STUDIES IN ORIENTAL CULTURE NUMBER SIX
PHANTASIES OF A LOVE-THIEF: THE CAURAPARCASIKA ATTRIBUTED TO BILHA~A
THE
CAURAPA~CASIKA ATTRIBUTED TO
PHANTASIES
BILHA~A
a Critical Edition and Translation
of Two. Recensions with sixteenth-century illustrations of the text
COLUMBIA UNIVERSITY PRESS NEW YORK AND LONDON
~
OF A
~
LOVE-THIEF
Barbara Stoler Miller
Barbara Stoler Miller, Assistant Professor of Oriental Studies at Barnard College, is the translator of Bhartrihari: Poems.
to UNESCO COLLECTION OF REPRESENTATIVE WORKS INDIAN SERIES
This book has been accepted in the Indian Series of the Translations Collection of the United Nations Educational, Scientific and Cultural Organization (UNESCO)
Copyright
©
1971
ia University Press 0-23 1--
W. NORMAN BROWN
who has been both inspiring teacher and exemplary scholar
----i~
STUD1ES IN ORIENTAL CULTURE
Edited at Columbia U,u.versiry BOARD OF EDITORS
Ivan Morris, Professor ofJapanese Wm. Theodore de Bary, Horace Walpole Carpentier Professor of Oriental Studies Ainslie T. Embree, Professor if History, Duke Universiry Ch~rles P. Issawi, Ragnar Nurkse Professor of Economics
ACKNO''''LEDGMENTS
~,----
The material in this volume was first presented, in somewhat different form, as my doctoral dissertation to the Department of Oriental Studies at the University of Pennsylvania in 1968. My attention was first drawn to the Sanskrit verses entitled Caurapaficiinfikii by reproductions of several leaves from the illuminated manuscript in early Rajasthani style. After studying the verses from available printed editions and two manuscripts in the collection of the University of Pennsylvani~, I became interested in the poetry and the work's textual problems, as well as in the style and location of the illustrated manuscript. S. K. De's statement, in A History rif Sanskrit Literature (Dasgupta and De, p. 368), that the text exists "in at least three distinct recensions" and W. Solf's observation that these recensions have only five verses in common suggested the complexity of the textual problems. My teacher and adviser, Professor W. Norman Brown, encouraged me to undertake a critical study of the text and illustrated manuscript, as well as a verse translation of the poems. Although the edited text, translation, and analysis of the paintings are entirely my own responsibility, the work could not have been done without the help·of numerous people; some of them deserve my special thanks. Professor Royal W. Weiler's continued encouragement and pedagogic wisdom have been important to me since I first began my studies in Sanskrit under his tutelage. I have sought his help often and to him my thanks are many. Professor Stella Kramrisch has given generously of her time and erudition in helping me to evaluate the illustrated manuscript of the CaurapaficiiSikii. For her own enthusiasm regarding the unique contributions of Indian art and for her interest in my work I am deeply appreciative. While in India from 1966 to 1967, I had the fortunate opportunity to consult with various members of the staff of Deccan College. Particular thanks are due to the director, Dr.S. M. Katre, who graciously gave me the benefit of his own experience in problems of textual criticism and made the facilities of Deccan College available to me; to Dr. D. P. Pattanayak, who provided me with many [vii]
Acknowledgments insights into the methods of historical reconstruction and other relevant linguistic matters; and to Dr. B. A. Patkar, curator of manuscripts at Deccan College, who procured many manuscripts for me from Indian libraries and kindly helped in the job of microfilming these. Special thanks are also due to Muni Sri PUJ;lyavijayaji of Ahmedabad, who provided me with photocopies of many important manuscripts from his own and other collections. Financial support for this research was provided by the American Institute oflndian Studies and the American Association ofUniversity Women; to these organizations I am grateful. In the course of preparing the dissertation for publication, I have received invaluable help from several sources. I want to thank Professor Ludo Rocher, who was chairman of my dissertation committee, for having studied the material with attention and for offering helpful corrections to the translation. I am indebted to Professor Daniel H. H. Ingalls for his meticulous examination of the text and translation. lowe many clarifications of textual and translation problems to his sensitivity to Sanskrit language and poetry; where errors still exist, only my own density is to blame. Thanks are also due to Harry Segessman, Elisabeth Shoemaker, and Naomi Aschner of Columbia University Press for their editorial suggestions and for the care with which they have treated this volume~ 'Without the patience and constant humor of Jim, my husband, none of my work would be possible. His critiques of my methods and of the logic of my arguments, as well as of my translations, have been generous and welcome throughout the many revisions this material has undergone. I think that he shared at least some of the pleasure I found in editing and translating the Caurapaiicasikiipoetry. Barbara Stoler Miller
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CONTENTS
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A Note on Sanskrit Pronunciation and Transliteration INTRODUCTION Statement of the Problem The CaurapaiiciiJikii Style
3 7
SANSKRIT TEXT AND TRANSLATION The Northern Recension The Western-Southern Recension Additional Verses TEXTUAL CRITICISM OF THE CAURAPA.RCAsIKA Selected Abbreviations and Symbols in the Critical Apparatus I. Collection of the Manuscript Evidence 2. Manuscript Sources 3. Printed Editions 4. Classification of Manuscripts 5. Secondary Evidence 6. The Relationships of the Versions and the Determination of the Readings 7. Variant Readings and Related Notes 8. Notes to the Translation 9. Index of Verses in the Critical Edition
New York, 1969 AUTHORSHIP OF THE CAURAPA)\fcAsIKA
BIBLIOGRAPHY 193 [viii]
Xl
96 98 100.
12 3 12 3
134
Contents APPENDIX: THE ILLUSTRATED MANUSCRIPT The Place of the Caurapancasikii Illustrations in Rajasthani Painting Bibliography Relevant to Early Rajasthani Painting The Mood of Love in the Paintings THE PAINTINGS 2 15
202 209 2 13
A NOTE ON SANSKRIT ---,~ PRONUNCIATION AND TRANSLITERATION
~--
In reading Sanskrit words, the accent is usually placed on the penultimate syllable when this is long; otherwise it is placed on the antepenultimate. A syllable is long if it contains a long vowel (ii, i, il), a diphthong (e, 0, ai, au), or a vowel followed by more than one consonant. It should be noted that the aspirated consonants kh, gh, ch,jh, th, dh, ph, bh, and so on are considered single consonants in the Sanskrit alphabet. Vowels are given their full value, as in Italian or German:
a as u in cut as a in father as i in pit i as i in machine u as uin put u as u in rule r a short vowel; as ri in river e as ay in say az as ai in aisle o as 0 in go au as ow in cow rh nasalizes and lengthens the preceding vowel ~ a rough breathing, replacing an original s or r; lengthens the preceding vowel and occurs only at the end of a syllable or word
Ii
11'1
II
il
I I
I
i,
II III
Ii! II'I,'I
Iii
Most consonants are analogous to the English, if the distinction between aspirated and nonaspirated consonants is observed; for example, the aspirated consonants th and ph must never be pronounced as in English thin and phial, but as in hothouse and shepherd. (Similarly, kh, gh, ch, jh, dh, bh.) The differences between the Sanskrit" cerebral" I, Ih, ¢, ¢h, ~, and" dental" t, th, d, dh, n are another distinctive feature of the language.
II'I iii
il'
II
1'1
hi Ii
II',I i
'I
II
I'
[x]
[xi]
A Note on Sanskrit Pronunciation and Transliteration
Note also:
g
n c
ii S,
~
as as as as as
g in goat n in ink, or sing ch in church n in senor (Spanish) sh in shape or s in sugar
Sanskrit words used in the English text follow spellings in Webster's Third New Intemational Dictionary wherever these occur; otherwise they are transliterated with 'appropriate diacritical marks. Geographical names and names of languages and scripts are anglicized in accordance with the usage of Webster. Names of historical, fictional, or divine personages are given in transliteration with diacritical marks.
Ixii J
INTRODUCTION
Statement of the Problem
_ _ _ _ _ ~ STATEMENT OF THE PROBLEM
~
The Caurapaficafika is a series of lyric verses in which the parted lover evokes his mistress's presence by recollecting her beauty and the pleasures of their love. I Each verse is a quatrain in the Sanskrit meter Vasantatilaka (Spring's ornament) ,2 begir.ning with the phrase adyapi (even now), and voiced in the first person. Romantic legends attached to the work relate that the poet became involved in a secret affair with a king's daughter and was condemned to death by her father when they were discovered. While awaiting execution, he recited the adyapi verses to celebrate his love. The verses worked their magic, and the poet won his life and the princess. Scattered references to "the princess" in the verses may well figure among the extravagant epithets by which the lover's mistress is characterized and need not be understood literally; the subjective " I" may be seen as a rhetorical device to intensify the emotional atmosphere of the verses. Nonetheless, it is impossible to separate the legend from the adyapi verses within the Indian literary tradition. It is notable that in the Northern Recension, where the Caura verses are rarely accompanied by accounts of the legend, elements of the legend are more pronounced in the verses themselves. The mistress is more often called "princess," and direct reference is made to the lovers' separation and the poet's imminent death. The vivid circumstantial details of the verses could have given The designation CaurapanciiJika (abbreviated Caura) is used throughout this study to refer to the body of verses that are in Vasantatilaka, begin with adyapi, and are in the first person. Verses of the legend that accompany the adyapi verses in many manuscripts are not included in this category. Literally the title means "collection of fifty by a thief." Each recension of the work contains fifty verses. The word caura may in Sanskrit refer to a thief of hearts, or a love-thief, as well as an ordinary robber. 2 Each of the four lines in a stanza consists of fourteen syllables in the metrical pattern - - v - v v v - v v - v - -"-. In Sanskrit prosody, as in Greek and Latin, rhythm depends on the amount of time required to pronounce a syllable, not on stress. I
rise to the legend, or some legend could have attracted the verses. Nothing can be proved either way. Much diversity with regard to the authorship and the title of the work exists in the manuscripts. Although the popular title Caurapancafika has been retained for the critical edition, the title BilhaT)apaiiciifikti is equally acceptable in terms of textual criticism. Wh:~ found following the legend of the poet and the princess, the adytipt :erses a~e known as part of longer works entitled Bilha7Jakavya and BtlhaT)acartta. 3 The work is also variously known as Caurafataka BilhaT)afataka, Bilha7J,anii!aka, and Caurisuratapaficafikii. 4 . ' ~anuscripts of the type centered in Eastern India generally attnbute the Caura to Prince Sundara of Caurapalli; the commentator GaI).apati attributes the work to Cauramahakavi. For several reasons, however, its attribution to the eleventh-century Kashmiri poet BilhaI).a is most likely. This attribution is found in manuscripts of both recensions from the region of Gujarat and Maharashtra as well as in most South Indian manuscripts. The Western Indian versions include the oldest dated manuscripts known and also the most conservative codices. The Eastern manuscript tradition which attributes the work to other authorship, is clearly later in t~rms of textual criticism; it is likely that as the work migrated eastward its ~ss~cia~ion. with ~ilhaI).a was forgotten. Also notable is the great simIlanty III subject and style that exists between verses of the Cau;a and. verses of chapters VII to IX of B,ilhaI).a's court epic, entItled Vtkramiiiikadevacarita. s The marriage and relationship of his patron, the Chalukya king Vikramaditya VI (A.D. 1076-1127) 3 Both of these forms of the legend tell essentially the same story, using different names, places, and words. One form accompanies the Caura in manuscripts of the Western-Southern Recension, type III; the other is in manuscripts of type IV (see Textual Criticism, below). In order to distinguish between them, the former shall be referred to as the piirvapaiictiSat and the latter as the caritam' these are th~ir most common titles in the manuscripts. The texts of the lege~d are not edited here, but loosely edited versions of them are found as appendices in Tadpatrikar, Caurapaficiifikti, pp. 20-34. 4 The last title, found only in the manuscript BORLI (mixed-codex I in the Critical Apparatus), is an obvious elaboration in terms of the content of the verses. 5 Edited by Georg BUhler. More recently edited, with commentary and Hindi translation, by V. S. Bharadwa.
Introduction
Statement of the Problem
with the princess Candralekha of Karahata is described in verses of these chapters with the same attention to sensuous details of the princess's beauty and love's pleasures that characterizes the Caura. 6 Thirdly, verses from both the Caura and the Vikramiiftkadevacarita appear, attributed to BilhaI).a, in the fourteenth-century anthology Siirfigadharapaddhati. 7 This means that, at least within three hundred years after the poet's death, both Caura verses and Vikramiiiikadevacarita verses were attributed to him. s In any case, it seems probable that some poet, we say BilhaI).a, was either the subject of the events in the legend or recited at a court or courts adyiipi verses which were collected into paiiciifikiis by himself or his admirers. Whatever the origin of the legend and the Caura verses was, their popularity throughout India is widely attested. There is the sixteenth-century illuminated manuscript in so-called early Rajasthani style. 9 There is a translation of the Caura text and the legend in Old Gujarati, based on a text of the Western-Southern Recension, type III, and datable to the sixteenth century.lO A poem entitled
BilhaTJapanciifatpratyuttara is known from a manuscript in the collection of the Bhandarkar Oriental Research Institute, Poona, dated Sarhvat 160 I (ca. A.D. 1544).11 There is also an eighteenth-century Bengali poem by Bharatchandra Ray entitled Vi4;Jiisundara, which elaborates the tale of the poet's intrigue with the princess. 12 Commentaries, most of which are anonymous, are also numerous. 13 Most notable, however, is the work's wide distributio~ throughout India, with local and regional variants in abundance. This distribution is significant in determining the relationships of manuscripts in the critical edition; the secondary works provide evidence for the locations and ages of certain versions. Textual criticism of the Caura proceeds from the observation that the text has been handed down in two divergent forms, which are here called the Northern Recension (N) and the Western-Southern
6 Similar verses are also found in a play attributed to Bilhal).a, entitled KarT.lasundarf; it deals with the marriage of King Karl).a to the vidytidhara ("fairy") princess KarQ.asundari. It is likely that the play was written to celebrate the marriage of the Chalukya king KarQ.adeva Trailokyamalla of Anhilvad, or Anahilapataka, to the daughter of the Goan king Jayakdin (see Majumdar et aI., The History and Culture of the Indian People, V, 75). The play is edited by P. Durgaprasad and K. P. Parab. 7 Edited by Peter Petersen. Verses 3467, 3469, and 3470 appear in both recensions of the Caura; verses 3278,33°4,3306,3362, and others are found in the text of the VikramiiiikadevacaTita. The present edition of the KarTJasundarf contains no index to the verses, but a preliminary comparison of verses did not show agreement with any in the anthology. 8 D. D. Kosambi, in his introduction to the Subhii~itaratnako!a, p. xxxiii, notes that "several stanzas" of Bilhal).a are found in the anthology SaduktikarTJiimrta of Sridharadasa (dated ca. A.D. 1205). However, none of the eight verses attributed to BilhaQ.a in the critical texl of the work, edited by Sures Chandra Banerji, are from the Caura, 9 At present only eighteen leaves of this manuscript are known; formerly in the N. C. Mehta Collection, they are now with the Gujarat Museum Society in Ahmedabad. The manuscript is described in Manuscript Sources, below, under the siglum MEHTA; it is A7 in the Classification of Manuscripts. The extant leaves are reproduced at the end of this book, and the style and probable date of the paintings are discussed in the Appendix. 10 Edited by B. J. Sandesara, "BilhaQ.apaficasika," Siihitya, vol. XX, no, 7
(July 1932), pp. 385-4°0. Since this journal is long out of print, Dr. Sandesara kindly provided me with a copy of his text; it is based on the texts of Juanacarya's translation found in three manuscripts which are now in the collection of L. D. Bharatiya SariIskrti Vidyamandir, Ahmedabad (see the descriptions, below, of manuscripts AHM.[, AHM.2\ and AHM.6). The existence of a Marathi translation of the seventeenth century is reported by S. N, Tadpatrikar, CaurapanciiSikii, p. vii: "A rendering in Marathi poetry was composed in 115 stanzas by the poet Vithal, a ~gvedi BrahmaI;la of Gauripur in Saka year [599, in the time of Shivaji the Great. This Marathi poem is published in the Kiil!YetihiisagTaha." It was, however, never located by me, so I cannot say whether or not it is related to the Old Gujarati version, but this is probably the case. II The manuscript is BOR[ 430/[887-91; it is printed by Tadpatrikar, CaurapanciiJikii, pp. 35-38. 12 The text is edited by B. Biindyopiidhyay and S. Das, Bhiiratcander granthiibali; chapter xxviii contains three verses of the Caura (N [ [WS I], N 11 [WS 5], N 50). The text is translated by Edward C. Dimock, Jr" The Thief of Love, Bengali Talesfrom Court and Village, pp. 19-[32. My thanks are due to Dr. Dimock for having provided me with a copy of chapter xxviii of the Bengali text. 13 Known commentators include GaTJapati, who freely emends and comments on a text of N, type 1 (the GaQ.apati text is N, type I, version B in the Classification of Manuscripts); BhaveJvara, whose commentary appears with several texts of type I, version A; Riima TarkaviigfJa Bhattiiciirya, who composed a commentary A.D. 1798 on a text of type II, version D, in which he explains that the verses of the Caura were uttered as an invocation to the goddess Kali by Prince Sundara, son of GUJ;lasagara of Caurapalli in Radha, when standing trial for his affair with King VirasiriIha's daughter, Vidya; and RiidhiikHfJa, whose commentary follows the above text and applies the verses of the CauTa to Kiili.
[5]
Introduction
The Caurapafidisika Style
Recension (WS). Such a division is not uncommon with regard to texts of Sanskrit literature. 14 \Vhat is striking about the Caura situation is that these two recensions have in common, when obvious borrowings and contaminations are disregarded, only five verses: IS
It is interesting to observe that, although the adyiipi formula is universal in both recensions and both contain language and vocabulary which are essentially alike, each recension creates a quite different total impression. A mood of absolute separation comes to prevail in many verses ofthe Northern Recension, especially in the latter part of the text. '7 Here the lover's mistress is evoked in abstract, worshipful hyperboles,18 and sensual descriptions are less prominent. References to life and death are frequent,19 the possibility of reunion is remote, and finally even execution is begged for in preference to the suffering ofseparation. The Western-Southern Recension is throughout more positive; the separation of the lovers and death are nowhere related. Although the legend which accompanies the Caura in many 'Western-Southern manuscripts does refer to the poet's condemnation to death and his pardon, references to death are absent from the Caura verses themselves, and death does not color the mood oflove.
N
WS
2
4 6h-d II 5 12 3 For this reason it is useless to think of reconstructing one text which is the archetype from which the extant manuscripts may be said to have derived. Each of the recensions must be dealt with separately. Here the objective is to discover the most conservative elements in the manuscript traditions and to restore the least corrupt form of each recension on the basis of the manuscript material available. 16
Sh-d
Cf. The M ahiibhiirata, edi ted by V. S. Sukthankar et al.; The Saundaryalahari, edited by W. Norman Brown; The Epigrams Attributed to Bhartrhari, edited by D. D. Kosambi. 15 A sixth verse, ]I( 50 in the critical edition, is found as the final Caura verse in all complete manuscripts of ]I( and in many manuscripts of WS. The verse does not entirely conform to the Caura formula; it begins adyapi, but it is not in the first person and is not in the erotic mood. It is a gnomic verse that is found also in manuscripts of the Bhartrhari corpus; it is no. 202 in D. D. Kosambi's edition. The verse may well have belonged to the "floating" oral tradition of such verses and been attracted to the Caura as an appropriate ending. Its absence from several entire versions of WS excludes it from the category of those five that are found in all codices of both recensions. 16 By "restoration" is meant specifically the editor's work of ascertaining the various errors and emendations which have corrupted the text, of examining the reasons why these occurred, and of eliminating them whenever possible so as to restore the text to a state in which it is relatively free of contamination. The word "relatively" is stressed, because the number of variables involved is so great and the intricacy of transmission is such that it would not seem possible to reach a text that is absolutely certain. These variables and the specific principles of restoration which have been followed for the two recensions of the Caura are outlined below (see the Relationships of the Versions). S. M. Katre's Indian Textual Criticism served as an excellent introduction to the problems of textual criticism and it has been a valuable reference throughout this work.
-~ THE CAURAPANCASIKA STYLE ~-
I4
[6]
Love poetry is found in every Indian language. Passages of it abound in Sanskrit epics and dramas; individual stanzas, syntactically and aesthetically self-contained and independent of the plot or narrative, are used to create moments of intensified emotion. Sanskrit love poetry also finds substantial expression in small collections of detached verses, comparable to folios of miniature paintings. 1 17 This is the form of separation which is called ayoga, where union is almost impossible. Its outcome, progressing through stages of longing, anxiety, raving, insanity, and stupor, is death. See Dhanariljaya's Daiariipa, translated, with Sanskrit text and notes, by G. C. O. Haas, sec. 4.59-64, pp. 132-34. IS See ]I( 26, 27, 29-3 I, 33, 38, 39, 42, 43, 49. It is not difficult to see how the Bengali commentator Riidhak~J:la interpreted such verses as these as stotras (" poems of praise") to the goddess Kiili. Comparison, for example, with the descriptions of Devi's beauty in the Saundaryalahart, vel1les 42-91 (pp. 64-85 ofW. Norman Brown's edition), illustrates this point. 19 See]l( 22',23,25-28,3 0 -33,42,47,49. I A large sampling of individual stanzas of love poetry, culled from various sources of Sanskrit literature, is found in Vidyakara's Subhii#taratnako~a, edited
Introduction
The Caurapaficasika Style
Bilhal).a's elegant catalog of remembered moments of love belongs to this latter class of works. The verses of the Caura are neither bound together by threads of narrative nor arranged into logical sequences. Each stanza is grammatically complete, employs distinct images, and is meant to be appreciated independently of the others. To anyone familiar with the conventions of Sanskrit poetry, there is nothing remarkable in any of these verses. But what is true of the individual verses does not hold for the collection in either of the recensions. As one continues to read or hear the verses, the formulaic style and uniform meter serve to carry resonances from one verse to another. Images, descriptions, and dramatic scenes accumulate to produce a pervading atmosphere, or mood, of passionate love (irngiirarasa). The particular mood of love expressed in the Caura is a blending of the ordinarily antithetical moods of love-in-separation (vipralambha) and love-in-enjoyment (sambhoga). By use of the adyapi formula and verbs meaning "I remember," "I see," "I meditate," the lover celebrates his mistress's presence in his memory and recreates their love at the same time that he regrets their separation. The blending is not unique to the Caura; individual verses of this type are known from the anthologies. 2 What is unique to the Caura is the repetition of adyiipi at the opening of each verse, followed by a form of the demonstrative pronoun referring to the mistress herself, directly (tam, her), or by synecdoche, most often through her face (tad ... vadanam, a,ryam; that ... face). In the characteristic Caura verse form the pronoun is modified by a series of descriptive phrases, adjectives, and predicate nouns. Some verb of remembering is frequently the final element in the verse, but its
position does vary, and the act of recollection is also rendered by indirect expressions, which may appear anywhere in the verse. In each Caura verse the repetition of adyiipi acts like a refrain, reminding the lover and the poet's audience that the details so vividly etched in his mind "are now only the imagined fulfillment of his desire. The intensive particle api (best translated by the English particle even) is meant to emphasize the present intensity of his passion and his wonder in the overpowering creation of his phantasies. Within the framework of adyiipi and the word or phrase of remembering is the substance of the Caura verses, the lover's descriptions and characterizations of his mistress. Compound words, which are an important feature of the Sanskrit language, are exploited here to create the dense atmosphere oflove. The majority of descriptive phrases in the verses are bahuvrihi compounds. Most of these compounds can be read like strings of adjectives and adjective phrases in English, with the final member serving as the base for the modifiers preceding it. Each compound taken as a whole functions epithetically to delineate some characteristic of its subject. Although the poet's mistress is sometimes praised in abstractions, she more often emerges from a series of images that appeal directly to the senses. The sensuousness of the imagery is enriched by free use of alliterative sound patterns. A long compound, one of three in the fifth verse of the Northern Recension, illustrates the force of compound words and their sound symbolism. The half-verse reads: adyapi tam surata-jagara-ghurl).amanatiryag-valat-tarala-taraka-dirgha-netram
by D. D. Kosambi and V. V. Gokhale, sees. 14-25. Daniel H. H. Ingalls's translation of the collection, An Anthology qf Sanskrit Court Poetry, includes an excellent introduction to the style and peculiarities of the poetry, as well as voluminous notes. This material is not repeated here, but is referred to as background for appreciating the Caura verses. See also Bhartrihari: Poems, translated by Barbara Stoler Miller; The Interior Landscape, Love Poemsftom a Classical Tamil Anthology, translated by A. K. Ramanujan. 2 See Kosambi and Gokhale, eds., Subhiifitaratnakofa, sec. 23, entitled Virahivrajya; Ingalls, Sanskrit Court Poetry, pp. 242-51. Verses 786, 787, 788 are similar to the Caura form. Also, Secondary Evidence, pp. 134-35 below. Cf. Kiilidiisa, Sakuntalli, Devanagari Recension V. 2 (Bengali V. 9).
The lines may be approximated by a series of English equivalents as follows: "even now her love-wakefulness-rolling-oblique-movingglittering-pupils-long (or deep)-eyes." Not only is this unsatisfactory in English, it is also less than the Sanskrit original conveys to its audience. Although relationships of words in a compound are not explicitly indicated in Sanskrit, the reader or listener is expected to be skilled enough to supply them. Usually the relationships are clear, but ambiguities are frequent, and these are used to expand the contents of certain verses. A minor ambiguity exists in relating
[8]
[9]
The Caurapaficasika Style
Introduction "rolling-oblique-moving-glittering-pupils" and" love-wakefulness"; are her pupils so agitated during love or because of it? The reader's interpretation will color this verse only slightly, but some cases are more extreme. In translating the experience of the lines into English, the compression and sonority of the original are essential: Even now, [I remember] her: deep eyes' glittering pupils dancing wildly in love's vigil The formal aspects of the Caura verses that have been analyzed here are all necessary to the production of the atmosphere of love. The presence of this atmosphere is greatly dependent on the poet's ability to construct an environment in which it can flourish. Seasonal changes of nature are the common excitants of erotic emotion in Indian poetry. Descriptions of the seasonal cycles and the phenomena of nature are, however, notably absent in the Caura. Although the mistress is compared with birds, flowers, or the moon, there is no descriptive evocation of these. It is above all her manifestations of emotion, her movements, and her physical beauty that cause the excitement as they emerge in a web of sensuously descriptive, sonorous words. The way in which the Caura verses produce the atmosphere oflove is illuminated by reference to the so-called Rasa Theory of dramatic aesthetics. 3 This provides us with numerous examples and explanations of the concrete means by which the atmosphere is created. The lover's mistress is comparable to an actress, who is considered the vehicle of emotion (vibhiiva) in drama. Her manifestations of feeling are the dramatic stimuli by which an overpowering state of emotion (sthiiyibhiiva) is induced in the audience. This emotion has nine forms according to Indian critics; these are the erotic, the heroic, the loathsome, the wrathful, the comic, the terrifying, the compassionate, the marvelous, and the peaceful. In the Caura verses everything is subservient to the erotic emotion. The lover recaptures his mistress through her responses to love. The theory is summarized by Dhanamjaya in book 4 of the Dasarii.pa, pp. 106-48. The summary is based on book 7 of Bharata's NiitYaSiistra, edited, with the commentary of Abhinavagupta, by M. R. Kavi, pp. 343-86. J
[10]
Emotional reactions are evidenced by the external manifestations of feeling (anubhiiva) in her eyes, face, limbs, and gait. For example, shame can be inferred from the fact that she cowers to cover her body or lowers her face. Such emotional responses are classed by the Sanskrit critics as transitory states of emotion (vyabhiciiribhiiva), which function in cooperation with the pervading emotional state (sthiiyibhiiva)-as it were, emerging from it and being submerged in it like waves in the ocean. 4 The transitory states not only change, the; rarely occur simply and are usually combinations of the psychological states of anxiety, fear, shame, modesty, anger (real or feigned), affected indifference, sorrow, and fatigue. The physical responses to love are largely involuntary manifestations ofemotion (sattvabhiiva). Indian aesthetic theory considers them highly significant because they arise from inner feeling and cannot be simulated. In the love situation such signs as sweating and bristling of the hairs on the skin show the body's natural excitement and longing, no matter what one may do to pretend otherwise. s Also taken as involuntary signs are paralysis, trembling, weeping, change of color, breaking of the, voice, and fainting. Physical beauty is thought to be enhanced by the signs, and few descriptions of beauty ignore them. Concrete images of sounds, odors, tastes, and textures supplement the visual imagery and heighten the sensuous appeal of the poetry. These various conventions are used in the Caura to evoke the lover's mistress in a palpable presence, which seduces the audience and traps emotion. The evocations are expanded and intensified by the poet's use of words and images that are rich with connotations. The power of suggestive overtones (dhvani) is the Sanskrit critics' explanation for the technique of exploiting latent associations in the mind to increase meaning in poetry. This too makes demands on the audience and draws it further into the aesthetic atmosphere of love.
Dhanamjaya, Dasarii.pa, p. 109 (4.8). See Bharata's Niilyasiistra, pp. 379-81 (7.146 fT.) i also Dhanamjaya, Dasarii.pa, pp. 108-g (4.6-7). 4
5
[II]
SANSKRIT TEXT AND TRANSLATION
.I i
--~
THE NORTHERN RECENSION
~--
Xl
adyapi tarh kanakacampakadiimagaurirh phulliiravindavadaniirh tanuromariijim / suptotthitiirh madanavihvalaliilasiiiigirh vidyiirh pramiidagalitiim iva cintayami //
.N2
adyiipi tiith safimukhirh navayauvanat;lhyiirh pinastanirh punar aharh yadi gaurakiintim / . pafyiimi manmathasariinalapit;litiiiigirh giitrii'[li sarhprati kammi suSitaliini //
X3
adyiipi tiirh yadi punab kamaliiyatakfirh pafyiimi pivarapayodharabhiirakhinniim / sarhpit/ya biihuyugalena pibiimi vaktram unmattavan madhukarab kamalarh yathef!am //
NI Even now, I regret hergleaming in garlands of gold champac flowers, her lotus face blossoming, the line of down delicate at her waist, her body trembling and eager for love when she wakes from sleepmagic I lost somehow in recklessness.
N2 Even now, if I see her again, her full moon face, lush new youth, swollen breasts, passion's glow, body pained by fire from love's arrowsI'll quickly cool her limbs!
N3 Even now, if I see her again, a lotus-eyed girl weary from bearing her own heavy breastsI'll crush her in my arms and drink her mouth like a madman, a bee insatiably drinking a lotus!
II
N4:
N4
adyapi tam nidhuvane klamani~sahiiiigim apa!lfJugatzr}apatitalakakuntalalim / pracchannapapakrtam antar ivavahantim katzthiivasaktamrdubiihulatam smarami //
Even now, I remember her in love. Her body was weak with fatigue, swarms of curling hair fell on pale cheeks. As if to keep between us the secret of our guilt, her soft arms clung like vines on my neck.
N5
N5
adyapi tam suratajiigaraghiirtzamiinatiryagvalattaralatarakadirghanetriim / srfigarasarakamalakararajahamsim vrir}iivinamravadanam u~asi smarami !l
Even now, I remember her: deep eyes' glittering pupils dancing wildly in love's vigil, a wild goose in our lotus bed of passionher face bowed deep with shame at dawn.
N6
N6
adyapi tam yadi puna~ sravatzayatak.}im pafyami dirghavirahajvaritiii'igayaftim / aiigair aham samupaguhya tata 'pi gar}ham nanmilayami nayane na ca tam tyajami //
[16]
Even now, if I see her again, wide-eyed, fevered from long partingI'll lock her tight in my limbs, close my eyes, and never leave her!
X?
N7
adyapi tam suratatalJfJavasutradharim purtJendusundaramukhim madavihvalafigim tanvim viialqjaghanastanabhiiranamram l!)iiilolakuntalakalapavatim smarami II
X8
N8
adyiipi tiim masnlacandanapafikamifrakasturikiiparimalotthavisarpigandhiim I a~o~acaficupu!acumbanalagnapak~ma-
yugmiibhiriimanayallam fayane smariimi
I!
X9
adyiipi tiim nidhuvane madhudigdhamugdhalirjhiidlzariim knatanUlll capaliiyatiik#m I kasmirapafikamrganiibhikrtiifigariigiim karpurapugaparipurrzamukhim smariimi II
[18]
I
Even now, I remember her holding the reins in our wild dance of love, moon luster lighting her face, her body trembling with passiondelicate, bent by lush breasts and heavy hips, dancing mantled in a mane of flying hair.
Even now, I remember her lying in bed, spreading perfume of musk mixed with sandalwood oilsher seductive eyes' lashes playing like a pair of mating birds caressing each others' bills.
N9 Even now, I remember the wine-smeared lips she innocently licked in love, her weak for~, her wanton long eyes, her body rubbed golden with saffron paste and musk, her mouth savorous with camphor and betel nut.
N 10
N 10 adyiipi tat kanakagaurakrtiiiigariigam prasvedabinduvitatam vadanam priyiiyii~ / ante smariimi ratikhedavilolanetram riihupariigaparimuktam ivendubimbam //
Nll
Nll adyiipi tan manasi samprati vartate me riitrau mayi k~utavati k~itipiilaputryii / Jiveti maiigalavacaf:z parihrtya kOpiit kar'(le krtam kanakapattram. aniilapantyii //
Even now, my mind dwells on the night my sneezing awoke the princess. Flustered, she refused to say "Jiveti-Long life!" Silently, she put a lucky golden leaf on her ear.
N 12
N 12 adyiipi tat kanakaku'(l¢alaghr~!aga'(l¢am iisyam smariimi viparitaratiibhiyoge / iindolanasramaJalasphutasiindrabindumuktiiphalaprakaravicchuritam priyiiyii/:z
Even now, at the end, I remember my love's face colored with shining saffron powder, covered with sweat drops, with love-weary tremulous eyesa moon disc released by the demon eclipse.
1/
Even now, I remember my love's face: golden earrings grazing her cheeks in her striving to take the man's role, beads of sweat strewn thick like pearls from the toil of her rhythmic swinging.
N 13
N 13 adyiipi tat pra[layabhafiguradntipiitam tasyiil,z smariimi rativibhramagiitrabhafigam I vastriificalaskhalanaciirupayodhariintam dantacchadam dafanakharpjanamm:ujanam ca II
N14
N14 adyiipy afokanavapallavaraktahastiim muktiiphalapracayacumbitacucukiigriim I antal,zsmitocchvasitapiirujuragm;ujabhittim tiim vallabhiim alasahamsagatim smariimi
Even now, I remember her bold bent glance, her graceful limbs stretching in pleasure, her voluptuous breasts' curve bared by slipping clothes, her lip bruised with marks of my teeth.
Even now, I remember my love: hands painted red like young leaves of asoka, tips of breasts caressed by ropes of pearls, pale cheeks freshened by hidden smiles, her languorous wild goose gait.
II
N 15
N 15 adyiipi tat kanakare[lughanorudefe nyastam smariimi nakharakJatalakJma tasyiil,z iikn!ahemaruciriimbaram utthitiiyiil,z lajjiivafiit karadhrtam ca tato vrajantyiil,z II
I
Even now, I remember the mark my nail left on her sandalwood-powdered thighthe gold-streaked cloth I snatched when she rose was clutched in shame as she pulled away.
N 16 adyapi tam vidhrtakajjalalolanetram PrthviprabhutakusllmakulakefapiiJam I sindurasamlulitamauktikadantakantim ahaddhahemakatakam rahasi smarami
.N 16 Even now, I remember in secret her kohl-lined longing eyes, flower-heavy plaited hair, vermilion lips framing her teeth's pearl luster, arms bound by golden bracelets.
II
N 17 adyapi tam galitabandhanakefapafam srastasrajam smitasudhiimadhuriidharau~thim pinonnatastanayugoparicarucumbanmuktavalirh rahasi loladrfam smarami II
N 18 adyapi tam dhavalavefmani ratnadipamalamqyukhapatalair dalitandhakare I praptodyame rahasi sammukhadarfanarthe lajjabhayartanqyanam anucintqyami II
.N 17
I
Even now, I remember in secret her braid's loosened ties, wilted garlands, nectar-sweet smiling lips, strands of pearls caressing luscious swollen breasts, and longing looks.
.N 18 Even now, I brood on herwhen streaks of light from jeweled lamps broke the darkness in her white pavilion, I seized the chance to stare at her in secrether eyes were pained with shame and fear.
N 19
N 19
adyapi tam virahavahninipir/itiiiigirh tanvirh kuraiiganaJ·anarh surataikapatrim I nanavicitrakrtamatlr/anam avahantirh tam riijahaTizsagamanarh sudatirh smariimi II
N20 adyapi tarh vihasitarh kucabhiiranamrarh muktakalapadhavalikrtakatl!hadefiim I tat kelimandaragirau kusumayudhasya kantarh smarami rucirojjvalapufpaketum
Even now, I remember her, a fragile fawn-eyed girl, her body burning with fires of parted love, ready for my passion~ a beauty moving like a wild goose, bringing me rich ornaments.
N20
II
N21 adyapi catufatadurlalitocitartharh tasyiil; smariimi surataklamavihvaliiya~ I al!Jaktanisvanitakatarakathyamiinasarhkirtlavartlarucirarh vacanarh priyiiyii~ II
Even now, I remember my love gently laughing, bent by heavy breasts, dazzling in ropes of pearls~ a banner of open blossoms flown by flower-armed Love high on the mountain of passion. j( 21
Even now, I remember a hundred flatteries spoiling the sense of her words when she trembled in exhaustion after lovethe sweet words came in jumbled sounds she whispered faintly, timidly spoke.
