the sandal, by wearing it one can walk on water (4.20.V. 1457-1460).

Many ways and means to hit any type of target are also given by king Sôměśvara in this context.

Such a magic show (indrajāla) should be arranged in the open courtyards of the palace and attended by the king and guests, queens, lovers, daughters and sons and amātyas, mandalādhisās sachivas, mantries, foreigners and other types of people. Since the show gives the entertainment and reaction, looks beautiful and encaptures the senses (indriyās), it is called indrājāla or chamatkāra (4.20.V. 1489 1494).

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Vimśati – V

TUIUI VULCHIV-.4

KRIDĀVIMŚATI

BHODHARAKRIDA According to Mänasõllása, the king should spend his leisure time in different games and pastimes; and in the company of beauti ful women.

Sômēśvara states that the bhūdharaktida is to be played within the prăsada and for this purpose on one side of the palace a beautiful and tasteful garden having varieties of trees is to be developed in its centre and a kridāparvata (pleasure mountain) with high peaks, wide boulders and rock seats is to be erected.

It is stated that a king should have an upavana, full of trees which bear fruits and flowers in all seasons, besides the trees with leaves in different shapes and forms; seasonal plants as well as cross breed/experimental varieties. All the trees should be taken care of and brought up just like children. The trees selected should be of short form having wide spread branches or of bushy type.

Sômēśvara gives the process for preservation of various types of seeds too. The seeds are to be sown in a soil which is even, fertile, soft, moist, devoid of ant-hills, pebbles and snow; and such a soil which is suitable for the cultivation of til, ginger, gram, black gram and other flowering plants.

As per the discretion and the taste of the gardner, the plants should be planted at a distance from one another and pruned into different sizes and shapes. Each tree of the upavana is to be grown at

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a distance of four. cight, twelve and sixteen hastas. In order to increase the hand nd growth of the tree, the earth is removed to a depth of four hastas and the ditch is filled with good earth, mixture of sand, manure, bone meal, meat, fat of goat and excretion of pig; and adequate water. Then, the seeds are to be sown or the sapplings brought from other place are to be planted. The plants could be grown by grafting, by means of succor and roots also. The king should take care to plant in the upvana, the trees like aśoka, nimba, punnāga, vakula, nāgakéśara, sirlsa, tilaka and others, since these plants promote good health, fame, victory, wealth and luck for the king. The trees like palāśa, kachanara and karanja should not be grown as they ruin the comfort and happiness (5.1. V. 1-20). More details on arbori (horti) culture are given as follows:

In hemant and and siśir seasons, the plants should be watered on alternative days, while in vasant and grism seasons, plants should be watered every day in the morning. In vars and sarat seasons plants should be watered as and when the soil becomes dry and the trees wither. A tree should be watered with one vessel when it is one year, the number of vessels should accordingly increase till it becomes twenty years old. In case the plant grown in a pot does not receive the water properly, the earth around plant should be dug through till the water reaches the roots; the water should be poured till it absorbs. The non-absorption of water by the plant in the pot is called as indigestion of the tree. Further, the plants are to be protected from dew (nihara), scorching heat of the sun and smoke by using nets or meshs or any suitable covering (5.1. V. 21-25 and34).

For the good growth of trees, the weeds like shrubs, creepers, grass and sami which grown around the trees (trunk) should be removed totally. The trees affected by lightning or thunder should be

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treated with sugar, boiled rice, curds and salt, that the trees become so normal. The soil of the garden which is spoiled or burnt due to hail storm in the rainy season or excess cold/water should be treated with the above items so that the soil again becomes suitable for the growth of the plants. The niśāvidanga, arjuna flower and the meat of róhit are to be burnt to fumigate the trees to get double quantity of fruits and flowers; and also to prevent from the infection as well as to kill the worms. A mixture of the powders of the horn of bhalátaka and buffallo in equal ratio; vidanga, sundhura, vāc, hingu and deśamarichi, should be sprinkled at the root of the trees and burnt in the garden to protect trees from all types of infections caused by worms and moth (5. IV. 26-32).

Sômeśvara gives directions for the preparation of specific types of manure for each type of tree of the upavana which help the trees to produce big, and tasty fruits and beautiful and fragrant flowers in all seasons.

If a mixture of saphèri fish, ghee, curd, white musturd and plantain leaves is burnt, a tree which produces fruits in specific season only, will be full of fruits in all seasons. In order to get sweet and juicy fruits, the tree should be watered with the decoction of ankóla, mixed with ghee and honey; as well as the fat of parrots and deer mixed in water. Besides, the fat of parrots and hiranya are to sprinkled on all types of trees in order to make them look beautiful and to bear fruits in all seasons.

The milky trees of the garden (nandana) will be full of leaves, flowers and fruits if fed with mixture of vidanga, honey, ghee and milk, and fumigated with nata and kusta. If the goat’s ghee is poured to the fruit bearing trees, these bear fruit always, while the trees having leves in the shape of scorpion will produce healthy leaves if

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poured with cow’s ghee. The fat of parrots and rats is to be manured to the creeper for bearing fruits always; and the meat of horse is to be placed at the roots of the grape creeper, for bearing plenty of tasty fruits. Fat of sāranga, cat, elephant and khrodhabhasaka (wild pig) mixed with milk is a good manure for dādima to get juicy and sweet fruits, while the flesh mixed with cow and jaggery is good in the case of orange plants. Honey, meat of kródha, ankôla mixed in water should be poured to the mango tree by using the lotus leaves as a bound (around the trunk) to get a good crop. Various sweet items like honey, ghee, milk and jaggery are mixed and watered to panasa (jack fruit) to bear fruits having skin with sharp thorns. The kapitha and ridhara trees produce many fruits if the above manure is added (5.1. V. 33-47). In case of banana plant which does not bear fruits, if a mixture of vidanga, black gram, surabhi and jāti mixed in madira and salt is applied during bright fortnight of a month, at the origin of fruits, it could give good fruits. When the first buds sprout, the stem of amla should be pinned or scrached with thorn of kumāraka and pasted (filled) with the mixture of honey, til powder and ghee to get tasty and big fruits in plenty. This tree is manured with excreta of horse and pig also to get more sweet fruits. When the plantain tree is about to bear fruits, the trunk or stump is scratched or a spilt is caused and the space is filled with excreta of pig or horse, and fumigated; then the tree will bear more fruits. Besides, if a split is caused with a golden pin and powder of elephant tusk is injected at the root of the tree, long and stout banana fruits which look like elephant tusks could be obtained.

If a mixture of equal parts of powders of til and madhuyești combining with milk, honey and water is applied to the badari tree (berry) at the places where the buds spring, instantly it gives plenty of sweet fruits, emitting pleasant smell (5.1.V. 47-53).

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The bijapūra tree is to be poured with wine and the water of rat meat; while the rājajāmbūra is to be poured with the decomposition of siramusthaka. The mango called sahakära variety gets more fragrance when water boiled with the fat of horse, elephant, deer and jackal, and milk mixed with pasichapallavas are poured. The murayukta mixed with above materials act as good manure for all types of flower giving trees, also to produce more flowers with fragrance (15.2. V. 58-61).

Besides the manures noted above, Sômeśavara gives stumulants for different trees to be administered by women of the different types. For example, the aśôka tree flowers when a lady touches it with feet bedecked with nūpura (Pädatātādana); tilaka blooms when a women casts pricking look at it (netratādana). In case of laka a touch by breast of a woman promotes flower growth; and for punnāga and nāgachampaka a touch by the ear of a woman excites the growth of flowers (5.1. V. 62-65).

Sôměsvara further states that the secretion of the honey in the flower indicates the excitement or a desire that pulsates the tree to unite with the rajas and this excitement extends to the next tree also and spur on it, to flower (Puspawati); In such an event, karavira kurandka and mādhavi always give flower (5.1. V. 66-68). If the meat is burnt near a mallika shurb, it flowers in abundance; so also groups of bees could awake it to bloom. If the japākusuma tree is fed with milk, it produces white flowers; while the karmikara, bloom golden, yellow flowers; the aśoka and japa trees produce white flowers like rays of the moon. It is further stated that the trees which produce flowers without any smell (gandhahina), will produce fragrant flowers if poured with scented water on saturday and tuesday or on alternate days for a period of one month (5.1.V. 69

73).

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Sômēśvara suggests to collect lumps of mud on the root of the tree in order to protect it. The gandhapatra, suramuştha, tagara and uşira powder are to be mixed in water and poured to the trees in order to get fragrance emitting flowers (5.1 V. 74-75).

The process of grafting is alo mentioned by Sômēśvara as a method to get new varieties of plants. Madhu and ghee are applied to the sprouts of two varieties of seeds; and at a tender age, these two seedlings are tied together with thread. After some time, a single tree grows from the above roots (of two different seedling) and give bunches of flowers (manjari). If madhu is applied to a creeper, it blooms red flowers and if ghrita is applied it givesforth white flowers. Sôměśvara refers to some botanical miracles in case of acquatic plants also. Madhu and ghrita should be applied to the creeper or the long stalk of lotus and lily and the kalaya powder is to be mixed to the mud where the flowers grow or applied on to the stalks; to get beautiful flowers in plenty. The meat of water-pig also can be mixed in the tank where the lotus and lilies grow to get beautiful flowers in abundance (5.1. V. 5-79).

King Sômēśvara states that the champaka tree blooms flowers with more aroma and stamens if milk is poured. If the powder of yasti kulatta pulse and wine are mixed in water and poured at the root of tree and smoked for one week, it produces red as well as pink flowers. Somēśvara gives some more botanical miracles. It is stated that if in a dry soil, (karakāmgittika) seeds are sown, the seedlings sprout instantly. If the blood of a cock is poured for 21 days continuously to dādima tree, immediately it will produce fruits. So also any type of seeds kept in milk mixed with serum and flesh and of fish, fat of krôdha for a long time are sown, instantly seedling grows, flowers and bears fruits. In case a tree is manured with a

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mixture of milk, ghee, burnt eggs of grihatittili bird, liquid fat of fish and krôdha, it will produce flowers and fruits at once. If a mixture of meat of human being, fat and blood is stirred with elephant tusk and poured into banana tree, it will produce the best fruits. A mixture of flesh and serum of boar boiled in ankola oil, if poured to banana tree, it bears the fruits of dādima (pomegranate).

Sômēśvara, next gives other methods of developing hybrid fruits. The yastimadhuka flowers and śwētakuşta mixed with honey should be applied to the roots of two types of trees which are tied together, then the roots of one tree should be removed. As a result, a hybrid variety of tree will develop and produce seedless fruits. In order to produce the grapes like fruits from a mango tree (Sahakara), a mixture of milk of goat with polyaka and meat of dog boiled in ankola is to be poured at the root of the sahakara tree. Then, its branches will grow in a twisting manner like creeper and give fruits like drāksh. If, any branch of a tree is wounded seven times and tied closely at the joints and covered with thread of the leather of deer or elephant, it will produce the fruits which always remain green without ripening. A mixture of honey and ghee is kept in a tender Kūşmanda (ashgurd) and the seeds of brinjal are placed in it; if the same are sown, the creeper or kūşmānda will produce brinjals. All the creepers produce tasty fruits if the mixture of the powders of yava, māşa, tila, vsihi and flesh of a fish, in water is poured (5.1. V. 80-99). A king, should develop the upavana of the kridāparvata following the above given method.

After giving different types of information about the growth, manuring the production of natural and hybrid varieties of flowers and fruits, king Sômēśvara narrates about the creation of the garden with artificial trees, creepers, flowers, fruits; and lakes with lotuses and swans.

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T. DIT IT-T— TTTTTTTTT

The artificial trees are made with green coloured cloth, having the branches made of coral for providing wide spread cool shades; and golden fruits are hanged from these trees. The artificial ponds are filled with scented water and golden mud; its banks is made with pearl like sand. The artificial caves are also created on the kridaparvata. Lotus flowers and swans which make sweet sound are also arranged in water of the tank which look like blue sapphire. So also, the artificial wells are filled with water of kumkuma. The artificial trees are set with coral fruits, golden flowers and the branches resembling that of kalpavriksa. The lakes are beautified with the banks made of gems of chandrakanta and a flow of kumkuma water to win the heart of the king (5.1. V. 100-104).

