kALidAsa Raghuvamsam

02S3^<
THE <^^
,RAGHUVAMS'A
OF
i
KALIDA'SA,
WITH
The Commentary ( the Sanjivim ) of Mallinatha.
Cantos I —X.
EDITED
With a literol translation into English, copiouB mtes in
Sanskrit and English and various readings, c^'C. ^c.
BT
aHQRESHWAR RA'MACHANDRA KALE; B.A.,
Author of ' Higher Sanskrit Grammar ', Saliityasarasatlgraha

< ',
Sanskrit Commentaries on the Vikramorvas'iya of

Kalldasa, The Kadambari of Baaa, The Niti and
Vair4gya Satakas of Bhartrhari, &c. &c.
Third Revised Edition
GOPAL NARAYEN & Co.

Book-Sellers ^ Publishers.
Kalbadevi Road, Bombay.
19S2.
All rightt renerved by the Author,
Printed by Chint&inan Sakh^ram Deole at the 'Bombay Vaibbav ' Pr«a*,

Rervanta of India Society's Building, Sandhurst Road, Girgaon, Bornlay,
and Publisbed by V. N. & D. V. Mulgaoker, Proprietors,
Gopal Narayen & Co., Book-Sellers and Publisher*,
Kalbadevi Road, Bombay.
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EXTRACT PEOM
PREFACE TO THE FIRST EDITION.
In presenting to the public this new edition of the Raghuvanis'a, the
editor feels himself called npon to explain the reasons for thus adding to
the already large number of the existing editions of this poem. Certain
Cantos of the Raghuvamsa are generally prescribed for the higher examina-
tions of Indian Universities, and the students feel the ^vant of some good
and correct edition which would be a useful and a safe guide in acquiring
the varied information required of them by the University examiners-
Only four or five editions, published here and at Calcutta, contain English
notes and translation, and are thus meant to meet the wants of High
School and College students. But in the humble opinion of the present
editor they have certain deficiencies of their own, and are therefore
inadequate for the purpose for which they are intended. The commentary
of Mallinatha, though excellent in itself and a good guide to advanced
scholars, is practically of small use to ordinary students. Judged from
the standpoint of a beginner, it has certain distinct disadvantages.
Its terseness of style and the technicalities of grammar it introduces,
puzzle the novice ; does not often give the full vigraha of
again it
compounds but merely explains them. It does not also give the derivation
of words. For these and other things the student has to depend upon
English explanatory notes. No attempt has yet been made to give com-
plete and exhaustive notes, critical, grammatical as well as explanatory...
The present edition is an humble attempt to remedy all these defects.
Since Mallinatha explains each S'loka by giving anvaya, as he himself
its
tells us in the introductory S'lokas to his commentary, the construction U
not given separately. But the words of the text are printed in bold type
in the com. in their prose order, and where Mallinatha does not quote the
actual words of the text they are given encloted in rectangular brackets
After reading the S'loka the student should read the words in bold type in
the commentary in order, and he will get tho construction or anvaya. This
will also assist him in separating the words of the text and readily finding
out their meaning given by Mallinatha, as it immediately follows them.
Difficult words in the Samjivanl are explained in easy Sanskrit in the
foot-notes, which also supply the deficiencies of Mallina'tha's commentary
where necessary by giving extracts from other commentaries and similar
—
extraneous sources an arrangement which will greatly add to the
usefulness of the book without creating any confusion
A full, literal translation has also been given. What is intended is
this: —The student should first read the S'loka, then the anvaya and then
the meaning in Sanskrit; he should then translate it in his own words and
tlien coDBuIt the translation given at the end. Besides the translation,
tlie present edition gives copious explanatory notes on each 8'loka,
explains the compounds, notes peculiarities of g;ramniar and discusses the
propriety of different readings where necessary. Certain important
points not aoticed by MallinTitha are also considered herein. Allusions
to mythology and history are explained, important etymologies given and
the ancient geographical names of rivers, countries, &c. identified with
their present names. Figures of speech are given and rhetorical discus-
Bions introduced where necessary. The definitions and schemes of all
thp metres used by the poet in this work are given, and model questions,
as well as those set at the Bombay University examinations, are appended
at the end. In short, an endeavour has been made to meet every possible
difficulty of students, and no pains have been spared to make this famous
poem easily intelligible even to an ordinary student.
PREFACE TO THE NEW EDITION.
In this edition, while I have retained all the original features of the
work, the whole has been submitted to a thorough revision, and it is
hoped that in this form it will prove increasingly useful to those for whom
it is intended. Tha introduction has been recast and re-written in part,
and considerable additions made to the English notes. I am obliged to
the editions of Messrs. Pandit, Nandargikar, and Ray, to whom my best
thanks are due.
Bombay, June 1922. M. R. Kalh.

INTRODUCTION.
I. THE SANSKRIT KAVYA.

Before the student enters upon a critical and detailed study of
the Raghuvamsi it is necessary that he should be acquainted with
the salient features of what is called Kavya in Sanskrit.^ Sanskrit
rhetoricians have divided all kinds of literary compositions into two
main divisions, ^\r( ( what is capable of being seen ) and %t5?|
( what can only be heard or chanted ). All the varieties of
dramatic pieces come under the ^^^ class, while everything else can
be broadly described as ars^. The ars^r Kavya', again, has been
further sub-divided, on consideration? of its form, according as it
iswritten in verse, or in prose, or in mixed verse and prose. ^ (1)
Compositions in verse or metrical form are the commonest specimens
of %r«'T Kavya. They generally fall into two classes, the dis-
tinction being based chiefly on their length* :
— (a) rf|]-Î5qs or < Great
Poems ', such as the Raghuvamsa, the Sisnpalavadha &c., (b) and
^ô^qjfsqs orSmall Poetical Pieces', a

* class which includes all
minor lyrical poetry and such works as the Meghadnta, th©
Bhaminivilasa, the Amarnsataka &c. (2) Prose works are com-
paratively rare in Sanskrit; their main kinds are two' — Katha ( e. g,
the Kadambari Bdnabhatta ) of and AkhySyika ( e. g. the
Harshacharita of the same author ). (3) Works in which prose and
The information given here has been briefly summarized from
1
the KSv.-D. and the Scih.-D. For a historical outline of Kavya

literature the student is recommended to consult any standard History
(e. g. Macdonell's) of Sanskrit Literature.
2 The student should be on his guard against the common conceptiott
that Kavya, 'Poetry', is metrical composition. Kavya originally
aignifies any literary piece, whether in prose or in verse; in popular usage
it has been chiefly applied to verse.

3 tnj IS =^ m?t =^ fT(^^ 5^^r%TcTJ^ i Dandin.
4 This from the words of Vis'vanatha who says W4 ^\^ ^
is clear
«f^?a|iTai^^îgHlR =f 'a Khanrla kavya treats of some portion of
;
( the
subjects that fill a whole ) Mahukavya.'
5 ^T.\\ TfH^Ht n^JRi^jJTrmr^^ cr"^ cT?^ st^ 5f Dandin. The Agnipurana
i ii
mentions five kinds, viz. arf^^rR^r ^m\ W^T^m m^^m a«TT I ^'-nf«%T% JPW
— —
verse are mixed are classed as Ohatnpu^ ( e. g. the Bbaratachampu,

the Visvaguiiadarsa-champu, &o. )'.
The student will thus notice that, along with dramas, the
iTf TÎsiTS and îrsîpisifB have been the most popular forms of literary
«ompo8ition, and have attracted the be^t geniuses to try their hand
at them. It is true that the Kbanda Kavya attracted more atten-
tion, chiefly because itis short and requires less expenditure of time
and energy; and that the number of extant Mah&k&vyas, therefore,

is not very large. But what is here lacking in quantity has
been amply made up in quality. For in dignity of style; depth of
thought and maie8^y of movement, the Mahasavya is far and away
the bust exprdssion which the Sanskrit literary artist has found for
his genius. The Righuviiusa is a Miihakavya, which the Sah.-DJ
defines as follows:
^^: ^r^^ ^rfr vfrdfrrTirorif?^: n
5TwrPr g^-srr ^r^\-- ^¥ ^vz^^y\^: i
fffff r^fr^f ^TT^^?r ?t^^^m^»c ii
sTifr T»Tfl^m€r^? 'T^f%^^ 7^ ^ II
6 iiaq^jmi ^m "îfTfTfi?^^ S.;ii. —

D. If we set aside the diatinction
i
between sf^q und iijn, and consider form alone, it is also possible to
class dramas as 'mixed KSvya,' as indeed hni been done by Dandini who
says Chmw^ =\\z^\i}\^{ K.— D. I. 31 ).
7 We give above the de&Ditioo which is more

of tl»e Suh. —D ,
detailed, since its author, who lived in the fifteenth century,

had all the
famous Mahiik.ivyas before him, including even the later apecimens. The
defiaition of Dandin ( of the sixth century ) is earlier and concise, and
we give it below for comparison with thnt of Vit^vamitha :
sni^pif'rlr^^'^r^f^^TOTH: i
7wnTffrr?w*'rffrjr^TrsTt(fVr^; ii
@tb«r definitions, more or less similar, will be foui^d in Agnipurlna

(337), K:\vy&IanikTra(r.), Sarasvu'l-KantliAbbarana (V.), «Sc.
Ill
5TRrfTT»T^: ijrn" ^'t' ^«^T s:?^^ ti
^•^rfi'sn' ^^nfrif ^rwr^rnpr sT'fr ?? ii
( Parickchheda VI. )
Thas, a Mah4k4vya should be divided into chapters, called îfs

or Cantos. The hero should be either a divine personage, or a
Sshatriâa of noble descent and possessed of the qualities of a
Dhirod&tta^ Hero. This is whenthe poem is concerned with the
description of the life of a single hero ( as in the Sisup41avadha
or the Vikramankadevacharita ); if like the Raghuvamsa it has for
itstheme a number of Heroes, then they should all be Kshatriya
princes sprung from the same race, and of pure descent. The
prominent sentiment (^^) should be either îffnc, ^K, or ^?cT> others
being introduced as accessories. The subject-matter should be
arranged as in a n&taka with the necessary changes. The plot may
be historical, or may have for its subject-matter the glorious deeds
of the good and the virtuous. The object of such compositions
should be the attainment of the four aims of human pursuit i. e.,
they should be written in such a way that their study would point
out the means of attaining them. It should open with a verse or
verses expressive of a salutation to a deity, or a blessing conf&rred
on the readers, or a hinting of the subject-matter; these may
sometimes be followed by censure of villains and praise of the
good ( as in the Vikramankadevacharita). A Mah4k4vya should be
divided into ^jfs not less than eight,' which should be neither too
8 A 'Dliirodatta' ('self-controlled and exalted' ) Hero 10 one who is

inagnanimoua, exceedingly grave, forbearing, not boastful, resolute, one
whose high spirit is concealed, and who is faithful to his promis*'
( JT^rffrtrsf^^fK: ?jJTr^;TK^c5!T5i: I f^ Hg;?r5îd 'M^rai |5^ct: 11 D.— E. III.;
9 Some
fîjlWlf^ Trf^^ I
restrict the number
I'^slnasamhita; but the
to thirty;
Haravijaya posseaees as meny
cf. srfFnr^r f âs
fifty cantos. So the rale is not absolute.
IV
long nor too short.'" They should bo composed in the same metre^
which should change only at the end; sometimes ( as a variety ).
a ît mav be written in a number of metres. The contents of

the next Oanto should be indicated at the end of the preceding one.
more or less length, such incidents and topics
It should describe, at
as twilight, the rise of the sun and the moon, the night, the evening,
darkness, the day, morning, noon, hunting, mountains, seasons,
forests, oceans, the union and separation of loveis, sages, heaven,
cities, sacrifices, battles, invasions, marriage ceremonies, advice, the
birth of a son, &o. &c. It should be named after the poet, or the
plot, or the Hero, or some other person; while each Sarga should
be named in accordance with its own contents ( e. g. the 6th canto
of the Ragh. is named ?^f^^t)"i;T ).
It should be borne in mind that these elaborate rules were
evolved after minute examination of all available specimens.

a
The works of early poets like K41id4sa will not therefore be found
definition given above, nor is it necessary
to conform strictly to the
that they should do so, provided they follow the broad lines laid
down. FoJT Daiidin himself says, ?g^JT«T5( %: %I8^^|^: î^q ^ f«?n'fr i
( I. 20 ).
Thus the Raghuvamsa,
'igTT^S ^Tf%mivT'iT% ?Ti%?[: II
though it does not describe everyone of all those incidents
and topics, still conforms mostly to the definition given, as
the student can verify for himself. Thus, it has for its theme a
number of noble kings born of the same family. The predo-
minent sentiment is though Cr^ and if^0T are often in-
îffR,
troduced as accessories {e.g. in Oanto III. and VIII.). It is

named after Raghu, the most eminent among its many heroes. The
indicated toward* the close of the
Bubjeot of the next Oanto is
previous one- e. g. it is evident from what is said at the end of Oanto
that the Svayamvara of Indumati
would be described in Oanto
V
VI The metre changes at the end of each into, and the ninth
Canto is a number of different metres.

written in ^\^•.^^ is
Canto V., gJT^T in IX., ^5 in XVI. and XIX., ^nln
described in
in XIX., m
in VIT., J^^^ in VII., j^îr in III. Each Oanto is
named after the most important event described in it. Other
particulars the student can find out for himself. Technically, the
quite a representative specimen of its class; as regards
Raghuvamsa is
10 The iBina-Samlitii explains that the number of

stanzas in a lingle
Bhould not exceed 200, and should not be less than 30-
canto
and distinguishing features, we shall have a few
i's other merits
remarks to make, but theee more properly belong to a subsequent
Section.
II. KAÎDA'SA.
( A ) HIS LIFE, WORKS AND POETRY.
To turn now it must be admitted that we have absolute-

to the poet
ly no trustworthy information regarding the personal
His Life history of Kdlidaaa, by unirersal consent the great-
est The curiosity of the querist who
of Indian poets.
would ask-'Where and when was he born V 'Who were his parents V
'
—
When did he die ?' &c. must ever remain unsatisfied. The poet
has studiously observed complete silence about himself in his works.
Read them howsoever we may, we find no allusion, no incident
mentioned, that may any light either on his personal
directly shed
history or on remarkable event of his life. Under these
any
circumstances we have to content ourselves with gathering what
little information we can about a poet of world-wide repute from
external sources, and a few incidents found here and there in his
works, which may be supposed to have a distant bearing upon the
history of his life. Reserving for another Section the question of
the date of the poet, we proceed here to state the few facts that can
thus be known about him. A time-honoured tradition, supported
by internal and external evidence^ associates the name of Kalidasa
with that of the epoch-making king Vikramaditya of Ujjayini.
The keen interest and admiration with which the poet describes the
IMahakala, the Sipra, and other beauties of Ujjayini, unmistakably
point to the conclusion that he must have been a native of that city.
And the various covert references^' to the name of Vikrama in fully
eulogistic terms,which are doubtless meant to immortalize king
Vikramaditya, are inexplicable if that monarch be not regarded as
the poet's patron. Kalid3,3a also betrays considerable acquaintance
with court-life in his works.This circumstance, coupled with the
no allusion in his writings to the goddess of
fact that there is
wealth having ever frowned upon him, shows that he was in afiluent
11 E, g., 3Tgc^^: ^^ f^JTlcJ^rnc: (Vikr.), f^^HHl^fr «r^% m\% iTbid.) &c.

VI
ciroumstanoes, and had not the misfortune ever to drink the bitter
cup of poverty. He was a Brahmana by caete and was a devout
worshipper of Siva, though by no means a sectarian. He seems to
have travelled a good deal, at least in Northern India. For, as Dr.
Bhan Daji remarks, he is the only poet who describes a living saffron
flower, the plant ofwhich grows in Kashmir. His graphio descrip-
tion of the Himalayan scenes looks very much like that of one who
was an eye-witness. Unlike Bhavabhuti and many other brother-
poets, he appears to have enjoyed great popularity during his life-
time. He was 'an admirer of field-sports,' and 'describes their
with the exactness of a true sportsman. ' Though
beneficial effects
fond of pleasures he was not the unscrupulous voluptuary he it
supposed to be by some critics, as is clear from the many noble
sentiments exprassed in the S4kuntala''- It also appears from the
same play that he was against love-marriages, though always
actuated with the most generous sentiments towards the fair sex.
His works bear further testimony to his considerable acquaintance
with the Vedas, the philosophy taught by the Upanishads, the Epics
and the Pur&nas, the Bhagavadgitd, the systems of Samkhya,
Toga, and Ved4nta as propounded by B&darayana, Medicine,
and the rudiments of Astronomy. Beyond these few facts nothing
is known for certain about our poet at present. It is inevitable
that, during the course of time, a number of fanciful stories and
legends should have clustered round the popular hero of literary
India, Thus there is a story which relates how the poet was born
a blockhead and a dunce, but had wisdom bestowed upon him in
consequence of his subsequent propitiation of the goddess Kali,
whencehis name Kalidasa. Another story makes him a friend of
King Kumiradasa of Oeylon, in whose city KAlidisa was murdered
by a courtesan. No reliance need be placed on such accounts.
Many such stories will be found in the Sanskrit Bhojaprabandha, and
in a collection which, under the title of Tales of King Bhoja
and Poet Kalidasa^ is a popular book in many Indian vernaculars.
A few conjectures have been advanced as to some other particulars,
but to test their veracity falls strictly within the province
of the antiquary.
The poet's silence about himself in his works gave an
opportunity to many unscrupulous inferior poets to
His Works upon him. The following
— f,
f^^j^^, ^^^-^^ q^j, ^0,1^8
&c. S'ak, V. and our note ad loc.

is
12 Cf. 3TfM«^nf M1<*>ri^

Vll
a list of the works generally attributed to him: — ^1) îrj^tTcJ'
(2) i^^qrwi^ (3) JTrorR-^rijrfflT^ (4) x%iKi (5) ^îr^^vrf (6) ^^^^
(7) ^"cT^^^ffcq (8) ^5#fl^ (9) 3T':Î^cTf (10) ^??TTOT?cTf (11) ^T^R^l^
(12) ^Ts^JTRÎ^^RT: (?) (13) aud (14) two JTfIS"^3 (15) ^j^^Tr
(16) ^Ta^^rô^cfrî^ (17) ^^m^ (18) s'Tif^fl^rvrÔT (19) j^g-î'^^
(20) ^^\^^ (21) ^^xî^^\^J (22) stsT^r^fÔTH (23) jt^^^^cTT (24) and
(25) two ^foJT?^3 (?) (26) ^^\':^^^^ (27) ^^^\^ (28) ^r^^^fsq
(29) ^^qm^ (30) c?3?rTf (31) ffffl^f^^s^ (32) ^^^]^^^^-^ (33)
^^T^lTUr (34) sf%=^f^?^r (35) îiff^M^^ ( 36 ) ^l^RT^r?^ ( 37 )
^Wr^^fTÎs^ (38) ^?TTiT^[?cr5q? (39) 'j-ff^f^T ( 40) ^H'swr-^RPTT'^TaT and
(41) %gf?vf. Of these the first six are aoknowledged by all critics
to be undoubtedly his. (7) la not yet discovered, but is known
only in a quotation by the Kashmirian scholar Kshemendra, in hid
Auchityaviclaracharch^. The authorship of (8) is somewhat doubt
ful; while the remaining ones are certainly to be dismissed as the
productions of other poets. There is another fact also which should

be borne in mind in this connexion. In Sanskrit literary history
there have been mc^ny poets ivhi bore the name Kalidasa^ and at least
three were known to Rajas'ekhara who wrote ci^fSPT ^CT^ f^fT
^ff^^T^ ^ %^f%r|^ \l^\X ^h^\^\l ^r[%?r^^^'r f%5

I »• ^^ ^^ possible,
therefore, that other KalidAsas than the author of the RaghuvamSa
are responsible for the trifling pieces mentioned above. Here, then,
we are concerned with the The most convenient and
first six only.
reliable method of studying the development of a poet's mind and
its relation to his productions would be to read hia works in their
chronological order. But we have no external evidence, whatsoever,

to ascertain the chronology of Kalidasa's works. It must, there-
fore, be based wholly on internal evidence. Judged as such the
works would stand in this order — Poems — ^fTr^"», H^'f^ff and rj^^Tj
Plays-Hif^Tf^r'*; R^«Tro and ^TI5i=fi3"; or, both indiscriminately, as
W^TK^j 'Rf^'tô, f^îfr«? ^^1^, ^Tf^'cTc7 and X.%^^. Space will not
permit us even to refer to these briefly. We will only remark in
passing that the last three are the outcome of the poet's matured
poetic faculties and riper years.
Kdlidasa is indisputably the greatest master-mind in Sanskrit

„. p poetry. His genius has been recognized in India
'
from very early times. He has been and will ever
be enshrined in the hearts of his countrymen as the Prince of Indian
poets. Most Indian successors of K4liddsa have expressed in
suitable words their admiration of the poet who stood far ahead ol
Vlll
them in the perfection of his art. Thus B4n ibhatta, the famous
author of the Kadambari, speaks of him in the following words:
"When Kalid^sa's sweet sayings, charming with sweet sentiment,

went who did not feel delight in them as in honey-laden
forth,
flowers?" Kum&rila, who flourished about the first half of the eighth
century, has quoted with approval the passage from the Sukuntala,
êrt i|fl-^fT^5 «r?35 ^m^JJ^<\:^v^^jjj^:. There is a Subh&shita
which says :
—
** While once the poets were being counted, Kalidilsa ( aa being the
first ) occupied the last finger. But the ring-finger remained true
to its name ( 3Tûq=?j[ = nameless ), since his second has not yet been
found ( by whom it can be occupied )". Patdit Govardhanich&rya
thus speaks of our poet:
**Two things only, viz. love-sport and Kiiliddsa's poetry, delight

the heart even at the time of instruction, a? they mostly consist of the
eweet, tender and touching words of a sportful girl" Almost
€very Pandit jâs iu his mouth the following memorable verse
^' Among Kavyas the drama is the most charming. Among dramas
Sdkuntala is specially charming. Even there the fourth Act is the bestj
and lastly, four slokas'^ therein are especially most beautiful". The
highest place is assigned to K4lid&sa among poets for the construc-
tion of happy similes, when it is said
^VJ^^- q^c^Tfef't ^\^ «pcT 5T^ 5TITT: II
Among later writers, Jayadeva has called our poet ^ff f^H? * the
lord of poets' and the ff^jjfr or 'Graceful Play' of the Muse of Poetry.'*
That his countrymen should place him at the head ol all
Sanskrit poets, unparalleled and unsurpassed by those who have

13 They are— irr^fJiJj 5Tj^%f^ &c.; ^'»;^ g^&o.; a^fJnpraffl «l4' *^^
&c.; and.^WT f^ni Ti^-(T'i6l«lf=ft &c.
— —
IX
preceded or followed him, is natural enough; but he has evoked
spontaaeous outpourings of praise and manifestations of admiration

eren from foreign scholars and poets who had access to his works
either directly or through translations. Goethe has voluntarily
bestowed the highest meed of praise on him so much was he —
enraptured by the charms of K3,lida9a'a Muse and struck with his
poetic genius. This is what he says about the Sikuntala
"Wouldst thou the young year's blossoms and the fruits of
its decline,
And all by which the soul is charmed, enraptured, feasted,
fed ?
Wouldst thou the earth and heaven itself in one sole name
combine ?
1 name thee, O Sakuntala, and all at once is said. " ^*
When we remember that Goethe himself was the greatest poet

of Germany and one of the greatest of the world, we realize the
importance of his estimate of our poetThe well-kaown philosopher
and Humboldt, pronounces the following judgment
traveller,
'Kaliddsa is a masterly describer of the influence which Nature
exercises upon the minds of lovers. Tenderness in the expression
of feelings and richness of creative fancy have assigned to
him his lofty place among the poets of all nations." The
celebrated critic, Schlegel, has assignedhim a very high position
amongst the glorious company of tha Sons of Song '. Several '
eminent modern orientalists have also offered their tribute of praise

to our Indian Shakespeare, as Sir William Jones was the first to
call him —
the very comparison of KalidSsa to Shakespeare is the
highest form of eulogy that could be bestowed upon him by foreign
critics. Sir Monier- Williams, while writing about the Sakuntala,
thus expresses himself :
— " No composition of Kaliddsa displays
more the richness of his poetical genius, the exuberance of his
imagination, the warmth and play of his fancy, his profound
knowledge of the human heart, his delicate appreciation of its most
refined and tender emotions, his familiarity with the workings and
•counter-workings of its conflicting feelings —in short more entitles
him to rank as the Shakespeare of India. " Prof. Lassen calls him
^* the brightest star in the firmament of Indian poetry. "
We thus find that Kalidasa has established his sovereignty in
the hearts of all alike. Now it may be asked, < What is that in
15 As translated from the German by Mr. E. B. Eastwick.

R.I. 2
—
K&Udasa which establishes hia undisputed claim to the highes;^

honour which ia thus bestowed upon him V Unless this question i»
satisfactorily answered Kalid&sa's merits as a poet cannot be said
to be determined. 1* His poetic genius has brought Sanskrit poetry
to the highest elegance and refinement. His style is peculiarly
pure and chaste. It has 'neither the laxity of the Par&iias nor the
extravagant colouring of later poems. ' It is unartifioial and
charaoterized by brevity consistent with perspicuity. An unaffected
simplicity of expression and an easy-flowing language mark hid
writings which are embellished with similes unparalleled for their
beauty and appropriateness, and with pithy general sayings. His
diction is marked by the absence of long compounds involved con-
structions,over-wrought rhetoric, and artificial puns. K&lid&sa excels
other poets in his description of the sublime and the beautiful. It is
a principle recognized by all modern critics that 'Nature must be the
life and essence of poetry'; and in respect of this, Kalidisa may be
said to be essentially a poet of Nature ( of course in the limited
sense of the term which it is possible to attach to it in those time*
of gay luxury and general prosperity ). He describes with most
effective touches the gorgeous scenery of the mountain Himdlaya
its snow-clad and mineral-covered summits, the peaks where sunshine
ever reigns, the fragrant and cool breezes blowing there, the wilds
with the hunters, the musk-deer, the potent herbs shedding lustre
at right, the ehamara deer, the Manasa lake &o.; and his description
of the Ganges and the peaceful hermitage-life is very striking and
life-like. His descriptive powers are great, and some of the scenes
in the S&k., the Megh., and the Hagh. are so enchanting as to hold
hia readers spell-bouud. And as regards «tpTÎ5^> the kind of
poetry which suggests more than what it expresses, he is a master of
acknowledged skill.
( B ) HI8 DATE.
The problem of the date of Kalidasa is a vexed one and it ha9
yet to be finally settled. The earliest mention of Kalidasa by name
is in the Aihole Inscription dated 634 A. D., and it furnishes the
7th Century A. D. as the downward limit of the poet's date.
Tradition mentions K^lid^sa as a contemporary and a court-poet of
king Vikramaditya. One king of that name founded tbe era known
after him, which is accepted as commencing with 57 B. 0. Some
antiquarians once did not accept this date as tbe correct one, but
16 For this tbe student is referred to pp. 27-29 of our iLtroduciion

to the S'&kuntala, 5th ed.
XI
brought VikramSditya down to A. D. 544, propounding wh»t war

known as the Korur Theory. The battle of Korur marked a
turning-point in Indian history, Vikram&ditya having defeated th&
Mlechchhas in Curiously enough, Mr. Ferguaaon held that ta
it.
commemorate the battle an era was invented, and that its beginning'
was placed back 600 years. So he put the true date of Vikramadity*
at 544 A. D., and this theory for a time held sway, since no
inscription was discovered bearing a date prior to 600 of the Vikrama
era. But the discovery of the Mandasor Inscription, which is dated
Samvat 529, made this theory untenable, and the traditionary
date ramained unshaken. Then there is the theory of the Nine Gems.
Nine eminent men called the * Nine Gems ' adorned the^
court of king Vikram4ditya
Of these a^Jm^f is âid have lived between 414 A, D. and

to
642 A. D. Varahamihira is believed to have died in 587 A. D.
On the strength of these dates of Kalid&sa's supposed contem-

poraries, Dr. Kern placed him in the latter half of the sixth
century. But in this there are many a priori conclusions and
speculations as to probabilities. If ihe tradition proves anything
definitely, it proves the connexion of K&lidasa with King
Vikramaditya; but as regards the contemporaneity of the nine
authors, the tradition cannot be true. Next there is the theory ol
Renaissance propounded by Prof. Max Miiller. He divided the
whole Sanskrit literary period into two parts. The first began
with the Vedas and ended with the first century A. D, Then cam&
an interregnum, a period during with foreigners invaded India and
80 literary activity was dormant. The Professor placed the
Renaissance of Sanskrit learning in the sixth century A. D. with
the reign of VikramSditya. But, as has been shown by Drs. Peterson
and Buhler, the period called interregnum was really not destitute
of literary productivity, and, therefore, if Kalidasa is to be
considered as the first poet of the new school, he must be placed
considerably earlier than Prof.Max Muller did.
There are some minor things which have been pushed into the
controversy. These are (1) the —
alleged covert references i<y
Diilnaga and Nichula in the Meghaduta, the former a foe and the
latter a friend of Kalidasa; (2) the identity of Matrigupta, a king
of Kashmir, and Kalidasa ( for, names in Sanskrit are often titles,.
—
Xll
and Mdtrigupta, lit. ' protected by the mother, ' may also be taken
as Kaligupta or Kalidasa);
(3) and the supposed astronomical
references in the works of Kalidasa to the astronomical theories of
A'ryabhata, who lived in 476 A. D. Prof. R. N. Apte has examined
all these at
some length, and on the first point he comes to the
conclusion that Dinnaga and Nichula were not contemporaries of
the great KSlidasi, but must have been contemporaries of some
other Kalidasa. On the second point he observes that Mdtrigupta
and K41ida'sa were two different persons, since they are differently
quoted by Kshemendra and other writers and commentators. The
supposed astronomical references have really no astronomical
sigiiificanco at all, and it cannot be said that K&lid43a was acquainted
with the astronomical works of A'ryabhala. Mr. K. B. Pathak,
the latest exponent of the 6th century theory, repeats the arguments
given above, but principally bases his conclusion on his theory
about the Hiina kings, allusion to whom is made by the poet in the
Raghuvamsa. He argues that since there is no mention made
of the Hunas in the Ramayan^, the conclusion follows that
KdlidAsa unconsciously refers to the Hu'na kings of his own time,
who held sway over the Punjab and Kashmir, in the second quarter
of the sixth century. But this rests merely on assumption; for
there are references to the Hunas even in the Mah&bh4rata. Prof.
Apte has shown that just beyond Bactria or the threshold of
also
ancient India, the Hanas had constituted a powerful empire from
the middle of the 3rd century B. 0. to the end of the Ist or the
2ud century A. D.
Modern European scholars are generally inclined to hold that
Kalidasa must have flourished under one or more of the Gupta
kings. The Gupta period ( about 300-650 A. D. ) was noted in
ancient Indian history for a revival of Sanskrit learning and arts.
The late Mr. Vincent A. Smith (see Early History of India
hia
p. 3C4, 8rd ed. 1914 ) believed that Kalidasa must have lived in
the reigns of the first two, or even in that of the third, of the Gupta
Kings:
Chandragupta II. ( c. 357-413 )
Kumiragupta I. ( 413-455 )
Skandagupta ( 455-480 )
Both Chandragupta and Skandagupta had adopted the titl«

II.
of Vikramddityi. To quote the words of Mr. Smith, " It is not

unlikely that the earliest works of K&lidasa may have boon
XIU
composed before A. D. 413, that ia to aay, while Ohandragupta II.

was on the throne; but I am inclined to regard the reign of
Kumaragupta I. (413-455) as the time during which the poet's
later works were composed, and it seems possible, that the whole
of his literary career fell within the limits of that reign. It is
also possible that he may have continued writing after the

accession of Skandagupta". Mr. Smith thus makes Kaliddsa's
literary extend over a period of not less than thirty years.
career
Note that, even according to Mr. Smith, there ia nothing wrong
in the tradition about a Vikramdditya having been our poe;'3'
patron; only we must arrive at an understanding as to which
Vikramaditya is meant, because various
kings in the history of
ancient India oalled themselves by that title. ourselves hold, We
for reasons given below, that we must accept as our poet's patron
that king Vikramaditya whose traditional era commences at 56
B. 0. The attempt to place Kaiida-sa in the court of the Gupta
kings rests merely on the fact that Ohandragupta II. was named
Vikram&ditya. But the existence of prior kings of that title is
now a certainty.''
Vatsabhuti, the author of the Mandasor inscription, copies

several ideas from Kalidasa; the latter must, therefore, have lived
prior to 472 A. D. Again, Asvaghosha, the author of a life of the
great Buddha numerous passages similar to those
in Sanskrit, has
occurring in the works of K§,lid^sa. Now, Kalidasa was an original
poet borrowing his subjects from V&lmiki and other ancient authors;
Asvaghosha was more a philosopher than a poet, and may, with
greater probability, be supposed to have borrowed his ideas from
Kllidasa. The date of Asvaghosha is given as 78 A. D.; and if
we suppose him to have borrowed from Kalidasa, the latter will
have to be placed earlier than 78 A. D. And in this view Dr..
Peterson also concurs when he s^ys ' Kalidasa stands near tht
beginning of the Christian era, if, indeed, he does not overtop it.'
There is also internal evidence pointing to the same conclusion.

We have first the evidence obtained from the state of the law of
inheritance and the penalty for theft aa they are indicated in
passages in the Sakuntala. The passage in the sixth Act of the
drama, announcing the death of the merchant Dhanamitra who died
17 The R^jataranigini mentions an earlier Vikramaditya, a con-

temporary of Pratapaditya of Kaahiuir.
XIV
ihelrless, seems to Prof. Apfce to refer to a period when the widow

of a deceased person oould not inherit his estate. Bach a period is
to be fonnd only before the Christian era, when Mann, Apastamba
and Vasishtha held sway, and Brihaapati, Sahkha, Likhita and
Y4jnavalkya had not yet written their Codes. The penalty for
theft, as indicated in the prologue to the sixth Act, seems to hare
been the extreme one, and there is also a passage of similar import
in the Vikramorvasiya ( an^JT^rr ^^nrr^trlf &c. V. 1 ). The penalty
for theft has been from time to time mitigated with the progress of
civilization. Mana and Apastamba lay down the extreme penalty
the option of fine being introduced later on, as we find it in the
Smriti Oi Brihaspati. These two circumstances tend to show that
K&lidasa flourished at a period which is anterior to Brihaspati, the
latter being generally placed in the first century A. D.
Apte further calls attention to the fact that there is no

Frof.
Nyaya philosophy in the works of Kalidasa [ except
reference to the
perhaps in Ragh. XIII. 1, in which the word :(|«jj^ ui ( ari^T^ )
occurs, but which the poet might have borrowed from the
S4mkhya3 ], and concludes that he must have lived before the
development of that philosophy. Then again we have the evidence
of style. The artificiality of diction and the fondness for long
compounds and double-meaning words which mark the writings of
Dandin ( who in his Kavyddarsa says that an abundance of com-
pounds constitutes the quality of ojas in poetry ), Bana^ Bhavabhuti
(7th century A. D.) and other mediaeval writers, are entirely absent
—
in Kalid^sa's writings a fact which shows that he must be placed
some six or seven centuries before them, a period necessary to oaase
such a revolution in the art of literary composition, considering the
scanty means of the propagation of learning in those times. It
thus becomes clear that K&lid§,sa lived in the first century B. 0.
at the Jate«t.>»
W Prof. S. Ray refers to the discovery in 1909-10 of the Bhita

medallion, which pictures a scene which looks exatly like the opeoing
scene of the S'&kuntala. The medallion is assigned to the Sunga period
( 1B4 B. C.-72 B. C. ), and Prof. Ray assumes that K41id4aa is anterior
to the date of the medallion, though the Archasological Survey authorities,
holdiDg to the Vincent Smith date, are inclined to dispute the identificatioa
of the scene with the one in the Flay.
XV
/
III. THE POEM.

( 1 ) Summary of the Stoey.
Before the student proceeds to a detailed study of his actual
êxt, it is advisable that he should make himself familiar with the
contents of the poem as a connected whole. "We, therefore, give
below briefly the story of the Raghuvamsa as presented in its
nineteen Oantos :—
Oanto I. After saluting Siva and Pdrvati, the poet eulogizes
the virtues of the kings of the race of Raghu, whose history he
proposes to describe. The royal line of the Raghus originally
sprang from the Sun, whose son, Mann, was the first king in this
race. In direct descent from Manu came the supremely eminent
King Dilipa, with whose history the poem properly begins. Dilipa
is an ideal king, being a most efiSoient, benign and virtuous ruler.
He has a queen called Sudakshini, the very type of courtesy and
kindliness, and the only thing that mars their happiness is
that they have no In course of time Dilipa decides to

issue.
consult his family-priest, Vasishtha, as to what holy rites &c.
he might perform that would bless him with a son and heir.
Leaving the government of his kingdom to his ministers, Dilipa
fB'.arts hermitage in the company of his wife. In
for Vasishtha's
the evening they reach their destination and make known their
vîshes to the preoeptor. Vasishtha explains that a curse, formerly
pronounced upon the King by the divine cow Surabhi, but unknown
to him, was the bar la the way, and for that purpose he should have
to propitiate Surabhi's daughter, Nandinl, who was his (Vasishtha's)
own cow. If she were pleased, she could grant that wish of his.
Vasishtha then explains to the royal pair how to serve the cow-
after which they retire for the flight.
Oanto II. The next morning Diltpa begins the daily routine
of disciplined service of the cow, Nandinl. He regularly accom-
panies her every morning, after she was worshipped, to the forest
and back again to the hermitage in the evening when she returned
from the pasturage. Twenty-one days thus pass away. On the
22nd day, the cow, wishing to test the devotion of her follower
enters a cave of the Himalayas, overgrown with grass, for grazing.
As the King's eyes are riveted on the mountain scenery, she
creates an illusory lion pouncing upon her. The King's attention
is suddenly called back by Nandini's cry and what does he see ?
;
The cow in the grip of a formidable lion, imploringly looking at

;
him. Instantly the King's band passes to the arrow-case, but

just as be seizes an arrow hand remains fixed there. To add
bis
to tbe wonder of the already bewildered King, the lion speaks in

human voice telling him that he was a servant of Siva, posted there
to guard the trees, with orders not to leave the place, but to live on
whatever came witbin his reach, and claims tbe cow as his rightful
prey. Tbe King finds himself in a fix ;
it was bis primary dnty to
save the cow at any cost. What was he to do ? He could not shoot
an arrow but be could offer himself up in lieu of tbe cow, as they-
;
had both entered tbe cave together; for Siva's order to tbe lion wa»
that he should eat whatever came within bis grasp. This tbe magna-
nimous King does. After a long conversation with the lion he
succeeds in prevailing upon the latter to eat him up and let go
tbe cow. Tbe King thus stands the test; the illusion vanishes and
instead of the terrible leap of the lion there falls on the King a
shower of flowers from heaven. Tbe well-pleased cow confers on
tbe King the wisbed-for blessing, and they return home. The king
informs tbe sage and his queen of the cow's favour. Their object
being gained Vasisbtba sends back the royal couple, and they enter
their capital amidst the rejoicings of tbe citizens. In a short time
Sudaksbini shows signs of pregnancy.
Canto III. A son is then born to Dilipa. He is named

Kagbu, as one destined to be the most illustrious of the kings
of tbe solar race, tbe family being named after him. He is brought
Tip and educated with due care. He is then married and installed
as heir-apparent ( Yuvaraja). After this, Dilipa, who bad already
performed 99 horse-sacrifices, wishes to perform the hundredth
to complete tbe list. Indra, Lord of
the gods, in jealousy secretly
steals the sacrificial horse to prevent tbe completion of tbe rite.

To Raghu was entrusted the duty of guarding the horse
and ordinarily he would have been unable to trace the horse. But
Nandini whose protege he was in a way, appears on the scene and
bestows upon him superhuman sight, Raghu then sees Indra carry-
ing away the horse, and fights with him most
gallantly. Indra of
course triumphs over Raghu in tbe end ; but he is so highly pleased
with Raghu's bravery that, although he could not restore the
horse be promises, (obestow upon bis father, Dilipa, the whole merit
obtainable from tbe sacrifice, had it been duly completed, as
a
of his appreciation of Raghu's valour. Indra also acquaint?

mark
what had occurred; highly gratified
Dilipa, at Raghu's request, with
XVll
at the accoant, Dilipa accords his son a hearty welcome when he

goes back to his court. A short while after he installs Raghu on the
throne as King, and himself retires, with his queen, to the forest,
as was the wont of the kings of Ikshvaka's race.
Oanto IV". King Raghu now begins to rule, and all are made
to feel his equal justice and caatious rigilance. When autumn
comes, Baghu decides upon an expedition of conquest
to start
(
Dig-vijaya
). to the east, he marches right
Proceeding first
up to the eastern ocean, where he vanquishes the Suhmas and the

Vailgas. Crossing the river Kapisa he goes through Utkala to
the Kaliriga country. He conquers its ruler and then marches
to the south. After subduing the Pandya kings there, he crosses
the Sahya mountain, and subjugates the Aparanta districts along
the western coast. Then by land he proceeds northwards, where
he conquers the Parasikas. Thence he traverses as far as the
Sindhu river, where he defeats the Hdnas and the Kambojas.
Thence he proceeds across the Himalayas, where he brings the
Utsavasamketas under his sway. Descending to the plains he
finally conquers and Kdmarupa, and returns to
Pragjyotisha
his capital laden with and wealth. He then performs the
glory
Vis'vajxt sacrifice ( indicative of universal conquest ), in which
he gives away to Brahmanas (by way of Dakshini) everything that
he possessed.
Oanto V. While Raghu had thus practically beggared him-
self in the ViSvajit sacrifice, an ascetic called Kautsa came to him.
He wanted money, as much as fourteen crores, to enable him to
pay his guru his tuition fees. Raghu had nothing with him,
but he did not like to have it said of him that a supplicant, not
gaining his object from Raghu, had to seek it from some other
person. In order, therefore, to satisfy Kautsa's demand, he planned
an expedition against Kabera, the God of wealth, to obtain the
money from him. Divining his intention Kubera filled Raghu's
treasury with a shower of gold daring the night, and Raghu gave
all that to Kautsa. The latter, departing, blessed his benefactor
that he would soon obtain a valiant son. This son is then born,
and is named Aja. When Aja, who is properly educated, reaches the
marriageable age, a messenger comes to Righu from King Bhoja of
the Vidarbha country to invite the prince to be present at the
Svayamvara ceremony of his sister, Indamatl, which was shortly
to take place. The invitation is accepted and Aja goea
B.I. 3
ftooordingly. On his wAy he happens to kill a wild elephant, who
turns out to be a Gandharva born in that formowing to a curse.
The Gandharva gives to Aja a certain miraculous weapon ( as/ ra )
called Saiumohana. On reaching Bhoja's city, Aja rests for the
night, and in the next morning goes to the hall where the
Svayainvara ceremony was to be held.
Oanto VI. There he takes his seat in the assembly of
numerous other kings who had come from far and near for the
Svayamvara ceremony. The Princess Indumati enters^ accom-
panied by her clever maid SunandA, who takes her in turn to
each one of the royal suitors and describes him and his qualifica-
tions in a few well-chosen words. The Princess passes by them all,
including among them the rulers of Magadha, Afiga, Avanti
Anupa, Silrasena, Kaliriga and Pai.idya. Finally she comes to
Aja, whom she chooses as her husband, to the deep chagrin of
the other kings who feel envious and humiliated.
Oanto VII. The actual wedding-ceremony of Aja and
Indumati then takes place in the royal palace, after which all depart
for their respective countries. The slighted kings, however, bear
a grudge against Aja, and they, therefore, waylay his party on his
way back to Ayodby.4. A
very fierce fight ensues. Aja entrusts
his bride to the care of his minister, and personally takes an active
part in the slaughter of his foes, whom he completely vanquishes
by means of the miraculous Samtnohana ' astra, which the
'
Gandharva had given him before. He then returns to the capital;

and his father entrusts the kingdom to his care, wishing to live
in retirement.
Oanio VIII. Aja begins to reign, and Raghu continues to

live near by. in secluded retirement, when after a few years ha
departs this life. Aja gives him a suitable funeral. In course of
time Indumati gives birth to a son who is named DaSaratha. Aja
pleases all by his excellent rule. A change comes over his happy
life whenonce, while he and his royal consort were sporting in a
pleasure- garden, a wreath of flowers falls from the sky below upon
Indumutt who instantly drops down dead. The grief of the
Iting at this unexpected stroke of misfortune knows no bounds.
After the funeral was over, as Aja still remained plunged in sorrow
and took no interest in life, his preoeptor Vasishtha sent to him a
disciple with a message to cheer him. It was explained to Aja
how his Wife bad formerly been a celestial nymph (apsarat) who
XlX
had to come down upon the earth owing to a curse, and who left ai
soon as the curse ceased to operate when the garland fell upon
her from heaven. Life being an accident and death the rale, a
firm-minded, wise ruler like Aja, should cease to 'brood over his
grief. Thus ran the message, and the King received it dutifully
as coming from his gurUy though it had little visible effect upon
him. He spent some eight years more after this, all the while
mourning for his lost wife, whom he finally went to join in the
next world.
Oanto IX. After his father, Dasaratha rules over AyodhyS

as nobly as his predecessors. His greatness was such that even
Indra himself on occasions asked his assistance in his own wars.
Once, having enjoyed all the pleasures of the spring season with
its attendant festivities, he plans a long hunting trip. He spends
several days in that engrossing and delightful sport. One morning
he starts after a deer, alone and without followers. In his pursuit
he comes to the river Tamasd, where he hears the noise of a pot
being filled with water. He mistakes it for the trumpet of a wild
elephant, and discharges an arrow in that direction, aiming at the
sound only, as he could not see the mark. As a matter of fact
ayoung ascetic-boy was filling his jar there and the arrow hit
;
him fatally. His parents, who were blind, were at hand. The
King, who was horrified at what he had unwillingly done, related
tothem what had happened. As the boy died, his sorrow-stricken
King as the author of his bereavement, with the
father cursed the
words *'You, too, like me, shall die, in your old age, grieving
:
for your son." The King had no son then; so he received the
cursa as a sort of qualified blessing, since it meant that at any
rate a son was bound to be born to him before he died. Tne aged
couple burned themselves on the funeral pyre of their son, and
Dîsaratha returned to his city, full of grief not unmixed with a
little anticipatory joy at the prospect of a son.
Oanto X. Some ten thousand years pass, but still Dasaratha

remains without the expected son. At last^ holy sages proceed
to perform on his behalf a special kind of sacrifice intended to
bring about the birth of a son. Now at about this time it so
happens that the gods, who were continually harassed and persecuted
by the dreaded and powerful demon Ravana, carry their tale of
grievances to their lord Vishnu, who tells them how, by virtue
of a boon given by Brahmi, R£vana was immune from death a^
the hands of all except human beings, whom he deapised and hence
had left oat of the boon. Visbna, therefore, promises that be would
be born as a man, as a son of King Dastratha of Ayodbyu, and
that at his hands —
R^vaoa would meet death. Now, out of the fire
of that sacrifice which was being performed for Daaaratha, there
arises a being who gives consecrated food ( charu ) to the King,
who gives it to his three wives. Into this food Vishnu had entered
spiritually, and thus Daaaratha's wives, who conceive afterwards,
all bear sons who are partial incarnations (avntaras) of Vishnu*
Bama was the eldest of them, born of Kausalya. Of Kaikey!
was born Bharata, and of Sumitr& were born the twins, Lakshmana
and Satraghna.
Oanto XI. The sage Visvamitra, who wanted protection

from demons iu work, now comes to Dasaratha with a
his sacrificial
request that the King should send R&ma with him for that purpose.
Accordingly Il4ma, and Lakshmana, accompany Visvamitra
also
to his hermitage ; R^ma kills the demoness T&dakfi-
on tbeir way
In the hermitage of Visvamitra, R&ma routs the demons after
having killed their leaders Sub&hu and Mariiha. On the completion
of his sacrifice, Visvamitra goes to MitUila at the invitation of
king Janaka of that city, taking with him the two princes. On
their way Rama restores to her original form Ahalyii, the wife of
Gautama, who had been cursed by him to be reduced to the form
of a stone. On reaching MitbiU, Visv&mitra tells Janaka that
R&ma was anxious to see the famous bow in his possession. It
had been announced that whoever should sncceed in bending that
bow, would be given Janaka's daughter, Sita, in marriage. No
king had yet succeeded in bending the bow, and Janaka wondered
how a mere boy should dare to make the attempt. R&ma, how-
ever, bends the bow, and with such force that it cracks; he thus wins
the princess Sit& for his bride. Dasaratha is then invited to Mithil&,
when R^ma is married to Sita ; her sister is given to
Lakshmana, and Bharata and Satrughna were married to the two
nieces of Janaka. On their way back to Ayodby4, they are
stopped by the Brahmana Parasurama, who had vowed vengeance
on all Kshatriyas, and whose anger was stirred into action on
hearing of that bow-breaking exploit of Rdma, a Kshatriya. He,
therefore, challenges Rama to bend his ( Parasarama's ) bow, which
was stronger than that of Janaka. Rama bends that too, and bumbles
the pride of Paras urama, who recognizes in hia adversary the
XXI
supreme lord Vishnu, and makes peace with him. The party then
safely arrive in Ayodhya.
Canto XII. King Dasaratha, who had grown old and was near-
ing his end, declares his intention to set R§,ma on the throne, when
Kaikeyi oontrives, by means of two boons which her husband
had promised her, to have R4ma exiled for fourteen years and
to hare her son Bbarata installed King. Rama quits willingly
undertakes to go to the forest, and the old King, grieving at
being separated from his beloved son, dies heart-broken, thus
fulfilling the old man's curse (Canto IX ). Bharata declines to
accept the sovereignty earned by intrigue, and after vainly

trying to persuade Rama to come back, himself remains a sort
of exile at Nandigr&ma, and from that place he rules the kingdom as
Rama's representative. In his journey to the forest Rama is
accompanied by Sitd and Lakshmana. He there kills Viradha,
Eushana, Khara, and other demons, the news of whose death is
carried to Ravana in Lanka by his sister Surpanakha,
whom Lakshmana had disfigured. Ravana comes and carries off
Sitd in Rama's absence. Rama makes friends with Sugriva,
the monkey-Chief, and through his retainer Maruti discovers
the whereabouts of Sitd. Building a bridge over the sea, Rama
with Sugiiva's army crosses into Lanka, and is engaged in a
series of battles with the hosts of Ravana, whoae death he
finally accomplishes. R&ma recovers Sit4, gives Ravana's
kingdom to his brother VibMshana, and starts back for Ayodhya
in the well-known aerial car, Pushpaka, along with Sugriva and
Vibhishana and their armies.
Canto XIII. The journey of RIma from Lanka to Ayodhya
by air is here described. Rama points out to 8lta the various
objects and places of interest on the way, including, in order,
Janasthdna, the mountain Malyavat, the lake Pampa, the
Goddvari, Panchavati, the dwelling-places of the sages Agastya,
Sdtakarni and Sarabhaiiga, the mountain Ohitrak^la, the stream
Mandakini, the rivers Gallga and Yamuna, and lastly the Sarayii.
After they had seen the Sarayu they observe Bharata advancirg
with an army to welcome the home-coming king. Rama gets down
from the Pushpaka, and the meeting of the brothers is touchingly
described. Then Rama agf..in gets into the car and arrives at
last in a garden outside Ayodhya, his capital.
Canto XIV. There in the garden Rama and Lakshmana see

the^r mothers who greet them with joy, Rama is then
XXII
formally crowned King of Ayodhya with doe pomp and oeremony.

He then gives Sagrtva and Vibbishapa leave to
the armies of
depart, and restores Pashpaka to its original rightful owner,
Kubera. In course of time SitH shows signs of pregnancy.
She expresses a desire again to visit the once- familiar regions
along the banks of the Ganges. While B&ma promises her that,
a scandal reaches his ear about his unquestioning acceptance of
Btta after her residence in a stranger's house for a long time.
A strong sense of duty towards his subjects both as the
dispenser of law and justice and the up-holder of social order,
compels him to abandon Bit& as a concession to this scandal,
although he knew her to be pure and innocent. He, therefore,
orders Lakshmana to take Sita away and leave her on the banks
of the Ganges near the hermitage of Valmiki who, he thinks,
would find her and take due care of her. Lakshmana very
reluctantly performs this task; and when Sita knows why
she is abandoned, she cries loud and long, though she would
not blame Rama so much as she blamed herself. Valmiki takes
her to his hermitage where afterwards in due time she gives
birth to twins. Kama continues to discharge his kingly duties
as usual, but without marrying again.
Canto XV. Now, certain sages who were harassed by the

demon Lavana apply to Rama for protection, who sends off
Satiughna on that mission. Satrughna happens to halt at
Valmiki's hermitage on his way, and it so chances that that very

night Bita gives birth to twins. Satrughna proceeds against
Lavana, whom he killes in battle, and builds for himself a city called
Madhur& on the banks of the Yamuna. Siti's sons were named
Kus'a and Lava ; they were duly brought up and eduoated by
the venerable Valmiki, who also teaches them to sing his own poem
'Ramayana', celebrating the exploits of their father. After some
time Satrughna returns to Ayodhya, but says nothing to R4ma
about Kus'a and Lava, at the express bidding of Talmiki, who
bided his own time. Rama's killing of Sambuka is then related.
Sambuka was Sudra practising penance; this was against the
a
rule, and this transgression caused other distresses in the state;
it was therefore imperative that Sambuka should be killed.

This done, Rama performs a horse-sacrifice, to which holy meu
are invited from everywhere. Among them is Valmiki, who
brings with him his two pupils, the princes Kusa and Lava.
Xxiu
^hey sing the Ramayana in the presence of Rama, and charm all
by their sweet singing as also by the majesty of their demeanour.

Rama is then told that they are his sons, and Valmiki then
asks him to take back Slt4. Rama would
agrees to do it if she
satisfy the public about her purity. upon theSita, therefore, calls
Earth to receive her in her bosom, if she (Sita) was really and
truly pure. The Earth then appears in corporeal form and
takes off SitI, whom R&ma thus loses for ever, although he gets his
two sons. After a time Rama begins to feel his end approaching.
He puts hia nephews and sons in charge of separate,
brothers,
small principalities. Lakshmana dies, and soon Rama also leaves
this world of mortals and ascends to heaven, after having completed
his special work here.
Canto XVI. After the death of RS,ma, his son Kusa, who
ruled in the city of Kusavati, is visited in a dream by the
guardian deity ( Adhidevata ) of the city of Ayodhya, which
being kingless lay now a deserted ruin. She invites him to
come back to his father's capital and to re-people it and restore
it to its former glory. He consents, and coming back to

Ayodhyi re-endows it with its former splendour, and rules
there in future. Once, while he is sporting in the river
Sarayu, his bracelet drops in its waters
and sinks to the
bottom. He orders the river to be searched,the ornament but
could not be recovered; at the suggestion that it was probably
taken by the NAga Kumuda, who resided in a part of the river,
Kusa up a missile ( astra ) to destroy the Naga, who
takes
hurriedly comes up, leading by the hand his sister Kumudvati.
It was she who had taken the bracelet in curiosity, Kumuda
requests Kusa to accept his sister as his wife; Kusa agrees
and the two are then married.
Oanto XVII. KuSa gets from Kumudvati a son, called Atithi,
who ascends the throne on the death of bis father, who was killed
in a fight with the demon Durjaya. Atithi is possessed of
great wisdom, and the Oanto describes at some length
political
some of the main principles of the science of Polity ( Raja- Niti
)
which Atithi sedulously acted upon,
Oanto XVItl. This Oanto barely
without any enumerates,
illuminating details, the various kings,
twenty-one in all, that
STloceeded Atithi. They were Nishadha, Nala, Nabhas, Pundartka
filshemadhanvan, Dev&ntka, Ahinagu, Pdriyfitra, Sila, Unnabha,
:xxiv
Vajraiiabha, Sankhana, Vyuahitisva, Visvasaha, Hiranyanabha,

Kausalya, Brahmisbtha, Putra, Pushya, Dhruvasarndhi
and
Sadarsana. The laat of these ( Sudarsana) ascends the throne when
a young boy of ai%, his father having been killed by a lion. After he
attains youth he is married.
Oanto XIX. Sudarsana gets a eon, Agnivarna by name

whom he installs king and hi^nself retires into the forest.
Agnivarna turns out to be a voluptuous, pleasure-seeking sensualist.
The Oanto describes length his amorous sports and pastimfs.
at
Agnivarna pays the penalty of having drunk too deep at the fountain
of dissipation, and he falls a victim to consamption. At his
death his wife was pregnant; she ascended the throne as the
Queen-regent, and looked after the affairs of state on behalf of
her unborn child. And here the story somewhat abruptly ends.
(2) THE SOUR0E8 OF THE RAGUUVAMSA.

In ancient Sanskrit literature history in the modern sense of
the term is not to be found. It either merges in mythology or be-
comes for the most part indistinguishable from it; henoe, although
the Raghuvamsa is baaed on historical material, the latter is so
slender that it can be disposed of in a few lines. Briefly eummariz-
ed amounts to this, that in the solar dynasty that ruled at
it
Ayodhyi, there were four great kings, Dilipa, Raghu, Aja and
Dasaratha; after these came R4ma, the greatest of all and the incar-
nation of divine Vishnu; after him came 24 kings, the last being
Agnivarna, who died without issue, leaving his queen enceinte.
The account of the solar race must have been a matter of common
knowledge in the times of Kiilidasa; but, with certain embellishments,
it had been already presented in narrative form by the authors
of the various Puraiias, and in particular by Valmiki, the author
of the celebrated epic, Ilamuyana. It is obvious that Kalidasa
was acquainted with this literature, and derived his
details from the same, choosing and discarding matter as suited

his purpose. Indeed he prominently mentions with deep reverence
the Ramayana and its author (cf. f% KIH^^ Tr?*ff#: ^ft^fU
f%?r^'Ef?f^ I f% ^^ff H^fr f 3*f* ?^mt ?r ^"f ?ir^ ii x v. 64), and
he has utilized it for the Rama-portlon of his work. But the
Ram&yana does not cover the whole ground of the Ragh.; and
Kalidisa has referred to certain other accounts of the solar
race, rather vagnely, when he speaks of it as having been described
before by "former writers" (ijfg;ftf»T: I. 4). Here the use of the
plural is significant, and it obviously includes others besides
V4lmiki, By the others we can only understand the compilers of
the Purinag. The Puranas are not all modern works, and many
of them have been shown to date from times much anterior to
the Christrian era. Of these Puranas he seems to have used the
Vishnu-, the Vayu-, and the Padma- in particular. A word
of caution, however, is here necessary. Tne Purfinas in their
pres0nt form bear evidences of having been re-modelled and
re-written and their current recensions may
at various periods,
not be those poet was familiar. Indeed, in
with which our
some of them ( e. g, in the Padma-P. ) it appears as though
the stories had been revised in the light of the works of Kaliddsa.
Hence, any remarks which one would be inclined to pass on
the so-called *^ changes " made by the poet in his sources must
be made with due reservations, since we may not have before
US the actual version which was accessible to Kaliddsa, but some
later redaction of it."
With these preliminary remarks, we shall proceed to examine

the poem itself. In the first place, the list of kings as given by the
poet does not exactly agree with any that are available to us,'° but
agrees nearest with the one Vishnu— Pnrana, with a slight
in the
difference. The Purana mentions
number of Kings before Dilipa,
a
but these are omitted by Kalidasa. The Vishna-PurSna (as also
the V&yu-P. ) represents Raghu as the son of one Dirghabahu,
grandson of Dilipa; while Kalidasa mentions him as the son of
Dilipa himself. K&lidasa's account stops with Agnivarna, while
the Vishnti-P. enumerates a number of kings after him; but there
is no incoDgruency here, since our poem is probably incomplete, a
point which we have discussed elsewhere.
Thus the line of succession in the Ragh. practically agrees with
that of the Vishnu-P. and may be accepted as being historically
true. But what about the various incidents specially described in
19 This might be said to some extent of the R^m^yana also. There

are at present three dilferent recension:) of the Bainayana extant, aod
"about one third of the sTokaa in each recension occurs in neither of the
other two." ( Macdonell's Iltatory of Sanskrit Literaturet p. 303).
20 Thn3 the li^m. (B41a. Sarga 70) gives the genealogy quite
î£Eereut!y.
B. I 4
XXVI
the Bagh. la the life of each king ? Are they all historical facts 'f
The poet has not portrayed for us the whole life of each king, bat
only such episodes as suited his poetic parpose or the require-
ments of a M^Lak4vya Thus the bare facts he mentions about
king Dili pa are his unildle^s state, his service of a cow, the birth
of his son Baghu, and his horse-sacrifice. Ha devotes the first
three Oantos to these, and the parallel account will be found in
the Uttarakhaoda of tha Padma— Purina. We forbear from quoting
it here, which the curious student may consult in the original. As
regards the incidents in the lives of Raghu and Aja, no references
can be found in the accounts that have been published till now.
For example, the dig-vijayi of Raghu, the Kautsa episode, the
battle in Oanto VII., or the tragic end of Aja's queen in
Oanto VIII., have not yet buen traced to their sources. Kalid&sa
could hardly havc> invented these, and they must be lying embedded
in accounts that have not yet been brought to light.
From Oanto IX. onwards the poet closely follows the R4m&-
yana. Kalidasa was an admirer and a diligent student of the great
epic. Indeed, as has beea pointed out by Pandit B. Krishnama-
ohariar,'' the nanm "Raghuvamsa" poem itself seems to have
of the
been directly suggested by, and borrowed from, the Ramayana.
•where it occurs twice (r^^ST '^f^ct ^^R" ^TfT'ST^: I. 3. 9; ar^ ^^
<^4aTV ^^R"^^ iTfr^tT: VI. 1. II ). It isno wonder, therefore, that
VS,lmiki should have been the model of Kalidasa. What changes
he makes in the Ranaayana-acoount are such as are necessary for
poetic and dramatic effect. Thus in the Ram. Dasaratha shoots the
joung ascetic-boy, who dies first, and then the parents are taken
to him by the King; while in the Ragh. the poet makes the boy die
in the presence of his parents, which enhances the tragic effect of
Dasaratha's deed. In Oanto X. K/llidasa makes the gods approach
Vishnu directly; while in the Ram4yana thoy approach BrahmH
^rst, and then comes Vishnu to whom they repeat their grievances.
In Oanto XII. the poet goes over the account very hurriedly, dispos-
ing of importuut events in single verses and phrases even," as if
anxious not to narrate at length what had been so well narrated by
V&lmiki. Even here, some of the accounts diifer from those of the
21 In his Rayh'ivams'avi/uart'a, Srirangam 1908, p. 130.
22 E. g The wholn ntory of the pnri&catioa of Sit& in fire bo gives

in one single word îd^fiHg^^t (verse 104).
—
XXVll
B&m&yana. For example, the crow-story ( vv. 21-23 ) is given

differently by Vllmiki; the reason of the burial of Viradha (verse 30),
again; is not the same as that found in the Bamayana. But these are
trifling variations. The thirteenth Oanto is based on sarga 123 of
the Yuddha-KAnda of the Ram. It provides an excellent contrast
between the methods of the two poets. While the narrative of
Valmiki is crude and simple, that of Kalidasa is brilliant
îth high-wrought imagery. Thus, to take a single instance,
where Vdlmiki merely wrote 3T?fr ^rT5 ^^Sf^^'^* ^T^r^^j Kali-
dasa expanded the same into ( XIII. 47 )
Cantos XIV. and XV, strictly follow the R&m4yani. From

Oanto XVI. onwards, the poet goes beyond the story of the
epic, and has recourse to PurS,nas. Here, too, the exiist references
have not yet been brought to light, and it cannot be
said, for instance, whether the episode of Kumudvati's
espousal had any basis or was invented by the poet. The des-
cription of n>5R"?r% in Oanto XVII. is evidtntly based on that given
in ancient treatises like Kautilya's ArthaSastra,^^ a work which
Kalidasa appears to have closely studied. The remaining portion
of the poem only enumerates the kings in succession, and calls for
no special comment.
THE SOLAR DYNASTY.

[ We give below in parallel columns, for ready reference, the kings of
the solar race as enumerated in the Vishnu-Purana (IV.), in the Ramayana
(I. 70 and II.and in the Raghuvams'a.
110 ), Tbe student will observe
how closely Kalidasa has followed the Viahnu-P. list*. Before Raghu,
Ikshvaku was ihe moat celebrated king of Ayodbya and tbe family
was named after liim (ijfle I. 72; VI. 71; XV. 44; XIV. 55 &c.)
Nimi, a son of Ik-'hvaku, was the founder of the Nimi dynasty that
reigned at Mitliila.]
23 This standard ancient treatise on the science of Politics has been

only recently diacove^^d and published at^Mysore. It is frequently quoted
by MallinA.th'i and is the original on which the "'.well-known Kimandaklya.
Nitisllra is based.
ixvm
VishDn-Parlna. RamAjana. Haghavaqasa,
f^^f?^ (or J5rer^) TOW

«TT^«r ( or ^^?^ )
^^
^^^T^f^ (or 53RR)
finirer
^PTRTtT (or fiTO|F)
TOW
XXIX
Vishnu-Purana.
XXX
it ends at present. All the oommentatora, again, who belong to
different provinces of the land and different periods of time, seem to
have believed the poem to be complete^ and they all conclade their
commentaries formally at the end of the nineteenth Oanto and ;
one of them, Hemadri, incidentally remarks at the beginning of

the 16th Oanto that the R&m&yana, the poet's source for the history
Tip tothat portion, being exhausted, he now givei/our more Oantos
from other souroeB. There is a persistent tradition, however,
which says that the complete poem originally contained as many
ad 25 Oantos ; and there
nothing that goes against this tradition.
is
On the contrary many tend to confirm it. As a general
things
rule Sanskrit poets studiously avoid a tragic result; and even
when
they cannot avoid it, they are anxious to give it an agreeable finish.
And we cannot reasonably suppose K41id&aa to have gone against
a practice of such long standing as led the later writers on poetics
to lay down a rule that the death of the hero should never be
actually represented "Further" D.-R. HE. 40
( îfq-^|?^Tif w^J^ ).
remarks Mr. S. P. Pandit, '< he (Kalid&sa),
all hands who is on
praised for the happy choice of his subjects and the thorough
execntion of his plans, cannot be supposed to have brought down
the history of the most celebrated ancient Indian kings to such
a sorry end. It is natural to imagine that his object must have
been some such as to connect some one of the dynasties of kings
existing in his time with the race anciently descended from the
un. The Visbnu-Pur&Da enumerates no less than 37 princes
after Agnivaroa, of whom it represents 8 as having reigned up
to the war of the Mah&bhArata and the rest after that event * *
* • * The line of Kings, therefore, mentioned by our
poet^ not being complete, the conclusion is inevitable either that
the poet did not finish his work, or if he did, it has not descended
to us in its entirety," The absence of any trace of additional
Oantos having ever existed lends weight to the former conclusion.
We think it highly likely that K41id&sa, though he might have
intended to write more Oantos, was somehow prevented from
carrying out his intention.
Another feature, that oalls for notice on a review of the
contents of the poem as a whole, is the evident lack of unity of
plot. This, however, is part of the very design of the poem,
and can hardly be accounted as a blemish. The poet did not choose
a tingle episode , nor even the life of a single hero; but the lives
of a number of famous kings ; it is unfair to expect unity of plot.
in a work of sach character. On the contrary, it amounts to a
triumph of skill on the poet'3 part to have welded together his
detached episodes without incongrulfcy in presentation. Moreover,
a unity of plot of a certain kiad does exist, if we remember that
the incidents mentioned in the poem are all to be interpreted as
part of the central idea running through the poem, viz. the
portraying of the leading characteristics of an ideal kiag according
to the A'ryan standard. Viewed in this light, even the slight
charge of " a formless plot " vanishes into background, and we
see the Raghuvamsa for what it is, being a word-painting, in the
most polished phraseology of an accomplished poet, of the ideal of
kingship; that is the theme of the Raghuvamsa, and not so much
the complete life-history of each King. It is, therefore, inevitable
that, as remarked by Dr. Ryder, we must regard the Raghuvamsa
as a poem " in which single episodes take a stronger hold upon the
reader than does the unfolding of an ingenious plot."
Raghuvamsa, as in the S4kuntala, that Kalid^sa is
It is in the
seen at his best.The poem has been most popular in India from very
early times and has evoked an unending chorus of praise from the
learned and beginners alike. Stray lines, detaohed stanzas, and even
whole Cantos of the poem are on the lips of many a cultured Indian
to whom Kalidasa's muse embodies the very essence of the pleasure
derivable from poetry: ^ f^ ^1»f? ^ U\l[ says a well-known >
subhdshita. Almost every Oanto of the poem makes a special

appeal to the reader by reason of some peculiar grace^ whether
of mellifluous style, or of life-like description, or of dramatic
dialogue. Let the student examine the various Oantos for
himself. In the very opening stanzas (5-9) of the first Oanto the
poet strikes the key-note of the whole poem in a resume of the
accomplishments of the kings of the Raghu line. Then follows the
description of Dilipa's good rule as well as that of his journey
to Vasishtha's hermitage, which is of a kind that leaves its
impress on the mind long after it is read, bringing visually
before us the benign ruler and his simple subjects by such
stanzas ,as ^qiT^t^TiTrcrPT ^r«rf^3Tr?»?cTT^ I JTfJT^'TTR i'îy^cfr
^^m^Tt flR^TTf^JTr^ II Then in Oaato II. the meeting of Dilfpa

with the lion, and in Oanto III. Raghu's encounter with Indra are
classic examples, known to almost every Indian Sanskrit-reading
school-boy, of spirited and balanced dialogue and bright narration,
apart from the noble ideals of self-sasrifice aad personal valour
which they vividly place before him. In the fourth Canto we have-
u striking description of the main parts of the eonntry it ia ;
impossible to forget the word-pictares which the poet draws in

such stanzas us ^'^sjf^cTrfpr?^- fî%in^r»f(TP-^^: I »ir<7^TWr-fTfTfmT
«T^*Jls{«Mf^^r: U or mlcTP^f^TTr^cT^T Rp^Tff^t?^: I f^f^fr^si:
^''^^ffiîT^fTrr^ H Oanto V. describes the magnanimity of Raghn,
who gave to the sage Kaatsa wealth in excess of his demands;
we have
it is, as said elsewhere, probably the most characteristic
kingly trait. This Canto contains also the famous address of the
bards ( Vaitalikas) to prince Aja
dawn. The passage fromat
<T?1lpT^r^^: ( V. 63 ) to the end of the Oanto is one of the
best known in the works of Kalidasa, where the poet has expressed
beantiful thoughts in language which is most rhythmical and
oharming. The expression here is so sweet and so pleasing, the

harmony between sound and sense is carried here to such exquisite
grown
perfection, that it is not without reason that a tradition has
up around this passage as to its having been written by the
Muse of Poetry, the goddess Sarasvati herself The sixth Oanto !
contains rapid pen-portraits of the various kings in the Svayam-

vara ; here Killid&sa reveals himself as a master of the art of
sketching a character with a few telling strokes. The seventh
Oanto contains a description of a typical Aryan wedding, similar
to the one in the seventh Oanto of the Kum., and the student can
flee that the marriage-customs have not much altered materially
during twenty centuries. The description of the fight (VIE. 35-

63 ), it must be allowed, is rather tame and conventional. The
eighth Oanto contains the famous ststrttt or lament of King
Aja at the dnath of his wife Indumati. It is fine poetry, but it
by comparison with the corresponding rfffT^cTfT in Kum.

suffers
IV. It is more natural in a woman, as being of the weaker sex,
to indulge in lamentation ; while when a man grieves it is a sign
of weakness which does not enlist oar sympathy so much: the
poet has therefore better succeeded in portraying a lamenting Rati.
At the end of thi" Oanto is the beautiful message sent to Aja by
his guru Vaîshtha, concerning the evanescence of this world and
the futility of human sorrow for departed relatives. The ninth
Oanto attracts many owing to the charming ^R'^s introduced.
This is the only place in all the works of K&lid&sa where he tries
his hand at fV^^n? he has succeeded well without patting an

;
undue strain on the construction of the s'loka, as other inferior

poets do when they try to employ ^tr^s. The Oanto also eontains
fine dbsoriptiona of spring and deer-hant.
XiXlU
In the tenth Oanto we have the passage where the gods praise
"Vishnu, which has its counterpart in Kum. II. ; it does not possess
any particular interest. In the eleventh we have a life-like descrip-
tion of thb journey of thetwo boy-princes to Visvamitra's hermitage?

its chief feature is the encounter of Rama with Parasur&ma, and the
graceful way in which the poet brings the former out of it.
The twelfth Canto has become one of the weakest in the whole
poem, as the entire story of the R4m4yana from the death of
Dasaratha in Ayodhyi to the killing of Rivana in Lanka
<has been very hurriedly gone over. The poet felt the necessity
of abridging it in this manner; for otherwise his poem
would have grown interminably long. Dr. Ryder observes
(pp. 150-151) "It may well —
be doubted whether the cantos
dealing with R4ma are the most successful. They are too com-
pressed, too briefly allusive. Kalid&sa attempts to tell the story
in about one-thirtieth of the space given to it by his great
predecessor, Yalmiki. The result is much loss by omission and
much loss by compression. Many of the best episodes of the
R§,mayana are quite omitted by Edlid&sa for example, the story :
of the jealous humpback who eggs on Queen Kaikeyi to demand

her two boons ; the beautiful scene in which Sit4 insists on follow-
ing R^ma into the forest; the account of the somnolent giant
Pot-ear ... Other fine episodes are so briefly alluded to as to
lose all their charm : for example, the story of the golden deer
that attracts the attention of R4ma while R&rana is stealing his
wife ; the journey of the monkey Han^mat to R&vana'a fortress
and his interview with Sit4. The R&ma-story, as told by
Y&lm!ki, is one of the great epic stories of the world. It has been
for two thousand years and more the story par excellence of the
Hindus ... There is, therefore, real matter for regret in the fact
that so great a poet as EaLdasa should have treated it in a way
not quite worthy of it and of himself."
While we recognize the force of this criticism, we cannot

quite agree with the learned scholar in his explanation. Dr. Ryder
says that K&lid4sa did not care to put himself <^ into direct
competition with Valoiiki, " and thus to challenge comparison with
him. While Kalidasa doubtless felt great admiration for VSlmiki
and his work, the real explanation of the weakness of the twelfth
and the fifteenth cantos is, in our opinion, to be sought elsewhere.
It is that the poet felt the need of abridging somewhere, and these
B. I. 5
XXXIV
are the parts of the story where he haa chosen to do it whenerer ;
onr poet has had to relate incidents in a catalogue fashion, as for

instance in Oantos XII., XV. and XVIII., he is never at his best.
But whenever he gives full play to his fancy, his poetry is as good
as,even better than, Valmiki's. For example, the famous journey
back to Ayodhy4 from Lank& (Oanto XIII.) is to be found in
the original R&m&yana also ; if we compare the two we see that
our poet has excelled his predecessor in acnteness of observation
in the elegance of style and in the vividness of expression (vide
supra p. xxvii ). The fourteenth Oanto is rather colourless, but
the sixteenth makes up the deficiency, containing as it does
Kusa's interview with the guardian-deity of Ayodhyd, and further
on, the charming description of summer beginning with ariTF'T"
f^^^TIrW'fl'T &c. (sl. 44). The
Canto (XVII.) gives a
next
detailed description of administrative policy,which would probably
read dry to those not intersted in the subject. The ending Oanto
describes amorous sports, much in the manner of the eighth Canto
of the Kumarasambhava. We thus see that, barring a few
exceptions, every canto of this poem has some attractive feature
or other which endears it on that account there is
to the reader ;
no wonder, therefore, if the whole poem has found admirers by

the million, and has become, in the words of Sanskrit rhetoricians,
Êrffirr^Tp of all the Kavyas in popularity.
If we were compare the Ragh. with the two other poems

to
of K4lid&sa, it would be found inferior to them in unity of plot ;
but, as we have remarked above, this happens because it treats of

a number of Kings and not of one definite episode. It might also
be said that the Meghaduta exoelB the Ragh. in perfection of

polish, though here too the comparison would be slightly unjust
since the Meghaduta is a small piece, while the Ragh. ia twelve
times larger ; in a large work one cannot expect equal finish in
every part.
One chief reason of K&lid&sa's superiority over other poets is
his brilliantly polished style no other Sanskrit poet who

; there is
possesses an equal command over language so simple and withal

so graceful. lu fact, all the works of K&lldasa are written in
what the later rhetoricians have called the Vaidarbh* style, the ten
chief excellences belonging to which are thus given by Dandin :
^S: H^TT?: ^RHT ^]^^ ^*Hr«ll I 3T«f5'Tf%îr^f^«r:«Fn^'1fr»TIVT'7: «

(K.-D. 1.41). K&lid&sa abhors the looseness and laxity of the epios.
— ) —
)
XXXV
the anperflaouB piling of epithets found in lesser poets, and the

artificiality of diction which is observable even in writers like
B&pa and Magha. He stadioaslj avoids all meretricious ornament
and the cheap tinsel of verbal tricks. His strength lies in the
music of his words and in the swift conveying of precise and
beautiful ideas. He employs no figures of speech except the
commonest ones, and in particular he delights in Upama., of which
he is a recognized master. He is a great lover of nature, and all
and illustrations are drawn from his close observation of
his similes
natural phenomena. We note down a few here, chosen at random :
JT^rsrrTRnr^^jrpjTfT wfrrsTrfr ^?=5"T#f nnr: \

( VI. 22
f*mr5^f v^^^t ^fl ^r^1- flrr^^rr ^ '^^: i ( Vlil. 90

^^ ^rnrmT JTirrîjrf^T^ X. 9 i
(
Mr^^^^f^ 5«t^^m f X. 49 )
*tt: I (
*T^ Wf RTnTF% ^r»TT^ ff ^^r f^ ( X. 83 I

)
nr^ r^:gRT^2J ^<»7=5^fqtT^r H ( XII. 100 )
The student can select many more ; the whole work richly
abounds with them. Over the Raghuvamsa, as Dr. Ryder observes,
<« is shed the magic charm of Kiliddsa's style;" and it is this
magic charm of style, coupled with the discriminating choice of
episodea and topics, that
constitutes the main element in the
universal admiration which the Raghuvamsa has continued to
elicit from an appreciating and critical public.
(4) THE PRINCIPAL 0HARA0TE8.

The poet has devoted the major part of his poem (Oantos I.
XV.) to describing the five chief princes of the Raghu race, whose
collective virtues he has briefly summarized for us at the very
beginning in these memorable lines :
^n4% Sf^fTTHT ^*r5t5Tn% dWcrM^n i H"

K^ (I. 5-9)
XXXVl
This, in brief, is the anoient Hinda ideal of Kingship ; and it Is

here illastrated by a series of brilliant portraits which aim at show-
ing the culture and civilization of ancient India at their best.. It is
trae that a poet's powers of depicting a character are best seen in
41 play, which is a ^{Zf qafsir, while in a long poem dealing with a
series of kings characters will occupy — comparatively —a secondary
place, it being the poet's object to make each canto an attractive
piece of poetry by exhibiting his powers of narration and descrip-
tion in melodious and poetical language.'* Nevertheless, there
will be sufficient scope for character-painting if the poet takes care
to choose ju3t suitable episodes for detailed narration, relegating
minor incidents to the back-ground, or even omitting them altogether.
Kalicasa has done this, and he has skilfully selected those
incidents in the careers of his heroes which possess an absorbing
dramatic interest ; thus the reader, when he comes to DiHpa's
contest with the lion, or to Raghu's with Indra, feels the whole
scene being acted before his eyes as though on a real stage. It is
such scenes that leave a permanent impression on the reader, witHont
being simply bald statements of facts in metrical language.
The poet begins with King DilipEl. His general virtues arc
described in slokas 13-29 of canto I.-, it is a description which,
It may
be remarked in passing, applies in a greater or less degree
to allgood and noble kings. We can hardly understand him that
way ; if we are to know him better, we must have something
more definite than a conventional description. Dilfpa had no
issue and he decides to consult Yaslshtha on that account, whieh
shows his great reverence for his spiritual guru aad his faith in
the efficacy of religious rites in attaining the desired end.
Vasishtha enjoins upon him service of the holy cow in his
possession ; the readiness with which the King accepts the task,
and the rigorous exactitude with which he performs it, show how
simple and duty-loving his nature was. With him kingly graoe
was not Incompatible with simplicity. But the trait of character
which raises him far above the level of ordinary kings is his
Interview with the lion wherein he offers his own body in ezehange
for that of the cow, recalling the famous Instance of Sibi saving
the pigeon in a similar manner. The moral may be given in the
24 If thii were not so, where was the necessity of describing ia

a model Government under the obscure King Atithi (Canto XVII.),
etail
irben it conid, with better propriety, have been done under Raghn ^
XXXVll
poet's own words— ^ctrfN^W ^W?^ ^?t

'' The
sfr^cT ^2": r
??5fiT: S^
^T^^ Pfe clfSTfrfTf %: rnVq^fm^mt^rhighest duty n .
of the rnler is to look after the weak and to save them from the
aggressive strong." In due time, when his son Kaghu is born,
he abdicates his throne in his favour, and retires to the forest
Bag^hU is He was the most illustrious of his

the next king.
line, since not onlypoem named " Raghu-vamsa " after him,
is the
but even his equally illustrious sucoessor, Rama, is more oftan
known by such titles as n^f, T^Tlff* ^'fFT ^^^ t^Q li*^©. While
yet a young man^ B^ghu was entrusted with the task of guarding
his father's sacrificial horse; we know how he had to fight with-
the redoubtable Indra, the chief of the immortals. His intrepid
bravery won him Indra's admiration and his father's blessing.
In the poet's own words, the incident Raghu's brings out
^f?jxf?fîl ( Raghu's merits as a ruler will be found in
III. 62). -
slokas 8-13 of canto IV., which also describes how Raghu brought
the whole of India under his sway. It would appear that he was
the first prince of his race who undertook; and brought to a
successful termination, this wide, arduous and glorious campaign of
universal conquest; and that is perhaps one reason why he came
to be regarded as the greatest of his race, since doubtless a king
who first brought a whole country under one chhattra could not
have failed to win universal applause and approbation. It is, however,
in a subsequent incident that his crowning achievement lies, whicl
brought him undying'^ fame. Having given away all his wealth as -
gift to Br&hmanas in a sacrifice, Raghu had practically become a

beggar, so much so that even the vessels in his household were
earthen and not of gold. But when the sage Kautsa comes to him for
money he cannot turn him away, he wishes to satisfy hia wantj and
the God Wealth showers down gold, all of which he makes over
of
to Kautsa. It is more than Kautsa \vants, but the king insists on.
his taking all, as it was obtained for him as the poet beautifully ;
expresses it— tsr^^cq 'Err%cI%TII%51?cft Îfc^jjpTiTT'^^^TfT ?I^q?^r- I
m^:^|t5«lf ffnfÎ^rJTr^m^tT??^ ( V. 31 ). The incident

II
reveals the highest type of selfless nobility in a king, illustrating,

the complete harmony between ^rq ( enjoyment) and c?ir^ ( renun-
25 That this was also the popular conceptioa is shown by a later-

reference to Raghu, when in CAOto V[. be is described as •TfT^rTrf^'^'^rf:
XXXVlll
elation) and the T«Il^*rr%cTT^?^ and ??TT»irT ^Î?f?f of Raghu; we

should not hesîtate to name it as probably the most striking episode
in the whole book. After seeing his son married, Ragha departed
this worldly existence by means of yoga (VIII. 24; cf. tft qw i ^JI
The next King is Aja. He is presented in the threefold

• character of the best warrior ( VII. 57 ff. ), the best ruler, a second
copy as it were of Raghu ( VIII. 4 ff. ), and the most loving
husband ( VIII. 38 ff. ). Thus he is shown tohave proved -himself
a conquering hero, when he routed
the hosts of his rival kings on
his way back from Svayamvara. The poet describes in the
the
beginning of canto VIII, how Aja ruled wisely and justly; but what
he has elected to describe at length is the death of Aja's queen,
Indumati, and his consequent grief. had It appears that K41id^sa
an object in giving prominence to this; probably here he wanted to
present a contrast with the character of B4ma, showing that if a
King of Raghu's race could cast off his wife under pressure of
oircumstauoes ( as Rama will be described in the sequal to have
done ), there was here one, the intensity of whose lo/e was so great
that when he lost his wife he could not survive her but died pining
for her. And the poet has done it very skilfully.
The next ruler is Das'aratha, whose general merits are
described in the beginning of the dth Oanto. He is as great a
warrior and as wise a ruler as his two immediate predecessors and
also a great performer of sacrifices. ( See IX. 5, 10, 20, 21 &c. ).
He was neither much given to chase nor addicted to any of the
principal vices of men (si. 7). But in fulfilment of a decree of
fate he once went a-hunting and there inadvertently killed an
ascetic youth and the father of the young ascetic cursed the King
;
that he would die of grief for his son. This son is Rima, at
separation from whom Dasaratha died as foretold. The poet explains
away this one instance of breach of duty on the part of Dasaratha
with the remark srq^T TÎ't'Tf^cT ff ^fr^^r.^^f^ ^rfi^mf^tTT: (IX. 74).
Finally we come to Rama. Here Kalidasa instinctively felt
overshadowed by the genius of his great predecessor^ V^lmiki,
and the vastness of the material before him and he has, therefore,
;
hurriedly gone over the chief incidents in Rama's career how oat —
of filial love and obedience he went out into the forcjt and killed
the demon-king Ravaoa in Rama's abandoument of Sita,
Lailk^.
some think, la a sort of blot on his otherwise immaculate
character; the poet, therefore^ explains why Sit& was abandoned.
XXXIX
It was not because R&ma thought her guilty, but because he wanted
not even a breath of criticism against him among his subjects. As
a King he felt it was duty to lay down an example of rigid
his
moral purity, and to show that all his acts were above suspicion.
Rama's killing of Sambuka is then related, which too was an act

done with the intention of regulating the conduct of his subjects
as a whole, and not of punishing Sambuka individually- for after all
Sambuka did go to heaven as he wished ( XV. 53 ). We thus
realize how R&ma has been portrayed particularly as a sovereign
who is most anxious to rule his people with scrupulous punctilious-
ness, following in his own person whatever he wanted hia people
to follow, even when it entailed suffering on himself. No kingly
ideal of later times can enjoin a better precept or point to a
worthier model and it is but fitting in the nature of things that
j
Rama-Raj xf% should become in popular parlance a common expression

for the ideal Government, where the interests of the people are
placed first, even before those of the sovereign.
(5) THE GEOGRAPHY OF THE POEM.

Raghuvamsa is the only work of
Besides the Meghaduta, the
Kalidasa which contains a number of references to the geography
of India as it was known to him in those days. These are to be
found in the 4th, 6th and 13th cantos, but more particularly in
the 4th, which describes the Raghu. The student can
dig-vijaya of
easily identify these places on the map^"
which is reproduced
elsewhere, and tie detailed explanations would be found in our
Notes. He should especially trace the course of Raghu's tour of
conquest. Starting from Ayodhyd, Raghu first marches towards
the Easty where he conquers the Suhmas and the Vailgas, He
then crosses the river Kapisa, which takes him to the South.
Here he conquers, in order, the Utkalas, the Kalirigas, the P^ndyas
the Keralas, and the Aparantas on the western coast. In the
West and in the north-west he subdues the Parasikas, the Hunaa
and the K&mbojas and in the North and the north-east, the
•,
Utsavasamketas,: the Pr&gjyotishas, and the Kimarupas, returning

thence to his capital. Most of the principal rivers and mountains
have been mentioned here; e.g. the Sahya and Himalaya ranges
26 We are ^»«atly indebted to the Map given in Panilit R.
Krishnamachariar's Raghuvanis'aoiinars'a ( 1908 ), from which we hav«
borrowed some of these identifications.
xl
and the Ganges, the Kaveri and the Indus rivera. In the 6thj
Canto, on the oocaBion of describing the various kings assembled
in Kundina, the capital of the Vidarbhas in Central India, the
principal provinces of India have naturally been mentioned ; these
are Magadha, Ailga, Avanti, Anupa, Suraaena, Kalinga, Pandya
and Uttara-Kosala. As all the chief princes were expected
to have come there, it is almost certain, as observed by Mark
Collins,'' that " we may see in this list a reflex of the principal
kingdoms of India in the times of Kalidasa. " The 13th Canto
supplies some additional names of places lying in a straight line
between Ceylon and Ayodhya; e. g. the mountain Milyavat, the lake
Pampa, the river God6vari, the mountain Chitrakuta and the rivers
Yamuna, and Sarayu. The description of many of these plaoes is
far from being conventional or traditional; it very often reads like
such as would be given by an eye-witness, and it is pretty certain
that our poet must have travelled widedly with an observant eye..
No other poet in classical Sanskrit literature has described the
country in such a familiar and vivid manner.
(6) MALLINATTHA.
There exist a large number of commentaries on this poem,
but none of them is so well-known or so often studied a? that of
Mallinatha, who enjoys a supreme position as the standard authority
in the interpretation of K;Uid&sa'a poems. While writing about
K&lidasa we had to remark above that he says absolutely nothing
about himself in his writings, and the same is true his great
scholiast, [Mallindtha. Pandit Y&man^ch&rya Zalktikar, the
editor of the K^vyaprakiisa, wrote that Mallin&tha was a
Br&hmana of the KSsyapa gotra, and that his descendants were still'
But the learned Pandit
living at Gajendragad in the Satara District.
was hasty in his identification for Mr. M. S. Sa3tri (in his
;
*' Second Report on the Search of Sanskrit M8S." ) has shown that
Mallinatha was a native of Tailangana ( Andhia ), which fact is

now accepted as established. He had a son named Kam&rasv&min,^
who was also an erudite scholar, and wrote a commentary on the
Pratiparndriya. In addition to his three oommentaries on the
three poems of Edlidiisa, Mallin&tha is credited to have written
( a ) commentaries on aTRT^TÎ, '^VT^^j 1»F8Tl^^f. Iêrr^^fT, fT^-
27 The-.Oeographical Data of the Raghuvarns'a and Da$'akumAra-

charita ( 1907 ), p. 17.
xli
^S<Tit^5^T<:«f?:> nÛ'^rnV'-Jf, and ^f^^T'^fr ; and ( i ) independently,

these works— T^fT^fSJT, ^f ^T^^KrT^rs^, l^^r'^rT^, and IsTrnfTrofr- It
is possible that soaae of these prodautious belong to some other
Mallinatha thin our comoientatar ; for there have been many
Mallinathas, just as there hive been many Kalidasas,
The date of Mallinatha can be fixed with tolerable certainty.
He has written a com. on the Ekavali, a work on alamkara which
frequently refers to King Vira-Narasimha, whose reign extended
up to 1314 A. D. Mallinatha also often quotes the Prataparudriya,
another work on alamkara, which meationa King Prataparudra
who reigned from 1295 to 1323 A.D. Sir Dr. Bhandarkar has shown
( p.
xxi of his Preface to his 2nd ed. of the Mal.-Madh. ) that
Mallinatha must be placed before the lexicographer Medinikara,
the latest limit for whose date is 1431 A. D. Hence it is clear that
the date of Mallinatha approximately falh somewhere between 1325
and 1425 A. D. Most probably he balongs to the latter half of
the 14th century.
Mallinatha commentator of great merit and literary

is a
acumen. He was grammarian, well versed in the
a profound
Ny3,ya and Vaiseshlka philosophies, and thoroughly acquainted
with Pauranlc as well as secular literature, as he himself tells us in
his introductory slokas to the commentary on the Ragh. ; and the

extreme popularity of his commentaries shows that this isnot an
idle boast. His commentaries are pre-omineatly adapted to the
needs of the advancad general reader. They are sufficiently ex-
pressive without being prolix. He never makes an unnecessary
display of knowledge, but strictly follows the principle he
his
himself lays down, viz., m^^ r^^Ti ii1pf%5rr=T^%(T5=s^^. He is
perhaps the only commentator on the poems of Kalidasa who shows
a critical appreciation of poetry and endeavours to preserve as far
as possible, the genuine readings of the poet, studiously rejecting
the spurions substitutions words and phrases, and the
of single
occasional interpolations of whole slofcas. To his commentaries
on the three poems of Kalidasa he has given the title ^^'f^^fs,
meaning thereby that his commentaries re-inspire with life the
words of Kalidasa "-'that lay in a swoon under the effect of the
poison of bad commentaries." Every student of Kalidasa now
recognizes that this was no vain presumption; Malli.'s commentaries
have eclipsed all others, and he stands unrivalled as the commentator
of Kalidilsa's poetical works.
Important Abbreviations.
-:o:
A, G. — Apto'a Guide to Sanskrit \

Malli.— Mallinatha.
Composition, Ma'^.-Ma'dh.— MSlati-
Ak., Amae. — AmarakoSi. Madhava.*
ATH.-V—Atharva-Vedfi.
Ba'l.— RA':M._B41aRrinaayana Ma'rk.-P. — lilarkanndeya-
Parftna.
Ba. — Bhagavadgiti
(plar).
Megh. — Meghadufca.*
Bhau — Bhartrihari's Mrich. — Mrichehhakatika.
Satakas
(N. and V.) *
Mud.— Mudrirakshasa.*
BnAiTi. — Bhalti-Kfivya.- Mv.— Mahlviracharita.
Bn.-P.— Bbagavata-Piiraiu. M -W —M:onier.WilIiam3.
BRin.-SAM— Brihatâinhitri. Na'g — Vftgananda.*
Brih.-Up.— Brihadarany.iko- N.-Oh. — Naishadhiya-Oharita.
pani^had.
Pa'n.— Piuini's Ashtadhyayi.
OHir.-Up.-Ohbandogyopinishad. Pa?.— Panobatantra*
D.-K.— DasakatnaraGbarita.* Ragii — Raghavainsa.*
D. R. — Dasarnpaka. Ra'm. — Rilraayan* of VAloiiki.
CJi't— Gitagovinda. Ratn.— Ratnavalf .*
H.-Cu — Harshacharita. R10..V.— Rig-Veda.
HEM.~Heni:1iri. RlXUS. — Ritu*ambara.--'
HiTOP.— Hitopadesi.* Sa'k. — Sakantala.'-'
Tf. S. Gr. —Higher Sanskrit

— Samkhya-Karika.
8a'.ai.-K.
Gramnaar (by M. R. Kalo). 8,-D. — Sahitya-Dirpaiia.
Hv. — Harivamsa. S -D -S. — Sarvadarsaua-

Ka't). — Kfidaaibari.* saingraha.
Ka'm. N.— Kamandaka's Sin.-K. — Sicldhaatakanmudi,
Sîtlsura. — Sisapdlavadba.
Si8'.
Ka's'. — Kasika of Varnaaa. Tare. —Tarkasaingrîha.

Ka's' -Kh.— Kasikhanda. Up, — Upaaisbad.
Katha's.— Kath4«arit9agara. Uttar. — Uttararaoaacharita.*
Ka'v., K -O. — KavyaJarsa of VAr.i..— Vallabhadeva.
Diiidin. VA'nr.— Varttika.
Kui.— KiratArjnniya.* Yrsi\ — VeiiBamhira.*
K.-P. — Kavya-Prakasa, ViKB. — Vikranaorvasiya.*
KuM.— Kumarasambhava.* Visa. -P. — Vishoa- Parana.
Mah.-Bh.— M*bA-Bharata. Yoo.-S. — Yogasutras.
Ma'lav. —Malavikagaimitra.* &c. &o. &c.
**
Annotated by thr EHItor.
Tv
^^W^J g^T^: I
^W. ^gf^ f^ 3% ^R?| %J?f^ gf^ 11^: 11
vp[\ #5fMt ^m ^TJT^sfR^qf^ II
\ ^«f^m% jnntmrr^^^FT i ^^rp^^rprq" wrî^^ ^m\ ^^ ^^k i

^ ^\'iA\\^
( ^ ) ^1^
^rq^ f^Ct I *ricTT =^ fqcTr =q fq^ i

*
to finrr ' |% 5%^'- i
'
'Trar-
q^^w '
fc??'?!, I ' ^fTî^-' 5îf^ #^» qil# =^ q^Jij^ qrlîqrfP^ «
^^WA•^ ^^mwr^^vh I JTT3r-^'2T?tcr^Mi^^^Tw qrlcT?^^^ "^^^r i
Vol 1 cT^fTRH- '^cl:%t^ f^JI #T^Jl =^ ^^: I ÎTWTfF^ ^f^ W^

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^ [ sie'Tff^^ ] ^ Tf^J sun ^ §r I tr fj^n^^ jti^?^^ ^^^^tci: i ?|^-
qr?t T^ f% ? ^ MiHiR* f? ^>TTT^ T?PTT^ fT?^r5r5^Ti?<T'E^ qnr^^frTH^'TT?!, i
" 3T?qrE*T^ I
" qjo "=(. =^. ^v; ap'rflrt ^ i wTtrT° I »n^^^7T?f i?nrT?^: i
JT^: 1 qfrTfTT ilHtÎ^Î %^ JTRTT 4><r=H I T'ftJKTî'il'-qt ?FJ »TTrTT ^PtWT H

STOH: H'i: I
( ^ )
5T5TR1^ sj^M^T "^^ I '^q 5 ,^^: trc5:' ^fR: 1 3T%f ^ =^^ qi^qr-
v5-4:q- RT"^ [ sit^jâ ] ^^ q^cjfqi^ #^[^ ^ri= qj^s^fm^f^-
fl^T ^^ ^5f^ fcT H W ^m: ^î 3?f^ I ^f^ ^# JTf{ ^T^SRT^-

S^M^: II
f^^T^
Hi ri4>i<: I ^Twrq 'tJT^: ^*-MM+iî*di ^^qr^f^'^w^fTTf^jf i
r q'^-TT q^: ^T%5jc: ^: î+.^q q^:qr'4f ^q^r^qrrt 'rrfrr i it^ %t'^, ^jrqr^T
^^ ^^r-T: %: qW'T: f^^ 51^ 'qi^sqiivT I

qrP^^^^,<i<HiH«:.<qJHHKq^Jqrer I
Tfm " 3T. ?Jo V. «. V=. ff JTPnrs^tqKli^ q^Rq- arq"^^ R4rtH 'q ?f%rf ?f?r
%i%j I %i^ ^TTTT^qq" ^TFqq': ^^qfR:?q qifqqr ^f^rfpn^^rf = i
_
V TT^^qrr q^^^fq'^frq^'^rwTrr: t^+H i
rfi'^-fp^ f^rfqrt #% fqr^- ?fr^-
tq%q^^ i *rtiq+ %fH: 5^qTq"?^q ^5?^ ?^^ 1
(8) r^
^?TTTO>ô?T^t 'JT^Tl^l^Jirfn^^n^ II \ II
g^qf^ ^m^- I ^4 *
^WT^BrnTf^^cT-' ^c^nfRwfq ^^!fl^^^ i q^nfî'^ gen: ai-
^l«hlQ9M«tli^^TT^ ] I =^3f^tH^^^cTT2T5RTfê?^jR.î3>:r^n5nqT^T-
^Îr f^l%qti;^t si^% qi«ir^5fn^ ll vs II
•
=^'4''r cT^4
— ' ^c^ni*^! ^^ =^g8ftî?Tf^>TTÎtiq^T^3€ i qMt^'^
^^^^ %.\^ ^^^- \
'
^>^fq iit: '
ôw^: I
*
5iiqi =^ jjôfi q^fj^
'
f^ q-5tinrfs[MPT "^ qf^ m'^Tl^f 7ft ll" fo.

I X " 3TqnWH€"'i ^ ^^
^03^ ^rqq^ " ffrr f^vJi^j^n arw +!»{'<*:-" ^^qr^ rft^%^ : qtt«"q#
i
?^ i
^n%^ ?t|ffT^r!^Hi^-+<'^^- M^fq?T f^^ ^wqTfT mrf ^^~ q'Trfff^r ^"^rr 11 I
^s^fJT^^qTSFT^^fT^ ^qqg; ii" t©. ^ q>4TfrT^îi*ii-H>*irt ^^ 5?-ff fr^r-r

i ;
sr^: ^FPnj^^R qqn^rr wj \ rRfi =^ ^- '

^rqrq qf^ qm w^r^- ^rqr-
Vwf :
f^q^ I 3^ ^ 'T^^-" ^ i^rr^qq i^qr^ fqr^FJqqf^qq:
f^^^qr ^- fq^qqi^rq:
i m
i
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TRANSLATION.
CANTO I.
1. For the right comprehension of words and their senses, I

salute PSrvati (the mountain's daughter) and Parames'vara (the
supreme lord) the parents of the universe, who are (perpetually)
united like words and their meanings.
2. The (exalted) race sprung from the sun, and my intellect
of limited scope (to describe it), — how unequal the two! It is
under a delusion that I am desirous of crossing, by means of a raft,
the ocean, so difficult to be crossed.

3. Dull (of intellect) and yet aspiring after a poet's fame, I
shall expose myself to ridicule, like a dwarf, who, through
greed, uplifts his hands for a fruit accessible (only) to the tall.
4. Or rather, I shall find entrance into this race (I may enter

upon the task of describing this line of kings), to which the door
of description has already been opened by poets of yore, as does a
thread into a gem previously perforated by a diamond -pin.
5-6. I, who am such, will describe the line of the Raghus,
though my powers of expression are scanty, being impelled to this
inconsiderate act by their (transcendental) virtues coming to my
ears: — the Raghus, who were pure from birth, who persevered in
works until they bore fruit, who were lords of the earth bounded
by the ocean, and the track of whose cars lay as far as the celestial
regions (9, 5); who offered oblations to the holy fires in accord-
ance with the prescribedrules, who honoured supplicants (by gifts)
according to their desires, who

punishment in proportion
inflicted
to the crime, and who (woke up, or) were on the alert at the proper
time (6); who amassed wealth for giving it away in charity, who
spoke sparingly for the sake of truthfulness, who were desirous of
conquest for fame (alone), and who consorted with their wives
solely for the sake of offspring (7); who (again) spent their
boyhood in the study of letters, who enjoyed pleasures in their
youth, who led an anchorite's life in their old age, and who
finally resigned their bodies by means of yoga {i. e, fixing their
minds in meditation upon the supreme spirit). (8).
10. behoves the learned who alone can discriminate what is

It
good fiom what is bad {Jit. who are the causes of the distinction.
between good and bad) to listen to this (poem); for it is in fire
alone that the purity or alloy of gold is tested.
11. There was a king, by name Manu, the son of Vivasvat,

esteemed by the wise, who was the first of kings, as the sacred
syllble Om is of the Vedas.
12. In this pure race was born a purer king, Diltpa by name,
a supremely eminent monarch, just as the -purer moon arose from
the pure milky ocean.
13. Broad-chested, stout- shouldered ( ///. having shoulders
like those of a bull), tall as the sa'la tree, and massive-armed, he
looked like the military virtue (heroism) appearing in a corporeal
frame fitted for the discharge of its duties.
14. Like the mountain Meru, he stood occupying (dominating)

the whole earth, with a frame that exceeded all in strength,
outshone all in lustre and transcended all in majesty.
15. His intellect was commensurate with his bodily form,
his knowledge with his intelligence, his undertakings with
his knowledge, and his success with his undertakings.
16. By his kingly virtues which were both awe-inspiring and
amiable he was to his subjects, at once unapproachable and invit-
ing, just as the ocean is on account of its monsters and gems
17. Acting like the rim of a wheel under a skilful driver, the
subjects of him, their guide, swerved not evento the width of a
line from the path that had been trodden from the days of Manu*
18. He received taxes from his subjects only for the promotion
of their welfare: for the sun sucks up water simply to give it back
a thousand-fold (in the shape of rain),
19. His army was but an appendage to him; his means of
accomplishing his objects were only twofold-an intelligence that
was unfoiled in ( penetrated ) the branches of learning, and the
string stretched out on the bow.
20. His counsels being secret and his countenance and designs
inscrutable, his measures, like the impressions (left on the mind
by the good or evil deeds) of a prior existence, were to be inferred
only from their results.
21. (Though) without fear, he protected his body; unafflicted
with disease he performed religious rites; unavaricious he
amassed wealth and unaddicted he enjoyed pleasures.
;
22. His modest reserve, notwithstanding his knowleage; for-
bearance, in spite of power; and absence of boasting, in the
presence of beneficence thus virtues, from their association in
;
him with others (of opposite nature), were, as it were, like brothers
born same
of the womb (linked in a tie of brotherhood),
23. He, who was not attracted by carnal pleasures, who had
seen the very end of (mastered) the branches of knowledge, and
who took delight in the discharge of his duty, had all the perfec-
tion of old age without being (actually) aged.
24. By reason of his educating, Protecting, and maintaining
his subjects, he was (virtually) their father; their (real) fathers
were merely the source of their birth.
25. He punished criminals for the preservation of order, and
had married only for progeny, so that, even his pursuit of wealth
and sensual pleasures was simply the (pursuit of) Dharma ( the
performance of duty).
26. He drained (collected tributes from ) the eaith for the
performance of and Indra drained the heavens for (the
sacrifices,
growth of) crops; thus by an exchange of their wealth the two

sustained the twin worlds.
27. Other kings, indeed, could not attain his fame for protect-
ing people; for (the crime of) theft having turned away from
men's property, survived only in the term (expressive of theft).
28. A good man, though unfriendly, was acceptable to him,
just as (though distasteful) medicine is to the sick; and even a
friend; if wicked, was to be discarded, like a finger bitten by a
cobra.
29. Verily the Creator fashioned him with the ingredients of
the five great elements; for all his qualities had solely the good of
others (for their object).
30. He governed the earth as if it were a single city, having
the shores of the seas for its line of ramparts* and the seas them-
selves for its moats, and owning no other rule.
31. He had a wife, like Dakshint of Yajna, a princess of the
royal line of the Magadhas, by name Sudakshingi,, a^name grown
out of her amiability (or generosity, benignity).
32. He, th^ lord of the earth, though he had a large harem
regarded himself as having a wife by her, a high-minded lady,
and by the goddess of royal fortune.
(4)
33. (Ever) longing for the birth of a son from her, his worthy
consort, he passed his days in hopes, the realization of which was
long delayed.
34. With a view to perform some religious rite that he might
obtain a son, he took down from his arms the heavy yoke of the
world (withdrew himself from the heavy task of governing the
world) and entrusted it to his ministers.
35. Then being purified, the two, husband and wife, worship-
ped the Creator of the world with the desire of obtaining a son, and
then started for the hermitage of Vasishtha, their spiritual guide.
36. They drove in a single chariot which made a deep but
agreeable sound, and (therefore) looked like lightning and
Air^vata riding a cloud of the rainy season.
37. That there should be no disturbance to the hermritage, they
took a limited retinue with them; but on account of their peculiar
majesty they looked as if they were surrounded by an army.
38. They were fanned (as they passed on) by breezes of a
pleasant touch, wafting the odour of the exudations of the S'a'la
trees, scattering about the pollen of flowers, and gently shaking
the rows of the forest trees.
39. They listened to the notes, delightful to the mind, of pea-
cocks that raised their necks at ( on hearing) the rumbling of the
wheels of the chariot, notes of a double kind and corresponding
(in pitch) to the Shadja air.
40. They observed the similarity of each other's eyes in those

of the couples of deer, that moved a littlefout of the way and had
their eyes riveted on the gliding car.
41. Occasionally they raised their heads (attracted) by the
cranes uttering sweet notes, and forming, as it were, as they flew
in a row, a gateway garland unsupported by posts.
42. Onaccount of the favourableness of the wind betokening
the fulfilment of their wish, the tresses of the queen and the turban
of the king were not touched by the dust raised by the horses.
43. They smelt the highly -pleasing fragrance of the lotuses
in the tanks, cool by its coming in close "contact with the ripples
and imitating (the fragrance of) their breath.
44. In the vill ages granted by'themselves and marked with the
sacrificial posts, they accepted, after they had received the
(5)
•offerings of honour, the unfailing benedictions of the sacriflcers
(Brdhmanas who properly performed the sacrificial rites.)
45. They inquired of the aged cowherds, that came to them

with fresh butter, the names of the wild trees by the road-side.
46. As they journeyed on, clad in bright apparel, an indescriba-
ble beauty was visible in them, like that in the conjunction of the
constellation Chitra with the moon, when freed from the mists of
winter.
47. Engaged in showing this thing and that thing (/. e. the
various curiosities of the road) to his spouse, the lord of the earth,
of amiable appearance and worthy to be compared with Budha,
was not even aware of the whole distance travelled over.
48. He fame unattainable (by any one else)
(the king,) of a
and having the queen companion, reached, at dusk, with
for his
his steeds fatigued, the hermitage of the mighty sage who always
practised self-control.
49. (The hermitage) which was (then) being filled by ancho-
rites returning from other forests bringing with them sacrificial
sticks, holy grass, and fruits, and welcomed back by the sacred
firesadvancing forward in an invisible form;
50. —
which was being crowded with deer accustomed to receive
a share of the nivara corn (wild rice) and blocking up the doors
of the huts, as if they were the children of the wives of the
hermits;
51. — wherein the saplings were quitted by the hermits' daughters
immediately after the watering was over, in order to inspire confi-
dence in the birds accustomed to drink water from the basins

round the roots of the trees;
52. —
where the antelopes were chewing the cud, squatting in
the courtyards of the huts in which wild rice had been collected
into heaps, at the decline of the evening sunshine.
53. — which was purifying the casual
visitors coming towards it
by the columns of smoke, indicating the blazing of fires, shaken
tip by the wind and charged with the odour of the offerings.
54. Then having ordered the charioteer to give rest to the
Tiorses, the king assisted his wife to alight from the car and him-
self also got down.
55. The hospitable
saints, with their senses perfectly controlled,
gave an honourable welcome to him, their worthy protector,
who was guided by the principles of justice^ and to his royal
consort.
56. When the evening rites were over, the King saw the
treasure of penance (Vasishtha) with Arundhati seated behind
him, like the god of fire with the goddess Sva'ha sitting behind.
57. The king and
the queen, the princess of Magadha, seized
(touched) their feet in adoration, and the spiritual guide and his
wedded spouse greeted (blessed) them with affection in return.
58. The sage asked him, who was a hermit in the hermitage of
a kingdom, and whose fatigue caused by the jolting of the car had
been removed by the act of hospitality, whether all was right with
his kingdom.
59. Then, before the sage, the repository of the Atharva-lore,
he, the lord of wealth, who had conquered the cities of the enemies,
and was foremost among eloquent men, began (entered upon) a
speech full of sense.
60. "Proper, indeed, it is that welfare should reign in all the

seven elements of my whose God-sent and man-caused
state, of
calamities you are the averter.

61. xMy arrows which can hit only a visible mark, are, as it
were, rendered futile by the spells, which discomfit enemies from a
distance (even before they are seen), of you the author of incanta-
tions.
62. O sacrificer, the oblation duly offered by you to the holy
fires turns itself into rain for nourishing the crops, which, else,
would wither by drought.

63. That my subjects live the full period of human life, that
they are free from fears, and are never visited by public calamities,
is all due to (the virtue of) your spiritual power.
•64. When I am thus taken care of by you, my preceptor, the

son of Brahman, and so am free from calamities, why should not
my prosperity be uninterrupted ?
65. But, even the (sovereignty of the whole) earth, with all
its islands, though the yielder of the precious products, does not
please me, who have not seen a worthy offspring born of this your
daughter-in-law.
66. Surely my departed ancestors, foreseeing the cessation of
exequial offerings, after my death must not have been eating their
fill at the S'r^ddha ceremony, being intent upon storing up the
obsequial offerings (for future use).
(7)
67. Verily the libation of water, offered by me, is drunk, rendered

lukewarm with their sighs, by my forefathers, thinking that it
would be diflScult to be obtained after my death.

68. I, therefore, with my soul purified by the performance
of sacrifices, both shining and
but obscured by want of issue, am
not shining like the mountain Lokdloka (which is lighted on one
side and daik on the other).
69. Religious merit, resulting from the performance of penance
and acts of charity, produces happiness in the next world ; but off-
spring, of pure extraction, leads to bliss in the next, as also in
this world.
70. How is it, O mighty sage, that you are not grieved to see
me destitute of the same, like a sapling of the hermitage, watered
personally through affection, bearing no fruit ?
71. Know then, O mighty one, that the last debt has been
causing me unendurable pain, as the tie -post piercing the vitals,
does to an elephant, deprived of the bath.

72. It behoves you, O father, to do that by which I may be
released from it; for- when an object is difficult of attainment to the
descendants of Ikshvaku, the success depends upon you."
73. Thus respectfully informed by the king, the saint remained
for a moment, with his eyes fixed in meditation, like a tank, with
its fish asleep.
74. He whose soul was purified by ascetic exercises, discover-
ed by meditation the cause of the stoppoge of issue to the lord
of the earth and then informed him thus: —
75. "On a former occasion, when you were returning to the
earth, having waited upon Indra, Surabhi ( the divine cow) was
reposing under the shade of a A'a/â-( desire-granting) tree on
your way.
76. Full of thoughts of this your queen, bathed after menstrua-
tion,being afraid to violate a sacred obligation (to her), you did
not act properly towards her who deserved the honour (/z/. act) of
circumambulation.
77. (And) she cursed you thus :— 'Since you have shown
disrespect to me, no progeny shall be born to you unless you
propitiate my daughter.'
78. Neither by you, nor by your charioteer, was the impreca-
tion heard (being pronounced), as the stream of the Celestial
(8)
Ganges was then in tumultuous uproar on account of the elephants
of the quarters sporting wantonly in it.
79. Know, then, that the attainment of your desire is barred by
( that disrespect towards the cow ) ; for omisssion of honour to those
worthy of honour obstructs one's welfare.
80- That heavenly cow, however, is at present dwelling in the
nether regions, the gates of which are blocked up ( guarded ) by
serpents, for the supply of oblations in the prolonged sacrificial
session which VaruPa has instituted.
81. Do you then take the daughter of Surabhi as her
representative, and with your wife, propitiate her in a state of
purity; for she, when pleased, is a milker of (gratiSes) desires."
82. Just as he was speaking thus there came back from the
forest the cow, Nandinf by name, blameless and the source
(provider) of oblations to that habitual sacrificer.
83. Of a soft pink colour, like a (new) leaf, and bearing a
slightly -curved mark of white hair ( appearing on her forehead ),
just as the evening-sky ( pale-red like the young shoot ), bears

the crescent of the new moon.
84. With a large udder, and drenching the earth with a
stream of tepid milk, which flowed at the sight of her calf and
which was more sanctifying than even the ablution performed at
the conclusion of a sacrifice.
85. Imparting to the king the sanctity that arises from ablutions
in a holy stream, by means of the particles of dust raised by her
lioofs and coming from near in contact with his body.
86. Seeing her of holy appearance, the receptacle of ascetism
( ), ver.sed in reading omens, again addressed him ( the
the sage
ting whose officiating priest he was, and whose desire to gain
),
his object was not to be barren ( was sure to be fulfilled ).

87. "Know for certain, O king, that the fulfilment of your wish
is not far distant, since ihis blessed one has turned up the very
moment her name was mentioned.
88. It behoves you ( therefore ) to propitiate this cow by
unceasing attendance upon her, and living upon the products of
the forest, just as one does (gains) knowledge by close application.
89. You should move on when she moves on, stand when she
stands, sit down when she does so, and drink water when she
has done the same.
(9)
90. And let this our daughter-in-law too, being pure and full
of devotion, follow her, after she is worshipped, in the morning,
as far as the bounds of the penance- grove, and also advance thither
in the evening to receive her-
91. Thus be devoted to her service, until she is propitiated ;
may no obstruction overtake you ; may you stand, like your

father, at the head of those who are blessed with worthy sons !"
92. The disciple ( of the sage, ) who knew the proper place
and time, bowing accepted, mood, with his queen,
in a pleased
the command of his spiritual instructor, saying, "I will do so.
93. Then at night, the learned son of the Creator, who always
spoke agreeable and truthful words, dismissed the king, of dis-
tinguished fortune (or of blazing radiance ) to retire to bed-
94. Although possessed of the superhuman power due to ripe
asceticism, the sage, learned in ritual, having regard for the

vow ( undertaken by the king ), provided him with such
accommodation as was suited to a forest life.
95. The king, accompanied by his wife free from pollution,
occupied a hut pointed out by the kulapati, and ( there ) lying on
a bed of Kusa grass passed the night, the close of which was
announced by the sage's disciples, chanting (aloud ) the Veda.
CANTO n.
1. Then at dawn, the lord of men, to whom his fame was a
treasure, set free for going out to ) the forest the cow of the
(
sage whose calf had been tied up after it had its suck and who was
made to accept sandal, garlands of flowers &c. ( by him ) through
his wife.
2. The lawful wife of the lord of men, worthy of being named
at the head of chaste ladies, followed the path of the cow, the dust
whereof was consecrated by the plantings of her hoofs, as ( closely
.as ) Sm?iti( remembered law) follows the sense of S'ruti.
3- The kind-hearted monarch, lovely with glory, having asked
his beloved spouse to return, (himself) began
guard the daugh- to
ter of Surabhit whose milk exceeded waters of the
in quantity the
four seas, as if he was protecting the earth itself, tranformed into
a cow, with the four oceans turned into four teats.
4. By him following the cow as a vow, the rest of his retinue
too was sent back; the protection of his body was not due to an
(10)
axternal source: for Manu'S descendants were ever protected by

their own valour.
5. By (giving her) savoury mouthfuls of grass, by scratchings».
by keeping off flies, and by unobstructed rovings at will, thus
did the supreme monarch become diligently engaged in her pro-
pitiation.
6. The lord of the earth followed her like a shadow standing —
stillwhenever she stopped, proceeding on when she went on,
patiently sifting down when she sat down, and drinking water
when she drank it.
7. Possessing kingly fortune (or royalty) which, with its
insignia cast aside, could be inferred from the super-eminence

of majesty, he resembled a royal elephant, inwardly, in condition
of rut but without the lines of ichor manifested externally.
8. Marked with hair tied up with the tendrils of creepers, he,

with his bow strung, wandered in the wood, as if wishing to
discipline the ferocious beasts of the forest, under the pretext of
guarding the sacrificial cow of the sage.
9. Theon either side
trees of the king, mighty like the god
with the noose (Varuna),(as he passed on) unattended by
servants, uttered, as it were, the exclamations of "Victory to the
king; here he comes," by means of the notes of impassioned birds.
10. On and worthy of adoration, the young
him, bright as fire
by the wind, showered their flowers, as

creepers, agitated (urged)
he passed by their side, as the maidens of the city {lit, the
daughters of citizens) would the customary la'ja'siiu^d. paddy);
11. The female deer, gazing on his person declared to be full ol
with compassion, by their hearts remaining unaffe-

feelings, tender
cted with fear though he wielded a bow, obtained the fruit of the
great expanse of their eyes.
12. He heard (as he went on) his own lofty glory, loudly
carolled from thebowers by the sylvan nymphs, in a manner in.
which the purpose of (the accompaniment of the music of) flutes
was served by singing bamboos, having their holes filled with
wind.
13. The wind charged with the spray of the mountain streams,
and bearing the fragrance of the gently shaken flowers of the treesi
served ( ) him, who, purified by his righteous conduct, was
refreshed
oppressed by heat as he had no umbrella with him.
(H)
14. As
he, the protector, entered the wood, the forest- confla-
gration became extinguished even without a shower (of rain),.
exuberant was the growth of fruits and flowers, and among animals,,
the strong did not oppress the weak.
15. Having purified the spaces between the directions by
their courses, at the close of the day the light of the sun, and
the cow of the sage, both red like the tint of a ( fresh ) leaf, began
each to return to their abode.
16. He, the protector of the middle world, followed her, who
supplied to the sage the necessary articles for the rites due to godSr
manes and guests; and attended by him, esteemed by the good,
she, too, looked like (as graceful as) faith incarnate, when accom-
panied by observance (also embodied ).
17. He passed (returned), beholding the woods which were

darkening up, in which herds of wild boars were emerging from
the pools, in which peacocks were flying towards their roosting
trees and where antelopes were squatting on the swards.
18. The cow ( that had calved but once ) on account of her
exertion to bear the burden of her full udder, and the king by rea-
son of his massive body, both decorated with their charming
gaits the way back to the penance-grove.
19. His wife drank him in, from the skirt of the forest, as he
returned following the cow of Vasishtha, with winkless eyes, that
had fasted long, as it were.
20. Placed in front, on the way, by tjie lord of the earth* and
received by the king's wife ( his associate in religious rites )
advancing towards her, the cow shone between them, like

twilight situated between day
and night.
21. Sudakshin^, with a pot of whole rice in her hands went
round that milch-cow, keeping her on the right side, and, bowing,
worshipped the broad space between her horns (the forehead,) the
very door as it were to the fulfilment of her wish.
22. They both ( the king and queen ) were delighted to see
that the cow, though eager to meet her calf, patiently accepted the
worship offered to her: for, verily the signs of pleasure of (venerable)
beings of her type, manifested towards those full of ( or, who ap-
proach them with ) devotion, indicate the? near fulfilment ( of
their wishes ).
23. After having shampooed the feet of his preceptor and his
wife and having finished his evening devotions, Dilipa, who had
(12)
uprooted his foes by ( the jnight of ) his arms, again waited upon
the milch -cow, as she sat down after the milking was over.
24. He, the accompained by his wife, sat close after
protector,
the cow, near whom
were placed a lighted lamp and offerings of
worship and as gradually she slept he slept too, following her
;
example, and rose in the morning when she awoke from sleep.
25. Three times seven days'passed away, while he, of adorable
fame and accustomed to deliver persons in distress, was thus
engaged, with his royal consort, in keeping the vow for the birth
of a son.
26. On the following day, the cow that supplied to the sage
materials for sacrificial offerings, desirousof testing the devotion of
her follower, entered a cave of the mountain Himalaya ( lit.
Gaurf's father ) where tender grass had grown in ( or, owing
to ) the vicinity of the fall of the Ganges.
27. A lion, it appeared, unobserved in his attack by the king,
who had directed his eyes to the beauty of the mountain, con-
fident that the cow was not assailable even in thought, by the
beasts of prey, forcibly pulled her.
28. Her cry, deepened (or, prolonged) by its reverberations in
the cave, drew back, by catching as it were in a noose of ropes,
the sight of the king, the protector of the distressed, that was
riveted on the King of mountains.
29. That eminent archer saw a lion, seated upon the rosy cow,
like a full -blossomed lodhYa tree, situated on the table-land of a
mountain full of red minerals.
30- Then the king? who walked as undauntedy (or, proudly) as
a lion ( lord of brutes who was the protector of
), the distressed,
and who had by force extirpated his enemies, being thus affronted,
wished to take out an arrow from his quiver to slay the lion, who
merited death.
31. As he wished to strike, his right hand, with its fingers
stuck fast to the haft of the arrow, the heron's feathers whereof
were beautifully tinted by the lustre of its nails, remained with
its action committed, as it were, tea picture.
32. With his rage increased by the paralysis of his arm, the
king burnt within himself by the fire of his own energy, which
could not touch the offender though very near, like a cobra wit
its power restrained by charms and herbs.
I
(13)
33. ( Then ) the Hon, who bad seized the cow, spoke in human >
accents to him, who was ever a partisan of the good, who was
the most illustrious of Manu's and whose strength was as
race,
great as that of a lion,— thus astonishing him ( all the more )

already astonished at his own plight.
34. "'Away, O astonished protector of the earth, with your

effort;your weapon, though discharged against me, would prove
of no avail; the fury of the storm, though ( able ) to uproot trees,
has no effect upon a mountain.
35. Know me to be a servant of the eight-formed god ( S'iva ),
Kumbhodara by name, the friend of Nikumbha, whose back is

consecrated by the favour of his planting his foot upon it, when he
wishes to mount his bull, white like the mountain Kailasa.
36. You Davadaru tree; it has been adopted
see the yonder
as a son by(the bull-bannered god)
S'iva and it has ;
known the taste of the Payas (water- milk) of Skanda's mother

issuing out from her ( maternal ) breasts, in the form of gold
pitchers.
37. On one occasion its bark was destroyed by a wild elephant

scratching his temples against it; whereupon P^rvati (///. the
mountain's daughter ) grieved for it,as if it was Skanda ( IzL
the general of the divine forces ) himself, wounded by the missiles
of the demons.
38. Fromday forth, I have been placed in this cave of
that
the mountain, by Siva ( the trident-holder ) for scaring away the
wild elephants, directing me to prey, as a lion, on ( IzL making
my condition as a lion depend for food on ) animals coming
within my reach,
39. For the gratification of me, thus situated and

hungry,
by the supreme lord for this
this feast of blood after fast, destined
time, and ( therefore ) coming tome, is enough; just as the nectar
of the moon coming as a meal is to ( the gratification ot ) the
enemy of gods (R^hu),
40. Do you, therefore ( liL you who are thus made helpless ),
go back, casting off shame you have shown your devotion, as a

;
disciple, to your preceptor where it is impossible to protect a

;
charge by means of arms, it ( inability to protect ) does not

damage the reputation of those who wield arms."
(14)
41. On hearing this bold C or, significant ) speech of the king

)f beasts, the king of men ( knowing that) his missile was foiled
•by the power of S'iva slackened his disregard of himself.
42. And also (he) spoke in reply to him ( the lion
), being
unsuccessful in his attempt to shoot an 'arrow, which for the first

time knew what failure was, like the wielder of the thunderbolt
( Indra ) paralysed by the glance of S'iva, when about to discharge
his weapon.
43. "O lord of beasts, laughable, indeed, is the speech, which I,
whose actions are restrained, am going to utter; but you know the
inward feelings of living beings, and therefore, I will say my say.
44. All adorable to me is that ( S'iva ), who is the cause of the
creation, preservation and destruction of all things, animate and
inanimate; I cannot also, on the other hand> allow this property
of ray preceptor to be destroyed before me ( my eyes ).
45. Be pleased, therefore, to make your .subsistence on this

my bodyi and let this cow of the great sage be liberated, whose
young calf will be anxiously looking for her ( return ) at the
close of the day."
46. On hearing these words, that attendant of S'iva ( lit. the
lord of beings ) laughed a little and spoke once more to the king
( lit. the lord of riches ), rending into pieces the gloom of the
mountain-caves by the gleam (rays) of his teeth.
47. "Sovereignty over the world marked by one imperial
umbrella, prime youth, and this handsome form you who wish —
to forego all these for the sake of a trifle, seem to me to be want-
ing in discernment.
48. If this be your compassion for living beings, this cow
alone will be happy ( saved ) by your death. But if alive, O
king of men, you, like a father, will ever protect your subjects
from calamities.
rf 49. Now!if you dread your preceptor, who having an only cow,
will be burning with anger at your offence, ( like a blazing ) fire, it
is possible for you to pacify his wrath by presenting him with
crores of cows with udders as big as pitchers.

50. Preserve, therefore, your mighty body, the enjoyer of
blessings: for the wise say that a prosperous kingdom is identical
with the heaven of Indra, only differing in that it is situated on
the earth."
(15)
51. When the lord beasts had ceased, having said this
of
much, the mountain on account of the echo of his words
too,
resounding in the caves, seemed affectionately and loudly to say
the very same thing to the king.
52. Having heard thC' words of the attendant of S'iva, the
king of men spoke again , his compassion being excited all the
more, being looked at with terror-smitten eyes by the cow in
the grip of the lion.
53. "The noble name oi kshatra, (the military caste) is

verily known in the worlds as 'the one that protects from danger';
but to one who acts in opposition to this of what use is a kingdom, ,
or a life tarnished by infamy ?

54. And how is the pacification of ( the anger of ) the great
sage possible by the gift of ordinary milch- cows ? Know that this
cow is in no way inferior to Surabhi ( the divine cow ) ; that you
have attacked her is only through the power of Rudra.
55. It is, therefore, proper that I should deliver this one from
you by offering my own body as a ransom. Thus your meal-
after-fast will not be obstructed, and the means of the sage's
rites also will not be destroyed.
56. You, too, who are a servant, know this — for great is your
care for the Devaddrii tree —that it is not possible ( for a servant)
to stand before his employer, himself unhurt, after having allowed
his charge to perish.
57. Or, if deem me not fit to be killed, be
somehow you
compassionate to my
body consisting of glory
( other )for in ;
the case of people like me, there is utter want of regal-d for the
necessarily perishable lumps of matter ( the bodies ).
58. They say that a friendly connexion has conversation for its
cause and the same has been formed between us, ( thus ) met
;
together in this forest tract ; hence, O follower of the lord of

beings, behoves
it you not to reject the request of me, your
connexion."
59. To the lion, who said 'So let be,' Dilipa, his hand released
from restraint the very moment, offeied, after laying down his
weapons, his body, like (as if it were no better than) a lump of
flesh.
60. At that moment upon the king ( lit, the protector of the
people ) expecting, with his face downwards, the terrible leap of
( 16 )
the lion, there fell a shower of flowers discharged by the hands of

the Vidya dharas.
61. Hearing the words gladdening like nectar
— * Rise, my child,
uttered there, the king rising, beheld the cow standing before him
like his own mother, with milk dripping down ( from her udder),
and not the lion.
62. The cow thus addressed the astonished king,

— 'O benevo-
lent one ! Creating an illusion, you have been tested by me by ;
virtue of the sage's power, not even the god of death can strike
me ; much less other destructive animals.
63. My son, by vour devotion to your preceptor and your

compassion for me I am pleased (with you) ;ask a boon ( of me) ;
know me to be not only the producer of milk, but also a fulfiller
of wishes when pleased.'

64. Then he, who had honoured supplicants and earned the
title of Hero by the might of his arms, joined his hands, and asked
for a son by Sudakshina,
snch as would be the founder of a
dynasty and earn an undying reputation.
65. Having promised, by saying So be it,* the gift of the '
desire of the king who longed for progeny, the milch-cow com-
—
manded him thus *My son, extract my milk in a vessel of leaves,
and drink it.'
66. *I wish to drink your milk, O mother, out of what will remain
after the calf has sucked and after it has been used for the
sacrificial rites, having received the sage's permission, ju.st as I
receive the sixth portion of the ( produce of the ) earth> protected
by me,'
67. Thus addressed by the king, the cow of Vasishtha became
more pleased, and followed by him, returned with an easy
still
pace from the Himalayan cave to the hermitage.

