THE MEGHA-DUTA OF
KALIDAsA
�l'HE MEGHA-DUTA OF
KALIDASA
CRITICALLY EDITED BY M.A.,
SUSHIL KUMAR. DE LI B. (Calcutta), D.Lit. (London) •.
Honorary Fellow of tlze Royal Asiatic Socieb'. PrqfissOT of Sanskrit Language and Literaf;ur1J in the Post- graduatll Researoh Department, Sanskrit College. Calcutta. SECOND REVISED
EDITION BY
DrV. RAGHAVAN
Convener, Kalidasa Editorial Board
WITH A GENERAL INTRODUCTION BY
*
Dr S. RADHAKR.ISHNAN
SAlDTYA A.KADEMX NEW DELHI·
First Published: 1957
Second Edition: 1970
@
SAHITYA AKADEMI
1970
SAHITYA AKADEMI
RA.mNDRA BHAVAN, 35 F'ER.OZESHAlI ROAD, NEW DELHI-l R.A.mNDRA SAR.OBAB. STADIUM, BLOCK VB, CALCUTTA-29 21 HADDOWS ROAD, :M:.ADRAs-6
� - ',t,. It. G'OBA BA'Ii' loT ... IAaAiwATJr JI'ItBII LTD., ;$ti;,;,.� �',�::� 8.O.AD. 0ALClUl'T1t. 9 ,
,
PREFACE TO THE FIRST EDITION
For the honour
of
being invited to prepare an authentic edition
of Kalidasa's Megha-duta, it is my pleasant duty to thank the members
of
the Sanskrit Advisory Board of the Sahitya Akademi and
distinguished
its
Vice-Chairman, Dr S. Radhakrishnan. As far as
possible, within certain limits of time, all available materials have been utilized and it is hoped that nothing important has been overlooked.
The extent of materials, as well as the method of editing,
has been indicated ill the Introduction and even at the l'isk of a little lengthiness the critical footnotes to the text are meant to give a general view of the text-tradition. What the new features of this edition are the reader can easily find out, if he cares; but I should like to think that the one thing he cares for is the poem itself, and not the comparative merits of different editions. Let me hope that this edition will not only stimulate further research into the text-problem, but also help further study and enjoyment of this masterpiece of the great poet, which should be its ultimate object. Among those friends who readily assisted me by loan of rare books and manuscripts, I return my sincere thanks to Dr S. K. Belvalkar, Dr V. Raghavan, Dr P. K. Gode, Dr V. G. Paranjpe. and Dr J. B. Chaudhuri. I also thank Sri Krishna Kripalani, Secretary, Sahitya Akademi, for uniform courtesy in rendering whatever assistance I required. To my former pupil, Mrs. Sibani Dasgupta, M.A., D.PHIL. I am indebted for help in many ways in preparing this edition and its press-copy. Sincere thanks are also due to my former pupil and present colleague, Dr R. C. Hazra, for his kindness in looking over the final proofs. Calcutta
15th June, 1956
S. K.DE
PREFACE TO THE SECOND EDITION The Megha-diita of Kalidasa was the first to be published in the project undertaken by the Sahitya Altademi for bringing out a
series of critical editions of the works of KaIidasa. Dr S. K. De who entrusted with the Meglta-duta in this series was a scholar wel1known for his standing in the field of Textual Criticism, having taken an important part in the critical edition of the MahiibMrata of the Bhandarkar Oriental Research Institute, Poona. His edition for the Akademi was based by him not only on a study of all the numerous previous editions of this popular poem but also on the examination of the text as followed by its numerous commenta.tor's and its adaptations and translations in Sanskrit, Indian languages, and the Singhalese. At. ab out forty rnss. had been used for the editions already available and Foulkes had compiled the readings from South Indian mss., it was found unnecessary to collate fresh ms.�. Scrutiny of some fresh Bengali and Devanagari 111SS. showed that no more significa.nt variants could be added. Dr Dc's edition was brought out in 1956 and because of the popularity of the Meglt.a data, this edition was sold out and requests had been made to the Akademi to bring out a second edition. On behalf of the Akademi, I have great pleasure in placing in the hands of scholars this second edition of the work. In revising the work for the second edition, I have corrected the errors and printing mistakes in the whole book, including the. Introduction and the General Introduction and wherever necessary I have added also further references. was
I was struck by the Editor's Introduction and in 'View of his . knowledge and maturity in Textual. Criticism) I think it would be useful to draw attention to some of the valuable observations which he had .made' in the course of his Introduction on questions tif readiD;gs) recensions, the comparative value of mss. and other SIlUrCes, the criteria for the constitution of the critical text, all of "hic;b.wiU be of help to those who are engaged in the work of Crl.tU:a1, study and edition of texts:
(•.. �' �
case
rH
a
popular
cJassicaI
text
. Uke that of the
vii
PREFACE
Megha-duta, Dr De says that the circumstances of text-transmission clear that not the existing mss. which are mostly later in date, but the commentaries are to be taken as our chief guide for textual study.
make it
The adaptations, such as are found in the poems ofJain poets, De adds «No absolute criterion, therefore, can be laid d own and each testimony is to be judged on the value of the text-tradition that it represents." 2.
are not autOlnatically of higher a uthority Dr .
3. The fact that a ms. is written in S arada need not prove superiority (footnote 65) and even a Nepali ms. may carry nine spurious verses. Even the Tibetan translation is not free from con flation in its text. its
4. Regarding the readings of particular passages, words
or
phrases, no manuscript or commentary is sacrosanct and every
reading has to be tested by its intrinsic probability.
5. Lastly "one c annot be dogmatic with regard to the authenti of the good number of readings nor positively certain. Variations there must be in a classical text so widely read and commented upon and possibly we are still considerably away from Kalidasa's exact expressions in some cases but the variations so far found are not greatly important and do not on the whole seem to affect very much the poet's own text in its pristine form."
city
Madras 21.5.70
V. RAGHAVAN
CONTENTS PREFACES Preface to the First Edi tion . . Preface to the Second Edition
v
CONTENTS
Page v-vii
vi
viii
GENERAL INTRODUCTION
ix·x,,:dv
INTRODUCTION
1.32
EditionH of the TClI.t 3 Adaptations and Tl'ansl'ltion� 6 'Commentaries . . 8 M�mlscripL� . . 13 The Probll�tn of Rcconstrm�ti()1l 1G The ,Qm�stion of Rectmsiolls . . 21 Interpolated Versl.'S . . 23 Authenticity of Rcadillg� . . 24Theme, Soul'ce uud Chanwtt:rislks " 27 The Cl'itical AppnrattUI . . 33 THE TEXT •
.
SELECT BmLIOGRAPHY 1. EDITIONS 3 en) Text only (b) Text in Antholugies (c) Text with aon'llnent�tries 2. ADAPTATIONS, TRANSLATIONS & P.A,RAPlin.ASE 5 8. MODERN TRANSLATIONS 5 4. MANUSCRIl)'I'S 6 (a) Text witb Occasional Glosses (b) Commentaries and Commentators 5., CRXTlO.A.L .AND lITzRARV NOTlOES ••
�-�c;
1 ..14
• •
• •
•
•
••
INDIOES
Pada-Index of Stanzas 1? Index of Interpolated Verset! Index of Geographica.l Names Index of ProFJ' Nam�
..
•.
GEOGRAPHICAL NOTES
••
.. .•
•
•
31 31
32
. .
12
15-32
GENERAL INTRODUCTION GREAT classics of literature spring from profound depths in human
experience. They com e to us who live centuries later in. vastly
different conditions as the voice of our own experience. They release
echoes within ourselves of what we never suspected was there. The deeper one goes into one's own experience facing destiny,
fighting fate, or enjoying'love, the more does onc's experience have in common with the experiences of others in other climes and ages.
The most unique is the most universal. The Dialogues of the Buddha
or of Plato, the dramas of Sophoc1es, the plays of Shakespeare are both national and Universal. The more profoundly they are rooted
in historical traditions, the more uniquely do they know and elicit powerful responses from others. There is space1ess quality about great classics.
a
themselves
timeless and
Kalidasa is the great rep::esentative of India's spirit, grace
and gel1ius. The Indian 'national consciousness is the base from
which his works grow. KaIida.sa has absorbed India's cultural
heritage, made it his own, enriched it, given it universal scope and significance. Its spiritual direction, its intellectual amplitude, its artistic expressions, its political forms and economic arrangements,
all fmd utterance in fresh, vital, shining phrases. We find in his work,q at their best a simple dignity of language, a precision of phrase, a
classical taste, a cultivated judgment, an intense poetic sensibility and a fusion of thought and feeling. In his dramas, we find pathos,
power, beauty, and gl'eat skill in the construction pf plots and delinea tion of characters. He is
at
home in royal courts and
on
mountain
balanced enables him to deal sympathetically with men of high and low degree, fishermen, courtezans, servants. These great qualities make his works belong to the literature of the world. Humanity recognises itself in them though they deal with �ndian themes. In India Kalidasa is recognised as the greatest poet and dramatist in Sanskrit literature. While once the poets were being counted, Kilidisa as being the first occupied the last finger. But the ring.finger tops, in happy homes and forest hennitages. He has a
.
outlook which
.
.
.
..
MEGHA-DUTA
x
remained true to its name, Qllamikii, nameless, since the second KaIidasa has not yet been found.1
to
Date Tradition associates K1ilid1isa with king Vikramaditya of Ujjayini who founded the Vikrama era of 57 B.O.2 The change in the name of the hero of VikramorvaJiya from Puriiravas to Vikrama ' lends support to the view that Kalidiisa belonged to the court of king Vikramaditya of Ujjayini. Agnimitra who is the hero of the drama Malavikagnimitra was not a wellknown monarch to deserve special notice by Kalid1isa. He belonged to the second cen tury before Ohrist and his capital was VidiSii . Kiilidllsa's selection of this episode and his- reference to Vidisa as the famous capital of a king in Megha-dflta suggest that Kalidasa was a contemporary of Agnimitra. It is clear that Kalidasa flourished after Agnimitra (c. 150 B.a.) and before A.D. 634, the date of the famous Aihole inscription which refers to KaIidiisa as a great poet. If the suggestion that some vel'ses of M�dasor inscription of A.D. 473 assume knowledge of K1ilidasa's writings is accepted, then his date cannot be later than the end of the fourth century A.D. There ate similarities between Asvagho�a's BudrIhacarita and KaIidasa's works. If Mvagho�a is the debtor, then KaIid1isa was of an earlier date than the first century A.D.S IfK1ilidiisa 1.
pur4 kavinMa gaqana..prasange krmit/hi1c4dkillhita-kiilidiisli fMbtiJii tat-tu1ya-kml4T abhiiviitl
anamilca siirthavati babhiiva 2. The Jain Kalakii.c!rya Kathi\naka record!! that the gakas invaded U,iiayiuI and overthrew the dyrwty of Gardhabhilla., who was styled Mahcndrliditya. Some years afterwards, his son, Vikramiiditya, repe!l.ed the invaders and re established the old dynasty. It is sometimes sa.id that the play VikramorvaJ!i'1l celebrates this re-conquest. 'Orvdi is the city of UjjayinI ruled by Mahendra �tya. She was conquered by Keain, a demon, i.e. the chief of the bearded oakas. The city became desolate and like 'Orvali was transformed into a creeper. Prince Vikratnlditya regained the capital with a valour capable of obliging even his father Mahendra. . ttIIJJwad�a-jJtJry�18na vikrama-mammna Vatdhaf4 bhavlin. Mahendra conferred the throne on the prince and himself retired to the forest. To Commemorate the great victory, Vikrama founded an era which was . later called by his name. . _ !I. The following verse of Aivaghova may be an hnplied. criticism of Kllictlsa's . view:. JaiUr¥lra-puttith prati yerIa viddJuJ fkvo'pl, JamhhuJ caliW. babkfil14 J . M. ..� Ita tarn ItJa bioat/l kip S)iid atitkJ /la Jaral) sa q411
�XIII.16.
xi
GENERAL INTRODUCTION
is the debtor then his date would be later than
A.D.
the
first
century
It is suggested that Kalidasa belongs to the Gupta period and lived in the reign of Chandragupta II, who had the title of Vikra maditya.' He came to power about A.D. 345 and ruled till about 414. Whichever date we adopt we are in the region of reasonable con jecture and nothing more.
Works KaIidasa speaks very little of himself and we cannot therefore be
sure of his authorship of many works
attributed to him. There is, authorship of the
however, general agreement about KaIidasa's following works:
1. Abhijrliina-liikuntala, a drama in seven acts dealing with the love and marriage of Du�yanta and Sakuntala.; (Abbr. S.) 2. VikramorvaJiya, a drama in five acts dealing with the love and roaniage of Putilravas and OrvaSi; (Abbr. V.) 3. Malavikagnimitra, a drama in five acts dealing with the
of Malavika and
Agnimitra; (Abbr. M.)
love
4. RaghuvamJa, an epic poem of nineteen cantos describing the lives of the Kings of the solar race; (Abbr. R.) Again compare Kllidllsa's line in R4g/wvathia, II. 42: jaq,EkrtlJS try_aka·vikFa!1f114 vajram TIIll1fIIllqann ilia vajrapci(li/.l
cllrita line: tlJStamhha
b/ihu(J sagadas tato's'ya jluranaarasyeva purli savqjra/l
with Buddha
4. Professor A. Berriedale Keith writes: "Kalldllsa was later than ASvagho� and than the dramatist Bhllsa; he the prakrit of his dramas knew Greek terms as his u.� of is decidedly later than ASvagho4&'s an Bhilsa's and he cannot be put before the Gupta age . . . • . We must remember that Chan4ra.gupta II had the style of Vikramlditya with whose name tradition co:nsiatently connects Kllidasa. Nor is it absurd to see in the title KumiirasambhtJlJfI a hint at the young Kumlragupta or even in VikramoroaJiY4 an allusion to the title Vikramiditya."-A History tif Sansl.;·rit Liter(.l/ure (1920), p. SO. Sir William Jones p1ac:es Kllidba. in the first century 11.0. Dr. Peter&on says: "Kilidllsa stands near the beginning of the Christian era, if indeed, he does not overtop it." R. T. H. Griffith remarks: "About the time when Ho:race and V4:gil were shedding an undying lustre upon the reign of Augusturs; OUJ.' poet Kllidlla lived, loved and sang, giving and ta� liono1.U', at the }XIlished court of the no lea munificent patrons of Sanskrit l1teratv.re. at the period of its highest perfection."-Preface to T7u Birth tif tM War-God (1918). .
Jimitrajroves;
MEGHA.-DUTA
xii
5. Kumarasambhava, also an epic poem of seventeen cantos, dealing with the marriage of Siva and Parvati and the birth of
Kumara, the lord of war; (Abbr. K.) 6. Meghtl-dilta, a poem of 111 stanzas describing the message of a Ya�a to his wife, to be conveyed through a cloud; 7. lJ.tu-samhara, a descriptive account of the six seasons. Kalidasa takes up his themes from the tl'aditional lore of the country and transforms them to achieve his object. For example, in the epic story Sakuntala was a calculating, worldly young woman and Du�yanta a selfish lover. The poet wishes to exhibi t the sentiment oflove ft'om its first awakening in a hermitage girl to its fullest perfcc tion through the stages of separation, frustration, etc. In his own words, a play must prescnt the diversity of life, and communicate charm and sweetness to men of varied tastes:
traigu1J.yodbhovam atra lokacaritam niinii-rasam driyate ekam samiiriidhanam
niifYarh bhinna-rucer janasya bahudMpy
of
a
Some of his themes seem to be unrealistic such as the carrying message by a cloud}; The poet anticipates the objection and
answers it:
dkilma-jyoti!p.salila-marutiim samnipiita� kva meghab sandefiirthii� kva paJukar(1)aib prliTJibhilJ. prapQ1}iyii!) ?
i� autsukyad aparigQ1}ayan guhyalcas tam yayiice
klimiirtli hi prakrti-krpa1J.iib cetaniicetane�u. "Where is
a cloud, which is a composite of smoke, light, water are the messages that can be conveyed by
and air, and where
living beings endowed with strong limbs? Without considering this, the Ya� in his eagerness begged the cloud to carry his message. Those that are love-stricken are by natw'e unc1is criminating between conscious. and unconscious beings."6 Rama's longing for hiS lost wife may have suggested to Kalidfisa Ya.k.�a's sorrow for the wife from whom he is separated.
The clou,d .as a. messellger is an old, pl·e-Chri�tian. literary motif in China. We find It In Kiu yuan (or Chu yuan), the Chinese poet who died about 274. B.e. Cf. tllls echo of Megha-duta in HSukan: o Boating clouds that swim in the heaven a.bove· Bear on your wings these words to him I love. -H. A. Giles:.A. History qfCkinesl Literature, p. 119. 6.1.5. 5,
xiii
GENERAL INTRODUCTION
Life We do not know any details about KaJ.idasa's life. Numerous his n ame which have no historical value. From his writings it is clear that he lived in an age of polished elegance and leisure, was gready attached to the arts of song and dallce, dra'Wing and painting, was acquainted 'With the sciences of the day, versed in law and learned in the philosophical systems and ritual practices. He travelled widely in India and seems to have been familiar 'With the geography of the co un try from the Himalayas to Kanyakumari. His graphic descriptions of the Himalayan scenes, of the saffron-flower, the plant of which grows in Kashmir, look like those of one who has personal acquaintanc e with them He was sensitive to beauty in nature and human life. Kalidasa had self-confidence. In one place he s ays : "If you have hearts which can melt in pity, do not set aside this canto of legends have gathered round
.
mine."
lad Cia sargab
na me
ka1'U1)artiracittair bhavadbhilJ, prati;cdhaniyab?
This sense of assurance is not inconsistent 'With humility. He opens his RaghuvarhSa with a confession of his rashness in undertaking the work:
kva surya-prabhavo varh1ab kva ,ciilpavi1ayii matilJ, titir�r dustaram mohad u4upenlismi sligaram8 "Where is the race originating from the Sun and where is my talent limited in scope? Through infatuation, I am desh'ous of crossing with a raft the ocean that is difficult to cross."
mondaft lcavi-;yalaQ.-priirthi gamiIJiimy upahasyatam pramlulabkyc phale lobhiid udblihur iva 'Oiimana/;!9
"Foolish and yet longing for a poet's renown, I shall become object of ridicule, like a dwarf with his hands raised through greed towar!1s a fruit accessible (only) to the tall.H If he still prefers.
an
7. R. XIV. 42. The.contextual meaning of sarga h�eJ as in other pJ.a.ces grMt/fl J4Itram yadi sarga qa t" is, of course. 'resolve'. 8. I. 2. 9. I. S.
like
MEGHA-DUTA
xiv
to speak of the kings of the Raghu race, it is because
on ancient poets who have already are so compelling in
opened the way
their character.10
he
can count
and their virtues
Vamana in his KavyalaThkara defines nti as viSii!a padaracana, a particula r style of expression, and Vaidarbhi nti, of which KaIidasa is the master, as consisting of the following features: fletab prasadab samata madhuryam sukumfirata artha-vyaktir udfiratvam ojab-kanti-samadhayab
Suggestiveness, serenity, balance, sweetness, delicacy, clarity of sense, breadth of expression, vigour of thought, brilliance of
diction and harmony of sentiments.
The master artist suggests
by a few touches what others fail
to do even by elaborate discourses.
Kalidasa is famous for his economy
of words and naturalness of speech in which sound and sense match.
His pen pictures are graceful and perfect, the royal chariot in full
speed,u the running deer, IS O'rvaSi's bursting into tears,18 Narada's appearance in the sky like a moving kalpa-vrlqa.l& He is master in the use of simile.
sarasijam alluviddhaTh laivalenlipi ramyatk
malinam api himarhior lalqma la!qmim tanoti iyarn adhika-matlOjiia valkaleniipi tanvi kim iua hi madhuriifjiirh marpjanaTh nBkrtiniim
lotus, though intertwined with moss, is charming. The dark, heightens the beauty of the moon. This slim
speck, though
one, even with the bark dress, is more. lovely. For what is not embellishment of lovely forms ?"16
an
�:
iko hi dOjO gur;a-satim,;pate nimtEfjalindo/J kir�ltkaJ;
"Even as the single stain of the moon is not noticed by one who gazes at the beams that flow endlessly, even so no one dates to 10. 11. 12. Ill. 14. 15.
I.S. & i. V.l.4. S. I. 7. V. V. 15. V. V. 19. S.I.17.
GENERAL INTRODUCTION
xv
blame a shade of weakness in a hero's fame." Practically on every p age we have illustrations of Kalidasa's mastery over the use of figures of speech. KaIidasa's writings instruct not by direct teaching but by gentle p ersuasion as, by a loving wife. Mammata says: kiintiisarhmitatayo padeJayuje and rlimadivad vartitavyam, na '1iiva1}lidivat. By an aesthetic presen tation of great ideals, the artist leads us to an acc eptan ce of the same. We live vi cariously the life of every character that is set before us, and out o f it all comes a large measure o f understanding of mankind in general Kalidlisa projects his rich and glowing personality on a grea t cultural tradition and gives utterance to its ideals of salvation, order, love. He e..'Cpresses the desires, the urges, the hopes, the dreams, the successes and the failures of man in his s truggl e to make himself at h o me in the world. India has stood for a whole, integrated life and resisted any fragmentation of it. The p oet describes the psychological conflicts that divide the .soul and helps us to pull the whol e pattern together. Kalidasa's works preserve for us moments of beauty, incidents of courage, acts of sacrifice and fleeting moods of the human heart. His works will continue to be read"for that indefinable illumination about the human predicament which is the work of a great poet. Many of his lines have become almost like proverbs in Sanskrit. .
Religion
KumarasambFuwa opens with a verse where the poet speaks as if the Himalayas were the measuring rod spanning the wide land from the east to the western sea :
a.q, uttarasyam dili dsvatlitma hlrniilayo nama nagadhirajaq, parvaparau toyanidhi vagtIhya . stlzita/l PftkiVya iva manaaaq4alz.
He suggests that the culture developed in the Him.i1a.yan regions may be the 'measuring rod' of the cultures of the world.lII This culture is essentially spiritual in quality. 'We are ordiuaxi1y
MEGHA-DUTA
xvi imprisoned
in the whed of time, in historicity and so ar� restricted
to the narrow limits of existence. out of our entanglement to
an
Our aim should be to lift oursdves awareness of the real which is behind
and beyond all time and history, that which does not become, that which is, absolute, non-histori.cal being itsdf. We cannot think it, enclose it within categories, images and verbaJ structures. We know more than we can think and express in historical forms, The end of man is to become aware by experience of this absolute reality. C ompare the
The
words
of Raghuvamfa: sa brallmabluiyiirh gatim
iijagama,l7
of enlightenment reaches the supreme timeless life. The performer of good deeds has heaven for his share. We know the man
real by the deepest part of our being: iitmiinam iitmalla vetsi.18 The Real is the knower and the known: vec!Yam ca veditii CIisi.19 Again: yam a/qaram vedavido vidus tam litmiinam iitmal!J1 avalokayantam.'J.o The Supreme leads a life of contemplation. Though he grants the fruits of others' austerities, he himsdf performs austerities: svayarh vid.hlitli tapasa/z phaliiniirh keniipi klimena tapas caciira.21
The Absolute which is the Real beyond all darkness is superior to the division of spirit and matter. It is omniscient, omnipresent and almighty. It manifests itself in the three forrru; (tri-milrti), Brahma, Vi�Q.u and Siva, the maker, the preserver and the destroyer. These gods are of equal rank and a believer may select any form which appeals to him for worship. In daily life, Klilidasa was a follower of the Saiva system. The opening invocations of the three dl'amas show that Kalidasa was a devotee of Siva.
yii sr;#b srQ/tur aaya 'Oahati vidhihutamya havir ya ca h o tri ye doe kalam vidhattal;. Jruti-viiaya-g'U!lii yli stllitii l!Japya vifvam yam iihul; sarva-bija-prakrtir iti yaya prlir;.t'na/z priit;tavanta1;t. pratyakjahhil;. prapannas tanuhhir avalu vas taMir tZillJbhir £Jab
-$iikunatala
"May the Supreme Lord endowed with eight visible forms, water, the first creation of the Creator, (fire) which carriel! the OblatiO'l offered· according to. rule, (the priest) who is the offerer of the oplation, (those) two, (visible forms, the sun and the moon) which 17. R.. XVIII. 28. �8. K. II. 10; see BhtJgavadlftli. X. 19.,K. II.15; see BIuzgI1DallKfttI. XI. 201 K.,IU. 50.
Zt.lt.·I.57.
15. 17.
GENERAL INTRODUCTION
xvii
regulate ti me, (that AkffJa) which perpetually pervades the universe,
h aving the quality (s ound) perceptible by the ear, (the earth) which they call the source of all created things, (air) by which living crea tions (become) possessed oflife, (may he) preserve you."
vedante�u yarn ahur ekap�arh vyapya sthitam ,'odasi yasminn iSvara if)! ananya-v�aya� Jabdo yathlirthlikfaraft antar yaJ ca rnumuk$ubhir niyamita-pra1J.lidibhir mrgyate sa sthli1J.� sthira-bhakti-yoga-sulabho niJ.J,Jreyasaylistu vab
-VikramorvaJiya
"May he, who is hai led by the Vedantas as the Supreme Spirit, who still remains (transcendant) after pervading (both heaven and earth), to whom alone the specific designation l§vara (supreme ruler) applies true to a syllable, and he who is sought inwardly by restrain ing pr§.r,la and the o ther vital airs, by those who desire to attain (complete) emancipation, (may he) the eternal, who is easily attainable by the path of steadfast devotion, bestow on you supreme bliss."
