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[[भामिनीविलासः Source: EB]]

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All Rights Reserved by the Editor.

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Printed by S. V. Paruleker, at the Bombay Vaibhav Press,
Servants of India Society’s Building, Sandhurst Road, Girgaum,
Bombay.
AND
Published by J. Ratlam for the Oriental Publishing Co.,
Girgaum, Bombay.
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CONTENTS.
Preface
Introduction
Text and Translation
(i). Prāstāvikavilāsa
(ii). Sāntavilāsa
Notes…
Appendix

PREFACE.

The present Edition of the Bhāminīvilāsa (I and IV)is meant primarily to meet the needs of studentsappearing for the F. Y. A. Examination in the year 1936.For the purposes of the text of this Edition, the NirnayaSagar Press Edition, the Calcutta Edition, and Mr. Ayyer’sEdition have been consulted. It is hoped that theIntroduction and the Notes will adequately meet therequirements of the F. Y. A. students, and lead them to anappreciation of the poetry of Jagannatha Pandit.

I have to thank my teacher and colleague, Prof.K. M. Shembavnekar, M. A., for the assistance whichhehas so readily given in the preparation of this Edition.Finally, thanks are due, and they are readily offered, tothe Management of the Bombay Vaibhava Press for thegeneral neatness of printing.

St. Xavier’s College,
Bombay.
1st. May, 1935

G. C. J.

INTRODUCTION

While paying a warm tribute, on one occasion, to thelate Lord Oxford (formerly Mr. Asquith) for his classicalknowledge and scholarship, Mr. Baldwin declared that hewas the last of the Romans—“the last of those whose debtwas to Athens and whose inspiration from Rome.”Itmay likewise be said of Pandit Jagannātha that he wasthe last of the “Romans,”for, the tradition of ClassicalSanskrit poetry which started practically with Kālidāsa,and which flourished through the vicissitudes ofseventeen centuries, found its last exponent of note inPandit Jagannātha. This observation is not of courseintended to convey the impression that the tradition of Classical Sanskrit Poetry has ceased to exist altogether.Far from it. The fact is that while, on the one hand, itcannot be denied that eminent Pandits have proved themselves heirs to the tradition which Jagannātha followedin his day, it has, on the other hand, to be admitted thatno successor of Jagannātha has attained to a statureas great as his own; and, besides as time rolls on,thetradition is certain to be influenced and proportionatelymodified by foreign modes and currents of thought andexpression. Jagannātha, therefore, may well be lookedupon as practically the last representative of the traditionof Classical Sanskrit Poetry.

HIS DATE.

The darkness hanging over Indian literary chronologyhas become proverbial. Though the assertion of Macdonellthat the Indian mind was lacking in the historical senseis to be treated as an exaggeration, yet it is not altogetherunfounded. About a great many of Sanskrit writers weknow next to nothing. In not a few cases, the dates can

approximately be proposed only in terms of centuries:and even so the dates proposed by different scholars differby centuries! Kālidāsa, according to some, might haveflourished in the First Century B. C., while, according toothers, he must have lived in the 4th Century A. D.Kauṭilya might be assigned either to the 4th century B. C.or the 3rd century A. D.; and so on. For such a sad stateof affairs, the writers themselves are indeed responsible.This aversion to autobiographical references on the part ofearlier writers like Kālidāsa seems to have been theresult of their natural or—what is more likely—conventional reticence. The task of settling theirchronology therefore becomes proportionately difficult.

It seems however that the tradition in this respectunderwent a wholesome change, for the later Sanskritauthors do not show the aversion which their predecessorsdid. This modification has taken place early enough, forwe find Bāṇa making detailed personal references in hisहर्षचरित; and also, to a certain extent, in कादम्बरी; and Bāṇamight well have been, as Mr. Kane suggests, the first tobring about this wholesome change. Similarly, ŚrīHarsa, the author of the Naiṣadhīya, who lived about theclose of the 12th century A. D., gives a tolerably goodaccount of himself and his works in the concluding stanzaof each Canto of his renowned Kāvya. This conventionof making personal references attained greater and greatervogue, as can only be expected; yet, with all this changeit is not possible to arrive at precise dates about the birth,death etc. even in the case of later writers from whateverinformation they have left about themselves in theirworks.

Fortunately, Jagannātha has been rather unstintingin making personal references. In a verse in the Śānta-

vilāsa. (45) he complacently says that during his youthhe enjoyed the splendid patronage of the Lord of Delhi:दिल्लीवल्लभपाणिपल्लवतले नीतं नवीनं वयः। Again, to the munificence of the Emperor he pays a warm tribute in thestanza :

दिल्लीश्वरो वा जगदीश्वरो वा मनोरथान् पूरयितुं समर्थः।
अन्यैर्नृपालैः परिदीयमानं शाकाय वा स्याल्लवणाय वा स्यात्॥

Now, regarding the identity of this Lord of Delhi, there is a popular belief that it was Akbar who offered patronage tothe Pandit, and therefore Jagannātha was a contemporaryof Akbar. On what evidence this popular view rests it isnot possible to ascertain. But, whatever that evidence, itis clear that it must be dismissed as unreliable becauseit would conflict with the internal evidence furnishedby Jagannātha’s works, which unmistakably showsthat the Pandit flourished during the reigns ofthe Moghul Emperors Jehangir and Shah Jehan,particularly the latter. In the verse श्यामं यज्ञोपवीतं1etc. Jagannātha mentions नुरुद्दीन which is areference to the Emperor Jehangir. And the highlylaudatory manner in which Jagannātha refers toJehangir suggests that the Pandit must have enjoyedthe latter’s patronage. The Emperor Shah Jehanis literally mentioned by Jagannātha as his patron.Shah Jehan seems to have been so much pleased

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1 श्यामं यज्ञोपवीतं तव किमिति मषीसंगमात्कुत्र जातः
सोऽयं शीक्तंशुकन्यापयसि कथमभूत्तज्जलं कज्जलाक्तम्।
व्याकुप्यन्नूरदीनक्षितिरमणरिपुक्षोणिभृत्पक्ष्मलाक्षी-
लक्षाक्षीणाश्रुधारासमुदितसरितां सर्वतः संगमेन॥

with this court Pandit that he bestowed onhim, as Jagannātha himselfavers, the title ofपण्डितराज. ‘अथ सकललोकविस्तारविस्तारितमहोपकारपरम्पराधीनमानसेन प्रतिदिनमुद्यदनवद्यगद्यपद्याद्यनेकविद्याविद्योतितान्तः-करणैः कविभिरुपास्यमानेन कृतयुगीकृतकनिकालेन कुमतितृणजालसमाच्छादितवेदवनमार्गविलोकनाय समुद्दीपितसुतर्क-दहनज्वालाजालेन मूर्तिमतेव नव्वावासफरवानमनः प्रसादेन द्विजकुरुसेवाहेवाकिवाङ्मनः कायेन माथुरकुलसमुद्रेन्दुना रायमुकुन्देनादिष्टेन सार्वभौमश्रीशाहजहांप्रसादादधिगतपण्डितराजपदवीविराजितेन तैलङ्गकुलावतंसेन पण्डित-जगन्नाथेनासफविलासाख्येयमाख्यायिका निरमीयत। सेयमनुग्रहेण सहृदयानामनुदिनमुल्लासिता भवतात्।’–आसफविलास (Opening sentencesas quoted in the Introduction to the N. S. Editionof रसगङ्गाधर). There is, again, the verse भूमीनाथशहाबदीन2etc. in which Jagannātha pays highcompliments, courtier-wise, to Shah Jehan. The आसफबिलास, as the name only too patently shows, has for itstheme the Nawab Asaf Khan who, as we gather fromhistory, was the favourite Khan Khanan of the EmperorShah Jehan, and who died in 1641 A D. In जगदाभरण,Jagannātha praises Dara Sikoh, the eldest son of ShahJehan. From these references, it becomes abundantlyclear that Jagannātha flourished in the reign of ShahJehan, and very probably he began his literary career inthe reign of Jehangir.

This internal evidence is quite conclusive. Yetthere is an external consideration confirming the internal

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२ भूमीनाथ शहाबदीन भवतस्तुल्यो गुणानां गणै–
रेतद्भूतभवप्रपञ्चविषये नास्तीति किं ब्रूमहे।
धाता नूतनकारणैर्यदि पुनः सृष्टिं नवा भावये–
न्न स्यादेव तथापि तावकतुलालेशं दधानो नरः॥

evidence. There is a traditional belief3 Introduction.")in Jaipur thatSavai Jaya Singh, the Maharajah, performed anAśvamedha sacrifice in 1714 A. D., and sent an invitationto Nageśa Bhatta, the Commentator of Jagannātha’sRasa Gangādhara. It appears from this that NageśaBhatta lived about the first quarter of the 18th century.Now Nageśa Bhatta was removed from Jagannātha by alittle less than two generations: from which it followsthat Jagannātha must have lived about the two middlequarters of the 17th century.

HIS LIFE.

Jagannātha was a Tailang Brahmin by caste, as isseen from the concluding verse of his प्राणाभरणः तैलङ्गान्वयमङ्गलालयमहालक्ष्मीदयालालितः श्रीमत्परमभट्टसूनुरनिशं विटूल्ललाटंतपः।संतुष्टः कमताधिपस्य कवितामाकर्ण्य तद्वर्णनं श्रीमत्पण्डितराजपण्डितजगन्नाथो व्यध्यासीदिदम्॥ In the opening sentences of आसफविलालसalso which are quoted above, he refers to himself asतैलङ्गकुलावतंसेन. Some Mss. of the Bhāminīvilāsa arereported to have in the colophon the words ‘इति श्री मदखिलान्ध्रवेगिनाडिकुलावतंस—’etc. from which it appears thatJagannātha was born in theवेगिनाडfamily. The name ofJagannātha’s father was पेरुभट्ट, and that of his motherमहालक्ष्मी. of वन्दे तं पेरुभट्टाख्यं लक्ष्मीकान्तं महागुरुम्। R. G.पेरुभट्ट seems to have been also known as पेरमभट्ट forJagannātha calls himselfपेरुभट्टसूनु in the concludingstanza ofप्राणाभरण just quoted above. Jagannātha wascertainly fortunate inasmuch as he was born in afamily with high literary traditions; and particularly hewas so ‘well-fathered’because पेरुभट्टwas a man ofconsiderable scholarly attainments, as Jagannātha him-

self says in the opening verses of रसगङ्गाधर. पेरुभट्ट hadstudied वेदान्त under ज्ञानेन्द्र भिक्षु, न्याय and वैशेषिक philosophiesunder महेन्द्रपण्डित, पूर्वमीमांसा under देव i. e.,खण्डदेव inBenares, and the महाभाष्य under the grammarian शेषवीरेश्वरSmall wonder, then, that under these propitious circumstances the boy Jagannātha was brought up with lovingcare by his parents of. महालक्ष्मीयालालितः in the verseतैलाङ्गन्वय etc.), and received such education from his fatheras made him eventually the पण्डितराजthat he turned outto be. Though Jagannātha received his education fromhis father for the most part, yet, seems, he had also satat the feet of शेषवीरेश्वर, the guru of his own fatherJagannātha must indeed have had a natural aptitude forthe many-sided scholastic education given to him for wenow know him not merely as a poet of a very high order,but also as an accomplished rhetorician—as the author ofरसगङ्गाधर : moreover, his mastery over the Science ofGrammar is displayed in the ambitious commentaryमनोरमाकुचमर्दिनी which was written by him by way of arefutation of मनोरमा of भट्टोजीदीक्षित.

The young Pandit, having been fully equippedintellectually, left home and, as is evidenced by his ownwritings, found his way into the Court of the MoghulEmperors under whose warm patronage he passed hisyouthful days, cf. दिल्लीवल्लभपाणिपल्लवतले नीतं नवीनं वयः।(शी. ४५) So great seems to have been the impressioncreated by the learning and scholarship of this youngPandit at the Imperial Court, that the Emperor ShahJehan conferred on him the title पण्डितराज(the Lord ofthe Learned) which, the latter, from thevery frequentmention of it made by him in his works, appears to haveprized very much, cf. **पण्डितराजस्य कवितायाः।**Sānta V. 44.The epithets पण्डितपति (Śānta V. 39 ) and पण्डितनरेन्द्र (which

Jagannātha uses about himself in a verse at the beginningof the Rasagangādhara) are apparently paraphrases ofthe title पण्डितराज. While he was basking in the sunshineof the Imperial Moghul Court, Jagannātha seems to havereceived very warm attentions from at least two otherindividuals besides the Emperor. In the Āsafvilāsa, helavishes the highest praises4 on. Nawab Asafkhan, thefavourite Khan khanan of Shah Jehan, though it is to benoted that the initiative for the composition of theĀsafvilāsa came from Rai Mukund. of. रायमुकुन्देनादिष्टेनetc. in the passage अथसकललोक etc. quoted above. Dara Sikoh,the eldest son of Shah Jehan, is eulogized by Jagannāthain his जगदाभरण. Apart from the sense of gratitude to thisprince for the generous treatment which the latter mighthave given him, Jagannātha must have had a specialbond of affection for him, because Dara was himself akeen student of Sanskrit.

Various episodes purporting to give interestingdetails in the life of Jagannātha are current among thepeople; but none of them is corroborated by any unimpeachable external or internal evidence. One of suchepisodes persistently believed by the people would showthat while Jagannātha was at the Court of the MoghulEmperor, he was smitten with love for a young Moslemdamsel whom, it is said, he ultimately married. In

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  1. Cf. the following verses found in R. G.—

सुधेव वाणी वसुधेव मूर्तिः सुधाकरश्रीसदृशी च कीर्तिः।
पयोधिकल्पा मतिरासफेन्दोर्महीतलेऽन्यस्य नहीति मन्ये॥

युक्तं तु याते दिवनासफेन्दौ तदाश्रितांना यदभूर्द्वनाशः।
इदं तु चित्रं भुवनावकाशे निराश्रया खेलति तस्य कीर्तिः॥

support of this, various—now famous—verses5ascribed to Jagannātha are quoted as showing his fondness for theयवनी. Further, it is said that in old age Jagannāthawent to Kāśi, but there he was condemned as a mandepraved on account of the association with a यवनीJagannātha, however, thought otherwise; he went to thebanks of the Ganges, and with keen fervour began to singverses6 in praise of the holy river. In response, it is said,the water of the river began to rise higher and higher tillJagannātha was given a full bath and had his purityattested.

Now, as has already been remarked, there is nounchallengeable internal or external evidence corroborating this traditional episode which has been current,however, with remarkable persistency. As for the versescited in this connection, they are not found in any of thewritings of Jagannātha. Even granting their authenticity,there is no reason why they must be regarded as beingpersonal to Jagannātha in application. And the Gangālahari does not betray a single hint as to its genesis. It isthoroughly devotional in character; and there is nothing init which might preclude the supposition that it might havebeen composed under any other different set of circum-

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५ यवनी रमणी विपदः शमनी कमनीयतमा नवनीतसमा।
उहिऊहिवचोऽमृतपूर्णमुखी स सुखी जगतीह यदङ्कगता॥१॥

यवनी नवनीतकोमलाङ्गी शयनीये यदि नीयते कदाचित्।
अवनीतलमेव साधु मन्ये न वनी माघवनी विनोदहेतुः॥२॥

न याचे गजालिं न वा वाजिराजिं न वित्तेषु चित्तं मदीयं कदापि।
इयं सुस्तनी मस्तकन्यस्तहस्ता लवङ्गी कुरङ्गीदृगङ्गीकरोतु॥३॥

  1. These verses form the गङ्गालहरी.

stances. Moreover, Jagannātha was a scrupulous, piousBrahmin. It follows therefore that the traditional beliefis not corroborated by the writings of Jagannātha. Butthe tradition gains colour when we take into account theatmosphere at the Imperial Moghul Court. One point,however, is certain: The Pandit could not have marrieda yavana girl. He may perhaps have associated with ayavani, following the prevailing custom at the MoghulCourt. This keeping of a yavani, too, must have madeJagannātha a sinner and a derelict in the eyes of theBrahmins of Benares.

In later years of life, Jagannātha seems to haveceased taking interest in worldly affairs, and bent onpassing the remainder of his days in piety and peace.From the 45th verse of the Śāntavilāsaसंप्रत्युञ्झितवानंमधुपुरीमध्ये हरिः सेव्यते। it appears that he settled in मधुपुरीi. e.मथुरा, and passed his days in the devotion of Hari.This fact would cut right across the common belief thatthe Pandit passed his last days on the banks of theGanges—in Kāśi. This common view seems to be basedon the verse किं निःशंकं शेषे शेषे वयसस्तवागतो मृत्युः। अथवा सुखशयीथा निकटे जागार्ति जाह्नवी जननी॥(Śānta V. 31). WhenJagannātha went to Kāśi and settled there in old age,Appayya Diksita is said to have taunted him by sayingthat it was no use to be indifferent at the fag end of life,for Death is almost at the door. To this Jagannātha gavethe brilliant retort that there was no danger to himbecause Mother Ganges was near by to take care of him.From this incident, it appears that Jagannātha passed hislast days in Kāsi. How then are these two mutuallydiscordant pieces of evidence to be explained? There is,of course, another reading in place of the line संप्रत्युज्झितवासनं मधुपुरीमध्ये हरिः सेव्यते। This Variant reads: संप्रत्यन्धक-

शासनस्य नगरे तत्त्वं परं चिन्त्यते। (The highest truth is contemplated now in the city of Siva i. e. Kāśī); this latterreading seems on the face of it to have been the concoctionof some Pundit who, being already aware of the incidentbetween Jagannātha and Appayya Dixit, felt the absurdityof the present reading and wanted to do away with it. Itis open to us, in the last resort, to conclude, as it isalready suggested, that Jagannātha may have lived forsome time both in Kāśī and in Mathurā in his last days.

JAGANNĀTHAAS A MAN.

Jagannātha must have been a man of ambitions inlife, for, as we have already seen, after finishing hisstudies he left his native place and travelled abroad.His temperament seems to have been emotionallysensitive, as can be seen from his dealings with others.His attitude towards his parents is one not onlyof warm filial love but also of reverence. The parentswho had taken so much care to bring up their son wererewarded by the gratefulness and affection which thelatter cherished for them. To his patron, the Emperor,Jagannātha bore high loyalty, which is shown by thewarmth of feeling with which the Emperor is referred toby him, whenever an occasion arises for him to do so.This emotional sensitivity bordered on impulsiveness.His emotional response to any stimulus was very great.And it is to this source indeed that are to be traced thewarm love and loyalty on the one hand, and the violentantagonism, on the other, both of which Jagannāthashowed. He was as loyal and friendly to his patron andothers as he was hostile to his foes. He undertook to writehis refutation of मनोरमाof Bhattoji Dixit mainly becauseBhattoji Dixit had turned “faithless to his Guru”—anattitude which Jagannātha could never understand, much

less connive at. With virtuous indignation and pride,he asserts: पण्डितेन्द्रो जगन्नाथः स्यति गर्वं गुरुद्रुहाम्. This sameemotional impulsiveness, again, explains the arrogant.looking personal references which Jagannātha makes inhis writings. His scornful attitude towards other poets,his high estimation of his own abilities, the arrogantvein in his writings—these proceed from the impetuoustemperament of the emotional poet.

Yet, Jagannātha was a scrupulous man. None but aconscientious heart could adopt such a touching attitudeas Jagannātha did, when, laden with years and experienceof the world, he tried to look back upon the variedpageant of the past and take a review of how he hadlived all along: शास्त्राण्याकलितानि नित्यविधयः सर्वेऽपि संभावितादिल्लीवल्लभप णिपल्लवतले नीतं नवीनं वयः। संप्रत्युज्झितवासनं मधुपुरीमध्ये हरिःसेव्यते सर्वं पण्डितगजराजि-तिलकंनाकारि लोकाधिकम्॥ This verseshows how eager Jagannātha was to shape hislife in accordance with the Vedic injunctions. It alsoshows the religious nature of Jagannātha. As a matterof fact the devotional compositions like गङ्गालहरी, अमृतलहरी,करुणालहरि all show the religious attitude of the poet. TheSāntavilāsa shows Jagannātha as a fervent devotee ofViṣņu, or Śrīkṛsna. He was a Vaiṣṇava of the Advaitaor Śānkara school.

JAGANNĀTHA’S WORKS.

From among about a dozen compositions ofJagannātha, there are four or five which are well-known,A reference is already made to the famous lyricalpoem गङ्गालहरीwhich is full of devotion and reverential emotion. The मनोरमाकुचमर्दिनी was composed byJagannātha with the set purpose, as the title itselfshows, of refuting the मनोरमा in which Bhattoji

Dixit had propounded certain views contrary to thoseheld by Śeṣaśrīkṛṣṇa who was the Guru of Bhattoji Dixit.The चित्रमीमांसाखण्डनम् is a work on Rhetoric and iscomposed in order to point out the faults in चित्रमीमांसा, acomposition by Appayya Dixit. But by far better knownand looked upon as a standard work on Rhetoric is theरसगङ्गाधर. In this work Jagannātha examines and refutesthe views of his illustrious predecessors and expounds hisown. While this work shows the masterly knowledge ofJagannātha of the science of Poetics, it shows him at thesame time as an able writer both in prose and verse.His prose is characterized, as Prof. Kane has well observed,by a lucid and vigorous style and displays great criticalacumen. In his exposition of a topic, Jagannātha hadto cite examples. But, conscious as he was of his ownpoetic powers, he disdained to draw upon others andcomposed his own verses suitable to the topic undertreatment. With great elation he says in the beginningof the रसगङ्गाधर :–निर्माय नूतनमुदाहरणानुरूपं काव्यं मयात्र निहितं नपरस्य किञ्चित्। किं सेव्यते सुमनसां मनसापि गन्धः कस्तूरिकाजननशक्तिभृता.मृगेण॥ His stanzas bear testimony to the poetical abilityof the Pandit. “They are composed in an easy, flowingand graceful style and exhibit great poetic talent”. Theभामिनीविलास is a poetical composition which is alsowell-known. Jagannātha himself enumerates thequalities of his poetry in a stanza in the करुणविलासः निर्दूषणागुणवती रसभावपूर्णा सालङ्कृतिः श्रवणकोमलवर्णराजिः। सा मामकीन कवितेवमनोऽभिरामा रामा कदापि हृदयान्मम नापयाति॥ (6) It has tobe admitted that this evaluation of his own poetry byJagannātha is, to a great extent, correct. There is aspecial quality of his poems which Jagannātha refers tonow and then in the concluding stanzas of the Śāntavilasa,and on which he prides himself. It is मााधुर्य. In hisopinion (cf. Śāntavilāsa, 42), a poetical composition is

worth its name only if this quality, माधुर्य, is present in itमाधुर्यis one of the ten qualities of काव्य and partakes of atwofold nature—शाब्दand आर्थ. The ‘Verbal Sweetness’(शाब्दमाधुर्य) is defined by Jagannātha as: संयोगपरह्स्वातिरिक्तवर्णघटितत्वे सति पृथक्पदत्वं माधुर्यम।‘Verbal Sweetness’isgained by the use of separate words while at the sametime avoiding short syllables followed by conjuncts.And the ‘Sweetness of sense’ (आर्थमाधुर्य) is defined as:**एकस्या एवोक्तेर्भङ्गयन्तरेण पुनः कथनात्मकमुक्तिवैचित्र्यं माधुर्यम्।**The‘Sweetness of sense’is the variety of expressing one andthe same idea in different charming ways. The भामिनीविलास, of course, is characterized by this two-fold **माधुर्य.**and Jagannātha’s claim has to be conceded.

However, attention must be drawn to certain drawbacks in Jagannātha’s poetry from our own point of view.One such is his mannerisms. Sometimes he prefers anawkward way of expressing an idea to a direct andsimple expression of the same. An illustration in pointis the use of the expression पुष्टिं तन् in the line **यत्पिषतामपिनृृणां पिष्टोऽपि तनोषि परिमलैः पुष्टिम्।**He means to say, ‘Thoudelightest with thy fragrance etc.’ But instead of directlysaying so, he uses the rather awkward phrase पुष्टिं तनोषि,‘Thou dost bring about the nourishment or satisfactionresulting therefrom’. संतापमालाin vs. 15 in the Prūstāvikavilāsa is another phrase showing the same drawback.It is not difficult to perceive why Jagannātha used thephrase पुष्टितन्in the context. The reason is, and thatshows another drawback, Jagannātha’s great love foralliteration. This passionate love for an alliterativeeffect is responsible for the occasional use of roundabout expressions. In fairness to the Pandit, however, itmust be noted that much of whatever artificiality is seen

in his poetry is to be attributed to the literary conventionscurrent in his time.

BHĀMINĪVILĀSA.

It is not possible to say exactly what the title wasmeant by the Pandit to convey. It is surmised that theBhāminīvilāsa was composed by Jagannātha for thedelight and edification of his wife whose name, it is tobe supposed, was भामिनी. The word, **भामिनी,occurs severaltimes in the भा. वा. e.g., in the opening verse of theशृङ्गारविलीस;also in the 3rd and 17th stanzas of theकरुणविलास.**On the contrary, it may be supposed that thework is so called because Jagannātha has therein,especially in the शृङ्गारविलास, described the graces of abeautiful woman. The purpose for which the Bhāminīviläsa was ‘composed’is altogether different, as thepoet says in the last verse of the Śāntavilāsa. Hemakes no mention of भमिनी in this connection, butsimply says that he wanted thereby to preserve hispoetical gems from plagiarists.

The Bhāminīvilasa consists of four vilāsas, out ofwhich the first and the last are edited here. Thereseems to be no vital connection between the variouscilasas except the fact that the second and the thirdcilasas describe a beautiful woman from different pointsof view. There is a certain unity of nature in thecontents of the three vilāsas except the first which, likethe whole work, is an anthology. In the Prastavikavilasathe poet praises good men, censures the wicked, eulogizesvirtues like genosity, helpfulness, etc., draws attention tothe changing wheel of Fortune-indeed, he looks at Lifeas it is, and bodies forth his impressions in the form ofverses. In the other vilasas, on the other hand, there isa respective unity of theme which is treated in an ample,varied way.

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अथ

पण्डितराजश्रीजगन्नाथविरचिते

भामिनीविलासे।

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प्रास्ताविकविलासः।

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दिगन्ते श्रूयन्ते मदमलिनगण्डाः करटिनः
करिण्यः कारुण्यास्पदमसमशीलाः खलु मृगाः।
इदानीं लोकेऽस्मिन्ननुपमशिखानां पुनरयं
नखानां पाण्डित्यं प्रकटयतु कस्मिन्मृगपतिः॥१॥

पुरा सरसि मानसे विकचसारसालिस्खल-
त्परागसुरभीकृते पयसि यस्य यातं वयः।
स पल्वलजलेऽधुना मिलदनेकभेकाकुले
मरालकुलनायकः कथय रे कथं वर्तताम्॥२॥

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1 There are, it is heard, elephants with theirtemples dirty with ichor, (away) at the end of thequarters; the she-elephants (are only) worthy ofpity; while the deer certainly are not of the samenature. As it is, on whom in this world shall the lionnow display the skill of his incomparably sharp talons?

2 The leader of the flock of swans, whose life ishitherto passed in the Mānasa lake, in its water rendered fragrant with the pollens dropping from the manyfully-opened lotus-flowers,–how can he, pray, now livein the water of a puddle crowded with an ever-increasing mass of frogs ?

तृष्णालोलविलोचने कलयति प्राचीं चकोरीगणे
मौनं मुञ्चति किं च कैरवकुले कामे धनुर्धुन्वति।
माने मानवतीजनस्य सपदि प्रस्थातुकामेऽधुना
धातः किं नु विधौ विधातुमुचितो धाराधराडम्बरः॥३॥

अयि दलदरविन्द स्यन्दमानं मरन्दं
तव किमपि लिहन्तो मञ्जु गुञ्जन्तु भृङ्गाः।
दिशि दिशि निरपेक्षस्तावकीनं विवृण्व-
न्परिमलमयमन्यो बान्धवो गन्धवाहः॥४॥

समुपागतवति दैवादवहेलां कुटज मधुकरे मा गाः।
मकरन्दतुन्दिलानामरविन्दानामयं महामान्यः॥५॥

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3 While all the female cakora birds, with eyesfickle through yearning, are gazing at the East; whilethe night-lotuses are shedding off their modesty (i. e., are opening out); while Cupid is twanging his bow;and while the anger of self-conscious ladies is fast melting away (lit. about to go away), is it proper, OCreator, (for you) to ordain a pompous show of cloudsover (i. e. so as to screen) the moon?

4 Ye, blooming lotus-flower, let the bees humsweetly, licking, with difficulty, your dripping juice.Here is another one–your friend, the wind, discharging, without expecting any return, your fragrance inevery direction.

5 Do not despise the honey-maker (i. e. the bee),O Kuṭaja, when perchance he doth approach thee; (for)he is much respected (even) by the lotuses burstingwith juice.

तावत्कोकिल विरसान्यापय दिवसान्वनान्तरे निवसन्।
यावन्मिलदलिमालः कोऽपि रसालः समुल्लसति॥६॥

नितरां नीचोऽस्मीति त्वं खेदं कूप मा कदापि कृथाः।
अत्यन्तसरसहृदयो यतः परेषां गुणग्रहीतासि॥७॥

कमलिनि मलिनीकरोषि चेतः किमिति वकैरवहेलितानभिज्ञैः।
परिणतमकरन्दमार्मिकास्ते जगति भवन्तु चिरायुषो मिलिन्दाः॥८॥

येनामन्दमरन्दे दलदरविन्दे दिनान्यनायिषत।
कुटजे खलु तेनेहा तेने हा मधुकरेण कथम्॥९॥

अयि मलयज महिमायं कस्य गिरामस्तु विषयस्ते।
उद्गिरतो यद्गरलं फणिनः पुष्णासि परिमलोद्वारैः॥१०॥

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6 Cuckoo, manage to pass the cheerless days,living in some other forest, until a mango-tree, withswarms of bees hovering about, blooms forth.

7 Never be grieved, Owell, at the thought, ‘Iam very deep (or low)’. For, having much waterwithin thy interior (or, having an excessively appreciative heart), thou dost receive the ropes of others (orthe good qualities of others).

8Olotus-plant, why dost thou be sorry at heart(lit. defile thy heart) on being despised by the ignorantcranes? May the bees live long in the world–the beesthat can appreciate the (quality of) thy matured juice!

9 The bee that has passed the days on the blooming lotus-flower laden with juice–how, alas! did heextend his longing on to the (worthless) Kuṭaja!

10 Whose words can adequately describe this thygreatness, O Sandal tree, for thou dost nourish, withdischarges of fragrance, (even) the serpents that vomitout poison?

पाटीर तव पटीयान्कः परिपाटीमिमामुरीकर्तुम्।
यत्पिषतामपि नृृणां पिष्टोऽपि तनोषि परिमलैः पुष्टिम्॥११॥

नीरक्षीरविवेके हंसालस्यं त्वमेव तनुषे चेत्।
विश्वस्मिन्नधुनान्यः कुलव्रतं पालयिष्यति कः॥१२॥

उपरि करवालधाराकाराः क्रूरा भुजंगमपुंगवात्।
अन्तःसाक्षाद्द्राक्षादीक्षागुरवो जयन्ति केऽपि जनाः॥१३॥

स्वच्छन्दं दलदरविन्द ते मरन्दं
विन्दन्तो विदधतु गुञ्जितं मिलिन्दाः।
आमोदानथ हरिदन्तराणि नेतुं
नैवान्यो जगति समीरणात्प्रवीणः॥१४॥

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11 O Sandal-tree. who is there clever enough tocopy (lit. to accept this thy wont. viz., though pounded, thou dost still regale thy grinders with perfume?

13 In case, O swan, thou shouldst thyself remainidle in distinguishing between water and milk, whoelse in this world will then observe the family tradition(or vow)?

13 Victorious are those rare persons who, outwardly, wear an appearance like the edge of a sword,and look more cruel than the deadliest (lit. the best)of snakes, (but) inwardly (are) veritable preceptorswho initiate the grapes (into sweetness).

14 blooming lotus-flower. let the bees gatheringthy juice hum as they please. As for carrying thyperfumes to the regions between the directions, noneelse in the world except the wind. is clever enough (to do that).

याते मय्यचिरान्निदाघमिहिरज्वालाशतैः शुष्कतां
गन्ता कं प्रति पान्थसंततिरसौ संतापमालाकुला।
एवं यस्य निरन्तराधिपटलैर्नित्यं वपुः क्षीयते
धन्यं जीवनमस्य मार्गसरसो धिग्वारिधीनां जनुः॥१५॥

आपेदिरेऽम्बरपथं परितः पतङ्गा
भृङ्गा रसालमुकुलानि समाश्रयन्ति।
संकोचमञ्चति सरस्त्वयि दीनदीनो
मीनो तु हन्त कतमां गतिमभ्युपैतु॥१६॥

मधुप इव मारुतेऽस्मिन्मा सौरभलोभमम्बुजिनि मंस्थाः।
लोकानामेव मुदेमहितोऽप्यात्मामुनार्थितां नीतः॥१७॥

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15 “When I am dried up by hundreds of theflaming rays of the summer-sun, whom will the streamof travellers, harrassed by the great scorching heat,approach?”—Blessed is the life (or water) of the pondby the way-side, whose corpus steadily (lit. always)wastes away under the unceasing stress of such thoughts.Fie on the birth of the oceans!

16 While thou art becoming contracted (i. e.while thy water is drying up),O lake, the birds on allsides have flown up into the sky, and the bees are(now) betaking themselves to the mango-sprouts. Butto what alternative, alas, can the poor pitiable fishhave recourse?

17 In this wind as in the bee, do not presume thegreed for fragrance, O lotus-plant. Only for the sakeof the joy of the people has he allowed his respected selfto be a supplicant.

गुञ्जति मञ्जु मिलिन्दे मा मालति मौनमुपयासीः।
शिरसा वदान्यगुरवः सादरमेनं वहन्ति सुरतरवः॥१८॥

यैस्त्वं गुणगणवानपि सतां द्विजिह्वैरसेव्यतां नीतः।
तानपि वहसि पटीरज किं कथयामस्त्वदीयमौन्नत्यम्॥१९॥

गाहितमखिलं विपिनं परितो दृष्टाश्च विटपिनः सर्वे।
सहकार न प्रपेदे मधुपेन भवत्समं जगति॥२०॥

अपनीतपरिमलान्तरकथे पदं न्यस्य देवतरुकुसुमे।
पुष्पान्तरेऽपि गन्तुं वाञ्छसि चेद्भ्रमर धन्योऽसि॥२१॥

तटिनि चिराय विचारय विन्ध्यभुवस्तव पवित्रायाः।
शुष्यन्त्या अपि युक्तं किं खलु रथ्यादकादानम्॥२२॥

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18 Do not, O Mālati Creeper, treat the sweetlyhumming bee coldly; the highly generous celestial treesbear him respectfully on their Leads.

19 O Sandal tree, thon Dearest even those serpentsby whom thou, endowed as thou art with a number ogood qualities, art rendered unenjoyable for good men!How shall we (adequately) eulogize (this) thymagnanimity?

20 The whole of the forest was ransacked, and allthe trees around were examined. But, O mango-tree,thy equal was not found by the bee.

21 If, having placed thy foot on (i. e. havingenjoyed) the flower of the celestial tree, which farexcels (lit. which has brushed aside all talk of) otherfragrance, thou dost desire, o bee, to move to any otherflower-well, blessed art thou, then!

22 Ponder well (lit. for long). O River, whetherit is meet for thee, rising from the Vindhya mountainand (therefore) pure, to receive the (filthy) streetwater even while thou art drying up?

पत्रफलपुष्पलक्ष्म्या कदाप्यदृष्टं वृतं च खलु शूकैः।
उपसर्पेम भवन्तं बर्बुर वद कस्य लोभेन॥२३॥

एकस्त्वं गहनेऽस्मिन्कोकिल न कलं कदाचिदपि कुर्याः।
साजात्यशङ्कयामी न त्वां निघ्नन्ति निर्दयाः काकाः॥२४॥

तरुकुलसुषमापहरां जनयन्तीं जगति जीवजातार्तिम्।
केन गुणेन भवानीतात हिमानीमिमां वहसि॥२५॥

कलभ तवान्तिकमागतमलिमेनं मा कदाप्यवज्ञासीः।
अपि दानसुन्दराणां द्विपधुर्याणामयं शिरोधार्यः॥२६॥

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23 OBabbul tree, tell us for what purpose wemay approach you–you who are never seen adornedwith leaves, fruits or flowers, but (on the contrary)are always a–bristle with thorns?

24 Being alone (of the species) in this forest, OCuckoo, do not give out thy coos. (For) These ruthless crows do not hunt thee down through their mistaken belief in the commonness of species (between theeand them).

25 What quality has driven you, OFather ofBhavánī(i. e. the Himalaya mountain), to bear thismass of snow which robs all trees of their charmingbeauty, and which brings distress to the beings in theworld?

26 O young elephant, never should you scorn thisbee which has approached you. For, he is worthy tobe carried on the head even by the best elephantscharming on account of the flow of rut.

अमरतरुकुसुमसौरभसेवनसंपूर्णसकलकामस्य।
पुष्पान्तरसेवेयं भ्रमरस्य विडम्बना महती॥२७॥

पृष्टाः खलु परपुष्टाः परितो दृष्टाश्च विटपिनः सर्वे।
माकन्द न प्रपेदे मधुपेन तवोपमा जगति॥२८॥

तोयैरल्पैरपि करुणया भीमभानौ निदाघे
मालाकार व्यरचि भवता या तरोरस्य पुष्टिः।
सा किं शक्या जनयितुमिह प्रावृषेण्येन वारां
धारासारानपि विकिरता विश्वतो वारिदेन॥२९॥

आरामाधिपतिर्विवेकविकलो नूनं रसा नीरसा
वात्याभिः परुषीकृता दश दिशश्चण्डातपो दुःसहः।
एवं धन्वनि चम्पकस्य सकले संहारहेतावपि
त्वं सिञ्चन्नमृतेन तोयद कुतोऽप्याविष्कृतो वेधसा॥३०॥

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27 (An act of) downright impropriety this on thepart of the bee—the enjoyment of other flowers by himwhose all desires are well fulfilled by the enjoymentof the fragrance of the flowers of the celestial trees!