68. The lord of kings, with his face bright like the smiling
moon ( or his moonlike face smiling), informed his preceptor and
, then his beloved wife, of the favour of the cow, in words which
seemed to be a repetition, as it was already inferred ( by them )
from the external signs of ecstatic joy.
69. He, of unblemished character, and kind to the virtuous,
having been permitted by Vasishtha, drank, with unslaked thirst,
the milk of Nandini> that remained after the calf had been
gratified and the offerings made, as if it were his own spotless
fame embodied-
Canto II. ] ( 17 )
70. The next morning, the repast at the conclusion of the

aforesaid vow being over, the self-restrained Vasishtha, dismissed
the ( royal ) couple to return to their own capital, after having
pronounced pn them the benediction proper at the time of depar-
ture ( or, having performed the ceremony thht was to ensure
them a happy journey).
71. Having circumambulated the holy fire to which the offer-
ings were made, and Arundhati just after her husband, and then
the cow too, together with her calf, the king started on his
journey, his prowess being rendered mightier by the auspicious
rites ( performed at his departure ).
72. The patient king, accompanied by his lawfully wedded

wife, traversed the road, driving in a chariot, the sound of which
was agreeable to the ear and which was comfortable on account of
the absence of jolting, as if it was his own desire now fulfilled.
73. His subjects, in whom a longing ( to see him ) was pro-

duced on account of his absence, drank him in, as it were, whose
form was emaciated by the observance of the vow for progeny,
with eyes ever unsatiated, just as they would the newly-risen
moon ( lit. the lord of plants), creating a longing ( for his sight)
and his body wasted ( waned ) by the vow (of being devoured
from day to day, ) for ( in the interest of ) the crention.
74. He, with the splendour of Indra ( lit. the Splitter of
the demons' towns ), entered the city decorated with flying ban-
ners, greeted with acclamations by the citizens, and once agaio
placed the yoke of the earth on his arm whose sustaining strength
equalled that of the serpent-king ( resumed the government ).
75. Then ( in course of time) for the well-being of the race of

the king, the queen bore a fcetus, formed with the weighty essences
of the guardians of regions, as the sky bore the luminary sprung
from the tears of Atri, and as the divine river ( Gang^ ) bore S'iva's
energy deposited by Agni ( the fire -god ).
CANTO m.
1. After that ( conception ) Sudakshind bore the evidence
(signs) of pregnancy, which was (as it were,) the very desire of
her husband, with its fulfilment approached, 3 which was ( as
gladdening ) to the eyes of her female friends as the appearance of

the moon -light, and which was again the cause of the perpetua-
tion of Ikshvfiku's race.
2.Not wearing all her ornaments on account of the attenuation
of herbody and with her face pale like the lodhra flower, she
looked like the night bordering on dawn, with but a few 'stars dis-
played ( therein ) and marked by the moon shining dimly.
3. The king smelling, in private, her mouth with clay
fragrant
( that she would eat ), never •
felt satisfaction, like an elephant
smelling a small pond in a forest tract; sprinkled over with drops
from the clouds, at the close of summer.
4. Her ( future ) son was to enjoy ( the sovereignty of ) the
earth with his ( conquering ) chariot stopping only at the
extremities o( the quarters, as the lord of the gods enjoys that of
heaven ; hence it was that she ( the queen ) set her heart upon an
object of that kind (clay) in preference to all other objects of taste.
5. "Through bashfulness the princess of Magadha does not tell
me her wish what are the things that she has a craving for ?
;
'' —
thus did the lord of the North -Kosalas constantly ask his wife's
companions in loving concern.
6. Having reached the state piinful on account of hankerings
of pregnancy, whatever she asked for, she saw brought to her ;
for there was nothing, which being desired by him, was unattain-
able to him, who had his bow strung, even if it were in heaven.
7. Gradually getting over the painful state of pregnancy
cravings, she appeared beautiful, as her limbs grew plump, like
a creeper, which after the fall of the old leaves, is dressed in lovely
foliage.
8. As days
rolled on, her two breasts, growing exceedingly
plump, and with nipples black all round, far surpassed the love-
liness of a couple of well-formed lotus-buds with black bees per-
ched upon them.
9. The monarch regarded the queen with child, as if she
were the sea-girt earth holding within a hiddden treasure, or the
Canto III. ] ( 19 )
S'ami tree with fire lying concealed inside, or the river Sarasvati
with its ( stream of ) water underground.
10. He performed, in due order, the ceremonies (attendant
on pregnancy) beginning with Pumsavana^ in a style worthy of
the love he bore to his beloved queen, of the loftiness-of his mind,
of the vast wealth he had acquired by the might of his arms
from all quarters, and also of liis great joy.
11. Whenever the king visited her apartment he was delighted
to see how she, with tremulous glances, rose from her seat with
difficulty on account of the heaviness of the foetus with the
portions of the mighty gods (infused therein), and also experienced
languor even as she joined together her hands to make the
customary bow.
12. Now, indue season, the development of the fcetus having
been effected by trusty physicians, well versed in the treatment of
infants, the husband saw, with a delighted mind, his beloved
queen, about to be delivered, like the sky, over-hung with clouds,
about to discharge a shower of rain at the close of summer.
13. Then she, comparable to S'acht, gave birth to a son,
whose most exalted fortune was betokened by five planets in their
(respective ) ascendant high position, and not approaching the
sun, just as regal power, arising from three agencies, produces in-
exhaustible wealth.
14. The very moment and the holy
the quarters brightened;
fire flame turning to the right: (thus)
received the oblations with its
everything indicated auspiciousness: for the birth of persons like

him is for the good of the world.
15. Deprived of their lustre all of a sudden by the natural re-
fulgence of the well-born babe, spreading around the bed in the
lying-in-chamber, the midnight lamps became as if they were
painted in a picture.
16. To the attendants of the inner apartments announcing the
birth of a son, in words which rivalled nectar in sweetness, there
were only three things which the king could not give, viz. his
(imperial ) umbrella bright as the moon, and* the two chauries
( being the insignia of royalty ).
17. As the king was looking intently at ( lit- drinking in ) the

lovely face of his son, with an eye as steady as a lotus in a breeze-
(20) [OintoIII.
less spt>t, his intense joy could not be contained in him^f, like the
flood of the great ocean at the appearance of the moon.
18. When the entire natal ceremony was performed !jy the
ascetic -priest coming from the penance -forest, the son of Dilfpa
shone forth with additional brilliance ( all the more ), like n gem
produced in a mine, after it has undergone the process of polishing.
19. The sounds of the auspicious musical instruments, pleas-
ant to hear, accompanied by the delightful dances of the courte-
sans, went on, not only in the palace of him, the husband of the
Magadha princess, but also in the regions of the denizens of
heaven.
20. There was no prisoner— such a protector he was — whom,
delighted at the birth of a son, he could release; only his own self
was, on that occasion, liberated from the bond, called 'the ances*
tors' debt'.
21. Foreseeing that the boy would go to the end of all learn-
ing and also of his foes in battle (z. e. would extirpate them ), the
king, conversant with the meaning of words, named his son Ra^jhu*
taking into consideration the meaning 'to go' of the root.
22 Under the care of the father, who was endowed, with for-
tune of every kind, the boy developed, day by day, the graceful
limbs of his body, just as the young moon waxes in size by the in-
fusion of the rays of the sun ( lit. he who drives green horses ).
23. As Um^ and (lit. the bull-badged god) were delighted

S'iva
with Kdrtikeya (one born in reeds ), as S'achI and Indra
lit.
(lit. the cleaver of the demons' cities) were delighted with
Jayanta, so were the king and the Magadha princess, equal

to them, pleased with their son, who was also like them ( the
two divine boys ).
24. The love which existed mutually between theking and

the queen and which had united together their hearts, like that
of a pair of Chakravd ka birds, increased ( deepened ) on the part
of each towards the other, though now shared by their only son.
25. The boy lisped the words first uttered by the nurse,
walked holding her finger, and bent low ( bowed ) by being taught
to make obeisance; by these acts he added to the joy of his father.
26. Having placed on his lap the boy who seemed to be shed-
ding ambrosia on his skin by means of the pleasurable sensation
Canto III. ] < 21 )
generated by the contact of his body, the king, with. his eyes closed
«t the corners, experienced the deliciousness of the touch of a
son, after a long time ( i. e. a long period of disappointment ), or
for a long time (or, came to the state of knowing -became conscious
of — the pleasure of the touch of his son after a long time— so much
benumbed with joy he was).
27. And he, no transgressor of the prescribed bounds, consider-

ed his line as well perpetuated by him ( his son ) of exalted birth,
a different form of his own person and the possessor of the foremost
of merits, just as Brahm^ ( lit. the lord of creation ) considers
his own creation well preserved by that other form of his own self
( Vishnu ) working
combination with Satva, the best
in of the
three qualities (that govern the world.)
28. When his tonsure ceremony', was performed, he,

accompanied by the ministers' sons of the same age and with
waving locks of hair, mastered properly the alphabet, and thereby
entered the vast field of learning, as one enters the sea through
the mouth of a river.
29. And, when he had been duly invested with the sacred
thread, learned preceptors educated him, a favourite with pre-
ceptors (or, who loved his preceptors ), and found their labours
not wasted upon him; for labour bestowed on a proper object ( or,
instruction imparted to a worthy recipient ) is productive of fruit.
30. Gifted with a noble understanding, he, by the force of all
the excellences of intellect, got across ( mastered ), in succession,

the four lores, comparable in vastness to the four oce;ms, as the
lord of the directions ( the sun ) traverses the four quarters by
means of his bay steeds, surpassing the wind in velocity.
31. Having put on the holy skin ruru ( a kind of deer )

of the
he learnt the art of using missiles, together with their incantations,
from his father himself; for not only was his sire the sole sovereign
on earth, but the sole archer also.
?il' Ijike a young calf reaching the state of a full-grown bull,
and the younjj elephant attaining the condition of a huge elephant,
Raghu, whose childhood was gradually supplanted by youth,
developed a frame charming by its gravity ( dignity ).
33. Then after the ceremony of the cutting of the hair had been
performed, his father performed the marriage rite, and the
(22) [ Canto III.
daughters of kings having found an excellent husband in him,

shone like the daughters of Daksha married to the moon ( lit. the
god who chases away darkness. )
34.Young, with arms long as the yoke of a car, a chest broad
like a folding-door> and a neck well -turned, Raghu surpassed his
father by his physical excellence and yet looked lowly before him
through humility.
35- Then the king wishing to lighten the exceedingly heavy
burden of governing his subjects long sustained by himself, invest-
ed Raghu with the title of young king', seeing that he was dis-
'
ciplined ( fitted for it ) both by nature and by education.
36. S'ri ( the goddess of royal fortune ) who always loves

merits, went over partially from her original seat, the old king, to
the new resting place called 'the young king', just as the godde?s
of beauty passes from a lotus to a fresh blown one,
37.Like the fire by its associate the wind, like the sun by its
ally the autumnal season ( lit. in which there is the disappearance
of clouds), and like the elephant by its auxiliary, the bursting of his
temples, the king ( Dilfpa) became most irresistible by his help.
38. Having appointed him, a pre-eminent archer, followed by
( other ) princes, to guard the sacrificial horse, he, comparable to
Indra ( lit. the performer of a hundred sacrifices ) performed a
hundred sacrifices short by one, without obstruction.

39. The horse letloose ( to wander ) unrestrained, after that,
for another sacrifice, by that sacrificer, Indra in an invisible form,
it is said, took off, even before the eyes of the guards armed with
bows.
40. Then, just as the prince's army stood amazed, not know-
ing what to do in their bewilderment, there was seen Nandinf,
Vasishtha's cow, of well-known power, coming accidentally.
41. DiUpa, honoured by the jôod, having cleansed
The son of
his eyes with the holy water that flowed from her body ( her
Mine ), was endued with the power of seeing objects even beyond
the ken of senses.
42. The prince ( lit. the son of the king ) descried, in the east,
the cleaver of the wings of mountains ( Indra ), carrying away the
horse, tetheredby the traces of his car, with his restiveness re*
peatedly checked by the charioteer.
)
Canto III. ] ( 23
Recognizing him to be Indra, by his hundreds of wink-^

43.
less eyes, and also by his green steeds, Raghu addressed him in
a deep voice that reached the vaults of heaven, forcing him to
turn back, as it were, thereby.
44. "O lord of gods ! you alone are described by sages as the
first of those who enjoy how do you then
shares at sacrifices;
proceed to obstruct the sacrifical rites of my sire, purified for
( engaged in ) the constant performance of sacrificial vow ?
45. The enemies of sacrifices ought, indeed, to be always check-

ed (suppressed) by you, the lord of the three worlds, possessed
of divine power of vision; but if you yourself stand in the way
of the rites undertaken by the righteous, all pious work must be
at an end !
46. Therefore, O Indra? it behoves you to set free the horse,

the most essential part of the great sacrifice; great lords, who lead
the paths pointed out by the Vedas, never adopt a sinful course."
47. On hearing these bold words spoken by Raghu, the lord

of the denizens of heaven, astonished, turned back the chariot
and began to return a reply.
48. "O son of akshatriya, what you say is all true; but those
who regard their fame as their wealth must protect it from their
enemies; and your father, by his sacrifices, is bent upon eclipsing
the same in its entirety of me, so well known in all the worlds.
49. As Hari alone is known by the name of Purushottaraa, as
Tryambaka (the three- eyed god), and none else, is styled Mahes-
vara, so do the sages know me as S'atakratu. This designation
(respectively attached to us three ) does not refer (belong) to a
second.
50. Therefore has this horse of your father been carried away
by me, imitating the sage Kapila; away with ( nothing will be
gained from ) an effort in this matter; set not your foot upon th^
path pursued by Sagara's progeny (sons.)"
Then the dauntless protector of the sacrificial horse laugh-
51.
ed and again addressed Purandara:-**Take up your weapon, if this

be your determination you will never gain yonr object without
;
conquering Raghu."
52. Having thus addressed Indra, he, with his face turned
upwards, and wishing to fix an arrow on his bow, stood with his
majestic form appearing to advantage in the attitude of li dJia A
( 24 ) [ Canto III.
(the right leg advanced and the left one drawn In), thus imitating
the god S'iva.
53. The resentful splitter of mountains (Indra) too, struck at
heart by Raghu's shaft consisting of his defiant posture, (or, spirit)
placed an arrow, that never failed to hit its mark, on his bow, which
shows itself as the momentary signal of the fresh clouds (/. e. the
rainbow).
54.The arrow of Indra, accustomed to drink the blood of ter-
rificdemons, entered (penetrated) the broad chest of the son of
Diltpa, and drank, out of curiosity as it were, the blood of a
human being, never tasted before.
55. The prince also, with the prowess of Kum^ra (K^rtikeya),
planted an arrow, marked with his* own name, into Indra's arm,
whose fingers were roughened by patting Air^vata (the celestial
elephant), and which bore the prints of S'acht's ornamental paint-
ings.
56. And with another arrow, having peacock's feathers attached
to it, he struck down Indra's great thunderbolt 'banner; whereupon
the god got mightily wroth with him, as if he had forcibly cropped
off the hair of the deity presiding over the fortune of the celestials.
57. A fierce fight then ensued between the two, each intent
on overcoming the other, by means of feathered shafts, as frightful
as winged snakes, flying upwards and downwards, while the
Siddhas on the one side and the soldiers on the other stood by
(as silent spectators).
Even with showers of missiles poured in ceaseless succes-
58.
sion Indra was not able to extinguish him, the receptacle of
exceedingly unbearable (irresistible) energy (power), as the
cloud cannot extinguish by Its waters the fire ( of lightning
emitted from itself.
59. Then Raghu, by means of an arrow with a head shaped
like X\xi crescent of the moon, cutoff the string of Indra's bow,
roaring deep, like an ocean that is being churned, on his fore-arm,
besmeared with the sandal of heaven.
60- He, with his jealous anger intensified, threw aside the bow,
and with a desire to slay his very powerful adversary, took up
the thunderbolt, blazing with a circle of radiance and accustomed
to clip off the wings of mountains.
61. Severely struck on the breast by that weapon, Raghu fell
on the ground, along with the tears of his soldiers; shaking off in
Canto III. ] ( 5^5 )
an instant the pain caused thereby, he rose up, together with their
acclamations of joy.
62.Even then, the slayer of Vvitra (Indra) was pleased by the
supreme valour of him who had long maintained a hostile position,
cruel by the use of arms; for a foot is set ( an impression is made)
everywhere by merits.
63. "By none but you, was ever withstood (borne the stroke of)
my weapon, unobstructed in its operation, by reason of its inherent
strength, even on mountains; know me to be pleased; excepting
the horse what else would you have (from me)? "-so said Vdsava
to him in clear (unmistakable) terms.
Then the son of the lord of kings, putting back an arrow
64.
which was not entirely drawn out from the quiver, and which
tinged his fingers with the lustre of the gold on its feathered halt,
replied (now) speaking sweetly to the lord of gods.
65. "If you think, O lord, that the horse is not to be released,
then let my s!re, purified by the constant performance of sacrifices
be endowed with the entire fruit of the saciiQce? as if it had been
completed iu due form.
66. Moreover, O lord of the worldsi be it so arranged that the
lord of the people, seated in the (sacred) chamber and inaccessible,
being a part of the three-eyed god, may hear of this incident from
your own messenger."
67. Having promised to grant the wish of Raghu, with the
words 'so it shall be', Indra (lit. the god having M^tali for his
charioteer) went his way; and the son of SudakshiÂ, too, not
much pleased at heart, returned to the council-hall of the king.
68. The lord of men, already informed by the messenger of
warmly received him touching his body marked with the

Indra,
wound of the thunderbolt, with a hand benumbed with joy.
69. Thus did the lord of the earth, of laudable rule, wishing
to ascend heaven, at the close ot his life, accomplish nine-and-
ninety great sacrifices, as if he constructed a flight of steps.
70. now he, with his mind turned away from the objects
x\nd
of sense, made over in due form to his young son the white
umbrella, the emblem of royalty, and betook himself in company
with his celebrated queen to the shade of a tre^ in a forest in-
habited by hermits: for this, indeed, was the family vow (pra-
ctice,) of the princes of Ikshv^ku's race, when in the decline of
their life.
4 —
CANTO IV.
1. Having obtalnedTthe kingdom made over by his sire,

Raghu shone yet more brilliantly (than before), as does fire {lit.
the feeder on oblations ) on receiving the effulgence deposited

with It by the sun at the close of the day.
2. On
hearing that he was established on the throne after
Dilipa, the fire ( of jealousy ) which had long been thickly smok-
ing in the hearts of (hostile) princes, now blazed forth, as it were.
3. His subjects with their children rejoiced to see with beamig
rows of eyes his new rise (to the throne), as they would see»,
with uplifted rows of eyes, the fiag hoisted in honour of Indra.
4. Two things were simultaneously brought under himself by

him who walked with the gait of an elephant ( or on elephant
back), viz. the paternal throne and the whole circle of his enemies.
5. Him, consecrated to the universal sovereignty, served
Padnid (the goddess of regal fortune), as it seemed, herself invisi-
ble, by holding over him a lotus-umbrella, discernible from the
halo of radiance ( that encircled him ).
6. And the goddess of learning too, being present in the

panegyrizing bards at stated hours, served him, worthy of praise,
with eulogies, full of sense.
7. The earth, though enjoyed by estimable monarchs, with

Manu at their head, appeared in his case like one that had no
previous master ( was not enjoyed by any one else before ).
8. He> by the justice of his punishments, won the heart of all
the people, like the southern breeze, which is neither very cold
nor excessively hot ( and therefore delightful to every one ).
9. By his possessing superior virtues the people were

made to long less for his father by him just as they are by the
fruit of the mango tree for its blossoming.
10. By men versed in the political art, two courses, the fair
and the unfair, were pointed out to the new king; but the first
alone was adopted by him and not the second.

11. Even the qualities of the five primary elements (now)
attained a ( fresh ) excellence. Under his new regime everything
became new, as it were.
Canto IV. ] (27)
12. As the moon by its power to delight is rightly called

Uiandra; and as the sun by its diffusing heat is correctly named
Tapana; so he, by pleasing his subjects, was justly styled i?aya.
13. Granted that his eyes were large, extending to the ears;
but the function of (real) eyes was discharged in his case by ( his
knowledge of) the S'dstras, pointing out to him the minute details
of his regal duties (or the subtle purposes to be accomplished).
14. Now as he was at ease ( happy ) by the pacificatition of
(establishment of order and peace in) his kingdom, there came to
him, like a second goddess of wealth, autumn, marked by lotuses.
15.His exceedingly unbearable prowess and the intolerable
heat of the sun simultaneously pervaded all the quarters of heaven,
their path being cleared by the clouds, lightened by their contents
being discharged.
16. Indra withdrew his pluvial bow and Raghu took up his
victorious one; for they both took up their respective bows in turn
for the good of the people.

17.The (autumnal) season, with its umbrella of white lotuses
and with its chauries of the opening K^sa flowers, imitated Raghu
with his lotus- like umbrella and his chauries resembling the bloom-
ing Kds'a flowers, but could not attain his regal splendour.
18. At that time the delight of those who had eyes was of equal
flavour ( or, ardour) at the sight of him with a sweet smiling face,
and of themoon of bright lustre.
19. The aflluence of his fame seemed to be distributed among
the rows of geese, among the starry spheres, and in waters abound-
ing in (white) lillies.
20. Women keeping watch over the fields of paddy corn,

seated in sugar-cane shades, sang the fame of him, the protector,
springing from his merits, beginning from his heroic deeds as a boy
( or whereof a beginning was made by even children ).
21. At the rise of him sprung from a pitcher ( the star of

Agastya), of great splendour, water became clear (pure and
pellucid); at that of Raghu, of great might, the heart of his enemies
apprehensive of defeat, got muddled (roiled).
22. Huge bulls with massive humps, fierce with fury and rend-
ing up (battering down) the banks of rivers, imitated the prowess
of Raghu, which had much the grace of sport.
(28) [OantolV.
23. Wounded (in their vanity, or excited) by the rut -scented

flowers of the saptapania trees, Raghu's elephants poured forth,
as if in emulation, ichor in all the seven ways {i. e. from all the
seven parts of their body ).
24. Making the rivers fordable and the roads with their mud
dried up, Autumn incited him to an expedition of conquest, before
his personal energy ( insoired him to do it ).
25. At the lustration ceremony of his horses, the sacrificial

fire, with oblations duly offered, gave him (the blessing of)
fed
victory with his own hand, as it were, in the form of the flame
turning towards the right (and thus betokening victory).
26. Having his capital and the frontier forts well-guarded, and
the rearlcleared of his foes «; or with his rear well protected), and
attended with good luck, he marched out with a sixfold force for
the conquest of the quarters-
27. The women of the city, advanced in age, scattered over
him waves of the milky ocean deluged Achyuta
fried rice, as the
with the drops thrown up by Mandara.
28. He, Indra's peer ( in valour), first marctied towards the
east, menacing, as it were, his foes with his flags waved by the
wind.
29. And turning, as it were, the sky into the earth's surface and
the earth's surface^ into the sky by means ( respectively ) of the
clouds of dust raised by his chariots and of his elephants reseinbl-

ing clouds.
30. His prowess in tiie van, then the uproar, tht-'reaftei the
dust, and last of all the chariots and the rest; thus did the army
(of Raghu) march forward, consisting of four divisions (corps) as
it were.
31. reason of his being possessed of power 6r (resources),
By
he turned deserts into well- watered tracts, the navigable rivers
into easily fordable ones, and the forests into open plains (spaces).
32. lyeading his mighty army marching towards the eastern

sea, he looked like Bhaj^fratha, leading the broad Ga/ig^ fallen
from the matted hair of S'iva and flowing towards the eastern sea.
33. His path was conspicuous by the (hostile) kings made to
part with their acquisitions ( wealth), dethroned and variously
Canto IV. ] (39)
routed, like that of a tusker, which is marked by trees, shorn oj

their fruits, uprooted and destroyed in various ways.
34. Taus overrunniug the kingdoms in the east the victor came
to the shore of the great ocean, dark with the forests of tdli trees.
35. From him the uprooter of all that did not bend before him
as from the current of a river, the Suhmas saved themselves by
following the course of cane-plants (adopting the policy of submis-
sion).
36. Having by his power uprooted the Vahga kings, who had
resisted him by means of their ships, he, the leader, planted
(memoiial) pillars of victory in the intervals of ( /. e. the islets
between) the streams of the Ganges.
37. Like the A'a/a/zîz plants which bend low to ( or to the
lotuses at ) their roots and yield a rich harvest after havin^^ been
first uprooted and then transplanted, they, uprooted and then
first
reinstated, bowed down to his lotus- like feet and honoured him by?
gifts of riches.
38. He crossed the river Kapis'a with his troops by means of.
a bridge formed of the elephants and marched towards Kalinga,
the way being led by the Utkala (Orissa) princes-
39. He planted his mighty prowess (made it keenly felt) on
the head (peak) of the mountain Mahendra, just as a driver
does his sharp goad in the head of a Gambhiravedi ( not easily
senstive to pain ) elephant.
40. The king of Kalinga, strong in his war elephants, received
him with showers of missiles, as amountain, showering stones,
would ( receive ) Indra, prepared to cut its wings.
41. Having borne a heavy ishower of the enemies' iron-
arrows, the descendant of Kakutstha won the goddess of victory,
as if after having taken an auspicious bath.
42. There, his soldiers, having prepared places for wassail,
quaffed in (cups of) betel leaves coconut -wine, and also the g'ory
of their enemies.
43. The king, a righteous conqueror, took away the wealth
and not the territory of the lord of Mahendra, firstmade a captive
but afterwards released.
44. Then marching along the sea- coast, lined with betel-nut-
trees bearing fruit, he, to whom victory was not a thing to be
(30) [ Canto IV-
sovight after, marched towards the quarter resorted to by Agastya

(the south).
45. By reason of her enjoyment by hfs army, redolent of
(marked by) the sweet scent of elephants' ichor, he made K&verl
(the river) suspectable (an object of suspicion), as it were, to the
lord of the rivers (the Ocean).
46. By the forces of him bent on conquest after he had
travelled the day's distance, were occupied the adjoining grounds
of the mountain Malaya, where the HSrtta birds (parrots of a parti-
cular kind) were flying about in the forests of peppers.
47. The dust of the fruits of the cardamom plants pounded
by (the hoofs of) his horses, flying up, clung to
on ) the ( settled
temples of the infuriated elephants, exhaling a similar smell.

48. The neck-chains of the elephants powerful enough to
break down even the foot-chains, did not slip off, being tied round
the lines of grooves (deppressions) made by the coilings of snakes
into the sandal trees.
49. Even the splendour (heat) of the sun is dimmed (mitigated)
when in the southern quarter but in that very quarter the Pandya
;
princes could not bear the burning prowess of Raghu.

50. Bowing down (at his feet) they presented to him the finest
pearls found at the place where the T^mraparni falls into the
great ocean, their own accumulated glory, as it were.
51-52. Having enjoyed to the satisfaction of his wish the
mountains Malaya and Dardura, with sandal trees covering their
if they were the breasts of the quarter with sandal
skirts, as paste
applied to their sides, he, of irresistible prowess, crossed ( or,
reached ) the Sahya mountain, far left off by the sea, the rump of
the earth, as it were, with its vesture slipped off.
53. On account of his forces marching along, prepared to

conquer the countries of the west, the sea, though far removed
by the missile of Paras'urSraa, seemed to be connected with the
mountain Sahya.
54. The dust raised by the army was placed by him, as a
substitute for the hair- powder, on the curls of the Kerala ladies
who had given up personal decorations in terror.
55. The pollen of the Ketaka flowers* wafted by breezes from
the Murala, served as a scented powder obtained without effort
for the armours of his warriors.
Canto IV. ] (31)
56. The rustling of the large palm forests shaken by the wind
was drowned by the clank of armours on the bodies of his war-
horses moving about.
57. The black bees deserting the Punni,ga trees fell upon the
temples scented with the flow of the ichor of elephants ^tted to the
trunks of the date trees.
58. History has it that the ocean gave space to Rama on

being requested by him; but to Raghu, it gave tribute under
the disguise of the western kings.
59. There he turned the Triklita itself into a lofty pillar o{
victory, bear as it did the distinct record of his military valour in

the form of the incisions of the tusks of his infuriated elephants.
60. Thereafter he set out by a land- route to conquer the Per-
sians, as a man possessed of self-control proceeds, with the help
of the knowledge of truth, to subdue the foes known as the senses
(passions.)
61. He did not bear the flush imparted by liquor to the lotus-
like faces of the Yavana dames, just as an untimely rise of clouds
does not (bear i. e. intercepts) the morning sunlight on (tinging)
the lotuses.
62. A fierce battle took place between him and the Yavanas
of the west, whose army consisted of cavalry, in the midst of dust
(raised by the armies) so (dense) that the opposing warriors could
know each other simply by the twang of their bows.
63. He strewed the earth with their bearded heads, "severed by

means of Bhallas (arrows having broad blades) as if with so many
honey-combs covered with bees.
64. The rest (z. e. survivors) took off their helmets and sought
his protection; for the wrath of the high-minded appeased by
is
humble submission ij,it. has submission for its remedy).

65. His soldiers removed the fatigue of victory by means of
wine, in vine-yards ( lit. grounds covered with bowers of vine )
with the finest deer -skins spread thereon.
66. Then Raghu marched towards the quarter of Kubera ( the
north) with the desire of uprooting, by means of his arrows, the
northern kings, just as the great luminary ( sun ) passes north-
wards in order to suck up moisture with his rays.
( 3«.) [ Oanto IT.
67. His horses baviag the fatigue of tbeir journey relieved by

on the bank of the Sindhu, shook their shoulders to whlcb
rolling
were adhering the filauieuts of saffron (or, the manes of which
had safforn sticking to then)).
.68. There the exploits of Raghu, the prowess whereof was
displayed on the husbands of the Hflna ladies, became a teacher
of ruddiness in the cheeks to them ( or came to have the redness
of their cheeks for a record).
69. The K^mboja princes, unable to stand his valour in battle,
bent low (before him ) together with the walnut trees strained
(injured) all round by the fastening ( or fastesing-chaius. ) of his
elephants.
70. Lofty ( stupendous ) heaps ot riches, abounding in noble
steeds, reached the lord of the Kosalas every day; but not theit
boastful tnanuers ( or, 'but pride never touched iiim' ).
71. Then he ascended the mountain Himalaya (Gaurf's father)

with his cavalry, augmenting, in size, as it were, its peaks by the
mineral dust raised up (by his horses).
72. Thegaze, by turning back (their necks), of the lions lying
in their dens and of equal might (with the array), indicated absence
of agitation (or fear) on their part (their intrepidity) even in the
midst of the din (tumult) of the army.
73. Breezes, rustling among the birch trees> the cause of the
musical sounds of the singing bamboos, and charged with the
spray of the Ganges, ministered to (fanned) him on the way.
74. His soldiers took rest under the shade of the Naraeru trees,
on stone-slabs with their surfaces perfumed with the navel
sitting
(musk) of the musk-deer squatting upon them.
75. The lustrous herbs with their light reflected from the iron
neck- chains of the elephants tied to the Sarala trees, served, at
night, as lamps (that burnt) without oU, to him,, the leader of the
forces.
76. In the halting places leftby him, the devada'ru trees, the
bark of which was rubbed off by the neck -ropes ( with which the
elephants were tied to them ) indicated to the Kira'tas the height
of his elephants.
77. There a fierce battle took place between him and the
mountain tribes, which fire
in flashed forth as the iron darts and
the stones flung^by means of slings clashed together.
—
OantoiV. ] (3$)
78. Having made the Utsavasamketas destitute of their festivi-

tiesby means of his arrows, he caused the Ki^^naras to sing the
songs descriptive of the victory of ( won by ) his arms.
79. When they approached ( him ), presents in hand, these
came to be mutually known, Himavat's strength ( wealth ) by the
. king and the King's strength ( prowess ) by Himadri ( the snowy
mountain ).
80. Having established there the unshakable ( or irrefragable )

mass of his glory,he descended (from the mountain ), causing
shame, as it were, to the mountain that was balanced ( being
uplifted ) by Paulastya ( Rd,vaiia ) i. e. Kaildsa.
81. When he crossed the Lauhitya the lord of the Pragjyo-
tishas quaked (with fear), as also did the black aloe -wood trees
got to the condition of (used as) tie -posts for his elephants.
82. He from the track of

could not bear even the dust raised
his chariots, which hid the sun and which looked like a cloudy
day ( atmosphere) without a shower; how could he face his
army ?
83. The king of the Kamarupas waited upon him whose valour
exceeded that of Indra himself, with those very elephants, with
ripped ichor- shedding temples, with wUch he had resisted ( or
repulsed ) others.
84. The lord of KSmariipas adored the lustre of Raghu's feet,
the presiding goddess of the golden foot -stool, with offerfngs of
flowers in the form of gems.
85. Having thus conquered all the quarters, the conqueror
turned back, making the dust raised by his chariots rest on the
heads of the kings (now) stripped of the regal umbrellas.
86. He performed the Vis'vajit sacrifice in which one's entire
wealth is given away as DakshiV'a for of the good as of clouds,
;
acquisition is for distribution.
87. At the end of the sacrifice, the descendant of Kakutstha

(Raghu), assisted by his ministers of state, allayed the wounded
feelings of the defeated kings by honouring them with marks of
great respect, and permitted them to go back to their capitals,
where their wives were longing (for their return) owing to their
long absence.
88. They, at the time of their departure, bowed down to the
emperor's pair of feet bearing linear marks of banners, swords, and
B. T. 5
P"—^^"^-"^ (34)
^^—
royal unibiellas, and accessible by his favour alone, and made them
yellowish white at the toes, with the pollen and honey that dropped
from the garlands on their heads.
CANTO V.
1. Then there came to the monarch (Raghu) who had given
away, so as to leave no remainder, his wealth of every kind ( or his
whole treasure ) in the Fi/zô/zV sacrifice, Kautsa, the disciple of
Varatanlu, who had acquired learning (finished his education) and
whose purpose it was to get money to pay his teacher (as tuition
fees; or, seeking to obtain money fo rremunerating his preceptor ).
2. On account ol the (stock of his) gold vessels being exhausted'

he, of priceless (inestimable, noble) character, bright with glory,
and hospitable, having placed the materials of worship in an
earthen pot, went forth to receive the guest radiant (illustrious)
with his Vedic knowledge.
3. The lord of men, adept ( or versed ) in duty and the
rules of action (prescribed by the S'^stras) and foremost among

those to whom honour is wealth, having worshipped, in the proper
form, the guest, who regarded penance as his wealth and who
was sitting on a seat, thus addressed him with joined palms,
remaining close by.
4. O you of acute intellect (lit. whose intellect is as acute as
the sharp end of a blade of Kus'a grass), is it all well with your
preceptor, the foremost of the sages, the composers (or receipients)
of the Vedic hymns, from whom you have acquired complete
knowledge, as the world derives its animation ( or vitality ) from
the sun ?
5. I hope the threefold penance of the great sage, which has
long been treasured up (by him) by (the exercise of) his body,
speech, and mind, and which disturbs (or shakes off) the stability
of Indra's mind, suffers no diminution ( is not spent up ) by
impediments ( requiring its use )•
6. I hope no calamity, such as a hurricane, visits (befalls) the
trees of your hermitage, which beguile fatigue and which have

been reared up without distinction with ( just like ) your sons
with efforts, such as the construction of water-basins and others*
7. Are those offspings of the female deer all right, whose desire
to eat the Kus'a grass, the hermits, from affection, do not foil
(^» «. indulge) even though it is necessary for sacred rites and
-
Canto V. ] ( 35 )
whose umbilical cords drop down on their laps serving Cthe fawns)
as beds ?
8. I hope it is all right with your sacred waters wherein your

daily ablutions are performed, from which handfuls of libations
are presented to the manes, and whose sandy banks are marked
-with the sixth part of the gleanings (gleaned corn).
9. Ihope the ripe niva'ra and other corn, the sylvan means
of the sustenance of your bodies, out of which portions are allotted
to the guests coming in time, is not eaten up by country cattle
(accustomed to eat chaff).
10. Has the great sage, being pleased after he had well edu-
cated you, permitted you to lead the house -holder's life ? For it
is now time for you to enter on the second stage of life which is
capable of benefiting all the other three ( or which enables one to
oblige every body ).
11. My mind is not satisfied by the (mere) coming of you.
adorable one, (but) it longs to execute some command (of yours);
is it at your preceptor's bidding or of your own accord that you
have come to honour me (do me the honour of a visit ) from the
forest?
12- Although he heard the noble words of Raghu, whose gift
(or expenditure) of his whole wealth was inferred from the vessel
containing the materials of worship, the disciple of Varatantu,
having but a feeble hope of success in his object, thus addressed
him.
13. Know, O king, it is all well with us in all respects. How
can woe betide the subjects while you are king (or, their protector)?
How can the dark night (or a dense mass of darkness) obstruct
the sight of men while the sun is shining ?
14. Reverence for (or attention to) those worthy of honour is
_
customary with your race (or is the hereditary possession of your

dynasty) but, O illustrious one (or O great monarch) you outdo
; ,
your ancestors in that. I, however, have come to you as a suitor

out of ( the proper ) time, and hence my regret.
15. O lord of men> having bestowed all your wealth on worthy
recipients, you appear with your body only remaining to you, like
a nivara plant having its corn appropriated by foresters (forest
living ascetics) and its stalk (or culm) only left to it.
16. It is but proper (or creditable to you, or becoming in you)

that you, though a paramount king, should exhibit poverty {lit.
( 36 ) [ Canto V*
a state o! having nothing) born of (the result) of a sacrifice; for

the waning of the moon (whose nectar is) drunk in their turns by
gods is more to her praise than her waxing.
17. I, therefore, who have no. other business in view, will strive
to obtain money for my preceptor from some other source ; may
you fare well. Even the chataka bird troubles not ( with its
petitioning ) the autumnal cloud whose watery contents are all

discharged.
18. Dissuading (from going) the disciple of the great sage,
who was desirous of going away, after having said this much,
the king asked him, "Learned thing and
sir ! What how much
"
of it is to be presented by you to your preceptor ?
19. Then to the ruler of the (four) classes and the stages of
life, who had duly performed a sacrifice and who was entirely free
from the influence of vanity, the learned ascetic (thus) expressed
( immediate business
)
his purpose
20.'The great sage was requested by me, when I had completed
'
my course of study, to accept from me preceptor's fee. He, how-

ever, counted (regarded) foremost (hald more important than, or
considered the best, fee) my long and unswerving devotion to him
of that kind ( so diflficult to lê performed ).
21. Incensed at my importunities, my preceptor, without taking
into consideration the scantiness of my means, said to me: "Bring
me four-and-ten crores of money (gold coins) corresponding to
the number of lores (studied) by you."

22. Thus circumstanced
I, concluding from your vessel of
offerings thatyou have only the title of sovereign remaining to

you, have not the mind to constrain you at present, on account of
the price of my learning being other than (far from) low (z.^.,
very exorbitant or heavy)."
23. Thus informed by the twice-born (Brdhmana), the' best of
Vedic scholars, the sole lord of the world, fair as the moon, and
with the propensities uf his senses restrained from sin, once
more spoke to him.
24. "A certain suitor who asked money for his preceptor and
who had seen the end ( wr. master ) of learning, went to another
donor, not obtaining his object from Raghu"— let there not be
this new (or for the first time) reproach on my name.
25. You» therefore (///. thus circumstanced), O venerable one,
be pleased to wait, like a fourth fire, In my well-known and revered
Canto V^ ] ( 37 )
sanctuary of (holy) fires, for two or three days, in which time

I will endeavour to fulfil your object.
26. With the words *
Be it so' the Br^hmana, being delighted,
accepted his unfailing promise. Raghu, on his part, seeing that
the earth was drained of all its wealth, wished to wrench ( thought
of procuring by force) money from Kubera.
27. By virtue of the miraculous power accruing from Vasish-
^ha's sprinkling accompanied by holy incantations (at the time
of his coronation), the course of his chariot, like that of a cloud
assisted by the wind, was not obstructed, whether on the sea, or
in the sky, or on the mountains.
28. Then Raghu, firm-minded and pious, slept
in the evening
in his chariot in which weapons were arranged*
the interior of
desirous of conquering the lord of Kaillsa (Kubera) by his prowess,
looking upon him as ( as if be were no better than ) a mere
feudatory prince.
29. At dawn, ofiicers, employed in the treasury, full of wonder,
reported to him, about to setfourth, a shower of gold fallen from
the sky into the treasury- house.
30. The king gave

to Kautaa the whole of that glittering
heap which was obtained from Kubera, who was about to
of gold
be attacked, and which looked like an adjoining hill of the
(mountain) Sumeru detached by Indra's thunder-bolt.
31. Both of them, the suitor who would not take {Hi. who
had no desire to accept) more than what was to be given to his
preceptor, and the king who gave more than what was asked
by the suitor, had the greatness of their mind (or their conduct)
greatly praised by the people inhabiting S^keta (Ayodhy^).
32. Then at his departure, the great sage Kautsa, delighted in
the mind, touched by hand the king who had caused his
the
treasure to be transported (or conveyed) by hundreds of camels
and mares, as he bent the forepart of his body before him, and
addressed him (this) speech—
33. What wonder is there ( i. e. it is no wonder ) if the earth
yields the desires of a monarch who abides by his duty ? But in-
comprehensible is your power, since by you even heaven itself
was milked ( made to grant) your desired object.
34. Any other benediction ( than that of issue ) would be a
repetition (superfluous) to you who have attained all blessings.
(38) [ Canto V.
«
May you obtain a son worthy of your excellences, as your father
obtained your praiseworthy self.
35. Having thus conferred a blessing upon the king, the Br&h-
mana returned to his preceptor. The king, too, soon after,
obtained a son from it (by virtue of it, ««/. the blessing) as the
world of the living receives light from the sun.
36. At the hour presided over by Brahma, history records
(f^W), hisqueen gave birth to a son like KumSra. On that account
the father made ( called ) his son Aja, after the name of Brahmft
himself.
37. His majestic (or resplendent) form was the same, the valour
the same, and the natural sublimity (or nobleness of nature ) also
the same; the uew-born prince did not differ from his (generating
cause ( father ) as a lamp lighted from another ( does not differ
from it.)
38. The goddess of royalty, though she had a yearning after

him when he had duly received his education from his precep"
tors and was looking all the more charming (or peculiarly charm-
ing) by reason of his blooming youth, waited for her master's (or
his sire's) permission, as a discreet, noble-minded daughter does
for her father's.
39. About this time, a trusty messenger was sent to Raghu
by Bhoja, lord of the Krathakais'ikas, who was ardently desirous
of bringing the prince (Aja) for (to be present at) the ceremony
of the self-election-marriage of his sister Indumatt.
40. Considering him to be one with whom a connexion was
desirable and (further) that his son had arrived at a marriageable
age, he sent him with an army to the flourishing ( or wealthy)
capital of the king of the Vidarbhas^
41. The halting stations on the way of him, a king's son, in
which accommodations of all kinds were provided in tents of royal
state, and which, on account of the presents brought by the
villagers, appeared other than ( the reverse of ) sylvan, were

almost like places of amusement in gardens.
42. When way (certain distance) he
he had gone over some
encamped his wearied army, with its banners sullied with dust, on
the bank of the NarmadS, the naktaviala trees on which were
made to dance a little ( gently shaken ) by the breezes charged
with spray ( or moist with the drops of water ).
Canto V. ] ( 39 ^
Just then there emerged from the river a wild elephant,

43.
whose plunge (/z7. entrance ) into the water had already been
indicated by black bees hovering above ( over the surface of the

water ) and whose expansive cheeks were clean, as the ichor
had been entirely washed off.

44. Who betrayed his butting- sports on the skirts of the
Rikshavat mountain by means of his two rock- blunted tusks,

which were checkered with blue lines running upwards,
although completely washed of all mineral dust.
45. As he faced the bank and cut( his way ) with (loud) noise
(through) the large waves with his trunk quick in its contractions
and protrusions, he looked as if engaged in breaking asunder the
bolts of his stall.
46. The mountain-like elephant dragging with him by his
breast the meshes of moss (Jaivald) reached the bank afterwards,
the current of waters violenty agitated by him having reached
it first.
47. The darkish splendour of the ichor flowing from the broad
cheeks of that one (single of its kind, chief &c. ) elephant, which
had been stopped for a moment by his plunge into water, shone
forth afresh at the sight of tame ( lit. other than wild) elephants.
48. On smelling his unbearable rut whose flow was as strong-

smelling ( or fragrant) as the milky exudation of \h& saptachchhada
( seven-leaved ) tree, the huge elephants in the army turned back
( shied ), notwithstanding ( or defying ) the strenuous efforts of
their drivers.
49. In a moment he threw the encampment into utter confu-
sion, cleared of horses which tore their bonds and fled, with the
chariots fallen to the ground, their axles being broken and with
the warriors perplexed in protecting the ladies.
50. The prince, who knew ( from the S'^stras ) that a king
ought not to kill a wild elephant, not drawing his horn- made-bow
to any great length .struck the rushing elephant on the forehead
,
with an arrow, ( merely ) wishing to make him turn back.

51. The moment he was wounded, as history tells us, he
quitted the from of an elephant, and assumed the lovely figure
of a heavenly being, encircled with a flashing halo of light, and
looked at by the army astonished at the ( curious ) occurrence.
52. Then having showered on the prince the flowers of the
heavenly trees that came to him through his superhuman power,
(40) t<^*antoV.
the eloquent one (thus) spoke, enhancing with the lustre of

his teeth the ( brightness of the ) necklace of large pearls pendant
on his bosom.
53. I was reduced to the state of an elephant by the curse of
Mata'Pga, incurred by my own arrogance. Know me to be

Priya^^vada, the son of Priyadars ana, king of the Gandharvas.
54. The great sage, however, being supplicated by me falling
at his feet, relented afterwards ; for the hotness of water is due to

its contact with fire or solar heat; what is coldness is but the
nature ( natural property ) of water.
55. "When Aja, sprung from the family of Ikshviku, will split
thy frontal globe with his iron- pointed shaft, then shalt thou be
united with (restored to) thy magnificent form "—so spoke that
repository of penance ( the great sage ) to me.
56. I have been liberated from the curse by you endowed with
might, whose sight had long been earnestly wished for by me- If
I do you no good in return, my restoration to my proper position
is all to no purpose.
57. Accept, therefore, O friend, this missile of mine, 'San'mo-
hana ( the stupifier )' by name, which has a Gandharva for its
presiding deity, and has separate incantations for its discharge

and withdrawal whereby the discharger has victory in his hand
(sure in his possession) and yet has not to kill enemies-
58. You should not be ashamed; for, though strikiug me, you
were moved ( for a moment) with compassion; let not the
rudeness of a refusal be shown to me who am beseeching you.
59. With the words 'Be it so' the eminent (lit. the moon among
men) prince, skilled in the use of weapons, having sipped the holy
water of the river sprung from Soma ( Narmadd ) and turned his
face towards the north, received ( learned ) the incantations of
( connected with ) the missile from him who was freed from the
curse.
60. Of them two, who, by a strange chance, had thus formed
on the way> a friendship ( originating ) from some unknown
cause, one went to the regions of Chaitraratba and the other to
the country of Vidarbha delightful on account of the
good govern-
ment ( it enjoyed ).
61. The lord of the Krathakais'ikas filled with ecstatic joy

went forth to receive him who had halted in the vicinity of the
(!anioV. ] (41)
city, as the ocean with Its swelling waves goes forth to receive
the moon.
62. Walking in the front he led him into the city, and having
presented to him his wealth, waited upon (ministered to) him with
humility, in such a way that the people assembled there con-
sidered Aja to be the host ( lit. the lord of the palace ) and the
king Vidarbhas to be the guest.
of the
63. He, the representative of Raghu, occupied the delightful
new pavilion into which be was shown by the officers of king
Bhoja, bending low (before him), and in which vessels 6Iled
with water were placed on a dais near its eastern entrance, as
Madana (Cupid) occupies the state ( age) next to childhood.
64. There, like a loved spouse unable to read (understand) the
feelings ( of her husband )> ( or, clouded displeased by her —
divination of the mental attitude-affection for a rival). Sleep came
late' at night towards the eyes of Aja, longing to win the captivat-
ing gem of a damsel, by whom a host of kings was caused to be

assembled at her self -choice- marriage.
65.At dawn, the sons of bards, of equal age (with Aja), and
eloquent in speech, awakened, with their panegyrical songs, him,
of reputed scholarship, whose stout shoulders were pressed by
his ear-ornaments and the sweet unguents applied to whose
body were almost effaced by his rollings on the bed-sheet.
65. " O you, best of talented men, the night is gone; quit your
bed; surely the burden of the world has been divided into two
parts only, by the Creator: your vigilant father bears it at one end
and your.honour is the supporter of the other ( lit. that borne by
the other bearer ).
67. The moon by (looking at) whom the goddess of beauty

(lyakshmi) w?.s diverting herself at night, Vi&e a woman offended
by her husband, (somehow) disregarding even her longing for
you under the influence of sleep he, too, now resting on the
; —
extremity of the western horizon, is giving up (losing) the
splendour of your face.
[Or, with the reading ST^T^^'TmoTr, (see notes ):—The moon by
( looking at ) whom the goddess of beauty, though neglected by
you under the influence of sleep, was, like a wônian offended by
her husband, beguiling her love-longing, even he &c. ]
68. Let, therefore, the two, by their beautiful simultaneous

unfolding, obtain mutual similitude: z'z.?, your eye with the
( 4'2 [Cftnto V.
^velj' ( lit. otlier than rough ) pupil rolling about within and the
lotus with a black bee moving inside.
The morning breeze, as if desirous of obtaining, by means
69.
ofborrowed properties, the natural fragrance of the breath of your
mouth, bears away the loosened flowers of trees from their stalks
and comes in contact with lotuses opened by the rays of the
morning sun ( Aruâ ).
70. The dew-drops, white like the well -cleansed pearls of a
necklace, fallen on the tender leaves of trees wîth their interiors
red, resemble, on account of the position of advantage thus
gained by them (or their increased excellence), your sportive smile
fallen on your lip, brightened by the splendour of your teeth.
71. While the sun, the store of radiant heat, does not rise,
even before that, darkness has been, all at once, dispelled by
Aruiia; when, O hero, you have taken the lead in battles, will
(why should) your sire himself extirpate the foes ?

72. Your elephants, with their sleep shaken off frotu both
sides, are leaving their beds, pulling at their clanking chains: the
elephants whose bud -like tusks seem as if they had pierced
the red- mineral- skirts of a mountain, on account of their having
come in contact with the rosy tints of the morning sun.
73. O lotus-eyed one, the horses of the breed of the Vanayu
country ( Persian horses ), tied in spacious tents, having given
up their sleep, are soiling with the warm breath (vapour) of their
mouth the pieces of rock-salt placed before them for being licked.
74. The flower -offering, being withered, has become loose in
texture; the lamps are void of the throbbing circles (halo) of
their light; and this your sweet -speaking parrot resting in its
cage, imitates our speech employed to rouse you.

75. The prince, his sleep dispelled by the young bards singiiig
their songs in this strain, instantly left his bed, just as the heav-
enly elephant, Supratika, awakened
from sleep by the ro3'al
swans cackling sweetly under excitement, leaves the sandy beach
of the Ganges ".
76. Then, having finished the riles proper for day-break, as
prescribed in the S'a'stras, the prince, with beautiful eyelashes,
after his toilet was finished in a fitting style by experts ( in that
art ), repaired to the assembly of kings gathered in the hall of the
self-election -marriage.
-
CANTO VI.
1. There he saw the protectors of the human world ( kings )»
seated on thrones placed on richly furnished platforms, and attired

in fascinating dresses, ( thereby ) imitating the majesty of the gods
moving in celestial cars.
2. The mind of kings seeing Aja ( lit. the scion of Kakutstha's
race ), who looked like K^ma with his corporeal frame restored to
him by S'iva, at ( lit. accepting ) the entreaties of Rati, lost all
hope of winning Indumati.
3. The prince ascended the dais pointed out by the Vidarbha
king, by means of a well-constructed flight of steps, as the young
cub of the lord of beasts ( lion ) climbs the lofty peak of a
mountain by means of ( step-like) projecting rocks.
4. Seated on a throne covered with tapestry of the richest
colour and set with jewels, his majestic appearance was most
comparable with Guha ( K^rttikeya ) when riding his peacock.
5. Her own self, portioned out in a thousand ways into those
TOWS of kings by Lakshmi, and dazzling to the eyes on account o[
the appearance of a peculiar effulgence, shone pre-eminently like
the flash of lightning which distributes itself into so many rows
oi clouds.
In the midst of those kings, all seated on magnificent thrones,
6.
and dressed in splendid costumes, the son of Raghu alone shone

( looked pre-eminent ) by his majestic lustre, like the tree Parijata
in the midst of other heavenly trees.
7. The rows of the eyes of citizens leaving all ( other ) princes
tell (rested ) on him, just as the black bees vacating the flower
trees fall upon a wild scent-elephant, infuriated under the influence

of ichor.
8. Now, while the whole assembly of monarchs, sprung from
the solar and lunar races, was being glorified by bards acquainted
with the pedigrees of kings, and the fume of the burnt pith of the
fragrant aloe wood was ascending ( curling up ) to the flags on
high,
9. while the sound of auspicious musical instruments swelled
by the blasts of conch-shells was waxing loud and spreading all
round iu the quarters of heaven, making the peacocks roosting
in the suburban gardens dance in a frantic manner,
10. the princess, who was about to elect her husband,
and who had put on apparel suited to the nuptial rite, entered
R. T. 6
(44) [Canto VI.
the high road between the rows of platforms, seated in u
quadrangular conveyance carried by men, and beautiful by her

train of attendants.
11. The kings fell down by their hearts on ( had theit hearts
at once drawn to ) that supremely exquisite creation of the
Creator, in the form of the damsel, the cynosure of hundreds of
eyes ; their bodies alone remained on their seats.
12. Various were the amatory gestures, the first messengers of
their love, exhibited by the kings who had betrayed their passion
ior her, as are the beautiful tender sprouts by trees.
13. A certain king began to whirl round a sportive lotus, hold-

ing its stock with both his hands, its restless petals striking black
bees and its pollen forming a circle within it.
14. Another gallant, with his handsome face obliquely turned

Tound, drew up and put in it«; proper place the garlaud that had
slipped from his shoulder and was sticking to the points of his
armlet inlaid with gems.
15. A third again, with beautiful eyes slightly turned down-

wards, drew lines on the gold fool-stool with his foot, the top-toes
of which were a little contracted and the lustre of whose nails was
spread obliquely.
16. One king, resting his left arm on a part of his seat, his
shoulder ibeing raised a little by that act, became intent upon
talking to a friend» his pearl -necklace rolling over ( or lying
divided on) the lower part of his spine as it was slightly turned.
Another young prince tore ofif, with the points of his nails,
17.
fit toset on the hips of his beloved, a kctaka leaf, of a yellowish
be
white colour, which serves as a sportive ear •ornament to coquet-
tish women.
18. Some one sportively cast up the dice, illumined with the
glow of his jewelled ring, with his hand, the p^'m of which was
as red as a lotus, and bore linear marks of banners.
19. Some one put one of his hand>5, the lustre of the diamonds
shooting through the finger chinks, on his crown, as if the latter had
slipped from its proper place, although it was in its right position.
20. Then Sananda, the doar-keeper of the harem, bold (cjever
in speech like a man, and well acquainted with the lives and pedi-
— —
Ganto VI. ] ( 45 )'
^rees of kings, took ibe princess, first of all, to tbe presence of the
king of the Magadhas, and thus spoke
21. This is the king who rules over the Magadh a land— the
refuge of those up who look to him for protection, of spirit
unfathomable, and renowned for governing his people well
Paraiptapa by name, true to the sense.
22. Granted that there are other kings by thousands ; but the
earth said* to have a pious ruler in him alone.
is True that the
aight is crowded with constellations, stars and planets ; but it is
by reason of the moon alone that it has light ( is illumined ).
23. This king having to invite Indra (lit the god with a
thousand eyes ) incessantly (to the earth), on account of the un-
interrupted course of his sacrificial rites, caused ( thereby) the
tresses of S acbi to be long flowing about her pallid cheeks and
undecked with the flowers of the Mandara tree.
24. If you wish that your hand should be accepted in marriage
by this (prince), worthy to be chosen, then v.by accepting him)

give delight to the eyes of the ladies of Pushpapura, as they will
be looking at you, at the time of your entering the city, from the
windows of the mansions.
25. When
she had said this, the thin princess looked at him,
and without saying anything rejected hinii with a cold salutation,
while her garland of Madhfi^ka flowers interspersed with rfwryd
grass was slightly displaced.
26. The very same maid> whose office it was to bear the cane
staff, conducted the princess to a second king, jugt as a wave
Taised by the wind carries a female swan of Xh&manasa lake fron>
cue lotus to another;
27. and spoke to her — this is the lord of the AQgas, whose
youthful beauty had been coveted bv (enamoured) the damsels of
heaven, and who, having his elephants trained by the founders of
the elephantine science, enjoys Indra's position though on earth.
28. He, causing drops of tears as big as pearls to roll about on

the bosoms of the wives of his enemies gave them back, as it were,
their pearl necklaces without threads that had been first taken off.
29. The two goddesses, S'ri (of wealth) and Sarasvat? (of
who by nature occupy two different stations, live in
learning),
harmony in him and you, O blessed princess, by reason of your
:
(46) [ Oanto.VI
charming loveliness and your truthful and pleasing speech, are fit
tc be the third of them two.
30. When Sunand^ had done, the princess t»ok off her eyes^
from the king Anga, and said to the maid, "Pass onward" not
of ;
that he was not amiable, nor was she unable to appreciate personal
charms but people differ in their tastes.
;
31. Then the maid (lit. she who was appointed to keep guard
at the door of the harem), showed to Indumatf, as people show
the newly -risen moon, an exceedingly handsome prince, who was
not to be withstood by his enemies.
.32 This is the king of Avanti, having stout and large arms, an
expansive chest, and a slim, rounded waist, who (therefore) looks
like the bright luminary (the sun) carefully trimmed by Tvashtfi
by being placed on a turning lathe.
33. In the expeditions of this king who commands a4I the
three regal powers, the dust, raised by the horses marching in
advance, obscures the streaming effulgence of the gems on the
crests of the tributary princes.
34.He, residing at no great distance from the moon-crested

god (S whose abode is Mah^kala, enjoys, in company with his
iva),
beloveds, moonlight-nights, even during the dark half of a month.
35. O you, having full round thighs (lit. thighs like the stem
of a plantain tree), do you wish to sport with this youthful

prince, in those rows of gardens which are fanned by the breezes
blowing from the rippling water of the Sipra ?
36. That supremely delicate princess did not fix her heart
upon him who had caused the lotuses in the form of his relative*
\6 bloom, and dried up the mire in tha shape of his foes by his-
valour, just as the exceedingly soft white lily feds no attachment

for the sun, who makes other lotuses bloom and dries up the mud
by his heat.
37. Then Sunandd led that lovely creation of the Creator (the
princess) in front of the king of Anilpa she — whose complexion

was like that of the inner part of a lotus, who was perfect in all
accomplishments and who had a beautiful set of teeth —
and again
spoke to her.
38. In days of yore, there was a king, given to ascetic exercises^
named K^rtavfrya, who could put forth a thousand arms in battle,

<Janto VI. j ' 47 y
who erected sacrificial posts in all the 18 continents oi the globe,

and to whom belonged pre-eminently the title of king (lit. not ' '
shared in common by any one else).
39. He, the governor, appearing before his subjects, bow in
hand, the very moment they thought

committing a crime, pre-
of
vented them from doing an immoral deed even in thought.
40. In his prison-house dwelt the lord of Iânka, the conqueror
even of Indra, whose arms were rendered motionless by being
bound wîth the bow-string, and whose row of mouths was gasr."
ing for breath, until the captor's pleasure (set him free).
41. In his lineborn this prince, Prattpa by name, who

is
reverentially honours those versed in sacred lore, and by whom

has been wiped off the reproach that S'ri is fickle by nature,
a reproach which attaches to her name owing to the faults of
those with whom she resides.
He, having obtained the god of fire as an ally in battles,
42.
considers the sharp edge of Paras' mama's axe, the destructive
night to the military class, as no better than a lotus leaf in
strength.
43. Be you the lovely occupant of the lap of this king with
long arms, if you have the desire to look, through the latticed
windows of his palace, at the (river) RevS,, delightful with its
rippling stream, and encircling, like a waist -band, the rampart of
the city of M^hishmat>\
44. That lord of the earth, though of an exceedingly lovely
mien, did not seem amiable to her, just as the moon is not
agreeable to the day -lotus, though complete in all his dieits and
treed from the screen of clouds by autumn.
45. The princess was then addressed by ihe maid keeping
guard over the harem, with reference to Susheâ, the lord of
S iirasena, whose fame was sung in other worlds, and who was
the most illustrious prince of both the (paternal and maternal)
iamilies pure by their dutiful conduct.
46. This is a descendant of Nipa's race, a constant ofterer of
sacrifices in due form, in whom virtues (of opposite nature) meet
together, setting aside their natural antagonism, as do wild
tinimals on coming to the hermitage of s great saint where
tTanquillity ever reigns.
( 48 ) [ Canto VL
47. In his own house is spread his lovely splendour, delight-
ful to the eyes, like that of the moon while
; there is always pre-
sent his unendurable fiery energy on the mansions of his enemies-
the terrace- tops of which are overgrown with grass.
48. At the time of his sports in the water, when the sandal
unguent is washed away from the bosoms of the ladies of his
harem, the daughter of Kalinda (the river Yamuna) though as
yet flowing by Mathur^, appears as if her waters were mingled
with Gangi's waves.
49. Wearing the gem, the lustre of which covers the surface
of his chest, and which was presented to him, it is said, by K4liya
who took shelter in the river Yaraun^, through teiror of Garuda,
he puts to shame, as it were, Krishna with his Kaustubha.
50. Do this youthful prince the honour of accepting him as
your husband, O fair princess, and enjoy (the wealth, i.e., pleasures
of) your youthful age, on a flower-bed, having tender leaves for
its counterpane, in V?indavana, not inferior to Chaitraratha (the
garden of Kubera).
51. And on stone slabs, moistened
in the rainy season, seated
with particles of water, and scented with S'aileya, you may look
at the dance of peacocks in the lovely caves of the Govardhana
mountain*
52. She, with a navel beautiful like a watery eddy, destined
to be the wife of another, passed by that king; just as a river,
proceeding to the sea, passes by a mountain it meets with in its
course.
Thereafter, when the young damsel, with a face like the
53.
fullmoon, had approached the King of KaliQga, Hem&rigada by
name, whose arms were elapsed by armlets, and who had
destroyed his foes, the maid thus addressed her
54. This king, equal to the mountain Mahendra in strength,
is alike the lord of Mahendra and the sea; in his hostile
expeditions Mahendra himself seems to march in the van under

the disguise of his ichor-dripping war-elephantf.
55.He, with beautiful arms, and the foremost of archers,

hears on his forearms two scars made by the bow-string, as if they
are the two pathways, besprinkled with tears mixed with colly^
rium of the Fortunes of his foes made captives by him.
—
C^nto YI. ] ( 49 )
- 56. Him sleeping iu his palace the sea itself, being near,
awakens from sleep,— the sea whose waves are visible from the
windows of his palace, and which, by its deep roar, has rendered
the morning trumpets unnecessary.
57. (You should) Sporl with him on the shores of the sea, full
of the rustling sound of the forests of palms while the drops of ;
T:)eTSpiration (on your body) will be removed by breezes wafting
clove- flowers from other islands.
58. Though thus tempted by her, the younger sister of the

\'idarbha king, who was capable of being attracted by (real)
beauty, turned away from him, as the goddess of wealth
tuins away from an unlucky man, howsoever far she may be
drawn towards him by his politic measures.
59. Now coming to the lord of the city known by a serpent's
name (Nagapattana), who was like a god in beauty, the female
door-keeper (Sunand^) having previously addressed the princess^
of Bhoja with the words 'Look this way, O you with eyes like
those of a ckakora *, spoke to her as follows

60. This is the king of the Paodus, who, wfth a long pearl-
necklace hanging down from his shoulders, and his body besmear-
ed with powdered saffron (or red sandal), looks like the lord of
mountains (Himalaya) with its peaks steeped in the morning
sunlight and with rills flowing down its slopes.
61. The saint Agastya, who checked the upward growth of the
great mountain Vindhya and who drank to a drop and then ejected
the whole ocean, asks him, from affection, when hisbody is we^
with the concluding bath at an Asvamedha sacrifice? if the
ceremony of ablution has been properlj^ performed.
62. In days gone by, the haughty lord of Lank^, fearing lest
Janasthana might be destroyed (ia his absence) by this king who
had obtained from S'iva a missile unattainable by any one else,
made peace with him and then set out for the conquest of Indra's
world.
63. When your hand will have been duly accepted by this
prince, born of an illustrious race, you like the great earth wiU
be the co-wife of the southern region, encircled, as by a waist-
hand, by the sea abounding in gems.
(50) [ Canto Vi.
64. Be pleased ever to amuse yourself in the sites of the Ma-

taya mountain, where the areca-palms have the betel-nut creepers
twining round them, where the sandal trees are encircled by the
<:ardamom creepers, and where the ground is overspread with
Tam3,la leaves.
65. This prince has a bodily frame as dark as the blue lotus,
while your slender form rivals in fairness the gorochana (a yel-
low pigment); let there be a union between you two that it may
•enhance each other's beauty, like that of lightning with a cloud.
66. Her advice found no entrance into the heart of the sister of
the Vidarbha king; jnst as a beam of the lord of stars (the moon)
findsno room in the (day-) lotus with its petals closed into a bud
dn the disappearance of the sun.
67. Whatsoever king the maiden intent on choosing her hus-
band passed by, like the flame of a moving lamp at night, that
same king turned pale, just as a mansion situate on the highway
is shrouded in darkness when left behind (by a moving light/.
68. When she approached the son pf Raghu, he became un-

easy at heart, as to whether she would choose him or not; but
his arm, other than the left, (;.«., the right one) dispelled ad hiK
misgivings by its throbbings at the place where the armlet is
worn.
69- On coming up to him faultless in every part of the body,
the princess desisted from going to any other prince; for, verily, a
row of black bees never has the desire go to any other
to tree
when it has once reached the Sahak^ra (mango) tree in full
blossom.
70. Having observed that Indumati, bright as the moon, had
her heart riveted upon him, Sunandd, who was versed in the
art of giving a well-arranged accounti delivered the foUowin.!^
speech in detail.
71. There lived a monarch, of the I'kshvdku race, the most

eminent of kings, who was distinguished by the title of Kakutshrn
(or, after Malli, Kakutsta by name and renowned for his virtues).
It is from him that the lords of the Northern Kosalas, of high
aspirations, bear the proud patronymic of Kikutshta.
72. He, riding in battle the great Indra in the form of a

huge bull,and imitating the grace of S'iva, made, by means
Caato VI. ] ( 51 )
of his arrows, the large (beautiiui) cheeks of the asura females

destitute of ornamental paintings.
73. was he who shared with the Cleaver of the mountains

It
(India) half of his seat, even when he had re-assumed hisown noble
form, rubbing his own armlet against that of the god, loosened on
account of his stroking Airdvata (the celestial elephant). .
74. In his race was born, we are told , the widely renowned
Dilfpa, the light of the race, who stopped short of performing a
hundred sacrifices by one, in order to avert the jealousy of Indra.
75. When he was reigning over the earth, even the wind dared
not displace the garments of drunken women fallen asleep on the
road when on their way to the house of merriment ; who could

then stretch forth his hand for theft ?
76. His son, Raghu, now dominions ;he, who

rules over his
performed the great sacrificeand thereby reduced
Visvajit
his wealth amassed from the four quarters to the residue of a few
earthen pots.
77. His fame has gone up to the mountains, descended to the
seas, entered the nether world, the dwelling-place of the serpents,
and has found its way to heaven ; thus spreading without
cessation it is quite incapable of being exactly gauged.
78- This prince, Aja by name, is born of him, as Jayanta i.s
born of the lord of the three worlds (Indra); he, the heir -apparent,
sustains the heavy yoke of the earth, along with his father accus-
tomed to the task, like a young bull with one broken to the yoke.
79. Do you choose him who is your equal in birth, beauty and
youth, and in those various virtues of which modesty is the chief;
let the jewel be matched with gold.
80. Then at the conclusion of Sunand^'s speech, the princess,

lessening her bashfulness, accepted the prince, by casting at him
a bright glance of joy, as if with the marriage-garland.
81 . Through her maidenly bashfulness the princess could not
give expression to the love she felt for the young prince; but the
love of that curly -haired damsel, piercing through her slender
frame, manifested itself in the guise of her hair standing on end.
82. The cane-staff-bearer (Sunandd), her companion, finding

her friend in that state, said in jest: "Noble lady, kt us go tc
R. T. 7
(52) [Canto. Vli.
another ;" thereupon the bride looked at her with a frown of dis-
pleasure.
S3, She with beautiful thighs (Hi. whose thighs were compara-
ble to the forearm), caused the bridal garland, red with the auspi-
cious powder, to be properly placedround the neck of Raghu's
son,which looked like the very embodimen* of her love, by the
hands of her nurse,
84. By that garland, strung with auspicious flowers, and
hanging on his expansive chest, the eligible prince almost felt
that the younger sister of the Vidarbha king had thown her
delicate arms round his neck.
S5. "Here is moon-light united with the moon freed from

clouds ; here Ganges descended to the sea, the worthy recipient
is the
of its water;" these were the unanimous words, so harsh to the
ears of the kings, which the citizens, delighted at the union of the
two of equal merit, uttered there.
86. That assemblage of kings, having on one side the
party of the bride-groom transported with joy, and on the other
looking sad ( with disappointment and despair ) was like a lake,
atday-break, having full-blown lotuses at one place, and the
night lilies gone to sleep (closed) at the other.
CANTO VIL
1. Thereafter the lord of the Vidarbha country took with him

hts sister united with a worthy bridegroom, like Dsvasen^ hersel
\Tniied with Skanda, as it were, and bent his steps towards the
entrance of his city.
2. The (other) lords of the earth too, with their brightness
dimmed like that of the morning stars, went to their respective
camps, reproaching both their personal beauty and dress, having
been disappointed in their hopes with respect to the princes^
of Bhoia.
3. Verily owing to the presence of S'achJ at the spot there was
an absence of those who would disturb the ceremony of self -elec-
tion-marriage ; it was on account of this that the host of kings,

though full of jealousy towards the descendant of Kakutsha, re-
mained quiet.
'
0%nto VII. ] ( 53 )
4.In the meantime, the bridegroom accompanied by the bride

reached the royal road, which was decked all over with fresh
decorations, which was marked by ornamental archways radian^
like rainbows, and which had the sunlight kept off from it by the
shade of banners.
5. Then the fair women of the city, setting aside all othe^
<x:capations in their eagerness tohave a look at the bridegroom
acted in the following manner, in mansions having lattice-window"
ot gold.
6. One window did not at all

lady walking with haste to the
up again her mass of hair, the wreath of flowers from
think of tying
which had dropped down on account of its knot having got
loosened though she held it with her hand, until she reached the
window.
7. A certain by her dressing
lady, snatching her forefoot held
raaid, while the red paint on was yet wet,
it and giving up hei
graceful gait, stretched out a line of foot- prints marked with red
lac as far as the window.
S.Another lady, having adorned her right eye with collyruim

while her left eye was yet without it, went, in that very state, to
the vicinity of the window, holding (in her hand) the painting
stick.
Another of the fair sex, who was looking through the lat-
9.
window, did not tie up the knot of her wearing gar-
tices of the
ment, loosened by her (hasty) movement; but stood, holding up
her garment with her hand, the lustre of the ornaments put upon
it entering her navel.
10. The half-strung waist-band of another lady who rose in
haste, the jewels of which dropped at every ill-placed step, had
at last only the bare thread left of it, fastened round the big toe,,
at the time.
11. The windows, having their holes filled up with the faces of
those ladies full ot intense curiosity, having the smell of wine
within and the rolling eyes for black bees hovering about, seemed
to be decorated with so many lotuses-
12. Those ladies drinking, as it were, with their eyes the son
of Raghu, did not attend to any other object (at all) ; thus the
functions of their other organs of sense seemed to be transferred
to their eyes.
(54) [Canto VI f.
13- "It was tight that the princess of Bhoja's house, thougli
sought in marriage by princes whom she had never seen, thought
self~election to be well for her; how, else, could she have obtained
a husband worthy of her, as Lrakshrat obtained Nftraya"! (for
her lord) ?
14. It the lord of creation had not united together Ihe couple-
possessed of mutually enviable beauty, all in vain would have
baen the trouble taken by bim in bestowing such exquisite beauty

upon these two.
15. Certainly these two are Rati and her consort, the god of
love incarnated in a mortal form ; this is why the maiden has
selected one who is a counterpart of her own from among
self,
thousands of kings ; for the mind is aware pi union formed in «

previous birth (life)."
16. Hearing these words pleasing to the ears, uttered from the
mouths of the ladies of the city, the prince (Aja) arrived at the
house of his relative, adorned with auspicious decorations.
17. Then having quickly alighted from the she-elephant seiz-

ing the hand stretched out by the lord of the Kimariipas, he
entered the inner qradrangular courtyard* shown by the
Vidarbha king, as if he entered the heart of the ladies (assembled
there).
18. Seated on a costly throne, he accepted the offerings of

worship with jewels and mixed with the Madhuparka (an oblation
coasisting of curds, milk, honey &c.) and a pair of silk garments
presented by Bhoja, as also the glances of the beautiful ladies.
19. He, dressed in silken garments, was led near the bride by
the well-behaved keepers of the harem, as the (water of the) sea
with its cleat lines of foam is carried on to the shore by the new
rays of the moon.
20. There the revered priest of the Bhoja king, almost eqtmlto
fire in effulgence, presented offerings of clarified butter and other
things to the sacred and having made it a witness to the
fire,
marriage rite, united together the bride and the bridegroom.
21. That prince, holding the bride's hand with his own, looked
still more beautiful, like the mango-tree, after it has reached the
tender leaf of a neighbouring as'vka tree by means of a correspond-

ing leaf of it« own.
.
Uanto VII. ;\ ( 55 )
22 The hair on the wrist of the bridegroom stood on end

while the fingers of the bride became moist with perspiration so ;
itseemed that by the joining of their hands, the action of love

was, at that moment, equally divided between them.
Their eyes eagerly longing to see each other which were

23.
casting sidelong glances but were withdrawn the moment they
met, experienced a charming constraint of bashfulness-
24. By going' round the blazing fire keeping it on their right

side, that couple, now united to each other, glowed like day and
night revolving round Meru, and following each close upon the
other.
25. The bashful bride, with heavy (fully developed) hips and
eyes like those of an impassioned chakora bird, being directed by
that spiritual guide (of the royal family), the very image of
Brahma, made an offering of fried grain to the (sacred) fire.
26. There issued from the fire the holy smoke charged with
the smell of oblations, S'arai leaves and fried grain ; which, ag
its spire passed by her cheeks, served for a moment the purpose of
blue lotuses worn (as ornaments) on the ears.
27. By the inhalation of the smoke as required by religious
custom, the Jface' of the bride had her eyes troubled with thp
moistened collyrium, the barley sprouts worn as ear ornaraentc
withered, and the lovely cheeks rendered reddish white.
28. Then the bride and the prince, seated on a golden seat, had
wet whole rice applied to their foreheads, in order, by the holy
BrahmaPas ('particular householders, according. to Malli. ), by
king Bhoja with his kindred, and by the matronly ladies having
their husbands and sons living.
29. Having thus finished the connubial rite of his sister, the
opulent monarch, the light of the race of Bhoja, ordered the
officers to honour every one of the (other ) kings separately.
30. Those (kings) concealing their malice by externa^

signs of joy, and resembling (thereby) clear lakes with alligators
hidden from view, bade adieu to the king of Vidarbha and depart-
ed, having requited the honour done to them by him under the
guise of ( wedding ) presents.
31. That multitude of kings, who had preconcerted a plan fot
the accomplishment of their object, remained barring the path Of
(56) [OintoVU.
Aja, desirous of seizing that bait of a damsel ( the coveted obiect

of all) to be secured at the right time.
32. The lord of the Krathakais'hikas too, in the meantime,

having completed his younger sister's marriage-ceremony, and
having made a dowry of wealth such as befitted the magnanimity
of his heart, permitted the son of Raghn (to return home) and
himself also followed him.
33. The lord of Kundina, having passed three nights on the

way with Aja, renowned in the three worlds, turned back from
him, as the moon recedes from the sun at the end of the conjunc-
tion.
34. The kings, one and all, had already been mightily incens-
ed against the lord of the Kosala country, having been despoiled
of their wealth by him; and hence they, now unjled, could not
bear the acquisition of that jewel of a maiden by his son.
35. That haughty host of kings obstructed him on the way, as

he was taking with him the princess of Bhoja's house, as the
enemy of Indra (Prahldda) had intercepted the step of Trivikrama,
when accepting the wealth presented to him by Bali.
36. The prince ordered his father's minister, assisted by not a
-small (r. c. sufficient) number of troops (or, who was no ordinary
warrior) to protect her (his bride) and himself received that army
of kings, as the river S'ona, tossing high its waves, meets the
river that takes its name after Bhagiratha (the Ganges ).
37. The foot-soldier fell on the foot-soldier (of the hostile party),
the chariot -warrior on the chariot -warrior* the horseman on the
fighter seated on ahorse, and the elephant driver on the combatant
mounted on an elephant; thus a fight ensued in which the
antagonists were of equal rank.
38. As the trumpets sounded, the warriors fighting with bows,

whose voices could not be understood, did not declare the designa-
tions of their families; but they made known their noble name by
means of the characters inscribed on their arrows.
39. The dust, that was raised on the field of battle by the
horses, thickened by the wheels of the array of chariots, and
spread about by the flappings of the ears of the elephants, screen-
ed the sua in the manner of an awning.
Canto VII. ]
(57)
40. The fish-shaped flags with their mouths opened by the

force of the wind, and taking in the thickened dust of the army,
looked like real fishes drinking the new muddy rain-water.
41. The cloud of dust growing dense, the chariot was known
by the rattling and the elephant by the tinkling ot
of the wheels,
his moving bells while the distinction of friend or foe was made
;
by the declaration of the master's name.

42. As on the battle-field there spread the darkness in the
form of dust obstructing the sight, the stream of blood, gushing
forth from the bodies of horses, elephants and warriors, (who were)
wounded with the weapons of war, arose like the morning sun
dispelling the darkness.
43. The column of dust, having its base cut off by the blood,
and tossed about by the wind above it, looked like the previously
arisen smoke of a fire now reduced to (a few) burning embers.
44. A| the end swoon caused by a blow, the chariot-

of the
warriors protected in the chariots (being removed from the battle-
field) took their charioteers severely to task, and making them
turn back the horses (towards the field of battle), furiously attack-
ed those very (antagonists) by whom they had been wounded and-
whose they had previously marked.
flags
45. The arrows discharged by dexterous archers, though cut
down in the course of their flight by the arrows of their adver-
saries, reached the mark aimed at with their first halves tipped
with iron, by reason of the continuation of their original velocity.
46. In the elephant fight, the heads of the drivers though
severed by quoits having razor-like edges, fell down alter a long
time, the hair on them being entangled in the pointed extremities
of the talons of the hawks (hovering above).
47. The horseman who was the first to strike did not again
strike at his adversary unable to return the blow, but waited, un-
til the latter, with his body reclining on the neck of his horse,
came back to his senses.
48. The terrifi -d elephants quenched with the spray from their
trunks the fire that was struck out, as the uiKheathed swords of
the armoured warriors fighting desperately fell on their huge
tusks.
49. The battle-field looked like the very wassail -ground of
Death, rich in fruits in the form of tbe heads of warriors severed"

( 58 ) [ Canto VIT
by arrows, having the helmets scattered abc»ut for so many drink-

ing cups, and with a stream of blood for wine.
50. A female jackal snatched from the birds a severed arm,

from the extremities of which flesh was pecked up by them; but
though fond of flesh, she flung it away, the roof of her palate
being wounded by the armlet worn on it.
51. A certainwarrior having his head severed off by his ad-
versary's sword instantly became the master of a celestial car.
and with a heavenly nymph clung to his left side beheld his own
headless trunk dancing about on the battle-field.
52. Two other chariot- warriors, by their each killing the cha-
rioteer of the other, themselves became the charioteers and the
car-fighters; their steeds being slain, they engaged in a prolonged
combat with their clubs; and these weapons also being brokeut
they fell to fighting hand to hand.
53. Two heroes, who, being struck by each others* breathed

their last at one and the same moment, maintained a quarrel
even in their immortal state, both having set their heart upon the
same nymph (or rather, both being courted by the same

celestial
heavenly nymph).
54. The two arrays of forces obtained from each other fluctu-
ating defeat and victory; just like two waves of the mighty main,
swelling up as a backward and forward gale blows alternately.
55. The mighty Aja, though his army was worsted by the
enemy, charged the hostile force nevertheless smoke may be ;
turned back by the wind, but the fire proceeds in that very
direction where the straw is.
56. That peerless warrior, seated in a chariot, with a quiver
behind, clad in mail, holding a bow in his hand, and high-spirit-
ed, repelled the foe; just as the great boar (Vishnu's incarnation)
drove back the oceanic waters overflowing their bounds at the
final destruction of the universe.
57. When engaged in battle he was seen putting the right nor
the left hand into ( or, after Malli, — beautifully moving his right
hand abont) the mouth of the quiver; it seemed as if the bow-
string of the warrior, once drawn to his ear, produced anows that
could kill his foes.
58. He strewed the ground with the heads of his foes which
were severed from the throats by broad -bladed arrows, which
—
Canto VII. j ( 59 )
had their lips excessively red being bit in rage, which bore frowns^
upon them with lines prominently visible, and which had still
the sound of defiance within.
59. Now in the fight, all the kings with all efforts (or all
their might ) attacked him with all the constituent parts of their
armies, the war elephants being the chief among them, and us-
ing all weapons, powerful enough to pierce through the coat
of mail.
60. His chariot being covered with volleys of missiles, he
could be distinguished only by the top of his flagstaff, just as the
forepart of the day, obscured by the mist, is known only by the
faintly shining sun.
61. The prince, the son of the universal monarch, handsome
like the flower- shafted god and always wide awake (on the alert),
employed against the kings the sleep-inducing missile, presidedd
over by a Gandharva, which he had obtained from Priyamvada.
62. Then the army of the lords of men stood (including them-
selves) overpowered by sleep, their hands not able to draw the
bow, their helmets slipping disorderly on one shoulder and their
bodies reclining against the flagstaffs.
63. Then the prince put the coach to his lips, the flavour of
which was the property of his beloved, and blew it by which (act)
he, a matchless warrior, seemed to be drinking his own embodied,
fame, as it were, earned by the might of his arms.
64. His own warriors, who now returned on recognising the
sound of the conch (blown by Aja), saw him in the midst of his
slumbering foes, like the shining image oi the moon in the midst
of closed lotuses.
65. He caused to be impressed on the banners of the kings, by-
means of the points of the arrpws dipped in blood, the following
words; Your glory has now been taken away by the son of
'
Raghu, but not your lives, through mercy.'

66. He, with one arm placed on the extremity of his bow, the
lie of his hair loosened by the removal of the helmet, and his
brow covered with perspiration brought on by fatigue, came to

his terrified spouse and spoke to*her
67. lyook, O princess of Vidarbha, I give you permission to
do so, at our enemies, who can now be despoiled of their weapons
even by a child; it is by warlike acts like these that yon, come
into my possession, are sought to be snatched away by them!
R. T. 8
( en ) [ Canto VIII.
68. Her face, at once freed from the sadness arising from the
enemy, glowed with joy, like a mirror with its natural brightness
restored to it by the disappearance of the moisture caused by
breath.
69. Though delighted yet overcome by bashfulness, she
congratulated her beloved lord not herself, but by the words of her
female friends, just as a natural site, sprinkled over with the
drops of fresh rain water, hails the train of clouds by the notes of
the peacocks.
70. Thus he, free from blemish, having placed his left foot on
ihe heads of the kings {t. e. having inflicted upon them a shame-
ful defeat ) conducted (home ) his faultless bride; and she herself
became the goddess of his martial victory, embodied in a corpo-
real frame, with the ends of her hair rendered rough by the dust
raised by the chariots and horses.
71. Raghu, who knew every thing beforehand, greeted his
son as he came back victorious, accompanied by his laudable
bride; and then having made over to his son's care the household
became eager to pursue the path of tranquillity; for the descen-
dants of the solar dynasty are never for ( never wish to cling
to ) the household, when there is one able to bear the yoke
(burden) of the family.
CANTO vin.
1. Now, while the prince yet wore the graceful marriage-
string, the king made over to him the earth also, like another
Indumati.
2. Verily other princes strive to gain possession of a kingdom
even by foul means; but the same, Aja accepted, when it came
to him, simply in obedience to his father's command, and not out
of thirst for enjoyment.
3. Having undergone the ceremony of sprinking along with
him (r- f. the prince Aja, at the time of his coronation ) with the
water consecrated bj' Vasish/'ba, the Earth expressed as it were
the gratification (of her wishes) by her clear (white) exhalations.
4. All the rites (connected with his coronation ceremony )
being performed by (Vasish/ha) his spiritual guide, he became
unassailable to his enemies; for it is a union of fire with wind that
Cento VIII. ] (61)
the Brahmanical power should be combined with the martial spi-

rit of the Kshatriya class.
5. The subjects looked upon their new sovereign as Raghu
himself restored to youth; for he not only inherited his regal for-
tune but also all his virtues.
6. Two things only, being united with two other blessed
things respectively, looked peculiarity beautiful; viz. the prosper-
ous ancestral kingdom by its union with Aja, and his youthful
•agewith his modest conduct.
7. He, though powerful, enjoyed (governed) the Karth, that
had recently come under his sway, with a tender heart, like a
newly wedded spouse; lest by his violence she might take fright.
8. *
I am
the king's favourite' so thought every one of
alone
his subjects; for no contempt was ever shown by him to any one,
as there is none shown by the sea to any one of hundreds
-of rivers.
9. Neither too severe nor yet too mild, but pursuing a middle
tourse of policy, he made the kings bend before him without de-
throning them; just as a moderately strong gale bends down the
trees but uproots them not.
10. Now Raghu, finding that his son was firmly
the king
established among îs
(mijaisters) and subjects, became indiffer-
ent to the objjî^Cbe'^pJeasure, even though situated in heaven,
which are perishable by nature.
11-. For verily the descendants of Dilipa's race, when they
grew old, transferred the royal fortune to their accomplished sons,
and curbing their passions, betook themselves to the life of an-
chorites, wearing garments of the bark of trees.
12. The
son (Aja) with his head adorned with the royal turban
prostrated at the feet of his father who was about to repair to the
forest,and begged that he should not be abandoned.
13. Raghu, who tenderly loved his son, granted that desire of
him whose face was covered with tears, but did not resume his
kingly fortune, once abandoned, just as a serpent does not put on
the slough it has once cast off.
14. He, having entered the last stage of life, lived, it is said,
in aconvent outside the city, where he was served, his senses not
being affected, by the goddess of the royal fortune, a!^ by a
daughter-in-law, enjoyable only by his son.
( 68 ) [ Onto VIII.
15. That with the rtd king leading

illustrious (royal) family,
and the new king just entered upon
a life of spiritual tranquility,
his kingly career, was comparable to the sky with the moon al-
most set and the sun newly risen.
16. Raghu and his son, bearing (respectively) the emblems of
the ascetic and the king, seemed to the people like the portions
of thetwo dharmas (duties), come down to the earth, whose re-
wards are final emancipation and earthly glory.
17. For the acquisition of what was (yet) uuconquered, Aja
took companions ministers well- versed in politics: while
for his
Raghu, in order to reach the state which is not subject to decay

(salvation), associated himself with contemplative ascetics who
had got true insight into Yoga and who ever spoke the truth.
18. The youthful king took his judgment seat in order to look
into (the affairs of) his subjects; while the aged monarch seated
himself, in solitude, on the holy seat of the Kus'a grass in order to
practise the abstract concentration of the mind.
19. The one (Aja) by the super-eminence of his sovereign

power reduced to submission the neighbouring princes; while the
other ( Raghu) by virtue of his constant metaphysical exercises
brought under his control the five vital airs existing in the body.
20. The new king completely reduced to

foiled the efforts (lit.
ashes the fruits of the undertakings) of his enemies; while ttie

old one engaged himself in burning down (/. i, completely an-
nihilating), by means of the fire of knowledge, the fruits of his
own actions.
21. Aja employed the six expedients beginning with peace,
with a due regard to their results; Raghu, on his part, who re
gaided gold and a clod of earth as eqaal, established his mastery
over the three primary principles, the constituents of Prakrti.
22. The new lord, steady in action, did never desist from his
undertakings until they bore fruit; nor did the lord other than the
new one, firm in mind, desist from the practice of holy medita-
tion, until he obtained a vision of the Supreme Spirit.
23. Thus the two (Aja and Raghu), who were watchful of the
enemies and senses (respectively) whose course was checked, and
who were bent on (attaining) prosperity and absolution, obtained
their (respective) desired objects (lit. obtained the complete
attainment of their desired objects).
Canto VIII. ] ( 63 )
24. Then Raghu who regarded all beings with an equal eye
passed some years out of regard for (the desire of) Aja and then
obtained, by means of profound contemplation, the Supreme

Spirit that is imperishable and that is beyond mental darkness
(illusion).
25. The son of Raghu, who had kept the sacred fire, hearing
abandonment of the body, shed
of his father's tears for a long time
and (then) performed, in company of ascetics, his funeral rites
without (the use of) fire.
26. He who knew the procedure in obsequial rites performed

the funeral rites of his father through devotion to him: for those
who resign the body in that way have no desire for (do not stand
in need of) the oblations offered by their sons.
27.He, whose mental affliction was assuaged by men knowing
the highest truth by pointing out to him that one who had gone
to the highest (obtained salvation) should not be grieved for, and
whose bow was strung, brought the world completely imder the
sway of one rule (lit. made the world destitute of a rival
authority ).
28. The Earth and Indumatt having obtained for their husband
him whose manly powers were of the highest kind, the first
produced various jewels while the second gave birth

to a warlike son.
29. (A son) whose lustre was comparable to that of the
thousand -rayed one (the sun), who was known over (all) the ten
quarters on account of his fame, and whom the wise knew by the
name of Ratha with Das'a prefixed to it and as one who was
' ' ' '
the father of the enemy of the ten-necked RSvana {i.e., RS,ma).

30.That king, who had absolved himself from the debt due to
the sages, the gods and the manes, by learning, (performance of)
sacrifices arid issue (respectively), shone like the sun released
from the misty halo. -
31 His power was

. for allaying the fears of the distressed and
his great learning for showing reverence to the learned; thus, not
only the wealth of that king but even his possession of good
qualities was (meant) for the benefit (good) of others.
32. Once upon a time that king, who protected his subjects
and who had a noble son, sported with his
garden of queen iu the
the city, just as the protector of the gods {i.e. Indra) does in
company of S'achf in the Nandana garden.
((;4) [Canto VIII
33. Now (at this time), Narada was passing along the path of
the sun's return from the north to wait upon, with the music of
his lute, the God Siva who had taken up his residence in the
temple at Gokari.'a on the shores of the southern ocean.
34. It is said that an impetuous blast took away, as if through
the desire for its fragrance, the garland made of celestial flowers
which was placed (hanging) on the top of his lute.
35. The lute of the sage, which was surrounded by bees follow-
ing the flowers, appeared, it were, to be shedding tears
as
caused by the violence done by the wind and mixed ( lit. soiled )
with collyriuni.
36. The heavenly garland, which surpassed the vernal splend-
our of the creepers by means of its excessive honey and fragrance,
obtained a good place ( or, a firm footing) on the nipples of the
large breasts of the king's beloved.
37. The beloved wife of the king, agitated at the sight of the
garland, the momentary companion of her well-formed breasts,
closed her eyes in death (died) like moonlight when the itioon is
taken away (t. e. totally eclipsed) by R^hu.

38. While falling herself with her body forsaken by the senses,
she made her lord (husband) also drop down. Verily, the flame of
a lamp comes to the earth along with a drop of dripping oil.
39. Frightened at the confused cries of distress of the servants
o£ them (both), the birds which had taken their al>ode in the
(collection of) lotuses began to cry, as if they were their fellow-
sufferers (in sympathy, as it were ).
40. The swoon of the king was removed by means of fanning,
and the like, but she remained in that very state ( of Hfelessness '
)
The application of a remedy is successful only when there Is a

residue of life.
41.The king, who was very fond of his wife, having held her
up, whose condition, on account of the loss of life, resembled that
of a lute which is to be stringed, placed her on his lap to which
she was familiar.
42. Her husband appeared, on account of her who was lying
on his lap and whose complexion had faded owing to the loss of
the senses, like the moon at dawn bearing the dim deer-like mark.
43. Having given up even his natural firmness he began lo cry
in accents choked by tears ( in a tone faltering through the flow ol
)
:
tears). Even iron (when) heated becomes soft; what need we

(then) say of those possessing bodies?
44. Alas ! If even flowers can take away life by ( coming in
contact with the body, what else will not be the weapon of Fate
wishing to strike ( kill ) ?
45. Or, the God of death (lit. destroyer of the people ) under-
takes to destroy tender things by means of tender things alone.
The lotus plant which is destroyed by frost I consider as the first
instance of this.
46. If this wreath has the power to take away life, why does it.
not kill me, (when) placed on my breast ? By the will of the Al-
mighty even poison sometimes becomes ( is changed into ) nectar
and nectar poison.
47. Or perhaps, through the adverseness of my fate, the
Creator has created this (strange) thunderbolt, since the tree was
not felled down by it while it cut ofi the creeper twining round
its branches.
When you did not long show disregard towards me
48.
even when I had given offence, how (is it) (that) all at once you
do not consider this person ( i. e. myself) who is quite innocent
as worthy of being spoken to ?
49. O lady of pleasant smiles, you really think nie lo be a

rogue falsely making love, since you have gone to the other world,
never to return, without bidding me farewell.
50. If this wretched life of mine followed my beloved first, why
has it returned without her ? Let it (then) su3er the grief, intense
on account of its own action.
51. Even the drops of perspiration brought on by the fatigue
of enjoyment remain on your face
(still) whereas you yourseli ;
are gone (dead) upon this transitory state of living beings

; fie !
52. Never before have I done, even in thought, anything dis-

agreeable to you why do you then abandon me ? Really I am
;
lord ( husband ) of earth in name only my love springing from ;
(or deepened by) real internal feeling is centred in you.
53. O lady with thighs (tapering) like the fore -arm, the wind.,
shaking your curly hair, dark like the bees and set (adorned) with
flowers, makes my mind hopeful of your return (to life).
54. Therefore, O my beloved, be you pleased to remove my

brief quickly by awaking, just as the herb at night dispels the
darkness in the caves of the Himdlaya by its light.
(66) [ Canto Vill.
55. This face of yours with the hair waving and with the
speech completely stopped pains me (causes distress) like a single
lotus closed at night and having the humming of the bees in the
interior suspended.
56. The
night comes back again to the moon, and its mate to
the bird that moves about in pair (the Chakravdka); they are here-
fore able to endure the period (duration) of separation. But how
will you, who have gone never to return, not burn (pain) me ?
57. O lady with beautiful thighs, me), how that delicate

tell (
body of yours, which would be pained even when placed on a bed

of tender sprouts, will bear ascending the funeral pyre.
58. This your first companion in private, which is
girdle,
(now) noiseless on account of the cessation of your sporting gait,
does not appear not to have followed, through grief, you who are
sleeping not to awake again.
59-60. It is true that although you were desirous of (going to)
heaven, you kept here, out of regard for me, sweet voice in the
cuckoos, the gait slow through intoxication in the female swans,
tremulous (sprightly) glances in the deer, and amorous sports in
the creepers shaken by the wind but they are not able to support
;
(i.e. soothe) my heart which is heavily grieved (lit. whose

ttorment is great) at your separation.
61. The mango-tree and the Priyahgu creeper were, O dear
one, fixed upon by you for (or intended as ) a couple. It is then
improper for you to go without having celebrated their marriage
ceremony.
62. How shall I use for the funeral offering the flowers ( lit.
•make a garland of the flowers to be used at the funeral) which
this As oka tree, whose longing was gratified by you, would put
iorth and which would have been (were you living) an ornament
ior your hair ?
63. O lady of fair form, you are mourned by this As'oka
tree shedding tears in the form of flowers as if remembering the
tavour of (the touch) of your foot (no more to be got), in which
the anklet was jingling and which was difficult to be obtained
by any one else.
64. Ohlady of Kinnara-like voice, why have you slept without
finishing the pleasure-girdle half wreathed (by you) in my com-
pany with Baktila flowers imitating your breath (in point of ir»g-
xance )?
OantoVIIL] (67)
65. Your (female) friends are your companions in joy as Well
as in sorrow; this son (of yours) resembles the moon of the first
day (of the month) my love is centred wholly in you: still your
:
behaviour (action) is cruel owing to your resolution.

66. To-day all my self-command has vanished; my sports (joys)
are at an end; music is stopped the season is without gaiety;
;
ornaments are without their purpose and my bed is quite empty.

67. (You were) my wife, my counsellor, my confidential friend,
and my charming arts; tell me, what I am
favourite pupil in the
not deprived by the God of Death who being averse to pity
of
has taken you away from me.
68. O lady with bewitching eyes, having (first) drunk sweet
wine from my mouth, how, indeed, will you drink just after that
the libation of water, (reaching you in the other world) sullied
by my tears ? .
69. Although there is abundance of wealth, the happiness of

Aja, bereaved of you, should be considered (to be) of this extent,
(ending here) only. All the pleasures of me who was not attracted
by other temptations depended on you.
70. The lord of the Kosalas, bemoaning (the loss of) his wife
in this pathetic strain, made even the trees pour down a heavy
shower of tears in the form of the exudations of the branches.
71. Afterwards, his relatives, having removed with great dif-
ficulty the (body of) that fair lady from his lap, consigned her.
who was adorned with funeral decorations, to fire having the
aloe wood and sandal wood for its fuel.

72. The king did not consign his body to flames along with
(that of) the queen, seeing that there would be the scandal that he,
a wise (or, being a) king, died after his wife through grief, and not
because he desired to live (any longer).
Afterwards, the rites which were to be performed after
73.
the expiry of ten days, in connexion with his wife, whose virtues
only remained, were finished in great afliuence ( magnificence )
by that wise king in the very garden of the city.
74. He (the king), who without her appeared like the moon
at the close of night, entered the city, seeing, as it were, the out-
flow of his sorrow in the tears on the face of the women of the
city.
75. It is said that the (royal) preceptor (family priest), who
was initiated for a sacrifice and who was staying at his hermitage,
R. T. 9
(88) [Canto VIII.
learnt (came to know) by means of abstract contemplation that he

(Aja) had been stunned by the great shock, exhorted him through
his pupil (disciple, who spoke) thus: —
76.Although the sage knows the cause of your grief, he has
not come personally to restore you to your natural state from which
you have fallen, since he has not (yet) finished the sacrifice.
77. O righteous (virtuous) king, his few words of advice (lit.
his speech containing a brief message) are entrusted to me ( for

communication to you) hear them, O king, whose great mental
;
strength is well-known; you should please treasure them in your

heart.
78. The sage sees by his unobstructed eye of knowledge the
triad — the past, the present and the future — in the three worlds
(lit. steps of the God who is without birth).
79. It is said that, injformer times, Indra, afraid of Tvinabindu
practising hard penance, sent (against) him the celestial womar
(Apsaras), named HarinJ, (able) to disturb his contemplation.
80. The sage, throughrage which was caused by the obstacle
to hispenance and which was a destructive wave to the shore of
his mental tranquillity, cursed her, who exhibited before him her
lovely amorous flirtations, in this (following) way: ** Be
you a
—
woman on the earth."
81. "Revered sir, this person is entirely dependent on another;
( be pleased to) forgive my offensive conduct" : when ( she )
humbled (herself) in this way, he made her a denizen of the

earth until she saw heavenly flowers.
82. That (nymph), born in the family of the Krathakais'ikas.
became your queen, and having after a long time got the means
of the end of the curse, dropped down from the sky, died.
83. Enough then of thinking of her loss. Death falls to the lot
of all who are born. This earth should be protected by 3'ou :
for the Earth is the real wife of kings.

84. Avoiding the censure of being called arrogant when good
fortune smiled upon you, you showed by your self-possession
(the good effects of) your knowledge: now that mental pain has
be-fallen you, you should boldly show it again.
85. How can she be obtained by you (by) crying ? She can-
not be obtained by you even by dying after her. The paths ot
persons going to the other world are different ( lit. in different
directions ) according to their actions.
),
Canto VUL] (69)
86. With your mind relieved of its anguish, (you should)

favour your wife by offering libations of water, &c. Indeed, they
( the sages ) say that the continual flow of the tears of relatives
burns the deceased.

87. Death is said by the wise (to be) the nature of those who
are endowed with a body, and life an accident. If a creature lives
breathing even for a moment, he is really a gainer (blessed).
88. An ignorant person looks upon the loss of a dear person
as a dart fixed (implanted) in his heart; while a wise man regards
the same as a dart extracted (from the heart) on account
of its being a way leading to (z. e. means of obtaining) absolution
( lit. happiness).
89. Since even the body and soul of a person are known to be
joined and disjoined, say (tell me), how, indeed, separation from
external objects should pain a wise man.
90. O you, (who are) the best of those who have subdued their
passions (the best of the self-possessed), you ought not to become
subject to grief like an ignorant (ordinary) person. What is ( or
would be ) the distinction between a tree and a mountain if both
of them were (equally) to shake when a gale blows ?
91. Accepting the message of the noble-minded preceptor with
the words "Be it so" he dismissed the sage ( bade him farewell );
but the message, not having found a place in his heart full of grief
returned, as it were, to the preceptor.
92. Considering the childhood (tender age) of his son, that king;^,
of agreeable but true speech, somehow ( with great difl&culty
passed eight years by means of (the consolation derived from) look-
ing at the pictures of his beloved and at objects having a like-
ness to her, and also by means of the pleasure derived from her
momentary company in dreams.
93. The dart of grief, it is said, pierced his heart with force
just as the shoot of a fig-tree rends
asunder the terrace of a palace.
However, on account of his impatience to follow his beloved,
he looked upon it as a gain, although it was the cause of the
destruction of his life and was incurabie by physicians.
94. Afterwards, havmg entrusted, according to the rules, his
son who was properly educated and who was old enough to wear
armour, with the protection of the subjects with the duty of
(?.<?.,
protecting the subjects ), the king, wishing to leave the wretched

(70) [ Canto IX.
residence in the body affected by diseases, became intent on

starving himself to death.
95. Having secured a place (lit. reckoning) amongst the im-
i
mortals, immediately after abandoning his body at the confluence
of the Ganges and the Sarayî, and being reunited with his wife
(now) possessing a loveliness surpassing that of her former form,
he sported again in the pleasure-houses in the Nandana garden.
CANTO IX.
1- After ( the death of ) his father, Das'aratha, who was *
mighty warrior, who stood at the head of the self-controlled as
well as the protectors ( of the people, t. e. kings ) and who had
conquered (subdued) his senses by abstract contemplation, ruled
over the North Kosala after he had acquired its possession.
2. Since he, whose might (valour) was like that of Kdrttikeya,
(lit. the piercer of the mountain) protected the whole kingdom (lit.
the circle of his subjects together with the citizens) now obtained
by him being the hereditary possession of his race, according to
it (/. e. the kingdom along with the subjects) became the
the laws,
more attached to him (or attained a greater standard of virtue).
3. Wise men speak of only two (per.sons) as the removers of
the fatigue of those who have done their duty by timely gifts ( of
rain and wealth respectively ), viz. of Indra (lit. killer of Bala) and
of the king Das'aratha, a descendant of the king Manu.
4. While the son of Aja, whose prowess (lustre) was like that
of a god and who (yet) delighted in the tranquillity of mind was
the king (lord) of the Earth, no disease set its foot in the country;
whence can there be, indeed, an insult at the hands of an enemy ?
The earth yielded an abundance of crops (lit. became fruit-bearing).
5. Just as the Earth maintained prosperity ( or splendour ) by
means of (the prowess of) Raghu who had conquered the ten quar-
ters and after him by means of Aja, so also did she shine again,
having obtained for her lord him whose valour (prowess) was
nothing short ( of theirs ).
6. By dayn the shower of riches

his impartiality, fby sending
( i, e. gifts of and by
wealthpunishing
) (restraining) the wicked,
he equalled respectively Yama ( the God of Death ), Kubera (lit.
lord of the Yakshas ) and Varuna; and by his splendour ( lustre )
he resembled the Sun.
Canto IX. ] ( 71 )
7. Neither love for hunting, nor gambling, nor wine having

the reflection of the moon for its ornament, not a beloved
(mistress) of fresh youth ( z". e. in the prime of youth ), diverted
( the mind of ) him who was striving for rise ( prosperity ).
8. He did not address a supplicating speech even to Indra

although he (Indra) was his (Das'aratha's) lord, nor did be tell
a lie even in jest. Being free from (the influence of) anger he
did not use (lit. speak) abusive (or harsh) language even towards
his enemies.
9. The (subordinate) kings obtained both rise and fall from
(z. e. at the hands of) the descendant of Raghu. He was friendlly
towards those who did not transgress his commands but had a
stern heart towards those who defied him.
10.He, whose bow was strung, conquered the Earth girt by the
ocean whose circumference is the ocean) by means of one
(lit.
chariot only ( /. e. without the aid of any body else ). While his
army abounding in elephants and steeds, impetuous through
speed, simply proclaimed his victory.
11. Verily the oceans, thundering like the clouds, served as
drums proclaiming the victory of him, who, being an eminent
bowman, conquered the Earth by means of a matchless (or single)
chariot furnished with a protecting apparatus, and whose wealth
equalled that of Kubera.
12. Indra destroyed the force of the wings of mountains by
means hundred -edged adamant; while he (Das'aratha ),
of ( his )
whose face resembled a fresh lotus, routed the army and the allies
of his' enemies by his twanging bow, that poured forth a shower
of arrows.
13. Hundreds of kings touched the feet of him ( lit. touched
him whose prowess knew no repulse, with the rays
at his feet)
of the jewels in their crowns having their splendour enhanced by
the redness (lustre) of the nails, just as the gods bow down to
Indra.
14. Having taken compassion on the wives of his enemies
whose hairs were undecorated and who had caused their infant
sons to fold (join) their hands (as a token of submission) to him,
he returned from the shore of the great ocean to his capital not
( in any way ) inferior to Alaka.
15. Seeing that the Goddess of Wealth would escape whenever
there was a loop-hole he whose resembled that of fire and
lustre
( 72 ) [ Canto IX.
the Moon, and besides whose white umbrella none other was
raised( on the Earth), became vigilant, although he had attained
the position of a paramount sovereign of the circle (of twelve

princes).
16. Abandoning him (Das'aratha) sprung from the race of
Kakutstha, and the Self-born Supreme Spirit (Vishnu), ( both )
liberal towards beggars (supplicants), to what other lord of men
would the chaste Goddess of Wealth, with a lotus-flower in
her hand, attach (or devote) herself?
17. The daughters of the kings of Magadha, Kosala and Ke-
kaya,who regarded iheir husband as their deity, obtained for their
husband him — a mighty warrior (lit. who drove his arrows deep
into the persons of his enemies), just as the ri^êrs, the daughters
of the mountains, obtain the (mighty) main.
18. He, who was expert in (employing) the means of destroy-
ing (his) enemies, appeared, in company of his three wives, like
Indra, come down to earth accompanied by the three regal
powers, as if through the desire of ruling over the world ( lit. the
mortals ).
19. Having assisted Indra in the van of fight, that mighty

warrior, it is said, made the wives of the gods, whose fears had
been removed (by him) by (means of) his arrows, praise the great
valour of his arms.
20. Many a time was the dust on the battle-field, going up-
wards in the direction of the sun, suppressed with the blood of the
enemies of the gods (z. c. demons) by that powerful warrior, of a
matchless chariot, who took the lead of Indra.
21. Laying aside his crown during the (performance of) sacri-
fices, he, who had collected the wealth of all the quarters and who
was free from the quality of darkness îgnorance), made the banks
of theTamasi and the Sarayu look beautiful by erecting sacrificial
posts of gold.
22. The Lord, abiding in the body (of Das'aratha), which was
consecrated for the sacrifice, which held the skin of an antelope
and a staff, which wore a girdle of Kus'a grass, which had its
speech restrained and which was furnished with the horn of a
deer,made it shine with unsurpassed brightness-
23. He who was purified by the ablutians performed at the
end of the sacrifices, who had curbed his senses and who was
Canto IX. ] (73)
ijualified totake a seat in the assembly of the gods, bent his high
head before the enemy of Namuchi {i. e. Indra), alone.
24. Now the Spring, accompanied by fresh flowers, returned,
as it were, to wait upon that sole sovereign of the people whose
responsibility (burden) was equal to that of Yama, Kubera,
Varuna, and Indra, and whose prowess was estimable.
25. Being desirous going to the direction presided over by
of
Kubera (the North), the Sun, whose horses were turned aside by
his charioteer, left the Malaya mountain, brightening the dawns
by melting away the mist.
26. First there was the bursting forth of flowers; then there
were fresh sprouts, and after that the humming of bees and the
cooing of cuckoos: — thus did Spring descending ( incarnate ) to
the forest -site abounding in trees manifest himself in the proper

order.
27. Thebees and the water-fowls (or, swans) repaired to the
lotus- plant in the lake replenished (z. e. endowed with the wealth
of flowers ) by the spring, just as supplicants resort to the
wealth of the king amassed by the excellence of his state policy

(or by his statesmanship and other qualities) and whose purpose
Is to benefit the good.
28. Not only did the fresh vernal flowers of the As'oka tree
excite the passion of amorous persons, but even the bunch of
its sprouts placed on the ears of their beloveds became an
exhilarant.
29. The Kuravaka flowers, which appeared like fresh lines of
painting ( on the persons) of the Garden -beauties drawn by
Spring and which were clever ( liberal ) in giving nectar ( to the
bees ), became the cause of their humming.
30. The appearance
of flowers, caused by the wine from the
mouths of ladies with beautiful faces, and possesssing the like
quality, made the Bakula tree thick-set with bees in long rows
ardently longing for honey.
31. Thecluster of buds on the Kiips'uka tree produced by
the Vernal beauty ( lit. beauty of the close of the cold season )
shone like the ornaments ( in the form ) of nail-marks impressed
by a young woman, deprived of her bashfulness by intoxication,

on ( the body of ) her lover.
32. The sun could not, indeed, at that stage, completely dis-
sipate the frost, which was unbearable to the lower lips of young
( 74 ) [ Canto. IX.-
woraeu, sore with wounds ( from the teeth ) and which expelledLj
the girdle froui its place (the loins) ; he rarefied it only.
33. The young mango-tree (smiling) with buds, and with its ^
sprouts shaken by the breeze from the Malaya mountain, am

appearing ( thereby ) as if intent on practisini; pantomimic move-
ments (acting), delighted ( or, inflamed with passion ) the minds-
even of those who had subdued hatred and passion.
34. The measured notes, first uttered by the cuckoos in th<
rows of forests in full blossom sweet with odour, were heard like
the very rare (moderate) talk of young bashful females.
35. The creepers at the borders of the gardens (or, groves)
which had the humming of the bees pleasant to the ear for their
songs and the flowers for the melow splendour of the teetb^
appeared, by means of the sprouts shaken by the wind, to be as
it were, possessed of hands keeping time in music.
36. The fair ladies merrily drank wine, the friend of love,
which excelled the Bakula flowers in sweet smell and which was
clever (or able) in giving rise to graceful amorous actions, in such
a manner as not to mar (come in the way of the pleasure of) their
love sports with their husbands.
37. The pleasure-ponds attached to the houses, with lotuses
full blown and with birds-fond-of-water uttering sweet but
indistinct notes under the influence of passion, appeared beauti-
ful like women with countenances rendered more lovely by smiles
and with by being loosened.
their girdles jingling
38. The Night-lady, wronged (cut-short) by the spring and

with the colour of her face palish owing to the rise of the cool-
rayed (wanting in ardent love) nôon grew thin ( /. e. short ) like a
youthful damsel that does not obtain the happiness of the coveted
company ( of her lover ).
39. The moon enlivened (excited) the God of Love whose

flag is by means of his rays which
distinguished by the shark,
removed the fatigue caused by sexual enjoyment and whose light
was bright on account of the disappearance of ( the intervening )
mist.
40. The young women wore in their hair the flower ( implanted
by whose brightness resembled that of the sacrificial
their lovers),
fire (blazing with oblations), which was in place of ( served as ^
a golden ornament to Sylvan- beauty, and which was tender in

the ( i. e, which had tender) petals and filaments.
Uauto IX. ] ( 75 )
41. Verily the Tilaka plant, which was variegated with beeS,
charming like marks of collyrium, alighting on rows (or
collections) 'of flowers, did but grace (adorn) the forest site just as
the '
tilaka '
mark decorates a young woman.
42. The Jasmine creeper, the charming beloved of the trees,
fascinated mind (of the lookers-on) by the beauty of the
the
smiles, brought about by flowers, possessing the smell of honey
(wine) and spreading over the lower lip in the form of the sprouts.
43. By garments surpassing ( lit*, throwing into the back-
ground ) the brilliance of the morning
by shoots of barley sun,
which had obtained a place on the ears and by the cooings of
—
the female cuckoos, by these agents ( lit. troops ) of the God o^
Love amorous persons were placed wholly in the power of women
( lit. made solely devoted to women ).
44. The bunch
blossoms of the Tilaka tree, fully developed
of
in its parts by means of white pollen'and coming in contact with
swarms of bees, appeared of a like beauty with the pearls in the
net' like ornament worn in the hair.
45. Swarms of bees followed the dust of the filaments of
flowers rising from the garden agitated by the wind, which was
the banner of the God of Love armed with his bow and the
beautifying cosmetic for the face of the Vernal Beauty.
46. Enjoying the festival of the season in which there were
new swings, the women though clever (in the sports) relaxed
(the grip of) their tender ( lit. creeper-like) arms in holding the
ropes of their seats ( /. t. the swings) through the desire of em-
bracing their lovers.
47. " Give up (ye fair ones) your anger excited by jealousy;
enough your quarrels; the age so favourable to love-sports,
of
(youth), when once gone, will never return" the wish (or advice) —
of the God of Love, as it were, being thus communicated by the
cuckoos, the women devoted themselves to sport.
48. Now, after having enjoyed at his pleasure ( to his satis-
faction ) the festival of the season in company with sportive
women (his attendants), the king, resembling the God Vishnu,
(lit. Destroyer of Madhu ), Vasanta, and the God of Love ( lit.
tormentor of the mind), longed for the pleasure of chase.

49* It ( i. Ck chase) makes one intimate ( lit. produces familia-
rity ) with ( the art of ) shooting down a moving mark (game); it
gives the knowledge of their gestures in (moment) ot fear and rage;
B. T. 10
( 76 ) [ Canto iX.
dtid it makes the body acquiie excellent qtlaliltes owing to the

conquest over fatigue; being, for these reasons, permitted by bis
ministers, he went out ( for hunting ).
50. That mighty monarch, putting on a dress suitable ( fitted)
for going to the forest abounding in game and having the bow
resting on his broad neck, furnished the sky with a canopy as it
were by means of the dust raised by the hoofs of horses ( or made
it a mere void, i. e. non-existent ).
51. That king, with his -hair tied up with a garland of wild
flowers and leaves, and being covered with an armour of a like
colour with the leaves of trees, and with his ear-rings agitated
owing to the gallopping of the horse, shone forth on the grounds
or in the places ) frequented (or, trodden) by the Ruru deer.
52. The sylvan deities, with their bodies incorporated into
slender creepers, and with the function of their eyes transferred
to the bees, saw him on the way who had beautiful eyes and who
pleased ( made happy ) the people of Kosala by his righteous con-
duct ( or just rule )•
53. He then entered the forest which was

first occupied by
the keepers of hounds and deer-catchers ( lit. persons who carried

about with them nets for catching deer) which was cleared of fire
and thieves, the ground in which was firm and ( hence ) suitable
for (the trottings of ) horses, which had reservoirs of water and
which abounded in deer, birds and the Gayals.
54. Thereupon^ he, the best of men, who had no mental pain
and who had piovoked the lions by the twanging ( of his bow),
took up his strong bow, just as the month of Bhadrapada holds
up 'the weapon of the thrice-ten (gods, i, e. the rainbow) furnished
with the string (in the form) of lightning as yellow as gold.
55. Tn front of him appeared a herd of deer led by a proad
spotted antelope, the motion of the hinds in which was often
obstructed by the fawns eager to suck their teats and whose
mouths were full of (lit. filled with) lîiia grass.
56. That ( herd ), pursued by the king riding a fleet horse,
blackened the forest with their distracted glances wet with tears
as If with the clusters of the juicy (fresh) petals of ( blue ) lotuses
scattered about by the wind.
57. That (eminent) archer, equal in proWess to Indra ( or> the
god Vlsht?u ) seeing the mate of the deer aimed at ( by himself )
Stand interposing her body, and being softened with pity through
Canto IX. ] (77)
his being himself a lover, withdrew his arrow though drawn to

the ear.
58. The fist of that king, intent on levelling his darts agains^
other deer also, though firmly clenched, became loose ( loosened )
after having come to the ear, as they (z. e. the deer) reminded him
of the sportive movements of the eyes of his youthful beloveds
by means of their eyes excessively tremulous through fear,
59. He then followed the track of a herd of wild boars that
had run away having previously got up from the mud of damp
pools, (the track) which was strewed along with bits of mouthfuls
of the Musta grass and which was clearly indicated by the long
line of wet foot-prints.
60. With their bristles standing erect the boars wished to
attack him in return as he pierced them, with the forepart of his
body slightly bent downwards from the horse; but they did not
know themselves (to be) suddenly fixed by his arrows to the trees,
against which they had rested their loins.
61. The arrow drawn and shot by him into the socket of the
eye of the wild buffalo, that was preparing for an impetuous onset,
pierced through its body with its feathered part not stained with
blood, threw him down first and then dropped down itself.
62. By means of his well-whetted steel- pointed arrows the
king made the rhinoceroses (possessed) of light heads on account
of the removal (z. e. breaking) of their horns. He whose duty it
was to humble the proud, did not bear only the lofty horn ii.e.
exalted supremacy) of others; but it is not that he did not bear

also their long life.
63. On account of the dexterity acquired by excellent training

(or, long practice), the king, who knew no fear, in a moment
turned into so many arrow -cases as it were, the tigers that
rushed "against him from their caves, by filling the hollows of
their maws with arrows, ( tigers) that looked like full -blossomed
fore -branches of the trees smashed by a gale.
A'sana
64. Wishing to smite the lions lurking in their bowery dens,
he provoked them by the twang of his bow-string, fierce like the
thunder clap ( or the howl of contending winds in the sky ); and
in this he was surely actuated by jealousy of their title of 'king
of the beasts, noble (conspicuous) by their valour.'
65. Having killed them, ever on a footing of great animosity
with the elephant race, with pearls stuck to the points of theif
(.78) [Canto IX
curved claws, the descendant of Kakutstha thought himself to

have, as it were, discharged, by means of his arrows, the debt he
^vred to the elephants that had done him a service on the
battle-field.
66. In some places urging his horse in pursuit of the 'Chamara*
deer and sending forth a shower of crescent- shaped arrows (>TW)
drawn to the ear, he felt immediately at ease after having deprived
them, like kings, of their white chowries (?'. e, their bushy tails).
67. He did not aim his arrow at (lit. make him the mark of
his arrow ) the peacock having a beautiful plumage although
skipping about near his horse, being instantly put in mind of the
luxuriant tresses of his beloved interwoven with variegated flowers
and with their band loosened in amatory sports.
68. The sylvan breeze, which was saturated with cold dew-
drops and which had opened the folds of the tender leaves, drank
(dried) up the sweat caused by his hard exercise and collected
into clusters of drops on his face,
69. Thus did Hunting, like a clever damsel, attract away
that Lord of the Earth, who, forgetful of his other kingly duties,
had entrusted to his ministers the responsible task of governing
the kingdom, and whose love (passion) for it was increased by
its continuous practice.
70. The king, unattended by any followers,

passed, in some
which tender flowers and leaves served as his
place, one night, in
bedding, and which was furnished with lights ( in the form )
of blasiing powerful herbs.
71. There the king, whose slumber wasdispelled at day-break
by the musical flappings of the ears of the elepband-herd.
resembling the sound of deep -sounding drums, amused himself
by listenin<> to the sweet auspicious songs of bards in the form of
the warblings of birds.
72. Then on one occasion the king, who had taken ( i. e. was
following) the path of a deer, unnoticed in the forest by his attend-
ants, came with his horse foaming through exhaustion to the
river TamasS, much frequented by ascetics.
73. From its waters arose ( or was heard ) a clear, loud sound
produced by the filling up of a jar; mistaking it for the grunt of
an elephant, he discharged in that direction an arrow tracking
( its mark ) by the sound-
74. What Das'aratha did, transgressing the bounds of law,
was surely forbidden to a king. Indeed, even men conversant
)
Canto IX. ] ( 7d
with the rules (of conduct, when ) blinded by passion, set foot
on ( i.e, follow) a wrong road,
73. Dejected on hearing the cry of distress—' O father ', he,
searching for its source concealed in the reeds, and discovering
( lit. seeing ) the son of a sage with a jar, pierced with his arrow,
felt, through grief, though a king, as if he had a dart implanted .
in his heart.
76. Being questioned about his family by him ( the king )
of a renowned lineage, who had got down from his horse, he ( the
son of the sage ), with his body resting on (his) water- jar,
declared himself, in faltering syllables to be the son of an
ascetic of a class other than that of the twice-born.
77. Requested by him, the king took him, even with the arrow
unextracted, to his parents who had lost their sight, and approach-
ing them informed them of the condition their only son was in,
and also of his own act (done) through ignorance.

78. Having lamented bitterly, the couple got the infixed arrow
extracted from their son's bosom by his assailant; he (then) be-
came and then the old man cursed the king with the
lifeless (died);
very waters from his eyes, dropped (and collected) in his hands.
79. The Lord of the Kosalas, who was the first to offend, thus
addressed him who had said to him (pronounced the imprecation)
"You, like myself shall, in your old
j age, die through grief for
your son," and who was (therefore) like a snake, that, being first
trodden upon, had emitted poison.
80. the curse, inflicted by your Reverence on me who
"Even
have not yet seen the loveliness of the lotus- like face of a son (or,
of the lotus of a son's face ), is accompained with a blessing.
Verily, the fire which is lighted from ( or, blazing with ) fuel,
though burning the soil requiring tillage, makes it productive of
sprouts from seeds (z. e. yield a rich harvest).
Sir When things have taken such a turn what shall this cruel
mar'j who deserves death at your hands, do ( for you )?" — thus
addressed by the lord of the earth, the ascetic, who, with his
wife, wished to follow his deceased son, begged for burning fuel
(a funeral pyre to be lighted by him).
82. Joined by his attendants, the king immediately executed
his order and returned (from the forest) being depressed in spirits
( lit. with his energy impaired ) on account of the sinful act and
carrying ( with him ) the cmse, the cause of his destruction, that
had found a place inside ( i. e. in his heart ), just like the ocean
bewaring the sub.iiarine fire.
(80)
CANTO X.
While he (Das'aratha), equal in majesty to Indra and ii

l»
realth none the less, was ruling over the Earth, a little less thaaj
myriad of years passed away.
2. And yet he did not obtain that light called 'a. Son' which]
Instantaneously dispels the gloom of sorrow and is the means of
obtaining freedom from the debt due to ancestors.
3. For a long time did the king, whose progeny was awaiting
(the appearance oO an efficient cause, remain like the ocean with
its production of the jewels not manifested before the churning
it. e» before its being churned).
4. The venerable priests, Rishyas'vinga and others, who were
self -subdued, commenced the sacrifice conferring the blessing of
a son, for him who was desirous of issue.
5. At about the same time the gods, harassed by Rdvana, went
to Hari, just as travellers, oppressed with heat, repair to an
umbrageous tree.
6. Just as they reached the ocean, the Primeval Being awoke.
Absence of delay is, indeed, the sign of future success in an under-
taking.
7. The gods beheld him, reclined on the seat of the body of
the serpent, with His person illuminated by the ascending rays of
the jewels in the circle of the hoods of that serpent
8.Him, who had placed His feet on the lap of Lakshmf, seated
on a from which the girdle was separated by the ( interven-
lotus,
ing) silken garment and on which were spread her tender palms—-
9. Him, whose eyes were like full-blown lotuses, whose gar-
ment resembled the morning sunshine, who was easily seen ( lit.
whose sight was easily obtainable) by ascetics and who was
( therefore ) like the autumnal day, which has blooming lotuses
for the eyes and morning sunshine for the garment and which
is delightful to look at in the beginning {i.e. tit its commence-
taent)
10. Him, who wore on his broad breast the essence of the
(oceanic) waters called 'Kaustubha', which served as a toilet-mirror
to Lakshmt and which covered with ils lustre the mark S'n'vatsa
11. Him, who on account of his branch-like arms decorated
with heavenly ornaments* appeared like another PArijdta mani*
festing itself in the midst of waters—
—
Unto X. i (^1 )
12. Him, whom the word 'Victory' was proclaimed by

for
the sentient weapons which destroy the flush of wine on the
cheeks of the wives of the demons
13. Him, who was waited upon by the humbled Garuâ who
had folded his hands, who had given up his enmity with S'esha
and who bore the scars of the wounds (Inflicted) by the thunder-
bolt—
14. Him, who by his sanctifying glances that looked bright at
the end of his sleep of meditation was favouring Bhvigu and the
other sages, the Inquirers about his balmy sleep.
15- Then the gods, having made their obeisance to that de-
stroyer of the demons, hymned with praises Him who is worthy
of praise and who stands beyond the reach of speech and mind.
16. "A bow to Thee whose self exists (appears) in three
forms—first as the '
Creator, '
next as the '
Protector, '
and
afterwards as the *
Destroyer '
of the universe.
17. Just as water from the sky which is originally of one
(uniform) taste gains a diversity of flavours in different regions, so
Thou, being immutable, assumest (different) conditions in (as
identified with) different qualities.
18. Thyself immeasurable, Thou measures! the worlds;
desireless Thou grantest all desires ; unconguered (yet) Thou art
victorious (over all) ; and Imperceptible, (yet) Thou art the cause
of the manifested worlds.
19. They (the sages) know Thee to be present in the heart
and yet not to be near {i> c. incomprehensible)
an ascetic though ;
without desire ; compassionate though untouched '(unaffected)

by woe j old (primeval), yet not subject to decay.
Though omniscient, Thou art unknowable though the
20. ;
source of all. Thou art self ^ eîistent the L,ord of all, Thou art ;
without a master (a controller), though one. Thou assumest all

forms.
They (n e. the sages) speak of Thee as glorified by (meanis
21.
ol)seven (metrical) hymns, as lying on the waters of the seven

oceanS) as having the seven -flamed fire for Thy mouth, and as
being the sole support of the seven worlds*
22. Knowledge tesnlting in (the attainment of) the four ends
of human life, the periods or Time, vh, the four ages, and the
people consisting of the four castes— all these emanate from Thecj
the four 'faced*
(h2) I Oauto i.
23. With their minds restrained by constant practice (of con-

templation), ascetics seek Thee whose form consists of light and
who abidest in their hearts, for absolution.
24. Who knows the real nature of Thee who art unborn and
yet eiiteresl upon corporeal existence, who destroyest Thy
enemies though without desire, and who art ever awake though
sleeping ?
25. Thou art able to enjoy the objects of senses, vt'z\ sound and
others, to practise arduous penance, to protect the people and to
be (at the same time) indifferent.
26. The ways which are the means of the attainment (of the
object of life or eternal bliss), though different (/. g. laid down
differently) in the different S'aslras, meet in Thee alone, just as
the streams of the Ganges, which flow in different directions
and which are the cause of puri6cation, (ultimately) fall into the
ocean.
27. Thou art the resort for the obtainment of freedom from
birth and re-birth (lit. not returning again to this world) of those
dispassionate (ascetics) that have concentrated their minds on,
and consigned Thee.
(all) their actions to,
28. Thy glory (or greatnass), w:., Earth and the other things*
though visible, is not definable what need we then say of Thee
;
who knowable (only) through authoritative testimony (the

are
Vedas) and (processes of ) inference ?
29. Since Thou purifiest a man when he simply remembers
Thee, the remaining actions (of men) towards (i.e. with respact
to) Thee have their effects (already) declared.
30. Thy which are far beyond the reach of words and
actions
comprehension transcend (or, lie beyond) all praise, like the
jewels of the ocean or the rays of the sun.
31. There is nothing, wbich, being unattained, is yet to be
obtained by Thee the only object of Thy birth and action
; it to
favour (do good to) the creation.

32. That our speech is stopped after having glorified Thy
greatness due either to fatigue or to (our) inability (to praise
is
Thee further), and not to (there being) any limitation to Thy

merits"*
33. Thus did the gods propitiate Him who Is outside the ken
of senses (Vishnu). It was really a statement of facts and not

flattery (or, mere praise) of that Supreme God.
•Canto X. ] ( 83 )
34. To him, whose good pleasure was clearly indicated by his

inquiries after their welfare, did the gods mention the danger
from the ocean (in the form) of the demons which had overflowed
itsshores though it was not the time of universal destruction.
35. Then the Lord, drowning the roar of the ocean, spoke ia
a voice resounding in the caves of the mountains near the shore
(or, the adjoining mountains on the shore, according to Malli.).
36. Speech being properly pronounced (articulated) from the

organs of speech of (by) that Primeval Poet (or Scholar) and
(hence) purified, certainly had its end accomplished (or its exist-
ence glorified).
37. Issued forth from the mouth of the Almighty, and pos-
sessed of the lustre of His teeth, it appeared*like the residue of
Gahga, after she had flown out from his foot, flowing upwards.
38. "I know that your greatness and prowess are superseded
by the demon (Ravana), just as the first and. the middle qualities
of embodied beings are overpowered by (the quality of ) darkness.
39. I further know that the three worlds are oppressed by

him jast as the mind of a virtuous man is tormented ( afflicted)
by a sinful act unconsciously committed.
40. On account of our having a common cause, I need not be
requested by Indra in matters to be accomplished. For Wind,
of his own accord, undertakes the charioteership of (the office of
a helper to) Agni.
41. The tenth head, not cut off by the edge of his own sword,
has been reserved by that demon as a fit portion (share), as it
were, for my disc.
42. But on account of the boon granted to him by the Creatori
I put up with (connived at) the excessive rise of that wicked
enemy, just as a sandal tree bears the forcible ascending of a
serpent.
43. That demon, averse to have any regard for (quite regard-
begged of the Creator, propitiated by his penance,
less of) mortals,
exemption from death at the hands of (from) divine beings.
44. I, therefore, being born as the son of Das aratha, will make
the heap of the lotuses of his heads become a fit oblation to the
battle-field with my sharp arrows.
45. Before long you will again receive the share offered in
due form by the sacrificers and untasted (undefiled) by the
illusory night -rangers (demons).
46. Let the meritorious persons moving about in heavenly cars
give up their agitation ( or, fear ) at the sight of Pushpaka ( Rd-
vana's balloon ) in the sky, intent thereupon to hide themselves
fbehind the clouds.
R. T. 11
(84) [CanteX.
47. You shall loosen the braids of hair of the captive damsels
of heaven undefiled by the forcible seizure of their hair by
Havana restrained (from such an act) by the curse."
Having, in this way/drenched with the water (in the form)
48.
speeh the crop-like gods withered (dried) by the drought of
of
Ravana, the cloud -like KvishPa (Vishnu) disappeared.
49. The Indra and others, followed Vishnu, bent
gods,
on doing engaged in) the work of the gods, with their
(or,
portions, as trees follow the wind with (their) flowers.
50. Then, at the conclusion of the sacrifice performed with an
object in view {viz. the attainment of a son) by the king, a Being
arose out of the fire along with (to) the astonishment of the
officiating priests.
51. He held in his hands rice boiled with milk placed in a
vessel of gold, which was difficult to be borne even by him on
account of the entrace of the Primeval Being ( VishUu ) into it.
52. The
king accepted the food which was offered by that
Being (connected with) PrajS-pati, just as Indra did the essence
of
of the waters (AmVita), laid bare (manifested) by the ocean.
53. That the merits of that king were such as were unattain-
able by others was declared by the fact that even He, the source
of the three worlds, desired to be his progeny.
54. He
divided the energy of VishVu designated as (in the
form the sacrifical food between his two wives, just as the
of )
lord of day (the Sun) divides the morning sunshine between the
Sky and the Earth.
55. Kausaly^ was respected by him and Kaikeyi was his be-
loved (or favourite). He, therefore^ wished th;.t Sumitri should
be honoured by them (by giving her a portion thereof ).
56. The two wives of the king, knowing the mind (divining
the wish) of their husband, who was possessed of great
knowledge, gave (each) a half of their share of the Cham to her.
,57. She (Sumitra) too had (equal) affection for both co-
wives jnst as the female bee is (equally) fond of both the
streaks {i. e, on both the sides) of the exuding rut of an elephant.
58. A foetus, grown out of Supreme Being, was borne by them
for the prosperity of the people, as is a watery embryo by solar
rays, called Amritds.
59. They (the queens), who became big with child at one and
the same time and whose complexion had grown a little pale,
appeared like the luxuriant crops with the appearance oif the
hidden within.
fruits
I 60. They all saw in dreams that they were guarded by dwarfs
whose bodies were marked with conches, swords, maces, S'argr-a-
bows and discs.
— — —
Canto X. ] ( 85 )
fil. (They saw that) they were borne (in the sky) by Garuda
spreading the mass of the lustre of his golden wings aloft and
drawing the clouds (after him) by his velocity
62. That they were waited upon by Lakshm!, with the
Kaustitbha jewel deposited with her pendent between the breasts-
and having in her hand a fan (in the form) of a lotus
63. That they were worshipped by the seven Brahmanical
sages,who had performed their ablutions in the (waters of the)
heavenly Ganges and who were reciting in soft tones tayinns
of the Supreme Spirit.
64. The king, delighted on hearing from them dreams of that
sort, thought himself (to be) most exalted (or supreme) on
account ot being the father of the Father of the universe.
65. The all -pervading Lord (Vishnu), though oue, resided
in their wombs with his self variously divided (into four forms)
just as the reflected moon (or the reflection of the moon) abides
in the interior of clear waters (in many forms).
66. Then (u e- at the proper time), the king's principal queen,
a chaste (or virtuous) lady, obtained at the time of delivery a son,
the dispeller of ignorance ( or grief ),, just as an herb obtains at
night light that dispels darkness.
67. Prompted by his lovely appearance (or charming form) the
father bestowed upon him the name of Rama, the first (most)
auspicious thing in the world.
68. The lamps in the lying-in chamber were, as it were
repelled (outshone) by that powerful light of Raghu's race, of
matchless splendour.
69. With Rdma lying in her bed, the thin-bellied mother ap-
peared like the Ganges reduced in autumn and having an oblation
of lotuses on its sandy bank.
70. To Kaikeyi was bom a virtuous son, named Bharata, who
adorned his mother as modesty does wealth (or prosperity).
71. Sumitra gave birth to two twin -sons (named) Lakshmaâ
and S'atrughna, just as learning properly acquired produces real
knowledge and modesty (or, according to Mallinatha, self-control).
72. The whole world manifested good qualities and became
free from calamities: as if heaven itself had followed Vishriu come
down to the Earth.
73. At the appearance of him of four forms (or of the fourfold
incarnation), the (four) quarters, whose presiding deities quailed
before the son of Pulastya (Ravana), breathed, as it were, a sigh
of relief by means of the breezes which were free from dust.
74. Fire and the Sun, who had been oppressed (persecuted) by
the demon (j)iz.^ R^vaâ), became, as it were, freed from grief
the one on account of his being smokeless and the other on account
of his brightness.
(86) [Canto X.
75. At the very moment, the tear-drops of the goddess of

Royalty of the demons were scattered on ground in the form
of jewels from the crowns of R^vaua.
76. The drums gods first made in heaven the beginning
of the
of the play of musical instruments to be caused at the isirth of
sons in the case of him who now got excellent sons.
77. And shower of the Saint5naka flowers fell on his palace,
a
and that became the first arrangement of the auspicious
itself
decorarions necessary on that joyful occasion.
78. The princes whose purificatory rites were performed and
who drank the milk of the nurses, grew up along with their
father's joy, which was, as it were, the first-born.
79. Their natural modesty increased on account of education
(discipline), just as the native brightness of fire increases (is
intensified) by offerings.
80. (Being) friendly (lit. not adversely disposed) towards each
other, they greatly adorned the unblemished family of the Rsghus,
just as the .seasons (by their conjoint influence) adorn the Nan-
dana garden.
81. Although fraternal affection ( among those brothers) was
equal, still? as R&ma and lyakshmai.ia gladly formed a pair, so did
Bharata and S'atrughna.
S2. The unity ( or harmony) between (the members of) those
pairs was never interrupted, like that between fire and wind or the
moon and the ocean.
83. The princes attracted the minds of the people by their
prowess and modesty, like the days with dark clouds at the close
of the summer.
84. The progeny of that king, divided fourfold, appeared like
an embodied incarnation of the four ends of human life viz. )
(
righteousness (performance of religious duties ), attainment of

riches (or, worldly prosperity), gratification of desires, and final
emancipation.
85. Devoted to their father, they pleased him, the lord of the
four quarters to their ends, by their merits, just as the great
oceans propitiated him by (their) jewels-
86. The Lord of the kings ( i. e. the Supreme King ) looked
pre-eminent (or shone) by those four (sons) who were the portions
of the God Vishnu, like the celestial elephant with his four tusks
that had blunted the edges of the swords of the demons, like
statesmanship with the four expedients whose employment is
clearly indicated by the final object attained (or, the conclusion
of peace), and like the god \'ishi.n: with his four arms as long
as a yoke.
NOTES.
CANTO I.
^g«f^: —
T^t t^tr T!^Xi' the race of the Raghu3, the solar dynasty
of kings; and then by S'g^K ( transference of an ejnfchet ) cT^nsT."
i]^?q-: the composition which describes T^t^T:} the word
and since
ir^^q- is in the mas. gender we get ^^^. That
the form the poet
intended to designate his work by some mas. title appears from his
line cT 'ET'cT: %fr5^' &;c. where Malli, supplies the word •q^pvjjj;'
•'
as referred to by the demonstrative pronoun ^tj^.