The three methods of jfiana, yoga and bkakti are mentioned,
and the last is said to be the easiest path.
ekaiSvarye sthito'pi pra1)ata-bahu-phale yaft svayarh krttivlisfi1J. klinta-sarhmiJra-deho'pyavifaya-manasarh yab parastad yatinlim arllibhir yasya krtsnarh jagad api tanubhir bibhrato nabhimanab sanmlirgalokanllya vyapanayatu sa vas tlimasi1h vrttim ilaft
-MlilavilrJignimitra
"He, who, while possessing supreme powers that bear manifold fruits for his humble devotees, is himself clad in elephant hide, who, though having his body united with that of his beloved, is. yet the foremost of ascetics, whose minds are clear of senae-objects,. and who, though sustaining the entire universe with (his) eight fo�, is yet utterly free from a sense of egoity, may that Lord (Siva) dispel your tendency dominated by tamas, that you may behold the path of righteousness." The opening verse of Raghuvarh!a reads: vligarthliviva samPrktau vagartha..pratipattaye
jagatab pitarau vanik piirvati-parameJvarau
While. in
Malar;ikiignimitra,
the Lord should set us
on
the'right
MEGHA-DUTA
xviii
path, sanmiirgaj in VikramorvaJiya, he is said to be easily attainable
by devotion,
fold
forms is
bhakti-:Joga-sulabkaj in 8akuntala,
the L ord in his eight s een Immediate insight into the Divine reality is the .
aim of religion.
Though Kalidasa worshipped the Divine as Siva, his attitude
was not in any way exclusive or narrow-minded. He had the catholic attitude of traditional Hinduism.slI He trea ted with great respect
the views of others. In
praise him:
Raghuvamla, the
gods approa ch ViglU and
o thou who didst create this All, """ho dos t preserve it, lest it fall, Who wilt destroy it and its ways To thee, 0 triune Lord, be praise. As into heaven's water
run
The tastes of earth--yet it is one, So thou art all the things that range The Universe, yet dost not change. Far, far removed, yet ever near; Untouched by passion, yet austere ;
Siruess, yet pitiful of heart; Ancient, yet free from age-Thou art.
Though uncreate, thou seekest birth;
Dreaming, thou watchest heaven and earth,
Passionless. smitest low thy foes;
Who
knows thy nature,
Lord? Who knows ?
Though many different paths, 0 Lord, May lead us to some great :reward, They gather and are merged in Thee Like Boods of Ganges in the sea.
':['he saints who give Thee every thought, Whose every act for Thee is wrought,
Yearn for thine everlasting peace,
For bliss with Thee) that cannot cease.
�. YJlIUl Ohwaog telJs us that at the great festival of Praylga, KinJr Hall.. dedi · c:ated a sta.tue to the Buddha 011 the firet day, to the Sun the fivourite deity ..
,
xix
GENERAL INTRODUCTION
Like p earls that grow in ocean's night, Like sunbeams radiantly bright, Thy strange and wonder-working ways,
Defeat extravagance of praise.
If songs that to Thy glory tend Should '·17eary grow or
take an end, the blame, And not Thine unexhausted name.23
Our impotence must
bear
In Kumarasambhava,24 Brahma is praised as the highest God ;
the beginning, the middle and the end of the world. atha sarvasya dhatararh
te sarve sarvatomukham
fI
vagiJarh vagbhir arthyabhiIJ. praIJipatyopatasthire namas trimi2rtaye tubhyam p riik sri/el) kevaliitmane
p afciid bhedam UPe.Me ayonis tvamjagad-anto nirantakalJ, jagad-iidir aniidis tvam jagad-iJo niriJvara1J, litmanam litmana vetsi srjasy litmlinam litmanli guTJa-traya-vivbhiigiiya
jagad-yonir
litmanli krtinii ca
tvam
litmany eva praliyase
Kalidasa has sympathy with all forms of religion and is free from prejudice and fanaticism. Each p erson can tread thelpath which appeals to him,1l5 for the different forms of Godhead are the manifestations of th e One Supreme who is the formless behind all
forms.
wam
eva naT.!Yam kolli ca bhojyam bkolctli ca Jliivatab
vedam ca vediiii ciisi �iitii dhyeyarh cayat param.'iA6
Again :
ekaiva murtir
bibhide tridhJi.27
The objective of religion is freedom from subjection to time_ from rebirth, which D�yanta desires for .himself in the last verse.
mamlipi
ca
kJapayatu nilalohita{l Iitmabhi21J. .
punarhhavath parigatafaktir
23. Tran,slation by Arthur W. Ryde:r, 24. n. 3, 4, 9, 10. 25. K. X. 26. 26. K. II. 4, 15• . 27. K• . VII . 44:.
Kalidasds
Workt: 'Everyman's Libra:y.
MEOHA.-DUTA
Raghu, after installing Aja on the throne, retires to the forest, takes to a life ofmeditation and attains that which is beyond darkness : tamasaJ;. paramapadavyayarh
puru;am yogasamadhinii ragkufJ,28
Until the end of religion, the realisation of the Supreme, the ascent
from the vanity of time is attained, we will have
opportunities
for making progress towards the goal. In this journey towards the end we will be governed by the law of karma. Kalidasa accepts the theory of rebirth : ramy5(&i viktya madhuram1 ca niSarfVla sabdan paryutsukibkavati yat sukhito'pi jantufJ, tat; cetasli smarati nilnam abodhapurvam bhlivastkir5(&i jrmanlintara-sauhrdani
Sita, when rejected by Rama, says :
"When he is born, I'll scorn my queenly station Gaze on the sun, and live a hell on earth,
That I may know no pain of separation From you, my husband, in another birth."1I9
. This life is one stage in the path to perfection. Even as the present life is the result of our past deeds, we can shape our future by our efforts in this life. The world is under a moral government. The good will ultimately triumph. If we have no tragedies in Kili dasa, it is because he affirms the ultimate reality of concord and decency. Subject to this conviction, he induces our sympathy for the hard lot of the majority of men and women. Dharma Kilidasa)s writings dispose of the misconception that the Hindu mind · 'Wa8 attentive to transcend«mtal matters, and neglectful m. mundane affairs . Kalidasa's range of ex'perience was wide. He �oyed life; people, pictures and flowers. He does not separate men from the cosmos an,.d from the forces of religion. He knows the full ritnge .of human sorrow and desire, meagre jOy an:� endless hope •
• .� V1II. 24 ·
•
..La;I31V:. fi6. ltyder's . t:rra.nslatiotL:
'Ho' rtf'ers to the .cbild
in hcr �
GENERAL He points to
xxi
INTRODUCTION
a harmony of the four
main interests of
human life,
dharma, artha, kiima an d molqa, the ethical, the economic, the artistic and the spiritual. The economic inclu ding the political and the artis tic should be controlled by ethical norms. Ends and mean s are bound together. Life becomes livable only
cleanse and illuminate those ti es
was
through
the p o et ' s task.
valid ties. To
Describing the first king in Raghuvamsa" Kalidasa says that Dilipa's artha and kiima were ,centred in dharma :
apy artha-kiimau tasyastiim dharma eva mani#1.lfib.30 Kiilidasa did not feel
called upon to choose between religion and
morality on the one si de and progress and se curity on the other.
These are not hostile to each other.
History is not a natural but a moral phenomenon.
It
is not
Its essence lies in the spiritual which The historian shoul d penetrate and com
mere temporal succession.
informs the succession. prehend that inward moral dynamism. History is the work of man's , ethical will of which liberty and creativity are the expressions. The kings of the Raghu race were pure from birth, ruled over extensive
domains stretching from earth to the
ocean, asamudra
kJitilfiniim .31 They amassed riches for charity, spoke measured words for the sake of truth, were eager for victory for the sake of glory and were householders for the sake of offspring. They gained knowledge in childhood, enjoyed the pleasures of life in youth, adopted the ascetic life in old age and in the end cast away their bodies by yoga or meditation.
ryiigif;Ya sarhbhrtiirthanfirh sa9'iiya mitabhi4itLiim yaJase vi,jigiliJ.t/firh, prajiiyai grhamedhinfim iaifave' bhyasta-vidyiiniim, yauvane vi�aJai#t/iim vardhake munivrttinam Jogenante tanu-ryajiiw2
There is time for study under
life and towards the
a teacher" a
period for
married
end of life's journey we have' to set our hearts
on things eternal. In. Vikramorvaiiya, the king tells his son that it is time he entered the second stage of the householder, after having completed the stage of studentship. SO. I. 25, 3 1 . I. 5. 32. I • . 7..s,
MEGHA-ntiTA
qyi
'DfJtsa
samayaQ,·38
tIIitam tvayii pilrlJasminn a.srame, dvitiyam adhyiisitum tava
The kings collected. revenues for the
prosperity of their subjects, up water to give it
projanam eva. bkfJtyartkam,8I. even as the sun takes
back a thousand-fold. The rulers must stand up for dkarma, justice. The king is the real father of the people, he educates them, protects them and provides for their livelihood, while the actual parents are only the causes of their physical birth: prajiiMrh. vinayadMniid ralqat)4d bharat].1id api sa pitli pitaras taslirh. kevalamjanmahetavalz .as
Every one in Aja's kingdom thought that he was a personal friend of the king : aham qoa mato makipater iti sarvaQ, prakf'tiivo.cintayat.38 The ascetic tells the king in Slilcuntala : "Your weapon is for the protection of the afBicted and not for striking at th e innocent, " lirla-trlJV4ya vaQ, iastram na prahartum anagasi,31 Bharata, the son of D�yanta and Sakuntala, from whom this country takes its name, is called sarvadamana-not merely one who conquered every ferocious beast of the forest but has achieved self-control also. Self-control is essential for rulership.88 In Raghtroarhia,a8 Agnival':Q.a gives himself to dissipation. He has so many mistresses that he cannot always call them by their right names. He develops a wasting disease, and as, even in that condition, he is unable to resist the pleasures of the senses, he dies. Kalidisa gives us pictures of the saint and the sage, the hero and the heroine with their nobility. They are the directing minds within a civilisation. Nobility and self-control are their distinctive characteristics. Discipline is essential for a decent human life. Kilidisa says : "Even. though produced. in a mine, a gem. is not worthy of being set in gold, 0 noble lady, so long as it is uncut."
SS. V.
M. !S . 36. S7, '
apyliharfJ-samutPannii 'IflQI)i-jatir asumsh,ta j� kal�i na hi sarh.yogam arkati.40
R. I. I 8. R. 1. 24-. VIII. S. I. 10. Sage MirIca renwla : Marata iti 10. bharlJ{l4l. He is he � the world, VU. 33 •
38.
•• , xxx.: , IfQ. M- V IS. '
.
called Bharata becaute
xxiii
GENERAL INTRODUCTION
In
the s pirit of the country, Kalidasa exalts
asceticism :
the
quality of
iama-pradhane$U tapo-dhanc$U gilrJharh hi dahatmakam asti teJa/J-
In hermits with tranquilli ty as the chi ef chal'acteristic, whose wealth ' is p enance, there is, verily, concealed, consuming fiery energy.41
Though Kalidasa's works exalt austerity and adore saints and sages, he does n ot worship the begging bowl. The laws of dharma are not static and �nchanging. The tradition of the past has to b e interpreted by one's own insight and awareness. Tradition and individual experience interpenetrate. We are the inheritors of the past but are also trustees of the future. In the last analysis, each one must find the guide for one's conduct in the innermost centre of hi mself. When Arjuna in the opening chapter of the Bhagavadgita declines to conform to the demands of society which impose on him as a ki!atriya the obligation to fight, when Socrates says, "Men of Athens, I will obey God rather than you," they are taking their stand on inward integrity rather than on outward conformity. Kalidasa tells us that in matters of doubt about one's duty, the authority is the voice of conscience, the wisdom of the heart : satiirh hi sarkdeha-pade$U vastU$U prama1)am antab-kara1)a-pravrttaya�. 42
Love of Nature In early Vedic literature the unity of. all life, animate and is indicated and many of the Vedic deities are personi fications of striking aspects of nature. The idea of retreat into nature, a mountain top or a forest hermitage, in search of the revelation of the spirit of the universe has been with us from early times. As human beings we have our roots in nature and participate in its life in many ways. The rhythm of night and day, changes of seasons suggest
inanimate,
41.
42.
S. It. 7. $. 1. 19. Cf. Manu: , Jrutib smrtilJ. sad<'kirab !04SJa ca priyam dtmana[l sarnJ'ak samkalpaja[l kiirM dharmarnalam iliam Slitlm. Kumirtla quotes K!lidasa in his TantrfJJJlrtlilca�
MEGHA-DUTA
man's changing moods, variety and capriciousness. Natw'e had not
become mechanical and impersonal for KaIidasa . It had still its enchantment. His characters have a sensitive appreciation of plants
and trees, of hills and rivers and a feeling of brotherllood for animals. We see in his writings flowers which bloom, birds which s oar and animals which spring. We find a striking description of the love of the cow in RaghuvarhSa.43 The �tu-sarhhiira gives a moving account of the six seasons. It reveals not only Kalidasa's vision of nature's beauty but also an understanding of human moods and desires. In Siikulltala, when the curtain rises, Sakuntala and her two frien ds are seen watering the plants, creepers and trees of KaJ;l.va's hermitage where the stars and colours in the sky, the pretty flowers and the lively animals are vital parts of human experience. Sakuntala does not look upon nurturing the plants as a drudgery but finds joy in it : na k4valam
tiita-niyogai}� asti mamiipi sodara-sneha ete.ru
"-not merely because my father has ordered it, I also have fraternal
affection for them.. "
For Kalidasa rivers, mountains, forests, trees p ossess a conscious individuality as animals, men and gods.
Sakuntala is a ' child of nature. When she was abandoned by her ama"TluJi mother, Menaki) the birds of the sky pick her up and rear her until the sage Kal,1va takes her under his fostering care. Sakuntalii tended the plants, watched them grow and bloom, and the occasions when they burst into blossoms and bore flowers and fruits were celebrated as festive days. Like a loving mother Sakuntala reared up her pet animals and plants. No wonder they responded. On the occasion of Sakuntala's wedding, trees sent their gifts, forest deities showered their blessings and cuckoos cooed aloud their joy. The hermitage was filled with grief at the prospect of gakuntala's departure. The deer drop their mouthfuls, the peacocks stop their dancing and the creepers shed their leafy tears. KaJ;l.va says of her: .
piiturh na prathamath vytJVasyati jalath yusmasv apit8$U yii nadatte priyamat)�anapi Mavatliti1. sns/una ya pallavam
iitfye va/J, kusuma:.prasati-samaye yasyiJ bhav6!y utsavai} s!JIam yati Jalcun.tala patigilutth sarvair anujf1.ayat4th .
4it:' 1:t
xxv
GENERAL INTRODUCTION
"She who never tries to drink water first when you have no t drunk,
who, though fond of decoration, d oes not out of affection for you
pl uck a blossom, wh os e great joy is at the period of the first appearance of bloss om, even that Sakuntalii now d eparts to the house of her husband, let her be permitted by you aU."43a When Sitii is cast away, the peacocks abruptly stop their dance, the trees shed off flowers, and the female deer throw away the half ch ewed darbha grass from their mouths :
darbhlin
nrryarh mayurlilJ, kusumlini vrkiiilJ, upattfin vijahur harilJyal) tasyiilJ, prapanne sama-dulJ,kha-bhfivam aryantam lisid Kiilidiisa
ruditam vane'pi.44.
takes up an object and creates it to the eye. He had
a strong visualising power. Look at the vivid
description of the
flight of the antelope which Du�yanta pursues to the hermitage :
gnviibhatigiibhiriimam muhur anupatati .ryandane baddhadn#1J, pafcfirdhena pravilla{1. sarapatanabkayiid bhuyasfi purvakayam darbhair ardkiivaliq.hai� Sramaviv!ta-mukha.bhrarhSibhi� kirr;.avartmii pafyodagraplutatvfid viyati bahutararh stokarh urvyfirh prayati
"His glance fixed on the chariot ever and anon he leaps up
gracefully bending his neck; through fear of the arrow's fall he draws ever his hinder part into the front of his b ody ; he strews his
path with the grass, half-chewed, which drops from his mouth op ened in weariness ; so much aloft he bounds that he runs rather in the air than on earth." Kiilidiisa's knowledge of nature was riot only accurate but sympathetic. His observation was wedded to imagination. His descriptions of the snows of the Himalayas, of the music of the mighty curren t of the Ganges, of the different animals illustrate his human heart and appreciation of natural beauty. No man can reach his full stature until he realises the dignity and worth of life that is not human . We must develop sympathy with all forms of life. The world is not made only for man.
Love and Marriage The love of man and woman attracted Kiilidisa and he lavished all his rich j,magination in the description of the different kinds of 48a-IV. 9.
44. It. XIV. 69.
MEGHA-DUTA
xxvi
love.
He does not suffer from any inhibitions.45 His women have
a
greater appeal than his men ; for they reveal a timeless universal
quality, whereas the men are dull and vari abl e. They live on
surface while the women suffer from the depths. The
the
competitiveness
and self-assertion of the man may be useful in the office, factory or battlefield, but do not make for refinement, charm and serenity. The women keep the tradition alive with their love for ord er and
harmony.
When Kalidasa describes feminine beauty, he adopts the
conventional account
and falls into
the danger of sensuous engross
ment and sometimes over-elaboration. In Megha-data, the Yakrja gives a description of his wife to the cloud : tanvi, iyami$, 1ikhari-daJaM, pakva-bimbiidharoi!m, madhye /qama, cakita-hari1J.i-pre/qat)a, nimna-ntibhib
JroT}i-bharad alasa-gamanii, stoka-namra stanabhyam,
ya tatra syiidyuvati-viiaye STilir iidyeva dhatuJ;. "There she lives who
is,
as it were, the first creation of Brahma
amongst women, slim, youthful
teeth,
a
lower lip red like
a
ripe
(or fair in complexion) with pointed bimba fruit, thin at the waist, with
her eyes like those of a frightened female deer, with a deep navel, slow in gait on account of heavy hips and bending a little low by the . weight of her breasts. "46 See also the king's description of Malavika. in n.
dirg�arh iarad-indu-kanti vadanarh biihU natiivamsayo!j. sarh/qiptarh nibi#onnata-stanam ural.J, parJve pramrile iva madhyiJ) Pii1J.imito'mitarh cajaghanarh piidiivaralanguli tkando nart tur yatkaiva manasi Jliflarh tathlisyii!j. vapul)
tpn
45. See M. 11. 61 ; IV. 15. A. W. Ryder observes : "He moved among men and women with a serene and god-like tread, neither self-indulgent nor ascetic, wi� ..mind and se:tlSe5 ever al� to every form of bea.uty."-Translation, p. XUl. �. In !rilglira-tiloka, sometimes attributed to KaIidisa, we find the following : indivare/UI 1U!lI4M!n, mukham amhujma kundena dtmtam, adlwam nlJ.lXl..fJ allavma
allglini carnpakadalaib sa vitlJriiya · odMb Mnte kalluufz ghalitalJiin upaIena Clta[z . ''Your eyes are like blue lotuses, your face like a lotus your teeth are like jasmine,· your lower lip is like a tender shoot, your limbs are like the leave5 of 4ie Campaka, tell me then beloved, how the Creator formed · your heaTI: Of stone.'� •
xxvii
GENERAL INTR.ODUCTION
"Her face has long eyes and the lustre of the autumnal moon, the arms slope down by the shoulders. Her chest is comp act with thick and welling breasts ; her sides are (smooth) as though planed off. Her waist is measurable by the palm of the hand and her hips are
s
broad and the feet have curved toes and her body is fashioned to suit exactly the fancy of the mind of a dancing master." He gives us here a pen picture of a typical dancing girl which
may well make a painter envy.47 In the gallery of women KaIidasa presents, we have many interesting types. For many of them the conventional pretences and defences of society did not work. Their sensitive natures were not adjusted to social expectations. Their conflicts and tensions called for integration. The men felt certain and were secure. They
accepted polygamy as the normal rule. But Kalidasa's women had imagination and understanding and so were victims of doubt and indecision. As a rule they . were not fickle but trustful, sincere and loving.
In Ragkuvamsa King Dilipa lives the highest ideal of family life with his queen SudalqiQa. Agnival'lJ.a, the last king in the Raghu varilSa, is a prey to lust and degradation. In between are Raghu, Aja and Indumau, Da§arath� with his three queens, Rama and Sita and many others. Indumati married Aja in a Svqyamvara choosing him from among a number of suitors. Love is deepened by hardships and sufferings borne for the sake of love. It grows a hundred-fold in its intensity by obstacles to its realisation even as the current of a river blocked on its way by uneven rocks (flows with greater force) :
nat[ya iva pravtikaJ? viiama-filli-sankata-skhalita-vegaJ; vighnita-samagama-sukko manasi-iaya!; iata-gut)o bhavati.'8 Even in the absence of fulfilment, the yearning gives all the joy that love means :
akrtarthe'pi manasije ratim ubhaya-prlirtkanii kurute.'9
The pa.thos of separation finds poignant expression in Megha-dUta, in R4ti-vilaptl° a.nd in Aja-vilapa.61 47. 48. 4:9. 50. 51.
See also M. Ill. 7, the description of Pirva.ti in K. a.nd of 'Orvaii V. III. 1 8. S. 11. 1 . K . IV. S ee aJso V. III. 10. :El. VIII .
in
V.
MEGHA-DUTA
Love happy in union In
bears
is found in VikramorvaSiya.52 queen is called Dharil}i
Malavikagnimitra, the
b ecaus e she
everything. She has dignity and forbearance. When Malavikii
attracts the
noti ce of the
king in a dance scene which the clown
in words of harsh satire that such efficiency would be of advantage if shown in affairs of the state : has contrived, she rebukes the king
yadi rajakiiry8$U api idr# upaya-niputJataryaputrasya tatab sobhanarh bhavetP' When her husband's affection shifted to Iravati and then to Mala
vika, her devotion to him persists. The parivrlijikii, Kausiki observes : "These noble women attached to their lords serve them even though it be against their own desires" : pratikUlenapi patim
sevante bhartrvatsalli� sadhvyab
religious life. She comforts and distracts the mind of Dharil}i. Though a nun, she is an authority on the dance and the cure for snakebite. Iravati is passionate, impetuous, suspicious, demanding and dictatorial. When she was abandoned in favour of Malavika. by the King, she bitterly complains and rebukes the King in harsh words : "How immodest of feeling is my lord ?" aho avinita-hrdayo' yam iirya putraJ.t. 'You wicked one, you are absolutely untrustworthy' : la/ha, avilvasaniya-/zrdayo'si. "Oh ! These men are untrustworthy by nature. We, like innocent deer snared by the music of the hunter, fall victims to their deceitful words and do not understand. By a series of misfortunes, Kausiki is led to the
alto avilvasaniyal.J. P!lrUial.J.. litmano vancana-vacanarh pramtiTj.i/crtyakiiptayii vyadhajana-gitagrhita-cittaya hariTj.yii iva etan no vijffiitarh
maya.64
Agnimitra's love for Malavika is of the sensual type. The king is fascinated by the' beauty and grac� of the maid. , In VikramorvaJiya, we have a blend of the human and the super hu.ma.n . The KoJirifjaputri is first resdess and petulant. When she finds that Orvasi is a heavenly 4.psaras, she acquiesces in her lot. She IS portrayed, as the ideal Hindu wife who gives u:p her own happiness for that · of her husband. The clown remarks
GENERAL INTRODUCTION
xxix .
whether she wa s not making a virtue of necessity, spitting out grap es on the pri ncipl e "Fool, my lord
is so
abMve viraktib.
sour
She rebukes the clown :
dear to me that even at the risk of putting an
end to my pleasure, I wish him all happiness. "55 ahark Malv atmantil;
sukMvasanenaryaputrarh
nirvrtaiariram
karturh
iccMmi. She
lived on
friendly terms with "Orvasi and the queen's attitude had its reward
and "Orvasi pays her respect and precedence. "Orvasi asks her son to bow to the elder mother before entering on the second stage of the householder-ehi, vatsa, jyq;ka-mataram abkivandasva. OrvaSi's cha racter is somewhat removed from normal life. She has power to watch her lover unseen and overhear his conversations. She is lacking in maternal affection, for she abandons her child ra ther than lose her husband. Her love i s selfish and her transformation is the direct outcome of a fit of i nsan e jealousy.
Puriiravas sings in rapturous terms of love and says that the sovereignty of the world is not as sweet, as blissful, as the lover 's
labour at the fee t of the beloved.5s The world is dark and desolate
to whom love is denied but it is bright and blissful to love triumphant. Geothe's lines about
Sakuntala are well-known :
"Wouldst thou the younge r year's blossoms
and the fruits of its decline,
And all
by which the soul is charmed, enraptured,
feasted, fed,
Wouldst thou the earth and heaven itself in
one sol e name combine ? I name thee, 0 Sakuntala, and all at once is said."