When such a beautiful kridāparvata is ready, the king adorns himself and goes to that place seated on the best elephant decorated with gold bells, chains and chámaras, in the company of lovers. The poets and vitās also reach the place gracefully in their respective best vehicles.

Surrounded by his lovers, the king resembles Indra in the company of apsaras; and looks like Ramchandra climbing the Puspakavimāna. There, the king plays with the ladies who have lotus like eyes, swan like gait; who could sing melodious songs like the cuckoo and dance like peacock. Sometimes he sits on the benches made of crystal, at a times relaxes under the shade of the trees, yet at other times moves on the banks of the river or on the side of the lake and plays with the ladies. In the company of lovers and associates, the king eats a variety of kanda, müla, and phalas; afterwards, distributes, gold, clothes and other gifts to the associates and sends them back. Thus the king plays the bhūdharakrida. At the seting of the sun, the king concludes the game and descends from the top of

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the kridaparvata and goes to his palace on the elephant alongwith his lovers (5.1. V. 118-120).

VANAKRIDA After the completion of the sisir, in the begining of vasanta when the breeze with the aroma of flowers of nāgakeśara, punnāga, chūta and champaka; blows from southern direction; when the women are happy and eager for love and when cuckoos sing melodiously, the king should go to the vēņuvana to play vanakrida

(5.2.127-128).

In the garden where the king plays the vanakridā, the trees should be with sprouting leaves, flowers and fruits. The sahakära, champaka, keśara are at budding stage; sriparna and jāmbira smell sweetly, other flowering plants like patala, madhavi creeper, surabhi, karņikāra, raktapătala, aśoka, mallika, sarala, sighrika, tilaka, hintala, nagara, karavira on full bloom;. The fruits like dādima, panasa (with hair rising), the plantain, beautiful and colour oranges and coconuts are visible on the respective trees; the clove creepers, kharjura, tala, kaidra, spinga, kētaki, śārika and fragrant leaves like damanam and maruvam are on full growth. Here and there lotus ponds with yellow, blue and green coloured water and sands banks; so also the stepped wells, and mandapas covered with wine creepers for shade and the sky touching milky trees are developed. Thus, the beautiful garden with full of trees bearing fruits and flowers; creepers; tanks with sweets smelling lilies and with cool water and air, looks like nandanavana. The king goes to such vana for vanakrida along with his lovers (5.2. V. 129-145).

The women having eyes like blue lotuses, teeth like the seeds of dadima, delicate body like sirişa flowers, nose like that of ketaki

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flowers or beak of parrots, singing like cuckoo and wailing like swan in happy moods surround the king on his way to vanakrida. The musicians instrumentalists, vitas, chetas, vidūşsakas follow him on horse or female elephants. In the company of all these people the king looks like Indra (5.2 V. 146-152).

The king who enters the garden with his wives and lovers moves around, showing each plant and creeper to them. Then, he sits at a most beautiful spot in a mandapa which is surrounded by beautiful trees and creepers. Thus, moving among the ladies for sometime, the king hides himself in some secret place or behind a tree; or runs here and there concealing himself from the sight of all his women. The king thus enjoys the vanakrida playing hide and seek for some time and plucking the tender leaves, flowers and fruits for some time; then alongwith his women goes to lake and washes hands and feet with cool water, the women make the king comfort able by fanning with the leaves of plantain.

When the king recovers himself from tiresomeness, enters the plantain groove along with women and other associates to relish the juices of fruits, roots; and sweet, cool and best coconut water. Then, everybody sits in their respective places and the king gives to all women the betel leaves added with camphor, cloves, chandana and spices as per their grade and himself enjoys same betel. Then he applies sandal paste mixed with camphor on the body and rests for a while.

The king again in the company of women, moves here and there in the garden which is full of flowers, plucks flowers; makes garlands and keeps women happy by decorating their hair with these garlands (sēkhara). The king enjoys the vanakrida at times by taking bath, resting and enjoying the company of women in the vana. The

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vanakrida is most liked by a king who possesses a romantic nature. After enjoying the vanakrida thus, the king returns to his palace (5.2.

V. 159-156).

ANDOLANAKRIDA King Sôměśvara describes the ândolanakrida as to be enjoyed by the king in the company of women in the spring, king of the seasons (5.3. V. 167-8). Generally, the swing is installed either in open area or on the top floor of the palace by erecting two or four heavy pillars which are covered with colourful ribbons and decorated with wonderful dolls (vichitrakaputika); the pillars are made strong by binding with three ropes, and decorated with parrot green feather, creepers, toys of peacock, swans, tigers and lions in different forms. The wooden plank decorated with gold plates is suspended with golden chains. The movable part of the swing is fixed and fitted well with three screws and rings, and decorated with figures of strong elephants. The swing should be square in shape and beautiful to look at (5.3. V. 169-178).

When the swing is arranged on the night of full moon day, after the rise of the moon on the sky, the king decorates himself with gem studded ornaments and reaches the spot along with women, like Indra among the apsarasas. Amidst the sound of the tūryas, vandana of vandigana and blessings of the gitakas, vadyakas, vinodakas, and brahmins, the king sits on the swing along with his lovers. When the king begins to move the swing, all people surrounding him sing the songs of his glory with folded hands and rise slogans in his praise He then distributes gifts of clothes, ornaments to all, satisfies and sends them off (5.3. V. 179-183).

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Then the king enjoys the andolanakrida in the moonlight which is like camphor. He sits in the middle of the plank of the swing accompained by women on both sides, spreading his hand around their necks or shoulders. While tossing the swing to and fro; the king uses force by his thighs to put it high into the sky; and the women sing romantic songs melodiously in his praise. Thus the king enjoys the andôlanakrida (5.3. V. 184-194).

SECHANAKRIDA

King Sômeśvara directs the kings to enjoy the séchanakrida at the time of vasantôstava, vivāha, victory or on any such occasions.

After having the lunch, when the second prahara of the day is over, the king invites through the pratíhári, his sons, mandaladhiśas, samantas, purðhitas, amātyas, mantri, sachiva, yödhas; gāyakas, vaitālikas; kavi, väggeyakāras; experts in gitas, nritya, and vădya; gaņas, bhatas sūtas, māgadhas, vinodakas; the devoted rich and other invitees who are satisfied, happy and pleasant. All the invitees wear white clothes, flowers, garlands and chandantilaka (5.4. V. 195-203).

Then, beautiful women who are youthful, attractive; wear white dress, jasmine flowers, tilaka and ornaments like håra, chudaka, tapáka, hasatilaka, brahmasūtra, nūpura and other ornaments; walk like swan; have the eyes like that of a deer and look like

sringārarasādhidēvatas’, ‘rågādhidevata’ and Ratidevi enter the place. The king sits in a mandapa and these women pour the water mixed with srikhanda, kalka, karpur, kastūri and surabhi and scented with agaru, malli, madhavi, kamalam, pātala, karvira and ketaki in a continuious thin flow from golden vessels or buckets and splash with golden winning fans (5.4. V. 203-217).

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Afterwards, the king sprinkles or sprays the water mixed with kastūri, haridra, srikhanda, kēśar on the servants through a mechanical means and in a pleasant mood keeps the flowers on their heads. Thus the king moving around the servants and beautiful women who wear good clothes, mallika, aśôka, agaru, and karpura, shines like moon among the stars and like the Kalpavsiksa (5.4. V. 218-226).

Afterwards the women throw at the king a thin spray of water which looks like the arrows of the flowers through the branches of kantaka tree. Like Manmadha the king beats the women with spray of scents by squeezing the balls made of silk ribbons. Thus, playing for some time, before the sun sets in the west, the king removes his wet clothes, puts on new and good garments and sits on his gemstudded simhāsana; distributes clothes, jewels, gems to all male and female servants separately and disperses all the invitees (5.4. V. 227-233).

Thus, a king who always conquers the enemies enjoys the sechanakrida.

TOYAKRIDA

When the sun is very hot in the middle of the sky, causing scorching heat, and hot wind blows, the king who desires coolness and to protect the body from terrific heat, plays the salilakrida (watersport) in a river or puskarini, or in an pleasant and heart capturing artificial pond (kridāvāpi) having series of steps, and artificial trees; or in a kalasa or ghafa or in a vessel made of metal, earth or leather filled with clear and cool water (5.5. V. 234-239).

The artificial pond is provided with a way to provide/pump/ pour/clear and good water and an outlet to drain the used water. It is

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maintained without fish or thorns, decorated with flowers and the figures of chakravāka birds. In such clear waters of kridāvāpi the king plays the jalakrida alongwith the invited women (5.5.V. 240 243).

The women at that time wear white dress and golden ornaments; apply the paste of safforn on the body; and flowers on the hands and heads (5.5. V. 244-246).

By the time the king reaches the place, the area is spread with camphor and flowers. The king enters the kridāvāpi containing cool waters of camphor, in the company of many beautiful women. At that time one woman is pulled by the king, another one is held by shoulders, yet another one by hand; he looks at one woman affectionately or talks sweetly to another, making all women happy. He sprays/splashes water on women standing upto the neck in the water (5.5. V. 248-251). During the play, the king throws repeatedly pure gold niskas, ratnas into the water for the women who dive deep into the water again and again and attempt to catch hold of the coins and gems. The king enjoys the enthusiasm and the effort of the women to get the gold and the ratnas as well as the tiredsomeness felt by them during the course. The king then splashes more water on those ladies (5.5. V. 252-257).

The king thus looks like Indra playing with apsaras; Krishna with gôpikas, and the moon with the stars. The women stand in water upto neck and look like beautiful lotuses; The king standing in the middle beats the ladies with pearl like water spray like Kāmadēva who throws arrows of flower. He secretly enjoys the women under water by his romantic actions (5.5. V. 258-274).

Thus, spending sometime in water in different ways, the king comes out of the puskariņi, removes the wet clothes and puts on best

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clothes; applies safforn and sandal pastes on body, wears big pearl strings around the neck alongwith garland of champaka and mallika; and sits on high bed alongwith lovers; He gives them plenty of gifts and dally happily (5.5. V. 275-279).

SADVALAKRIDA Sômēśvara describes śādvalakrida as a pastime spent by the king along with his lovers and women in the beautiful farms/field/ pasture grounds.

The king reaches the pasture grounds (śādvalakridāsthala) the venue, where, the black clouds which look like elephants (Anjanadri) making sounds, provoke the erotic feeling; where the peacocks make sounds which resemble the arrows of manmadha; where varieties of trees and flowers are grown; groups of swans are eager to meet the mates; and the air is full of fragrance of kētaki flowers which are like the kusumāśtras. The place thus, arouses and promotes the romantic feeling; and resembles the chariot of kāmadēva. In such a place on the day when the western breeze blows pleasantly, the king enjoys the sādvalakrida (5.6. V. 280-288).

By the time the king arrives at the place, carpets are spread, tents are arranged with the cloth of kusambha colour; and white carpets are specifically spread here and there on the grass field for the viņa players. Early in the morning, after completing the daily routine, the king along with his women who shine with jewels, mounts on the elephants which are decorated with golden- bells, flowers and tilaka (sindur). While other women ride on horses adorned with gold omaments which walk delicately making sweet sounds of bells. These are followed on either side by singers, dancers

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and several other beautiful women. Thus, the whole party moves slowly one after another towards the sādavalasthala.

The king first steps down and enters the ground; then his lovers and the rest of the party step down. The singers and the instrumentalists sit on their respective seats while the lovers, beautiful vēśyas and other women sit in a different place. Thus, when all are settled according to their rank and place in the sādavalasthala variety of tasty items of food are served. Then tāmbūla, anulēpanas and flowers are offered besides clothes, and gem studded ornaments, according to the desire of the king and as per the eligibility of each. Thus, the king satisfies all his lovers (5.6. V. 289-300).

Then, the king himself enjoys the tasty food along with friends, sons, servants and rests in the sadvalasthla on a high seat for a while; decorates himself attractively by applying sandal paste mixed with camphor, putting on the best dress in yeilow colour, adorning the neck with lepana and pearl chains; forehead with tilaka of srikhanda; eyes with kasturi; and the head with gemstudded śēkhara which is made in the shape of kētaki flower. Then the king calls all his lovers who are also beautifully dressed in clothes of sindura colour (dyed in lāksharasa), adorned with various ornaments like mukula, pancha sara of big pearls, chūdaka, kataka, simanta of pearls, tatāka and hāras; and with kumkumalēpana on the body. The women thus dressed in red clothes look like the goddesses of love. (Rāgādhidēvatas) (5.6. V. 301-309).