The authority for forming the titles of literary works is the
Siitra 'fT^fq'Sftr ^ JJ^^' ( P^Q- IV. 3. 87 ) and the Vart. on it, viz.,
g3rT^(?TrPT^»^T ^f w^- S'lt the Sutra and the V4rtika do not apply
in the present case. Nor can we add artrr by gf^ jjr^ ( IV.'S. 116 );
for then we shall get ^y^^j:- The title, therefore, ought to be
explained like '^TTflT^^ '
the name of the venerable Sahkaracharya's
Bhashya on the Yedanta-Sutra of Badardyana. In trying to explain
this, Bhattoji Dikshita remarks —
îrrK^ viTs^fiTf?? ff ^Tf rTÎTTcj; " th»
word îflT^ which means the soul ^signifies the Bhashya by
'
transference of an epithet."|pirT^*T^/ '^^^^p?T' and other similar

*
names ought to be explained similarly.

Agreeably to the canon of poetics which lays down that *' Every
poetic composition should open with ( a verse or verses expressive
of) a blessing pronounced on its readers or a salutation by the author
to his favourite deity, or the hinting of the sabject-matter"'* the
Raghuvamsa opens with by the poet to S'iva and Parvati,
a salutation
who, according to the verse quoted in his introduction by Malli.
from the V&yupurana, ought to be invoked by those desirous of
poetic fame.
8'1. t^nnrtn"^ is a compound word and not, as some might be
1.
led to think, two words. '
errfT'ff ^7 itself cannot be syntactically
'
connected either with q?^ or with fqcrff, and Malli, rightly considers
the two words ^^T\^\ and fef as forming an adverbial compound
( 3T5?T^^*TrH ) modifying the sense of ^JtIf ( ^?t ^^"^ ^R«?Mf ).
®3ir^^rl^^R^f^^'URcT?E^qJ Dandin.
t ?r^ =^15^83 ^PT^qr According to the general rule the word 37*^ ought to
I
precede m^. But since the word is classed under the u^jT^p^rf^ gr cup w©
have gnn4r- According to the Vritlik&ra 3Ts^qr=ft is also correct.
(2)
The text of Malli.'s oom. on this word wherein we find ^^ ^9
f%?TffiTT^: &c. seems to be oorrnpt; for Malli,, in explaining the com.
quotes the Bh&shya of P&taiijali. Now Patanjali says '
^^ ^5-
^H\m f^^'qPfilcTTT: itq^JT^f^^T?^ ^ ^t^^^

and not Af^Tô as appears *
in Malli.'s com. in the existing editions of the Ragha. Secondly,

there are numerous instances in the Raghuvamsa itself which show
that the comp. with f^ is optional and not Nitya ( obligatory ); e. g,,
3"gTfFf '^RJT: ( f TT^T ?^ ); iT'n^^'Stf^Tfrrm^ &c. The text of Malli.,

*
therefore, has been corrected accordingly, ^j j -rf)' ^ Cf. ^V{ti\i{^ i
>TRr^T g?T^T ^"f^JTfllf I Kum. VI. 79.
^PT^RfrPTrl^t — 3T«J 18 of three kinds. ^ y'sir or expressed, Tip^ or

indicated, and ^^^ or suggested. Vide K.-P. II. fi ^H f Tfif' qD —
Note the formation of the comp. explained by Malli. The Oom.
Vijayagani has— «t^ 3"f^?r »Tr îf^^^^T^ qT*I: I
ft 3T^ fs^: i Tf-
JT«^r#r |s^T«^ 'ttrs^t: \ Cf. also f^ ^ '^ ^\^\\m
cr^r^JT5?T«f ^fm ^ 1
^ ^^5^^'fFs^T^^'T ^rmff: 11 Some commentators give fanciful render-

ings of thia-e. g. rrrftfi qrffT ?^^rm Trtm'fr ^^: 1
J:mm c7?^r i^v- ^-
3T% II fr. r3[5^g:K=^FcT, as quoted by Nand.

KalidS.sa has opened almost all his works with a verse or verses
either invoking a blessing of the God S'iva, or containing a salu-
tation to him — a fact which might point to the oonolusion that he
was a devotee of the God. It is not, however, to be inferred from
this that hewas a bigoted Saiva. For in the tenth canto of the
present work, and in Kum. II., he assigns to Vishnu and Brahman
respectively the highest attributes, which properly apply to
Brahman ( nm. ); while in one place ( Kum. VII. 44 ) he speaks of
all these three as one. All this shows that he regarded Brahman,
Vishpu and S'iva, as each identical with the supreme Brahmau
viewed in its different capacities of creating, protecting, and finally
resolving into itself, the universe.
SI. 2. 3T?^n"«I?n" —ft^^ proper province, range, ^î^ — difficult
to be crossed ( even in a ship ). Malli. who says *
cTKîTfr^'?"^ ' seems
to connect it with ;jf cr^ ( g^"^^ J^cl^JTrg WT^gj^^f I^Tcfrs^f^R" ).
qt^ni. — through a wrong conception of my true powers; through in-

ability to judge of my true powers. 3^3-q lit. what protects ( q-
— :
(3)
on water (3^); a boat, a raft. ^Tf?:^— ^T»TT: ( ifw R^'^ ^ ^fcT
^^r- I ^»T^?«TT'T ^TTOT ^^ W! )— from Bagara, a king of the

solar race, whose 60,000 sons, while in search of the sacrificial
horse of their father, enlarged the bounds of the sea, which thence-
forth came to be called '
SS,gara ' For further particulars see
XIII. 3 and the note thereon; also Ramayana I. 40. Nanda. quotes
f^^STT'^RcT I- 2. ( which is undoubtedly based on this ).
"It is curious to note that there is still to the south of the delta in
the Bay of Bengal a spot which has not yet been sounded and is sup-
posed to be unfathomable. That mysterious phenomenon known
as the ' Burrisaul Guns,' is supposed by some to emanate from the
hollow of this unfathomable cavern". Prof. Ray's note.
The figure of speech here is H^^f^? seo foot-note.
SI. 3. ^>2r^:srr?fr— ^r>q^:in?fJTrgr^: (Malli.), persistingly striv-

ing after a poet's fame. Or the compound may be expounded thus:
5T^r«t: itT«T:, ^ff^^T'Tf sn^rTs'ffHffffrS^^by the Vartikas 'ar^-fT^r^Rrf^'
and 'ei??cTrW.' ^?T«:-fr- 3T^ to pervade 3T?fcT s^P^Tcflf^ "^W-, the 3T of
3T5T is changed to q before the Un4di aff. 3Tg^ ( 3T^).
With two a'lokas wherein the poet modestly speaks of his in-
these
ability to complete the task he has set to himself, may be compared
the last of B4na's iiitroductory verses to his Kdd. and the passage
in the Har.-Cha. ^q^ fff^qTsrCrci; * ^ ^ W TKcrTSTR'TT'n^ff^^
&c. which, it is quite likely, Bana might have modelled on these
verses of K^liddsa.
SI. 4. 3T?nT — OJ^ rather. I need not be discouraged. STRT^ —The

pron. ff^ refers to what is near, ^^ to what is not perceived owing
to its distance. See Gr. § 72. Here the poet refers to the race by ^^^
since it is present to his mind. On such points Bbatt'^ji Dikshita
remarks-^ f^^^^^\]q %^-q\ ^TRT'-^rftrcTPJ- ^^t: ^F^rq^^^f^TH^' what is
farremoved is often pictured to the mind as near and so addressed.
I^RTH: —by Valmiki and other Pauranic writers, ^jft: — g^ ^^

fj he who gives birth to new ideas &c.; hence a poet; it alsomeans
a ' philosopher* as in the S'ruti '*
^^ "^^^FfT ^pj-' The sage
Chyavana is said to have described the solar race bdfore Valmiki
qs^nr^^ ^f^5TJTT^ Budd. I. 48. ^^^^grôf-f^ ia a steel instru-

II
ment with a diamond pin for perforating precious stones. 5^"^

(4)
«rf%: — this ought to be understood only metaphoricallj, the race

being represented as a house.
SI. 5. S'lokas 5-9 are to be construed together and form what
is technically called a Kulako', see ft.-note. ^r,Sf^ — that 1. 1 as
described above, i. «., X^frrfl": ^^^ ^r^RfiT fy5^!T>^: who have

obtained entrance through the door opened by ancient poets. When
we are speaking of something already described the correlative may
be omitted, as in the present case.
^jTrpiT &o. —in all these attributes the particle s^f implies limit
both inceptive as well as conclusive (see Malli.). ^^gj^ Via'va- —
nath remarks that for the sake of emphasis this should not have been
—
compounded. 3Tr^^ &c. see note on s'l. 75, and cf. V. 27. ^tt^:-^
happiness ^ ^ ar^; ^ 3T^ ^^ ^ ^TT^: ^^^: I Here ^ is not changed to
=5r ?rr$^T^^5 ^Î%T ^RT: II See Pan. VI. 3, 75.
8 6.1. —
?nnI^f^f?Tnff^r^ This refers to the three sacred fires
^^W, TT^ "Trq and STl^^ÎT ( see Manu. II. 321) which a Dvija
(twice-born, i.e., a Br&hma/ia, a Kshatriya and a Vaisya) is
enjoined to consecrate and keep up. Cf. arfjrf t^ ^ ^'?r?i?l5% ?jf%llr"
^^r I ^^^ =^T^5Tl^r'^ ^fOTtrr^JT M^ I? Il Manu. VI. 25j for the ffPT see
Mauu. IV. 21-32. Oh&r. and Vijay. also dissolve as ^V(u^T^ ^fftTl'^
^: ff% ^T; remarking ^^n^nrTncrf^,. Jr»T^Jcfi?r ^^m: The kings i
of the solar race had a special house built for the purpose; see
infra Y. 25. The three fires are collectively called "^cTi; in Manu.
III. 100, 185, five holy fires are mentioned, two more ^vvf and
3TX^^«T being added to the list.
^«rr^wqiitnT'Tni— The term f^ shows habit. This may mean

who were in the habit of (1) waking up at the proper time, i. «.,
Î^T 5f^ ( ^®® Manu. IV. 92 ) or (2) knowing in detail (^) and
;
taking action. The latter is better. Who knew everything in time,

such as the secret movements of their enemies &c. and provided for
emergencies; who woke, in time, to the proper sense of danger
whenever it threatened their subjects and protected them from it.
Boo Malli. (!T5rrq[c3"JT^*TT &o. )•
B'l. 7. MalU. and Gr. § 687. »Tf«lf^JTr^—

^^rnrnr, ^^^r^r &o. %ee
Malliu&tha's explanation of this seems to be quite correct and S. P.
Pandit's remarks on it quite out of place. Mr. Pandit would derive
the word fr. ^g^^t^ a kind of sacrifice to be performed in a house,
And Tfirn^ according to him is simply a householder. But this
(5)
3oe9 not seem to be intended by the poet at least here. See s'l. 25,
where the poet clearly says Tr^^rg: q'g;^^- The ^^^^ of Mr. Pandit
has nothing to do with STSTF oi* 'progeny.' Manu's statement ' 3T^
117^1^%: &c.' applies to the welfare of the people in general,
resulting from the performance of sacrifices. Char., Din. and
Sumat. hare q^^^T] f^^]^: m'Ef^^tj aiid Valla, says ^f ^^^ ^\q-%
S'L 8. ffq-^fr^nj;— ff'Sfsq?^ fF^Jrrrot "^^ fl"^ ff«r'Ti: those on

which the senses are set, t.c,. the objects of pleasure; f^?TT^ f^s^fîfrn"
m%N°r:. C/. '^ ?T^r iTf>?^^r^g^^m^T 3T*ft' Amar. ^fq-f^ffrq-ra-
gi% fr. ip5; to think + |^ before which the 3? of i^^ is changed to gr.
of^Rt —A Vyadhikarana Bah. Oomp.; g^HTTHf frTnf«lP^-
According to the Mahabh^shya the comp. ought to be dissolved

thus: —gq'r^t ffTfgf^f [%:, gHf (%K^ f RR^r^ , in accordance with the
rule ^rw^T^HIfT^^^Tr^'^^T'TS^ ^Rps??:'. If dissolved otherwise there
'
would be no g^qin^Tf Malli. when he says gift^t f%- ?^ means

•
5T%fT%rTWj see his com. on ^q^^^q": s'l. 13 further on. But Vamana
and many other later grammarians do not seem to like to stick to
the verbal rigour of the Bhashya in such cases. Thus Vamana, in
his Kas'ika says 3^^q 5^W^ ^
and not ^'^S^f^Tf ^W
T^^T ^ 3"S"5^:
?I^ as in the Bhashya. Malli. evidently follows the Bh&shya.
gjl ijiT —
»• *• they practised yoga or contemplations ( see VIII. 19,
20 and when they became adepts in that they caused their soul to
)
merge into the supreme soul by contemplation. The four epithets

in this imply the four stages of life of a twice-born; see com.
s'l.
S'l. 9. —
^^rrr^ Here by ^^nnr Raghus means 'the kings of the
race of Raghu;' r^0Tr;i?ar??J3; fr% g cT^lc^ tJÛot^T- For the def. of
^^TÎ see K.-P. II. '^^'a\\ 5l^=^^^??TTcq^f3TTr^fT: Bha. Pari. ' I
3T5=^?T^— 3TfH^f^ T^^TT ^'=^^ arfwf^r^^^: a connected

iT=^??pfr
line, geneology. rT^^p^^ffT-though my powers of expression are

scanty or very poor; though possessed of a limited power of descrip-
tion. ^FTrST^r see note on f?rR II. 1-
iV. B. All these attributes of the Raghus will be found illustrated in
"the present work; see ft. -note.
S'l. 10. ^^: — ^ri properly 'what exists' ( pres. p. of ars;^); and
A3 goodness alone endures for a long time, it secondarily means-good,
a good man. ^fg'gi p^^ rT^:
j
— see Malli. Here 3T^c5[^ does not imply
.negation of good, but has a positive sense; 'what is opposed to
good.' Cf. MS.1. II. 10, quoted in the foot-note, where the idea nearly
Tecurs.
(6)
S'l. 11. ^^^^rif f{^: — There are 14 Manua iu a Kalpa. For their
names see foot-note. fV^75 — the sun, is variously derived; i%f^
^fH aTfxgrîji'H §f(T; or ffq[ ^f^q: ( fr. fw^ + ffrq-J, ar^'JRcfTrlT. It is
also derived from ^^ with ff Ved 6. P. to shine forth, to dawn
( 'J'^rn^ ): the brilliant one.
The Manu referred to here is the 7th of the 14 Manua, aoraetimes called
Ff^^fT from his purity. He is considered to be the eon of f^^r^rj; 'the sun',
and is regarded as the progenitor of the present race of living beings- He
is also described as the brother of Yama, who, aa son of Vivasvat, is also
called Vaivasvata. This Blanu is regarded as the founder and first king
of AyodhyA. His daughter I1& married Budha, son of the moon, the two
great solar and lunar races being thus united. This Manu was preserved
from a great flood, according to another account by Vishnu in the form of
a fish, and has been compared in this respect to Noah of the Old Testament.
T^fifôrr^ —Malli. takes this as a comp. of the g^'fr^nf^ class; x^t^

f"f^^=*r^+ff^ like ^q-(?;+ 3"?^:=f^^C, the 3T?r of ^^Tl being
irregularly dropped; in this he follows the Bh&shya and Kaiyata.
Bhattoji Dikshita includes this under the ^j^F'^frf^ Tfj; ir^+
ffV^ like ^^ + 3T?3 = g^ 3T^g., there being T^T?Tp«^, see Gr, § 15.
T^ri^^ — one who goes to everything by his mind i.e. intellect; wise.
*T?rf|T?Tr — Read iu the com. ^^{ {îT^fi% as f^ in the sense of * to

rule is of the vfff^ class. ^^mr^lf?^
'
Cf. ^\ ^j »T'E^cl'tr?T«f *i^rt i
?f«Ts^f %'7?fr?^rfr f%^T^«^: sr^f^rr: H See note on ^f\\^^•. I. 85.

srTT:-is the sacred syllable afr'JC, so called from its bsing repeated
in the
beginning of Vedic verses ( fr. m-g * to praise').
''According to some accounts the mystic ifoiaf was the source of all
the Vedas. A
passage in the Aitareya Br&hmana, however, makes
the sforf arise from the Vedas. See Ai. — Br. V. 31." S. P.
Pandit's note.
A Br^hmana must repeat the holy syllable aRf(ii;ât the beginning and end
of the recital of a Vedic passage; for unless the syll. a^rq;^ precedes, his
learning will slip away from him; unless it follows nuthiug will be long
retained by him. (Vide Manu quoted in the foot-nota). It appears for
thefirst time in the Upanishads ( vide the M^nJukya and the Ohb&ndogyA
Upahishad ) as a mystic monosyllable, and is there set forth as the object
of profound religious meditation, the highest spiritual efficacy being
attributed to it. " All rites ordained in the Vedas, solemn sacrifices and
others," says Manu "pass away; but that which passeth not away is the
imperishable Om." Om is also regarded as a mystic name for the Trinity
of the (iodhead, the three sounds
s?, 3 and j^ representing Vishnu, S'iva
and Brahman respectively:—ai^r^ f^«^5^f^ff J*lf^ *t#*»t: tT <ui1^<<jl ' i*» i
^fpr ^3rT^5 "^^ ^^'- " ^^^^ Manu. II. 74-84, Also Gough's Upanishads
pp. 69-73.
. — — ^
(7)
SI. 12. rm^: —Malli. translates this by STFrT:? meaning thereby
that the root should be taken here as used intransitively. Unless
g;
we suppose so it is difficult to justify the use of the word with
KcTPT- A
transitive root may be used intransitively, when the ^^ is
3TT^%fT> »*• e., not meant to be expressed; so we may say ^^\ îrrt
SSf or Iff g;cTr or q-^^ (c/. grr: irgcTr mr Bhav. ) the ^t in the
latter case being suppressed and the affix ^ used ^^f^ ^^^ I But it
is not easy to understand an expression like 5^: JT^fT: unless we

supply rT-m^T- ?T^f ••— By S'TT^cT s^TTJrritpT: ^mp'Tiq'^rjr P&D. II.
1. 56. t. is com-
c, a noun expressing the object of comparison
pounded in a Tat. (^^^rT'f) with a noun expressive of the standard
of comparison, saoh as s^\^, when. the common attribute is not
mentioned; here |?t implies excellence.
f^: ^rfrr^^rf^^ — This refers to the churning of the milky

ocean by the gods and demons. The moon was one of the fourteen
gems rescued Irom the churned ocean. For further
particulars see
Mb. Adip. 14. ^^:_3^7% aTf^^ ^^p^^Tr ^T S^^ffrfcT; from 3^ to
wet, to bathe, and the Unadi affix 3"; the 3" being irregularly changed
to f
The word ^ ia frequently found in the Rigveda and ie said to mean

either (1) a bright drop of the Soma juice or (2) the Soma juice itself.
Cf. QcTT^T 1^5 Rv. I. 16. 6- The word then came to signify a 'globule or a
round little body' and finally became a name of the moon. See note on
^••yFTT^R:!!. 73.
S'l. 13. s^^^^gff: ^ is necessarily added to a Bah. ending in SX'H" j
see com. ^TT^^tg^-has also a technical meaning, for which see ft. note.
TfTJJ'STJ— Some understand by r{^ri_ 'reaching as far as the knees.
From Dilipa's hugeness of form which enabled him to discharge the
noble functions of heroism, such as the protection of the weik &c.
the poet infers that he was, as it were, heroism incarnate. 3TRrTgs^*r*t
&c. Cf. ^r^r Â: f«r?T f^ erg sr^^nrf'T Jjctt Uttar. VI. 2.
i
S'l. 14.
^^^TrriT^TTT^TrrT — Malli.
not expound this but does
simply gives the meaning. Dissolve gf'siTTfcTKTpcl^: 'fffTmRTp: ( Gr.
§ 135. 3) ^T?r 'J^; or arrnr?^: ^TKT 'T?*! ^^TT^K^^R:: âf^'Rîmnr^^F- ;
mX^' ^^miiwrnx- I ^fH«fff*r*rTr?^r-3ee Malli.; or better dissolve

^f =^ cT%"^: ^^"cT^:, fT^PrirT^T^; Up. com.; or cl'F'TIPI^lfr- According
to V4mana the root ij^ with ^\^ takes f^ in the sense of the p, tense.
^^fvT^fr ^^*^ ^^r\^l^^ I
%F^—
According to the geography of
the Puranas, the mountain Meru forms the central point of the
worlds, all the planets revolving round it, and is in shape like the
or seed-vessel of a lotus, all the Dvtpas spreading round it like
formed of gold, and is 84,000 Yojanas in heiglit, 16,000
petals. It is
of which are below the surface of the earth. The Ganges falls from
heaven on its peak and thenoe ilows to the sea. Its sumoait is the
residence of Brahman, and the meeting-place of the gods, Riskis^
Gandharvas &cj. Cf. Kal.-P. l^^fv^ E^^^ '^ Tcfl &c.-, also Mat.-P.
&c. &c.
The words of Manu srsrwa &c. quoted by Malli. apply to all kings in
the true sense of the term. But here they apply to Dillpa alone, since ho
was pre-eminently the kiog who ruled over the other kings, as if they
were no better than mere subjects when compared withjhim. See s'l. 30.
S'l. 15. !T^qT ^g"5rrTT: —

This is grammatically inaccurate, if not
wrong. The word ^^\ cannot be in the instrumental case, unless it
be connected with ^[^^. Consequently all the three words ought to
have been compounded together (iT ^ltlg ^^TT:) or ^^ and stttT should
not have been compounded in a Bah., such a compound not being
allowed except in the case of a ^srf^T?- The poet, however, may"
be defended by supposing the ^cfl'Tr to be used I'tff; and the clause,
consequently, to mean 'his study of the S'&stras was such as would
do credit to him by reason of his (acute) intellect.' The same may
be said of str^: ^s-^rfit: I
—
aTTTT According to Malli. 3TT»r*? in ?Tl"^nT*T means the study or
the acquisition of the knowledge of the S'dstra (cf. ^fVfprirrirWwT:
infra 26) while in 3Tiir^: it means the knowledge so acquired. For
this latter sense, cf 3TTirJTf:g"%Cr «"/'"a VI- 41; and Kir. II. 28. g^?T:
WJJsg" annir: ^^^ fr<T f^r«l?^'tq^ n ; ef also for the curious deri-
—
vation of the word. STpnt %<fW^*^ *T(f '^ fniT^g?Tt *Tct ^ i
S'l. 16. sfprgffiT^: —may also be dissolved as a Dv. Oomp. a^-

sflR-fr^— The Gen. is used by the rule <
^V^j^F^R ^ "
^<r3fn%=Tl
i
5T vnl??'cT ?r?T STT^lf^JTW^^: I t|t ^^T^TT I

For the two epithets 3T^T
and 3TflT»rîT, cf the quotations given in the foot-note. aiTî: not
to be approached or slighted. Cf S'&k. sjft îfW^nTtlQ ifMTH^T'iJfTrW
(n5ft)^5^:i
8'!, 17. In this s'l. the poet very happily compares Dillpa to a
skilful charioteer driving the car of social and state affairs, the
—
(9)
aubjects to the circumference of the wheels and the line of conduct
laid down by Macu to the track of the wheels.
^CTon^_(a) practised; (b) beaten. PT^TJ^:— («) restrainer, guide;

(b) charioteer. ^frTfrl^:— see note on gf^fTTRT^ s'l. 8.
S'l. 18. ^Toq^— ij^fT^ '
'Jr^T 3T«inr' given by Malli. is the ex-
?i1T;
planation and not the disaolution of the comp.; for the Mah^bhashya
remarks f^^: ^fqr^T 1%?=!?^*?^ 'I^ 1%Wr (
' *• ^^ terms of its *'•
own members) îf^ |' ^'?rq^— ^S't^T^'^ -T^q; Malli. Vide Manu. VII. i
128-132. 3Tr^%_Th6 root ^ to give ( 3 cl. ) takes either pada;
but when preceded by 3TT it is Atm. in any other sense than that of
'opening the mouth ', by '
3TT#r ft.S^?Ti%^'Jt
' Pan. I. 3. 20. For
other particulars, see Gr. p. 406. ff ^^ ^-
— ^'tW ^cJ^^ T^^ T'^StflfH
fT Tf^:; fr. ^ and :s^\]^ aff. f ( added to roots ending in a vowel );
c/. T[>, ^r^, 3m, 3Tiw &c. Of. canto X. 58. For the repetition of
the thought, see IV. 86,
S'l. 19. %;Tr— €f f^^ qipir a leader, ^^^ ffff. qK^.^^:— Here
crf^'^^ is related as f^^^ to %^\. %JTTMKÛ?' naay as well be taken
as one comp, word%^r TK"*?^ T^Sr ) in the Gen. case qualifying
(
?T^. ^frÛ^ ( 2;^) is what covers or surrounds a person, external

appendage, paraphernalia-something more for show than for use.
So great was the personal vigour of the king combined with his
thorough knowledge of the political and military tactics, that his
enemies dared not oppose him and his army^remained merely hang-
ing upon him like his paraphernalia, scarcely having occasion to go
to war. ^[^ ^^^^Tf^^^ fr. rIs + rTT optionally changed to ST'T
I
by the Sutra '

f^^vqf cT^^^TFTSfT Hence we have the two forms
l'
fq- and f^f^q-; similarly ^^ and f^cT^.

S'l. 20, ^'triH^M^^ cf- sir. 50. il?T^TTT%?T^-3TT^FTT external fea-
tures or the expression of the face, as giving a clue to one's inward

thoughts or mental disposition, ff^ inward thoughts, secret —
aims or purposes. Cf. 3Tî;g^^r ? ??cTTll="cT^T &o- Kumar. V. 62.
For other particulars see Samjlvani and footîotes.
^f^Rirr: sn"TfrJrr for—The word ^^k is iised in different senses in
by K41i., e.g., III. 18 where it means polishing^ XV.
different places
76 and Kum. I. 28, where it means grammatical purity; III, 35 and
Kum, VII. 74, where it means education, mental culture &c. Here
it isused in the sense of the impressions produced by the good or
bad works performed by an individual in a previous life. Such
impressions are called Samskaras because they remain clinging to
9
(10)
the soul of the individual who performed the works like the smell
(^r^^r) of a thing, like musk; which, though itaelf separated, yet

remains in cloth. The new-born infant proceeding, untaught, to
suck the mother's breast, is a case in point. According to the
Nyaya philosophy the moral merit and demerit are qualities of the
immortal soul, imperceptible but inferred from reasoning Accord-
ing to the Vedanta philosophy, the soul has nothing to do with
them but it is the astral body (fcj^^f ) which passes from one cor-
poreal existence to another accorapaniod by the fruits of the good
or evil actions a man performs in a life which influence his actions
in a future Vide Sar.-Bhiis. on Br.-Siit. III. 1. 8. Vide, also
life.
Su. Ni. I. 45-52. Nearly the same thought is repeated in * »r%ff

^JTI'cTr^JfTa^ ' VI r. 15.
Note :—It will be seen that the etymological sense of the word Sams-
k&ra underlies the various senses given above. The word is formed f r.
^K^..^....^^{ 3T ). îs pretixed to the root j by the rules HTR^^t ^fft SJIW i
fl^sTT^ ^ ( Pin. VI. 1, 137-8 ) t. e. after the prepositions ând qf^, when
it means to ornament or to collect together. The Saniskura may in one
sense be said to adorn a man iaasmuch as all that he does depends upon
them, and which therefore are of prime importance. Or ^^^k may mean a
collection. And since uo other coIlectioD is more important than that of
good or bad deeds done by a man in a previous life as affecting his
present life, it may pre-eminently and of all other collections be said to be
his Saimkdra.
S'l. 21. Tf i \ m &c.-He took care of his body, as required by the

s'istra; see foot-note. He did it, however, without employing body-
guards like other kings ( see Kir. I, 14 f^^\^ i^\^ ^\^^- 'TTcT^r^ )t
for he did not require these ( see infra II. 4). st^T^T: — For,
while in the enjoyment of good health, a man doe:^ not generally
think of God and his religious duties, but when attacked by a disease
he turns his eyes to these; cf. ftm '^^âfH'^:. ^TÎ*^: &c> '^^^ foot-
note. Cf. Bg. XVIII. 26:—gwîfRtwr^T ??3f^f?^*T?^cT: t
f€^-5rRr^4rfi^T^^r^: t^rrf^nf^ T^^tH H 'That agent is called good,

who has cast o£P attachment, who is free from egotistic talk, who
is possessed of courage and energy, :iud unaffected by success or ill-
aaocess.' K, T. Telang's Translation.
STT^rTv STTrHC: &o —The negative particle 3T^ ( 3T ) in these is
emphatic, being meant to distinguish Dilipa from other princes. He

protected his body not because he was in fear like other kings, but
because it was his religious duty to do so. See Sam., and food-notes.
(11)
This S'l. i3 quoted in the K.-P. VII. 3 to show that though the
ôi'm :iTW^ &c. 13 compounded there is no a^Rf^ffvi^rhTfr'T ( «• «•?
a fault of composition which consists in not expressing the predicate
here.
at all or iu as^-igning to it a subordinate or wrong position)
marks the UdaharaTlachandrika.

Writers on rhetoric explain two kinds of negation (^^) viz. ^^-
^^^\^^^ and q^^r^r- 'arirr^r^ f%yr^ ^\^'^ it^jtctt n'^^'rqTeT^qT^f i
f^îr ^f ^^ ;T3?;||' The ^si^ is called ir^5q-£Tr%'^^ ( emphatic ) when

the negation instead of the affirmation is prominent, and the ?T5Tîs
expressed with the verb. Again, ^^y^[^^^ f^^q^ irm^^Sq'^TrTT T§?T^: i
^ ^^\^^Trf^qt^ ^5T The ^5Tîs called ^^\^ (unemphatic) when

II
'
the affirmation is more prominent than the negation, the ^5i^ being
compounded.
The author of the K.-P. and commentators seem to take the-
his
negation in ar^^cT &;c. as q^f^r^ or unemphatic, by the general prin-
ciple, that if a word enters into a compound it is subordinated and
cannot, therefore, be emphasized ( ^î^ ^m^^^\^^\'^^\ ). But this
takes largely from the beauty of the s'loka. The ^551^ here must be
taken as emphatic, since in the negation of these attributes lies the
superiority of Dilipa over other princes. The general principle
explained above does not hold good in every case. P&n. himself
is often found compounding an emphatic q=iT^ and V&mana while
commenting on P4n. III. 3. 19, remarks q-fr^qM^^r? ^nTT€tR?T V
The ^5T here, therefore, ought to be taken as iT^^q'^^^^Ji aud not
as ^^^^
S'l. 22. —
^^ Knowledge of the secret doings of others (Malli.)
What meant is this: Even though the king knew of the actions
is
of men done in a spirit hostile to him, he did not give utterance to

words calculated to give them pain, but silently adopted measures
to thwart their object &c. In connexion with this the following s'l.
from K^m. may be quoted: ^t ff:^- qT%efTR

f^T?^«f ?t?TT ^PcTC'Irr 3T^: I
ff ^^\^\ ?r r[\ ^R^^T^ri; ^JT may 11 also be taken to mean knowledge

in general, ^r^, gTÎ)" &c. — the Loc. here is sr^TT^j 'notwithstanding
knowledge/ i. e. he attached greiit-."- importance to'observing silence
than to displaying his knowledge, «fec. rarrrf &c. —Because of the
precept ^ ^f^\ ^\W\h'krl I
'FTST^nT- —A difficulty arises in solving compounds like these. Malli.

says ^f iT?T^'^'^t% ^fr^fff?:; but it is very difficult to see what autho-
(12)
rity he has for this. Thisoomp. is of the nature of ît»jt» ^T^r^, fTSTIfft'T
&c. But there no Su'tra of Pan. satisfactorily explaining these.
is
Vamana in his K&sik4 gives a very simple solution of the diflfioalty.

While commenting on the Su'tra <
^qf;f;pT ?n=?PT5'4irf?5f'% '
he
observes that the portion ^Rfîr should be detached from this
' '
and considered as separate Sutra by itself, bo that it may explain

the above-mentioned cases. Bhattoji Dikshita conforms to this
opinion of Vjtmana, but following Haradatta, suggests that the ^
in compounds like êtt^ may not be substituted for ^m^ but for
meaning îke to/ as in the case of ?r^f^(3TlTWr ^?I5?: FS^Tf^^'m?!
^
I
F1"?T: F^pzrr FFWrfcT Tîr ), and that the comp. may

l be called Bah.,
the word ^^ not occurring in the f%ir?Îfq-(fl^r?T»T^q?f^f ^Tffnf: l)- I
We must therefore dissolve either as ^qr^: tr^f tJ'^T'i; » or following

the Sid.-Kau., as iWf r ?riTF^:, or FîT^fr:,
^g-^j: 'J'^t Ff being opti-
onally changed to ^ by the rule ffT^^^f^; and not as Malli. has it
( Ff if^^ ^^r^ ). It will thus be seen that it is difficult to find a
defence for Malli, unless we suppose (not without warrant; see notes
on I. 1 ) ^^ to be wrongly put in for ^j^^ by some meddlesome
copyist.
S'l. 23. f^^^: — for der. see notes to si. 8. r?r«rPTt TJT??^' —Tit
??"Î'TITf<Î ( 't^+^^ F&n. III. 2. 94 ) one who has seen the other
side,
f^ is used at the end of a comp. ( see V. 24 ). Words of
^^5*.^, nvii*^<?<. &c. f^«|R|^ According
similar derivation are —
to some there are four Vidy'as ( see the s'l. quoted in foot-note ),
vt~. ( 1 ) 3TT'«ilf^^r logic and metaphysics; (2) ^qi the three Vedas
3fm, ?I5?T, and HT^T^j (3) ^13? tîe practical arts such as agriculture,
commerce &c. ( see XVI. 2 ); and (4) îry^rf^ the science of govern-
ment or politics ( see XVIII. 46 ). To these Manu adds a fifth, viz.
3TTr*TR?TT the philosophy of the soul ( vide Mann VII. 43 ).
According to others the Vidyas are fourteen ( vide Sam. on V. 21

and Manu. quoted therein ); while there are others aiill who add
four more Vidyas to the above list, making up the numbor eighteen:
Tal
SI. 24. fr^^mTRn —m'T good morals, discipline; here,
dducation in general; cf III. 29 ( i^f%^: ); STT^îr^— iiif^sing,

inculcating; C^TTra* *mT5. all these are ablatives showing the
5^ of Dilipa's being the father of his subjects. noun A
denoting \^ may take the Abl. or the Inst. See Sid.-Kau. on Ptn.
(13)
II. 3. 26. g- fq^r &c- — 'o'' the repetition of the same thought see II
48; XIV. 23. Cf 9.\%o -î^ ^^\\^^\vmi'^;^^'v^\^\^^ i s'^k. V. 8
%g-?y aT^H?^^- — ^ peculiar construction, though not rare in the writ*
ings of Kalidasa. %f^ is an acTp. qualifying the verb «n3; in ^f?iT.
Cf, ^ "^f^ ^T Hf^TT'Tm &c. Kum. V. 83.
S'l. 25. f^zi^— the Dat. here is cTrf«;^> 'ÔJ" the purpose of pre-
serving social order. ^^T^rTJ —
Malli. renders this by RT^^fT: chastis-
ing. The root ûâlao means 'to fine' e. g. iTTT^ ^Trf ^^'^fcT This I
seems to be the meaning intended by the poet here. Cf. ' -ST^sHcJ
at^(^»icT^ ^ n5f[ Bk. I. 4; Kir. I. 13. H K^ls;— TR + jfl to take
' *
round/ hence to marry; the root has this meaning probably because
the husband takes the bride round the sacrificial fire at marriage.
ir^jrT^ —This strengthens the statement ir^T% 'Jf^f^F'i; ' I- ^•
ST'^^^FH'jfr&c. — even the attainment of the two objects 3T^ (wealth)

and ^\^ ( sensual pleasure ) was to him the attainment of the third,
viz. q^, i. e., he attained the two objects as a part of the third. His
sense of his religious and temporal duties was so great that he
attached special importance to qj? and subordinated to it the consi-
deration of 3T^ and ^^[^. See the gist of the line given by Malli.
aT^^rrr^r^jfr: &c. S. P. Pandit's note to this passage which
purports to say that the king did not employ separate means to
attain q'lr but attained this as the result of the attainment of the
other two, does not seem to be correct; for we are already told in
the 23rd si. that the king took care to do his religious duties
( yr^^%: ). The poet simply means king did not extort to say that the
money from his subjects to swell his treasury, nor did he give
himself up to sensual pleasures, in such a way as to infringe
scriptural law. For the recurrence of the same thought, see XVII. 67.
Note •
— Since words falling under the vrqn^ group may be compounded
in any order ( vrqif^tscff^JTrf: ) we may have either 3T«fcp7^ or -^TJir^^f ; similarly
<wr4t or aîw^Titf, ^xflfrslf or 37«i^t# &o.
S 1. 26. ^rf— Mark

the use of which means 'to milk' in the ^
first and then to drain or empty of the best part; and the
instance
pun on in which means a cow and also earth. For this sense of
5^, cf. 5^^?iff^î' Kum. I. 2. lit ffiT This does not mean that he —
deprived the people of their money, but simply this, that he spent
the greater part of the state-rcvenue in the performance of
sacrifices as'there were no wars to be carried on. JTeJ"^ RU% ^^cT —
3T#r T^Tj irregularly derived from ^^ to adore and Uriadi afiix
^f^=^ ( 3^^ ) and augment f^(^). There are twelve other words
similarly derived: s^;?;,
?^^ ^^, gfrf^^WT^, ^f^, H^k^, »T55r^,
,
3T^JT^, f^s«?t^q;, TK^^, and qfcTK*^ ( by the Su'tra j«^5T^^ &o.

Una. I. 159 ).
fvjg :
— Properly this should be in Atm. by the rule '^^ff ^jf^r-
faw' 'the Atm. should be used to express exchange of motion' ( see
Gr. § 662 ); but since the poet does not wish to convey the idea of
'exchange of action ( fffmx ),' but expressly that of 'exchange of
wealth ( ^*tri%R«T*T )' the Sfitra.does not apply -and we have the
Par. ^?fj^«pj-_C/, Bg. III. 10-12 and S'4k. VII. 34 quoted in the
foot-note.
S'l. 27. f%?7 —

indeed, verily; or it may be used "Îrgr in the sense
of 'history informs us &c. ' sr^fST:— other kings of course could
not attain his fame of protection; for had they imitated him, that
would have been a kind of theft; but theft did not exist in his
kingdom, qr^ is a noun and not a pronoun here. See Gr. § 150.
rr^^frrn"-cT?^C derived fr. fTci;+^^ ( tTc^ffcTrn ); by the Gana-Sn'tra
VI. 1. 157. 'cT^f?Ti: qj^qc^rl;,' [ ^rtfcfqT: g^cT^q«^ ] ?!q;aud f^
when followed by ^^ and qfer drop the 6nal q; and insert g instead,
provided the words mean ^j^ and ^cTT respectively; ri^^Ky lfWf?T-
^^r — t. e. in the term expressive of theft ( ^r^^^T«% )> ». e. the word
theft only remained; it did not exist in practice. See Malli. Or theft
exerted itself ( operated on ) ^f%, t. e., the word theft was forgotten.
This is more poetical.
— one deserving to be hated; here used as equivalent

S'l. 28. |TJ2r:
to f^q'ci;^ — Malli. seems to take as an

a f oe. ra'S" •
may as it ad/.; it
well be taken as a substantive. %S": ^s^tTT &0m this better harmo-
nizes with — 3Ttqvi. The of g-îs dropped by
;jc»t: 3"^?ri *T=^?r<fFf?r I ?t
<3"^^r ?7r<T«^' Vart. on Pan. III. 2. 48.
S'l. 29. f viir: —

According to the Sid.-Kau. this word is derived fr.
^r with f^, and the affix 3T«;; f%^<?TR fT% ^^\' bo who creates: ^vj being
substituted for f^^] by HVirsTf ^^ ^ Una. IV. 224 Some derive it fr.
f^6 P. to rule, to govern, fftir^tf^. JlfT't^T^T'TrmT— ^*nm is 'what
is collected together,' materials. The five great or primary elements
are —earth ( îf\ ), water ( srg ), fire .( ^si^^ ), air ( ^J^g ), and ether
(sTT'FRT). Tor a similar idea see Kum. 1. 49, imtf^ — and henoo,
owing to which. Tj^^'^^Tq^f^p—C/. 'SUTTrfjrq T^JT^Tr^T^l' infra VIII. 31 _
S'l. 30. oTâr^r^^r^— 3T'«TW ^TiHîn=^<Tw^'i[. arff^rmjîFiT^TRnT

q^qr^cTra,! By the Vart. Rsft^pir^TRf ^ffrf^^f 'ftTiTqT^rqr ^w^^^
•
(15)
" the negative particle ^5T in combination with a word having the
eeuae of 'there is' may enter in a Bah. comp. and the word following
it be dropped optionally, " \^^^J^ may optionally be dropped, and
thus we may two forms 3TF%^m^P^ÎH?Tf, and 3T?r==^^TW:TT^.
get the
îîP^ — lit.wide one/ the earth; /ctw. fr. gr^ irregularly derived
<the
fr. 3r^-375nTm 3r<t^^ ^r ( Un4. i. 31. ).
The presence of the word f ^?t which usually means 'a bracelet^'
in g'cJ'Ffq'^sr'Î^ suggests a side-meaning. The earth is the spouse of
the king who wears a bracelet in the shape of the "^^j, a waist-zone
in the form of the sea, and who is solely obedient to her husband's
will. See Malli. on I. 32.
S'l. 31. —
frf^T^^^ ?f%iT?^ *ITfr ^]\^^^ gentleness, winning
manners, attention to the wants of others; ( see Malli. ). Some
derive it fr. ^f^tiT ( right-hand ) right-handed, skilful, knowing how
to please everybody; fl^tir§"tq"sprung from, celebrated, grown
familiar with everybody. —
*TJT^^?r^ born in the family of the
Magadha kings.
" Magadha was name of Southern Behar, or that part of
the ancient
Behar which South of the Ganges, between Bengal and the
is to the
Karmanaa'S,, and watered by the lower S'ona and the numerous little streams
flowing towards the east in a parallel direction. Magadha was once the
eeat of several most celebrated dynasties of ancient Indian kings. It was
also here that Buddhism first took its origin. Pataliputra, the capital of
Magadha, was situated near the confluence of the S'ona with the Ganges. "
S. P. Pandit's note. Its ancient capital was fSTR^^ or ^r^gf ( identified
with K4jgir, which is about seven miles to the south of Nulanda or
Baragaon ). Magadha was Kikata in later literature.
crrTfT — Fem. of trf^; by the role ^r^^\ v^^^f^J, ^\'^ takes the
augment ?r before the fem. aff.
I ( f^ ) when participation in a
sacrifice is implied. The use of this word shows that of all wives
of Dilipa she alone was ••q"»^[ i. c. had the right of joining him in
religious rites.
5Tt.^^^f ff^^TT — 3lv^^:-The word is variously derived. (I) ^ \.^^J

If^T ^rfîr?; that in which there
no sinful killing (that being the be-
is
lief of the MlmSmsakas. Vide Manu. V. 44 ). Sayana in his com. on
the Rigv. derives it as (2) ^t fc^^circq^f t: ft'^^fcT: free from molestation
by the Rakshaaas. See Sayana and Y^ska quoted in the ft. note.
Later writers derive it thus: (3) ar^fw fir% ^^fcfr?^'--^^: that which
opens up a good path (t. «., the path which leads to bliss or heaven )
for its performer; and lastly (4) ^ sff: ^f???:, ^ ^^m ^'fcfr ^mum
(16)
?n that which never proves crooked, never fails to give its reward.
The poet evidently uses it in the last two etymological senses.
^f^forr —
( See Malli. ). The donation to Brahmanas at a sacrifice
is personified as a goddess. She is said to be the author of Rg. X.
107. She is sometimes regarded as a daughter of Prajapati, ^^ by
name, or as the wife of Yajna or Sacrifice. She onght to be highly
adored, else the sacrifice would be fruitless. Vide Bhag.-P. IX. 1.
The Br.-V.-P. thus accounts for the name: — âTfrT^r^fcfrHT^t 5 ?l%
—The points of similarity on which the

Note: simile is based are
these —the king was very munificent and granted the desires of every on«
and 80 was like Adhvara which does the same. The Dakihind gladdens
the Brrilnnanas at a sacrifice and so Sudahshind, pleased everybody liy her
conduct. The appropriateness of the simile raiglit have been better
understood in times when the sacrifices were in vogue than now. The
particle §, which indicates excellence, perhaps s'lows that Dilipa's wife
was even superior to the wife of Adhvara, as the latter is only Dakihind,
while the former was Su-dakshijtii.
S'l. 32. ST^Cf^T —
3T^?5^cT fr?T^?rvT: the wives of a king taken
collectively. See IV. 68, 87; VI. 48; XVE. 58 &o. The Loc.
here is 3^\^ ( Pan. IE. 3. 38 ) t. e.conveying the idea of disregard.
H ^ fk^ ^T — q"?T?rt noble »T#r^?TT 3T^'itf^> high-minded. Here the aff.
i%^ shows sr^T^'f or excellence. For the various additional senses
in which affixes showing possession are used, see Gr. p. 209, ft. -note.
r^r^[ ^ ^g-v:frrTq-:— Malli., who remarks *
^?5-«m^ f?^5T ^^>T^
%Ff JF^^' 'the epithet lord of the earth,' indicates that he considered
himself ^?j5ffr^, by the earth also,' takes c7^'tfr ^^ a distinct wife of
the king. But cT^jfi" is iio* generally spoken of by poets as wife of
kings. It is ^^^] ( the earth ) that mentioned in numerous
is
passages as the only Kalatra ( wife ) of kings except the wedded

Queen and not Lakahmi. Cf. fgrre^fT ff ^TT: ^^V^W- VIII. 83;
fRiTf 5rf?lrq ? irf^s ^^^ ^
^g^rîî ^^m '? 5^ 'TiR'^'^
1
S ak. ^w i
III. 17. Lakshmi can, therefore, be spoken of as < wife ' of kings
only through W^7T> ( cf. III. 36; 38 ) and we think the epithet
<
qnvin'^-TT: ' is used by the poet with that intention. In support of
Mallinatha's remark, however, we may quote VI. 20, where
the words of the poet f^^^ ^^qiftiT tT^fr^^HRF show that the poet
speaks of the lord of the Ailgas as the lâyaka of S'rt and Saraviat%\
also XIV. 86, and Kir. I. 44.
S'l. 33. rfîTR — of course refers to Sudakshinli, as she is princi-
pally mentioBtd in the previous si. 8Tr?*irg5^"?I'?r^— s^^l^t ^^^'H
—
(17)
3T3^<n, 3T|fM'fl!i^TIrHI^^Nr ^^^^î ^Tr^JnTfR^fgrf^:— c/. Malli. on I
the etymology of the word wmj ( II. 1 ) and the Smriti quoted by
him there. JT^rC^: ^^ ^^TTT '
by means of; ' iT^r^«i lit. 'the car of
the mind/ hence a desire &c.
S'l. 34. ^f?TrTrt[f?T--t«T^?r fffT ^cTH: (^?T^+^5T^t- e. 3T). ^cTH

may have the sense of (1) progeny, 'and (2) continuation; as the
aflSx ^5T is added in the sense of cF^ttt ot Both the senses ^^ .
( though principally the first ) seem to have been intended by the

poet. See II. 64, and XVIII. 52.
ij:— ( derived fr. gÎ. P. ) ^tfer ^^cT ^^f%m *^: i
' that which
injures the animals yoked,' hence a yoke. But as the weight of the
carriage or plough ( as the case may be ) presses heavily upon the
animals at the yoke, sometimes used in the secondary sense of
it is
'weight, a heavy task &c.,' in which sense it is used here. See

notes to I. 91. i^%^ is what one deposits with another intrust, and
with the object of taking it back; cf. Kum. V. 13 (f^%^ ff Tf^ct gfT^)-
S'l. 35. sft-iiê;^ f^q^j ri r c^— Brahmd, as the lord of creation, is
worshipped by those desirous of progeny. The poet could have
as well said *
3t«j ^^^Ju\^)iT^^^' but he purposely uses the word f^^f^.
It means he who ordains everything ( f^>iiTcflI% )j he upon whose
will the birth of a child depends, and is very appropriate here. The
use of the word Brahman would have destroyed the beauty of the
s'loka. —
j^RfT^r 5^'FP'^r is derived fr. the nomi. verb j^^Fj^mW
* he wishes for a son fr. ^sf + î;:^ ( ^F^=^ ) added in the sense
'
of ' wishing for that which is denoted by the base. '

Similar verbs
are ^5I?^j:?ti%, Î'qcq^r'^t &c.
<û|^ | —This word may be properly derived f r.
^^ ( f ^^^
) *a house'
and q-f^
' the lord of, meaning the two masters of
'
the dual ^rqffy '
the house,' the husband and the wife. The word in the Veda ^
means a house' and the word îq^ is often used in the sing, in
'
the Veda; e. g. < ^j{\^ ^^\^ jjSr ' Rgv. I. 127. 8; tt j^ ^%q- ^q%
'
Î^^>ll% 3T^^: * V. 22. 4 &o. The word, however, is never

I
found used in the sing, in classical Sanskrit; and grammarians, PAn.

included_, derive it fr. ^^ irregularly substituted for ^m\, and qf^;
Sinn =^ «Tm«^ ^n^rqrfT, w*trm, ^'^qffr.
This word is classed as one of the group ^fsr^n^; and as reference is

made to this group several times in the com. or in the foot-notes we explain
it here, ^nrrîrirf^ is a class of words, which what ought to appear first
in
in a comp. appears last. By the rule '
the compound should
3T*?iffct i;!*^'
have been «if^r^, the word qf^ preceding ^trt inasmuch as the husband baa
B. N. 3
(18)
preference over the wife, when we are speaking of them with reference
to the relation existing between them. But since the form :jTr'TNfft occunl
in language, it is classed under ^rsr^Jfrrf^. |
N. B, — When the relation of husband and wife that exists betweeal
a man and woman is not directly and prominently meant to be expressed,
it is the woman that generally precedes; ^^qeq^r^: &c.
Note —The king goes
accompanied by his wife, because the wife
ought to join her husband, as enjoined by the S'^stra, in the performance
of every religious rite.
B'l. 36. ^?p^^— ^^?^^l^ that which moves on quickly; hence

a chariot. It also means 'that which pours down', a cloud, iyrf^"^
this epithet is used to account for f^îrtq' &o.', for an autumnal cloud is
not 80. T2fr'^f^— this epithet is used to keep up the pun implied
in f?p^JT: for a cloud is that which contains and also pours water.
f^f^jfuT^rir ?? — *^ instance where ^ is not compounded ( see our
note on ^\^vJ'\{^^); for, if it were compounded, the comp. would
qualify 3Tif?«f^r and ^^ff^^ T^^TfiC would be disconnected and
thereby rendered meaningless. ^TT^* ^^ Pauranic literature, the
elephant of Indra produced at the churning of the milky ocean, and
the prototype of the elephant race; ( see Bg. X. 27 ); also consider
ed as the elephant of the eastern quarter.
The earliest conception of Indra regards him as the lord of the
atmosphere, the dispenser of rain and the governor of the weather.
The elephant he rides can, therefore, be no other than a kind of
cloud. Cf. the etymology of the word given by Malli. and Dakshi-
navarta quoted in the ft. -note; for other particulars see ft .-notes.
(T^ ^^H &c. —According CO the ancient custom of India, kings and
queens did not drive in one and the same carriage. See Malliniltha's
consequent remarks on this.
S'l. 37. ^T ^rfriT»Tfr%i^— C/. trftf^rf^^rjTfr'Jt m -^ i 3fk^ ^«t
.^^jTTTir 'TR^^fTHR I f^^lJT^^'^ irtS'SqTpT cT^r^^Tn^ ?riH I S'dk. I. qf^lpT—
lit.'what can be measured,' hence a small number of. 3T3HT^:
ST^T^r Trtr^TTf * Pradi Samasa. arg is not an Upaaarga here; for
• l
in that case ^ will not take the affix %i5t (ar) by the rule ?ftjTfH^^3''"
îf ( P&n. III. 3. 21). *
the roots %fr, ^r and ^ take tnr^ only when not
preceded by a preposition'. Or it may be derived as STgvTlf^^frff i
tj'^rra^ ( PAn. III. 1. 134 ). The majesty or awe-inspiring splendour

of their mien or general bearing.
S'l. 38. ^<j|^ff :
—
Q^ is an ady. here, and means 'pleasant.' This
implies that the breezes were cool. ^wf%?ri"^»lf^f«f ?rTc?T^t f^^- :
—
'
(19)
9^^^ ir''4T ^^ i?«rifm% «»iTi?>Tqr^: l «^<Tffcjf|:— Wafting, bearing

away. Cf. rR'R ^?«T'c!TtmT%nH5!T: Kum. V. 26. or^^: v. I.
where 3c^^ means ' a collection; a cluster.
An over-9crupulou3 critic may find fault with the epithet Q^T^t:.

For, that is considered excellent poetry which is suggestive it must—
suggest ideas which are striking and capable of pleasing and impres-
sing the mind. Here the idea of g^
or pleasantness is the qT%rTT'l or
the meaning intended to be conveyed by the poet, and should not,
therefore, have been actually expressed, but left to be« inferred from
something like **TT5flT?frR|T^^fr^r'nt ^3T' which leads to the inference
that the breeze was cool and therefore pleasing ( in Kum. I,
15 where the description of the wind is certainly more poetical
than here). Also, the idea of fragrance suggested by 55TTtg;i^^: is
repeated in ' which again spoils the beauty of the
5TT^f^r'H^'TF*iinT-'
s'l. Perhaps the object of the poet is not so much to give us poetry
as to describe the natural state of things by a ?f*TT^n%- The epithet
fTT5J &c. seems to show that the strong smell of the exudations of the
Sâla trees overpowered that of other flowers; while îf^^^^: is
intended to suggest an exuberance of flowers peculiar to the forest.

s 1. 39. JT^TT^PTr:— 3Tf*T^TT% ^^ 3TT^ fr% 3Tr%r*Tr: I rr?r^7i'«TTr»TT
H^rnrnTT: ravishing, delightful, to the mind.

«r|.^RTfW"—'ff^rfr R^cT arr^^m ^îf?^^:; now see Saiij. q-fST—
The first of the seven primary notes of the Indian gamut. The seven
notes in order of pitch are ^^^, m^^, m^^JK> iT^T, TafiT, %f?T and
f^m^ abbreviated into ^, f?, ir, ^} ^> ^> and f^. For deriv. see Ma Hi.
According to Narada it is called tsfg-^r because the other six notes
proceed from it, i.e. are based on it. ûjm^^ ^^J^^ ^?^*TT^J ^t^ 5 i
f^^ f>TW' —
Distinguished in two ways; t. e. peculiar to each sex
^rs^^t^ Din.; wr^^cm^Trt GhL] Oh4. also observes JTgTST^^f^Sf- —
t^ficT g - 1 Mallindtha's explanation is perhaps more scientific. Shadja
is of two kinds, g;^ and \^^r^. It is called S'uddha when it consists
of the four ^'%3 (tones or vibrations rT'^'r^rrft ^r^: ) viz, fft^r> ^3?cfT
qj^T and ^RcfT ( cff^f ^^J
4^1 ^sT^J'TfJ ^%^m: )•, otherwise it is I
called \^^^. It is further subdivided into two kinds, and sT^gfT. ^^

^S^ri^cfr fl'^r ^%^\ fs^mR^r »f^ti; The sound which appears in l
its last component part ( tj^t^cfr ) is called ST^jfT; when otherwise
^5?T. ^^' — For deriv. see Malli. The Loo. in ^: is retained by tha
(20)
rule '?Tr5?^3jf?r arfg-^' < In a Tatpurusha tte Loc. term, is often
retained when a ^ affix is added.
S'l. 40. 7r?Hill'$l^ll???T^— 3TJâir: m^^'fiTf^^TI?*^^ I By '
îfsqffffft
frt^T^^F I fr'^f ' '^«Tr^^â-^ ' ( Va'rtikas on P^n. VIII. 1. 12 ), a
pronoun always doubled and in many cases compounded (i. e. the
is
case-termination of the first member may be dropped and the two

words joined together as in a comp. ) to express interchange of
action. To express the interchange of action here we must have
TfF'T Tf?«r 3T%?rT?"^^^ I
But comp. is not allowed in the case of xj^
and remarked by Bhattoji Dikshita ( ^cJUfoir^q^q^^fl^

ST^q", as
^^m^^ )• Then by the Vart. ST^me^rf i:lT^«T?q gq: ^ttps^: ' '
when uncompounded, the case-term, of the first word is changed to

fr, we have rjx: ^x^ a°d by the rule
the term, of the nom. sing.; so
*
^î^5 ^ '
( we have M <^(^<<
see Gr. § 43 d Now compound-
) .
ing this with 3T[%f[T?^zi^ we get q^TTrf^T^^'T^ But here another I
difficulty arises. Since q^qr^qr becomes the first member of the

new comp. g^ of the first q^ must be dropped by the general rule;
Bhattoji Dlk. therefore, regards this as an irregularity (^TTJcJ^^^
^m^^)- See Sid.-Kau. on P4n. VIII. 1. 12.
'Hlfrf^^m &o.~C/. ffs^mqiTH Ki vnsnrcTT: î^ ^|?^ ^t: &c. S'ik.
I. This shows that the benign appearance of the king and his queen
easily inspired confidence in the herds of the deer. V'îde IE. 11.
81. ^rT^nfr^— s^q-'er ffcr ^5Ts=cfrm ^r w^ lit. 'that which is

41.
made or that which people make easily;' and as nothing is made
more easily, and charms more when made, than a garland, it means
a garland, ^jîj;— g^??q^fff, ^^??t iuw*<^l% ^ where people
gather with exclamations of joy; or g^^ffT T^^rTT'? J^T'^S^ where
people go in haste for auspicious purposes, ^^x^ usually means
the outer gate of a palaoe or city, or an arched doorway. It also
means â temporary ornamental arch,' which is the meaning here<.
When kings and other great personages go out on a tour it is

customary f^r people to exhibit their joy by raising ornamental
arches with garlands suspended over them and the cranes here,
as it were, did the same.
As for Mallinatha's remark '

^Jq^r^'T^qJ ' &c. see Sah.-Dar.
quoted in the /f.-no<e to the 13th s'l. When words like f^, jf?^
&c. are omitted, the 3:f>j<rr is called iT«qT> ^Tf ^f or Jml^Rr^TT-
S'l. 42. 3^5^f^rq^—3T3iTfT: ^^1^5^^: 'running along the current/

and not in a contrary direction; hence, favourable; ef. ^TF?TT3^^-
—
(21)
7^:, Sak. IV. 11. ^sfff^H^li rtch &c. l

—The iTsrîn ar??? is emphatio
( irfr«în%«fq' )• See note to s'l. 21. As ar?^ is connected with
r^rF*T-' the whole should either be 3TT5!":??ST<7^%H'^r <^^ 3y^^
should not be compounded. See note on sj^prr ^S^TT^TfT: s'l- l^-
S'l. 43. srrf^F^T'Tra. — Lit. 'those which have petals resembling

the spokes of a carriage- wheel' (see ft. -note). 3^\w^ has an exceeding-
ly pleasing fragrance and is considered as one of the arrows of the
Grod of love ( aeeft.-note ). It is a day-lotus. Cf. *
g^TTgnrf^'sI-
f^Rf%^^ Kum. '

I. 32. STT'frt — fragrance exceedingly gratifying;
37T ^r^cTIfi: tl^^% ^c^lHÎ^:; 5^ can. witharr+aT ( 3T^>, or an^R'rT
^jRT ar^'T;
S'l, 44.
with ^ ( 3T ) ^W.
— Having the sacrificial posts for their distin-
^T^ff5
guishing marks. This shows that the pious Brahmanas constantly
performed sacrifices and thus used the revenue of the villages for
the legitimate purpose for which they were granted to them.
^r^TTT —Mark the meaning of ^s^^} sr; is similarly added to g, grf ^•
^TS^rfjTT^ &c. ^^^^ ^^Vri (see com.); here ^^\r^, is the meaning of
the preposition srg.
S'l. 45. t^firfiR^— prar fm ftf v Tft ftf =
Jfrftf ;, §i: yesterday;
fffftfTf^T ff^TTF t^^^R ^^jftcT^ ( Sid.-Kau. ), ff^ff being irregu-
larly substituted for îfrftf and the affix ar added. Vide Pan. V. 2.
23; III. 1. 134. The Mb. has g'cT'^, but on this the Manorama
remarks— zfs^q ^]z^ ^\ ^ ..f cTmcE^T^frrm'^ '
rT^ f^^r^ ^^ Wl^\-
ft|i5^ fcrq; ' f?5^ fT«rrf^ ^Tf^^nr"^^ w^ f^^crm^ f^ttt^: \ It means
•fresh butter.' STrffT —The cow-herds brought butter with them,
because one should never approach a king empty-handed. iqj^fCgT^-
sftTpfT »TTff5^fcr a place inhabited by cow-herda; ?n^ f^r: ^T«ff:g'T:
'€]^''
oomp. ^ grrr; old men of the villages of cow.herds. Or the word ^ft^
may mean a cow-herd ( ^TPfT ir^TiTriTHnT ^Ts^lT^ ffcT ^\^V' ) in which
case the comp. will have to be dissolved as |^:^[^q-f ^t^^T;; the
word ^ft^T, being one of the îT^r? class, optionally takes g;ff?itri?T •
ffPT'^r^ — By the rule VTrT^rnTiJT^fr ^: ( Vart. on Pan. V. 4. 25 )
the affix %?T is added to ^;^, qrq- and
without change of meaning. ^]i\
—
Note: This SI. bears testimony to the magnanimity of the royal pair.
They condescend to enter into conversation with the herdsmen on topics
quite familiar to them.
SI. 46. ^fq" —The pron. fq»^ in conjunction with srfcr expresses
the idea of indescribability. pHT^r: applies to— f%^[ and =^f^?t
also, they too being in their diurnal motion, gs'^q^: — when
applied to f^^r^^f^Fr means 'of pure or bright ( g;^ ) appearance'
(22)
{i.e. light, arr^ra; — According to Visvan&thathe simile here is vitiati
I
ed by the fault ^j^^H^. The beauty of OhitrS and the moou
^ when in conjunction, being always visible, the past tense (aTWfc^l
la inapplicable. See ft.-7iotes. i
S'l. 47. rTrlt^
— 'that and that/ 'this thing and that thing', t. «.,
everything, all that struck him as beautiful. By the rule ]ipq^\z^q\:

a pada may be repeated to denote frequency or univorsality;
e. g.
^^
fJg T%2f r% «• fsni?^:— Malli. says f^4 g[^4 ^^k^ ^?q>
e. all trees,
whose sight was agreeable. We may rather say m^^^ and explain
fq-q" ( an agreeable task) g[^4 showing things ^^^. ^v:if«TtT: ây a^80 —
be dissolved as ^^ ^^^j: as a nitya-samasa, 3"giTf having the sense
of ^^xi when used as the latter part of a comp,; ef. ^^m^ f^wt I
pT^^'^^^r^rîr?fr^HTrT*TT5r5f: i
Amara. This epithet is uêd in order
to indicate that the king was a lover of natural scenery and was able to
see beauty in everything, giq- is thus described in the Matsya-P.: — cTfT-
S'l. 48. fsjTPTjf^rr: — </. supra 27. gr^rHT: — 0^ pre-eminent

asceticism or self-control the affix f ^ shows 'excel-
( st^cT*. ^'Ttff^T );
lence'. Vasishtha's self-control and patience are well known. He

is described by poets as the receptacle of all knowledge and the
greatest of self-restrainers. ^Tf^r^t wf^: &C' !•
Cf. Bhatti. Tf^lRrgf
15. trfg
'
tff ^fei: — Note this comp. which must be dissolved as a Gen.

Tat. according to Pdu. V. 4, 91. Were it not for this technical
necessity of grammar
would be more natural to dissolve it as a
it
Biih. and understand by it who had the queen for his companion.
•'
The poet does not intend to imply ^r%?^ but merely ^f^^q- Cf.
^V^^^W' IV. 87; 'ffTcTrc^^HOT^fi^: XII. 9; beiidos, all other com-
pounds of a similar import are rendered as Bah. Cf. 'irqcTTRsffrgf^q.*'
I- '*55 ¥rWr€fT^: II. 24.
A^. B. — Mark the alliterative recurrence of identic&l Byllables of which

there are numerous instances in this canto. See the preceding s'l.
S'l. qr^r?rirra— 3T'^'r ^^PcTt ^V\\ri

49. This is a Karm. of I
the iT^^s^T^^rr^ class. See Gr. §228. As the comp. is \^^ (obligatory)
it can have no dissolution (f%?q: ^»TRfl WTOfTf^f ^^^ RSrfT ^TfRrT Mb. ),
but only its meaning, which is here expressed by the words aT'^fff-
g:^Tf^. ST^^^T^ftS^ iWÎ^ Manorami. Hero ar??^ is used to show

that the place the sages lived in was also a forest, ^»TPf Pres. —
p. pass, of jr or g. 3Tf ?^rft" &<5- — According to the S ruti quoted
—
(23)
by Malli. the holy fires go forth, in invisible forms, to meet their
worshippers as they return from the forest in the evening laden

with sacrificial sticks &c. See note on ^^nf^f^T^nir^r^ S'l. 6.
S'l. 50. ^T^nRTfr^:—fT^ fr§" ^fr^ ^«TT^; now see Sanj. They
gathered there in numbers to get their share of the Nlvara corn.
yUr ^; ^ qtTPrT N'cKTsW'T that by which the manea do not go to hell,
hence, a child, a son; cf. ' ^s>^c5#tiT fq'fT?r^f'TI^'=^f ^ cfiT: ' Ait. Brah.
Pafich. VII. It may also be derived fr. arq and czj 'that which
springs from the stock.' Both these etymologies are countenanced
by Yaska. See/f.-7J0fe.
S'l. 51. %^F^ —

^M^^^rf^r: So in S'Sk. I. also we find the
daughters of the hermits watering the trees of the hermitage.
cTc?Ti^rf5^cT fee.-—^ ^TiT^rfrâT: Kapm. comp.; g^fr fÎ f^^F"? now see
Sanj. j^H-h'- gnftT: takes (jcfr^r in connexion with S'f^lTtr which there
-
fore ought better not to have been compounded. f^#f —The young
trees were watered; so in the S'ak. ^fTfffT" fricT^?'7"'TF^?Tirf?r^:
w^mv- &c. p. N^^-rHiH,— Rfi'Tei Tsu-mm T^fFT" o^ -^*n:

19.
PAn. III. 2. 47; and Vurtikas on III. 2. 38. f^^rar^T—f^s^WScTT?-
f?igi5; I see Gr. § 828.
• S'l. 52. i^t\ ^'^'., ^rirmf *P=«r: d^^*?: o^

^'^f^^^^^^^^^^^m\\^
frin^«^rfTf^?Frr«f: i"^Tfnf^T^m3:> rumination,
I
this habit being
indispensable to digestion and health in the case of certain qua-
drupeds. ^: may either be 3Tg% ^\K ^<ft'IT by poetical license, or
^r^T'JjToJ'^St ^firÎT, »'•«•, indicating a particular state of the hermitage

( ^f^frflJp^T ) ^f% is appropriate with j^^ as Pan. has used it in the
Satra ' ^ôff fr;T^?TiT'fT'=^f ^f^'^f: I
'
f[T-^ ^^TRT ?TJT?«ri^ff.
S'l. 53. arfrnfr^ — 3TT%T*r lit- he who always goes; or he who does
not stay for a second day at a place. See ft.-notes. Cf. ^f^^^\r^^^:
3^cf 5?^ T^^T^f ^5^.* one with his face uplifted; and* since a person,
who anxiously expects another, often raises his head to see if he is
coming, raising up the head is a sign of anxiety, or eagerness, and
hence the word has often the secondary sense of ' anxious ' or
Cf. VIII. 12; XII. 26;
.-eager for.' Kum. 34. Here it simply means
'coming or advancing towards'. Cf. II. 17.
See Sanj. Cf. VII. 26 and XIII. 37 where the purifying power of
the sacrificial smoke is again referred to.
(24)
S 1. 64. gr »-d t i*l> — He who checks the horses i. e. gaides their
-motion; hence, a charioteer. f^'tTPRT — Properly far^fTTi 'ST^ being
one of the roots designated as ffrr^. See Sanj.; but such forins as
^JBTJT^m occur and the ffrT^^ says that such forms are to be
T%3TriT?TT%?
explained by supposing optionality to exist in the rule fBrtTt f??: («. «.

these roots may not lengthen their penultimate ) in certain fixed oases
( f^TtTf f?f fffT 1^ ^ f^rrfsr^H" ?fJT% ^^^^^'^ 5iT^ftsg^H»irÎ%fqBTT«I, )•
S'l. rT^q: —
The dat. may be by ^^^\ ^q-fsr^*^ ^ ^Fif^T^ the
65. ;
done with reference to the king and so ?I?^. ^v^jj.'-'those

^^(srl'JTr) is
who know how to act well in an assembly;' hence, courteous, polite.
This shows that the hermits were acquainted with the ways and
manners of the world and knew how to welcome high personages
Jike Dilipa and his queen.
jfftT^FS'Tr"—3TffT?[r^?r 5Frr% jifftTm^rf^^'Trm "^«fr^; who had perfect

mastery over the senses. This is an additional reason why they
were allowed to appear before the queen. The word %^^^ is
curiously derived, f^^f^ aTI^tT^ft \^^\^^^\— that which is a sign

( t, «, which leads to the inference ) of the soul. Pan. has ff^^fif-
îWf*r'??m'=^2TiT-4 êT»T5^^f»TI?l fr ( V. 2. 93 ); on which
Vamana thus comments :—( 1 ) f^jr^jqr fcJ^firf^^T^ ?''? i aTTcm I ^ '^g-
?5T^:i arrcR^ ?EWc?T^.- 1(3) 5?ôT ^^ i z^^^\ ^ht^; iT?fr^ s«ns»T^-

i
irtiTt?q-^Rrff sr?^r i
( 4 ) \^t^ ^z^^\ arrci?^ ^
%f^cT^ fr^?i>oT t^rt-
i
?^Î f#^ ( Sid.-Kau. ). JnT*^^ ^^\^ cTrfffTm ^t: gr^q^ I Cf. IV.
13. The rhetorical figure here is argqr^ ( ^''^^rwrR"3'TT^"
* recurrence
of similar sounds.' Kav.-Pra.).
S'l. 56. ^ra'^T^^'l" —

Pertaining to the evening time; the Tad.
affix rfq- is added to ^f?f and other a (it;«r5» of time, such as ?[:, 9^:,
f^^f, ^j«ff, f%f &c. in the sense of 'pertaining to'; ^r^cTT &c. 3?;%
Because a Brahmana ought not to be saluted, while engaged in
religious service. riTfRf^ —
this epithet is used to signify that the
sage had the power to grant the king's wishes. Cf. I. 94.
a^ y -^rf ^ gf^ — 'attended upon.' sTTH^becomes a trans, verb by virtue of

the preposition 3T3. Cf. II. 24; also ^#»m»Pft?'^>r S'^k. III.
^qXf 2ir \^\%\ is the exclamation used at the time of throwing an

offering into the fire, afterwards personified into a wife of Agni.
It is very difficult to meaning of ^\^ was,
know what the original
•whether it was au oblation that could be well relished by the gods
(25)
i ^ ^ff s^?
t ), or whether it was an exclamation aaed to attract the deities
V S3" STTCI^SH^ X or something else. The loss of its true etymology

soon associated it with several other mystical exclamations connected with
the sacrifices. Cf. '
^^t^T %<»^N<jf^ «rnTl^ ^^^' ^^' '^^^ ^"^ ^^
utterance of the exclamation so invariably attended the throwing in of
every offering into the sacred fire, that in aftertiraes it came to be
personified into a wife of Agni (the fire-god ) and goddess presiding
over burnt offerings. Her body is said to consist of the four Vedas and
her limbs are the six aitgas ( minor works of) the Vedas. The Brah.-
Vai.-P. has this on Sv4ha—tt^: chrf<j[l %^ W ^ »lf^ ^VvTM '
rqflr ' ?^ ^rfl^JT
sVqWr37n:3ÂT ^KV ^TPT^^Wj; II 3T^: ^jTTcf^^qrr ^ ^feTf îlt*^ <
^4\'ii ?r«7^TTr?'rq-f H^rf^^

jf^^m appears that ^^t^T was
ll From this it
originally an offering of clarified butter which made the fire burn more
briskly and look cheerful, as it were, like a man in the company of
his wife.
f^ ff%^^r^—This simile is suggested by the mention of the

'ffT^tT^TIÎ^ and is very appropriate here both in time and place, as
the evening sacrifice was then just performed and Agni and Svaha
were brought together.
SI. 67. r[^: "STJTf g:&c. — —
The use of the dual shows that the
king and queen performed the salutation jointly. When an action
is done by several agents jointly the verb is plural, and when
separately, it is sing. Cf. Injra XIII. 27 and note thereon.
iffc^n" Sfr%TJT5=3ff : — greeted or welcomed them with pleasure in

return. qt??ir added here to show that their joy at the sight of
is
the royal pair was genuine and not feigned. Ohari. quotes g-^f
p^?if^y^^ q-f^^?!^ ^f^T: Manu. II 54, in support of this; in Manus.,
I
however, this is said in connexion with food ( 3T^t^ ).
S'l. 58. 3Trf?r*-ir &c. —This adj. is used to show that the king
was able, now that his exhaustion was removed, to enter into
conversation with the sage who was also now freO; his evening
prayers being done. i|\^4|^4TJT5f^— ^T^ÎI^riT: a i^^?fhô, cTîi
cTRT-^r gR^ a comp. ^f ^qj. The epithet is used to account for the
form of question put to the king ( see Malli. ). The following s'loka
f r. the S'ak. is a good commentary on the word
?T5qT^fTgf^-3Ts«Trîp=rTr
^\TJ^ ^RT^^^rôTtf Jfr^r: ^y^: îî ^fkfm Sf ¥^W : Xl^^^- ll See

Malli. *3 remarks on ^^t^ and ^r^.
R. N. 4
S'l. 59. 3T«r^n"^: —The treasure of the knowledge of Atharra.
( t. e. the magical spells and rites contained therein, which is it
necessary for averting coming evils, rendering innocuous evil

omens, &c.)
3T«T# — 3T»T#iTT ( See 3T«tI^ Apte's Die. ) jftru 3TTfiTrT: 3T'T^: aTT^Ttoir
^
f[. It is also
to go and
derived fr. 3T«i a particle expressing auspiciousness,
which leads to good or bliss.' Vasishtha is

aff. ^s^, 'that
himself the author of a number of incantations and spells contained
1
in the Atharva Veda. Cf. Mitil. quoted in the ft. -note, which says that
the Purohita of a king ought to be well-versed in the Atharva Veda;
see also VIII, 4. aqns^TTf^: — The lord of riches or master of polity,
i. e. the king. We have in this s'l. Anuprasa again.
S'l. 60. grTM — Proper, as it should be; cf. ^cTTf^gQT^^ Bg. II.
3. It is used in various senses; cf. II. 16, 22, III. 41 &c.
q^T^ ^^'^ The '
—
seven essential constituents of government,
according to Indian writers on politics, are: — (1) sovereign; (2)
ministry; (3) allies; (4) treasury; (o) kingdom; (6) fortresses; and
(7) army. All these contribute to the prosperity of government,-
and the loss of any one of these renders the whole 'imperfect. Vide
K&m. IV. 1, 2; and Manu. IX. 294. ^^?r The correlative jT^q —
may be omitted when q"?iT occurs in the second part of a sentence
(see V. 4 ), 'qx^^^q^rrT^fT^TirfrftHTTrfl^ ^R«;^[cTfi:fWIf^ cT'^??STPn«T-
—
?f^' Sah.-Dar. faft^ &c. See Kam. quoted in the Sanj., 3Tr5Ti3%«T:
in the com. means-ministers, royal officers.
S'l. 61. H^^<1 — One who has made mantras, and not one who
makes or will make them ( Sid.-Kau. ); see note on 3T^# above.
fn?R^r*T?T: — a comp. word. See Gr. §209. c. of^fi^: a Bah. irnnff^f^
— 'are ordered back' ( as superfluous and useless), rendered futile. See
Malli.; or <are excelled;' for the mantras are aTfffcT^Tl'^:, while the
arrows are only g;Sc3'?^f*T?:. !j|% has here the sense of 'opposition
or contrariety,' and not of 'repetition.' Cf. VI. 39; X. 68.
S'l. 62. by the rule JT^f^-

r^f^?ni.-r>nr*T?HTf^ 'according to rules,'
^r^RT^— The Gen. for the which is allowed in the Vedas.
Dat.,
—
ar^^fr^r^nf^TR; which (else) would dry up in a drought. The
words 3T«fiTf and ar^qrf mean the same thing, one is derived by the
affix 31 q;, the other by ?r5T. The king means that Vasishtha
constantly performed sacrifices and prevented his territories from
being smittefa by famines.
— —
(27)
human
8'i. 63. q^fgq- &c. — 5^B(^5qfT5: ^^^jj^ the full period of
life. 3T is added to arrfR at the end of a Tat. by Pdn. V. 4. 77.
Other inatancea are f%[«^fr ^'ff F%:^^^^, fÎ^'T^' ^^*T?{% &c.
RTFrTgr: —
WfcT aTTcTf'r ^fETI^ f ree from fear or distress. STTcTf^ is
derived fr. ^^'^ to contract, with ary, which gives it the special signi-
ficance of coagulating.Hence 3Trfl|j' properly means bodily distress,
torment; and then that which causes distress, mental disquietude &c.
3TT?T5f?T which means 'butter-milk' is derived fr. the same root,
f^Frl?!; — for the six scourges see Sanj. cf^§|^'#^^—% =T^«> would
have been more forcible. For the 3? at the end of the comp. see
note on ^^tS*^^.
S'l. 64. f^^2TJTpT^?f-taken care of, looked after. Of, iTf^f*Tr%'f^-
fTT^TRf Uttar. I. 19. ffffaffFT^r'-Vasishtha is regarded aa one of the
ten mind-born sons of Brahman. See the Sans. note. ^rr3^>Tr:
arg^sqcf |??ig5pvr: ( 3T5+^j=^-{-^5t ) that which is fastened on in
succession, hence an uninterrupted succession, continuous flow &c.
3T3^?q-^^|-f#iTf^[: ^T^^qr: Bah. comp. (irregular, as there is no
5??T?ffTT here ). HUT?-' ^^7 ^^so be construed with ^»:q^:.
S'l- 65. ^^r^— since Vasishtha was in the place of father to

Dilipa, being his Guru^ Sudakshind was his daughter-in-law. 3T^f?r
'
3Tf( Latin avere ) meana originally to be gratified^ to rejoice; it
then acquires the force of a transitive verb, and means to gratify, to
please. Cf infra XI. 75. The more frequent signification of

the root met with in classical Sanskrit , ^Jtz, that of protecting, is
only a derived one from that of pleasing or favouring. '

S. P.
Pandit. More than twenty other meanings are assigned to this
root ia the Dha.-P. See Malli.
^7r—fl^cTT 3T^
^\^^ (f| + 3T'T, by Pdn. VI. 3. 97,
3TTq:
'f^r^cf^q"fT^>-^rq" 3Tq[. becomes ^ when following f^, 3T?cT'',

the 3T of
'
ffi;'
or a prep,- so ff + fqr and ffq by Pan. V. 4. 14 )fr^:

^f g^% ^^qj.
For the number of dvtpas, see Sans, note on VI. 38. ^fRj: Js^W^
( ^tq- means the best thing of every class; ^peu 'Sff^r ^5?3^ fl5[c?rRrff
îjq^ i
) ^^.S^r? modern grammarians. See Malli.
according to
^ff^—%Cr^?^^^W^ According to the Purdnas, when the
tffarR'r.
demons it§ and %5^ were slain, their fat and flesh covered the whole
earth which was thenceforth called medint] ^î^^^]^^^]^\^^-
s'l. 66. fq^^fqTsg-ô —

Rni5??T N^d"^ 5^: ^^: q^ÊT^cfrf^ again and
again seeing &c.; f^ shows repetition. See I. 42. t-j^—^^y s^^y^j^l^j^
(28)
—
^T^; ?r5T + 3T ( oi: ). ^Tir &o. As f^rf^T meanB an oblation offered
to the gods 80 ^^\ means food offered to the spirits of the departed
ancestors. This is irregularly derived (r. ?f^, ^f?7^5%^ and is, like
^flfT, an exclamation uttered at the time of offering food to the
manes. ^m\ ^^l^ int% cT^TTi:; now see Sanj.
S'l. 67. Cf. Sak. VI. 24; see tilaoft.-notea
S'l. 68. ^fj^_aoe note on I. 5. fîfj &c. Dissolve If 5g^ "STPRI —
"^^ ^ ff^^\ ff^J^pirr f s^rff^js? f?JTr, and not as j^gm ffg^:
lt3K[f»rr,
^rrcTI ^^"^ in which case fs^sTTF cannot be compounded with f^^T'
This attribute shows that Dilipa is internally bright pure ), his
(
soul being purified by sacrifices. ^»rr^"T &c. bat gloomy externally* —
because he has no son to continue his race a thing external, as —
noticed by others. And soirî^: (internally bright ) and 3^17^51=
externally gloomy.
rTr^rn7f?R': — See Malli. The ^Tîpfr^, according to the Paur&pic
geography, is a belt or chain of mountains surrounding the outer-
most of the seven seas, (the sea of fresh water which itself surrounds
Pushkara, the last of the seven continents ) and dividing the visible
world from the region of darkness. Since the sun and the whole
firmament of stars roll within this circle, these mountains are lit
up on one side and shrouded in perpetual darkness on the other.
' tVot 56q[?^Frr«r arrfr^n^ rT«Tcfr ^^x^ 1 ^rj^^^s?^ ^ ^tFcn^^'Tri 11
3Tr^f^^fTar ^R'r?=^ F%^TOT^?fTcT; 'IT'3;

1' Mat.-P. Oh. OXXII. ^sfTlT^PT
5T% ^v^ m^^T^m^' I 1I51TT Î^^T JiiR: Hf si^grfff^ffT II ^^lefr^ftTir:
Wr ^r^^SfiF^êr: 1 a^-jr^rrcr cTT^fni ^f 5rnn?-=^?5t ^ ^: 11 Viah.-P. II.
4. Cf. also Pad.-P. c^r^Fofi^r niK^^ w[î% f^^ ^%\^ I arrfoif^
According to the Bh&g.-P. it is so called because it is situated

in themiddle of the enlightened and unenlightened, or inhabited
and uoinhabited, regions.
The Lokaloka ia really the wall of clouds that bonnd our hori/.on all
round, conceived by the ancients to be a chain of mountains. .As the
sun and the other heavenly bodies were seen dipping into the sea within
this wall of clouds, it was naturally supposed that the world of living
beings was within it, its outer aide being exposed to perpetual darkness.
To this iniscouception are also due all the legends about Indra'a clipping
the wings of mountains.
S'l. 69. g^?— ggjfcfrfcT §<sr ( ^"^1^% )• ^n^frr:— ?RT'??^ frti^^r 1
Ijcô — This shows how anxious the Hidu Aryans were to keep
their blood pure.
(29)
S'l. 70. fr^W- —This epithet is very significant, Ik implies •
neglect ( unintentional though ) on the part of Vasishtha,

it be
since he has the power to bless the king with progeny. See Malli.
Endnotes on I. 35. fgrfT 'Efîm &c.— f^% 3Tg^FF*Tm f2j: f^^:.
The simile is very appropriate here as being drawn from the
daily scenes of life and therefore perfectly familiar to sages.
The Rishis considered the trees of the hermitage as their children

( see V. 6 ) and so the king could very well rouse the mercy
of Vasishtha by comparing himself to a tree reared up by the sage
but bearing no fruit.
S'l. 71. JTT^— properly an epithet of the Supreme Being. It
means 'one who possesses all kinds of excellences.' "^s"^^?^ ^JTir^T
si^^^ ?T^«: tIt^: i^^r"??qT«T 4t^?'t ûîf mj fcfROTr ii

( ^m f^^^ 3t?^
*nT^r^ i) 3rTf^ ^ ft^Rt ^ 'jcTHT^nrfcT ifa^ ^]% i fl?iiJTR?Tt =^ ^ î^4r
vnTTTRTfT 3T^^ ^ °T^-*the last debt', t'.c. the debt due to the ancestors.
I •
According to the Hindu S'astras, everyone that is born has three

debts to pay gods and to the departed forefa-
off, viz. to sages, to
thers. He from these respectively by studying the
frees himself
Vedas, offering the daily and other sacrificies, and by having a son,
Cf. VIII. 30 and the S'ruti quoted by Malli. in his com. ad he.
^^•^^"^f- 3T?5,+ 3^; ^^^ ^^® change of fr to jj^ see P^n. VI. 3.
67. arrOTif^ — Here Malli. is quite right in understanding by arigTR
the post to which an elephant is tied and not a chain or rope^ as

some would have it. That the simile should be quite appropriate,
3Ty^T^ must mean something that inflicts mental, and not actual
bodily pain. The elephant would be as glad to enjoy a cool bath
with a chain round his neck as without one. Cf. 'ît R" clri^^JTôf-
jfr^ aTTrJTR^ fTT^Wf f?^'^^"-' XIV. 38. That the force of the simile
should be fully understood, construe : (1) 3?^?^^ % apr'T^ ^ffT'Ti^'fl"-
DT^q ^RT^: 3T^?5?iTTeyRf^f 3T^T?Tqr^'g^ artrf, or (2) ar^fTTrff ^ s^'i^^,
S'l. 72. f^c|r*oirJ^—f^fT^r: ^JW- 3Tq?ÎT% JHf^l^^^w:? P^- of

q^ff^: the aff. 3T3T^(3Tcrr in the com. is probably an (oversight) be-
ing dropped when the word and nob
is used in the plural
in the fem.; see Ikshvaku was the son of
Pan. II. 4. 62.
Vaivasvata Manu and father of Vikukshi. He was the first king
of the solar dynasty in Ayodhya. He was born from the nostril
of Manu, as he happened to sneeze. Cf. Bh4g.-P. g^tT^ T^fr^fT ^
f^^T^moT^: Srr:i* f?fT^t may also be construed with T%^q:.

(30)
?^*lRr." —?ff^ 3Tm ff^tfn?TT: I The comp. being optional, the ancom-
pounded form will be jfPT srfvi f%^*T:j 3TT^ necessarily takes the
term. ^ (|^) when it is the latter member of a comp.: '-aTs^rTT^T^Ty^:
Pdn. V. 4. 7. For a similar idea, cf. f^^^fPcT î(q ^^^\^ î%?fFcm:
&c. S'ak. VII. 4.
73. 5^-thu8. f^^rftTri:

S'l. —
respectfully addressed or informed.
i^.—The verbs 3Tl3Tn?( and f%?T<T^ are tecljnical terms of addressing a
A'',
person, without any idea of actual command or request. Thus when a

person addresses one who is his superior in rank or dignity, the verb
T'%?im?( is used, while in the case of one addressing another who is inferior
in rank or dignity to him, sTnTN'T is the verb used.
^^TFTfitr fH rf w r'^q': —This indicates that the functions of all the

external senses were suspended. Cf. the description of the com-
templation of S'iva, in Kum, III. 48, '
3Tf fgff^»Tf*?'Tr *g^ f gH ' ^^•
—
^tnTHT^ Here Jjjs( is used to emphasize ûi; a moment only. This
shows that Vasishtha was a master of yoga^ who could put himself in
a comtemplative mood ( ^qrnir ) in a moment, and set in operation
the inner apparatus for discovering unknown things.
inrîrJT X^ 5f —Mark the use of the word

:
jft^ which is deliberate.
This shows how scrupulous the poet is in selecting proper words
to express his similes. Vasishtha, who is the repository of harm-
less thoughts and actions, can with propriety be compared to a ^
having nothing in it but such harmless creatures as fish. With
this ef, VII. 30 where the princes looking pleased when really angry
are described as 5^1: xi^raT ?f »i;?JT^;, where ^jfl^r: would not
have suited.
S'l. 74. ijfbrvqr^'T— Malli. takes' this with ?nf^?TT?*rTj it should
rather be construed with arir^qcl^. ^ncrrvn^T 'close application', concen-
tration of the mind upon one thing. sTT^rTTf^n" — viTf^ properly
means to steep, as a medicine, into a liquid that it should imbibo its
properties and be free from the inherent impurities it is desired to be

cleared. Hence MIT^?T means completely pervaded or imbued by.
>TT^(TT^^ therefore means one whose mind is purged of all impurities
forming its rust by its being imbued with spiritual knowledge by
..constant meditation. See Pat. Yog. I. 30; Ved. Sar. 32 ( Nir. Ed. )
—
7^ q'(7|^(7^ The optional forms qî^ &c. of the pronouns ff^
and q?T^ are used when there is 3T?^t^^T or a subsequent assertion;
see Gr, ^ 137, The first assertion here is vTrf^cTIîr ^'- ^"(^ ^l ^'
&c.;-and then the second is introduced by 3T<j, at^^ JfTT^vjiiq^ For
the aoc. q^. see Sanj. and Gr. § 808.
—
(31)
S'l. 75. ^JPl— ^^Tffn% ^T^: lie who is able to do everything.

Indra is regarded in the Vedas as the mightiest of all gods, though
in the Pur^nas he occupies a position subordinate to Vishnu, Brah-
maua and S'iva. g"7??ir^— ?«Tr with ^^ is trans.; cf. IV. 6, X. 13,
The kings of the solar race are represented as often visiting Svarga
to assist Indra in his wars with the demons. See VI. 71, 72, S'ak.
VI. &c. This supports the assertion aTT^TT^TT^f^TRT'^, supra s'l. 5.
^FqrTFSST^n^— ^FT: ^f^tfr^: what is desired; clcCfTHq?: ?I^:, or

q»<r^l<:^ cl^: SF^^^T^m^^F^'?^ ÔT In either case the oomp. is ^yr^-
I I
TTI^fTR-* *'. «• See Gr. § 229. Dissolve ^^qcTfTîfl^F ^3:?TcT^-

S'TT^T^^r'fr.
^^<TT cTT'g; and not ^^qtlîrf a3 the comp. will be neu. in that case.
See Gr. § 245 (c).
S'l. 76. f JTT ?*Ti:n[ — According to the M.-Bh. the root ?^ governs
the gen. only when there is ^T'^f^ of the karma i. e. when a person
or thing is not directly brought to the mind, but is remembered

through the instrumentality of something else; e. g. ^\^•. ^^fer 5^:;
here the good qualities of the mother are principally brought to the
mind and then ( through them ) the mother. But when the m^ is
directly remembered the ace. should be used ( ^^ qjif ff fT%?f ^T^frT
cT^T ?gT ^ >T^far Mah.-Bha. ), as in the present instance; iT[?rt ¥^^.

STfT^f^'M I ^N I
H— ^'TfTT ^W iTf%at P^?- H. 1. 17; iT^%ai^zr f%^T
iT^f^'nf^qr cTFfr sTf? 'frr^r ?tt^ \ ri^^rf— ^ as the arrvTrr of the 3tt=^^<^-
%?TT takes the loc. Cf. ^^^\'^x}^\^îf S^vrrif crqrlf^j^rs S'ak. I. 25;
S'l. 77. JT^jT%^-i7g;^»T?T?m irg;^: offspring, issue. ST^rrn'^^-indec.

p. p. of ^pj with 3Tr; by the rules of ^ntax the subject of the
abaolutive and of the main verb must be the same; here ir^r is not
the subject of the 3TmvriTn5"^r; Malli. therefore, takes arj^j^^r in the
causative sense, since he renders it by 3T%^PT?^r-!T^r ( c^?Tr ) iT?ir^ffr-
jmrre^ ^ irffc^m" (
»*• e. iTcirgjqKr^^^rqrjtTr ^^"^fcT > without having i
my child propitiated by you. Or we may explain qc^TfTfcTT^TTTF^
81. 78. ^TRfq-^rr —m^W 3Ts^rHf^ ^n'«r:; fr. ^ cau. and Unadi
3Tf<T ( 3Tf^; ^lorfw ); or ^^qr ^f ^KW- ( Bah. ) ^mmA ( ^T«T+?53^).
Î<hl^<l^*l —
This is really the galaxy or the milky way. f^T^r^
There are eight elephants belonging to the eight regents of the
cardinal points who assist them in the defence and protection of the
directions. ( 1 ) Indra's elephant at the East is \J,\^^\ ( 2 ) Agni's at
the S.-East is îi^'r^., (3) Yama'a at the South ia ^\^^•^ (4) Siirya's
(32)
at the S.-Weat is ^^; (5) Varuna's at the West ia ar^^; 6) Viyu's

at the N.-West
5«q^^; (7) Kubera's at the North
ia ia ^rt*^; ani
(8) Soma'a at the N.-East ia îj^^. See ft.-note.
S'l. 79. |"fc^ — P. p.p. of the desid. of arr^; see. com. ÊTPt?^—
3<jj ^q ^5^ ^ff*TH^> bfiô ar^^rmeana ( metaphorically ) obatruction.
Sumati. quotes— Brg^în ?r^ ^^^ g;5qTî?5?ffei^q: I jftTJjj imT^[«9--
v{^^ ^ ^^: II
Si. 80. ff%^ —Malli. aeems to take thia aa ?tt?^^ '^'Tfj 9©6 Gr..
§ 827. <
{i >4 ^-»l ^^ —Î^T^ ?l^ W^^, that in which prieats ait down,
a sacrificial session. The period of time required for a Satra varies
between one year and a thousand years. See Bhag-P. I. 1. 4. The
distinction between an ordinary aacrifice and a dirgha satra is this;
in the former the merit arising from the sacrifice belongs wholly to
the Yajam^na; the prieats getting only the dakshina, while in the
latter the merit is shared by the Yajam&na and the sixteen prieats.
Vide As'v. 8u. Adh. XII. ^r ^ — Here ^ is qîjfi^cft —but she; she
again. ^^ypHf^ti ^ Kî— 5%^ ^f^tT^R^T Jpsusn^ S^^^"' S^ + T'i.+ ai
(^(^ before which a naaal is added to the word ); also ^3fii(T and
53T»T with ¥ ( 3T ) added. Rf|rcT =
3Tfqif|lT tbat on which any thing is
placed; hence hidden, concealed. The word is generally used with

reference to the closing or concealing the month of a pit or hole.
According to the grammarian Bh^guri, arq- and •s\i^ used aa 3^q"fnt3
drop their 3^ optionally; aiffirTf v ^^W-> STTW^, fqvjR^ &c.
81.
S'l. ig^:— Abl. oaae, though the meaning ia that of the
gen.,by the deduction fr. the rule q-fcTRf^qfrT^T^ ^ 'JTHTri;, < on '
which Nagea'abhatta remarka 'a^FTi^q f%^r?T^r?'^3^«T T3f*fr !•' iffaRnT-

alwaya mas.
S'l. 82. S'lokaa 82 — 85 form what ia called a Aa/a/>aia, being

ayntanctically connected; see ft.-note p. 3. ff^ ^^: (J'^Tf'l' —'^
ia used in the aense of 3TfqrT"^[, 'just as he uttered the words and
before he could utter any more.' ^f^: ia a gram, inaccuracy, it
being used in the sense of ^?[:. For the root f^ takes f;^ either
when it denotes habit or when it implies impropriety, neither of
which is possible here.
Cr^^^'^W^THr-^g: ought to be construed with arrff^RTrV^, as

Malli. does, and not with ^\[^^: as suggested by S. P. Pandit. The
5 in ffg implies habit. See Malli. Vasishtha was habitually a
—
Canto I.
] ( 33 )
sacrificer ( and therefore, habitually in need of ^,

sTfjrflf^^ )>
necessary for sacrifice, —

arrim^ro This is emphatic and as such re-
tains its gender. The cow was kept by Vasishtha not because ho
cared to have milk for luxury, but because he wanted ^ff for sacrificial
purposes. The cow was thus sTrfffT^r^JT^T'?; ^^^ ^^^ T'TiÎvj-^q,. The
two words, therefore, ought to be construed together, otherwise
they will lose their force. Strangely enough, Mr. Nandargikar
also, following S. P. Pandit, says—' 3T??T fr^: may also be taken
and perhaps more correctly with ^jf^î, and be construed as its
subject, rather than with the phrase STTffrT^r''^^^'-

S'l. The simile hero is one of the most beautiful and perfect
83.
similes forwhich our poet is famous. It is appropriate both in point
of time and place. It was evening time and the cow visited the
hermitage in the evening like ^?«Tr w'ith the moon on her forehead.
FTrTrft^^ cTpJT? nieana the forehead, and also by implication the
western sky, where the new moon is seen at the evening time, g^zr
means (1) appearance; and (2) rise, arfwir^-both were a little curved.
—
"TW^f^^^r?^ The cow was of a %Tq" i. e. pleasing ( mild ) pink
colour. The Sandhya is also of this colour owing to the slanting
rays of the sun falling upon the evening clouds. ^^^ This attribute —
is used to account for the crescent shape of the moon and also to^
leave out of sight the stain, that the resemblance with the curve^
white tuft of hair on the forehead of the cow should be complete,
SI. 84. ^sopf — ^ as the member of a Karm. Comp. substi
first
tutes for itself ^r, ^f and ^^, when meaning or See Gr.
fq-q^ little.
§ 224, (b). i^'Ji^v.ffr — derived ô^ a pitcher and gr^T^C changed to

fr.
37^1^ in a Bah. Oomp. before f) an udder; Gr. §328; 'having a pitcher-

like, i. e. full udder.' " 37^?^ has
originally, like 3Tf^, two crude
formSjVj's. 3rq^ and 37^^ (sometimes grq^)- The ^ in f uft^RT is, there-
fore, radical, and not extraneous, as the grammarians have it. Cf. also
g^vjj^ 'milk'. " S. P. P. ^^JTH'^^riTn"—^*-^ lit. 'that which is fit
to be killed or sacrificed;' hence holy, sacred. 3T^^?j a purificatory
bath taken at the end of a great sacrifice. Vide Tait. Br. II, 6, 6.
Also a minor sacrifice performed at the closa of a prinoipil
sacrifice, 'fT^l?=^T5T^«fT q^"-' Amar, Here the former sense, of course,
is intended. liCq"^ and STN — as ^^^ excess of holiness is expressed
by arfq the purpose of the term. ?tT i^ served and we have ^^^^
instead of ^[Wfcft^, which also mfllans s[^n^^T^^ ^^^^.
SI. 85, arf^^rni— from their vicinity ( being raised from the
ground near the king), iTCr%W" —See Sanj.; according to Bopadeva
R. N. 5
( 34 ) [ Canto I.
^^ ^?TT%; see also note on jTfrf^cTt ^' H- Here reference is made

to a kind of bath technically known aa V&yavya. In the Kdr.-
P. Bix kinds of baths are mentioned; ^r^T^Tfl'^gl^? Î^'T f^'??^ ^ |
SI.86, qnrjf —
is an adj. here and means ' sanctifying. It is '
also a noun; see a'l. 69. RffrxT^: Versed in omens/ i.e.—who knew
<
what were good omens and what were bad. Here the opportune
appearance of the cow is an auspicious omen indicating the near
fulfilment of the King'a wishes. ?qrr^«I'3[ — See Sanj. The king is
the Yajamana] Vasiahtha is the Vajaka. ^FiTT lîTIfT, ^r%3'ftT fr^JRffT;
fl^ ?l^r Î«^^ 3Tr5tfrlT?rro— may also be explained as 3TrTtl%tTr

I
(indicated) ^s{^^î^\ qr^^^r ^^'T whose desire was thus indicated as sure
to be fulfilled. Some take 3Tf5fi%cTr separately, as the Nom ,
sing, of 3iT^tl%^ qualifying rTTif^Tl'^, but without propriety. Cf.

for a similar idea ^x^'^ ^*^r% tgrs^cT: ^VT?T ^^Nfrff: 3?rl U^V. I
^TfRm^t ^Î'T^^t^ s'T^f^ JfiTcTr>?1^l? ^r^m»^ II S'is'. I. 26, where

Narada's appearance is similarly described as santifying at the time^
and indicating future good fortune.
SI. 87. sTi^^f^qr^— Here the ^sl^ has the sense of opposition.
For the various senses in which qr'^ is used, see Gr. § 875. ffrf^^
according to Malli. is used for ^[q^^q f%[%'^. Cf. tT^îy ilr^^ Kum
III. 18; and 3TT>fq-pcT ff q??Tr^^»TR^»TlfTinTr^ g-vrfR Mw^V\ t
Kad. fîTT'T Cf. Eag. 'count upon. '
SI. 88. ^;q-ff%: —may also be interpreted as

^^ >fff ^?ti[ 5^^-
\^^\ 11%: gRf[%: ^r ?^ fi%'^fT 'leading the life of an anchorite or
I
hermit.' î*^ Indec. qualifies 3TnRT3TT^^. 3TT?*ngn"*r%T by personal —

attendance, by following her in person. 7^nTf2r5*TtT% ^k^ rxêdi
with the inf. in the second person ( and sometimes in the third ) ex-
presses a mild command, or a courteous request, and should be trans-
lated by * pray be pleased to, &c.; see V. 25.
' < '
SI. 89. sjflrirrnTr irrrr^^: &c.

By these injunctions the sage—
.implies that the king be absolutely guided in all his actions by
is to
those of the cow; i. e. he is not to move until she has moved, he

is not to cease moving before the cow has done so, and so on.
SI. 90. ^jr-Sudakshina is previously spoken of as the daughter-

in-law of the sage by the king ( I. 63 ), and so Vasishtha calls her
here ^%. But she is to worship the cow as the wife of the king
and therefore Malli. translates it by ^m.
—
€anto I. ] ( 35 )
3Tf%rTrR^%?T — Let her follow the cow worshipped ( already by

ber ) t. e. let her worship the cow and then follow her ( see II 1 ).
This is one of those constructions so common in synthetical langua-
ges, jpnrr —This means fq-?TJTfrfr ^cfr leading an ascetic's life ( like
the king ), ^r^ Jp^T^T^T^T —3Tf^ shows that Sudakshina is to go
forth to meet the cow and worship her also in the evening
( Bee II. 21 ).
SI. 91. ff^ — in this manner. q"ft=^«rfTt: — 'TfT'^q'f formed irre-

gularly fr. ^^ with qK + 3T (^) fern.; similarly derived words are
TR'H'fr, I'T^T and 3r?T35rr. See V^rt. on P&n, III. 3. 101. tj-^ — Solely,
^^^^f ^% Tt Vf^ T^ I
3Tnin5[ —
Absence of impediment. This is
a H^^Î^ anfl therefore Malli. does not expound it but simply
gives the meaning, '^f^ — See note on II. 2. 5f%aif^ — ^s(; is used
Jj-r^^fq", See Sanj.^ 'those having noble sons.'
SI. 92. sfrfsTTr^ —shows that the King undertook to carry out
the instructions of the sage willingly and not under compulsion.
^qKV?:-qrfT ^r^^^ ^5lW fpT wife; see S'Akl
^\T.^^ fr. TKiTg;4-3T'T(3T);
III. 20. TTRiTfcrT ^f T^B" fPT

^f^rf?: there being equa.
I g^T^Tit I
j)artioipation in acting up to the injunctions of the sage, f Jfr^r??^-'

See Mallinatha's remarks on this. See also Oh&r. quoted in the
it. -note.
Si. 93. —
^vi a particle frequently used to introduce a change of
subject. See notes on II. 1. 5rfr%— JTR^TF ft'?rTl'?*I=?: lit. that in which
the night has its beginning. See also ft. note. ^\^\ adv. meaning* at
•Bight' is a different word. fNg": — fl'TSTRTrfim one able to know
mistakes or faults; hence a learned man. This epithet is very signi-
ficant here. Vasishtha knew that it would be a ^rq on his part to keep
the king long engaged in conversation with him after the fatigues
of a day's journey and so asked him to go to bod, just in tha
first part of the night. This attribute also supports the use of tha
•epithet fT^cTfr^. —
^f JTr^T The dat. here ought to be explained as
used cTr^.^t I We
cannot explain it aa ff^'^'^; for this will ^j
mean 'the sage dismissed the king in order that he, and not the king
may go to bad ', the inf. being used when both the verbs have the
same subject ( ^fTH^4'^5 ^g^ ); the rules, %?Tr«TfTT?^qr &c. and
gq«ng Î^^^^Tri; are, therefore inapplicable. f^^rFTf^— This
word is generally understood to be 3?^-^ '^r^RT^j and seems to ba
-ased as a ^qn like i\w[ in many places. Cf. III. 66, V, 33 &g.
And Malli. who translates it by q^^ts^t seems to take it as such
( 36 ) [ Canto I-
Bat there is nothing in P&n. or his commentators conntenancing

such a supposition; while the passage further on 3T«i cT?T \^^\ n?5^
IT5: &c. ( X. 50 ) seems to go straight against it; for had ^^t«T^
been an alii/c oomp. we should have expected ft^Tl*'?^: a°<l not
f^lfrT^r?^ — Q;f^-^ ^rî^^ what is true and agreeable. "WV

know that Vasistha had just addressed a speech to Diltpa which
was at once pleasing and true, ^{^f^^^^ — Some editions read
arfsTcTlV^'iC ; ^T^^l sTR^ great, excellent Jjfj: fortune ir?^. But
the reading a'fgrcTlSpT^ seems to be preferable, as reference is madia*
here to the king's fortune which consists in his being soon blessed
with a son and which is therefore 3"f^rT now. ^f may also mean
'brightness.' The king's countenance which was depressed so long:
now looked bright with joy. 'grf%tT°' has no special propriety here;
—
OT; ^g: implies that the sage had the power to overcome all the
obstacles to the king's successful performance of the vow of
propitiating the cow and to the consequent birth of a son to him..
Mark the alliterations in this and in the following s'lokas.
S'l. 94. ^cariirfqr &c. —The loc. ia ai^rr^- The phrase means-
^cfrRi^ fT"T:f%l%*rTrf^'T deliberately not bringing into operation hii
power of asceticism. This he did f^rqirri^îTT having regard to the*
• '
vow, I. e. that he should perform the vow properly. For an illustra-

tion of the power of penance to call into being the desired things,
^ f^^vf ^sf^ Bhatti. III. 44; also 42, 43. ch^Pli,

JTT*^ fq^cTlTT II
&c. — wao knew the proper ritualistic procedure or mode of perform-

ing a religious rite; on this Ohjir. remarks : ijTrfg ?T'?r'TTfI?*^RrT^-
S'l. 95. —
^r^TfrRT See ft. -note. Kulapati is a sage who feeds and
instructs ten thousand Mttnis. T4?rrP5T-TOTprfHcTr ^TffTr. The oomp.
is of the ^TI^Trf^Jîr? class, sj^^T —
self-restrained, ( and also pure
in body), rfr^tj^qr^fn" &c. —
Sans, poets always represent kings at
awakened in the morning by the songs of bards accompanied by^
music; and even when the usual appendages of royalty are not
present, they imagine something as serving that purpose. Thus
the noise of the pupils of the sage reading early in the morning i»
jnade here to serve the purpose of the morning songs of bards to
ôuee the king from his slumber.
CANTO 11.
S'. 1. >f^ —has here the sense of 3Tl^'fT^ 'then/ *after wards'; see
3Ialli. It has also here the additional sense of 'auspieiousness'
which it does not express directly, but conveys by its very utterance.
Cf- '3T«fFfTîrs^ Tf ^«i^«^: ^rq"T JT^TyinTt^^t *T^%' 8'^- Bha.; also
'3Ti^^«^r«T ^?s^ ^ffrfr ^^<jt: 5u I ^J^ mr^T ffF^'r^r ct^tt^^t-
fT^Îf ^t' li Tait. Pr&t. The particle is here used to indicate the
future blessing of the cow,
5rT^r &c- — See Mallin4tha's remarks on the word ^\m. Expound-

^vjT ^^^'^^\W. ^T^'^Î^lf^ The word is mas. and in the pi. num.
—
I
according to the ManoramS, which remarks '^^Tf^cT "^ T^vfgs^r
^^fcT:' II 1" »P?r^ mr?? ^ iT'VrfTr^^

ffrT ^Rir^ NowseeSanj. By I
whom perfumes and garlands were caused to be accepted by (through)

his queen. Some grammarains, who differ from Pan,, class the root
jf^^ among verbs which govern two acouaatives. But it will be difiScult
to expound this comp. according to them. For, in this case we get
^T^'TT ^S^'T^TT^ ijrlTJTrffeiT which is not compoundable. Remarks
the Manoramd — ''nffft^^^t 'T^lf^ S'nr^TlfTTf ^T^ cT«?TrT ^g^TR-
^Kf^VTT^ îq[^ I
(i^% ^t^ ^'T'^ f^5%: I cTcTS^ ^T'T^r T'^TI^
—
^^RT Main, explains datives like 'îqcrTl' !• 9 '^J^T't/ '^fT'?/
V. 10 &c. by the rule <%?Tr«TrT'T?^«T ^ qj^for ^«?Tf^^:' Pan. II. 3.
14, which means ''when an action is done with a view to a second'
the ^k of the second takes ^5«ff, if the second act be not explicitly
expressed; e. g. in cFST^^rfS ^TT^ the ^^^\^P^\ is accomplished with
a view to 3TIfT'^%^T; hence when the 3^TfTWT%'Tr is iiot expressly
mentioned, we may say cr^*^[ 'nf^ I so =îq^?T iT^f^cT: means ^TT?r
^ ^'€\\\^ '•
I
^^FT gm^ means ^^ ly^
^^ insisted upon, since the inf.
gm^ I Here the rule ^^^]^-
not directly
^^%5 35^' °^*y ^^'^ is
used. See Sid.-Kaa. on the same (Pan. III. 3. 158). If it be in-

sisted upon it will be necessary to explain the first as ffl^*^ ^^3*11
and the 2nd by the general rule sp^TTT 'TTf^f^ ^ ^^^J^^^ P^?. I 4. I
82, where according to the Mb. it is not necessary to understand the

Îf of the root ^ alone^ as Vamana and Dikshita do. Kaiyata com
(£8) [Canto 11^
menting on the passage in Mb., remarks:—%f9^;^»55Et?rri^^RTf^rT^-
'frrTRf??^^f^r^— cffcT is made up

and the posaessive
of «fi?T 'drink'
affix 3T, meaning 'that had its fill For
of drink.' See Sanj. on this.
further discussion on the subject, see Mallin&tha'a remarks on 'f%f^'
Kir. I. 1. 3Tr|t q?cT: q«^r?qf^^^: TtfrsTfcl^^: Kar. Oomp.; 'the calf
that had first its fill of milk and then was tied.' ;q^^r*^q". jnôr the —
force of this epithet see Sanj. More probably this is intended
by the poet to foreshadow the King's chivalrous resuo of the cow
from the grip of the lion to be subsequently described.
S'l.
2. —
qf^ mark the different meanings of this word in this
s).Note that the affix ^ (w%_) denotes 'possession'; c/. 3T^c7, ^cB^cT
&c. See Gr. p. 213. «-f^ 'at the head of.' vj^ properly means the
yoke of a carriage-, and as it is the yoke of an approaching carriage
that prominently attracts attention, being in the front, it aometimea
has the secondary sense of 'the first place or the front.'
*j^»T?;fr — Gen. Tat., see Sanj. and ft.-notes; wife for ceremonials
or the performance of religious rites.
^pf^r^^&c. — This refers to the doctrine that the Smriti?, in

laying down their injunctions, absolutely follow the S'rutis from
which they derive their authority. And when a precept is found in
the Smritis, for which there is no express authority in the Veda, the
difficulty is obviated by supposing that the Vedio passage which once

authorized the Smriti in question ia now lost. C/, Manu. II. 10. Smriti
is defined as '
STî^'fgfHi;,?? *F^Tff^TrW^'- The simile is appro-
priate as it suggests that SudakshitiA not only followed the cow
close upon her heels physically, but mentally also, i. e. with a
devout mind. S. P. Pandit (followed by Mr. Nandargikar ) i»
unable to see the appropriateness of the simile and hazards the
remark 'now and then he ( K&lidisa ) uses similes which seem to
be objectionable on this ground that the object to which any thing

is compared is less intelligible or vivid than the thing itself,*
forgetting that KdlidSsa wrote at a time when S'rnti and Smriti

were everything to the Hindus and the relation between the two
was more vivid and better understood than now. Even now the
simile is perfectly intelligible to those Hindus, who have not yet
lost regard for the authority of the Vedaa, and the Smritis
their
based on them. For the rhetorical figure, see Sanj. and the ft.-notes.
Canto II. ] ( 39 )
S'l'. f?n^: from

3. — ^+
3TI5 (arr^^g; ) which indicates habit; c/.
^fng, 5aq"fS, f^^r^ &«. ^n:^ g^:—
'tlê use of the epithet ^{f^
for the king and ^^[?fr for the cow suggests maternal care in the
king/ m^^ x^j^ s^-.—Prof. Ray.
T^r'sTTPTrT &o. —This is called a f^^^q cAoi-formation. Such form-

ations are classed as prepositional Tat. compounds. Vide Gr. §§
234, 343 ( sec. III. ). Mark the play on the word ^^H^ which means
both water as well as milk. ifreTT^^r'^ — Possibly there is aa
allusion here to the Earth's hiving assumed the form of a cow and
her being milked by gods, sages, mountains »&o., as directed by
Prithu, the son of Vena. See notes to Kad. p. 11; Kum. I. 2 and
Malli. thereon. f^Hf»5^ —The simile hare serves a double purpose.
It refers form of the cow ( seen s'l. 29. where
to the huge
the cow is again compared to the table-land of a mountain), and also
suggests that the king though engaged in tending the cow seemed
nevertheless to exercise the functions of a ruler of the earth.
S'l. 4. —
sPTFT ^ g|Mr ^ This gives the reason why Dilipa ordered
his servants not to accompany him. He followed the cow for the
performance of a vow, which he was desired by Vasishtha to do all
alone. Vide I. 81. o^^H[ôt fr. ^+3T VTTf by the rule ^rf =^ f??:
( a root ending in a consonant and having a long syll. takes 3T}
so, If r. )
S'l. 5. ÎtiT^: —?f \r- ^X^^]^^^^^ The Vriddhi vowel

l is sub-
stituted here by the Vart. ?qTfr^r?afr:' I See G. § 20 Exc. (c)
?t^rFT TcTTH ?%iTeTTPT ^:. See Sanj. and G. § 36.

^rwr?— ^F^m^^^^f I
The epithet brings out the high sense of duty of Dilipa. Himself
a great king-served by other kings-he became devoted to the
serrice of the cow. ^nriTr^^^^^îTRT^î'^. Gati Samdsa.
SI'. 6. f^^|5n^_fq>f^^g- Perf. par. f r. ^^ with f^. The perf.

participles are generally used in the sense of the Aorist, i. e., in the
sense of 'who or what has or has been done.' See. G. §§ 875, 677.
3Tr?rJT^>^'frc:— 3TR^^sq%c?JT^4 fr?^ ^'^^?tRt^ ^W- Patiently
I
seating himself down, sticking fast to his seat. The word vff^ pri-
marily meaa3 one who is considerate (fq-^j thought ^TPf possesses |f^ )
one who bestows proper thought upon a thing; hence sticking fast
to a purpose. And as a considerate man always acts wisely, i. e.,
by taking into account all possible difficulties &c., it has also

actûired the secondary sense of 'wise, learned.'
( 40 ) [ Canto 11.
^qrf — au appropriate simile. Since the word ^m\ is fern, tlie
Upam4 is faulty accordingafrvftsr some other to and later

rhetoricians, but not so according to Vimana, Daodin and otlier
ancient writers. See ft. -note.
S'l. 7. —
3T?cI^rfW: Here 3T?cT ^^^ the sense of ar^cl^fffT.
According to a s'l. quoted by Vallabha, there are four species of

4;lephants of which the one referred to here is of the Bhadra kind.
ftC^s^JT! ^\^î f^^cftr% f?T.* One who drinks with two, scil. first with
I
the proboscis and then with the mouth; un elephant, f?^ in compounds
like Jfgir'''^'. ^l^^ &c. means a king and is added here to f^q that
it should better compare with Dilipa, who was himself a Manuja-
indra. See ft.-note. ffqi^n'^T-^ ^^m^F^ ff'T'?: ' f^T f '? ?? fg^'?: I
^'fTcT^'TT^: I
Pan. II. 1. 56; or fgqs ^^' I
SI.
8. —
w^rJTWR &'5- This is a characteristic of the forester.
When one intends to enter a forest for hunting &c., he is described as
tying up his hair by means of tendrils or the like so that they may not
be entangled in thorns and brambles. Cy. IX. 51. Thus the tying up
of the hair being a sign ( ^ô] ) ot one about to enter a forest (ff^Jifr)
the Sutra quoted by Malli. applies. arf^^JT'-T^^r — 3TnT^cTr ^^%^-
3TJ^«rr^rT%Tri?t.v «lff'r<EriTF^: 1 See Sid. — Kau. on P4n. II. 1. 36. gq:
Now the poet describes, in a poetical way of course, io s'lokas

9-13 ( Hee Mallinfitha's introductory remark to theae ) how the king was
received with usual formalities in the forest. When a monarch enters a
town, his servants run on both sides shouting Prosperity to the king; *
here comes he,' &c.; this is done here by the trees ( mark the maa. gender
cf f*T that represents males). As on such occasions the town-damsels throw
fried rice on the king and elderly ladies hurry to have a look at him,
so the young creepers strew flowers upon the king and the female deer
atandgazing upon him ( 10-11 ). Again songs in praise of the visitor are
sung everywhere in the town, and so the glory of tlie king is here sung
by the forest Dryads (12). Chauries are waved over him to remove
perspiration, and that is done here by the gentle breezes (13). And lastly,
as the royal visit is marked by some gracious act on the part of the
monarch, so is described in s'l. 14. the good done to the forest by the
presence of the king.
SI. 9. ffê-Tf^r^^^?^— C/- above ( s'l. 4. ); qr'^'ftTg^^r: qi*^r-
q^î ^9f 'Î'^^ The word q[5^ is derived from qg a con-

3^n: I
: I (
tracted form of q^g ) which means a rib-bone, q^ or qc^ also means

it probably acquired from a sharp crooked rib
-
an axe, which sense
Canto II. ] ( 41 )
bone having been originally used as an axe. qrr?!^^ ^*TFT— The king,
as chastiser of the wicked, is comparable to Varuna, the god armed
-with the nooSG, who also discharges a similar fanction. (f^qTîfVf^'
^qsjazfsr^sq-fj- ^f^tiTr^îiTrir^*^ ^^r ll See note to this s'l.
3Tn'^r^fna'*f^-Sae Vallabha quoted in the it.-note. 3T(c5T^^T»^ i^ ^^®

set formula of words which one must utter on seeing a king. It also
means the panegyric cry of attendants which they utter when a king
moves about, in order to clear the way, &c. S'flT^Rr^: -^ happy —
idea. Varuna, as the lord of water, is the sustainer of the vegetable
kingdom. Cf. Rig. VII. 49. 3. '^]^\ (arqt) x\^\ ^^crff ^rr% î^ ^c^TlC^-
5^T?'T^^Hr'^' The king resembled Varuna in every respect even
I
in that he had with him the noose in the shape of his bow-string.
Hence, naturally enough, the poet fancies, the trees expressed their
reverence for the king, whom they mistook for Varuna ( by means
of the loud carollings of the birds living threon.
S'l. 10. »T^H^«rr*PI. — Fo"" dissolution and the force of the epithet,
see Sanj. The king, by his resplendent body, resembled fire, the
friend of the wind. This gives the reason why the creepers were
T^q^rpr:. ^fTR"M?#^Rfl[,— passing by, approaching near, ^r^5?5"cTr'.-
here ^\^ is used to preserve similarity with ^ppq-f. JT'EJT — f^. ^ 4th
cl. with IT, Here if indicates '
excellence, ' and as flowers are the
most lovely production of nature, the term is restricted to fowers
only. STT'îr^TT'lr: — see ft.-note.
S'l. 11. v^S^: —
^T^cfrf% that which kills; a bow.
^g: This
shows that the female deer had cause for fear, s^fq- has here the
sense of irff or contempt; notwithstanding the king's having a bow,
the weapon of destruction, in his hand. ^?n^*Tr^ Malli. takes —
JTTf in the sense of ' feeling, intention; ' it may also be taken in
the sense of ^^r or action. See Amar. quoted in the Sanj. a^prT:-
<^C"^5-3T^:^^^ the internal sense, th3 mind. There are eleven senses,
called ^^tJTS or the instruments of communication with the external
ôrld of the inner man. Of these the five ^f^f^JTs and the five ^qr^q's
are external, while the mind, which is h'^t^t?*!^ is internal;
pi. is used with reference to the number of the female deer, s^^g^ff^-
p. p. p. of ^^gând not of T^qr. According to Di'kshita who refers to

the Mb. for support, the root i^m cannot take an A'rdhadhatuka
term, ( arq" mt^^rrS^^Tr^l^'Tq': ), and hence cannot take rp. Cf. for
a nearly similar idea ^f jt: ^5 ^\^^^ fsT^fS'- ^(^STH ^? ci^TF ^^T H^\
^ I
ffTcJ ^3'frvif^ ^?T: ^«rq?%f ffrimot R3 wr n Kir. XIII. 6.
B. N. 6
42 ) [ Uanto 11.
=^c;ftfff ( 3T>^ qr ) |-fqf^, derived from 3T«; oth Atm. or arii; 1. P.

and 5 ( UDiidi ). ^fr"'^: —mark the use of the fem Gen.; the exclu-
Bion of ^(ÛT m. is intentional. See introductory note to a'l. 9.
S'l. 12. ^^'^•. — ^-^1% ^^T^ ^r that which produces a sound;
a singing bamboo; der. fr. ^f^ the letters being interchanged by the
rule =Ci^q%n?T^fTnrT4'T«^ I
Un&di V. 36. j^F^ &c. itt^cT the wind..
The Rdmayana thus accounts for the name: — When all the sons pf
Diti were killed in a fierce battle by Aditi's sons, th^formor implor-
ed her husband, Kas'yapa, to bless her with a son that could kill
Indra in a fight. To this Kashyapa consented and ordered her to
observe strict purity for two thousand years. While ^r^ was thus"*
in the womb, Indra, the step-son of Diti, got jealous of the superior
prowess of the forthcoming child, and watching his opportunity,
entered the womb when his mother was asleep ( with her head
towards the wrong end of the bed and thus in an impure state ) and'
began disseoting the foetus. The child cried with pain, when Indra,
fearing lest its cries should rouse his mother, whispered out *H\ '^^*
'do not cry'. Diti was roused and requested Indra to spare the
child that was already hewn into seven pieces. Bilakftoda. Oh»p,
46. The was saved and was called qf^cT from m ^^. Cf.
child
f^f^r\^^ ^T^sTi I flTâr fm PiwcTT: &c- Chap. 47. See also Bhag. P*
I
—
VI. 18, aTTTrff^T &c- Cy, Kum. 1. 8. ^êr^firn see ft.-note. —
S'l. 13. ^Tff: &c. — This shows that the breeze was cool and
therefore gladdening. 3TJTr:^r &c. —This epithet used is to show
that the breeze was gentle and fragrant. ^^ — 3T^^!
aT ^fr f ^T¥2^'TI^
Â f'cf[?^!fV^f : an Upapada Tat.; that which impedes the motion of
a carriage, hence a tree. The direct mention of ijf^ is not very
poetical. See note on I. 38. ari^n^cj-^ — 3Tin"TTfi, stt^t^ ?ffT 3T[tT<T^; ^^^
^+^ (3T); arf^^Jn^mflT^ T^T ?T^. arnr^^l-dnHMT^rH,— These

two epithets show how much the king was in need of some refreshing
agencies, while the third stt'^R*' supplies the reason why he was
served even by the wind ( the purifying element; mark the signifi-
cance of q^?r ). See Sanj. 3TT^r^<j5T^ — Pure by his conduct, which
was in strict accordance with scriptural rules and established custom.
S'l. 14. f^%?iT — See Sanj.; also RTTfT: ^^fi^^f- that which is com-
plete, perfect. "Tr^fff—^?yri% ^ S^Trfwi ^ÎTSTSeq" Sam. Dv. ^^ ffsf: I
With the description here compare that of the hermitage of Vis'w&-

mitra: g^r?r ^gfRoiPfip^r rlffl'^^ 7r%»r^: ^JPrTrq^ I ^^fiTRRT: ^F^f^-
Canto 11. J ( 43 )
?^^q =g^rRft fl^ ^^cTI ffcfr^r: n Bhatti. II. 25. ifnrft— Ho was the
protecter of all; and he proved to be so here also; for the trees and
creepers were protected from fire and the weaker animals from the
stronger ones, and the unusual growth of fruits and flowers kept the
foresters out of want.
S'l. 15. ffiF?Tnr% ». — e. all the space between the quarters tra-
versed by the sun and the cow respectively. The sun's purifying
power fs well known. The cow being a celestial being had also
such power; cf. ^^-qr^TTT^WTtg supra II. 2. ffn^^Tf'T D^^- ^^ *^® —
Ace. by JTfq4^»Tm f|cfRr^3«:#f %H'RIiT^^^f% ( Pan. II. 3. 12 ) when
a root having the sense of motion implies effort on the part of the
agent, its ^^, if it does not mean a road, takes the Ace. or the Dat-
But in ^^^\ ^k ^^PT where there ia no effort implied or in ST^WIJT
iT'^g-ffT the Ace. is imperative, q^fq- &c. — cTRf 5iTt5'E'5r 3Tâll^ rTl^r I
the tT3<j;aflBx is dropped by the V4rt. 5aT^=5rR''-"'ft *T3'Tr Sf'T^' •

^°^
see Sanj.; c/ Tg-ff^TyfgiH^ I. 38. =^-here means also, as u-ell, and
not and] hence the verb is in the sin^.
8'1. 16. f5|iTr «feo.— This applies to^both qg and arz^Tj iii one case
3T^ means or purpose, in the other, f^^^ or province. 3T5=W^-
iq-jfr^^
3T3 3T^f% T'S'cfrRT an ind. or 3T5?T'7 used in the sense of 3T3^^. [ This
line is important inasmuch as it settles the meaning of the ambigu-
ous words of Amar, quoted by Malli. Had ar^faFt not been an 3^5?^^
we should have expected here ST'^Êînstead of 3T^^^ and cT^^T; instead,
of cTTî See Pdn. II. 3. 65; 3. 69; 4. 82]. H^^jf— rv.^ VTf: ^^^^^ The I
earth is called itcjtimT'^ as it stands midway between the heaven

above and the nether regions below.
^rlt ^^?r — («) esteemed by; (b) approved of or practised by. For
—
construction see Sanj. JTRfgf^ &o. ^^F ^?, is ^ prep, meaning 'faith'*
It gets the 3'q^»t^^r by the V4rt. '8T=5gr«^^?ftq^^qr^^ l' Cf. ^^^^ WW
Rig. II. 22. T. f^ftf — is properly a scriptural injunction; it secondarily
means <the performance of a religious rite in obedience to such an in-
junction'. The simile here is very significant. It first suggests that
Dilipa had implicit faith in the cow and so he minutely followed out
the details of worship as enjoined by Vasishtha; and secondly that
as each faith when accompanied by such practice is sure to be
rewarded with its proper fruifc, the king was sure to be blessed with
the fulfilment of his desire soon.
s 1. 17. arr^r^ &c—

sTTfT^^r i^t: ^^ gqffT ^^m- strt^^t i î I 1
^Tj aee Sanj. âfRr^TTRrR" —

Malli. supposes that the epithets q-?fc3"l-
( 44 ) [ (!anto II.
Î*^ &c. are intended to describe how the forest was becoming dark
all over; and he is perfectly happy iu thia. When the king began
to return, it was just the approach of evening. The light of the sun
was a little dimoaed, bat the shades of night had not yet begun to
closeupon the forest; but within the forest the gloom caused by the
approach of the eve and the spreading branches of the trees was
deepened by the dark-skinned boars that now left the puddles and
were spreading in all directions, by the expanded plumages of
were now winging their way to their roosting
the peacocks that
trees,and by the agitated glances of the antelopes that were now
gathering on the grass plots. In connexion with the last, ef.
T^JTT^c^rrP-Tf^^mPcfrt'q^^rTirqitlTfl'^: n "ifraIX. 56. tT^?i7— This is

emphatic. armed with a bow, and though he had
Though
such attractive games all round, he went on only looking at them,
without the least idea of shooting at them. How muoh kings, are
fond of shooting at good game like the boars, the deer and the
peacocks, will appear from IX. 55, 59, 67. This corroborates the
statement q-g^fffcq^q- ^?TT5"HT^q; &«• II • U-
S'l. 18. arrfrT —That which is distended on all sides; hence, an
udder, ojiî^^rg; — igt^qilT ^^Tr^:. ifs": — A. cow that calves but once^
and whose milk, therefore, never fails. stNrT That which is —
worshipped or respected; and as things of a charming appearance
only can be conceived as deserving respect or worship, it means
secondarily what charming. rf^ffrrafrrT^T^—âlli- ^ho expounds
is
seems to take 3TrfT%<T«T in the sense of the way

^'Tr^JTr^TfrT-' T^^TT'*
which led from and back to the penance-grove'. The cow was an
unfailing source of milk and her udder was always fall, unlike that
of ordinary cows, whioh is full in the evening only; also the king's
massive frame had nothing particalar added to it in the evening; so
that there is no reason why we should not suppose that the way was
graced as the cow and the king walked from. and back to the penanoe-
grove in the morning and evening. But if it be insisted upon that
3Trff^ must mean 'return' ( see next s'loka ) then dissolve JT^Î^'T
aTIfr'rr: l
^f ^^^m ^nrnr: l
^^V- 'T^«TT:the way back to the penance
forest. B. P. Pandit and Mr. Nandargikar following him, both seem
not to have grasped the correct meaning of Malli. and henoe their
meaning.
difficalty to give rT^T^'T &
S'l, 8i^?n"f'rT^— BTI^Tpt ^^*T'='!? rT'^C Tf^^TT— » woman is not a
19. I
^R?Tr unless she has excessive love for her husband. Cf. Amar.
Canto II. ] ( 45 )
*?R?Tr STRfTTc^'cTr^TTTT'Tr "^ ^f^H ' I^JTFrTr^— from the akirt of the
forest. This may also be construed with tpTT- Sadakshina stood'
intently looking at her husband at the border of the penance-grove
whither she had gone to receive the cow in the evening, following'
the precept of the saint ' g-jq- ^r^^^r[^\^.' Notice the use of qr with
qq^ or ^tJT to look at or listen to intently; cf. farther on II. 79,
III. 17, XI. 36 &c.
S'l. 20. qrr^ and q^crwT — For derivation see Sauj. ffq-^qf &c,
—^Tq?7f^ %g"[RT% ^TI I
The simile is appropriate here in point of
time. The poet compares here the bright splendour of the king to
the brightness of the day, the soft beauty of the queen to the moon-
lit night, and the tawny colour cow to the rosy appearance of
of the
the twilight. The cow has already been compared to ^rWI at I. 82.
See ft.-note.
S'l. 21. Jifr%^7fr^—ir»rfr ^f^"^ sr^rîr^ i stitî'^'t ir?T%'T ^fr
q^r^'ni^f^ Grati Samdsa. This seems to be irregular. irf%rfr
being a word of the fhE^ class cannot enter into a compound with
affix ff^ is used qT^nccr i. c to indicate
other words. q-?(f^;ftH;-Here the
goodness both as regards quantity and quality. ^^rTTT^^rTr 3T^- —
cTRT 3T^fn5^ ^T Tf^fT^cT^T^ rf^T ^f >W^ fffT Î^tfrTTT^T: now see San].
The comp. may expounded as 3t^^: ^f ^=^^\^ ^]?S^^^T^^4 m^
also be
fFT'fnfPTT: would clearly indicate the presence of z^'^^t in the

I
this
vessel; but Malli. prefers the other way as the compound, in this
latter case, will be f fcTW^cTTr^r by the rule '^nr'frftn'^î ^f^r|t' aa
attributive and a noun in the Loc, should be placed first in a Bah.
Oomp. oT^rTT —T ^^^T ^
those that are not injured or braised:
lit.
whole grains of unhusked and well cleansed rice, which are offered
after beingwashed and sometimes mixed with red powder, to images^
and other objects of worship.
The word does not mean fried rice generally, nor barley, both of which
senses are give in the St. Petersburg Diet,; nor is the word understood
in these senses at least in India at present. The word is always mas.

and pi.
^^FrTr IK^— The

expansive horns of the cow looking like pillars
and bending towards each other at the top looked very much like an
arched gateway and easily suggested the idea of a door.
S'l. 22. ^c^fr^^-^^m ^f ^R%--^THm fc^: fr. ^ Un. III. 62. I ^+
^?% ^Trg^T ^?«FfS^T g-q-zif— <3er. from w^râ, word of the q?aj5rrlr class-
I
meaning worship, and the affix. ?t^; ^qq^-l- 3T; %?Tf HPT ^T^ff 3^TW5 I
( 46 ) [ Canto II.
2%3 Mall. Cf. supra IF. 16, rfff «?Ht q^ff^rf^— The Oomp.
is tobo defended like |^?tT^?7 U^^^m, ^K-'f^Ti^—^^- ^lÎ^ \ ^^ I
which have their reward before thom, ». e. at hand. Bah. Oomp. by

the V&rt. ars^îrf ^f^nf^T^jsq-:; e. g. 3^gf^: &c.
S'l. 23. g^^TTÊ'T — The der. of ^\i is very anausing. ^r^^r% Tf?f
^T(J"T fl% ^TTT: 1 A wife is called ^\xy. because she ettranges her hus-
—
band from his brothers, tt^ is better construed with fr'wr and not
with 5^: as Mr. S. P. Pandit does. fiJ^R^ ^"^ attended upon the —
cow, did not attend to anything else. The use of the word ^[isff
suggests that she might milk the king's desire. ^T^npft^viftM see ; —
below, notes to s'l. 25.
S'l.24. ifrar —
This keeps up the idea suggested by >Tifff%?y?r-
f^q-; Also gee note to s'l. 25. Jjff'fw^r'T: a Bah. both logically and
I —
—
grammatically, vdk'^ Here the Inst, is ^^, ^q being tho cause of
the succession of the actions. Here îrciT indicates the succession of
the actions of the cow herself, and arg shows the king's following
them so that there is no tautology. See Sanj. arj is— a sp^^'f^^'T
and governs the ace. by si^^fiât *• «• when ^h denotes a sign (an
attendent circumstance &c.), it has the force of 'after, in consequence
of &c. lie slept after, i. «., slept because she had slept. ^f^rSTt,
awoke and rose up. Here the idea of rising up must also be included;
otherwise we shall got tho form g^f^^JT instead of 3îaa^<^ as ?tjf
when preceded by g^^ takes the Atm. if it does not mean an upward
action ( :j|i^v.fcpîaT Pdn. I. 3. 24. ).
SI. 25. vrrC'Trr: —practising with ease. To defend the Par. the
idea of ease must be included. A Oausal verb takes the A'tm. when
the action benefits the agent. Here the ^cTîlT^ is for Dilipa's
benefit and so wo should expect the A'tm. But by the rule '??;v^r?Tf:
^T^lif^foT' P^°- III- 2. 130, ( on which Ndges'abhatta remarks,
*3T^l'^jJtmr'TJTrin%^ f^'Trf^^?!^),' the roots f and ^ can take 51^ (^fj)
when they imply absence of difficulty in the agent. See Gr. § 667
(d). Cf. yJJX^r^^^;il^r\fi Bhatti.
v. 63. ^f^^^f—^{^^: derived fr. rjj^
to worship, honour ( »T5T^ ^5^% ?H ) with the aff. |^(r^^)
to
and means a crowned king, and ^f^^\ the queen coronated with
him. f^50TTR-5<iT properly means a string, then that part of a
string which forms its fold when doubled; hence f^goi means
having three folds, threefold.
In a'lokas 23-25 the pôt has used the four epithets (1) 5;^-
f^fJTvriTS:; (2) 'flHTi (3) tTf^^^fr'ff:; an<i ?Ri:5Toflf^fT"Ti and they
— ^ •
Canto II. ] ( 47 )
have their peculiar eigaificance here. For the poet is now about to
describe aa event which will call into requisition and tax to their
utmost these respective attributes of the king. ^5 of Nandini A
will presently appear whom the iflH"f will try to destroy (3'f^lir^)
with the power of his arm (5^); but failing to do this the king
will set a higher value upon his fame (^tF^) than upon his body and
will finally achieve the g":5'âT of the cow in distress (fT'n)-
S'l. 26, 3T^^: — si'^R'T^rff^- On the next, i. e. the 22nd day;

^^: substituted for 3Tfr[ by Fkn. V. 3. 22.
is nr^TT^^RT ^^^- P.
of the desid. of ^j, 'wishing to know.' jj^r &c.-This may also
be explained as arâ- irpaf ft^?rR ^^rrnot ^^^ r[^r[]^^^K\^^\ I
TWr^r^'Tr'cTH^^s^'t TWT« ^^^^ which tender grass had grown

owing to the fall of the Ganges. This epithet is intended to show
that the act of the cow looked quite natural and aroused not
the least suspicion in the mind of the king.
S'l. 27. ^jjvjftq-^r— 5:^^ !T^J«^fT fRT 31 fqr expresses a hyperbole.
I
She was unassailable even mentally, f^^: Tne word ûq-vni is —

formed from ^+q^ + ^T+the affix ^377; so the Gen. f^^f^f cannot
be used owing to the prohibition '^ ^F^T'^^f^ST^rJ'îJ^T'i;' but not —
in connexion with the affixes ^, ^^ 3"^, an ,3Ts?nT, a J^rî^ affix
and the affixes Hfff ( cT of ths p. p. ) and ^^. f%^:-from f^ to
kill, the consonants being interchanged; see ft. — note. f^?»r—
According to Malli. this is used here 3T^t^ ». e. showing that this
was a fiction-, 'as it appeared'.
S'l. 28. —
arr^W^' Kind or doing good to the distressed.
^r^. H l'^'?? &c. —
The idea is that the cry of distress of the cow drew
back the glance of the king with that suddenness and certainty
with which one pulls away a thing by catching it in a noose of
Topes. For the Loc. see ft. -note. Char, who remarks '?t?TI ^^'^'• ^fs^ri;
^rf:' seems to take ff as a sign of 3"T^rj but in this case there is

nothing in the sight corresponding to reins by which to catch it.
X(^q is derived fr. btst^S cl. Atm. with the affix fpf, ar^gB" 3T^JT ^r I
The 3T is by ar^r^ ^^- Unadi IV. 46. ;T»1r5=?g"^r^—

changed to i
J\--^€\f^ ^Tr: or 3Tin: Nan.-Tat. sfiTRt or
1 ^?^: or ^t\ ??^ |^ ^% 1
isee f^^^ II. 7. Himalaya was the actual crowned king of

mountains. Kum. I. 17.
S'l. 29. ?|f^?x^g^— form used in the Veda, formed fr. ??jt + 1j'5
< ^Jll). See Sid.-Kau. on Pan. II[. 2. 107. 'ct fTff«I?M JT^fnôV f?^TI?
(48) [ Canto IL
UF?^ 3Tfq^ ^rrTf'Tt Tf F?! I

Maaorama. v^ji^^:— Gen. Tat. Oomp.;
this implies that he had a bow ready in his hand for use and was
thus able to punish the offender. %ffTfC'or'iC —
^^^^ word is used herer
in preference to other words for a lion with the intention that the
lion with themane should better resemble the loddhra tree with the
flowers. %^nfT%^ ir^W?^!?^'^'^^ Ohar. and Din. arf-^JT^ seems to —
be used hero merely in the sense of an upland. v:rr5fTC?riX 13 added —
to complete the resemblance with the cow who is described as
^^^X^f\^\^\ l See also ft.-note. ?^lTjf^*T^ —?»T is derived as follows;
?ff"^ ^h ir=5?3rffrm
f : a tree and by the
'^g^r^r f wr: K^%\ maxim
3T^?T'^5^fq- ^^^' it means a branch; ^•fr?*! ^^^\^ ?Tt
secondarily
(? + it) by the rule g"5>Tqt q: Pan. V. 2. 108. ^f^*T?T: 'fffS 'a pea^^ —
or a level plot of ground on a mountain' + JT<i;-
S'l. 30. ^rf?S^rrr*fr

—"Who walked (habitually) with the majesty
or fearlessness of a lion (under such circumstances). Prof. Ray thinks
that the rapidity with which the King turned caused his movement
to resemble that of the lionand and take« the f^ ( foy/q- ) ^4ir
3"TiTI%. But the poet does not seem to use the epithet with reference
to the present act of the King. Again the poet does not describo
a lion as turning round rapidly when disturbed, but only calmly; cf.
infra. IV". 72. The epithet is meant to imply that he faced the lion like
a lion- g^r^-the Dat. by 'gJT«frir VTI^^^Îr^' Pia. II. 3. 15. Gr. §
828 (rt). '?^t^?r'— The epithets ^t^'^ and STfrTinT^riF explain why the
lion deserved death. 3rrfirf>T'T^; —who felt himself insulted. The
King was the protector of the distressed and yet in his very
presence the lion ventured to attack the cow, the same on whom he
had rested his hopes of issue, and thus gravely insulted the king,
forfeiting his life thereby. 3Tf^<5fff lit. that which sticks to the
heart, and is not easily discarded; hence an insult that is keenly
felt. mÎri;-|%cT^t ^SîFriTflR^ ^TCf fm I q'tT'fr'f^rft:— see Milli.
This indicates power in the king to punish the offender. If ^^^
be taken to mean 'an act done without giving thought to it
'unhesitatingly' ( q-TcTr 'ETTT fk'^Kl T?Trq[,), then this will mean-'who
readily uprooted his foes,'
S'l. 31. qr^c: —

The use of the word here seems to be
intentional, a pun being intended on the word ^\^ which means left
as well as perverse, inimical. The right hand got stuck and refused
to strike because it was also intuitively friendly ( the lion being
unreal), rff^: —
of him who was about to strike. The Pre. usel
— —
Canto II. ] ( 49 )
in the sense of immediate futarity. 0^7317% — Ancient "warriora

used to furnish the hafts of their arrows with heron's feathers to
regulate their motion. ^xKT^T^: — this goes with 5%; the hand
remained stuck to the hafb of the arrow; but then the two words
should have been compounded o<T55l^TFTfT%:; since they are not, it
is a case of ^q"^cfR iW^c^rf^fTT^'. Some propose the construction
^V' W^T^m-' ^^rJnPJ% ^f sT^cT?^. But in this case the STF^f^r of
^np still remains : —

where was it stuck ? f^TTfT'H^rT &c.-Here 3TR^*T
means an action (f^qr)? "/• !• 1^5 Megh. I. 55. The hand of Dilipa,
involuntarily stuck to the root of the arrow, looked like a painted
hand in the act of drawing out an arrow. STfrT^M' ?Tf is A'tm. —
when preceded by ^^, s{^, ^ and f^ ( ^rr^ffi-zr: ^^: Pan. I. 3. 23 ).
S'l. 32. 3T»-^"^— P- P- P- ofsrf with srpf; the other formic

3T«n^cT ( distressed ). Malli. takes it as an indec.
( 3jzvm ). it
may be taken as an adj. meaning 'standing near/ qualifying STFTîirf.
9TT'Rfr9:-3TTT: ^cT?TFr?^riT?^(^ ; ^f HF ^f^ ff^ 3TriT: crime, sin, fr. ^ to
go and the Unadi 3^. ^^^Tffr%: ^B'^'T is that inborn spirit
afE.
or sense of self-respect which does not allow one to put up with an

insult at any cost; see ft. -note. *frf^ *fr^ the hood ( or, body ) —
qf a serpent, + 1^ ' one having. '
^T'^fl-q-nir &<5. — It is a well-
known fact, at least in India, that the cobra is reduced to a helpless
condition, being made a prisoner within a charmed circle, by serpent-
charmers by means of spells and the roots of herbs. C/. cTfrnT^T-
;TT?-5f«T^ ^cTT^T^: gf :^fT^TT^T?rf^?KiT: Kir. 1. 24. I
S'l. 33. 3Tr#n-§j — 'a partisan i. e, one who

of the good, always
stands by the good, (such as Vasishtha's cow in the present instaaoe).
See Sanj. and ft. -note. Cf. ari'^g^. T^^V^TgH;—^3 is properly i
flag, and since aprominently attracts attention and is the mos's

flag
important factor in an army, it means ^the most prominent or chieE

thing in a class.'
f^RT^^T^ Pj^Q- p. of the Oau. of f^q. On the reading R^qrq-JTJj;
Malli. remarks as follows: —With the reading ff^^qrqqq; we have only
the q coming in; but this may be questioned. For when we change
f^ by the rule Rrq- ^qzf^:, Pan. VI. I. 57, the wonder is under _
to ?HT
stood to bo due to the fg ( causative agent ) and not to a ^co]- or
instrument. But by the rule ^^fr^rqrf^vfq-' PSn. 1. 3. 68, we must
have the A'tm. and the reading becomes f^^?n"T^TR: Therefore, taking I
^Tjuq^f^ as the ^âj of the f^^^r( we get rlrWT^^'^. See Sanj. and
ft.-notes. Bhattoji Dikshitaalso thinks that ff^*ir'T^^ is the poet's
R. N. 7
( 50 ) [ Canto II-
reading. He, however, finds out a defence for the reading f^fj^fT'T^-
•^?r JTf^'Tfrq?: iT^t^'Tv^ff ifFTrTir"^ i fr^r f^sr ff^mq^riir^ inyrTFoft
( t. e. taking the can. of ffîrrqîm ) 5l"^fpr sqr^fir^l' Sid.-Kau. on
Pan. VI. 1. 67. Rt^^titT^— This is used to show that
epithet
Dilipa was not at all unnerved in his helpless condition. The
epithets arr'fs'fr &c. show why the celestial lion condescended to
speak to the mortal king.
S'l. »T?r7n7— ^?f Tr^'Tffn'^, Tgfr TTS-îmm ^m-, ^^\^^J^'^
34.
If rTfcT: I srôT —
on the Instr. here Malli. observes Here ^q is the —
^ÔT of the ^pT'Tr%'TT which is understood, and therefore takes ^tfprr-
For it is remarked in Nyasoddyota a f|fr5q"r which is understood, —
implies instrumentality just as well &s one actually mentioned; so
>>TÔT 3TcJ is equivalent to ^q^n ^yii ^?t; ^r^^Wrflfi; *Tift ^ ^^«T: —
you are not to make an effort, for you cannot achieve your object.
Tf; neu. velocity, force. ^^g^frT — prevails or has power against.
Cf. VI. 9; IX. 79; XII. 57; also VIII. 89.
S'l. 35. %t^r^ — a mountain in the vicinity of Himalaya, formed
of crystals, the site of Kubera's capital and the favourite abode of
S'iva. (?/. Meg. %3T«T fftT^ri'TKVTjsiTfs^ Br.-Sam.
II. 52; g-rT^cT: I
3T?r^t ^TTF î^^fTr^: ^t^ncf'f: Kas'. K. ZIII, For its description

I
•see H. V. 217. f spj;— ^"^fff "F^Rf^ f <?: STS"^: For the eight forms i —
of S'iva and the invocatory stanzas of the S'ak. and
see Sanj.
Mai. Here by referring to the pre-eminence of S'iva, the Hon
indirectly suggests his own greatness, as the follower of such
a mighty master. f^fr*»n*I'ra^ It is not clear whether this —
Nikumbha is one of celestial beings ( itots ) attending on S'iva, or
Parvati's lion, as Vallabha has it. This latter, however, is probable
as ^Ht^^ is a lion.
S'l. 36. Têira'

— *f^ ^^:' — By this Malli. means that the word
q^ûf^ ought to be uttered in such a tone as to emphasize it. C/,
S.-D. quoted in the com. S^T-^:—^ 5<rS5^: l
3T3^: 5^: ^cT: I
^^'tTi.^'rr: ^^ means marks on and

a standard; and since it is the
the shape of a flag that distinguish one king from another, it means
a distinguishing mark; hence f^qcf^jT means the God who has the bull
lor his distinguishing mark; S'iva; ef. i^qf^f^r, >liT«T^> fTH^cT^ &c.
—
t H $ ^*T &;c. The remark on this in the Sanj. 'f^^T^ ^j? f ?q (^
^^^-.^ seems to be an interpolation. For in that case the Gomp. will
be ?fr^|»T^«r and not 1Jif»>T &c. For by the rule 'g-tTTHcf °^]m\if^:* —
P&n. II. !• 56, the 7?fiT^ ought to precede. It is also not
—
Canto II. ] ( 51 )
necessary to take it with ^^^. ?^r»^2r &c. This is used to show —

that the devadaru tree was in every way Gauri's child, like
"Skanda. Mark the play on the word q?T?C ^° ^^^^ respect, which
means water as well as milk. The Mah.-Bh&r. thus accounts for the
name < Skanda':— '^^cfrf^^J^tTf mffF 5frÎ^r^ff^*T^' fm i
S'l. 37. ^2f: i{^'. —^

aTT 3TTR^^ 'then,' this implies that
I
what preceded was the cause of what followed. %^r<-<MH Skanda —

was called %?rRr because, just as he was born, he was appointed the
general of the divine army that was to march against Tilraka. See
—
Kum. III. 15. STF r dH, licked from all sides; hence, wounded.
r-v
Cf. 3TW^fTr7r^?ffg &c. Veni. III. 7. 3T5n#:— 3TgT is variously

derived: — (1) ^ ^x\ ^ÎV., ^53^ Nan Tat.,
\^XV^- the indicating
(2) According to theRdrad. those who partookof the heavenly drink
C S^r> otherwise called 3i[^rT ) were called 'g^T:' while those who
obtained no share of itwere designated 'arg^f:' 'g;^rTfTirfT^fl5 gÎ I
ffiTr^R^cTr: I 3Tin%5TfaTfTf??TT I^Î^rg^RcTTr II' (3) The Nirukta derives

the word thus— 3T^fn: rr^q^frfcTT "?%: ?»TR*^.- I 3T5^crr. ?«TRS ^ Sf
yffr: ?«rrft5 =^7^1 P^«T: 1
or srg: irm^^ cT^^rrr ^^f^cT 1 fr ^'r^^ 1
In the oldest parts of the Rigveda, the term A&ura is used in the sense
of 'a god' or 'divine'; ( lit. one full of spirit, life, or created from the breath
of Prajapati; see Nir. quoted above ); and is several times applied to Indra,
Yaruna and Agni; and soraetiraes it is used even for the Supreme Spirit.
Now after the Persians, who had borrowed from their neighbours, the
Hindu Aryans, the term Asura Supreme Deity (Ahura),
to designate their
quarrelled with the Hindus, they called their clevas devils and the latter in
retaliation said *Your Ahura ( asura ) is a demon.' Thus the word asura
which had so long signified a god, came to signify a demon with the
' ' * '
Aryans; and their fertile genius easily led them to coin a word sura '
'
for a god,
'
from the very term asura ( which now meant not a god )
' ' '
by eliminating 37 from it, as if it were a negative particle. Cf. r%cT derived

from 3Tl%cT meaning black which was an original word and not a com-
' '
pound of 3T and !%?[.