N22 adyiipi tiirh
.N 22
surataghiirrzanimilitiik~irh
srastofigaya~tigalitiirhsukakesabhiirarh
/
sriigiiravariruhakiinanarajaharhsirh janmiintare 'pi nidhane 'py anucintayiimi //
N23 adyiipi tarh pra1}ayinirh mrgaHivakiik~irh piyiiJapur1}akucakumbhayugarh vahantim / pafyamy aharh yadi punar divasiivasiine svargiipavarganararajasukharh ryajiimi //
N24 adyapi tarh k~ititale varakamininiirh sarvaiigasundarataya prathamaikarekham / sriigiiranalakarasottamaratnapatrirh kantarh smarami kusumayudhabiirzakhinnam //
Even now, I remember her eyes restlessly closed after love, her slender body limp, fine clothes and heavy hair loosea wild goose in a thicket of lotuses of passion. I'll recall her in my next life and even at the end of time!
.N 23 Even now, if I see her again at the day's close, adoring me with a fawn's liquid eyes and offering her breasts' brimming pots of nectarI'll renounce the kingly pleasures and even heaven's highest bliss!
N24 Even now, I remember her, the ideal of amorous women on earth by the beauty of her body, the perfect cup for tasting nectar in the play of passionmy girl, wounded by Love's flower arrows.
N25
N25 adyapi tarh stimitavastram iuaiigalagnarh praurJhapratapamadananalataptadeham I balam anathafararzam anukampaniyarh prarziidhikarh k~arzam aharh na hi vismarami
N26
N26
Even now, I remember her, first among beautiful women, an exquisitely molded vessel for passionthe king's daughter pleading, "People, I can't bear this fire of parting!"
adyapi tarh prathamato uarasundaritzarh snehaikapatragha!itam avaniSaputrim I harhho jana mama uiyogahutasano 'yarh so¢hurh na sakyata iti praticintayiimi II
N27
N27 adyiipi vismayakarirh tridafan vihqya buddhir baliid valati me kim aharh karomi janann api pratimuhUrtam ihantakale kanteti vallabhatareti mameti dhirii II
[3 0 ]
II
Even now, I never forget her, clinging to my limbs like wet cloth when her body burned with fires of love's violent passionpitiful now without her lover's protection, my girl makes mockery of life.
I
Even now, knowing death is quickly closing in, my thought leaves the gods and is drawn to her in awe. What can I do? My thought is obsessed: "She is my love! Most beloved! She is mine!"
N28 adyapi tam gamanam ity uditam madiyarh frutvaiva bhiruharirzim iva caficaliikfim / vacaskhaladvigaladafrLUaliikulakfirh samcintayiimi gurufokavinamravaktram //
N29 adyiipi tat sunipu1}arh yatatii mayapi dn!arh na yatsadrfato vadanarh kadacit / saundaryanirJitaratidvijariijakiinti kantamahiitivimalatvamahagu1}ena //
NEO adyiipi tiirh kfaflaviyogavifopameyiirh safige punar bahutariim amrtabhi~ekiim / tarh jivadharalJakarirh madaniitapatriirh udvartakefanivahiirh sudatirh smarami //
N28 Even now, I painfully recall her eyes trembling like a frightened deer's when she heard my sentence announcedher quavering voice, tears falling from her eyes, her face bowed by her heavy grief.
N29 Even now, though I strain my vision, I can't find a face to rival my love'sits dazzling brilliance is blinding, eclipsing in beauty Love's mate and the moon.
N30 Even now, I remember her, a poison in short separations, in reunion ablutions of nectarmy life's sustainer, my shield from the bums of love, is a beautiful girl's rich mane.
[33]
.N 31 adyiipi viisagrhato mayi niyamiine durviirabhi~a'.lakarair yamadutakalpai!; / kirh kirh tayii bahuvidharh na krtarh madarthe vakturh na piiryata iti vyathate mano me //
.N 32 adyiipi me nisi divii hrdayarh dunoti pur'.lendusundaramukharh mama vallabhiiyii!; / liivar.zyanirjitasudhiimayakundakiinti bhuya!; puna!; pratimuhur na vilokyate yat //
i
IJ
.N 33 adyiipi tiim avihitiirh manasiicalena samcintayiimi yuvatim mama jivitiisiim / niirryopabhuktanavayauvanabhiirasiiriirh janmiintare 'pi mama saiva gatir yathii Viit //
, .1
!I
NSI Even now, I shudder to face what she tried for my sakeand still the messengers of Death, hard, terrible hands, dragged me from her rooms.
N32 Even now, my heart is pained night and day. I'll never again see my love's beautiful full moon face, glowing with a salty beauty that dulls the nectar of night-blooming jasmine.
.N33 Even now, I brood on her with my haunted mindforbidden girl, my life's hope, bursting with riches of fresh youth no one now enjoyslet her be my fate in another life too!
N34
N34 adyiipi tadvadanapankajagandhalubdhabhriimyadvirephacayacumbitagarzrJadefe I kefiivadhutakarapallavakankarziiniirh kviilJo 'pi murchati mana!; sutariirh madiyam
N35 adyiipi tarh nakhapadarh stanamaw!ale yad dattarh mayiisyamadhupiinavimohitena I udbhinnaromapulakair bahubhi!; samantiij jagarti rakfati vilokayati smariimi II
N36 adyiipi ro~itamukhi krtagantukiimii noktarh vacal; pratidadiiti yadaiva vaktram I cumbiimi roditi bhrsarh patito 'smi piide diisas tava priyatame bhaja miirh smariimi II
II
Even now, the sound of bangles sharply strikes my mind: when black bees, wild in their desire for perfume from her lotus mouth, swarmed to kiss her cheeks, her fingers shook them from her hair.
N35 Even now, I remember her bristling in delight when I was so drunk from drinking her mouth's sweet wine that my nail mark was left on her breastshe stared, studied, treasured the mark.
N36 Even now, I remember her angered face, her frank impatience to leave as she sullenly gave me her mouthI kissed it; she violently wept. I fell at her feet: "I'm your slave, my love! Love me!"
N 37 adyapi dhiivati manab kim aham karomi sardham sakhibhir iti vasagrhe sukiinte / kantafigasaiigaparihiisavicitranrtye kridabhirama iha yatu madiyakalab / /
N38
II
II
II /i
adyapi tam na khalu vedmi kim ifapatni fapagata surapater atha krr(wlak!mib / dhiitraiva kim nu jagatab parimohanaya sa nirmita yuvatiratnadidrk!aya va //
Ii
Ii N 39 adyapi tiim jagati var!lqyitum na kascic chaknoty adr!tasadrSim prativigraho me / dr!tam dvayob sadrfayob khalu yena riipam sakto bhavedyadi sa eva param na canyab //
N37 Even now, my mind finds me idling with her friends, embracing her lovely limbs, bantering, and dancing in elegant rooms alive with our playIf only my time could pass there!
N38 Even now, I don't know! Is she Siva's mate, or a nymph come to earth by Indra's curse, or Krg1a's consort, Lak~mi? Did Brahma create her to beguile the world, or was he driven by desire to behold the perfect jewel of maiden youth?
N39 Even now, who in the world can paint her form? It reveals itself, like a creature of phantasy, only for me. An aspiring artist would have to see its equaland only then begin to try.
N40
N40
adyiipi tan nayanakaJj"alam uJivaliisyarh visriintakarttayugalarh parihiisahetob I pafye tadiitmahitapinapayodhariibhyiirh kfittarh vapur yadi vinafyati ko 'tra dOfab
Even now, I see her kohl-blackened eyes, burning mouth, laughter-weary ears. I see her body weakened by its own swelling breastsif it wastes away, who is to blame?
II
N41 adyiipi nirmalaiaracchasigaurakiinti ceto muner api haret kim utiismadiyam I vaktrarh sudhiimayam aharh yadi tat prapadye cumban pibiimy aviratarh cyavate na yena II
N42 adyiipy aharh kamalarettusugandhagandhi tat premaviiri makaradhvajapiitakiiri I priipnomy aharh yadi tadii surataikatirtharh prii1Jiirhs tyajiimi niyatarh punar iiptihetob II
N41 Even now, gleaming white like a clear autumn moon, her luscious face could charm a saint's pure mindit enraptures mine! If I find it, I'll kiss it and keep drinking lest it slip from me.
N42 Even now, I would give my life to recover love's sanctumfragrant with lotus pollen, wet with the spend of passion, bringing low the shaft of Love.
[.p]
N43
N43 adyapi taj jagati sundaralakfapilr7}e anyonyam uttamagU1}iidhikasamprapanne I anyabhir apy upamitum na mayavasakyam rupam tadiyam iti me hrdaye vitarka~ II
N44
N44 adyapi sa mama manasta#nivanante romiiiicavicivilasadvipulasvabhiiva I kadambakefararaja#far;amatrasaiigat kimcitklamam kathayati priyarajahamsi II
Even now, a wild goose's plump body glides on waves she stirs in a wooded river-cove in my mind~ she is pleading some fatigue from a fleeting touch of fine kadamba flower pollen.
N45
N45 adyapi tam nrPatifekhararajaputrirh sampilr1}ayauvanamadalasaghiir'!lanetram gandharvayakfasurakinnaranagakanyam svargiid aho nipatitam iva cintayiimi II
Even now, in a world rich with signs of beauty surpassing each other's perfections, my heart believes that her form is beyond compare.
I
Even now, I miss her eyes languidly roving in their youthful wanton waythe king's daughter seemed like a creature from heaven, the fallen child of celestial singers, genii, demigods, musicians, or serpent spirits.
1'1
Ii
I I
N46
I
li :1
adyapi tariz nijavapuMrtavedimadhyam uttuftgasambhrtasudhtistanakumbhayugmam / nanavicitrakrtama!!rjanama!lrjitaftgim suptotthitariz nisi diva na hi vismarami //
If
i
I1II ii
I,
jllil Illi!
.N46 Even now, night and day, I can't forget her awaking from sleepher curving form made her waist an altar, her breasts swelled like pots brimming with nectar, her body shone with richly colored ornaments.
illill 1111
N47
' I I
I
adyapi tam kanakakantimadalasaftgim vrirjotsukam nipatitam iva Ce!!amanam / aftgaftgasaftgaparicumbanabhagnamohtirh tam jivanau!adhim iva pramadariz smarami //
,I II
III i
I
.N47 Even now, I remember her languid body rising to a golden glow, . though shame compelled her to pretend exhaustlonfolly broken as our touching limbs and kisses left her wanton, like wild life-giving herbs.
!I I
I
N48
.N 48
I
adyapi tat suratakelinibaddhayuddham bandhopabandhapatanotthitafunyahastam / dantau!!hapirjananakhakfataraktasiktam tasyab smarami ratibandhurani!!ura,tvam //
Even now, I remember the love-play battle she fought with empty hands in rising falling rhythms, wet with hot red blood from tooth marks on her lips and nail marks on her bodyher tyranny bewitched me in the bout.
IIIII, Iii III, i '
N49 adyapy ahariz varavadhilsubhagaviyogariz saknomi nanyavidhina ca kathapi sorjhum / tad bhrataro maralJam eva hi du~khasantyai vijfiapayami bhavatas tvaTitariz lunihi //
: 1
, II
ill 1
1
'I!1. .
1.
"
IIii
:1
III
IJ
I! 11
I'1
11
I'
1
1 .11 1.'
,.. ..
II il' l
I It
.N 50
,.1
1
i
Even now, how can I endure privation of the gifts my young mistress offers? Death, brothers, is the only cure for my pain! I beg you, end it quickly!
.1,1, •.
-
II I1
N50
.N 49
.
I
I
adyapi nOJjhati hara~ kila kalakii!ariz kiirmo bibharti dharalJirh khalu PN!habhage / ambhonidhir vahati du~sahavarjavagnim aiigikrtariz sukrtina~ paripalayanti .//
Even now, Siva does not shirk the sea's black poison. The Tortoise bears the earth on his back. The Ocean endures insatiable submarine fires. The faithful keep the promises they make.
'
Ii,
!
I ,I
II!I
I': 1
rl
I !
:
[47]
~
THE WESTERN~, SOUTHERN RECENSION
WSl
WSI
Even now, I regret hergleaming in garlands of gold champac flowers, her lotus face blossoming, the line of down soft at her waist, her body trembling and eager for love when she wakes from sleepmagic I lost somehow in recklessness.
adyapi tarh kanakacampakadamagaurirh phullaravindavadanarh navaromarajim I suptotthitarh madanavihvalalalas.aiigirh vidyarh pramadagalitam iva cintayami II
WS2
WS2
adyapi tad vikasitambujamadhyagaurarh gorocanatilakamaw/itabhiilade.sam I ifanmadalasavighur'(litadntipatarh kantamukharh pathi maya saha gacchativa
WS3 adyapi tat kanakaku[l¢alaghntagallam asyarh smarami viparitaratabhiyoge I andolanasramajalasphutasandrabindumuktaphalaprakaravicchuritam priyiiya~
_
II
Even now, my love's face seems to travel the road with mewhite as the inside of a newly opened lotus, heightened by a brow mark of yellow powder, glancing a bit drunkenly, drowsy after passion.
WS3
II
Even now, I remember my love's face: golden earrings grazing her cheeks in her striving to take the man's role, beads of sweat strewn thick like pearls from the toil of her rhythmic swinging.
[49]
1. 11 ) I
i'
Ii
Ii;:
il !I !,i
il
\ ~1
:-I!
d
WS4 adyapi tam sasimukhirh navayauvanarjhyarh pinastanim punar aham yadi gaurakantim / p.afyami manmatharasena nipirjitafigfrh gatrarzi samprati karomi suHtalani //
WS5 adyapi tan manasi samprati vartate me ratrau mayi kfutavati kfitipalaputrya I jiveti mafigalavacab parihrtya kopat ka'f'(le krtam kanakapattram analapantya //
WS6 adyapi tam safimukhim navayauvanii¢hyarh uttufigapivarapayodharabharakhinnam / sampirjya biihuyugalena pibami vaktrarh pronmattavan madhukarab kamalarh yathefJam J/
WS4 Even now, if I see her again, her full moon face, lush new youth, swollen breasts, passion's glow, her body pained by longing to savor loveI'll quickly cool her limbs!
WS5 Even now, my mind dwells on the night my sneezing awoke the princess. Flustered, she refused to say "Jiveti-Long life!" Silently, she put a lucky golden leaf on her ear.
WS6 Even now, I crush her in my arms, a moon-faced girl with lush new youth, weary from bearing her own heavy breastsand I drink her mouth like a madman, a bee insatiably drinking a lotus.
WS7
WS7
adyapi tath kutilakomalakiilakeSim unnidratamarasapattravifiilanetriim I prottuiigapivarakathorapayodkarii(1hyarh dhyqyiimi cetasiyathaiva gurupadeSam II
WS8
WS8
adyapi tad vikacakundasamiinadantath tiryakvivartitavilolavilocaniintam I tasyii mukham na hi maniig api vismariimi citte krtajiia iva hanta paropakiiram II
WS9
Even now, like a debtor haunted by a favor, I can't forget the details of her faceteeth like lustrous jasmine blooms, tremulous corners of glancing eyes.
WS9
adyapi tan madanakiirmukabhaiigurabhru dantadyutiprakarakarburitiidharo~ram
Even now, I concentrate my thought on her, as on my guru's teachingher curling soft black hair, her long eyes, like petals of night-blooming lotus, her high round hard swollen breasts.
I
kart:ziivasaktavipulojjvaladantapattram tasyab punab punar apiha mukham smariimi //
Even now, even here, I constantly recall her face: eyebrows curved like Love's bow, lips flecked with her teeth's luster, golden earrings heavy on her ears.
Ilr!1
Illi
~I
ii' ill 1 [1111
II I1
I
WS10 adyapi tat saralamafijulatuiiganasarh kirhcitsmitollasitamarhsalapa{l¢ugallam / pafyami purTJafaradindusamanakanti kantamukharh vikacapafikajapattranetram //
WS 11 adyapi tarh jha{iti vakritakarhdharagrarh nyastaikapa{likamalarh svanitambabimbe / vamarhsaparfvalaladujjvalakefapiifarh pafyami marh prati drfarh bahufa& kfipantim //
WS12 adyapi tam avaga1Jayya krtapariidharh marh padamulapatitarh sahasa calantim / vastraficalarh mama karoddhrtam akfipantirh ma meti rOfaparufarh vadatirh smarami //
WS10 Even now, I see my love's face: her finely carved high nose, plump pale cheeks blooming with half smiles, brilliance outshining a full autumn moon, eyes like petals of an open lotus.
WS 11 Even now, I remember her often glancing at me: her head flashing around, her lotus hand laid on her round buttock, her gleaming braid playing on her curved shoulder.
WS12 Even now, I remember her recoiling suddenly in scorn when I fell at her feet to plead my guilt, pulling back her skirt hem when I clutched it in my hand, crying in a harsh tone of reproach, "No, no!"
[,I
I,'III
WS13
I
:111
I'!
adyiipi tiim ativifiilanitambabimbiirh gambhiraniibhikuhariirh tanumadhyabhiigiim / amliinakomalamrr.iilasamiinabiihurh liliilasiificitagatirh manasi smariimi //
WS 14
adyiipi tal lulitatiiranimilitiik~am iisyarh smariimi sutariirh suratiivasiine / tatkiilanil;Jvasitanihnutakiintakiinti svedodabinduparidanturitarh priyiiyiib //
WS 15
adyiipi tiirh mayi krtiigasi dhntabhiiviit sarhbhiivayaty api muhur nigrhitaviicam / antarniruddhagurumanyusab~paka1,lthiirh
nibfviisafuvadadhariirh rudatirh smariimi //
[56]
WS 13
Even now, I recall her in my mind: the ample round buttocks, deep navel's dark hollow, smooth lotus-stalk arms, languorous swaying gait. WS 14
Even now, I vividly remember her face in the climax of love: weary trembling pupils, barely open eyes, brilliant color paled by sighing, sweat drops' spangled gloss. WS 15
Even now, I remember her voice suddenly strained when I, rogue, took her too boldlyher throat choked with tears of deep suppressed grief, her lips parched by sighing--her sobbing.
[57]
WS 16 adyiipi tarh samapanitanitambavastriirh pafyami siidhvasarasakulavihvaliiiigim I ekena guhyanihitena karet}a parzim a'!Yena niibhikuharadadhatim madfyam II
WS17 adyapi tarh rahasi darpat/am ik~ama!liirh sarhkriintamatpratinidhim mayi PrHhaline I pafyiimi vepathumatirh ca sasarhbhramarh ca lajJalasiirh samadaniirh ca savibhramam ca 1/
WS18 adyapi tam surabhidurdharagandhalobhat dhiivantam iisyakuharam prati caficarikam I kimciccalaccakitakuficitaciirunetriirh paJyiimi kelikamalena niviirayantim II
[58]
WS16
Even now, I see her trembling body quickened by the taste offear when her hips were baredwhile she covered her secret with one hand the other tried to keep my fingers from the hollow of her waist. WS17
Even now, I see her secretly staring in the mirror reflecting my image while I lay at her backshe was trembling, bewildered, faint with shyness, impassioned, and gesturing love. WS 18
Even now, I see her beautiful eyes, barely moving, narrowed in alarm as a bee attacked her mouth in lust for her rich seductive scentshe parried with a lotus from our love bed.
WS 19
WS 19
adyiipi tiim ita itaJ ca puraf ca paJciid antar bahi& parita eva paribhramantfm / pafyiimi phullakanakiimbujasamnibhena vaktreTJa ciiruparivartitalocanena //
Even now, I see her wandering in circles, searching everywhereher face like a golden lotus in full bloom, her eyes turned lovingly to search for me.
WS20 adyiipi tiini mama cetasi samsphuranti / tasyiib smarajvarakariiTJi madiilasiini lfliiviliisacatuliini vilocaniini // karTJiintasamgatakatiik~anirfk~aTJiini
WS 21 adyiipi tiim mayi kapiitasamipaline manmiirgamuktadrfam iinanadattahastiim / madgotracintitapadiim mrdukiikalibhi& kimcic ca giitumanasam manasi smariimi //
[60]
WS20 Even now, her long glancing eyes flash in my mindkindling my passion, languid from intoxication, quivering in graceful play.
WS21 Even now, I recollect lurking at her doorher glance fell on my path, her face was heavy on her hand, her words evoked my name in murmured tones, her heart seemed to follow me.
[61]
WS22
WS22 adyiipi tat taralatiiratariik!am iisyam iispT!!acandanarasiihitapii1J.rjukiinti ! kasturikiikufilapattralatiibhiriimagallasthalam yadi muhu~ sthirayiimi citte
!!
Even now, if I suddenly capture her face in my mind, I see eyes outshining brilliant stars, love's pale glow heightened by a light touch of sandalwood oil, soft cheeks streaked with curving lines of musk. WS23
WS23 adyiipi tat krtakucagraham agrahe1,la dantair maya dasanavasasi kha1Jrjyamane ! tasyii maniigmukulitiik~am alak~ama1Jam sitkaragarbham asakrd vadanam smarami !!
Even now, I remember her holding me against her breast in close embrace when my hard teeth crushed her lipssight seemed lost to her slightly closed eyes, her mouth was filled with sounds of blissful pain.
WS24
WS24
adyiipi tani hrdaye mama samsphuranti
Even now, they flash in my heart: radiant smiles spreading on full red lips, tender speeches expanded by love, fond responses, sweet floods of nectar.
bimbo~!hapr~!haparikirr;afucismitiini
!
piyu!apuramadhurar;i ca!uttara1}i vakyani manmathatatiini mrduni tasya~
!!
[63]
WS25 adyiipi tam kanakapattrasaniithakarr-am uttuiigakarkasakuciirpitatiirahiiriim / kiificiniyantritavisalanitambabimbiim uddamanilpurarar-accarar-iim smariimi //
WS26 adyiipi tam bhujalatiirpitakar-!haPiiSam vakfabsthalam mama pidhaya payodhariibhyam / ifannimilitavilolavilocanantiirh pafyami madvadanam unmadanarh pibantim //
WS27 adyiipi tani parivartitakarhdhariir-i caficatkucatru!itakaficukajiilakani / tasya bhujagralaladujjvalakur-r;lalani citte sphuranti mama vakravilokitani //
WS25 Even now, I remember her ears adorned with gold leaves, gleaming pearl necklaces nestled between her hard high breasts, her ample round hips bound by girdles of bells, her feet ringing in dancing ornaments.
WS26 Even now, I see her: creeper arms chained around my neck, breasts covering my chest, lids heavy on closing quivering eyesdrinking my mouth wildly.
WS27 Even now, long side-glances flash in my thought: her neck curved, the fine bodice cloth slipped from her shaking breasts, a shining earring played against her shoulder.
[65]
WS28
WS28
adyiipi tat sapariuefafafiprakafam iisyarh smariimi jafjagiitravivartanefu / udvelladulba'(lakariifigulijiilagurhphadobkandalryugalama'[lfjalitarh priyiiyii~ //
Even now, I remember my love's face shining like the haloed moonwhen she stretched her languid limbs she enclosed it in smooth tapering arms tied in a web of twining fingers.
WS29
WS29
adyiipi tiim anunayary api mayy asaktiirh vyiivrrya kelifayane fayitarh pariicim / nidriikuliim iva kiliibhimukhirh bhavantirh priiiar madafiganihitaikabhujiirh smariimi //
WS30 adyiipi tiirh smitamukhirh purufiiyitefu lambiilakiikulakapolataliirh smariimi / iindolanaframajaliikulavihvaliifigirh fviisottararh ca nibhrtarh ca muhur dravantim //
[66)
Even now, I remember when I begged hershe turned away indifferently and lay in bed aloof. Later feigning sleep, she moved to meby dawn, her arm was tight around my body. WS30
Even now, I remember her taking the man's role: her radiant laughing face, pendulous curls playing on smooth cheeks, her trembling body moist with sweat from the toil of her rhythmic swingingpanting in the end and limp, soon she was quickening again.
WS31
WS 31
adyiipi tam ciragate mayi yapayantim yantim samagatavatim parivartamiiniim / urdhvasthitiilh kim api samcalitam niiatJllam fayyiirh samasritavatim adhikarh smarami //
WS32
WS32
adyapi tam sunibhrtakramam apatantim mam dvari vik~ya sahasaiva mifC'{lIl suptam / mandam mayi sPrfati kalltakitafigayaftim utphullagallaphalakam bahufa/j, smarami //
[68]
Even now, I often remember catching her trying to compose herself, quickly feigning sleep when she spied me at the dooras I touched her, slowly her slender body thrilled, her cheeks bloomed.
WS33
WS33
adyapi tam aru?layalj! arurze 'ntarikfam aprcchamanam api miim avibhiitayantim / udvikJYa nifcaladrfarh bahuniMvasantirh cintiikuliim kim api namramukhim smarami
Even now, I think only of her when I'm away so longhow she spends her time seeking news of me in vain, coming back dejected, reeling, trying to get up, faltering, sinking back in bed.
/!
Even now, I remember dawn reddening the sky as I whispered parting wordsshe didn't respond; she stared in a daze, deeply sighing, dark fears shadowing her lowered face.
[69]
WS34 adyapi taril Jaghandarfanalalasena kn!am maya nivasanaficalam ekaparsvat / purvotthitam aparato muhur akNantim mandakfasamkucitasarvatanum smarami //
WS35 adyapi tam prathamam eva gatam viragam nirbhartsya ro!aparUfair vacanair muhur mam / andolitoddhatanitambasahayavrtya samcintayami rataye nudatim abhikp}am //
WS36 adyapi tam vilulitaflathakefapiifam kimcitsamunmifitaghurJ:zitajihmanetram / suptotthitam vidadhatirh muhur aizgabhaizgam pafyami daf!am adharam bahufab sPrfantim //
WS34 Even now, I remember pulling at her skirt's loose hem in my lust to see her loinsshe sat up startled, desperately tugging, trying to cover her shame and her cowering body.
WS35 Even now, I recall how quickly she stung me with angry strident words when my ardor ebbed before hershow she worked to rekindle my passion by keeping me captive in the rhythmic swing of her hips.
WS36 Even now, I see limp strands of disheveled hair, glimmering restless squinting eyesI see her waking from sleep, stretching her limbs, touching her bruised lip.
WS37
WS37
adyiipi tarh suvadaniirh valabhinifa?lrtiirh tadgehasarhnidhipathe mayi dutamiitre / narmottariirh priyasakhifu krtasmitiisu lajjiivilakfahasitiirh hrdi cintayiimi//
Even now, in my heart I ponder her handsome faceshe was lounging in an upper room bantering with gay companions when they spotted me' on my way to the house; her laughter betrayed her embarrassment.
WS38
adyiipi tiim anunayary api ciitupiirvarh koPiit pariikrtamukhirh mayi siipariidhe / iilifigati prasabham utpulakiifigayaftim rnii meti nibsprham ivoktavatirh smariimi
WS38
II.
WS39
adyiipi tiim ufasi tatk~artaviprabuddhiirh nidriilasiirh hrdi vahiimi krtiifigabhafigiim / jrmbhiividirrtamukhamiirutagandhalubdhamugdhabhramadbhramaravibhramalolanetriim //
Even now, I remember her turning away in anger when I roguishly cajoled her, her slender body thrilling when I forcibly embraced her"No!" she cried, trying to deny her longing. WS39
Even now, in my heart I hold her at dawnstartled into waking, still drowsy with sleep, stretching her limbs, her excited eyes flirting with a bumblebee buzzing at her face bewildered in his lust for redolent breath blown by her yawning mouth.
[73]
WS40 adyiipi tam anavagamya mayiivrtiik,fim ko 'yam vadety abhihite bahufab sakhibhib / malar na vidma iti sasmitam alapantim ulpannakampapulakiikulitiim smariimi //
WS41 adyiipi tam prathamasamgamajatalajjiim nil!Yiim prahi!wati kararh mayi mandamandam / phutkiirakampitafikhiitaralapradipam kar[lotpalena nijighamsum aham smariimi //
WS40 Even now, I remember stealing up and covering her eyes while her friends chimed, "Say who it is!" "Ivfother, I don't know!" she answered laughing, ruffled by signs of trembling and tingling on her flesh.
WS41 Even now, I remember her, shy at our first meeting when I gently urged my hand at the knot of her skirtwith a lotus flower from her ear she tried again to darken the glimmering light of a flame already shaken.
ll!
I
WS42 adyapi tam gatinirakrtariijahamsim dhammillanirjitamayurakalapabhiiram / cak,fubJriyahasitamattacakoranetriim samcintayiimi kalakar!hasamanakar!him //
WS42 Even now, I regret her: the wild goose's motions seem ugly next to hers, the peacock's plumage train is dulled by her braid, the moon-struck cakora's gaze is mocked by her eyes' luster, the cuckoo's melodious tone is rivaled by her voice.
WS43
adyiipi tam madanamandiravaiJayantim antarmukhe madadharo~!adalam vidhqya / angair anaiigavikalair mama gar/ham aiigam aliiigya kelifayane sayitam smarami //
WS44
adyapi tam upavane paricarayuktam samcintayiimy upagatiim madanotsavqya / mat parsvalokabhayata~ fayaniit safaiikam 1?Jiivrrya tatk~a!lam anuk~a!lam ik~amii!liim //
WS45
adyiipi tam urasiJadvayam unnamayya nafyadvalitritayalak#taro_mariiJim / dl!J!4Yiimi vellitabhujiim vihitiifigabhaiigam madl!J!ena nabhikuharam mama darfayantim //
WS43
Even now, I remember the banner of my triumph in Love's temple, lying in our bed of passion, relishing my lip inside her mouth, holding my body buried in love-weary limbs. WS44
Even now, I recall her entering the forest grove with her retinue to celebrate spring's festival of lovein fear of her guard she shyly turned from where I waited, stealing glances as she did. WS45
Even now, I meditate on herarching her breasts until the beauty line of hair on her waist appears in fading folds of flesh, raising her arms, stretching her body to show me the hollow of her navel.
[77]
WS46
WS46 adyiipi tiini
mrdumanmathabhii~itiini
tiryagvivartinqyaniintanirik~itiini
I
lilii!asiificitagatiini sucismitiini tasyii& smariimi Itrdi vibhramace~!itiini
1/
WS47 adyiipi ttim mqyi nimilitasiicinetriirh loladb hujiim valayajhafikrtisabdahrdyiim / biiliim kaJhorakucam unnamitam svakarrte kart¢i1yanam vidadhatirh hrdi cintayiimi II
WS48 adyiipi tarh ka{itaJiirpitaviimapiilJim iikuncitaikacarat:tagraniruddhabhumim / stambhiivalambitabhujiim pathi miim vrajantam paSyiimi banduritakamdharam ik~amiitl(im 1/
Even now, in my heart I recall her seductive ways: murmured words of love, looks glancing from the corners of her eyes, graceful languid swaying steps, radiant smiles.
WS47 Even now, in my heart I regret her half-closed eyes bent on me, her restless arms delighting me with sounds of jingling banglesmy girl rubbing her ear to make her luscious breast more full.
WS48 Even now, I see her poised on the pathher left hand set on her hip, one tiptoe foot touching the ground, her arm clinging to a post, her neck craning to watch me leaving.
WS49 adyiipi tlirh mayi drsarh nudatirh smarlimi jiitasmarajvarakariirh madhuriirh sutliram I atyU)jvalarh sutaraliirh kutiliirh salillirh ni~pandamandasamadapramadapramadam //
WS50 adyapi tad dasanakharJ.fjitadantaviisarh lilanimilitavilolavisalanetram I pafyiimi nirmalanisakarakiintakiinti siik~iit pura& sthitam iviinanam iiyatakva& / f
[80]
WS49
Even now, I remember her casting her look at me: sweet, glinting, exciting fevers of awakened passion, gleaming, tremulous, capricious, gracefulquiet, slow, excited, then finally wildly wanton in drunken abandon. WS50
Even now, I see the face of my long-eyed love clearly fixed before melips wounded by my teeth, trembling long eyes gracefully closing, love's glow gleaming like clear moonlight.
[81]
---,~
ADDITIONAL VERSES
~,--~
AVl adyiipi kokanadaciirusarekhahastiith tiith siitakumbhakalasastanabhiiragiitrim / bimbadharith vifamabii[lanipi¢itiifigith sathcintaye dvya[lukamadhyatanuprakiiSiim //
AV2 adyiipi tlith Sikharaciirubalakfadantair mukhyiini kundamukuliini jitiini siidhvim / sathcintqyiimi suratapravilolacittiim kiimefu niraJadrsath vanaJiivatamsiim /i
AV3
adyiipi tiim suratatiirt¢avasiitradhiirirh pafyiimi dirghavirahaglapitiingayaffim / angair aham samupaguhya ka!im dadhiiniith kimcinnimilanayaniirh nahi nu tyaJiimi //
[82]
AVl Even now, I regret her lovely Lac-lined hands, like crimson lotuses, her body bent by golden potlike breasts, her lips the luscious red of balsam apples, her limbs pained by Love's sharp arrows, her fine slender-waisted form.
AV2 Even now, I regret herexquisite gleaming teeth outshining jasmine buds, lotus eyes, her heart quivering with love at passion's heighta fresh bouquet of wild flowers gathered for me from the forest.
AV3 Even now, I see her holding the reins in our wild dance of love, her slender body wasted from long partingshe gives me her hips, I hold her with my limbs, her eyes are almost closed, I'll never let her go!
[83]
AV4 adyapi tam suratadharmajaciirunetram giifigeyakumbhasadrsorasijiim sumadhyiim / viTJiininiidamadhuraril muhur iilapantim ramyadharam madhuranilakaciim smariimi 1/
AV5 adyiipi tam suvadaniim stanabhiiranamriim .fyamam ca viimanayaniim rama(liyagatrim / nidriilasiim alakanirjitaJadpadalim samcintcryami satatam smaravaijayantim //
AV6 adyiipi tiim kanakakaiika(labhu#tiigrahastam ca vaktrakamalena sunirjitendum / liliivatim suratakhedanimilitiik~im dhyiiyiimi cetasi madakulaliilasiiiigim //
AV4 Even now, I remember beautiful eyes devoted to love, breasts like pots of holy Ganges water, a slender waist, chattering sweet as a vina's tones, luscious lips, and soft black hair.
AV5 Even now, I constan tly brood on my girl: her beautiful face, body bent by heavy breasts, lovely eyes, seductive limbs, languor after sleep, curls that shame black bees' hairmy victory banner in love.
AV6 Even now, I fix my thought on her: her wrists adorned with gold bangles, her lotus face outshining the moon, her graceful ways, eyes almost closed in the strain of love, body languid in drunken fulfillment.
AV7 adyapi tarh kamalapattravisalanetrarh netradyutiprasaranirJitakhanjaritam / dhyayami santijananim smarapirjitasya divyaufadhim iva Janinaranathaputrim / I
AV8 adyapi tarh calacakoravilolanetrarh Sitiirhsuma[lrjalamukhirh ku{ilagrake.fam / mattebhakumbhasadrsastanabharanamriirh bandhilkapu~pasadrfau~thaputiirh smarami //
AV9 adyiipi tam navavadhiim suratiibhiyogarh sampiirrzakamavidhina racitiirh kadacit / piir1}endusundaramukhirh hari[liiyatiikfirh unnidrakokanadapattramukhim smariimi /1
[86]
AV7 Even now, I meditate on long lotus petal eyes splendidly shaped to shame the forms of wagtail birdson the king's daughter, my source of peace, heavenly cure for a victim of Love.
AVO Even now, I remember her: nervous cakora bird trembling eyes, round cool-rayed moon face, curling hair, her body bent by swollen elephant-temple breasts, her crimson date bloom mouth.
AV9 Even now, I remember my young mistress whenever bursting passion raised her energies in loveher full moon beautiful face, long fawn eyes, fresh red lotus petal mouth.
AV 10 adyapi tam aham alaritjatupurvaghrJte fiiyyatale sufayitarit madanotsavaya I vitzavatirit vikacacampakapu!pavaktrarit dhyiiyami cetasi sada sudatirit suhhaiigirit
AV 10
II
AV 11
AV II
adyapi tam uhhayaparsvagahararamyarit vasantikakusumahhuJitakaritdhararit ca I ramahhiramavidhuma1J{1alavalguvaktrarit lava1Jyanirjitarasarit satatarit smarami II
Even now, I always remember her: her neck adorned with spring jasmine blooms, garlands seductively swaying at her sides, her face more charming than a gleaming moon disc, her salty beauty surpassing elixir in flavor.
AV 12
AV 12 adyapi tiJthati drfor idam uttariyarit dharturit puna~ stanatate patitarit pravrtta vacarit nisamya nayanarit nayanarit mameti kiritcit tada yad akarot smitam ayatakJi II
[88]
Even now, I always fix my thought on her: beautiful and fine-limbed, lying on a lac-polished bed ready for the festival of love. playing her vina, looking like a champac flower in bloom.
I
Even now, she stands before my eyes engrossed in securing the bodice cloth from falling again on her breast's smooth slope. W'hen she heard me plead, "A glimpse, a glimpse for me," the long-eyed girl half smiled.