When once again all gather, the group of musician who are seated at a distance begin to sing songs in praise of the king and trivalitürya is blown harmoniously in different notes. The experts in dance begins to perform the hallisaka in a circle to the tune of

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pranayavallari, the love song. After the completion of the dance and song, the king offers clothes, gold, ornaments, and varieties of tāmbūla to the artists, lovers and other women and disperses them (5.6. V. 311-313).

Then, the king sits on an elephant which is adorned with golden chains, kusurnbachchatra, virakaksha; applied with the mixture of sindūr and oil on the body; decorated with the mixture of turmeric and rice flour on the forehead and front portion; and hoing the body shining due to the application of the oil, and leaves the sādavalakridabhūmi for his own palace (5.6. V. 314-319).

VALUKAKRIDA According to king Sômeśvara, the välukāksida is to be played or enjoyed after the rainy season; in the beginning of the sarat season, when the dark clouds are cleared, the sky shines with white clouds; the lakes are full of pearl like water, lotuses, chakravaka birds and swans; filled with mud of the pollen of salini flowers; when the tender, cool, and scented eastern winds blow; and the turbid water of rainy season are settled and clear. The välukākrida is played on the banks of a river or a tank; on which thick flowery shurbs and creepers like bāhutilaka bloom; cool shade of trees is rich; beautiful sand shines like gold dust; and water is cool, sweet, comfortable to touch; and removes exhaustion, thirst, sweat and tiredsomeness (5.7. V. 320-326).

The king reaches the place of valukākrida along with his women who wear white clothes, gold and gem studded jewellery on elephants which are decorated with beautiful gold spread and are in a pleasent mood. After reaching the place, all women divide into different groups, four in each and sit in the form of a circle or square.

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Then, the king goes near to each women specifically and makes them happy, by collecting with them sweet scented lotuses, lilies and other flowers, for beauty and fragrance.

First of all the king goes to the water, touches and shakes delicately with his both hands made into anjali, till the water is clear. Then, on the banks the king collects heaps of sand, turns it into the shape of temple like structure with steps and channels with water on four sides. The temple and tank made thus are touched by the king with his lips (5.7. V. 327-336).

The King then takes in his hand a lump of sand and throws on the women; the women also throw sand balls on the king. Thus, the women and king throw at each other big balls of sand and the one whose ball of sand breaks is supposed as defeated in the game; he/ she should carry over his/her shoulder the person who defeated him/ her. At times, the defeated person runs and the winner chases him/ her, catches; throws down on the sand; and pours water on the face. So the king, and women chase each other and the king acts romantically at that time. Thus playing for some time the vālukākrida, the king concludes the game by presenting a variety of clothes and gem ornaments to all (5.7. V. 337-41).

Then, the king decorates himself, applies aromatic ungnents on the body; sits on a well trained elephant, and commands it to do various feats on the sand by making various sounds and signs and causes mirth to the women. After enjoying some time thus, on the sand banks, the king returns to his palace alongwith his women riding on best horses/female elephants (5.7. V. 342-345).

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LIL

JYOTSNAKRIDA The joyful and beautiful jyotsnākrida is played and enjoyed by the king in the month of aśvayuja or kārttika; in the vasant and grishma seasons when the moonlight is very bright, white like crystal or milk, cool like sandal and camphor, and causes happiness to chakôras and kumudas. Soon after the fall of the night and rise of the moon, in the spacious ground of the palace which is devoid of pebbles and pits; which is smoothly smeared with cowdung and arranged with heaps of flowers; amongst the ladies the king plays the jyotsnäkida, which arises erotic feelings (5.8. V. 346-352). At that time, the king wears soft, white tight fitting upto the knees with veerakachcha so as to make free movements; fastens the lower abdomine as per convenience with multi-coloured cloth; and yellow belt; applies sandal paste over the body and kasturi tilaka on the forehead; decorates himself with ornaments like kataka, tātanka, patra, brahmasútra, mastakataka; manibandha alongwith garlands of mālati, mallika flowers. The dress and ornaments of the king should not be gaudy and bright or should not obstruct the free movements of the king. The other participants and women also dress and decorate with beautiful ornaments (5.8. V. 352-359).

The patients, diseased, children, aged and stout persons should not be permitted to participate in the game. The people of equal age, intelligent, well versed in wit should only take part. The king may play the game himself or observe or act as an umpire; the ladies mostly enjoy the game but do not take part. The participants are divided into two group each having 5, 7, 8, 9 or 10 persons and stand facing each other. In case the king is playing, the leader of the ‘opposite groups should be his friend (5.8. V. 359-361).

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The game is played in three different methods. In the first method, a line is drawn between the two groups and at a distance of 5 dhanus, two victory poles are erected on both sides for touching as the symbol of victory/goal. Each is protected by the participants of that side. The game begins when the participants of one group run to the opposite direction to catch/touch the pole of that group. The runner who touches first the victory pole and the group in which more people run and touch the pole is the winner of the game. This game is called harisasi as Lord Krishna played this game alongwith gopakas (5.8. V. 363-367).

In the second method five or six kôstakas each measuring four hastas are drawn on an even ground. Near to these, a straight line called wārtika is drawn. The player should enter the kôstakas of one side and return from other side jumping each kôstakas and come out from the middle one without touching any line with feet; if one can do so three times, he is declared as the winner of the game. The winner should sit on the back side of the defeated. Lord Gobinda is described as to having played this game (5.8. V. 366-375).

In the third method of jyôtsnäkrida mainly the ladies take part. Some ladies form a circle like a false fort wall, while some stand inside, encircling the king; yet some stand outside the false wall. While the middle circle moves around, the ladies standing outside the circle take a stick made of stemens and flower stalks having the hanging ball of flowers at its tip and touch or beat the king and make him happy. The king thus enjoys the blows given by women with the flower in the moon light. This game is stated as played by Lord Krishna with gôpikas (5.8. V. 376-379).

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SASYAKRIDA Sômēśvara in his Mānaðllāsa describes a pastime called sasyakrida. As the name suggests, this is a krida enjoyed by the king in beautiful green fields, full of crop/harvest, in hērhanta season; when, the elephants play and swans move freely in lotus ponds; cranes and sāranga birds flutter; the lotuses dry, the feathers of peacocks drop and the deers are troubled; the moonlight is white and clear like camphor and kunda flowers; the air is fragrant with the smell of gandhaśāli rice; men shiver due to cold winds and go near fire to warm themselves and the lovers enjoy long nights. The field of paddy/farms where the king plays the krida are maintained with fresh grass, and tender seedlings which look like parrot feather as the king walks there and; a variety of fruit bearing and flowering trees are arranged tastefully; without any sticky mud and bad odour. Thus the whole environment look green even without the arrival of spring season. The area is well protected by faithful servants of the king (5.9. V. 380-395).

Before the king arrives the sasyakridaksētra farm, the cooks who reached the place early, prepare and keep ready various items of food like dadyodana (curdrise) mixed with ginger, ilachi, marichi; āmla; wheat gruel, pôlika, puri, pupala (sweet puri), pāyasam made of sugar, honey, vegetables, wine, buttermilk, curd, rahizom, roots, fruits, salt, rajika and the eatable made of the meat of sheep and pig (5.9. V. 396-398).

The king arrives at the place of entertainment in a pleasant mood accompanied by brāhmins, queens, lovers, friends, dancers and bodyguards. He is welcomed by erecting a gateway made of freshly plucked green plants amidst sweet sounds of the instruments and melodious songs. The King enters the gateway all alone; then

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the brāhmins, queens, lovers, dancers, singers and others follow with eagerness, obedience and happiness. When everybody settles, the king offers tasty food prepared from kalaya, simbika, wheat spike, nispāva grains; karkātika fruits and other items to the brāhmins, lovers and servants separately; then takes his food in happy disposition alongwith sons and relatives. At the end, the king throws/ offers food on all sides for the deity presiding over the field (5.9. V. 399-407)

Besides, the tender top parts of the gram plants which are red in colour and sour in taste are plucked and mixed with hingu, plain salt, jeera, pepper powder and blended by adding a little oil and powder of spingavēra. The same is packed in various beautiful packets made of leaves of yavanāla and heated in the fire made of dry stems, leaves and cowdung cakes collected then and there itself. When the mixture inside the leave packets is cooked well, is served to all. Afterwards, the gram plants which are full of fruits are fried on the flames; and the fried gram fruits cleaned from the ashes is offered to the king who eats the same for excitement and taste alongwith others. The gram cooked in salt water is also distributed to all. The corn is fried on a fire; the dust is removed with hands by winnowing gently; these tender seeds full of milky juice, which look like parrot feathers are also enjoyed by the king in the company of sons, grandsons and others. There after, madirā is given to the king as anupāna. The other items like butter milk with salt; the dadhyöda nam; mixture of tender fruits of khalaka, kākadi, brihati, karpas, vārtika, vēlam, the tender leaves of thikshnaka, kushumbha; red carrots, kanda, mūla, phalas as well as the pieces of kośataki fruits mixed with the powder of mustard and salt and the fried meat of pig

and sheep are savoured by the king, freely (5.9. V. 409-421).

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After the completion of food, the king rests in the farm (green fields) for some time; adorns himself and leaves for his palace in the company of queens and lovers on the best horse which is decorated with golden ornaments and silk cushion (5.9. V. 422-425).

MADIRAPĀNAKRIDA King Sômēśvara describes the madirāpānakrida as the enjoyment of the company of women who are engaged in drinking of madirā, on grass land, banks of river, sandy place, in the garden full of flowers and fruits, or in the palace; by the king for relaxation and satisfying his sensual feelings (5.10.V. 426-428).

In this context the method of brewing different types of madirās, āsavas and surās are described. The jaggery is mixed with the juice of canesugar and kept for a longtime till the reaction takes place. When this compound becomes black, the dhataki flowers are soaked in it alongwith sugar and honey, again the mixture is kept for a long time till it changes its nature and emits smell; then some chemicals and herbs are added to it to give the salty and pungent taste and excitement. Then again the whole liquid is kept in a golden vessel for some time. This is called mādhvyāsava (5. 10. V. 429-431).

The priyānga mixed with powders of dried pieces of neembu, powder of yavanāla and yavagô is kept in a big vessel; the powders of dry cooked rice and yavagô are also added and the vessel is kept in a air-tight place for 24 hours; till the fermentation smell spreads. This is called lavam. Since it is very intoxicating, again water is poured in it, covered with cloth kept till it decomposes. The upper clear essence is strained through the cloth and enjoyed (5-10. V. 432-435).

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The bark of krôhiņi and ghôta are boiled by adding water little by little and kept in hot place then the powders of māşa (black gram) and yavanāla are added to it and heated on low fire for three or four nights till the liquid becomes black; then the surabljas and water is added, closed for sometime, churned and kept till smell of fermentation is emited. This is called krishnasura as it is black in colour. It is tikta, and full of taste (5.10. V. 437-442).

In the same way, by using the powders of rice, wheat, yava, śyāmaka, krôdhrava, pôusta, the respective suras can be made. These are called pāndurās (5.10. V. 436-437).

The drākshāsava is made from the juice of drāksha; it is liked very much by the ladies; the nārikēlasava is made by keeping the coconut water in a pot mixed with dhataki flower for a long time. Similarly the madhūkāsava is made by boiling the flowers of madhūka alongwith dhataki flowers; the panasāsava is made by boiling jack fruit with dhataki flower after fermentation; and the sindhyāsava is made from the juice of mango (5.10. V. 443-445).

The tālāsava is collected from the palm trees by tearing the top portions of the tree and arranging a pot there to collect the juice which oozes out from the pith of the tree. In case of kharjūra the flowers are boiled and sava is prepared. The different savas and madirās prepared thus, are kept in glass vessels, earthen pots and gold vessel; mixed with water and taken by means of small vessel/ chaşakas (5.10. V. 446-449).