In this
play we have the development of blossom into fruit,
of earth into heaven, of passion based on physical attraction into love
based on moral beauty and spiritual understanding. Sakuntala
inherits from her mother Menaka, beauty
from her father Visvamitra,
and lighth.eartedness, and
the famous ascetic, patient and forgiving
love. Freedom of sense and austerity of life brought her into being. In her own life the two, freedom and restraint, earth and heaven
should combine.
55. III. The Bengali heroine Milaiicarnlli whose husband had married a. second time and left her unloved and forgotten sa.ys ; "Though I die now and b�me a bird or a lesser CJ:eature or whatever befall me, I care not, fOl' I have seen my darling happy." 56. Ill. 19.
MEOHA-DUTA
In the first Act we find all the impulsiveness of youth. The daughter of the hermitage in the first outburst of passion gave herself away in si mpl e innocence and complete trust to the king. She followed the unsuspecting path of nature as she had not learned to control her feelings and regulate her life by norms ;
gandharver;.a vivahena bahvyo riijar$ikanyakab srflyante parir.titas tab pitrbhis ciibhinanditab a y daughters of royal s ages are heard to have been married received the approval of their fathers."57 KaI).va when he hears of the marriage blesses it. Kalidasa in verses of tend er sorrow describes her departure from the hermitage to her husband's place. The very trees bid farewell to Sakuntala in lovi ng kindness. KaI).va is filled with sorrow : "M n
by the
Gandharva form of malTiage and they have
yasyaty a4Ja sakuntaleti hrdaYa1h samsPr�tam utkar.tthaya kar.tthab stambhita-bii$pa-vrtti-kal�af cintii.faq,a1i! darfanam vaiklavyam mama tiivad idrfam idarh snehad arat)yaukasalt fJif/yante grkir.zab katham nu tanaya-vifle$a-dubkhair navaib.
"At the thought that SakuntaHi will leave this very day my heart is smitten with grief, my voice is chol�ed with suppresse<;l tears, my sight is dulled by anxious thought. If so great is the affliction through affection of even me, a forestdweller, how much more are houSeholders tormen ted by fresh griefs at separation from their daughters. " KaI).va gives her advice :
�asva gurfln kuru priyasakhivrttim sapatnijane
bhartur viprakrtiipi rOfafJ,atayii mii sma pratipam gamal;. bhflY#tham bkava dalqir.za parijane bhagyep,e anutsekini yan� 6r;arh grhir.zi-padarh yuvatayo vama/.l kulasyadhayalt.58
"Serve your elders, take to the behaviour of a dear friend to Y9ur co-wive�. Even thoqgh wronged by your husband, do not, out of anger, be of tefractory spirit; be ever courteous to your attendants, do not become arrogant in prosp erity. Thus do young 57. III. 22. See Manu lII. 22. It is a �e arisi:og fi:Qm love lc6tna$amMlWa or mu� inclination, an}iw!1ectM of a youth and xnaid. It is COIlcl1;tded . �t any rites and without the ,knowledge of the eld.erl. 58'. S. IV. IS.
GENER.'l.L INTR.ODUCTION
xxxi
women attain the status of housewife ; those of an opposite character are banes of the family." Du�yanta, through forgetfulness for which the poet does not make him responsible, does not recognise her. He says that he should not look at another's wife : anirvtzrrj.aniyam parakalatram. Sakuntala suffered the worst that could happen to a devoted wife : She is disowned by her husband and disgraced. Her mind becomes vacant and she stands there lonely, filled with terror, anguish and despair. The poet narrates her endurance of desertion, her fortitude in suffering, her later disciplined life till she is restored to her husband. Love is not a mere affair of the senses ; it is a kinship of spirit. Both Du�yanta and Sakuntala suffered, were disciplined by sorrow, and obtained the reward of a spiritual harmony. The youthful flush subsides ; the gust of passion dies out. Love is won at a higher level and the brief glow of pleasure is turned into a steady life of bliss. Passion is linked with the sanctities of life. Nature and grace blend in harmony. Kalidasa does not judge the first union of lovers as a moral lapse. They are not sinners but they have to grow through suffering. When Parvati approached Siva performing tapas with the object of marrying him and started to 'serve him in different ways, Siva was unmoved.
pratyarthi�bhiltQm api tiim sarrtadh.eb lufrfliamii1,lQm giriJo' numene. vikarahetau sati vikriyante
YBiQm na cetarhsi ta
eva dhirab
The marriage of the two was essential for the birth of Kumara, who would save the world from the terror and destruction which the demon Tataka was forcing on it. So Indra sent , the god of love, Kama to disturb the concentration ofSiva. When Kama approached Siva, the latter was sitting with closed eyes, his senses withdrawn in samiidhi, still like a rainless cloud, like a waveless ocean, like an unflickering flame.
apam ivadharam anuttarangam antaScara1'jiirh 11tIJ'YUta'rh nirodhiinnivatan�lcampam iva pradipam.69
avr#i--samrambham ivambuvalzam
59.
III. 48.
MEGHA-DUTA
xxx ii
When Siva was disturbed somewhat, he op en ed his eyes and fire flashed from his third eye and reduced Kama to ashes. In the mean time Parvati felt that her beauty was of little use :
vyartharh samarthya lalitarh vapur litmanas ca.60
She decided to win Siva through the penance of the type in which
Siva himself was engaged :
iyeta sli kartum avandhya-rilpatlirh
samadhim listhliya topobhir litmana�. 61 She wished to win Siva not through the attraction of her body but by the sun-ender of the heart. She lost her fai th in artha and klima but believed only in dharma. anena
dharmM. savisciam adya me trivarga-slira(i, pratibhliti. e8
When she
was tol d
about the oddities of
Siva,
she rebukes the
Brahmin interlocutor with the words that the peculiar conduct of
great souls and its causes are inscrutable and understand them laugh at them.
the
fools unable to
alokaslimlinyam acintya-hetukam
dvi.tanti T/Ia1!diil) caritam mahiitmanim i 63 The ridiculing Brahmin turned out to be Siva hi mself. He said to Um.a: " 'From 'this moment, 0 shy maiden, I am your slave, bought by your penance.' So spake he whose crest is the moon and straight away all the fatigue of her self-torture vanished. So here is it that fruitful toil feels as if it never had been."
adya prabhrtJ avanatiingi tavasmi dlisa(i, lcrilas tapobhir iti vlidini candramaulau
ahnaya sa niyamajam ldamam utsasarja lclt/M. pludena hipUfl4r navatam vidhatte 60. Ill. 75. 61. V. 2. 62. V. 38. er. "To me there is no joy 'in . that union where the two are not equally . ardent for each other." IiMturoIkQl}lhit'l1!i b prasitidyoJa sam4gatn4Tliipi. ratir lIlI .mam· pran F4Spt!r.Il.ptap:i-nirasO§OT uaram. iarira-naso'pi . slZm6nur6gl£)lilO . M 1II. 15. .'
. m. v. 75.
GENERAL INTRODUCTION
The truth illustrated here is that love born of sense attraction
should be transformed into love based
on
austerity and control
.
While striving t o reach heaven, both Parvati and Sakun tal a had to skirt the edge of the abyss.
Sex life is not inconsistent with spiri tual attainment. Wild under
life or unrestrained passion is inconsistent with it. Sex life
law and restraint is spiritual in character. One can lead the life a hermit in temper. The Upani�d
of' a householder and yet be
says : enjoy by renunciation,
tyaktena bhuiijithiib.
The goal of life is joy, serenity and not pleasure or happiness.
Joy is the fulfilment of one's nature as a human being We must .
affirm our being against the whole world, if need be. When Socrates was co ndemned to death or when Jesus was crucified, they did not take death as defeat but as fulfilment of their i�eaIs. The aim of love is a happy harmony of man and woman The concept of ardhanarii vaTa brings it out. 64 The wife does not b elong to the husband but makes a whole with him. The wife is the root of all social welfare. .
kriyiit)4rh khalu dkarmyiir,iirh satpatnyo mula-MrflfJ.llm.
The
wife is
the saha-dharma-cliri1J.i.
iyath corvafi yavadiiyus tava saha-dharma-cari1)i bkavatzl.65 with him in the performance of all his duties. Indumati was Aja, a housewife, a v.rise counsellor, a good friend, a confidante and a beloved pupi l in learning the fine arts. She is to
grhi1J.i sacival;. sakhi mithal;. priyaJivii lalite kaliividhau. Kalidasa believes that marriage is fulfilled in parenthood.
The physical attraction is sublimated through suffering caused
by misunderstanding, separation, desertion, cruetly, etc. and attains its fulfilment in the child. The marriage of Siva and Parvati was brought about for the birth of Kumara. This country is named after
Bharata, the son of Du�yanta and Sakuntala. In Raghuvarilsa, it is said that the love of Dilipa and Suda�il).a attained increase when it was shared by the son also : 64. See. R. I. 56. 65. V., V. 1 9·2 1 . 3
svMfl:)l6Vo. havirbhujam. K. I. 50. jmm1)i Jaririirdhah4rMl lr.arizsya:
MEGHA-DUTA
xxxiv ratha1igamlmnor
iva bhiiva-bandhanarh
habhilva yat prema paraspariiSrayam vibhaktam apy ekasutena tat tqyob,
parasparasyopari paryaciyata. 66
In RaghuvamSa Ill. 23, Kalidasa says that Dilipa and Sudak rejoiced in the birth of their s on even as Uma an d Siva were gratified by the birth of Ka.rttikeya, as Sad and Indra by the birth of Jayanta.67 The marriage of Du�yanta and Sakuntala found its fulfilment in the birth of their s on Bharata. The birth of Kumara was the main aim of the marriage of Siva and Parvati. Kalidasa loves children as it is evident from his descriptions of Bharata,
�ina
Ayus, Raghu,
Kumara.
For Kalidasa the path of wisdom lies in the harmonious pursuit of the different aims of life and the development of an integral personality. He impresses on our mind these ideals by the magic of his poetry, the richness of his imagination, his profound knowledge of human nature and his d el icate descriptions of its most tender emotions. We can apply to him the words of Miranda in the Tempest : o Wonder, How many goodly creatures are there here ! . How beauteous mankind is ! 0 brave new world, That has such people in't.
S. RADHAKRISHNAN
66. R. Ill. 24. 67. 1Iinii-tlflillkau JarlJ-jfJ1/1TllZfliJ "aiM, yathii jqyantena J� tatM ntPab sa. ca sut6na mligadki nanandatus tat-satlrJ4na tat-.samau:
INTRODUCTION
INTRODUCTION
�
"':ver since the editio princeps of the Megha�data was published r Horace Hayman Wilson at Calcutta in 1 8 1 3, the poem has been
inted, edited and translated very often in India and abroad. Its at popularity and currency are also indicated by the existence of a large number of original manuscripts in the different libraries �
of India, Europe and America, as well as by the fact that more
than fifty Sanskrit commentaries on this poem are known, of which the more important ones are now available in print. Editions of the Text From Auf�echt's descriptionl of the manuscript on which
Wilson's earliest edition was based, it app ears that it
was most
pro-
1:5ably copied from the comparatively modern Colebrooke manuscript
(no. 3774/ 1 584) existing in the India Office Library,!' Written in Bengali characters, this manuscript of the text contains, along with
Mallinatha's
Sarhjivani,
five Bengal commentaries, namely, those
(Tatparya�dipika), Kaly�amalla (Mfilati), Bharata�mallika (Subkodha) , Rimanatha Tarkilarllkara (MukfAvali), and Haragovinda Vacaspati (SarhgatoJ). A glance through our of Sanatana Gosvimin
critical notes will show how closely Wilson's text, prepared
at
Calcutta, follows the readings of the Bengal commentators, especially
those of San;atana Gosvamin and Bharata�mallika. Although Wllson had Mallinatha's better known commentary before him, there can be
no doubt that he represents, mostly, in his readings, the tradition of the Bengal commentators of the text. 1. Aufrecht. Catalcgus Coditum Sanscriticorum Bodleianae, Oxford 1864, no. 218. This is clear a1so from Wilson's preface to the second edition (London, 1843)� p. vi. Wilson gives a free English metrical translation and some notes.-Full bibliography of editions etc., mentioned below, will be found in our · Select . Bibliography. 2. J. Eggeling, Catalogue of Sanskrit Manuscriptt, vii (londOn 1904), p. 1442. S. This name is not given in the MS, but it is found in the MS which VidyasagaJ:' used . for his edition.
MEGHA-DUrA
4
The edition of J.
Gildemeister, which came out at Bonn in
1 841, was based chiefly on a collation of Wilson' s te.xt with three
other manuscripts, two of which (Dcvanagari and Bengali)
c ame
from Paris and one (Bengali) from Copenhagen.4 This edition (of
the text only) is more critical, and excludes as spurio us a number of stanzas from the traditional text of th e Megha-duta. In India Mallinatha's commentary, with the text, began to be printed first at Benares in 1849, then at Calcutta (Madan Mohan Tarka Iamkar) in 1 850, at Madras (in Telegu characters) in 1 859 and at Poona ( Kri shna Shastri Bhatavadekar) in 1 866. In 1 869 Ishwar Chandra Vidyasagar brought out at C al cutta a careful edition of the text with Mallinath a' s commentary in Devanagari characters.s
He might have be en aware of Wilson's edition of the text, but there is no indication that he knew that of Gildemeister. Already
niitha
had declared the spurious character
of
Malli
several stanzas ;
Vidyasagar's edition is notable for marking out a few more,6 as well as for its appendix (v.rritten in Sanskrit) which contains useful critical notes and various
readings culled chiefly from Be ngal com
mentators. Adolf Friedrich Stenzler u tiliz ed all this material and published his well-known edition (of the text
only)
at
Breslau in
1 874. In addition to Gildcmeister's one Devanagari and two B engali
manuscripts, Stenzlcr utilized only one more D evanagari manuscript
from Berlin (Chambers 1 52) ; but his edition
is notable for its critical Vidyasagar) from
sense, as well as for its notes whieh cite (following
the five Bengal commentaries mentioned above.
In
India Mallinatha's text and commentary continued to be
printed ; but one need mention only the editions of Kashinath
Pandurang Parab (Bombay 1 877) and Gopul Raghun5.th Nandar
gikar
(Bombay 1 894) .
It is not
known on what material the text
4. This is the MS (without number), dated 1 826 A.I)., written in Bcngati characters and containing 1 1 7 stanzas, in the Royal Library of Copenhagen, which. is described in N. L. Westergaard's Catalogue (Copenhagen 1846) . p. 1 Sb, no. xxx. It contains the Srllgiiratilaka (23 vcrseg) , which also Gildemeister includes in his edition (sec his Preface, pp. vi-vii) . 5. The Preface only is written in Bengall. 6. We are informed. ill the Preface that Vidya.�agar utilized for his text the Benares, Calcutta and Bombay editions, as well 80' a MS from the Clalcutta Sanskrit Collcge Library. These source-texts contained respectively 1 2 1 , 1 1 8, 125 and 1 1 6 stanzas; but even with such meagre and uncertain material Vidyasagar had the critical acumen to declare that oniy 1 10 BtllnzM were genuine.-VidYMagar was elected Honorary Member of the Royal A,latic Society in 1865 (JRA.S. 1865, p. 15).
INTRODUCTION of Parab is ba�ed ; but Nandargikar
gives
5 a d etailed account of the
manuscripts , editions and commentaries utilized, a nd
variant readings
from
fully
notes
them . B esides Wilson a nd Vidyas agar, he
used the text and commentary pri nted at Calcutta, respectively by Ajit Nath Bhattacharya ( 1 870) and Pandit Prananath, a Kashmir Brahman ( 1 87 1 ) ,
as
well as the Poona edition of Krishna Shastri
:Bhatavadekar ( 1 866) . But it is imp ortant to note that Nandargikar,
for the first time, collated and rec orded the
re ad
i ngs of a very
large number of manuscripts (some twenty) , including those
COn
They are : the anonymous SiiroddhiiriT)i and Megha-latii, the Siva-hitaip,IJi of La�minivasa, the Sukha-bodhikii of Mahimasimha-gat:ti, the Sugamiinvayii of Sumati vijaya and the Subodhikii of Meghariij a . 7 The I ndi a Office manuscript, mentioned above, c o ntaining the five B e ngal commentaries, was also consulted for their exposition, but th eir variants were not noted, or noted only incidentally in the copio us explanatory nows. It is 'interesting, however, to find tha t Nandargikar utilized and recorded the readings of Jinasena's Plirsviibhyudaya, whose early testimony he considers to be of a higher authority. But unfortunately he used defective Devanagari copy (which can now be identified with Hultzsch's manuscript D) of Vallabhadeva's Paiijikli, and could not re alize its importance from the point of view of textual criticism. A c riti c al reader may find it difficult to agree with Nan dargikar's opinion (p. 27) that "the text that has com
taining six commentaries,
ly Jaina.
mos t
a
Mallinatha
nted upon is generally the true text of the poet ;" but it must be said to the credit of Nandargika,'s patient scholarship that the material furnished by his critical apparatus, prep ared from a large number of manuscripts (with or without commentary), is certainly of great assistance for the. critical study of the text. The second stage in the history of te.."ttual criticism of the Megha-dilta begins with the publication, at London in 1 9 1 1, of E. Hultzsch's critical edition of the Pafijikii commentary ofVallabha deva, who is our oldest known comme ntator on KaJ.idasa's poem. The text here is in accordance with this commentary, which is edited On the basis of three Sarada. (�Kashmiri) manuscripts and one Devanagarl'manuscript, the last of which (marked D) is identical with that used by Nandargikar. Hultzsch is right in holding th�t me
7. The MSS of all these unpubli$hed commentaries are nt:fW available in the BluIndarkar Oriental Research Institute (BOR!) at Poona. See below.
MEGHA-DUTA
6
this last manuscript is highly conflated and in consequently basing edition of the Kashmiri text of Vallabhadeva on his three Kashmiri manuscripts. Hultzsch accepts the view of D urgaprasad and Parab8 that Vallabhadeva flourished in the first half of the tenth century ; but K. B. Pathak, who adversely criticizes Hultzsch's dating as well as his estimate of the commentary, would bring
his
down the date to about 1 1 00 A. D. Wllatever may be the
there cannot be any doubt, that Vall ab hadeva is
the earliest known, commentator; and ' deserves most careful consideration.
to
us
Adaptations Earlier
and
a fairly
date,9
old,
and
his text, therefore.
Translations
than Vallabhadeva' s commentary, we have the Pariva
bhyudayaJ.o of Jinas ena which, in
the latter part of the eighth century, device of Samasyii-pilraJ;la, the whole text of the Megha-duta as it was known to him. This work is a poetical biography of the Jaina saint Piirsvaniitha ; but by the s aid device each stanza in Jinasena,s poem employs unaltered one or two Piidas from the Megha-duta, the remaining Piidas being compos ed by Jinasena himself. The text of the Megha-duta. thus adapted ill this Jaina poem, was edited and publishedll by Kashinath Bapu Pathak at Poona in 1 894. This is a valuable testimonium, b ecause it re presents the text of the A1egha-dilta as it was known to Jinasena "in the latter part of the 8th cen tury or before Saka 705 ( =c. 783 A.D.), incorporated, by the ingenious
the date ofhis first work the Jaina Harivamsa."12 One may no t agree with Pathak's exaggerated opinion of its absolute value and his consequent depreciation of Vallabhadeva's comm ent ary ; but the text-critic should certainly take into account the testimony of Jina sena's early adaptation. , Similar assistance to textual criticism, but in a lesser degree, is also rendered by two other Jaina works. The first is the J{8mi-data S. In their edition of Ratnakara's VaIcrokti-pafkliJikd (Kl!vyamaia, gucehaka i, Bombay 1886, pp. 101 C.) . 9 . See S . K . De in BSOS, v, pt. 3 (1929), p . 50S • .10. ;Et;l: Y�aj Panditacharya, Nirnay Sagar Press, Bombay 1909. 1 1 . We use the 2nd ed., Poona 1 9 1 6. ��. Pathak, 2nd. eel., p. xxiii. Pathak, however, thinks that the P6rJv4bA� VfQ. cqmposed shortly after Saka 735 ( ... c. 8 1 3 A.I). ) Jinasena's .l.dipurat/IJ "';la propably written about Saka 760 (=c. SSS .A.I).). See Nandargikar, p. 6.
7
INTRODUCTION
of Vikrama, son of Sangana, which, as its name implies, is a devo
tional poem in 1 26 stanzas in honour of the Tirtharilkara Neminatha.
It was published in 1 886 in Kavyamala,
gucchaka
ii. It describes the
sending of the cloud as a messenger by th e saint's wife Rajamati to her husband, who had gone to Mount Abu to practise penance.
But the fourth Pada of every stanza of this poem employs sequentially the fourth Pada of the corresponding stanza of the
Megha-aata.
The date of the author is not known,13 but since he appears to
utilize a very confiated and late version of the text, his date
be very early, nor is
is the
Sila-auta,l4.
SthUlabhadra, ( =c.
his
cannot
testimony very valuable. The second work
a didactic poem in
1 3 1 stanzas
on
th e story of
written by Caril.rasundara-gaJ;li in Sari:l.vat 1487
143 1 A.D.) . It employs
the Samasya-purana device in a manner
exactly similar to that of Nemi-duta, with
which it agrees in not being
very discriminating with regard to doubtful verses.15
In addition to these adaptations, we have a paraphrase and a
translation of Kalidasa's poem.
A Sinhalese Sannaya or word-for
word p araphrase of the Megha.duta was casually discovered by
William C}unatilake in the Oriental Library at Kandy and published along With the Sanskrit text by T. B. Panabokke at Colombo in 1 893.15&
From its readings,16 it appears to be a fairly late work, but it bears witness to the text as it became current in Ceylon. The
Tibetan
translation of the Megha-duta, contained in the Tanjur, was edited and
translated into German by Hermann Beckh17 in 1 907, who also
wrote an interesting doctoral dissertation on the text-problem of the 1 3. R. PischeI, Die Hqfdichter d4s /.tJMlTIIJl)tlStna, Gottingen 1893, p. 27. 14. 'Ed. Haragovinda Das and Bechara Das. YaSovijaya Jaina-grantha-mal!,
no. 18, Benares 1915. . 1 5. We include the readings of the Nemi-tiiita in our critical apparatus, and note variants from the SiZa-data only occasionally.-A work of the same type is the M'gha-samlJCcaya or M,gha-duta-samasya-klcha of the Jail1&. Meghavijaya. (ed. Jaina Atm!nanda Grantha-mill, Bhavnagar 1914), in which the cloud is sent as a messenger to the author's preceptor Vijayaprabha SUri ; but it is a comparatively late work of the seventeenth century and follows the esta blished Jaina tradition of the text. All these works must be distinguished from the :Ja,ina.M8gha-dt'ita (cd. ibid, Bombay 1894:) which is an independent J'OC? in four cantos. written in imitation of the M8gha-tIiita by Merutuilp
In the first half of the fourteenth century. 15a. This was secured for me by Dr. V. Raghavan. 16. For a review see Rhys Davids in JRAS, 1894, pp. 632...5. Rhys Davids list of variants, but it is not complete. 1 7. DiI tWmsche tJhlrsef.r;ung von K41idiisas Msgha-diiJa, Ber&in 1907.
gi�
MEORA-DUTA
8
Megha-dilta on the basis of the Tibetan translation.1S Beckh is of
opinion that the translation belongs to the thirteenth century A.D.