[89]
AV 13 adyajJi naiva hrdayam vinivartate me tasya nimagnam adhare taralek~ar;iiyii~ / tyaktum na khalv aham idam tad upekva siik[al lokatraye 'pi duravaparasabhipurrzam //
AV 14 adyiijJi miirutavidhutalatiiviliisiim virziisugho~avacaniim mama jivitefiim / paiice[u ra$trakamalam subhavedimadhyam dlryayiimi cetasi satim madaniibhiramam //
AV 15 adyiijJi me prati muhu~ paribhiivyamiiniis ceto haranti hari1}isisulocanii.ya~ / antarnimagnamadhupakulakundavrndasamdarbhasundararuco nayaniifigapatii~ //
[go]
AV 13 Even now, my heart never turns from herflashing eyes staring as I deeply drink her lip. Tasting richness of a flavor rare in any world, I cannot give it up.
AV 14 Even now, I meditate in my thought on her, seductive in love, wanton like a creeper shaken by the wind, talking like a fine-toned vinamistress of my life, my hoard' of kingly wealth, her waist shaped like an altar ofgood fortune.'
AV 15 Even now, glances from her fawn eyes flash again to captivate my heartgleaming bouquets of white jasmine with black bees hiding inside.
AV 16 paficatvam tanur etu bhiltanivahab sviimsair milantu dhruvam dhatas tvam pra[lipatya kimcid adhuna yiice nibaddhafiJalib / tadviipi~u payas tadiyamukure Jyotis tadiyiintaral!)'0mni l!)'0ma tadiyavartmani dharii tattalav.rnte 'nilab //
AV 17 bhavatkrte khafiJanamafijuliik~i siro madiyam yadi yiiti yiitu / dasiinena niipi dasiinaniini nitiini niiSam janakatmajarthe //
I I II ~
I
AV 16 God, I bow before you! My hands are fixed in homage to beg you: may my body's mass dissolve-its elements long to rejoin their natural forms. Let me be water in her'well, light in her mirror, air in her nostrils, earth on her path, breeze in her fan!
AV 17 If my head falls for you, lady with a pipit bird's beautiful eyeslet it fall! For ]anaka's daughter, SWi, the wretched demon Riival}.a sacrificed all ten of his heads!
TEXTUAL CRITICISM OFTHE CAURAPAN CASIKA
SELECTED ABBREVIATIONS & SYMBOLS
IN THE CRITICAL APPARATUS ABBREVIATIONS
SCHEMA OF MANUSCRIPT CLASSIFICATIONS
Type I. Version A Version B Type II. Version Version Version Version Version
D E F G H
codices AI, A2, Ag, A4, AS, A6, A7. codices are virtually without variants and are not listed separately = B. - codices DI, D2, Dg. - codices EI, E2. - one manuscript only = F. - one codex of two manuscripts - HI, H2, Hg.
= the first word of Additional Verse number I7 of the critical edition. Caritam = the South Indian version of the BilhaI).a legend; see the Introduction, note g. Caura = Caurapanciilikii, as defined in the Introduction, note I. Pancatvam = the first word of Additional Verse number 16 of the critical edition. Purvapaiicasat = the GujaratifMaharashtrian version of the BilhaI).a legend; see the Introduction, note g. Sarn = Sariigadharapaddhati. Bhavatkrte
N-THE NORTHERN RECENSION
=
G.
WS-THE WESTERN-SOUTHERN RECENSION
Type III. Version Version Version Version Version
P Q R S T
~codices PI, P2, P*. - codices QI, Q2, Qg, Q4. - codices RI, R2, Rg, R4, R *. - codices S I, S2, Sg, S*. - codices TI, T2, Tg.
Type IV. Version Version Version Version Version
V W X Y Z
-codices - codices - codices - codices - codices
VI, V2, Vg, V4. WI, W2. XI, X2. YI, Y2. ZI, Z2, Z*.
MC-MIXED-CODICES
MCI, MC2, MCg, MC4, MCS, MC6.
[9 6]
SYMBOLS o
X
Italics
? []
indicates a portion of a word to be understood from the text. indicates a portion of the text to be supplied between the given words. indicates a lost ak!ara, due to damage or illegibility of the manuscript. indicate a portion of the text, or a single ak~ara, which is ambiguous in the manuscript. indicates an unclear reading. (a) encloses an inferred reading. (b) encloses explanatory material.
Collection oj the Manuscript Evidence
The first step toward preparing a critical edition is to determine the extent and availability of the manuscripts of the work. Besides two manuscripts in the collection of the University of Pennsylvania, Poleman's Census oj Manuscripts in the United States and Canada also lists two manuscripts in the collection of Harvard University; these were readily obtained in microfilm copies. Aufrecht's Catalogus Catalogorum lists fifteen entries for the Caura. Catalogues of Indian collections cited by Aufrecht proved too outdated to be of use, since most of the manuscripts referred to have now gravitated to public collections. Among European catalogues listed, Eggeling's Catalogue oj Sanskrit MSS in the Library oj India Office describes five Caura manuscripts (pp. 1523-25); this enabled me to obtain microfilms of the manuscripts with relative ease. More substantial success was had by consulting recent catalogues of the larger public collections in India. An excellent chronological list of manuscript catalogues appears' on pp. 112-29 of Katre's Indian Textual Criticism; that material is not duplicated here. However, Gode's list ends with the year 1940, and attention should be called to several particularly useful catalogues published after that time: Narahari's Descriptive Catalogue of Sanskrit Manuscripts in the Adyar Library; Nambiyar's Alphabetical List of Manuscripts in the Oriental Institute, Baroda; Gode's Descriptive Catalogue of the Government Collections of Manuscripts Deposited at the Bhandarkar Oriental Research Institute, of which Vol. XIII, Part 2, Kiivya, is not included in Katre's list, though earlier volumes are; Kalelkar's Catalogue oj Sanskrit Manuscripts in the Collection of Deccan College Postgraduate and Research Institute, Vol. II, Kiivya Manuscripts; and Schubring and Janert's Verzeichnis der orientalischen Handschriften in Deutschland. Within about ten months microfilm copies were obtained of approximately fifty manuscripts in the collections of the Bhandarkar Institute, Deccan College, Adyar Library, Bombay Branch of the Royal Asiatic Society, Asiatic Society of Bengal, and Sanskrit University of Banaras. Photostats of nine manuscripts from the
collection of L. D. Bharatiya SariIskrti Vidyiimandir in Ahmedabad were obtained through the generosity of Muni Sri PUI).yavijayaji, in answer to a request from Professor Brown; photostats of four manuscripts from the Oriental Institute of Baroda were sent by Dr. U. P. Shah through Muni Sri PUI).yavijayaji. Microfilm or photocopying facilities were not available at the Government Oriental Manuscripts Library in Madras, Tanjore Maharaja Serfoji's Sarasvati Mahal Library, Kerala University Library in Trivandrum, or Sri VeiikatcSvara University Oriental Institute in Tirupati, but transcriptions and copies of eighteen manuscripts were prepared at the respective libraries. In December 1966 a copy of the provisional list of entries under "Caurapaficiisikii by BilhaI).a" in the Catalogus Catalogorum files of the University of Madras was obtained, through Professor Brown, from the present editor, Dr. V. Raghavan. This list led to correspondence with curators of many smaller libraries and private collections in India, as well as a few in Europe. Microfilms were obtained from the European sources, but those Indian librarians who did reply affirmatively to inquiries about the existence of manuscripts of the Caura usually regretted the absence offacilities for microfilming or hand-copying. During a stay in India in 1966- I 967 I was able to obtain a number of these manuscripts on loan through the offices of Dr. B. A. Patkar at Deccan College; others were examined and photographed by journeying to the libraries. In all, over one hundred manuscripts from different regions of India have been examined, and of these about sixty more or less independent codices have been collated; their readings constitute' the manuscript evidence for the critical edition. The one region in which known repositories of Caura manuscripts were not tapped is Rajasthan. Although the existence of five manuscripts in the Anup Sanskrit Library in Bikaner was confirmed, no facilities for copying are available, the manuscripts cannot be borrowed on loan, and it was finally impossible to arrange for the journey to Bikaner. Communications indicate, however, that four of the manuscripts are entitled Caurapaficiisikii and attribute the poem to BilhaI).a. This would indicate that they probably belong either to N, type I, version A, or to WS, type III (in the Classification of Manuscripts, below), since, on the basis of the manuscript evidence
[9 8]
[99]
~
1. COLLECTION OF THE MANUSCRIPT EVIDENCE
~
Textual Criticism
of the
Manuscript Sources
Caurapaftdisika
thus far examined, these are the only manuscripts in which this title and author attribution occur together. The fifth manuscript of the group is entitled Caurapaficiifikii and contains the commentary of BhaveSvara; it is thus identifiable as belonging to N, type I, version A, and is related to the manuscript BORl.9 (see the section on manuscript sources, below). Inquiries sent to the Library of the Maharaja ofAlwar, the State Library of Bharatpur, and the Library of Nathdwara in Udaipur were never answered; nor were those to the Rajasthan Oriental Research Institute in Jodhpur. --~
2. MANUSCRIPT SOURCES
~,---
The manuscripts described here include both those which have been collated in their entirety and those which have been consulted only at points of particular difficulty in the text. This distinction was made both on the basis of a manuscript's status as an independent witness and on its condition and completeness. ADY. Adyar Library and Research Center, Madras. Four manuscripts have been collated from transcriptions in Devanagari prepared by members of the library staff; microfilms have been used to check questionable readings. A fifth manuscript, a Devanagari tra:nscript of a Bengali manuscript, was collated from microfilm. The five are described in Narahari, Descriptive Catalogue, V, 166, 18g-90; the library's old system of numbering is used here and two of the manuscripts described do not contain the Caura (DC 569, 571). Thanks are due to Mrs. Seetha Neelakantan, the librarian, for her cooperation. ADY. I-No. 69945. Telugu script, palm leaf, 13 folios, 151 in. x 11 in., 8 lines to a side. Caura, following 88 verses of caritam, is in 53 verses [numbered 89-107, 104*-7*, 108-35]; verse 136 begins paficatvam, verse 137 begins bhavatkrte. Part II of the manuscript is another poem, entitled Bilhm;zii!akam. Begins: srir astu. bilhaQ.acaritam. Part I ends: iti corapaftdisat samaptam. Manuscript ends: srikr~Q.arpaQ.am astu. raudrisamvatsaralikhitam. ADY.2-No. 73404 [incomplete]. Telugu script, palm leaf, 6 [100]
folios, 17t in. x Itin., 6 lines to a side. Caura, following 65 verses of caritam, is verses 1-34, after which the text breaks off. Begins: sri!). bilhaQ.acaritam. subham astu. ADY.3-No. 73090 [incomplete]. Grantha script, palm leaf, 10 folios, 141- in. x -i- in., 6 lines to a side. Caura, following 79 verses of caritam, is verses 1-42, after which the text breaks off. Begins: sri!).. bilhaQ.acaritam. ADY.4-No. 73095. Telugu script, palm leaf, 8 folios, 17 in. x It in., 9 lines to a side. Caura is verses 1-47, with commentary following each verse. Begins: Sri!).. bilhaQ.acaritam. subham astu. avigham astu. uttarapaficasato 'vyakhyanam. No colophon. ADY.5-TR 1000 (a transcript into Devanagari of a manuscript in Bengali script bearing the designation [under the library's old system] 42.B. I 2, unavailable now). Caura is verses I-50, with commentary following each verse. Begins; sri ramaJ:t saraQ.am. sri Sri kali. caurapaficasika satika. Ends: iti srisundararajaviracitam uttarapafidisat corakam samaptam. sri kali. san 1228 sala sakabda!). 1742 sriramakumara adiryaI).am yani. yatnena likhitarh grantham yaccorayati manava!).. mata ca sikari tasya pita tasya ca gardabha!).. Commentary ends; nandarameQ.a viracitam caurapaficasat vyakhyanarh samaptam (this must refer to the Bengali commentator Rama Tarkavagisa Bhattacarya, who is elsewhere [10.4] referred to as the son of Nandadima; the commentary is essentially the same, with many omissions). [Ca. A.D. 1820.] AHM. L. D. Bharatiya Sarhskrti Vidyamandir, Ahmedabad. Nine manuscripts have been collated from photostats kindly provided by Muni Sri PUQ.yavijayaji. These manuscripts group themselves to represent three versions of WS, type III: AHM.4 and AHM.8 = Pj AHM.I, AHM.2, and AHM.6 = Q; AHM.3, AHM'5, and AHM.9 = S. They are all written in a variation of Devanagari script which Louis Renou designates as "Nagari Jaina" (L'Inde classique, II, 693-95); it shall be referred to herein as Jaina Devanagari to distinguish it from classical Devanagari. Manuscripts in this script share a common disregard for differences between long and short vowels, a confusion of sibilants, a carelessness with regard to anusvara and visarga, and unique representations of certain conjunct characters. It [101]
Textual Criticism of the Caurapanciisikii is not uncommon for both J aina and classical Devanagari forms of a vowel sign or a conjunct character to occur within a single line of a manuscript which is written predominantly in the Jaina Devanagari form. ARM. I-No. 4239 (Muni PUJ;lyavijayaji Samgraha). Jaina Devanagari script, paper, 6 folios, 10 in. x 41' in., 18-19 lines to a side. Caura is verses 2-5 I, each labeled kiivya (verses I, 52-54, also in Sanskrit and also labeled kiivya, refer to the legend). Each verse is followed by a translation rendered in two copais of Old Gujarati; these are attributed to Jiiiiniiciirya. This is preceded by an account of the BilhaQa legend, in 49 verses of Old Gujarati, which follows the form of the legend which we call purvapaiiciiSat, i.e. the form found in versions of type III. Begins: aim. Srigoripiirsvadeviiya nama!').. Ends: iti sribilhal).apaiiciisikii sampiirQam sam I 777 var~e kiirttikipii. 5 diintiimgriimek~i (this colophon is written along the margin of the final folio of the manuscript, in the same hand as the text, but worn and difficult to read). [Ca. A.D. 1720.] AHM.2-No. 1221 (Muni PUl).yavijayaji Samgraha). Jaina Devanagari script, paper, 6 folios, 9-i in. x 4i in., 16-17 lines to a side. Caura is in 50 verses, each labeled kiivya and followed by the Old Gujarati translation (numbering is 1-205); there are two additional "kiivya" verses, one of which begins bhavatkrte. The manuscript begins with the account of the legend in 55 verses of Old Gujarati; 5 copais conclude the legend. Begins: aum aim. Ends: iti sribilhal).apaiiciisikii kiivyatathiicaupai samiiptii. knl).apure likhitii. samvat 1715. jitavadi 7 sa. var~e nau. [Ca. A.D. 1658.] AHM.3-No. 3190 (Muni PUl).yavijayaji Samgraha) [incomplete]. J aina Devanagari script, paper, 5 folios, lot in. x 41· in., 13 lines to a side. Caura, following 72 verses ofpflrvapaiiciisat, is verses 74-120, after which the text breaks off (verse 73 is omitted). Begins: aim. om namo makaradhvajiiya. [The manuscript is not dated, but Muni Sri PUQyavijayaji dates it to the seventeenth century A.D.] AHM.4-No. 6877, part 2 (Muni PUl).yavijayaji Samgraha) [incomplete]. Part I of this manuscript is the text of the Vasantaviliisa; it is codex C of W. Norman Brown's critical edition [102]
Manuscript Sources in the American Oriental Series. Jaina Devanagari script, paper, 3 folios (numbered 10, II, 12), IOlin. x 4 in., 12 lines to a side. Begins: aim. [The manuscript is not dated; Muni Sri PUQyavijayaji dates it to the sixteenth century, while Professor Brown suggests the early part or middle of the seventeenth century A.D.] AHM.5-No. 3127. Jaina Devanagari script, paper, 6 folios, 91- in. x 4 in., 7 lines to a side (with commentary written above and below the text, as well as in both side m~rgins, in small, uneven writing). Caura is verses I-51, with Sanskrit commentary. Begins: aim. namo bhiiratyai. Text ends: iti sribilhal).oktii paiiciisitkiivya[samii]pteti bhadram astu. hemiivayena muninii likhitakareQa. chao Commentary ends: iti bilhaQapaficiisikiiyiivaciiri!'). samapta. Colophon: srivikramarkasamayadvigate 'tra var~e vacamyamastanarasaikalikhac ca caitre[ ?-after this the manuscript is illegible] ... pa[ii]casikam ca ghatitam kavibilhal).ena. sri. chao [Muni Sri PUQyavijayaji dates this manuscript to the seventeenth century A.D.] AHM.6-No. 1146 (Sri Nagarasetha Samgraha). Jaina Devanagari script, paper, 7 folios, lOt in. x 4i in., [6-17 lines to a side. Caura is in 49 verses, usually labeled kiivya or Sloka and followed by the Old Gujarati translation; an additional Sanskrit verse refers to the legend. This manuscript begins with the same version of the legend as appears in AHM.2; numbering here is also 1-202. The manuscript omits "kiivya" verses 46 and 48. Begins: aim. Ends: iti sricakracii<:liimaQibelhaQapaiicasika sampiirQa. sri!').. sri!').. [Muni Sri PUJ;lyavijayaji dates this manuscript to the eighteenth century A.D.] AHM.7-No. 605 (Muni Siigaracandraji Samgraha). Jaina Devanagari script, paper, I folio, lOi in. x 4t in., 27 lines on side one, 19 lines on side two. Caura is verses I-50; verses 51-53 refer to the legend (53 = Kat 57). Begins: aim. Ends: iti bilhaQapaiiciisika sampiirQii. [Muni Sri PUQyavijayaji dates this manuscript to the eighteenth century A.D.] AHM.8-No. 701, Jaina Devanagari script (often carelessly written), paper, 4 folios (la and 4b are blank), 9t in. x 4i in., 11-16 lines to a side. Caura is verses 1-48 (verses [7 and 34 of WS are omitted, as are WS 49, 50; nos. 23 and 33 are skipped [ 103]
Textual Criticism of the Caurapaficc'isika in the order of numbers in the manuscript); verse 49 begins bhavatkrte. Begins: srinrsirhho jayatu. Ends: iti bilhaI.lapaI).<;litaracita bilhaI).apaficasika samapta. [Muni Sri PU[,1yavijayaji dates this manuscript to the seventeenth century A.D.] AHM.9~No. 9692 (VijayadevasiirUi Sarhgraha).Jaina Devanagari script, paper, 9 folios (text begins Ib), lOt in. x din., 10-1 I lines to a side (9b has 2 lines). Caura, following 72 verses of parvapaiiciisat, is verses 74-12 I (73 is skipped in the numbering); verses 122-3 I conclude the legend. Begins: srigaI).eSaya namaJ:!. Ends: iti srikavirajanamaskrtapadaravindasya sribilhaI).a[ka]ve1:J krta bilhaI).apaficasika samapta. chao sriI' astu. chao chao [Muni Sri PUI).yavijayaji dates this manuscript to the eighteenth century A.D.] AN A. Anandasrama, Poona. One manuscript was photographed at the library of Anandasrama, with the kind permission of the curator. The manuscript was examined and the text found to be a duplicate of that of BORl.3; it has been checked only in places where that manuscript is unclear. ANA-No. 2774. Devanagari script, paper, 6 leaves, 91- in. x 4 in., 7 lines to a side. Caura is verses I-50; 51 begins hhavatkrte. Begins: srigaI).eSaya nama1:J. No colophon. ASB. Asiatic Society of Bengal, Calcutta. Nine manuscripts have been examined from microfilms prepared at the Asiatic Society. One manuscript (No. 10803) contains no verses of the Caura, despite a colophon which reads: iti caurapaficasika samapta. Another manuscript (No. 3707; contains only the commentary of RadhaknI).a. Of the remaining manuscripts only ASB.l, ASB.3, ASB.4 were thoroughly collated. ASB.2, ASB.5, ASB.7 are all incomplete and essentially the same text as ASB. I; they were spot-checked. ASB.6 is the text with the GaIJapati!ikii, which is extremely standardized; it too was only spot-checked. The nine manuscripts are nos. 5114-23 in M. H. Shastri's Descriptive Catalogue, VII, 101-7. ASB.l~No.
334. Bengali script, paper, 7 folios, I2-!- in. x 31- in., 5 lines to a side. Caura is verses 1-48. Begins: with verse 1. Ends: sribhagavaccandasarmaI).a1:J sribhagavaccandaSarmaI).al:t sripiirna l,J..
Manuscript Sources ASB.2-No. 5062 [incomplete]. Bengali script, paper, 5 folios, 13t in. x 3t in., 6 lines to a side. Caura is verses 1-32, after which the text breaks off. ASB·3-- No . 9636. Devanagari script, paper, 8 folios, rot in. x 4* in., 8 lines to a side. Caura is verses I-50. Begins: srigaI).eSaya nama1:J. Ends: iti srimahdvaraviracitarh caurapaficasikavivaral)arh samaptam [but there is, in fact, no commentary accompanying the text]. ASB·4~No. 8280. Devanagari script, paper, 26 folios (14th missing), ro in. x 4t in., 6-7 lines to a side (in tri-pii!ha form). Caura is verses I-50, with commentary on each verse. Begins: aurh srigaI,leSaya namal).. Ends: iti bhaveSvaraviracitacaurapaficasikavivaraI).arh samaptam. likhitarh kasyarh visvambhareI).a. ASB·5-No . 142 [incomplete]. Bengali script, paper, 6 folios, about 16 in. x 3 in. Caura is verses 3-46, each accompanied by the commentary of Radhakr~I).a. First and final folios are missing. ASB.6~No. 8227. Devamigar~ script, paper, 27 folios, 9t in. x 4 in., 6-7 lines to a side (in tri-pii!ha form). Caura is verses I-5 0 , with the commentary of GaI).apati on each verse. Begins: srigaI).eSaya nama1:J. vighndvararh namaskrtya ramopadhyayanandanal:t I gaI).apatis tanute tikarh khaI,l~akavyasya vai sphutam
II
Text ends: iti sricauramahakavina racita slokapaficasika samapta. Commentary ends: iti srisamastavidyaravindamartaI).<;lakhaI).e,:litavidyasisarvavipak~asamopakarasariJ.tu~tik!ta
siidrabhrahma[,1asamiihasiiriramopadhyayasiinuna gaI).apatina racita vilasij anacittakairavacandrikacaurapaficasikayarh tika sampiirI).a. [This beginning and ending are common to all codices which have the GaIJapati!ikii; they will not be repeated, but variants will be noted.] Colophon: pada<;lakaropanamnal:t vi~[,1usunol:t sridharasyedarh pustakam. sarhvat 1874 sake 1739. rama. [Ca. A.D. 1817]. ASB·7~No. 3883. Bengali script, paper, 27 folios, 14 in. x 4 in., 4 lines to a side. Caura is verses 2-49 (on folios 1-6), followed by [105]
Textual Criticism of the Caurapafidisika an anonymous commentary which gives a double interpretation to the verses, as applied to Vidya and to the goddess Kalika. Beginning damaged. Text ends: samaptas cayam grantha!).. sridurgayai nama!).. [Nine additional manuscripts from Bengal, in Bengali script, were examined, but not collated. Of the three manuscripts listed under Caurapanciifikii in the Central Library of Visva-Bharati, Santiniketan, No. 460 includes only a piirvapanciifat, and Nos. 497-98, both written on palm leaf, are incomplete and badly damaged. Three manuscripts in the collection of Vangiya Sahitya Pari~ad, Calcutta (Nos. 203, 247, 308), all entitled Corapaficiifat, were examined from microfilms prepared at the society, through the cooperation of its secretary, Nirmal Kumar Bose. The manuscripts are identifiable as belonging to N, type II, version D, but the films were found too difficult to read for detailed analysis. Three manuscripts in the collection of the Post-Graduate Department of Sanskrit at the University of Calcutta (Nos. 417, 820, 1039) were too faded to photograph and could not be satisfactorily studied in the library.] BAN. Sarasvati Bhavana Library, Sanskrit University, Banaras. Nine manuscripts have been examined from microfilms prepared at the library. The manuscripts, in Devanagari and Bengali scripts, belong to different versions of N. One manuscript in Devanagari (Ace. No. 22150) contains 74 verses of piirvapanciifat only. Two manuscripts in Bengali script (Ace. No. 22139 and 43374) are incomplete; neither contained enough of the text to warrant collating it. BAN. I-Ace. No. 19518/Serial No. 8-128. Devanagari script, paper, 9 folios, 7 in. x 3i in., 6 lines to a side. Caura is verses I-5 0. Begins: srigal).eSaya nama!).. Ends: iti sricaurapaficasika samapta. subham astu. BAN.2-Acc. No. 19519/Serial No. 8-129. Devanagari script, paper,s folios, 9 in. x 4i in., I I lines to a side. Caura is verses I-50. Begins: idam pustakam caurapancasikaprarambha!).. srigal).esaya nama!).. Ends: iti srisundarakavina caurapaficasikasampilrl).am. Srikalabhairavarpal).am astu. [106]
Manuscript Sources BAN .3-Acc. No. 3066/Serial No. 14-25 [incomplete]. Devanagari script, paper,s folios (2-6 only), 8} in. x 4 in., 9 lines to a side. Caura is verses 5-50. Ends: caurapaficasika samapta ... subham astu. chao chao BAN.4-Acc. 1'\0. 42554/Serial No. 10-123. Devanagari script, paper, 7 folios, 9t in. x 4-!- in., 8 lines to a side. Caura is verses I-50. Begins: srigal).eSaya nama!).. Ends: iti caurapaficasika samapta. samvat 181 I. [Ca. A.D. 1754.] BAN.5-Acc. No. 36222!Serial No. 3-66. Devanagari script, paper, 9 folios, loin: x 4 in., 7 lines to a side. Caura is verses I-50 (verse 48 is repeated, verse 47 omitted). Begins: srigal).adhipataye nama!).. Ends: subham astu ... subham bhavatu. BAN.6--Acc. No. 43370 (?)fSerial No. 14-175. Bengali script, paper, 5 folios, IS! in. x 3t in., 6 lines to a side. Caura is verses I-50. Begins: aurh srisyamaye nama!).. Ends: iti sundararajakumaraviracitam vidyavaraI)am corapaficasad akhyam kavyam samaptam. srirama!).. BAR. Central Library, Oriental Institute, Baroda. Three manuscripts have been collated from photostats prepared by Muni Sri PUl).yavijayaji, with the kind cooperation of Dr. U. P. Shah. The photostat of a fourth manuscript (no. 9351) shows it to contain only the piirvapaficiifat in 7 I verses; this manuscript ends: iti caurapaficasika samapta. iti srisudharasakavye kavisribilhal).akrtau pilrvakathanusamdhanam samaptam. The four manuscripts, as well as two others which were not available (Nos. 13460[c] and 137°1), are listed in Nambiyar's Alphabetical List, serial. nos. 264-69. BAR. I-Ace. No. 9743. Devanagari script, paper, 19 folios, 9-!- in. x 5t in., 9 lines to a side. Caura, following 71 verses of piirvapaficiifat, is verses 72-121; verses 122-25 relate to the legend; verses 126-37 conclude the legend. Begins: srigal).eSaya nama!).. Ends: iti sripal.H;litabilhal).aviracitayam paficasikabhidhanam kavyam samaptam. srir astu. samvat aHadasadvacatvari sake adbe a~adamase 'site pak~e mandvasaranvitayam caturthyam samaptim agamat. samkhetapuranivasin1l. vyasava!amkebhikhatmajena lak~miramel).eyam bilhal).apaficasika alekhi[for alekhita?]. chao [Ca. A.D. 1785.] [ 10 7]
Textual Criticism
rif the
Caurapafidisika
BAR.2-Acc. No. 4364. Devanagari script, paper, 13 folios, I It in. x 6 in., 9 lines to a side. Caura, following 74 verses ending: iti sribilhaQasya piirvacatiil,tsaptatika samapta, is verses I-50 (verse 22 is omitted). The text belongs to N; the purvapaiiciifat is found in only one other manuscript of N, NAG.2. Begins: srigal).eSaya namal,t. Ends: iti bilhal).aviracita caurapaficasika sampiirQa. BAR.3-Acc. No. 9764. Dcvanagari script, paper, 18 folios, 61- in. x 4-3:- in., 9 lines to a side. This manuscript is a duplicate of BAR. I, except that it lacks the postcolophon of that manuscript and ends: srir astu. It has been collated to corroborate the readings of BAR. I.
Manuscript Sources mase suklapak~e lekhitam. samarayatanayasya villor asti sivam. [Ca. A.D. 1845.]
BISM. Bharata Itihasa Samsodhaka Mal).Qala, Poona. Four manuscripts were photographed at BISM, with the kind permission of N. K. Joshi, the director. Three of the manuscripts belong to N, type A; two are incomplete and one duplicates BORI.3. These were spot-checked, but not collated. The fourth manuscript (No. 53. I 61) is a highly conflated codex bearing strong resemblance to manuscripts of J11S, type IV, versions X, Y, but also including verses and readings unique to version V, as well as verses from N.
BaM. Bombay Branch of the Royal Asiatic Society. Three manuscripts from the Bhaii Daji Memorial Collection were examined from mi- . crofilms kindly provided by the librarian. Of these, one (No. 1194) was found to contain only 67 verses of the purvapaiiciifat, after which the text breaks off. Slight descriptions of the manuscript are given in Velankar's Descriptive Catalogue, vol. II, nos. 1194, 1195, 1204. BOM.I-No. 1204. Devanagari script, paper, 10 folios, 14 in. x 8t in., 34 lines to a side. Caura, following 100 verses of caritam, is verses I-57; verses 58-65 conclude the legend. The text here is highly conflated, but often interesting; it is MC6 in the critical apparatus. Begins: srigaQeSaya namal,t. Ends: iti bilhaQamahakavicaritam sampiirQam. sake I 782 margasir~asuddha I guruvarataddine ramacandrapaQQurafigadatara ajare kareQa likhitam. srigauryarpaQam astu. [Ca. A.D. 1860.] BOM.2-No. 1195. Devanagari script, paper, 9 folios, 14 in. x 9 in., 4 lines of text and 14 lines of commentary to a side. Caura is verses I-50, with the commentary of GaQapati on each verse. Begins and ends as noted for ASB.6.
BISM.I-No. 55.191. Devanagari script, paper, 3 leaves, 91- in. x 6 in., 15 lines to a side. Caura is verses I-50; verse 5 I begins bhavatkrte. Begins: srigaQeSaya namal,t. Ends: sam e 22. chao chao BISM.2-No. 55.114 [incomplete]. Devanagari script, paper, 5 folios, 91- in. x 4 in., 9 lines to a side. Caura is verses 6-50. Begins: with piida c of verse 6. Ends: iti sricaurapaficasika samapta. subham astu. rama. BISM.3-No. 21.130 [incomplete]. Devanagari script, paper, 4 folios, 8-!- in. x 4 in., 10 lines to a side. Caura is verses 1-42, after which text breaks off. Begins: srigaQeSaya namal,t. BISM.4-No. 53.161. Devanagari script, paper, 1 I folios, 121- in. x 5 in., 9 lines to a side. Caura, following 83 verses of caritam, is verses I-55; verses 56-62 conclude the legend. Begins: srimanmahagaQadhipataye namal~. Srisarasvatyai namal,t. ayi bil~aQakavyaprarambhal,t. Ends: iti sribilhaQakavikrtau uttarapaficasatsloki sarnapta. sriknQarpaQam astu. sake 1767 maghe
BORI. Bhandarkar Oriental Research Institute, Poona. Nine manuscripts have been collated from microfilms kindly provided by Dr. R. N. Dandekar. The manuscripts represent various versions from both recensions, as well as two interesting mixed-codices. All nine are described in Gode's Descriptive Catalogue, vol. XIII, part I (1940 ), pp. 327-33; vol. XIII, part 2 (1942), pp. 67-71. There are also in the BORl collection two manuscripts (170/1882-83; 43 1/ 1887-91) which contain only the purvapaiiciifat. BORI. I-No. 127/1875-76. Sarada script (see Renou, L'lnde classique, pp. 690-92), paper, 9 folios (book form), 5 in. x 6 in., 10 lines to a side. Caura, preceded by two verses which refer to the legend, is verses 3-56. This manuscript was printed under the title Die Kafmir-Recension der Paiicrifikii by Solf; it is MCI in the critical apparatus. Begins: sripuru~ottamayom namal,t. om svasti. sripramathapataye namal,t. sri sripataye namal,t. Ends: iti caurisurata paficasika paQQitabilhal).akr[tasamapta].
[108]
[ 109]
Manuscript Sources
Textual Criticism of the Caurapaficasika BORI.2-No. 323/1884-86. Jaina Devanagari script (see above, AHM), paper, 15 folios, 9t in. x d- in., 11 lines to a side. Caura is verses I-50, each of which is followed by commentary in Prakrit; verse 51 is N 50; verse 52 begins bhavatkrte. Begins: atha sribelhar,mpaficasika prakrtatika bahva likhyate. Ends: iti sribelhaI,lapaficasika prakrtatika sampftrI,la. EORL3-No. 121(2)/1866-68. Devanagari script, paper, 4 folios, 12! in. x 5-! in., ro lines to a side (folio 4 has one line only). Caura is verses 1-50; verse 51 begins bhavatkrte. Title page reads: atha bilhaI,lasatakaprarambhaJ:1. srirama. Begins: srigaI,leSaya namaJ:1. Ends: bilhaI,lasatakarh satakam iti rii<;lhiJ:1 pararh slokaJ:1 ekiidhipaficiisatsarhkhyakii eva varttata iti krtvii paficasad ityeva vaktavyam. na ca vaktavyam adhikaJ:1 santiti kutaJ:1 anupalabdheJ:1. granthalekhanasamaptidadanac ca. sriprasanna. idarh pustakarh samaptam. BORL4--No. 143/1882-83. Devanagari script, paper, 7 folios, 7t in. x 3i in., 8 lines to a side. Caura is verses 1-50. Begins; srigaI,lesaya namaJ:1 ambasahaya. Ends: iti sricaurapaficasika samapta. BORL5-No. 169/1882-83. Devanagari script (with occasional pnlhamritras, but none of the other characteristics of J aina Devanagari), paper, 5 folios, 8t in. x 4~- in., 11-12 lines to a side. Caura is verses 1-49; it is preceded by three verses, one of which begins bhavatkrte. Verses 50 and 51 are found elsewhere only in AHM. 7. Begins: srigaI,leSaya namaJ:1 srisarasvatyai namah, followed by the three verses. Text begins: atha bilhaI,lena siilikapraveSanasamaye i~tadevatasmaraI,lavyajena bhaI,litii slokii likhyate. chao sri. Ends: iti sribilhaI,lapaficiisa samapta. BORI.6-No. 503/1891-95. Devanagari script (not uniform), paper, 8 folios, 8-!- in. x 4i in., 8 lines to a side. Caura, following three salutory verses, is verses 3-53. Begins: srlgaI,leSaya namaJ:1. Ends: iti sri sundarakavikrtarh caurapaficiisikarh sampiirI,lam. sarhvat 1855. sriI' astu. vaiva. 1. da. [Ca. A.D. 17g8 .] BORL7-No. 436/1884-87. Devanagari script, paper, Ig folios, 8t in. x 4 in., 10 lines to a side. Caura, following 84 verses of purvapafidifat (here called piirvapilhaka), is verses 1-88; verse 89 is the verse bhavatkrte; verses gO-92 conclude the legend. The text [I ro]
is a mixed-codex of verses from Nand WS; it is MC3 in the critical apparatus. Begins: srigaI,leSaya namaJ:1. Ends: iti srikavirajaviracitarh caurapaficasikavye dvitiyapithika samapta. chao sarhvat 1703 plavanamni yajfieSvarapaI,l<;litena atmatharh likhitam etat. chao chao [Ca. A.D. 1646; but the paper is very modern, which suggests that this is a copy of a manuscript dating to that time.] BORI,8-No. 437/1884-87. Devanagari script, paper, 24 folios, g-a- in. x 4-!- in., 7-8 lines to a side (in tri-palha form). Caura is verses I-50, with the commentary of GaI,lapati on each verse. Begins and ends as noted for ASB.6. BORI,g-No. 159/1902-7. Devanagari script, paper, I4 folios, roi in. x 4i in., 9-10 lines to a side (in tri-pa!ha form). Caura is verses I-50, with commentary on each verse, the same commentary which appears in the manuscript ASB.4 and NAG.2. Begins: srigaI,leSaya namaJ:1. Ends: iti vadanti ityasayaJ:1. coP. Thc Royal Library, Copenhagen, Denmark. One manuscript has been collated from a microfilm prepared at the library: cop-No. 157 (Pandit Collection)-folios 13-24. Devanagari script, paper, I I folios, I I in. x 5 in., 6 lines to a side. Caura is verses 3-50; verses I, 2, and 5 I refer to the legend. [Folios 25-33 of this manuscript contain a work entitled/aSikalavalfyani; Sasikala is the name of the princess in the purvapaiicafat.] Begins: srigaI,leSaya namaJ:1. Ends: subharh bhavatu sarvqam kr~I,laya namaJ:1. chao Deccan College Postgraduate and Research Institute, Poona. Six manuscripts have been collated from microfilms kindly prepared by Dr. Patkar. The manuscripts, like those of BORI, represent versions from both recensions, as well as a mixed-codex. The six are described in Kalelkar's Catalogue, vol. II, pp. 70-73, nos. 348-53.
DC.