Along with madirās, a variety of food items which taste sour, hot and salty are also kept ready. Different types of meat fried on fire; cooked in vessels along with the juices and flavours; meat items prepared with the spices like rajakalavana, surbhi, kēśari, matulunga, sringavera, and hingudūp; various types of eatable made of māsa

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(black gram), wheat, dadyodanam, tasty dishes (mrişta and svādu); items soaked in the juices of jarbu, adraka; the meat of forest animals and birds like peacock, and deer seasoned in salt water, or fried in oil or ghee with karpura; mülaka, adraka, haritaka, sūrana and vēlukanda, seasoned with salt are also prepared (5.10. V. 850 855). Besides, kanda fried in oils mended with sour juice and salt, the kanda alongwith onion which savours pleasant; the satīvartaka and kanda blended with oil, salt, marichi, pipali and rājamatulanga; the kantaram, kutajam, bilvam kept in salt water; cooked and mixed with gram and marichi; the gram fried on hot sand; and cooked with milk; the sweet gram; white gram; the gram cooked in rajakalavana and other varieties; fried harika or cooked in salt and sprinkled with harimanyaka; pieces of onion, seasoned with hingu are arranged. Delicious and flavouring eatable called pürnam is also kept ready to be served on lotus leaves or on banana leaves (5.10. V. 456-465).

At the place of entertainment (pānasthāna), various types of vessels in different colours shinning like indranila, gômēdhika, garudapacha, vaidhūryamaņi, pure crystal; chaşakās of silver, gold are set there for drinking the madirā (5.10. V. 466-470). The sitting arrangements are made as per the orders of the king, either on sand banks, beach, grass field, garden, under shade of a big tree, in bamboo bushes or in a tent.

When the preparations are over, the king decorates himself and calls for the beautiful and attractive women; invites them into tent with respect and makes them sit in rows as per their eligibility. The king himself serves all tasty items to these ladies and fills the drinking chaşakas with different madirās. While the food is served, the cook helps the king to explain the taste and specific quality of each item. When all the items are served, the servants leave the

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place. Then the king with his own hands shakes the drinks and fills the goblets of the ladies again and again and he himself also drinks. The women eat and drink praising the taste of different items engage themselves fully in drinking bouts (5.10. V. 470-485).

After sometime the women become intoxicated with the effect of madira, loose their consciousness and begin to weep, sing, tell poetry, faint, become sad, close eyes, kiss one’s own reflection, talk unclear words, kiss other woman, pull their hairdo or spread their hair. Some women fall down, the cheeks and eyes of some of become red. While some ladies abuse or bless others, yet some go to the king, kiss and embrace him in different ways. The king enjoys of different moods of the intoxicated women. He goes to each woman and consoles and makes her happy as Krishna played with the gôpikas. King Sôměśvara describes madirāpānākrida to be played thus, by a king (5.10. V. 486-514).

PHANIDĀKRIDA King Sôměśvara states that when the king feels relaxed after completing the routine work and the meal, in the afternoon, if his mind is free and could concentrate, should get ready to play phanidākrida. The king should decorate himself and reach company of lovers, groups of experts in music and dance; learned; the skillful ankas, mallas and phanidās, prahēlikas, pāśakas; vandimāgadhās, servants and prisioners. The king should exhibit the strength of his fist in using the sharp edge of sword as well as skill or quick movement of his hand (hasthalāghava) while using different weapons for different purposes within the batting of the eyelid. This is called phanidā. Each item of the game has a bet also. However, the game is only a mock or false fight played by the king to show his

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tact. That is the reason why the coconut/palm, cane sugar/twig of orange tree are used as weapons and targets (5. 15. V. 795-802).

First, on all directions kandabandhana (boundary) is made, within which 20, 30 or 50 varandakas (targets of sugar) are kept in a heap or a row is made. The king shows his strength by cutting all the pieces at a time. At times, out of many, only one piece is cut leaving all others untouched or all are cut leaving behind only one piece. Thus the king shows the skill of his hand. In other case, with the sharp edge of the dagger, the sugarcane is cut into pieces as if done with a saw. Holding in one hand the sugarcane, with the other hand he cuts it into several small pieces in no time. Similarly the full orange is broken into several pieces with his knife. The coconut is also used as a target on the same methods. Thus the phanidākrida is mainly meant for enthrilling the ladies and to increase their love for the king; as well as for encouraging the mallās and phanidās. The game mainly arouses curiousity (5.15. V. 803-815).

TIMIRAKRIDA The timirakrida is a pastime played by the king with the girls of sixteen years in the underground cellars called bhūgraha or garbhagriha to arise the feelings of love in innocent young girls and to satisfy his own fun. The windows, holes and doors of the bhūgriha are closed and covered with curtains in such a way not to permit a ray of light inside, creating total darkness. The cellar looks like the wings of cuckoo, kasturi, tamāla leaf, Kālindi waters and indranila and not even the minister of the king could see the game played by the king inside (5.17. V. 864-877).

When the bhūgriha is ready, the king without making noise, enters it and with his permission young girls of sixteen years are

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permitted to enter the cell. Then, the king slowly moves towards the girls, pulls one girl by hand another by hair; hits a girl on head or on hip; thus the king teases all the girls by his mischievious acts (5.17.

V. 878-881).

While doing so, some women who were already posted by the king in the bhūgriha, make sounds as per the orders of the king. When the young girls move towards the sounds in darkness, they dash each other, some fall down, some dash to the pillars or walls while some women pull others neck or hair; and thus fight among themselves, abuse each other. The king enjoys the commotion/noise created by these girls due to the confusion and further teases them and laughs (5.17. V. 882-888). When the girls listen to the laughter of the king they became more furious and wild. Some abuse him again and again, however, which the king enjoys. In order to calm down the girls, the king appeases them slowly and touches their bodies delicately, talk pleasantly, gives gifts and do such acts. Then, some girls embrace the king, while some touch his feet yet some love him. Afterwards, the king hides in one place and makes noise; then all girls fallow the noise and try to catch hold of him. In these attempts, one girl holds pillar, one runs here and there and yet another dashes another women. Finally all girls reach the king, and he makes all happy by holding one from behind, another by kissing and yet another by touching. Thus after playing the timirakrida which is very dear to him the king comes out of the bhūgrha and goes to his palace (5.17. V. 889-913).

VIRAKRIDA The virakrida is played by the king for attaining siddhis. As the name indicates, the krida is fit to be performed by a bold and heroic

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king like Vikramaditya, Sūdraka, Sālivahana and Kālidāsa. It is stated that the king by effort could obtain eighteen types of siddhis namely-khadaga, bāna, gada, pātra, yasti, musti, pata, khata, yôrjana, paduka, rakta, mani, vetala, rasa, nidhi, varātika, aksha, and vāk (5 18. 914-920). Khadgasiddhi: Thesādhaka or a king who holds a sword detained by this siddhi is his hand cannot be defeated by any one, not even by the gods. Bānasidhi: the bāna obtained by siddhi, will hit the target and return to the owner or the user; Gadāsidhi: As soon as the gada is taken into the hand by the sādhaka, the enemy and his elephant will be beaten by that gadā; Patrasiddhi: The vessel obtained by this siddhi, when held in the hand could provide the desired articles instantly; yastisiddhi: A stick obtained in this way when taken in the hand can be converted into any form desired by the sādhaka; Mustisiddhi: Anything taken into fist by the sādhaka could be converted into the gold and poverty can be removed by obtaining this siddhi; patasiddhi: Any person hides in or covers the pata (cloth) cannot be seen by others and could disappear anywhere; Khatisiddhi: If name of any person or animal or living creature is written on the earth by the one who obtained this siddhi, instantly the words assume the form of that person or shape of the animal or bird;

Yojanasidhi: The anjana applied to the eyes of the sādhaka could kill a person from distance; pādukasiddhi. The foot wear obtained by this siddhi when put on the feet by the sādhaka, takes him to any distance in no time; Raktasiddhi: Anything held by sādhaka in the hand could become red; Manisiddhi: By obtaining this siddhi, one can get the gems instantly into the hands; Vētalasiddhi: In this siddhi, one gets capacity to appoint a vētala as a servant for doing any work; Rasasiddhi: The symptoms of the old age could be warded off, the ageing could be prevented, the body could not be touched by the

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death, and the body becomes strong like metal, if one could obtain this siddhi; Nidhisiddhi: The sädhaka could see the hidden treasure under the earth, which could be used for dharmärthakārnas; Varätaksiddhi: By obtaining this siddhi, one can always win the dyūtya (gambling) and can take away others money; Akshasiddhi By this siddhi, one can get the wanted dâya (the bet number); it will be very helpful to the king; Vāksiddhi: Any word, determined by mind and heart, if uttered, could be materialised by one who obtains

this siddhi (5.18. V. 914-939).

In order to obtain these siddhis, the sādhaka (the king) should be clean in mind and body; determined in heart; be bold and well read in the śāstra and sastra. In the midnight, when no body moves in the capital, the king should meditate over the mantra, establish Siva-the bhūtadipati and Chandikā in the heart, worship and leave the palace; holding the sword in t’ie hand proceed towards a chatvara or ruined temple, a very big pipal or banyan tree, deserted well or middle of a water tank or a river. The sādhaka should worship in the heart god Vināyaka, worship Narasimha to remove all obstacles in his venture and proceed with a strong mind, and will; boldness and determination (5.18. V. 938-944).

Then, he will come across crowds of spirts like pisāch, yaksha, gūhyaka, vētala, rătala, rakshas, prēta and several others ganas. Some have burning face (jwalamukh), some have big body, (mahākāya) some red eyes, some long face; some are too short, some are with shaven head, some with crooked body, some with long nails, some weeping, some bounded with chains, some with broken voices, some shouting loudly, some with long tusks, some with long tounge, some with big stomach, some with three feet, some with one foot, some with dung coated body, some with blood, some ferocious,

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some ugly, some wearing the garlands of hands, some with long teeth, some with sagging lips and ugly form.

On seeing all these the king should satisfy them by offering anna, marnsa, rakta or by threatening, by shouting or at times by requesting or even begging at times. Some evil sprits which are satisfied with the king’s behaviour will be ready to serve him and the king should accept them. Thus, the king with his valour and strength controls vētalas and pretas (5.18. V. 945-955).

When the king proceeds further, he comes across yôginis or yôgamātas, like pithaja, kshetraja, sahaja, samayojha. The pithaja types of yoginis are from Jullundhara, Kamrūpa, Odhayana, Ujjaini; Kshetraja type are from Karāhadam, Viratpura, Purnagiri, Sirigiri, Vikôtaka, Chitracūtam, Ambusikhari, (Vindhyāvāsini) Ekāmra (Kanchipur) Mahachinchm, Pruyagam, Mālaya, Kölāhara. The kshëtraj yoginis are called kshiraja yôginis also. The yôginis of pithaja are called ayônijayas. The sahajayôginis are those which became yôginis on account of previous births. The yôginis which are initiated for particular time or occasion are called samayayôginis. The yôginis again are of two types: gupta and prakaita. The gupta yôginis are of five forms (1) wife (2) servant/maid (3) prostitute (4) widow (5) ascetic; these forms are being obtained by them according to their past karmas. The prakaita yôginis are called yôgmatas also. They are: dākini, pūtana, śākini, bhima, rēvati, rupikasya, suskarēvati, aśvamukhi, mandita and simhāsani; They are very powerful and show their existence on all sides in different ways. The prakatita yôganis appear before the king in the form of beautiful ladies sitting on the throne accompained by chhatra and chämara. Then, king should offer them bodly plenty of meat and blood, bow down in obedience, praise and worship with mantras.

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Then the yôginis will be pleased with the devotion, determination and boldness of the king, and bless him with the desired object (5.18.

V.956-971).

Thus, receiving the blessing and the desired object from the yôginis the king returns to his palace. Getting up early in the morning next day, the king completes his daily routine; and exhibits to all people the siddhis obtained with boldness. This is called virakrida which is horrific but is auspicious (5.18. V. 972-73).