Commentaries Of the commentaries later tha� Vallabhadeva we have already
spoken of Mallinatha and his widely popular Samjit.ani commentary.19
Mallinatha, a South Indian, has been assigned to the latter part or the end of the fourteenth century. But even before this date we have
the South Indian c omm entary of Dak�iI,lavarta-natha who is cited
by Mallinatha himself,20 and whose commentary
available
in print in the Trivandrum Sanskrit
Pradipa
was made
Series in 1 9 1 9. Earlier
than this, in 1 909, was published another South Indian commentary, the Vitfyullata of PiirI,la-sarasvati, from the Va nivi1as Press, Srirangam. The date of the work is uncertain ; but in the Preface to th e printed
edition we are informed, rather vaguely, that the commentator "seems to have lived some three centuries ago21
in the
state of
Cochin." Another scholiast from Cochin is Paramesvara (between
1 400 and 1 500
A.D.), whose Sumanoramar;.i commentary
in a shorter and a longer recension)
was
(which exists
published by the Travancore
University Manuscripts Library from Trivandrum in familiarity with the commentary of PiirI,la-sarasvati
1 946. It shows
and is thus of
not much independent value for our purpose, except as confirming the particular text-tradition.22 Of the B engal commentaries, only the Tiitparya-dipikfi23 of 18. Bin Bsi/rag zur Text-kritik von K§lidtisas Meglza-duta (Berlin Univ. Dis.� .), Berlin 1907. 19. In spite of ita discrepancies with Jinasena's text, Pathak's edition includes Mallinitha's commentary. On Mallinitha's date, sce S. K. De, Sanskrit Poetics, i, p. 228 and references cited therein; V. Raghavan in NIA, ii, pp. 442 £
20. Generally as Nlttha, e.g. on Raghu-varfIIa i. 7, on Megha-data 4, 65, 98. Ail Da�ivarta. quotes the authority of the lexicographer Keaavasvamin of the twelfl:h century A.D. and is himself quoted by AruQa
2S. $d. J.
ahaudhuri
9
INTRODUCTION
Sanatana Gosvamin (with fragzpe nts from the Kavi-priya commentary
of S asvata24)
and
the Subodha of Bharata-mallika have been recently
published,25 but already Vidyasagar and Stenzler, in the appendix to their editions, give some variant readings selected from these
as
well as from the other Bengal commentaries of Kalyal).amalla,
Ramana tha TarkiilariJ.kiira and Haragovinda Vacaspati. Of these
commentators, Sanatana was an older contemporary and disciple
of Caitanya. His commentary was probably written in the l atter part of the fifteenth century before he renounced the world
and
began his theological labours at Vrndavana.26 The portion of this commentary on the s t anz as occun-ing after 66, however, is meagre,
because the author, taking them to be easy
(sugamam) ,
did not care
to explain them.27 Kalyal).amalla (called a Rajar�i in the colophon
to his manuscript) , son of Gajamalla of the Padmabandhu family,
appe ars to have been a lo cal chief of BhiiriSre�tha28 and patron of
Bharata-mallika i but
his commentary does not always agree in its
readings of the text with those of his protege. Of Ramanatha Tarka
larilkara, apparently a modern writer, no information is available ;
but Haragovinda Va caspa ti, son of Vanka-viharin Gangopadhyaya of Krishnanagar, must have been a modern author perhaps of a
still later date.29 Bharata-mallika's
Subodhti is
a remarkable COIn-
24. SiSvata
must have been a fairly old writer, the only MS of his commentary (A. S. B. no. 4953/5646) bearing the date in Nevari era 540 (=c. 1330 A.]).). But there is no indication that he really belonged to Bengal. On the contrary, the Nevari script of the MS may be taken as going against such an assump
tion. The second introductory verse of his co=entary, quoted by Rajendralal Mitra. (Notices, viii, p. 187, no. 2740; the MS noticed is in Devanagari), speaks of Vallabha'� co=entary as authoritative; and in many cases SiSvata's readings do not agree with those of the Bengal commentators. Even if his exact provenance is not known, it is probable that he belonged to some region in Eastern India.-The A.S.B. (Asiatic Society of Bengal) MS is fragmentary and is wanting in many folios. 25. Ed. J. B. Chaudhuri, Pracyavil}.i Mandira Series, Calcutta 195 1 . 26. · The work contains D O Namaskriyii to Caitanya. See S . K . De, Vaifrzava Faith and Movement, Calcutta 1942, pp. 1 1 6, 1 19-21. 2 7. See our notes o n 66.-Makaranda Misra, who is taken to b e another Bengali commentator, probably lived like SiSvata in a region adjoining Bengal. The MS of his commentary (A. S. B., no. 4955/1076), entitled Megka-saudJ mm!, is in Devanagari characters. He includes * 1 -*4, * 1 1 -* 1 3 but excludes *5 -* 10, * 1 4 -* 19, the total number of stanzas being 1 18. 28. Mentioned by KnQ.2.-Mi§ra in his Prabodha-candrodaY4 and identified with the once flourishing Bhursut Pergunna in the district of Burdwan, Bengal. 29. The commentaries are contained in the India Office MS nO. 3774/1584, mentioned above; but separate MSS of some of them also exist in the libraries of the India Office and Asiatic Society of Bengal.-Keith identifies our Haragovinda Vacaspati with the author of Jfiipakaval! which beIOIl8$ to the Sa�iptasara grammar.
10
MEGHA-DUTA.
mentary,
full
and erudite. Its date)s uncert:\.in. Its editor would
place it at 1 675-76 A.D. ; but we areinc1ined to agree with Colebrooke30 and Rajendralal Mitra31 that Bharata-mallika flourished in the middle of the eighteenth century. Bharata-mallika, otherwise Bharata-sena, son of Gauranga-mallika, was a Bengali Vaidya or
physician by caste. He was a voluminous scholiast who commented on the standard Mahakavyas including those of Kalidasa. Even if his commentary on the Megha-dilta is comparatively recent in date, it is interesting because he gives a less interpolated text, and represents the Bengal tradition3ll better e'.ren than Sanatana and KalyaI}.amalla. We have recorded his readings, along with those of S anatana ; but those of S asvata and KalyaI}.amalla .are only occasionally cited by us.ss There are also a few commentaries which are not yet in print. Of these, we have here recorded the readings of only the Vidvajja nanurafijini84 of Sarasvatitirtha, which we believe to be a commentary older certainly than that of Mallinatha and probably than those of Caritravardhana and DalqiI}.avarta. If this Sarasvatitirtha is, as he seems to be, identical with Narhari Sarasvatitirtha, he is an Andhra scholiast, who should be placed in the latter half of the thirteenth century.M Leaving aside the commentary of Sthiradeva, of whom we shall speak presently, the earliest Jaina commentary, which
30. Ed. Amarakoja, p. 6.
S I . In his Notias (vi, p. 145) he writes in 1882 that Bharata·ma1Uka "lived at Kanchrapara m the Hooghly district about 1 50 years ago." Haraprasad Shastri endorses thU view and says that he had seen Bharata-mallika's great grandson Lokanil.tha·mallika (CatalDgu�, vi, 1931, p. 307).
32. The
greater reliability of this tradition is shown by the fact that Sanltana. excludes *3-*12 * 1 5 -*19, · including only * 1 - *2 and * 1 3 -* 14; but Bharata-mallika goes further in excluding * 14. Kaly�aUa a.grees with Sanatana. in this respect, but he includes * 19 also.-The readings of these commentaries are not recorded by Nandargikar.
33. We could not obtain a copy of the Artlia·bodhini commentary of Kaviratna Ca.laavartin which was pnnted in Bengali characters at Calcutta in 1850. But we .have seen the A.S.B. MS of this commentary no. 4956/10802; There is nothing remarkable about its readings, but its text contains 1 15 stanzas. M/ BORI MS no. 442 of 1887-91 (incomplete, first four folios missing). Also MSS in Cambridge University Library and Calcutta Asiatic Soeiety. S5; S. x. De; Sanskrit POItics. i, p. 1 7 1 .-The colophon describes Saraavatitlrtha. . ; Param� Parimjakicirya anq. states that the commentary was . 1Ytitten at lWi.
INTRODUCTION
11
has been printed,3S seems to be that ofCaritravardhana, son of Mma
candra Bhi�aj, who commented also upon the two other Kiivyas of Kalidasa, and who had the title Vidyadhara or Sahityavidya dhara. Nandargikar would place him before Divakara whose com. mentary on the Raghu-vaThfa is dated A.D. 1 385. Both Sumativijaya and Mahimasirhha-galJi, who wrote respectively the Sugamiinvayw7 and the Sukha-bodhikws commentaries, are Jaina authors who belonged probably to the latter part of the seventeenth century.3D Their commentaries, which are still in manuscript, appear to follow (more than that of Caritravardhana) the conflated Jaina tradition of the text and are, therefore, of not much independent value. The Si/yahitai#T)i4i) of La�minivasa, son of Sriranga and pupil of Ratnaprabha-siiri, is another Jaina commentary of the same type composed before A.D. 1458. The Avaciiri of KanakakirtigalJi, a manuscript of which is dated A.D. � 462,41 was printed in lithograph from Benares in 1 867 ; but it is in the same way not valuable for textual study. The Siiroddhiiri'T)i42 is a commentary of uncertain date and authorship, which Pathak (p. xxi) regards as "next only to Mallinatha's work in point of merit" ; but its importance need not on that account be exaggerated from the text-critical point of view. 36. Chowkhamba Sanskrit series, Benares 1 93 1 . We use the reprint of 1 953 . In the A. S. B. MS no. 4954/ 10070, dated Samvat 1643, many folios are missing. The only recorded complete MS of this commentary appears to be BOR.I no. 345 of 1893-95. Ciiritravardhana probably belonged to the Kharatara. gaccha. The name of the commentary does not appear, but his commentary on Rag/w. is called SiJu..hitai#t!i. P. K. Gode (ABORI) xv, pp. 109-1 1 ) agrees with Nandargik:u-'s dating (Inttod. to RlJghu , p. 9) but sets the upper limit at A.D. 1 1 72-We have fully recorded Ciiritravarc\hana's reacJ.in8s. 37. BOB.! MS no. 3 1 5 of 1882-83 and 549 of 189 1 -95. Surnativijaya was a pupil of Vinayameru.
. 38. BOB.! MS no. 280 of 1883-84 and no. 389 of 1884-87. . 39. P. K. Gode (ABORI, xiii, p. 341 ) would place, Sumativijaya in the latter half of the seventeenth century, while Pathak (p. :xxi) states that Sumativijaya wrote his commentary about Samvat 1690 ( = c. A.T). 1 63+). Mahimasimha �'s commentary was composed, as the colophon of one of his MSS states, In Samvat 1 693 ( = c. A.D. 1637). Mahimasi:dlha was a pupil of givanidhina of the Kharatara-gaccha. 4<>. BORI MS. no. 344 of 1895-98. The date Sathvat 1514 (=c. A.D. 1458) is ;iven . in Berlin MS no. 1545. 41. The British Museum MS no. 224/0r 2 1456 ; but the Leipillig University . MS no. 416 contains no date. 42. BOB.! MS. no. 157 of 1882-83 (incomp'lete), dated Samvat 1617 (-c. A.D. 1561). P. K. God.e (ABORI, xiv, pp. IS0-31) would ;Place this work widely between 1 173 and .A.D. 1561. Patbak thinks that this commentaxY' knew that of Mal1initha; if so, then the date may be put between A,D. 1420 an4 1�1.
12
lIlEGIIA-Dt'"rTA
few otlH'l' commel l tari,'s of the same Lype, l ike the Alcglza-latii l:; or l\feghari"Ua's Si/bodltikil o r Sul.. h abodhikii, H. whieh need not similarl y be t aken seriollsly in t o account. Th e readings of all the�c C01 l11 1l<'l ltarics (cxeept th:tt of C:l l'it ravanlhalla) , arc already n o t ed by Naudargika r a l l d Pa thak a n d n eed not be recorded aga in ; we h a \'l�, h o we\'(T, occasionally llo ticed i l l Ol l r cri Lical n o ( es int('l'('� t illg ITadi l lgs from s o m e o r t l : Cl l l . An exce p t ion, however, is to hl� made in )";I.YOIII' o r S l h irad<,'va's !llila-jll abodhilli l '; c()mm(�1 l1 al'y, t h e re,l.ti i l lgs oj' \\,h i d l W l ' have lid l)' lwkd. As h i�; I W .me i ndica tes, he may havc bee l l a J ai na aut ho\', who ii'\ llwn lionetl by nam(� along wi t h Val l ahh ad('va and !\�ah a or .\ saha (} .�a(J a) by t h e commen Lator J alli'irdana,·11l and who i s s(;ll ld i r nl'S t'Gl>l'ou ncl'tl in cxt enso by the Sliroddluiri(li. Sthiradeva :; date Hl1d provel lancc, however, are unknow n , Th ere is l ittle cvitkuct: to show t hat he i�, a s his editor prcsumes, ea rlier than Vallahbadeva ; but since J au::u' dana'g date'l7 lies betwe<:l1 A . n . 1 1 92 and 1 385, he would he o ur carliest kuowlI Jain
arc
a
anonymous
'
43 . BOR! M S.
I GO of l HU2-83. 479 of 1 899- 1 9 1 5 ;lud 110. 390 of 1 88·1-87 (dated A.D. 1404). 45. Ed. from one MS (dalt,d S:l.1hvat 152 1 = c. A.D . 1165) in thc Mandlik collection 01 the Fel'gusson College, Poona, by V. G. l'aralljpe, Pocm a 1 93G. We have also consulted two MSS from the llaroda Oriental lnRtitu l e (nos. H08, 1 22(6) . They designate the commentary simply as Tikii. Both lhe J\'JSS aIe incornplctt, -the first beginning with commen ts OIl 1 1 , Ihe secoud with those on 65. The date of the first MS is illegible, but the second was written in So.rhv;lt 1630 (=c. A.D . 1574) . These later vcrsions of the commentary contain a large number of spurious stanzas, the first admitting 7, the second 1 3 . The Tanjore Sarasvati Mahal Library MS is dated Smhvat 1 656 = c. A.D. 1 600, but curiously enough, the number of stanzas it gives appears to bc only 106 ! Paranjpe's MS presents the text as containillg 1 1 2 stanzas, one of which is declared spurious by the commentator himself. We have accepted the number ing of this earliest MS. 46. Peterson, Three Reports, p. 324. For A�aQ.a and Janlirdana sec our Select , Bibliography. 47. P. K. Gode, Calcutta Oriental Journal, ii, pp. 1 88 f. \1'8; "Gtb.er commentariCll recorded in the catalogues and not yet in print are .1lfunerous, for which see our Select Bibliography.-See also S. K. De, Some �s . on tlu Megha-Diita published in AOR, University of Madras, .�teiwry Volume, 1957, Skt. section.
44. BORI MS,
no.
no.
13
INTRODUCTION
text. They
attempt
furniSh
the
accumulated testimonia by which
we
can
to go back to the p o e t' s original , even though it might have
been, more
or
less, overlaid and modified
through centuries by
scholiastic ingenuity. Our concern .here is to find
what the poet himself
thinks th at he wrote.
wrote,
out,
if
p ossible,
and 110t what a particular scholiast
Manuscripts We now turn to the manuscripts of Nlegha-duta and consider th e importance of their evidence. From what we have said above about the vario us editions of the text and commentaries it will b e clear that a very large numb er of manuscripts from Western, ' Eastern and Southern India, as well as from Kashmir, London,
Paris, Berlin and Copenhagen,49 h av e already been utilized in them
a nd the necessary variants
brought to light. On a rough calculation
something like forty manuscripts are found already utilized in this
way ; and from a careful scrutiny of this mass of accumulated material
it would appear that further collation of fresh manuscripts of the
same type would not prove very fruitful in improving the text. 50 As a matter of fact, after noting variants from the different standard
editions of the text and commentaries, we did collate some Bengali
and Devanagari
manuscripts (independent of
commentaries) , and
took into account the readings of South Indian manuscripts collated by Foulkes ;51 but the readings we found from all these sources did not add much of importance to those which we had already noted from the editions of the text and commentaries. It is true that no two manuscripts, , unless they are exact copies of each other, are entirely identical ; because every scribe makes his own mistakes, indulges in petty alterations, emends, transposes, or interpolates verses here and 49. The manuscripts in America, as listed by Poleman (Indic Manurcripls in the United States and Canada), are not many, nor do they seem to have more than ordinary importance. 50. Rajavaid� J. K. Shastri, for instance, in his recent edition of th� Megha-diita (Gondal 1953), claims to have collated seven fresh MSS, but the variants noted by him are such as are already found given by one . or other of . the commentators or by manuscripts utilized in previous editions. 5 1 . T. Foulkes : Kalida.sa, A completl Collet;tilln of Ik various Readings of th4 MaJras Manuscripts, vol. i, Madras 1994. FouIkes utilized one Grantha, two Telugu, and three Kanarese :r.oanusenpts ; but unfortunately he records too m.any obvious scrl.bal blunden along with genuine variants. We have oCClUlionally noted from Foulkes some interesting variant readings.
14
MEGHA-DUTA
once the text-tradition of a particular class or group of established, the deviations of fresh manuscripts of the same class or group are, on the whole, found too insignificant to ustify further collation of manuscripts of that class. We collated, for instance, five Bengali manuscripts (without commentaries) of the Calcutta Sanskrit College Library,52 but we found that their readings did not differ materially from those of the Bengal commentators. Similarly, the collation of some ind ependent Devanagari manuscripts of the Asiatic Society of Bengal and the Bhandarkar Oriental Research Institute showed that they followed generally the readings of one or other of the West I ndian commenta- , tors. With regard to the total number of stanzas contained in these manuscripts, we find that of the four complete Bengali manuscripts of the Calcutta Sanskrit College, two (nos. 1 1 9 and 121) give 1 16 (each including * 1 6 as the last stanza) and two (nos. 120 and 1 2 3) 1 1 4 each-which numbers correspond to those given by the Bengal commentators. On the oth er hand, the two iJ evanagari manus cripts of the text only of the Asiatic Society of Bengal53 contain respectively a total of 1 25 and 127 stanzas, bo th including even " 19. There are four Devanagari manuscripts without commentary54 and five with brief anonymous glosses55 in the Bhandarkar Institute. Some of them are fairly old, the dates ranging b etween 1 461 and 1 586 <\.D. ; but all of them, following generally the tradition of the West [ndian (especially Jaina) commentators, contain so many spurious .rerses that the total number of stanzas comes up to 1 25, 126 or
there.
But
manuscripts is
�en 1 27. It would be interesting to note in this connexion th at most Devanagari and Bengali manuscripts in the European libraries are �enerally of the same character. The three Devanagari manuscripts )f only the text in the India Office," which are dated between 1 557 52. Nos. 1 1 9.23, of which no. 1 2 2 has some folios missing. different from that of the printed catalogue) . 53. No.
4:94712381 and 4949/1810.
(This i s new numbering
54:. No. 4:3 of 1873-74 (undated but old)-125 ; but no. 141 of 1882-83 (dated . 1 556 A. :0.), no 156 of 1882-83 (dated 1586 A. D.), no. 388 of 1884-87 (dated . 1461 A. D.) each-126 stanzas. �, No. 550 of 1892-95 (unda,ted but old)-12S ; but no. 347 of 1895·9B, no. 744 . 1�2, and no. 746 of 1886-92 �-126; no. 343 of 1895-98-127 sta.xI$IS. 56. NO.. 3710/3060 (dated 1557 A. D.) and 3771/2797 (dated 1595 A. D.) contain 1:¥c �. while. 3772/2019 . (dated 1624 A. D.) contaitls 12 1. . staDZas. The � . � is 110. S773/1491d · (1:U.Odem writing).
INTRODUCTION
and
1 624
A. D . ,
contain a
total number of stanzas
15
between
1 2 1 and
1 25, while a Bengali manuscript of the text gives 1 1 6 stanzas. Most
of the Bodleian Library Devanagari manuscripts57 similarly contain 1 25 to 1 2 7 stanzas. The Berlin S tate Library manuscript (Chambers
1 52) in Devanagari, which Stenzler used, con tai ns 1 2 7 stanzas, while no. 1 544, with an anonymous Avaciiri,58
the Devanagan manuscrip t
include s 125 (even accep ting * 1 9) . The British Museum Devanagari no. 225/0r 2 1 45c, with Avaciiri, appears to have been copied59 from the same source as the Berlin manuscript no. 1 544, and contains a total of 1 25 stanzas. It is true that Gildemeister's Devanagari manuscrip t D from Paris contains only 1 1 0 stanzas, but his Bengali manuscript from Copenhagen has 1 1 7. The two L eip zig University Devanagari manuscripts of the text only (no. 41 1 manuscrip t
d ated 1 566 A.D. and no. 4 1 5 dated
pectively a total number
about 1 860 A.D.) contain res of 127 and 124 stanzas. Among the Floren
tine manuscripts noticed by Aufrecht there are two manuscripts of the same type (no. 73-74), each of which contains 1 25 stanzas. A. A. Macdonell reports60 a Nepali manuscript of the text only from the library of the Maharaj a of Nepal, dated 1 364 A.D., which contains 1 1 0 stanzas; but, curiously enough, it includes nine of the spurious verses.61 Thus, in the case of the Megha-duta, a critical study of the available material would make it evident that the commentaries had already so fixed the different text-traditions that they found themselves reflected in the manuscripts of different groups or regions ; 57. M. Winternitz and A. B. Keith, Catalcgue, Oxfon!. 1 905, ii, nos. 1250-5 1, 1254-55, pp. 1 76-77. 58. A. Weber, Verzeickniss, ii, pt. I, Berlin 18S6, p. 143. 59. C. Bendall, Catalogue of Sanslcrit Manuscripts. London 1902, p. 86. 60. JRAS, 1 9 1 3, pp. 1 76-83. This manuscript may be of the same type as Gilde Illeister's Devanagari D, which contains the same number of stanzas. 61. MaOOonell notes only four readings from it, namely (i) 6200, as in our text, excepting sva-jaltJ.pTiatai�, (ii) 58d pratidiJam as in our text, (ill) 80a jiinfYiilI as in our text, and (iv) 98ab i!JIuIman (as in our tc!!tt) and-b�at.-Information about South Indian manuscripts is rather meagre ; but most of them appear to include Ma.l1inltba.'s commentary. The Tanjore Sarasvati Mahal Library manuscripts of the text only, no. 3864 and no. 3871 (P. P. S. Shastri, Gala lcgue, vii, pp. 287 1f), contain respectively 121 (67+54) and 122 stanzas, which correspond to MaUin5.tba.'s number; while the Madras Govenunent Oriental Library manuscript of the text only, no. 1 1869 (S. Ku'ppusvami Sastri Catalogue, xx, p, 7947), contains 1 18 stanzas.-From S�'s JaIIImII Catalogue, the character of Kaslimirian manuscripts listed therein is not clear; �or is any manuscript available from Kashmir. 4
MEGHA-DUTA
16
and that nothing substantial would be gained by further attempts at fresh collation, espe cially when so much collati on has already been done by d ifferen t editors from manuscripts of the same type. We know that in the case of the epic text of the Mahiibhiirata, the manuscripts constitute the primary evidence, while the commen taries, translations, or adaptations are only secondary tes timonia . But in the case of a small classical poem of wide popular appeal like the Megha-duta, which has been so much s tu died and commented upon the peculiar circumstances of text-transmission make it clear that not the existing manuscripts (which are mostly later in date) but the commentaries are to be taken as our chief guide for textual study. Only if some old manus cript, anterior in date to th e com mentaries, could be found, it might furnish textual evidence unaffec
ted by their influence.62 All this, however, d oes not mean that we should n eglect the manuscripts. As a matter of fact, interesting readings, not found
are occasionally noted by us in general terms me MSS." But we felt that to note all their devi atio ns elaborately would not only overload the critical apparatus but also become unnecessarily confu sing. in the commentaries,
as
given by
" So
The Problem of Reconstitution
It is now necessary to
cons
ider the different text-traditions, as
indicated above, for the purpose of
text. It is scarcely
critically
that
reconstituting
the
text-critic seeks, not a priori the best, but a posteriori the most authentic, readings ; and for this purpose a careful evaluation and sifting of the available material become important as furnishing the necessary evidence. necessary to say
a
the testimony of authority, presumably because
Pathak, as well as Nandargikar, considers
Jinasena's adaptation to be of a higher
it
gives
62.
us our oldest available
text. Its date is much earlier than
T.lUs condusion is to a certain extent confirmed by our textual study of the bn4m-Ja/4ka, which is now completed and awaits publication. The three recensions of the text of Amaru follow generally the texts presented respec tively by . the commentators Aljunavarman (West Indian), Vemabhiipila. (South Indian) and Ravicandra or Rudramadeva (East Indian) . This con clll!ion, p.oweVet, should not apply to all classical poetl'l$ but only to those which, like the MlIgha-dU/4 and the Amaro·JataJca, have regional commentaries mere or less fixing the differet text-traditions.-V. G. Paranjpe in his cd. of S�deva'a commentary (p. XlO!:) . generaUy agrees with this view with IlePtd to the textual critique of the M6Zha.dfIta.
17
INTRODUCTION
that of the existing adaptations, translations, commentaries and
manuscripts ; a nd it undoubtedly furnishes the old es t available testimony to which greater a uthen ti city should be attached as such.
At first sight, this view would appear very plaus ibl e . But from the
ge neral trend of Indian text-tradition, it should be recognized that the mere fact that a manuscript, cGmmentary, or adaptation is the oldest does not necessarily imply that it embodies the best text
tradition.
On the contrary,
it is often found that a comparatively late
source of this kind preserves the text in a more authentic
form. No
absolute criterion, therefore, can be l aid down ; and each testimony
is to be judged on the value of the text-tradition In the present case,
as
that
it represents.
Hultzsch has already stated,
Jinasena is
certainly anterior in time to Vallabhadeva, but he follows a co nflated
version of the text, and "has incorporated in his poem nine of the
spurious verses63 of the Megha-duta, five of which are stamped as interpolations, even by so l a te a writer as Mallinatha." These verses are also excluded more or less by the Bengal commentators and entirely by Sthiradeva and some commentators from South India. The value ofJinasena' s version, as indeed of all versions of the text, should thus depend not merely upon its antiquity but upon the value of the text-tradition which it is found, on examination, to represent. We have here, no doubt, a fonn of the text which is far older than that obtained from our existing sources, but it establishes nothing beyond the fact that it is evidence only for the text as it existed in that particular local form in the second half of the eighth century and as it was known to Jinasena.6& There is nothing to show that Jinasena was a text-critic ; he was not concerned with finding out the most authentic form of the text, but probably he took it as he found it current in the Kamatic area. It is perhaps for this reason that the text is not critically sifted by him. Like our other adaptations. commentaries, or manuscripts, Jinasena's text is thus only one of our evidences, but its testimony, however old, does not of itself prove anything regarding the original text of the Megha-duta. Similar remarks apply, more or less, to the testimony of the oldest known commentary of Vallabhadeva. One may accept Hult zsch's assertion that the secluded position of "that home of Sarasvati, 6S. Namely *3-* 10, · 14. 64. We can here cite the analogy of the Javanese version of the MaMblVirl1l4, which plays a similar role in the textUal criticism of the epic.