DC. I-No. 3544 (Dik~it Collection) [incomplete]. Devanagari script, paper, 6 folios (nos. 2-7), 4! in. x 7t in., 19 lines to a side. Caura is verses 5-52; verse 51 is N 7, though this manuscript belongs to WS; readings are those of MC4, 5, 6. Begins: with piida b of verse 5. Ends: iti sribilhaI,lapaficasik~samapta. srisake 1558 sravanamiise kr~Q.apak~e 4 bhauma. vasare samap-
[I I I]
Textual Criticism
Manuscript Sources
of the Caurapafidisika
tam. sri sri Sri. [Ca. A.D. 1636, but the format and the quality of the paper do not suggest such antiquity.] Dc.2--No. 7478. Devanagari script, paper, 7 folios, 101- in. x 4in., 7 lines to a side. Caura is verses I-52 (no. 22 is omitted); verse 53 is not found elsewhere. Begins: srivigaI).eso jayati. Ends: iti sribilhaI).akaviviracita caurapafidisika samapteyam. DC.3--No. 8034 (Dik~it Collection). Devanagari script, paper, 11 folios, 9 in. x 41- in., 12 lines to a side. Caura, following 72 verses of piirvapaficiifat, is verses 73- 121 ; verses 122-3 I conclude the legend. Begins: srigaI).eSaya nama~. Ends: iti sribilhaI).apaficasika sampiirI).a. srir astu. sakye 1716. anandanamasamvatsare. uttarayaI).e. sasirartau. maghamase. badhapak~e. ~a~tyam tithau. induvasare. taddine. toketyupanamakajayaramatmajena samarajena likhitam idam pustakam samaptim agamat. chao chao chao ... [Ca. A.D. 1794.] DC.4-No. 143 (KM Collection). Devanagari script, paper, 27 folios, 8t in. x 4 in., 7 lines to a side. Caura, following 73 verses of piirvapaiiciifat (here called piirvapi!hikii) , is verses 74-124; verses 125-36 conclude the legend. The text is conflated; it bears resemblance to manuscripts of versions R, S, and T in different places. Begins: srisambasadasivaya nama~. Caura ends (leaf 25): iti srikavirajanamaskrtapadaravindakavibilhaI).akrtau caurapaficasikakavye dvitiyapithika samapta. Manuscript ends: itiyam vartta varttate. srisambasadasivaya namal).. sriramaya nama~. DC'5-Ko. 29Il (Dik~it Collection). Devanagari script, paper, 4 folios, 10 in. x sin., 12-15 lines to a side. Caura is verses I-50. Begins: srigaI).eSaya namal,1. atha srisaraslokaprarambha~. rama. iti corapaficasikaprarambha~. Ends: iti corapafidisadhisamapta~. chao bhagnapr~thikatim vyavastaXXbadra~tir adhomukham kaHe nalitam grantham yajena paripalayet. subham astu. chao sake 1704 pramathinamasamvatsare phalgunavadyapratipadatadine samaptam. chao [Ca. A.D. 1782.] Dc.6-No. 8722 (Shr. Collection) [incomplete]. Devanagari script, paper, I I folios (3-14 only), 8 in. x st in., 14 lines to a side. Caura, following 84 verses of piirvapaiiciifat (here called piirvapi!hikii) , is verses 1-88; verse 89 is the verse bhavatkrte; verses 90-92 conclude the legend. This manuscript duplicates
[I 12]
the text of BORr. 7. Begins: with verse 2 I of the purva. Ends: iti srikavirajaviracitam caurapafidisikakavye dvitiyapithika samapta. subham. Vishveshvarand Institute, Hoshiarpur. Two manuscripts have been collated from microfilms prepared at Deccan College, after Dr. Patkar arranged for their loan.
lIOS.
HOS. I-No. 5193 (Dayanand MahavidyaIaya Lalacandra Pustakalaya). Devanagari script, paper, 4 leaves, 9 in. x 4t in., 12 lines to a side. Caura is verses I-50. The major portion of the text belongs to WS, but verses 7 and 43-50 belong to N; the manuscript is MC2b in the Classification of Manuscripts, below. Begins: om srigaI).eSaya nama~. Ends: iti caurapaficasika samapta. samvat 1855. [Ca. A.D. 1798.] Hos.2-No. 1834 (D.M.L.P.). Devanagari script, paper, 6 folios, lOt in. x 4 in., 7 lines to a side. Caura is verses I-50. Begins: om svasti srigaI).eSaya nama~. Ends: iti sriradhak~wabhyam nama~. om gaurisaiikarabhyam namah. sam 1909. caitrapravisanavama 9 subham. [Cpo A.D. 1852.] HU. 'Widener Library of Harvard. University, Cambridge, Mass. Two manuscripts have been collated from microfilms provided by the library. They are nos. 2137 and 6072 in Poleman's Census. HU. I-No. 1240 (Indic Manuscripts Collection). Devanagari script, paper, 7 folios, 6 in. x 31- in., 8-9 lines to a side. Caura is verses I-50, 52; verse S I begins bhavatkrte; verse 53 refers to the BilhaI).a legend. Begins: srigaI).eSaya namal).. Ends: iti sribilhaI).apaficasi[ka] samapta. subha[m astu]. HU.2--No. 1756-part 2 (Indic Manuscripts Collection). Devanagari script, paper, S folios (book form), 41- in. x 8t in., 20 lines to a side. Caura is verses I-50. Begins: srigopijanavallabha~. srigaI).eSaya namal).. atha caurapaiicasika samapta. subham bhavatu. [The work preceding the Caura is dated samvat 1820, but this need not refer to the entire manuscript.] 10. India Office Library, London. Five manuscripts have been examined from microfilms prepared at the library. They are described in Eggeling's Catalogue, pp. 1523-25. [113]
Textual Criticism of the Caurapafidisika IO. I-No, 175b. Devanagari script, paper, 18 folios, 12 in. x 42- in., 5-IO lines to a side (in tri-pafha form). Caura is verses I-50, with the commentary of GaJ;lapati on each verse. Begins and ends as noted for ASB.6. IO.2-No. 1577E. Devanagari script, paper, 23 folios, 9 in. x 42- in., 7-1 I lines to a side (in tri-pafha form). Caura is verses I-50, with the commentary of GaJ;lapati on each verse. Begins and ends as noted for ASB.6. IO.3-No. 3240. Bengali script, paper, 4 folios, 14t in. x 6 in., 8-9 lines to a side. Caura is verses I-50. Title page reads: sundarasya corapaficasika. Begins: namo gaJ;leSaya·. Ends: iti corapai'icasika. 1O.4-No. II84a. Bengali script, paper, 55 folios, IJt in. x 5 in., 8 lines to a side. Caura is verses I-50, with commentary on each verse by Rama Tarkavagisa Bhanacarya, called Kiivyasamdipa. The text belongs to N, type II, version D. Begins: srikr~J;lo jayati. Ends: srikalikalpavalli. samaptas cayam granthal,1 1728. iti sriramatarkavagisabhanacaryaviracita caurapaficasattika samapta. sake kidfsi. anantane. [Ca. A.D. 1806.] 1O.5-No. 2881, Bengali script, paper, 30 folios (in book form), 8t in. x I Ii in., 24-27 lines to a page. The text duplicates 10+ JAM. Shri Ranbir Sanskrit Research Institute, Jammu. One manuscript, collated from a handwritten copy prepared at the institute. The manuscript is listed in Stein's Catalogue, p. 67. JAM-No. 551, Devanagari script (of Kashmiri variety, according to the copyist's note), paper, 5 folios, about lOt in. x 5 in., 9-10 lines to a side. Caura is verses I-50 (verses 46, 47 are omitted). As in HOS. I, the major portion of the text belongs to WS, but verses 7 and 41-50 belong to N; the manuscript is MC2a in the Classification of Manuscripts, below. Begins: srimahamaiigalamurtaye namal,1. Text ends: iti sricaurapafidisika sampUrJ;la. This is followed by a colophon and four additional verses which relate to the legend. Colophon: sake vedatryadricandre mite ca maghe mase piirJ;limayam tithau ca bhanor vare tasya nrk~e tathaiva sayam kale piirJ;latam agato 'yam. [Sake 1734, according to the librarian; ca. A.D. 1812.] [114]
Aianuscript Sources KAT. Bir Library, Katmandu, Nepal. One manuscript in Nepali script located and examined at Bir Library. Permission for microfilming could not be obtained, but the manuscript has been collated from a transcription into Devanagari kindly prepared by Budhi Sagar Parajuli. This is replete with "errors" as well as common confusions between ii, 0, e, and anusvara, between anusvara and visarga, between kr and hr, and between dental and palatal sibilants; these confusions may well be a feature of the original manuscript, but this is not now possible to check. KAT-No. 1152 (part A). Nepali script (specifically designated bhujavaliik~ara), palm leaf; 9 folios, 8t in. x Ii in., 5 lines to a side. Caura is verses 2-56 (manuscript omits 24-27c) ; of these, verses 50, 5 I, and 53 are found also in manuscripts of type II, version D (verse 50 is WS 2); verses I, 57 refer to the legend. Begins: namo lokanathaya. Ends: iti caurapaficasikal,1 slokal,1 samaptal,1. KER. Oriental Manuscripts Library, University of Kerala, Trivandrum, Kerala. Three manuscripts, studied from transcriptions prepared through the kind cooperation of the library's director. KER. I-No. C-2546.B. Grantha script, palm leaf. Caura, following 84 verses of caritam, is verses 85- I37; verse I38 begins bhavatkrte; verse 139 begins paficatvam; verse 140 concludes the legend. Entitled: bilhaJ;lacaritam. Ends: haril,1 om. KER.2-No. P-2068 (21073). Grantha script, palm leaf. Caura is verses I-50; verse 5 I begins paficatvmn. Entitled: adyapipaficasat. Ends: karakrtam aparadham k~antum arhantu santah. haril,1. adyapipaficasat samaptam. . KER.3-No. 5016.C. Devanagari script, paper. Caura is verses I-50 (N, type I, version A). Begins: bilhaJ;lakrtacaurapaficasikaprarambhal).. Ends: iti bilhaJ;lakrtacaurapaficasika samapta. MAD. Government Oriental Manuscripts Library, Triplicane, Madras. Three manuscripts in Grantha script have been collated from transcriptions in Devanagari prepared at the library. Seven additional manuscripts have been examined from transcriptions. Of these, D. No. 11978, in Kanarese script, contains IOI verses of caritam only. Six are in Tclugu script. R.No.539b, R.No.1878, and D.No.11976 belong to type IV, version V. D.No.II979 is a [115]
Textual Criticism
if the
relative of the manuscript TANJ.I (type IV, version X2). R.No. 902b and R.Ko.I1975 are relatives of the mixed-codex BOM.I (MC6). Thanks are due to R. K. Parthasarathi, the library's curator, for his cooperation. MAD.I-R.No.60ga [incomplete]. Grantha script, palm leaf, 4 folios, 8 in x It in., 6 lines to a side. Caura is verses 1-18, after which the text breaks off. Entitled: sribilhar;lacaritam. MAD.2-D.No.II977 [incomplete]. Grantha script, palm leaf, 9 folios (nos. 89-97), 16! in. x It in., 7 lines to a side. Caura, following 65 verses of caritam, is verses 1-40, after which the text breaks off. Entitled: bilhaI).acaritam. MAD.3-D.No. 11980. Grantha script, palm leaf, 7 folios (nos. 13-19), I4t in. >< It in., 9-10 lines to a side. Caura, following 88 verses of caritam, is verses I-52; 53-63 conclude the legend. This mixed-codex contains verses from Nand WS, as well as readings from different versions (e.g. verses 42 and 49 are variants of verses 2 and 14, respectively); the manuscript is MC4 in the Classification of Manuscripts, below. Begins: SriJ:!. bilhaI).acaritam. No colophon. MAR. Stiftung Preussischer Kulturbesitz Staatsbibliothek, Marburg. One manuscript was examined from a microfilm prepared in Marburg through the kind cooperation of Dr. Voigt. It is a conflated text bearing resemblance to the manuscripts AHM.7 and BORI.5 (R* in the Classification of Manuscripts, below). It is described in Schubring andJanert, Verzeichnis, pp. 171-72 (no. 340). MAR-No. 649 (Orientalische Abteilung). Devanagari script, paper, 4 folios, 131 in. x 8 in., 10 lines to a page. Caura is verses I-s I; verse 52 begins bhavatkrte; verses 53-54 refer to the legend. Begins: srigaI).eSaya nama~. Ends: iti bilha~lapaficasika samapta. bhaXXjayarameI).a likhito 'yam grantha~. srir astu. srisarasvatyai nama~. MEHTA. N. C. Mehta Collection, now with the Gujarat Museum Society, Ahmedabad. Each of 18 extant leaves of this manuscript has one Caura verse (N, type I, version A), accompanied by a painting in early Rajasthani style of the beginning of the sixteenth centl:rry. The leaves have been studied from photographs prepared in [116]
Manuscript Sources
Caurapafidisika
Ahmedabad; these were procured through the kind offices of Dr. Moti Chandra, director of the Prince of Wales Museum; they are reproduced in the Appendix, where the paintings are discussed. MEHTA---'---Devanagari script, paper, 18 folios, 81 in. x 6i in., one verse and painting to a leaf. Caura verses: NIS, 18-20, 22, 24-27,29,32-33,36-38,40,42-43. MY. Oriental Research Institute, M ysore. Nine manuscripts have been examined from transcriptions and microfilms prepared at the library through the kind cooperation of the director, G. Marulasiddaiah. All nine belong to WS, type IV. MY. I-No. MY.2-No. MY.3-No. MY.4-No.
1638. Telugu script, 91 verses of caritam only. 2338. Grantha script, belongs to version X. 104. Grantha script, l:>elongs to version Y. 2106. Telugu script, a conflation of versions V and Y.
MY.5-No. 2 0Grantha 2 I .script }} . . 4300. ' related to the manuscnpt I2BO'}T I . BOM.I (MC6). e ugu scnpt, 4 0 14. MY.6-No. 4235. Devanagari script, has characteristics of version Yand MC6. Caura, following 91 verses of caritam, is verses I-50. Readings, order of verses 10 and I I, omission of verse 33, and eight concluding verses mark its relation to MC6; but N verses which are found in MC6 do not appear here, and verse 50 is Y2.42, not found elsewhere. Note has been made in the critical apparatus of readings which differ from those ofMC6. NAG. Nagpur. University Library, Nagpur. Three manuscripts were examined after Dr. Patkar arranged with the manuscripts officer of the library, Dr. S. M. Ayachit, to have them sent on loan to Poona. They have been collated from microfilms prepared in Poona. NAG. I-No. 779. Devanagari script, paper, 5 folios, 12 in x s!in., I I lines to a side. Caura is verses I-s I; verses 52-63 are verses which are usually associated with the piirvapaiiciisat as concluding verses of the legend. Begins: srigaI).eSaya namal).. Ends: iti sribilhaI).akavina bilhaI).akavyarh sarhpiirI).am astu. chao chao chao srigajanarpaI,lam astu. chao chao chao
[I 17]
Textual Criticism qf the Caurapaficasika NAG.2-No. 780. Devanagari script, paper, 17 folios, 121 in. x 5-1 in., I I lines to a side (in tri-pafha form). Caura, following 74 verses of purvapaiiciiJat (called pilrvacatu~saptatiM, is verses I-50; each verse is accompanied by the commentary which is elsewhere attributed to BhaveSvara. Verses 51-62 conclude the legend as in NAG.1. Begins: srigaJ,leSaya namal:t. Text begins: atha corapaficasika. Ends: iti sribilhal).akavina krtam bilhaJ,lakavyam sampiirJ,lam astu. srigajanarpaJ,lam astu. NAG.3-No. 83g. Devanagari script, paper, 5 folios, 6-1 in. x 3 in., 10 lines to a side. Caum is verses I-50. Begins: srigaJ,leSaya namal:t. Ends: iti srimahdvaraviracita corapaficasika samapta. ox. Bodleian Library, Oxford. Folios 137-55 of the manuscript Chandra Shaun Shere e.g7 have been collated from a microfilm prepared at the library. The manuscript is a collection of works. ox-Devanagari script, paper, 18 folios, I I in. x 6 in., 7 lines to a side. Caura, following 7I verses of pilrvapaiiciifat [which appear also in the Oxford manuscript Walker 20g], is verses 72-122 (number 112 is skipped in the order of numbers) ; verses 123-33 conclude the legend. Begins: srigaJ,leSaya namal:t. Ends: iti bilhaJ,lakrtam kavyam. PAR. Departement des Manuscrits, Bibliotheque Nationale, Paris. Two manuscripts have been collated from microfilms prepared in Paris. PAR. I-No. 704, III two parts. This is a manuscript copied in Poona in 1844 by Charles D'Ochoa, entitled by him Les Cent Stances du Pocte BilhaTJa du Kachemir; the Devanagari script shows influences of ]aina Devanagari. Part A is a conflated codex with text readings bearing relation to type III, version P. Caura, following 72 verses of piirvapancafat, is verses 1-46; each verse is accompanied by commentary. Verse 47 is found also in cop and AHM.6. Seven additional verses, called fafikalaviikyiini, precede part B. Part B is a virtual duplicate of the manuscript BORI.g. PAR.2-No. 705 (part I). Grantha script, palm leaf, 15 folios, about 171 in. x It in., 5 lines to a side. Caura, following 68 [118]
Manuscript Sources verses of caritam, is verses 6g- I 15; verse I 16 begins bhavatkrte; verse I I 7 begins pancatvam; verse I 18 concludes the legend. Entitled: corapaficasad atha va bilhaJ,lacaritram. Ends: with verse 118: bilhal).akavina racitam bahudha srutvaha rajacandro 'pi I tam eva rajakanyam tasmai datvadya sukham anubhaveti The text of this manuscript, with only slight variations, is printed in the edition of Ariel in Journal Asiatique, XI, 469-8g. PU. Manuscripts Collection, University of Pennsylvania Library, Philadelphia. Two manuscripts were examined in Philadelphia and have been collated from microfilms prepared at the library. They are nos. 2I 38 and 2I 39 in Poleman's Census. pu.I-No. 528. Devanagari script, paper, 2 folios, g1 in. x 41 in., 9-23 lines to a side (unevenly spaced). Caura is verses I-50; although the manuscript contains no commentary, the. text is that associated with the GalJapatifikii. Begins: sri mahala~mi jaya. Ends as noted for ASB.6. Colophon (barely legible): brahmavarte sravaJ,laknJ,le 7 sa~ [for sam ?] 1860 agivrekara [?] ityupanamakabalakr~J,labhat!aramajavinayakena likhitam idam pustakam. [Ca. A.D. I803?] pu.2--No. 1524. Devanagari script, paper, I I folios, 13 in. x 5 in., 10-12 lines to a side (in tri-pafha form). Caura is verses I-50, with the commentary of GaJ,lapati on each verse. Begins and ends as noted for ASB.6. Postscript: subham bhavatu lekhakapathakayol).. TAN]. Tanjore Maharaja Serfoji's Sarasvati Mahal Library, Tanjore. Ten manuscripts have been studied from hand-copies and transscriptions in Devanagari prepared at the library through the kind cooperation of the librarian, V. Gopale Iyengar. These fall into three groups, which represent two versions of WS and a mixedcodex. TAN]. I, 2, 3,5,8 have the same text; they are version X2. TANJ.4 and 9 are version W. TANJ.6, 7, 10 are MC6. The manuscripts are described in P. P. S. Sastri's Descriptive Catalogue, V, 2745-53. The manuscripts are here identified according to the serial numbers of this catalogue; Burnell's numbers are recorded [IIg]
Textual Criticism of the Caurapaficasika there. One manuscript listed in the catalogue (No. 3788) is missing from the library. It is noteworthy that eight of the ten manuscripts from Tanjore are in Devanagari script, one with Pr~!hamiitras; this suggests some relation to the Maratha hegemony in Tanjore in the seventeenth century. It is not unlikely that these versions were composed in South India at this time by Maharashtrian brahmins who traveled between the courts of Sivaji and his brother. See P. K. Gode, Indian Culture XII (1945), pp. 47-56; Davies, An Historical Atlas ofthe Indian Peninsula, pp. 48-49. TAN].I-No·37 lk Devanagari script, paper, 16 folios, 9i in. x 4* in., 7- 1 I lines to a side. Caura, following 84 verses of caritam, is verses 1-62. Verses 54-57 are variants of verses 41,31,37, and 23 respectively (i.e., WS 40,31,37, and 22). Verses 58-60 are N22, 21, and 18; verses 49 and 51 are N34 and 19, but these are found generally in manuscripts of type IV; verse 61 begins adyiipi naiva; verse 62 is N 50. Verse 63 begins bhavatkrte; verse 64 begins pancatvam. Verses 65--66 conclude the legend. Begins: srigal)eSaya nama!).. Ends: iti bilhal)akrtau corapaficasatinamagrantha!). samapta!).. TAN].2-No. 3782. Dcvanagari script (with Pr~!hamiitras, according to Sastri), paper, 12 folios, 8i in. x 3t in., 10 lines to a side. Caura, following 84 verses of caritam, is a duplicate of TAN]. I. Begins: srigal)eSaya nama!).. srilak~mivefikateSaya nama!).. Ends: iti kavibilhal)akrte corapaficasatinamagrantha!). samapta!).. srilak~mivei1kateSaya nama!).. TAN]·3-No . 3783. Devanagari script, paper, 15 folios, 8t in. x 3t in., 9 lines to a side. Caura, following 84 verses of cantam, is essentially the same as TAN]. I (minor differences in readings have been taken into account in establishing the text of X2, but these are not incorporated in the Classification of Manuscripts, below). Begins: srigal)esaya nama!).. sr'igurucaral)aravindabhyarh nama!).. Ends: iti corasatakarh samaptam. srinrjanneSarpaJ;lam astu. sriI' astu. TAN] .4-No. 3784. Telugu script, palm leaf, 7 folios, 14t in. x It in., 9-1 I lines to a side. Caura, following 87 verses of caritam, is verses 1-49; verse 50 begins bhavatkrte and verse 5 I begins [120]
Manuscript Sources paiicatvam. This is followed by verses 1-10, which conclude the legend. Begins: sri!).. subham astu. Ends: sri!).. srityagarajaya nama!).. sriramaya nama!).. sri!).. sribhayadarsam anukrtam. TAN].5-No. 3785 [incomplete]. Devanagari script, paper, 9 folios, lOi in. x 4t in., 6-9 lines to a side. Caura, following 84 verses of cantam, is verses 1-12, after which the text breaks off; the text is that of TAN]. I. Begins: srilak~minrsirhhaya nama!).. TAN].6-No. 3786 [incomplete]. Devanagari script, paper, 16 folios, 9t in. x 4i- in., 7-8 lines to a side. Caura, following 88 verses of cantam, is verses 1-26, after which the text breaks off. This is a highly conflated text containing verses from both recensions and readings from different versions; it belongs to MC5. Begins: srigaJ;leSaya nama!).. TAK].7-No. 3787 [incomplete]. Devanagari script, paper, 8 folios (nos. 11-18), 10 in. x 4i in., 9 lines to a side. Caura is verses 90- 138; verse 139 begins paiicatvam. Verses 140-49 conclude the legend (as in MAD.3, TAN]-4, and so on). This is a highly conflated text of the same version as TAN].6 and closely related to MAD.3; it cbntains verses from both recensions and readings from different versions. Ends: iti sribilhaJ;lanatakarh samaptam. TAK].8-No. 3789 [incomplete]. Devanagari script, paper, 9 folios, 91 in. x 4 in., 6-8 lines to a side. Caura, without cantam, is verses 1-61, where the text breaks off; it is essentially the same as TAN].!. Begins: Srigal}.adhipataye nama1:J.. sri subham astu. TAK].9-No. 3790. Grantha script, palm leaf, 4 folios, 18 in. x 11- in., 7 lines to a side. Caura, without caritam, is verses 1-49; verse 50 begins blwvatkrte and verse 51 begins pancatvam. Another verse follows, but the transcription is unclear. The text is quite similar to TAN]+ Begins: veSya sumukhim anime~am alokayan mukharil tasya!). kathayan kathas ca vividha!). kalak~eparh kada kari~yama1).. Ends: iti corapaficasas samaptal). TAN]. I a-No. 3791 [incomplete]. Devanagari script, paper, 6 folios (I6-21 only), 91- in. x d- in., 8 lines to a side. Caura is verses 20-50; verse 5 I begins paiicatvam; verses 52-6 I conclude the legend. The text duplicates that of TAK]. 7. Ends: iti sribilhal)ana.takarh samaptam. srisarhbasadasivarpal)am astu. sri. srir astu. sri.
Textual Criticism of the Caurapaficasika TlR. Sri Veiikatdvara Gniversity Oriental Institute, Tirupati. Two manuscripts have been collated from transcripts in Devanagari prepared at the institute through the kind cooperation of Dr.E. R. Sreekrishna Sarma. TIR. I-No. 6385. Grantha script, palm leaf, 6 folios, 15! in. x I! in., 6-7 lines to a side. Caura is verses I-51 (17 is skipped in the order of numbers); verse 52 begins bhavatkrte and verse 53 begins paiicatvam. Begins with verse I. Ends: iti caurapaficasat samaptam. TlR.2-No. 7405. Telugu script, palm leaf, 3 folios, 17 in. x I in., 8-9 lines to a side. Caura is verses I-58; the text is essentially the same as TANJ.I. Verses 51-53 are variants of verses 39, 30, 21 (i.e. WS 40,31,22). Verses 54-56 are verses 22, 21, 18 of N (cf. TAl'iJ.I). Verses 57 and 58 = TANJ.I. 61 and 62. Verse 59 begins bhavatkrte and verse 60 begins paiicatvam; verses 63-69 conclude the legend. Begins with verse I. Ends: iti corapaiicasatakaril sarilpiirl}.am. sril).. WAI. Prajiiapathasala, Wai (Satara District, Maharashtra). Two manuscripts, examined in \Vai and collated from microfilms photographed there. The pandits of the pii!hafiila are thanked for their cooperation. WAI.I-No. 8g02. Devanagari script, paper, I I folios, 8 in. x 4 in., 12 lines to a side. Caura, following 72 verses of pilrvapanciifat, is verses i3-121; verses 122-31 conclude the legend. Begins: srigal}.eSaya nama!).. Ends: iti caurapaiidisika samapta. chao sake 1720 kalayuktasarhvat marge. suo IO cittalopabhidhananasarmal}arh idarh kirhcit likhitaril likhapitaril ca. [Ca. A.D. I7g8.] WAI.2-No. 8g03' Devanagari script, paper, 32 leaves, I It in. x 5 in., 7 lines to a side. Caura, following 74 verses of purvapaiiciiSat, is verses I-54; verses 55-59 include bhavatkrte; verses 60-6g conclude the legend. Following the colophon, iti bilhal}.akavyarh samaptam, is the type IV caritam in 83 verses. The text is highly conflated and careless, but is clearly based on a manuscript close to AHM.5. Begins: srigal}.eSaya nama!).. Ends: iti bilhal}.akavyaril samaptam. srihariJ:1. chao [ 122]
---~
3. PRINTED EDITIONS
~,---
ARIEL, M. "Les Cinquantes (Couplets) de Tchora ou Histoire de Bilhal}.a," Journal Asiatique, 4th ser., vol. XI (Paris, 1848), pp. 46 9-534. The text here is based on the manuscript PAR.2.
BOHLEN, PETRUS VON. Bhartrharis Sententiae et Carmen quod Chauri Nomine Circumfertur Eroticum. Berlin: Ferdinand Duemmler, 1833, pp. 1-20. The text here is accompanied by the Gavapatilika; it is based on a manuscript of type I, version B.
HAEBERLIN,]. Kiivyasamgraha. Calcutta, 1847, pp. 227-36. The text here, entitled "Caurapaiicasika," is based on a manuscript, or a printed edition ofa manuscript, of type II, version D.
SIVADATTA, P., and K. P. PARAB. Kavyamala, no. 13. Bombay: Nirnaya Sagara Press, Ig03, pp. 145---69. This is a conflated text, probably based on manuscripts of type III, versions S and T, or on an already conflated manuscript or edition.
SOLF, WILHELM. Die Kafmir-Recension der PaiiciiSikii. Halle: Friedrichs-Universitat Halle Wittenberg, 1886. The text is based on the manuscript BORI. I.
TADPATRIKAR, S. N. Caurapaiiciifikii: An Indian Love Lament Bilha1Jakavi. Poona: Oriental Book Agency, Ig66.
of
The Caura text is based on the manuscripts BORI.4and BORI.g, both ofwhich belong to type I, version A. Tadpatrikar also includes appendices with different versions of the Bilhava legend.
_ _ _ _ ~ 4. CLASSIFICATION ~1--- OF MANUSCRIPTS The manuscripts which have been collated to establish the critical edition of the Caura are here grouped according to their relationships. The broadest grouping is into recensions; the manuscripts are divided into a Northern Recension (N) and a Western-Southern Recension (WS). The manuscripts then divide into types (designated [ 12 3]
Textual Criticism
of the
Caurapafidisika
I, II, III, IV), which represent two basic subdivisions of each recension; these are generally found to fall into definable geographic regions. A type is considered to be "located" in the region where its codices occur in the greatest concentration; this has been corroborated by considerations of script and dialectal variants. The four types are further subdivided into versions (designated A, B, D, and so on); this grouping is based on concordances and similarities of readings, omissions, legend verses, commentaries, and the like. I It is worth noting that all versions are not equally homogeneous; this is apparent in the descriptions which follow. The usefulness of the version classification is that readings generally fall into these classes and that a well-established version can often be located geographically by its colophons, vernacularisms, and scribal errors. When a manuscript of a given version is copied in a territory belonging to some other version, contamination usually occurs from the local text. The versions provide a framework, at least, in what would otherwise be haphazard collections. The final division is into codices (designated AI, A2, A3, and so on). Most codices are represented by only one manuscript, but there are some which are represented by several copies. Besides this fourfold division into recension, type, version, and codex, there is also a category of mixed-codices. There are six different mixed-codices in the Caura apparatus; these are designated MCI-6. 2 They are characterized by their redactors' use of verses from both recensions and readings from different versions to constitute the texts. There are other conflated texts which are also clearly mixed-codices, but have not been considered independently because of the relative limitation and transparency of the conflations; these are generally closely associated with a particular version and are designated by an asterisk plus the version designation, e.g. P*. I The versions are so designated that the first version listed under each type represents the most extreme statement of the type, i.e. versions LA. and n.D are the most widely different from one another, both in readings and geographical location; likewise HLP and IV.V. This was done to avoid the notion of necessary continuity between less extreme versions of each type. 2l'vICI, the manuscript BORI. I, in Sarada script, is the codex which is referred to as the" third" recension in the literature. That there is no basis for this should be clear from the critical apparatus.
Classijication
of Manuscripts
The sequence of verses within each of the recensions is fairly consistent. The critical text of the Northern Recension follows the order of type I, version A; that of the Western-Southern Recension follows the order of type III; divergences will be noted only when they are relevant to the relations of manuscripts. Omissions and addenda will be noted as they occur in various versions.
N- THE NORTHERN RECENSION Manuscripts belonging to this recension are known from Maharashtra to Punjab in Western India and as far east as Bengal; the majority are written in Devanagari script, but examples also abound in Bengali, and there is one codex in Nepali script. Stray manuscripts are found in South India, but they are clearly importations (e.g. KER.3 belongs to versionA; ADY.5 belongs to version D). TYPE I: VERSION A This version seems to have originated in the region of what is now Maharashtra and Gujarat. It is known only from manuscripts in Devanagari script, the oldest of which is the illustrated manuscript MEHTA, which is datable to the early part of the sixteenth century. This- is the only version of N whose manuscripts either attribute the Caura to BilhaJ).a or make no mention of the author. The readings of these manuscripts generally represent the most conservative tradition in N. A I = BORl.3; also ANA, BISM. I. Verse 5 I is the verse bhavatkrte; it does not otherwise appear in N, but is extremely common at the end of WS manuscripts. A2 = BORI.4; also DC.5. A3 = BORI.g; also PAR.I (part B). The text is accompanied by the commentary ofBhaveSvara. A4 = (a) NAG.2, (b) BAR.2. The Caura texts are identical and each is preceded by the pilrvapaiiciisat version of the BilhaJ).a legend, which is otherwise found only in manuscripts of WS, type III. The two manuscripts differ only in that NAG.2 has the BhaveSvara commentary and BAR.2 does not. AS = (a) ASB-4, (b) ASB.3, NAG.3. The Caura texts are identical; the manuscripts differ in that ASB.4 has the BhaveSvara commentary while ASB.3 and NAG.3 do not. [ 12 5]
Textual Criticism
of the
Caurapafidisika
A6 = BAN+ A 7 = MEHTA. The text is incomplete, but extant verses show a marked relation to codex AI. The poet-lover depicted in the paintings is labeled Bilha7Ja.
Classification TYPE
F
This is the Gal).apati version of the Caura text, accompanied by his {ikii. The text, which is repeatedly emended by the commentator at points of difficulty or obscurity, is based on that of version A. The codices of this version show remarkably few variants; this may be explained by the clarity of the text.
TYPE
II:
VERSION D
This is the easternmost version of N. Manuscripts are written III Bengali script and the poem is attributed to Sundara. Verses 6, 29, 40, and 43 of N are omitted and alternative verses substituted. D I =ADY.5. Known from a transcript into Devanagari of a Bengali manuscript in the Adyar Library, dated ca. A.D. 1820. D2 = BAN.6; also 10+ D 3 = ASB. I ; also ASB.2, 5, 7. The Caura text is 48 verses only. TYPE
II:
VERSION E
The two codices of this group are quite independent of each other, but their readings show enough similarity with one another and independence of other versions to infer their relation to a single hypothetical source. EI = BAN.5. This manuscript, in Devanagari script, agrees in many places with the readings ofD. Verse 47 of Nis omitted; verse 48 is repeated. E2 = 10.3. This manuscript, in Bengali script, shows sporadic agreement with version F. Variations in the sequence of verses 20-30 are the same as those of version B. The poem is attributed to Sundara. [126]
VERSION
F
Represented by a single manuscript, in Nepali script.
TYPE I: VERSION B
B = ASB.6, BOM.2, BORL8, 10. I, PU. I, PU.2; also the printed edition of Bohlen, which has many errors.
II:
of Manuscripts
KAT. The manuscript contains 57 verses; the Caura is verses 2-56. The manuscript has characteristics in common with version A and version D, but there are many readings and several verses which are not known from either of these; verses 52 and 54 do not occur in any other manuscript examined and verse 57 is found elsewhere only in AHM.7 (WS, type III, R*).
=
TYPE
II:
VERSION
G
Represented by a single codex of two manuscripts, in Devanagari script. The majority of readings classify this codex in type II, but there is sporadic agreement with readings of type I, version A. The poem is attributed to Sundara. G
=
BAN.2 and HOS.2. TYPE II: PSEUDO-VERSION H
Under this have been gathered three Devanagari manuscripts that have many common features without sufficient agreement of readings or verse sequence variations to form a version. The basic unity of the group derives from the shifting pattern of agreements and similarities of readings among the manuscripts. All three also suggest origin from version A, but each is strongly divergent enough to suppose a series of intermediary codices. It is my hypothesis that as the Caura traveled northward and eastward from the region of origin in Maharashtra and Gujarat, certain features of these and related manuscripts were incorporated into other manuscripts, which proceeded to become better established through protected transmission, i.e. versions G and D. This notion will be developed below. HI = HU.2. H2 = BORI.6. This manuscript omits verse N 15 and substitutes one of the alternative verses otherwise found only in version D manuscripts. The poem is attributed to Sundara. H3 = BAN.I.
Textual Criticism
of the
Caurapaiidisika
WS-THE WESTERN-SOUTHERN RECENSION Manuscripts belonging to this recension are concentrated in two regions. Type III manuscripts, written in Devanagari and its variant, Jaina Devanagari (see AHM, above), are known from Maharashtra and Gujarat. These manuscripts, with the exception of R4 (DC.2), give the title BilhaTJapaficiifikii to the poem. Mixed-· codices closely related to this type are known from Punjab and fromJammu and Kashmir. Type IV manuscripts, writteninGrantha, Telugu, and Devanagari (as well as one manuscript in Kanarese), are known from Madras, Andhra (Tirupati only), Kerala, and Mysore. TYPE III: VERSION P This is generally the most conservative version of WS. The two known manuscripts, both in J aina Devanagari script, show many difficult readings which could be the basis for variants found in related versions; there are relatively few attempts in either manuscript to emend the text for the sake of simplicity or clarity. Allowances must bemade in reading these manuscripts for confusion between long and short vowels and between dental and palatal sibilants, as well as for carelessness with regard to the anusvara and visarga signs. Such allowances must also be made in reading manuscripts of versions Q, R, S, and, to a lesser extent, T.