28 The cuckoos have been questioned, and all thetrees around have been closely examined (lit. seen) bythe bee; but nowhere in the world was thy equal foundby him, O mango-tree.

29 Is it possible for a cloud of the rainy seasondischarging heavy showers of rain all round, to bringabout that nourishment of this tree. which, O Gardener,was managed by you, through compassion, by meansof a little water in summer with the sun burning above?

30 The superintendent of the garden was devoidof discernment; the earth, to be sure, had no moisture;the ten quarters were roughened by cyclones; and thetremendous sun-shine was difficult to bear. While thusthe causes of the destruction of the Campaka flower

न यत्र स्थेमानं दधुरतिभयभ्रान्तनयना
गलद्दानोद्रेकभ्रमलिकदम्बाः करटिनः।
लुठन्मुक्ताभारे भवति परलोकं गतवतो
हरेरद्य द्वारे शिवशिव शिवानां कलकलः॥३१॥

दधानः प्रेमाणं तरुषु समभावेन विपुलां
न मालाकारोऽसावकृत करुणां बालबकुले।
अयं तु द्रागुद्यत्कुसुमनिकराणां परिमलै-
र्दिगन्तानातेने मधुपकुलझङ्कारभरितान्॥३२॥

मूलं स्थूलमतीव बन्धनदृढं शाखाः शतं मांसला
वासो दुर्गमहीधरे तरुपते कुत्रास्ति भीतिस्तव।
एकः किंतु मनागयं जनयति स्वान्ते ममाधिज्वरं
ज्वालालीवलयीभवन्नकरुणो दावानलो घस्मरः॥३३॥

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were all present in the desert, you were sent out by the Creator from somewhere, O Cloud, to drench it withwater.

31 In (the door of) the lion’s cave where (even)elephants, with clusters of bees hovering over the copious flow of rut, could not stand confidently (lit. couldnot muster confidence), their eyes perplexed with greatfright,–in that cave in which heaps of pearls lie scattered about, to-day, alas, the growls of she-jackals areheard now that the lion is dead!

32 (Although) the gardener, cherishing equalaffection for all trees, did not show any great concern(lit. pity) for the tender Bakula-plant, yet it (theBakula) soon rendered the ends of the quarters resounding with the hums of swarms of bees, by means of thefragrance of the bunches of fresh flowers.

33 Thy roots are very large, and firmly protectedby the stone-platform; thy branches-there’s a hundred

ग्रीष्मे भीष्मतरैः करैर्दिनकृता दग्धोऽपि यश्चातक-
स्त्वां ध्यायन्घन वासरान्कथमपि द्राघीयसो नीतवान्
दैवाल्लोचनगोचरेण भवता तस्मिन्निदानीं यदि
स्वीचक्रे करकानिपातनकृपा तत्कं प्रति ब्रूमहे॥३४॥

दवदहनजटालज्वालजालाहतानां
परिगलितलतानां म्लायतां भूरुहाणाम्।
अयि जलधर शैलश्रेणिशृङ्गेषु तोयं
वितरसि बहु कोऽयं श्रीमदस्तावकीनः॥३५॥

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of them–are strong (or full of sap; thou standest ona mountain diffienlt of access : What hast thou to beafraid of. O best of trees? Only this one, to a certainextent. raises the fever of anguish in my heart—thedevouring. rathless conflagration encircling (everything) with the mass of flames.

34 The Cātuka bird that, though scorched by theburning (lit. very oppressive) rays of the sun, somehowpassed the elongated days in summer in thy contemplation, O cloud—if to him thou, sighted by him through(good) luck. shouldst condescend to show the favourof showering hailstones (at him). then before whomshall we complain?

35 While the trecs. blighted by the riotous (lit.matted, confused) cloud of flumes of the forest conflagration, are withering, with their branches fallen off,thou art raining abundant water on the peaks ofmountain-ranges! What arrogance of wealth is thison thy part !

शृण्वन्पुरः परुषगर्जितमस्य हन्त
रे पान्थ विह्वलमना न मनागपि स्याः।
विश्वार्तिवारणसमर्पितजीवनोऽयं
नाकर्णितः किमु सखे भवताम्बुवाहः॥३६॥

सौरभ्यं भुवनत्रयेऽपि विदितं शैत्यं तु लोकोत्तरं
कीर्तिः किं च दिगङ्गनाङ्गणगता किं त्वेतदेकं शृणु।
सर्वानेव गुणानियं निगिरति श्रीखण्ड ते सुन्दरा-
नुज्झन्ती खलु कोटरेषु गरलज्वालां द्विजिह्वावली॥३७॥

नापेक्षा न च दाक्षिण्यं न प्रीतिर्न च संगतिः।
तथापि हरते तापं लोकानामुन्नतो घनः॥३८॥

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36 On hearing his terrible rumbles in front of you,do not at all be disturbed in mind, O traveller. Haveyou not heard, O friend, about this water-bearer (cloud)that has dedicated his life (water) to the relief of thedistress of the world?

37 O Sandalwood, thy fragrance is known allover the three worlds; thy coolness is extraordinary;thy fame, too, has reached the courtyards of the femalesin the form of the quarters. But hear this one thing:all thy charming qualities are swallowed up by theswarm of serpents vomitting deadly poison in thyhollows.

38 Though there is no expectation (of return),nor a sense of courtesy, nor love, nor attachment onhis part, yet the high cloud removes the oppression ofthe people!

समुत्पत्तिः स्वच्छे सरसि हरिहस्ते निवसनं
निवासः पद्मायाः सुरहृदयहारी परिमलः।
गुणैरेतैरन्यैरपि च ललितस्याम्बुज तव
द्विजोत्तंसे हंसे यदि रतिरतीवोन्नतिरियम्॥३९॥

साकं ग्रावगणैर्लुठन्ति मणयस्तीरेऽर्कबिम्बोपमा
नीरे नीरचरैः समं स भगवान्निद्राति नारायणः।
एवं वीक्ष्य तवाविवेकमपि च प्रौढिं परामुन्नतेः
किं निन्दान्यथवा स्तवानि कथय क्षीरार्णव त्वामहम्॥४०॥

किं खलु रत्नैरेतैः किं पुनरभ्रायितेन वपुषा ते।
सलिलमपि यन्न तावकमर्णव वदनं प्रयाति तृषितानाम्॥४१॥

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39 Thy birth (took place) in the clear lake; thyresidence (is) in the hand of Hari; (thou art) theabode of LaxmĪ; and thy fragrance captivates thehearts of gods. Lovely as thou art, Olotus, withthese and other (similar) qualities, it will be the consummation of thy glory if thou shouldst cherish affectionfor the best among birds, the swan.

40 On thy shore, pearls (brilliant) like the discof the sun lie scattered about side by side with heaps ofpebbles. That (well-known) divine Nàrāyána sleepsin thy ‘water’ side by side with acquatic animals.Seeing this lack of discrimination on thy part, and, theheight of thy glory as well, shall I, pray, censurethee, O Milky Ocean, or praise thee?

41 What’s the use of these pearls or of thy bodybehaving like a cloud (i. e. dark and glossy) O ocean,when thy water cannot be used by thirsty mouths (lit.does not enter the mouths of the thirsty)?

इयत्यां संपत्तावपि च सलिलानां त्वमधुना
न तृष्णामार्तानां हरसि यदि कासार सहसा।
निदाघे चण्डांशौ किरति परितोऽङ्गारनिकरा-
न्कृशीभूतः केषामहह परिहर्तासि खलु ताम्॥४२॥

अयि रोषमुरीकरोषि नो चे-
त्किमपि त्वां प्रति वारिधे वदामः।
जलदेन तवार्थिना विमुक्ता-
न्यपि तोयानि महान्न हा जहासि॥४३॥

न वारयामो भवतीं विशन्तीं वर्षानदि स्रोतसि जह्रुजायाः।
न युक्तमेतत्तु पुरो यदस्यास्तरङ्गभङ्गान्प्रकटीकरोषि॥४४॥

पौलोमीपतिकानने विलसतां गीर्वाणभूमीरुहां
येनाघ्रातसमुज्झितानि कुसुमान्याजध्रिरे निर्जरैः।
तस्मिन्नद्य मधुव्रते विधिवशान्माध्वीकमाकाङ्क्षति
त्वं चेदञ्चसि लोभमम्बुज तदा किं त्वां प्रति ब्रूमहे॥४५॥

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42 Even while you have such an abundance ofwater, if you, O lake. do not readily quench the thirstof the thirsty, whose thirst, alas! will you be able toquench in summertime when you have been thinned(dried up) by the hot-rayed sun scattering showers ofcinders all round?

43 O ocean,we should like to say something tothee if thou dost not get angry: Great as thou art,thou dost not even spare the waters discharged by thecloud who is a (mere) supplicant before thee!

44 O rain-river, we do not indeed prevent youfrom joining the stream of the Ganges (lit. the daughterof Jahnu). It is, however, not proper for you to display your surging billows in front of her.

45 When the bee, by whom smelt and then forsaken, the flowers of the Celestial trees, growing in

भुक्ता मृणालपटली भवता निपीता-
न्यम्बूनि यत्र नलिनानि निषेवितानि।
रे राजहंस वद तस्य सरोवरस्य
कृत्येन केन भवितासिकृतोपकारः॥४६॥

प्रारम्भे कुसुमाकरस्य परितो यस्योल्लसन्मञ्जरी-
पुञ्जेमञ्जुलगुञ्जितानि रचयंस्तानातनोरुत्सवान्।
तस्मिन्नद्य रसालशाखिनि दशां देवात्कृशामञ्चति
त्वं चेन्मुञ्चसि चञ्चरीक विनयं नीचस्त्वद्न्योऽस्ति कः॥४७॥

एणीगणेषु गुरुगर्वनिमिलिताक्षः
किं कृष्णसार खलु खेलसि काननेऽस्मिन्।
सीमामिमां कलय भिन्नकरीन्द्रकुम्भ-
मुक्तामयीं हरिविहारवसुंधरायाः॥४८॥

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the garden of Indra, were smelt by the gods—whenthat bee is driven by fate to seek (thy) juice to-day,what shall we say to thee, O lotus, if thon shouldstbecome self-sparing (lit. greedy) at this time?

46 Hey, swan, say in what way are you going toreturn the obligation to the great lake in which youhave enjoyed bunches of lotus-stalks, drunk water, andresorted to lotus-flowers?

47 The mango-tree in whose clusters of tenderblossoms shooting forth all round at the advent of thevernal season, thou, O bee, humming sweetly about, didstfeast thyself so well—that mango-tree is now reducedto a faded condition by fate;if now, O bee, thou discardest courtesy, who else can be meaner than thyself?

48 O antelope, why, indeed, dost thou, with eyesblinded with overpowering pride, disport thyself in thisforest in the midst of the female-deer? Just mark this

जठरज्वलनज्वलताप्यपगतशङ्कं समागतापि पुरः।
करिणामरिणा हरिणा हरिणाली हन्यतां नु कथम्॥४९॥

येन भिन्नकरिकुम्भविस्खल-
न्मौक्तिकावलिभिरञ्चिता मही।
अद्य तेन हरिणान्तिके कथं
कथ्यतां नु हरिणा पराक्रमः॥५०॥

स्थितिं नो रे दध्याः क्षणमपि मदान्धेक्षण सखे
गजश्रेणीनाथ त्वमिह जटिलायां वनभुवि।
असौ कुम्भभ्रान्त्या खरनखरविद्रावितमहा-
गुरुग्रावग्रामः स्वपिति गिरिगर्भे हरिपतिः॥५१॥

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to be the skirt of the sporting ground of the lion,scattered over with pearls from the temples of excellentelephants that were broken open.

49 How can a herd of deer. that has fearlesslycome near him in front, be killed by the lion, theenemy of elephants, even though he is being consumedwith the fire in his stomach (i. e. he is frightfullyhungry)?

50 How can the lion, who adorned the earth withheaps of pearls dropping down from the rent-up templesof elephants, to-day speak about his valour beforethe deer?

51 Friend, lord of the herd of elephants, blindwith intoxication, do not linger even for a moment inthis dense forest-region; (for) there, in the cave ofthe mountain, sleeps the mighty lion who has torn upa large number of mountain-boulders with his sharp talons, thinking them to be elephants!

गिरिगह्वरेषु गुरुगर्वगुम्फितो
गजराजपोत न कदापि संचरेः।
यदि बुद्ध्यते हरिशिशुः स्तनंधयो
भविता करेणुपरिशेषिता मही॥५२॥

निसर्गादारामे तरुकुलसमारोपसुकृती
कृती मालाकारो बकुलमपि कुत्रापि निदधे।
इदं को जानीते यदयमिह कोणान्तरगतो
जगज्जालं कर्ता कुसुमभरसौरभ्यभरितम्॥५३॥

यस्मिन्खेलति सर्वतः परिचलत्कल्लोलकोलाहलै-
र्मन्थाद्रिभ्रमणभ्रमं हृदि हरिद्दन्तावलाः पेदिरे।
सोऽयं तुङ्गतिमिंगिलाङ्गकवलीकारक्रियाकोविदः
क्रोडे क्रीडतु कस्य केलिकलहत्यक्तार्णवो राघवः॥५४॥

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52 Oprince among elephants, don’t you moveabout the mountain caves, being elated with excessivepride. For, if the sucking cub of the lion awakes, theearth will have only female-elephants left on it.

53 The expert gardener. accomplished in (the artof) well-planting the various trees, instinctively (i. e.without caring to think) planted the Bakula, too, inan odd corner. But who knows that the Bakula, thusstowed away into a corner, will fill the whole worldwith the fragrance of the bunches of its flowers?

54 While the great sea-monster (Raghava) playedabout, the quarter-elephants were led, by the greatnoise of the waves dashing all round, in their hearts tobelieve, through mistake, that it was the rotation ofthe churning mountain—on whose breast should thissea-monster, who is well-versed in the art of swallowing the bodies of large fish, disport himself now thathe has left the ocean on account of a love-quarrel?

लूनं मत्तगजैः कियत्कियदपि च्छिन्नं तुषारार्दितैः
शिष्टं ग्रीष्मजभीष्मभानुकिरणैर्भस्मीकृतं काननम्।
एषा कोणगता मुहुः परिमलैरामोदयन्ती दिशो
हा कष्टं ललिता लवङ्गलतिका दावाग्निना दह्यते॥५५॥

स्वर्लोकस्य शिखामणिः सुरतरुग्रामस्य धामाद्भुतं
पौलोमीपुरुहूतयोः परिणतिः पुण्यावलीनामसि।
सत्यं नन्दन किं त्विदं सहृदयैर्नित्यं विधिः प्रार्थ्यते
त्वत्तः खाण्डवरड्गताण्डवनटो दूरेऽस्तु वैश्वानरः॥५६॥

स्वस्वव्यापृतिमग्नमानसतया मत्तो निवृत्ते जने
चञ्चूकोटिविदारिताररपुटो यास्याम्यहं पञ्जरात्।
एवं कीरवरे मनोरथमयं पीयूषमास्वादय-
त्यन्तः संप्रविवेश वारणकराकारः फणिग्रामणीः॥५७॥

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55 The forest is partly lopped of by intoxicatedelephants; in parts, it has been cut by those oppressedby cold; and what remained of it is consumed to ashesby the rays of the fierce summer sun. And now alas!this lovely clove-creeper, delighting from a corner thequarters with its rich fragrance, is being burnt up bythe forest-fire!

56 Thou art, O Nandana, the crest-jewel of theheavenly world, the wonderful abode of the variouscelestial trees, and the maturation of the heaps ofmeritorious deeds of Paulomi and Indra. This is true,indeed. Yet the Disposer is always prayed to by thewise as follows: May the all-devouring fire, the violent dancer on the stage of the khandara forest, keepaway from thee!

57 “When people will withdraw from my vicinityon account of their attention being engrossed in their

रे चाञ्चल्यजुषो मृगाः श्रितनगाः कल्लोलमालाकुला-
मेतामम्बुधिकामिनीं व्यवसिताः संगाहितुं वा कथम्।
अत्रैवोच्छलदम्बुनिर्भरमहावर्तैःसमावर्तितो
यद्ग्रावेव रसातलं पुनरसौ यातो गजग्रामणीः॥५८॥

पिवस्तन्यं पोत त्वमिह मददन्तावलधिया
दृगन्तानाधत्से किमिति हरिदन्तेषु परुषान्।
त्रयाणां लोकानामपि हृदयतापं परिहर-
न्नयं धीरं धीरं ध्वनति नवनीलो जलधरः॥५९॥

धीरध्वनिभिरलं ते नीरद मे मासिको गर्भः।
उन्मदवारणबुद्ध्या मध्येजठरं समुच्छलति॥६०॥

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respective duties, I shall fly away from the cage afterbreaking open the eage-door with my pointed beak”—even while the good parrot was thus enjoying the nectarof his dreams (ideas). there entered into the cage a hugeserpent resembling the trunk of an elephant in shape!

58 O fickle-minded deer resting under the trees, howis it that you are preparing to enter this river undulating with surging waves? For, in this very river thatmighty elephant was drowned like a stone, being tossedabout by the tremendous whirls of the rough water.

50Oyoungling (of a lion), go on sucking themilk. Is it on account of the thought of intoxicatedelephants that thou art directing the sharp corners ofthy eyes to the ends of the quarters? (It is only) thenew dark cloud, which, removing the oppression of theheart of the three worlds, thunders in full volume.

60 Enough of thy deep rumbles, O cloud ; myphoetus, one month old, jumps up in my womb, thinking (it to be the gurgle of) a rutting elephant!

वेतण्डगण्डकण्डूतिपाण्डित्यपरिपन्थिना।
हरिणा हरिणालीषु कथ्यतां कः पराक्रमः॥६१॥

नीरान्निर्मलतो जनिर्मधुरता रामामुखस्पर्धिनी
वासः किं च हरेः करे परिमलो गीर्वाणचेतोहरः।
सर्वस्वं तदहो महाकविगिरां कामस्य चाम्भोरुह
त्वं चेत्प्रीतिमुरीकरोषि मधुपे तत्त्वां किमाचक्ष्महे॥६२॥

लीलामुकुलितनयनं किं सुखशयनं समातनुषे।
परिणामविषमहरिणा करिनायक वर्धते वैरम्॥६३॥

विदुषां वदनाद्वाचः सहसा यान्ति नो वहिः।
याताश्चेन्न पराञ्चन्ति द्विरदानां रदाइव॥६४॥

औदार्यं भुवनत्रयेऽपि विदितं संभूतिरम्भोनिधे-
र्वासोनन्दनकानने परिमलो गीर्वाणचेतोहरः।

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61 What valour should the lion, who claims thecleverness in scratching the itch on the temples ofelephants. proclaim before herds of deer?

62 Thy birth (is) from clear water; thy beautyrivals that of the face of a beautiful woman; thyresidence, too, (is) in the hand of Hari ; and thy perfumecaptivates the hearts of the gods. Therefore thou artthe precis of the words of great poets and the all-in-allof Cupid, o lotus. If thou shouldst conceive attachment to the honey-sucker, what shall we say to thee?

63 O best among elephants, why dost thou liedown comfortably, with eyes playfully closed? (Thoushouldst know that) enmity with the lion who is in theend dreadful (only) grows.

64 Never do words rashly escape the lips of thewise. And once escaped, they never go back like thetusks of elephants.

65Generosity known all over the three worlds,birth from the ocean, residence in the Nandana forest,

एवं दातृगुरोर्गुणाः सुरतरोः सर्वेऽपि लोकोत्तराः
स्यादर्थिप्रवरार्थितार्पणविधावेको विवेको यदि॥६५॥

एको विश्वसतां हराम्यपघृणः प्राणानहं प्राणिना-
मित्येवं परिचिन्त्य मात्ममनसि व्याधानुतापं कृथाः।
भूपानां भवनेषु किंच विमलक्षेत्रेषु गूढाशयाः
साधूनामरयो वसन्ति कति न त्वत्तुल्यकक्षा नराः॥६६॥

विश्वास्य मधुरवचनैः साधून्ये वञ्चयन्ति नम्रतमाः।
तानपि दधासि मातः काश्यपि यातस्तवापि च विवेकः॥६७॥

अन्या जगद्धितमयी मनसः प्रवृत्ति-
रन्यैव कापि रचना वचनावलीनाम्।

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fragrance captivating the hearts of gods—Thus uncommon are all the qualities of the celestial tree—thebest among the generous; only would that it has alsoone (more)—discrimination in the matter of accedingto the unavoidable overtures of the supplicants.

66 Don’t you feel remorseful, O hunter, at thereflection, “Alone of all, I, having discarded mercy, takeaway the life of trusting animals!”For, how manypersons are not there (i. e. there are many) similar tothee. with intentions well-concealed, stalking about inroyal palaces, and holy places—all enemies of the good?

67 Since thou bearest, O mother earth, even thosemeanest of men who deceive the good after having inspired their confidence in themselves with sweet words,thou. too, hast, it seems, lost the faculty of discrimination!

68Peculiar (or uncommon) is their mental activity bent upon the welfare of the world; peculiar, too,is the manipulation of the chains of expressions; extra-

लोकोत्तरा च कृतिराकृतिरार्तहृद्या
विद्यावतां सकलमेव गिरां दवीयः॥६८॥

आपद्गतः खलु महाशयचक्रवर्ती
विस्तारयत्यकृतपूर्वमुदारभावम्।
कालागरुर्दहनमध्यगतः समन्ता-
ल्लोकोत्तरं परिमलं प्रकटीकरोति॥६९॥

विश्वाभिरामगुणगौरवगुम्फितानां
रोषोऽपि निर्मलधियां रमणीय एव।
लोकंपृणैः परिमलैः परिपूरितस्य
काश्मीरजस्य कटुतापि नितान्तरम्या॥७०॥

लीलालुण्ठितशारदापुरमहासंपद्भराणां पुरो
विद्यासद्मविनिर्गलत्कणमुषो वल्गन्ति चेत्पामराः।

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ordinary, too, are their actions; while their form is agreeable to the distressed—Everything about the learned beggars description (lit. is far removed from speech).

69 The sovereign among the high-minded extends, even though he be in adversity, unprecedented magnanimity. Black aloes, thrown into fire, emit uncommon
perfume all round.

70 Even the anger of the righteous (lit. clearheaded ), who are endowed with the weight of all loveable qualities, is charming indeed. Even the bitterness of saffron charged with all-satiating fragrance is highly agreeable.

71 If dunces, who steal the grains dropping out from the mansion of Learning, strut about in front of those who have looted with ease the great mass of wealth from the city of Sāradā(the goddess of learn-

अद्य श्वः फणिनां शकुन्तशिशवो दन्तावलानां शशाः
सिंहानां च सुखेन मूर्धसु पदं धास्यन्ति शालावृकाः॥७१॥

गीर्भिर्गुरुणां परुषाक्षराभि-
स्तिरस्कृता यान्ति नरा महत्त्वम्।
अलब्धशाणोत्कषणा नृपाणां
न जातु मौलौ मणयो वसन्ति॥७२॥

वहति विषधरान्पटीरजन्मा
शिरसि मषीपटलं दधाति दीपः।
विधुरपि भजतेतरां कलङ्कं
पिशुनजनं च विभर्ति यत्क्षितीन्द्रः॥७३॥

सत्पुरुषः खलु हिताचरणैरमन्द-
मानन्दयत्यखिललोकमनुक्तएव।
आराधितः कथय केन करैरुदारै-
रिन्दुर्विकासयति कैरविणीकुलानि॥७४॥

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ing). then at any time certainly the fledglings may as well put their foot on the hoods of serpents, hares on the heads of elephants, and jackals on the heads of lions!

72 When taunted by the harsh-worded expressions of elders, men attain to greatness. Jewels will never find a place on the tiaras of kings unless they are polished on the whet stone.

73 Itthe king protects the wicked, well, the sandal tree bears the serpents. the lamp carries the clot of jet at the head. and even the moon always bears the dark spot.

74 A good man, though not asked, yet delights the people with beneficent activities very much.Requested by whom, does the moon, tell (me), open the series of night-lotuses with his loveable rays?

कृतमपि महोपकारं पय इव पीत्वा निरातङ्कः।
प्रत्युत हन्तुं यतते काकोदरसोदरः खलो जगति॥७५॥

पाण्डित्यं परिहृत्य यस्य हि कृते बन्दित्वमालम्बितं
दुष्प्रापं मनसापि यो गुरुतरैः क्लेशैःपदं प्रापितः।
रूढस्तत्र स चेन्निगीर्य सकलां पूर्वोपकारावलीं
दुष्टःप्रत्यवतिष्ठते तदधुना कस्मै किमाचक्ष्महे॥७६॥

खलः कापट्यदोषेण दूरेणैव विसृज्यते।
अपायशङ्किभिर्लोकैर्विषेणाशीविषो यथा॥७७॥

परार्थव्यासङ्गादुपजहदथ स्वार्थपरता-
मभेदैकत्वं यो वहति गुणभूतेषु सततम्।

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75 A wicked man is the uterine brother of the serpent, for, like the serpent who has without hesitation drunk milk, he too, swallowing a great good turn done to him, attempts to kill.

76 If he for whose sake we, having set aside (allconsiderations of) learning, stooped to flattery, and who was helped with very great pains on to a position difficult to obtain by him even in thought—if he, being (well) settled, now swallows (i. e. forgets) all the many previous good turns done to him, and turns out a wicked man, what shall we say—and to whom?

77 A wicked man is avoided from afar on account of his fraudulent nature by men fearing harm just like a serpent on account of his venom.

78 Ever victorious is that rare individual who forswears self-interest on account of his sedulity in the interests of others, who cherishes unity without distinction among all beings born of the three Gunas and in

स्वभावाद्यस्यान्तः स्फुरति ललितोदात्तमहिमा
समर्थो यो नित्यं स जयतितरां कोऽपि पुरुषः॥७८॥

वंशभवो गुणवानपि सङ्गविशेषेण पूज्यते पुरुषः।
न हि तुम्बीफलविकलो वीणादण्डः प्रयाति महिमानम्॥७९॥

अमितगुणोऽपि पदार्थो दोषेणैकेन निन्दितो भवति।
निखिलरसायनमहितो गन्धेनोग्रेण लशुनं इव॥८०॥

उपकारमेव तनुते विपद्गतः सद्गुणो नितराम्।
मूर्च्छांगतो मृतो वा निदर्शनं पारदोऽत्र रसः॥८१॥

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whose heart the lovely and exalted instinct of magnanimity springs forth naturally.

OR

Ever victorious is the indescribable word (बहुव्रीहिसमास) which abandons its own meaning for the sake of denoting something else, which continuously possesses in its members unity without difference, in which the charming and important उदात्त accent shines in its natural place, and which is ‘competent.’

79 Though born in a noble family and endowed with good qualities, a man is only worshipped by reason of his particular associations. The trunk of the Vina devoid of the gourds will never attain to any importance (though it is born of bamboos and provided with strings (गुण).

80 A thing endowed though it be with countless good qualities, is subjected to censure like garlic which though respected a mong all elixirs is yet censured for its repulsive smell.

81 A man possessing good qualities ever helps (others) even when he is in adversity (himself). An

वनान्ते खेलन्ती शशकशिशुमालोक्य चकिता
भुजप्रान्तं भर्तुर्भजति भयहर्तुः सपदि या।
अहो सेयं सीता शिव शिव परीता श्रुतिचलत्-
करोटीकोटीभिवर्सति खलु रक्षोयुवतिभिः॥८२॥

पुरो गीर्वाणानां निजभुजबलाहोपुरुषिका-
महो कारंकारं पुरभिदि शरं संमुखयतः।
स्मरस्य स्वर्वालानयनसुममालार्चनपदं
वपुः सद्यो भालानलभसितजालास्पदमभूत्॥८३॥

युक्तं सभायां खलु मर्कटानां
शाखास्तरूणां मृदुलासनानि।
सुभाषितं चीत्कृतिरातिथेयी
दन्तैर्नखाग्रैश्च विपाटितानि॥८४॥

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illustratian in point is mercury which though deadened or overpowered (serves to help others)

82 Being startled at the sight of a fawn while she was sporting about the forest regions, Sītā hurriedly caught hold of the arm (lit. the end of the arm) of her husband, the destroyer of dangers : Alas, the same Sītā now dwells in the midst of young demonesses in whose ear-lobes are shaking the ends of skulls.

83 The body of Cupid who, bragging repeatedly about the prowess of his own arms in front of the gods, aimed his arrow at the destroyer of Pura—the body which was the object of worship with the wreaths of flowers in the form of the eyes of celestial maidens, became within a moment the repository of (i. e. was transformed into) a mass of ashes on account of the fire in (Śiva’s) forehead.

84 It is only proper that in an assemblage of monkeys branches of trees (should serve the purpose of)

किं तीर्थं हरिपादपद्मभजनं किं रत्नमच्छा मतिः
किं शास्त्रं श्रवणेन यस्य गलति द्वैतान्धकारोदयः।
किं मित्रं सततोपकाररसिकं तत्त्वावबोधः सखे
कः शत्रुर्वद खेददानकुशलो दुर्वासनानां चयः॥८५॥

निष्णातोऽपि च वेदान्ते वैराग्यं नैति दुर्जनः।
चिरं जलनिधौ मग्नोमैनाक इव मार्दवम्॥८६॥

नैर्गुण्यमेव साधीयो धिगस्तु गुणगौरवम्।
शाखिनोऽन्ये विराजन्ते खण्ड्यन्ते चन्दनद्रुमाः॥८७॥

परोपसर्पणानन्तचिन्तानलशिखाशतैः।
अचुम्बितान्तःकरणाः साधु जीवन्ति पादपाः॥८८॥

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softs seats. chattering should represent good speeches and welcome offered by tearing (one another) with teeth and sharp nails!

85 Which is the (best) holy place? Service at the lotus-like feet of Hari. which is the (best) jewel? Clear intellect. Which the (best) Ś’astra? That by hearing which the rising darkness of Duality is dispelled. Which is the friend intent upon (offering) continuous help? The realization of truth, O friend. Who is the enemy clever in giving trouble? The mass of evil impressions (or desires).

86 A wicked man though well-versed in Vedānta will not conceive aversion (to carnal desires) just as the Maināka mountain does not become soft, even though long immersed in the ocean.

87 Better indeed it is to be destitute of good qualities—fie upon the (possession of) many good qualities! while other (ordinary) trees continue to live on, only the sandal trees are cut down.

88 Blessed is the life of trees whose hearts are not touched by hundreds of flames of fire in the form of ceaseless anxiety caused by approaching others!

शून्येऽपि च गुणवत्तामातन्वानः स्वकीयगुणजालैः।
विवराणि मुद्रन्द्रागूर्णायुरिवेह सज्जनो जयति॥८९॥

खलः सज्जनकार्पासरक्षणैकहुताशनः।
परदुःखाग्निशमनो मारुतः केन वर्ण्यताम्॥९०॥

परगुह्यगुप्तिनिपुणं गुणमयमखिलैः समीरितं नितराम्।
ललिताम्बरमिव सज्जनमाखव इव दूषयन्ति खलाः॥९१॥

यशःसौरभ्यलशुनः शान्तिशैत्यहुताशनः।
कारुण्यकुसुमाकाशः खलः सज्जनदुःखलः॥९२॥

धत्ते भरं कुसुमपत्रफलावलीनां
धर्मव्यथां वहति शीतभवां रुजं च।

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89 Victorious is the good man who imparts merits even unto a vacant mind by means of his own many good qualities, covering up (at the same time) the vulnerable points (in the other) like a spider that sets up a net-work even in a deserted corner with the cocoons of his own fibres, covering up all holes.

90 Who will essay to describe the villain who is the arch-fire in the matter of “protecting”cotten in the form of good men, and who is the wind “alleviating”the fire of the misery of others?

91 Wicked persons besmirch the good man endowed with many good qualities, able to guard the secrets of others, and very much respected by all, just as rats tamper with a lovely piece of cloth made of threads, fit to cover the secret limbs of others and much liked by all.

92 A wicked man, who is garlic to the fragrance of glory, fire to the coolness in the form of tranquillity, and the sky for the flowers in the form of pity to grow, is an oppressor of the good.

93 A bow to the tree-the prince among the generous-which bears the burden of a mass of flowers, leaves

यो देहमर्पयति चान्यसुखस्य हेतो-
स्तस्मै वदान्यगुरवे तरवे नमोऽस्तु॥९३॥

हालाहलं खलु पिपासति कौतुकेन
कालानलं परिचुचुम्बिपति प्रकामम्।
व्यालाधिपं च यतते परिरब्धुमद्धा
यो दुर्जनं वशयितुं तनुते मनीषाम्॥९४॥

दीनानामिह परिहायशुष्कसस्या-
न्यौदार्यं प्रकटयतो महीधरेषु।
औन्नत्यं विपुलमवाप्य दुर्मदस्य
ज्ञातोऽयं जलधर तावको विवेकः॥९५॥

गिरयो गुरवस्तेभ्योऽप्युर्वी गुर्वी ततोऽपि जगद्ण्डम्।
तस्मादप्यतिगुरवः प्रलयेऽप्यचला महात्मानः॥९६॥

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and fruits, which exposes itself to the oppressive heat and distressing cold, and which (even) offers its body for the sake of the happiness of others!

94 He. who cherishes the desire to bring a wicked man under his sway, is, to be sure, only desirous of drinking poison through eagerness, wishes to kiss the fire of death to his heart’s content, and attempt’s to caress a large cobra!

95 Thy discriminating power is apparent here, indeed, O cloud, for thou, having become highly overbearing on the attainment of a high position, dost manifest thy generosity on the mountains—leaving the parched crops of the poor people aside!

96 Mountains are great; the earth is greater than they; and the egg of the Universe is greater even than the earth. But far greater than the universe are the high-souled who are unperturbed even in destruction.

व्योमनि बीजाकुरुते चित्रं निर्माति सुन्दरं पवने।
रचयति रेखाः सलिले यस्तु खले चरति सत्कारम्॥९७॥

हारं वक्षसि केनापि दत्तमज्ञेन मर्कटः।
लेढि जिघ्रति संक्षिप्य करोत्युन्नतमासनम्॥९८॥

मलिनेऽपि रागपूर्णां विकसितवदनाममन्द्जल्पेऽपि।
त्वयि चपलेऽपि च सरसां भ्रमर कथं वा सरोजिनीं त्यजसि॥९९॥

स्वार्थं धनानि धनिकात्प्रतिगृह्णतोऽपि
स्वास्यं भजेन्मलिनतां किमिदं विचित्रम्।
गृह्णन्परार्थमपि वारिनिधेः पयोऽपि
मेघोऽयमेति सकलोऽपि च कालिमानम्॥१००॥

जनकः सानुविशेषो जातिः काष्ठं भुजंगमैः सङ्गः।
स्वगुणैरेव पटिरज यातोऽसि तथापि महिमानम्॥१०१॥

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97 He, who treats a wicked man well, only ploughs the sky for seeds, paints a beautiful picture on (the canvas of) wind, and draws lines in water!

98 The monkey licks, smells, and gathering it up makes an elevated seat of, a necklace which was put round his neck by some thoughtless man!

99 Why dost thou, O bee, abandon the lotus-plant which is full of attachment (or possessing red colour for thee) though thou art dirty, whose face blooms up even though thou protestest too much (or hummest greatly), and which is full of love (or juice) though thou art fickle?

100 What wonder is there that the face of a man accepting money from a wealthy man for his own use, should wear a faded appearance? for this cloud here is wholly darkened, though he receives water from the ocean only for the sake of others!

101 Thy father is some peak of the mountain, thy genus is wood, and thy association with serpents.

कस्मै हन्त फलाय सज्जन गुणग्रामार्जने सज्जसि
स्वात्मोपस्करणाय चेन्मम वचः पथ्यं समाकर्णय।
ये भावा हृदयं हरन्ति नितरां शोभाभरैः संभृता-
स्तैरेवास्य कलेः कलेवरपुषो दैनंदिनं वर्तनम्॥१०२॥

धूमायिता दशदिशो दलितारविन्दा
देहं दहन्ति दहना इव गन्धवाहाः।
त्वामन्तरेण मृदुताम्रदलाम्र मञ्जु-
गुञ्जन्मव्रतमधौकिल कोकिलस्य॥१०३॥

भिन्ना महागिरिशिलाः करजाग्रजाग्र-
दुद्दामशौर्यनिकरैः करविभ्रमेण।
दैवे पराचि करिणामरिणा तथापि
कुत्रापि नापि खलु हा पिशितस्य लेशः॥१०४॥

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Even so, O Sandal, by sheer merits hast thou attained to greatness.

102 With what end in view, Ogood man, dost thon busy thyself about acquiring a number of good qualities? Is it adorning thyself ? Then please hear my wholesome words: On those very things which, being endowed with great beauty, captivate the heart, does Kali, growing in body, daily batten.

103 In thy absence, O mango tree with tender, red sprouts, and having the bees humming sweetly (round thee). the ten quarters appear to the cuckoo (even) in spring to be full of smoke, though there are bloming lotuses in them, and the winds burn his body like fires!

104 (Though) he tore up large slabs of stones on the mountain side with an exuberance of excessive and effective (जाग्रत्) valour of the sharp talons, under the impression that they were elephants, yet the enemy of elephants could not get even a slice of flesh anywhere for fate was averse!

गर्जितमाकर्ण्य मनागङ्के मातुर्निशार्धजातोऽपि।
हरिशिशुरुत्पतितुं द्रागङ्गान्याकुञ्च्यलीयतेऽतिभृशम्॥१०५॥

किमहं वदामि खल दिव्यमते
गुणपक्षपातमभितो भवतः।
गुणशालिनोनिखिलसाधुजनान्
यदहर्निशं न खलु विस्मरसि॥१०६॥

रे खल तव खलु चरितं विदुपामग्रेविविच्य वक्ष्यामि।
अथवालं पापात्मन् कृतया कथयापि ते हतया॥१०७॥

आनन्दमृगदावाग्निः शीलशाखिमदद्विपः।
ज्ञानदीपमहावायुरयं खलसमागमः॥१०८॥

खलास्तु कुशलाः साधुहितप्रत्यूहकर्मणि।
निपुणाः फणिनः प्राणानपहर्तुं निरागसाम्॥१०९॥

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105 On hearing the low thunder (of the cloud), the cub of a lion, born just half a night before, contracts his limbs in order to bound forth, and (in so doing) conceals himself in his mother’s lap.