SI. 38. ^^ft^HlH—^^Wr f|Trv ^^T^'JV', a Oomp. of the ^tt^ctt-
^r^r§^-is a Nitya Samasa and as such has no ffiTfq'if^.
'ftl^rfcT class.
3^f^ —
properly means 'a cavity, 'a hollow '; hence, here, a cavern, '
fjâr The —
reference to ^
is probably intended to strike terror
into the heart of the king who was going to meddle in the matter.
STf^HTrT &o. —here fftT means food; cf. supra ;88. This implies
( 5^ ) [ Canto 11^
that S'iva had* so ordained it that the lion should get animals
supplied to him for his subsistence; without his having to go in
search of them. See next S'l. and 44.
S'l. 39. f^cc^ —Sea A. G. § 67. Valla, takes 3TcT with gftirr*^
and g"Ti^«TfTT as the predi.; see ft. — note. '
—
U r^g':t\ r f^ r This implies
that the king ought not to attempt her rescue. ^^fffTrTTn"^ ^7 the
mention of ^TtFicT the lion seems to keep out of sight the ift?^ o'
^fT^' Tmr is * dinner, generally a sumptuous one, at the end ( on

the second day ) of a fast; e. g. on the 12th day of each half of a
lunar month. Cf. qrîj ^\^^ 5^f fltTTTiroTITTJTTt I 3'T^r^Tf ^«t =^ ^î
5j[^^[^(il^ II Bra. V. P. g^fif^: —
of R&hu, who is populary supposed
to devour the moon at an eclipse. x\% a^^ ^^^ properly the ^
names given in Hindu astronomy to the points of intersection of
the ecliptic and the moon's orbit, t. e. the nodes, or rather to the
shadows of the earth and the moon respectively. For the Pauranic
account of Rahu, see Apte's Die. ^r^JT^r C^f This shows that —
the lion was to get his meals at stated times, just as the enemy of
the gods gets them. There is an allusion here to the extraction of
nectar from the milky ocean and Rahu's betrayal by the sun and
the moon. See note to K4d. Intro. S'l. 7. On this S'l. Prof.
Ray remarks :
" This Sloka shows good knowledge of astronomy on the part of

the poet. This will be obvious if we examine the simile. Here
the lion constantly watching the ^f^l^ tvithout moving from his
plans, iscompared to lTfi[^ «• n^> which we have aeon is the
»'•
name given to the 7iodea of the path of the moon. Hence the poet
implies that j]^ is fixed, and does not hunt after the moon to devour
her. Indeed this is evident from the epithets qf^^^$5r aid 3TTf^«Tar-
The cow had her time to become a meal of the lion ordained before-
hand, and she appeared at the appointed hour, just as the moon has
her time, and appears before ^fg^âccordingly. There is a limited
area ( snp ) within which the animal must be, in ordei to be seized
upon by the lion, just as there is a limit, on both sides near the
node, within which the moon must be for the eclipse to be possible.
This is the astronomical theory of eclipse ( u^<i\ ). The cow was
copper-coloured ( q^fTr^TcTr^T ) and tha moon also becomes copper-
coloured after entering the penumbra, just .before actual eclipse
akcs place. "
Canto II.] ( 53 )
S'l. 40. g- c^^ —'that you' i.e. who are made powerless by S'iva.
This ia the reason why he should not be ashamed of his inability to
save the cow. K^^f^ —TPT l^\ ^^^F W^ that which ought to be
protected, being committed to one's care; object of protection,

S'l. 41. jjTr?=*r^—intelligent, full of sense; and not 'proud' as
some take it. Cf. '^J\^^: tj"fcT*TTfN%' Amar.-, '
xîj^^m^ ' Kum. Y. 30.
ît' NIIîlTi
—3T[W^ 13 a Pr4di Sam&sa. firifW^T^ — The word
arftj^PT though used for alliteration further shows that there was a
sort of equality between the two. qizir^frir^: — iTc^TfrT is what is
struck back or repelled by being hit, as a missile by an enemy's

missile, or soma other force operating upon it. Hence, here, what is
rendered futile and useless (although not actually struck back).

nriT^: —
Sv8,mi derives it as fiifr ?r% ?T^ This is a Vaidio form. I
In ordinary language the form will be firR^PT: by ' arf^T^^W ^T%:'

Pan. III. 2. 15. Bhattoji Dikshita includes fifR under the ?7i*rrf^
class and consequently it may take the possessive affix ^jj so we
may explain firRn%r^<"^?^T?cfrT% HtTt^T:. Oh4r. also derives it in
this way.
S'l. 42. rjc'rlpTl'
—*of which that was the first failure or repulse,*
;t^ does not necessarily mean * defeat, ' but has often the sense of
' a mere failure in doing a thing. '
Some read ^ ( which is
found in some MS. copies of Malli.'s com. also) but it is difficult to

see how
^f' means a
< hindrance ' here. The Sans. Dictionaries,
Vach. included, do not give this meaning to ^^. True that this
sense of the word is given in Apte's Die. But there it is probably
based on the variant here and on III. 63, where the word has
this meaning by ^^pJTT. r-?t?IST^t:— j%»ra cT^TF ^^ T^mr'^F'^ F'^^«T^7fF^.
Cf, Amar. '
ffcT«T r^'pf ^'=^: And since words which have no
'
i
truth in them often fail to bear their fruit, the word has the
secondary sense of what is fruitless. * SFT^TfT??: STSTllr WS' 3jcT:
' — I
—
5^*^cK^?^rT^ =^H+ is a name of S'iva. Kali, sometimes uses
the Vaidic form f^^F^^. See Kum, III, 44. The word is variously
derived: see Sanj. and ft. -note; fcF^FS'^^ 3T^ having three mothers.
Cf. Kali. P._|^f^ôn*TÎJTt IFH ^F^F '^^F fT'- SIcT^^'MH^FTFtr I
t^F% "^ ^FF^^ In the Veda the term is applied to the father of
II
the three deities, Brahma, Vishnu and S'iva. ^JFyoFt 'TÎ^'S'S^MF

Fq?Tf TSfFJTt &c. Say. on Rig. VII. 29. 12.
The allusion here refers to the story given in the Mah.-Bhftr. See ft.-
note. Once upon a time the gods being harassed by the demons, secure
^vithin their three cities, applied to Mabadeva for deliverance, who, in
( 54 ) [ Canto II.
t-ompliance with their request, began to burn the three cities of the demons.
To witness the sceneôf destruction there came the goddess Durgfi, bearing
in lier arras a child of wondrous effulgence. Indra, getting jealous of the
child, raised his thunderbolt for when
its destruction, strangely enough,
the arm of Indra became motionless, being paralysed by the glance of
the child. In this plight Indra saw Brahma, who told him to propitiate
the child, which was no other than S'iva himself, who had assamed that
form to please Durga. Thereupon Indra, accompanied by all the gods,
went to the child and propitiated it with prayers and had his arm released
from the paralysis.
S'l. 43. ^f7f«i[ — an indecl. meaning an 'assent given with reluo-
tance.' '
arîirfgqcff cjryji;^' Amar.; granted that, admitting for the
sake of argument that, ar'^rfif?!:^— Ace. Tat. Oomp. ff ia îsed here
"|"cft; because; for this reason. >T^fn=tf ^^^ so Joi ^^^^ "ê that'
I do not mean to overreach or mislead you. %;^ pres. 3rd per- sing.
of f^^, optional form, î% being the other. 3t?I: &c- What the —
king means is that now, powerless as he was, any proposal that he
might make to the lion would simply seem ridiculoas to him after
he had expressed his desire to eat up the cow. Bat since the lion
knew the inward thoughts of men, he ( the king ) could freely speak
them out. See, however, Sanj.
S'l. 44. ^ n r T ijt » < —
See ft.-note. f«n^ fr. ^«f I + !f^ means what <
always remains fixed by habit.* ^sfffq' means the opposite of this; that
which is constantly in motion. The ^^ ( T of the Frequentative )
here must be taken as ^^^TT^ K ^* denoting frequency of . action.
^^ &c. — Here S'iva is identified with the Supreme Brahman, though
the part usually assigned to him is the last of the three mentioned
here, viz. the destruction of the world. srr hjH A^ l
—
This epithet is
used to show that Vasishtha is constantly in need of offerings
supplied by the cow, and consequently he cannot afford to lose the
cow. See Sanj. On the other hand the order of S'iva is inviolable.
So the king finds himself in a dilemma. The solution of the
difficulty is proposed in the next s'l.
S'l. 45. —
^ t^fJT See Sanj., and s'l. 40 above; you who are sucb, I.e.
ordered by S'iva to feed upon the animals coming within your reach
^[K— lit. that whioh is subject to decay; ^fr^^ ^-f^ from^ + fn^
Una. ip^^ — What the king means is this : since the cow and he
entered the cave together it was left to the option of the lion to
make meal either upon the cow or on himself.

his In either caae-
his act would be within the meaning of S'iva's command. So he^
— —
Canto II. ] ( 55 )
should be pleased to release the cow aud 3eize him, instead. f^^TT^^R
&o. —
Here the word ^797 is used to excite pity in the lion; since the
calf would be helpless i£ its mother were not to return in the
evening. According to Ohar. the loss of the cow would also mean
the destruction of the calf ( and so the lion would incur the sin of
killing the calf for nothing ).
SI. 46. ar^^rt ^^^ni^ W^— -^ ^®^y pregnant construction.

^^F«^R being the f^q?T of 3T?vnPT^ is not required to be necessarily
in the sing. This is more forcible than ^•ra^lfif^. The meaning is
this : — Each cave of the mountain was enveloped in a mass of dark-
ness. Now the rays of the lion's teeth, as they shot forth, dispelled
the darkness from the places where they fell and thus split up the
mass in each cave into a number of pieces, as it were. f?r ^^^
3TH?fr f fer fr- ^V:, and the aff. g; (
5
^p^ ). f^^ The lion laughed ^ —
at the absurd proposal of the king. apTTfrT^ — This epithet is very
appropriate here. The king was the master of 3T«T or sense, ». e.
a speech full of sense; and we shall see him finally succeeding in per-
suading the lion to accept his proposal.
S'l. 47. '
(jcfe MM-^ ^g^&c. — Now the lion points out the advantages^
which the king is about to forego. For aTTfTT'Tj see sitpra II. 13.
An imperial king alone could wear a white silken umbrella; see
infra III. 16. â[: ^zfr{ ffcT i'- ff to go. 3T^?zr t^: —When
the word "^-g is actually mentioned, the Genitive ought to be used
instead of the usual Abl. or Inst.; see Samj. However, by the
Vart. Hr*fTT^TT'n?3f ^^f^ iTPT^^^^TT^
• a pronoun takes all cases, '
and words other than a pronoun take all except the Nom. and the
Ace. when used with the words hT^tT, ^K'JT, ^3 &c.; so 3T5^J7
ll^TT, 3Te^^f Irl"^, 3T^r?1^1î: are also correct.
S'l. 48. —
^^ 'If, *on the other hand'. q"^PiK %^Tf^ ^' Amar. '
This shows a shifting of the point from which the question is

—
viewed. ^^ f^^T Mrfr happy by being saved. ^ff^?T is often found used
like a substantive in the Veda. g'Tg^*-?^: —H^^^f der. fr. g-q- + 3^ +
3Tcr; lit. that which passes over, and since nothing which passes over
a man is felt more heavily than a calamity, it means <a calamity or
misfortune.' So the root gtjg^ means to cause affliction or calamity.
Cf. X. 5; Zum.
II. 32. jfrrr: The pi. is used for the sake of—
contrast. Dying you save a single cow; but living you save numer-
—
ous individuals. fq%^ The word fq^ is derived by some f r. qy to
protect and the Una. affix g ( r%^ )» by others irregularly fr. qr
(56.) [Canto II.
andg(^g;); lit. one who protects. Here the literal sense is
meant to be prominent. ThH lion points out that it is emphatically

the duty of the king to protect his subjects, not so much to save
the cow.
S'l.49. sTTcrvT'^'^^r?!.— 3TT?:r^ sTTH^r '^¥Tci f^>n«r— see Banj. I
If on the other hand you fear, then your fear is out of place- for &c •
?T^?i: &c. —
This is pass.; the active cons, will be irq^R^q q^j T%%3
5I^^rfj;. As the idea of qv^ is intended to be prominent here, the
pass con. is used. See Apte's G. §§ 178-9. ^^rr^:— 3?^^frT a^^tllT
|f?r; fr. S>5i^+3Tr3 (^). XTRfirni— see Main.; or q-ffTtrner imitates ffjT
irfertT: fr.
shows repetition
^] + q; (3T); ^^TT^fr:
fic^rqf.
^\^^^ ^\l\o.
'A Koti
cfnf^^r:— Here the affix
at a time, in Kotis.'
^
S'l. 50. —
^F^f om â-qiyprt the word q^q^ appears to be formed
om ijj; repeated, and Wilson indeed derives it as such. But it
seems to be wrong, According to Bhattoji Dikshita this word has no
deri vation (cTT'T^r^F^^f^Scqw gs^RT^ WTTSfff^ )• ^^^f??—3r^ takes
fcJ and also f^^ ; so gr«fft^ also- ^TfTrTt? &c. — Expound iTf icT^^^d^
STTroTJTîTT^r iTf rfTSr^tT^HiTr^r *f?: I %^ f^Wi, l We must not say
*ffrcT?3"?cr^f^^^ iT^TficJ^^HHI?'^ ; ôt in that case the Oomp. becomes
one of the iJ^^s^^r^Tf? class, and further compounding is precluded.
«ft^ — P- p. P-of =R-j 4. 5 P. to prosper, to flourish; see V. 40. CT^^
S'l. 51. jjf%^^_i}f^y%%: ^;t: itj^^^t: a Pradi. Oomp. We must

not dissolve it asan Upa. Oomp., as we shall get q"f^?^R and not
qf^îf as it cannot take 3Tq\ 3T^^? —^^
is a root governing two
objects, being a synonym of ^. In explaining this Malli. quotes a
K4rik4 from the Mah.-Bhash. which means That which is the :
—
RT^tT ( cause or origin ) of gTrqyi]- ( what is desired e. ff. tr^r." ) with
respect to the roots g^, ^n'^&c. and also that for whom is intended
the subject-matter of the roots st and ^fpr, is, unless directed other-
wise by special rules, called 3T¥rf^?T »• <• 3T^«ia 'what is not defined
by the Sfitrak&ra.' In the present case, 3t«^ is the subject-matter
of STHT^cT and intended for %f^qr^: wherefore f^ffuricT is 3T«Ff«j?T-
is
And by the rule 'ar^l^ff ^'. P&n. I. 4. 51, f^ffTTTc?" " ^^ of aT^nqcT-
S 1. 52. JT^WTff: —
The king of men-. *TgK?;rrnt \^- IT^TT. C/-
Amar. ^Î^^r %^-
î^srr or v{^v^\ \^ ^. There is a pun on the word
I
^^ which means a king and also a god, intended to show the

excellence of Dilipa over the lion who is only a ^[3^- rffTi^rrRni
&o.— we may also dissolve %^>.qTr%?n ?T?«^n%cTr I ^^'^TrftcTT "^lit
•
.•€anto II. ] ( 57 )
^cTn^r '^ cTTT I

Malli. says %q instead of rf^q as here the sfJifrTT is
emphasized. See Patanjali's remarks on the the Vart. Hl^

'^rj'Ef^
—
S^g^îfH^' gcT^T^ from ^, an indecl., me&ning 'what is
I
exceedingly
proper, much' &c.; and as the excess expressed here by the Tad. affix
cT^ belongs to ^?TrgcTr (the ^^^]%^) and not to the king, we have
^^f^. The king was fitly all the more moved.
S'l. 53. This is a reply to s'lokaa 47, 48, 50. ^?ini— from
destruction, peril, &c.; see ft.-aote. f^rr7 — is used here ^TfTfTT^ I
^cJ^T^?3 ^[frfq'T'a^ —JT% f^^'- 'Such is the traditional history of the

word.' 5rr?T^ &o. —What the poet gives is the meaning and not the
derivation of the term ^^, for which see Sanj.^fqJ vis^dMif — ^^
lit. whose point is raised above the general level or over the
surface; hence prominently attracting attention; and finally what is
renowned, noble. Cf. IV. 22, VI.: 32. ^:^:— On this Malli. remarks
(see Sanj.): —
''The word does not mean 'the Kshatriya race' by mere
convention, like the word ars'^lJof which means '& S'dla tree', but
is qr^T^g" »'.
e.etymological sense restricted to a particular
has its
class, just as the term q^^r means a lotus to the exclusion of every
other thing growing in mud." Cf. the word STTcTT^T a^d the English
word parasol. Words have three kinds of meanings ^ftf'T^ o^ —
etymological, as ctT"^^ &c.> ^2" or established by convention, as ifr,
ars^ôT &c.; and ^nr^S" or etymological as well as conventional^ as

^'^^^ The Naiyayikas recognize a fourth meaning, ?nf^^^3"; ^^
3"f^- See Muktavali on Bha. Par. 87. ^q^?r Ignominy, reproach; —
fr. ^g; with ^7 and aS. ô^( 3? ). »Tr?nRr— ^TeT i^J^FHl^ iTcfw^T:;
tr. ^^ + ^^^ a possessive affix; tarnished; foul. used in the ^—
sense of =^ 'and.^ Cf. Kir. quoted in the ft.-notes.
S'l. 54. This is a reply to s'l. 49. 5 — is interrogative, involving

some doubt or uncertainty; c/. Kir. V. 1; gr?f ?r — How possibly;
by no means. ^ 4n I
: —
^^^ is not generally used independently as here
but with the inf.; see infra 56. arjT'Er: Lit, leading one after; hence —
propitiation, pacification of anger. It has a slightly different sense
in VI. 2. ^H^; —may also be taken as ^57 and explained by the
Sutra 'pjfT^TI^r'IiTF^t lcfT'rr''TcR^^J^ ' Fin. II. 3. 72; Apte'5 I
G. § 117. ^STî^T The name —

is variously explained :— ff ^q c^ -^ -
mr^ fm ^: Of the S'ruti—f figfrg^fr^'iTnC ?^T^ ^s^^

i Also r I
(r^^lTTf W%
^'Tt^ ^TRC'jfer Kurm. P.; and ^«r: TFTH^ ^^T
m
1
f\V^m 5fiTf^ frf 4 f f?iT 'T^TT^ ^^^WI4f

I U Skan. P. ^^s(^-'
see Malli.; or f^??T 3T^?Tt W^Î ^fct iTfR: ^cT: ('5 g ^^^ )•
!R. N. 8
( 58 ) [ Canto li.
S'l. 56. —
f^cif^ Here means H55FriT^y;T as arôr is a fî, the
body being the ransom paid in exchange; for the meaning 'ransom' ef.
infra XV. 55. For the meaning 'price' cf. V, 22. f<irf^ obstructed. —
The root ^;^ with f^ is generally used to express the violation of a
sacred duty. The trjôrr is as much enjoined as a fast itself by
the S'&stras.
S'l. 66. arnr — is used here ^g^^ indicating equal participation
in the knowledge by both %. e. q ^^ r ^-q^: (a
the king and the lion.
master —
stft^T- ^T^T'I^R'T W^ is ^sed in the sense of the Inst,
)
and is equivalent to ^{Jr^^] ( with one's body ). ST^nt*r is emphatic.
Want of a wound on the body indicates neglect on the part of the
^%(=[ and supplies the reason why it is impossible for a servant
to stand &c.
S'l. 57. înr— is used here q^[?ff^; see com.; 'if, on the other
hand.' The king finding the lion averse to cruelty seeks to move
him from another stand-point. fîTR may also be construed with
arff^'T: as suggested by 8. P. Pandit though not with equal
propriety, and be translated as 'for some reason ( best known to
you, after what I have said to you),' 'owing to some indefinable cause.'
qr^TFrT &c. —(j^^fp^ f^^ ?Tf^ ^T^r^^rT^ * 0* one form/ 'never 1
changing,' i. e. sure'to perish; or qr^: 3t?<t: ft^«^- 'lf6T'=^m» RÎ'?r
f^^-^T%g m^ %M ^5 Cf. Hit. ^\^ f^^rf^r^

?T«TT fT«n 1 RrJ'Î^Ti ^^ 1
^^T. ^r%^ ^».%cT cf5r ^^ ^^

f^ 11; also Kir. II. 19; Yen. III. 6
last two lines; and Bhag. II. 34 ^>Tn%fT?'T ^mfcTJfrnT^fcnrE^^ — I
fqo%;5' —
The use of the word fquy shows the extreme insignificance
of the body when compared with ?i9TTr. STSTrPTT The ^5j^ here, —
though compounded, is emphatic. *|^nT%5 — formed of the elements;,
fr. ^+ 555 (?^). See com.
the
S'l. 68.
«Tr>TrTTJ^^ 1^ lit. 'what precedes/ and since it is
cause that precedes the effect, it may be taken here to mean 'cause'.
Good men are said to become friends very easily, even if they take
seven steps together or exchange seven words in conversation. Cf.
Hit. and Kum. V. 39
quoted in the ft.-note. ^^|>^ —in this tract
of the forest; or simply ^"^; cf. supra s'l. 19.
S'l. 59. TTT^—?ft speech; see V. 12. Ohdr. seems to have read
Tt (^) gTgJi^ who released. ?r«[:— The very moment; irregularly

formed from ^STT^T + aif^ (^WTîf^ffr ). f^TT a lump. Cf. the
meaning of the same word in s'l. 57. arrf^j^^— This shows the
indifference with which the king offered his body 4o the lion. For
a different meaning, see VII. 31.
Canto II. ] ( 59 )
S'l. qr^rf^f: ifiTnTr^— The use of this

60. paraphrastic epithet
without any reference to the king's proper name is intentional, and
is very appropriate here. This shows that the king amply merited
the title as was shown by his present act. g"cTâr?i: Iît. looking —
upwards; hence expecting, looking for; mark how the sense of grf
is quite lost; he was 3T^r?;S^'- aTfr^g^sT^q' 3T^ HJ^JT^TSfmc^fr^R; —

3T^T^ ( ««w- ) g^
'T^- ff^P^ &c. H^^r: of secret —
arts ( gf^^m-
^f^Î^r: ) ^r- f^^l^V- The Vidyddharas are a class of demigods.

The mountain Himalaya is supposed to be their favourite haunt.
They are described as wandering in the air and showering down
heavenly flowers whenever they notice any act of extraordinary
merit performed by mortals. See also ft.-note.
S'l. 61. sT^r^rTTT^— Pres. p. of the denom. from 3TffT; ^Tf?cT
f cT^ê^f fT^^ I
3TfcTT%fT=^^'7fm'T?r I
Formed with the afE. w^^, see
ft.-note. ST^TrT: —here the affix cTHîs used in the sense of the Loc.
ST?ir>'Tn3[~^3>^* ^^'^^^' * P^^î Oomp. î^?2rT 3I?cftf^ cTrq; The
I
l
flawing of milk generally takes place at the sight of the offspring.

Cf. I. 84. This shows that the cow looked upon Dilipa as her own
offspring, and hence the poet says '5r^rT%^.' fflT^^— See ft.-note
p. 34. This word is used here to make the contrast more glaring.
Instead of a cruel monster, the king saw before him a loving
mother.
S'l. 62. ^mfr~^r^^Tiff ^rr-'ff^ fr ^# tt^t't %r% jett^:— lit. one i
who is always devoted to his duty or to the work of another; hence

this ii the fittest epithet that the cow could have used after wit-
nessing the self-sacrifice of the king. Hr*irHr~^'Tr is illusion, a
delusive fantom. According to some the word.is derived fr. ^^J the
originator of the magical art. ^^( ro gr Like the inf., the absolutive —
also can sometimes be used passively, q^frfi^:—well put to test,
qfrg^ properly means to look at a thing all round, hence to carefully
examine, &c. ^jt^fST^^rTni;— iT^tT ^r^: ^^J^- Prddi Oomp. s^^^t^:—
3T??TfcT ^'^wn^ irrfoT^ %j^ i 3t^î% ?rT^f?Tn% ^r sT'ct^?: i F^^ri—much
less. See Apte's G. § 267 («).
S'l. 63. sfhirR*! —R?raTR»T I
^-S*^q; 'with you.' The dat, by the
Vdrt. (see com.) 'the person for whom an actio a is done is also the
9«r^R of that action;' but this is unnecessary according to the
'TTs^^T^ a3 the case is covered
by ^^dir sTiTT^^r^ ^ ^wr?H^.
—
5^ ^H^ Some commentators take this as one word, not with
good taste, however, and explain j^r^s^'t spT^ f %^?n'»rr^&c- See I —
ft.-note.
( 60 ) [ Canto II-
S'l. 64. ffrRfTryf — This epithet ia used for the sake of effect.
"The king who always granted the wishes of auitors was now a
suitor himself. ^f^^rf^HT &c. — Dilipa had earned for himself the
title of 'hero' in all its aspects by the power of his arms. That he
was a 5:5"fK, ?[rCr and yjl{îx is described in the first Oanto. And
here he proves himself to be a ^q^rCr^ alô like 'ofrqijrT^Tf'l' g^ff?^T-
?Tr^— 8n. being the STTVIR of the ^«Tl*:qi of the child is pot in the
Loo. case. dH^lM,— cT^tr% ^^TWm cR^: I
S'l. 65.
^<-HI'f'4)r^r^ — Upa.
Oomp,} see Sanj. ^r^ The
Tat. —
Dat. by the rule ipq-f^q-f ^f i^^^q ^cTT In the case of ^ with ^{^
; I
or sq-f meaning to 'promise/ the person to whom some thing is

promised, after request, is put in the Dat, case, jr^ff &«. The —
cow wished to impart a peculiar efficacy to her milk which would
ondo the effect of the curse of her mother and remove the child*
lessness of the king. The king was ^^q^f^ and had not tasted her
milk as yet.
S'l. 66. ^c^^— This means by ^!^m, ^mi\m^ I 3TJ?rnTrTT*«l—
This is necessary as the sage had desired him to live on the products
of the forest alone. —
3f}\iif?t milk-, lit. that produced in the udder
C3r^^). q'gr ^ I»^ &c. — According
Manu, a sixth of the produce
to
of the earth was due to the king from his subjects. See ft. -note;
and cf. V. 8. The cow is here again compared to the earth; see II. 3.
Here Ohar. notices a different reading, viz, ^f^\fJ|(^^^T^fir^fp^\;^ i
B'^ X^ Î^T cT^"tT*ft^ Êhi &c. and remarks— ^^(^ ^Tj^^f*

HT^FiTfîff^'^F^^ ^] I Nandargikar.
S'l. f^(fr%^_f|iqf?^ i%fî% inm^Ts^^rf^rm %r%w^'7T ?^-
67. i
—
The forca of the epithet is this: Dilipa was a king and so could
hare done any thing he liked. Yet he awaited the order of the sage
to drink the cow's milk. This humility in the king pleased the cow.
^f^^j: — The reference to Vasishlha here is not out of place.

Though the king was ordered drink the milk there and then, he
to
declined to do so. And yet the cow was not offended. This was
because Dilipa wished to take the permission of Vasishlha, her
revered master. <^ —shows that the two actions expressed by
iHrTrTCr ^'J^ and q^q^pfqf took place simultaneously. aTM^T —because
both of tht'^m were in a pleased mood, and so did not feel the
fatigue of the journey.
S'l. 68, —
q"^%;f 5?jT: Ere this Dilipa's face was overspread with
a sort of gloom caused by his childless state. It now wore away
—
Canto II.] (61)
and his face shone bright like the autumnal moon freed from the
clouds. ^^ &c. —We might dissolve q^s'r f ^: ^^^^^ ^ q[? f%f iTgiTl-
T^ cT?^ ^T I%iTT% %^ S^T^TTf^rr—5^^^ °i"3t be taken
^flSfPTcT^ I
here in the sense of 'repeated' and not 'superfluous (which meatiing '
also it has; see V. 34 ) as the word fq- is used. If we take the

latter meaning, the figure will be faulty, whether we take |-f as
the sign of an 3"q"RT or grq^^r? i^ both of which the two things
compared ought to be distinct, since Dilipa's words wore actually-
superfluous and not like to or as ty superfluous.
S'l. 3TMl%?ncTr, ^C^î^: These two epithets, though

69. —
apparently they seem to be used for the sake of alliteration, have a
meaning here. The king's recent self-sacrifice had now proved that
he was pre-eminently ^t^)H'?5' or kind to the good and being blessed by
the cow, he was free from the ban of sonlessness. Thus he was
peculiarly ^gjc^cT ^^^ 3Tf^F?fTrfÎ now. For the meaning and der. of
f?^^, see Sanj. and notes on V. 7. q«^ drank, received in. To —
drink fame seems to be a queer expression; but it is the Sanskrit
idiom, meaning 'to receive in a fresh accession or addition of fame.'
Cf. VII. 63 where '.the idea is repeated. gi>^ ^j^ff g^nr^f — ^4^3;
p. p. p. of ^^, incarnate, having a bodily existence.
On this S. P. Pandit observes: — " That renown or good fame should be

conceived to be as white, i. e. clear or bright, aa the shine of the full
moon,
free from all approach of obscuring clouds, or as any other perfectly white
substance, as pure milk, is intelligible enough. Bnt when things of actual
existence and of established whiteness like milk, snow, &c., are compared
to renown, we leave the region of metaphor or simile as such, and step
into the region of what may perhaps be called unreal similes. "
But this criticism seems to be based either on a misunderstanding

of the force of ^^, or on an ignorance of the distinction between an
grfiTT, and an g'cq's^r. The fig. of speech here is* gr^q"^! and not grrq-f,
the T^ indicating ^FT^qr^^r aîd not ^r^^^; as is clear from the pre-
sence of the word t^ in the line. The 3"?q'^r requires that the g-qPTI^
should be unreal. What is a fault in an :J^^\ is the essential con-
dition of, and constitutes the beauty in, an 3r^^T. X. See K. P.
All that the poet means here is, that Dilipa's sonlessness, which had
so long hung like a dark cloud obsouring his otherwise spotless-
fame, was now removed, so that it seemed he was drinking in not a
quantity of milk, but was receiving in, a3 it vrere, a new fund of
spotless fame ( of having a child ).

(62) [Canto II.
S'l. 70. ?i«jhrir&;'^.— T^?«rRr%^frF«i«fr^ A.vya.Oomp.^T^jfTPH^^r-

fffiffr ^«tit^^ ; 'T^ffT^ + ar (3T^)> an affix showing poflseasion and
added to the words of the ar^tarrff class by the role <
3l<l3TFf^':^FS^ ',
now see San j.;

wH 'T^fn^ff ?T?^ TT^TinÎ aT'ff. !nfW%^T^—
q-tft'tji
from ir?»Tr^ + f^ (^^) ^^^ com.; customary at the time of setting

;
out. According to the words of the Vrittikara, quoted by Malli.,

words expressing time, even by cTûtt, may take the afifixes added to
words expressive of time. Here the word irffj[JT means by pyôyi
the irf«?R^c7 and hence it takes j5T. sf^f??!* ^c^M, an —^^
indec; ?^fffT ST^T^ ffpJT^4. ^3r^!fr»i[— vft'J^S'RrRrff ^^\ KJt] I
^jft TT3|vir^r I ^^ — Self-controlled. Here the word is peculiarly

happy. Yasishtha would certainly have liked to keep the king
for a day or two with him and to entertain him sumptuously; but
he know that an immediate return to his capital would please the
king more than a feast, now that bis objeot was gained and so
checking his desire sent him away.
S'l. 71. qffô f sr f ?ir5rar~Such was the custom; ef. ^% ^Pf: ^î-
gai^f'CT^f^Tf^^ S'ik. IV. p. 100. Mark the difference between the
meanings of ^(T iii ^cT^ <^Qd ^(Tr^^< ^^ one case it means ^propitiated
with offerings', from 5 to please; in the other 'what is offered' fr.
5
to offer. ^^Tiffjy &c.— ^PcT ^^û'^ îTSfOTl'^; ^: arffT^T^^rîT ^V^X-
(more mighty or pre-eminent) mrift ^^- Here ^^:^]^ rather means
(though we have translated it by 'prowess') dignity, majestic
appearance, as in ir*TI^fI=^ ?^ cT^^^ S'4k. I. p. 28; g^ means
prominent, bright. He was no longer if^rTpjtTR^FRT^- His face
had its usual majestic splendour; the maiigalai made it
brighter, Diaakara explains this as ^^\ qf^^^ ifFcT^f|»Tr^F?TiTir?f^Dn-
!Fr'it?r"l^!TcT^ flfr^F^ V^V ^^^^ l See ft.-note. C/.— vr^fr^q-gr^ f^JT^-

gT^ri'TfîT'nTfcT^l'^ l'^5qWFIif^>7rf5r5|TiTrai^r5^T*TI?5TqrTT^r: «^JTM "^ft
I
JT^îq: According to Vallabha ^?iT^3" refers to the auspicious

II
appearance of birds and the manifestation of other signs at Dillpa's

departure.
S'l. 72. 'ifr'TrfHrrm &o.— arnrriTn f?^F'*Tn»T: ^q^rsrî^nTîirfff^ 1
frff«'T:— ^rf ^fl^-tT^q; fr. ^5-l-j65 similarly ST^tFR'^S, ^fj^^\

C'^l^);
see P&n. III. 2. 136. This is said with reference to his successful
performance of the ifr%^f^cT he had undertaken. 3T2?T?Tg<^— 3TF'^-
<m]^ 3:S'.'cTTSr'?»TIiP'l3^cT:; uot tossed up and down; free from jolting.
2^0 w see Sanj. qjfrn^T—iRet T^ »RFl«F: I
The desire carries tha
— —
Canto il. ] ( 63 )
mind from one object to another just as a car does a man; so the
desire is called the car of the mind. The epithets sq'r^TWTT'-^f^^r
and 3T3^TcT9^^ ^pply ^<> 'fTÎT'T as well. lu this case \.^]^ means
•the sound of the desire being pronounced aloud' which was pleasing
now that its fulfilment was certain; and srg^TJT means * the removal
of obstacles'; see Sanj.
SI. 73. 3TTff?T — lit. placed in the heart; produced; 3^g^q" f^jm
3^^^^ eager longing, yearning. ^'tTT^ &c- When referring to the —
moon iT^[ means -the people, the world.' The moon also obserres
a sort of vow, viz., of allowing the gods to drink of him for the
good of the world, and gets emaciated. See ft.-note. q-^: q"T: cf.
JT^RWJTWôT^T ^^ 5^: ^ 5^f%r%^cT*Tt^^l?^Tr l sis'. XIII. 40; and

supra II. 19. fir'Tf^fT^^f'Tret — See ft.-note. The moon is called
the lord of plants, aa moonlight is essential to their growth. Cf.
Rig. X. 85. 2-'^rtr^ri^?ir ^fer^r: #m^ ?f^CT?Tfr i 3T«Tt JT^^r^Tîrgq?^
mn 3TT[|cT:' I Where S^yana explains '3Tffr%%=fr'T'-^r*Tf'-^r fPTSÎ
^T^f^' I Hv. XXV—cTcT^f*^ ?fr i\^ sr^rr ^rfrff^ ^r- 1 ^r^rT^fRt
ffin'niiTit =^ 3THMvj1^ II &c.; and Kas'. K. XIV— ff??T q-r^ffct %^:
^m^ rr5TI'i;?iT5p*Rr'^ &c- See also Vayu P. XXVIII. 12.16.

I
S. P. Pandit has the following note on the history of the word.
"Properly speaking sa1iT>5Nt =n«r- or * the king of plants,' is the Soma

plant, whicli being largely used in sacrificea, naturally came to be regarded
as the highest plant, and be styled 'the king of plants. The key to the '
fact of 3TiT4rrfrr! meaning both the Soma plant and the Moon seems to lie in
the word f^. This word is frequently found in the Rigveda, but always
in the sense of ( 1 ) a drop of the Soma juice, and ( 2 ) the Soma juice
itself. It coming then to signify a globule, or a
appears that the word |t|,
round little body, very naturally became a name of the full Moon. Now
according to a very common principle that has had such a prominent
influence on the development of the Sanskrit vocabulary, viz. that
whenever a vocable that signifies two things, has other synonyms, those
other synonyms also become each expressive of the same two things, the —
word Soma acquired the additional sense of the Moon. Then, aa is very
common in the growth of mythology, the conception.s, attributes &c.
connected with the original personified or rather deified concept, Soma, viz
'that of the plant, became attached to the new concept, viz. that of the
Moon. Thus the whole derivation may be put in the following pseudo-
logical form. * The word meant both a drop of the juice of the
5^5
sacrificial plant, (or the juice itself) and the Moon; a synonym of |;| in the
first sense is the word em; therefore ^\h meant both the plant and the
( 64 ) [ Canto II,
Moon. Now because Soma, the plant ', waa developed into a personlfica -
'
tion by certain attributes, therefore, Soma, the Moon, acquired also the
same attributes.' And thus it is that the Moon, also came to be described
"
as the King or Lord of the plants.
•
S'l. 74. 2T5=fi:^: — Purandara or <the destroyer of the enemies^

cities/ is a name of Indra, because he is described in the hjmns of
the Rigveda as having destroyed the cities of his enemies, t. e. the
clouds. In the Pur&nas, however, he is described as often being driven
out of hia heaven by the demons, but as always re-entering bis capital
on all such occasions, after having finally overcome his foes, and
restoring order to the universe. Here the poet probably refers to this
when he says that Dilipa, entering his capital and once more resuming
the government of the earth, had the grace of Indra. arsT^yf &c.
The lord of serpents is Sêsha regarded as the emblem of eternity,
whence he is also called Ananta. He is represented as supporting the
entire world on his head. Cf. Vish. Purana < cnfn?5"HT»Tvr5inE?r f^«'Tr^^
^H5T^ ^^^1% n' &c.-, and Kumar. III. 13. Hence the comparison.
9^y^^^ — Here frorjT must be taken as used in the cau., as it is
intransitive by itself ( 3rTnTfl%tT«nT^: ).
S'l. 75. 3T%4^rwg?'i" &c. — Atri a celebrated sage and author

is
of many Vedic hymna. He is one of the sons of Brahmd. According

to the V6yu P., the essence of Soma or moon dropped down in ten
streams from the eyes of Atri, while he was absorbed in meditation.
The presiding goddesses of the ten quarters, at the command of
Brahma, bore the foetus and the moon was born. For a fuller account^
seeHv. quoted by Malli. Wilson's Vishnu P. p. 392, and Padma P.
Svargakhanda. grfTK^^ &c- ô' the allusion see Sanj.; also —
Mah. Bh&r. Ann. Parva, 84, 85, Vamana P. 54, Kum. IX. and X.
Wilson's Meg., note 79.
PTf^FTTrOT^HT^: — The Lokap&las are the guardian deities presiding

over the eight quarters. For their names see note on ffTq-jf I. 78.
Cf. Amar. ^^^'r ^f^: N^m^%ar ^^0]] iT^ri: *%T §^: Tcl'T: %V^\^ T^^lt '
iffTTrl 3T3MR seems to be used here in the sense of m^j or arg 'a
II
portion of.' Cf. III. 11. Vallabha quotes the following s'l. on this;
^Rfr^r'T Î^: r^Tff ^ftl^, II

^'f. Maiiu. V. 06, quoted by Malli. and
ft.-note. s^r^w—On this Malli. remarki — the queen simply bore
Canto III. ] ( 65 )
the foetus, meaning thereby, that she took no part in its developmett
(as it was formed of divine energies). In support of this he
quotes A's'val&yana. The word arrvTR is used in various senses by
Kalidasa. See I. 24, 85; VII. 20. Meg. I. 3, 10, &c.
The two similes here contain in them the promise of tender and
warlike virtues in the future child, besides beinj; complimentary to-
the magnanimity and the sanctity of the king and the queen.
CANTO III.
S'l.1. ^Tf^'TrfrT'f >Tjfrr%rT^— This is in apposition with |^ff-

pT^niT outward
' marks of being with child', which were the very-
wish of her husband with its fulfilment at hand. 3TTC3ffr5"ifrf^^ct-bere
used substantively. Pandit thinks that Vallabha has explained it
better by taking it as an adj. qualifying ^rfi?o2r?T''T, and meaning
srfvnT^, 'wished for;' but ^^«> was not the ffc^rf of the king, but the
birth of a son. ?n?ft*r^T &c. — ^^T^lf W^: ^^T5T=t: I In such cases
^^ means, 'a collection or multitude'; ,'c/. tff^^Rsq VI. 7; ^j^jt^:
Kum. ^r?^cT ^f*TK?3^?âTn%, eyes; now see Sanj. ^rgfj-o-
I. 26.
The first gleam of moonlight, to be soon followed by the moon,
—
oq^ tJ. /. refers to the festival celebrated on the full-moon- night
of AVvina; cf. ^7^m^^^^^.i\^W'^ &c Mal.-Mad. IX. 21. ,
RfTTHr-The Cr^ff^^TT^— llf^^'T ^^^ oTôi^r

root, chief cause.
On Main, has the following remark: A pregnant woman is

this —
said to be f^ffTT oi^ one who has two hearts, her own, and that of
the foetus. And the foetus, in connexion with that, is called ^[f^,
while the woman in relation to it is called ^f|"(%^f i See Sanj.
Cf. ^?Hi^3^ T^T^g ^\^\ m-^ î*irm i fr^ f|f T^rr '7??^r^Tr7 ^rfffift
»TcTT II Sua'ruta. ^f^, therefore, is irregularly derived from fg + f?"
to be explained like îfT^^; or it may be derived from f + f?,
also irregularly ( the regular form being ff|-[f ); ^p- |-^ |-^?j;T?q-r
Soma read ^Tf?, which, though irregular, may be explained like

^f7^5, for which see Uttar. I. 45 and our note ad. he. The best
way to avoid all these irregularities is to adopt the reading
<^[^^^^«T^' which appears to be the reading of the poet also; see
s'lokas 6, 7.
S'l. 2. nm^.-îr. «^+3T (^5t); wasting away, emaciation^

of the body (and the consequent weakness). For a different sense
R. N. 9.
( «6 ) [ Canto III.
—
«ee VIII. 68. »T?nT«Io 'FTfFffJTJTJT^^î^ ^qtf lit. having the end attached,
hence, complete; ^ ^^v(w^î( ijôt ^^^\: \ g^T — Malli. takes this as
^TcJ^T^ g;?fr^T; Prof. Ray thinks that it will be better to take this
and ^Tfll^r as
^^r ^^h
Bee his note. <^7W4f " ^H r— From this it
seems that the Lodhra has flowers of a palish white colour; cf. the
simile in II. 29. In literature we often find the lodhra flower
mentioned to convey the idea of paleness. See Sis'. VI. 64.
f^'^^rîrt^r — If%^: which are to be searched for, hence, few.
«TrtT*T^'Tt ^\^^\ ^F vrr^T^m
JITr?T'?i?"TT— iTFT^'a JT^TrfTT I See Sanj. i^^
added to nouus and adjectives means 'a little less than, nearly
equal to' &c. ?r#n— Îirrfff %?T ffcT i Un&. II. 121. For the
external signs of pregnancy see Vagbhata quoted by Malli. C/. also
Bhavaprakas'a:— ^^^r^: fqqr^r =^;'^rpT: I fT^'TTg'a^patf ?qr?W-
S'l. 3. ^g^rpf — Having an earthy fragrance, smelling of earth;

applies to both arr^^ and q?f?r- Some pregnant women
eat baked
earth; Sudakshina also did it and had an earthy fragrance about
her lips. The king welcomed it for its significance. See next s'loka.
T^f^ (a) in private; (b) in a sequestered spot. q^r^^T &«• —The
poet in several places refers to the earthy fragrance issuing forth
from a dry ground during the first showers of rain after summer.
S'l. 4. JT^r^r^—»T^^T %^r: «-f?rfqr3'^^t^r% ^^f^r^l He who is
followed by the gods; Indra. In the Veda the Maruts are described
as the gods of the air. nnrô — Dissolve ff 5TnT?fT: ITT'iT: I f^»P%
f«r«rFtT: r?»T'?ir^%ri'cT: ; f^^^ll^r^: ^«t: ^^ l f^p??r— The root
%r^ with f^ means generally to rest or to relieve fatigue; see I. 54,
IV. 74; and also, though less often, to stop moving, to cease,
in which sense it is used here; cf. for this^sense V(W'(\(k^f^^'
Rat. I. 8; f^^jî l%«rr^: Uttar. VI. 11.
S'l. 6. iTg%fT^—%c7T2Tt %nnT3^cT^ I Here arg has the sense of

•"ficei' or repetition. g^Trr^RT^C:— 3"Tri^r?raT=Trift»^T: TrTr^r^TPr i
being a ^^\ has no I'îr^r?^. The country of Kosala, according to

the Rumayaua, was situated along the banks of the Sarayv, the river
Gogra of modern times. Its capital Ayodhya is described in the fifth
chapter of the A'dikanda and said to have been twelve Vojanas in
length and three in breadth. It was also called Saketa; one of its prin-
cipal suburbs was ^f^^qr^T staying where Bharata ruled the kingdom
during the absence of Rama. Kosala was divided into ' Uttara
—
Canto III. ] ( 67 )
Kosala' and Dakshina Kosala/ In the Matsya Puraoa, the former

'
is known by the same name, and occur,

called Ganda, a district still
ring in the Mah. Bhar. after Paficb&la among |the conquests of
Bhima. See Mah. Bhar. Sab. Parva Ohap. XXX. It is certain, there-
fore, that the country north of Ayodhy4 comprising Ganda and
Baraitch was known as Uttara-kosala. Aja, Das'aratha &c. are
said to have ruled over this province. At the time of Rama's death,
histwo sons Kus'a and Lava reigned respectively at Ku3'avati in
Southern Kosala in the defiles of the Vindhyas, and at S'rdvaati in
Northern Kosala. For fuller information see Anandoram Borooah"s
Ancient Geography of India pp. 86-90, paras 93-96.
SI. 6. frf^ &c.— ^r^cnfim f :w^ I

f :<3 ^\^ ?f *rrfr ^v^ ^l^ ^rff
J^^^cf^r ( the pain-causing condition ); now see Sanj. ^ff^" îf : I
fTfTT^'f ^TTcfrf^ ^f^: the qualms or hankerings of pregnancy; ^\-^

also means the foetus. On this Sus'ruta has the following :
cT^T^^ »T^?g &c., quoted before; supra si. 1. ^ff^ff ^'TT ^^ ^V^^^^
=g ^\^^^. i ff§>?Ti5?tT^^ ^r 5^ ^rifi ^^?'^ ii ?tct: #t frit ^t^^ ^T^^nr
JH-^^ nfW II iT5^TqT>T^TTmcTn'^«?inf f?T ^,^^^^ 11 &c. îfK^^H g;"

nrfff: — is curiously derived; 1% three i.e. the gods -s^x, f^cw
and f^T^, and f^ to sport; lit. the place where the three gods take
divine pleasure. fw^sqc^^^?TT^ =rqV STfTIf^^Î ^T gfl^^^^^llT ,
?^«^?T^rarj %^g;t^c^TvT s't: or sn^Wqtr^^^^ ^Tfr^î^jr^fTm^-

I
Hf^ ^T Mm fr3^r% s'lTff ^r% q'^RfcT ^m This is free from any 1^
grammatical irregularity. Or i%^Tîr "^V- Rff#, neu. is also correct.

I
3Tf^^^>J^T:— fllr fg»T*f r#'itrt ( t. e. which explains why nothing

was ST^TT'^rT^ to him. ).
— Having got over or passed through.

— ^Bat when she had got over' &c. ^^^s^^ff^——
S'l. 7. f^^^r^ is used
here q^r^rft- t. c. the
painful period ^r€\^^m\^ — Pres. of f% with
of. pass; p. q-, cf. for
this sense '^J^'^ W^7TlT?TT^f«r: Mud. I. 3; ^mFJT^T^
mi^m^^V^ I
=q^: I
Bh. g^pf—^TTVT^ 5n?rJT or ^-[xil formed irregularly. 3^-;t^^__
hero indicates nearness in point of time.
S'l. 8. —
ff^5 The period of gestation, 'as days passed' i. e. as she
advanced in pregnancy. nT^V^JHT— T%^?^cT properly means, what is
iidden from view and therefore not noticed; hence, secondarily, what
is not noticed even though not hidden. Thus when one of two things
by its superior excellence prominently draws attention to itself

• diverting it from the other, the second thing is said to be i%^rircr
( G8 ) [ Canto lii.-
». 0. excelled by the other. vrprffJnft: — rff is liere transitive, though,
it is generally used intransitively. g^»ir51^". — well-formed or deve-

loped; corresponds to fJTfrprT'fTfT- See VIII. 37. f^— see IV. 17.
8'1. 9. f^^T &o.— f^vff^>.rq%% RVTf^ f^tfvT:, This a treasure.
epithet indicates the mighty fortune of the forthcoming babe.
^MK *^< r^ ^fir^:
I — sjnr^ (a garment) ^^?TT: the sea is more often
spoken of as the waist-band of the earth; c/.XV. I (T?;TI^T^^T7r). Malli-
takes this as a ^^r. Of. '
ij^fTvrrff T^^î ffJpJT ^»m»=^n' ?f?r ^: i
Vdmaoa, however, cites this as an instance of an attribute alone

being used for the corresponding substantive when the moaning is
plain; ff^T«f'^frT?r!T^fjft Rr^>qiTffTTTTt ^«TT— 'HrvTRîîr^f Hrn^p^r^*'
irqfJir 'a^r^Trffrt l
—
^*fr^ fire is believed to reside in the S'ami tree,
a rod of which isused to produce fire by friction for holy purposes.
See ft.-note. By this epithet STfTri or prowess in the child is
indicated. ^frffTf &c- — This indicates purity in the child to bo
born. ST5=?T:?rf^?rt— 3TîT«T ^]^^ ^^V- 3T??T:fTra"c7T cTT^. ^r^T^frT— m
The river Saraavati flows near Th&neshvara ( ?«?rir^'rs^r ) • It»
modern name is Sarasvati or Caggar. Anandoram Borooah says
'
Two other junctions are mentioned which are borne out by the map,
013. of the Kaus'iki and the Drishadvati on the west and of the
Arnna with the Sarasvati below Th&neshvara. Near the first is
Vyusasthall, the modern Basthalt. Not far from the junctions of
the two combined streams (Sarasvati and Drishadvati) is the
modern Kaithal, which is probably Kapisthala of the Vanaparvan.
The Sarasvati which loses itself in the sandy desert is supposed by
the poets to flow nnder the surface of the earth, and join ultimately
the ocean.' The Rigveda represents it as flowing into the sea. But
later legends make it disappear under ground and join theGaDg& and
Tamuna at Prayaga. Pilgrims yet speak of a river in Bihar having a
dry bed but giving water within a few inches of its sandy surface,
which they call Falgu-Qang& and consider almost as sacred as Ganga
itself. The Mah.-Bhar. thus accounts for its disappearancei^Varuoa
once carried off Bhadra, the beautiful spouse of a Brahmana named
gTTt^,and would not yield her up. The BrAhmana then addressed
himself to the countries and the river Sarasvati, saying, ' goddess
Saras vat!, vanish into the deserts and let this land, deserted by trees,
become impure.' When the country had been thus turned into a
desert, Varuoa restored his wife to :jî:^.
Janto III. ] ( 69 )
^^Tr^rr^—^>JT f\^¥^ ^f ^^cT |T%i The fig. of speech here accord-

ing to Oh&r. is irn^n^j 866 K.-D. II. 42.
S'l. 10. JT^TJ^go —The loftiness, magnanimity of the mind; cf.
»nr^: rlK^roTf^ 5Ers'?fr W ^g^rm: i Kum. VI. 66. ^^r^^rrf^r^:—5^^

is the ceremony performed on a woman's showing distinct
first
signs of conception with a view to the birth of a male child. This

is performed in the 2nd or 3rd month when the moon is in conjunc-
tion with some male star. Cf. Gobhila:— ^cfPTFT irq-m^PTTTîT^'^T
5^^^q ^loJ": I
S'aunaka-5?T% t\^ ^cfm g m% t^^ ^^^' 1^65^%^^*^
%Wg^ HTHT srr and Vasishtha-^q^cij^^^ ifffl^m^
H>f]^ll T^ g:{Tf^S^?T
ini% ^qfrcTcT^r g^Tir%Tat 5«t:s«TfrtsiT> i
ifc^ ^^^^ w^^^r^\^''^^m^
m«ft S% ^^^^^'^ g^^T5I^5TTf^0Tt ^]^\ See Sanj. >fr^;—Wise, II
patient ( and not agitated by the loss of money ); hence he did all
that; cf. ^ ^;^^^^T^r^X If ^r^: infra XVI. 74. ^f^f—^TRR f^ l
'R'Tcflfef ^?^: ^?'^ ^T; though thus derived, the idea of 'seeing'
is not present in those words; they have a meaning established
by usage.
S'l. 11. ^-^pg- &c.—s>5 ff^r pJîT??T "^sm- ^^^^^ &c ; cf.
II. 75. g-T=^rCTÎ^ &g.— g-q^^^g^ |T% 3"T=Î^: ( act of honouring I

or
worshipping, homage ) ;Tf% ^^t^'j or g-q^^% 3T^^ I ^m ^T^by which
respect shown; cf. ^ er^Sf^rm ^jq^^RiTfT'cI
is S'ak. III. 18; now see I
Safij. This shows how feeble ^%tiTT âd grown when advanced in
pregnancy. It is a duty enjoined on every Hindu woman to rise
and join hands to show respect when her husband approaches her.
Cf 3T^5r9TT^sqT^ff w^h ^?rH5r ^^^\ cTf^r?TfqcT?r%^?Frfa[m?cT^qw
W^^^^^\^-- W Trf^^ &c.— qR3fef^ ^fcT qf?3;îi; I

'
That which moves
allround/ hence, unsteady; qîrgf^? qiKS^'S; qru^f^f^ âa nothing I
to do with pregnancy in particular. It is a sign of natural timidity

which is a characteristic of women in general. Cf. =râ"^fR^5^W-
Rcfr^^S": &c Uttar. III. 28; ^^^cTfRafrq-^nrr Meg. II 22.
S'l. 12. aR-qK^c^rrsr^^: —
Kumarabhritya is the name given by
Sas'ruta to one of the eight branches of medical science which deals
with the proper development of the foetus, taking care of the mother
during the latter days of her pregnancy, and of the babe when born,
sîq'?^r5T^T»Tf9^'3; I Sus'ruta. îTR^'^rr Tf*T«"EIT: qKW=s?T% i H4ravali.

^^^:-5?5TT^Srrcfrr% ^^TcJ'^lit- oQQ who plucks the blades of Kus'a grass;
but as it requires great skill to pluck the sharp blades of Kus'a grass
( 70 ) [ Canto IlL-
without hurting one's fiugers, it has come to mean 'one who is skilful'
«p^4fbr —The development of the According to the 8id.-Kau.

foetus.
the affix is
^rf^ and not m^^. jmr?T:— f?: Malli. Cf. V. It may 26.
also mean 'confident.' ^n% — ^^s a double sense — in the tenth- (1)
month; (2) at the advent of the rains.
8'1. 13. tr^:— jffSPcT >Trilra»Trs*Tqr?yqi3T;T^T ^^r'TTftj^-aTT^ '^fr: i
%^ occupying a high position; in the ascendant. Malli. seems to

have read 3^^f^«;^:. This and the other adj. 3j^%: have been
fully explained in the Sanj. and the foot-notes. The s'l. 3T^3Tf^*r '
&c. quoted by Malli. means :

—^f is the technical term for * high,
in the ascendant.' If a ^r^ be divided into 30 equal parts, then the
even planets n'^, ^q, *r^t7, %^, f fTqrefj S^ and ^tt% are said to be
in the ascendant when they are each in the following zodiacal
signs respectively: "^ ( aries ), f^vr ( taurus ), ^ ( cervus ), 3{ff^T
( virgo ), ^^ ( cancer ), iff;T ( and particu-
pisoes ), and ^^f ( libra );
larly so when in the 10th, 3rd, 28th, 15th, 11th, 27th, and 20th
division respectively of oach. A low position is at the end of the
diameter through a high position, t. e. the 7th sign from the high
position. ST^^;^: The — ^
here, though compounded, is emphatic.
Close proximity with the sun forms the setting ( arffTRT ) of the
planets, and their separation from the sun is their rise. ( 8ee Sanj.)*-
This indicates that the glory of the child to be born would be
ever in the ascendant. ^f^lT ^^- —W^ excellence, exuberance.
One planet in the ascendant at the time of one's birth foretells
happiness, two great achievements, three a king-like position, four
a throne and five a divine position. Baghu was foreshown by five
such planets to be a divine being. Only a divine incarnation is

said to be favoured by five planets. C/. the account of Rdma's
birth:— ;j^?ijr iTf T^ff^ ÛTt %=^r ^%-^î V'.Vl ^ ^^% 5^^^1[^ %^
'if?'*!'^^^ ^^•- li nr^PirTr ^f^: — the

which combines in efficiency
itself the three agencies or q-^î% or the power
powers, riz. (1)
arising from the resources at the command of and the pre-eminent
position of the king; (2) 3rffr5^^TT% or that arising from the king's
personal energy or enthusiasm; and (3) »t^^% or that arising-
from good counsel.
S'l. 14. i^^: &o. —These are the signs that attend the birth of
a great benefactor of the world. Cf. with this Kum. I. 23 quoted
— —
Canto III.] ( 71 )
in the ft.-note; and qt ^mi WW^- ^^f^ ?I^' W^K^^ ^ftl?<TeifT^ f
Vikra.-Ch. II. 86.
S'l. 15. 3n?H"5T^^^— A comp. ^ gtrrj see com.; ^r?t ITH'H^, ^

R5^ff ?5r ff^: (by evil doers) ^fer ^r 3TRS^ ( fro™ U^ I- ^^- ^-
*° ,
hurt, to harm). Mr. S. P. Pandit says that arf^H" is one of those

many words in Sanskrit which bear senses quite opposed to each
other. 3TlT9r originally meant unhurt, safe, certain. And then it
means, in classical Sanskrit, unhappy, unfortunate, dangerous. Cf.

3Tru^near, at a distance-, 5 to join, to disjoin; sr^l^sr a chaste.,
and an unchaste woman. It is quite possible that this should
arise from a generation misunderstanding the language of
later
their ancestors, especially in regard to words which, though once
clear as daylight, have become somehow obscure to them, f^r^^^:
&c. Cf. infra X. 68; and ^ j? H*TrîT*rq7^^c3^^T cfrT^^lt W^T"
^'g'fl'? I Bud.-Oh, I. 35.
S'l. 16. g:5T5Tr —^r 3"TqT3J^r: (of t"ed continence i%^T^5^r:)
IW^ 3T^ ^Rm^^m g:?"I'cT: 1 or ^^: 3T^?t: the border, surrounding

part, ^sif, no objectionable person being allowed to enter it. 3T9?T
&c. —^ fsfipW3R^ ffcT 3Tfrt» fr. ^ + f with ff ( ?T^ Unadi ); 3T^?^
^'^\^^^\ ar^'Tj see note on ^, supra 1. 19.
^r^spf &c. For this was the emblem of universal sovereigatyr

see IV. 17.
S'l. 17. fjTfm &c.—ffi^r RfTTt ^r fmrswrcq-|^f^r% fîer: r
See Sanj. Cf ^^\ qfiqr f^fTcT?«fr &«. Bg. VI. 19. ^^^pf^pj;— Here the
compounded form is better than gfT?^ 3TRR^ as it brings prominent-
mind, the idea of sn^T^ being subordi-
ly the idea of ^ff before the
nate in the compound and consequently makes the joy due to thfr
face being that of his child. In the other case ^F?t would qualify
sTf^R directly, so the joy would be due to the loveliness of the face,
which is not so good as the first. 3TniTf^ JTW^rg" — See Sanj. Cf.
*rflnTmrq"?TT*^rir*T^*r^T %T- 11 S'is'. I. 23; also Kum. VI. 59.
S'l. 18. 5frrR»ji'^ — A ceremony performed at the birth of a

child before the scission of the navel string. It is thus summarized
by 8. P. Pandit from Nar&yanabhatta's Prayogaratna :
" The moment the birth of a son is announced the father shall
see his face, and shall bathe in a river with his face turned towards
( 72 ) [ Canto III.
the east, or if that is not possible, shall bathe at home in oold

water mixed with hot water, brought ( from a river ) daring day-
time, and purified by a bit of gold being thrown in it. Then hav-
ing sipped water, ho shall besmear himself with sandal and wear
garlands of flowers, and before the scission of the navel-stalk, and
before the baby is touched by any one except the midwife, he shall
cause it to be placed on the lap of its mother, with its face turned
to the east, and say ^^]^ ^^m^ »TvrF5qR5TT^cT^-ir?jflÎ>t^^5^^f"
rHlP5"CT5T3rri5^S?r>%'%^|ai5Rr %f(q^qs^?ifl?^«T 5flcT^*T ^R6^. He
then shall perform a S'raddha to the nine ancestors, and shall throw
oblations of clarified butter in the sacred fire, kindled for the pur-
pose, in honour of Agni, Indra, Prajapati, the Viii'vedevas, and
Brahma. He shall then mix a little honey and clarified butter
together,* in unequal proportions, and put up the compound on a
.flat piece of stone, and shall rub a bit of gold on it till some
portion of it shall have been mixed with honey and clarified butter
and with the same bit of gold he shall take the mixed honey and
put it in the baby's mouth, with this Mantra : ^^ "^
T^lfT ^^^l
^^W Mi ^f^^r iTQiH ^^^]^^ l 3TT3«iTF?IFT^^tTJr*T: ^Tcf ^m xi^v î^
3Tfl^r[ I He shall then wash clean the bit of gold and putting it
on the right ear of the baby, he shall bring his own mouth close to
the baby's and shall say ^ f^: ^ffffl Rvrf ^fr ^^?9rffr %^t %
: gj" tfvjf I
arfsgÎ ^^ni'-il^r 5«*l5r^r Putting again the piece of gold on the

l
left ear of the baby he shall repeat the same verse. He shall then
lightly touch with the span of his right hand both the shoulders
of the baby at the same moment, and repeat thus : a^î^F >m ^T^^^
^TI% "^ff r^(% ^^?^ Q>^T?^»T?% I

'Tt^ ^^toiIRRf? cT^^f ?^miJt mW. 51^-
^Kfr '5f[?% vjr 3T?*t fin^lfs^cT 1^ f»Tl'^ Then, to secure well-being II
and long life for the new-born, he shall say: arffl^^r^HVTWf^ f^'^f-
^Pc? ^]n^ 3TI?iTT I !5^^RII« ^ 5i"if ^T^^:
I ^TfT^ And with this he I
shall thrice smell the head of the baby. And having returned to
the sacrifice, he shall complete Then with cold water, he shall

it.
wash the right breast of the mother, and shall make her suckle the
babe with this ^fatra : 38> %^\ ^^W ^t «r^g C'^»TT5: 5T503[% I 3Tf^
^T^n iT35:3TT^r 3TT3f^f ^J^fl ^^'^ He shall then give cows,

I
lands,
tila corn, and gold to Brilhmanas as presents".
'^mft=T if^ ^T 3TI^t: a luine.. ari^^ ^j:?^: 3T?^; in its original or

—
Canto III. ] ( 73 )
uncut state, n ^^ ^^^r^: — (1) With the purificatory ceremonies

performed 5 (2) subjected to grinding or the polishing process. Cf.
infra VI. 32j ^^^RF%I%cfT iTfTiTm: S'ak. Vr. 5.
S'l. 19. ^r^^fTRrrTT^— ^K a multitude, sfTT^^ 'fincT: ff^^F^r^— I
Malli. takes this as a comp. of f^âud g^t^^ and so iias to justify

it by referring it to the g;qT^?;rR class. The comp., however, will be
regular if we analyse it as i\^;fr^T ^"?t H"; Rf » ^m.-, 'it?^: ItT^T*. ^T^P^T^
^ f?^ 'TT: '
ffir f^rÎo^^T^: I Malli. himself seems to take it thus
elsewhere. 47 infra. *Tr*T^nT%: Ihe reference to rrr^T^'f
See s'l. —
is significant; the poet does not say r[V^ 'i.'^:; the king's joy was
all the greater as the son was born of g^r%an' as desired by him;
see I. 65.
S'l. 20. ^ %^^\ &c. — On the custom of liberating prisoners on

the birth of a son and heir to the throne, and other joyous occasions,
cf. Hem. quoted in the -note.
ft. T^^^. —This explains why there
were no prisoners whom he might set free. fq^TTr^ According to —
the Hindu S'asinxs, a man remains indebted to his ancestors as long
as he gets no son. Hence the compulsory character of the marriage
rite among the Hindus. See note to I. 71.
S'l. 21. ^rT^ ^^ fT% ^^-knowledge gained by means of the

ear; hence the various S'Sstras; see V. 2. ;»rfvj" &c. — It will be
seen from the 4th Canto that this expectation of the king was also
aT>t^:—^tTI% ff^ in^fT %V^
fulfilled. TTTF^— i^t? TT &c. are pro- I
nouns when they imply sq^^xfi- i. e., denote mere relation in time,
space or person, and are not class names. See P&n. I. 1. 43.
Thus tr^ properly means *
one who stands in a specified relative
order to another, hence is different from him.' It is through this
meaning of 'different' that the meaning 'enemy or adversary' is
obtained by :s^^K- Gf. Manoramd— ^'g^yp^fPTf B?Tf ?«?Tit<?^^Kf TTT^TT-
?l*?%PT^RT?irf^fTKR "^ ir'TFT: &c. 3T%^^ ^mr &;c. — This der. is of

course poetical. See, however, Sanj.
S'l. 22. ^f]xr^2f|-:_3T^q^ (a) limbs; (6) digits. fJTf'g:—The

sun has seven horses, all of green colour, harnessed to his chariot,
also called by the name fTTr^- flf>?%: The ray referred to here is —
called ^5^3]. It is one
rays of the sun which
of the principal
causes the moon
wax; cf ^jS\t{: ggroTr ??^fqjl#^ ^'^r:
to I
UBtrrq^^JR: ^Ts^qt^ f 5vrm?T: Vishnu-PuraJQa. '^în':— '^'t ^\^ II
^rs^^^r ^\\^ 3^?Tmm ^^j^hi: Una. IV. 228; or ^^'^^Tgi^ ftjflH l%f^-
*fl% ffcT I or cpf^ \^^^ n% f{\\ I
the maker of time; m«^#r ^^^'^^
R. N. 10
( 74 ) [ Canto IIL
TTSTêrrfl": I or ^^^9^\^ r{\: I The pleasant maker of time. The sun

and the moon are both the keepers of time; ef. 'ij "^ ^^ f^^J\'
S'&k. I. I; bat the moon is called the pleasant: time-maker as her-
rays do not hurt the eye. C/. Earn. I. 25 quoted in the ft.-note.
8'1. 23. g-irr —For a poetic acoofnt of the name, ef. 3" %t% jthtt
f^fjm f^fer^r »T«^^r^ gsiCr 3nn»T Kum. I. 26;
cJ^«?t- ^r%^?^ m
Iflff ^r I yr ^ T< »-K? r — Kartikeya, so called because he was born in the
Sara grass and reared there by the six divine Krittikas. See foot-
note and Main, on II. 75.
S'l-
24, ?:qTf ScG.-x^^jt '^^ ^T«T "^PTJ^) TTTW^mr Now see I
8anj, —
HT^T^vrr^ Malli. takes «n? in the sense of ^^t( and he is
supported in this by Bhavabhuti's lines '3T5=cT:^^<JTcTT^?q- ^»q??ft: ^f^-
*rT»j[3nJF=r^T'<T>^r5'7iTl?^fm^ W^-^^ ll' ar^tT-^rir
I is given as one of
the senses of xfj^ in the Vichaspatya where it is derived fr.
'i r'^'?TrÎ^+^^ 3?\i Oh&r. and others understand by nrf, Vail,
%cTIR^K a particular feeling or emotion produced by affection or

love; in this case trj^^TV^T ^^f n^s&n that which strengthens '
or steadies affection;' or which is founded on love. For this

sense of tc^]^ cf. VI. 36; Eum. III. 35. Either of these meanings
would suit the context. TC^rTM^^ which had each of them for its —
3ir«nq" or support. nmpJTFI^tnT-Poets suppose that the very separation
of the Ohakrav&ka birds creates longing in each for the other and
thus it ever increases their love for each other. See \njra VIII. 66.
q^-^'nrrT — Imperf. 3rd pers. sing of the passive of f% 5th conj.
with qf^.
25.
S'l. ;jif: —
See note on arsr^ below s'l. 44. ^^ The —
sing, shows that the king's joy was due to each of his son's actions
separately, and not necessarily to all these taking place simultane-
ously. 3T^ — See VII. 67. This s'l. is cited in the Sih.-Dar. as an
instance of ^^^w^^. See ft.-note.
S'l. 26. ?rfr^r»— mfTf^

('T'T^m>'n) 'fm: ^KTr'7T»R^'Tn55ir^?^%:.
^TTrSrl &0.— 3-qf?«T^?^r
^^{. or ^giTfTf^^STPm &«•; see Sanj.; 'with
eyes closed at the extremities.' This is the sign of extreme pleasure,
a spontaneous action of the body, being the result of a thrill of joy,
rather than a wilful action, as S. P. Pandit's note seems to suggest.
^/. «><^ '^ ^'T^TRtfrra^r^Tf f Jfrtr^fîTfT ^nsir^t^: iKum. III. 36. f^m
&c.-after or for a long time. wrflFcOm ^: ^cT^^r^^ W- 5«TW^T-
??r^?fT?T ^r^^TTf cTI^ I Knew (experienced) after a long time (i. «. a
period of unrealized longing) the delioiousness of the touch of a son;
—
Canto III. ] ( 75 )
knew that he was enjoying the touch of a 3on after a long time, so
benumbed was he with joy; or it may mean 'attained, foralongtime,
to the condition of enjoying fee.'; see ft.-note. Also c/.S'ak. VII. 17.
S'l. 27. rj^j%.^ &c.—cR%r5r«f ^^ ^\^^ and I

as it is the upper
half of any thing that is high up and more important, qn«^
means
'
the best(3?^?). ' See ft.-note, and infra VI. 4. ^q^^^rir— not
the transgressor, {. e. the preserver, of proper conduct ( the social
order This he did by keeping himself within the limits of his
).
own duties and not allowing each individual to violate his. Cf.
supra ^^^flrnt^— applies both to Raghu and Vishnu; see
I. n.
ft.-note. —
jprfô &c. 3Tfl- ^Tî4 5^15 3Ti;4 U^\^'^ ^^ &°-'. ^®®
Sanj. qf^: jTrrnrr^—This is purposely left uncompounded that it
may apply to the king as well.
S'l. 28. f TTf^: —f^T =^<5T ^^ I "^ is the ceremony of cutting

of the hair on the head of a child, leaving only one lock on the
crown of Brdhmana boys and five in the case of Kshatriyas; see
Uttar. V. 2 ( =^^rq5f =g-:i-: &c. ). The i" here is changed to r^ for the
sake of alliteration; for asimilar change cf. IX. 46. See Manu
quoted in the Sanj, For this ceremony see Narayanabhatta's Prayo-
garatna, under that heading. ^RTTÎi".* —^^T^ fff% ^^^^^•
( looking like a crow's wing ), locks of hair left on either side of
the head after tonsure, so called aTTF^^ — ^W\^
STHT '^^^' 1
" means
originally a home, a follower -''. S. P. Pandit.
companion at
g^^f^: ^q-R — ^^T ^tsff ^: ^^\^ becomes ^ when followed by

1
fq-g^; see Pan. VI. 3. 85; lit. one of the same age'; it however
'
means technically 'a friend of the same age'; see the quotation in
Sanj. 3l?Tnr^f^— q?Tr ^TIS-^T^TlmTcT ^'^J^ri\ Here ^ri. has the
sense of as is proper for one '; see Pan. V. I. 117.
'
^n=?f fT"^: —
ffqjff:; the science of words, literature, ^g^— ^g^TTTfct ^RI'^RT
S'l, 29. xl M HI ri H,~ 3^^^^ lit. 'leading near' i e. either to the

Guru for instruction in the Veda, or to the Veda, which is done
after investiture with the sacred thread; hence the thread-ceremony.
f^^f?^: —f^^r means

train to instruct; and is Par. in this
to ,
sense, Cf. II. 8, V.

X. 79; for its A'tm. use cf. IV. 65. TT^fsT^f
10,
may also be taken as a Bah. (see ft.-note)-"to whom his preceptors
were dear" i. e, who loved them, f%^r &g. —an action directed to
or an efEort bestowed upon; here, instruction. For various senses
(76) [ Canto III.
cf. I. 68,76, 10,44; V. 7. 11, 45 &o. For parallel passages see ft.-
note. ^ — may also be taken in the sense of st^vikot, !T#r2,?%^- ^^
the propor material; a fit object.
S'l. 30. f^: 5^: — The following qualities of the intellect are
enumerated in the quoted by Malli. from EÂm. (1) Desire to
s'l.
—
hear, hence earnest desire for knowledge; (2) Attention; (3) Oom
prehension or proper understanding; (4) Retention; (5) Ratiocination
or consideration of the pros and cons; (6) Grasping the correct
sense and (7) Knowledge of truth or correct knowledge. Or :^
(inference) and STcfTf (rejection), may be taken separately. g^K>fr:
3^fÎ excellent, of the first class s(\: ^^^^\ explains how he had all
the qualities of vfr. "^riW- f^'JTr: — see Sanj. and note to I. 23.
^?^T"^tnTHr: —an instance of farTf^^^lff. This indicates the immen-

sity of the four lores. qr?r^rfrT<Tlfrrf*T:— Tf^TTfcTrfÊq q^g ?fra'^<^rfiTm
cT«5rTWr^-'> qualifies ^\(\^^• and goj:. The qualities of Raghu's
with a rapidity
intellect penetrating the various regions of thought,
unknown to the wind, and the horses of the sun journeying through
the sky with an enormous velocity, are fitly compared with each
other. It should also be noted that the sun has seven horses and
the qualities are also seven. The sun's horses bear him through the
four regions of space; and the qualities of Raghu's intellect carried
him through the four lores. The v%,\^ here is this : — As the sun
moves lighting up places whore his rays penetrate, so Raghu by
virtue of his keen intellect threw light on many an obscure passage
in the S'a.stras.
S'l. 31. ^nnft—C/. ^fBt^li^r^î^cTrR =^*I^m 5T5T=^rfcaT: I Manu.

11.41. -^^ — 3T^?f% what is thrown ffrT fr. 3Tfl;^4 P., or a^fr 1 P. to
shine and ^r ( from ^tw which is
^;^ Unadi); a missile, distinguished
taken in the hand ( as a sword ). T^??^ Mantras are the magical
spells which endow the arrows with peculiar virtue; see V. 57.
S'l. 32. ifêRT^:— ?Tg: T<W- Xr^^V- The jtT is added by ' ff^r^T»q-
I
5r^«T«^ cT5?f' P&n. V. 8. 91; lit. a calf in which there is very little
{cI5 ) of ^^rf or the first stage of development, t e. which has just
entered the second stage of development, mjtf^q-f ^^r?^?^ cT5?'f
^fft?jîi:mlff: I &o. Viimana. Here the 3rd stage g-^^TT is left out,
qr^^ &o. — ?frf^^ i*T5r * broken off, obscured ', (». c. left behind) ^t^
( RT^fnH: ) '^\^\ who has just ceased to be a boy and arrived at the
atage of youth. See It.-notes. JlT'=»fr?^*T'ft?r — »TT*»fT^ depth or steadi-
— — — —
Canto III. ] ( 77 )
neas of character;it is defined as vfr^n^^r^f'srr^^F'frv HlfÎTcTT !'
S.-Dar. III. 52 (the being unaffected by fear, grief, anger, joy &c,)
S'l. 33. <n fR r?î r —

^r^H is the ceremony of cutting the hair
performed in the 16th or 18th year, when a youth is shaved for the
first time shortly before marriage. See ft. -note, and N^rdyana-
bhatta's Prayogaratna. Some derive it from ifr having its usual
sense of ' a cow', cows being given to Brahmanas as presents on
such occasions. f^fT??!"^!^ ^^^ vow of marriage, "^^j ia the
assumption of a particular observance or observances during the
performance of a ceremony. A sacrificer is said to take the ??^T^^r
i. «. the vow to observe particular rules of conduct till the end of
the sacrifice. So the young prince taking up the ff^rf^r^r, binds

himself to live in the condition of a married man until he should
enter the Vdnaprasthas'rama". (Pandit's note). rTHT^f ?T*T: 3^RT
dispels ^f% crm52^( fr. 3^+iâ^). f^^[fTr: ^^ is one of the
Prajapatis, and a son of Brahma, being born from his right thumb,
as his wifewas from the left. Daksha had 28 daughters of whom 27
were married to Chandra and the youngest (^^0 toS'iva; see Kum. I.
21. The 27 daughters are the 27 constellations of stars
in the 12 lunar mansions. According to other accounts he had 50,
60, or 44 daughters, out of whom thirteen, or according to some
seventeen, or even eight according to others, became the wives of
Kas'yapa, and became by him the mothers of Gods, demons, men &c.
S'l. 34. 3f^n^5 — having muscular shoulders. The sffix ^ ( 55^)

here denotes strength. It will be more grammatical to expound tho
Oomp. as 3f#r ^pypf^^ RÎt fc^t^??': i According to the Vrittik&ra, 3T^
in its proper sense cannot take Wi 3T^r 3T^ ^'- will be sr^JTfT?.
'*HI<i<4OT: —^ ^TcT f^Î ?r TTT^ffT fHT ^TF?: I ^û^roTÎ the leaf or panel
of a door, or a door; ^^\^ry^^ f^r: T?^ W- ift'T^'* '7Rit:5T ( full- I
developed, well-rounded ) ^^cfrr neck ^^^^\ q? f^TH ^^'71% "^^^ ot I
^ RTTT '^rUM I 'S\% 1 ^-mJ- —

^^^.^^^rl IT^^ excellence, due to
muscular development. Prof. Ray is right in thinking that this
s'loka ought naturally to precede s'l. 33.
S'l. 35. FTyTr ^ri n^ — Heavy because of the responsibilities of

government long sustained (Char. ). ?5eTni'»>!rtTr This he would do —
by delegating to his son some of his regal functions, ât Gf- ^ 66. —
PRfiT &c. —
S. P. Pandit thinks that by a zeugma the word 'y^^^tC
means 'modest' wben taken with Nisarga, and 'disciplined' when
î\.)x Samskara. %f^ — expresses |5 (reason ) here. ^^r^5I«?*Tr3^—
( 78 ) [ Canto III.
nov see com.
It appears to have been an ancient custom in Asiatic raonarchies, for the
heir-apparent to be solemnly recognized aa such in the life-time of hia father

by being formally installed in the regal dignity, and admitted to a share
in the administration. The object of
custom appears to have been three-
this
fold. In the first place, it and prevented any civif

settled the succession,
war between rival claimants for throne, which might arise at the death oE
the sovereign. Secondly, it furnished an aged or infirm ruler with a
youthful coadjutor, who might relieve him of all the more activ«
duties of Government, military as well as civil. Finally, it familiarized the
young Prince with the administration of Justice and other branchc-s of Go-
vernment, and enabled him on the death of tlie father to fulfil with efficiency
all the duties of sovereignty. Under such circumstances an heir-
apparent on attaining his majority would besolemoly installed as liija, and
henceforth he would receive the title of yuvarflja, or 'Young Raja', and
would be presumed to act in subordination to his father, who would still
of Mahirija, or Great Rlj4. The installation of a Yuvaraja
retftin the title
would naturally be regarded throughout the Raj as an important political

event, Since the accession of a young and promising Prince would be
expected to result in such an infusion of new blood into the administration
as would materially affect the interests of both chieftains and the people.
The eldest son, properly educated, naturally
occupied the position of
a Yuvar&ja. ( See Wheeler's History of India, Vol. II. Chap. VI.').
S'l. 36. MH«^<H,— srf^^T'n^T^cTf 5Tm ^^ m. > ^wfftT^ ; for this

ense ef. VII. 21. ar^^cR'JC. ^^7 al"o be taken as an adv. Rag. ( after
was installed as 3?nW ). 3Tr?«T^— stTcit^T: T? given by Malli. is
the meaning and not the Ffiff ^R?i of arr^cr^^ ; ariT^fr 3TRRr5r?^r€^?^
*3TT^ JTmSFTinrm ^g: ' l P*?. VI. l. 146. ^f^—may
also be taken
as not compounded. ijTrPTWrf^'Tr —Malli. seems to add here fb]^
in the sense of the agent (^FafO by the rule 'JTP^r5^q^rf^>-^r c^fopiT^:'
Pin. III. 1. 134. But the root fJîs not to be fonnd among the
roots of the !T$irf^ class. It may be derived as JiaTr5Tr^r5"f«r3 ?frcTiT?«li: I
by the general rule ' gca^r^ faif^[xff|Fq^/ Pdn. III. 2. 78. But
according to some the root ^\ ought to take ^^ ( g^?5T ) in this
sense by Pan. III. 2. 154. The best way to avoid all difficulties of
grammar will be to derive it as gSrg; arfV^nrrs^qr ST^lfff SoirfMcCT-
NoTr sT^^n:^— 3TfcT?:fcl 3Trf^4^?^'i^?^WcTrT: an inoamation. The
I
poet here supposes the old lotus to reappear in the shape of the bud.
This also applies to Baghu; for according to the Hinda notion, ths
father takes a new birth in the form of his son.
— — 3
€anto III. ] ( 79 )
S'l. 37. ra>TT^— f^ ^5 ^^ ^^

whose wealth is light; refers
to the BUD and fire, here, the latter. Bometimes means 'the moon»
It
also. wrf'TTr — liere WIK]^ ^^^ the secondary meaning of ' a helper.'
q^T sq qr ^^ — ÊRT^t ^^\^ ( the passing away or disappearance of )
the autumnal season-, %q- ?T>TftrT»Tn3[ ^' fTTf J^: ( knowable
^f^*J^ 'ff : i
things ) ^ ^>Tf^ cfPT^m ?fcT lUlf^: a ray fr. w 3. Par.; j^^^: 3T??t
S'l. 38. fr*TH5C^:— frtiT f^T'^T T^^JTrTif^ gf»T: or ^r^: or ^Tf*T: I
fT«TW 3TW' I fTR«"^ '^^fîrre': I

There is a reference here to the 3Ts^^'4;
for which see note on VI. 61. ^ld*"riqjT:--<Ic^ ^?T^r ^^m 3T?^F ^T?r^: I
Strictly speaking the comp. gcT^g: should not be expounded, as it is

a ^î. According to western scholars =^: in the Rigveda invariably
means power, either mental or physical, i. e. wisdom or strength;
and Indra is the god of hundred wisdoms or powers, t. e. whose
wisdom and power are infinite. It has never in the Veda the sense
of 'a sacrifice' which was attributed to it in post-Vedic times. 'It
is quite possible' remarks S. P. Pandit, 'that the Vedic epithet
^cT^ niay liave been misunderstood by the prosaic minds of the

post-Vedic ages, and may have given rise to the current myth of
Indra having performed one hundred sacrifices before he became the
leader of the gods.' See note to the next s'l. s^HHr^ ^1% f^sT^ ^ —
ff% ^M^r- ^ + 3Tg (*g Unadi 1. 77). Cf. Greek Krates; JZeod Khratu.
S'l. 39. ^j^^r^—See I. 74. 3T^jf?7?^— STTf^RRiTW "^m 3?^% or I
3T*f5yi properly the bar or wooden bolt thrown across a door when
closed; hence restraint, obstruction. The custom was to allow the*
sacrificial horse to go unchecked wherever it liked. The duty of
the guards was simply to see that was not captured by any one. it
iT ^ r ^!
—
According to the Pauranic accounts Indra is always alarmed
whenever any mortal performs unusual religious austerities or trie
to complete a hundred sacrifices, fearing lest he should lose his owu
position being superseded by his mortal rival; and his jealousy being
excited interposes various obstacles in the way of his supposed
rival in order to thwart his object, ^j^: — ^Îtfifct lit. the powerful
one. flfit^ —as the story goes, as we hear. Cf. I. 27; II. 27; IV. 5 &c,
S'l. 40. ff^rrf** nr^l? dejection or disappointment; q"i%qT% the

adoption of proper measures, course of action-, for a different sense
flee VIII. 65, ^— =^. The repetition of ^ indicates that the two
actions, — the guards remaining paralysed with wonder, and
" Canto III.
( 80 )
Nandini's appearance— were simultaneous. ^^^m^ — whose

( superhuman ) power was well known.
S'l 41. f'T^^f — Chdr., followed by Vail, and Din., understands

JTÎTW: ^r?ir^— I' ST^^T means ^j^TrT,
as Malli. takes
by WW'^, ^>3[.
it then ^cTt is subjective Gen. by '^^^ ^^^l^' Pan. ^

11. 3. 67, but
if it means stitcT: ^cT: »• «• 'chief of, foremost among,' then the Gen,
is specific, by the rule <â«r RvftT'nJ^ l'
The latter meaning seems
preferable. BT€rFer'T-P»''*<i» Oomp.; see Sanj. arnr^— things, objects
of perception. Ohar. translates >nf by ^^rJ and Vail, by TfT'^,

which means the same as ^?g. For other meanings ef. infra V. 64,
VI VIII. 52 &c. ;gmM-p(

36, come to have, produced. See«> —
notes on II. 16. This conferring on Raghu of the power of percep-
tion of the imperceptible is an exhibition of Nandinl's divine power
( ir«»T5 ).
S'l. 42. T#?f: — Here cfff has the sense of the Loc. qr#?rw-
WrT^T^— ^TFcT'TIfT 5m V\^^'-, Ô'' see Sanj.; or q^T?<inJit 'TWr?! \ vm^
The mountains had wings in ancient times, with which they flew
about and grew very troublesome and refractory. On seeing this
Indra cut off their wings with his thunderbolt, when hundreds of
them flew to the sea for shelter; see XIII. 7. Only Mainaka is said
to have ea^ped the fate which overtook others. See Kum. I. 20.
It istemSmR^ the demon Hirany4ksha, by virtue of his magical
power, endowed the mountains with wings. See Harivains'a quoted
in the ft. -note. For the real nature of these mountains with wings,
see note on ^Jf'Îc^t^ I- 68. f^^ ^^^— On this Prof. Ray thus
remarks:
'* This sudden introduction of NandiDt may appear at first sight rather
childisli on the part of the poet. But it should be remembered that Indra
was here trying his bent to remain concealed, and it would not have been
well for the prestige of the Lord of Gods if a mortal could discover him by
mortal means So the intervention of supernatural agency was
alone.
necessary. was better that help should come from one whose gift
If so, it
Haghu was, and who was in a manner already interested in the cause of
Baghu. "
SI. 43. 5T^«^f 5T^: —»«. ten; hence. Indra is called ^5?;fT^-
The reference here is to Irdra's amoiirswith Ahalyu, the wifeof thesage
Gautama. On one occasion Indra, enamoured of her beauty, assumed the
form of her husband ond raviehed her in his absence. According to one
account A halyi b new the god in disguise, but in the wantonness of bet
Canto III. ] ( 81 )
heart yielded to hia desire. Gautama returning from ablution saw the god-
running away in disguise, once what had happened,
and understanding at
cursed him to be covered with a thousand sores which he afterwards
changed into eyes; and also cursed his spouse to be petrified.
a^H^q- &c.— Hflî^crTfTTr: f^"^'sifT%: i 3Tiq?TRRI frrfTTf fw^cff %; | It ia

a characteristic of gods that they do not wink. ffrr*f: See Saitj. —
Bat according to the S4lihotra, this word has a technical meaning:
qr;n^ — To justify the use of the form here, we must have 3T?f7>^]^
which it is difficult to get here. Probably 'qfâ;' is the poet's reading,
>fR'T — ^R as applied to voice means *deep and powerful', stentorian;

cf.^^^]^\x^J:^JX^]l^r[ Uttar. VI. 17. This shows that Raghu
was not at all daunted, but addressed Indrain a steady voice actually
stopping him.
S'l. 44. JT^rr^:—See note on ^û^^ I. 11. 3T5T5f &c.— ^ q?^rrq-

5f??7ffr (allows no break) ff^ 3T^# ^'cTcTi^; By ^fp[=pr*'7 &«. Pdn. III. I
2.167, 7 is added to the roots q^, cp?:^ &c., to indicate habit,
( êrTt cTTWt^^ ) 3TT%^5=/^: i%^Tmclc^ ^r(^, Sid. Kau.; so

we have ^w
^nr, ^, 3TîT^7 and %tj. st^jT^ ?r^T ar^^frajr; now see
^5", I'i'^
Sanj. r5F^rT^qTrTT^-l%'Tr here means the sacrifices and other

ceremonies connected therewith.
S'l. 45. nr^r^q-i$T^~Malli. expounds this as a i%tT^cTr5^<T which

is objectionable according to P6n. The Manorama has this observa-
tion on this-''^?t ''rfff ra"c?T^F?TT^?T ^fTF T^l^lf'T:" ff^ ^ffe^r^: if^s'r^-
^s^^^r^^fÎri; I ^ =^ ^»TTfT? its: I l1'TIT?T% ^fcg^f Hi; I ^ ^ ^m]^^
cp^tzfj]^ ( It should not be considered as one of the qr^rf^ class ) '^jp-
^\^^^^ Cf. T%cf[^^5!fr mt^T I? ^\^W' Vik. 1. 5. j>?ix2ir:— On this

I I
Din. has the following discussioni-Though by the general rule

''TfTfTÎrl^' a root ending in a letter of the labial class and having 3^-
for its penultimate can take ij^, yet by the exception '^ffT^^^q'iT^^R;-
rr^nt' the root qij; cannot take it when preceded by an grj^. How
do you defend the form then ? We reply-We first add the affix and
then prefix the gxfo. Or we defend it by ^TT^q"JTT<n; for Kdtyayana
saya '[ ^^ Tf =ifr f^'^^- ^R^cT^^T ] ^ ^ WfFrT»?rq;' 1 and he cannot
use a wrong form. Or we may explain as f?r^H ^TWft RT^^ti: by Pan
IV. 4. 98. Or HTiT^frtmi^ ^rl I v^H'^FR'^r^— ^^ ^f^^ Ki\^ ^'^t h^]\ \
R. N, 11
(82) [Canto 111.
S'l. —
9^ a requisite or implement of. t^^TW^: A horse-
46. —
saorificewhich could be performed onlj by a universal sovereign;
alio called ^grr?. See VI. 61. xj^: is Aoo. pi. f5rf^?TR: — ^:
those whose duty it is to point out the ways of, t. e. the rites and
ceremonies enjoined by, the Vedas. This is said in conformity with

the belief that the Vedas are eternal and therefore older than Indra.
Some read y%: for v^: ^^^r Malli. means by iTfPcT: 'mighty/
\ —
•powerful ( cf. ^S\'^î^^ ^fuT^ \^^^ ) as it makes the remark more
'
sarcastic. TglrnC— TTTT*^ &^^ f^ 'T^%: I

^''- 'TTT + ^^+% ( ffT )
what is trodden over; hence a foot-path; a course of behaviour, qr^

becomes q^ when followed by f^q-, tû^^ and ff^ by the rule f^-
iFTN^r^S ^ P&n- VI. 3. 54.I
S'l. 47. q ^FH^ — bold and intelligent. It is generally applied to
a speech addressed to a person superior in rank by one inferior

to him when it is uttered with confidence and without any feeling
of nervousness, which he not expected to do.
Cf. II. 41; VI. 20.
is
—
3ti<H ^Tfr'q^WJT That by which one gets over. When one urges
I
forward an argument it is a sort of barrier to his adversary and

since the reply he makes in order to refute the argument takes him,
as it were, over this barrier, it is termed as g'rlT*
S'l. 48. THI??!— n^"r 3T^4 ^rsp^: ^m?j:. ^»m"— By thus —

addressing the prince Indra shows that he treats him like an ordinary
Kshatriya. ffin" — just so, true, j — But, on the other hand (q^T^).
^^.jj— See II. 40. *14|rychl?r^— ^fiR^ JT«FT^ I
S'l. 49. ^^^trTff: — Mallinatha's expoundinng of this seems to

be objectionable. '
Îf qJT ^^H?»T»nrfff^€TT^ft'ni[ STff Tf 5?^5 31T»T
I
ffa ?f q^ff 551^^^ ^J^^f'^Tir' I Tb. Better to expound as ^^r 3TT?m^: I
3Tim^F?*l^^"^r Î ^^T ?f^^ ^JTT^: ( 3T?fT^f^lTf : ) f%fni»n^: I As Indra

wishes here to emphasize the ^"^r?^ of the three words j^FtTit, »T%>^f
and ^Tfl^g we must take them ai Nitya Compounds having no
^^q^l%Uf; so R^'îT :— N^: ?ÎRiriT«j5WT?f?w1 Hc^^Wm:; also ^wî
]^<I^ niRI rScfi'TTml See Sanj.; or ffîj ipg ^c3-*Tf?r

I I '»»TT»fr ^-'will
not refer to or indicate'.
Here the ridiculoasneas of Indra'd argument is quite clear lie put* .
forth this argument as be has no better defence to give. For if ia a. ^^^

^^r it could have denoted him in spite of Dilipa's performing a hundred
eacritices, as the term f^qrr7Q Btill denotc>fl the mount Himalaya though there
are other mountains which are the abodes of snow. If it be admitted for
—
•'Ganto III. ] ( 83 )
argument that ^Tri^fi is not a ^ftr, then the best course for Indra to adopt,
fn order to defeat Dilipa's object, would have been to perform two hundred
sacrifices, or more if necessary, a thing quite within the competence of
the Lord of gods.
S'l. 50. 3Trr: —

t.e. in order to prevent another man from becoming
S'atakratu. ^rrwr^^frrr— ^r'T^?'TT3^T?r^[?cfiT% ^PTpyi^^r %jt i
Kapila is an ancient sage, of whom mention is made in the 8'rutis, and

who is often spoken of as an incarnation of Vishnu. According to the
Sdrirakabhashya, the Vaidic sage Kapila ought not to be confounded
with Kapila the author of the Samkhya Sutras. Here it should be
remembered that it was Indra himself who had stolen the horse of
îr^ and left it by the side of Kapila. But Indra purposely coneeals
the fact and makes mention of Kapila in order to strike terror into
Raghu's heart by implying that he will destroy him as Kapila had
done the sons of Sagara. îT?:^ ^'^W: Sagara a king of the solar — —
race, son of Bahu, who was driven out of his kingdom by the Haiha-
yas. Poison was given to his mother by a rival wife of his father
by virtue of which the foetus remained in the womb for seven years.
After this Bahu died; and his wife was delivered of a prince who was
named Sagara ( born with poison-ifôr î|rcT: ) by the sage afr^. He
vanquished the Yavanas and made them shave their heads entirely.
See Vayu P. Vol. II. Chap. 26. For an account of Kapila's
taking away the sacrificial horse of Sagara and reducing to ashes
his sixty thousand sons^ see ft. -note and note on vrifR^T IV. 32.
See also Vish.-Purdna Vol. II. XXVI. 146-147.
S'l. 51. g^^^^—see supra note on 5{?^^sff: II. 74. îf:— means
iere 'determination.' â^— the mention of the name indicates
Raghu's self-confidence and chivalrous spirit. frfrl^ — may also be
derived as firiPT^^fTcfrm I 'TTÎ^cCfT'T f^ I
S'l. 52. ^^5(^: — Raghu stood with his face turned up in order
to observe the movements adversary.
of his în^PT^ ^^f 3?^^?=^ —
ar^R- I arrcfrs" &o- f^Xi^^ m'i^t Î'îTR^m mi«f^Trm now see Sanj. l
3Tr<^ —
see ft.-note and comp. Kum. III. 70, quoted therein.
According to the lexicon quoted by Malli., there are five postures
which archers assume when fighting. They are; (1) ^gyg in —
which the feet are separated sideways by three Vitastis ( about
24 inches ); (2) tt'='S^ when the feet are so stretched that the part
of the body from the waist appears
like a gateway; (3) ^f^^^ when
both the feet are placed evenly; (4) 3TI^'"i3' ia which the right foot
( 84 ) [ Canto 111.
i3 advanced and the left bent back; and (5) iTrqicfi? which is the
reverse of arfpjl?. Vallabha mentions eight postures, substituting
^^ for wj^^ and adding q^rTH^T, f^J^ri and n^T^^T. ^:s?^^'^
see 34, supra. f^Tf*?^'^'- —
t^ê root f^^^\ is used when the imitation
is not exact, though much like the original. Cf. IV. 17. The
allusion here is to the destruction of Tripura ( the three cities of
gold, copper and iron, each built by Maya for the asuraa in the sky^
in mid-space, and on earth ) by S'iva, who had to wait for thousand
years in the a^jS'fj posture with his face upturned to watch
for the moment when the three cities woald meet, which was the
right time for shooting the arrow, the cities being at other times
invulnerable. See ft. -note.
S'l. 53. 5Tf'2'**T*T«IT — S. P. Pandit translates this by 'with an

arrow consisting of a post' t. e. 'as big as a post'; but this does not
seom to be the meaning here. Not because there is anything impos-
sible about it; for the Mah.-Bh4r. tells us that Bhishma's bow was
a? long as a t&la tree ( cnS"?^^ ^=1^33'^^ X wîl® t^® arrows discharged
by many of the warriors of those times were as big as a yoke or a
pole; see Bh. P. 4',', 35; but because the context does not justify it.
It is decidedly better, as remarked by the late Prof. Apte in his
Die, to translate with an arrow consisting of his defiance'
this by '
1. e. thrown out, and the bold front presented, by him

the challenge
to Indra. Char, and Vail, give this sense of the word, and
Mallinatha's rendering '^fcT'^vf^^tpiT' though somewhat ambiguous,
seems to favour this meaning. It certainly brings out more forcibly
the heroic conduct of Raghu if we suppose that he contented himself
with a mere challenge and waited for his enemy to commence
fighting, ^f^ — JT^foT struck at his heart. This clearly shows that
37??^^ mtans defiance '.
' Raghu's defiance wounded Indra's pride.
A real arrow would have struck him on the chest (^?<tr%and not frlf).
'rmfH^— *Tt ^f^^^l" ^f^'tT ?lll itr^lf?rr^ firJTTfrrlT l Indra so called on
account of his having lopped off the wings of mountains, ^^^jr^rf^j^
—
&c. The standard of new clouds i. e. the rainbow ( f'^vjg: ).
—
^^|-^ properly an army; hence a multitude of. ^hvJtT ^tt^— This
shows that Indra did not wait to be struck first, but fitted au arrow
and even discharged it. The reason for this overhastiness is
supplied by the epithet 'arqqor:'.
S'l. 51. îfr,-?li:— the chest; cf.^f i-cT-^ L -'"', »"pra. >#Jn"5?:o-
i
Jor 3T5T »c« note on argn^: H. 37; ifturenorf xh\^.^ 3-f^:

—
Canto III. ] ( 85 )
( accustomed to drink ). STîr^^TRrTo —^ 3TT^^Tf^fIiRr^T^fr'3[ ^
PWÎ?fTr??t^RT^T%Ti;f^ a comp. ^^ gcfT- takes q^^qTcT ( come3

; ^
latter in the comp. ) as suggested by Pdn.'s Sutra ^^ ^^
STrgpr: —
3TT3J <l'îckly ir^^ji^ fffTj an arrow. It also means 'the wind 5'
S'l. 55. ^HK '^sla H :—f%^PT ^sT^'T^^m ff^mSffl^TnFrTT excessive

l
-
prowess; ^q^TT^^ f^*Tt '^^ See, however, note on^gRfrfRT^' I- §•I
^]%rT: ittT: ^^. 3T?^; or .^ on earth tTK^Tm f^H; ( ff- ^ + 1" °^^ )
T^ruir^l ffh îtr:. According to Svimi he is so called because of his
perpetual celibacy. The V4ya P., however refers to ^^^?rT as the
wife of Kartikeya, grffTT t^'T &c. Cf. ^ I
Kam. III. 22, This
^hows that Indra was no carpet warrior with whom Raghu had to
deal. Cf. Din. i5Tfi[>?'Tn?f%^T^0T?^^^T^T fv(^ IW^r^rt 'Cl^??^ I
5% — t. e. the left arm, which served Sachi as her pillow. Cf.

TTJT^rf ^T^fFTfT^ ^ I
Uttar. 1.37. ^=sfrT5r &c.— q^r^Tt ff^T^^ T^rf^liq^ a
Karm. of the ^TT^qrf^fTf^ class; ^T'^^r: qsTfaRPT^ ^T=^'rq^f^^Tq^'3[ '
oq%^f^^, which was marked with a print of the ornamental leaffike

figures traced by Sachi on her forehead, or cheeks. Raghu planted
his arrow exactly in the place where Sachi much liked to rest her
forehead. This gives the reason why the insult was unbearable to
Indra. ^THTf^^J'j;—
was customary with ancient warriors to
It
-engrave their names on their arrows. Cf, VII. 38^ Vik. V. 7.
S'l. 56. ;t^;c— ;rq% q^mcT^T^ rtcfrfcr ^r w^: 1 i^f it &o.—This
was the greatest ofience that Baghn could have given to Indra.
Even to this day the loss of the standard is considered the greatest
disgrace that an enemy can inflict upon the other. See Sanj.
S'l. 57. g-qr^rrfpm &c.— 3T-cT^ 'ff'TTTSÎ^^ Avy. Oomp I ; giTF^
RTfTT 3'qT^?TT?'T«n: I Now see Sanj. fg-cg": —TheSiddhas are semi-divine
beings characterized by superhuman powers called Siddhis:
eight
(^s^V^^•[\^'^:^y. Malli. on Kum.
5 ). They are eighty eight thousand I.
in number, of subdued passions, continent and pure, not subjecu

to death, and free from all worldly desires. See Wilson's Vish.
P. p. 227. ^^^fr^frm" &c.— iT^: q^T f%?FcT ^^TTmîTîT-cT: winged:
the addition of this is necessary to make the serpents resemble
the feathered arrows. 3Trr%fq m^qiffTc^RTTf^qr: fqi^^Tf^^rêT^: So I l
the commentators on Amar. According to some it is a regular form :
aTT^TT ffq qq"t ^ 1 arrgr being a word by itself, ^g^jy See note on ^gcT —
infra IV. 62; or rTT'^TRT 3T^; ?^qi5[UI^: wherein the warriors shout
vehemently.
( 86 ) [ Canto III^
SI. 58. ^p<m,\j^ &c.— 3Tf?r^RfT: ^^'tJrfrTir^'^T: I

Uninterrupted
succesaion, close continuity. ^ra"(T:-The commentators on Amara. de-
rive this word in three ways: (]) ^^fr ^fF ^^J^ vrp^W fT ^Prftl^} (2)
ÎTTT'ri'iTl^ ^r: (•^) TI^^T'n^f ^rffin W( 0' these the second is not
i
supported by the Pur&pas. Indra is the son of ^^^TT ^ô ia not a

Vaiu. Of the other two, the third seems better, being in accordance
with Indra's character. ^ ^ti^-ft^fi S. This applies to Raghn also. —
Raghu who was formed out of the energies of the Lohapalat of'
whom Indra was the greatest, may be said to have sprung from
Indra. See II. 75; III. 11.
SI. 59. n-i^ ^ — n4p H i is the part between the elbow and tlie
wrist. fff^Tf^ — îr^PT "^y^JT^ I

The celestial sandal tree; it is
one of the five trees of heaven— tr=l^ %^?T^?r JT^^TT' TIK^r?r^: I ^nrTPT:
V?Tfe3«^ 5r%^r ^k^^^JT^ i Ak.; here its paste, ^r^xjn &c.— vfrf ^f^.
TfifcTt?f^r ^^tr^TTRsfr i inre'iJTRro^^ f^ vfRRTf^^fi m^ i
or ina^HHiaiffj^
^^JTr^: q-qsL-^nriRpJiV-fr^^rsf: ffr^^prr ?m ^\^, • The story of the
(hnrning of the milky ocean for Jmrita by the gods and th©
demons under the guidance of Vishnu is well known; see B. P-
VIII. 7, 8. ^rW|Fro —
^^r|^ st^t: » pa't ^Tîf i^q-:; here artj does-
not mean 'a half; for in that case ar^ is neu. and the comp. will
be 3Tv^^5rT^ by the rule 3t5 ^TgW^ i^f^ S^*!?^. ^rT^WH:— Accord-
ing to Bhanuji Dikshit T?<ri% fvr^TfrfcT ff¥ ^?^»^ l fÎfl'l^T 'I^ I Thi»
leaves no irregularity in the Comp. ChlLr. also derives it thus.
S'l. 60. f%f^5H?Hr:— *T?^T vehement anger; it was increased be-

cause Raghu a mortal kept him at bay. PTll!^: ^ll^ ?% fT% —
ff%? cTF?. JT^fVT &c.— »Tf[ tii^îm îmv• Malli; has >TTTÎ5=?r which, l
is probably a slip. The allusion hag been already explained. See Ram.
Sun. K&nda. I. 115.-119. fJT^JPTT"— ^^Tl'^^ ^^^^^^:^\^ ^^^ (Tf^-

Sf^nC —This is the thunderbolt, the peculiar weapon of Indra. It
is said to have been fashioned out of the bones of the sage f tff'^ ( o'
•f%) by Vis'vakarman, for the destruction of Vyitra. It is sometimea

described as circular, like Vishnu's chaf:ra^ or shaped like a quoit, but
with a broader circumference and a smaller central hole, and when
hurled against an enemy, the fire of lightning is said to issue forth.
in destructive flames from its perifery.
S'l. 61. ^R^—%^JTf fmêrr: %R^:

so
i ^ &c.— Raghu'sBut fall
was the cause; the tears shed by his soldiers the effect.
imperceptible was the interval between the two that they might be
said to have taken place simultaneouslv. f^'St^JTHIT'T— f^T^'t f^T^

—
Canto 111.] ( 87 )
the act of winking once; ]^^^ r^ \^^^^\^\ By the rule '^^^\^S- I
t^ ^JX^^^' the AM. or the Loc. may be used to express the time or
•pace between two actions. Hence, H^^TT^Tr^ > or 'TT^ ^^^^ ^^-^v.
^^ô -^tt^T m^\ ^H^^^lh a comp. of the :{TT^TTl%fTr? da^s. :<C^Ni±i
S'l. ^^52Tf9R: &c.— oq ^fT^:—T> ^TT^n^^f ^^f f

62. fTT 3=5^^ » ^
So primarily
JTF iTC^fit^TTTfw^ V^ ^^' " ^^ ^?^T»?^- sq^flT I
means <what removes all doubts'; and since all doubts are not remove'^
unless we put into practice or use the knowledge we aquire,
it
•econdarily means 'use\ This is the meaning here, f^q^^: f^^^

^- —
^\^mm^- f=^r— The killer of Vritra; Indra. Vritra was the
I
chief of certain tribes of the demons known as the K^lakeyas.
Endowed with prowess he discomfited the gods with ludra

terrible
and drove them out of heaven. Whereupon the gods applied to
Brahma for redress. The deity said— "Ye gods, go to sage Dadhicha
and solicitfrom him his bones. With them prepare a mighty weapon
called Fajra endowed with six sides and of terrible roar. With that
weapon Indra would be able to kill Vritra." See above, note on, arw
s'l. 60." The gods accordingly repaired to the sage who, for the good
of the three worlds, renounced his body. Vis'vakarm^ fabricated the

thunderbolt and with it Indra killed Vritra and routed the Asuras.
In the Veda, Vritra is thepersonificationof an imaginary malignant

influence, the demon of darkness and drought, supposed to take pos- ^
session of the clouds, making them obscure the sky and keep back the
waters. He is variously designated as Vritra, Ahi, Sâmbara,
Namuchi, Bala &c. Indra is represented as battling successfully with
this influence and letting loose the pent-up waters to the delight of
the world. The clouds are also poetically pictured as the castles or
towns of the demons which he shatters with his thunderbolt.
q-f ff &c. —See ft.-note. Virtues set foot-step in, ». e. prevail,,
everywhere; or virtues make impression (q^) everywhere.
S'l. 63. —
aT^nP^ li^*- *ôt sticking' i. e, cutting through hence ;
unimpeded. Din. reads 3T«T^J3;*not repulsed', which is certainly the

best reading, being the easiest; see note on ' cTc55»rw supra II. 42. '
^5-^ 'distinctly.' 'For at first he felt only pleased secretly (gÎ^) at

the manifestation of valour by the prince, but had not given expres-
sion to his feeling', S. P. Pandit- stT? —
is here used in the sense of
^^r'^. Strictly speaking this use of ungrammatical, since accord-

it is
ing to the best authorities it has never the sense of the past tense. In
(88) [Canto III.
this respect the reading 'f^TR^fJ^rfcT FR" cTRff fT^f :' ia better, as it
removes the difficulty of grammar.
A rrows of a superior class are described as having gold hafts. It is not

easy to see why gold was needed. It was probably used for the sake
of beauty; perhaps it added to the efficacy of some kind of charm?
{Mantras) with which arrows were charmed. Ordinary arrows were
probably made of hard wood or steel. Or gôf may mean of golden,
beautiful yellow colour, —
f^^^: some (including S. P. Pandit a-id
Mr. Nandargikar ) road 'f^nt^^^' But the reading 'ftrq^^:' qualifying
i
Raghu, is certainly preferable. We know that Raghu said what wa^

desired by ludra* ». e. he was ftpt?^ to Indra. But what Indra said
(^^ 3f ^*TIf1^ &o.) to Raghu was not pleasing to him. We shall sea
further on Raghu returning home not much pleased (^q?^ ^TTfTiT^TTT:
&0. 67 ); so Indra cannot be said to have been fu"4^? to Righu.
S'l. 65. xj«fj — This ia to imply that Indra has the power to grant
his request, ff^: &c. —This may also be construed as ^^: arfffvr^r
S^^T?f»^T>^???T>TI^rr^ ^^1% ^mff m'^ &c- ^TSTO &o.— This shows

) ^.^
that Dillpa liad taken a vow to be engaged in sacrifices without cesga-

tion for a certain period of time.
S'l. 66. nr?ff'gr ^t^ U ft<^r — Because
l
S'iva is said to enter the
body of a sacrificer during the time he is under the sacrificial vow;
he is considered as a form of SUva. 8ee and ft. -notes, cf. S'ak. I. 1
S'iva is then called jjf. Vallabha, commenting on ^fT'^P'S^TTfy^
?[Ti%"rTT V. I. V. 4. quotes— >;^r 3T^ f^K'r îfi ^?T*s^r qgi: Tf^: 1
|?^?T ^?^l»Tir^ ê'l^S"^ fSJ^ fcm^:— See VIII. 4. ^rfPTfT:

II
—
Seated in the assembly of sacrificial priests. The sacrificer or ?73T»TR
when duly initiated for the performance of the sacrifice is., on no
account, to leave the sacrificial hall, or to attend to any other business
than that connected with the sacrifice. So Dillpa was surrounded by
learned Brahmanas; and probably the prince, out of modesty, did
not like to announce personally his own success to the king, in their
presence. i^p^ffrT — is bere equivalent to ^rS^r^ i
S'l. 67.
^^rrTrf^— aTTTcT^ 'ÎT^ TÎTrT^ Just as ho had come I
i. e. vanished from the sight of Raghu's men as suddenly as he

had come, when the sacrificial horse was stolen. On this Oh&r^
—
remarks Indra went back as he had come ». e. without conquering
Raghu. Hrf%IT*RT:— 51f^ T^R^f^ ITTÎT: I 3T?^^ ^''Tî: 3Tl?rq"lT?ri: I H
— — — —
Cauto lY. ] ( 89 )
3^ffT5IJT^T- îfrTiTRJTT: 1 The Oomp. here is not with ?r5T, in which case i
would have been '3î]fc\^^^^^' but with the word ^ which is different
from ;t5T, bat has the same meaning; cf. ^^R-qr &c. ;5fffir^j|[-The house
where sacrificial priests sit, hence, the sacrificial house. Cf. 3TT??T*nT
V. 25; and the word ^^^?t. ^^T^rT Here Malli. supplies ^f^. Kali, —
seems to use the root fj^^ with fir as a transitive verb. Cf. IX. 14.
S'l. 68. ar^'TJr^f ^^Congratulated, hailed with marks of affection.
—
See ft.-note. ^g-^ro ^TI^R^ ( order, message ) ^^ ^JJ^W^^ fT% oflff a
—
messenger ^^. f^TTf'^ Moving slowly on account of joy. Malli.
translates sn" by %f^T7, meaning thereby that the hand was benumb-
ed, as it were, with joy. a^py^ &c.-^%^TTffifBj^T=T ^ ^m' Î%?r^T:
rT^ff^l^l See ft.-note.
S'l. 69, ;^^T^^^_t. e. the As'avmedha sacrifices. ^"rcfRRt m-
^n ^fTRTT^T^r cTI'^ I
The word 'TT*'^TT ^^^ ^<> derivation.
See note
on the word; II. 50. This is probably suggested by stt^?^: cTcTR I
'stretched out, constructed'; cT^ to stretch, to spread successively;

hence to perform ( as a sacrifice ).
S'l. 70. ft^rirnn'o— ifRa5[ficT5^'^ff^^^f&T fl^s^pcT ?mR^'TT:"^>-'T:
^^TfTf 3?Tc»Tr ( mind ^^. The reason )

is supplied by JTfsrrT^=!T^ f « f W-
^r{^- 5jq"f?r^75|^^— Ace. case in apposition with f^FrrcTT^Rin^ 1
f7%:
^Wt fTI^^^^j tê emblem or insignia of royalty, m?^^ ia properly
the hump which distinguishes the full-grown Indian bull. Hence any
distinguishing mark. According to Amara and Medini, the word is
mas. and new.; our poet, however, seems always to prefer the neu. gen-
der. Cf. VI. 71. 5RqR- &c. —gi%^fT^^3iq-T and not f{W\TfitheFirst I
because if we take the plu. the Comp. will be 'a^^tJTT^' by

rule
Ûl'^J ^f ?^' Pan. II. 4. 22; secondly because anchorites have their
habitation fixed under the shade ofsome one tree. %o?fr rfTF with his —
renowned or famous queen. See ft. -notes. lyf^ô f>W5rrl^ cf supra
I. 8 (^'\^^ f^«i*ri'ÔTt) and infra VIII, 10, 11.
CANTO IV.
S'l. 1. f t ^jj — The kingdom with the full responsibility of gove-
rnment, sovereignty. ff?rp^ ^^ tbe case of Raghu means ' at the
close of Dilipa's days of sovereignty'. ^n%^ ^V^ ^X^f^ qiTOTJ^r
V^^^S flcT ^\^riJ It may also be derived from g^ 'to give birth to',
I
though not so preferably. In the Rigv. the sun (^f^^) is very often
spoken of either as 'the impeller'^ he who impels men to active work}
R. N. 12
( 00 ) [ Canto IV»
or as 'the producer, since rises in the morning, he prodnces

when he
afresh, as it were, the creation, swallowed np by noctnrnal darkness.
See Rigv. II. 38. In the Veda, the sun-god is represented by four
deities, vix., ^, îj, ^ând ftnr, being sometimes identified, at
others, separated with slightly varying functions aseigned to each.
According to the Purdtiag, the seven rays of the sun. 55*01, fK^5T..
f^>^'^% Rs^^pf, e^'^grg, 3T^^ and ^^TJ^, supply heat severally
to ^, the ^jfjsTS, and to jvf, gîr, ^fp^, 55- and ^f^. Cf. V4yu,
Pur&naVol II, Ohap. LIU. s'l. 7-13. If we take ^t?5 as an a<i;'.
it may also refer to Dilipa. meaning the father of Raghu. For
a similar idea, ef. ^R-vrrf^T «r^K ^^t r>*TOT: q<c?I*M*5'T»T% f^S". ^
•
^cTJTR^: ^«Tfif^tTT«TT gw*fr''M^"Hf% ^ c^ TprT: II Sis'. IX. 13.