Classification of Manuscripts translation is attributed to Jiianiidirya and is said by Dr. Sandesara (see Sahitya, XX, 385-400) to date to the sixteenth century. The manuscripts are written inJaina Devanagari script and all omit verse WS 21. In each manuscript, the Caura and its translation are preceded by a translation of the piirvapanciifat legend into copais and dohas of Old Gujarati; they are followed by several Old Gujarati verses which conclude the legend. A fourth codex, iri Devanagari, is somewhat independent of these three in that it does not contain the Old Gujarati translation and does not omit verse WS 2 I, but readings made the common ancestry of the Caura text seem certain. All four codices conclude the Caura with the verse N 50. QI = AHM.I. Dated ca. A.D. 1720. The Caura is in 50 verses; 4 additional Sanskrit verses refer to the legend. Q2 = AHM.2. Dated ca. A.D. 1658. The Caura is in 50 verses; Sanskrit verse 5 I refers to the legend and 52 is the verse bhavatkrte. Q3 .= AHM.6. The Caura is in 48 verses; verses 46 and 48 of WS are omitted. Sanskrit verse 50 refers to the legend. Q4 = BAR. I; also BAR.3. The Caura, following 7I verses of the pilrvapanciifat, is in 50 verses. TYPE III: VERSION R
TYPE III: VERSION Q. In three of the known codices of this version, each Caura verse is followed by a translation into two copais of Old Gujarati; the
The unity of this version is based on patterns of concordant and related readings. All codices include the verse N 50. One manuscript is written in Jaina Devanagari script; the others are 10 Devanagari. RI = BORI.2. Written in Jaina Devanagari. The Caura is in 51 verses, each followed by an anonymous commentary in Prakrit. Verse 52 begins bhavatkrte. R2 = HU.I. The Caura is in 51 verses (nos. I-50, 52); verse 51 begins bhavatkrte and verse 53 refers to the legend. R3 = DC. I [incomplete: first folio missing]. Dated ca. A.D. 1636. The Caura is in 52 verses; verse 5 I is N 7 (the readings agree with those of M C4, 5, 6 for this verse) . R4 = DC.2. The Caura is in 5 I verses. R * = BORL5 and AHM. 7. This is a conflated text, apparently based on more than one manuscript of version R; it shows agreement in a number of cases with }'1CI, 2, 3. Variants are indicated only when they are ofspecial interest.
[128]
[ 12 9]
PI = AHM.4 [incomplete; the text breaks off after the seventh ak~q,ra of pada c of verse 46]. P2 =AHM.8. The Caura is in 46 verses only; verses 17,34,49, and 50 of WS are omitted. The 47th verse (no. 49 in the manuscript) begins bhavatkrte; this verse is common to many manuscripts of WS and is almost always found immediately following the final Caura verse. P* = PAR.I (part A); also cOP. This is a conflated text which is clearly based on a manuscript of version P, mixed with readings and additional verses from versions Sand T; unless otherwise noted readings are those of PI.
Textual Criticism
cif the
Caurapai'icasika
TYPE III: VERSION
s
The version is comprised of three codices in J aina Devanagari script and a mixed-codex in Devanagari. They are characterized by inversion or omission of plidas c and d of verse WS I 7 and by the presence of the verse adyiipi tlim kamalapattravifiilao at the beginning of the Caura. S I shows a lacuna where this verse would have been, suggesting that the copyist knew it, but chose to omit it for some reason. SI = AHM.3 [incomplete]. The Caura is 46 verses only; the text breaks off after the twelfth ak~ara of piida c, verse 46. It is preceded by the piirvapaiiciifat in 72 verses. Verse 17 reads a, b, d, c. S2 = AHM.5. The Caura is in 51 verses, each accompanied by commentary in Sanskrit. Verse 17 reads 'a, b, c, omitting plida d, but the commentary has the text. S 3 = AHM.9. The Caura is in 49 verses; verses 18 and 26 of WS are omitted. It is preceded by the piirvapanclifat in 72 verses; 10 additional verses conclude the legend. Verse 17 reads a, b, d, omittingpiida c. S* = DC.4. This is a mixed:codex whose readings show a conflation of texts from versions R, S, and T. The piida sequence of verse 17 (a, b, d, c), the presence of the verse adylipi tlim kamalao, and the majority of readings associate it with version S. Variants are indicated only when they are ofspecial interest. TYPE III: VERSION T
This version is characterized by the presence of the verse adylipi tlim kamalao at the beginning of the Caura (cf. version S). All known manuscripts are written in Devanagari script and all contain the same verses concluding the BilhaQ.a legend. T I and T3 also have the piirvapaiiclifat, which is not in T2. Readings show sporadic relation to those of type IV manuscripts. TI = DC.3; also WAI.I. Dated ca. A.D. 1794 and 1798, respectively. The Caura is in 49 verses; verses 39 and 41 of WS are omitted. T2 = NAG.I. The Caura is in 50 verses; verse 27 of WS is omitted. T 3 = ox. The Caura is in 50 verses; verse 28 of WS is omitted. [13 0 ]
Classification
cif Manuscripts
TYPE IV
The Caura text of codices from South India is distinct from that of type III in several ways. It omits verses 48-50, found in most complete codices of type III. It adds three verses which are known (rom all versions of N: 7a + 6b-d, 19, and 34; these are found within the final ten verses of each type IV codex. The inclusion of the verses from N probably occurred early in the develop~ent of the type, for the variant readings of these verses in type IV manuscripts are diverse and unrelated to variants within N. TYPE IV: VERSION V
This version, known from manuscripts In Grantha and Telugu scripts, is characterized by a Caura in 47 verses which omits verses 9, 13, 20, 23, 25-30, 33, as well as 48-50, of fVS. Eleven alternative verses occur; these include the 3 verses from N. The Caura text is usually preceded by the caritam, or South Indian account of the BilhaQ.a legend, in approximately 70 verses; it is followed by the verses bhavatkrte and paiicatvarh. The redactors of this version were notably liberal in emending the text for the sake of clarity and simplicity. The version represents the "maturity" of the South Indian type, since it developed in relative isolation from continued comparison with versions of type III. V I = PAR.2. Written in Grantha script. The manuscript MAD. D.No.I 1976, written in Te1ugu script, is a duplicate of this text. V 2 = ADY.2 [incomplete; the Caura text breaks off in verse 34]. Written in Telugu script. V3 = ADY-4 (also consulted: manuscripts MAD.R.Nos.539b and 1878). Written in Telugu script. The Caura is not preceded by the caritam and each verse is followed by an anonymous commentary. V 4 = MAD.2 [incomplete; the Caura text breaks off'in verse 40]. Written in Grantha script. TYPE IV: VERSION W
This version is characterized by a Caura in 49 verses which omits verses 13 and 33, as well as 48-50, of fVS. Four of the alternative [13 1 ]
Textual Criticism
if the
Caurapancasika
verses found in version V are also found here, as are the verses beginning bhavatkrte and paficatvarh.
Classification
if Manuscripts
of this codex (found as no. 50 in the manuscript MY.6) is a variant of N 7 :
WI = TANJ+ Written in Telugu script. The Caura is preceded by the cantam in 87 verses; 10 additional verses conclude the legend. \-\12 = TANJ.9 (also consulted: manuscript KER.2). Written in Grantha script. The Caura text is not preceded by the caritam.
adyapi kundavadanaIh kucabharanamraIh piirQ.endusundaramukhiIh mama vallabhaIh ca antarvisalanayanaIh hrdi me prasannam alokakuntalakalapavatiIh smarami II TYPE IV: VERSION
TYPE IV: VERSION x This version is characterized by two confl,!-ted codices, the common parent ofwhich is independent of any other known version. For this reason and because the "conflation" seems to have resulted in the addition of verses rather than the blending of readings, the codices are considered to be worthy variant bearers. Besides the three verses of N which are common to versions of type IV, three others are found here: N 18,21, and 22. Several verses within WS are repeated in variant versions, which agree with readings of other type IV versions. The verses bhavatkrte and paiicatvarh also occur. XI = TIR.2. Written in Telugu script. The Caura text in 58 verses is not preceded by the cantam. Verses 13, 36, and 4 I, as well as 48-50, of WS are omitted. X2 = TANJ.I; also TANJ.2, 3, 5, 8. Written in Devanagari script. The Caura text in 62 verses is preceded by the caritam in 84 verses.
Z
This version is not as well determined as others of type IV; it is represented by only one complete manuscript, one manuscript of eighteen verses only, and a highly conflated manuscript which blends features of this version with those of version X. All are written in Grantha script. The version is notable for the sporadic concordance of readings with those of type III in places where type IV manuscripts are otherwise in agreement, e.g. 6a, 12d. Neither ZI nor Z2 has the caritam. TIR. I. The Caura is in 50 verses. Verses 4, 2I, and 3 I of WS are omitted; WS 13 is omitted in sequence, but is no. 48 in the manuscript. The same four alternative verses which are found in version Ware found here; in addition, there is one verse found elsewhere only in version X, and also the verse N 50. The verses bhavatkrte and pancatvarh follow the Caura. Z2 = MAD.I [incomplete; the Caura text breaks off in verse 18]. Verses 4, 13, 19, and 21 of WS are omitted in sequence before the text breaks off. Z* = KER.I.
ZI
=
TYPE IV: VERSION Y The relation between the two manuscripts which make up this version is based on the pattern of concordant and unique readings. YI = ADY.I. Written in Tel.ugu script. The Caura text in 53 verses is preceded by the caritam in 88 verses. Verses 19 and 22 of WS are omitted; alternative verses found in version V are also found here, as are the verses bhavatkrte and paficatvarh. Y 2 = ADY.3 [incomplete: the Caura, following the caritam in 79 verses, is in 42 verses only, after which the text breaks off]. Verses 19, 27, 28, 29, and 33 of WS are omitted. Verse no. 42 [13 2 ]
MIXED-CODICES This' group of six mixed-codices is characterized by texts which blend verses from both recensions as well as readings from different versions. ~1CI, M.C2, and MC3 are composed from manuscripts of type III of WS and both types I and II of N. MC4, MC5, and MC6 are composed from manuscripts of types IV and II. All show liberal emendation of the text at points of difficulty. MCI = BORI.I. Verses 3, 5, 35, 37, and 38a-b + 7c- d belong to both recensions. Verses 6, 3-34 are WS 2, 7-33; verses 40-49, [133]
Textual Criticism
if the
Secondary Evidence
Caurapaficasika
51-56 include N 9, 10, 16- 19,22-25,30,3 6,37,45,47,4 8,5 0 . Verses 4a-c [d = WS/N Id], 36, 39, and 50 are not found in known manuscripts ofeither recension, though verse 36 is found in several anthologies. MC2 = (a) JAM, (b) HOS.I. Verses 1-6,8-41 are WS 1-41, with verse 28 of WS omitted; verse 42 is WS 50. Verses 7, 43-50 are N 16, 43-50. MC3 = BORl.7; also Dc.6. The 88 verses ofthis mixed-codex are a blend of verses from both recensions. The codex omits verses q, 33,44,49, and 50 of WS; verses 37,39, and 44 of N. MC4 = MAD.3. This mixed-codex of 52 verses also blends verses from both recensions. I t includes verses 1-7, 9- II, 15- I 7, 2 I, 23, 25, 28-3 1, 45-47 of WS; verses 1-14 (five of which are in both Nand WS), 16-19, 22-25, 28, 34, 45-48, and 50 of N; verse 2 (= WS 2) and verse 14 (= N 19) are repeated in variant versions. MC5 = TANJ.7; also TANJ.6, TANJ.IO. This mixed-codex of 50 verses blends verses from both recensions. It is closely related to MC4. It includes verses 1-5, 7-12,14-17,20,21,23-31 of WS; verses I, 2,4-1 I, 13, 14, 16-19, 21, 24, 25, 28, 34, 42, 45, 4 6, 48 , and 50 of N. MC6 = BOM.I (compared with manuscripts MAD.R.No.902b and MY.6). Verses 1-44, 46 are WS 1-47, with WS 33 omitted; verse 42a-b = WS 43a-b and 42C-d = WS 44C-d. Verse 45a-b = N 22a-b and 45c-d = N 19c-d. Verses 47-52, 54-57 include N 5-7, 13, 17, 25, 28, 34, 35, 50. Verse 53 is not found elsewhere.
vardhana (p. 60) and of the entire verse, without attribution to any author, in Kuntaka's Vakroktijivita (p. 60), where it reads as follows: nidranimilitadrso madamantharaya~ napy arthavanti na ca yani nirarthakani adyapi me varatanor madhuralJ.i tasya~ tany ak~af(llJ.i hrdaye kim api dhvananti
I II
The order of the piidas in BORl.1 is c, d, b, a and the verse reads: adyapi me varatanor madhuralJ.i tasya~ yany arthavanti na, ca yani nirarthakani nidranimilitadrso madamantharayas tany ak~aral).i hrdaye kim api dhvanti II
I
S. K. De claimed with reference to the Caura that the text had existed "in some form already in the IOth century" (Dasgupta and De, A History oj Sanskrit Literature, I, 369nI). This was based on the existence of piida d of verse 36 of the manuscript BORI.l (MCI) in Abhinavagupta's commentary on the Dhvanyiiloka of Ananda-
The essential point is that the verse appears only in this one manuscript, which is highly conflated. The verse also appears in the Kashmiri anthology Siirfigadharapaddhati (Petersen, ed.) attributed to BilhalJ.a and it is likely that the redactor of MCl took the verse from there or some similar source. The "existence of the text in some form already in the loth century" is doubtful, though the verse-type was known. A single verse of the Caura (N 12, WS 3) is found, without attribution, in the Calcutta edi.tion of Bhoja's SarasvatikaT}!hiibharalJa (p. 52, verse 1.152), but not in any of the other editions checked. Most notable is its absence in the Madras edition. Since the readings in the Calcutta edition are the same as those in the Siirfigadharapaddhati, it is likely that the verse was at some point drawn from this or a related anthology. The oldest anthology in which verses of the Caura are found is the Siiriigadharapaddhati. The date of this work is generally given as ca. A.D. 1363. Of the verses attributed to BilhalJ.a, two are found in both recensions of the Caura: No. 3469 = N I and WS 1; No. 3470 = N I I and WS 5. No. 3468, attributed to BilhalJ.a, appears only in the manuscript BORl. I, no. 36; it reads here as in the Vakroktijivita version quoted above. No. 3467, which is attributed to Amam rather than BilhalJ.a, is N 12, WS 3. Other verses attributed to BilhalJ.a are found in the Vikramiifikadevacarita. Verse no. 2 of WS appears in the Long Recension ofW. Norman Brown's critical edition of the Vasantaviliisa. It is one of two Sanskrit
[134]
[135]
--,~
5. SECONDARY EVIDENCE
~--
Textual Criticism qf the Caurapaiidisika
Relationships of Versions and Determination of Readings
verses accompanying the Old Gujarati verse no. 59; it is no. 60 in Professor Brown's manuscript S, the illustrated scroll in the Freer Gallery, which is dated A.D. 145I. The text of WS, type III, accompanied by the purvapaiicafat, was translated into Old Gujarati verse in the sixteenth century by]iianadirya. The translation is found in the manuscripts AHM.I, AHM.2, and AHM.6, which are QI, 2,3 in the Classification of' Manuscripts, above. Three verses of N (I, I I, and 50) are found in chapter 28 of Bharatchandra Ray's Viqyasundara (Bandyopadhyay and Das, eds., pp. 300-I), the eighteenth-century Bengali poem based on the legend of the poet and the princess. Verse 50 of N, which also appears in manuscripts of WS, is verse no. 202 of D. D. Kosambi's critical edition of the Satalcatrayam of Bhartrhari (p. 8 I). It is also found in Otto Bohtlingk's Indische Spriiche, verse no. 203 (1,39).
method of textual criticism to this text, for unless we could disentangle the versions sufficiently to establish certain of them as absolutely independent, it would be impossible to base the text's "originality" on what is common to two or more "independent" versions. The Caura case is further removed from the province of the strictly genealogical method by a factor which operates between the two recensions and within each of them, a factor which we may call "independent creation." It has been pointed out that the two recensions share in common only five verses. 2 Such diversity makes it impossible to speak of an "archetype" of the two recensions. The recensions are therefore dealt with separately. A variety of speculations could be put forth in an attempt to account for the two sets of verses. It is possible to imagine that a poet, whom we have tentatively decided to call BilhaI).a (see above, Introduction), himself recited different verses based on the aqyapi ... smarami formula. The theme and form are focal points of the texts; these were maintained, as were a few of the verses, to set the tone, and then the poet ranged freely within the pattern. Assuming that this poet did exist and recite his verses, further alternatives are possible: (I) BilhaI).a never composed paiiciiSikas, but merely recited his lyrical poems and a few were recorded, later giving· rise to each of the recensions; (2) BilhaI).a himself, or his followers, did collect the verses into a single pafit;ajilca, and one extant recension represents old and "original" verses, while the others are "derivative," or (3) the verses were collected into paiicajiktis by BilhaI).a, and the two extant recensions are survivals of these. It is impossible to decide on the basis of the available evidence.
~
6. THE RELATIONSHIPS OF THE VERSIONS AND THE DETERMINATION OF THE READ INGSI
~~
Although a grouping of manuscripts of the Caura text into recensions, types; and versions has been effected on the basis of internal evidence, the interrelationships of these groups are not easy to determine. The study of the manuscripts themselves indicates that interrelationships of versions are of a particularly complex nature. In the case of a secular work like the Caura the complexity is attributable, at least in part, to the absence of any reason to preserve the text in a particular form and the resultant indiscriminate conflation and inflation of versions through the centuries. Such widespread interpolation would itself militate against the strict application of the genealogical I This consideration of the problems has been guided by the following discussions: Sukthankar, Iv[ahiibhiirata, "Prolegomena," pp. lxxvi-xcii; Katre, Indian Textual Criticism, pp. 35-62; Kosambi, Bhartrhari, pp. 7 1 -75.
2 This includes a pada-by-pada analysis of each recension to determine possible points of contact on the basis of a repeated pada. The occurrence of three additional verses in both versions of Nand WS, type IV has also been considered, as has the occurrence of N 50 in many WS manuscripts (see above, Introduction). The three verses are 7a + 6b-d, 19, and 34 of N; they always occur at the end of It'S, type IV manuscripts, often along with other verses which are clearly borrowings from other manuscripts. The suggestion is that the verses were" appended" to an already developed and fairly complete text and that this was probably some text of type III, upon which type IV built. Just why these particular verses were used is impossible to say. It is also impossible to "prove" that they do not belong to some lost uT-text and are" preserved" in Nand WS, type IV.
Textual Criticism of the Caurapafidisika What is the case between the two recensions is also true of other relationships. We are not, even within each recension, dealing with a situation in which a concatenation of copies and exemplars reaches back ultimately to a single "authentic" archetype, which can be reconstructed by eliminating certain" errors." We may be able to reconstruct the hypothetical parent of two or more codices, but at the level of different versions transmission is usually too uncontrolled for this process to be effective. Because the Caura model is so easily imitated and varied, verses could be omitted and others substituted, either by conflation or by "creation," and verses could be readily altered through word and phrase changes. Given this situation the determination of the texts of the two recensions on the basis of a priori criteria is unsatisfactory. The criteria which were followed in editing the Caura have, therefore, been developed and tested during the examination of the manuscripts themselves. After having collated the manuscripts and grouped them into versions on the basis of recurring patterns of concordant readings, omissions, and other internal peculiarities, several noteworthy features appeared. The first was that the readings of manuscripts of versions A of Nand P, Q, R of WS are generally those which could best account for the readings of other versions. In repeated cases the readings of the other versions are attempts to deal with difficulties or obscurities in these versions. Versions Band D of N are particularly liberal in their conflations and emendations; version D even omits several somewhat troublesome verses (N 6, 29, 40, and 43) and substitutes others in their places. The same liberal tendencies are found in versions V, W, and X of WS. When this observation is considered in relation to the geographical distribution of manuscript versions, it is striking that versions A and P, Q, R are all found to be concentrated in the region ofGujarat and Maharashtra, while versions D and V, W, X are respectively found concentrated in Bengal and Madras. 3 When presented with such 3 Since manuscripts are not always found in the region in which they were written, script differences have been taken to be a stronger indication of origin than place of deposit. While manuscripts written in such scripts as Sarada, Nepali, Bengali, Grantha, Telugu, and J aina Devanagari are generally found in certain areas and manuscripts written in them are likely to have been composed in these areas, this is not true of manuscripts in Devanagari. With regard to manuscripts in Devanagari, the antiquity of a codex's association with a certain
[13 8 ]
Relationships
if Versions and Determination if Readings
·JAM'''''' o Hoskilrp.....
The Distribution oj Caura .Manuscripts
a picture, supplemented by the fact that the earliest datable manuscripts of each recension are known from Gujarat and areas bordering on it (MEHTA is probably located in Mewar or Malwa), the notion of a "region of origin" for the Caura verses suggests itself. This is illustrated in the accompanying map. On the basis of an analysis of readings in the manuscripts and the area is determined, if possible, through information in colophons and, in the absence of this information, by the quantitative occurrence of manuscripts of it and related codices.
[139]
Textual Criticism cif the Caurapafidisika
Relationships cif Versions and Determination cif Readings
loci of these manuscripts, it is suggested that each of the recensions developed in migration. N spread northward and eastward from the region of origin; WS spread southward. This is represented here in a greatly simplified diagram.
of variations in the manuscripts arise from slips of the pen or of the tongue.4 Some of the commonest orthographic and phonetic confusions are noted on the following pages. Most of these present no particular problem and have not been recorded in the critical apparatus unless the reading is in doubt.
REGION OF ORIGIN
SOME RELEVANT ORTHOGRAPHIC
of both recensions of the Caurapaficiifikii
I I
PECULIARITIES
I I
N
The orthographic confusions listed below are responsible for the commonest variants. s
WS
jfl--------~M-------_F~~;~:~:,~:::~ DEFGH
B
A
PQRST
ZYXWV
indicates lines of conRation \Vhat began as a series of observations based on the nature of specific variants and patterns of variant readings has been generalized into a working hypothesis of the origin of the manuscript traditions of both recensions in the Gujarat and ]\;Iaharashtra region. The texts in general determine themselves by the concordance of the overwhelming majority of manuscripts. In places of difficulty, readings of manuscripts at the extremes of each recension rarely agree; there is usually a range of variants. In many cases one reading can be discovered to be the basis of the others and in most of these cases, as has been indicated, this reading is found in manuscripts of versions A and P, Q, R. When the situation is less clear, and no other means is available for choosing among readings, the "best" reading derived from A or P, Q, R is provisionally taken. At the level of choosing the "best" of related variant readings within a manuscript version or type we are again faced with the task of discovering the reading which could best account for the others. The mechanisms of change are manifold, but the majority
[140 ]
WITHIN DEVANAGARI
rava-kha (but metrical considerations exclude this her~) va-ba va-na-ta va-nu (less common) va~a
pa-ya-ma-sa (which in turn can be pronounced fa, which can be confused with tra) su-sva pu-pha tta-tra The instability of subscript and superscript vowel signs (u, ii, e, ai, 0, au) can also give rise to variants. JAINA DEVANAGARI
There is a frequent substitution of sa for fa (a confusion which is phonetic in basis); this in turn may be reflected in a confusion of sa with mao There is carelessness regarding anusvara and visarga. There is inconsistency in the representation of vowel signs; for example a single manuscript may alternate between Tifi and ifi for ke. This may lead to confusion when the manuscript is being transcribed into Devanagari or some other script. 4 cr. Sukthankar, Mahiibharata, pp. xxxvii-xxxviii; Katre, Indian Textual Criticism, pp. 55--63; Kosambi, Bhartrhari, pp. 72-73· 5 See Renou, L'Inde classique, pp. 691-7°1; Buhler, Indische Paleographie.
Textual Criticism oj the Caurapaficiisikii
Variant Readings and Related Notes
There is the common interchange of ~a and kha, and ofya andja, which is also phonetic in basis. There is the peculiarity of certain Jaina Devanagari characters, which bear resemblance to other characters in Devanagari and therefore often cause confusion:
anusvara is used to represent final m before mutes and nasals in external sandhi, though some manuscripts use the class nasal. 6 Although the piidas of each hemistich have been separated, they are considered a unit insofar as the application of consonant sandhi is concerned. Because most manuscripts do not separate the piidas of a hemistich and because the insertion of anusvaras is often careless, there are several ambiguous cases with regard to the existence of a compound; these have been noted as they occur. Less common and less explicable variants occur in the form of syllable and word substitutions which cannot be directly attributed to phonetic or paleographic confusions. As has been suggested, these are frequently the result of attempts to deal with some' difficulty in the text being copied. Or they may be attempts to "improve" the text by clarifying a word or words which the copyist feels is ambiguous. Sometimes metrically equivalent synonyms, or words and phrases of similar meaning, are substituted for one another without apparent reason. Such variants are not all equally interesting or important to the critique of the text, but they are included where found because they cannot be otherwise explained. In observing the patterns of variation it is striking that certain syllables and words and even complete piidas are relatively stable while others are highly vulnerable to change. The reasons for this' are not clear in every case.
f!a in]aina resembles glga in Devanagari cha ha tha ~a dra rja
The characters rja and ttha also seem to cause confusions. Within J aina Devanagari there are frequent confusions among: ca-va-ha ttha-ccha tha-gha hbha-jjha dda-ddha-!!a-!!ha-rjrjha BENGALI AND DEVANAGARI
Confusions are more often phonetic than paleographic. PHONETIC CONFUSIONS Phonetic confusions are also common and are often at the basis of apparent orthographic confusions. They are likely to occur when the copyist transcribes his manuscript at someone else's dictation. Gujarati and Maharashtrian scribes generally confuse the length of i, t, u, ii; sibilants are also often confused. Bengali scribes reduce all sibilants to one, and they confuse ba and va (both of which usually become ha under Bengali influence). OTHER VARIANTS
7. VARIANT READINGS "'f ~ AND RELATED NOTES ~!l9---Nl This verse is also found as WS I, with variants. (b) AI navaromao. (d) F, H2 °gu.t:litiirh.
N2 The above sorts of variants are omitted from the critical apparatus. Also omitted are common permissible variants of sandhi, which have been normalized in. the text, for example (1) after r, consonants have ~ot been doubled (read tiryag, though some manuscripts read ttryyag; read vartD, though some manuscripts read vartt D); (2)
[142]
This verse is also found as WS 4, with variants. (b) B Dkiintim. 6 Many scribes use anusvara to represent the final m of a hemistich, as well as all nasals in combination with a following consonant, for example damta for danta. These representations are widespread and random and have not been recorded.
Textual Criticism
£if the Caurapaiidisika
N3 Cf. WS6 (b-d are essentially the same). MCI.38a-b + 7c-d is this verse; the only variant is in d: pronmattavan, which is the reading of WS, type III manuscripts. N4 (a) B nidhuvanao. A3, H2, MC3 sramao [= A4 (manuscript NAG.2 only)]. MC4 vidhrtanetrapariplutiiiigim; MC5 °plavaiigim. (b) D, E, F, MC4, 5 °patitakulao. Ar, 2, H3 °kuntaHini. (c) A3, 4, 5, MC3 °mantharam; D, E, G antaram. MC4,5 °bii~patatimantagatirh[?]. X5 (b) DI,3, Er tiryakskhalat ..... tiirakamavahantim. D2, E2, F, G, H, MC6 °tiirakamiiyatak~im. MC4 °tiiramivek~amaI).am; MC5 °tarakamik~amaI).am. (d) A4 °vadanarh sumukhirh ; M C4, 5, 6 °vadanam manasa. N6 D omits the verse. PMas b-d are found in all versions of WS, type IV; pMa a in these manuscripts is N 7a. (a) AI, 2, 3, 4, 5, MC3 kamalayatak~im. [This may in fact be the more original reading, the other being an attempt to avoid repetition of N 3a; the omission of the entire pMa in WS, type IV and of the verse in D supports this. The reading fravattaO was finally chosen because of its presence in the usually conservative manuscript A7 (= MEHTA); this suggests its antiquity, if not " originality."] (b) EI °virahavyathitaO; H2, MC4, 5, 6 °virahaglapita'. F, G ghoravirahanalapi<;l.iHiiigim. (c) MC4, 5,6 s.amupaveSya tathaiva. (d) A3,4 unmilayami. MC4, 5 tanutam dayitam smarami. N7 This verse is no. 52 in the codex R3 of WS, type III. Piida a is found with 6b-d in versions of WS, type IV. (c) D visalajaghanam; R3, MC4, 5, 6 visalanayanam. A3, E, H3 °jaghanasthalao. A2, B, II, MC4, 5, 6°bharakhinnarh. (d) G, Hr,MC4, 5°kuI).c;lalao.
[r44]
Variant Readings and Related Notes N8 (a) Dr, 3°cariHiiigi-. (b) Dr, 3 °parimalena. (c) A2, B, D2, Er, G, Hr, 2 °cumbanakhafijarita-; E2, Y, H3, MC4, 5 °cumbanalagnakhafija-. Dr, 3 alpendurekhaparisilitabhaQ.arekham. (d) Dr, 3 mugdhatiramao.
.N9 (a) °digdhaga<;l.harh. B madhupanaraktam; Dr, 3 madhudigdhapantim; D2, EI, H2 madhudigdhavaktram; MCI madhudivyagandham; H3 k~amapic;litaiigim. (b) A3, B, Hr, 3, MCr °liladharam; Er °bimbadhararh; MC3 °gac;lhadhararh. (a-b) MC4 tam krtakamafijalaraganaddha-mugdhadhararh. MC5 pallavamanohararagadigdha-mugdhadhararh. (c) B °gandhamrgao. .N1O (a) Ar, 2, 4, 5, 6, H2,3, MCI, 4, 5 adyapi tam. MCI kanakaraupyaO; MC4, 5 kanakabhaiigao. (b) MCr °binduvidhurarh vadanarh dadhanam. MC4, 5 °bindunicayarh. (c) MCr srantarh ..... netrarh. (d) MCr tambiilaragaparipiirI).ao.
NU This verse is the same as WS 5. (a) B, D, E, F, G sampari. (d) B °pattram aralakeSaya. N 12 The verse is the same as WS 3. The absence of variants within .His notable.
N 13 (c) B, Er, H2 vastrantarao; Dr,3 vastraficalena paridacii'; MC4, 5, 6 vastraficalakalita 0 • (d) Ar, 5 °maI).<;l.ananiirh. MC4, 5, 6 bimbadhararh madanao.
xu [r45]
Variant Readings and Related Notes
Textual Criticism of the Caurapancasika (b) MGt-, (d) MC4,
B muktakaHipapario; HI °kaHipracayaO; EI °maQipracayaO; 5°valinicayao. A2, D3, E, G, MC3 samadahamsao; DI, 2, EI rahasi hamsao. 5 vallabhavimukhabhaiigagatim.
N 15 (a) DI,2, E, F, G, H tam kusumao; D3 tat kamalao. AI,5 °ghanorusainye. (d) DI, 2, H3 na (forca). N 16 (a) MCI madhurakaiialao. B °carunetram; MC4, 5 °kamanetram. (b) A2, 6, Dz, E, F, G, H3 °prasiitaO; B protphullapu~panikarao; DI,3 prthviprabhinnao; MCI veQiprabhiitaO; MC4,5 tanvim prabhiitao. (c) E2, MCr, 4, 5 °samvalitao. B, Dz, E, MC4 °haradantam; DI,3 °cakramisram; Hz ,.°dantapanktim; H3 °dantavattam; MCS °haradmam. (d) DI,3 prarabdhahemakacakim. MCI haimavapur gUQagaQaIh dadhatim. MC4, 5°hemaruciram.
(d) A4 lajjavasiinanayanam [variant also reflected m the commentary]. MCI laiiabilam savinayam.
N 19 (a) A3, G, HI madvirahao. B °vahnivio; V, X, Yvirahavihvalao; W suratavahnini o ; Z I virahapaJ:.l9ukapolakanti; MCI vidhuravahnio. (b) B lajjim. X mrdutaikao. (c) MCI (MC4-variant version) °maJ:.limaJ:.l9anam; MC5 °maJ:.libandhanam. (d) V, Y syamam maralagamanam; W hamsabhiramao; X syamam suhamsao. V, W, X satatam; YI hrdi same; Y2 bahusal,J.; MCI sarasam; MC4, S, 6manasa.
N20 (a) A6, B, DI, 2, EI, F, G adyapyaham. As, MC3 vikasitam; HI, 3 prahasitam ..... khinnam. (b) DI °vimalikrtaO; H2 °kamanikrtaO; H3 °malitak[tao. (c)B, D, H2, 3 tam ke1imandiragatam; HI °mandiragirau. (d) A3, E2, F, H3 °kamaketum; A4, MC3 °muktakdam; As Cyuktaketum; D °dhiimaketum.
N17 (a) MC4,5Ialitao. (b) Az, HI bhra~tasrajam; DI, 3 sranthasrajam; H3 silstasr'!Yam; MCI muktadatim nava ..... madhuraiigaya~tim. MC4, 5, 6 °sudhadhavala°. (c) MCI °pariharakumbhim; MC4, 5°paricarucancan-. (d) MCI muktaphalam hasitalolao. MC4,5 hariQalolao; MC6 suratatantamukhim.
N 18 (a) X vallabhadeSaniketane~u; MC4 valayavesmani. MCI diparatna-. (b) DI, 3, Hz °galitandhakare. X dipamayiikhaO; MCI °cchayamayiikha 0; MC4, 5 mayam mayiikhapatalim dalitam asobham. (c) B, EI, Hz svapno; DI,3 suptam ca; MCI praptodaye manasi. DI,3 hiisyamukhiprasannam; X, MCI,3 manmukhao. MC4 mayi rahal,J. karaJ:.lasya raktam; MC5 mayi rahasya karasya raktam. B, EI, Hz °darsanottharil; D2, G, MCI °darsanena.
[146]
N21 (a) DI, 2 Glalitam sthitam ca; D3 °sthitabhyal,J.. X °sataduscalitocitabhyal,J.. (b) H2, Xl, MC3 suratahamao. A2, HI, 2 °klamaviklamayal,J.; X °klamaviklavak~am. (c) A2 "nijvanitaO; A5, MC3 °nisvanitaO [for nisvanita]; A6, B, G °nil:tsvanita D, E, F, H °nistanitaO; X abhyastanistanitao. D avajallistanitakatarakakukaJ:.ltha-. A4 °kirasukathyamana-; A2, EI, F °kampamfma-; HI °ramymana-. O
;
N22 (a) AI, 2,4,5, HI, YlC4,5 °ghiirJ:.litaO; X °militaghiirI)itak~im; B suratajagara 0; MC I ra ti vighiirl)italalasaiigim. (b) B sa,stafigaO; X dmafigaO; MCI svetafiga,O; MC3 hastagrao. AI,2, B, Dz, EI, H, MC4,5 °keSapasam; DI,3 °galitakusakesanamram; MCI °matikuncitakdapasam; MC3, 6, X °galitakulakeSapasam.
Textual Criticism of the Caurapaftcasika
Variant Readings and Related Notes
(c) H2,3, MCI °varikamaHikarao; DI,3 °varikanakambujaO; MC4, S pral).eSvarasya kanakambuja (d) B, DI, 3, E2 janmantare nidhuvane; F janmantaraya nayane. MCI 'py anudinam paricintayami; MC4 'pi manasa paricintayami; MCS 'pi manasa satatam smarami.
manuscript (F) is damaged here. The commentary of BhaveSvara clearly opts for 'ja mima. B. hamho 'ja viyogavahnil). sukumaragatryal). [Gal).apati glosses: aja brahman]. A2 °hutasanayam, = HI; DI,3, £2 °hutasanatapal}; D2, El, H2 °hutasanatapam; H3 °hutasanatayam. (d) HI vaktum na.
0.
N23 (a) MC3 mrgacaftcalao. (b) MCI piyii~avarl).ao. (d) D svargam tathatra na ca rajasukham smarami. H2 °nrparajasukham. H3, MC3 smarami. MCI varar~jasutam smarami.
N24 (a) MC4, S tam pral).ayinim khaluo. (b) MCI akarasundarao. MC4 prathamaikariipam. (c) D, E, H3, MC4, S samsaranatakao. A3 °panapatrim; B °panapatram. MC4, S °rasotkatasiitradharim. (d) A7 °bhittikhinnam; DI °bal).abhinnam; MC4, S °bhitikhinnam.
N25 (a) A4 kimiva vastram. DI, MC6 ivavalagnam. MC4, S °vastravadavalagnam. (b) MC4 pracchannatapaviraha°; MCS °virahao. MC4, 5, 6 °taptagatrim. (c) A3 vamancanathaO; A7 samdhyasvanathaXXo; £2 vaftcam anathaO; D, £r, HI balam madekao; MCr balaiiganam asaral).am; MC4, S balam ananya 0; MC6 balam tadanvitarasam. (d) MC6 pral).ad api priyatamam. MC4 hrdi bhavayami; MCS, 6 manasa smarami.
N27 (a) A7°karatiidasam. (b) Ar,2, DI, 3, MC3 balac calati; G, HI balad vahati; H2 vibandhayati. DI, 3 tat kjm. (d) A4 samtyaktavallabhao; Dr, 3 ru~ta tu vallabhao; MC3 bale kuraftganayane kim mameti cetal)..
N28 (a) A2, 5, 6 gamanam uttaritam; A4 uttaritam tvadiyam. (b) DI, 3 bhitaharil).isisuo; MC6 bhitao. (c) B, D vacal).skhalad° ; F variskhalad°; HI vacaskhalad°;
H2 vakyaskhalado; MCS vaciskhalado. (d) EI gurudo~ao; H3 gUl).aro~ao; F gururo~ave~anao. MC4 surate punar uktacintam; MCS punar uktavaco 'nucintam; MC6 surate vinimeyavaktram.
N29 D I, 2 omit this verse. (a) E2, H2, 3 are the only manuscripts which read tat; others read tam. B adyapi jatu nipul).am; H2 adyapi suvimalam smarata; £1 adyapi paribha~ayapi. (b) B dmam drsa jagati jatividhe vadhiinam. D3, £2, H2, 3 tat (foryat).