100 Whrt shall I say. O divinely intelligent rogue, about your honour’s partiality for merits? for neither by day nor during the night do you forget any (lit. all) good men endowed with good qualities?

107 Thou villain, surely I shall reveal in detail (lit. having discussed) thy activities in the presence of learned men : or, why, away, thou sinful soul, with even the accursed talk about thee.

108 The company of a rogue is the forest conflagration to the deer in the form of joy, an intoxicated elephant to the tree of good behaviour, and a forceful gale to the lamp of knowledge!

109 Villains are ever proficient in the work of placing obstacles in the welfare of the good. Serpents are clever in robbing the innocent of their lives!

वदने विनिवेशिता भुजङ्गी
पिशुनानां रसनामिषेण धात्रा।
अनया कथमन्यथा-वलीढा
न हि जीवन्ति जना मनागमन्त्राः॥११०॥

कृतं त्वयोन्नतं कृत्यमर्जितं चामलं यशः।
यावज्जीवं सखे तुभ्यं दास्यामो विपुलाशिषः॥१११॥

अविरतं परकार्यकृतां सतां
मधुरिमातिशयेन वचोऽमृतम्।
अपि च मानसमम्बुनिधिर्यशो
विमलशारदचन्दिरचन्द्रिका॥११२॥

एत्य कुसुमाकरो मे संजीवयिता गिरं चिरं मग्नाम्।
इति चिन्तयतो हृदये पिकस्य समधायि शौभिकेन शरः॥११३॥

निर्गुणः शोभते नैव विपुलाडम्बरोऽपि ना।
आपातरम्यपुष्पश्रीशोभितः शाल्मलिर्यथा॥११४॥

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110 (Surely)a she–serpent has been placed in the guise of the tongue by the Creator in the mouth of wicked men.How otherwise should men, bitten by it, not live even for a while. having no (nullifying) charms?

111 A noble deed thou hast done, and thon hast earned antainted glory. We shall bestow many blessings on thee, friend, while yet we live!

112 The speach of the good, incessantly working in behalf of others, is nectar by reason of its excessive sweetness; again. their mind is the ocean, and their fame is the light of the clear autumnal moon.

113 ‘Spring will come and revive my coos stifled long, long since;’—at the heart of the cuckoo that was musing thus a fowler aimed an arrow!

114 A merit-less man never shines, show himself as he would (lit. though covered with much pomp),

पङ्कैर्विना सरो भाति सदः खलजनैर्विना।
कटुवर्णैर्विना काव्यं मानसं विषयैर्विना॥११५॥

तत्त्वं किमपि काव्यानां जानाति विरलो भुवि।
मार्मिकः को मरन्दानामन्तरेण मधुव्रतम्॥११६॥

सरजस्कां पाण्डुवर्णीं कण्टकप्रकरान्विताम्।
केतकीं सेवसे हन्त कथं रोलम्बनिस्त्रपः॥११७॥

यथा तानं विना रागो यथा मानं विना नृपः।
यथा दानं विना हस्ती तथा ज्ञानं विना यतिः॥११८॥

सन्तः स्वतः प्रकाशन्ते गुणा न परतो नृणाम्।
आमोदो नहि कस्तूर्याः शपथेन विभाव्यते॥११९॥

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like the silk-cotton tree adorned with the splendour of apparently charming flowers.

115 A lake looks to advantage in the absence of mud ; an assembly, in the absence of rogues ; a poem, in the absence of ungentle words; and the mind, in the absence of (attachment to ) worldly objects.

116 Few in the world know the indescribable quintesssence of poems. Who except the bee can appreciate the (qualities of) flower-juice?

117 Why dost thou, O bee, having cast aside all shame, enjoy the Ketaki-flower which possesses pollens, is grey in colour, and bristles with a crowd of thorns?

118 As a tune ( is futile ) without the modulant (tāna), as a king without honour, as an elephant without ichor—so is an ascetic without knowledge.

119 Merits of men, if there are any (सन्तः), shine out themselves and not from others. The fragrance of musk is surely never proclaimed by oaths!

अयि वत गुरुगर्वं मा स्म कस्तूरि यासी-
रखिलपरिमलानां मौलिना सौरभेण।
गिरिगहनगुहायां लीनमत्यन्तदीनं
स्वजनकममुनैव प्राणहीनं करोषि॥१२०॥

दूरीकरोति कुमतिं विमलीकरोति
चेतश्चिरंतनमघं चुलुकीकरोति।
भूतेषु किञ्च करुणां बहुलीकरोति
सङ्गः सतां किमु न मङ्गलमातनोति॥१२१॥

अनवरतपरोपकारव्यग्रीभवदमलचेतसां महताम्।
आपातकाटवानि स्फुरन्ति वचनानि भेषजानीव॥१२२॥

व्यागुञ्जन्मधुकरपुञ्जमञ्जुगीता-
माकर्ण्य स्तुतिमुदयन्नयातिरेकात्।
आभूमीतलनतकन्धराणि मन्ये-
ऽरण्येऽस्मिन्नवनिरुहां कुटुम्बकानि॥१२३॥

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120 Eh, musk, don’t feel highly arrogant with the sweet odour which is the crest of all perfumes. For, on account of this very odour dost thou rob thy progenitor- that very timid progenitor, lying concealed in the deep mountain-cavern—of his life.

121 It (the company of the good ) removes the evil intellect, chastens the heart, destroys long-incurred sins; again, increases compassion to the beings—what auspicious things does the company of the good not bring?

122 The words of great men, whose untainted minds are ever busy doing good turns to others, are breathed out, apparently bitter like medicine.

123 I imagine, the clusters of trees in this forest have bent down their necks to the ground through an

मृतस्य लिप्सा कृपणस्य दित्सा विमार्गगायाश्च रुचिः स्वकान्ते।
सर्पस्य शान्तिः कुटिलस्य मैत्री विधातृसृष्टौ न हि दृष्टपूर्वा॥१२४॥

उत्तमानामपि स्त्रीणां विश्वासो नैव विद्यते।
राजप्रियाः कैरविण्यो रमन्ते मधुपैः सह॥१२५॥

अयाचितः सुखं दत्ते याचितश्च न यच्छति।
सर्वस्वं चापि हरते विधिरुच्छृंखलो नृणाम्॥१२६॥

दोर्दण्डद्वयकुण्डलीकृतलसत्कोदण्डचण्डाशुग-
ध्वस्तोद्दण्डविपक्षमण्डलमथ त्वां वीक्ष्य मध्येरणम्।

__________________________________________________________________

exuberance of modesty which they feel, on hearing their own praises sung sweetly by the swarms of buzzing bees.

  1. A desire to gain (something) in a dead man, the longing to donate in a miser, fondness for her husband in a woman of evil ways. peace in a serpent. friendship in a crooked man—none of these is ever seen before in the creation of Brahmā

125 There never can be any confidence in women, even of the best type. The night–lotus plants, beloved of the moon, play with bees. (Implied meaning of the second line: The lady–loves of kings play amorously with drunkards).

  1. The wayward (lit. unfettered) fate gives happiness to men, unasked ; but, when asked, never gives, and, besides, takes away everything they possess !

127 On seeing thee in the thick of the battle with the circle of formidable enemies blasted by thy fierce arrows discharged from the shining bow bent round (when drawn) by the pair of mighty hands, which

वल्गद्गाण्डिवमुक्तकाण्डवलयज्वालावलीताण्डव-
भ्रश्यत्खाण्डवरुष्टपाण्डवमहो को न क्षितीशः स्मरेत्॥१२७॥

खण्डितानेत्रकञ्जालीमञ्जुरञ्जनपण्डिताः।
मण्डिताखिलदिक्प्रान्ताश्चण्डांशोः पान्तु भानवः॥१२८॥

इति पण्डितराजश्रीजगन्नाथकविविरचिते भामिनीविलासे
प्रास्ताविकविलासः॥

_____

अथ
शान्तविलासः।

<MISSING_FIG href="../books_images/U-IMG-1725186442090102-removebg-preview.png"/>

विशालविषयाटवीवलयलग्नदावानल-
प्रसृत्वरशिखावलीविकलितं मदीयं मनः।
अमन्दमिलदिन्दिरे निखिलमाधुरीमन्दिरे
मुकुन्दमुखचन्दिरे चिरमिदं चकोरायताम्॥१॥

__________________________________________________________________

king will not be reminded, Iask, of the enragedPāṇḍava in the Khāṇḍava forest that was succumbingto the wild dance of the mass of flames ragingwithin the circle of arrows released from the charmingGāṇḍiva bow?

128May the rays of the sun protect (us)—therays which have decorated the skirts of all directions,and which are adepts in sweetly pleasing the host oflotuses in the form of the eyes of neglected lady-loves.

_____

1 May this my mind, tortured by the spreadingmass of flames of the conflagration which has brokenout in the wide forest-region of worldly objects, behave

अये जलधिनन्दिनीनयननीरजालम्बन
ज्वलज्ज्वलनजित्वरज्वरभरत्वराभङ्गुरम्।
प्रभातजलजोन्नमद्गरिमगर्वसर्वंकषै-
र्जगत्त्रितयरोचनैः शिशिरयाशु मां लोचनैः॥२॥

स्मृतापि तरुणातपं करुणया हरन्ती नृणा-
मभङ्करतनुत्विषां वलयिता शतैर्विद्युताम्।
कलिन्दनगनन्दिनीतटसुरद्रुमालम्बिनी
मदीयमतिचुम्बिनी भवतु कापि कादम्बिनी॥३॥

__________________________________________________________________

for a long time like the Cakora-bird towards the moon(in the form) of the face of Mukunda. possessing greatand growing splendour, (the face) which is therepository of all sweetness.

2 Oh Lord, the resting-place of the lotus-like eyesof the daughter of the Ocean (i e. Laxmi), cool me-mewho am breaking under the vehemence of high (worldly)Fever overpowering like blazing fire—with thy eyesthat sweep off the rising pride of a morning-lotus aboutits own beauty (lit greatness गरिमन्) and which delightthe trinity of the worlds.

3 May that indescribable cluster of clouds (i. e.Srīkṛṣṇa) which haunts about the celestial trees on thebanks of the daughter of the Kalinda mountain (i. e.the river Jumna), which, as soon as it is contemplatedonly, destroys through compassion the growingSunshine (worldly oppression) of men, and which issurrounded by hundreds of lightning-streaks shiningwith ever-enduring and ample (अतनु) brilliance—maythat cluster of clouds kiss my intellect.

कलिन्दनगनन्दिनीतटवनान्तरं भासय-
न्सदा पथि गतागतश्रमभरं हरन्प्राणिनाम्।
लतावलिशतावृतो मधुरया रुचा संभृतो
ममाशु हरतु श्रमानतितरां तमालद्रुमः॥४॥

जगज्जालं ज्योत्स्नामयनवसुधाभिर्जटिलय-
ञ्जनानां संतापं त्रिविधमपि सद्यः प्रशमयन्।
श्रितो वृन्दारण्यं नतनिखिलवृन्दारकवृतो
मम स्वान्तध्वान्तं तिरयतु नवीनो जलधरः॥५॥

ग्रीष्मचण्डकरमण्डलभीष्मज्वालसंसरणतापितमूर्तेः।
प्रावृषेण्य इव वारिधरो मे वेदनां हरतु वृष्णिवरेण्यः॥६॥

__________________________________________________________________

4 May that Tamāla tree. endowed with captivating lustre, and surrounded by hundreds of bushes ofcreepers, which lights up the interior of the forest onthe banks of the Jumna. the daughter of Kalindamountain, and which relieves the great exhaustion ofliving beings caused by their coming and going on theroad-may that Tamāla-tree destroy well and quickly allmy exhaustions.

5 Showering the whole world with abundantuncommon (नव) ambrosia which is as refreshing asmoonlight, alleviating in no time the three–fold oppression of men, residing in the Vṛṇda forest, andsurrounded by all gods who bow to him, may theextraordinary cloud (i. e. Śrikṛṣṇa) dispel the darknessfrom my heart.

6 May the best of the Vṛṣṇis relieve, like a cloudof the rainy season, my distress, oppressed that I amby the mundane existence which is as terribly scorchingas the orb of the summer sun.

अपारे संसारे विषमविषयारण्यसरणौ
मम भ्रामं भ्रामं विगलितविरामं जडमतेः।
परिश्रान्तस्यायं तरणितनयातीरनिलयः
समन्तात्संतापं हरिनवतमालस्तिरयतु॥७॥

आलिङ्गितो जलधिकन्यकया सलीलं
लग्नः प्रियङ्गुलतयेव तरुस्तमालः।
देहावसानसमये हृदये मदीये
देवश्चकास्तु भगवानरविन्दनाभः॥८॥

नयनानन्दसंदोहतुन्दिलीकरणक्षमा।
तिरयत्वाशु संतापं कापि कादम्बिनी मम॥९॥

वाचा निर्मलया सुधामधुरया यां नाथ शिक्षामदा-
स्तां स्वप्नेऽपि न संस्मराम्यहमहंभावावृतो निस्त्रपः।

__________________________________________________________________

7 May the uncommon Tamāla tree in the formof Hari. resident (or situate) on the bank of thedaughter of the Sun i. e. the river Jumna, destroyall the worries of me who, dull—witted that I am, amcompletely (परि) exhausted by ceaseless wandering inthe boundess Saṁsāra, the tracks in which lie throughtangled–forests of worldly pleasures.

8 May the supreme Divinity, having a lotusflower in His navel, and gracefully caressed by thedaughter of the ocean (Laxmī) like a Tamāla treeentwined by a Priyangu creeper, shine in my heart atthe time of the fall of the body (death).

9 May the indescribable mass of clouds (i. e.Śri Kṛṣṇa), which is able to fatten the excessivedelight of the eyes, extinguish my worries soon.

10 Even in dreams I do not recall, shamelessand elated with egotism that I am, the advice which

इत्यागःशतशालिनं पुनरपि स्वीयेषु मां बिभ्रत-
स्त्वत्तो नास्ति दयानिधिर्यदुपते मत्तो न मत्तोऽपरः॥१०॥

पातालं व्रज याहि वा सुरपुरीमारोह मेरोः शिरः
पारावारपरम्परास्तर तथाप्याशा न शान्तास्तव।
आधिव्याधिजरापराहत यदि क्षेमं निजं वाञ्छसि
श्रीकृष्णेति रसायनं रसय रे शून्यैः किमन्यैः श्रमैः॥११॥

गणिकाजामिलमुख्यानवता भवता वताहमपि।
सीदन् भवमरुगर्ते करुणामूर्त न सर्वथोपेक्ष्यः॥१२॥

विदित्वेदं दृश्यं विषमरिपुदुष्टं नयनयो-
विधायान्तर्मुद्रामथ सपदि विद्राव्य विषयान्।

__________________________________________________________________

Thou gavest to me. O Lord. In words clear and sweetlike nectar. Since. even so. Thou bearest me who havecommitted hundreds of sins, among Thine own, there isnone so full of compassion as Thou, O Yadupati: andnone so mad as I.

11 Thou mayest descend to the nether world, orrise to the city of gods. Thou mayest scale the top ofthe mountain Meru, or cross even the series of oceans;yet thy desires shall not die. O Thou, baffled byworries, diseases, and decrepitude, if thou wishest thyweal, then taste the Elixir, viz., Sri Kṛṣṇa. What,indeed, is the use of other profitless pursuits?

12 While I am sinking in the pit of WorldlyDesert, I surely should not be altogether ignored byyou. OCompassion incarnate,—by you who haverescued the Courtesan, Ajāmila and others.

13 Having known this spectacle (of the world)seething with very hostile enemies, and therefore turning the eyes inward, and dismissing the worldly plea-

विधूतान्तर्ध्वान्तो मधुरमधुरायां चिति कदा
निमग्नः स्यां कस्यांचन नवनभस्याम्बुरुचौ॥१३॥

मृद्वीका रसिता सिता समशिता स्फीतं निपीतं पयः
स्वर्यातेन सुधाप्यधायि कतिधा रम्भाधरः खण्डितः।
सत्यं ब्रूहि मदीय जीव भवता भूयो भवे भ्राम्यता
कृष्णेत्यक्षरयोरयं मधुरिमोद्गारः क्वचिल्लक्षितः॥१४॥

वज्रं पापमहीभृतां भवगदोद्रेकस्य सिद्धौषधं
मिथ्याज्ञाननिशाविशालतमसस्तिग्मांशुबिम्बोदयः।
क्रूरक्लेशमहीरुहामुरुभरज्वालाजटालः शिखी
द्वारं निर्वृतिसझनो विजयते कृष्णेति वर्णद्वयम्॥१५॥

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sures, at once, I, with the darkness of the heart cleared up–oh, when shall I be engrossed in the indescribable passing–sweet Sentiency, which resembles a fresh cloud in the month of Bhadrapada?

14 Thou hast tasted grapes, eaten sugar. drunk milk in abundance. When thou didst go to heaven. thou hast also quaffed ambrosia, and bitten the lower lip of Rambhā, the celestial damsel, (in amoroussport). Now, tell the truth, O my soul, whether. while thou didst peregrinate in the Samsāra, thou hast anywhere come across (or seen) the pleasure of the sweetness of the two syllables ‘कृष्ण’ ?

15 Ever victorious is the pair of syllables, viz. कृष्ण, which is the adamant to the mountains of sin, the proven medicine of the acute disease of the world, the Sun–rise to the vast darkness of the night of false knowledge, the furiously raging fire to the thick groves of trees in the form of unbearable worldly anxieties, and the portal of the mansion of the Highest Happiness!

रे चेतः कथयामि ते हितमिदं वृन्दावने चारय-
वृन्दं कोऽपि गवां नवाम्बुदनिभो बन्धुर्न कार्यस्त्वया।
सौन्दर्यामृतमुद्भिरद्भिरभितः संमोह्य मन्दस्मितै-
रेष त्वां तव वल्लभांश्च विषयानाशु क्षयं नेष्यति॥१६॥

अव्याख्येयां वितरति परां प्रीतिमन्तर्निमग्ना
कण्ठेलग्ना हरति नितरां यान्तरध्वान्तजालम्।
तां द्राक्षौघैरपि बहुमतां माधुरीमुद्गिरन्तीं
कृष्णेत्याख्यां कथय रसने यद्यसि त्वं रसज्ञा॥१७॥

सन्त्येवास्मिञ्जगति बहवः पक्षिणो रम्यरूपा-
स्तेषां मध्ये मम तु महती वासना चातकेषु।
यैरूर्ध्वाक्षैरथ निजसखं नीरदं स्मारयद्भि-
श्चित्तारूढं भवति किमपि ब्रह्म कृष्णाभिधानम्॥१८॥

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16 O heart, here I say something beneficial to thee: Thou shouldst not make friends with that some one who resembles a fresh cloud, and who pastures a herd of cattle in Vrndāvana. For, having hypnotized, he will directly destroy thee and thy dear pleasureable objects with his gentle smiles which shower the nectar bof beauty all round.

17 If thou dost really appreciate रस (taste) then, O tongue, utter the name ‘कृष्ण’, which, when harboured in the heart, bestows indescribable uncommon pleasure; when lodged in the throat, dispels entirely the cloud of darkness within; and which discharges that sweetness which is much respected even by heaps of grapes.

18 There are, no doubt (एव), many charming birds in the world. But, from among them, I have & great liking for the Cātakas. For, through them look-

विष्वद्रीच्या भुवनमभितो भासते यस्य भासा
सर्वेषामप्यहमिति च यत्प्रत्ययालम्बनं यः।
तं पृच्छन्ति स्वहृदयगतावेदिनो विष्णुमन्या-
नन्यायोऽयं शिव शिव नृणां केन वा वर्णनीयः॥१९॥

सेवायां यदि साभिलाषमसि रे लक्ष्मीपतिः सेव्यतां
चिन्तायामसि सस्पृहं यदि तदा चक्रायुधश्चिन्त्यताम्।
आलापं यदि काङ्क्षसि स्मररिपोर्गाथा तदालाप्यतां
स्वापं वाञ्छसि चेन्निरर्गलसुखे चेतः सुखं सुप्यताम्॥२०॥

भवग्रीष्मप्रौढातपनि वहसंतप्तवपुषो
बलादुन्मूल्य द्राङ्निगडमविवेकव्यतिकरम्।

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ing upwards and reminding (us) of their friend, the cloud, the indescribable व्रह्म . calledकृष्ण, comes to haunt the mind.

19 Visnu. by whose all pervading lustre the universe shines all round, and who is the subject of the cognition, viz., ‘I’, in everyone—Him men not knowing the contents of their own hearts enquire of others! Who can describe this pitiable foolishness (or absurdity ) of men ?

20 If, O heart, thou hast a liking for service, then let the Lord of Laxmībe served. If thou art eager for contemplation, let Viṣṇu whose weapon is the discus be contemplated. If thou wishest to talk, then talk of the episodes about Śiva (the enemy of Kāma).And if thou thinkest of sleeping, then thou shouldst sleep happily in the boundless Bliss.

21 Meritorious men, when their bodies are much oppressed with the intensely burning sunshine of summer in the form of the World, at once violently

विशुद्धेऽस्मिन्नात्मामृतसरसि नैराश्यशिशिरे
विगाहन्ते दूरीकृतकलुषजालाः सुकृतिनः॥२१॥

बन्धोन्मुत्क्यैखलु मखमुखान्कुर्वते कर्मपाशा-
नन्तः शान्त्यै मुनिशतमतानल्पचिन्तां भजन्ते।
तर्थि मज्जन्त्यशुभजलधेः पारमारोढुकामाः
सर्वं प्रामादिकमिह भवभ्रान्तिभाजां नराणाम्॥२२॥

प्रथमं चुम्बितचरणा जङ्घाजानूरुनाभिहृदयानि।
आलिङ्ग्यभावना मे खेलतु विष्णोर्मुखाब्जशोभायाम्॥२३॥

मलयानिलकालकूटयो रमणीकुन्तलभोगिभोगयोः।
श्वपचात्मभुवोर्निरन्तरा मम भूयात्परमात्मनि स्थितिः॥२४॥

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break throngh the fetters forged of Indiscrimination, and, with their sins destroyed, plunge into this clear ambrosial pond of Atman, which is cool on account of Non–expectancy,

22 For liberation from the Bonds, people forge (only) fetters of action like sacrifices, etc. Forgaining peace of mind, they indulge in no small thinking over the views of hundreds of sages. Yearning to land on the other shore of the ocean of Evil, they drown themselves in holy places. All this really is caused by Ignorance on the part of men who suffer under the delusion of (or, who have to wander in) the Samsāra.

23 Having first kissed the feet (of Viṣṇu ), and then having embraced the ankles, the knees, the thighs, the navel and the heart, may my contemplativity**(भावना)** bask in the beauty of the lotus–like face of Viṣṇu.

24 May I attain that status in the Highest Soul (परमात्मा) which sees no difference between the breeze wafting over the Malaya and deadly poison, between

निखिलं जगदेव नश्वरं पुनरस्मिन्नितरां कलेवरम्।
अथ तस्य कृते कियानयं क्रियते हन्त जनैः परिश्रमः॥२५॥

प्रतिपलमखिलाल्ँलोकान्
मृत्युमुखं प्रविशतो निरीक्ष्यापि।
हा हन्त किमिति चित्तं
विरमति नाद्यापि विषयेभ्यः॥२६॥

सपदि विलयमेतु राज्यलक्ष्मीरुपरिपतन्त्वथवा कृपाणधाराः।
अपहरतुतरां शिरः कृतान्तो मम तु मतिर्न मनागपैतु धर्मात्॥ २७॥

अतिबहलदहनजालं मूर्ध्नि रिपुर्मे निरन्तरं धमतु।
पातयतु वासिधारामहमणुमात्रं न किञ्चिदपभाषे॥२८॥

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the lock of hair of a fascinating woman and the hood of a serpent, between a Cāndāla and a son.

25 The entire world is itself transitory.much more so is the body existing therein. Still. how greatly alas, the people are toiling here for its sake!

26 Even though it perceives many men entering the mouth of death every moment, yet why. alas, does the mind not turn away from objects of pleasure even now?

27 Let the wealth of the kingdom even now pass away from me; let sword–edges, too, fall on me. Let Yama even take away my head. But let not my mind swerve even slightly from Dharma.

28 The enemy may steadily fan a great mass of fire over my head: he may even heave a sword–edge at me. But I shall never indulge even in a grain of censure (or falsehood).

तरणोपायमपश्यन्नपि मामक जीव ताम्यसि कुतस्त्वम्।
चेतःसरणावस्यां किं नागन्ता कदापि नन्दसुतः॥१९॥

श्रियो मे मा सन्तु क्षणमपि च माद्यद्गजघटा-
मदभ्राम्यद्भृङ्गावलिमधुरझङ्कारसुभगाः।
निमग्नानां यासु द्रविणरसपर्याकुलदृशां
सपर्यासौकर्यं हरिचरणयोरस्तमयते॥३०॥

किं निःशङ्कं शेषे शेषे वयसस्त्वमागतो मृत्युः।
अथवा सुखं शयीथा निकटे जागर्ति जाह्नवी जननी॥३१॥

संतापयामि किमहं धावं धावं धरातले हृदयम्।
अस्ति मम शिरास सततं नन्दकुमारः प्रभुः परमः॥३२॥

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29 Even though thou dost not see any means ofcrossing over (the Samsāra), yet why dost thou, O mysoul, feel worried? Is it that the son of Nanda (i. e.Kṛṣṇa) will never descend upon this path of thy heart?

30 May I never come even for a moment topossess wealth which looks charming on account of thesweet buzz of swarms of bees hovering about the ichorof the flocks of rutting elephants. For, to men rollingin it (i. e. wealth), whose eyes are perplexed by therelish of wealth, the worship of the pair of the feet ofHari becomes very difficult. (Literally, the ease ofofferring worship at the feet of Hari fades away).

31 Why, eh, dost thou sleep unperturbed (lit.unsuspectingly) in the evening of life?—Death has almost come. Or, why, thou mayest sleep on comfortably; because mother Ganges is awake near by.

  1. Why do I harass my heart by continuouslyrunning about on the earth? There is the great Lord,

रे रे मनो मम मनोभवशासनस्य
पादाम्बुजद्वयमनारतमामनन्तम्।
किं मां निपातयसि संसृतिगर्तमध्ये
नैतावता तव गमिष्यति पुत्रशोकः॥३३॥

मरकतमणिमेदिनीधरो वा
तरुणतरस्तरुरेष वा तमालः।
रघुपतिमवलोक्य तत्र दूरा-
दृषिनिकरैरिति संशयः प्रपेदे॥३४॥

तरणितनया किं स्यादेषा न तोयमयी हि सा
मरकतमणिज्योत्स्ना वा स्यान्न सा मधुरा कुतः
इति रघुपतेः कायच्छाया विलोकनकौतुकै-
र्वनवसतिभिः कैः कैरादौ न संदिदिहे जनैः॥३५॥

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the son of Nanda, erer watching my intrests. (Lit.,ever present on my head).

33 Oh my heart, why dost thou hurl me down intothe pit of Samsara while I am ceaselessly contemplating the pair of the lotus-like feet of the Chastiserof the Mind–born (Kâma)? Surely, by doing so, thysorrow for thy son ( Kāma) will not be abated.

  1. “Is that (yonder one) a mountain of emeralds? Or is it a very young tamāla tree?”—Thus thedoubt arose in the minds of multitudes of sages whenthey first sighted Rama from afar.

35 “Can this be the daughter of the Sun (the riverJumna)? No. For she is full of water. Can it, then,be the delightful lustre emanating from emeralds?No, (for) how can that lustre be so pleasing?”—

चपला जलदच्युता लता वा
तरुमुख्यादिति संशये निमग्नः।
गुरुनिःश्वसितैः कपिर्मनीषी
निरणैर्षादथ तां वियोगिनीति॥३६॥

भूतिर्नीचगृहेषु विप्रसदने दारिद्र्यकोलाहलो
नाशो हन्त सतामसत्पथजुषामायुः समानां शतम्।
दुर्नीतिं तव वीक्ष्य कोपदहनज्वालाजटालोऽपि स-
न्किकुर्वे जगदीश यत्पुनरहं दीनो भवानीश्वरः॥३७॥

आ मूलाद्रत्नसानोर्मलयवलयितादा च कूलात्पयोधे-
र्यावन्तः सन्ति काव्यप्रणयनपटवस्ते विशङ्कं वदन्तु।

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What men residing in the forest did not at first feelthese delusions about the beauty of the body of Rāma,while they were curiously gazing at it?

36 Sunk in doubts whether she was lightningdropped from a cloud or a creeper fallen from the bestof trees. the thoughtful Monkey ultimately (अथ) concluded. from her heavy sighs, that she was a womanseparated from her lover.

37 Opulence in the residences of wicked men, andmoanings consequent on poverty in the houses of Brahmins! The (premature) death of good men, andalife of a hundred years enjoyed by those who followthe evil path!—On seeing this thy injustice, O Lord ofthe world, though I am blazing up with flames of thefire of anger, yet what can I do? For I am powerless,and thou art the wielder of great power.

38 From the foot of the mountain Meru down to theshore of the sea bounded by the Malaya mountain, let

मृद्वीकामध्यनिर्यन्मसृणरसझरीमाधुरीभाग्यभाजां
वाचामाचार्यतायाः पदमनुभवितुं कोऽस्ति धन्यो मदन्यः॥३८॥

गिरां देवी वीणागुणरणनहीनादरकरा
यदीयानां वाचाममृतमयमाचामति रसम्।
वचस्तस्याकर्ण्य श्रवणसुभगं पण्डितपते-
रघुन्वन्मूर्धानं नृपशुरथवायं पशुपतिः॥३९॥

मद्वाणि मा कुरु विषादमनादरेण
मात्सर्यमग्नमनसां सहसा खलानाम्।
काव्यारविन्दमकरन्दमधुव्रताना-
मास्येषु धास्यसितमां कति नो विलासान्॥४०॥

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all those who are adepts in the composition of poemsanswer fearlessly: Who else except my good self isblessed enough to hold the position of the Master ofcompositions (वाच्) partaking of the intense sweetnessof the stream of luscious juice trickling from the interior of grapes?’

39 He is either a human beast or Paśupati, whoon hearing the poems of the lord of Pandits which areagreeable to the ears, does not shake his head (rapturously),—the lord of Pandits the nectar-like Rasa (tasteor sentiment) of whose poems the Goddess of Lettersherself relishes, her fingers losing enthusiasm for thewhile for playing on the strings of the Vīņā.

40Omy speech, do not rush into despondency onbeing denounced by villains whose minds are soakedin jealousy. What graces wilt thou not place into themouths of bees that like the juice of the lotus-flowers inthe form of poems?

मधु द्राक्षा साक्षादमृतमथ वामाधरसुधा
कदाचित्केषांचिन्न खलु विदधीरन्नपि मुदम्।
ध्रुवं ते जीवन्तोऽप्यहह मृतका मन्दमतयो
न येषामानन्दं जनयति जगन्नाथभणितिः॥४१॥

निर्माण यदि मार्मिकोऽसि नितरामत्यन्तपाकद्रव-
न्मृद्वीकामधुमाधुरीमदपरीहारोद्धुराणां गिराम्।
काव्यं तर्हि सखे सुखेन कथय त्वं संमुखे मादृशां
नो चेद्दृष्कृतमात्मना कृतमिव स्वान्ताद्वहिर्मा कृथाः॥४२॥

विद्वांसो वसुधातले परवचःश्लाघासु वाचंयमा
भूपालाः कमलाविलासमदिरोन्मीलन्मदाघूर्णिताः।

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41 Honey, grapes even ambrosia itself, and thenectar of the lower lip of a beautiful woman—thesemay sometimes not delight some. But, alas, undoubtedly dead, even while alive, are those block-heads towhom the utterances of Jagannatha do not bringdelight!

42 If, indeed, thou knowest the secret of composing poems which bear the brunt of the destruction ofthe pride of the sweetness of the juice of grapes whichare ideally ripe and therefore dripping with juice, then,my friend, thou well mayest recite thy poem in front ofpersons like me. Otherwise, do not let it out of thyheart as if it were some sinful deed which thou hastcommitted!

43 Learned men in the world studiously holdtheir tongue in the matter of praising the poetry ofothers. Kings are reeling through the growing intoxication of the wine of amorous sports with Laxmī. Asitis,in which blessed man’s mouth will my mature composi-

आस्ये धास्यति कस्य लास्यमधुना धन्यस्य कामालस-
स्वर्वामाधरमाधुरीमधरयन् वाचां विपाको मम॥४३॥

धुर्यैरपि माधुर्यैर्द्राक्षाक्षीरेक्षुमाक्षिकसुधानाम्।
वन्द्यैव माधुरीयं पण्डितराजस्य कवितायाः॥४४॥

शास्त्राण्याकलितानि नित्यविधयः सर्वेऽपि संभाविता
दिल्लीवल्लभपाणिपल्लवतले नीतं नवीनं वयः।
संप्रत्युज्झितवासनं मधुपुरीमध्ये हरिः सेव्यते
सर्वं पण्डितराजराजितिलकेनाकारि लोकाधिकम्॥४५॥

दुर्वृत्ता जारजन्मानो हरिष्यन्तीति शङ्कया।
मदीयपद्यरत्नानां मञ्जूषैषा कृता मया॥४६॥

इति पण्डितराजश्रीजगन्नाथकविविरचिते भामिनीविलासे शान्तविलासः।

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tions, which out–do the sweetness of the lower lip ofacelestial damsel indolent with amorousness, dancegracefully?

44 This sweetness of the poetry of the Panditarājais surely worthy to be respected even by the outstanding sweetnesses of grapes, milk, sugar-cane, honey,and ambrosia.

45 Śāstras have been perused; all the enjoinedreligious rites, too, have been observed. The primeof life has been spent comfortably under (literally, inthe sprout-like palm of) the lord of Delhi. And now,Hari is being worshipped in Madhupuri, after havingabandoned all desires—in everything the ornament ofthe tribe of good poets, i. e. Jagannātha, has donebetter than others.

46 This box is fashioned by me (for the safekeeping) of gems of my verses lest bastards of evilconduct should sneak them away.

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Important Abbreviations.

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Ait. Br.—Aitareya Brāhmana

Bh. G.—Bhagavadgitā

Bhag.—Śrīmadbhāgavata

Bhām.—Bhaminîvilāsa

Bhar. or Bhart.—Bhartṛhari’s Niti, Śṛngāra, and Vairāgya, Śatakas

Bṛ. U.—Bṛhadārṇyaka Upaniṣad

Chh. U.—Chhandogya Upaniṣad.

D. R.—Daśa Rūpaka

Kād.—Kadambarî

Kāṭhak.—Kāthakopaniṣad

Kauś. Br.—Kauṣîtāki Brāhmaṇa

Kirāt.—Kirātārjunîya

Kum, or Kumār.—Kumārasambhava

K. G.—Kale’s Higher Sanskrit Grammar

Megh.—Meghadûta

Mṛech.—Mṛechakatika

Nag—Nāgananda

Pān.—Pāṇini’s Aṣṭādhyāyi

Pra. R.—Prasannarāghava

R. G.—Rasagangādhara (N. S. E.)

Ragh.—Raghuvamśa

S. D.—Sāhityadarpaṇa

Śāk.—Śākuntala

Śiśu.—Śiśupālavadha

Vik.—Vikramorvaśīya

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PRĀSTĀVIKAVILĀSA.

प्रास्ताविक विलास—प्रास्ताविक–Introductory.प्रस्तावःप्रयोजनं अस्य.‘प्रयोजनम्’(Pān.5. 1. 109) इति ठक्. This Vilāsa is calledIntroductory, presumably, because the Bhāminīvilāsa openswith it. At the same time it is to be noted that there is nointegral connection between this Vilāsa and the others thatfollow it. Indeed, the commentator does not call itप्रास्ताविकविलास, but the **अन्योक्त्युल्लास—**a title certainly more to thepoint, inasmuch as it carries with it a general hint about thenature of its contents. Another point to be noted in thisconnection is that the title, whichever of the two is accepted, ofthis vilāsa, does not conform to the uniformity which is evidentin the titles of other vilāsas. While the subsquent vilāsasderive their titles from the sentiment prevailing throughout theverses contained in them, this vilāsa, in the first place, has nosuch individual sentiment predominant in it; and, secondly, thetitle is not therefore connected with any sentiment whatever.विलास–from the rt. लस् with वि, to shine, or to play.

Vs. 1.—**मद–**Ichor. From the temples of elephants, it issaid, a fluid with a very bitter smell oozes out. cf. Ragh. V.47and 48. For the idea of rutting दिग्गज, compare: दिग्गज इवानवरतप्रवृत्तदानाद्रींकृतकरः—Kād. The idea of rutting elephants seems tobe a favourite one with Jagannātha: he refers to it again andagain, e. g., in verses 25, 30, 58, 59 etc. **कराटिनः—**Elephants.**करट–**The temples of elepėants. ‘काकेभगण्डौ करौ’–अमर. It isbelieved in mythology that there are eight quarter-elephants,one in each of the eight major points of the compass. Theirnames are: **ऐरावतः पुण्डरीको वामनः कुमुदोऽञ्जनः। पुष्पदन्तः सार्वभौमः सुप्रतीकश्चदिग्गजाः॥ अमर. करिण्यः कारुण्यास्पदम्—**The code of chivalry forbidsall–especially strong men, to lay violent hands on a female.cf. स्त्रीषु गोषु न शस्त्राणि पातयेद् ब्राह्मणेषु च। यस्य चान्नानि भुञ्जीत यत्रच स्यात्प्रतिश्रयः॥ इति सन्तोऽनुशासन्ति सज्जनं धर्मिणः सदा। Mbh. 2. 41. 13,f. (CitraśālāP. Edition); also, अवध्यां च स्त्रियं प्राहुस्तिर्यग्योनिगतामपि.