S'l. 2. îf^ — During the time of Dilipa; Malli. It may refer to
the time of Raghu's ^f^^n^^ as well. arfTTft^ff^^l: sTtIt here re-
fers to the feeling of jealousy and heart-burnings of the kings con-
quered by Dilipa. Raghu was known to be mightier even than his

father;and his accession to the throne was as unbearable to them as
the flame of a long-smouldering fire. Or, ever sinoe the advancement
of the prince to the ^ft^^T^î, the
fire of jealousy had already been
consuming the hearts of the tributary princes, as he had to force them

to acknowledge his supremacy as guardian of Dilipa's sacrificial
horses. See supra III. 38, But now that he actually occupied the
throne, it took flame as it were. On this Malli. remarks Though —
the arîTTN^r f^r 'f^^«T' has for its Nom. tTSTR:? and the ^httr*'
llp'n 'S'R^TfT:' arnr, yet by transference of epithets ( 3"^^^ ) the
hearing may be attributed to Agni, and so ^qi^^Tf established; see.
however, foot-note.
This si. seems to be quite out of place here. It is connected neither

with the preceding nor with the succeeding si. If it is genuine, its
proper place is either after si. 15 or 20.
Si. 3. —
5^^tT^T»T^ A festival in honour of Indra was held
for five days, from the 8th of the bright half of Bhadrapada to the
12th. Its chief feature was
the erection of a post with a flag
attached to it. For and other particulars, see ft. -note, tî grl
its size
'
lit. he who is invoked by many, either for protection or in sacrifices;
Indra, 5^]gcT'-^3T originally meant the rain-bow (p^^TÔ which being

the standard of fresh or retiring clouds was worshipped to show
honour to Indra, the god of rain. The custom of worshipping
Indra's banner, referred to by our poet here, is no longer observed
Canto IV. ] ( 91 )
now, at least in the Deccan. ^5nT'r &;c. — When applied to Raghu-

3î%cTr sT^T^T^T^^ff ?TT^f with eyes wide open through joy; when
applied to |^^=T3T, 3^^^ ^T^^'Trp^T '^F^t with eyes turned upwards.
3Tv^«IR-(n) elevation, prosperity; (b) rising up; ^^^:-Cf. ft.-note
( sf^m: V(^^ fTTT

&c. ). g-qrrr: — (^) because people take their
children with them when going out to see sights.
S'l. ^fjT^— See ft.-note. nT^Tlf^r—

4. f ^ Jfs^Jm stepping %?
when taken with reference to f%fT^, andf^^c^jf'^
as majestically as,
( marching accompanied by ) ^ffcJiT^ when taken with reference to
3mH04rf- RrfRTHl— f^fl^^ T%f ff ^T 3Tm^ it is made of gold; ;
when set with jewels, not being made of gold, it is called ^Tf^^r or
^2[RR". Of- Amara-'^q[^;f g ^?^^^ mfT^* 3cT(^l fH^' I ^wr^^—
thp multitude or territory of.
S'l. 5. f —
^T^ H"^t^ («) The halo or circular orb of splendour; (5)%-
circular shade. The word IJT'TT ^^^ a double meaning here. Raghu's
royal person was so majestic that an orb of glow was always
visible about him. This the poet explains by supposing that
Lakshmi, the goddess of fortune, attended upon him in an invisible
form and her presence endowed him with unusual splendour, which
was visible in the form of a halo of light round him. Again, when
an umbrella is held over a person a ^fq'iq'gg^ ( circular shadow ) is
seen about him. And this gr^TTRi?^ ( note the pun on grqr which
in this case means splendour ) was seen round Raghu. So the poet
fancies that Lakshmi held an umbrella over him. And when
Lakshmi is made to serve the king with the umbrella, the only um-
brella she could use would be the lotus-umbrella, the lotus being her
special favourite, f^n^ — indicates jft^^T^ 'niethinks,' 'as it seemed.'
^gT5«|<fr^rrra.— who had entered upon the vow of discharging the
duties of an emperor. For :^rT%cT see note on fq^rf^r^T^ III. 33.
S'l. 6. q K <* f^Trf ^f% Ji^n"— TIT^rlTct ^rf^>^ ^T^^-.'t ^^r; here
^?T^(^) is added to ^1ti% ^fjif by the Vartika ^^T^âq-i^Hf ^^]^
—
^m^^^^"^. 3T«'TTnT: lit. not departing from ar^, i. e., full of
meaning, true. As a general rule much of the praise bestowed upon
monarchs is flattery and is therefore meaningless. But as Raghu
possessed virtues of every kind, anything said in praise of him was
but simple truth, gxi^^q- —
served with reverence, worshipped;
Sarasvati worshipped Raghu, because a king is supposed to be a-
divine being. For the senses in which ?«?[ with g^r is Atm. see-
Sanj., and H. S. Gr. Chapter XI.
(92) [ Canto lY.
S'l. 7. *i^!pTnTf»T: —
qg i.«. Vaivasvata Manu; see «ttj?ra 1. 11 and
—
note thereon, rf^' beloved and esteemed. This is used to indicate
the saperior excellence of Raghu. ^g^^fTT the earth t. e. the people. —
Raghn's subjects were so much attached to him that their attachment
eemed to be the first of the kind, the attachment of their pre-
decessors for suchworthy and excellent kings as Manu &c., not being
comparable with it. Here the word cfg^î is used, as the earth
is metophorioally spoken of as the wife of a king; cf, ^^fRfTlf^ ^TI"
^rrfôi: VIII. 83.I
S'l. 8. f^ —
Malli. takes this î[\. It may also be taken st^vjitt^ '
^tfT l|^ of one and all, of all people without exception. sr^FT'TrRn'
Jrpr îj ^W rRT HT^frTTTT ^'TT I Trm^rapstir:— ^TTrt "^ 3"6fft =^ ?rjT
^fRIBcfr I
3Tf^;:ff ^fm'pj^ arfflsftmoaT %5T?^ ^ffff 3TrfTâT60T: see supra
I I
note on ^s({ II. 15. i^ arf^îycfiôftq^jnTo; acomp. ^^ ^t- In the case of

Raghu this means 'neither too kind nor too severe'. See ft. -note.
fr?ÎT^—
how
^ ^R^ffT ^^m 5?^ I A mango tree. It is difficult to
see the word has acquired this meaning. The mango tree is so
called probably because its leaves are used in the marriage ceremony
to cover the auspicious pots&c. Or poets represent it as the favourite
resort of lovers on account of its constant association with the lovely
Madhavi creeper; hence ( i. e. for bringing lovers together ) it may
have acquired that name.
S'l. 10. —
;T^f%^: The word f^T is formed irregularly (^r|of¥Ifl )
from ;fy+3^;^. for by the rule ^nff^frsgtj^'jt ' the proper affix for
'
^r without a preposition is ^5i^(3T) which gives the form ^\^: i ^^

'flfaÎff ff^^rf^T ^^f%^: I 5En[— right policy, fair means; ar^rj^
crooked policy, foul means. 3tT5C-' — ^TJ^^^HIêr Z^' lit. higher;

but since what is higher is reached later, it secondly means 'latter'.
S'l. 11. q^âpTT^ &c. —The elements are gt^r,

five earth ' artj^ '
* water ^gf^ < fire,' ffj 'air'

', and 3T(Î^ 'ether'. Their qualities
are ^t^; ^T*^, ^1^ ^^^ ^T of ^k;
:— ^s^ of arr^r^, ^s^ and f^^\ of
515^, ?q^, ^57 m of
and ^s^, ?q^, ^^ m, and ij^ of ^î\,
and arnr ;
the additional quality in each case being its special quality. See
foot-note. ^^ possessed off— fresh i. e. unprcedented vigour,
prosperity &c.,
S'l. 12. ^^— From ^^ to be glad; see com.; according to those
who treat the root as trans. ^?^«tffr. •T^?rir:-3T3»mr«f*T3»mT*TI "^^
Canto IV. ] ( 93 )
^ PradiiSamdsa; or Bah. n^r— rnf^ TS^mffT

I
The poet here I
supposes ^jT to mean 'to please', by poetical license. See Sanj.

S'l. 13. gfTf^T?:— ail »«^- i^^plyi^g 'unwilling assent.' 3TqJiiTT3-
here used show the difference between the two pairs of

^^ i. e. to
eyes he That Raghu had his physical pair of eyes, the
possessed.
poet has to admit. But these were not his real eyes. His true eyes
were the S'astras ( the knowledge and wisdom obtained by a study
of these ); these assisted him in settling intricate questions and
accomplishing great ends. ^f'^'T The Instrumental is either 3tW^ —
( ^TT^ being identified with =^g: ) or |fcfr. ^^ &c. — ^qT«^ h" 3T«t'i8?
^'rWr: ^^V' I ^nTT«Tr: g.^'*Tr^r^T«rF?f1T^g'l^^ ^Tlc^H^^m ^^ l See foot-

note.
S'l. 14. r^^ &c. — Here ®5Vf is a noun ( the kingdom obtained
from his father ). ir^TiR giving stability to what is obtained, by
the conciliation or removal of opponents; see com. ?wf?^rC f?i8fnT%
^^^^^. at ease. if^TH?r may also mean 'the measures of pacification'
iT^F^ci ^'iTJ^ ^^^^^\9t l See the s'l. quoted by Malli. Ps^^jfij i^^jj-
^TH«<^^ ^^^H?rfT?r: T«^Tc^FT:

I 'Who was at
arrfr ^^q-^TJT^: I
ease after he had adopted proper measures to give peace to his

—
kingdom.' q^TT^j^rrr The lotuses are one of the characteristics,
and not a special sign, of the autumn. But the poet makes special
mention of these here, probably because of the idea of worship
expressed in 3"gf^«TciT- We are already told that the goddess of
royal fortune waited upon Raghu with a lotas umbrella (s'l. 5);
and now the goddess of autumnal beauty comes to worship him
with actual lotuses. This is explained by mr^r^^firtfTl^^' &c *
;
cf. infra IX. 24.
S'l. 15. 1 [5TK^?;?t —Main, takes this as the cause of gg:^^: i It

is better to take this with e??H^T. The q-fTiq" ( heat in the case of
the sun, and prowess in the case of Raghu ) was already g^?;^^-,
but the world was screened from by the intervening clouds. But
it
since the clouds became light cow, they moved away from its route
and fled. So that it spread through all quarters without obstruc-
tion. The meaning is that now that the rainy season passed off and
autumn came, other princes became uneasy
the dreading every
moment an expedition of conquest by Raghu.
S*l. 16. ^^th;— %g ^"r^fT^^ ^g a?^ ^^ by adding apT^^^T^. see ;
—
com. il"5rr^^R^ Indra by his rainbow produced rain and thereby
brought prosperity to the people. Raghu after the lapse of the
(94) [ Canto IV.
monsoons undertook an expedition of conquest and thereby brought

wealth and prosperity to the people; he also performed sacrifices with
that wealth and propitiated the gods who in their turn sent down
rain. (Jf. I. 26.
8'1. 17. ^ U vjO'^ lffT?' —The lotuses bloom in autumn and are
here poetically spoken of as the umbrella of ^^. The white lotus
is here chosen because the royal umbrella is of that colour, f^^-
^gffrî'^JTT — The K&s'a flowers look very much like chauries and
'•
are also white. Cf. Rit. III. f^T»^?jrqf^ — imitated, mimicked;

1, 2.
see note on f^^f*^^*^^: III. 52.

—'but/ showing ^^. ^q-.
S'l. 18.— During that time, then only. The poet suggests
?fff
by a hyperbole that Eaghu's face was always pleasant to look at,
while the moon was not so during the whole of the rainy season. It
was now on the clearing up of the sky that the moon became as
delightful to look at as Raghu's face. iraTT?^ — "^^7 '^^bo mean
delightful-faced on account of his benignity.
S'l. 19. Hr^Jrl^: — H?I'?T ^J.frrfsf'i.Tfr: affluence, excess. Fame is
described by Sanskrit poets as white*, and here the poet supposes the
whiteness of geese, stars, &c. to be due to the excess of Haghu's white
1. 1. spotless fame. Geese, bright-shining stars, and lotus-abound-
ing waters marked the advent of autumn. Whence, if not from
Raghu's spotless fame, did they derive this whiteness ? See Sanj.
S'l.f^«OT?r &c.— f^gr^ (see Sanj. ) R«(^ ^fic7WÎi%Iff
20. I
Malli. notices and explains the reading S§xfrj?^^Fi'^<^n'^;iT: but * '
Dikshita's explanation of this seems better. For he remarks ?^pit —

IFRr f?5^syr^^ ?§^fFl«I5 3TT ^TR^rifr'^n^^: sitting round the fields
I
&c. This is perhaps the better reading. It is usual with cultivators

of all times to grow round corn-fields in two or three rows, such
useful plants as the sugarcane &c., which are not shady enough to
screen the sun from the corn>fields aud yet form a fence of sufficient
strength round them. Village girls appointed to keep watch over
the fields pass the noon-day hoar in singing merrily, seated under
the scanty shade afforded by sugar-canes, &;o. Now so wide-spread
was Haghu's fame and so deeply was he loved that the female
gaardiuns would every day sing in his praise, iftn": This supplies —
the reason why he was so much beloved. rrof^f^fJj^ A Vyadhikarana —
Bah.; see Sanj.; such a Bah. though not directly sanctioned by Pan
is often used by poets, but Vamana remarks — '3TW5qT (^ ^f^llf'^^-
^\^\ W^\^V\\'-^ — -A. Vya, Bha. is, indeed, unavoidable when
Canto IV. ] (95)
the last member of the Oomp. is a word like ^pir, ff^ &c, Cf
^STPTST^l^' V. 36. STTfTiTT?: &c.— if^K SfTT'ST'TT^rîTina: I also see
Sanj. The whole is either an ado. modifying srg: or an aij. qualify-
ing zT^j: ( the narrative of which was eommenced even by boys ).
S'l. 21. <j<4J4 | ti^ — has a double sense here} rise and spread of
power. fr^tT^rK: —This is the celebrated sage Agastya,, who is said
to have been born in a water jar. For the account of his birth along
with Vasishtha from the divine Mitra and Varuna, see ft. -note and
•Sayana on Rg. VII. 33. 11. Agastya is said to rest in the heavens
in the form of the star Canopus' belonging to the constellation
'•
Argo Navis t. e. the lunar mansion gitJT Agastya begins to rise at |
sunset when the sun is in f^f ( leo ) t. e. in August^ from the latter
commencement of ^j^ or autumn.
half of S'ravaaa, just before the
TfT^T^: —
Here there is a reference to the power of Agastya.
See VI. 61 and note thereon. Agastya had once drunk off the
whole sea. So dreading his power, as it were, water cleared up.
See XIII. 36. =^^JT &c. — At the approach of autumn, water lost its
turbidity; was transferred, as it were, fancies the poefc to the
it
hearts of Raghu's foes. For they trembled to think that that was
the season for him to set out on his conquering expedition.
S'l. 22. JTfffq—3^?T'm'?rfR"ffr 3^!TI: l\t. prominent; hence for-

midable; HfJT T^JTF: qfrîn:. 'f wgf 3rr: Upapada Tat., the roots —
^»T and fg;^take the aflSx ^5T^( 3T ) when preceded by g-jj^, and q^g- in
the Ace. as their g-gcrf similarly -^fSjj^^:. Words ending in a vowel
;
and the words a^ând f|[<Tg;, take 5^ (^), when an affix, dropping
^, fallows. See Sanj. rffPTT^t?^— i^rfrffT^^: ^\^^\ ^^\ efr?rr#frw^ i
gracefully sportive. Here the poet, by means of three epithets, descri-

bes the changes worked in the bulls by autumn. The bulls had lost
their flesh and their humps had dwindled away before the rains set
in for want of pasture and the hard work they had to do in the rainy
season. But now at the advent of autumn, all things being favoura-
ble, they grew in flesh and regained their spirits, and so began their
butting sports, when grazing by the riverside.
23. jp:v^y
S'l. ^T^f^v^fJr:— JT^^%^ ^q-f ^ ^îT-''irq: ^; arrfrfl:—
•struck, incited. aT9:2TTr— 3Tg;?TT 5% ÎTTReqiôTf^ I Sid.-Kau. The
SaptaparUa trees naturally sent forth the rut-like scent from their
ilowers (i. e. one part) only; but the elephants, thinking that they
did
it to provoke them, as if in jealous emulation, poured ichor from
the
seven parts of their body. The autumn is the season when the
( 96 ) [ Canto IV.
elephants are In rut. For the seven parts of the elephant's body
from which ichor exudes, see Sanj. and ft. noto.
S'l. 24. sTT A^ f H — P- P- of ^^ with 3?i; roots beginning with a con-
junct consonant and ending in 3TT an^ containing JJ^^^^^ or ?t change
the of the p. p. p. to ^. See com.
cT ^TTTr^ 'frf^ÎW The autumn —
held out before Raghu peculiar facilities for carrying on a compaigu
and thus actuated him, as it were, to undertake an expedition. The
beasts of burden (the bulls especially) were now in full spirits, the war-
elephants in their ruttish condition were eminently fitted for fight-
ing, the rivers hadbecome fordable and the roads being dried up
would afford easy passage to Raghu's troops.
S'l. 25. W3nnTr*r'Trrt*^ —

^rn^sRt see ft.-note. it may also be de-
rived T]^
fr. with Hf with the aff. 3T^ (3^) added vrf^; the act of de-
coration. It is a kind of military and relegious ceremony performed

bv kings on the 9th of A's'vina, or on the 8th, 12th or 15th day of the
bright half of Kartika, before taking the field. It consists in the general
purification of the king's Purohita, the ministers and all the variou»
component parts of the army, together with the arms and implem-
ents of war, by offering oblations to the sacred fire, waving lights
before idols, &c.,and reciting the sacred mantras- ^]f^ here stands for
both a horse and an elephant, possessed of auspicious signs. The ce-
remony is called *fTl%^frr^'Tr' because the lustration of the horse and
the elephant is its essential part. C/. ^^'^^ grij fllT^^T 't^ frf^PT
^^[^T^^'^Ti X X ?T?TTjfrmlciErî"^'n^Ttitf'T: ^rgi'f^cii I ^^sfiirfTfi^^^^s'.-
sTfî^Tnt^Tr '?^r(!;il &o. Varahamihira's Br.-Sam,, chap. 44. See ft.-

note. The five kinds of ^rn^T^TF are —tr^jftrr^^ ^^'lcir«T4 iJ^^\vf^ I
RfaTTr^JT ^r?l!f^ ^«lTl^nT II For other particulars See Pad. P.

3Tf^^. chap. 107; Agni. P. chap. 267. jiî%onT'% &c.— ir»rcTf ^r%ini
fl/^^] ^r T^fyoTi; by the rule q-yrf*^ ^rg^?'^ &e., V&rt. on P&ii. II.
2. 24. iT^%'ni 3Tf^: T3[rs?mrT^: I ^f 5?n3Tffl^ I f%TF"^qi3TI% %T1%
( outwit, deceive ) 3T%%F?t 5?it^:; under the disguise of the flame
moving to the right. Expounding the Comp. thus is free from any
grammatical difficulty.
S'l. 26, ij(?ri?r^5FrT:— i|?j- themetrapolis or capital; irF!F?r the bor-

der forts protecting the city, ?j^q7r«'^:— Ti^q the rear. He had taken
adequate measures to guard his capital and the frontier forts, and so
feared no attack from behind or attack on his capital in bis absence.
)
Canto IV. ] ( 97
sTir^TrT: — Accompanied by good fortune. This was because he had

propitiated the gods before starting. See ft. -note, ^j^^t^— See
Sanj. and foot-note. The six kinds of soldiers are: — (1) Manias or
those that are well-born and hereditary servants of the king; ( 2
)
Bhrityas or those paid by the king; (3) Suhrits or those, who belong
to his allies, or those who are well-disposed towards him, i.«., on whom
he has no claim such as tie of blood or service; ( 4 ) Srenis or force*
levied on occasions of war; mercinaries; (5) Dvishads or the forces of
the kings inimically disposed towards his enemy; ( 6 ) and Atavikas
or the foresters. These last are crnel, rapacious and hardy, and
therefore best suited to lead an attack. See Hit. III. 96 and Kdm.
Nit. VIII. 23.
S'l. 27. ^^frf^: —The elderly women with husbands living

( and not young was not an ordinary tour)
girls as in II. 10, as this
scattered fried rice over him by way of expressing good wishes as
—
they alone could do it. t^r^: is mas. and pi. ^rrffjfq': The waves —
of the milky ocean. The word g^f;^ is both mas. and yew.; but it is
preferable to have it here in thefem. that it may compare well with
'fi^îRcT: The allusion here is to the churning of the milky ocean
1
when Vishuu supported and kept in position the mount Mandara

by his arms. See Bhdg. P. VIII. 7. 12.
S'l. 28. jirfnc— IT iTTniTW snnrnr ^T^m irr^r qi'^T^r^ff^— i
Raghu was Indra's equal; so he commenced by making the east feei

his power. See ft. -note. fr'5^2r^ — Pres. p. of ?t:h which belongs to
the Ist and the 10th classes. The former is Par. and the latter
A'tm., so that the one would give cT^ and the other fT^?i»ffq-: To
|
defend the form î{Xi\ ( see also XII. 41 ) Malli. quotes V4mana
—
who remarks "Roots which are 3TgÎ=^fj; may be Par., because Pan.
when he says '=^f|l^ sq-rPT^f fu%' himself indicates that mere
3Tg^T%T^ does not always give the A tm. For the root ^?t, though
it hasan aT^fTrT f, has an additional indicatory §: to give it the
Atm. Hence ^Tând ic\k^ may be Par." Bhattoji's explanation is
decidedly better. He takes fTof^Tâs the pre. p. of the causal of ffsf-,
^cT^W^Pff, 'the flags menace', and Raghu went on causing them to

menace ( %5f*T^cT^^'^«Jt ). Cf, 'msTcf- '^TST^R^T it*t' XI. 78.
S'l.29. q-?T?rf9r^:— ^f^*r properly means that which appears or
shines; while the meaning wanted here is 'equal or like to.' Amara
says that words like fflfH", ^Î^T &c. express this meaning when they
form the latter members of compounds-^j^Tj^q^c^r f%'T^^r?I5Tr^r5r, I
iT€r^T^fTT*n3f^: U So this is a m^qrîTI^ which has no f^q^rîrf We .
R. N. 13
(98) [Canto IV.
must, therefore, explain ^^^t ^^'- I

See Malli. on 'u^f^XVV^^\^^'-'
S'is'. I. 22. Malli. aays the elephants resembled the clouds ^ntfr: ( in
coloar ), f%rirrcT:
by their pouring down the rain
by their aotion, i. «.,
of rut, and Ti^JnoTfT: i.e. in size (the hugest of the lot being chosen for
war-service). »nj?!r'^ —
cl^ is both mas. and new.; here it is neu. as
it will compare better with sqiq.
S'l. 30. JTrfPT: —technically means 'the pre-eminent majesty' of

the king due to his having ample resources at command. This makes
his enemies dread him; cf. iTcTTTrfflcTîT^^Râ'^^: K&d. p. 1.
According to Vail, it means here the report of Raghu's approach
which struck terror into his enemies' hearts. '^5:^gR^vin" ^?^R: —
^^'«Tr ^Wfl' ^r "^g:^^^ niay also be taken as a Oomp. word. The
I
four divisions meant given by the poet

here are those poetically
( the 6r8t three having
done the work of striking terror into the
baarts of the enemies like the fourth ), and not the usual four
diviHions of any army. <^]t: — An army consisted of four divisions
(1) chariots ;
(2) elephants; (3) horsemen; and (4) foot-soldiers. A
^q;^ consists of 729 elephants, as many chariots, 2,187 horse-warriors,
and 3,645 foot-soldiers. But this technical meaning is not intended
here. <^^: î^rff^T^ =^ %J^rmt '^ 'frfÎcT '
ffcT RI?^ I
S'l. 31. iT^HTPT— fg^Târ J3;?TP^rwf5ri% tT^: a waterless place, an

arid tract or desert, vf^^jaii jgrf^T ( surfaces ) q^giR I
^f*>?rftr
^S'STR 3rP*rt% ^5 mf^ with waters springing or spouting up.
—
^f^q^fq^ on account of his having the power and means to do it.
Some take ^jf^ in the sense of ?frir^75 'superhuman power' —Raghu
did all this without having had to use human efforts, such as
digging out wells, building bridges &c.; see ft. -note.
S'l. 32. <j%^Tr?: &c.— ^^??Tt f^HT «f ^: : I

ik: m^'- J,^m»T^=7»Tfîr
iRtFriliar i^^^r^TTFffTjfr at; or iTm"sw^ njfjt^ jîm^t »nRHr ^k-
»T^rr^ Hjfrrus — Hlll'a may be called the Indian Hercules. Sagura, au

ancifot king of the solar race, determined on performing 100 A8^:amedha
sacrifices. Wheu he commenced the lOOlh sacrifice, the horse that was
loosened was carried uway by Indra. The 60,000 sons of Sagara, being
commanded by tbeir father, searched througliout the world for the horse
bat in vain. At leogth they excavated the earth, entered the nether regiona
and found the horHe grazing by the side of the eage Kapila. Upon this
they rashly charged him with having stolen the horse, whereupon the sage
at ome reduced them to ashes with the fire of his wrath. Subsequently
Sagara came to know that his sons could only obtain salvation by being
purified with the water of Gatig&, who then watered the plains of heaven
Oanto IV.] ( &9 )
alone. Now it wag no easy task to induce Ganga to come down to the
humbler regions of the earth. So Sagara, his son Asamanjasa, and his
grandson and great-grandson Ani8'um3,n and Diltpa, all died without being
able to effect the descent of the celestial rivers and the sons of Sagara,
all mere heaps of ashe; At length Bhagiratha,
the time, continued to be
bis great-great-grandson, succeeded, by his long-continued austerities, in
propitiating Brahmsl, who told him to propitiate S'iva, since he alone was
able to sustain on his head the current of the heavenly river. S'iva also
was pleased with the penance of Bhagtratha, granted him his prayer, and
called upon Ganga to descend upon his head. Gafigi, imagining in her
pride that she would bear down even S'iva, fell upon his head with
tremendous force, but had to wander through the labyrinths of S'iva's
matted hair for one year. At length being liberated by S'iva at the
entreaties of Bhagiratha, the river descended upon the earth, and all the
gods and other divine beings came to behold the wondrous sight. After
this Bhagiratha directed his chariot towards the sea and the Ganges
followed him as far as the Sugar Kunda and thence entering the Patiila
watered the ashes of Sagara 's sons, who were at once purified by the holy
water and their souls ascended to heaven. The whole story is given in
Earn. I. 35-44.
SI. Raghu's march through the eastern kingdoms is herein

33.
compared elephant through a forest. As an
to the passage of an
•elephant marches straight on, smashing the trees that come in his
way, 80 Raghu marched on. subduing ordinary kings and uprooting
those that had the daring to defy him. The eastern kings, it seema,
had given special offence to Raghu. For his treatment of other
kings was marked with generosity and leniencyj they were Sc^sncT-
ij-fffrrf^rT and not S'fii^TcT alone. mrnT^: — Some grammarians include
roots like k^^^, ^% &c. in the list of the f^^;^^ roots on the
authority of ^ in Pan.'s 3T^«TtT "^ I
And Kali, uses the root r^qST as
such; cf. XV. 58; Kum. VII. 14; Meg. II. 36. Others do not h'old
this view. Kaiyata says imj q"?T?f^3TTffT I
C/. also Bhatti — ^"pq-f^jfqt.
^-l^[^r«J €TtTl n>TT^^f|^r l "^TWH;—(o) profits i. e. the treasure;

(b) fruits. 3^??5rrrr: — (a) dethroned; (b) uprooted. vjTf: — (a) defeated;
(h) destroyed. gf?=^^ — clear; well-marked.
S 1. 34. 7f^^«Tr^— The Mat. P. mentions the following

as the
countries situated in the east: '^^\^^fH'gl^\ ST^^fn^fr ^fl^fjlff Urr^^'ft-
m^]'i^ 5|[s^ » * # * ^î:ff^: ifi=r3f?^T trprf Hfûrr^f i: ii Adhy&ya
I
113; see'also M4h. Bh&r. Sabh. P. Adh. 30. ^zfr— This shows that
being always victorious he reached the sea-coast without having
sustained a single defeat. ^TT'^^^ — S^tTtT: ^trs^Tâa:: ( Prddi
Sam. ) ?T^ I JT^r^'^:— JfqsTK 'frq?^5r^frr%?5?fvr: I R^J^Mfr^m: I
( 100 ) [ Canto IV.
SI. 35. ST?nrnT?r5«>-Tbe fate of some of the eastern king« served

aa a waroicg to the Suhmas; it showed that Raghu was the frgî of
the 3TiTg alone. g^|&: —The people of the Suhma country which wa»
sitnated to the west of Vahga. It was so called after Sohma, the
foQfth son of Bali. Its capital fTrg-faTT, also called fTWcTTf, ?THfe¥'
?T[irf3Tfr and ^^T^ (see Hem. IV. 45) has been long identified with
the modern Tumlook, on the right bank of the Oossya ( here called
Rdpan&riyana ) which is the Kapis'i of Kalidasa, In ancient times
it was situated closer to the sea than at present, and was a place
of considerable maritime trade. In the Mah. Bh&r however,. ,
Tamralipta is mentioned as a separate country from Suhmades'a (See

Sabh. P. XXX. 24, 25), which, therefore, seems to have included wes-
tern Midnapur only. But in later times its extent was undoubtedly
greater, as T&mralipta is mentioned by many writers as its capital.
According commentator of the Mah4bh6rata, the Suhmas were

to the
also called Radhas (Vide Sabh. P. XXX. 16), which is the name of
Western Bengal and from which the R&dhi Brahmanas take their
name. It probably included Bardw&n, (Vardhamana) Bankoora
(Mallabhflmi), and Beerbhoom (Virabhqmi)as no separate mention is
made of these districts in early works. Vail, and Sum. explain
5^: as 5^^5(1?^: Trai«r:. ^j^_^% ar^^f^ lf%:; behaviour, the
action. %?l?fV^ —The Suhmas lived in a country abounding in the
oane-plants growing along the banks of the Ganges. Thus they
had every day an opportunity to see how big trees resisting the
force of the current were borne down by the river while the supple
cane was spared, and to learn thereby the safest course of action in
case of an invasion by a more powerful enemy. The simile is
therefore appropriate in this respect. See ft.— note.
SI. 36. ^f«r^ — The kings of the Vallga country. See Sanj. on
^•., and The country of Vallga or Eastern Bengal lay to
ft.-note.
the west of Tipperah. It must not be confounded with Gauda (iftr)

or Northern Bengal. In the M&dhavachampd the two countries are
<:learly distinguished and VaDga is described to be that country
through which the Padm4 and the Brahmaputra flow. And this will
be clear to us if we remember that the main channel of the Brahma-
putra originally flowed through Mymensing. The passage is impor-
tant inasmuch as it introduces the word Vallga. from which Bengal
is derived, and which is applied as a nickname by Oaiontta people to
the people of Eastern Bengal. K&lidAsa here speaks of the branches

of the Ganges, so it seema that Vallga included the sea-coast oi
Bengal. It is also called Samatata or plains. The word occurs in
€anto IV. ] ( 101 )
Varihasamhita, XIV. 6 along with Odra (Orissa) and Pragjyotisha

^Kamroop), but without any indication of its position. Hiouen
Thsang does not make mention of Vailga, but in its place speaks of
samatata. And we know that the Gangetic doab ( Kuru P§,nch3,la )
was known by a similar name, Samasthali. So it seems beyond
•doubt that Samatata was Vailga. The principal old towns of
this province are the early Mahomedan capital SuvarDagr&ma
{ Sonargaum) or Painam, and Vikramapura
'the golden village' near
or 'the capital of Vikrama', now the name of a Purganah. Vailga
in old Sanskrit means 'tin/ and it occurs in this sense in literature.
Now tin is not found in Bengal, but in Malaya, Pegu, Ohina and
especially in the island ofBanka in the East Indies It is probably
so called because it was known to the Hindoos through Vailga or
Eastern Bengal. Hence it must have had a considerable maritime
trade from —
the earliest times. %?ff ^15 JfTFT %5TTTHT%~* skilful
general. Because he was always victorious in land fights as well
as in naval fights. ffr^!TVr%?T?I-3RrcT 'prepared to offer resistance.'
^^T^'HR-^^S.^^^: ^^'TT «Tq'??T«nJ 'pillars commemorating victory.'
S'l. tr: T^n^f Tr?^?f ct^'tNt^?^ stnt?-

37. aTfTTT'nrT'irir:— ( «)
bending low as far as his lotus-like feet; (b) qjf ^%t q^ Ti^q^
q?f ^xi\^\:
^T 'TR[T^ wn^\' bending low (by the weight of their ears ) to the
lotuses at their roots. The paddy fields are covered over with water
during the rains and often abound in lotuses. Cf. Kir. IV. 4 '^fft^
'q^'sr^^pyii^T ^"f^f^^* ^^V[^ îfrm u*nnnr^*i' ^?^nTirmnf^r:-appii«s
1
both to % and to q??7iTT: I The paddy sown in

is a kind of corn first
^sT or %^TT^ in burnt soil and aftertwo transplanted
a month or
to a softer soil, full of water. When thus transplanted the paddy
has a luxuriant harvest. To understand the appropriateness and force
of the simile we must suppose that the princes were replaced on
their thrones by Baghu after they were defeated and dethroned.
Then struck by the magnanimity of the victor and overcome by gra-
titude, they came to him with presents, and prostrating themselves
before him, offered them. The simile here is appropriate both
as regards time and place. The paddy flourished in water and so
did the Vailgas, who were great navigators ('^'fri'^^T: ) anid Raghu
attacked them at a. time when the paddies were probably bent low
on account of the weight of corn.
S'l. 38. ^fq-^pj— See note on s'l. 35. ^cSfr^y — The country of
Utkala or Odra ( Orissa ) lay to the south of Tamralipta, and from
the present S\, seems to have extended up to the river Kapis'4. Odra
( 102 ) [ Canto IV.
is probably the ancient name representing the aboriginal tribes of

the country. It is mentioutd in the Mah&bb&rata among the Indian
provinces along with Videha and T4mralipta and in the list of the
southern conquests of Sahadeva. In the Brih. Sain., however, iti»
mtntiontod as a different country from Udra. The chief town of thi»
province 'Cuttak' said to have been founded by Nripakosarl in the
is
tenth century. was probably better known as Padm4vati. Jaipur

It
( Yajnapura ) on the borders of the Balsor (Bales'vara) district, and
the city of the celebrated temple of Bhuvaneshvara in the Purr

district, are said to be the older capitals of the district. The most
important place, however, from a Hindoo point of view, is thfr
town of Puri, the site of the far-famed temple of Jagannatha. It*
ctlebrity, however, dates from comparatively recent times, as na
notice of it is found in the Mahabh&rata or the earliar Puranas.
3^^?n^%rfT^": — This shows that the Utkalas easily yeilded
to Raghu and assisted him in his passage towards Ealihga.
^fîprfHS^g": —The country of Kaliilga lay to the south of Odra
and extended mouths of the God&vari. In the time
to the
of the Mah. Bh4r. it seems to have included Udra, as the river
Vaitarani, which runs by Jaipur, is clearly stated in one place to be
in Ealihga. It did not generally extend beyond the God^v&ri, as it»
mouths are mentioned to have been in the possession of the A'ndh-
ras. According to Dandin its capital KaliDganagara was at some
distbnce from the sea-coast, inasmuch as he says that the king of
Ealihga went out to pass some days at the seaside, when he waft
taken captive with iiis daughter by the king of A'ndhra ( see Dk •
Ull. 7 ). The capital was, therefore, not at Ealihgapattana, on

the north, nor probably at Yizagapattam ( Vijayapattana ) but at
R&jamahendri on the south, as it is at some distance from the sea
and borders on A'ndhra-desa. The Ealihgas are described as
having sprung from Ealihga, the son of DTrghatamas, and his
wife Sudeshp&. It is thus described in the Tantras ^* ^ |<jifi^*^T't

|
S'l. 39. H^?!^ —This may mean by pyyniT the lord of Mahendra
or the mountain itself, since the humiliation suffered by the moun^
tain was also suffered by its lord. By Mahendra is meant the
ehain of mountains that extends from Utkala or Orissa and th^
Northern Circars to Gond-vana. See Wilson's Vish. P. p. 174. It
Ibone of the seven principal mountain chains of India. Genera

Gunningham ( see his Ancient Geography of India p. 516 ) identifies
—
Canto IV. ] ( 103 )
thi3 mountain with Mahendra Mile which divides Ganjam front

tho valley of Mah&nadi. According to Anndoram Borooah, how-
ever, it included the whole of the eastern Qhhts between the Maha-
nadi and the Godavari. Kalid&sa calls the king of KaliDga <lord of
Mahendra/ and Kaliiigawas not limited to the country about Ganjam
but extended upto the God&vari. The present town of R&jamahen-
dri on the Godavari probably originally represented the capital
of the Lord of Mahendra. m?«r^— (o) unbearable ( q-fTTT ); (^)
sharp (3T^^T). ?2r%?r^— ( « ) stamped; ( b ) drove in. îf^^—m^j
also refer to Raghu 'the controller' i. e. chastiser of the haughty.
T^srktft^:— n'^RK tl^ 5fTcy»T^ I This is a technical name for a-
king of elephants. According to a SI. quoted by Char, from the

Palak^pya (see-ft. note), and another quoted by Malli. from the
Rajaputriya, a Gambhiravedi elephant is one who is not easily
sensible to wounds, cutting of flesh or actual spilling of blood from
his body. According to another quotation given by Malli., an
elephant who is slow in understanding even well-understood signs
is called JF^r^^f.
S'l. 40. sifrrsTin"? — iffclJJ^ usually means 'to accept;' here it
means 'to oppose, to meet or receive in a hostile spirit.' The root

occurs again in this sense in VII. 36. ehlM^^*: — ^ê king of the
Kalingas. As this signifies one individual, the aroiîs retained.
T^^^fN^rT^— For allusion flee *«jora III. 60, This epithet also
applies toRaghu. q^ means the allies, 'the forces on the side of the
enemy;' q^rprr srfT R ^rmt ^^' &c. ô' *^6 recurrence of the same
thought, cf. '^^f^^^>^^9: ^cr^s^ ' &c. IX 12. Rn^rw'Tf—wr: rocks,
hillocks. Kaliilga was like a mountain of yore. For he fought
with huge elephants who resembled in colour, size and strength,
the hillocks thrown by the mountains upon Indra. Cf. VI. 54.
SI. SFTT^?^:— î??«T?^ JltwrTf^t 5»TP^T^?^«T: The descendant

41. I
of Kakutstha. For the allusion, see VI. 71-73 and note under 71;
also the quotation from Bhag. P. given in the ft.-note, p. 146; also
Hariv. Ohap. X. îrr^fffH?^— JT^nut Wii\ ^\^R ^RSTI=5rTWfB I
^^f^: an arrow made wholly of iron or steel ( and therefore surely

I
killing by entering deep into the body ). fffjHJ; means by ^^PTT —

a shower. This answers the purpose of a bath. ^FJT^^^ri:
T^ÎT ^srra: ô, or ^^%^ fJ^^^jil^<J\ î^ ^fm'^si^^ ^r (see Sanj.)
m^- Hii^Wri ^rj; ^îf^m JTWeJ^rm: ^'H^<9tHM:
--
I It ia necessary I
according to the Sastras to take an auspicious bath before taking

possession of s^\. The poet fancies that this was furnished in the
( 104 ) [ Canto IV.
present case by the shower of iron arrows ( a bath quite befitting a

warrior ).
S'l. 42. ^: — by means of leaves,t. e. drinking bowls or vessels
made of the leaves. This ought to be construed with q-^: and not
TfVff, as S. P. Pandit would have

it. STR f ^^^RT: srr ^RÎ?6»i?T ^\ —
I^^^T^Pt ariTT^^ S^TTI^TFI ^^''
I &c. This is a technical name for
a drinking place. ^5rT ^ 15^^: The —
fact that Raghu'a soldiers
had their carousings there without the least molestation from the
enemy shows that they had infiioted a crushing defeat upon their
foes. So that, thinks the poet, along with the wine they quaffed
there, they also drank off the fame of the enemy; t. e. by defeating
the enemy they deprived him of his fame as a skilful warrior.
Or ^TT^^ may mean '^T^STîcq^r^.' They drank in the fame springing
from their defeat of the enemy, i. e. got additional fame. C/. II. 6y,
VII. 60. Bhattoji DIkshit and Jninendrabhikshu read ^ for ^
( ^r^r? ? T^^t: ), and Bhattoji remarks that this is quoted as the
poet's reading by the old commentators of Amara. Here ^ stands
for 1^ 'like' ( though Klli. is not likely to use it thus ), ^jTWt ^!T
f^ qj:, the likeness lying in the purity of the two the wine they —
drank was simply unfomented cooonut-juice, which was therefore
clear and transparent; and the fame they obtained was also pure
«. e. not sullied by defeat. Cf. Med. ' ^ Jf%m% ^[ÎTrff^F^ 3
rf^«T?^' This reading is better inasmuch as it gives a mora
I
beautiful meaning.
Si. 43. ^^f^Yf^Tr —A

conqueror for religious purposes, i. e. for
the sake of offering sacrifices &c. Three kinds of conquerors are
mentioned by Sanskrit writer8:(l) vr^ff^Ttfr or a 'righteous conqueror'
is one who takes the wealth of a conquered king but raises him to
his throne again; (2) the conqueror who deprives him of his
wealth and royalty as well, but spares his life is ?frHf^^«n; (3) and
one who robs him of all these three is arg^srqr. See ft. -note.
^: — The protector of men. An epithet peculiarly happy, as it
comes after vi^'^^nfr. T§ i^f^ HT *^ — Mallin&tha's remark on this
fieems to be unnecessary, as the reason of this is given by the poet
himself by describing Hagha as vr4f^^.
SI. 44. ^gm?^—^f is the land covered by the waters of the
sea at high tide. flr^T-by the coast-line of the sea. «frt^WJr*Tr^^-
resorted to. Cf. in this sense, 'J^nT^=^K% ^^* Mah, Bh&r.}
''<T>cTr^R?Tt f?^^' Rim. HJTTOr?T5Rr:— ar^^n^'Tr ar^Tr ^^ 'to whom

—
Canto IV. ] ( 105 )
victory was not a thing to be sought after,' i. e. to whom victory

came of itself. See Sanj. It may also mean ôver whom victory
was not to be hoped for', arr^TTR is derived from îpr^with an Atm.,
to wish for. [ The rule '^\^ ^^-^ ^ ^T-' Pan. VI. 4. 34-( the root
^q^ changes its 3TT to f when followed by 3T3^ or by an
affixbeginning with a consonant and having an indicatory ^ or
l^-applies to ^JIH Paras, meaning to introduce, to order ' ' &c.,
from which we have the form arinPT: ]•
SI. 45. ^^TTK^TT^ — The army enjoyed a cool bath in the river
and the water bore scent of the rut of the elephants in the army as
they plunged into it. Now the rivers are poetically considered as
the wives of the sea ( Cf. XIII. 9 ) and as such must be faithful to
their lord. But here K&veri bore marks of her sporting with others
and so made the sea suspicious, as it were, of her virtue.
—
TrrfPf^TFtT^ Malli. holds a long discussion on this and considers
the form a poetic license.
ogirffîr According to the Vart. quoted
and interpreted by him the smell must be natural to have the
^*TT^TF?T %'i aiid since the ^^^^^, referred to here, is not the natural
smell of water the form should have been îptr: i The supposition
that we have the ^t^^\^ affix fp^ here, will also not do^ because a
qcf^ftT is prohibited after a Karm. The word
See Sanj. ^^ffl^,
however, is not to be found in the Mah&.-Bhashya or the Vritti,
and grammarians like Kaiyata, Bhattoji, Nagesabhatta, &c. do not
hold such a view. And Mallin^tha's criticism, though he has on his
side Bhatti who says 'arfrnf^T sfP^^'-T^f: ^^?v|^JTinf?5'TffT'TWf1«?'
II. 5. seems to be out of place See ft. -note and Gr. § 256 (c).
iSftMi l — A river of Southern India. It rises in the Western Ghauts
• and falls into the Bay of Bengal.
SI. 46. f^fW'Tr^: —

Simply means 'the conqueror,, 'one who
had set out on a tour of conquest,' and does not imply
that he longed for victory. See si. 44. JrrCT'^t^F?! &c.
Rfl^HT f%^^ iTTfHr: the land of q^ the black-pepper
creepers; flfmr: — flfp is a kind of parrot ( the wood-
pigeon, according to some ) feeding on the leaves of the pepper-
creepers; cf. ^^[^^ ^\^J; nfHI«M^«4<ÔTH" ^T^^^RRT^ Kad. p. 281. I
*T<T'5rTt: — Hc4*4K»«fr iTc3"'?«rT¥T^%«lT'^ Î cT^ The mountain which I
forms the southern part of the western Ghats. See below si. 51,
note on »rc3^^fn. Malaya especially abounds in sandal trees and
is famous for its cool breezes; the place, therefore, was a pleasant one
.for the jaded army to halt. >m^<(eht : — the adjoining sites.
B. N. 14
(108) [Canto IV.
S'l. 47. 5c=ZTTrf5>i5 — Malli. defends this by referring to the-

V/irt. '^q7^«^' ; but the accuracy of his defence may be questioned aa
thiH does not begin with ^^, while the instances given in the Bhashya
all begin with ^t- We may, therefore, expound g^^^q *T'yrfg5qii?q':
^ t^'^nr^fffrR g^^nr'^g^^^S JTW»T— »rfT is used to indicate the pres-

l
ence of ichor on the temples of the elephants, ^^r*^: shows the —

great size and number of his elephants. The dust of cardamom
seeds was raised by the hoofs of the horses, bat so great was the
obstruction caused by the compact line of his huge elephants, that
it could not escape into the sky, but got stuck to the wet temples
of the elephants.
S'l. 48. Hrf^7?*f &c. —

Serpents are supposed to coil round the
andal trees, being attracted by their sweet smell. 5T?raq[— ^?^
though A'tm. is Paras, when it take the 2nd variety of the Aorist.
^^^— ifffl^ T-^ ^^^^ tied round ( not born on ) the neck; the metai
neck-chains round the neck. 'EiT^T^sfr îHRf^'^^WT^t ^f^T?^-
^^ I
(^tTT *Rf«»«Jt ^^^ ^ st^h') Vrittikara. HH<(1^NhIH— ^'^^
TIÎ ^^^T |1^ f^'^^ ( tlie foot-ohain ), formed irregularly like
^vrqgfr according to the Sid.-Kau. which includes firq^r under the

^W^t list. According to the Vrittikdra we have two forms
fg-qT^ and f^rTTefl. See ft. -note.
'The poet menns that elephants, who were so strong that they would
have broken their foot-chains, were kept on their spots by the mere rope*
tied round their necks, because the ropes were very firmly tied to the
sandals on account of the grooves being so well-adapted to them; and
because the odoriferous exhalations given out by the sandal trees were so
charming to the elephants that they did not tear off neck-ropes.' S P.
Pandit.
SU. 49. ff^ R?^^ &c — STRJ^^ î

'Tfm Rs^pra becomes dim;
Malli. derives this with the affix î^ which takes the Atm. option-
ally; 80 according to him the form q^^nrf^ will also be correct. Bat
according to the Bhashya, which is followed by Kaiyata, Bhattoji
and others, f^^îs to bo affixed to oJTIf?T and words with the affix yr^
( i. e. 3TT ) a»id w^^^ to the other words found in the list ^n^firr^.
Hence ^^^ is affix and qîq% is the only correct
the only correct
form. ^n% — Even of the sun. When in the winter solstice the sun
apparently moves from the north towards the south, the heat is
mitigated. So the poet fancies the southern quarter to be invincible,

since even the heat of the sun is subdued in that quarter. rr^STr^
in the very quarter the P4adya8 found Raghu's irflffq unbearable i. «.
it did not diminish, qry^s^r-' —
The derivation of the word given in
the com. seems to be an interpolation. For vq'or^ being a f^^ affix
—
Caoto IV. ] (107)
oaght to disap pear in the plural by 'erîST^ ^55 P&9- I^- *. 62. — '
Malli. has correctly applied the Sutra in other places and he could
not have misapplied it here. It may be derived after Bhattoji
TP^f^ rrsrr ^J^'S-^: ^^^^ ^\^^'- ( well-disposed towards ) quig'-qr: ^^ê
partisans of Pindya i. e. his people ( warriors ) — ^%j ?Tff-fT?^TW?
m: 'TPis^^r fm TR^^ I «T^^ fm^m^T^Sid. Kan. P&ndya is the
name of a country in the extreme south of India and lying to the

south-west The mountain Malaya and the river
of Ohola-desa.
T6mraparni fix its position indisputably; cf. Bal- Bam. III. 31'
Iq the time of K&lidasa it must have extended from the banks of
the Kaveri to the shores of the Indian ocean, as he says that its
capital was 'Serpent town'( ) which must be the same as

VI. 59
Negapattam ( Nagapattana ) 160 miles south of Madras The town
of Madhurfi was founded some centuries after by king Kulasekhara^
The holy island of Rdmesvara belonged to this kingdom. The
Mah. Bhdr. speaks of Kum^ris in this country which evirlently
seems to refer to Gape Oomorin and shows that the principality
at one time included part of the Malabar Coast, as independently
testified by a Greek writer. In the same work we also find men-
tionmade of a mountain, Rishabha, in it. It is very likely a sum-
mmit of the Malaya mountains.
Si. 50. tTr?T°ffg'Hg ^gT [
—Timraparni is a small but celebrated
river flowing past Pallamcotta and falling into the gulf of Man&r
near the small town of Punakail. The place where it joins the sea is
famous for its pearl-fisheries. Here the poet speaks of the union
of the sea and the river^ his wife, leading to the production of pearly
treasures, which constitute the glory of the land, ^vhi gpc^ see —
Malli.; or g^ST ^ €R: f?^<f^^^ I
^RT: ^^J^'i —The point of simi^
larity is whiteness— real in one case and supposed in the other.
S'l.61. Rff^ — having enjoyed their scenes and produc-
t. «.,
tions. ^rTTlf^f —The simile here bad as far as Raghu conerned

is is
since he was never given to ff^PErF^r: — of South.

lust. »• "• t^ê
H |i^
t^j<if — The two mountain chains in the country of the Pandyas.
They are the southern portions of the western Ghats. The Malaya
is also reckoned to be one of the seven Kulaparvatas. The Rag.
and the Mv. tell us that the slopes of the Malaya mountain are
encircled by the river K4veri, In the B41. R4m. the mountain is
siiid abound in cardamom9,pepper,eandal and betelnut trees, which
to
are all found in abundance in most southerly India. We can
therefore safely identify it with the southern portion of the Gbdts
n08) [Canto IV.
running from the south of Mysore and forming the eastern boundary
of Travanoore. K&liddsa in this si. calls the mountains Malaya
and Dardura the breasts of the earth, and Dandin describes the
southerly breeze as cool with the embrace of sandals on the sides
of the mountain Dardura. The two mountains are also spoken o'
in one connexion in the Mark. P. Dardura, therefore, must be that
portion of the Ghjts which forms the south-eastern boundary of
Mysore. The sources of four rivers are placed in this chain, viz-
KritamSl4, Timraparui, PushpajA and Utpalavati.
S'l. o2. ST^5rf^^»T:— ^1?R?T?«fri^T^: \^^î T^ I sfHERr-One of
the seven principal chains of mountains in India. It is still known
as Sahyi'vdri and is the same as "Western Ghats, as far as their junc-
tion with the Neilgherries north of the Malaya.
9T«^'T^ — reached
or crossed. The two S'lokas form a
^^.
S'l. 53. 3T7fi^: —
"3THt^ is originally the face; and meaning then
the edge of any sharp weapon, it signifies, like the Latin acies, the
sharp edge or edgelike appearance of an army in march t. e. a row.
In classical Sanskrit the word only bears one signification derived
from the last, viz., that of 'multitude' or arwiy." S. P. Pandit.
f«r?I^^: — marching. STTTFrT: — 3TTfpcT: s^TTI'ff- ^^^ other side, ». «•
tne West ( said with reference to the East ). STTTT'î: the westerner'
( ^Ftôir: Vail. ). Konkan is the name of the strip of land between
Bahya mountains and the sea, particularly the portion lying between
Daman on the North and Goa on the South. CPTr^cffr frrt: The —
Rama referred to here is Parasur&ma. He destroyed the Kshatriyas
twt-ntyone times and then made a gift of the earth, which was his
by the right of conquest, to Kasyapa, as dakthini in a sacrifice-
After this Parasur&ma wished to practise religious austerities.
.But now he found himself in a fix, for no merit accrues from
penance practised on another's ground, aud all the land thea
available in the world belonged to Kasyapa. So he applied to the
ocean for space. The ocean told him to raise land by removing the
water if he could. This was no difficult task for a warrior like
Parasur&ma. He took up his bow and shot an arrow, with the result
that the waters of the sea receded from the vicinity of Sahyadri,
relinquishing the maritime district, named Burp&raka, according to
the Mah. Bhar. Bee also the passage quoted from the Msh. Bb&r.
in the foot-note.
The traditions of the Peninsula ascribe the formation of the coast of
Malabar to this origin and relate that Paras ur&ma compelled the ocean to
retire and introduced Br&limanas and colonists from the north into Kerala
-
Canto IV. ] ( 109 )
'
or Malabar. According to Borae accounts he stood on the promontory of

Delhi and shot his arrows to the South over the site of Kerala. It seems-
likely thatwe hare proof of the local legend being at least as old as the
beginning of the Christian-era, as the Mods Pyrrhusof Ptolomy is, probably
the mountain of Paras'a or Paras'ura'raa. ( See Wilson's Viahnu Purina
p. 404, Note 21 ).
S'l. 54. >nfn^ &c. —The women were struck with terror at
the sudden appearance of Raghu's vast army and gave up decorating
their persons. %?:^gfJfMd r H — Kerala is the ancient name of the
whole tract comprising the districts of Oochin, Oanara, and
Travanoore. Dandin says ( see Dk. UU. 8th ) that the king of
As'maka or hilly country incited the kings of Kuntala, Konkana,
Vanavasi, Murala, Richika, and Nasikya, to rise in a general revolt
against the king of Vidarbha, and it will appear that Marala is the
name of Kerala. The positions of all these countries except-
As'maka are definitely known and cover all southern India except
Traranoore. Hence it is clear that As'maka must be the old name
for Tr&vancore. This is confirmed by the fact that it is called
Kuta by some Mahomedan writers, which means the same thing as
Asmaka. The principal rivers in this tract are the Netravati on
which Mangalore stands, the Sarasvati on which is situated
Honawar, and the K41inadi on which Sadasivagad is situated. As
the first two rivers have their distinctive names, the last must be
the same as the Murala referred toby Kalidasain the next SI. and by
BhavabhSti in his Uttar. III. This is the principal river in Kerala
and hence the people were sometimes called Muralas. From the
description in the Raghuvams'a and the Kathasarits^gara, it appears -
that Kerala meant the strip of land between the Western Ghats
and the sea north of the Kaveri. Popular opinion also fixes its
northern boundary on the south of Konkan. In Hemachandra's
gloesary Urga is given as a synonym of Kerala.
3T9y#r^ —
3Tc?^ seems to mean the locks of soft, curly hair flowing
on either side of the female face. Cf. VI. 23, VIII. 52, 51. ^^tîjf^.
^r^:—irmf%>Tt^% ?ft irfeiRf^r: i i;«ir?srm^fvr: 'fôrgf^f^vr: i We may-
take this as an Ab. Tat. because Pan. says 3Tl%T^fq^: !nff?"R ^ ^'^ftlrl^ i
which shows that he prefers the Ab. with in%ffll^. 3T^'îTRTRI'q«3"'^-

irrm'Î?-* ^wr^rirrJ^: ^cis^qrraf^^^cr: l
The remark of Malli. on thii
^^^T ^[f^fTt THHT^ &c. seems to be an interpolation. Hindu war-
riors are nevêr described as pursuing women, far less frightened
women; and Malli. who himself gives the prohibition îj^î^^îTP^'
^\^ &c. in his com. on VII. 49 is not likely to make such a
(110) [Canto IV.
remark. What is meant is this — So vast was the cloud of dast

raised by the army over the whole country of
that it spread
Kerala and the dust settling on the heads of the women in it
served the purpose of scented powder which women apply to
their hair.
81. 55. g^fi r &c- —

For Mural4 see note on^cT^Tlo, preceding
si. This implies that the breeze was cool and fragrant. ^r^rPTPTPi
^KT'cTrfff ^rrr: ( which ward off or resist); ôTHt ^TfT: W^THJ- the
armours; the appearance of ^JX first in tho Comp. is to be accounted
for by referring it to the JT^^^lÎIf class which is an 3Ti^rnT*riT
and by reference to which, according to the Vrittik&ra, any
Tat., not actually explained by the rules given, may be
explained. H^f^q^TF^nrr^ — TJt ^R^fTS^^:- ^*'- that by which a
garment is scented; a kind of fragrant powder of a yellowish-red
oolour; cf. iT^tJiqJfT^H^fÎfJT &c. Rat. I. p. 11. 3Ti%mT?fT ^HF ^^
3T?l?^: I T?fm?a?»I nr^^Trr ?TI^
arq?^: For the component parts I
of ^^^]^, according to the Br. Sam., see ft.-note.
S'l. 56. ?[ ^ HI Hr-3^?T ^nr^ ^l^r. horses. «qTfTr«^— Malli.

translates this by irî^cTI^ which must be understood in the sense
of 'moving about' and not 'marching on for battle.' For the poet
seems to describe here | halt and not a march, as is clear from
the next si. and the word nTl^cT is & gentle sound. It may
better be translated by 'grazing.' The horses, of course mailed, wore
let off to graze by the riverside or so. &« tTTcTT^t Î^^t "T^jfr^g^ —
n^cTT?q: probably a kind palm; a Oomp. of the
of gigantic
TFsrSf'fTTrt or JT^^sqH^rK gro^P- 3T>-2f?j;qrT- This implies the vast-
ness of Raghu's cavalry. For the rustling noise produced by
the forests of gigantic palms was drowned by the jinglings of
the armours caused by the gentle motion of the horso8, whose
oambor, therefore, must have been proportionately great.
S'l. 57. gji C r

< ^* ->T — ^^^ properly means that part of the
trunk of a tree where it branches off. But the date tree being a
kind of palm does not branch off but has a stalk and leaves. So this
probably here means 'the top of.' This shows that K&li. did not
know the south personally; for the date tree does not grow in the
Konkan. HfrsrrcgTFvjij— ^R fr. 3^+ ^ + ^5j^ ( >?rf ) the pouring
out of. Here it refers to the act of pouring and not to the thing
poured out. For in the latter case it will be difficult to account for
the ^ at the end of the compound, the rut being separable from
tho temples. See note on si. 45. 3?(rxr»-T: — ^r- Roxbury think
*CautoIV.] (Ill)
that the Punn&ga tree is a native of the Ooromandal Coast. It
seems also to be a native of the opposite coast. Rir^rs^jTr^ — RIÎ

^T??t gî^*r^t lit- 'needle-moathedj' bees.
S'l. 58. 3Tf^r?r^— 3T?'ll?nTfT fctr^îg: open space. f^^~m&j
be taken Ri%^; so it is related. Or we may place f^w last-^-q^ ^^
^fr I%?r-taking it as a sign of 3fq"^T- ^RT^T-See the allusion under
SI. 53 —
(nmWR^ff^n &c.). ar^TFrr &c. The Inst, here is ^x^- As
the sea could not have given the tribute in person some such dis-
guise was necessary.
S'l. 59. ^%^ &c.— See Sanj.j3?^mfH ( "oun )
or trîK^ti::
o^Tpf^^HcJSMTR 'Tr?iT'3^ I
On which
made by the tusks of
the cuts
infuriated elephants were the distinct marks of prowess ( t. e. a
writing commeiflorating his victory ) Or we may take ST^jTiof
as the p. p. and transtate: —
'On which the visible marks of victory
were engraved by the tusks &c.;' or again, f^^j ^^^%S^^{^ I%?»I-
p^^'T:, the indicator of prowess; sittW i%^frB^Ti: sq^ff^^jT^^piy: l
iTWiTT^^Tc^rorftT 'Tf ^ cT«fTT^: 'which

5^TÎ%^tT^?af"^' wa(5 a
distinct indicator of prowess because marked by' &c. nr^*?^ W<. —
a mountain with three peaks. The one referred to here must be
a hill in the territory of Trdvancore. Kfita or As'maka is the
ancient name of Travancore, and hence it is possible that Trikuta
may be one of the mountains in that country. This is distinct
from the Trikuta on the top of which Laflka is described to have
been situated, though Vail, paraphrases this by '^c^TrrrJT^'-
8*1. 60. «Tr^^?5f7r^ —
These are supposed to be the ancieu-
Porsians or inhabitants of that part of Persia which lies nearesi.
to the Indus. See Wilson's Vish. P. p. 176 note 3. ^x^'^rR'^
by the knowledge of the real nature of the individual soul and its
relation to the supreme soul of the cosmos and the Supreme spirit.
This alludes to the Hindu doctrine that ^y^ or final emancipation
is not possible without Tattvajnana. ^^r^^r^l — Malli. eays that
Raghu preferred the land-route because a voyage by sea is prohibited
This does not seem to be the correct explanation. The simile
seems to suggest the true reason. A
man can overcome his toes,
the passions, only when he has cTt^Î^. So Raghu knew where
the Persians were really weak ( ». e. had fix^^r^r of their weakness ).
He might have thought that he could more easily defeat them on

land and so undertaken a march by the perilous and circuitous
land-route.
S'l. 61, ^TqRrg^crna'Rr^—The Gen. here is emphatic. He did
not suffer the glow because it belonged to the lotus-like faces of the
(112) [Canto IV.
Sinoo K&li. applies the term yavana to the ancient

I'avana ladiea.
PerBians (and the other tribes on the North-west of India) it is
clear that the term was not restricted to the Greeks or lonians
as some "Western scholars suppose. *Ivj»t^^ The flash imparted hj —
liquor. The invasion of Raghu struck terror into the hearts of the
Persian ladies, who, though they were habitual drinkers, gave up
drinking wine, so that their cheeks lost the usual glow of liquor.
—
^prnTT^ the young, i.e., the morning sun. This is added because it i»
the morning sun that gives the reddish glow to the lotuses. This
serves to bear up resemblance with the red flush imparted by wine.
3T'^T'T &c. — out of the proper ( the rainy ) season i. «. in autumn,
when a sudden appearance of clouds is not expected. Raghu's
invasion, too, took place at a time ( i. e. in autumn ) when the
Yavana women were in their best spirits and did not at all expect an
invanon. For a similar idea, cf, %?^§fum"<%?^T^ ^T^rr^TH^lfTnT: I
SI. 62. 95??: — 'Tlfrn%j irregularly derived from g 'to become

full, to move, to injure', + 5W; 'tumultuous.' q|TurT^:_qî:jrjf|.^: ^
^^T^^vq'^: —The special feature of the army of the Persians was

their cavalry, and so they are spoken of here as 3T»^^vhf:>
like the king of the Kalihgas who is described as ifSTiETrvT^ in S'l. 40,
and the VaDgas as ^mi%Ri?!T?T in Si. 26. There is a distinct

reference to the cavalry of the Persians as being their speciality in the
Mudra. "Jrî^: T^mr?»F??ig':'r^c7: qTTîq?rwr^: &c. I. 20; see also
infra V. 73. In fact the Yavanas, inhabiting the North-western
frontier of India, were strong in their horse; ef. ^•. \m^^î\\
V^^^- ^ TfT'^fl^fiÔTfT^nET '^^5T»^^'~I^^ ^^^\^\ JTlf^fT: I Mai. V. p. 105.
mfr^fîf?! &<^.— ^# Me Sanj.

f^^rj ^^[tj;] ff^?Ti: ^f^5««i??T ffh- i
JTfhncTT 'T^TT ^1 qfcT'fmi:; warriors on the other side, i. *. the Periiaus.

This seems to show that though clouds of dust were raised here
Raghu*s skilful marksmen could still hit their enemies, while the
Persians were confused, being blinded.
B'l. 63. >T3rr"T^^:— *W% ?!% ^^: that which injures or kills,
a kind of arrow with a cresoeut-shaped blade, generally made
of steel. ^q^fir?iiH ^=1 ^S^:--^»Tyj'5T ^riJj ^% ^.-i Malli.
explains this by referring it to the i%«»Tri^ class; but the word is not
found in that list. We may therefore explain — ^q^far ^RTu'^ \f\^-
^f^ having beards, ^^r— ^ ^cl'TmilT ^ nr<^ *r<Î

iTl%Jl?c^ T^?T
%\^ ^\ I ^raTJ^rt? — The bearded heads of the fair-skinned Persians,
with the scalp clean shaved, well resembled the honey-combs with. a.
clustering swarm of bees over them.
Canto IV. ] (113)
SI. 64. aTT^firT &c. —This indicates that they did not wish to
continue the fight. % ^TTT ?I5": — approached him as their protector.
A Sanskrit idiom which means 'sought his protection.' ff See Sanj, —
Or we may take it arf^TK^
—
'certainly', and construe fTfT^R^t ^{**T:
irmqrclimT^r ff JT^tT^n^-here 3Trc>r3; may mean 'soul', high-soul-

l
ed men; or 'effort', men of mighty efforts. It is impossible to resist

such men, and therefore submission is the safest course. Cf. *3n?iTr
?Tc^T ^ffrtf^: ^fviTft ^^ ^BiT ^ ' Amara.
SI. 65. f^^2f?gr —^r with ff is AHm. when its object is in the
body of the agent and not a part of the body, by the rule ^^^«i &c.
Pan. I- 3, 37. See Sanj. Thus here sq-q being in the body of the^j^^ or
agent, and not a part of his body, we get f^JT^T^. For farther discus-
sion of this point see Sid -Kau. on the Sntra. 5Tf^;TTr;TrH-3Tr%^5
r^JTTM 3T[%^??^rr% best kinds of skins. Cf, ^r4t sficfr ^fff g- fr^c^r'iTi'^-
^«."^^l ^^:^^—^^ 'TTffTm f^«r'- a circle; a bower of. The regions ta

the North-west of India are still known for their luscious grapes
and other fruits. 5^^^?!; '^f^'Sf'jmg f H TI?: I cT^ ^3"^ ^13; 1 ^cT^r
^^^tlt \mm-- I Ohar.
SI. 66. In this si. Raghu is compared to the sun, his arms to
the solar rays, and the kings he dethroned to the moisture sucked up
by the rays of the sun. ^rr%fr^ (^ê quarter ) presided over br —
Kubera, i. «. the north. ^^:— ^FcT
\^\ 3TT?H%?5^: The rays of the I
sun are compared to the bright arrows shot by Raghu in a battle.

This indicates the agility with which Raghu discharged his arrows
as well as their immensity. sj^r*^l^ — By this the poet refers to the-
whole tract including the north-west, the north and the north-east,
^^rc^^— The idea of lifting up is involved in both the instances.
It is supposed that in the summer solstice ( srTfTT'T'T ) the sun goes
towards the north to dry up moisture with his rays, and in the winter
solstice ( ^^cnr^PT ) he goes towards the south in order to pour the
absorbed moisture in the form of rain. Cf. si. 39.
SI. 67. 3?*.?^*?: — 3TtTJfU«^T wr V(^•^ i rt?^— This may not

necessarily be the Indus, but some river in KasLmere, as remarked
by Malli. Oh&r. reads ^^ for j%?5 ( while Sum. reads ^^ ) and
remarks that it is a pond in

of Kas'mere, which is
the country
a mere guess. been conclusively proved
Tiiis has to be the Oxus
by Prof. Pathak (see Ind. Ant. Nov. 1912, p. 266) and is probably
the older reading. M-^5H: — by rolling on their sides and
Stretching their limbs. It is thus that horses are relieved of their
fatigue. PJiTfTg^^'^rcr^ — (1) to which filaments of saffron were
R. N. lo
(114) [
r'liiifo IV.
sticking or (2; to tho muueH of which eaffron was Milking, if,

—
however the reading hs ^5(T^r^, the first sense alone is possible.
For either %^^ or %^f is correct wheu the meaning i« 'pollen' or
(llaments of flowers; but when the meaning is 'the mane of a lion'
lor horse) mj^T alone is the correct form. Thi .:1. shows that the
horses were quite refroshetl and were now ready for fight again.
The horses are especially mentioned here because Kaghu had to
make use of his cavalry in fighting with the Persians who were also
3T)^9T^T«T aad so the horses were hard-taxed.
Si. f>8. f«rrffY'^PTTfl[ — the white Huns or Indo-JS-vVthians who

were established in the Punjab and along the Indus at tho commence-
ment of tho Christian era. See Wilson's Vish. P. Vol. II. p. 135.
They evidently belonged to that nomadic tribe of the Haus who lived
forsome centuries in the plains of Tartary and were a great scourge
to the Chinese and Komau possessions. gFTTiR^ &c. — aTl'tt 'Jl?5"R?^-
r^r?f?T; seo Sanj. The Iluna ladies had given up drinking which used
to impart a red flush to their cheeks. But now that their husbands
were killed in battle, they slapped their faces through grief which
reddened their cheeks again. Thus Raghu ordered back, as it were,
the red flush on their cheeks. Malli. suggests the alternative
construction ^]^^ STT^TTT ari^f ^?^ of which the red hue was an
indicator ». e. it became as it were a writing to keep up the memory
of Raghu's valour.
SI. 69. 5ffn:^3TT:— In the Sab. P. of the Mah. Bh4r. (XXVII.

22-3) the Kambojas are said to have been conquered by Arjuaa along
with the Daradaa, after the conquest of Balkh. They must have
inhabited the Hindukusha mountain which separates the Gil jit valley
from Balkh and the adjoining country, as its Kafirs, according to
Elphinstone, still call themselves Kamoj, and probably extended upto
Little Thibet and Ladak. Their country was famous for handsome
horses and shawls made of goats', rats', and dogs' wool, and abounded
in walnut trees. In the great war of Kurukshetra they are said to
have fought on the side of the Kauravas. According to the Pnr&Das
they were originally Kshatriyas but degraded by the omission of
the necessary rites. STfnfT: (1) the —
trees bent down being
pulled down by the elephants; (2) the kings bowed in submission
to Baghu.
S'l. 70. ^TT^ — Horses of the best breed, gip-: — tîgh. I* will
be better to take ^
as compounded with ^fYciri^T^: and read
IW^*) th® whole word would then qualify ^q^f: (presents including
— —
Uauto IV. ] (115)
lofty heaps of gold (joins ) and will thus improvo the nense.'
^"T^r: —S'q^PT^ |?5Tcfl what is presented respectfully. ^r%^r:

pride, arrogance. The root j%=g^ with g^ means 'to be pufEed up
with pride.' Compare the use of the root in XVII. 43, n cT?'TII%f^%
q^: The pcet means to say that
I
though Raghu got wealth from
every quarter he did not feel proud or conceited.
S'l. 71. ST'^^p^fT' tifi —
marched only with his cavalry, as it
would have been very inconvenient for him to take the oars &c. with
him on the mountain. ?>|3Tf%7 — This shows the vastness of his
cavalry, ^rg'lf: i. e. by the horses' hoofs. The mass of dust raised
from the mineral soil was so great that it seemed to augment as it
were the size of the peaks as it rose above them.
S'l. 72. ^^^sf^T^Rr^ — ^Tf properly means that quality of the
mind which does not allow it to be flurried or perplexed In times of
difficulties or dangers; hence, fortitude, courage; or ^f^ ihay mean
sq^^fjf, deeds of valour, exploit. The lions were equal in valour with
the army and were not frightened at all. Ir?ar^q" The din and —
bustle of the army. ST^jyrT^ —
The idea of negation is prominent
here ( 3T#tîT ^RT^ being equivalent to ^^^\ Tr^cfri^ ) though the ^-^^
is compounded. See note on I. 21. 3T^?yrf5ff^ is used he ein the —

sense of 'a glance'. Oharitravardhana and Dihakara interpret the
passage differently. Dinakara says q-^?:^!?^ f^^'STrf^Tlr i'^ ^^TfrR^r
5?q ^T^ qc(t cTis"^TRt Qf T§ R^rerr^Tt i%fHt %-^^f?yTf#':^^<prA '^^^ <T%Tr
5«rT qKf RTf f^T^^ W^l^rfr<flrT. He praised the bold glance cast by the
lions turning round &c. Yallabha also construes the passage like Din.
but takes si^t^H' as qualifying 3TÔT%cT'=[. This way of takiut^ the
passage is better no doubt, but then the difficulty is about the subject.
We cannot get it from the context as Ohir. and Dinakara propose to
do, since there no attribute referring to ^5 in this
is s'l. For nearly
the same thought cf. S'is'. XII. 52.
S'l. 73. HTO'^^r: —

RiTT is a rustling sound. This indicates that
the breezes were gentle, ^f^^^ &c. —
This epithet shows that the
breezes wafted musical sounds. JT^r^fr^nTT^ — implies cooIneKs in
the wind.
S'l. 74. ^f^r^ff^^jpr:— ^^5T?rqi?JT^ ^f^: fr. ^513;+ 3T
|T%
i(^) 3Tiq^^5t. ^rffff lit. means hence the surface, fffirfr
'the lap;'
properly means 'to which other qualities are imparted;' hence, here,
scented. With their surfaces scented. sfTPT-ni'i^k (in the navels).
These two slokas show that Raghu's soldiery had all the comforts'
there that might be desired.
(116) [ Canto IVc.
S'l. 75. ir%«r— qifrg «t?tr fPT?Tn% ti^^rm; ae« tupra si. 48.
iTr^>ir?r:— The other form is aft'STR. ^T^fT^-at night, if^îfq-^fy:—
^ r«[?m «?: 'TRTt cTi sT^fr:; fiT^ârRr frf^^r:; ar'sr^w ^rr ^Vj
ar^ffrfqqJT: lamps requiring no oil. The mountain Himalaya is said
to have on it potent herbs endowed with the power of emitting
light at night. See Kum. I. 10. The herbs here serred as watch-
fires to Eaghu's soldier:^.
S'l. 76. «^4Y^»iH^%5 — The presence of the word 3og? show:

that even the hardy and ferocious Kir&tas had tied away through
fear when Kaghn approached them. They ventured forth from
their lurking places only when they found that Raghuhad left. Since
the word ia emphatic it should not have been compounded. Jfvrf^^H —
the height of the elephants. For a similar idea compare fSR flrTI^ —
Srf^^nf^^: 11 S'is'. XII. 64.
T%rrd>-2T:— The word ia derived as f%'c vT^^î^m-iTrTTlT ^^^^mv^T\^-
one who lives on the borders of hills or mountains, a barbarian. Cf.
Tii^F^TRim'^sr?^ ^^\^ ^l?r: fsp^ret; W.?i\ Rat. II. 3. The Kiratas
\
are hillmen living by hunting and clad in a dress made of peacock's

feathers. See Kum. I. 6, 15. In the Puranas they are mentioned
along with Mlechchhas, and are described to be of a dark complexion,
dwartish in stature, with short arms and legs, projecting chin, broad,
tiat nose, red eyos and tawny hair. In the Sab. For. of the Mah.
Bhar. (XXX. 15), Bhima
have conquered seven Kirata
is said to
chiefs from Yideha which included Oarabhangi and part of Eastern
Nepal. In another passage they are said to be ferocious bow-men clad
in hides and living upon fruits and roots. The Kir.'itas therefore seem
to be a tribe of mountaineers inhabiting the sub-HimAlayan regions.
S'l. 77. 7^ffr^- — With the mountain tribes. For derivation

see Malli. Bhattoji Dikshita prefers the reading grtffr^: and explain.^
n^l\ ^?r: T^ffr'7r:> ^rifft'TRrm"^ qrfÎTr; l rr^.— refers to the seven
tribes (that inhabited the northern slopes
Himalaya). of the
See next and notes. JTITT^-steel arrows, c^xpjffîr^ &o. shows
Si. —
the great skill of the mountaineers in throwing stones with slings.
S'l. 78. —
^c^f^qirir^ The Utsavaaainketas were a hill-tribe liv-
ing in Ladak (its Sankrit name is Hataka), north of Kas'mere or in
the north-east region of Ladak which is watered by the Keener, and.
which is said to be the mythological abode of the Kimpurushas, the
Kiinnaras and other semi-divine beings. According to the Mah&-
bh-Arata, Arjuua, at the time of the Rajasuya sacrifice performed by
—
JantoIV.} (117)
Yndhishthira, conquered these barbarous tribes who are said to have

been divided into seven classes. Of, ^{^ jrT RT^r'T ^?^'?t^fTT%^: I
»Ttnig?^^^%clR^?TrfnT "TTO^^: II Mah. BhAr. Sab. P. Adh. XXVII.

Ritfig^d ^^—implies that they were vanquished. ^r^fTfTT^
3TT%?T^y'^fTr%?^TfTTir; a connected account. S^TfT'T is the loud
narration of a connected account. ChA. and Din. take it simply
in the sense of 'songs declamatory of glory.' According. to some
it has its meaning here, viz. a panegyric song begin-
technical
ning with such words as ^qffT &c., full of alliteration and composed
in the M2,lini or other similar metre, &c. See PratAparudra quoted
in the foot-note. f^R-^TR; —fi%fTr ^TT- a Nityasamasa. They are so
called because they —

have a deformed body the face of a horse with a
human body. See Wilson's Vish. P. Vol. I. pp. 82, 87.
S'l. 79. q-^;^qr^— .^07 tfî^ q^^qtoT. By the rule 'iTfaiF%i;3rr%f-

•i-^rs^' the added in the sense of the present tense. And when
affix gr is
80 added it governs the Gen. case. Following this reasoning, many

commentators adopt the reading tj-f^tj-{^?j. But there seems to be no
necessity for changing the reading. The rule alluded to above does
not always prevent the ^ from being added in the past tense; e. g.
g;fwm 'T: ^TTgV: I We

have a ^Tqqjq-jnnr for this. See PAn. IV.
3. 115. g-qnRqrf^r^— ^TCT^n^ 'TTf^S'^'Tf ^5 l Malli. dissolves as
^^TR'TJ^PT: ^V^^\ "^f probably to avoid the application of the rule

^
^ff*rf^^^^ ^^^r^r '
forgetting that qiR is treated as an exception
in the Bh^shya, ^\K'- — (1) riches; (2) power.
S'l. 80. 3T^-^^— ^r*TR"JT| : 3T^T»-'T:.not to be shaken oS i. e.
imperishable, q ^^yj^q — j^j^^j^q-

5*n^ This alludes to the
Jft^T'Tf'i I
^tory of RAvana's lifting up the mountain KaiLlsa, Once while

E4vana was passing in his aerial car (called Pushpaka) which he had
taken by force from Kubera, its motion was suddenly arrested as he
approached that part of the mountain KaiUsa where lived Siva and
PArvati. He was told by Naudi to leave the mountain. But Havana
in anger uplifted it with his arms. Thereupon Siva pressed the
mountain with the little finger of his left foot and compelled Ravana
to relinquish his hold upon the mountain. See Ram. Utt. K.
^fhsp^gi^?? &<5- Here —
the poet gives the reason why the mountain
had^to be ashamed of itself. Raghu thought it beneath his dignity
to advance against Kailasa as the^mountain was once overcome by
R4vana who was a Brahmana^ and therefore was not worthy of his
superior prowess as a Kshatriya,
( 118 ) r Catnto IV.
S'l. 81. ?frir#rff?^ — Lauhity& is the ancient name for the Brah-
niaputrft. Raghu crossed the river ond re-entered India by the North-
caatern frontier where lay the kingdom of Pragjyotiaha. The an-
oient capital of Kfimarupa was at Pr&gjyotishapnra situated on the
LauLitya. yM^ TdM^qr: —The
t
lord of Pr&gjyotisha or the City of
eas(«rn atari. Seo Kali. P. quoted in the foot-note. Prigjyotisha,
is idenii6ed with the eastern-most part of India comprising Western
Bhootan and Eastern Assam. ^H f
gggi^ :
— qjr<75r?iT»j??a"?T^ jxTf
*f*^f1^3»TT: I As Raghu's elephants were tied to the trees they

qfaakcd and simultaneonsly with them trembled also the king of
the land with fear. For a similar idea cf. si. 69.
S'j. 82.
9TvnTrT«f &o.— trrrr^f ar^r vnr^^; arfr^r^R: ^rTm--
^W-T fT^^TF^ff^^ 3T^CTf^ ^ ?T? ^r?^ ^ I cloudy gloom ft without
rainfall ( caused by the dust raised by the moving chariots).
"T^rrf^f^r TtTT^: f%^^ stfÎ that in which there are flags displayed;
henoo, an army.
6'1. 8.3. ^n'*W<fnr^ — An important kingdom said to have ex-
tended from the banks of the Karatoyi'i or Sad.'mira to the oxtremitio-'
of Assam. Its king Bhagadatta plays a conspicuous part in the Ma-
h4bharata. In the Babh/iparva he is said to have fought with Arjuna.
for eight days with an army of 'Kirataa, Ohinas, and seafaring men.'
And in the Udyogaparva ho is said to have assisted Duryodhana
with an array of the Kir/itas and Ohinas. From these references it
is kingdom must have extended upto the Him4laya on

clear that his
the north and the borders of China on the oast. Further, Kalid^ta
speaks hereof elephants whioh are still found in the jungles of Upper
Alsam and the Dooars, and of the aloe-wood tree which,
according to Dr. Roxburgh, is a native of the eastern frontier; and
same inference. »T?^RI"'?W &c. STTW'^y^R-
this fact also loads to the —
^^^r^WTfji^rr^^: the destroyer of the enemies' army, Indra. 3T?qi^p=tT-
arr^lua-fTM^HMyqrfîny^-MrJT: I'ridi Oomp.; or 3Ti%JTcf arr^trTf^^RT
^^ a Jiah. The reference to the prowess of Raghti as superior evei:
to that of Tndra is very pertinent. It shows how Jllaghu's very
name struck terror into the heart of the king, of K&mardpa-
N'^T'^: —
With the temples split open {. «. elephants in rut. Be*
aupra si. 47.
S'l. — 84. imil^^n Uttarapadalop.

f*TTR:rrTf'T?Trfl[~"f»TRfi^ft t'i?
Oomp; the presiding
arf'in^'fn' 't^tTT deity} ^qfT^^rRrrffT.
arfvf^q^TI
^PfPl— The
frr'j^ I
orb of the splendour of Raghu's feet ^JT^fTf- ( ).
q^l^ — As Knghn's feet rested on the golden foot-»tool their Instr.

—
Canto IV. ] (110^
spread all fonnd. The poet uousidera the orb of laatre a=j the pre-
siding goddess of the foot-atool and the gema that were presented to
him a- t,hf; offering of tlowera made to that deity.
S'i. ô. rf^ — in this manner, fw^- — a habitual couqueror.

Bee Sarij.j this may refer to Raghu by the maxim f^\^^^^]^^^\^f '
f^^sqqîffqTff, '
or may CLualify ^: understood, as Malli. would have
it. i53r3J^^ —destitute of the umbrellas i. c. of the white umbrellas.
The white umbrella is an emblem of royalty and independence. Since
the kings were conquered by Raghu and made his vassals they lost
their independence and could no longer use the white umbrella, ?:^ff
—
f^^^îj This and the preceding epithets indicate the undisputed
univoraal sovereignty of Raghu. See note on ff^^qq I. 54.
S']. Hf,. f^^fâ^_^s^ 5f?jfP,f^ [>»^f^ ?f^ I The beat of all
sacrifices or a sacrifice for the universal conqueror. This is a kind of
sacrifice in which the Dakshina all his wealtU
sacrificer has to give as
to the officiating priests and in which the immolation consists of
five or two goats, f^ — is used here in the sense of ^^. ffîTRC
The dative may be explained as '
?jjT«ff^ ^Tf^^'^^fri.' *• *'• equivalent
to f^^\•, or r^[^%;ii, ftfniH^- ^TrfTT &g. —a proverbial saying. Cf-
3T^--3^T?% ^^^ I. 21.
S'I. 87. ^H -H I
—
•^ Wr??f'igrR ^ ^m ^^^ » sacrifice. ^rf'q-^ÊT'ifr;— l
FT%^Hf ^W
Mallinatha says that the king is here called the triend
I
of the ministers to indicate that ho and his ministers always acted

in perfect accord. See Sanj. This shows that the king and
his ministers were equally careful in attending to the kings. Cf.
^Tgw^S T? l^^fr m ^J^H\-^% ^ ^t^T^: I Kir. I. 5. iTcfâjîrfiT:— E^'

I%E7Tr lit. placing in the front; hence, honouring; respectful treatment.
a'TCnT^tTrfreR'R' — ST^fl'F is what is not liked; hence, a feeling of dis-
satisfaction; f^st^dlf^f^ 5iff^T^J3[ I
^Tf^T?^ 3?Tf5T^&c.; or, as Malli.
takes it, cr^r5T%?T
( ^3^) 5^^t#? the comp. being e? W^\-
N^Wifl**— Nt ffTf : r%r%f 3T^^«T% ^r^^fmi:; ( those restricte'lr
-"i
within a limited area, the harem); now see Sanj; whose wives *
had become anxious on account of their long absence.' Thi-i

indicates that the sacrificial session continued for many days -
n"?r^?rr^ — TI^riT^^rPr Trsn^^n- the vanquished princes. Here the poet

uses this word instead of r\^: as their royalty did not deserve pro-
minent mention along with that of Raghu. See Sanj.
S'I. 88. —
V^f*.^^ &c. The linear marks of flags, umbrellas k'-..
on the palms of the hands and the soles of feet indicate royalty. (Jf.
the si. f rom Samudraka quoted in the foot-note. The marks on the
( 120 ) [ Canto V.
bands of a universal sovereign are given in the following si.: —arf^r^:

JETirr»T: —A
^gî? ( mark the Saindhi ) is one who rales over vassal
kiugs and has performed a R4ja9uya sacrifice. See Malli. on II. 4.
5TWrT5Prfrf — obeisance at the time of parting. ^f?5^f^ &c.—
Malli. dissolves as t^w^'^ T"!^*^ &c.-, the Comp. should have
been i^îrq;^?^ &c. by the rule •
3T?'Î^flT'|î
'
but the rule is often
disregarded. Raghn's feet became yellow at the fingers on account
of the particles of honey and the pollen dropped down from the
.garlatds on the heads of kings. This implies that a vast number
of kings prostrated themselves at Raghu's feet.
CANTO V.
S'l. I. r\H^ — To him (the conqueror of the four quarters as descri-
bed in the fourth Canto). «Tt^ —See note on I. 31. f^'^'xrf^ — See
note on the word IV. 86. PTi^&c.— f^qfT: ^^rs^FTT??^ 'i(^ PT:^PT'i
Now see Sanj, irTrrif^^: — For the fourteen vidyas see below (V.21).
^f^ffflt?^ I —
ST^ For this sense rf. Kum. I. 21; Bhatti. IV. 1 &c.
The s'loka begins with the syllable fT which indicates the fulfilment
of one's wishes. Cf. Brihaspati— cT^H: ?r«?I%T%'!«^ m^'^ f^5?% ^J^H. I
fl%«fr ^m^ ^^^ '^qirr^rff ii
S'l. 2. ff^X^t^ — formed irregularly fr. ffôq + *???; see Sanj.
«f^^— what is intended for worship (a^tii); see com.; a respectful

offering to gods, venerable men &o., consisting of flowers, water,
rice &c. According to the tantras it comprises eight articles,
which are— wTq: 53R ^^Tlff ^ ^T^ «f^: ^cTOJcT^ ^^: HT:gT4^^^ 1
STSÎ^jf^^: irqprf^?!: II The Devi — P. mentions these somewhat dif-

ferently— ?t|b:^ÎJ3%: S^qfrvrfTr^ltHcT"^: 1 ^TRT'T: ^^t^HT^nff't
ffr^:, —
^?I^r R^r^: These two epithets explain why Raghu did
not hesitate to expose his poverty before Kautsa. Indeed Kantsa
reveres him all the more for this. See further on ( 16 ). ?g?Tfl^TnT^-
This shows that Kautsa deserved the worship. sff^ftPl. — See
(note on I. 53.
S'l. 3. f^f^:— This may be an TTT^fwrfi ( f^ 3fr^RT?M by
adding qp ». e. ar by the rute 3nmS3T^»f W-) or a ^^ô (grRT?ftffT
.^'. K^rÔ I f^^rf ffff: —See note under I. 13. fTffJTTTr^— ff??fT^
—a)
Canto V. ] ( li>l )
(that which is spread) gi% f^^:, when meaning 'a seat that is spread
on the ground' (for pious Brahmauas or aacetics who do not sit on
any other seat ). ff^fTT-" is the form when referring to speech (
detailed description )•, as in 3T(7 ff^tTTiT. The ^ is changed to ?r
by Pan. VIII. 3. 93. See Sanj.
S'l. 4. —STq«Tr: 3TJJ" the front R^^r^ffcT; a leader, the foremost of.
+l^f»dr^ —Those who arranged the Mantras or Vedic hymns; or
rather those to whom thehymns were revealed; cf. S4yana
^^ % |^f?T ^mfr srS]V ^t ^^ ff Or the Mantras referred to
' i
here may be those of the Atharva Veda, in which case we may

translate — <of those who are the authors of the mantras'; cf. I. 61.
^^fq^^ — ^^TrflT%f 11%^'F'T one whose intellect is as sharp

— <^ JlÂ-
I
as the blade of Kus'a grass, very acute or sharp, g^:

f^R^t ®?fr ^?JT^ JTT'sgT'H'; 'he is called a Guru who performs
the initiatory ceremonies ( 3-rr;T^^ ) and teaches the Veda.' (Yaj.)
There are eleven Gurus ( not taken in this technical sense
—
mentioned by Devala STPÎ'fsar f^ctT ^^fff wmi %^ Tf fTm; ^J^- I
^STwmr m?niTinm»T|V » ^m'^^- i^^^'^^ 5?^^ sr^r "Iri'^T^—

jtcti: 11
-%;T?f?^ HTf s^'cT'?^ The simile here is

I peculiarly appropriate. As
the world of living beings is wholly and solely indebted to the sun
for all its activity, its very life, so the disciple was fully indebted
to his preceptor for the whole stock of his knowledge, —knowledge
on which his future life depended. The King's question here is in
accordance with the precept < Hnôt 5^# S""^^' &c.
S'l. 3Trr~'a«d\ ST^n^r:— 3T??Tt s^WVIR^PfrT »T^fjr?'^^7??T fT
5.
3^^: s\^^ from §• and aff, sfST^ or the root 3T3" and 3T^. ^T^nj; asks —
a question mixed with hope, the expected answer being 'yes or no '
according to the form of .the questioil, and is translated by

*l hope that' &c.: see A. G. § 263. ^f%>^ f^^r ffm ^^t( The — \
saint would be exhausting the store of his penance if he had to use

his power of imprecation in removing obstacles or subduing
temptations; and hence the question of the king. ( See ft. -note 5 ).
For ancient kings considered it their duty to protect sages from
all sorts of disturbances, Cf. Kir. II. 48, ff yfk^wr°T^g: ff^r 't:
&c ; S'ak. I. 13, V. 14.
S'l. 6. sTTflT &c.— 3TT^;nTîT ^-v^ arrîT^r-vr: 1 q-jrcfr s^ ^^w.
^TS^^ÎÎ R^m: — Malli. takes this in the sense of armîq"; but

the meaning vr^ ( ' difference '
) will do' here, g q g^ ; —
see note on
3TTS^>-^: II. 48. qifTprr^lr-'Trt'- mffrn TI^T; that which sucks up
^noisture by its roots, ^hence, a tree.
R. N. 16
( 122 ) [ (Janto V.
'*^\^^^^^ rTfTrrj; l The Jj^q^ affix ^ is added to ^?^ and 34?t in the
flense 0/ 'love for' and 'strength' roapcotivcly.
^FTH^' ' TrffWI-Tt
Pin. V. 2. 98. So ^?^ when it takes sj loaoa its proper meaning
and has a te<!hnical signification. ^S'fc?" and ^<?rrÎ^ have the same
meaning; but m^^ is not the same as ^f^î^?; the one means <fond, •,
compassionate,' the other < one who has a child. '

ffrTrÎ^'l
3t^r«7T fr RcTff I V&mana. 'JTTfiT'nwr— ^TTnTf^TTR STrcfTf^T i^rw^Fcm"^

»TTTr — grfif^TRPTR^T harm, a mishap ?T?Tr:; cf- further XIV. 75-, and
fjT^v^î^T '*f^îr^r ^^m S'&k. V. p. 105.
S'l. H.
f;T?r»Trf>T^^:— f^RFT R'q[iTr«rf ?rw^: i
Properly a bath,
preliminary to the discharge of daily duties; hence the daily bath-
f^^rr— -gcifH ?rfT> \^^^^ ^T? fr. ^g with k + Si (^"?; added ^;^foi or
>Tn. It ia a technical term applied to the oblations .consisting of
water, BSfjamum &c. offered to the souls of departed parents or
other relfttivofl. See in/ra VIII. 86, Mudr. IV. o. ft^^^—Tho
dcceaiôd ancestors; as well as a class of divine beings known as the
Pitris, to whom every Br&hmaria has to offer oblations every day.
Tlio f'itiirt lire supposed to be the progenitors of mankind. They inliabit
celestial regions of their own. The original Pitiia are divided into seven
orders:—(1) %rr3ir:; (2) arfS^tTT;; (3) i(f^:; (4) a^R?r:; (5) 3irf|=n?-.i
(6) »|»^v[:; (7) and ^qr: Of these the first three orders are withoiit
i
form ( '*Tf<f?|t ) i. c. composed of spiritual, not elementary substance, and

they can assume any form they please the other four are corporeal. Cf. ;
Hv. m^ i\r^\m €^ fîjôrrs îSf: ^^\<\ ^^h^ % ^m <iin*ifjt»?: n

i According
to a Ieg(;n<l given by the Vayu P. and the Hv., the gods once olTendcfl
bralun'i. hy neglecting to worship him, and were cursed to be fools.
Upon their repenting they were directed to apply to their sons for
instrtiction. Being taught accordingly the rites of expiation and penancn
by tliem, llie gods addressed tliem as fathers, whence thf aons of god»
b<?c«ifi'! Ibfl fifsl Pitris.
5J'>^^T?rr|f?T—'The sixth parts of the rice collected

by the ascetics
due from them to the king were placed on the bank of the river
to b« lakoii away by tho royal officers. See supra, t^yt^gsiji: &c.
II. r)(., and foot-note thereon. Malli. justifies the ^rffa^J' i"
—
7^»7^9 thai Here ^^ is not an ordinal numeral, but means * the
sixth part' and so thoro is no difficulty about compounding.
The affix, a^^ is here added in the sense of a part ( t)rin<t ) >nd not
^[TTrjs^'by tho rule «»a:rH^Rp^t 5T =5r P&n. V. The Sutra '^qgoi'-
3. fiO.
( Pan. ff. 2. 11 ) forbids a (ên. Tat. with ^rn\^f^^\^^ (an ordinal

.
Canto v.] ( 123 )
numeral) and not with an 3Ts=qr???n?'T- Acoording to Bbattojr

Dikshita, however, many (who take ^5^7^^^ aa a Gen. Tat.) consider
thia as a slip of the poet. He suggests two alternatives: (1) ^'S^g —
Ê 3r^?J"<?y.- Loc. Tat.; (2) 3">I5T?*T^: ^^^ ^^^^^' 9TT^fTn*r^Flt= ^ce '
—
Man Oram a on '«rnir50T .' %^^ fr% For der. see Sanj. The word —
f%^?Tr is generally used in the plural. ^frtfrnrrFT —-Holy water=;
fffi»t water used by sages; HTT^liTiT^'r^rfl »^?n^? ^^ sft I
f^m- i
Or
ffr«T a flight of steps for reaching water called a (/haf] and as such
tirthas are constracted at different places along the banks of holy
rivers in India, ^r^ also signifies holy water. ^T«f 3TT%:Wt '8T^r'TT'?T'
SM. 9. ^^^(jr^ff^—^l^y^^q- qy^; ^n Sec

#ifTJ-rf[fr: ^ 3TrfT=^'=«T I
also ft.-note. ^r\K^'- —%cfr% ^V- ^5?T ^^'iir'T^ ^- ^t^- i
the nasal comes in irregularly (Pan. V. 1. G9 ). îr^: that which —

contains the grain i. e. chaff, husks. t{^\ =^g-ffT *TT '^ffm% ^pf i
^^
^ ?r?fr "^ fT?rcfTr% '^t^X- 1 and by adding ^ i%^) in the sense of
'deserving to feed on,' we get ^m\^\ see Sanj. Vamana, Haradattu,
and Bhattoji reject the reading ^^^r and adopt ^5^'' instead; so it
will be preferable to read qj^ffq^: here. ^vS'C^ that which causes —
intoxication ( ^^) or distraction; properly, 'what appears perfect
outwardly but has no grain within and thus becomes food fo'
cattle only.'It takes this name probably because it has got the
property of causing slight intoxication, stt ^^ it ^ — is eaten up.
The more general meaning of this root is '
to touch superficially,
to Landle roughly' &c.; cf. Kir. IV. 14; S'is', IX. 34} Kum. III. 36.
It also means 'to seize by force,' as in Kum. II. 31. tTRtI': For —
it was the duty of villagers to see that their cattle did not trespass
on holy grounds. ^ rtf q MvTP &c.— It is the duty of
i
^veij householder to wait for some time, before taking his meal,
to see if a guest is coming. Cf. î^^t^ ^ ^^: ^^\i^J^] ^RlfWlsF^H i
Sg^^'TI^^ ^T»r5f f^^*r ^mf«T^trX Mark. P. 11 ^fnr^nT— feeding or

ustenance of the body; for this sense cf. ?5lfiTft«?m^^ri; Kad
^^KTI^rf^ niay also be taken as an adj. qualifying ^Kf^^rm^r^^
which may be regarded as ^rmr i^qpf^^q; I hope the wild ^\^\^ corn I
'
and the other wild sources of the nouriahmeut' &c.

S'l. 10. f^^—
See III. 29. jj^r^ see note on II. 1. fir— g-^f. —
This gives the reason for asking the question Have jou been per- '
mitted' &c. ?rff"T^!T^§nT^— which enables one to oblige everybody:

which affords the amplest scope to charity of every kind. Or
according to Malli. 'which is the upholder of the other three
( 124 ) [ Canto V.
As'ramas or on which the other Aa'ramat depend/ See Manu

quoted by Malli. in support of his meaning. We may also quote
^rfwilT'q;! a^^WRtn: ^"^ ^p^'TTl^^R^jffT^n' Manu. VI. 89, 90

>TT'H»r^ —The religious life of a Brihmana is divided into four
stages: — (1) sr^T'^^ or the period of celibacy, which he oaght to
pass at his Guru's house in Vedic studies; (2) itt^H'T or the married
life, which he leads as a house-holder; (3) y iT "^ or the life of p ^
an anchorite, in which he retires to the forest with or without his
wife ( Mann. VI. 3 ) which is meant as an initiative ( see
see
—
Manu. VI. 33) to (4) ^?^[^ or the last stage, in which, all bia
passions being properly subdued, he may fix his mind on Moksha.
S'l. HffT: — of one

11. deserving of honour, respectable.
—fÎ^l?^ l%«Tr — the execution of a command, t^^îi^—
f'Rffnf'K^r
The words aod ;j?^^ govern the Instr. or the Loo. case.
iff^cT *it
^Tni^^ &c. — The of speech here according

fig. Hem. to is '$^:,'
v(^: fii^rcT^T^p'TI^j see K;iv. D. 11.275. In asking these queries Raghu's

observance of propriety is worthy of note. He first chooees the
most important person in the hermitage, viz., the saint and inquires
first afterthe welfare of his body and mind, then after his ascetic
exercisesand lastly after the well-being of everything connected
with the hermitage of the sage. He next directs his inquiries to
Kautsa himself, first with reference to his person and then to hi 8
purpose. The first line may also be translated as "my mind, eager —
for the execution of some command from you, i not satisfied by
the mere arrival of you."
S'l. 12. ^fq- — has here the force of J\^\ or disregard. Though
Kautsa heard the noble words of Raghu, he placed more faith in the
visible evidence of his poverty, disregarding his words; and so he
was f^c7T5l &c.f^lT^fhnRf RfrT —
with respect to the attainment of
his object. This way of restricting a general statement ( here
5#?fRT: ) is called f^«^^J;fTT=I•^H. ^rTfT is a ^qir^xf^pT in this sense-
cJ«3^?U'iai^Tr^*TT'T^c^§ qfcTT^^^: »• «• ffW, qR and 3*15 are wM^ in
the sense of indication, limitation, share and repetition; see Sid.-
Kftu. on P&n. I. 4. 90.
S'l. 13. ?Tr^^— welfare; filTTffî?*T^ ( V4rt. on Pau. V. 2. 101);
cf. infra XV. 41 ( ^ J?: ^k^\ '^^^\^^^^^ ^ctiIr); ^^ji?«^ ?nifl^-
*^^5W ^ '
®^^'' ^Î^' ^^- 3TfI>T^— Here ^ has the sense of opposi-
tion. Hence arjjvr means opposed to 1%^ and not merely
all that is
absence of ftif .
^f^^\--^^\ sff f7*Tf?'T€Î»5 This word is irregularly
I
Canto V. ] ( 125 )
formed, like ^5Tlc^r and others given in Pan. V. 2. 114. It means

'a 'dark mass of darkness.' irf^^ ^^fnT^cTm: Vis'vakos'a'
night' or <a
—
anr^T^ F. I. This reading, which is also noticed by Malli i*
^
,
perhaps preferable as it agrees with ar^tr in gender. &c. The —

fig. of speech here according to Malli. is 3T«Tt'c1^^m- This is after
the older writers on Rhetoric, according to whom whenever one
thing is cited in support of another, the fig. is 3T*IT^????r^. Cf.
Dandin quoted in the According to modern writers,
ft. -note.
however, a general fact must support a particular one or ticp. versa

to constitute an ar^l^^T'^re. According to them the fig. here will
be a fs-pfr aiid not 3T«Tr^cTT'^r^- For a parallel passage, see ft.-
note; also cf. ^^\\^ m^f^fT If cTTf^^^n^ '=TR?r'TT?5?'Tim"*ftl1srcTr^ II Mai.
S'l. 14. JT^^^^ — lit- those who are fit to be waited upon, to be
treated with consideration; hence venerable, respectable, q-^^w— c^.
3T3^rKm 'P'^t S^JPFTW^ m^ I
S ak. II. 16. *Tfr»fr»r— glorious or
illustrious one, cf.^[q JT^q'mW5ri?«Tm^^r
^^^^\^•. S'dk. V. 10. I
Malli. translates this by so he takes the word ^[it to meau

^l^^îiT-,
'
a portion of the world,' *rfT>TI»T meaning -one who possesses a verv
large portion of the world' ». e. a kingdom. ^\^ may also mean a
portion of virtues, such as ^qr, flf%i«J &c-j or of good fortune. Somo
take »Tf r^rirrTTT as one word, by your magnanimity. ' arfq-^TI^fri;
'
^\k^'. ^\^•^ (the position or condition of) stpiît^^^Tc^, as 'a saitor.'
S'l. 15. ^^RJTTôr — gft^%? 5TfRiT[5»a; ;

a ««f3/«-aoOTasa. According
to IBhattoji JT^^s^^qFlt^f^rr^m^: ^TC^ These two words are i —
purposely placed side by side with each other in order to make the
—
contrast more glaring. ?fr?f note the different senses of this word.
See 3*1. 8. Some take ?fr«^ to mean,' a sacrifice.' arrc^ô may also
mean forest-dwelling ascetics, cf. cTT: qg^^TRfTîq ^^^\l^^^J f|- ^. \
S'ak. II. 34. ^ci»q- — a stack. ^{mx.—i.e. the stalk with the grain on.
S'l. 16. ^trT% — This should rather be taken as an adv. qualify-
ing 5?i?rf%; 'well or very properly do you' &c. Some take it as
qualifying the whole sentence 3Ti%=^^r^ 5??5Tr% fR ^r\r[^ ?«7h &c.
This makes ??if?r an adj.\ cf. infra VII. 13, Kum. VI. 67. n^-
sRTf^T:—5?*r5!lcTr^T ^nr"^^: a paramount king. q^'fzjcfr^T^—see ft.-
note. The word ^^ is here used because the moon is supposed to
be a watery mass. Cf ^^^^^^ ijTf^lffT ^>?TfvfcI^r gf%cTr?c^^r '^^î
VarShamihira; ^ÎrRqfîfq^?^ ^5»T^:, Kum. V. 22; ^^^\\k ^\^^y.
^<v tmr 'i.c^r rîcTqj: I
Bg. XV. 13. f^Jthfr:— ffifr ijDiT f^cTcT M\ W
ffPfr: The possessive
I
afBx is dropped after words expressive of
qualities (by the Vart. ôr^'^^J.^r »rgqr %v\^:)\ f^^\ ^\\^\m ^^^ I
( 12G ) I
( Huto V.
in the of tbu w»r<l ff»»^|^, ffJT means snow' which is a ys^

(iSLUb •'
and not a 30[. For tho reverence in which the new moon is held
see II. 73, VI. 31; Kir. II. 11.
8*1. 17, —
ar^q may either be taken ^fj^?^ (entirely, without
any other object in view ) as Malli. seems to do, or 3Tf ^K&T and
construed with 3ig^. ST?F2T^»nT: S{]^^^\^^^^^J^ ^^n. »rt»^~Qn-
l^:—& Gen. Tat. like 3TJ^^r^; or m'^ ^î^J: i rTTrf?r?T &c.— pt:^«J
—
Gen. or a Loc. Tat. ^r^: A bird often referred to in Sanskrit
poetry as entirely depending on clouds for water to drink, cf. ^%j^^-
Îfl^^TI^m ^^- I
Hit, II. 3,
The Chdidha is not a fabulous bird, and what EJli. says iiore ia a fact.
It ia a "migratory bird which ia seen in India in the rainy aeuBon and
disappears in the autumn. It has a shrill but not unpleasant iiot«, which
is of the same pitch as that of tlie cuckoo, and very much resembles tlie
word for 'a cloud' pronounced aa vocative. Hence the bird is supposed
to invoke the clouds for a shower, tliat it may intercept a few drops to
quench ita thirst. S. P. Pandit :in his notes to Vik. II. tliud deecribea
—
the bird that ia seen in Western India *It is u small bird, smaller than
the smalleat dove, lias a long tail and combines in itself the black, the
yellow and the white. It has a long crest on its head, of the ahape of a
bow wHh an arrow stretched on it, which is supposed to prt^veut it from
bending its head by coming opposite the'back and thereby to prevent it
from drinking water lying on the ground — or any water to drink which
the beak is to be lowered.'
s^fcf — For the force of this eee 8anj. and ft.-note. The fig. of
speech here is 3T»:rr'c!^'^re occording to Dandin, Bhoja &o,, and
g-^f^ atJcording to modern writers on Rhetoric.
B'l. 18, n-riprq;— (^rlfi; Trl«rr>niT?'T l
WR^F^^T^— The nasal of
the dropped before sprxT and JT^Tg^j «ee Sanj. ' J^fefn?! is properly
inf. is
a substantive from vî^xfj with the affix 5. What is used in

classical Sanskrit as the infinitive mood is only the aco. sing, of a
mas. substantive ending in 5. In the Veda we meet with the Abl.
Gen. and Dat. sing, of the so-called infinitive; «. ff. JT'rf^, jfat: &c."
Pandit, Cf. *> p*T V9^ ?<i?«f Oer^TrTtJTfif ^\^r^^ \k^^ «jrSRr w-^mn^ i*
Uttar, II. 10. ?f«rT — Ry the rule '
^fî^ ^5K ^l' 'ê agent takes
Gen. or Inst, in connexion with ^57, 3T^r«T, ^ &c.; so both r^^j and
^^ are admissible,
S'l. 19. ^mrT'i—'^'^' 'iif !mfmr^ ^m^rj; ^^J^r^ farf^tr: 'r«Trf iflrfl^r:
1
^%%^: zr^ fTH- ^^^ ^^^- ^^^^ i" significant. It shows that Kautsa
gives the details to Ragha, because he wished to kaow^them. It ia
— — "-
€anto V. ] ( 1^7 )
a reply toRaghu's question. Had it be«n the primary objeot of

Kautsa king with the facts by way of a prayer we
to acquaint the
should have expected qjj; instead of cT^^by the rule ^g^ffc^fTrTiT ^q- '
The Dat. here may be explained either as rff^^W; or by *f^?7r«ff<7q?

— ' I
l^ sflTRi'?; ; or by '
quâiT 'TTrvT^r^'— T^^HTq"?^ ^^m^^—f^^-^
vanity 3T[^5(T: touch or influence. '^'TF^'Tr'^ra, —The âye are the four
classes men vi~ the Brahmatias, Kshatriyas, Vaia'yas and
of
fiûdras.For the As'ramas see note on 'sTT^TfT^' SI. 10. ôff 707: —
^^%^^^^'rr% «r'3f[ a Brahmacharin. ir^f^fT means 'moral excellence/
1
which is explained as absolute abstaining from eight kinds of

sensual pleasures, for which see Malli. on «rf5ira"fT K!ir. I. 1, The
affix^^ showing possession ie added to this word in this sense alone;
in other cases we shall have ^Îri;^ Vide the Kas'. on ÔTISf^r^TltR' I
'
P&n, V. 2. 134. Rr=^^«T:— r^tniT =^% fm R=q2T + 3T^ (5?,); wise,

learned, clever. jjsfrirT^ nsed as a noun. It properly means 'wha
is brought on or introduced by JT^cTlf (occasion or opportunity)' what
is introduced with relevancy, there being a fit opportunity for itj
hence what is pertinent or to the point, as opposed to 3Tirfg«i which

means ' for which there is no proper opportunity' 1. e. which doeB
not refer to the subject under discussion, irrelevant.
Si. 20. p^ ^^r^ indec. used in the sense of the Ace. by the rule
* ^^T^f^Kc^cT^qrit' Pkn. II. 3. 5. 3T^l3"f^^rT=^n:ra,— see ft -note
^'^^ ( 3"'?'^^% 1 3T^^ ^r ) may mean here 'service (tf j) or materials
of worship.' 3T^(3f^cT ^'T^F^: ^Î'SC in which the service I rendered
him was without a flaw, was unswerving; or ar^^rpyfrr 3'T^rTT ^^^^%
in which no materials of worship were wanting i. e. 1 ministered
fully to all his wants. ^JC^cITti;. indec. der. fr. i5 + 3T)fflt(i;, —
bsing ^
•changed to c^r in the first pla^J^, or foremost, i. e. above fees.
;
SI. 21. sriT^r^^Jj; — ST^f'? of wealth ^j(ij scantiness. We may

have the Gen. Tat. here, as the prohibition 'qôigor* &c. is not
obligatory in the case of a word expressive. of quality. Cf. Sid.
Kau. 3TRc^?i JiH^ f^v:r: 1
'
cT^f^Ts^t ^^rqqrJIc^Trt' lf«TntR^^TFfI= i
%JTI'qw^ l%Hr'Umr':TT^ \^^ I R"«rr«Trl:^<s^r— For the 14 vidgas

see Sanj. The six o/iâ 5 are HTJijir qj^tfr s^T^ôt f^^t^ «îrrr«?f »Tl%: »
SI. 22, ^f| — I _thu3 circumstanced, t. e, whose sole object is

to procure money, gfq^r — fr. the root ^^r^ TgrW—of the ô?Tr%
^lass to which zf is added ( ^^l\h )^by adding ^ to it f^^ (an fem ).
4ihe price of (^(T^q" fô ); cf, II. 55,

(128) [ Canto V.
S'l. 23. nrstT — r?^ the twice-born; a term which though

applying to the first three classes, specially applies to theBr&hmana;;
([f- »TI5nT5fvr3T^=* f|ffR jflf^r^'tilJT l Mauu. II. 160. ÎTTTW ^ f^ :— r
Tl[3TiJTf n^rr t? sr^r^; ^^q Vya. Bah. The moon is

%^ ^tFcT^?^ i a
considered to be the lord of dvijas or Brahmanaa. The epithet
indicates that as the moon, although stripped of light, borrows it
from the sun, and again illumines the world at night, so Raghu too,
though now penniless, would procure money from Eubera, and so
Kautsa had no reason to be disappointed. See Sauj.
flr^TTTSr — an which originully properly belonged to Soma the
epithet
plant, 80 universally used in sacrificial offerings in ancient days, with
reference to which alone the S'ruti quoted by Malli. '^Wf^tflt' &c. is to be

understood. Afterwards, however, by b confusion of terms, all the epithets
of Soma, the plant, were transferred to Soma, the moon. Soma, the moon,
is also called the king of plants or vanasjpaiis, while it was Soma, the plant.,
that was originally so called. See our note on aTrr-fl^t ^[»TJ^ II. 73.
%fr^fr»^— f?l^ r>?'=cf(f^^?m?cl«II^ I

T^rf^?%r?5f?T &o.~f f% opera-
tion or exercise; c/. ?f[^fr*T'5riFSI»l>'^ ff% Î^ ^«T»^viij%f?5-JiriTr»^ I
Kum. IV. 73. This epithet which is purposely used here, shows
how scrupulous the poet is in not allowing his hero's fame to be
tarnished even indirectly. Raghu was f^cTn^lSTT'cT no doubt, but he
was by no means a sinner like dvijaraja. The allusion here is to
the Pauranic legend aocording to which 'g?^ carried off Tar&, the
wife of Brihaspati, his preceptor, for which he was oursed by the
wronged husband to be indelibly marked with the stain, visible t<^^n
this day. The student will notice the alliterations in this s'l. 4^1
S'l. 24.
nti|»T«ff— 5^% ?i #4^
S^r^fr ^f?R'^âi?m m\ adv. I
modifying the ^{•qf^q] implied in 3T«fr ( 3T«rT^ ?l% ) 5ftf ?T«7r

rT«?Tf«Jvrff^ fcTiTH: coming as a suitor, seeking money for his
I
preceptor; this reason why such a request could not

is the chief
be refused. —
g^TTl'f^r who had seen the other end of the S'astras^
t. e. thoroughly mastered them. jf-Eff: The mention of his name —
by the king shows, according to Malli his high sense of personal ,
honour, aud the unbearableness of the reproach in connexion with

it. See Sauj. and Bg. quoted therein. Indeed, the reproach
that 'the king of Kosala refused the request of a suitor* would not
be 80 great as the one that 'Raghu refused the request of a suitor."
The lesson taught here by Raghu was not lost upon his descendants.
Of. XI. 2; see ft.-uoto. ^fr^^F^Tr^— Rf 'JT'^^f fffT f?ffri% f^T^: |
Un. III. 104; 3P?t: ^V^'- ^Î'Î'cTT'^ I 2Sîtyasamasa. ^J ^—Here

the Aorist is used in the sense of the Future by the rule »ni% S^G^'
Canto V. ] ( 129 )
*the Aorist with the ang. 3{ dropped is used with the prohibitive
particle ^\w^ in all the tenses;' ef. ^J q^ff?^^ iTf?frJTJT??TjT'RT TF % »T?rt-
iT^'|5FTT^JTT HfcT^Jri; I MAl.-Mad. I. 32. cpfr^r^—or qf^ff^ by 3"q-^*f^
^fsT 3TH3«^ ^«^ 1
VI. 3. 122.
Pa'.^-
S'l. 25. ^—jg- i. e, you, whose request cannot be refused.

'^g^fffffi^ —Because there were three fires already. The three
sacred which a householder is enjoined to perpetuate and'
fires^,
worship, are (l)JiTf^?^> that which the ^fqr^ or the lord of the house
receives from his father and transmits to his son in his turn, and
from which fires for sacrificial purposes are lighted; ( i ) 3Trff=?TT.
that which is lighted from <the perpetual fire' and into which all
the offerings are made; and (3) ?%tinfjT, the southern fire, sometimes
called 3T?^r^5q-!T^^. Cf. iiT#Tt^Ta[Tf fHi^' ^^J'cTg^gTri; I Fffr f r q'TfiflTf
'^^\^' 5^T JTrflf^: "ff^ 3TTff5fl«r: 1 As'valayana. See notes on I. 6.
ff^"T —I ^[ #FT ^ \ ^li — to bear (the delay of); hence, wait for.
^r^— See com.; it may also be taken here f^s^q^ ( ar^^yôt );
'RTmi%?fr r^T^^ g'rcTTci:' Sid. Kau. 'And I will surely try' &c.
Si. 26. arf^'T^— not always coming true, unfailing; a fact

which accounts for his delight. aTT'SFflT see ft. -note. STTTTWITr —
sTItT p. p. p. of ^ with 3TI 3rd couj.; ^ttT- wealth. ^r^nq^T-Kubera is
the son of Vis'ravas by ld4vid&, and thus the half-brother of Ravana.
|Je is the lord of wealth and master of nine inestimable treasures
( I%T% )• He is the regent of the North, his capital is situated on

the mount Kailasa and he is the king of Yakshas, Kimnaras and
other inferior deities. The name ^%i is expressive of his deformity,
being derived f r. and %f body; ef. Vayu P. 'fF^nrf i%i%-
^ vile, ugly,
K^^xA m\i %T5^^^ ^^'?F^TfR?^ Rn^^n %JT =^ ^rf^:'

1 He is described ll
as having three legs, only eight teeth and a yellow mark in place of
one eye. No images of him occur, nor is any particular worship
paid to him. In these respects there is a considerable anal -gy
between him and the Grecian Plutus. Plutus is described as blind
malignant and cowardly and seems to have received but very slender
homage from Greek or Roman devotion, |p%7 is also derived fr. ^^
to cover t, s. to protect; the protector of wealth, grâf — sprinkling
with water, fr. ;jÎ. P. to sprinkle.
Si. 27. <ffâH ^

&c.—consecrated by mantras. Vasishtha
was a master as well as the compo^êr of charms. See I. 61. Fox
the repetition of the idea, see VIII. 4. iTT^t —3"?^R ^Srr^^ I
3^^
is changed to 3^ before iT?i. aiid f^ when the Oomp. forms a name
of the sea; see Pan. VIII. 2. IJJ. But g^^fi^ ^:, a jar
B. N. 17
( 130 ) [ Canto V.
<30iitaining water. Jnf^^(?r^ — From the remark of Malli., and the

synonym ^TS^gWP?' given by him, it appears that he would have
preferred to take this as a Bah. were it not for a technical dif)icalty
of grammar. But the Tat. will better suit here. For, though
^%rf implies mutual affection, yet ^^^ ^'^r\^^ recognizes affection in
^^ ,
while iT^rT ^^T ^V^ ^^]W^^^ ) implies affection in
( ^PJig"*-
The former better explains why q^q^ should be the helper of thi-
cloud of its own accord. ^r^ff^^T — ^ comp. of the g^qi^Tri^ class.
vSl. 28. q^rf: — Pare in mind and body, t. «., having bathed and
observed the rules of conduct, such as restraining the passions,
&c., as he had to attack a divine person. See I. 90. îff^T — See
supra [. 93. ;fn"«FrT^»=>Tn"T'Tr — fF^^T'cT: îT^cT: border, frontier, cT^
*T?: ^R^: a frontier-king; a tributary prince. îr=fT ffcT ^VTTfflT
^R^cT^'^^F^^r fT^r considering or treating him as a mere frontier-chief-

tain or tributary prince. q"f —
The forje of tl^ is that Raghu
considered Kubera to be no better than a tributary prince and
therefore easy to be conquered. Raghu was the conqueror of
Indra, the strongest of the lokapalas and therefore, more than
a match for Kubera, an ordinary lokapala. Again we saw in
cauto IV., how Raghu turned back from the mountain Himalaya,
having established his sovereignty there when on his expedition
of universal conquest. Evidently he, as conqueror of Hima.,
treated the lord of Kallasa, a mountain inferior to Hima., as
Simanta. See IV. 80.
S'l. 29. sr5!Tr°rrptg^r2r— arfHir^ gw»T?^rr%5^:- Lit. with one's
face turned towards, facing; hence preparing for, about to start;
^y.^
sT?TI«n?îr*^S^- 'Tir'nrKg?^":.
inside the treasury. —
This was the
cause of astonishment. Here the poet very ingeniously extricates
Jla^hu from the difficulty he was in. It would not have looked
decent to make a lokapala like Kubera bend before a mortul like
Raghu nor to bring back his hero unsuccessful from his expedition.
He therefore, devises a third alternative which makes his hero
achieve his object and spares Kubera the humiliation of a defeat at
the hands of a mortal king.
S'l. 30. STPT'TrPI*— Fat. pass. p. of m with arnr. qiTH—

-4kirt-hill. QÔ* — Sumeru is the same asMeru, for which see notes
on I. 14. T>%^— g*'o'» ^/ »'»^''<» ^^- 2, XVI. 72; and ^m^^ î^
f^5J^ K:ir.
XIII. 68.
f^^
g'l. 31. W%fT —The name of Ayodhya; see note on ^[^<^ III. 6.
3r;Tm 3Tr*T'T*«T'TT^ — Here ^^ takes the Gen. in connexion ^f^ff

—
:jaufccV. ]
(131)
with 3TpT^^ which, thererfore, ought not to have bsen compounded

with ^Tf as it is. The Oomp., however, may be defended by the
general maxim '^fT»T^fq^ iTtT^f?r?^TT^5'; or the Gen. may be taken
Fp^^^ ^^^ — The strength of the mind, mental calibre; here the
nobility or greatness of the mind, as Malli. takes it.
8*1. 32. ^ &c.— fTrl"fr: 3T«?f ^^ ^ wrfferr'T:; see Sanj. irir'^^

W^^ g^T i. e. on the head (as a sign of blessing). STrTrT^^^r^T^-
These two epithets show the magnanimity of Raghu's character.
He was the lord of suhjects and yet he was so hnmble in his dealing
with Kautsa, who was also a subject. ^=^^ Commentafcorg find —
fault with the poet for having used this superfluous word; and this
is cited by rhetoricians an instance of STf^^T^r^f^f^--' 3T^ ?r^-
as
fiT?^Tviq?gqT%r?r^%? ?7frT«?fîg;' Sah.-Dar. ^r^^^ cannot be used l
with 3"^T^ unless there is an adj. to qualify it, as observed by

Vamana-fg^T'TiT?^ =^ H^T'Jîl'RITT^^grjjr^t'^ ^^]^•. I See ft. -note.But
one must not be so fastidious in small matters. Prof. Ray how-
ever, finds a defence for the poet by proposing to read STfr"^
( qualifying if;5r»^t)
— 'speechless, through excessive modesty.'
SM. 33. f^ — frT Ht. what is well-rounded; hence, one's proper
sphere of duties. According to Kam. quoted by Malli. the duty of
a king is fourfold. See Satj. For frT or proper conduct, as com-
monly understood, see ft. -note. JT^ff^rT^— R^'ffr kv^t( what is reached
by the mind, i. e. a desire. To be explained with reference to the
7'?r^^rf^ or ^T=F^'-?rfT class. See note on H^lf'T'iTr^ I. 11.
S'l. 34. 3Tr^r^--'Pot. p. used as a noun; a blessing or benedic-
tion; flf. aTF^TF^fr^^^cTrfffTnTv^r î^? I
Kum. Vir. 87. 5;7^:?f;;^^^_CT?r:
3"^ J^^^'j; I
Avyaya Samasa. n^ means rrq- or equal; see Amara.
III. 3. 78. 5^^%q jj;ft j^^TirFcT'a;^ t^ê Comp. being ^^ ^^y. 'equal to
that which is repeated' t. c. superfluous. Char, takes jj^fl in the
sense of ^§^\
«TPT'5P^^: — poetical license, these forms being
used only in the Veda. See note on cTT^^f^t^H;, II. 29. 3^r^»Tin'':TrT-
St. 35. ri^JTrcX —

From him t. e. the sage ( the benediction prono-
unced by him) was the cause (%5 ) of Raghu's getting a son so soon.
Our poet is very careful to show that pious deeds are sure to be
rewarded in this world. 3:rr?fNTfT^fg[— 3T^fT C^JW^^rPT îTfr^frf^
S'l. 36. 50"^ gf^ —The Muhuf-ta presided over by Brahma; the
last four ( according to some two ) ghatikas of the night. For
further information and the advantages accruing to a child born
(132)
at this hour, see ft. -note. o t^^ yH iJ

'
—See Sanj. f«r^^»ncfir ê^^?^-

af^ft^: I The aftixee ^f^t, ^^^ and TJUft'f are added to a noun or
rerb in the sense of â little less than,' almost equal to*, so fl|(^?:,
T^ffTV^'T^. 8Tn*TTr5^nra; —
ann?^: ^jF»T ^n?-, see note on ' snfrr^^
IV. 20-, for the idea cf, 3TWT^fT5^^^r% gT^?f^453TT^% 3Tr?^f ^^JTRim I
fT Sfhr V^'- RTrT^ M Mann.

SI. 37. 15:7^— The symmetrical bodily make, as Malli. gives, or
beauty. ^^— The very same, afrwf?? resplendent or muscular, — ,
well-built. %«fiir^^—f%îf"T^ f^frrq; natural, as distinguished from

that which is acquired by training. ^vfrT?^ —Magnanimity, high-
mindedness-, or height, the bodily stature. cffrCTR^ —The root \x\-^
having the sense ol *

3T?^ ' governs the abl. by '
arîJHTl^cIT —
P&n. II. 3. 39. TffrT— is a powerful lamp. The word frg and
ir^T'1 are very happily selected. Cf. VIII. 5.
S'l. 38. —See supra

3^TTf%* ^v^\ — The si. 1. pi. shows that
a separate Guru, adept in a particular branch of science, was engaged
to teach him that branch. j^\\ — the person i. e. fit to give her
away as in marriage. was now in love with Aja, and it was in
?fr
Raghu's power to bestow her upon him by making him a 5^^^.

Raghu is, therefore, fitly called the g^ of sjfr. S'ri is always repre-
sented as ceasing to look upon a king as ,her lord as soon as he
abandons the throne in favour of his sou. Cf. VIII. 14, where
^\ is called the daughter-in-law of Raghu. vfrn" This may refer —
to sfy also. Further on we shall see our poet attributing the fick-
leness of Lakshmi to the faults of the person to whom she attaches
herself for the time being. Vxit VI. 41.
Si. 39. STT — *Then*,

». «. when Aja had reached his youth. The
pirdcle implies a blessing and is probably used here as the auspicious

subject of the prince's marriage is about to be introduced. iR VT
-
%
Kf'?»rTn3[ —^«T%%^ 13 a class of Kshatriyas, said to be derived origi-
nally from Kratha and Kais'ika, who were the sons of Vidarbha
a king who ruled over the province of the same name. The name
^r^f^f^T^ thus came to be used synonymously with Vidarbha. For
this latter name, see note on f^sf^ si, 60. gp«Tlf<T^[^f HfF^r ^^^^^'
^«T^'^Ra««r^ I 'FT'iTCriJ— ?^fTr^^ ^?;>in»J; adv. qualifying
anJf'RI^^- ô'" 'F^^fT see notes, si. 64. infra, arrff: ^^- Malli.
I. •• one who would take interest in the matter and persuade Raghu
to send his son in case of u refusal. The meaning of 'trusty' will
ftlso do. aftîr'T —
The king of the country is meant; see in/ra si. 62.
'The Bhojas were, a branch of the Yadavas. They were one of the
—
Gaato V. ] ( 133 )
greatest and mightiest peoples of ancient India. At different

times they are represented to have occupied different parts of central
and southern India.' 8. P. Pandit.
S'l. 40. rf%^ 3T^» ^^TJ,— By these thr«e pronouns the poet
refers *;o Bhoja, Raghu and Aja. Bhoja is altogether absent ( irfts? )
to him and so he refers to him by cTî of the remaining two Aja is
^ H^g to him being the object of immediate description and so he
refers to him by f^, and Raghu being ffq-^gf by 3T^. Cf. ?î?fl
fR:f%arr &c.— ^rîit ( ?Tn«r^r ) t%i"t i fTT?««» ^m^: i ^^\ ^j^m ^m

aga, stage of life ?r^ i
S'l. 41. ^q-^3(t— ^^1%^% fm ^JT^TÎr I ^km '

^fî«j^fj[' i
C'?*?-
^?lf?T' in the Sanj. explaining ;jq-^yiT^r I ) g"cr^?n is a tent or a
temporary house prepared for the reception or residence of Toval
or other great personages when they go out on a journey or oc an
excursion of pleasure. g^T^KF- —
articles of comfort and decorations.
.âf^f: —A
Bah.; if taken as a Tat. ( ^^t:}- |-cft ) we shall have
f?q?T>; or, as Hemadri says ^^^(]fi^ fcT^q-pcT ?% I tnT^pT^Û^ I
.ftTT«?'cTm l^'-TTf : I iTr«f f^^W: —haltings or stations on the way

Malli. seems to take the two words as an Aluk Comp-, by the rule
.rcT??tTIc?raT=î: ^^r^rec or clfS?^ fffcT ^%^^ Pan. VI-3-9, 14. !
We may, however, take the two words as uncompounded, f^rg

meaning residence, halting. ^^fri^N^JK*^!:— ^d^JM l^T 3T?r %m
^?rR a garden; fr. ^^+^(\ \ 3?^ (^51^)j rlrfTn=cT ^^ ?TcT ftfKr: RfIT^«7T-
-^TFR, ^5T being added arf^^^^ Now see Sanj.; it will be, however,
I
preferable to analyse the Oomp. as ^^ri^ f^fl^: as better corres-

ponding with the Comp, fn^TR^r^r: I
If we take iri'f and r^^tI"-
separately, RfR will mean 'sporting', ?r5T being added *?[%• Hamadri
suggests another construction, taking gt^r'TT separately and as the
subject; ^fVm^Û 3"'T^FTT---^l'f f^TWT ^^: I
S'l. 42. ^Rjn^- &;c. —The breezes were cool^ fragrant, gentle
and therefore highly pleasant. This explains why a halt there was
desirable. f^f'jferlP'^r — The day's journey being accomplished. -^y^rj,
-T^PCi^f^^) all these give the reason why the halt was necessiary.
81. 43. ^mSTri:— 37-^^^r \^Vi PSIlTs'Irî from gît irregularly

^jhanged to ijiT + fr^Tt^CI WHÎ: —W^mrm Wiis[.- fr. »^^+3T^^l Uii. III.
128. The presence of two rakaras in this word has given ri?e to
another name for the bee, viz. f^t^. Rr^r^rT &c. —3T^:^fs^ may
be explained in two ways:— ^%f^K?fF{f: 3T-cT:mWc2r^, ^M^fSrHf?; or
( 1^'4 ) [ Canto T'
l HI. 44. ^frt^f:-? &«^- —The blackish-dust firmly settled in the

cracks in the tusks was not washed off and so it served as a clear
evidence of his m^w or the sport of butting against the skirts.
See Meg. I. 5, ?f^ <r'T*T5»r —This shows the simultaneity of
the two actions, emerging from water, and the indication of ^q-fifr^ji,
^*r^fl, — ( lit- possessed of bears ) is one of the Kulaparvatas, or the

seven principal mountain-chains, for which see ft -note. It has
been identified with the mountains of Gondavana. ff^^ at —
different places of its sides.
S'l. 45. l
?r'^| | Ka[or — ?y^T T%^r ^^^ of quick action. Dinakara
translates by '^^^?f'. gr^'twr &c. ^Hf —
an elephant's stall or '
fold.' When an elephant gets iufuriated, huge trunks of trees are

placed horizontally in his rttall to serve as bolts. It is these that
are compared to the waves obstructing the elephant's progress
every moment. iSome understand by ^ffr, *a chain.' but it is difficult
to understand how a chain can be fitly compared to a wave.
S'l. 46. ^?rr«T«T:— 3qm^rf5'TiT: 1^cT?^ 3"<TtT:j ^TcT 3^m 3"q*1R
JT^^fer ^rr or h'^^ ^\^^^ ^^''f-, a »»<2'« sam^sa.
si. 47. tr^^r'R^ —Here j;^ has the secondary sense of ' peer-
less,' exceptionally huge, as Ohar. and Hem. suggest. Unless we
understand it in this sense, is will be difficult to see why a whole
boat of tame elephants turned tail at the very scent of his rut.
^FTlr^PTT^:— See Malli. on iprrr^TTfr si. 43 supra. ^!^TîTTW &c.

ît: HT^r iTm'n*!?^? ^r?7^m etTîm^r: ; ( and not ^07 (^ârqr^ as the
Oomp. will be of the JTJfs^^* class and there will be no further
compounding ) ^tnm^ îr^fTI ^nrqr^^TRTT now see Sanj. I
^^^M
—^ q^: s(i\^: 3T^P^t m?frm I »Tf?FtTi?r:— 5i?4 f* ( See IV. 41)^^
{T^ 9f)[:. f^^^— Shone forth t. 0. the rut gushed out at once. ^^^|
S'l. 4^. ^? — strong-smelling
bitter-, ( 'agreeable,' Malli. ).^^
STPifN:^— 3Tr%^P=fT irfrT^^^g^ i:^5^rf«JI'ifn"mr-, elephant-drivers, ffr^
— arduous, great.
S'l. 49. %^^^ &c.— 3ti|t T%vr5T''î: T«^T?, ?eTT: f^^^^^^fW- I
^ ^ ff f«fr: ( 3ee com. ) nJST^'q-^tT.^TC ( Karm. ) %: ^^q-q; 1

Malli.
takes the first as it with ^s^; but the %?rn^f ^T

a Bah. and combiness
was not quite la;??^-, it was only ^;ii so far as horses ( and probably
oxen ) were concerned. This meaning is brought out by explain-
ing the comp. as given above, flff^ ff%ff: ( badly or help- —
lessly thrown about ) or f^^: ?^r5^^ {^^^ without hands as it
wore); hence, at a loss to know whatto do; 5ffÎKr»TKffT-^=^?Tr^'I"
( Bhftnuji Dikshita on Amara. ). %Jn"f%t?r see VII. 2. —
— — -
'auto V. ] ( 135 )
S'l. 50. 3TTT<1^^ — rushing, charging ( at the army ). ^7^: —

Kings are prohibited from killing elephants except in battles
( see Sanj. ): and since wild elephants are never brought to
battle, the prohibition includes them. gjT^-the temple (of an elepha-^
aut) ^ ^f5Tvq-ff[[l} gjtvT: ^T^?v.^rf^:. •srq'R Here we see with
I —
what masterly skill the poet keeps out of view the warriors in
the army and makes Aja himself strike, which is necessary for the
subsequent development of the events representing the whole thing
as a natural consequence of things.
S'l. 51. fg";5iTnr: —The mas. is irregular. For, \^:^ q-f becomes
ff^Tr^^ I (See Vart. on Pan. V. 2. 37) and no other term is avail-
able to explain the mas. form. f^Fy. — It is related. rHI^ — t. e. his
assuming a divine form. oîffT'^?: — s^nfi" ^^cflRTj fr. ^{;+3T (?) by
^V «• ( '^'^ takes j when a word expressive of 3Tr%^T^ precedes ).
S'l. 52. ii">Tr^f'> ^:^\^ is the superhuman power which heavenly

beings possess; cf. sr^^f^m^ 'i^Tt'JT WI3'ÎtT71 *ingR=^l?rR I
Vik. II. p. 47. !^t-H!fHrriT: — for ^;^^^ see notes, I. 75; ^r^^^'-'ST
3:(%5%TrT vr?qgjfir?TrR |: I
^^f^ &c.—jr^jHrTgT 3"t:?«T?J»3; I
The-
word ^«TW like Jvri% indicates excellence. See Sanj. on f*n% s'l- 43.
^r?;frc: ~K îg ^^ bright, shining ( the pearls being flawless )
See Malli on Meg. I. 33. ^ ^7;^;}^ —eloquent, a clever speaker-, jr^^
is added to ^f^îu a good sense, as an?" or 3^[^ is added in a bad
sense ( =r;^[? or ^r=^^ ).
S'l. 5S. JTrl^^rTr^ — See ft.-note. 3Tf?*T — may be taken as a verb,

or ind. equivalent to 3Tfq;. JTrf^xT^^^— JTflWTf^^'rfT: *TcTfsr:
( Bh.Anuji Dikshit ) an elephant. It is difficult to see how the

sage ftJT^ was the producer of elephants. Probably he was the
first person to tame elephants and show their utility to the world
and hence the name. Taran^thr. in the Vach. derives the word
thu8-;fnf' H^ ^^ ^[?fff fm iTflW^^cI^ cT^T^FTTcWrî; I fjT^*^— see III. 64.
S'l. 54. ar^HR* —conciliated ( by entreaty ); cf. ar^^T^ II. 54.