PREMAKRIDA Sômēśvara states that the love that arises from a pure heart and the mind of the best women could be obtained on account of the great merits done by one, in his previous births. In this context he refers to different types of love experienced by a man (1) Ekābhimaniki, a feeling of mine towards sons, friends, brothers and servants (2) Abhayāsik; a love developed towards wife due to regular contact (3) Sampratyayatmika, a love with woman with whom fear/doubt disappears and confidence develops. (4) Vaishayiki, the love that arose from looking at the figures or appearance of person/lady. It is stated that when the feeling of liking arises in the mind, the rasa is created in body which will result in attachment to the opposite sex or a feeling of dearness. This is called love. A love obtained from the best woman is called siddhaprēma; it is not possible to everybody to get such a love. It is stated that jealousy, lust and desire are the reasons or means to get or to seek love. The ālambanās or the promoting factors for the creation of love are also mentioned by the author.

In this connection, different types of nāyikis like virahini, prôșita, väsavasjjika, abhisārika which are described in classical

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literature are referred to. Further, it is stated that the king should know the means and methods of satisfying the lover (the upakaranās and upāyas)-like affectionate talk and offering of bhôgas. When the king falls in love with a lady, he should know whether that lady is also in love with him or not by sending a dūta; on knowing her love for him, the king should call the antahpurădyakshya and tell him about his love; approach the lover along with tâmbülādhikari and other servants; express to her his love; satisfy by sweet words, gifts and love acts. After enjoying the company of the lover, the king should return to his palace. Similary, the king on receiving a message from a lover who suffers from separation and awaits, should visit her, appease and make her happy by satisfying in all aspects (5.19. V. 974-1120).

SURATAKRIDA The Mānasöllāsa describes the erotic life of the king with the prostitutes under suratakrida. When the king feels a desire for woman, first he should go to the house of a prostitute, select the most beautiful woman, come back to the palace, he should take bath and have healthy food, decorate himself with best dress, flowers and lepanas; and go along with the servants to that prostitute’s house. There he should satisfy all grades of people by giving gifts and enjoy the selected women and return to the palace (5.20. V. 1121-1369).

Thus, King Sômēśvara gives the guidelines for the Kings to be followed for obtaining the Kingdom as well as for stabilizing the position; and enjoying the life in the court, harem and palace in all its spectrum of colours.

Subhamastu! Mangala Mahat! ŚrI Ś Śri

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LEBIBLIOGRAPHY

Somesvara Mănasollăsa, Vols. I, II and III Gaekwad’s

Oriental Series Baroda (1961). 2. The Early History of the Deccan, Parts I to VI. Edited by

Yazadani, Government of Andhra Pradesh (1960). 3. Studies in Indian cultural History VI I, P.K. Gode,

Vishvesvenanda Vedic Research Institute, Hosiarpur

(1961). 4. History of Dharmasastra by P.V. Kane Vol. I to IV, Pune. 5. Kautilya’s Arthasastra, translated by Dr. R. Ramsastry,

Mysore Printing and Publishing House, Mysore, 8th

Edition (1967). 6. Agnipurána, translated by Manmatha Nath Dutt (Sastry)

Vol. II, H.C. Das, Elysium Press, Calcutta (1904). 7. Social life in Medieval Karnataka by Jyotsana K. Kamat,

Abhinava Publication, New Delhi (1980). 8. Amaravati Sculptures from Madras Government Museums,

by Sri C. Sivarammurty (1956). 9. Nagarjunakonda, a Cultural Study by Dr. K. Krishna Murty

Concept Publication Company, Delhi (1977). 10. Social and Economic Conditions in Eastern Deccan (1000

by Dr. Mr. A. Vaidehi Krishan Murty (1970). 11. A Social, Cultural Economic History of India; by P.N.

Chopra, B.N. Puri and M.N. Das, Macmillan India (1974). 12. Varahamira’s Brihtsamhita by M. Ramakrishna Bhat Vol. I

& II Motial Bamasttil.

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GLOSSARY

Abalā Abhayangana Abhichára Achamana Adāna Adraka Agastyaka Agnimath Agnimăntha Aguru Alinda Amalaka, Amalaki Amātya Amla Amra Amrătaka Amuktāyudha Anātha Andôlana Añjana Anka Ankola Ankusa Antara Anubhāvās Anugraha

Woman Massage of the body with oil before bath In cantation to destroy the enemy Cleaning of mouth/sipping of water Taking Ginger Sesbania grandiflora Prema Spinosca Aeschynomene Sasban Aquilaria agallocha; Roxb Open space before house Emblica officinalis Minister Sour Mangifera indica Spondias mangifera Weapon not hurled Orphan Swing Collyrium Duel Alangium Lamarki Elephant goad Inside/inner Consequents Blessing

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Anupana Apamărga Arghya Arişta

Arka Arnāla Arthi Asana Asatya, Asoka Aśraya Astadig Astănganamaskāram Aśva Aśvagandhi Atasi

Post prandial drink Archyranthes aspera Washing of hands/offering of water

Alcohal prepared from decoctions/Xanthium Strumarium/Heliaaza dirachta Calotropis gigantea A type of beans Seeker Halt/attitude of difference/seat untruth Saraca indica Seeking shelter Eight cordinal directions Bowing down with eight part of the body Horse Uhithania Sommifera Linum usitatissimum

Badari Bāhya Bala Bala Barhsa Bana Bandhu Bhagandera Bhallataka Bhanga Bhatta Bhāva Bhaya Bhayānaka Bhoga Bhojanam

Ziz yphusjujuba Outside/outer Army/Strength Girl/below 16 year Bamboo Arrow Relative Fistula-in-ano Semecarpus anacardium Cannabis Sativainn One who praises Feeling/emotion Fear Terrific Enjoyment Food

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Glossary

Bhôjya Bhritya Bhudhara Bhūmi Bhūşana Bhūtayajña Bibhatsa Bijapūra Bilva Bimba Bindaka/Bendukam Bisachakra Brahmana Brahma yajna Brāhmi Brihati

Food item that is masticated Servant Hillock/mountain Earth/field Ornament Offering to creatures Odious See matulunga Aegle marmelos Coccinia indica Lady’s finger Lotus stalk One who is devoted to knowledge/Brahma Woship of vedas Bacopa indicum/Centella assiatica Solonum indicum

Chakaravarty Chămara Chamatakara Champaka Chanaka Charana Chata Chāfukara

Emperor Fly whisk/insignia of a king Magic Michelia champaca Gram Bard One who connects lovers Who tells poem instantly, sings the legacy of the king Chess Four means to win the enemy Four goals of human life viz. Dharma. Window Umbrella/insignia of a king Food item, which is sipped Tamrid Mango

Chaturanga Chaturopāyas Chaturpuruşārthas Chatuska Chhatra Chosyam Cinca or Cincini Chūta

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Chaturvarnās

Four castes of the society

Dadima Dakshina Dăna Danda Daridra Dătaki Dendukam Deśa Dhairya Dhanurvidhya Dhänyakam Dharmsāśtra Dhimati Dhira Dhrti Dhūmra Dhūpa Dhūrva Dhyāna Dina Dipa Dôşa Drāksa Durga Dūta Dvaidhibhāva

Punica gränalatum Saccred fees Gift War or Punishment or staff Poor Woodfordia fruticosa Ses Visamusti Country Bravery Science of archery Coriandrum Sativum Social law Strong minded Bold and dignified Fortituted/self command Smoke Inscene/smoking/fumigation Synodoen declotyn Meditation Helpless Light Defect Wine/grape Fort Messenger Duplicacy or splitting the enemies

Ela

Alpinia cardamomum/ilachi

Gada Gajārôhana Ghanaśāra

Mace Mounting of elephant Comphor

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Glossary

Godhuma Görôcana Graha Grahapa Grihatittli Guda Guggula Gupta

Wheat Oxbile Planet (nine in number) Capturing Partridge Molasses

Commrphuramukul/commiphora mukul Secret

Haridra Haritak Haritala Harsa Hastalāghava Hastikarna Hasya Hingu Hintala Hôma

Curcuma longa/turmeric Terminalia chebula Yellow arsenic Merriment Skill and smartness in the use of hand Ricinus communis/Alocasisma crorrhiza Humorous Ferula foetida Phoenix plaudosa Offering of fire oblation

Iksu Irsa

Sugarcane Jealous

Jala Jälaya Jarnbira Jarhbu, Jambuka

Japā

Water Window Citrus Eugenia jambolana Hibiscus rosasinensis Cuminumcyminum Jasmin (Barerla cristata) Dendrobium Disgust Moon light

Jirake Jāti Jivanti Jugupsa Jyostna

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Dūrā labtă Musa paradisiaca/sapientum

Anthocephalus cadamba Collyrium Sides Paddy, a variety Desire Bulbs, bulbous roots Feronia elephantum

Tax Carissa Carndus Linn Time measure Galedupa arborea

Kachôram Kadali Kadarba Kajjala Kaksa Kalama-śāli Kama Kanda Kapiththam Kara Karamardkam Karana Karanja Karanya Karavelika Karavira Karhāri or Karhata Karira Karkati Karkatim Karnikára Karpira Kárpása Karuna Kaşaya Katam or Kutphala Katha Kathaka Katu Katurohiņi Katuka Kafu tumbika Kavi Kavya

Bitter gourd Nerium indicus/odoratum Randia dumetorum Lam Capparis decidua/aphylla Momordica Pistacia integerrima Stew exbrandis Hibiscus Cinnamomum comphora Cotton Pathos Astringent Myricanagi Thumb Story Story teller Pungent/hot

Picrochiza Kurroa Lagenaria siceraria stande Poet Literary work/poetic composition

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Glossary

Kéśara Kētaki Khadga Khandapāka Khadira Kharjūra Kimśuka Kôdrava Kokilakshi Kośataka Kôśa Köśi Kosta Kridā Krödha Kshatriya Kshma Kula Kulattha Kumuda Kunda Kunkuma Kuruvaka Kuća Kūşmănda Kusumbha Kutaja Kuțumbini Katurohini or Kalika

Mimusop elengi Pandanus odoratissimus (tectorius) Sword Candy Acacia catechu Phoenix sylvestris Butea frondosa (manesperma) Paspalum Astercantha longiforlia Luffa ecutangula/acutangule Treasury Mudga, masa or pulses Room/square Game Anger Warrior or king Patience Caste or family Dolichos biflorus Water lily Jasminum Crocusativus Linn Barleria cristate Poa cynosuroides/Desmostachyabibinmnat Cucurbita pepo Carthamus tinctotorious/crocus sativus Holarrhena antidysenterica One having a family See kauka Saussurea lappa/utpala

Kusta

Läkshārasa Lakshya Laśūna

Juice of lac Target/aim Garlic

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Lávaka Lavana Lavanga

Lēhya

Quail Common Salt Syzgium aromeaticum which is licked/sauce Scriber Cosmetic paste applied on the body Greediness Symplocos cratacgoides

Lekhaka Lepana Lôbha Lodhra

Mada Mādhavi Madhu Madhūka Madhuparka Madhura Madhu sighsu Madiră or Madya Măgadha Mahāpātka Mahisa Malla Mallika Mālya Mandalādhisa Mandāra Manjista Manujaka Mantra Manusyayajña Maricha Maruvaka Māsa Masa Masura

Pridesintoxication/rut Hiptage benghalensis Honey Bassia latifolia/Madhukasta Offering of honey and curd Sweet Moringa concanensis Nimmo Intoxicating drink One who reads the geneolgy of the king Great sin Buffalo Wrestler Jasminum Flower garland Head of state or region Brythrina indica Rubia cordifolia Linn Reed, grass Strategy Honouring of Guest Piper nigrum Ocimum Months (12 in number) Black gram Lens culi naris

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Mati Mătulunga Medha Methika Mésa Mina Mithya Mitbhăşi Móksha Mouna Mriga Mudga, Muga Mudra Mugdha Mukta Muktamukta Mundaka Musta Musti

Intellect Citrus medica Brain

Triganella Goat Fish Illusion One who talks less/reserved Liberation from worldly life Silence Deer Phaseolus mungo Symbolic offering by hand gesture Teenager/one who desires a lover Weapon that is hurled A weapon thrown but cannot be taken back Sphacranthus indicus lina Cyperus rotandus Fist

Nadimafrika Nägakeśara Năgakusuma Nagara Naimittika Naivēdyam Nakshatra Năma Naraka Närikela Navadurga Navamallika Navanita Naya

River dried land Mesua ferrea Mesua Zingibir officinal Rites to do at a fixed time/days Offering to Gods Star, (27 in number) Name Hell Coconut Nine types of forts Jasminum arborescens Ronb Butter Good practice