**असमशिलाः—**The deer are timid, and, therefore, are no matchfor the Lord of beasts. **अनुपमशिखानाम–**Exceptionally sharp;lit; whose edges are incomparable. उपमीयते अनया इति उपमा (Astandard of comparison); **न विद्यते उपमा यासां ताः अनुपमाः, अनुपमाःशिखाः (अग्राणि) येषां तेषाम्। नखानां पाण्डित्यम्–**Does not the expression sound rather pedantic?

Now, what strikes the reader about this opening stanza ofthe Bhāminīvilāsa is the absence of а मङ्गलwhich traditionamong Sanskrit writers prescribes with a view to ensure anunobstructed completion of the work about to be composed.Cf. मङ्गलादीनि मङ्गलमध्यानि मङ्गलान्तानि च शास्त्राणि प्रथन्ते eto.—**महाभाष्य.**Also cf. आशीर्नमस्क्रियावस्तुनिर्देशो वापि तन्मुखम्। No doubt some readthe verse **माधुर्यपरमसीमा7by the churning of the ocean of Learning, and because it givesmuch happiness to the ‘drinkers’.")**etc. before this verse and probablyattempt thereby to supply a benedictory stanza of the वस्तुनिर्देशात्मक type. But this verse cannot be accepted as the genuineopening stanza of the Bhāminīvilāsa, because, for one thing,neither the Calcutta edition nor the Nirṇaya Sāgar editionnotices it. And, secondly, the contents of the stanza are of avery general character8. Such a general and, after all, tameopening is not likely in Jagannātha—that highly self-consciouspoet as we know him from the opening verses of R. G. and

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1.माधुर्यपरमसीमा सारस्वतजलधिमथनसंभूता।
पिबतामनल्पसुखदा बसुधायां ननु सुधा कविता॥

** **The stanza is read as above in Rasagangādhara, p. 306.

Translation.—Poetry is nectar, indeed, on earth for it isthe highest water-mark of sweetness, it is produced (likenectar which arose from the milky ocean when it was churned)by the churning of the ocean of Learning, and because it givesmuch happiness to the ‘drinkers’.

  1. The substitution of ममin place of ननुcan hardly becountenanced in view of the fact that **नागेशभट्ट,**who was removed from Jagannātha by less than two generations, reads ननुinhis commentary on this verse in the R. G.

from the concluding ones of Bhāminīvilāsa as well. The poetwho is careful enough to add more than half a dozen stanzasof personal eulogistic references at the end of the Śāntavilāsa,and who avers that he has culled these verses of his togetherto keep them safe from literary pirates may certainly be expected not to open ग्रन्थhis merely with a verse of such dubiousrelevance. The characteristic opening of Jagannātha is vigorous and rather ample—both of which qualities are certainlyabsent in the present case.

It seems, therefore, that Jagannātha has here infringed theestablished tradition which otherwise he follows. Probably,this breach of tradition is to be attributed to the fact that theBhāminīvilāsa is not an integral composition. As Jagannāthaadmits in the last stanza of the Śāntavilāsa, the Bhāminīvilāsa is an anthology of the verses which the poet had composed and which he wanted to preserve from plagiarists. Onaccount of this promiscuous nature of its contents, Jagannātha does not seem to have thought it his worth while toendow the Bhāminīvilāsa with his characteristic openingVerses.

Commentatorial ingenuity, however, has been too wideawake to allow the charge of a breach of tradition to rest onJagannātha’s head. Consequently, we are told by thecommentator अच्युतराय that the verse दिगन्ते श्रूयन्ते etc. is itselfaमङ्गल of the वस्तुनिर्देशात्मक type, and, as such, it yields no lessthan three different interpretations! According to himमृगपति stands for (i) the नृसिंह incarnation of विष्णु; or (ii)परशुराम who protected the Brahmins seeking (मृग) truth; or(iii)कृष्ण who is the husband (पति) of Gopis and acts likea deer (मृगवत्पतिः) for he roams about in the forest!9 All these,

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३ Read: मङ्गलपक्षे तु वस्तुनिर्देशलक्षणमङ्गलपरतया श्लेषेणार्थत्रयं ज्ञेयम्।तद्यथा—मृगपतिः। अत्र अजहत्स्वार्थलक्षणया नृमृगपतिर्नरसिंहो ग्राह्यः। तथाचेदं प्रह्लादस्य हिरण्यकशिपुवधोत्तरं ब्रह्मादीन्प्रति भगवत्प्रभाववर्णनचचनम्। हे ब्रह्मा-

supported with fanciful interpretations of details.prove thecommentator’s knowledge and ingenuity, no doubt–butscarcely his point.

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दयः, अयमपरोक्षो नृगपतिरुतक्तवृत्त्या नृहरिः। इदानीमित्याद्युत्तरार्धशेषं प्राग्वदेव।एवं करटिशब्देनाप्येतद्वध्यत्वेनासुरा एव ज्ञेयाः। ते तु दिगन्ते श्रूयन्ते। समुद्रपातालादिनिविष्टन्वाद्दूरवर्त्मानत्वेन केवलनाकर्ण्यन्त एवेत्यर्थः। तद्वत्करिणीपदेनापि कयाधूप्रभृतयोऽसुरस्त्रियो बोध्याः। तथा नृगयन्त्यन्वेपयन्तीति व्युत्पत्त्या शुकपुत्रादयस्तन्मन्त्रिण एव मृगशब्दिताः। तस्माद्भगवतो नारसिंहस्य पुनः शौर्यप्रकाशने न किमपिप्रकृते पात्रमिति हिरण्यकशिपुवधादितच्चरितात्मकवस्तुव्यञ्जनेन विचित्रं तच्छौर्यैश्वर्यमितिद्योतितम्। तेन तस्य कविकर्तृकनमस्क्रियात्मकमपि मङ्गलं ध्वन्यते। तस्यास्त्वत्तोऽहंनिकृष्टो मत्तस्त्वमुत्कृष्ट झति भावनापूर्वककायिकादित्रिविधप्रह्वीभावैकरूपत्वात्॥ पक्षे‘शमो दमस्तपः शौचं क्षान्तिरार्जवमेव च। ज्ञानं विज्ञानमास्तिक्यं ब्रह्मकर्म स्वभावजम्॥’इति स्मृतेर्मृगयन्त्यन्वेषयन्ति सदसद्वस्तु विचारयन्ति ते मृगा ब्राह्मणास्तान्पाति त्रिःसप्तवारं क्षत्रक्षपणपूर्वकं पृथ्वीप्रदानेन पालयतीति तथा। श्रीमत्परशुराम इत्यर्थः। नखानां न विद्यते खमाकाशपदवाच्यमवकाशजातं येषां तेतथा। वध्यराहित्येन निरवकाशानां शराणामित्यर्थः। ननु कुत एवमिति चेत्तत्राह—दिगन्त इति पूर्वार्धेन। करटिन ऐरावताद्यष्टदिग्गजोपलक्षिता जहत्स्वार्थलक्षणया तत्स्वामिन इन्द्रादिलोकपाला इत्यर्थः। तेषां मदमलिनगण्डत्वं तु मदजन्यस्वेदादेव बोध्यम्।एवं करिण्यः करा राजग्राह्यनियतधनभागास्ते विद्यन्ते येषां नृपाणां तेषां स्त्रिय इत्यर्थः।स्वनिहतराजरमप्य इति यावत्। तद्वन्मृगा निरुक्तव्युत्पत्त्या विचारशीला जनकादिक्षत्रिया इत्यर्थः। इदं हि श्रीमत्परशुरामविजयोत्तरं स्वगतमेव कश्यपादिसप्तर्षिवचनम्।उक्तार्थमेवान्यत्॥ पक्षे गोपीसान्त्वनार्थे भगवता प्रेषितमुद्धवं प्रति राधिकावाक्यमिदम्॥ तथा हि। हे उद्धव, अयमस्मद्बुद्धिस्थत्वेन प्रत्यक्षः। एतेन प्रीत्यतिशयःसूचितः। मृगेति। मृगो हरिणस्तद्वत्पतिः। स यथा वन एव प्रायः क्रीडति तद्वदयंश्रीकृष्णो वृन्दावन एवास्मद्भर्ता। न तु ग्रामादौ प्रसिद्धस्तथेत्यर्थः। अस्मज्जारः।श्रीकृष्ण इति यावत्। एवं चास्मान्वञ्चयित्वा गतस्तस्येदं वक्ष्यमाणफलमित्याकूतम्।उत्तरार्धशेषस्तु यथाश्रुत एव। तदेतत्कालावच्छेदेनास्मिल्लोके मादृग्विलासास्पदं तस्यनास्त्येवेति भावः। तदेवेोपपादयति—दिगन्त इति। मदेति। मदेन मृगमदेन मलिनाश्चित्रितत्वेन श्यामा गण्डाः कपोला यासां तास्तथा। कस्तुरकिलुषितकपोला इत्यर्थः।

This stanza obviously contains the figure of speech calledअप्रस्तुतप्रशंसा अप्रस्तुतप्रशंसा is a figure of speech whereby something intended to be mentioned or described is not directlymentioned or described, but only indirectly by mentioning ordescribing a different thing altogether, on the strength ofsimilar characteristics, ete of **अप्रस्तुतेन व्यवहारेण सादृश्यादिवक्ष्यमाणप्रकारान्यतमप्रकारेण प्रस्तुतव्यवहारो यत्र प्रशस्यते साप्रस्तुतप्रशंसा॥–**R. G. Thisfigure of Indirect Description is possible in five differentways10:! When some Particular is described through thedescription of & General, e. g. in vs.75 below (कृतमपि महोपकारंetc.) the poet refers to the wicked in general, though hereally intends to refer to the wickedness of some particularindividual. ii. when some General is described through aParticular, c. g., in vs. 76 below (पाण्डित्यं परिहृत्यetc.) the poetmeans to show that good turns done to the wicked are neverappreciated–they are simply wasted; but this the poet conveysthrough the description of an individual दुट. iii. when a

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एतादृशाः करटिनःकरटाः पूर्वोक्तविश्वान्निन्द्यजीविनः शतशोऽसुराः सन्ति यस्येति सतथा। अनेकदुष्टासुरचमूनायकस्य। भौमासुरस्येति यावत्। तेन स्वगृहे रोधितत्वेनतत्संबन्धिन्यः करिण्यः करशब्दितबलिग्रहणशालिन्योऽनेकराजानां षोडशसहस्नसंख्याकाः कन्यका इत्यर्थः। तास्तु निरुक्तरोधनवशात्कारुण्यास्पदं यथा स्यात्तथा दिगन्तेक्वचिद्दिक्प्रान्ते श्रूयन्त इति यावत्। तस्मात्ता अपि न सद्यः संभोगार्हा भवन्तीतिभावः। तथा मृगा मृगयन्ति राधादिगोप्युपभोग्यत्वकीर्तिश्रवणेन श्रीकृष्णमन्वेषयन्तीतिमृगाः। कुब्जादिमथुरानार्य इत्यर्थः। तास्त्वसमशीलाः सामान्यवनितात्वेनातुल्यस्वभावाः खलु। तस्मात्तासु तु पुरुषोत्तमस्य भगवतः कदाप्यनुचित एव विहार इतिरहस्यम्। एवं च युक्तमेवास्यास्मान्वञ्चयतः संभोगस्थलराहित्यमधुनेति तत्त्वम्॥

4 cf: क्वचिद्विशेषः सामान्यात्सामान्यं वा विशेषतः।

कार्यान्निमित्तं कार्यं च हेतोरथ समात्समम्।
अप्रस्तुतत्प्रस्तुतंचेद् गम्यते पञ्चधा ततः॥

अप्रस्तुतप्रशंसा स्यात्

—S. D. 10. 58-59.

cause is understood from an effect, e. g. in 73, 52 below (गिरिगह्वरेषु etc.) in the last pāda it is said ‘the earth will have onlythe female-elephants left behind’, though what is really intended is ‘the cub of the lion will devour you’. Here the causeis conveyed through the mention of the effect. iv. When aneffect is conveyed through the mention of a cause, e. g., in vs.51 below (स्थितिं नो रे दध्याetc.), the elephant is asked not to stayin that forest region, for the lion, the enemy of elephants, issleeping nearby. From this it is meant that if the lion, beingawake, finds the elephant there, he will surely kill him. Here,therefore, an effect is understood from the mention of a cause;and lastly, v., when a thing is conveyed through the description of another similar thing, for instance, in the presentverse (दिगन्ते etc.).

In the present verse the poet’s intention is not indeedto convey the merely literal meaning. Obviously, he wishesto speak of a very powerful individual—or, probably about hisown self as an unrivalled poet—who finds no worthy opponent,and disdains to massacre the innocent or the weak. Therefore,he stands superior to all, though yearning for a worthy fighter.Instead of saying all this in so many words, the author drawsupon the analogy of a lion—and thus succeeds in driving hispoint home in an effective, though indirect, way.

As a matter of fact, almost all the verses in this vilāsacontain the figure अप्रस्तुतप्रशंसाand therefore mean more thanwhat meets the eye.

The metre of this verse is शिखरिणी. रसैरुद्रैश्छिन्ना यमनसमला गःशिखरिणी।

Vs. 2.—**विकच°-विकचानां (विकसितानां) सारसानां आलिः तस्याः स्खलद्भिःपरागैः (पुष्परेणुभिः) सुरभीकृते। सुरभीकृत–**A च्विform **न सुरभि असुरभि,असुरभि सुरभि संपद्यमानं कृतं सुरभीकृतम्. ‘अभूततद्भावे च्विः,–**See Pān. 5.4.50.मानस-The Mānasa lake is believed to be the favouriteresort of flamingoes. Cf. पश्चात् सरः प्रति गमिष्यसि मानसं तत् etc.–Vik, IV. 15., also Megh. 81. **मराल–**A swan.

The metre is पृथ्वी. जसौ जसयलावसुग्रहयतिश्च पृथ्वी गुरुः।

In this verse, the poet refers to the pangs of one whohas fallen from a high position, and is constrained to live inlow surroundings. A conscientious man cannot accept achange for the worse in his position with equanimity, for suchdegradation forces him to live among people of a lowerstratum than he is used to. Compare सुखात्तुयो याति नरो दरिद्रतां धृतःशरीरेण मृतः स जीवति-Mṛchh. I.

Vs. 3.—The first three pādas contain various Loc. Abs.constructions. **लोल-**Tremulous. चकोरीगण-the cakora, male orfemale, is a bird which is believed to pine for the sight of themoon in order to quench its thirst with her rays. cf. किंचासिताक्षि मृगलाञ्छनसंभ्रमेण चञ्चूपुटं चटुलयन्ति चिरं चकोराः। Bhām. 2.73;also, चकोर्य एव चतुराश्चन्द्रिकापानकर्मणि। कैरव–A night–lotus. Thenight-lotuses open at the sight of the moon. of. कुमुदान्येव शशाङ्कःसबिता बोधयति पंकजान्येव–Śak 5, 28 मौनं मुच्.—The poet looks uponthe closed lotus flowers as modest and bashful, and thereforesilent. But about the time of moon-rise, they begin tobloom, i. e., to shed off their silence. मौनं मुच् therefore means ‘toopen’.The expression is pregnant, indeed. प्रस्थातुकामDesirousto start. प्रस्थातु कामः यस्य सः. The Anusvāra of the Inf. ofpurpose is dropped in accordance with the dictum लुम्पदवश्यःकृत्ये तुं काममनर्सोरपि। आडम्बर–A pompeus show, hence, muster.‘आडम्बरः समारम्भे, विश्व.

** **The metre is शार्दूलविक्रीडित. सूर्याश्वर्यदिमः सजौ सततगाः शार्दूलविक्रीडितम्।

** **Power must be helpfully exercised. Imagination andconsiderateness will only embellish it, and distinguish it fromsavagery. Cf. ‘Tis good to have a giant’s strength; butit’s monstrous to use it like a giant’.

Vs 4.—**स्यन्दमान–**Oozing out.The variant स्पन्दमानmeant‘bubbling out’. Note the effect of alliteration in the first twopadas. **मञ्जु—**Adv., Sweetly. निरपेक्षः—Not caring (to be rewarded). **तावकीन–**Thy. Formed by the addition of स्वञ् (ईन)

according to**‘युष्मदस्मदोरन्यरस्यां खञ्च’—Pān. 4. 3. 1, the adeśaनवक** being had by the sūtra ‘तवकममकवेकवचने’—Pān 4. 3. 3.

The metre is मालिनी, ननमयययुतेयं मालिनी भोगिलोकैः।

** **It is not the dependants or the hangers-on that may beexpected to do justice to the good qualities of their patron. There always are men with an appreciative eye, who of theirown accord proclaim the merits of others, and yet expect noreward. Virtue will out—through appreciative, yet disinterested, men.

Vs. 5.—अवहेला इ-is used here in the causal sense, i. e.,it is equivalent to अवहेलां गमय्, tosubject to denunciation, todespise. कुटज–A kind of tree with a bitter smell, blossomingin the rainy season. It is looked upon as worthless andinsignificant, तुन्दिल-with a protuberating belly, hence, bursting with. तुन्दिलस्तुन्दिभस्तुन्दी बृहत्कुक्षिःपिचण्डिल :–अमर. The metre isगीति (a modification of आर्या). आर्याप्रथमार्धसमं यस्याः परार्धमीरितां गीतिः।

** **The poet warns low and ignorant people against beingindifferent or discourteous, through meanness or ignorance,to great men who are held in high esteem in higher circles.

V8., 6.—यावत्-तावत्-As long as, till. यापय-2 sing., Imp.cans. of या to go; यापय्-To pass. विरसान्-cheerless वनान्तर-अन्यद्वनंवनान्तरम्. मिललिमालः—मिलन्त्यःअलीनां मालाःयस्मिन् सः—About whichswarms of bees hover.

The metre is आर्या.

यस्याः पादे प्रथमे द्वादशमात्रास्तथा तृतीयेऽपि।
अष्टादश द्वितीये चतुर्थके पञ्चदश सार्या॥

The cycle of fortune spares none-not even those who arehabituated to a life of ease & comfort. They should somehow pass the period of adverse circumstances with faith inthe future. Fortune that has frowned will smile-in thefulness of time. Patience, of course, till then! For the idea.compare विपदि धैर्यमथाम्युदये क्षमा etc.–Bhar. 1. 63. A lso cf. विपद्यच्चैस्थेयम्etc.—Ibid. 1. 28.

Vs. 7.—In this stanza various words bear & doublemeaning—one referring to the well, and the other to a lowly but appreciative man to whom, in fact, the stanza is addressed.नीच—(i) Deep, (ii) Lowly, one in a low station of life. कृथाःReally अकृथाः,2 Sing. Aor. of कृ. When a verb in the Aor. isused with माङ्(the negative particle मा), it comes to possessthe sense of the Imperative, and drops the temporal augment.‘न माङ्योगे’. अत्यन्तसरसहृदयः—अत्यन्तं सरप्तंहृदयं यस्य सः. Here theword रस in connection with the well means ‘water’, and हृदयmeans ‘the interior’. The well has much water in its interior. The second meaning applicable to the lowly man is‘whose heart is very appreciative’.रस in this connectionmeans the sensibility to perceive and appreciate. गुण—(i) Acord, (ii) A good quality.

The metre is गीति.

A keen sensibility to recognize and receive good qualitiesfrom others more than redeems the lowly station of life inwhich one may happen to find oneself.

Vs. 8.—**मलिनीकृ–**To render dirty, to disappoint. A च्विform. अनभिज्ञ–अभिजानाति इति अभिज्ञः न अभिज्ञः अनभिज्ञः, ignorant.परिणत.—Matured, ripened. **मार्मिकाः—मर्माणि जानन्ति इति मार्मिकाः,**those who know the essence.

The metre is पुष्पिताग्रा, अयुजिनयुगरेफतो यकारो यजि च नजौ जरगाश्चपुष्पिताग्रा।

** **There will be not a few in the world who busy themselveswith sniffing at men whose real greatness they cannot understand. One should not mind their croakings. Greatness orbeauty shall ever have its connoisseurs-the only personswhose opinion should carry.

This verse and verse 4 above are in the same vein. thoughthere is a subtle distinction in the scope of their meanings. Inverse 4 the poet looks upon the bees with scant regard, whilehere in this verse he invests them with a dignity of their own.

Vs. 9.—**अमन्द–**Ample. अनायिघत–3 pers. Plu. pass. Aor. ofनी. Construe the latter half of the stanza thus: हा तेन मधुकरेणकथं खलु कुटजे ईहा तेने। तेने–3 per. sing. pass. Perf. ofतन्–toextend. **ईहा—**Longing.

The metre is आर्या.

Can those who know better be so fallen as to stoop low,and insult their own knowledge & dignity? Experienceperhaps replies, yes! This fickleness on the part of bettermen is deplored by the poet here. One can imagine how inthe light of this stanza Jagannatha would have raised hishands in horror at ShrīKṛṣṇa for अतीव सुन्दरतमा हित्वा व्रजस्त्रीरसोयत्कुब्जां चकमे…!

** **Vs. 10.—**मलयज–**Sandal wood; here, the sandal tree.उद्+गृ 6.Conj., to vomit, to eject. **परिमलोद्गारैः—**With effusions of perfume.

The metre is गीति.

The large–minded overlook the wickedness of others, andeven oblige their enemies. उदारचरितानां तु वसुधैव कुटुम्बकम् isliterally true of them.

Vs. 11.—पाटीर—Sandalwood. ‘पटाः सन्ति यस्य स पटी तन्तुवायःतद्वत् ईरयति स्वगुणानन्वत्र पटादौ स यथा प्रेरयति तद्वत्स्वनिष्ठसौरभ्यादि धर्माश्चन्दनद्रुमादौ प्रेरयतीति पटीरो मलयाचलस्तत्र भवः पाटीरस्तत्संबुद्धावायिमलयनिलय चन्दनइत्यर्थः।–अच्युतराय. पटीयान्–अतिशयेन पटुः very clever, **उरीकर्तुम्–**toimbibe, to adopt. **पटीयाटी–**Mode, habit. **पुष्टिं तन्–**Merely means‘to delight;’ the poet is obviously drawn into the use of this.laboured phrase by the lure of alliteration. This satisfactionhe has earned only at the cost of directness. The metreis गीति.

** The idea is much the same as in the preceding verse. ofघृष्टं घृष्टं पुनरपि पुनश्चन्दनं चारुगन्धि।**

** **Vs. 12.—नीरक्षीरविवेक–नीरक्षीरयोः विवेकः, Distinguishing between water and milk. The swans are said to possess thepower to separate milk from its mixture with water. The

well-known हंसोड़कन्याय is based on this belief, cf. हंसो हिक्षीरमादत्ते तन्मिश्रा वर्जयत्यपः। Śāk. 6. 28.

The metre is आयी.

The responsibility of the great is great indeed. Failureor indifference to their duties will have a very bad effect uponothers. If they neglect their duties, who else may not? cf.यद्यदाचरति श्रेष्ठस्तत्तदेवेतरो जनः। स यत्प्रमाणं कुरुते लोकस्तदनुवर्तते॥ Bh. G.3. 21. Kautilya’s observations, राजानमुत्तिष्ठमानमनूत्तिष्ठन्ते भृत्याः।प्रमाद्यन्तमनुप्रमाद्यन्ति॥ (chap. 16), are equally applicable to anyleader of men, enthroned or otherwise.

Ve. 13.—उपरि-In appearance.करवालधाराकाराः—करवालस्य(खङ्गस्य) धारा इव(क्रूरः) आकारोयेषां ते. आकार–Shape, appearance. करवाल०Who are deadly–looking like the edge of a sword. भुजंगमपुङ्गवthe best—and that means the worst-of serpents. Words likeपुङ्गव, ऋषभ, व्याघ्र, etc. are used as the latter member of a compound in the sense of ‘the best’ . cf. **स्युरुत्तरपदे व्याघ्रपुङ्गवर्षभकुञ्जराः।सिंहशार्दूलनागाद्याः पुंसि श्रेष्ठार्थगोचराः॥ अमर. अन्त :—**At heart. द्राक्षादीक्षागुरव :—The preceptor initiates a novice; and he is alwayssuperior to his pupil in point of knowledge. In the same waythese rare men are so kind-hearted and therefore so ‘sweet’that they may well be the preceptors of grapes in point ofsweetness.

The metre is गीति;but the second pāda jolts very badlytowards the end, for it is defective in rhythm. It is laiddown that no odd gaṇa (a unit of four mātrās) should be ज<MISSING_FIG href="../books_images/U-IMG-1725287383090104-removebg-preview.png"/>in an Āryā. Here, however, the rule is violated, for theseventh gana is a जगण. Hence the awkwardness in rhythm.Cf. आर्यापूर्वार्धे ‘नेह भवति विषमे जः’इति नियमादत्र च विषमे सप्तमस्थाने जगणस्यसत्त्वाच्छन्दोभङ्गदूषितमेतदार्यापूर्वार्धमिति ज्ञेयम्। R. G. p. 275 n.

Vs. 14.—स्वच्छन्दम्—At will,**हरिदन्तराणि–**The intervalsbetween the quarters.

The metre is **प्रहर्षिणीयम्. म्नौज्रौग्रस्त्रिदशयतिः प्रहर्षिणीयम्.**Thecontents of this verse are identical with those of stanza 4 above.

Vs. 15.—मिहिर–The Sun. **संतापमालाकृला—**Oppressed withexcessive heat. **संतापमाला—**The phrase is a man erism. निरन्तराधिपटलैः—निर्गतमन्तरं येभ्यस्ते निरन्तराः निरन्तरायानाधीनां पटलैः (समूहैः)। निरन्तर–Uninterrupted **आधि–Anguish.‘पुंस्याधिनीनमी व्यथा’–अमर, जीवनम्–**Thevariant जीवितम्is not so good. जीवनं yields two meanings (i)Life, existence, (ii) Water.

Tha metre is शार्दूलविक्रीडितम्.

Service to others in need is praised here by the poet as aworthy ideal. Better to die and be useful to others than existmerely for one’s own self. cf. **पर्यायपीतस्य सुरेर्हिमांशोः कलाक्षयःश्लाक्ष्यतरो हि वृद्धेः।**Ragh. 5. 16.

Vs. 16—पतङ्ग A bird. **रमालमुकुलानि–**The tender sprouts onthe mango–tree. त्वयि संकेचमञ्चति-When thou art thinned i. e.when thou art dried up. It is a Loc. Abs. construction. गतिRecourse, Alternative. The bees hover about the lotus–flowers in search of honey. When, however, the lake driesup, and the lotuses fade, they unscrupulously migrate toanother more congenial resort-the mango-tree, as the poet sayshere. The bees and the birds are only casual visitors of the lake:they stay as long as it suits them. The fish, on the otherhand, is a habitual dweller in the lake. Its plight certainlybecomes tragic when the lake dries, for it cannot shift to anyother place.

The metre is वसन्ततिलका, उक्ता वसन्ततिलका तभजा जगौ गः।

** **Prosperity will bring many a friend, but few will proveloyal and abiding when adversity tries them. Yet there willever be some who are solely dependent on us, and will have toshare our misery. They are to be pitied indeed!

Vs. 17.—**मा मंस्थाः–**Do not presume. सौरभलोम—Greed for thyperfume. The bee has a greed for the honey of the lotus-plant.The common element sought to be denied is not सौरभलोम, butलोमonly. **महति—**Respected. Unlike the bee which is selfish,the wind wafts over the lotus-plant only to minister to thedelight of others.

The metre is गीति

There are men and men. One should never judge all by the same standard.

Vs. 18**.—मौनं उप या—**To close down. cf. मौनं मुच्in verse 3above. **वदान्य—**Generous. सादरम्—Respectfully. आदरेण सहितंयथा स्यात् तथा तुरतरब:—The celestial trees are the followingfive: पञ्चैते देवतरवो मन्दारः पारिजातकः। संतानः कल्पवृक्षश्च पुंसि वा हरिचन्द्रम्॥अमर. The metre is उद्गीति, आयीशकलद्वितये विपरीतेपुनरिहोद्गीतिः।

** Vs. 19.—द्विजिह्व :—**A serpent. The tongue of the serpentswas rent into two, it is mythologically believed, when theserpents licked the blades of darbha grass on which the pitcherfull of nectar was deposited by Garuḍa, despite the latter’swarning to them not to approach it. of. Mbh., Ādi. P.सौपर्णीकाद्रवाख्यान.

** **The second meaning of is a double–dealer—he whospeaks differently as the occasion suits him. The sandal tree,possessing as it does many goodqualities, is avoided by menthrough fear of the deadly serpents clinging to it. Yet thesandal tree bears these serpents–which shows how noble it is!

The metre is गीति.

How magnanimous good men are to shelter even thosedouble–dealers who attempt to bring them down in theestimation of the people! of **क्षुद्रेऽपि नूनं शरणं प्रपन्ने ममत्वमुचैः शिरसांसतिव।–**Kumar. 1. 12.

Vs. 20.—गाहित—from गाह्1 A. to enter. प्रपेदे–3 pers. sing.Pass. Perf. of पद्with प्र, to acquire. The metre is आयी.

** **The idea is obvious: the stanza pays compliments to agood man who offers help to others. Rare, indeed, is such amagnanimous man.

Vs. 21.—अपनीतपरिमलान्तरकथे–अपनीता परिमलान्तरस्य (अन्यस्य परिमलस्य) कथा यस्मात् तस्मिन्. Which is far and away more fragrantthan any other flower. **धन्योऽसि–**Said ironically. How absurd

and unbecoming it is for a bee who has enjoyed the juice ofcelestial flowers to think of transferring himself to anotherand, indeed, less fragrant flower! The metre is आर्या.

The idea is the same as in verse 9 above.

Vs. 22.―तटिनी―river, विन्ध्यभुव :―विन्ध्याद्भूः (जन्म) यस्थाःसा विन्ध्यभूः तस्याः. Whose source is in the Vindhya mountain.The Vindhya mountain is one of the कुलपर्वतsand thereforesacred. cf. महेन्द्रो मलयः सह्यः शक्तिमानृक्षपर्वतः। विन्ध्यश्च पारियात्रश्च सप्तैतेकुलपर्वत॥ वि. पु. The river flowing from the Vindhya has a nobleparentage. रथ्या―A street. The poet asks whether it is worthyof a river holy in itself and flowing from the sacred Vindhyato receive unto itself dirty street―water even while it (theriver) is drying up?The metre is उपगीति. आर्यापरार्धतुल्ये दलद्वयेप्राहुरुपगीतम्।

One, born in a noble family and himself endowed, besideswith good qualities, should never stoop, even under adversecircumstances, so low as to live by unworthy means or helpproffered by unworthy men. The idea is broadly the same asthat of verse 2 above.

Vs. 23.—शुक:―A thorn. **‘शूकोऽस्त्री लक्ष्णतीक्ष्णाग्रे’―अमर. बर्बुर―**The Babbool tree, known as बाभुल in Marathi and बावलinGujarati. The tree is all thorns with a sprinkling of tinyleaves on the branches. There is, as the poet puts it here, noattraction in the Babbool which may draw men into its vicinity: rather its thorns serve to turn them away!

One must be free from positive defects and must be endowed with good qualities before one may expect to draw theattention of others. Get.nothing–but injury, is a propositionwhich none will countenance.

Vs. 24―गहनम्–A forest. कलः―A sweet but, inarticulatesound; here, the cooing of the cuckoo.‘मधुरास्फुटे कलः’―अमर.साजात्यम्-समाना जातिः सजातिः तस्या मावः साजात्यम्. The stats of having

acommon genus :belonging to the same class. The crows,cruel by nature, consider the tongue-tied cuckoo to be one oftheir own kind, for they are misled by the identical colour andshape. The cuckoo’s warble, however, is distinct from that ofthe crow. Hence, the warning which the poet gives to thecuckoo. The metre is गीति.

One should never display one’s good qualities before wickedmen, for that will only provoke them to persecution.

Vs. 25.―सुषमा―Excellence. ‘सुषमा परमा शोभा’―अमर. जीवजातम्All beings.**‘जातिर्जातंच सामान्यम्’―अमर. आर्ति :—**Trouble, distress. भवानीतात―The Himalaya mountain. हिमानी―Mass ofsnow. ‘हिमानी हिमसंहतिः’―अमर. Formed from हिम―आनुक् according to **‘हिमारण्ययो महत्त्वे’.**Vārtika on इन्द्र वरुण भव etc. Pān. 4.10 49.

People may have sufficient reason to wonder, if great menshelter those who are notorious for their oppressive and maleficent activities.

V. 26.―अवज्ञासी:―2 pers. Sing. Aor. of ज्ञा with अव. Forthe dropping of the temporal augment see notes on Verse 7.मा अवज्ञासी:―Do not disregard. दानम्―The stream of the ichoremanating from the temples of elephants. द्विपधुर्य―The bestamong elephants. **धुर्य―धुरं वहति इति.**Formed from धुर्+यत्according to **‘धुरो यढ्ढकौ’**Pān. 4. 4. 77.

The idea in this verse is the same as that in verses 5 and18; only there is a difference in setting. Read after these twoverses, this stanza appears, in spite of its own charm, rathermonotonous, and the idea certainly stale.

Vs. 27.―अमरतरु–कामस्य―अमराणां तरुः, तस्य कुसुमानां सौरभस्य सेवनेनसंपूर्णाः सकलाः कामा यस्य, तस्य सौरभ–सुरभेर्भावः, Fragrance **सेवनम्―**Enjoyment. पुष्पान्तरसेवा―Enjoyment of otherflowers. **विडम्बना―**Absurdity, impropriety. cf. इयं च तेऽन्या पुरता विडम्बनाetc. Kum.5.70

The idea is, again, the same as in Vss. 9 & 20. Suchrepetitions of the same idea appear wearisome, though the

verses, read individually and independently, are charmingenough. These repetitions are only to be explained by the factthat the whole of this Vilāsa is a nosegay of charming &fragrant flowers culled at different times, and then boundtogether.

Vs. 28.―परपुष्टाः―cuckoos; literally, nourished by others.It is believed that the young ones of cuckoos are reared bycrows who are deceived by the sameness of colour andappearance, until the young birds are discovered by the crowsthrough the difference in their notes. Hence the cuckoo isknown as परपुष्टाorपरभृता. f. प्रागन्तरिक्षगमनात्स्वमपत्यजातमन्यैर्द्विजैःपरभुताःखलुपोषयन्ति। Śak. 5. 22. विटपिन्–A tree. **उपमा-**A standardof comparison; उपमीयते अनया इति.

The idea is literally the same as that in verse 20 above.

Vs. 29.—Construe : **नालाकार भीनमानौ निदाघे अस्य तरोः या पुष्टिःअल्पैरपि तोयैः भवतः करुणया व्यरचि सा विश्वतः बारां धारासारान् विकिरताप्रावृषेण्येन बारिन जनयितुं शक्या किम्। व्यरचि–**was arranged, managed.3pers, sing. Aor. pass. of रच्with वि. **प्रावृषेण्य–**Belonging to therainy season. **प्रावृषि भव प्रावृषेण्य।**formed according to **‘प्रावृष एण्यः’**Pān. 4. 3. 17. वार्n– Water. धारासार―A copious shower of rain.‘धारासंपात आसारः’–अमर of. **अयमपि पटुर्धारासारो न वाणपरंपरा।–**Vik. IV. I.वि+कृ6 conj.–to scatter. विश्वत :―In all places. The suffix तस्is used here in the sense of the Loc. of **प्रयुक्तमप्यस्त्रमितो वृथा स्यात्।**Ragh. II, 34 where–on Mallinātha remarks: सार्वविभक्तिकस्तसि.

** **The metre is मन्दाक्रान्ता. मन्दाक्रान्ता जलधिषडगैम्भौ नतौ ताद् गुरू चेत्।

** **Help however small, rendered in the nick of time is farmore effective than assistance lavishly offered when themoment of necessity is passed. The poet has a fling at thepatrons who would help-but not in time of need. Comparethe words, and note the biting sarcasm, of Dr. Johnson in hisfamous letter to Lord Chesterfield- “Is not the patron, mylord, one who looks with unconcern on a man struggling forlife in the water, and, when he has reached ground, encumbershim with help?”

Vs. 30.—**विवेक विकलः–**Indiscriminate, lit, lacking the discriminating faculty. **नृनम्–**Surely. **‘नूनं नर्केऽर्थनिश्चये’–अमर.रसा–**Theearth. नीरसा–निर्गतः रसः यस्याः सा. Moistureless, dry. **वात्या–**Awhirl–wind. **धन्वन्–**A barren piece of land desert. **अमृत–Water‘पयः कीलालममृतम्’–अमर कुतोऽप्याविष्कृतो बेधसा–**of : **दीपादन्यस्मादपि मध्यादपि जलनिधेर्दिशोऽप्यन्नात्। आनीय झटिति घटयति विधिरभिमतमभिमुखीभूतः॥**Rat. 1.

The metre is शार्दूलविक्रीडितम्.

The worst conspiracy of circumstances against one maybe set at naught, and the individual rescued, by the DivineDisposer. Contrast this verse with verse 3 above. Apparently,in these verses the poet does not express his conclusive-cut &dry-opinion. He only treats his themes in the light ofvaried experience.

The poet seeks to pay compliments to a man who rendershelp when the circumstances are threatening & gloomy.

Vs. 31.**—स्थेमन्—Stability. Derived from स्थिर+ the affixइमनिच् (वर्णदृढादिभ्यः ष्यञ्च—**Pān 5.1.128.) before which, Lowever,स्थिर ischanged to स्थ according to the Sūtra **‘प्रियस्थिर’**etc.—Pān.6. 4. 157. **स्थेमानं धा—**To stand irmly गलद्दानों…कदम्बाः—गलतःदानस्य (मदोदकस्य) उद्रेकेण (बाहुल्येन) भ्रमन्ति अलीनां कदम्बानि येषु ते. Onwhom throngs of bees are swarming on account of the copiousflow of ichor. **लुठन्मुक्ताभारे—लुठन्तः मुक्तानां भाराः यस्मिन्—**In which heapsof pearls are lying about. It is believed that excellent elephantshave pearls in their कुम्भस्थलऽ. So it is possible that the entrance to the lair of the lion should be scattered over with pearlsfrom the temples of elephants killed by him. of पदं तुषारस्स्रुतिधौतरक्तं यस्मिन्न दृष्ट्वापि हतद्विपानाम्। विदन्ति मार्गंनखरन्ध्रमुक्तैर्मुक्ताफलैः केमरिणां किराताः॥—Kumar 1. 6. शिवशिव—An ejaculation of pitymixed with grief. शिवा—A she-jackal. The jackals are lookedupon as inauspicious animals, for they are wont to romp aboutin waste & deserted places of.**निशासु भास्वत्कलनूपुराणां यः संचरोऽभूदभिसारिकाणाम्। नदन्मुखोल्काविचितामिषाभिः स बाह्यते राजपथः शिवाभिः॥**Ragh. 16. 12.