18
MEGHA-DUTA
the Kashmir Valley," preserved and handed down the text of
Kalidasa in a much less modified form, especially in manuscripts written in Sarada.-kasmiri script65 ; but from this fact it is not neces sary to exaggerate the textual value of this commentary. The text of Vallabhadeva, like that of Jinasena, only presents it as it was current in Kashmir and known to the commentator in the ' tenth or the eleventh century, and is not absolute evidence for the original text of the Megha-duta, which is to be determined by a comparative study and evaluation of its existing variety of forms. Nevertheless, both Jinasena and Vallabhadeva must be given their due (and not exaggerated) importance from the point of view of textual criticism. Apart from the question of interpolated stanzas, where there is an independent agreement of readings between Jinasena and Valla bhadeva, we have generally accepted it ; but where there is difference, we have taken into account other available evidence for a reasonable solution. It should be noted in this connection that while Jinasena admits into his text nine doubtful verses ( *3-* 1 0, * 1 4) and omits ten ( * 1 , *2, * 1 1 -* 1 3, * 1 5-* 19), the Kashmirian Vallabhadeva excludes all the nineteen doubtful verses ( * 1 -* 1 9) . He is supported in this respect by the South Indian Dak�iI,lavarta-natha, PiirI,la-sarasvati and ParameSvaraJ as well as by Sthiradeva. This independent agreement, supported by intrinsic probability, affords a sound basis for regarding all the�e verses ( * 1 -* 1 9) as interpolated, especially as most of them are also omitted by the Bengal commentators Sanatana Gosvamin and Bharata-maUika.6G When we come to the question of readings,67 65. An interesting illustration of the process of conflation in Dcvanagari (as distinguished from Siradii-Kasmiri) manuscript is afforded by Hultzsch's Devanagari D, which was relied upon by Pathak and Nandargikar, but which obviously embodies a faulty text-tradition. But the fact that a MS is written in Saradi characters need not of itself prove its superiority. Of Hultzsch's three Siradi manuscripts, one (marked B) appears to be late, and "shares many corruptions with D."-The Devanagari MS (no. 226/0r. g352) of Vallabha!s commentary in the British Museum contains 1 1 3 stanzas, slightly in excess of 1 1 1 given in Hultzsch's edition. Vallabha's text really gives (in Hultz$Ch) 1 12 stanzas, but one (· 1 ) he himself believes to be imitative and spurious ; hence I I I stanzas are given as genuine, by Vallabha. 66. S� above p. ix, in r.n. 32. 6'7. It is possible to believe that Jinasena, taking his text as he found it, did not himself make any emendation. even if it was an inferior text; but Vallabha- deva: appears to have fu.troduced or suggested emendations of his own. One such would be praJama.divase in 2c; another expressly suggested is f1'.atanu � in 99a, which reading some: commentators, including MalUnatha, appear ,to have a.ccepted. We have given below some instances where later
INTRODUCTION
19
however, w e find that the case is different. Macdonell i s righ t when he states68 that "it is pretty clear that ValIabhadeva's readings are often not the o riginal ones" ; and this may be said of most of our other
sources, including the text of Jinasena. Here we have no similar
criterion for
determining the question of authenticity.
With regard to the other ad aptations and translations, a few words are necessary to indicate their general character and eviden
tiary value.
The Tibetan translation, made in the thirteenth cen tury,
like the Sinhalese paraphrase of
unknown
date, is
a
good external
aid ; bu t the Tibetan translation appears to follow, gene rally in its
readings, the E astern (Bengal) textu al tradition.69 Its text, however,
is not free from conflation. No doubt, it omits as many as thirteen
doubtful verses ( * 3 - * 1 0, * 1 5-* 1 9) , but it is characterized by the
inclusion of six (* 1 , *2, * 1 1 - 1 4* ) , and is singular70 in inserting * 1 1 , * 1 2. With
regard
to the SinhaIese p araphrase, it is curious that it
follows the North Indian rather than
South Indian text readings with the Bengal versions. It includes, however, seven doubtful the
tradition of Mallinatha, and often agrees in its
Tibetan?1 and
verses (*2, *5, *6-*8, * 1 0, * 14) 72 and appears to follow a presumably l ate version of the text. As the Nemi-dilla, like the Sila-duta, gives us only the last line of each stanza of the original, and as it makes use of a much interpola ted version, this Jaina source is not of much value for our purpose. With the text in SUa-duta, it agrees in admitting most of the doub tful verses (fourteen in number) , even including commentators have indulged in emendations quite freely ; Pathintaras arise in this way.
and most of the
68. JRAS, 1913, p. 1 79. 69. The Tibetan translation is fairly literal, but it sometimes uses synonyms or equivalents for the actual words : e.g. , gandha-vaha. for viita or pavana in 9a, 14a, S l d ; Satakratu for A.khar)dala in 15b and Maghavan in 6b ; iiliilgana piirvaka for alhi.gya in 12a; Girijii or PiirvatI for Bhavil.ni in 44a.; S�tha for CaJ;ldeSvara in 33b ; Kimadhenu for Surabhi in 45c; balatapa for pra�a in S l b ; Miidhava for Siirilgin in 46aj riijak.ula for Iqatra in 4:8b; Arjuna for Glil,c;liva.dhanvan in 48c; rasavat for abhimata-rasa in 49a;
bhuja for skandha in 53a ; ke§a-samilha for vala·bhiira in 53b; DaSakaJ;ltha for DaAamukha in 58a; Balabhadra for Halabhrt in 59d ; svabhava for the suffix maya in 66a ; bhasvat for savitr ill 70d, etc. 70. These two verses (* 1 1 , * 12) are found in the Tibetan translation, as well -u in a few inferior manuscripts, but they are omitted by most known commentaries. 7 1 . Beckh (Beitrang zur Text·Mitik, pp. 10, 1 1 , 15) gives some instances of striking agreements between the Tibetan translation and the Sinhalese paraphrase. 72. It omits twelve such verses, namely, * 1, *3, *4, *9, * 1 1·13, * 1 5-19. The total number of stanzas in it is l lB, as against 1 1 7 of the Tibetan translation. A concordance of verses will be found in Hultzsch's edition.
20
MEGHA-DUTA
* 1 5 and * 1 6 (but omitting * 1 1 -* 1 2 , * 1 7-* 1 9) ; and this is in general conformity with the later conilatcd Jaina tra d i tion of the text.
This Jaina tradition is represented by a large number of Devana
gad manuscripts and commentaries, especially by the commentaries of CJ ritravardhana, Sumativij aya and Mahimasirhha, as well as by the anonymous SiiroddhiiriT)i. These commnetaries embody a tradi t ioll which goes even further than that of Jinasena who, as we have all"l:ady noted, includes nine doubtful verses ( * 3-* 1 0, * 1 4) bu t excl udes ten ( * 1 , * 2 , * 1 1 - * 1 3 , * 1 5-* 1 9) . Caritravardhana ad mits as many as eleven d o u b tful verses ( * 1 -*4, *6, * 7, *9, * 1 4-* 1 6, and even
* 1 0) 73
and omits only eight (*5, * 8, * 1 0-* 1 3,
* 1 7,
* 1 8) . Both
many sp urious the total number of stanzas in their texts comes up to
Sumativijaya and Mahimasimha incorporate so
verses?·l that
1 26, while the Saroddhiiri1J.i agrees with them with the excep tion that it omits * 1 8. Thus, th e total numb er of stanzas in the text of these commcntators, as well as in that of West I n d ian Devanagari
mUl lmcrip ts i nfluenced by them, lies generally between 1 22 and 1 26 or cv(�n 1 2 7. In this respcct Sthiradeva, if he was Jaina, stands apart, h is text admitting only 1 1 1 stanzas as genuine. Coming to th e remaiu ing commentaries, we havc already spok(m of the greatcr reliability of those of Bengal. 7" In South India, till! pl'c-Mallinfitha commentary of the Andhra scholiast, Sarasva titirtlu\. may be remarkable for its acuteness of exposition, which dl'(!w the encomium of Pathak ; but sinee it admits a large llumber of Kpl II'iollS vcrs(!:; (excepting * 1 , * 1 1 - * 1 3, * 1 7- 1 9) and inc�udes even * 1 5 and '" 1 6, its text-tradition cannot in this respect be very reliable, IW1' do its rcadings always appeal' authentic. Whatever may be the in tl'insk merit of his commentary and his occasional �trangc readings76 which .MallilliHha pointedly disputes, Dak�ir.lnvartanatha however, 13.
Thu�, the tut:u.l numb(�r or �t:m�l\s in thtl printed text is 1 2 2 ; but the BORI MS (Ill). 31-5 of W95-!)8) gives 1 1 8. 74. A cl'lncorc\l\nr�! of Vlll'ses will he round ill P(\thak'� edition. Mahim.1. includes . W (unnurn!ll!1'cd) n.t the <md (nORI MS 369 or 18tH·a7) . 71'1. s�� auove pp. viii-ill:. 'rhu total 1l1lmht�1' o r �( anzo.� giv�1l b y the Ea.,tern mrmnentari<'<1, IlR wdl ll.'l by Bellgali MSS in g(!J1t!r:�I, i� ht�t\v!ltm 1 1 8 �ncl 1 14-. Il,vlm 8\IC.!h Intt: Uengo.l commclllntoTS a� ltii ma 1:lth:l T!U'killal:hkara and HIIl'llgtwimb Vik�Hpati give rl:�l'ectivdy \olulR uf 1 1 6 :\1\<1 1 1 5 stanl!aS j K.l1Q.;Lllrl.�3. Vi
21
INTRODUCTION
appears t o b e more discriminating in excluding, like Vallabhadeva, all the doubtful verses * 1 -* 1 9 (and even 70 in addition!) and there fore gives us, from this point of view, a more reliable text. In this respect PurJ)a-sarasvati and Paramesvara 77 agree with him as against Sarasvatitirtha and Mallinatha. It seems, therefore, that the South Indian text-tradition was not uniform, the commentators of Malabar, like those of Kashmir, preserving as they did, a text free from con flation. Mallinatha's Samjivani, however, is deservedly popular7s for its learned yet lucid exposition and has been often considered authori tative ; but it cannot be said that it represents the best text-tradition of the Megha-duta. It is true that it omits nine doubtful verses (* l , * 1 1 -* 1 3, * 1 5-* I 9 ) and e."'{pressly declares the interpolated character (Prak*ipta) of six more (*2-*6, *9) ; but it admits at the same time four such verses ( * 7, * 8, * 1 0, * 14) . In the readings of passages also, it cannot be said that Mallinatha always gives us the most authentic forms. And yet, like N:J.akaJ)tha's very late commentary on the MahiibMrata, the Samjivatti has practically superseded by its reputa tion and currency most of the earlier commentaries on the text of the Megha-duta.79 The critical insight of Mallinatha, however, as against that of the West-Indian Jaina commentators, is shown by the fact that, leaving aside the verses omitted or considered 'interpolated' by him, the total number of stanzas in his text is not more than 1 l S. In this he agrees more or less with the tradition of the Bengal com mentators. The
Q.uestion of Recensions
determining the spuriousness of a particular stanza, we have proceeded on the principle that we should view with suspicion any stanza which is found only in a few of our sources and omitted in most of the others. In other words, the genuineness of a stanza is quest�onable where there is no clear or unanimous testimony. Judged by this test we find that the verses * 1-* 19 are evidently
In
77. The text of ParmeSvara, like that of Piin;a-sarasvati, contains 1 10 stanzas
only (so does that of Dak.,ix;avarta) .
.
78. Most South Indian (Grantha and Telugu) MSS either include Mallinatha'$ commentary or generally follow his text. 79. This commentary has been printed much earlier and more often than any other; but as strange discrepancies in readings occur in its different editions, Nandargikar is right in remarking that a critical edition of this commentary . is also desirable.
MEGHA-DUTA
22
spurious,
as they
are omitted independently by the
Kashmirian Valla
and the Jaina ( ?) Sthiradeva, on the o ne h and, and the South Indian D�iI).avarta, Pii.rI).asarasvati and Paramesvara on the other, even though they are given, more or less, by o ther groups bhadeva
of commentators. The later Jaina commentators, h owever, by whom of the West Indian non-Jaina commentators and manuscrip ts appear to have been influenced, admit, as we h ave seen, most of these
most
and present a much confiated text, which (more than that of any other group) seems to stand apart. The question arises wheth er we can take this J aina tradition as representing a different recension of the original text. For deciding the issue, if we turn to a consideration of o ther textual facts, we find that this is not the case. With regard to variation of readings, for instance, we find that the exception of a limite d number of passages,80 the divergences are such as may b e normally exp ected in manuscripts or commen taries of different groups or regions ; and the Jaina tradition as such cannot be distinguished specifically on this ground. There are three instances, again, of important divergence in th e transposition of stanzas. The first is concerned with 9-1 2 where only Jinasena and Vallabhadeva (with Sthiradeva) differ. In the second case, of 86-89, the difference occurs chiefly among Vall abhadeva , Sthiradeva, Sarasvatitirtha, Caritravardhana and Mallinatha. The third case is more complicated ; in the sequence of 65-72, there is hardly any unanimity among our sources.81 Here also the Jaina tradition as such does not stand apart, as it does with regard to the inclusion of the spurious verses. But even in the insertion of these verses, the later Jaina commentators and manuscripts are not unanimous with regard to the number ins erted, which variesSI from 9 to 1 6. The Jaina tradi tion, therefore, for some reason or other, s eems to have been from the beginning (as Jinasena's text shows) more inclusive than exclusive ; additional verses
80. :E.g. 24b, 54ab, 60d, 62cd, 1 06a.
81. See our notes to 64. 82. The total number of stanzas, as we have already noted, thus varies between 120 and 127. If Sthiradeva is, as he appears to be, a Jaina author, he is an exception; for his text, as we have already noted, gives only 1 1 1 stanzas, and in this respect he agrees with Vallabhadeva. This exception perhaps proves that the Jaina tradition did not originally differ. It is also notable that in the
order of stanzas 65-72
Sthiradeva's text agrees with that of Vallabhadeva,
also in . �e or�er of 9-12. For all we know, Sthiradeva
might have been
as a
KashmiriaD. like Vallabhadeva; but MSS of his commentary are found to-day in Poona (Mandlik Collection), Baroda (Oriental Institute), Alwar, Mithila and Tanjore (Sarasvati Mahal Library)� but not so far in Kashmir.
INTRODUCTION
and
23
go to indicate that there never text- tradition as would justify the presump recensions of the text.
the facts adduced
above would
was such a cleavage of
tion of two or more
Interpolated Verses The most impor tant textual
problem of the Megha-duta, th ere the question of t ext-readings or of transposition of stanzas as the problem of interp olated verses. One curious fact proved by Jinasena ' s text is that some of the spurious verses ( at least nine) are very old.8a But the process of accretion must have continued through centuries thereafter. How the great popularity and currency of the Megha-duta paid the penal ty of interp ola tio n will be clear from the variation of the n umber of stanzas found today in the different manuscripts of the text and commentaries. We have fore,
is not so much
already noted above the total number of stanzas given by manus cripts of the
regard to the commentaries the lowest stanzas is 1 1 0 given by Dalqinavarta, Purna sarasvati and ParameSvara (all of whom omit st. 70) and 1 1 1 found
text only. With
number of total
in Vailabhadeva
and Sthiradeva ( both of whom include st. 70) .
furnished mostly by Jaina authors and Vij aya -sUri and Megharaja, each 1 2 7 ; Janar dana, L �minivasa, Sumativijaya, Mahimasirilha-ga:tli and the Megha-lata, each 126 ; the Nemi-dilta, the Sila-diita, the Siiroddliiiri1j/t, Divakara Upa dhyaya and Kanakakirti-ga:tli ( Leip zig MS no. 416) ; each 1 25 ; Sarasvatitlrtha and K�emaham.sa-gani each 1 23 ; Can travardhana 1 22 and Jinasena 1 20. Next come the Sinhalese para phrase which contains 1 1 8, and the Tib etan translation 1 1 7. Malli natha h as 1 2 1 , but omitting the 'pra�pta' verses, l l 5. Among Eastern (including Bengal) ' commentators, Makaranda MiSra gives 1 18 ; Ramanatha TarkalariJ.ka.ra 1 16 ; Sasvata, Saniitana Gosvamin, Kalyanamaila, Kaviratna Cakravartin and Rara govind a Vacaspati, each 1 1 5, Bhagiratha MiSra and Bharata-mallika 1 14 each. When we come to the early editions of the text,84 we have : Wilson 1 16, Gildemeister 1 13 and Stenzler 1 12. The highest number is
commentators, thus :
SS. The additional stanzas * 1 5, *16 and * 19 are shOWn by P. ,K. Gode to have . been known befo�e 1 385 A..D. (ABORI, XV, pp. 1 1 1-14) . 84. These editions omit the spurious verses, except as follows: Wilson includes * 1, *2. * 1 3, * 14, * 1 6 ; Gildemeister *2, * 1 3, Stenzler * 14.
INTRODUCTION
25
preference, nor again merely from the standpoint of taste and style, which are at best unsafe guides, but on the actual evidence furnished by the text-tradition and supported by intrinsic probability. No doubt, scribal errors have been responsible for some peculiar read ingsS6 ; but in some cases genuine variants arise from the misplaced ingenuity of the commentators themselves. In this connection the impression of Nandargikar, who collated a fairly large number of commentaries, is worth quoting. He states very wisely but rather strongly (p. 2 6) : "A careful examination of the several commentaries has convinced me that a few only of the various readings have probably arisen from the ignorance of the scribes, but they are mostly d ue to the unscrupulousness and the ignorance of the expositors and their desire to make the poet conform to their own ideas of what is good or bad, correct or incorrect, wise or unwise, decent or indecent, regardless of the historical worth of the poet's words or his . expressions." A few illustrations on this point will not be out of place. The commentators appear worried over the reading Sifijad-valaya-subhagarp. in 76c. Several commentators, including Mallinatha but excluding Vallabhadeva (and Jinasena's text) , modify it into siiija-valaya-, simply because the verbal root finj is not used in Parasmaipada ; while the grammatical conscience of those who accept the reading (e.g. Vallabhadeva and Bharata-mallika) attempts to justify the irre gularity by some far-fetched grammatical subterfuge, simply on the presumption that Kalidasa's original must be flawless from the point of view of PaI,lini's grammar 187 Another similar instance would be iiJvasantyab in 8b, for which some commentators would read lifvasatyab. One commentator pointedly remarks on the difficulty of the Samasa in svadhikiira-pramattab in l a ; hence obviously the variant sviidhikiirat pramattab is meant as a solution. Conformity to grammar leads to the modification ofgrhat to grhiin in 72a ; but since the word grha generally in classical usage is neuter, grammar is not respected thereby ! The crop of variants for the reading alaka1fl bala-kundanu-viddham in 65a is apparenly meant to rectify the rhetorical fault of Pralrramabhanga, although uniformity of diction is hardly found in the next line. There 86. ;E.g., Sarizprat.yagraib for sa pra!)lagraiq. in 4c; a-rruntriinMl or a-mlJlldranam in 34d. 87. That it is not so will be clear by a reference to Tuapada Chowdhury's Ling!dstil; Aberrations in Klilidiisa's Writings (Patna 1951).
MEGHA-DUTA
26
is a great deal of ingenious explanation of the phrase Sikhara-dafana88
or Sikhari-dafanii ( and even a-sikhara-daianii)
in 79a,
possibly b e ca us
e
its exact meaning b ecame obscure ; and the reading remained un
certain. Another ins tance
ingenuity
of unnecessary exercise of scholastic
will be fo un d in the various readings sugges ted for rasike
67c the expression cotitaJ;,89 is apparently a lectio difficilior, easier variants are inevitable. So also syiltii in 73b and prarthanii-vartmanaf:z in I l I a. With reference to a particular read ing in 82d. In
for which
in 70c one commentator asserts it is the mUkhya pii!ha while other how he arrives at
readings are merely pii!hiintaras ; but it is not clear
this dogmatic conclusion.
In the frankly erotic stanz a 69 the read ing
viisal;z kiimat is demurely substituted by qaumam ragiit ! The reading pulinajaghaniim in 41 d (for vivrtajaghaniim) is perhaps an attempt not
the expression vivrta but also to line with salila-vasanarh and rodko-nitamharh; but the modification overlooks the fact that th e entire Piida is an instance of Kiilidasa's oft-employed poetic figure Arthantara-nyasa, in which a general proposition is ad du ced to support a particular case. It will be seen that most of these readings are concerned with niceties or decencies of l anguage and diction and are often too clever or too fastidious to be convincin g. In most cas es it is not difficult to see how the variations arose. There are many lines, however, or even stanzas, in which there is hardly any variant or only variants of a trifling character. It would seem, therefore, that leaving aside deli b erate scholiastic interference or scribal vagary, the text of Kalidasa's Megha-data (apart from the interpolated verses) was, happily, handed down fairly uniformly. The number of stanzas which show little or no important variation in readings is about 25 ; while th e variation in some others is so slight that it concerns not the whole stanzas b u t only particular words and phrases in a Pada or two. Not many go much beyond this ; in only a few stanzas (32, 54, 60, 62, 70) do the discre pancies extend to the equivalent of between one line (i.e. Pada) and one line and a half. One cannot be dogmatic with regard to the authenticity of � good numb er of the readings, Odr positively certain. Variations there must be in a classical text so widely read and only to cover up the bluntness of make
it fall
in
which is . . 88. The Tibetan trawlation rendel'$ Jikhara by 'bkra-bahi-pha-lam.' translated by Beckh as 'bunte diamanten'. 89. The root cut, recognised in the Dhlltu.patha, appears to have been less . . . familiar. than the root IiJUt.
INTRODUCTION
27
commented upon, and possibly w e are still a considerable way from Kiilidiisa's exact expression in some cases ; but the variations so far found are not greatly important, and do not, on the whole, seem to affect very much the poet's own text in its pristine form.
Theme, Source and Characteristics The theme of the Megha-duta is too simple and too well known to be related in detail. It describes the severance of an imaginary Ya�a from his beloved and his passionate longings in loneliness. As his master Kubera, the lo rd of Alakii, has punished him, for neglect of duty, with the curse of one year's exile, the Yak�a comes to stay in the groves on the slopes of the Riimagiri hill, presumably in Central India. Emaciated and sorrowful , he sees at the approach of the rainy season a cloud clinging to the hill. The sight fills him with intense yearning, and imp els him to request the cloud to convey a m essage of love and consolation to hiS sorrowing beloved in the remote Himalaya. He describes with much power and beauty the hills and rivers, cities and shrines which the cloud, in company with swans and cranes, should traverse en route to the Lake :Miinasa and Mount Kailiisa, where the divine city of Alakii is situated. Ascending the pl ateau called Mala, the cloud should on its way rest on the peak of Mount A.mrakuta after quenching with showers its forest fires. A swiftjourney will bring it to the river Narmadii, parted into streamlets
at the rugged foot of the Vindhya mountain, and to the DaSiiI11a country and its capital city VidiSa. standing on the Vetravati. After crossing the rivers Sindhu and Nirvindhya which pine for its showers, the cloud will reach the country of Avanti, where the old villagers are still conversant with the romantic story of Udayana. Although a little out of the way, its capital city Ujjayini and the shrine of Mahakala must not be missed. After a little lingering over the stream Gambhirii, the cloud should pass on to the Devagiri hill, where there is a temple of Kiirttikeya. Crossing the river CarmaI).vati, famed in mythology, and the region of Da.&apura, it will reach the country of Brahmiivarta and K�etra, the scene of Axjuna's heroic deeds, and drink deep from. the river Sarasvati, whose pure waters Balariima resorted to, unwilling to take part in the great Bharata war and discardlng his favourite wine. Then the cloud should proceed to where the Ganges descends from the Himalaya near Kanakhala, through the opening in the Krauficha and. pass
MEGHA-D UTA
28
mountain, made by Paras urama, by wh ich the swans go to the Man as a Lake. Reaching Mount Kailas a the clou d will perceive the city of Alaka res ting on its lap. The city is then described with its delight s and splendours, and th e home of the Yak� a with its beautiful surroundings. The charms of h is wife are th e n d ep ic ted in glo wing colo urs . Bligh ted by sep aration, p al e and em aci a ted , she now seeks many a device to while away h er lonely d ays and sleepl e ss watches of nigh t. If perchance she is in slumber, the cloud should wait and l e t its lightning pl ay gently like the radiance of fireflies ; allp it sh o u ld muffle its thund er so that her pleas an t d re ams b e no t d is turbe d . Gently awakened by a cool breeze, sh e would rest her eyes o n the window where the cloud sits, and l isten to it, as SUa lis tened to Hanumat, delivering a message of tender love from he r husband and an ass urance of ultima te reunion. DO ' . The idea o f sending a message may have been suggeste d by the embassy of HanUmat in the RamiiyaT,la91 or of tl1e Swan in the story ofNala in the Mahabhiirata. The first conj ecture gains plausibility from the fact that an allusion is made in 97 to Sita anxiously listening to the message of Hanfunat ; while it is possible to hold that the longing of Rama for SUa might have suggested that of the banished Yak�a for his wife.92 A distant parall el is also found in the Kamavilapa Jataka (no. 29 7) , where a crow is sent as a messenger by a man in danger to his wife. But whatever may have been the source of Kalidasa' s inspiration, there can be no doubt that the treatment is his own . The selection of a friendly cloud as the bearer of the Yak�a's message from Ramagiri to Alaka is undoubtedly a strange device ; it is criticized by the old rhetorician Bhamaha as defe ctiv e and by some
modern scholars
as
unreal. Perhap s anticipating some such views,
poet himself offers the almost demented condition of the sorrow� ful Y�a as an apology. But even if it is a highly poe tical, it is not an unnatural personification, when one bears in mind the noble mass of Indian monsoon clouds, which seems almost instinct with life the
90.