^T^^^r — hy you, the powerful one ( for he-Aja. -could split open
the temple of such a powerful elephant as he was with an arrow
shot with a slight force). =^ —on the other hand. 5t»m c^ *i, — ^"wfr ^^
3T^qr?mf^ ITSTI^R ^Tf'F'T^î Explain similarly %rsr^; fj?^ jg- ^r^^—
what is known as coldness.
SM. 55. f^frô— qjT^r^^frrT^f^ q-*T^: epTir'JT5?TTTr?«?Rf^f«1^- 1
3T^r-
5^?r— 3rq"^*r ]^^T'^ 3T?frrîr: ^ gîr^q i l Bah., the word f^^R being
dropped by the Vart. ^3^r'TI%T7<TgÎW ^^rff^TTTô3^T«^%
( 136 ) [ Cauto V.
power in him to undo what had been done. ('^fWB\ — »T??ft Hlf
8*1. 56. irf?rriTzrn--irffi^ m4 in?fT^^ i iTrc!q7oii?flT% î i ^îj-

^m^ The potentials show futurity.
SI. 57. ^%|^^ —causing

sleep, hypnotic. STsrtT &c. Here — —
sfilTjj anddo not mean merely the shooting or the thrusting
^^r?:
back into the quiver of an arrow. ir^t*r means the repetition of a
certain mantra to endow the arrow with a peculiar virtue which
enables assume a particular form or to bring about a certain
it to
means the repetition of the counter-wian^ro which
result; while ^ff^
takes away from the arrow the peculiar virtue it was endowed
with and it becomes again an ordinary arrow. See also note ou
!lll. 64. f^tTrfto —
The Mantra for which has two part?; one for its
employment, the other for its withdrawal. STT??^ î with —
3Tr is Atm. except in the sense of 'opening'; gee Sid. Kau. ou
Pan I. 3.-20. ^ ^TnrifffTr — Slaughter (ff^l), except where absolutely
neoessery, was looked upon with horror long before the teachings
-of Buddha and was prohibited by the S&stra. See ft.-note. The
repetition of ^ indicates the simultaneous existence of the two.
'«»=. ffgr'T and 3^f|«T.
SI. 58. JTT jrf^ — Malli. takes this with vg^j. He seems to
emphasize 'You need not feel ashamed in my presence' (»'. t
'mtj^'.
of me to whom you have been kind). We may also say with Churi.
and perhaps perferably, ^\ v(m 7^\1T: i f^ftR::— 2[^T TTF a^W^TonRrf
iraf 'T^ — here to express a hyperbole. You showed
I arnr iised
kindness to me even at a time when impossible to show it is it.
'4MI-^t$«^4Rf *Tf^ — uow that I am entreating you; =j^ with lOth :jq
'conj. to entreat, jnfts^n^ ^^]^ ^T^^^ capable of being employed; i
• by the rule 'nrq'[;yqf^?ft>»'fr ^?iir«5'-the words ir^r?^ a^d f%?TYs'T are

formed only in the sense of capability or practicability Malli. has
'^ ^sjjj^' but then we shall get the form qî»?^ and not jnfTsijj^-
—
The sense is You who were kind to me even whec you struc/:
•
cannot be unkind to me noic when I am entreating you.
SI. o9. gq^ w^q — 31^?^. lias a technical meaning viz. that of
touching the cavities of the eye or performing the Achamana-
^f^f^'ir: I or after Malli., ÎT^c^Wrr^rfT 7?r^' ^Vi; uow see com.

^ÎâiRiTcÎfl- The river Narmada is so called because a channe
was opened to it by king Pururavas of the lunar race, ^^fp?: —

implies that he was always a delight-giver. ;J7^9<!T: 3"?tit^
OaatoV. ] (137)
5^q^. [Properly ^ff^lt l?f9T m, 3-fT=^r + 3TWim 3T^T^ ): .
the afBx^^]^ which has the sense of the Loc. and •
which is added ?tT^ ( see Pan. Y. 3. 27 ) is dropped by

the rule '3T5=%#5;' P^n. V. 3. 30 and we have grfl^"r which again
j
becomes ^^^ by the rule *^TPi%rT^%' ' when a Taddhita affix dis-
appears, the fern, affix also disappears;' and finally we have 3îird
—
5WT^ ] 3T^*Far^ The sing, because the mantra of vi%r and that
I
of ^*fT^ formed but parts of one mantra.
S'l. 60. o^TT^ni, — through the combinatern or interveiition of;
m\^^^,'^^\^ cIT: V^^^ g*r%^nfr

'
hence as the cf. result of;
S'ak. II. 14. 3Tr^f"srr: Gen. dual —

of 3TT%f?W-,; V^^^- P* ^^ ^§L ^^^^
3Tr. The perf. participles in ^^ of the roots ^t fHând %T only are ,
used in ordinary language. Vkn. III. 2. 108. #rTrs^^:^r^— S ÎTH^f
^fsrr ^t% STT^TFT: (not ôTf:, the rule 'n^f:'— applying only to Tat •
Oomp. ) '^^\ x{\m #^[5^^ f%f *?H~f^?^T^T 'iTm'fF^T R^lfr "^^^V

I
ffgf^: I
The name isderived from n' without and t^ the Ks'ha
grass, which is supposed not to grow in Vidarbha. because the
son of a saint died there of a wound inflicted by the ?harp blade
of the grass.
Vidarbha, the modern Berar, but a far more extensive kingdom than
its modern representative, lay on the north of Kuntala, extending
from the banks of the Kriabna to about the banks of the Narmada. On
accoont of its great size the country was also called Mabaiaishtra. Cf-
Bil.-Ram. X. 14, where two names are applied to the same country.
It lay to the South of Xarmada as Aja crossed the river before enter-
ing it. Its people were cal'.ed Krathakais'ikas (see note on that
word, s'l. 39 ). Kui.ijinapura, sometimes called Vidarbha, was its capital,
which is probably the modern Bedar. It was the aoat of Bhima, father of
Damayanti and of Bhima, father of Rukmini. According to the Malav.,
king Agnimitra divided Vidarbha into two parts, separated by the river
VaradS, ( Warda) which, in its Payne Ganga branch, separates the Assigned
Districts of Berar from the Nizam's Cominions. Amaravati ( Oomara-
vati ) in Berar seems to have been the capital of the northern and Pra-
tishthana ( Paithan ) on the Godavari, that of the southern division. This
was the land of the Bhojas, who are said to be descendants of Druhyu.
They were not, however, confined to this province, as there are several
Bhojapuras in different parts of India. They had different clans such
as the Kunti-Bhojas to whom Kunti belonged apd the Martik^Lvatas or
Bhojas of Mrittikavata whose chief fought at Kurukshetra on the side of
Duryodhana. The celebrated king Bhojaraja who reigned at Dhard in the
beginning of the tenth century, was evidently a descendant of tliese
Bhojas.
B. N. 18
(138) [ Canto V.
S'l. •!. ^q^HT'-— 3TTrf: ?F'J(f S'T^ffj: Pr4cli Tat.; who is near;
now. see com. ^'v!j%f5I^^?:
— 'I'ô lord of the Krathakais'ikaa
See Dotes si. 39. ijftjrfir —^f^r: begun to swell ( Tf»: arif^îrfoi)
3r»nfr ^?^. The joy of the king rising every moment as he advanced
to receive the prince is aptly compared waves of the
to the swelling
Ocean ;it noon-rise. tirf^JTrwr— 374^1 *ricJT For a similar
3T?^r?rfrpT I
idea see III. 17, VII. 19, X. 82, XII. 36, XVI. 27; and also
Knm. III. 67.
S'l. (>2. —
q^T^ Aja is referred to by af^ ( cf ?1l^«?f M &c. ) in
the previona s'loka, so the use of Qr;T^ here is a poetical licence. (^^
not being allowed to be substituted for ff^. î^r^r — A poetic
licence again; ^^ is not added to ifr unless habit is implied.
^'TTTiT?!— served, waited upon. Cf. '
nrn'?Tg"T^=gir ^^^'^ m ^'^^fl
Kum. I. 60. |^_y"^5-;^^[aTt T\:jj\ ^^^. fr. t>^m + 3T
\ ( 3T5T ) STHT^g
— 3TF-€SmlT%; fr. 31in^ with 5 (
gs[ Dpadi ) a guest.
S'l. 63. vn^jx &c.— irii1?«T% 5rt îî^^, I iTr»?r^?«ir itf^rft ^r

?r^: &<-".; see Sanj. Din. explains this differently for, which see ft.-
note. The placing of a pot ( of copper or silver ) full of water on
the vedi(& quadrangular raised spot) near the front door is
considered auspicious even to this day. 5[^sifrT'> — JTldPl^Rn fT^ ^^
fijftj: fr. ^]^+y;fJ + :^ ( H* ) added q;4f5t-the roots ^r and vfr take this
aff. when a preposition precedes, in the sense of ^rjf or any K&raka

except the agent ( ^5). ^^q^Tf^: iTfffHnT:-a representative or deputy
of. Eaghu being the sole lord of the world, special reception was
accorded to his representative. ^p^fcTTT &«• The simile is appro- —
priate both in point of time and place. Aja was now lodged in
such a delightful place and at such a time, that being at ease there,
he could not but have felt within himself the influence of love, as
indicated in the next s'l.
S'l. 64. ^^^^ &c.—^^^f i%q^si?tTi5rfB, ^fv ^forwm ^r ^^^^T \
This form of marriage in which the bride chose her own husband
seems to have been very popular in ancient India and was adopted
specially by the Kshatriyas. h^^> ??4ft=^ ^T ^nTT^'fTf U^Tfrt^t ^^ •
^r^ c?I^r »I^l^: I

5F5;2Tr?rpyr*T— ^311^3; (
also ^^J^ m. ». ) means
'
the btst '] sR-iirg sr?7iiT ^sJTisrpfiiT 1
gR^?!'^— ^m*jg 'ft'^^ i
desirable, covetable. >Tf^T?^vy <>ff j

m — According to Malli. * unable
to know the mind ( of her husband )', .t «., who hesitates lest her
approach might displease him. take ^\^ in the sense of 'love Soma
for another', offended or jealous because conscious of her husband's
love for another. But MallinAtha's meaning seems to be preferable.
an to V. ] ( 139 )
The womaa is ^rêrr dearly loved by her husband, and though-

unable to read his thoughts ^
(i.e. to know whether he is really
longing for her ), yet makes a tardy approach towards him of her
own accord ( arnTJ^r^r^fiT ), which an offended lady does not do..
See below, 67. The simple idea so poetically expressed

3l. by the
poet is, Aja being absorbed in thoughts about Indumati could
that
not get sleep for a long time. The report of Indumati's unparal-
lelled charms had attracted such a crowd of kings there, that, pitted
against these, Aja could well feel misgivings within himself. It is
said that Kdlidlsa had a strong desire to finish the canto before
going to bed that day. But sleep overpowered him at this stage
and he had to put down his pen. The goddess of learning, however,
wishing to gratify the wish of her favourite son, wrote down for
him the following S'lokas^ and the poet to his astonishment found
the canto completed when he woke up the next morning. True or
not, the anecdote shows how exquisitely beautiful the following
verses are.
S'l. 65. cR"<=T^5io]- &c. —

The ear-ornament meant is the Kundala
worn round the ear, which is made of gold, and is long and heavy
enough to leave an impression upon the shoulder when the head is
bent sufficiently either side in a mood of anxiety or care. ^p^rrTô
&c. — ^rTTîf^ —
the bed-sheet. Indumati had such hold on Aja's
mind that disturbed by thoughts about her, he restlessly moved in
his bed, so that the sandal-marks on his body were worn off and his
shoulders bore traces of hard pressure. g[rirfJT5Tr- *• *. young bards. —
^T'i"^- — tiiis implies equality of age and intimacy, ^^ra" *• ^• —
at the hour presided over by Brahma ( ^^ g?^ ) when it was the
duty of kings to rise, ^nf'"*!* ^Tr^^^RT^ It was customary to rouse —
kings from their slumber by means of songs accompanied by gentle
music: see ft. -note.
S'l. 66. On
and the following slokas S. P. Pandit thus
this
remarks :
—''These 'awakening verses
have no special reference to
'
the present time and place, but form what the bards used to recite
in the Prince's own capital." But the remark does not seem to be
correct. The poet's description of the bards as gr^TT^TI'^' scarcely
leaves us room to suppose that they sang on this occasion the same
stale and hackneyed song which they were wont to sing in the capital.
On the contrary, the contents of the verses show that they are meant
peculiarly to suit the present occasion. For the bards begin with
early morn, first describing how the moon gradually loses her
splendour and how the lotuses are about to bloom and then hov-
( 140 ) [ Oanto V.
'chej actoally bloom at the first peep of the morning suii. Next
they describe how the rays of the morning sun tinge thetnsks of the*
elephants which were within their sight, and conclude by de8cribiu^
how, as the sun progresses a good way over the horizon, his rays
penetrate the tents and overpower the light of the lamps there. So
the description here, on the whole, seems to apply to one residing
in a tent surrounded by the stables of horses and elephants &c., and
not in his palace, as well as to one who is a late riser, which Aja,
a scion of the solar race, could not have been («?/. ?T«JIÎc7q^?y^PJ^
1,6 ) had he been in bis capital and not troubled by distracting
thoughts as he was on the present occasion.
^rf^Hrfi ^T. — This is meant to indicate that the prinoe

would readily do duty on being reminded of that. fy>^ in
his —
—
"two parts, y: The pressure and not the load itself, rr^, ^^ both —
are used 3TW^K^> 'indeed, 'surely:' \: j'VvrÎ ^g indeed the burden is
divided; but f|[^?r n«?'?!iT it is divided into two parts only ( so that
you oai not expect a third person to help your father ). f^fifg :
(
your father ) has quitted his bed (and is in his place). This may
—
also qualify X{^J^ and your royal self having left the bed &o.
^^tT^;^-— you are to take the place of the other bearer. What is
—
meant is this your father is up by this time and attending to his
duties; and you as yuvaraja ought to do the same. Cf. ij^^ fif^
r^>% 9'R^^^T%?II'^"^H Kum. VI. 76.

I
S'l. 67. Oh&ritravardhana and Dinakara, though in their

'usual manner they give a full com. upon this si., consider it to be
an interpolation, but without giving reasons. There seems to be,
however, nothing in it that would warrant such a supposition, and
Malli. who is always scrupulous in detecting spurious slokas,
regards it as quite genuine.
>T^rrr«I5T%^»TrTT — This si. seems to have perplexed some com-

mentators and annotators. Bat all difficulty about its correct
interpretation would vanish if one were to understand correctly
the commentary of Malli. ought to be construed with qjrg^Rrf
vrf^r
as Malli. very properly has done, and not with vrâr ae suggested
by Pandit. The meaning of the poet is very well brought out in
the com. Indian poets describe three places as the favourite resorts
of Lakshmi (the goddess of beauty ), vir., the lotus, the moon and
the most lovely face in the world (as that of a prince or a princess).
The last is generally represented as her most favourite haunt. Cf.
CautoV. ] (141)
f?^^Tt ifn^JTflT ^^^\^ Kum. I, 43. The poet here describes-

II
Lakahmi a3 the wife of Aja. As such she approaches liim, but finds-
Aja fast in the enjojment of sleep ( personified as a female;. This
is too offeasive a sight for Lakshmi to bear, who is ^]f^^\. Great i?
her longing for Aja; but in her wounded pride she disregards even
this, ang shows the extreme
difficulty of doing so. Inwardly, how-
and does not know how to beguile her love-sick-
ever^ she is restless
ness due to the Prince's action. She discovers that the moon makes
the nearest approach to Aja'e beautiful face. Thither therefore in
her helpless condition she bends her gaze and somehow manages
longing for Aja (qgFg^cq'). But even the moon is
to beguile her
now parting with the beauty of Aja's face, and the condition of
Lakshmi will be really miserable. She caunot herself approach
Aja, and even the moon from whom she derived some consolation
is sinking down
fast Hence the earnest appeal of the bards to
Aja, on behalf of Lakshmi, to get up and gladden her.
^'T^^TT'^ — Not taking into consideration, not caring for;
q-^^ô -anxious longing for: note the use of this with the instr.
^âr. gfo ^rTr
^ —a woman offended with her husband on account
of his infidelity to her and full of self-pride. See ft.-note.
fT=fnprt% —diverts, amuses herself with; ef. XIV. 77; also Sak
The reading BT^^S^JTlTiTT. however, noticed and commented upon

by Malli., seems to be preferable as it yields a much better sense
by making the appeal more touching and therefore better calculated
to excite pity in AJa. vr^cTTN-'by you too'. Lakshmi was already
repulsed by lotuses. So her hopes entirely rested upon you. But
you too being under the influence of sleep refused to look after her.
She was therefore utterly helpless and compelled to beguile her
yearning for you by being with the moon. It was not a wilful
act on her part and you need not. therefore, be jealous of her.
f^^T^^m is the Oau. of 1%^. ^;^: qgcg^ff Iwg^rcT the moon diverts
her anxiety, ^s^qr; ^^n ^^^^3f;i^ H^r^^ffT Lakshmi causes the
moon to allay her anxiety. See Sanj. If we read \g instead of
3Tfit, ff may be taken in the sense of ar^q'R'^. The meaning in this
case will present no difficulties. Ifthe object of the poet be to
repres*^nt Lakshmi not so much as an object of compassion to Aia
as a û^^\ mf^^j. the reading in the text ought to be preferred.
SI. 68. fig^^
— 'therefore', t. «. because Lakshmi is helpless as ihe
moon, her nightly resort, ia giving up splendour. Malli. sav^
(142) [ Canto V.
f?^«frTf?!T9<nr<? oonnectiug r]^ with ^55; but there does not seem to
be any propriety of this when applied to the lotuses. For in thy
previous si. the appeal for the TRiffar of Lakshmi is to Aja and
not to the lotuses. T^^^r — refers to both — the opening of Aja's
eyes and the blooming of lotuses, —
^nrTf fîTr5r^sT If tlie poet
means that the beauty lies in the simultaneous opening of the
two, then it will be better to take this as a Oomp. word as Prof.
Ray suggests, q^q-ffrr— q?<^r^l fcTT or ir^^r frRT 'T^r: The idea I
here is this — The moon is going down; the lotuses have begun
to bloom, you should therefore ( fTr^ ) wake betimee and prevent
the lotuses from taking sole possession of Lakshmi in the absence
of any other rival in beauty. if^r*^?nT*rt — Bees are described as
being held up in lotuses when closed up at the approach of night and
remaining there till sun-rise; Ratn. &'
4
cf. I. 25, ( ^f'T'B' g^cTI''^'''^
and infra VII. 55.
SI. 6v», aTsff^^Rri^ —see ^^^:-Aluk. Oomp.; see Sanj.

II. 8.
T»t|-:— f*T^ opened; cf. m^'k^H^^^^m ff s^m^rgW^:; Venl. 1. 1.

>
q'^;nor^ — q^'sft of others (». e. borrowed) "JUR. f^ — indicates ^^^^f.
SI. 70. PTv|r?ifr?: &«•— Si^^Fr by ^jjiort ( g^r^^n" ) means here

'a qTHTT
pearl.' — TT-" ^8": *ir»r: qT*TTT: 1
A position of great
advantage. rm[ — being most advantageously placed. H'-Ôi"-
ST'cjns: is an optional form. See ft. -notes. In this and
the foregoing slokaa the excellence of Aja's breath and his
lustrous teeth illumined by his beautiful smile are described in a
poetic style. Vail, notices the reading ^?y^?T?r ?^TJT'^f==?^^r5R^
Si 71. STrTRf'TP-T: — The treasure, the source, of heat which

causes cTIT- Ck — ^^^ ^^^ causes ^m to his foes. The two epithets
are used to keep up the reaemblanoe. HF^T — Araria is the
charioteer of the Sun, and the elder brother of Garuda. He is ^h^
( without thighs ) having been prematurely brought out of the egg
by his mother. See A. Die. Uere Aruua and Raghu are compared.
Raghu having the same relation with respect to Aja which Aruna
has with respect to the sun. Aruii* precedes the Sun and Raghu
precedes Aja. Each is the precursor of the other. HT^n^^rR^T?:??!^
'JTTT^'^âr arf^JTIS'tTT^t'-^^ fiT^ 1 arir ^TfOPrf 2^^m:, formed irregularly
.according to some. By the rule 'jfTSiTâ^f ^cT:' 5 when preceded by
X<:n, 3Hli=T?r, and 3^^ takes j'^ (3?) to express ^^\ or the agent.
Ljtûce the proper form should be 3TffffT'- [ This is according to the
—
C:iutoV.] (143)
Vrittikara who supposes 3T% to be the word used in the 8itr3. He

is followed by Bhattoji, and Jfi&nendra Bhikshu. Patanjali gives
no comm. on this Sutra. Nages'abhatta, however, differs and
supposes 3TJr'ETr to be the correct form., 3TEr^r being obtained by the
rale '^7^^ ^m
^f??^' ] âli. uses both the forms. Cf. a^jr^lgj-f^.
I
nT^f?«Tfr[R' VI. 335 \9^ r[^m^f^r^^^'J^^^^! '^^vn\^•^]^Bt ^=^t' ix.

55, 61, Amara gives the form sTJTH^T. This question is discussed
by Hem. and Ch&r. for which see ft.-note. f% ]% is to be ^
pronounced with a =PTf> (intonation) and ?t expresses ff^«^^: f^ fT
^pE^JTI^ would your father destroy the foesj ;t^[f^?5^rw no; certainly
he would not. Cf. '{^ ^J S^T^^T^'n^^^t ffWrTr' 1 Sak. VII. 4.
The idea here is this — Aruna destroys the enemy of the sun ( /. e.
darkness) only so long as he himself has not taken up the work of

destruction. So your father would destroy your enemies only so long
as you are not able to take care of yourself. But now you are able
(f[^) to take the lead in the battle, so get up and chase your
enemies if there be any). Prof. Ray thinks that the enemies here
referred to are the morning breeze, the dew drops, the lotuses, &c.,
which are poetically spoken of as the stealers of Aja's Lakshmi.
S'l. 72. ^»T3^"<T^ &c — According to
Kaiyata, quoted by Malli.,
the word 3-*^ appearing Comp. always takes the Tad. affix
first in a
3Tq=^(3T?T ), i. e. becomes 3"»T^, as indicated by the word 'r%ciT'=('
in the Sutra •
îTTf^TWr f^^^J ?rr*tr*TP— ^cT*^ a clump of grass.
i
See com. g^jr^ &c.-]i^]i^^ SîT'Fn S^^TSTf r?^"T^r^ ^"^^Ttr^: one who i
has to say something on every topic; garrulous; or g^ gf^s^TNT''

TRIT^j noisy. Here of course it means .'resounding ' ^1^?5" ^ffl
rllâ'RT fT 'WcyHrfa" l
In either case it is of the g'fif^T^ class.
rT^'^re'T — the newly risen sun (giving reddish light). Of. ^r^T
^^RT tT^!Î^?:rir Kam. III. 54. pfvTrrg-*— T%fr >TtirR^ (fr. fiTR + 75T
i. e. ^^ ) .a reddish brown mineral; trf^^nq-^rr cT?r: »m^cT2T: a comp. of
thegrapgrf^ class, ar^: ml:^fi?r arfô; f^r^rr arf^^K^rr^r Wct.
•.f^^?iTr: — bud-like, i. «. beautiful tusk^ (Malli.).
S'l. 73. fr^ &c.— shows that Aja had a large number of
.horses with him. ^^rTTT^— f^ STRrf ??% ^^^; f^T^ ^^ 3TT%Trr q^
^f^TSTTSr:. ^^\: o^3r+^. A grammatical
^^rr^îr:— ^^r2:^?T:cT? i
inaccuracy, for the Tad.

though added to ^g in this sense,
affix,
is not available in the case of compounds ending in ^^T. Vanayu

is a country in the North- West of India, celebrated for its breed
of horses. %?crrFf —The reason of making the horses lick pieces
of Rock-salt is given in the Sanj. ^KRr_f%;p^5 ^^. ^ produced iu
( 144 ) [ Canto V.
Sindhu^ %?v^'f; Vku. IV. 2. 133; ff??I T%cîwmt ^T5F^%. ^TfT-—

v^'^ ^^^r^m^T^ gif^tfrm ^rrfr: fr. fT? + 3T^-, horses.
S'l, T4. fTC57>T?%— If!:?? TT%r^?^ ITJH^g't'J^r =^f^7T?: I If we

dissolva ad fif^r ^rfrp^^ we shall not get ilf^?r, "j'Tf^ being
prohibited with words of the fi(?TriV clas8 to which vf% belongs.
According to ^psfTIsr, however, r%TOT "mw^VJ will also do, if
vrfTp be derived from by adding ffj ^Tf% (meaning 'arrangement' ).
^r jT
See Malli. on J^jthP XII. 19. TsfTTfrc: the garlands or boqueta —

of flowera presented to Aja. See IV. 84. As the flowers faded in
the mcming and shrank np, the garlands got loosened, ^ffy of
—
&c. The lamps lost their halo of rays, it being broad day-light
now. The three s'lckas show that the sun is above the horizon
( and not below it as 8. P. Pandit supposes ) and it is already late.
See notes, si. 66. Sfff^Fr —
mark the sense of 535^ with q which
means
S'l.
posed for
'to att'er or
75. R^f^rTo
pronounce' (when used with words ).
the occasion. Cf.

—This also shows that the verses were com-
d
HTf^cTlf ^"^g^r^^rflTT Meg. II. 26.
PnmFrjr: — Here ftilfT is equal to f%»Tm?r (rmfsTfT) the sense
of the causal being expressed without the affix; or JT^may
be taken in its primitive sense; fîTcTr ^^\ H^ ^^, the inatr.
^F^^t: being "f ^y. THT^^:— ?OTHt n^rpTF ^r^f fTr: I a comp. of the
Trsf^ân^ class. ^^^ a sandy
jtf^ ^t^Trl^— i%-^fTT." *T^^f^r%f^
place: 3W, added to i%^tTT and î^n in the sense of t{ri ( the
1=
affix showing possession ), so ^j^ also. ^7?fr^: ^"tpHf: JTeTrqsT: —

limits 3T^. The simile is probably intended to indicate the
purity of Aja's bed, who, unlike many of the other princes
assembled there was a bachelor.
S'l. 76. ar^g-fczj- — Indce. p. p. of ^t cau. with 3Tf. f^7H5??ff«> *

3TKTT8;1TTt5i the eyelashes. See Sanj. and ft -note. 3T5^?T — ST^TTTI
'???f^f»rrfT ^^t^liiî'fr^r ^JTrif; (^»3;+3T:H + ?r^) a multitude; Pan.
III. 3, 19. But ^jt5t: (^+3T^+3TqL) ^^ group of lower animals
birds &c. Cf. Fkn. III. 3. 60. 'q^^rt fl'T^fts;^'?} ^mw.' Amara Cf]
^SFsr^Rt ^în fkX^ 1 Ras. Cf. Eng. 'flock' or 'herd', ^^^f^^^r—fîj

farqH 3iff*r? ?T^ ^^^^l^^ the place of selection, fr. f with 3^ ( 3^7) added
3Tilr5fi«3t. ^^^k i%5cni%- f^f«T7«»»Tr<I— This shows that the other
king^ were already there when Aja went.
—
—
CANTO VJ.
S'l. 1. ?nr —
J. «. in the place or hall of the s^^t^. JT^5 Maficha —
seems to mean here 'a dais/ or small wooden well-decked platform
on which a small throne was placed for each king. ^T=^rr^r^
^•cr=^n: f%2j% ffa 3"T^rT^-cr?^5> furnished with a canopy and other
decorations such as garlands, scents &c. ^îrR^Rr^ — if^tôT ITT^^-
RirfHw iTTTl'TJTr^^m ^T fk^]^- l

^^^r^^rm wmr^^r;, those moving in
balloons or aerial vehicles: fr. T%iTR + f'^ (5^)- STF^S'pfr??!^
r^]^-[ being connected with H^Îîl^ ought not to have been com-
pounded, when ^T^tTi'l.is left uncompounded. or the whole should
have been 3TTl>S'fT^f^R. But since the meaning is quite plain
the comp. is allowed; and hence Malli. remarks gfq^r^ffT &c. See
Sanj. pfrryr — tê graceful appearance of.
S'l. 2. sr^^rf^rT^npH;— ?fH# ?fIW bis body; ifr^TNct ?^rf ^T?^ i
t^rr—fRTg ^ffr?iT^^ This implies power to give or to keep back

I
at pleasure. qfrrfTr^^T^— See note on IV. 41. f?ff??frR'^r^J5[--HifcTT

3TT5IT 'r^HlTTT^r^T?!^ I
f 'f^c^t f^^^ f^^m\iF%^^'JWT^^^^ I
The allusio?i — While S iva was practising meditation io a seiiuestered

spot of the Himalayas, Kama, at the request of the gods, attempted to
inspirebim with love, that the God might raarry Pu'rvati. But he was re-
duced to ashes by the fire of Siva's wrath. Subsequently, the'god being
moved with compassion by the entreaties of Rati, reunited Kama with his
lost body. See Kum. III., VI.
S'l. 3. |^*ro— For IfH see V. 62; Hyfs" pointed out, see I. 95.
^TFTT^^— ^f R^T^R: ^'-T 3"qR- 3TI^r T*r^tT%^ jfer trqR a flight
of steps generally of stone); ^rTRf^: *^^3?r: €PTIR^«r:
( I
raHT-
f%^^:— by means of projecting rocks, ^rr^:— a young lion, not yet
of full age bat bigger than a cub (^Hf^); this is used to
keep up the
comparison with ^?TR. Dilipa is also described by the poet as
walking like a lion ( îT'îrTtTr ) H- 30. îfrcgr^^—^^^ is pro_
perly the lap; hence îfr?^Tf ia a level plot in the side of, or tho
upper surface of a hill. Cf. ^r^R^f^ Meg. I. 27. Or, after Malli.,
'the peak of a mountain'. Cf. Kir. VII. 21j Meg. II. 33.
S'l. 4. q^T^^ &c. — tTTT'^f excellent, supremely beautiful; see

note on III. 27. aTT^cTîJT &c.a covering, a carpet
^T^^T^FfT:
^^^lt ^r^fl'R'^T îr^^^^ whose splendour might be compared with.
n^ &o.—^7^^^ g-g- ^7^^t ct^t^t^t 'tpt ?frr H^j^^r^fcl- ^^ i We
cannot affix the cTT=e=jn<^qr W[H as it is prohibited in the case of
f%T except when it is preceded by f^. iT|?r — See note on r^?? H.
36; a peacock is the vehicle of Kartikeya.
R. N. 19
( 146 ) [ Canto VI-
S'l. 5. Jl>Tr^^^ &0- —

may mean either excessive aplendour. or
unique, peculiar, splendour, such as was not seen before, ^^r?-^:
r%fr%g ^r^^fr frfr^^;-, 5:^^. f^rr^: JRU^^: ( as it dazzled the
eyes ). This explains why RjTT^r<S«:«irîTT s'l^^f?; i ^Tf?TVjr — Here
^T^T? implies a groat number. Like a streak of lightning reli2ct«d
in a thousand clouds, the goddess of splendour shone forth in a
thousand different ways as represented by every one of the kings
assembled there.
S'l. 6. XTÎfF'tTSr &c.— Ji^l^lt îr^ ^^f ÎR iTf T^lf^ &c. g-frir ^c—
^^KrfoT splendid, magnificent, ^^m ^l^'Jr?'^ ?TIR f^^cftfcT ^SfT-.rffR.
vrr^r — ^y ^^^ peculiar lustre. This is used to mark out prince Aja
from other kings. The q^r in ^^p^ is Rv^^^; and we cannot have
unless we have something to express the 3TlfT^T?T or excess
f%''TRaT
which the part separated from the whole has over the rest. The
arffT^T^ may be expressed by (1) an affix; as fcrf^ ^ji^: '^^.. (2) or
by a word-, as rffj ^ti[[ ^f eî^rj ( 3 ) or sometimes by the entire
absence of the distinguishing attribute in other things; as gr^ ^^:
q^: where ^^K^ possessed by ^?{ is entirely absent in other students
and is sufficient to distinguish him from them. The present case
is to be explained similarly. The simile used by the poet in s'l. 5
implies absence of 'natural luttre' in the kings, as they are
compared to clouds. Was it also absent in Aja? No. He only
was distinguished by his own luttre. The reading jjirr at lirst
sight seems to be better, as it directly But expresses the a^f^îj.
if we adopt it the simile in the previous s'l. will lose its foroe.
—
^rF^f^^\\ See Sanj. and note on «j:?qa^ I- 75; also ft. -note.
TrR^r^r: m\i\ according to some is a name of the sea; qiKwff-
.S«^î(T: I
This was one of the fourteen jewels obtained at the
churning of the ocean. See infra X. xl.
S'l. 7. ^g-jf jfr: — The pi. indicates the plurality of the groups
of eyes. We
should suppose that different groups of people had
gathered in different advantageous places to have a good look of
the scene. »ifR!ii%— 3I?^T ^?rf?^ ^ 3"?^?": J?\ifr?^?: JTfr^*^: "^f^W-
i I
^cqsr^r- —See Sanj. It will be better to analyse jsTf^r: as js^Tgr^T

\v^y. ( a Tat. of the :(Ti^qrf«iÎR[ f «i[: may not
t^âss ); for.jsqroif
necessarily indicate the presence on the trees at the
of flowers
time. TT^vfff^ — -^n elephant of the best class, the scent of whose
ichor is unbearable to other elephants and whose possession ensures
victory to a king-, for the force of the epithet see Sanj.
Si. 8. 3T^^^: — Here 3T^?i by means 'the history of the
a'«3"^r
race.' ^rmM^— Î»TT^^T: ^TRI^=t^T^ m^fff^TTHere we o«n- cTÎ- : I

— — — 1
Canto VI. ]
{_Wi)
not affix the ^^T«f ^r[. and say ^fXTi^^^pfr: TfT: I

^ri may be affixed to
f^T but not to compounds ending in ^^^. '
^ygf^^^Ti: ^'tw^'Tr: fr^lT^q:
i^SToTTTf rf^ ^c^^: I if^'^TWcTr ITfl'^TTf^JT cT^?Tn^- ITRI^'^Trl' I Vimana.

Malli. seems to derive this as follows — ^^j >T«rr ^\^J: €'^^\^s^J•^ ^s^l:
m^J^K^V I ^rm^ — Here word 3T% being
the 3T^rar^?(T ought to
\have been placed first. Hem. says the Oomp. is of the ^fSf^'^ff^
class and so we have ^TTT^f- aT^^^TK^R'r— 3T5ôT: ^^RTiS^^R:
the core of the black sandal; ^ ^rR^^ I
ItRF?^-' —f^^^^ fT%
.#5T?7?ff: I Uq. III. 128; one who conquers, a victor; rl^q?t f 3rT???ffi-
S'l. 9. ^wrrq^rr^— ^^^riTwrfrr ^^r ^»fmf^?n 3Tr:?T^s'%"^m ^r ^mm
^?oJT'f['=?TR=Tfr% ^r^nfr 3'^?B;?«I^r
l —
Peacocks are described as being
deceived by any noise resembling the rumbling of clouds and then
dancing and singing with joy. Cf. I. 39. t^^ — This word is vari-
ously derived as :
^ti^'??'?^ f ^J^^
-'^ (when blown and
'^^]^^
i heard) | 3jq^r?7»T^?7frTT% ^^^•' (that which removes calamity) from
^T^-f ^ by :{T%: J^: Un. I. 102; :}f tIt^ ^^Tlli sr^T^rfcT fili, &c. ; see
foot-note, ijîlrrr — spreading, pervading. For a slightly different
meaning cf. II. 34. »rfwr«f:— H^^^T^: ir^f^TJTJT^ I
S'l. 10. ffJKHf— q;^r5Tlmfrr% ^^^r. \ "^^r^^m^PJc-a palanquin.

See ft.-note. ch<-zrr — Some take ^'JTRR^lT?rn*r as one comp. word.
SI. 11. f^v^rTrfcT^ra" Rvtr^^tfi^^TT^cTRT^ I the highest limit or

perfection of creation or design. Char, translates this by r%»Tf^
^lir^T^. Of. ^^^JX^^^^^ ^îTfm ^T%^ 'T^T^^^^T??-^^ I Bhatti. I. 3.
^F^rr*!^ î'^\ qfrir(^^«T ^^îrff^r: l Here the «p??tt is looked upon

as the material which was given the best form ( ff>^Rif?T^T?T ).
S'l. 12. ôr^TnTfcT: — 3TJTr ff'T aqg-fr^r: ^'J\^^^mt^^• 1

^^R^—
desire to have. ?TFrC^^r: — TRl is defined to be 'the permanent long-
ing which young lovers have for each other.' This is the ^?jj-f?rvTr^
of S'ringara. When this Hatl is rendered agreeably manifest to
the audience by the exhibition of the proper Vihhavas, Anuhhdvas
and the Vyahhicharibhavas. it is called ^fTT- See Sanj. By "^g^f
Malli. understands the Anubhavas, which are the outer signs of
the internal feelings. These are of four kinds: (1) mental; (2)
bodily; (3) lingual; and (4) intellectual. See ft. -notes.
Ic s'lokas XIII. -XIX. .the poet describes the various amatory actions of
the kings in the excited condition of their minds when they saw the
(148) [Cant. VI.
princess actually befere them. These were naturally to be expected from

theni on sucb an occasion in their half abscut-mindednesg; and thcr^^ was
no particular moaning in them, boyond an intention to attract her notice

or exhibit their love for her or to show themselves to advantage An
attempt is made, however, by the commentators, Hem. and Malli., to
make Indumati and her suitors interpret the actions each in a way favour-
able to either, but the hidden sense discovered by them is more d. >ho\»
the subtlety of their critical faculty than real.
S'l. 13. 57JT3''>— ^TTI,? ( clasped, held ) ^]^ 7;^. ^^^ the hollow
stalk especially of a lotus; cf. i^^^sp^h•. i^rq^^^f^: Meg. II. 16.
ofeC'TT — shows that it had a powerfully attractive smell. TfCTT-
trf^îsflrtT^lfl &c. Nai. I. 14. r^f^f^^^—^\p^^j.î\^.^^ ^RT^-T^ 1
A lotus taken by a handsome person in his or her hand as an

additional grace to his or her person. »j»T?n'^^5RTT The king did —
this probably to attract Indumati's notice, which he wanted to do
without committing any breach of decorum or propriety.
SI. Rprr^r— f«r5r^+f^g^ (f=i) mîfr^q

14. Pan. ill. 2. us. i
A beau. See ft.-note. ^[^^rgo &c ^c^?:^!'^:^- ^f^ft inlaid with —

gems. 3Tf^^— 3T|r- f5^m ?Tfff^TW
im 3Tir? an ornament worn ou the
upper arm (between the elbow and shoulder). ^T^^îT^rq — aTf-^rTT:
??TT4 ^R^m^^^ I '^F'CrfrrT mP^

grf^ is an indec; 'turned obliquely.'
but Mukuta ( a commentator of Ak.) says ia^>eTI%m VS^\^. ffiT
^f^^r'T:- ^ ^r^ 3T^n% sT^rf^ ^rf^ ^g^q^r^ ^ft ^r^rsri^ &e. This
i
prince in his vanity wanted to show his person to best advantage.

So without turning aside his face wholly from Indumati, he
replaced the garland extricating it from the points of his armlet,
and thus accomplished his object.
S'l. 15. arrf Nf?T &c.— aprr*^ m »TWc?'T^Fa'rff?5?i": I see Sanj.
or 3{\^\k^l^^mm ^\€j ?TI aTrfir^f^nrr:, &«. ^*TrTnrfr inclined down- — I

wards. It means —
With his beautiful ©yes slightly cast down.
For this sense cf. Kum. 11. 26 3TrwT%^3r7Tmrc7r^?yfi^m<l^r«^:' ''
also III. 54 ( arrff^cn &o- ) and ^f~^53T?ff iT»TJT»TcT^r ^S^T^Tr?^^
;jt1: I Meg. I. 48. ifft f^f^^^ — scratched or drew lines on his

foot-stool. This is to from »ffj i?f^^. The
be distinguished
former means <a meaningless scratching', and is a sign of absent-
mindedness-, while the latter implies 'intentional writing." The
king was utterly absent-minded and did not know what he wrote.
Cf' 'îflN m^T^'J; ^r«T»i'
Kum. II. 23; 'q fq&T%?% "^K^.H ^f? j%%r.
^tsTT^?Tc7T=^JTt n^\>' Kir. VIII. 14. See ft. notes.
J
Canto VI. ] (140)
S'l. 16, arr^^r^— srr^ê^r^^: qy^H-^T^ft^^ Here 3Tt does not l
mean exactly 'a half/ bat a part only. The word 3T^ meaning a half
is of the neu. gender and is placed first in a Gen. Tat. f^frTo —
flr^ the snaall of the back, or the part near the lower end of the
spine ; or it may better mean 'the part of the spine between the
shoulder-blades.' f5f?f — divided i. e. fallen on either side, or rolled
round ( gfasci: ) according to Malli. ^|7^— ^ffVR f Q[?f ^^ The I
word gfg[_ and gfrj,meaning a friend and a foe respectively, are

derived from g and ^r^ prefixed to f^Jf, by 'g^^ffr fflÎR^^r:' V?-.n.
V. 4 150. If we expound as g ^frvrq" f^ 5?^ «? we shall get the word
gg-fj^ but then the meaning will be 'one with a good heart' (
just
like ^ffq': ), and not necessarily 'a friend.' The king placed his
left hand on. his throne and reclining on it turned to his neighbour
to converse with him. This raised his left shoulder and depressed
the right one, and thus brought the back in a position to receive
the displaced long necklace of pearls. This act of the king
indicates the nervousness he felt when the princess presented
herself.
SI 17. f?^q-5T^ —A kind of ear-ornament made of ivory
(probably of the form of the folded Ketaki which is worn
in the hair of the head by women ). arrTT'^^'?. —TRfT'pTf^rFnr
'^'^l^'j;
' 3Tr f«r?Tr''fT'TrTFfT'3[ l
This action of the king shows that
he was extremely beside himself, being under the power of the
intensity of his feelings. According to Oharitravardhana it
indicates his proficiency in the Erotic science.

S'l. 18. |r^^?r— f?r ^sr ^"^ ff^r^^T^^ i '^tM^- ^5t ^Tr'j;' im
v:f;T3T?T: I Now see Sanj. This is a sign of delicacy and beauty.
C?err^-TW —^^^'^pHTcfr sw^r: ^^r^sr: &g. This is one of the linear
marks of royalty said to be found on the palms or soles, x^f^^^ —
according to Mallinatha's exposition this will mean 'rings made
of gems;' it is better, however, to take this as a comp. of the
^TT^TTf^flf^ cla8S-f^<3P^T'^f;:?f[?j7f^ ^^fpf^JfTTR" I ^frf^rrÎTO"— threw
up; perf. of the caus. |r^ to go, to move, 2nd Atm.; for a different
sense cf. was only a feint used by the king to
supra II. 9. This
prevent others from guessing his feelings by observing his features.
Kum. VI. 84.
SI. 19. s?Tf?f?jf|:^ — Passing over, slipping down from. q-tsTTfJ'-

f^lTiTT»R:^TÎ fg^nif:. now see com. ^r^^rrPT —the interstices or
spaces between. This was also a manoeuvre on the part of the king
(l'>0) [CantoVI.-
intonded to conceal the agitation of his mind from the observation.
of the other kings and the spectators. It, however, betrayed hi».
feelings, as remarked by Hem. See ft.-note.
SI. 20. ?|rTf rT^m — wbo was acquainted with the historv, the
prowess &c , of the kings and their pedigrees. The reading ver^jif rfT
is bad as it simply means *who knew the history of their
families
and not the particular exploits of each King. q>?Y ^^^ 7?^?^
Malli. takes this with ST^^ri;
— \
'She spoke like a man,' i. I e. without •
feeling nervous in the presence of so many kings, which she, as a-

woman, was expected to do. Tae reason of this is supplied by
tfT^^r, We may, however, better connect it with 5rir?*rrj 'advanced
( ac!complished ) like a man, speaking boldly and sensibly.' jjf^^^-o--
5(fffT%'7fr ?ia ifmfR: 1 Now see Sanj. jr^^jv^^^^^—^^jyvfr^f îg-?jroi|.
HfrÎ î^T^fr Jrnvfi: l

For the disappearance of the suffix ^r^ and
the pi. see Pan. IV. 2. 81, I. 2. 51: ^n^T^\H\9^T•. \ ^t^rrr— ^["fcT
ffcT f'^rfr an unmarried woman, a maiden. The affix ^ implies
youth.
Si. 21. ^caj: — lit. able to protect : see com. ^TT'^r^^rRTI.
3Ti'^?RRr »rrvi: i^«?i%?tl> arirrvf^q; i Bah., by the Vart. '^57F^*trt^'

on PAn. II, 2. 24. »iiTvj5fffi^:— See Malli.; or ^tit^t: ^rm^ 3TW
j
?mr^'Tr*?r— 3T«T^'nnT^'T??T 'fP'T 'f^TI^; in; keeping with the sense.

An Avya. of the f%??Tf)iTW class; q"«rT here indicates iffTdT. See
Sid.-Kau. on Pan. II. 4, 18. ^vfj is compounded in an Avya, when
not implying Îg-^?r, by '?7?Tr5^r?^^' P&n. II. 1. 7; jj^\^ ^m^.
—
What is meant is this He was a king in the real sense of the word/
since he was always the protector of subjects and thus had
his
secured their good-will ( ir^fiT'd^^ and was also a chastiser of»
&c, )
his enemies ( ^tr[^ )• So both these epithets were literally

trae in his case.
Si. 22. gRTR^ — Granted that; see note on IV, 43. and S'ik. I.
31. ^TfW^T:-^^^: ^^: qKi^^j^t: by thousand?; here implies mere

plurality. 5CriTS=?tfr^— ^TpT^r ^TSTF ^^^\: i The ^ is here irregularis
retained in this sense; while ^r^rs^^r ff?I^ becomes ^r^^^F. See
Sanj. and Amara. quoted therein, ^fl^^rTRnTf— ^T ^f^ 'F^^TRIfj;
''^riin^ ^ ^^'fffilr ny^for those which do not move from their placet,
«. a., the stars, which are fixed. This distinguishes them from the
planets which move round the sun. Or ^ în% ff?r ^T^sTTf'T those
which nevor fade, i. e. have a steady light. This also distinguisheit
them from the planets which, owing to their motion round the sun,
— —
Canto YI. ] ( 151 )
present diiiereut phases and sometimes appear less, at others more^

brilliant. This term, howeverp is generally restricted to the 27
constellations of stars through which the moon while moving round
the earth appears to pass. cT^?cqif*n?r^ fTTU:— Those by which
people travelling through strange countries guide their course, i. e.
the stars. Cf. '

'^^-»niT(f^^5TmTlt JT^tfl-5[% f^^T-*' I
Mah.-Bhdr.
This is the general name for stars; see ft.-note. ^^f^cT Q;#^^fH'tT%
ir^[: those which shine by the light they get from the sun, i. e. the
planets. — having a luminary shining in.
"rsflf^s'Trfr
S'l. 23. J?R^m^^\^— ^^^^ uninterruptsd succession. 3T>-.'T^
see note on the word under I. 81. According to Ohdr, this ef)ithet
implies that the king was much given to religious rites and was not.
therefore, a fit mate for the princess. sTtTW^ See note on the word —
III. 44. ^r^^^: — ^f?r%^rT% 3T?Î% Indra. See notes on III. 43;
Budh. Ch. I. 27. irr°^^!fr?y &c. Tfjv^ 5P^cf[ TI'Tf^'Ttffr fl'ff^'^^fT
ITcT rTfn I
S'achi's face was pale because of the anxiety caused by her
husband's absence. Whenever a sacrifice is performed the gods are
supposed to come down in person to accept the offerings, and hence
Indra'a constant absence. See the quotation in the Sanj.
H5?^^TT?J^r^ — *T^r^ here means <the flowers of the MandSra tree,
which seem to be specially favourite with the damsels of heaven;
ef. ^'^^g^JV^^]J^r^PT\ &c. Vik. IV. 35. Ohaste ladies do not
decorate their locks with flowers when their husbands are absent.
See Sanj. Here Sunandl indirectly hints, supposes Hem., that the
young princess would not be very happy in his company.
S'l. 24. —
*r%JT '%^ This, according to Hem. and Ghir., expresses
Sunandd's disapproval of the match. But this and other remarks
of a similar nature of these commentators seem to be quite out of
place. Malli. shows better taste in not attempting to discover any
hints &c. in Sunanda's speech. Sunanda's duty was simply to
describe the kings as best as she could, without betraying any leaning
or partiality towards any one of them. It was a svayamvara and
Icdumati had to exercise her free choice in selecting her husband.
Any attempt on the maid's part direct or indirect, to bias her mind
in favour of or against a particular prince would have vitiated the
character of the svayarrivara. ^^^^^ —V^^H ST^f ^V^^'- oiie fitly
chosen; estimable, elegible; fr.

f and ^,^^, an Un. aff. Sfr^f^ &c.
^m\^'!^ ^^WA^^ ^\w\'^^^ îItcti^ctt^tj^

\ The comp. is ^f ^qr i
and not an Ace. Tat. %îr?^^ 3"rgfcfT?3c'H^: lit. —

that which. I
(152) [Canto VI.
incilos one to action or drives away depression; hence, festivity.

I^2^riF?rr^r'5t-^m'TF^!Fif^ ^^'TrErmi% a^w^^r: by the Virt.
'3T|ff?^??TIoi' on Pall V. 2. 100. «J«T<T^ — modern Patnft, the same as
Pataliputta, the capital of Magadha, which was situated near the
tionfiaence of the S'oiia with the Ganges.
S'l. 2.). f^^Rr &c.— rf^%g glrjTfqr ^r (^w^^'\ i
f;«fi 3?f
•*
Iî;H^'Tr $fflf^ffl I Now see Sanj. "Whose garland of Madhcka

flowers, interspersed with diirva was slightly displaced."
grass,
Such a garlaud is considered auspicious, and the bride ought to
wear it ojji the occasion of her marriage, ^ft^^''^^fw^^ with a —
straight bfciutation, t. e. by making a bow, without bending herself
much, implying thereby her dislike to him. Malli. has ^TI^ ^ y^^^
with a plain salutation, t. e. without any indication of lore, a cold
and formal salutation. Char, and Din. also explain in the same
way. But this will not explain why the garland was not much
displaced. Slight displacement of the garland ( f^r%|%^l% ) is only
possible if the bow was made with the body nearly erect ( ^"^ )
»'. e. slightly bent. —
cFff here means 'slender- waisted," a well-
proportioned woman as opposed to a fat one.
S'l. 2C. ;g^ —
She that had spoken before and none else.
Because she was able to divine Indumati's feelings (see Sanj.).
't'nif^ ^sr. —
the official staft ( ornamented with gold or silver)
of a door-keeper; see Kum. III. 41. ^^TR'TT^r — ^»=«fniH ^îTtftfh
^JTRot: rTWri?rTrB"mffTr^lp^'OT— bere ^j^] is the same as >î a
»
line, hence each wave. TT^Wrnrt^r TT'T^ ^be sacred lake on —

the mountain Kail&sa in the Himalayan range. It is also called
Î?f W- ( XIII. 60 ) having been created by Brahma from his mind.
According to the Ram. the river Sarayu or Gogra issues from it.
'^(^r^Tl^ l]^ T^^ T>T% T^ n «^ ii ^frinr "îk^j^ '^^^ jtr^
m- frpTrfgm^ bx^-
I «i^fsîgQ»i;fri n «^ ii ??T:iTfTTr m^^- %^^J ^^-
^«5^T &«. R&m&. I' B41. K&iida Chap. XXIV. But in reality no
river issues though the river Satlej flows from another
from it,
and larger lake called îôi^^ which lies close to the west of
M&nasa. It is stated in the V&y. Par. that when Gang4 fall
from Heaven upon the monntain Meru, she ran four times
round the mountain and then divided herself into four rivers
whioh ran down the mountain and formed four great lakes,
arêfyiT on the east, î^f^ on the west, qfT*r^ on the north and jfm^
on the south. i}H% ^r3ri€r*TT^^?W^«( The simile, according to Hem., I
implies power of discrimination between good and bad on the part of

the prinoess. The lake Stanasa is said to be the favourite haunt of
^
Canto VI. j (153)
flamingoes which migrate to its shores at the commencement of

the monsoons. Ftdc Vik. IV. 14, ISj Meg. I, 11,11. 16. -Those
birds finding in the rocks bordering on the lake an agreeable and
safe asylum when the swell of the rivers in the rains and the
inundation of the plains conceal their usual food.' Moorecroft's
Journey to Manasa-Sarovara, Asiatic Researches, XII. 4G6.
SI. 27. q^r<3t — A poetical license, the princess being referred to

by fT^ in the preceding s'l. ^_^\'R[^ cannot be substituted for cTT^- 5*?-
Îprr^: —The important kingdom of Aliga was situated on the right

bank Ganges and to the south of Kaus'iki Kaohchha. Its
of the
capital was Champa, sometimes called Ailgapuri, Lomap&dapurl or
capital of king Lomapada, Karnaputi or capital of king Karria, and
Malini. According to Hiouen Thsang it stood on the Ganges about
24 miles west of a rocky island. Greneral Cunningham has shown that
this description applies to the hill opposite to Patharghata, that it is
24 miles east of Bhagalpur and that there are villages called Oham-
p4pura and Champ4nagara adjoining the last. According to Sanskrit
writers the town was situated on the Bh4girathi, east (
properly
south-east ) of Mithil&, and near the confluence of the Kaus'iki. So
there is no doubt that Champ4 stood at or about Bhagalpur. Ohampi
was probably so called from the abundance of Ohamp& or Champaka
flowers:at any rate, according to the Mah.-BhSr. there was a
Champaka wood near Kaus'iki. In the present s'l. there is an allu-
sion to elephants, which are not found in the hills to the south and
east of Bhagalpur, but in the Himalayan regions on the north, so
it seems Ailga at one time included Kaus'iki Kachchha. ^^HpTr
&c. —
Tradition has it that this ki/ig was called away by Indra to
assisthim in a war with the demons, when his youthful beauty
enamoured the damsels of heaven (see Sanj ). ff^lrTTrT: —
^'Sijcfrm ît: qf?T:
the
I ?r^ vr^r: ^]^: elephants,
composers or writers of
^^r^rc:
aphorisms
— ^^rm
on
^
the
^fTc5'^'^Tf^l%%:
elephantine science. According to the commentators Malli.. Hem.
and Ohdr., the elephants of this king were trained by such eminent
original writers on the science and art of training elephants, as
Palakapya, Gautama, Mrigaeharman and others. According to the
story given by Malli. this king > nv a troop of the elephants of
heaven descended to this world on account of some curse. Unable
to seize them he applied to Indri, who directed some of the
heavenly sages to accompany him to r,Ue world of mortals and to
train the elephants for him. It h-hs thus that the science of
R. N. 20
(154) [Canto VI >
traiaing elephants was introduced into thia world. See Sanj. ^79
'Tt— cf. II. 54.
S'l. 28, q-?n-^2|rn'— causing to be oast or arranged round: prei.
p. of 3TR cau. with qf^. gTTr'ircy &«• —SWr^c^RI^ F-f.^1 »rk\^^-

^^^V I ?^ ^^K^m^'T^ 5^T<?rc7?'^^r5TPTir?Tr^ryrT»TT: I f?T^5~We may
construe this with tRfWflfTT.or
ijf'^fq^r-- gT'S^T-hoving taken away.
The idea is this — The
king killed his enemies in battle. Upon
this their wives threw away their pearl-necklaces, but the big
drops of tears which they shed through grief came trickling down,
and being settled on their breasts, looked like so many pearls
arranged together, as
it were, without a string. The poet fancies
that were the very necklaces which they had discarded that
these
were now given back to them by the king without their strings.
Cf. Mudr. I. 11; Nai. I. 10.
SI. 29. q"^5EfBr^ — "nay be taken as a Vya. Bah. as Malli.

does, or as an Upapada Tat. ^'>ir:^*j^g-[% ?t% i ^^ ^prFfrfr '^—
It is supposed that these two goddesses are generally opposed to
each other, t. e. generally the same person is not both learned and
wealthy ( or beautiful ). «f7?=zrrf«r ^^^ ^r^w^mî\m î^^m^^.
/em. ^^qpjfy. ^?jf: —may also be taken with ^]J'^] which in this
case will mean ' equal to '; f^Fq-fPT gî^TF 5f*Tf Î'r^r g]JtT«ir fncf ^
Û^\
tT'ir: "You, on account of your possessing a handsome person
1
and a fine tongue, are equal to Lakshmi and Sarasvati combined

and therefore the better suited to be the king's bride." Ohar. and
Hem. think that this indicates the undesirability of electing him, as
he had already two wives, viz. Lakshmi and Sarasvati.
SI. 30. iT^zn"'^ —Malli. roudors this by ' Friend of the mother.'
See Sanj. We may
explain î^'TRt ^fiCr 3r?^l, well-disposed
also
towards, a well-wisher of, the bride. Hem. and Dinakara read t&e
text of the line as '
îafd 5R^H^^c^*TTfr
'"
— the maiden ordered her

bearers to proceed, a reading wliicb Malli. also notices and com-
ments upon. Hem.
^f?fl^fr and further remarks
says ^;fi W^\'-
gr^^y: %ivirr ^X¥^ ^ 1^ |c5"7®i3TRcHfffrq: ?t% ?if^ff»fT Din. also adds 1
irÎRrff qfs =Ti^ m^^t TT'^r: &^- Ohar. and Vail, also read ^ffTfcT
Tf'^TR^f^RTfr The former iraoalates ?ii?ir(^ by <TRflff^: ^nd the
I
latter by fTfF^- T-JT —

The t\vo negatives are equivalent to au
emphatic affirmative. ^r>=ZT: — ^fJTH3 ^^'- worthy to be liked,
acceptable. fiT5r?I%T'f {7r^:-'but people have different tastes.*
Sanj.; cf. Kir. I. 37 quoted i i the ft.-note.
SI. 31. q?:^— 'another/ is a /»0N. here, aud declined like ^,
f^^=^r «r?ff«»— c/. iTFcTf IT^Jifr supra si. 20. ^jf»r-the place or site of. i^:
Cauto VI. ] ( 156 )
^^TTr^tTPTTrsf^ I Vis'va, f^^sffgîj —To be seen with partioular-close-

attention; hence, ' of lovely appearance.' T^ff^R^—^^9?«Tr^ rise
?T?j?
•
appearing after new moon.' Such a moon ie supposed to be
lovely. Of. II. 73. f?f »??# — Here the Dat. may be explained by
^^\k^J^ e îT^rr^
'^^rr,j P^?. '
I. 4. 32. ??5;f?fnTrvrErcq-rJT»T: I See
Apte's G. § 45 (a), f^ffff^f »Tc§ — Here we must not suppose that
the king is compared to the moon; for in the next si. he is
directly
compared to the sun and the comparison is kept up until the rejec-
tion of the prince by Indumati ( &'l. 36 ). The resemblance here
is simply between the act of showing the king and the act of
showing the new moon.

SI. 32. 3Tg"f?rT?TrT: —
Avanti is name of a country on the north
of the Narmad4. Its capital was Ujjayiui, also called Avanti -puri
or Avanti, and Vis'&la or the great city ( see Meg. I. 30 ), situated
on the Sipr4. Its temple of Mahak4la was widely known. Hema-
ohandra gives M41ava as a synonym of Avanti. But the accuracy
of this may be doubted, as the former country covered in ancient
times, as now, a wider area than Avanti; and Banabhatta applied
it to a neighbouring kingdom on the east whose capital was Vidisi
on the Vetravatl. It appears from Kali. ( see Meg. I. 24-25 ) that

DasArna was the name of this country through which the Das'arna
flows. And Anandoram Borooah identifies it with Bhilsa, which
agrees with it in name and position, four miles from which there is
a detached hill with vast remains of antiquity. According to the
Mah.-Bhiir. the province of Avanti extended on the south to the
bank of the Narmada, and on the west probably to the banks of the
Mahi or Myhe. On the north of Avanti lay another principality
with its capital Das'apura on the Oharmanvati river, which appear-
to be the modern town of Dholpur, and was the capital of Ranti-
deva. 3T«fn=cT is considered to be one of the seven sacred citie; of
the Hindus, to die at which is supposed to secure eternal happines:.
Of. 3Tî«gT 5T«jTr 'Tf^T ^^ft î%iw%^r 5fT ^r^RcTr %^ ^Wcrr jfr^Tf-
I
f%^: II The women of this city are described as very skilful in all
erotic arts. See Bal.-R. X. 83. '^SR^qjg^ —
See San j. We may also
analyse =^ ^q: wH^j x^^^: ff^^ I
'^^ a round lathe, cf. ^r^j^'^^zT-
WT>yrr'cTJ?Tf^'i¥3?f[ffT^^^fc5";' i
Uttar. VI. 3. ^^—Tvashtri, the
Vulcan of Indian Pantheon^ is the architect of the gods, well-versed
in all arts and wonderful contrivances. He sharpens the axe
of Brahmanaspati, and forges the thunderbolts of Indra. He had
two children, a sonnamei Trisiras and a daughter named 8arajn4.
The allusion here is to the story of ^^ who was given in marriage
(156) [ Canto VI-
"^0the San. Uuable to endure the excessive splendour of her hus-

band she applied to her father to reduce the luminary. Tvashtri
accordingly obtained the consent of îf to work upon him, and
placing him on a turning lathe trimmed off a portion of his bright
disc. The part trimmed off is said to have been used by him in
fashioning the discus ( ^gp ) of Vishnu, the Tris'ula of Siva, the
rod(^tJ3-)of Yama and other redoubted weapons of the gods,
wherewith they
discomfited the demons. With all his offorts,
however, Tvashtri succeeded in reducing only an eighth of the sun's
spendour ( according to the Vishnu P. ), and hence the poet adds
'
^r#?r '. See Malli. For a fuller account see Mark. P. 105-108.
^fsrRjnr: — trimmed out or lopped off.
SI. 33. — Tho S'aktla

â-fntr^r^: referred to are !r^3Tl% or the
power arising from personal energy (se« f t.-note ); jii=^?it% or the
power arising from good counsel; and Tf?rrf^f^ or the power
arising from the possession of a good treasury and an efficient
army. ^RiTr^rPT Eaised. —
This is causal in sense, though
primitive in form ( 3T;?t^w57«t ) and is therefore transitive.
—
HR^fT <fei!. see note on the word utdor V. 18. q-*TnTfrfTffnT^T
ST^fTJT^ f r. 3TWa; adv. and f to go. ^x^x is connected with fg^- •
JTofRTJ^ and is therefore ^jq^; i^ i- nevertheless not compounded,

'
like ^w^Tf^q 'JR'JrJ^St- Malli. remarks on this ' m^: &c., where
^flBI^: means 'the vanguards, thi' soldiers marching in the van.'
S'l. 34. *I?r^?r &c« —

Mahakal is the name of the celebrated k
temple of S'iva, one of the tvt&\vc jyotirlihgas^ at Ujjayini. This is

immortalized by Kali, in his Mi-j.'. iiich gives a beautiful descrip-
tion of the god, his temple, wor-t.i ., &c. ( see I. 35-89 ). S'iva is
always said to be present ther- This indirectly points to the
sanctity of the laud. =^?5Hr^:-
~ 'Tfr?"i •s^'PT a Vya. Bah. This
epithet explains why the rrf^f'^; ilways lighted up. ^\^^ —
?iRI?«ITfmm fir%^ der. irregul; :)f^y^|%5fj__' Vki}. V. 2. 1145
'dark.' ^\X{m ^^^^\^^^^^.\ oi mean darkness; cTT%?rP?

rar.y
Ty?eirn^'TJ[iT: I •3TrViTriTSf%rTt'i?i- rrw cR:' Amara. f^^*?:--

The pi. shows that ho had air. y wives, and thereby implies
his ineligibility. 'S^R^-T^- ?fi7f% sq-j?^! der. irregularly.
iffr^T^-Here q^^n^ must be urn' ; its usual sense of 'the fore-

part of tbe night' and not in t e iiight' as Malli. does. Cf.
"stCnI ^^rgr=l^' Amara. If -
".and it in that sense w© shall
miss the poinl of the poot-, f< y in the dark half of a month
fhat there is no moonlight in i .rt o£the night, and bo all oau
II
CautoYL] (157)
never enjoy it then, while this king was so fortunate that he could
enjoy it even in the forepart of the night.
S'l. 35. ;cnTr? — Having thighs tapering li'ie a plantain tree.
^Tflffj^ — Indec. implying merely a question according to Malli.

But if it be a question it would imply Sunanda's disapproval of tbe
choice. And in fact Hem. and Oh^r. remark to that effect. But
Sunanda'3 part in the svayamvara is simply to describe the kings
and not to seek to bias Indumati's mind, as is already remarked
( see remarks under s'l. 24 ) It is better, therefore, to understand
5Fr%(îu its usual sense of'I hope you have the desire' &c.; see V.
5-9. ^srr shows

&c, —This
that the gardens are situated
near the river and therefore a walk in them must be pleasant.
SiprS, is a liver near Ujjayini, |being tributary of the Ghambal.
See note on Avanti s'l. 32.
S'l. 36. 3TPt^f?r?T &c- — III this s'loka the king is compared to
the sun and Indumati to the white lily. Hence the epithets are so
chosen as to apply primarily to the sun and secondarily to the king.
aTPT^rf^cf ( 1 ) caused to bloom; hence ( 2) gladdened. iirirT ( 1 ) —
heat; ( 2 ) prowess. ?f^Tr^?t — ( 1 ) dried up; ( 2 ) destroyed.' The
epithet ^^]^ &c. implies the king's fisecrq- as remarked by Char, and
thus supplies the reason why the princess who was 3lT^^'^ffT'l'r
rejected him. vjj^ q- ^^vf — did not fix her heart i. e. affection on
him. ^g'frfr — The white lily that blooms at night, Cf 3T-(Tf|^
\\m^ %W ^?m R &c. S'ak. IV. 3.
on
S'l. 37. ^r*TTgT;^^r»Tr»^— cT^JTT means water;
a lotus; fr^^PflT eT[fT?:^['cT?:^
aw't ^ ^T%
ri^^^mr 'T^qiWr^l
(lies
) ff% cfW^^'a: i
5T5TT — See Sanj. sffr^r^— Malli. has 3Tr%^r^ eminent for, dis-
tinguished by. But the sense of •equal, not inferior to,' will also
do; inferior to none in personal excellences, ^frfr^—'^[^RT ??fTT
^'^r: 'Sr ^7i^r cTI^ I
The word ^rcT at the end of a Bah. Oomp.
beginning with ^ or a numeral becomes ^rj; when the comp. denotes
a particular age; see Sanj. and Prin. V. 4. 141 quoted therein.
Hence ^ + 7^+t=^cfr when
means one having a complete set of
it
fine teeth, which is had only in youth; and then a young woman.
While gTât will simply mean a woman having fine teeth without
implying any stage of life. She may be young or old.
S'l. 38. &c.—îf[rr5 Hr?ST: ^f^ ^fff ^^; here ^^^ is
^^m .*
considered to be an ordinary gq^rrf^ word. It was only when fight-

ing on the battle-field that he manifested a thousand arms. Elsewhere
he had only two. See the remark in Sanj. The reason of this is
( 158 ) [ Cauto VI-
..cCiîiys giTeu by the epithet ^\jf]. The mystic power was givuu him
by his i'oga or metaphydical contemplations. See, however, note on
5rr«Tfr^. 3Ti5T?'ÎTr'? — ^'^'' '^^ names of the 18 dvlpas see ft. -note,
'iTiTrfm?r?5Ic!t f^m^^J '^^^^^^\'J^^^m^f'if^\ Nai. I. 5. 5?5FJTOT'Tn:T
( Karm, ; ^jfr: ^T^ff ^T^^ ( Gen. Tat, ) ffer fr n^f^Ti?:: uow =ee
Sanj. ^jiff — here JiirJT may mean f^TrffWHTr-ir after Patanjali or
' identifying the individual with the supreme soul in meditation ',
after the Ved&ntins '

ff^rfjjrr iîi fsjrpr gfff ic*nTnTTriTî:' I ^T^'^^: —
The Bon of and king of the Haihayas, a people of
Ivritavirya,
Cei^tral India. He
sometimes called Sahagrarjuna, K4rtavtryar-
is
juna or simply Arjuna. Ki'irtavirya propitiated the sage Datt4treya,

the son of Atri, who was a portion of Vishnu and obtained from
him these boons: — a thousand arms and a golden chariot that would
move wherever he willed it to go; the power to restrain wrong by
justice; subjugation of the world and governing it equitably; invin-
cibility by hid enemies and death
hands of a person renowned at the
in the three regions of the universe. By virtue of these boons he

ruled over the world with might and justice and offered ten
thousand sacrifices. And of him it was sung ( see ft.-note ): 'The
lords of the earth will, assuredly, never tread in the footsteps of
(equal) Kartavirya in respect of sacrifices, munificence, religious
austerities, courtesy and self-control." Vishnu P. He is said to
have governed the earth for 85,000 years with unimpaired health,
prosperity, power and valour. He once visited the hermitage of
the saire Jamadagni who happened to be absent then, but was received
hospitably by his wife. He, however, recompensed this hospitality
by carrying off violently the sage's KAmadhenu, and was slain by
paras'ur4ma. According to other accounts he grew very insolent
and oppressed both men and gods. The latter prayed to Vishnu
for redress and that divinity came down to the earth as Paraa'urdma
to kill him. He was a contemporary of R4vana, See s'l, 39, 40,
below.
1 '. ^':?TT^f^^m 3T5T^TFff ^FI^Î^^— Here the neg. particle I
has the >en8o of wicked, reprehensible.'

*
'^q'vjx: see foot-note. —
rf|-»^^ — This he could do on account of hi.i qfij^c^. ST^ST^^frf^ —
:^?fT'H 5Tfn*T^rT.5Tfin5 properly the I9f^f or the subtle body
;
But here îft^ seems to mean by c7S?iTI *an organ of sense' or ff;jq.
See Sanj. Hence 3T'a:^TfF'r means 'the mind,' Other kings could
reetrain the outward actions of men. Bat this king could punish
Canto VI. ] (159)
people even for their wicked thoughts. This Justifies the use of
the epithet 'ST^TJ^^^r'Î^'iTTrsT^Ta?:'- R^^rf^f^ — ^»^- ordered back;
prevented the subjects from carrying out their wicked thoughts,
made them banish them from their hearts. 3Tf^»nt an improper —
act, a breach of propriety; also an offence or crime. f%H"rff — «T3
^'?!T^rrTT^-one properly leading ( the people); the excellent governor
or trainer. The word is apnropriaste with 3Tlf^.
SI. 40. :52frg^âr &c. —This shows

what humiliation Ravana to
was put. nT%:'v^^q; &c. — Ravana was
so much overpowered by
the superior strength of Kartavirya that he wae not only breathing
through his nostrils but was gasping at his mouth. This indicates
his extreme helplessness. Or this might be due to his unavailing
—
wrath. ^fTrfT^r<3r?T Here Ravana is extolled as the conqueror of
Indra to bring cue more prominently the valour of Kartavirya.
^'^Tîâj —
Once upon a time king Kartavirya was sporting with the
females of the seraglio in the waters of the Narmada when his thou-
sand arms obstructed the current of the river. In the meantime
Rdvana, who was out on a victorious excursion was sitting on a
spot thus left dry in the bed of the river worshipping the liiiga of
B'iva. When the obstructed current was let loose by the removal
of the king's arms, swamped Rivana and the image of
it S'iva.
Chafed at this Ravana came up to him and challenged him to fight.
He however, overpowered by the superior prowess of the
was,
king, who took him prisoner and kept him confined in his prison
At last his grandfather, the sage Pulastya, took
like a wild beast.
oompassion upon him and appeasing Kdrtavirya's wrath procured
his freedom. The Ykyn P. states that Kartavirya invaded Lahka,
and there took Rdvaua prisoner.
S'l. 41. 3T?W% — see I. 9. ffeT — Known as, renowned as.
MfiTHf ^€r— srrir^^ f ?t: STiirTf^^RfTl^f^^ ^fr^^R^^r devoted to those

old in knowledge. Or preferably striT: ^TlWlf^ f Î«? fTr'%R5 «fcc.
Who followed the Sastras and the elders, i.e., men of experience.
C/. ^ffr gcTT fîT^S: ••ifliTr?, Rhatti. III. 52. s^:^-— sprung up; caused
by. ^^>fr^?fr<^— ?f??T -mm ^^^\^ one's own nature; ^^^\^^ ^^vrr^lgT
S'l. 42. fT'J'TTTf^^— ^^r

which leaves behind a
iTr%^^^ that
black track. ^r?[^ &c. —The reference here
is to Agni's love for
the daughter of Nila, one of the kings of Mdhishmati. She was of

a ravishing beauty and used to stay near the sacred fire of her
, -father to kindle it into a rtame with her breath. Agni fell in love
(160) [Canto VI.
with hb^ and would not blaze np, evon though forcibly faixned. till
agitated by the gentle breath of that girl's fair lip?. Agni made
confession of his love to her and his suit was accepted by the girl
herself. Agnl accordingly assumed the form of a Br4hmana and
used to enjoy the company of the king's fair daughter. One day
this being discovered
by the king he ordered the Brdhmana to be
punished according to the law. Upon this the god flamed up in
wratli. The king much marvelling at this fell down at the feet
of the deity in the

Br4hmana'a disguise and respectfully bestowed
his daughter upon hi«i' Whereupon the deity being graciously
plefised with the king asked him to name a boon. The king begged
that his soldiers should ever be safe in battles. From that time
those kingswho from ignorance invaded the territory of the kings
of M&hishmati were consumed by fire. Hence all kings avoided the
citv through the dread of
Agni. Mah.-Bhiir. Sabh. Par. Dig. P.
Ohap. XXXI.
STHT^^rc?" &c.— ^Tc??^ Trfir: ^Tpf^n'ir: the night at the end of a
kal/Mi when the whole universe is destroyed and which is terrific on

account of the oceanic and the atmospheric waters mingling tog<-
ther to assist in the work of destruction., with terrible flashes of
lightning, &c. ?3i%Î<Tlt ^rcTni%: ^^r^T^Î^îr^:- The poet mentions
is also of a dark colour. This alludes
the ^T(?Uf^ because the axe
to Paras'uriima's having cleared the earth of the Kshatriyas
twenty-one times. After Paras'urima killed Kartavlrya ( see
note under 38 ), the sons of the latter, in retaliation, attacked the
hermitage of Jamadagni while Paras'urdma was out and slew the
pious unresisting sage. When Paras'urama came back and saw
what had happened, he took a vow to extirpate the whole race
of the Kshatriyaa including the sons of Kartavirya. He accord-
ingly destroyed the Kshatriyaa thrice seven times, filling with their
blood the five* lakes of Samantapanchaka ( Kurukshetra ) from
which he offered libations to the race of Bhrigu. He then performed
an As'vamedha sacrifice and presented the earth to Kas'yapa.
See notes on IV. 53. 68, Vide Mah.-Bhdr. Van. Chap. CXVI.
,^^^^:j:_54 growth, qrpi 5^ m^^
TTJ^ ^?If!?B m^^- an axe.
l
—
^^^P^^_j^j.^pj^ 3nsr is *^6 blue lotus; having the strength of a blue
lotus-leaf ». e. of no strength at all. grqcJ" is here selected because
a polished axe better resembles its leaf thaa that of any other varietj
of the lotus.
SI. 43. BTJfPJ^^n"-— 3î, ''^îr^^ '. e. looking as beautiful
Lakshmi on bis lap. ^l^nrr^'J: — This indicates his resemblance to*
— — —
Canto VI. ] ( 161 )
"Vishnu who is strgfrgsfrf 'having arms reaching the knees.'"

—
Trff^rfr ' The Haihayas or Kalachuris ruled M^hlshmati, situ-
ated on the Narmada between the Vindhya and Riksha mountains
about Bhera Ghat below Jabalpoor, where the channel of the
Narmada is contracted between two high perpendicular cliifs of
Magnesian limestones, white as snow.' According to the Hv, it
was founded by Mnchukunda, It was also the seat of king Nala.
?^Rt{ H ^l^r^—?? ^ HcT*=^: ^î^c^^^' buttocks in the form of the

rampart; Karm. comp.; mff's^^r: ^^]^^^• &c. JTf'JtrT—^FT is pro-
perly the braid of hair; hence ^fcT^for means the current of the river
charming with its ripples, ^^roi that which roars' is a name
'
of the Narmada. It is also known by such names as Somodbhavd

and others signifying 'born of the moon/ such as Induja &c., by
Parvagaiigd or the eastern Ganges, and by Mekhalakanyaka and
others meaning • issuing from the mountain Mekhala. ' Cf, ^^ ^?N-
^T^f^T^ r%«^TI> N^m^^ I Meg. I. 19.
SI. 44. q5fn"fT^ —Fully, to one's desire; hence, 'exceedingly.^

^^Ricsigg- &c.— 3TJ^^t ^^r 3T*ivi^T-- I 3"T^«^*ci-3Tq^-fr ffer sirfrq: a.
covering, an envelope; ST^gqiToirSTn^:; now see Sanj. q^rnr^Fr: —

qj^ when referring to the king means ' sixty-four arts.' ^fpr?2[r:
The simile according to Hem. shows that the princess belonged to
the Padmini kind of females.
Si. 45. sj^^T — Name of a country about Mathura and it&

people. ?^^wr— ^fr*Rr%^r 'T^T I ( the q- being changed to oy after
lj)Hem. wr^J??Tr —ST'^f cfr^r^l^^clt »• «• the two other worlds;
heaven and nether regions. Din. and Vail, read %^T?tT7 instead of
«?T=FFc1T- of'rq^
— 'the lamp,' of i. e. shedding his lustre upon, bringing
glory to both the races, very illustrious. ^c^FcTT^r —^^ ^^^\-
5:gT ( of tried purity ) i^^ ^^ ?T^q- or ^:^: 3j?er; the environs with
the interior ^ ^J^^cT: the sacred apartments, the
q-^q- harem; ^j; r^f.
SI. 46. #TF^^: ^N: 3^-^?ft ^^^, of the race of the Nipas.
These were a sub-division of the Pdiichalaa. Their capital was
Kampilya, from which their country was sometimes called Kampilya-
des'a and it probably included Kanyakubja, as this latter is not
mentioned as a separate principality in the Mah, Bhar. Its other
important town was Makandi on the Ganges. Kampil, which is to
the N. W. of Kdnyakubja, is identified with the ancient Kampilya,
The kingdom of southern Pafiohala seems to have merged in the
kingdom of Hastinapura after the fall of Drupada and his sons in
the great war of Kurukshetra.
B. N. 21
( 162 ) [ Canto VT,
?r5^— fti'vprr ?H1T^ T^T o°e who had duly sacrificed. fa^^ i^PTS.—
is one who obtaius miraculous power by meditation.
ffrtg- ^ Kd ^ i
Tranquil, not disturbed by antagonistic feelings. C/. x\^?fffJ^^]i^^-
cRr;;^ &c. S'ak. I. ^^rpf^: — RT^jfoT ^cT-' natural. 5^: &c. Cf. with
this I. 22.
S'l. 47. f|»TTJ[fr:— fl-m sort R^TcT q-t^rfiTf^ ff-JTT: 3T?Tfr 'Tf'?- f»înT I
&c. — f» ^pr5 —Malli. takes this in the sense of <in the neighbour-
hood or borders of mansions;' we may, however, understand it in the
sense of on the tops or roofs of mansions.'
' The houses were
deserted on account of the constant inroads of Susheoa, and so grass
had grown on their tops as there was none to look after them, to
—
weed overgrowths &c. %»t: The predicate to be supplied here is
^T^rf^j by changing the gender of ârHffHT. Here the irresisti-
ble power of the king is indicated.
S*l, 48. ar^frvT — 3??^-^^ the queens, the ladies of

f^Tffrvii:
the harem. o'^^fTTTt — The application of sandal paste to the
bosom, or drawing ornamental figures with it on the breasts in the case
of females ( as a cooling remedy), was a common practice in ancient
times and has been often referred to by the poets. ^ff'>»-ij'^«-q f—-Lit.
the daughter of the mountain Kalinda, i.e. the river Yamuna, which
rises from the mountain, flows by Mathuri and joins the Ganges
later —
down at Prayaga. ^^K\ Trlrf^ Though as yet flowing past
Mathura and not yet joining the Ganges. On this Malli. has these
remarks :—There seems to be an anachronism here, since the poet
himself will tell us further on ( see canto XV. 28 ) that Mathura
Avas founded by S'atrughna. Or the city founded by S'atrughna
might be different from this. iTlprr^ &o. —This indicates that he
had a large harem and thus supplies the reason, according to Ohar ,
why Indumati was not inclined to choose him.

8*1. 49. —
^fcJ^T K&liya was a huge surpent dwelling in the
island of Bamapaka. By his insolence he incurred the displeasure
of Garuda and being worsted in the fight which ensued, he was com-
pelled to seek shelter under the waters of the Yamun& in the terri-
tory of Surasena, which were forbidden to the enemy of serpents
( Garuda )
owing to the curse of the sage Saubhari. Vide Srfdhara
on Viah. P. Sec V.Chap. 7.sl. 6, The serpent was afterwards hum-
bled by Krishna when a mere boy. See Bhag. P. Sk. X. Sec. I. Adh.
16. ?^%^ Hem. —Ohar. Vail. Din. and some other commentators
read î^R", *which', remarks S. P. Pandit, 'appears to be better as
the gem given was a price for proteotion from Garuda and not
—
Canto VI. ] ( 163 )
simply through terror of that formidable enemy of Kdliya.' But

this does not seem to be correct. We cannot suppose that Kdliya
was protected from Garuda by Surasena; for in that case the epithet
"^JT^l^^T will have no meaning. The serpent was protected by the
curse of the sage Saubhari, which forbade Garuda to approach the
the Yamun4. Cf. cr:ti%cT8^ ^TT't^: ^5t5=^^^Î cTfT: I f^T'TI ^^^\^^ ^fT
5riTTrr Tf^Tf?'?: I ^ t #rvrR5iN^ wi-t^ jT?5ifrs^^: ii Br. V. p.
Krishiiajanma Khanda. Oh. 19. Malli., therefore, is correct in
preferring the reading ^^q-. Kiliya, through dread of Garuda,
abode and came to live at the bottom of the YamunA
left his original
and presented the king with the gem that he might be permitted to
live there without further molestation, fgfrw may be taken ^f^^ —
or fcfr. In the latter case it should be construed with ^g%^Î.
Tg^T^^ f^c?" H^?^-given because he was residing in the YamunA.
7^:^?7 &c.— q-!}T^^^: f?T:^?Tr^; ^^:?«Tc7 ^\% ^TTcîTFTT^cTTg-^fr ^r^'T I
^^THH'iC— t ttie earth ?g^rcfTT% f ?g^: the sea; ^JF^^T^^rr^ ^r?§vr: i
The celebrated gem obtained at the churning of the sea and

awarded to Vishnu. See X. 10.
SI. 50. ^îTTejf —

having accepted him as your husband, having
honoured him with your hand. ^jST^R^rrT^ &c. ^fiffraT ^tT^T —
grqf^R«r?ir ^%^\ ^r '^r^ i 55^1^^?^: W-'^V- ^^'^W-^V- 1
Now see Sanj.
Malli., it seems, takes this as a Bah. comp.; Ch^r. also, who says
'^H?ir%€<7^Tf^=FT:' &o. seems to take it as a Bah. But this does not
seem to be grammatically accurate. For by the rule '^nnT?r%%^Fl
^f=nfr' Pfin- II- 2. 35, the fcf^T'TiT ought to appear first in the comp.5
so this will read TtTTI'ît^Tc!'!-' instead of ffq'îcS'rTrn: I It is
better, therefore, to take this as a Tat. as Hem. and Vail. do.
I'gq'^llj': ^tTTF: «rST: ( exoe-llent, pleasing), or fq^rr: (mixed with)

&c.; see ft. -note. f?frw%— The garden named after f-^r^ the
daughter of a king named Kedara. She desired to have the
god Hari for her husband and obtained her desire after practising
penance for 60^000 years, and it was here that she sported in the
company f^T jq^ ^^\m a^ f^fl^^ ^^.^'\ F?«?I^ fTcTr
of the deity. I
^TTTH^ WT 5R5Tf
^^?:?T— The garden of Kubera. ^^fft-The
II
reference to her beauty is significant. A maiden with such lovely

beauty ought to pass her youth walking in such celestial gardens as
Sushena possessed, and not to rot in an ordinary harem. ?^R^-^r:
The fulness of youth.
SI. 51. ST»>T*?^?frf^?rrpr —This must be at the beginning of the

rainy season when the peacocks are particularly hilarious and given
( 104 ) [ Canto VI.
to wild dancing. Cf. VII. 69. |Fr^Tr?viTr%— T%rn^t Ht ^^'i^ a ,
kind of mo88 growing on rocks. ^^-^r ??r' fffl vf^T^f ?'^, ( '
)i ^
Pin. IV. 1. 120. ^T^^ also means 'a kind of mineral earth/ which
seems to be the meaning here. In this sense the word is derived as
nT?rr ^ ^lanr^, the affix. S^ ( q[«T ) being added in the sense of |^ or

'likeness' by f^fTRT: Pan. V. 3. 102. 3T*vr:gTTmM3?TTI% 3TcT q^ tlS^-
jT'^tTtî Oh&r. Vail, and Din. read %c^?r!^rR> which is also the reading
(Vr^'I^T^S ) in Kum. I. 55. ;^r?7rn^t ^^T Peacocks are represented —

as being exhilarated and dancing in the rainy season. Cf. Rit. II. G;
Si5. VI. 31. qrfPr— T^'^ffir^ !Trf? the rainy season. The it is
lengthened by the rale '^fpffcTf f«r5^m^r%€If tTR5 #[ ' 3. Pai.i VI.

116; ». e. the final vowel of the T5T? is lengthened before ^%y fq;;
&c., ending in the f^T aflQx (an affix which is added and dropped ):
^TT^Tfl, Jffff5[, iTIl?^, »1iTTI>fi: &c. The sing, in irrff^ is ^n^'TI^y^T'n^; 'in
—
every rainy season.' tf^ may you see. The Impera. expresses
'benediction', thereby implying that the princess should never be
separated from Sushena in case she would choose him. Jir^q" —
mountain in VrindAvana near Mathur&, which Krishna lifted up and'
held on his little finger for seven days to protect the people from
the deluge of rain sent down by Indra. ^?^r a dale or valley;. —
this is also mas. ( ^^l: ) and new.; see Meg. I. 58.
Si. 52. 3Tr^*T^r?RTr»T: —The Sanskrit poets regard a deep navel

as a mark of beauty, which they often compare to an eddy of water;
c/ nwrâ^^lf*!: înr: Das\ I. The rule that '^\^^ at the end of
l
a Bah. becomes ^\xC is not universal. The rule is deduced by the-

separation of from the Sutra '3T=f irt?T?^g;?>r^ îTc?I^:' sinaply
3?=^
to explain such forms as qRPrT*T, gfTOT^T^T &c.. which occur in
language. Mukuta, one of the commentators on Amara remarks:
=qi5TK*TTT?'r T? i;fHT^s^r^FT'iT^?^^ I ^ ^ s^r»-^'rrf^ Bl^fi=?, ^nrrrn'o
ff% h^»t: I a?T *q-3fr ^^rTFf^^f^f^T^:' %\h ^\w. i HnrCr— ^rffg^fr 'fit
to be* (fr. ^+^^); oJf ^^3 viRiifq-r: !nf5^T^5T[(1[ 'destined to be'
(fr. »i+(|^). »T?i>Tr^— applies to the king also. JTf>tf?rr<I,—
m^tj ?^T cT?HTc| I

This shows that the meeting was unavoidable. It
applies both to the king and the mountain. She approached the
king because he was on her route onward. îTTirR^ destined —
to reach the sea. Acording to Hem. this is an instance of Bff^^fsq.
See ft. -note 3.
Si. 53. 3Tlpf-3TJ ^Tr% %5T=?t7i% a^lT^^; see 14 supra. This epithet
according to Char, indicates good physique. ^\^^\ ^Î'^" —H^
l^gr^CT —
Lit. one who Uvea upon the residue of her master's food^
— —
'Canto VI. ] ( 165 )
kenoe, a servant girl. ^\^— a girl 16 years old; cf. ^\ ^\ts^X?^^\^\
ft^fn rr^<nr ^m l q^T^^r^rm ^]^ ^K?:?! cTcT: TTÎI Jayadeva.

-
#
SI. 54. J^^y^rfs: &c--T|5=?«^mT^l'^«^ a Karm. comp.; if, however,

the il^T^^Tlt^t'T'THTf be objected to, then the comp. may be explained
as a ^TT^Tn^^TI?- Vail, renders it by il%'^ f^: 3Tf^: ^^r* ^'
^•TT^T^^: q i<r &c.-marche3 against,
'
in expeditions. This indicates
I r !^
the huge proportions of the elephants. The ichor flowing from
their temples is here compared to the flow of water from the
mountain springs. Cf. ?f^Ji JT^RMS supra 33.
SI. 55. ggTf: mf^] 5^r ^f^T having beautiful arms, the
beauty lying in their being muscular and well-turned. fcjT^^
&c. —Hem. Din. Vail, and some other commentators read
Rsf^^T' &c., and S. P. Pandit considers this to be the better

reading, with the remark 'the fortune of the enemies may, if
in the sing., bemore intelligibly conceived to have shed tears down
Ms shoulderswhen seized and carried ofE by Hamallgada in his arms.*
But he seems to have altogether missed the point of the poet. The
simple sense is this. The king always was victorious in battle. So
every time he attacked an enemy he was sure to get his wealth (?fr);
also, so constantly was he engaged in fights, that his arms bore black
lines caused by the friction of the bow-string. This the poet describes
figuratively. Every time the king fought an enemy^ his «ff would
travel along his arm. sometimes the right, sometimes the left, as he
was a savyasaehi ( shooting his arrows with equal skill with either
hand ), along the one that dealt the final blow to his enemy. Thus,,
being compelled to part from her old master, she would naturally shed
tears, which, mingling with the collyrium in her eyes, would mark
ier passage as she walked up HemaDgada's arms. This happened so
frequently that a black track was left along each of the king's arms.
One would not be able to leave a black track behind.
ssift Besides,
how could the tears roll down both the arms ? Even supposing she
constantly shed tears and they ran down his arms, how could we
account for the black colour of the tears, as the collyrium would be
washed away the first time she wept profusely ? Mallindtha's read-
ing, therefore, appears to be decidedly better. ^ff^r^Tr^ ^?t: ficTT:
^T^êrr: i g^g^m 'ET'TT^: 'made captives.'

I For ^^r cf. îw^^t
Kum. II. 61; ^f^cTT ff I'^^T^FH: Vik. I. 3. q^r_8ee III. 46.
SI. 56. ^T^rr^T'. &0. — On this Pandit remarks —It is true that
as 3Tr?*T^ is a reflexive pronoun, it may seem to mislead by referring
to the subject of the verb, i. e. to STtn^. But as it is evident that
( 166 ) [ Canto VI.
the dnbject zf;^ is more prominent in the paaaage than the subjeot
aroif, the use of 3ir?iT^: as a reflexive referring to ?7q; need not be
considerea aa constituting any difficulty. la fact while writing in
the active voice the poet seems to have had the passive voice in his
mind. So that the apparent diflloulty is easily explained by sup-
posing that the poet meant to say 'ij: §c?t: arrcRiT: WVR 3T0lt^
qîfh-iT^' I Hem. considers ^r^TR'R: to be a jtV^jj ( vulgar ) expression
eince thecombined word prominently suggests the idea of îr, the
god of death, and thereby indirectly suggests the undesirability of
choosing him for her husband. ^fSTf^^^ Vail, reads ^f^^B"^ ^^^ —
translates it by deep sound of the
3rntT>TIiT^. *T^?piTf?r &c. —The
sea^which was distinctly heard in the stillness of the latter part of
the night, rendered the morning trumpets unnecessary. jj^—See
VI. 9. JirOT^ &o- —
This refers to the delightful and majestic scenes
presented by the sea in the morning.
SI. 67. ?f^5 — indicates that the breezes were cool. oJiJiiV"^ J^^:
the rustling of leaves. ^r^rs^'ÎWW ^^Km 35 i fT^n^ff'^r^nT &c.~
This shows that the breezes werej perfumed. Hem. thinks that the
clove-iiowers would serve the purpose of necklaces of pearls.
S 1. 58. STrfTRTpfrH'TRrr — Who was capable of being attracted by

a ( really ) handsome form ( which HemSngada possessed ). This
must be so interpreted; otherwise the simile will have no propriety.
The reading o^h^jft^qryf^ is preferable in this respect; see foot-note.
Oharitravardhana's remark ft. -note ) in which he
( ?iT??rsT &c.. see
is followed by Din., Indumati was likely to be
is unnecessary.
attracted to the prince, but HemaHgada's adverse fate alone, and no
lault in his beauty, drew her away from him, q'Rr ^fy y^ p]' Malli. —
takes this as referring to the person whom Lakshmi approaches.
But this may also refer to Hemangada. The ff^T^^T ia probably
suppressed to serve this double purpose. Cf. for a similar idea.
?T?rfq ^TijôT^T^rT qnffî ^m^ ^^^fR i Vik. Ch. IX. 121.
S'L 59. îrrî?^ i.e. the town known as ^xTTf ^T or ooi (Nega-
pattam ) in the Rdjamahendri district of the Madras Presidency.
tr^t^r— 'r. 5rr+f^ ( j^) P4n. IV. 4. 69. t^^?:^^— ^»iH f<tr?^
Sl% ?T^t: ^^^t ^^q: "^flWi: equal in beauty to a god. ^g^n^f— ^^r-
^îÎôfr |^fôf[ q^?n:} see in/ra VII. 25. The Ohakora is a kind
of partridge of the genus Tefraoîtfrdrj; of which there are several
varieties. It is a smart bird with a well-set head and prominent
reddish ey©a and legs. In the tropics it is generally found in the
Canto VI. ] ( 167 )
Dew greenswards in pairs after the rains. Its eyes are said to grow^
turbid at the sight of poison. See Kam. Nit. VIL 12. .The words
3T% and ^f^«| meaning * part of one's body' and coming final in a
Bah. change their final to 3T. <J5r5r%CT^— st^T^RT^ i;3[^gRIH"I cfT^
*who was previously instructed. ' The instruction referred to
being '
f^\ ffcfr^^
'.
S'l. 60. mu^î;—qinffFT R^^f ^T^T^?: ^^^?^^^ ( Nom. pi. ) }[î

Î^TT «TT'^-^: I See note on VI. 49. ar^rfTrT — &c. —The long neck-
laces are compared to the crystal streams of the Himalayas.
^^j^fT—fR (reddish brown) =^^?f fK^^^^t %JT. It is a kind of
sandal having a strong smell, which, when out, is red, but turns
yellow when rubbed ( #^ ^rt ^^ f R^^^^^^'Tfi). Or a paste made
qt?t
of the dry Tulas* stalks rubbed and mixed with saffron; ef, %^ "^
gcT^l^^ ^TS^riTcf: I 3T?T ^Tînl'^TSq- fR^'^g^^^'rr Padma- II
Pur4na. This corresponds to the sri^jr^q (the morning sun) tingeing

the skirt-hills (^[5) of ^^^ Him&layas. The complexion of P3.ndya,
which is dark ( see s'l. 65 ), also helps his comparison with (f^rr^'T
which is also blue.
S'l. 61. fq^v,2f^^ ^^»jTf^r —

According to a story told in the
Vanaparva of the Mah. Bhdr., the mountain Vindhya once grew
jealous of Meru and wanted to have the sun go round him in the
same way as about Meru. This the sun refused to do. Whereupon
the mountain rose to an enormous height and obstructed the path of
the great luminary. The gods being alarmed requested Agastya,
the preceptor of Vindhya, to check the progress of the mountain, and
to restore order to the universe. Complying with the request of the
gods the saint came down to the mountain who bowed down to his
preceptor's feet and was told by the sage to remain in that posture
till he should return from the south. But Agastya never returned
from the south, and Vindhya still continues in a stooping posture.
The story, as given in the Kaa' Khanda, Ch. V. is somewhat different.
. ,
PTi^q- &o. — i^n'cT: "^r^^TTTRT'TT cT«rT &c. When the demon Vritra.
was killed by Indra, his followers, the Kdleyas, took shelter at the
bottom of the sea, and came out at night to destroy the pious sages
and learned Brahmanas. The gods, knowing through Vishnu their
place of concealment, requested Agastya to drink off the sea and
j
«xpose the demons. This Agastya did accordingly and the Klleyas
were slain by the gods. According to the Mah. Bh4r. and the
Padma-Par4na the ocean was refilled afterwards by Bhagiratha with
the waters of the Ganges.
(16S) [Canto VI.
*T'^l^r>Tr^>y^' — SI'^R'il the actual or emblematic sacritce of a horse.

This sacritiee was one of the highest order, and, performed a hundred times,
-entitled the sacrificer to tlie dominion of Svarga or Paradise. It appears
to have been originally typical the horse and other animals being simply
;
bound during the performance of certain ceremonies. In the As camedha

of the Vedic period, »\x hundred and nine animals of variona prescribed
kinds, domestic and wild, including birds, fish, and reptiles, were made
-fast, the tame ones to twenty-one posts, and the wild, in the intervals
between the pillar!? and, after certain prayers were recite!, the victims
;
were let loose without injury. The horse, which is .the subject of As i'a'
medha, was aUo avowedly an emblem of Virdj, or- the primeval and uni-
versal manifested Being. In the last section of the TaUttrlya-Yajurvedu
the various parts of the horse's body are described as divisions of time and
portions of the universe morning is his head
; the sun, his eye air, his
; ;
breath; the moon, his ear; &c. A similar passage in the 14th book of the
.S"a.'a2;aÂa-^r(iAn<a//a describes the same allegorical horse, for the medi-
tation of such as cannot perform an As'vamedha ; and tlit- assemblage of
living animals, constituting an imaginary victim, at a real As'vamedha,
equally represents the universal being, according to the doctrines of tlie
Vedas. The actual sacrifices of horses and men in the As'vamedha and
Parushamedha, were not authorized by the Vedas : but were either then
abrogated, and an emblematical ceremony substituted in their place; or they
must have been introduced in later times, on the authority of certain Pnra.
'las or Tantras, fabricated by persons who, in this as in other matters,
established many uhjustiiiable practices, on, the foundation of emblems
and which they misunderstood. In the Post-Vedic period, none
allegories
.but an emperor (universal monarch), was authorized to perform As'ra-
medha. It is thus said by A'pastamha, *' ^T^ ^lVÎ#T6»^*Ivr^ 'J^cT

^rc<J^r^*?1'Ji:" &c. ( See Colebrooke on the Vedas ).
M^)j^— See notea on I. 84; and IX. 23. ^rîffr^.-—^ ^j-g^^ ^^^
g^[ft a bath properly performed, i. e. according to the form laid
down in the S'aatraa. têe Sanj. This shows what affectionate regard
the august sage had for the king.
Si. 62. 5TT»r2iri T^'jTTR for the conquest of. These two
words are not generally used in the same 3r?-T% generally sense.
-means *to conquer back.' Cf. f fTt f^'HW^nT^ri; Mah. Bhir. »r^FVT'T
— the eastern part of the Dandaka forest in the Deccan. ^PTRT-
This shows that even H&vana treated him as his equal. Mallin&tha's
remark 'p^T^^*^^:' &c. does not appear to be supported by the s'l.
SI. 63. ffrvj^ —ff'-^fWrT ?T«Tr according to sacred rites, duly.

o^^^^\'. — The comparison of the four oceans to a girdle and of the
earth to a woman is common in Sanskrit literature; cf, '^g^PTTTpJT-
— r
•CautoVl. ] (169)
%g^[^r 3fr ^ ^m^^^^^gff infra XV.; ^wr^m^TcJli fT|

*TrTT K4d.:
Das. ^(T^^fr— ^^tr: qf^^^ 3T??Tn%-
S'l. 64. m^^tJi &c., Trm &c.— The words ^fm^ and sTif^w^ i^^
these two epithets are significant. They show how congenial the
80\ithern land is to the growth of love; how even trees and creepers
there are, as it were, joined in wedlock. The two epithets also show
how nature in the southern quarter holds forth all the luxuries
necessary to make lovers happy. cTTT^S' &c. —
This shows that the
ground in the southern quarter is naturally covered with a soft
covering. ^^J^ — be 'pleased/ i. e. if you will accept the king as yonr
husband and condescend to honour these beautiful sites with a visit,

the purpose of their existence will be fulfilled, ^^n^r ^ natural
spot of ground, as opposed to ^?t?JT which is ÎfTrr (to'iched by art) ^.
S'l. 65. v=fr^— f^r ^^RhcT^'TT w(- ( liked by ) ^mx rrf?? \^\^\
cTgq^^j-. ^tFCrCTI^ —?lfR ^TeR? a stick-like i. e. slim or thin body; an
excellent bodily frame; cf. qrHT fT«IT frr^Tf^[%.' Vik. Ch. IX. 33.
ST^F^f^r^rr &G. — 3T?qf?T 3T^^T 3T??"r-^^^5 see note on ttT?'TTT%€I?^^^
I. 40; 3T?»fT'=^^ ^Trîr &c. rlflrfpr^r — According to Ohar. this
gives the reason why the princess rejects the king, as the comparison
suggests a short-lived union.
S'l. 66. ^^,S5=?lt&c. — An idiomatic expression. ff^^^-i%^r ^fr-
Hrra he who rouses men to activity during the day; \^^J f^^ ^fra^TfrT
^\ themaker of the day; the sun. This refers to %i=ff% also. In this
caseK^T^r means by S'g^f^, f^fl^t^T^j 6. Aja. Indumati's mind «'.
had an intuitive longing for Aja and so Sunand&'a words found no

room in her heart. Hem. also remarks to the same effect, arcf^f
—a day-lotus, art ^Tfjf f^jc^t ( desire to possess ) f^f^ |f^, arn^mfor
SI. 67. ^''^rMr—s^: 5^: €"=^Tffrr% ^rfr^^^T 3T?fTTi^gr ^'^rfrinr.

applies to fTTHmr by ^^ff or ^^n\j, like w{^^f[ in the instance
T^r: 'PRTp?r, and to Indumati. frq"f5r?3T Indumati resembled the —
flame of a lamp by her lustrous beauty. Cf, rf "^T^^r^K^^r^^rB": s'l. 65.
4" ^ ^ ^ —
e. every one, whoever was passed over became pale.
*'•
See Sanj. Cf ^\ t;[ firq-:

%^^ ^\î\î m m \t^\ ^^^.^\^^ I S'is'. III.
16. 5r^?5*TnTf?" f^ —
JTT-^m'^^rf 3Tf does not mean
^"t'sT?^ Rr>f: : 1
a mansion' here, but <an upper turret.' See Sanj. It should be

remembered that the kings were seated on big platforms and so
resembled attas. ^^^^^—f^^^^ forf^?! \^^W• I 3[«T in the case of
kings means <the brightness of face,' while in the ease of sTf it means
"colour'; f^f(nviT^-(a) paleness; (b) darkness.
R. N. 22
(170) [ Canto VL
S'l. 68. ^q r j>« : — in suspense, undecided. ^R«R — îtTlffcTT:
^fjf f^^ T^fTri^ffT ^T I

In the former case the word is a pron. and
should be declined like ^f in the latter it is a noun and should be
;
declined like n»T. The throbbing of the right arm is considered

auspicious in the case of males; see ft. -note. %^^*^': —^Û
^s^tT^ I. e. the upper arm where the Keyu. is fastened; or ^^î-
^î%fT may mean 'the heavings of the knot of the Keyu.,' indicating
a corresponding movement of the arm. See ft. -note, and comp.
Vik. I. 6 ( pr;TiT*-Î=ef rm^T)-
S'l. 69. —
8Tq^«r ^giR'r"!: or ^ 3^ff 3TW?i: reproachable; here
?T (If!;) implies reproach. Distinguish this from argcr ( also from
^^ with T[ ) which does not indicate reproach; 3T5?j 5^Î*r I crf^ ^T ^
^"^JTr^rfsq- I Sid.-Kau.; ^ ^^^^^^^: irreproachable, without
blemish, f^ —may also be construed with ^Fis^fh and understood in
the sense of 3T?«:rrr°T. M^ri^ fl^ — aee the remark on this in the Sanj.
^f^^— See IV. 9.
Si. 70. ?nn"TRlrT &c. —Indumati's mind seemed to be concen-

trated upon Aja; he was the sole object of her thought, every other
object being absent from her mind, f^f JT^TTH; —This implies that Indu-
mati at this moment looked as delightful to Aja as the moon-light.
3T^^?r — having well observed, marked. This explains why SunandS

addressed a detailed (^rf^cTl) speech to Indumati. She wanted to
foster the feeling of love that was rising in Indumati's heart by a
glowing description.
S'l. 71. ^T^^— ^^' properly the peak or the hump on the back
of a bull, expresses pre-emiuence;-'the best or foremost of;' it is always
used in the neu. —
of^^^q This was the son of Vikukshi, otherwise
called VW^f and grandson of Ikshv&ku. His real name was
Purainjaya. In the Tretâge a fierce war broke out between the gods
and the demons. The former being worsted applied to Vishnu for
assistance and propitiated him by their prayers. The Eternal Deity
in answer to their prayer told them that he would infuse a portion
of himself into the person of Purainjaya, an illustrious prince of the
race of Ikshv&ku, and destroy their foes. The gods under Indra
accordingly Puramjaya and solicited his assistance.
repaired to
The prince said that he would put himself in alliance with them and
wage battle with their adversaries, if Indra, the lord of spheres and
their chief, would assume the form of a bull and carry him on his
shoulders. The gods and Indra readily said 'so be it', and the
latter assumed the form of a bull. The prince then mounted upon
his shoulders ( or hump ^firi;) and being invigorated by the power
UantoVI. ] (171)
of the Ruler of all movable and immovable things, destroyed,

in the battle that ensued, all the enemies of the gods. He thus
acquired the name of Kakutstha or he who sits upon the hump.
See Wilson's Vish. P. and the quotation from the Bhdg. P.
given in the ft. note. Vide also s^lokas 72-73.
ST rr ^tTPT^T- — Malli. translates this by ir^prfffgar: and quotes Amara
in support of his meaning. But we find SfrfcT^^T^ in ^11 ^^^ printed
texts of Amara, and not 3TlffcTc7în^, and it is difficult to see which is
the misprint. STTf cT^^'^T as explained by the commentators of Amara

means 'one whose name is oft repeated, is in every one's mouth ;
.
3TIf cT^^dT:— 3Trf cTiP-^ct ^m ^TIT T^ I c5^^^f^>KT c7ôt ?rilT; while

3Tlff fT^^'^ means arrff cf ^ff c3"îT ( a characteristic mark ) ^^ who
made for him the distinguishing mark, &c. The meaning 'jt^^T^-
w^'' ' is better got out from the former, and 3TTI%cT? therefore, seems
to be a misprint in the Sanj. g ^T ^-s^ r: —
having always a noble ambi-
tion, '^\^^^^^»^\^\^\ ^\%: s^T^'T^ proud, glorious.
high-souled.
SI. —
72. ^^l^ &c. ^See Sanj. and note on qfr^l^ III. 32.
sir^rnrnf^cfn^: —
mr^: (TlffTf^ that which protects) the bow of
S'iva. n^[i%^ is S'iva, the wielder of the bow ; ^rarr 'lie graceful .
appearance or action j who attained the graceful appearance of S'iva

Tof^^^rfr: — Jf^cTr TU^T iT0¥f'qe5'Tf^j fom. r[i3"?«Ic=q-: | A Nitya-sam4sa.
snfq"?T«> — see ft. -note; Tg^î: ornamental figures in the shape of
Uaves &c. painted on their cheeks and breasts by women.
S'l. 73. q-cr^ &c.—5n water, fCT: ^?f«jff^^ fm ITTf [^ the sea;
?rffT% '^^ ^TRcT: the celestial elephant churned out of the ocean.
STT^'FTcR'-stroking,thumping on the back; cf. ^r^fllV-hldH^^'^^
Kum. III. down. This explains how the two*
22. f^»^?j-slipped
armlets rubbed against each other, when Indra was sitting in his
—
own august form. si^t^'T^ The neu. arvf meaning exactly a half
comes first in a Gen. Tat.; see Sanj.; but aTT^Î^^ will mean a part
of the seat. —
g'T^: See ft. -note. Jfr^lf^." ft the earth ^pcj-^cT fifT —
Tf[^T:the mountains; ^TFVT^TTTTf^j see note on iTfWT^ &c. HI. 60.
Mr. Pandit has the following note on this: 'More literally gotra is a —
place where cows are kept, a cow-pen; hence, a place where the cows of
heaven were concealed, i. c, a cave of the mountain or cloud.
Indra is everywhere praised in the hymns of the Veda for his
having broken asunder the mountains ( t. e. the clouds ) by his
thunderbolt ( i. e. lightning ) and liberated the heavenly cows ( the
rain-waters )'. STr^rT^ — mark the change of n;tc q\ The substitu-
tion of q^ takes place in the case of ?%T[ even thou{;ithe reduplicative
syllable intervens. Pan. VIII. 3. 64,
( 172 )
r Canto VI.
B'l. 74. ^firsifpT: —

Lit. the illuminator of his race, who render-
ad his race fanaoua. ^HFr^^li;^ &c- V^^^ ^^'^(J*T (0° tê P*'^ of
Indra ) 3T>-?7g^^r jealousy ^^^]: ftrTfTT^ to turn back from, to avoid.
n-^R-o—See III. 69.
SI. 75. ^^rppfr — Here used in the sense of 'a drunken or intoxi-
cated woman.' It also means a dancing girl. Hem. reads ^]fv]^]^\
and explained tot% ffh ?T^Tc9"I 7sîr^f^%5?T: women selling curds
*c. Rrfrrr^'^ 3Ti|«^^ T?*?! 3T*TT«T: a part of the way. fj^jr —
may mean a rendezvous or a pleasure-garden. STT?^'^?!
3Trf^ to steal; the dat. by 5q«Ti% Hr^^^^TTfl. Hem. Vail,
and some other commentators read BTrviTOTfq'. But 3TT)f "ir^
seems to be the better reading. With 3TT>TMR we shall
have to explain 3TJiT?af ?Tf[g or so, where 3Tr*TTT means an
ornament. And since at^^ is in the plural 3TT>TT'T also ought
to be in the plural; as a woman who at the most wears two or
three pieces of garment at a time necessarily wears more than half
a dozen of ornaments at all times. Also because arrfTOT is a general
term for theft, while arr^rrur will limit the sense to a particular
kind of theft.
Si. 76. fj^2f —Malli. construes this with 5=r:. It should rather
be construed with tr^ ( Raghu is the King in his place ), as there
would be no difficulty in understanding whose ^
meant. Cf,
is
STcT^ f^fTI ^^ RT^T &c. V. 36. Or it

5r^<iT should be construed with
both, as Oh&r. remarks, by the maxim (^m^) of î5pr%iftc7^.
f%'^rf»nT- — See IV. 86. o Brr^f^TtT^^Jrlt collected from the four
quarters, and increased by additions from his own revenue; or
swollen into a groat mass by being collected from the four quarters.
S'l. 77. 3TR'^^ — Ever continuous because ever growing (as
Raghu is yet living). See Sanj. This may perhaps be better deri-
ved from 3T3^T^ + f^ (the possessive affix.). 6'/. ^t3^^TT: ^«T ^
?5; &c. I. 64. qf<:^^^»^ — To define exactly, to set a boundary to,
to limit.
fijTiqr— ?? TK^miT?^ ?^rt this much, ^^ ^ri^ S'^'^n ^?I-
See infra XIII. 5.
S'l. 78. ISHTK'. — -A. young prince. SunandA here refers to the
,prime youth of Aja in order to point out to Indumati the
desirability of choosing him. This does not detract from her
character as a neutral person. She does so after she has perceived
that Indumati was interested in the prince. She does not guide her
ohoice, only approves of it. STjsrr?!- —Though this properly
applies to a younger brother, yet it is applied to a ohild here, eince
Canto VI.] (173)
succession exists between the father and child. See Sanj.; or better,
we may construe 3?^ 3T^: ^^K^' ffRg ÎcT: is born an exact copj
of him, t. e. like him in every respect-, see supra V. 37. f^f%S"-
q-^?r —fV^Ff'Tf?'T?g^r%^: f R f^S"'T that in which pious people enter:

(Jrfl^ f^^^ l%f%5"'t the third region of space, heaven, ^^t able —
to bear the yoke ( responsibility of government )} an experienced
governor. See supra V. 66. ^r^: — ^»T^R"fcltr% one requiring training.
By this Sun. indicates that Aja wasa l'«<rar(i;'a,yetto be trained and
fitted for the administration of government. Cf. for a, similar idea
Mudr. III. 3, ^5r^—Malli. construes this with fq^T equally with
his father. It should rather be construed with T%*TfcT- f^^J ^f ^^^^
1«n" cT«TT T%'tT^ bears in a manner worthy of his ability. Otherwise
the epithets g^: and ^r^: will lose their force.
S'l. 79. aTTc'R^'T^-With words like g?^ the gen. or instr. is
used. See ft.-note. ^fTFT^S'f —
The root jj^ takes A'tm. when
preceded by ^t^, but here it does not, as the prep, a^r intervenes.
The rule wants that ^ should immediately precede itt[. The fig. of
speech here according to Hem. and Ohdr. is trffT^^cjcrTT; see ft.-note.
S'l. 80. ?T^fr?«r—^ cTg: 3Tag: 3TcT3 ^3 ^Tf^r I Jf^rfR?!r2fr— applies

both to ^H^T and ^TSTT- There
word 3TJf^ which is a pun on. the
means pure, bright, and also white. The flowers in the garland being
fresh and therefore white, and her steady glances also being sjq-^
—
both compare well. o"^f Such materialization of g-f% is not rare
with our poet. Cf, rf^Tf^ffi^f^T &c. II. 28. iTr?r?Tfr^— 'accepted,' a
sense which we have already met with; see II. 22- for a different
sense cf. IV. 40; VII. 36.
S'l. 81. 3Tf*f?5T^^^>5r: — IJi*' ^-^fi k'lot <>^ love, «. e. the fixing of
love. ?ETrr?RrT2rr— ^TTcTTq"t^TiT|ffrm i^Tc^r^r ar^r irregularly formed

by 'mcfF^R 3T^r^T^%--' Pô- V. 2. 20; fT^^r »Trf: ms'r^fTr bash.
fulness. ^Rr^ — is standing on end of the hair as the result
the
of sudden joy, as at the sight of a lover, &c. See Rat. I. 2.
( ^?rfc5^^T &c. ); Hnpy^^r:— baving curly hair, i. e. the beautiful
ringlets at the sides of the head.
S'l. 82. fr«Tr»T?(f^R[.—?T«rr ms-m^^'lf TfTT^rr^ l In that con-

dition.«rf^fr^'J5-<TKfr^: If: qff»T?^4faTfT?I?TrcT«TT; jestingly; gee Kum.
V. 62. ^^r— Here means simply <a well-wisher or companion of '
and may be applied to a servant. Cf. ^^ ^^ cfi^Ttr^rH^frj^; Kum III.

12; ^ f^ ^^T ^Tg ^ ?TI% qTf'^'7»=[ Kir. I. 5. arr^— nsed as an hono-
rific term and simply means 'good lady.' 3T?5»j?T:-in another direction
i. e. to another king, ^pjf — is here used 3TH?cT^ —after Sunandu
(174) r Canto Vi.
bad addressed hor. English word 'bride', a relative

7v7:-is like the
term, used in connexion with the term ^^. The poet probably
applies it here to Indumati as she had already made her choice,
which is the chief thing in a Svayarnvara. Now that she is ^tj; she
cannot approach any other king. srg^'n' —reproaching, finding
fault with.
Si. 83. =
?'n >fi'C^ — red with the powder of saffron and other
auspicious materials; or, yellow with turmeric powder. v^rsTf-
'^TTP^r?— ^TrifT firriHfcT ^r=rT a nurse. Malli. understands by vn^r
Sunandfi, which is hardly possible. For Sunanda is distinctly
spoken of as the portress. And there is nothing to prevent us
from supposing that Indumati's nurse was also with her all the
while. For we are already told that Indumati came there
accompanied by her relatives and retinue. See si. 10. Besides the
poet has called Sunand4 Indumati's ^;^r in the previous s'l. and he
cannot with propriety call her yj\^j now. ?|7T'>TrTHre: — ^PT*? means
the back of the hand from the wrist to the root of the little finger-
see Amara quotedin the Banj. It may also mean 'the trunk of an
elephant' which the thighs of ladies are often compared. Cf.
to
Kum. I, 36. We have giv»n the reading ( t. e. with a short final
7 ) adopted by Bhattoji Dikshita, N4ges'a and others, and not the
one ( with longgr ) adopted by Hem. Malli. and others. For the
reading qsWT^^* does not seem to be grammatically correct.
The Sutra quoted by Malli. to explain the long gr requires, as
explained by Dikshita and others, that 37^ should be HtT^T^ and should
at the same time imply 3^q^Ji"Rc^> and applies to compounds like
TTiÎ^:, ^T^^' &<^-, b'^t iiot to 5J^>flT^r?:. For in this last
case the 3"<TtTr^f is actually expressed by the word gTT*n

which separates the two words ^^q and g^^. gr?- therefore is not the
g^j^Tgr of ^^*rnor is ^«f the ^fcf^ of 37?. ?rTriTf^— in its proper
place*, ef. Kum. I. 49, VII. 34. nj^^ the word 50T is hera —
used in preference to ^rsr^ or ni^, that it should better compare
with 3T5îJT (redness) which was also the gor of the garland. (Hem.)
SI. 84. jîp^^sq-Hc^r— îw^Tfi^ s^îm *T^»rc75«Ti(0T ^<rt f?^r

^qffWjsqiT'fr I ff«^rpy^^:^«Tf7 &c.— 5ry:^«T^ ( if^^ff ?ri^:, see ft -note )
itselfmeans 'broad chest' and so the word \^^\^ seems to bo

redundant. Perhaps the poet prominently refers to the fsr^cJ^
of the chest of Aja, as being fit to receive the huge garland, in
which case ^^\^\^ may not be out of place. qp'Trfq^T^r^TnTrv-^^'^'T
& noose formed with the hands, as it were, ^r^qf^ may also meaa
—
Canto VII. ] ( 175 )
delicate arms, tlie word q-y^T being taken q-j^Rc^ like ?«r^, »TcT%^r
fee. This meaning is perhaps the better as it is the garland that
is compared to the arms.
S'l. 85. ^mrgfr —This either means by gTT'^TT '^^^^ ^T5^r' (as Malli.
takes it ) or the poet may be supposed to identify Indumati with
Kaumudi and say this is ^gfr- Trgcfivqr — See note on îggfr. This
is the name of JTfT. When Bhagiratha brought down the heavenly
river irfT, it accidentally inundated, in its course to the sea, the
sacrificial ground of the royal sage Jahnu, who being angry drank
it up. His anger, however, being appeased by the gods, the sages
and particularly by Bhagiratha, he discharged the waters of the
river from his ear. Hence the river is spoken of as his daughter.
For the idea cf. ^\m^^[^K^\ W ^T 'TfT^^JâncT I IV. p. 72.
S'ak.
^JT?PT &c- — ifrfH^^Kl

^rrntJT^fi-it^-^qriTrfT A Vyad. Bah.; though
such a Bah. is not sanctioned by P5,n., yet it appears in many good
writers. See note on '
2,tnt^^' IV. 20.
S'l- 86- ^rT*ni[ — The party i- e. the friends and relatives of the
bridegroom. f^rfr'T'^ — void ofthrough dejection; or dismayed

life
joyless (g=5??); ' ^3mfTl^^rT^''r RrTPt f^ 3^sr¥ i' Amara.
CANTO VII.
;o:
S'l. 1. 3T^ i.e. after the marriage-garland was put round

Aja's neck; see VI. 83. Or it may here have the
sense of ^^^.
k-^î ^ — by Karttikeya; the derivation is thus given in the Mah.
Bhar.:— ?^5rcfTc^T5=^^t q'THlr 5fT^r^^|r«Tfri; I
f?r#^r^— Devasena
according to Pauranic accounts, was the daughtar of Indra and
wife of Skanda. See ft.-note. '•'^Ta^rg^rfvif^'^ ?^^ %JTRm" tTa[T I
^^^K cTT %^%^ 'Tr ^r ci^ HJTiT%cTr i ^^ m^v- Tm^ft f^^n^\ ^rôn
JT^^jrîiri'i: I ^^m ^f%3r \^\: trrfuT^rr t^^=#^ ii ^^gTp: ^ ^r^^ j^^^.

TFR ?Tqn%'^ I î ^'?*^ ^\^^\ ^f%^t fff^^nni" %\^ t^^^r is \
properly \^\^\ %^r the army of gods so the marriage of Karttikeya

;
with Devaseni seems to be merely an allegorical representation

of his assuming the generalship of the heavenly foroa that marched
against T^rakasura. ^Csrf^pTg^sT::— 3Tfvr»T?t g^fT^rf^Tgw-- I 5T-
^f^^^Tmg^: 5T^f^TTI^5W: ready or about to enter the citj.
(176) [ Canto Vir
SI. 1'. %^f^%5m;— camps; %^r H>:{?Tar 3T^ fffT %^R>^:; fr.
prnrsr with added srr'ir^W to express the place of the aotioa

ar ( ^5?;) •
Each king had a small army with him. See supra V. 49. ^>n%
ffm? *rTcT«7Flfr^ ilH ff Mm the dawn ( ff¥ir?t is a noun, the ?t being
added by ^%^^ w't tp: ); ftHf^ ÎV. l^mcnrfT: I
^f ^W ?r»Tr«:; or
f^»r<t îct 'lit ^ r>Mrm: lustreless; qv^r Mr 'T'Tt^ »T'^Mr^: I it>TrcTirf r f^
?T«Tt ei 5«T3|*TifR«rrffl'Tf Mr^W^Tiq i ^»-3T^?fr:— 3Tg;^r means 'finding

fault with what is good' ( goij^nifn'^s^faTi^ ); arg^^T'fr ^^ ^(f^n^Tf:
full of disregard for. They found fault with their beauty and
splendid dresses, because they were of no use as they failed to attract
the princess. Cf. j^m ^^^ ?fcTT *T^(*T^ fq^ri%^T *ur»T^rf«ir ^m I
T%HFT ^ fîT TT^ffr fir^5 #rii'^<?r?7r f^ =îâr u Kum. V. i.
S'l. 3. q^ff%'J!nTl"nT^ — Here ^Tr means her ^.jrrf existence or pre-

sence in all her majesty, the aflBx %t5T being added vrrlf: see Sanj.
S'achi being duly invoked was present there ( ^^^ ) in all her
majesty, and consequently there was an utter absence of disturbers of
the Svayamvara. Unless we understand the word ?ftT in this sense,
it becomes meaningless. For, the mere presence of S'achi is no gua-
rantee against disturbance being created in a Svayamvara. For we
know that despite the presence of S'achi serious disturbances did take
place in the Svayamvara of the daughters of the king of Kas'i, who
were borne away by Bhishma, as well as in that of Lakshmi and
—
Draupadi. f^pj- Either implies an STfTfT or tradition, or an histori-
cal fact (îrl?r). ^^«rr: — At the beginning of a Hindu marriage rite, it
is customary to invoke S'achi and her husband ) to be present. The
(
reason why S'achi's presence was (and is) prayed for seems to be to
obtain perpetual freedom from widowhood, which the goddess is
ûppoised to enjoy, as well as progeny, wealth, fortune &c. In the
Tait. Sanih. Indraiii or S'achi is represented as the best of wives,
as one than whom nothing is more excellent, and whose husband
never dies by age. sF-?rift»Tr^ JTT^J STmTfJT??^ ^ 3TTi i^ ^ I ^m
^KW Trar Tm: l
l. 7. 13. Again in the Tait, Brah. she is represented
as ever free from widowhood. ^^\^^^\\^^^\ 3TfVr%Rf 95^1
^
Kind. III. Prap. 7, Anu. 5. Das'. 10. Nar^yanabhatta in his

Prayoga Rat. says fT??r ^m\ see
&>3.; -note. ^>f —interruption
ft.
of. disturbance in. ^rf?^?^ — with reference to, regarding. ^*T?^r'

^<^^^ ^1" ^cTRR." jeilous. cr?r-by that i. «. because of the deterrent
effect whioh S'achi's presence had on all dieturbets of the
Svayornvara.
Canto VIL] ( 177 )
SI. 4. rfff^ —Malli. takes thia as compounded and understands

it in the sense of ^T^^q" or fulness, entirety. But this does ncfc-
improve the sense. It is certainly better to take it separately in
the sense of jth or srîq" meaning
—
'by the time the kings returned
to their camps*,' in the meantime. The word is used in this sense
on a similar occasion in Kum, VII. 63-crr?f^fTr^rf^fpr5fifff?5^WrTit
^fsrq^t ^^\ The commentators. Hem. Char, and Vail, also interpret it
\
thus. f?5T^ &c- — f5=^rg'?rr% rain-bows ff ^ffffffrrR resplendent,

gaudy frKoTTI^r gate-ways, triumphal arches sr^: distinguishing
marks zf^ rl^\ Char, and Din. translate fJs;-!^^: by ff^îTTiirfjT:
but without quoting authority for their interpretation. Sach a'rTTS
are also called ^'îrrcfTS according to the HaUyudha lexicon.
Tr^rTr*?^—The main road or the road leading to the royal palace

MjI-^^ RT — 1^^® ^*S^ were those raised by the citizens in
&<5-
honour of Aja. For the comp. «^^^gT^ se© Sanj. and note on
f^v?Rc IV. 20.
S'l. 0. Now
the poet proceeds to describe the confusion of the
ladies of the town as they hurried to the windows of their mansions to
—
have a look at the procession a practice very common with the
Indian poets XIII. 30-48; Bud. Cha. Ill, 13-24; Vik.
Vide S'is'.
Oha. VI. 11-19; and ft.-note. S'lokas 6-11 are found in almost the
same words in Kum. VII. '^THT^fT^TnT^l "^m^'C 'gold' is derived —
either as ^r?^> 3TT^(f^^^ (in » particular mine) >t^^ or ^r*ff ^frwf
^mm i ^r^ properly means *a network of wood or metal, with

air-holes in it set into window frames;' hence
window'. The 'a
mansions of the had their windows and

city of Bhoja
their lattices made of gold. Cf. j^TT^ which also means 'a window'.
Though the net-work windows are nearly out of use now, they may
still be seen in some of the ancient houses. JC^^ffprr^— ff^ 3-^f%
fr. :j?^ with ^ + 3TT; S + 3- being = ^ like ^^;^; see Varfc.
fm ^'^r-;
on Fka. VI. 1. 94; fem. s?^ff; 5^?^ ^^^: ^TS^^: I
S'l STH'yr^TT*!^— STTrff^^^ 3T^%c^T?JI^: 'that through which-

6.
a thing can be seen'; hence a window; or STTrff^ mayjmean <that

by which a thing can be seen,' 'light'; 3TTe!Tq^Pr mnVMT^JTPf^ I ^^-
in a h'lrry; thoughtlessly, g^f?^ &c.— 3^ ^?^jff^[f ^;t: j
^p^Jf^
The use of the word ^\^^ though mentioned as one of the STj^q- words
does not constitute the fault 'Vulgarism' here, as observed by
^JTT|% H K:av. D. I. 95. ^>nrfrT:— was thought of. ?Tffv— êems

R. N. 23
(178) [ Canto VII.
to be U8ed here ^y^F^Ji^ i Malli. says '3TFc3l^HI^TH'?^??T^' but

not in good For if .the woman forgot all .about the knot when
taste.
making for the window, it was not likely that she should remember
it when actually at the window where her attention would be mor«
—
engrossed. ;p^fqr This is a preliminary step to the tying up of the
hair. This shows how great was her absent-mindedness. OhAr.
followed by Din. says—%[?Tqi^: ^^ cTH^T <T*TTm 1^ îfT ^^ ^?: i
Bat this rendering is not very happy, as it does not bring out so
prominently the absent-mindedness of the lady. ^^TTT^T* A Ntti/a —
Samasa] explain ^^jRt ^r^T; ^^TTF^t: The words <q\^-\, m^ and g-?cT,
I
coming after "^^ or its synonyms mean ^*Tf.