The metre is शिखरिणी. रसैः रुदैश्छिन्ना यमनसभलागः शिखरिणी।

What vicissitudes the ever-revolving wheel of fortunebrings about! The place, which even the mighty would trembleto approach, may in course of time be confidently haunted byeven insignificant beings. The glory of the great goes withthem. Compare: भ्रातः कष्टमहो महान्त नृपतिetc.—Bhar..3. 37.

Vs. 32.—प्रेमम्–Affection. Derived from प्रिय+इमनिच्,likeस्थेयम् in the last verse. अकृत–3 pers. Sing. Aor. of कृAtm.द्राक्–At once. **‘द्रङ्मक्षुसपदि द्रुतम्’—अमर. झङ्कार–**Humming sound.The metre is शिखरिणी.

The good never expect any consideration for their goodness. To them, goodness is its own reward. cf. verse 74
below.

Vs. 33.—**बन्धनदृढम्–**Firm with masonary-work. बन्धन– Stone–platform usually built round the trunk of a tree in order toensure its preservation. मांसालः—Stout, full of sap. Formedfrom मांल+लच्according to **‘सिव्मादिभ्यशच’–**Pān 5. 2. 97. ‘बलवान्मांसलोंऽसलः’—अमर. दुर्ग–दुःखेन गन्तुं शक्यते इति. Accessible withdifficulty. मनाकू A little, somewhat. **स्वान्तम्–**The heart. **‘स्वान्तंहृन्मानसं मनः’—अमर आधिज्वर–**Feverish anxiety. **ज्वालालीवलयीभवन्–ज्वालानामाल्यः (पङ्कयः) ताभिः वलयीभवन्–**Engulfing by means of themass of flames. **घस्मरः—**Devouring.Derived from घस्toeat+क्मरच्. ‘सृघस्यदः क्मरच्।’—Pān 3.2.160.

The metre is शार्दूलविक्रीडितम्.

Happiness in the world is not unmixed. Just as a forestconflagration might at any moment swallow up a tree, howeversecure it may otherwise be, so also Kāla may at any time wipeout a man, ever so securely placed & apparently happy.cf. “And our sweetest laughter with some pain is fraught”Shelley, Sky-lark.

Vs. 34—**कारः–**A ray. द्राघीयस:—Acc. plu. of the comparativeof दीर्घmase. करका—Hailstone. **तत्कं प्रति ब्रूमहे–**Before whom shall

we complain?**चातक–**is a bird that cannot drink water fromordinary reservoirs. In order to quench its thirst, it has todepend on rain–water; hence the cataka is described bySanskrit writers as continuously appealing to the clouds inthe sky to pour down showers of rain. of **अतएव दिव्यरसाभिलाषिणा भवता चातकव्रतं गृहीतम्।—**Vik II. Read the following wellknown verse from Bhartṭhari: रे रे चातक सावधानमनसा मित्र क्षणंश्रूयतामम्भोदा बहवो वसन्ति गगने सर्वेऽपि नैतादृशाः। केचिद्वृष्टिमिरार्द्रयन्ति वसुधांगर्जन्ति केचिद्वृथा यं यं पश्यसि तस्य तस्य पुरतो मा ब्रूहि दीनं वचः॥ नी. श. 51.

The metre is शार्दूलविक्रीडितम्–

What callousness–or cruelty, shall we say?—characterizesthe man of plenty who, knowing indeed that there are thosewho are entirely dependent on him and are some–how passingtheir days of adversity in the hope of help from him, gives tothem, not bread, but stones!

Vs. 35.**—दुवदहन०—दुवस्य दहनः, तस्य जटालानि ज्वालानां जालानि(समूहाः), तैः आहनाः, तेषां दवदहन…हतानाम्. दव–**A forest, जटाल–confused, entangled. formed from जटा + the तद्धित् affix लच् ; मिध्मादिभ्यश्च 1—Pān. 5,2. 97, म्लायनाम्–Gen plu. of Pres. part. from म्लै toIn fade. the first two pādas, there is the Gen. Absolute construction which is used for showing disregard or contempt. ‘षष्ठीचानादरे।’–Pān. 2. 3. 38. The meaning is: Inspite of the treeswhich are drying for want of water etc. शैल–A hill.of. शिलोच्चय inRagh. 2. 34. नावकीन–Thy. For grammatical notes ride noteson vs. 5 above.

The metre is मालिनी.

Men intoxicated with the wine of wealth are indiscriminate in their generosity. They lavish their assistance onunworthy persons, while others really deserving it are simplyignored. ‘Be generous’would be an incomplete commandment,it should rather read, ‘Be generous where generosity is dueof. ज्वलन्तं वह्निमुत्सृज्य नहि भस्मनि हूयते।

** **Vs. 36.—हन्त–अनुकम्पायाम् showing pity विश्वार्ति०–विश्वस्य (जगतः)आर्तेः(पीडायाः) वारणाय समर्पितं जीवनं (उदकं जीवितं वा) येन सः; Who

has laid down his life (or has sent down water) for the sakeof removing the distress of the world. Though the cloud maythunder, yet it is the cloud that sends down rain, and refresheseverything.

The metre is वसन्ततिलका.

At times benevolent people may appear harsh, but thisneed not blind one to their lavish munificence. Their harshnessis only apparent. of. verse 14 above and Vs. 122 below.

Vs. 37.—**लोकोत्तर–**Uncommon. दिगङ्गनाङ्गणगता–दिश एव अङ्गनास्तासांअङ्गणानि गता The sandalwood is well–known for its fragranceand cooling effect. **निगिरति–**swallows; from नि+गृृ 6 conj. उज्झन्ती–Emitting. तरलज्वाला–Burning poison. The venom of the snakesshould have an acidic effect on the bark of the sandal tree.

Sometimes many good qualities are obscured or negativedby a conspicuous defect. It may be well to recall, in connectionwith this verse, Kalidāsa’s observation that one fault ordefect will be drowned in a host of good qualities, एके हि दोषोगुणसंनिपाते निमज्जतीन्दोः किरणोष्विवाङ्कः। Kumar 1. 3., and the stingingresort which this observation evoked from another pandit,एको हि दोषो गुणसंनिपाते निमज्जतीन्दोरिति यो बभाषे। नूनं न दृष्टं कविनापि तेन(also hinting कविनापितेन) दारिद्र्यदोषो गुणराशिनाशी॥ Obviously,Jagannātha subscribes to the latter view in general, as can beseen from this stanza and from Vs. 77 below.

Note how one and the same fact offers a variety of approachto a thinking mind. In a preceding stanza (no. 19) the poetemphasised the magnanimity of the sandal tree which bearsserpents even though they vomit poison; while here the same(magnanimous) action is looked upon as undoing all theother merits of the sandal–tree.

Vs. 38.––**अपेक्षा–**Expectation. **दाक्षिण्यम्–**courtesy, civillity:संगति–Attachment.

The stanza refers to the habit of noble men who are everbusy alleviating the misery of others without caring for any

consideration, or courtesy, affection or friendship from them.Gf. एते सत्पुरुषाः परार्थघटकाः स्वार्थान्परित्यज्य ये। Bhar 1.75.

Vs. 39.—The stanza is addressed to a lotus–flower.The god Viṣṇu holds a lotus–flower in one of his fourhands; in the other three he holds शङ्ख, चक्र and गदा. निवासः पद्मायाः—The abode of the goddess Laxmī. पद्मालयाis one of the manynames of Laxmī, द्विजोत्तंस—The best among birds. द्विज–द्विजयतेइति. The birds are twice born: once, when the mother–bird laysthe egg, and secondly, when the hatched egg bursts and theyoungling comes out.

The lotus flower is well–born, well connected, has personalcharms and seductive fragrance. The coping stone of the archof these good qualities will be placed if the lotus–flowercherishes affection for the best of birds–the swan.

The metre is शिखरिणी.

Vs. 40.—साकम्—Together with. अर्कबिम्बोपमाः–अर्कस्य बिम्बउपमा येषां ते–Resembling the disc of the Sun. नीरचराः–Aquaticanimals.नीरे–As the verse is addressed to the ocean of milk,we should have expectedक्षीरे in place of नीरे. However, नीरेisused in the general sense ‘of the contents of the ocean.’Thepoet uses the word नीरचर(and not क्षीरचर) in order to showthat animals haunting the milky ocean are little better thanthe hideous monsters of the watery ocean, **क्षीरार्णव–**is one of theseven oceans known in mythology. of. क्षीरोदो लवणोदश्च दध्योदश्चवृतोदकः। स्वादूदकः सुरोदश्च तथैवेक्षुरसोदधिः॥ वायुपुराण.नारायण–The godViṣṇu. He rests himself on the Seşa in the milky ocean. Theword is derived as follows : नरस्य इमाः नाराः, नाराःअयनं यस्य सनारायणः। of **आपो नारा इति प्रोक्ता आपो वै नरसूनवः। ता यदस्यायनं पूर्वं तेननारायणः स्ममृतः॥**Manu. 1. 10. **भगवान्–**possessing the six attributesconstituting भग; hence, divine. cf. **ऐश्वर्यस्य समग्रस्य धर्मस्य यशसः श्रियः।ज्ञानवैराग्ययोश्चैव षण्णां भग इतीङ्गना॥प्रौढि–**Greatness. formed of **प्र + ऊढ,**the Vṛddhi being had according to the वार्तिक ‘प्राहोढोढ्येषैष्येषु’.

** **The metre is शार्दूलविक्रीडितम्.

The poet expresses the dilemma: whether to praise a greatman for his good qualities, or to despise him for his bad traits,both of which e, like all others, possesses. Preference toeither would betray partiality or prejudice; overlooking oraccepting both only shelves, not solves, the question. A knottyproblem indeed! (though, it must be admitted, very few wilfail to make up their minds in practice).

Compare:

इनः स्वपिति केशवः कुलमितस्तदीयद्विषा—
मितश्च शरणार्थिनः शिखरिणां गणाः शेरते।
इतोऽपि बडवानलः सह समस्तसंवर्तकै—
रहो विततमूर्जितं भरसहं च सिन्धोर्वपुः॥ Bhar. 1.77.

Vs. 41.—किम्used with a noun in the Instrumental means‘what’s the use of?’अभ्रायित—Dark & glossy like a cloud.Lit. acting like a cloud.अभ्रमिवाचरति इति अभ्रायतेaccording to**‘कतुःक्यङ् सलोपश्च।’**—Pān. 3. 1. 11.

What is the good of abundant possessions if the possessorcannot help the needy therewith?

Vs. 42**.—इयती—** This mnch आर्तानाम्—Of the thirsty. आर्त—Afflicted. The third pāda contains a Loc. Abs. constr.अङ्गार—Cinder. The sun throws rays as scorching as cinders.

The metre is शिखरिणी.

Help others while yet you can. The wheel of fortunekeeps on turning : one never knows when circumstances willchange for the worse.

Vs. 43**.—उरिकरोषि**—The rt. कृconjoined with the adverbsऊरी, उररी & ऊररी means ‘to accept.’ **रोषमुरीकृ—**To get angry.अर्थिन्—A supplicant. The cloud takes water from the ocean,of. Ragh. 13-14. Is it not surprising, therefore, that the seashould receive the rain–water sent down by a ‘beggar’(thecloud) whom he had himself helped?

The metre is मालभारिणी. ससजाः प्रथमे पदे गुरूचेत्सभरा येन चमालभारिणी स्यात्।

True greatness consists, not in being magnus (great) butmagnanimous (large–hearted).

Vs. 44.—वर्षानदी—A river depending on the rains for itsflow.स्रोतम्n.—The current.तरङ्गभङ्गान्—Curling waves. Itill becomes an autumnal river to display its waves arrogantlybefore the ever–flowing and mighty Ganges.

The metre is उपजाति. It is a mixture of इन्द्रवज्रा & उपेन्द्रवज्रा.स्यादिन्द्रवज्रा यदि तौ जगौ गः उपेन्द्रवज्रा जतजास्ततो गौ। अनन्तरोदीरितलक्ष्मभाजौपादौ यदियावुपजातयस्ताः॥

** **How audacious for an upstart with a precarious smattering to assume superior airs and attempt defiance of thosesedateminds which, to everybody’s knowledge, are far and awaybeyond him! of. verse 71 below where the poet expresses thesame idea, but with biting sarcasm and resounding sneer.

Vs. 45. —पौलोमी—पुलोम्नः अपत्यं स्त्री. The daughter of Pulomanपौलोमी means the wife of Indra. गीर्वाणाः—Gods. भूमीरुह्—A tree.आघ्रातसमुज्झितानि–पूर्वंआघ्रातानि पश्चादुज्झितानि. According to ‘पूर्वकालैकetc.’—Pān. 2-1-49. आजघ्रिरे—3rd pers. plu, perf. pass. ofत्राwith आ. माध्वीकम्—Honey. लोभ अञ्च्—To become greedy. Inthe context, it means, ‘to guard jealously.’

The metre is is शार्दूलविक्रीडितम्.

The idea is already found in verses 5, 18, and 25 above.

Vs. 46**—मृणालपटली—**A large number of lotus–stalks. पटलीसमूहः. The lake provides the swan with shelter, food anddrink. The swan, on his part, should think of some way forrepaying the obligation.

The metre is वसन्ततिलका.

One may relish the good turns done by others. But onemust know that these create obligations which must be repaid.

Vs. 47**—कुसुमार—**Spring. Literally, the store of flowers.of. **मासो नु पुष्पाकरः।**Vik 1, 8. उल्लसन्मञ्जरीपुञ्जे—In the bunches ofthe opening sprouts. **मञ्जुल—**Sweet. मञ्जुलगुञ्जितानिetc—Thou

feasted thyself, humming sweetly all the while. **गुञ्जितानि रचयन्—**A mannerism, the mango–trees blossom in spring, & the beeshave a merry time. of **न हि प्रफुल्लं सहकारमेत्य वृक्षान्तरं काङ्क्षति वट्पदाली।**Ragh. 8. 69; Also सद्यः प्रवालोद्गमचारुपत्रे नीतेसमाप्तिं नवचूतवाणे।निवेशयामास मधुर्द्विरेफन्नामाक्षराणीव मनोभवत्य॥ Kumar 8 27. **अद्य—कुटुमाकरापाये।**After Spring has come to an end. **रसालशाखिन्—**Themango–tree. **कृशां दशां अञ्च्–**To fall into straitened circumstances.**चञ्चरीक—**a bee. **त्वत्–Abl. Sing of युष्मद्. अन्य governs the Abl.according to the Sūtra‘अन्यारादितरर्ते etc.’—**Pān. 2. 3. 26. Ifthe bee, that has basked in the plenty which the mango—tree offers in spring, chooses to leave the tree when itsefflorescence is at an end, and transfers his attentions to othertrees, it only bespeaks his unmitigated meanness.

The metre is शार्दूलविक्रीडिनम्.

** **Mean & selfish persons flock around us in our prosperity,but in adversity they leave us unceremoniously.

Vs. 48.**—एणीगण—**Aflock of female deer. गुरुगर्व°—गुरुणागर्वेण निमीलिते अक्षिणी यस्य सः, with eyes blinded with great pride.**कृष्णसार––**A black buck. **कलय—**To count, to note. **मुक्तामयी—**Fullof pearls. The affix मयट्shows abundance. **‘तत्प्रकृतवचने मयट्।’––**Pān. 5. 4. 21. **बिहारवसुन्धरा—**Sporting ground.

The metre is वसन्ततिलका.

** **In the exaltation of the moment, one should not lose sightof one’s limitations. He who ignores this rule only courtsdisaster.

Vs. 49.**—जठरज्वलनज्वलता—**Who is being consumed by thegastric fire i. e. who is frightfully hungry. **अपगतशङ्कम्–**Fearlessly.It is an adv. comp. **हरिणाली—**A herd of deer. Note thealliteration in the second half of the stanza. **करिणामरिणा—**of.**मत्तेभेन्द्रविभिन्नकुम्भेकवलग्रासेकबद्धस्पृहः (केसरी)।**Bhar. 1. 29. The lionis the enemy of elephants; how can he kill the innocentinsignificant deer? of. सिंहो जम्बुकमङ्कमागतमपि त्यक्त्वानिहन्ति द्विपं सर्वःकृच्छ्रगतोऽपि वाच्छति जनः सत्त्वानुरूपं फलम्॥ Bhar. 1. 30.

The idea of this verse is contained in the line fromBhartṛhari (सर्वः कृच्छ्रगतोऽपि etc) just quoted above. Menofdignity and self–respect never stoop low, come what may.

Vs. 50.**—भिन्नकरि…बलिभिः—भिन्नाः (विदारिताः) च ते करिणः, तेषांकुम्भेभ्यः विम्खलतां मौक्तिकानां आवलयः (पङ्कयः), ताभिः। अञ्चिता—**Adorned.

The matre is रथोद्धता. रान्नराविह रथोद्धता लगौ. Great or bravemen would never choose to speak about their greatness orbravery before ordinary—and for aught we know, unknowing—men.

Vs. 51.**—स्थितिं धा–**To stand, to stay . श्रेणी–A herd **जटिला–**Tangled, thickly intertwined. Formed from जटा+इलच् accordingto लोमादिपामादिपिच्छादिभ्यः शनेलचः। Pān. 5. 2, 100. **कुम्भिन्–**Anelephant. खरनखर—ग्रामः—**खरैः (तीक्ष्णैः) नखरैः (नखैः) विद्राविताः महतांगुरूणां च ग्राव्णां (अश्मनाम्) ग्रामाः (समूहाः) येन सः।**He who has brokena number of great & heavy stones with his sharp talons.The elephant is warned lest, in his intoxication, he wandersinto the haunts of the lion—the enemy of elephants.

The metre is शिखरिणी.

The idea is the same as in verse 48 above.

Vs. 52.—गह्वरn.—A cavern. **गुम्फित—**Filled with. **गजराजपोत—**The young one of a mighty elephant. **स्तनंधयः—**A childsucking at the mother’s breast. स्तनं धयतीति स्तनंधयः. ‘नासिकास्तनयोर्ध्मघटोः (Pān. 3-2-29) इति खश्.करेणुपरिशेषिता–करेणव एवपरिशेषिता यस्याम् सा. With only the female elephants left behind.If the cub of the lion wakes up, he will kill the proudlywandering elephant, so that only female elephants will be leftbehind. **भविता—**3rd pers. sing. 1st fut. of भू.

** **The metre is मञ्जुभाषिणी. सजसा जगौ भवति मञ्जुभाषिणी.

** **The idea is the same as in verses 48 and 50.

Vs. 58.—निसर्गात्—By natureतरुकुलसमारोपसुकृती–तरूणां कुलानि,तेषां समारोपे सुकृती (सुकृनमस्यास्तीति).Who has the art (lit. goodaction) of planting trees well.The commentatorअच्युतरायtakes

सुकृत in the sense of पुण्य and explains : **समारोपः सम्यगुत्तमफलपर्यवसायित्वेनारोपोऽवापस्तेन यत्सुकृतं पुण्यं तदस्यास्तीति तथा सद्वृक्षारोपणपुण्यवानित्यर्थः।कृती—**Expert, or experienced. वकुलमपि—अपि is used to showthat the gardener, experienced as he was, planted the fragrantBakul plant in an odd corner of the garden without bestowingany thought upon it. कोणान्तरगन:—Stationed in the interior ofa corner. जगज्जालम्—The whole world. कुसुम etc.—कुसुमानां योभरः (समूहः) तस्य सौरभ्येण (परिम्लेन) भरितम्.

The metre is शिखरिणी.

Vs. 54.—यस्मिन् खेलति—Loc. Abs consr. खेलति. v. l. वेल्लतिfrom बेल्ट् 1 P. to go to move about. परिचलत्कल्लोलकोलाहलैः—Bythe roar of great surging billows. कल्लोल—A great wave, **महत्सूल्लोलकल्लोलौ। अमर. मन्थादिः—**The churning mountain i. e. मन्दराचल.The gods and the demons once churned the ocean for the sakeof ambrosia, making the Mandara mountain the churninghandle. मन्थाद्रिभ्रमणभ्रम—The delusion (भ्रम) that the Mandaramountain was again set in action. When this great fish **(राघव)**played about, it created such a terrific noise of the heavingwaves that it appeared that the Mandara mountain was churning the womb of the ocean again. हरिद्दन्तावलाः—Quarter-elephants. दन्ताबल—–An elephant. ‘दन्तशिखात् संज्ञायाम्’ ( Pán. 5-2-113) इति बलच्. The variant हरिद्यूथाधिपाःmay mean either (i)quarter-elephants; हरित्=दिक्& यूथाधिप—Lord of the herd i. e. anelephant, or (ii) हरितां यूथं तस्य अधिपाः इन्द्रादयो लोकपालाः. Theguardians of the quarters, like Indra and others. तुङ्ग… कोविदः—तुङ्गानां (महताम्) तिमिङ्गलानां अङ्गानि तेषां कवलीकारस्य (भक्षणस्य) क्रियायां(विधौ) कोविदः. Well-versed in the art of swallowing the bodiesof large fish. Large fish are known to devour small ones.of. उत मत्स्य एव मत्स्यं गिलति। Śat. Br. 1-8-1-3. This phenomenonhas given the well-known मात्स्यन्याय to the science ofpolitics. क्रोड-chest. **कस्य क्रौडे–**Where? On whose breasts? केलिकलह:–Love–quarrel. राधव:—A very large fish, a sea–monster.of. तिमिङ्गलगिलोऽप्यस्ति तद्गिलोऽप्यस्ति राघवः।

** **The metre is शार्दूलविक्रीडितम्,

The great move in the company of the great. They cannot associate themselves with ordinary men.

Vs. 55.**—कियत्–**Some portion. **तुषारार्दितैः–**By people oppressed with cold. Some portion of the forest was cut down by men to warm themselves with fire & ward off the cold.शिष्टम्—अवशिष्टम्. What remained. **ललिता—**charming.

The metre is शार्दूलविक्रीडितम्.

If misfortune is to befall us, it shall come any way. Though the charming clove–creeper discharging its fragrance all round could survive the ravages of wild elephants, men gathering fuel, and even the scorching sunshine of summer, yet ultimately it was consumed by the forest–fire! It was spared one misfortune only to fall into another.

Vs. 56.**—स्वर्लोक–**The heavenly world.**शिखामाणिः—**The crest-jewel.सुरतरूग्राम—All the celestial trees. For the names of the celestial trees, see notes on Vs. 18.धामन्—Abode. सुरतरुग्रामस्यधामाद्भुतम्—For the idea see verse 45 above. पुरुहूत—Indra.पुरुहूतmeans ‘invoked by many’ or ‘called in many places’. It is a Vedic epithet of indra. The second pāda means: Indra and his wife must have done many good deeds; hence they have possessed the excellentनन्दनgarden. It is an emphatic way of suggesting the excellence of the Nandana garden.**सहृदय—**Wise men; those who have thy good at heart.**खाण्डवरङ्गताण्डवनटः—खाण्डवमेव रङ्गः, तस्मिन् ताण्डवे (उद्धतनृत्ये) (पटुः) नटः—**The actor skilled in dancing wildly on the stage of the Khāṇḍava forest. The reference is to the God of fire who burnt the whole of the Khāṇḍava forest with the help of Kṛṣṇa and Arjuna. See Mahābhārata, Vana Parvan.**वैश्वानरः—**Fire god. The word is thus explained by Yāska : विश्वात् नरान् नयतीति, or विश्व एनं नरा नयन्तीति.

** **The metre is शार्दूलविक्रीडितम्.

** **The idea is broadly the same as in verse 33. Worldly happiness is not ideal i. e., free from all dangers.There is always an Enemy lurking behind all happiness.

Vs. 57.—व्यापुति of.—Business. मत्तः—From me. Formed by the addition of तम् in the sense of the Abl. ‘पञ्चम्यास्तसिल्।’Pān. 5. 3. 7. चञ्चुकोटि etc.—चञ्च्वाःकोट्या (अग्रेण) विदारितं अररपुटंयेन सः। Who has broken the door ajar with the tip of his beak.‘कपाटमररं तुल्ये’–अमर. The other readings in place of विदारिताररपुटःare निराकृतागंल इतो(R.G.), and विपाटितारलकुटः(having thrust aside the wooden rod). **मनोरथमय—**Made of desires, fanciful.**वारणकराकारः—**Resembling the trunk of an elephant in shape.**फणिग्रामणी—**The leader of snakes. The parrot in the cage was treating himself to golden dreams of escape when, to his misfortune, there appeared a huge cobra inside the cage. For asimilar idea, compare: रात्रिर्गमिष्यति भविष्यति सुप्रभातं भास्वानुदेष्यति हसिष्यति पङ्कजश्रीः। इत्थं विचिन्तयति कोशगते द्विरेफे हा हन्त हन्त नलिनीं गज उज्जहार॥.

The metre is शार्दूलविक्रीडितम्.

Man proposes, god disposes. Cf. The best-laid schemes of mice and men Gang aft a-gley’.—R. Burns.

Vs. 58,—चाञ्चल्यजुषः—चाञ्चल्यं जुषन्तीति. Unsteady, rash. **श्रितनगाः—**Settled under trees. **कल्लोलमालाकुला—**Undulating with rows of waves. अम्बुधिकामिनी—A river. Vide Ragh. 13.9. उच्छलदम्बु etc—उच्छलतः अम्बुनः निर्भरस्य महान्तश्च ते आवर्ताः(भ्रमाः) तैः। By the large whirl-pools in the mass of heaving water. **आवर्त—**A whirl-pool स्यादावर्तोऽम्भसां भ्रमः।—अमर. **समावर्तितः—**Tossed about.**रसातलं यातः—**Sank to the bottom i. e. was drowned.

The metre is शार्दूलविक्रीडितम्.

Men should beware of things which have ruined even great men. Fools shouldn’t rush in where angels fear to tread.

Vs. 59. **स्तन्यम्—**Milk. स्तने भवम्. ‘शरीरावयवाच्च’(Pān 4, 3.55) **इति यत् दृगन्तान् आ+धा—**To direct the eyes, to look about.अयं धीरं धीरं etc.—The cub hears the deep thunder of the cloud and, believing it to be the gurgling of an elephant, feels restive. The lioness sets her young one’s mind at rest.

The metre is शिखरिणी.

Qualities do not depend upon accidents like age, etc. They are, if at all, in the blood. Cf**. सिंहः शिशुरपि निपतति मदमलिनकपोलभित्तिषु गजेषु। प्रकृतिरियं सत्त्ववनां न खलु वयस्नेजसो हेतुः॥** Bhar. 1.38. Also तेजसां हि न वयः समीक्ष्यते। Ragh. 11. 1, and ‘न खलु वयसा जात्यैवायं स्वकार्यसहो भरः। Vik. 5, 18.

Vs. 60.**—मासिक–**A month old. ‘कालादृञ्’(Pān. 4. 3.11)इति ठञ् (इक). मध्येजठरम्—Inside the womb. **जटरस्यमध्ये मध्येजठरम्.**This Adv. Comp. is formed according to ‘पारे मध्ये षष्ठ्या वा’ Pān 2. 1. 18. Even though the foetus in the womb of the lioness is only a month old, yet the poet says—with exaggeration, of course—that it is conscious of its enmity with elephants. The idea is the same as in the preceding stanza.

Vs. 61.—**वेतण्ड…पन्थिना—वेतण्डानो(गजानां) गण्डाः, नेषां कण्डूतौ (ग्वर्जने) यत्पाण्डित्यं तस्मिन्परिपन्थी, तेन।**Who is a rival in the skill of scratching the itch on the temples of elephants. The idea seems to be this: The olephants know how to scratch the itch (cf.कण्डूयमानेन कटं कदाचित् etc. Ragh. 2. 37 or, माद्यत्कुञ्जरगण्डभित्तिकषणैर्भग्नस्रवच्चन्दनः। Nāg. 1. 8); but the lion also knows that. He plants his sharp talons on the temples of elephants—scratching the itch with a vengeance !

Vs. 62.**—जनिः—**Birth. **मधुरता—**Exquisite beauty, the sweetness of appearance. The beauty of the lotus–flower rivals with that of the face of a pretty woman.अच्युतरायattempts to explain मधुरता रामामुखस्पर्धिनी in another way also:तब मधुरता जहत्स्वार्थया गङ्गायां घोषः इत्यादिवत्त्वन्मधुमाधुरीत्यर्थः। **रामेति। यावत्स्त्रीगुणा या रमणी तस्या यन्मुखं निरुक्तलक्षणया तदेकदेशोऽधरस्तर्त्स्पर्धनी स्वाधिक्येन तद्विरोधिनीत्यर्थः।**The first two lines are almost an echo of the first two lines of verse 39. **महाकविगिरां सर्वस्वम्—**The ‘every thing’of the speech of great poets. All these facts make the poets seize on you (the lotus flower) as the subject of their speech. कामस्य च—And you are the best possession of the god of love. The lotus–flower is one of the five flower—arrows of Madana. of. अरविन्दमशोकं च तूच नवमल्लिका। नीलोत्पलं च पञ्च पञ्चबाणस्य सायकाः॥ प्रीतिं उरीकृ—To

cherish affection. मधुप—मधु पिवति इति. It means (i) the bee, or (ii) one who drinks wine, hence a vicious man.

The metre is शार्दूलविक्रीडितम्.

Meritorious persons should not conceive friendship or relation with wicked men. It is beneath them.

Vs. 63.**—लीलामुकुलितनयनम–लीलया मुकुलिते नयने यथा स्यातां तथा।**Adv. comp. with eyes playfully closed. The elephant who is at eternal enmity with the eventually ferocious lion, is starkly foolish to ignore his own perilous condition & sleep comfortably. cf. विधाय वैरं सामर्षे नरोऽरौ य उदासते। कक्षे दावानलं क्षिप्त्वा शेरतेतेऽभिमारुतम्॥

Having contracted enmity with a powerful enemy,one cannot afford to be negligent.

Vs. 64**—पराञ्चनि—**Return, prove false. याताश्चेन्न पराञ्चन्ति—cfऋषीणां पुनराद्यानां वाचमर्थोऽनुधावति। Uttar. I. **द्विरद—**An elephant.

The wise speak rarely; but when they do, they speak what they mean. सत्यप्रतिज्ञा हि भवन्ति साधवः। Mbh.

Vs. 65.**—औदार्यम्—**Generosity. The celestial tree is supposed to fulfil all the desires expressed before it. **दातृगुरू—**The best among liberal givers. अर्थिप्रवरार्थितार्पणविधौ—अर्थिषुप्रवराः, तेषामार्थतस्य (ईप्सितस्य) अर्पणविधौ. In the matter of acceding to the requests of worthy supplicants (only). **विवेकः–**Faculty of discrimination.

The metre is शार्दूलविक्रीडितम्.

It is good to be generous; but better to be generous to those who deserve. See notes on verse 35.

Vs. 66.**—विश्वसताम्—**Gen. plu of the pres. part masc. of श्वस् with वि. **अपघृणः—**Merciless. **गूढाशयाः—**Whose intentions are concealed.**कति—**How many. It is Nom. pln of the termination being dropped according to **‘षड्भ्योलुङ्’—**Pān 7. 1. 22.**त्वत्तुल्यकक्षाः—**Of thy type. भूपानां भवनेषु etc.–A wicked man in the palace of a king is an eyesore to Bhartrhari: नृपाङ्गणगतः खलोमनसि सत्प शल्यानिमे। I. 56. The hunter is not alone in the world

to slay trusting animals; there is many a villain moving about royal palaces, or holy places hatching his evil designs to harass good men. cf. **मृगमीनसज्जनानां तृणजलसंतोषविहितवृत्तीनाम्। लुब्धकधीजरपिशुना निष्कारणवैरिणो जगति॥**Bhar. I. 61.

Vs. 67.**—विश्वास्य—**Indeclinable Abs. (Gerund) of the causal of श्वस् with वि. Having inspired confidence.**नत्रतमाः—**Most modest. Of course this modesty is only a mask.**काश्यपि—**Voc. sing. The earth, the daughter of कश्यप.

** **The poet complains that the earth–mark the word used.**काश्यपी—**is indiscriminate for she bears the good and the wicked alike. A discreet man should treat others as they deserve.

Vs. 68.**—अन्या—**Different, uncommon. **मनसः प्रवृत्तिः—**Thoughts. **लोकोत्तर—**Uncommon. आकृतिरार्तहृद्या—Their appearance too is reassuring to the distressed. People in distress derive solace even from their appearance. The variant forआर्त is आर्य. **आर्यहृद्या—**Pleasing to respectable men. **दवीयः—**Comparative of **दूर. गिरां दवीयः–**Far removed from words, indescribable. cf. **मनसि वचसि काये पुण्यपीदूषपूर्णास्त्रिभुवनमुपकारश्रेणिभिः प्रीणयन्तः। परगुणपरमाणुन्पर्वतीकृत्य नित्यं निजहृदि विकसन्तः सन्ति सन्तः कियन्तः॥**Bhar. I. 79.

The metre is वसन्ततिलका.

Vs. 69.**—महाशयचक्रवर्ती—महान् आशयो येषां तेषु चक्रवर्ती—**The sovereign among the large–hearted. **अकृतपूर्वम्—**Unprecedented.**पूर्व कृतः कृतपूर्वः न कृतपूर्वः अकृतपूर्वः तम्. कालागरुः—**Black aloes which are burnt as incense.

The metre is वसन्ततिलका.

The idea is contained in the first two pādas. Even in adversity, generous men live up to their nature.

Vs. 70.—विश्वाभि etc. **—विश्वस्मिन् (जगति) अभिरामाश्च ते गुणाः, तेषां गौरवेण गुम्फितानाम्—**Those who are endowed with many good qualities loved every where. लोकंपृणैः–लोकं पृणन्ति इति. which fill the world.**कश्मीरज—**Saffron, which grows in Kashmir. कटुता–कटु originally

meant ‘pungent.’Compare the Ayurvedic term त्रिकटुwhichmeans शुण्ठी, पीपर & मरिच. While तिक्तmeant ‘bitter,’e. g. thetaste of a green nim-fruit. In course of time the two words.came to have their meanings interchanged. Now, saffron isbitter in taste i. e. तिक्त(in its original sense); and it is thisbitterness which is meant by the word कटुता.

** **The metre is वसन्ततिलका.

** **For the idea of the verse, compare the Vernacular saying‘Even a kick by a milch-cow may be borne with good grace’.

Vs, 71.—लीला etc.**—लीलया लुण्ठिताः (हटाद्गृहीताः) शारदायाः पुरस्यमहासंपद्भराः यैः, तेषाम्।**Those who have looted with ease the greatabundance of wealth of the city of Śāradā i. e. those intellectual giants who have mastered Learning without efforts. विद्यासद्मete. विद्यायाः सद्म, तस्माद् विनिर्गलतः कणान् मुष्णन्तीति °मुषः। Thosewho steal the grains (of knowledge) dropping out of the houseof Learning. **पामर—**An insignificant man. The poet triesto bring into bold relief the vast difference between men ofgenius and mere smatterers: (i) men of genius easily masterany department of knowledge, while the smatterer has to toileven to get at it. (ii) geniuses forcibly acquire possession oflearning: the smatterers only slyly gather up whatever theycan lay hands on. Theirs, therefore, is a dubious possession(iii) The man of genius storms the city of knowledge; thesmatterer, on the other hand, approaches a mere house. वल्ग 1P-To go, to dance, **अद्यश्वः—**Any day. **मूर्धुसुपदं धा–**To plant one’sfoot on the head of another. It is an idiomatic phrase meaningto subjugate, to overpower of **इति शिरसि स वामं पादमाधाय राज्ञाम्।**Ragh. 7. 70. **शालावृकाः—**Jackals. **‘शालाबूकाः कपिकोष्टश्वानः,—अमर. **The metre is शार्ङ्गविक्रीडितम.

Is it not a ridiculous idea that the fox could baffle the lion,or that hares could overpower elephants, or that fledgelingscould suppress serpents? Well, equally ridiculous is the sightof upstarts parading their little knowledge in front of mastere.of Learning, ef. verse 44 above. Bhartṛhari has already laid

down the plain but golden rule for thom: विशेषतः सर्वविदांसमाजेविभूषणं मौनमपण्डितानाम्।

Vs. 72. **—परुष–Harsh. अलब्धशाणोत्कषणाः—न लब्धं शाणे उत्कषणंयैस्ते. which are not whetted on the whet–stone. The diamond isprimarily a rough–hewn dug–out stone; when it is whetted onthe whet–stone, it attains to its proper lustre and shape, andbecomes fit for ase in the coronets of kings. अलब्धशाणो etc.—**of.मणिःशाणोल्लीढः etc. Bhar. 1. 44.

The metre is उपजाति.

The way to greatness lies through discipline. The rebukesof elders which are always well–meant act like a whet-stoneand help bring out the best in a man.

Vs. 73.**—मनपटलम्—**A clot of jet. **विधुः—**The moon. **भजतेनराम्—**continuously bears. **कलङ्क—**The dark spots in the moon,popularly believed to be the figure of a hare or a deer which givesthe names शशिन् or मृगाङ्क to the moon. The various views aboutthese spots are summed up in the following stanza : **अङ्कं केऽपिशशङ्किरे जलनिधेः पङ्कं परे मेनिरे सारङ्गं कतिचिच्च संजगदिरे भूच्छायमैच्छन् परे।इन्दौ यद्दलितेन्द्रनीलशकलश्यामं दरीदृश्यते तत्सान्द्रं निशि पतिमन्धतमसं कुक्षिस्थमाचक्ष्महे॥. पिशुनजन—**The wicked.

It may appear strange that the king should maintain thewicked; but, says the poet, there are others, too, who do thesame thing : the sandal tree bears serpents, the lamp bears jet,and the moon the dark spots.