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Nidhi Nigrôdha, Nyagródha = Nilôtpala Nimba Nirajanam Nisa Nitiśastra Nivritti Nritya Nispāva Nitya

Hidden treasure Banyan Blue lotus Melia azadira chata Ceremonial farewell/waning of light Turmeric Political science Prevention/turn inward Dance Dolichos lablab (simba) Routine

Osadhi

Medical/annual herbs

Padalēpana Padmakosa Paduka Padya Paksa Palandu Palasa Pāna Panchamahāyājnas Panchanga Paniyam Parapātika Pārăvata Pārijātaka Pāśa Pata Patah Pataka Pătaka Pataka

Massage of feet

The stigma of lotus Sandals/Foot wear/shoc Washing of feet Wings Onion Butca Trondosa Drinking 5 great sacrifices The astronomical readers having five parts. Drink Physalis mimima Pigeon Erythrina indioica/Fuma riatarvi flora dice for playing gamble Cloth Metal musi, instrument Flag Sin Singer

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Glossary

Streospermum suaveleons Down fallen

Trichosanthes dioca Vessel Town To give strength Drinkable

Bet

Patala, Patali Patita Patola Pătra Pattana Paustika Pēyam Phanida Picumanda Pipal Pippali Pitasala, pitasara Pitryajna Pragña Prabháva Prahasaka Prahēlika Praja Pralóbha Pranayama Pratihări Pravirtti Priyangu Proudha Pūga Puspa Putapaka

Melia azadirachta Ficus religiosa Piper longum Shored Offering to manu/depatred soul Genious Mighty influence Joker Riddle People Temptation Control of breath Messenger Behaviour Aglaia Roxhburghiana/setari aitalica Fully matured woman Areca catechu Flower The method of preparation of Ayurvedic medicine in which the original material is kept in leave packet coated with mud and heated with high degree of temperature. Son Calophyllumimnopyllum

Putra Punnaga

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Räga Rajaka Rajani Rajakośtaki Rājamāsa Räjya Raktôtpala Ramatha Rasa Rasāyanam Răstra

Musical tune/mode Brasticanigra Indigofera tinctoria Luffa amara Vigna Cylindica Kingdom Nymphaea rubra Hingu Juices/feelings/tastes (6 in number) Medicine/Elixir of life State

ITI

Sabhā Sadhaka Şadaguna Şadrasās

śādvala Saindhava Saka Sakti Saktu Sakuna Sala Salila Sallaka or Sālūka Sallaki Salmali Sāma Samadhi Samanta Sambara Sami Samskaras

Assembly/Council Devotee Sixlimbs of polity Six flavours or taste (sweet, sour, salin, pun gent, bitter and astrain) Pasture ground/lawns/farm Rock salt

Teak Power/sped Flour made of yava or other serials Augur/omen Shorea robusta Water Roots of kamala Boswellia serratea roxb Bombax melabaricum Reconcilliation negotiation Deep meditation Feudataries Deer Mimosa suma; prosppisspicigera

Rites performed in the life of upper 3 caste

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Glossary

Samsraya Samvtsra śānti Sandhi Sandhivigraha Sarala Sáraměya Saranāgata Säranga Sarasapa Sastra Sastra Sasya Satakarmas Satăvari Saurya Sayanam Séchena Sēna Sephalika Siddhi Sighru Siksha Silāchara Singiveram Sirisa Smriti Sôka Sônthi Sradha Śrikhanda Śpingåra Sringata Sriparni

Seeking shelter Year (sixty in number) To Propriate or appease Peace/treaty Peace or war Pinus deodara Dog One who asks for refuge Deer Mustard Weapon Scienc/text/Faculty Green/crop/fields Six cruel acts Aspergues recemoras Heroism Bed Bucket/Bathing/pouring Army Nyctanthesarbortistis Achievement Moringaptrygo sperma

Training Disciplined or good conduct Xingiber officinale Mimosa sirssa Recollection/Dharma sastras Sorrow Dried ginger Devotion/rites for dead A type of sandal Erotic sentiment/lone Tarpabispinora Roab

Teak

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Srôtriya Sthariya Sūdaka Sugandhijam Sugundhika Sukha Sură Surablja Sūranam Surasa. Sūta Swarga Syāmaka Syēna

Traditional/Well learned one Firmness/fortitude Cook A variety of rice Sandal Comfort Alchol made of paste of sali rice Lotus seeds Kanda Ocinum Sanctum linn Charioteer Heaven Belimichloaforumartne Hawk

Tagara Takkola Takram Tāla Tamála Tămbula Tāmrachūda Til Tapas Tilaka Tinduka Tithi Tirtha Tikta Tittira Tôrana Trapusam Türya Tundi (ka)

Bignonia chelonoides/valerjana wallichii Tilaka Buttermilk Borrossus flabelliformis Cinnamomus tamala Betel leave Cuck fight Sesamum Penance Werdlamdiexerta Diospyrostomentosa Day of a fortnight (15 in number) Sacred water/piligrimage Bitter taste Parthidgebird Gate-way Cucumissativus Sound of drum Diospyrospaniculta.

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Glossary

Tulasi Tunjuka Tyaga

Ocimum sanctum Diospyrosgletienosy Readiness to sacrifice

Uodărya Udumbara Upaśruti Upabhoga Upavana Usinara Usira

Megnanimity Ficus glomerata Listen to the words indicating future/omens Minor enjoyment Garden/groove

Cascus Andropogon laniger, a citraum/ Vetineriazizanioides Enthusiasm/power/energy Nymphaes stettla

Utsaha Utpala

Vāc

Acoruscalamus

Vachaka Vadi Vaggěyakára Vágina Vågmi Vaibhava Vaidagdhyam Vaiśārdhya Vaisya Vaitālika

One who tells the meaning Logician Composer of songs Horse One Who talks with discretion/eleoquent Richness Skillfulness/experienced Proficiency Merchant

One who evokes the king early in the morn ing Mimusops elengi Sand One who praises king with epithets Tin metal Calamus rotang Tank

UIT

Vakula Vālukā Vandi Vanga Vanjula Vāpi

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Vara Vāra Vara Varātaka Vartūkam/Vartika Vastra

Vata

Vēlukanda Vibhāva Vidanga Vidhi Vigraha Vilēpana Vimsati Vinaya Vinoda Vira Virana arjana Vismaya Vita Veśyā Vrata Vrihi Vyakarana Vyanjņa Vyavahāra Vyūhas Yana Yasa Yava Yavāgu Yavanāla

Bride groom Day of the week (7 in number) Lady Cowry/small shell Solanum melongana Dress Banyan A variety of root Determinents Embelia ribes Method/rule/procedure War/break Cosmetic cream or paste

Twenty-five Humility/modesty Entertainment/diversion Heroic Andropopagn mincatum Discardıng/ending Astonishment One who goes to prostitute Prostitute Vow Paddy, a variety Grammar Cooked vegetables Judicial procedure Battle array Vehical/expedition/joumey Fame Barley Gruel Type of pulse

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Glossary

Yasthimadhu Yasti Yöşita Yồdha Yudha

Glycrrhiza glabra Stick or Rod Woman Hero/warrior Battle

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Abhakshyavarjanam, 3,6 Abhayāravya, 41 Abhayāsika, 180 Abhichāradanda, 76, 77 Abhisārika, 180 Abhīştam, 61 Abhyangana, 88 Achārya, 11 Adbhuta, 144 Agamyā, 6 Agamyāvarjanādhyāya, 5 Agamyāvarjanam, 3 Agni, 52 Agnikunda, 86 Agnimukha, 65 Akaram, 61, 62 Akshyaphala, 7 Alambanas, 180 Āmala, 89, 91, 120, 125, 152, 169 Amangalānisakunas, 47 Amātya, 4, 104 Amātyādhyāya, 21 Amlaka, 88 Amra, 99 Amri, 20

Anātha, 13 Andhra, 88, 103 Andhūka, 99 Andolana, 4 Andôlanakridā, 159, 160 Angabhanga, 60 Ankola, 29, 89, 145, 152 Annabhôga, 113, 129 Annapraśana, 106, 108 Antahpurādhyaksha, 181 Antahpurarakshakakumăra

parichārakalakshanam, 25 Antariksham, 129 Anugraha, 37 Anupāna, 19, 170 Apamārga (way of wearing sari), 103 Apriya, 8 Ardhachūďaka, 98 Arghya, 9 Arjuna, 49 Arka, 29 Armlet, 35 Armour, 35 Artha, 39 Arthadanda, 80

(203)

Royal life in Mānasöllā sa

Arthi, 80 Āsana, 4 Asanādhyāya, 54, 56 Asanopabhôga, 99, 101 Asatyavāda, 5 Asatyavarjanādhyāya, 5 Asatyavarjanam, 3 Āsavas, 171 Aśēşdēvatābhakti, 3 AŚēşdēvatābhaktyadhyāya, 9 Afôka, 132, 150, 153, 157, 161 Āśraya, 4, 40,56 Aśrayadhyāya, 56 Asthāna, 4 Asthānabhôga, 101 Astra, 4, 17 Astrologers, 105 Asūya, 6 Asāyāvarjanādhyāya, 6 Asūyāvarjanam, 3 Aśvatariyāna, 133 Aśvini, 9 Ātapatrachhatra, 134 Atithibhôjanam, 3 Atithipūjanādhyāya, 10 Atmāyatta, 37 Āyurvradhakaśrādha, 107 Bahupuruşa, 143

Bāhuvalaya, 98 Bala, 4 Balādhyaya, 34 Bali, 18 Banana, 152 Bandhaka, 60 Bandīgriha, 63 Betālas, 75 Bharani, 9 Bhatta, 105 Bhāvanā, 18 Bhauman, 129 Bhaya, 5 Bhayānaka, 144 Bhēda, 4, 58 Bhēdādhyāya, 59 Bhôga, 4, 181 Bhojana, 4 Bhringa, 18 Bhritya, 13 Bhūbhava, 41 Bhūdevi, 30 Bhūdhara, 4 Bhūdharakridā, 149-156 Bhūgriha, 175, 176 Bhūmis, 85 Bhūşana, 4 Bhusanam, 61

(204)

Index

Bhūśayyāśanam, 100 Bhūşöpabhôga, 94-99 Bhūtala, 30 Bhūtayajña, 8 Bījapūra, 47,91, 119, 153 Black gram, 116, 117, 146, 149,

152, 172, 173 Black pepper, 117 Blue sapphire, 94, 130, 136 Brahma, 28 Brahmasūtra, 95 Brahmayajña, 8 Brāhmins, 10, 23, 77, 78, 107, 159,

169 Bride, 111 Bșihatkathās, 143 Budhgraha, 22, 69, 109 Buildings, 85 Buttermilk, 117, 127, 132, 169, 170

Chakra, 36, 75 Chakradanda, 37 Chámara, 4, 101, 134, 156, 179 Chāmarabhôga, 101 Chamatkāra, 4, 145, 146 Chamatkāravinôda, 145 Chameleon, 6 Champaka, 87, 93, 99, 103, 131,

135, 154, 157, 163 Chănakya, 38 Chandan, 90, 131, 150 Chandikā, 54, 178 Chandrakanta, 95 Chāndrāyana, 11 Chariot, 163 Chrioteer, 35 Chāțukāra, 105 Chaturanga, 4 Chaturmukhā, 143 Chatușapada, 135 Chatuskas, 85 Chhatra, 4, 134, 179 Chhatrabhôga, 134 Chitrini, 138 Chôla, 88 Chūďaka, 160, 164 Chūčakam, 98 Chūdakarma, 106, 109

Camel, 6 Camphor, 9, 89, 127, 131, 137, 158,

160, 162, 164, 167, 169 Carrot, 6 Cat, 6 Cat’s eye, 95 Caundiyam, 129 Caves, 156 Ceylon, 94