SM. 7. sig^rr^gffr— the toilet-woman. STlTTrf^ — 3TlT«^#r TT^^ I
A Karm. comp.; see Sanj. If it be dissolved as a Gen. Tat. (qr^^'TTfl^.)

the compounded form crf^jJT and not 3TJi7r^. Malli. in support
will be
of his statement (quotes the words of V&mana, 'f^tTnrr &o/, the —
meaning of which is thi8:-The compounds f^TJT and srir^Ê^ are obtain-
ed by taking the jq ( 3Tff?5 ) and .the goft ( p^ ) as distinct and as
identical respectively. In the present case the 50T (3TJr?f which re- )
-sides in the forepart of the foot also resides 'in the foot which is the
gcify. The poet here speaks of both of them as identical, disregarding

the distinction between the whole qrr^ and its foreport to which
alone 3T<7r? properly applies. When the distinction is observed we
get qy^Tir^ ( qi^^5!Trir^ ). Hem. remarks that q[^^[!j may also give
3fqqi? by the rule '^rfl'cTi^^Tf^s' T'S.n. II. 2. 37; but the remark
does not seem to be correct ( and is probably an interpolation ).
For in the first place^ the Sfitra quoted sanctions optionality of the
'^[tr^TTcT o^ words ending in the affix -^ of which we have none in the
present comp.*, in the second place, if it be argued that since the
3TTffcT'''Û? class includes words

epoj, &c. itmay also include
likeirf",,
-words not ending in the rfi, must be remembered that the

affix it
Sutra enjoins optionality of ^^RqitT in the case of Bah. Oomp. and

not in any other class of compounds. grf^jE^ &c. cfl^T'TT ^c7I5Î —
^T nfa: cfl?nTi?[: sportive ». e. slow gait. STr^rKspTf^ra; — is the same
as 3Tcf tp^rl^^ra; I
S'l. 8. f^rTt^^'T &c- —This implies extreme hurry according to

Malli, who quotes the S'ruti '^sif &c.' ( See also ft. -note ) to show
that it is the left part of the body that is first decorated. The lady
was in such a great hurry that instead of decorating the left eye
tirst as usual, she decorated the right one and left the left eye
andecorated. i^T^nFT —a thin pencil or hair-brush for applying
colly rium-, see Kum. I. 47; or it may mean here *a collyrium-sfick.'
€antoVII. ] (179)
S'l. 9. TTFTFrTT &c.— sfrpJT'cTt— 'cT>oT ( through the openings of )

the lattices ?t ^f^fJT ?flr^«TT I xr??TR — Her quick gait, rapid motion.
^Tt pfir f^ 'jl — The word ^\^^ indicates depth of the navel, which is
considered to be amark of beauty. C/. st«/>ra*3TrfttJT^r?Rrf*r:' VI. 52
SI. 10. STsfr^fTr— 3T^*TTf^cTT half-strung; a comp. gcgqr-

V. 1. iT>^fnftTr — ST"^"^ takes f before ?t in the sense of ^\ or honour;
•so this means ^half-graced' which it could not be without being
woveuj hence, ihalf-woven or half-strung. —
fPT^TW P. p. p. of f^
5 U. to measure, to throw, with 5?t and h; ill-measured, ill-
placed; ^r: qff OTff^T^g^jfrfqrra^^ f tP5?t: I
fm ^ mr^^^. f^^TF — ( also
written as ^^^7 ), from rsr^ or r=R;^ to make a sound, is a girdle
consisting of several strings' of pearls or gems or beads; cf, xr^r^
3lfg*Ttr^T2fr ^^c?T r^7 ^W^V \ Tî^\ ^T«^T ^"^V- ^c7TT: T^T?^Tm: But II
this distinction is dispensed with in practice; see Mai. III. 20, 21.
rsT^pg- &c. — A certain lady was putting together her waist-band,
here of one string, one end of the thread being attached to her
'big toe. But as soon as she heard of the procession approaching,
she ran up to the window^ witnout securing that portion of th<-
waist-band which was strung, and so all the gems or pearls dropped
ôwn and the string only remained hanging from her toe.
S'l. 11. STT^^ &c —
See com. The word 17^ takes qTRTTcT by
the Vart. JT^grt-" T^T ^ff'fl Drinking wine seems to have
i
been a fashionable vice among the women of even the higher grades
of society in ancient India; notwithstanding the dictum '^^r aft^T
,3Tf5TT aTJTIÎ'? as it is 'often described cf. infrv VIII. by poets;
69, IX. 33, 36, XIX. 12 &c.; Kum. I /. 12. S'is'. II. 20, X. 33 &c.
The poets may have made much of it, but it cannot be merely a
poetical fiction, ^fs" &:g. —
This shows that the women remained
stationary and so their faces resembled lotuses the more, ff r?f«r
. &c.— ^q^Ctmm »?cfT:, ^^TfTrRT^T I The moving eyes served as bees.
It is usual with poets to describe lotuses with black bees hovering
over them. iT^r^r: —
^r means *a ray of light;' 37% something like
an eye, i. e. a hole. JT^rq^TTfrf T^r>3i: I 3TT% becomes 3^^ at the end
of a comp. when it does not mean 'an eye', by Pan. 3T^(iir5?{lJTr^
V. 4. 76. So ^^]^ means 'a hole for admitting light,' hence a
window. The word ought to be new. ( see Kas'ika); it is mas. hy
custom 3^?^ ?f[^T«^ Manorama and Tat. Bod. ^f^
: ^^-^f ( i. », —
.% ]arge number of ) q-:Trfan^rf»Tf?T ^f^rq^lfoT cTIH aqi^TT'^rf^ 'T'STf ^ I
Si. 12. 2"f5"nTCrfT5^^'T*- —

This is an idiom which we have already
.tnet with. See supra II. 19, 73. ^\i^: ^ tF^: — Women, i. e. of course
(ISO) [ Canto VIU
their sensea, did not go to their objects. $[qfvrfzr &c. — The ladiea
were so intently looking at the prince, that the functions of their
senses other than the eyes seemed to be arrested ears caught no —
sounds, skin noticed no touch &c. This the poet describes by
saying that the functions of their other senses were, as it were,
transferred to their eyes, in their fullest entirety. Cf. Kum. VII. 64,
SI. 13. q^: — ST?'^: Tfr^T ff^?^niTTT»ft'^TT: not visible to the
senses, absent. The word is irregularly formed, gr^ —good i. t.
preferable, better suited to her purpose. snTT'T'T —The word î^qor

is variously derived: — ^^foit ^ff ^TTr all creatures; tT?^TT4 final
resort. Cf. ff^RTR -^ »icTTl% ^RFPfllT iT^^R I ^W^^^ 'T^mWJT
^mÔT: ?f a: II JTH^riî^Îs^fTT ^WV- waters 3T^jf 'TW 1 Cf. Mann.
arNr J^rrT ?ffr q'r^T 3Tiqi ^ ^T9.r^: i trr v.^^m^ ^'m 'tft'?'^: ^?fr: ii-
The Sdnkhyas derive it thus — ^n^S^'Tr^sritTTR JTRim Rf^'fl'clT^T^
^Tin^T'iT: ?^': l> W^tt —Here the foJ^ or potential is used in the sense
of STR^^c^ffr (which is explained as 3T^«?r^^r of disbelief), the speaker-
not believing in the possibility of Iryiumati's having obtained a
suitable husband without a Svayamvara. It is not to be explained
as Hem. does by citing the rule 'f^viiqi ^«jf% ^J2|;^' though the
word ^«T5q| is used here, since the |%^ by this rule implies xr^ or
censure, which the speaker does not here certainly mean.
Si. 14. q-^Trr —This may be better construed with ^j^raMTq-siiivr^,.
whieii Hem. does, f?^^^

also —irregularly formed fr. ft + lf. The
word is irregularly formed in the five senses given in the Sutra
quoted by Malli. the full text of which is 'j?a*-^^^-Jsr'3T^f^^vT-
55?^;Tm-^^qT5fi[îr-3TPT5'TI%5 VIII. 1. 15. 5T>Tr=T«^?^— The meaning
l
of Mallindtha's The conditional ^g^ should

remark on this is this: —
be used where the potential ought to be used (f^^^^pfHrT) provided that
the non-fulfilment of some action (i^?nifl'?r% ) i^ implied. Here we
have the fp5lji%ft7T the relation of cause and effect existing between
5^5^ snTT^jf which is the cause and the fruitlessness of the
But there is non-fulfilment of the
^qf^vTl^qg- which is the effect.
f^î; so thetwo being united, the fruitlessness of the tfforts of the
Creator has not followed. Hence the use of the conditional.
S'l. 15. ^frj?*i^ — Oh&r. and Din. read gTinTfTft 'those who have
remembrance of their past liv^-s.' But the reading ia not good. For
the stnse will be spoiled and the clause ff &o. will bj rendered
t{^\
meaningless f^ — an \^%^ Dvandva. U^RL— Tte Gt-n. is used

^l'^
»'. <. to express the relation of part and the whole. arP'TWi'^^r^^-
—
-Canto VII. ] (181)
srfhw ^ ma^TM a Pradi Sam&sa; 3TTcTT?t: sffer^T: r\^ I »=Rr ^ ^°- —

Cf. ^^KV- qr^Î f^ I- 20 and note thereon.
S'l. 16. ff%— It l3 used here in the sense of ^^ (thus), and refers
to the women's remarks in s'lokas 13-15. ^slrg^^sTP ^^'PcfrfB ^W- —
decorations; fr. ^ff^r + 3T (3T^) added -^^m or gprâT. fl^c3"^?T,-^r«TT
^T Î?^: ?Tff*T:5 auspicious decorations such as placing earthern
pitchers full of water near the entrance, hanging garlands along the
walls, hoisting flags &c.; see ft.-notes, gr^F>T^:— ^^'Û^'TKcfnlT
frîff, the word is generally used to express the bride's relatives;
cf. ^^f^'^^r ^f^^rCHT cTTcT^rr^r^Tff l Uttar. I. 16. It is also
used to express any kind of relation. Cf. ^^^^^\^\^^^^^]%'^

II. 58; %=ff^4fvT?ftn tT^: ^^^ &C- Kum. VII. 5.
17.
S'l. —
^CT^ a young she-elephant. According to Hem.
it customary with kings to ride elephants even in marriage
is
•ceremonies. A female elephant is chosen on such occasions, as she

does not get as easily infuriated as the male. cRTJt^T^C &c.-8ee Malli.
It would be better to take this with 3T<T€pf as Hem. does.
Aja caught hold of the hand stretched out by the king of
the Kamarupas and alighted. Cf. ^=rr^cTT^'r'E3?TfTrf^cT: ^K|TT^-
f^J^'T[f^?I?'n: I
Kum. VII. 70, where Malli. himself says ar^rf^
^TTf ^dt f%crMfîTRc3"»=^: ^^r^cfi^ ^vn used in the sense of
&c. —
STT^^tT'T here (Malli.). But according to^ the construction given
above 3T?Tt ^1^1 ^^ redundant, the sense of sTT^RT^^jbging expressed
by the gerund 3Tfcf[q. So it will be better; to take 3T«n iJi the
sense of 3^?fT?^T-=^5^ f^^^^ st^Tt îfrJTHt^Tf m^T I He entered the
quadrangle and then entered, as it were, the hearts of the ladies.
[ ST'^^â means the subsequent assertion of something else about a
person after something has been already asserted of him. ] fg"
along with ( according to some commentators ). ^gsgp-The inner
quadrangular commentators hall where the marriage-ceremony was
to take place. Women are especially anxious to see the marriage-
ceremony. The ladies assembled in the hall were eagerly awaiting
the arrival oi the bridegroom; honce the propriety of the Utpreksha-
S'l. 18. jT?r# fee. —
See note on J^flft^^ &c. VI. 6. Jrgq^T-
—
«r^ See ft.-note. Madhuparka is the technical name for an offer-
ing consisting of a mixture of honey, curdled milk, clarified butter*
sugar and water. It is offered to a distinguished guest or to the
bridegroom on his arrival at the door of the marriage-hall or
Mandap. ^2rr^ — is used here in a double sen3e-(l) accepted as his
( 182 ) [ Canto Vll.
own ( the p&ir of silk garments ); (2) received the glances &c.; i. «
he was looked at by the ladies as the garments were presented to him.
81- ly. fî^: — well-trained, behaving respectfully, p^zi^-

^rfw: — Large masses of foam make the sea appear white. It thus
compares well with Aja who was dressed in white silk-garments.
^:^-Thi3 epithet is used because the rays of the new moon give a
milder light and so compare well with the humble attendants of the
—
harem, ^^^^j^j- Here the bridegroom is compared to the sea. the
bride to the coast-line (^^\), and the attendants to the beams of
the new moon. So this is a case of 3'TJTI and not of ^^^
f^^ **
com. statea it. The text of the com. therefore seems to be spurious.
Probably S. P. Pandit is right in omitting s'lokas 17-19, implying
thereby that they might have been interpolations from the poet>
other work, the Kum.; c/. Kum. VII. 70. 72, 73.
S'l. 20. ?f?f — i. e. in that particular part of the courtyard where

the bride was. j^hTf: —5ft ^^V^ fffTj the family priest. afRan^PT:-
3TT 'Frs^nr^nT^sW^ftr ari^^ l It literally means *that which makes
manifest;' hence, clarified butter which renders the presence
of the sacrificial fire manifest to the sacrificer. arhT'^r^: — t'l^^*TrF:
srf^^f^^?^: almost a second god of fire. f^^^T^^^-^ — fifl^T^ fS^ ffflfJ
'^
lit. supporting or maintaining in every way; hence 'a marriage.

flr^f^?^^^ fr. ^^?-f |;3;, a witness, m]^- ^^ ^^"^ I Se»
XI. 48, and ft.-note.
8*1. 21. —
5?in Adv. with the comp. a£E. cT? changed to c!U? 'very
much, exceedingly.' ar'T^n &c.-3n%?r»TrRîT^CJT'F«Tl ST^'aUjaee Sanj.
Or 3T^T^^: aTTTr^STiTrq'^rc?: &0.; ir^f^s is both mas. and aeu.; but it is
preferably mas. here as it agrees in gender with |^^cr> to which it is
compared.
compared
^' R q^ q':
f — mîlrr: ^^^' an extending leaf. Here is ^
to Aja, its qf^TW^ ô î^ hand, and the ^^\^ to the hand
of the bride.
S'l. 22. ^ro2/%?f_ô7qjy: ^snfff 3i?«T fffT ^^Z\^: horripilated,.

with the hair standing erect. f^fTrvf^: (Hvrr; covered with —
perspiration STf^qT T^T- These are the external manifestations or
signs of amour. See Sanj. fRT^sfr: —

«IR*?»^% "ô- '• '• — 3TtfJTfI%'.
his ( the god of love ) action or working. H»f f^H^fTT — Because-

the emotion was equally visible in both. The reading fi%RT'Tt:
7Tr^<F<T[^^ &c. is preferable as it is more logical and poetical t»
say that the influence of the god of love was equally divided
between them by the joining of the handa oi the couple than to
— —
Canto VII. ] (183)
aay that the Mind-born himself divided his action between them
None of the older commentators of the Raghu notices this
reading which seems to be genuine, given and commented upon
by Malli. The same occurs in Kum. VII. —
f^ Indicates an 3T=ff^T-
71.
SI. 23. BTTT'Jp stTTê: 3T^[rj; that which is removed from the
body; or arqiifm fcr%^ =^^rcT '^^^^] fr. a?^ to go with 37T and aff.
3?=?. Here it means 'the outer corner of the eye.' f^^ff^TrTfrT

The meeting ( of the action ) of the eyes. ^f?n=^<Tr — The check or
curb imposed by bashfulness, through bashfulness they could
;. e.
not look at each other steadily; cf. Kum. VII. 75.

SI, 24. xTff^«r &c.— q-^fôT q-«Tr cT^T ^^^'^^, i fr^rrg:— ^^Tcrfm
that which reduces the mass of a thing; hence, fire. %?ff: — The
mountain Meru is formed of shining gold, and hence compares
well with blazing fire. STff^T^R^— =5rm ^r*TT '^^^T ^fcT l^Wr
that which consists of three Yamas or prakaraa, the first half of the-
m^^ and second half of the last if^^ being reckoned as parts
first
of being the periods of activity.

day, Or sff^ ^T<T^cfri% that
which leaves no room for vjj-^, aq-sf and ^\^, the time being especially
suited for ^\^. arg^^gr I^nrriTr "^ 3Tf fw^T^n? The sing, by the rule
I
'
ffJ^f^T^^ "^ 3T?Tf M'-*»<" lfTI%^ Pan. IV. 4, 13, words not denoting '
^vcfs or concrete substances and meaning things incapable of

existing together ( ff ^TfcTT^: ^r?T^^«rf?rTT^c3"^'ifT mf^: Haradatta )
optionally become neu. and sing, when compounded in a Sam,

Dvandva.' And since day and night cannot be seen together and do not
denote ^^s, the rule applies and^we get 3T^%miTq;- 3Tf1%^r^ is
also correct. This s'l. is the same as Kum. VII. 79.
S'l. 25. fsTfl^SfJJ^ — heavy by reason of her ( well-developed >

hips, not a happy epithet to be used at a time when a religious'
rite was being performed. n^n^JTf^?r — irr%*Tr?ftm q"I%*T: an equal.
tV^T^ or the Creator is the god who presides over all that relates
to marriage and progeny. Hence, the presence of Vasishtha
there, who was like a second Brahma, augured well for the future
welfare of the couple that was now being united. qTrT ^ ^TC^^ See —
VI. 59. Her eyes becoming red by the smoke resembled those of a
Ohakora bird maddened with passion. Psr^rn"^'!^ The offering into —
the fire of lajaa ( rice parched without being husked, which then
lose the husks and swell considerably in the process of parching
thereby assuming a beautiful shape) is enjoined by the most ancien
writers as a marriage rite. Cf. 'fHT^ c37^TT3r"7Tf^ ^f f^TtfTH; ^^ ^^W

(184) [Canto VII.
^q?4r I 5rT^\3^fg ^ Tfîv^'frt ^m% »TJT i

^r^r' l liiranyakes'i-Sutra
XIX. 6. 2. Cf. Kum. VII. 80.
S'l. 26. ^^TTSTf — The S'ami is a tree of the kind of Acacia

( Acacia Suma ) the wood of which is very hard. It i§ supposed to
contain fire in it and is held sacred. Sacrificial fire is kindled by
rubbing two" dried pieces of it. ^fM &c. —5^: 5^: ^Hqrl'rffT #^fQoft
again and again reaching. '^5a:*TIHl^>' fl% !%%: 5fT'T^^«T?nrT^— t
The poet here selects g^q^? because it is blue in colour and therefore
compares well with smoke. C/. Kum. VII. 81.
S'l. 27. iETHTfTry — Disturbed, dimmed. iFPn'T — quite faded

( being exposed to the hot fumes ). ^ffrs^c — The young shoots of
wheat or rice artificially grown under shade and watered with any
dye, generally yellow, that the tender blades are desired to take.
They are then worn as ornamenta on the ear. HK<î | "-jf^(jfH; —
Xl^^srr ^"^r l^^^^ beautiful cheeks. 3Tr^ryr*f»Tf "T The customary —
inhaling of smoke; arr'ÎT is 'an established custom/ arr^RiTTF ^ *T ifgM
3TnrrT*i A compound of the S'&kaparthiy^di class.
S'l. 28. ^r^5j7 —^t?T "T? wrff^: one who has bathed at the close of
his course of study. It term applied to a Brahmacharin
is a technical
who has finished his Vedio studies but has not yet entered on the
householder's stage of life ( Bhanuji Dikshita ). Malli. applies it here
to a particular class of householders. Some mention three kinds of
^ ^ g — :(1)
T tT f^^JI^fcT'^ OT one who, at the end of the student's life, has
completed a course of study of the Vedas ^(T^ra^ or one
only-, (2)
who has completed the prescribed ^cTS or vows to be observed, without

becoming perfect in the Vedas; and (3) the f^r^cT^TfcT^ or one who
has completed bath his course of Vedic studies and the Vratas.
5^*1% —
See com. and ft.-note. aTTÎr^rrnTfTT^ This, according to —
Char., is enjoined by custom.
S'l. 29. i^T^rt^r^^ —Tnis may be taken

as a compound word
( ^f S'TT ), ^^^k^J^ two words, srf^vr:—

?f^ ?«?n|!nr^^ , or as
arfvr arf^Î ^7*??^, srfvnrfTl %fi: ^^ ?fa m The epithet is appropriate 1
here. It shows that king Bhoja had the power to meet the heavy
expense required by the separate reception of the kings.
S'l. 30. f?^^: —I%|F an outward sign or mark; here a false or
deceptive sign; a disguise; cf. Mud. I. f^^ft^
jpqtrr-Tfsfîinfi
Change of feeling, spite, jealousy. c?~a large tank with very deep
water. ^5if»n'?^3t B^: Ak. I
>^<iHa> t: —
This shows how scrupulous
the poet is in selecting his similes to suit a particnlar occasion.
Sea note on gTH^TT: I. 73. ;n^: —^ ^T»Tfflr f;r^«T?5T%m; ff- ^^ with
— —
Canto VII. j ( 1S5 )
the neg. particle, which in this case is not changed to 3T. The alli-
gator darts suddenly and is a dangerous animal-, hence the propriety

of the simile. T5rr^— «• e- the presents they had received, which
it is customary to give on such occasions.
S'l.31. ^^—^f^^'^ ^R^ 3T^%ffr that by which anything is
known beforehand; an agreement or mutual understanding. For the
form ^cTi^t ( see com. ) we have a |TN^ authority in the words of
Pan., '11^^^ ^^' —
arrt^ an undertaking, an object desired to be
I
achieved. ÊTti^qr^v^j^ — to be acquired at the right moment, t. e.
when Aja would be alone marching back to his capital, arri^^

Anything that has a strong attraction for anot^her, hence, an object
of desire.
S'l. 32. 35rfT — ia used here ^rg^q i. e. of the two actions —The
kings lying in ambush and Bhoja's sending Aja off. tir^ — i^ the
meanwhile, i. e. during the time the kings stationed themselves on
Aja's way. ^tT— nobility of mind, magnanimity; who had giver,
a dowry in a manner becoming the nobility of his mind.
S'l. 33. Hfr^r^q-m^^— =q^qfr ofr^"- f^#^:; if dissolved as

^^F'JTf ^r^FTf ^*Trfr^: we shall have adopt the reading f^Î^fo; to
see sujpra note on fsTOT^^rÎ^ HI- 45. This epithet serves no
special purpose here, except that it serves to help on the com-
parison of Aja with the sun, who is well-known in the three regions
of space. j%fT: Cf. XI. 57. ^^\^ here means 'a night', q-f^ —
time of conjunction, that which separates Amavasya from the
Pratipad.
S'l. 34. ^^^^^:-^^^'.^^\^\ ir^îw^ wrathful, pc^g^^—
^^'^ srm" ^rîp mm\ ?T«rr It may qualify the fgFTT either in
l
STPtf^cf^T ( as Malli. takes it ) or in q-fFT^: aTTrT^^nr— ariTT ^ vi^ I
^^\ % 3TrTT^r: rTff ^\^'- 3TItT?^cTT cT^j on account of their being

deprived of their possessions.' WilH" ^t 'C^^m^, S^Tf^^m^:; Xl^ —
being included in the ^^\T:i\\^ group; or ^c^ST WT WfTf^ a
Nitya samasa, by the rule sr^T^cT^^^^^; cf. ^sricfr ^TTcfl TgcgÊ fT^tsrW^
^«^Wj or lastly ^tf J.r^\^^, a comp. ^^ gqj.
SI. 35, ^^7rP5—-means here leading, or taking with him.
—
^tP^T^'^: ^r^JfT^qiR, TT^'cfrr% fl ^r^T^^r^'Tf Toi: the host of kings-
—
^F?* Bali was the son of Virochana and a conqueror of Indra.
He was a powerful demon and oppressed the gods very much. They
therefore prayed to Vishnu for deliverance. Visbna came down to the
earth as a dwarf, being the son of Kas'yapa and Aditi, and, approaching
the unsuspecting Asura who was a devout Vaishnava and a renowned donor,
B. N. 24
(1S8) [ Canto VII .
prayed for the grant of three steps of space to be lueasured with his own.
feet. No sooner did Bali go through the ceremony of granting his request,
notwithstanding the warning of bis preceptor S ukracharya, the seeming
dwarf grew to gigantic proportions, covered with one step the entire earth,
occupied with the other the heavens, and asked Bali to point out space-
where to plant the third step. Bali, who now knew who the dwarf really
was. was over-joyed to see the god, the object of his worship, in a visible
form before him, and offered his own head for the third foot to rest upon
and thereafter relinquishing the kingdom of heaven and earth to Indra,.
retired to Patala.
^f^r^H^— ^^
f^^FiTT 3T^T f^lf^R: ^^m^ ^]^^^•. For the origin \
of the Paurauio legend of Vishnu's taking three steps, see Rig. I.

l^**- f^JRTj: — Prahlada, the grand-father of Bali; see ft. -note:
Bhug. P. VII. 7. 2-9.

SI. 36. aTT^^^fN^ — 3TJT5T: T^l^ '^P-t: o^T''^: a who was no small
J. e. a great warrior. Or this not amay mean 'accompanied by
small number of soldiers/ i. e. with a groat body of warriors to help
—
him. f^?fTi[ Oome from his father, {. e. who was long in service
and therefore trustworthy. HT*frC*TrH; — some propose to read
*3^?frf«ri^' instead of this; but that does not seem to be the poet's
reading. The poet's object seems here to be to show the vaatness
of the army of Aja's enemies ss compared to his small host. This
end is well served by comparing the forces of the enemies to
Bh4girathl and Aja's army to a comparatively small river. To
read '5?ftrrT^«n'BC' therefore is to destroy the force of the simile,
^"fof:— The river Soiia rises in Gondwana in the district of Nagpar
on the tableland of Amarkantaka, four or five miles east of the
source of .the Narmad;i, and running first northerly and then easterly
for five hundred miles falls into the Ganges above Pitaliputra
or Titnk.
Now the poet proceeds ( in s'lokas 36-49 ) to describe the first
stage of the battle. In 37 the battle begin?; then ( s'l. 38 ) we
s'l.
have the general confusion and clamour as the warriors close

togbther; and later on we have the clouds of dust rising above the
elephants and gradually spreading to the tops of and even above the
flags ( s'lokas 39-43).
^T^ I a cavalier, a horse-rider. The word ^^ which by itself

means a horse-rider ( see Amar. quoted by âlli. ) has here the
general sense of 'one who rides', it may be a horse, an elephant or
any other vehicle. JF^qfwff^' — In which the antagonists or the
— —— —
Canto VII..] ( 187 )
warriors on either side were in an equal position, t. e. evenh

matched. Anoient writers on war prohibit a fight between wariora
on unequal terms.
SI. 38. 3Tf^r52I'5rr5[ — Whose words could not be distinctly
understood, \^ gives the present tense the sense of the
sffffo ?iT
past tense. frw?q-f?rnc—^cygTrT^q"^ ^nTHT% ^cm^^TT: descriptions
of families. was customary with ancient Hindu warriors
It
vauntingly to declare their genealogy and to describe the exploits
of their ancestors to their antagonists before they began a duel,
^fforr^: —
^riii^«?%: 3T^: a comp.of the S'&kapdrthivadi class. It
was
also usual with ancient warriors to engrave their names on the.
arrows, —
^x^ &c. Construe 3rf%d ^fff ^^^T^^T »•«• ^Vk^ ^l^^ ^T^S"
each declared to his adversary his noble name.
S'l. ^KsO^H:— 3T^r^ ^FSr:
39. 3>cT: ^T'ÎTcT: rendered densje.
?^?fT^-The collection of chariots. fT^^C —^^l ^RfTf 3- ^f^'IT^TItT-
107.
f ^?:; by the Vart. 'x^^t^ ^^^^^^ ^^^'^^\^^l on P4n. V. 2.
?nTT —The flapping of the elephant's ears. ^^rsR^-in the manner

of a canopy ( made of a silk garment ) i. e. as completely as by a
thick veil of cloth.
40.
SI. — jtc^vi^tTT: iTc^'IT^RT '=^^^1: fish-shaped banners, grj-
—
^^^ ^\^: ^^ force or influence ^r^^^T cT^'TTfi;- STf^^-^^^T: ^'^^ÎW%
v^f^^t an army; ^\^\: \^\\%. IT?^ &c. —as the mass of dust swelled.
qT*TP| HH gTr: ^K^' 3T^: q^Jfl'^: the primary or the principal sense;
^^\^^ ^^'^\\ ^T^^^^r^'^\ fishes in the primary or chief sense i. e,^
real fishes.q^rf^FR" round arrR^ffT turbid. JTWff^f^

tRcT: ail
water at the commencement of the rains which is muddy and
therefore comparable with the dust.
S'l. 41. r'trnp — is pre-eminently the wheel; cf. m\^\'^^, m\^;-

^m^ etc., which are names of the chakravaha bird. ^>T^HIH^?"^f^~
t. e. by shouting out the name of his master. Each warrior perhaps -
uttered the name of his king or of the leader under whose command.
he was, as his party or war cry, «. g. sr??^ iTf RI^T5^^ W^% qT'^*T"-, &c.
»m*rTrr^5fhT:— srrcJTr =^ tf^8^rc»TTrt c^'fr^'^: l
The knowledge of friend .
and foe.
S'l. 42. This and the following Slokas indicate the close of the
first stage of the fight by describing how the gloom caused by the
mass of dust was gradually dispelled, the dust being wetted by the
enormous quantity of bloodshed caused by the carnage of animals
and men. 3TT^f-3T3Tr% 'ff^ 3TRf: fr. 3T^ + | (fcrr ). nr^p:>T?T—That
spread all round. ^^ &c.-;jj#: s^ct ÎT^^fT^; 3T>Î«^ f|qT9^ <\l\^.
(188) [.Canto Vn
^.î^^\j: Sam. Dvan.; ^T^^fr ^ rT^î?lftt ^ ?TWT5^-iT 'Tf^ Malli.. I
who says ofi^vif: seems not to regard f^T ^^ %^Tf^ ( »• «• in its

technical sense e. g. qf%, ^flr^ &c. ). ^TH'rre^: The epithet ^\^ —
serves a double purpose here. The early sun is not only red but
also performs the special task of dispelling darkness. The com-
parison extends to this much only.
S'l. 43. ^pj-5t;t— ^ffy^g^fqî ^y^ that which flows from a wound
blood, ^qfcerq; — See V. 43; ;jtff^ is similarly formed by adding f^
to 37%,^. 3T^cd^^— 3Tfrn: ^T^r T^^j reduced to embers, i. e.
^rithout flame, but with the embers still red hot. ffTT^R^
CrTJT^RH^^ The figure is now slightly changed and the columns,,
I
of dust are in this S'l. compared to volumes of smoke curling over

the fire they rose from without being attached to it, because of
its having ceased to burn-, while the dust near the surface of the
earth, being wet with blood, is compared to live charcoal.
The poet now (S'l. 44-54. ) proceeds to describe the second stage
of the battle. The dust is now put down and the battle rages
afresh. In S'lokas 44-45 he telh us how the discomfited chariot-
warriora come back and fight with fury. Thus the 1st and the
main division of the army is engaged. The next S'l. describes the
fight of warriors on elephants, another chief division of the army.
In S'l. 46 the cavalry is brought in and enters the field of action.
Lastly ( S'l. 48 ) the infantry is described as taking its fair share
in the fight. S'lokas 49-54 describe the result of the fight of
the two armies.
S'l. 44. rsT^Tr- — Those seated in chariots: here refers to the
warriors, though strictly it may apply to the drivers as well.
fTif^rTP^: — Causing the drivers to turn the horses, %.». the chariots,
towards the field of battle, ^rf^rfr- — struck, wounded, pyf^ff &t=-
Here ^ ought to be understood in its secondary sense of ^^vy,

objects seen before-, ^t%cT?: g;^%?Tf:, r31%cTT: ?i%a^r%: by whom the
previously seen-flags were recognized, i. e. the warriors first
recognized their antagonists by observing their flags which they

had marked before, and then fought with thorn wrathfully.
SI. 45. arJjTT'f — ill the course of their flight-, it does not mean
•exactly in the middle,' in which sense :s{x( is iteu. q-^ô — q-f is properly
a pron. and refers to a place; 'enemy' is its sencondary sense;
Kaiyata. f^^ra.— Jf^FtTl ^m ^^\ a p^f'cT?fl^t; bere ^^ means by

=7J3(T1T skill, dexterity. aTgffrT— continuance- OT«Tr — owing to &e.
— )
Canto VII,] ( 189 )
blades, steel-tips q-qf ârm ^f^^?^:> cf. ^^^\^^^\c^ ^R^HJ Mud.

VII. 10. ^T^s^r^ — aim, target.
S^l. 46. arr^r^wRr*!,— 3TT^7n'a[ irfcT'îgif i^pct ffcT arr^r^'^T:
those who make tbe elephants move skilfully, elephant-drivera.
^RTFcT — a clashing together, a fight, ârf^ — severed, cut off. The

root % occurs ia this sense in s'l. 51 again and in III. 56. ^^ &c.
snTF^^^ 3^'aTqf ^r %\ZW- 3T5r^T?q: pointed extremities; ^qq-^^^f &c.
o?n^r=rir — entangled.
S'l. 47. iT|TT: iri%JrfTT: a blow in return,
srRT^?r?T^*T^— q^m^fcf:
rfFTTîr: cl^ ofôraro— fiT<?aar: resting on, leaning against \-^: ^\^ ^..
I
«/. ^nfra ^c75?:iTf^'^cnT^f IX. 76. iTc?ns^^?T^— Coming back to

:
consciousness. The Hindu warriors never struck a fallen enemy.

not even one who was disarmed or wounded or who supplicated
for life. This was strictly prohibited by the S'astras. See
Manu. VII. 90-93 and ft.-notes.
S*l. 48. fTg^3l*rr^— ?T3 f^^'fflfrr "^^m I
lit. quitting their bodies,
dying. But here it means 'prepared to lose their bodies', fighting-
regardless of their livfs. Cf. 3i?^ =g
^f^: ^^r ^^^ pq^sfrfiffTT: \
Bg. I. 9. ^4^?ir^— For ^^^ see IV. 56. This shows that the foot-
soldiers were now engaged in fight. ^;^f^:_fîj-^f. ^y-,,; scabbards,
sheaths ij^f^:; a Bah.; or f^frs:!: ^T^*^:; a Pr^di Tat. a^gp^j—The
Inst, ia ff[|. ^^Tr^tT— ^fr^^ properly means the particles of
water carried by the wind. '^fi^fr^f^P^T: ?f cir:' (^T3^r ^clfcTcT; irRnp I
Amara. ^^^fj^ means the particles blown from the trunk.

S'l. 49. f^?5^:— nicfT-^T?^ a sharp point g^ ^^rf; for a differ-
ent meaning IV. 67. ^^rîTTH— SfTTH may mean excelleit
see
( :^ ) conspicuous by, or mixed (wsflf) with. ^^^: :j^^j ^'si-:prTT?T
Inst. Tat.; excelling i. e. abounding in drinking cups, or mixed t. e.
provided with, drinking vessels. Malli. takes the eomp. as a
Bab.; but that presents a grammatical difficulty; it should be
giTT-
^q^^r. See note on &c. VI, 50. tTR'JR:— a place for
f^ct^TÎtT^
drinking, a place where liquors and beverages of all sorts aie
served plentifully and men revel and make merry. See R4m. Sun.
Kind. Chap. 14.
S'l 50. f^'sajfqfi^— Torn off by pecking; from the extremities

of which fltsh was extracted by the vultures! €'/.
^f%R5^f%cf >afvi
-"
^Pffc7?T mtrrsmgioscT^ &c. %3;^^rr2: &c— For %^^ VI. (8.

see
The cofctly armlet was yet on tie arm. This shows that the arcient
( 190 ) [ Cauto VII.
.varriore did never think of robbing their adverflariee of orna-

montB. The object was glory and not plunder. arrr^îK may —
oe Perf. of ^ or f^ as Malli. suggests. Cf. the use of the root in
3T«7Tl>(T^?[c?^r *T^f^:
VI. 57; fT^c^qr^qiTJT: ft*tf^r^ &c. Kum. V. 28.
Si. 51. rf«r?ô— 1%'^rT: ^^- %^

ffTS^nTfff ^^^ W. r%»n-f H^rTF^— I
It was a common with the ancients that a warrior who fell

belief
on the battle-field while fighting was raised to the dignity of

a god who could move in a heavenly oar and had the privilege of
being wedded to a heavenly nymph; c/. ^^7 f j ^\cf:^\^ ;cît^ (fee.
Bg. fprnp®-"^®® below note on (^rcfTTisno, si. 53. ^^;:vr^—
II. 37.
headless trunk dancing about, not having lost vitality yet. This
indicates that the battle was bloody, as a ^^Pvr is said to dance on
the battlefield when one thousand warriors perish.
S"l. 52. — shows that the combatants were skilled
K^m^zr &«•
in every — prolonged. ^rgfTTf
kind of fighting. sq-fHTri
\^^^ <fec.
rubbing, hence fighting. Rgj — destruction.

53.
S'l. —qroT Tm by each other, ^j^gjpfrq-fcfr:— ^15
tr?:fqc'T^
the vital breath. — who were courted by one and

ir^rc^?::mfq"tT«fi"-
4:.he same nymph. Malli. takes this in the sense of 'who sought
one and the same damsel.' What the poet means, however, is this
— A heavenly maiden was watahing the two warriors as they
engaged in a deadly combat. As she saw them fall she ran forth
^-fco greet the one who would reach her first. But as both reached
ieaven at one and the same moment the damsel did not know
whom to chose. Each of the warriors on the other hand fancied
; that the nymph had come forth to receive himself and would not
•
allow the other to have her. Thus their hostility was kept up in
"heaven alsj. The general notion is that the nymphs seek those
warriors who fall on the battle-field ( see foot-note ) and therefore
the commentators who makes the two warriors seek the nymph
altogether miss the point of the poet.
5^^^—The apsarases area class of subordinate deities who

reside in heaven and arc regarded sometimes as the wives of the
Gandharvas, sometimes as the courtesans at the court of Indra. It
is in this their last character that they are promised as reward to
heroes who die gloriously on the battle-field. They are so named
because they were born from the churned waters. Gf. R4ma. arc^
T%»T«T^rt^ 7^rTT^Tr?U%'T- I S-cTgR-Ssr??? ?T^fTTT<:^^trs»Tf^ II They are
fond of bathing, can change their form at will and are endowed
with superhuman power. Whenever Indra ia alarmed by ths
— :
<CantoVII.] (191)
-performance of unusual austerities by a mortal he sends them

down
mentions fourteen
to disturb his ascetic exercise. Bana in his Kad.
Jfamilies of these, perhaps on some authority known to him. The
word is generally used in the pi- But the sing. ( as also the form
STTfrrr) sometimes used, as in the present

is
s'l.; ^?r^T RTTfCffU-"
;^f«r?TT S&k. I.; 3?^':^^ STm»TTr^% Vik. I. p. 14. 1
S'l. 54. 5|r^— l>^T^<^ 37?fcT5RTT%m s^f :

li^. that in which an
inference drawn with due care-, hence a particular position
is
in which a general draws up his army after asertaining from a due

•consideration of circumstances what would be the most advantageous
position. 3T52r^^«T'?^— STIîrm^T =2r^?«n 3T?^ I 7^5: &c.— qsîg; '^
,5^%^ gs^T?5^: I q«^rr5^: m?at cT^t:- lit- winds from the rear and
the front i. e. contrary. Tîr^jaT^rr— T'TI^ ff%: action r\^; ef.
W\^^^T^\^m^^•' Mai. Mad. IX. 32. grf^— is both mas. and /era.;
here mas. since it is compared to s^f which is mas.
55.
8*1. coming rather suddenly upon si. 54 seems to
This si,
leaye a gap in the narrative. For in si. 54 we are told that the two
armies prevailed against each other in turns. And in the present si,
the poet tells us, all of a sudden, what happened after the dispersion
<of Aja's force. So we are to infer that Aja's army which had held
its own against odds for some time gave way in the end and that the
prince had to run to its succour. »Tff*rr- —ÎX. STrsf: spirit,
prowess ^^^. ^^: — The comparison to grass implies that the

destruction of the army was a matter of no difficulty to Aja.
S'l. 56. f%^r— f%«f^-" 3T?'7m?T fia m#r. Having a quiver at his
•service. ^^f^r'C: —This ought to be properly fft^:; but since it is
found used by great poets it is explained to be irregularly obtained.

^[^f75rg-!JT[rrj%63Tfh; Dlkshita. The alternative cr%g g^q^g ^"^^r^ frff
;T^^(r: is suggested in the Manorama and Tatvabodhiai. *Tfr^rrf :
•i. e, Vishnu in his third incarnation. qif^sq-^^T — A ^^q- which forms

but a day of Brahma is equal to 1,000 cycles of human ages i. e. 432
^millions of human years; so long the creation exists. At the end
of this period a night of equal duration follows, in which the
universe collapses and is turned into an immense ocean, all things
merging into hopeless chaos. Vishnu, the lord of all, sleeps on
his S'esha on the surface of water till the break of morn, when the
-universe is created again, and a new Kalpa begins. According to
<thePuranas, Vishnu, in the form of a boar of immense proportions,
lifted up the submerged earth above the surface of the ocean
•holding it up on his jaw. Cf. fTcT: ^gf^^cq t^rf ^^q-f JTfrfrff
(192) [Canto VII.
^5r?q^»^r^?i: i ^^r^^T^r^^^^f^^- ^5f?w^'r?rifr^m»Tfi53;,ii Pad. P.;

also Hv. jjcf r ^^T^^rfF^t
în*:?: m[>^7^^: anlr: ^tfifâigif ^ arnr^-
I
rq3T[«7rct: II ^^Trf^— The story given in the Bbag. P. is different
from that alluded to here. There the waters do not rise. See 8k.
III. Ad. 28; also Adh. 13 si. 46. Western scholars consider
this as an allegorical account in connexion with the creation of the
earth-, see Max MUller's 'India, What it can teaoh us,' p, 137
g-^Tt — c/*- infra XIII. 8.
S'l. 57. 5Er fflT'T &c- —Mallinatha's interpretation of the first
half of this S'l. is faulty and fails to bring out the poet's meaning.
In Sanskrit manuscript writing, words are ueully written in close
succession andit is left to the reader to separate them according to
the sense. So what was written as ôrg^q^fiq' Malli, separated aa

fT"*rS&^ (inatr. sing.) and ^J^, and, trying to give a meaning to these
words, he construed: ^ arr^^r ?r%<it f^ct (j;Tg^^ mff ( adv ^'beauti-
fully' 5^TTR^=^ 3T<7^cT. Perhaps hia idea was, '' Aja's left hand
)
was once for all engaged in holding the bow; the movements of his
right hand from the quiver to the bow and irom it back to thg
the quiver again were too rapid for the eye to follow, so that, once
the hand was directed to the mouth of the quiver, the eye only saw
it moving beautifully " But the idea is faulty; for if one
there.
directs one's eye to anything itmust be to the bow and not to the
quiver. The explanation is also open to other objections. The
instrumental (joig^^ is quite awkardly used with si^tttT^^?; since it
does not come under any well-known rules of syntax Moreover, the .
word ^\^ is used in a very unusual sense which is rarely found in

Kalid^sa; coming after ^%ot one naturally expects it to mean
' left '
and to qualify f??t. Thirdly, with this sense the eecond
half of the S'l. is rendered quite unintelligible. If the right hand
is near ^tjig^;^, thej bow-string cannot remain on a stretch ( ^^^
3TTîf?F?T ) in appearance. Nor can it be described aa of ittelf pro-
ducing the arrows, since the right hand is actually seen as taking
part in their production; being busy near the quiver. So it is
better to follow the other commentators and construe the line as
^ 3TT^t ^f^*^ f ?ft ^-^ ( loo- sing. ) s^TRT?^ ^ 'TST^'^rT, n\A ( adj.
* left '
) f^(t (?t) (ôrg^fr s^r'il^^^ ^ STcT^^^- He was so quick in hi^
operations that he was seen putting neither th$ right nor the left hand
into the mouth of the quiver. To an observer it seemed that the

arrows flying from his bow were not taken from the quiver by
either of his hand^, bat that the bow-string itself produced them
— —
Canto VII. ] ( 193 )
as it were ( ^5^ f^ ). One of his hands held the frame of the

bow and the other pulled its string. The left and right hands are
used respectively for these purposes by ordinary archers; but &
very skilled warrior can also hold the frame with his right hand
and pull the string with his left; this is called ^5?T«TI%?f. To indicate
Aja'a ô^f^f^rq^ the poet mentions both ^%ot and ^[q- in the verse.
By the second half of the stanza the poet draws a picture of Aja
whose one hand holds the bow-staff, and the other keeps the string at
a stretch, drawn as far back as the ear once for all.
;q^5 — As a matter of fact the string was drawn back right up to

the ear each time that an arrow was discharged; but, after it vraa
first what followed took place so rapidly that it could not
so drawn,
be properly observed, and the repeated drawings could not be distin-
guished. Hence it seemed as if the string had been pulled only once
and remained so there in that position. Cf. ^gri^^gj fâ^^ ^{^^
Kir. 16. 20.
S'l. 58.
sîTT^r'^t^r: —
The prominent vertical ridges that were
formed on the forehead when frowning. In the case of ordinary
mortals these lines are irregular- in the case of kings they are
vertical, ^fr: %^' wf^= knitting or bending ^ff?:; also written
aa >Tlff?and g-jf? and sometimes w;ff2T- H^ See IV. 63. t^x —
The utterance of ^q; a sound of defiance; cf. ST^Tflf'^ru^ÎrfcT: T(\
Kum. V. 54.
S'l. 59, ÎTT^- — »'
e. the four divisions of the army. See Sanj'
Û^ &e. T%l^v. ^v^'^\ cTIH T^^?q'VTT^n% ^:. q'vrr^ is neu. ^f^qr
—
and ^qzi^^qf^ Since ^f is emphatic it ought not to have been* com-
—
pounded. ?fR*T^ Though Aja is here in the various Karaka rela-
tions, such as ^^\ of one kind of action ( killing the enemy ), m-^ of
another kind of action ( being struck by his enemies ) &c., the poet
ignoring all other relations gives prominence to his being the
^r%^1 or receptacle of the iTf^T%?TT o^ his enemies and uses the Loc.
S'l. 60. In this

. si. the following are compared: 3^^ and
RTi;^»TTiI,3T^^^ and ^Tf IT, ^J^TT^T and ^JX and ^.^^ and f^^^ffr;^.
^ T<m H M°r— ^?^^nt ^^^TTif, ^"^^rrim s^^tititt#, a comp. of the
*>
iT^q'^T^f^ class; If^. There is a pun on the word -j^^ which means
(1) a flag, and also (2) a sign (f^^), the dimly-shining sun being
the sign of the i^^g^tvrTT. f^f^^r— f^^: %5r: 3T??7r?tTTfcT f^^^ff^.
S'l. 61. fâf^rf5ir?f— See V. 59. arfî^x^r—aT^j^r TTWI aTf^rrgj-:.
Supreme king, Ragbu. Or. aqf^ TT5f^>S^; Hem ^ i^\f^^x^^ —

This epithet is not without its force here. It shows that Aja, like
B. K. 25
( 194 ) [ Canto VII.
the god of love, would come out victorlouB without inflicting

bodily injury upon his enemies. ST^TT^ See Malli.: or better —
^^^]^^f^^^,^r. i^^tT oau. with 3T^(?g2^) ^1%. ?Tin"'TfTT &c.—
t^r^PT ^\i( c?r?^; m HyW ^^
given to drowsiness (want of vigilance
'^^^ with desire to ^leep gone; not
who was ever
); hence, oue
on the alert and knew the exact moment when to use the proper
( here the Gandharva ) weapon.
S'l. 62. ?fri: — By virtue of the weapon; Hem. v^* vf^^ —

^^DT »^», v:i36^<t0T q:?r f^frr ^?^. WV mT'% fnr fmû"^ helmets.
F^JrrT^^'I^— N^5 V^^ f^^^^ capable of being rendered obedient;
subject to, in the power of: fR'^r^T 1%^^ H?r»-
S'l. 63. fir^TrTT?:^ simply means ^r^fT 'reserved for
^^\t^'.
herself by, made her property

by,' &c,; it cannot be taken in the
sense of '^ffcT tasted' as that was not possible; see foot-note, f^^
—
^^: The idea of drinking white fame has already ocoured-, see II.
69; IV. 42.
S'l. 64. ^^- —5Tr*TÎJFcfR'Tf>T^: who could recognize;
tfec.
Vt^^?'«?lf*r|r[:. — As they had previously away. Cf. tR^

RfrTi': fled
^flt'T ^ S'l. 52. ^vf5r|-_^5, of ^^; drooping; helpless,

p^ p. p. or,
motionless. f^T^: 'F^^'-^r: —Mark the use of ^f here, which,
though a pronominal adjective, is nevertheless not so reflexive
reflexive
in its character as its Latin equivalent suum. The poet would, how-
ever, have used the word more in conformity to its sense, if he had
«aid, as he probably meant, '^^T^T^^^'?^ ^^F^:'- (Pandit). ^^TrnC
Shining tremulously ( as a reflected heavenly body ). C/. for this
sens'e îTcT in IV'. 75. ^^ — is often used in the sense of 'quivering
or throbbing'; as f^T^fcf "^ sprf : &c.; and sometimes in the sense of
^merely 'shining as in &c. Bhatti.
3r*>^^f?^Tvr%TfjT^^
I. t>.
irfîr —irmm'^^ ffrr; sr^^r

STm + irr+aT fr.
(srg;) ef^; an image;
—
now sae com. o^fHT^ This simile is very appropriate. There is
opposition between the moon and the pail kaj as, and when the one
is shining the others fade away, so the moon alone prevails against
a forest of lotuses; similarly Aja alone defeated his enemies. Again,
Aja is described above as ^gtrrfT^F^cT:, ô he is fl ily compared to
the moon here.
S'l. 65. fJT^nTrTT: — Caused to be impressed or written. ^^fffT^:

&c. — ^The idea is very spirited. It is very worthy of a warrior of
Aja's stamp to write a declaration of his victory with snoh
materials of writing as blood and 6teol-pointed arrows for ink and
pen. %^—Seems to mean <on the flags' ( from which thej conld
Oautc VII. ] ( 195 )
be prominently seen ), rather than 'on the flag-staffs', a> Maili.

lEakes it.
8'1. 66. ^rT^FRT &c, — This and the following epithets
•represent Aja as presenting himself before Indumati in the attitude
cf a true hero. i%6^ôt putting or taking off of. fif^r — Loosened
disarranged, ^tf^: — tied mass of hair. — ?^?^r?o sfrfT^T «fTf^ vm^JW,
"fTBT f%^?^:; now see com. ^^: — redundant as is sr^Tf^ means the same
thing as ^^] ^î^ .
S'l. 67. H>f5F &c —311?%: fRrm 3Tif ^^T??Tm ^T^rm "^^f cTT'T,
"Who oould be disarmed even by children; i. e. who are in a helpless

condition. v[7S(i aTT^TrTTRT — Bacause according to the A'ryan notion
it is a sin for a married woman to look at the face of any other
male than her husband. When expressly permitted by her husband
she may do it, as in duty bound to obey her husband implicitlv.
n-^fgr^qf &c. —implies a taunt, afffô— 3TTfff^ %I%ct fighting work,
exploit.
S'l. 68. xrmtff^^?;— î%5%*'fr ^^mm arising from the
•enemies^ as Malli. seems to derive it: or iTt^^fg^: '^^^'. cause
x^^ whos cause was the foes. f^q^f-fear, sorrow, gloom.
5TgT?i; — Used as a double-meaning word here; it means ij^r?rfrr or
brightness when applied to face; cf. irms'^SW ^f?ir3; &c. IV. 18;
and R^^cTI ( transparency ), when applied to the mirror.
S'l. 69. 3T»-"2r'T«=T<I. — greeted, congratulated upon. ^r5T A
natural site, (t. e. not affected by human
intervention) as distinguish-
ed from ^xirTT which is a spot artificially prepared. *Tf^r#rfrrpf.'
^T^fyoit ^^r*. it^%^T:; the notes meant here are those of pea-hens
as they correspond in the simile to the words of Indumati's female
friends, ir^fr becomes vf^^ by the Vartika ^m^'^{^J^J^<JW\]^^ t^?ii\
^Tppm. The iT^fls are compared to the ^^ji.
S'l. 70. ff?r — Thus, in the manner described. f^^T% ^R
qf^Fff^^r^ — A. proverbial expression implying disgrace or great
humiliation. Having inflicted a disgraceful defeat on his enemies,
^f ^f^— The root ^^ with g-g; generally means to marry; but as the
marriage actually took place some four days before this
( see SI. 33 ), the sense would not suit the context. Malli. hiipself
sees the difficulty and takes g"^ff i^; in the secondary sense of ajfrq--
Tra^f^ -midehis own,' now that the opposing kings were defeated a
meaning that better suits the context though hardly sanctioned by
lexicons. The meaning of 'led or took her on to (Ayodhyd,' will do
as well and agree with the second half of the si. he took her with, —
iiim to Ayodhya, but as a second goddess of victory incarnate. We
(196) [CafntoViri
have met with the root in this sense already (si. 35.). Some com-
mentators take the root in the sense of marrying ' and create '
insuperable difticultiea in their way for nothing. ST^'CrrfJ — A.3

remarked by Malli. the word 3T^?7 is irregularly formed, as the ^TfJ
affix ?j has not its usual sense of 'capable or worthy of being' &c. in
this case. 3Tf?i here means 'what ought to be censured', a reprehen-
sible act, &c. i:tfo — Malli. says 3[%jg^jrjait because the idea of the
^q'S and ^^tjb bting %^rf' prominent here. They are no
is not
longer considered as parts of an army, but merely of the retinue of
—
Aja. ^pn: ^R^'r?lff*Ti5rf% îT^: lit. that in which people meet
together; a battle. ^q"f f^^fJr: ^^T*> ^f C^m ^^^^^^^1 or ^jjtîj f^mî.
SI. 71. »p5r^*rrzfr &<^- — ^âf STf^rrwifr ^m of whom the hus-
band is born ( in the form of a son ) "iTT^mFTT^ ^nÎf^ 'i^^'Tt ^ri%
^'.yManu. Cf. Malli. on the word in II. 1. ot;?s^: Here ^»^ does —
not mean merely the family bat the dependents as well. ^rf^tTRTif-
the way leading to eternal i. e. 3foksha.
quiet ^?r-j^ gf ^ân% —
gif: one who bears the yoke, any kind of bnrdeo. a supporter.
f. e.
^cJ^T S'T: ^^3^: I f?^#?^r: ^k\l m^^- See not© on ^my^f^^1
VI. 8.
:o:-
CANTO VIII.
S'l. 1. f^^?=ffr§'^ — ^15^ is the auspicious thread, generally

dyed yellow, worn round the wrist by the bride and bridegroom
before the commencement of the marriage-ceremony. It is generally
taken away en the third day after the conclusion of the marriage
rite. It may, howevtr, be worn during the whole period of celibacy
which isenjoined upon a newly-married couple, aud which in the

case of grown-up persons extends to a period of three or twelve
days, or even a year. See As'v. 8u. quoted in the foot-note. fST^HT
q-^ — This merely means that the prince was with kingly invested
powers immediately after the celebration of his marriage-ceremony,
s^rfxri^ —
shows that he had to cherish the Earth with as much
affection as his wife Indumat!.
2.
S'l. fff^TfT— ( f ? fff ^^^^^^ Mark the foroe of ar/q and ').
TO. They ought not to do tbis being the sons of protectors of

men. See K&m. quo<ed in the foot-note. «»6T?^ expresses complete —
poasessi n. fft — Hwm. takes this iTTm^^ urmîîi^ 51^15% |c?T«f: )
(
and quotes P D. VUI. 1. 33, :f4 in support of his interpretation.

But it is better to take it 3T?cn^ îth Malli.
— —
^ânto VIU. ] ( 197 )
o^)t|:— Got ready by mixing them together and giving

S'l. 3.
them by the recital oi holy mantras.

spiritual' effioacy
Water
of the
brought from all aaered streams and from the conflaence
various
Ganges and the Yamuna and filled in golden pots with
articlesimmersed therein, formed an essential part at a royal
inauguration. 5=5^rllrf— (1) Sending forth vapour; (2) a pleasant
breathing expressive of satisfaction. Cf. 3Tl^Tfl'^3"%cT Vik. IV. p.
103. ^fffr—"^T-' ( «. ) ^r^^ra^êfrf^ ^
so called because supposed to
have been covered with the fat of the demons Madhu and Kaitabha
when slain by Vishnu. JTS%2^'m:r#%?%^ Û%^^ < ^^^ hT^^J ^^F
SI. 4. fCT^^: —gr^^T 3Tmi3Tn ?m accessible with great difficulty;
hence, uncongûerable; fr. â^ with 3TT + 3T (^^H cf. III. 66.
^T^tf^fr — We have already seen that Vasishtha is not only adept

in the Atharvan lore, but is himself a composer of some of the
mantras. See notes on I. 59, 61. After the necessary sacrifices
and the other rites in connexion with a coronation ceremony are
performed, verses from the Atharva Veda are recited, conferring
long life on the newly-crowned king, and prosperity on his kingdom,
and invoking the blessing of the gods upon him, praying for safety
him from all kinds of danger, and lastly, invoking the gods to
i;o
make him invincible by his foes, by reciting the verses which begin
with q-: ^T^f ^r^^T^ ^^ f^^^^m ^ tfresr iff ^sg-' whoever,
whether friend or foe, or whether a hater, surpasses us ( in valour ),
may all the gods destroy him.' See Rdjanitimayukha, Rajabhishe-
kaprayoga by Nilakagthabhatta, son of S'amkarabhatta. q-^^rrnfT®
The principle is woU emphasized and better put by Bhavabhuti in
Mah. II. 5; see foot-note, jj^-here means Brahmanic energy or
the power a Brahmaua gets from his ascetic practices- cf. S'ak. II. 9.
S'l. 5. q'^^^ ^^^t »• '• is iJot good as the context ( Hf xT^r?^

&c. ) requires the former. ^
f^ &c.-This was expected of Aja;
see V. 34, 37. Cf. this description with that of Raghu who was
bound to excel his predecessors as desired by Dilipa himself (see
II. 64); supra IV. 1-12.
S'l. 6. ^H^ —^>T»Tl«TI?cfr''fr The matuh (showing possession)
affix 5 (?t) is added to the indec. 3Tf' (pride, arrogance ) and
gq"i see com. f^fj^
— ''The force of ^^ is^ that no union of two other
things ever appeared so beautiful as that of Raghu's kingdom with
Aja, except the union of his (Aja's) youth with his virtue: or
viceversa., no union of two other things appeared so beautiful as
( VJS ) [ Canto VRl.
that of Aja's youth with his yirtue, except the ttnlon of hia
father's kingdom with himself." 8. P. Pandit, fîf^j^ — f^s^T is
generallvfound to be wanting in a young man, especially when he

comes to be in possession of power and wealth; but Aja's youth was
graced by Vinaija. ^fsf —corresponds to ^;g'. ffJÎ is called g^^
beoauaa it potentially contains many a blessing.
B'l. 7. w'>Til" —Enjoyed
(the fruits of). The idea of enjoying
carnally IV. 7. 'gsft^T^^ F6n. I. 3. 68; t^^ in
is also present; cf.
any other sense than that of protecting is A'tm. This root has a
rariety of senses: — (1) to govern; ^^^7 ÎirrTR^JJÎfS^^ S'ak.
II. p. 61. (2) to cherish; as ^^T^?; •T^rf^ f^cTF- (3) to eat, as ^\^^ ij%:
(4) enjoy as here; %^

to 'f^^r^'^ vfyî^g^^j %
Bha. Vai. ^^
(5) to suffer or endure; f;^r 3T% f :^^cTrH f^- ^^\'^^^ implies —
great physical strength, arfq^ must be supposed to be understood
Âlthough very powerful.' ^f^— With force, foroibly; originally
the inatr. sing, of ^fw; power, force, treated as an indec.
SM. 8. —
^^: iTfTT^: The p. p. participle* of roots showing-
*eateem; &c.' ( see com.) are used in the sense of the present tense
and are oonstrued with the gen.: JrfjTi'Vf^gT, %^'- ?»I!I'TT^Fn<I.5 71?rt
'T?r ^?f^^ ^??n°T f ?ô

'
i I Sid.-Kau. The same thought is differently but

less forcibly expressed in IV. 12. firaTT — rr*^ iT^tJ^T^ that whioh
flows along a declivity or to a lower level. Mark the propriety of
the word. It suggests humility on the part of the subjects in their
behaviour towards the king. The si. is quoted in the S4h. Dar.
(see III. 61) as an instance of arguf't'cTT a subdivision of ^HT> oo®
of the eight manly qualities of a hero proceeding from 8attva
( ^^^: qi^f Jjqr: )•
S'l. 3. ^ ^jx: &c ^mA \
— iised adverbially-' Very much, in a
high degree'-goes with ^f^; and ^f:; c/i f^^T^'^flr 'i^'Tm 5:^'Tf==?T
Mud. VI. 9, and S'ak. I. 7 (JJ^^ ^^T.\A ). This si. is a raflex of
IV. 8. and an illustration of the statement in si. 6 ( jpn^ irfff*?^ )•
Cf. Bharata and Kir. quoted in the foot-note; also cfi^^Ffft^'cT ^t

<Tft>T^^^r7T ^l%a% &c. Mud. III. .').
jtîtft:— suggests purity in.
the king. Derived fr. ^ ( qf% gf?f ) and ^^^ (3TPT)> which is also
added to ?t3t (^joTifR: ) by P&n. III. 2. 128. Apte's Die. is wrong
in saying nr'^^f?^ ^PT^- ?nTTr^?R( — For tie comparison see
M&lav. I. 8. jr^fTfr — placed before him as the chief thing., followed.

^t^— r,. e. ^n^sijf-ffnC remark Din. and Vail. ( see infra
si. I^,, notes ).
SI. 10. xrmfar^ — established, ». e. with his rule made firm

»Tr?*r?rTT'Jr —This is the best reading. S{\^^\ 3t^ p}?m ST^f 3irrTTR|
—
Canto VIII. ] (.199 )
?T«^ ^j^: 3{\r^^J^ ?R[5 3TTciTr may mean-(l) firmness of miBd or

self-control; the king was aelf-possessed, did not act precipitately
but took action after careful thought; or (2) vigour, energy; the
King vigorously; was full of 3:c^f?TI% a»d made his rule
acted
firm-footedj or (3) by 3TIciT5^ we may understand ariJiT^Tî iii the
language of politics 3TTc*T^f^ is the same as 3TT^?TT5r> and the two-
words are so used by K^mandaka in his Nitisara; see V. 3. 4, 5.
The qualities which form the wealth of the soul are briefly descri-
bed by K4m. as, ^JTW q^T W^^"^ q'T'Tp^'t ^ff'I'^fTI Srf^Tft ^TFTcfy I
^«^r% ?r^T: ^'?l%f?T^.* II Nitisd. I. 23, 24. This last seems to be

the sense intended here. The King was possessed of most of these
qualities. Cf. fit^r^^T If" ^T^'^^^RTîTÎ^TF'^ K\^W Mud. IIL I
Din. takes this in the sense of 'just like. himself, i.e. Baghu
(see ft.-note3),.but without propriety. BTT^^rffTT^rr v. I. may mean od
account of his knowing himself, «'. e. his proper duty; ef. Sis'. II-
116 (?? ffTc»nf^r f^^^T^ &c.). Malli. seems to prefer this reading
which he translates as 'on account of his having STTcrflt??; or
A' tmajvjia a-' th&t nothing, not even the pleasures of heaven, is
realand permanent except A'tman'-j but the word is needlessly taken
from its legitimate place and construed with the second line, going
with Raghu. ovjjf^ —
Mark the ending; '^^ preceded by a single
member in a Bah. takes ^hj see com. ^rf^^ l%lf^: Î^^soyg^- —
j^^^^ ^"r^qtlf s'^^fTI^r 3T^ Bh^. Dik.; it may, however, be explained,
as ^TÎ erf:; 1% being treated as in' flr^;r.
SI. 11. g«T^&c. —
Mark the force of gar.
They never entru-
sted their kingdom to one incapable to govern. q^nc^rfH" Kali- —
uses this word in the s^nse of old age-, cf. the similar use of qKUiTa".
in Vik. III. 1. iT^rfir: — With their passions restrained; for another
sense of the word cf, IX. 18. ^îfir^ — ^^^
^^\ pious devo- 'T'TlflcT
tees or ascetics with senses properly controlled; see Bg. II. 69;
or ™ay mean 'a moral duty'; these are mentioned as ten ^^^T
ifJT —
^^\ ^TFn^H ^TJT^5q^T 3Tffm5^%^HT3^ ^H^frf ^^]•. ^^V- H Pata-
I
njali mentions five Yamas —

arffm^^^RoT'T^l^^'TT'TKU'^r ^TT". Tog. I
Su. II. 30. qcfff u^f^ —

For the custom cf. I. 8, III. 70; see also
Manu. quoted in the foot-note.
S'l. 12. gr^w^f 0— ar^JT^Tj- ^;Tr^T^: STâ'To cT^ 3^^: cT^. t^JT-
^lf*nTr~^'i^ ^TT*m f f^ ^H^Î?^ ^^5 shows that he made the request
not only as a sou but also in his kingly characttr. The In^tr. ia
3TW^5t: see A. G. § 56. It is a Hindu custom to bow to a deity
(200). [Canto VIII-
or a respectable or elderly person with a covered head. Hem. sag.

gests that Aja pat on his royal turban in order that hiB:hair may not
toach his father's feet, he being then a Muni. He further saggeets
that the word may be ar^jôj but then îf>f'Tr will lose its propriety-
8*1. 13. ffcFTcT ^' p. p- of the desider. of STTI^; see com. I. 79.
HI^TWfff^: — Notice the comp.; by the V&rt. 'm fflTT?'?' ( on Pan,
II. 2, 35 ) fq-q optionally takes qu%qit1 ; cf. HT^RR^r^t farther on

( XIII. 55 ). oJiq^fsf^jr — r^J^ÔT 3TTfnir?Tt cast off once for all.
S'l. 14. ST^r^r — The last t. e. fourth. 3T?>r v\^•.] ^ being abded
in the sense of vm, ar^cT being a word of the f^»rrf? class. For the
four A's'ramas, see notes on V. 10. Some hold that the ^^narr^TR
is meant for a man of the Brahmana class only, and not for others;
Mallinatha has discussed the question and shown that view to be
ansound. See com. sir^^ra' —A dwelling} fr. qw with 3tt and the
Unadi aff. 3T«T which ^ takes when preceded by prepositions; so
^^^v( a village.
S'l. 15. !j^*i — Malli. renders this elsewhere ( Kir. II. 32.) as
^r^n^rf^cT:- ?r»T Ved&nta means «r^0TTf^5'?f?TI?'»^'^'?^^'r ^^W i^^W-
Jn
•
restraining the mind from the pursuit of temporal objects and
devoting it to the hearing of the recital of holy texts ( leading to
the knowledge of A'tman ).' This is the meaning here; cf ff^^si^f-
fTfrc^n Itl. 10, f^>Tff;-f q r — pf^cl properly means 'what is filled.* and
hence, heavy, sinking down, humble; here it means 'about to set/ with
its JFTT^ P4n. says ' j^q^r^rg^T"
brightness softened to dimness. —
in*^f gcTl^rrs^cn^r^ II. 3. 72; so that strictly
' and :s^^[ can- ^\
not be used with the Instr.; bat this is against good usage. Cf'
3oyt 'TÎUg'W ^ff^r^r Kum. 1. 34; see also S'is'. I. 4. See Apte's G.
^§ 52, 117. Malli. tries to reconcile the use of Instr. with P4d.'s
rule, but his defence is evidently weak. The Tattvabodhinl says-^«t-
tTi?-5cJt '^TTîfi^ ?'frf T^?ir ff^ ^Ti%^rfl: i ^yst'^'r ^fr\\^^^ ?tî%
SI. 16. ^feTTrfif^ —The principal emblems of royalty are the

throne, the sceptre, the C kauri, the oonch, the j^hite umbrella,
the diadem «feo.; and those of a recluse are the deer-skin, the staff
(of Pala8'a,or8o), the Kamaiidalu, the Kaupina, brown or red-yellow

garments, shaving of the head and want of the sacred thread, ^f^
— From Hemadri's remark ( see foot-note ) it appears. that he does
not take the word in the sense of a Sannyasi, Bat Malli. has shown
that a Kshatriya could be a Sanny4si ( see his remarks on si. 14 ).
— — —
^cf;^ — fr. fiT 7 A. to abandon, to leave; with 3TT a"d afi 3^- ( et^j^)? a
complete leaving off of worldly objects} final emancipation (i%cTf^^T-
:H^: Sid.-Kam.). vj^în — Here K&liddsa uses the word ^^ in the gene-
ral sense of the injunctions of the Vedas — those which enjoin the
performance of religious duties as well as those which enjoin their
renunciation with a view to obtain the knowledge of Brahman and —
not in its limited sense of '^r^^Tp5-;{jaft?T;' (Jaimini I. 1. 2.). This
shows that Kalidasa lived at a time anterior to that when the gulf
between the Piirva and the Utiara Mim&insds grew wider. See also
foot-notes.
S'l. 17. ?rrr% — politics, f^^rr^? — Skilled or proficient in ;
gene"
rally at the end of a comp. ^jj^ >T^: <IK^: produced in the S'arad
season; fresh, attractive; hence, clever, skilled in; ffisj^: ^TT^"
f^^T^:. STTTrnr-^n 3T^f?r ôes not meet with destruction, per-
manent. Cy. q^Tf y ^ H"^#^ ^^W mA ^^ Bg. VIII. 21. aTTFT— \
Those who know and interpret correctly the hoiy texts,

S'l. 18. o^T^r^r^T^T — =^ff K administration of justice, deciding
legal disputes. It, is thus derived by Katyiiyana \^ ^RT^S? ?r|f
fTot W 3^^^ ^T^f#C^|Tm?5?-^^R %\h ^f er:
I ll oarr^nr— The judg-
ment seat, also called sfsraf^q- and qqr^f^ ( Uttar. I. 7; S'ak. V, qrfr-
^^Ff RTcTR P- 116 ). By

( VIII. 2 )
a the king had
law of Manu
personally to dispense justice. See note on Vik. II. 1. ^qifj ^qi^f tTT —
^ôir^^rfi^ that place from which the rays have turned back, hence?
a rotlret- or secret place; •in a secret place.' ^îTWf Steady abstra- —
ction of the mind, one of the eight stages or parts of Yoga. See Yog
S'u. II. 29. It means the fixing of the mind properly controlled by
means of Yama &c. on the internal soul. See Malli. and foot-notes.
f^Bf^ —A seat; fr. fg- with i^ and the afiix 3T; when the meaning is
a tree or seat \^t ia the form ; but ^s^îT Pf^cT^:-

S'l. 19. JT^^mr —See Malli. and note on i%Hiq-?rr^TfTF III. 13.
H^^fTCr^ Scil^f those to be attacked for wrongs done, i. e. against
whom the king has to march (zfjcT*^) ^^^ those in the rear, z. e,
from whom an attack may be expected (TTiEtjiJTf^ ); Malli. qforkTHT

See I. 14. It is one of the niyamas and a means of attaining
samadki-^ see Yog. Su. II. 32, 45. ^•[^^[ — ^rTrq'..q"vr^[%; constant
practice or exercise leading to perfect concentration. ^^^: &c,
This does not refer to the four kinds of Praoayama, but to what
leads to them (guiding or controlling their functions ). A Yog
geti^ the power of making the inner vayus or airs ( see com. and
foot-notes ) perform their work at his desire; cf. g^^^f*^ S5Sf*r-
'^'fftrfTJTiqri^JTiiêT Vik. 1. 1. 1
R. N. 26
( -202 ) [ (lanto VIII.
SI. 20. 5Tf'?ix»^:

— '*Tf^R?5^^: an Avyayasamusa ( or according
to Hem. 3Tf^: jj.^: ); cf. f^ÊT^Rfr Hit. H^tTJEir^ —mark the force
ot Here some such word aa gxfrmfjr^j must be supplied; oi
ÊTTr^.
^TnifSj^ may be taken with Aja also-'by means of the fire of his
knowledge of the enemies' undertakings'. &o. Because free- ^% —
dom from transmigration is not possible unless all actions, good or
bad (». e. the fruits thereof), are annihilated. See Ved&nta 8u. IV.
1. 13, 14, and Samkarucharya on them •. Bhag. IV. 37.
SI. 21. TT^vj &c. xj<j\: ( the stipulated sum, henoe also a con-
dition, a compact) 5ft?ifTS[T*?^» fr% TÎ^^: ^ 5^ ( the chief, first ) ^?i
?Tr^. The six expedients to be used in foreign politics are :
— (1)
Alliance; (2) Warfare; (3) Marching against the enemy after en-
suring the protection of one's own realm; (4) Temporary cessation
of hostilities with a view to improve one's position or to find out
a suitable opportunity, &e.; (5) Duplicity; (6) Seeking shelter.
See foot-notes. Cf. S'is'. II, 93. STfT^ît — Inherent in nature.
Malli. takes this as an adv., which seems preferable, iT^far is defined-
as a state of equilibrium of the three qualities, Sattva, Rajas and
Tamas. When this Prakriti is stimulated, action takes place. Cf.
^S^^m(^^\%'- S&nk. Kari. 3.
SI. 22, affirf^nir: — The practice of meditation or abstract con-

templation; according to Malli., 'realizing in the mind the iden-
tity of the individual soul with the Supreme Spirit,' f^yT>fr: cf. 'He •
whose heart ie not agitated in the midst of calamities, who has no

longing for pleasures and from whom ( the feelings of ) affection,
fear and wrath have departed, is called a sage of steady mind'.
Bhag. II. 56, (K. T. Telang), nf^nT — for the Paras, see com,
SI. 23. —
srax (1) forward movement, extension of power; (2)
thirst for pleasures; lit. moving towards their objects, which is
their nature; cf. cr?ira" lÎR 5«7^'iI5?^^Ji?cT^*Tr^Tr^^'TH ^TT'^KfcH^. ;
Kathavalll, IV. 1. V(f^^ —closely applying themselves to, intent

on attaining, âj^ — the two
of sorts: cT? (here changed to arcf
shows q^TT.
S'l. 24, o^qq jj
—
^jjf regard
saf^Î for, consideration of. îTf^-
— see fool-note and cf. Bhag. II. 14, 15. ^flr: — ^TRf^cT (produce a
destructive effect on ) ^tfjTr%; years This word is generally used

.
in the plural. The sing, is rarely met with; cf. Bhishya on e*Tt
m\ firsrr^ft i
P^p v. 2, 12. ^jxri r%qt ^f»n ^r?'^ ^*^^> '^ ?^'i^ t
Prat4pam4rtaiida, as quoted by Hemii. rHT?-' Tt —Tamap is M4ya.

also called Avidyi and j^^]^1f] ^^\^f^. Cf. !S^tf?fîî^ ^[9^\f{-
Canto Vlir. ] ( 203 )
'^fTfr^: TTS^'f^ Bg. XIII. 16. ^^^^—^ 55rfcf q-mcT ^q'Ti m^Qi
I
3\ he who undergoes no chaago; not decaying. 55^ 5R ^TS —

3T^ 5^?- a comp. of the jq^TsTTTH? class; he who reposes in
the body; the supreme ^f^ STit^ ^^'il 5^5 S^^r fr#r Bh.
Spirit;
P. VII. 14. 37; ^^fg ?i W^^^'- &«• ^â^- ^P^- "^^ ^^
^ frq 5^«f:
S'l. 25. ^fB"tf —
From f%r meaning 'death/ prgT + f^ (3'^)'
^nTf*T: ^Tf'f^ This —
was not owing to any express authority requiring
the presence of recluses on such an occasion; the recluses attended
the obsequial rites simply because the deceased King deserved such
an honour. ST^f^ — Because the dead body of a Tati is not to be
burnt but only buried; a custom which exists to this day. Cf.
S'aunaka quoted in the com.; comp. al80-gi<£y=^^ (a class oi'
Sanni/asins) 5 ^Tf?!?'^ ^?* I
t^f ^^ 5 H^cq: tr^wi-^ q-gîfcX 1'
Dharmasiudhu. STHTf^g; — 3THT I^cT^T^; P^ri. HI. 2. 91; cf.
notes on I. 6.
S'l. 26. 3^?.f|f^%--^^^^^q;-,^-^^: ^f3^^^r,^: | 37^%^ it^jj;! Also

^T^^ll^- The J^(f':p), added by 3T=.^rcJnt?n%5?f^ Vart. on
a£E. is
Pin. IV". 3. 60. osp^ —

The procedure, the proper method of
performing religious rites. f|'-Malli. seems to take this sr^q^R^;
we may aho take it in the sense of 'because' zj-fi: ?r •^f^'^: 3TcT-
fqrg>iT5^r &c. ^ q-«rr &c. — Those who quit the body in that way^
and become one with the Supreme Spirit.
S'l. 27. Tn**^^: — for q^[-.q 'excellent, most high', see note
on III. 27. q^T^^ V. I. does not give this sense. ^^^.^ may also mean
Supreme Being; g^'-^ ^f^ Tf^^?^- 3"ff^^ having regard to. —
^f?f— highest knowledge, or the object that truly exists ( ^^T^T
3T«f«r. — the Supreme Ens or Brahman); hence the Vedanta-
Philosophy. arrf^: — ( 3Tf vpR^ irc^'r^r^»f JT^^^JT) i^3 mental pain as
distinguished from ^-qjfq bodily pain. ^^rg^J —^ôt T^T^rffi'^
5Frg^; —
with his bow strung i. e. ready to fight in case his supremacy
was not admitted, ay^'m'*— ^T fîm irm 5TmJ|T^: ^tW^JTsT— i- e, he.
became the supreme ruler of the earth.
S'l. 28. 5^jfiT;fi-_-^q^|- %^ Trwsfr; a self-respecting woman
( see foot-note ) who feels her honour easily wounded. ludumati.
in emulation of the earth, as it were, gave birth to a son. ^{^^ —
3^5" ^T^JTJq pre-eminent; great,
— (1) manly vigour; (2) prowess.
^— who was therefore a jewel himself.
ifre^
SI. 29, Mark the alliteration and the connexion poetically ex-
pressed between the word ^^ and Aja's son. Cf. the similar
( 204 ) [ Canto VIII.
explanation of the name <Raghu' III. 21. ^^n^tr^TfT— In such

cases ^^^cT indicates immensity as in ^f^^ffi'^'r J^"?- ^'fTlf^î
See com. and foot-note. Ttiis periphrasis is probably used as the
metre would not admit of the four short letters ?^f «}• coming
together. Cf. q-f H >4 ^ l^r<TR^?^ i\\kw^ ^r'^T5 ^^^^ I
Sis. I. 42;
^T5^TT^TT?^"<^?JT«irf?^^ I
Kir. XVIII. 44. ^THr^s^r^rr— Hem. thinks
( but this is over-nicety ) that there is here the rhetorical fault of
'vulgarity' since the sense of Yama ( the Destroyer ) prominently
strikes the reader.
S'l. 30. ^F^^TT^tT:— ^î^rif 'Tfrt ^5TF1% ?Tf îfcT fmi tê Pitris or
the departed ancestors, ^vjt ^"^ indec., but originally probably a
noun; see note on that word, I. 66, '^H ( Vedic studies ) ^ q\n^
IT^^: (an issue, a 3T9^Tcf— see notes on I. 71, III. 20,
son ) '^^r.
and Bud. Oh. IX. 5 quoted in the foot-note, q"R-^: ÛV^ a misty
halo round the sun or the moon; cf- ?TRTTfnvnT^r%^¥Sr^^ rT^ I
Nai. II. 108. Failure to discharge all or any of the three debts was
supposed to constitute a stain from a religious point of view on the
character of a man; cf. with the thought expressed here that con.
tained in I. 68.
S'l. 31.
STT^H^f** —
This was a characteristic of the kings of
the solar dynasty; cf. II. 28; and 3?((t5rraTT'T ?• S'&k, I. f^^: ^,
The mighty one or the sovereign, implying abundance of vasu.
*J"NTi r-This means by Lakskand Rfmg'srflf^r %'^\^ ( ^he merits
naturally possessed by him) like >iiig*TTir iii Kum. I. 4.
S'l. 32. 8T%f^?fjnf: — After he had looked after, i.e. had properly
taken care, and secured the well-being, of his subjects, ginrr: 7«TT —
and trvfT when preceded by ^, jh^ and ar in a Bah. become ifsffl; and
'i^^^. ^"FTT— 3'TTrr f^, ^^T^h ^\ ^^^ a large public garden out
of a city in which artificial and natural sceneries blend; see ft. -note.
?T'«fr?n?r:— see note on irff^fT^: I- 48. t{^^\ qfrSTflmr— In tîe
Rigveda the Maruts are spoken of as the storm-gods who assist

Indra in his wars with the demons of the air. There they
are represented as independent of Indra, as his friends, and
not as his subordinates. In later times the term marut came to
signify gods in general, and Indra being regarded a? the lord

of thegods naturally came to be called 'the protector or the
governor of the maruts also.'
S'l. 33, r'»IcT=--'fT^^' fH¥cT: iriôfR^JT:-, m^: jftôff^qF^: "^^T
abiding in the temple at Gokarna. mÂ— A place of pilgrimage

—
Cantso VJII.] ( 205 )
in the south of India. gt^^Cr'T'T — to sing before;, a denom. from ^loyf
with s^ by P^n. III. 1. 25; see Malli. ?:'^ffTrT«>-Thi3 simply means

from north to south and by a heavenly path. qrfCf Oiie of the ten mind- —
born sons of Brahma and a great divine sage and a Paramabhagavata.
He is represented as always wandering, Vina in hand ( which
instrument he is said to have invented), from world to world singing
praises of God and acting as a universal messenger. He is
popularly represented as creating discord.
S'l, 34. 3T<Trw:— ff^s'Tr fJTTT% Tif^f^rr^ ^Trm^n^ arq-imfrH «:,•

I
celestial. arrrTr^T — this word, though applied to the four kinds of

musical instruments collectively (see foot-note) is here restricted to
Vina (a stringed instrument ) as indicated by the word ^'^^lnrf^g.
f%^ — As history informs us. arf^^r^ — (with the desire of)
perfuming itself 5 or it may simply mean here its 'great fragrance'
S'l. 35. qfr^f^f — surrounded by; as the garland foil from the
lute, the bees settled on it, missed itand hoverod round. TR^rff'fr
The name of N^âda's lute is Mahatt see foot-note,
; af^^q-
Violence, an outrage. aff. ^^ is
3T3^ftf*T:added here —The
(Tl^^fr?^- According to some Commentators |^ cannot be added by
P4n. III. 1'. 78 in the sense of fTT^^T^'^ to roots preceded by a
preposition; but Bhattoji sanctions its use on the authority of
such forma as ^?3;^TT3T'tr'?^ ( I. 16 ) 3T5?Ilf«Jf^: ( II. 4 ) q-af^rvfr ^]^
far^rfr ( 8'ia' I. 2.) &c.; see also Jayamailgala on Bhatti. I. H. ard

our note thereon.
SI.36. — Has here the force of the

arfir^'r present participle.
r%>Tf^ — Wealth of thef ragrance of flowers. aTT^Ci -C*/". q"T^rg T^l-
^?M Vik I. 8.
SI. 37. ^^^j.—Cf. s^rfTî: qf srCiq^TJ; III.

died 8.
f^f^^Jf^
— pjfTfJ to close the eyes; hence perhaps to bo involved in darkness
as when the soul ( which is tejas ) leaves the body; cf. the
sense
at I. 68. Tj^T^-Darkness wuich obscures the moon, personified
as a demon ( U^hu ).
SI. 88. ^Tôf — Malli. takes this in the sense of '

life ' by
Lakshand, but the usual meaning of ' the senses '
will do as well
^5 —'Does it ? not
It certainly does'. |:??r^ô n?5"?q R^^: the —
act of dnppiiig down, trikliug, ^j^zf f^'J^^T; blazing dr jps of burn-
ing oil falling Irom the protracted wick of an Indian lamp,
The
fig. is I'Sl^.
( 206 )
[Canto VIII.
SI. 39, 55<^ — Properly, ihe mingled sound of instruments

or of warriors fighting on a battle-field; cf. Bg, I. 13,19: hence
any mixed sound. '^rnT^Tr: —frightened; or sorrowfully affected
( in the sense of 3î5Tcir: )•
S'l. 40. r.?f^T?rr'>— 5^^^ a fan (

«"•
«• fanning ) z{\^ %^t %•'•
HJi:— Swoon. 55^ — Pass, perf of g^; cf, 3Tq[p?^T gSTR^friT ^^••
. ^
Sis. I. 27. um^TT^ —also sfcfr^rT a remedy ?t^ f^vin^t using, appli-
cation.
S'l. 41. xrfcn^'srpTrfs^l — To be readjusted and tuned (after the

strings have been. loosened ). ^»n^?TT — The words are ?Eiq + 3T«f?»JI;
the 3T of the prepositions 3Tf and arfcr may be optionally dropped;
do ^cr + ?^^T: or ^
may be taken in the sense of ^^\^ as in the
to be
Sutra of Pan. SRT'^'iTt ^R'/f^^fT^ ; ac iording to Bhattoji, this is
explained as a word of the ?T^?5=*iffrlf class. Some take )H»T^?«^t in

the sense of 3T?^<7T and K&li. often uses it in that sense alao; see
Malay, IV. 7.
Sn, 42. ?f?fr—The Instr, is r^^^X^^^^ ^^9- I^. 3. 21.— An

attribute which indicates the existence of a particular state or
condition is put in the Instr. case to express that relation. ^C"TT-
;fPf —The death of or loss of sensation from all the limbs. HfPTW
Changed; or dispelled.
S'l. 43, 3Tf*TrlJt
—'îTh — Uas passed into a proverb. %^
^ What indeed !
'
t. c. there is no need to say &o. Here ^ simply
.strengthens the sense of ^\.
SI. 44. BT'ft^"^ — (^''- ^ff Of ^% with 3TT)to remove, to takeaway
or to destroy; cf. ^ f| f^KTR^ff fff i 8'ak. III. 1; arf^ri^^fr J^:
^^^f-^T^'^'iTfffr I Uttar. II. 19. Rrf*!?^ %% is often added to
interrogative pronouns in the sense of •'
possibly, indeed, I should
like to know ' &o.; cf. t%R^ \% fl^JUilt ^^^^ Î^ffRT'R: I S4k. I.
20. 59n:<»13- —
Wishing to strike. The Future p. in Sanskrit has
often the sense of the Dosiderative.
Si. 45. 3TrCT% — Endeavourtj, undertakes; 3TTT**T bas sometimes

this sense in literature; cf. Bg. XIV. 12. Trrrr'?!^: The term —
suggests absolute power to kill by using any means. r^ q f% —
death destruction. ^ Indec; see foot-note. — f»Tf?nt — an instance;
cf if5 gg^f H^^t^ Q'kk. II. HW— in this case, in proof of the state-
ment ^
^fg f|r^^.
SI. 46. "sfrfV^nfr —There issome grammatical difficulty about

the formation of this word. According to the rule 3T^ *^5niT%r:
—
OantoVm. ] (207)
; P4n. III. 2. 50 ) the affix ? (3T ) is added to %^_ with arcr when
the object in composition with it is the word ^^t or fTlHi but accord-
ing to the quotation from im^ôt ( see foot-note ) any word may
precede arTf^; see XVII. 61, XIX. 39. Some defend the use of ^
on the authority of 3Tf^ in the Sutra srs^^fq- js^^. Although the
S^tra properly applies to ^^, grammarians say that the force of
3?[qr frees the Sutra from all restrictions, so that the affix may come
after other verbs and other objects in composition with these.
-Sid.-Kau. ); see Malli. on XVII. 61.

SI. 47. «nr5[^rri; — f^g^ opposition; hence adverseiess of^
3T^f^ —Mark the sense of this word here, which means 'the fire
•of lightning.' ^n=T?i: — Malli. takes this in the sense of 3\'^: ^ff:
which the context justifies. ^^^— explains the 37g;|cW.
S'l. 48, —
STT^r^ The affix, rfj (^) is added to the root ri'-i,
—
^^K; see com. tj^j 'Since'. Mark how the contrast between
31^Ti;f" and f^TH^ makes the situation extremely painful.
S'l. 49. — a deceitful lover, who apparently loves

^5: is his
wife but secretly pays his addresses to another sweetheart. See
com. gf^f^%—implies innocence, and further suggests that she
was always unsuspecting. q"^t^r^?l"^T^Tf^ JT?Tr — Note the expres-
sion; cf. ar^f^lxq- fT^dr^ S'4k. VI. 9. STfrri"^^^— T^ with srr
Is Atm. when it means <to take leave of.'
S*l. 50. ?rf^ ^n^— This Aja concludes from the fact that he
had swooned f rTsfrf^^ — fcl compound in the
generally comes last in a
-sense of 'cursed or wretched'; sometimes the order of words is reversed
as here; see XIV. 65 '^qfg^'^t fcT^'rffrrRiT^-' aTpfr^^T— See oom.
The Instrumental should rather be taken ^cfr.
S'l. 51. ?%^t^^r?fT — is used here in the sense of gr^cT^^^T^r:.

artr ^— And yet. ar^fTrTr— 3T?cT^ fcTT- Here again the ^^rf^.-^^rrfq
of the soul is referred to.
S'l. 52. frri<T# — Some class this comp. under the class arnffTTFir
( *Tf ^4 ^cTf5 ) bat that is not necessary-, see supra VII. 31, note
on ^cr|;5^<»- By this he means
^TSfTRT: — to say that he is not a
might perhaps have thought.
•^TSîqq? as she *ir?r —naay have here
the same sense ( t. c. arg^rn ) as in VI. 36.
SI. 54. 'JfTT^ Soil., in the caves in which the creepers grow^.
s?r^K: — The mountain Himalaya is describtd as haviug such nerbs;
^/. Kum. I. 10; ^l^JT^r^^rTî: nwf JTfl'TS'ST: ^f^r^Tl: ! Bhatti. XV. 106
(208) [ Cantt) YIII.
S'l. 55. ^Tr^,_3-^,%pfy ( heaved op, agitated ) skw^ «TPr ^n.

•
Pt% — implioa darkness which corresponda to hor dark hair, f^rir®

—The bees are often poetically de'^cribed as being encased in the
closing lotuô^ at san-setj ef. ^ r;^7( f[?T^55f^'?7«7^ Bliafti. H. 19;
see supra V. 68. •
S*l. 56. f[^(j —

Here the night is spoken of a? the wife of the
moon. Cf. the epithets f^^yi^f if &c. ffjjirr ^"^k ^T* TheCaakravaka —
bird. " The males and females of these birds are found to keep
together during day, and are, like the turtle-dove, patterns of con-
stancy and connubial affection." M. -Williams. It is an anachronism,
according; to some commentators, to make A ja allude to the separation
of the chakravaha birds.pronounced by Rama
For it is the curse
that parts *he male Chakrav^ka frotn the female during the whole
night. While R&ma was mourning the loss of his beloved, Sita,
sitting on the bank of the lake Pamp4 the ehakravaha birds laughed
at him, whereupon he condemned them to perpetual separation du-
ring nights. FiTJrr^^ —
See Malli.; it rather means the interval of *
the separation.' This of the

(^îVaAa often alluded in Sanskrit
jpair is to
literature. s?r2i'»-fi»rffr
—'Gone to return no mor^'. Since there no is
returtiiug, the separation is final and not for an interval; hence

his grief.
S'l. 57. ^T^TgrTf^* ^^ new; hence, very tender and soft; cf.
â^^â"^ 'I'JT j^p^k^tiiIt fTg RvTifÊrt Knm. IV. 34. ^H\^ ^^^\
I
—
3j;^ q"f»3T: HT ÎRi^; the fern. 37 is added to 37^ when preceded by
words like ^r^fr ^\^ &'!.• see P&n. IV. 1. 70.
S'l. 58. ^qf^gfrv:jo_c/ Tf H??fr— » f ^#; see
3Tc?t?cT»I?1T si. 56. : :
com. ^T?— iJ'-ssation, lofs of ; <?/. Here 3Tg is

S'is*.
r^TT'l'T IX. 77. —
îfff^^^'T'T «•* it governs fhe Aco. in the sense of the inst.; see com.
T-T »^?-^% — Tif t^vo ntigatives m*ke one emph itio af!i<-mative; r/".
S'ls. 5y-tiU. aT?2p£^r —The Indian cuokcoo, so called because

the eggs ot tht^ bird are supposed to be hatched by the crow. See
jn/ro note on 3?''?^ ir IX 34. ^^%— e^"^*7 Jt^'. (îfr/.)
g-q-^rr:
the sputud ' - f. q'^^Tn^T — Ths wind is poetically supposed to teach

gestnreti ko the ^r.'epers; cf. Vik. II. 4.. f^r|"Trfg"^?n" — For fsTIf?
see supra li\ ^ T^r^^ T^fff^ M\ :jff^r f\^\ anxious to go to heaven.
For a simi a- n
^\^ ^yv^Â%^^\^^\\^•. ^'fj Tff »r^5
ouîht, rj. I
?7cTT5 R^'fllMM 5?T^ r^fqil iq??T '»T U Mai Mad. iX. 27;
tf^ta r^>1^1
also Mig li. 44. H^^7 HT- Out of re.ard for me.' ^ c^^Trft^g &c.
On tht) •iiitrMiy lUoy Bervo as excitants aud add to niy afHiction.
>
See ooui.
—
Canto VIII.] ( 209 )
S'l. 61. ft[Tf5f M K'^r^ i •fee. î —

The matching of a tree with some
or«eper and even the celebration of their wedding ia a favonrite
theme with the Sanskrit poets. Cf. fq^?fi?;^ &c., Sak. p. 104, wher*
S'ak.'s favourite creeper Vanajyotsna ia spoken of aa being happily
united with the mango-tree, vyf^rfr — is the Priyamgu creeper, also
called ^^T<TT' It gets an exuberance of flowers when thus unitedf
ef. foot-note. It has the gracefulness of a woman's body; cf.
III. 18. ST^rxra^ — Adv. used with an adjectival force; cf.
K^f^^ ^r-'f Wi "l?=^JTîr?T^ Kum. 11. 55; S'is. II. 71. H*

meana-You are in the position of a mother to the creeper; and it
ia not proper for a mother to have her daughter unmarried.

SI. 62. fTwflff ^^'- 3®® supra III. 6; here it meana a crav-
:
ing for something felt by plants ( according to poetic ideaa ); it

ia described aa a kind of prep/iration or recipe which en ables plants
to put forth flowers or fruits, even out of their season; see foot-note
and Malli. on Meg. II. 18 and Kum. III. 26. The As'oha tree is
conventionally described by poets as
putting forth flowers at any
time when struck by young ladies with their feet decorated with
jingling ornaments. Sir William Jones observes 'The vegetable —
world scarce exhibits a richer sight than the As'oka in full bloom.
Ita flowers are very large and beautifully diversified with tints
of orange scarlet, of pale yellow and of bright orange, which form
a variety cf ^hades according to the age of the blossom." ?^<f^ -
K9^— will raise up or put forth; cau. of f?; 2A. with g^ ; ef
3^T^f^l3rT: Da>'- —
3T«T^»TrT »• «.? which should have been, were
you living, your hair decoration. R^r«T*TF^rlf — for f^^x^ see V»
8.Mr. Pandit compares ^m?*T^ — ^^ iFVTJir^^^TfrTT'SiJrT^TRi JT^PT^ I
AVv. Gr. 85. Adh. IV. Kandik4 8.
S'l. 63. H^rsf^St —^T is a foot-ornament worn on the

ankle ( called q!3ri| in Marithi ). See Kum III. ^%. R^XtTT Now
only thinking of it, aa it is no more to be got, you being dead 3T?=^Tf^H .
— Asoka only being the recipient of such favour. "Tffo^ 3T5;n"

This is another tree than the one referred to in the previous s'l.
which had no flowera on yet. ^jixT^— Voc. of girr^; sTrTT^TT?^ iT'srifor
'T^rtW; also 5irra"T according to the V^rtika quoted by Malli. -^
but the Sid.-Kau. remarks— TTr'nTI?I5TpffT3"q'tTriTTr%f?r ^\^^^\\\
SI. 64. ^:^?<3"5I'* —means by Lak&hana. the fragrance of her

breath. ^^:—The Bakula or Kesara has star-shaped flowers
R. N. 27
( 210 ) [ Cauto VIII.
^bioh on acconnt of their enduring fragrance are much liked by

-women. They have a bole iu the centre and are easily strung
together. f^RT^^JTWr—f%?7TOT<fr ^^^T sportive zone ( t. e- made
of flowers and worn in place of the usual one of gold or gems ).
SI. 65. q fj^Htlâ —Commentators understand by tiiis the
l§(fl1T^^^ as the moon is scarcely visible on the pratipat day. But
— ^^
the poets allude to the pratipat Chandra; cf. 37f^<T^^?yW ^TSTT I
Kir. II. 11. •Ptt: —

Young and promising. nfrTTnfpm:: 'cruel
by your resolve "; (Malli.) Aja means-'There are these strong reasons
why you should not leave us; and yet you have taken a step which
is decidely cruel.' We may as well take ifffftrfTf in the sense of
jfsffvf ( see f^«f (iuoted by Malli. ) and direotly translate < and yet
your action is difficult to understand.' Some interpret it as ^
and
yet your action is opposed to love.'
SI. 60. v^f?f: — Malli. 's first interpretation ( viz, ^ firmness or
quietude or calmness of the mind
Song, ) is preferable, 'i\^ —
music. This shows that women in those days knew vocal and
instrumental music and could appreciate it; cf. *?^rwij Rn'VaT^
'W5S:r3Î'Î '
Meg. II. 26.
SI. 67. irôff ?rf^^: Scc.—cf. '^pmtf^TcTiT^qf^T 5^' K. P. I.;

.nd the Subhishita-^r^j ^^^\ qFT^5 ^m ^ft^îj iTT?TT ^T«I^5 T^^TT '
*a»TI5^?rr ^^^^ ^TPT^'r >Tr^r '^ '^rfjP'r? cfrf f #»TT II The manner in which
the poet here speaks of Indumati shows the high respect in which
women were held in his times. Jjf^^fr Fof the ^qualifications —
of a house wife see Sik. IV. 18. ^f^^: ^rf^ friendship ^n^ — ^\
fr. WI4-3T ( Ô which is added to roots without a preposition and
j)reoeded by their object. rq?n%«^ — ^TTm^flTf'r f51«IT one fit to be
inslructed. ?7f3'% &c. —Such as dancing, singing, painting,&c. .
68. ^\^l\ properly means 'wine'; then by LakshaTta,

JT^CIW '
SI.
intoxicating like wine; hence charming or fascinating. Such eyes,
are described to be inclined to roll about, with the pupils a little
contracted and the angles dilated in consequence of the f ush of
youth. See com, and foot-note. Or ^^^ maddening, intoxicating
(fr, v[ând the Unadi aff. ^x ) arfûff ^t^tjTm see the other version i
—
of Malli." s com. »TfnTTTf?ff 'Received into my mouth before it]
was given to you.' Hem. and Oh4r. analyse the comp. a<* xri[H^|
«nd not as it^t^^ a^lcTtf as Malli. does. This means 'Ton liked to
—
<irink the wine from my mouth'-and so implies -love': The former
•would simply mean, jmr »T?RiTJT aTicrft. irwn»f%— The water
<;oatained in the cavity of the hollowed palms joined together and
) —
Canto VIII. ]
(211
•
offered to the souls of the departed forefathers. iT5'Tr'E«?%—
Drink immediately after. When alive also Indumati used to drink
after A ja. Hem. thinks that "the medical sense of argqr is also
intended, water being prohibited as an anupana after wine. But

this is far-fetched.
SI. 69. 5?sl^r^^ &c.— "T^rcrf^qroTtT^^ q-cTT^rl[» siôwing that Aja

was a most devoted husband. f^ffpTJTr'rT^:~RcfT*T'I?cfrm f^r-
*fqn% temptations sr^ri^ T^??tVT?{rr% ff^r*f^^^TT0I %:; see infra, IX.

7 ; Hem4dri explains ff^F^% ^\^ %m \^^\^^X m^T:.
SI. 70. ^5En7rmT: — foi" ^^^T See supra III. 5. ^ôrr?|« —
See com.; Hemadri takes ^îm'T iii the sense of ^ûtt^ (^^"T: 3l«ff
^\^^\ ^^^ ^ %jt liVm )• f rr^rîrn:^ fee— Sanskrit poets often

make trees weep in sympathy for another^s grief*, cf. Bhatti. IL
4. —
5rr?3TT^ ™*y *lso mean the dew dropping from the branches.
^ff't — properly, <a rainy day,' henoe, a shower.
Si. 71. ^^^^: —^^ is «!««. and not a ^jrofi. here. frr!r?r«r'T''^3^-
She was entitled to wear certain ornaments inasmuch as she died as
a Suvisinl ( the wife of a living husband) in addition to those pre-
scribed by the codes of religious law. Cf. ^^ ^^'^f^r^r ^S^fT-(a kind
of fragrant root called ^-sff^-Marathi ^\î) 3T5T%^^ JTW?iTr?^f 'srqTiTMf
^ q-mS"^ ^c?rars|t!^re^l ( unwashed or new doth ) ^\^^\^^^\k^^
^îTFtX I
A'sv. G-r. Parisishta Adh. III. Kandika 1. sfrr^
See com.; the word is also neu.
S'l. 72. Jjqfrf: ^SPl —Malli. takes ^s[ in the sense of f^^;j; 'con-
versant with S'dstra':, it seems however better to translate as -being
( although he was ) a king ( lit. the protector of men )' whose duty
as such was to look to the protection of the people rather than to
personal comfort. Or, 'being a King and therefore more firm-minded
than the ordinary people.' ^f'^fô — ^T"^^ blame, reproach; c/l
f^^xi ^1=^4 ^ «lfT: qSTfqnr:; also S'is'. III. 55. srlrr^Tra:— Here the
suffix ^Tf^ has the sense of 'under the control of, making over to*
See com.; it also has the sense of 'entirety or pervasion;' as
3mr^T?^m entirely reduced to fire, i. e.' burnt; 3^^^rc^q-?T^ s^-ôj^
S'l. 73. f^rfrf: TC — to be performed after ten days. There are
two kinds of rites constituting the Antyeshti or funeral ceremony
Those of the first kind are required to be performed during the
period of mourning ( i. e. t'ae first ten days ^. These must ba
performed in the burning-ground, in a room or shed built for that
(212) [ Canto VIIL
purpose Those of the second kind are performed from the 11th
day. Theee may be performed at home, in a cow-ahed or a garden
attached to the honse. € «
Tf^^<t — is naed in the sense of 3fV<?r.
jfrf^^ — ia here used in the sense of 'a beautiful woman'. iTf^^:
^f<ft 7(7= '^*(t requiring great expenditure (lit. amount of wealth).
^qf^ — On account of his heavj grief Aja did not thiuk of returning
to hit palace from which he had departed with his wife.
—
Si. 74. %r*r^ night; ^tfr ^^rrfl^ that which gives rest or joy.
—
TPrtTf ( Also iffo ) the outflow of. qr^^^T? properly means ' a
stream of water issuing through a sluice or the like when dammed
into a collection'. The poet means that Aja beheld, as it were, aa
outflow of his own sorrow from the eyes of the women of the city
who were his co-sufferers in grief. See com.; cf. Kum. and Uttar^
quoted In the foot>note.
Si. 75. ^TTl^ ^frflr?T' — When the itktlvt or the initiatory

ceremony of a sacrifice is gone through, the sacriflcer cannot
leave the where the sacrifice is to be performed, until its
place
completion. He should remain in his seat every day at sunrise
and sunset. Cf. Baudhayana— 'in ??F^^ ^rf^nfRcTr^^r^P-Sf^TST^
iq^fffiT?lT?T." 8o™*P'*k"*'?*- srrr^To —
Seel. 74. 3?f>f^ deep or —
poignant grief, from arfiT'^siST; lit. that which closely adheres to the
heart; hence, keenly felt grief, a sudden calamity; see infra XIV.
54; Kum. III. 73. ftys^T According — to Hem. the name of the
disciple was Vamadeva.
Si. "ft. frflfT^ —

The pre. p. of this root ie not in use, but the
perf. p. is sometimes used in the sense of the pre. p. ^ T7rF«TrT: ^f'T-
Mark ,
poet in making
the ingenuity of the Vasishtha not come
in person. Aja was not likely to pay much heed to his advise
at such a time and such an act on the part of the king would have
looked like a gross insult to the dignity of his Guru. This unto-
ward consequence the poet avoids by making the sage send his
pupil to the king instead of coming in .person. ST^tTT — JTî% one's
natural disposition or state ( here equanimity of the mind; opposite
of K^frT ).
Si. 77. n'55?T<» — i%^fT: W^^^ ^W- the strength of the mental
(
oalibr*) -H^W, Hem. explains this as-fifîqift ^^^ ?i^. g|r^, n-g?f-
^^
The allusion to the king's ^frT and ffrf are intentional. The
pupil suggests that Aja should take heart and bravely resist the
calamity.
—
€antoVm.] (213)
5^>c^ ci%5—The worlds covered by the steps of

S'l. 78.
Vishnu; the three worlds. See notes to VII. 35. prcsrîjr;— HJt?i:
STflivr: obstruction ^(^^Jrl, ^n^^^—W^^^ V^F- ^r^HT^ ^^ *^« ^^^

of knowledge; cf. aT^^r^fr^'fm: 3?!"^ ^ =^g; Uttar, III. îVilrf —
Cf. I. 74.
S'l. —
^ttP^?^: Trinabindu, according to
79. Hem., was a
sage of the Atri family. TR^TI^rT: This fear on the part of —
Indra is often alluded to by the poets: c/. clîffg^Tft^lf^cT?^ &c-
Vik. p. 10, and our note ad. loc- also supra notes to III. 39. f^«fr
— may be a subordinate nymph of heaven, as her name it not men-
tioned among the twelve principal apsarases. Hem. explaina-
^mf^'fr ssr ^m f^ *Tmf^ ?m i
SI. 80 irg^fo — See com.; or ij-g^-before him-arfffsf-^,: =^r^ft-

1S^\ T'STFj see XIII. 42. %c3T —
The high-water line or that margin
of land which is reached by the waves at high tide. ::;r?^2ftf%
jj-p3-?TF?T:^f^: q^ô ^^. v[^vi is the final destruction of the world caused
by a deluge. q'T^^TR is a wave which, breaking through i;he barrier
of the coast, inundates the whole world and sweeps away everything
before it. ?rflfc!To therefore means, ''which completely anclermined
or swept away the tranquillity of his mind'.
SI. 81. qftiar^ —

^tfiq^P^rÛfSffc? lit- contrary to tiie current;
adverse. Mark the force of the word which is used in connexion
with ^TiTsrOT^rJô- 3TT'^rR^=3Tr'^CaT 'conduct;' ^ being added vtr.
3'<R"?fr —
lit. 'approached humbly;' hence ^T^'^TRcTr.
S'l. 82. 5F??%flr^ —The same as Vidarbha; see notes to V.

39, 60. f^n^ — may also be taken with ^r^\. f^^^j -Ut,^ —
helpless^ with all control over the senses gone, insensible; hence
^dead.'
S'l. 83. s^qr^r — Passing off, death. ^q-f^^rrr — At hand; cf.

*
^^Hr>T7t STTT^JTr'i: '
Meg.; and ^*rr*Tm: ^fTTTr: ^fgrq-jf^ V{^TJi^ I
Hit. ^^JTrîT —Earth ia their real wife; ^?7g- is only of secondary

importance; cf. ^v(v^^^. it»jcR l 3Tcq^^T»Tf ?T?^RcTt ^rq tr^ P^'iT%"Ji: \\
supra I. 25.
S'l. 84. —
^fif The poet probably means When the kingdom —
came into your possession and you strengthened your rule by sub-
duing the other princes ( See supra 19 ) you were likely to act
wilfully or haughtily. ff^WT"^ — Censure due to an set done
( 2l4 ) [ Canto VIII.
through, arrogance. — See'«My>;-a

^?TJTr» 6,9,31. HnH^Tf^r — See
supra 10. •s^^ —mental pain or affliction, distress. BTI^rTfT^r — with
manliness, manning your jaind. q ^ f ^q trt-*- «. bring it to bear on it.
S'l. 86. ^r^: — destinations, the places kept in store for them
fîfWmV — «• «. the souls follow different paths to enjoy the fruit*
of or suffer the punishment for their actions. Cf. K&d. quoted ia
the foot-note, f^^: q?«n^: ^mi m f*T5rq»ir:} see Pac>. V. 4. 14.
SI. 86. sTT^fjô — 3Tg»rfr: ^fr^: ?TFTrTTfq?fi^; o^fiap ^^\ ^^^: «:.
Sif'W'fr— |?^'^*TFsr?^r: f[%; a woman with a son, and having her
—
husband living. pnrTTo For h^tt aee V. 10. fT%-a giftj fr. î
to give and %. ^'Jîs substituted for ^f before fl and ^ (i^rf- ^Tlfl^r
fl%: ). STf?T^<T^ — When continued beyond the reasonable limit.
S'l. 87. —
»i^ This means the quitting of or getting liberated
from corporeal existence; loss of the body; cf. ^riT?^ I? VJ^ grff:
Bg. II. 27. This is certain to happen in the case of a corporeal
.
being; but when the body is once cast off it is not known when
the soul will enter into pother. 3?^%^ SF«TT is Atm. when —
preceded by gi^, ar^. it and f^; see com. on I. 89. Cf. Bud. Ch.
fT ^F?" ^{^ R<r^r R^RT: i' III. 58. 59.
SI. 88. ij3"^?nT' — ^3"' confounded, unable to perceive rightly;

*/• 'ir*T#q;«"%fTr: 7. ^^j is used here in the sense of
Bg. II. —
<power of discrimination.' ftift^' A man of steady mind, one —
whose mind ia not swayed by passions t^:c.: cf. Bg. IT. o5-58.
^^T^S^frnT<^ —
Because it ( i. e. fif^fj]^ ) opens the door to blis*
by removing the principal obstade to Vairagya.
S'l. 89. ^^îftTo— Analyse the oomp. as ftrPT JJlfR ff^lfH" Vf^
^. ^ refers to the 5in?ir«T*TTÎ 3TWT- For, if we connect ^^ with
^Tfir^ also, there remains nothing to which ^ may refer, Malli.,
too,, seems to prefer his second way of taking the comp. to his first
when he remarks 3T«i ^t &c. of^^^ — rfT^ the opposite or

reverse of fiî\, separation; cf. ^^[itri: ^giniT:- MH^Vf — 'How
possibly,' with what reason? f^qfv?!, \^^^ ( i** a. pre-eminent
way ) RT%^rf?T ^dfr f^nT^rm ^r; a comp. of the ^^nf^ class. Cf.
the two S'lokat quoted in the foot-note,
S'l. '.>o. g^f ^ti &0--C/. irmg?T^c!r^" ^Tfs^Tr^f'cT ^^^f^\ i and
II. 11, 27. i?f^PTrg'?T*T — ^ addressing him as 'the best of thoi«

having self-oontrol/ the sage desires him to exert the power of self-
control, and not to reduce himself to the lovel of ordinary people
—
•Canto Tin.] (215)
i^^—The aff. ^^ ahows q-^R. . The two, of two aorta, t. e. quit*

different by nature. "Words ending in cT'T are optionally declined
like pronoun $ in the Nom. phiral.
S'l. 91. g^rrCRt: — Noble-minded, having generous thoughts. The

epithet 'showa that Vaaiahtha sent the message under the belief that
the adrice contained therein would be followed, ^r^rrriq" ^^: "/. —
Tm^SI ^ ^ÎW
?TcT: V- -^1- *n*M^— ^%^ ^5 com-
^'^^- 0^-
pletely f.lled with grief. Hia heart being entirely occupied by grief
no room waa left in it for the advice, and so it went back as it were
to Vasishtha; Aja could not help it. srfrRTITlfjn'—For the advice
waa forgotten the next moment.
S'l. 02. ?T*n": —See iupra si. 24. 3Tf7rT^t|7T%rr — who spoke
agreeably but truly. The force of the epithet is this. — Although
Aja survived Indumati for some years he led a life of strict renunci-
ation through grief ( cf. the next si. ) and did nothing contrary to
hia professions contained in his lamentations. q?n'«n' t^c<f r^ —This

gives the reason why he survived his wife for ao many years*.
^j^Zjt( <S:c. — These are the usual means by which Sanskrit poets make
their heroes divert their longing. Cf. JTf^f^q f%TfcT3 Î "TT^T^
f^^??fT 1 Meg. II. 25i Vik. II. 10.
S'l. 93. !T^|Cf— Violently, forcibly. ^— a dart; ef. fr^^ ffi^
f f^ ÎI^^f^mPT fnT5n^ \^ ^ ^r?: I Uttar. III. 35. ^ô— giajfer

êr^'^r iT=5trT% im W.^'^ i The fig-tree ( ^^ in Marfithi ) also called
?zr$T«i; aee Malli. on XIII. 71, infra. The simile expresses the
gradual effect of the grief. The roots of this tree are known to
break walls or bases of houses by forcing themselves through
crevices and then growing in size. ^ soil. ^TfSR^Tf^; the physioians^ —
were powerless before the disease of deep-seated grief; or the
wasting disease brought on by it, (as Malli. has it ).
S'l. 94. ^n^^fr^jfr^ —
fally trained and thus fitted for the
responsibilities of government see com. on III. 35 supra. ^^^
;
When he was able to wear an armour, i. e. when he attained youth..

The aff. 3T=g;^( 3T) added to f indicates age: Pan. III. 2. 10. ^q^g-
engrossed or affected by. f^<jf^— f:^^ ^m^:] painful stay or
residence in. The body said to be
the house of the soul; efl
is
5T^fT> 5> ^ft &c. iiT?T>Tt'nrJT— ifRiir ( ^J^ m. ) 3-q>5Ifr sitting down
and abstaining absolutely from food with a desire to die. This-
mode of putting an efid to one's life under the oironmstance*
mentioned is free from the sin of suicide. See com.
(;il6) [Canto IX.
;8*1. 03. jT^tlF^fr —The Ganges : see notes on VI. 85 supra.

âhnn was a deeoendant of Paruravas and son of Suhotra. ^(K^ —
The river on the bank of which Ayodhya is situated. It is the
modern Goghr4. See supra XIII. 61-03. ^ ; <<tT'll<I, '^J* seems t
—
tô have cast himself into the confluence of the rivers when about to
•die by his q-fiffqlfî^. ^t^ — a writing (i. e. a reckoning among).
CANTO IX.
S'l. 1. îTii^'r ^t^ r ^l, —The country over which Haghu and hie
descendants ruled. See III. 5. Two Kosalas are generally
mentioned, the other being mwj^^J- or the Eastern Kosala. Kua'a,
ihowever, is said to have reigned at Kus 4vati in Southern Kosala.
—
See XV. 97. ^Tf^Trvsr having obtained it in the proper manner.
Cy"' VIII. 2.
^*TrPT — self-restraint. f^n^î: — Das'aratha's
f^?IF?'T?^ is illustrated in si. 7, 8 &c. This is a necessary qualifica-
tion of a good king., cf. K6m. —f3Tm%'5l?iI IT'^^'fffT^Tlwrg^RnT: i
*T?I?eT ^^fefrr ^^^•^

Î^«I«r ^*t:??^T: ll was a characteristic
This
mark of the kings of the solar race, and the poet has taken special
care to mention it in the case of Da8''.s threepredecessors, q ^ f fij :-
'has a meaning for which see com. and foot-note. Four
technical
kinds of chariot-warriors are mentioned by ancient writers on the sci-
ence of war, each superior to the one preceding, uts., 3T^^, r«T,',;TfR«T,
•and srrHr^r* ^^T^r^T^rTT — III the fourth lines of 1-54 slokas of this
canto the poet uses Yamaka, a kind of ?i«î%g^ ( a division of
poetry; see K. P. I. ); see foot-notes. The S4hityadarpaiia defines
it as^r^^ ^^r^^^v^ ^m^^^^t^n'. \ '^^^ ^H^\\\r^H^ ffH^r^nr n
The repetition in the same order of a group of vowels and
consonants, having sense but with different meanings, is temed '^t{^.
^ f^?j:— c/.^r^T^rs^W VIII. 90.
S'l. i', irfrf^H°'^fy — By Jfr^^^^'Î'? ( the maxim of 'cattle and the

bull' ) this term is limited to the people living outside the City.
^PTift &c. — Mark to secure ^T«^f^5r mars the ease
how an attempt
and natural flow of language. nor^Tft The king was jpifj^ and so —
the ifô became goT^rTl ( arffT^T^^ W^^^ pre-eminently possessed of
advantages or excellences ); see supra. IV. 11, and com.; or the 507
in one case may mean 'good government,' and in the other 'loyalty,
attachment.': the ir^fô became deeply attached to him (after Malli.).
5ftn^^^^^#T— îTT'W-^ is here undoubtedly K3,rttikeya ( see III.
55 ) and not Paras'urama before whom Das'aratha had to flee several

Canto IX. ] (217)
•times. Mahishdsara, flying from the battle in which Taraka was

slain by K4rttikeya, took refuge in a oavein the Krauiioha mountain.
A dispute arising between Kirttikeya and Indra as to their respective
• powers, they determined to decide the qâestion by circumambulating
ihe mountain, the palm to be given to him who should first go round
it. Disagreeing about the result, they appealed to the mountain who
falsely decided in favour of Indra. Karttikeya, to punish this
^falsehood, hurled his lance at the mountain Krauncha and pierced
at once it and the demon Mahisha. See Wilson's Vish. Purana p.
/.1 7 9, note 10.
S'l. 3. ?T^TfTT:-learned men i.e. men able to give judgment ( and
whose opinion has value ). See notes on I. 11. ff?i^'=Tt— ^li^Jê who
rendered service to the state or attained special excellence in their
.professions ( ^f^?rt ^HPT^'T 'the
).
— killer of the demon Bala;
name of Indra. Bala, more correctly Vala, occurs in numerous
passages of the Rigveda, as the name of the cloud fancied as a
demon. It literally means-the coverer of the heavenly cows, the
rain waters, fr. ^ to cover. See our note on f 5|T HI- 62.
Indra destroys the demon with his thunderbolt and sets
free the pent-up cows; cf. f^f ij^^r ^q^roTr 3F'-?^TfiRfcJ^f
qffWR[ I I. 52. 5 ; ^ fr^Tf|*miTTc^F I%=î^ ^] m ^TW^^T
^3-?^ I II. 12, 3; and ^^\ ^^ ^-fM^ft f^Rt ^^rvt^ f^'^^n)
rû[ I Vala was subsequently looked upon as & separate
X. 67. 6.
demon, the son of An4yu8h4 and brother of Vritra. feee H. V.

Bhavishya Pur. Adh. 24. »T5fo^>7?:— Manu was the first king
of Ayodhya which city was built by him. See notes on I. 11.
aqF^^r—progenitor; 4^Malli.); or oôi-vfr^^jp^jff jf^^j Hen;.
S'l. 4. ^cr^— ^q?^f^ one like a ^ctcRT ( P^n. IV. 2. 145);
hence, an enemy, ^q^^ seems rather to be a corrupt form of ^nf^
âon of a co-wife.' f^fô— For cultivators could attend to their
lands undisturbed, the king being sj^r^ff.
^jf^— who delighted in a
policy of peace. ^3??^^^^— though used for alliteration
is not
without its prop*riety here. He was though he had the
î>TTtT
power of a god and could have easily vanquished any mortal foe.
S'l. 5. fii^^^^—cJ.
s'ak. I. ^ 5?rTcj^Rw ^
s^^rm p 20. ^-^ i
the two ^s give an emphatic affirmative.

sTfR''— It^ is certaii^ly »ot
inferior to that of the other two. For other possible meanings
see foot-note. The sense given by Malli. seems to he quite natural..
CUritravardhana suggests that sTfR may appropriately mean
-S'esha', he and the king being both the sustainers of the earth.
K. N. 28
(218) [Canto IX >
were not stinted, ^vf the restrainer, the

TQIffiF-siiows that his gifts
Pinto of the Greeks, regent of the south and the god of the
is the
dead. According to the Panranic accounts he is th» son of the
Sun by Samjnfi, named as 3T»?T«F ( see. fl. 62 ), Mrityu, Kala,
Dandadhara, Pitripati, etc. Yama is known for his impartialitj
and even-handed justice ef. his name tr4n«I (lord of justice).
;
Varuna is a Vedic god. Among other qualities he is represented

as a d'spenaer of justice, who punishes sin and seizes the wicked.
Comp. arffi i%qjTr^ ^^r
^jgtm Tait. BrAh. I. 7. 2. 6; f^ ^ xf<?r
îffT ^- <TT«1?TT ^r^r T^ffT S'atap. Br^h. XII. 7, 2, IT; |r

^f^^ ^^^h'^li n^r frt? ^•n^gtU'r: Atharva Veda IV. 16 ; and
f^Tt ^9^^ ^^^] J\W ^^9^ft ff ^: I Manu IX. 245. jtnnT^—
class of demigods or Yakshas mentioned along with
( see XIII. 60;)
others in the following passage from the Atharva Veda iT'^fic^c^: —
^) ^^r. SORTcTTT" nrfT^: Atharva Veda VIII. 8. 15. $71^9^ Also —
*f%^7 and 3TiT?r.^^ "j see «Mp-fl note on 3{7fRm V. 71. The author
of K. P. notices in this the fault tf^r^v^^, since îi?T«rr and ^j^r »'e
in the Instr. and f%ii*i?TTr^ in the Abl.
S'l. 7. ^rf^nf^nc^ — Addiction to hunting. It is not meant
that he absolutely refrained from it ( see s'l. tVi/ra 48 ); but he
ftt^ 5^^ 3T( W*Tnir5?t ^^
enjoyed the sport only occasionally, — ;
gambling. This seems to have been a common vice ( though less

common than wine-drinking ) among the people from early times^
and was also much indulged in bv kings. Dharma and Nala lost
their kingdoms by it. ^fSTiTfrl^Tro —For, wine was usually drunk
in the clear light of the moon. Of. f^m^'Tr #^3T»r»T^T4 g^ ^TSfp^
irffjT^'W^r'^^r 1 eiT'T^T^TW ?TTI%cTrff> Sf^^F^q ^^^ TfJTtS^r U -Tina.
[II. 73. fSRTrTRr —

o- course other than his queens. Of all the vices
arising from perverted will, the four vices mentioned here are
described by Manu as most ruinous to kings. Cf. ^<r?r^f^«Tr ^^
iTff«TrT% JTfr^srri^ 1 ??-Rfr'^«rfg f^T?: Troj^^vrff^'iTs 11 K4m. I. 66.
•
Bee com. and foot-notes.
S'l. b. qHTI% — may batter be taken with VAsava who was his
superior -.-though he had the power to grant. fenTOT — I^T'Tft fTVr ?T?'t
^^m- I iffTV + /«m. aff. an. ?T«TI indee.. truth. <t«tt becomes rTV by
f?fr ^Wt ^\\r\^'\^^^^ Pad. I. 2. 47. stt^^— ariJiefT ^? anger
^^mr\ ^^W.. ?r^ I 'rf'Trwt &c.— For Manu says ff^ ff :? ?fT?*T«T TTF
S'l. ''. ^9 —the chief or best of. Hem. takes this in the sense
of *a descendant'. arprrCTC-obtained ; Cf. cp^ JÎTT^'^K iTf|«^: ^'ai
—— —
Canto IX. ] ( 219 )
Vr. 43 al3o supra YIl. i?S. î«r— Friend

:
see cam.; lit. one ;
having a good heart. STfrTTsfffr^— »'•«• î' opposers, those Vho

acted in a hostile spirit. Cf. sT^grurf ^g^rf: and foot-note (p. 83^)-
IV. 35.
S'l. 10. JTcfrc'trT indieato3 —
his exceptional prowess for it ;
shows that he was not only never ranquished, but even did not
allow his chariot to be damaged, o^f*? %W properly means * the —
felly or rim of a wheel' ( see I. 17 and Amara quoted in the com.) ;
here it is used for the surrounding ring or boundary line, arf^'^^*—

see. II. 8. iTJîfsn'T'Tri; &^c. cf. for a parallel, I. 19.
S'l. 11. ^^T^^—f^«Tt 3T5nTl?cfTrcT 5f^r«r^ defended by 5f^?T ( a

sort of wooden fence or fender with which a chariot was provided
as a protection against collision f^^T^^r- &c ). fîr^ —•f^^'T^^
T'^r fr5'f *T«t: I^^r^r^f ir^; ^<^f *Tf^?fTTrT trt the state of being ;
the victory-proclaiming kettle-drums, îf^^r: ^^TRffiTf ^^f ^'ft ^• —

^^r?T=—JT?: ^€Tr^r ^rffrf^:
Îf^T Kubera ; fr^T ff ^T3^ 'T?^.
We are already told ( in s'l. 6.) that Das'a. had the munificence
of Kubera
S'l. 12.
^^fiTrTo nfk^ T^T«rff (of wings adherents, allies) —
^^Vi^^- Mountains were supposed to have wings which Indra
lopped oS afterwards. See notes on III. 42. The later stories
aboat the wings of mountains and their cutting off by Indra
or allusions in the Yedas, where
arose out of the earlier notions
Indra is having destroyed the supposed mountains,
represented as
which were really clouds moved about by the winds. See notes
to I. 68. ^rT?|frr5r \W ^r?^ ^^T ^^; having a hundred edges; the
thunder-bolt, eptf? &c. V. l^
^grftfT ( 3«o ft. note ) — ^grp^rr: 3's^r%rTI
( flashing forth ) ^fy^^T'^Tt *Tfrw ^^^ ^^- ^^^\^K^^\'*—î ^
[S'l. between 11-12. z^T^^\y^^[^%^ : (who had the prowess of

Kubera) ^ frS^rTfi^f ^T^fTroTf ^m^
^^\r\^^^^ ( Hem.) ^?r^».?i:
( Char. ) Rf#'T?fi^cTT ( displaced, removed ) sr^cJT ( the waist-band )

'^^\ m^ l arSP^fr^ ar^J^'T^^fT arworr RgHT ff'^T'f^r* ( the ornamental
marks on the forehead or ornamental paintings on the cheeks ) ^^\
?r«Tr^?Tr^ ^r^-fer^^r^ i arfarq-q-Rr 3Tw«pt: ^îr ^^\ ^^^^^\% ^^r^ ] i
SI. 13. ^^Tnr&e.—^^Rt n»T: (lustre) JT^riRfT^ ^ff%^t

(heightened or increased by) %:. ?Er?T»Tl3"— ^Tit »r<3r 3T?^- The per-
former of a hundred sacrifices; Indra. ^J^ is a synonym of ^^ and
Indra came to be called ^Tfffli^ &c. on the analogy of ^TrfiFj after
3r5 was misunderstood as meaning 'a sacrifice', ^(f^— originally
(220) [ Tan to IX.
meant haudiuess, art, skill, wisdom; it also meant 'a sacrifice*, as

being an act done with skill or art. And ^cT^g which originally
meant 'the god of infinite wisdom' then came to signify 'the
performer of a handred sacrifices.' See note on ^?f^5 III. 38.
STiSTF^flf*— ^ ^prf fT (broken, interrupted) ar^fi^h qH^ ( %%^^^ ^k
alonr, prowess ) ^^^• this explains why hundreds of kings paid
homage to him.
b"i. 14. ^f=^^^rftrfo— The full sentence is ^qrc^gfrirf; *Tf%%:
qjf^ffi: &c., see com.: ^ffpjgfTRF — because their fathers were slain
in battles. st^Tc^^R; — Malli. takes 3T^ in the sense of 3Tir»Tfff i.e.
not combed and decorated. Oharitravardhana ( followed by

Dinakara) says ^^Pim^'^lJ^^^^J^^l^.^ 3T«gFir The capital of —
Kubera, situated on KaiUsa, a snowy peak of the Himalayas. It
is also
called ^gviTU> fi^fTcff a°<^ ^*fr- For its description
see Meg. 7. ar'T^JTr— 3T=3; not dn^q inferior to; fr. z{^ to protect + 3^1?
( Un&di V. 54 ^^^, ^"-T^ are also similarly
) ^^î^^^J^\r^\ifJ^f^''i^ •
formed; now see foot-note; cf. ^^^J^^^\ in/j-a XVII. 27.

S'l. 15. H'^TWrPT — '1lf*f the central i.e. chief prince. 5?o§"?f,
also called ^^ , is the circle of tributary princes whose kingdoms

lie on the borders of the imperial country. Kam., as .quoted
by Malli., mentions 12 classes of thase prinoes, viz. — (l)3TfT0''
iaimical kings to be subdued ; ( 2 ) r^ allies , (3; sfn^ •
(4 ) f^srriT^ and ( 5 ) 3Tf?r%5rf«r5r whose territories are in front

the four kings, whose territories lie in the rear viz. (6) qTl2<»TirTf
whose kingdom is next to that of the chief king , (7) srr^^

whose territory lies next to that of TrfGoio, and who is likely to
prevent an ally from helping another, ( 8 ) q-[f sJiirr^rfrK a^d (9)
:»Tr?K'^rWR whose kingdoms are separated by those of the fore-
going; (10) q-qiT or intermediate whose territory lies between that
of the fc[f3rJfrs and 3Tnr and (U) ^fi^f^r one who is indif erent or
i
neutral ( neither a friend nor a foo ), whose kingdom is situated

outside the territories of the above-mentioned kings — both strong
in force, and when in league with others, able to change the
fortunes of war: and lastly, ( 12 ) the imperial monarch himself,
more powerful than the two last mentioned. See com. 5T^f^<Tr*
WK^Tlflf ( keeps off) ^fff flTot; STrfTTfif ^ff OT*Tf rTT« • T%R =^ JTÎcTT^Tfot <;
now see com.; c/. Q,î^q-^ supra II. 47. ^^sl^m — »TTf^«"
cf. infra XVII. 61. STSTP^WT* *• «• —
his appearance though
refulgent was inviting ( did not strike terror into the beholder);
the same idea is differently clothed in I. 16 und in arft ^''^fffTtl'T
—
Ganta IX. ( 221 )

J
\^9^^î^frm Tr^^JTM S'ak. II. ^»t:— # arfcTTHT'^: fr. ^-fp^
( Unidi afE. ). See notes

to II. 73.
S'l. 1'?. Some editions give the verses ^55 &c. immediately
after the preceding sloka; but it will be seen that the order follow-
ed here is the most natural one. The si. ?T*TTfT'T can only natura-
ally follow the description of the king's universal conquest, and
the verses descriptive of the king'a marriage must precede those
describing the sacrifices performed by him. ^fr?^ See note —
on tha word, aupra VI. 71. o^T^t o^r?Tf?f?frf^ H, with — -.
g^+3T^; or ofprg^îq?^; 3ir^c?T^»TTI^f5^^:. 3TR»T>T^-3TfrJT^T 'T^cfM: :
ef. X. 20. ^TfrT gftlT — Because her chastity remains inviolate

although she waits upon a king, as he is regarded as a portion of
Vishnu. Cf. î^^m ^?i?q^ î^^r ^n^^rg^ ^\%\^•. ^^'h
1 ^m
m^v^: ^]k(^]^f^: I ST?rR''f — shows that Lakshmi ever abode with
him as she does with Vishnu.
S'l. 17. ^HTTPr^ — The sea is poetically described as the hus-
band of rivers; ef. XIII. 9; Sis'. III. 72 (^^Pf»TR '?r1l*TITTrJTt ) .^
JTirvfo — for jjiT^ and ^^cS" êe notes on I, 31 and III. 5. %^^
The country Kekayas (the modern Kattia of K&tbiawar are
of the
:ioppoaed to be bordering on Sindhudesa and
their descedants )
lying beyond the Jhelum on this side of the Indus. Its capital
was Girivraja; see Ram4., Ayodhy4k&nc?a, wherein the journey
of Bharata to the capital of Yudhajit is described, ff^???::
^ff^ must be a very old word, a relio of the times when the
A'ryans led a very simple and pious life; it means 'the milker', the
office of the daughter being in those days to milk the cows or
sheep, 3Tf?r[^rfô —
If tiîs epithet has any propriety here it is
this — the kings could not have refused Dasaratha the hand of
their daughters.
S'l. 18. rt^pt: 3[rnTffH:— see note on III. 13. q^_only; accom-
panied only by three powers, ff^ffr^: implies the good rule —
of Dasaratha. ^f^^^:—'The god having bay horses.' See supra
III. 43. In Rigveda we find ff^ and ^x^: ( 1. 16. 1; 101. 10 ) for
the horses of Indra. In Nirukta I. 15 the different vehicles 01
the gods are given, and among i hem ' hart Indrasya.^
Hence Indra
is called f fff?T and f r^^Tf ^ ( Vik. III. and in Rigveda hariyojana.
6)
1:^^^ —Malli. justifies the form by remarking The rule ^^yor —
&c. ( Pan. III. 2. 87 ) i. e, ' The verb ^^ takes the afE. f|rq; (%)
in the sense of the past tense when preceded by s^ ^ "^ a Brdhmana.
^tj] a fcetus and f^ a demon' — is not absolute as remarked by
(222) [CautoIX.
Nyfisak^ra. since we fiad in use eueh forms as x{^^\ Sâ henee

the ai). may be used after ?^ and m the sense of the present tense
with other Upapadas in a few oases, as in 3?rl^> f^fT ^^'
SI. lit. ^^^^T—^STÎ ^v(\ îrq;«ir fTTW^; ft^ or fg^JT when
coming after roi, »t5»T <.*co. means 'the forefront or van of.* *T^^
Irregularly derived fr. ^^
Unadi 1, 159 ): ^x(, howeTcr,
'i^V^\ (
in Veda means 'a gift, wealth' and so the word may be regnlarly
derived by afnxing ^
showing possession-, 'the liberal or muni-
ficent Indra*. —
WT^ffH^n: 3TT*iJft^^ ^\m rli:.This he did by routing
and killing the demons, ^f^x^ properly, what is raised up; hence —
exalted, noble.
Si. '20. qr^dtT — A Bah. Comp. and not • Tat. as in s'l. 11.
Daâratha had no oocassion to change his chariot as he never

allowed the enemy to smash it. ffl^f ^PTfTrT — » repitition of the
idea in îTT^fw si. 19.
§1. 21. nruit ^T fr. ^ + g by Unidi I. 77. Lit.,

?F5—^Tllff
'what man done by himr and as nothing done was consi-
does or is
dered in ancient times so impoitant as a sacrifice, it came to mean

<a sacrifice.' Cf, Gr. kratos. Mrtf^^TT 'flf«^ *tli» crown.' According —
toCh4r. and Din. 3TTÎ^^T^ ^% ^ TT^r^ f HînPi; wf^cTmnTT'j
'
( with the head shaven ). •JWH'TTKô It was customary for kinj —

holding universal sway to obtain by conquest the money necessary
for the A?vamedha sacrifice, ^^f -^-yq —posts of .gold, ( replacing
the sacrificial ones which must be made of the Udumbara tree,
see remark by Malli. ) erected by Dasa. ( as more lasting ) to
commemorate the sacrifices performed by him, » q^-at^^ — 'r, f^

with ^q; and 3^=1+ 3T=^ by 'qr?' P^"- Hi. 3. 56. The rule ;jj%«nrftT«
P&ii. III. 3. 49
—
'q'^ (=3T, which causes \f^ ) should be affixed to
the verbs (hi, g, ^ and sr when the pre}). 37^ precedes', necessita-
tes the application of ^ and we have t^jTR: the rising of a
planet, grri^:mixing or blending, ^'^n^: purifying ghee, and :s^^•.
'fight.'But the word ffrnTT 'optionally' ocearing in the next Sutra
exerts a retrospective iafluence on this Sutra by what is called the
fx»ra^j=l>^qm and leaves scope for the optional application of
W5T and we have the optional forma 3^?t. The maxim of 'the
lion's backward glance' applies when a thing
bears connexion with
what precedes and follows. Or, the form may be justified by the
general rule 'ff^q^STt ^§?J^' P^M- III. 3. 113.— -the affixes called
sT^q ( of which ^5^ is one,' and the 53? apply in most cases
affix
( and not in all ), so that 3T«T may be affixed, mnm Like Sarayfi —
€anto IX. ] ( 223)
this is a trifeat&ry of the Ganges, joining it below Pratishthana.