The metre is पुष्पिताग्रा.

Vs. 74**—अमन्दम्** adv.—Exceedingly. **अनुक्त एव—**Though notasked to do so. **कैरविणीकुलानि—**clusters of lotus—plants. **कैरविणी—The lotus—**plant whose flowers bloom at the sight ofthe moon. of. **पद्माकरं दिनकरो विकचीकरोति चन्द्रो विकाशयति कैरवक्रवालम्।नाभ्यर्थितो जलधरोऽपि जलं ददाति सन्तः स्वयं परहिते सुकृताभियोगाः॥**Bhart, 1.74

Vs. 75.**—पीत्वा—**Used in a double sense : (i)Having drunk(ii) Having swallowed. A wicked man turnsungrateful i. e.

he swallows a good turn done to him. **निरातङ्क :—**Vitėont hesitation, unscrupulously, **प्रत्युत—**On the contrary. **काकोदरसोदरः—**The uterine brother of the serpent. Cf. गुणायन्ते दोषाः सुजनवदनेदुर्जनमुखे गुणा दोषायन्ते तदिदमिह नो विस्मयपदम्। महामेघः क्षारं पिबति कुरुते वारिमधुरं फणी क्षीरं पीत्वा वमति गरलं दुःसहतरम्॥

** Vs. 76.—पाण्डित्यम्—**The status of a learned man. **वन्दिन्—**A bard, a court-minstrel. **निगीर्य—**Gerund of नि+गृto swallow.**प्रत्यवतिष्ठते—**Turns out, ‘stands.’

The metre is शार्दूलविक्रीडितम्.

A wicked man behaves himself as long as his self-interestsdemand that he should. But as soon as he secures his object,he will turn ungrateful, and spurn the ladder which enabledhim to reach his high position.

Vs. 77.**—विसृज्यते—**Is avoided.**अपायशङ्किभिः—अपायं शङ्कितुंशीलं येषां तैः—**Those who fear danger.**आशीविषः—आशिषि विषं यस्यसः—**A serpent.

Vs. 78.—This stanza is a good illustration of समासोक्ति, forthe same details are open to two different interpretations, oneof them being technical. First we take the ordinary meanings:परार्थव्यासङ्ग—परस्मै अयं परार्थश्चासौ व्यासङ्गः. Work for the sake ofothers. **उपजहत्—**Nom. sing. of pres. part. masc. of हा with **उप,**to abandon. The first pāda means: He who overlocks his owninterests and works for the welfare of others. Bhartṛhariwould agree with Jagannātha in calling such a man & **सत्पुरुष.**of. **एते सत्पुरुषाः परार्थघटकाः स्वार्थान्परित्यज्य ये।**Bhart. I. अभेदैकरत्वम्—नविद्यतेभेदः यस्मिन् तत्, तथाभूतं एकत्वम्. Unity which knows no difference.Phenomenal plurality is a matter of experience, yet the wiseman recognizes the fundamental unity of all.Cf. तथाहि समुद्रादुकात्मनोऽनन्यत्वेऽपि तद्विकाराणां फेनवीचितरङ्गबुद्बुदादीनामितरेतर-विभाग इतरेतरसंश्लेषादिलक्षणश्च व्यवहारउपलभ्यते। न च समुद्रादु-कात्मनोऽनन्यत्वेऽपि तद्विकाराणांफेनतरङ्गादीनामितरेतरभावापत्तिर्भवति। नच तेषामितरेतरभावानापत्तावपि समुद्रात्मनोऽन्यत्वं भवति : Śānkara Bhāṣya on B. S. 2. 1. 13 **गुणभूतेषु—**May be dissolved in two ways : (i) गुणानां विकाराः गुणमयानि, गुणभयानि च तानि भूतानि गुणभूतानि। or (ii) गुणेभ्यः भूतानि (उद्भूतानि) वस्तूनि।.

The sense remains the same in both of these. गुणभुतानिmeans**^(८)beings11 born of Guņas’. Here there is a reference to सत्त्व, रजस्and तमस्, the three गुणऽ forming Prakriti—**from which theuniverse is evolved. The idea of the second āda is : the goodman realizes that behind the apparent differences in thethings of the world, they are homogeneous and (metaphysicallyspeaking) identical. **ललित—**Charming.**उदात्तमहिमा—**The variantis **दातृमहिमा—**Greatness peculiar to a generous man.

The second meaning refers to the Bahuvrīhi compound ingrammar and describes its various essential aspects from &technical point of view. etc**.—**The Bahuvrīhi compoundis formed in order to denote something not expressed by thewords forming the compound Of. **‘अनेकमन्यपदार्थे’—**Pān. 2. 2.94 and the gloss on ‘अन्यपदार्थे’given in the तत्त्वबोधिनीः समस्यमानपदातिरिक्तस्य पदस्यार्थेइत्यर्थः॥ In the case of a Dvandva Comp. boththe members are equally prominent (प्रधान); in a Tatp. thesecond member is prominent, the first being only an appendage(उपसर्जन). In the Bah. Comp., on the other hand, neither ofthem is prominent, for the comp. being adjectival in character,qualifies and refers to a substantive not contained inthe comp.itself. For instance the comp. शतपत्रम्consists oftwo words शतand पत्र. But the comp. शतपत्रdoes not denoteeither of these two पदऽ but something else which has got ahundred petals : शतं पत्राणि यस्य तत् कमलम्. Hence the Bahu. comp.subordinates its own meaning (स्वार्थ) and refers to somethingelse (परार्थ). अभैदैकत्वंetc.—It is necessary for the formation ofa Bhu. comp. that its members agree with each other in theircases when dissolved i. e. they must be समानाधिकरण. Cf. **अप्रथमाविभक्त्यर्थे बहुव्रीहिरिति समानाधिकरणानामिति फलितम्।**Sid. Kau. Forinstance, प्राप्तमुदकं यं प्राप्तादको ग्रामः। ऊढो रथो येन स ऊढरथोऽनड्वान्etc. In these instances the subordinate words (गुणभूतऽ)

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** व्याधिकरण** Bahuvrihi is allowed only in the Gen. & Loc. Gases.**^(८)‘सप्तमीविशेषणे बहुव्रीहौ’—**Pān. 2. 2. 35.

viz. प्रातं उदकम्, ऊढः रथः forming the Bahu. Comp. arein the same case. Hence the poet says in the secondpāda, ‘which continuously possesses a unity (of meaning)without difference (in the विभक्तिऽ of the words) in the membersforming the compound (गुरुभूतेषु)’. Better than this, however.is the following interpretation: अभेदैकत्व means the state ofunity in which all individualities are sublated. Just as variouskinds of herbal juices which go to make up honey lose theirindividualities and give only one, that of मधु12similarly inthe Bahu. Comp. its various members submerge their individualities. stand as a composite whole & denote only onething. स्वभावाद् etc. —उदात्त means the उदात्त accent. There arethree accents found in the Vedas, उदात्त (High), अनुदात्त(Low)& स्वरित(Sounded). There are detailed rules governing thepositions of these accents in a word, New, according to theSūtra,‘बहुव्रीहौ प्रकृत्या पूर्वपदम्’.—Pán. 6. 2. 1, in a Bahu. Comp.the first member retains its own natural accents i. e., the उदात्तaccent in the whole compound word will be in the natural(स्वभावात्)position within the first member. The third pādatherefore means,‘in which the charming and important उदात्तaccent shines naturally (in its natural place)’.—Pāninilays down that compounds can be formed of समर्थ(competent)words only.‘समर्थः पदविधिः’ Pān. 2. 1. 1. Hence the Bahu.Comp. must have ‘competency’. Or समर्थ means, able toexpress thesense of unity without distinction (अभेदैकत्व).सामर्थ्यमप्येकार्थीभावबोधकतारूपं तत्रैवोक्तम्। B. G., p. 284.

V. 79**—वंसभवः—**(i) Born in a noble family, (ii) Born inbamboo trees. गुणवान्— (i) Possessing good qualities, (ii) Havingstrings or wires. **तुम्बीफलविकलः—**Divested of the gourd वंशभवःand गुणवान् are equally applicable to पुरुष and वीणादण्ड. It is.

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♦अभेदैकत्वसंख्या is thus illustrated :

यथौषधिरसाः सर्वे ममधुन्याहितशक्तयः।
अविभागेन वर्तन्ते तां संख्यां तादृशीं विदुः॥ हरिकारिका.

The metre is शिखरिणी.

only the particular associations or connections of a man thatmake him honoured irrespectively of his noble birth or personalattainments. Extraneous circumstances more than hisqualities help to make a man what he is. cf. **प्रायेणाधममध्यमोत्तमगुणाः संसर्गतोदेहिनाम्।**Bhart.

V. 80. **अभितगुणः—**Having untold qualities. **रसायन—**Anything which has a vitalizing power. रसायन is thus defined:लाभोपायो हि शस्तानां रसादीनां रसायनम्।–चरकः यज्जराव्याधिविध्वंसि भेषजंतद्रसायनम्।–भैषज्यरत्नावली. The effects of रसायन on the humanconstitution are the following : **दीर्घमायुः स्मृतिं मेधामारोग्यं तरुणं वयः।प्रभावर्णस्वरौदार्थ देहोन्द्रियबलं परम्॥ वाक्सिद्धिं प्रणतिं कान्तिं लभते ना रसायनात्।–चरक. महित–**p. p. of मह् to worship. **उग्र—**Repellent, **लशुन—**Garlic.Garlic possesses the qualities belonging to रसायन and isactually called रसायन in Ayurvedie texts. Following are thequalities of Garlic from the Ayurvedic point of view : रसोनोबृंहणो वृष्यो स्निग्धोष्णः पाचनः सरः। बलवर्णकरो मेधाहितोनेत्र्यो रसायनः॥–भावप्रकाश. Garlic, possessing as it does so many admirablequalities, is yet despised on account of its one defect, therepellent smell. See notes on verse 37. Note the contrastin the contents of this stanza and stanza 70.

Vs. 81.**—सद्गुणः—**One endowed with good qualities. **पारदोरसः–mercury which has the properties of रसायन मूर्च्छागतः andमृतः—**These are references to various chemical changes to whichmercury is subjected by its admixture with different herbalsubstances. cf. **मलशिखिविषाभिधाना रसस्य नैसर्गिकास्त्रयो दोषाः। मूर्छां मलेनकुरुते शिखिना दाहं विषेण मृत्युं च॥ गृहकन्या (**i. e., **कुमारी) हरति मलंत्रिफलाग्निं चित्रकश्च विषम्। तस्मादेभिर्मिश्रर्वारान्संमूर्च्छयेत्सप्त॥ रसहृदयतन्त्रम् ५–६.**When mercury is thus subjected to chemical modifications, itsvarious dangerous properties are eliminated, and it then actsas a vitalizing drug.Cf. मूर्च्छित्वा हरति रुजं बन्धनमनुभूय मुक्तिदोभवति। अमरीकरोति मृतः कोऽन्यः करुणाकरः सूतात्॥रसरत्नसमुच्चय.

** Vs. 82.—चकिता—**Startled. प्रान्त—The end. श्रुतिचलत् etc.—श्रुतिषु (श्रवणेषु) चलन्त्यः करोटीकोट्यः यासाम् ताः, ताभिः। The youngdevil–girls wore skull–bones as ornaments in their ears. These

skull-pendants hung about from their ear-lobes. The last twolines are read differently in some editions : अहो सेयं सीता दशनवदननीता हलरदैः परीता रक्षोभिः श्रयति विवशा कामपि दशाम्॥

The metre is शिखरिणी.

The wheel of fortune keeps on turning. A tender ladylike Sītā was placed by Fate in the midst of hideous demonesses!of. कस्यात्यन्तं सुखमुपनतं दुःखमेकान्ततो वा। नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण॥ Megh. 109.

Vs. 83.**—गीर्वाणानां पुरः—**In front of Gods. **आहोपुरुषिका—**Selfpraise mixed with elation. ‘आहे पुरुषिका दर्पाद्या स्यात् संभावनात्मनि’—अमर. About Kāma’s boastful trumpeting of his own powers,read Kumār III. 3f.कारंकारं—कृत्वा कृत्वा. Having repeatedlydone. It is & gerund in अम् (णमुल्) from **कृ. ‘आभीक्ष्ण्ये णमुल’—**Pān. 3. 4. 22. पुरभिद्—God Śiva who destroyed the demonत्रिपुरासुर and blew up his cities. **संमुखयतः—**Gen. sing. of the pres.part masc. of सं+मुखय्, to aim पुरभिदे शरं संमुखयतः—The god oflove was asked by Indra to disturb the meditations of Siva sothat Śiva, under the influence of Kāma, may be captivated bythe charms of Pārvatīand a son born of them may ultimatelyfree the gods from the persecution of तारकासुर. Kāma actsaccordingly and aims an arrow at Śiva who was in a yogic trance.of. स दक्षिणापाङ्ग निविष्टमुष्टिं नतांसमाकुञ्चितसव्यपादम्। ददर्श चक्रीकृतचारुचापंप्रहर्तुमभ्युद्यतमात्मयोनिम्॥ Kumar. 3. 70. स्वर्बाला etc. —स्वर्बालानां(अप्सरसां) नयनानि एव सुमानि तेषां मालाभिः अर्चनं तस्य पदम्। Which was theobject (पदम्) of worship by means of garlands of flowers in theform of the eyes of celestial damsels. भालानल etc.—भालस्य अनलःतेन (कृतं) भसितजालं (भस्मपुञ्जः) तस्य आस्पदम्. The body of Kāmawas turned in a moment into the repository of the mass of ashby the fire on the forehead of Siva. भालानल—Śiva has got athird eye in his forehead. It is constituted of अग्नि.Kāmawas burnt to ashes by the fire from Śiva’s forehead.

The metre is शिखरिणी.

Pride goeth before destruction. In the flush of themoment, Kāma forgot the powers of Mahādeva; so in bis

ashness he ventured to aim his arrow at Śiva—and washimself destroyed in the end.

Vs. 84.**—युक्तम्–**It is but proper. **चीत्कृतिः—**chatter. **आतिथेयी—**welcome. अतिथिषु साधुः आनिथेयी, according to ‘पथ्यतिथिवसतिस्वपतेर्ढञ्।’Pān. 4. 4. 104. मर्कटानां सभायाम्etc.—The poet vividly describeswhat will happen when ‘monkeys’(biological and metaphorical too!) gather together. One wonders whetherJagannātha had ever had the good (!) fortune of attendingpolitical meetings. And Jagannātha knew practically—notscientfically as the European scientist did later—theDarwinian theory before Darwin!

The metre is उपजाति.

Vs. 85.**—अच्छा–Clear. A clear head is well called by thepoet & better possession than ordinary jewels. द्वैतान्धकारोदयः—The rising darkness of Duality. According to Advaita Philosophy, the only thing that really exists in व्रह्मन्, everythingelse being non-existent, only an illusion brought about myprimary Nescience. The differences & distinctions of phenomenal existence are therefore unreal, and misleading. Henceद्वैत(Duality) is called ‘darkness’because it does not reallyexist. किं शास्त्रम् etc.—The real Śāstra is that which dispels thedarkness of ‘Duality’and enables one to realize theसर्वात्मभाव.तत्त्वाववोध—**Knowledge of facts. Facts can never be altered; hencetheir knowledge would spare many troubles which onewould otherwise experience. Or तत्त्ववबोधmay be understood inthe sense of the realization of the Reality (तत्त्व) i. e. of **ब्रह्मादुर्वासनानां चयः—**The mass of evil impressions.

Vs. 86.**—वेदान्त—**The Vedānta philosophy. The word haspassed through various vicissitudes of meaning. Originally itdenoted the Upanisads which are the last portions of Vedicliterature. **वैराग्यम्–विगतो रागो यस्मात् तस्य भावः—**The attitude ofdisinterestedness, when one rises superior to worldly enticements. **मैनाक—**The name of a mountain. was the son of

the Himālaya mountain. चिरं जलनिधौ etc—The reference isas follows: when Indra began to lop off the wings of themountains which flew about here and there and threatened notonly human beings but gods as well, the मैनका hurriedlyplunged itself into the ocean and thus escaped the shearing atthe hands of Indra. of. असूतसा नागवधूपभोग्यं मैनाकमम्भोनिधिबद्धसख्यम्।क्रुद्धेऽपि पक्षच्छिदि वृत्रशत्राववेदनाज्ञंकुलिशक्षतानाम्॥ Kumār 1. 20. Forचिरं जलनिधौ मनःread what Bhartṛhari says: वरं पक्षच्छेदः समदमधवन्मुक्तकुलिशप्रहारैरुद्रच्छद्वहलगहनोद्गारगुरुभिः। तुषाराद्रेः सूनोरहहं पितरि क्लेशविवशे न चासौ संपातः पयसि पयसां पत्युरुचितः॥ 1. 36.

Vs. 87.**—नैगुर्ण्यम्—**Non—possession of merits. **साधीयः—**Better. There is a current of irony in the stanza. The poetsays, as greatness or possession of good qualities involvesgreater dangers, it is better to be devoid of good qualities!In this way he wishes to point out the foolishness of men. of.द्वावेव ग्रसतेदिनेश्वरनिशाप्राणेश्वरौ भासुरौ भ्रातः पर्वणि पश्य दानवपतिः शीर्षावशेषीकृतः॥ Bhart. 1. 34.

Vs. 88.—परोपसर्पण etc :—परस्य (परं प्रति) उपसर्पणं तेन अनन्ता चिन्ता,सा एव अनलः तस्य शिखानां (ज्वालानाम्) शतैः। To approach others witha request for help means a good deal of trouble to the hearts ofconscientious men. **साधु जीवन्ति—**They live a blessed life.Blessed are they.

Vs. 89.—In this stanza many words bear a double meaning.शून्यो—(i) In a vacant place, in a corner. (ii) In a vacantdull mind. गुणवत्तां आतन्—(i) The spider spreads the webs.Hereगुण guy means a fibre. (ii) A good man imparts good qualities.स्वकीयगुणादलैः—(1) By the webs of his own fibres, (ii) By manyqualities of his own. विवरणि मुद्रयन्—(1) Covering up holes orfissures, (ii) Concealing the vulnerable or weak points (विवराणि) of others. **ऊर्णायुः—**A spider. The spider weaves the webof thin threads in out-of-the-way corners. By means of paronomastic words, the poet shows how a good man and a spiderwork much the same way.

Vs. 90.—सज्जनकार्पासetc.**—मज्जना एवकार्पासाः तेषां रक्षणे (विपरीतरक्षणया भक्षणे) एकःहुताशनः—**The one fire which ‘protecte’thecotton in the form of good men. The word is used ironically. Fire, instead of protecting wool, only burns it out.of.तूलराशाविवाग्निः। Sak. 110. Therefore रक्षण=भक्षण Destruction.**परदुःखाग्निशमने मारुतः—**Wind always fans the fire; it neverextinguishes it. For the natural alliance between fire and windof. **समीरणो नोदयिता भवेति व्यादिश्यते केन हुताशनन्य।**Kumār. 3. 21.Therefore शमन is intended to stand for **उद्दीपन.**A wicked mantakes sinister delight in aggravating the miseries of others.of. **सुजनबन्धुजनेष्वसहिष्णुता प्रकृतिसिद्धमिदं हि दुरात्मनाम्॥**Bhar. 1. 52.

Vs. 91.—The adjectives परगुह्यगुप्तिनिपुणम् and गुणमयम्areequally applicable to सज्जन and ललिनाम्बर. परगुह्यगुप्तिनिपुणम्–परेषांगुह्यानि, तेषां गुप्तौनिपुणम्। (i) A good man is clever in containingthe secrets, or concealing the weaknesses, of others. (ii) Apiece of cloth (अमबरम्) is able to cover up the secret limbs (गुह्यंमेद्रादि) of others (i. e. the wearers). गुणमयम्—(i) Possessingmany good qualities. (ii) Made from threads **(गुण). अखिलैःसमीरितं—**Respected or praised by all. **ललित—**Fine. **आम्बु—**Amouse. दूषयन्ति—(i) Find fault with, accuse (ii) Soil, damage.Mice damage a fine piece of cloth. Mark the use of two वाचकशब्दऽ(इव) in one Upamā.

Vs. 92.—यशःसौरभ्यलशुनः—यश एव सौग्ग्भ्यं तस्य (तत्प्रति) लशुन इवलशुनः। Just as the very pronounced repellent smell of garlicsuppresses all other good smell, similarly a wicked man ruinsthe good name of others. **शान्तिशैत्येहुताशनः—**As fire destroyscoolness, so a villain destroys tranquillity of mind. He is thefire to the coolness of tranquillity. कारुण्यकुसुमाकाशः—कारुण्यमेवकुसुमं तस्य (नत्प्रति) आकाशः। Flowers cannot grow in the sky.Well, compassion is as rare in a rogue as flowers in the sky.सज्जनदुःखलः—सज्जनानां दुःखं लाति (यच्छति) इति °दुःखलः। Oppressingthe virtuous. ला2 P. to take, or to give.

These three stanzas describe vividly the inherentlydevilish nature of a villain.

Vs. 93.**—भरः—**Barden धर्मव्यथा–Oppression of heat. **रुज्–**Pain. यो देहमर्पयतिetc.—People cut down trees for the sake offuel. of. **कियदपि च्छिन्नं तुषारार्दितैः।**Verse 55 above. **वदान्य—**Generous. It is for the sake of others, and not for their own selves,that trees bear the burden of leaves, flowers and fruits, orexpose themselves to excessive sunshine or Lumbing cold;more than that, they even lay down their ‘body’in theservice of others. What a lesson they teach to ‘rational’beings!

The metre is वसन्ततिलका.

** Vs. 94.—पिपासति, चुचुम्बिषति**are Desiderative forms of पा todrink, and **चुम्ब्. कौतुकेन—**Eagerly. **कालानलः—**fire of Destruction,the ire which blazes forth when the end of the universe is athand. **प्रकामम्—**Willingly, or to one’s heart’s content. **व्याल—**A serpent. **अद्धा—**erily.**वशयितुम्—**To bring under one’s control,to please, मनीषा—desire मनसः ईषा मनीषा formed according to theवार्तिकः‘शकन्ध्वादिषु पररूपं वाच्यम्’(**तच्च टेः।**Sid, Kau.)

The metre is वसन्ततिलका.

One should have nothing to do with a wicked man. For,like deadly poison, or fire, or a cobra he only harms him whotries to lead him on the way of good men. Here the poetrefers to the dangers involved in, and not the impossibility of,bringing a villain round. Bhartṛhari dwells upon he latterin the verse : व्यालं बालमृणालतन्तुभिरसौ रोद्धुं समुज्जृम्भतेछेत्तुं वज्रमणीञ्छिरीषकुसुमप्रान्तेन सह्यते। माधुर्ये मधुबिन्दुना रचयितुं क्षाराम्बुधेरीहते नेतुंवाञ्छति यः खलान्पथि सतां सूक्तैः सुधास्यन्दिभिः॥ 1. 6.

** Vs. 95.—दीनानाम्—**Of the poor helpless peasants. **परिहाय—**Ignoring, passing by औन्नत्यम्—उन्नतस्य भावः High or exaltedposition. **दुर्मदः—**Vainly arrogant. When men rise to an elevated position, they become obsessed with their own vaingloryand lose their power of discrimination, of. Verse 35 above.R. G. reads this verse as follows: दीनानामिह परिहाय शुष्कसस्यान्यौ-

दार्यंवहति पयोधरो हिमाद्रौ। औन्नत्यं विपुलमवाप्य दुर्मदानां ज्ञातोऽयं क्षितिप भवादृशां विवेकः॥

The metre is प्रहर्षिणी.

Vs. 96.**—उर्वी—**The earth. **जगदण्ड—**The cosmic egg, theuniverse. cf. the word ब्रह्माण्ड. The universe is called अण्ड becauseit developed into the form of an egg when God applied himselfto the work of creation. of. **तदण्डमभवद्धैमं सहस्रांशुसमप्रबम्।**Manu. 1.9.प्रलय—Lit. Destruction, hence, the worst calamity. **अचलाः—**Unruffled. High-souled men are not perturbed by a calamity,ever so bad, which may befall them. Their attitude towardsmisfortunes may in effect be summed up in the words of SirJames Fitz James, “Come one, come all, this rock shall dyfrom its firm base as soon as I.”—Scott, Lady of the lake,Canto V.

Vs. 97. **—बीजाकुरुते—Fills with seeds. ‘बीजेन सह कर्षति बीजाकरोति।’ Sid Kau. Formed from a with the affix डाच् (आ)whenबीजis conjoined with the rt. कृ, in the sense of ‘ploughing.’‘कृञोद्वितीयतृतीयशम्बवीजात्कृपौ।’**Pān. 5. 4. 58. Jagannātha himselfexplains: बीजाकरणं बीजप्रक्षेणपूर्वकं कर्षणम्। R. G. **सत्कारं चर्—**To trestwell, to behave courteously. He who attempts to behave wellwith a villain (with the desire of correcting him) may as welltry to plough the sky with seeds, or draw pictures on wind(as canvas), or mark out lines on the surface of water! Everyone of these actions is as starkly impossible as the rest. Thefollowing are the variants for the four pādas: (a)कुरुते or शम्बां कुरुते, (b) यत्नतः सलिले in place of सुन्दरं पवने, (९) स्नपयति पवनं सलिलैः, (d) यः क्षुद्रे in place of यस्तु खले.

** **Vs. 98.—If a necklace is offered to a monkey, he willeither lick it and smell out of curiosity, or finally will decidethat it will be a nice elevated seat for him, when eoiledup! Never throw pearls before swine.

Vs. 99.—Apparently, the verse is addressed to a bee thatleaves a lotus-plant. But really the poet addresses a fickle

lover whom the beloved (नायिका) warmly loves in spite of hismany defects. Therefore the various adjectives admit of twomeanings. मलिन—(i) The bee is ‘dirty’; (ii) the lover is **दूषित—**Guilty (in love).रागपूर्णा—(i) The lotus-plant is ‘full of redcolour’; (ii) the beloved is ‘full of love’. विकसितवदना—(i)Whose face has opened. The lotus-flowers represent the faceof the lotus-plant. The flowers on the plant have bloomed.(ii) The face of the lady–love beams (with smile or love).That is, she is warm in her attachment. अनल्पजल्प—(i) Thebee hums continuously. (ii) The lover is a prattler: he ‘protesteth too much’.**चपल—**Fickle, unsteady-equally applicableto both. सरसा—(i) **रस–**juice. The lotus-plant is full of ‘juice’for the bee. (ii) The beloved is ‘very affectionate’towardsher lover.

Vs. 100.**—स्वार्थम्.—**adv. comp., for one’s self, in one’s ownbehalf. **मलिनतां भज्—**to pale away, to become overcast. **कालिमां—Darkness, Blacknees. Mark the contrast between स्वास्यंandसकलं—**The cloud is entirely darkened, though he gets waterfor others. Men have their faces only paling when beggingfor their own selves, though their case is worse than that ofthe cloud. It is very trying to beg from another—for thesake of some one else; how much more so when one has to begfor one’s own self? This verse explains why the poet envied(!) the good luck of trees in verse 88 above.

The metre is वसन्ततिलका.

Vs. 101.**—सानुविशेषः—**Some peak of the mountain **मलय.**The poet thereby emphasises that the family of sandal wasnot exalted or renowned. **जातिः—**Class, genus.

Good qualities shall command recognition, and earn ahigh position. cf. पदं हि सर्वत्र गुणैर्निधीयते। Ragh. 3. 62.

Vs. 102.**—हन्त–**Alas! **(खेदे). सज्जसि–**from rt. सस्ज् to feelattached to, to be intent upon. **स्वात्मोपस्करणाय—**For the embellishment of thy self, **चेत्—**If. **पथ्यम्—**Wholesome. पथि साधु, ‘तत्र साधुः’(Pān. 4. 4. 98) **इति यत्. भावाः—**Objects cf. अतीन्द्रियेष्वप्युपपन्न दर्शनो

बभूव भाषेषु दिलीपनन्दनः। Ragh. 3. 41. कलि-The Kali age ‘theIron age’. **कलेवरपुषः–कलेवरं पुष्णातीति तस्य.**Who nourishes hisbody; who flourishes. दैनंदिनम्—दिनेदिने भवम्Daily, from day today. वर्तनम्–वृत्तिःMaintenance.

Kaliyuga flourishes through the charming objects in theworld, which captivate the hearts of men. Every one likes topossess the good things of the world, but one should recognizethe real effects of such possessions on their own selves. If theworldly objects were to cease capturing the human beings,then from that moment Kali will begin to langaish–it will bea return to कृतयुतindeed!

Vs. 103.**—धूमायताः—**Blurred; filled with smoke as it were.For grammatical notes, see अभ्रायित in vs. 41. **दलितारविन्दाः—**In which lotus–flowers are blooming. **मृदुताम्रदल—**Voc.—मृदूनि ताम्राणि (आरक्तानि) च दलानि यस्य तस्य संबुद्धौ.Having tender,reddish sproute. **मञ्जुगुञ्जन्मधुव्रत–**Adj. of आम्र. On which beesare sweetly buzzing. मधौ–मधुmeans Spring.The mango–treeis the cuckoo’s cherished resort in spring. In the absence ofthe mango–tree, therefore, the Cuckoo was overwhelmed withsorrow.

This verse may better be read immediately before Vs. 6,for it explains why the advice in vs. 6 is given to the cuckoo.

Vs. 104.—करजाग्र etc. करे जायन्ते इति करजाः नखाः। तेषामग्राणि।तेषां जाग्रतः उद्दामाः (उत्कटाः) शौर्यनिकराः तैः। The overflowing exuberance of heroism of the sharp claws. **पराचि–**Loc. Sing. of पराङ्(From परा+अञ्च्), Averse. **दैवे पराचि—**When luck is unfavourable. **आपि–**3pers Sing. Aor. Pass. of आप् to obtain. **पिशित–**Flesh.

The metre is वसन्ततिलका.

Destiny is all powerful. Efforts avail little when fate isaverse. cf. **प्रतिकूलतामुपगते हि विधौ विफलत्वमेति बहुसाधनता।–**Śis.

Vs. 105.**—मनाक्–**slight. **निशार्धजातः—निशार्धःजातस्य यस्य.**Bornhalf a night before. **द्राक्–**At once.

The idea has already figured in more than one of theforegoing stanzas.

Vs.106.**–दिव्यमते–**Said ironically: ‘of uncommon intelligence.’**गुणपक्षपातं अभितः—**About the partiality for merits. अभितःgovernsthe Accusative. A wicked man ever remembers good menendowed with merits, not because he has any high regard forthem, but because he is a sworn enemy of merits whereverthey be.

The metre is प्रमिताक्षरा प्रमिताक्षरा सजससैःकथिता।

Vs. 107.—विदुषमग्रcan be taken in two ways in the context:(i) विदुषामग्रे तव चरितम्. How thou behavest (and that is mostmeanly, of course) before learned men. (ii) **विदुषामग्रे विविच्यवक्ष्यामि. विविच्य—**Having analysed, in detail. In the first half ofthe stanza, the poet wishes to expose the nasty behaviour of awicked man; but, in the second half, he wonders what good itwill do to him to dwell on such a cursed subject. **अलम्—**Enough; governs the Instrumental, **हते—**cursed.

Vs. 108.—This verse resembles verse 87 above in theform of contents. आनन्दमृगदावाग्निः—Just as the forest fire(दावाग्नि) scares away–or even destroys-the deer, so also doesthe company of the wicked spell the end of all pleasantness.शीलशाखिमदद्विपः—शीलं एव शाखी (तरुः), तस्य (तंप्रति) मदद्विपः। Theintoxcated elephant to the tree of ‘good conduct’. Goodconduct ends when the company of the wicked begins. cf.**दौर्मन्त्र्यान्नृपतिर्विनश्यति यतिः सङ्गात्सुतो लालनाद् विप्रोऽनध्ययनात्कुलं कुतनयाच्छीलंखलोपासनात्।**etc. Bhart. 1. 42. **ज्ञानदीपमहावायुः—**Just as a fiercelyblowing wind puts out the lamp, so also the company of thewicked extinguishes the lamp of knowledge.

Vs. 109.—साधु etc. साधूनां हिते प्रत्यूहाः (विघ्नाः) तेषां कर्मणि. In theart of placing obstacles in the welfare of good men. निरागसाम्–निर्गतं आगः येभ्यस्तेषाम्. Of the innocent people.

Vs. 110. **—विनिवेशिता—**Placed. रसनामिषेण–रसनायाः मिषेण. Inthe guise of a tongue. The poet supposes that the tongue in

the mouth of the wicked is really a she–serpent; for, those whom their tongue bites never survive.**न जिवन्ति—**Do not survive; People bitten by the tongue of the wicked are ruined; their good name as well as every trait of charecter they prize most is lost. Cf. जाडयं ह्रीमनि गण्यते etc.Bhart. 1. 49. **अमन्त्राः—**Ordinary serpents can be overpowered, or their poison neutralized, by the aid of charms. But this she–serpent in the mouth of the wicked is so uncommonly deadly that there are no charms to restrain her or neutralize her poison

The poet here refers to the habit of wicked men of backbiting and censuring others. (Bharthari refers to the दुर्जनऽasआक्षेपरूक्षाक्षग्मुखरमुखाः1. 79) Their victims are sure to suffer on account of this unremitting propaganda against them. of.अहो खलभुजङ्गस्य विचित्रोऽयं अधक्रमः। अन्यस्य दर्शन श्रोत्रमन्यः प्राणैर्वियुज्यते॥

** **The mstre is मालभारिणी. विषमे सहजे नगे नगे नाविषमस्त्र्येण तु मालभारिणीयम्।

** **Vs. 111.—The poet new appropriately winds up his tribute (1) to a खल with a vote of ‘thanks’In this verse, he refers to some action on the part of the **खल. उन्नत–**High, Noble. There is bitter irony in the whole of this verse. The poet apparently compliments and thanks the wicked man, but he really means to say, “What a wicked dead thou hast done! Thou hast thereby earned only infamy. And we shall be cursing thee as long as we live.”Cf. उपकृतं बहु तत्र किमुच्यते सुजनता प्रथिता भवता परम्। विदधदीदृशमेव सदा सखे सुखितमास्स्व ततः शरदां शतम्॥ (बहुभिरपकारैस्ताप्यमानस्योक्तिरियम्। शब्दव्यापारविचार)

** Vs. 112—अविरतम्—**Adv. Comp. Incessantly.विमलशारद etc.–The light of the clear autumnal moon. In autumn the moon shines at her best for the sky is ideally clear at the time. Fame must be spotless i. e. white without any blot. Hence fame is often compared with moonlight on account of its whiteness–and pleasantness as well.**चन्दिर—**The moon; derived from the rt. चन्द् to be glad, to shine (K. G.)

The metre is द्रुतविलंवित. द्रुतविलंवितमाह नभौ भरौ.

The good always work for others; their words are sweet. they are broad–minded, and their fame is pleasant and unimpeachable.

Vs. 113. **—एत्य—**Gerund of आ + इ to go. **कुसुमाकरः—**The vernal season.**चिरं मग्नाम्—**Which is lost long since. The cuckoo does not feel inspired to coo out his sweet notes except in spring.**समधायि—**3rd per. sing. Aor. pass. of सम्+धाto fasten. **हृदये संधा—**To aim at the the heart. **शौभिक—**A hunter. While the Cuckoo was thus basking in pleasant dreams of the future, a hunter aimed an arrow at him. For the same idea expressed under different circumstances see verses 57 and the verse quoted in the notes on it.

Vs. 114,**—विपुलाडम्बरः—**Very showy, pompously decorated. **आपात–**Appearance.

The want of intrinsic worth can never be adequately made up for by external get–up however pompous. A fool will remain a fool, however much he may try to look otherwise.

Vs. 115.—सदः n.—An assembly. सदः खलजनेर्विना—खलऽ will please note! **कटुवणैर्विना काव्यम्—**A poem looks good when it is free from कटु words. **कटु—**Does not mean exactly ‘harsh’, for harsh words sometimes add to the रसof a poem and are therefore permissible in it. कटुmust therefore be understood in a general sense, ‘ungentle’ or ‘jarring’. मानसं etc.—Mind which is not swayed by worldly objects.

Vs. 116.**—तत्त्वम्—**Quintessence, the ‘heart’. मार्मिकः–मर्म जानातीति. One who really appreciates, a connoisseur.**अन्तरेण—**Except. Governs the Accusative.

Ve. 117.—The stanza, apparently addressed to a bee settling on सरजस्का केतकी, hints at the man who indulges in intercourse with a woman in menstruation. सरजस्का—(i) रजस् means the pollens in flowers. Hence,सरजस्का means ‘having

pollens’. (ii) she who is in menstruation. रजस्here means ‘the menstrual flow’. Sexual conjugation with a woman in her menstrual period is forbidden both by the Ayurveda and the Dharmasāstras. cf. Manu. 3. 47. पाण्डुवर्णा—(i) grey in colour. केतकी is grey in colour. (ii) pale in colour. कण्टकप्रकरान्विता—(i) the केतकि is ‘thickly studded with thorns.’(ii) कण्टक means bristling of hair, रोमहर्ष.Paling of colour and horripilations are indications of the spontaneous manifestation of love **(सात्त्विक भावऽ). स्तम्भप्रलयरोमाञ्चाः स्वेदो वैवर्ण्यवेपथू।**etc. D. R. 4. 5.of. आसीद्वरः कण्टकितप्रकोष्ठः। Ragh, 7. 22; also **रोमोद्गमः प्राटुरभूदुमायाः—**Kumār. 7. 77. Thongh पाण्डुवर्णत्व and कण्टकितत्व are inviting indications in a woman, yet her सरजस्कत्वis a bar to the consummation of her yearning.**निस्त्रप–**Shameless.

Vs. 118.**—तानः—**A modulant. It is a protracted tone (from to stretch) which is instrumental in producing other tones and on which the Rāgas depend for their existence and operation. cf. तानो नाम स्वरान्तरप्रवर्तको रागस्थितिप्रवृत्त्यादिहेतुरंशापरनामा वंशवाद्यसाध्यः प्रधानभूतः स्वरविशेषः। मल्लिनाथ on Kumar 1. 8. **‘गाता यंयं स्वर गच्छेत्तं तं वंशेन नानयेत्।’**Bharat. There are, it is believed, forty–nine tānas arising from the seven svaras. **दानम्—**the flow of ichor.