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Royal life in Mānasolla sa

Chūdamandanam, 97 Chudika, 97, 98, 102 Chūrma, 19 Chūrņadhūpa, 137 Chūrņāvāsa, 130, 131 Cloth, 92 Coconut, 130, 157, 172, 175 Colours, 90, 93 Cooking, 115 Copper, 30 Coral, 95, 108, 131 Cotton, 92 Crane, 6 Creams, 90 Crocodile, 6 Crow, 6 Crystal, 95, 130, 131, 156, 167, 173 Cuckoo, 6 Curd, 33, 119, 127, 129, 137, 169 Dadakam, 97 Dadhi, 127 Dāđima, 154, 157 Daivārika, 102 Daivikam, 59 Dalakam, 99 Dāna, 4, 31, 58, 60, 61, 162 Danda, 41, 58, 63, 64, 66, 80, 110 Dandabhēdas, 74

Danďādhyāya, 7, 63, 60 Dandaniti, 21 Dantanghrimancha, 136 Dantijim, 61 Dārābhilāşakam, 60 Daridra, 7 Darpa, 23 Dārudurga, 32 Dasagrāmadhipati, 27 Deer, 173 Desahārka, 63 Deśajanaraksha, 28 Dēśanāsaka, 63 Daśanirvāsaka, 66 Dēśyam, 61 Dēvayajña, 8 Dhanādāna, 63 Dhanahāni, 60 Dhānkya, 120, 121, 122 Dhanurvidya, 109 Dhānyaharanam, 63 Dhārāsanam, 100 Dharma, 7,39 Dharmādhikāri, 23 Dharmadhikarisabhādhyaksha

lakshanam, 23 Dharmaśāstra, 109 Dhātri, 18

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Index

Dvaidhibhāva, 40, 41 Dvaidhībhāvādhyāya, 57 Dvandajā, 42 Dvihiraka, 96 Dvayāyatta, 37 Dvirajka, 97 Dvivatraka, 143, 144 Dyūtam, 9

Dhātuvādarasāyanam, 30 Dhūma, 11 Dhūpa, 4, 137 Dhūpabhôga, 137 Diamond, 28, 94, 96, 97 Dikapālakas, 50 Dīnānāthārtabandhubhrity

pôşanādhyāya, 13 Dinānathartabandhubhri

tyapôşanam, 1 Directions, 45 Dirghika, 9 Diśās, 70 Divyadéha, 20 Divyam, 129 Divyapramāṇam, 80 Doctor, 25 Dog, 6, 145 Dôlamancha, 135, 136 Dôlayāna, 132 Dove, 6 : Draksha, 172 Drākshāsava, 172 Dravida, 103 Dūramārgāsanam, 55, 56 Durga, 4, 32 Durgabhanga, 64 Durgãdhyāya, 32

Durga-types, 32 - Durmantra, 39

Eagle, 6 Eight rasas, 144 Ekābhimāniki, 180 Ekadrayābhilaşaka, 41, 42 Ekávali, 95 Ekavatrakā, 143, 144 Elephants, 6, 71, 72, 73, 74, 75, 109,

110, 111, 112, 133, 136, 152, 153,

155, 156, 158, 163, 165, 166, 169 Emerald, 94

Firewood, 33 Fish, 115, 124, 146, 151, 154, 155 Forest, 28 Fort, 65, 66 Frog, 6 Fruits, 126

Gaja, 4 Gajabala, 36

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Royal life in Mānasollā sa

Gram, 149, 170, 173 Grāma, 26 Grāmajam, 61 Greengram, 19, 128 Grihôpabhôga, 4, 25, 87 Gujarat, 103 Gurubuśrūaşana, 3 Gurusuśrūşanādhyāya, 11

Gandhakam, 31 Gandhaśāli, 113, 115, 169 Gaņēśa, 30, 31, 54 Ganga, 12 Garbhagriham, 175 Garden, 157 Garland, 158, 167, 179 Garlic, 6, 120 Garnet, 94 Garudādri, 94 Gāyakas, 105 Ghanaśāra, 89 Ghee, 116, 127, 132, 137, 146, 151,

152, 154, 173 Ghūtadanda, 76 Gödāna, 106, 110 Gôgraha, 63 Gold, 30, 31, 32 Golden pillars, 101 Goudha, 28 Gôvipratarpaņādhyāya, 9 Gôvipratarpanam, 3 Ginger, 117, 119, 120, 121, 127,

149, 169 Giridurga, 32 Gita, 4 Goat, 6 Graha, 68 Grahana, 37

Hamsapichmayi, 135 Hamsôdaka, 130 Hansatilakam, 97 Hāra, 95 Harem, 26 Hastikama tree, 19 Hastini, 138 Hastiyāna, 132 Hāsya, 144 Hawk, 6 Hãyanam, 61 Hayayāna, 133 Helmet, 35 Hen, 6 Hingu, 114, 116, 117, 119, 120, 121,

122, 123, 124, 125, 128, 151, 170 Hitakāri, 8 Honey, 19 Horn, 71

(208)

Index

Horse, 6, 71, 72, 73, 74, 75, 102,

107, 108, 109, 110, 111, 133,

152, 153, 166 Hybrid, 155

Jugupsa, 144 Jyotirganaka, 22 Jyotirvidganakalakshanam, 22 Jyotişaśāstra, 64 Jyotiştôma, 8 Jyotsana, 4 Jyotsnākriļā, 167

India, 158, 162 Indrajāla, 145, 146 Iśāna, 152 Iśānya, 86, 87 Işgadēvatā, 9 Iştaja, 41 Istapūrtadānam, 3 Istapūrtādhyāya, 8 Işţikadurga, 32 Ivory, 136

Jaggery, 33, 137, 152, 171 Jala, 4 Jaladurga, 32 Jalaja, 51 Jalakridā, 162 Jalaswara, 52 Jālaya, 85 Jambu, 91, 173 Janāgachēdana, 63 Jasmine, 90 Jātakarma, 107 Jāti, 87 Jatīphala, 89

Kachanāra, 150 Kajjala, 29 Kalaśa, 35, 109, 133, 134, 161 Kalinga Dēśa, 36, 88, 92, 113 Kalkyam, 31 Kalpavriksa, 4, 156, 161 Kāma, 5, 39, 162, 163 Kāmaja, 41 Kāmarupa, 179 Kamboja, 36 Kāñchidāma, 98 Kāñchipūra, 179 Kanyādānam, 61, 62 Kapildhēnu, 29 Karadānavivēka, 27 Karajam, 61 Karavīra, 32 Kariniyāna, 133 Karnabhēda, 106, 108 Karnasubhagam, 59

(209)

Royal life in Mānasolla sa

Kārpāsaja, 135 Karsaka, 20 Karuna, 144 Kashmir, 90 Kastūri, 89, 102, 131, 137, 160, 161,

164, 167, 175 Kațaka, 96, 98 Kathā, 4, 143, 144, 145 Kathakās, 105 Kathāvinôda, 143 Kāvya, 109 Kāyasthas, 26 Kedāra, 12 Kēśaraja, 135 Kētaki, 87, 103, 157, 160, 163, 164 Kēgūra, 96 Khandapāka, 25, 118 Khanjari bind, 28 Kinnari, 144 Kinkara, 13 Kirti, 18 Klēśadanda Kośa, 4,75 Kośādhyakshaganakalakshanam, 23 Kośādhyāya, 30 Kösali, 122 Kõțachakra, 64 Kôțihôma, 8

Krichchara, 11 Kridaparvata, 149 to 157 Kridavāpi, 161, 162 Krīdavimśati, 149, 181 Krisnasura, 172 Krittika, 9 Krôdha, 5, 7 Krôdhavarjanādhyāya, 7 Krôdhvarjanam, 3 Kshētrapāla, 30 Kshma, 18 Kula, 7 Kuladēvată, 111 Kulya Kumkuma, 90, 111 Kundala, 102, 104, 108 Kundalam, 97 Kunta, 33 Kuntla dēśa, 101, 103 Kūpa, 9 Kusumaja, 135 Kūşumānda, 155 Kusumbha, 93 Kuțipravēsaka, 18 Kutumbini, 7

Lagna, 44 Lakşahôma, 8

(210)

Inder

Lāksha, 93 Lakshmi, 30 Lātadēśa, 103 Lāvaka, 4 Leaves, 126 Lēhya, 19, 128 Lēkhaka, 24 Lekhakalakshanam, 24 Lēpana, 90, 139, 164, 181 Lily, 135 Lion, 6 Lôbha, 5 Lôbhaja, 41 Lôbhajam, 59 Lôhamañcha, 136 Lôhāsanam, 100 Lotus, 130, 135, 152, 157

Magadha, 105, 112 Magha, 9 Mahābhārata, 143 Mahādēva, 7 Mahākāvya, 143, 178 Mahāpatita, 6 Mahāpatsaņas, 26 Mahārāştra, 103 Mahaśāli, 113 Mahātūrya, 71 Maheśvara, 3, 30 Mahişa, 4 Maitra, 40 Majjanāsanam, 100 Mālati, 93, 103, 167 Mālaya, 88 Mālika, 93 Malla, 4 Mallayuddha, 110 Mallika, 161, 163 Mālya, 4, 179 Malyöpabhôga, 93 Mānabhanga, 60 Manasambhava, Mandalādhīśas, 24, 70, 72, 75, 104,

113, 146, 160 Mandana, 97 Mandapa, 86, 111, 157, 158, 160

Mādavi, 153 Madhu, 154 Madhūka, 99 Madhūkāsava, 172 Madhuparaka, 9 Madhvyasava, 171 Madira, 171, 172, 173, 174 Madirāpānakrīdā, 171-174 Madöthita, 41 Madya, 112

(211)

Royal life in Mānasöllā sa

Mangalapradānisakunās, 47 Mango, 131, 153, 155 Mangoose, 6 Manidipas, 85 Mānjitsa, 93 Manoharavākyam, 13 Mantra, 4, 179 Mantraśakti, 38 Mantrafaktyadhyāya, 38 Mantrilaksnam, 21 Manure, 132, 153 Manuşyayajña, 8 Mārgarôdhāsanam, 55 Marudurga, 32 Massage, 87 Mastakam, 127 Mangalāsanam, 100 Mātraswara, 69 Matta, 9 Mātulunga, 119, 121, 123, 172 Maulika, 35 Mayaśāstra, 33 Meghādambara, 134 Mişa, 4 Meat, 6 Milk, 115, 116 Mina, 4 Mines, 28

Mithya, 5 Mithyābhāşana, 5 Mithyāchitta, 57 Mithyākarana, 57 Mithyāvachana, 57 Mithyāvādi, 78 Mitravigrahāni, 42 Môha, 7 Móksha, 10 Monkey, 6 Mounjībandha, 106 Mriga, 4 Mrig., 138 Mrithikadurga, 32 Mudgara, 36 Mudrā, 9 Mukha of Army, 73 Mukhaśāla, 86 Muktaköņa, 85 Muktatațāka, 97 Muktāyudha, 36 Mukulam, 98, 99 Mūla, 9 Mundaśāli, 113 Muskpaste, 89

Nadīmatka bhūmi, 26 Nadyam, 129

(212)Index

Oils, 90 Onion, 6, 120, 173 Ornaments, 96 Oudhbidam, 129 Owl, 6

Nāgakēśara, 87, 150 Nāgaphani, 96 Nāgapūsta, 135 Nairjharam, 129 Nakshatra, 22, 45, 46, 64, 92 Nakshatradôhadam, 46 Nāmakaa, 107 Nandyāvarta, 96 Naradurga, 32 Narka, 5 Narasimha, 178 Nauyāna, 133 Navagraha, 96 Navavidhdurgalakshanam, 32 Nāyikās, 180 Nidhi, 28 Nigraha, 37 Nijārpanam, 59 Nikatāsanam, 55, 56 Nirvyārja, 42 Niśāchūrņa, 91 Nitiśāstra, 21, 38 Nivritti, 37 Nșiti, 52 Nritya, 4 Nūpura, 102, 153, 160 Nuts, 89

Pādābhyanagana, 132 Pādābhyangôpabhôga, 131 Pādachūdaka, 98 Pädaghargharika, 98 Padakam, 95 Pādalēpana, 4, 132, 153 Padma, 93, 97 Padmapankajasūtra, 29 Padmini, 138 Pādukabhôga, 88 Padya, 9 Palanquin, 102 Palāśa, 31, 150 Pallavaja, 135 Pāna, 4 Pānakam, 128, 129 Panasa, 99, 157 Panchakarma, 25 Panchamahāyajña, 8 Pandurasa, 172 Pāniyabhôga, 129, 131 Pápa, 5