Some scholars have concerned themselves with the identification of the
Yakfla's Asrama and the 'route prescribed for the cloud ; but the question is one of historical or geographical rather than literary interest, ·and has only an indirect bearing on the appreciation of the poem itself. The predominantly
imaginary character of the poem should not also be forgotten. 91 • . See Sundara-KaI;lQ.a 9 1 -98. 92. This is s\ligested also by Da.kf!iI}.avartanitha, whom P�arasvati appears to refer by saying: kaver. yalcsa-vrltiinle siti-rt1ghava-vrttiinta-samiidhir astiti keciJ
(p; 7).
INTRODUCTION
29
as it travels from the Southern tropical sky to the snows of the Himalaya.
But th e unreali ty of the poem does not end here. I t has been urged that the temporary character of a very brief separation and the
absolute certain ty of reunion make the display of grief unmanly and its pathos unreal. Perhap s the sense of irrevocable loss would have made
the motif more effective ; the trivial setting gives an appearance of sentimentality to the real sentiment of the poem. The device of a curse, again, in bringing about the s eparation
a motif which is
-
rep eated in another form in the Abhijiiiina-liikuntala-is also criticiz ed ;
for the breach here is caused by an external agency, and not by .
psychological comp li catio ns , to which we a re more inclined in
modern times. But this criticism loses sight of the pred ominantly sentimental character of Sanskrit poetry and judges a device by a s tand,ard to which it does not profess to conform.
: It is indeed not necessary to exaggerate the artistic insuffici ency
of the device ; for, even if the setting is unreal, the sense of sorrow in
the poem itself is straight and vivid.
If
we set aside the imaginary
setting, we find that the picture of the parted and pini n g lovers,
somewhat heigh ten ed though it may be, is yet true and p ass ionate
enough to make the pathos real in its appeal. No doubt, the picture
is invested with a highly imaginary atmosphere ;
land
of fancy,
it presents a dream
its characters are semi-divine beings, and its imagery is
accordingly adapted ; but all this does not negate its very human and
genuine expression of the erotic sentiment. I ts vividness of touch has
led p eople even to imagine that it gives a poetic form to the author's own personal experience ; but of this one can never be sure. The poem has often been loosely called an elegy or a lyric ; but ne ither in metre nor in matter does it approxima te to the Greek elegy, s ti ll less to the modern lyric in the strict sense. There is little of subj ectivi ty in its finished arti stic execution, and the lyric or elegiac mood does not predominate ; but the unmis takable warmth of its expre ssion of rich and earnest emo ti on redeems the banality of the theme and makes the poem almost lyrical in effect. The wonderful spell of language and the stately-moving music of the Mandakranta metre very well suit its picturesque and melancholy recollection of tender love. We can characterise the Megha-tlflta as a highly poetical expression of the mood of reminiscent love in the presence of su£feri�� The theme reappears in Kalidasa's other poems in varied situ�in Rama's
MEGHA-DUTA
30
recollective tenderness in describing to Sita the scenes of their past
joys and sorrows over which they pass in their aerial journey from
LaiJ.ka, and more intensely in the two lamentations of Aja and Rati .
It should be noted that th e arden t fe eling in this poem is n o t
isolated but is blended picturesquely with a great deal of descriptive matter, which stands in the way
of regard ing the composi tion as a
pure lyric. The description, however, is not a bar e re ci tal ; for nature here is viewed through the eyes of a p assi onate lover. The i ntensi ty of his feeling is set in the midst of the Indian rainy season th an which, as
Rabindran ath
rightly remarks, noth ing is more appropriate for
an a tmosphere of loneliness and lo ngi ng ; it is also placed in the
midst of splendid natural scenery which enhances its poignan t appeal.
We find, therefore , that in the earlier part of the poem the descriptlOn
of external nature is heightened throughout by an intimate associa
tion with human feeling, while the picture of the lover's sorrowing heart in the later part is skilfully framed in the surrounding beauty of nature.93
A large number of attempts was made in later times to imitate
. the poem,94 but the Megha-duta remains unsurp assed as a master piece of its kind, not for its matter, nor for its description, nor yet as an
exercise
of intellect a nd ingenuity, but purely for its poetry. This
small m onody
is
no less characteristic of Kalidasa ' s poetic powers
than his more ex tensive poems which have a greater height of aim
and range of delivery.
93. This trait of utilizing nature not merely as a background of human emotion
but also finely interweaving it in human affairs is seen throughout in Sanskrit literature. See S. K. De, History of K4!!J1o. Lil8ratur8, Calcutta University, 1947, . pp. 3940. 94. On the Diita-kii�, see Chintaharan Chakravarti in IHQ. ,Hi, pp. 2 73-97 ; S .. 11;:. De, 01. cit. pp. 372-75 ; J. B. Chaudhuri, So.rpsk(1o.-r1iitfl..MQyetiMsak, Prlcya-vil)i Series v, Calcutta 1953 (only on Diita-klvyas of Benga!) ; E. ' P. Radhakrishnan, JOR. Madras. x. iii. pp. 269.274:. :x:m:. i. pp. 23-28 .
THE CRITICAL APPARATUS Adaptations and Translations
J
=
T
=
Jinasena's Parsvabhyudaya (as in Pathak's edition) . Tibetan Translation.
8h
=
Sinhalese Paraphrase.
N
=
Nemi-diita of Vikrama. [Sila-d.
Sila-diita of Caritrasundara-gal}.i
=
some variants only are noted.]
Commentaries Cv
Cs
Cc
Cst
Cd Cm
=
Vallabhadeva's Paiijika.
=
Sarasvatitirtha's Vidvajjananuraiijani.
=
Caritravardhana's 'fila.
=
Sthiradeva's Balaprabodhini.
=
Da�il}.avartanatha's Pradipa.
=
Mallinatha's Sa�jivani.
Cp
=
Cg
=
Cb
(C)
=
Piirl].a-sarasvati's Vidyullata.
8anatana-gosvamin's Tatparya-dipika.
Bharata-mallika's Subodha.
[Occasionally readings are noted from the following com
mentaries, of which those of Sasvata and Paramesvara only are in print : Param
=
sar.
Saroddharil).i.
=
Sumati
=
Mahima Sasvata
Paramesvara's 8umanorama1;l.i. Sumativijaya's Sugamanvaya.
= =
Mahimasirilha-ga1;l.i's Sukhabodhika.
Sasvata's Kavipriya.
Kalya:t;lamalla =Kalyal].amalla 's Malati]
Editions Bw
Eg 5
= =
(E)
Ed. Wilson. Calcutta 1 8 1 3. (2nd Bd. 1843 Ed. Gildemeister. Bonn. 1 841 .
used.)
32 Es
Ed. Stenzler. Breslau 1 874.
=
[The following editions with Mallinatha's commentary are
also occasionally utilised :
Ri
=
Ep
=
En
=
Et
=
Ed. Ishwar Chandra Vidyasagar, Calcutta 1 869. Ed. K. P. Parab. Nirnaya Sagar Press, Bombay, 2nd ed. 1 883.
Rd. G. R. Nandargikar. Bombay 1 894. Rd. in Telugu
Foulkes
=
T.
characters.
Foulkes's
Madras 1 859] .
Readings
[For references
Introduction.]
Chowdhury
=
to
Madras
Tarapada Chowdhury's Linguistic necessary) .
Patna
Concordance ofKalidasa's Poems by T. by Dr. V. Raghavan.
from
edns.
IYlanuscripts.
Manuscripts and other Commentaries see
Kalidasa's Writings. A
from
Madras 1 904. ( Occasionally noticed) .
1 95 1 .
Aberrations
in
(Noticed when
K. Ramchandra Aiyar, ed.
University of Madras.
and mss. are recorded
here
in
1 952.
Variants
the footnotes.
THE TEXT
+t��+t � � ��Tffm��f{ iifi'f:l'€jN'l'''€1lf�(�!''5OTT �bfifil (Sl+('d : � ....c .. � .. I mq"'lfdfn:m+n� �14f.4 "'1 �: " ... t\'� \&t.,Efia.,4If., i'1�iJt\n i(Cfi,! �"'�IQla"5�'" cmfa (l.d;p'4i�'" , , ,
•
0'\ n
af�'$Iif" Efifdf-6li(iSI�lfdlSl4Cfa: � � i{� +( It! 1"Efi"6fiq€it4'3i�1 F<"'€'l$(CftllSO: , . ft ' +1%141 ''' 1 ft(iltia� I" "1151 1$(=4 Sf%l+p{Q;t! qSl�ii l4r
'"
� �ftr �: �aCfiI€4I.,iJt ("€1atftSqf?rE4(Wi�it (iii\U3tftl �,. , ...
�
�� � �)� �: "ISISlunni 11 Ft Iil"1'' EfiUOI'ii W
1. 2.
a)
-
c::. "' " " .� ,� . R�
It
J, Cd. m, Es 'E"CltMCfiI (tc:S1+l'a : ; Cd. 'E"CltMCflt<St+I"d m m t��;:q :. The text-reading is in T, Sh, Cv. c. st. p. g.
�:
b, Ew. g, as well as in Param, Sar. Mahima and Sumati.
--c) T, Cv Sj'�t+tf<:{C(?t ; Cc. m notice this reading, Cm deliberate1y refuting it ; Sasvata accepts it, but refers also to the text-reading. Cv remarks : � �ICfit(\!iCflt (altr�fltijt¥'4+1)€!tC:$J"i+t �: C(tSJYCfit�("lI S1�c:clI;lft4fr.{'1f+ie4d�d'l .. � i but �emendra, •
•
•
anotherK ashmirian, reads �(in Suvrtta-tilaka, ed. KavyamaIa
52) . 3. -a) J, CC. d. m ifI'iCfit6JI'1�ffi : ; Cd ClidCfitllJl'1�ffi F
•
� � � � tfTO:, m �.
•
•
��: � �'tf: ��: � qaC(i(uj : mf1rrf�: SlNumn: , '" t�1�lqqr(4,ultC"l�� � Efll+Clai � 'Sftif�4U,,�.qa':II.q� " V. " � )fa:ef�{\'(+1�c:ri '"
� cm �fG ���
Sf!i� l:fi1+1� �: , a"IN� �tf ��Cl')� \ifT." f+t ro
�
+:c1m � ;fr� � "
�"
�� �� � �)Cf fSr.w.rr : � � � ��hn��fIlIattl , � � �a'({\'(C(i1 ;:m:r ��q
.l@i"I.,.r�a&
4.
-a)
Cd
� � (Cd refers also to text-reading) ;
Cm
refers to this reading as that of Natha ( =Dak�iJ;lavartanatha) . Some Bengali MSS �-. T, Sh, Ew. s-�R. (Cst notices this variant) ; Cd. g. b. -�+dI'1 I\!jy. c) Eg ��: . Cd �= (also
Param) .
,-b) Cd �: and SJTtf1J1'1
, "
5.
7.
� � (also Foulkes) .
-b) ' Some
MSS
�:.
N1+II¥e€
4l!Mq41ii1 +t4.I�t\1lif1l.a,: ""
"
�f� qf"'lifIC4f"'EH: S(Et4t(141�E4��t( : "" "� I "" .. \ifi': «;;.i f��'d �� � '" Of ft(14wirStt(�f+ter :.;r.:O 4': ���:
11
to
It
;r;:ci ;r.:ci omCf q'
"
��.
i:4IEtliflfd �: I '1'+l��Gftff�"¥I 'q�;rr\1l : �� �" � � �: 1 1 �� •
t 11
ffi ;:net�ti f�«ffqfoikkq w1Iif1q€"1T
l1atnq'l$\'t�fCfi{Cf'1'fEd �� �� I 441�lIif"�: !f¥��� � @ii" 1I"d �:4ifCf '$l'� � ft1w::fTiT �"f.a' 1 1 t o
8.
-b) Sh, est. d .
m.
p.
g.
b, Es � 1�4f1fl1 : j Param and Foulkes
(4 1'1S8) as in text. Ma.dhava in his
datta on Kasika ii. 4. 72 j ustify remark � �IOiCflI4f+!f�. -d) J,
( for �) .
Foulkes
�:.
Dhatu-pa.tha and
Hara
the form � I li"l'il "tt : with the Sh, Cd. p ( also Param) ij:f<:f
8, the sequence of stanzas in J IS : 1 0, 9, 1 1 , 1 2 ; in Cv. st. 12, 9, 1 0, 1 1 . The other sources give the sequence as in text. Ri regards as more logical the order 9, 1 1 , 1 0, 1 2. After
9.
ll
--b)
Cv,
Eg 't\ldCfl«114'!&'j): ( also
KalyaQ.amalla) ,
Cst
Notices
this valiant ; T, Gc. st. g. b, Ew � m: ( Cg �: ) , chjis reading also in Sar. Sumati and Mahima ; some MSS �
�: i Cb m iifu I.f
�:. -c)
P �+iq('iI41 q, (�lso Pa�am) ;" Cv . g �+iqf<'tji::j . -d) Cd. P i14i1V\'il : ; � Sumati and some MSS . .,tti'{:g'€l�. 1 0. -b) Some MSS. '1qf�d.lfd:. -c) Sh !"1"HI'i�i mtlJ"it f!lW"I",j ; Cd. p and Param �t!+Ht��I51IUl+j'41i'''Ii1i (Cd � f!l'W
-ff'4 ,(qf{'C(41 ; Cg.
b, Ew.
� ��� . , �Tq'f '" ",�{V(\ ��"lff c;�..'"� a � -. -. .. � . . . . � +I f''' �) ECfiI : I m ciimtnf�6f\ij{1t\"'�(q1'��cr;o: �� �� �) �m: � : 1 1 � � u mq'� f�t!fI(��q'" ��'+1 rf�s=ftl !ihi' '" .... O$'\. -. �: ��i �qfm��� ��"l l m m �qfu � � �)m ���'EI
..
..
c:.
�
" ... '"
�
'"
'"
'"
ri: � � trei'-=I': f��fq$!"1(.q"tfi:riGe.lc:Et'��� ����;:rrfu : , � C"I 'q�'«1 (Etf.;;!H"I I$Natu.¥t\.q : '" , ...
�
mrnm"'l'i qN qf(�'C;*q.Ii4�q'A "
11.
-a)
T,
"'
Sh, Cst. g.
b, Ew.
''
n
�¥ 1 1
g. s \3f�I"� (also Sar.
:M:ahima, Sumati and Kaly8.:Q.amalla) ; Cv :af�fci1"�I+jq ..sq' j Cd �'E'II+t q..&1i b) Foulkes. l)(qOIW-
Kw. g '+I"C\'fu" � (Cc notices this reading) ; text-reading in T, Sh, Cv. c. st. d, K�. 13. -a) ], Cd . g. b ;rrf iRr: �. Cv. -�� -b) Foulkes �. Some MSS transp. � and �. ], Sh, Cd. p and Param � � (Cd. P and Param �- ) . -d) . T, N, Cc. d. m. p � (also Sar. and Mahima ; Sila-d. as in text) ; the reading of Cst and Param not clear. 1 4. -a) Cd m:'fin � q'Cf
lRlq!fl� (there is no reference to this story in any other commentary, early or late) .
1 2.
-c) J, Cm. p. g. b, the
...
oft "''':I':i'I�:rr. IS('�:qEt(:!<'E'a ���� CTif:tc(1l'15+iR�G��� , ... �'1' � ��Et'ffd Cfilf.-a+iNR=lHl � �� ��� ti)q'�rsrtlf fC(t11f): 1 1
.c.: : �n'ft'I'.... �"'''�ltI ,o� I� �Ci
�� "
Mtlttlt1 �'6{1f:qfCl 'rI;{f6ltfll'Win:m : " S('1fffl���'q��: q�: , " mf:��TNiE4ij(§(f+Trn�� �
Nif-t4Nfiill� ��:q �Cf"'�Of " � � " (€(I:qI�I�s:r�lr+tacr"')<1� ���cr�fm�
&Ji'Tstit Sf�ffiq� �� � � -.rcrfEt' ���: � ���: '1'
1 5.
�Tet'" ��m " ��: " " ,
" � \9 "
a) J (M"'�14 . Cd >f� �. -b) Cv � (on this p. 78) . -c) T, Cg. b, Ew. g �;lI
-
form see Pathak, KalyaJ}.amaUa) .
d. m. p, Es �fCj
1 6. -a) T, Cv.
"'
i 14�af"!l� ; Sar� it;fq�l{ij � �Sj f+! RI m 6'« �. -cl) Cv srcr�r�PTfu ; Cst SfiTI1N (or � ) irfcr (fo; � �: ) . Cg. b , Ew fit;f"4�ci'It1'{oI. The
1 7.
incomplete MS of Cs (BOR! no. 442 of 1 887-9 1 ) begins with this stanza, on folio Sa, the first fifteen stanzas being lost on . missing folios. -a) Cd -<:ef\4C{1ci. -cl) Cd. p �: (also Param) . T (after 1 7) , Cg. Ew (after 1 8) , Cb (after 1 6) insert, and N, Sila-d. (after 1 7) utilise : (Continued from page 45) * 1 ttbS('f
� � 41+1ii€:l� ��I"I+tfjif 'Ei('CflI (IS{ : � '1R{
I
to
be spurious and
�)c:n;:a: qft�)fm: Cfilrjrjl4�� filRq <+tT.t� : f�'Jf� , Qftq l¥tq�� ;;.:i Q (fQ!;'Q¥t (f+\��Iff '" +t'tcl �: �'f �q' �::r: '" '" ��fffi
..
c
..
..
" �t; "
t.e-.:
c.. �'I)!!:� ill��Sff�� (If)� �: , W(If:� "'� �Q'� ;nf�: ��a m ftcI:a': �rcfhtq'm f� �: 'luTani'ttCl'l'Q' "
�t "
;.,.,.CfaCf��CfI l�� h� Q""' ....,"" af
��q� ;ftri CflSGcn' orfu:rEfifirn � �TeiT.tlrjCfi'llil1¥t , ��aSf�;r.;rT: ..:)5 '" �6Cffef� �� \i{�i: �WTffi �,,:er: �!:�f�� �1{ 6
�
�0 "
..
"
\:lIo
"
�� "
l!;M'1'fi1 () �� � �ff, where � refers to 1 7. Sasvata u;'c1udcs it, but remarks : Cj\R:11 P-i"'l'$'E'a� ��ifk1 I�af.q ��sffir. [variants : a) Cv �;.-d) N, Si!a. '"
remarks :
d., Cg. b, WEd ""':e;oc....-r:::rlC(ri-Ia ; ) . 1 8. -d ) Sh, Cd. p :eCiQuf\'€IquI ( also Param ) ; Cs murr. -d )
N �: 'E'a'1 �. 1 9 . -a ) J a ff'lf,owcc(1 by tl'ansp. -b ) Cs. c. st. b, Ew. g. s.
20. -a) Sumati and some MSS df4 ltet"I� :.-b) Cv, Eg iiI�u:s-. 2 1 . -c) Cs. d. m 'ij�6c( I�oii\'lq -; Cm ({h1 I (�� trr5 €(WIf'l€4f� � (This view is criticised in Ei) d) The-word � occurs in two places in Sakuntala in the sense of the deer. Some MSS "1"11*,,"1"" : ' After 2 1 , T, Sh, Cs, c. g. b) Ew insert, and N, Sila-d. .
utilise :
-
��f1:r �(lI'�ftt � qfuf� ftftrmT: �friq ��;r�f tfafff �� () I
�Cfm'q"f�: ��{:f;:rtf';-: �cntfffi1i� ��:
Si�mtf:
���q
����
�� ' I � � I '
��cfi': :rrf':qf+f��.' ;:r1i'T'(�1�«ffi;r��ff$U � tiI... ,... ��: • tfflJS';;� Tqq;:rqolf: '" ..
�l:q-r«� qftGf(fq;��;:rRf�: '"
�.:f� ctrfu�lfFc;:���ftf�«T �:
' I� � I '
Sff��{:'(�t US1S1T;ff �cn �'1: tfi�q' ... �t=Cfi��qtll' � I (lI"h:T�fOf;m'��tf q'T�tf � tre' '"
�a��w �1.If1:r!!f qqT af�CiI�tI''li=at.wtf� *2
1I
�'!( "
��('i:\1
qf{« OI"l4(" f"l�i:ll"til �: I �: " ,q(41I'St� fClf"" Htl'l4 lO{("If4Gl1frq fu;ar: ;e1,Cfi;q tf.., f)Oj4*'� .mt-;n:nf;;qf�ij(f'" 1 1 Cm in clu d es it but regards it as interpolated, remarking : srf� Ol\ I'l.04 ll1d . [variants : a) T, Cc. g. b, Ew. g. �. -d) N, Sila-d. Cs. c �:j'k.fi06( f"'l. 22. -c) Bhoja's Sarasvati-k. lO{'ffi iG l1t: T , C v 'S"Il{"I",� :.-d) Some � '" MSS '!Ji'l]'q'Cfffi : Cp = Cfj"" l!\rm+j7 q F.r Rd tflO : . . . CfiI!l+i4tfr:t � 'tl I ""l <;:1 . Foulkes �. ' � � � ;q;:� 23. --b) Cg. b, Ew. g ;ftiT�·. -c) Cv. g. b, Ew. g '"h&l4fq lf4�� mr ""'fll (Sli:l�l!i �. Cm Cfifa411qj\*H'4Itl <4G:MsN ;or a"��flI1tt (\Cj+i@lf4 � SlI fllCfj,qlq, �
(See Chowdhury § 1 9) . 24. -b) CV, S. c . d. m, Eg. s '"h(1l1f
�.-c) J � lJ1lI'j T, Og. b, Ew. g. s � (Cg. b �) l(lRfj m � � j Foulkes � lffCt (also as in text) . -d) J,
Cs.
Sh, Cp �: ..
¥li:e.
iI1fi: �
�� 1 1
�q' �: srft:'4a�q'h,(o!ilt
;:q f: , «1""'ffi"'·$CGlttfcc41'".m 'ff � �Glf,, ... fart�I41E1r
i'ftE1Nli4fc(
't
um �T=ct�qr�:e(msftr
"
�\9 "
25. -a) J fcf$lif"d{ffi :. Cv f.P5I1liiiIG«: llfl
the form (see Pathak's remarks on this, p. 83 ; Chowdhury § 7v.-b) Cp
26.
(CIISI1G� : ;
CV
�f" ..�qSl1ifd
�:
-a) Cg, Ew. g. s �-; Cst. b �- (also Sa.§vata, Kalyil}a malla, Sir. and Mamma) , said to be the name of a river. Cm :
.wic6fd qr8 � f�4e;Qifiq4\I"'") �:. J, Cd . p4, (Gt I"1i M�$'E("1, --c) Cb, Ew. g. � �-(also Mamma) . Cb : � �".. �; qGjiEk'\(;:dfd 'EI+itMf\t �, matO{1qGtll!iifWOilf\:t qdlil�eq(E(. -tI) N ij\(41({I'Ilff UI-. 27. -a) Cd. p q.... lt6q � 1Of; Foulkes q.... IEdC( � :or or q;:l!ff r..rft :or �:. Some Mss ;atl(� i.-b) Cs. d. g, Ew (also Param) � lif �: (Cs � CfI"cf41" 1<'El1:a:!lJ4) .--c) T, Sh, Cg, h, Ew. g. s �(1JI... fcfiij: J, Et lfJI' (for 6"1') . Foulkes 6'IJ(' fdl+atl'1 (rurj . -t1) J, Cd 41..'....,4f3;
q���af�f"lifll�:e(lqUf('tff : ... I � I�: ��: . � .
28. -a) Cp f
c)
29.
;
g. b, Ew. g. Sua-d., Sar i Ew met Cc.
"
some MSS �o
Cf. Vikram. iv. 28. = Sar. and 1v.1:ahima) . -t!) >!"Gl'fir ; some Comm. and Mss ijO( I'llSI U14 <'El I Ul'*1 :( (also
•
-a) Cv �. Sh, Cm �'ElICi(�ldf4 ; Some Mss � m Oll�"'ldf4 ; Cs. d, Et --mm m �ffif4'. Cm dl+tdldtii fd �� re�'1'1Y+l '1il'*1
�ftr '11f6I'l!q &'4f+t�I"'I!tffi'; this apparently refers to the criticism
of Cd. s in similar terms. But there is a river named Sindhu in Central India, see Nandargikar p. 32, Vidyasagar p. � 1 6 and Pathak p. 84 ; identified with Kala. Sindh which flows into the Chambal. Cv. �. -b) Cv tf\u:S"'�llji. Cg. b, Ew. g �: (also Param) ; some Mss �:. -c) Eg and some Mss �Si+t�lf"'<�lqf\'O'llll C B i remarks o n this : R � ",. �� ) t'1 ....I:I,I '1'N I I '1 '(I 'PI '1, -Cv. 0ll 5G\ :q<\1 1 . •
30. -a) Cg. b, Ew S! 1'41C("ti"j and �. Cb and Sasvata : � s! 1'4Wdlf"1fd �. -b) J, Sh, Cp �. -c) Some Mss fq"",r
q'�1� �m:�u.,i :5 ... . � o � lfi'Rmf ... � �rC!fliifi4H'1 ,+iN4.,ilEfiiSU�: I � �Tort �(l 1(aH;:Ur"'+1'fl" 1��: f�S4lq'fI : f� � m��: I I � � � :\ .., .c:: � Il;"I lc:o.ttiOI�.q(1qO': � ,
.....