Vs. 119.—सन्तः may either mean (i) Good, or (ii) Existing. It will then be the Nom. plu. of the pres. p. of **अस्. सन्तः=यदि सन्ति।**If they exist at all.**कस्तुरी–**Musk.

Merits do not require introduction or recommendation. They will assert themselves.

Vs. 120.**—मास्म यासीः—**Do not go.**अयासीः—**2 pr. sing. Aor. of या to go. For the elision of the temporal augment see notes on कृथाःin verse **7.मौलिः—**The crest; hence, the best. It is well known that musk possesses an exquisite fragrance.**गहन–**Deep. **स्वजनक–**Musk is found in the navel of a particular type of antelopes which are therefore called.**कस्तुरीमृगऽ.**Men kill these antelopes for the sake of musk in their navels. of.चर्मणि द्वीपिनं

**ध्नन्ति दन्तयोर्ध्नन्ति कुञ्जरम्। केशेषु चमरीं ध्नन्ति सीम्निपुष्कलको हतः॥ (सीमन्–**musk).

The exquisite fragrance is a rich possession of musk, but it is very dearly bought at the cost of the life of its father.

The metre is मालिनी.

** Vs. 121,—कुमति–कुत्सिता मतिः** Evil intellect, an evil frame of mind. **अयम्–**sin. चुलुकीकरोति–Destroys. दूरीकरोति and the other verbs areच्विforms from दूर etc. **आ+तन्–**to bring about. cf.**जाड्यंधियो हरतिसिञ्चति वाचि सम्यं मानोन्नतिं दिशतिपापमपाकरोति। चेतः प्रसादयनि दिक्षु तनोति कीर्ति सत्सङ्गतिः कथय किं न करोति पुंसाम्॥**Bhar. 1. 23.

Vs. 122.—अनवरत etc**.—अनवरतं**(incessantly) परोपकरणे व्यग्रीभवन्ति (व्याग्रियमाणानि) अमलानि चेतांसि येषां तेषाम्° चेतसाम्। The good are always thinking of doing good to others. **आपातकाटवानि–**Like medicine, the words of the good may be bitter apparently, but they are wholesome in reality.

Va. 123**.—व्यामुञ्चनमधुकर** etc,—व्यागुञ्जतां (रटताम्) मधुकराणां पुञ्जाः (समूहाः) तेषां मञ्जुनि गीतानि यस्यां, तां(स्तुतिम्)। Eulogy consisting of the sweet drones of humming bees. The poet fancies that the bees ham the praises of treas. उदयन्नयातिरेकात्—उदयन् यो नयः (दिनयः) तस्य अतिरेकात्—Through overflowing modesty which arose (in the trees). Like all good men, the trees felt very modest on hearing their own praises. आभूमी etc.—भूमीतलाद् आ आभूमीतलम्; अभूमीतलं नताः कन्धराः (ग्रीवाः) येषाम्, तानि। Which have bent their necks low down to the surface of the earth. **अवनिरुह्—**A tree **कुटुम्बकानि—**Olamps, knots, clusters.

The metre is प्रहर्षिणी.

Vs. 124.—लिप्सा—लब्धुमिच्छा. Desiderative Abs.n. from the rt. **लभ्. कृपण—**A miser. **दित्सा—**Desiderative Abs n from ढाto give. Mr. Tight–fist feeling inclined to be liberal!—Well, says Jagannātha, one has never heard of such a thing before.**विमार्गगा—**An adulteress a faithless woman **कुटिल—**Orooked, a schemer दृष्टपूर्वा—पूर्व दृष्टा. Seen before,

Vs. 125.—This stanza expresses utter distrust of the fair sex. Jagannātha is not alone in voicing it, for Bhartrhari, for one, recommends नारीजते धूर्तता (1–22) as necessary for one to live happily in the world.**राजप्रियाः—**Dearly loved by the moon **(राजन्). मधूप—**A beе. Bees play about the moon–lotuses which open out at the sight of the moon. In the second half of the stanza there is also a hint that even queens pander with drunkards.

Vs. 126.**—उच्छृंखलः—**Unrestrained, Wayward. Fate is capricious and unprincipled, for he does not give you when you ask, but gives when you don’t.

Vs. 127.—दोर्दण्ड etc. दोषौ(भुजौ) दण्डौ इव दोर्दण्डो, तयोः द्वयन् तेन मण्डलीकृतं यत् लसत् (शोभमानम्) कोदण्डं तस्य (तस्मान्मुक्ताः) चण्डाश्च ते आशुगाः (शराः), तैः ध्वस्तं उद्दण्डानां विपक्षाणां (शत्रूणाम्) मण्डलं येन, तम्। Who destroyed the fierce array of enemies with his terrible arrows discharged from the shining bow that was bent round (when the bow–string was stretched furthest) by the pair of mighty arms.**मध्येरणम्—In the battle. An Aluk samāsa. cf.मध्येजठरम् in Verse 64 notes. वल्गद्गाण्डिव etc.—वल्गत् (टंकारं कुर्वत्) यद् गाण्डिवं तस्मान्मुत्काश्चने काण्डाः (इषवः), तेषां वलयैः (ओधैः), ज्वालानां आवल्यः (ममूहाः) तासां ताण्डवेन च भ्रश्यत् (विनाश्यमानम्) खाण्डवम्, तस्मिन् रुष्टं पाण्डवम्।**Pāṇḍva i Arjuna who was highly enraged, in the Khāṇḍava forest which was at the time being consumed by the ravages of the mass of flames and by the barrage of arrows discharged from the twanging Gāṇḍiva bow. Once the Fire–god became constipated with ghee on account of the incessant sacrificial activities of king Maruta. So he approached Arjuna and Kṛṣṇa for help so that he may devour the Khāṇḍava forest (which belonged to Indra. the god of rain) and thus digest the ghee jamming up his belly.अर्जुन and कृष्णconsent to help him; and then Arjuna with a continuous discharge of arrows, and Kṛṣṇa with his discus guarded the boundaries of the forest so that none may escape, while the Fire–god ravaged wildly

in the forest. cf. Mahābhārata, Vanaparvan, sub–parvar **खाण्डवदाहपर्वन्. क्षितीशः—**Voc. would be a better reading.

The metre is शार्दूलविक्रीडितम्.

Vs. 128.—खण्डितानेत्र etc.–खण्डितानां नेत्राण्येव कञ्जानि (पद्मानि), तेषां आलीनां मञ्जुरञ्जने (मधुरप्रसादनकर्मणि) पण्डिताः। Expert in sweetly pleasing (or opening) the clusters of lotuses in the form of the eyes of women supplanted in love. पद्मऽ open out when the sun rises, cf. **पद्माकरं दिनकरो विकचीकरोति।**Bhar. 1-74. The woman who is ingnored by her husband and who burns with jealousy because he bestows his affections on another woman of his heart is called **खण्डिता.**cf.ज्ञातेऽन्यासङ्गविकृते खण्डितेर्ष्याकषायिता। D. R. 2-25.Such a woman rejoices at the rise of the sun for her faithless husband who has been spending the night in the company of his ‘lass’ will be separated from his beloved for the day. Therefore the eyes of the खण्डिताwoman beam with delight at the rise of the sun. मण्डिताखिलदिक्प्रान्ता.:—मण्डिताः अखिलाः दिक्प्रान्ताः यैः। Which have brightened up (lit.decorated) all the ends of the quarters. **भानवः—**Rays.

SĀNTAVILASA.

** शान्तविलास—Like the two Vilāsas which immediately precede it—श्रृङ्गारविलास** and करुणविलास, this Vilāsa too derives its name after one of the Rasas, though it is to be noted that शान्तis not admitted as an independent Rasa by all schools of Sanskrit rhetoricians. Like the other two, again, the title of this vilāsa serves as an index of the sentiment prevailing throughout most of the verses comprising it.

** शान्तरस** is the sentiment of Quietism. When the battles of life have been waged and their stark horrible nakedness is perceived, and when, consequently, the dust and the rear of the Battle. so inviting and irresistible at other times, lose their appeal, the mind, becoming tired of worldly pursuits and the arge of senses, becomes chastened; a tranquil mood supervenes; and one yearns to rise above the Babel and escape into that Full Life which is all tranquillity. Thus the sentiment of Quietism—of the peace of mind—induces in the end an atmosphere as placid and untroubled as some forest retreat, untrod by man, where the morning sun shines over the softly bubbling water of the stream. In this Vilasa, the poet depicts a frame of mind to which worldly pleasures appear to be so many fetters, sense—organs so many hoops, life beset with its untold worries an oppression—the whole world a horrible nightmare. To such an harassed soul the poet points out the way of escape from misery, Viz., the worship of Śrī Kṛṣṇa who being identical with the highest Divinity is certain to rescue the miserable and worried refugee from his difficulties. In most of the stanzas of this vilāsa, therefore, in spite of the varied approaches to the theme, there is but one refrain, and that is the advice to all to dedicate their lives at the feet of Śrī Kṛṣṇa. And Jagannātha, like a devout Vaiṣṇava, waxes passionately devotional in his reverential references to, or descriptions of, that fascinating divinity-ŚrīKṛṣṇa.

Vs. 1**.—विशाल…विकलितम्–विशालं च तद् विषयाटवीवलयम्, तस्मिन् लग्नो यो दावानलस्तस्य प्रसृत्वराः(प्रसरणशीलाः) शिखाः, तासां आवलीभिः विकलिनम्। विषयाः—विशेषेण सिन्वन्तीति विषयाः**Those that fetter the mind and the soul more and more i. e. worldly pleasures or objects.**अटविवलम्–**forest region. Worldly pleasures are fraught with as many dangers as a forest region is. For, from the philosophical point of view, they try to prevent the soul from realizing its own true nature; and until the soul realizes the truth it will have perforce to journey on in the Sansāra. Hence the विषयऽ are spoken of as a ‘forest–region.’दावानल–a conflagration. It stands for the desires to enjoy’.कामऽare often compared with fire.प्रसृत्वर–spreading. Formed from प्र+सृ by the addition of the terminationक्वरप्. The idea of the first two lines: The numberless worldly pleasures inflame the desires (कामऽ). These desires even when satisfied do not die down, but, on the contrary, continue to grow. In the end, the mind becomes confused on account of its being tossed hither and thither by ceaseless desires. अमन्दमिलदिन्दिरे–अमन्दा मिलन्ती च इन्दिरा (शोभा) यस्य तस्मिन्. माधुरी–मधुरस्यभावःThe face of Śrīkrsna is invitingly beautiful. चन्दिर=चन्द्र, derived from the rt. चन्द्to delight. **चकोरायतान्–**3 pers. sing. Imperative of the denominative verb from **चकोर, चकोराय्–**To behave like a cakora.चकोर इवआचरति. ‘कर्तुः क्यङ् सलोपश्च’(Pān. 8 1. 11) इति क्यङ्. Just as the cakora pines for, and gazes steadfastly at, the sight of the moon, so let my mind earnestly concentrate itself in the devotion of Mukunda.

The metre is पृथ्वी.

Vs. 2**.—जलधिनन्दिनी** etc.—जलधिनन्दिन्याः(लक्ष्म्याः) नयने नीरजे इव, तयोःआलम्बन। Laxmīfondly gazes at her lord विष्णु i. e.**कृष्ण.**Viṣņuis the resting–place of the eyes of Laxmī. Laxmīis called जलधिनन्दिनी because along with the moon, the **कौस्तुभमणि,**the ऐरावत and others, she was born from the क्षीरसमूद्रwhen it was churned by the gods & the demons.ज्वलज्ज्वलनetc.—ज्वलन् यो ज्वलनः(अग्निः) स इव जित्वरः (जयशीलः) यो ज्वरभरः तस्य त्वरया

**(वेगेन) भङ्गुरम्. जित्वर—**Winning. Formed like प्रसृत्वर in stanza 1.**ज्वर—Worldly oppression. The world and its objects are not what they appear to be. They are illusory. To a thinking mind directed towards salvation the worldly existence is an oppression because it is not the reality. The only reality is Brahman–One without a second. For ज्वर cf.‘अतोऽन्यदार्तम्’।**Bri. Up. 3-5 ‘मृत्योः स मृत्युमाप्नोति य इह नानेव पश्यति’। Kāthak. 2-1-10.त्वरा—Force, impetuosity. प्रभातजलजetc.—प्रभातस्य जलजानां उन्ननन् गरिमगर्वः (गुरुताया गर्वः), नस्य सर्व कषन्तीति। Which destroy the pride of beauty of the morning lotuses. For a parallel idea compare **यन्मां न भामिनि निभालयसि प्रभातनीलारविन्दमदमङ्गिमदैः कटाक्षैः।**Bham, 3-4 **जगत्रितयरोचनैः—जगतां त्रितयस्य रोचनैः—**Pleasing the three worlds. त्रितयम्—त्रयोऽवयवा यस्य तत्। ‘संख्याया अवयवे तयप्’(Pān, 5-2-42) **इति तयप्. शिशिरय्—**To cool.

Vs. 3.—In this verse Kṛṣṇa is spoken of as a mass of clouds (कादम्बिनी). The poet tries to show the distinguishing characteristics of this uncommon mass of clouds, which make it superior to the ordidary clouds.**कादम्बिनी—**Lit., amass of clouds. ‘कादम्बिनी मेघमाला’—अमर. Kṛṣṇais identifed with a mass of clouds because, like the latter, he is glossy and dark in complexion. of जयतु जयतु मेघश्यामलः कोमलाङ्गो जयतु जयतु पृथ्वीभारनाशो मुकुन्दः॥Kālidāsa too. apart from the aptness of the Rūpaka, has, it must be supposed, calledकृष्ण a मेघfor this very reason : कृष्णमेघस्तिरोदधे। Ragh. 10-48. स्मृतापे—स्मृतमात्रा. तरुणातपं हरन्ती ete.—Ordinary clouds can relieve the growing sunshine only while they are present in the sky. But Kṛṣṇa destroys worldly cares even while he is only contemplated by men.**अभङ्गुतनुत्विषाम्—अभङगुराः तनूनांस्त्विषः यासां तासाम्। वलयिता—**Surrounded. Formed from वलय + इतच् according to ‘तदस्य संजातं तारकादिभ्य इतच्’। Pán. 5–2–36 **विद्युताम्—**In connection with कृष्ण the ‘lightings’stand for the Gopīs whose complexion was lustrous and non-momentary (अभङ्गुर). The ordinary कादम्बिनी is surrounded by hundreds of lightnings whose flashes are perishable and short-lived (तनु); but कृष्ण is surrounded by ‘lightnings’

(Gopīs) whose complexion is shiny and enduring. For a parallel idea vide Ragh. 6-65. **कलिन्दनगनन्दिनी—**The river Jumna, for it flows from the mountain. कलिन्द She is also called कालिन्दी. सुरद्रुमालम्बिनी—सुरद्रुमान् आलम्बितुं शीलं यस्या सा. Kṛṣṇa’s favourite haunts were the rīchly verdured regions along the banks of the Jumna.**मतिचुम्विनी भवतु—**May the mind cotemplate. For the last two lines cf. अस्माकं तु तदेव लोचनचमत्काराय भूयाच्चिरं कालिन्दीषुलिनोदरे किमपि यन्नीलं महो धावति॥

Vs. 4—In this verse Kṛṣṇa is described as a Tamāla tree. **वनान्तरम्—**The interior, the inner recesses, of the forest. As Kṛṣṇa moved about, the interior of the forest became illuminated. **पथि गतागत श्रमभरम्—**The great exhaustion produced by com ing up and down the road of Sansāra cf. **पुनरपि जननं पुनरपि मरणं पुनरपि जननीजठरे शयनम्।**This line is applicable both to an ordinary Tamāla tree and to Kṛṣṇa. Just as the ordinary Tamāla tree relieves the fatigue of travellers on the road, Kṛṣṇa removes the distress of the souls that travel on the track of the Sansāra–i e. are born and reborn again and again. **लतावलिशतावृतः—**The ordinary Tamāla is entwined by hundreds of creepers; Kṛṣṇa is surrounded by hundreds of Gopīs. The woman is often compared with a creeper entwining a tree (i. e. her husband). **रूचा—**Instr. Sing. of रूच्, splendour. **श्रमान्—**The fatigue of phenomenal existence; or hardships in life.

Vs. 5.—Kṛṣṇa is described as a cloud in this stanza. **जटिलय्—**To entangle, to indent. Denominative from .**जटिल. ज्योत्स्नामय—**Full of moon-light, i, e., as delightful as moonlight. The ordinary cloud showers fresh water, no doubt; but Kṛṣṇa showers the world with his pleasant nectar-like lustre, which is not seen anywhere else **(नव). त्रिविधः संतापः—**The threefold worries of the world: (i)**आधिभौतिक—**material worries–worries about the body and about worldly things. (ii) **आधिदैविक—**Worries that visit a man through supernatural agency. (iii) **आध्यात्मिक—**Psychological worries, like काम, क्रोध etc. The ordinary cloud can at best mitigate physical worries, but Kṛṣṇa

alleviates all the three types of them. नतनिखिलवृन्दारकवृतः—नतैःनिखिलैः (सर्वैः) वृन्दारकैः(देवैः) वृतः। cf. इन्द्रादिदेवगणवन्दितपादपद्मं वृन्दावनालयमहं वसुदेवम् (वन्दे)।स्वान्तध्वान्तम्—The darkness of the heart,the preponderance of तमोगुण. When the heart is clouded by theतमम्, the soul cannot realize the truth, for his vision is blurred.cf.**तमस्त्वज्ञानजं विद्धि मोहनं सर्वदेहिनाम्। प्रमादालस्यनिद्रामिस्तन्निबध्नाति भारत॥**Bh. G. 14-8. Or ध्वान्त may be interpreted as the Primal Ignorance **तिरय्—**To destroy. **नवीनः—**Extraordinary.

Vs. 6.—ग्रीष्म etc ग्रीष्मस्य चण्डकरः(सूर्यः), तस्य मण्डलमिवभीष्मज्वालं संसरणं (संसारः) तेन तापिता मूर्तिः यस्य तस्य। The worldly existence is as scalding as the sunshine in summer. **प्रावृषेण्य—**Belonging to the rainy season. **प्रावृषिभवः प्रावृषेण्यः—**Formedaccording to ‘प्रावृष एण्यः।’(Pān. 4. 3. 17) **वृष्णिवरेण्यः :—**The bestamong the Vṛṣṇis, i. e., Kṛṣṇa. cf. वृष्णीनां वासुदेवोऽस्मि। Bh. G.10-37. The Vṛṣṇis were one of the ruling families in Dwarkaat the time of the Epics. Some other were अन्धकऽ, यादवand others.

Vs. 7.—अपार—Shoreless. विषम etc.**—विषमेषु विषयारण्येषु सरणिःयस्मिन्।**The way of the world lies through seductive worldlyobjects. cf. विषयाटवी in stanza 1 above. This comp. can aswell be taken as a Karmdhāraya. **विषम—**Uneven, dangerous.भ्रामं भ्रामं—भ्रान्त्वा भ्रान्त्वा. A gerund in णमुल्, ‘अभीक्ष्ण्ये णमुल्.’विगलितविरामम्—विगलितः विरामः यथा स्यात् तथा। Adv. comp. withouttaking rest. **तरणितनया—**The daughter of the sun, i. e, the riverJumna. The name कलिन्दनगनन्दिनी given to the river Jumna isobviously geographical while the name is mythological.हरिनवतभाल—हरिः एव नवतमालः।

** Vs. 8.—सलीलम्—लीलया सहितं यथा स्यात् तथा।** Sportingly,gracefully. **चकास—**To shine. **अरविन्दनामः—अरविन्दं नाभौ यस्य सः।**Viṣṇu has a lotus-lower growing from his navel. देहावसानसमये etc.—Last impressions always are more abiding and carrybetter influence with them. Hence the fervent wish that theGod Viṣṇu may shine in my heart at the moment of death.1. दिवि वा भुवि वा ममास्तु वासो नरके वा नरकान्तक प्रकामम्। अवधीरितशारदारविन्दौ चरणौ ते मरणे विचिन्तयानि॥

Vs. 9.—नयनानन्द etc.**—नयनयोः आनन्दः तस्य सन्दोहः(आधिक्यम्)तस्य तुन्दिलीकरणे क्षमा (समर्था)।**Providing much delight to the eyes.**तुन्दिलीकरणम्—**Abs, noun from तुन्दिलीक which is a च्विform **तुन्दिलीकृ—**To fatten, to increase. For तुन्दिल see Prāstavika, 5.

Vs. 10.**—शिक्षा—**Advice. Here the poet refers to the अन्तर्यमिन् or ‘the inner voice’which is the voice of God. cf. **ईश्वरःसर्व भूतानां हृदेशेऽर्जुन तिष्ठति।**Bh. G. 18. This ‘Inner divinity’always guides or warns the individual to whom it is open toaccept this divine lead or not. cf. **एष ह्येव साधु कर्मकारयति तं यमेभ्योलोकेभ्य उन्निनीषत एष उपवासाधु कर्मकारयति तं यमधोनिनीषते।’**Kau. Br. 3-8.केनापि देवेन हृदि स्थितेन यथा नियुक्तोऽस्मि तथा करोमि। Or the reference maybe to the Vedas and other Revealed texts which are believedto be the words of God. But, says the poet in self-deprecation,he has not beeded tho advice of the Śruti, because he was toomuch obsessed with egotism **(अहंभाव). आगः शतशालिन्—**Creditedwith hundreds of sins. **स्वीयेषु—**Among one’s own men.मत्तो नमत्तोऽपरः—One मत्तः means ‘from me’It is the the Abl, Sing. ofअस्मद्.The other मत्तः means ‘foolish’. It is the p. p. ofमद् tobe mad.

Vs. 11.**—पातालम्—**The nether world. Strictly speaking,mythology knows of seven nether worlds, अतल, वितल, etc., पातालbeing the nethermost. **सुरपुरी—**The city of gods, Amarávati. मेरु—is the golden mountain. पारावारपरंपराः—पारावार means an ocean‘पारावारः सरित्पतिः’। अमर. In mythology the number of oceansis gluen as seven : **क्षीरोदो लवणोदश्च दध्योदश्च घृतोदकः। स्वादकःसुरोदश्च तथैवेक्षुरसोदधिः॥ वायुपुराण. आशा न शान्तास्तव—**supply **भविष्यन्ति.**Thisis a correct observation which can be verified from experience.Satisfaction of desires only sharpens their appetite. of.**न जातु कामः कामानामुपभोगेन शाम्यति। हविषा कृष्णवर्त्मेवभूय एवाभिवर्धते॥आधि–**Mental pain. **‘पुंस्याधिर्मानसी व्यथा।’ अमर. जरा.—**Decay, Decrepitude. The poet addresses the soul which has been subjectedto great mental and physical torture. क्षेम n.—Welfare. **रसय्—**To taste. The only means of escaping from the terrible vortexof the world and of attaining real happiness is the devotion ofKṛṣṇa. **शून्यैः किमन्यैः श्रमैः—**i. e. other religious means like the

performance of sacrifices, ete. These, says the poet, are futile.of.सर्व धर्मान् परित्यज्य मामेकं शरणं व्रज। अहं त्वां सर्वपापेभ्यो मोक्षयिष्यामि माशुचः॥ Bh. G. 18. 66. Here tha भक्तियोग is recommended as beingbetter than कर्मयोग.

** **Vs. 12.—गणिका etc.—Kṛṣṇa has already rescued manyothers like the Courtesan and Ajāmila. The episodes ofthe गणिका and अजामिल are given in श्रीमद्भागवत.गणिका—Theservant–maid of कंस, the king of मथुरा. Her name wasत्रिवका.While कृष्ण and बलराम, who were on & visit to मथुरा, thecapital of कंस, were walking along the thoroughfare, theysaw the hunchback त्रिवक्राcarrying smearing materials likesandal paste for the use of कंस. कृष्ण expressed his desire tohave some of the अङ्गविलेपन. त्रिवक्रा, Infatuated as she was withthe supernally attractive figure of कृष्ण, complied with hisdemand. कृष्ण, being highly pleased, cuanged that deformedhunchback into a young dansel endowed with well–proportioned limbs. The गणिका then held out an invitation to कृष्णandवलरामto visit her residence, which कृष्ण eventually honoured.Read : अथ व्रजन्राजपथेन माधवः स्त्रियं गृहीताङ्गविलेपभाजनाम्। विलोक्य कुब्जांयुवतीं वराननां पप्रच्छ यान्तीं प्रहसन रसप्रदः॥१॥ का त्वं वरोर्देतदु हानुलेपनंकस्याङ्गने वा कथयस्व साधु नः। देह्यावयोरङ्गविलेपमुत्तमं श्रेयस्ततस्ते न चिराद्भविष्णति॥२॥ सैरन्ध्युवाच—दास्यम्यहं सुन्दर कंससंमता त्रिवक्रनामा ह्यनुलेपकर्मणि। मद्भावितं भोजपतेरनिप्रियं विना युवां कोऽन्यतमस्तदर्हति॥३॥ रूपपेशलमाधुर्यहसितालापवीक्षितैः। घर्षितात्मा ददौ सान्द्रमुभयोरनुलेपनम्॥४॥ ततस्तावङ्गरागेण स्वपर्णेतरशोभिना। संप्राप्तपरभागेन शुशुभानेऽनुरञ्जितौ॥५॥ प्रसन्नोभगवान् कुब्जां त्रिवक्रांरुचिराननाम्। ऋज्वीं कर्तुं मनश्चक्रे दर्शयन् दर्शने फलम्॥६॥पद्भ्यामाक्रम्य प्रपदे द्व्यङ्गुल्युत्तानपाणिना। प्रगृह्य चुबुकेऽध्यात्ममुदनीनमदच्युतः॥७॥सा तदर्जुममानाङ्गीबृहच्छ्रेणिपयोधरा। मुकुन्दस्पर्शनात्सद्योबभूव प्रमादोत्तमा॥८॥ततो रूपगुणौदार्यसंपन्ना प्राह केशवम्। उत्तरीयान्तमाकृष्य स्मयन्ती जातहृच्छया॥९॥एहि वीर गृहं यामो न त्वां त्यक्तुमिहोत्सहे। त्वयोन्मथितचित्तायाः प्रसीद पुरुषर्षभ॥१०॥एवं स्त्रिया याच्यमानकृष्णो रामस्य पश्यतः। मुखं वीक्ष्यानु गोपानांप्रहसंस्तामुवाच ह॥११॥ एष्यामि ते गृहं सुभ्रूः पुंसामाधिविकर्शनम्। साधितार्थोऽगृहाणां नः पान्थानां त्वं परायणम्॥१२॥ श्रीमद्भागवत, दशमस्कन्ध, अ. ४२.

** **The अजामिलोपाख्यान occurs in the sixth स्कन्ध of श्रीमद्भागवत.

The story is told in order to glorify the power of the name ofViṣṇu or Nārāyaṇa. The story may be summarised as follows:Ajāmila was a Brahmin living in Kānyakubja. He had become depraved by associating with a slave-girl. He had tensons, the youngest of whom, Nārāyaṇa by name, was verydear to the parents. In course of time Ajamila lay on deathbed, and saw three dreadful looking men-the यमदूतऽ. Thereupon he involuntarily cried out to his son Nārāyaṇa. Nosooner did he utter the name Nārāyaṇa than the विष्णुदूतऽhurried up to the spot and intercepted the यमदtतऽwhowere trying to snatch away the life of Ajāmila.Then & conversation ensues between the यमदूतऽ andविष्णुदूतऽ. The यमदूतऽsaid that Ajāmila deserved to bepunished for his evil deeds; but theविष्मुदूतऽretorted that allsins, no matter how great their number, are destroyed by themere utterance of the name of Viṣṇu or Nārāyaṇa. (Read:अयं हि कृतनिर्वेशो जन्मकोट्यंहमामपि। यद्व्याजहार विवशो नाम स्वस्त्ययनं हरेः॥एतेनैव ह्यघोनोऽस्य कृतंस्यादघनिष्कृतम्। यदा नारायणायेति जगाद चतुरक्षरम्॥ स्तेनःसुरापो मित्रध्रुग्ब्रह्महागुरुतल्पगः। स्त्रीराजपितृगोहन्ताये च पातकिनोऽपरे। सर्वेषामप्यघवतामिदमेव सुनिष्कृतम्। नामव्याहरणं विष्णो र्यतस्तद्विषया मतिः॥ भा. V1. 2.7-10.) Ajāmila was released. He felt penitent, went toGangādvāra, and renounced all worldly pleasures; uitimately,after death, he gained himself the divine form of a, **विष्णुपुरुष,**and in an aerial car ascended to the abode of Viṣṇu.

** सीदन्—**Sinking. pres. p. of **सद् (सीद्). मरु–**A desert. **उपेक्ष्यः—**Worthy to be overlooked. For a parallel idea and more orless the same sort of alliteration as in the first half of thisstanza, read: **मत्स्यादिभिरवतारैरवतारचतावता सदा वसुधाम्। परमेश्वर परिपाल्योभवता भवतापभीनोऽहम्॥**Śankarācārya’s अष्टपदी.

** Vs. 13.—विदित्वा—**Having known it in its nakedness; havingknown it through.**दृश्यम्—The worldly pageant. etc.—**Oneis almost tempted to read विषय etc. **अन्तर्मुद्रां विधाय—**Withdrawingthe eyes from outside and turning them within, cf. Bh. G.6. 13.**विद्रव्य—**Gerund of the causal of वि+द्रुto run away.

चित् f.—Consciousness, cognition, Brahman, the First Principle,is सच्चिदानन्दस्वरूप. Jagannātha refers to Kṛṣṇa as चित् i. e. **चिद्रूप,for he is identical with Brahman. नवetc.—नवः नभस्यस्य अम्बुदःतद्वत् रुचिः (शोभा) यस्याः। नभस्य—**The month of भाद्रपद. ‘स्युर्नमस्यप्रौष्ठपदभाद्रभाद्रपदाः समाः।’—अमर.

Vs. 14.—The poet wants to show that the name of Kṛṣṇais far sweeter than any other sweetness in the whole range ofthe universe. **मृद्वीका—**Grapes. **सिता—**Sugar. **स्फीन—**p. p. of स्फाय्to increase स्वर् adv.—The heaven. **अधायि—**3rd pers. sing.Aor. pass. of धे to drink. **कतिधा—**In how many ways; broadly,how often. **‘संख्याया विधार्थे धा’।**Fān. 5–3–42 **रम्भाघर खण्डितः—**Biting of the lower lip of the beloved betrays the ecstaticamorousness of the lover.

Vs. 15—The poet now shows the greatness and the powerof the name of Kṛṣṇa, **वज्रंं पापमहीभृताम्—**Just as the adamant ofIndra is the deadly enemy of mountains (See notes on Prāstāvi k.Vs. 86), so is the name of Kṛṣṇa to mountains of sins. भवगदोद्रेक—भवएव गदः(रोगः) तस्य उद्रेकः (आधिक्यम्)।Acute disease inthe form of worldly existence. मिथ्याज्ञान etc.—मिथ्याज्ञानमेष निशातस्या विशालं च तत्तमः। The pitchy darkness of the night of IgnoThe position is this: Brahman alone is real; the worldIs illusory (ब्रह्म सत्यम जगन्मिथ्या). Yet in actual experience everyone feels and acts as if the world and its contents are real. Thisis False Knowledge or Nescience. When this Nescience isremoved by the light of knowledge, or as the poet here argues,by Śri Kṛṣṇa, then the individual recognizes the truth. तिग्मांशुतिग्मा अंशवो यस्य सः The sharp-rayed one i. e., the sun. क्रूरक्लेशमहीरुहाम्—कूराश्चतेक्लेशाः, ते एव महीरुहः, तेषाम्। The trees in the formof painful tortures. उरूमरज्वालाजटालः—उरुमर can be linked inthree ways in the context : (i) **उरुः भरःयस्य सः। उरुमरः ज्वालाजटालश्च।**The fire (शिखि) blazing with flames and having a wideexpanse. (ii, **उरुणाभरेण युक्ताः ज्वालाः उरुमरज्वालाः (म. प. लो.) ताभिःजटालः—**Raging with mighty flames. (iii)**महीरुहमरस्य(महासमूहस्य) ज्वालाजटालः शिखी—**The fiercely blazing fire to the multi

tude of trees. Of course, here, the comp. will beसापेक्ष. Yetwe can say, with Mallinath on various occasions, **सापेक्षत्वेऽपि गमकत्वात् समासः. निर्वृति—**Happiness, here, Highest Happiness,Beatitude.

Vs. 16.**—कोऽपि—Some one i. e. Kṛṣṇaबन्दुर्न कार्यस्त्वया—**Markthe manner in which the poet tenders his advice. Just as onewould never enter into friendship with a stranger who islikely to harm one & one’s friends, so. says the poet, the heartshould not befriend Kṛṣṇa for he is sure to destroy the विषयऽwhich are so dear to it. उद्गिरद्भिःEmitting. The point, then, is:Kṛṣṇa destroys the attraction of the worldly objects and thus liberates the heart from their thraldom. Obviously therefore,it is the duty of every one to make friends with Kṛṣṇa. cf.**विषया विनिवर्तन्ते निराहारस्य देहिनः। रसवर्जं रसोऽप्यस्य परं दृष्टवा निवर्तते॥**Bb. G. 2. 59.

Vs. 17.—The poet continues to dwell on the power andsweetness of the name of Kṛṣṇa. अव्याख्येया–न व्याख्यातुं शक्याःIndescribable. **अन्तर्निमग्ना—**Settled within i. e. in the heart.When the name of Kṛṣṇa is uttered in the heart, it conduces toindescribable pleasure. Here the poet refers to the परा वाणीwhich is one of the four varieties of speech, the other threebeing पश्यन्ती, मध्यमा, and **वैखरी. कण्ठे लग्ना—**uttered in the throat.This is **मध्यमा. ध्वान्तदजालम्—**Cloud of darkness i. e. ignorance,रसना—रसना and रसज्ञा are synonyms of जिह्वा. ‘रसज्ञा रसना जिह्वा’।अमर. Here, however, the poet uses the word रसज्ञा with an eyeon its etymological meaning रसं जानातीति रसज्ञा. If the tongue isliterally रसज्ञाi. e can appreciate taste, it should taste only the best sweetness and that is the name of Kṛṣṇa.

Vs. 18.**—एव–**To be sure, no doubt. **वासना—**Liking. ऊर्ध्वाक्षैः—ऊर्ध्वे अक्षिणी येषां तैः। With their eyes directed upwards. निजसखम्—निजः सखा, तम्. सखिन is changed to सख at the end of a Tatp. comp.according to the Sūtra **‘राजाहः सखिभ्यष्टच्।’–**Pān 5. 4. 91. कृष्णाभिधानम्—कृष्ण इत्यभिधानं यस्य तत्. Named Kṛṣṇa. Cātakas, as iswell known, look up to the clouds for water. An onlooker,

says the poet, is at once reminded of the divine Kṛṣṇa whose complexion is dark and glossy like the cloud; therefore, he concludes, cātakas which render this service are the birds of his choice!

Vs.19.—विष्वद्रीच्या—All–pervading, reaching everywhere.विष्वक्(सर्वत्र) अच्चति इति. The word is formed in a peculiar way;विष्वक is changed to विष्वद्रि before अञ्च्, ‘विष्वग्देवयोश्चटेरद्र्यञ्चतावप्रत्यये।’—Pān. 6. 3. 92. The masc. base becomes विष्वद्र्यञ्च्, and the fem.विष्वद्रीची. The universe shines through the all–pervading lustre of Viṣṇu. cf. **तमेव भान्तमनुभाति सर्वे तस्य भासा सर्वमिदं विभाति।**Kāthak, 2. 2. 15. **यत्—**Since. **प्रत्ययालम्वनम्—**The support or the substratum of the cognition. सर्वेषां etc.—Everyone feels the conviction ‘I’about oneself. Now, what is this ‘I’? To what object does this knowledge of ‘I’refer? Well, this object is the Inner divinity who is Viṣṇu स्वहृदयगतावेदिनः—स्वहृदयगतं न विदन्ति इति. Not recognizing Him who resides in their own hearts. Viṣṇu, as the अन्तर्यामिन्, isever present in men’s hearts. Still, they run about and ask others where Viṣṇu is!

Vs. 20.**—सेवा—**Service, devotion. The reference to Viṣṇu as लक्ष्मीपति suggests that this line is addressed to one who seekswealth (अर्थार्थिन्). Cf. चतुर्विधा भजन्ते मां जनाः सुकृतिनोऽर्जुन। आर्तो जिज्ञासुरर्थार्थी ज्ञानी च भरतर्षभ॥ Bh. G. 7. 16. **चिन्ता—**Contemplation.**चक्रायुध—**Viṣṇuwhose weapon is the discus. This word suggests that a man in dangers (आर्त) is addressed. The poet assures him that Viṣṇu wields his weapon & he wiĪll surely remove the dangers looming over his protége. **आलापः—Conversation.‘स्यात्संभाषणमालापः’—अमर. गाथा—**Derived from the rt.गैto sing. Songs, stories. **स्मररिपोः—**Of Śiva. This is the only reference to Siva in this Vilāsa dedicated to Kṛṣṇa or Viṣṇu And it appears somewhat strange at first sight that Jagannātha here recommends the singing of the praises of Śiva and not of Kṛṣṇa. But when it is noted that this line is addressed to & **जिज्ञासु भक्त,**the reference to Śiva transpires to be intentional and justified.