(a) DI, 3, £2 sa ..... varasundari me. (b) A4 racanasatamghrim. (c) The reading of these syllables as 'ja mima is also a possibility; it is difficult to tell which is meant in individual manuscripts because avagraha is rarely indicated and because of the easy confusion of the characters ma and sa in Devanagari as well as Bengali; the Nepali
(c) B kante. (d) A (except A7) kantam; A7 kitiimihamivimalao. It is on the basis of these readings that the conjectural reading kanta-maMo is derived; confusions between a and i are not uncommon in the manuscripts and such a confusion may have given rise to the syntactically meaningless reading tam/kantam, which in turn engendered other variants. B kantananasya sadrsam vadanam gUl).air na. £ I bhrantim jahanti bahuratnavatagul).ena. £2, H3 bhrantim, nihanti riimalamukhamal).ganamya. F krantim nihanti bhuvi
[148]
[149]
N26
Textual Criticism
of the Caurapafidisika
ratnavata gUl).ena. G, HI, MC3 kantam smarami (this variant renders tiirhjkiintiirh meaningful). Hz bhrantimjaharavimalao.
N30 (a) MCI °tr~l).opameyam. (b) B °abhi~iktam; D, Ez bahutaramrtasekadharam; EI bahutaramrtasiktagatrim; G, HI bahuvidhamrtasekasiktam; Hz bahusudhamrtasekapatrim; H3 bahutaratanuvarisiktam. (c) B majjivadharal).akarim madanat satandram. DI, 3 majjivadharanakarim madalolasaiigim. (d) Although the reading udvarta is attested only in manuscripts of codex A4 (one reads udvartta), it is the reading which seems best to account for the others. AI, 5 uddhiitakda 0; Az, 3, 6, MC3 udbaddhakdao; F udvattakdanicayam yuvatim. B, D, E, G, H kim brahmakesavaharail).; MCI kim brahmakdavaharair anucintayami.
.N 31 (a) Az tam grhagato; A4 tam svabhavanan; B rajagrhato; D3 vasagrhite; H I tam sagrhato. (b) AZ,5, HI durdharao; DI, 3 °bhi~al).aravair; F °bhi~al).ataya. (c) HI kim kimcit taya. (d) AI, 2, B, D2, EI, Hz nasakyata.
N32 (a) B, F tan nisi. (c) Ar,5, :MC3 °candrakanti; A3, 4, G °sudhasayacandrakanti; B, H3 °nirjitarati k~atakamadarpam; D °nirjitamanoharakamadarpam; Er °sudhanidhipadmakanti; F °nirjitaSasidvitikamadarpam; Hz °sudhakarapiirl).adarpam. (d) B pural). pratipadam na vilokyate; G, Hr, MC3 pratimuhilrtam avek~ate ; F pratimuhurttavilokyate. [A7 is not completely clear; the reading °muhu~ na is written over another set of ak~aras.]
N33 (a) Az, E, MC6 avahito; A3, 4,5,6,7, D, G, Hr, avahitam; B avihatam; F tamjanahitam; Hz virahato; H3 abhihitam. [The words
[150]
Variant Readings and Related Notes manasiicalena may be read manasii calena or manasii acalena; the commentator Gal).apati reads calena caficalena manasii; Bhavesvara offers no interpretation here.] (b) Dr, 3 satatam mama; Hz, MC6 sudatim. DI, 3, Hz, MC3, 6 jivitdam. (c) A3,4, 5, 7, G °bharaharam. Dr,3 dittograph from .N 32: laval).yabhoga 0.
N34 (a) Az, 3, 4b, Dr,3, V, X, Yr, MC4 tam. Dr,3 malayapaiikajao. V2, {, Xz, Yr °gandhasaiiga-; W °gandhalobha-; MC6 °gandhalobad. (b) A3, Dr, 3, E cddam; B °gal).c;l.ayugmam; G °gal).c;l.abhittam; Hr °vakraddam; H3 °ddo [for defe ?]; Vr, 4 °cayajhaiikrti~u prakamam; V3, '-tV, X, Yr °cayacumbanajhaiikrte~u;Yz, MC4, 5,6 °cayacumbanahuiikrte~u;Zr °cayacumbanajhaiikriyasu. (c) B lilavadhutaO; Dr,3 kesavavrttao. Vr, 3, 4, X, Yr, Zr °pallavahuiikrtak~im;W, Y z °pallavahuiikrtanam. (d) Ar,4 kval).o vimiircchati; Az kval).ena; A3 kval).o 'hi; Dr, 3 kval).odapeti nicayal).; Hr kale 'pi miircchitaO; H3 jiiato 'pi. Vr, 3, 4, X, Yr samcintayami bhayavihvalacarudeham; Wr pral).e~u milrcchita 0; W Z pramena milrcchita 0; Y z naseti miircchitavatim manasa smarami; Z r prakampitastanayugam smaratam mano me', M C6 nikvananam pratikalam manasa smariimi. .
.N 35 (a) AI,S, G, MC3 adyapi yan; B, D, E, Hr adyapi sa; F, Hz adyapi tan. Az, Hr, G °mal).c;l.ale 'pi; AS, D3, F, MC3 °mal).c;l.ale~u. (b) Dr, z mamaivamadhuo. (c) B prayatnat. (d) D, F, Hz prayatnat (in place ofsmariimi).
.N 36 (a) B, Hr kopavimukhi; Dr sa sasimukhi ca krtagasam mam; D z D r G Hz 3 rosavimukhi' D3 sa sasimukhi vikrtaparadham. (b) A7 noktum; Dr, 3 noccair. B yadaiva piirvam. (c) Dr, 3 rodimi. (d) A3, {, 7 smari~ye. ,
,
,
,
.
,
a
Textual Criticism
of the
Caurapaiidisika
N37 margam .....
(b) Ag, DI, g, F, HI °grhe~u kante. MCr svakantam. (c) B, H2 kiintapragitaO; D kantasugitao; MCI pasyami kantaparihasao. D citravadyail).; MCr °vicitram atra. (d) A2, HI °virama iha jatu; A4- °abhirama iti jatu; D, H2 kric;lasukhair iha tu; Hg kric;iasukhair iha samyatu; F kric;iam prayatu satatam mamadi~akalal).; MCI kric;ianvitam ca sahasa vijane 'ntakale.
N38 (a) B adyapyaham. MCI vditabijayogad. (b) AI, 2, g, MCg sapam gata; A4- sapad gata; DI, 2, E, G, Hg sa va sad; HI, 2 kim va saci; F sampaiigana [for siipiiiiganii ?]; MCr yogaiigana. F k~iptalak~mi; Mel anudr~talak~mim. (c) B, D, E, F, H2, g kim trijagatal).. (d) DI sf~tvakule; D2, g, E, F, G, HI, g, MCI sr~taiigana; H2 sre~tigilli. DI, EI yuvatirajaO; F yuvatirajakulapradhanyol).; MCI yuvatirajadidrk~ayasau.
N39 (a) Ag, DI, g na ko 'pi. (b) B sakto hy adr~tasadrsim ca parigraharh me; D, E, G, H pratiriipalak~mim; MC3 priyavigraham me. (d) AI, 5 eva varam na; A3 eva saratnadhanyal).; B eva paramtu nanyal;; G yuvaparayo na canyal,J.; HI yuvaparamo na canyal).; l\1Cg eva naro na.
N40 D omits this verse; the commentator GaI).apati changes it radically to remove the difficulties. (a) AI, 2, 5, B, F, Hg tam. B, F nayanakajjalamisram asru. (b) B °yugalam dadhatim viru~tam. (c) The reading of the first seven ak~'aras of this piida does not exist in any single manuscript; it is a composite reading which is constituted to account for the variants which exist. It is, at best, provisional. Al XXvattanihitapinapayodharaI).am; A2 pasye tavatmani navinapayodharahyam; A3, 4- atyuccavfttapfthupinao; A5, 6 [15 2 ]
Variant Readings and Related Notes pasye-havartmanahi pina 0; A7 pasye-vahaXXhi; B kantam smarami ghanapinao; E pasyami niinam iha; F, H2 tasyal). smarami ghanapina 0; HI pasyamy aham yugalapina 0; Hg pasyami te yugalapina 0; G drHva-havartmanahi. (d) AI, 3,4,6,7, E, G striI).am; B syamam analpaguI).agauravasobhamanam. E2, F vapur bhavi~yati no na do~a; H2 vapur bhavi~yati nai~a do~a; HI, 3 vapur bhavati te yadi do~a. A2 no na do~a; A3, EI nau na.
N41 (a) AI tam cavimalamkf~igauraO;A5 nirmalasamrak~asi-gaura"; H2 sasidhautao. (c) AI sudhamsusamayamyadi; B sudharasamayam; H2 sudhamayam idam. (d) AI omits the prida. A2 cumbam priya0'acaritarh vyathitam mana me; B cumbamy aham na viraho vyathate mano me; DI, g ciiyami [for cl4iimi ?] capya viratam vyathate na cetal).; D2 ciiyami capya viratam vyathate mano me; EI vyathate mano me; E2 cumbami tatXXratam vyathate mano me; F yatna pibamy apy avirato vyathate mano me; G, HI cumbamy aharh vidhiraham cyavate manasvam; H2 cumbami catha viratam vyathate mana me; Hg cumbamy aham na viraham vyathate mano me.
N42 (a) AI adyapy asau; A5,6 adyapy astokamalao [for asau ?]; B, D, G, H adyapi tat = MCg, 4, 5. B, E °sugandhivaktram; D, F, G, H °sugandhigandharh. (b) EI lavaI).yavaQi. A2, MC5 °dhvajapapahari; B, D, E2, H2 °dhvajatapahiiri; EI °dhvajapavakadyam; F, Hg °dhvajapavakani; MC4°dhvajavasahari. (c) Az, 6, B, D, E, G, H yadi punal,J.; Ag, MC4,5 yadi tatba; F yadi tatal,J.. (d) A7 niyaXX; H2 sahasa punar. B, Hg tadavaptihetoq. N43 D omits this verse. (a) AI, 4, 5, 6, F, MC2 tam; A7 (damaged) XXXXXXXsundario; B, E2 adyapy aho; EI, Hz, g adyapi sa. AI, Hz, MCza °labdapiirI,1e; Ez, F, Gsundario.
Textual Criticism of the Caurapaficasika
Variant Readings and Related Notes
(h) B canyonyapivaragur:m ; E r °gul).abjasugandhigandhye; H2 anyonyavaragal).adhikama 0; HS anyonyapivaragul).a 0. (c) A7 (damaged) anyabhiXXXXXXXXXsakya; E, F, MC2 asmabhir ..... na tathapi sakyarh = H2. (d) B hrdaye vi~ada1.J.. Er vamafigam eva hi naced api dak~il).aiigam; E2 vamafigam eva hi hare na tu daksiJ.lafigam = H2; F vamafigam eva hi hare yadi dak~il).afigam; HS vamafigam eva virame na tu dak~il).afigam; MC2 vamafigam eti vatzitapi ca
(d) MC2 suptotthitiirh kanakakiintijitiirh; MC4 nisi viviihya vicintayiimi; MC5 suptotthitiim anudiva nisi sarhsmariimi.
0
dak~il).afigam.
N 44 (a) B sa ca navayauvanasundarafigirh; Dr, S, HS sa yadi ptwas; D2, H2 sa yadi punar nalinivanante; E, F sa mama vapustatini prabhatc; MC2 sa mama punas tvaritarh madambharh; A °sadaste OR °madaste. (h) B, D, G, H °vilasaccapalafigaya~ti1.J.; E, MC2 °vilasaccapalasvabhava. (c) A anyatsukeSararaja1.J.~al).avik~al).arh marh; B matsvantasarasacaladvirahoccapafikat; E, F, MC2 hrtpadmakdarao; Hr °jatasafige; Er °matrabhafigat; E2, F °matrayogat. (d) A gatraklamarh (A2, 4 kathayati); B kirhcid gamarh prathayati; D, E, HS kirhcitklamarh slathayati; F kirhcitk~amal,J. srutipathi; G, Hr kirhcidbhuvarh; H2 kirhcitsramarh; MC2 kirhcitk~amarh kathayamanasaraja 0. N 45 (h) A5, F, MC5 °piirl).anetram; Dr, S °bhafigagatrim; H2, S [MCr, 4, 5] °ghiirl).amanam. [MCr °yauvanavatim nisi ghiirl).amanam; MC4, 5 sarvaiigamafigalamayirh nisi ghiirl).amanam.] (c) A2, 5, 6, B, D, E, F, G Hr, 2, MC2, S, 4, 5 °rajakanyarh; HS, MCr °rajaputrirh. (d) B, E2, G, HS, MC4, 5 sak~an nabho; D svargad imiirh; Er sapena bhiimipatitiim; F siik~iid ito; Hr svargiinnaho; H2 illegible here; MCI sak~ad divo; MC2 saddevayo [?].
N47 Dr and Er omit this verse. (a) B °dhrtiilasiifigirh. (h) F, MC2, S kri«;lotsukarh. B madanabhitivikampamaniim; D2, E2, F, G, Hr, S svajanabhitisuce~taO; DS, H2 °sukabhijanabhi~aJ.lavepamanam; F svajanabhitisalak~amiini; MCr bibhatsakantijananimalasalasafigim; MC2 °sukasmijanabhitisavepamanam; MCS bibhatsakantilasitabahuvice~!a• 0
(c) A2, Hr, MC2 °lagnosobharh; B, H2 Cjatamohiirh; D2,3, HS °cumbitabhafigamoharh; MCI °mohaniiya; MC3 °bhagnadeham. (d) B, D3, E2 maijivao; G, Hr,3, MCr,3 sarhjivaO; MC2 majjivanau~adhisudharh.MC3 paravatasvaravatirh manasa.
N48 (a) AI, 3, 4, 5 °kelinirasta c; A2 kelinibaddhakak~arh; Dr, 3, H2 °kelinibaddhabuddhirh; E2 Dkelivatarhsayuddharh; MC I suratakalanibaddhavairam; MC2 °keli~u sastabuddham. (h) D, E, G, HI, 2 °patitotthitaO; MC2 °pavanojjhitasunyabhayam; MC3 °patanoijhitaramyavastram. (c) A2, MCr, 2,4,5 dantauHhaghatanao. MCr °raktabaharh; MC2 °raktajihvarh; MC4, ,) °raktacitrarh. (d) A2 °bandhur avadhacitram; DI, 3, H2 °bandhanagatraya~!im; MCI lolarh smarami; MC2 kantarh smarami ..... aviracintam.
N 49
N 46 (a) AS nij avapul,J.krsa°; B pral).ayinirh krsa °. (h) Dr, S °stanabharanamram; D2, H2 °kumbhanamram; MC2 mattebhakumbhasadrsastanasubhrasobham.
(a) A2,4, DI, 2, HI °suratabhiyogarh; B °suratopabhogarh; MC2 °subhagaprayogarh. (h) Bjivami. G, HI, 3 sarhpurl).e kalavidhina. A2, MC2 tvaritarh kadacit; AS, 4, MC3 ca katharh viso<;lhum; A6 ca tathapi so<;lhum; B k~anam antarel).a; EI, F caritam kadacit. (c) A2, Er tatrantare; MC2 tad dharal).e. (d) A2 bhavatas calarh sapanti; Er bhavatal,J. purato lunita1.J.; E2 ham atas tvaritarh prayami; F tvaritam JamUe [for yamita ?];
[r54]
[r55]
Textual Criticism of the Caurapaiici'isika
Variant Readings and Related Notes
HI, 3 samjiiayami tyaritiXXm iva nalapattram;' MC2 vijiiapya cintitam iti svasitam lunitam; MC3 lunidhvam.
(b) MCI, Sarii: vaktram. (c) T °sramajalakulao. R2 °sandrahara-; MC2 °bindukena. (d) Q4, Z °prakarakarburitam; V, W, X, Y °sphuritam yuvatyaJ;1; MC4, 5, 6 °sphuritam priyayal;!.
N50 This verse is also found in versions Q, R, X, Y, and Z of JiVS, as well as in MCI, 2,3,4,5,6. It is verse no, 202 of Kosambi's edition of the Satakatrayam of Bhartrhari, p. Eh. (b) MCI se~o, .... mastakena. H2, WS (except QI, R2, 3), Sataka: nija (in place of khalu). (c) DI, 2 durvahabhavagnim.
WSI The verse is also found as N I, with the variant tanuromao. (b) PI °vadanambujaromao; T, IV (V,W, X, Y, Z), MC4, 5, 6; also Sarii: °nayanam tanuromao; MCI, 2 tanuromao, QI Orajim. (c) VI, 2,4, VV, Y2, Z2, MC4, 6 suratavihvalao.
WS2 This verse is also found in codices D I, D2, and F of N; also in W. Norman Brown's edition of the Vasantavilasa (LR 59), p. 60. (a) X2 samvikasitambujao. (b) QI, 2, 3, Vasantavilasa °madhyaddam; Q4, RI, 8, MCI,2 °par:H;l.uritaikaddam; VI, 2,4 °bhasuraphalarekham; V3 °bhasuraphaIadesam; W, X, Y, Z, MC4, 5, 6 °patalaphaladdam; DI gorocanaracitavrddhakrtaikadcSam; D2, F °tilakam vidukrtaikaddam. (c) T °netrapatam; this reading is deleted in MC3 and dr~!ipata1iz is inserted. Vasantavilasa °netrapadmam. (d) VI, 2, 3, W, X, Z2 tasya mukham prati mano mama; V4, Y, ZI, 1-1C4, 5, 6 kantamukham prati mano mama. VI, 2, 3, W, Z2 gacchatidam; V4, X, Y, MC6 samnidhaWim.
WS3 This verse is the same as N 12; the reading °gallam, chosen here because it is found in all versions of type III, is from or is a cognate of °gar;¢am. (a) MCI, Sarii: tat pracalao; 81, MCI,2, Sam: °gal}.c).am; MC3 °gaura; IV, MC4, 5, 6 °mr~tagal}.<.I.am. [15 6J
WS4 This verse is also found as N 2. It is omitted by version Z. (b) V aprapya kim punar; WI prapyapi kim punar; W2 prapsye nu kim punar. MC4 dhanakucam yadi gauraiigim. (c) QI,4, S3 °sarel}.a ni; R4, Sl, 2, T, YI, MCI °sarasanao; RI, MC2 OgarahataO; V, W, X, MC4, 5, 6 °saranalapic).itani; Y2 Ogaravyatha 0 • (d) Q4, RI, Y, MC6 karotu; MC2a shows °ti deleted and °tu inserted. Q3, R*, MCI karoti. V, W, X, Y me prati; in XI samprati is deleted and me prati inserted.
WS5 This verse is the same as N I I. (a) VI,3, WI, X2, Y, Z, MC4, 5, 6 sampari; V2 sa hrdi sada pari; V4 sa sati sada pari; Sarii: sa ..... sampari. (c) V, W, X, Y, Z, MC4, 5 ro~at. (d) V, W, X karl}.e 'rpitam; in XI kro is deleted and rpio IS inserted.
WS6 Cf. N 3 (b-d are essentially the same). (a) The chosen reading is found in codices PI, P2, R I, R *, Z I, Z2, and MC2; other readings appear to be attempts to avoid this repetition of WS 4a. Q, R4 candravadanam tarul}.aiigaya~tim; R2, S saralamaiijulatuiiganasam = WS IOa; T2,3, MC3 sakalamaiijulatuiiganasam; TI, MCI makaraketusaraturaiigim; R3, S2, S* suratakeliru~aparacim; V, W, X, Y navavayasriyam induvaktram; MC4 sukharihantasurdabhajam; MC5 omits the verse; MC6 yadi punal;! kamalayatak~im = N 3a; [the manuscript MY.6, a mixed-codex closely related to MC6, reads: sasimukhim kanakojvalaiigim] . (b) W °bharalilam; MC3, 4°bharanamram. (c) 82, Y pal}.iyugalena.
Textual Criticism
if the Caurapaficasika
manmatharasarh (d )\ W X , Z unmattavan' VI 3 osthina . kamalarh; V 2 oHhiranamadharasarh kamalarh; V4 dn!iramanarayasarh kamalarh; Y unnamya pu~pali¢havarakamalarh. )
"~
WS7
(a) Qr, 2, 4, TI, V3 °kdapasam; Q3, R2, 3,4, T2 °kdam; RI, Sr °kr~l).akdim; S2, MC4, 5, 6 °nilakdim; S3 °cc'irukdim; VI, 2, 4 °kuntalakdapasam; MCr °babhrukdim. (b) V 3, \V I, Y r, Z °vilola 0; X °locanantam. (c) V, Wr, XI, Y2, Zr, MC3, 4 uttuiigao. V °payodharaku«;lmalac;lhyarh; Z2 sarhpiirI).ayauvanatarangitakomalaiigirh; MC4,5 °payodharasobhamanarh. The variations °iigrarh, °agryarh, °abhyarh, and °ii¢hyam are often difficult to distinguish because of orthographical confusions. R2, X2, MC2 °abhyarh; R3 °agryarh; S2, XI, MCI,3 °agrarh; in other manuscripts the reading °iir)hyarh seems to be indicated. WS8
(a) V, W2 adyapy aharh; MC6 tan mukulao. MCI °kadambadantaril. (b) P2, Qr °lolitalocanantam. (c) S3, T2, 3, Y, ZI, MC5 yasya. V, W, X mukharh suvijitendu na; Y, Z mukharh matimanafi ca na. (d) P2 sak~at; Q4, R3, S3 cittat; VI, 2,4 codyarh; V3, W, X, Y cintyarh; Z, MC5 piirvarh. RI, T sada krtam iveha. P2, Rr, T, Y, MC6 krtopakaram; Vr, 2,4 sadhukrtopakaram; V3, W, X sadhuparopakaram. WS9
(a) W adyapy aharh. QI, 2 °bhaiigavabhru; TI °bhaiigasubhrii; IV (except W2) °lagnabhriiga-; W2 °bhugnasubhrii. (b) W, X, Y, MC4, 5, 6 vrndao; Z sreI).idyutio. W, X, Y, MC6 °talakantam; Z °kalakantam; MC4, 5 °kdapasam. (c) X, Y °vimalotpaladantao. MC4, 5°talapattrarh. WS 10
(a) Qr, 2, Y, MC4, 5 tarh sarasao; V, W adyapy aharh sarasao; Z tat suratao. IV, MC4, 5°bhriiganadarh. [15 8J
Variant Readings and Related Notes
(b) V, W i~ansmaroo; Y, MC4 kirhcitsphu!oo; Z °smaroo; MCI °madoo. R3, SI, IV, MCr, 2, 4, 5, 6°gaI).«;lam. (c) MCr saradanisenduO. (d) Q4 vikasitambuja. SI, V, W tasya mukham. WS 11
(a) P2, R2, 4, S3 tarh sapadi; MC3 tarh ratavivartao ..Th.e sa~e variations as are noted for WS 7c occur here, but the drstnbutIOn differs; °iibhyiirh does not occur. Q, RI, V4 °ac;lhyarh; TI, MC2 °agryam; in other manuscripts the reading °iigro:rh seems to be indicated. (b) IV, MC4, 5, 6 nik~iptapaI).ikamalarh ca. (c) P2 vamamsabhagaprthuO; QI, R2, S3, MC2,3 vamaiigaO; Q2, T2,3 vamarhsuo; Q4 vamaiigapr~!ao. Q, MC2 °lulado; MCI °lulitolbaI).ao; MC3 °calado. P2, Q4, SI,2, IV, MCI, 2,4,6 °ul_ baI).ao; again, orthographical confusions make distinction bctwcc~ °ulba7}uo and °ujjvalaO difficult. R3 °laladutkalikdao; R4 °laladu]jvalatuiigakdarh. (d) W, Z, pasyamy aharh. QI, TI, MCI, 2 drso; Q2, SI diso; Rr, W, Z, MC4, 5 disarh; R3, XI dinarh; T2,3 punaI'; MC6 mukharh. X, Y, MC6 bahudha. R2 patantim. WS12
(b) R4, MC2, 5 apadao; Zr amulapadao. MCr galantim. (c) QI, 2,4, R2, 3, 4, S, IV, MCI-6 karan nijam. QI, 2,3, R, S r, 2 IV, MC2, 4, 6 aknantirh. (d) QI yuvatirh; Q2, 4, R2, Z, MCI, 2 bruvatiqr; ~C3 rudatirh. WS13
V, W, XI, and Z2 omit this verse. (b) Y tanuromarajim. (c) Pr, Q3 asyanakomalao; SI, Yamlanao. (d) QI, 3, S2, X2 Y, MC2, 6 manasa. Z I lilarasavrtatanurh manasa; MCr lilalasarh sthiragatirh na hi vismarami. WS14 (a) Pr, R3, T tallasitaO; RI, X, Y, Z, MC6 tallalitaO; V adyapy aharh calitaO; W adyapy aharh lalita. IV, ~V6 °carunimi1itak~am.
[159J
Textual Criticism of the Caurapafidisika
Variant Readings and Related Notes
(b) V, Y, Z2, MCs, 6 satatam; ZI smitaii ca satatam; X sahasa; W vipasitaratabhiyoge. (c) R I tatkalaniscitavinihita 0; Y2 tatkalaniScalitani~turao. QI, 2, R4, 8, X °kantakapolakantim; R2 °kantikantam; V °ni!).svasitani!).srtakantikantam; MC3 °nihnutacandrakanti. (d) PI, RI, Q3, 82, 3 svedoduo; P2 svedodgamenaparipaI:u;luritam; V, X prasvedao. QI, RI,2, MC2 °parivicchuritam; TI °bindukadalam racitam; T2, 3 °paricificaritam; V °patitam patitam yuvatya!). (V3 priyaya!).); W °paritam paritam; X °patitam tvaritam; Y patitam tvaritam smarami; Z I Cnicitam caritam; Z2 °vilasadruciram; YlCS °paritam parita!).; MC6 °kaI)ikatvaritam.
WS17
WS 15
(a) P2 ru~tabhavam; Q2, RI kruddhabhavat; R2, 8* du~tabha vat; 82, V, W, MC4, S du~tabhavam; Z2 ruHavacam; MCI PrHhabhagat; MC2 niragasi dhr~tabhavam; MCs ceHabhavam. (b) P2, Q2, 3,4, R2,4, 82, MCn, MC3 sambha~ayaty api; T, XI sambhavayatha; V, W2, MC4, S bha~am lapaty api; WI, Z samkhyalapaty api; Y bahvalapaty api; MC6 ba~parhbuvaty api. (c) V ramam niruddhadhanao; W, X2, Y, Z2 °niruddhadhana = MC6; MCI cniruddhadrc;lhao. (d) PI, RI, 81 °su~kado [for cfuvadO); QI,4. R3 °pu~pado; YI °savyaO; Y2 °samyao. Q4 hrdi cintayami. WS 16
(a) Q2, RI ratam aham smarakelikurvan; V, WI, MC2a, 4 samupao = R*; Y sramavi~iktaO; MCI madabhinitaO; MC3 sukamaniya 0. (b) Q2, RI alifigya kar~itatadtiparidhan-vastrarh. V syamam ca. (c) V, W, X, VI, Z2, MCI, 4, S, 6 ekena paI)ikamalena pidhaya. V, W, X, VI, MCs, 6 guhyam; Z2 sayyam; MCI bahum; MC4 yonim. (d) Q2, 3, RI, 81,3, TI, IV (except Vg), MC2, 4, S °kuharam; Q4 °kuhare; 82 netrakamalam. V 2 °kuharam viyatim; V3 °kamalam pidhatim; V4, MC4 °kuharam pidhatirh; MCI °kujaran mama varayantim; MC2 °kuharam k~ipantim smarami; Q3, V, VI, Z, MC2, 4. S, 6 smarami; W, X salajjam; Y2 svakiyam.
[160]
P2 and MC3 omit this verse. (a) QI, 2 kanakadarpaI)avik~yamaI)am; Q4, RI, MC2b ik~ya maI)am; X I parvaI)icek~amaI)am. (b) V dr~tva sphutam pratinidhim; W2, XI °pratikrtim; MC2 vaktrantamato. QI, 2,4, WI pnthalagne; R2 dntaline; MC4 pnthabhage. (c) 81 reversesptidas c and d; 82 omits d, but commentary shows the text; 83 omits c; 8* = 81. PI, Q3,4, RI, T, V savibhramam; R2 susazp.bhramam. (d) QI, 41ajjakulam; samuditarh; Q2, RI lajjakulam samuditam camatkrtam ca; Q3, R3, 8 I lajjakulam ca samudam; R2 lajjakulam ca smadam; 82, g, MCI lajjakulam samadanam; T lilalasam samadanam; IV (except YI) samudam citamanmatham ca; YI samadam ca samanmatharh ca. WS 18
83 omits this verse. (a) VI °nirbharadantabhajam; V2,3 °durduradantabhajam; V4, Y °durdharadantabhajarh; WI °daI)c;labhajarh; W2 °gaI)c;labhajam = X2; X I °durbharagaz:lI;labhajam; Z °sobhitadantabhajam; MCI °durdharagaI)<;I.alobhat. (b) Q, R, 8, IV, MCI, 2, 3, 6 asyakamalam; MCI vyavrttam asyakamalam. V I, 2, 4 calacaficarikam. (c) P2 kimcidvilokanavikuficitaO; VI, 4, MC6 kimciccalallalitao. T °carucakoranetram; V °kuficitavamanetram; MCI °kificitavakranetrarh. WS 19
Y omits this verse. (a) QI tani taralani vilocanani; Q 4 tani saralatara.rya padau; P2, R2, T3 tam ita!). gatas ca; W tam tata itas ca; RI itas ca nirik~apanthad.
(b) Q2 bahyair bahi!).; MCI bahis ca sakale ca. (c) T pasyami komalasaroruhasamnibhena. (d) Q3, RI,4, 8*, MC3 vaktreI)a tiryagvivartitaO; Q4, 81 MC2 tiryagupavartita 0; R3, 82, 3, MC I tiryagapavartita 0; V, W, X, MC6 tiryaganuvartita 0; Z I kimcidanuvartita 0•
[161]
Textual Criticism of the Caurapaficasika
Variant Readings and Related Notes
WS20
WS23
Vomits this verse. (a) P2, RI, T2,3, XI, ZI samsmaranti; R2, S2,3, MC2b visphuranti. (b) P2, QI, 3, R2, 4, S, MCI, n, 3 °nirik~itani. (c) W, Y, ZI, MC6 madalasaiigya. (d) R2, S2, T °bahulani.
Vomits this verse. (a) PI, Qg, T2, g °kilakucagraham; P2, Q4, RI, 2,4 S2, TI °krtakaca°; Rg, X, Y, Z I, MCg, 4, 5, 6 °kucakaca (b) MCI maya dharadale pario; MC2 maya tvadharavasasi. W, X, Y, ZI, MC4 pic;lyamane. (c) Two alternate sandhis of maniik + mukulita are permissible and both are found in the manuscripts [see Whitney, Sanskrit Grammar, par. 161; also Dik~ita, The Siddhiinta Kaumudi, sutra 116]. The chosen reading maniigmukulitaO is that ofP, Q3, R2, S2, T, MCn; the variant maniiiimukulita is found in Q4, R3, S3, Y, MCL QI manak~mukulitaO; Q2 manatmukulitaO; R4, SI, MC2b manakmukulitaO; Y2 manomukulitao. YI tasyabhinanmukulitaO; MC4 tasya 'bhavam. W kimcinnimilitalasannayanam gambhiram. Z I tasyal:t karambujavidhiinanacak~afaX; MCg tasya managalasalocanam ik~yamaI).am. (d) W 2 sitkaragaI).c;lamadhuram vacanam.
WS21
QI, 2,3, and Z omit this verse. (a) V 4, W2, X, Y, MC4 kavataO; MCI samipakavataline; MC2b, 3 ka!ak~ao. R2 °lagne. (b) PI °yuktavidhrtanana; P2, T °muktavidhrtanana; SI °muktatayatad anudattaO; S3 utsargamuktadrsam; VI,4 manmargadattadrsam; V 2 manmargavartidrsam; Y2 manmargam aptadrsam; X I manmargamuktahrdayasrutinetrahastam. (c) Q4, R3, 4, S2, 3, VI, 3,4, W, X2, Y °cihnitaO; MCI °liiigitao. R I mrdukomalaiigim; Q4 mp;lukokilabhil:t (d) P2 kimcitturmanaXXsam; R4, V, W, X, Y, MC kiIpcittaraiigamanasam; S3 kimciccataninavatam manasi sphuranti. WS22
0
•
WS24
(a) Qg, R2, Sg, MCI mama cetasi visphuranti; R4, V mama cetasi; R * vilasanti madiyacitte; :MC3 hrdaye manasi sphuranti. (b) P2 bimbo~thadr~!i; S2, S* °dmao; RI °mmao; R3 °yugmaO; T bimbadharo~!havinikirI).ao; V, W, X, MC6 bimbo~!hadeSa; Y bimbadharo~!haparipiirI).a 0. MC I °sunil:tsrtani; MC3 °suviratani. (c) P2, Rg, V, W, Y piyu~apiirI).ao; ZI °piirtio. QI, 2, 4, SI, g, MC3 bahiittaraI).i; RI suvistarani; WI ca sitkaraI).i; W2 vacamsitani; XjayatvaraIJi; MCI susitalani. (d) V, W pasyami. P2, R2, S* manmathabhavani; QI, 2, 4, RI,4 R*, S2, g, MCg °karaI).i; TI sundarataraI).i; T2,3 manmathakrtani; V, W, X2, Y, ZI, MCs, 6 manmatharasena; XI manmatharasaficao; MCI sundaradrso 'timrdiini; MC2 gadgadatamani. QI sasambhavayal:t; Q2, 4 ca vallabhayal:t.
Y I omits this verse. (a) PI, Q3, T3 °tatak~am; Q4 °haraI).imilitak~am;RI °varak~am; R2 °latak~am; R3, V, MC6 °kitak~am; R4 °carutarak~am; Sg, X °taraI).imilitak~am; W °taralasatkatak~am; Z °katak~am. (b) QI, 2,4, R2, 3, 4, S, TI,2, IV (except ZI), MCI, 2, g, 6 aliptaO; ZI anilakdabharasobhitam ambujabham. VI, 2, g, X, M C6 °sobham asya~l; V4 °rasaiigitasobham asyal:t; WI °rasaiigitasauram asyam; W2 °sauram asyam; Y2 °ro~am asya1,l. (c) PI, T °kalitapattraO; VI,4 °tilakatarakitabhiramam; V2 °mrganabhilasadyutibhil:t; Y2 °tilakapattra (d) R2, g, SI, 2, T, IV, MCI, 2,3,6 gaI).c;lao; R4, S3, X vaktrambujam hrdi. P2, Q, R, SI,2 hrdi muhul:t sthirayami tasyal~; Sg, XI hrdi ..... cittam; V, W, Y2, Z, MC6 gaI).c;lasthaladyuti muhur manasa smarami; X2 hrdi muhul:t sthirayami tanvyal:t.
Vomits this verse. (a) P2, TI, g kanakavarI).asamanao; T2 °varI).am samana [metrically faulty]; R4 °pattrasamanao; W, Y, ZI, MC4,5 °pattrasunaddhao; X °pattrasunathaO; MCS °pattrasunathakaI).tham.
[162]
[ 16 3]
0
•
WS25
Textual Criticism of the Caurapafic.lSika
Variant Readings and Related Notes
(b) ZI, MC2 uttufigapivarao, R4, Y, MC2b, 4,5 °caruharam. (c) W, YI °vilolanitambao. (d) R2 °raI).aril manasi [metrically faulty].
WS29
WS26 S3 and Vomit this verse. (a) W, Y, MC6 °kaI).thabhagaril; XI 8hastabhagarh; MC5 °madhyabhagarh. (b) PI, P* vak~asthalaril mayi nipi<;lya; P2 vak~asthale mayi nipi<;lya; T vak~asthalaril mama nipi<;lya. (c) QI, 2,4, RI, 2, S, TI °salilavilocanantaril; R3, MCI °samirao; S*, MC3 °suInao. (d) RI yauvanamado~tarasaril; Y, MC6 maddasanavasasamam; ZI mamakamukha[n]nibhrtaril; MCI mugdhavadanaril vadanaril. P, X2, MC5 udvadanarh; T3 udvahataril; QI ujvalasarillapanfim; Q2 ujvalam ullasantiril. WS27 T2, V, and Y2 omit this verse. (b) P2 caficaccalatrutitakuntalao; QI caficattrutitakasao; T3 caficattrutatkaril°; R4, MCI kirilcitkucao. S*, MC6 °sphuritakaficukao; MCI °grathitakaficukabandhani. (c) P, p* reverse the order of padas c and d; T3 is confused. P2, QI, 4, RI, 3, S3 °lulado; MC5 °lasado. Q4, R3, SI, 2, S*, W, X, YI, ZI, MC6 °ulbaI).ao ef. WS gc; also WS 28c. Q4, R3, T3, S*, MC2, 3, 5 °kuntalani. (d) QI cetaf:!. ZI lolavilocanani. WS28 T3, V, Y2, MC3 omit this verse. (a) W adyapy aharil. Q4, R3, MCI,3 sapariveSao; TI sapadipiirI).ao. (b) QI, 2, 4 calagatraO; TI, S* ratigatraO; W, X2, MC4, 5, 6 dr<;lhagatraO; XI prthugatraO; YI mrdugatrao. QI,2, MC3 °vivartanena. (c) PI uddamadulbaI).ao; P2 uddamadujvalaO [for ulba~a]; QI ujulidutpallavao; W satprarthitolbaI).a; MC3 udvellapallavao. P2 °jalakani; Q4, RI, TI, MCI °jalagulpha-; W, X2 °gumbha-; XI °jaguI).abhaga- (extra syllable); MC4, 5°dantakampa-. [ 16 4]
ili
V and Y2 omit this verse. (a) QI asaktiril; Q2, RI ayuktaril; Q4, MC6 asakte; SI,2, TI, S* anuktaril; W asaktya; ZI asafikaril; MCI abhaktam; MC2 °akaficyam; MC4, 5 atik~arh. (b) Q2, RI sayate; R2 sayatiril. P2 vinicim OR vinivim; QI viragim; Q2,3, RI ma[d]badham; Q4 varafigim; SI, S*, MC3 varafigam; MC4 sthitaril ca. (c) R*, SI,2, S*, TI cirabhimukhiril; YI, ZI tadabhimukhim; W, X, MC4, 5, 6 mamabhimukhiril. Q4, R4 rudantiril; SI,2 bhramantiril. . (d) Q4, SI, S*, TI prityamadaiigao.