.
..
H
Cfi�'NlI<�q· ...
I��I � I i� �q'1r.iI{(qfu;f�I�: �� : j�+t1(f�qRqi�n"<1('€+1 ' �
��
�
m«aqf""(1 (q'��T�,,r;;�,! H � � H
-a) Sh, Cs. st. p, Ew. g (also Param and Mahirna) qc:� (Cst. p also notice text-reading) . -b) Sh ��-. Som� Mss �-. Cf. � � �: Kumara viii. 25d. -c) Cb ij"lf. --.:'cd) Some M�s in Foulkes transpose l:f.iT � a nd f*lSllql('l :. Some Mss fmrr. After 3 1 , j, Cs insert the following verse : *3 � �4$f�<j!( "I<*! '(I,.j)S3f "f� � d I � «JOf CI'1WIfCr:lT am m=r: I �'l11{("ld : � "'� : � Jjcq lcij c::qff�e4i�'i't � ;;;r;:rT � I J continues : Cs (after 33) inserts : *4 �i
�:
mf: "fiUQ��rccf(r� 'f'OT: � "T�:
rnt 4p'U{fst�CC.,4!\). �� I �iU l'" tCC('14'(\it'l1lfi��i"C4CC('4I �*hHr.=t«1y'qf(1f"1l"���: u "tq,.4ffq$41('1� +C�I'fiI()1+CleliU � c; . .... c _..... . .... � 1(1 elf (1' ., tI'1 (cctSlq 41ClctC'l4 • (1' '+ff.j : I
�� u
��('1qa�ai ��: �'lc.tT-
+c lq,.ilTOfi \fl('1qfQiEfM
� rrf-i\(11.,1+c"
Qlctw.:ueCfClfOI(1(iil'1('R"Ist ('1'�ff « "��Itll
;m:it� � �mfOTill:fka(� r:..� ..... 'f1 !."1 1 '" : Q ii·eu1;"*41)'i1d ,&cr;:r. +c O�iH'1;:m '11.
",
�
"
"
�¥ 1 1
, "
�� II
. fi �: I srt'l"CI\ilqT�csq(
� �:
variant) ; T. Cg. b,
Ew.
g � � (also Kalyal).amalla) ; Cc. p
� ;fucrr (also Param) ; Cd, Et � �;
Cm,
Es � �" ;
Foulkes �. �; some Mss t:r CRCIT � or ur.; 'i'Rcrr. 33. -a) Sh, G� � ;;,�: (als; Param) . -b) j, Sh, Cs. c. st. m, Es ""10%"1'/121 {flI ; T substitutes �.-c) Some Mss ei\d'jii!l t if.-d) Sh. Cd -�-(Sasvata accepts this reading) ; Cp. g. b, Ew (Param, shorter recension) �iStfCj «l (Cg. b � = %Of Cl! 1'(1 'RI
; Cp
fcr
34. -b) T, Cv. S. st. g. b, Ew. g � (Cs � %Of RlSfil4ifd) ; Sh �. -d) Eg and some Mss >>I t+t'''1lot i . 35. -a) Sh, Cm �:. -b) Some Ms s {f-
-b) Cb m �:. Cs fClil.-d) Cp �ltrffia't : fuWre'-(also Sila-d.) . See Cm on the �n-Par;Unian formation li6C!i!f.Rt : ; also Chowdhury §25.
r�
41"i%lR' AT
�� :!lt.�.
c:
�
•
(q 0l;se �ffi q' U III �1 1 (f$1' 'icffi'
q�� "p(qfaq� W�)N: I �"cn� !ifi�Q\'IlSIf�4�q'T �Tcif
itrfr��,{,ef�) � �
�fCfif{161lf�U: " � Vj "
of \ifif4if����" 1"�ql (lCi4ffitrt ;:ft� m� f.ef����fClt4�"'$f: I ..
�1Si �.. �q' �cH�6I1�4�1Ii .. .. �O'(f "
'l'f\! ��q��:
I I � t; I I
m(41"fir� "tt'f� fi' � �fU:s� ''''' i � � S('� cm:i' �r""�ii"� , SUWl1m \ifi�t'ifat4;:rr�sftf � ""f�"l1 ' : Skl1lCJ.*,f\t6lP:t � �t{'1e:q ,�: " � t " ��: � m���m srm:f
�lfr�q' �fa'§�1T) �� � ri� , ����l.f1': !,�fCf�t.t"Plf�fa � " �t1'i· ;tft�,�.. �E'I�'\fi<1e€i",, �f� H ¥ o H .. �:
f�.q(Q\'I('�
SfTI'!a'an;:f'ttm�
� ;ft� �f��«'; ��)q)�+iI'� S('�* � �fit � �� ;rr� lirnff� f?;rC{('liilE4;:ri Q\'I'T f� m:
, I ' ¥� 'I
-a) Ew � �. -c) Sh, Cv. s. st. Ew. g 'Ii"«1 f+jOij I (also Param) . T, Og. Ew f"1'fi151"'�i4;q1 (Cb notices this reading) . or Vikramorvasiya iv. 1 Sjii'jSjifi'jSjiiSj f-E"'FOiT ft!4'qfhllli +r+r �. -d) Some Mss -� (for �). ], Cd. g. b, Ew (also Param) :qr "'f �: (Cd � � � �qi'liHi"''''I ;q I�:) . 38. -a) Sh �: � (Cr 41 a) . Og. b, Ew. g-�.-,) Op �,� by transp. · 39. --0) Ost� Param and. some Mss Sji+iIili'jlFlId,. . 37.
.
.
"
�&4 ..elJt_f�dCi'§1lo1 '''...1lo1eq¥ (!R4 :
mfft("EJ.�f�d'§"'" Clft:afi:r: q114.u� :
l
;l'l'i!4i��qf,,"" 'Ne(lcicc�cf fim: a � �: . qf(o,.. fqm .I�;(\¥'t(,oiiq, f�tidCl�fa �6qihft!i'em:+n .... :::a. i@1qtig �Ql""I"i!i"'5'+ni :• �'i«t;fauufiU�(fT Cli�an�i �;:n "l'�:ufitt4 ddCli!fi!t..4- wlll'i af.l' �: U ¥� d"I'
U
"'� U
�
,.;. ... �.�'(:
__
&ti\faJ"'ci(,cc+ift4 qft;rci
� � �� �Ci+itiClE1sufq' ri �)ftr , 1I(laNi1t ( iilfiUi4NI1 �� �� � . � ... . . .... m �
dl'1tmi � qf
q'�'eeAq 'iq f(fl:4E1�Ef'Wliil' ($I if' 01 ''''
l
�""riqi'l" q,!.(�.ql€ii f..:w:;f . qiiiftlilw(ii'i(Cl'!.:t"*'«t{,"n�.",! " "IS'\9 l .
u
:a�UCla \l1*,G�fCq�� a"ft""';c : �: t � lflSW$lf4'i1 N'!;of .� ... ..
:\....- � � I .... � ..q-I :i qog (flT.i l �,r.: l .(� .(f:l'lii:"l'l fii-«(\l1� (",i �
l5U(Nla� Mer qrqft'''� ''��� I I 'If'c; " � i{'(I11fC NfCC't (�t �qq�):q"'I -!j;f i(RlsntQI �'1(f�qr ,:tt 'N+ft tn' : f� • 'hn.. � alfn", N�.qfCqi ��.. "H� ... �...c-'11 ' � (1 ' ;ra'f� I'tWf': n ¥t u q;a:tri�e"i1f« .. . .. .... ,"I" �"" '6tii ('i!tti"'Q1� �i1\=W( IGf'II!tt't� .. � �: � {1'l'(a...qfQ"fl(qr"q!lJ� • wih.N¥lIUU(;c*,i Q'T flq�� �: �: �'\4tr" fCl.6:(tW"i('1·�fq«ff(l 1 1 � o . . at=Ql: \l'T( gmr ... Cf'lfi:;r � (et •
.. .. t;:: · · c c ... "<:"liWif(!'fiTeUU4 (1"q"ft'd("il¥:�: •
��4"€QI � �: 'tItl
,
,
,
Ew. 'g
;a�'I!i1f4d- (� K•.J;Y:�"I1�) � ' ,
'
: '
� \9
��qr.,+t'E1 �i: � m- ;crq1t"ti ti Ii!qr� � (1i·ft464,,<:4(¥1i·it+{ , ffiT'N 1'@i(1Cfl (Efi'�fisa�ya I qCfllutT;t en ... � : qf� fif15�: " q cqi
'"
� � � ���:
�¥ "
�ffi4�N�:c:,.r� ;(r(ffi "1 �: �Tln : , f.fff+i ;:((� Cf! (01 fClil+t i$\t;;4+t iM N l : " " c. �� 1�\C( "I0(q4:Silca4 �: 1 1 �� " '41$4:14 (1 ��: �: w:f+lIOIl : ���(fC4li(q) iTm rr!fl"1 ...1f�: , � � �EEfiif.{(tif �: �'''1 � ' ''!.T a- �Ii(' '" t�ina(1CO(f if'l q'tiJ,q(1tt1S1 � ij'+('ffl : " � � H "
'" '"
..
'"
Cs, c. d. m. p, Es � *40�il{'Cjd'1 (�: � (Sh. � �) � .d ffl'f�l |
54. -ab) ], Sh,
thisreading. Cv.� and Some Mss
�:.The text-reading
is given by T, Cv. st. g. b, Ew. g.-c) ], Sh, Cs, c. d. m. P- q f\sc::Q ldICi6fl"jOIH (also Param) j Cc notices the text reading which i� given als o by sar. and Sumati ; Cb notes the variant -4f\sc:: '" (also Param) . "" '6I ldl�.-d) ], Sh, Cp W '1" �: Sh, Cd. p trft+j':jqi(i1 l : (also Param) . 55. -b) Sh �; Cd. m, Ew. g. s �o j Cg. b �o. -c) T , Cg . b, Ew. g �.-d) . ], T, Sh, Cs. d. m. p i.fif�&q..a (Cc notices this varianl:)"; N, Cc (also Sua-d. and KalyaI}.a malla) �; Text-reading in Cv. g. b, Ew. g. s (Bi � for these Padas
tTTO :
�1'cnljl'1 , M�q��itll q �: qllYfi::aq l:qi.fi\qlffif1:t�q�
�li(lj+!l!(T"tI� �) .
Some Mss '1« I0[q1'{ (this vari':ant is also by Param, who reads f*'4�loiQI'{ ) . 56. -b) Cc. d. m 4� "R1(f+r: ; Cm notices the text-reading.-c) Sh, Cc. m f"l �Y
this
as well
in ], Cv,
as the text .reading) ; Cd ¥ld'('dSj�oi:;
Param.
text-reading
...
...
... S(j(."itlli'l(!qaa.... nd'5fi"tI €1'Iffllf..:c(�IIlII..talll( �
C �
� ,
�Tif f
�: " �\9 � �ci q:n+i<."'�)..,ulfotfasttsq�: .. '(OUijttl fSlq:W4f'1dlqqvtttllf('tN: tQT: • �.:cfilC(lif � �: li �lii!t"'U(q: .. .. mmta: Sifdf4�1� SlI",Efittlli�lij : " �c: I t ;gNIQtllf+r � � f�hj.fWSlISOi:it.. ,� ft:!i'dfll (qq�I....,��(ttI m:tI' , WThtl....i: fo('d"f�d'1t1..�� �.. qijiQffl ma � � cUij'E11(f " �e. I I � � � 4'd&*d 1 .hn�1Jl � � �(q'4'iiU (GT � , � f",uitaac�: �;:a:si�: " " �o " ijq it ''1�· P qqWftWfil•.... ''l��G', �:
q'R) i(ft"if'1t1....'1(��(f
"
'"
'"
5 7. -a) Some 58.
Mss
�.-c) J r��1+i1q8 : i Cv �:.-d)
Some Ms ql�"4I�' qfu-. J iil f� fOl;q'"l� i Param) . N Giflii f0l 4+i'1 141t1df4<1.
Cd P Glf�fq'"l"l'1I-
(also
-b) Some Mss �iii'1 It4lrdr�:.-c) Sh, Ew 11t' ....0Ia :. Some Mss �'!'JI+i rqiila:. Foulkes «n t
st. g. b, Ew. g. s (also Sar" Sumati, Mahima and Kalya:Q.a malla) ; it accounts best for the variants. Cf. alternative rea dings � and � in. Stanza 503 of Kavindra-vacana (ed. Thomas, Calcutta 1 9 1 1 , p. 1 57) . The question really is whether temporal or spatial accumulation is meant. 59. -b) J, Cd. p -fa<�«'1- (also Param) .-t) T, Sh, Cd. st. m. p. b, Ew. s � : (also Param) ; the text-reading is noticed by Cb asa variant, but Sasvata says : �11 1 f+l<:4qq IQ Q;4e4 f+i +I MfI't ICifi+l, . 60. -:-a) J Sh, Cs drwf"'fi�"I ; Cv. st. � ;ffif.-b) Cst. m. p. g.b (�lso Param) � (Cp notices text-reading) . -c) Cd. p c.
('(SI
(eij'ii4 Et(O{tj!jf(lluin,lf4ai11,d\oiffi4
�'i('(' (1ri �qE11it tj SI\5I I (Ii!&N'! • � ,,)� � mi rit=Ii� ... �.. � c: � � t� &16;n ('11 : SSCCC"jq(!EC� I�I�Co('ttU : U ft t ..
..
II
+i1i1ijftjli(i!(I.,: P� OI1('<4qi!scifdi1 (I CC01(04 • .. .. 'EI'�: iij\ll\'N t{('(': "fi('qeij!ft('ii . l"fil f;... "G�ltj(fq: �qifd"fif""�I_ f.,f....'iil'«i � u ft � I t ('(�* � {Et (5I«1il"" '$� ... � i(� '" ... f1(\q"fii � ilfil+i.. ,f<., , �l\l1SiijfCif � c.
...
e
Cl>
"
Co
•
,
�� ��,... �611i(iil<+i+4fcc+i i"I qcm'\lIlWAN('(+iE'lcb iIfi,f+i";CCI�... ' I ft � I ' � � ; Foulkes � �. Some Mss 'lJt"'ldl"d\. tI'T Et:
"
'0
'0
..
Cv
��:.-d) T, Cst. g. b, Ew. g. s 'Eitqli1� R (as in text) ; Cd 'Eftt:n;:f �. Cv. � �-. j, Sh, N, Cs. d. m. p (also Param and Sua-d.) � +l fUlde;I ()�1 1\l4 14j (j. 'll� 1I4I\1""IO) ; Cst and some Mss�I(1I :()�1I4BI414"t. Some Mss f
Cj{l\4'l«��
I
Pathak p. 98.
62. Ei considers this st. interpolated.-a) Et �:. -b) j, T, Sh, Cs. m �. T. Cc. st. d. m. p. g. b. Ew. g. s. �(ICjd'(!4 ; J. Cv, s, Et and Mahima as in text.-c) j, Sh, Cst. d. m. p EJ>..q"",,� (Cp \;:q"'fiiA ) �+i fofi=a(141<4'tfiI.,jq �: (j, Sh, Cst. p, Et � �: ) ; T, Cv. s. c. g. b, Ew. g. s. give the text-reading.-d) Some Mss fCfifC:"fIf.. :q\:ii. T, Cg. b, Ew. g. s. � i J. Sh, N, Cd. m. p "11" 1�s€ai(1i:( �: (also Param and Sila-d) . 63.
Cv Frf.ffi : m �. -a) Cv �.-b) Some MSS Oli'\:q.... l fq. c) T, Sh, Cs. c. st. d. p. g. b, Ew. g. s. also Param �:. (Text-reading in j, Cv. m) .
�o fioo'"�E(tod �(1dECr... a l : �� �T: ��� ��: f�61�IHT�lmf, I � �" .�
�Ttt +rfij(+tq1ECf9if+t-m�: •
l ('ECri lf= (ft lij7'l1':l' SjT.l ft "
� '" c:: gt'1Ng+t(1 tfSiI' C1� I�: ' I � � 1 1 •
.
"
c
'"
� �1(11
by some commentators and manuscripts, and is now conven tionally accep te d ; but it is somewh at arbitrary and is not found in the early commentaries of Vallabhadeva and Sthiradeva, nor in Jinas ena ' s text. 64. -b) Cs. d mN-. Od. p Q@1ii'ljei'illj. After 64, the sequence of stanzas 65-72 is as follows : in J 67, 70, 5, *6, *65, 66, 69, 68, * 7, *8, *9, * 1 0, 71 , 72 ; in T, Og. b, Ew. g 65, 66, 70, 69, 68, 67, 7 1 , 72 ; in Sh 65, *5, *6, 66, * 7, 69, 68, 67, *8, 70, 7 1 , * 1 0, 72 ; in N *9, *6, 65, 66, 67, 68, 69, *8, *5, * 7, * 1 0, 70, 7 1 , 72 ; in Sila-d. 65, *9, *6, 66, 70, 69� *5, *8, 68, * 7, 67, * 1 0, 7 1 , 72 ; in Ov. st as in text; in Cs 65, *6, 66, * 7, 69, 70, 68, * 5 , 67, *8, 71 , * 1 0, 72 ; in Od. p (which omit 70) 65, 66, 69, 68, 67, 7I , 72 (also Param) ; in Cm 65, 66, * 7, 69, 68, 67, * 8 , 70, 71 , * 1 0, 72 ; in Es 65, 66, 69, 68, 67, 70, 71 , 72. 65. -a). J, CS. c. d. m � ; Cp. �. Cs. c-1i� 11.4 ..!;f: ; Cd ��i Cp 2l�I'if"l:oaI. Cd criticises the text-reading as �, which Cm disputes. Cs also notices text-reading as a variant. sax., Sumati and Mahima as in text.-b) Cv. st U�-. Cd. m � so.;fT:.-c) T, Ew � ; Cm �.-d) Ew �sN. J (after *6), Sh (after 65) , Cs (after 68) : insert, and N utilises (after *8) : *5 "' :q>i ;(r.:: I\41IT'!� =r.o �'D +i""' <+I tr. '@ I:07T
� ;ffi:rr:I:r : I �tln
� lfm: r�E1+tfU'+tQI;q� iititfM�'Q '!i� (�.,
�
IW3.'d+l(,stl{1&llI i: ,
�� ""! mr� �� ��� �: :!ti'fI(ISCft�'! "
�� "
f�� crrfumf�fWE1i"" -
000ri -0 " +t�·.\1ir'1' �� E1"¥'il;;1((4\1+iU: , �NN4i+tfqQI
Q'$l'
Sh continues ; J
(after 70), Cs (after 65) insert and N utilises (after * 9 ) : * 6 ilH�\4 �14'Ft1fc;1�{ If'lf ,� I,.qR f+!:ij '1W'R«(q : �Wil\I ('3\ l f�..;e4J.fHFel6ljlq, I
'11"4<'4(41 I<:$joI4i5f1{1�Jfg:Sll(1'nqq ftl rcl'ti�iI'1i ;; 'if � W l(�q'1I�"4�ftd
11
only * 6 . Cm includes and comments on these verses but pronounces them to be interpolated (� �) . SUa-d. utilises *6 (after *9) and *5 ( after 69) Cc includes
[variants : * 5.-J �9\4HHi5fI(I :, f"'�'*f"'Ie'A1 . Sar. �.
� 'if 'Cl -(also Param). -c) T, Cg. b, Ew. g. 5 U�. Cp and Param •.-d) J-� �. Hereafter Cg does not explain or meagrely explains 68, �*6.- J '11"4"4"1,
;;
70, 71 , 73-78, 81 , 84, 86-89, 94, 95, 98, 1 00-2, * 1 3, 1 03-4, 1 06-7, 1 09, * 14, 1 1 1 as they are said to be easy (�) ; hence
Cg's readings of these stanzas cannot be always determined. J (after 68) , Sh , Cs. c. m (after 66) insert and N (after *5), Sila-d. (after
68)
utilize :
:ern{1NINI{: �&j+tI'11 �4..i{«lijll+l,!dC:�� � clin:ei'twlI : I w4tSCoq: i5fI<:Ii5flRli5fIdl41�f"l�d: � l!fiJtf+I(41 (s(lf"'ldl If'lf �: 1 1 [variants :-a) Cs q'l!fu fufm::.-b) J de;"I�:qi'lOi]. 67. -a) T, Cv. c. st. m, Eg. s ilijlfc;1'W'1I'6Glf�@OfI; Sh-'+l;;(\'6Glftr d1flii 1i'0f1'1i ; some Mss ll'3\lflii f1ftil¥%\IRrqfijj.-h) Cst and Sir * 7 41<{lfcf>"4 I :
•
.
� ;ftm: ijddi.fil"l' t4f«.n"l''''�
(I�"" "li ijf\1{W1ififG'ifii"1t41�q.tf ijV:
..
•
�15!T � \Ij{WIili4('(;:wI'4n I(!if �-
\�1i(m(''1ffii'lf",:!on � f"'iStCdfo:a ;fM\••Et\"egf�f�� erm:
t41f
••
, c; . 1
H
't . .
t4'mw;:n"",
l!IiT�dEfi(,*,iMq� � •
"Nf9"'·'''lf�� � ({41SUtlq'f .�iil"lt � fqCfi{WI!hon �aa':
tjRj'SlI('llqiijUl I : (Cs notices this reading) . -c)
Some
Mss
eqffiq..;fq.I+i-. J '(c'$'i laMl!n� ; T, Sh. Cs . c. st. m. d. p. "''i4 IctMlln:ii ;
Cg, Ew. g U(dII!'"l'i41<: (also Sar. and KalyaQamalla) ; Cb, Es :q1fC{d ll!'"l'i o ; some Mss tll Rldll!... ..a;o j text�reading in Cv, which explains the variants. J (after * 7) . Sh, Cs. m (after 67) insert and N (after 69) , Sila-d. (after *5) utilise : *8
"!flUji"6�q.,fr1E14 : � '(GfdqI'16-
�.114f�...qfd441 : foM t"4ej
�I
� fCl"1E1qF"1dlq( ¥j;'@4I'E1I{If:(1 iil41ii1jql �;f CfiTfir;n F-tfqiUf"6 i l [variants : -a) 3s �U""6m-. -d) N, Cs iITI'4T;f j Sila-d. � l.lT;f j some Mss G\ � 1ii1141] . 68. , -a) Some Mss �: T, Cb, Ew ij- fiil+i I'1li4-. Sh. Cp-Wr':. (also Param) . -b) J. T, Cg. b �q'Slii1CjifOICjiI- (C£ 59a) (Cm. in Ei, Et has tbis reading l) ; Cv, Eg. s I'jq'Slii1Cjiui: (Cb notices this reading) ; Ew 'ElGjii1Cf\fO(Cf\I�; text-reading in Sh, Cs, c. st. d. m. p (also Sar) . -c) Cm �. Cs. d. p �: (also Param and Sumati) ; ,cm, Bs �:.-d) Cp "!'11,- ,, (h Cv-�; some Mss�. 69. -a) Cv. p -'ij ..iii'ii69'E1I'j-. ]. Sh, Cs. d. m. p � fitUl(s( luli (a)so Param) . -b) J, Sh, Cst. d. m. p, Es � � (also Param) ; some Ms! ifTij': �.-c) Cs. d fCi'qiflSlI (Cs ifr::aT) � fii T-"+iftl. " eg., b� , Ew. g. iR'fJl¥j;I(tOldl1;. d) Sh .r"'''f'iii1�f(dl ; Cv. st fcI"f'iii1�(QI :; ,Sila-d. f4"f'i\'f�f(d; ; some Mss �: �:.
4
tl{QjNiWI4{OtctNfddt4 S1 ".4F(�tSq: ftm���nnriC � 4ft �'�
�����{Ot.. : � �vl lq ..��_ ,� . . ��� I .. .. f, .. f, C " *,�qr( oil4d ;,�Wt(S1fM :I"I zr.J:r:;mi 1CfdIil1I{Ot: �rn:I'=,! '0:j0 4 qS1��:
�) q'j1f: �fqg(!4� �
�lr+l'1i�I+! 1 1 \S o n
� t:4�qrd�+i t4'Sr m� , SlIt4'QiWi .,. � "'�.\l l\t4 IA1A1�: "aq4iit4� " .. fl�·S( ri!d�t44: ��(Ot$ltSq+iNmt4l�,"'Q'El!(qf.;atfcr;l�nq' fitt : U \S t �
"
70. -Cd. p and Paramesvara omit this stanza. Ei considers it interpolated.-a) Some MSS 41&�i;'Cfi;qler:.-b) Cv. c. b 'R'!."'d� : ; Ew. g o..,i§t (noticed by Cb as a variant) ; Cs '-'l"d�14:. Cst �: (notices text-reading also) . Cb, Ew. g Cfi"lCfl"lfci14: ; Cs and some Mss -�.-c) Cv. c. st +iCffl 1('1 <"''RI"lqf(+1\1 : ; Cs +lCffl I('1<"I«I"lQ f«t (- j Mahima l'fCf'dil'I 1<1«1"14 f
�:,-qf{f""d f�·*�\:1 : and-qf('iij4 f�i� : Cst notices the
variant liCffl NiI<'1'R1"1qf«t
� QIOI"tiVl l
410:,
1'R'I\S11Ji: 'RI",qf«t<��{-q
J continues (after *8) ; Cs. c insert (after 3 1 ) ; and 8ila-d. (after 65) utilise : *9
Q Sfl\4 I I'f I fGO"'Cfi�f4rfiAl l:f'!I' -m:r: " .. ... � � "f11 "�I I . '1�"<:.+t'\1 : � "i)EJ I.;jutj : Slf���lli� � df�Ci!l'a: *'''11 f<\lSGl� (01 \ioq4l\iI�S::ttl@ulii: 1 1 l\1 � 1�'IlI({Cij f1+'ICi!