Officers of state, 104

(213)

Royal life in Mānasöllā sa

Parādhināśanam, 55, 56 Paradrôhavarjanādhyāya, 5 Paradrôhavarjanam, 3 Paramapada, 10 Pārşnirôdha, 42 Parasparopakāra, 40 Pārāvata, 4 Pāradam, 31 Parrot, 6, 151, 158, 159, 169, 170 Paraśu, 36 Pārthiva, 50, 51 Partigraha, 73, 74 Pāśa, 4 Paşāņadurga, 32 Paste, 31,90 Patala, 93 Pathyam, 18 Patipattakam, 61, 62 Patitasangavarjanādhyāya, 6 Patitasangavarjanam, 1,3 Pattagahvikam, 100 Patrikamancha, 136 Paurānika, 144 Pavitrāsanam, 100 Pāyasam, 10, 46, 115, 128, 169 Peacock, 101, 133, 134, 159, 163,

169, 173 Pearls, 94, 97, 128, 162, 163, 164

Pepper, 170 Peya, 118, 127 Phanidā, 4, 174 Phanidākrīdā, 174, 175 Physician, 25 Pig, 6, 118, 119, 149, 152, 154, 169 Pinchachhatra, 134 Pinda, 131 Pindadhūpa, 137 Pindaka, 127 Pindavāsa, 130 Piñgala, 53, 54 Piñgālāchārya, 54 Piñgalāśakunam, 50 Pisāchas, 75 Pisayajna, 8 Pittarpannādhyāya, 10 Pittarpanam, 3 Plavaka, 133 Pomegranate, 94, 103 Pôşana, 13 Prabhava, 4 Pôtakiśakunam, 48 Prabhusakti, 37 Prabhuśaktyadhyāya, 37 Pradaksana, 111 Prahēlikā, 4 Prajā, 4

(214)

Index

Purohitalakshanam, 21 Pūrtadāna, 9 Puşkariņi, 9 Puspakavimāna, 156 Puspavāsa, 130, 131 Pusyanakshatra, 19 Putāsanam, 100 Putra, 4 Putrabhôga, 106-113

Prākrit, 144 Pralóbhāsanam, 55, 56 Prānajala, 129 Pranapaha, 39 Prāņāyāma, 11 Prāsāda, 149 Pratīhāralakshanam, 23 Pratīhāri, 23, 160 Pratyarthi, 90 Pravritti, 37 Prayāga, 12 Precious stones, 28 Prēma, 4 Prēmakridā, 180 Prēta, 178, 179 Priyavachanādhyāya, 8 Prôşita, 180 Prostitutes, 181 Pịthvijaya, 85 Pulses, 114, 116 Pumlimga, 91 Pumsavana, 106 Pundarika, 134 Punnāga, 87, 150, 153, 157 Purānas, 143 Pūrņamadhya, 97 Pūrnvedavida, 7 Purohita, 21, 104

Rāga, 144 Rāgadvēşa, 23, 143 Rājaguņas, 17 Rājama, 114 Rājamadgara, 114 Rājyaprāptikāraṇa, 5 Rājyasyasthairya kāranopa vimśati,

3,4 Raktaśāli, 113 Raktadhātu, 106 Ramanīyāsanam, 55 Rasāyanam, 18 Rāmāyaṇam, 143 Rāsis, 67 Rāstra, 4 Rāstrādhyāya, 26 Rāstrapālanāviveka, 26 Rāstrasvikāraṇāsanam, 55

(215)

Royal life in Mānasolla sa

Rathayāna, 133 Rati, 144 Ratī devī, 160 Ratikrida, 4 Raudra, 144 Rauravanaraka, 7 Ravimandala, 96 Red gram, 146 Rēvati, 19 Rice, 113, 114, 115, 117, 151, 165,

172 Rikshadôşavāraņas, 46 Rohini, 19 Rope, 33 Ruby, 94,96 Rukmajam, 61, 62

Sainyarachanālakshanam, 70 Saka tree, 31 Sākshivāda, 5 Sakti, 4, 36 Saktimudrika, 97 Sakunas, 22 Śāla, 85 Salads, 125 Salali, 107 Salary, 35 Sāli, 20 Salilakridā, 4, 160-61 Sālmali, 18, 19 Salmalītülika, 135 Salt, 114 Sāma, 4, 58 Sāmādhyāya, 58-59 Samanta, 17, 24, 72, 74, 107, 160 Sāmantakamātyākās, 104 Samavartana, 106 Sambandhita, 40 Sāmôpāya, 58-59 Sampratyātmika, 180 Samskāra, 106 Sanātanadharma, 8 Sandal, 158, 167 Sandalwood, 90, 132, 134 Sandhi, 4, 40

Sabhā, 77, 78, 79 Sabhāpati, 78 Sachiva, 104, 146, 160 Sachivāyatta, 37 Sadabhāgapanya, 27 Şadaguna, 4, 24 Sādavala, 4, 164 Sadhaka, 30, 49, 177, 178 śādvalakrida, 163 Saffron, 90, 91, 93 Sabaşragrāmādhipāti, 27

(216)

Index

Sandhivigrahādhikāri, 23, 24 Sandhivigrahikalakshanam, 23 Sandhyādhyāya, 40-41. Sankka, 71 Sankhini, 138 Saptijam, 61 Sāramēya, 4 Sāranga, 169 Saranāgatarakshana, 3 Sarasam, 129 Saraswati, 3, 12, 30 Sārathi, 24 Sārathilakshanam, 24 Sarika, 98 Sammāgatarakshādhyāya, 14 Sarvadigrikshana, 43 Sarvāhvāna, 102 Sarvasiddhi, 52 Sarvasvaharanam, 64 Sarvatóbhadra, 85 Sāsanam, 61, 62 Sastika, 113 Śăstra, 3, 4, 77, 109, 110, 178 Sāstri, 80 Sasya, 4 Sasyakrīdā, 169 Satāvarti, 18 Satkali, 46

Sattu, 46 Satya, 18 Sauce, 128 Saurya, 18 Sayana, 4 Sayya, 13 Sayyābhôga, 134, 136 Seasamon, 10 Seats, 99 Sechana, 4 Sechanakridā, 160-161 Śēkharam, 99 Sēnā, 4 Sēnāpati, 22 Sēnāpatilakshņam, 22 Sheep, 6, 115, 169 Shields, 35 Siddhi, 177, 178 Sidhayôga, 43 Sighraga, 42 Sighĩu tree, 31 Sikharini, 127, 129 Silāchara, 7 Simhāsanam, 100, 161 Sindhu, 36 Sindūra, 93 Siroveştnam, 99 Siva, 178

(217)

Royal life in Mānasolla sa

Sióka, 144 Smārakam, 59 Smriti, 77 Snake, 6, 145 Snānabhôga, 87-88 Snānagriha, 86 Sôka, 144 Sothi, 119, 120, 125 Spices, 158 Sradha, 10 Srikhanda, 91, 160 Spingāra, 144 Srivatsa, 85 Śrôtriya, 7,27 Sruti, 109 Stars, 45, 46 Sthānadāhaka, 66 Sthalasali, 113 Subhayôga, 43 Sūdadhyaksha, 24 Sūdalakshanam, 24 Sūdraka, 177 Suhridadhyāya, 36-37 Suhrita, 4 Sukhaśāla, 86 Sukhāsanam, 100 Sukhayāna, 132 Sukladhātu, 106

Suklarajanı, 31 Suklatirtha, 12 Sukragraha, 22 Sukshamaśāli, 113 Sūla, 36 Sūpa, 114 Supra, 171 Surabhi, 90, 93, 103, 135, 152, 157,

160, 172 Suratakridā, 181 Sürya, 3 Svāmya, 4 Svāmyadhyāya, 17 Svaramañcha, 136 Svasthāsanam, 55 Svātmastutivarjanādhyāya, 7 Svātmastutivarjanam, 1,3 Svētabrahma tree, 20, 31 Svētārka, 29 Swan, 6 Swarabala, 67 Swarga, 8 Swing, 159, 160 Syena

Tadakam, 129 Tāla, 144 Tālasava, 172

(218)

Index

Tāmbūla, 4, 89, 139, 146, 164 Tambūlabhôga, 89-91 Tāmbūlādhikāri, 104, 181 Tāmrachūda, 4 Tantra, 13 Tapas, 3 Tapôdhyāya, 11 Tarka, 109 Tiger, 6 Til, 10 Tilaka, 145, 150, 157, 160, 163, 167 Timira, 4 Timirakrida, 175-176 Tirthasnānādhyāya, 12 Tirthayātra, 3, 159 Tithis, 88… Tittira, 4 Topaz, 94, 95 Tortoise, 125 Tôyaja, 135 Tôyakrīdā, 161-162 Treasure, 29 Trisikhas, 29 Tulasi, 91 Turmeric, 114, 132, 165 Tūrya, 107 Types of siddhis, 177

Udumbara, 99, 107, 131 Udyāna, 4 Ujjaini Upabhôga, 85, 89 Upabhôgasyavimśati, 3, 4, 85, 138 Upahāra, 40 Upakarnas, 181 Upanayana, 109 Upaśrutisakunam, 54 Upavana, 149, 151, 155 Upāya, 4, 181 Upēkņāsanam, 55 Utpala, 93, 131 Utsāha, 4, 144 Utsāhasakti, 40 Utsāhasatyadhyāya, 40

Vāchaspati, 20 Vadra, 138 Vädya, 4 Vāggeyakāras, 105 Vāgina, 4 Vaibhava, 18 Vaidhyalakshanam, 25 Vaisheyikā, 180 Vaisyam, 61, 62 Vaitāla, 30 Vaitālika, 105

Ubhayavētana, 57

(219)

Royal life in Mānasóllása

Vājapeya, 8 Vajra, 96 Vajragarbha, 97 Vajralēpa, 146 Vakula, 93 Valamañcha, 136 Vāluka, 4 Vālukakridā, 165 Vāmabhāga, 111 Vanadurga, 32 Vanakridā, 157, 159 Vanga, 30, 88, 92 Vāni, 9 Vara, 110 Varamañcha, 136 Vārānasi, 12 Vārasūlam, 45 Vărăţika, 4 Varga, 70 Varņāsara, 94, 95 Vārtidhūpa, 137 Vartikam, 115 Vasanam, 61 Vasantotasav, 160 Vāsavasijika, 180 Vastrabhandaraka, 92 Vastrópabhôga, 4, 91-93. Vāstuśāstra, 85

Vātātapasah, 18 Väyu, 52 Velakaram, 61, 62 Vēnuvana, 157 Vēstika, 96 Vētāla, 178, 179 Vetramañcha, 136 Vibhatsa, 144 Vidwāna, 7 Vidyārambha, 106, 109 Vigraha, 4, 40 Vigrahādhyāya, 41 Vikramāditya, 177 Vikramasakti, 40 Vilēpana, 4,91 Vilēpanabhôga, 90 Village crow, 6 Vina, 106, 107 Vindhyavāsini, 179 Vinôda, 4 Vinôdavimśati, 3, 143-145 Vira, 4, 144 Virahini, 180 Virakrīdā, 176, 180 Vīrarasa, 143 Visadanda, 76 Viśākha, 9 Visarjana, 9

(220)

Inder

Vismaya, 144 Vişnu, 3, 10,30 Vitāna, 86 Vivāha, 106, 160 Vyāghravinôda, 76 Vyākarana, 109 Vyanjana, 25, 127 Vyavahārapadas, 77

Yamunā, 12 Yāna, 4, 140, 132 Yānôpabhôga, 132-134 Yasa, 5 Yātrā, 12, 43, 44, 45, 46, 47, 48 Yātrādhyāya, 42 Yava, 19 Yavana, 36 Yoga, 18 Yogadhiyôga, 44 Yogamatas, 179 Yoginichakram, 63 Yöginīs, 179 Yojana, 19 Yöşidbhôga, 138, 139 Yösita, 4 Yuddham, 66 Yugmaprabhritkam, 57, 58

Wagtali, 28 Wine, 153, 169 Wolf, 6 Women, 103 Wood, 99

Yajamāna, 8 Yaksha, 30, 178 Yamala, 99

(221)