WS30 Vomits this verse. (a) PI, QI,2, S3, T2,3 sasimukhiril. RI, MC2 puru~ocite~u. (b) QI sarilbhogakelisukadam nisi [for nisi ?] me smarami. R4, S3, Y2 °kapolatararh. (c) WI °jalamalasandrabinduIh; W2, X, Y, ZI, MC4, 5, 6 °jalasphutasandrabinduril = N 12C/WS 3c; MCI andolanodgatamadakula 8. (d) QI,4 svasottaradharadaliva; W spandottaraIh; YI, ZI, MC5,6 svedottararil. QI, 2,4 muhur nayantim; R2 muhuf:! krsafigim; R3, R*, W, X, Y, ZI muhur vadantim; R4, SI, S* muhur bhaI).antim; S2 muhur kvaI).antim; S3 bahur vadantam; MCI,2 muhur milantim; MC3 svasanilati surabhikrtakeligeham [metrically faulty] ; MC4, 5, 6 gadatiril smarami.
WS31 T2 and ZI omit this verse. (a) V cirayite; MCI mayi cirayati. QI kopayantiril; Q2, MC3 padacarai!:J.; R2, S3 kopavantim; V, W, MC4,5 sannivasaril; X, Y, MC6 kamabhavat; MCI kupyamanaril; MC2 pat hi palayantiril. (b) V ratrau; W margaIh; X, Y, MCI,6 sayyaril; MC4,5 dasat. T3 sanmanatafigatavatirh. Q2, MC3 samamukhabhavate (for samaO); R3 kamaturam bhramagatam. P2 hrdi vartamanam; MCI parivepamanam.
Variant Rearfings and Related Notes
Textual Criticism of the Caurapafidisika (c) V gatva smitam; W, MC4, 5 gatva; X dvarasthitam; Y dvari; MCI agre. S2, TI, V, X, MCI caficalitam. (d) Q2, MC3 nisvasam asritavatim; Q4 sayyam punaJ:1; S2, V, W, X, Y, MC4, 5, 6 sakhyam. MCI malyandum agrathavatim. Q4 hrdi cintayami; R4 manasi smarami; X kudatim smarami; Y sudatim smarami; MC4 iha cintayami; MC5, 6 manasa smarami.
WS32 (a) PI anabhrtaO [for aniO]; T, V, W, X2, Y, ZI, MC6 anibhrtaO; XI madhulihao. TI °kramamanagatram' V , W" Y ZI MC6 . " °kramamagatafi ca. (b) PI mam sabhivik~ya; P2, T3 mam samnirik~ya; W2 mandannirik~ya; MC6 dvari pravik~ya. IV, MC6 sayane nimi~e~a. (c) MCI padam mayi. PI ka~tagataiigaO; R4, S*, MC6 kaiicukitafigao. (d) Q4, RI, 3, 4, S, T, IV (except ZI), MCI, 2, 6 °ga~<;lao. Q2, 3, R2 rnanasi smarami; V4 manasa smarami. WS33 V, W, Y2, MC3, 4, 5, 6 omit this verse. (a) PI aru~acatvaranetravik~yam;QI aru~avastragrhitarik~am; Q2, 4 aru~avarijapattranetram; Q3, SI ara~ayaty; R4 aru~ayatya ramayatak~im; S2 aru~ataru~itantarak~im; XI tat surata~ajata manobhavam; X2, Y I tam smara~ajatamanojiiabhagam;Z I tam aru~ajatavise~alajjam; MCI tam mukhagatair aru~aiJ:1 karagrair; MC2a tam aru~ayaty aru~ottarak~yaiJ:1/MC2b°ak~im. (b) Q4, RI, 2, 3, TI avibhavayantim; R4, MCI mam na vibha~ayantim; XI (X2 unclear here) bhavayati kumari; YI bhabayati maduram; ZI mam api nalavantim. (c) Q4, R2,4, R*, S, T2,3, X, YI udv~pa; Q2 udvik~a; ZI drHvagasamatiyaX; MCI tadba~papiiritadrsam.
maye~tumadhuram; V I piijyasthitam api tato; V2, 3, 4, Wapi tato; ZI anyantam asya ca tatoo MC3 bahusaJ:1 ksipantim. (d) Q2 °mamsatanum; Q3 °piirvatanum; VI, 3, WI, XI, MC6 °samkucitaniitnamukhim; V2,4 °suktamukhim; W2, X2 °candramukhim; Y °khinnamukhim.
WS35 (a) PI, S2, T3 gate; Q4 krtaviramam; R3, XI matim viragam; Z I krtaiigaragam. (b) Q4 nirbhartsyamam bahuru~aparu~air vacobhiq. T3 manaparu~air.
(c) VI, 2,4 andolanena ca; W andolananoddhataO = MC6; ZI ro~ad apavrtanitambabharam supinam; MC2 andolayakrtac. R2,4, T3 sahasavrtyam; W2°taraiigasaiigam; WI °bharam madiyam; MC6 °sayatnavastram. (d) SI, s* sayane; ZI surate. Q3, MC2 vadatim; R4, R*, SI, S*, XI, VI, ZI, MC3 rudatim; S2, VI, 2, 4, X2, Y2, MC6 sudatim; W dadhatim.
WS36 (a) T2, 3 vigalitaO; V, Y2 salalitao. (b) V4, W, MC6 i~ano. RI °samukhitavighiir~itaO; R2 °samukhasitaO; MC6 °samullasitacaruvilolanetram. P2 °jalanetram; QI °padmanetram; S3 °netrayugmam; V °vakranetram; Y2 °carunetram; MC2 °dirghanetram. (c) T2, 3, VI suptoddhitam. (d) Q4 dmam; S r, 3 dr~timadhuram. WS37 (a) V, X2, YI valabhau; ZI subhasarvagatrim; MC2 vadatim ni~a~Qam.
P2 omits this verse. (a) MC3 taj ..... lalasaiigim. [QI tapanadarsanao ?] (b) PI, Q, R, S, T2 krantam; S*, TI, MC6 ka~tam; VI,2 sr~tam; V4, Y I, Z I dmam; X I kliHam. (c) QI padau pra~amya lasanair apiirak~apanti [for °im]; RI, MC2 suptotthitam; T2 mayamayam sumadhuram; T3 maya-
(b) Q2, MC3 tandehasanmukhamukhe; S2 tandr~taO; V, XI taddehasarimidhipade; MC2 mayy eva samnidhipadam. VI,2 sr~ta gate; MC3 dr~timarge. (c) VI, 2, 4 vinottaram. RI, T3 krtasmarasu; SI suvismitasu; S*, T I sucismitasu ; V gatasmarasu. (d) Q2, MC3 balam vilak~ya hasitam; RI, R*, SI °vilak~asa hitam; V, X, ZI, MC6 °vilasahasitam; W, Y, MC2 °vilasasahitam. QI sutaram smarami; S2, W2 samsmarami; S3 ca hrdi smarami.
[166]
[ 16 7]
WS34
Textual Criticism of the Caurapaficasika
Variant Readings and Related Notes
WS38 (a) Q2 manmathavyathavyathitahipilrvam; Y2 samayati smarapilrvabhaYam. (c) W2 alifigitam. S3 prasabhavyutpulitafigaO; V smarajanimpulao; W2, ZI, MC6 prasabham akulitafigao. (d) R3 nirbharam athoktavatim; IV dul).saham ivoktavatim/Y2 athoktao.
(c) R2 satkaraO; SI tatkalao. (d) VI vinivarayantim; V3,4, W nijihasum; X2 ca jighamsum; YI ca surasum; Y2 vihatam manasa; ZI nijihasvam; MC2 ca jigharhsum imam; MC6 ca nirasum aham prapadye.
WS39 T I omits this verse. (a) QI tam agurudhilpitasrubhravasram; Q2 clubdham; IV, MC6 tam susayitam. (b) W bhajami. (c) R2, R*, S2, 3, W2 °vikirQ.ao; R4 °vikasio; V, WI jrmbhavatirI).ao; X, YI °vikarao; Y2 °visanmukhasao; MC6 °vikasao. (d) QI lobhal). bhramado; R2 madyalulad; T3 mugdhalubdham; X2, YI madyabhramado. WS40 (a) P2, P*, R2, R*, S2, TI, XI, MC3 tam samupagamya; QI, 3,4, R3, 4, SI, S*, V'l, X2, Y, ZI, MC2b, 6 tam samanugamya; Q2 tam nayavagamya [for anavao ?]; RI, S3 tam samanigamya; V tam mayi nimilitacarunetram. QI, MC3 taya mrgak~im; R I, 2, S3, TI dhrtak~im; W, ZI mayathatak~im; X, Y, MC6 madalasak~im. (b) VI abhihitam vadatim; V2, 3, 4 abhihitam satatam. (c) P2, Q2, 3, SI, MCn na viglma; W saham na vidma. R2, 3,4, S, IV, MC2, 6 ullapantim. (d) P2 utpannakampahrdayakulitam; V utphullagaQ.<;laphalakam nitariim; W utphullaroma 0; X, Y, MC6 utpannasandra 0.
WS42 (a) Q2, 4 gativinirjitaO; R3 gatiniri~itao. (b) QI °kalapikalapao; V °kalapamayukhabhasam; W, X2 °mayilrabhasam; MC6 °sobham. (c) QI, 2 cak~ilSriyaO; VI,2 mattayam madanacakoravilolao; V3 mattayam XXXcakoravilolao; V2, YI, ZI vaktrasriyaO; W netrasriya 0. (d) RI tamcintayami. VI, 2, 4 °kantham;WtaruI).imkalakal)tha~ kal)thim.
WS43 (a) PI tam vadanao; Y, MC6 makaraketanao; X madanaketanao. (b) V I antargrhe vivasanan dadhatim nisante; V 2 °dalam nisante; V 4 me dadhati XXXXXXX nisante. (c) V I anafigasarair; V 2 °rasair; V 3 °racair; V4 oralair ; VV °visair; X2 °vikacair; YI kadambavikacair; Y2 °kavacair. (d) S I kelimadane. WS44 (a) V4 paricarasaktam; YI stanabharakhinnam; Y2 stanabharayuktam. (b) R2 madanotsavayam; YI madanotsave~u. (c) P2, Q4, R2, 3,4, S, TI, IV (except V), MC6 parSvasamnihitalokabhayat; QI, Q3, RI °bhayatas tapaya; Y parSvato~ahitalo kabhayat sabhitim; MC6 sabhitim. (d) P2, Q2, 3, 4, R2, 3,4, S2, IV, MC6 vyavartite; QI vyavrk~itao. VI, 2, 4 k~al)am alamsamapek~yamal)am; V3, X, Y, MC6 k~aI).am alamsunirik~yamal).am;W k~al).am alamcarnirik~yamal).am; . ZI k~al).am iva k~al)am ik~yamanam.
WS41 T I, V 2, and X I omit this verse. (b) PI nivyam pratikrtakari~wqyi; Q2 nivyam pratikrtam karam [both readings are metrically faulty]. R3 me rundhati Xdi karam mama manayantim; R4 guhyam prahiQ.vati; S3 nicim; VI, 3, 4 balam rascna patite mayi; W, X, ZI, MC6 nidhyayatim vyatikare; Y I dhanyayati vyatikare; Y2 navyayati vyatikare; MC2 nitya prasaditakare; MC3 nicim sprsaty api kare mama. VI, 3, 4 mandapithe; 'vV, XI, VI, ZI, MC6 mandadhiram; Y2 mandahasam.
WS45 (b) QI, S* bhramyadvaliO; Q2, RI, VI, 3,4, W, VI, ZI, MC4 madya valio; R3 prajfiavatam sumanasa jayaromarajim.
[I68]
[ 169]
Textual Criticism of the Caurapafidisika
Variant Readings and Related Notes
(c) Q4, MC4 ce~titabhujam; XI cihnitabhujam; MC3 calitabhujam; R3, 4, S2, 3, IV, MC3, 4°bhaiiga-. (d) QI, 4, R2, 3,4, S, IV, MC3, 4 vyajena.
A NOTE ON VERSES 48-50
WS46
The manuscript PI is incomplete and breaks off in piida c after °Siificitaga-; Q3 omits the verse; SI breaks offin c after Jucismi-. (a) V mrduvakyasubha~itani; WI, XI, ZI, MC6 mrdumandarao; MC3 mrdusarasuo; MC4 mrdumaiijulao. (b) P2, QI, 2, RI, V, W, YI, MC4, 6 °nirik~al}.ani. (c) RI °gatil). sucivismitani. (d) V madacaladbhramao; MC4rativibhramao. WS47
(a) QI,4, R2, 3, 4, S2,3, TI, IV (except XI), MC3, 4, 6 tam alasamilita 0 • QI °sarpanetram; Q4 °sadhunetdm; S2 °sandranetram; R4, VI, 3, 4, W, YI, ZI, MC4, 6°carunetram. (b) QI reads a, c, d, b. R2,4 bhiijat. P2 °sarp.skrtasabdavidyam; RI °jatususabdao; R3, XI °samskrtisabdahrdyam; TI, S* °kaiikaI}.asabdao; V, W, YI, ZI, MC4 °jhaiikrtim avahantim; MC6 °kaiikal}.am avahantim. (c) Neither the provisional reading unnamitam svakarTJe (found in the codices Q4, VI,4, W, MC3,4) nor its parallel reading unnamitam bhrukarTJe (found in R2,3, S3, TI, V2,3, X, YI, ZI) is likely to have generated the kind of variants which occur at this point in the manuscripts, but the evidence thus far examined offers nothing better. P2, T3 unnamitaikakarl}.e (the difficulty of understanding this reading may well have generated the variants; a reading which is quite similar to this orthographically, while being better syn tactically, is unnatam ekakarTJe, bu t this is not found in any of tl">e known manuscripts). QI °yugmadharasukarl}.e; Q2 uk~a tasakakarl}.e; Q3 unimataikarl}.e; R I ka torakul}.<;la,ronnamitaikakarl}.e; R2, R*, S3 balat ..... unnamitam bhrukarl}.e; R3 balyat ..... unnamitam bhrukarl}.e; S2 balyakatorakucanutnavatamsakirl}.e; TI kimcitkatorakucam unnamitam bhrukarl}.e. V vellatkarorukucam; X, YI, MC4, 6 vellatkatorao; W vellatkaragraO; MC3 caficatkatora = S*. (d) QI, S3 hrdayam smarami.
[17 0 ]
These three verses occur only in codices of WS, type III and the related mixed-codices MC2 and MC3. They are included as part of the critical text on the basis of their firmly established position within the type, coupled with the notion that the Caura "originated" in the region of Gujarat and Maharashtra, which is the locus of type III manuscripts. The verses occur in type III codices as follows: WS 48: P2, QI, 2,4, R, S2, 3, T; also P*, R*, S*, MC3. WS 49: Q, R, S2, 3, T; also P*, R*; S*. WS 50: Q, R, S2, 3, T; also P*, R*, S*, MC2. It should be noted that PI and SI both break off at different points in verse 46, piida c. P2 omits othcr verses as well as 49 and 50. Incomplete manuscripts are not uncommon and it is possible that the text of WS, type IV derives ultimately from a defective codex of type III which is supplemented by verses from N, plus several of other origin. The former have been noted in the critical apparatus of .N; the latter will be found as Additional Verses. WS48 Q3 omits this verse. (a) P2 katimsamarpitao. (b) QI °caral}.asya visr~ta 0; Q2 °caral}.agranigh~ta 0; Q 4, R2, S*, TI °caral}.agranibaddhao; RI °caral}.agratagh~tao. (c) Q2, R2, S3 stambhavilambitaO; R3 skandhavao. (d) QI samvalitaO; R4 bhaiiguritao. WS49
P2, although essentially complete, omits this verse. (a) Q.2, 4, R3 mrgadrsam. (b) QI, R2, 3, 4, R*, 82,3, S* smeram; Q3 suptasmarao; RI sadyal). smarao. QI subhaiigam; R2, 82, 3, 8* sutaiigam. (c) S2 atyulbal}.am. QI, 4, R2, 3,4, R*, S* susi1am; TI sunarim (both for salilam). (d) QI,4, R2, S2, S* °mandasamadao; Q2 °mandasupadam bhavat; RI °mandasupadapramadam; R3 mandasupadam; R4 °samadapramuda 0; T I °XXXprathitaprasadam.
Textual Criticism of the CaurapafidiSika
Variant Readings and Related Notes
WS50
V-verse no. 37; W-verse no. 47; X I-verse no. 45; X2-verse no. 48; YI-verse no. 45 [Y2 is incomplete]; ZI-verse no. 45 [ZI is incomplete]. Also, MC4-verse no. 48; manuscripts WAI.2 [S2*]verse no. 54 and BlSM.4-verse no. 51. Piida a = N 7a; b-d = N 6b-d. (b) VI,4 durviihao; V3 du~tarao; X durvahi. X °jvaritiiiigao. (c) W, MC4 aiigair madiyam upaguhya/W2 bhujalatabhyiim. ZI tato 'pigaQharh (= N6creading). (d) The reading nahi nu is conjectural; it is based on a confusing situation in the manuscripts here: V mama na; X manasii smarami; YI ananu tyajami; W, MC4 mukhena mukulikrtalolanetriim smarami; ZI unmilitena nayena vilokayantim.
P2 omits this verse. (a) QI tam madanakhal).QitaO; Q4 tam krtasucismitakampito~tarh; R2, S3 tat krtamitasmitakampitayarh; R3, 4 tat sucilasasmitakampito~tam; R*, S*, TI tat krtamitasmitakampito~tarh; T2,3 tad visadakhal).Qita 0; MC2 tarh krtabahusmitakampito~tarh. (b) QI svenek~ak~al).atamitasmitakampito~tam; MC2 lilanipiQitamilajvaladirghnetram. R4 °vilolalocaantam. (c) P*, R3 parval).anisakao; QI, 4, R2, 4, R*, S2, TI, MC2 parvaI}anisakakantikantam. (d) Q2 °sthitamamatenanumutpalak~yaJ:1[ metrically faulty]; Q4, R3 ivanamananaiigyaJ:1; R4 ivanamanataiigyaJ:1; S3, S*, TI ivananam etadiyam; MC2 ivavamanaya margam. ADDITIONAL VERSES This section includes fifteen Caura verses which are· not included in either recension of the critical text, but which are noteworthy because of their presence in more than one independent codex. The verses appear in alphabetical order; their location within the recensions to which they belong, as well as within individual codices, is indicated. Also included here are two verses which do not have the characteristics of Caura verses. Both are prayers and appear in the manuscripts after the final verse of the Caura. Where the verse adyiipi nojjhati (N 50) occurs in manuscripts of WS, the verse bhavatkrte frequently precedes it. AVl WS, type IV. V-verse no. 46.
AV4 WS, type IV. XI-verse no. 49; X2-verse no. 52.
AV5 WS, type IV.
V-verse no. 42. AV6 WS, type IV. V-verse no. 45.
AV7 WS, typc III. S2, 3, T [SI shows a lacuna where this verse is found in other manuscripts]; also P*, S*-in each manuscript this verse is the opening verse of the Caurtl. In versions Sand T, the Caura text is preceded by the account of the legend of Bilhal}a and the princess, SaSikala.
Ava
AV2 N, type II.
WS, type IV. V-verse no. 43. AV3 WS, type IV.
DI, 2, 3-verse no. 30; F-verse no. 53. (a) F caficalacakoravilolanetriim. (b) Fku te lalakantarh. (c) F mattevakumbhao. [I73]
Notes to the Translation
Textual Criticism of the Caurapafidisika
AV 15
AV9
N, type II. DI-verse no. 46; Dz-verse no. 48; D3-verse no. 47; Hzverse no. 5 I . (a) Hz °yoge. (b) D I °kamavidhimi rucitam; Hz racitum na sakyam. (d) Hz °kokanadavan nayanam.
AV 10 WS, type IV. V-verse no. 44. (a) V I jitapiirva 0 • (c) VI °nasam. AV 11 WS, type IV. V-verse no. 47. AV 12 WS, type IV. V-verse no. 4I; W-verse no. 46; XI-verse no. 50; Xz-verse no. 53; VI-verse no. 49; ZI-verse no. 49. Also MCg-verse no. 86; manuscript BIsM'4-verse no. 5Z. (b) W, VI, MCg stanatatat. V galitam pravrtta; ZI galitum. AV 13 WS, type IV. X I-verse no. S7; Xz-verse no. 6I ; Z I-verse no. 50. AV14 WS, type IV. V-verse no. g8; XI-verse no. 47; Xz-verse no. 50; YIverse no. 47. (a) YI °vidhiitalasavilasam; Xz °vilak~im. (b) VI, z viJ}.avinodavacanam; YviJ}.asukhopavacanam. [I 74]
N, type II. DI, 3-verse no. 40; Dz-verse no. 41; F-verse no. 5I. (b) F hariJ}.im iva caficalaya\:!. (c-d) °vrndam aknya sundararuhevakaJ}.ak~apatra\:!. AV 16 WS, type IV. V, W, X, VI, ZI; MC4, 6. The meter is Sardiilavikric;lita. (b) VI tvarh saraJ}.am ·praJ}.amya nitaram; X praJ}.ipatya namrasirasa; MC6 sadaram aham. (c) W,X, YI tadiyaiikaJ}.e; MC4, 6 tadiyalaye. (d) ZI °sadmanidhara; MC4 vyomadhara tadiyavasaya. AV17 WS, type III and type IV. Pz, Qz, RI, Z, R*; V, W, X, YI, ZI; also N, type 1. AI-verse no. SI. The meter is Upendravajrii. (a) W, Xz kajjalamafijulak~i; XI, YI kajjalam-ambujak~i. (d) IV manuscripts reverse the order of piidas c and d. V, X, VI, ZI °jartham. -~
8. NOTES TO THE TRANSLATION
~-
For my understanding of the vocabulary of Sanskrit poetry, I am indebted to the work of Professor Daniel H. H. Ingalls. In the notes that follow I draw heavily on his article "Words for Beauty in Classical Sanskrit Poetry" and his book An Anthology of Sanskrit Court Poetry. My translations of many words and phrases in the Caura text owe their present form to corrections and suggestions Professor Ingalls made from the original typescript.
N1 Cf. WS I. (a) The champac tree (Skt. campaka; Michelia champaca, Linn.) is in the same family as the North American magnolia tree. [175]
Textual Criticism
if the
CaurapafidiSika
It bears bright yellow, highly fragrant flowers. Gaura (fem. gauri) is an adjective meaning shining, white, brilliant, and so forth, but as a noun Gauri refers to the "shining goddess," "she of fair complexion," Siva's consort in her beautiful, favorable aspect. Reference to the Goddess is suggested here; see Ingalls, Sanshit Court Poetry, sec. 5.2. (b) Romariiji is the vertical line of body-hair which grows above the navel and is noticeable when a woman's skin is pale and her hair dark. Since this is an ideal combination in Indian women, the line of hair is considered a mark of beauty-more so when it is newly apparent in youth. Also WS Ib, 45b. (d) Vit[yii, basically "science," carries various overtones. GaI).apati says vit[yiim iva viigdevatiirh iva; this personification is identified with Siva's consort. Vit[yii is also magical science or the charm a genie (vit[yiidhara) grants, and the careless man wastes.
N2 Cf. WS 4. (b) Kiinti is "brilliance increased by love," according to Visvanatha's Siihityadarpar;a, quoted in Ingalls, "Words for Beauty," p. 101. See also Dhanamjaya, Dasariipa, p. 6r (2.54): manmathiiviipitacchqyii saiva kiintir iti smrtii, which says essentially the same thing. AlsoN 16c, 29c, 32C, 41a, 47a; WS 4b, IOC, r4c, 22b, 50c.
N3 Cf. WS 6. (d) The bee (madhukara) is the sensualist of nature, always masculine. The simile here is paralleled by allegorical use of the bee elsewhere in the Caura to express the lover's desire, i.e. N 34b (dvirepha), WS 18b (caiicarika), WS 39d (bhramara). See Ingalls, Sanskrit Court Poetry, sec. 33.14.
N5 (c) Riijahamsi refers to the female Indian wild goose (Anser indicus, the bar-headed goose). According to Salim Ali in The Book of Indian Birds, p. 108, it is "rather crepuscular and nocturnal ... usually excessively wary and difficult to circumvent." Ingalls notes that it wins its name "royal goose" from its high flight, dignified motion, and light plumage (Sanskrit Court Poetry, sec. I 1.3). See Vogel, The Goose in Indian Literature and Art. Also N 14, 19, 22, 44; WS 42. [17 6]
Notes to the Translation
N7 (a) The tiir;rjava is Siva's wild dance of destruction, and creation; see Ingalls, Sanskrit Court Poetry, sec. 4. I 6. Here it refers to the movements of one who is enraptured with love; cr. Bhavabhiiti's Uttarariimacarita (3. 18) : madatii7:u!avotsaviinte. Also Additional Verse 3a. N8 (c-d) In order to exact sense from the long compound here, it seems necessary to understand an implied analogy between the lashes of the girl's eyes (pak~ma)and winged birds (pak#n).The variant readings show that some copyists felt the need to make this clearer. N9 (a) The adjective mugdha, here used adverbially, has a variety of related meanings. It basically means "confused," but with the added senses, of "innocent," "charmingly innocent," and simply "charming." See Ingalls, "Words for Beauty," p. 95.
N10 (c) For ante ("at the end"), the commentator GaI).apati glosses: ante suratamadhye (at the end = at the cessation of love-making). Ante may also refer to the end oflne.
Nll (d) For kanakapattra, GaI).apati glosses iibharar;avise~a; Bhavesvara glosses tiilapattra. Both are types of ear-ornaments which are considered auspicious.
N12 Cf. WS 3. (b) Viparitarata refers to the woman's taking the active role in love-making and the position more usually assumed by the male. It is conventionally used in Sanskrit poetry to suggest the lovers' intimacy and the mistress's amorous passion. See Ingalls, Sanskrit Court Poetry, sec. 19. I o. Cf. puru~iiyita, WS 3oa. N 13
(b) GaI).apati and BhaveSvara gloss vibhrama with viliisa, but according to Ingalls, "its meaning is actually somewhat different, viz. [177]
Textual Criticism oj the Caurapaiicasikii
Notes to the Translation
'a swift, graceful motion, usually coquettish, that tricks or intrigues the eye of the beholder.'" See "Words for Beauty," p. 104. Also' WS 39d, 46d.
within herself the essence of emotion, which through her art is transformed into the purest dramatic sentiment, in this case friigiirarasa. She is the best vessel from which to taste the sentiment in the drama ofpassion.
N14 (a) The asoka tree (Skt. aSoka; Saraca indica, Linn.) is a small evergreen with deep green, shiny foliage. Young leaves, however, are drooping, coppery red, and flaccid. The tree blooms in spring in clusters of orange scarlet flowers. It is sacred to the god of love. See Randhawa, Flowering Trees, pp. 92-93. N 15
(a-b) The nail mark (nakharak~atalakfman) is a wound inflicted in love and much valued in Indian er~tics. It reminds the lovers of their passion and serves to revive their desire. See Ingalls, Sanskrit Court Poetry, sec. I g. 7-8. Also N 35 (nakhapada), N 48 (nakhak~ata). Marks made on the body and lips by a lover's teeth are similarly valued; seeN 13d, 48c; WS 23b, 50a.
N19 (d) Sudati, literally" she who has beautiful teeth," is an example of the attachment of the prefix su- (good, beautiful) to words which denote the body or parts of the body to form words which connote physical beauty in general. See Ingalls, "Words for Beauty," p. 89. Such use of synecdoche, with the use of the prefix su- as well as certain adjectives in compound, is frequent in the Caura. For sudati, also N 30d. N24
(b) Professor Ingalls suggests that prathamaikarekhii refers specifically to the "prime meridian" on the surface of the earth, which in classical India was considered to be that which runs through Ujjain. The sense is that all other women are to be judged beautiful only by reference to her, just as Kashmir or Kanchi are to be correctly placed only by reference to the meridian which runs through Ujjain. (c) The multiple meanings of the words rasa (juice, elixir, essence of emotion) and patri (vessel, actress) are essential here. Just as a jewel-vessel holds the liquid elixir, the best actress holds
[178]
N 32 (c) Jasmine (kunda) is the sweetest-scented of Indian flowe~s, with the scent especially strong at night; see Randhawa, Flowenng Trees, p. 66. Liiva1JYa refers to her saltiness; the jasmine is sweet and the beauty of her face is "salty beauty." As Ingalls ("Words for Beauty," p. 99) points out, "one adds salt not sweetness to food to bring out its taste. .. it is appropriate that liiva1JYa . .• should be used ofa particularly striking type of beauty." N 38
(b) For !iipiigatii surapater, Gal).apati explains: surapater indra.rya siipiigatii urvaii. BhaveSvara applies siipiinganii to Parvati. N44
(c-d) Kiidambake!araraJas (pollen of kadamba flower filaments) refers to the softest substance imaginable coming from a flower of delicate hue and scent. The verse suggests the striking contrast between the excited, seductive movements of her plump body and her extravagant claims of fatigue. The kirhcit in kirhcitklama has an ironical ring. N45
(c) Gandharva, yakfa, sura, kinnara, and niiga each refer to a category of semidivine beings; all of them have certain magical powers. N46
(a) The vedi is the consecrated ground serving for a sacrificial altar; here comparison is made with an altar of hourglass shape. Cf. Kalidiisa's Kumiirasarhbhava (1.39): madhyena sii vedivilagnamadhyii.
.N 50 (a) The incident referred to is the churning of the ocean by the gods and demons in search of the nectar of immortality. When the
[179]
Textual Criticism of the Caurapafidisikii
Notes to the Translation
serpent who was being used to twirl the churning stick spewed forth the poison, Siva drank it to save the gods and demons. Though Siva proved invulnerable, the poison left a blue mark on his throat. Sec Ingalls, Sanskrit Court Poetry, sec. 4. I I. (b) The Tortoise (karma) is an incarnation of Vi~Qu; besides supporting the earth, he also furnished a base for the churning stick, Mount Mandara, in the churning of the ocean. (c) The submarine fire (vat/ava) once threatened to consume the earth and so the ocean agreed to hold its voracious flames within itself. (d) The suggestion of such a verse at the end of a collection like the Caura is that the poet has promised to die rather than be separated from his mistress, and it is this promise, the promise of a faithful lover, that he goes now to keep. The difficulty of being faithful is enormous.
WS23
WS4 (c) The word rasa calfies both subjective and objective meanings which are often not distinguished. According to Ingalls ("Words for Beauty," p. 98), it means both" a taste, inclination, desire or relishing of an object," and" that to which the inclination, desire, etc. is directed."
(d) Sitkiira is an onomatopoeic word for the sound of drawing in one's breath in pleasure or pain. The Old Gujarati translation uses silsilkiira. Cf. Ingalls, Sanskrit Court Poetry, verse 677. WS30 (a) For puru~iiyita, the Old Gujarati translation has viparita; see the note on.N 12. WS31 Ingalls notes, "This is an odd verse. It gives a conventional picture of a pro#tabhartrkii and then puts the picture into the adyiipi smariimi frame, where it really doesn't fit unless one supposes that someone told the poet about his lady's actions."
WS41 (b) The nivi is defined in Apte's Dictionary, p. 936, as "A cloth worn round a woman's waist, or more properly the ends of the cloth tied into a knot in front, the knot of the garment." (d) For ka17)otpalena vi han, cf. Ingalls, Sanskrit Court Poetry,verse 570.
WS12
(a) The poet refers several times in WS to his own outrageous behavior, for which he feels guilt. Cf. WS I5a, 38b. His sin is not specified, but it may refer to either undue neglect or uncontrollable passion.
WS44 (b) Madanotsava refers to the festival oflove which is held at the time of the vernal equinox, resembling, if not identical with, the annual Indian festival of Holi. For a rich account of this celebration, see Brown's Vasanta Viliisa.
WS13 (d) Lilli is used in the sense of" grace, gracefulness," especially of things in motion. According to Ingalls ("Words for Beauty," p. I05), "Lila is distinguished from viliisa, vibhrama, etc. in that the connotation of enticement or coquetry is frequently absent. Again, the motion which it describes may be slow whereas vibhrama refers to rapid motion." Also WS 20d, 46c, job. Cf. the note on viblzrama, N 19b. [180]
WS47 (c-d) The Old Gujarati translation (found with slight variation in 2, 3) reads as follows:
Qr,
karQa karhdiirai kara-arhguli tenai kuca kidha urhcurh vali (Q2, 3 teQ.i, uco).