N
(after 64)
1
Cm includes this verse in continuation of * 3- *4 (see above under 3 1 ) but considers it to be interpolated. [variant: -a) Cs l\llSqlilfl"ll, E t El Iffl\4 1'1 1 (Sar. '8f4'!lfl+tI) . -b) Some Mss ;i1:c'l"ti : �:].
71. -a) Some Mss CS. c. b,
Et
�
�-b) Cd
�. ::"d) T, Cb, Ew.
�4Itctl'lN
�� Cfil+f:-c) J.
g 'i!j¥i.W'lr"'d1 .
�)(
dSli4n� �d1I�.cR�Tti �� �urr � , 4ttt1� 1� !iM';d"14: �� � q f!f<'bllt4fdii4Cfi"1fl:«t) atfi1+i"C{T��: n \9� � IiJfTff+i..+\(Cfidf.1Ii1lat:a:@tW1+mIT .. .. .. .. � y �'"I : � ft\+I{ifl!!ti: l���lf�Ii1 : , �� tia��alfT +rr.=m �"1!i� �;-a' QN.ia'kl'iJ4f�q ��lf �:
n
H
\9 � H
J (after *8), Sh, Cs. m (after 71 ) insert and N (after * 7), Sila-d. (after 67.) utilise : !ff �""; +lrr. 'iilm "I""' "" [) fc 'l'4rl' 1 �"'lilr.t lI':n "1""" * 1 0 Cl 1 'S f
ql6t<:"I"1 I� : but Tattvabodhini on Sidhanta-Kaumudi (on ii. 3. 3 1 ) remarks on this passage : ::att�OIe4(1d�� O'O TlrRi . � � ;; '�"1q<eif+w:ua :, 'iil "'l qfC'l'it$Ol"'I tt�olH;+le.ftll"flrffi ctf
g. b, Ew. g. s. (also Param) :g
' Mss � J. �:
"
,
at=4iM( 'd'lflMnU(M<: ilrif< i..n\'1 : �iT�ft;r: ifi"ifiifii(t11�61!..i�: I �,�: fiTq � ri � �Uf ���..f�aaF-td tcrt � �� 1 1 \S'\( 1 1 ..
(emi'4�Cfi'li'+'((1Ni<EC�4: ¥<EC
��;qT
qi(¥tF<
q�'6i4EQ"'t'4l: 1 1 \SY,. 1 1
l(fL1I�I'{ J, Sh, Cs. c. d. p. (also Param) ��: (text-reading also noticed by Cc) ; Cv f.rfera'o .-b) T, Ew. g �: �: ; 5h and some Mss �-. -d) J�-.
74. -a) Cv, Ew
Param4reM rea.
75. -a) T, Cs. g. b, Ew
79-8 1 .
76. -b) Cv � �.-c) Sh, Cs. c. d. m fll1 SOiS1 lctcall-i Foulkes (2 Mss) Nl5\ilti<14-a,s in text. (Cv ffilS\'iJf«fd wiFJ': �:, � Cj I�Ii1«lt+!�q«fqNl : ; Cp q(tlIqf�eGi � i (Jd � 'f �; Cc NIW\g:ca4�iljiir@li!"Il: m: ; Cb ffilW\r�Fd ¥If:q<
] .
��
qfit: � ii44r"" r��oi(QCIiH�"'1 fTirq-r;6 f\'1MaCC� �Iti·q«l :et � • . c �, T' 1iH -� 1+(r=",� mI1'!i4 'i'CCC9i+(Ef'« +(ia:l4141� t\4fql� " � � � � I ' \9\9 •
� �t:a����'1." qq ,
.
'" 'fi1it(\'qI(\'q�
<.cc'b1al\CtirCC\'1r�ar"4tf fq'i�EI,fisa*l . , \91:;
77.
.,
"
ani\' � P.i1,"(1i(f1I�' qCfi!Cr"",I"li\'� qt1l � :erf�ai{r� r., ....9iIN: . • �)ufNi(14(QC�ti+(�1 iffil'fi� ;(i +a�lwi 41 � (!tCi�� �ft;a(,t1CC' 'O'g: n \9 t 1 1 ) Some Mss � �:. Cv � ; Cs
�. �: '6:qY«�l'1I��&1q�r({fd 'lif"'�6f'fl.-c) T, Cb, Ew. g. � :q;:q�llj (also KalyaJ}amalla) . 78. -a) T, Cb, Ew. g. s. d�r<"'lul�(11 :-b) Cd �.-c) Sh � �-.-d) Some Mss-�-. 79. -a) J, Cd. m, Es nI'tCj f
Cd
��
�i � t(rdl!lf4dl<;j I � �: � 1 dlIT � �� � � I CC NI'@ (Ii1J1 e:lf6:q�"I'31 I;:ft8j � �: � IJ. CV. b, Eg....fCj4Oiil 1�
�\9
� q fiaili �� 11fif �� �tilf",qq:;i+t I ifmi 'l'B�t � f
at
�:
qf(f"'<'I�qi
�
Or:t
�
,
si ar.:ri SjIiC\q�R�"';C '"'R H '" (111151 • �ii40Iitq , «('IQ f.:r:�ii4lij l"'I+iNINI (i'E'aRtta '�+iij�W5t1 Fcta i!1*1iC H'1Cflm �"\i;li EElf1ij (oifilfi!1Q!CflI;ffi'"� , . I; �
" 1; 0 "
o;.:i .. m:tn':
"
� f� JU m 1iCf""� ''-ii!11 en +iffili!Hi4 f-4«ifI'"... ifT �iq4i+ti f"",-q � I " q�T ifT �:(ii4iC"'i mmrt q'$\.'iHOO CflfiR4:M: � � � � � � u I;� I I � c
80.
81.
...
Sh, Cc. m, Es � : (cr use of Atmanepada of jna. in 63b) .-c) j, Cd lllcit6fi061 (also Param) . Cv. p 4Iiit6fi06Iijl�1 Cs. st. b notice this variant) . J, Cd. p GI'm (also Param) .-d) J, Cd. P ::smrr � �1�1<+tff.M1 qfiQ'fl"I"'4�ql (also Pram) . N, Cs. c W�'1+iNdi (also Sar and Sila-d.) .
-a)
) Cs. c. st. d. m. p. b, Ew. g. s ;pr fW;mrr: .-b) Cv. b, Eg qUIN
-a
,, � Foulkes-&1IUI'flI"ti :.
82.
) Ew !<; Cb � � � w.ro:. Sh � � IIf1f�tij� ( ! ) -b.) Cc. b, Ew. g flI$'ldl�-(Cg notices this variant) ; Cb
-a
�f... �fCJ�M'EI;:laR1 �. J � some Mss �.-c) J �.-d) Some Mss �: � by transp. Sh, Cv. g. b, Ew. g � fi:r¥ ( =� C v; f.f:� Cgj=wmr, � CfT, q f<:d"lNa CIT, fqGj"1SlailT CIT Cb) ; Cd o �\>(explained as: 'ifI\il?(jf«4r"lt.1lill�
=tiMefl Ri i11{ij�tiJ'flI" 1:q1"
'Sifcr.rq' .. . .. ::n ;aqrr.I�="'= � r.;i' 'Elq l"loti!, I
�5Gj <1 U!i{'(
Q � i(1��tiJ"ii €4+t <: i Cp
""",..w' O�"1'!
�«lj err qf(if�«tt �� f.:tf� cftvrt �� , " � ' � ftf(filaqq �4I1gEfi'+n 1 o;:m-m:i ��: �� �� �: �'l i'ffi � f�;ffi � ,
C\
������i �R4fli ..af �Cf � ���: �1ri err &�f"'f&ai(;�*1ltctiIt4� .... .. ....
�
.... <*101 �q<�lScti!l"'I"'I
. � 1 ,=,., 1 110. \ :
ij64jql<'+1�f'"
t:f �
1 1 t; � 1 1
1
1 1 t;¥ U
q1'i1�fa��':
� � �tf� �m m a i ..... ..
��:
� fi'lg+H1 ! � ij'ft'=' l ft'l.':H
�� I " ':! I I �
eu�t'SlsU*1ctf"''li14''1'ij'Slctl('II4'''1f?4 : U t;X
It
83. -a) Cv �.-b)
Cm 4f\a f4i fa trr% B' �:.-c) Sh, Cs . c. st. d. b (t�"''''I+lId.-d) J, CS. c. st. d. p (also Param) � (Cd, however, explains �'t'dli1t\+t$j 'E'W1i ) . 84. -a) Foulkes Sl14+i fG;q*l . Sh fCi! q�fG;qft fi'l 1 Ndfll j CV. B.. c. st. b, Ew. g. S ��(+i'1fG;q*lSjfi1)df!l (Cs. c. st. b, Ew. g. SO�iNdf!l ; some Mss SlF�dfll ) .-b) T, Cv. m � : . -c) Sh, Cs. d. p. � (also Param.) ; Cm � "Il i Es � "Il; Foulkes i(\�. J ti«OlI(f.t:!ell -. Cb, Ew "ii'Ellaott"ti"j ; some Mss \'3(4iEtttrtll . d) Cb, m.
85.
Ew. g. s -a) Cv.
� � t¥t i'1i. �. Cs. c. st.
text. 1) .-c) T, Sh, Cs.
m. b,
st. d.
m.
Ew. g. s. �: (Et as in p. b, Ew. g. s ,!!('
Param) . Cb notices a variant � for �.-d) j, Cs. d, Es � (Cd �-) � 'EI"'l'- j Sh, Ew � *I'W- (also KalyaJ?amalla) j N, Cc. m � �l:'h (Sir. Sumati and Sila-d as in text) . -The sequence of stanzas 85-92 in N and Cv is as follows :
88, 85, 86, 87, 89, 9 1 , 90, 92, in Cs 85, 88, 87, 86, 89, 9 1 , 96, 92 ; in Cst 88, 86, 87, 89, 9 1 , 85, 90, 92 ; in Sila-d. 88, 86,
87, 89, 90, 9 1 , 85, 92. · For slight change of order in Cc. . .Es $ee .v. I. to 87.
m,
�I� i fcc (tPl1Qa{ Eif"ltlfoo14'NlfiIilY .. � " n: . " 6fi"'t'. 5U;:fl�(I1 ('1." .... q Eti(l1i+iISli:iIIStI '" c ;fl(n �: � taT � mf+i"atltaQt d 1+t�olrcc (ti+(tiEfM�;WQfqQ ..a1'{ • t c; � f.:r:'4f4 1'El", 1 El (r'tiij(OiQ� fiu",. fqf� 'fi�I"'I€"i�ISt+((I1cci ;:...+(1'106(11",41. , 4ieijtil'il: tfi'44f''''+t€ff4C'1J\'mm f;:rsn.. "
�
,.
4iiEtiI�iEff ��16�;;:If4Eti(flll'{ I 1 c;\S I 1
IRli if.iT fq
86. -a) T, Cv, b, Ew. s 'EiMiif't"IIIj'I!fi- j and �.-b) . Some Mlls �
some
Mss f..:rsr�:rr-. est " �'f'I1f
�: Usl � illlcl -lflWH.
g �, Oh 4«1QjIi
-c) J,
� o;J "I I I 'I
CC. b, Ew.
,,� G1 "I I "1
� '" ... o;J I
q (ct(�..Il() (+iafiufia «(�� (�+i l�iSlfC4&!(. ..
;:qq�1�ttl � �f""4ti �q I q : �ftl"""'ct'l' !!:(ffi:rmf�:r.�:rlamlq�M : � '" m�sp ��iifi+if�;(f � Sfi{al � � ",
C\
,,
...
m
e:t "
ij;q'E'€1I�(UI+iiC�t q� ��
f.,ft1a+i�f�:�:�" m;p.f I '" t"4 I+iCt4<'i "1"4:st�+iti � rtjiStl�t4"4tilf �: �T � iifi�uu,H1«(ilf.:a(I€+i1 " tllt4"('(1& ..,
...
"
...c. "I� .c ....
� �tNltaCf
.:. ....:. c.....
q;f:
to U
• ."... ...""-.... .,;; .. �af'1t!+i'.u-
..
I � qt � � �: � � � f"1f\c(�+if.q«(4\la�etd +i'tfT tm' I I t � 1 1 -b) Sh .l d+1QW.ci; Cd � acr: ; some Mss �. Some Mss �-c) j, Sh, Cp ",q
89.
U
C S{�TC4(t! a1'+i't! aiifitlh� •
�
"
� ;r � ;r war· Cm � �.
After 89, T and some Mss insert : * 1 1 �: W€lr: � � at ;r
� �� � % GfW"I 'lf"1I'1i �: I � � � � �14"'IMjClIdI4"1f'l'1 : " "' -c::.. � "' 1:: � � ';1 1 " '1 1 ...."." l!ifklf1i1:llfllll: I t ... •
*12
c.. ... ' 1:: ... ..,. "'i=CtIS(!OI:((+1"H�I:q., 'El i';.W(iM'�.1T11:
�(�) Sl�,r�d'-1qfii�?l ijOl
-a) Cm � (also 5ar. and Sumati) ; Ew �.-c) Cd. p � (also Param) . T, Ew. g w{ Gf'l'H'Iq+t4 ; Cg � Gf<'I"f\Ui'I1Q ; Cb notices a variant q '1"1*'1"f\oi. T, Cs transpose 90, 9 1 .. On the compound ���:@;; see Chowdhury § 1 8. 91. ""'7b) Some Mss � mwr.-c) Cg, Eg. (also Sar.) pt �: (Cb notices this variant) ; some Mss � �:.-d) .Cd �i!fiMf"'« €(, Sh, Et +tm' m( ; some Mss �. T, Cs transpose 90.
�O and 91 .
'q1'q1�sm<*I�li (o:���;:tf �mm:r"\ 1 ) fq�(i�f ST�mqfq' :;v +\,er.; � C'. C"\
��11T �� �� ��� <=(lf��qf
���qi��m �W
+fCfffi� f�qf�� ��) �ctml:fr 1 �m-.".� � ��f�) �9T�
m"��: fI'(��. ,... :;;r1«r;i���"Sl,:r!;"ac�� n t� 1 1 �
m�q""fiIJ �� �fr{ ID �qf;.rn�T �m a"6lIf4;=jj �f;;ofi;f�) tu+itn!il � I
� �: ...
srutfuf\=f :qfu �i.4t<=(�llIit �-
92. -b) T -�.-c) Cd
....
c.
s
93. -a) Cv. st qp:jT <m=
-'Ri kj 4\<:.
(Cb notices this reading) . J �: i Cb
c. st. b, Ew. s (alllo Sar.) �:. �-; some Mss w''II�'1 ''1 :. Cb, Ew. g. s $r: (also Kalyal'),arnaUn) .-c) J � \i'I"t. 95. -a) J srk'4 lciii1 j. b) Some Mss lOtl{1ol"ii �:-c) Sh, Cs. c. st. d. m. p fCl'q"!-I 4l: (al so Param) ; Kalyal'),amalla, sar. and some Mss fCl';X<s:1 4 ; Cb, Ew. g. s fCl
94. -a) CV � � �e'rf.:rI{p:rf<{ fIm{.-b) Cs.
7
��
�
f.;f@(Ci(it� �)q1{ I ti\' Cf�'1' ��ftt qf� �� snfl!ffiT'1'f 1;.i�������� I 1 t� �m"41'1fff c.
,�tt(��,�
11
qr���",�) m '" �f���� ��-q �� � I ��ttf+(leq�CT� �� ��ift;;t qq'la�r.t
��: ��'1t:1 : �t'+(lr�fT.fi'1': " t\S " mqrqlSq..¥{¥{ �
q����i!(1�
� t:1'q' �&:�) ��� : I :ai5£tTq''$f: �'ii' W'lilil� q'� � fq�: �� � stTf��Cf 1 1 tc;
�
co
Cs. c. d
notices all
'"
11
'
96. -a) J �.-b) J, CS. c. m, Es �:. J, Ss.
Cm, Es �C(ljf"lfe:a: j Cst,
c.
;r;:rfu �: ;
�C(lj f"lf@iet. Cst. Sl I'kICli'R"Iet. -c) Sh � m�j Cp l$IilOl@+t'6"1"li'1i. d) Hultzsch's Sarada Ms 'Hi ..f{f-Ri�: j some Mss 41 ..f{f-Ril:f-. 97. -a) Cb qCl'1M� (Cb also notices text-reading) . -b) Cst. b Ew � (also Sasvata, Sar. and Lak�minivasa) . Cm. Ew :;f;f (a.lso Sar.). -c) J �:fi some Mss trorftr �. Cv �.-d) J, Sh, Op <6\;:a'N IRtifMOfi
. .
•
. Sh, Cv.
st. Eg �.-:-c)
�ome Mss � �. J �: ;
Sh!
(lp. b, Ew and Param. �.-d) Sh, N, Cs. c. st. m � . (also Sar. and Sila-d) . Sar. : W'lYi!IH'4f�re �:; T, Cb, Ew. g. s .
.
s.
some Mss
.. .
�. . . f1 . � Ot;(lij6l;(i
I ,, :
'
I
98 and 99.
.....
.
.
"'
� :a: � 1Tfi� a't('f �vt�C4+1rq�'iifiiJ6+1c:'iifiNoa., , �� �ej'iifiCi ...l"'�C4irtHI 1:�1 ���� fert'� elf� �: " %ti!i" 'UW
'"
�t
I1
""....'W4 � � � �: mo:ri � ;r!:'!IC(r& -i4P'l � �: �f4H+(�i(I.,.,fq�i�, I ;:)
"
itsf�,*I"Ci : l1.TC4'vtrCl�4 «r'ill"�c:m:rctIS!''"
��I+(lfCl* 'ilIf�Ci'!f�1m� �fQ;qla ��,'
C4q::;C"'�i�'
\'3N!/�if¥l
..,!..a'i� ifi
99.
... .. • --C-Q.. c.. C ';!"�, ,., f,iTl\a., r fiR� �"! ..
... Cfimi'f, I
�lq� 'i!fClt1lfflCfCI'f'i!(C(fq .,. � :qfq �Iii��+lfffi I 1 �
t0� I'
-� Sh, Cs .
c. m, Es Sffi'! ; Cb , Ew. g Wfi! (Cv � � �i Cs. c. m seem to adopt Cv's emendation; but Cd :qcm:: Si ft'" �fqllil4Ifl1lf1qli'I�II� IS+j� SP,I1'1l1wf c:2i�')'4+ti¥f+je4fl1 .fl&l f4ij)+i
0
and 98. 1 00.
101.
-a) Cs. c. dffiiSl'1 i.-b) Some Mss Mr"'W1411q:.-c) T, Sh, Cs. c. s t, Ew. g. s «I"'I'1I"AlI+!¥'4 : (also Sar.) ; Cv. b (11"'l '1I'1lli'lI¥4 :. -d) Sila-d. '3e<606Id
Ew �.-c) Sh, Cd � (Cm notices this reading) ; Some Mss
'irqifll
r1)
� �4cf;ff+t'1.'
Cv
;;
ij- � (also Sar.) ;
SiIa-d. ;; ij- � ; Dhvanyaloka rcads ;; � m ; T translates :quif as
Ci\1"'I"'1I"'1"II. T, Cg, Ew. g (after 1 02) , Cb (after 1 0 1 ) insert and N (after 101) , Sila-d. (after 1 02) utilise :
*13
\\1« f�"RIf'4\=Hl
� � +If Q5"'!iil IOI : f� I
�Srf+i PCi\410Ilj � Cl jMjfUl �� '" �·R1\I"RISl fCldEt€t'1Oljttl'W4Taq I f.:r 1 1 [Variant : d) N, Sila-d., Cb SlfCl {{1Il1'1-] After 101, the order of stanzas in Sila-d. is as follows : 1 04, 102, * 1 3, 105, 106, 1 03, 1 07, 1 08, 1 1 0, * 14, 1 09, I l l . 102. -c)' Cd. p �: Cv. p 'lf6c'EH14$r!.-b) T-i.R1t<�.-d) Cv. d. p � (also Param) . J transposes 1 04 and 1 05.
�x
m� � � � q� � �qN�41{"��fq' � Q;I(+I
� �"6I�� � i{ mG�: ii��
::r ;;.:== ..C(T tr� ::%I'I'1::r 4
Cfl�tw:lf�
� � +1l
�:
� oX 11
Cflld «(q"!. I
�q� �:�q4CflI ..m;) en
., 'i!f��'1-Co:,�
mql�1
n
� fCf. I o14'i'i 1('+1'1 I '1 Iq {1�
d(i!fk'4 IfOr
� .. ..
Eilfat(r1lc4�:
;:f
qm
'C
'
"61 +1 f+i'5f\+(U{
"
� 0� 11
q �1�'lf"U�k� �iiiqlo�
� ;:(t('tfikqr I �� f�fV«i � � m�'lfTCf: tIT{Oldtll (-e"6lfi.aCfl11 � " � 0\3
�1'1"lff� �)
n
�; Cs. c. st. � (also Sar.) ; some MS1 tif�. ], Sh, Cb, Bw. g � (also KalyaI).amalla) . Cv. s. c. st. -If{+II R=$jlj l+i l : (also Sar.) .-b) Some Mss � :er lr.-d) T, Cd, Bw. s %a(GOII�: (also Foulkes) . ] transposes 1 05 and
1 05. -a) Cv
1 04.
m . p (also Param) ;; � (Cm notices also text· reading) some Mss 'tiel! iciwi (also Sar) ; Cb notices both thesf readings. ], T, Cs. c. st. m. b, Bs fct"IUI41il 1<::li4'
106. -a) Cd.
.i� f< :er iWT:.
1 07. -b) T, Cs. c. b, Bw
Param.) .-c) ome
Cs.
+lI'ElI�d l"!. ;
c. d.
Sh,
Cst.
rn,
Es l§"IIf+lI'El1i.
(also
m, Bs fc:! �i fUlci } Kalya:Q.amalla and
Mss �. ] d�I':II F41ii1 f1lj.-d) Foulkes f.1fq�ICl :.
��
��
�� m CliOO�r.;r JO �
r.m � � ��T �
�U;de:M tfiflq a+l�f��"'�'liiC �: � fm <+ltlo:etii+lfq "
�i'T I � +I'llfu
�
�
u
� o� 1 1
qaf+\I�+lt �'ilf9:f�tcn +IT '*'�"Wtf� ... tI;1 +tUlfq'licnf� ;r: I tiii!I"'i�: � fcf� �� �1m'f� et�qf,.a<�i: i+l(I'liihl'etfo:a 1 1 � o t 1 1 '"
g. s �. Some Mss. �1I�"'I1f6 �. Cv, s. c. m � (also Sar.) .-b) T, Cb, Ew. g � ( C b notices text-reading also) ; Cv. m �. Foulkes "'I' �.-c) J �sfu ; Cp � "'I'.-d) Some Mss (l1lfrCfllf� ..i'i CfiT11fir f
108.
-a) Cb, Ew.
st. �
�
�-..#l. �1i1S1f(f�1i�I
�
("
c;.
smr:1iRtSlij
authenticity is doubtful.
Param. , Eg, and its
Of Eastern Commentators Sanatana
Gosvamin and Kalyat;lamalla include it but Makaranda MiSra and Bharata-mallika omit it. The reasons urged tor its exclusion are : ( 1 ) since the object of the Yak�a, as mentioned at the outset, is to send a message for 'sustaining the life of his beloved,' the exhortation to bring back a message to sustain his own life is an out-of-place and cIumsy effort, : and (2) the stanza itself is made up of reminiscences from 10� : 52, 9�� 109. [variants : (2) , J, Cs. g, Sw 'l'(lti.. ,t4i=1j.J-��nCfi«lIi!t; Kalyal;lQ.m.a.lla and Ew -fq
Cfif�t{ ctjfi4mar�� �� � � '" Sktj (��n� � '" '+IC4�) � �+f I f.:r:�i1"sfi:l' srmntl � �a�:q'T�"t{: �� � � ���<{ I I � t O I I �ct'�
�it'4fi'!1
fs(4+1'lr�asU4'1(fi4t'4'1t � f(;1'� � en +1t4,!�1:iI,4i4r I
i6a'''4��1:: � � � Tc. ..
qy
�4ei � � � � fcm4')Tr: 1 1 H � u
Cs, m i.it ; some Mss. m felt.-h) J {'Ifi'lI�affSl Cs, EW l:ii� I
"i
1 1 0.
I l l.
�]. -a) Cv m.-b) Cv. c. st Slcll l'l."4li (also KalyaJ,13.malla, Sar., Sumati and Mahima) ; Cs � ; Cg, 'R$j<4I��II�; some Mss *4 1'€ll I.... Rl . Sumati and Mahima. � T, Sh, Cv. s. g. b. Ew. g m#r (also.Sar.).-c) Cp f.:r:� � (also Param) . Some Mss mf