The city of Ayodhy4 is situated on the southern bank of the
•river, and it was on the bank of this river that Eama halted on
the first night of his exile. See below, si. 72.
S'l. 22, fr^^^PJT —The Mekhala, ought to be made of sara or

munja grass. Kali, perhaps forgot the fact. Malli,, however, defends
this by supposing that Kus'a grass might have been used as a
/jratinidhi ( for Sara or Munja ) which is allowed in a few oasee,
Hr>T^^^ —
Siva is supposed to enter the body of a sacrificer or ;
rather the sacrificer for the time being is supposed to be a form of

S'iva; ef. supra 111. 66 andS'&k. I. 1, 3T*>^cfrr^?lMor ^wraee notes
on III. 61. iTîTHRf-Either from >ff^ mas. and used as an adv.
as Malli. takes it, or according to some from ^jn/em. ^B^\ *n (^?^f:
-flf^) and used as an objective accusative governed by 3T*Tr^=t?fl.
S'l. 23. af^q" — A ceremony performed by a sacrificer with

•sixteen other officiating priests at the oonclusion of a great
sacrifice. It consists chiefly in collecting the articles, the sacrificial
implements and the refuse of the principal sacrifice ( called iff^sfN^ ),
«uch as the parts of the Soma plant after the juice is extracted
In the cas« of a Soma sacrifice, and in taking them down to a
river-side and throwing them into the water after offering
oblations to god VaruHa. The sacrificer ( Yajamina ) and his wife
=are enjoi»ed to bathe there rubbing each other back to back. That
lis the first bathing they can enjoy after they take the di/csha ; for
during the whole time the sacrifice continues, they can neither
bathe ner change their clothes. Though there are three more
THinor ceremonies, vh. :^^^^^} 3Tr3sr?s?f and 3"?^^^???, to be
performed after Avabhritha, the sacrifice may be said to be com-
plete after the 3Tf^«T, as it is the most important of the conclud-
ing ceremonies. See Baudhiyana's Agnishtoma Sutra, Prashna
5, Su'tras 62, 63. The Acahhritha invests the sacrificers
with
peculiar sanetity, and blessings given by them immediately after
are supposed to be peculiarly efficacious. Q^^^n*^ — E^TiTt fl'^TTa!":
5rî?r5T: W^'' ^Vm^ ^V^r\: accustomed to join, con-

cT'^T 5ff*Tr5jf»T«ir
-stantly attending. ^^5^-^^ water g^^rfff ^^5-5 rT^. ^T^'t^rq"-

Namuchi is the name of a demon with whom Indra watted war •
c/. Bg. i^ H^t'jt ^gK RTJ? *frf«T^^ I. 53. 7. It is said in the

BgT. that Indra ground the head of the slave Namuchi like a
'
thundering and rolling cloud. The story is ; amplified by the

oommeiitator, and is also given in the S'atap. Brah. and the Mah.
(224) r.
ântoIX.
Bh&r. When Indra conqnered the a9ura$ there was only one
called Namachi who strongly resisted and captured him. He
offered to let Indra go provided he promised ' not to kill him by
day or bv night, with wet or with dry/ Indra promised to do
so and was released, bat he cat off Namachi'i head at twilight and
with the foam of water ( which was according to the aathorities
neither wet nor dry). The Mah. Bh&r. adds that the severed
head followed Indra crying out O
wicked slayer of thy friend.'
<
According to another version, Namuohi was a friend of Indra and

once drank up his strength and made him quite imbecile The
As'vins, and Sarasvati also as the story goes ) then supplied
(
Indra with a rajra with whiuh he oat off the demon's head.
SI. ii4. ^-Î: ^tI-:— The Inst, is < ?r^Ji;rT?j-^0r ' Pan, 11.3.21;
see note on Hrgrrfl'rTRrjfV^t II. 8. The fl.iwera are a characteristic
mark of the vernal season whence it is called ^sq^F^: ( Vik. I. 8 ).
The season brought with it the flowers, intentionally as it were,,

in order to do honiiage to the king. See com. STtr^^c* — shows that
the king deserved such a tribute of respect at the hands of the
season. The king possessed the four characteristics of the four
deities ; he had the impartiality of Yama, the liberality of Kubera^
the power to chastise the wicked like Varuna, and supreme power
like that of Indra. —
See com. STna?T«» a^fa'cT graceful, esteemed.
for his prowess was always distinguished by acts of humanity-
and a due regard to the rights of others.
S'l. 25. fsTlfRJ — noun in from the desiderative base of
3" î^.
^;T^K^f%r}T — The north, of which Kubera, the god of riches, is
the regent. T'Tgwr-r*? S^fr^ ?ra {«T5^ a charioteer, fr. 3^+f^

by Pai.t. ill. 2. 61. ^Tt^^lT!I; — refers to the beginning of the
sammer solstice during which the sun, in its apparent annual re-
volution, appears to go more and more to the north, and cold
gradually diminisihes. The same description occurs in Kum.
III. 25 f^îs^f f^^gwi^m 1=3 ^f^ ^*T^ Hf^îf I f^'L^f^'TT &c.
si. 26. 'jr^TT'T &0- — This is not the absolute order in nature^
it is so given here because the majority of plants put forth flower*
early in spring. The poet does not speak with reference to the same
plant or tree putting forth first flowers and then leaves. See Mallt.
jfx^ —
This cannot be taken as a Gen. Tat, (see PAn. II. 2.11);
37^ should therefore be treated as a Karmapravachaniya, as Malli.
does. H^m. says—«jT«[!5ffi ?fw ?T»Tmi%^vriTT^5— ^^ ^mm TfT^-

•Ajnft^^ FT^: i^m^^-fk^ cr^g fijvr^ (X.
»
le ); ^t^r^n^-^^
,
Canto IX. ] ( 226 )
^ rr^3 ^?r? ( J. 13 ) ^"^ qa^qi^JTrm wT

I ^f^^Wa'r^^"^'! ^nrT^> 1
Hi'^sqrf^ fKT 9r I '7?Tf'»— Obar. observea—^g^TIirî: '^J^Wr: %^r?"-
g- ^
f ^ Tfr—îo^ ill" flowering plants. The aff, ^^ indicates ^tjx
'abundance', ar^cf]"^ — 3TfcTR properly means, the birth on earth
( lit. the coming down) of a heavenly being in the shape of au
incarnation; hence, birth in general. The vernal season is supposed
to have a presiding deity called Madhu. Vasanta and the like,
and hence the use of the root ^ with,3TW. C/.^g^cTIffTng^'^^K ^fpijIiTraf
ir^r^^?^ Vik. p. 38 aa^r ^^cTr^mT^'Tq' &c- S'ak. I. p. 31.
•,
S'l. 27. ?r^T — !rT may also mean ^'feqf^q-: crîgoiy: ( aeu
VIII. 21), ;jqf%r»r— grown, increased, f^ 3J|T^: &c. Hei'e the —
poet, though making an apparently general statement, pays a
compliment to Das 'a, whose wealth, obtained in a righteous way
and ever open to the needy, he compares to the ricbness of tho
lotus plant. îrn'Jsfi' &<5, —
In winter the frosts of which have a
destructive effect on lotus plants (see VIIE. 45) the Kamalini
was deserted by the acqaatic birds; but now that the advent of
spring had refreshed it and replenished its flowers with hon 7, th(5'
bees and the birds returned to it again. Or ^rr^: nsay perhapS'be
better taken as Abl. sing, and îrfcJ^r to moan a land lottis '
'
as the bpring has a particular influence on land plants.
S'l. 28. STHT^ — blowing in the season ; seasonal. ST^fr^? — one

of the spring flowers which the poets describe as favourites of
lovers. See Kum. Ill 26. f^^t^^fo — The bunch of tender
sprouts of the As'oka used by amorous ladies as an ear- decoration
looked so charming that it also excited the passion of lovers,
^f^nrr^— ^RtcTRT: «r^^ arfêr:. ft<^rr?PTf— an objective Genitive.
SI. 29. qg-f^^âFfr:— T^HFrn R>TTq?T: 'T^l^?r'?-^: I a comp, of the

S&kapirthiv&di class. f^"î?T^T- (»• and ».) — Ornamental leaf-like
figures drawn on the fore-head (and other parts of body) with some
fragrant substances, as a decoration. See III. 55. jfaf>j»f is
preferable to jt^^j^T «• ^ , the Kuravakas being represented as

iT^^Rlt^TTT^. ftT^'iT —
Although the word is generally written as
^^^^, it Seems from the Yamaka here that the poet prefers ^;[^^,
5f%a: fTsTT 3TofT?ntT5^H*< -4 ?f ?wi S=5 It has a flower of a"reddish-
I
.
brown colour which has little honey in it. The poet, however^
forget-" the faofc. For the comparison to ff(T'?^ cf, qHT t^^TrcfftlT'T^
^T^# ^^mi^TcnôT Mai. III. 5.
( 226 ) [ Canto IX •
S'l. 30. 9^^r'=> — Acoordiug to the conveutioQ of poets, th*'

Bakula tree is Bald to put forth flowers when sprinkled by yoong ,
ladies with mouthful of wine. Cf. qrfnri^l^^f'ipf^sîff^fl^

fliS'nTrarw^T*^! ^forf ^Tgif^JT'Ifrff^Hffr ^rf 5J: €T3»rof^%-:Frfi; &c. Cf. alao
Kum. III. 26 and Malli. thereon. osqr^T^ffJTT: Jl^ here refers to
its 'smell'; cf. 36. Mark the anuprasa or alliteration here, gyr ^y q
-
^ff «T g"Tf^ ?I% one greedy to a fault, i. e. exoessively greedy} fr. the
Froq. of gt^+argi (f- 3^^^^^^^^]^^^ &c. S'Ak. V. 1. vnf:^ —
crowded or closely-packed with.
SI.- 31. f?rr%n'> — f5lf^^FTr"T»T»T' the passing of the cold eeasou,
t. e. the advent of spring; ^?q ^r«TTI. g-Jfô—g^fcT ^f^lcff%TfT
^^^: ( also n. ) ; fr. 5^4- 3"c?; a partly opened bud- g^^Rf ^TTST net-
work or cluster of. —
f%gj^ (also called q?yi^) ia a tree having red,
scentless flowers. Cf. the similar decription in Kum. quoted in the
foot-note. q"^5sT?TT'^^ —The nail-wounds are usually described as
being inflicted on the person of his beloved by a lover; here we have
the reverse of it. This necessitates the next two epithets. ^f{^ —
R3>?r *r?: ( the pride or flush of youth ) ^^^]^.y a young woman. »f^-
intoxication.
SI. 32. rr? — swollen, or painful. «j:^f— difficult to be borne;
used in a Pass, sense, — as yet, at that stage
rfrfr^ of the season.
•>prr^2frfrcT — for the touch of the Jr?3c3T was also cold.
SI. 33. HPPTT — A movement of the body, look, gesture or

posture, indicative of inward sentiment or feeling, t^f^^rf-to
make itself familiar with, q^^f — which corresponds to hands.
^'SKF^r^r H^^R: c7cTr f^- The comparison to «rii. suggests youth
and tenderness.
S'l. 34. 3T^2l^r — Also called <T?ij?rr &c. The Indian cuckoo so
called because the female of this bird is supposed to leave her eggs
in the nest of the orow whioh unknowingly hatches them and brings
them up. The youngs, when their wings are developed, leave their
protectors and live independently. The crow ia similarly called
qf ^jq^ ( the nourisher of another bird ). grv^^tJ — one young and coy,
(opp. to xfr^r); innocent girls who have not yet attained full youth
( and who therefore speak little ).
S'l. 35. Qf;({7<q-: —indicates a smile ( in which the pearly bod-

like teeth are a little exposed to view ). w^ — properly means the
harmony of instrumental music, song, planting of the feet in danc-
ing and th« beatings of hands. Here by Lakthana it means sportive

movement, gesticulation. See Malli*
'Canto IX. ] ( 227 )
S'l. 36. r5i%rl«— c7lâ«SrT?n ff^T^^^ ?rf?i1^ fsf'^??''! expert in

producing ( tending to graceful or charming amatory sports.
Some take?^r%cT
)
separately; it means — 'the act of manifesting the

feeling of love towards the lover'; see foot-note. But this is not
a good way. an adj. qualifying \^^ô,
It is better to take c?l%cr as
as Mall. does, means the flutter and the confusion at the

ilrs'fr
appearance of a lover and the consequent misplacing of ornaments,

&c. which is certainly pleasing. This is produced also by the
influence of wine, sf^ —
Notice the mas. gender; see com. jf^ is one
of the words of the 3T^=^W^ group, which are m. and «.; as 3T^^:,
o=#;^. 3T|pTr — ^^T^rR^ ^Wf rTF"- I women with beautiful limbs.
'31|^Tc^F?iroi' P4ii. V. 2. 100. q"f%5r — with regard to their hue-
bands. ^q;?:^<(^~For wine also tends to excite amatory sports when
drunk moderately. ?:tT)i5T'^¥^<»— not so excessively andintemporately
as to be unable to enjoy the pleasures of the company of their
lovers. Hem., Ch^r. and Din. understand by ^ 'flavour;' 'rtT^^r ^tri'^
ff%?^^ ^fsTfT ^%^ ^^]%\^r^^:' ( i- e. the wine did not lose its
favour by being kept long in the mouth ).
S*l. 37. f^Jfri — See foot-note. '>rir*n:grr: —The clusters of lotus-

flowers correspond to the faces and the noisy birds to the jingling
waist-bands. fTT^^^ is a lotus and not necessarily a red lotus; ^f^k
r\\m:^ Amar. ^]qt in water ^f^fr lies f[^ cTnTT'Er; another derivation
is o"T% fR cIITr what is coveted owing toits loveliness; ^^q->f 1^% ^^;
fTW ^cT^t^ of lovely sight, ^rf^^r oblong pleasure-wells with —

lotus plants in them, li^^ —
This is necessary; for if the zones were
not loosened, they would not be ringing with their bells, g-^^^jf?^-
It will perhaps be better to analyse the comp. as 3-^^ ^fcTr: "^^^j:
'restless, moving about,' as better in keeping with »5J"?j;
h?'^?5T%j h
S'l, 38. o^frr^ffr —There is a play on this word (1) made :

—
short; (2) an offended woman. See V. 67 and notes thereon. Hero
the night is compared to a ^sf^^^r JTlfsTÎ, iTg implying the lover
paying attention to another sweetheart. *^f^ Tn^g^T ^W\J =^ ^^\^'
—
ffJTTTtrff Because the moon is one of the excitants of passion.
S'l. 39. 5T'Tg"Trf:?T2ir —

&c. The same idea is expressed in I. 46
'>»r^n:rf5rcIo —
'distinguished or prominent', shows the universal
arr^rrT
sway of the tiower-arrojved god. The flag of K&ma is supposed to

have on it the representation of a makara ( a sea-monster killed bv
him ) as a commemoration of his victory.
(228) [OuntolX
S'l. 40. q^f^fiî — .'virhioh took the plaoe of.' —

^rrf "••'• *^^
Karoik&ra flower. See Kam. III. 28. aTrrf^ — Malli, very
ingeniously supplies fi^q:, bat the poet might have simply meant
(TTPT: ' which they stack into their hair and bore there.'
S*l. 41. ffff^^:— Din. remarks ?i«ji ^^^^^]\^ ( musk ) f^'f?fqi?«f-
?Î fV^T'T^: r§r^ ^r*TT«fr5«T«f: The poet more probably refers to

I
marks of oolljriom; see Kum. III. 30. Jl»T?rr*T^ The comparison —

shows that the Vanasthali was also in its youth, being gorgeoasly
decked by flowers and foliage.
S'l, 42. j^ — (1) honey, (2) wine. Tho adjectival clauses ar«
so worded as to suit the comparison of the creeper to a sportive
woman, f^j^^^^jy^c—c/. 3T^r: jIjôJ^THIT: S'&k. I. 21. R?r»HfSRfT—
(generally written ^fJTlFcT^l) is » kind of jasmine with beaatifal and
deliciously fragrant flowers, and one of the five flowery arrows of
Madana. rTif^rerÔTf^nT: v. I. is to be rejected, as a tree cannot be
supposed to have a mind.
S'l. 43. oR«Tf^4^f»T: —asking to stay behind-, heuce^ surpassing, ex-
celling. Poets defccribe women as wearing light rod garments in the
vernal season; see foot-note. ^^\w\'- — see supra notes on ^TsTTffT
VII. 27. q-c^?Tr«»—c/. S'l. 47 further on.

S'l. 44. ^?*^^ —a swarm of; ^q^^r — êQi- of the perf. p.
of f with g-q. »f?T^5rr'7^ — comp a Qtggj; ^(e?^ a hair-ornament
in theform of a net-work of pearls or so; ^Tf?^ may also mean ' *
mass of '. *Trr?F%— 5^[ q-T *TII%F, by affixing J^ ( f ^ ) to ^r^.
SI. 45. t^^jTI? — Tae very banner-cloth or fl*g of. >T5*J'?T-
armed with bow, and so ready to undertake his expedition

his
of universal conquest, for which Vasanta is the favourable season.
The fii?. here according to Hem. is Jiupakax see foot-note, g o-rjui i
— a powder for giving gloss to the face.

46. ^fc^TT — The spring festival
SI. held in celebration of
the return of Vasanta and in honour of God Krishpa, though
originally Mtdana or Kamadeva was the chief object of worship
in this festival. See our not© oa ^B?aF?«f» Sak. VI. p. 152.
Imajies of Krishna were placed on swings and rocked by maldP
and females with songs. New swings were put ap or planks
suspended by ropes were used as swiiigs and f'loirflfOT was enjoyed
by females, often in company with their hasbauds, as spring set in.
K(Z' —
'cil. ^TSTTU?^. »n^?Tr = :i1«iTr for alliteration. Poets hav«
the optiou of sa'-stituti g rir lur m, ^ for ^, t? lor ^ &o., if it suits
their purpose. See foot-note.
— .
Canto IX. ]
( ^29 )
SI. 47, ^^ — is used to call attention, f^^— Love-quarrels.

*flC*ltT — The mandate of Madana. r*T% ?jt — shows that they se*
aside their mana.
SI. 48. 3T^ — îndicatea change of topic. f^WT^^rl?^^: See —
iiote ou JTltTTT^: I- 48. He enjoyed the festival in the company
of sportive women, but without being attached to them; see si. 7
$U2)ra. —
^xf^ sport. *f*ir*T?T*<3^'> —
He resembled Vishnu in prowess,
Madhu in cheerfulness and giving universal pleasure, and Madana
in personal beauty. f^JT^;^— The slayer of Madhu. Madhu and
.Kaitabha were two demons sprung from the wax of Vishnu's ears
while he was asleep on the surface of the oceanic waters after the
universe had been deluged at the end of the Kalpa. There also arose
from Vishiiu's navel a gigantic lotus with BrahmS seated on it-
The demons suddenly appeared before BrahmS, and began to threaten
him. Brahmi shook the lotus he was sitting on, and thereby
awoke Vishuu, who then killed the demons. See Mah. Bhar.
Van. P., chap, 202. According to one account, the bodies of the
demons being thrown into the sea produced an immense quantity
of marrow which N&r6,yaria used in forming the earth. See also
note on hi^t, ^« 65,
SI. 49. Herein the poet describes the good results produced by
chase. Of. with this Kam. and Sak. quoted in the f*"'.-note; also our
notes on Sak. II. 5. f F|^ — outward movements of the body, ezpres-
eion of the face &c., giving a clue to one's internal feelings.
?i{]TW<7 — conquest of fatigue, i. t. being so. inured to it as not to feel
its efEects, such as exhaustion, perspiration &c. qôfi — possessed
of excellent advantages. Hem., like Malli,, remarks, x^m^, ^^v^^'m
-=r ^^?5=cTTfr^r^l9rBJT^f3r4 ;
and goes on to say, cT«rr =^f>TraT^: ^^
The following passage from Das. VIII. will serve as the best
defence of chasf3—?t«TT f JT^rr mT^R^r ^T cT'TF?^ I 3T5r % 5qf?jr^>-
6r^%: rrtfq^î^f^Rt ^k^^\^v^^^^v^^\€[^ 3frm'«iTfrtT^^gr?T'TT€T^Tf?3r
T^r?^Ti%^3âH si??r^f^^m;Tf*(T% ^?mr w^v- 1 p. 196.
SI, 50. JJHf^ — see Malli.; o^pr^q- also v[J[^%\ q^R^.

such as —
putting on a short coat of green or ashy colour, &c.; c^ggaserr^^^r^:
Dia- ffS?5 — large, muscular and well-dev«loped. ^TTO-f^qTlf

The nsnalplace of tlw bow le round the left shoulder; it was hung
( 230) r Canto LX
on tho neck that it may be the raore readily used when the game
—
had to be shot. 5^^ The horses belonging to the army, ?r^tT
atruck up; raised aloft. ^f^ tTf^** —The first sense given by Malli.
is rather obscure; his second interpretation is preferable.
S'l. 51. qîTT^yr — a garland made of wild flowers interspersed

with greon leaves. Such a garland is sacred to Krishna, who on
that account is called Vanamalin. cf ?^f? f --rrg: 3T^^ fr. ?J^+ ^^ 5
3^"
( ^= ^?tfr ). The 3TT of tj-f^ not preceded by two prepositions is
•shortened before the aff. q-; ^'cTê???, IT^S'?;, but ^grf^sfJl?: P^M- VI.
4. 96. ^T{^ — one of the five paces of a hoise ( a bounding gait )
— flashed about as he dashed from place to place.

S'l. n2. rf^tTTTT — cT3? because beautiful women have a slender
frame of body. For a similar idea, comp. supra II- 12. w^*^ —
For a similar comparison cf. Vik. IV. 31, where a squatting black
antelope is looked upon as the glance of the ^^^9^\. ^T^
hows that he was handsome and worth seeing. qr^RF^'-
gives another reason why the sylvan deities were anxious to have
a sight of the king. The Vanadevatas were
in one sense tho sub-
jects ofDasaratha and naturally they .longed to see their sovereign
who had given delight to his subjects by his just rule.
SI. 53. ^rjfc^— 'r. ^T5U + f^ (3^) by P&n. IV. 4. 8. s^rmrT
&o. —Before a king entered a garden, a forest, &c., care was taken
to see that it was free from all kinds of danger, lest a spy, or a
hostile person lurking therein, might endanger the king's life-
g^T^T'J.R — a comp. of the ^TF^qifll^rf^ class; see com.; firm ground

on which a horse can gallop safely. ;3"qr%jl —'ich iiij abounding in.
SI. 54. ;f*r^_^)Tf 3^-*^ ?T^ mg: ^*R^-' ( favourable to
i%f^r- ).
^4 —the rainbow, which is supposed to be the weapon of the thrice

ten ( gods ) and especially of Indra. r V^ ^ff' signifies the thirty-
three gods collectively. f^^\ ^xiJ ^^WWIT^T^î'^ ST^^Tnf:?^^!
fr'^«rT»3; i%t^T TKrrr^qTra. Malli. on S'is\ I. 46. The Oom. of
' 'r^r 1
Amara derives the word as ^ffr^r ^R^TT^'Tr T^Tf ^^t ik^J^^ (JrTf'n- I
«5?Tr I%^TR^ which is taken to mean < who are always in the
I
—
third decade '
». e. 25 years old, on the authority of the R&m/i.
fV^ T^N>Tf?T^^^<l ^he usual number of gods, however,
faf-3f^ ^'tfJTt '
is 33 and not 30. Authorities arc at variance as regards the components

of the number thirty-three. According to Aitareya Briihmana
II. Parichikii 18, they are-^?Tf^T% ^^f i 3T^ ^^ "*TT^ ^?r ?T^^lt-
fjjy. irgrrTfâ^ ^^^^\^H^ 1 Some substitute for the last two, the two-
—
Canto IX. ] ( 231 )
As'vins. See;Mair'3 'jSanskrit Texts, Vol. V. p. 9. ^— may also

refer to the din of the chase (the clamour of beasts &c. and of the men
Sfe Supra IV. 72. Malli. refers it to the twanging of the bow. He
probably means that the lions did not mind the noise of the men
30 much, but when they heard the twang of Das.'s bow, which
sounded like thunder, their anger was proToked. Cf. infra si. 64.
and 3T5t^^ ^^^R ^ fl if[JTI5??=flf% ^mi I
SI. 55. Mark power of giving vivid pictures in

the poet's
this and in the following verses. For similar ideas, ef. S'dk. I. 7
and Vik. IV. 32. ^^sjo— ^T ^fRTHT^ q"^% ^t^%:; earnestly
longing, qrof —a black antelope; ST^-^f XTTOTft fPT: '^- ^^^'^^- ^^' I
^rflTS^: 5Tr^: ^J^^V ^W 3^T% i\ ^nkr{ — Such is the bearing

of the antelope with his long horns leading a herd roaming in the
woods. o ^ '
tiuf ^T ^ — According to Hem. the mention of gro shows
the kind of the deer forming the herd.
S'l. 56. qrf^—hard-pursued; attacked; cf. for this sense

« (3^s^0 ilr^^TffâTfr^Tr% ^T^^^v^^»^\^]^^ q-nêr: Mdl. V. p. 105- i
—
and infra XV. 5. ^q"r a quiver; also ^j; c|pi^lOcl. (tjiT?i% ^0+3T
(?T5t). ^^r'fr^^rc — refers to the proverbial blackness of the eyes
of the deer; rf. II. ^M^ tlT^Trf^ agitated, shaken
17. ^%rt?Tfo —
( rf- ^\^m^^^m^f^^ S'ak. I ). ^—petals.
S'l. 57. ^=^fr— ¥f ^tirrB". =î; preceded by ^f takes § (^n)
by Pdn. IV. I. 15, against III. 2. 16, on which latter Bhattoji
remarks '^st i^^^ fl'Tc^f ^f^ffffTm I
q^^lf^f ^^ftf^ qiSTg^l' s^^vjn^—
having concealed or screened ; from z^^^:[J to place oneself in
the middle. chFHd-M! — *'• e. as he knew what love was. fr5"irT
The force of arfT is that it was so difficult to withdraw the
arrow, vr?^— '--Ff '2rgT^^^?T% 5 fr. ^?^;3; + ^^ the word being
included under the '^'fîT^ group.
S'l. 58. 55^— About to shoot; noim in gr from the desid. base
0^ W^- —
f^fw^ f^f^ f^^T^rg;. From (%, and f%?7 <an interstice/
(^ being changed to ^); 'without space or intertices,' closely or firmly
clenched. —
^t^^fk^T ^tST a woman more than thirty years old,
and therefore, no longer timid or bashful in the presence of her
husband. nw^T'ô — sportive movements. Kalidasa goes one step
further in the S ak. and makes Dushyanta say q- JTRT^îrf^JT^^^T-
R«TKT^ ^5K?*nTf?T^rnT5F f »T5 I II. 3. 3%: and con-f^l—
sequently the arrows held fast in it were not shot. Cf. aT^Fâf^grpTcT-
fvTTT% » J&n. I. 57.

( 332 ) [ Canto IX
SI. 59. ffrf^qi!^^«,—c/. II. 17. g^?frJTrtfo—g?fTr( called ^Tpn:-
MarAtbi) is a kind of fragrant grasB (cyperut Rotundon
ÎM^j in )
growing in swampy places and said to be maoh liked by boars ;
rf. S'ak, II. 6- aTT^TTJ^H —lined all along with the fragments
dropping from their gaping mouths. Cf. ^mmtî S'ak. I. 7. ^jsy —
herd of animals of the same class. ^rr^nTrf^^-'iiuplies their great
number.
S'l. —
^yfrrg; ^rf^ is Ja general term
60. for anything that
carries, and may be an animal or a vehicle' ^[^âifrT ^f^ ff- the
can. of fg- used in its primitive sense, and ^j^ ( 3T^ ) added
^<fft ( ^%' ?fT'ôqv3i?^ff ?g5^ Bha. Dik ). Some derive it aa

'J^f^^ ( -^jjz îSi ) and account for the Vriddhi by referring to
P4m. VIII. 4.8 (^[^ûni-cTTrl) where P&n. so uses it (RqicT^l?]' ).
Here from the context it means 'a horse' in which sense the word has
already boeu used in I. 48. cf. ^\^^\^^. ^TfT^ffo S"?!! ^R??! 3t1<+H:: —
T^^ takes precedence in the comp. by i^rT^rvrrrfrf^^^f^-^lf'T^f'T i
Pill. II. 2. 1; 3T?;nT ^tTÎ^r f PT tT^- 5^?T«>— ^T^flF standing

orect ^?r ^"^f ^. sTTWr't — mark that the word an^q;?; is used in the
Ming, even when referring to a noun in the plu. cf. infra X. GO. ;
—
ff^ the arrows pierced their bodies right through and penetrated
into the trees against which they had leaned and thus pinned them.
to the spot, ffrff :
—
This indicates Das'aratha's dexterity as a
marksman, the extreme sharpness of the arrow-blades, as well
as the high mettle of the boars. See com. THTTr* —This is the
way in which tho boars sit when placing themselves in an attacking
posture.
Sr. 01. —
^^TH impetuosity, vehement desire for. «Tf?T*ri' ^>m-
m^—This is a grammatical anomaly according to P4n. and his
followers. See. com. ; for, according to Pan.'s roles, no word, not
even a proposition, is allowed to come between the base in sn^ and

the forms arr^, ^^^l &c. which are treated as terminations. Nor can
the order be reversed, as this it forbidden by the word 3T5 in
'
^^n? iTS^JTW f^f? ' III- !• 40. Such instances of poetical license,
however, are many; cf, 'inJ^T^t 'ft ^^^K' XIII. 3r. infra, ^^
''T^^lt r^rvTfrre' ^'Î- ^^5 '3-^t sT'^f^T^^ JTRI^' Bhatli.
III. 5. According to the Mugdhabodhakara and the Saras vatati-
k&ka'ras such forms are justifiable. It is useless to enter further
into the subtle grammatical discussion here.
S'l. 62. v^m'. — Hem. gives as an optional sense, Jigj? ; ^^ ;
with «: but this is far-fetched

yHT'^fj ftPT'fFr, and construes it ;
— —
ânto IX. ]
(233 )
and does not qft^r^ depriving of, *. e. cutting

suit the context, —
off of. —
^q- an arrow with a sharp semicircular head. ^^ note —
the double sense. —
(1) the horn, wherein lay their strength", (2)
great rise, the cause of their pride ; cf. ^'\^^J^f^^ ^1X^\^^ : i
infra XL 72. ^'^tTô— This was a characteristic of the Raghu

dynasty ; cf. II. 8.
SI. j^r^nrro
63. —^
is the p, p. of qpi^ when not preceded
by a preposition with ir> it is JT^^ the form ir^g- ( see supra

; >
II. 29 and com. ) is obtained by adding 37 ( 3T=g;) to the «oot

^^
with q- and is the p. p. of that root. 3Taf«^ % Rjqia^ 3737ff?Tr-' a
Karm. comp., there being a ^r^l-^fnTôzf between a part and
the whole of which it is a part; see Malli, on 3T?lff?To, Kum.
—
V. 63. â^TOTfg; torn off by the wind, o^ffr^l— 'carried on'
would perhaps be a better reading. For ^roii^j;^, however, c/".
Mar. Bhar. A'di. Adh. XIX. 1170, cTcTngn^^^PTvn ^JT-cU ^W
^f 3Tf%^TTTWTon^^r Hcrs^f'^rcT^
I II The force of the simile ie tii&t
the spotted tigers rushing onward appeared like the branches of

the a'sana tree, full of reddish yellow blossoms, broken and blown
off by the wind. rf'TT'^^sR — Another instance of the King's unique
marksmanship. He discharged the arrows with as much force
as was necessary to make them enter their bodies and remain there
without piercing trough them.
—
SI- 64. fiTS^ The sound produced by the clash of contending
winds (see foot-note )-, or a thunderstroke. For, a really brave hunts-
man would not kill au animal unawares while lying in its lair,
but would awaken it and kill it when facing him. 3T*2I(i^nTr:
3T«I?3?n' ^'^''T^j for î-^^^ cf. supra YI. 74, VII. 2, and Kum.
III. 4. —
03^ conspicuous or prominent by; see II. 53; cf. ]^^^J^J(
XV. 27. glt^ ^^\'^\ V. I. see Mallin4tha's remark. ;
S'l. 65. ^"^^^nsrnr— it is a supposition that elephants of a

superior species have pearls in their temples ; tf. foot-note and
Kum. I. 6 quoted therein. The following are the sources of pearls
mentioned —(1) elephants of superior species, (2) rain-water, (3)
the wild boar, (4) conch-shells, (5) jSshes (a species o! them that
jontain pear-like round globules of a stony nature in their heads )
(6) certain kinds of the hooded snake, (7) the pearl-oysters, and
bamboos. r^fTfTo-^ff ^TT t^â ^tTîh: ^^f ^rô W,^?\^m^'\
J8) the
^^1% «JTT^ *; wô tâd obliged him by fighting on the battle-
aeld. sytû^ etc -This he did by rendering them counter service by
killing their inveterate foes.
P.. N. 30
(234) [Canto IX
S'l. 6C. 5^*1^^—The chamara, alfchongh mentioned in Ak.

as a kind of deer, is the wild ox. Yak of Tibet, ( Hos. Grunniens )
resembling a bison in form and haviirg a tail with a bushy tuft

of hair at its extremity, vj^ An arrow having a crescent -shaped —
point see VI. 63.
; f^f?r^r?yo_(l) nTrf^TrJT ^^ s^^rq (2) T%fT'^r?Hf 5
5^jr3f4 ^: 1 The white Chimara formed of the bushy tail of the

Chamara deer, and used aa a fan or to whisk off flies, is reckoned
as an emblem of royalty. See III. 10 cf. Vik. IV. 4. ;
S'i. *^7. ^t^— ^FrJI^T is the peacock's plumage or tail *,

cf.
?r*r 5rrjlêrT't^«f'!r trmqioj^ %f%^j3; I

Vik. V. 13; henco iti name
^^Tiq^j;. ^rT?r5-'rr'>~î'^?T c??^ ^rtn?r?'qr ; ^ ^j^mnc^ sr^rrar* ft
^5il?7^ %^^m^ ^^^l^ . rr^m^^

f^splToô : — reminded of. — Rf'^
what ifl borne ff^ JTTPt ; fr. jt^ + ?t {o^ri^) or ^]"^^ ^^ q-
(5<T5j) being added to jtt^T 'EfT^ by the Vartika on P&ri. V. 1. 124;

f%^ ^\^^ f%îTT5^ ^T- %^^^— Tr^T, q?r and ^^ when coming
after ^^T signify 'a collection or mass of. qr^ as an affix has
two other meanings added :
— to qôr it means 'beautiful •,' and to
words like gr=r, fvit^?F^ &c., *bad'; as ^7T^t TJttar. VI. 27 ^
T'k'si.jnTrsT : a bad physician, &c. '

^\9J^ firT«rrT\5r?vn i ^\^ ^"tiK-
^«|: ^W^p'^]^ R^TT'^q?: I ?5"^?T-rr =g- i^l^r^: ' Haima Kos'a, Cf,
?!%rgTrf?rîFq- %^w s%^^r '•
^1% ^giT^Rf^T \% qj^r^T ^ n Vik.
IV. 10 : see Naish. VII. 2^.
S'I. 68. gr^^TR'frc-^^^- hard, excessive had without attention

to bodily ease); \^^K'. sport, exercise (requiring a groat deal of
roaming ; mark the root-sense —iffK^ TK'E'JT: Amar. ) ^%^T
this is necessary ; ordinary exercise would not have brought on per-
spiration. —
05n^^ 30 in the S'ak., ^" ^0Ti^fr<srrirT ^^ ^m*vrat
sn-^J^J^ I 1. 27. ^{\^^\^—cf. infra, m^\^[^ ^^^pJ^Pj;^ % XIII. I
20. ^gqRo-gt^TTT: (cool.) ^% m^W- (spray of water ) ^ g<^Tri^T[-

^: ^%r:. sTqf i^ f ffm ^T
Forgtsri^ cf ?fr|: ^m'î' f^?^ ^K^m
5^TTT I
This implies that tho breeze was cool, a river
âi. Ill- 93.
—
being near by; PTvn7^?<> suggests that it was gentle and fragrant.
S'I. 6v). 5Tr?»TT: — Properly this should have been included in

thecomp.: so this is a case of îq%?ffT ^TRr^^rrHiTT^: o^— equi-
valent to «;rrf^3f » the responsible task of Government. See supra
s'l. 40. ayrT^ ^ ^lr?r —constant practice or enjoyment. ^^JT — see
com.-, irregularly formed from jj^T + TT by V&rt. on P&n. III. 8.
101. ^rfMr— î^Tr^s; 5FTT: aq?^: This >according to OhSr. refer?
to ?f TvffJTtTf^T
Canto JX. ] (235)
S'l. 70. 5^'?5crJT?r«Tr^'> — migJity lierbs burning with light :
<•/• *r?f^ Ttf'I^T^T T^'^W%e?9:^-- ^rfiq-fnr: I

Kum. I. 10. f^?n*TT—
Amara; see supra VII. 24.
S'l. 71. oô]-frp3f_f^[^ is the striking of the hands to mark

the regular musical intervals ; hencp, here, the sound produced by
the Hat lobes of the ears of the elephants beaten at regular times
on the large cavities of their ears. Mallinatha'a rendering does
not seem to be happy, unless we understand by his ^^: the
cavities and the lobes striking together and thus resembling
cymbals. <T?q-5=o — There is nothing exaggerated in the simile.
The sound produced by the flappings of the ears may appear like
that of a eharp-aounding drum in the stillness of night.
^f^'To — such as those sung by the minstrels at the close of Oanto V.
Of. notes on I, 95. w^^
S'l. 72. f^fq%— gives the reason why he was 3T«%'^HT'n' ^'^f^*'
iTIST —shows that the river was holy where Das*aratha ought not
to have committed slaughter. At least .he ought to have taken
greater care when shooting the arrow, as the river was frequented
—
by ascetics. ^tT^^T Here the horse is treated like a conveyance
and so the Inst, is used; or \ supply ^R-g-: after gt®. ^^ ^^®
Janakiharana the king is described as having gone on foot in
pursuit of a deer j q5;^RT^^tTff% vCi\j \kwj^ mi ^pfT ^\^' '
'^^^ T^-^t Tf> fTÔTTRlr qFT ffcqT^îi- : || I. 73.
S'l. 73. i^^^— indistinct sound, fr. f?f;T3;+3T'T ( 3T ) 5 by

affixing ^33^ ( 3T ) we get om^. ^r^ — at the sound, that it should
hit its source. Das*, was qTSf^'-ff. fr%rt
— ^f ffct ^FKTT^fl'j;' Amara,
SI. 74. Tr^—ten; q-j^qj^q- (Pan. V. I. 59). irffTl'^sS'-r^PJf^
— see com. and sujjra V. 50. 5Tq-?T —
Here si has the sense of 3TRr5T?r^>
a bad or wrong path; cf. ^ ^f^^^mTTWr^TiTTÎPT T5T^ Sak. V. I
10; qpTRcT^T^rqir XIII, 43, and 64 ( 3TlT^5*T':i^l^ &c-

q^ ^^J l
Kir.
quoted in the foot-note). rsfrT^'ifrprrT (The eye of knowledge) being —
obscured by Rajas (leading to passion);
'T^nr^TW^S^^^ Bg. XIV. 7. I
cf. ^{^J^W^ i^\^ ^
SI. 75. ifjTT —
P. p. p. of ^ 1st conj. with V( to pierce, to sew.
5r%2^ —This
was S'ravaria. The names of his parents are not
given in the Rama.; see Ayod. K. Oanto 66. ^rfrnT-' arfq" The —
force of the epithet f?g]^^ and of 3TPT is, that though able to protect
the world, he could not save himself from the cTTT.
( 230 ) [ Canto L\
SI. 76. —
9l«|fTr^^? Thib explainB why he suddenly dlBmoanted
ind went forth to see who his victim was. He belonged to «t
race that ever acrupalously shrank from committing sin ( cj. 3TT^-
?*T!g:gT?rf 1. T)
;. and was known for relieving the distress of suffer-
ers. nK^^xk 5T»rn^— c/^ 3Tffl'r«i ^^w^^^'^^^^ sq^^re^^r tw: i
Bud. Oh. V. 7. ff^C* — fs^l^cTT: \^%^V'\ now see com. Son of

an ascetic ( but ) not belonging to the class of the twice-born ^.^.
Brahmaiia, (Kshatriya or Vais'ya.). He was what is technically
called KaraTia i. e. of mixed parentage, his father being a Vais'ya
and his mother of the Sfidra class. See com. 3T§TC1^: a comp. —
of the 3n^Tif«l'7II^ classj see com.j words which could be uttered
syllable by syllable only, on account of the pain felt by him.
SI. 77. sT^:grTo — According to the Rfima.., the arrow-head was

extracted on the river-side when the young ascetic expired. See
Kam. Ayodhy&. 67. 52. ^fp-^f &c. — These two lines have puzzled
many commentators. Char, says fT«innT ^?T^^R^l=^^ ^fR^J^ST"
'^tflt'T &(': "Vail, says tTr«rt fr'^T»Tff iTrori??«IIsrm iT%-^P5^«^3
<«? ÎRr^T &C-, and Din. has ^z(]ij^ ar«T«f JTT'^5( cfiT^S^fiT^llf^'f &c.»!
3^?iT in the sense of 3^^^ would no doubt improve the sense; but
it is difficult to understand how gpTf^T can mean :s\^\if with regard '
to' or '^^lJ^z^ ^ having informed'. Mallindtha's interpretation

too is not satisfactory. The line admits of a simple construction
thus— m g-(t?iT ?Tn^t ^rv^TIRt (^?^^Tft) ?T^+!i4 3mT^tT: ?^^fref ^
?•?% ^^^^ I' makes no sense; for it will simply
^m^ I ^^^ST V.
mean '
disregarding or neglecting the son who was in that condi-
tion/ which is against the king's conduct.
SI. 78. qrng:~'T^PrfTI aiflÎ^^^r. JnTT^rRh?: &c.-— As water is

uecesbary to consecrate a gift, so it is to give effect to a onrae or
imprecation-, being taken in the hand it is then let down as soon as the
last word of the imprecation is uttered. Mr. Pandit quotes jc^^?^
p. I. IH, .TO, and again 'R^Tc^î^mlf^r^R 1^ ^cg i^w^jtt: i Ibid. IX.

9. 23.
SI. 7'.^. ^r^P^M# —a compound of the ffÎ^^rf^ cUse

notes ou I. 35. ^^^\^T^S'^ — ^'^JT^NT^:* th»; first to offend, feeo
yom. and VIII. 48.
SI. 8U. *ffg-*— ^ g?I 31?^, rfJ«IPIR^ ?TJT«ll^Jt rf^ HW flH* ?RT
ittHI ••'tTt^F; now
see com. TTT^f Fo' i' contained in itself a:
—
iilesfting as it could not have been fulfilled unless Das'a. got a hob
—
Canto IX. ] ( 237 )
or sons. Malli. refers to the f:5"§"iTTfr^^^T^ or 'tbo maxim of iht

old virgin' whivjh is used when along with one thing other objects
are also accomplished. The Mah. Bhash. states that an old virgin
when asked by Indra to choose a boon said —'5^1 tt srif^Tr^fTRI^fT
^raa-^Tf^^t ÎT< I
and remarks q ^ cTI^^^TP TRf*?^!^ f.rf: <J^t;
^r »tr: ^m m^ I ?T^^^ ^^ ^r^^rw: 5W1: 11^: ^:rrî%T% ^^

#W^ '^^(^ I See Bhashya on Pdn. VIII. 2. 3. ^^\ ff?rnr &;c-
The commentators remark ^rfc7%W'i:'Tl'I% frf ff^T l%f%«ff'"Tâ ff?f
S'l. 81. f5VTf?T —

^Now that you have been.made sonless. ^^^:-
For death must be legally punished by death, q'^^r^ frir^Tfr^rr: &c.-
i. e. he begged that a funeral pile should be prepared for him and
fire set to it so that he and his wife might immolate themselves on
it along with the body of their son.
S'l. 82. >jf^ — patience or ease of mind, hence, fortitude;

energy, arfi" ^??^— also called Vad^vSgni. Aurva was a sage,
the grandson of Bhrigu and son of Chyavana by his wife A'rushi
When the sons of Kritavirya persecuted and slew the children
of Bhrigu to recover the wealth which their father had lavished
upon them, they killed even the chidren in the womb. One of the
women of the family in order to preserve her embryo secreted it
in her thigh (uru), whence the child on his birth was called Âurva'.
Beholding him the sons of Kritavirya were struck with blindnesa
and his wrath gave rise to a flame which threatened to consume
the whole world; but at the desire of his Pitris, the Bhargavas-
he cast it into the ocean where it remained with the face of %
horse. See our note on afy^ S'ak. p. 67. Aurva was afterward?!
a religious preceptor to Sagara of Ayodhja, and bestowed upon
him the A'gneyaatra or the fiery weapon with which he conquered
the tribes of barbarians who had invaded his patrimonial possea-
sions. See Wilson's Vishnu Purana Vol. III. p. 80. The
Harivama'a gives a different version. The sage U'rva was urged
by his friends to beget children. He consented bat foretold that
his progeny would consume the nniver!»e. Then he created from
his thigh a devouring fire which cried out with a loud voice *I am
—
hungry, let me consume the world.' The world was soon in flame3
when Brahm4 interfered and assigned to the fire the ocean as a
suitable abode.
( 238 ) [ Canto X.
CANTO X.
S'l. 1. tTToF^rr'EIJTo — Lit. 'the chastiser or killer of Paka,' Indra,

The epithet originally meant 'the teacher or discipliner of the
ignorant or illiterate ( tTT^[^rc?ri^ Indra being the god of
^Trffflftl ),'
infinite wisdom. The term Paka being misunderstood in later times

uarae signify a demon whom Indra was made to kill; cf.
to
yamuchiiudana, Balanishudaiia &c.; o^TT^T* majestic or lustrous —
like Indra; or 'mighty or powerful like Indra,' Taken in either
sense the epithet has nfo propriety here. It is merely used for the
alliteration it gives with 'STfô' in ^yi^fr:; tlia same may be said of
^^ in the following line. 3T^rr^: — is appropriate here as it serves
to make the contrast expressed by ^ in the next s'l. more marked.
5r^ft —^ft^^^^^t <TT%=T['^'=r^: ffcT ^T^fj; properly the name of a season,
bat also used in the sense of 'a year'; cf, the similar use of ^^ which
originally meant 'the rains or the rainy season,' Words like sTfr^,
^qi &C; are mostly used in the plural.
S'l.2, ^ ^—
And yet i. e. though he lived for so many years
and enjoyed prosperity of every other kind. q"^^r predecessor?, —
ancestors-, the word has already occurred in this sense; see I. 67, V.
14. 5it"^f^^r«r &o- — see note on I. 71 and VIII. 30. ^^\f^'. —
son is called a light because ho dispels the darkness of sorrow. Cf.
qfjf sqiq^ li Aita. Brah. PaDch. 7, Khan. 13. ^RHT^rTf —see

Malli.i he means —just as we add aff. ^=g^ ( ar ) to ^ after 3^vt?i
although P&n. apparently sanctions it after ^ preceded by '^^^ ^^
and x{^ only, ( JnT?cT>T^5 ^5t: III. 2. 43 ) by stretching the rule to
compound words having qq &o. for the 'last member, so here we
may extend the rule *5 is affixed to ^?q with arq after ^^t and r{M^*
to words ending in cTT?? &tJ> o"d explain such cases as the present.
S'l. 3. v^m^ — 'A cause.' arq^fi expectation, i. e. the employ-
ment of Mark tbo sense andfor a similar use afq^â iff^r^jgrTR ?^t
cf.
Kum. III. 1^. srrg^s^TT'IrThis refers to the churning of the milky ocean
by the gods and demons for the jewels lying at its bottom. See Bh&g.
P. Sk. VIII., Chap. 7, 8; Mah. Bh&r. A'di. XVII.; R4m&. Bal.
K. XXV, The fourteen gems churned out are given in the follow-
ing memorable verse ^^^\: sFt^vrqiHsricl^gÎ vpf'1K«^'-î?f m^:
— —
Canto X. ] ( 239 )
ompari30n to the sea suggests gravity and magnanimifcy on the

uart of the king. st^pt^tK —implies that the capacity for pro-
duction was always present. ^[c^r^fTT — 3T?r^ iTTT^J^liTf ^rf^^"?
Si. 4. ^CTrq;^— Ê?T?q ( a kind of deer ) u^^^^ \ii- î^^ son of

Vibhindaka, a descendant of Kasâpa, to a myth he According
was born of a doe with a small horn on his forehead, whence his
name. He was brought up in the forest by hia father, and had no
idea of a human creature other than his father. There was a great
drought in the country of Ailga, and its king, Lomapada, was ad-
vised by his Briihmanas to send for the sage sfjuô who would be the
means of obtaining rain. The king accordingly brought him to
his capital through the instrumentality of fair damsels. As soon
as the sage entered LomapMa's country rain fell in plenty. He
married S'^nta, Dasaratha's daughter, who was adopted by Loma-
pada. He undertook to perform for Das'aratha the sacrifice which
brought about the birtk of R^ma and others, ostt^: soil, ^cf^ —
?Tit'^# ^ ^[^n'^Tr^T ^]^M l 5m1d ^T%g- =^ l R^ma. B41. K. Ohap.
1-. ^rTPr^Fnr^tir:— may also be taken with ^y^^^mcl^^- f^fnuf—
—
I
5ee %\k 'This consists simply of Purodas'i or rice-flour

Main.;
boiled in eight shreds of earthen vessels and given as an oblation to
Agni, the Father (srr^: 5^r )> with the mantra — q-^q- ff jggj^
t^f^cT ll' Pandit. See also foot-note.

S*l. 5. «fh7?c2r —
A patronymic of Rdvana. The sage Pu-
lastya, one of themind-born sons of Brahma, is Paid to have been the
progenitor, not only of Riivana, but of the whole race of Rakshasas-
RiWana was the son of Visravas by his wife f%q[?q-f, the daughter of
the demon Sumalin. See Mah. Bhdr. Van. Ohap. 275. 3"q'a"rTr;
Harassed, oppressed. See notes on IE. 48. fjf^rq" — f^'fTU ^^5^ fr.
jg-T-^^ (3T). ^T'^rrf^ &0- — Miark the appropriateness of the simile

The tree is their only resort.
SI. 6. ^—^—show the aimultaneousness of two aotions.
See Malli. milky ocean, the abode of Vishnu.
3v^^^ ^'^^^- ^^^
In making the gods appeal directly to Vishnu, the poet seems to
to followed some other authority than the Raoiayana of V^lmiki,
since the latter makes the gods represent their grievances to
—
Brahm4. 5Tnir^7' absence of obstruction or hindrance ( 5?Tr[Si<T
meaning MiUi. takes s^f^^ in the sense of separation;
'to destroy');
ST^^r^T '"^he near preseuca of the per-ion to ba seen. Thia has passed
into a maxim. Of. Malli. on 1. 82.
(840) [CahIoA.
SI. 7. Slokas 7-14 form a Mahakulaka or a group of mor^'
than five stanzas syntactically connected. Hrf»r>rrTT* — >?t^ is th«
body of a serpent; fr. ^ to bend or curve 4-^31 (the body of a
serpent being always full of coils ); ^rs^'^RfffB ^[>fr. Here Se«h«.
the thonaand-hooded serpent-king, regarded as the emblem ot
personification of eternity, whence he is also called Ananta 'the
infinite'. He is represented as forming the bed of Vishnu, while
sleeping daring the interrab of creation, with his thousand hoods
spread like a canopy over his head. g"^'%ô — here means 'with rays-
aproadina; forth', o^^fô — It is a belief common with poets that
the Cobra de capello has a brilliant gem in its head. The greater
the virulence of the venom of a snake, the more brilliant is its
gem. Sesha being the king of the serpent-race has his gems the
brightest of all.
SI. 8. ^l-JT—glPn (flax or raw silk ) R^^: i

^^m^, ^îf:i^>(
—These epithets are intended to show the tenderness of Vishnu's
foet. The Mehhala or waist-band is generally made of silver, or
gold, and where possible of gems. Lakshmt who is represented
as the culminating point of the perfection of wife-hood wa~
shampooing the feet of Vishnu, as every Hindu wife considers it her
duty to do even at the present day. She had put the skirts of her
garment on the zone that she wore lest the feet of Vishnu coming in
contact with it should be hurt. With the same object she had
spread her tender palms over her thigh on which His feet rested.
Mr. Pandit charges the poet 'with inexcuable effeminateness, since
he represents the God's fe<;t, one of the hardest parts of the body,
as more tender than that part of his wife's persoa on which the
ornament ( Mehhala) was worn.' But Mr. Pandit seems to forget
that the tenderness he refers to is what Lakshm?, like a loving, tender-
hearted wife, supposes her husband's feet to possess. And even
supposing the poet attribntps it, we mu^t bear in mind that here ht.
isdescribing the god with the tenderness of a true devotee to whom
his God's feet are but d^-lioate lik^ lotuses. Again, what reason is
there to suppose that god-» walk like men so that their soles should
get Uirdened by friction ? ^T-qgf«f — The oomparison of the hand
with the fingers spr^âd out to a sprout is common. It indicates
tenderneii nf the hand.
S'l. 9 Id this sM. Vi-htin compared to an autumnal day; ami

is
the epithet- npply to both. —

•^''^^T'^fW (2) Lotuses form a promi-
nent sign of the S'arad sea^-on; ef. tupra IV. 14. ^THnrr« — (2>
—
Canto X. ] ( 241 )
According to Hem means ^?lKT%ll«rfT-' ^^:fTf^ R«TT (

^r?yTcTT: ^rf
VTT bright light )%^fS* T^T. ITIT^ (1) —
Those who make 'the
great effort', i. e. to know the Eternal one; a Yogin.
S'l. 10. 'jfr^'c^ —Lit. the favourite of, or abode of, Lakshmif
hence probably originally an ornament worn on the breast; an auspi-
cious mark, according to some a curl of hair, on the breast of Vishnu.
The PurSnas account for it differently. According to thH Mahabha-
rata, S'antiparva, when 8'iva destroyed the sacrifice of Daksha, the
S'ula he had created for that purpose, went to the mountain Gandha-
madana, where Nara and Narayana were practising penance, and
struck the breast of the latter. It was then sent back with a Hun-
kara to S'iya, who in consequence came thither and a tumultou.?-
fight took place between S'iva and Narayana. The two deities,
however, were reconciled after a while and Ndrdyana said to S'iva:
— 3TîT^'^ %fnf^:^^rfr % ^^^^'^ ^^ i ^mi^^m ^\^^zi^-
^'fs^W II The Bh4g. relates a different story ; cf. Sk. X Uttar.
Adh. 89. 1-12. n^*T — is ^^Q^ here simply ^frvTTTt * adjusting the
of.' <3T%T f^R: ^r*TT^t ^^^ fiV Haima Kosha.
graces ovr^TI?? ^"ftn
Madhyam. comp. ^^5^T see foot-note. —

The celebrated jewel
obtained from the churned ocean and worn by Vishnu on his boaom.
Mah. Bhar. Adiparva XVIII. 36. Cf. Sis. III. 9.
S'l. 11. f^TT^rt- —Because of their (arms) length and number

cf. ffSTTS^lR'nr Îg; l
S'ak. arr^^^r — which correspond to th g.
flowers of the P4rij4ta. TrnC^rrcI TFT: 3T^^t^cI?r^ TTfr; see foot-note

and notes on VI. 6; one of the five trees of Indra'a garden and a
Kalpa tree. It was produced at the churning of the ocean, being
the ornament of heaven and the pride of S'achi, perfuming the
world with its blossoms. See Bh4g. P. VIII. 8.
SI. 12. »T'^%^Rf-q'^T?(Tr ntJST ^ni^^^Sr: aNityasamasa; excellent

i. e, broad cheeks. —
*T3TT^ ^^3Ti%«?I Xl^' the flush caused by liquor.
Cf. IV. 61. Iffif— irreg. derived from f^ ( ^7^^ s^^xfj ) or f^ + i%^.
^H'Trff^: — The arms of Vishtiu ( see s'l. 60 ) are here represented
as deities attending upon their lord, cf ^^^HTrtnr: ?fr^îff»Tf?"Wr-
T%cTT (cTg^ ) I
Bhag. P. VIII. 6. 7. 3lfll'?cT-see sujjra II. 9. The sjvrsF
weapons given to Rama by Vis'vimitra are similarly spoken of as
deities attending upon Rama. Cf. B41. Rama. 27. Uttar. V, 13,
14. and Mah. I. 42-46. ^r^RfT —such as iSfq Tf'^^rrj ^T 3TT ^»T?1^
&c; cf. ^xf^[^: Vik, p. 53.
B, y. hi
( 242 ) [ Canto X-
S'l. 13. frff!r^r5r'TfT5^'T"Tr —Vinati, the mother of Garadr, had

<;ome to be the slave of Kadra, his step mother. Garada, wishing
to purchase the freedom of his mother, uudertook to bring dovvn
from heaven Amrta, as desired by Kadru. While he was returning
with the nectar after a hard fight with the gods he was struck by
Indra with his Vajra which left a scar on his body, ti ar^rêr ^»TirT
^gf&1'?T*^cTr?^ f JrcTT^JT flTT^^S ^f^'^t ^^
I
Mah. Bhar- Adi.
I
Adh. XXXIII. 18, 19. f^^R!^ &c.— Malli. alludes to the following
story-'^Matali, the charioteer of Indra, had a daughter named
Gunakes'i ( Jjtri^j^f ) who was counted first among beautiful women.
Failing, on inquiry, to find among gods and among men a husband
suitable for hia daughter, M&tali went to the world of the Nagas
( 'iRc?!^), aid considering a beautiful Naga named Sumukha
to be a fit person for the hand of his daughter, he resolved
( U^^ )
to bestow her on him. Garuda ( jt^ ), who had devoured

Sumukha's father, had also resolved to devour Sumukha within one
month. Having heard all this, Matali carried his would-bo son-in-
law to Indra, the king of the gods, with the view of rescuing him
irom Garuda's clutches. Fearing lest he might incur the anger of
Garuda by doing anything himself, Indra, with the permission of
Vishnu, conferred on Sumukha long life and immunity from danger.
Having heard this, Garuda began in anger to rebuke Indra and
Vishnu, and repeatedly vaunted his own strength and might. With
the view of crushing Garuda's pride, Vishnu 8aid.-"If you can bear
the weight of this my arm, your self-glorification is just." Saying
this, he placed his arm on Garuda's neck. Under the weight of
that arm of Vishnu, Garuda felt sorely oppressed, became restless
and at last insensible. From that time Garuda humbled and crest-
fallen, began to reside neais Vishnu in a submissive spirit." T4r6-
kum6ra. See. Mah. Bhi\r. Mdtal!yopdkhyana.
S'l. 14. ?ff»TT5Tsrr —
The sleep of meditation of Vishnu which ifl
different from ordinary sleep to which mortal are subjeot and in
whi jh all consciousness is suspended and which is therefore a form of
<[eath. It is a sleep such as a Yogin sleeps, in whioh conciousness as
well as memory is present, and in whioh the sleeper enjoys comma-
nion with absent things and persons belonging to different ages in —
which, in fact, the ordinary conditions and limits of knowledges aro
—
outstripped. H ^^ rCr^ Bhrgu-one of the Prajapatis and foremo(>t
among the primieval sages, called Brahmarshis, the mind-born sons c t
Brahm4 The Vish. P. mentions them as nine, oiz Bhrga, Palaetyii^
—
Cauto X. ] ( 243 )
Pulaha, Kratu, Angiras; Marichi, Daksha, Atri and Vasishtha.

These are according to the Puranas the original patriarchs of not
only mankind, but also of other species of creatures. Bhrgu is regarded
as the founder of the race of tfte Bh^rgavaa in which was bora
Parashur4ma. Vishnu while in his sleep of meditation is hymned
by the gods and sages ; ^naîrÎR'^ Gf. ^\im\v^
see foot-note.
VI. 61. Mark the alliteration in this and in the following verses.
S'l. — indicates
15. 3T?T 3TT?P?r^ (just after they saw Vishnu).
HTTf^'Tô — Mark the camp. ; see com. jfff ff^^^m =^T^'7r?iTJ%n'^*
S'l. 16, ff JiTt?'3t &*-•• —

According to the Vedanta philosophy,
NirguTba Brahma or the Supreme Ens, without form and wholly
unbound and unaffected by any qualities, is the only really existing
entity. When it wishes to create the phenomenal world it assumes
the qualitiy of activity ( Rajas ) and becomes a male person as

Brahm4 or the Creator ; next in the progress of still further sell-
evolution^ it invests itself with the quality of goodness ( or Satva )

and becomes Vishnu or the Preserver, and finally with the third
quality of Tamas) appears as S'iva or the Destroyer.
foulness (or
Thus it is the one Saguna Brahman that assumes these three
characters. Cf. Kum. II. 4, 6 and Introd. to Ka'da, 1st si. see ;
also foot-notes.
S'l. 17. f^52j— f^ff î^^ ;
aff. <Tn[;. f^ t^T —the repetition shows
'variety'; in different places. oT^^^TT — Lit. abiding in ; coming in
contact with. STf^rf^^- — not affected by change or modification.
Brahman though associated with Satva &c, is itself unaffected by
any conditions or circumstances, cf. the S'ruti '
ai'^T^ft ^\^ ^'ff ^
npiifir^f î^Tff:'; also ar^fir ^gfR^ sriisr^^c^î'^^j^ i jf^-i?^ f^î^yf^fy;^
«Tt^r «fffr ^ ffi^^llr ll Kathop. I. 2, 21.
s'l. 18. aT^jf: — iTfg '^^^^'. ^^'. ^ nm ^^^: whose nature, extent,
&G. cannot be exactly known. RrfWr^R": — f«TcTi: c?I^f ^^> as
the whole creation is his. —
ST^^T ^rf€?T 3T?t: one ^^ who has
nothing to seek. Cf. Git3, IV. 14 quoted in the foot-note. fTf«crr :-
#3 sflcTT^'T one by nature able to conquer. The roots t^, fgf and
^«fT take the affix ^ in this sense, by T»^r5T?«^^^ »T5 Pa'n. III. : \
2. 139. ars?!:???: —Unperceived by the senses; cf. Bhag. VIII,

20. —
21. 62i^:f7oR-i^«»r'3; sxTfP is the manifested universe. la the
passage quoted in the foot note, the meaning of 3T5?TtP is slightly
different; it means "the Brahman ready to evolve the universe.'
cf. 5^'^r sT^^^Î^ Kum. II. 11. As to Brahman being the

( 24:4 ) [ Canto X-
caaso of the univerae, ef. ^f^m^ ^îrri'tTf^TatTr^ &c. Ved-

8u. I. 3. 23-27.; and the S'rutis rj^j fi ?»nR ^fTTf^ ^R'^ &c-;
&c. The poet does not refer hj ^î^^ to the 'Prakrti' of the
S&nkhya Philosophy.
S'l. 19. ST^TRf^ — not within the reach of external senses, rj.
T^n% ^TR 5iri3;tir?5ff?7ij;^witqfif Ti^m î?af Kathopaniahad, Ir*T^ I
Valli 4. (sT^fit and yet) rrrfff^ — NiirAyana practising penance

a^ (
in the 5r?Fl:qo[?q"iT ) ; see com. on 25 below and ef. f-^^ f^vTT'=ir tTT^^
'?r«7I!^t «F5TrN î^^ ST^^ÎT i Kum. I. 57. The contrast here intended
refers to the notion that any object, however unobtainable, may
be obtained by means of penance; ef. Manu qzTKpr q^^^jq q^-iy ^^ .
5»m \ Sff^Jf rrcTff? iTTc^ cT^r f| gU^TSr^Tii; II f^r^ &c.— one is kind
because one and therefore may fall a victim to misery ad
is frail,
any time and so stand in need of commiseration at the hands of

another. Such is not the case with God, and yet he is kind, ^qi
is defined as ^^r^fq qr?#^t ft TI ^f? ^l^-^ I f^3"m:w: gîrs" m
^^T TK^tfcrar II 3^^^:— jrr K^-- or ^rifq ^: irregularly derived
in both cases.
S'l. 20. ari q^ d
I
— °ot
known. ^^^Tr^:—cf. ?ftH»?
definitely
I'g 1(1^ I "Vod. 4. 86.; and z^^m

I. ?mR Û^ iTT'im Tait
27
Up. III. .1. ^J^îr.—cf. ?T^?in4 fw^tr^^cTi Tait. Up. II. 7.
ST^^t-p/. JT ?T^«T ^f«^c«Tl7TTPfrT c^'r^ ^ %RTa[ &c., 8ve. .Upa. VI. 9.
^V^T*Tr¥r-^f^ ^TTfoi *T«f?Trr% i
<:/'.
^flf*r ^^m ^^m jkv]^ t
Brhr. I. 6. 2.
S^. 21. ^nr?n"*T— For the seven Samana containing the praise
of "Vishnu, see foot-note. ^nTrf?*rcJ* 'Seil. on the mingled waters
of the seven oceans at the end of Kalpn. For the seven oceans
see foot-note and Bna'g. P. V. I. 33. There is no special
propriety of this epithet, except that it brings in the word ^^^.

^^,ô —For the seven tongues see foot-note and cf. Mund. Up.
I. -. 4. ?jHr?r^ —The seven regions which rise one above the
other are: — (1) ^: the earth; (2) ^ff?5fqj or the space between
the earth and the sun, the regions of the Munis. Siddhas&c;
(3) ^r tô heaven of Indra above the sun or between the sun and
the polar star; (4) Pff the region above the polar star, and the
:
abode of Bhrgu and other saints, who survive the destruction of-
the three worlds situated below. According to the Knrma P. it
"
isore erore of Yojanaa in extent : iJ^ff*^ ^^^^W•^ ^l?'ft^^R?l<fT:

«5qir^^^K<n^^ mi^^} ff^SS^r it («) ^r^-- which is described ai
—
Oanto X. J ( 245 )
the abode of Brahma's sons, Sanatkumdra and others. According

to some it i? the residence of saints and demigods during the night
of Brahm6. (f)) tTT: the abode of deified sages (Vair&gins). And
U) ^^^J^W or srsfr^\^ the abode of Brahma, transgression to which
world exempts, beings from further Jbirth. The all pervading
Brahman or the Universal Spirit here identified with Vishnu is
the holder of all these regions and iience he la described here as

fnô- ^^ — The one (^^?!r) and no other ; cf. ?nTIf?£P5^'? Vik. I. 1.
S'l. 22. In this si. the poet lays stress on the word ^5?:.
=^^jt* — the four objects which humanity must attain called
the 5^^r^s. liee. com. The attainment of the first three leads to
• the search after the higher truth, viz. the knowledge of the nature
of the individual soul and its relation to the supreme spirit ; which
in its turn leads to the attainment of Moksha. ^fpr —includei
#fT^^ as well as Vaidic jnana, or ^jij and f^^TR- of the Bg. VII. 2.
frrwr^^Vr &e. —
Kalpa or the period of duration of the world is
divided into one thousand shorter periods each consisting of the
four Yugas. Krta, Treta, Dvapara and Kali. =5r?f%^q-: '^/- Bg. —
IV. 13. quoted in the foot-note. '^g^^sTrg; — Here Vishnu is
spoken of as identical with Brahm4.
S'l. 23. ^>.^r^*— Constant practice ;
cf. q-^f ^j R^n^T
»T^«^^^JTft«jrt I fTcr^?fr f%^f%?T?r?»Fq-^ ^^T ?Rq^ H Bg. VI. 26 ; also
^'5. and VIII. 8. quoted in the foot-note, ^f^j-fij^ —see foot-note;
•-:/: further ^ ^r q^ 3i[c»TT if? cT^^cTT^ RT^
f f^q; r%g=?fr^~For i
liberation of the soul from the trammels of worldly existence.

SI. 24. firfrjfj^—^p fr. fg-^^^B-f?!! of the 1st class. This is the
proper meaning of %^]. But as an action is always preceded by
means 'wish, desire.' The epithet may also mean
will', it also
TTrtT^f^rf as and %«[ alone induce an action. This stanza is

rjrj
quoted in the Sih.-Dar. as an instance of Virodh&laflkara, there

being apparent Virodha between Guna ( The
ar^rffff ) and r%^T.
apparent antithesis is removed by referring the one epithet to
NirguDa Brahma and the other to Sagupa Brahma. irriT^^: Um-
7.mJ^: ever wakeful.; fr. ^r^-|-3r'l? by Pan. III. 2. 165.
qnrrtir (^^\^^^ ^rri :) &c.-c/. the S'rtis-arîr^f crfff^rTT^^rrsf^m^f^
i
S'l. 25. f^r^nr: — see I. 8. It is also derived as ffRo^f^ 5'F'5fig

fP^^fSi ^r ^••i^r^TirffT mqr: l
=m$ &c.— Malli. remarks ^ttstft-
^"iii^<»r«T«T. Nara and Narayana are two sages of Vedic reputation-
In latex writings they are always mentioned together, being some-
( 246 ) [ Canto X.
times called ^^f or i^f^^, sometimes merelj as cfr^^t; and &t other,
a"*'FR^frrHtj or tho best of saints. They are regarded as Avataras
of Vishnu and described as practising austerities in BadarikSsranaa ;
See our note on ^^^nST, Vik. p. 8 and cf. Kir. XII. 33; Mah. Rh:U.
Van. Ohap. 272. qînT IX^JS aTTTT: fr- STPI^ to reach, to pervade
competent or able in every way;
(s^rrffF ); cf. supra VI. 44. srhnr-
^F^-aft^r^rsi an abs. noun from 3^^R ' remaining aloof from,
^g— «/-
3^^?^ 5PT 5^: I
^?h. Up. IV. 3.15; and Bg. III. 22.
The reason why God acts is given in Bg. III. 23, 24.
—
81. 26. ^v^ In various ways, widely for some lay stress ;
on Karman, some on Jn&na, some on Bhakti, some on the knowledge

of the 25 principles, &c. STTTR^ Systems of philosophy, such •*
—
a= Samkhya, Yoga, Nyaya &c.; all of which aim at pointing out
the way to eternal bliss or 3foksha. For deriv. &c. see I. 15.
3TTîT when taken with ^g;Cr means a course '. RttJ The ' —
principal 5^r«T «»-• Moksha. See the various quotations in the
foot-note.
S'l. 27. stt^TOtT —fixed upon (you) by means of contemplation.
-e^ ^fl
l 3TTWR Kath. Cf. Bg. XII. 8. lyf^: may also moan
II
—
*final resort.' one is absorbed in Brahman he is freed from
When
the shackles of birth and re-birth. ^rinTTrî For vairagya is the —
first qualification of one seeking Moksha. sr*?'!:'* A.n allusion to —
the theory of '-transmigration of the soul. '
See Sve. Up. III. 8
tiuoted by Malli. {^^^ &c. ): and Bg. IV. 9, 10.
S'l. 28. —
^^^w^ 3T^f^Fs['T irr^ iTcT: ; » pradi Tat. Hem. remarks
iTni^?T3% ar^^rsfr ^?^t ^^ ^^» ^^^ ^®'® ^^ ™*y ^^^^ *^® **^°'®
of 'an organ of sense' in general, as q^rrf^ includes V&yu, Ap, and

others. srra^r^ &c. Hero Kalidaaa — seems to follow the
SSrjkhya system of philosophy which recognizes three PramaUas or
means of obtaining correct knowledge of all existing things. These

are (1) qrq^T or ^, perception by the sense, (2) arj^TR, inference
and (8) arrH^T^ or anff^'^, credible assertion or trustworthy
testimony (including Vedic revelation). This dostrine, the Simkhyas
assert, is supported by the Vedic passage 3TT?Rl «ri 3T>?^^: ^T?T5^
îf[^•.... '
Soul is either to be perceived, to be learnt frcm
I
authority or to be inferred froii reasoning' ; Brih. Up. ^*.4— To

bo proved, knowable ; whose real nature can be known by. The
Vedanta reoognizes sr^m^T as a subordinate ^^m. The meaning
is— It is impossible to know the real nature even of this world
—
Canto X. ] ( 247 )
which is visible, how much more would it be the case with yo'^;,.
its author, who are not pratyaksha but whose existence is to h^

proved by means of inference and Vedic testimony ? (Mallindtha).
SI. 29. %^— Malli. seems to take this as an adj. in the

sense of 'any one, without distinction and whatever his sins'.
cf. ^^
'M^'\^ ^^^V' ^ ^\^^^^ ^V- l Kum. VI. 17. ff^-A course of
action towards,
S 1. 30. — 3^^PTR 'iTFF^SRR^ Tf^ft^— &«•

3-^:1 I
shows «TSr^
and sTr^T^^^ ; %^[^ &c. their 37^!?^^^ and 37TJT^c?T. f^?f rT^ — see
sujyra VII. 60, ^— far removed from, beyond the ken of, the senses.
SI. 31. 5T^nr^ —

Which is to be obtained; i. e. for which an
made, just a Yogin gets reborn to get higher powers.
effort is to be
Ig:— object, motive cf. TTT^fnTT ^>JfTT &e. Bg. IV. 8.

5
S'l. 32. 3-c^?T— absol. of 10 cl. ; having loudly sung:

3'rff][
or proclaimed. ^^tH"— f^ TJT'nm?^ f^T^ fT^^T ^[? f^rrTT-
S'l. 33. aT'^t^-JT —
For derivation see com. and foot-notes. It
will be seen that almost all the names of the Hindu Godhead are
not proper names but expressive of the different conceptions of
the Deity. The name may also have reference to a story given in
the Hv. which explains how Krishna came to be so called. And,
as Krishna was afterwards identified with Vishnu, all the names
and epithets of the one came to be applied to the other. It lit.
means 'who was (as it were) born (again) under the axle.' See
foot-note. The Bhag. P. relates the cart accident here referred
to in a different way. See Sk. X. P-arv. Adh. 7. JT ^r%: ^» —
false praise for there; was no exaggeration on the contrary it. :
fell far short of the mark ( as indicated in the preceding stanza ).
T^^f^ f^ —added to ^^nr by Un. IV. 10. The loc. case-ending:

is often retained before a ^rj aff. and the it is changed to ^by the
Vart. !s?TT« (see com).
S'l. 34. s?rf3fn!-p. p. of the Oau. of st^jT; with f5. jfrcT^ ^TT'^^:
For that was the right time; cf. Kum. VII. 93 quoted in foot-note'
—
o^V^ 3^cfT ^^t A Piadi Samasa; overflowing the boundary.
^^:— fâ: 3T^^"«Tr: 3T^4 ^^: a demon.
S'l. 35. %^?nraTTre —^crnr: ^^ro ; or as Malli. has it. For"^^;yt
see VII. 19. sTT^T^ — 3ee foot-note and I. 71.
8*1. 36. ^f: —see foot-note; and Kum. II. 17 where Malli..
says ap^: ^^fq^: Kavi, however, in Vedic Sanskrit means 'wiseV
1
and is an epithet applied to most of the gods, especially to Agni.

( 248 ) [ Canto X.
'^'/. ^fr ^ m^ffôiT &o. Rig. I. 1. 2. 0; «Fr>tTnigT?gr^ I. 4. 12.

7; I. 4. 13. 2. &o. C/. ^]^ 5TT0T»Tg^TrT%?Tr>- &c. Bg. VIII. and
^^Tr^^ qfa? ?TI 5Ff^: I Amara. ^^^^— see foot-note. ?n?i^?TT
properly uttered. ^?5RTT having the— decorationd made: the
decorations of speech are, of course, its faultleasnesa ( ^tH^ )>
perspicuity (?cfg"cTT) &c. as Malli. says. ^?^r when used in

connexion with speech usually means ' grammatical purity,
refinement ( s^r^ôigrrqq-f ^f^: Malli. on Kum. I. 23) ; cf. infra XV.
'^^-
^ftriJ^T ^»j^ q"f
— 'Speech had certainly the object of her exis-
tence fulfilled' (^Malli.); the qf, however, may also be taken, and
perhapps better, with o^;ffT^ff[ ' Speech had her decorations made
just as she was properly uttered &c'. ^Rrn"M"t Because she was —
decked by the Supreme Deity himself. Cf. Kum. II. 17 which i«
nearly the same as this.
SI. 37. ^^ &c. — By a somewhat bold flight of fancy the poet

compares the intangible speech to a tangible object, the Ganges.
—
fjRjhr^Tr This comp. must be dissolved aa a Karma. If we take
it as a Tat., the form will be ffi^'icTT?I^T as it is difficult to get \^^\\]
restored to its masculine form. Oh^ritravardhana analyses the Comp.
^3 r%«l^cT: ?r^r ^^m:. This simplifies grammar but reverses the
meaning; for then the epithet would not refer to Gang4 gîTe, but
to Gahga ST^Jif^M^T- f^^?lXf^ &c —
Gafig& was produced at first
from the body of Vishnu when melted by the melody of Siva's
song. When Vishnu and GahgA saw each other, they became enam-
oured of each other, which excited jealousy in Lakshmi. Gang& unable
to find protection anywhere from Lakshmi's persecutions, hid
herself into the foot of Vishnu for safety. Thereupon all the gods
addressed their united prayer? to Vishnu and Lakshmi to restore
GaDga. Then Vishnu allowed her to flow from the great toe of
his left foot. Thus Gahga came to be spoken of as sprung from
the foot of Vishnu and called f^B^qfr. See also Vish. P. quoted in
the foot-note.
SI. 38. ST^Hr? — Greatness; dignity of person or majestic lustre-,
^/. I. 87. The words are very happily chosen, a^go refers to
the mind and so is the result of Sattva, while qri^s*? refers to the
person and is more the result of Rajas ( restlessness, activity ). '"y?
neu. is also appropriate as it corresponds to the run. ^>1H.
S'l. 39. ^F'RT'T

—
*'The tyranny of lUvana over the worlds is
thus described: —
He was a breaker of all laws, and a ravisher of
other men's wives. He defeated his elder brother Kabera, and
•€auto X. ] ( 249 )
•
carried off his self-moving car Pushpaka. He discomfited the gods
^nd demigods, devastated and carried off their
their gardens,
females as captives. He slaughtered the ascetics wherever found,
and with them the religious rites became almost extinct. He
stopped with his arms the sun and the moon in their course, and pre-
vented theirThrough fear of him, the sun did not
rising.
give out his heat, thewind did not blow, the fire ceased to burn,
and the ocean, crowned with rolling billows, became motionless-
In short, the three worlds were threatened with destruction. ' grgST'T-
^Tfm^ I l^^^\ afoiT i^'^ <T^^

(R^ma. Bal. K« Î^ n &c.
Canto XV. and Aran. XXXVL &c. &c.)" Tar4 Kumara Kaviratna*
ar^r ^TR^gf-which comes Lo be committed by him quite unintention
.
ally or unconsciously (and which therefore causes constant and

unbearable pain Mriien the sadhu is made aware of it )• f^f^^ —
has the sense of the present tense; see com.
S'l. 40. —
qfc|f^«[?^T^ having one and the same object to attain.
Vishnu as. the Supreme lord of the gods had a common interest
in the destructionof R^vana and. the consequent freeing of the
world from his molestation. See foot-notes.
S'l. 41. —
^^rf^vnrr R4vaiia performed severe religious aus-
terities in the forest of Gokarna for ten thousand years in the
midst of five fires with legs upwards. He sacrificed in succession
his nine iieads, one at the expiration of each thousand years.
When about to cut off his tenth head, Brahm4 appeared before him
and asked him to name the boon he would choose. The demon
asked for immortality, but as that was impossible, he obtained
from the God exemption from death at the hands of gods, genii,
demons, and giants. In his pride, however, he scorned to ask
flecurity from man as being too contemplible, and thus remained
vulnerable from this one quarter. The god also restored to R^vana
his nine heads and favoured him with the power to assume any
form he liked. See R4ma, Uttara-Kfinda X. Malli., however, refers
to R4vana's cutting off of his heads to please S'iva, for which see
infra^ notes on XII. 89; see also S'is'. I. 50. ^r4~s efficiently great,
proper ( Malli. ); or of hia own will.
S'l. 42. of?T?Tifr^ — Out of respect for the boon conferred, &c.
HcJJT^ — (1) Excessive rise or arrogance; (2) climbing to the
highest point.
R. N. 32
( 250 ) [ Canto X.
SI. 43. t^pH'jfn^ — Superhuman or heavenly beings. See fooS

note. arrwr — regard, consideration. Cf. Rimd. q^ f|- fâr
SI. 44. gy^ —That I, i. e. who know this ( referring to what

19 said in sl.a 38-42 V, cf. I. 5. ogFr»T»^rir?T— The Leads are compared
to lotuses as flowers are necessary for an offering of worship.
S'l. 45. qrs^%; — see Malli. on I. 44. ^r=q"^ — prepared and
offered. Jfr^Trf^fH": —demons who were well versed in the art of
magic. ^TpiTrr^ also means a cunning or deceitful man, for which
see Kir. I. 30. arsTrwrJ— not tasted, ( undefiled ). Whenever
the Asuras got the upper hand and became turbulent, they, aided
by their power of assuming any form at will and flying into the
sky, disturbed the sacrifices of the Brahmaiias and defiled and
prevented the oblations thrown into the fire from reaching the gods.
Cf. infra XI. 1, 25 ; and Kum. II. 46. Mr, Pandit says
The oblations thrown into the fire for the gods may be carried off
by the Asuras, who always watch incognito to get an opportuniry
of carrying them
Means are prescribed whereby the oblations
off.
may from being seized and misappropriated by the

be prevented
Asuras, and whereby they may reach the gods. Thus: gnTfrîfTT —
|r> 3TgTT qR^?FcTf?cT?^ I^^rrT %Tr 5f<I II (Hdrita Smriti.
T^^^fq^: I
as quoted in the Praijogaratna, Paribhashiiprakarana). Also Mar-

kandeya Par&na ( ^ffoT^JT^^ Adh. V. s'l. 1 )— 5^1 ^vTRjpJTT^qn^
m\^^\ 5i<[qTt: 5rc9t^q ^^^^^\^ g-irr ^^^m'^^\n.\\ Also further
I
on Sumbha, the Asura, says: ?T^^r^Rf ^^^gqt^rf*? JT^JT? I
SI. 46, %»n"f^5RT:-See VI. 1. jwaiîfT: —Virtuous men who by the

force of their religious merit are raised to the rank of gods, and
who thus form a species of subordinate gods being included under
the title Vis'vedevas. The term does not signify here gods in
general as Mr. Pandit supposes. fj^^\ qfij simply means here —
'
in the sky. ' —
q^T^ The celestial vehicle of Kubera, forcibly
snatched from him by Ravana. The very sight of it had become
a terror especially to the Punyakrits, they being not familiar with
the terrors arising from the demons.
S'l. 47. —
^Jr^5^ The damsels of heaven
— "^^^ ( not wi«ves of the
gods). See Kum. II. 61. t^r^^TT^ hairs of chaste women
who are separated from their husbands or lovers are neither
combed nor decorated during the time of separation, but are tied
up into a braid once for all. See foot-note. Qfqiif^^fT &c.
Although Ravana carried away the damsels of heaven and
—
Canto X. J ( 251 )
imprisoned them he could not violate their chastity owing to i
curse of Nalakubara.
Nalakubara was a son of Kubera, Ravana's eldest brother. Once
R.^vana, while leading an army against the gods, halted on the mountain
Kailasa. While there, he saw in the clear moon light of the night,
Rambha, the chief of the beautiful ajjsarases, decked with heavenly
ornaments, passing by that place. Inflamed with passion at the sight
of the nymph, Ravana entreated her to gratify his lust. The damsel
told him that having performed her toilet she was going that night
to meet Nalakubara to whom she was bound to be faithful as a wife ;
he ( R4vana ) was consequently related to her as her father-in-law and

that he should disturb her no more. Without, however, paying the least
attention to her words Ravana ) forcibly despoiled her of her virtue.
(
Trembling with rage and overcome with shame Rambba went and
fell at Nalakubara's feet and told him all that had happened. Nala-
kubara was exceedingly angry on hearing this and prenounced upon
the lord of Rakshasas the following curse "Since he has forcibly —
and against your will committed violence upon you, he shall be from
this day unable to gratify his lust upon any young lady who is un-
willing to accept his suit ; and if inflamed with lust he offers violence
to a lady who is unmoved by
similar passion, his head will burst
a
into seven (one hundred, according to the Mah. Bhar ) fragments." .
Rama. Uttara-Kanda Adh. XXXI. See also Mah. Bhar. quoted in

the foot-note.
S'l. 48. —
n^TT See Malli.; ^sjT^. is irregularly changed to
^ftiT and 3T^ added arqcqfT^ by Pan. IV. I. 112. Or ^R^faf ^Tf^?
f r. ^ can. -f- 3T^ (?3)" ^^ '^^^ ^^ called because he had a very
loud voice which frightened his enemies. Cf. Rama. ^^^T^]îyS(^
3T^?TTf in the sense of ^'f^TF.^'^' (P^d. III. 3. 51.) cessation or

absence of rain. The s'l. is an instance of a complete Rupaka or
metaphor. ^^— Oorn-plants. ^vs prnq : — Mark the pun on
Krishna which is a name of Vishnu. See note on ST'-ir^fT^; s'l. 33.
SM. 49. 5^^— see IV. 3. Cf. Rig. J. 11. 63. 2, &c. ^r^—^jm
ff% fr. fT-r^l'H^) with the augment jx^ (Pan. VII. 3. 33). An
appropriate simile. Vayu is the principal moving force and well
corresponds to Vishnu.
S'l. 50. H^"— N'ow, to turn to the king. f%5[t qc^^r-From this
it is clear that K^li. at least does not consider f^^jt ^fcl as an
aluliOomp.; it is also possible that the poet might have used the
two words separately mefri causa, rlf{[r^ ^RfS??*?^; fr. ^T^T + î;^ —
bv Vart. on Pan. V. 2. 120. ^^: &;c. At the conclusion of the —
(252) [ Canto X.
^?f% performed bj BishyasVoga there arose from the aacrininal

fire a being of awful might and wondrous spleudoar; he was
jobed in red and adorned with celestial ornaments, bright like the
fiun and glorious like burning fire. He thus addressed the king
^^ôJcTr ?lT^?TfTT5f^: ^^]^ i J&n. IV. 3.
S'l. ")!. —
q^fv^ A comp. of the ^Tf^Tll'V^n'^ class, qir:^^:
^^: T^«^^:: '^^% ^^^^ ffcT =^: fr. î; ( ^^ »T^"r ^TJjiTST ^ ) and T
Unidi. See com. According to KaiyaU ^^ means the pot in
whioh it is prepared and then secondarily it means the food
; ;
S'l. 52. g-q^r — ^^cfrfrT , the showerer. The original conception

of Indra regards him as the god of rain, and then as the god of
munificence ( the showerer of gifts Cf, Rig. f qr ^^^ &c. I. 2. 7. 8.
).
The Amrita, which was produced the last of all the jewels
obtained from the churned ocean^ was brought in a Kamandalu by
a being of wondrous form, called Dhanvantari. *' Both the Vish.
1'. and the Mah. Bhar. ", observes Mr. Pandit, ''say that the
Ambrosia was appropriated by the gods, but do not say that Indra
received it for them. Wilson's V. P. pages 75,76. Mahabhi-
rata, A'diparva Adh. XXXIV." Kalidasa probably follows
some other authority in making Indra directly receive the Amrita,
or refers to him merely as the head of the gods who ohurned the
ocean for it.
S'l. 53. ^^^ &c. cf. the similar passage from BhatU Kavya
quoted in the foot-note. sr>T^: — T»Tf?TffTlfti%> ^'- H. ^^*'^ 5^ 4- ar^T
(3T).
S'l. 54, qT?2i7 :
— According to the Rama. Dasaratha himself
allotted portions of the heavenly food to each of his throe wives.
«irfrff^5'5r: — also r^f^r«f5?ff:. STf^??T: — also 3Tf:Tfh:> the sun.
See Malli. ^^^ — which
grows brighter and brighter as the day
advances. This shows that the queens also were to manifest
more and more brilliant spendonr as they advanced in pregnancy.
The comparison with the sun implies great majesty on the part
of the king.
S'l. 55. Mr. Pandit baa the following note ou this; — If Dds aratim
had given the whole of the pudding (•^) to Kausalya, Kaikeyi
would have been insotted, since she was, though not hit principal queen
—
Canto X. ] ( 253 )
like KauBalya, his In caae the whole bad been given tc

favourite wife.
Kaikeyi, Kauealya would have been offended. If he had distributed it
among ail the three, both Kausalya and Kaikeyi would have been offended
since Sumitra was neither the senior queen, nor the king's favourite
wife. But it was proper that she should receive a portion of the food;
he therefore divided the whole between Kausalyu and Kaikeyi and
desired that they should each share their portions with Sumitra. For
the apparent slight of Sunaitr^ by her not being given any part of the
food by Das'aratha, amends seem to be made by the above arrangement
under which she got twice as much as either of the other two.
But this explanation of Mr. Pandit does not bear out Mallin^-
tha-3 remark ^f ^
^TRp«T &o. For there is neither g-f^ff=^-fjy nor
^3To3r on the part of the king, if he so openly showed such partia-
ality to his two queens. We
think the explanation is to be sought
in the word tr^^qt: in the preceding s'loka, which is significant.
A tfr*ft is one who takes part with her husband in sacrificial rites
( (T?5^T T^r^q'fn P^n IV. 1. 33 ). Jayamailgala, while commenting

on Bhalti. 1.13 remarks 4j^^\ %%^r "^ JSjf^ I ^mÎ 5 ^^^^^^^ {
fTI^^t f 3TT^%: '^K'ÎKÎ^ fq«^Î»r?^ ?=it if^^T iTTRTcT^cTt The I
Commentator of the H4ma., too, alludes to the mixed parentage of

Sumitra ( being Vais'ya on her mother's aide; see our notes on
Bhatti. I. 13 ). She was thus unfit to take part in the sacrificia
proceedings but could only act as a parieharika. Das'aratha was,
therefore, obliged to distribute the heavenly food between his
two queens alone ( that being ^%fr as none but those who take
part in a sacrifice are entitled to portions of the
sacrifioial food ),
He, however, much wished that Sumitra, too, should get a portion
of the food as she was also his \i^^^^\ ( see IX. 18 ); but he knew
that inasmuch as Kausalya was the eldest and much esteemed queen,
and Kaikeyi his favourite, they would act in a way worthy of
themselves, and so did not give Sumitra a share himself ( the poet
does not follow the Rama, in this account of his ) but left it to
the discretion of his two Tf^ys. This brings out his =$\^Jk^.
The words ^f^?^, fVtT^ and qr?ql in the next s'loka are thus
intelligible.
S'l. 56. ^fr^HHT^r»-^t— According to Kalidasa, Kausalyi

got one fourth of the Chant, Kaikeyi one fourth and Sumitrd one
half. The same view is adopted by the Adhyatma-R^mayaiia
^TF-^TR ^ ^^^\ ar^JT'if q-^^JT: I fTcT: ^\^^J h^\W STffa: qr%=^ =^^^ \
f?^fTr II The statement made here is, however, in conflict with the
Ran i. as remarked by Mallin&tha. According to the RîmdyaDa
( 254 ) [ Canto X.
f the text a variant by the Com.

noticed as which ia however
genuine ),king gave half of the Charu to Kausaly&, one
the
fourth to Kaikeyi and the remaining fourth divided into two parts to
Sumitri. See our notes on Bhatti. 1.13. Malli. takes the first
3TiJ (neu.) in the sense of exactly one half and the second arq^ (mas.)
in the sense of « portion ( not exactly a half
and thereby makes )
K&li. agree with the Nrisimha Pur&na. ( and also the Some hold
current text of the R4m&. ) that Kauslya got one half,, Sumitra
three eighths and Kaikeyi one eighth of the Charu. 'Whatever
may be the universality* remarks Mr. Pandit, 'of the rule * g^îv^r^."
it is clear that the 3T\| of the portion of each of Kaosalyii and
Kaikeyi that was given to 8umitr& was not any portion not exactly
a half ( q^P^^T ) but a half. The poet means to assign to each quart«r
of the food the birth of a son, so that two sons shall be born to
Sumitra and one to each of the other ladies.'
S'l. oT. ^\j^^\'.— i. e. one on either side, attracting the female
bee equally. The simile ia intended simply to illustrate the equal

love which Kausalya and Kaikeyi bore to Sumitra and is so far
good.
S'l. 58. Vf^v^—^'f- ^mm^^^^ supra II. 75. ^fjyr—^fi
fr. ^q^ 4- fern,
f-,
the penultimate a;ôf
^^, moT, STTfc^ and ijc^ is
dropped before the aflix f; see com. and Pan. VI. 4. 144, quoted
therein. m€\fk'- —
The rays of the sun are called Nidis because
they are supposed to suck up water as it were. This is a reference
to thd fact of the solar heat being the cause of evaporation and
rain. Wf'T^: —The water in the form of vapour held in suspension
in the atmosphere is poetically called ' The Watery foitus. *

See
Infra, XIII. 4.
S*l. 59. arrTvTfrTfr:— c/. ^^Tft III. 9. 3TNr"f<l^^^-— as the
result of pregnancy. See III. 2. ^jq^ — Luxuriant growths
hence by Lakshana, stalks growing luxuriantly. Cf g'TTTf r^S^tTT^r-
wrq^t Kum. V. 27.^
S'l. 60. From Slokas 00-63 are described the dreams of the
of the queens indicative of the divine origin and consequent
—
prowess of the future progeny. ^\^^'. The inferior manifestations
of Vishnu, all adorned with the arms of the superior deity. The
following line mentions the arms of Vishnu, the names of which
are Pdnchajanya, the oonoh(5Tff^ ), Nandaka, the sword, Kaumodaki,
the mace S'arOga or the horned bow, and Sudarsana or the discus.
S'l. 61. SPTT^rr^ —
The net of t. a. the lustre of the wings spread
about like a net. ^«^— (^fT^R«?f^R<*=T^r^'ncfl?l) J^nHH Vii (wings)
.
Canto X. ]
*
( 255 )
3TR; lit. having excellent t. e. strong and beautiful (being of

a golden hue) wings; name of Garuda. The Mah. BUr.
thus accounts
for the name:_2^ »TIT ^*TT^nirfr^ <T^ r^t^^: i
jj^^^ ^^^;^^^^^.^.
vTT^f^^: II A'di. Adh. XXX. 7.
SI. 62. ^r?5>F2rr#-'2rW (see com.) is what is left with another

for being taken care of, and may be a thing or a person;
cf. further
XII. 18; ir?^f^fcT''7I^ ^fl^cRlfRTI Skk. IV. 21; ^ ^^fff^â ^f^^.
^c7t '^rm^Kîli Mud. I. p. 30. The Kaustubha was
I
left by
Vishnu with Lakshmi as a deposit, according to
Hem. who remarks
>^?5rr* ir=5iJcTr R^^r m^j ^231% T^r^jr: ?«ttrct mi^m 1 See Main : also
Dmakara quoted in the foot-note.
SI. 63. The sages are described as bathing in the heavenly
Ganges; cf. Kum. VI. 5; ^^.. ^gq^-^ ^^^f trmr^mTmarr: 1
f^yf^
wrr^^TTOTrvr: f^îrm^ ^^ „ Vish. P. r%fr?iq;-^7rar ^mfrlr^m-
Î^-wmr: the triple-coursed river, the Ganges, flowing from
heaven to earth and thence descending to the
nether world- here
the stream in heaven (identified
with the milky way) called
Mandakini. The other two courses are
Bhagirathi on earth and
BhogavaUin Patdla. ^f^: ^-^>:-_^ ^^^^^^^ ^^^.
^^cJr^sTTfTSr^S ^¥ffr ^-^m^crr: Vayu p. The seven Rishis as
1
mentioned in the S'atapatha Brahmana and elsewhere

are—aj?^
qiTW^^r i^^mj^ m^: .
^^fit^rm^ ^^ ^^^: ,^^^, „ ^te
Mah. Bhar. mentions these differently, as
^gand
^m, 3Tr%, 3T%^, 5^,,^
5^, ^,^^; see notes on Kum. I. 16. In another lit
Daksha IS substituted for Vasishtha.
The Vayu P. mentions eight
Brahmarshis, adding to the
j5 and the Vish. P. nine;
list,
(see
,^'^rf^^-P'\««-P^^f-of^^T with ^^ (to wait
i' V- upon for
"CVJiron^kf r^3 :{• --^-^^-.r.....w^
fetuses in the wombs of th! queens were portions 'of V Ihnu

was led to this belief
Be
firstly by the fact that the
^,1 Pu^î
'"^''"' ''''' ^^' ^^°°^'^^ '^^ inference drawn
fôm whiter
from what the queens saw in their dreams. '^
alLpervading. 3,%^_Although
be appeared to be limited to
one, on îLôf th UpTdli:
LipAdhis
each.
7fr7^~^«^«* in the case of the son means darkness

m T.!"/^'
•
the form of the ignorance or

misery of the world;
cf. however.
(256)' [ Canto X.
8'J- 2. 5TT^fT%Tf and notes ad loe. ^^^^ may also refer to the
darkness through which the soul of the aonless has to pass after
death; c/. ^T»^?!j=ruT rTfrfr^PTnT^?; iff cj ?TR: I see «?</)rfl notes on s'l. 2.
3T55riF'T ^T^r: ^ ¥^>'^^^'T^ I Ch&r. ^Titi^frwr^f^: — see foot-note^

cf. IX. 70; and q-^Rpir ?rTpfiT^rc»Tvrr^ : I Kum. I. 30.
S'l. 67. arPRR^ That — wherein the mind feels delight (see
com.), engaging by its very appearance. vmH—%5, the greatest
(blessing). Or ij-^j'R' niay mean
were to follow 'first'; others
such as the release of the world frem the oppression of the demons;
^v^^\TW^\ T^^r^r^rfsrf^pjn^T^^Rrr i Hema. ^tr^^j-jttit ^ ^\^siA.
See I. 46.
S'l. 68. oTifpT —Mark the force of ir : a lamp giving intense
or powerful light. In using the epithet the poet alludes to hi&
own work, is undoubtedly Kama.
the chief hero of which C^TPTf
T?!Tr5^¥t ^^\W•, the
^TT^q^rf^^Tf^: lying-in-chamber; the chamber
secured from goblins and other evil influences by means of magic
herbs, amulets and other mystical objects placed or hung round, ae
preservatives. For a full description of it, see KS,d. pp. 119, 120.
jf^fffiST: — lit. were ordered back (t. e. not to burn), surpassed in

lustre; see notes on I. For the idea cf. III. 15; and ^
61. f| ^^»TT=r-
qtl^T^^j^cJ'c'^T^r'TR^f ^Îf^^^SiTlTI Bud. Oh. 1.32.
S'l. 69. ?ir^ffr — ^Tm ( p. p. of ^ft ) lean, attenuated
3^t "^^V- m. Ir^^— %^m: being added to v^^^\
^-f^ffiT^, ari^ ( 3T )
in the sense of possession; see com. on V. ^. 3T*>fr5r?rn^: ^"^

offering of lotus flowers offered to deities ( by the sages &c. ); cf.
infra XIV. 76. ^sCcfT^JTr —The rivers that are swollen in the
rainy season shrink back into their proper beds in autumn; ef.
Mud. III. 7. ^'TcT: ^^^T^T^^t: Bh.
9 ; ^Tiff^ Nit. The simile
suggests tenderness and beauty in Rama, and purity and cleanliness
in Kausalya. %âiqq?Tr TT'^riT^^^^ (bed-piece) vqr^?af ^^TT^'T-
Hema.
S'l. 70. %^^r —by affixing the patronymic affix arsr^by the
rule 3TJTq^^5?^r?S3f5r5IT?3T^ IV. 1. 164) fg being substituted
(Pa'.'-
for the final ?t by Pdn. VII. 3. 2 quoted by Malli. and the fern.
aff. % added. We have also the other form înfr ( Bhatti.
I. 15, )• Îf^^R— ^^?ct ^r?yH?q[?a\m- «*T?^=^*— ?^H*4 remarks
Hem. ^^^ ^^ &c. v^^^s modest or polite behaviour. Of. Uttar.
VI. 23, and Cf q^f f^^fra: ^S^m ^^TrTf JTÎTaT^ f^JT^t f^JJ^tJl f
—
Canto X. ] ( 257 )
S'l. 71. 3TKrnT?Tr--3n»TffrcTr ^. ^-5 attained or aoquired. armmi-

^^T ^[cT Tf% I H5^frc5TI ^tTP-irmri Sum- JTCr^^Ta— Main, understands
the two words in the sense of 'knowledge of the true nature of God
and the cosmos,' and 'restraint orer the senses.' Cf. ^^?qtiT^T»TJ
( ^ci^ f^^: &c. ) Bh. Nit. The words may be understood in the
ordinary sense of deep or thorough knowledge and modesty or
humility also; cf. \^^\ ^^l% R^^T.
S'l. 72. Cf. with this the description of Raghu's birth (III. 14),
and mark the difference between the effects of the births of the two.
—
^ffq- &c. The sky became clear, pleasant breezes began to blow,
diseases ceased to trouble the people and so on; see com. ar^fTTa;
Cf. flf?r?tfr<nT 5TT^Tf Rs^T I

Jan. I. 1. ^f^TrrTfl"— see supra III. 49.
S'l. 73. — refers to Purushottama.

?T??T =^§4^^:
—'^cT^ ^â^
^^ ^^' ^\^V- — For the presiding deities of the quarters see
note on cJt'PTTrT H- 75. Here according to Malli. the four
principal directions are meant, their deities being %^^ ^^, ^7
and ^^. "The Vi«h. P. gives, however, a different set, thus:
Sudhanvan, the son of the patriarch Viraja^ the regent of the
East Saiikhapada^ the son of the patriarch Kardama, of the
;
South j Ketumat, the son of Bajas, of the West and Hiranya- ;
roman, the son of the patriarch Parjanya, regent of the North.

Wilson's V. P. Vol. I. Chap. XXII. p. 153. " Pandit. f%,^^^:~
v\m T^'^T*^^:- T>T^^:-^*r: tbe sky (mid-space) ar^qiSfJicf^îT
?I% ^'T^r'?;- 5^3^f6'?rr :

—The direction-ladies breathed a sigh of
relief, as it were, in the form of the gentle and dustless breezes
that blew at the time of the birth of the princes. Oomp. the
description of Parvati's birth, if^raf^^ Tt^T^ff tP^cT &c. Kum. I. 23.
8*1. 74. ^^3 &c. —The smoke and the misty halo round the
sun are represented as the gloom caused by the injuries done by
the demon. 3T(Tvijt<»— 3Tq»mt W^Wrl ?TPT VTT^: aTTncT^jp^ ÎWIr^-
HTfô — ST'^f^^T y^"4<ri??ft. For they expected soon to be freed from
the oppression of B4vana,
S'l. 76. of^ffi^vif: —The pi. shows that Ravana wore a crown
on each of his heads. jrf^rsarr^^T &c- —
As soon as Rama was born
omens occurred in Lanka. Wreaths of pearls and gema fell
ill
down from Rivana's crown, foreshadowing the destruction of

the royal fortune of the R&kshasas.
S'l. 76. ^5r*F»T &c. —^jflpT:—of him haying excellent sons.

Cf. III. 19; and iTfvfrnt^«^RTTSr5W(?^ ^T S'fT^: ^^%\ \
R^fNrfTt 5^Tf«T f^?n^^ ffS^clt S^q'^qTîr^^: ll Kum. XI. 38.
B. N. 33
(268) [ Canto X.
B'l. 77, —
^TTR^»l2ft Here jt^ (^) is added in the sense of
I?r^n'the prodaot of, made or consisting of. ^jn^: or ^?nJ^^:
( m
added ?^f^ ) is one of the five trees of heaven whose
flowers on account of their great fragrance seem to be much liked
by the celestials; ef. Kum. VI [. 3; S'is'. VI. 67. ^cTR^rH its
flowers; ^^\ ^55fr—/sot. of the Perf. p. of qq;; 'fell.'
]^^l:'^'
^-Hf f^rT'^m'Tr &c. —The gods, by

showering down on Ayodhy4
flowers of the heavenly tree, Samtdna, commenced, as it were, the
performance of the decorations, ceremonies &o. that usually
appertain to such an auspicious and joyous occasion.
S'l. 78. irêr^^r^ :_^fjp ^f^Rr: ( auch as irrrT^^ ^jR^vn ,
&c.) '^^\. The Samskaras usually mentioned are twelve in number

(Mann. II. 27 ) of which three precede and the rest follow a
child's birth. These are (1) iriff'^TR , (2)5^^^, performed in
order to secure the birth of a male child ( see III. 10 ), ( 3 ) ^fnTf^ft-
ijT^R parting the hair of a pregnant woman, ( 4 ) ^jntTîf ( see III.
18), (5 ) ^Ti^qsâr on the eleventh or twelfth day after the
birth of a child, (6) i^-^^f^TOT taking out the child to see
the sun when
months old ( 7 ) 3r?rqT^?r performed between
three ,
the fifth and the eighth month usually in the sixth ,
month; (Manu. 11.34); (8) f^^^q (III. 28), (9) ^q^^^, (10)
^>5ri'=cT ( see Malli. on iff^r^ III, 33 and our note ad loe. ), (11) ^;tt-
^^^ a rite performed on a student's return home after the comple-
tion of his course of holy studies, and For other parti-
(12) f^fr^.
culars, see A's'y. Grih. Sii. Grihya I'aris'ishta
Kanrlikii J^ni, and
I. 25. Of these the first six were probably performed by the time
spoken of in the s'loka. srr'F't'T —
aT«TWT Joy preceded their birth;
because when the time of delivery approached, the king knew that
sons would be born to him.
S'l. 79. p^^p^îftirr—-By the act of educating or training them;
cf, supra I. 24. ^^ ^ — Hem. finds the fault of * redundancy' in

this as the idea is already expressed by ffTHin(<^r, but says — ?ffT
ST'l^fîT^ÎTffvTin^'T ^rffrrfr— As in K&v. Dar.— 3i«ilfi?r: t7îfT%-
5?5ftj[«?T- I ^»f[pJT% ^ 5'?TR ?^f^cT «FjHri'^ '^ II
S'l. 80. M^— Sinless, unblemished; arr^T^^J^rHt tupra

ef.
I. 5. ^c''^'*— The beauties of all seasons are supposed to exist

simultaneously ( and in perfect harmony ) in the celestial
garden of Indra; c/. T'I?«T%fT5f^^'T S^WHTffrf^T^r: i ar^TfJT'nsÎHl'^-
^?1^<?T3'TI^ II Kum. II. 86.
f
Canto X.] (259)
SI. 81. ?5n'^R — see Malli. q? is not added to îtj a* the end
of a Bah. when the sense is '
?f^cT ' good or respectable; so gwin^:;
but ^^l^[ ijrcTr m^ ^ m^'^^^^' l
T*T^^ &c.— see foot-note. 55—
^^TNffT; irregularly derived, by P4n. VIII. 1. 15 quoted in the
senses given therein; here the sense is 3TfiT3^T%j * known in the
world as.'
SI. 83. sr^rqôf-which softened their ^tsfpr; see 5ttj9ra §1.70 and c/".
Kamandaka— f 3^^^;t?^cT m^'nT^f^sra: «T^: I cfT^nisI'^ If#^ fl"^!^
Skk. III. 10; ^^frTr<^r?=^^rm«f^cT5'^ =^ mra^flT*^-- i Vik. iv. 3.
SI. 84. ^û &o. — shows that the king was in actual posses-
sion of the four Purusharthas.
SI. 85. —
n^^^FST-' 51^ ^rH^f: see note on sfc^gr supra V. 7. '
"^§1"^^— Malli. quotes the sutra ?Tr^cTT'^'rTT^'T?^»TIfK '^ ^^^ II- !•

51, by which a comp. with a numeral is allowed when this comp.
has an uttarapada, i. e. becomes the first member of another comp.
Some analyse the comp. as ^^k- sT'cTT: ^^î: m =^'5^^T jf^rfr fTPTI
Nq; I cf, 'îr^cfJTfr^T^r Sak. IV. 20. ^%ncf &c. —The ocean is
supposed to produce jewels for the supreme king; c/. Kum. II. 87.
Si. 86. H'^l^îro —

The elephant being the vehicle of Indra had
to suffer strokes from the weapons of the demons, which, however
got blunt when struck against his tusks. rf?f — state-craft, polity.
gTTrt^ '
— the expedients to be employed by a king for obtaining the
desired object. These are usually mentioned as four in number,
»»s. ^T or reconciliation, negotiation, ^f^ or bribery, vf^ or sowing
seeds of dissension; and, these failing, âi- or punishment by the
actual declaration of war. q^^T^^ —The bringing about of the
final result or the qor does not seem here to be
ultimate object,
used in its which see notes on VIII. 21. The
technical sense, for
fig. is Malopama; there is also anuprasa. The similes here and
that in the preceding s'l. imply the largeness of the bodies of the
princes, their uncommon physical power, their resoluteness of
purpose &c.
)
APPENDICES.
I.
The Metres Used in the Poem ( Cantos I.-X.

1. Sanskrit verse is regulated by quantity, and not by aoeent, as in
English' A qq- or stanza consists of four q[^s or quarters. A
qy^ is regulated by the number of syllables (ar^^s) or of syllabic
instants ( vn^Ts )• When a f tT has all the qj^s in one metre,
it is called a îTfrT) to which type most of the common metres
conform; those are called ST^T^^TfTTS wherein the first padm
oorresponds with the third, and the second with the fourth,
called respectively the odd and the even pa.das\ while ff^RfrTS
are those of which all the Padas are dissimilar.
2. The vowels sr, f, 3", tR and ^ are short and the rest long. The
quantity of a syllable is determined by its vowel. A syllable
with a short vowel is called ^^ ( light ) and one with a long
vowel is called 5^ ( heavy ).
3. But a c7^ syllable becomes 3^ if it is followed by an Anusvara,

or a Visarga, or a conjunct consonant, or when it occurs at the
end of a pada.*
4. Three successive syllables form a iroT ('foot'); marking a short
syllable as w
and a long one as , the different xpis, which are —
eight in number, may be exhibited as follows f 7 ^.^ ; :
I — >-' iff— ^; T —— >^ >^ ^ -^ ^jir — ]

—
-^ -y^ — ; q ; and ^ s^ v-^ >-' . A short syllable is
sometimes indicated in the definition by the letter ^7, and a

long one by ij.
METRES.
3T3^—( also called J^f^ ). Def. »srf% qs 5^ ?f4 î^ cT^ q^R^ I
ff^g'.Trf^lM ^Tnt ^tîT'^^r: 11 There are many

varieties of this metre, but the one defined is the com-
monest occurring. Each p&da of it consists of 8 syllables
of which the sixth is long and the fifth short, and the
seventh in the 2Qd and 4th padas is short and in the
Ist and 3rd padas long. The rest of the syllables may
be either short or long. Examples : — I. 1 — 94} IV. 1-86;
X. 1-85.
[ f^TTwTr — 860 Upajati below. ]
t 3uf3[»ivjth^'^5 iron" m\^ (?i^r^ 1 vrsmr ^^^ 'nf^ ^ g "t^w^ h

— —
(261)
^TTjn^—Def. [ ?^nt^??wT Tff m srift ij: ;jq^f^T êrsTRfmt »ft m ]
^fq- mfsrerrg ^t^ct ^rmisf^^f ^^ ii ]. An Upajati is a

mixture of one or more padas of ^7^^^] with one or more
of g^^q^gr, so as to form one stanza. [ f^^grr has 11
syllables in each quarter, the feet being jf, fr, «f, it, it;
3^??4^r also has 11 syllables, the feet being «f, cf, «r, T, TJ.
A mixture of other metres also in this manner is called an
Upajati. The student should always scan and find out in
each case whether a pada is in Indrav. or Upendra.
Examples .—11. 1—74; V. 1—62; YI. 1-84; VII. 1—69.
[ ^q^q^r — See Upajati above. ]
[3;^q^^ff^r^— See M^labhdrini below.]

^?:^— Def. ^^ ^z^^%'^^ml^g^'^ 12 syllables. Scheme— w, ^, ^, l
^. Ex.— VIII. 91.

f rff^f*^— Def. |?Trfe5F^»TTf ^*fr «Tfr 12 syllables. Scheme— I
^> *l> Tj \. Ex. — IX. — 54. 1
Oddj9odas-12 syllables; scheme oi gaUas, ^, ^, f, ij-. Even

padas — 13 syllables;scheme, ^, ;if, cjt, x, T. This is an
^m^ ItT. Examples',— v. 76; VI. 86; IX. 70, 71.
!I?rq"4r— Def- '2iT<III*r»?^^n7n: iTfrôfR'^ i 13 syllables, scheme, ^^
^) ^> ly T. The pause (^fff) occurs after the third
syllable. Examples-. -.-I. 95; IV. 87, 88; Vllf. 92; IX. 65.
W^HrfM^fr— Def. ^^^\ ^fifr =g^

?Tr% îs^^wm? I 13 syllables.
Scheme—'^, «f, 'Q', ^r, ^. Ex. —IX. 69.
jItTR'K — Def. %T âffcff ^^ni JTtTit^JÎ 13 syllables. Scheme—

*T, cT; T, ^; ^- The pause occurs after the 4th syllable.
Ex.— IX. 75.
^FfHRT^m— Def. jp7r^pm ^(7m^'^*>ff JTcfr m^^ ^^\ 17 syllables.

Scheme it, ^, ^, cT, cTj T, »r. The pauses occur at the
fourth and the tenth syllables. This is the metre exclusively
used by K&lidfisa in his Meghadfita. Ex. —VIII. 95.
'fr^THTf'C'TT— (also oallsd 3Ttq''efj'^%^, of which it forms a special

variety) Def. 5^ ^ \îi{ ff^cTT ^f'ffînq^T g JTra-^nfKt-
q^ Odd pada — 11 syllables; scheme
I ^, ^, sr, T, iT-
Even pada — 12 syllables; scheme — ^, tt? J., T. This is

an ar^^JT f^. Ex.— IX. 66, 72,
l —
(262)
^\f^^ — Ijef. ^^JT'T'^grr'i JTinr^T Hrf»rm$^: i 15 syllables; scheme

^, ^f ^, ^, ^' The pause occurs after the eighth syllable.
Examples:—11. 75; V. 74, 75; VI. 85; VII. 70, 71; IX. 67;
X. 86.
^tfrgirr — Def. a»rafwf ^^rr^rm ^^ l
H syllables; scheme—^, ;t, Kf
cJ, IT. ^•.— IX. 68.

T'^TW—Def.
5f, T-
^ g f^?«?Sfrnrfr ^fn
Eaamphs: III. 1-69. —
12 syllables; scheme— «T, f[,
^^??Tr?n7^r— Def- ;j^f ^W^T^^^'\ ?T*T^ ^r W. \ 14 syllables;

scheme— cT, *T, sr, ;jT> T, »r. Examples: —V. 63-73; VIII.
93, 94; IX. 55-63, 76-82.
f^^lf^— Def. i%q% ^^r3{\ 5^: ^^ ^*Trrpjrw 5^?§^TMT^r \ Odd
p&das — 10 syllables; scheme —^, ^, i\, x\. Even padas — 11
scheme ^, »f, ^,
syllables; — g^, ir. This is an sr^^q- f tT-
^*.— VIII. 1-90; IX. 74. ^
[ IlirPrirT — Malli.'s name for ff^jtf'r^'r- ]
^nfwsfr —Def. Jn#r jf^ ^'^rfeyjfr ^3rc91%-' H syllables, scheme

^f <T? f[> T, T- The pause occurs at the fourth syllable.
Ex.— IX. 64.
[
—Malli.'s
i^*Tf^ name for q-3*Tlf«r!nt. ]
^Hltll — Def. ^R^r ^^JT^S^trrT ^1 11 syllables, scheme—^, ^, m,

x[, IT. J?«.-IX. 73.
ffC^fr—Def. ^T^JTT^n^r 1= 'si2yr%|"^tr^nft JTfTI I 17 syllables; scheme,
•Tj ^, ^, J., ff, rJ", ^- The pauses occur after the sixth and
the tenth syllables. Example III. 70. —
II.
(A) Questions from Cantos I.— V. set at the

Bombay University Examinations.
( N. B. In ibis list the portions set for traDslation, and questions on
metre, as well aa all repeated (luestiona, are oiiiittod. The references in
the brackets are to the Canto and the s'loka ).
1866.
1. ( ) Give two instances of each of the figures Upam^ and

a
UtprekahA ( I. 3, 13 &c. ) (b) Explain the [allusions in the fol-
lowing:-5^^fTf?f— ( II. 75 ); ^ "^ JTfcfV—( IV. 32 ).
2. Explain the following giving the context where ncessary:
(1)^ qi^'fij^;^^" (II. 34); (2) 3TT?*F'nr5Tt fsif'iTcTr^'^TT ( II. 41 ); (3)
»T^ ^^ irHV=?^T'?q; ( V. 22 ).
— — —
(263)
5. Explain and analyse the following compounds, referring ikeih

to their several classes: —f^qi?^"— ( HI* 4^)5 ^rrfHT'' (J-^- Ô)-,
^te%cT°—(IV. 62); i^m (V. 25).

4. Explain the following forms: ??T^Rt ( II. 4 ); f%"«(|qT^ ( II. 6);
5S^ ( II- 42 ); 3T5cTT^HP^ ( H. Gl ); JT[%S^^r=3; ( HI. 67 >,
arnr^r^T^TTiiTf^ ( V. 30 ).
6. (a) Give the substance of the conversation between Dillpa
and Kumbhodara (II. 34-59). (b) Trace Raghu'a career of conquest,

giving the names, ancient and modern if any, of the countries
through which he passed, with their geographical positions, (e)
"What theory about the illumination of the moon do you find referred
to in one of K^lid&ea's s'lokaa in the Eagh. ? ( III. 22 )
1871.
1. Give as many meanings of the word ?ff^ ( 1. 85; V. 8, 15 ) as

you know, arranging them in the order of their derivation. Write
—
a note on Tj?^t'I'ff?T?^ (V. 16) giving an abstract of the story or
myth referred to.
2. Explain the allusions in the following: — ST^TSTJT*^'- &c. (III.
50 ). What tense is HtfC ? What other roots are conjugated

similarly in that sense ? In what cases is the augment omitted ?
Do you know any part of Sanskrit literature where it is omitted

very freijuently ? Give all the senses of 3?^ in the order of their
derivations with instances ( II. 18; II. 34, 39 ).
3. Write a note on the conjugation of s^r^ (See Sm. Gr. §§ 330).
1875.
1. Dissolve the compounds :—cT5fffi??T?^5T%^, aTcfrf^J^S (III.

40, 41 ).
2.Give the senses of ^t\ ( II. 44; III. 27, 51 ); ^^ ( II. 83 ) .
f^gfl ( IV, 48 ) 3TtTU?eT ( IV. 53, 58

; fT# ( V. 13 ); fm^. ( I. 93 ) j )-.
3Tq (IV. 26); q^>TT»T (V. 70). Explain ^m^R (I. 60); ^(ii% (I. 63);
iTl^^ ^^^K (I- 20 ); T%I^v:r ( V. 5 ).
3. Write grammatical notes on: —j^^r^'^ ( L 63 ); ?§îff2TI%«[t-

f^r. ( IV. 20 ).
4. Quote verses (a) refering to the influence of the moon on the

sea (III. 17; V. 61 ); and (b) of similar import to <T*T^1Rf ^RW
&0. ( V. 13 ); (c) 'merit asserts itself everywhere' ( IH. 62; I. 9 ).
(264)
1882.
1. Name and disflolve the conjpoands : — rfrirT'vi^, ^T^flf 1^1* &c.
( III. 53 )} r^qfTIJf?^t^( IV. 48 ); fflSTT^^ ( V. 67 ).
2. (a) Give the precise meaning of 3T«;^ ( I. 59} IV. 6 ); qrg^ffr

(II. 20 ); 3TrT^*T (I. 155 n. 31 ), ^?i«fr ( IE. 49 ); n^?T ( III. 48;
IV. 87 ); ^tR^ (IV. 16 ). (ft) What etymology does K4li. give of
^ (III. 21 ); ^^ ( II. 53 ;; j:\;si^ ( IV. 12 ). (c) Write short notes

on îfâ^^s ( I- 31 ); au^^rTl^cT ( H. 13 ); 3Tr%?T ( III. 12 ); 7^^%f<(J
W^: ( III. 13 )-, g^x#f[?r^ ^^^ ( IV. 40 ).
3. ( in your own words as

State briefly in Sanskrit far as pos-
sible what according to Kali, constitutes the ideal of a good king
)
(1.13-30).
4. Quote sentences illustrating the use of ^-^ ( III 40); f^»^
(II. 62); r%cT (II. 27 &c. ); ^tt with arf^ ( V. 28); ?%th (V. 16).
1888.
1. Give the meaning of (you can) the
explaining as fully as
following expressions :— ( V. 25 ); ( 2 ) f%
1 ) =^g«f?5(jrK^r"T»n> (
l'^«T?f^^fviqn: ^^^]^ (V. 33); (3) ^7C]m ^Rfq JT^TT (V. 33);
(4) sqTfTTT TfTl^V^.- ^m c!?^cTT R«|tTr ( 1- 27 ); (5) in%Tr?TiTm^rT:
^?*HT ^ JTfTfJRl^ (IV. 64).
2. Derive and explain the following, adding grammatical
notes:— arifcT^^ ( V. 2 ); ^^^ (^) fj^: (V.9 ) ; êrTR^^^r (V. 24 );
|^nfR(I. 45).
3. (a) What is the characteristic of a ff '«rf^rri; saoiifice ? ( IV.
86). (b) What do you understand by the expression *\^f^^ ffq:'
used by Kali.':' (V. 5). (c) Name the fourteen lores or Vidyas ( see
Malli. on V.21 ).
1892.
1. Name and disolve the compounds underlined^ i.«. — ir^^ri;
( 1. 61; V. 4 ); fôJ^^fi^?: ( 1- 61 ); 5?'Tr5'^3ftf^'^: ( 1. 63 ); Rfr?!'?:
( 1. 63 ); 3TJfr^f7W<TcT5<>'mJ=^'r ( II. 13); ?§«3T'T[%'?rit'=i?: ( IV. 20 ).
2. Explain, giving context:-(a) ^jt: ^^yîm &c. ( I. 10); (6) arrw-

^^^^^ &c. ( I. 13); (c) ^^5ai5?5rg &c. (1. 18); (d) ^â[ i^^ &o. (II.
( HI. 29 ); (/) x^ f|- ^f^
40);
JTft (
3.
(«) fifi-qr T?
III. 62 ); (g) ^
^^fl^f^^ ^€T?f^
(a)Derive the following words:

ff T5«T iffTll^f »T ( V. 54 ).
5^f^«ft-
— 3?^^ (I. 71 ); ^Tif (II. 40);
f^^f^Sf^(lll. 59); ^^f«r(IV. 87). (b) Explain the meanings of the

following word3:~5;i7?>,^r (I. 84 ); ^{^ (II. 18 )j ^rf^ ( III. 1 );
3jfT? ( III. 16 ); jfKl^ ( HI. 33 ); ip?ir5r? ( HI. 37 ).

—
(265)
B ) QUESTIONS BASED ON THOSE SET AT THE

(
CALCUTTA AND OTHER UNIVERSITY EXAMINATIONS,

1. Why is the poem called x.-^^ though it gives the history of the solar
race ? What gender is ^^^'^r •''
Criticize the name grammatically.
2. Mention the chief characteristics of a Mah^kAvya and show that th»
Hagh. belongs to that species of poetic compositions.
3. What style is IheRagh. written in? What are its special merits?
Write a short
4. criticism on K4lid4sa'8 poetry as met with in.
the Ragh.
Canto I. 1. Explain the form ^^r^(9). Why is it used in the
plural ?
2. 'BJ-S^TrsT'Tr tT3?^^T'5( 5-8 ) Illustrate aa many of these —

epithets as yon can by quotations from the Cantos you have read.
3- ^<r M l?»TPT &c. (21)-"The ^^ in 3Ts(^ &c. being compounded

i
cannot be emphasized and the si. therefore loses its beauty.''

Examine this criticism of the rhetoricians.
4. "^smrpfi &c. — si. 38. Criticize the poetic merits of this verse.
5. K&lid&sa happy in selecting his similes.
is said to be always
Justify this remark by giving two instances from the first Canto.
6. Give in your own words as far as possible a description of
the hermitage of Vasishtha. (49-53 ).
Canto II. 1. Explain the points of similarity on which the
similes contained in the following slokas are based and their
appropriateness :
— (1) ^]ifj «'%f^3rT«? ^m^^'S???!; 5 (2) T^F'TTT'i.cT &c.
—3Cr^; (3) ^TfTfr:- igxrnoT: (42).
2. Account for the various cases in ^cTR?TT^rg'f«Trf"- &c. ( si. 8).
8. fr«t ^«T &c. si. 25. Explain the significance of the various
epithets in this si.
4 Explain fli?sriTpff 31 ), i^?f^^r^: ( 42 ), ?%tt^^^-

(30 ), ^j^?[^^ (
f^Rt (44), ^^^T'JoifJT's^^'JT ( ) and ^^JPcTfHtfftS 55

(^7). ?Tc'j^?Tt (42)
V. I. cTcjt^^ — which reading do you prefer and why r
Caxto III. 1. ^^^ — arj-^f — c!^rT?[ — ( 1 ) which reading do you
prefer and why ? Explain the Instr. g^q- and ^T^TT in si. 2.
2. Explain the force of the epithets in r^qrrJTT'Tf &g. si. 9.
3. Give the meaning of ^tt^? ( )• H What according to Hindu

ideas is the proper gxRTT ôr a woman r
4. Explain the points of similarity and the force of the simile

in si. 30. What are the 'ff^qT^ referred to?
) —
5. Explain the Samis* in ;7iiTf*r (49). In what oonnexion

are ^rf^ and Sagara referred to ? Explain the alluaiona. ( el. 50 )v
6. What is the correct meaning of snTQrsif in si. 63 ? Explain th«
position 3Trc?l? ( si. 52 ).
Oanto IV. 1. Explain the >lmile8 contained in the following:

^^ g^ Mvji ^ ^f &o. s'l. 3; STNTT'^^rcrOTlTT: &C. s'l. 37; ^^fg^— â^f^:
s'l. 61; ^rT^fSr^:— S^s^Md'rfR^ sl. 63.
2.Mention the changes in natoie that mark the advent of

autumn according to K^li. ( si. 14-24 ).
3. '=^5.'?^^f Î ^^:' (30) — what are the four ^?v:Ta poetically
referred to ? What are the aiz divisiona of an Indian armj referred
to in sl. 26 ( ^]k^ ^c7»TT^«T ) &0- ?
4. î\^ 55*T^^Rt s'l, 72. Give as many conatructiona as

poaaible of this s'l. Din. proposes an alternative interpretation of
thig s'l.; what fault do you find with that ?
5. Explain the allusions in ^^^\^^ft^W' ( 21 ); 5T5T?T«l"f

iTWlf%f î\rv: ( 32 ); ^r»IIWt?^rR?T: ( 53 ).
Oaxto "V. 1. Account for the Ace, the Inatr. or the Dat. in the
following :— sTTgr^fi ^ «l?r^ ( 5 ); ^;{^^^ if jrT ( 10 ). 3Tr^^:orT^
s%: ^?^ <Tr^^ «p^ ?rfirarT ( 13 )•• ^Ftrmîr fm^ ^^m^^jjr^-

(15):
f %iTr^ ( 20 ): JRTf^ct ^R ^JT S'liTT ( 38 ); TJiffai^m: HilH^ml —

?^n»r^3fr^ ( 63 ); T%^r f^ôi ^rq^rnig^r ^^? ( 64 ); pf?r^>R ^rftrisciR-
'^^^m} ^^^^f^^^m &o. ( 67
2. In what sense and why are the following put in the Atm.-
îr»iT?^T^ T%mt w^fP-
and ^TRr^^Tf^T^n^nT^ ^ *ng:
( 37 ), m\vC^ ^ T5»f^wr ( 55 ), irr^^Tf^
sn^^f^ ( 57 ), ( 71 ) ?
3. Explain the force of the epitheta aTRVTr^TTfnfrc??^^: ( 15 ),
q^tHfTff^?Tff^: (23 ), and ^?Rfr^: ( 66 ).
4. What is a ^fo^jf r NayiJca ( 67 ) ? What ia the meaning of ?TTf

in ttT^T^<T^^T( 64 ) ? Has it any other meaning in rhetoric ?
(c) OXHEU SELEriED QUESTIONS.

1. (a) Explain and illustrate the different significations (by giving
îvotations from your text ) of the following: cg^, STRHT* %, f|[«r» —
srriR. ^^[T, »r^, 9^f , ir??^^ and ?vr with
iff^, f^ri;, ^r. n^, ^\i, îps,
3-q. {h) 3iV^%:— I n. 49

ftvnpqxijqfg^ (III. 24); and ^ '^^^... );
rai^^MTf^R W- ( m^ 31 ). Does 77 mean one and the same thing in

«U these eomponnds ? If not, give the different meaning!.
) »
( 261 )
2. Write short notes on ^^T^ %fpTf HfgfloTWTÎ^, 3T?fiTfaT^,
f^, and îT^TH.

3. Expound the Samasas in the folio wing:-^?^TeTT'E^?r(T'»T, ^fW«i:
4. Explain and derive the words

following 31T? :
— HTf^'^T,
^rTi, 3TRl[*f, arf^Tr^^ri 3TR^^> ^jvm, sft-î^, f^?T^^> 5^^> I^^t^?^»
¥*nT^5«lT.. ^r^g^ST, 3Tg«Trj STR'TR, f R^T«IT, S'T^T, 3T?'?. 3TSf^, 3"»IF«?S',
f?T^, Wc^rf ^, f|?TnT'T, 3R^T, 3TT^TTW, ^T'S^f.
5. Write grammatical notes on the following:— ^nre^:, q?-?mT-
CANTOS VI.-X.
1867.
1. Arrange the following passage into a s'loka, omitting the

word enclosed within brackets fF?sr»TR: € vr^ ^qiWrTW f ffnT^'T:
—
^nmîf^ I ( IX. 67.
2. Describe the practice of Svayamvara as it prevailed in India
in ancient times. What
Kings were present at Indnmati's
Svayamvara ? Mention the names and positions of the countries
over which they raled.
1872.
1. Translate and explain where necessary —VIII. 84 ( g-^^ &;c. ).
2. («) Explain the words— ifl^nTT^, i^^^T, qr^^TT^^, af^H^?^ »nd

^ l ti:».d - {^) What do you know of the Maruts and of Vamna ?
1877.
1. Translate closely:— IX. 48, 50, 52, 53. Dissolve and name
th« oompoauds underlined ( tiz. ffjjy^JR'f^^re^:, ffTT^rTTt
—
2. Explain, atating the context where necessary : — (a) f?^^
( ti ) 'T^^;^5W?5'TITJI^: ^JTÎ?^':^: I VIII. 21.

3. (a)
Give the meanings of pysvjfof, J«I'3T^> ^l'^T> ff^'T,
!f??T^T^^^cTfci: ( * ) Write grammatical notes on ^^m, «rFTTfff^ •nd-
.
f^nrhr^^r '^'^T?[1^- (c) Quote a passage from VI. X. containing —

an idea similar to that in the following, and one inconsistent
with it— ^«RT: lT«I*Iî^%%?lI«lW^5rT'^ ^'i^r TV^: I ( VII. 15 ).
1888.
1. Translate closely—VI. 73, VII. Name and

49, VIE.
36.
dissolve the compounds '^«r^Tfî, 'TRlfiT. Which reading in VII.
36 ( VT[if[^«rf V. I. 'orqraK^f ) do you prefer, and why ?
2. (a) Give the meanings of f^Koriff^, gfy^s, ^r^TTf<"> f^f rf#'5^r
STeT^f^, f%3'^T3'iT, 'JfTR^r. (*) Write short notes on — (1) i%-.?TFT
?t?!!T'=*Tr'TcTT, (2) iF^c?«T:, (3) ^t!qif'q?fpJfr«JTT?=5[, (4) R^fft TT^TPTcTT p?:,
(5) fJ?^^ Tf^^tra' f^TI ^f^?: 'Fte^jfr =^, and (6) ^^^;?tT-
3. Give in English some of the moat important of the

geographical intimations of ancient India contained in Oanto VI.
4. (a) What
trees and plants are most commonly referred to
by Give both their Sanskrit and scientific names, (b)
K&liddsa?
Give a short sketch of the character of Aja, with quotations or
references.
1899.
1. Paraphrase— VI. 48, IX. 61. State the Figure of Speec^
ecb-
generally used in Oanto IX.
2. State some of the best reflections of KÎid^sa on human lil
3. Derive and give the meanings of î3;?^«T, l^^, ^T^*-

(rt)
I* 1
(b) Write grammatical notes on ST^lf^îrr'sr^^ ^rWTr«??JT^jTn»F'T* r ,
^^^BTTR. (c) State what you know of JTTff«iT?fr.. ^T^^T and 3"^»r5T.
In what connexion are these used in your text ?
4. Explain fully, giving the context — (1) f^rêrîir: fê?
S.^.'PTU^* T? »lR»imiI^ ?J^ VI. 27; (2) ^c5!T^SC!TirR^m: &c. X.
28; (3) 5^(ir?^ ^>W^^ &c. X. 3C..
n^^m^^^S^^&S^

kALidAsa Raghuvamsam

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02S3^<

The Commentary ( the Sanjivim ) of Mallinatha.

With a literol translation into English, copiouB mtes in

Sanskrit and English and various readings, c^'C. ^c.

aHQRESHWAR RA'MACHANDRA KALE; B.A.,

Author of ' Higher Sanskrit Grammar ', Saliityasarasatlgraha

Sanskrit Commentaries on the Vikramorvas'iya of

Third Revised Edition

GOPAL NARAYEN & Co.

Printed by Chint&inan Sakh^ram Deole at the 'Bombay Vaibbav ' Pr«a*,

ftqomf%T%^^j^c^ ^i^^^: m\^ ^^(i^^t

A full, literal translation has also been given. What is intended is

PREFACE TO THE NEW EDITION.

Bombay, June 1922. M. R. Kalh.

I. THE SANSKRIT KAVYA.

^^o^qjfsqs orSmall Poetical Pieces', a

the KSv.-D. and the Scih.-D. For a historical outline of Kavya

it has been chiefly applied to verse.

verse are mixed are classed as Ohatnpu^ ( e. g. the Bbaratachampu,

and energy; and that the number of extant Mah&k&vyas, therefore,

^^: ^r^^ ^rfr vfrdfrrTirorif?^: n

5TwrPr g^-srr ^r^\-- ^¥ ^vz^^y\^: i

fffff r^fr^f ^TT^^?r ?t^^^m^»c ii

sTifr T»Tfl^m€r^? 'T^f%^^ 7^ ^ II

6 iiaq^jmi ^m "^ifTfTfi?^^ S.;ii. —

7 We give above the de&Ditioo which is more

detailed, since its author, who lived in the fifteenth century,

@tb«r definitions, more or less similar, will be foui^d in Agnipurlna

5TRrfTT»T^: ijrn" ^'t' ^«^T s:?^^ ti

^•^rfi'sn' ^^nfrif ^rwr^rnpr sT'fr ?? ii

Thas, a Mah4k4vya should be divided into chapters, called ^ifs

8 A 'Dliirodatta' ('self-controlled and exalted' ) Hero 10 one who is

a ^it mav be written in a number of metres. The contents of

It should be borne in mind that these elaborate rules were

evolved after minute examination of all available specimens.

though it does not describe everyone of all those incidents

and topics, still conforms mostly to the definition given, as

troduced as accessories {e.g. in Oanto III. and VIII.). It is

Canto is a number of different metres.

10 The iBina-Samlitii explains that the number of

To turn now it must be admitted that we have absolute-

11 E, g., 3Tgc^^: ^^ f^JTlcJ^rnc: (Vikr.), f^^HHl^fr «r^% m\% iTbid.) &c.

&c. S'ak, V. and our note ad loc.

12 Cf. 3TfM«^nf M1<*>ri^

a list of the works generally attributed to him: — ^1) ^irj^tTcJ'

productions of other poets. There is another fact also which should

^ff^^T^ ^ %^f%r|^ \l^\X ^h^\^\l ^r[%?r^^^'r f%5

chronological order. But we have no external evidence, whatsoever,

Kdlidasa is indisputably the greatest master-mind in Sanskrit

"When Kalid^sa's sweet sayings, charming with sweet sentiment,

**Two things only, viz. love-sport and Kiiliddsa's poetry, delight

^VJ^^- q^c^Tfef't ^\^ «pcT 5T^ 5TITT: II

That his countrymen should place him at the head ol all

Sanskrit poets, unparalleled and unsurpassed by those who have

preceded or followed him, is natural enough; but he has evoked

spontaaeous outpourings of praise and manifestations of admiration

1 name thee, O Sakuntala, and all at once is said. " ^*

When we remember that Goethe himself was the greatest poet

eminent modern orientalists have also offered their tribute of praise