Textual Criticism of the Caurapaiicasika
Index
AV 17 (c-4) The reference here is to the story of the Riimf!Ya~a.. But ~hereas Valmiki's Raval).a was Sita's demon captor and JaIler, 10 later poetry his love for Sita is often stressed. This chan/?e rna: we~l reflect influence of the Tamil Ramayal,la of Kamban, 10 WhICh hIS love is emphasized. See Ingalls, Sanskrit Cow't Poetry, sec. 4-5·
~
9. INDEX OF VERSES IN ~~_ _ THE CRITICAL EDITION
References are to recension [N = The Northern Recension, WS = The WesternSouthern Recension] and verse. Verses included in the critical edition but not in the critical text of either recension are presented as Additional Verses [= AV].
adyapi kokanadacarusarekhahastam, adyapi catusatadurlalitocitartham, adyapi taj jagati sundaralak~apiirl).e, adyapi tat kanakakuI).Qalaghp?tagal).<;lam, adyapi tat kanakakuI).Qalaghp?tagaIlam, adyapi tat kanakagaurakrtafigaragam, adyapi tat kanakarel).ughanorudde, adyapi tat krtakucagraham agrahel).a, adyapi tat taralataratarak~amasyam, adyapi tat pral).ayabhaiiguradr~tipatam, adyapi tat saparive~asasiprakasam, adyapi tat saralamaiijulatufiganiisam, adyapi tat sunipul).am yatata mayapi, adyapi tat suratakelinibaddhayuddham, adyapi tad dasanakhal).Qitadantavasam, adyapi tadvadanapaiikajagandhalubdha-, adyapi tad vikacakundasamandantam, adyapi tad vikasitambujamadhyagauram, adyapi tan nayanakajjalam ujjvalasyam, adyapi tan madanakarmukabhaiigurabhru, adyapi tan manasi samprati vartate me, N I adyapi tal lulitataranimilitak~am, adyapi tam yadi puna1,l. kamalayatak~im, [182]
AV I
N
2I
N 43 N 12 WS 3 N 10 N 15 WS 23 WS 22 N 13 WS 28 WS 10 N 29 N 4-8 .WS 50 N 34WS 8 WS 2 N 4-0 WS 9 I ; WS 5 WS I4N3
of Verses in the Critical Edition
N6 yadi puna!}. Sraval).ayatak~im, WS 17 rahasi darpal).am ik~amal).am, NI6 vidhrtakajjalalolanetram, virahavahninipiQitaiigim, NI9 vilulitaslathakdapasam, WS36 N20 vihasitam kucabharanamram, sasimukhim navayauvanaQhyam, N 2; WS 4-; WS 6 adyapi tam sikharacarubalak~adantair, AV 2 adyapi tam samapanitanitambavastram, WS 16 adyapi tam sunibhrtakramam apatantim, WS 32 adyapi tam surataghiirl).animilitak~im, N 22 adyapi tam suratajagaraghtirl).amana-, N5 adyapi tam suratatal).Qavasiitradharim, N 7; AV 3 adyapi tam suratadharmajacarunetram, A V 4adyapi tam surabhidurdharagandhalobhiit, WS 18 adyapi tam suvadanam valabhini~al).l).am, WS 37 adyapi tam suvadanam stanabharanamram, AV 5 adyapi tam stimitavastram ivafigalagnam, N 25 adyapi tam smitamukhim puru~ayite~u, WS 30 adyapi tam katitatarpitavamapal).im, WS 4-8 adyapi tam kanakakaiikal).abhii~itagra., AV 6 adyapi tam kanakakantimadalasaiigim, N 4-7 adyapi tam kanakacampakadamagaurim, N I; WS I adyapi tam kanakapattrasanathakarl).am, WS 25 adyapi tam kamalapattraviSalanetram, AV 7 adyapi tam kutilakomalakalakdim, WS 7 adyapi tam k~al).aviyogavi~opameyam, N 30 adyapi tam k~ititale varakamininam, N 24adyapi tam gatinirakrtarajahamsim, WS 4-2 adyapi tam gamanam ity uditam madiyam, N 28 adyapi tam galitabandhanakdapasam, N 17 adyapi tam calacakoravilolanetram, AV 8 adyapi tam ciragate mayi yapayantim, WS 31 adyapi tam jagati vafl).ayitum na kascic, N 39 adyapi tam jaghanadadanalalasena, WS 34adyapi tam jhatiti vakritakamdharagram, WS I I adyapi adyapi adyapi adyapi adyapi adyapi adyapi
tam tam tam tam tam tam tam
[ 183]
Textual Criticism of the Caurapaficasika
adyapi adyapi adyapi adyiipi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi adyapi
tani parivartitakamdharaJ;li, WS 27 tani mama cetasi sarhsphuranti, WS 20 Uini mrdumanmathabha~itani, WS 46 tani hrdaye mama sarnsphuranti, WS 24 tam dhavalavesmani ratnadipa-, N 18 tam nakhapadam stanamaJ;lr;lale yad, N 35 tam na khalu vedmi kim isapatni, N 38 tam navavadhiim suratabhiyogam, AV 9 tam nijavapul:!krtavedimadhyam, N 46 tam nidhuvane klamanil).sahaiigim, N4 tam nidhuvane madhudigdhamugdha-, N 9 tam nrpatisekhararajapiitrirn, N 45 tam ativiSalanitambabimbam, WS 13 tam anavagamya maya vrtak~irn WS 40 tam anunayaty api catupiirvam, WS 38 tam anunayaty api mayy asaktam, WS 29 Him aruJ;layaty aruI).e 'ntarik~am, WS 33 tam avagaf.layya krtaparadham, WS 12 tam avahitam manasacalena, N 33 tam aham alarnjatupiirvaghr~te, A V 10 tam ita itas ca puras ca paScad, WS 19 tam upavane paricarayuktam, WS 44 tam ubhayapadvagahararamyarn, AV I I tam urasijadvayam unnamayya, WS 45 tam u~asi tatk~ar,laviprabuddham, WS 39 tam praf.layinirn mrgasavakak~iril, N 23 tam prathamato varasundariI).am, N 26 tam prathamam evagatam vinigam, WS 35 tam prathamasamgamajatalajjam, WS 4 1 tam bhujalatarpitakaf.lthapasaIh, WS 26 tam madanamandiravaijayantim, WS 43 tam mayi kapatasamipaline, WS 21 tam mayi lq-tagasi dh~tabhavat, WS 15 tam mayi drsam nudatiIh smarami, WS 49 tarn mayi nimilitasacinetram, WS 47 tiirn masrJ;lacandanapaiikamisra-, N8 ti~tati drsor idam uttariyam, A V 12 dhavati manaJ:! kim aharn karomi, N 37
[ r8 4]
Index of Verses in the Critical Edition
adyapi nirmalasaracchasigaurakanti, adyapi naiva hrdayarn vinivartate me, adyapi nojjhati haral:! kila kalakiitarn, adyapi marutavidhiitalatavilasarn, adyapi me nisi divii hrdayaIh dunoti, adyapi me prati muhu~ paribhavyamanas, adyapi ro~itamukhi krtagantukama, adyapi vasagrhato mayi niyamane, adyapi vismayakarim tridasan vihaya, adyapi sa mama manas tatini sadaste, adyapy asokanavapallavaraktahastam, adyapy ahaIh kamalareI).usugandhagandhi, adyapy ahaIh varavadhusubhagaviyogam,
N 41 AV 13 N 50 AV 14 N 32 AV 15 N 36 N 31
N 27 N 44N 14 N 42 N 49
paiicatvam tanur etu bhutanivahal). svamsair milantu dhruvam, AV 16 bhavatkrte khaiijanamafijuHi.k~i,
[ 185]
A V 17
AUTHORSHIP OF THE CAURAPAN CASIKA
**~
Authorship of the Caurapaficasika Although BilhaJ;la's authorship of the Caura is far from certain, elements of this tradition can be woven into an interesting and significant picture. The two versions of the legend, which accompany the Caura text in many manuscripts of WS, both describe Bilhal}.a as a poet-master who was called to the court of a king to instruct the king's nubile daughter in the subtleties of literature. In each of the versions only the story and the poet's name are the same; the location, the king's name, and the princess's name differ. In the South Indian account, the location of the story is the town of Lakshmimandira, in Panchaladesha; the king is Madanabhirama and the princess is Yaminipiimatilaka; none of these are historically identifiable. In the GuJaratifMaharashtrian account the location is Anahilapattana, in Gujarat; the king is Virasimha and the princess is Sasikala. Anahilapattana, the modern Patan, also known in history as Anhilvad and Anahilapataka, is also the probable setting of the play attributed to BilhaJ;la, KarfJarundari. In this account BilhaJ;la is identified as a Kashmiri poet, as is the author of the Vikramtiiikadeuacarita (hereafter abbreviated Vikramtiiika). The descriptions of King Vikramaditya's bride, Candralekha, in the Vikramiiftka (especially chapter VIII) bear a resemblance in style to the descriptions of the princess's beauty in the Caura. In both works physical details are dwelt upon and elaborated to present a multifaceted picture of the beloved girl. Little is said in the legends about the poet himself; the stories dwell on his relationship with the princess, the discovery of their liaison, his condemnation to death, and his pardon. In the Vikramiiiika, however, BilhaJ;la himself devotes the entire last chapter (XVIII) to an account of his life, his country of origin, and his travels. What is of interest here is his description of his grand tour (XVIII.86-IO'.2), which culminates in his appointment to the position of uidyiipati at the court of Vikramaditya VI. The route which he describes is of particular interest because he notes the various courts which he visited and at which he defeated other poets with his verses. Although he makes no mention of the exact content of his verses, he suggests that he was given to composing poems about beautiful women (XVIII. 100). BilhaQa's travels may be briefly outlined as follows, on the basis ofchapter XVIII of the Vikramiiiika. [188]
XVIII.B6 He left Kashmir after completing his education in the Vedas, the Shastras, and poetry of all kinds. I XVIII.87 He playfully conquered the pandits of Mathura. XVIII.B8, 8g He boasts that his pupils spread tales of his unequaled learning and so his fame reached every corner of the world. He says that all men and women recite his verses with joy. XVIII.go He visited Kanyakubja and subdued the town. XVIII.g1 He visited Prayaga (Allahabad), chief of the places of pilgrimage. XVIII.g'.2 He visited Banaras and bathed in the celestial waters to purify himself after an encounter with some wicked princes. XVIII.g3-95 He spent some time at the court of KarQa, the Kalachuri king of Dahala (ca. A.D. 1034--1073).2 There he conquered the poet Gafigadhara. XVIII.g6 He says that Dhara cried out to him, "Bhoja is my king. He is not one of the vulgar princes. Woe is to me. Why did you not come into his presence?" This must mean that BilhaJ;la came to Dhara after and with knowledge of Bhoja's death about A.D. 1055.3 XVIII.97 Having suffered some anguish in Gujarat, he proceeded to Somnath. XVIII.g8, gg FromSomnath, he traveled by sea, probably landing at Bombay, but it is not said in the text where he landed.. XVIII. 100 He wandered leisurely in the South (kakubhi dak~iT,lasyiim) and pondered the difficulty of describing the beauty of the women there. XVIII. 10 I, 102 In the South, he encountered the Chalukya king Vikramiiditya VI and became vidyapati at his court. 4 In return for the gift of the blue parasol and the great elephant which distinguished the bearer of this office, BilhaJ;la composed the Vikramiiiika to honor the king. Since Vikramaditya came to the Chalukya throne of Kalyani t Kalhat;la reports in the Riijataraiigi'.li (VII.936) thatBilha~la left Kashmir in the reign of Kalasa, who was first crowned A.D. 1062. See Buhler, Vikramiiiikadeu(II;harita 1 pp. 21--'.12. See also Stein, Kalha'.la'sChroniclerif.Kashmir. 2 Majumdar et al., The History and Culture o/the Indian People, V, 62-63. 3 Ibid., pp. 66-67. 4 This is confinned by Kalhal)a's Rajataraiigi'.li (Stein, ed.), VII.937.
[J8g]
Authorship
Authorship of the Caurapaficasika I
et,
~ [8ilha"• • •••••• CWo \063,.\0651
,,
..,
...
"
...
•, ..
M..-th"'....
'
..pl
...
",.~
The Travels
of Bilhar;a
(According to Vikramaiikadevacarita XVIII. 86-z02)
about A.D. 1076,5 and because Bilhal:m's epic does not contain references to some of the king's later expeditions, it is probable that the Vikramiiiika was composed during the fourth quarter of the eleventh century. Vikramaditya's military campaigns were many and he moved within a wide territory stretching from between the rivers Krishna and Godavari eastward to Bombay and as far north as the 5 Majumdar et a1., History, V, 174-77. Also Bhandarkar, Early History of the Dekkan, pp. 136---69.
[lgoJ
of the
Caurapafidisika
Narmada River in Gujarat. As the king's vi4Jiipati, Bilhal).a traveled with his patron on his adventures. The poet and his poetry must have been well known in the region ofVikramaditya's sway. This region, it may be noted, includes the area in which Caura manuscripts of both recensions are found in concentration. The accompanying map helps to illustrate the significance of Bilhal).a's autobiographical account in the Vikramiiiika in relation to the geographical distribution of manuscripts of the Caura.
BIBLIOGRAPHY
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Bibliography
I' j
PETERSEN, PETER, ed. The Paddhati of Siiriigadhara. Bombay Sanskrit Series, no. 37. Bombay: Central Book Depot, 1888. POLEMAN, HORACE. A Census of jl.;fanuscripts in the United States and Canada. New Haven: American Oriental Society, 1938. RAMANUJAN, A. K. The Interior Landscape, Love Poems from a Classical Tamil Anthology. Bloomington: Indiana University Press, 1957· RANDHAWA, M. S. Flowering Trees. India-The Land and the People. New Delhi: National Book Trust, 1965. RENOU, LOUIS, JEAN FILLIOZAT, et al. L'Inde classique: Manuel des etudes indiennes, vol. II. Paris: Imprimerie Nationale, 1953. SANDESARA, B. J., ed. "BilhaQ.apafidisika," Siihitya, vol. XX, no. 7 (July 1932), pp. 38 5-400 . SASTRI, P. P. S. A Descriptive Catalogue of the Sanskrit Manuscripts in the Tanjore Maharaja Seifoji's Sarasvati Mahiil Library, vol. V, Kiivyas. Srirangam: Sri Vani Vilas Press, 1929. SCHMIDT, RICHARD. Beitrage ;:;ur indischen Erotik. Leipzig: Lotus Verlag, 1902; 3d ed., without index, Berlin, 1922. SCHUBRING, WALTHER, and KLAUS L. JANERT. Ver;:;eichnis der orientalischen Handschriften in Deutschland, vol. II, pt. I, Indische Handschriften. Wiesbaden, 1962. SCHWEBELL, GERTRUDE CLORIOUS, trans. The Secret Delights of Love by the Pundit Bilhana. New York: Peter Pauper Press, 1966. SHAsTRi, M. HARAPRAsADA. A Descriptive Catalogue of Sanskrit Manuscripts in the Collections of the Asiatic Society of Bengal, vol. VII, Kiivya Manuscripts. Calcutta, 1934. SHETH, PANDIT HARGOVIND DAs. Paia-sadda-manhannavo: A Comprehensive Priikrit-Hindi Dictionary. Prakrit Text Society Series, no. 7. Banaras: Prakrit Text Society, 1963 (reprint). SIVADATTA, P., and K. P. PARAB, "KasmirakavibilhaQ.akavirajaviracitam bilhaI,lakavyam," Kavyamala, no. 13, pp. 145-69. Bombay: Nirnaya Sagara Press, 1903. SOLF, WILHELM. Die Kasmir-Recension der Panciisikii. Halle: Friedrichs-UniversitatHalle Wittenberg, 1886. STEIN, M. A. A Catalogue of Manuscripts in the Raghuniitha Temple
Library of His Highness the MaharaJa of jammu and Kashmir. Bombay: Nirnaya Sagara Press, 1894. - - , ed.·and trans. The Riijataraiigi1)i of KalhaTja. Edited with criti[198]
Bibliography cal notes. Bombay, 1892. Translated under the title KalhaTja's Chronicle ofKashmir. Westminister: Constable, 1900. SUKTHANKAR, V. S., et al. The Mahabharata: for the first time critically edited. Poona: Bhandarkar Oriental Research Institute, 1933- 1959. T ADPATRIKAR, S. N. Caurapaficiisikii: An Indian Love Lament of BilhaTjakavi. Poona Oriental Series, No. 86. Poona: Oriental Book Agency, 1966 (reprint). . VATSYAYANA. Kiimasiltra. Edited with the commentary "Jayamaiigala" of Yashodhara. Kashi Sanskrit Series, no. 29. . .Banaras, 1929. VELANKAR, H. D. A Descriptive Catalogue of Samskrta and Priikrta
Manuscripts in the Library of the Bombay Branch of the Royal Asiatic Society, vol. II. Bombay, 1928. VOGEL, JEAN PHILIPPE. The Goose in Indian Literature and Art. Memoirs of the Kern Institute, no. 2. Leiden: J. Brill; 1962. WHITNEY, W. D. Sanskrit Grammar. Cambridge: Harvard University Press, 1960. WINTERNITZ, M. Geschichte der indischen Literatur, vol. III. Leipzig: C. F. Amelangs Verlag, 1920.
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,I
APPENDIX: THE ILLUSTRATEI) MANUSCRIPT
I !! I
The Caurapafidisika Illustrations in Rajasthani Painting
THE PLACE OF THE -~ CA URAPANCASIKA ILL USTRATIONS ~_ IN RAJASTHANI PAINTING Only one illustrated manuscript of the CaurapaiiciiJikii is known belonging to the Rajasthani style of the sixteenth century and consisting of eighteen extant leaves, now in the Gujarat Museum Society, Ahmedabad. I Although the literature on early R~asthani painting is extensive,:! m.uch about the provenance and chronology of the style is still controversial. Because the so-called "Caura group" of illustrated manuscripts represents the earliest clear elaboration of the style, the paintings of the Caura and related manuscripts are at the center of the controversy. Their style is distinguished by lack of naturalism, bold and expressive distortion of faces, figures, trees, and architecture, and bright colors patterned on the surface of flat expanses of red, green, blue-black, and yellow (Khandalavala (2], pp. 2-5). No attempt is made here to review the entire complex problem of the origin and development of Rajasthani painting; my concern is rather with material which bears most directly on the relative dating and location of the Caura manuscript. 3 The extremes of the debate over the origin of Rajasthani painting center on the question of influence or lack of it exercised by Mughal painting. The first position is best expressed in the writings of Khandalavala. The second position is that presented by Douglas Barrett. J See above, Manuscript Sources, manuscript MEHTA. • A survey of the literature follows. References are by author, and each separate reference is numbered; these are so cited within the body of the discussion, for example (Brown [8]) is W. Norman Brown, The Vasanta Vi/lisa. J Leela Shiveshwarkar's handsome volume of color reproductions of the Caura leaves includes a detailed introduction to the style of these paintings and the problems surrounding them. The book came to my attention shortly after the present volume was written in 1968; though our conclusions about the place and dating of the Caura manuscript concur, the arguments seem sufficienrly different to warrant the inclusion of this discussion.
[202]
Khandalavala stresses the fact that early Timurid influence on the painting of Western India was limited to decorative motifs and scattered copies of Timurid figures and scenes, such as the Saka kings (siihis) in the Kiilakiiciiryakathii (Brown [2]) and the border drawings in the DevasanopadeKalpasutra (Moti Chandra [1], p. 136); the basic idea of figures and the relation of figure to ground was not changed as a result of these contacts. Khandalavala emphasizes the importance of Western Indian or Gujarati style, with its local variants in the Biilagopiilastuti (Mehta [4], plate I), the Mandu Kalpasutra (dated 1439) (Khandalavala [4]), and the Jaunpur Kalpasutra (d~!ted 1465) (Moti Chandra [I], figs. 93'-105), in the development of the style which presents itself in the" Caura group." And he argues that the original development of the style must be attributed to the "fusion" of Western Indian or Gujarati style with some other style, which he says can only be sixteenthcentury Mughal painting. He sees the Vanaparva of the Mahiibhiirata (dated A.D. 1516) and the Palam MahiipuriiTJa (dated A.D. '540) (Khandalavala [8]) as the predecessors of the "Caura group"; as a result of this, special importance is given to the region of Northern Rajasthan and Uttar Pradesh as the locus of the style. Unfortunately, most of the arguments relating to the problem of Mughal influence concern the matter of the kulahdiir-type turban and the chiikdiir jiimii or pointed coat; these arguments are far from conclusive. What is more significant, it seems, is the way in which these garments, as well as ornaments, facial and body features, postures, and such are distinctively treated in the paintings of the" Caura group." The chiikdiir jiimii seems traceable to some variant of the Persian costume in which the Saka kings of the Kiilaka paintings are clothed (Brown [2]; Nawab, fig. cxxvii). Its diaphanous quality and dissociation from the body in the skirt is paralleled by the treatment of the or/.hni or stole on the female figures; both have precedents in the treatment of the monk's garments in the various Kalpasiitra paintings (Brown [3]). The black or red bordered, inflated orjhni is clearly derived from the conception of this garment in the Mandu Kalpasiitra (see Barrett, p. 59) and the Vasantaviliisa (see Brown [8], especially fig. 80). The bright colors (including the sandalwood color used for human figures), facial types, stylized [ 20 3]
Appendix: The Illustrated Manuscript
The Caurapaficasika Illustrations in Rajasthani Painting
trees, and gestures parallel similar elements found in the fifteenthcentury Ktilakticiiryakathii from Mandu (Pramod Chandra [2]). Like analysis of other details reveals a continuity between Western Indian painting and early examples of Rajasthani painting, such as the Bhiigavata Purii1Ja leaves; Mughal influence seems neglible. Barrett not only rejects the factor of Mughal influence in the development of early Rajasthani style, but also places the provenance in Mewar in the reign of Rana Sangha (ca. 1509-1528). He stresses the fact of Mewar's constant contact with Gujarat and Malwa in the early part of the sixteenth century and its individualistic spirit, especially in the face of Mughal invasion. He, following Basil Gray, would interpret the "Caura group" as representing a pre-Mughal style in Western India, whose artists, recruited into the Mughal imperial atelier, helped to give the earliest Mughal paintings (for him the Ham;;:,a-niima) their original flavor. We may say that Rajasthani painting was probably born out of the general loosening of stylistic rigidity which began to be . apparent in Western Indian painting, both within and outside Gujarat, during the fifteenth century, in combination with some local peculiarities of representation. The bold distortions and bright colors may well owe their origin to some less refined tradition of village painting in the region. Of special relevance are the relations between elements in the Mandu and Jaunpur Kalpasiitras, the Kiilakiiciiryakathti from Mandu, the Biilagopiilastuti, and the Vasantaviltisa (Brown [8]) and elements in the scattered BhiigarJata Purii1Ja paintings which belong to the "Caura group." The single leaf in the Madhurai Desai Collection in Bombay (Barrett, p. 67) represents the liveliest painting in the entire group and the one which bears strongest affinity to Western Indian style; this is particularly apparent in the suppleness of the figures and the expressive lines and forms of their garments. The second Bhiigavata manuscript, well represented, but widely dispersed, is also striking in its affinities to Western Indian painting (Khandalavala [5], fig. 20; Lee [1], pp. 14-15; Welch, figs. 3a, 3bj Binney, figs la-c). This is the beginning of the" Caura style" and of Rajasthani painting. As the style developed in the sixteenth century, the distinct impression is that contact between Mughal and other painters in India increased and only then began to exert definite "influence" on
Rajasthani painting. The "Caura style" exhibits a lifeless conventionality in the Caura paintings; some time must have elapsed between the Bhtigavata and the Caura to account for the loss of vitality. Also somewhat later than the Bhtigavata, and geographically removed, are manuscripts such as the Prince of Wales Gila Govinda (Khandalavala [2]), the Vijayendrasuri Riigamiila (Brown [7]), the Laur-Chandii in the John Rylands Library (Khandalavala [6]), the Vanaparva of the Mahiibhiirata in the Asiatic Society of Bombay (dated 1516) (Khandalavala [6], p. 54n), and the Palam Mahiipurii1J a (dated 1540) (Khandalavala [8]), as well as other regional variants which show degrees of Mughal and other local influences. The culmination of one of these developments is seen in the Chawand Riigamtila (dated 1605) (Kanoria). On the basis of the migration and changes in the style of manuscripts associated with the "Caura group," it seems likely that its provenance is in the region north and east of Gujarat, roughly Mewar, and that it is datable to the beginning of the sixteenth century. From this region of origin, the style spread and varied. One variety became rigidified by the third quarter of the sixteenth century into the type we find in the Caura manuscript. 4 Others fell farther away from the Western Indian model and combined with available local styles. A small piece of evidence in support of the Mewari provenance of the style is the distinctive checkerboard pattern which is found on the skirts of the females and on the bedcovers in paintings of the central "Caura group." This pattern is otherwise known only from a manuscript of the s,tivaga-pa¢ikkamana-sutta-cu1J1Ji, illustrated in Mewar A.D. 1260 (Coomaraswamy); the skirt of the goddess Sarasvati is of this pattern. The region of Mewar or Malwa accords well with the distribution of Caura manuscripts, as outlined in the discussion of the critical
[ 20 4]
Ii II
!
4 The suggestion has been made to me by Professor Stella Kramrisch that the Caura manuscript's stylistic position in R~asthani painting of the sixteenth century is parallel to that of the 146sJaunpur Kalpasutra in Western Indian painting of the fifteenth century. This is not meant to identify the provenance of the Caura with that of the Kalpasutra, but rather to point to the time lapse and pattern involved in the maturing of a closely related style.
[2°5]
Appendix: The Illustrated Manuscript edition (see above, Relationships of the Versions). The text e.mployed in the illustrated manuscript belongs to N, type I, verSIOn A which is best established in Western India, though also known fr~m manuscripts now deposited in Banaras and Bikaner. A map and charts correlating known geographical and chronological factors involved in the above discussion may help to clarify their significance.
The Caurapaficasika Illustrations in Rajasthani Painting CHRONOLOGY OF DATED MANUSCRIPTS Mewar
1260
Mewar
1422
Malwa (Mandu)
1439
Gujarat Oudh (Jaunpur)
Kalpasiitra; Archer (2), plates 5, 6; Moti Chandra (I), figs. 93-105. Uttariidhyayana Sutra DV; dated by Goetz (I); Brown (6). The paintings seem close in style to those of the Devasanopade Kalpasutra, whose Timurid motifs have been noted.
Gujarat
Uttar Pradesh (Kachaura) (Palam) (Delhi)
A Correlation between Known Geographical and Chronological Factors Relating to the "Caura Group"
[Madhya Pradesh 1572 Gujarat Gujarat (.?)
[583 1590
Mewar (Chawand) 1605 [206]
Siivaga-pa¢ikkamana-sutta-cu1)tJi,o Coomaraswamy. Supasanahachariyam; see Barrett, p. 62; PUIJ.yavijayaji. Kalpasutra; Khandalavala (4). The paintings are close in style to the Kiilakiiciiryakathii, which shares significant stylistic elements with the "Caura group"; Pramod Chandra (2). Vasantaviliisa; Brown (8).
Vanaparva of the Mahiibhiirata; Khandalavala (6), (8). M ahiipuTfi1Ja; Khandalavala (8). Ham;:,a-niima, produced at the court of Akbar; Barrett, p. 76. Cf. Tiiti-niima (Lee [2] and Khandalavala [7]). Piirsvaniitka-viviihalu; Archer (2), plates 7, 8.] UttariidhyayanaSiitraJM; Brown (6). Uttariidhyayana Satra JP; Brown (6). Important because of its stylistic affinities with the 1540 Mahiipurii1Ja. Riigamiila; Kanoria.
[2°7]
Appendix: The Illustrated Manuscript
f
! ~
BIBLIOGRAPHY RELEVANT TO EARLY RAJASTHANI PAINTING . - -
AGRAWALA, V. S. Indian Miniatures, An Album. New Delhi: Government oflndia, Department ofArchaeology, 1961. ARCHER, W. G. (I) Central Indian Painting. London: Faber and Faber, 1958. (2) Indian Miniatures. Greenwich, Conn.: New York Graphics Society, 1960.. BARRETT, DOUGLAS, and BASIL GRAY. Painting of India. Lausanne: Skira, 1963. BINNEY, EDWIN. Rajput Miniatures from the Collection of Edwin Binney 3rd. Introduction by W. G. Archer. Portland, Oreg.: Portland Museum ofArt, 1968. BROWN, W. NORMAN. (I) "Early Vaishnava Miniature Paintings from Western India," Eastern Art, II (1930), 167-206. (2) The Story of Kiilaka. Washington, D.C.: Freer Gallery, 1933· (3) Miniature Paintings of the Jaina Kalpasutra. Washington, D.C.: Freer Gallery, 1934. (4) "Stylistic Varieties of Early Western Indian Painting about 14°0," Journal if the Indian Society of Oriental Art, V (1937), 2-12. (5) "A ]aina Manuscript from Gujarat Illustrated in Early Western Indian and Persian Styles," Ars Islarnica, IV (1937), 154-73· (6) Manuscript Illustrations of the Uttariidhyayana Sutra. American Oriental Series, vol. XXI. New Haven: American Oriental Society, 1941. (7) "Some Early Rajasthani: Raga Paintings," Journal if the Indian Society ofOriental Art, XVI (1948), 1- ro. (8) The Vasanta Viliisa. American Oriental Series, vol. XLVI. New Haven: American Oriental Society, 1962. [2°9]
Appendix: The Illustrated Manuscript
CHANDRA, MOTI. (I) Jain Miniature Painting from Western India. Ahmedabad: S. M. Nawab, 1949. (2) The Technique ofMughal Painting. Lucknow, 1949· (3) Mewar Painting. Delhi: Lalit Kala Akademi, 1957· (4) "An Illustrated Manuscript of the MahapuraJ;la in the Collection of Sri Digambar Naya Mandir, Delhi," Lalit Kala, no. 5 (April 1959), pp. 68-81. CHANDRA, PRAMOD. (I) "An Outline of Early Rajasthani Painting," Marg, vol. XI, no. 2 (1958), pp. 32-37. (2) "A Unique Kalakadiryakatha Manuscript in the Style of the Mandu Kalpasiitra of A.D. 1439," Bulletin of the American AcademyofBenares, I (Nov. 1967), I-IO. COOMARASWAMY, ANANDA K. "An Illustrated Svetambara ]aina Manuscript of A.D. 1260," Eastern Art, II (1930),237-40. EASTMAN, ALVAN C. (I) "A Survey of Formulae in the Miniature Painting of Western India," The Art Bulletin, XX (193 8 ), 133-41· (2) "Iranian Influences in Svetambara ]aina Painting in the Early ·Western Indian Style," Journal of the American Oriental Sociery, LXIII (1943), 93-113,285-88. ETTINGHAUSEN, RICHARD. Paintings of the Sultans and Emperors of India, In American Collections. Delhi: Lalit Kala Akademi, 196 I. GOETZ, HERMANN. (I) "Decline and Birth of Medieval Indian Art," Marg, vol. IV, no. 2 (1950), pp. 36-48. (2) "Rajput Reliefs-I," Oriental Art Magazine (London), N.S. vol. X, no. 3 (1964), pp. 16 3-68 . (3) "Rajput Reliefs-II," Oriental Art Magazine (London), N.S. vol. XI, no. I (1965), pp. 2-8. GRAY, BASIL. (I) " Western Indian Painting in the Sixteenth Century: The Origins of the Rajput School," Burlington .Magadne, XC (Feb. 1948),41-45. (2) Riijput Painting. London and New York: Pitman Gallery ofOriental Art, 1949.
Bibliography Relevant to Early Rajasthani Painting
(3) "The Development of Painting in India in the Sixteenth Century," Marg, vol. 6, no. 3 (1953), pp. 19-24. KANORIA, G. K. "An Early Dated Rajasthani Ragamala," Journal ofthe Indian Sociery of Oriental Art, XIX (1952/53). This discusses the Chawand Ragamiila of A.D. 1605.
KHANDALAVALA, KARL]. (I) "Leaves from Rajasthan," Marg, vol. 4, no. 3 (1950), PP·49-5 6. (2) "A Gita Govinda Series in the Prince of Wales Museum (in the style of the Laur-Chanda and Caurapaiicasika group)," Bulletin of the Prince of Wales Museum of Western India, no. 4 (1953/54), pp. 1-18. (3) "The Origin and Development of Rajasthani Painting," Marg, vol. I I, no. 2 (1958), pp. 4-17. (4) and MOTI CHANDRA. "A Consideration of an Illustrated Manuscript from MaJ;l<;lapadurga (MaJ;l<;lu) Dated 1439 A.D.," Lalit Kala, no. 6 (Oct. 1959), pp. 8-29. (5) MOTI CHANDRA, and PRAMOD CHANDRA. Miniature Paintings from the Sri Motichand Khajanchi Collection. Delhi: Lalit Kala Akademi, 1960. (6) MOTI CHANDRA, PRAMOD CHANDRA, and PARMESHWARI LAL GUPTA. "A New Document of Indian Painting," Lalit Kalil, no. IO (Oct. 1961), pp. 45-54, figs. 1-12. This discusses the Laur-Chanda manuscript in the John Rylands Library at Manchester, as well as associated manuscripts.
(7) "Some Problems of Mughal Painting," Lalit Kalil, no. I I, (April 1962), pp. 8-13. This discusses problems of forgery and overpainting in the Cleveland Museum Tiiti-niima.
(8) and Man CHANDRA. "Three New Documents of Indian Painting," Bulletin of the Prince of Wales Museum of Western India, no. 7 (1963), pp. 23-34. I. The Mahapura!lQ manuscript dated A.D. 1540, figs. 16-18b. II. A manuscript of the Laur-Chanda in the Prince of Wales l'vluseum, color plate and figs. 19-24. III. A manuscript of the Sikandar-niima, figs. 25a-26a; figs. 27a-28b are from a Hamza-niima in Tiibingen, another example of a regional Mughal style of the sixteenth century.
The Mood of Love in the Paintings
Appendix: The Illustrated Manuscript KISHAN, RAI ANAND. "Some Pre-Akbari Examples of Rajasthani Painting," Marg, vol. XI, no. 2 (1958), pp. 18-21. KRAMRISCH, STELLA. ( I) A Survey ofPainting in the Deccan. London, 1937. (2) "Dak~ina Citra," Journal of the Indian Society of Oriental Art, V (1937),218-37. (3) "A Painted Ceiling," Journal of the Indian Society of Oriental Art, VII (1939), 175-82. KRISHNADAS, RAI. "An Illustrated Avadhi Manuscript of LaurChanda," Lalit Kalii, nos. 1-2, (1955/56), pp. 66-71. LEE, SHERMAN. (I) Riijput Painting. New York: Asia House, 1960. (2) and PRAMOD CHANDRA. "A Newly Discovered TiltiNama and the Continuity of the Indian Tradition of Manuscript Painting," Burlington Magazine, CV (Dec. 1963),545-54. MAJUMDAR, M. R. (I) "Two Illustrated Manuscripts of the Ratirahasya of the Gujarati School of Painting," Journal of the University of Bombay, vol. 5, pt. 6 (1937), pp. 134-'P . (2) "Earliest Devi-mahatmya Miniatures with Special Reference to Sakti Worship in Gujarat," Journal of the Indian Society of Oriental Art, VI (1938), I I 8-36. (3) "A Fifteenth Century Gitagovinda Manuscript with Gujarati Paintings," Journal of the University of Bombay, vol. 6, pt. 6 (May 1938), pp. 123-37. (4) "A Newly Discovered Gitagovinda Manuscript from Gujarat: Late 15th Century A.D.," Journal of the University of Bombay, X (1941), I 19-31. (5) "The Gujarati School of Painting and Some Newly Discovered Vaishnava Manuscripts," Journal of the Indian Society ofOriental Art, X (1942),1-31. MEHTA,N.C. (1) Studies in Indian Painting. Bombay: D. P. Taraporevala, 19 26 . (2) Gujariiti Painting in the 15th Century, A Further Essay on the Vasanta Viliisa. London: India Society, 193 I. [212]
(3) "A New Document of Gujarati Painting," Journal of the Indian Society of Oriental Art, XIII (1945) l 35-48. This is the Gitagovinda in the N. C. Mehta Collection.
(4) posthumously edited by MOTI CHA~DRA. The Golden Flute. Delhi: Lalit Kala Akademi, 1962. NAWAB, SARABHAI MANILAL. Masterpieces of the Kalpasiitra Paintings. Ahmedabad: S. M. Nawab, 1956. PUr:
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THE MOOD OF LOVE IN THE PAINTINGS
~
Like the poems they illustrate, each of the Caurapaficiifikii paintings is composed to evoke a mood of love. By the use of sensuous words and elaborate figures of speech the poems create the environment in which this emotion can flourish. The emotion is dramatized by describing the central character's physical beauty, her manifestations offeeling, and her dancelike"movements. To create their visual environment, the paintings exploit both formal and symbolic means. Besides their function in the formal design of the paintings, many elements also have symbolic value. Hand gestures and postures familiar from the language of dancedrama, strong primary colors, and motifs such as the crocodile [ 21 3]
r Appendix: The Illustrated Manuscript 1
banner of Love (makaracetana) or the yak-tail whisk (camara) parallel the conventions used in the poems. Although the paintings are less descriptively explicit than the poems and do not always specifically illustrate the accompanying verses, the display of erotic emotion in movement which is characteristic of the CaurapaiiciiSika poetry is also the stylistic focus of the paintings. Compositions abound in lively spatial movement. Suggestions of spatial depth are made by the devices of overlapping planes and partially hidden objects, such as the couch in the bedchamber. But there is no concentration on naturalistic means of representing space; the flat monochrome grounds, geometric surface designs, and barely modeled figures at first glance seem rather static. Quickly, however, the viewer's eye is forced to follow rhythms of precisely controlled movement and countermovement, concentrated in the central figures, who are identified as BilhaJ;la and Campavati. The two figures are connected with each other and their environment by compositional tensions, as well as by gestures and actual contact. Each figure is a hub of dynamic energy that projects from it and returns through compositional points, angles, and curves. Salient points are marked by the figures' sharp noses, eyes, fingertips, tassels, and garment ends. Linear activity is most intense in the angular and curving lines of gesturing arms and garments that cut the bodies of the figures. The planes created by these lines are repeated in the shap~s of bolsters, rugs, canopies, cupolas, plants, banners, and cornices. The energy of the figures themselves is derived from the volumes of space they entrap. This is realized in the tautness of intervals between fingertips and noses, in the tension of bodies turning into the surface against the profiles of heads and feet, and in the fullness ofCampavati's veil and BilhaJ;la's chest.! The figures move like skilled dancers charging their whole environment with subtleties of erotic emotion. Once attuned to the formal and symbolic means of the painting, the viewer, like the connoisseur of poetry, is drawn into the aesthetic atmosphere of love. I Professor Kramrisch has pointed out that their tension and highly sophisticated vocabulary of movement suggests a comparison of these paintings with those of the Eighteenth Dynasty in Egypt. Even a cursory comparison of visual means is exciting here.
I
THE PAINTINGS
Even now, I remember the mark my nail left on her sandalwood-powdered thigh-the gold-streaked cloth I snatched when she rose was clutched in shame as she pulled away.
[216]
Even now, I brood on her-when streaks of light from jeweled lamps broke the darkness in her white pavilion, I seized the chance to stare at her in secret-her eyes were pained with shame and fear.
Even now, I remember her, a fragile fawn-eyed girl, her body burning with fires of parted love, ready for my passiona beauty moving like a wild goose, bringing me rich ornaments.
Even now, I remember my love gently laughing, bent by heavy breasts, dazzling in ropes of pearlsa banner of open blossoms flown by flower-armed Love high on the mountain of passion.
[218]
~ It
-------------
Even now, I remember her eyes restlessly closed after love, her slender body limp, fine clothes and heavy hair loosea wild goose in a thicket of lotuses of passion. I'll recall her in my next life and even at the end of time!
Even now, I remember her, the ideal of amorous women on earth by the beauty of her body, the perfect cup for tasting nectar in the play of passionmy girl, wounded by Love's flower arrows.
Even now, I never forget her, clinging to my limbs like wet cloth when her body burned with fires of love's violent passionpitiful now without her lover's protection . ' my gIrl makes mockery of life.
[222]
Even now, I remember her, first among beautiful women, an exquisitely molded vessel for passionthe king's daughter pleading, "People, I can't bear this fire of parting!"
Even now, knowing death is quickly closing in, my thought leaves the gods and is drawn to her in awe. What can I do? l\fy thought is obsessed: "She is my love! Most beloved! She is mine!"
[224]
Even now, though I strain my vision, I can't find a face to rival my love'sits dazzling brilliance is blinding, eclipsing in beauty Love's mate and the moon.
Even now, my heart is pained night and day. I'll never again see my love's beautiful full moon face, glowing with a salty beauty that dulls the nectar of night-blooming jasmine.
[226]
Even now, I brood on her with my haunted mindforbidden girl, my life's hope, bursting with riches of fresh youth no one now enjoyslet her be my fate in another life too!
Even now, I remember her angered face, her frank impatience to leave as she sullenly gave me her mouthI kissed it; she violently wept. I fell at her feet: "I'm your slave, my love! Love me!"
Even now, my mind finds me idling with her friends, embracing her lovely limbs, bantering, and dancing in elegant rooms alive with our playif only my time could pass there!
Even now, I don't know! Is she Siva's mate, or a nymph come to earth by Indra's curse, or K~I).a's consort, Lak~mi? Did Brahma create her to beguile the world, or was he driven by desire to behold the perfect jewel of maiden youth?
Even now, I see her kohl-blackened eyes, burning mouth, laughter-weary ears. I see her body weakened by its own swelling breastsif it wastes away, who is to blame?
[23 1 ]
Even now, I would give my life to recover love's sanctumfragrant with lotus pollen, wet with the spend of passion, bringing low the shaft of Love.
Even now, in a world rich with signs of beauty surpassing each other's perfections, my heart believes that her form is beyond compare.