Tho real knowledge is the knowledge of the Oneness of Existence. The जिज्ञासु therefore should not distinguish between विष्णुand शिव for, ultimately, both are identical with Brahman.**निःर्गलसुखम्—**Ever-lasting happiness, Beatitude. cf. सुखमक्षय्यम्(Bn. G 5.21), or अत्यन्तं सुखम् (Ibid. 6. 28). This line isobviously addressed to & **ज्ञानी. ‘तथा चरण चतुष्टयेऽर्थाभ्यादिजिज्ञासुज्ञानिकर्तृकाश्चतुर्विधा भक्तयो ध्वन्यन्ते।’अच्युतराय. सेवा, चिन्ता (i. o स्मरण)**and आलाप (i.e. कीर्तन) also represent some forms of theninefold भक्तिः—श्रवणं कीर्तनं विष्णोः स्मरणं पादसेवनम्।अर्चन वंदनंदास्यंसख्यमात्मनिवेदनम्॥

** Vs. 21.—भवग्रीष्म** etc.—भव एव ग्रीष्मः, तस्य प्रौढातपस्य निवहेन संतप्तानिवपूंषि येषाम्। To the meritorious, the world is a hot-bed ofcares and unmitigated oppression. **द्राक्—**At once. अविवेकव्यतिकरम्—अविवेकेन व्यतिकरः (सम्बन्धः). Fetters arising fromIndiscrimination or lgnorance. **विशुद्ध—**clean, clear, untaintedThe आत्मन् is often described in Vedanta philosophy as **शुद्धबुद्धमुक्तस्वभावः आत्मामृतसरः—**The lake full of the water of the Atman.**नैराश्यशिशिरे–निराशस्य भावः तेन शिशिरे.शिशिर—**Cool on account ofabsence of des.res. When the mind is buffetted about bydesires, it experiences much anguish. But once a man suppresses his desires and becomes the master of his mind, he comesto enjoy an uncommon peace of mind. is one of theconditions precedent to the realization of the Highest knowledge which is Highest Happiness Cf **एतं वै तमात्मानं विदित्वाब्राह्मणाः पुत्रैषणायाश्च वित्तैषणायाश्च लोकैषणायाश्च व्युत्थायाथ भिक्षाचर्यं चरन्ति।**Bṛh. U. 3. 5, Also, तद्वत्कामा यं प्रविशन्ति सर्वे स शान्तिमाप्नोति न कामकामी॥ Bh. G. 2. 70. कलुष n.—Sin. There is a suggested comparison between good men and elephants. When the elephantsare oppressed by excessive heat, they break through theirfetters and plunge into a pool of clear cold water. The last lineis differently read in some texts; विगाहन्ते दूरीकृतकलुषमार्याः करटिनः।

** Vs. 22.—बन्धे न्मुक्त्यै—For theremoval of fetters. बन्धऽtands for the Sansāraमख—**A sacrifice. **कर्मपाश—Fetters ofAction. Men perform religious ceremonies—Actions—**with a

view to getting free from the Sansāra. But how foolish theyare, for Actions, good or bad, are veritable feiters themselves.All Action, good or bad, is bound to bear its fruit. The lawof Action is inexorable. So, by the performance of gooddeeds, surely men may be made happy; but they cannot astainsalvatien from the tantaces of worldly Existence. Cf. **कर्मणाबध्यते जन्तुः।Also ‘प्लवाएते ह्यदृढा यज्ञरूपा अष्टादशोक्तमवरं येषु कर्म।एतच्छ्रेयो येऽभिनन्दन्ति मूढा जगमृत्युं ते पुनरेवापियन्ति॥’Again, ‘ते तंभुक्त्वा स्वर्गलोकं विशालं क्षीणे पुण्येमर्त्यलोकं विशन्ति॥’एवं त्रयीधर्ममनुप्रपन्ना गतागतं कामकामा लभन्ते॥Bh. G 9 21 मुनिशत etc.—मुनीनां शतानि तेषां मतेषु अनल्पां चिन्ताम्।**People wish to attain to peaceof mind. This they seek by feverish deliberation (चिन्ता alsohints at ‘anxieties,’as opposed to शान्ति) over the hundred andone views of sages !! cf.श्रुतिर्विभिन्न मृतयोऽपि भिन्ना नैकोमुनिर्यस्य वचःप्रमाणम्।धर्मस्य तत्त्वं निहितं गुहायां etc. **अशुभजलधिः—**The ocean of Evil.People wants to cross the ocean of Evil, but for the sake of thisthey drown themselves in holy waters! प्राभादिकम्—Broughtabout by mistakes or ignorance. प्रमादेन निर्वृत्तम् प्रामादिकम्।—Theप्रमाद lies in the incompatibility of means employed with the endin view. Mark the contrast between मुक्ति and पाश, शान्ति andचिन्ता and पारमारोढुकामत्व and मज्जन.

** Vs. 23.—प्रथमं चुम्बितचरणा** etc—The proper method of contemplating a divinity is to begin with the contemplation ofthe feet and then rise higher up to the various limbs, cf. संचिन्तयेद्भगवतश्चरणारविन्दम् etc.—Bhag. This method is obviously basedon a high sense of reverence, and is also adopted in the description of divine beings. For instance, Kālidāsa begins the description of Pārvatīwith the description of her toes–for whichvide Kumar. 1–33, p. p. Also note Mallināthās observationthereon : **देवतानां रूपं पादाङ्गुष्ठप्रभूति वर्ण्यते मानुषाणां केदाशारभ्येति धार्मिकाः।भावना—Cotemplative action जङ्घा etc.—Pāṇini’s rules demandthe Neu. gender and sing. number of a compound of wordsdenoting the limbs of an ‘animal’.‘द्वन्द्वश्च प्राणितूर्यसेनाङ्गानाम्’।—**Pān. 2–4–2. But as अच्युतराय the commentator argues,

Viṣṇu is surely not an animal–He is the One Brahman. Hencethis rule of Pāṇini does not apply here.

Vs. 24**—कालकूटः–**Deadly prison. **रमणीकुन्तल—**The tresses ofhair of a lovely woman. **भोगिभोगः—भोगिनः भोगः.**The hood of aserpent. **श्वपच—A Cāṇḍāla. आत्मभूः—**A son.Tue son is theself of the father born afresh. cf. **आत्मा हि जज्ञे आत्मनः।A it. Br.मलयानिल, रमणकुन्तल and आत्मज are objects which cause delightwhile कालकूट, भोगिभोग, and चाण्डाल are things which are generallyavoided. निरन्तरा—निर्गतंअन्तरं यस्य सा. Which knows no cistinction. परमात्मनि स्थितिः etc.—The poet wishes to attain to thatstate of knowledge which will enable him to realize‘सर्वंखल्विदं ब्रह्म,’**that nothing besides the परमात्मन् exiss, and that,therefore, things, good or bad, high or low, are all in essenceone and the same Brahman. सर्वभूतात्मभाव is presented as thegoal. Cf. विद्याविनयसंपन्ने ब्राह्मणे गवि हस्तिनि। शुनि चैव श्वपाके च पण्डिताःसमदर्शिनः॥ Bh. G. 5.18. Note that in the first two pairs उत्तमobjects are mentioned before अधम ones, while in **श्वपचात्मभुवोः,**the order is reversed. Why? Because, as Jagannāth explainshimself, in the Highest state of व्रह्मत्मभावthere can be nodistinction between any two things—all is one. ‘यद्यपि प्रथमार्धेउत्तमाधमयोरुपक्रमाद्वितीयार्धेऽधमोत्तमवचनं क्रमभङ्गमावहति, तथापि वक्तुर्ब्रह्मात्मकतयो(R. G. reads जाताin place of भूयात्) त्तमाधमज्ञानवैकल्यं संपन्नमितिद्योतनाय क्रमभङ्गो गुण एव॥ B. G. 34.

Vs. 25.—जगदेव—एवhas the force of ‘itself’. नश्वर—Perishable. Formed from the rt. नश्by the addition of the suffixक्वरप्नितराम् Adv. —More (so) **तस्य–कलेवरस्य.कृते—**For thesake of **हन्त—**Alas. How much people toil for the sake of thehighly perishable body in a perishable world!

Vs26**—पतिपलम्—पले पले.Adv. Comp. Every momentकिमिति** etc.—The reply is given by Bhart. : दृष्ट्वा जन्म जराविपत्तिमरणंत्रासश्च नोत्पद्यते पीत्वा मोहमयीं प्रमादमदिरामुन्मत्तभूनं जगत्॥ (3.7.) Whenlife is so precarious, and the ultimate end of life is death, surelyrational beings should feel alarmed and bestir themselvesto work out their salvation instead of blindly enjoying
worldly objects.

Vs. 27.**—कृपण—**A sword. **कृतान्तः—**God of death, Yama.**मनाक्—**even slightly. In passionate words, the poet assertsthat he would rather court poverty, physical harm, or evendeath, but he would never swerve even slightly from his duties.

Vs. 28.**—बहल—**Great. **दहनजालम्.—**Mass of fire. **धमतु–**fromгt.ध्मा to blow **अपभाष्—**to censure, to calumniate; also, toutter falsehood. अपभाषणis looked upon as a sin. The poetsays he would never stoop to calumny or falsehood even thoughhe may be exposed to great dangers. cf. **न केवलं यो महनोऽप्रभषितेशृणोति तस्मादपि यः स पापभाक्।**Kumar, 5. 83. Also Vide Baart. 1. 106.

Vs. 29.**—ताम्यसि—**from rt तम् 4 conj., to be worried. **नन्दसुतः—**Kṛṣṇa, so called because he was proclaimed as the son of नन्द,who in reality, was only his foster—father.

Vs. 30.—माद्यद्गज etc.**—माद्यतां गजानां घटा ( समूहः), तस्या मदेभ्राम्यतां भृंगानां आवलय, तासां मधुरेणझंकारेण सुभगाः। घटा—**A multitudeof elephants. ‘करिणां घटना घटा’—अमर. सुभगा—Beautiful. Thepossession of elephants is looked upon as the high—watermark of worldly opulence, cf.—मदजलदुर्दिनान्धकारगजघटितधनघटापरिपालिता (लक्ष्मीः)। Kād. (शुकनासऽ Advice). द्रविणरसपर्याकुलदृशाम्—द्रविणस्य रसेन (आस्वादेन) पर्याकुला दृक् (दृष्टिः) येषां तेषाम्। Whoseeyes are rolling on account of the taste of wealth. Wealth iscompared with an intoxicating drink. Just as an intoxicatingdrink renders the eyes unsteady and therefore perplexed; similarly men who have drunk the wine of wealth lose their sigh. (i. e. powers of discrimination). cf. यदाढ्यानामग्रे द्रविणमदनिः संज्ञमनसाम्। Bhar. 3. 36. सौकर्यम्—सुकरस्य भावःEase of doing.**अस्तं अय्—**to vanish.

Vs. 31.**—निःशङ्कम्—**Adv. comp. Fearlessly. **वयसः शेषे—**fag-end of life. निकटे etc.—It is believed that death on the bankof the Ganges leads directly to absolution. The reference isprobably to काशी. काशी is known as **मुक्तिपुरी.**Hence, the approachof death on the banks of the Ganges will only be a blessing in disguise. If this verse is understood to be autobio-

graphical, it will go to show that that poet Jagannātha passedhis last days in Benares on the banks of the divine Ganges.But see vs. 45 below.

Vs. 32.—धावं धावम्—धावित्वा धावित्वा. By continually runningabout. It is a Gerund in **णमुल्. मम शिरसि अस्ति—**Almost a vernacular phrase. Kṛṣṇa is over my head i. e. he is there superintending or looking after me. The verse expresses an alti udeof Resignation unto the protest on of Kṛṣṇa who, the poet believes, will surely pilot his protége safely to his Haven.

Vs. 33.**—मम मनः—**The poet addresses his own heart ormind. मनोभवशासनं—मनसि भवः मनोभवः (कामः), तस्य शासनः शिवः। Thedestroyer of the mine-born God of love-Śiva. cf. Prā-tavik.83 अनारतम् adv.—Ceaselessly. आमन्तम्—From the pres. p ofआ+म्ना to contemplate. **संसृतिगर्त—**The chasm of Sansāra **एतावता—**By this much, i. e. by hurling me into the pit of theworld. **पुत्रशोकः—**The sorrow about the son.Kāma is **मनोभव;**he is therefore the son of मनस्. The tenor of the verse is asfollows: The poet (or the speaker) is intent upon the contemplation of Śiva; he is fervently praying to Śiva. But, in spiteof his devotion, his mind runs after worldly enjoyments whichare sure to fetter the soul. The poet attributes this adverseattitude of the ‘mind’to the mind’s desire to avenge tue deathof its son (Kāma) by harassing the devotee of Śiva who hadburnt Kama. But no abatement of the mind’s sorrow forits dead son is likely to result from such a course of vicariouspunishment.

Vs. 34.**—मरकतमणि—**Emeralds which are dark green incolour. **मेदिनीधर—**A mountain. प्रपेदे—3 pers. Sing. Perf. pass ofप्र+पद्. The delusion was caused by the dark complexionof Rāma.

Vs. 35–The idea is much the same as in the last verse: Onseeing Rāma from afar, the Ṛṣis wondered what that darkglistening thing was! **तरणितनय—**The Jumna. The water of the

Jumna is believed to be darkish in colour as against the whiteness of the water of the Ganges. It could not be the Jumnafor the Jumna is full of water, while the object which the Ṛṣissaw from a distance had none. **ज्योत्स्ना—**Literally, moonlight;here pleasant lustre. **सा मधुरा कुतः—**The lustre of emeralds is notso ‘sweet’—so appealing to the heart. **छाया—Splendour.‘छायासूर्यप्रियां कान्तिः।’–अमर कौतुकम्—**Curiosity. वनवसतिभिः—वने वसतिर्येषां तैः, By forest—dwellers.

Vs. 36.**—चपला–**Lightning. **तरुमुख—**The best among trees,i. e., the celestial tree. When Hanumān crossed the ocean andfirst sighted Sīta in the Aśoka garden of Rāvaṇa, he wasdeluded by her lustrous form as to whether what he sawwas lightning fallen on earth or a celestial creeper droppedfrom the celestiel tree. **गुरुनिःश्वसितैः—**By the heavy sighs.Sītā was separated from Rāma and was therefore heaving deepsighs through sorrow. This enabled Hanuman to decide whatexactly she was. **मनीषी—**Intelligent, wise. **निरणैषीत्—**3 pers. sing.Aor. of निस्+नी, to decide. From her sighs, the Monkey concluded that she was a woman separated from her lovinghusband.

V3.37.**–भूतिः–**prosperity. दारिद्र्यकोलाहलः–Bickering or moaningsbrought about by poverty. of. (लक्ष्मीः) सरस्वतीपरिगृहीतमीर्ष्ययेवनालिङ्गतिजनम्। Kād. Brahmins, the custodians of learning, are proverbiallypoor. Learning and wealth seldom go together-most surelynot in a Brahmin. The following verse offers an ingeniousexplanation why Laxmīavoids the Brahmins: पीनोऽगस्त्येनततश्चरणतलहतो वल्लभोऽन्येन रोषादाबाल्याद्विप्रवर्यैः स्ववदनविवरे धार्यते वैरिणी मे।गेहूं मे छेदयन्ति प्रतिदिवसमुमाकान्तपूजानिमित्तं तस्मात् खिन्ना सदाहं द्विजवरसदनंनाथ नित्यं त्यजामि॥ असत्पथजुषाम्—सनां पन्थाः सत्पथः न सत्पथ; असत्पथः,जुषन्ति इति ०जुषः, तेषाम्. Of those who resort to the path of Evil,wicked men **समानां शतम्—**A hundred years समा is generallydeclined in the plaral. cf. आपः सुमनसो वर्षा अप्सरः सिकतासमाः। एतेस्त्रियां बहुत्वेस्युरेकत्वेऽप्युत्तरत्रिकम्॥ नाशो इन्त etc.—Good men dieprematurely, while villains enjoy a good old age. cf. सृजति

**तावदशेषगुणाकरं पुरुषरत्नमकरणं भुवः। तदपि तत्क्षणभङ्गिकरोतिचेदहह कष्टमपण्डितता विधेः॥**Bhar. 1. 9. दुर्नीति—Wicked policy; perversemanagement. कोपदहन etc.—कोपएव दहनः, तस्य ज्वालाभिर्जटालः—Flaming with the fire of anger. For the formation of the wordजटाल see Prāstavik. 35. किं कुर्वेetc.—The poet, of course, refersto the flagrant ironies of life. But he is painfully conscious ofhis own helplessness and insignificance; otherwise, it seems.hewould have taught जगदीशhow to mend His ways!

Vs. 38.—This stanza marks the beginning of the end ofthe Śāntavilāsa. The following points are to be noted; (i)This stanza and the following ones are sharply different in thenature of their contents from all the preceding stanzas; and, infact, (ii) they have nothing in the connected with the prevailing sentiment of the whole Vilāsa. (iii) Tuey all more orless hold together from the point of view of their contents, andform the concluding portion not only of the Śāntavilāsa but ofthe whole Bhāminīvilāsa as well. (iv) These stanzas showJagannātha’s high self-consciousness as a poet. They breathedefiance and challenge of other poets, almost curses at thosewho cannot appreciate and acknowledge Jagannātha’s worth as& poet, and pontifical sniffs at the humble beginners in therealms of poetry. (v) They refer, again and again, to whatJagannātha looked upon as the one outstanding merit of hispoetry**—माधुर्य.** And lastly, (vi) They are conspicuous for themore or less autobiographical element in them.

**रत्नासानुः—**The Menu mountain, the furthest Northerly outpost known to Indian mythology. मलयवलयित—मलयेन वलयितः(संजातवलयः) Fringed by the Malaya mountain. The मलय is inthe South. ‘The sea-shore bounded by the Malaya’is herelooked upon as the southermost limit of India. **आमूलात्–आ चकूलात्—From the foot of the Menu mountain down to the seashore in the South, आ (आङ्) is a कर्मप्रवचनीय and governs the the Ablative.‘पञ्चम्पाङ्परिभिः—’**Pān. 2. 3. 10. It means either(i) ‘beginning from,’or (ii) ‘up to’.काव्यप्रणयनपटव—काव्यानां

**प्रणयने (निर्माण) पटवः—**clever in composing poems. मृद्वीकामध्य etc.–मृद्वीकायाः (द्राक्षायाः) मध्यात् निर्यन् (निःस्त्रवन्) यो मसृणः (कोमलः) रसः,तस्य झरी (प्रवाहः), तस्याः माधुर्याःभाग्यं (सुभगत्वमनिशयं वा) भजन्तीति°भाजः, तासां. The whole phrase is in apposition to **वाचाम्–**wordswhich are as exceedingly sweet as the juice flowing from theinterior of grapes. **वाचामाचार्यता—**Mastery over speech. In thisstanza, the poet singles out माधुर्यas the outstanding quality ofhis poetry. As for what माधुर्यis and how far Jegannātha’s.claim is sustained by his poems, see the Introduction.

Vs. 39.**—गिरां देवी—The goddess of speech i. e. सरस्वती. वीणाetc.—वीणायाः गुणानां (तन्त्रीणाम्) रणने (वादने) हीनादरः करो यस्याः सा.**Sarasvati is represented as holding a वीणा in one of her hands.cf. वीणापुस्तकधारिणीमभयदां जाड्यान्धकारापहाम्। etc. यदीयानाम् etc.—Jagannātha, boldly asserts that Sarasvati is so much attractedby the sweetness of his poetry that she leaves playing upon theVīņā aside and enjoys his (Jagannatha’s) poetry. **पण्डितपतेः—Of Jagannātha. However much out of good taste it may beto mention one’s greatness, here, at least, Jagannātha may beexcused the use of the word पण्डितपतिabout himself, for he maybe referring to the title‘पण्डितरााज’**which he had received fromthe Emperor Shaha Jehan. अधुन्वन्—नधुन्वन्.धुन्वन्—Pres. P. ofधु 5 con., to shake, to nod. The shaking ofthe head indicatesthe appreciation of good qualities, e. g., of music, poems, etc.cf. आकर्ण्य भूपाल यशस्त्वदीयं विधूनयनन्तीह न के शिरांसि। विश्वभरामङ्गभयेनधात्रा नाकारि कर्णो भुजगेश्वरस्य॥ नृपशुः—ना एव पशुः A human beast.**पशुपतिः—**God Śiva, so called because he is the lord of all createdbeings. cf. पशूनां पतये नमः।—Y j. veda, **(शतरुद्रीयाध्याय).**Thesweetness of Jagannātha’s poems is, as the poet claims, sopronounced that only beasts which have no aesthetic sensibility,and Paśupati, i. e., any one who has transcended worldlyattractions, cannot, or would not appreciate it. cf. a सुभाषितेनगीतेन युवतीनां च लीलया। यस्य नो द्रवते चित्तं स वै मुक्तोऽथवा पशुः॥

** **Vs. 40.—Jagannātha addresses his own Genius of speech.**अनादरः—**Denunciation, Disparagement **मात्सर्य—**Jealousy. खला-

**माम्—Mark how the poet speaks of those who discount theworth of his poetry. काव्यारविन्द etc.—काव्यान्येव अरविन्दानि तेषांमकरन्दे मधुव्रताइव मधुव्रताः.**Who are as fond of the रसऽof poemsas bees are of the juice of lotus–lowers. **धास्यसितमाम्–अतिशयेनधास्यसि.कति.—**How many. It is Acc. plu. Compare Vs. 8 of thePrāstāvikavilāsa.

Vs. 41**—माक्षात्—**Inperson, itself. **वामा—**A very charming woman. Fem. of **बाम—**Beautiful. **‘वामं सव्ये प्रतीपे च द्रविणेचातिसुन्दरे’—विश्व मुदंवि + धा—**To give delight. The idea of thefirst half of the verse is: Honey, grapes, nectar, etc. possesssweetness, no doubt. But it is not impossible that one or theother of them may at times be not liked or relished by some.There may be people who do not like, or have lost the likingfor, them. **ध्रुवम्—**Surely. **मृतकाः—**The क is added to showpity mixed with denunciation. **जगन्नाथभणितिः—**The utteranceof Jagannātha. Mark the self-conscious vein of the stanza.

On reading these verses, one cannot help wondering whether Jagannātha knew that **इन्द्रोऽपि लघुतां याति स्वयं प्रख्यापयन् गुणान्.**What would Bhartṛhari have said about these stanzas,for in his opinion निजगुणकथा is nothing short of a sin? cf.कृतं वीतव्रीडैर्निजगुणकथापातकमपि; Bhart. 3. 36. Jagannātha, however, does not seem to be severely alone in this respect, cf.Jayadeva’s words about himself : विलासो यद्वाचामसमरसनिष्यन्दमधुरःकुरङ्गाक्षीबिम्बाधरमधुरभावं गमयति। कवीन्द्रः कौण्डिन्यः स तव जयदेवः श्रवणयोरयासीदातिथ्यं न किमिह महादेवतनयः॥ Pra. R. 1. 14.

Vs. 42.—मार्मिकः—मर्म जानातीति मार्मिकः.One who knows thesecret. अत्यन्तपाक etc.—अत्यन्तं णकेन (परिणत्या) द्रवन्त्याः मृद्वीकायाःमधुमाधुरीमदः (मधुनः माधुर्येण जनितो मदः), तस्य परीहारे (निरसनकर्मणि)उद्धुराः(समर्थाः), तासाम्। The whole phrase is in apposition toचाचाम्. The idea is essentially the same as that in the third pādaof Vs. 38. **परीहार—**the इ in परि is lengthened according to theSūtra **उपसर्गस्य घञ्यमनुष्ये बहुलम्।—**Pān. 6. 3. 122. **उद्धुर—**Lit., Onewho has thrown off the yoke; hence, bold enough, powerfulenough. **संमुखे मादृशाम्—**In the presence of men like me.Note

the standard which Jagannātha sets for all aspirants forrecognition as poets to conform to. Moreover, this verseshows that in the opinion of Jagannātha a poetic composition,whatever its other qualities, must needs possess **माधुर्य. स्वान्तम्—**the heart. नो चेत्etc.—A poem wanting in माधुर्यdoes not deservea recital in the presence of poets like Jagannātha! Fortunately,such a‘highbrow’attitude is not shared by many; otherwise the number of mute Miltons would swell–to the detriment, in the last analysis, of the Muse of poetry herself.contrast Jagannātha’s characteristic words किं सेव्यते सुमनसांमनसाऽपि गन्धः कस्तूरिका जननशक्तिभूतामृगेण। (R. G.) with the moresensible view of Jayadeva: अपि मुदमुपयन्तो वाग्विलासैः स्वकीयैःपरभणितिषु तोषं यान्ति सन्तः कियन्तः। निजघनमकरदस्यन्दपूर्णालवालः कलशसलिलसेकं नेहते किं रसालः॥ Pra. R. 1. 19.

Vs. 43**—वाचंयमाः—Studiously restrain their tongue, वाचंयम isused only when the sense of a vowis to beconveyed; otherw se वाग्यमis used. Does not this line apply toJagannātha himself? His complaint may well be met by the‘Tu quoque’argument, in the light of the last verse. कमलाविलास etc.—कमलायाः (लक्ष्म्याः) विलासाः एव मदिरा, तया उन्मीलन् (उद्भवन्)यो मदः तेन घूर्णिताः (पर्याकुलिताः)** Kings are mad with the intoxication of wine in the form of dalliance with Laxmi (or gracefulmovements of Laxmī). For the idea, compare: बोद्धरो मत्सरग्रस्ताःप्रभवः स्मयदूषिताः। अबोधोपहनाश्चान्ये जीर्णमङ्गेसुभाषितम्॥ Bhart. 3. 2.**लस्यम्—**Gentle dance. There are two varieties of dance—one,wild and boisterous, is called ताण्डव, and the other, mild andgentle, is called लास्य, Compare : मधुरोद्धतभेदेन तद् द्वयं (नृत्यand नृत्त)द्विविधं पुनः। लास्यताण्डवरुपेण नाटकाद्युपकारकम्।D R. 1. 10. कामालस etc.—कामेन अलसा या स्वर्वामा तस्या अधरस्य माधुरी. The sweetness of thelower lip of a heavenly damsel who is slothful through theinfluence of love. **अधरय्—**Pres. p. of the Denominative verbfrom अधर, low. **अधरय्—**to lower, to throw into the back-ground.**विपाकः—**Maturation.

Ve. 44. **—धुर्य—**Outstanding; excellent धुरं वहतीति धुर्यः, ‘धुरो

यड्ठकौ’ (Pān. 4 4. 77.) इति यत्. Note the alliteration in thefirst half of the verse. **माक्षिकम्—**Honey.

Vs. 45.–This verse is distinctly autobiographical. **आकलितानि–Studied. Jagannātha speaks of himself as‘मननतरितीर्णविद्यार्णवः’**in R. G. **नित्यविधयः—**Daily rites like संन्ध्यावंदन etc. **दिल्लिवल्लभ—**TheEmperor Shah Jehan whose warm patronage the poet enjoyedand from whom he received the title **पण्डितराज. नवीनं वयः–**youth. **संप्रति–**Now. **उज्झितवासनम् उज्झिताः वासनाः यस्मिन् कर्मणि तत्तथा.**Having renounced all desires. **मधुपुरी—**Muttra.This lineshows that the poet spent his last days in Muttra. But insome places, this line is differently read : संप्रत्यन्धकशासनस्य नगरेतत्त्वं परं चिन्त्यते। This reading would indicate that the poet wentto Kāśi in his old age. For a discussion of this point, see the ntroduction. **तिलक–**The mark on the forehead;hence, anornament. **अकारि—**3 pers. sing. Aor. Pass, of कृ.

** Vs. 46.—दुर्वृत्ताः—दुष्टंवृत्तं येषाम्.**Villains, ill-behaved men.जारजन्मानः–जारेभ्यःजन्म येषाम्. Bastards; born without blue bloodin their veins. Mark the vehemane of Jagannātha’s hostileattitude towards plagiarists. **हरिष्यन्तीति शङ्कया—**The same kindof suspicion had troubled Jayadeva, too; cf. **तेन हि निजनाटकमर्पयित्वेदमुक्तऽस्मि–‘रक्षणीयमिदं सूक्तिरत्नं चौरेभ्यः’इति।**Pra R. 1. **मञ्जूषा—**A safe. This line is important because it shows the genesisof the present work.

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APPENDIX

Below are given the first lines of the versescontained in the Prâstâvika and the Śânta, Vilâsasin the alphabetical order. Against each verse ismentioned the page on which it is found.
अतिवहलदहन उपरि करवालधारा
अनवरतपरोपकरण एकस्त्वं गहनेऽस्मिन्
अन्या जगद्धितमयी एको विश्वसतां
अपनीतपरिमलान्तर एणीगणेषु गुरु
अपारे संसारे एत्य कुसुमाकरो मे
अमरतरुकुसुम औदार्यं भुवनत्रये
अमितगुणोऽपि कमलिनि मलिनी
अयाचितः सुखं कलभ तवान्तिक
अयि दलदरविन्द कलिन्दनगनन्दिनी
अयि बत गुरुगर्वं कस्मै हन्त फलाय
अयि मलयज किं खलु रत्नैः
अयि रोषमुरीकरोषि किं तीर्थं हरि
अये जलधिनन्दिनी किं निःशंकं शेषे
अविरतंपरकार्य किमहं वदामि खल
अव्याख्येयां वितरति खण्डितानेत्रकञ्जाली
आनन्दमृगदावाग्निः खलः कापट्यदोषेण
आपद्गतः खलु महाशय खलः सज्जनकार्पास
आपेदिरेऽम्बरपथं खलास्तु कुशलाः
आभूलाद्रत्नसानोः गणिकाजामिलमुख्यान्
आरामाधिपतिः गर्जितमाकर्ण्यं
आलिङ्गितोऽपि गाहितमखिलं विपिनं
इयां संपत्तावपि गिरयो गुरवस्तेभ्यो
उपकारमेव तनुते गिरां देवी वीणागुण
गिरिगह्वरेषु गुरुगर्व- नयनानन्दसन्दोह
गीर्भिर्गुरुणां न वारयामो भवतीं
गुञ्जति मञ्जु मिलिन्दे नापेक्षा न च दाक्षिण्यं
ग्रीष्मचण्डकरमण्डल निखिलं जगदेव नश्वरं
ग्रीष्मे भीष्मतरैः नितरां नीचोऽस्मीति
चपला जलदच्युता निर्गुणः शोभते नैव
जगज्जालं ज्योत्स्ना निर्माणे यदि मार्मिकोऽसि
जठरज्वलनज्वलता निष्णातोऽपि च वेदान्ते
जनकः सानुविशेषः निसर्गादारामे तरुकुल–
तटिनि चिराय विचारय नीरक्षीरविवे
तत्त्वं किमपि काव्यानां नीरान्निर्मलतो जनिः
तरणितनया किं स्यादेषा नैर्गुण्यमेव साधीयः
तरणोपायमपश्यन्नपि पत्रफलपुष्पलक्ष्म्या
तरुकुलसुषमापहरां परगुह्य गुप्तिनिपुणं
तावत्कोकिल विरसान् परार्थव्यासङ्गात्
तृष्णालोलविलोचने परोपसर्पणानन्त
तोयैरल्पैरपि करुणया पाटीर तव पटीयान्
दधानः प्रेमाणं पाण्डित्यं परिहृत्य
दवदहनजटाल पातालं व्रज याहि वा
दिगन्ते श्रूयन्ते पिब स्तन्यं पोत
दीनानामिह परिहाय पुरा सरसि मानसे
दुर्वृता जारजन्मानः पुरो गीर्वाणानां
दूरीकरोति कुमति पृष्टाः खलु परपुष्टाः
दोर्ददण्डद्वयमण्डलीकृत पौलोमीपतिकानने
धत्ते भरं कुसुमपत्र पङ्कैर्विना सरो भाति
वीरध्वनिभिरलं ते प्रतिपलमखिलान्
घुरपि माधुर्यैः प्रथमं चुम्बितचरणा
धूमायिता दश दिशो प्रारम्भे कुसुमाकरस्य
न यत्र स्थेमानं बन्धोन्मुक्त्यै खलु
भवग्रीष्मप्रौढातप वदने विनिवेशिता भुजङ्गी
भिन्ना महागिरिशिलाः वनान्ते खेलन्ती
भुक्ता मृणालपटली वंशभवो गुणवानपि
भूतिर्नीचगृहेषु वहति विषधरान् पटीरजन्मा
मद्वाणि मा कुरु वाचा निर्मलया सुधामधुरया
मधुद्राक्षा साक्षात् विदित्वेदं दृदयं
मधुप इव मारुतेऽस्मिन् विदुषां वदनाद्वाचो
मरकतमणिमेदिनीधरो वा विद्वांसो वसुधातले
मलयानिलकालकूटयोः विशालविषयाटवी
मलिनेऽपि रागपूर्णां विश्वाभिरामगुण
मूलं स्थूलमतीव विश्वास्य मधुरवचनैः
मृतस्य लिप्सा विष्वद्रीच्या भुवनमभितो
मृद्वीका रसिता सिता वेतण्डगण्डकण्डूति
यथा तानं विना रागो व्यागुञ्जन्मधुकर
यशः सौरभ्यलशुनः व्योमनि वीजाकुरुते
यस्मिन् खेलति शास्त्राण्याकलितानि
याते मय्यचिरात् शून्येऽपि च गुणवत्तां
युक्तं सभायां खलु मर्कटानां शृण्वन् पुरः परत्रगर्जित
येन भिन्नकरिकुम्भ श्रियो मे मा सन्तु
येनामन्दमरन्दे सत्पुरुषः खलु हिताचरणैरमन्दं
यैस्त्वं गुणगणवानपि सपदि विलयमेतु
रे खल तव खलु चरितं समुत्पत्तिः स्वच्छे
रे चाञ्चल्यजुषो मृगाः समुपागतवति दैवाद्
रे चेतः कथयामि ते सरजस्कां पाण्डुवर्णां
रेरे मनो मम मनोभवशासनस्य सन्तः स्वतः प्रकाशन्ते
लीलामुकुलितनयनं सन्त्येवास्मिञ्जगति
लीलालुण्ठितशारदापुर संतापयामि किमहं
लूनं मत्तगजैः कियत् साकं ग्रावगणैर्लुठन्ति
वज्र पापमहीभृतां सेवायां यदि साभिलाषमसि
सौरम्यं भुवनत्रयेऽपि विदितं स्वस्वव्यावृतिमग्न
स्थितिं नो रे दध्याः स्वार्थं धनानि धनिकात्
स्तुतापि तरुणातपं हारं वक्षसि केनापि
स्वच्छन्दं दलदरविन्द हालाहलं खलु पिपासति
स्वर्लोकस्य शिखामणिः

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  1. “श्यामं यज्ञोपवीतं तव किमिति मषीसंगमात्कुत्र जातः सोऽयं शीक्तंशुकन्यापयसि कथमभूत्तज्जलं कज्जलाक्तम्। व्याकुप्यन्नूरदीनक्षितिरमणरिपुक्षोणिभृत्पक्ष्मलाक्षी- लक्षाक्षीणाश्रुधारासमुदितसरितां सर्वतः संगमेन॥” ↩︎

  2. “भूमीनाथ शहाबदीन भवतस्तुल्यो गुणानां गणै– रेतद्भूतभवप्रपञ्चविषये नास्तीति किं ब्रूमहे। धाता नूतनकारणैर्यदि पुनः सृष्टिं नवा भावये– न्न स्यादेव तथापि तावकतुलालेशं दधानो नरः॥” ↩︎

  3. “Vide R. G. (N. S. E. ↩︎

  4. “Cf. the following verses found in R. G.— सुधेव वाणी वसुधेव मूर्तिः सुधाकरश्रीसदृशी च कीर्तिः। पयोधिकल्पा मतिरासफेन्दोर्महीतलेऽन्यस्य नहीति मन्ये॥ युक्तं तु याते दिवनासफेन्दौ तदाश्रितांना यदभूर्द्वनाशः। इदं तु चित्रं भुवनावकाशे निराश्रया खेलति तस्य कीर्तिः॥” ↩︎

  5. “यवनी रमणी विपदः शमनी कमनीयतमा नवनीतसमा। उहिऊहिवचोऽमृतपूर्णमुखी स सुखी जगतीह यदङ्कगता॥१॥ यवनी नवनीतकोमलाङ्गी शयनीये यदि नीयते कदाचित्। अवनीतलमेव साधु मन्ये न वनी माघवनी विनोदहेतुः॥२॥ न याचे गजालिं न वा वाजिराजिं न वित्तेषु चित्तं मदीयं कदापि। इयं सुस्तनी मस्तकन्यस्तहस्ता लवङ्गी कुरङ्गीदृगङ्गीकरोतु॥३॥” ↩︎

  6. “These verses form the गङ्गालहरी.” ↩︎

  7. “माधुर्यपरमसीमा सारस्वतजलधिमथनसंभूता। पिबतामनल्पसुखदा बसुधायां ननु सुधा कविता॥ The stanza is read as above in Rasagangādhara, p. 306. Translation.—Poetry is nectar, indeed, on earth for it isthe highest water-mark of sweetness, it is produced (likenectar which arose from the milky ocean when it was churned ↩︎

  8. “The substitution of ममin place of ननुcan hardly becountenanced in view of the fact that नागेशभट्ट,who was removed from Jagannātha by less than two generations, reads ननुinhis commentary on this verse in the R. G.” ↩︎

  9. “Read: मङ्गलपक्षे तु वस्तुनिर्देशलक्षणमङ्गलपरतया श्लेषेणार्थत्रयं ज्ञेयम्।तद्यथा—मृगपतिः। अत्र अजहत्स्वार्थलक्षणया नृमृगपतिर्नरसिंहो ग्राह्यः। तथाचेदं प्रह्लादस्य हिरण्यकशिपुवधोत्तरं ब्रह्मादीन्प्रति भगवत्प्रभाववर्णनचचनम्। हे ब्रह्मा-” ↩︎

  10. “cf: क्वचिद्विशेषः सामान्यात्सामान्यं वा विशेषतः। कार्यान्निमित्तं कार्यं च हेतोरथ समात्समम्। अप्रस्तुतत्प्रस्तुतंचेद् गम्यते पञ्चधा ततः॥ अप्रस्तुतप्रशंसा स्यात् —S. D. 10. 58-59.” ↩︎

  11. “‘सप्तमीविशेषणे बहुव्रीहौ’—Pān. 2. 2. 35.” ↩︎

  12. “अभेदैकत्वसंख्या is thus illustrated : यथौषधिरसाः सर्वे ममधुन्याहितशक्तयः। अविभागेन वर्तन्ते तां संख्यां तादृशीं विदुः॥ हरिकारिका. The metre is शिखरिणी.” ↩︎